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MPS.

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Britain,

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Carl Flesch

SCALE -SYSTEM SCALE EXERCISES in All

Major and Minor Keys for

Daily Study

Adapted for

the

VIOLA CHARLOTTE KARMAN

Carl Fischer inc. BOSTON

02921

•

gg

tg"S&TB New York 10003 • • DAUAS IOS ANGSIES CHICAGO

62 Cooper Square,

MUSIC LIBRARY UNIVERSITY OF CONNECTICUT STORRS, CONNECTICUT

"FOREWORD" Until comparatively recent times very

remedy

this situation.

Delius, Hindemith, Honegger, Milhaud,

many

had been written

for

Our contemporary composers have done

the viola as a solo instrument. a great deal to

little

Bax, Eere^owsky, Bliss, Bloch,

Vaughan Williams, Walton and

others have contributed important sonatas, suites and concertos

Many new

for the viola.

This

new

in the past

works

are constantly being added.

new demands upon

literature has placed

found a place only

as

the violist,

who

an orchestra or chamber music player.

Higher standards of technical perfection are required.

It

therefore occurred to

me

that the "Scalesystem"''' published

by

the eminent pedagogue and violinist Carl Flesch, regarded as a standard

work by ii

violinists the

translated into their

I

world over, would be equally valuable to

medium.

have undertaken

Carl Flesch.

The

violists

this task

publishers and

with the encouragement of Professor I

hope that

it

will be

found useful by

performers and teachers of the viola.

Charlotte Karman

New

York

October 1941

-PREFACEmy

of practical experience have strengthened

Long years

conviction that the "Scalesystem"*

provides the best time-saving method of developing one's general technique.

To

derive the

maximum

from these studies

benefit

it is

essential that the following suggestions

be observed:

This system of scales

I.

comprised of exercises which are of service for both intonation and

is

facility— therefore for perfecting the intonation they are to be practised slowly, for acquiring facility

they are to be practised rapidly.

The

II.

scales

should be studied in a different key every day so as to go through the entire book

progressively.

The Harmonic form

III.

of the minor scales in double -stops

given preference over the

is

employs the important interval of the augmented second which On the other hand, the simple minor scales are presented in the melodic form is frequently neglected. and both varieties have been combined in the scales of broken thirds.

Melodic form

for the reason that it

use the time at one's disposal for practising to the utmost advantage, the simple scales are combined with bowing exercises. The latter may be employed in a like manner in conjunction with the double-stop scales, especially when the intervals are played broken, viz:—

To

IV.

ra

r

r

*

r

r r

m

m

and

m

and

~y

and

^ V.

It is

suggested that the student add various dynamics to the scales and chord progressions,

VIZ.

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few exercises in harmonics are added at the end of each scale group. This form of technique is somewhat neglected by many viola players and these exercises are added to assist in equipping the student with material that will be essential in his future work. VI.

VII.

The customary marks W.B.-

H.B.

M. P. Fr.

*1

am

using the

word "System" here

and not by any means U entire freedom from

a all

rigid, unelastic

-

are

employed

in indicating the use of the

bow,

viz:

—whole bow —half-bow — middle

—the

—

bow

tip (point)

the nut (frog)

Carl Flesch

want of a better one and against my inclination. It is merely meant to denote a practically tested form method of practising, which is always inimical to genuine artistic delivery. The prerequisite of true artistry for

and every kind of "System."

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