w'&rt . 53 jl *7 Jf PREFACE. The first part of this great work is designed to advance the scholar from the very first rudiments of music, both in notation and execution, up to the point of playing well in all keys in the first position. All the scales, graces, embellishments, etc., including “ double stops,” are explained and fully illustrated in Part First within the compass of the first position, and any careful student of that volume is now fitted to undertake and master these more advanced chapters. Herein will be found evekything appertaining to the art of violin playing, carefully marked, fingered, and explained and arranged in a strictly progressive order. Much care has been expended upon the art of harmonic playing, and every pains taken to present the difficult accomplishment in the clearest light. Double notes, arpeggios, etc., are clearly and comprehensively explained, and it is the earnest hope and belief of the author that a finished student of this method will be able to intelligently perform the most difficult compositions of any writer for the violin. In order to firmly fix the student’s style it is advisable (no matter how far advanced he may be) that he should possess and study the first volume of this work before taking up the second, and it will be found that both volumes, complete, form the largest, best and most instructive violin method ever published. Trusting that my earnest and conscientious labors in your behalf will be repaid by your rapid and satisfactory advancement, I remain yours in the cause of this delightful art, A. S. BOWMAN. '0 7b 4 8 I PART II POSITION. Z Adagio sostenuto. 0- 72 .) VIOLIN I 1 . ~ .. .■ --m-w :*: Kffi-—- p »jJ dolce. ores. LmS LUT 4- te -i i i- -• t ^_^ U - i - ^ -54 ^jr jF ^ ? pj 4-—H t ; t ? ♦ ? Excelsior Violin. Part H. I s * POSITION. 8 Excelsior Violin. Part H, 4 1» POSITION. Andantino (J = 7 6 ) i J71'n~..:.i p»o-i r pp r. : t j ■J ■■—.-j= -C3EJ- r- : . f. H «P J..iP =z • __J"• — 0 • _ ^4- • _ <5 U— -j-: -r_^ r 1 • r r 1 r - g: '•.~=* f-— - r I s - POSITION 5 J- - 0 —. .# zc m S L mm a m p mim HP j=a Si 5 7 ? W'S- * tun Excelsior Violin. Part H. b 1# POSITION. i m 3d i aur. 4^0 Tempo Imo. $ i m m * r#r r t&jttr f- Llt uu r> r 1*1 > fF^j. 1 Hrd pr i — r -P f # iPtn rf? Fr u -# - ■— ~t ? 0 ,... —*—■—■ ■ ■' k±j NLeJ-^iCiT FT l&F^-h. r -=| i • ■ # 4 ; fF 'OJ ' 1 1 lxj*~ ■ r f -.'-ff= A* .r--F==] =rfd Lj. j> , =j ores . f_t # / p * r =F=I r BSF 1 g'- . —< 5 ---- 0 - - a • # • ■—« f- m- " ~f~ ar~ F=fe=f==f=#==! » F - m ■ jj{£^—| j 1 j j TT 1 . ceil • • • do :&»■ | ■ =j= rf^ r S ■ 1 ® "i >■ _, i— 1 — par f^==i ==- rurl-d^m ^- 1 ^- 7 ———^- 1 i- #• _^ —< 5 -- <9 • —«-— -g-r- F— -jr —1 Excelsior Violin Part II. IMPOSITION. 7 $ i fci ' » 9 m *~m v—» z 1 . P'-yf-F- f f * f ■ ■ : -f T r f r r |^-m v LL/^LLj PP 1$ ^ i>: J •— ^^ — ' rf f f I I I JU n 1 4^- -“ ili il I' 1-4 ^ ■■■-■■ ^ .o : - i lrfrrcSrm Eggya-tff PP P^=|. f T^“f * ir iFl- T F r.rt r r f TTT-r^ — > .[* » ..p. -p » --T,—. . —|-BHaaMB- 5 - -i -^ - F rLLf-- e»r£s • • - j— ---- —e-=— - r #f r r -* * . -$ • _*_! _^_- _ 4‘ ~" " '"' r r f ' FT "" 4 o t75 . f p i'.'P r f .f - -#. "., #.. , ■ ~J J j—J J , » ■ » o .: « • « . ?'» P f"-'- • ceil * • .. — nzj: ^ •■-■: =g3 f J C ■»■ - . . • . d i . .. —-j " ■ ■ ■• - ■■ -|- - r f-p--uLF r r f r r r i = - ,,,-..—^j- — - tr. - $ ‘ * ii-2 —»*. v 0Sf~~w —f r f -c ^ J • y . £ * f r r 4 -.- ^ -d—*-#- ■! J -- wmmmmm- •1 ??•'• J r - '——— n- / J ——^ '4 ---- Q I 6 3 X Excelsior Violin, Part H. H I s .* POSITION. Excelsior Violin. Part II. I s .* POSITION. 9 Excelsior Violin. Part 13. 10 POSITION. rfi -fymrtif » K•' -1- r ... p fTi LLJ ; i ... . -rT~~~Z. .. pp —J J J » ■#* -■■■*- 0 ores .-. 1 r> • — - - 8 • u ^ —g t --7 „ ,. .. ..'. a • F=rr rrfr if r*r f-r : Sf - J 4 J J r; CIf=£±f= • • • • 0@7l • /■■■--[. -- .... .,.■■■■- .. - -i-1 4 -fet-4 U-- IIH1M - 1 do. / J^T Ij.■:—-1"-- --I ^ UU povo rail __==— ...]■ , Fizz Excelsior Violin. Part II. s — #-s -p-i- *—■ -jh- o ■ arco * ’-^— o • 1 « POSITION. 11 JL. -tf-f ix»~| i f § 0 i ~~ p f f f r # » r # J j~~ PP Tempo lino. i: ^ ^ — L4[JLU^ UJ=i SS*- rUy-uj —- TT • u.*T" TT • T ^ LLT — O i- 7? . i k frT^TmT^ T- ...»*»£/• 1 prf f-j rrmTf ^ S; tf " ji : v ..- ' . 'st: 1 — e-= -—-r.- - * • * —T r--l • J ". J T0 f : # r r 8- r. r r 1 r r r- ^ - m 0 m ■„ ■ * « t- i . 1 - . *. # r Tr^f. QTfrr |l; CXj i 1 I L ill 1 h J =j •.■ ! » r * *-r*-r ores ». cen . . . do. ^5? J- i‘- ^^,2. - 1 -11: ...;. : -O'- -tv • ,l l • • t-TI f r f r f f Elf r f r> f ffe^a -- --rf-ctaiijzz zrtc - § • § J 1 J J § *> $ : Ul J •i- Clf U-T ^ U.J LlJ^a .LlJ ■ ■■ LLL ^ sf*---- LLT J 4 o ci^ / ■ — o< 1 — .r-—-— ]-— \b -. 1 CT- ' jj • E • r T>. 1 ■fj... r^S? rlr r r r i - -»>■•-»* i f |g dJ si -jp-— kir J : j - 0 j J cU ..L^uiXLtzq $ f- # J - f-.p: _£ ’• ' •-•--<-!_l-=_ # • _— v r f r ' -- l?i ^plp^p -J?-^T7!L-.- • * 0 4 r r moreJido. — 1: — 4«4 — 11 5^- ■ — ?r^ — - --4^-r—f =-p— -- 1 r r r ■ ji: .r i* ff p r p .— -P i-fL jp-*-- Excelsior Violin. Part II. 12 1®* POSITION. * This Exercise must he played evenly with n springing Bow. Excelsior "Violin. Part II. 1". POSITION. Excelsior Violin. Part II. 1 4 1 st POSITION. Excelsior Violin. Part II. Excelsior Violin. Part II. «r* lb POSITION. Excelsior Violin. Part II. IMPOSITION. 17 M m 1®> POSITION. Excelsior Violin. Part II. ltf POSITION. 19 Excelsior Violin. Part n. 20 I s * POSITION. Excelsior Violin. Part II. l s .‘ POSITION. 21 Excelsior Violin. Part II. 22 1 S .V POSITION, Expels tor Violin. Part II. POSITION. Evcelsiov Violin. Part II. 24 SECOND POSITION In this position the palm must not touch the Violin. In all of the higher positions, just as in the first one, leave the first finger as a support, on the String. Up to the third position, let the thumb (just as in the first position) be opposite the first and second finger,- whilst in the higher positions it must be drawn more and more under the neck of the Violin. The following exercise is to be practised first with separate strokes, and afterwards with bowings as indicated. Position of the .finger si f=t t ?F $ £ zc 0 - 1 i 3X £ £ -0 $ 44- 4V 2 -0 t i 2 3 14 2 -^ 4 1 tea 2 3 XC £ 32 3 2 3 2 lst.Pos: '4 3 2d.Pos: i 4V 2 e ^3 31 PI 44 3 4 1 2 2 3 44 - fag m £ 4 1 lst.Pos: PH IE 2 Z 3 1 4 3 2 2 1 i 44 1 In the next two exercises the Quarter notes are made in one bow, and a short pause made after each note. Example in the first measure.— #§ £ £ m 01 >, 3 g---» £ • • # — » i 3 P§P P P r » t f=l TF -o- T3~ ■o ax 4T T 5 *5 £ f:: f ":~f fcZI £ P=P P i i XTTP -gv- w f-—f w r^=i •— ppf >■" »~"F" J— ETTiT '•ft H= r.-qqp- - - * * ft 1 *— l—£^—j?— r r 1 . r h= -X r J =P -X—a ^ ----- C t=£=M r~^' r | VS ^ M* H Pp" 1 —&- • l—v>- 4V K -F xi. 4V f i i @s rar—£—* 35 gl—-* -tv -*±- r—r -e- n -o- Ti fe=—T :".r~— -■=r. :■ f-:.:- .. m . m -'I =7=F=fi=l h-pt- :: i i-i Bfo 1 .X 1 H f-r- j J bH .. 1 u= -«— — 0— ' r 1. ^ 1 j j^= 3 = # ax 4*> If rr £ £ i ipP £ £ i P p f ft “tv n ^_ J* Excelsior Violin. Part II. ax a x -tv vv n rj Pi 23 POSITION. 29 20 With the upper half of the Bow £ O lirr 1 Vr r r r r1^ r^r \tS—- -2—--1 \\l ' , -tr—-rd —ni u.- -1 — - = == = : — is= **"'U — i- —1- -" - M ’ " — j .*.rj [f p ' ! jj * + a—rjr J jyf* 1 \=4=*= 4 ^ - - a m — W —j % rp A- py ^Pl"^ 1 ..rrfi. r fJ ► * " f =»V- : rm w ^ ,ii rrr\ 9 ^ « r r W- 1 i 1 m ^ A J . .. A i V^y r r A w- « i O UJ*W ■WHaHi i" “ * J T • 1-1- # ■ * f ^ 2 1 1 -- y ' ”:-l—-2-- - 2 A r ^ ^ r 9 i r gj i A A * ii 1 1 l J_L_ j 111 L L S . g • i*- 4 -*-T^-- ■ 1 —r a 4 rv^* 1 •» ’ -H )■■—- L Excelsior Violin, P«rt H. 80 2*? POSITION. Excelsior Violin. Part II. 31 Near the tip of the Bow. Poco Alley jetto. Excelsior Violin. Part II. 32 POSITION. 24 23 POSITION. 33 Excelsior Violin Pnrt II 34 23 POSITION. Excflsior Violin. F>rt IT. 'i 5 23 position. 2L Excelsior Vielin. Part II. c\ 3b 23 POSITION. Adayio sostenuto , (Jam.) pHi Ri£a mm Ifr ¥ 25 j pp condolore J . J .J, j kl, j, J Pizz l|» b# <7 Excelsior Violin. Port n. 22 POSITION. 37 Excelsior Violin. i Part II. 2** POSITION. oh 26 Bsss ' S P .rm g P/zz nr co Fizz Excrlsior Violin, Part II. 2 d POSITION 39 7^—I—-- ~— 1~ i, j} -H r-?-1 t -1*- V? ' t .-"3 =d —- : 1 7- r- - | - >" J J tarsia Excelsior Violin. Part H. 40 2 & POSITION. arco . ■—rv iil f - ~ 4 i -i _ - n ; ^ i i i Pizz ^ . Jr Jr.". -■ f .,"rzrf~rz" .... LL. ^zzgip f^~: ^~ .q j arco illiltTK _ IpPp fa#—■■ f =fer 1- J ^ ■»-~ ^- . /> Mir -pffSr. | iSjlk ■ ...Hgi / =p^=- : / — 9^t= -iM- M= <". ' Mb 3 J - ¥ f /y *?!,.„■? ores H & Excelsior Violin. Part II. 23 POSITION. 41 - f - ♦ 'fir rStr>-j "Ttr^Tb tr ffrSS- r -i-k- -esi 3— -JT35— >• j - .■■-•■- - - 4*^ — J- B - 6 .. ‘ " _^ £■===£ ■:..1 Excelsior Violin . Part II. 42 2<* POSITION. Ex cl ior Violin. i n. 2 - Kti- —* /"#• • — 1-^7?—.—. f=Zj fry g-«r-i '■ -j--A . re--]' "■'] "■ - LJ L^j inf u ■ L ./ -i- -■.4 ., j ^ tv J -1- hrWz?— I hr*M i> r^f 1 ^ 4^1 =zj±t>=5- : T! v ( • I .-.ior Violin . Pf rt II. 44 2S POSITION. ‘jg± —-’TrrT-rV.— n^mtJ p 3 J pp Lj La a ! :. fir j - ± A >■£ u ; " 3 £|- >* . . — 3 *n±i kj»** PP .... ... pptiu —<•« ^ «• ^ | T TF -1-e- f T i ■ " ■ - 4 --e- i # 1 S=z r 3 I t Excelsior Violin. Part II. 2 $ POSITION. 45 *.:•^ g*»» F^jr jjv;,, i—rT7*i-»i 3= L/1-1 tv 6* 6' - - -0- M^= - c_ # * pfcsHjFW- do / aroo —-1-- W F' ' — p"” 1 . ' 1 ^ A H~i' ^ sn^ \sh ■}>■ - 4 . H-. <3- ^ •• -<1 \—& -~ -j*. : .rp poco rail. Zi - ■■$■'■ — «J. — G\ —~6-r- -- w ■■» " j::“ ? I • 3 ■■•■ 4^- i q| Excelsior Violin. Pert II. 2.! rosiTioN, ^r Vid r t ii. 2d POSITION. 47 Excelsiors Violin. Part II. 48 23 . POSITION Andantino . ( 1 ^- 126 .) Excelsior Violin. Part II. 2 <* POSITION. 49 Excelsior VioliirJ Part II. 5U 2£ POSITION. Excelsior Violin. Part H. Hxcelsior Violin. Part II. 32 THIRD POSITION The palm of the left hand to touch the lower edye of the Violin. Position of the fin yens. Iii some of the following positions Harmonic Sounds will he met with. A full expla¬ nation of the Harmonics will be found on, Page 12 8 1 * m -if*- $ rr.-rn -e- i n: n -e- 1 -v-H'T'r-3T**— O f 4 = j2 xv O |g —H- 4 -2-‘-2— .?— r? o — 4 —p 1 1 ft 2 T=t= =p 3 2 * — 1 1 4 | ' 3 i' - -ii §- ■ -f—i-° 3 .... 0 ... 2 - a - —o— 1 6-J5. 4 —o- 3 . "a" 2 1 3X i f# # f # . ffo . xx #— P —# xx & r rr r--i 4o . i l i rrr r 3X #-#—#—# XU 32 Each note detached in the middle of the Bow. Jtf- n -i - 1 -H—1 ri I -q-i-- t-. ---.■ v .:■-i^-. /i i ^ r i i i n ^.. ..^ m mum ■ r p w r-w—w—w rrc\ v / M *a « a w a m m a < 1 . y F W W F V 1 I II H r r i IT ■■■ '■ -r-7 ' — | . u (..-.^-L.1..— .^.4--..^ M—LJ—1—LI— 11 - w - ir » ■-#-»— i • • • • • • • • • • • • l 3 /L T r r l w T w V - V w ! p P P P P P i# m i# 1# m -m- - J- J- J- J— J- J— ^ — i jy-1 — U-J — U—L i u 1 u--■>■■!■ y i .rj-f-'-rj-i- ■ • ■ • i.». w 4 P 3 j ji j 1 1 A-j r if r * :a #—#—>2 r » o #-» g ' rr i r i f fff rr^Tn 1 -^q -r- r T r.— . r ■ r r r — #- #—1 •—| fi>- _ r- ■Zj g: . .. fe-... . i-Ud—i- — 1- LJ— 1 - pH #—fg Excelsior Violin . Part II. POSITION. 53 3 5 —t- —-F q- F=frl t| t # 9 *—f =jTp■ * ff 3 -f f fT r f - -el-LJ *r r 1 p r' r~~ f f T. r, l r?j j j i i i~ [••"j--- l - -!—!-!— 1 — — 1 — •T-fr-l f-f-f * *ij j-zijz J- : -H The first quarter is made with a strong quick bow, making a short rest between the two first notes. Example in first measure. «■>- u W - B --r-r- H T'/Tnfrff iffff if/fln—trn-^——n X -1 ^ L tJ 1 fthP \ j A 7 m -S- j? i-J-J 1 • * ■U 1 M 1 — Tl — 1 - 1 i 1 ■ (/-J . 1 j-- 11 In the following exercise the last note of each measure is made with a strong quick how, instead of the first. 9 SECONDS . 10 ^ I J I j i r+Tr>ffftf . 3 fc=l 35 m jj j m Excelsior Violin. Pari II. 54 3?? POSITION* FIFTHS. Excelsior Violin. Part II . 3 r .? POSITION. 55 18 Melody. I Ajidcnite Cantabile. Met J - 138 rf-f f f i i—e- —Tpi --- (ro J . — J p 'AV- b^-4- i.J J J .i- ■ ■ j 7V t 2 TT'T • i 1 H~t' i 1 • • • • • , •• • * • f f . it r r- i —e- nr-—- - : f .r | r r-f i ...-.:■ • L - 1 1 - |..|- - J ■— -P— -j».-j' -r-J- r.J" h-.!—M f f P , TO 1 i IJ * J 1 • • -i—j 1 1 *' =f=z£==5=:: -*- d - 11 ■ ■ -o.---- -m ■ r -f--^ — i ==) -\ rar- , ] r=^ i J 1 i- hr -e .r--H — t——— —U- —1 - J ,i —xi- =B-“- w r l ±f± • • r * i-•— • • • • • r? ^ i ' ® e ■«—p- Fvf=rf=i -f — J—f— r — Ff *3Z=Ef CZ= F= —? - -9 —*- ST , -F—F-H IM i ■ i.Fj=l -J-—h- hM^ ] - H -t—r- hf- v -p.H • j.-r~n —i- / - / (s’ - J * J J Hr? i-i-| —*-f—#— . -£ i « — r -* si- • - fc=T- f-> 11 1 Excelsior Violin. Part II. 56 3*? POSITION. Moderato. is ih —*- 1 — —I- 1 t - t r : ■ tn?-l-i 0 - i 1 t #- J > i f »— »i f j i* . Jt _ L .i ■ j r w jj T ¥ J m ¥ < r * V W 1 1 1.1 ¥*. I i —r^ir 1 i / p 9 « | 9 V *9 - vr o —VI II fffs ii t * 7 I gr 11 TTJ__ t - L-e- clL Excelsior Violin. Part II. 3 r .? POSITION. 57 In the following' exercises, as in the preceding' ones, leave the first or second finger as much as possible on the string. Excelsior Violin. Part lx. 58 y*.i l POSITION, With the middle of the Bow. Molt ft Modointo Excelsior Violiii. Part II • 3'.^ POSITION. i» i ==t *f-=- -f- -Iff ■~f ' ' T?- i V ' t r— p ; -1 -w — , — j. — _3 : - 4- —J-J"-—-J- - e - M 1 =H -"19' -^ = ^~ Excelsior Violin. Flirt II. 60 3rd POSITION. » jjfy" —#-~- — m — -m m m —0 P - “f- | 44 $ =§^#1 n^Tiilrr' c/i l fe—g— ~= —IL.J3.I Jiij—J-- _ 1 1_ EaUBBBI ' i« MS i . 1 ."I- -J|- {- ■) .. '_i _^ *■ ■ ~ J— 1 : ^i- ores I 1 ■■ — NarciM / ,-5- ■■■ mmi —J J ^ -i- ■ J ■ '■ i ^ irjH Excelsior Violin. Part II. 3rd POSITION. 61 Excelsior Violin. Part II. 62 3 r .d POSITION. ]”|f Ti | f r :. .. arjd —■ (rn ■■ - E23 —n n ■ p mf -pq. - ( - _ —-pg==- - — i — 53 s - MW U-.> =S=±= ---U®J- 4 —^ The 4th finger to be stretched and the 1st drawn back, while,the hand remains in the position prescribe Excelsior Violin . Part H. 3 r .? POSITION. 63 Excelsior Violin. Part II. 64 POSITION. 26 >■ Jz -±- 7 Excelsior Violin. Part II. 3 r .d POSITJON. 65 \U , I., mi pea h.=| r r — f . r =f=fa - f SB=jp=^=g=- u j j }'*i-f j-4—i - da as ores. r Ffrrfr mmmB BSS3 CSS jp ore s . . Jj* »»»* * ii 1 —e- —O- —e- o r> o Excelsior Violin. Part II. 4 yt j i j... i .fc/jj 1 1 Ur -j i f &r (, if t~f, t ■ u r • ir irT^' M if 'it 4 KEEE2 frt.rtrfur 1—0 £ 4’ f Cfttnrqj I "' t'l ' MT~T t=I= £- » . 0 dt gi i » - - i j ? > • » « : r . » ^4i:L# =fe » « rf, i rtrt,Tt e t=& ■0 0 m t- hf • i Wif1r-toM{ i r-inir t J-Ji^ Excelsior Violin. Part II. 4$ POSITION. 67 Excelsior Violin. Part E. 4*.^ POSITION. 68 FIFTHS. 1 4 2 11 rmr^imrni oxj olt l l &J£ a i Z SS r £ . r l SIXTHS. i l 12 3SS 37TPI1 I F=F=v f— I T^- —4 ■# * i 4 ! f £ £ ? t ♦—*■ ■ i » SEVENTHS. 13 3 ^ P ir~f &I4-.-UT ^ l f n~ f I f f f I f if a r^a OCTAVES. ♦ If 14 ClLriiU #-# TTf #—# p^s r NINTHS. I 15 jU J) £ 4 4 s M ■ '—M fe# I g==g Excelsior Violin^ Part II, 69 4^.. position. f-l “ I ^ -1*#- i p 0 . a jS&S' ± "^~ r r"r~~-rir=— 1 J■=**** 5gW-—■-g-'.i- — Exceleior Violin. Part II. 70 4 f ~ POSITION. MELODY. Excels,ior Violin. Pnrt II. ^POSITION. 71 Alleyro . Met c =120. i.h !, i,(- r- f f? A •• rf-f-f=H -f-i ■? r« 4 f i Ff=^M | 19 to 17 [PVa — x* i*[ rJ=— ^ , / *' —=- a >*• y c/ \ Y" — j > -4=-*4 ; -- - j^>P P.v/ .. j .~.... 1 _2b £L 5 —1-4- i 1 1 :n" 1 _rz or>__ E^r^—-:l —r>- - - . o-zzzz =4X-= h. ,i^4- ..| Ff ■r r ■.. g=f^—-1 ZZ 2 3 EZ3Z^ B- 3>--bj-.—.—- 3 — p?E -£-HI-- —£-J* Hi--- —^ K- tv ir m —~.:', "Z3gr .J j* - ■ .... "+---— r.-- .- r\ - St?—— —_—- f „ .... .- . L —4- L-4 i —e——/-1L-. r . r —TiT-Tj.'.::—J4 __^ \ * -*V—-• — -4?—-- $ £ —M-A- i m m I 331 ~Q Tt_Jf 33= jDE ^71 I* 1 4 / * #-TE i^jp F=T~ 1 m m =f g : 35= XU 33= □CC 33 /> o *■ o ■T ro i>-r jte^ F=k^ ■—~fPr~*= ■ ■fmc* n :i—«*^ —— s. hH”K & b 4 —<3— —_£—-S—■« -- k-*44 . f s iqr —§.—r=a U=*—4 -t —4 -—4 d!±=+=±=. / —#—5—"■- 4 --.— .- ^#= s —#— - f J' f 'H i'" : «— ! =^=s=| —g.» .. TO 7 *''- S- -j-i 41 ■i —1-.i—s>—: —J ■ ■ ■ — ■■ £■ —.- -r ... —4 _ -^ . fe"^=n— ^.. p+ j nh ' ... * ETi 1 * 1 * T* J x - *• f a i ^ J a 'ru ^~uy — ^ ky — * tu j ■■ - J ^ With the middle of the Bow. All ear o ayitato. 4^ POSITION. 73 4 21 \ilbr ’. ri - . » ’ » f . _-Jq" jfci-Jl -m-rf ■- lipr - -*■ ff f"!B (fir ^ v - 4#'#% * =&* -]V y, h- ^ h ... f*F= — l -~-y» lyg- —-J^. ^ \ ■ 4j7" J'' - W Ff 3 ^ 1 £/■ -K-47-t'* =r "~ i r*r y ^ — J « -Jr-i 4 !2- r p~' K-i— a V h i h i i 5 2 : E 3^i Edt a , .<: 3 3 i 7 -L # Excelsior Violin. Part n. 4^ POSITION. Excelsior Violin. Pnrt II. 4^ POSITION. 75 Excelsior Violin. Part II. 76 POSITION. Allegretto. (J = 112) 24 Excelsior Violin. Part II. 4^ POSITION. 77 Excelsior Violin . Part II. 78 FIFTH POSITION Explanation of Siyris. I On the First String. II On the Second String. III On the Third String. Position of the fingers IV 1 - 4 * y : " ”n a m i TFS -~i- ■ I| - 4 - 4 1' <[ ■ - 4 -u i i 1 IV On the Fourth String. IV m ■o- f-f.iff f -r~@- ■ y f)' * »,f , ff t £ Sh -*=8- Excelsior Violin. Part II. 59* POSITION. 79 , J?,' x:—rrir z=±= J ^ —" -- ^—- M . -- #— g-" T f -P- fi A, HI 1 -4L -^1— 1 - ... V .. -J^ e 1 X r> =» i ^ 1—3— O Jmr V-.- ^ --a *1 - t \ ^ * 1 S' .. & Z4 ~ ' . L J -J-£... *J 2 l £ . } 1 A 2 £ : -r fc ■ K . 2 ► O : Lj ► L _ _ a h t* i rrr . . * .. — L ae — ! - >•# *L _ ^>i» ... - eb - A ~tt 5.1-1 lb --1^= - . r ■’7-- p-^-r^r- =t=j=j= -- fa -- r^— 1 - L£J - . {ir A.. — }- .j.:^.4.. . j::.] * j .j fcji :.|....j .* j .. ... * £ P .: f; wzsmn\ zg7si^::... .. ..„ J. jr-*®—fjjj j>Lr-- w -~c -1— s ts ri_r_u^^ i f — »■■■■ f 1 /h| \ *V n»/ 1 i v i u x^o j * mV* T+P*Tf r V F ■ V ±JLi J WS^V > I 7 ‘ 7 1 7 i / ^ Ml 7 4 a ) 7 7> — "t?-j ■ « ;)—f— ' 1 — V— — L / / Position of the fingers. i Excelsior Violin. Part II. 80 5th POSITION. FOURTHS. -f—^-ffp--f rf 1 f -s-f#- f-H *—1“- m * a ■ hi --—-1 , p p ■ • — -feaBsaB 1-L— - 1 II sj i i ^ a -9-j-r=- o i J H -“ P /^Ti f ± j : ■ # « * f —P——" r ^ . ■ r "f T —2 — 7 - n w r n _ i i >* .v l 9 - m >r 1 irr\ _ ^ wi'iwt w^mamsBm ___ i _ zv _it_ w r i_ r:_ m _ w ; *<-n a * l +- t i -=£5 Lr v * y i j j j ■ .■ 0 4 rfH- 11 Excelsior Violin. Part II. 5^ POSITION. The following melody is to be ployed with a very liyht bow,-two sixteeirthsat the tip,mid two at the froy. Melody. 15 Met Jr88. aueyrecco. titer tL, $r tfi fT-Tt- gf „.i STf f. 3 d el i eat amende t Pizz iLiC' r : i - * :, t -=J-B- ukz-K'":.~at jz rrp eth ...j.. .. B.f —i I -J -i p±=art-Bhj ■a■ »■■■*■ ■— ( ' thj so- - , * **Z«= V J ^ i 1 =ft #=i^ ♦ =*$= rr^-'-iTr ~ -ffr r,r fr, p= —faL s= jig .j ■ ~te- _ i f ■ s mf= m4 W=4 =*=3= h^i ■4- 1#*- ^ J -J- '--J-i — i— 4 ' T 1—4- 3* ■J ; J i 1 irsTr - £Ti r-~ tTp .~ rf-~—ffh-ffi rail rL ? - 1 ^ h m H . B ~| a tempo. * * •" jj B -- 5_1 - B- - B -- —{■ -tip TO J - BUT—» — - ■ t- *- s! - Bi '^N*^ -j' i W j i" 1 #J »=j —f ■ T-^ ^ -tfif Iff*— ffif- —tTr' : 3fcgr.-ii-ji--Sfcrj tUi HI =M= fi±==B= -■ -1-H—1-H-l-W-BH-B— —0 --- ^ 1 J_~n . __ 'll =T” __I^TT_ J_ , tt; i , r» r* ■ p p p m f f # . - m i - | J—fj | | J 1 - ra rP rnl 2 —. tt* — m ——0 —#—- ~Pa * j—;~P———a tt— an—r~n- ~ .. w - . 4 • . • - m 1 C " -^3 -r- J > / f- * ;: ^ UULd - #’ ffr p. . #—g - T # -W- -U-4-M- —-- f9 ter- -r-a# - .-pa-£34-«-*■ —-a* .-n~ - 0 W?- 6 ■-B -- 1 -B-l- M - ^ -a-I-F- -——r - —-n^—rr ■ fr ■■—■ rr vu- i jS_j •_a a __u . u ■1 w-m~ M M t—tn-i—— i i i i - i i n rn i i « j r rn—— 6 W> -■-r a"r r a r a J a 1 a J a _La_La_wa_la " ' BP _ lJ _I'J r~~ 1 ~P~_La_L*_La__La' a_La_L_a i-w-a-r-an——— - * _ r— t • - i 1 '1 J ^ t r_ 1 a m Q^y d-6 - f— - f LUJ p 9 9 ft + ■f f g,f gf ^, g -: -4- 9 -#•-#• -aL - h-ir-i a . . 1 .B-H—!-E3L ---S—-- tr— 1 - r~ i—r — —l- 1 - W - ¥ _P_ ^ 111U ™ 1 f ■ jt~k -- - —-— — ^- 1 ^ an J. 1 1 znz^ — -fixrV -a-a-rd-a— -d - r. a —a r f r~*n^^ -Ly , g U -a- —i—^ —a . a. .. 1 ..^]^^^ r =±r> • ^ J. * 4 - l te - ^ Excelsior Violin, Part II. 5^ POSITION. Kxcelslor Violin. Part II. 5*!? position. - 83 Excelsior Violin. Part II. 84 5^ POSITION. 20 Excelsior Violin. Part II. 5** POSITION. 85 Excelsior Violin. Part II. Rondo. POSITION. Excelsior Violin. Part II. 88 SIXTH POSITION Corresponding'to the second. Position of the fingers I i j 4 . 4 . w 1 l l l Kr 1 2 1 —1- p=p 4 1 V," PJ' 2 * i « t* f —,a= g -f.- 4-- ■ , T M . p g) « ■ —»—“— .. .... 1 1 « * n * 1 J .F f .i 4 -l Pp — H #- X *3 -f 2 -* 9 ■- 2 1 4 S 2 1 2 1 1 ? rj « J. . | 1 " 1 Iff 11 1 . -r -■if-« i -'M-j-i j - j ■ i=si 2 1 12 1 4T#f Jf 1 £=§ 2 fa C? : Pi □a: j f —tYp— f f — m — y. | J . 1 2 112 1 S’ i - -—-LJ— N=p i - a —« .a -«J ■■ ' J J Jr— 4 The following exercises are to he played with a strong tone in the middle of the bow. pui i rmiH if. iff-if* i ff iff m jf ji tre 1 1 ft 4 4 i i ft ^ iff i f; a 4-4 r~r -a* i pPP • UJ-U - J. 9—9 J i J 1 J I J p (fill £ i=£ i — g -#- -• r-.J-.-f i f f. ft f .3 f 5 * « t I ' P4-± 1 - 4 —it-f—rf- - —if £ j£ #... f . r •••»"• 0 # iPS Excelsior Violin. Part II. 6^ POSITION. 89 i i -1 1 t + * t±] f Jr Jr. - --- - . ■»- ■ - . E_I_11 1 -IS.11 - -3f- -1--- x « E P_JC J-«♦L 1 rm v J _E _ M m ^ - . — r — 4 - a -1- FOURTHS. Excelsior Violin. Part II. 90 6^ POSITION. FIFTHS & SIXTHS . , , t i . M __ -9 -f^r =T7s=f“^-^- - ,-E < -it > T f fr #L>* — e 4 ~a - —-a — — # ——»c- # — ■ -- d — ^ 1 '-'1 1 ' s j. . t * k=H -4== Jj 1 ■=^=1 ♦ - - f f : = ~ f f - i ^ , - 4— r "T f a « — r-N f f 4-"N t f » 9 i r r - L ■ m M - ' ■ L 1 - 1 1 * 1 . it>*» . - 1 {m '■-—-- - 1 ..I: 1 jj - ppj : s'■ HxctlHor Violin. Part H. POSITION. 91 The notes which are separately marked thus jWe to he played with the open string-. Excelsior Violin. Part U. 92 6^ POSITION. 16 j /luA I X—-3 .. Tfirr^ ’— . a , i ->—-_ * m r T 1 P a J 1 - u -1 (TO -^.ii-f-r.r.. --iii-**—- —^ 1 ■---hH-— » 4- -i 1 — g aJ i h**** 8 * - " Allegretto Moderato . iv ^1 t < t 1 1 t # :! := __i--4-- t t - f ;f.f f .. P 1 £ ’ t := 4 1 -S— ... . — f 1 :3 - »-—.—- p r ■ —i- - -- 37 n i - L —- . . . .. . . . x~ „ iJ 1 s / > tt,, . l-- ** o 1 1? r ? , iJ If #■ v WIB— ■**?«? E !m " -^--- 2 1 1 tt >tit= j / V ' r v « T ’T' J p \ - ■ p 7 V 0 ' # / p J :p ir-ci a % J v f f f f J T * ^ --^ t » it r p f f : - f f ^ ^ ^ J ? f —-—^—p— p—-p— -j- -1 r-1 1 -ill V t' \ * ^- U'VrTU ■ ~ 1 ” ' 1 1- #1 n j* ., I «•' ■ ^* ti m ras rf 1 ! 1 _z t£J* w ' 1 HI - - . i■* - / - - a * 1 i "L .» T 1 ^7 ^-- 1 m — _ mwj J«»ft' r l“ii 4 W i ^ t L --- E ^ t $ H :z i? j * ~r r » ■ 1 A "'1 . * + - — -J 1 . 1 — wpi= -f- -"■" — L 1 " L t «. ..-K- —-. A l -if- . f - V i */ i - 11 ™ . / M rtf -. i i — z~r: -zj—-: ras rr T| :, P * BJ7 7 / g J /A jj., p r 9 i.M 7 ffr * #p r v r J * tt #„ ' LU i - f ¥ ^ ^J|- * 7P . i * ^L, _i______■ J L——l Jf. ftiSL. L - - .i * n . A ' , 1-«tL. ■ 9 ^Li_L 1_LL 1 . F-w— ^ —F— —a . v& i a 4- ■4 ^-- ‘ 1 ^2 3 3 ! l , v virrUr m ■ •r r t, >ll fV A-L 9 m w \rr\ V • / JP ^ 9 J 7 Ky 'tXi a » •1 & - DTIl • •x.a )U • '-- i i ~ ^ "T ' IT1 _^ j — .. • j ) / > ^ Biff r f f r ; f f fl f L f f f S > 1 ;^ ■ Effr » < ” —-4— L -- «^«-r -#■■•■■ -S- *f - -f- — r — * ■V' ■ ■******■■■■ ■ ■*- |— -- — 58 - .—j. 1 T — ■ "■ i i . O ,ai*JL .gpg-n — 4 1 i— n . ff J r a -j -- Jfl. - ^ »*u -V J -- rr- -1—K* .,A El ai l E HI J -L i_LTf . »n ■ U m _ L _J ±L- n 1+1^, 9 -1-1- / ! W nj i — W.U 11 W W i ^L! UJlA 0 m w ' —' - _jL .y.^L #' 111 - “ 1 1 4 0 /j 9 • Excelsior Violin. Part II . 6th POSITION. 93 ; r ff g* igmcTr i Etfrarctfj #== =t=H —Li =&~ .' -"—Wsa —Ihb —=*3—teas*® - —9 - —A 9 —■- 4 - —9 - 9 - y T"- • * _r ^ *L 4 } yJ^y J / A+-# e f-| ..f'Tt l±f. ff * ,f fff t. ♦ .#f := / ff l^j i r r # nfc T ZLT TT — ±a-« KB— = :d= fcj — ■ ■■ ■ l«P - ■ -.-U --1 J 1 ---“=- 090m -' - - - |1 _i- .j - -- -A - O. --- A - - A —-J— ^ 4 7m “7 u 4 5£ » • . vLli . • » "TO® ■ j/ j* t?At# ^A _ ► 1 :: u fff f 9 7f f + f & It jb. »< # , ' ‘ y *? [1 1 1 » . *• ..^ i r r b..,i— tZ.— f r r ci W P ■■■'■ I- -Lb ■ m— 1 —\ - =-F-'H*— *& -—M ■ —-. 1 ' - i r #■ m r -j r —*- fi- ■ 1 nn»-“irz t » | n j- Jiifc==zz: A rt •- ^ • —3- .i/j* r f' * *i.:i i . i ’ ===* . f 4 ffft — ite. ■ “ T f #f#|j r 9 : f T f ft o • ff# s . Iff f f«p.. IT / < 9 1 I--I--I ». ■ K- M — - -- -^- -^1 -—- ■nL-a—a-a —-Ftt- * r ■*** — taa n ——u«>— ■*CJ7-* # M 9 L r J l U - 1 nr»----:— — r i ____—----- j ir~* ---i-!— i J: I twt~“ —b^ 1 J 4 —J-J ■ . - - A - W--—- jA -• —^ -T- w f • " : i. *>. .i ^-- * <5 > Part II. Excelsior Violin. 94 6^ POSITION. f(i» u A m mm J* m Ak ► 4 m r f f fff-f-f-f-f-i %= If*—r — -^ ■£ ' ~ ========= W-—(r : . rr 4- ^ i ' Uj-a ■■ “■ L-^T ■■■.■:-:--■■-=d iii». tlftffr-r-fe ^MLr-fLT | rrrrEfrcffq i N J =i ^ 1 • a ^ ^ j L^——J —*-5- —^---1- Excelsior Violin. Part n. Corresponding to the third SEVENTH POSITION Position of the fingers 1 1 95 A 1 i i 1 1 i 2 3 3 i « 1 * 4 u 1 2 19- J2 c, ij j, i „ 1,1 j i i r r i" i r r i if f i=jii=i 3 2 -tv g I f* M $ -tv i ■&- 2 33= 1 4 3 2. 1 2 1 2 1 i tt=i 3= -tv 33= "79 .Ij. J 2 1 j g. ft =o= tv § £ £ t ^ flj| o 1=1 i tv # 22 = 3 2 12 12 PP =SX 4 J 'fli J JJJ. ?F3=fl3=^ ±=±±±=± g=s y r u-m ■ft. .. j *—#-# f=^f-£bj=£fc jj 4 lit ±± 5 £{:r Ef ! fjlf £;£ 4 j i: y~ icziz i ^ -$ f rr'-t », = 3 = f3 = 2 2 ——1-P3—l-pa— 2 ===,-:-—---.— - —\ —« i-j-- 3=3 = "'■0 .»- J I j 4 ft, n» nflvJ'i Hi Hi” J' i l *[jtf,rr’fi i CftCCf f Tf fff f, ff f, !F..f!lJ.ff y tr^m i c i tf 16 r r *> e 1 lt v f* lt t 1 lj j = ■ *’ '-t* Excelsior Violin. : Part II. 96 POSITION. J? -;- - — “1-——-— r~-t H—+—hT—:----n-1- - ^—-— fir. t»f-L iff) 1 -%i - r~d — i- ■ ^ ■ 0 if ?— *-.I.. .I | • | • 1 1 1 ■ 1 p ff f f a jt n \ ► ff f f- -F--jf ■■i-f-.|jrj=i -1—1-1— —1- —i—t—- ♦ / 1 + III —t- ^ 4 ± 4 4 4 F FF i - T“ ■F’P H* -f- T* mam- 4M — 1 -M— — .LL-JI- -yz=£=: zb=j= Excelsior Violin. Part H. 7 *)} POSITION. 07 FOURTHS. 9 Pig mm m $ 4 J f f f fr e $ FIF THS. SIXTHS. SFVFNTHS. Excelsior Violin. Part IT 98 79? POSITION. Excelsior Violin. Part II. TWO EXERCISES IIS THE HALF POSITION. 99 Put the first fiuyer close to the nut Excelsior Violin. Part II. 7 4 . 1 ? POSITION. 100 Excelsior Violin. Part II. 101 POSITION. i nrum — i -—¥———# -- £> m\.rm —$ - » i g-«- w—g[ Excelsior Violin. Part II, EXERCISES WITH CHANGES OF THE DIFFERENT POSITIONS. 102 Alleyro . (J = ii2) Excelsior Violin. Part IT. 1U3 Excelsior Violin. Part II. 104 EXERCISES EXTENDING BEYOND THE SEVENTH POSITION. Kxrtlsior Violin . Part IT. 105 Excelsior Violin. Part II. lots EXERCISE IN OCTAVES. Excelsior Violin. Part II. Excelsior Violin. Iart II. EXERCISE IN TENTHS. Moderate). ( J r 96 ) FIxoelsioi* Violin. Part II. 109 Excelsior Violin. Part II. CHROMATIC SCALE AND STACCATO. Excelsior Violin. Pert IT. I "Excelsior Violin. Part II. 112 EXERCISE IN QUICK CHANGING OF THE POSITIONS BY SHIFTING. Excelsior Violin. Part II. Excelsior Violin. Part II. Exercise in the Tremolando and the Slaecato in dispersed chords. Alleyr o Moderato . (J -1o4) Pxcelsicr Violin. Part II. 115 Exrelsior Violin. Part II. EXERCISE IIS DOUBLE STOPS. 26 117 Excelsior "Violin. Part H . EXERCISE IN QUICKER DOUBLE STOPS. Excelsior Violin . Part 11 . 119 Excelsior Violin. Part II. ARPEGGIO EXERCISE WITH FOUR BOWINGS. Aiidante. (J^66.) Excelsior Violin. Part II. V 2 \ Excelsior Violin . Part II. 122 EXERCISE ON THE LONG SHAKE. Excelsior Violin. Part II. F.xoplsior Violin. Part II. 124 Mod , w t J_f SHORT SHAR er-ato. (J-88) r tr • ' "'■v ^ *0 t r t E AND PASSIM tr » ♦ i- --- iG SHAKE. 3 tr fy> ^ ♦»f * VK f tr m~> tr f f f — — ■\ tr^ tr^ TT r r rTi , * F J :L E ■ r r 1- J w * => hr v jc l - r d u ■ i j . V m 0j 1 CV fin ri" i^ 4 "T j-cr — n =3 ■ *7 ■UJ ./ 4 a ilT-fe V U^ i , ■ / _la ■ 7 ' ‘ ■ a i ‘1 Jr 30 ^ jj,ln- m . fi Y~ > * Jz 2 im. —j-j-1- -:■. " ..J--f- fin n 11 "1< . . . t iTa — Jf *1V±4 . • - w B J J 1 q a . . a )%J • -5T J- i ^ £ tr E « ■- i j- * 1 if y •+ -4- ▼ f 4 * j,,c.y. . tr tr r f tr — J £ -C- o : #• = tr . 'TT. .f7 .. r ( w i 1 , r r r r j %j i j c r ■ w 4J W j _ -Hhr— j L = =s'^ T"' 8 - J— l«t :/*» sb H-ff-e* U |—^ it- - zdz 1 ■SE- —i a J+ A 91 -W- /* i. s p «/z /P •/ tr tr , \ tr tr / u 0 1 --— 1 j J J j (m 1 1 * j J J * 7 *VJ *-#— *-# L - • * #- —M * - * a 4- - < ♦ 7 J 0 — "i" 1 Excelsior Violin. Part H. r • » */, r ± Wh #f#F Mff A 4# ;r ♦ ♦ #*r ,« K —rr^-ST -=s — ■ BB-- Ma — WJ3—-^-= - ij b»p -» J- —= *■1 T*1 i 4'.»■ W= -& - . * *-: -:pEz E 4 4 • -#- =4 v- -§■ jLxo»] tv a l i j ri i FHfh tv —&r pjgg^f.q p . +- F1 ^ i tv p ■ kv + ■--+= -*«-■>- - -- '' . + . ,CT bt= --g-J3- , IT" J» *° 4 2 _ ^ Xdm — ®-®|#‘isr^ —»— [.+ rrn US J ^ =z- eh zzc z..t: — * a ?■ «T L-J J 1 7 I —t: f/j--==^ = tv =F« ftod F##=f pS& Jz ■~i± -T" 1' m— — -i-Tl r h=& jz — — =H= ir^===d =ggtl 4tb- Z2ZI- -52- i§ * T ▼ cr -J — - i i :fc ^elol 31 - 2 - 3T f 4 3 2 To the nutt. Two fingers loosely on the same string, i .^ = J To the bridge i — e- . J To the nutt. --J i J xz: A S jM -, ?SEEEEjBE A ^ —le- IV 1 m. 4 . n. 4. Ill 4 _ n. 4- I NATURAL DOUBLE HARMONICS. J 4 i 4 J-i zt ■: J 4 g| 8ra —- Sra. zz: o III. 3- 2- -O s= re*- $ 1 <>* za 4 — IV m.— n. Hr a "WvoT ■ ■JfcJLg 11 ^4- * r fixJ.gj. ,i—d O-f ~ ^ gx^ tS>- 21 zvrxs 2 ^3 3= t? - 2 - 3 '4—1 4. n- Lento. m xi i :s; ie4*- 4 1 i i i rd . 1— ft -1 1 xx r8r- S= £ ^ ^ cz r 2 m. IV. frrf '2 2 - ni iv. K> 3 n. m. - pj f -?>«> b i 4 4 m- IV- n. 4 s iO- 4 4 m.- 1 ZE ,S2* PH :sz2 si 2 2 — 11 . m. I . II . 11 . UT. 2 2 1 . • n.- 4 3 1 2 n. hi. Excelsior Violin. Pari H. ARTIFICIAL SINGLE HARMONICS. 129 Are produced by taking one note firmly, and another one loosely on the same string. The practice of this kind of harmonics has the double advantage of producing a peculiar effect, if used sparingly and with good taste,— and of leading to great perfection in intonation. With the Fourth. ( The finger which touches, only loosely,the string,to be distant one fourth from the finger which presses down the string firmly.) b* bp b C5I Ww * V by $ ai & 3 IV_ b 3 III '4 L U it Hva J 5> bi b-£ tf- & j A i 3 n- ba ty. •' * 3 I- to* Fifth. bi*- 'T"T = T :: 4’ iTir 'r far I _]_ b 7 4 **=3*= rr r> tor iX. ZE O- «=#=« IK 4 IV. 4 in. 8i?a 4 n- f #: t l —■ m t ft £ -# r~ it ► E> »- |©-i , h H A fMn -' ©J f=\ # i ■ ^ h £=\*£* ' w IT 4 i*—!— i 4 = £ : *\ £ - t i ft » ■ 1 : 15 P» • j ft £44 £ . : j ti i J *J ■ !± fe! J 2 j* «• 1 1 |J *b ITT y i Pi w 0 — ' - r — 1 r i i ^ =k— '- -i ■ 1 =i a 1 1 With the Minor Third. 4 bt: te t H ( speaks not easily j . tU. 4 4 * \ l kJ i T V I j.»j i i jfLAA t 2 “ n. Part II. Scale formed by promiscuous use of natural mid Artificial harmonics. THE INTERVALS OF THE MAJOR CHORD. IN NATURAL AND ARTIFICIAL HARMONICS. Excelsior Violin. Part D. ARTIFICIAL DOUBLE HARMONICS. 131 Although most of them occur very rarely and are not always of good effect, still they are useful practice for the perfection of the left hand. While the single and the natural double Harmonics speak well enough on strings of the usual thickness very thin strings are absolutely required for most of the artificial double Harmonics. We recommend therefore only those players to make use of them,whose style of playing permits of thin strings. Of the many various combinations that can he made, we give only the following, as Hie most practicable. Play first each note separately and examine, whether it is perfectly in tune, and then try them both together. i i ^ J Thus, 3rd. String. 4th. String. 1 -*!©- re- 22: fcs -jo etc. .a In this way you will learn to hit both notes simultaneously. In order to facilitate the reading of these double stops, we have placed on the upper staff Hie notes which are to he played on the higher string and on the lower staff those to he played on the lower string. by t0I/(?w , w fhe Fm/rth t>4 t|4 1 #£■ 3 III. £ o £5 4. 1 r b r b f fr 3 '4 IV_L Fifths by touching the Fifth. 4 ft;; 3 n e- Likewise on the higher strings. Fifths by the Mqjor■ Third. MJ4 4_J- 1 _ fti e: ft- t fti. 3 #52 32 3=* <> i.y 221 in 4 n if m £ ir Or ft* * f ft zx vi b)r 4 ?X trlr IV. 4 * 1 ■+T+ 4 m 2 IV. Major- Thirds:. U- i fti #f : fti. Sutt-"" it, fti i ■St —-So -©* r* 2 T" I 4 1 hi 4 4 n f 4- Z; i ftr iff r Or * f 3 -:--—. m 1 ——- ft* Mira- 2 IV. I’f * Minor Thirds. 14 b 4 * fti. bi W ^ W-tJ 2 4 n 4 fti 4 M i /I i fa- - 1 if 2Z5 £ 2 - m s 3 , 4 n-L l*» r #r SlHl. T 1> f i i 'y * f H h f IV. 3 221 S2I 2 III. II. Excelsior Violin. Part H. I i;i2 Excelsior Violin. Part H. 138 DIATONIC SCALE IN THIRDS. C MAJOR m.- 2 IV.- 35 :cz: 4 1 2 m 2 II. 4 2 |>:r IrF T* 3 1 4 1 III. 3 b 8 Da. j 4- 1- 2 I. t ; e- 4- 8do L I 4 1 II.- «1 5 , i & MAJOR. $ I 4 1 hi. e- 2 iv.- 32 : o 4 1 -^7 #4 2 -:o 35 A l 8 do 4 1 3 II. 4 2 it bf * 3 1 * 2 III. ■ > j -4 - ^- 4g 4 1 2 I. 4 2 Hua. 4 1 Ilr iT 4 1 D MAJOR A MAJOR. & 2E 35 ^ 4 III.- #£• I I £l 4 2 #T- V? 32 32 8 do 4 II. 4 1 4 2 #4! # t $=* S3 <3