here - Simon Fischer

Contents
Introduction
VII
Index of music examples 306
General index 332
Part 1 – Fast passages
Tempo 1
Practising very slowly 1
Practising at performance tempo 2
Speeding up with the metronome 2
Fast runs: controlling the speed 3
Low fingers 4
Holding down the fourth finger 4
Practising extra-close to the string 5
Staying close after a shift 6
Fast fingers 7
Blocks 11
Co-ordination 14
Loops 16
Adding one note at a time 21
Groups 24
Clarity 27
Drop-outs 27
Separate bows – staccato – accented legato 32
Playing on open strings 34
Rhythm practice 36
Accent practice 43
Part 2 – Tone
Quality 47
Describing the sound 48
Playing a phrase on each soundpoint 48
Building individual notes 52
Deepening the tone: pulsing 54
Improving listening 56
Point of contact 57
Angle of strings to the floor 57
The higher the string, the nearer the bridge 58
The shorter the string, the nearer the bridge 59
Bow pressure and pitch 60
Evenness 61
Bowing on open strings,
fingering on adjacent strings 61
Equalizing and 64
Stopping the finger while continuing
with the bow 66
Tone exercise using dynamics 67
Building up from small amounts of bow 68
Sustaining 69
Different qualities of the bow at heel
and point 69
Pushing the wood of the bow down
towards the hair 70
Long, slow, sustained strokes:
developing control 71
Balancing double stops: varying the weight 72
Balancing double stops: tremolo 73
Avoiding an unintentional diminuendo 74
Angle of the bow to the bridge 76
Part 3 – Key strokes
Chords 77
Distance from the bridge 77
Pivoting 78
Intonation 79
Bow balance and contact 80
Isolating specific fingers 81
Joining chords to each other 82
Splitting the chord: bow division 82
Placing the fingers in time before the bow 83
Non-split chords: sustaining 84
Détaché 86
Simple détaché: smooth bow changes 86

Simple détaché: using slurs as a model 87
Accented détaché: proportions 87
Martelé 88
Designing the stroke 88
Adjusting the bow hold 88
Catching the string 89
Vibrato accents 89
Releasing between strokes 90
Staccato 90
Note about rhythm and accent practice 90
Legato slurs 90
Using spiccato as a model 91
Saving bow 91
Curved bow strokes 92
String crossings 92
Metronome practice 92
Spiccato 93
Legato slurs 93
Height and length 93
Amount of hair 94
Soundpoint 94
Forearm rotation 95
Co-ordination 95
Area of bow 96
Collé-spiccato 96
Sautillé 97
Legato slurs 97
Taking fingers off the bow 97
Based on spiccato 98
Curved bow strokes 98
Area of bow 99
Ricochet 99
Experimenting with proportions 99
Experimenting with string crossing 100
Legato slurs 100
String crossing 101
Playing close to the new string 101
Crossing early 102
Staying close to both strings in
repeated crossings 105
‘Click’ practice 106
One action, not two 108
Bow division 110
Even, cantabile bowing 110
Using less bow when a note is important 111
Two-thirds – one-third – two-thirds 113
Working up or down the bow 114
Long, slow, sustained strokes:
practising at a slower tempo 115
Saving bow: exaggeration 116
Using enough bow: exaggeration 117
Using enough bow:
gradually speeding up 118
Part 4 – Left hand
Isolating the left hand from the bow 119
Using slurs 119
Using double stops 122
Playing without the bow 122
Trills 123
Playing without the trill 123
Speed: height of finger 123
Speed: direction of movement 123
Clarity: adding notes one at a time
in tempo 124
Clarity: adding notes one at a time
while pausing 125
Using other fingers as models 126
Timing the rhythm of the turn 126
Inaudible change of bow 127
Sustaining trills while playing another line 128
Vibrato 128
The track 128
Area of fingertip: pad or tip 129
Correcting over-wide vibrato 130
Vibrato pulsing 130
Speeding up with the metronome 133
Vibrato not as a substitute for tone 133
Tone not as a substitute for vibrato 133
Varying speed and width 134
Using another finger as a model 135
Continuous vibrato:
holding down fingers 136
Continuous vibrato:
dropping and lifting fingers slowly 137
Vibrato accents 138
Double stops: isolating fingers 138
Harmonics 139
Playing fingers separately 139
Double stops: practising individual fingers 139
Left-hand pizzicato 140
Angle of plucking 140
Stopping the string 140

Scales and arpeggios 141
Note about rhythm and accent practice 141
Vibrato 142
Playing scales as music 142
Bowing patterns 143
Metronome practice 144
Improvising 148
Chromatics: isolating the shift 149
Short-cuts: thirds, sixths and
fingered octaves 150
Part 5 – Shifting
The feel of the hand and fingers 153
Memorizing the feel of the position 153
Using glissando to measure the shift 156
Comparing shifting to a different finger 156
Comparing shifting to adjacent notes 157
Semitone shifts with one finger 158
Substitutions 159
Intermediate notes 160
Classical shifts 160
Romantic shifts 163
Combination shifts 165
Exchange shifts 166
Ascending shifts: practise three ways 169
Position-finding using intermediate notes 170
Timing the shift 172
Speed of shift 172
Slow arrival speed 172
Taking time from the note
before the shift 175
Missing out the note before the shift 177
Co-ordination: overlapping with
the previous bow 179
Playing in one position 181
Lightening the shift 182
Releasing the hand and fingers 182
Ghosting 182
‘Trilling’ shifts 183
Isolating the shift 186
Harmonics 188
Shifting to a harmonic 188
Sustaining natural harmonics
without the finger 189
Chromatic glissando 190
Speed of glissando 190
Building the run in groups 191
Using an ordinary fingering as
a model 192
Part 6 – Intonation
The feel of the hand and fingers 193
Holding down fingers 193
Square and extended finger shapes 194
Filling in spaces between notes 195
Practising without rhythm or real tone,
learning notes only 196
Tone–semitone patterns 196
Playing the same notes in
different positions 200
Starting a phrase on different keynotes 201
Playing the same fingerings on
different strings 202
Extensions: dividing the distance 203
Extensions: notes before or after 206
Uniform intonation 207
Testing, relating, comparing 207
Tuning scales: three stages 210
Same notes, different octaves 212
Sharps and flats 214
Wide and narrow semitones 214
Fast intonation 215
Isolating individual notes 216
Marking arrows 216
Accents 216
Playing intervals not notes 217
Tuning to a piano, then adjusting
sharps and flats 218
Double stops 218
Using the ‘third tone’ as a point
of reference 218
Using the third tone to tune
single stops 220
Thirds: naming intervals and
spacing of fingers 221
Thirds and fingered octaves:
placing in blocks 222
Thirds: using the perfect fourth 223
Tuning perfect fifths 224
Playing one string at a time while
fingering both strings 225
Leaving fingers down to have time
to listen 227
Tenths: moving from one to another 228

Part 7 – Freedom and ease
Releasing the left hand 229
Keeping a space between the
thumb and first finger 229
Rotating the thumb 229
Lightening the thumb 230
Releasing fingers with the base joint
of the first finger 230
Releasing held-down fingers 231
Releasing between finger actions 231
Stop–release 233
Building up from pp 234
Independence: light left hand,
heavy right hand 235
Using spiccato 236
Non-vibrato 236
Finger action 237
Angle and height of knuckles 237
Straight wrist 238
Moving fingers from the base joints 239
Placing fingers gently 240
Timing the finger and bow for fast playing 245
Widening the hand at the base joints 246
Basing the hand position on
the upper finger 246
Extending the reach of the
fourth finger 250
Thirds and fingered octaves 251
Releasing the right hand 253
Bow-hold flexibility 253
Playing without the first finger
in f passages 254
Playing without the first finger:
lifted strokes 254
Balancing with the fourth finger 255
Pulling in with the third finger 255
Releasing the right arm 256
Supporting the wrist in the upper half 256
Bowing from the elbow 257
Levering into the string with the elbow 258
Spreading the fingers for leverage 259
Flat or tilted hair 259
Active and passive strokes 260
Arm or hand leading string crossing 262
Returning for the next stroke as
part of the last 264
Forearm rotation 265
Repeating the movement 265
Hand movements in forearm rotation 266
Proportions of forearm and upper arm 267
Beginning and ending notes 268
Rapid string-crossing passages:
leaning the elbow against the wall 268
Forearm rotation on one string 269
Localizing actions 270
Back and neck 271
Playing without the chin on the chin rest 271
Placing the chin on the chin rest 271
Counter-exercising 272
Hip joint 274
Part 8 – Further essentials
ABC practice 275
Repetition practice 280
Rhythm 282
Singing and tapping subdivided pulse
while playing 282
Subdividing 282
Bow accents to mark rhythmic groups 284
Finger accents as rhythmic aiming-points 285
Lifting off at the last possible moment 286
Dotted patterns 287
Sound + silence = note value 288
Playing the rest 288
Playing the dot or tie 289
Mental rehearsal 290
Memory 292
Practising from memory 292
Aural 292
Visual 292
Tactile 293
Intellectual 293
Looking and thinking ahead 294
Feeling relationships between notes 294
Accenting weak-memory notes 295
Playing under tempo,
exaggerating expression 296
Technical basics 297
Experimenting with proportions 297
Defaults: building good habits 299
Practising performing 304
Playing-through practice 304
Performing a short phrase 305

Introduction
The music examples in Practice, drawn from the
standard solo violin repertoire, illustrate typical
musical and technical demands that arise during
the normal course of playing.
What are the practice methods for?
Some of the practice methods are ways of improving
tone, intonation, shifting, vibrato, relaxation,
and so on. Some are ways of finding out what the
problems actually are. Often we know that something
is not quite right, but we do not know what
it is or why; or we can get a piece only so far and
then we feel stuck, and do not know what to do
next to improve it.
Some of the practice methods are ways of trying
to cause yourself problems, so that afterwards
what you actually have to do feels easier. Some
methods build and improve technique at the same
time as making a specific passage easier to play, so
that each time you practise them your technique
grows or strengthens. Then all other passages of
that type take less time to learn because they feel
easier to play in the first place.
Making fast progress
Whatever stage you are at in learning a piece, the
fastest progress comes from being able to look at
a phrase or passage from many different angles.
Then it is much easier to isolate whatever changes
need to be made, either musical or technical. The
more ways you have of taking a passage apart and
putting it back together again, the better. Practice
contains a large repertoire of widely varied methods,
and you can quickly move from one to another,
improving the phrase or passage with each new
approach.
How long do they take?
Most of the practice methods should end up as
something that you do for a matter of seconds,
even if they take half a page to describe in words,
and five minutes to do for the first time if the idea
is new to you. For example, once you know how
to lighten shifts by repeating them up and down
very quickly (‘Trilling’ shifts, page 183), it becomes
something that you do without thinking about it,
as part of the normal flow of practice.
Working on a short phrase of separate-bow sixteenth-notes
(semiquavers), you might check the
intonation by relating each note, one at a time, to
other notes or fingers (Testing, relating, comparing,
page 207); you might play the passage with slurs
instead of separate bows to make sure that the
left-hand fingers are even (Using slurs, page 119);
you might work on clarity, co-ordination and
purity of tone by playing only the first note, then
the first two notes, then the first three notes, etc.
(Adding one note at a time, page 21).
Then you might improve the tone by playing the
phrase at different distances from the bridge
(Playing a phrase on each soundpoint, page 48); then
you might decide to work on the bow strokes by
playing the passage on open strings, without the
left hand (Bowing on open strings, fingering on
adjacent strings, page 61); and so on.
Once you are familiar with the five practice
methods outlined above, you might use all of them
within the space of just a few minutes. In other
words, they become integrated and merged into
a general, seamless, intuitive approach to practice.
Some methods take longer to do, and can use up
an entire practice session. An advanced player
may spend a whole day practising, say, the last
movement of the Tchaikovsky Concerto in rhythms
and accents (Rhythm practice, page 36; Accent
practice, page 43).
One thing improving another
One practice method often improves another at
the same time. After practising a passage using
rhythms, accent practice feels easier to control.
After practising in rhythms and accents, you are
then starting at a much higher level when you go
on to practise the same passage in other ways, e.g.
by beginning slowly then gradually speeding up
with the metronome (Speeding up with the metronome,
page 2).
Combining practice methods
The different practice methods also become integrated
when you use several at the same time.
Speeding up with the metronome is good to apply
to rhythm or accent practice. At the same time as
tuning a double-stop passage by playing only one
line at a time (Playing one string at a time while
fingering both strings, page 225), you could also be
placing the fingers with extra lightness (Building
up from pp, page 234), or practising in rhythms,
or practising without the thumb on the neck of
the violin (Lightening the thumb, page 230). At the
same time as improving the tone by making deep,
VII

ounded accents with the bow (Deepening the tone:
pulsing, page 54), you could be playing without
vibrato (Vibrato not as a substitute for tone, page
133), or practising string crossings by playing
them as a double stop (Crossing early, page 102).
Doing one thing at a time
Equally, the most effective practice often consists
of doing one thing at a time, rather than trying to
fix everything all at once. The different methods
and approaches presented in Practice make it easy
to take just one feature of playing and focus on
it exclusively.
You may decide to work through your entire
concerto looking only for chances to use more
bow (Using enough bow: exaggeration, page 117);
or concentrate only on keeping the bow near
enough to the bridge (Point of contact, page 57);
or check that you really are balancing the weight
of the bow at every opportunity, rather than
gripping it (Balancing with the fourth finger, page
255).You may decide to check intonation by going
through the whole piece, thinking only about
tuning the open-string notes to the open strings,
and tuning all the sharps and flats to the natural
directly above or below (Uniform intonation, page
207). You might focus on shifting, practising all
the intermediate notes (Intermediate notes, page
160), so that afterwards – even if you forget about
‘shifting’ altogether, and just concentrate on the
music – you have a feeling of great technical security
because of the foundation work you have done.
Improving your playing overall
Part 7 (Freedom and ease) looks at ways to make
playing feel easy and effortless. The ideal, achieved
by many string players, is that the arms, hands
and fingers remain free from any tension or strain,
so that by the end of playing a symphony or a
concerto they feel as light, balanced and free as
they did at the beginning. The practice methods
explore how to add thousands of moments of
release to every phrase and passage, and to base
technique on everyday principles of proportions
and mechanics. There are also a few key exercises,
for releasing the back and neck, to use as a part
of daily practice.
Part 8 (Further essentials) touches on more
general areas. Memory (page 292) outlines various
ways to strengthen playing from memory, and
how to make these a routine part of practice. The
key principles of Mental rehearsal (page 290),
which form the foundation of everything that we
do on the violin, musical as well as technical, are
included here.
Part 8 also includes Technical basics (page 297),
a brief summary of some important points of
technique.
Enjoying making music
The more ways you have of practising, the more
you can combine them to find new, unique,
personal practice routines and methods. Approached
in this way, practising is an endlessly
creative process. It is always stimulating, interesting
and rewarding; you get fast, wide-ranging
results in the shortest possible time, and achieve
the ultimate aim: to be able to make music without
anything getting in the way.
The great Russian violinist Nathan Milstein was
once asked what he thought about while he was
playing. ‘Nothing, really,’ he replied, ‘I am just
trying not to spoil the music!’
Acknowledgements
Preliminary drafts of Practice were shown to a
number of teachers, players and students, and I
am grateful for the many helpful comments I
received. Particular thanks to Enrico Alvares,
Raymond Fischer, Guido de Groote, Kyra Humphreys,
Peter Lale, and Shirley Turner, for checking
in detail through several versions of the
manuscript. Shirley’s help was also invaluable in
choosing the photographs. Thanks also to Ian
Baird, Walter Carrington, Alice Colby, Dorothy
DeLay, Emanuel Hurwitz, Yfrah Neaman, Maciej
Rakowski, Liz Watson, and many others, whose
suggestions and encouragement for the project
are gratefully acknowledged.
Thanks also to Tim McNally, of Thames Information
Systems Ltd, for keeping my computer
and software up-to-date and functioning.
Finally, I am very grateful to Jennifer King who
modelled for the photographs.
Jennifer King marking the start of
one of the photo sessions
VIII

General index
ABC practice 275, 292
Accent practice viii, 43, 274
Accented legato 32
Acoustic beats 56
Active and passive 98, 260
Aristotle 253
Arm (left)
hanging 230
proportionate to instrument 301
short 298
upper arm See Upper arm (left)
Arm (right)
causing sympathetic movements 270
channelling power 256
impulse 262
mental rehearsal 290
upper arm See Upper arm (right)
Arpeggios 147, 168, 175, 177,
179, 182, 244
dominant/diminished sevenths 147
uniform intonation 212
Articulation
left hand 7
right hand 57
Auer, Leopold 282
Back 270, 271, 272
Balance 272, 274, 299
Banana notes 110
Base joints 159, 232, 235, 270
angle to fingerboard 300
defaults 300
exercise using rim of violin 239
extensions 250
finger action 239
left-hand pizzicato 140
right hand 302
straight line to elbow 301
widening at 246
widening using tilt of finger 300
Blocks
thirds 222
tone–semitone patterns 197, 198
Bow
angle to bridge 258, 302
balance (chords) 80
balance (double stops) 72, 73
balancing with fourth finger 255, 303
change 27, 57, 86
connecting strokes 57
control 143
elasticity 53, 69, 70, 82, 113, 297
friction 56
give of wood and hair 54, 113, 297
hair
See Bow hair
in and out 258
independent of left fingers 137
legato 137
levels 105
momentum 301
pivoting
See Pivoting
around thumb 97, 254
point-of-balance 82, 257
soundpoints
See Soundpoints
springiness 69, 70, 89
tilt 89, 259, 297, 302
Bow division
chords 82
more important notes 111
saving bow 114, 115, 116
two-thirds–one-third–two-thirds 113
using enough bow 117, 118
Bow hair
chords 80
designing bow strokes 110
friction 56
give 48, 53, 54, 69, 70, 89, 113, 297
hair–string contact 67
inner and outer edge 265
sautillé 99
spiccato 94, 99
string crossing 83, 102, 106
tilt 89, 259, 297, 302
Bow hold
chords 84
finger placement 88, 259, 297, 302
finger tips losing contact 259
flexibility 253
gripping 90, 255
leverage 88, 89, 259, 297, 302
martelé 88, 90
pianissimo 302
responding to bow 69
spiccato 302
tension 302
thumb counter-pressure 297
Bow pressure
banana notes 110
bridge, playing near to 54
changing bow 86
describing 48
even 86, 100, 110
extraneous sounds 56
fourth finger, balancing with 255
ghosting 160
heavy–light 86, 112
high positions 59
intonation 60
martelé 89
proportions 51, 297
ricochet 100
speed not pressure 302
Bow speed
banana notes 110
changing bow 86
describing 48
even 86, 100, 110, 111
extraneous sounds 56
fast–slow 87, 89
ghosting 160
proportions 47, 51, 297
ricochet 100
speed not pressure 302
Bow strokes
See also each stroke
active and passive 98, 260
attacks from the air 298
character 87
circular 264
connecting 57
curved 92, 268
designing speed and pressure 110
evenness 61, 112
fast–slow 53, 86, 87, 89, 112
gravity 64
heavy–light 52, 53, 64, 86, 87,
89, 112
legato 34, 137, 301
lifted 297
mental rehearsal 290
momentum 301
open strings, practising on viii, 34
overlapping 119
parallel to bridge 76, 299, 302
proportions 88
reversed bowing 64, 65
saving bow 71, 116
slow, sustained 71, 115
speed not pressure 47, 302
sustaining 74
Breathing 110, 159
Bridge, following curve of 82, 83
Bronstein, Raphael 158, 283
Casals, Pablo 110, 123
Chin
excess pressure 43, 232
placing on chin rest 271
Chords 301
ABC practice 279
balance of bow 80
bow division 82
bow hold 84
circular movement 264
co-ordination with bow 83
curve of bridge 78, 82
four-string 77
intonation 79
isolating fingers 81
joining 82
light fingers 84
pivot string 78
point-of-balance 82
reaching back 247
soundpoint 77, 78, 80, 84
split 78
sustaining 84
three–two 84
voicing 80
weight of bow 84
Chromatic glissando
building in groups 191
models 192
speed 190
Chromatic scales 146, 149, 186
Clarity 7, 27, 32, 106, 124, 140
Classical shifts
See Shifting
Clicks 83, 106
Clothes 299
Collé-spiccato 96
Colour 47
Combination shifts
See Shifting
Command–response 36, 280
Co-ordination 36, 83, 119, 122, 243
bow change 57
bowing patterns in scales 143
fast lift-off 10
fingers leading bow 14
fuzz 14
pizzicato 14
shifting 179
spiccato 95
timing finger and bow 240, 245
Counter-exercising 272
Curved strokes
See Bow strokes
Da Vinci, Leonardo 297
de Bono, Edward 56
332

Defaults 299
DeLay, Dorothy 207, 239
Détaché 145, 147
accented 87, 261
length of bow 115
proportions 87
simple 87
Diminuendo, unwanted 74
Double contact, principle of 301
Double stops See also each interval
alternate upper and lower line 226
bow balance 72, 73
bowing one string 225
fixed and movable notes 218
leaving fingers down 227
light fingers, heavy bow 84
perfect intervals 209
third tone 218, 220
using a model 227
vibrato exercise 138
wrist 301
Drop-outs 27, 29, 36
Effort 275
bowing too near fingerboard 57
broad bow stroke 117
channelling power into string 256
economy of movement 207, 274
finger action (left hand) 240
forearm rotation 267
fourth finger (left) hand weight 230
levering elbow into string 258
light fingers (left hand) 120, 234, 235
localizing actions 270
mental picture 291
moving fingers from base joint 239
non-vibrato 236
reaching back 246
relaxed left hand 119
repetition practice 280
spreading fingers on bow 88, 259, 297
tilt of hair 259
timing finger and bow 245
upper arm, bowing from 258
vibrato 134
violin angle 299
Elbow (left)
left-hand pizzicato 140
mobility 299
straight line to base joints 301
upper arm default position 299
Elbow (right) 262
bowing from 257
levering in upper half 88, 258
Elementary students 47, 57
Energy 4, 126, 215,
245, 270
Equalizing
and 64
drop-outs 27
lifting and dropping 9
Evenness 35, 100, 148
bow disturbed by left hand 34, 61
bow length exercise 68
describing sound 48
different bowing as model 64, 66
sautillé 97
scales 141
separating bow and left hand viii, 119
spiccato 65, 93
staccato 90
tone exercise 67
vibrato 130
Exchange shifts
See Shifting
Expressive intonation 212, 214
Extensions 206
leading from the base joint 246
measuring from adjacent notes 203
notes before and after 206, 213
releasing after 232
widening by reaching back 246
wrist 238
Face 270
Fast playing
clarity 27
fast and slow intonation 215
groups 24, 293
height of fingers 115, 298
notes dropping out 27
speed limit 24
speed of shift 172, 298
Feedback 56, 57
Fifths
double stop 56, 205, 224
interval 204, 209
Finger action
See Fingers (left)
Finger preparation 240
continuous vibrato 137
default 301
drop-outs 27, 29, 30
fast-finger practice 8
first finger 243
fourth finger 243
scales 243
Finger pressure (left)
default 299
ghosting 160
harmonic-like in shifting 182
harmonics 139
minimum pressure 140, 230, 235
over-pressing in double stops 84
pizzicato 140
practising non vibrato 236
releasing held-down fingers 231
stop–release 233, 300
thumb counter-pressure 230
trilling shifts exercise 183
vibrato 130, 298
Fingered octaves
reaching back 251, 252
scale short-cuts 152
Fingers (left)
See also each finger
base joints
See Base joints
blocks 11, 197, 198
chords 81, 83
contractions in chromatics 149, 186
defaults 300
dropping
continuous vibrato 137
one action 11
energy 4, 243, 245
evenness viii, 90, 93, 100, 119, 141
fan-like shape 11
fast fingers 7, 240
feel of 142, 155, 193
fifths 224
finger accents 242, 285
finger action 239
fingertip
See Fingertip (left)
fuzz
See Fuzz
holding down 193, 231
independence from bow 137
leading the bow 14, 122, 244, 301
leaving fingers down (double stops) 227
legato 119, 241, 244
legato bowing 137
lift-off 8, 193, 270, 300
continuous vibrato 137
co-ordination 10
fast 10, 240
fuzz 123, 240
pulling against a resistance 9
rhythm 286
too early 27, 31, 286
light and effortless 120
light fingers, heavy bow 137
like a pianist 193, 301
localizing actions 270
low 4, 115, 123
measuring from imagined fingers 195
middle joint 300
moving at the last possible moment
7, 8, 10, 36, 300
non-consecutive 195, 197
ping 7
prepared fingers See Finger preparation
pressure See Finger pressure (left)
reaching back 246, 247, 251
relationships between 193, 207, 212
releasing 130, 182
rhythm 122, 285
shape, dropping and lifting 10, 270,
300
short 301
slow tempo, fast fingers 8
space between 300
speed 125, 240, 241, 242, 270, 298
speed limit 11
square and extended 135, 194
squeezing together 250, 300, 301
stopping the string, two ways 240
stop–release 300
tension 290
timing 7, 286
tip
See Fingertip (left)
tone–semitone patterns
See Tone–semitone patterns
Fingers (right) See also each finger
flexibility 253
movement in martelé 88
placement on bow 84, 297, 302
Fingertip (left)
angle of base joints to fingerboard 300
elbow position 299
one-finger semitones 212
space between fingers 300
vibrato 115
First finger (left)
contact point with neck 237, 238, 301
double contact, principle of 301
finger preparation 243
harmonics, artificial 139
localizing actions 270
reaching back in tenths 246
releasing base joint 183, 230, 231
release for fourth finger 230
square and extended 135
squeezing with second 250, 301
vibrato 135
First finger (right)
counterbalanced by fourth 303
giving at base joint 254
martelé 88
over-using 254
over-working 258
placement on bow 297, 302
position relative to thumb 259
sautillé 97
Five forward three back 16
Fixed and movable notes 218
Fixing
bow hold, release of 255
flexible musical ideas 110
tension 272
Flesch, Carl 253, 299
Forearm (left)
vibrato 134, 236
wrist 238
Forearm (right) 272
angle to floor 269
elbow against wall 268
powered from upper arm 257, 258, 268
string-crossing 267
333

Forearm rotation
beginning and ending notes 268
definition of 265
hand movements 266
on one string 269
proportions 267
rounded gestures 268
spiccato 95
Four main factors See Pitch, Sound,
Rhythm, Ease
Fourth finger (left)
base joint 239
extending reach of 250
finger preparation 243
hand weight 230
harmonics 139
placement on tip or pad 255
reaching back from 246
releasing 230
squeezing with third 300
tilt of violin 299
wrist 238
Fourth finger (right)
balancing with 255, 297
placement on bow 303
placement on tip or pad 255
playing in upper half 269
Fourths
double stop 223
interval 204, 206, 209
Friction (bow) 56
Fuzz 240
continuous vibrato exercise 137
co-ordination 14
fast fingers 240, 298, 300
trills 123
Galamian, Ivan 153, 207, 253
double contact, principle of 301
half shifts 186
in and out 258
practising slowly 1
rhythm and accent practice 36
Ghosting
See Shifting
Gould, Glenn 304
Grooving 280
Groups
chromatic glissando 191
mental command 24, 293
rhythmic aiming-points 25, 284
staccato 26
Habits 280, 299
Hair
See Bow hair
Hand (left) 240
angle of knuckles 237, 250
base joints
See Base joints
based on upper fingers 246
contracted fingering 149, 186
double contact, principle of 301
feel of the hand and fingers 153, 155
higher and lower placement 238
independence from bow 34, 61, 235
large 298
octaves, position for 72
placement 298
shape 193, 251
small 298
tension 251, 252
widening at the base joints 246, 252
Hand (right)
base joints 302
channelling power 256
heavier at heel 64
independence from bow 34, 235
independence from left hand 61
responding to bow 69
responsive to hair–string contact 67
springs 253
string crossing 265, 266
tension 90
wrist, high and low 266
Harmonics
double stops 139
finger pressure 139
fourth finger 139
shifting to 188
sustaining without the bow 189
Head 270
Hip joint 274
In and out 76, 258
Independence
actions 137
hands 34, 61, 137, 235
Intermediate notes
See Shifting
Intervals
See Intonation
Intonation
accents 216
arpeggios 212
arrows 216
bow pressure 60
checking in other positions 200
chords 79
chromatic tuner 218
diminished seventh 214
diminished third 214
evenness 141
expressive 212, 214
fast and slow passages 215
feel of the fingers 193
holding fingers down 193
ignoring sound and rhythm 196
insecure 218
instantaneous correction 227
intervals 210, 217
leading notes 207, 214
mental rehearsal 291
octaves (double stop) 72
piano, tuning to 218
playing on different strings 202
proportions 298
relationships viii, 207, 217
same notes, different octaves 207
starting on different keynotes 201
structure 207
tempered 214, 215, 218
tester notes 207
thinking in intervals 193
tone–semitone patterns
See Tone–semitone patterns
Knees 274
Leading notes 207, 214, 218
Learning, four stages 280
Left hand
See Hand (left)
Legato 7, 57, 134
bowing close to next string 101
finger action 241
finger preparation 244, 301
height of fingers 5, 298
practising on open strings 34
separate bows 87
Lengthening and widening 272, 274
Leverage 89
bow hold in martelé 88
elbow (right) 258
first finger (right) 302
second finger (right) 254
spreading fingers on bow 88, 259, 297
string-crossing at heel and point 91
Lifted strokes 297. See also each stroke
forearm rotation 95
rhythm practice 36
Lifting fingers
See Fingers (left)
Listening 27, 56, 182, 304
Localizing actions 137, 270
Loops 16, 278
Martelé 32, 90, 141
bite 89
designing strokes 88
proportions 88
scales 144
vibrato accents 89
Memory
accent practice 43
accenting and pausing 295
adding one note at a time 21
association 292
aural 292
blind spots 296
describing phrases 293
emotional 294
groups 24
intellectual 293
muscle memory 280
note relationships 294
practising from memory 292
rhythm practice 36
tactile 293
thinking ahead 294
visual 292
Mental commands
groups 24
groups in staccato 26
rhythm practice 36
Mental picture
command–response 36
mental rehearsal 290
rhythm practice 36
shifting 157
thumb 229
using a model 126
Mental rehearsal 290
Metronome viii, 2, 24, 37, 92, 118, 141
Milstein, Nathan 2
Mind-muscle unit 36
Minimum effort 43
Models
chromatic glissando 192
double stops 227
evenness of spiccato 65
reversed bowing 64
slurs for simple détaché 87
spiccato for staccato 91
tone 53, 181
trills 126
up-bow attacks 64
vibrato 135, 138
Momentum 301
Mona Lisa 297
Moses variations, Paganini 299
Mozart, Leopold 289
Muscle memory 280
Muscles
active and passive 272
contracting 252, 272
counter-exercising 272
fatigue 272
localizing actions 270
mind-muscle unit 36
muscle memory 280
responsiveness not strength 36
training mind, not muscles 291
Neck 43, 159, 271, 272, 273
Octaves (double stop) 56
upper and lower finger 72
Overlapping
bowing 119
co-ordination 14
334

shifting viii, 179
spiccato 180
string-crosssing 102
fingers (left) 136, 243
Overtones 56
Over-working 134, 240, 256, 258, 265
Perfect intervals 209, 210
Performance practice 304
Perlman, Itzhak 207, 304
Ping 7, 8, 56, 240
Pitch–sound–rhythm–ease 2, 36, 43,
141, 275, 280, 291, 292
Pivoting
chords 78
string-crossing 101, 103, 302
Pizzicato (left hand) 140
Playing-through practice 304
Point of contact See Soundpoints
Point-of-balance 82, 257
Portamento 163
Posture 272, 274, 291, 299
Pressure
See Bow pressure
Progress, fastest
vii
Pronation 88, 89, 269, 302
Proportions
analogy of photograph 188
bow division, chords 83
collé-spiccato 96
Da Vinci, Leonardo 297
describing sound 48
détaché 87
enlarged musical design 296
forearm rotation 267
height, length, soundpoint 94
intonation 298
lifted strokes 99, 297
shift speed 172, 298
shifting and soundpoint 59
speed, pressure, soundpoint 47, 51, 59,
96, 130
spiccato 50, 93, 94, 96
contrasted with ricochet 99
string-crossing at heel and point 91
strokes 88
tone production 297
trills 123
vibrato 123, 124, 298
Psychological up-beats 282
Pulling down 270, 272
Release
accent practice 43
between fingers 231
first finger base joint 230
fourth finger 230
martelé 90
reaching back 250
shifting 182
stop–release 233, 300
using spiccato 236
vibrato 130
without chin on rest 271
Repetition 200, 280
Resistance, line of least 57
Resonance 61, 91
background 56
pizzicato 140
Rhythm
aiming-points 242, 284
dotted patterns 287
evenness 141
fast lift-off 286
finger accents 285
fingering without bow 122
left-hand pizzicato 140
lifting off too early 286
playing the dot or tie 289
playing the rest 288
psychological up-beats 282
rhythm practice viii, 36, 274
rhythmic pulse 177, 282
shortened notes 288
subdividing 282, 284
timing shifts 177
timing trills and turns 123, 126
triplet patterns 261
Rhythm practice viii, 36, 274
Ricochet 99, 100, 254
Right hand
See Hand (right)
Romantic shifts
See Shifting
Sautillé 145, 254
area of bow 99
bow hold 302
contrasted with spiccato 97
curved motion 98
fingers like a pianist 301
hair, amount of 99
legato slurs 97
unrestricted by fingers 97
Scales 177, 183, 193, 276
bowing patterns 143
chromatic 146, 149, 186
evenness 141
finger preparation 243
fingerings 144
improvising 148
mental rehearsal 291
preparatory exercises 150
structure of intonation 210
tone–semitone patterns 197
vibrato 142
Scroll
height 57, 270, 299
shaking 183, 290
Second finger (left) 246, 250
Second finger (right)
leverage 254
placement on bow 303
position relative to thumb 259
Semitones
not too narrow 212
shifting 158, 212
wide and narrow 214
Seven levels of the bow 105
Sevenths
See Intonation
dominant/diminished arpeggios 147
Shifting
areas of resistance 159
balance of hand on finger 153
beginning shift 160
classical shift 160, 165, 169
combination shift 165, 169
comparing feel of adjacent notes 157
comparing with different finger 156
co-ordination with bow 179, 301
drop-outs 27
end shift 163
exchange shift 166
fast–slow 172, 298
fingers close to string 6
ghosting 160, 163, 172, 182
half-shifts 186
heavy slides 156, 182
Heifetz shift 172
intermediate notes 154, 160, 170, 203
isolating 186
light fingers 115, 162
listening 57
long 59
memorizing feel of position 153
no ‘shift’ 160
overlapping viii, 179
portamento 163
pulling down during 270
releasing hand and fingers 182
romantic shift 163, 165, 169
semitones 158, 212
slow arrival speed 172, 298
speed 172, 298
substitutions 159
timing 175
trilling 16, 150, 183
weight of head in chin rest 271
Shoulder rest 299
Shoulders 43, 270, 290
shoulder blades 272, 273, 274
tension 271
Sight reading 110, 291
Singing, imagining 181
Sitting 274
Sixths (double stop) 147, 151
third tone 218
tuning single stops 220
Slow tempo, fast fingers 8
Soundpoints
viii
chords 78
default 302
describing 48
high-position passages 51
proportions 47, 50, 51, 297
short string length 59
Speed
See Bow speed
Spiccato 97, 145, 147, 299
area of bow 96
bow hold 302
collé-spiccato 96
contrasted with ricochet 99
contrasted with sautillé 97
co-ordination 95
evenness 65, 93
fingers like a pianist 301
for releasing left hand 236
hair, amount of 94
height 115
length of bow 99
listening 56
model for staccato 91
overlapping bowing 180
playing without first finger 254
proportions 93, 94, 96
rhythm practice 36
soundpoint 94, 96
speed of bow 96
Spine 270, 272, 274
Sport 290
Square and extended See Fingers (left)
Staccato 32, 97
co-ordination 90
curved stroke 92
evenness 90
groups 26
leverage 91
saving bow 91, 115
spiccato as a model 91
too-late string crossing 92
Standing, playing sitting or 274
Stature 111, 117, 270
Stern, Isaac 294
String
angle to floor 57
bow change 57
bow weight 54, 59
elasticity 297
friction 56
give 54
length 7, 51, 59, 72, 298, 301
levels 262, 267
moving towards bow 270
physical properties of 58
sympathetic vibrations 56
tension 47, 57, 78, 94
vibration 7, 47, 57, 125, 240, 241, 301
335

String crossing
accented 302
awkwardness 262
clicks 83
clockwise, anticlockwise 34
continuous 105
drop-outs 27
forearm rotation See Forearm rotation
hair and string contact point 83, 106
hand movements 266
looking at the hair and strings 101
one action not two 108
overlapping
See Overlapping
over-working 265
pivoting
See Pivoting
playing as double stop 122
pulling down during 270
resting elbow against wall 268
smooth or accented 100, 101
staccato 92
timing 101
upper arm 265, 268
wide 108
Strokes
See Bow strokes
Subdividing 282, 284
Substitutions 150, 151, 152. See Shifting
exchange shifts 166
Supination 269, 302
Surface noise 56
Sympathetic vibrations 56
Tapping 239
Technique
definition of 299
expression and mechanics 123
serving music 181
Tempo 43
clarity 27
effort 245
intonation 215
practising at performance tempo 2
practising slowly 1
proportions 297
slow tempo, fast fingers 7
slow, exaggerating expression 296, 305
slow, sustained 115
speed limit 11
speed of shift 172
speeding up with metronome 2
spiccato 98
Tension ix, 280
bow hold 302
counter-exercising 272
fingered octaves 251
fingers moving from base joints 300
forearm rotation 269
light fingers in double stops 84
localizing actions 270
martelé 90
mental commands 270
mental rehearsal 290
pressing with chin 271
releasing between strokes 90, 97
right-hand flexibility 253
shifting 159
thirds (double stop) 251
thumb (left) 229, 301
thumb (right) 297
wrist (left) 238
Tenths (double stop)
playing in other positions 201
reaching back 246, 249
tones and semitones 228
Third finger (left)
harmonics 139
moving from base joint 239
square position 194
Third finger (right)
placement on bow 255, 303
pulling in 255
Third tone 218
Third, diminished See Intonation
Thirds (double stop) 70, 146, 150
blocks 222
bow weight 60
intervals between 221
large and small distances 221
reaching back 251, 252
six most common pairs 221
tension 251
third tone 218
tone–semitone spacing 221
tuning single stops 220
using the perfect fourth 223
Thumb (left) 183
contact point with neck 301
counter-pressure 230
default position 301
localizing actions 270
minimum effort 235, 236
rolling 229
shifting 159
shock absorbers 290
squeezing with first finger 229
three joints 229
Thumb (right)
counter-pressure 297
opposition to first and third 255
placement on bow 254, 302
Timing, technical and musical 89
Tone production
articulation (left hand) 7
bow change 57
bowing too near fingerboard 57
colour 47, 302
describing 48
fat and thin 259
finger preparation 301
first finger (right) 254
flat or tilted hair 89, 259
fourth finger (right) 255
friction 56
high positions 181
length of string 297
non-vibrato 133
octaves 72
ping 7
pressure
See Bow pressure
proportions
See Proportions
pulsing 54
resonance 56
soundpoints
See Soundpoints
speed
See Bow speed
speed not pressure 302
third finger (right) 255
tight, pressed 254
tilt of violin 299
widest possible string vibration 47
wood scraping on string 259
Tone–semitone patterns 196, 197, 198,
216, 221, 222, 295
Tremolo 73, 115
Trilling shifts 16, 150, 183
Trills
bow change 127
fuzz 123, 125
height of finger 115, 118, 298
models 126
one active movement 123
practising without 123
proportions 123
turn 126
vibrato, likened to 123
Triplet patterns 261
Tuning the violin 56
Two-thirds–one-third–two-thirds 113
Upper arm (left)
counter-exercise 273
default position 299
localizing actions 270
minimum effort 235, 236
mobility 299
tension 159
Upper arm (right)
bowing from elbow 257
in and out 258
over-working 265
rotation 265
string crossing 262, 267
strokes directed from 257, 258, 262,
268
tilt of violin 299
vertical movement 257
Végh, Sándor 130, 255
Vibrato
accents 43, 52, 89, 138, 242
background vibrato 136, 142
complete cycle, description of 128
continuous 136, 137
default 301
dotted rhythm 130
double contact, principle of 301
double-stop rhythms exercise 133
even 130
fast 115
fast–slow 52, 134
finger pressure 130
fingertip placement 115, 129
first finger 135
hand 257
holding down fingers 136
inspiration 134
mental rehearsal 290
models 135
non-vibrato 130, 133, 236
one active movement 123
over-wide 130
pitch 128, 130
proportions 134, 298
pulses 130
range 134
releasing string 130
rolling on fingertip 128
scales 142
slow 130
speed 118, 134, 298
tendencies of certain fingers 135
track 128
wide–narrow 52, 134
width 115, 129, 134, 298
without expression in bow 133
wrist, definition of 257
Violin
angle of strings to floor 57
tilt 299
Warming up 304
Wrist (left) 183, 235
arm length 301
localizing actions 270
pushing out 238, 250, 301
tension 159
Wrist (right)
high and low 266
supporting in upper half 256
336

1 3
0
Index of music examples
Bach, Johann Sebastian
Concerto no. 1 in A minor, BWV 1041
Movement 1, bar 44
194
1
1
1
2
1
1
Movement 1, bar 126 58
2 4 4 0 2 3 2
Sarabande, bar 1
4
0
Bourrée, bar 1 196
1
2
4
2
0
1
3
2
4
2
82
Partita no. 2 in D minor, BWV 1004
Movement 2 [Andante], bar 5
161
Allemande, bar 6 153
2
4 3
1
3
2
Movement 2, bar 14
3
2
1
3 3 3 3
4
1
1
1
3
3
213
4 0 1 4
Allemande, bar 14
2 4
1
4
0
4
1
1
217
3
Movement 2, bar 30
3
3 3
0 1
3
3 3
3
3
3
3
3
71
Corrente, bar 7
3
0 1 0
3 3
0
41
3
3
3
3
0
0
Sarabanda, bar 1 60
Concerto no. 2 in E, BWV 1042
Movement 1 [Allegro], bar 1 288
0 4
Sarabanda, bar 5 102
2
2
Movement 1, bar 12 12
0
1 1
0
1
0
Movement 1, bar 53 15
2
Movement 1, bar 57 268
2
0
1
0 4
3
Giga, bar 1 212
1
0
0
0
1 0 1 0
0
4
Giga, bar 6 45
Giga, bar 17 194
2
0
0
0 1 1 0 4
4 0
Movement 1, bar 95 219
4
1
2 2
3 0 1 2
Giga, bar 19
65
0 3 2
2
4
1 1
Movement 3 [Allegro assai], bar 1 209
0
4
Giga, bar 37
2
4
4 4 4
2
295
Movement 3, bar 113
1
1 1 0 4
12
1
0
1
2 1
0
3
1
Ciaccona, bar 1 78
Partita no. 1 in B minor, BWV 1002
Ciaccona, bar 13
279
Allemanda, bar 1
3
266
0
Ciaccona, bar 33
1 0
4
3
3
106
Allemanda (Double), bar 6
0
1
3 2
1
217
4 0
Corrente, bar 11
2
4
114
Ciaccona, bar 127
3 3
82
0
0
4
0
0
306
Index of music examples

Ciaccona, bar 133
2
1 1
4
2
73
Fuga, bar 29
1
2
2
1 1
81
Ciaccona, bar 187
1 3
4
4
1 2 3
2
3
4
228
Fuga, bar 58
2
4
3
2
2
83
1
2
4
1
Siciliana, bar 1
2
158
Partita no. 3 in E, BWV 1006
Preludio, bar 3
105
2
Presto, bar 1
2 3
G 2
50
4 0
Preludio, bar 7
0 0
1
178
Presto, bar 4
0 3
0 4
4
0 3
241
0
Preludio, bar 17
0 0 0
2 2 4 2
34
Presto, bar 12
0
0
3
2 0
1 0 108
Preludio, bar 36
39
Presto, bar 75
286
4 1
Preludio, bar 38
0 0 1 1
4 4
266
3
0
0
Preludio, bar 49
75
Sonata no. 2 in A minor, BWV 1003
Fuga, bar 7 78
0
2
3
1
4
2
3 3 2 4
1
Preludio, bar 119
31
1
4
0 4
Gavotte en Rondeau, bar 6 255
Bartók, Béla
Roumanian Folk Dances (arr. Székely)
No. 1 [Allegro moderato], bar 4
236
2 1 2 3
Gavotte en Rondeau, bar 51
32
1 2 3 3 2 1 1
4 4
Giga, bar 1
4
4
138
No. 1, bar 12 77
4
0
0
1
2
No. 3 [Andante], bar 4
139
4
1
3
0
Sonata no. 1 in G minor, BWV 1001
Adagio, bar 1
3
82
No. 4 [Molto moderato], bar 3
sul A
2
1
3
233
molto espr.
3
3
Adagio, bar 3 216
No. 4, bar 19
0 0 2 3
1
76
Adagio, bar 6
0 4 0
4
0
4
262
No. 6 [Allegro], bar 41
1
2
1
93
sempre
Fuga, bar 3 85
Fuga, bar 21
1
3
3
1
2
2
3
83
Beethoven, Ludwig van
Concerto in D, op. 61
Movement 1 [Allegro ma non troppo], bar 97 193
4 4
0
2
2 1
1 1
4 0 4 0
4
Index of music examples 307

Movement 1, bar 111
3
1
2
4
213
bar 2 178
3 1 2
2
2
Movement 1, bar 128
2
2
2 186
bar 4 127
0 3
2
A 1 1
4
Movement 1, bar 134
4
1
4
0 1
253
bar 24 111
3
3 3
3 0 2
2
cresc.
Movement 1, bar 139
4 4 0 0 3
40
bar 28 4 3
22
1
2
1
3
2 1
Movement 1, bar 174
4 0
1
4 67
bar 29
1 4
136
0
Movement 1, bar 176
4
3
0
3
0
4
4
289
bar 58
4
1
1
2
282
0 0
0
0
0
3
Movement 1, bar 209
123
bar 77
1
2
1
2
175
2 1 1 2 2 2
Movement 1, bar 335
1
4 3
1
162
2
2
Sonata in D, op. 12 no. 1
Movement 2 [Larghetto], bar 45
1
D
3
115
Movement 1 [Allegro con brio], bar 1 203
3
0 1 1 3 4 0
cantabile
3
0
1
Movement 3 [Rondo], bar 75
3
1
3
3
0 0
34
Movement 1, bar 32 256
3
2 1 1 2
4
Movement 3, bar 137
0 1
19
Movement 1, bar 81 74
4
1
3
3 4
Movement 3, bar 139
0
215
2
3
cresc.
4
2
Movement 2 [Andante con moto], bar 8 170
4
0 4
4
1
2
2
Romanze in G, op. 40
[Andante], bar 20 161
4
2
0 1 1
Movement 3 [Allegro], bar 10 270
4
1
1
1
0 4
2
bar 56 76
4
0 1
1
Sonata in E , op. 12 no. 3
Movement 1 [Allegro con spirito], bar 8 285
bar 68
bar 74
0 1 2 2 3 4 0 3
2
2 1 0 4 0
1
0 1
4
87
214
cresc.
Movement 1, bar 18 196
2
3
2
1
1
cresc.
dimin.
Romanze in F, op. 50
Sonata in A minor, op. 23
[Adagio cantabile], bar 1 135
2
1
3
1
Movement 1 [Presto], bar 84 248
3
1
1
4
dolce
3
3
308
Index of music examples

Sonata in F, op. 24 (‘Spring’)
Movement 1 [Allegro], bar 1
202
Movement 1, bar 31
1
4 3 3
2
4
201
3 4
3
1
Movement 1, bar 11
267
Sonata in A, op. 47 (‘Kreutzer’)
Movement 1 [Adagio sostenuto], bar 1
132
Movement 1, bar 33
0 0 0
134
D A 2 4
1
3
1
3 2
3
2
3
1
3 3 2
2
cresc.
decresc.
Movement 1 [Presto], bar 61 247
Movement 1, bar 63
95
1
Movement 1, bar 314
102
Movement 1, bar 106
231
0
0
0
1
1
3
cresc.
0
4
2
3 3 3 3 3 3 3
Movement 3 [Allegro molto], bar 18
4
1
0
0
0
0
1
1
Sonata in G, op. 96
Movement 1 [Allegro moderato], bar 2
239
cresc.
3
Sonata in A, op. 30 no. 1
dolce
2
1
Movement 1 [Allegro], bar 3 102
Bériot, Charles Auguste de
1
1
2
2
Concerto no. 9 in A minor, op. 104
Movement 3 [Allegretto], bar 1 284
Movement 1 [Allegro maestoso], bar 38
284
2
2 3
0
dolce
2
1 2 1 2 3 4
Movement 3, var. 2, bar 1 168
D
1
1
1
2 4 3
Movement 1, bar 57
8va
187
dolce
2
Movement 3, var. 6, bar 67 126
2
1
1
Movement 1, bar 62
cresc.
29
1
Sonata in C minor, op. 30 no. 2
Movement 1, bar 37
3 3 3 3 3 3 3 3 3 3
226
Movement 1 [Allegro con brio], bar 9
3
3
212
3 3
Movement 1, bar 22
1
84
Scène de Ballet, op. 100
[Tempo di Bolero] bar 70
4
2
1
2
2
0
Movement 1, bar 55
1
1
cresc.
34
bar 80
3
6 6 6
0 3 0
0 3 0 3 0
6
0
100
Movement 1, bar 76
2
2
1
A
4
3
205
0
3
3
Movement 4 [Allegro], bar 18
2
1
cresc.
3
158
Bloch, Ernst
Nigun (no. 2 from ‘Baal Shem’)
cresc.
decresc.
[Adagio non troppo] bar 5
204
Sonata in G, op. 30 no. 3
Movement 1 [Allegro assai], bar 1
1
1
93
2
3
2
1
1
bar 22 27
1
1
0 1
ad lib.
0
14
Index of music examples 309

ar 35 23
8va
8va
3 3
1 1
0
1
Movement 1, bar 495 259
0 0 0
4
3
1
bar 37
3
3
1
0 4 2
0 2 1 3 3
G
3
172
Movement 1, bar 559 234
animato
2
4
2
4
1
3 2
4
1
3
4
3 13
3
0
2
bar 53
4
2
4
2
4
1
4
1
4
2 4
1
3
0
3
72
Movement 1, bar 561 185
4
4 3
3 1
3
0 3
2
1
bar 100
1
3
1
3
3
2
4
accel.
3 3
1
3
2
4
3
1
3
allarg.
2 3
4
1
3
0
3
227
Movement 2 [Adagio], bar 91 114
espress.
3 3
3
3
2 2 1
2
3
3 3
poco a poco cresc.
Movement 3 [Allegro giocoso, ma non troppo vivace], bar 1 252
Brahms, Johannes
Concerto in D, op. 77
0
2
4
dim.
2
dolce
3 1
Movement 1, bar 217
4
0
0
1
0
5
2
1
3
1
1
4
Movement 3, bar 35 154
2
1
1
5
3
Movement 3, bar 37 35
0 1
0
4
0
2
0
0
1
3
6
4
0
2
Movement 3, bar 55 215
0
1
1 1
4
4
2
2
0 1
4
1
0
3 0 1 3 0 3 0 2
dim.
Movement 3, bar 65
4
4
54
4
3
2
1
1
1
2
3
1
4
1
3
Movement 3, bar 262 51
1
Movement 3, bar 292 180
2
2
2
2
A
1
2 2
249
4
4
2
0 3 1
2
1
Hungarian Dance no. 1
[Allegro molto] bar 1 69
2
2 2 1 4
81
2 2
2
1
espressivo
4
bar 25 124
1
1 1
2
0
3 3
4
2 1
D 174
3
G
Movement 1 [Allegro non troppo], bar 90 235
Movement 1, bar 91 88
Movement 1, bar 102 46
Movement 1, bar 116 176
Movement 1, bar 152 104
Movement 1, bar 204 200
Movement 1, bar 248
Movement 1, bar 304
3
poco
espress.
2
1
1 1
1
4 2 3 2 3 4 2
3
1
3
espressivo
1
3
1
3
1
3
1
3
Movement 1, cadenza (Joachim)
D
2
1
3
1
3
2 3 1 0
1
3
poco rit.
1 3 1 296
Sonata no. 1 in G, op. 78
Movement 1 [Vivace ma non troppo], bar 3 5
dolce
1
2 2 1 4
2
Movement, 1 cadenza (Joachim) 128
1 0
2 2
1 0
2 2 2
0
2
Movement 1, bar 11 283
1
1
3
3
310
Index of music examples

Movement 1, bar 24 4
75
A 1
4
Movement 2 [Adagio], bar 66 234
1
1
3
2 1
Movement 2, bar 121 214
pizz.
1 1
Movement 3 [Allegretto grazioso, quasi Andante], bar 5 164
sul G
2 1 1
3 2 1 3
espress.
Movement 2, bar 105 244
3
2
4
4
4
3
2
Movement 3, bar 48 136
2
4 2
3 1
1 2 2
1
ma espress.
dolce
Movement 3 [Allegro molto moderato], bar 1 86
2 2 2 4 1 4 3
Sonata no. 3 in D minor, op. 108
Movement 1 [Allegro], bar 1 51
Movement 3, bar 101 33
1
2
2
4
sotto voce ma espressivo
cresc.
Movement 1, bar 57 157
G
4
2 3
Sonata no. 2 in A, op. 100
Movement 1 [Allegro amabile], bar 3 61
Piano:
Piano:
4 4
0
Movement 1, bar 61 68
0
Movement 1, bar 21 131
3
4 2
1
4
2
1
3
espress.
Movement 1, bar 81 200
0
1
Movement 1, bar 31 64
dim.
Movement 1, bar 41
2
2
4
3
1
165
Movement 1, bar 84
0 0 0
0
molto e sotto voce sempre
4
2 3
0
0
0 0
0 2 106
Movement 1, bar 120
122
Movement 1, bar 43
118
3
0
4
2
4
0
3
2 E 4
3
2
0 2
4
3
1
2
Movement 1, bar 151
268
dim.
1
1
3
Movement 1, bar 211
1
2
1
3
1
2
169
Movement 1, bar 162 264
Movement 1, bar 235
1
4
3
1
204
3
4
3
1
1
Movement 1, bar 249 112
1 1
Movement 2 [Adagio], bar 1 55
G
G
3 4
1
1
2
espress.
Movement 2 [Andante tranquillo], bar 8 287
2
1
1
Movement 2, bar 50 2
133
3
3
4 1
1 3
4 2
4
dolce
espress.
Movement 3 [Un poco presto e con sentimento], bar 1 256
Movement 2 [Vivace], bar 27 175
1
2
0
2
2
4
2
4
1 1 2 3 4 3
2 3 1 3 1 2
3
1
Movement 2, bar 56
3
2
1
288
Movement 4 [Presto agitato], bar 9 28
1
1 3
2
1 1 cresc.
3 0
Index of music examples 311

Movement 4, bar 107 38
4
4
Movement 1, bar 76
4 3
208
1
1
3
2
1
3 1
4
5
2
0 2 2
3
3
0 4
Movement 4, bar 297 115
1
2 2
Movement 1, bar 79
2
1
E
4
3
167
1
Scherzo (Sonatensatz), WoO2
Movement 1, bar 86
6 6
135
[Allegro] bar 1 53
4
2
Movement 1, bar 88
285
0 3 6 3
6 4
bar 8 116
2
6
2 2 1
Movement 1, bar 89
278
6 1
bar 14 95
1
1 1
1 2
4
7
bar 18 3
159
1 1
Movement 1, bar 90
string. poco a poco
1
2 4 0 1 1 2 3 1 1 1
149
0
1 2 3 4 0
bar 28 74
1 1
4 1 3
Movement 1, bar 98
A 2
1
1
3
1
2
104
dim.
0
0
sempre cresc.
1
Bruch, Max
Concerto no. 1 in G minor, op. 26
Movement 1, bar 148
ad lib.
2
0 1
4
1
290
Movement 1 [Allegro moderato], bar 6 111
ad lib.
1 1
1
0
Movement 1, bar 152 21
1
1
0 0 1
3
Movement 1, bar 10 A
3
1
1
3
Movement 2 [Adagio], bar 1 173
sul D
2
Movement 1, bar 16 64
1
marcato
Movement 1, bar 18 285
7
1
3
espressivo
cresc.
Movement 2, bar 3 161
sul D
2
2
1 3
cresc.
Movement 2, bar 6 134
1 3 0
1 0 1 3
3
2
2
Movement 1, bar 24 170
1
3
Movement 2, bar 11 86
3 3 2 1
G
1 2
Movement 1, bar 34 79
Movement 2, bar 17 158
2 2
3
1
1
Movement 1, bar 37 117
largamente
3
3
3 3 3
Movement 2, bar 45
2
0
0
0
1
1
1
127
3
3
espressivo
3
1 3
1
cresc.
3
pesante
3
3
312
Index of music examples

Movement 2, bar 52 32
4
4
2
0
0 2
Movement 3, bar 265 75
E
1
1
3
3 0 0
Movement 3 [Allegro energico], bar 19 223
1
3
6
6
1 3 1
3
Movement 3, bar 267
E
242
1
3
3 0 2 0
0 0
1 3
0
2
3
Movement 3, bar 25 162
2
1
2
3
3
Movement 3, bar 321 120
3 3
3
3
con fuoco
Movement 3, bar 27 27
1
4 3
0 1
3
Scottish Fantasy, op. 46
0
Introduction [Grave], bar 21
1
3 3
124
3
Movement 3, bar 32 265
4
3
1
1
1
0
3
3
3 0 2
2
Movement 3, bar 40 219
G
3
3
2
0
1 2 2 2
Introduction, bar 37 3
1
17
1
rit.
1
Movement 2 [Allegro], bar 31 277
4
2
3
2
1
1
0 2
Movement 3, bar 42 226
3
2
2
1
3
2 2 3
1
Movement 3, bar 44 260
6
0 3
7
Movement 3 [Andante sostenuto], bar 22 39
A
1
1
1
1
1
2
1
3
au talon
2 1 2
Movement 3, bar 44 230
1
3
2
4
0
2
1
3
2
1
Movement 3, bar 55
1
3
228
3 4 3 2
espress.
Movement 4 [Allegro guerriero], bar 11 81
Movement 3, bar 94
257
1 1 0
2
4
0 3
con fuoco
Movement 3, bar 115
sul G
7
0
61
Chausson, Ernest
Poème, op. 25
1
1 2 con forza 3
bar 34 [Lento e misterioso]
3 3
D
1 3 2
181
Movement 3, bar 189
3
4 3
3
85
bar 65 76
3 3
Movement 3, bar 193
1
3
1
3
2
1
2
1
2
1
226
1
2 3
3
bar 69 266
1
1
1 1
3
1
3 2 2
sempre
Movement 3, bar 237 51
3
2 3 1
3 3
1
E
4
posato
3
2
2
1
2
bar 73 73
2
2
2
3
2 2
espr.
4 1
3
4
1
3
Index of music examples 313

ar 87 80
3
2
4
2
1
2
4
1
2
No. 4 [Allegro scherzando], bar 1 279
3
3
1
1 cresc.
1
1
1
1
bar 121 [Animato] 260
3
2
A 4
1
3
2
No. 5 [Allegro appassionato], bar 13 232
1
4 3 4 4 3 4 4 3 4 4 3 4
9
1
1
bar 151 3
8va
1
3 3
1
4
3
2
No. 13 [Vivace assai], bar 19 281
1 3
4
1 1
2
1
1
bar 176 13
3 2
3
1
3
2
3
2
3
2
4
No. 14 [Allegretto commodo], bar 1 178
2
1
1
bar 177 9
2
4
4
0
4
0
No. 17 [Allegro], bar 1 176
1
1
A E 3
0
A 4 E 0 2
3
3
3
2 1
0
0 1
1
bar 298 [Allegro] 23
1
2 6
1
Dvorák, Antonín
Concerto in A minor, op. 53
Corelli, Arcangelo
Movement 1 [Allegro ma non troppo], bar 5
0
2
1
2 3
4
(molto vibrato)
1 20 2 1 2
3
0 2 0 236
La Follia, op. 5 no. 12 (arr. Léonard)
3
0
cresc. 0
2
3
6
Movement 1 [Adagio], bar 1
2
48
Movement 1, bar 22
3
3
0
4 1
5
129
espressivo
3 3
Debussy, Claude
Romance, op. 11
Sonata
Movement 1 [Allegro vivo], bar 46
4 2
155
bar 24 [Andante con moto]
D
2 2 3
174
1 0 4 1 0 4
1
molto espressivo
bar 31
2 200
Movement 3 [Très animé], bar 106 184
1
1
1
1
2 3
0
1
2 2
bar 39
4
4
2
154
Dont, Jacob
bar 58
1
2
1 1
118
24 Etudes and Caprices, op. 35
No. 1 [Prélude], bar 1 80
0
1
1
2
4
0
1
1
0
bar 81
0
4
0
1
2
22
sim.
4 4
2
2
0
5
cresc.
0 5
No. 3, bar 4 251
No. 3, bar 9 158
4
4 4
3
1
4
Sonatina in G, op. 100
Movement 1 [Allegro risoluto], bar 1
3
52
1 1
314
Index of music examples

Elgar, Edward
Chanson de Matin
Fibich, Zdenek
Poème
bar 9 [Allegretto] 172
[Andante], bar 12
164
2 3
2
3 4 3
2
1 1 1 4 2 2 2
1 4
0
3
2
bar 30 50
4 sonore 2 1
3 2
Franck, César
Sonata in A
Sonata in E minor, op. 82
Movement 1 [Allegretto ben moderato], bar 5
130
Movement 1 [Allegro], bar 1 107
1
4
molto dolce
3
risoluto
Movement 1, bar 28
molto rit.
2
283
a tempo
Movement 1, bar 2 115
0 4
2
1
1
molto cresc.
Movement 1, bar 9 66
Movement 1, bar 57
1
D 4 2
170
4
con forza
1
simile
1
1
Movement 2 [Allegro], bar 14
sul G
1 1 1
174
Movement 1, bar 68 103
tranquillo
0
Movement 2, bar 16
sul G
200
espress.
Movement 2 [Andante], bar 31 41
1 1
Movement 2, bar 20
sul G 3
3 3 3
3 2
1
3 3
214
5 4 4
0 1 1
4
Movement 3 [Allegro, non troppo], bar 40 161
3
Movement 2, bar 29
244
1
2
3
1
cresc.
Falla, Manuel de
Danse espagnole (arr. Kreisler)
[Molto ritmico] bar 118 264
sul G
2
bar 163 93
A
0 2
8va
1
Movement 2, bar 32
Movement 2, bar 95
Movement 2, bar 99
0
4
4
molto cresc.
1
molto cresc.
2 3 0
2 2
64
112
214
Movement 2, bar 112
0 2 4
1 3
1
114
Sonata in A, op. 13
Movement 3 [Allegro vivo], bar 4
4
1
10
molto fuocoso
Movement 2, bar 134
D
G
2 2
173
e leggierissimo
Movement 4 [Allegro quasi presto], bar 47
4
2
1
1
165
Movement 2, bar 153
4
2
poco a poco cresc.
171
2
Movement 4, bar 205
4
4
42
Movement 2, bar 172 62
2
1 1
2 3 1 3 1
2
4
Index of music examples 315

Movement 2, bar 197 133
1
3 1 1 3 3 3
1 1
Movement 3, bar 192
3
1 2 1 2 3 4
0 1 2 1 2 3 1 2 3 1 2 3
4 149
0
poco cresc.
dim.
1 2 4 0
molto
Movement 2, bar 225 1
72
2
0
Movement 3 [Ben moderato], bar 4 77
3 2
2 2
2 1
Handel, George Frideric
Sonata in D, op. 1 no. 13
Movement 1 [Affettuoso], bar 1
282
2 0 1 3 0
con fantasia
0
0
Movement 3, bar 48 184
1
1 3
3
Movement 2 [Allegro], bar 24
2 3
0 4 0 4 0 0 0 0 0
1
37
5
Movement 3, bar 59 205
1 4 1
Movement 2, bar 30
0 0 0 4 4 0 0 0
2
0
3
8
Movement 4 [Allegretto poco mosso], bar 2 211
2
dolce cantabile
Movement 4, bar 162 113
1
1
Haydn, Joseph
Concerto no. 1 in C
8va
3
A
2
3
3 A
2
3
3
Movement 1 [Allegro moderato], bar 40
0
223
sempre
e grandioso
3
3
Movement 1, bar 53
220
Glazunov, Alexander
Concerto in A minor, op. 82
bar 32 [Andante]
3 1 1
55
1
cresc.
Movement 1, bar 70
0
1
3 3
3
117
cresc.
dolce espressivo
Movement 1, bar 131
123
3 2 1
2 1
Granados, Enrique
Danse espagnole (arr. Kreisler)
bar 32 [Andante]
200
Concerto no. 2 in G
2
1
3 3
Movement 1 [Allegro moderato], bar 21
289
0
0
bar 48
1
2
0
2
163
3
Movement 1, bar 31
87
bar 55
3
0
3
1
0 2
285
0 4 0
0
4
4
2
3
6
poco più mosso
Grieg, Edvard
Sonata in C minor, op. 45
Hubay, Jenö
Bolero, op. 51 no. 3
Movement 1 [Allegro molto e appassionata], bar 1
2 4
4
0
68
[Allegro molto], bar 49
3
2 2
31
3
Movement 1, bar 254
2 0
1 2
1
183
Kayser, Heinrich Ernst
Etudes, op. 20
Movement 3 [Allegro animato], bar 2 96
No. 1 [Allegro moderato], bar 3
247
0 0 0
0
0 0
316
Index of music examples

No. 3 [Allegretto], bar 1 261
0 0
Allegro, bar 53
4 0
3
4
0 3
4
0 1
35
0
0 4
4
No. 6 [Allegro molto], bar 1 235
3
Allegro, bar 84
0 1
264
No. 8 [Comodo], bar 1 136
4
4
0 0 4
0 4
Allegro, bar 101
3 rit.
17
2 1
1
1 3
1
No. 9 [Allegro assai], bar 1 258
simile
4
4
4 0
cresc.
Sicilienne and Rigaudon
Sicilienne [Tempo di Allegretto], bar 1
289
No. 13 [Allegretto], bar 1 275
4
3
0 4
2
1
2
4 0
2
3
0
1
3
Rigaudon [Allegro], bar 1
209
No. 14 [Allegro moderato], bar 1 88
0
0
2
4 0 4
No. 32 [Allegro molto agitato], bar 1 185
4 4
4
4
4
4
4 4
Variations on a theme of Corelli
Theme [Allegro ma non troppo], bar 1
281
Kreisler, Fritz
Caprice Viennois, op. 2
bar 21, [Andante con moto] 132
1
3
1
3
1
3 1
3
1
3
Kreutzer, Rodolphe
42 Etudes ou caprices
No. 2 [Allegro moderato], bar 1
0 0 4 4
86
dolce con vibrato
bar 100, [Presto] 172
4
1
4
1
1
No. 2, bar 16
4
1 1
4
0
205
No. 4 [Allegro], bar 7
92
0
0
0
Praeludium and Allegro
0
0 0
0
Praeludium [Allegro], bar 21 52
3
1
Andante
3
0 1
2
0
2
3
No. 5 [Allegro moderato], bar 1
2
193
rit.
0
Praeludium [Andante], bar 23
3 2
0 4 0 0
137
No. 6 [Moderato e sempre martellato], bar 1
4 0
89
Allegro [Allegro molto moderato], bar 3
14
No. 8 [Allegro non troppo], bar 1
118
0 4
0 0
4 0
0 4
1 1 1 0
Allegro, bar 5
0 4 0 0
2
No. 8, bar 2
179
1
0
4
Allegro, bar 25
0 4
0
4
4 4
A
4
278
No. 9 [Allegro moderato], bar 1
2
4
238
dolce
Allegro, bar 41
296
No. 10 [Allegro], bar 1 71
0
2
0
3
1
0 0
Index of music examples 317

No. 10, bar 3 107
4
0 2 0
4 A
3
0 2
No. 35 [Marcia], bar 7
1
3
159
0
0
2
4
1
3
2
4
1
3
2
4
No. 12 [Allegro moderato], bar 1 4 195
4
3
3
1
1
1
4 0 0
2
0
No. 36 [Allegretto], bar 1
1 4 3 4 1
255
0 0
No. 14 [Moderato], bar 1 267
4
0
0
No. 37 [Allegro vivace], bar 1
1
224
dolce
4
No. 17 [Maestoso], bar 1 108
No. 38 [Moderato], bar 1
225
2
4
No. 19 [Moderato], bar 1
126
No. 39 [Allegretto], bar 1
219
1
1
3
3
3 3
No. 26 [Moderato], bar 2
1
179
3
dolce
3 4 4
1
Lalo, Edouard
No. 26, bar 34
4
4
4
4
1 1 1 1 1 1 1
1
249
Symphonie espagnole, op. 21
Movement 1 [Allegro non troppo], bar 5
8va
1
3 3
4
1
1
2 4 3
213
No. 27 [Moderato], bar 1
237
molto ritmico
3
Movement 1, bar 9
188
0
4
0
G
3
3
3
2
0
4
3
3
No. 28 [Grave], bar 1
2
3
0
4
269
Movement 1, bar 37 8va
18
1
1
1
1
No. 29 [Moderato], bar 1
116
0
1
2
1
2
Movement 1, bar 50 113
3
0 1
1
No. 29, bar 19
195
5
3 3 3
espress.
3
1
3 1
3
1
3 1
3
Movement 1, bar 66 90
3
3
0
1
No. 30 [Moderato], bar 1
0
1
4
1 1
109
0 0 1
3
3
pesante
Movement 1, bar 120 60
4
3
No. 30, bar 11 30
2
4
2
4
No. 31 [Vivace], bar 1
126
Movement 1, bar 153 184
8va
1
3
4
4
3
2 4
1
1
2
0
No. 31, bar 5
2
3
3 4 0
1
3 4 1 2
3
58
Movement 1, bar 245 186
3
2
1 1 2
1 1
1
sempre cresc.
No. 32 [Andante], bar 1
1
4 4
4
1
250
Movement 2, [Allegro molto], bar 102 130
poco più lento
3
1
1
3
2
1
gliss.
espress.
318
Index of music examples

Movement 3, [Allegro non troppo], bar 81
3
2
2
253
Movement 1, bar 174
4 4
176
1
1
0 0
0
cresc.
Movement 1, bar 181
74
Massenet, Jules
1
2
2
0 2
Méditation from Thaïs
[Andante religioso] bar 28
3
4
0 4
3
4
189
Movement 1, bar 211
3
3
3
236
con forza
Mendelssohn, Felix
Movement 1, bar 336 254
Concerto in E minor, op. 64
Movement 1 [Allegro, molto appassionato], bar 14
4
2 1
3 3
8
Movement 1, bar 363
A
4
1 1 1
1
1
1 2
1
293
2
dim.
1
Movement 1, bar 25
2
175
Movement 1, bar 420
3
4
3
3
284
4
1 1
1 2
3
3
1
3
3
3
3
Movement 1, bar 36
1
197
Movement 2 [Andante], bar 9
101
sul G
cresc. 4 4 4 4
2 0
3
2
3
1
A 3
2 3
2
Movement 1, bar 39
G
3
E
2
0
3
157
Movement 2, bar 66
1 2 0
3
cresc.
1
3
1
3
1
3
225
Movement 1, bar 40 234
3
2
3
1
3
1
4
3 3
4
3 2
2 3 4 1 1
1 2
2
Movement 2, bar 103
2 1
1
A
1
3
217
sempre più
Movement 1, bar 76 206
4
4
1
4
2
1
1
1
1
Movement 3 [Allegro molto vivace], bar 2
2 0
scherzando
3
0
188
Movement 1, bar 80 169
Movement 3, bar 9
238
3
1 2 1
A 4
1
1
2
1
4 1
1
0 1
4
1
4
1
cresc.
Movement 1, bar 84 243
4
3
3
1
2
2
1
0
0
Movement 3, bar 12
2
3 0
3
1
3 0 3 0
285
1
Movement 1, bar 97 120
2 4 2 cresc.
1
3
0
1
0
2
Movement 3, bar 37
2
A 2 1
1
8va
245
4
0
2
1 2 1
1
Movement 1, bar 105 28
3
2
3
3
Movement 3, bar 53
1
1
1
14
4
3
Movement 1, bar 113 103
A
G 4
2
restez
Movement 1, bar 139 66
1
0 3
1
0
2
1
1
1 3
1
0
1
3
4
2
0
3 1 3
2 4
1 3
Movement 3, bar 81
4
2 4 leggiero
4 0 1
2
Movement 3, bar 117 157
4 2
2
4
5
tranquillo
Index of music examples 319

Movement 3, bar 168
3
1 1 0 0 0
2
98
Movement 1, bar 64
4
1
96
0 4 3
0 0
leggiero
Movement 1, bar 68
257
Messiaen, Olivier
4 4 4
Thème et variations
Variation 2 [Un peu moins modéré], bar 3
4 4
4 4
2
1 2 1
2
97
Movement 1, bar 78
2
3
2
1
196
0
Variation 5 [Très modéré], bar 1
3 3
2
1
1 2
1
76
Movement 1, bar 79
4
3
126
Movement 1, bar 86
288
2
1
1
0
Moffat, Alfred
0
Intrada
bar 2 [Allegro]
101
Movement 1, bar 90
0
1
260
4 3
4 0
Movement 1, bar 106
14
0 0
0
Mozart, Wolfgang Amadeus
Adagio in E, K261
Movement 1, bar 124
3
1 2
1
194
bar 10 [Adagio]
1
4
230
Movement 1, bar 209 127
4
3
bar 17
3
4
4
1
112
Movement 1, cadenza (Sam Franko) 286
bar 25
289
2 0
1
3 2
1
3
2 0 1 2 0
Movement 1, cadenza (Sam Franko) 82
Concerto no. 2 in D, K211
0
2
2
Movement 1 [Allegro moderato], bar 22 49
1
4
3
Movement 1, cadenza (Sam Franko)
2
4
3
4
3
171
Movement 1, bar 26 265
1 4
1
2
leggero
Movement 1, cadenza (Sam Franko)
125
Movement 2 [Andante], bar 9 67
2
3
2
3
2
1
3
Movement 2 [Adagio], bar 8
3
246
Concerto no. 3 in G, K216
2
2 2 4
4
Movement 1 [Allegro], bar 38 233
4
Movement 2, bar 9
1 2
3
1
1
203
Movement 1, bar 51
2
1
169
Movement 3 [Allegro], bar 81
122
3 2 0 4
0
Movement 1, bar 60
2
216
Movement 3, bar 141
2
E
1 1
296
320
Index of music examples

Concerto no. 4 in D, K218
Movement 1 [Allegro], bar 42 220
2 4
3
Movement 1, cadenza (Joachim) 295
0 4 0
calando
Movement 1, bar 47 7
Movement 1, cadenza (Joachim) 63
A
3
1
1
1
2
2
2
brillante
2
1
Movement 3 [Andante grazioso], bar 1 94
Movement 1, bar 49 159
2
4 3 4 1
Movement 3, bar 15 95
Movement 1, bar 52 198
1
1
1
2
0 4
Movement 3, bar 23 238
Movement 1, bar 53 180
4
4 1
4
4
2
1 1 4
Movement 1, bar 59 31
0 4 0
0
Movement 3, bar 61 4 103
4 0
4 0
4
3
3
4
4
3
1
Movement 1, bar 68 62
1 2
1
Concerto no. 5 in A, K219
Movement 1 [Adagio], bar 44
58
3
2
0
0 2
Movement 1, bar 70
288
3
3
Movement 1 [Allegro], bar 46
3 2
1
0
3
55
2
Movement 1, bar 71
215
3
2
Movement 1, bar 49
5
Movement 1, bar 78
0 0
1
4
1
1
3
4 25
2
1 0 4
0
1
Movement 1, bar 86
3 2 2 2
283
Movement 1, bar 50
1
2
4
3
184
Movement 1, bar 66
1
3
1 3
201
Movement 1, bar 98
124
1 2
2
3
1
Movement 1, bar 74
0
1
177
Movement 1, bar 104
1
1
4
2
3
3
2
65
Movement 1, bar 84 254
Movement 1, bar 166
0
0
2
3 3 2
43
Movement 1, bar 108
1
2
2 4
2
1 2
0
26
0
4 4
1 1
Movement 1, bar 173 281
2
2 4
4
4
Movement 1, bar 137
4 0 0 4 0
3
4 3
0 3 0 0
287
Movement 1, cadenza (Joachim)
A
1
3
1
3
3
202
Movement 1, bar 213
2
1
1
1
4
3
276
3
delicatamente
Index of music examples 321

Movement 2 [Adagio], bar 22
3 2 0 0
2
1 2
110
Sonata in B , K454
Movement 1 [Largo], bar 3 283
2
Movement 2, bar 41
E
2 1
239
Movement 1 [Allegro], bar 19 238
Movement 2, bar 107
186
3
4
4
2 4
1 1 1
1
Movement 1, bar 50 112
Movement 3 [Tempo di menuetto], bar 1
282
2 1
2 3
1
Movement 3, bar 16
102
Movement 2 [Andante], bar 50 104
2
3
3
4 0
Movement 3, bar 89
4 4
160
1
cresc.
Movement 3 [Allegretto], bar 5 182
4
2
2
Movement 3, bar 134
119
0 4 4
Sonata in G, K301
Movement 1 [Allegro con spirito], bar 128
1
212
Paganini, Niccolò
24 Caprices, op. 1
No. 9 [Allegretto], bar 17 279
4 1 24 3
2 0
4
4
4
2
1
4
3
2
1
3 3
4
2
1
4
0 4
1
1
1
Sonata in E minor, K304
Movement 1 [Allegro], bar 1 35
No. 9, bar 61 100
2
0
4
4
A
4
1 4 0 4
4 3 1 0 4
1
4
4
3
Movement 1, bar 8 95
1 1 2 2 1
Movement 1, bar 103 87
2
0 0
1 1 2
No. 17 [Andante], bar 9 62
1
1
13
No. 17, bar 18 149
2
4 3 2 1 3 2 1 3 2 1 3 2 1 0 4 3 2 1 2 1 0 4 3 2 1 2 1 0 4 3 2 2
Movement 1, bar 170 218
Movement 2 [Tempo di Menuetto], bar 101 53
4
3
2
3
2
2
1
2
3
No. 17, bar 24 E
222
D
A
A
G
3 3 3 4
3 3 3 4 D
3 4 1 1 1 2
1 1 1 2 3 3 1 3 2 4 2 4
1
1
1 3 2 4 2 4 1 3 3 1 3 2 4 1 3 1 3 1 3 2 4 2 4
1
2
1
dolce
Sonata in F, K377
Movement 1 [Allegro], bar 1 261
3 3
4
3 3
Movement 1, bar 9 138
1
4
No. 18 [Allegro], bar 17 220
1
No. 18, bar 26 162
1
3
2
2
4
4
0 0
2
2
4
1
3
1
3
4
1
3
2
4
2
4
4
2
cresc.
1
3
2
4
2
4 2
4 2
4 0 2
2 4
1 1
3 3
0
2
2
4
1 1
3 3
No. 19 [Allegro assai], bar 25 163
sul G
Sonata in B , K378
1
4 4 4 4
3 3 0
2
Movement 1 [Allegro moderato], bar 22 96
4
3
0
No. 19, bar 27 199
4
sul G
0
4
3
1
4
3 1
4
0
1
1 1 1
1
322
Index of music examples

No. 24 [Quasi presto], var. 9, bar 9
4
140
pizz.
La Campanella, op. 7
[Allegro grazioso] bar 10 99
4 1
0
2
Concerto no. 1 in D, op. 6
Movement 1 [Allegro maestoso], bar 111 174
1
3
3 1 3
4
1 3 2 3 1
3
3
bar 105 30
1
3 4 2 0 4 2
2
4
2
4
1
1
3
2
0
0
Moto perpetuo, op. 11
Movement 1, bar 113
1
2 4
0
1
3
0
2
2
4
1
3
2 0 2 4
1
3
0 0
1
1
3
180
[Allegro vivace] bar 1 25
staccato
cresc.
dolce
Movement 1, bar 130
4
0 4
239
1 0 0
1
2
0 0
Prokofiev, Serge
Movement 1, bar 131
79
Cinq Mélodies, op. 35
No. 2 [Lento, ma non troppo], bar 49 125
3
2
2
1
1
1
1
1 1 1
1
2 1 2 1 2
Movement 1, bar 158
224
1 3 1 3 1 4 2
3
3 1 3 1 3 1 3 1 4 2 4 2 4 2 3 1 2 0 1
3
Concerto no. 2 in G minor, op. 63
Movement 1 [Allegro moderato], bar 1 196
1 2 2
4
Movement 1, bar 182
4
2 3
4
2
3
2
4 2
1
1
1
1 4 2 1
2
3
4
1
2
3
4
1
2
3
4 2
1 4 2
215
1
Movement 1, bar 28 34
1 2
2 1
2
Movement 1, bar 233
3
3
D
3
rit.
3 2 2
190
Movement 1, bar 52 294
A
3
3
D
2 3
1
cresc.
Movement 1, bar 254
3 3
4
4
4
109
Movement 1, bar 241
3 1
33
1 0 2
0 2
2 1 2
3
1 3 0
2
1
0 2
Movement 1, bar 265
249
1 4
3
1 2
2
Movement 2 [Andante assai], bar 71 120
spicc.
Movement 1, bar 298
0
0
0
1 4
0
0
0
11
4
1 3
4
Sonata in D, op. 94 bis
Movement 3 [Allegro spirituoso], bar 2
4
1 1
4 0
254
Movement 1 [Moderato], bar 42 65
G
3
3
0
1
4 0
3 3
Movement 3, bar 67
201
Movement 4 [Allegro con brio], bar 1
282
2 3 2 2
3
1
3
0 1
0
3
3
Movement 3, bar 95
8va
A
2
4
3
1
3
2
dolce
1
3
1
4
3
1
3
2
4
1
3
2
Movement 3, bar 146 203
4 3 1
4 3
1
4
4
3
1
139
3 1
4
Raff, Joachim
Cavatina
bar 1 [Larghetto quasi andantino] 110
sul G
1
3
3
2
Index of music examples 323

Ravel, Maurice
Tzigane
No. 14 [Adagio con espressione], bar 1
2
3 4
3
138
bar 1 [Lento quasi cadenza]
268
2
No. 23 [Moderato], bar 33 232
1
1 3 1
3
Rode, Pierre
24 Caprices
No. 1 [Cantabile], bar 3
4 3
2
185
Concerto no. 7 in A minor, op. 9
Movement 1 [Moderato], bar 44
4
2
1
1
0
2 4
166
dolce
6
No. 1 [Moderato], bar 16
143
Movement 1, bar 63
1
3
3 3 198
1
cresc.
No. 2 [Allegro], bar 1
267
Movement 1, bar 80
0
1
A
3 1 1
76
ritard.
1 1 0
1
1
No. 2, bar 4
0 1 2
2
107
1
Movement 1, bar 83
3
1
4
1
129
No. 2, bar 9
restez
3
1
3
1 4 2 4 2
1
3
1 2
244
Movement 1, bar 98
2
cresc. 1
3
4
1
1
3
4
6
No. 3 [Comodo], bar 1
115
Movement 1, bar 152
0
2
0
284
=100
3
0
dolce legato
No. 4 [Siciliano], bar 1
2 2
4
1
4 24 2
0
73
Saint-Saëns, Camille
Concerto no. 3 in B minor, op. 61
Movement 1 [Allegro non troppo], bar 5 G
258
3
No. 4, bar 32
231
4 4 4
4
3
1
1
No. 11 [Allegro brillante], bar 1
2
0
1
3
4
3
1
1
156
Movement 1, bar 13
3
1
1
G
3
3
173
4
1
Movement 1, bar 28
54
No. 11, bar 7
3 1
122
2 0
0
3
1
3 1
No. 11, bar 84
sul D
1 1
159
Movement 1, bar 43
1
2
3
1
2
3
2
3
58
3
2 1 1 1
cresc.
No. 13 [Grazioso], bar 1
1
A
4
164
Movement 1, bar 48
1 3 0
2 4
0
3
3
3
114
dolce
3
3 3
No. 13, bar 3
136
Movement 3 [Allegro non troppo], bar 78
97
sul A 3
1
1
1 1 2
1
4
0
324
Index of music examples

Havanaise, op. 83
bar 49 [Allegretto lusinghiero] 174
8va
Malaguena, op. 21 no. 2
bar 23 [Andantino] 181
poco rit.
3 2 1
2
3
3
bar 265 [Allegro non troppo] 190
Introduction and Rondo Capriccioso, op. 28
Introduction [Andante malinconico], bar 8 189
3
0
1
3
2
3
1
1
3
3
0 D
4
1
3
bar 71 140
pizz.
pizz.
pizz.
0
4
3 0
4
0
Playera, op. 23 no. 1
bar 4 [Lento] 52
3 3
0
bar 20
3
D 0
154
Rondo [Allegro ma non troppo], bar 11 157
3
2 1
3
5
2
2
Rondo, bar 69
3
4
206
1
2 2
Zapateado, op. 23 no. 2
bar 114 [Allegro] 91
A 1 2
1
2
Rondo, bar 152 134
2 3 3 3
Zigeunerweisen, op. 20 no. 1
Rondo, bar 197 190
8va
2 1 0
bar 2 [Moderato] 132
1 1
3
Rondo, bar 304
84
4 4 4 4 4 4 4 3
bar 4 67
1
3
1
1
1
0
1
bar 7
3
4
3
2
3 4 1
3 3 3
9
Sarasate, Pablo de
3 3 3
3
4 3 1 3 1 2 0
Carmen Fantasy, op. 25
Introduction [Allegro moderato], bar 49
2
8va
2
1 2 3 A 3
1
2
3
4
6
bar 13 [Lento]
3
3 1 1
1
3
1
3
1
3 3 1 4
3
Introduction, bar 77
1
3
0 0
267
bar 19
2
A
3
gliss.
rit.
D
string.
192
A 3
3
dim.
3
1 2 3
1
2 1 2 1
sempre
Introduction, bar 158
191
bar 21
1
3
3
1
1 A
4
1
1
3
1
3
202
1
3 1
3
2 2
3
3
3
Movement 1 [Moderato], bar 6
1
3
0
gamme
chromatique
glissée
G
3
2 2 2
1
155
bar 23
1
veloce 1
1
molto riten.
1
90
3
1
bar 40
4
0
1
4
0
4 3
2 1
E
3
1
3
Habanera, op. 21 no. 2
bar 1 [Allegretto]
1
3
0 3 1
2
0 4 4 2 2
2 2
158
bar 49 [Un poco più lento]
con sord.
2
2
3 2
3 3
133
molto espress.
Index of music examples 325

ar 72 [Allegro molto vivace] 24
Movement 4 [Allegro], bar 1
286
3
4
1
1 1 1
0
bar 78 109
3
Movement 4, bar 63
1
0
0 3 4
50
2
2
2
3 3
cresc.
3
1
bar 98 185
pizz.
arco
2
4
1
3
0
1
Sonata in G minor, op. 137 no. 3
Movement 1 [Allegro giusto], bar 1
4
287
bar 104 142
2
4 0
1
1
1
1
3
Movement 4 [Allegro moderato], bar 57
4
0
1 1
1 1
0 4 0 2
233
Schubert, Franz
Sonata in A, op. posth. 162
Schumann, Robert
Sonata in A minor, op. 105
Movement 1 [Allegro moderato], bar 5 165
3 2 3 1
2
2 2
Movement 1 [Mit leidenschaftlichem Ausdruck], bar 1
sul G
1
1
4
3 1 2
131
Movement 1, bar 20 37
3
1
0 0 0 1
Movement 2 [Allegretto], bar 8
4
3
decresc.
2
2
0 3 1
Movement 2 [Presto], bar 83
2 1 1
3
214
Movement 3 [Lebhaft], bar 8
215
4 4
4 0
1 2 4 0
1
4
4
4
Sonata in D, op. 137 no. 1
Movement 3, bar 62
4
1
2
3
0
1
259
Movement 1 [Allegro molto], bar 16 280
3
3
2
Movement 3 [Allegro vivace], bar 16 138
0
0
2 2
Sibelius, Jean
Concerto in D minor, op. 47
Movement 1 [Allegro moderato], bar 8
156
3 2 3
Sonata in A minor, op. 137 no. 2
1
1
Movement 1 [Allegro moderato], bar 15 263
2 D
1
2
1
cresc.
Movement 1, bar 41 63
1
1
3 3
1
Movement 1, bar 31 276
3
1
0
5
5
2
3 2 3
dolce
Movement 2 [Andante], bar 21 217
sul A
4
1 1
1
1
Movement 2, bar 25 167
Movement 3 [Allegro], bar 1 125
0 4 0
4
3
3
Movement 1, bar 48
4
Movement 1, bar 101
D
3
Movement 1, bar 102
3
0
1 1
3 3
1
2 0 1
poco
1 7
1
3
2
3 3
1
0
a piacere
2
1
D
crescendo molto
2
1
3
2 2
2
1
3
2 3 3
1 2
1
D
79
59
219
3
1
espress.
326
Index of music examples

Movement 1, bar 119 128
Movement 1, bar 28
194
1 4 3
4
2
dim.
Movement 1, bar 222 116
4
3
3 1 0 1
2
3 3
(4) crescendo
Movement 1, bar 30
4
0 1
3
1
D
1 4
1
182
3
2
(3)
Movement 1, bar 40
3
4
0 1
214
Movement 1, bar 227 204
3
1
1
4
3
1
2
1 2 2 3 4 0 1 1 2 2 3 4 0 1 1 2 2
A
3 0
3
Movement 1, bar 234 121
Movement 1, bar 57
4
1
1
1
1
1 1
1 3 0 2
180
1
3 1
3
3
1
Movement 1, bar 60
4 0 3 1 178
Movement 1, bar 246 40
D
G
D
D
4
2
2 1
2 1
2 1
1
Movement 1, bar 66
3
cresc.
74
4
2
2
0
0
4 3
0
Movement 2 [Adagio di molto], bar 32 225
2
4
3
1
3
0
3
3
3 meno
Movement 3 [Allegro], bar 5 143
energico
2 2 2 2
Movement 1, bar 69
2
con molto espressione
Movement 1, bar 97
2
3
A
1
137
70
1
0 1
poco
0
11
3
Smetana, Friedrich
Aus der Heimat
Movement 1, bar 99
5
1
2
5
1
3 2
1 2
12
Movement 2 [Andantino], bar 43 183
1
7
3
cresc.
1
3
1
2 3
3
dim.
Movement 1, bar 105
3 3
3 3 3 3
3 3
289
Movement 2 [Presto], bar 212 119
3 3
1
Movement 1, bar 108
104
0
1
3 2 1
1 2 1
0
Tartini, Giuseppe
Sonata in G minor (‘Dido abandonata’)
Movement 1, bar 111
2 1
0
3
4 2 1 3
1
4
3
1
Movement 1, bar 1 270
4
4 3
1
3
3
Movement 1, bar 5 224
Tchaikovsky, Pyotr Il’yich
3
1
3
3
3
3
3
Concerto in D, op. 35
Movement 1 [Allegro moderato], bar 23 255
4 3
2
3
1
1
2
cresc. poco a poco
Movement 1, bar 114
176
3
2
4
4
D
3
3
1
1 D
1
1
1
cresc.
Movement 1, bar 120 156
E
2
2
2
1
3
Movement 1, cadenza
63
3
3
3 4
1
2 0
cresc.
dim.
legato
1
Index of music examples 327

2 3 1 4
2
Movement 1, cadenza 85
Melody, op. 42 no. 3
3
0
1
3
bar 1 [Moderato con moto]
4
2
4
1 3
135
2
cresc.
3
3 3
espress.
Movement 1, cadenza A
192
D
bar 6
248
0
2
0
2 3 23
1
4
1 3 1
4
1
Movement 1, bar 250 186
4
2
2
3
0 4
Vaughan Williams, Ralph
The Lark Ascending
Movement 3 [Allegro vivacissimo], bar 53 38
0
0
0
1
bar 3 [Andante sostenuto]
4 4
0 1 4 0 1 46
3
1
2
1
0
senza misura
Movement 3, bar 114 20
1 2 2 3 4
3
4
2 1
1 2 3 1 2 3
bar 79 [Allegretto tranquillo]
4
3
0
2
4 0
1
1
280
Movement 3, bar 368
1 0 1 4 2 0 4 2 3 2 4 2 261
bar 148
4
4 5
1
1
1
1
199
Sérénade mélancolique, op. 26
[Andante] bar 12
G
195
Vieuxtemps, Henri
Concerto no. 4 in D minor, op. 31
4
2
1 3 3
2
Movement 3 [Vivace], bar 1
215
bar 42
1
4
2
3
206
0 0
1
2
Concerto no. 5 in A minor, op. 37
Méditation, op. 42 no. 1 Movement 1 [Allegro non troppo], bar 68
187
[Andante molto cantabile] bar 31 181
A
A
4 3
D
1
3
1
2
1 1
1 1
(poco crescendo)
più
bar 40 242
D
A
4
1
1
0
8va
4
3
3
D
4
brillante
2
2
2
2
Movement 1, bar 71 85
2
0
0 4
0
1
1
3
bar 53 16
3
3
1
1
1 2
1
2
2
sul G
3
4
Movement 1, bar 87 59
2
7
bar 77 2
59
E
1
2
1
3
3
1
3
0
2
1 1
con forza
4 0
2 2
1
1
1
1 3
Movement 1, bar 109 2
bar 154 155
0
2
2 3 3 1 2
3
3
1
4
1 4 2
3
3
3
1
Movement 1, bar 111 26
D
0 2
4 0
1
1
1
1
3
0
Scherzo, op. 42 no. 2
[Presto giocoso] bar 56 100
0 3 1 2
1
0 3
2 1
Movement 1, bar 113 103
G
4
A
3
E
1
4
2
1
2
2
0
1
328
Index of music examples

Viotti, Giovanni Battista
Concerto no. 22 in A minor
Movement 1, bar 51 278
1
1
1
1
Movement 1 [Moderato], bar 88 164
3
3 3 3 3
3 3 3 3
3 3 3
3
4 1
2
3
Movement 1, bar 96 136
0
4 4
Summer (The Four Seasons), op. 8 no. 2
Movement 1 [Allegro non molto], bar 21 207
2
1
2
espr.
Movement 1, bar 102 269
2
Movement 3 [Presto], bar 10 284
0
0 0
Movement 1, bar 132 263
largamente
Movement 1, bar 211 127
4 2
12
1 1 4
0
Movement 3, bar 40 168
1
1
Movement 3, bar 48 10
0
3
1
4
2
Concerto no. 23 in G
Movement 1 [Allegro], bar 84 280
4
2 1
1
Movement 3, bar 116
0
4
restez
0
0
29
Movement 1, bar 135 186
1 4
3
1 1 1 1 1
Autumn (The Four Seasons), op. 8 no. 3
Movement 1 [Allegro], bar 1
94
3
Movement 1, bar 215 214
2
1 4 3
3
Movement 1, bar 17
1
3
4
0
1
3
4
3
171
Movement 1, bar 36
230
Vivaldi, Antonio
4 G
2
4
4
4
4
Concerto in A minor, op. 3 no. 6
2
2
2
Movement 2 [Largo], bar 1
1
241
Movement 1, bar 39
2
1
1
179
3
3 3
3
3
3 3 3
Movement 1, bar 41
12
Concerto in G minor, op. 12 no. 1
3
0
0
Movement 1 [Allegro], bar 7
15
0
0
0
0
3 1
Movement 1, bar 72
108
0
0
0 0
Movement 1, bar 13
101
diminuendo
Movement 1, bar 75
4 3
4
263
Movement 1, bar 41
0 4
3 3
7
1
Movement 1, bar 87
29
Movement 1, bar 161
4
2
1
280
A 3
Movement 3 [Allegro], bar 30
1
72
Spring (The Four Seasons), op. 8 no. 1
Movement 1 [Allegro], bar 47
1
44
Movement 3, bar 53 231
1
2
1
2
4
3
4
1
3
0 0
2
3
3
3 3 3 3 3 3 3
1 2
3
Index of music examples 329

Movement 3, bar 86 286
4
4
3
Movement 2, bar 207 192
3 3 3
0
3 3 3 3 3 3
3
3 3 3 3 3 3 3 3 3 3 3
3
3
3
3
3
3
3
3
Winter (The Four Seasons), op. 8 no. 4
Movement 1 [Allegro non molto], bar 26 24
Movement 1, bar 28 295
4
2
1
Movement 2 [Andante non troppo], bar 1 55
3
3
semplice
dolce
1 2
1
Movement 2, bar 49 202
1 3 3
1 1
Movement 3 [Allegro], bar 12 199
1
Movement 3 [Allegro con fuoco], bar 7 232
2
3
2 2
4
4
0 1 0 1 0 1 1
0
cresc.
Movement 3, bar 80 121
Movement 3 [Allegro moderato], bar 39 254
0 0 0
3
3
3 3
spiccato
3 3
Movement 3, bar 120
3
99
Movement 3, bar 55 178
8va
4
3 3
3
1
1
4 3 1
4
0
0
2
Movement 3, bar 137 98
2
1
2 3
3
Wieniawski, Henryk
Concerto no. 2 in D minor, op. 22
Movement 1 [Allegro moderato], bar 68 131
3
espressivo ma sotte voce
A
1 1
E
1
saltando
Légende, op. 17
bar 8 [Andante] 256
3
0
1
Movement 1, bar 86 15
4
4
A
A
3 3
D
3 0
1
bar 25 281
3 0
2 3
4 2
3
Movement 1, bar 88 189
3
3
0
4 1 2 2
bar 69 [Allegro moderato] 138
1
3
Movement 1, bar 108
66
4
1
2
3
0
1 3 2 4 13 2 4 1 3 2 4 2 4
molto cantabile 2 0 4 2
bar 144 [Moderato maestoso] 59
sul G
3 3
2
3 3
1
2 2
Movement 1, bar 115
2
1
4
4
1 1
1
33
Polonaise brillante, op. 21
molto legato e tranquillo
Movement 1, bar 125
92
bar 21 [Allegro moderato] 13
4
3
3
0 3
2
2
4
3
6
Movement 1, bar 127
4
2
4
187
bar 22 227
4 3
0
1
1
4
0
1
1
1
1
1
1
3
Movement 1, bar 188
sul G
3
1
4
89
bar 23 90
4
0
4
4
3
0
marc. e rubato
3 3
0
330
Index of music examples

ar 26
2
1 2 1 2 3 4 2
1
1 1
121
bar 104 222
3
0
1
3
1
3
1
3
1
3
2
4 4 2 0 4 3 1
4
bar 43
226
2
1
0
2
Scherzo-Tarantelle, op. 16
bar 45
energico
0
1 3 4
3
2
1
largamente
D
3
A
4
1
181
bar 4 [Presto] 221
2
4
3
4 3
1
2
bar 66
1
2 1
3
1
3
D 3 0
A
3
4 3
1
3 1
4
245
3
bar 12 25
3
3 restez A
4 D
4
2 leggiero
dolce
3
bar 40 13
bar 76
3
4 3
1 3 1 4 3
1
1
8va
1
1
1
3
1
75
2 1 2 1 2
1
bar 110
3
2 0
1 1
cresc.
4
2
208
Wohlfahrt, Franz
Etude, op. 45 no. 34
bar 4 216
2
4
4
4
4
0
2
bar 150
au talon
3
sul G
4
257
1
1
bar 155
4
3
1
3
1
dim.
poco più meno
1
3 3
1
3 3
4
2
1 1
rit.
1
0
3
3
9
Ysaÿe, Eugène
Sonata, op. 27 no. 2
Movement 1 [Poco vivace], bar 3
court. 0
2 0 0 2
118
(brutalement)
1
0
3
1
4
1
4
Polonaise de Concert, op. 4
bar 5 [Allegro maestoso] 255
3
0 4
1
Movement 1, bar 11 105
3 2 3
0
0
0
0
Movement 1, bar 39 249
bar 9 182
G
1 1
cresc.
bar 92 156
3 2
4 3
3
1
2
4 0
0
largamente
1
1 3 3
0 2 0
Sonata, op. 27 no. 4
Movement 1 [Lento maestoso] bar 1 53
2
3
3
3
4 0 0
3
0
4 0
3
1
1
Index of music examples 331