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93 Exercises Starting with First Finger CHAPTER FOURTEEN Exercises Starting with the First Finger Scales Use the first finger as the “guiding finger,” keeping it down as long as possible. Play the exercise legato, varying the number of notes under a slur but usually no more than four and at a moderate tempo, slurring over position changes and string crossings so as not to lose contact with the instrument. Avoid the use of open strings. Major Melodic Minor 94 Technique and Practice Guide Harmonic Minor Broken Thirds Practice, four notes to a bow, slurring across the position changes. When playing broken thirds it is essential to drop the intermediate (silent) finger simultaneously with the sounding one on a real note, and to be sure to keep all fingers down until the next change of position. In the descending shifts and string crossings, be sure to drop all the fingers on the notes they are about to play. As you go through the keys, you will find it useful to start as low as possible (in C, for instance, start on A). Vary position changes, sometimes shifting between third and first, sometimes fifth and third. Major 95 Exercises Starting with First Finger Melodic Minor Harmonic Minor 96 Technique and Practice Guide Double-Stopped Thirds In this exercise focus on the lower notes, which are melodic, sustaining them throughout the exercise. Here again, slur over the position changes. At the moment of the shift, relax the left hand and use as much weight of the right arm as possible without forcing the sound. Enjoy the sensation of sliding from position to position, and of swinging the left arm to make it happen! As with the exercise in broken thirds, when descending be sure to drop all the fingers simultaneously on the next group of notes, being especially aware of the function of the first as the “guiding” finger. Major 97 Exercises Starting with First Finger Melodic Minor Harmonic Minor 98 Technique and Practice Guide Sixths These are similar to those in thirds and the same comments apply. The bottom notes are melodic and are to be sustained. Vary the point at which you cross to the next pair of strings. Major Alternative Ascending Fingering 99 Exercises Starting with First Finger Melodic Minor Harmonic Minor 100 Technique and Practice Guide Octaves In this set, three different fingerings should be used, changing for each of the modes; it matters not which is used for which, and the choice is best varied. What does matter is that when returning from the sixth to the octave all the fingers fall simultaneously on real notes, and, when using fingering pattern #1, that the third finger be kept down, only the second lifting. When playing the descending octaves, slide lightly, with relaxed fingers, but use the weight of the right arm to keep the bow firmly on the strings. Above all, do not move the thumb with the fingers when sliding. Vary the point at which you change strings, sometimes shifting from third to first position, sometimes fifth to third. Three Different Fingerings 101 Exercises Starting with First Finger Major 102 Technique and Practice Guide Melodic Minor 103 Exercises Starting with First Finger Harmonic Minor 104 Technique and Practice Guide Fingered Octaves Here the top line is melodic, and it is necessary to balance the hand on the third and fourth fingers. For example, in the exercises on A, start with the arm in second position and extend the first and second fingers backward: one must never stretch upward to play a fingered octave. Once again, keep the first and third fingers on the string at all times and, when descending, make sure that they arrive on the notes they will be playing. Major 105 Exercises Starting with First Finger Melodic Minor Harmonic Minor 106 Technique and Practice Guide Tenths When playing tenths, advance the thumb as far as possible throughout. As in the previous exercise, balance the hand on the 3–1 fingered octave, then add the second finger to form a perfect sixth with the third, and finally make another fingered octave, 4–2, removing the second finger to disclose the tenth. The first and third then slide up to renew the process, never leaving the string. In descending, relax the left side of your body when sliding, and use the weight of your right arm. Though you will be sliding in tenths, the third and first fingers should sustain their fingered octave to stabilize the...

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