Galamian Contemporary Violin Technique (Scales) Translatable MULTIPLE LANGUAGES

Ivan Galamian
Frederick Neumann
CONTEMPORARY
VIOLIN TECHNIQUE
Volume One
PART 1
Scale and Arpeggio Exercises
Catalog No. 1.2356
GALAXY MUSIC CORPORATION

a division of
ECS
PUBLISHING
Preface
This is the firs t in a projected se rie s of three books intended to present a method of study
covering the essential elements of contemporary violin technique. Scales and arpeggios in
single stops (Part I) are integrated in an entirely new way with a system of bowing and rhythm
patterns* (Part II). By application to the e x e rc ise s, the patterns are designed to help the student
derive greater and quicker benefit from his scale and arpeggio practice.
Since technical m astery depends more upon control of mind over muscle than upon m ere agility
of fingers, the direct way to such m astery lies through working procedures which present a
constant challenge to the student's thinking p ro cesses. For this reason new problems must
always be faced and solved. To provide such new problems in almost inexhaustible supply is
the chief purpose of these patterns.
The patterns are in two categories: Bowings (designated by B) and Rhythms (designated by R).
Each category is divided into sections, coded B1 to B16 for bowings, and R l to R16 for rhythms.
The numbers indicate the number of notes in each pattern. For example, the following bowing
pattern
is regarded as a two-note pattern, being made up of two-note components
*"'# and is therefore listed under B 2. The design "T'-# "T"# is a four-note pattern and
appears under B4.
The same principle applies to the Rhythms.
the two-note rhythmical figure n
and is listed under R2.
3
The following example J.
J. 3 J. 3 derives from
. Accordingly it is referred to as a two-note rhythm pattern
The figure
JT3 IT j
is a three-note pattern (R 3).
The figure
is a twelve-note pattern (R 12).

All three-note patterns can be applied to any ex ercise employing groups of three notes or any
of their multiples. In an eight-note ex ercise , all patterns of B 1 ,B 2 ,B 4 and B 8 can be combined
with all patterns of R l, R 2, R4 and R8. In twelve-note e x e rcise s, all B and R patterns of 1, 2,
3, 4, 6 and 12 can be combined. This versatility of application perm its a single pattern to be
used for several different e x ercise s. Innumerable combinations of B and R patterns can be
utilized, as well.
The following illustrations derived from Chapter 3, Part I, will demonstrate the method of
combining the e x e rc ise s with the patterns. The applicable patterns are:
B l , B2, B 3, B4, B 6 and B 12
R l, R2, R3, R4, R6 and R12
3 ____
F irs t Primary pattern: J J- ] ] J j j
J J J
J j
J ||
Example of ex ercise :
Application of its fir s t prim ary pattern:

*The guiding idea of this integration is explained in Ivan Galamians book, P rinciples o f Violin Playing
and Teaching, Prentice-H all, In c., Englewood Cliffs, New Jersey, 1962.
Application of B3, 2)
Application of R 2, 1)
i with first prim ary pattern:
a) detache, b) legato
Combined withJ33, 2) #n and R2, 1)
Combined with B4, 3) "T"* and R12, 8) J
3
6
J~3 J7 1 J JJJ5 5
At the head of each chapter in Part I B and R code numbers are listed to indicate the applicable
patterns. Prim ary patterns in which the ex e rcise should fir s t be practiced are also given.
To facilitate the use of various bowings, rhythms and their combinations, all note-heads in the
ex ercise s are printed without stem s. Bowing patterns are shown by note-heads which do not
indicate any specific time value, m eter or rhythm. Rhythm patterns are presented without any
indications for specific bowings.
Wherever two different fingerings are given (one above and one below the notes) both are to be
practiced. Other fingerings should also be devised. In some ex ercise s in Chapters 10-12 of
Part I the use of "creeping" fingering is suggested. This technique is briefly explained in
Chapter 10.
The teacher will be the best judge of which bowings, rhythms and their combinations will most
usefully serve the needs of each student. It is suggested that the patterns be utilized in a d iv er
sified fashion and that the rhythms and bowings be employed in constantly changing combinations
to stimulate continuous interest. Chapters 3, 4 and 7 of Part I contain particularly important
m aterial for such treatm ent.
We hope this approach to the problems of contemporary violin technique will provide interesting
and profitable results for both teacher and student.
Ivan G alam ian

F r e d e r ic k Neumann
GMC 2356
Hi
T ab le of Symbols
Sym bol
D efinition
I, II, III, etc.
1st, 2nd, 3rd Position, etc.
G, D, A, E
Strings
D ------------
Stay on the same string

Continue with the same finger
Reach up
Reach down
Keep finger down

Remain in position
1
Scales in One Position
Groups of eight notes. PATTERNS: Bl, B2, B4, Bs, ( B16)
Ri, R2, R4, Rh, ( R16)
Primary Patterns:
P r a c tic e this e x e r c i s e in a ll the m a jo r and m in or k ey s. *

I
. -
II
III
m +-
-+T
TV
~w ~#.
VI
$
V II
dtZMZ
This may be continued into h igh er positions.
E x a m p l e :
*
*
GMC 2356
Copyright 1966, by Galaxy Music Corporation, for all countries,

a division o f ECS Publishing, Boston, Massachusetts.
Printed in U .S .A .
2
Scales on One String
Groups of twelve n o tes.
PATTERNS: Bl, B2, B3, B4, B6, B12

Rl, R2, R3, R4, R6, R12
Prim ary Patterns:

i
; t j
r n
r n
i?
j m
it
f m
j m
/ m
P r a c tic e this e x e r c i s e on a ll fo u r strin g s in a ll the m a jo r and m in or k ey s .

ONE-FINGER SCALES
A
ffH
W
i
. __________
1
^
9
m
...A
9
_________ ________________________ ^ ___________________________________________ t t _________________ J _________ ............... A
1
1
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9
9
9
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a
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4
1
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9
9
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0
~~~~--------
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o
m
9
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..................
'
3
z
T
1
TW O -FIN G ER SCALES
0
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G
t
1
2
-
4
o
1 2
4
m
4
1
9
9
9
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L
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3
GMC 2356
THREE-FINGER SCALES
GMC 2356
G
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JT
J r
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4
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t
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4
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9
GMC 2356
3
T h ree-O ctav e Scales
Groups of twelve notes.
PATTERNS: Bl, B2, B3, B4, B6, Bl2

Rl, R2, R3, R4, R6, Rl2
Prim ary Patterns:
i rn m r h r fc nt m
iis m rn m m
In addition to these patterns, practice all three-octave sca les with the A c c e le r a tio n E x e r c is e
as shown in the following example. In playing it make sure that the value of the quarter note
rem ains the same throughout. Choose a slow tempo at fir s t (J = 50-60), then gradually in crease
it. The ex ercise may also be practiced in rev erse as a R etard ation E x e r c is e by starting at the
end with the thirty-second notes and finishing with the eighth notes.
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13
4
Scales of V aried L en g th
and D ifferent Groups of Notes
P r a c t ic e th ese s c a le s in a ll the m a jo r and m in or k e y s .
Groups of five notes.
PATTERNS: Bl, B5
Rl, R5
Prim ary Patterns:
j j j j j in n w f T w n w n w n w 1
* W henever the two highest notes o f these scales fo rm a half-step, they will best be played by the sam e fin g e r.
E x a m p le :
8 ---------------------3
l
3
Ui T* ; TM t ML ,
14
2356
Groups of seven notes.
PATTERNS: Bl, B7
Rl, R7
Prim ary Patterns:
i rm
ii
m rm
0.....#
==*=
0 ------------------------------------------------------------------------------------------------------------------------------------1
jt f L ----------------------------------------------------------------------------------------------------------------------------------
J f f l
0
.......
.........
............................
m ------------ * ---------------------------------------------------------------------------------
____ 1 ________
..
"I
...4.................................
........................
--------------------------------------------------------------------------------------------
-t--------1-
3
2
GMC 2356
-4--------1-------- 1-
3
a- I
-I-
-3
m-
i5
Groups of nine notes.
PATTERNS: Bl, B3, B9

Rl, R}, R9
Primary Patterns:
I ~
16
JT i m
n .- h .- h s h is h r n r n i.~ h ih n
GMQ 2356
F o u r-O cta v e Scales

Groups of eight notes.
Primary Patterns:
PATTERNS: Bl, B2, B4, BH

Rl, R2, R4, RH
CSSSSSrnSSSSSS 9 EE&5E5!^^BE55E353 9
(S35SSSfM
M
^^3S3S3* SSS^SSST"1
0 J----0 0' , 0^ 0' II7
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GMC 2356
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19
6
A rpeggios in One Position

Rl, R2, Rl, R4, R6, R12
Prim ary Patterns:

i i f z jT j jT J 1 7 }
Ilf
USgTTfiJTJTg I
*Stay in second position and rea ch hack with the f i r s t fi n g e r .
20
GMC 2356
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21
22
2356
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GMC 2356
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GMC 2356
25
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Groups of sixteen notes.
PATTERNS: Bl, B2, B4, BH, B16

Rl, R2, R4, Rti, R16
Prim ary Pattern:
EE
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27
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25
7
T h re e-O cta v e A rpeggios

Rl, R3, R9
Prim ary Patterns:
i m m m
9 ~ - ---------------------------------------------------------b
.
?
/ t
.....................
.
m
v .................. 1
f(T %
o
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30
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m 1**- m
{ / S i i ----------------------- * j ------------- * i n -----------------rm n
v*
m .
VSj
2356
0
1
~
0
pi
1
i
. .
---------
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#
3
m
0....
35
(4)
M . 8j ' 3' "
---f ^
-0 -
---------
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3
JtL
M .
2 *- 1
, ______________________> ^
- 1
^
*--------------------------- # 5------------------i ---------- -
2+
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n 17 p ..........
_ I
"*1 T
-I 2
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. m.
i
D
E
b#
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lb<
1
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1
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(4)
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4
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0
(2)
1 3
b b
~ m
-+ t-
(4)
2
1
D
(2 )
1 3
JU
~
#
#
,
-------------------- 1---------:--------- ^
-q
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*
, *. .... 4------------------------ ................. .......
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fcLZ----- 1
f= w = z
36
2356
L -11 ZZL1
4^
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zr^========rq:
fa*
BE
,3
1 3
j '
-,
A
D
~ l
i-U 4
i
i
jg _ z : ~~ # 3
pi
-4 -
1 3
( 2)
( 2)
'1
1 3
2356
37
1 ,
8 - - -
g r
..
^ ^
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-------------------------- i _ * ------ 1 T< ft
----------:<3 ~ ..ir
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..
A =
1
i ^ n
4 I. ._
D
8
M * h &
1 1
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I t f a t
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- -----------(2
--------- -2
1 3
JL
JtL
= ^
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.
,
G
#
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---------------------------------------- 14 _
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---------------
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G
.
------------------ 4---------------- % 9 - r ------- J
2
1 4y - 2 - 2... ------------------------------------ 2 Hm 1 fly 4 =
(3) --------------
I*
D
8
3
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7
" 7 ^
T ? n . =
------ :------------------------ m ----------- %
f
A
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----------(3
4)
:*
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7z M-
.
* #------------.
, . ^ - ^ = i = --- i-------------- 4-------------:----- --------------------------------------------- 2 *
1,-1
'
A
D

Rl, R2, R3, R4, R6, R12
Prim ary Patterns:
i n n m n T}iij r h r h r h j t j i
P r a c t ic e this a ls o with the s lu r exten ding o v e r two m e a s u r e s .
A
i \>J
E to b ,
E
2356
to w
39
- =
.. 7
*
.-,
' ----------:------- 1----- \
:------------ ------- ............................- - ..
=
------------------------------------i *
'
~w
,
J8L
a i
T t r r *
y
-
|
, -
--------- 1
^
:
*
*
? - -------------------- J
=
1
M.
- -2- ...............
m
&...................
m
....... . _
*
1
JPuK- i?--------------------
b|?
Jr-tJ v b
Z ..~
~ ~
~
~~ * b _--------------------------------------.
-------------------- 1---------- ----------------------- B------------------ * a ---------r 3---------------------- ----------------------- ----------------2---- -------------^ ^
1
=
=
... ......- -
. P
,,
b#
i
tl#
.
..... 2
1"
E................... ...
=
......... ........ .......... < i T
i l l i -------------------- t M
---------------------------- J - 1< 1
1,0 i
...... . ......
l -
*
A <!>
.
*
=
= .............
* ...... _ .__a
. ___
: .
...............
f ........................................... ......# ----- 1------------------------ = .....
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= # t ------- 1 2------e ----------- a ------------------------------- -------------------------------------i----- 3----------- 0 ---- ----------------------------- ------- ------ 0 ------------------------
.....................................................' .."
# ' #...V
^
T
A
j
JL
Z Z
Z Z
~ *L
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# ....................... ...... T~
* ----- i----------- .1...(2) ... ---- 4 0 }---- 1----- 2----------- *
.
------------------
.... ur- *
*
v
............. __.... 0 ...... -.... 9
#
.................. ...........
= & T.......... ----------------- - 0 -----e------- ------------------- - ---------------------- -------------:------------------------------------------ <..... .... ...^ - J
^ -w
i
^
................... --------------- a
# =
^ h.
o ... L
. __
_.
------------------- 2----- 3----- ----------------- 2---------------- y------- m---- 9 e ------------- zzz
-------------------------------------------------------- 9 - f 0 ---#
a
1
A ------------
3
=
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-i
8-a-
i
-8
,
p0 \ r
............
= * * F------------------------5----- 0 kw .. ' U ... -7---- 3----- 1----- 3----- 3
*
_ ^ J r = ------------ ------------ 1
<5 >T
* ?
40
>
n 1/
Z =
y - ... ....* ----------- 1----- 8 8------- 1-------:-------2 # *
^
A------------------------------------- * ---- a-----------------1 - ............... -: - ^
-------------------------------------------------------- 9---- *
^
'
2356
A
_ --- --JSL *4
* = = f ---- 4----------------- 3------------- -------ft----- .2 ---- -----------------------r ....... ............ ....
ft
*T
b f t.
= = = * . b f t _ ^ _ _ J ........
---- 4----------------- 1---- 4---------------- #_ _ _ T_ _ ---------
WA r !----1- 1,---------__________
.
r - i-----------'
7----------------------------7
^ = {
--------
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=
---------------------------------------------------- jz - jim
............... _
1
4
Z j f t t J * --------------------------; ,
1
1-------------1-------I----- 1--------- 4 - ------------------ 1 i ---------- f r y - f r *
i
3---------------------------------------------------------- 2------ u . ,........................- : :
--------------------^
E
H *_ b ^ ~
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-0
=
=
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i
, _____________ __
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ii
= P \
: ......
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#
:? :
jl
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=
=
i
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=
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^
------- 4------ 3--------------3------------------- ----- ----- ------------------------------.......-? -------------------- i
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~............................ ..
. ________ i.
*
-m............. ...........................................................................
l
f e n
I f
i t e
JL
~
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~
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~
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2
.
= # % * !h i
i
t
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la * ' f f y 4 -------------1 a 3
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#
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t "
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4
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r
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= .. = .=
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. __________________
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2356
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8 ----------2
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................
#
#
41
~1
3
f
b $
b .
1 M m
= j h k 4 --------- :--------------< fo b b b
r .... ,
*
3'
bi
- 2--------
bH
i d d
> HA :
f ife
* fr fo
E ^
-O -o
3 -0- m
2
1
1
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O
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5O - -_ - _ - _ - _ _-
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i
^
b^
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--------------- #
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3
-*- b * _
2
-i- ^
T .. T - ------------------ ---- # -------------------- ---- ----- ------------------------ ,
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2
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8-
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3-
^
42
. I 'T ^
It*
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2356
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3
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.....
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^
*
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4----- 8------2-------1----- 4----- 2------------------ *

A b 1,
i
h
1 ......3' 4 * t - t
3
.. ( g ) 17
m t> Hw--------------------------------------------------------------------- ------------------------------------------------------
...,
0 ,------f r * \>m d p f r i - j b
m I.
(3)
D
np~
2
8 -
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2356
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i
*
,
=
jt V
, .
, i .
T _ * i r t
4 i f * r 4 = ! -^ - a * 2
1 * ------------------------- :-------------------------- 2--------- :----------------^
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h i =
^7 4
*
-
j-^ h i
%
^
o
T-
L................ - \ % L
45
2
JL
b*-
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2
G
i
JL
W
-
~4----92----- 1......-42
E
4
D
#
=
It=4=
F
UE
+
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#_
_#
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D
==
(2)
&
=|P=
4 ---- 2-----3-
-2
1-
3 SE
t\-+- fr*-
^ tK ft
1-------3------4------ s------ 1------ 2------3----------A------ 3 ......2------ 1
- f a
3 E
D
4-
4 e~
EC
44
2356
8
F o u r-O cta v e A rpeggios

R l R2, R3, R4, R6, R12
Prim ary Patterns:

i
2356
r i i r h
r i i m
i m
45
46
GMC 2356
4------ -t-
<
i)
4 --- ~
JP!}Z
~W~
1
PATTERNS: Bl, B2, B4, B8, (Bl6)

Rl, R2, R4, R8, (R16)
Prim ary Patterns:
i rm m : jwm ujm jw i
ii
2356
47
l(2)
l i f e
4
2 12
4S
-it------ 2 B -
3 1
Q)
-3B2---12-
= 3 - i* = 3 -
~4" 3 2 14-
il
S
GMC 2356
..
fc *.
E
--------------
- 3------------------- 1
* - 2
4---- 2-----------1 2----3----------8 3-----2 1---- 3------ t----9-
1.
J?J>
-31-
1.... ........ 3 4
ib * -
4 a---- 1-2 3 1 23
4
E
i .,
= = ^ ii= ^
Q4
...
i
1
E
3
0 * #
i
TJ #
JL
-1------ 12-
1 * !Lzi
=3C=?=
fr-
>p
JtL ^
A 3
-------- --------
H
8
(2) 1
Pta
GMC 2356
1 2
1
1 . #
*
1
-6-4-
-1---- 64----------3-
-4---~9TjjjT
45
9
A rpeggios on One String
TRIADS
PATTERNS: Bl, Bl, Bl, B4, B6, B12

Kl, R2, R3, R4, R6, R12
Prim ary Patterns:
i (p r h r h r h it f f n j w s m m r n m n t t t;n
W ritten f o r the G -strin g , the e x e r c i s e s in this s ec tio n a r e to h e p r a c tic e d on a ll fo u r strings.
^
f
- ........
........... -...... * ........1
i
2
T . . . z g =
--------------------------------------- i--------------K--------------------------------------------------------------------------------f
i------ # ------4------0 ----- ------- 4-------------------------------------------------3----------------------- ------- # -------------- 8---------- . --- . . 1---------- 0
-------- d
.......... ........ ........... ^
"' '
________ i_______m.
4
4 ........4"
Vw
~9~
4-
-m 4-
-L .-. ft#
&
i= ia c
x. U
- 2 a fe U r
(2
# ="*
b* $triE
, ....y
#....'-2
* 4 7 - g i
7#
4
# m
_
*-----~.....
....4
-*
-#,
it.'
(2
3)
# ...
_4---- #---y - frf- *-
*
m
50
GMC 2356
GMC 2356
51
2
^
2
3
a
.1
# i.
#
1
I ji
#
- J * ------------------------ 3-------------- P * ----- 4------- ----- # ----- 3------------------------ ----------------------- ------------------------------- 4 ----- ----- # ----- g---------------------... 4 ,
------ 2------3 _ ---------------- -------- * ----- ---------------~ r fo .............
ttl
*
" 2 ' ~ 8 ........ :...............: ... - ................ 4 .........
!.....
.................... .................
a> '
Jj
__
# r
1 ...................................................................*
' ' __ 1
*
i
3
JjiJs
i=
1 [
(2
$
52
43)
<!
4 =fe
$ ~ *T
J*
IP
GMC 2356
DIMINISHED SEVENTHS
PATTERNS: Bl, B2, B4, BH, ( B u )

Rl, R2, R4, RH, (R16)
Primary Patterns:
i r m
\ \ fip .J W J T fifT H X
- J
3----- m--- H
---- 1 2--- m
W -k ^ --- 3------------------I
.
-----0 a
---------------- ... ~ 1 i ~1~ i 5-2---- --------fc k * T
2
---------- 3 ------------* -
- 6 ~
. _________
J L ...... 3----------
,8 ---- ---------- 1....
i& b 4U ô n J i t *
---------i
J s L __ ________ 2
-*-..
W 4 *----i---- ~------------- :
J
1 5 W T
1
2
b.
.
' ..
,3------------------2
............
it'1 b#
m
-----g___= ^* -----......
jU J -----1------s-----------a
* i_ il
h
------------^ = 5
^ - - 2-.......
M r
o ........
DOM INANT SEVENTHS
PATTERNS: Bl, B2, B4, BH, (Bl6)

Rl, R2, R4, RS, (R16)
Prim ary Patterns:

J j j j j / T T j
wf m
n m
u w
1
GMC 2356
53
..In
Jn
>f
.i
'2
\>0-
l i
^
.1
$0-
= p jB

I?*-*
M:
(o)
3
54
-M-
GMC 2356
Broken T hirds
Groups of twelve notes. PATTERNS: Bl, B2, B3, B4, B6, B12
Rl, R2, R3, R4, R6, Rl2
Prim ary Patterns:
i jmjmm
?iun irh rh n j isjpm im n i

Also slu r two m e a s u re s .
P r a c tic e in a ll the k e y s ,
IN ONE POSITION
P r a c tic e both fin g erin g s to c o v e r a ll the p o s itio n s ,

I
* w"m+
ii
$
III
.....
VI
l
VII
ON ONE STRIN G
P r a c t ic e in a ll the k e y s . Eight different fingerings are given.

string.
They may all be applied to any
EN TIRE SCALES
P r a c tic e in a ll the k ey s .
-4 1-
-4 1-
w
1
56
GMC 2356
Broken Fourths, F ifth s and Sixths

FOURTHS IN ONE POSITION
PATTERNS: Bl, B2, B}, B4, Be, B12

Rl, R2, R l R4, R6, Rl2
Prim ary Patterns:
f jr ^
jw jw
in j j~j j t j
jt j
rn
A lso slu r two m e a s u re s .
P r a c t ic e in a ll thS k e y s .
fingering.
Practice each ex ercise first with the upper, then with the lower
FOURTHS ON ONE STRING
PATTERNS: Bl, B2, B\ B4, B6, B12

Rl, R2, R l R4, R6, Rl2
Prim ary Patterns:
im im m n rn rhrhrn i
P r a c t ic e in a ll the k ey s . All six of the succeeding fingerings may be applied to any string. The
"creep ing"* or "c a te rp illa r" style of execution is applicable to fingerings 1), 2) and 3).
Fingering 4) uses extensions throughout in the manner of fingered octaves.
3
-0-3-
-*-3-
-0-3-
0-3-
jslL
-0-2-tr
* T,C reeping" fingering as shown in example a) should be pi ay ed as illustrated in example b) While the
fourth finger plays the a', the first finger co n tracts to f '. It then acts as a pivot for the shift of the hand
and arm toward the next position. Example c) shows the use of an extension: the third finger stretch es
up to e " while the first finger rem ains on b . The third finger then acts as a pivot for the shift of the first
finger and the hand to the second position.
The sam e principle applies in descending fingerings as shown in examples d) and e), the form er with con
tractions, the la tte r with extensions.
58
GMC 2356
FIFTHS ON ONE STRING

Prim ary Patterns:
i rrn rrn
PATTERNS: Bl, B2, B4, Bh

Rl, R2, R4, RS
n /rajram i
P r a c t ic e in a ll the k e y s . This ex ercise can be played in three different ways:

1) by shifting in the traditional manner.
2) by maintaining the stretch of a fifth throughout:
3) with "creeping" fingering.
i /----------- :-------------------~/f t y
i ;.iv i i
" #
- W .... *
GMC 2356
...
1
....
.. m
0
t ; ... ................
...... m
9
r ....0 1 * ---------j ------------------------------# -------- ...# # * ---------- - ~

"0 ...........
m
^
...................
0 ....... m ------....
................. ..
..... 9
59
SIXTHS ON ONE STRING
irm rm
PATTERNS: Bl, Bl, B4, BH

Rl, R2, R4, R8
Prim ary Patterns:
P r a c t ic e in a ll the k ey s .
11
Here, too, three different ways are possible:
1) shifting one step while maintaining the stretch of a fifth:
2) maintaining throughout the stretch of a sixth in the manner of tenths.

3) "creeping" fingering.
60
GMC 2356
12
T he C h ro m atic Scale
Groups of twelve notes. Use the A c c e le r a tio n E x e r c is e (page 5) in addition to
Rl, R2, R3, R4, R6, Rl2
Primary Patterns:
*
hi
j r r n i n T n iii
Also s lu r two m e a s u re s .
IN ONE POSITION
*
iw
ri
-i 7
; n*
3 , 2
-I".
# |?*I
> *'
1 ~2
'
o .ll
i l:
i " j(l
-t t-
o i 4
b"*-
li
* I*
2 T
-? -t
-p -
rwr^r
W '
1
e x e rc is e may be continued into high er positions.

GMC 2356
61
ON ONE STRING
P r a c t ic e a ls o cm the D and A s tr in g s . All four fingerings may be applied to any string. Other
fingerings may be devised.
& 1
* ii
a . ba
..T U p
Q.
? * r > *>
3 , 3
2 ji 3
-O
a#
FO UR-O CTA VE SCALE
, 2
. 4
k+ :
it -
\>j l
X -
L i
L4
, 2
o:
13
T he W h ole-T on e Scale
ON ONE STRING
PATTERNS: Bl, Bl, B3, B4, B6, B ll

Rl, R2, R3, R4, R6, R12
Prim ary Patterns:
jt j
r h
r n
f n
jw
h t h w
Also slu r two m ea su res.
P lay on a ll fo u r strin g s.
G
..V*
l . H It -
&
.......... --------------------- ................................................. ..........................

............ : ........>
M
>
3 ... ~
* 1
f f *
T * *
'H m
" h 0
*"3
S '* " '
; *
>
m--- _ I 4 ~~ 3~
7 4 * b \>m
"
--------------------3 ---------------------------------------------------------------------------- ------------------- ---------------------------- -------------------
=
2
X 3
ACROSS TH E STRINGS
Patterns as above.
D
3- tr-1.
-4 -
*
GMC 2356
-e 39-
1>* b#
4 i3 ,2
î4 -W
^ -3 a9 . #
_I4
=
2----0------ g-- * ---- --CHF"
.
A
4 1
1---,---- *----- m--- *
,3 2
4 T
D
-4---- 1-
D
5?=
-4---- 1-
4 ------ 4-
-4--- +-
63
tt
X
0
I.
J?
TO
* . li H 4 . j>
^-jrT^Tyrzzig
- - 1
^!>
? imz
#* #* f a
A
l
mr
$*
If#'
it
1
IMZ
|* fe
D
3
it#- jU _ 4
d
G
D
n ,
i i i ^
z .A......4 ___________ U .i k [/
y^ : ...LV%.
|2 ~ m *
---- 4 1
....." --^-^------- ------------------------------------ ---------------------------------------------------------- 4--- tx>
G
D
A
D
G
TH R EE-O C TA V E SCALE

R l , R3, R9
im jtj m isnmnbiihmiT.
Prim ary Patterns:
i5 -*
b*
1
D
\>i
-U ^
54
[?
GMC 2356
A
ElEEE-E
ft*
fl?
Ix-
ft
8------ 4-
h.
t?
b<
D
M-
G
2
S=4
*4 =
% - # ^
t!
ftf:
b*
bJ
JXL
D
E
A
-tk ..
-4
0t-
$k
-*-4-
j* il
i3
b*.
A
4
Vm-
1
hm
\>A
A
3
=k::::,.h
1=
-8
2
JT
i
H
3=
l> bi
A
4
3E
D
GMC 2356
55
A F ew N o n -T rad itio n al Scales and A rpeggios

The sca les and arpeggios in this section are intended as introductory study m aterial for
contemporary music. Each ex ercise is built from a basic interval or se rie s of intervals
indicated by the lower bracket and regularly repeated at a definite interval-distance shown by
the upper bracket. The resulting non-traditional sequences provide a technical basis for an
approach to present-day music.
SCALES
PATTERNS: Bl, B3, B<)

Rl, R3, R9
Primary Patterns.
jT j j t j m
#- S'#
t
~! j i i| iw
t
A
^ . # # * = ^=
:\rr
? ^ ,.
--------
4 v
j.
3
=3=
-fZ m
-3---------- 1---- ^
\rr +
*
CD
^ ? tt? i
r >
b# \{
I
^
* $-
4
#
2
if
# 0
f|)
- ,
- - - - - - - o
- - - -
: -
-,
j> --i
fj# L - g* g * m L- 1------------------............ * ?# r * ^
*7%^ upper accidentals re p re s e n t a second version o f the sca le.

GMC 2 3 5 6
67
& t>. ti t
$
'1
ft*-#* jj> _ a b#
*
(3
A* tt# *
IT
........ r
b ^
*^
.
.
.
____________ ^ -------------------------------------------------------------------------w
IT
h lh
'/ *
^
l! I k f e
4 -
.................................._ r
+ - 1 - - - - ......-
= ^
..............
j . 1
4 ----------------------------------------------------------------------------------------------------------
ff#
l ^
- b
b*- Lm ^3
f f -
hi
*
# tt?
ii
-------------------------------- N
B
-
L(2)L
W
u4
l \ . j|^
6S
.
*
.11
g =
2-
b + r ^ -
1 . 1 > ; I ^
E
1
bv 1 * , *
.
4 ' A* ff ^
D
t Thn* w
r ;o ^
# -r k b?
^
GMC 2356

Rl, R2, R3, R4, R6, R12
Primary Patterns:
i f n r n f i i j j j i? j m j m m j i s m m im n
Also s lu r two m e a s u re s,
I . 1.1
f#
ft
=
b*
. b.
3
-m
ft # bi
=*=<
ARPEGGIOS

Rl, R2, R3, R4, R6, R l2
Primary Patterns:
t i m m m } m r h r h r h s f j m m m im r,
A lso slu r two m e a s u re s .
70
GMC 2356
i*
it .
,= 4
A
, (2)
ii^
^ = *
> - -fe
3 F
o.
4J = ^ b *
j -
(2) A
:.y '
A
3
"F ^ "
A
,( 2 )
*
GMC 2356
"? '
\>J
*4
71
31 $
:g JfiB"W
(3
J_ k i
tK
i~
e :
-(3-
h r fit
-#-
i ^ ^ t .
>
W **
A
hi
l*i
-# -
\?j
J - J
= i= f
72
GMC 2356
jl
____
=-------
* aF_ _=_
8 -------- - -3
n
V ----- (4---------^tt------t- J e . #->-- i .. i_ i 2--------zJLp______
. ....--- ----- [--i--
:----------....... .......
p----------
--------1
:....- -g*Lzta> i.:-----^ ..
* b*l?#
=
-----------8 --------
ji3
^
^ i - ^ b l,
= 4 = ----------, | ,.^ ^ ' . & * * ,-----------------------'>* ,t|2
h-.
~~........
...... 79*
* L ----=^f l"
----------------:
^ L"Wlir^ -------------------------------
,
------------------------ -0- ^ -------- -1
- .i-/* '
4 ............... ..
8 ---------- - .
^ ( Iji hl jd.
^
H h_4
* _..
ff* j>
----------- - -------^ *.-----------i.
....
1
_ .............
......
8 ---------- - 3
i * ^ t ii- -.-=
Ji
, .
} *
^ T i k ^ - ..
.......
= *
j)
^
.... .,
b^ * # # ------------------- = .
GMC 2356
1
*
I....w
... A
.........
!-_______
------ --- ,
"
~
k. 1
,
1
f t* 4 * = ^
73
i L2
\}M-
- 3 --------1-------3-------
b'M- 2
1-
4=^4
h r"
D
~
jj
f t
D
,
i L . b*
# , b# ij
2 ...
E
#
bi-tfc i
~
t| ^
~ t :
* ,i =
yy
Groups of nine notes. PATTERNS: Bl, Bl, B'J

R l, Rl, R'J
Primary Patterns;
?jtj m
Also slu r two m e a s u re s .
74
GMC 2356
A , 3 bl
1 \>M-0-- 77-
GMC 2356
bl
bl
=
,
bi
L
b#-
k
pj
-0-
75
Ivan Galamian
Frederick Neumann
CONTEMPORARY
VIOLIN TECHNIQUE
Volume One
PART 2
Bowing and Rhythm Patterns
Catalog No. 1.2356

a division of
(ECS)
PUBLISHING
B o w in g Patterns
The Bowing Patterns are realized by repetition. Thus, the basic two-note pattern
be
com es
Each m aster pattern form s variants by being shifted, note
by note, across the bar line.
All patterns maybe started either upbow or downbow. Dots may be substituted for dashes
and vice versa. Either may represent any kind of detached or staccato stroke, short or
long; on or off the string.
Apply the bowings fir s t to the Prim ary Patterns which appear at the beginning of each
ex ercise in Part I. Then combine them with the Rhythm Patterns to be found starting on
page 20 of Part II.
GMC 2356
ONE-NOTE BO W IN G PA TTERN S
i)
1)
3)
g m c 2356
2)
Bl
TH REE-N O TE BO W IN G PA TTER N S
B3
4)
0 0
Copyright 1966, by Galaxy Music Corporation, for all countries,

a division o f ECS Publishing, Boston, Massachusetts.
T W O -N O TE BO W IN G PA TTER N S
Bl
P rin te d in u . s . a .
B4
FOUR-NOTE BO W IN G PATTERNS
GMC 2356
FIVE-NOTE BO W IN G PATTERNS
* Variant :
From here on , each m aster pattern is followed by a variant which can form still fu rth er variants by
being shifted, note by note , across the bar line .
GMC 2356
B 5
B6
SIX-N OTE BO W IN G PATTERNS
GMC 2356
GMC 2356
GMC 2356
EIGHT-NOTE BO W IN G PATTERNS
1)
CMC 2356
2)
B8
10
GMC 2356
N IN E-N O TE BO W IN G PATTERN S
2)
i)
GMC 2356
11
B9
12
GMC 2356
7)
GMC 2356
8)
13
Bll
1)
TW EL V E-N O T E BO W IN G PATTERNS
0 0
0 0 0 0
0 0 0 0 0 0
2)
14
GMC 2356
GMC 2356
15
16
GMC 2356
GMC 2356
17
(B n )
SIX T EE N -N O T E BO W IN G PATTERNS
Sixteen-note patterns are formed by combining patterns of sm aller groups adding up to

sixteen notes, such as a twelve- and a four-note group; two eight-note groups; a seven-, a
six - and a three-note group, e tc . These newly formed patterns may then be shifted, note
by note, acro ss the bar line to form still m ore patterns.
Exam ples:
a twelve- and four-note group:
two eight-note groups:
The sam e combination principle can also be used to form new twelve-note, nine-note,
eight-note patterns, e tc .
GMC 2356
19
Bl6
R h y th m P attern s
The Rhythm Patterns, like the Bowings, are realized by repetition. In some instances this
repetition is spelled out, partially or entirely, for greater clarity . A bracket I
I is then
used to indicate the basic pattern.
A slur combined with a horizontal line linking two notes shows
that they
as one note. For example, J j> indicates one note representing the
teenths. The line is to show that the pitch rem ains unchanged.
time
are tobe played

value of five s ix
Beginning with R2, the patterns in each chapter are arranged in three groups under the
headings of a), b) and c ) . a) presents simple rhythms in traditional m eters, b) syncopated
rhythms and c) rhythms in irregular m eters.
The following patterns should be practiced fir s t ddtache, then legato.
For legato practice
begin by slurring the notes of the pattern only, J^ 3

Then extend the slur over the en
tire m easure. Where re sts within the pattern prevent a legato rendition, play the pattern in
one bow stroke,
As a final step, bowing and rhythm patterns should be combined as illustrated in the last
two examples in the preface.
NOTE: It may be advisable to begin the rhythm patterns on open strings before applying these patterns
to the scales, noting those that are troublesome fo r additional attention.
20
GMC 2356
Rl
ONE-N OTE R H YTH M PATTERNS
Every sequence of equal notes represents a one-note rhythm pattern, to be defined as the
repetition of a single note, or of a note and a re st:
4)
3)
2)
1)
IJ J
All Prim ary Patterns in Part I belong to this category. T here is no need for further examples
except for afterbeats and syncopations like these:
l)
7 j
jllj>
4)
7 J r /X -J J
8)
3)
2)
-j ? | |
0 0 \-0
in ? n
5)
7)
6)
II7 J> 7 J> II 7
7 J T " ! Hi ? / T T p
10 )
9)
? J) ? j! ^ j! I ? J* v y ^ i
GMC 2356
I u
r 1" ^
| -j
I m-I0 0 -w m
^ i I i- J*
J* */ J1
jR .2
T W O -N O T E R H Y T H M PATTERNS
1)
2)
3)
4)____________
8)
9)
10)
77 i H 7 i n
1)
2)
in.
3)
4)
b) i j_ . f i i j ? i> i n j
ii
5) 2 against 3
in j
J
1)
2)
6)
iie I e ? i i n ii ^
*>i d ) n ii>777 ? *> i n

7)
5)
3)
f^ L T f
4)
c) g J. J I J J. I J J>I J> J
5)
6)
7)
8)
I J J. I J. J I J-J> J I J JU I
9)
10 )
11)
12)
I J Jl I J. > I J> J I J J-
22
CMC 2356
TH REE-N O TE R H Y T H M PATTERNS
1)
2)
3)
>id) r ~ n i m
im
8)
7)
4)
9)
1)
i j.
8) 3 against 2
t r
1)
im
im
7)
im
_ j
9) 3 against 4
id ji
ni
rt
3_ j
12)
j ? } ? i j ? > ?ji
6)
5)
r m
11)
3)
ij i i
4)
* vi
iii j t j
2)
b>i ?
iF 3 n
10)
j~~b i h i . i m
6)
5)
im
R 3
i r~ p h " r P r
2)
3)
4)
5)
6)
7)
c) j. n i n j. i j>j. j> i j j i> i j j>j m j. i j. n

8)
9)
10)
11)
12)
/3J iu n i j n n n j
13)
14)
IS)
16)
iit j>j
j jllm
17)
i j j j> j. j j i j. j. j> iu jT ju j j j io j i j>j._j i>i

GMC 2356
23
R 4
FOUR-N O TE R H Y T H M PA TTERN S
1)
) i
2)
3)
4)
JT731 srn i rm i rm
8)
9)
10)
I3 j
irm
11)
j 3
nj m
12)
7)
6)
5)
rim i
13)
14)
r3~)
rm. iii(t) rm i rm i rm i rm . nrm i rm

16)
15)
J
20)
II
17)
JrH'dJ
21)
III
18)
19)
J. ] J J II J J J. J II J J ?] J
22)
23)
24)
25)
rm ii rm. nrm 1 r m nrm.. 1 rm

1)
2)
3)
4)
wi r 3Xrn ii r~i-m 1 ns~n 1 n _ m

6)
5)
rm rm
8)
<t j
i ? m n y j 1n
9)
jn jn -j
13)
7)
ru u ^
10)
11)
ii J- 5 7 7 7 ii X T J L s
ii
jm
12)
>j. r m
ii
r n
15) 4 against 3
14)
7j> j 7j> i j_ r 3 - r 3 .
1r im
in j
1)
2)
3)
4)
5)
(K 4 )
<) j jtjii j>j n i i ' r r n j J r r n s j i j j t j i j i j n

6)
7)
jt t j
ii j m
8)
10)
9)
12 )
11)
2 J JIJ J IIJ J ii>J I J. ; JT3 J I J i m I J J7TJ J

13)
ii M n
14)
15)
\j. i j.
,,
J. i J J> I
3 +2 +3
J. :n
i .
: J.
FIVE-N O TE R H Y T H M PA TTERN S
1)
) j j j j j i r r m
6)
5)
i rrr~ n i m
irrm
8)
7)
4)
3)
2)
m w r h n
10)
9)
i(i) r r a i i m
14)
rh
GMC 2356
15)
in
12 )
11)
i f r j jtjii m
16)
f f i i Jrn
n
25
13)
n nnm
R5
(Ri)
i)
2)________________ ,
w 3,
? i
4)
m m
6)
5)
%j
ii r \ n ^ r n
. n
3)
7) 5against 2
n jr u r \ n
m r r r n
r r i ftr
1)
2)
c> >r m
>
3)
4)
i >r r m> nn m
7)
11
6)
5)
n \nm \
8)
n m
i jrr3 m i
10)
9)
2> n
i r,R i n
13)
/nin
1j
14)
j J- 3 II
12)
id
15)
.H II

16)
7 ! JfS
II n
II
GMC 2 3 5 6
SIX-NOTE R H Y T H M PA TTER N S
1)
2)
*>! r r r m
3)
6)
9)
i /j j m
11)
10)
j j j rn I j j r n j
13)
17)
12)
15)
18)
I 3 I
j j
16)
22)
____
19)
I 3 l
rm n
20)
27)
i j srm i i m j i
23)
25)
24)
im ~m
im
?m
2 7
26)
j3s
i3-i
1m
i h
30)
32)
im
1m
29)
r n i j~ tj m
?m
i r r r m nm m
28)
31)
21)
|3 |
i j j m
GMC 2 3 5 6
J J J J J IJ-j J. J~ti l J J J J J J. IIJ J. JJ J J
J.
irrrm
ij Hi j j i
14)
8)
7)
fj i j n i JT T m
8m
4)
i; j j j j j ij j j j j j in r m
5)
R 6
1m
i)
( R 6)
2)
b>i ?
____________
ii >
x m JT3 'jllt73 m i
3)
5)
7)
8)
ijn-ri-rn n
frir:im
6)
4
4)
n ^ n .n n i n .- n n ~ m i r y ~ r n s ~ n
9)
10)
n n ~ n
1)
2)
c>i j y r m
ii
3)
nrm nm m rmn
6)
5)
r r r m
rm
ij n
16)
j~j i j>j J>jm
18)
19)
i j n im
20)
i i
i j *\ rm
,---------------------------------------- 1
ii m
\m a j m
21)
12)
15)
im u
17)
3 + 3
ii r m
11)
14)
ij
m
j . r a j i e j ^ j i n j r n
13)
2 +
nm
10)
8)
7)
9)
4)
k *
ii
22)
k *
"T i
ii 3 + 2 _ + _ 3
8
23)
m \n\i
24)
n\m
28
GMC 2356
SEVEN-NOTE R HY T HM PATTERNS
1)
2)
3)
4)
R 7
5)
>f /7JOTII jm JT J I JT3 O T IIJT 3OTII O TJO TI

6)
7)
rn rm
10)
/r a . m
ii
11)
ii j j o t j ii / j o t j
12)
13)
ii
14)
JSJ J53II O T /T 3 1 171 OTII O T r S I jTJ J=T5S1II

15)
16)
r 3 ~i r 3 ~i
1J
17)
r 3 ~i
r 3 ~i
I J7JJ
.ffijjJ
JjJ
i~
18)
19)
20)
3 ~i r 3 ~i
_______________
I J j j j j j J I J JJJJJd I JJJJJJj I J5 E J
1)
2)
>> i
;= m i >
3)
i 4 L /t
t j
4)
4 t r
5)
m /n n i r r m n i /rrrrn
6)
7)
8) 7 against 2
9) 7 against 3
"J \
ii
GMC 2356
i i ii
I
sri r
* 1"*
i i ii
I
r r
ii
i
/ "J\
j .....j ... j
i i i
I
i i
r
29
I I'
f-'N
j -t
i i i
rre r
j j
i i i
I
J5
(R7)
1)
2)
3)
4)
oi m rmirmm irm mnrm m

6)
5)
r m nm r m
j im
13)
nm
r r
ir r r r m
15)
nm
rm
16)
\n m
n ir m
19)
18)
17)
12 )
14)
irm
j> /n iln /r r s
11)
10)
9)
8)
7)
m rm wnm mi }xrmm ? ju
20)
22)
21 )
n ;j
jM
m ji m
m i m j i m u m j j>ij j>ii
3+2+3
26)
25)
24)
23)
i m
I
50
f t
GMC 2356
EIGHT-NOTE R H Y T H M PA TTER N S
1)
2)
R 8
3)
>I F T H FTFF I /3fT3 FTTT I F T T J FT1F

4)
6)
5)
rm rm nrm rra irra rm

8)
7)
9)
rm r m n/r a rm 1 r m r a
10)
12)
11)
13)
r m m i . i r m . r m nn r . i m
14)
15)
16)
j j n n J j I r a n
17)
j j n I FTT1 j n j
18)
ii
20)
un m n r .
19)
r m
/m .
nm
21)
ra n
22)
rm ran nj m ran nran nm i

23)
i r B fm
27)
24)
25)
im
nSn r a m
28)
29)
26)
30)
irm
m
31)
D fUJffCJ IIJ JJJ Jiid I }fti IT) I J71 J33SIIJSS/TJ

G M C
2 3 5 6
3 2
(Rs)
1)
2)
>) 3 1 'j n r m 17 ?j /3
3)r
i } i 74 = /^ - *^3 i
j r i 'ru m
/ m m . r a m
n m T R -F m II /T T /T 3 /T3 I
i ! n j~ x n . r a i W m n r m n
i 'r m r r m
') s r~3 j j j j j j i / m
" r r a
7)
i jn
j. j j. dj. j i j f m r r r
8)
9)
J J J J J JJJII J! 3 JJJJ J! 3 I JJ JJJ X 3 3

10)
11)
ir m
12)
irrrr^ m ir m rro
13)
14)
15)
rm rm i/rm m njttj m /3
16)
17)
18)
20)
21)
v*n m m nn m m nmj J>m

>
>
>
19)
af a >j t j >r3 >m
nm
n j t t j nr m
32
j jtj
GMC 2356
N IN E-N O TE R H YTH M PATTERNS
2)
3)
4)
5)
6)
ooco
1)
R 9
j n m
ij n n j m
8)
7)
i jo j m
9)
m JT} m I I JT
3JT3JT
3 I I J J3j t j :j J J II
10)
11)
jj/jjjj
n u n
fc-ro
13)
16)
m m
I JJJ J
2 3 5 6
r m
i m m
nr~ j
Ij J
18)
r t i
nn m n m
21)
20)
rrm
s ii
15)
17)
19)
G M C
n i s m nr m n
14)
J JJJ J
r r i
12)
m m
33
nr m m n
1)
(R 9 )
2)
3)
>)m snm i m mm i m m m
>
>
>
>
>
>
>
rn mm i m mm w
m mm
8>r
7)
trm . n
1)
rm
nx l r i m . m
2)
3)
o i n tF rm t\ m m m
4 ) _______
irsmrm
12)
10)
i j jjjjj
13)
FFFTt
rm IIJ J.dJ.dJ m
15)
mjw
_______________
nm m m i r a f f r m n
Fimfmt. Ft. i nj. j j. j j j. j j. i i j j j j j

9)
i jjjjj j j j j i
11)
i j j j j"ji
14)
IJ. JJJJJ JTT3
16)
17)
2+3J
n \ m \ m t i m \ m \ m i rt\ m \ m
8
18)
19)
r n ir n ir n
20)
3
+ 2
+ 3
i r n if f n i
21)
22)
m \ m \ m \ m \ n \ n T ] i m \ n .\ m
23)
24)
i r n i j~3 j j i j. m
24
i r n \m
GMC 2 3 5 6
TW EL V E-N O TE R H Y T H M PA TTERN S
1)
2)
>2 n n j j j j j j j j i
3)
jm j t
4)
6)
5)
fh sfj i ifi n jm rh i m jfi rh n

8)
7)
jt jtt
jt j
9)
ii j jt jtt
10)
j t jjt s i j t jtt3j t s j t
11)
n fm fh n
iij
13)
/t o t ii /j o t
j t j jt j
12)
mmmmmmi
14)
jt jt
15)
j jt o t jo t ii j o t o t j t j i j j o t j t
16)
17)
j jw n
H77î j
18)
jt t t j t t /3tt nj t t /sr j j t jt
20)
19)
21)
J JTJ JTJ JTSTIIJTTT3 r n J JTJIIJTJ/OTJ JTJ

22)
23)
mmv rhwmmj r h j
j jtjJS 5 3 S J iij
25)
JT J
G M C
2 3 5 6
24)
26)
27)
JT J3 O T IJ J3OT JT JT I JT J3OT JT J
2 5
Rl2
ro
(R 1 2) 28)
29)
J J J
31)
30)
JJJJJJJJJ i j j j j j j j j j r n
jjjj'jtj
ii
32)
33)
JJJJJII JJJJJJ
34)
j
36)
2 j-j
39)
n
42)
35)
j j j j j j j j j j j l JJJJj j j j lj j J I
37)
38)
mm i nm n mm nmmnm n n
40)
41)
i n r t t iJ i f m
43)
44)
J J J J J J J J Jim II J J J J J J J J
45)
/f f l
48)
J JII J J J J J J J
46)
J"J"J J I
JJJ
47)
J JT] I J .s3=r3.^=: J"T1
49)
50)
i j? js r 3 n f f i
j- ]
51)
i / ff3 /r r tt jfjii
52)
53)
r h j j f l j f f f } i i r f a f f f i r h nj w r i i n b i n
54)
55)
56)
.T f e T n .m iiJ i m m f m iij r m n m r t w
57>
58)
59)
j j j j j ji j FTTt i r m j j j j I m n/ m j j j j j j j j i
GMC 2 3 5 6
Note: The preceding patterns can be varied by substituting dotted notes:
JJJ
T ]
b) I j j j j J j - j -j - j
>
>
n u n
3 can be played J
JJJJJJ
j j -j
|| j j j
>
>
J- J
JT"5
canbe played f l . F3 r ? 5 .
j j j ' j J' J J J J | J J J J J J J J J J JJS

.
(R 1 2 )
>
>
>
>
>
JJJJJ>JJJJ J
JJII J'J7 "J>JJJ>J'JJ>JJIIJ
''JJ
JJ J
JJj> JJjII
>>
>
>
>
8)
7)
9)
JJ>JJ>JJJ>JJ JJ> JII JJ>JJ>JJJ>JJJ>JJII J

JJJJJJ
JJJ JJII
>
>
>
10)
i f }
>
11)
r
>
>
/ t>j i i
13)
>
12)
m
>
11 m
>
14)
>
>
15)
j n >J T D / >T i n J >I I / T> J / T l J >T l J T > J I i n n J T> J / T J J> T J I

16)
m
17)
m
18)
m
11 m
n n n sh sh I j n n
11
H TTh J.1JJ. JJ. JII
n
i
m m n i
8)
jT D .jm jffli
9)
10)
i
37
n~tTT73j jfm u
Rl6
SIXTEEN -N O TE R H Y T H M PA TTERNS
l)
>i n
2)
rm m
j j j jtj
4)
3)
r~ J
/ 5 T 3 JT T T T 3 .FTT3
sm
8)
7)
M ]
r r t i S~1
J"~J
10)
9)
1J JJ J
0 0 0 0 0
JJ
12)
id
m m i
6)
5)
rm rm n
r j
j j j j j 1]
ifr
f r m
13)
14)
15)
16)
um m TTm i m
18)
17)
J JTS /f f 3
j j j j
J 1j r r r m f m r m J
20)
19)
jj jj j j jrm i
F m H T fT FlFT T }' J
3S
GMC 2356
21)
22)
r h
H T T i
J J J J J J JII J"'J j-J" J" j"j
23)
JT J
J I
24)
3
f r m j j j j" jttj i
25)
4^<C0
(K M )
26)
jo t
j j j j j j j
j i
27)
mmrm nnfmrmmmrm mmmm i
28)
29)
30)
IIJJ J J J"JJ jJ 5j j j j J
31)
32)
J J JJJJjJJj JJJJ^
33)
I J J J J J J J J J J J J J J ^"3 II
34)
3
35)
IIJ J JJJJJJJJ J J J J T J I JTJ J j JJ JJJJHj J J J I

36)
37)
f j T 3 r i~ j
i J fw w u m
40)
39)
38)
12
=n II |.T"jniy r T B g
7 s II J J J J J J J J J i f f i - T J J J
12
J J T J
42)
41)
10
10
II J J J J J J
43)
9
im m i j j j j j j j yddddddd I Jdddddddd
GMC 2 3 5 6
r i~ i
39
1)
(R M )
2)
b) i >r m >r m r >m r >m i >r m r >m r m> r m i

3)
4)
nr m
r m> r m> r> m> r m
>
>
r m > r m > r m
r m> r m > r m r >m i r m r m> r m >r m
>
1)
2)
<>? ~ ~ r m r m r m i n r m n r m r m
sj t j r h r h r h rm i 'n r h r h rm rm
nr r fm r h
n r h rm m m
7)
rm m m \ \ r m r h n m m )
OOQJX
9)
10)
rrm i
j j j j jT j
1 3 1
00^1
rm
8)
j n m
13)
r n
rm rm
nm
1 3 1
12)
r r r r r m =rrm ~ m
j j n
r 3 I
r 3 I
3 ___ ,
m r m rm rm
14)
J T J H A i II j n
r -3 I
1 -3 -1
Jfffl
j j n n j j jjjjjjjjin rm jjjjjjjjjj
15>
r-a -.
i -----1
4Q
16)
,- a - ,
i3 i
GMC 2 3 5 6
Ivan Galamian
Frederick Neumann
Volume Two
DOUBLE AND MULTIPLE STOPS
in Scale and Arpeggio Exercises
Catalog No. 1.2562

a division of
Contents
PART ONE: SCALES
I.
THIRDS
A. Diatonic Consecutive T h ird s................................................................................................................
B. Thirds in Disjunct M otion
.......................
C. Chromatic Minor Thirds .......
D. Chromatic Major T h ird s.......................................................................................................................
E.
Whole Tone S cales.................................................................................................................................
F.
Alternating Thirds with Open Strings.....................................................
G. Extensions.............................
2
3
4
5
5
6
6
n.
SIXTHS
A. Diatonic Consecutive S ix th s ................................................................................................................ 7
B.
Sixths in Disjunct Motion ..............................................................................
11
C.
Chromatic Minor and Major S ix th s................................................................................................... 12
D. Whole Tone Scales .............................................................................................................................. 13
E.
Alternating Sixths with Open Strings................................................................................................. 13
HI.
OCTAVES
A.
Diatonic Consecutive O ctaves.............................................................................................................. 14
B. Octaves in Disjunct M otion..........................................
15
C. Chromatic O ctaves...........................................................................
16
D. Whole Tone Scales
................................................................................................................................ 17
E. Alternating Octaves with Open Strings......................................................................
F.
Extensions...............................
17
IV.
TENTHS
A.
Diatonic Consecutive Tenths
................................................................
18
B.
Tenths in Disjunct Motion............................................................................................................
18
C.
Chromatic Minor and Major Tenths
.......................................................................................... 19
D. Tenths and Octaves Combined................................................................................................
19
V.
FOURTHS
A.
Diatonic Consecutive Fou rth s.............................................................................................................. 20
B. Fourths in Disjunct M otion.....................................................................................................................20
C. Chromatic F ou rth s...........................
21
VI.
FIFTHS
A.
Diatonic Consecutive Fifths...................................................
22
B.
Chromatic Fifths
.......................................................................................................................22
VH.
UNISONS
A.
Consecutive Unisons.......................
B.
Disjunct Unisons
.........................................................................
23
23
VHI. SEVENTHS
A. Diatonic Consecutive Sevenths.............................................................................................................. 23
B. Sevenths in Disjunct M o tion .................................................................................................................. 23
IX .
X.
DOUBLE HARMONICS
A. Scales in Thirds...........................................................................................
24
TRIPLE STOPS
A. Diatonic Triple Stops in Consecutive Motion......................................................................................25
B. Diatonic Triple Stops in Disjunct Motion............................................
26
*17
PART TWO: ARPEGGIOS

I.
OCTAVES (Parallel and Fingered)

A. Major, Minor and Diminished Triads ............................................................................................... 28
B. Augmented T ria d s..............................................................
30
C. Diminished Sevenths..............................................................................................................................30
D. Dominant Sevenths and Inversions......................................................................................................30
H.
VARIOUS INTERVALS
A. Triads in Sixths and Fifths............................................................................................
32
B . Triads in Thirds and Fourths................................................................................................................. 33
C. Triads with Passing Tones in Various Intervals................................................................................ 35
D. Augmented Triads in S ix th s................................................................................................................. 37
E. Diminished Sevenths in Various Intervals........................................................................................ 37
F. Dominant Sevenths in Sixths and Sevenths......................................................................................38
III.
TRIPLE STOPS
A. Major Triads.............................................................
39
B. Diminished Sevenths..............................................................................................................................40
C. Fourth Chords...........................................................................................................................................40
IV.
QUADRUPLE STOPS
A. Major T riads..................................................................................................................................... . . . . 4 1
B. Diminished Sevenths............................................................................................................................. 41
nM?
Preface
The second volume of Contemporary Violin Technique deals with double and multiple stops by way of scale and
arpeggio exercises. Together, the two volumes are intended to serve as efficient tools for building a technique to master the
violin repertoire of the past and present.
In the first (scale) part of this volume, most exercises are written in C but contain the note Practice in all keys. In
many exercises, where crucial technical problems are at stake (such as scales in thirds, sixths, octaves, etc.) it is important to
follow this instruction conscientiously. In other exercises, though, a smaller number of keys might meet an individuals need.
However, those who want to get the maximum benefit from this book are warned against limiting themselves to the written
key alone. By so doing they will severely handicap a balanced growth of their technique.
Where alternate fingerings are given, above and below the notes, care must be taken not to interchange them. Both
should be practiced and new ones may be devised.
As in the first volume, the notes are printed as unstemmed heads to facilitate the use of bowing and rhythm variants.
Double stops, by their nature, require fewer bowing and rhythm patterns than do the single stop exercises of the first
volume. However, the introduction of a few patterns is highly beneficial, once the exercise is mastered in its simplest form. The
patterns add a new dimension of technical challenge and besides minimize the danger of mechanical, unthinking repetition,
which is the chief cause of wasteful and inefficient practice habits.
The exercises are arranged in groups of either 6, 8 , 9, or 12 notes. In order to avoid needless repetition within the text,
the basic Bowing (B) and Rhythm (R) patterns for each of these categories are listed here:
Groups of 6 notes:
Bf]
J i w f f t f J t
ii
Hu /]. ii ntw m m i m
Groups of 8 notes:
bn r ) r n
ii m n m rm j f f l n
brin /]. i n h urn ii rm . nj m n

Groups of 9 notes:
bfp f n n )\\m m m m m m h
bm i i m m i i J T i i i m m m h
Groups of 12 notes:
b fn ] J ) JjLii m m m m fn m n r m %
n j) r n ) r m u m r j j j j j j j i i
Bm n ^ iin ii/] .iim A ] iim m u
For further variants see Part II (Bowing and Rhythm Patterns) of Volume 1 of Contemporary Violin Technique. The following
examples, as listed in Bowing and Rhythm Patterns, are all theoretically applicable in this volume of double stop exercises.
Groups of 6 :
B l, B2, B3, B 6
R l, R2, R3, R 6
Groups of 8:
B l, B2, B4, B 8
R l, R2, R4, R 8
Groups of 9:
B l, B3, B9
R l. R3, R9
Groups of 12:
B l, B2, B3, B4, B 6, B12

R l, R2, R3, R4, R 6 ,R12
In practice, however, only the simpler of these patterns will generally be found useful; and the teacher or advanced player will
have to select ones that are suitable for a given situation.
The exercises, though generally on a rather high level of difficulty, need not be forbidding to the less advanced player
provided one approaches them by preparatory steps. One such step is to separate the notes of the double stops before playing
them together (the first exercise of the book will serve as an illustration):
'I*
Another approach is to practice a small section of an exercise first on one string, then on the other:
rrrrr
Following this procedure, one should finger the double stops as written, but bow only one string at a time. This method is
especially helpful in discovering the causes of poor intonation and in detecting flaws in shifting technique.
Finally, all exercises can be played in continuous alternation of the strings, be it slurred or detached, starting from
either below (ex. 1) or above (ex. 2) or in the triplet versions of exs. 3 and 4:
ex. 1
ex. 2
ex. 3
ex. 4
The gratifying reception accorded the first volume of Contemporary Violin Technique encourages us to believe that
this second volume will also be useful to teachers, students and advanced performers of the violin.
Ivan Galamian
Frederick Neumann
Table of Symbols
Symbol
Definition
I, II, III, etc.
1 st, 2nd, 3rd Position, etc.
A
D
D
G
Designation of strings;
a single letter stands for the upper string.
E
A
Stay on the same strings.
D '
G ,
------------------------------------
1
11__
.....
Continue with the same finger(s).
.............. |1
Keep the finger(s) down.
or 1
.......H
Reach up.
h -
Reach down.
-H
vi
Part One
SCALES
I. THIRDS
A. Diatonic Consecutive Thirds

G roups of 1 2 notes ( S e e preface about bowings and rhythm s.)
Practice in all major and minor keys. *
i I
a) G
it* f t
1 :
b)
A
D
D
G
-4--------- 4 -
*1rfr*
t i t i t i f
D
G
A
D
> ( ! (
It**
D
**tl
D
G
a}
| f it **; i f i t * * * * * * * |
A
D
(E
D
G
E
A
A
D
A
D
A
D
E
A
A
D
, d)
E
A
t t t
E
D)
'E>
E
A
A
D
A
D
E
A
A
D
<Aj
E
A
2 segue
2 2 2 segue
1 1 segue
2 segue
E
A
1 1
D
G
t f t t f [ ti
f *
* F o r example:
B major
F minor (harmonic)
J*
tj.f. T " * 7
Gil/C. 1 .2 5 0 2
1977 by Galaxy Music Corporation, for all countries,

a division of ECS Publishing, Boston, Massachusetts.
Printed in U.S.A.
3
I / A / 2
--------------J
]
2
m C S % m m-~m m C m..'
----------- * 1
^ g _ ..
.....
| l < f f |
% * * < 1
D
G
()
Groups of 8 notes
P ractice in all keys
O A
1
, i
....g - f \
3
4
----- 4------------------
3 f
g
G
T ~
1
8
3
V
"3
$
*
2
1
9
4
1
<
g
f
--------- x J T
D
3
,
--------------------
*
D
G
i
- f - . - f - . . - -
*
,
1
3
4 - -* ~ .... m
|
g
U
f
D
G
i .......-
G, D
and A maj
9* i 1
54
29
4 -----* ----- ---* -------------------

A
D
i 4
0 2
m ~
----------- }------------22------- 2-------
i
p
S>
31
2
4
2
4
D
G
0 0
2 4
\i
Thirds in Disjunct Motion
1?.
2
*
2
2
?
4
<- J?----------------4------------------ 4------------------ = ------------------v
g
f
.... _
*
*
f
*
A
D
2
f
S
t
2
4
<
: * * *
---------------
2
4
|
*
....- I
_ * ------- T-------
1
^
...
.......
E
A
?
i
2
4
i
i
........
i
f a
< .. - 1 ..................
........
-1
-------------------------------------------------------------------------------------------------------------------
1
3
c p
4
u
GMC. 1.2 5 6 2
......
- m-----3
-------------------------
3-
-------- = ------------------------------1 *
*
r.....
f- *
M
2------------ ----------------------------------------- ...........J
g
4
----------------------------*
----------- ------------------------ - 4 - ---------- --------------------------------------- A
D
P ractice in C, F,
E
A
1
1
4 ----------------
fj
E
A
r = i
E
A
.....
3
2----------------------- ;----- ---- " ----* ----
* 1
1
.
*
~i~
* ~ f
f
:
I l g J
4
1/C
Chromatic Minor Thirds
C.
Groups of 12 notes
D only
- 4 ------1 ----- 2----- 1----- 2 1------------if
1 /L.... 9
,1 4
11
^ l n . i f f * .... * $ *
4 4 ^ segue
II L fmuim ... l i 'S

~
2r a f _ l ) W ---- * _
f t
2
1
1 L3
* p Z 917 9
3 scgwe
1-
f
f
4
11 2
4
> J
f
4
....... 1
fft
segue
1 2
V h p r t
# , 7tf
,u 4
7 m. v% 41 .f ^ 2.
11 n *
| segue
ft
3 |4
.?....
L4
4
T 4----------r 4------------j
f )
!
a * 1/ *
II
t|
"
o^y
1
3
A
4
3
n ^ = i f ^ maC
J
2
1
4 t 3 ..... 4
4 3
f ....
> J
3
bf i t ! b J t f i
4 *,
44
2
) o cirrus,
I2 I 2 I 2 segue
?
i>
2
2
, 4 |
4
t frlÎ
7 f J
h ---r+'w * ---- fL-------- 1 ----- 1 segue----------------------- 1
42
24
2 segue
cPCrUP.
1j 1m "
........................
1 1= I 1= * ^ 4 <1,4*$* J*
2 Sffgaff
ii lit* *
f
*A * A
$ ~ ri
.. .
------------
segue
Two Octave Scale

2
-4-
n -rii^
t '* i 1*
0 \ A"
2) D
y
GMC. 1.2562
3 .4
> 1y
2
y
- T-fr-i 4 3r-4
5 n-----
i Ijf
1/ D
D. Chromatic Major Thirds

Groups of 12 notes
c onIy
11
-i 1 -
11
I u
3 |^
l_ J
w h in?df
i 22 segMe
2 1
segue
1I
ii
j
IT??
-2
segue
n11|ii p1
fob'll^11!!
4 segue
only
-|. $*i
81 Wiffl
tJ
1
3
1
3 ***
I
3
!
1
I 5
- 2- 3------2 s-e gue-
f
Two Octave Scale
1
24
31
A
D
* u ^ N 4 4 > t L I.L .J
-
---------------------------------
E . Whole Tone Scale
n t}s.
mw%
'
Groups of 8 notes
* 1** * * ;
A
D
1 **
$w * * a
CMC. 1.25<?2
A
D
^ f ff-f .
4\ 3I 24
IzS^tS
(* * I )
F. Alternating Thirds With Open Strings

I/F
Groups of 8 notes
Four different fingerings are given. Each may be applied to the whole exercise.
P ractice in C, F , G and D major and their relative harmonic minors.
only
-4
only
only
0
j) only
2 1 "=
Tar
G.
m .A m g
v-
Extensions
Groups of 6 notes
1
$
0)
ut
4J
t i ts
2 l_
4j
jf i t
<t*
t f f ' t t t
4T
\t H
it? *- * i
4J
>\
1 2l_
21
1,?*
it
This exercise may be

continued into higher
positions.
* Keep 1st finger down through each measure.
Scales in one Position

Groups of 12 notes
E
Practice in all keys.
n .
-Z-F
f
1
2
*
77izs exercise may

be continued into
higher positions.
II. SIXTHS
A. Diatonic Consecutive Sixths

Groups of 12 notes
P ractice in all keys.
5 only
3 2 |
2 1 -1 -
3 2
-24-
21 22
|p l
A
D
(8)
-24-
D
G
D
G
D
G
* #"
A
D
2
2
1 ~ji0
3 2
2 3
g *
3
4
A
D
2
*
2
2
^ g- 1
?#
4
E
A
TT-^~
A
D
-Er
A
D
P ractice the preceding exercise also with the following fingerings:

D only
-3---- 3-
'i
~9--- ^
2f
21
segue
segue
4
-3-
m
4
CMC
segue
segue
~ar
8
II/A
Groups of 9 notes
12
A
D
Q
, . 2-1
JL ---- 1 i m 0 9
W .....*
..
- m 0
3 1
A
D
a .... i
r=------m.#
-.....
...... ^ ----- ~m 'm._ o
gp v...
w m
- j s m ..............0 m *
m-A...4 .........
9 I * #
----- ^
3
............
*----2
f \--------- 2 ---------'
----- 4----- 9
A
E
D
A
1 2 3 1
A
D
, 2 ....i ~
----- 2: #
9 m - ^
D
G
D
G
D
3
m --#ip-----------------* --# --jp 0

1
..4...4 ..3-------y------ 4----L - 2 ----------i---------- 2 ---------1
* ....^ ...I
4 ,
D
G
E
A
2
A
D
- 9
-fin
A
D
~~m 0 m
... -
... *
..* ......
_ ------------------ 2 ------------------- 0 - 9 ----------
------4--------- T * ^
E
A
A
D
E
A
2
1
A
D
2
- f ------ ------- -4-
i m ----- r 9 - #
JE K l
- J L
4 2
3i1)
------------ j p
A
D
w ~
.0 ------------- m..
m..0 - 7"
^ 0 *
--- -------- --- a ---------------- --- 4 -4 -
m
0
i
x
^
I
----------- 4 ----- ------? * .. +
,
----- 4---------3 4------is-----
^ Z Z _ J i5 4
1
E
A
33
JP A
up* 0
# 0 -
- 4 - -------- 3------
3
A
D
Although the above fingerings are usable for all the keys, other fingerings are better adapted
to the needs of any specific key because they avoid the oblique movement of fingers from one
string to the next and thereby result in a clearer articulation. The principle is demonstrated
in the following three major and three minor keys and may be applied in analogy to all others.
4
3
2
1
JBl
2 4 2
-434-
E
A
(!)
i
A
D
4 2
-3-1-
GMC. 1.2562
4
3
==*:
A
D
(V32
4
3
-0-
0 2 2.)
-423 1
4
3
1
i4 i2 \
9 mi
II/A
A
minor ^
2 < f 8
J
J? M
I
jp
4 2 4
3 1 3
(!)
GA/C. 7 . 2 5 ^
10
II/A
n
4
3
Ab
majors
4
3
* m
A
D
n 4 2 j
3 1 4
m0
=#=
(\)
2 8
1
4
3
2 4
f-j
^ jp # # # i r ...
----^ ^ ^ .* -----; r # * ------------- EH
D
GMC. 1.2562
'
4
3
2 4
T # ,.m
- ..0 ^m # ^TT.*_ m o m
m o m
w
.. m m m
..... ^ .
11
II/a
2 8
1 ,
4 2
3 1
4 2
? 4 2
2 4
* 2)
.EJiZ.
_ k ------------ b^
^
-------- .------------1 + -* ----L-E--------------------------------- 1
J M _____
minors
# . a .* .- 4 -a _
1.*. M "o
* * "0
---- 3-------* 0Z 0=J
P2\
VI/
fc
4 2
3^
i. m. M,
a ;
2 4 2
3 1
2 3
4
3
.. -.... .... ^..(P 1
4 2 A
u3 l 3g 2 4
ir - # I 3
j
i __
4F.^
(!)
2 4 f
4 83
A
1^
"
2 4,
1 3
2| 8
2
1 4 2
i _ 0 0 + 1r 3 1 I9 r = j .I t
^ # * ---- -1-------0"0"\
"
'
2 4
2 4 I 3
4 o a
-*4. 3 1 3 2 4
\:0
# ' jpj~ - -m..rn m 4P
m
---_____----- ; P* jb.^#
o m L ^ JJ
_.
^
D
B. Sixths in Disjunct Motion

Groups of 8 notes
8
2
-M..~
y
i
i
1
^
1 , ,# *0 #
:M
9 9
"tfe-------- m 0 0 m' 9 0 .O 9 0 _ J r . . ........
^
m
m 0 m
m -*
4
3
4
3
~|
(8 )
15
"
1 4
i k.
4
3
4
3
M=L
3
:* = * =
A
D
4
3
D
G
4
3
4
3
4
3
--ii #
3E
E
A
A
D
(8)
<
............................ ~ ......... m
D
GMC. 7.252
r - * .................................. 1 - #-ir - - - W- 4 ..# .... 1
0 " 0 .. "M 0
y ............. *
^ ................
.. .
......... 0 ..
X ------- 0 -9 - ----------------------J E 2---------------------------------------------- 1
\
.,
0 0---- K
1 --_
- *. -- 4P------0 jp--U
0 '
-- ^ -------
12
II/ c
C.
Chromatic Minor and Major Sixths
Groups of 12 notes
Chromatic minor sixths on two strings ( six different fingerings)
D
G
E
A 4
4 4
3
r-2f $
44
1 22l l 2
segue
1I f
11
'f t ? ^
2 2
2" 8 8 i t j 8 3 2
1 2 2 * ^ ^ ^ 2 2 1
2 H
Chromatic major sixths on two strings ( six different fingerings)

I? only
2 seSue
1 2
t*T
\W I I j
1 2 1
4
2
4 3
2 1
r?+ -&-0-.t
4
2
fjij
zzannp
1
E only
4 4 4
segue
E g f?
4 '-7 a %
1 2 2
GMC. 1.2562
- - - - -
T ^
L* , f t l f e
. 8 i H ^
'3 E
V-0- -w\rm-4 4-
fej
mv .m
-4----- 2 2---- i~
13
ii/ d

Groups of 8 notes
E. Alternating Sixths with Open Strings

Groups of 8 notes
Practice in C, F , G, and D major and their relative harmonic minors,* six fingerings are given and each may
be applied to the entire exercise.
q only
2
-4-
2
Hh
-m3
only
3
3 ^
T "
,
a only
2
1
4
3
3 #
2
4 *
3
2
2
1
m 0
GMC. 1.2562
4
3
4
3
4
3
3
4*
3
ii
;i
-0-
23
+
-m
4
3
~3~# 4 *
2.
M.
~
m
1
21
JL
^
*
am 0 m
14
III. OCTAVES
A. Diatonic Consecutive Octaves

Groups of 12 notes
F in gered
4 3
-24- 2
3 4
3 4
4 3 4
3 4 ?
-4-2- 1 2 I
2 1 2
+ * 2 1 4
0 0
*
D only
3 4 3 4 ?
2 1
1
2 ,01,
4 J
4 3 j
2 1 \
4
2
H-
m 0
0 * 0
i
D
0 4 3
42
-0 ~ +
only
i 3 4 ? 2
?1i2 1 2
-0-*-
-*-r
E
A
GMC. 1.2562
- y
=*=#=
Ill/ A
E
A
4 4 segz/e 9
-41--- -l
zmdt
3j|
15
m # * # jp
A
D
=MZ
-4
A
D
E
A
.j l :
4seguel>
i
m #
A
D
E
A
3 4
n
? 2
ills \
i* ÎS
n S
'
^... #
D
G
=*==
E
A
D
G
A
D
M0
Fingered
dtjm z
E
A
segue
B
4
2
i d
zzzzzijnr"
j z:
A
3 4 segwe
1 2 _ ^
/
11 2
.#-*----- ---- #
#..
*.. . 0 a + m
................m. 9 ------------- m 0 m
W
{% m--------- 0 - 0........
* -----------'S7
0 0 .9_......
.......... ....
segue
?2
D
G
..m -0~..-.......m 0 m
2
0 ^
m ^^0 a
+0
V
^
^
------............ W m
Octaves in Disjunct Motion
2?.
Groups of 8 notes
P ractice in all keys; four different fingerings are given and each may be applied to the whole exercise.
R only
----- - ------ ..........*

m * m m
i r ^ _
g ------ =-----------------_0 m----m.--- 0 --* --jm
m
--0 --
-Jl----- _____ ___m
..0mm0-----z z z - ------------ * -------------
m
0
- 0 - 0 ~ r - z .... 0
T -------- :z------a ^#
v
3
3 i segue
............. m
4...... ~
I*
1
U
\
1
>
"V ......... 1
0
.
A 0nly
4
segue
1
*
zm -fh
CMC. 1.2562.3
segue
0 -----------------------------------* 1
.. -------------- = -------- -------------- = - 1
m
0
_ . a r _ --- j. ..............
G
"r
- 0 ............................
.... t ...... .................................. .

;
1
3 ------------------------------ 1
3
1
8 "
m i
*->
segue
~ y ............... ~ m ~ j - *
(m
3 C
L...4. 3 J 3 ------------------------------ J
segue
"
....w
0 ....... -....
16
III/ B
4 segue
*4
E
A
A
D
"
^
, 4 3 4 3 ^ 3 2
1 2
(8 j)
-a . 1
3 5
1 2
3
1
j IT segu e
A 3 2
z 1 E
A
segwe
A
D
=#=*=
==*:
-a
2 j 2 j segue
2 1
D
G
rr ^ :
4
2 1
* P arallel" fingerings with f 4 or 22 ma^ a^so
used.
C. Chromatic Octaves
Groups of 8 notes
,1
G only
_ 3 _ 4 4 *"
I 1 i. 'l * \b
8
= g g g g = ^ L .. '8 * * r
0
; ; -L
**
i*
1 1
# g#
\l
* ^
*1. i>
^ 'i i = g
j riac.
4-8 -31 2- 4 31 2
? ~ w
12
m ^ m k________ ,________
se* e
only
D 4 4 segue
[3 i
ZZ
- i
1 2
se s u e
segue
E only
A .
4 4 Stfgwe
-ar] ^
2 2 segKe
4 4 segia?
i=
i .
0 1
]*'
3
0 1
4 segue
ft' +
Q
j segue
(8)
3 4
0 a1 1
ilr 2 3 3
O il
m$m
segue
F - l-
l ^ ^ # B---------- --------- ------#p# # W =^=
#
GMC. i .2 5 2
a3 4 1 4 * segue
W - y Jr
2
0 ,1
'I?* !>!
3
i !
segue
!|
O i l
# P msegue
17
III/D

Groups of 12 notes
.....................................................................| r ~
'3
'4
' 3
'
it
~ w
-W
E. Alternating Octaves with Open Strings

Groups of 8 notes
P ractice also in F , G, and D major; each of the five different fingerings can be applied to the whole exercise.
A
4
. j l _
4
i
segue
'j l
m ~a t
0 M
j l
segue
J o
12 1? 1 4
-#
F. Extensions
Groups of 8 notes
P ractice on other strings as well.
3
| Z
i
4 3
1 1 ill
4_|3
1 1 ii*
\>0
4 3 4 3 4
l 2 ,, 1 2 1
9
*-\)0
*4
<l
4 4 ses u e
2--JL 2-^b
l.'*
i,?#
, J
. ,
M L.*
*\ 9
33
*4
*4
ft
4 3 4 3 4
33
|| Z
4 ,
4 ,
1 2 1 2 3 2 3
0 9 90
4 44
**
4 |Z
##j* Ibjib*
* 0- b0 0 0 )\m 0 +
Keep /irst finger down; third may be lifted.

GMC. 1.2562
2 3 2 ? | 2
____0
3-I 4O
| Z
La
*j*
4 ,
2 ? 2 3
0 \^}
# jj. 0 ^
4 4
29 92 I1 92 ,
1j] I ^#W
- i~ T |J2^*^*^
*Wjj-2
0
* u w g ln r tg ~ Ji- :
I?
18
IV. TENTHS
A. Diatonic Consecutive Tenths

Groups of 12 notes
gonly
A only
4 4 segue
1 1
=#==
-9-+ -
A
4 j segue D
A
D
D
G
A
D
A
D
E
A
(S).
A
f = = i i *
i t i 8
.
.a : : ----------------------------3 : -------------- m + -*--0 --
1
9
0 -
E
A
Groups of 8 notes
P ractice also in A, D, G, F
3
o
and BV major.
8"
i
=
.
ZMLZjjl
3 4
0 1
0 1
X
JL _
0
=#=*
T=t
B. Tenths in Disjunct Motion

Groups of 12 notes
1.2562
==#=
IV / c
Chromatic Minor and Major Tenths
C.
G roups of 1 2 notes
j? only
3
\>o H# * j g
\\
I-
* It*
jf51
-V
(5)*
E o
A 3
|y< r v %
f 0)
Tenths and Octaves Combined
Z).
Groups of 1 2 notes
l
/L
1
*J
"
3 * 3
1
1
segue
# ............
3 -4
1 1
1
3
lsegMe
(8)
segue
-4------ 4------ 4------ 4 -
1 2
segue
1 1
A only
D3
5
Q 1
4
1
^
1
4P
segue
segue
1, mi
'
5 only
segue
m
segue
[IF
20
V. FOURTHS
A. Diatonic Consecutive Fourths

P ractice in all keys and on the other strings.
Groups of 12 notes
D only
9
m
e
..... *.......
= -* -
O
q
*>
2 - 3
*
_JL _
2JCI
CF
....V -'
oft
Ji
- 3 2
.i l .
#
*
1
2
1 segue
1 segue
-%------
segue
segue
Groups of 16 notes
t
A
D
I
A
1 2i 2
2
segueD
B. Fourths in Disjunct Motion

Groups of 8 notes
P r a c tic e in a ll the k e y s .
4
3
1
-2
~0--- jm * .
D
G
GMC. 1.2562.
%-
segue
8A
D
E
A
-3
0 ~
<)
0
m
21
V /B
3 segue
-4----------
21
X = t
#.
-fr-
A
D
-0
0-
1
2
3C
::m
...2
Chromatic Fourths
C.
Groups of 8 notes
D
G
fo s ft ' I*
I
ire
Lt
WL/
J
b^s g
b
c
iu
f t
>
-f t
f t
jig
b *^ K s
......... w....... \f......
1i~ * -- *-- 1? *-------* 7 #"'
^ - jtt:.. t
4 SV
segue
(8)'
4
ii>*-
* a t f t ^
i
~i
1
|[*
ife
2
4
f t
ft s i n f r
F
,J>
GMC. L 2562
-JL.
E
A
Li
3
h...... , 4 ........ 3 .... 4 ........ 3 4
X----- ------------------------------------------ rns:---* bn-s:----i h-1
.. f/S
u * ------iJ?*
t-m ----\J~m-------
-----1 - f w
fl
f t
2-
4-
2
1
2
4
3
4
-------------- - r T m --- =------ fc=

-------- m
,
I Z J g -------.........
j e = _ :
#
22
VI. FIFTHS
A. Diatonic Consecutive Fifths

Groups of 8 notes
2 3
m~ ^
if..I
o
0 21k Sf2 "_
----S----------- H i H
-/K r
......#
" # '
jp ^
------------- 1
..... ......
0 m w .............. .................
. 1
* M
m0
.. g ...*
------ m
.................
#
0 3.... a_::
^m 1^ ...,m .
9
_
B. Chromatic Fifths
Groups of 12 notes
D
1
1 2
-2- -4-4 2-
2
2
segue
\ segue
ipg ^ p#
.
segue
Ly ..j
P |
1
2
GMC. 1.2562.3
ill: Til?
^
"
23 ^
segue
-4 3
3
|i 1
^
2 2
22
,3
f t
segue
3
3
2
, 2
,b#
"ill
23
VII. UNISONS
A. Diatonic Consecutive Unisons

Groups of 12 notes
&
j . ~
D
G
"
"
!!
..................
0 m w ^
--------------------- E--------------------- ------------------------------ A----U
-G ------- l-----1segue----------
Practice in several keys.
B. Unisons in Disjunct Motion

Groups of 12 notes
P ractice in several keys.
1 segue
_4
_ -M i
VIII. SEVENTHS
A . Diatonic Consecutive Sevenths

Groups of 8 notes
P ractice in several keys.
E
A
A
D
~S------- 2
m i... m .
1 . ;
4 3
-V---------------
. 0 0 ........
..
*o
O
------5------#
O
t>
3 .....
* ........ 9 M
... ~ .
2 1
2 1
i 8'
-| 4
o
'? i
1i 4
2 *l fAr
44
o
,..
T " #....-h
j
w * m
4A
w 9 ^ __ A
A
D
E
A
A
D
B. Sevenths in Disjunct Motion

4
4Q
94
3
i j.
ii
t
GAfC. Z.25&2
i
j
* .
31 Z
9
A
E
A
A
D
Groups of 8 notes
3 segue
A
D
D
G
IX. DOUBLE HARMONICS
A. Scales in Thirds
Groups of 8 notes
Sounding
g - - - - - -
$
1
C major
E
A
4,
0 . 4 H/>
Sg J t i j l
jo
3#
^^
I*
bo.
# .........^ 4 ub o
........C lS
>1 ^ '
4 ii. - - - j
* ... Sl tg
| |;
^j g
~i
m a ,i0 r
jt i; f l M
4 Jk *.
r P i|w
ir
liiftjfc
, ; v j
i
8'
E major
ii
H** #
Bb major
u
H ^ i i >?;
- i . V
mWi
h :
g I' l ' n w M r y r f l f j p
~i
Ab major
k K f e
GMC. 1.2562
'ii
"'i8
4iA
l|8 ^
25
X. TRIPLE STO PS
A. Diatonic Triple Stops in Consecutive Motion

G roups of 1 2 notes

Sample bowing patterns:
2
1
_3
1 segue
M..i .
..I:.:, f
D
G
1 1
33 segue
23 g-
---
Q $*
42
^^4i t *
#---r J t -- #--- a
.- yA
D
G
45 segwe
2 segue
1
4
1 segue
3
=f= : f
4 segwe
4
3
1
E
3 segue
"=
~I
t .T '
t~ r
1 segue
-A.
y 'f'-y
4 t
D
G
4 = F 4 E
..#
jp
26
X /A
3 segue
H t
* T
E
A
D
* 1
3 segue
4
4I
* *
s -
segue
4 4* 77ie two fingerings may be m ixed: use the 2nd fin ger when the major third, the 3rd fin g er
when the minor third is on top.
2 segue
_3______ ,
11
A
D
E
A
-j?
=#=*=
-* r
-g- -j- #
A
D
G
E
A
D
3
4
W 0
B. In Disjunct Motion
Groups of 12 notes
A
D ,
< i \ ; ; i * I *
E
A 2
D 4
------K------------------------* " iT
C M C . /.2 5 < ? 2
j... ^------- aai--------- _
Part Two
ARPEGGIOS
I. OCTAVES
(Parallel and Fingered)
Major, Minor and Diminished Triads

Groups of 12 notes
Note: In the upper fingering o f this exercise as well as in all o f the parallel - octave exercises,
the third finger may be substituted fo r the fourth.
E segue
segue
4 1
4
fz i* l ? n1
4 a #
??
2 4 0
"j
o 4 :
w I
4 6
i f
4 ^ 4 o #
1* ' t J V ' * 3 2? r ' i
\2
A
D
. segue
!u
segue .
4 f |Ap*----- #-
zk:
8 1 - 2-
f i i
E
A
2 ,1
U T f
U ff
o 3
J 1
2 .
4 3 4 -3 -
W ^T
4T
IT
f i
2 i 3 f- w
1 2 3
4 A
T?T
f ~ T 1 2 E
2 M
I 1 A
m %m
-8
M I f
2?
^
1
-# -8
-31
'2 * '
- 1 Jf>0 ^
T
4 i
2 3 3 1 2
3 v
1 4 If2 3
\>+
\le
1 V J L -
w
f 12
,
3C Z Z :
2 : 3 7 #
' 1 ! 3
3= *=
1 1 4
2 ?
< 4.
m * _ 4 . ^ ^ --------------4 1 ,1 2 1 2 I1 8 i1f 4f
&
n----
ar
8
4
1 1 4 -#
**
o 45 43 -*
- p ^ ? TT4 31 11 2
3 j 2
1 1
3 11 3l
42 73
* F o r /us and JAe other minor arpeggios the following alternative lower fingerings may be applied:
8"
0 1
A
GMC. 1.2562
, y...3...1 3 * 8 ?
1 2i L1 3 1J 21 1 1 2
A
'
hi
-4-#M A 2 f 9+
0 3 o ^ 3
1 1
1
> }
A
D
'Ml
3 # nf ~ i " ? # * T I S
a 1 f A 4
(!?*} I
4 !
A E 8
*
3 3 2 1
4
1
3i r
1
3 '
L i'l )
I i 11
2 1 f 2 1 ? A 5 ?
1
3
1
5 1
2 *
? ? A 2
= f= i
A
D
2
0
-4----- 3-
i n
1
Ld -#- I -#-0- D
m VJL m PAZZjB. m M.
rfe
-#- 4
# "
^ 2 3
j= f = ^
2 1 * * 1 *
D
i i ' U i 1, ' i i i T; i ? t 'If

1
30
I/ B
B. Augmented Triads
Groups of 12 notes
C.
Diminished Sevenths
Groups of 9 notes
A
4
90-
2
0
Z>.
3 1
hr
k =k
i f #
T 3
3
1
fa
X------;---- -75----Tt-Jj--
hr
* r
tat
ZM Z
*
|,# h r - * 1.
- * T tt3 r
2 'f
A
D
T m I l
1 2 f "* * -*
A
1 2 f
tar It*- T *
?
-f-
\>_
tD
1 2 A
1-
Dominant Sevenths and Inversions

Groups of 12 notes
D only
segue
4 segue
4 4
k
1 1- f
2 4
-+
'# J|
^ F f, 713 S 1 2 1 4 3
5 f
t f i 1 2
0 1
M i *iJ} t
I?# ? 4
4 i
2 "
mm .1
4 3
2 1 4
1 2
2 i
9.
V ^
t>* " i
3l
CMC. 1.25ft2
n n
'
t*
2 2 2 ? f~
4 r.
1 2 f 4
*ffn
I1
M 1lt1
31
I /D
=23
r2 f1
fr'
1 2
f
? . , : mi lT . * 7 4ajT-> in* rLltf T4*?î
*IT MtT *
*?T rf#! * 5 * 2 '
2 1
5ft
2 11 2
3 4
=*^0=
*
- 0 It-
fe
W
2 5 1
1 Z
2 3i
ay-# !
-^ ^ r' fc#-*
3 -0- a 4
tf 2
3 4*
2 J 4 3
1 2 ?
2
0
8'
\>J
=^0=*
043- -4
-2
32 1
-0 -4 - -34 -
-23-
1 2
-32- =4=412
1 1
-2--- 14-
3 4
4 1 3
5i
CMC. 7 .2 5 6 2
4 3 0
-2-4 4-
*=#=
=5=4
-41-
4 3
Ttj4f2 I ft43
2 1
2 3
4 * 0 4 3=+=
2 t 3 &- 1 2
II. VARIOUS INTERVALS
A. Triads in Sixths and Fifths

Groups of 12 notes
E
3
#m
-20-
#
*
..
^ '"r
I tp1
.4
E
4
0 2
gy.z zg:
# .-
*
1K
i)
# ^ #-
(J
T~r
-# -2 1
m
2
.,.
m
4
3
i-feSi
r*{\
/2
# IZJE
P
2
,i4
m 'm
m==mz
c?
=2=
T T
0
~r i r
2
0"
T*&
0 0 0
m _ mr.
33
I I/ B
B. Triads in Thirds and Fourths

Groups of 12 notes
1 , 4
!.i
1*
! l !
i
i
. a * * I
-m-Mm
m
-44TT7~a
(0
4*^*1
mt*:A"(I S
it
-5#-
{ 3 i i ^ 3
v r f
GMC. 1.2562
12
s>
3
* 12
ti*1
2 4
rm.m
W '1
2
1
3y ^ / i 2 iv T
A-S 4 -2 /
2 | I-3
4 a
4 2
i S
dz*=S:
3 3
J 2
i* Jl_
5-<3 I
k jp if ^ f l n w g
-a 4 a
34
~~z:
GMC. 1.2562
-0 -3 -
Io|b 5
35
n /c
C. Triads with Passing Tones in Various Intervals

Groups of 8 notes
E
0_- - - - - - - - -
.. : . . . i : - * : ^ z i , r ^ - T T -
S. t *
f=p
.. . . . . . . . . . . . . . . . . . .. . . . . . . . . . #
. * .....
i
H $ : S
m
....
2 (u
yJKLP S
.,
PS
5.5 k
1 -0
__^ _-K -____
| /g
/1 >
- 40* _ _ _ _ JZ M p
12
Hi
t* P S
^ < i , f ,
.... ~|..... - f r y ^
# 1 CT>
SE
1 2
1.2562
llfei
A
D
ji 11^.......
# jj S-
k# S # m l
5=*:
ak k y ~ f
iezz~zzac
=*=
2 k#J&
b ftld z i
i
11
2 k#~*.1
t
S l;
=**
-2- frar
T~
E
4
A
D
v~*~
M jfe i
36
n /c
^*1F f l
ftp
4
3
n2
JL -f-A
A
i
'
r
*
s t y
' -
a#
tt
\ ^ ..-.t M* --------* * r
0 ............... ..
t - q
: ..............
"~
( i>
=#i*=
j J
IK
5
0
J
tm
i?
4
3 2 ^ # --* -lt* ^
J. 0
3 m \w m n ,
1
---------- ^ * T l -gT .."W"'# 't J|..'#.. *--...
'a r - F r t l #
t 4 -------------------- 3 g - - g _
^
# (T~1
2 _#. -i -
"
1 2
* i
^ ^ -f*
1
fm m
^ ^ i <
J j - ------------ m * m *
-------------- *m m
....
#
fif ; *
( r r :
G3/C. J.25<?2
A-
2
I
-0-_l
E
3
2
------------ ., g .
m
------m * C A

------------------------------------- ^_J
1
1
2 M . .
3f
.....................
------- o 0 i
9
* *
- +. T T #.
* ..%.-m
1 0 -------____ ,
$ ~m ^ ~ ........
> 2
1,1' * ~~
-------------------------------- 0 i
2
4
* ry
< .... i . . . _
^ i/v
7m A C
^M
m_L
-------------#---------- -.........
M 1^W
P
JL
.................
......................
#
..
.....
37
D. Augmented Triads in Sixths
II / D
Groups of 12 notes
1
_JL_
2 ,
JE
JkSujg:
---
4
3
i I*
in : j
:P
2 1.; , * i>,
if* '
E. Diminished Sevenths in Various Intervals

Groups of 9 notes
9^ 4
4 A
3
2
JL
3 P#1
-4 3-
4 2 3
3 1 I
'+ m 1
ZM+Z
4
3
2 | 1
4
Ai 3
ip
m0
fsf
! 4rM ^ t i l 41
0
1
=^H
g b ~ m 01
T r 1* '
38
F. Dominant Sevenths in Sixths and Sevenths
n /F
Groups of 9 notes
.A
3 1
* A
-+-m-
(0
-0------------ 0- 0-
o 2 # *|0 *
w
4 2
,t
j
2 4
>0
4 -T -3 -
: i0 p
(?)
l
3 *L * <r 0 *
(?)
GMC. 1.2562
4 2
3 1
3 1
2 0 4
0- m %
1 3 E
0 2 il
39
III. TRIPLE STOPS
A. Major Triads
Groups of 12 notes
2 22
1
2
2
1
1 .JL.
mz
_#L
-4-
1
1
ii
2
2
2
2
1
1
1
1
4
fi
iU'7
t
jHP * * # * * # *^ ^
^ m * -mm- Jm- .-- -JmK

. *^.m ... <
I
* . ---..... - : iplii-?
2
1
1
___
E 2 2 2
2
I
2
?>
2
1
-m-
22
? 1
1 1-- * . 1 ! 2
I i * * :# :* ! !
2 i
2 ;
l ^ i . 1
1 1
~ *-
2 2
1^. 1 } 2 2
1 2
4
3
n2
2
2
2
2
1
1
-m # -
3 2 1 2 3
2 2 1 3 1 2 2 2
:* =
2 4
3
21 1
1
1 1 2
? 2
. . *
*
/.2 5 ( ? 2
1
1
.... #
2 2
3 p
2
2
3 2
2 1
2 2
? ? !
Ii
i 11 0*
- L
0 .0 0
5*
40
B. Diminished Sevenths
III/B
Groups of 8 notes
(Bowing patterns as above)
8'
segue
3
2
IZA.
4
3
1
0
8*
8'
1i
jt
f
23
b#-
1
0
3 d
E
2
1
3
2
4
3
o
0
(87
C.
4*=^
"5#-
Fourth Chords
Groups of 8 notes
E
1 segue
\>0-
M.
3 0 i
# ~y ~a_-
00
* -----------
2o
J> M-.
0 0-
\1^4^
J g *
uD '
m mz.
0 - 0-
segue
3
4
fe*.
k P#z z z
#0----------- 0*
0-
3 segue
3 "In
I
0M. JE
P0- -0 0 -
"WFUM l
m
# 0 9-----3
4
m.... mz
T tt
3
4
41
IV. QUADRUPLE STO PS
A. Major Triads
Groups of 6 notes
3 . |it4 1 3 I K*. _ j* .
n* H T
^ ~ f l
t
, l f y * -W * ? , !. K * ^ y
; t ; ; */--* - ::n - - .* - i' - ^
j^Y 7 T T T f ?7 7 ffg*T 7 ~ 7 *
T' TI
3 L 3 kjL
L3 1
, |3 1
3
3 b#-
o
^
," b *
,bit. ~
WL
B. Diminished Sevenths
Groups of 8 notes
segue t
U rT
m
F
3 J t ~^Z. M .
k*. 2 :
9+-
:K m z
T
+ z : l jtm

Galamian Contemporary Violin Technique (Scales) Translatable MULTIPLE LANGUAGES

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Galamian Contemporary Violin Technique (Scales) Translatable MULTIPLE LANGUAGES

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Verfügbare Formate

Ivan Galamian

GALAXY MUSIC CORPORATION

The following example J.

. Accordingly it is referred to as a two-note rhythm pattern

is a three-note pattern (R 3).

is a twelve-note pattern (R 12).

F irs t Primary pattern: J J- ] ] J j j

Application of its fir s t prim ary pattern:

i with first prim ary pattern:

Combined withJ33, 2) #n and R2, 1)

Combined with B4, 3) "T"* and R12, 8) J

Ivan G alam ian

I, II, III, etc.

1st, 2nd, 3rd Position, etc.

Stay on the same string

Keep finger down

P r a c tic e this e x e r c i s e in a ll the m a jo r and m in or k ey s. *

Copyright 1966, by Galaxy Music Corporation, for all countries,

PATTERNS: Bl, B2, B3, B4, B6, B12

Prim ary Patterns:

P r a c tic e this e x e r c i s e on a ll fo u r strin g s in a ll the m a jo r and m in or k ey s .

PATTERNS: Bl, B2, B3, B4, B6, Bl2

Prim ary Patterns:

------------ 1------------------------- ------------------------------------------------------------- =--------------------------- 1 -----------------------------------------------------

.................. ................................. ........................................................

"-------------- ' ; H '

------------- :-------------------- 1---------------- 4---------------------

t>, b .................................................. :-------------17 \>

1------------- ------------------------------- 1-------------1----------------------------

j p .... ;..... ~...... ......... .

---------------------------------------------------------------------1--------------------------- 4--------------------------- 4-----------------------------------------------------

Prim ary Patterns:

Groups of seven notes.

Prim ary Patterns:

Groups of nine notes.

PATTERNS: Bl, B3, B9

F o u r-O cta v e Scales

PATTERNS: Bl, B2, B4, BH

--------------- 0 ------------------------------- 3 --------------------------- - 3 ---------

t -------------------------------------------4 ---------- 3 -----------------------3---------

PATTERNS: Bl, B2, B3, B4, B6, B12

Prim ary Patterns:

*Stay in second position and rea ch hack with the f i r s t fi n g e r .

.......- ..............................................................................................# .......

...- ...........' '

Groups of sixteen notes.

PATTERNS: Bl, B2, B4, BH, B16

______ ------------------------------- ---- # -----V --------------------- 2-------------- , b

m . ---------- -------------------------------------- ---------------

PATTERNS: Bl, B3, B9

Prim ary Patterns:

......................................... ......a r ........- .......... ................ ....

................. m ........................... ................. -

- - < --------------------------------------------- i-------------------------- 1

- & & - ----------------------------------- #-?T

4--- 2--- 1---3-

. ##i-------, f i------- T fe------ ---------------P^ i-------_-----------~/L-b------------- 1---- p i ------------------------------------^p

.............. ........ - .......- .......~

..... T ........................................... ..... ? ~ ' T 1

> L'P. It----------- ht- i-------:y 7 T

M . 8j ' 3' "

.......... ..... ------------ ------------------------

i-------1---.^------- ?:------------------------------- 9 ---------- A iin J-------- 2 i ..."