SEVCIK Op. a Part 2 SCHOOL OF BOWING TECHNIQUE SCHULE DER BOGENTECHNIK ECOLE DU MECANISME DE L’ARCHET for VIOLA (ALTO) arranged /bearbeitet /arrangées by von par Lionel Tertis BosworthSEVCIK Op. 2 Part 2 SCHOOL OF BOWING TECHNIQUE SCHULE DER BOGENTECHNIK KCOLE DU MECANISME DE L'ARCHET for VIOLA (ALTO) arranged /bearbeitet /arrangées by von par Lionel Tertis Cover picture: an important viola by Giovanni Paolo Maggini, ¢.1600-1610, Photograph from Christie's of London. Bosworthwe Hoe LH * UH « wee Nos Moe Pos Mes fos Ma = Sa + is y= Legato. ABREVIATIONS ET SIGNES Tout Varchet Moitié de Parchet Moitié inférieure Moi supérieure Un tiers de Parchet Talon de Varchet Milieu de Varchet Pointe de Marchet ‘Travailler de trois fagons: () du miliew de Parehet 2) dea pointe de Varchet (3) du talon de Parehet Tirez Poussez Soutenu. Tiré large, avec peu dinterruption entre les notes, particuliérement entre deux et plusieurs notes sur un archet. Staccato. Travaller sépa- rément avec beaucoup et pet archel et, jouer court; Iais- ser Parchel eur la corde lore- qu'il y 42 ou plusieurs notes 4 Parchet, Martelé. Coups d’archot de Parchet cur la corde. Sautillé. Archet jeté ou ‘sautillé avec deux ouplusieurs notes & Varchet. Spiccato Tris peu @archol, cen levant Yarchet de ta corde aprie chaque note. Lever Parchet de Ia corde. Liaison souple de note & note avec pression réguliére de Parchet ou en pressions variée ‘A défaut de ce signe audi but Wun exercice, commen- cor parle tir aw talon, B.& Co.Ltd. 102 ABREVIATIONS AND EXPLANATIONS W = Whole length of bow Ho = Half length of bow LH + Lower half of bow UH = Upper half of bow 4B = Third of bow N = Nut-end (Heel of bow) M+ Midate of bow P= Point of bow M* = Practise in three ways: () in middle of bow (2) at the point (3) at the he = Down bow ined - may also be interpreted as broad and cus- ‘tained with elight detachment between nolesyespecially with two or more notes in camebow. + = Staccato ie, Articulating each note separately and short, whether short or long bows, or articulating two or more notes in same bow with bow on stri Ma = Martelé ie, detached ac - centuated separate bows with bow on string. Sa = Sautillé i.e, springing or bounding bow with two or more notes in same bow. 4s Spiceato fa, extremely short bow with bow off the string after each note. ) = Bow to be raised from the string. Legato, ie. smoothly or well-bound from one note to another— with oven presoure of bow ‘whether played forte or piano or with various shades of ex- pression. % = Er there is no sign at the be- ginning of an exercise, begin the first note at the heel with down bow. = a Lae on ye a . 4 wee ne ve — Sa = ABKURZUNGEN UND ZEICHEN Ganzer Bogen Halber Bogen Untere Hilfte des Bogens Obere Hilfte des Bogens Bin Drittel dee Bogene ‘Am Frosch des Bogens Mitte des Bogens Spitze dee Boge: tive in drei Arten: ) mit der Mitte des Bogene (2) mit der Spitze des Bogens (3)am Frosch des Bogens. Abstrich, ‘Aufetrich Gehalten. Wird breit gezo- ‘gen, mit geringenTrennungen zwischen den Noten gespielt, besonders bei zwei und mehr Noten auf einem Bogen. Staccato. Sowohl mit viel als wenig Bogen getrennt und kurz 2u spielen; bei zwei und mehr Noten auf einem Bogen bleibt der Bogen auf der Saite. Martelé. Getrennte, akzen ~ tuierte Bogenstriche, wobei der Bogen auf der Saite bleibt. Sautillé. Springender oder geworfener Strich mit 2wei ‘oder mehr Noten auf einem Bogen. Spiccato. Sohr kurze Striche, wobei der Bogen na Note von der Suite gehoben rd. Bogen von der Saite heben. . Geschmeidige Bindung von Note zu Note mit gleichmnie ‘gem Bogendruck oder in ves irkegraden. ses Zeichen nicht am Anfang einer Ubung steht, boginnt cic immer am Frosch im Abstrioh.DEUXIEME PARTIE (Cahier Ii) EXEROICES POUR LE DEVELOPPEMENT DE LA SOUPLESSE DU POIGNET Exercice No.29 a jouer dans les 575 différents coups @archet. SECOND PART (Section III) BXERCISES FOR DEVELOPING SUPPLENESS OF WRIST 29 Exercise No.29. Practise in 675 different ways of bowing. 3 2, TELL (Abschnitt IIL) iBUNGEN FUR DIE ENTWICKLUNG DBR BIEGSAMKEIT UND (GESCHMEIDIGKEIT DBS HANDGELENKS, Doung Nr. 29 ist in 876 verschiede- nen Stricharten 2u spielen. 575 Hxemples Variantes sur Pexemple précédent. ‘Tout Varchet. 675 Examples Variantes on the foregoing ex- ample. ‘Whole bow-length. 675 Beispiele ‘Varianten des vorhergegangenen Beispiels. ‘Mit ganzem Bogen. ° Moitié de Parchet. aH Hoo Diabord avec la moitié i 3y How Half bow-length. 19 férieure, ensuite avec Ia moitié supérieure de Varchet First with lower, then with upper half of bow. ‘Zuorst mit der unteren, dana mit, ‘oberen Hilfte des Bogens.. Mit halbem Bogen. 20, a 7H 55 on Copyright 1958 by Bosworth & Co.Ltd., London ‘Made In England B.&Co.Ltd.216024 “Tout Farchet et moitié de Var - Whole, and half bow-lengths. | Mit ganzem und chet. i gen. st 83 w uf Ww oLt w Uh WiLh LH Ww UH W LH W UH Ww Middle of bow. Legato (ntetr. wd =¢0, d=08) 58 > fe 54g w w wow aw =e (wets. Jao, J-o2) 9 ~~ é- Xf w OF W WH W UW W Wh W UH w Hh WU WwW LH an me tain LH Ww UH Ww cERi", oe 8 eA Eee eeiee wotOWw ww ww 0 B.& Co.Ltd. 2160898 a eae aces n 5 tee eel 71 teks ww ww UHW LH W UHUHW LH W UH UHW LH w Un Staccato Gtete dane, dy a p85 4 101 se 100-5 Ww w w wi? wow wow 104 105-106 102 No wow ww wow Ww W Ww ww w Mo TAM es BT 5 6 tT 8 w Ww w WW ww WW ww w Ww M19 ——~ 120 > 124, 122 128, —~ 124 SS 1 SS 126 ——~ 1 w w w w Ww H Ww Ww w ma, sna ~ 180 aie 182 _———~ 188 ——~ 184, 435 —~ yee brett peepee Eee Avec un tiers de Parchet. | With third of bow-length. | Mit einem Drittel des Bogens. 5 gees f Me 1552 — 188 198, 186, $81 808 159 _—__ 160 1e1____ 462. _—— 168, 464 465 __ 166. —_ 1 _—_——_ 172 ——__ B.& Co.Ltd. 21092"“GB MB ue Me Employez le poignet. ! gi Met J-100) Use your wrist. | Mit dem Handgelenk. Rees we ie (stetr, d=t08) 284, Bit ark oe Boe Me ey B.& Co.Ltd. 24 292 oss aaa 285 Mw we Me Mei Ww w Ww Ww Employes trés peu @archet. | Use very little bow. | Mit sehr wenig Bogen. (ete, Jerze, Jaaaay 264, 268. 260) > B.A Co.Ltd. 21092"8 Legato zg (Metr. Jane, 433, datos, J ce" Employez trés peu d’archet. | Use very little bow. sto { fetr. J = 144) saa ee Sees " ss “ eee SESE ie = ie iv a Staccato aegis nae) = ine ite it ie B.& Co.Ltd, 21092Employez le poignet. Use your wrist. | Mit dem Handgelenk. (Metr. J 420) 348. Mit Bl gel tes = cede fp Sesn abet > > a> a> 397 MF ‘simile Me ra ro (ater, J sto, desma) 5 y one aa ae N W P wt NW POW B.& Co.Ltd. 21092B.&Co Lid.2ten2"‘Staccato aL Mets. J= 00) , apd Ne re OTN, t8O, HOV 8. ay we ro ro me We me we co = am a7, A738 Gis 8 case x sz Ne => N w oP w oN w Spiccato Gite deze, Jessa, J-100) 46 Mie a AB, AM, yy 480 eee; basal sy ys Loodrka pert o W Nt M M soit 120) 88 soy, B.&Co.Ltd-2to9213 30 Exercices pour passer une ow Exercises for skipping over one Ubungen fiir das Wberspringen deux cordes. or two strings. einer oder 2weier Saiten. Exemple avec 190 variantes Example with 190 Variantes Beispiel mit 190 Varianlen 4 ° 190 Exemples 190 Examples 190 Beispicle Tout Parchet. ‘Whole bow. Mit ganzem Bogen. A (uetr. J= 00) z 8 Moitié de Varchet. Half bow. | Mit halbem Bogen. 15 (Metr. J 416 a7 48 49H |. 20)... Tout Varchet et moitié de Parchet. | Whole and half-bow. | Mit ganzem und hatbem Bogen. golMetr. J= 60) _ _ 3 32 88 Le milien de farchet. | Middle of bow. Mitte des Bogens. suetr. d= 60) 40 Map az_ a3 a a5 B.&Co.Ltd.esco2>AN, wep, w 92h P jw 938, w Martelez lorsque vous employez | Martelé when played at point of | Martelé, wenn mit der Spitze des la pointe de Parchet. bow. Bogens gespielt. agers J-80) ose % o7 Mx 96 Me Employes trés peu @archet. | Use very little bow. | Mit sehr wenig Bogen. 105 (Metrd=00, J 106M" = 407M 108 ite B.&Co. Lea. 240515 Employes le poignet. Use your wrist. Mit dem Handgelenk. (Mets. J = 100) Me 1G M4 7 ms wit martelé sooM* Me me : Ere Shane SEES REE Se Ww Spiccato (metr.Ja120 J-1s0 J.70) AASM (2) + 106, 407 48 Aves? Ny Ay RYT B.&Co.Ltd.24184 182, 188, AB ree? & u 135( Mets. J 492) 4186 187 488 a Pr = iw es sa cae Teaaiaa tae Thana Taig m + =H B.uCo.Ltd.216020DEUXIEME PARTIE (Section IV) ARPEGES SUR LES CORDES Exercice No. 81 —Ne pas oublier! Il faut jouer tout Pexercice selon chaque exemple de coup darchet indiqué. SECOND PART (Section IV) ARPEGGIOS OVER TWO SSRINGS Exercise No.3! To remind! Bach example of bowing must be played throughout the whole ex - excise. a7 2.TEIL (Abschnitt IV) ARPEGGIEN UBER 2 SAITEN Uoung Nr-81, Zur Beachtung ! Die ganze Ubung ist in jeder Strichart au spielen. pte ptt : iS ES SS SSS SSS S= Ser : saote— 2 ol? o SS ———— = =a B.& Co.Ltd.2100218 No.8 Allegro (J«ss2) . ‘ Moderato (J (= 152) g wy 3 + 9 a 410 vy MM 7 12 we Ree aa ‘ 4 k — ~ “ No.4 Allegro (J - 116) 2 a Allegro (daw) = Moderato go) a Me ite ie me Me 8 > a= 9 Moderato). 120) aot it a8 aa fm = + = 7 A N q u No.6 Allegro (D198) a a ete. ==] Avec les coups daichet de 1414 duNo.. | With the Bowing shown in}tol4 of NoS. | Mit denStricharin der Belsplele 4 der ing Ni5. No.7 Allegro (.).132) =e ” é A — Baits Bt Co.Ltd.24002Moderato J oe) Hal Noo 9 Allegrotd 8) Saat erittesets x No.8 Allegro (d-ss2) pan Adee aoa a aa ete. ‘Avec les coups darchet de 112 du No.7, | With the bowing shown int to 12 of Now? | Mitden Stricharten der Beispiele H12 der tounge No.10 Allegro (152) Pca ideas aa a a Ge eee ee. ee. Loof- Avec les coups darchet de 1314 No1O. |" With the bowing shown in! tol46f.NolO, | Mit den Strcharten derBeispiele 1-14 der tb tibung No.10. No.12 Allegro i120 em e at a we zie GES SSS EES ee EES Peer ees Fares ce s Sp > gtd =m) a (t= 104) Wise eeelaee ce Z ceperssiesree eS = SS eS SS eeeree eee y No.13 Allegrotd .120) No. a4 Allegro - = = a4 a atte: aa 2; ptt pet ee| feet ES ESS eS bes bee Eee ee Avecles coups darchet de 1 0 du No.I2, | Withthe bowing shown Into 6 of N12.) Mitden Stricharten derBeispiele1-0 der Ubung Nr 12. No.15 Allegro i120) No.16 Allegro 120) No17 Allegro J-s0) “. ‘ aa getes Avec les coups darchet de14 6 du No.5. | With the bowing shown in to 6 of No1S. | Mit den Stiicharten der Beispilel-6 der Ubung Nr B&Co.Ltd.21602520 32 Exercice No.82_ le iF et le 2€ Exercise No 82 both 4 and 2 Ubung Nr.32 (4) und (2) ist in doivent atre joués tout deux | to be practised in 58 different | 58 verschiedenen Stricharten au selon les 68 exemples de coups | ways of bowing. spielen. d@archet. Allegro moderato > (2) = B.aCo.Ltd.2¢a02Employez le poignet. | Use your wrist. | Mit dem Handgelenk. gsModeratod.m) a6 a = = onl Fier Boe LE ue me us Allegro (J.t20) ) 40n - Mya = iReiSeF a eet Be eS 28 adden =Ei B.& Co, Lid.24u92® 2R 485 ce we sethaagy ™ ™ M goer?22 33 Exercice No.93 (1), (2), (8) et (a) | Exercise No. 88 (4),(2),(8) and (4) doivent étre joués selon les 7 | to be practised in 75 different exemples de coups @archet. ways of bowing. zu spielen. Doung Nr. 83 (4), (2),(8), (4) ist in 75 verschiedenen Stricharten Allegro moderato Sais (1) crept re: - Lefer trettte: rages fat oF0 080 080 O90 F0%0 080 070 O80 Aye 2 oe 0%s™ 0% O'™ awe alte Bit Co. Lid.216o2>23 B.& Co.Ltd. 210920Me me we Me Mw ro Allegro J-s0) 54 55, 56 Moderato (J-00) 59m Y. 60y O. aoe i Moderato 1J..0) eerie feel34 * Exercice No.34 avec 31 exemples Exercise No.34 with 31 examples | Ubung Nr.34 mit 31 verschiede- de coups diarchet. of bowings. nen Stricharten su spielen. Jouez tout Yexercice selon chaque | Each example to be practised | Die ganze Ubung ist in jeder exemple. throughout the whole exercise. | Strichart zu spielen. Allegro moderato ate 2 ge: 2 jefe ne efeie oo St exemples de coups Warchet. | 31 examples of bowing. | 31 verschiedene Stricharten. des) S ‘pica us . N B.& Co. Ltd.240126 Exercice No. 36 avec 23 exemples de coups darchet. Jouez tout Fexercice selon chaque exemple. 35 Exercise No.26 with 23 examples of bowing. Each example to be practised throughout the whole exercise. Foftef pe senetes bung Nx 95 mit 23 verschiede - nen Stricharten. Die ganze Ubung ist in jeder Strichart 2u spielen. detaia® ° © 0 of0 Aososay o oo oo mie = i i ba 8 £,°= 2 peel 0>-p-pe @ i Pefet=cect eaten Zeta! Pol ef eee, ee av Me we RT we Me wr Me eS a a) : ere) = cfolot AR OP oe Pre eee sefeteteg bo Mr Me 23W B.& Co, Ltd, 2160227 36 Exercice No. 36 avec 174 exemples | Exercise No.36 with 174 examples | Ubuny Nr.36 mit 174 verschiede de coups darchet. of bowing. nen Stricharten. Jouez tout Pexercice selon chaque | Each example to be practised | Die ganze bung (A) und (2) ist exemple (4) et (2). throughout the whole exercise of | in den verschiedenen Strichar - (4) and (2). ten zu spielen. HL Aff: ip SSS ‘Tout Varchet. | Whole bow. i Mit ganzemBogen. a = ae ar Ao 8. . aE CT TESS Seber beet ELL ; Moitié de Yarchet. | Half bow. 1 Mit halbem Bogen. (Mets, J-eo) 5 6 7 fF Che = ia Le milieu de Parchet. I Middle of bow. 1 Mitte des Bogens, ig ate dc) Orato orn a4 ts ae a B.& Co.Ltd. 21692)28 Legato gglmetr. Jeo, J-100), 48 16 7 18 w w w w w wWwoow — 20— 2%_ __22_ w 19 25 wo w wWoww wW w w w w Avec un tiers de Parchet. One-third of bow. | Mit einem Drittel des Bogens. alte, Jane) . “lc e aH ia w wn Ww Ww Marteles lorsque vous jonez avecla | Martelé when played at point. | Martelé, wenn mit der Spitze des pointe. (Joa) Bowens gespielt, 50 (Mets. d= soa) rt walgeste) | Sty. Employes trés peu @archet. gg ete. J- 12) a 4 67 Ris Co.Ltd.2t602>29 dem Handgelenk. it Mi | ist. Use your wr t. igne Avec le poi Bite Co. Ltd.2tco2®30 tag J-90)_ mt 27 wees Eid BS Ee Staccato asi(tets Spiccato ‘ar{etr. d= 100) galery d= 198) B.teCo.Ltd.2t602 Printed in Great Britain\VIOLA WORLD, PUBLISHERS OF MUSIC FOR THE SERIOUS VIOLIST Studies ARNOLD, Alan 3-Octave Scales & Arpoggios BLUMENSTENGAL, A. Viola Seale Technique Bl 1 - 1st Pos. Viola Scale Technique Bk 2-1-5 Pos HOFMANN, Richard Melodic Double-Stop Studies Op. 96 TARTINI, Giuseppe The Art ofBowing Viola Solo ARNOLD, Alan Cadenzas for Telemann Viola Concerto KREISLER, Fritz Recitative and Scherzo Caprice WOEHR, Christian Buchiena ARNOLD, Alan ‘The Young Violist Bk. 1 (easy pieces) ‘The Young Violist Bk. 2 (more pieces) BACH, JS. Basic Bach (ar Amold) BEETHOVEN, Ludwig van Beethoven's Best (arr. Arnold) MOZART, W.A ‘Mozart Miniatures (arr. Arnold) Viola & Piano Repertoire BACH, 5S. Bourée in C minor Chromatic Fantasy and Fugue BEETHOVEN, Ludvig van For Elise BENJAMIN, Arthur Jamaican Rumba ‘BOCCHERINI, Luigi Masic Box Mintet BOHM, Car! Sarabande BOROWSKI, Felix ‘Adoration BRAHMS, Johannes Scherzo CHOPIN, Frédéric Nocturne CORELLL, Arcangelo Sarabande, Giga and Badinerie Sonata No.12 = La Fe Variazione Available from: DANCLA, Charles Camival of Venice DE BERIOT, Ch, Soine de Ballet DEBUSSY, Claude Gir with the Flaxen Hair La Plus Que Lente DVORAK, Antonin Romance Op. 11 Sonatina Op. 100 FAURE, Gabriel Fantasie FIOCCO, Giosetfo-Hectore Allegro FRANCOEUR, Frausois ‘Sonata in A GLUCK, Christoft W. von ‘Melody from Orfeo ed Euridice HANDEL, GF. Bourrée Concerto in B flat Sonata in B fat Sonata in D HUBAY, Jené Hie Kati JENKINSON, Ezra Elves Dance (Eentanz) JOPLIN, Scatt Pineapple Rag Solace AREISLER, Fritz Liebestreud Liebesleid Praeludium and Allegro Sicitienne and Rigaudon MASSENET, Jules ‘Meditation from Thats MATTHEWS, Holon Fantasy ‘MENDELSSOBN, Felix Sonata in E fat MOZART, W.A. ‘Adagio K261 ‘Menuetto Divertimento K.334 Rondo K.250 Serenata Cantabile MUSSORGSKY, Modest Hopek NOVACEK, Ottokar Perpetual Motion PAGANINI, Niccold Six Sonatas Bk. 1, Nos 1, 2,3, ‘Six Sonatas Bk. 2, Nos 4, 5, 6 Variations on the G-String PUGNANI, Gaetano Gavotta Variata Bosworth RACHMANINOFR, Sergei Vocalise RIES, Franz Perpetuum Mobile RIMSKY-KORSAKOV, N, Flightof the Bumble Boo SCHMIDT, Brust Alla Turca SHUBERT, Franz The Bee TARTINT, Giuseppe Sonata angelique ‘The Devils Tall TCHAIKOVSKY, P. Caraonetia Jue Barcarlle Méodie Sérénade mélancholiqne Valse sentinentele VITALI, Giovanni Chaconne VIVALDI, Antonio Sonata in G WEBER, Carl M. ‘Andante and Hungarian Rondo WIENIAWSKI, Henryk Légende Scherzo Tarantella Viola Duos BACH, J. S. Fifteen Two-Part ventions MOZART, W.A uo Sonat in B flat K.292 ‘Twelve Duels K.487 3 Violas & Piano PACHELBEL, Jobann Canon 4 Violas ‘TELEMANN, Georg Philipp Concerto No. 1 in C for 4 Violas Concerto No. 2 in G for 4 Violas Concerto No. 3 in F for 4 Violas Concerto No. 4 in D for Violas 4 Violas & Piano ‘VIVALDI, Antonio Concerto for 4 Violas and PianoThe Work of OTAKAR SEVCIK VIOLIN LITTLE SEVCIK, Elementary Tutor SEVCIK SCALES & ARPEGGIOS HOW TO PRACTISE SEVCIK’S MASTERWORKS. INTRODUCTION TO SEVCIK VIOLIN STUDIES from Op. 1 (by K. W. Rokos) For More Advanced Pupils OP. 1. SCHOOL OF VIOLIN TECHNIQUE. Part 1. Exercises in the 1st Position. Part 2. Exercises in the 2nd-7th Positions, Part 3. Exercises in Change of Position. Part 4. Exercises in Double-Stopping, Triple. Stopping, Quadruple-Stopping (3 & 4- part chords). Pizzicato, Flageolet Tones, Harmonies. OP. 1. Complete, bound in Cloth. Development of the Right Hand OP. 2, SCHOOL OF BOWING TECHNIQUE. (4,000 Exercises in Bowing) Parts 1-6 Exercise Themes to Op. 2 OP. 3. 40 VARIATIONS Piano Accompaniment (optional) OPS. 2 & 3, Complete, bound in Cloth. Development of the Loft Hand OP. 6. VIOLIN METHOD FOR BEGINNERS, Parts 1-5. 1st Position. Part 6. Studies Preparatory to the verious Positions. Part 7. 6th Position and combining the various Positions. OP. 6. Complete, bound in Cloth. For Mightly Advanced Pupils OP. 7. STUDIES PREPARATORY TO THE SHAKE & DEVELOPMENT IN DGUBLE-STOPPING. Part 1. Exercises in the 1st Position, Part 2. Exercises in the 2nd, 3rd, 4th, 5th & 6th Positions. OP. 8. CHANGES OF POSITION & PREPARATORY SCALE ‘STUDIES. In Thirds, Sixths, Octaves, & Tenths. OP. 9. PREPARATORY STUDIES IN DOUBLE-STOPPING. In Thirds, Sixths, Octaves & Tenths, OPS. 7, 8 & 9. Complete, bound in Cloth. VIOLA ‘Arranged by Lionel Tertis, OP. 1. SCHOOL OF TECHNIQUE. Part1, Exercises in the Ist Position. Part2. Exercises in the 2nd-7th Positions. Part 3/4. Exercises in Changes of Position & in Double, Triple & Quadruple Stopping, etc. OP. 2. SCHOOL OF BOWING TECHNIQUE. Parts 1,2&3. OP. 3, FORTY VARIATIONS (arr. Margaret Major) Piano Accompaniment (optional) OP. 7, PREPARATORY STUDIES TO THE TRILL Part 1, arr. Alan Arnald; tet Position Part2, 2nd-6th Position. OP. 8. CHANGES OF POSITION & PREPARATORY SCALE STUDIES. OP. 9. PREPARATORY STUDIES IN DOUBLE-STOPPING {arr. Alan Arnold) CELLO OP. 1. THUMB PLACING EXERCISES. Part 1. 1st Position (art. W. Schultz) OP. 2. SCHOOL OF BOWING TECHNIQUE. (4,000 Exercises arr. Fevillard) Parts 1-6. OP. 3. FORTY VARIATIONS (ar: Feuillard) Piano Accompaniment loptional) OP. 8, CHANGES OF POSITION & PREPARATORY SCALE STUDIES. In Thirds, Sixths, Octaves & Tonths (arr. H. Boyd) BOSWORTH 14/15 Bermers Street, London WIT 3LJ Music Sales Limited 9 | ) Newmarket Road, Bury St Edmunds, Suffolk 1P33 378 Distributed by: 18BN 978~1-84609-017~-2 AN Order No: BoE 003918