SCHIRMER’S LIBRARY F. MAZAS Op. 36 Forty Selected Studies For the Violin Critically Revised by SAM FRANKO IN TWO BOOKS Book 1— Library Vol. 1958 Book — Library Vel. 1259 G. SCHIRMER, INC. New York Copyright, 1816, by @. Schirmer, Ine, Ped to he UAForty Selected Studies for Violin BY JACQUES-FEREOL MAZAS (1782-1849) ‘These Etudes by Mazas (Op. 36) rank among the best material for practice which the literature of the violin possesses. They have become as indispensable for the development of violin-technique as the celebrated “Forty Etudes” by Kreutzer and the “Twenty-four Caprices” by Rode, for which they form an admirable preparation. They are usefal, not merely from a violin- istic standpoint, but also in a musical sense. However, not all of them are of equal value. In order to save the pupil time and unnecessary labor, only the best of the exercises have been included in the present edition, and more especially those which promote the technical development of the fingers and the bow-hand. They have been arranged in systematic order, and especial care has been bestowed on the fingering, bowing, and the divistam of the bow. SAM FRANKO. Explanation of the Signs: N_Dowe-tow Pe. Poiat M.—Middte of bow V—Uptow W. B.— Whole bow L__1— Keep finger down N—Net 1H. B.—Halt-bow *— it bow Is, Th, Ih, 1V* gorda —E- An, D-, Gotring.Forty Selected Studies BOOK I I The Détaché (Detached Notes) Broadly, from middle to point, connecting the notes smoothly F.Mazas. Op.28 Allegro non troppo Revised by Sam Franko 2 ‘= Put 1% finger down on both strings = sous Copyright, 1918, by G. Schirmer, Inc. Printed'in tbe 0.8. A.fi Ptieftetefteic # tee ==, =: o St dim, — of ¢ * Pat tet finger down on both strings IEF an weep it down st en. erred0 Detached. Notes Same bowing as before Allegro non troppo 20188$ vise eee yp edeede gree geaevre we £ * == = = ou. ree dedayeodietat* Linde See . f * fe & ft ietaftee | tox AeeteteEAEFEe aeert tt ae ieee Pts 2018I Same bowing as before Allegro moderato 1B. Sy Shs oSsempre f tt ag 1 remain in Sth position f A’ 2 kerp tage down cn tth siogs EES ann gsIV -The Martellato Cross the strings without lifting the bow or touching the strings between Execution: with a firm and quick stroke from middle to point Allegro non troppo zeusP f > > rf dim. Vv The Martellato Firm stroke at the point Alle; t gro non trop, aaa Pt. ri 7 remain in 5th position fe Ea 2014840 VI Same bowing as before Bxecation: gare Accentuate the first note with a quick and vigorous stroke Po oP Allegro moderato Ft PRP RP TP AP fe = segue fe fe SFP Seguea4 a (i oR a PR ia PR x Fe VIL Lightness of Bowing Allegretto a‘ setae42 aes43 the same position f14 vil Variety of Bowing Moderato ‘Whole bow . Q n >> S> EE “segue f= = see45 March Allegro moderato WBL Et. . WB. f Tseluto seas16 con espressione oe aiea7 x Preparatory Exercise for the Trill nets418 204849 x au148xI The Trill Allegro moderato om ro moderato , 2 ib At autseXI Change of. Position me Andante 4xi ‘With a Broad and Singing Tone Andante ee 4 TVa eit espressivo Ves dim. P pp = a2 hep SF 3 ma a Sim —~ nf, 9p A espressivo ——328 xIV Flexibility of the Wrist Allegretto * at the point yy ft == 2 wee ons f , t suzaa * Put ist finger down on both sirings, ==XV Flexibility of wrist and Pizzicato with the Left Hand Rustic Rondo Allegro non troppo z+ =e = 3 (over the fingerboard) 'XVI Finger-exercise Allegro Lap ees eve S2627‘This otedy shoud be practised in two different ways: we. (1 Wie the whole bow Candent)withont iting the bow, SARE ERNERE etc, At the aut CAllegroyfting the bow after each note 4 Allegro moderato NoDouble-stops Andante — eae 2 a dolce — a aap tS SS a f =H zt < 3 zeus30 xIx Staccato Strokes, and Octaves Allegretto, quasi andante , (at the point) a nousa4 netsxx Spiccato (Springing bow) # In employing above bowings the slurs and trills are omitted.seaesis a “3th sts the os seas