Basics, 300 excercises and practice routines for the Violin
Fischer Simon

Basic technical exercises can be used by players of all levels because most of the technical issues remain the same - e.g. intonation, tone production, rhythm and articulation, co-ordinating, as well as the easiest possible working of arms, hans and fingers. Violin playing is complex because to play even a simple phase a large number of quite different techniques must be performed one after another, often at great speed. Each note in a succesion of notes may need to be produced in a fundamentally different way from the others. For, example, to play the first note the bow may have to be placed on the string and then "bite" the beginning of the note; to play the second note the bow may have pivot smothly across to another string.

Lista utworów:
Basics, 300 excercises and practice routines for the Violin (Fischer Simon)

Spis treści:
Part A - Right Arm and Hand
Bow hand
Thumb counter-pressure
The thumb and second finger
Thumb flexibility
Balancing with the fourth finger
holding th bow without gripping
Hand balance
The give of the hand into the bow
Vertical and horizontal finger movement
Changing bow
Bow angle
Hand movements
Putting weight into the string
Using weight from the arm
Using weight from the hand
Spreading weight through the hand
Pull and push
Forearm and upper-arm movements
Forearm rotation
Uper-arm movement
About raising the elbow
Leading string crossing
Long, slow substained bows
Bowing paralell to the bridge
About the angle of the violin to the body
Moving the hand along the bow
Dividing the bow into four parts
Dividing the bow into two parts
Bowing at an angle
Fast whole bows in the air
Fast, short strokes moving up the bow
Pivoting and string crossing
Seven levels of the bow
Pivoting
Curves on the string
Accented string crossing
Scale string crossing
Part B - Tone Production
General contact exercises
About the tilt and the angle of the violin to the floor
Bow tensions
String tension
Resonance
Bow tilt
True legato
Attacks
Soundpoints
Soundpoint exercise: whole bows
Soundpoint exercise: short bows
Soundpoint exercise: chnaging the length of bow
Changing soundpoint
different soundpoints, same speed
Different soundpoits, same pressure
Rhythms on each soundpoint
Bow speed
Speed exercise
Speed exercise moving across soundpoints
Speed exercise using broken thirds
Uneven bow speeds
Bow pressure
Pressure exercise
Pressure exercise moving across soundpoints
Pressure exercise using scales
Pressure and length of string
Part C - Key Strokes
Detache
Even speed and pressure
Smooth connections
Simple detache to martele
Portato
Colle
Warm-up exercises
Martele
Catching the string
Finger action
Bow hold
Staccato
Curves
Based on martele
Sring crossings
Tremolo exercises
Scales
Kreutzer Etude no. 4
About colle-spiccato
Spiccato
Natural baunce
Proportions
String crossing
Springing bowings
About the movement of the bow within the hand
Sautille
Ricochet
Springing arpeggios
Chords
About timing finger placement in the chords
Voicing
Smooth pivoting
Gradually increasing length
Part D - Left hand
Reducing thumb counter-pressure
Positioning the thumb
Warm-up exercise
Thumb independence
Rolling fingers into the string
Upward counter-pressure
Widening at the best joints
About fingertip placement and base joints
Fingertip placement
Contrary motion
Sliding exercise
Extensions
Hand position
Reaching back from the fourth finger
Positioning the hand for thirds
Finger pressure
Finger independence
Minimum pressure
Realising between notes
Finger pressure in double stops
Finger action
About moving fingers from the base joint
Three warm-up exercises
Silent tapping
Sqaure and extended
Holding fingers down
Overlapping
Holding down the first finger
Fast fingers
About timing lifting and dropping
Lift-off
Gradually increasing speed
Slow tempo, fast fingers
Rhythms
Fourth finger
Co-ordination
Fingers "leading"
Finger preparation
Trills
Releasing the lower finger
Bulding trills note by note
Direction
Rhythm exercise
Blocks
Extensions and constructions
Extensions
Contractions
Part E - Shifting
"Ghosting"
Arm movement
Leeading the shift
Thumb preparation
Fingers leading
About slow arrival speed
One-finger exercises
Slow arrival speed
Scales and arpeggios
Broken thirds, fourths, etc.
Semitones
Chromatic glissando
Metronome exercise
Classical shifts
Romantic shifts
Combination shifts
Exchange schifts
Using substitutions
Shifting below the note
Shifting with both fingers
Broken inervals
Metronome exercise
Scales
Drop-outs
Substitutions
Octaves and tenths
Octaves
Tenths
All shifts in one complete sequenze
Double stops
Part F - Intonation
Sypathetic vibrations
The feel of the hand and fingers
Memorising the hand position
Pitching spaces between fingers
Guide-notes
Uniform intonation
Finger patterns
Major and minor thirds
Tuning scales
Tuning accidentals from naturals
wide and narrow semitones
About tuning double stops
Tone-semitone gropus
Single notes
Double stops
Thirds
Sequences transposed up the string
Chromatic sequence
Harmonic sequence
Perfect fourths
Part G - Vibrato
Flexibility
First joint
Base joint
Circles
Hand and arm movements
Sliding exercises
Tapping
Wall exercise
Forearm rotation
Relaxation exercises
Releasing to a harmonic
"Swinging" the hand in arm vibrato
Vibrating harmonics
Keeping the scroll still
Upper arm
Speed
Vibrating at any speed
Vibrato accents
Changing speed without changing width
Width
Dividing semitones
Fingertip and pad
Changing width without changing speed
Continous vibrato
Moving fingers in slow motion
Pulsing
Silent raising and dropping
Equal vibrato on different fingers
Comparing fingers
Even pitch
General index
Index of music examples