INFORMATION TO USERS

This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted.

The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction.

1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity.

2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find e good image of the page in the adjacent frame.

3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete.

4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of die dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced.

5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received.

University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106.USA St. John's Road, Tyler's Green High Wycombe, Bucks, HP10 8HR I I 77-24,588 SHAY, Linda Jean, 1949- SELECTED ORCHESTRAL EXCERPTS FOR : ANALYZED AND GRADED. The Ohio State University, D.M.A., 1977 Music

Xerox University MicrofilmsAnn r Arbor, Michigan 48106

(c) Copyright by

Linda Jean Shay

1977 SELECTED ORCHESTRAL EXCERPTS

FOR CELLO: ANALYZED AND GRADED

DOCUMENT

Presented in Partial Fulfillment of the Requirements for

The Degree Doctor of Musical Arts in the Graduate

School of The Ohio State University

By

Linda Jean Shay, B.A., B.Mus., M.Mus.

*****

The Ohio State University

1977

Reading Committee:

William Conable Robert Culver Norman Phelps School of Music Performance Division For Allan and My Parents ACKNOWLEDGEMENT

My special thanks go to my adviser Professor William Conable.

His ideas and direction helped force order from chaos. To his support and encouragement, and his genuine humaneness throughout,

I owe the completion of this project.

My further thanks go to the members of my reading committee,

Professors Robert Culver and Norman Phelps, whose suggestions were most helpful.

Finally, I wish to thank my friend and colleague Mrs. Judit

Ebner for her encouragement and support. VITA

April 21, 1949...... Born - West Lafayette, Indiana

1971...... B.A. and B.Mus., University of Oregon, Eugene, Oregon

1971-1976...... Graduate Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio

1973...... M.Mus., The Ohio State University, Columbus, Ohio

FIELD OF STUDY

Major Field: Cello Performance CONTENTS

Page

DEDICATION...... ii

ACKNOWLEDGEMENTS...... iii

VITA...... iv

LIST OF TABLES...... vi

LIST OF FIGURES...... vii

LIST OF ABBREVIATIONS...... viii

SECTIONS

I. INTRODUCTION...... 1

II. EXPLANATIONS...... 4

A. Explanation of Grading B. Explanation of Problems

III. MASTER LIST OF INDIVIDUAL EXCERPTS...... 15

IV. TABLES OF BOOK CONTENTS BY GRADE AND PROBLEM...... 27

APPENDIX...... 37

BIBLIOGRAPHY...... 42

V LIST OF TABLES

BOOKS BY PROBLEM AND GRADE

Table Page

1. Rose: OAckeAtAaZ ExceAptSj Vol. I,..,...... 29

2. Rose; OAC.hzA&iaZ ExCLQAptA} Vol. II...... 30

3. Rose: OAchQAtAaZ ExceAptA, Vol. Ill...... 32

4. William Stokkingi20th CzntuAy OAchQAtAaZ Studies...... 33

5. Cedric Sharpe: A E ook ^OAt h z CzXX*< A t ,...... 34

6. S&ICUU6 OAzhoAtAjoUt ExzzA ptA ...... '...... 35

7. VeAdt OAzheAtAcut S tudtzA ...... 36

8. W agnzA OAzhzAtAat ExczAptA ...... 37

vi LIST OF FIGURES

Figure Page

1. From the 'BaAtzn.e.d. Znxdo, Ov&vtuH.e. by Smetana (Rose: Vol. II, p.53)...... 41

vii LIST OF ABBREVIATIONS

GRADES

E - Easy E-M - Easy-Medium M - Medium M-H - Medium-Hard H - Hard

PROBLEMS

APW - Awkward Passage Work PM - Perpetual Motion SC - String Crossings STAC - Staccato HM - High Melody SDL - Smooth Disjunct Line UK - Uncommon Key R - Rhythm DR - Dotted Rhythm ST - Special Techniques D - Dynamics S - Solos

BOOKS r I - Rose: On.cheJ>t/ial ExcenptA, Vol. I R II - Rose: OAchoAt/vaZ ExcZAptA, Vol. II R III - Rose: On.chcAtA.aX. ExcCAptA, Vol. Ill CS - Cedric Sharpe: A B 00k (JcVtthe CcXXAAt 20th - William Stokking: 20th CcntnAy OAcheAtAaX StucUcA w - W agneA OnchcAtAaX ExcojiptA s - StAauAA OnchcAtnaZ ExccAptA v - Ven.dc OnchcAtcA-StadX.cn I. INTRODUCTION

This document has been written to supplement traditional teaching materials and as a reference work for cellists. The cello orchestral literature is often ignored by cello teachers, who use etudes, sonatas, and concertos for musical development and technical application. The orchestral literature is a rich source of music encompassing most technical problems and levels of difficulty. Also, cellists have far more opportunities to perform the orchestral literature in professional or community than to perform the sonata, concerto, or etude literature as soloists. Wind players frequently practice orchestral excerpts along with etudes, sonatas, and concertos to prepare for future orchestral auditions and concerts. For the violinist, there is, in addition to several compilations of orchestral excerpts, a graded survey titled UA4.ng O/lcheJst/UlZ. ExC2/ip&> QJ> S&xdyU q^ & iajxZ. by

James E. Smith. Cellists too should have a graded guide to the orchestral excerpts.

To help make the orchestral literature more accessible to cellists, the excerpts in eight currently available orchestral excerpt books have been reviewed. Each excerpt has been graded according to technical difficulty, and principal problems have been identified. The eight books are:

1 2

Leonard Rose; ed. QJicheAt/iat ExceAptA, 3 vols,

William Stokking: ed. 20th CentuAtf OticheAtAoZ Stu.cU.ZA.

Cedric Sharpe; ed. A Book fcoh. the. CetZxAt,

Stutch, N., ; ed. StAduAA QJlcheAtAaJL ExceAptA

Grosch, Karl: ed. VeAdi Oh.cheAtAcUL Stu.du.2A.

Kiesling, M. ; ed. W agneA OAcheAtAdZ ExceAptA%

This document is divided into three sections; 1} explanation of the grading system and discussion of the technical problems. The technical problems are discussed in order of prominence and the explanation includes a selected list of reading references and etudes*' dealing with the problems. 2) A master list of the 265 excerpts in the eight excerpt books. The list is alphabetical by composer and includes composer, title, grade, problems, and location. 3) Tables showing the contents of each book by problem and grade. The

Appendix is a collection of practice suggestions for learning the notes and for continuity.

It is hoped that this document will be useful as a reference for professional cellists, teachers, and advanced students.

Professional cellists can use it as a reference work for locating and preparing specific excerpts for concerts and auditions. Teachers

1. Throughout the document references are given to authors and composers. In the case of authors, a short title of the book or thesis, the chapter heading, and page are given. In the case of composers, the opus number and specific etude numbers are given. In most cases only one book or set of books by a given composer is referred to and is fully listed in the bibliography. In the case of Franchomme, both the Op. 7 Ca.pJu.ceA and the Op.35 StudteA are listed. When referred to, they are listed by opus number and title. 3 can use it for compiling a sequence of excerpts to meet the needs of individual students. Advanced students can use it to learn the

literature and to prepare for future auditions. The document can serve as a guide to individual excerpts and excerpt books, as well as to reading material and etudes dealing with technical problems. II. EXPLANATIONS

4 A. EXPLANATION OF GRADING

The grading is correlated with that of the American String

Teachers Association (ASTA) St/U.ng S yZZabuA. f which grades etudes, short pieces, sonatas, and concertos on a scale from 1—10. In the present document the ten grades are combined into five categories labeled Easy (E), Easy-Medium (E-M), Medium (M), Medium-Hard (M-H), and Hard (H).

E E-M M M-H H

ASTA Gr 1-4 ASTA Gr 5 ASTA Gr 6-7 ASTA Gr 8-9 ASTA Gr 9-10

Awkward bowings, rhythms, and fingering patterns are present in each excerpt. The two main factors determining the grade are range and tempo. Grades E and E-M use the lower range of the instrument through 6th position with some easy thumb position in

Grade E-M. Tempo is slow to moderate and the passages are diatonic.

Grades M, M-H and H encompass the entire range of the cello. They include moderate to fast tempo, chromatic and partially chromatic passages, and long passages taxing endurance.

Technical characteristics of the grades are as follows:

Grade E - Includes the first four positions with some 5th and 6th position work approached by step. Melodic successions are mostly diatonic. Some tenor clef is used. Rhythms are simple duple or triple - no two against three patterns. Some special techniques are used: grace notes, turns, and pizzicato. Etude books of comparable difficulty: Dotzauer, Books I and II, and Lee, Op. 31, Book I. 5 6

Grade E-M - Includes the lower positions, 5th and 6th position now approached by skip, and some easy thumb position. Mostly diatonic passage work but in faster tempo and with more complicated rhythm. All clefs are used. Etude books: Kreutzer-Silva, Book I, and Lee, Op. 31, Book II.

Grade M - Includes the entire range of the instrument. Contains chromatic as well as diatonic passages. The following problems are present at moderate tempo: awkward bowings, rhythms, and fingerings; uncommon keys; complicated or awkward special techniques (fast changes of pizzicato and arco, multiple stops, flexible tempo, and short runs); syncopations; and meter changes. Etude books: Dotzauer, Book III; Duport; Franchomme, Op. 35, StudLLdA; Gruetzmacher, Op. 38, Book I; Kreutzer-Silva, Book II; and Merk, Op. 11.

Grade M-H — Includes awkward passage work or bowings and uncommon keys at fast tempo, perpetual motion passages taxing performers' endurance at moderate to fast tempo, fast light passages, and successive complicated meter changes. Etude books: Dotzauer, Books III-IV; Duport; Franchomme, Op. 7, CaphX.C.QA; Gruetzmacher, Op. 38, Book II; Kreutzer-Silva, Book III; Popper, Op. 73; and Servais, Op. 11.

Grade H - Includes at fast tempo unusually long perpetual motion passages, complicated partially chromatic runs, and awkward bowings, rhythms, and fingerings; also high difficult solos. Etude books: Dotzauer, Book IV; Gruetzmacher, Op. 38, Book II; Guerrini-Silva; Paganini-Silva; Piatti, Op. 25; Popper, Op. 73; and Servais, Op. 11. B, EXPLANATION OF PROBLEMS

The principal technical problems in each excerpt have been identified and grouped into eleven categories. A twelfth group of excerpts comprises solo passages, which present various difficulties.

A short description of the problem as related to the orchestral excerpts is followed by lists of suggested readings and related etude material.

The etude books were chosen for their variety and length. No 2 daily exercises are listed. The etudes listed are from the books of etudes of comparable difficulty listed under the grade description in the previous section. To discover the level of the etudes refer to the grade description. The BUchler, Op.21, Kummer,

Op.57, Lee, Op.57 and Schroeder etudes are published in Schroeder,

170 FouiviajtionStJJ.dU.eA. The Schroeder book and etude number are given in parentheses following the etude listing.

AWKWARD PASSAGE WORK (APW) - Contains short fast runs and awkward rhythms, bowings, or fingering patterns. Includes some long passages but not long enough to create endurance problems.

2. Daily exercise generally consist of short patterns of exact repetitions. Some examples of such books are those by: Becker, Cossman, Feuillard, Gruetzmacher, Op.67, Klengel, Selmi, Sevcik, Stutschewsky, and Wilkomirski.

7 8

READING; Green: 0/lC.h£A&lixL EoMtng, "Tricks of Ensemble in Large String Sectionsr" pp.72-75, Kennesoni A C&ZLdit.* & G u Z d z "Coordination of the Hands," pp,61-62.

ETUDES: Dotzauer; Bk, I, #32, 33, Bk.II, #36, 42, 49, 55, 59. Bk. IV, #86, 91, 111. Duport: Bk. I, #12, Bk. II, #17, 21. Franchomme, Op.35, S iu c L td i: #11. Gruetzmacher, Op.38: Vol. I, #7, Vol. II, #15,16,17,18. Guerrini-Silva; #13. Lee, Op,31: Bk, II, #23,40. Op.57, #8 (Schroeder: Bk. II, #136}. Merk, Op. 11: #5, 6, 8, 10, 13, 14, 16. Piatti, Op. 25: #6 Popper, Op. 73: throughout. Servais, Op. 11: #4.

PERPETUAL MOTION (PM) - Contains long passages in the same style throughout. The examples are in varying tempos and are long enough to tax the endurance of the performer. Includes awkward bowing, fingering and rhythmic patterns, as well as sequences and repetitions. One long pizzicato passage is included. Length is the difference between Perpetual Motion (PM) and Awkward Passage Work (APW).

READING: Mantel: CdLZo Tcc.Putt.0UG., "Fluency," pp.93-95. Rudolf i: VzdagogZcaZ Psu.ncXpZ&&, "Type I: Orchestral," pp. 74-76.

ETUDES: (*Denates .triplets) Bunting: \JoJLocJjty StudLL(U>: throughout. Dotzauer: throughout Duport: Bk. I, #2*, 3, 4, 5, 7, 11*. Franchomme, Op.35, StucU.&6: throughout. Gruetzmacher, Op.38: Bk. I, #9*. Bk II, #13, 15*. Guerrini-Silva: throughout. Kreutzer-Silva: throughout. Lee, Op.31: Bk. I, #18. Bk. II, #37, 39. Merk, Op. 11: #7, 9, 12*, 13, 17, 18*. Paganini-Silva: #5, 16. Piatti, Op. 25: #1, 7*, 10, Popper, Op. 73: throughout. Servais, Op. 11: #2. STRING CROSSINGS (SC) - Involves 2, 3, and 4-string crossings in slurs and separate bows. Special problemsj triplets, octaves, and skipping strings.

reading: Hodgson: Motion Study and Violin Boning, Kenneson: A C elli& t'j Guide., "String Crossing," pp.68-69. Leland: The. Vou)VU> P h in c ip le t), "String Crossings," p. 30. Mantel: Cello Technique., "String Change," pp. 191-208. Rudolfi: Pedagogical PhincipleJ, "String Crossing," pp.79-82,

ETUDES: Bunting: S i x S t r in g Ch.0£J>ing EtudeJ>: throughout. Dotzauer: Bk. I, #6, 22, 25-28. Bk, II, #38, 39, 47, 50, 52, 60, 61. Bk. Ill, #65, 75, 79, 84. Bk. IV, #95, 96, 98, 102, 103, 105, 110, 111. Duport: Bk. I, #4, 5, 7. Bk, II, #20. Franchomme, Op. 35, S tu d ie d : #2, 7. Op. 7, CaphiceJi! throughout. Gruetzmacher, Op. 38: Bk. I, #3, 6, 10. Kreutzer-Silva: Bk. I, #6, 9, 12. Bk. II, #16, 24, 25. Bk. Ill, #29, 35. Klammer, Op, 57: #8, 9 (Schroeder: Bk, II, #131,132). Lee, Op. 31: Bk. I, #8, 22. Bk. II, #27, 29, 32, 39. Op.57 #1, 4 (Schroeder: Bk. II, #81, 108). Merk, Op. 11: #7, 10, 20. Piatti, Op. 25: #1, 2, 5, 7, 9. Popper, Op. 73: #1, 2, 10, 11, 19, 38. Servais, Op. 11: #6.

STACCATO (STAC) - Includes various tempos and styles. Special^, problems: spiccato, up-bow staccato, marcato, and sautille.

READING: Galamian: PhA.ndpZ.eJi 0& Violin Playing, "Martel^," "CollS," "Spiccato," "Sautill£," "Staccato," "Flying Staccato, pp.71-81. Green: Oh.cheJ>th.al Bou)ing6, "The Composer's Notation of the Dot," pp.69-72. Leland: The VouniJ Phinciple6, "Fast Springing Bow," "Slow Spiccato," pp.28-29. Mantel: Cello Technique, "Martellato," "Staccato," "Off-the-String Bowings," pp.211-228. 10

ETUDES: Dotzauer: Bk I, #13f 20f 22, 32, 33, Bk. II, #39, 43, 53. Bk, III, #65, 70, 75, 78, 82. Bk, IV, #104. Duport: Bk. I, #6, 10, 11, 13. Franchomme, Op.7, CapSutCZ6i #7, Op.35, S tu d ie s : #7, 10, 12. Guerrini-Silva: #6, 11, Gruetzmacher, Op, 38: #2, 12, 14, Kreutzer-Silva; Bk, I, #3, Lee, Op. 31: Bk, I, #12, Bk. II, #25. Merk, Op. 11: #4, 9, 11. Piatti, Op. 25: #5, 12. Popper, Op. 73: #5, 6, 11, 14, 15, 19, 27, 32, 38.

HIGH MELODY (HM) - Involves Melody around the transitional positions, long shifts, and melodies higher than the A harmonic.

READING: Kenneson: A C oJtLi& t'6 GvJLdZt "Shifting," pp.74- 77. Mantel: Cztto Technique, "The Transitional Positions" pp. 5-7, p. 78. "The Thumb Position," pp.80-83. "Position Change," pp.39-64. Rudolfi: Peda.gogZ.caJi PsU.ncZ.pZe6, "Shifting," pp.82-93.

ETUDES: Dotzauer: Bk. II, #61. Bk. Ill, #77. Bk. IV, #88, 93, 97, 99, 100, 112, Duport: Bk. I, #6, 10, 11. Bk. II, #17, 18. Gruetzmacher, Op. 38: Bk. II, #13, 14, 15. Lee, Op, 31: Bk. I, #21. Bk. II, #28. Piatti, Op. 25: #6, 11. Popper, Op. 73: throughout. Servais, Op. 11: #1, 5, 6.

SMOOTH DISJUNCT LINE CSDL) - Includes string crossings and shifts within one bow stroke.

READING: See String Crossings (SC) and High Melody (HM): Shifting.

ETUDES: Dotzauer: Bk. I, #17, 31, 34. Bk. II, #45, 47, 56, 62. Bk. Ill, #64, 68, 76, 84. Bk. IV, #87, 89, 90, 93,98,107, Duport; Bk, I, #7, Franchomme, Op, 7, Ca.pSu.cZ6i #4, 5, 8, 9, 11. Op. 35, SstudZz6i #3, 5, 8, 9. Greutzmacher, Op.38: Bk. I, #1, 7, Bk. II, #17, 19, 20, 22. Kreutzer-Silva: Bk. I, #13. Bk. II, #24. Lee, Op. 31: Bk. I, #5, 7. Bk. II, #29, 32, 36. Merk, Op, 11: #6, 18, 19, 20. Popper, Op. 73: #2, 8, 10, 12, 21, 23, 26, 28, 31, 33. Servais, Op. 11: #1, 6. 11

UNCOMMON KEY CUK) - Includes only excerpts with four or more sharps or flats in the key signature.

READING: Kenneson: A CeZti&£U GuUdz, "Half Position," pp,69-70. "Intonation," pp.43-44, "Fingering," p., 65. Mantel; Ch LLq T £.C.hyu.qu(L, "Goal Conception," pp.7-12.

ETUDES: 4 Sharps-Dotzauer; Bk, II, #37, 60. Bk, III, #64, Duport: Bk. I, #12. Franchomme, Op,7, Ca.pnMlZ&i #8, Op.35, Stud-ioA : #10,11. Gruetzmacher, Op. 38: Bk. I, #9. Guerrini-Silva: #6, 8. Kreutzer-Silva: Bk, I, #7. Lee, Op. 31: Bk. II, #23. Merk, Op. 11: #16, 18. Popper, Op. 73: #37.

5 Sharps-Dotzauer: Bk, III, #66, Bk. IV, #110, 113. Duport: Bk. II, #19. Franchomme, Op. 35, StudLLOAi #9, 12. Merk, Op. 11: #17.

6 Sharps-Dotzauer: Bk. Ill," #79. Bk. IV, #109. Gruetzmacher, Op. 38: Bk. I, #11. Merk, Op. 11: #19, Popper, Op. 73: #4.

4 Flats-Buchler, Op.21: #12, 23 (Schroeder: Bk. II, #96, 107). Dotzauer: Bk. II, #44, 57. Duport: Bk. I, #2. Bk. II, #18. Kreutzer-Silva: Bk. I, #4. Bk. Ill, #35. Merk, Op. 11: #11, 18. Piatti, Op. 25: #6.

5 Flats-Dotzauer: Bk. II, #53, 54. Bk. Ill, #68. Bk. IV, #99, 104. Duport: Bk. II, #15, 21. Guerrini-Silva: #12. Merk, Op. 11: #20. Popper, Op. 73: #3, 35, 39.

6 Flats-Duport: Bk. II, #17. Franchomme, Op. 35, #9. Popper, Op. 73: #30.

7 Flats-Servais, Op. 11: #3. 12

RHYTHM (R) - Includes meter changes, complicated rhythmic combinations, and syncopation.

READING; Cooper and Meyer; The. Rhythmic. StX.uctuA.e. 0(j MuJ>tc* Hindemith; EZm aitaAy TJbcUntng,

ETUDES; Dotzauer; Bk, I, #23. Bk. II, #43, 59, Bk. Ill, #76, 79. Bk, IV, #111, Duport; Bk. II, #15. Franchomme, Op. 7, Ca.pAAje.eJ>! #4, 9. Guerrini-Silva; #7, 9, Lee, Op. 31; Bk. I, #9, 19. Merk, Op. 11; throughout. Piatti, Op. 25: #2, 5.

DOTTED RHYTHM (DR) - Includes: linked, "shoe-shine," double dotted, "Scotch snap *' and both smooth and articulated style. Only passages in which the dotted rhythm predominates are listed.

READING: Green; OJicheAtAaZ E OU)Zng, "Bowing No. VIII and IX," pp. 27-33. "Teaching the Linked Bowing," pp.83-84.

ETUDES: Dotzauer: Bk. I, #16. Bk. II, #37, 40. Bk. IV, #97, 101. Bilchler, Op. 21: #10 (Schroeder: Bk. II, #94) . Gruetzmacher, Op. 38: Bk. I, #4. Lee, Op. 31: Bk. I, #14, Merk, Op, 11: #14. Popper, Op. 73: #5, 25. Schroeder, Op. 44; #9 (Schroeder: Bk. II, #79).

SPECIAL TECHNIQUES (ST) - Includes glissando, harmonics, pizzicato, trills, multiple stops, tremolo, ricochet, tons color, col legno, sul tasto, sul ponticello, and octave transposition.3

3. These examples are written in treble clef and are to be played one octave lower. There are only two examples in the orchestral excerpt books selected, but this is a common practice in orchestral and printed in the 19th century. A different problem occurs in the 16th»note passage from Ravel's VaphyuJ, et ChZoe. SuuLte. $2 excerpted in Rose: Vol. Ill, p.35. Although Rose prints this passage in the octave at which it is to be played, the original cello part, published by Durand, prints, it an octave down with instructions for transposition. It is suggested that the student rewrite this passage as it occurs in the original so that he will not be taken by surprise. This transposition occurs in a few other isolated instances such as the C.P.E. Bach Magntfitcat. 13

READING; pizzicato; Green; OOcheAZAaZ. BouiZng, pp, 75r-76, Leland; The VoUYllA V^TncZpZeA, pp,58*?59. Trills; Galamian: V^ZncZpZeA Q& VZoZZjl VZxiyZjnQ, pp. 30-31, Mantel; CeZZ.0 Te.cfou.que., pp.91-93. Multiple Stops; Galamian; PoZilcZpZeA 0& Vi.oZT.Yl VZa.yZ.YlQ, pp,27—30, 88-92, Kenneson; A CeJLZZjst'6 GuZde, pp,77-79, Mantel; CeZZo Technique., pp. 83-84. Harmonics; Galamian; VoZncZpZeA 0|J VZ.oZT.Yl VZjO.yZ.YlQ, p.87 Glissando; Galamian; VflTncTpZe6 0$ VZ.oZZ.Yl VZuyZYig, p.31. Ricochet; Galamian; VfiTyicZpZeA 0& VZoZZyi VZoyZYig, pp. 81-84.

ETUDES; L.H. Pizzicato; Popper, Op,73s #17.

Trills; BUchler, Op, 21; #21 CSchroeder: Bk. II, #125). Gruetzmacher, Op. 38: Bk, I, #8. Kreutzer-Silva; Bk, II, #14-20, 26. Bk. Ill, #30, 40. Lee, Op. 31: Bk. I, #20. Bk. II, #35. Merk, Op, 11; #16. Servais, Op. 11; #5. Multiple Stops: Dotzauer: Bk. II, #36, 42, 58. Bk. Ill, #63, 72. Bk. IV, #95, 100, 105, 108, 110, 111. Duport: Bk, I, #1, 9, 12. Bk. II, #14, 16‘ Franchomme, Op.7, CdpfiZceA! #2, 7, 9, 12. Op. 35, StudZeAi #1,4, 6, 7. Gruetzmacher, Op,38: Bk. I, #5. Bk. II, #20-24. Kreutzer-Silva: Bk. Ill, #28, 32-42.

* Lee, Op,31: Bk. II, #38. Op .57: #6 (Schroeder: Bk. II, #110). Merk, Op. 11: #15. Paganini-Silva: #9, 13, 14, 17, 21. Piatti, Op. 25: throughout. Popper, Op. 73: #9, 13, 17, 20, 29, 34. Servais, Op. 11: #5.

Harmonics: Dotzauer: Bk. IV, #97. Popper, Op, 73; #40, Piatti, Op. 25: #12.

Finger Tremolo: Paganini-Silva: #6. Piatti, Op, 25; #6. Popper, Op. 73: #13. 14

ETUDES; Grace Notes and Turns; Dotzauerj Bk. I f #34, Bk, III, #74. Lee, Op, 31; Bk, I, #16, Bk, II, #30, Merk, Op, 11: #10, Popper, Op, 73; #37,

Ricochet; Paganini-Silva; #9.

Octave Transposition; Read violin parts down one octave.

DYNAMICS (D1 - Two classes of dynamics have been identified. They occur in the tables as dynamic A and B, A) includes only sudden changes from forte to piano, B) includes a gradual crescendo or diminuendo over a long sustained phrase requiring bow changes. Other dynamic marks occur in virtually every excerpt.

READING; Green: Oh.C.kzt>tHaJL Bouiing, "The FF-P Drop from Full ," pp.76-77,

SOLOS (S) - Most solos involve the high register above the A harmonic and either a melody or figuration. Most of the problems in the other categories are found here,

READING: See High Melody (HM). Galamian: ?/u.ncu.pJiZA 0$ V

ETUDES: See High Melody (HM) and A.wkward Passage Work (APW) . III. MASTER LIST OF INDIVIDUAL EXCERPTS

15 alphabetical .m a s t e r l i s t

COMPOSER

1. Arensky VcuujvU.on& on a Thwe- by E-M SC,UK R I p. 5 Tchalkov&ky op. 35a 2. Bach, J. S', BnandenbuAg Conce/ito #3 E-M APW,SC R II p.3

3. Bach, J, S, My H e a /it Even Eatth& uZ E-M PM,SDL, CS p. 10 sr» 4. Bach, J.S, S t, John PaA&ton E-M DR,HM, R II p.3 S CS p. 15 5. Bach, J.S, S t, Matthew PaA&ton H DR,SC,S R III pp.3-5 ST,APW CS pp.7-9 6. Barber Andnomache'* Panewe l l . M UK,APW 20th p. 1

7. Barber Antony and Cleopatra, E-M UK,SDL, 20th pp.2-3 Two Scenes S 8. Barber MuaI c Ion. a Scene finom E HM,R 20th pp.3-4 S h e lly 9. Barber Overture: The S c h o o l M-H APW,STAC 20th pp.4-5 Ion. Scandal ID.. Barber Pnayens Ktenkegaand E-M ST,APW, 20th pp.6-7

Dc 11. Barber Symphony #1 E-M SC,PM,R, 20th pp.7-10 SDL,ST 12. Beethoven Ballet Music from H STAC,S, R I p,9 PnometheuA, op. 43 HM CS p.22 13. Beethoven Concerto for Piano #4, E-M SDL,APW R II p.8 Op. 72 14. Beethoven Concerto for Piano #5, E APW R III p.5 Op. 73 15. Beethoven Overture: ConJjoZan, E STAC,APW, R II pp.4-5 Op. 62 R,SDL,SC 16. Beethoven Overture: Egmont, Op,84 E UK,SDL R I p.7

17. Beethoven Overture: Leonone #1, E SDL R I p.7 Op, 138 00 • Beethoven Overture: LeonoKe $3 E STAC,D, R III p. 10 Op. 72A SC 19. Beethoven Symphony #1, Op. 21 E D ,STAC R I p.6

20. Beethoven Symphony #2, Op. 36 E STAC,D, R II pp.6-7 HM,APW

16 17

21. Beethoven Symphony #3, Op. 55 E-M D, APW R II p. 9 STAC 22. Beethoven Symphony #4, Op. 60 E D, APW R I p. 8 STAC 23. Beethoven Symphony #Ey Op. 67 E-M APW,g3L, R II pp.10-11 STAC,UK,D 24. Beethoven Symphony #6* Op. 68 M-H APW,SC, R III pp.6-8 PM,UK,D 25. Beethoven Symphony #7, Op. 92 M STAC,APW, R III pp.9-10 D,DR 26. Beethoven Symphony #E^ (Dp. 93 H PM,STAC,D R II PP- 7-8

27. Beethoven Symphony op. 125* M PM,D,STAC R I pp.10-12

28. Berlioz Damnation ofa Fau*t E STAC,APW Rip. 14 "Hungarian March", op. 24 29. Berlioz Hasiold.ln Italy pp. 16 M APW, HM R II pp.12-13

30. Berlioz Overture: Boat/lice, and E DR R I p.14 Benedict 31. Berlioz Overture: BotVevuito M-H APW, HM R III pp.13-14 Cellini, op. 23 D 32. Berlioz Overture: Roman CaJinlval, E-M APW,STAC R II pp.11-12 •p. 17 HM 33. Berlioz Romeo and Juliet; op. 9 M STAC,HM,D R I pp.12-13

34. Berlioz Symphonic Fanta*tlquet M APW,ST,D R III pp.11-13 Op. 14a* 35. Bernstein On the Wate/i&siont E-M STAC,HM,R 20th pp.10-11

36. Bernstein Senena.de M STAC,R,S 20th pp.12-15

37. Bizet Agnus Dei from Requiem M-H HM, S CS p.29

38. Bizet L' A/ile*lenne Suite #.f. E-M HM,DR, R I p.15 STAC 39. Bizet L'A s£e*lenne Suite #2 E HM, DR, R II pp.13-14 STAC 40. Bliss Olympian* - Act 1 E HM, S CS p.20

41. Bloch Slnfionla Bnev e M-HHM,STAC, 20th pp.15-17 SC, R 42. Borodin On the Steppe* o& Centsial E-M HM, DR R III pp.l4rl5 A *la 43. Borodin Palnce IgOHi f,Polovetzian MR,HM,APW R II pp.14-15 Dances"

*following title indicates that some difficult passages are not found in the orchestral excerpt book. The grade reflects the difficulty of the orchestral excerpt not necessarily the orchestral part. 18

44. Borodin Symphony #2 M UK,RrST, R II pp.15- HM,APW 16 45. Brahms Concerto for Piano E-MSTAC,APW R III p.15 #l,op. 15 46. Brahms Concerto for Piano M HM,UK,S R II p.20 #2,op. 83 CS p.20 47. Brahms Overture: Ac.ad.m-ic. f e & t lv a l, M ST,STAC R III p.15 Op. 80 APW 48. Brahms Overture: Tnag-ic, E-M SDL,STAC R I p.22 op. 81 APW 49. Brahms Symphony #l,op. 68 M SDL,UK, R I pp:i5- SC,R,STAC 19 50. Brahms Symphony #2,op. 73 M SDL,UK,APW RII pp.16- STAC,HM,DR 18 51. Brahms Symphony #3,op. 90 M-H STAC,HM,DR RIIIpp.16- UK,APW 17 52. Brahms Symphony #4, op. 98 M SC,STAC, R I pp.19-21 APW,UK 53. Brahms O an latlo n A on a Theme, by M SDL,STAC, R II pp. 18- Haydn, op. 56 D,APW,UK 20 54. Bruckner Symphony #4 M APW,SC, R I pp.23-24'. STAC 55. Bruckner Symphony #7 M-H ST,UK, HM R III p.18 STAC,D 56. Carter Double. Concento M-H R,ST,D 20th p.18

57. Carter \JafUajtioni, (JoA OncheAtna M STAC,APW 20th pp. 18- ■ S, R, 20 58. Chabrier E&pana E-M HM,APW R I p.25

59. Chabrier Ma/iche. Joyeu&e E-MHM,APW R III p.19

60. Charpentier ImpneAAlonA 0(J I t a l y M ST,APW, R II PP.21- S , HM 22 61. Chausson Symphony/ op . 20 M-H ST,SDL,S R I pp.25-27 HM,APW 62. Chopin LeA Sylp hides E UK, S CS p. 24

63. Creston C h th o n lc Ode M APW, R 20th pp.22- 23 64. Creston Tm Chonlc Vancea E-MHM,PM 20thpp. 21-22

65. Davies Soleinn Melody ES CS p.24 .

66. Debussy Ib en L a M ST,UK, R III pp.19-: HM,S,R, 67. Debussy La Men M-H UK,ST,APW RIII pp. 22-2- S,HM,D,R 68. Debussy NoctunneA M UK,HM, R I p.27 S,R 19

69. Delibes Suite from the M APW,HM, R II p.25 Ballet S y lv ia UK 70. Donizetti Von PaA qu a le ES CS p. 27

71. Dukas The. SoAceA.eAr6 H UK,APW,ST R I p.29 A p p A e n lic e HM,SC,STAC 72. Dvorak Overture: CdAYiivcxZ, E-M STAC,PM,ST R III pp.20-21 Op. 92 73. Dvorak Symphony #8, op.88 . M SC,APW,HM R II p.26 PM 74. Dvorak Symphony #9, New E-M APW,UK,DR, R I p.31 ifJOAld, Op. 95 STAC,R,S, 75. Einem BalZa.de. M STAC,APW, 20th pp.23-25 R,D, 76. Elgar The Vfieam o& M HM, S CS p.14 GeAontiuA 77. Elgar Enigma VaAiationA, M R ,APW,HM,S R I pp.32-33 Qp. 36 CS p.28 78. Elgar P a lA t a ^ E RfS, CS p.28

79. Elgar The Mu-Stc. b\akete> E UK,S CS p.27

80. Enesco Rownanian Rhapsody E-M ST R III p.21 #1, 0,p. ii 81. Falla Suite from EZ AmoA E-M HM ,S ,APW,R R II pp.26-27 S ULjO 82. Falla Suite from The E ST,D,R, R I p.34 ThAee CoAneAed Hat STAC,SC 83. Faure" PeZleaA and M eZZ&ande, E-M S R I p.35 Op. 80 84. Franck Symphonic. VaAiatZonA E SDL,UK, R III pp.21-22 for Piano and Orchestra STAC 85. Franck Symphony M UK,DR,APW, R II pp. 27-'28 Lin 86. Glinka Overture: RUA4>lan and M HM,S TAC, R II p.28 L u d m ila APW 87. Harris Symphony #3 M SC , HM , PM, S , 20th p p . 26—30 SDL 88. Haydn Symphony #7» Le M idZ E-M HM,S CS pp.16-18

89. Haydn Symphony #8y Le SoiA E-M H M , S CS p.11

90. Haydn Symphony "33, P o il H H M , S R III pp..22-33 HoAn 91. Haydn Symphony §45,faAeiceZZ E STAC,D, R I p.36 APW 92. Haydn Symphony #88 M STAC,S R III pp.23-24

93. Haydn Symphony #94,SuApAiAe E APW R I p. 35 20

94. Haydn Symphony #101 CZock E APW, STAC R Ilpp.28-29

95. Haydn Symphony #103, VAum-RoZZ E SC,STAC, R II p.30 APW 96. Haydn Symphony #104, E STAC,APW R II p.30

97. Hindemith Konzent fun. OAcheAteA M PM,DR,R, 20th pp.31- STAC,D 33 98. Hindemith MatfuA de/i MaJLeh. M D,R,ST, 20th pp.34- SDL,HM 37 99. Hindemith SZnfionZetta Zn E M PM,S,R 20th p p .38- 40 100. Hindemith SymphonZAche Tanze M-H PM,HM,SC, 20th pp.41- SDL,DR,D,R, 47 101. Hovhaness Pn.eZude and QuacUiupZe E-M PM 20th p.48 Fugue. 102. Humperdinck Prelude: HanAeZ and E UK,APW, R I p.36 Gn.eZeZ STAC 103. Ibert EacjoZ qa E-M UK,APW R III p.24

104. D 'Indy Symphony on a Ftieneh M STAC,UK, R II P . 31 Mountain kZji APW,DR 105. Kabalevsky overture: CoZjdla Bneugnon HHM,PM R I p.37

106. Kirchner Concerto for Violin,Cello, H APW,R,D, 20th pp.49- 10 winds and precussion ST 50 107. Lulo Overture: Le. RoZ Q'Y a E-M APW,HM,S R I p.38

108. Liszt Concerto for Piano #1 ESTAC,S R I p.38

109. Liszt Concerto for Piano #2 E-M UK,APW,S, R II p.32 ST,STAC 110. Liszt Le& PAeZudeA M STAC,HM, R III p.25 SDL 111. Liszt RhapAody #2 M-H ST,APW, R II pp.32- STAC 33 112. Mahler Symphony #1 M APW,STAC, Rip. 39 UK,HM 113. Mahler Symphony #4 M ST,D,HM,UK, R II pp.33- APW,STAC,S 34 114. Massenet SceneA AZAacZenneA E-M S , R,D R II p.35

115. Mendelssohn f-iidA tumen. NZg Iv t' A VA earn : E SDL R I p.41 Wedding March 116. Mendelssohn tfZdA uinm

119. Mendelssohn Overture; Rliy 8Zdl>, E HM,SDL R II p.35 op, 95 120. Mendelssohn Symphony #3, Scotc.k , M DR,APW, R II _pp.36-37 op. 56 STAC 121. Mendelssohn Symphony #4, Ita Z X a n , M APW,STAC R III p.26 op. 90 122, Mendelssohn Symphony #5, Rz^oAvaXton, EAPW,SC,R R I p.40 op. 107 STAC,D 123. Milhaud La CAzaXZon da Mondz M HM 20th p.52

124. Mozart Von GZovannZ #1.2, M-H PM,SDL, CS pp.12-13 "Batti, batti" STAC,S 125, Mozart Overture: Von Giovanni, E-M STAC,APW R II p.37 K527 126. Mozart Overture: MagZc FZuXz* E STAC,D R I p.43 K620 127. Mozart Overture: b\

132. Nicolai Overture: Me/tAt/ b/ZvU ofi E APW,SDL R I p.43 WZnd&oA 133. Offenbach Overture: OAphzuA Zn Zhz ES R II p.38 UndeAwottZd 134. Piston ConceAXo & oa OAchz&Zna M S , APW 20th pp. 52-54

135. Piston Overture:LZncoZn M PM 20th pp. 54-56 Fz&ZZvaZ 136. Piston SeAznaXa M STAC,APW 20th pp.56-57

137. Piston Symphony #2 E-MHM,SRAC,R 20th pp. 58-61

138. Piston Symphony #4 M STAC,HM,R 20th pp.61-64 APW 139. Piston Symphony # 5 E-M STAC,SDL 20th pp.64-65 APW 140. Piston Symphony #6 M SDL,APW 20th pp.65-67

141. Piston Symphony #7 - M SDL,APW, 20th pp.68-69 HM 142. Piston ThAzz New E ngland M HM,STAC, 20th pp.69— SkeXo.hu APW,R 70 143. Ponchielli Dance of the Hours from E-M UK, DR R III p.29 La GZoaonda CS p.30 22

144. Prokofieff Llzwt2.Yva.nt ICZjz, op6Q M UK, STAC, R II pp.38- APWf S 39 145. Prokofieff fztzA and the. Wo£j5,Op, 67 M ST,DR,SDL R II p.39 APW,STAC 146. Prokofieff CZwsa ZcaZ Symphony,Op, 25 H D ,PM ,SC, R I p.44 APW 147. Prokofieff Symphony #5rOp, 100 M-H STAC,HM, R III APW,UK pp.30-32 148. Rachmaninof f Symphony #2f0p. 27 M UK, STAC R III APW pp.32-33 149. Ravel Albortada d zZ GnaoJLo&o M-H ST,HM R I p.45

150. Ravel Concerto in G for Piano M-H PM,STAC R I p.45

151. Ravel VaphnZ6 zt ChZoz SuZtz M APW,R,HM R III #2 pp.34-36 152. Ravel Rhap&odZz EipagnoZz E-M ST,SC,R RIII p.34

153. Ravel Lz Tombzau dz Coupz/iZn E-M H M , SC R II p.40

154. Ravel La IloJL&z MST,APW,S R II pp.40- SC,HM 41 155. Revueltas Sens QjncLLja E-MR,HM,ST 20th p.71

156. Rimsky- QapfiAjicJx) EipagnoZ E-M HM,APW, R II p.42 Korsakov sc,s 157. Rimsky- Dance of the Tumblers MAPW R II p.41 Korsakov from the SnoM MaZdzn 158. Rimsky- Overture: RuiiZan. Ea&tZTl E-M HM, S R I p.46 Korsakov 159. Rimsky- SchzhzAazadz MSC,APW,S, R III Korsakov HM ,STAC pp.36-39 160. Rimsky- Suite from Lz Coq d'OA MHM,APW R I p.47 Korsakov 161. Rossini Overture: Thz BixAbzA. 0 E-M STAC,APW R II p.43 SzvtZLz 162. Rossini Overture: La Gazza Lad/va E-M STAC,HM R III UK P.39 163. Rossini Overture: iOtZZtam' TzZZ M HM,S R I p.46 CS p.3 164. Saint-Saens Sami on and VzZZZah•* M STAC,HM R I pp.43- Bacchannale R,APW 45 165. Saint-Saens Symphony #3, op. 78, MR,STAC,D R II pp.76- Origan UK,HM 79 166. Schoenberg Kammzruympho’yu-Z, H UK,SDL,S 20th pp.72- op. 9 (1906) ST,APW,STAC 75 167. Schoenberg Chambzn. Symphony #2,op. 38 M-HUK,R,S 20th pp.72- (1940) ST,APW 75 168. Schoenberg Switz Zn G fion StnZng M DR,APW,S 20th pp.80- (1934) 81. 23

169. Schoenberg VeAkla&ute. Uacht, op, 4 HUK,APW, R III pp.39- (18991 SDL, D 40 170. Schubert Symphony #2 ESTAC,APW R II p.45

171. Schubert Symphony #4 ,TAagTc E STAC R III p.41

172. Schubert Symphony #8 fUn^TnT^hed E ST,APW,UK R I p.48

173. Schubert Symphony #9 ,Thz Gtiejxt H D,STAC,SC, R II pp.45-47 APW,HM ,DR 174. Schuman, w . Overture: AmeAA.can M-HAPW,HM, 20th pp.81-84 ?qj>£ajjoJL STAC 175. Schumar,, w. VnayoJi Zyi T-ime ojJ ifJcui M-H H M ,APW 20th pp.85- (1943) 86 176. Schuman, W . r Symphony fioa St/u.ng& M HM,APW 20th p.87 (1943) 177. Schuman, W. Symphony #3 (19411 M-H HM,PM,R 20th pp.88- 93 178. Schuman, W. Symphony #4 (1942) M-H HM,R,STAC 20th pp.93-95

179. Schuman, W. Symphony #6 M-H R,HM 20th p.95

180. Schumann,R. Concerto for Piano,op.54 E-M SC,UK,DR, R II pp.48- STAC,R,SDL 49 181. Schumann,R. Overture: Manned, op. 115 M APW,HM, R I p.49 SDL 182, Schumann,R, Symphony #1,O p ,38 MD,APW,R, R I p.49 HM 183. Schumann,R. Symphony #2,Op.61 M APW,SDL R II p.48

184. Schumann,R. Symphony #3,Op.97 M APW,UK,S, R III pp.41- STAC,SDL 42 185. Schumann,R. Symphony #4,Op,120 M APW,STAC, R III pp.43- HM,S,D,DR 44 186. Shostakovich Symphony #l,0p,10 M-H HM,DR,APW, R I p.50 UK,S 187. Shostakovich Symphony #5,Op.47 M-H DR,APW,HM, R II pp.49- D 51 188. Sibelius LmmZnkaMim'& ReTn/in M-H PM,HM R III pp.44- (1895) ^ 45 189. Sibelius Pohjo&a'AVauglvteA, Op.49 E S R II p.53

190. Sibelius En Saga,Op.9 E-M UK,APW,D R III p.46

191. Sibelius The Sioan Tuonelar E S R I p.53 Op. 22 192. Sibelius Symphony #l,Qp.39 M S,APW,STAC R I pp.51-52

193. Sibelius Symphony #2,Op.43 M APW,D ,S R II pp.51- 53 24

194, Sibelius Symphony #4 , Gp.63 M S fUK,HMf R III pp.45- APW 46 195. Smetana Overture; Bantened Snd.de H PM R II pp.53-55

196, Smetana MoZdau M UK,APW, R I pp.53-54 HM,D 197, Strauss,J, Blue Vanube E S R III p.47

198. Strauss,J. EmpeAoA W aZtz E s Rip. 54

199. Strauss,J. Tad.es finom th e VZenna E s R II p.56 W OOdSrOp.325 200. Strauss,R. AZso S pnach Zanathustnji, H UK,APW,D S pp.17-27 Op.30 (1896) SDL,S 201. Strauss,R. Alls TtaZ ien M HM,APW,D S p.3

202. Strauss,R. Le E ouAgeoZs GentZZhommeM-H PM,HM, S pp .56-59 S,STAC 203. Strauss,R, B unZeSque for piano E-M HM,STAC S p.52 and Orchestra (1885) D 204. Strauss, R. VOn Juflk, Op. 20 (1880) H UK,D,SDL, S pp.4-8 STAC,APW 205. Strauss,R. Von QuZxote,o p . 3 5 H HM ,SDL,D S pp.28-35 (1897) STAC,APW,S 206. Strauss,R. EZn HeZdenZeben,o p .40 HST,HM,SDL S pp.35-44 (1898) S ,APW,D 207. Strauss,R. SaZome's Vance M-HST,UK,S S pp.53-55

208. Strauss,R. SZnfioivta VomestZca, M-HUK,SC,SDL, S pp.44-51 op.53 (1904) D,S 209. Strauss,R. TZZ EuZenspiegeZ, H STAC,APW S pp.13-16 Op.28 (1895)^ 210. Strauss,R. Tod and VeAkZanung, H SDL,APW,S S pp.9-12 op. 24 (1889) 211. Stravinsky Vanses Concentantes M STAC,APW, 20th pp.96- (1942) HM,UK 98 212. Stravinsky FAAebihsL (1910) H UK,SDL,S R II pp.56-57 HM,ST,APW, 213. Stravinsky PetAouchka. (1911) M-H HM,STAC R I pp.55-56 ST,R,APW 214. Stravinsky Le SacAe da PntntempS M-H APW,HM,ST, R III pp.47-49 (1913) S,R,STAC,PM 215. Stravinsky Symphony Zn C (1940) M R,HM,DR,S, 20th pp.98-101 STAC,APW 216. Stravinsky Symphony Zn Thn.ee Movements M STAC,HM ,S , 20th pp. 101- (1945) APW,R 103 217. Suppe Overture: MonnZng, Noon, M-H UK,HM,DR,S R II pp.57-58 and N ig h t CS p. 20 218. Suppe Overture: Poet and PeasantM HM, DR , R, S R I p.56 CS p.19 25

219. Surinach. Sln^onletta Flamenca M PMfHM (S 20th pp.104- 105 220. Tchaikovsky Concerto #1 for Pianof M UK,DR, R III pp.50- Op, 23 HM,S CS p.11 51 221, Tchaikovsky Concerto #2 for Piano, E-M HMf S CS p.5 Op, 44 222, Tchaikovsky Fstances ca da RImlnl M APW, R R III pp.55- 57 223, Tchaikovsky Manned, op. 56 M STAC,D R II pp.60- APW 62 224, Tchaikovsky Wojvche Slave MUK,APW, R III p.57 STAC 225, Tchaikovsky NutcAackeA. Suite, M STAC,HM, R I p.61 Op. 71A APW 226. Tchaikovsky Overture: 1812 E STAC R III p.59

227. Tchaikovsky Queen o& Spades E HM,S ' CS p.19

228. Tchaikovsky Romeo and Juliet M-H APW, PM R III pp.51- D 52 229. Tchaikovsky Serenade, Op, 48 M APW,SC, R III p p .57- D,STAC 58 230. Tchaikovsky The Sleeping Pnlncess E-M H M , S CS p.26

231. Tchaikovsky The Swan Lake, op. 20 M UK,HM,S R I p.57 CS p.25 232, Tchaikovsky Symphony #4, Op. 36 M-H DR,UK, R I pp.57-60 APW, R 233. Tchaikovsky Symphony #5, Op. 64 M-H STAC,UK, R II pp.58- APW,D 60 234. Tchaikovsky Symphony #6,Op. 74 M APW , HM , R III p p .52- Pathetlqae UK,STAC 55 235. Thomas Overture: Mlgnon E-MHM,DR R III p.60

236. Vaughan- Fantasia on a Theme by E ST,S,R, R III pp.60- Williams Tallis D 61 237. Verdi Alda C1871) M-H H M ,STAC,S,SC V pp.18-22 UK,APW,PM,ST, 238. Verdi Von CaAlos (1867) M-HUK,STAC,R, V pp.13-17 APW,PM,SDL,S 239. Verdi Un h allo In ILascheaa E-MUK,HM,S, V p.12 (1859) STAC 240. Verdi Falstafifi (1893) M-H SC,STAC,S, V pp.29-32 PM,APW,ST 241. Verdi La Fonza del Vestlno M APW,UK,PM, V pp.10-11 (1862) STAC,S 242, Verdi Othello (1887) M-H U K ,PM ,HM, V pp.23-28 STAC,APW,S 243. Verdi Requiem (1874) M-H UK,HM,APW V p.32 CS p.24 26

244. Verdi Rtgoletto C18511 M-H UK(DRfPMr V pp.3-5 STACfS fD 245. Verdi La Tn.avlata (1853) M UK, STAC,Sf V pp.8-9 PM,D 246. Verdi 11 T/iovatoAe. (1853) M UK,APW, V pp.6-7 STAC 247. Villa-Lobos B achiana& £ AaAtZ.elnjx& H PM,DR, 20th pp.106- #1 HM,STAC 113 248. Villa-Lobos B acfUaruzs E h.oJ*tLeJjwJ> E-M HM,R 20th pp.113- #5 114 249. Wagner B L m FauAt-OveAtwie. M-H SDL,STAC, R I pp.62- (1840) APW,D 64 250, Wagner VeA FJU.ege.nde. HottandeA HAPW,STAC, W pp.5-9 (1843) SDL,D 251. Wagner GotteAd.amrmA.ang H UK,APW,PM,STAC W pp.50-57 (1876) HM,S,D,DR,SDL CS p.27 252. Wagner LohctigAtn (1850) H PM,UK,SDL, W pp.16-20 D. STAC,ST 253. Wagner Vtc UetAteAAtngeA von M DR,UK,SDL W pp.25-26 NiiAnbeAg (1868) APW,S CS p.31 254. Wagner VaA&tfial (1882) M-H UK,HM,R, W pp.58-59 STAC 255. Wagner Va& Khettigoid (1869) M-HST,STAC,S,DR, W pp.27-36 SDL,UK,PM 256. Wagner Rtcnzt M-H PM,UK,HM W pp.3-4 SDL,STAC 257. Wagner Steg^Aied (1876) M-H DR,UK, APV7, W pp.43-49 SDL,STAC,R,PM 258. Wagner Tannhau&eA (1845) H PM,UK,D, W pp.10-15 STAC,SDL CS p.14 259, Wagner TAc&tan and l&oZde. M-H HM,SDL,PM, W pp.21-24 (1865) UK,APW,D 260. Wagner Vte. U! aZkuAe. (1870) M-H DR,UK,HM,STAC, W pp.36-42 SDL,S,D,APW CS p.25 261. Weber- Invttatton to the. Vance. E-M ST,S,UK R II p.62 Berlioz op. 65 CS p.21 262. Weber Overture: EuAijanthe. E-M D,DR,STAC R III pp .61- 62 263. Weber Overture: FAAt&clliitz E-M STAC,D R III p.62

264. Weber Overture: ObeAOn E-M APW R I p.64

265. Weinberger Polka and Fugue from M UK,APW, 20th pp. 114- S hvanda STAC 115 IV. TABLES OF BOOK CONTENTS BY GRADE AND PROBLEM

27 BOOKS BY PROBLEM AND GRADE

This section contains a table for each of the eight orchestral \ excerpt books,•showing the contents of each book by problem and grade.

The problems have been graded individually with the grade now representing the difficulty of the problem not the excerpt as a whole.

The numbers provided refer to the number assigned in the Alphabetical

Master List in Section III. The tables serve as a cross-reference to the master list and also as a guide for determining the general level of difficulty and types of problems in each book.

28 29

Table l! Rose: On.ch&t>t/iaZ exc.eApt&y Vol. I

Easy Easy- Medium Medium- Hard ______Medium______Hard Awkward 28 17 93 52 58 22 51 54 61 146 Passage 102 107 177 73 106 77 112 116 213 232 Work 122 132 172 129 264 118 164 181 249 71 (APW) 182 186 192 196 225 Perpetual Motion 27 105 150 146 (PM) String 1 54 82 Crossings 122 48 51 71 146 (SC) Staccato 19 22 28 12 27 33 (STAC) 38 52 82 48 51 54 91 102 108 129 71 112 116 150 122 126 164 192 225 249 213 High 33 158 181 38 58 61 68 77 186 12 Melody 182 107 225 112 149 160 213 71 (HM) 163 164 196 105 218 231 Smooth 16 17 115 61 48 118 249 Disjunct 132 181 52 Line (SDL) Uncommon 16 51 68 71 186 231 Key 73 102 112 48 232 196 (UK) 117 172

Rhythm 73 77 82 68 48 182 213 (R) 122 164 218 232 Dotted Rhythm 30 38 73 186 218 232 (DR) Special Techniques 82 172 61 149 213 1 (ST) Dynamics V 19 82 91 B 22 27 A' 142 213 (D) 126 182 196 33 B 249 A 61 136 B 122 Solos 68 107 108 73 77 (S) 158 191 192 83 163 218 231 12 198 30

Table 2: Rose: OflC.h£h.aJL Exe.CAp.fc5, Vol. II

Esay Easy- Medium Medium- Hard Medium Hard Awkward 2 15 20 13 21 23 29 43 44 49 67 111 173 Passage 94 95 96 32 81 109 53 60 69 74 233 212 Work 170 145 156 125 128 161 85 86 104 113 120 (APW) 144 154 157 165 183 187 193 223 Perpetual 26 Motion 74 195 (PM) String 15 95 153 154 Crossings 156 180 74 173 (SC) Staccato 15 20 23 21 49 86 144 (STAC) 32 39 53 113 125 145 173 223 94 95 96 161 165 26 104 109 111 120 170 180 High 20 29 32 4 81 85 43 44 47 60 Melody 39 49 69 156 67 74 113 154 187 217 (HM) 86 119 153 165 212

Smooth Disjunct 15 119 145 13 23 180 49 53 183 212 Line (SDL) Uncommon 23 104 113 44 47 49 53 Key 180 85 109 261 69 144 165 233 67 217 212 (UK) Rhythm 15 43 81 114 185 44 67 165' (R) Dotted 39 40 85 Rhythm 120 145 180 4 104 217 187 173 (DR) Special 44 60 67 Techniques 109 261 113 145 154 111 (ST) 212 Dynamics A ' 20 21 23 A '114 '154 A'193 223 233 B"187 A 173 (D) 26 53 113 B 193 B.165 173 Solos 67 133 189 4 81 109 (S) 193 199 261 113 114 156 47 60 144 154 217 212 31

Table 3 ; Hose: 0fi.e.hQ2>tnaJL ExceAp£&, Vol. Ill,

Easy Easy~ Medium Medium- Hard Medium Hard Awkward 45 103 151 24 25 34 31 50 5 Passage 159 190 121 127 147 Work 14 59 148 184 194 214 169 CAPW 222 234 228 229 234 185 Perpetual 24 188 * Motion 72 228 214 (PM) String Crossings 18 149 229 152 5 24 (SC) Staccato 18 46 72 45 162 184 25 50 55 (STAC) 84 110 130 185 262 263 121 147 148 L71 226 229 159 214 224 234 High 42 110 162 59 151 235 50 66 159 31 55 90 Melody 185 220 234 194 188 214 147 (HM) Smooth 84 110 130 Disjunct 184 169 Line (SDL) Uncommon 24 84 103 55 66 147 Key 131 124 179 162 184 190 148 220 234 50 169 (UK) 194 224 Rhythm 152 236 66 151 222 214 (R) Dotted 42 50 185 Rhythm 235 262 25 220 5 (DR) Special 34 45 66 Technique L31 236 80 152 151 214 5 (ST) Dynamics A. 18 185 & 55 A 24 25 169 B 24 228 (D) 236 260 263 B 34 190 B 25 31 229

Solos 66 184 185 92 159 194 5 (S) 197 220 236 214 90 32

Table A : Stokking,: 2 0 th Ce.ntuAy OtiC.hoJ>tAa. Stu.cU.&6,

6 57 63 Awkward 75 134 136 Passage 138 140 141 166 Work 10 139 142 168 175 176 9 167 174 (APW) 211 215 216 265 Perpetual 87 97 99 Motion 11 64 101 100*135 219 177 247 (PM) String Crossings 11 41 87 100 166 (SC) Staccato 35 75 97 36 41 142 (STAC) 136 137 138 57 215 265 166 174 211 9 247 139 178 216 High 8 64 142 35 137 141 87 98 100 41 174 175 Melody 155 219 211 216 248 123 138 176 177 178 179 247 (HM) 215

Smooth 11 87 98 Disjunct 139 141 7 140 166 100 Line (SDL Uncommon 6 167 211 Key 7 265 166 (UK) Rhythm 8 35 75 11 99 137 36 56 57 (R) 97 142 155 248 63 98 138 41 100 167 106 177 178 179 215 216 Dotted 97 100 168 Rhythm 215 247 100 (DR) Special Techniques 98 155 10 11 56 106 167 100 166 (ST) Dynamics A 75 98 B 100 A .106 A .56 (D) B 97 Solos 7 10 36 57 168 216 87 134 166 167 CS) 99 215 219

*Pizzicato 33

Table 5: Sharpe: A Book fioft. the. C dULUit*

Easy______Easy-Medium_____ Medium____Medium-Hard Hard Awkward Passage 5 Work (APW) Perpetual Motion 3 124 244 (PM) String Crossings 5 (SC) Staccato 12 124 244 (STAC) High 40 220 4 88 89 47 76 77 37 217 243 Melody 221 227 156 230 163 218 231 258 12 (HM) 251 260 Smooth. 3 253 124 251 258 Disjunct 260 Line (SDL) Uncommon 47 143 220 217 243 244 Key 52 79 261 231 251 258 (UK) 77 78 P-hythm 218 (R) Dotted Rhythm 4 143 217 218 5 5 (DR) Special Techniques 261 5 5. (ST) Dynamics (D) Solos 40 62 65 3 4 77 CS) 70 78 79 88 89 156 47 76 163 37 124 5 220 227 251 221 230 253 218 231 260 217 244 12 261 34

Table 6 : Stutch; S&10LUA& OncheAtHaJL ExceA ptA ,

Easy Easy-Medium Medium Medium-Hard Hard Awkward 200 204 205 Passage 206 209 210 Work 201 (APW) Perpetual Motion 202 (PM) String Crossings 208 (SC) Staccato (STAC) 203 202 204 209 205 High Melody 203 201 202 205 206 (HM) Smooth Disjunct Line 200 204 205 (SDL) Uncommon Key 200 204 207 208 (UK) Rhythm (R) Dotted Rhythm (DR) Special Techniques 207 206 (ST) Dynamics B 203 208 A 204 (D) B 201 B 200 204 205 206 Solos 200 202 205 206 (S) 207 208 210 35

Table 7 Grosch: VsJicLL Oft-C.h&t>ie/i-S£ucU.zn,

Easy Easy-Medium. Medium Medium-Hard______Hard Awkward Passage 241 243 246 242 (APW) Perpetual Motion 238 241 245 244 (PM) String Crossings 237 240 (SC) Staccato 239 245 237 238 241 240 242 (STAC) 244 246 High 237 Melody 239 242 243 (HM) Smooth Disjunct 238 Line (SDL) Uncommon 239 241 242 238 245 246 237 243 Key 244 (UK) Rhythm 238 (R) Dotted Rhythm 244 (DR) Special Techniques 237 240 (ST) Dynamics B 245 B 244 (D) Solos 238 237 239 240 241 245 242 244 (S) Table 8 Kiesling: Wagner OhcJwAtiiaJL ExcCApt6,

Easy Easy-Medium Medium Medium-Hard Hard Awkward Passage 253 257 259 260 250 251 Work (APW) Perpetual 255 256 Motion 257 259 251 252 258 (PM) String Crossings (SC) Staccato 255 256 250 251 254 252 258 (STAC) 257 260 High 251 256 Melody 259 260 254 (HM) Smooth 252 253 250 251 255 Disjunct 257 259 256 258 269 Line (SDL) Uncommon 251 253 252 254 255 Key 256 257 259 260 258 (UK) Rhythm 254 257 (R) Dotted Rhythm 253 251 255 257 260 (DR) Special •:r 1 Techniques 255 252 (ST) Dynamics A 260 B 250 251 CD) B 252 258 259 Solos 251 255 253 260 (S) a p p e n d i x PRACTICE SUGGESTIONS

The ideas discussed here are intended to be useful for the study of the orchestral excerpts and for the etudes listed in Section II B.

The list is by no means complete, but rather is a compilation of ideas from various sources both published and unpublished. When possible the source is given.

The ideas are grouped in two main categories. Procedures for learning the notes deal with the left hand and right hand individually.

Procedures for continuity deal with the two hands together.

Procedures for Learning the Notes:

A) This is a five step method in which the first five steps are away from the instrument. 1) Sing the notes by letter name or solfeggio without rhythm at pitch or with octave displacement. This gives an understanding of the interval structure at the learner's own pace.

2) Sing the notes in rhythm. 3) Mime the left hand gestures involved as the pitches are sung in rhythm. 4) Add the appropriate bow gestures in mime. 5) Take up the instrument and play the passage. (From Rudolfi,

PzdagogtcaZ PfU.ncj.ptZi>, pp. 74-76, 85).

B) Draw the fingerboard to scale on a long sheet of paper. Mark the chromatic intervals to scale for about two and a half octaves or

38 39 through the problem range of a particular passage. Memorize the passage.

Set the diagram directly in front of you and visualize the spatial relationships for each note. With this diagram of the fingerboard it is possible 1} to see the location of each note, 2) to visualize the distances between notes and the notes relationship to one another, 3) to relate each sound to its position within the chromatic scale and its position on the fingerboard, and 4) to localize the difficulty. The disadvantages are 1) that a given passage can only be practiced very slowly, 2} that only portions not the whole of a motion can be practiced,

3) that the method is exhausting, and 4) that it is only applicable when practicing by memory. (A more exhaustive discussion of this idea is in

Mantel, CeJULo T e c h n i q u epp.9-12).

C) For awkward high places practice the passage down an octave for intonation. The lower positions are better known and are therefore more comfortable. The interval structure and intonation can be the focus without the added psychological stress of playing in the high positions.

Also, in the lower positions the physical space is larger between intervals. There is more space for being right.

D) For bowing problems: 1) practice a string crossing on the open strings. (Examples of this technique can be found in Zimmerman, A

Contempo/wAy Conce.ptoEotaing Technique J 2)work out the circuiuar directions of the bow for awkward string crossings. Difficult complicated patterns can be broken down into several simple patterns. Plan the movements so that one part of the body is not trying to go in two directions at once. 3) In general bowing motions are smallest in the 40

trunk of the body and become larger farther out. For example, in

drawing a long bow the hand and fingers move the greatest distance. The

trunk, back, and arm give the preparatory impetus for the larger

motion. Similarily, in playing a fast separate bow passage the hand and

fingers move the farthest to execute each stroke. The trunk, back,

and arm again initiate the motion and pulse larger metric values, e.g.

the first of four, the first of six.

Procedures for Continuity:

A) Cycle an awkward movement, playing it again and again in rhythm with a uniform rest in between each repetition. There is no need to be

completely accurate at first. Repeat until the process becomes automatic

and the mind can become a detached observer. Focus on specific problems

one by one, e.g. intonation, shifting, tempo, and rhythm and allow them

to correct themselves.

The psychological effect of cycling is to give flow to the passage

and to lay a foundation for overcoming the difficulties. By detaching

the mind, the player does not become directly involved. If a mistake

is made the momentum is not stopped. That problem, once it has been

identified and understood, is allowed to correct itself in the next

round or the next few rounds. A single awkward movement is worked on so

that each facet e.g. intonation, shifting, bowing, rhythm, tempo, bow

directions, etc. can be identified, understood, and corrected individual­

ly and in combination. (From an unpublished article by Karl Kornacker and William Conable). 41

B) For continuity in a difficult perpetual motion passage or a long

awkward run isolate and practice passages playing five notes forward

and three notes back. This makes two groups of four notes. (From Leland,

The V ounli PJu.ncA.p-C.ei, p. 60).

V' , ) L ^ i ■0

Figure 1 - From the B ahlcAed B hide Ovehtuhe by Smetana (Rose: Vol. II, p.53)

C) Other better-known ideas for continuity are: 1) practice with

accent displacement, accenting each note in turn. (See Stutschewsky,

Studlen za elneA neucn SplcLtedvilk, vol. n p. 10.) 2) Group the notes

in rhythm patterns and variations of those patterns. The most common

rhythms are the dotted rhythm and the "Scotch-snap". (For other

patterns and an exhaustive list of permutations see Galamian-Neumann,

Ccnlempchtzhy V io lin Technique, Part II, p. 20-40.) 3) When fingering a

long perpetual motion passage, find the sequences and repetitions. Plan

fingerings and bowings so that the shifts and bow changes occur in the

same place each time. BIBLIOGRAPHY 43

BIBLIOGRAPHY

ORCHESTRAL STUDIES

Grosch, Karl, ed. VoAdt OAchcAtoA-StudtCn. Heft VIII. Leipzig: Hofmeister, 1973.

Kiesling, M., ed. OJagneA OAchz&tAaZ E xceA5 pt |$Aom OpeAcu and ConccAt 0! OAk6 , N.Y.: International Music Co., no . date.

Rose, Leonard, ed. 0Ac.hz6tAaJL Exc.2A p t6 $Aom thz Sympkontz Rzpz'itotAz. 3 Vols. N.Y.: International Music Company, 1953.

Sharpe, Cedric, ed. A F ook fioA thz Czttt&t. London: Novello, 1954.

Stokking, William, ed, 20th CzntuAy OAchzAtAa StucUz&. N.Y.: G. Schirmer, 1973.

Stutch, N., ed. StAauAA 0Ach2AtAaZ Exc.2A.pt6, N.Y.: International Music Co., 1967.

BOOKS

Cooper, Grosvenor W. and Meyer, Leonard B, Thz R hytlwW.C StAuctlxAZ MU A tz, Chicago: The University of Chicago Press, 1 9 6 0 .

Galamian, Ivan. PAtnctplzA ol Vtoltn Playtng and Touching. Englewood Cliffs, N.J.: Prentice-Hall, 1 9 6 2 .

Galamian, Ivan and Neumann, F. ContmpOACLAy VtoLLn Tzchniquz, Part II: B ocotng and Rhythm P a ttzA nA N.Y.: . Galaxy, 1 9 6 3 .

Green, Elizabeth. OAchzAtAaZ Bouling. Ann Arbor, Mich.: Campus Publishers, 1 9 7 6 .

Hindemith, Paul. EtzmZiVtaAy TAatntng 0 j$A MuAtctanA. N.Y.: Schott, 1 9 4 9 .

Hodgson, Percival. Motton Study and VtoLin BotUUU}. U.rbana, 1 1 3.: American String Teachers Association, 1 9 5 8 .

Kenneson, Claude. A CzLLLbt’6 GuUdz to th z NzW AppAOacJl. Jericho, N.Y.: Exposition Press, 1 9 7 4 . 44

Leland, Valborg, The VounlS Principles 0$ Violin Playing, London; The Strad, 1949,

Mantel, Gehard, Cello Technique, Trans, by Barbara Haimberger Thiem, Bloomington, Ind.; Indiana University Press, 1975.

Rudolfi, Peter. "Pedagogical Principles in Annotations of Popper’s Etudes, op, 73." Unpublished Master Thesis, University of Alberta, 1975, smith, James e. Using Orchestral Excerpts cos Study Material fior Vtoltn. Urbana, 111.: American String Teachers Association, 1966.

S t r in g S ijlla b u S, Paul Rolland, Chairman of Syllabus Committee. Urbana, 111.; American String Teachers Association, 1975.

Zimmerman, f. A Contemporary Concept o£ Bowing Technique fior the Vouble BaSS. N.Y. : Leeds Music Co., 1966,

STUDIES

Bunting, Christopher. Stx String-Crossing Studies. London: Oxford University Press, 1971.

Bunting, Christopher. Six Velocity StudreS, London: Oxford University Press, 1971.

Dotzauer, J.J.F. .11.3 Studies. ed. by J. Klingenberg. 4 Vols. N.Y. : International Music Co., no date. Vol. I (1-34), Vol. II (35-62), Vol. Ill (63-85), and Vol. IV (86-113).

Duport, Jean-Louis, Twenty-One Etudes. Ed. by L. Schulz. 2 vols. N.Y.: G. Schirmer, 1939. Vol. I (1-13), Vol. II (14-21). There are many other editions. Among them the Ricordi edition has a different numbering system and many engraving errors.

Franchomme, Auguste. Twelve Caprices, Qp. 7. Ed. by J- Klengel, N.Y.: International Music Co., no date.

Franchomme, Auguste. Twelve Studies, Op. 31. Ed. by B. Becker and L. Rose. N.Y.: International Music Co., 1951.

Gruetzmacher, Friedrich. The Technology oq Cello Playing, op. 38. Ed. by Klengel. 2 Vols. N.Y.: International Music Co., no date. Vol. I (1-12, without thumb position), Vol. II (13-23, with thumb position). 45

Guerrini, G, TfiinXzzn Stu.cU.ZA, Transcribed for cello by Luigi Silva. N.Y.: Ricordi, 1941,

Kreutzer, Rudolf. FOhJty-Two StucU ZA, Transcribed for cello by Luigi Silva, 3 Vols. Padua : Zanibon, 1964. Vol. I,pt. I (1-13), Vol. II. pt.II (14-27), and Vol. I I (28-42).

Lee, Sebastian. MztocUz Stu.dU.ZA, Op. 31. 2 Vols. N.Y.: International Music Co., 1961. Vol. I (1-22), Vol. II (23-40).

Paganini, N. Tu)ZHty-FouA Ca.pnA.ZZA, Transcribed for cello by Luigi Silva. N.Y.: Ricordi, 1952.

Piatti, Alfredo Carlo. TwzZvz Ca.pnA.ZZA, Op. 25. Ed. by Luigi Silva. Milan: Ricordi, 1944.

Popper, David. H tg fi SzlwoZ ofi C zZla T Z aytn g , op. 73. N.Y.: International Music Co., no date,

Schroeder, Alwin. 770 F0U.ndcutL0nStujdA.ZA, 3 Vols. N.Y.: Carl Fischer, Inc., 1916. Vol. I (J.-80J p Vol. II (81-137), Vol. Ill (138A-170).

Servais, A.F. S t x Ca.phA.ZZA, Op. 11. Padua ; Zanibon, 1960.

Stutschewsky, Joachim. StudUznztu. ZA.nzh. neuzn S ptzitzzhntka u fi dzm VZoZonzzZJLo, 2 Vols. Mainz: Schott, 1964. Vol. I (left hand), Vol. II (right hand).