Laoureux metodo de violin vol. 1

Metodo de Violino

1. CD msc:

Laoureux
A Practical Method for Violin
Part 1

REPORT OF PROFESSOR CÉSAR THOMSON

To

M. F.-A. GEVAERT

Dinzoron or ue Rovat Consehvaroar ar Bausseis

All Violin Methods hitherto published have the
same fault: they proceed too rapidly, and do not ex.
plain with suficiene clearness.

Having examined the Method by M. Laoureux, I
find chat he has endeavored to correct these mistakes
and has fully succeeded in doing so.

In his Preface, by means of a cleverly adapted
series of movements, he teaches the pupil how to hold
‘both bow and wiolin in a wholly correct manner. ‘The
first exercises with the bow ace excellently graduated,
and highly important to insure suppleness of the right
arm and a fine quality of tone. For the left hand,
M. Laoureux begins with the fist finger and makes
it practise a great variety of exercises; later he takes
up the 26, 3 and sch fingers in the same way. Thus,
while giving the pupil a thorough training, he avoids
‘monotony in the exercises,

‘The saine method is pursued throughout the course
New dificulties are always prepared by a series of
practical exercises, and concluded hy a Study contain.
ing a review of the technical points just practised.
Tho various bowinge are led up to by easy steps, and
1 am convinced that the pupil would understand the
‘explanations even without the teacher's assistance.

Part I is devoted to the Pos Beginners gen-

erally find them dificult to master, both on account of

the different fingering and the changes of postion.
“This difeulty, of which the other violin methods take
no notice whatever, is forestalled by the author; from
the fist position he goes directly over co the third,
and then comes back to the second, in which, lying as
it does hetween the other two, the pupil soon feels at
home. And in this way the author is enabled to in-

troduce immediately a good mumber of studies in
shifting, and to emphasize the special use of each
finger in manifold positions. In a word, the few
pages devoted to these studios in shifting afford the
pupil a complete view of the positions and the art of
shifting. The progressive exercises, with similar fin
gerings in the ist five positions, present the same ade
vantages, and at the same time train the pupil's ear.

Double-stops receive special treatment in the See-
fond Part. All the intervals are prepared, and the two
tones are not played together until they have been
‘exhaustively practised as melodic (broken) intervals.
By this method the beginner's ear is not led astray,
and he more readily acquires perfect precision of
pitch,

This Violin Method is in my opinion, the only one
which so skilfully prepares the study of one of the
iefdificultics of our instrument, Taken asa whole,
this Method advances by very carefully considered
gradations, and is, T think, the best adapted for its
purpose of all che methods with which Lam familias,
and calculated to do most excellent service in the cause
af violin-eaching.

(Signed) César Tomson.
Supported by the opinion of such a renowned vir
uoso and expert, U can only concur in the praise
ich he hestows on the author ofthis Violin Metho:),
and approve and recommend the use of this extremely
interesting work for instruction on the violin at the
Royal Conservatory in Brussels.

(Signed

FA. Gevanar.

2. Nicolas Laoureux — A Practical Method forthe Violin, Part 1

3. Nicolas Laoureus

A Practical Method forthe Violin, Part |

NTRODUCTION

GENERAL ATTITUDE
How ro Horn tue Vioun

Before allowing the pupil to set bow to string,
he should be familiarized with every detail requisite
for a correct attitude, and with a systematic regula-
tion of all the movements.

In general, the correct posture of the violinist con-
sats in throwing the weight of the body on eo the left
leg, which should form a straight line with the well.
poised head. The right foot, slightly and easily ad-
vanced, maintains the equilibrium of the body.

Before setting the violin in position the pupil' left
shoulder must be padded with a small cushion, so that
he may not have to raise it, but can, on the contrary,
draw it back a little while throwing out the chest.
The above advice is of vital importance in the matter
of the pupil's physical development. A chinrest is
likewise indispensable.

We will now suppose the pupil to be standing easily
wich arms hanging down at either side.

First movement, The pupil takes the violin, with
its back towards him, by the end of the neck next the
scroll, between the frst joint of the thumb and the
third joint of the forefinger of the left hand.

Second movement, He raises the left forearm
to the height of the shoulder.

Third movement, He throws the left elbow
slightly forward, away from the body, so that the
neck of the violin rests on the palm of the hand.

Fourth movement, He raises the violin with the
help of the right hand, and sets it under the left
of the chin, without lowering his head or pressing on
the tailpiece, 0 that the instrument is gripped be-
tween collarbone and jawbone: the position of the
nose will be in line with the D- and A-strings.

‘The teacher will take care to press the palm of the

CDi

hand away from the neck of the violin, so that it may
form a straight line with the forearm: and to turn it
to the left, so that the fingers may come over the
(Fig. 1.)

jon enables the player to hold the violin
by the weight of his head alone, and without effort.

The pupil must take care not to thrust his head
forward, as this would tend rather to lower the violin
than co keep it steadily horizontal.

The body of the violin should slant downward to
the right, so chat when the pupil sets the bow, at the
nut, on the Gestring, the down-bow will describe 2
horizontal line from nut to point. (Fig. 2.)

How ro Horn Tue Bow

Before taking up the bow, lay a pencil on a table,
and pick it up with the thumb and middle finger.
(Fig. 4)

Now bring down the other three fingers gently
upon the pencil.

The four fingers, at first curved naturally, are now
advanced till nearly straight (the thumb retaining its
position), with the forefinger further forward than
the little finger: this throws the hand into a slightly
oblique position, giving the precise shape for holding
the bow properly. (Fig. 5.)

‘The teacher will hand the bow to the pupil so that
the latter may grasp it as he held the pencil, between
the thumb (which holds the stick at the mut) and

iddle finger. The pupil now brings the other fingers
down upon the stick, without pressing too hard or
stifly; the forefinger is a trifle advanced, and he must
take special care to keep the thumb slightly curved,
so that it may not bend inward. (Fig. 6.)

The pupil has now to set his bow, at the mut, on
the Gatring. His right elbow should be close to
ie side: his wrist, gently carved upward, forms an

4. Nicolas Laourcux — A Practical Method for the Violin, Part 1

INTRODUCTION

almost straight line with his forearm. The entire
breadth of the hair should rest on the string, 2nd the
bow must not be tilted sideways. (Fig. 3.)

The pupil is warned against that very common
fault of beginners, the tilting of the stick toward the
fingerboard with the hair zslant on the string. This
position permits only a small portion of the hair to
touch the string, and the slanting pull hurts the
quality of the tone. It will readily be seca that a bow

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set squarely on the string will bring all the hair into
action, retain its balance, require kess effort on the
performer's part, and bring out a fuller, finer tone.

Our next move will be to get our first tone on the
Gatring. As we observed before, the pupil, in draw-
ing his bow from nut to point, should describe a hori-
zontal line, which is accomplished by letting the bow
run deep in the waist (between the bouts), almost
touching the edge of the violin.

5. ‘Nicolas Laoureux — A Practical Method forthe Violin, Part L

Practical Method for the Violin
BY NICOLAS LAOUREUX
PART I
à Down-bow, Y Up-bow

[hen the bow touches the string for the down-bow, a the mut, the wrist should be slightly
raised, and gradually lowered as the bow travels towards the point; when the point is res
the wrist should be on a level with the forearm. (Seo Pigs, IIT and 1)

4 Y Y |

1 ei ete.
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of

2 LE = te
LAA = =

The toucher will have noticed during this exercise that the pupil tries to doseribo a hori-
zontai lino, but finds it difficult to draw his bow straight, thet is to say, parallel to the
bridge. It would be dangerous to allow the pupil to guide his how unaided at the outset
The teacher should guide the bow by tho screw, and lightly bear with his left hand upon the
pupils elbow, which will oblige the latter to play with his elbow close to his side, and to
raise his wrist slightly on the up-bow.

Little by little, as the pupil allows the bow to be guided without stiffness, he may be left
to play unassisted.

In passing from @ to D, the pupil, during the rest, should slightly lower wrist. (For the
2, A and B strings the elbow must he elose 10 the side.)

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6. Nicolas Laoureux A Practical Method forthe Vili, Part 1

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Lightly, not roughly, at the nut.

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7. Y

Nicolas Laoureux: A Practical Method for the Violin, Part I

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Lightly, with

usas

the whole length of the bow.

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"The eighthenote is to be played 11) from the middie to the point, slightly raising the wrist
for the up-bow; reverse movement for the down -bow; @) close to the nut, using very Mille

bow, and solely

a

with a wrist-movement, without moving the forearm.

=

A whole bow

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eevee

MB. Fullness of tone depends upon its purity. Consequently, at the beginning, try to get a
soft and pure tone; later, if you have flexibility, it will become Jurgo, and will remain, beau-

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tiful,

8. ‘Nicolas Laoureux — A Practical Method forthe Violin, Part
The eighth notes, from nut to middlo; a whole bow on the quarter-notes.

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In the first measure take the eighths at the point; in the second, at the nut; and so forth,

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For a long time the pupil will find it very difficult to restrain the speed of his bow on the
long notes, especially when they are preceded by short ones. The following exercises will
accustom him to use the bow according to the length of the note.

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measure: Righths at the point. 24 mensure: Bighths at the mut.

» de Zr Er
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BFF
4
29 PPS armee
E E CN
= + +
Take the elghth-notes at the polnt.
30

9. Nicolas aoureux

Take the eighth-notes at the nut.

‘A Practica Method forthe Violin Par 1

The Legato

In passing from one string to another adjacent string the pupil must lower or raise the hand by

motion of the wrist only (lower It to reach a highor string, raise it for a lor

changing the elevatlon of the forearm,

4

wer string) without

aa ae

Ei

3

36 AE
wy

D)

10. ¡Nicolas Laouseux — A Practical Method forthe Violin, Part 1
THE LEFT HAND

Hold the neck, close to the stsing-box, loosely netween the first joint of the thumb and the third
of the forefinger, with the fourth finger well to the left toward the nock of the fnstrument Bring
the fingers over to the strings with the thumb opposite the forefinger. The hand should be prac=
tically in a direct line with the forearm.

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ra ot Sa
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po op sn aren agi os
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11. ‘Nicolas Laourcux — A Practical Method for ne Vili, Port 1

‘Take care that when the pupil puts down the second finger he does not raise the first,
which he should find in place when descending.

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down while ascending
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ES HE E
= = ea Fe à

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12. Nicol Laoureux A Practical Method fr the Violin. Bar

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pe

13. Nicolas Looureux — A Practical Method forthe Violin, Pat 1

THE INTERVALS
The Second

Keep the fingers down, while ascending.

jy oe à 1 2 wa a
1
ré à A =
sans
3 >
a,
re
oe |
oo

‘The beginning note should
be accurately located, thus:

e ee

ES 3

CDizt 1

14. Nicolas aoureux A Practical Method forthe Violin, Part 1

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it

15. ‘Nicolas Laoureux — A Practical Method forthe Violin, Par 1

The Third
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The beginning noto should =4- 4
be accuratoly located, thus; LE
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2 GE = E 5e
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a dogma seu À Br to so .
ee ee :
€ =
E A pa e pong ze A

16. Nicolas Laoureux — A Practical Method forthe Violin, art 1

obs op gt 0

17. ‘Nicolas Laoureus — A Practical Method forthe Violin, Part 1

The Fourth

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qt =

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24

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18. Nicolas Laure. À Practical Meth forthe Vin, Por 1

The Fifth

Place the finger squarely on both strings at once.

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Bee

3

all

Diminished Fifth

The dimin. fifth, on account of the shifting of the finger. is mude the subject of a special study.
In all scales, in most passages, this shifting of the finger, which we shall call “false vis-à >
vis! ocours; and if not done with precision, it affects the intonation,

Preparation FE

Example PS sin
gs 2 20 20 221 0, 2 o 20 20 À 20

ade ia = 3

Falso vis davis

The Sixth
‘The sixth has a fingering on two strings corresponding to the fingering of the second on one string.
Example
ol
Sixths and fifths mixed
pot ess 2 2 4
€ =
Ÿ ge = =>» = td +
PTA
1 — 3 1 2
= fa
en 9 3 0 1 à a, TE: à & 3
Ant. fteh
A PA: NN

Falso views

19. Nicolas Laouroux — A Practico! Method forthe Viol

Y rosa. 4 8 a 24 se
pH =]
SNe 35
Seventh and Octave
un o 3. 1 . à
= gs? =
fr ose a
+
= 3 ? 2
# reer eee 2 = os
u = —— 3 3

Review of the Intervals

A

20. Nicolas Laoureux A Practical Meth for the Violin, Part I
Legato Notes

Use the whole bow, being careful to divide it into two equal parts, one for each note

rane
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21. ==

Nicolas Lapureux

A Practical Method forthe Vili, Pat I
HAS > >
===> E
RCE si a? ts 33 3
Divide the bow Into three equal parts. a
== sa
"33 +7 ver SS

22. Nicolas Laoureus — A Practical Method for the Violin, Part 1

tapes

23. Nicolas Laoureux — A Practical Method tor the Violin, Pat I

Melodie

Andante _
aoe ones ==
= + E

Scale of C Major
The folowing exorclses in © major being rather diffiat, will be necessary to practise them at
fart detached, very slow, and using the whole à

24. Exercises on intervals

At first detached, the first two eighths at the nut, the other two at the point

=>

=>

+
SES

=
Kies

25. Nicolas Lapurewx A Pratl Method forthe Violin, Part 1

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u nn >
Hee tana
Sp psoe esoo
SEE |

At first with separate bows for each note,

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*Abways alla. Firth

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26. Nicolas Lsoureux A Practical Method forthe Violin, Part 1
At first with separate bows for each note, from middle to point.
A pra

= |
parasite er

E ==

eet rin oan i li ut .
acest HS.
PE =====> ESS

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27. Nicolas aureus.

Scales

© major

A Proctcal Method forthe Violin. Part 1

ES

wu

En

ee

¡DSZ OSA

Exercisos for suppleness of the wrist.In the middle; and change strings with movement of the wrist only.

Gate soso Lore Ves eee ee 20,9
SSS =: EEES
ep fingers down, —

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ae Gore ze a 1 Fr
# en Eee =
nn es ner Ho te 0

= RE

=

CD 27

28. Nicolas Laoureux A Practical Method forthe Violin, Part 1

Etude 1

Change strings by a movement of the wrist, without raising the elbow

At first with separate bows for each noto, from middle to point,
‘Andante

29. Nicolas Laoureux — A Practica

Étude 2

Method forthe Violin, Par 1

At first with separate bows for each note, from middle to point.
Moderato , MEE 2

E

AA

=

Den

+7
4 ritard_, Tempo T°

LE:

ritard, — [Tempo 1°

el

EE =

30. Nicolas Laoureuy — A Prosticl Method tor the Violin, Part I

Andantino

AAA

Exercise to be practised with whole bow, well sustained.
sostenulo

31. Nicolas acureux A Proctical Method for he Violin. Part |

Scale of G major
ft
el

Ps

ete

—

E minor zu

m1 — + fre,
die EA Et

RER
HÉROS
STE:

Air by Händel

py Moiterato

=:

32. ‘Nicolas Loureux — A Practical Method fr ts Vis, Pat 1
Syncopation *

EEE
RRE

Noy
Sas
# Syncopaien in SE beat tothe following strong Beat, off
dae ad tasa «RIU aid accent to Ihe paca tancested west beat?

Interrupted Syncopation

33. ‘Nicolas Laoureux — A Practical Method forte Violin, Part 1
Andantino

34. Nicolas Laowreus — A Practical Method forthe Violin, Part 1
The Chromatic Seale

‘This scale is awkward to play on the violin, on account of the semitone to be played with the same finger.

tio important that from the very beginning the pupil should pass rapidly from the first note to the se-
cond without dragging the finger.

“There aro several difforent fingerings for the chromatio senle, However, as long as wo remain in the
first position, one of them will do; therefare, uot to complicate the performance, we shall adopt the following,

1313

==

A ee re ee
Sis ee = =

SS
ess el

35. Nicolas Laoureux A Practical Method for the Violin, Past 1

= dt 8 D 8 4 0 pp.
Si
gh Li "MS a
ie sor RT

as
= Ss
The Martelé

attack each note properly and separate tt from the next one.

Use the whole bow; attack at nit and point, with a rest afler each note.

(This bowing consists of the following elements: First, a definite, though not heavy, pressure of the
Dow on the string without motion; second, a very rapid Stroke of the whole bow, at the same time releas-
ing the pressure; third, the bow comes to an absoluto stop, without pressure, acting as a damper to the string.
A.B, A test of the proper setting of the bow on the string before the stroke Is, thal the string may
ke moved laterally an appreciable amount by the “ie” ofthe Dow on the string, without sounding
the note,

oS

Scale of Fmajor | a | | I.
Brad eee Bese=-s}
= SS

D minor - eer

fe ie

AN

36. Ab
ÉTUDE ON THE GRAND DÉTACHÉ
Use the whole bow for each note; every note detached from the next,
Mogoráto
= = =
Be Pr ger

i

37. Nicolas Lapureux A Prec Method for the Vien, Pat 1

GRANDS DETACHES
Every note detached, using the whole bow

¿Moderato

SSS tati
Ab
Segue

38. Nicolas Laoureux A Practical Method forthe Vion, Par I
THE MARTELE

From middle to point, each note detached

Scale of D minor
Allegretto a

4 E aS
===;

|
|

ETUDE
“Martelé” from Middle to Point

Allegretto o y
ate =

A segue
= ah + ="
== = = = = ==

SSS SS Se

39. Method for he Violin, Part I

+

===
Pr.

a

+

+

DE 3

zz:
2

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40. Nicolas aoureus A Pretical Method forthe Violin. Par 1
Staccato Notes in the Same Bow

Euch note detached, us in the martelé.

Allegretto

41. Nicolas Looureux — A Prost Method forthe Vin, Pat 1
ETUDE
Staccato and Détaché

4 Allegretto A whole bow

42. Nicolas Lsoureux A Practical Metho for the Violin, Part 1

It happens very often that the pupil, when performing the “martelé foroes th tome and stiffens the
sight arm. ‘The following exercltos will help to overcome this tendenoy by affording a mo”
‘mentary respite in which the arm ean he relaxed

<=

À “sustalo the tone a A

Fr

art

Fee

= =

m a eae a nm ix
2 7 ye FESE FS

AAA En -
EGREE 2 PO
ss" AA Er

43. Nicolas Laoureux — A Practical Method os the Violin. Part I

se = aaa eS SS

FEAS AAA

Tho following study may be practised in three differnt we
Slowly, nain the whole bow far each not

9 Qutekér, in te side of the how: all the notes detached, but sustained.

Ch With de bowing as indeated, the eighth-notos detached at th point.

44. Nicolas Locuseux — A Practical Method forthe Violin, Part 1

Use the whole bow on the eighth-note, but lightly and without accent.
Lento

RIRE u a un

SS SSS

In the midate: half-bew, allowing as much bow for the eighth-note as for the quarter.
Allegretto

1 ime

2 y
menden BEE
€

=

zes

ee SSS Sa

‘The staccato note short und well marked. Use about one Inch of bow for the elghth-note, the bow
to como to an absolute stop after the quarter-note. At the nut lighten tho pressure of the bow on the string.

Moderato

= —
3 + +
Les

=$

¥

—— —
> |

45. Nicolas Laoureux — A Practical Method forthe Violin, Part 1

r=

+

> +
E 2 =
+ =>

oe tE ES
CDR =

46. Allegro moderato

EA ESS FF

oa $

Tola la TL
tora al nn
ol e ==

Pates

E x. ES =
LEA RÉ
He r= :

Allegro moderato

Be pei aa

f

Serena

PERA ÓN

FE

een

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47. A Practical Method for

ea pe Sie

¿Allegro

54 e
PATA
Fi = =

ges rer
= SH ES

ES Sen, po

és

BE E AAA =

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48. Nicolas Lspureux A Practical Meth for the Violin, Part 1

dde Yu
=—y

y ui yu y
y FEA
pe

a cortain a-
nud Fate of mo.

‘Till now we have made no mention of the shading of the tono, which requires of the papil
mount of familiarity with the uso of the bow. He should now practise the varying pressure au
tion of his bow In the crescendo and diminaendo from wut to point und from polnt to nut,

==

=
A pa
po — te
» =
7
IE

49. Nicolas Locureux — A Pract Method forthe Violin Pat 1

¿Lento
==
aa

PE >

50. Nicolas Laoureux A Practica! Method forthe Violin. Part |
Various Exercises in Extension and on Intervals Difficult in Intonation

(Extonsion consists in reaching to a note lying outside of oy beyond those normally found in the

position in which the hand Is playing, ahd Is used only by the Ath and (lese frequently) 13! fingers,

the 4% finger reaching to notes above the normal position, the 45! to those below. The following
exercises deal only with extensions for the AU finger.)

EE

METE
Ss ashe

Put a]! the fingers down at the samo time.

SS

51. CONS

pa bah

ARA
FAA A

Major and Harmonic Minor Seales

Or BET IDO
SS

=
Io Ee SS

4 Te a
Fun

Zen FRE

52. ‘Nicolas Laourcux — A Practical Method forthe Violin, Part I
MELODIE

Andante (Count 3 to a mehsure.)

53. ‘Nicolas Laoureus — A Practical Method tor the Vio, Part 1

E
; =

reso

dE
És rtrd

54. Nicolas Laoureux — A Practical Method tor the Violin Part 1
On the Study of Chords

(Preparing tem by arpeggios comprising the same notes)

Broken Sixths

Keep the fingers down until the end of each measure

SS SSS

55. reus A Practical Method for the Violin. Part 1

e e y
% = ====— ES

Arpeggios

Change strings without accent or abrupt movement of the wrist

Keep the fingers down daring the whole measaro,
=

i

u
ur

56. Nicolas aureus A Practical Meihe or the Vin, Part I

RS

To execute a chord
bow and play the two upper ones.

of three notes, first play the two lower ones together; then tilt the
cher

Example dis played thus
= 5

It is obvious that this division must be done so rapidly as to pas

almost uanoticod.La-
texone may oven play the three notes simultaneously; but ot the beginning this would be
too difficult for the pupil

Keep down the fingers on the arpeggio for the chord following.

tose GS:
GT y
LD

=

7

>

played thus EE
2

Chord of four notes

CDi 56

57. Nicolas Laoureus — A Prosa Method tor the Violin, Pat 1

Preparatory exercise to aceustom the bow to grip with precision two pairs of strings in rapid succes-

fy 93GB

2 =

agaa

slon.

a UP Vy Te ET

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60. "Nicolas Laoureux — A Practical Method for the Violin, Pan 1
The Saltato

‘The Saltato, or light staccato on one spot, is derived from the Springing Bow.

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‘This bowing must be executed only with the wrist, at the lower third of the bows lifting Ue
stick as for the springing bow, keeplng on tho same Spot without running on towards the mut.

In order to keep the bow In the same place, the pupil fs obliged to make almost the same move-
ment of tho wrist as is required for executing the springing bow; the only difference being that,
on the down-stroke, the bow Is lifted from tho string. In the following exercise the quarter- note
begins near the mut and uses about a third of the bow. ‘This makes It necessary, after the last
note of each measure (played with the up-stroke), to Jet the up-stroke continue after the bow has
left the string, so as to attain the proper starting-point for beginning the quarter-note,

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61. Nicolas Laoureux — A Practical Method tor the Violin Pat 1

THE SPRINGING BOW

The part of the how to be used for the springing bow Is of great Importance, as it is not suffi -
lent for the pupll to execute this bowing from the wrist, but also necessary that the bow should
rebound of its own accord. Whereas, in à slow tempo, such as the elghth-note In an Allegzetto,
the bow easily rebounds at the lower third, for the triplet-eighth in the same tempo you must
Int it descend a, little towards the middle, and for the sixteenth, quite to the middle. | It re-
mains for the pupil to find the place at Which he can most easily execute this bowing.

Lightly, lifting the stick from the string:

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Advance the bow a little towards the middle.

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62. Nicolas Laourcux: — A Practical Method tor the Violin, Part 1

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Study on the Springing Bow
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64. Nicolas Laoureux — A Practical Method fr the Violin, Par 1
Study on the Springing Bow
At the middle.
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