Another book about ranges?
First and for the simple ranges, we deliberately adopted fingering that can be used in all styles. There are others of course, but we have favored efficiency.
Then, let us give back to Caesar what came back to him: the work of the double strings in quarters was suggested to us at the time of our studies by Anner Bijlsma - he forms an outstanding ear. Some fingerings of thirds were borrowed from Paul Tortelier because sparing the tendons, especially those of small hands.
We, meanwhile, led a reflection on the arpeggios by using the highest positions on each of the strings and not only on the chanterelle as usual. It seems to us that this complements both the Romberg concertos and Popper's studies and that it develops a considerable ease.
On the other hand, we did not want a systematically exhaustive approach to all tonaliles because, for some, the arpeggios would have included too many bb or