A Tune a Day For 'CELLO

A Second Book for Violoncello Instruction

in Group, Public School Classes or Individual Lessons

[Pro'i-'ides training in ensemble playinf!. 'When] used with the Violin and Viola books

By

c. pAUL HERFURTH

BOOK TWO-INTERMEDIATE TEACHER'S MANUAL

A compl~t~ gui4~ /or l~llchlfll "A TUNE A DAY" lor ~lthn Violin. Viola or •cdlo; coltltlillifll pilmo accomJHfnim~nls

A oe,. corwenimt booi /or hom~ pr11clic~

THE BOSTON MUSIC CO., BOSTON, MASS.

R. ll. Co. 1.588

DICTIONARY OF TERMS AND SIGNS USED IN MUSIC

For volume of tone:

pp -Pianissimo, very soft. p -Piano, softly. mp -Mezzo-piano, rather softly. mf -Mezzo-forte, rather loudly. f -Forte, loudly. ff -Fortissimo, very loud. sf -Sforzando, strong accent. C> A)

cresc. -Crescendo, gradually louder. · ) dim. -Diminuendo, gradually softer.

For tempo (speed):

Largo- Very slow. Adagio-Slow. Andante--Rather slow. Andantino-A little slower than Andante. Moderato- Moderately fast. Allegretto-l,ively; but not too fast. Allegro-Fast. Vivace--Faster than Allegro. Presto-Very fast.

For increasing tempo:

Accelerando (Accel.)-Gradually faster. Stringendo (String)-Suddenly faster. Pili mosso- A steady, faster speed.

For decreasing tempo:

Rallentando (Rall.)-Gradually slower. Ritardando (Rit.)-Gradually slower. Meno mosso-A steady, slower speed.

J<'or style:

Anima to-With spirit, with animation. Agitato- Agitated. Allargando-Broader. Cantabile--In a singing style. Dolce--Sweetly, softly. Espressi vo-With expression. Legato-Smoothly, cGnnected. Maestoso-Majestically. Con Spirito-With spirit. Staccato-Detached, separated. ·c,) Tenuto-Sustained. (-) A Tempo-In the original time.

Other signs:

D. C. Da Capo-From the beginning. Fine (fee-nay)-Ending. D. S. Dal Segno-Go back to the sign()S) Hold (fermata)-Prolongs the time of a note or rest.(~)

[ ii ]

TO THE STUDENT To all the 'cello pupils who use this book:

This is a personal letter to you. I want you to read it and carry out carefuHy what I have asked you to do, and during the year let me know, through your teacher, how you are progressing.

Having completed the study of Book I, you should be thoroughly familiar with the fundamentals of good 'cello playing, such as a good position, correct use of the fingers through the proper position of the left hand, r.nd the elementary principles of bow control.

Book II includes a continuation of the elementary material, presenting slightly more advanced exercises and pieces, introducing the Srd, 4th and 5th positions.

To be better able to play the familiar melodies and pieces, it is recommended that you carefully prepare the purely technical exercises at the heginning of each lesson where a new key and finger-placing is introduced.

Study carefully the diagrams introducing new keys and fingerings so as to properly place your fingers for the new notes. Remember, that you must first read the note and then place the finger, so be sure to know exactly what note you are reading and the proper finger-position for that note. The surest way to play well is to be able to read well.

To be able to think quickly, the following points regarding each note will make you a better player and will make yom path to good 'cello playing easier:

(1) Name of note (natural, sharp or flat ) . (2) How to play (finger-position and string) . (3) How long to hold (time-value).

I could go on telling you about each lesson, but I must leave this to your teacher . If you do what. he tells you, you will go through the pages of this book to the joys and pleasures of making your 'cello sing beautiful melodies.

Wishing you all the success your work deserves, I am, Yours for good 'cello playing,

P. S.-Many of my pupils from each school have formed groups which meet at the different homes t.o play the duets, trios, and quartets with piano, thus forming a little orchestra. Why don't you try it, you will haYe lots of fun?

TO THE TEACHER In compiling Book II, I have tried to carr.v out in slightly

more adYanced material the fundamental principles of good 'cello playing as set forth in Book I.

The material and grading has been carefully done, so that each new step is a logical one for the progress of the pupil. Adequate preparation for the deYelopment of the student has been pro\·ided for, although the amount of purely technical material has been kept to a minimum. The contents of this book is very largely made up of folk­songs and other familiar melodies of good musical quality, arranged in duet, trio, and quartet form, through which the pupil will be acquiring the fundamentals of bowing and finger (intonation) technic, as well as a consciousness for good musical design and harmonic structure.

The use of the piano accompaniment (Teacher's Manual) should prove of valne both in the classroom and in the home. That important advantages will result from its use is certain. The interest and ambition of the pupil will naturally be stimulated through the addition of the harmonic strurture which will a lso serve as a guide to the proper placement of the fingers through hearing the tone he is producing in the harmony. The use of the piano part is recommended from the earliest stages so as to stimulate the musical ear to a nice perception of modulations and harmonies, for which the 'cello , as regards these matters, is comparatively imperfect.

Class teaching should be a combinat ion of individual instruction and ensemble playing. At every lesson there should be individual playing so that all the necessary

corrections can be made. Never a llow pupils' mistakes to go unnoticed, since only in constant correction will they deYelop the habit of careful thinking and playing.

A decided adYantage of group-teaching is" that it pro­vides exptrience in ensemble playing and gives every pupil the opportunity of listening to the others, of ohsen ·ing their mistakes, and of hearing the corrections.

For the best results each class ought not to number more than six for a half-hour lesson and t.weh·e for an hour lesson. Irrespective of the numbers, the teacher must see to it that there is individual instruction as well as general directions to the class.

Classes should be regraded whenever necessary so as not to retard the progress of the brighter students, nor to discourage the slower ones. Regrading also acts as an incentive for greater effort on the part of the pupils.

It is recommended that every student practice at least forty-five. minutes a day. This course provides one lesson a week for a school year.

The eventual success of each pupil depends on regular and careful home practice, according to directions. If possible it would be well for the teacher personally to keep in touch with the parents.

c. PAUL HERFl'RTH.

[ iii I

PUPIL'S PRACTICE RECORD SEPT. OCT. NOV. DEC. JAN.

I 2 3 .. 5 I 2 3 .. 5 I 2 3 .. s I 2 3 .. s I 2 3 .. s

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday FEB. MAR. APR. MAY JUNE

I 2 3 .. 5 I 2 3 .. s I 2 3 .. s I 2 3 .. s I 2 3 .. s

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Always Record Practice Time in Minutes. All Practice Time Lost Must Be Made Up.

WEEKLY GRADE

NAME ADDRESS

TEL. SCHOOL GRADE

Sept. Oct. Nov. Dec. Jan. Feb. Mar. Apr. May June Tests

1st Week

2nd Week

3rd Week

4th Week

&-Excellent; G-Good; M-Medium, Distinctly Above Passing; L-Low, Doubtfully Passing; F-Very Poor, Failure.

LESSON 1 . 1

Review of Keys Studied in Book I

(!)KEY oF D MAJOR n v n

9' ~ ll t?FR 1 rrtr rrrr 1 rrr~ 1 rfifE 1 rna 1r ; 11

~ ~ f r f r I r F F I r r F I r r r I r r r I F F F I C F r I F F r I ~- II I Follow bowings carefully I

@ V n V n V

. :HB II r r r r I u tr I r r r r rr f ltrrrl f p F F If? f?-1 r r r II *Review of the 2n_d Position D and A String

See diagram Page :J2 Book I

IIPos o IIPos V 1 2 4 4 2 3 I Pos . V 1 2 0 4 1 4 1 4 2 3 I Pos.

f r tt1f f lftrtff F 1f tft1frfr 1ftrfit F 11

P REPARATION II Po s o 0 3 0 1 .-----------------. '): r •r r r :II Practice this preparation on all s trings .

® II Pos . II Pos 0 6 V I Pas o 1 4 4 I Pos. V n 1 4 4 1 o a ~ n ~1!:. ~ o 3 M

v= »g 1 r r r 1 r r r 1 r r r 1 r · 1 r r t 1 r r t r ff r 1 r t 11

~KEY OF G MAJOR v \.!..) M V M~ ~n V n

'J# I @ IJf? lr E r 1r r E IITF 14LJ IJLr I L=" II

~-~~ J JJ]1JHJ1JJ @irlhtJI] J 4JijJtJJJ rt11JJ£;1J. t II

~-I J J r 1r Jj I J F J I JJ J I J J F I J J F 13 J F I J J F I ~- II -

*Exer ci ses No.4, 5 and 6 cannot be played with violin class, but may be used with violas.

B . M. Co . 9589 Copyr i ght 1940, 1967 by The Bos t on Mus i c Co .

Interna t i onal Copyright Secur ed Printed in U.S . A.

LESSON 2

Studies for the Use of the Second Finger One new tone, C natural on the A string

The importance of being able to read notes as well as you can read the letters of the alphabet cannot be overestimated. This is the foundation on which your future progress depends. You must also know the exact position of your fingers on the fingerboard so as to be able to play any ginn note; for example, to play C# on the A string, the third finger is placed a whole tone from the first but to play C natural, the second finger is placed one-half tone from the first.There­fore, th~ necessity of knowing whether the note is natural, sharp or flat is perfectly obvious.

Have a picture of the fingerboard in your mind in order to see where your fingers are placed for the different notes.

Study the following diagram showing position of notes already studied and th e new note to oe taken in this lesson. Name the whole and half tones.

NRW NOTR

Fingers 1 0 3 4 ""

® @ @ G) A-o D--o-----® @ @ G-o w @ @ C-o ® G) G)

Fingers 1 3 4

Name the following notes, finger used, and on what string played.

~): .0 .l

qe- #-e- qe- 0 .!l....

I I II .0 II e

u

qe- .0 be- #e-~·e I .0 II

II II II

•Exercise No.3 cannot be played with the violin class, but may be used with violas. R. ~1. C'o. !1~ 8 !1

-6-

,, II

LJ:iJSSON 8 3

Familiar Melodir..s Using the Second Finger

Pupil

Teacher

n

n

Pupil

Pupil f-....L-

Teacher

1. M.Co. 9589

Allegretto (Brightly) Lightly Row

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The First Noel (With motion)

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Home, Sweet Home Andante (Slowly)

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Henry R. Bishop (t786-185o)

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4 LESSON 4

G Major Scale and Arpeggio

II

J :II •Exercises 1 and 2 cannot be played with violins.

Duet

®Practice both parts

2 2

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I I I I

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Pupil I I I I I I I I

America (My Country, 'Tis of Thee) Attributed to Henry Carey

(16~0-174:-J) Andante (Slowly)

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Pupil

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Pupil

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M II Pos. I Pos.

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II Pos. 2

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L •ttl St d Franz Wohlfahrt I e u Y (1833-1884)

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ELF rrr:tr 1rr Erfc M V 1 • 2 ~ 2 2 Pos .

r r 1 r r r r r:r: t t 1 r r r r E c ~" f 1

DStr.

D Str.

*Whole tone_ stretch 2nd finger. Home wor~: Mark with this sign/"... the half steps in both parts of exercise N9.4. Write, 4 times the

G Major scale marking the half steps and placing the sharp. Manuscript sheet1page 7. B. N. Co. 9589

LESSON 5

Continuation of the key of G Exercises in crossing from C natural to F#

5

@9 v

:ll:f r t r If r f r I " :II

Duet ~~Practice both parts j Hohmann

~ M V - • '.---. 3 M 3 v Pupil

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Pupil I

M M M v • - • .---..

M • ~--fl- M .;...~_ ~ ~ • ~ • n

I I

Little Waltz Tempo Waltz (In waltz time) Hohmann

@ II2

Pos. 4 I Pos. II Pos. 4 I Pos. I M_---2 -------~ 2,---4 1 M~2 2~-:f!:. 2~4 1

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•H rl 1•

1r F I F F r I F F F I r F F I rl r F I F F F I F E 11if dim.

II I I )_ J V M_....--...2 2_......--...tt 2~4 t M-------2 4

·nr ~ r1r r 1r t 1r t 1r , 1r r 1tr r 10 r 1A ,1 =====-- P cresc. 1'!f'

*For teacher or advanced student. Home 'liJOrk.: Mark half steps on this page the same as before. B.M. Co . IJ589

6 LESSON 6

Flow Gently, Sweet Afton (Quartet)

Andante (Slowly) James E. Spilman

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Pupil -

Pupil

Teacher

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Teacher

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Evening Song Moderato (Moderately fast )

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*rit., abbreviation for ritenuto _gradually slackening the speed. B. M. Co. 9589

-

- p

- - - _--.._ y_

I p y_ ___

T I p ,., l v

1':"1 v 3 ,., ~-1*- .p.

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1':\ 7if rit. *

I I "----"'- I

Robert Schumann (1810-1856)

- 3 v I I

T I

v .----:... ,.,

Note: All manuscript pages are to be used for home-work according to instructions 7

B.M. Co. 9589

8 LESSON 7

Two new tones) F natural on the D string and B flat on the G string. Study the following dia­gram so as to 7-•isualize the exact pusition of these two notes upon the fingerboard.

Practice both parts on the double staff in this and the following lessons.

Fingers 1 2 3 4

A-o 0 Q 0 Q

D-o 0 @ 0 Q G-o 0 @ 0 6 C-o 0 0 0

Fingers 1 2 3 4

I Lower fingering for II Pos.l

CD® M X ®M ¥= ©M ¥ M_.__ v ®M=- ~ M~ ~_.,.._2 -)= ·~ F? •F? =ll:fl ~rJ- =ll=ft •rsr 1 r r E? =II="J •szr 1 r r •r ~_. :II

12 4 211 I :! 421 ~

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C Major Scale and Arpeggio in Two Octaves

@ • n V n V n n V E ~ n~ n ~ •): II JJJ J I 11291 &tr I rt£; 14£J I pJ I ~m I J ~~J =II ~ 1\ u " u 1\ u /\~

@ ~~n~n ~ ·~~ •'t'" 7>' 1' J ~ I;J J I F [' I? r· I F rJ 1J J IJ 2 U .J I F F I? F I F A lil ~ =I Softly Now the Light of Day

@ Andante (Slowly) (Duet) M V 2 - MV 2 V M 2 .

Pupil . I I I I

mp - ==--MV 3 3 2 3 M, .

Pupil . -- - ------ ~

• 7a and 7b cannot be played with the violin class.

I

=---3

-

Carl Maria von Weber (1786-1826)

2 1 3

..........., -v 2 M

----- -Home work: Write C Major scale 4 times, marking the half steps. Also fill in blanks in above diagram. B. M. Co. 9589

LESSONS 9

Learn to take particular notice of the key s ignature before playing.

Pupil

Pupil

r

~ •

America, the Beautiful Alle gl.'e tt o (Bright.l y) (Duet )

v r"1 2 - • r I I

?Iff •J r"1 3

I

II Pos. ·> 4 * 4

-1'- ~-~~- ~ I) -P· 2 ~-

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f 3 2 v r"1

v r"1

- ~· ~ ~· - - -(II- +"

II Po ;,. 4

I 1 2 -· 1 0

I

Ensembl e Part **

Go Down, Moses

2

I Po s . .. 2

~ -1'- ~

v r"1

rit.

v r"1

Samuel A. W ard (1847-1903)

v r"1

v r'1

I

-#-" • • -#-

2

-#-" -!'- -(?"

3

Anda nt e (Slowly) Neg ro "Spirit ua l''

V 'i Vn 3 V z Vn 3

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v n V 2 rtV r"1 3

·J:~" v· t I J J. I J J I r r~l r r J :J I J J J I J J J J I J~ •r r I r· II ~f F ~

*Stay in the 2nd po s ition while sounding open A. Home work: Mark the half steps on this page. B. AI. l' o. 95 8 9

LESSON 9

PREPARATION II Pos. Continuation of the key of C MaJ· or 1 2 1

·srrrr 111 II Pos .

fi\ r1 4 I Pos. ~ 1 • 2 2 2

!'): II t r f t I t c r ~ I r ~ F ~ I r ~ r F :II -- II

® n IPos . 2 ~ V II Pos. 2 4 2 2

j!:_ ~ 1!:- 1 * t f ! 4 t (q It 2 ~ -J: e £ r r c I £ F r E I ±:: ~ r E I t= F r r :II

Lento (Very slowly) r1 v

Pupil

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Pupil

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Russian Hymn (D uet )

r1 ~ v ..., .-----..._

r1 V.-..J:

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I

M V M V 2 -1*-' • • -f' .. ----:...

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cresc. f M v 2 M v

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•stretch 2nd finger. l/ome u:ork: Mark the half steps on this page <\S before. IL .\1. C'o . !!58'!!

M v~

3 M v v :3

2

I

dz·m. 3

I -

II

v

v

LESSON 10

Onward, Christian Soldiers (Trio)

Moderato (Moderate ly fast ) r"1 v ~ v -n v ~ .. ~ n

Pupil I I I

1!!1' r"1 v 3 v r"1 v ~

Pupil -

1!!1' n v v r"1 v

Pupil I I I

r"1 2 ~ v r"1 v ::------.. r-;-- ·

~· -------n V

I I I

n 2 v v r"1 ___ v :J r"1

I r

3 I v r"1 v v

- - - ~ -

v 2 r"1 v 3 .,..., v r"1 V+,. 'f!;

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f rit.

r"1 v 2 v n v 2

f rit.

n V 3 v v r"1 v

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R. M. Co. 9589

2

11

Sir Arthur Sullivan (1842-1900)

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12 LESSON tt Note es.refully the key signatures and what they mean . .D.C. - Da Capo-to beginning. Ji'ine- End

Moderato (Moderately)

Melody (Trio)

II 4 I Pos.

CD v 4 2 n V ~ .. - 4 ~.jt.f:.f!:. o. v ~+ ••

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English Morris Dance (Duet) II

I I

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Franz Joseph Haydn (1732-1809)

II 4 v .4 2 - - 2

Ji't"ne 3

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I I I

IJ.C.

Allegretto (Brightly) n 4 2

. 4 2 4 v n v n V~3 n v ~+ n }._~~JiG,. ~,a~#~ n.;,. n

Pupil T I I I I

?Iff V 2 .Pine M IJ.C.

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Ludwig van Beethoven (1770-1827)

r I J~J J I J. I dJJ I F J I {D J I <J J I Melody ®Andante (Slowly)

~ n V

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LESSON 12

Christmas Carols

Silent Night, Holy Night

® Andante (Slowly) (Duet) n

~ II 4 ~-n..-:--.. n ~- 1 ·~ -:r:- ~a )~ .. -Pupil

p n------.. I ~ I

_,----... ~I

T eacher I~ -kl:'_~ I I I

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MELODY ,.. .p.· ~· ~

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Silent Night, Holy Night

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13

Franz Griiher (1787-1868)

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14 LESSON 13

Review of the 2n_d Position on the G and C String In shifting from one position t o another) the thumb remains in the same relative position with

the hand) i.e. under the neck of the cello and opposite the second finger.

n V II Pos. I Pos n V II Pos. I Pos.

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Little Scale Study ® ~): ·~

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~ ft ..,. ~ -!'--------;.

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•Exercises 1J 2)3 a:1.d 4 cannot be played with violin class.

Ilvme u:ork: Mark the half steps as before.

"M.Co. 9589

Henning

? v

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Andante 1"1 ~ 2

Pupil I -

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LESSON 14

Long, Long Ago (Scotch Me louy)

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Thomas H. Bayly

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~J ;j

·~

Ja.cf1ues Ferenl Ma.z:Ls (1782-184\1)

2 :J~4 -f9'

I

v 3 :!, 1 ~-

I Pos. 4 2 .p. '# _p-_ n

cresc.

2 --~- _£_ _a ~ +

- rt't.

~ •) -

16

Pupil

Pupil

. I

LESSON 15

Allegretto Theme from"Military'Symphony

II Pos 'i 2~4 t

·~ _. I ·~ -1*-

mp n 2 _,...--.... 1

II 2 n v t V,--.- ~ 1li -•~ +

~ 2_,.---..

I n n

-f'o ~ ~ .... ~ .... ~ -1*- v 2 '"""' +-1*- ~~.--:..

+ n ~ ..-.....

-1*-~ ~. ::-. ~ ~ v

2

~ n '"""' _...... ........ v

-

v r:! - • -;;,. '"""'

I ,., 2

.----::... •'"""'

IJ - • -;;,. ---.

-

v

_V_

I

First and Second Ending

I

I

Haydn

~

I I

L

I -II Pos.

4 2 1 n _._ .---:.. .-~ .;, .

I

n 3 4 2 ~

---.._

J1 112 The term 1st and 2nd ending applies to one or more measures in brackets at a double bar; thus ~~~:II§~

when the strain is repeated, the first ending is omitted and the second ending played instead. E __

B.M. Co. 9589

LESSON 16

Key of F ~fajor 17

Key of .F :\1ajor, one flat ' ~ ' - The flat(~) placed on the 2nd line of the staffjust after the clef sign, affects every B throughout the piece. Refer to diagram to see the exact position of this note on tl.ie fingerLoard.

@ -J= & e

Fingers 1 2 1III Pus. 3 4

D-o 0 G) 0 @J------

Fingers 2 4

® -J:& ·~

u A u

® -;= & e

III Pos. 4 4 I Pos. III Pos.4 4 I p

2 e £: 2 1 1 OS.

[ f If t It f I F F IF rblt If f If, f I rhl~ F 'II

® -;: & B

Ho-me work: Write F Major scale 4 times, mark the half steps.

B. M. Co. 9589

18 LESSON 17

Continuation of the key ofF Major

All Through the Night Old Welsh Song

Andante

'h ·~ ~ · P r r 1 r · ~ r J 1 r p

2

l 11''8 r c r 1 t r c n

:"h C f E F I f ~ F F I f· ~ r F I E P F J I r

Pupil

III Pos . ,., 4

Andantino • III Pos. ,., v 4 ~ --...~

~ ~f!~i~ . . p

--:---- ..---.., n .

Santa Lucia Neapolitan Boat Song

,., (b l 1 .,_~2 ,., 1'- .,.. ~~ h ;., ~ -(!--r:;-,. C~+ -~-£'-

-

~. • ~ • - _"[' . ~ Fz"rst Endz"ng Second Endz"11g

It liz ~

Little Study in F ,., v -!:. 2 (~\ ,., v v 2

_.hi i f (tf! I r r (r r r If f f f [ FIE F r r r rf J ·~} J J J I

9'~ r f f 9f f F IF F r r r F I r f 6f f E fIr f E f Cf IFf f C E r I

2

5h r f f f f r If F F C j f IE f r 1 '&~~ 31 J J 3 J J ;; I r ~ f F F II • Andantino _ Slower than Andante. xxsee diagram in Lesson 7 for position of this note. R. ~I . Co . 9 .'\ 8 9

v· ....

LESSON 18 19

Six-eight time Count six beats to each measure in slow tempo_ an eighth note())) being the unit of a beat.

Count two beats to each measure in fast tempo_ a dotted quarter note(~.) being the unit of .a beat. I Preparatory exercise. I Repeat each of the following measures until the rhythm of the different groupings is memorized. Play on the open strings. Count aloud.

® ® © @ ® ® SlowCount-123456 12:,456 123456 123456 123456 123456

~ w w :JI:r ~ r ~ :ll:r · r· :ll:c::r t::rll:w r· :JI:r ~ r· :II Fast Count _1 2 1 2 1 2 1 2 1 2 1 2

I Notice key signature and finger accordingly.!

Play exe rcises slowly at first, gradually increasing the speed.

CD n~n~ n ~ n v. (~~~.J#~~~ n. V n ~ n ~ J21~ Jl rfrfrrl~)jrrtCCI rjjCrCI rcrrrri~Lal CtCccjiFFFrcjlrr•tgr:\1 Play the D Major scale different ways using the various rhythm patterns indicated ab ove.

Row, Row, Row Your Boat ®® ® ©n @,

• n 3 n~ ~ <- 'i ~ ~t: _____ -;= ~ u r r· 1 ra r 1 rp ra 1 r r ; 1 r t r 1 r r r w 1 r ~ r ~ 1 (17 :~II

The above tu·ne may be used as a round by dividing the class into two or four groups.

@ Allegretto (Brightly) Little .Jack Horner 2

• n v~ n Vr--- ,_----- _.._. Y._ n V ----- r:i v q~ 1 :~. ' ,...-.._

· -;= n c:u r& 1 r r r r ~ 1 r r r c ~ 1 r- r Zf 1 c:u r] 1 r r ,. r F 1 C£! t[; 1 r- r :~II Fingers 1 2 4 1 IV Pos. 3 4

---G_)--o---@-@-

G--o--0-----0---<.r------------­

C-o~----u----------------------­Fingers

@ Allegretto

n V ~· ~·

·~

ORCHEST~LlAF

T•

?l/

Oh Dear! What Can the Matter Be? n n n ~ • .fL. ~· ~ ~ .~. ~· ~· ~. ~ .. T n

I I I I

~VlfUM~i!W [o~Eb

---- (:;

n ........

n n

I T -'!/' /lome work: Write 4 lines of notes, using different groupings in..6.. time dividing into measures. R. M. Co. 9589 8

20 LESSON 19

Detached Notes of Different Values in One Row Bowing dri/1: Practice this line carefully, gradually increasing the speed.

Oats and Beans Old English Allegretto (Brightly)

~. ~-- n.-. v

ORCHESTRAL PART

--....V

r r I I r r r I r

Allegretto Mulberry Bush

English Fo 1 k Song V n~ V n n V n

?=• g r r r v~. t . v~. n~. .......--....__ 3......---...._ v F v !E V F v IF P r vIE v r

* 1 2

Allegretto 2 .............. 4

?=.~u r~

v~. n~. v 3

F ~ I r ~ r r ~

l

Old English Morris Dance

V III Pos. 4 I Pos.

V M ~ ~ 3 ~--------' ----.._ c--- r Cblg f ( f ? f £ f • r; I I J 4 2 1

1 2 4 2 1

*Use lower fingering for 2nd position. B.l\1 Cu. 9~89

n v I r· r I II

I II

Pupil

LESSON 20

Continuation of 6/s time

Drink To Me Only With Thine Eyes

21

Old English Air Andante (Slowly)

M V V,--._. ~--...,r-:::---~v In

Count: 1 2 3 4 5 6

m~ Y. M

Teacher .. ~~~~~~~~~~~~~~~~~~~~~i§tE~

v

mp r i t.

M

M d t It Came Upon a Midnight Clear o era o Richard S. Willis

(1819-1900 ) V M V 2 ~~ f~ c=--_- -)=~'· 2 p 1 ~ r r 1 r~

Vn~~t:~V r?) 1r r r r r ,r r ~ 1

B . M . Co _ 95 8 9

22

. .

B.M. Co. 9589

Note: All manuscript pages are to be used for home -work according to instructions

LESSON 21 23

Key of B~ Major Key of B~. R~ and E~. See diagram for position of E~ on the D string. Review position of B~

on the G string in Lesson 7.

Fingers 1 ~ 4 A B~ o------0 0 - -

D --o---@------0--0 0 @l---G--0 0 @ 0 @)---c~--------~--------0---~----

Fingers 1

® ~;: ~'· e

,.., v 2 1 2 4 1 2 4 2 ®,.., y 1 2 0 1 1 2 4 2 1 1 2 1 1 41 2

r (lir r r 1 r r r r 1 r ,. r r 1 r r r r :ll:r r ~r r 1 r 't®r r1 r r 1lr ''C 1 r ''r 'r • :II 0 11

Scale of B~ Half steps D toE~, and A to B~. Play also in quarter notes. R~view position of B~ on the G string in Lesson 7.

® -¥t'' e

u /\ u ~= '-

2

9 vn ~ ~-E~v~v 2 412 tr {@(I r~r r:--F I ~F E l1~ I LF tr I t::r Of I (J ~) 12) J :II u ~ u ~ u /\ u ~

@ 7V \ 2 n • n ~~ 0 V

• -;= ~" I :J J ; :J I r r '")F r I r r r r 1,· r F r I r F F j I r C I r I j F L j I r I

,.., v • ,.., ,.., 2

-J=~'· f r F t IF r r F I F"r r F IF r r F I r ,- r r I J ~:~,J J J I J J J J I JJI Home work: Write the scale of B~ 4 times, marking flats and half steps .

li.M.ro.9!;89

24

Moderato n *" fu)• *" .,.

LESSON 22

Vesper Hymn (Trio)

~- ~ . 2..-.,.

Old Russian III Pos. n 4 3 4 I Pos.

f!: ~ f!: ;. (b) . 2 ~

Pupil : -mp ~ n 2

Pupil mp I

_ __,

f n 1 0 n Pupil

I

III Pos. 4 3 4 I Pos.

f=~f;,_ (h). n v n v ........ M

.. ~ 2 1 v r'1 v 2 . ..... - I I -._/

f-ro.., - V n 2 2 3 4 2

I

ENSEMBLE PART ~

~ E ~ z V n ( )• ~ · :J= ~ ·~ r r r 1 r r 1 r J ; w 1 J J r :11 t r r r 1 r r r 1 11if

~ 2 Vn 2 34 2

: tJ= ~ r r r 1 w J r 1 r r r J 1 w -w :J w 1 r "r r w 1 J J r 11

A Capital Ship March time (Marching Song) Old English Tune

•N .. 1 f If r HI rr r J I JJ JJ I J f If U F 1t r r r IF F U IF" f I 7lif

frh'· f F FE I Fr F r IF FF F I J r it If rF F IF F r Q I J J JJ LJ @ I nt. a tempo • f

•h'· ]. l J r IE" r IF" ~ H I L" f I f L FE I F r F F I F r F F I J F if I r-z,t. a

'i . ~ n 2

~h1• J. Jd r IF" r I F" H F I L F I F t F F I F F r J I J J J J I J. II (empo nt.

•a tempo, _ as before. B.M. Co. 95g9

LESSON 23 25

Continuation of the key of B~ Major

Scale Study

';1 V M M ~ M ~ ~ tJ: &1

' I J i J I r i r I r F r I F t I J t r I r i [ I F r C I L i I

M ~ M E~ ~ v M 2

_'J: &1

' r t ( I r i F I C ~ I 1 I r i C 11· I r I F r J I J I II

The Blacksmith Wolfgang Mozart (1756 -1791)

Moderato '.J..

"h" II 2 m I r r F r 11' F J t r r i J F J F I F ) t ~ I

7lff

M

It M v M M v r;r v

frl&'' r t1 r [! ~ i j r I r cJ br r;J I r I p I

M r rri t • J J J. . '1:&'' r t1 I I i j r I r t1 h. I II , I

A Warrior Bold Stephen Adams Allegretto (1844-1918)

V (blM V 2 4 V M 1 q t . 51: &" 1 r 1 tr r r 1 c! r r 1 c lT w r 1 r r 1 c 1 r r 1 B' reg

7lif

fh" C "m E! I F f If; J ty I r t C 1''21 r F I r F I a r F I p

1':"\ V M v M- r . ~ ~ f/1 ~ ~ .p. ~ (II- -~ •.

:tl:&'' r r 1 tJ r v 1 c r v 1 ;: c c r 1 r r 1 L:;t r [] d. f a tem-~to cresc. r

v ~ 2 3 n,. ,.. 2 2 n

~ c ! r r ,fl,)c:; r r 1 r •r ll* c r 1 ~fJ ] r 1 e1 r r '' 11 rit.

B. l\I .Co.958 9

26

®

LESSON 24*

Key of E~ Major, B~, Ef, and A~

II Pos. II Po s. y 4 4 I Pos. V , I Pos.r]' 1""1 3 (~) :J 1 1

n 1 :l ~ 4 " :l 1 1 '-!iV f!: P- ':f?: 1?=. P- e p. t!,t=r I V2:g I fSV I L=r; :ll:&e-F 1r-==t I K=r I FS?C :II F ing e r s 1Il!Po ~. 3

A -o---- ---0-- -\

D --..r--..... 1

0~--------------------------------------

c~-------------------------------------Fing ers 1 2 11!1Pos. 2 4

\): &"" B u 1 !\ u t\ 1 u u

III

® . \): ~J''I B

I II 1 I II 1 1""1 II 1 I II I

1""1 v ~) 4 1!:. 1 4 • 4 f!:_ 1 v ';1 • 4 ~ 1 4 • 4 1 1

d·)r r trt ·r E r r 1 r r F r 1 r E r 1 r r ' r 1 r Lt r 1 r r F r 1 r r fl My Old Kentucky Home Stephen C. Foster

I V (1826-1864) II 4 1 1 II 1""1 I II 1 3

4..-:---..3 / :f: • 4 3~1 1 2 v 1 3

t]lftrrr :t~IE!'~FbJ'~PIF' rIFF r til V ~ lz - rr 4 .-..._3 1 V I 1""1 I

~ Rftlv· c:r =llf4 Err t/1&· 1 *Exercises 1 to 6 cannot be played with Yi olin class.

J ohn Sta.fford Smith The Star-Spangled Banner (1750-lBHf::i) v III/,\<! 4 2 II A4 v 1""1 1 n v 4 1 ~l: :f 1 1 :~,,

. "h" f).(?-IJ ,.r(")tlljrrg·lr ffl'ftl[ rnrr"lrJ=IIrlrrgtUtrfl 0 I k 111p

VI III IIII""' V/""· ~ 2 III V ~ 4 2 1,1\2 /'l) r1 y 3,..--4 1 I

f!:.~ ~-~ n v n v n Ut.f, 1 1":\nv n ~~~ ~ 1 * ~-1frl,. 1

-J:&'' Lnrvr1r @fl [ftlr r1 rrer1rr r1tl{¥!1rru1 rtcrlu~,r rr1 r 11 f ·rz' f. ores c. ff 2 1

Home work: Write theE~ Major scale 4 times marking half steps and flats . Memorize the National Anthem.

B . .M. Co. 9589

LESSON 25 27

Key of E~ Major-name the flats Fingers 1 II Pos . 3

A

D

G

c Fingers 2

Scale of E~ Major in two octaves Recite the notes of all scales studied. Use different bowings as in other scales) and play also in quarter notes.

rf\ III 4 1-l 3 (~~ 4

3 1 1P I

'9:~1'1." c5 JJd,,J I J Q r~'•F IFf t<~f I rtf t1fftr If t f FIr r ~J I~~ ~~:II Above scale not to be played with violins.

2 2 I n V III Pos. 4 ~ 4 ~ 4 Pos. 1 2 0 2 1 1 p. p. 1 1 2 0 2 2

c~,y, J I J J I v V I C I ~ I C V I v :J I W J =II -e- II

Austrian Hymn

Home u:ork: Write theE~ Major scale in two octaves) 4 times marking as before. B.M.Co. 9589

28

CD

Fingers

D~'--='

LESSON 26

Key of E Major

4B

G -c>-------t

C~>----------~~----~~----1 r---------4'G~~-----------Fingers 1 2 4

Scale of E Major- name the sharps 1/2Pos. 1/z I Pos.

4 1 2 4 1 2 ·~ 4 142 21421421

Place a sharp before the notes affected by the signature in the exercises and pieces on this page .

Folk Song 1"'1 v 3 v

ll . ·~~. .. ~~ . • 3

Pupil

'll!f' I I

1f2 ul"'1 V 4 2 1 v 1"'1 2 1 1 2 4 1

Pupil

Pupil

Pupil

Andante

4

f:.v

IIIr;'1 V

p 1"'1V

-II 4

~ v f!:

-

4

•·

mp II 4 3 ,.---::..

......

4 1 •

~--..f! n

- 3_1

Cradle Song

2 1 4 ~ ~'

1 • .fi..· * -#--. -

_.,

-2

4 1 0 ;..,.. 4 ,----.. 1 1

I

'i'f' -

2 4 ~

3

1

-p

0

-

<!..~

1/z 4

II 4

f!:

ftt 1

I

II 4 3 v--:::

Home work: Write theE .Major scale 4 times, marking as before B.M.Co. 9589

~

/""'_

-1 4

I

I 1 0

~.-....::. n

3

1"'1 . -1"'1 % 0 4 1

I

3 1

2 4 1

~

Brahms

4 2 II 3

rfh·.~ ~ r-- •

I 1 4 0

_., --

4_J. 0~ 2 1

t 4 2 1 1

LESSON 2'7

Key of A Major Fingers 1 2 4

A-o o~--~o~--~o~--~o~------------

n-o GV o ~ o~--~~~----G--u----{

C~--~J-------~J---~-----------Fingers 1 2 4

29

PREPARATION

® ~ ~ 4 2 1 4 2 1 ® 1 2 4 2 1 4 2 1 (!) ~ ~ 4 "()\ 1 2 4A~ 0....; 2 1 0 4 2 1

':'"~ 1' v(•)rP~)V r leV lc v:ILJ Jlq~J Jl,] ,JI IJJII§#0 J IJI,Jrlc rW~IcVI[rlf@l :JJ=II Place a sharp# before the notes affected by the signature.

Chimes of Dunkirk II 4 1 I 1 313124 °21o 4 2 1

ll JJ JJ I J. F I U r F I [ Uti J J I J II Finger s 1 3 4 1 2 4

String See diagram above for lower octave of this scale.

0 Worship the King Haydn 3 4 2 4 2 1 v ~ - . ~~ ~ ~ ,._ n - • .,. .jL '1: ~ # ~

Pupil

mv .r"l u ~ 2 4 2 Jllll'l

I

'reacher I I

3 4 2 4 2 1 0 v r'l 2 4 •• ~ .p. 1 - . ~ ..,. .,. -,: ~ + ~ 2,_ -

v r'l 1 0 2 rit. - 0 - - ..-.'!

I I I I I

*By very lightly touching the string with the fleshy part of the third finger, we will sound the first har­mon:ic of that string, one octave higher than its open tone. In playing harmonics all other fingers must be lifted. Home work : Write A Major scale in two octaves four times, marking as before, also the fingering used. B. ~1. Co. 9589

30 LESSON 28

Sixteenth Notes A sixteenth note ;JI! P is equal to half the value of an eighth note ?= ~ Two sixteenth

notes equal orw eighth note n: )\ and four sixteenth notes equal one quarter note m;: J Abbreviations for sixteenth notes )l = j=; J = ~

C!?-ul UrrryrrrrrrlurrrriUrrwcrcrmu rrrrluHrrlr ~ II 1 + 2+++ 1 + 2 1 + 2

~di ftftty?urrnrrrrsrl~rrrrrlrcrrvlcarularculr ~ 11 1 ++ 2 ++ 1 2

Andant e v ,......_

Pupil -Pv

3-

Pupil

BiJ·d Song Duet

I II 4 2 1 2 4 2 It ~ r•-t:"+~,.-;,.~v~~~.~~++·-~ •·

2 v ~ .---;.. n r•- ::~ .. -... r• - _--.. 3

v,......_ 2 v ~ :-.~-

v n Jill'!! :J ,-. -

In this piece, which requires a slow movement, it is better to divide the _g_ time into!.. (one count to each eighth.) 4 8

Kingdom Comin' Allegretto v v ~ n •• ~ &,_ • . ~ n •• ~ ~· ~f!_ f!.-:-J=•§ICFFflll[[fJicfFti[ICI 'r1a tbttl5 r tr 1

1'!f' 3 v

?IF '~lrrrFiuhHicEF!IC"tlfrCEiklCbfJirFfFIL" I H. ~1. Co. Q!\8!1

LESSON 29 31

Dotted Eighth and Sixteenth Notes Legato (Connected)

This is one of the more difficult rhythms to learn. The dotted eighth note is equal to three six­teenth notes. Always feel a division of four on each beat when playing this rhythm> three on the

,.--------.. ...-----..,.. dotted eighth and one on the sixteenth 7J: r- :t v= r r r p BE SURE TO PLAY THE DOTTED EIGHTH NOTE LONG ENOUGH AND THE SIXTEENTH NOTE SHORTENOUGH.

I II 1234 123-t 1234 1 2 3 4 1 2 3 4

Largo ';1 ·- v

Pupil .

Largo (New World Symphony)

Trio :.----.. v _...-

Anton Dvorak (1841-1904)

• 1 4 ~1 1 0 1 4 1 1 1 4 1-1 10 ..... I

p r"'...-3 v ...-· n v v 3

/

Pupil -- -- .....__..._ .....__..._ ......, ...... p...-'!!! - - I v~ ,..._ 2

Teacher I

I ..__..._ - - - - .....__..._

v .. ~~ ~..--..... • ~fL ~---:... 0 ~ fL . ~----;. • • !- ~..--..... n

p -n,..--. • ~ ,....-. ~ v,..--. • ~

-p ==---n I I

~ ~ ~

III 1 a!~ 2 a,. .. -_3

1 1 4 1 1 2 3

07"8SC.

.....__..._ "--'- I ..... cresc. - - 3 2 1....-!

- - .....__.

Use lower fingering for Positions. fl . M. Co. 9589

~ ~

2 4

~f:~

-f --

f 3 ..,oil) ,...

-

~

II 2

t£'~~ ~.p.

4 1 dim. =--n_-V 3

dim. ==---n v,.,.,

--

-,....-. ~

-I I

~ ~

2

~-:-;,.'f. ! .p.

2 1 2 4 1 p

r"'!--V

p

n v .....

--

I ....., ....__

:l 3

~.

~

a.----_ - ~

1 4 1-1 10 p n 3 -

p ....-n_

- I ..__..._

~ v 4 4 ~- ,4~ ~ .p.·

2 1 2 4 1 P.P n v

HJ n v

I

32 LESSON SO

Dotted Eighth and Sixteenth Notes Staccato (Detached)

Dotted eighth and sixteenth notes played staccato (detached) are separated by a short pause, the bow however must NOT be lifted from the string.

Written Played --:--. --:--. --:--. --:--. ~ ~ ~ ~

? F rr :r :r: 11 r r·:r ztEt!E v: 1

These are generally played in one bow with a very crisp stroke of the wrist. Use upper hal f of bow. During the break between the two notes the bow is held pressed on the string.

Allegretto

~:~~ ., f7 (t C"t tt(~rttlft£t 1tJttrt rt u? ct r 1

Battle Hymn of the Repnblic (Civil War Song) \Villiam Steffe

Allegretto 1.} 4 4 2~· c· ~. 2 V n V · :---- · . ...----.. · ~. ~

?JJ, r 1 rt a a r t 1= t r t r r £ 1 rr r t r : r i 1 II

2,...----~ 4 .-:----· .-;--....~ 2 ear o1nr]err

1ttttr

B.M . Co. 9589

LESSON 81

Triplets 33

Triplets are groups of three notes played in the time of two notes of the same value. They are indicated by a figure'3' and a slur placed over or under a group of three notes.

"3' '3' A measure oft containing two triplets-fm m is the same as a measure off in march time)

imm

Alia Breve or 2/2 time J\lla Breve) or cut time ~ is played the same as£ time. Each note having half the value as int time) a half note being the unit of a beat. 4

Softly Now the Light of Day Andante cantabile (In a singing style)

2

Von \Veber

M fh~n .(J. ... I M n v ~ ~ .

Pnpil mp

~ ll - M 1 0 2 1

Teacher I

,., n .p..

---I.

,., of' + •

,., u. 2 ,., 1 2

I

College Song

---= cresc.

B.M. Co. 9689

34 LESSON 32

Staccato Bowing Staccato, meaning detached~ separated~ is a style of bowing used in violin playing to denote a

short crisp note. Notes to be played staccato are marked with a dot~ placed over or under them. Draw the bow with a short, quick stroke, and then suddenly stopping it for a short rest, during which the bow is pressed firmly on the string. With this stroke the vibration of the string is stopped~ which gives the short staccato effect.

Written Played

?rrrrll ? ~'v'v.,v'u Andante

Andante from"Surprise''Symphony Haydn n ~ . . . . . . t~ f ..

WJ= e ~ ~ t F I F ,. V I r c r r I ~ 4 J I J 4 F r I F F V I r r I F F F t I p

V 4 ~ • :e_ ~ j.. V---.., f':1 · ·

")= R r I u Cf&ltt t t I rr r I Itt u lfft lfrtLErlrrr I II mf P

Chromatics The word "chromatic'' means moving by half steps. Chromatic (literally~ colored) is well chosen,

for by the use of sharps and flats~ tone color or shading is added to the natural sounds of the note. A chromatic interval is one half step above or below the given note. A chromatic scale is a scale that ascends or descends by half steps. In playing chromatics t-he finger must move quickly to the new note so that no slide is heard.

v n Y: II I 2 ~ 4 ~ 2 II I

• n 12

2 3 1 2 3,--Y ~ 1 2 ~ ~· V t£j 6~ b ~1 1 3-=2 1 1 o

•J:., fflaiW#tJI=@JTir tl~ttld FFI'Firtlr·t II Etude Wohlfahrt

II y I IJ 4. 4~ 4~4 4~4

")=x UitU1 9t 1r&Ef%1F lrrrtrE1rrrtrE1rrr!trE1 f:_ ~~2 ~· o ~!~!~ . 2/f42~ ~ ~ ~· 4iil II 1 ~ II I 2

"J= tEEtlrrlfF[riF 1r H=WIF IF1E[fF(I(FffiJI6ilifF!F II Pizzicato

Pizz. means to pluck the string. The bow is held against the palm of the hand by the second~ third and fourth fingers, the first being free to do the plucking. The tip of the thumb is placed against the corner of the fingerboard under the C string.

Gavotte Amaryllis

· ~= •B B ~ , ~ , 1 ~ , ' , P , ~ , 1 r Henri Ghys

I ~' p, I~'~' F r i r pizz.

tJ=Iti ~ 'l~'thG,Iht,~,p,IF; p, G,lhP,rtf:tlr t II •Not to be played with violin class ..

B. M.Co. 9589

Teacher or

Pupil

Pupil

Pupil

Pupil

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LESSON 33

Larghetto (Slow)

Sweet and Low (Quartet) •

.....---.___ r-. f!:.. r~"!:· ~~~,._~ ~~

ppn .-;. ~-· • ......-.~ 1*-' ... ~· --:---..

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pp n

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v n

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35

Joseph Barnby (18H8-18~fi)

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~f. Fr~ f=~~ v M ~f; ~ .r~.,. .,.-t. i:. ~· ;f;.~~~~ ~t.~._,._.

1lif' pp crrsr.

~ ~ ~ ,--w-~ ~~~,._ v :b~ ~+ "* .~.:.. .. I* ++ ... .~ ... 1'!/ pp cn>sr.

- .-------- - v r:!.-..... ---- ,...---.. -T

1lif' pp c rrsr. v n ........... 4 .2--. 4 0 .. ~ I T I I r 1 r --..._..... ---..._.../

n ~ t. t ~ #~ 1!-' ~e· ,._ ~ ,._ "1' t ,._ .,. ~ F-t:~ ~· ~· ~

4f dim. - rall. dim. p e pp

• ~#~~ ~· 2 I I:\ 4 • - - + +. •• .... .c-•

f dim. rail. dim. pp p e . .-----..._ h~ I h ..

I I

-f dim. p rall. e dim. pp I:\

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• For string quartet, cello play fourth line part.

B.M.Co. 9&89

A BOSTON MUSIC COMPANY A Division of The Music Sales Group ~

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JUNIOR HYMNBOOKS BY RACHEL BETTY KAHL

Hymns taken from youth and children 's hymnals known throughout America provide playing pleasure while developing note-reading facility and ear training .

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