= Ee mRBe Ee SBeseeetegrtFtstaaeet#teg e& w& & PRELUDE TO STRING PLAYING Basic Materials and Motion Techniques for Individual or Class Instruction by Paul Rolland Margaret Rowell Edward Krolick Co-author Cello Book Co-author Double Bass Book with a foreword by Ivan Galamian Violin....Viola Cello Double Bass Piano BOOSEY & HAWKESPRELUDE TO STRING PLAYING offers new and exciting ideas and materials for the beginning student. It is not a cut-and-dried method but one that may be fitted to the needs of any group or individual. Significant is the inducement of left arm shifting and pizzicato movement from the beginning. These movements help to overcome the much too common left hand rigidity of the beginner and to strengthen and shape the hand to the finger board. Significant is the application of free and large bowing movements from the start, made possible by the preliminary higher bow-hold. The sensation of lightness resulting from the temporary higher bow-hold reduces tension in the right hand and simplifies the work of the student and teacher. ‘The supplementary materials for teaching of bowing, rhythm and harmony make it possible to enrich the basic text according to the needs of the individual or class, This forward-looking text is fully compatible with my principles of teaching and will help their realization at the elementary level. Lana Professor of Violin Curtis Institute of Music Juilliatd School of Music ACONTENTS (Piano) Strings PREFACE Lo Tuning 2 Open String Rhythms 4 Action 1 Establishing Correct Placement of the Instrument 5 Action 2: Locating the Hand in the First Position 6 Action 3: Learning to Hold the Bow t Short Melodies: Sing a Song, Hot Cross Buns; Cuckoo (1) 8 Action 4: “Shadow Bowing” 9 Action 5: Holding the Instrument and Bow Together 9 Action Sa: Sitting Position 9 Action 6: Relaxing the Shoulder 9 Action 7: The Shuttle Game 10 Moving Across the Strings 0 Action Slurred String Crossings . (3) "1 Action 9: Place and Lift Bow (Silent) " Playing Open Strings with Melodies (4) 2 Action 10: Short Strokes at the Middle 2) 1B Action 11 The Octave Game 7) 14 Action 12: Single Lifted Strokes with Return (Rebound) 5 Skipping Fingers~Interval Study — Cha-Cha-Cha (6) 16 Action 13: Extending the Bow Stroke 7 Action 14 Establishing Left Hand Balance: Happy Fiddling on 18 ‘Action 13 (Cont'd) Extending the Bow Stroke : Long Slurred Strokes (? 19 Playing Perfect Fourths (8) 20 Action 10 (Cont'd): Skip to My Lou Variations (8) a Playing Minor Thirds (8) 2 Action 15: Posture Exercise ; Refining the Bow Stroke 2B Three Note Melody; Sad Tune 7) yy Action 13 Accompany Melodies with Long Bow Strokes: 25 (Cont'd): Swanee River; Barcarolle 0) 25 The Major Scale ap 6 Using the Fourth Finger; Lightly Row a2) 7 Playing the Major Chord a3) 8 Climbing Up the Mountain Top aa) 28 Playing on Two Strings at Once (Double Stops) 4) 2» Alternating Major and Minor Chords as) 30 Long Bow Strokes Followed by Release 31 Building Chords : Harmonization (1s) 32 Spiccato Bowing (16) 33 Playing Perfect Fourths (16) a4 The Slur on the Same String: Slumber Song is) 35 Three Note Slur; 0 How Lovely as) 35 Shuttle with Harmonics: “The Flute,” “The Ghosts,” “The Tremolo-Shuttle” 36 (Cont'd) Slurred String Crossings «sy 37 Action 7 Lullaby in the Major and Minor Key 9) (Conta): Playing in the Fifth Position 38 Action 18: Various Types of Bowing , Hot Cross Buns, Variation (1) 39 Matching Tunes in Fifth Position: Three-Note Melody:Action 20 (Cont'd); Action 22 PREFACE PART I: PART II: CONTENTS (Piano) Bariolage 1 20) Matching Tunes in Fourth Position: Three Note Melody; . French Folk Tune Phrase Vibrato and Finger Dexterity Chord Etude Quy Major and Minor Triads—Five-Tone Scales (23) ‘The Low First Finger (24) Shifting: Playing Tunes Through the Positions (2s) Vertical Finger Action: Dancing Fingers, Chance Music (25) Bariolage TI en Shifting and Low First Finger, (8) Continued and Combined (28) Major Scales and Octaves Through Five Positions Shifting (Continued) Exploring the Positions (29) Variations on the Surprise Symphony Theme (30) Bowing Supplement Transferable Cards 1-4 Chord Supplement Transferable Cards 5, 6, Cover Sheet & Care of Instrument READ & PLAY Note Reading Supplement (Piano) “Read & Play” Rhythms ‘Acting with the Pulse ‘Added and Divided Beats Rhythm Charts: Quarter Notes and Half Notes : Quarter Notes and Bighth Notes 2 6/8 Meter; Sixteenths Groups : Triplets and Dotted Rhythms “Read & Play” Melodies Violin Note Reading Chart Viola Note Reading Chart March & Waltz Rhythms (open strings) GB) Open String Rhythms GBD Slurred String Crossings (35) Open Strings and Their Octaves G7) Open String, First and Third Finger Tunes G9) High and Low Placement of the Second Fineer an Strings 41 Strings u 2 B 1s 16 a 18Action 1 Action 2 Action 3 Action 4 Action 5 Action 6 Action 7 Action 8 Action 9 Action 10 Action II Action 12 Action 13 Action 14 Action 13 (Cont'd) Action 15 Action 16 Action 17 Action 18 Action 19 Action 7 (Cont'd) Action 18, (Cont'd) ‘Action 20 Action 21 Action 22 Action 23 Action 24 Page ©) 6) ” 0 0) o (19) ay a7 ap (13) en as) as) an 05) as) (as) (23) 9) en (33) @s) (36) 9) (ay (49) (3) (48) (50) (a7) G1) (43) ACTION STUDIES — STUDY AND REVIEW CHART Establishing Correct Placement of Instrument Locating the Hand in the First Position Learning to Hold the Bow Shadow Bowing Holding the Instrument and Bow Together Relaxing the Shoulder The Shuttle Game Moving Across the Stri es Slurred String Crossings Place and Lift Bow (Silent) Short Strokes at the Middle The Octave Game Single Lifted Strokes (Rebound) Extending the Bow Stroke Establishing Left Hand Balance Long Slurred Strokes Posture Exercises; Refining the Bow Stroke Double Stops Long Bow Strokes Followed by Release Spiceato Bowing, ‘The Slur Shuttle with Harmonics Playing in Sth Position Various Types of Bowing Bariolage I (String Crossing) Bariolage 11 Vibrato and Finger Dexterity The Low First Finger Shifting Vertical Finger Action net Zt at kz 2 te SS | LI nee ntntnt za = aDedicated to the memory of Imre Waldbauer PRELUDE TO STRING PLAYING by PAUL ROLLAND PREFACE, The Prelude to String Playing offers new ideas for teach: ing the fundamentals of string playing. It is designed for students of any age, either as a method, or as a supple- ‘ment to other instructional books. The material is suit- able for individual or class instruction. Matched to the Prelude are the delightful pieces by Stanley Fletcher, recorded and used by the Univer- sity of Illinois String Research Project. Tunes for the String Player, a series recorded by the same project, is also recommended to supplement the technical guide lines of the Action Studies. These melodious materials draw heavily from the American musical heritage ‘The main body of the Prelude presents sequenced m: terials and illustrations for the learning of basic playing actions, Much of the early material is presented in sim- plified notation, permitting easy transposition of simple patterns to the various strings. A Note Reading Supple- ment, loose leaf chord charts and bowing patterns may be combined with the various sections of the main text for refinement and variety. The flexibility of the mate- rials induces the teacher to find his own creative ap- proach, one that is most suitable to his particular situa tion. The early emphasis on total body involvement and left arm mobility, as well as explanatory visual aids, helps the student ‘acquire freedom of movement, better position and facility. The correct position and balance Of the left hand is aided by early emphasis on the central fingers and their relation to the adjacent string Better intonation and hand position will be achieved by ‘emphasizing interval and chord relationships. Early presentation of shifting and vibrato movements, and the transposition of tunes into the various positions make the student aware of these important techniques. ‘The materials presented in the main text may be learned. by imitation (rote), by the conventional reading ap- proach, or by a combination of both. The format is so arranged that the student first may learn materials by rote or tablature, then learn the same material by note reading. The tablature, including new visual aids, is presented on the left side, and regular notation on the right side of the same page. A “Cover Sheet” is provided to mask the unused part of the page for better visual comprehension and to insure that the student actually reads the notation when the teacher wishes him to do 50, Materials related to bowing techniques are presented on the odd numbered (right side) pages. This permits the teacher to follow his own ideas in spacing the progress in left or right hand technique: to speed up or slow Another “first” is the simultaneous use of the treble and alto clef for violin and viola players. The reading of two clefs has always been demanded of- the viola players. Now, the violinists may learn to read the alto clef from the beginning and switch easily to the viola. This innovation also permits the use of the same book for the violin and viola, Major and minor patterns and melodies are introduced in close succession for faster progress and to alleviate one-sided development in the major key. ‘An unusual aspect of the book is its emphasis on harmonic hearing. With the aid of supplementary chord studies and charts, the student may learn to play the basic chords at an early stage of advancement. After the chords are mastered, the students may team up to play melodies with accompaniments of chords. Since the basic chords are noted in some of the melodies, their simple chording is possible with the piano, guitar, or autoharp. A second part to melodies may also be added by playing the root of the chords. The Supplement for shythm training may be imple mented through suggested rhythmic actions, or by playing pizzicato or with the bow. The pages provided for note reading help the student in the important transition from “Rote to Note.” ‘The recorded materials mentioned above help the student acquire a correct image of the music assigned as homework. The recorded melodies, when correlated with open string studies, instill enthusiasm for this important phase of the work. Finally, an appeal is made to the parent to become involved in his child’s study of music. Frequent praise, a loving but firm attitude toward homework, and inte pretation of the text are of the greatest help. Important is the provision of a mirror and phonograph. The valuable advice of a number of excellent and experienced teachers has been solicited in shaping this work. Especially the help of Stanley Ballinger, Don March, Don Miller, Marla Mutschler, Stanley Nosal, Marvin Rabin, Jerald Slavich, Frank Spinosa, and Tom Wisniewski is gratefully acknowledged. In the preparation of the Piano book, the help of Hubert Kessler, Marla Mutschler, David Sargent, and my wife, Clara, is gratefully acknowledged,Tuningin Unison m VIOLIN . VIOLA GD AE cG DA co U Kstring 4 Astring ‘Treble Clef Alto Olef \ \ ; ae z D string D string x sadeee Gene G string E string see s C string Learn tuning with pizzicato first; later with the bow. Repeat on each string until well in tune. VIOLIN VIOLA x All metal strings should have fine tuners. In the early stages and especially on small violins, four good quality metal strings are recommended, Tailpieces with built-in metal tuners are especially helpful. Be sure that the tuners may be turned both ways at all times. Never use = 5 s ‘Tune similarly: GDAE “Tune similarly cG DA q ESA strings D~G stings D=G strings GC stringsa a Fa Bee BP Sse sea S32 SB SS SBSBSSEBS Left Hand Pizzicato For Viola and Cello add Recommended chord for tuning Violins and Double Basses: TUNING SECOND STAGE: Student Plays Left Hand Pizzicato and Tunes. For All Stages a While tuning, listen to. the iq tone move slightly below and ae above the desired pitch, then resolve it into the correct pitch. Be sure that the tuners and pegs are in good working order so that they may be tumed both ways and held without strain. THIRD STAGE: Student Draws Bow on FINAL STAGE: Student Tunes in Pro-OPEN STRING RHYTHMS, Livi. RM, Pie Play these rhythms with the actions illustrated Invent other actions. Play them with Actions 2, 4, 16, and 17 described ‘on succesive pages ThE Pororarer rererrterererr Let's goto the Zoo We shallseethe Kangaroo Look for theory explanations on the bottom of ra \ fe AE Taps clap. ACTIONS: Play rhythms with LEFT HAND PIZZICATO using the 3rd and/or 4th finger. Play also with right hand pizzicato. After the bow-hold is learned, also play with the bow. STRING CYCLES: Play from the highest to the lowest string (descending cycle) and reverse (ascending cycle). When violins and violas play jointly, begin on the E string while the violas rest, and finish on the C string, violins resting (descending cycle). E A wea BE Sit eye =D G cycle G c SIGNAL DOTS: The finger board is marked with a dot half way between bridge and saddle, Use “signal dots” of different color. Finger markers also may be used for the Ist and 3rd fin- gers. Ea a ae eaeeeaeeneeeekeeaee eS eS ae = QUARTER NOTE 2 = QUARTER REST me = THIS IS A TIME SIGNATURE; it calls for four pulses (beats) in one measure of musicee ar — Figure {: Rest Postion igure 2: Right Mand Assists In Rest Position embrace the instrument as shown, (Figure 1). Play left hand pizzieato on the D and G strings with the dnd and/or 4th finger. The left hand then will assume iis correct position provided the base of the first finger touches the neck lightly (Figures 1, 2, 3). Help with the right hand to transfer the instrument into playing position (Figures 2, 3) while continuing the left hand pizzicato. Locate the hand as shown, A marker as shown on page 4 (signal dot") will help to locate the area where fingers pluck the strings. Figure 5-A: POSITIONING THE FEET OQ). mer OY 2, Step a littfe to the left and shift weight toward left x foot. Balance, Figure 6: BALANCING A BALL Balance a small ball on the G and D strings to establish correct height and tilt of the instrument Figure 4: Left Hand Pizzicato helps to establish good left hhand position. ‘Tune with eft hand pizaieato, Play Pizeicato Rhythms on page 4, Pluck the string near the marker, at half string length.‘igure 2 Figure 2b Figure 4 Figure 5 Alen plas Prinnet Rafter form Now Troe L. Hover with the fingers just above the open sirings. pi ‘Begin with the D string; later practice the complete sindy on every string (Fig, 1). + gg 3 ¢ ¢ 9 oi PoP Pe Pe Py Pina. or arco (bow) ! \ 2. Drop the first finger on the string one (Oi whole step above the open string (See Intei vals, page 20). Turn the finger nail toward R your face (Fig. 2, 2a). Here the finger angle ts wrong! The finger is \, hy too flat. To correct it, bring the side of the first finger base to the left side of the neck (not under the neck) (Fig. 2b,0). igure 25. \ oj ttf J) “half-step” away (a half-step is the snnallest distance 4. Move the second finger to its high position a whole step from the first finger. Don’t touch the string on the right. Let it ring freely—test it! In its high position the ii Finger is not as steep (Fig. 4). wi el ad a dl The Sharp raises the pitch of a note a half a step. DP 5. Place the third finger next to the high second (a half step away), ‘Test with the open string to the ieft. The two notes must sound almost the same (see octaves on page 22). a , 4 ) 4“THON 3: E : TO Hi = — Preparation with 4 Pencil. 3. Form an “0” between the Thumb and inside crease \ of the 2nd Finger; slip a pencil or stick between them (Figure 1) — the Fulerun, 2. Place the first finger on the left side of this center center of balance, the third and fourth fingers on the right side of balance; be swe that the fingers are curved and clinging—never stiff or tense. “Think of the cond finger and thumb as a fulerum(2)of a tecter-totter, | Figure 1: The Fuleram Action 3: Establishing the Bow Hold with a Pencil, ‘The “Barly Bow-Hlold” and the Regular Bow-tiold, 1. Find the bafanes point, then balauoe the bow on the right thumb as shown (Figure 3), est the flexibility of the aim and shoulder by mov ing the arm in smal and in larger circles from the the shoulder (Figure 4). 3, Support the bow witht the feft hand and establish the bow hold at or near the balance point of the bows hold che bow just as the peneil beiove, with the bait faext to the thumb (Figure 5). Now move the aem in 4 Balancing the Row on she thumb, circles as before (Figure 4) but with the bow balanced with all five fingers—vith the ““Easly Bowlold.” Great violinists of the 18th-19th Cen This bowhold may be used for soveral weeks, then fury held the bow an inch or two away ‘establish the: from the fro. When holding the bow higher on the stick, it feels fighter and Regular Bow-Hiold: is easier to control. After becoming While helping with the left hand, slide the right hand more skillful, the bow-hold should be to the frog. The upper right corner of the thumbstip transferred to the frog. adheres to the bump of the frog, and the har is cose ‘ fo the cured thumb, Gradually learn to do ll your playing with the Regular Bow-Hold. (Figures 6, 6a.) Figure 4: Balance ‘and Flexibility Test, Figure 5: Barly Bow-Rold Se Perrwewreetst SF SSF SR H HySHORT MELODIES | (Use Cover Sheet) PLAY ON EACH STRING, a 2. Establish finger pattern. . ~~ 3. Play with right hand pizzicato. ab LL Ey nilh heer, ea ROLE. ‘Tune in the fingerst Ply pizsosto or aroo Sing tune. SING ASONG , | , : > : 00, _| 00 J) 4 dg m 2-|°°2-4 4 Sing we Seng Sing + = og HOT CROSS BUNS lot CrossBans Hit CrosDuns One. penny'Twoa penny Hltcros Bans 4 avot | 2103 [ooae ane soa] ite Pestisssgererttds Play om any (wo adjacent strings ‘THE CUCKOO ay |oat | 323 j°7? | caftsa fear oa) Sete Rest the tip of the thumb against the comer of the ‘nell board (to steady the hand) and pluck with the first finger. Later, learn to pluck with the bow in the palm, holding ~“ with the remaining fingers. i Right Hand Pizzicato = The SHARP raises the note a half step; play second finger high! 2 meter = three pulses (beats) in a measure (Walt time),es So [scrion « “SHADOW BOWING” Bowing over the Shoulder Figure 1 Shape up the bow told as shown on page 7, and move the bow over the shoulder. This will induce freg fore- arm movements from the elbow. (Big. 1) Practice with shythms of page 4, and 13, and move to the shythm of recorded meiodies. “Elevator” or “Take off for the Moon.” ‘This exercise performed with the bow in vertical position, aids to establish, proper rele tionship of upper arm, fore- ann, and hand in drawing a straight bow. (Fig. 2) a.Hold the bow correctly. stick veriicai, and pointing to the ceiling. baWith a smooth and slow mo- tion, raise the how until the hand is higher than the head, Be sure to move the bow in a staight Tine with a light Figure 2 ACTION 5: HOLDING THE INSTRUMENT AND BOW TOGETHER curved. the chair, (Fig. 4) ACTION Sa: SITTING POSITION Lean forward and support the weight of the body with both feet, The back does not touch ACTION 6: RELAXING THE SHOULDER, 1. Lower and tift arm several times with easy, relaxed movements, Move the arm and bow in one plane. This movement is wed when moving the bow from one string to another (String Crossing). 2, Set the bow on the bridge, and silently cross from the highest to the Place instrument as shown on page 5. Pick up bow and hiang up on the little finger as shown (Fig. 3). (This technique was demonstrated by Dr, Walter Haderer of San Francisco State College.) Shape up the bow-hotd as shown on page 7. Hoid bow firmly yet without stiffness. Shake hand to avoid tension; keep fingers Leam to play in good form, both standing and sitting. Figure 5wwe the Jeft band freely between the LOW MIDDLE HIGH register of the finger board. Do this with silent motions and with light left hand pizzicato. Ata later stage, using the bow and fingers, imitate a Flute on the G and D strings, or a fire siren (or a ghost!) on the A and E strings (see page 36), ‘Shuttle with comfortable and unhurried motions (don’t grab with the thumb). Help with the right hand at first as shown (Figures | and 2). Hold the instrument a little firmer with the chin, Drop the weight of the head down and back, Figure 1: Figure 2: ‘The left hand is in the LOW REGISTER ‘The left hand is in the MIDDLE REGIS- (Ist or 2nd position). ‘TER (rd, 4th, 5th positions). ACTION 7a: Moving Across the Strings 1. Place fingers lightly on the strings; maintain good hand position! 2. Swing the relaxed left arm from the shoulder to left and right, so that the four fingers can easily ‘reach their notes on any string. ‘The thumb is the pivot for the arm, Figure 3: ‘The left hand is in the HIGH REGISTER (6th position and above), Notice thumb placement; Alan't wan the thaimh sensnd the thenat af theBS SS SS SS SSS SSS S SSE ACTION 8: SLURRED STRING CROSSINGS fey Beas Make up your own words! Figure 1 : Play string crossings on any two strings. Lower the buoyant: elbow when going to the higher string; raise elbow when going to the lower sounding string. Practice first silently, roll Play slurred round string crosings also in open _ing the arm and bow together (Fig. 1). string cycle—on the two top strings; on the middle strings; on the two lowest strings; on three or four strings A viouN EB VIOLA ) String & 3 String 2 ) Oycle: GP Cycle: ce ACTION 9: PLACE AND LIFT BOW (SILENT) Place bow on the string, fingers curved. Cast off the bow as shown, moving the whole arm and bow together. The arm is light! “Early Bow Hold” is recommended at first Practice on the upper strings, then move to the lower ones. Keep fingers curved and shape up the bow-hold often. Let the string support the weight of the hand and bow, then lit again; do this many times, slowly, aster. Figure 2: Place and Lift Bow. This is a SLUR, It indicates that two notes are to be played with one bow stroke, Later, we shall play more than TF] thisisa Down-Bow sign; move two notes slurred with the same bow Susy om te fee stroke. . This is an Up-Bow sign; move Lift-hower V bow toward the face.PLAYING OPEN STRINGS WITH MELODIES (Use Cover Sheet) Play open string rhythms with left hand pizzicato to establish good violin position and left hand form. se vot | ogg SKIP TO MY LOU Play on two strings at once. AAAA p-v} CAMPTOWN RACES AA- | aad poop | ppp- wan] | poop | ppp pb 3 SWANEE RIVER AA AAMA bp bp poop cc AA aa | DD DDGg DD D-3k Find fitting open strings for the second half of the melody. fi Also, play right hand pizzicato, and with the bow. ‘Accompany another player or’ the phonograph ot Bn tape recorder with open string harmonies (the key of | melody is indicated) D Majollfl] at dad aad ‘5 ddd Jd u> bed Play on two strings at once errs ‘i ‘i F a ae at! lay = h Ma eure i Jedd 44d raACTION 10: SHORT STROKES AT THE MIDDLE — or Play open string rhythms on page 4. Play the interesting rhythms after you have learned those on page 4. Place bow on the string at the Balance Point. Play all rhythms with firm and short strokes on the Use the whole arm as a unit in using very short stroke open strings (in the string cycle). Listen, stop, Use longer strokes, keeping the basic whole arm move check, and improve the tone and bow hold often! ments, but add forearm movements toravoid crooked bow- ing. The hair should be at a right angle to the string Use Détaché and Martelé bowings. (Détaché: the sound re- about halfway between the bridge and finger mains continuous, although the bow changes; Martelé: crisply board, as shown (Fig. 1 and Fig. 2). accented single strokes separated by rests.) seo ericrg 4 an yny, eer err’ leer eer’ (invent your own word rhythms) Dm aiaaché Viet nominee) CEL CLS CLE CLL senea ammtnrine pen Fina te Upton” (VY yagu de tow de, Sul Fale, Big le, teDown ow bei Pr détaché short note HE? ieeer tf Lf cer eeereer’ cirr ictrr ‘4 Elbow slightly forward. Wes slightly lower. ‘Arm turned counterclockwise. Hibow farther away from the body (slightly higher) 3) aS SB FS 3 measure has two pulses (beats). The groups below are played in one pulseACTION 11: THE OCTAVE GAME Ist finger marker 3rd finger marker Small colored dots with adhesive backing help to lo- cate the first and third fingers. But the ear must be the final judge in determining the exact pitch, The second finger is placed next to the third; soon it will also be placed next to the first finger. USE OF THE BOW The drawing below indicates the approximate part of the bow to be used, Your teacher may want you to use more or less bow, or other parts of the bow as well See Octave Tunes in the Supplement of this book and in: New Tunes for Strings, by Fletcher-Rolland; Boosey & Hawkes, Inc., New York, N.Y. Play Octave Games! Violin and Viola read in both eles, fl a b) Bp The first finger must be kept on the string while playing the Octave, p Place the first finger on the string at a good angle. Let the eget elf oath ce. Kep Zn Right Hand Pizzicato Bow at the middle the right side of the neck! “TUNE IN the LEPT HAND with the OCTAVE” Bn @ nu 53 uno i soo 0 blo 1 Bn ee 3 Bz Abe3 3N “4p ost EN ofoo 0 olo a Saito Ole 41 ay = = 3 ALCS RES) BR] whe is terer tae @ 3S Invent other Octave patterns and rhythms. REVIEW THIS PAGE OFTEN! high B Ful high 2 i a +. aE # nan & r =V ACTION (2: SINGLE LIFTED STROKES WITH RETURN (REBOUND) REBOUND (bow cycles) from the player's viewpoint: lace the bow gently on the string between tie frog and middte, Swing ont tite arm with free round ed movement and produce a ringing sound, Continue the movement in the sir without stopping as the bow re- tums to the starting noint. Repeat the action many times, Start with short strokes at first; sraduslly inerease the lengths of the strokes, Eatly Bow-Hotd” is recommended at fis. ara Ss a a: The REBOUND (bow cycles) HINTS FOR GOOD TONE PRODUCTION u ‘Three skills are essential for good tone production: gy u 1. Starting the Tone “SS Place the bow on the string before mosing it with a fight feel, The flexible hand Aol allows the bow hairs to eling to the string without rigidity. too much, or 0 Geel the entire arm light snd flexible, the elbow floating. ‘no te fw pressure or an easy start raise the elbow very slightly one beat in advance (anticipating the a the point of contact movement) If the tone is uncertain or weak, place the hair more firmly on the string with the ilexible hand, If the tone sounds choked or scratchy, ease up on the hair, or move the bow a little faster. 2. Moving the Bow, Continuing the Tone Both the upper and iower arm move all the time, the upper arm leading in the lower half, the forearm in the upper half, Beware of immobilizing either the shoulder or elbow joints, & ‘The hair should cross the string at a right angle when the bow is in motion; this will help to keep the point of string contact steady, about halfway between bridge and ‘Keep the hair et finger board for an even and firm tone (alittle clover to the bridge is fine as this will | Toft nate 10 the resull in a stronger tone), Sines 3. Finishing the Tone Don't choke tho done at the end of «stroke. When stopping the bow, reduce the 4 y pressure of lifL the bow off the string with an upward azched motion. Change the bow smoothly between strokes. 4, Review all Previous Materials with Attention to: b u n " a" 1 a Good tone bewinnings and releases. Arch the BowSKIPPING FINGERS—INTERVAL STUDY Play each mumber several times, ©) Play all six numbers on the same string without stop: - ping. DY number in descending string cy + Hoid supporting fingers lightly on the string. Feel the on B, A, D, G, [CI], strings). whole fiand as a unit which is shaped in various ways; the sounding finger is the spokesman for the hand, CHA-CHA-CHA, iat e ni Yr Ss FIGURE 2 7 " i iN Supporting Sounding finger Ginger \ 2 sun » ye ir use Bord = Sinjabna ’ 7 (; rr WS FIGURE 6 ie ° pov 1 a <— O28 FIGURE 7 _7 rR = Perfect ectura—fmtah natedee eee eases ese se BS SF SS eS Ss ee ACTION 13: EXTENDING THE BOW STROKE Until now, the middle section of the bow has been used, Shoutaer At about the middle, the upper, the fore- arm and the bow form a square, and the playing is done near this point either with the “early bow-hold” or with the regular hold. The fingers should have a rounded appearance. SHORT STROKES NEAR THE TIP AND FROG When playing at the TIP, the hand reaches forward; hair and string remain at right an- gle, The wrist is lower and the fingers become slightly straighter. Review previous tunes, playing them nearec to the TIP, and closer to the FROG. ‘Check below when reviewed. SSS Open Steing Rhytluns | Page 4 In all sections of the bow keep both the upper and lower ann moving in various proportions: Near the frog there is more upper arm action and slight forearm action. At the middle and upper half of the bow the forearm drive increases and there is less action in the upper arm. Short Melodies Page & [ Slurred String Crossings i Page 11 Playing Open Strings with Melodies Page 12 ters Short Strokes at the Middle Page 13 I 1 Lifted Strokes Page 15 Near the PROG the wrist is slightly arched; thumb and fingers are curved. The hair crosses the string ata right angle, Hold the bow firmly, yet without stiffness in the finger joints. Skip to My Lou | Page 21 Here are some rhythmic bowing patterns for quick After playing the six patterns hetow on each string reference. Play them with firm and crisp strokes also in scales, etc), review the materials listed near the tip, near the frog. above, Check In square after each review period. PPP MPP PPE IL2 Perr re ALP errr eHM14: Bs Completely Relaxed Position of the Hand and Fingers Note that the fingers naturally fall close together when their tips are near the palin. 2 Push a pencil (or the right index finger) against the finger tips and arrange thera in a straight line ss shown, The fingers are close together and steep (almost vertical), This is the Chromatic Finger Pattern, Hold this position for ten counts, then relax. Repeat many tim Use this pattern for chromatic playing (Inter). Presently, the first finger should be extended backward (see Following section). HAPPY FIDDLING Melody with octaves and chromatic half steps 4) Place the closely heid finger tips om the A string in the Chromatic Finger Pattern b)Cling to the string and slide up and down—feet the resistance of ihe strings under the finger tips. ©) Lift up the fourth finger on the A string and find “D” —upper octave of the open D stuing, d)Play the tune with the backward extension of the first finger. ©) of the second finger. STABLISHING LEFT HAND BALANC! Le 4 Backward Extension of the First and Second Fingers While clinging to the pencil or the siring with the upper fingers, extend the first and/or second fingex(s) back as shown, The fingers now are tess Gnd ord he steep (they lean backward) and the ftand opens up alittle. (Think of holding a small ball in th palm.) Do this many times on the peneil.... on the stsing, sfiding back and forth on the inner side of the fingex(s). errr Develop the feeling of straight tine in the fingers for good balance. When changing the finger pattern from close to extended position, adjust the thumb and wri for maximum security and comfort. The thumb and wrist must be [exible all the time to help to balance the fingers for maximum security and comfort, Se i aad id oh 1 ‘ | sspaanryo-o | »| 3) 580 00 too 00 09 13 4 4 | 93) 2224 ono | | * 104 oo joo 100 3-3 Practice the first part on each string along the string cycle! @4 HEE SB HB HY p =eS @=se SB SFB SF SB BS SB; 2. Single Strokes, Released and Returned “The REBOUND” stroke (Bow cycle): return the bow to the starting point. Review Action’ 12 (Page 15) with longer bow strokes. Support the bow with curved fingers near the Frog. Place bow gently on the string, cast out (forward) as above, then loop the bow back to the starting point. Make the hair cling to the string to produce an even, ringing tone. Return the bow with- ‘out flipping its tip upward, 4. Long Slurred Strokes Cross from string to string with a gently curv- ing motion, gradually approaching the new string level. Raise and lower the arm gradually when approaching the new string; avoid hasty, jerky movements. 1. Preparation: ‘The “FLYING PIZZICATO” Cast the arm forward for spacious and free arched pizzica- to movements. Play this: a) without the bow b)with the bow in hand, yet pizzicato. Aim forward, following the path of a good bow stroke. HZ wy, Wey Pe, tog, 3. Single Strokes, Released and Stopped Proceed as before but stop bow on the string. In order to avoid choking the tone, arch the arm and hand slightly upward together with the lightly supported bow. Repeat many times, Let the thumb support the weight of the bow under the stick as the bow stops. Release pressure by upward arching of the lightly supported bow.PLAYING PERFECT FOURTHS (Use Cover Sheet) ‘TUNE STRINGS; TUNE IN LEFT HAND Play on any string Pizzicato or Arco. { i 1 Play along the string cycle. ! iL Sing with word rhythms and with finger numbers. SRS oea eg es | 33 00[33 07] oa 8 —————— a's. anne/ Sean save] soos-oo|s-cor- of Soop ed ey | rroeloeae | pt ee INTERVALS: An interval is the distance between two notes. The smallest interval is the haif-step or minor second, played with adjacent fingers, or by the same finger moving up or down a half step. The next larger interval is the whole step or Major second. It is composed of two half steps Next in size is the minor third (a step and a half or three half steps), which is used on Page 22. The Major third is an interval of two whole steps (such as the open string and second finger on the same string).be (Use Cover Sheet) ‘Three Short Tunes with Descending Minor Thirds a. Sing with word rhythms; with finger numbers b, Play Pizzicato c, Play with the Bow. 1 oe Play on any string; play in string cycle. . Using the 3rd and Ist Fingers: oO ge et Rs aaa-fasr--| teal esse posal $B Ty Listen to the Blue- bird TITS Saas TF Pay the tunes om the two top strings: on the mle strings: low sivings Using the open string and second finger on the string below: The second finger & two whole steps away from the Saddle, ‘The first and second finger must be kept down while playing ‘the open string to the right, o-,_[o° o- 00 2- ae 2- 2 Make up your own tunes using the descending Minor Third. The Perfect Fifth is a whole step larger than the perfect fourth; THE VIOLIN, VIOLA AND CELLO ARE TUNED IN PERFECT FIFTHS. (If you add a perfect fourth to a perfect fifth, a Perfect Octave will result.) These intervals are called perfect because they blend so well Learn to recognize the various intervals by their sound! =, Octeve Fourth + + = SI t 7 t 2ACTION 10 (Continued): SKIP TO MY LOU VARIATIONS Rhythmic Groups with Short Strokes at the Middle, fi s4) VARIATION 1 ‘TUNE: Violin Mls eats A 1 am playing o-pen D distaste VARIATION 2. A teat Piece h were aH — ‘word shythms VARIATION 3 ‘Peercer (if cm COCO? oe I 7 Here VARIATION 4. eu> didadd Jide) VARIATION 5. jd ddd ad ' razar ante die FF Play open string variations with an advanced player or with the recorded metody. Later, also play the melody with the variations. Use short and crisp strokes. Learn one variation at a time; then play them in succession. Advanced Player Open string Player au = Ss e@PeRBPeeeeeses Besa eae BH HEACTION 15: POSTUR! ACTION 15 ACTION 15a b) Place violin without the help of the left hand! The left hand is well on the right side of the neck in the 4th or Sth posi- a) Tall Posture and Poise with the “STATUE OF LIBERTY” tion, Develop the holding muscles with the “CASE WALK” (The case must be closed!) Also carry the case with the arms held forward (as if carrying a tray). REFINING THE BOW STROKE Hold the bow firmly yet flexibly with rounded fingers; “Early Bow Hold” may be used at first. ‘The THUMB forms a circle with the second finger as they enclose the stick. Place bow gently on the string with “soft landing”: shake hand loose if the fingers stiffen. The bow hair must cross the string at a right angle. 1. Practice bow placement and transfer without sound be~ tween: a) MIDDLE-FROG; b) MIDDLE-TIP; c) FROG--TIP. 2. Practice appropriate bowings from pages 17 and 25 at vari- ous points of the bow with good tone. wer i ~e ay. ¥ BODY BALANCE: Silent transfer of the Bow . ae = WE As the bow swings out to the tip, lean well on the left foot and incline head slightly to the left (open). As the bow swings to the frog, shift weight back toward right foot; head is more upright or very slightly leans to the right (close). ®1. Play Pizzicato 2. Play with the bow at various speeds. Use long strokes at slow speed, short strokes when fast. In MARCH RHYTHM. 2222 | 333 Asay Jung In WALTZ RHYTHM 222 a|aas 34] Here are five more bowing rhythms for the Three Note Melody = Play also with the quicker rhythms on page 13. SAD TUNE Write words (lyrics) to this song vur-foor-frzafo-pe ys, aay 1 jad Td 14 CE _ — \4F 3 + \ Here is the same tune played with the PORTATO BOWING: Stop the bow a little between the notes. THREE NOTE MELODY (Use Cover Sheet) Tune strings; ‘Tune in Left Hand PLAY ON ANY STRING: PLAY ALONG THE ‘STRING CYCLE. 1 Sf eat softly Repe 3 nf y ter rip eler ere Acrere tir ere? on todd aul Be a an a dis w ht mf tS CHANGING DYNAMICS (Playing Loud and Soft Tones) Two Ways of Increasing the Tone: 1, Move the bow closer to the bridge and increase its pressure on the string. 2. Move the bow faster—use more bow—and increase its pressure on the string. DYNAMIC SIGNS: P= Soft; ‘Two Ways of Decreasing the Tone: 1, Move the farther away from the bridge and de- crease its pressure on the string, 2. Move the bow slower—use less bow—and decrease its pressure on the strings. ff > tout inf = Medium Loud;[ SOTION 18 (on oe a eee ee ae ee ere il SWANEE RIVER Violin & Viola both play Melody in D Major Accompany the melody with beautiful and even tones on the open strings. Release tones a little when indicated ( >) Tie™ tame See comments on tone production on page 15, pois sis een Portato Bowing: BARCAROLLE trom the Tales of Hoffm: (by Offenbach) Use long LEGATO bow strokes. (Listen for velvety tones.) Change the bow stroke smoothly. Accompany an advanced player or the recorded melody with the open strings, ‘The first 16 measures are given here; you find the right open strings for the rest of the melody. Apply the bowing patterns to the accompaniment. eS eae PSS Se SS: Longer Bowing Patterns in 6/8 meter Viola & Violin both play Melody in D Major = Pop leap ip ripe tame f Aoted quarters ole. 4 file ri terterieercer | § meter we six fast pulses or two slow pulses in In § meter there are six fast pulses or two slow pus lr — ar — rr — Brey The TIE and the SLUR look alike, The Tie binds nwo or more notes of the same pitch, itis ge mostly used ¢o extend the value of a note into the next = measure, Tie Sher The Slur binds two or more different notes with the same bow stroke Phrase ending, The tone must be released cither by gently lifting the bow from the string, oF by releasing its ‘weight for a moment Je ded vornen qUaRtiR: eB sl i en a TesTHE MAJOR SCALE (Use Cover Sheet) Play Pizzivato TUNE STRINGS; TUNE IN LE 2. Use the Bow and apply many bowings and Alythms in addition to those printed. = ale in Waltz Rhythm, The Descending D Major Violin ® viom 5 Ye alee — =. ck ikep aT Tach Yastey tole sep wole sep i 3 ey i v Vistep whole step whole step The Ascending and Descending D Major Seale in March Rhythm wal ~, py 2 AN © @s feeieeiee| eee 2 ro A ro ar lerieeieniosl st rH 7 a eee ‘The Ascending and Descending G Major Scale in 6/8 Meter Yee ep 123 — 00 00 00 00 «BES gSaeH Sm ok high 26 BPPRPBRPEREEEEE HEHEHE HE HH HFa SEE ERE SOS SRE ONS a a NY (Use Cover Sheet) 7 \ Ww Low 4th finger Regular plement of the 4th finger The Low und Regula Violin Viola Placement of the Fourth Finger Ibe tee ese ee oy Regular Placement of the Fourth Finger LIGHTLY Row mat Se ay gs tod Chor DOTA D D Chorts of D ry Do D Match 4th finger to the open string on the right. The pitch of the 4th finger and the open string i must be the same, (Be sure to tune strings well.) b = This sign isa FLAT. It lowers a note a half step, just as a sharp (#) raises a note a half step. 4 = This sign is a NATURAL. 11 cancels a previous sharp or flat ( b ) CHORD ACCOMPANIMENT: The capital letters in the text indicate the major chords that may serve as accompa: rniment, Team up with others to accompany melodies, Build chords as shown on P. 32 and In the Chord Supple ‘ment.Hine seams PLAYING u MAJOR CHORD (Use Cove Violin D Major Chord © 3 222% c00 3 G Major Chord @ _ erdron_ high CLIMBING UP THE MOUNTAIN TOP G Major Key a Play on any to neighbor strings Ebon | 003k | 3300 ‘The MAJOR CHORD and its INTERVALS (Gee below and also on page 30) 3 220t] — Wotinniviom D Major Key i 2 on Violin and Viola A Major Key $ 2 Violin only s e This tune is one of our most important studies, Review it often and enrich it with many variations. Study with shythms from pages 4, 13. Apply variations trom Bowing Supplement THE MAJOR CHORD = Major rd (M3) and minor 3rd (m3) Build Major chord on each open string fee meter (or Waltz time) SS == three pulses (Beats) in the Add (0 a Major 3rd a minor 3rd to build a Major © same as 4/4 meter (four pulses Chord. The Octave is optional tin measure)ACTION 16: PLAYING ON TWO STRINGS AT ONCE, (Double Stops) (Use Cover Sheet) 1. Place the bow on two strings and review the REBOUND stroke (Action 11, page 15) 2. Play intervals in double stops as shown on each pair of strings: remus craves ems octaves . | ° od | o 8 as | lanyy 733}) 4 ! : | 000 6008 ; vats ovoe sors stvon takas savor seems 4 2 aa aa an tad j LET THE TONE RING DURING RESTS! REVIEW 3, REVIEW: Open String Rhythms (Page 4) in Double Stops: 4, REVIEW: Action 10 (Page 13) in Double Stops REVIEW CHECK Bow action must be smooth, yet the tone full! Make the strings ring Avoid “choke-stroke"! Focus the hair more into the lower (heavier) string. Now incorporate new doublestops in CLIMBING UP THE MOUNTAIN TOP 3 Bima noe Viola Violin incr minor ° ° Mies a: en 2 2 win Separate the notes a Little Here is the same tune in the MINOR KEY with LOW second FINGE! 3 hy ote 26 6 t g Seb | Bee ee “St |ALTERNATING MAJOR AND MINOR CHORDS Tune Strings; Tune in Left Hand Play and compare Major and Minor Chords and Melodies eens Start in the major key, then repeat in the minor key. Listed Heir the difference. MAJOR CHORD FINGERING MINOR CHORD FINGERING / Ss WHY The Nigh second Hager Violin 2” 903 y[33 00 ott y joosz]ssoo 00 22 Play on each pair of strings. Invent and play melodies in the Major and minor keys This sign is a NATURAL. It cancels a previous sharp or Mat INTERVALS of the MAJOR CHORD INTERVALS of the MINOR CHORD 3 o ae sg L Pa mre Pe One note at atime Team up and play the notes together M3 = Major third m3 = minor third Pa = Perfect fourth PS = Perfect filth PS = Poafect oc “These are the intervals that can be found in Major and minor eliords, oe ee ee iACTION 17: LONG BOW STROKES FOLLOWED BY RELEASE, Double and Triple Strokes Play these important bowings, using long, even bow strokes, Produce beautiful smooth tones. Do not choke the tone when the bow is stopped; let it ring! SMOOTH BOW CHANGE: Action) . A slight ‘open string cycle. 1.2. UP-BOW RELEASE: Continue the stroke in the air with 3.4. Proceed as before but stop the bow on the string. In order 5. DOWN Start the motion in the arm; l joping can make the motion and sound continuous. Pra the hand slightly rising. Feel the weight of the bow carried by the thumb, 2nd, 3rd and 4th fingers. Use free, flowing arm movements, . 0 avoid choking the tone release pressure 6 upward arch ing of the lightly supported bow, Don't jam the brakes: Bring the bow to « gradual stop, Practice also with lifting the bow off the string. ND UP-BOW RELEASES COMBINED: Apply the same techniques as in 14. Let the arm lead, hand and bow follow, Think of pulling the bow across the string. he hand, fingers and bow follow (this is a Sequential tice Double and Triple strokes along the with open string harmonies, using long release. Practice with “Three-Note Melody” (page 24) Practice with Major Scale (page 26) Practice with Major and Minor Chords (pages 28,30) Accompany melodies (for instance Swanee River, Barcarolle, ete.) bow strokes followed by STUDY AND REVIEW CHART The slightest touch of the finger at half string length (midway between bridge and saddle) will produce the OCTAVE HARMONIC. Only one finger should touch the string. er, not with nt, Swift and Play harmonics with the ball of the the tip. The bow stroke must be i straight Alternate and compare the stopped octave of the next higher string with the harmonic Octave on the same string. The harmonic is the true pitch! Both ctaves should have the same PITCH, but they are different in COLOR (Timbre). Listen for different TIMBRE. QUIZ: Recognize harmonics and stopped tones you hear without looking, PLAYING HARMONICS YIOLIN vioua ” re 7 | Violin & Viola Harmonie : ° Natural and S s Practice each string pair B aiteup © 1 = highest string IV = lowest stringBUILDING CHORDS (Use Cover Sheet) The MAJOR CHORD and the MINOR CHORD ‘The D Major Chord |. Played by two players: Play D Major chord on the A and D strings. Gee below) Play A Major chord on the A and E string, perth th (Violin only) — Play G Major chord on the G and D strings. 7 7 Play © Major chord on the C & G string, (Viola only) ist Player ‘2nd Player — oan Here is another way: £ 3 = a 2 do ; 3 Octave “Minor Third DP o D 2 1st player sa pices Apply bowings from Pages 4, 19, 31, 33. 2, Played by four players: Eoovo] ooo fo-o-foar | BE SS] eo Viola plays in treble le nest: 2nd Player oF p32] 2222 | - j22 | J i ia al 3rd Player = : d f ~ |evev|o-» joe | 4th Player Ae ~ | Fes] 3 3 | By 3 To Play MINOR CHORDS, simply place # Low Placement of the secand finger: 12 ¢ second finger iow, next to the first fingerTT es | ACTION 18: SPICCATO BOWING \ New Bowing! We know the sound produced by détaché, legato and martelé type bowings. Now let us try a new kind of bow sound Bow without Sound (Drumn 1. Bouncing ¢ Feel the elasticity of the bow as it bounces an the string! Let i€ rebound like a bull. Use the “Early Bow Hold” at first Drum rhythms 1-4 (make up others) by dropping the bow on the string perpendicularly to the stick, and near the contact point of the first finger on the We NGarthout sing the bow hold. Eventually figure ts. Silent Bouncing (Drum move the bow-hold to its normal position but keep - so ‘®) i ibelny of Hightnvess in the hand (think ofa Moat ing feather ounce the bow at the Balance Point, at the Frog; fater Bounce ita the Middle, even higher. ANYTHINS FOR BOUNCING aca ae Ph dus ver the ones inne Yi aeP Bb’ pT Be pp’: be shortened. ana q 4 Play spiceato sounds with rhythms 2A voy ual yey Tod; make up others, aererere eacre fore 4 4 2. Playing Spiccato Bowing . After the preparatory “Drumming” feels easy and Figure 2: Spiceato Types se iy ar apt own by donning a. Drumming (sien) the bow on the string ata slant instead of stright cokes down, The more shallow (oblique) the angle, the B High bonmeess shart rok: y AT G Major Key (Viola also plays in Treble Clef) TESTS to1e 4s 6 pr 71 = G Minor Key A Major Key (Viola also plays in Treble Clef) 4o40 4o40 4 ty ht = *BARIOLAGE: Changing tone color by string crossing **ARCO: Bow (Tatian term) The flat(b) — towers a note a half step, just as a sharp CH) raises a note a half step, Play second “singer tow a a at | \ |MATCHING TUNES IN FOURTH POSITION Three Note Melody (asosifa « 1. Play on the D string, first position several times. a t D string Ist position Sn } 2: Place fingers directly across on the A string, hift up with “Ghost Tone” to mateh last note same in Viola Clef 'G” an octave higher. (The fingers will be closer together.) 4. Match in the fourth position an octave higher! A string 4th position This is Fourth Position on the A string. The thumb Now mateh the tune between A and E strings: G and adheres (without grabbing) to the throat of the neck D strings; Viola G and D strings, always shifting trom This is an easy position: the first to the fourth position, and playing the tune an octave higher. FRENCH FOLK TUNE PHRASE (Ans a same in Viola Clef 3 (a125)494 2 iets eS ee SS 2S SS Oe OU Now Match in the 4th Position (an octave higher) . memJON 21: VIBRATO AND The artist strikes the string with a nimble tap. On sustained notes the tap is immediately followed by vibrato, t Figure 1 Tap quickly and lightly, Let the fingers bounce up Jrom the string with the speed of sparks, Practice TAPPING two ways: a, ‘Throw the Fingers and hand as a unit against the top on the G string edge of the finger board in the: Middle Positions, High Positions, First Position. Do not touch the neck with the base of the first finger. TERITY A. Quick Tapping Movements pave the way to vibrato and develop finger speed 1. Tap word rhythms of pages 4, 13, and make up others, 2. Practive each of the following groups for a week or two. Tap on scales, Lunes; tap a group for each tone, 2) a yr Ug tar east tua [ME aay Use these pattems also for trill excereises and for ingered tremolo (1~3,2~4, |—4) using the bow b. Throw fingers (only) from the base knuckle against any string. Let the finger tip bounce up lightly after each stroke of the finger. The base Of the first finger touches the neck with its side. Throwing the fingers will develop speed and dexterity B. Establi Vibrato comes from a buoyant arm, balanced on a sensitive and flexible finger tip, all of these being supported by the balanced body hing the Vibrato Movement 1, Place the 3rd finger on the A string, Note “D.” | Move the hand and forearm lightly as a unit Q parallel to the finger board (as if rubbing with lussue paper), Let the thumb and the side of the Ist finger lightly brush th Start with a movement extending about a third in each direction from the note “D". Attain a rather fast, even, yet light movement (elbow u buoyant). Gradually reduce the width of the neck, movement, and finally, cling effortlessly to the string with the flexible finger (as if pulling a | suction cup) until a true “D" tone rings. 4. Repeat with other ment should be 2, gers. ‘The vibrato move- allel to the finger board (Fig, Arm tslance As the forearm swings parallel to the finger board, balance With slight rolling movements of the upper arm for muxiinum || | | Sey Upper arm balance Parallet Forearm movement D3 (Grd, 4th, Sth position) alternating stopped tones with the open string. Use any finger as you wish, alternating them with the open string, | 46 ar slr | Invent other rhythms Lt arCHORD ETUDE (Use Cover Sheet) 1. Play Pizzicato 1d below Study with numerous bowings as list Study with bowings of the BOWING SUPPLE- MENT. D Major Chord °, G Major Chord 3 AT Chord D Major Chora Oo. 3 ° 3, Also play Chord Btude on the other sti get these chords: ‘TUNE STRINGS; TUNEIN LEFT HAND bce) D Major Chord. 3 G Major Chord 3 A7 Chord D Major Chord 3 BE SA, DL Ep, A chords af 1 A of i EO cec,ceme BY CI FG. conte Violin Viola NOTE REVIEW This is one of the key studies in the book and it should be studied from now on daily. Study with many bowing and rhythm variations, such as found on Page 13 Page 15 Page 17 Page 19 Page 31 Page 33 Check when studied and reviewed BERBER BEEBE EBB HEHE HEH HH HSMAJOR AND MINOR TRIADS Alternating Open Strings and 4th Finger (Bariolage), Practice Hints: FIVE-TONE SCALES (Use Cover Sheet) d a a a a 0 a. Play each note twice “b, Play each note and stop between notes ¢. Play as written, slowly a Play as written, fast e. Slur two notes r and slur D Major Tri Five tone Seale © _ d Misjor Triad Five tone Scale I to +f re bo i fm aa ana ee eae ay Dold Qa Finger down D_ hold 2nd finger down, DMinor Triad Five tone Seale @ _D Minor Tried — | Five tone Seale } Loita! a fo, 4h Se han g 2 otta had: “eo og 2 sent Azio D "toa A Major Triad to | 4 Crauat rar # G Major Triad Five tone Scale © i a — a . A Major Triad Five tong Seale 24 gas yy? ghee Bb due uty ‘A. bold 2nd Finger down A Minor Triad Five tone Seale too oe SG ez obo eeeL #24 A catonat + G Major Triad Five tone Seale 4 re tae Toop palcteal G Minor Triad Five tone Scale 4 ' et BrisACTION 22: THE LOW FIRST FINGER sp the third finger at its usual place. Withdraw the 2nd and Ist fingers so that a whole step between shen (Use Cover Sheet) there will be The first finger is now located next to the Saddle (also called Nut). Be sure to maintain a finger angle (see page 6). We cannot overemphasize PLAY ON ANY STRING S2uy] a2edyun 2222 a be Be su will be wrong, Pull it well back! ‘ ‘ ve 11i2[3-2-|1322 Pra the quarter notes and whole bow for th Second Part begins on the next lower si Wack + 0002 2-lo Abs INTERVALS ok yy 3 M6 = Mejor Stith 1s « whole step larger than a Perfect fifth ‘mi = mntnor Steth is a half step lurger than a Perfect fifth tice on all strings. Use Jower half of the bow for correct fust Zz SADDLE @s ‘the importance of having the entire finger at the right ian, side of the neck (not under. saa] 4 vent tbat! + AU CLAIR DE LA LUNE ryt 2 he half notes. tring o- -31 ps8 ws 9 pao mo Uternate high and low Ist finger to get Major and minor sivilis, Play on any string pair. Don’t stiffen the arms; keep the elbows floating, The octave must match! 46 FePBPFBeFEPBFteBeFtFEtRetHEEtEEEt Ff Hf HeIETING: PL NES THROU 1 THE PO: TION! Au Clair de la Lune (phrase) . Ist Position: 1 bp tegitciing note in 1a poeition | ahiftap ‘ v 1 x whole step 1 : 1 ot 2 3 ' 7 i 1 1 1 2nd Position i ei 27 aif wp whole sep 3rd Position: dda HZ |, Play the phrase in the first position, 2. Shift up with the aid of “Ghost Tones"* and to- shift up cate starting tone in the second position, half step 3. Play the same phrase in the second position in 4th Position: another key (transposition) Wad dd Bik eelb as 4. Repeat the same procedure and play the phrase shiftap step by step in all of the hig \eF positions, whole step 5th Position: VIOLA: Omit E string version but play on the C string also. vue inthe higher positions SHIFTING ““Ghost tones” are aids to locate new positions Play them almost inaudibly: use left hand pizzicato or bow them faintly. After awhile, feel these notes but don't sound them, Keep the third and fourth fingers poised above the string when shifting on the first finger!ACTION 24: DANCING FINGERS (Vertic: 1 tin String Cycles): . og Victin only Vio joe ee Play similar patterns using any two fingers eee ain only 2. Three-Tone Patterns: obks ete, on other strings 3. Four-Tone Patterns: ete, on other strings Alternate Rhythm Patterns: Leereere | ceereeert Voce | Fa) Shae Invent other rhythm patterns Finger Action) CHANCE MUSIC Set One: | Write Finger-numbers 1 use a dice). . 4, on slips of paper (or 2, Pat them face down and pick any two (or throw a dice) 3. Play “Dancing Fingers” rhythm patterns in the st cycle with fingers drawn, in the order drawn, Chance Musie, Set Two: Proceed as before, but with three numbers; apply numbers drawn in the same order to Three-Tone Patterns. « Proceed as before, but with four numbers; apply to Four- Tone Patterns \ee Music, Set Three: GOOD FINGER ACTION: Drop and lift fingers with the speed of sparks! Strike lightly with the tip of the fingers to get a clear, ringing tone. FINGER PATTERNS: There are numerous finger patterns on the Violin and Viola containing combinations of whole steps and half steps. In the Chromatic Finger Pattern the fingers are a half step apart; in the Whole Tone Pattern the fingers are a whole step apart. Between these extreme- ly closed or open hand positions there are many inter: esting finger combinations. Practice these, and review them often, applying the 2, 3, and 4 tone rhythm pat- terns on the left side of this page. Progress Chart Check in the squares progress made in accuracy and speed 1234 1234 1234 1234PSE EE SSS SS Ss eS SS Se Se See Sees| HARIOLAGE | the top strings, middle Play Bariolage with these Slurred Stokes: TIER METICEIT RET IOPIOP ly Fly CIP iP DETACHE AND SPICCATO BOWING PATTERNS FOR BARIOLAGE: (Appl ere IOP Cite ler cele OF Ir er Il fel ltr te lef trite er leper itrcy | ef te Wty et leer cer iter ze leer eerACHON } and ACTION 23:4Shittingy Continued and Combined MAJOR SCALES AND OCTAVES THROUGH FIVE POSITIONS REVIEW OF D MAJOR: Finger Pattern of the Major Scale beginning with Ist finger: Keep 3rd finger at its customary position. Ist and 2nd fingers are drawn far back. Ist finger is placed on two strings and is kept down throughout the scale. 4th finger is next to the 3rd. ith the aid of “Ghost Tones.” intly with the bow or u left hand pizzicato. Remember to space the fingers closer in the higher positions. Compare the spacing of the 1-4 (fourth) in all position Es Major- Ast position i t * soit up smbale sep F Major - 2nd position rest in Shit whole ep 1 7 G Major ~ rd position ‘ 4 12 1 Shite whole ep A Major - 4th position 4 Shift up halt step B} Major - Sth position \ tet 4 1 by 1 a TRANSPOSITION (Playing the same melody in other keys) Play the same scale and octave sequence in other keys, Begin on the A string, G string, Viola-C string. Write the notes on staff paper. Write note names under the notes above, and in the as: signmnent. BPEePerRrteEePBBetEeHEHEBEeHE f= HBACTION 23: satinwed) & EXPLORING FHL POSEEIONS A Major Seal U Arpeygio on One String 3 — Play the notes with the 3rd finger but also keep [st and 2nd fingers on the string. Do not squeeze the neck and strings with the fingers and thumb; shilt with a light contact of fingers and thumb, Ave play backward (descending scaly ina f oS as s&s Ist pos, 6th pos. 2nd pos. 3rd pos. Sthpos. Sth pos. th pos. 8th pos. Ist pos. 3rd pos 5th pos. Sth pos Lt pos. 8th pos. Ast pos, © Major Seale and Arpeggio on One String so play descending a z 2 Violin and Viola play on the G string: (Sal. G) 2 2 3 3 a eas Istpos. 2nd pos. 3rd pos. 4th pos. Sth pos. 6th pos. Tthpos. 8th pos. UH Arpensio in Treble clef Viola also plays _ fay 3 a $ 1st pos. Srd pos. Sthpos. Sth pos. Ist pos 8th pos. Ast pos. Placing the Hand in the 8th Position ALSO PLAY SCALE AND ARPEC A string in D Major D string in G Major >‘ C String in F Major (Viola) —— Observe arm and hand placement in the Ste position on the lowest string 10 ON THE: Write these! The end joint of the thumb supports the neck as shown, (Don't wrap it around.)Violin ayn +4 \ LH We UH, WB. LH W.B, UH. we. Section @ always the same ‘ ‘ ne (allways thesame) tga @ Ditmehé (smooth) @ Aorteté-Seacen > © Rapid Ditaché oe With short strokes at the middie La we, UM. Wk LH WB. UI ws. @ Section A always the sume legato (always the same) Variations Martelé- Senecato @ ~ TW Mitaché (omont) @ Martelé—staccaio Ee HH