3. DICTIONARY OF TERMS AND SIGNS USED IN MUSIC
For volume of tone:
pp -Pianiaimo, very 10ft.
p -Piano, softly .
." -Meuo-piano. rather !Oftly .
.,-M~forte. rather loudly.
/ .-Forte, loudly.
/I -Fortissimo, very loud.
-/ -Sforzando, strong accent. c> 4)
~ -Creacendo, graduaJly louder. ( :>
•••• -Diminuendo, gradually IOfter. C J
For tempo (speed):
Larp-Very alo••.
A~1V.
Andante-Rather alow.
Andantino-A little slower than AlKlaate.
Moderato-Moderately l••t.
AlIepett&-Lively. but DOt too t..t.
AIIqro-Fast.
Vãv.ce-Futer than Allegro.
Presto----Very lut.
For increasing tempo:
A.cceIerando (Accel.)-Gradually luter.
Strintaado (Strin~-Suddenly luter.
Pi6 mo.o-A steady, luter speed.
Por' decreasing tempo:
RallrDtando (Rall.)-GnduaDy sIower.
Bitardando (Rit.)-GraduaDy aIower.
Mmo ~A steady. aIower speed.
Por 8tyJe:
Animat&-W'Jth spirit, with anjmation.
Agitat&-Agitated.
~Broader.
Cantabile-In a singing style.
Dolcê-Sweetly, softly.
Esp~vo-With expression.
Legato-Smoothly. connected.
Maestoso-Majestically.
Con Spirito- With spirit.
Staccato-Detached. separated. (,)
Tenuto-Sustained. (-)
A Tempo--In the original time.
Other sips:
D. C. Da Capo-From the beginniag.
Fine (f~nay )-Ending.
D. S. Dai Segno-Go baclt to lhe sign.(~)
Pause (fennata)- Proloop the time of a note or reIt. (f!')
( ii l
/
4. TO THE STUDENT
/
Having completed the study of Book I, you should be thoroughly familiar with the fundamentaIs of violin
playing, such as a good position, correct use of the fingers when placing the left hand, and the elementary principies
of bow control.
Book 11 includes a continuation of the eIementary material, presenting slightly more advanced exereises and
.pieces. To be better able to play the familiar melodies and pieces, it is recommended that you prepare the purely
technical exereises at the beginning of each lesson where a new key and finger-pIacing is introduced.
Study carefully ,the diagrams introducing additional keys and fingerings when positioning your fingers for the
new notes. Remember that you must first read the note and then place the finger, so verify the note you are reading
and the exact finger-position for that note. The surest way to pIay w~ll derives from the ability to read well.
Foster the habit of quick thinking by assimilating the folk, Ning points ai first g!anct:
(1) Name of Note (Natural, Sharp or FIat).
(2) How to Play (Finger-Position and String).
(8) How Long to Hold (Time-Value).
Training your perceptive powers to respond in this manner will enhance your command of violin technique and,
correspondingly, enlarge your musical horizon.
Many of my pupils have formed groups which meet to play the duets, trios and quartets with piano, thus forming
a little orchestra. Why don't you try it't-you'll have Iots of fun!
TO THE TEACHER
In eompíling Book 11, I have tried to carry out in slightly more advanced material the basic principIes of violin
playing as laid down in Book I.
The material has been selected and the grading edited to provide sequential progress as each step is mastered,
Adequate preparation for the development of the student is allowed for, although the amount of purely technicaI
work has been kept to a minimum. This book is very largely made up of folksongs and other familiar melodies of
good musical quality arranged in duet, trio and quartet forro. from which the pupil should aehíeve a sound bowing
style and firm grasp of finger-{intonation) technique. An awareness of musical form and harmonic structure stems
naturally from the study of these pieces.
The use of the piano accompaniment has proved of value both in the classroom and in the hom:e. That imporlant
advantages result from its use is eertain. The interest and ambition of the pupil is stimulated by the addition of the
harmonic structure, which also serves as a guide to the p'roper placing of the fingers through hearing the note 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 keen perception of modulations and hannonies, for which the violin, in that particular regard,
is comparatively imperfect.
I wish to acknowledge my indebtedness to Mr. Edmund Schill, Director of Music. Verona, N.J., and to Mr.
Francis Rice, Teacher of violin classes in East Orange. and Roselle Park, N.J., for their helpful suggestions and
criticisms in compiling this series of books.
[iii]
5.
6. t
LESSON 1
Review of Keys Studied in Book 1
<v. KIY of D Major V . . V /
®
IFollow bowinga carefullyl
,., V ,., V ,., V " ,., V ,.,
® Kly of Asr .
. I
·n
®
Copyright, 1933, by The Boston Music Co,
Printed in England,
CHAPPELL &: Co., Ltd., 50 New Bond, Street, London, W.l.
7. LESSON 2
Studies for the use of the second finger in different positions
Two new notes,C natural on the Astn..n.t a.nd G natural OD the E atring
T'he itnportance of being able to read notes as well as you can read the Ietters of the alphabet cannot be
overestimated. This is the foundation on which your future progress dependa. Vou must a180 lmow the exact
posítíon of your f'íngers on the fingerboard so as to be able to play any given notei for example, to pIay C#
on the A strtng, the second finger Is placed a whole tone from the first (high posttíon) but to play C natural,
the second finger Is placed close to the first (low poeítíon) T'herefore, the necessity of lmowing whether the
note ís natural, sharp or fIat is perfectly obvious.
Have a picture of the fingerboard 'in your mind in order to 8e6 where your fíngers are placed for the different notes,
Study the following diagram showing position of notes already studied and the two new notes to be takon
ln this Iesaon. Name the whoIe tones and semitones.
Fingers
E
A
D~ @ ~ 0 G~ 0 @----@ @
Finger8 t. Z I 4
Name the following notee, finger used, high or low po.ition for second finger, and on what string played.
@Ol
~"
~.~~- tliª~~"
® .,., PIay slowly the following exercillM, obae1"Vingcareful1y the C'. and G's. .
. 4
ISecond flnger in 10'911' position C~I
®Notiee the key signature; it is a guide for proper finger posítions. 'e @ LOWBIOB
-Exerciae No. 1 may also be played OD the E string.
8. LESSON 3
Familiar Melodies Using The Second Finger in the Low Position
Lightly Row
8
Allegretto (Brightly)
Pupil
"'» M V
4! twp-..I ••••••• •••••• I -.. - ..- I '" » I"l..... - , ,-- ~ .•- ~ ,-- ~ Teacher • ....•.-
'!» M - I . , - ••••• I •••••• - I
~» '"' -
ti - - - - I ,-- ~ ....- - The First Noel
·
·Co~ moto (with motion)
~» •••• .--..... r::. --- r::. .--..... -- """' Pupil
ti 11J!V •••••• I
"'» - cher ~Tea.. • .•.. . -.-/ ...., - .
• ~~ I I I .-.... I -- I ~» .-:;. .-.........
ti •••••••• - -
I
, " J1 y ~ <:» - .' - I I I I I Home, Sweet Home Henry R. Bishop
Andante (Slowly) {'8!1-t855
V
Pupil
~J1 I .
"~ J1 "Pu
II r I I r I .•~ I r I r
, 1 Teacher ..~•. - .
I I I I I I ~ ~J1 s:-: -1--- . I s>: "- .
" I "I' I r
. • .
"J1 I
t!J 'l'J. I I I I I - I I I I I I ~"-,j
• Advanced pupils may also pIay the teacher parts.
9. 4 LESSON 4
G Major Scale and Arpeggio in Two Octaves
,~~ L~ , @ ê 'e HIO~
Duet
@ Practise both parts
LOW v n
Pupil
I~ LOW {h"l:'U l,OW {h.
• • I • I I I - I
BIGB BIGH HIGH
Pupil
~~ 4, v " " •••
or
-...•- - -...•.-•. •. li!! - •. - BIOJI I - Teache
BIGB
God Save The Queen
® Andante (Slowly)
Attdbuted to Henry Carey
.880-1'7"
Pupll
~~ n " " n
, flfI I I I ~~ f
, ~ .•... ~ ..•...•. - - •.• 'y .•.y .•. 7!J' I I I
Pupil
~~ 4_
, o I r I •••• I
crue.
---..,; ff I
~JI ~
- _. l
ti - I I --- • •• ~
Li"le Study Franz Wohlfabrt @ " 1811-1884
•Rola fIDg;r do.n - - - - - - - - •- - - - - - . - - - -
.••I
ao...tCIOf'It. Mark with thilSsignAtbtS balf 8tepe in both parta of exerci se No. 4. Write 4 times the G ~ lKlÚ8
in 2 octaves marJr.in« th" Iutlf atepa Uld p1acing the 8harp. M.,nusoript s~et page 7.
10. LESSON 5
Continuation of the key of G
Exercises in crosslng trom Cnatural to FI
I
ITha sacond finger must be lifted and p1aced in its ne'Wposition.l
<D Play slaw1y ®
~ ÍÍow HIOB .. I~~el .
~"~Be~1
~ Hold first finger in position throaghout above exerciaes.
Duet t5' Practise both parts.
W n V
Hohmann
Pupil
~ ~ ;jLOW .••• ~ •• - ___ .fi. n - ~ ~ --" - n V
t
11 ~ '~ V. n LOW I I V
~ I I I I I Pupil ..
.. ..- , n
-- _ ....• ~ 11 ~ ~ .•. -fL--' •. n
~
~ ~ I I .. I •• I I I KlGH
I Little Waltz
® Te~ Waltz (ln waltz time)
~;~~êté=tf# ~@t~
P ~"-- ~
~~ 1IIf ~il ~6
~ . -- --~~~~
dim.
Egij'-~ª a-.. ereeo. tV tOOf"": Mark hall stepa on thi. paga the eame as before.
Hohmann
11. 8
LESSON 6
Flow Gently, Sweet Afton
(Quartet)
James E. Spilman
AndVante,., (Slowly)
Pupil
P ===:::::t=- P
V M
Pupil
,.,
Pupil
====t~P
--==1=== 7!ff. rit .•
1':
--=;;;::f===== "'I' rit.•
" 1':
Evening Song
Moderato (Moderately fast)
V M M
Rober.l•.S.-c.h.u.m.ann
" Pupil
,., V ,.,
<:»:
• rit., abbreviation for ritenuio_ gradua11y luackening in speed,
12. Note: All manuscript pages are to be used for home-work according to instructions.
~~~~~~~~
~~~~~~~~
~~~~~~~~
~~~~~~~~
~
'7
~~~~~~~~
~~~~~~~~
~~~~~~~~
~~~~~~~~
~~~~~~~~
~~~~~~~~~
~~~~~~~~
13. 8 LESSON 7
Two new notes, F natural on lhe D strtng' and B flat on the G string. Study the folloW1Dgdiagram. 80 ••
to visua/i~tJ the exact posiUon of these two noles upun lhe fingerboard.
Practise both parta on lhe double ataff in thia and the following le880n8.
Finger8 t a B~------~J---~--~r-~~---ç~-------
A~--------~J----C~--~J---~-----Cr---------
D~--------~J---~
O~----------~ __~ -ó~--~o~--------- Fingers t. a I 4
(J)
~w:
~ -- - -- -- -- -.•. -. - ~ - - - - - - - - - -
" @ Hold lhe 2nd finger firmly
-- -- -- -- -- - a~ '-- ~ ~ ~ ~ ':...-/"--",. -- ---- "--'" '-.-/ ~ ----'-----.- - - - - ,-----.----
® .
.--_ .•. ---.-------- .-------------
C Major Scale
(j) Play also as crotchets, separate and slurred bowing. Learn to spell each new scale.
~I!
SoftI,. Now the Lt,rht of Da,.
@ Andante (Slowlv
" J' 4
Carl lI1u,i..a.-1..•,•.•.Webw
Pupil
=--
Pupll
.V. V .~~.
lIDIM IDM'k: Write C Major scale " Um"II, marking the balf atep•. Alao fiU in blanka in above cllap'&m.
14. LESSON 8
ILearn to take particular notice of the key signature before playing.1
Allegretto (Brisk1y)
V
Americ8, the Beantiful Samuel A. Ward
1"7-tlOI
Papll
fi
t
tJ .... I
~ "!I = ::
fi V r - V - II
tJ ........ ~ (~).,;. ";'''; =ii y y.'1' <:> - .......... ~
PupR
, 1'1 ~ 0& . 4 t. - - , I
< f ~
I
t.J .•.. ";'-'; ~ ~~ :iJ <c:»:
, fi I l I ..
tJ I I I
~ r, .( rito , .
•• • ~
~ ..~ .• 4"
Go Down, Moses
ttAndante IFollow the bowíngs carefullyl
(Slowly) Negro Spiritual "j
V M MVM V . .~ .. , ~--~r " '-"'
- .- - . :::
BOM. tII0f'1: Mark the half steps on this page.
15. to LESSON 9
Oontinuation of the key ofC Major
In acale passages use the open string in ascending, and the fourth finger in descending. CD
~" li n
®~I_"n
® V" V n .to .
~"
®
•
Lento (Very slowly)
V n v v v
Pupll
fi n " ~ - -
.j
tJ •• • I ~ ..
1!f!
fi n V n " V - V 11 V
V ••••• ••••• -- •.•. 'fi' ....~ 7J ?J
Pupll -
~ n .- -. V - V
o . "
I • ,.. ~ I • ti ~
~ creso. f dilll.
f'J "
I
tJ ?J "ti .• 4 .•• •• - ..~~ -:j .•.• -:j -e-
Home fAlo"l: Mark the half stcps on this page as before.
16. u.
LESSON 10
Onward, Chrlstian Soldiers
Trio
Sir Arthur Sullivan
1842-1800
Moderato (Moderately fast) v
Pupil
~ ,., I V ,.,
.
411 11if ••••• I'" I Ti
~ M V n I V
.•..•.~ .•. ,
~ I"· I·· - ,. ••• "do
11ff
~ ,., " ,., V
~ .•••••••• fJ 7'l' ~~~~ 71. .. =- .. - r;, r;, •.•. ;t ~ 7J•
Pupll
Pupil
~ ,., V n n V
V
~ . • • • "-..-/ - - ...,.
~ ,., V n V
, •••••••••• I~. •• --= .--""'" ••• 77·
~ n V n V
~ ~~ .•. ~ 71 ?1 •• ••• .•..•. -:;J." • ~j .••..•.• ?t.
~ M ..~ ..·.....::- V
,.,
, •••• - ..•.I ,.,:t,
1-9·
f : ,.,
~ M V ~ - - f .•.•..•• :;JI ~. ,.,
rito
~ M V , -:J..:! •• •• . .~.~ ?i ?1 "fi .•.• ••••••• ~~
17. LESSON 11
Note careful1y the key signatures and what they mean.
D. C.- Da Capo- to beginning.
Fine- End
Melody
Trio Franz Joseph Haydn
1782-1809 CD Moderato (Moderately) v v
Pupil
fI~ n , I "' " "' I
" mf' c;,# I I Fine
I~ n V n
f) mf ~ t:t •• •• Fint1
~~ ,., ,.,
, •.•..•.• -d =?1 .".."..... ,;;- - •.•.•. • 4 Y."..... -do
Pupil
Teacher
I'~ " " ,
" I - I ./).0.
~~ n
, ~ '-.!!' - - - ..•. ,;; c;,# •• •• Q• ./). o.
~~
, "fI.~ ~ !?j 7J ~~ •.•. 7Jt ~ ~~ •••. 7l' ,;; .•.•.•• -,j.
®
English Morris Dance
All~grett~(Bright1y)v Fi (end) v D.C.(to~
Pupil
~~ .- ~ - ',-;;. . ne en " 0'1J
" "tf I , I •••• , I
~~ n Fine (end) 0.0.
, I , I ...., , , I ...., "' I , -ri
Pupil
Ludwig vaIl Beethoven e y 1770-1827 -
M 100
<:»: ~ ~
BIGB
18. LESSO~ 12
Christmas Carols
1.3
Felix Mendelssohn Bartholdy
1I!09-1847
Theme From "Lohgesang"
~ ~ f
o Come, All Ye Faithtul
. (Adeste Pídeles)
Moderato (Moderately) XIIIth Century Latin Hymn
Silent Night, Holy Night
Andante (Slowly)
Franz Gruber
1'78'7-1863
Pupil
n......---... , 11 ~ . . 4~_ · . 111 r r
P
~ 11 , . · . ~ .a». ~ -'J... - ~ ~ - o
Teacher
~» ~ 1 .- - ~ n_ - 1""'-1 - - . , o o
"'11 .....-.- ~--.-•...
I I , I r I I , I r
o . , "--~.or~'" Y-.-!/ o I ""'---"'" c::.I0 ~ I ------
~» . sr-. · -. l , -- - 17~ 1.---
~ ~ "fi r#.
~ - - t:i1. ~~ 4-
, . o
. o {,of.
~ :;;. ~
19. t4 LESSON 13
In this and lesson i6, two new notes are taken up. F~ on the E string and B~ on the A str ing , to be
played with the 1st finger placed close to the nut. Study diagram to see position of notes on the finger-board.
Great care must be taken in playing these notes. ])0 no! alioro fite knuc/de at f/te õas« of t/lP,fir.~f
finge,. to slids under t/&sneck. IPlay with the fips of lhe fingers·1
Fingers I
E
AK>-----
D~----~----~----~----~8---~~-----C~---------
G~--~----~r--~J-----~--~j_----~---------
Fíngers 1 t 3 4
CD ~OW ® A
@~LOW.HIGHJ:_LOW ®HIGH LOWHIGH . LOW 4
@ Little Scale Study
~Il
Con moto
Duet Henning
Pupil
~ n ~ M V V M h ~ ..--..... "........ V
t • 1'1ff"::.-' '-=' <:»: "
~ M V M V Y M V-. "' - V
4! +.~ - -. li!' • __ -•• - I I
Pupil
~ n v M - V M Y:.---: M.. ..--..... - ~ ..
• I I I I I
~ M V , M I V M Y..-.. n -I -
! I I - 1 I I I
Nome f()O,.It: Mark the half steps in this lesson and fill in blanks in above diagram.
20. LESSON 14 15
Continu8.tionof the key 01 C Major using F natural on the E string.
LODg, LODg Ago
Andante Thomas H. Bayly
Pupil
1 M A •••• - - n ~ ••••
,I
t
T
mp
fl n »<: " ~ " -<: l'~ , - -
,.,
) ~ - 4 V :. • •
J I - T
Fitle "[ -.D.s. to Fixe
~ ••• V :6, •••••• ••• ••••
~
4 1 I 'r -
Andante
V
Duet JacqU6S Féréol !.luas
t'7U-ts.l9
fl " '- ••• .-........ u --:..
j
tJ I
~ twp
f'l M V
I
tJ '-"' I I ~
f'l V M 4 V_
I· .
t. I I I
~ , cresc. 11ft
rl 4 V , ••• =i I
~
~
, 1
v
f1 oU v " 1._ ,. .-
tJ I I
~ di•. rito
fl I V M
~ I ... I TI Õ
BOtIN toOrl: Mark hAlf Btep. in thi. te"OD .
• D. S. .1),11 StJKf'W- Back to the .iKD. (M)
21. t6 LESSON 15
"I'he Little Sandman
Andante
Johannes Brahms
1833-1891
fl V -
Pupil
. ~ 1111' T Ir ~ I :=:==-- ,..,...,." --=::::: ====-- 't Y ........- ••••• Teacher
, . •••• "- :/1 '-- r --- ~ ••• -- n fi ;": - - .•._- - - - - V _-:--... .•. .. - , f' r
~ - = I I I I , . . . . - - I I I -, r T I ! <:: ", - -
Theme from Symphony No. ti
(Military Syrnphony)
Allegretto Haydn
Pupil
~ M --- M z: r-: r.-"'" V •. -.'-~ ~ ~ 0r::
, m.p -
~ M ...•.. - - I~~/I.-'à s>: -
, .~ I r I - I I ~
Teacher
~ M .-... M ã':,. r-:.. ;:;--.... V •. - .• .:..,~ ~ - -
, -I --- ~
M I~ •. ~~ ~~ - - sr-:
, I ~ r ,- r I "'-= ...;'
First and SecondTime Bar
The term 1st and 2nd time bars applies to one or more bars in brackets at a doublc bar; thus 1II~~· ~:11I2..
when the etrain is repeated, the first time bar isomitted and the second time bar played instead. E ••
II
All~retto
German College Song
-'
Pupil
1' V " ...•.~ - 1 1. _ I r 2.•
@ ?lfI -' ~
~ v - ,....".,., ,..,.,..,.
• . , •-- . -- Teacher
22. LESSON 16
Key of F Major
t,
Key of F Major, one flat (~). The flat (~)plaeed on the third line of the ataff, just after the elef aign,
affects every B throughout the píece. Refer to diagram in Les son 13 to see the exaet position of this
note on the fingerboard.
" V @" V I' li· I
Scale and Arpeggio of F Major
@ Half Steps A to B~and E to F •.,
@
~e - - - - - - - - - - - - - - - '. -
Deok the Hall
7~~-=
Hom6 worlr: Mark half steps. Write F Major scale 4 times.
23. i8 LESSON 17
Continuatíon of the key of F Major
All Through the Night
Andan~ Welsh Folk Song
~ep~r~
Andantino·
Santa Lucia Neapolitan Boat Song n
Pupll
~ " v.-: _:.-..... V V- r-, V , "
,. -.. I I I 1~
V V '1-1 "- V 1
•
,. tJ I r
Pupll
V ~ • a M V
4-. ;; a • "
~ r T '< ••••••
. / I V 4 I , I --.. r I
First Time Bar Second Time Bar
V__
/ ~~ V.:...- "
li V 11 2 t: V V ;; ••.. V ~ :... a' •••• ~ , ••• = - ~
~ ~ ~ - " V_ V " VI t:' V ••• VI
~ -I I I I I' r I T r I
Little Study in F
.........,.
4
25. LESSON 19
Detached notes of different values in one bow
Bowi1lg drill: Practise this line careful1y, gradually increasing the speed.
Oats and Beans
Allegretto (brightly) Old English
~s~~ ,-o ~
I
Mulberry Bush
Allegretto "English Folk Song _4~'1 '='~
~rdifM~~, ~~ I
·Ding- Dong
Allegretto B. Remick.
.. . .
Wee Willie Winkie
Allegretto c. P.H.
~" -..-"
Old English Morris Dance
Allegretto V ,.,
V ~
• Used by perrnission of Silver-Burdett Co, Morristown. N. J. U.S.A.
26. s::::;
LESSON 20
Continuation of Itime
Drink To Me Only With Thine Eyes
Pupil
v V 1.1.
Old Englieh Air
Andante Slowly I I~. V I
n V n V" •
~~ .~ .....-! 4_ n
, J
~~ - .
, J r I r r ...•.•..-
V V v v ,., V V
I~ ri V - ri r--.... V 'l . ri
• I I I I
~» ~ rito
V V V
_C' It Came Upon a Midnight Clear Richard S.Wi11is ~u-_ 1r/-
. 411 - ~ -'-'" --...::.,... -'-'" ~ ....•
f .
== "'
V Scale 8tudy
.P1aoe finger on both stringe at once.
27. ••• Note: Al1 manuscript pages are to be used for home-workaccording to instructions.
~~~~~~~~
~~~~~~~~
~~~~~~~~
~~~~~~~~
~~~~~~~~
~~~~~~~~
~
~~~~~~~~
~~~~~~~~
~~~~~~~~
~~~~~~~~
28. LESSON 21
Key of B~Major
K.eyofB~.B~and m. See diagIam for poaitioD of E~ODthe D atriDg. Review POSitiOD of B~ODtbe G atrlng ia
LeIloa 7.
E~--o-----~---O----o---~----o--------
A!-o----{jJ ,}--.....;.o{)----o---()---C)---o------
D t-O---{
G~--~>------C~-~
Fingers 1
it., I ___ - - "'U'
Scale of BJ,
® Half steps D to Eb, and A to Bb. PIay a lso as crotchets.
~ 11/:: .-= u~-;=~~ ~:: u 1 A
®
~
11
~ A u A~ ~ , ~
U 1. _
15 _ _ •
~:.,...' :.--', U A --..: -......:: '--.!
U A u n ~ ® .
~I
J101M ttJo,.k: Write tbe B~Major scale 4 time!;, marking flats and batf steps, also fill mbtanks in above dlagram.
29. LESSON 22
Vesper Hymn
Trio
Moderato
n
Old RU88ian
Pupil
~ n · 1 , ,
111 1Wp I I , I f I ~ •• · P"I " 0, , ••••• ",
mp .
I•.••• I· ~=i-" ••• f '" •• I M
..~ - •
r "y ~ ..•..,~ •• •• ••••
Pupil
Teacher
~ •• 4
~ I ",
.~ I "
I~ I . '''f I"· ••••• , . •• •• I" .• 4-
~ ••
~ ..... ~ --..•. ~. ~J.,; ~ ..•. ~"'J,,4o ~ ~ -.f t.-.f ~ .•.~ 4
A Capital Ship
(lIarching Song)
. March time Old English Tune
~e
rito ti
• tC1npo rit at.fItJIO,-" befan. •
30. . - _..__._---~-------------.
LESSON28
Continuation of the key of S Major
Soale Study
Ii
The Blaoksmlth f71'-t~
Moderato
..
I
Allegretto A Little Song
. • a tempo= ~#-.J-S:WE.~. . rt I. ~. ~F~
c~ "!I'
~ rito
-ri'., abbreviU10ll for ritemdo- gradaaDy s'aoJmdng Da••••••
-. """",- ••Won.
31. t6 LESSON 24
Scale of B~Major, upper octave
IReview tower oct,ave of this sea1e in lesson 21·1
E .,(')--~
Ak)..-~
D~-~~-~-~~-~--~~--~----~J----------
G~--~--~r-~~--<r---o---<r-----~------ __
Fingers t 2 s " 4orO
A U A U A U A
Scale of Bb Major, upper octave
HaH steps D to E~, and A to B~ ® ~ ~ .. M M" .•
~II~~~ ~~~~
INotice tha! ,ou can n,ot play the open E string ·1
Scale of Bb Major, two octaves
@ ny
v ..•.•••.•...•.. "vn
~i~_~_~~
~
~
1
• Melody"ADaçreon ln Hea.eu· The Star- Spangled Banner John Stafford Smith
1750-1838
mp
cre8c·f
1': r.-.
~YMV~ Jt.~. I
rito cresc. f.f
HfHIU flJorlt: Write tbe B~Major scale in two octaves .• times, marlting flaia and the half ateps.
32. LESSON 25
Key of E~Major
E~ ~ ~ <> cr cr~~:----~O~-----
AI-:>--~
Dt-o----f
(j'"O---~ )----0----0---0---< r--O--D----
Fingers i 3 4-orO
Scale of E~ Major- name the flats
Notice that the finger placing is the same as for the upper octave of the B~major scale.
Recite the notes of all scales studied.
Use different bowings as in other soales, and pIay also as crotchets. mj§1~
IN~
~e~Q ~
Austrian Hymn
Andante Haydn
Pupil "
"l I I " "
411 ~ - ~- , I '----" I '-..•. ,---; I 1'ff - ~ ,
, -.J - •. '-...,..: ..•.~ '-C.-.~.~- r;; -- ~ .•.- - <s »
r:. , I l V " ••••
~ I f I r - - - -.. - cresc. dim.
~ , " I
" <:» ~ v I -J - • '-" '-"'~ •..•. 7!9 7J
EOIIN _Ir: Write the E~Major scale 4 times, marking as before.
33. 18 LESSON 26
Key of E Major
E~--~--~--~--~--~--~~~~--
Ah?----{)---{
Dt<>---.o. ._. -(
o~--~r---~----o----<~--~r--~J-~-n~ _
Fingers t • 4
Scale of E Major- name the sharps
Same finger placing as for the E~ Beate, exeept that each finger 1Bone semitone higher,
Place a sharp before the notes affeeted by the .ignature.
"
German Folk Song
Pupil
1 M ~ " I
• I I I I • I I - I
1~·1
li M fi I
, - (~ •.•. 71 •••..•.•. ~ ~ .•.7J:
Teacher
Cradle Song
Andante Bram.
Pupll
~Mft " ~ - I -
~ I I I - - ..- I 11 - li M ft -
~ - - 'tf,. ,--- ~
Teacher
11» fi. V " ---.
I ~ •....• ' '-.-- , -- , -- mp I "'-I -
li M fi
P
, .......•.../ -- ". .....•..../ <:» ~~ :pJ.
JfOIItIJ 1IlItWJlo: Write the E Major scale " times, marking as before,
34. LESSON 27
Key of A Major
29
E~---o--~~~o---<r--~---<r-~J-----
A~----~--~r---~----~--~~--~~--~-----
D to-----{)----(
G "<>---o---{
Fin era t
Scale of A Major- name the sharps
~ ••• r pia.'". a. for the E major aca1e. •
e
Place a sharp before the notes affected by the signature. . ;te
@ Chimes of Dunkirk
~Jl~
@_e Scale of A Major in two octaves
~ ~
o Worshlp the King
Haydn
Pupil
~JI ~ V I -
i' 11Jf
, I I I I I
~Ji ~ I I I
• •• 4- ..•.- ,.•.. •
Teacher
"Ji •• I I
"Ji ~ ril.
• 4- .•.. tt- 't- - .• - - - •• .- •• ••
II I I I I I
35. LESSON 28
Semiquavers
80
~ Tw,o semiquavers equal
~: ~ Abbreviations for
A semiquaver ~ iJl equa1 to half the value of a quaver
one quaver ~ : j) and four sermquavers equal one crotchet
semiquavers j, =n != -~
Comparative tabIe showing number of semiquavers to other notes studied thus faro
: I
Andante
V
Bird Song
n 112
Pupil
~
In this piece, 'Which requiree a sWw movement, it ia better to divide tbe Itime into l(006 oount to each quaver)
AlI t
Kingdom Comin'
36. LESSON 29
Dotted Quavers and Semiquavers
Legato (Connected)
This is one of the more difficult rhythms to learn. The dotted quaver is equal to three semiquavers.
Always feel a division of four on e ach beat when playing this rhythm, three on the dotted quaver
and one on the semiquaver. _ : ~
BE SURETO PLA.Y1liE DOITED QILWER LO~G E:OUGH ANn THE SEMI<-ll AYEH. SHOH.T
ENOUGH. '1'" Legato (Connected)
.Y Largo Nery slow) @
t. 2 3 -I t 2 8 4-
Largo
(New WOl'ld Symphony)
Lar~ Trio
Pupíl
p "--=
M
Pupil
~ p
Teacher
Anton Dvoràk
1841-1904
~ " - - --
• r ~ r I ~ •••••• I "--= •.
/" - = - P • • I "- "- - T '.:.. = '-' 11!:/ ~
t'l~ P : : p
4! .s.L .u. .Q ~ .... ~'~~
"(Y
~" -- - "--- - .
t ----- ~ 1" - ~ ~ I ,,~ cresc. =f dim.:: p pp
I . . . . . t ~~~~ . ~- ,-- '--=' <c:
~ ~
.•.~~.~~:.:".cresc. . :f == P P.P
dÚJI,. 4!! J~ .~".-:;)~.-,J.~ •••••••••• ~'
81
37. 12 LESSON 30
Dotted Quavers and Serniquavers
Staccato <Detached)
Dotted quavers and semiquavers played staccato (detached) are separated by a short pause, the bow how-ever
must NOT be Iifted from the string.
~
These are general1y played in one bow with a very ortsp stroke of the wrist. Use upper half of bow. Dur-ing
the break botween the two notes the bow is held pressed on the 8trillg.
(!) Allegretto
t. .I •. 4
~ ..~
George F. Root
Tr&mp!T~p! Trampl
Allegretto 1820-189&
~
I"~,.c. ~~~ ~ . ~. e <:.J-C: '-.:.
Battle Hymn 01 the Republlc
Allegretto William Steffe
. "'11' . o ,-o
~. . . .~.
v v
--.
38. LESSON 31
Triplets
Tr iplet.s are groups of three notes played in the time of two notes of the same value. They are indicated
bya figure "3" and a slur placed over or under a group of three notes. -a--;l:.
A bar of icontaíning two triplets t m.J.J.J is t he same as a bar of t in march time. ~ .rJ~m
•
Pile;rims' Chorus
(Tannhãueer )
Ríchard Wagner
Andante maestoso (Majestically) 1813-1883
~ a ~
~~~Uj§1g~ 8 rato
Alla Breve or ~ Time
Alta Breve, or cut time ê is played the same 8,S f time. Each note having half the value as in t time,
a minim being lhe unit of a heat.
Softly NowThe Light of Day
Andante cantabile (In a singing style)
von Weber
Pupil
rl
t mp
I
~
, ~ v ••••• -
Teacher
~ "
t I I ~
~ M
" ~ v- C.I 77 :&t -u ~,..
German College Song
~L~rr~ ?7JI = :::==-
~~~4 .
~II If 2 ~ .
.-===-~=- L. cresc, f
-Hold third finger down while extendíng the fourth.
33
v
39. 84 LESSON 32
Staccato Bowing
8taccato, meaning detached, separated, ia a 8tyle of bowing used in violin playing to denote a short crisp note.
Notes to be played ataccato are marked with a dot, plaeed over or under them. Draw the bow with a short,
quíck stroke, and then suddenly stoppíng it for a short rest, during which the bow is preesed finn1yonthe
atring. W1th thia .troke the vibration of the atrlng ia stopped whioh givea lhe ahort staocaio effeet.
~~
Andante
from Surprise Symphony
Haydn
~~~ ~ ..~ ~ ~.~ ~ p. . . . . . .. .. . .
Chromatics
The word "chromatic" means moving by semitones. Chromatie (literally, coloured) ia well chosea, fbr by the uae
of sharps and f'lats, tone eolour or shadíng is added to the naturalsounds of the notes. A ohromatie interval ia
one semitone above or below the given note. A chromatíc scale is a scale that asoend. or descende by semi-tones.
In playing ehromatice the finger must move quickly to the new note so that no slide is heard.
~e
Etude
Woblfahrt
Pizzicato
PUa. means to pluck the etring. The bow is held agai.nst the palm of the hand by the second, third and fourUl
fíngers, the firat being free to do the plueking. The tip of the thumb ia placed against the oorner of lhe fin-gerboard
~~under Gavotteep_.. the E etring.
Amaryll1s
' Henrí Ghya
40. LESSON 33
Sweet and Low
Quartet Joseph Barnby
1888-1898 .
Larghetto (Slow) v
Pupll
11M ;---.. - .~ - - " -
~ W r r ,
1 M t. - . I V " , -
~ I r- I ,.. I •••••••• - , I r
/'» fYP ...L- V " 4
141 w w·,.. ~~ w-.-"'" ~ -- _. IJ.•. • ~---. <::»
' » pp V "
41 ~ ~';t. ~ .'•....~.~ ~ ~.~ . ~ ~J
Pupll
Pupll
Pupll
<c:» ",--,. »<:»
4 V " /'» •. - - ~ ~ ')---;. .- rz>. I -..•.. -- ~ a
t pp ereso
/'» V m
- ~ ••• l
t - r
I I I I
11» V 1if
-. - 1'1' ereso
---- - ",--. ,-- ~ I "-.,; ~"':' ... '» ...•.~~' V 1-'f-1 1'P cre,c
t _~ ~ ,--w '-....: ..••D* w' w w w ~ -- w o~'=i.
"- -- ~,--~» ,1":' ,....,-... s: ....~
, .
It f dim. 11 rall. e dim. pp
'J1 n .......---.. r.-.
ít ~ r I I I , I :f dim. 11 rall. e dim. 1'1'
'» " - l r.-.
[t :f I , , '----'" •,•-",•.
~» ••• dim~ 11 rall. e dim. 1'P
, :'j ..•. "'!' 4? ~. w wq--. .' ..•.trr'~ ~' ?}-.------=-i.-=i
81
41. 86 LESSON 34
From the Classics
Theme From the Violin Concerto
Beethoven
.
Theme From Symphony No.!
Brahrns
"--' ===-
V =- ~~
Theme From Der Freischütz von Weber
p~ .
Theme From Symphony No.8
AndVante ,.,
Pupil . .
~-====+= ====--
I cresce p
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