Essential-elements-2000-book-1-for-violin-book-only.pdf

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VIOLIN ▼ BOOK ONE

ESSENTIAL ELEMENTS 2000 FOR STRINGS A COMPREHENSIVE STRING METHOD MICHAEL ALLEN

O

ROBERT GILLESPIE

O

PAMELA TELLEJOHN HAYES

ARRANGEMENTS BY JOHN HIGGINS CONGRATULATIONS! You have made one of the most rewarding decisions in your life by joining the orchestra. The key to succeeding with Essential Elements for Strings 2000 is your commitment to daily practice. Each time you learn a new note, count a new rhythm, or play a melody with a friend, you become a more accomplished musician. As you continue to develop your skills, you will become increasingly aware of an abundance of opportunities that are available in the future. Musicians can teach, perform, conduct, or compose. No matter what profession you choose there are always opportunities available to you. You can play in community, civic, or church orchestras, attend concerts, and become a supporter of the arts. Whether you choose music as a vocation or avocation, we hope it will become an important part of your life. We are thrilled to welcome you to our orchestra family and wish you the very best for a lifetime of musical success.

The string family includes the violin, viola, violoncello, and the double bass. The violin dates Gasparo da Salo, an Italian instrument maker, developed the present day violin during the 16th century. Da Salo and Nicolo Amati are credited with establishing the design of today’s violin, which has survived with only a few minor changes. Antonio Stradivari, and the Guarneri and Guadagnini families were famous instrument makers from the 17th and 18th centuries, and their violins are still in use today. Nearly every composer has written music for the violin, including Johann Sebastian Bach, Ludwig van Beethoven, and Peter Illyich Tchaikovsky. Famous violin performers include Midori, Isaac Stern, Stéphane Grapelli, Itzhak Perlman, Jascha Heifetz, Joshua Bell, and Mark O’Connor.

ISBN 0-634-03817-6 Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved

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HISTORY OF THE VIOLIN

back to the 16th century. The early ancestors of the violin were the Arabian rebab and rebec, popular during the 14th–16th centuries. During the 1500s, there were two types of viols: the viola da gamba, played on the knee, and the viola da braccia, played on the shoulder.

2

THE VIOLIN Scroll

Take Special Care

Pegs Peg box

String instruments are delicate. Follow your teacher’s guidelines in caring for your instrument, and it will last forever. O

Nut O

Fingerboard Neck

Upper bout

“C” bout “F” hole

O

O

Follow your teacher’s instructions when removing the instrument from the case. Protect your instrument from heat, cold, and quick changes in temperature. Always wipe off the instrument with a soft dry cloth. Be sure to remove all fingerprints and rosin. Place a cloth over the top of the violin before closing the case.

Accessories O

Rosin

O

Shoulder rest

O

Soft cloth

O

Extra set of strings

Bridge Sound post (inside)

Fine tuners Tailpiece Chin rest End button

THE BOW Tip

Winding

Stick

Bow hair

O

Never touch the bow hair.

O

Keep the bow in your case until directed by your teacher.

Adjusting screw

Ferrule

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Frog

3

HOLDING YOUR INSTRUMENT The best way to learn to play your instrument is to practice one skill at a time. Repeat each step until you are comfortable demonstrating it for your teacher and classmates. Many violin players begin by playing their instrument in guitar position. As you learn the basics, your teacher will help you change to shoulder position.

Guitar Position

Shoulder Position

Step 1 Place the instrument case flat on the floor with the

Step 1 (Standing) – Stand with feet about a shoulder’s width

handle facing you. Open the case and lift the instrument up by the neck. Identify all parts of the violin.

Step 2 Cradle the violin under your right arm. Raise the scroll to shoulder height. Be sure the back of the violin is flat against your stomach.

Step 3 Identify the letter names of each string: G (lowest pitch), D, A, E.

Step 4 Raise your right thumb over the strings while continuing to hold the instrument. Pluck the strings as directed by your teacher. Plucking the strings is called pizzicato, and is abbreviated pizz.

G

Guitar Position

D A

apart. (Sitting) – Sit on the front part of the chair.

Step 2 Turn your left foot to the 10 o’clock position. Slide your right foot back. Adjust your position to place more weight on your left foot.

Step 3 Hold your instrument at eye level parallel to the floor. Curve your left hand around the upper bout. Find the end button with your right hand.

Step 4 Bring the instrument down to your shoulder. The end button should be near the middle of your neck. Turn your head slightly to the left, and place your jaw on the chin rest. Be sure the scroll does not point toward the floor.

E

Shoulder Position

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4

Beat = The Pulse of Music

Π= 1 Beat of Sound

Quarter Note THEORY

The beat in music should be very steady, just like your pulse. Notes tell us how high or low to play, and how long to play.

Quarter Rest

Œ

Music Staff

The music staff has 5 lines and 4 spaces.

Bar Lines

Bar lines divide the music staff into measures.

Measures

The measures on this page have four beats each.

= 1 Beat of Silence

Rests tell us to count silent beats.

Measure

Measure Music Staff

Bar Line

Bar Line

Bar Line

1. TUNING TRACK Wait quietly for your teacher to tune your instrument.

2. LET’S PLAY “OPEN D”

Œ

Pizzicato (pizz.) Pluck the strings Open string 0

     

D

D

D

D

     

D

D

D

Œ

       

D

D

D

     

D

D

D

D

Œ

3. LET’S PLAY “OPEN A” pizz. 0

      Œ

A

A

A

      Œ

A

A

Keep a steady beat.

4. TWO’S A TEAM pizz.

     

D

D

D

Œ

A

      Œ

A

A

A

5. AT PIERROT’S DOOR The melody is on your CD.

       

pizz.

A

D

D

D

Œ   Œ   A

D

      Œ

       

A

A

A

A

A

        A

D

A

D

        A

D

D

A

A

A

A

     

D

D

D

Œ

Œ       A

D

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D

5

œ œ œ œ œ œ œ &œœ œœ Lines

Treble Clef

E

G

(Meter)

D

F

D

F

A

C

Πor Πgets one beat

E

Clefs indicate a set of note names.

G

THEORY

4 4

Time Signature

B

Spaces

The time signature tells us how many beats are in

4 beats per measure

each measure and what kind of note gets one beat.

Double Bar

A double bar indicates the end of a piece of music.

4 &4       Œ

6. JUMPING JACKS Identify the clef and time signature before playing.

      Œ

pizz.

D

D

A

D

4 &4       Œ

7. MIX ‘EM UP pizz.

A

D

& 44     Œ Œ

D

      Œ

..

D

A

D

Count: 1 &

2 & 3 & 4 &

D

     

D

&

B

2 ?

&

B

3 ?

&

B

4 ?

D

D

D

Œ

One beat = Tap toe down on the number and up on “&.” Always count when playing or resting.

&

B

    Œ Œ A

1 & 2 & 3 & 4 &

Œ   Œ

 

A

D

1 & 2 & 3 & 4 &

9. ESSENTIAL ELEMENTS QUIZ Write in the counting before you play.

E

D

Œ

Go back to the beginning and play the music again.

A

D

D

A

D

8. COUNT CAREFULLY Keep a steady beat when playing or resting. pizz.

     

A

       

A

D

1 ?

Count Tap

A

& 44   Œ   Œ       Œ pizz.

A

D

A

A

D

— — — — — — — —

— — — — — — — —

 

A

 

D

Œ Œ

— — — — — — — —

Œ ..  

 

 

Repeat sign

A

D

THEORY

Counting

       

A

A

D

Repeat Sign

A

Double Bar

D

1 & 2 & 3 & 4 &

 

D

 

A

Œ ..  

D

— — — — — — — —

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6

SHAPING THE LEFT HAND D STRING NOTES Step 1 Shape your left hand as shown. Be certain your palm faces you.

1 0 1 2 3 4

= = = = =

Open string 1st finger 2nd finger 3rd finger 4th finger

2 3

E A D G

4

1

2 3

E

F#

G

Step 2 Bring your hand to the fingerboard. Place your fingers on the D string, keeping your hand shaped as shown below.

F#

Be sure your first finger forms a square with the fingerboard, and your wrist is relaxed and straight. with 3 fingers G isonplayed the D string.

Listening Skills

4 & 4  œ œ Œ G pizz. 3 G

THEORY

is played with 1 finger on the D string.

Play what your teacher plays. Listen carefully.

10. LET’S READ “G” Start memorizing the note names.

#

Sharp

E

is played with 2 fingers on the D string.

  œ œ Œ

  œ œ œ   œ œ Œ

G

G

G

A sharp raises the sound of notes and remains in effect for the entire measure. Notes without sharps are called natural notes.

LET’S READ “F # “ (F-sharp)

4 # F &4 #   œ œ Œ #   œ œ Œ #   œ œ œ #   œ œ Œ

11.

pizz. 2 F

F

Play all F #'s. Sharps apply to the entire measure.

12. LIFT OFF

& 44   œ œ Œ #   œ œ Œ pizz. 3 G

 

2 F

F

F

  œ #   œ   #     Œ ..

G

F

G

Is your left hand shaped as shown in the diagrams above?

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F

G

7

SHAPING THE RIGHT HAND BOW BUILDER ONE

Pencil Hold Step 1 Hold a pencil in your left hand at eye level. Step 2 Hang your right fingers over the top of the pencil, as shown.

Step 3 Place your right 4th finger on top of the pencil. Step 4 Touch the tip of your right thumb to the pencil just opposite your 2nd finger. The curve of your thumb will form an oval with the finger.

Step 5 Lean your right hand so the first finger rests on top of the pencil between the 1st and 2nd joints. Keep your fingers relaxed. Remove your left hand from the pencil. Practice shaping your hand on the pencil until it feels natural to you.

★

Practice BOW BUILDER ONE daily.

13. ON THE TRAIL Say or sing the note names before you play.

& 44   œ #   Œ

  œ #  Œ

pizz.

G

G

F

F

4 Œ & 4 E   œ œ

14. LET’S READ “E”

  œ œ

pizz. 1

E

15. WALKING SONG

& 44   œ #   œ pizz. 3

2

G

Count: 1

2

&

3

&

Œ

G

F

F

4 &

1 & 2

&

3

F

E

&

4 &

1 & 2

&

3 & 4 &

Œ

  œ œ Œ ..

G

1 & 2 & 3

&

16. ESSENTIAL ELEMENTS QUIZ Draw the missing symbols where they belong before you play:

E

G

E

Œ #     œ   œ #  œ

E

F

  œ œ œ   œ œ

E

1

F

&

E

  œ #   œ   #     Œ ..

G

4 &

&

4 4

  œ #  œ   œ   Œ   œ   œ #  œ   Œ

pizz. G

F

E

D

D

E

F

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G

8 BOW BUILDER TWO

Pencil Hold Exercises I’m Outta Here

Finger Taps

Wave good-bye while keeping your wrist relaxed.

Tap your first finger. Then tap your fourth finger.

Thumb Flexers

Knuckle Turnovers

Flex your thumb in and out.

Turn your hand over and be sure your thumb knuckle is bent, as shown.

Knuckle Turnovers

BOW BUILDER THREE

Bowing Motions Swingin’ Out Put one finger inside your right elbow and swing your arm, as shown.

Swingin’ Out

4 &4   œ #   Œ

17. HOP SCOTCH

Œ #     œ

pizz.

G

F

HISTORY

Count: 1

2

&

3 & 4 &

&

E

1

  #     

G

F

&

2

&

3 & 4 &

1

F

&

F

E

2 & 3 & 4 &

  œ œ Œ

G

1 & 2 & 3 & 4 &

Folk songs have been an important part of cultures for centuries and have been passed on from generation to generation. Folk song melodies help define the sound of a culture or region. This folk song comes from the Slavic region of eastern Europe.

18. MORNING DANCE

4 &4   œ #     pizz. 3

2

G

0

F

D

F

  œ œ

pizz.

F

E

F

E

D

&#        #  œ œ œ F

E

D

E

F

G

F

E

D

& 44 #         #   œ œ Œ

19. ROLLING ALONG

.. Œ   œ œ #   œ   œ

  œ #   

G

Slavic Folk Song

1

E

Œ

  œ #   

E

F

E

#  œ œ Œ

Go to next line.

F

 

D

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Œ Œ Œ

9 WORKOUTS Place your instrument in shoulder position as shown on page 3. Then practice the following exercises with your left hand.

Finger Taps Tap fingertips on any string. Practice in different combinations of fingers.

Pull Aways Pull your left hand away from the side of the neck, while keeping the thumb and fingers on the instrument.

Strummin’ Along Strum the strings with your 4th finger while swinging your elbow under the violin, as shown.

Strummin’ Along

20. GOOD KING WENCESLAS

4 &4   œ œ  

  œ   Œ

0

pizz. 3

A

G

G

D

Keep fingers down when you see this bracket.

21. SEMINOLE CHANT

& 44   œ   Œ G

Count: 1

G

E

2

&

&

      # 

E

  œ   Œ

pizz.

3 & 4 &

&

F

E

D

G

.. Œ   œ œ

 #     

G

E

1 & 2

  Œ œ Œ ..

Welsh Folk Song

3 & 4 &

1

F

E

E

D

2 & 3 & 4 &

&

1 & 2 & 3 & 4 &

22. ESSENTIAL ELEMENTS QUIZ – LIGHTLY ROW

4 &4   #   œ Œ pizz. 0

E

A

G

F

Prepare F # before playing.

&   #  œ Œ A

F

1

E

    œ Œ

G

  œ œ Œ

    œ Œ     #    3

2

E

F

E

D

  #    œ

D

F

A

A

G

 

D

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Œ Œ Œ

10 A STRING NOTES

E A D G

1

2 3

B

D

C#

is played with 3 fingers on the A string.

Listening Skills

C#

D

B

is played with 2 fingers on the A string.

is played with 1 finger on the A string.

Play what your teacher plays. Listen carefully.

4  œ œ Œ   œ œ Œ   œ œ œ   œ œ Œ D &4

23.

LET’S READ “D“ pizz. 3 D

D

D

D

LET’S READ “C # “ (C-sharp)

4 #  œ œ Œ #  œ œ Œ #  œ œ œ #  œ œ Œ # & 4 C

24.

pizz.

2

C

C

C

C

Play all C #'s. Sharps apply to the entire measure.

& 44   œ œ Œ

25. TAKE OFF pizz.

3

D

& 44   œ #   œ   œ   Œ D

2

C

0

D

D

★

D

C

26. CARIBBEAN ISLAND pizz. 3

  œ #  œ   #    Œ

#  œ œ Œ 2

C

D

  œ #  œ   3

D

C

D

Practice BOW BUILDERS ONE, TWO, and THREE daily.

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D

C

  Œ ..   D

D

11

4  œ   œ #  Œ   œ   #     Œ .. &4   œ   œ

27. OLYMPIC HIGH JUMP pizz. D

D

C

D

D

D

C

D

D

4  œ œ Œ   œ œ Œ   œ œ œ   œ œ Œ & 4 B

28.

LET’S READ “B“ pizz.

1

B

& 44   Œ œ Œ

29. HALF WAY DOWN pizz.

3

D

30. RIGHT BACK UP

4 &4   Œ œ Œ pizz. 0 A

B

B

#  œ œ Œ

  Œ œ Œ

  œ œ Œ

#  Œ œ Œ

2

1

C

1

B

B

2

C

pizz. 3 D

&  œ œ Œ 3

G

#  œ œ Œ 2

  œ œ Œ 3

D

C

#  œ œ Œ

Œ   œ œ

1

F

pizz. 0

D

&   œ œ Œ

E

B

A

  œ œ 0

D

Œ

Œ Œ Œ   œ œ #   œ œ   œ œ

1

3

2

G

F

E

  œ œ Œ 1

  œ œ Œ

B

2

& 44   œ œ Œ

  œ œ Œ

0

1

32. ESSENTIAL ELEMENTS QUIZ – UP THE D SCALE

A

A

THEORY

4   œ œ Œ &4

31. DOWN THE D SCALE Remember to memorize the note names.

0

  œ œ Œ 0

A scale is a sequence of notes in ascending or descending order. Like a musical “ladder”, each note is the next consecutive step of the scale. This is your D Scale. The first and last notes are both D.

Scale

E

B

#  œ œ Œ 2

C

  œ œ Œ 3

D

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12 BOW BUILDER FOUR

On The Bow (Early Bow Hold) Step 1 Identify all parts of the bow (see page 2). Hold the bow in your left hand near the tip with the frog pointing to the right.

Step 2 Put your right thumb and 2nd finger on the bow stick near the middle of the bow.

Balancing The Bow

Step 3 Shape your right hand on the bow stick, as shown. Step 4 Turn your right hand over, and be sure your thumb and fingers are curved.

Step 5 Hold the bow and repeat the exercises on page 8.

œœ

Alert

Early Bow Hold

Do not place your bow on the instrument until instructed to do so by your teacher.

& 44   œ #   œ   œ   Œ

33. SONG FOR CHRISTINE

  œ #   

pizz. D

C

B

A

G

F

  œ   Œ

4 &4   œ    

#      Œ #  œ    

A

D

B

A

  œ   œ A

G

E

D

&   #    œ F

  œ œ Œ

  œ œ

D

34. NATALIE’S ROSE Remember to count. pizz.

E

D

G

&#      Œ F

A

G

A

G

F

      Œ

G

A

B

  œ   # 

A

B

C

  œ   Œ B

A

G

F

 

D

œœœ

35. ESSENTIAL CREATIVITY How many words can you create by drawing notes on the staff below?

&

Example E

Œ

G G

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A

 

D

  Œ D

13

HISTORY

Folk songs often tell stories. This Israeli folk song describes a game played with a dreidel, a small table-top spinning toy that has been enjoyed by families for centuries. The game is especially popular in December around the time of Hanukkah.

4 &4   œ   œ #     Œ     œ   #     Œ Œ Œ   œ #   œ

36. DREIDEL

Israeli Folk Song

pizz.

F

E

D

A

F

D

G

F

E

F

E

&     Œ œ     #     #   Œ Œ Œ   #        #   Œ œ G

A

E

G

F

A

F

E

A

F

A

F

F

&   œ  #     Œ Œ Œ             Œœ    #       Œ Œ Œ A

G

F

G

E

E

G

G

E

A

E

G

F

E

D

BOW BUILDER FIVE

Shadow Bowing Shadow Bowing is bowing without the instrument.

Step 1 Tighten the bow hair as instructed by your teacher. Step 2 Place the rosin in your left hand. Hold the bow at the balance point.

Step 3 Shadow bow by slowly moving the bow back and forth on the rosin. Be sure to move the bow, not the rosin.

Down Bow Up Bow

≥ ≤

Move the bow away from your body (to the right). Move the bow toward your body (to the left).

37. ROSIN RAP #1 Bow these exercises on the rosin.

≥

44 œ

Down

Œ

Rest

≤

œ

Up

Œ

Rest

38. ROSIN RAP #2

≥

≤

4œ 4

Down

œ

Up

≥

œ

Down

Œ

Rest

39. ROSIN RAP #3

≥

4œ 4

≤

Down

✔ ✔

œ

Up

Œ

Rest

Œ

Rest

≥

œ

Œ

≤

œ

Down

Rest

Up

≤

≥

≤

œ

œ

Up

Down

≥

≤

œ

Down

œ

Up

œ

Up

Œ

Rest

Œ

Rest

Œ

Rest

Œ

Rest

≥

œ

≤

œ

Down

Up

≥

≤

œ

Down

≥

œ

Down

œ

Up

Œ

Rest

≥

œ

Down

Œ

Rest

≤

œ

Up

≤

œ

Up

Œ

Rest

Œ

Rest

≥

œ

Œ

Down

Rest

≥

≤

œ

œ

≤

Up

Œ

Rest

..

Œ

Œ

..

œ

Down

Up

Rest

Rest

≥

≤

≥

≤

œ

Down

œ

Up

Is your bow hand shaped as shown in the diagram above?

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œ

Down

œ

Up

..

14 Review these notes. Write the letter names in the spaces below.

THEORY

&œ

#œ

œ

—

—

—

œ

œ

œ

#œ

œ

—

—

—

—

—

40. CAROLINA BREEZE

& 44 œ pizz.

œ #œ

3

Count: 1

œ

2

2

&

3

&

4

&

41. JINGLE BELLS

& 44 # œ pizz. 2

&œ

œ

1

œ 1

&

Œ

œ

œ 2

&

#œ

œ

œ

œ #œ

& #œ

œ

œ

Œ

#œ

&œ

œ

œ

œ

œ #œ

2

œ 3

&

œ

œ

3

œ

œ œ

2

œ 3

4

&

&

1

Œ

œ œ

2

Œ

0

œ #œ 2

&

2

&

3

œ 0

#œ

œ

#œ

Œ

œ

#œ

œ

œ

œ

Œ

&

œ 4

0

&

1

œ

œ

œ #œ 1

1

&

2

&

& 44 œ

œ

œ

3

&œ

œ

œ

&œ

œ

œ

3

★

0

Π0

œ

1

œ

œ

œ

œ

œ

œ

œ

œ

œ

1

œ

3

&

Œ

#œ

Œ

Œ

Œ

Œ

œ

#œ

œ

3

œ

1

œ

œ

œ

œ

0

œ

œ

œ

Œ

Œ

œ

œ

œ

œ

œ

œ

œ

Œ

œ

œ

œ

œ

œ

Œ

Œ

1

0

3

3

Practice BOW BUILDER FIVE daily.

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Œ

Œ

œ

Œ

Œ

..

J. S. Pierpont

œ

œ

1

&

Œ

œ

0

4

0

œ

1

42. OLD MACDONALD HAD A FARM pizz. 3

Œ

œ 3

2

Œ

American Folk Song

Œ

..

0

œ 0

œ

Œ

15

HISTORY

Austrian composer Wolfgang Amadeus Mozart (1756–1791) was a child prodigy who first performed in concert at age 6. He lived during the time of the American Revolution (1775–1783). Mozart’s music is melodic and imaginative. He wrote hundreds of compositions, including a piano piece based on this familiar song.

43. A MOZART MELODY

& 44 œ pizz. 0

&œ 0

&œ 0

œ

œ

œ

œ

#œ

œ

œ

œ

œ

œ

1

œ

œ

œ œ 0

œ

œ

2

œ

œ

3

&

œ

œ

œ

3

œ

œ 2

0

œ

# & # œ

œ

œ

œ

0

œ

œ

œ

œ

œ

œ

#œ

œ

Œ

œ

œ

œ #œ

œ

œ

œ

œ

œ œ

œ

œ

1

œ Œ

3

œ

3

œ œ

œ

1

œ

Œ

œ œ

œ

2

œ

œ

œ

1

œ

45. CHRISTOPHER’S TUNE

# # pizz. & 44 œ

œ #œ 2

Œ

0

Play F #'s and C #'s when you see this key signature.

##

œ 3

Œ

Œ Œ

A key signature tells us what notes to play with sharps and flats throughout the entire piece. Play all F’s as F# (F-sharp) and all C’s as C # (C-sharp) when you see this key signature, which is called “D Major.”

44. MATTHEW’S MARCH 3

Adapted by W. A. Mozart

Œ

0

THEORY

# & #

Key Signature D MAJOR

# # pizz. œ & 44

œ

1

œ 0

œ

œ

œ

0

œ œ 3

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

Œ

œ

œ

œ

Œ

0

œ œ

œ œ

œ

œ

œ

0

œ 1

Œ

œ

œ

1

Œ Œ

46. ESSENTIAL CREATIVITY Play the notes below. Then compose your own music for the last two measures using the notes

# 4 & #4 œ

pizz.

you have learned with this rhythm:

œ

œ

œ

œ

œ

œ

Œ

œ

œ

œ

œ

œ

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Œ

œ

Œ

16 BOW BUILDER SIX

Let’s Bow!

Early Bow Hold

Regular Bow Hold

Thumb Placement

Step 1 Hold the instrument with your left hand on the

Your teacher will suggest when to begin moving your bow hand toward the frog, as shown in the Regular Bow Hold illustration. The tip of your thumb will move to the place on the stick where it touches the frog.

upper bout as illustrated.

Step 2 Hold the bow at the balance point (Early Bow Hold). Your right elbow should be slightly lower than your hand.

Listening Skills

Play what your teacher plays. Listen carefully. Your tone should be smooth and even.

47. BOW ON THE D STRING

## 4 ≥ & 4œ

≤

arco

## ≥ & œ

≥

≤

Play with the bow on the string.

œ ≤

œ ≥

œ

œ ≤

Œ

œ

Œ

Œ

≥

œ

Œ ≤

œ

## ≥ & œ

≤

≥

œ ≤

œ

≤

œ ≥

œ

Œ

œ Œ

≤

œ

Œ ≥

œ

Œ ≤

œ

Œ

≥

œ

œ

≥

œ

œ ≤

œ

œ ≤

œ

Œ ≥

œ ≥

œ ≤

œ ≤

œ ≤

œ

≤

œ ≥

œ ≥

Œ

≥

œ ≤

œ

48. BOW ON THE A STRING

## 4 ≥ & 4œ

≤

œ ≥

Œ

œ

≥

Œ

Œ Œ

Œ ≥

œ

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Œ

≤

Œ

Œ

Œ

œ

Œ Œ

Œ

≤

œ

Œ

17 WORKOUTS

String Levels Your arm moves when bowing on different strings. Memorize these guidelines: O

Raise your arm to play lower-pitched strings.

Raise arm = lower string

O

Lower your arm to play higher-pitched strings.

Lower arm = higher string

## 4 ≥ & 4œ

≤

≥

≤

49. RAISE AND LOWER

œ

## 4 ≥ & 4œ

œ

≤

œ

50. TEETER TOTTER

## 4 ≥ & 4œ

œ

Œ

≤

≥

Œ

51. MIRROR IMAGE

œ

Bow Lift

## 4 ≥ & 4œ

,

œ

Œ

œ

Œ

≥

œ

≤

œ

Œ

≤

≥

≤

œ

œ

Œ

≥

Œ Œ Œ

œ

≤

œ

œ

≥

≤

E

≤

œ

œ Œ

œ

œ

Œ

≥

≤

≥

œ

œ

œ

Œ

≥

≥

œ

≤

œ

œ

≤

≥

œ

≤

≥

≤

≥

≤

œ

œ

œ

≤

œ

≥

œ

≤

œ

≥

œ

≤

œ

≥

≤

œ

œ

œ

œ

53. ESSENTIAL ELEMENTS QUIZ – OLYMPIC CHALLENGE

## 4 ≥ & 4œ

≥

Œ

Œ

Œ

Œ

≥

œ

≤

œ

Œ

Œ

≤

≥

≤

Œ

Lower your arm.

œ

œ

œ

≥

, Bow Lift Œ Œ

≥

œ

≤

œ

œ ≥

œ

œ ≤

œ

≥

œ

Œ

Œ

BOW BUILDER SEVEN

Combining Both Hands

# # 4 Example A: & 4œ œ œ œ

Using notes from the D major scale, echo what your teacher plays.

Teacher

B: # # 4 Example & 4œ œ œ œ Teacher

..

Lift the bow and return to its starting point.

52. A STRAND OF D ‘N‘ A

≤

Œ

Raise your arm.

œ œ œ œ Student

œ œ œ œ Student

Teacher

Student

Teacher

Student

Teacher

Student

Teacher

Student

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Œ Œ

..

18

PUTTING IT ALL TOGETHER Congratulations! You are now ready to practice like an advanced player by combining left and right hand skills while reading music. When learning a new line of music, follow these steps for success:

Step 1 Tap your toe and say or sing the letter names. Step 2 Play pizz. and say or sing the letter names. Step 3 Shadow bow and say or sing the letter names. Step 4 Bow and play as written.

54. BOWING ”G”

## 4 ≥ & 4œ

≤

3

œ

≥

œ

≤

≤

3

≥

œ

œ

œ

œ

œ

Œ

≤

≥

≤

≤

3

≥

Œ

2

œ

œ

Œ

≥

≥ 3

œ

œ

Œ

≤

≥

≤

œ

Œ

œ

1

œ

2

œ

≤

œ

œ

2

56. DOWN AND UP

## 4 ≥ & 4œ

≤

Œ

55. BACK AND FORTH

## 4 ≥ & 4œ

≥

œ ≥

≥

≤

≥

≤

≥

œ

œ

œ

œ

œ

œ

Œ

œ

2

œ

œ

3

œ

œ

œ

Œ

œ

œ

œ

œ

œ

œ

Œ

3

2

57. TRIBAL LAMENT

## 4 ≥ & 4œ 1

œ

58. BOWING ”D”

# # 4 ϳ & 4

ϲ

3

59. LITTLE STEPS

# # 4 ϳ & 4

ϲ

3

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

ϳ

Œ

ϲ

ϳ

ϲ

Œ

ϳ

œ

œ

œ

œ

œ

œ

Œ

ϳ

Œ

≤

œ

≥

≤

Œ

ϳ

œ

œ

œ

œ

œ

œ

Œ

Œ

≤

Œ

≥

œ

œ

œ

1

œ

œ

œ

Œ

4 &

œ

60. ELEVATOR DOWN

# # 4 ϳ & 4 3

1

œ

œ

2 &

3

2

&

, Œ

(Bow Lift)

œ

œ

&

4

œ

2

œ &

1

œ

œ &

2

2

œ &

3

&

3

3

1

&

2

2

&

3

&

4

&

1

&

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2

&

3 &

4

&

..

19 61. ELEVATOR UP

≥

# & # 44 œ 0

œ

≤

Œ

œ

1

œ

62. DOWN THE D MAJOR SCALE

# # 4 ϳ & 4

œ

3

&

##

≥ 3

œ

œ

œ

ϲ

Œ

2

≤ 2

Œ

œ

œ

œ

œ

Œ

œ

œ

œ

Œ

œ

œ

## ≥ & œ

œ

œ

œ

≤

Œ

≤

œ

Œ

œ

œ

œ

œ

1

œ

œ

œ œ

≥

≥

œ

E

## 4 ≥ & 4œ

## œ &

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

Œ

œ

œ

œ

Œ

œ

œ

œ

œ

œ

Œ

œ

œ

Œ

≤

≤

Œ

0

≤

œ œ≤

Œ œ

œ

œ

Œ

œ œ

œ

Œ

0

œ

œ

64. ESSENTIAL ELEMENTS QUIZ – THE D MAJOR SCALE

œ

Œ

œ œ

œ

Œ

œ

œ

œ ≥

Œ

œ

3

1

Œ

œ

œ

2

≥

63. SCALE SIMULATOR Remember to count.

## 4 ≥ & 4œ

≥

œ

œ œ

œ

œ

œ

œ

œ Œ

œ

Special Violin Exercise

## 4 œ & 4

While the basses learn a new note, draw the bar lines in the music below. Then write in the counting.

œ

œ

œ

œ

Œ

œ

Œ

Œ

œ

Œ

œ

œ

œ

Œ

œ

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

65. LET’S READ “C# ” – Review

# # 4 ϳ & 4 2

œ

œ

Œ

≤

œ

œ

œ

Œ

ϳ 3

œ

œ

œ

œ

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œ

œ

Œ

20

œ œ œ œ œ œ

THEORY

Eighth Notes

œ œ 1

&

?

B

Each Eighth Note = 1/2 Beat 2 Eighth Notes = 1 Beat

1

&

2

&

?

B

?

B

Beam

œ œ œ œ =œ œ œ œ

Two or more Eighth Notes have a beam across the stems.

?

B

?

B

?

B

?

B

Tap your toe down on the number and up on the “&”.

66. RHYTHM RAP

≥ ≤ ≥ ≤ ≥

≤

Shadow bow and count before playing.

44 œ œ œ œ œ

Count: 1

&

2

&

3

&

# # 4 œ≥ œ œ œ œ & 4

67. PEPPERONI PIZZA

≥ ≤ ≥ ≤ ≥

œ

œœœœœ

œ

œœœœœ

4 &

1

&

2

&

≤

3

&

œ 4

≥ ≤ ≥ ≤ ≥

&

œ

œœœœœ 1

&

2 &

3

≤

&

œœœœœ

œ 4

≥ ≤ ≥ ≤ ≥

&

œ

œœœœœ 1

&

2

&

3 &

Œ

4

&

Œ

œœœœœ

68. RHYTHM RAP

≥

≤ ≥ ≤

≥ ≤ ≥

≤ ≥ ≤

Shadow bow and count before playing.

4œ 4

Count: 1

&

## 4 ≥ & 4œ

œœœ 2

&

3

&

œœ œ 4

1

&

69. D MAJOR SCALE UP

œœœ

œœ œ

Tempo Markings

&

œœœ 2

&

3

≥ ≤ ≥

&

œœœ

## 4 ≥ & 4œ œ œ Œ Moderato

&

1

œœ œ

≤

&

2

&

3

œœœ

&

œœ œ 4

&

1

≤ ≥ ≤

&

œœ œ

≥

œ œ œ Œ

71. AU CLAIRE DE LA LUNE Andante

4

œœœ

≥ ≤ ≥

œœ œ 2

&

3

œœ œ

&

Œ

4

&

Œ

Tempo is the speed of music. Tempo markings are usually written above the staff, in Italian. Allegro – Fast tempo Moderato – Medium tempo Andante – Slower, walking tempo

70. HOT CROSS BUNS

## 4 ≥ & 4œ œ œ œ œ œ

œœ œ

≤ ≥ ≤

œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ , Œ

≥

œ œ œ œ œ œ

, Œ

French Folk Song

Œ œ œ œ œ œ

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..

21 72. RHYTHM RAP

≥

≤ ≥ ≤ ≥ ≤

≥ ≤ ≥ ≤ ≥

≤

Shadow bow and count before playing.

44 œ

Count: 1

œœœœœ 2

&

&

3

4

&

&

œœœœœ 1

&

2

&

3

&

œ 4

≥

œ 1

&

≤ ≥ ≤ ≥ ≤

≥ ≤ ≥ ≤ ≥

œœœœœ 2

&

&

3

&

4

&

œœœœœ 1

&

2

&

3

&

73. BUCKEYE SALUTE

# # 4 ϳ & 4

Moderato

œœœœœ

## ≥ & œ œ œ œ œ œ

2 Time Signature 4 2 &4 ≥

≤

Count: 1

&

## 2 ≥ & 4œ

œ

2 &

œ œ œ œ œ Œ

= 2 beats per measure = Quarter note gets one beat

≥

≤

≥ ≤ ≥ ≤ ≥

2

Practice conducting this two-beat pattern.

≤

≥

≤

≥

≤

≥ ≤ ≥ ≤ ≥

œ

œ

œœœœ œ

œ

œ

œ

œ

œ

œœœœ œ

Œ

œ

œ

œœœœ œ

œ

œ

œ

œ

œ

œœœœ œ

Œ

1 & 2 &

1 & 2 &

∑ ..

2.

∑

1 & 2 &

1 & 2 &

1 & 2 &

E &

##

œ œ

œ œ

Play the 1st ending the 1st time through. Then, repeat the same section of music, skip the 1st ending, and play the 2nd ending.

œ œœ œ Œ

œœœœ œ œ

œ œ

1 & 2 &

œ œ

≥

œ œ

œ œ

œ œœ œ Œ

≥

œ œ

œ œ œ œ Œ .. œ œ œ œ œ Œ 1st time

1.

2.

2nd time

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THEORY

1.

1 & 2 &

76. ESSENTIAL ELEMENTS QUIZ – FOR PETE’S SAKE Moderato

, Œ

œœœœœ

1

1st & 2nd Endings

## 2 ≥ & 4œ œ

&

Conducting

75. TWO BY TWO

œ

œœœœœ

œ œ œ œ œ œ

œ œ œ œ œ œ

Shadow bow and count before playing.

24 œ

œ

œ

4

..

THEORY

74. RHYTHM RAP

œœœœœ

, Œ

22

Half Note

THEORY

˙ -—

Half Rest

Ó

= 2 Beats

1 & 2 &

1 & 2 &

77. RHYTHM RAP

≥

≤

≥

≤

Shadow bow and count before playing.

44 œ

Count: 1

&

œ 2

Ó

= 2 Silent Beats

&

œ 3

&

œ 4

&

≥

˙ 1

≤

2

&

≥

˙ 3

&

4

&

≤

œ 1

&

&

œ 2

≥

&

œ 3

≤

&

Œ Œ

=

≥

œ 4

&

˙

# # 4 ϳ & 4

œ

œ

79. THE HALF COUNTS

œ

˙

œ

Slow Bow

œ

## 4 ≥ & 4œ

Andante

THEORY

## ≥ & œ

œ

œ œ

œ

≤

œ œ œ ≤

œ œ œ ..

Repeat Signs

œ

˙

œ

œ

Slow Bow

˙

80. GRANDPARENT’S DAY

˙

œ

˙

œ

œ

˙

œ

œ

..

## 4 Ó & 4 &

##

≥

.. œ œ œ œ

œ œ

œ œ œ œ

˙

..

œ

œ

œ

˙

Slow Bow

œ

˙

˙

≤

American Folk Song

œ œ œ ≤

œ œ œ

œ

˙

œ œ ˙

Repeat the section of music enclosed by the repeat signs. (If 1st and 2nd endings are used, they are played as usual— but go back only to the first repeat sign, not to the beginning.)

≤

˙

œ œ

œ

œ

81. MICHAEL ROW THE BOAT ASHORE Moderato

, Ó

French Folk Song

œ œ

..

1 & 2 & 3 & 4 &

78. AT PIERROT’S DOOR Moderato ## 4 ≥ & 4œ œ

, Ó

˙

≤

˙

œ œ ˙

1.

˙

˙

≤

˙

≥

American Folk Song

.. œ œ ˙ 2.

œ œ Ó

82. TEXAS TWO-STRING Holding your violin in shoulder position, pizz. this exercise with your left hand 4th finger.

# 4 & #4œ œ Ó 4+

+

4+

+

œœ

Ó

4+ = 4th finger pizz. (etc.)

œœ Ó

œœ

Ó

œœ œŒ œœœŒ œœœœ œœœ œ

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23 4TH FINGER

E A D G

Your 4th finger is often used to match the pitch of the next highest open string, creating a smoother tone and fewer changes between strings for bowing.

&

##

œ

œ

œ

˙ ˙

œ œ

œ

4

œ

œ

œ

œ

0

œ

85. HIGH FLYING

## 2 ≥ & 4œ œ œ œ œ

œ

˙

4

84. 4TH FINGER MARATHON

## 2 ≥ & 4œ

˙

4

œ

œ

œ

2 3

E

83. FOUR BY FOUR

## 4 ≥ & 4œ

1

4

≤

œ

G

œ

œ

œ

˙

œ

œ

œ

œ

4

œ

˙

œ œ œ œ œ

A

˙

œ

˙ 4

˙

œ

F#

4

œ

˙ ˙ œ

˙

˙ 4

˙

86. ESSENTIAL ELEMENTS QUIZ – ODE TO JOY

E &

##

## 4 & 4œ œ œ œ ≥

Moderato

œ œ œ œ

## ≥ & œ œœœ œ

œ œ œ œ

4

≤

œ œ œ œ

˙ œ œ 4

≥

HISTORY

German composer Ludwig van Beethoven (1770–1827) was one of the world’s greatest composers. He was completely deaf by 1802. Although he could not hear music like we do, he could “hear” it in his mind. The theme of his final Symphony No. 9 is called “Ode To Joy,” and was written to the text of a poem by Friedrich von Schiller. “Ode To Joy” was featured in concerts celebrating the reunification of Germany in 1990.

Ludwig van Beethoven

œ œ œ œ

˙

˙

œ œ œ œ 4

˙ œ œ œ œ

˙

˙

œ œ

œ œ œ œ 4

≤

œ œ œ œ œ

œ œ œ œ

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≥

˙

≤

˙

24

PERFORMANCE SPOTLIGHT

★

Good performers are on time with their instruments and music ready, dressed appropriately, and know their music well.

87. SCALE WARM-UP

## 4 ≥ & 4œ

# œ & #

œ

œ

œ œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

88. FRÈRE JACQUES – Round (When group A reaches ②, group B begins at ①)

## ① 24 ≥ & œ

Moderato

THEORY

&

##

≥

œ

œ

œ

œ

œ

œ œ œ œ œ

0

œ œ œ œ œ

œ

œ

Chord, Harmony

0

②

œ

œ œ

œ

œ œ 0

˙ 4

˙

œ

œ œ ˙

œ

œ œ ˙ ≤

French Folk Song

œ

œ

≤

≥

œ

0

œ

˙ 4

≤

˙

..

Two or more pitches sounding at the same time form a chord or harmony. Throughout this book, A = Melody and B = Harmony.

89. BILE ‘EM CABBAGE DOWN – Orchestra Arrangement

American Fiddle Tune ## 4 ≥ ≤ ≥ ≤ ≥ ≤ & 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Allegro

A

B

A

B

## 4 ≥ & 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & &

## ##

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ..

5

Measure Number

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25

PERFORMANCE SPOTLIGHT 90. ENGLISH ROUND

# # 4① ≥ & 4œ

Andante

˙

œ

②

œ

œ

œ œ œ œ œ œ œ œ œ

˙

œ

œ

, Œ

..

91. LIGHTLY ROW – Orchestra Arrangement Moderato

≥

≤ ## 4 & 4œ œ œ œ œ œ ## 4 ≥ & 4œ œ œ œ œ œ 4

A B

## ≥ & œ œ œ œ œ œ œ ## ≥ & œ œ œ œ œ œ œ 5

A B

œ œ œ œ œ œ œ 4

œ œ œ œ œ œ œ

≤

œ œ œ œ œ œ œ 4

œ œ œ œ œ œ œ

≤

≤

œ œ œ œ œ œ

œ œ œ œ ˙

œ œ œ œ œ œ

œ œ œ œ ˙

≤

œ œ œ œ œ œ

œ œ œ œ œ œ

4

œ œ œ œ ˙ 4

œ œ œ œ ˙

92. CAN-CAN – Orchestra Arrangement

## 2 ≥ & 4œ œ ## 2 ≥ & 4œ œ Allegro

A

B

A

B

✔ ✔

## 9 & œ œ # & #œ œ

œœœœ œ œ

œœœœ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ

œœœœ œ œ

HISTORY

French composer Jacques Offenbach (1819–1880) was the originator of the operetta and played the cello. An operetta is a form of entertainment that combines several of the fine arts together: vocal and instrumental music, drama, dance, and visual arts. One of his most famous pieces is the “Can-Can” dance from Orpheus And The Underworld. This popular work was written in 1858, just three years before the start of the American Civil War (1861–1865).

Jacques Offenbach Arr. John Higgins

œœœ œ œ œ œ œœ œ œ œ

œœœœ œ œ

œœœœ œœœœ œ œœ œ

œ œ œ œ œ œ

. œ œ œ œ œ œ œ œ œ œ .

œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ

What were the strong points of your performance?

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. œ .

26 G STRING NOTES

E A D G

1

2 3

A

C

Listening Skills

THEORY

B

is played with 3 fingers on the G string.

B

C

&

#

93. LET’S READ “G” 0

œ

˙

≤

œ

Play F#'s and C n's in this key signature.

94. LET’S READ “C” (C-natural) 3

œ

˙

95. LET’S READ “B”

#4 ≥ B & 4œ 2

œ

˙

96. LET’S READ “A”

#4 ≥ A & 4 œ

is played with 1 finger on the G string.

1

œ

˙

≤

œ ≤

œ ≤

œ

Ledger lines

Ledger Lines

Ledger lines

Play all F’s as F# (F-sharp) and all C’s as C n (C-natural).

#4 ≥ C & 4œ

A

is played with 2 fingers on the G string.

Play what your teacher plays. Listen carefully.

New Key Signature G MAJOR

#4 ≥ G & 4 œ

4

Ledger lines extend the music staff higher or lower.

œ

˙

˙

˙

œ

œ

˙

œ

˙

˙

˙

œ

œ

˙

3

2

œ

˙

œ œ

˙ ˙

˙

˙

œ

0

1

2

˙

˙

œ

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œ

3

˙

27

, Ó

97. WALKING AROUND Name the notes before you play.

#4 ≥ & 4˙ 3

#4 ≥ & 4 ˙

2

1

0

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

—

—

—

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

—

—

—

—

—

˙

˙

˙

98. G MAJOR SCALE Write the note names before you play.

—

—

—

—

#4 ≥ & 4 œ œ œ œ # & œ œ œ œ

≥

—

—

—

Ó ˙

—

99. FOURTH FINGER D

(Meter)

#c ≥

c

˙

4th finger on G string = Open D pitch.

˙

˙

œ

4

œ

˙ 44

œ

œ

Conducting

= Common Time Same as

œ

œ

œ

˙

œ

˙

1

Practice conducting this four-beat pattern.

4

2

˙ Ó THEORY

Time Signature

4

3

100. LOW DOWN

&

#

& œ 4

œ

œ

4

œ

œ

œ

œ œ

˙

101. BAA BAA BLACK SHEEP

&

˙

4

œ

˙

#c ≥

œ

œ œ

œœœœ˙ œ œ œ œ

œ

#4 ≥ & 4œ

E

4

œ

˙

œ œœœ œœ œ œœ˙ ≤

0

œœœœ˙ œ œ œ œ

œ œ œ œ œ œ ˙ American Folk Song

4

4

# ≤ & œ

˙

4

≥

≤

˙

≥

102. ESSENTIAL ELEMENTS QUIZ – THIS OLD MAN Moderato

˙

œ

œ œ œ œ œ œ ˙

#≥ & œ œœ œœœ œ œœ˙

œ

œ

≤

Moderato

4

˙

œ

4

˙

œ œ œ

œ

œ

0

œ

˙ 4

œ œ œ œ ˙

0

≤

œ

œ

œ œ

œ œ

œ

œ

œ

œ œ

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œ

œ œ ˙

28

3 4

Time Signature THEORY

(Meter)

Œ

= 3 beats per measure = q or gets one beat

Dotted Half Note

˙.

——

Conducting

˙.

= 3 Beats of Sound

≥

3 4œ

≤

≥

≤

≥

Count: 1

&

## 3 ≥ & 4œ

œ 2

œ 3

&

&

œ 1

&

≤

œ 2

œ 3

&

˙

Dot A dot adds half the value of the note.

? B ? B ? B

Shadow bow and count before playing.

Practice conducting this three-beat pattern.

3

2

1 & 2 & 3 &

103. RHYTHM RAP

1

1

&

˙.

=

2 beats + 1 beat = 3 beats

≥

˙.

œ

≤

&

2

&

3

˙. 1

&

&

2

3

&

&

104. COUNTING THREES

œ

## 3 ≥ & 4œ œ œ

œ

œ

œ

œ

105. D MAJOR SCALE IN THREES

106. FRENCH FOLK SONG

# # 3 œ≥ œ œ & 4

≤

Moderato

& &

##

##

œ œ œ

œ œ œ ≤

≤

˙.

œ œ œ

Slow Bow

œ œ œ ≤

œ œ œ

˙.

œ œ œ

œ œ œ

..

˙.

Slow Bow

≥

œ œ œ

˙.

œ œ œ

˙.

˙.

œ œ œ

˙.

œ œ œ

˙.

œ œ œ œ œ œ

œ œ œ

≤

..

˙. French Folk Song

œ œ œ

˙.

œ œ œ

œ œ œ

≤

˙.

107. ESSENTIAL ELEMENTS QUIZ – SAILOR’S SONG

E &

##

# & # ≥

≥

Allegro

≥

≤

œ œ œ œ œ œ œ œ œ ˙.

Write in the correct time signature before you begin.

≤

≥

œ œ œ œ œ œ œ œ œ

≤

˙.

˙.

˙.

English Sea Song

œ œ œ ˙. ≤

œ œ œ œ œ œ œ œ œ ˙.

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29

, ## 4 ≥ & 4˙ œ œ ˙ œ œ ˙ œ œ ˙ Ó

108. FIT TO BE TIED

4

## 4 ≥ Ó & 4œ œ

109. STOP AND GO

≤

œ œ

## 4 ≥ Ó & 4œ œ

≥

Ó

≤

œ œ Ó

## 4 ≥ ≤ & 4œ œ ˙

≥

≤

œ œ ˙

## 4 ≥ & 4œ œ ˙

112. D MAJOR SLURS

œ œ ˙

0

0

114. GLIDING BOWS

≤ ## 4 ≥ & 4œ œ œ œ 0

0

115. UPSIDE DOWN

≥

≤ ## 4 & 4œ œ œ œ 0

0

˙ œ œ ˙ œ œ ˙ œ œ ˙ Ó

≥ 1

1

≥

≤

≥

≤

≥

≤

≥

≤

≥

≤

≥

≤

≥

œ œ

≥

Ó œ œ

≤

œ œ Ó

œ œ œ œ œ œ œ œ ˙ ˙

˙.

œ œ ˙

œ œ ˙

œ œ œ œ œ œ œ œ ˙ ˙

˙.

œ œ ˙

œ œ ˙

œ œ ˙

≤

œ œ ˙ ≥

≤

Ó œ œ

113. CROSSING STRINGS

≤ ## 4 ≥ & 4œ œ ˙

≥

4

A slur is a curved line that connects two or more different pitches. Play slurred notes together in the same bow stroke.

110. SLURRING ALONG

111. SMOOTH SAILING

= 2 beats

THEORY

&œ œ

Slur

œ œ

A tie is a curved line that connects notes of the same pitch. Play a single note for the combined counts of the tied notes.

THEORY

&œ œ

Tie

0

≤

Ó

œ œ œ œ œ œ œ œ ˙ ˙

4

≥ 2

≤

œ œ ˙ ≥ 2

œ œ ˙

0

0

≤

≥ 1

œ œ ˙

˙

œ œ

≤

≥ 1

≤

œ œ œ œ

œ œ œ œ

œ œ œ œ

≥

≥

≥

0

≤

œ œ œ œ 1

0

≤

œ œ œ œ 2

0

≤

œ œ œ œ 1

≥

œ œ ˙

œ œ ˙ 0

Ó

˙

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˙

˙

˙

˙

Œ Œ

THEORY

30 A note (or notes) that appears before the first full measure is called an upbeat (or pickup). The remaining beats are found in the last measure.

Upbeat

116. SONG FOR MARIA

## 4 ≤ & 4œ

Andante

Upbeat

œ œ œ œ œ

œ

œ

œ

œ 4

œ œ œ œ œ œ

œ

Where is beat 4?

œ œ œ œ œ œ

œ œ œ

HISTORY

œ

0

œ œ œ œ

Latin American music combines the folk music from South and Central America, the Caribbean Islands, African, Spanish, and Portuguese cultures. Melodies often feature a lively accompaniment by drums, maracas, and claves. Latin American styles have become part of jazz, classical, and rock music.

THEORY

&

##

œ œ œ œ œ œ

œ œ œ œ

4

4

D.C. al Fine

Play until you see the D.C. al Fine. Then go back to the beginning and play until you see Fine (fee’- nay). D.C. is the abbreviation for Da Capo, the Italian term for “return to the beginning.” Fine is the Italian word for “the finish.”

117. BANANA BOAT SONG

& &

## c

˙≥

Moderato

##

˙

˙

˙

œ œœœ œœ œœœœ˙

Fine

œœ˙ œœœœœ œ œ

≥ ## 3 ≥ & 4œ œ œ œ œ 4

A

≥ ## 3 ≥ & 4œ œ œ œ œ Upbeats

A B

A B

& &

## ##

≤

≤

≤

œ œ œ œ œ

Upbeats

B

≤ 4

œ œ œ œ œ

œ œœœœ œ œœœœ œ ˙ 0

œ œœœœ œ œœœœ œ ˙

## ≥ & œ ## ≥ & œ

≤

œ œ œ œ œ

œ

œ œ œ œ œ

œ

≤

4

œ œ

≥

≥ 4

œ œ œ œ œ ≥

œ œ œ œ œ ≥

Œ œ œ ≥

Œ œ œ

Mexican Folk Song Arr. John Higgins

≥

Œ

˙

œ œ œ œ ≥

Œ

˙

œ œ œ œ

œ œ œ œ œ œ≤ œ œ ≤

≤

œ

œ œ œ œ œ

œ

œ œ œ œ

≥

œœ˙ œ œœœœ œ œ œ œœœ œœ œœœœ˙

118. FIROLIRALERA – Orchestra Arrangement Allegro

Caribbean Folk Song

4

D.C. al Fine

4

œ œœœ œœ œœœœ˙

≥

≤

œ

œ œœœœ œ œ œ œ

œ

œ

œ

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≥

˙. ≥

˙.

Tie

Tie

œ œ

31

E SKILL BUILDERS

– G Major

#4 ≥ & 4 œ œ œ œ œ œ œ œ œ œ œ œ

119.

#3 ≥ & 4 œ œ œ

120.

˙.

˙.

œ œ œ

≤ #2 ≥ & 4 œ œ œ ˙ œ œ œ œ œ œ

121.

#4 ≥ & 4 œ œ ˙

122.

#3 ≥ & 4œ œ œ

≤

123.

Slur three

œ œ œ

œ œ œ

˙

˙.

œ œ œ

˙ ˙.

œ œ œ œ ˙

œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ

œ œ œ

#2 ≥ & 4œ œ œ œ œ

œ œ œ

˙

4

œ œ ˙

˙.

œ œ œ œ ˙

˙.

124.

œ œ œ œ œ

œ œ œ

œ œ œ

˙

œ

˙.

œ œ ˙ œ œ œ œ œ œ œ œ œ HISTORY

Far Eastern music comes from Malaysia, Indonesia, China and other areas. Historians believe the first orchestras, known as gamelans, existed in this region as early as the 1st century B.C. Today’s gamelans include rebabs (spiked fiddles), gongs, xylophones, and a wide variety of percussion instruments.

125. JINGLI NONA

#

≤

Allegro

..

& cœ & &

# #

≥

4

œ œ œ œ

œ œ œ œ

œ œ œœœ œ œ œ œ 0

˙

˙

œ œ œ œ

0

˙

˙ 4

œ œ œ œ

œ œœœ œ œ œ œ œ œ œ œ œ

Far Eastern Folk Song

˙

4

˙ 4

œ œ œ œ 1.

˙

˙

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œ œ œ œ ..

œ œ œ œ 2.

˙

œ

Where is beat 4?

32 NEW FINGER PATTERN

Low 2nd Finger

1

2

3

Step 1

Step 2

4

Shape your left hand as shown. Be certain your palm faces you. Notice your 2nd finger lightly touches your 1st finger.

Bring your hand to the fingerboard. Your 1st and 2nd fingers touch. There is a space between your 2nd and 3rd fingers, and between your 3rd and 4th fingers.

E A D G

F

is played with low 2nd finger on the D string.

E

THEORY

Listening Skills

THEORY

≤

Low 2nd finger

œ

˙

nœ

œ

˙

1/2 step

≥

#

#

& œ

œ

œ

, Ó

High 2nd finger

1/2 step

œ œ

œ œ

129. MINOR DETAILS

≥

nœ

˙

œ

˙

A whole step is two half steps combined.

˙

≥

˙

128. SPY GUY

& cœ

n˙

A half step is the smallest distance between two notes.

127. HALF-STEPPIN’ AND WHOLE STEPPIN’

˙

#

b

Half Step Whole Step

#4 ≥ & 4˙

4

F

A natural sign cancels a flat ( ) or sharp ( ) and remains in effect for the entire measure.

126. LET’S READ “F” (F-natural)

#4 ≥ & 4 nœ

3

Play what your teacher plays. Listen carefully.

n

Natural

F

1 2

&c œ œ œ œ œ œ

nœ nœ

œ #œ œ

œ

œ œ

œ œ œ œ œ œ 4

Whole step

œ nœ

œ

n˙

Whole step

œ

œ

œ #œ

œ

œ œ œ œ œ œ

, Ó

˙ œ œ

œ œ

.. œ

œ

œ œ œ œ ˙ 4

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œ Œ

33 NEW FINGER PATTERN

Low 2nd Finger On The A String Shape your left hand on the A string as shown.

E A D G

C is played with

1 2

low 2nd finger on the A string.

B

Listening Skills

# # 4 n ϳ C & 4

œ

2

n ϲ

˙

œ

˙

˙

, Ó

1/2 step

&

œ

œ

œ

œ

œ

œ

#4 ≥ & 4œ œ œ œ œ œ

nœ nœ

133. THE STETSON SPECIAL

134. BLUEBIRD’S SONG

#4 & 4

ϳ

Allegro

# œ &

œ œ

Whole step

n˙

nœ

œ

˙ , Ó

˙ Whole step

..

Chromatic notes are altered with sharps, flats, and naturals. A chromatic pattern is two or more notes in a sequence of half steps.

132. CHROMATIC MOVES

## œ

˙≥

˙

THEORY

# # c ϳ &

˙

2

Chromatics

C

n˙

131. HALF STEP AND WHOLE STEP REVIEW

1/2 step

4

Play what your teacher plays. Listen carefully.

130. LET’S READ “C” (C-natural)

# # 4 ˙≥ & 4

3

œ

œ

œ œ

œ #œ œ

œ

nœ

œ

œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ

œ

œ

œ œ

œ

œ

œ #œ

œ

œ œ œ œ œ œ œ œ

œ

œ œ

œ

œ

˙ œ

œ

œ

˙

Œ

œ œ œ œ ˙ Texas Folk Song

œ œ œ œ œ

œ œ œ œ ˙.

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œ

Œ

34

&

THEORY

Key Signature C MAJOR

All notes are naturals.

135. C MAJOR SCALE – Round

①≥ 2 &4 œ

& œ

œ

Duet

œ

œ

œ

œ

②

œ

œ

œ

œ

1/2 step

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

1/2

œ

1/2

œ

1/2

˙

A composition with two different parts, played together.

≥ 4 &4 œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙ ≥ 4 œœœœ ˙ ˙ œœœœ &4 ˙ ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙

136. SPLIT DECISION – Duet

A B

137. OAK HOLLOW

≥

Moderato

&c

&

≥

œ

œ

œ

œ

œ

œ

œ

œ

œ œ ˙

œ

œ

œ

˙

œ

œ

œ

138. A-TISKET, A-TASKET

≤

≥

Allegro

& 44 œ

HISTORY

&œ

.. ˙

œ

œ

œ

œ

œ

œ

˙

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

1.

œ

œ œ ˙ œ

4

≤

œ

˙.

˙

˙

..

2.

˙.

˙

In the second half of the 1800s many composers tried to express the spirit of their own country by writing music with a distinct national flavor. Listen to the music of Russian composers such as Borodin, Tchaikovsky, and Rimsky-Korsakov. They often used folk songs and dance rhythms to convey their nationalism. Describe the sounds you hear.

139. ESSENTIAL ELEMENTS QUIZ – RUSSIAN FOLK TUNE

≥

E & 44 œ

Andante

œ œ œ

&œ œ œ œ

˙

˙

˙

˙

œ œ œ œ

œ œ œ œ 4

˙

˙

œ œ œ œ

œ œ œ œ 4

œ œ œ œ

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Russian Folk Song

œ œ œ œ ˙.

Œ

35

œœ

This page mixes finger patterns. Watch for low second finger (C n ) and high second finger (F# ).

Alert:

140. BINGO

#2 ≤ & 4œ

Allegro

# ≤ & œ

œ

18th Century English Game Song

œ œ œ œ œ œ œ œ œ œ œ œ œ ≥

≤

œ œ œ

œ

œ œ œ œ 4

œ

œ

œ

œ œ œ œ

œ

≤

œ

œ œ œ

≥

..

Œ

œ

Where is beat 2?

HISTORY

English composer Thomas Tallis (1505–1585) served as royal court composer during the reigns of Henry VIII, Edward VI, Mary, and Elizabeth I. Composers and artists during this era wanted to recreate the artistic and scientific glories of ancient Greece and Rome. The great artist Michelangelo painted the Sistine Chapel during Tallis’ lifetime. Rounds and canons were popular forms of music during the early 16th century. Divide into groups, and play or sing the Tallis Canon as a 4-part round.

141. TALLIS CANON – Round

# 4① ≤ & 4œ

Moderato

# & œ

œ œ

œ

œ

œ

②

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

Moderato

# ≤ œ œ œ & œ #

& œ œ œ ˙

œ œ ˙

œ œ ˙

œ

œ

œ

œ œ

œ

Thomas Tallis

œ

œ œ

≤

œ œ œ œ

œ œ ˙

≥

œ œ œ œ

≥ œ œ œ œ œ œ œ œ œ ˙

Variation 1

œ œ œ œ œ œ œ œ œ ˙

..

œ

Theme and Variations is a musical form where a theme, or melody, is followed by different versions of the same theme.

142. VARIATIONS ON A FAMILIAR SONG

# c œ≥ œ & œ œ

œ

④

THEORY

Theme and Variations

œ

œ

③

œ œ ˙

œ œ œ œ œ œ

œ œ œ œ œ œ

˙

˙

Variation 2 – make up your own variation

143. ESSENTIAL CREATIVITY – THE BIRTHDAY SONG

≥ ≤ ≤ œ≥ ≥ #3 ≤ œ œ œ & 4œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ ˙ Moderato

4

4

Now play the line again and create your own rhythm.

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36

Special Violin Exercise

œ

œ

Write the note names below. Then, write stories using as many note names as possible. Share your work with orchestra friends.

&

œ

Note Names:

&

œ

—

œ

—

œ

œ

—

—

—

œ

œ

œ

—

—

—

œ

œ

—

œ

—

—

œ

—

œ

œ

—

—

—

œ

—

œ

—

—

œ

œ

œ

—

—

œ

œ

—

œ

œ

—

—

—

—

œ

œ

—

—

Great musicians give encouragement to their fellow performers. Viola and cello players will now learn new challenging notes. The success of your orchestra depends on everyone’s talent and patience. Play your best as these sections advance their musical technique.

Team Work Listening Skills

Play what your teacher plays. Listen carefully.

144. LET’S READ “C” – Review

&c

≥

œ

œ

≤

˙

œ

œ

˙

˙

˙

œ

œ

˙

œ

˙

˙

˙

œ

œ

˙

œ

˙

˙

˙

œ

œ

˙

œ

˙

˙

˙

œ

œ

˙

145. LET’S READ “F” – Review

≥

&c œ

œ

≤

˙

œ

146. LET’S READ “E” – Review

≥

&c œ

œ

≤

˙

œ

147. LET’S READ “D” – Review

&c

≥

œ

œ

≤

˙

œ

148. SIDE BY SIDE Name the notes before you play.

≥ 4 &4 ˙

˙

˙

˙

˙

˙

˙

˙

˙

, Ó

≥

˙

˙

˙

˙

˙

˙

˙

Ó

˙

˙

˙

˙

˙

˙

˙

149. C MAJOR SCALE

≥ 4 ˙ &4

˙

˙

˙

˙

˙

˙

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37

Whole Note

Whole Rest

∑

= 4 Beats

=

hangs from a staff line.

1 & 2 & 3 & 4 &

1 & 2 & 3 & 4 &

150. RHYTHM RAP

≥ ≤ ≥ ≤

Shadow bow and count before playing.

44 w≥

w≤

œ œ œ œ

4 ≥ &4 w

≤

≥ ≤ ≥ ≤

Count: 1 & 2 & 3 & 4 &

1 & 2 & 3 & 4 &

151. SLOW BOWS

w

Slow Bow

≤

Moderato

&c ˙ &

≥

œ œ ˙ ≤

œ œ ˙

˙

≥

œ œ ˙ ≥

œ œ ˙

1 & 2 & 3 & 4 &

1 & 2 & 3 & 4 &

∑

≥ ≤ ≥ ≤

≥

œ œ w

œ œ œ œ w

˙

˙

≥

≤

œ œ w ≤

œ œ ˙

˙

≥

≤

≤

154. LISTEN TO OUR SECTIONS

&c

œ œ œ œ

∑

Viola

≥

≥

Moderato

&c œ œ œ œ œ œ œ œ œ ˙ ≥

∑

Cello

155. MONDAY’S MELODY

≥

T. H. Baily

œ œ w

œ œ w

≥

≤

4 &4 ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ w Violin

≤

œ

Œ Ó

An arpeggio is a chord whose pitches are played one at a time. Your first arpeggio uses the 1st, 3rd, 5th, and 8th steps from the C major scale.

153. C MAJOR SCALE AND ARPEGGIO

≥

œ œ œ œ w≥

Slow Bow

≥

≤

4

∑

≥

œ œ w

sits on a staff line.

≥ ≤ ≥ ≤

1 & 2 & 3 & 4 &

≤

4

Ó

THEORY

Arpeggio

1 & 2 & 3 & 4 &

œ œ œ œ

Slow Bow

152. LONG, LONG AGO

≥

∑

A Whole Measure of Silent Beats

Half Rest

THEORY

w-—-—

Whole Rest

&œ œ œ œ œ œ œ œ œ œ œ

Bass

≥

∑

œ œ Ó

Vln.

Vla.

Vcl.

≥

œœœœœ œ œ œœ˙

≥ ,Fine ≥ Œ œ œ œ œ œ œœ˙

∑

Bs.

≤ ˙≥ œ œ w

Arpeggio

All

œ œ œ œ œ œ ˙ ≥

≥

Traditional Folk Song

œœ˙ œ œ œ œ œ œœ ≥

≥

œ œ œ œ œ œœ˙

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D.C. al Fine

38 E STRING NOTES

E A D G

1 2 F#

A

Listening Skills

&c

ϳ 0

œ

157. LET’S READ “A”

A &c

ϳ 3

œ

158. LET’S READ “G”

G &c

ϳ 2

œ

F#

&c

is played with 2 fingers on the E string.

is played with 1 finger on the E string.

˙

ϲ

œ

˙

˙

˙

œ

œ

˙

˙

ϲ

œ

˙

˙

˙

œ

œ

˙

˙

ϲ

œ

˙

˙

˙

œ

œ

˙

#˙

œ #œ

˙

159. LET’S READ “F # ” (F-sharp)

# ϳ

F#

A

Play what your teacher plays. Listen carefully.

156. LET’S READ “E”

E

G

is played with 3 fingers on the E string.

G

3

œ

˙

# ϲ

œ

˙

˙

160. MOVING ALONG Name the notes before you play.

# 4 œ≥ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ≥ œ œ œ Œ œ œ œ œ œ œ œ œ Œ œ œ œ œ Œ Œ Œ Œ & 4 3

2

#c ≥ & œ œ ˙

161. G MAJOR SCALE

œ œ ˙

1

œ œ ˙

0

œ œ ˙

œ œ ˙

œ œ ˙

œ œ ˙

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œ œ ˙

39 162. SHEPHERD’S HEY

# 2 & #4

ϳ

œ œ œ œ œ

Moderato

œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

, œ Œ ..

English Folk Song

œ

163. BIG ROCK CANDY MOUNTAIN

≤ # # c œ≥ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1.œ ˙ œ œ . 2.œ ˙ œ œ œ œ œ œ . . &

American Folk Song

Allegro

&

≤ ## œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

NEW NOTE

E A D G

B is played with

1 2 F#

4 fingers on the E string.

Listening Skills

ϳ 4

œ

œ œ œ œ

165. ICE SKATING

## 4 ≤ & 4œ

Moderato

G

A

4

B

Play what your teacher plays. Listen carefully.

164. LET’S READ “B”

## 2 B & 4

3

œ œ œ œ œ œ

## œ œ œ œ œ &

œ

œ

œ œ œ œ œ œ

œ œ œ œ œ

œ

œ

œ œ œ œ

œ œ œ œ œ œ 4

œ œ œ œ œ 4

œ

166. ESSENTIAL ELEMENTS QUIZ – ACADEMIC FESTIVAL OVERTURE THEME

## 2 ≤ & 4œ

Moderato

E

œœœœ œ œ

œœœœ œ œ

œœœœ œ œ

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˙

œ œ œ 4

œ

œ œ œ

œ

œ

œ

Johannes Brahms

40

Staccato

œ.

or

œ.

Staccato notes are marked with a dot above or below the note. A staccato note is played with a stopped bow stroke. Listen for a space between staccato notes.

## 4 ≥ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ œ œ œ œ. œ. . . . . ## . œ. œ œ œ œ œ. œ. . . œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ. œ.

167. PLAY STACCATO

168. ARKANSAS TRAVELER

## 4 ≤ & 4 œ œ œ œ. œ. œ. œ ## & œ œ œ œ œ. œ. œ. Allegro

E SKILL BUILDERS

œ. œ. œ. œ. œ.

œ.

œ.

#3 ≥ œ œ œ ˙. œ œ œ œ & 4œ œ #2 ≥ . . & 4œ œ œ œ œ œ

. . œ œ œ œ œ œ

≥ #3œ œ œ œ œ œ œ œ œ ˙. & 4

171.

≥

#2 & 4œ œ œ œ œ œ

172.

≥ # 3 œ. œ. œ. & 4

173.

˙.

œ œ œ œ œ .

œ.

œ œ œ œ œ . œ. œ œ œ.

– G Major

169.

170.

œ. œ. œ. œ.

Southern American Folk Song

œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ ˙. œ œ œ œ œ. œ.

œ ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ

4th finger on A string = open E pitch

4

. œ. œ. œ

˙.

œ œ œ œ ˙

4

œ. œ. œ.

œ. œ. œ. 4

œ œ œ œ ˙ ˙

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œ

˙.

œ.

41

&œ œ . .

Hooked Bowing

## c ≥ & œ. # # ˙≥ &

174. HOOKED ON D MAJOR

≥ # # 3 ˙. & 4

≥

œ.

≤

≤ œ.

≥.

≤

œ.

≤ œ.

œ

≤

≥

≤

Allegro

≤

œ.

≤

œ. ≤

œ.

≥

œ.

˙. ≤

4

˙.

œ œ œ 4

œ.

177.

œ œ œ

˙.

≥ 3 œ &4 œ œ

179.

˙.

2 œ≥. œ œ &4 œ. œ.

≥

œ.

≤

œ.

≥

˙

œ.

≤

≤

œ. œ. ≥

˙.

≥

˙.

≥

≤

œ.

≥

œ.

≤

˙.

˙.

˙

˙. ≤

≤

œ.

œ.

˙.

American Folk Song

˙.

œ.

≤ œ.

≤

˙

≤

œ.

œ. ≥

œ. ˙.

≤ œ.

≥

œ.

˙.

˙.

˙.

˙.

˙.

– C Major

˙.

˙.

2 ≥ &4 œ œ œ œ œ œ œ œ œ ˙

178.

≥

˙.

œ œ œ

œ.

E SKILL BUILDERS ≥ 3 &4 œ œ œ

≤

≤

œ.

≥

˙.

176. POP GOES THE WEASEL

## 3 ≥ ≥ ≤ & 4˙ œ ˙ . . . ≥ ≤ ## ≥ & ˙ œ ˙ . . .

œ.

˙ œ.

≤

≥

≥

≤

˙.

≥

œ.

œ.

175. WALTZING BOWS

Hooked bowing is two or more notes played in the same direction with a stop between each note.

œ œ œ

˙.

180.

œ. œ œ œ œ . .

œ œ œ

œ œ œ

œ œ œ

œ œ œ

œ œ œ

œ œ œ 4

œ œ œ œ ˙ ˙

œ

˙.

œ. œ œ ˙ œ œ œ œ œ œ œ œ

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42

Dynamics

≥

f (forte)

Dynamics tell us what volume to play or sing.

p (piano)

181. FORTE AND PIANO

& 44 œ f

œ

œ

Œ

Play loudly. Add more weight to the bow. Play softly. Remove weight from the bow.

≤

œ

œ

œ

182. SURPRISE SYMPHONY THEME

≥

Andante

& c œ œ œ œ œ. œ. ˙ . . . . p ˙ & œ. œ. ˙ ˙ ˙ #˙ f 13 , ≥ & œ œ œ Œ œ œ œ. œ. . . . . . f

E SKILL BUILDERS

Œ

œ p

œ

≤

œ. œ. œ œ . . 9

≤

n˙ ˙ p œ. œ. ˙ 4

Œ

œ

œ

œ 5

≤

œ. œ. ˙ ≤

≥

œ

Œ

Franz Josef Haydn

œ. œ. œ. œ.

œ. œ. œ œ œ œ œ. œ. œ. œ. ≤ ≤ œ. œ. œ œ œ œ œ. œ. ˙ 4

– Scales and Arpeggios

Add your own dynamics to any of the lines below.

≤ ≥ ≤ ## 2 ≥ œ œ œ œ œ œ œ œ œ œœ œ œ & 4œ œœ œ œœœ œ œ

183. D MAJOR

≤ ≤ ≥ #2 ≥ & 4 œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

, Œ .. œ

184. G MAJOR

≤ ≤ ≥ œ œ #2 ≥ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ & 4œ œœ œ œ

185. G MAJOR

œ

≥ ≤ ≥ ≤ 2 œ œ œ œ œ œ œ œ œ &4 œ œ œ œ œ œ œ œ œ œ œ œ œ ≤ ≥ ≤ 2 ≥ œ œ œ œ œ œ &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ SheetMusicDirect.us Order 4404752 | 1 copy purchased by Gonzalo Escuti on Apr 09, 2016 at 9:02pm CDT

, Π..

, œ Œ ..

186. C MAJOR

187. C MAJOR (Lower Octave – viola and cello)

..

œ œ

, Π.. , Π..

43

PERFORMANCE SPOTLIGHT 188. CRIPPLE CREEK – Orchestra Arrangement (A = Melody and B = Harmony)

# # 4 œ≥ & 4 f ## 4 ≥ & 4œ f

A

B

A

B

≤

˙

ϳ

˙

œ

## . ≥ & . œ œ œ œ œ œ œ œ œ ˙

≥

Allegro

œ œ œ

œ

œ œ œ

œ

œ

œ ≤

œ

œ

≥

œ œ œ œ œ œ

American Folk Song Arr. Michael Allen

≤

œ

œ ≤

œ

œ

œ

˙

œ

˙

œ œ œ œ œ œ œ œ œ ˙

## . ≥ & . œ ˙ œ œ œ œ œ œ œ œ

≥

œ œ œ œ œ œ œ œ œ ˙

189. TEKELE LOMERIA – Orchestra Arrangement

œ≥ œ œ œ œ œ c & œ œ œ œ œ œ œ œ f

A

B

A

B

≥

œ œ œ œ œ œ œ

& ˙ p ≥

& œ œ p

˙ œ œ

œ œ œ f

œ œ œ

œ œ œ f

œ œ œ

4

≥

˙ p

˙

œ œ p

œ œ

≥

4

≥

..

Kenyan Warrior Song Arr. John Higgins

.. œ œ œ œ œ œ

œ œ œ œ œ œ œ

4

..

œ œ œ œ œ œ ..

≤

&c œ œ œ œ œ œ œ œ œ œ œ œ œ œ f ≥

≥

≤

Moderato

..

HISTORY

Africa is a large continent made up of many nations, and African folk music is as diverse as its many cultures. This folk song is from Kenya. The words describe warriors as they prepare for battle. Listen to examples of African folk music and describe the sound.

..

4

œ œ œ œ œ œ œ. f 4

œ œ œ œ œ œ œ. f 0

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44

HISTORY

PERFORMANCE SPOTLIGHT Italian composer Gioachino Rossini (1792–1868) wrote some of the world’s favorite operas. “William Tell” was Rossini’s last opera, and its popular theme is still heard on television.

190. WILLIAM TELL OVERTURE – Orchestra Arrangement

≥ ≤ ≤.

#4 ≥ ≤ & 4 œ œ œ œ œ œ œ œ œ. œ. . p . ≥ ≤ ≥ ≤ #4 Œ Œ Œ & 4 œ. œ. œ. œ. p # . ˙ œœœ & œ. œ. œ œ œ Allegro

A

B

A

B

#

& œ œ. œ. œ œ ˙ .

# . œ. . œ œ. œ œ œ œ œ & œ . . . f # . & œ. œ œ. œ. œ œ. œ œ œ . . f 4

A

B

œ

œ ≤

œ œ œ. œ . œ. œ œ œ. œ œ œ. œ œ f

œ œ œ. œ œ œ. ≥

œ. Œ

. œ œ. œ

œ œ œ. œ. œ. œ œ œ.

œ.

Œ

Gioachino Rossini Arr. John Higgins

≤

Œ

œ.

œ. œ œ . .

Œ

≥

≤

Œ

Œ

œ. œ. f Fine 9 . . œ. . . . œ œ œ. œ œ œ œ œ œ œ œ œ p . . œ œ œ. œ. pœ œ œ. œ œ œ. œ œ œ. D.C. al Fine , . . . . œ œ œ . . . œ œ œ # œ œ œœ œ œ œ Œ Œ 4

4

4

4

4

, .œ .œ .œ œ œ œ œ œ. Œ Œ œ. œ œ œ. œ œ œ. œ. œ.

191. ROCKIN’ STRINGS – Orchestra Arrangement

≥

Moderato

A

## 4 . n œ œ n œ œ œ œ œ œ œ œ œ œ œ & 4 f ## 4 ≥ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ. f ## & œ œ œ œ n œ œ œ œ œ œ œ œ n œ. œ . ## & œ œ n œ œ œ œ œ œ œ œ n œ œ œ. œ. 4

B

A

4

B

4

4

œ.

œ œ œ œ nœ œ œ œ ˙

œ.

œ œ œ œ œ œ œ œ ˙ 4

œ œ œ œ nœ œ œ œ ˙ . 1.

œ œ œ œ œ œ œ œ ˙. 4

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John Higgins

≤ ≥ ≤

n œ œ œ. ≤ ≥ ≤

n œ œ œ.

, 2. Œ .. ˙ Œ œ. , Œ Œ .. ˙ œ.

45

PERFORMANCE SPOTLIGHT

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f ≥ œ œ œ œ œ œ œ œ œ ## 4 Ó œ œ œ œ Œ œ œ & 4 f # # œ œ œ≤ œ≥ ≤ ≥ ≤ œ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &

192. SIMPLE GIFTS – Orchestra Arrangement

A

B

# # Andante Œ & 44 Ó

≥

0

0

0

0

0

A

0

# # œ œ œ≤ œ≥ ≤ ≥ ≤ ≥ œ œ œ ˙ &

B

A

B

&

# # œ≥ œ ˙

&

œ œ ˙

A

&

B

&

##

≥

≥ ## ˙

f # # ˙≥ f

œ œ œ œ

10

≤

4

˙ p

œ œ

≤

4

˙ p

œ œ

˙

œ œ œ œ œ œ

œ

œ œ œ œ œ œ

œ œ œ œ œ œ 4

œ

œ

0

œ

œ œ

œ

4

4

œ≥ œ œ œ œ 4

0

≤

œ œ ˙

0

4

œ œ œ œ

˙

# # 19œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &

˙

˙

, ≥ ≤ Œ œ œ , ≥ ≤ Œ œ œ 4

˙

˙

œ œ œ≤ œ≥ œ≤ ≥ œ œ p ≥ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ & œ œ œ p ## Ó & œ œœœœœœ œ œœœ œœ œ œ œ œœ ˙ ˙ ˙ w ## Ó & œ œ œ ˙ ˙ ˙ ˙ œ ˙ ˙ w ˙ 0

4

B

0

4

4

A

œ

œ œ œ œ

0

B

œ 0

4

, Œ œ œ œ œ œ œ œ œ œ , ˙ ˙ œ œ œ Œ

œ œ œ œ œ ˙

4

A

œ œ

œ

Shaker Folk Song Arr. John Higgins

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46

PERFORMANCE SPOTLIGHT A solo is a composition written for one player, often with piano accompaniment. This solo was written by Johann Sebastian Bach (1685–1750). You and a piano accompanist can perform for the orchestra, your school, your family, and at other occasions. When you have learned the piece well, try memorizing it. Performing for an audience is an exciting part of being involved in music.

Solo with Piano Accompaniment

193. MINUET NO. 1 – Solo

# 3 œ≥ œ≤. œ≤. & 4 f # & œ œ œ œ Moderato

. œ. œ œ

œ œ œ œ , Œ

˙

# ˙ &

œ

œ œ ˙.

4

≤ œ œ œ œ œ

ϳ

# 3Moderato œ œ & 4œ œ F ? # 43 œ œ #

œ œ

œœ

œ œ œ

œ

œ

œ

œ œ œœ

˙. ˙. œ

œ œ œ œ

œ œ

?# œ

Œ

Œ

œ

# & ˙œ

œ

œ œ œ

˙˙ . .

& œ ?# ˙

# œœ &

?#

œ

œ

œ

œ

œ.

œœ

œ œ

œ

˙˙ ˙

9

˙

Œ

œ J œ œ

œ

œ

œ œ #œ œ œ

œ Nœ œ œ f

œ œ œ œ

17

œ œ

œ œ œ

œ

œ ˙. ˙. œ

œ

œ

œ œ œ œ

Œ

œ

Œ

Œ œœ œ

Œ ˙.

œœ N œ œ œ œ f œ Nœ œ œ ˙ œ

œ œ

œ œ œ œ

œ

Œ

œ

Œ

Œ

œ ˙

œ œ œ

œ

œ

œ œ

œ

œ œ

œ œ œœ

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Œ

œ œ #œ œ œ

17

œ œ œ œ Œ

œ œ

œ

œœ

˙.

œ œ œ

œ œ œ œ

œœ # œœ

œ œ œ

œ

œœ

œ œ œ 0

œœ

# œœ . ˙

œ

œ œ œ œ #œ Œ

˙ ˙

œ œ œ œ œ

.. œœ œ p .. ˙

˙

œ œ

4

œ œ œ œ œ

4

Piano Accompaniment

≤ œ œ œ œ œ œ œ œ œ

ϳ

≥ ˙ . #œ œ œ œ œ . ˙ p ≤œ ≥œ œ œ œ œ œ œ œ œ #œ # . œ œ ˙ & 9

Johann Sebastian Bach Arr. John Higgins

œ

œ

˙. ˙. œ

˙

47

# & # 44 w

THEORY

Improvisation

Improvisation is the art of freely creating your own music as you play.

194. RHYTHM JAM Using the following notes, improvise your own rhythms.

w

w

w

w

w

w

w

195. INSTANT MELODY Using the following notes, improvise your own melody (Line A), to go with the accompaniment (Line B).

&

A

B

##

w w w w w w

# & # 44

## 4 ≥ & 4œ

œ

˙

œ

œ

˙

œ

œ

œ

œ

œ

VIOLIN FINGERING CHART E STRING

&

w 0

E

A STRING

& w 0

A

# w1 F#

w2

w3

w4

G

A

B

w

w

#w

w3

w4

D

E

1

w

#w

w

w

3

4

1

B

2

C

2

C#

D STRING

& w 0

D

w E

2

F

2

F#

3

G

4

A

G STRING

&

0

1

2

w

w

w

G

A

B

w C

w D

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œ 4

˙

48

E REFERENCE INDEX Definitions Allegro

(pg.)

20

Repeat Sign

World Music

5

Alto Clef

5 (viola)

Repeat Signs (enclosed)

Andante

20

Round

Arco

16

Scale

O

11

37

Shadow Bowing

Bar Lines

4

Sharp

Bass Clef

5 (cello & bass)

Slur

29

Solo

46

4

AFRICAN Tekele Lomeria

24

Arpeggio

Beat

22

AMERICAN Arkansas Traveler

13

17

O

O

O

Staccato

40 O

Chord

24

Tempo Markings

Chromatics

33

Counting

20

O

Theme And Variations

Common Time

27

Tie

5

35

O

29

O

Time Signature

O

5

O

D.C. al Fine

30

Treble Clef

5 (violin) O

Dotted Half Note

28

Up Bow

13 30

O

Double Bar

5

Upbeat

Down Bow

13

Whole Note

37

Whole Rest

37

Whole Step

32

Duet

34

Dynamics

42

40

O

6

O

Bow Lift

43

Big Rock Candy Mountain Bile ‘Em Cabbage Down Bluebird’s Song 33

39 24

Cripple Creek 43 Grandparents Day 22 Michael Row The Boat Ashore 22 Old MacDonald Had A Farm 14 Monday’s Melody 37 Pop Goes The Weasel 41 Skip To My Lou 35 Simple Gifts 45 This Old Man 27

CARIBBEAN O

Banana Boat Song

30

ENGLISH Bingo 35 English Round 25 Sailor’s Song 28 Shepherd’s Hey 39 O

Eighth Notes

20

O

1st & 2nd Endings Forte ( f )

21

42

Composers

O

O

JOHANN SEBASTIAN BACH

Half Note

22

Half Rest

22

Half Step

32

LUDWIG VAN BEETHOVEN

Harmony

24

O

O

Hooked Bowing

41

Improvisation

47

Key Signature

15

Ledger Lines Measures

Ode To Joy (from Sym. No. 9)

23

20

Music Staff

4

24

Academic Festival Overture Theme

Surprise Symphony Theme 42

WOLFGANG AMADEUS MOZART A Mozart Melody

15

O

42

Can-Can From “Orpheus And The Underworld” 25

4

Quarter Note

4

Quarter Rest

4

O

39

O

O

William Tell Overture

THOMAS TALLIS O

Tallis Canon

MEXICAN Firoliralera O

30

RUSSIAN Russian Folk Song SLAVIC Morning Dance O

O

44

8

9

TRADITIONAL HOLIDAY MUSIC Dreidel 13 O

35

34

WELSH Good King Wenceslas

GIOACCHINO ROSSINI

Pizzicato (pizz.)

FRENCH At Pierrot’s Door 22 Au Claire De La Lune 20 French Folk Song 28 Frére Jacques 24

O

JACQUES OFFENBACH

30

31

O

O

32

Jingli Nona

O

4

Moderato

Pickup

O

FRANZ JOSEF HAYDN

O

Piano ( p )

FAR EASTERN

46

JOHANNES BRAHMS O

26

Measure Number

Natural

Minuet No. 1

O

Jingle Bells

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