A Tune A Day Violino 2[1] 48604m

UNE A FORVIOUN. BY

C.PAUL HERFURTH. BOOK

Two.

BOSTON MUSIC COMPANY.

FORVIOLIN. BY C.PAUL HERFURTH.

BOOKTwo.

Exclustve dístributors: Music Sales Limited 14- I 5Berners Street, London Wl T lU England. Music Sales Pty Limited 20 Resoluticn Dríve, Caringbah, NSW 2229, Australia. Order No. BM I 0298 ISBN 0.7 119:1 592.x

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BOSTON MUSIC COMPANY.

DICTIONARY OF 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

/

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. that you must first read the note and then place the finger, so 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]

t

LESSON 1

Review of Keys Studied in Book 1


D Major

V

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V

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bowinga carefullyl

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Copyright,

1933, by The Boston Music Co, Printed in England, CHAPPELL &: Co., Ltd., 50 New Bond, Street, London, W.l.

LESSON 2

Studies for the use of the second finger in different positions Two new notes,C natural on the A stn..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~ G~ Finger8

0 t.

~

@----@ Z

Name the following notee, finger used, high or low po.ition

I

0

@ 4

for second finger, and on what string played.

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PIay slowly the following exercillM, obae1"Ving careful1y the C'. and G's. . . 4

ISecond

flnger in

10'911'

position C~

® Notiee the key signature;

'e @

-Exerciae

I

it is a guide for proper finger posítions.

LOWBIOB

No. 1 may also be played

OD

the E string.

@Ol

8

LESSON 3

Familiar Melodies Using The Second Finger in the Low Position Lightly Row Allegretto (Brightly)

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Henry R. Bishop

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The First Noel Co~ moto (with motion)

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4

LESSON 4

G Major Scale and Arpeggio in Two Octaves

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Duet

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Practise I\~

Pupil Pupil or Teache •.

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both parts

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1811- 1884

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to Henry Carey

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God Save The Queen

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Mark with thilSsignAtbtS balf 8tepe in both parta of exerci se No. 4. Write 4 times the G ~ in 2 octaves marJr.in« th" Iutlf atepa Uld p1acing the 8harp. M.,nusoript s~et page 7.

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LESSON 5

Continuation of the key of G Exercises in crosslng trom C natural to FI

ITha sacond



finger must be lifted and p1aced in its ne'W position.l

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Play slaw1y

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~"~Be~1 ~ Hold first finger in position throaghout above exerciaes.

Duet

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Practise both parts.

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Little Waltz

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Mark hall stepa on thi. paga the eame as before.

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8

LESSON 6 Flow Gently, Sweet Afton (Quartet) James E. Spilman

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Evening Moderato (Moderately fast)

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• rit., abbreviation for ritenuio_ gradua11y luackening in speed,

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.•..- ....

Roberl Schumann

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

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'7

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

a

t

B~------~J---~--~r-~~---ç~-------

A~--------~J----C~--~J---~-----Cr---------

D~--------~J---~ O~----------~ __~

-ó~--~o~---------

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Fingers

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Hold lhe 2nd finger firmly

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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

Carl lIuia ..,..Webw

1,...-1•••

(Slowlv\ "

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Write C Major scale " Um"II, marking the balf atep•. Alao fiU in blanka in above cllap'&m.

LESSON 8 ILearn to take particular

notice of the key signature

Americ8, the Beantiful

Allegretto (Brisk1y) tJ

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Negro Spiritual

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LESSON 9

Oontinuation of the key of C Major In acale ages

use the open string

in ascending,

and the fourth finger

in descending.

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u. LESSON 10

Onward, Chrlstian Soldiers Trio Sir Arthur Sullivan 1842-1800

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LESSON 11 and what they mean.

Note careful1y the key signatures D. C.- Da Capo- to beginning. Fine- End

Melody Franz Joseph Haydn

Trio

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1782-1809

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LESSO~ 12

Christmas Carols Theme From

"Lohgesang"

Felix Mendelssohn Bartholdy 1I!09-1847

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o Come, All Ye Faithtul .

(Adeste Pídeles)

Moderato (Moderately)

XIIIth Century Latin Hymn

Silent Night, Holy Night , 11

. 111

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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 fingerboard. 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,.

IPlay

to slids under t/&sneck.

with the fips of lhe fingers·1

Fingers I E AK>-----\

D~----~----~----~----~8---~~-----C~--------G~--~----~r--~J-----~--~j_----~--------Fíngers 1

CD

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4

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LOW HIGH

LOW

@

®HIGH

LOW HIGH

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LOW

4

Little Scale Study

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Mark the half steps in this lesson and fill in blanks

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in above diagram.

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15

LESSON 14 Continu8.tion of the key 01 C Major using F natural on the E string.

LODg, LODg Ago

Andante 1\

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LESSON 15 "I'he Little Sandman Johannes

Andante V

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~

f' I

====-••••

--=:::::

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..

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:=:==--

••••• "-

-

,

~

Y

,

;":

Ir

T

1111' 't

-

.

Pupil ~

Brahms

1833-1891

-

Theme from Symphony No. ti ~

Pupil

,

M

M .~

I

.-...

M

,

M

z:

r-:

...•..

- -

r.-"'"

r

I

Haydn

V •. -.'-~

~

I~~/I.-'à\

-

ã':,. r-:.. ;:;--....

~

s>: I

V •. - .• .:..,~

-

~~ I

~

I~ •. ~~

-

I

~

-

---

sr-:

,-

r

~

-

0r::

-

-I

M

~

,

M

m.p -

,

~

---

Allegretto

~

Teacher

(Military Syrnphony)

r

"'-=

I

First and SecondTime Bar

...;'

112. I~·~~:I.

I

1I

The term 1st and 2nd time bars applies to one or more bars in brackets at a doublc bar; thus when the etrain is repeated, the first time bar isomitted and the second time bar played instead. E

I

••

German College Song 1'\

All~retto V

"

Pupil @

~

Teacher

-'

?lfI

,

v

••

--

-'

...•.

~

-

1

1. _

I r 2.• ~

-

,....".,.,

..

,..,.,..,.

--

t,

LESSON 16

Key of F Major 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.

I'

"

@"

V

V li·

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.

- -

-

-

'. -

I

i8

LESSON 17

Continuatíon of the key of F Major All Through the Night Andan~

Welsh Folk Song

~ep~r~ Santa Lucia

Andantino· ~

Pupll

v.-:

"

,

,.

n _:.-..... V

"-

Pupll

• • r

. /\

I

,

, ~ ~

~~

=

~

V.:...-

~

"

-

- "

-

I

M ;;

I

V

"

a

V

4

--..

li . .

V

••

~

I

r

I

First Time Bar

;;

-.. ••••••

I

V__

"

r

V4-.

a

'<

T

1

,.

• I

~

/\

'1-1

V

Boat Song

V

I

V

tJ

~

VI

1~ V

Neapolitan

r-,

Second Time Bar

V:...

11

2

a'

t:\

••••

V •••

~

t:'\

V

•••

T

r

I

V

~

V_

V I

I

I

I'

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VI I

VI

Little Study in F

.........,.

4

LESSON 18t'

Six-eight time Count six beats to each bar in slow tempo a qu aver () ) being the unit 01' a beat. Count two beats to each bar in fast tempo a dotted crotchet (~.) being the unit of heat. Ipreparatory is memorized.

exercise.1 Repeat each of the following Play on the open strings.

bars until

the

rhythm

of the different groupings

Count aloud

Slow Coun@i 2 3 4 5 6 ® t 2 S 45 6 © i2 3 456@ 1 2 3 4 5 6 ® t 2 S 456 ® t 2 8 456 Fast Count- i INotice key signature

(!) Play

t

1

2

and finger accordinglY.1

exercises slowly at f ir st , gradually

increasing

the apeed.

cou;;t::::::

~~

Play the D Major scale different ways using the var ious rhythm patterns indicated above.

Row, Row, Row Your Boat

. .::..--'

'--=

~

~

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

@

Allegro (Bright/y)

Peek - A - Boo

c. P. H.

.

'---..:

®

'--'"

V

~~. ~. ~I

Oh Dear! What Can the Matter Be?

@ Allegretto

HMM

flJOTlr:

Write 4 lines of notes, using different

Eng1ish Folk Song

groupings

in

g time

dividing into bars,

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

_4~'1

Folk Song

'='~

~rdifM~~,

~~

I

·Ding- Dong

Allegretto

B. Remick.

..

. Wee Willie Winkie

Allegretto

Old English Morris Dance ,.,

V

• Used by perrnission of Silver-Burdett

c. P.H.

-..-"

~"

Allegretto V

.

~

Co, Morristown.

N. J. U.S.A.

s::::;

LESSON 20

I time

Continuation of

Drink To Me Only With Thine Eyes Old Englieh Air

Andante Slowly nVn V"

v

•

V 1.1.

V I

I I~.

Pupil

.~ V

~~

,

v.....-!v

V

,.,

V

4_

V

n J

-.

~~

,

r

J

I\~

•~»

V

ri V

I

- V.

r

...•.•..

r

r--....

ri

I

V I

-

.

~

-'-'"

--...::.,... -'-'"

_C' 1r/V

.P1aoe finger on both stringe at once.

Scale 8tudy

~

....• Richard S. Wi11is

~u-_

f

"'

ri

rito

It Came Upon a Midnight Clear

==

'l

I

I

~

411

V

-

.

••• Note:

Al1 manuscript pages are to be used for home-workaccording to instructions.

~~~~~~~~

~~~~~~~~

~~~~~~~~

~~~~~~~~

~~~~~~~~

~~~~~~~~

~

~~~~~~~~

~~~~~~~~

~~~~~~~~

~~~~~~~~

LESSON 21

Key of B~ Major K.eyofB~. B~and LeIloa 7.

m. See diagIam for

poaitioD

of E~ ODthe D atriDg.

Review POSitiOD of B~ OD tbe G atrlng ia

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 ls o as crotchets.

11/::

.-= u~-;=~~

u

~::

A

1\

® 11 ~

~

A

U

1.

15

~

,

~

_

_ ~:.,...'

®

A~

u

U

A

_

:.--',

u

U n

A

--..:

-......::

•

'--.!

.

~

~I

J101M ttJo,.k:

Write tbe B~ Major scale 4 time!;, marking flats and batf steps, also fill m btanks in above dlagram.

LESSON 22 Vesper Hymn Trio ~

Old RU88ian

Moderato n

Pupil 111

,

Teacher

·

,

I

•••••.

I•.•••

••

~=i-"

I·

•••

··

r

",

••

"y ~ ..• ..,~

••

~

0,

f

•

-

~

~

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I

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•• •••• 4

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I

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'''f

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P"I

mp

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1

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••

~

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n

--..•.

•••••

. \,

.

•• ••

I"

.•

4-

•• ~. ~J.,; ~

..•. ~"'J,,4o

~

~

-.f t.-.f ~ .•.~ 4

A Capital Ship (lIarching

.

Song)

March time

Old English Tune

~e

rito

tC1npo •at.fItJIO,-" befan.

rit

•

ti

.

- _..__ ._---~-------------.

LESSON28

Ii

Continuation of the key of S Major Soale Study

The Blaoksmlth

Moderato

f71'-t~

..

I A Little Song

Allegretto

#--S . . ~.J:WE.~

. • rt I.

~.

"!I'

c~

~ -ri'., abbreviU10ll for ritemdo-.

"""",- •• Won.

F~ ~

a tempo=

rito gradaaDy s'aoJmdng Da••••••

LESSON 24

t6

Scale of B~ Major, upper octave IReview tower oct,ave of this sea1e in lesson 21·1

E .,(')--~ Ak)..-~

D~-~~-~-~~-~--~~--~----~J---------G~--~--~r-~~--
t

s

2

A

U

A

4orO

"

A

U

A

U

Scale of Bb Major, upper octave HaH steps

®

M

~II~~~

INotice

@

M"

D to E~, and A to B~

~

~

..

.•

~~~~ tha! ,ou can

play the open E string ·1 Scale of Bb Major, two octaves

n,ot

"vn

ny ..•.•••.•...•..

v

~i~_~_~~ ~

1\ ~ •

The Star- Spangled Banner

Melody"ADaçreon

ln Hea.eu·

John Stafford Smith 1750-1838

mp

cre8c·f

r.-.

1':\

~YMV~

Jt.~.

rito HfHIU flJorlt:

cresc.

f.f

Write tbe B~ Major scale in two octaves .• times, marlting flaia and the half ateps.

I

LESSON 25

Key of E~ Major E~

~

<>

~

cr

cr~~:----~O~-----

AI-:>--~ Dt-o----f (j'"O---~

Fingers

r--O--D----

)----0----0---0---< i

4-orO

3

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.

m

j§1~ IN~ ~e~Q

~ Austrian Hymn Haydn

Andante

"

Pupil

"l

I

~

411

~

,

,

- ~-

-.J - •. '-...,..:

r:. , ~

"

I

I

,

..•.

" EOIIN

,

cresc.

<:» ~

'----"

I

1'ff

'-C.-.~.~-

~

r;;

~

--

•••• I

f

"

v

..•.

'-

I

V "

l

I

~

"

r

-

dim.

.•.

,---;

--

I

-

<s »

- - -..

-

I

I

_Ir: Write the E~Major scale 4 times, marking

-J as before.

•

'-"

'-"'~ •..•. 7!9

7J

18

LESSON 26

Key of E Major

E~--~--~--~--~--~--~~~~-Ah?----{)---{

Dt<>---.. o.. _-(

o~--~r---~----o----<~--~r--~J-~-n~

•

t

Fingers

_

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 1\ M ~

Pupil

Teacher

•

"

I

I

li M

fi

I

I

1~·1

I

•

I

-

I

I

I

,

-

(~ •.•. 71 •••..•.•. ~ ~ .•. 7J: Cradle Song

~Mft

Pupll ~ li

M ft

Bram.

Andante

11

I

I

Teacher

-

~

11» fi. ~ li M

fi

, JfOIItIJ

V

•....•

.......•

-

'

'-.--

, --

"'-I

P

--

".

,-- -

---. I

.....•.

Write the E Major scale " times, marking as before,

.../

..-

-

-

I

'tf,. I

.../

1IlItWJlo:

-

-

I

-

"

mp

-

~

"

, <:»

I

~

--

~~

:pJ.

29

LESSON 27

Key of A Major E~---o--~~~o---

A~----~--~r---~----~--~~--~~--~----D to-----{)----(

G "<>---o---{

t

Fin era

Scale of A Major- name the sharps ~

pia.'".

••• r

a. for the E major ac a1e.

•

e

;te

Place a sharp before the notes affected by the signature.

@

.

Chimes of Dunkirk

~Jl~

_e

Scale of A Major in two octaves

@

~

~

o Worshlp ~JI ~

Pupil

i'

Teacher

•

~Ji ~

V

-

I

,

11Jf

I

I

I

I

I

••

"Ji ••

..•.-

4-

I

II

Haydn

I

I

.•..

I

,

•

I

I

I

I

I

I

ril.

"Ji ~

•

the King

4-

.•..tt-

't- - .•

- -

- ••

.-

••

••

LESSON 28

80

Semiquavers A semiquaver

one quaver semiquavers Comparative

~ ~

j, =

iJl equa1 to half the value of

:

n

j)

and four sermquavers equal

a quaver one

crotchet

~

Tw,o semiquavers equal ~:

~

Abbreviations

for

!= -~

tabIe showing number of semiquavers to other

notes studied thus faro

: I

Bird Song

Andante

112

n

V

Pupil

~ In this piece, 'Which requiree a sWw movement, it ia better to divide tbe

AlI

t

Kingdom Comin'

Itime

into

l (006 oount to each quaver)

LESSON 29

81

Dotted Quavers and Semiquavers Legato (Connected) This is one of the more difficult Always

feel

a division

of

and one on the semiquaver.

four

rhythms to learn. The dotted

on

e ach

_

:

BE SURETO PLA.Y1liE DOITED ENOUGH.

'1'"

t.

2

3

when

playing this rhythm,

three on the dotted quaver

~

QILWER

LO~G

E:\OUGH

ANn

Legato (Connected)

Largo Nery slow)

\.Y

beat

quaver is equal to three semiquavers.

THE

SEMI<-ll AYEH.

SHOH.T

@

t

-I

2

8

4-

Largo (New WOl'ld Symphony)

Anton Dvoràk

Trio

Lar~

1841-1904

Pupíl "--=

p M

Pupil ~

p Teacher

~

"

• /\"

•

-

r-

~

r

~

I

=

•

t'l~

:

.u.

.s.L

4!

-

-

"-

"-

I

P

--

••••••

P =

'.:..

T

"--=

I

'-'

11!:/

.Q

....

~

"(Y

--

~" t

,,~

t

.

~

1"

~

-

cresc.

=f

dim.::

.

~-

~~.~

.•.

cresc. .

. ,-:f

~:.:".J~

~

p

.

.

'--=' dÚJI,.

~'~~

-

"--I

~~~~ ~~

4!!

-----

-

~

p

:



==

P

~-,J.~ .~".-:;).

pp

I

.

.

P.P

••••••••••

~'

•.

12

LESSON 30

Dotted Quavers and Serniquavers Staccato

Dotted quavers and semiquavers played staccato


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. During the break botween the two notes the bow is held pressed on the 8trillg.

(!)

Allegretto

t.

.I

•.

4

..

~

Tr&mp!T~p!

~

Trampl

George F. Root

Allegretto

1820-189&

",c ~~~

~

I~ .. ~

<:.J

-C:.

~.

e '-.:.

Battle Hymn 01 the Republlc Allegretto

. "'11'

~.

William Steffe

.

o ,-o

.

.

.~. vv

--.

33

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 and a slur placed over or under a group of three notes.

"3"

i contaíning

A bar of

-a--;l:.

t m.J.J.J

two triplets

is

t he

same as a bar

t in march time. ~ .rJ~m

of

•

Pile;rims'

Chorus

(Tannhãueer ) Ríchard Wagner

Andante maestoso (Majestically)

1813-1883

~

a

~~~Uj§1g~

~

rato

8

Alla Breve or ~ Time

ê

Alta Breve, or cut time is played the same a minim being lhe unit of a heat.

8,S

f time.

Each note having half the value as in

t time,

Softly Now The Light of Day

rl

von Weber

Andante cantabile (In a singing style)

v

Pupil I

t

mp ~

Teacher ~

,

~

•••••

-

"

t

~

I

I

~

v

M ~

"

v-

C.I

77

:&t

-u

~,..

German College Song

~L~rr~

=

?7JI

~~~4 ~II

.-===-~=-

If

2

L.

:::==-

~ cresc,

-Hold third finger down while extendíng the fourth.

f

.

.

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

~~~ ~

p. .

..

~

.. ~

. .

..

..

..~

Haydn

~.~

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 semitones. 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 fingerboard under the E etring.

Amaryll1s ..

~ep_' ~

Gavotte

Henrí

Ghya

81

LESSON 33 Sweet and Low Larghetto

11M

-

(Slow)

;---..

Pupll ~

r

-.

t.

Pupll r-

I

~

I

,..

I

-

••••••••

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...L-

fYP

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-

.~ -

r

W

1\ M

Quartet

w

141

w·,..

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41

4 ~

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"

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t

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m

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11 11

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..•..

a ereso

ereso

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w

--

rall. e

dim.

rall. e

dim.

w w

wq--.

w

,--o~'=i.

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....

s:

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pp I

rall.

~"':' cre,c ...

"-.,;

e

dim.

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..•. trr'~

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11

I

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, w

---.

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dim~ "'!'

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_. IJ.•. • V

r 4

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r.-.

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rz>.

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dim. l

,

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1888-1898

V

--

Pupll

Joseph Barnby

1'P ~'

'----'"

•• • ,-",.

---------

?}.

=i. =i

86

LESSON 34

From the Classics Theme From the Violin Concerto Beethoven

.

Theme From Symphony No.! Brahrns

"--' Theme From Der Freischütz V

===-

=- ~~

von Weber

p~

.

Theme From Symphony No.8 Andante V ,., Pupil

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I

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Book Three

One

STRlNG

Beemnme Scale Book

BASS

Book One

Piano Accompamments

One

DRUMS

Book livo

Piano Accompommems

Two

Book One

Playins SUíns Bass

Repenoíte

Dne

C. Paul Herfurth, author if thejirst utles to be published, lata enlisted the senices if Hugh M. 5tuart (Woodwind), ~rnon R. Mil/er and Herbert A. Mattick (Brass) and ffoward M. Petetsoti (Mallei Percussioti}as associate ",riters co expand the instrumental coverage if tbe books. Bom ia 1893, He1uIth beqan violin lessons ae the age if seven and studied in German)'for a )'ear bifore entering the New England Conservatory if Music in 1911. Graduatinq in 1916, hisfirst school position
instrumental music programo

A1though best knoll'nfOI bis A Tune A Day books, Heifurth has also edited and arranaed man)' collecrionsfor violín, cello and viola with piano. He no w lives ia retirement in Florida.

90000 EXCLUS I VEL , DJSTRIBUTED B'1

9 780711

Educational Edition

915923 Order No. BM 10298 15B 0.7119. LS92X

HAL LEONARO COAPORATION

14034236 $7.95

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