METHODBO

Joselito

C. Alejandrino

OLIN FINGERING Cf.lART
(SOL) (RE) (LA) (MI)

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Low 1
st Finger (index)

Low 2
2nd Finger ( iddle)

3rd Finger (Ring)

High 3 Low 4
Finger (Pinkie)

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METHOD BOOK

Joselito

c. Alejandrino

Cruz ISBN 978-971-8994-90-0 The EASY VIOLIN Method Book is published and printed by Sound Publishing Corporation. electronic or mechanical. Philippines All rights reserved. Address af/ manuscripts with self address stamp envelope and correspondence or through Telefax No. Cover design by Nathaniel A. Puyat Avenue. . NO. with business and editorial office at 2nd Floor. Yupangco Building. 897-2157 & 897-2187. 895-63-38 Published under PCM Certificate of Reg. Telephone Nos.167. 339 Gil J. without permission in writing from the publisher. Makati City.First Printing © 2008 SOUND PUBLISHING CORPORATION Makati. No part of this bookmeybe produced or transmitted in any form or by any means. including photo copying or by any reformation storage and retrieval system.

proper posture to the actual playing the instrument.FOREWORD Easy Violin Method Book is created especially for people like you who want to have a good foundation regarding the proper method for playing the violin. Basic lessons of proper holding of the bow. iUustrationsand pictures are presented in a very understandable way so that you willenjoy learning. JOSELITO C. controlled solid sound of the violin. I hope that this hook will become part of your success in becoming a good violinist. ALEJANDRINO Author . Each page of this book will help you discover your potential of producing a good. Playing this instrument demands a great amount of time learning the basics.

Rene Mari Yupangco in giving me the opportunity to share my ideas through the help of SOUND Publishing Corporation. my wife Nerise and to my only child. JOSELITO C. Angeles for helping me in making this book look more presentable than it was when I composed it. my little violinist 8etina. Also to Mr. Noel De Los U. Special thanks also to Mr.ACKNOWLEDGEMENT I dedicate this book to my family. ALEJANDRlNO Author .

CONTENTS Partsoftheviolin 6 ~~~hB~ Howto attachstringscorrectly Howto tuneyourviolin Thefourstringsof theviolin Tetrachord positionchart Howto holdthe bowcorrectly Howto drawthe bowcorrectly Fingerandbowpressure Positionandaction Howto takecareof yourinstrument Exercises onopenstrings Exercise combinations allthefourstrings for of Exercises gainingfirmercontrolot the bow for Exercises crossing andconnecting for thefourstrings Exercises inquarternotes Fnatural Etude1 214 time Etude2 3/4time Scaleof C Major Etude 3 eighth notes 6 7 7 8 9 10 12 16 16 17 18 22 23 33 33 35 37 38 39 41 43 44 45 45 46 46 49 50 Dotted notes LegatoPlaying Slurrednoteson onestring 3 notesin onebow 4 notesin onebow Changeof Strings Fourthetude Relalive distances Fifthetude ScaleofA minor Notesofdifferent imevalues t Sixthetude Scaleof G Major Brokenchords Exercises forcrossingthestrings Wholebow Skipacrossoneortwostrings Exercisefor changeot bow Exercises acrosstwostrings Exercises differentdynamicexpression for Scaleof E minor Technique development 51 51 52 54 55 55 56 57 59 59 61 61 62 63 .

..(.1 11+------0 Neck Top cr-...f-------Q F hole Bridge o---t~~~~b Fine tuners •..l .C)&.w---. ~~~=-----o PARTS OF TUE BOW . ~----_H_f_----o Tail piece Ch in rest o-----.-...-... ~~-----o Sound post o----Ilt------.Scroll o----------~ 4-----<") Pegbox~------~------~~ Pegs Nut f+-~---o Fingerboard O----------fltl." point StiCk} End button Adjusting screw Bow grip 6 ... ~.--~ Strings o-------4-+Ti'T-f.

If the pegs begin to stick and do not work easily. As soon as possible. sh. counted from the first note (prime) in a cale. or with a chalk if too loose. (See next page) It is of the utmost importance that the Violin is properly tuned. the pupils should be taught to tune their own Violins ear. As correct ning Of the Violin by ear is difficult for a beginner. HOW TO TUNE YOUR VIOLIN TUNING OF THE FOUR STRINGS The Four Strings are tuned in so-called Perfect Fifths. the Violin may at first be tuned 'th the aid of a piano or a tuning pipe.WOW TO ATTACU STRINGS CORRECTLY Correct Incorrect The above illustrsiions show clearly how the strings should be attached and wound around the pegs The pegs should always be in good condition. they should be taken out one at a time and be rubbed with a little soap if too tight.ould fit exactly and should respond to the slightest touch of the player. This is one of the reasons why Ear training should begin early. 7 . A perfect Fifth is an interval of five (5) diatonic degrees.

.. . / / / I r / / . I G(4C) ~ D(3C) A(2C) • . .. I .... : F AB cD Middle C E F GAB CD E F G C Means corda: Strings.. ~ Indicates Down-Bow. .rUE FOUR gTRINGg OF rUE VIOLIN (SOL) (RE) (LA) (MI) G I D A E . V D 8 . . . Indicates Open String. ... . .. . . . . Indicates Up-Bow... "ll E(1C) I) <) ~ 0 -0I I I I I I I .. . A" ...

E Minor Tetrachord : First four notes of a minor scale.TETRACUORD POSITION CUART • Major Tetraehord Position OPEN STRINGS Tetrachord : First four notes or last four notes of a scale Major Tetrachord : First four notes of a Major scale.-e-u.-e- ~ 0 i«\l ~ n #I). } WHDLESTEP ~n == ~~ -uG u . A o 1 } WHDLESTEP 2 } Yz STEP 3 0 I 2 3 0 1 0 2 3 0 1 0 2 3 ~ - -u.. SI~ ~ n ~ 0 V • Minor Tetraehord Position OPEN STRINGS II n u G TUNING OPEN STRINGS G o 0 u A Cl A E ~ n E -rr 1 2 WHOLE STEP 3 0 I 0 1 2 ~o ~ 0 0 n V :[ 9 3 0 () 1 2 3 2 ~ y 3 ~0) $7 •• 011 n #0 "- ~ Z ! .

3 & 4) 3. Keep your thumb bent. (fig. 1) 1. with the other fingers placed side by side on the bow touching each other. Place the thumb of the right hand. (fig. 2. (fig. slighly curved. .CORRECTLY Make a circle with the tip of your thumb on the first joint or crease of your middle finger. beneath the pencil and opposite to the middle finger. 4. 2) The thumb must be placed simultaneously against the nut and the stick.

the thumb and fingers must never be strained. the wrist is the most important factor for the ultimate mastery of bowing. 11 . 8. 7 & 8) Never forget that next to the fingers and the arm itself. (fig. To play with a cramped wrist will not bring satisfactory results in violin playing as a loose and flexible wrist is important in correct and artistic bowing. 6.The bow must lie in a slanting position between the first and the second . (fig. 5 & 6) . and should not touch the hair of the bow. 7. Hold the bow firmly but in doing so. ints of the first finger and and the tip of the little finger.

(Correct) 12 . (Incorrect) The bow should be drawn straight across the strings. It should be drawn evenly. touching only one string at a time. 10) but always in a straight line.9) or too far backward (fig.11) 9. 11. parallel to the bridge and midway between the bridge and the fingerboard. Incorrect 10. parallel to the bridge. (fig.UOW TO DRAW TUE BOW CORRECTLY The bow should never be drawn in a direction too far forward (fig.

13.The wrist should be entirely loose and flexibl~ capable of moving with ease. The change of the bow should not be noticed but be done as quietly as possible. In fact. 14. In fact. mastery of this most important requirement would be impossible without a flexible and pliant wrist. the bow cannot be drawn straight across thestrinqs without raising the wrist at the frog and lowering the wrist at the tip. and here again a loose wrist is required. (fig.& 13) 12. 15 13 .12.

f i - . the elbow must always. and quite naturally. f . When playing upon the G string.I 1 \ • 1 ( .1 'I I \ . ! i I I' r I j f 4 J t { f j/ 1 1 I . Do not hold the elbow too near the body and also beware of holding it too high.e lower arm and wrist should always be moved to and fro with natural eedom and simultaneous action. be held considerably higher than when playing upon the E string.

fingers.b Variations in the position ofthe right ann in executing a stroke. (a) at the point of the bow. through stiff or cramped exertions on the part of the player must be absolutely avoided.(b) in the middle. arms and shoulders. (c) at the nut. . All movements must be carried out with natural freedom and pliancy. wrists. The straining of the muscles and ligaments of both the left and right hands.

Always stand erect. 3. so that they will fall upon the strings like individual little hammers. Always enable the fingers to be kept above the finger board. the weight of your body resting on the left foot. 2. Do not let your Violin sag but keep it in a straight. To be able to do this. the sounding point must never vary and the direction in which it is drawn must always be in right angle to the strings. 4.The wrist should be free and flexible to insure free movements of the arm. The pupil should gradually strengthen and develop the fingers. horizontal position. Light bow pressure for the right hand b. 16 . The right hand fingers should draw the bow lightly and smoothly over the strings without any rough or heavy pressure. 2.~~A. The actual stopping of the notes shall only be done by the tips of the fingers where the sensory nerves are located. 3. Draw your bow mid-way between the bridge and the fingerboard. straight across the strings. In changing from down-bow to up-bow. ready to fall into place with the necessary strength and precision. but without stiffening or cramping the hand or fingers. or from up-bow to down-bow. Strong finger pressure for the left hand. you need to use different dynamic pressure from the two hands: a. with shoulders well straight back and chest forward. move your wrist.~ 1. The left hand fingers should stop the strings with exceedingly strong pressure. SUMMARY 1. POSITION AND ACTION of the fingers of the left hand The fingers of the left hand should be held above the finger board in a natural and curved position.Kt) BOW P~~~~UQ.ImQortant PrinciQles Concerninq (:lKG.

Do not let others play your violin. UOW TO TAKE CARE OF YOUR INSTRUMENT VIOLIN Handle your violin. loosen the tension of your bow. BOW Bows break easily. Keep your violin clean. Each time you finish playing. remove first the shoulder rest. Before placing your instrument inside. Placing it inside may cause your violin to break or go out of adjustment. use a soft clean cloth to wipe the rosin dust from your instrument. Do not touch the hair of your bow. always store it in its case. Secure the latch properly. oil or dirt from your hands. When you are not using your violin. Your eacher will show you the correct tension to use.5. face. Before you begin to play. Only an expert musical repairman has the skill and experience to repair your instrument. 6. tighten your bew with the adjusting screw. either in or out of the case. or hair will spoil the bow hair. Moisture. perspiration. Never put this book inside your case. Each time you finish playing. . Instruments and bows are made of thin wood. Extreme temperatures may cause your violin to crack. music must be placed exactly in line with your eyes. Do not expose your instrument to excessive heat or cold. Do not attempt your own repairs. ask your teacher to adjust it yourself. If it is not standing straight. Train your sense of rhythm incessantly through correct and proper counting. bow stick and strings. bow and case with care. and can break easily. the height to be lated by the necessary raising or lowering of the music stand. Play in exact time giving the precise value to each note. Be sure that your Violin is perfectly tuned. Check your bridge often. Do not drop your bow or hit it on anything that will cause it to break. Bumping your instrument. 17 . may cause it to go out of adjustment.

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. . .. ~() ====ij:1 73. I 0 :1 -'LoI O.... I 0 po: I 0 I..<. ~-o~.------=-: I 72. 10 :I-=---: 0 1_0 ----I1f--° _I n I (> :11 26 .---..... ~n:_:1 . :1:: I. I E string 1st finger 0 I.A string 1st finger f==n~:1 1 1 1 ~n:~o:1 iI:..

D string 1st finger o 76. -0 1 ~:I t~~o ==-gt======t=====I--------=-:E: :~&:I ~ ==I"I o 01 1"1 I 01 I 0- I - > I 0- :~ - U - -9 0 - o o 27 . :1 :1 o ~ o 1 :_:1"1__ ~ o 0 1 :~ 10 :11 G string 1st finger 1 80.

2 2 ~'-(O-)~:~I-(-O)------=:II r~ ~:~I:I : 1 88. 2 0 0 1° I 1° 1° :1 0 D string 2nd finger 0 1 I-o---::i 0 1------------ 0 1---------- 0 ~:~~o~:1 : 1 0 ~ -o-~ 0 1------------ 0 28 .~f----:1 •• :~n o I 1--------------o o 1 0 1 0 1---------------- o ~~ 011 •• :~I---n-----.... In :I:n 10 0 1 . 2 0 1° 1 I 1° In :I:n 1° I 0 1 .. 10 In 10 In :il 0 87.t 0 o 1----------------------In 2 o I~ n 1 .

-' r-' 0 1 2 0 I :1: e0 n 0 e1 n I e1 e- n 0 n e- n :1 e- n 0 A string 3rd finger ~~:J~:~n 2 2 2 2-- ~:I ~:I 0 1 0 ~===n:=::....:~r==(I o 1 2----- 2------ #·-~o)---lII--(l~:1 =! ~ 2----1 2-------:L.. 0 1 2 . 0 0 0 1 2 10 In 10 I :1: 10 In 10 In 10 I 0 :1 G string 2nd finger ~ ~ ~ .) 0 0 1 0 2------------- :'-':'&--=-:1 2-----29 2-2-- . ~~u 01-01-- :I~~rr o1------o :1 1--------o t~u:~u:1 r~ o 1 1 .r~ 91.

~ 2------ ~:~§o:1 ? 0 1 2------- 0 • • 1----------2------o o 1---------------- 2---------- o G string 3rd finger t~u: o 1------- o 2------- 01---------------------------2----2-- u:1 o 2-- o 1-----------2----- o 1---------------------2------ o 30 -~- ~~----- .JL1-1 --e.E string 3rd finger ~~n:1 2 o 1 2----------. e 1 0 § ~ ro.--2-- 102. 2------0 : . 7?.. 0 e 0 : 2-------- D string 3rd finger ~===::i::~~~1 2----- ? 01 2-------'-2-- ...

...0. 11 01 0 01 2 :1 2 3 ~3~============================~-- 0 Cl :1 o I 2 3 0 I 2 3----- 0 r==~ ==1==7 =:::t:.0..::::=:::I:&===O I::n=«\ ===11f:e:o ==1 0 I:e=o===11fD=O ==1:&===0 I n I0 I:' :1 2---------------------3------------------- E string 4th finger ~f-"'-"()'----. 3---- :<----::1 In :1 0 r~ 0 I 1 0 & & . ..• • 3 2 4 .:-1:~n o 3 0 I 2 0 :1 3 3-------- 1-'«•... . U 2 & & 3 • • U 0 & I U & U 0 U 2 & U & U & U 0 A string 4th finger 107. • • U 0 & 1 . & 0 I 2 I 3 I 31 I I I 0 1 . & ..1 n.106..0. ..

D string 4th finger ~:~§o:1 ~~~?==:i 2--3-- 0 1----------------- 2---------------. u 0 e1 u 2 Ie3 I~ Ie- Io Ie- Io e- n e- u 0 32 .3-----3------ i----§ o 1 0 1 0 ---=-:1 2 2------3 3 t~ 0 0 1 4 10 In 10 In 10 In 10 In 10 In 10 2 3 I0 0 :1 G string 4th finger 01-----2--3--- o o 1---------------------2----------------------3---------3------ o r r~ o 1 u 0 2 3 1------------------2 3 :1 :1 118.

0121 1210 0123 123 0 121.. r-.. 23. r-I ~f--IO_)------=::~ 2 3 2 3 2 r-. 3 2 . ~n:~ o 127.Exercises for crossings and connecting the four strings 119. . r-I 122. f :~ Exercises in quarter notes 124. :... 33 .V r-I 120.

3 4 4 ~I-~---=-:~ 134. 4 3 4 ~=etJ==ij:~ 132. 2 3 131. 34 . ~>' '------&---71 f--&----4~ :~ r-.130.

~ i ~~ * :1 =t= E STRING 2nd finger .'E_~*:I . 1 2 35 . ... .137... & :1 & ~ ~:1 n F NATURAL E STRING 1st finger 140.

0 1 2 V 3 .E STRING 3rd finger 145.2 3 *81 E STRING 4th finger s :1 FNATURAL on the D string .

ETUDE 1 2/4 time :~ 153. ~ . .J • --37 .-----I • --~ I I - -I = .. ---•• --~ -1 I .. ''•••...-I - .--- - .... r '" 11 tJ ~ 17 " -?- - ...J ~ ~ ... r •• "V ~ "'" .. •• -rI I B .. ~ ....-I -::....-I - -z: 7"T - --. " " .~ ~ r. The Babbling Brook •• •• •• •• -(T ~ A .--.:."T 'V --..• ..

• - ..-I " .-I . • -d " .••••• fJ ~ ...-J _ •.ETUDE 2 3/4 time i6~~~JM~ 158...-J •.• -~ . ...-J • - ••• 38 .-J ..• ---~--- ..tJ v ---~ - .- . The Ring tI' " r ...0- . r- I I I I-" I . . I ~ I ~ I ..

... -. ~ V eJ . ~ I .. I - I - •.•.. 1\ A eJ la -- -- .-I ~ 160.. ......-I ..... Scale of C Major \ A eJ ~ -& u ~ I •• .I '-" .-I B 'eJ I - /' <.-1.. ~ ~ .. ~ I""" I ~ . - /' - <.. - - »: 11 11•• <.•.I ~ --- . I'" >c: ....-I .... r.•. .• ......•..-I <n- <:» ..••• 39 -' .-I .. ••• ~ /' " 'eJ v - ~ /' ... • ..-1 .-I ~ ...-I L_ .The Cricket 4/4 time . ~ ... I - • . L •• 11-& . •• --. ~~~ ~ /- /~ '" B ~ v 'eJ "... - ~-& - 11•• 11-& r: 1:i r:. I "'I - ---".-I - . .-I . I ..-.•.-I •• •• I •..- ~ • ..~ <::> ---.~~~ -~~~ 0 .. ••• eJ .. " ~ " . eJ . ."11 - ... ~ ....• .••• v ... . =rl~.-I . .../ - I . c" - . ~ -..-I I - I I I TT T . <. I ... .

••• "...-0V ~"-. -& & :1 ~ 163.~ r .. f) •.J." V ~ " ".. ~ -. ~C~o :~~() :~~n :1 Preparation for scale of C major 162.. ~ . ~ ~ 164.. •. - u -& ~ cV f)'-" .J -& Fourth finger or op-enstring 161.J:if~-... . •. ~ 0 .

. ...•. 1"?.g. Etude 3 eighth notes ~ t] 41 . Seymour .. V...r: ?J i ~-6 " ~ ?.. Weber 'f. r- u I .•.. . r~ C.. ~ I... '" "'" r: . .•......tJ .g.-6 c. - '" '"v ~ ~ '" u n r~ u r- . - 'z .. ~ ~ ~ . r. . ~ -6 0 r "•..••• 11I- ~ ~ ..eJ ~ ~ ~ '" -6 -6 +tv.'a ~ r.. ••- -- '".j -6 ~ -f!P....165. •. 166. - - - ?.. B '" V '.-!1-'.•.• t"" ~ - U L> r- - • - r: r.M...'- A • .. Ill . •..- ~ .. ..• 'f.•. ~ tJ ~ I r. ..

<« . ~ > ~ ..167.. " . - I • • I :4t - - ..-I ..-I . r.. .. .J .." lJ ....J"-.r..-I • -I -it • • .-I -.. I .....~ . '"' -. . ...... '"' ....-I . - ~ ..--..J~ •• • • ~ ~ .. / . .-.• .r- r- • . •.v eJ ~ ~ .. lJ fJ ~ - .....J ~ I ..........-I r... ~ .Round ..•... -" - •.-I ..-I r- r- - r- I .-I .-.'" ~ •• ~ lJ •.. ...-.....• - - • ••• ~ - 168. - r~ -- r._ - r.lJ '" 'fJ -.". _ -...:...-I • - ..........-I .. fJ ~ r . b ! - - r- .. -.. -u :4t .•• .-I B r 'fJ '. ..-I r~ I ••••••• .. -..... ...-1. .... r- - .-1 •• ~ •.• .-.. .::: ~ ~ ../ . •• . ~ r Merry . •... • • I . ••• I -'0/ 'fJ .....-I --..... "...._ ..• • - ...---.lJ " ~ tJ -. • r- _ . - -..-I . I .•....• I .•• -. .•..-. - .-I r . A '- " .•.Go ....-I • • 4 ....... B 'fJ •• ..J • - .. A Cloudy Day A " ~ •. .........

:~. and the Up-bow quickly using the same length of the bow. V .. 0 ij. up-bow quickly V ~I---. = t gcounN Dotted half note Play the down-bow slowly. ~-. f=ij. up-bow slowly ~ V ~. V . ~. J= Half note 2. ij. [m. o jij.counts J. ~. m. ~I-----. ~ V S· m· TTII Down-bow slowly. v ~ ~. I •• 43 . 1$1 . ~ tr £Er.A "Dot" placed after a note prolong its time value by half. ~. m· B Down-bow quickly. V : o .

-rI •• •• •• U· I I -..J.tJ '" _ .. A r.. The sign for such playing is so called "SLUR".-I r- ...-I / I ..-...175. B r. .-I ~ .• ... 1*-_ . For this kind of playing.1 -- """""" """_.. _ r- I .. I"'r _ I r- r . I - -. JJj A Slur above 2 notes ASluf below 3 notes rrrr ASluf above 4 notes . particular care must be given to the equal division of the bow: With 2 notes to one bow: Divide the bow into two parts With 3 notes to one bow: Divide the bow into three parts with 4 notes to one~bow: Divide the bow into four parts ..•• ../ 1\ r '" IJ • . .-I . I _.-I - ./ 1\ America •• •••...-I -.- LEGATO PLAYING "Legato" means the playing of a number of notes or a passage in a smooth and connected manner.. •• •• " ...._..- J • 0.-I . n_ I • • fJ " 11 •• -+ - .-1 - _ - . - _.-I I - -#11 -# 11 - . a curved line drawn over or under the notes. with no breaks between the notes. . \...-1 .-I • • •.-I -# - ..c>.. -# ... signifying that they are to be played legato and indicating to the violinist that they are to be played "in one bow"..'IJ tJ ~ '" " I -I .

~xa<tly one third of the bow for each Dote • ~~ 81.Slurred notes on one string ~'c ~'--177.". Ij o 45 . :1 3 notes in one bow . ~ay exactly one half of the bow for each note U Ij :~ 1 2 3 .

should remain on the string until the bow has changed to the new string. Exercises for string transfer iF1 FEC--~-----=:~f--40~---=-:~C&CCCC~:1 1-- 3-- 3-- 46 . It can be said that the main problem of bow technique lies in the art of perfect change of strings. It is when the bow is transferred to a new string that the difficulty arises. ~e 185. just used. 11 •• :1 CUANGE OF STRINGS Any bowing is relatively simple as long as the bow is used on one string only. the finger. :. In order to gain a smooth inaudible string transfer.4 notes in one bow 184. 3 4 ~ :.

- .. & 3/"'""'....J n ..-.4 .- .. - ~ ..~ I Iv IV v ~£~o.~ .- ...... I /'-./ - 47 ..-I _ . c>..I /1 -.... 1)' •••• -@) . ~ ~ ~ I - ~4 .. ~ - ~!l_ •.:-..- .J U~i ~ ~-. ...--I I ...---3 I 4 3 0 I . ~3 I 3-- 117.- •• • • • • 3 ••• • •• ~ -.. ~~3 .• ..•...J •••• --.- - 1-- 1 I - ~? 1 - I 1-- I ~ - .3 ~ I 3 - • • • • 2 ..• "'--- .. --- ~ ....• .~ t 2 3 .....• ...J <:> 8 9r ~ ~ String transfers with 2 notes to each bow 2 e> ••• ~ -. li v -~ 1-- - ~ & • \. •. •• ••• • •• 9~4..J •• '-.0. ~ I I 11\ ~v " ""'.I I 3-- $6..I & /'1 - .. ~ v if.J ./ •••• <:» 4 I ---.. 2 •• - • • • • ~--.- ~_1 «:» .. ~~. 1~~ •.I .- - •. ~ ~ ~ .--- -.. V 93..-. -./ ~ String transfers with 3 notes to each bow 95.~ ~~ ~ «:-.. n - 1~ ...• 3 I - .... ~ 3-- - -~ <c:> ~~ I I ~!t ~ ~ I ~ ~ .) r>.--.-..• --.-...s>: .-.• "'--' .\n • • • • o· V <:: . fill 3-- 3-- r>...-I _ V' ---. . ~ t .-I ~ 1 ~n . 2 ••• ••• •• U 91.... .. I ~ ./ 3-. "'--" - .• '-" ..

1- String transfers with 4 notes to each bow 199 • ~~ ~ ~4 ~ ~4 0 ~ '--9-: 1-- 1 202. The Doll 4 3 3--- B 4 2 48 .

" '" t) V M ... • 0 •• •• ~ • • • I • I -...-I .. • •.. . -. " .•. • ..•. 0 I .-I ...-I . ...-I · • ---•• . .. • 0 • ~- f\ B r.I • • .. I • . Fourth Etude $ 3 __ 204..-I tJ - .-I • ----"2 . ~\If "•• r- -.•• . • •.-I V .-I \If ~ "" 1 ..I /'1 . The Squirrel Down-bow quickly..' 49 .tJ "' ~v" '•. A r. •.• '" ••• ••• • .-I .. r ~ " •• • • ~ '... up-bow slowly !Ill eJ ••.... • •. ..-I " • •... I .. •.. r- • I I I I r....•• •.-<:» ~ .203.-I . • • r- I "r- tJ .• •.

• I Relative Distances ~.~ 1 2 ' . . I #/to.•.. .:1 ~ 207. #/to. r- r- - .I I . - ~ 4~ - .-I ...:1 o .:1 50 ..:1 208.•.. fI . .~ ~ - • • I • I-" - - • I I tJ '\ r X /i 'fJ '" . #/to.- I I - .- . I .------TlI .. . I-" I #/to.:1 3 2 1 1 206..- ..". I .. . r-I .I I .

Fifth Etude 31~~~ 2 3 2 ..• . ••• ••• r..• ---.. :~ ~~5.Exercises for Band F 214. ... .• rT ~ . 51 .•.. -& 1 t TT _ .

" - ••• V ~ . .. \. -'@J v ~-I.j- • • • ~ ~ -.-I.." \.217 . 7~! ' --=--- ~~.-I - - ..2 3 0- '-'" - 1 I _UiIIII ! 'n - .--. ~ 1 ..-I • .... v fI I L_ ".• #-. .. ~ _~n ~ NOTES OF DIFFERENT TIME VALUES In one bow . •I .... ".j-~--- • ~-.. @J "" "" \.- . ~I . ..J I ~~1 '-" @) " f) =t= I . 4 --- - .' \J r• " 'tJ -.I I- I 2 0 ..-.J I • -i IL ri__ n 11II'. B ...:.. y I ~=l: T -* ~ -.. " ..../ Scale of A minor filii A " .-1 - ~ • • =F=t:~ ~18..~ -.-I ! - ~ I I --I I " ~ f) .j-1 I . I ~ I .' \J r.-I ..-..-I ••• '" - ~ ~ ~ 0 --. 52 .

• ~ --=i =4i -.-I = -. ~~ -~ .. Old French Song V I~ " ~ 4!J. '4!J . 1 v ~ ..--. r- r I -_... • ~ - • .-~ I _.-I • tII • - 11 53 .-I - -I -~ ~ .-I -~T ~-.. ..I I t . ~ . 3 ~ .Dotted Quarter and Eighth Notes 224.

. - --.-I -- . \... • • Sixth Etude - 1 413 . r- .. ...I v I I I I ~ •• .. 54 .' .. ------- ~ ...-I . r- .•.. .~ ~ r "- " ".-..) " I .-I -11II- -- -- ~ - - - ""'" .-~ ... . ---."" ~ ~ . I ~ ~..: fJ -<e> . ... - . I • • ~ J " '" \..~--~ ~....[ - .~ -:. <e:» zr ....... r- - fJ I I - 4 ..... u V' ~-.~ r.-I _. .-I _ . ~... """"'I - . I I J.•...-I - ..-J _ 'fJ -'C/ ~ - tII ~.-I I ~ .-J .: rI .<::: ••• .•• . r'!.-I . -i - JIII' ...-1 I .-I ....-I _ ::.: "....

r. ~~~-~~~~'~-§~~~~'~~~~~~~~~' ..-I _ . ~ n " r x.I _ - • • Scale of G Major Preparation .•.-I _ r- r.-I .••. . _ •....__ .V/".-I _ • I . ..-I .. ._ I . v/'.1.. B· _ •..• ' I .-I.- ..'e~u ~:~~o :~o :~ :~ Broken Chords ..v' "" .. r.V -J .V ~ •••.. • Vf".. - I I -. ~ ~ ~ .. . \ .1.Scale of G Major 226. tJ '~ I =ii -~ '" • '--' I . _ "'" eJ V r: •• .- .. r.... eJ ~ r X. ~ ~ .......-I ........ .. . r-. Y .V r_ r- • • ~ r- "" eJ I -...._ •• 4 ~ •• . ft· ".

-I B r. Nearer my God to Thee ~ r- " A .. ~ <::> - I ~ . ·4 ~ (.-..4 ... ~ . P- 4 I- -" I I - -. xv "" f) 4 o -d4 '.-I •• •• # # 3 ~ ~ ~ (." o ~ .. 'f) '...230.. - .....L:.-I I 3 ...I --.-I" -i .J - r- •• •• .-~ JII _~t:::==_~:I 56 ..i ~ ~ '-1 .. r ~ f) .. I Exercises for Crossing the Strings ===-==~:I :1 it ~ iH j ~ :~f--------.I r.. r.-I l- - •• -. I I I - .I .-I" (. .. . lJ I ~ ----4i-.L! ~ ~ . I I ~ r- I- -" -r -r>. " lJ .j ~ 3 4 . " " XV "" f) -~. P- -.

.. .... :1 Springtime ~ 1'\ ..~ .. .. --~ -U ~ ~ ..- - I -- ....I I V ~ I I I g ~ .--r- - -57 .....>: B '"' v -- .. ---..Whole bow . 238 ~ -====== ~=~~= •• 239. ~ A tJ ~ ..()'"-----=- r-.. r-I ... •-=': r> ~.-- '.tJ ~v .. 1-1-. I .... .. .I I ~3 ~ . .... - .• . ..-.. .• . .~..J ... . • . ~ ~ v 3 . V .- .• r.....

--. I ~ r- . t. ~ T ..I 1 2 0 0-.. ••• " eJ •••' '" ~ s r/ - ~ -~ ~ I ~ . ---\ "'. -If ·. ~ .. ~ ----~ I • - .. ~ . o ... .~ v I' -.. ~ CO . · I I I ---- ~ I I I .0 I V "" . . ~-..• . ------ ~ '-' ~ . • ~- -... ~ ....-j • " 7 .. I ~ 3 I I "" eJ .. ? U -4f-4f ---- ·1 1 -41" h - I 2 3 ....." " I' .-j -t! I · . .. ". ~ I... •• 3 • ~t-. .~ . . . The Burgomaster Swedish Song ~ . '1111!' •• .'" " 1'. o ~ .. 240. ~ -If - . v .f fJ • .. t.. •• •• '". 58 . --I ---- 1 V - "fJ ". .' " -.....--..1 "eJ ~ ~ ----'! • . .. ..... .f .

developing flexibility of the wrist ~----=i •• :~ 9 .3 o 2 o V Skips across one or two strings V ~~I 1-- ~~~:~ ~-~U~ ~2 ~~O V :If 1) at the Nut ~r-------7o :11 Exercise for change of bow at the Nut and Tip.

I - . -+- -• -•- .". '-' '" 'cV ~ . " IT oWl J. . r-l =4i ...• • 11 2. I - . Dolly's Little Minuet A o B .• lS . I 2 1 o I l.-I - ~~ -. ..-I . . ill 3 .~ r @) '"\T " J. .. -I .244.. I • • •• • • o 1 • ....I. • • . 1'- .. -.- 1 . -r- - - r- •• 0 .. . .-I ..-.. I I • • =4i .I..

• • Piano: Play nearer to the fmgerboard with diminished Bow-pressure. • • • • • • ) at the Tip • • o • • • • u . • .Exercise across two strings at the Nut ...... • U 0 • • U Exercises for different Dynamic Expression • • forte: Play nearer to the bridge with slightly increased Bow-pressure.. • • 61 .

:~n :1 ~~t t 1£ r 62 1 0 :lI§!~ *=t i~~~ .frorte piano rr:: r~te rr~:e n e- - n I e- I0 piano I 0 In 0 I 0 te I 0 () I bt-44J I 0 n 0 e- I piano I 0 n I I I 0 I0 I () I0 piano I 0 ~ F? e- O e- O - I n Scale of E minor ~~ 255.

. '" . 'T n n 1- ~ f) - ... 1\ ~'17 ~ •• JJ. -6 ""l: ~ ""l'... -. ~ ~ . t."'" '-~ . 63 ... - r: =r ~ ~:.TEQHNrQUE 1)EtJELOPHENT D Major scale D Major broken thirds D Major scale . Be sure to play these I'byIlhms and bowings with good bow division. ~ ""l'.j G Major broken thirds Major scale Major broken thirds Play the scales and broken thirds with the rhythms and bowings listed on the next page. I.• ""l: -6 t.•. I• I..•.. I. .j .

BOW DIVISIONS Whole Bow = W. J J --------J J --------~ 7. Upper Half = U. 22. d J J J ---• 11. . J r-I .H. n J • 5. JmJ 13. 6.H. J"-' J 23. Middle = M. J J J J . J J J. . J J J J 9. 10. 4 4 1. 18. J. ~ J r-I . • ~ 21. 3. J nJ J J nJ • 4. ----. 3 4 17. 8.--• • 15. 2. ------ 1"4. Slur 2 notes 24. J nJ 19.B. J. Slur 4 notes 16. J J d 12. 20. nn J J. 2 4 Lower Half = L. Slur 3 notes 64 . ~ J J d J J J d.

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