You are on page 1of 44

# Beat = The

Q u a r t e r Note

J =1

Q u a r t e r ReSt

i=

Music Staff

Beat of S o u n d

I Beat of Silence

Bar lines

Measures

1. T U N I N G TRACK

Notes

Rests

## tell us how high or low to play, and how long to

tell us to count silent beats.

B a r Lines

2.

of Music

Pulse

Measure

Music
Staff

Bar Line

Bar Line

Wait quietly

for your

teacher

to tune your

Measure

A
Bar Line

instrument.

## LET'S PLAY " O P E N D'

Pizzicato

(pizz.) i Pluckthe

0 -J Open

strings

string

r r1

oi r1

r1r1r oi r1o
1

## 3. LET'S PLAY " O P E N A '

0

p1
p1p = 3
o p1

j
?
Keep

beat.

4 . T W O ' S A TEAM

OO(Q

5. AT PIERROT'S D O O R

p1o p

The melody

o

^{

is on your

oo

oo

op

CD.

1 pi p pi o

1r

o
t
r

Spaces

Lines
B a s s Clef

Clefs
G

Time Signature

## 4 beats per measure

(Meter)

J o r * gets o n e beat

## The t i m e s i g n a t u r e tells us how many beats are in

each measure and what knd of note gets one beat.

Double Bar

## A d o u b l e b a r indicates the end of a pece of music.

6. J U M P I N G J A C K S

Identify

the clefand

time signature

before

p p1O:

~ 1 1
4

playing.

c%

P 1O

n
D

>

7. MIX ' E M UP

6VA

P-

0 -

Repeat Sign
Counting

p 1 P

P1P1

## Go back to the beginning and play the music again.

Count

Tap
8. C O U N T CAREFULLY

Count:

Keep

## One beat = Tap toe down on the number and

up on "&." Always count when playing or resting.

T I T i - T i T

beat

when

playing

or

oo

## Write in the counting

resting.
Repeat

ptz.z.

9 . ESSENTIAL ELEMENTS Q U I Z

O
so
-<

before

you

play.

sign

D STRING
Step 1

NOTES

## Be certain your palm faces you.

0 = O p e n string
1 = 1 st f i n g e r
2 = 2 n d finger
3 = 3rd finger
4 = 4 t h finger

Bring your hand to the fingerboard. Place your fingers on the D string, keeping your hand shaped as show
Be sure your thumb is behind the second finger and slightly bent.
ith 3 fingers
is played with 4 fingers
is played with 1 finger
F Uff oisnptlahyeedDwstri
ng.
on the D string.
on the D string.

Step 2

## Play what your teacher plays. Listen carefuly.

Listenng Sklls
1 0 . LET'S READ "G"

G 3

LIFTOFF

the note

ames.

A s h a r p raises the sound of notes and remains in effect for the entire measure.
Notes without sharps are caled n a t u r a l notes.

jj

pizz.

12.

memorzing

pizz. 4
0

Sharp

11.

Start

A Play
^ )

all

Ftt's. Sharps

apply

to the entire

measure.

D-i -

o 1 -

## SHAPING THE RIGHT HAND

BOW

B U I L D E R ONE

Pencil Hold
Step 1

Step 2

## Place the tip of your right thumb between the

first and second joints of your second finger.

Step 3

## Place the pencil between your thumb and second

finger, while keeping your thumb gently curved.

Step

## 4 The pencil should touch your first three fingers

between the first and second joints, and touch
the fourth finger at the first joint, as shown.

Step 5

## Remove your left hand from the pencil. Keep your

fingers relaxed. Practice shaping your hand on the
pencil until it feels natural to you.

## Practice BOW BUILDER ONE daily.

1 3 . O N THE TRAIL

Say or sing

the note

ames before

7 |

you

play.

>

1H

pizz.

E V r r r ^
15. WALKING

SONG

pizz. 4

Count:

Draw

&

## 1 & 2 & 3 & 4 &

the missingsymbolswheretheybelong

before

you play:

## 1 & 2 & 3 & 4 &

BOW

B U I L D E R TWO

Pencil Hold E x e r c i s e s
l'm Outta Here

Finger Taps

## Tap y o u r first finger. T h e n t a p y o u r

wrist relaxed.

f o u r t h finger.

Thumb

K n u c k l e Turnovers

Flexers

## Turn y o u r h a n d over a n d b e sure y o u r

Flex y o u r t h u m b n a n d o u t .

t h u m b k n u c k l e is b e n t , as s h o w n .
Knuckle

BOW

BUILDER

Turnovers

THREE

Bowing Motions
Elbow Energy

i /
TV \
// X A / x
'(
\7 \

## S w i n g y o u r ght e l b o w away f r o m y o u r body.

O p e n y o u r r i g h t f o r e a r m , as s h o w n .
Cise y o u r r i g h t f o r e a r m .
Swing your e l b o w back t o w a r d your body.

,'/| i
fif\
(
bU^uJtW-U---*)-u
Elbow

JaJ-

Energy

1 7 . H O P SCOTCH
pizz.

## 1 & 2 & 3 & 4&

Folk s o n g s h a v e b e e n a n i m p o r t a n t p a r t o f c u l t u r e s f o r c e n t u r i e s a n d h a v e b e e n passed o n f r o m g e n e r a t i o n t o g e n e r a t i o n .

Folk s o n g m e l o d i e s h e l p d e f i n e t h e s o u n d o f a c u l t u r e o r r e g i n . T h i s f o l k s o n g c o m e s f r o m t h e Slavic r e g i n o f e a s t e r n

1 8 . M O R N I N G DANCE
3

pizz. 4

Europe.

Slavic Folk S o n g l

3=3

19. ROLLING A L O N G
Go to next

pizz-

*y*\

i
IPir

11

line.

WORKOUTS

## Practice t h e f o l l o w i n g exercises w i t h y o u r left h a n d .

Finger Taps
Tap f i n g e r t i p s o n a n y s t r i n g . Practice in d i f f e r e n t
combinations o f fingers.

Strummin' Along
S t r u m t h e s t r i n g s w i t h y o u r 4th f i n g e r w h i l e s w i n g i n g
y o u r e l b o w , as s h o w n .

Strummin'Along

20. G O O D K I N G WENCESLAS

0 : 4pizz.

0
r1

A /Ceep fingers

21.

W e l s h Folk S o n g
o

down

-oV 1o uJf

when

i -

bracket.

SEMINOLE CHANT
pizz.
A

Count:

22.

^ n ^

F f

n-
1r L f

pizz.

-0-

I
A Prepare

F# before

playing.

/
/

A
L/

Di

tr% 4

"

10

A STRING

NOTES

on the A string.

Listening Skills

on the A string.

Ledger

lines

pizz. 4

D
24.

lines

Lines

23.

2 5 . TAKE O F F

## P/oy o// Ctts' . Sharps

apply

to the entire

2 6 . C A R I B B E A N ISLAND
piz

Jfc

pizz.

on the A string.

Ledger

Ledger

## Practice BOW BUILDERS ONE,TWO,and THREE daily.

measure.

11

2 7 . OLYMPIC HIGH J U M P

M i

* 4
28.

, p

m
J

*
f

, p

|0

HALF W A Y D O W N
pizz.

ttlO-

11J
\

/ i

4 ^
30.

## LET'S READ " B '

B
29.

o- -j

-P

RIGHT B A C K UP

^ s c a l e is a s e q u e n c e o f n o t e s

piz

>'.IJ^Q|g

## i n a s c e n d i n g o r d e s c e n d i n g o r d e r . L i k e a m u s c a l " l a d d e r ' , ' e a c h n o t e is t h e

n e x t c o n s e c u t i v e s t e p o f t h e s c a l e . T h i s is y o u r D Scale. T h e f i r s t a n d last n o t e s a r e b o t h D.

31.

D O W N THE D SCALE

Remember

to memorize

p/

4
32.

ames.

the note

ni

>

tM

*
f

r1

pizz. o

R ^ 4
>2
'

>

, p

>

>

12
BOW

BUILDER

FOUR

O n The B o w
Step 1

Step 2

## 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.
Place the bow between your right thumb
and second finger. The tip of your thumb
will contact the stick next to the frog, and
your second finger will extend to the ferrule.

as shown.

Step 4

thumb is curved.

Step 5

## Hold the bow and repeat the exercises on pag

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

33.

Step 3

S O N G FOR CHRISTINE

m_

O-

34.

NATALIE'S ROSE

Remember

to

pizz.

p^
s-^

-1

"O

1o

fT%
1J

fr\

ESSENTIAL CREATIVITY

Example

9 ~ ^ L 1

19

1p 1O

35.

u>

count.

t
1

How many

,p

words

>

n>o

1
0

ffl

12.

notes

on the staff

.
O

## can you crate by drawing

below?

13
Folk s o n g s o f t e n tell stories. This Israeli f o l k s o n g d e s c r i b e s a g a m e p l a y e d w i t h a d r e i d e l , a s m a l l t a b l e - t o p s p i n n i n g t o y
t h a t h a s b e e n e n j o y e d b y f a m i l i e s f o r c e n t u r i e s . T h e g a m e is e s p e c i a l l y p o p u l a r i n D e c e m b e r a r o u n d t h e t i m e o f H a n u k k a h .

36.

DREIDEL

Israeli F o l k S o n g

pizz.

ra

u>
1

)
BOW

BUILDER

- * M
4%

\.

p-j

a-

^1

'

i*

FIVE

S h a d o w B o w i n g is b o w i n g w i t h o u t t h e i n s t r u m e n t .

Step 1
Step 2
Step 3
f

T i g h t e n t h e b o w h a i r as i n s t r u c t e d b y
Place t h e r o s i n i n y o u r l e f t h a n d .
H o l d t h e b o w in y o u r right h a n d .
Shadow b o w by slowly m o v i n g t h e
b o w back a n d f o r t h o n t h e rosin.

Be

sure t o m o v e t h e b o w , n o t t h e rosin.

Down Bow

M o v e t h e b o w a w a y f r o m y o u r b o d y (to t h e right).

Up

M o v e t h e b o w t o w a r d y o u r b o d y (to t h e left).

37.

Bow

R O S I N RAP #1

Bow these

exercises

J
Down

38.

Down

Rest

Up

j
Rest

R O S I N RAP # 2

4J
39.

Up

Down

Rest

R O S I N RAP # 3
v

Down

Up

Rest

on the rosin.

Rest

\J

Down

Rest

Up

Up

Down

Up

Down

Up

l
Rest

Rest

Rest

Rest

Is y o u r b o w h a n d s h a p e d as s h o w n i n t h e d i a g r a m a b o v e ?

\J

Down

Up

Down

Down

Up

Down

Rest

Rest

Up

Up

Rest

Rest

|J

J
Up

l :||

Down

Rest

Rest

v
f-

-+

Down

Up

Rest

Rest

Down

Up

Down

Up

40.

C A R O L I N A BREEZE

pizz.

Count:

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

4 1 . JINGLE BELLS

* ) : 4 -Xff
J

m m

>

-*

-iff

-|#

r
-

>

>

j i1

if

49

J.S. P\ierpont
1

49

>

i = l
J-

49- J

"

>

41

-m

49

f
0

\
1

!T<9

49

>

4
a

*i
\ x
* *

x x x 1

PIZZ,

42.

<>

-49

r=
11

MI

49-

## Practice BOW BUILDER FIVE daily.

1:
A u s t r i a n c o m p o s e r W o l f g a n g A m a d e u s M o z a r t ( 1 7 5 6 - 1 7 9 1 ) w a s a c h i l d p r o d i g y w h o f i r s t p e r f o r m e d i n c o n c e r t a t a g e 6.
H e l i v e d d u r i n g t h e t i m e o f t h e A m e r i c a n R e v o l u t i o n ( 1 7 7 5 - 1 7 8 3 ) . M o z a r t ' s m u s i c is m e l o d i c a n d i m a g i n a t i v e . H e w r o t e
h u n d r e d s o f compositions, i n c l u d i n g a piano piece based o n this familiar song.

4 3 . A MOZART MELODY

A d a p t e d b y W. A. M o z a r t

pizz.
-0

Key

Signature

A k e y s i g n a t u r e t e l l s us w h a t n o t e s t o p l a y w i t h s h a r p s a n d fats t h r o u g h o u t t h e

D MAJOR

## e n t i r e p i e c e . Play all F's as Ftt (F-sharp) a n d a l l C's as Ctt (C-sharp) w h e n y o u s e e

t h i s k e y s i g n a t u r e , w h i c h is c a l l e d " D

Major."

4 4 . MATTHEW'S M A R C H
pizz.

## you see this key

signature.

1*

1*~

when

0
4m

45.

C H R I S T O P H E R S TUNE
pizz.

^ ; ^ S ^
s ff 4

46.

1
f

ESSENTIAL CREATIVITY

Play

you

the notes

have

below.

learned

- r

-0

Then

compose

your

own music

'

## for the last two measures

JJJJ

'

using

>

the

notes

1
1

B O W

B U I L D E R

S I X

Let's B o w !

3.
Thumb

Bow

Placement

Hold

Listeni n g S k i lis

47.

Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y . Y o u r t o n e s h o u l d b e s m o o t h a n d e v e n .

B O W O N THE D STRING
l

Play with

## the bow on the

string.

arco

l i l i

m
B O W O N THE A STRING

v n v
r-0)

m>

v-m>

n
m

l i l i
n

v-m-

W O R K O U T S

String Levis
Your arm m o v e s w h e n b o w i n g o n different strings.
Memorize these

guidelines:

## M o v e your arm forward and up to to play

higher-pitched strings.
M o v e your arm b a c k and d o w n t o play
lower-pitched strings.

49.

RAISE A N D

J'H
50.

51.

53.

Lower

MIRROR IMAGE

Lift

- *

Lower arm

= lower string

Raise

arm.

-*

V
49

your

-0

string

-*M
V

L i f t t h e b o w a n d r e t u r n t o its s t a r t i n g p o i n t .

A STRAND O F D

-m

= higher

m m

arm.

-in

%;

your

TEET ER TC)TTER

Bow
52.

LOWER

Raise a r m

N'

/ Bow

3 =

Lift

:||

## ESSENTIAL ELEMENTS Q U I Z - OLYMPIC CHALLENGE

i

B O W

B U I L D E R

S E V E N

C o m b i n i n g Both H a n d s
U s i n g n o t e s f r o m t h e D m a j o r scale, e c h o w h a t y o u r t e a c h e r p l a y s .
E x a m p l e A:

w.

**
Teache r
E x a m 3le

Teacher

t 9

19

Studen

Teacher

Student

Teacher

Student

Teacher

Student

Teacher

Student

B:

Student

\\

18

## PUTTING IT ALL TOGETHER

C o n g r a t u l a t i o n s ! Y o u a r e n o w r e a d y t o p r a c t i c e l i k e a n a d v a n c e d p l a y e r b y c o m b i n i n g l e f t a n d r i g h t h a n d skills w h i l e r e a d i n g m u s i c .
W h e n l e a r n i n g a n e w line o f music, f o l l o w t h e s e steps f o r success:

Step 1

T a p y o u r t o e a n d say o r s i n g t h e l e t t e r a m e s .

Step 2

Play

Step 3

S h a d o w b o w a n d say o r s i n g t h e l e t t e r a m e s .

Step 4

B o w a n d p l a y as w r i t t e n .

54.

pizz- a n d say o r s i n g t h e l e t t e r a m e s .

BOWING
4

J H 1

55.

BACK AND

56.

n9

9v

W.

i*

n
*

n#

>

r i i
f

(Bow

Lift)

"

4

59.

LITTLE STEPS
4

60.

MI

ELEVATOR D O W N
9

i i

1*

n
,

3
m

-P

>
%

U MEIN T

TRIB AL

58.

Pl

57.

9)

-m>

V
p*

UP

n
9)

>

D O W N AND

FORTH

-t^-r-4-i

*\-\-a-A-

"G

>W

-49-

&

1
2

&

&

i
1

&

&

&

\
&

&

9)

&

=
&

&

v-0

- f

&

F
&

&

&

&

19

61.

ELEVATOR UP

4V*

62.

1 1

>': i

-0-

-0-

r-=y

19

63.

-Hl-

=^#=

v.

64.

to <:ount.

*9

n
4W

(9--

sm

%>

* II

m9-

-0-

^w

'

Specal Cello
While

the basses

learn

Exercise
a new note, draw

9
1

65.

'

## LET'S READ "Ctt" - R e v i e w

3

>

below.

Then

write

V.

in the

counting.

>

_
T

>
r

20

Eighth N o t e s

n
1

Each E i g h t h N o t e = V2
&

2 Eighth Notes

J-J= 1 Beat

Beam

1 & 2&

Beat

T w o or m o r e Eighth
J

_
J

^ ^ ^ ^ ^ ^

across t h e stems.

N o t e s h a v e a beam

J
T

T a p y o u r t o e d o w n o n t h e n u m b e r a n d u p o n t h e "&'.'

66.

RHYTHM RAP

## bow and count

n
4

Count: 1

Vn V
&

&

before

playing.

V
&

&

Vn V
&

&

V
&

&

Vn V
&

&

V
&

&

&

Vn
2

&

/
&

1
&

6 7 . PEPPERONI P I Z Z A
0

m
68.

RHYTHM RAP

## bow and count

Count: 1

before

v n v

n v n

JIJ
&

&

playing.

^3ij
&

&

&

v n v

n v n

JIJ
2

&

v n v

J^IJ
&

&

n v n

J^IJ

ni
1

&

&

v n v

&

&

n
1

&

&

&

MI
4

&

6 9 . D M A J O R SCALE UP

m
Tempo Markings

70.

Tempo

is t h e s p e e d o f m u s i c . T e m p o m a r k i n g s a r e u s u a l l y w r i t t e n a b o v e t h e staff, i n I t a l i a n .

A l l e g r o - Fast t e m p o

Moderato - Mdium t e m p o

A n d a n t e - Slower, w a l k i n g t e m p o

HOT C R O S S B U N S
Moderato

0 0

7 1 . A U CLAIRE DE LA LUNE
Andante

F r e n c h Folk S o n g

21

72.

RHYTHM RAP

## bow and count

before

playing.

vn vn v

n vnv n

vn vn v

n vnv n

>

Count: 1

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

7 3 . B U C K E Y E SALUTE
Moderato

74.

Conducting

Time Signature
2 beats per measure

Practice c o n d u c t i n g this

## Q u a r t e r note gets o n e beat

two-beat pattern.

RHYTHM RAP

Count:

## bow and count

n v

1 & 2

&

before

n v
1 & 2

playing.

&

n v n v n v
1

&

&

&

n v
2

&

1 & 2

n v
&

&

nvnvn
2

&

1 & 2

&

&

MI
2

&

7 5 . T W O BY T W O

## lst & 2nd Endings

Play t h e 1 st e n d i n g t h e 1 st t i m e t h r o u g h . T h e n , r e p e a t

se

t h e s a m e s e c t i o n o f m u s i c , skip t h e 1 st e n d i n g , a n d play

Moderato

0>
A lst

time

A 2 n d r/me

>O

Half Note

J
1

77.

= 2 Beats
&

Count: 1

## bow and count

&

= 2 Silent Beats

&

RHYTHM RAP

78.

Half Rest

&

before

&

playing.

&

&

&

&

&

&

&

&

&

&

&

&

&

AT PIERROT'S D O O R

&

&

French Folk S o n g

Moderato

Slow
Bow-

Slow
Bow-

79.

THE HALF C O U N T S

80.

G R A N D P A R E N T ' S DAY
Andante

ii

Slow
Bow-

A m e r i c a n Folk S o n g

Repeat Signs

81.

but go back

only

## MICHAEL R O W THE BOAT A S H O R E

Moderato

- 0

*>

Pizz.

this exercise

4+ = 4th finger

0t i 01

4+

(etc.)

with your
pizz.

usual
beginning.)

A m e r i c a n Folk Song
-G

-&

2.

8 2 . TEXAS TWO-STRING

as

## sign, not to the

left hand

4th

finger.

n
0

23

83.

FOUR B Y F O U R

rf

rfi

'

n *

-p

-e

|-|

-m

fi

->

'

8 4 . 4 T H FINGER M A R A T H O N

'

.t 4

85.

-m

- 0

-m

mr

3r

H I G H FLYING
n

Germn composer L u d w i g v a n B e e t h o v e n (1770-1827) was o n e o ft h e world's greatest composers. He was completely deaf
b y 1 8 0 2 . A l t h o u g h h e c o u l d n o t h e a r m u s i c l i k e w e d o , h e c o u l d " h e a r " i t i n h i s m i n d . T h e t h e m e o f his f i n a l Symphony

No. 9

i
O

## celebrating t h ereunification o f Germany in 1990.

86.

ESSENTIAL ELEMENTS Q U I Z - O D E T O J O Y
Ludwig van Beethoven

Moderato

-f

*-

M
W

W
W

r'

'

1
1

24

PERFORMANCE SPOTLIGHT
G o o d p e r f o r m e r s are o n t i m e w i t h t h e i r i n s t r u m e n t s a n d m u s i c ready, dressed a p p r o p r i a t e l y , a n d k n o w t h e i r m u s i c w e l l .

8 7 . SCALE WARM-UP

0
-J

88.

FRRE J A C Q U E S - Round

(When

group

A reaches,

group

B begins

at

())
French Folk S o n g

-i

O
UJ

- i

| 4 r r M > n w

Moderato

P-

0-

P
i n g at t h e s a m e t i m e f o r m a c h o r d or h a r m o n y .
T h r o u g h o u t this book, A = Melody and B = Harmony.

inora, narmony

i t c n e s

89.

BILE 'EM C A B B A G E D O W N - O r c h e s t r a A r r a n g e m e n t
Allegro

v n v

9h
B

| 5 | -i

Measure

Number

American

FiddleTune

25

PERFORMANCE SPOTLIGHT
90.

ENGLISH R O U N D
Andante

91.

3=3

LIGHTLY R O W - O r c h e s t r a A r r a n g e m e n t
Moderato

i .

SI
-0000

F r e n c h c o m p o s e r J a c q u e s O f f e n b a c h ( 1 8 1 9 - 1 8 8 0 ) w a s t h e o r i g i n a t o r o f t h e o p e r e t t a a n d p l a y e d t h e c e l l o . A n o p e r e t t a s a

ic

## f o r m o f e n t e r t a i n m e n t t h a t c o m b i n e s several o f t h e fine arts t o g e t h e r : vocal a n d i n s t r u m e n t a l music, d r a m a , dance, a n d visual

a r t s . O n e o f h i s m o s t f a m o u s p i e c e s is t h e " C a n - C a n " d a n c e f r o m Orpheus

## And The Underworld.

This p o p u l a r w o r k w a s w r i t t e n

## in 1858, j u s t t h r e e years b e f o r e t h e start o f t h e A m e r i c a n Civil War (1861 - 1 8 6 5 ) .

92.

CAN-CAN - O r c h e s t r a A r r a n g e m e n t

Jacques Offenbach
Arr.John Higgins

Allegro

[ /

## What were t h e strong points of your

performance?

0 0

~M.

26
G

S T R I N G

N O T E S

Listening Skills

Key

Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y .

Signature

G MAJOR
93.

"i

c
95.

signature.

4

mm
3

B 3
96.

o

G
94.

V
x

w
4

(C-natural).

27

97.

WALKING AROUND
4

before

98.

99.

you

play.

FOURTH FINGER D

(for vlolins

## nan es bef on 'youp

and

i 9

e9

f9

'

e.

lay.

9-

f-3

-<9

.-)
/

(2

1 \
1

violas)

Time Signature
(Meter)

= commonTime

Conducting

i
1

V\
\

\4

Practice c o n d u c t i n g
this four-beat pattern.

so

LOWDOWN
n

S a m e as |

100.

f/

## ame the notes

0
1

i
1
1
1

101.

B A A B A A BLACK SHEEP
Moderato
-0-0-

-0

102.

02

- 0 0 ~

## ESSENTIAL ELEMENTS Q U I Z - THIS O L D M A N

Moderato

2ZI

A m e r i c a n Folk S o n g

m
m

28

Time Signature

## = 3 beats per measure

(Meter)

= J or \$ gets o n e beat

## Dotted Half Note

103.

Conducting

3 Beats

of Sound
1

&

&

&

Practice c o n d u c t i n g
this three-beat pattern.

Dot

A d o t a d d s half t h e

2 beats + 1 beat

valu o f t h e note.

= 3 beats

RHYTHM RAP

## bow and count

Counf. 1

before

V
&

&

playing.

&

&

V
&

&

&

&

&

&

&

&

1 0 4 . C O U N T I N G THREES
n

5/ow

105.

D M A J O R SCALE IN THREES

106.

FRENCH FOLK S O N G
Moderato

S/ow
Bow

~0> 0-

^23

-&

107.

## ESSENTIAL ELEMENTS Q U I Z - S A I L O R ' S S O N G

Allegro

n
i

E n g l i s h Sea S o n g

## Write in the correct

time signature

before

you

begin.

29
A t i e is a c u r v e d l i n e t h a t c o n n e c t s n o t e s o f t h e s a m e p i t c h .

Tie

108.

= 2 beats

J J

Play a s i n g l e n o t e f o r t h e c o m b i n e d c o u n t s o f t h e t i e d n o t e s .

FIT T O BE TIED

I
Slur

A s l u r is a c u r v e d l i n e t h a t c o n n e c t s t w o o r m o r e d i f f e r e n t p i t c h e s .

m
O

Play s l u r r e d n o t e s t o g e t h e r i n t h e s a m e b o w s t r o k e .

1 0 9 . STOP A N D G O
# 1

-v

110. SLURRING A L O N G
n

=5

111.

1
1
1

S M O O T H SAILING
n

=51

112.

<*

D M A J O R SLURS
n

wm

-T#

IB S>

r -m>

f3

f *- -

TI

1 1 3 . CR OS SI N G iTRI N G S
0

o v

'

n .

- 1 1 -

N
0}

_0

0M

-*>

gWM

114. GLIDING B O W S

V
0T\

-p

r-0 0i 0

n .0|

115.

UPSIDE D O W N
0
H

s
.

r
m

r-0

1m

i
9

30

6
116.

A n o t e ( o r n o t e s ) t h a t a p p e a r s b e f o r e t h e f i r s t f u l l m e a s u r e is c a l l e d a n u p b e a t ( o r p i c k u p ) .

Upbeat

T h e r e m a i n i n g b e a t s a r e f o u n d i n t h e last m e a s u r e .

S O N G FOR MARIA
Andante

Whereis

Upbeat

beat

4?

## L a t n A m e r i c a n m u s i c c o m b i n e s t h e f o l k m u s i c f r o m S o u t h a n d Central A m e r i c a , t h e C a r i b b e a n Islands, A f r i c a n , Spanish,

a n d P o r t u g u e s e c u l t u r e s . M e l o d i e s o f t e n f e a t u r e a lively a c c o m p a n i m e n t b y d r u m s , maracas, a n d claves. Latin A m e r i c a n
styles have b e c o m e p a r t o f jazz, classical, a n d r o c k m u s i c .

## Play u n t i l y o u see t h e D . C . a l F i n e . T h e n g o b a c k t o t h e b e g i n n i n g a n d p l a y u n t i l y o u see F i n e

D.C. a l F i n e
117.

(fee'-nay).

D . C . is t h e a b b r e v i a t i o n f o r D a C a p o , t h e I t a l i a n t e r m f o r ' r e t u r n t o t h e b e g i n n i n g . "

F i n e is t h e I t a l i a n w o r d f o r " t h e f i n i s h . "

B A N A N A BOAT S O N G
Moderato

C a r i b b e a n Folk S o n g

Fine

~ - s

(5

D.C. al Fine

1 1 8. FIROLIRALERA - O r c h e s t r a A r r a n g e m e n t
Allegro

n
Upbeats

M e x i c a n Folk S o n g
Arr.John Higgins

B
Upbeats
_

4> r

' tt J

-lS-li^,

- *

^J*

i
9

1*

i-^

-* *

J - --*J

*i*r v

P
*

3==

,i1

>

^r

n
n

V
0

-0

A Tie
-0

A Tie

F a r E a s t e r n m u s i c c o m e s f r o m M a l a y s i a , I n d o n e s i a , C h i n a a n d o t h e r reas. H i s t o r i a n s b e l i e v e t h e f i r s t o r c h e s t r a s , k n o w n
as g a m e l a n s , e x i s t e d i n t h i s r e g i n as e a r l y as t h e 1 st c e n t u r y B.C. T o d a y ' s g a m e l a n s i n c l u d e r e b a b s ( s p i k e d f i d d l e s ) , g o n g s ,
xylophones, and a w i d e variety o f percussion instruments.

125.

JINGU NONA
Allegro

ff

Far E a s t e r n F o l k S o n g

n
J

'

0)

9)

* 0

-s

- 0

m 0

tfV
/I*

L J T -

M9

1.
* t

2.

hz
Where

ZT0
is beat

41 \

32
S E C O N D

F I N G E R

O N

T H E

S T R I N G

i.

D
is p l a y e d w i t h
2 fingers o n
t h e O string.

Listening Skills

Natural
126.

Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y .

## LET'S READ " F " (F-natural)

2

F y'T r
I

127.

Half Step

A h a l f s t e p is t h e s m a l l e s t d i s t a n c e b e t w e e n t w o n o t e s .

W h o l e Step

A w h o l e s t e p is t w o h a l f s t e p s c o m b i n e d .

HALF-STEPPIN' A N D W H O L E STEPPIN'
H
g

7/2 s f e p

7/2sfep

Whole

step

Whole

step

128.

SPYGUY
4

-*>0-

129.

M I N O R DETAILS
n
2

SECOND

FINGER

ON

THE

A STRING

is p l a y e d w i t h
2 fingers on
the A string.

Listening Skills
130.

Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y .

c -y-'-
131.

## HALF STEP A N D W H O L E STEP REVIEW

4

7/2srep

7/2sfep

Whole

step

Whole

step

, 2

| * O m a t C S

C h r o m a t i c n o t e s a r e a l t e r e d w i t h s h a r p s , fats, a n d n a t u r a l s . A c h r o m a t i c p a t t e r n is t w o o r m o r e
n o t e s in a s e q u e n c e o f half steps.

132.

CHROMATIC M O V E S
4

133.

134.

## THE STETSON SPECIAL

n

f-

tur

BLUEBIRD'S S O N G
Allegro

Texas Folk S o n g

34

K e y Signature

jrvr

C MAJOR

## All n o t e s are naturals.

^ =

1 3 5 . C MAJOR SCALE - R o u n d
(D H
(2)

7/2

7/2

7/2

Duet

## 1 3 6 . SPLIT DECISION - Duet

0

w0

0
0

J2

137. O A K HOLLOW
Moderato
n

1 3 8 . A-TISKET, A-TASKET
Allegro

2.
0

-0

In t h e s e c o n d h a l f o f t h e 1 8 0 0 s m a n y c o m p o s e r s t r i e d t o e x p r e s s t h e s p i r i t o f t h e i r o w n c o u n t r y b y w r i t i n g m u s i c w i t h
a d i s t i n c t n a t i o n a l f l a v o r . L i s t e n t o t h e m u s i c o f R u s s i a n c o m p o s e r s s u c h as B o r o d i n , T c h a i k o v s k y , a n d R i m s k y - K o r s a k o v .
T h e y o f t e n u s e d f o l k s o n g s a n d d a n c e r h y t h m s t o c o n v e y t h e i r n a t i o n a l i s m . D e s c r i b e t h e s o u n d s y o u hear.

## 1 3 9 . ESSENTIAL ELEMENTS Q U I Z - R U S S I A N FOLK TUNE

Andante

"I. _
m

Russian Folk S o n g

%w

\w

>

35

^jj^
140.

BINGO
Allegro

## 18th C e n t u r y English G a m e Song

H
J

syfl

T h i s p a g e m i x e s f i n g e r p a t t e r n s . W a t c h f o r s e c o n d f i n g e r ( O ) a n d t h i r d f i n g e r (Fjt).

1* *

H '

-r

i r

i f r

rprrr~T^T__T~~[

mF
-

3
9

"
-_

"

\
4

Whereis

A
]

beat2?

E n g l i s h c o m p o s e r T h o m a s T a l l i s ( 1 5 0 5 - 1 5 8 5 ) s e r v e d as r o y a l c o u r t c o m p o s e r d u r i n g t h e r e i g n s o f H e n r y VIII, E d w a r d V I , M a r y ,
a n d E l i z a b e t h I. C o m p o s e r s a n d a r t i s t s d u r i n g t h i s e r a w a n t e d t o r e c r a t e t h e a r t i s t i c a n d s c i e n t i f i c g l o r i e s o f a n c i e n t G r e e c e
a n d R o m e . T h e g r e a t a r t i s t M i c h e l a n g e l o p a i n t e d t h e S i s t i n e C h a p e l d u r i n g Tallis' l i f e t i m e . R o u n d s a n d c a n o n s w e r e p o p u l a r
f o r m s o f m u s i c d u r i n g t h e e a r l y 1 6 t h c e n t u r y . D i v i d e i n t o g r o u p s , a n d p l a y o r s i n g t h e Tallis Canon

as a 4 - p a r t r o u n d .

1 4 1 . TALLIS C A N O N - R o u n d
Moderato

y4r ir

T h o m a s Tallis

-0

0 -

- 0 0 -

.J
T n e m e

T h e m e a n d V a r i a t i o n s is a m u s i c a l f o r m w h e r e a t h e m e , o r m e l o d y , is f o l l o w e d

\ i

a n d V a n a t l O n S

## different versions o f the same t h e m e .

1 4 2 . VARIATIONS O N A FAMILIAR S O N G
Moderato
n
2.
\l
u

ti

WW

mw

\J

-J

ftP

- f

fr
up your

V a r i a t i o n 2 - make

143.

Variation 1
p

own

4W

WW

0
mw

i9

variation

Moderato
v
3
n
v
v

3*3

## and crate your

own

rhythm.

36
C

S T R I N G

N O T E S

is p l a y e d w i t h 4 f i n g e r s

is p l a y e d w i t h 3 f i n g e r s

is p l a y e d w i t h 1 f i n g e r

o n t h e C string.

on t h e C string.

o n t h e C string.

Listen,ng Skills

Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y .

o

mm

145.

4*

-G

-G

-G

## LET'S READ " F '

4

~\

E
147.

n
4*

F
146.

v,

W

^
'O

1 4 8 . SIDE BY SIDE

before

n
0
^ :44

## ame the notes

-d-

d
d
1 4 9 . C M A J O R SCALE

d"

you

play.
0

"d"

>

G-

GL
-G

-G

"d

d-

-d-

37

Whole Note

W h o l e Rest

Whole Rest
A Whole Measure

o f S i l e n t Beats

= 4 Beats

150.

before

-oCount:

151.

<>

->

S/ow
Bow-

n
L

## 1 & 2 & 3 & 4 &

-m-

n
<>

-m-

T.H.Baily
V

^ 3

A n a r p e g g i o is a c h o r d w h o s e p i t c h e s a r e p l a y e d o n e a t a t i m e . Y o u r f i r s t a r p e g g i o u s e s t h e

LISTEN T O O U R SECTIONS

Violin

(*

Viola

Cello

Arpeggio
H

i.

Bass

Vln.

Va.

Vcl.

Bs.

All

## 155. MONDAY'S MELODY

i

T r a d i t i o n a l Folk S o n g

Moderato
. J . .*

1 st, 3 r d , 5 t h , a n d 8 t h s t e p s f r o m t h e C m a j o r s c a l e .

## 1 & 2 & 3 & 4 &

1 5 3 . C M A J O R SCALE A N D A R P E G G I O

Arpeggio

):

S/ow
Bow -

154.

staff line.

LONG, LONG A G O

Moderato

sits o n a

a staff line.

SLOWBOWS

playing.

v
<>

Slow
Bow -

152.

hangs from

RHYTHM R A P

Half Rest

<s

L-

J - -J - f

Fine

'

D.C. al Fine

## Special Cello Exercise

W r i t e t h e n o t e a m e s b e l o w . T h e n , w r i t e s t o r i e s u s i n g as m a n y n o t e a m e s as p o s s i b l e . S h a r e y o u r w o r k w i t h o r c h e s t r a f r i e n d s .

49

Note
ames: -

m
m

G r e a t m u s i c i a n s g i v e e n c o u r a g e m e n t t o t h e i r f e l l o w p e r f o r m e r s . V i o l i n a n d bass p l a y e r s w i l l n o w l e a m

Team W o r k

n e w c h a l l e n g i n g n o t e s . T h e success o f y o u r o r c h e s t r a d e p e n d s o n everyone's t a l e n t a n d p a t i e n c e .
Play y o u r b e s t as t h e s e s e c t i o n s a d v a n c e t h e i r m u s i c a l t e c h n i q u e .

Listening Skills
156.

Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y .

v

## 1 5 7 . LET'S READ " A " - R e v i e w

158.
Y
# *

159.

r-m>

*>

1--

VH'

m

f
1

(F-sharp) - R e v i e w

m>

MOVI N G A L O N G

before

you

play.

r r>
0 m

161.

m>

160.

## LET'S READ " G " - R e v i e w

\ ir r r r ^

G MAJOR SCALE

.1 IJ i

-<I-

l ]

'f

nj

39

1 6 2 . SHEPHERD'S H E Y
Moderato

-dM ,,
^

- s

163.

*J

-m 9

~ff~ 0

-0

## BIG ROCK CANDY MOUNTAIN

^
%

A m e r i c a n Folk S o n g

Allegro
0

Listening Skills

164.

Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y .

## LET'S READ " B " - R e v i e w

m
165.

ICE S K A T I N G
Moderato
V

0 0

m
166.

ES

## ESSENTIAL ELEMENTS Q U I Z - ACADEMIC FESTIVAL OVERTURE THEME

Moderato
V

Johannes Brahms

Staccato

167.

S t a c c a t o n o t e s a r e m a r k e d w i t h a d o t a b o v e o r b e l o w t h e n o t e . A s t a c c a t o n o t e is p l a y e d w i t h

or f

## a s t o p p e d b o w stroke. Listen for a space b e t w e e n staccato notes.

PLAY STACCATO

r r r r r r iff^
1 6 8 . A R K A N S A S TRAVELER
Allegro

S o u t h e r n A m e r i c a n Folk S o n g

01

0
J

'

% SKILL BUILDERS

gtm
WW

gtm*
90

- G Mejor

169.
1

-Y

0 9w

_ 0

1 |

m'
9

170.
9

171.

r S
):

172.
J

173.

t) 9

i n
'

^ _y

**
i

=F^==F

,9

ri

gtm
W

J ^

p*

41

Hooked Bowing

H o o k e d b o w i n g s t w o o r m o r e n o t e s p l a y e d n t h e s a m e d i r e c t i o n w i t h

=jP

## a stop b e t w e e n each note.

1 7 4 . HOOKED O N D MAJOR
V* i i
1. i a r*

_
ww

V
-p

n_

-m

v,v

.v

ii

175. WALTZING B O W S
r%

J"

m-

176.

v^

<9

P O P G O E S THE W E A S E L
Allegro

A m e r i c a n Folk S o n g

177.

AWM

r
aWI
Af

n
ww

-0

1 . }
/ T

180.

SKILL BUILDERS

- c Major

s
-

s-

-=

- P '

178.

179.

s>

mw

1\

42

Dynamics

181.

D y n a m i c s t e l l us w h a t v o l u m e t o p l a y o r s i n g .
f

(forte)

Play l o u d l y . A d d m o r e w e i g h t t o t h e b o w .

(piano)

Play softly. R e m o v e w e i g h t f r o m t h e b o w .

FORTE A N D P I A N O

1 8 2 . SURPRISE S Y M P H O N Y THEME
Andante

Franz Josef H a y d n

-&

3t*

13
_ "Y
V

SKILL BUILDERS

- Scales a n d A r p e g g i o s

A d d y o u r o w n d y n a m i c s t o a n y o f t h e lines b e l o w .

183.

D MAJOR

*Hir

ti

00>

184. G MAJOR

185. G MAJOR

(Upper

Octave-violin)

s
1 8 6 . C MAJOR
-

w
1 8 7 . C MAJOR

*V2

m
n

.
0 0

* iJ-

* 0

-J-

^ - 0

9
0-

i
0

.1

43

PERFORMANCE SPOTLIGHT
1 8 8 . CRIPPLE CREEK - O r c h e s t r a A r r a n g e m e n t
Allegro

^ j x -

B4

> kr

n
~l*

r "
5

1*

^ 1
n

-
* *

i
\

gtm

G-

J J

-?
*i

99

Arr. M i c h a e l A l i e n

f^-

? *

A m e r i c a n Folk S o n g

^4f-

r3

(A = M e i o d y a n d B = H a r m o n y )

--

<f>

*
\

A f r i c a is a l a r g e c o n t i n e n t m a d e u p o f m a n y n a t i o n s , a n d A f r i c a n f o l k m u s i c is as d i v e r s e as its m a n y c u l t u r e s . T h i s f o l k s o n g
is f r o m K e n y a . T h e w o r d s d e s c r i b e w a r r i o r s as t h e y p r e p a r e f o r b a t t l e . L i s t e n t o e x a m p l e s o f A f r i c a n f o l k m u s i c a n d d e s c r i b e

the sound.

1 8 9 . TEKELE LOMERIA - O r c h e s t r a A r r a n g e m e n t
Moderato

## Kenyan Warrior Song

Arr. J o h n H i g g i n s

9^

-0

~-0

G-

_n_

00-

-0-

f
P

44

PERFORMANCE

SPOTLIGHT

## t t a l i a n c o m p o s e r G i o a c h i n o R o s s i n i ( 1 7 9 2 - 1 8 6 8 ) w r o t e s o m e o f t h e w o r l d ' s f a v o r i t e o p e r a s . " W i l l i a m T e l l " w a s Rossini's

l a s t o p e r a , a n d i t s p o p u l a r t h e m e is s t i l l h e a r d o n t e l e v i s i n .

190.

## WILLIAM TELL OVERTURE - O r c h e s t r a A r r a n g e m e n t

Allegro
H V

ii

r cr r
n

2>

*f

'

f f>

u
n vv
1m

*1

J *

-490

r cr r

i *
m
1
1

Fine
m

G i o a c h i n o Rossini

r r r r* f

H r

|(

ii
m

LH

iTT

49

**

4 -

-49

4J

4p -

m m m

D.C. al Fine

v * M nr J
:

191.

BZP

m.

S 3

R O C K I N ' STRINGS - O r c h e s t r a A r r a n g e m e n t

John Higgins

Moderato

n vnv
0-0-0

v nv

v nv

45

PERFORMANCE SPOTLIGHT
1 9 2 . SIMPLE GIFTS - O r c h e s t r a A r r a n g e m e n t
Andante
4

-fila
J

Shaker Folk S o n g
Arr. J o h n H i g g i n s

^~~

J-J-

1'

v n v

'''U

' "tt3 ~
0 +

3^

- ^ u
^

TT

00

" * * ^ p - v r

f rf

S>

-p

m
0

\r

Sr

-p

i1

-2.'

r
-

^_
r

^ ' Lj^

n v

v n */

^-s

-fr^u

f
n

i f

f 2

- 0

19

_f

v
r

n
r

H
#

= F
i

p
2.

(2

T^T
3

* -r r

-0

1m

-0

-0-

r--

4T% "

""""

->

46

PERFORMANCE SPOTLIGHT
A s o l o s a c o m p o s i t i o n w r i t t e n f o r o n e p l a y e r , o f t e n w i t h p i a n o a c c o m p a n i m e n t . T h i s s o l o w a s

Solo w i t h P i a n o
Accompaniment

## w r i t t e n by J o h a n n S e b a s t i a n B a c h (1685-1750). You a n d a p i a n o a c c o m p a n i s t can p e r f o r m f o r

t h e orchestra, y o u r s c h o o l , y o u r family, a n d at o t h e r occasions. W h e n y o u have learned t h e piece
w e l l , t r y m e m o r i z i n g i t . P e r f o r m i n g f o r a n a u d i e n c e is a n e x c i t i n g p a r t o f b e i n g n v o l v e d i n m u s i c .

1 9 3 . MINUET N O . 2 - Solo
Moderato

4 1

p-

-4

r
E

^^r.

/
^

**

09

r r

_ m

p-

CJ

n*

r f .

10

^
j

ff= r i T f

p<-f

TlTr i

i* *

pF

1 1

Piano A c c o m p a n i m e n t
Moderato

1
p
1

1
-<=

m
m

-t-e

-e

si;

i-

"

J
J

P
i

, H . H . H l - nj - n< - nj i -
*

-e-

J.

17

J.

m
m

i
<5>

J
m

J
L

J !

a-

JJ

-e
9

r u rj

L-l

r.rr
J

JJ1

rf

p-

Arr.John Higgins

Atm

h
v

J o h a n n Sebastian Bach

m
m

47
IITI p r O V I S C I t i OII
1 94.
/J*

RHYTHM J A M

I m p r o v i s a r o n is t h e a r t o f f r e e l y c r e a t i n g y o u r o w n m u s i c as y o u p l a y .

Using

the following

notes,

improvise

your

own

rhythms.

n\r

Using

1
1
1

1 <>

L-o
INSTANT M E L O D Y

T~%

1 95.

the following

notes,

improvise

your

own melody

## (Line A), to go with

the accompaniment

(Line

&

-0>

0>

i*

r*~~

1*

1*

CELLO F I N G E R I N G CHART
C STRING

G STRING

D STRING

A STRING

ctt

B).