A LUNE A DAY FOR VIOLA. BY C. PAUt. HERFURTH Book TwoA Tune a Day For VIOLA A Second Book for Viola Instruction in Group, Public School Classes or Individual Tessons Provides training in ensemble playing when used with the Violin and Violoncello books By C. Pau, Herrurtu BOOK TWO—INTERMEDIATE TEACHER’S MANUAL A complete guide for teaching “A TUNE A DAY” for either Violin, Viola or "Cello; containing piano accompaniments A very conventent book for home practice BOSTON MUSIC CO. WM. Co, 000DICTIONARY OF TERMS AND SIGNS USED IN MUSIC For volume of tone: PP —Pianissimo, very soft. P —Piano, softly. mp —Mexzo-piano, rather softly. mf —Mezzo-forte, rather loudly. Sf —Forte, loudly. ‘ff —Fortissimo. very loud. af —Storzando, strong accent. (> A) cresc. —Crescendo, gradually louder. (————) dim, —Diminuendo, gradually softer. (===) For tempo (speed): Largo—Very slow. jio—Slow. Andante—Rather slow. Andantino—A little slower than Andante. Moderato—Moderately fast. Allegretto—Lively, but not too fast. Allegro—Fast. ‘Vivace—Faster than Allegro. Presto—Very fast. For increasing tempo: Aceelerando (Accel.)—Gradually faster. Stringendo (String)—Suddenly faster. Pid mosso—A steady, faster speed. For decreasing tempo: Ralleutando (Rall.)—Gradually slower. Ritardando (Rit.)—Gradually slower. Meno mosso—A steady, slower speed. For style: Animato—With spirit, with animation, Agitato—Agitated. Allargando—Broader. Cantabile—In a singing style. Dolee—Sweetly, softly. Espressivo—With expression. Legato—Smoothly, connected. Maestoso—Majestically. Con Spirito—With spirit. Staccato—Detached, separated. ( Tenuto—Sustained. (-) A Tempo—In the original time. Other signs: TD. C. Da Capo—From the beginning. Fine (fee-nay)—Ending. D.8. Dal Segno—Go back to the sign(¥) Hold (fermata)—Prolongs the time of a note or rest. (7) TilTO THE STUDENT To all the viola pupils who use this book: This is a persoual letter to you. I want you to read it and carry out carefully what I have asked you to do, and during the year let me know, through your teacher, how you are progressing. Having completed the study of Book I, you should be thoroughly familiar with the fundamentals of good viola playing, such as a good position, correct use of the fingers through the proper position of the left hand, and the elementary principles of bow coritrol. Book IJ includes a continuation of the elementary material, presenting slightly more advanced exercises and pieces, introducing the Sed. 4th and 5th positions. 'o be better able to play the familiar melodies and pieces, it is recommended that you carefully prepare the purely technical exercises at the beginning of each lesson where a new key and finger-placing is introduced. Study carefully the diagrams introducing new keys and fingerings so as to properly place your fingers for the new notes. Remember, that you must first read the note and then place the finger, so be sure to know exactly what note you are reading and the proper finger-position for that note. ‘The surest way to play well isto be able to read well. ‘To be able to think quickly, the following points regarding each note will make you a better player and will make your path to good viola playing easier: a (2) Name of note (iatural, sharp or fl How to play (finger-position and string). (8) How long to hold (time-value), Teould go on telling you about each lesson, but 1 must leave this to your teacher. If you do what he tells you, you will go through the pages of this book to the joys and pleasures of making your ‘cello sing beautiful melodies. Wishing you all the success your work deserves, I am, ‘Yours for good viola playing, Flt Borgo P. S,—Many of my pupils from each school have formed groups which meet at the different homes to play the duets, trios, and quartets with piano, thus forming a little orchestra. Why don't you try it, you will have lots of fun? TO THE TEACHER ‘In compiling Book II, [have tried to carry out in slightly more advanced material the fundamental principles of good “ello playing as set forth in Book I. ‘The material and grading has been carefully done, so that each new step is a logioal one for the progresa of the pupil. Adequate preparation for the development of the student has been provided for, although the amount of purely technical snuterial es been kepl to siuinun. ‘The contents of this book is very largely made up of folk- songs and other familiar melodies of good musical quality, arranged in duet, trio, and quartet form, through which the pupil will be acquiring the fundamentals of bowing and finger (intonation) technic, as well as a consciousness for good musical design and harmonic structure. ‘The use of the piano accompaniment (Teacher's Manual) should prove of value both in the classroom and in the home. ‘That important advantages will result from use is certain, ‘The interest and ambition of the pupil vwill naturally be atimulated through the addition of tho harmonie structure which will also serve as a guide to the proper placement of the fingers through hearing the tone 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 nice perception of modulations and hharmonies, for which the viola, as regards these matters, is comparatively imperfect. Class teaching should be a combination of individual struction and ensemble playing. At every lesson there should be individual playing so that all the necessary corrections can be made, Never allow pupils’ mistakes to {g0 unnoticed. since only in constant correction will they develop the habit of careful thinking and playing. ‘A decided advantage of group-teaching is that it pro= ‘video experionce in ensemble playing and gives every pupil the opportunity of listening to the others, .of observing their mistakes, and of hearing the corrections. ‘Por the best results each class ought not to number more than six for a half-hour lesson and twelve for an hour lesson. Irrespective of the numbers, the teacher must see to it that there is individual instruction as well as general directions to the class. Classes should be regraded whenever necessary so as not to retard the progress of the brighter students, nor to discourage the slower ones. Regrading also acts as’ an incentive for greater effort on the part of the pupils It is recommended that every student practice at least forty-five minutes a day. This course provides one lesson e-weeke for a school year. ‘The eventual success of each pupil depends on regular and careful home practice, according to directions. If possible it would be well for the teacher personally to keep in touch with the parents. C, Paun Henrunra, (iti)PUPIL’S PRACTICE RECORD SEPT. oct. Nov. Dec. JAN. T2348 571234 5;)12 34 5;)1?7 34 3]7 2354 5 Monday I ‘Tuesday ‘Wednesday ‘Thursday Friday Saturday FEB, MAR. APR MAY TONE Monday | - Tuesday Wednesday Thursday Friday Saturday ‘Always Record Practice Time in Minutes. All Practice Time Lost Must Be Made Up. WEEKLY GRADE ‘NAME ~ ‘ADDRESS ‘SCHOOL, GRADE ser. | oct. | Now. | Dec. | Jan | Feb, | Mar | Ape | May | June | Tess Ast Week 2nd Week ard Week ath Week E—Excellent; G—Good; M—Medium, Distinctly Above Passing; L—Low, Doubtfully Passing; F_Very Poor, Failure, iLESSON 4 1 Review of Keys Studied in Book I a oF D Major n Y= Em Follow bowings carefull vo ony nv. i, ® ms Ba nv pe Voonvn Kry or A MAjor * nv i) o™ or D Mayor ny : a 4 © 2 y @* or G Major ne ve ae tn a ¥ nVn, VnV mons yon Vv an ,V O, nya ‘ ‘ ‘ *Rxercises Nos. 4,5 and 6 are not playable with the violin class, but may beused with the ‘cellos. pu sfeseee Copyright 1940, 1967 by The Boston Music Company International Copyright Secured. Printed in U.S.A. All Rights Reserved.2 LESSON 2 Studies for the Use of the Second Finger One new tone, C natural on the A string The importance of being able to read notes as well as you can read the letters of the alphaber cannot be overestimated. ‘This is the foundation on which your future progress depends. You must also know the exact position of your fingers on the fingerboard so as to be able to play any given note; for example, to play C¥ on the A string, the second finger is placed awhole tone from the first (high position) bul tu play C natural, the second fingeris placed close to the first (ow position). Therefore, the necessity of knowing whether the note is natural, sharp or flat is perfectly obvious. Have a picture of the fingerboard in your mind in order to see where your fingers are placed for the different notes, Study the following diagram showing position of notes already studied and the new note to be taken in this lesson. Name the whole and half tones. Fingers 2 2 1 1-___—_@_ @—_@—_@9-—__©—__ Fi Fingers 2 Name the following notes, finger used, high or low position for sccond finger, and on what string played. *Exercis No. 3:is not playable with violin class, but may be played with cellos. B.a.C0. 9669LESSON 8 3 Familiar Melodies Using the Second Finger Lightly Row Allegretto (Brightly) a ee Pupil Teacher" The First No#l Con moto (With motion) on cate Gt Op epee. & Pupil ~ Pupil Home, Sweet Home Henzy R. Bishop Andante (Slowly) al (1786-1855) it & Le mes eo \ eke ee Se ween Pupil = Saas = = Pupil "Advanced student may also play the teacher parts. B.M.Co.96694 LESSON 4 G Major Scale and Arpeggio @, nv ads', af Pupil Pupil America i ‘ (My Country, Tis of Thee) Sree Carey ® Andante (Slowly) kw 4 isl BIGH o Pupil = he / 7 Pupil ipa Little Study Nagi oaLcatrt G@ trerettt teere, tepetttt rete } Hold finger down ge sitrttrit Home work: Mark with this sign~ the half steps in both parts of exercise No.4. Write 4 times the G Major scale marking the half steps and placing the sharp. Manuscript p.ce.ssso sheet page. Low SasLESSON 5 5 Continuation of the key of @ Exercises in crossing from C natural to Ft ‘The second finger must be lifted and placed in its new position nv ®, die te es o OPN tt wetitey Mtret tre al tet teary @, snes @iv @ Hold first finger in position throughout above exercises. Practice both parts Durt Hohmann @, a vs D ‘ . v Pupil oy Pupil ‘Tempo Waltz. (In walta time) Little Waltz Hohmann n, kG £ © P L of ORCHESTRAL PART P ———<—- * Means repeat preceding measure. = "f Home work: Mark half steps on this page the same as before.6 LESSON 6 Flow Gently, Sweet Afton Andante (Slowly) (Quartet) James E. Spilman tz ¥h v Pupil Pv |n Ay Pupil vy |, Papil Teacher Evening Song Robert Schu Moderato (Moderately fast) 7 (1810-1856) _ MELODY Y i 9 Vv "Pp FS ENSEMBLE y de ry ob SSS SSS A 4 Sin 2 = _ =a == SSSI —_—_ * rit, abbreviation for ritenuto_ gradually slackening in speed. **Trio— two violins and viola or two ‘cellos and viola.Note: All manuscript pages are to be used for home-work according to instructions 78 LESSON 7 ‘Two new tones, Fnatural on the D string and B flat on the G string. Study the following dia- gram so asto visualize the exact position of these two notes upon the fingerboard. Practice both parts on the double staff in this and the following lessons. Fingers 1 = 2 3 4 Ao 00 00 —__—. D-.—_——_—_O~—#)—_0—_0—_O————_ 6-0—-——0— 8) —__0—_0—__o—_———_. c°——_o0———90—o—_9 Fingers 1 2 2 3 4a fold the second finger tirmly v £ Dry age th Practice both upper and lower octaves. je ny A @ Softly Now the Light of Day Andante (Slowly) (Duet) nV ie nV 4 Oarl Marie von Weber (1786-1826) IGE Home work: Write © Major scale 4 times, marking the half steps. Also fill in blanks in above dia- gram. st. c0. 9660LESSON 8 9 [Hearn to take particular notice of the key signature before playing. America, the Reantifal Samuel A. Ward Allegretto (Briskly) (Duet) (1847-1903) Von . . vn Pupil E oh, Pupil Ensemble Part* 4 o yon 4 Z F SS t Go Down, Moses Follow Bowings carefully Negro “Spiritual” Andante (Slowly) yon nv —~, VY 4 nVvin a. + ee PRS eee] Home work: Mark the half steps on this page. *Ensemble parts when used with violins and’cello form a string quartet.10 LESSON 9 Continuation of the key of C Major Practice both upper and lower octaves. O_22 Russian Hymn Lento (Very slowly) ny, Duet) ns om ‘ ve y Pupil 7 - of n Vow Pupil Home work: Mark the half steps on this page as before. Ritl.Co, 9669LESSON 10 "1 Onward, Christian Soldiers (Trio) Sir Arthur Sullivan (1842-1900) Moderato (Moderately fast) nV ‘ v Pupil F dE? uf nv Pupil of ny Pupil B.M. Co, 966912 LESSON 11 Note carefully the key signatures and what they mean, D.C. Da Capo—to beginning. Fine— Knd Melody Franz Joseph Haydn Moderato (Moderately) (1732-1809) , ®, 2 a Leo! Pupil = Fn Five Pupil 5 aS WS, Teacher English Morris Dance Allegretto (Brightly) (Duet) v ¥ ny vin A a oon Pupil a Pupil ENSEMBLE PART r—~ 3» oy K—s- v of n et —~ 4 nL ft. Ses ya, Fs que =f Secale Study in G nv y nov ny, “Place fingers on both strings at once. RM. co. 9669Note: All manuscript pages are to be used for home-work according to instructions 8gLESSON 21 23 Key of Bb Major Key of Rb. Rb and Eb. See diagram for position of Fb on the D string. Review position of Bb on the G string in Lesson 7. A-0-_—_@—_0 0 0 2 —@—_0—_@—0 —@— 0-0 _——o-—©—_o —@—— 9 Fingers 4 2 3 ® Low Qn @ nv @row wicn son Low TE ARSE Scale of Bb Half steps Dto Eb, and Ato Bb. Play also in quarter notes. ® novonJv e_y Home work: Write the B> Major scale 4 times, marking flats and half steps, also fill in blanks in above diagram. 8M. 00.066924 LESSON 22 Vesper Hymn (Brio) 2 Moderato " Old Russian 1 ) Pupil mp n Pupil Pupil ENSEMBLE PART 2 nv A Capital Ship March time (Marching Song) Old English Tune V oe af tempo *u compo, — as before. B.M.Co. 9669 ritLESSON 28 25 Continuation of the key of Bb Major Seale Study athe Blackemith Wolfgang Mozart Moderato (1756-4791) nnn nVon _ nv of = ob) A Warrior Bold Allegretto Step Adauss ny ny - vb 4 ——= of +b, vy 4 Von VionvAVé 4. #2 tompo.— as before. B.M.C0, 966926 LESSON 24* Key of Eb Major, Bb, Eb and Ab Scale of Eb Major Half steps @ to Ab, and D to Eb he 4 u Notice that you cannot play the open A string. 4 ny 2 @) uw nv ® My Old Kentucky Home Stephen C. Foster y (1826-1864) © von v rare. a0 v v *Exercises 1 to 6 cannot be played with violin class. ‘The Star-Spangled Banner John Stafford Smith nV nm n (1750-1836) Vv nV nVin vn Y, Z ny ” nV Vee n Vv Poy BN. 2, Sey i? ih 7 ‘Home work: Write the Bb Mojor scale 4 times,marking half steps and flats. Memorize the National Anthem. Bico.see9 —** Extend 4th fingerLESSON 25 27 Key of Eb Major— name the flats Fingers Scale of E> Major in two octaves Recite the notes of all scales studied. Use different bowings as in other scales. nV Fath by Above scale not to be played with violins, but may with ’cellos. ® nv Austrian Hymn Haydn 4 n Vv n =~ re VN Andante Voom Pupil a v Teacher ENSEMBLE PART von ot y WY row DEY Vay St KS Home work: Write the Eb Major scale in two octaves 4times, marking as before28 LESSON 26 Key of E Major—name the sharps \_> —_@—0 —@—0—@—@——— Do ©) O 6 _0—_@—@——_ 6 @—o—@) @ @) 09 G09 — Fingers ® Scale of E Major in 2 octaves v nVa, a eohetet Lites shew she! a f = = SA Above scale not to be played with violins ® nv aos Bitfea ae! pet —E Place a sharp before the notes effected by the signature. Pupil Pupil Pupil Pupil Folk Song nv v n n Cradle Song Andante ve TH peesenttl Pe ics tne tilt ‘fylrs Brahms Place a sharp before the notes effected by the key signature inthe exercises and pieces onthis page.LESSON 27 29 Key of A Major—name the sharps Fingera Scale of A Major Place a sharp before the notes effected by the signatue. @ fn 4 4 7 4 _ 4 Lower Octave of the D Major Scale (Not to be played with violins) @ Same fingering as for above. ny 4 4 4 on 4 Cc VS Chimes of Dunkirk @,, vay : vn ‘ Scale of A Major in two octaves wr Go Va 0 => ft y 2) O Worship the King Pupil Teacher Home work: Write A Major scale in two octaves 4 times, marking as before. B.M.Co. 960930 LESSON 28 Sixteenth Notes ‘A sixteenth note PEP is equal to half the value of an eighth note $EE= Two sixteenth notes equal one eighth note £9- shand four sixteenth notes equal one quarter note dee: d Abbreviations for sixteenth notes 2: FS 3: SPed Comparative table showing number of sixteenth notes to other notes studied thus far. a) -nigntn = Whole Quarter — 5 7 Hy 5 n ~ + 1 LELPEP epee e eee: AS = jo ee i tyattttee ree . eeee : q ik : : ty i i Pupil Teacher ny L. Dees feoee. Be mY. In this piece, which requires a slow movement, it is better to divide the? time into4 (one count to each eighth note). Allegretto Kingdom Comin’ D 20 4 ofLESSON 29 st Dotted Eighth and Sixteenth Notes Legato (Connected) This is one of the more difficult rhythms to learn. The dotted cighth note is equal to three six teenth notes. Always feel a division of four on each beat when playing this rhythm, three on the dotted eighth and one on the sixteenth. es : Bae BE SURE TO PLAY THE DOTTED EIGHTH NOTE LONG ENOUGH AND THE SIXTEENTH NOTE SHORT ENOUGH. Largo (Very alow) Legato (Connected) nV. = na km pete E 4 oro = ta 41284 1 2 3.4 1 2 83 4 Largo (New World Symphony) Anton DvoFak Trio (1841-1904) mY Pupil Pupil Teacher82 LESSON 80 Dotted Eighth and Sixteenth Notes staccato (Detached) Dotted eighth and sixteenth notes played staccato (detached) are separated by a short pause, the bow however must NOT be lifted from the string. Written These are generally played in one bow with a very crisp stroke of the wrist. Use upper half of bow. During the break between the two notes the bow is held pressed on the string. Allegretto Bet ® Tramp! Tramp! Tramp! Note key signature (Civil War Song) George F. Root Allegretto V _~, (1820-1895) ae ae er . RE tes v nfs 7 2 38 & Battle Hymn of the Republic (Civil War Song) William Steffe Allegretto ~~ 7S of B.M. 00.9669LESSON 31 33 Triplets Triplets are groups of three notes played in tho time of two notes of the same value, They are indicated by a figure >and a slur placed over or under a group of three notes, A measure of 2 containing two triplets nh inn is the Same as a measure of £ in march a time.8 J70 J70 Pilgrim’s Chorus (Tannbiuser) Richard Wagner Andante maestoso (Majestically) (1818-1888) 0 y ~ a! v of 7 o> ke > vey 3 - “ rit Alla Breve or 24 time Alla Breve, or cut time ¢ is played the same a8Z time, Each note having half the value as ing time, a half note being the unit of a beat. Softly Now the Light of Day Andante cantabile (Ina singing style) Von Weber n n v Pupil Teacher Allegro (Fast) College Song von Q 4 v of SSS BM. Co-8669a4 LESSON 82 Staccato Bowing Staccato, meaning detached, separated, is a style of bowing used in violin playing to denote a short crisp note. Notes to be played staccato are marked with a dot, placed over or under them. Draw the bow with a short, quick stroke, and then suddenly stopping it for a short rest, during which the bow is pressed firmly on the string. With this stroke the vibration of the string is stopped which gives the short staccato effect. Written Played Ei £ i Andante Andante y from Surprise Symphony . Bayan . + n : n if SS p Chromatics The word “chromatic” means moving by half steps. Chromatic(literally, colored) is well chosen, for by the use of sharps and flats, tone color or shading is added to the natural sounds of the notes. A chromatic interval is one half step above or below the given note. A chromatic scale is a scale that ascends or descends by half steps. In playing chromatics the finger must move quickly to the new note so that no slide is heard, reitgs b SBE toss ge 2-8 yh Loto * © 14 Btude Wohlfahrt . oY oy ee 1, nee Sbehee@e p. 13D Pizzicato Pizz. means to pluck the string. The bow is held against the palm of the hand by the second, third and fourth fingers, the first being free to do the plucking. The tip of the thumb is placed against the corner of the fingerboard under the A string. Gavotte . Amaryllis Henry Ghys te —_— - t-~ Bier we {rs Sees - === pisa.LESSON 33 35 Sweet and Low (Quartet) * Joseph Barnby Larghetto(Slow) (1838-1896) *For string quartet viola play third lino part. BM. 0.9669&. BOSTON MUSIC COMPANY A Division of The Music Sales Group @ FLETCHER THEORY PAPERS BY LEILA FLETCHER The most widely accepted theory papers in Yoday’s market. Full of exercises in rhythm and motation designed for successful use in any system of teaching. A TUNE A DAY SERIES BY C. PAUL HERFURTH ‘The most popular instruction books for various linstruments, for use in group, school classes, or for Individual lessons. Packed full of lessons, illustrations, fingering charts, dally practice records, test questions, and manuscript paper for homework. JUNIOR HYMNBOOKS BY RACHEL BETTY KAHL Hymns taken from youth and children's hymnals known throughout & ‘America provide playing pleasure while developing note-reading facility ‘end ear training. $9.95 in U.S.A Order No. BMC-9669 BOSTON MUSIC COMPANY b parc of The MUSIC SALES Group = Hill