VIOLIN :@EL METODO PARA VIOLIN Prefacio del autor Este método se puede usar para clases particulares 0 tutorias de nifios de todas las edades y también para adultos principiantes. Yo daria los siguientes consejos para los profesores, de la manera mas efectiva de usar este libro. 1) Tiempo de progreso Ensefiar una cosa y no seguir adelante hasta que cada etapa haya sido totalmente aprendida y entendida. Recuerde : Si al principio el alumno va muy lento, posteriormente va a hacer el progreso mas rapido a la siguiente etapa. El libro esta dividido en 30 etapas. No existe la regla rigida sobre la velocidad en que el alumno tiene que progresar, se varia segiin la habilidad y duracién de la clase. Recuerde que la calidad es més importante que la velocidad. Cada etapa puede durar de una hasta cuatro etapa (0 incluso més) para finalizarla ; no es\aconsejable pasar més que una etapa por clase. Cada etapa ofrece alg eo y siempre es mejor dar el tiempo necesario para la absorcion adecuada de ideas 0 conceptos nuevos. 2) {Qué cuerda? Lo mejor es empezar por la cuerda Re y después usar solamente Re y La. Es més facil lograr un buen sonido sobre esas dos cuerdas y las dificultades para afinar y leer son minimas. Alentar a los alumnos a cantar la misica (lo mas facil entre Re - Re) Nunca tuve experiencia de dificultades de lectura con los alumnos ensefidndoles de esa manera. 3) El arco Después de las primeras lecciones de enseiiar el sostenimiento del arco, aplicar ejercicios faciles para el arco. Al principio, desarrollar poco a poco sin el violin, después en la cuerda Re usando solamente Ia mitad superior del arco y después en la cuerda La pero siempre con la misma velocidad del arco.Después ensefiar el movimiento del talon hasta la mitad y finalmente, juntar las dos partes del arco en un arco completo. En un periodo usar la mitad del arco 0 todo el arco con la misma velocidad para concentrarse en usar el arco sin preocuparse sobre la diferencia de longitud o Ja velocidad del arco. Promover al alumno a engancharse inmediatamente en cualquier lugar de la partitura. 4) Matices Es dificil saber cuando hay que empezar con Ia ensefianza de los matices. Al principio hay que animar al alumno a tocar con el tono fuerte cerca del puente. Luego mostrarle como tocar blando en la trastiera, y poco a poco ensefiarle las diferentes graduaciones del tono. El objetivo general es lograr un buen tono a través de la técnica correcta del arco y ensefiar al alumno a escuchar la calidad del sonido al igual que la afinacién correcta. Opinién sobre el “Método del Violin” de Eta Cohen Positivo: Ademas del prefacio, donde muy brevemente y correctamente ha declarado la ensefianza inicial, cabe destacar algunas ideas muy interesantes y positivas para los nifios de cinco a siete afios 1) Primero aprender el Ritmo con el violin en la posicién de banjo. Se requiere en el alump6 menos tensién para sostener el violin lo que sabemos es poco natural (posicién final). 2) Aprender a mover el arco sin el violin (con las fotos bien aclaradas) 3) Saber tocar cada ejercicio con pizicatto, cantar y tocar con el arco. 4) Memorizar cada ejercicio o melodia. Dudas : 1) Los ejercicios 0 melodias no siempre estan numerados de acuerdo al incremento de la dificultad. 2)Ensefiando nuevas cosas (melodias 0 estudios), la autora vuelve a ejemplos demasiados simples o incluso primitivos. 3) Varias melodias tienen poca gracia melddica, basandose sobre temas folklricos, no siempre son faciles de aprender de memoria rapidamente. 4) No todas las novedades (técnicas, ritmos aprendidos por el alumno, tonalidades, combinaciones), merecen ser aprendidas aparte con muchos ejemplos que repiten el mismo problema en ejercicios o melodias mas simples en otros aspectos que los anteriores.STUDENT'S es This highly respected, best-selling violin course in 4 books is used all over the world. Ideal for group or individual tuition, it offers a practical foundation in good playing techniques, based around a wealth of well-known melodies. ETA COHEN is an internationally famous violin teacher, giving lectures and demonstrations in Europe, America, Australia and New Zealand. Her pupils have consistently gainegl the highest awards in both solo playing and chamber msc ‘many are now professional musicians. ‘The three books of YOUNG RECITAL PIECES provide invaluable additional repertoire which can be used alongside the METHOD, particularly as first concert pieces. Also available: ETA COHEN'S VIOLIN METHOD 1 Student's Book (NOV916136) ‘Accompaniment book (NOV916137) Cassettes 1-3 (NOV916167-01/02/03) ETA COHEN'S VIOLIN METHOD 2 Student's Book (NOV916170) ‘Accompaniment book (NOV916171) ETA COHEN'S VIOLIN METHOD 3 Student's Book (NOV916172) Accompaniment book (NOV916173) ETA COHEN'S VIOLIN METHOD 4 ‘Complete (NOV916177) ISBN 0-85360-223-9 ee Exclusive diserimutore ; : ‘Music Sales Linsted, : : W9I6ISE _ ‘Bury St Edmunds, Softiie . 2 3" GOHLAW NITOIA S.N T MOOS S.ANSGDIS O1PA0NFOREWORD This Method can be used for private or class tuition with children of all ages, as well as adult beginners. | would give the following advice to teachers as the most effective way of using this book. Rate of progress Teach one poine ata time and do not move forward tuncl each stage has been thoroughly assimilated and underscood, Remember thae ifthe pupil moves very slowly ae che beginning he will always make more rapid progress atthe next stage. ‘The book is divided into 30 ‘steps. Thete is no inflexible rule about the speed at which pupils should progress it will vary according to ability and size of class; remember quality is more important than speed. Each step may cake anything from one to four weeks (or even longer) to complete ie is inadvisable to cover more than one step per lesson: every step introduces something new and its always best to allow time for the proper absorption of new work or ideas. Which string? rho ine ing bing ad thon use only D and A for someéve. Good tone i casice to achieve on these wo strings and difficulties of tuning and reading are minimised. Eneourage pupils to sing the music (easiest within the compass of D-D)) U have never experienced any reading difficulties with pupils caught this wa. Bowing Aer the fis few lessons introduce the bow-hold (Step 6) and then attempt easy bowing exercs. Proceed very gradually, se practising away from the violin (ee phorgraphs 22 &-23), chen on the D string sing only the top half of che how (eile to point), and then on co the A sting but always keeping the bow moving atthe same speed. Next, teach bowing from hea 10 middle ofthe bow and Rally, joining the ewo half bows into whole bows (Sep 4) For some time use only half or whole bows, with a constane bow speed. This way’ the pupil can concentrace ‘on using the full bow without worrying about different lengehs or speeds of bow. They can also listen more cesily co the pitch without other distraction, and if \ they play slowly enough, can immediately adjust any rote which i slightly out of tune. (Only when the pupil is accustomedhto using every inch of the hair should they go on co play with various lengths and speeds of bow. There are many bowing marks ehrough the book, so thacifa pupil stops inthe middle of a piece he can carry on using the correct up or down bow without hhaving to go back to the beginning of a bar oF line. He should always be encouraged to pick upp immediately at any poine in the music indicaeed by the teacher. Dynamics Ik is diffcule co know when to introduce dynamics. From the beginning encourage pupils to play with firm, secon tone near the bridge. Later, show them how to play softly, away from the bridge, and gradually introduce various shades of rane in between, “Try incroducing some tonal variety fram Seep 19 ‘onwards, but it may be some time before pupils can . accomplish this successfully. The main objective should be to achieve a good sound through correct, bowing technique and training pupils o listen for tone quality as well as for correct intonation. ETA COHENCONTENTS OF PIECES The Bells of Vendome 9 Now the Day Is Over 9 Bells 9 Haslemere 10 Twinkle, Twinkle, Little Star 11 Blowing Bubbles 11 Au Clair de la Lune 12 Rousseau’s Dream 13 There is a Happy Land 14 Culbach 14 The Dove 14 Tallis’ Ordinal 15 Strassburg 15 Franconia 1s—— A Gentle Breeze 18 Down the Steps 18 On the Swing 18 Cradle Song 19 Queen Mary 19 Melody 20 Vilikins and his Dinah 20 This Old Man 20 Frére Jacques 21 Merry May 21 May Day 21 The Billy Goat 22 Little Brown Jug 22 German Folk Song 22 The Vicar of Bray 23 English Folk Song 23 Winter Goodbye 23 Waltz 24 Icelandic Lullaby 24 Oh Dear, What Can the Matter Be? 24 Loch Lomond 2s Cherry Ripe 2s Poor Old Joe 2s Here’s a Health Unto His Majesty 26 The Merry Haymakers 26 Keys of Heaven 27 Sweet England 27 Approach of Winter 27 The Fiddler 28 Drink to Me Only 28 The Man 28 Peter Piper 29 In the Forest 29 The Highland Lad 29 Susan 30 The Birds are Here 30 Dabbling in the Dew 30 Auld Lang Syne 31 Water of Tyne 31 Annie Laurie 31 Little Bo-Peep 32 Cock O’ The North 32 regener A LT. PARTS OF THE VIOLIN neck fingerboard chin rest PARTS OF THE BOW ride Remember co Tooren the baw sn ry arias a = || point TUNING ‘You will only use the D sttng at fst, so tune i atthe beginning ofeach practice. Keep checking co se if it needs reuning ‘A. Hold olin upright on knee, left hand round neck, lfe thumb fre for plucking (phatagraph 3) B. Keep perfect silence and listen to the nore D being played. (When practising at home ask someone else to play the note on the piano ar blow pipe, or use a tuning fork.) cer D hasbeen played a second time, hum the not. . After a moments pause, hum it again, to see if you can remember the sound. Be sure that you have the exact pitch in your head. E. If you use an adjuster pluck the D string with the left chun sight hand (pbotograph 3). Ax the same time, listen catefully while che teacher continues to play the not. If you use the peg for caning, curn it very slo with the left hand, and pluck with che right thumb - tara the peg away from you the string is flat and cowards you if itis sharp. Press the peg femly into the hole all the time while conginuing to pluck the string with the right thumb uncil the string sounds in eune (photograph 4). mb and tuen the adjuster with the Tuning with Tuning adjusters with pegs Tor ahser Tum pet warren. | va an ook meh eure pe ight chu,Banjo position for rhythm exercises Violin tucked under right arm, scroll sloping upwards righe Singers under fgerboard and eghedhumb free for plucking ["\ieca teem YSUG Enema fea ktan lemme “ It AD - Bee. vaitne a ci RHYTHM EXERCISES ON ‘D’ STRING PLAYED PIZZICATO Plucked | din 2 bos -tovo0 EES] =2 bos rex | || = inzaig ma ce | 1 Say dec names 2.Chp te time 3, Pay in bajo poston ‘When playing a minim pizzicaro, you cannot hold the note for 2 beats, just think of it asa long note. 2 In the absence of a pianist the melody can be played by the teacher of on the cassette: see Teacher's Book Steps 1 and 2Sedeierastoden! —ft BANJO POSITION FOR FINGER EXERCISES Sit or stand ald hand up and piace a pencacrom Pace von (stead of peel) wth ce vin ander ghar and push the thrd crane of irsengrand shy third crne offre fnger ase op edge It low forward Th ring rb ore parcel cub coin av. Thumb shuld of gerbonrd Van nant Mes prt unerneth and fingers ove sigs. Then Terabe noc tr very bent fun: Thunb oppo ret reer place ges fly on Dring td ther : Uh eqn frst and second ges aa ° © A “This shows the red by tum and fist fog, “Thi i your bano poson Lit your fingers of the sing Notice the slg ne rom knell towards elbow. an you wil be ey for paying. Be Hrs fo kaup sri ne from knuckle 9 elbow 1}, Practise this postion every day until you can hold the violin with ease ~ vf you wll then be ready to use the fingers of your left hand. FINGER EXERCISES ON ‘D’ STRING 1, Say the rhythm names. 2. Clap the time. 3. Sing the tune. 4. Check hand position (photographs 6, 7, 8, 9 and 10). 5. Play very slowly in banjo position and immediately correct any note out of tune before going on to the next one. a Bowing marks should be ignored until Seep 10 when these pieces can be played with the bow (ee page 14).STEP 3 a UNDER CHIN POSITION From banjo to under chin j[e Piace won on shoulder chin on chin Back view of head and shoulder, ost, hea lilt etd Bring ith shoulder rest in position, lef elbow forward without twisting body, Novee the sraigh ine from knuekles orig shoulder cowards elbow. ia _— Fx shoulder ret. Hold violin in Bano positon, fingers on sring Sead with fest Spartand tke hold of ilo with righ han Le “op of fingerboard against third crease of Standing poston with fees apart Violin held well up wih fingers oppasise mouth Right thumb under fingerboard nd frst Singer free to pluck. Postion ef thumb apposite rst frger > rst ringer and fingers Bent over the serine ready 0 poy Practise this position for a few minuces every day, but do not play in this position ‘until you feel comfortable and secure. FINGER EXERCISE ON ‘D’ STRING Play very slowly in banjo position, Preliminary exercise to No.5 2 zz. viz. v A 1——_—_ 1 Now play exercises 3, 4 and 5 pizzicato under chin - but only if your position is quite correct Try to play these from memory.Sas FURTHER FINGER EXERCISES ON ‘D’ STRING Banjo position then pizzicato under chin Practise in same way as Exercises 3,4 and 5 say, clap, Although these pieces are written in minims they sing, then play - always slowly, correcting any ou could be played as wo erorchecs ta each minim a8 a tune nore immediately. preliminary exercise see No. 5). From here amin et SS] wirepoce he wo crtchet ress EE \ pizz. \ 2 OV omy av omy my mv omy ion Keep fingers down where possible (as shown in Exercise 6) 2 Tune the A string in the same way as the D, turning the A string peg or adjuster with the right hand, holding the violin with the left hand and plucking the steing with che eft thumb, 4 RHYTHM EXERCISE ON ‘D’ AND ‘A’ STRINGS Say, clap, then pla.STEP 5 FINGER EXERCISE Banjo position then pizzicato under chin zz. Pa A mv y 5 v HH HH HH HH HH HH HH HH my nvm nh n inl 2 tal 01S tal tal HHH H HHH H HHHH HHHH HAHAH HH WB yoyo, mY my omvn Vinvn ov 13 Pe Pe Pe Pe WB. HH HOH. WOH. WR rk RRR, WE THE BELLS OF VENDOME A round French Folk Song movin Aca moderate speed ize. Pa 12 ee WO eee ee eee ee ee HOH WB Pom WR HH WB PrP Pe Pe Pe WB OH WR UWB NOW THE DAY IS OVER pig fn S Baring. Gould 1834-1924 A n A A HHHH WBWB HHH WB HHHH WBWR HHHH WB BELLS Be sure har the third finger is in tune in har 3,and of the other wo fingers. When descending take care thas in che following bars it falls in enscely the samme thae che second finger is placed close to the third. This place. Ir must be placed on the string independently must be done before the third Finger is raised Smoothly viz 2 Ay nv yo ony 14STEP 6 HASLEMERE Slowly Anony 2 PMny nm omvav ma omvnvy AYA vA y 15 7 HHHH WB HHHH WB HHHH WB PrP WRWB WB Revise Exercises 8 and 9 under chin. Try to pla all pieces from memory when you revise them. THE BOW-HOLD Preparation for bow-hold [A Take hale of middle of tick wth Ife C. Pace righechumb (sighely bore) on. Bend wrist towards point of tow hand, hair faelng you,poin of bow at lef. nut at point where ioinsstck and forms and che other fingers wil fl into poston 1 ridge: Keep arm in poston. 1B Rate right arn to shoulder level, Pace third finger almost touching ‘upper and forearm a same height 1D. Pace second finger opposite thumb, second. Stick should touch fleshy part just Keep wrist rlaxod stil resung on fst crease. above frst erese G. Tip of ite Finger rests on stick apart rom thir ger. [Now turn your bow evar and see your hum your position it conrect. H. Place frst finger apart from second stk resting becwoon fire and second creases and finger curving slightly round stick. Practise the bow-hold every day unt you can hold the bow with ease 1. Let go with eft hand Toke care not to grip bow stiy but holder, Compare tis with photograph 7 and notice how ‘the natural position ofthe hand rays practially the same wen holding the bow.BOWING SILENTLY First check bow-hold, then practise through a Move mainly from elbow, keeping shoulder free ring formed by frst finger and thumb of lefe hand and wrist flexible. Although this sa silent exercise, (phorographs 22 and 23). Mark middle of bow ie can be practised with accompaniment No.4 ‘with challe and practise from middle to point only (abo on the caste) Position of arm at middle of bow Position of arm at point of bow [Note sigh upward curve of wrist, [Note fattened postion of wrist. TWINKLE, TWINKLE, LITTLE STAR Brightly { “nto Naa Rye ee 4 ‘ 16 HHH H HOH WB Pe Pr Prem | Pe WRC HOH OH v n v v HH WROD Pe Pr Pe Pe Pe WR OH HHH HHWB OP Pe Pe Pe Pe WB BLOWING BUBBLES Vieorousty ie, oy olen Fok Sone L n y i a fn v 7 E HHHH HH WB WBWB Pr PeWB H HHH HH WB WBWB Pr Pc WB| ESege= BOWING ON ‘D’ STRING First check bow-hold, then violin position Keep right arm at shoulder level and draw bow across D string from middle ro point. Position of arm when playing at Position of arm when playing at middle of bow point of bow @. \ aap Dw ph wand mr rien? ‘esis harap ape oe free oe a a ac ree ce fnyon he sing protic fl varn sand. ‘toma wrt ble AU CLAIR DE LA LUNE > . Brightly KY French Fok Sot 2 pe n n n 18 o "To make sure your bow is moving correctly ask someone to watch it while you are practising, as its impossible co check this yourselfBOWING EXERCISES ON THE ‘D’ STRING Still only middle to point v mvyoonmy on my nv In Exercise 19 (b and) life the bow off the string while you ae counting the ress Pat iron agin a the middle ofthe bow in time to start the following bar SCALE OF D MAJOR Exercise 40) nV y vo Work mh hm WOH H HHH HW ~—:é ROUSSEAU'S DREAM > aoe pizg (wit bow afer Bxerise 10) — - {LJ Rousseau Le Devin du iloge 1752 a v v v v n WR Pe WR WR WB WB OWBWB WB OH HO OWB WB n y, ¥, v n n SH. tH Hts We, wa om Ph WB WR WB WB WB WB y 4 n A v 1 we oH oH WB WB OWB oe Pe WB WB Pr Pe WB WB 24 we WB we WB WR oH H WB WB oH HHH WB(ieee BOWING Revise Exercises 4 and 5 with the bow. Ply very ‘Ac the same time, listen carefully and adjust your slowly, stl bowing only from middle ro point. finger immediately, even if only sighey out of tune Pha from memory and watch your bow to see that it (When using the bow the finger can usually be alays covers the same spot on the string fairly near altered before finishing the note. When playing the bridge Piazicato you always had to reper the note) If you prefer to play with quicker hows try Nos: 6-9 Play Exercises 23, 24 and 25 pizzicato under but bowing exo erorchets for every minien chin without playing them fist in banjo position Play with bow after studying Exercise 40. ES (2) SOCK THERE IS A HAPPY LAND Smoothly iz Ina A 2 Oa 23 WB Pe Pe Pe Pt WB WROD Pe WB WB OP Peo Pe Pe WB WB OR WB WR PP Pe WB An lal v q v H Huw WOH WNW owe HM We ye CULBACH iassempand shag a Sater Hae Seen 1657 4 n v 24 HH HH HOH WB Poop Pe Pe WB. HH HH HH WB PoP Pe Pr Pe Pe WB THE DOVE Russian Folk Song ig, Put q HHH H HHHH HH HH WBRWB HH HH HHHH HHHH WBWB HHHH HHHH HHHH_ WBWBBOWING aod Now spend most of your time improving your bowing and spend much less time playing pizicato. Practise Exercises 6, 7, 8 and 9 with the bow - middle o poine only - from memory. eos T= poy indore istine [= ply hi bar the scond ie RHYTHM EXERCISE pizz. 26 4 we WBWB WB WR WR WR WB WB WB TALLIS’ ORDINAL Smoothly with expression ig, my ay 7 27 “Thomas Tis WB WB WB WB WB WB WB WB WB Ai WB WB WB WB Troy Wp Al we WB. STRASSBURG Slowiy vige 28 from the StrssburgerKrchengesong Buch 1616 n 4 a nov WR WEWEWEWB WBWB WEWB WBWEWRwB A A if we WH fo n FRANCONIA Slowly and smoothly pizz. ¥ 1.8. Konig Chorabueh 1738 A We = WB WB WBWB WB WB nooy on oy o 6 When learning a new piece ic is advisable to clap the time and say the rhythm names frst and then play the piece once or twice pizzicato, Continue to memorize as many pieces as possible, 1s ESPosition of shoulder when playing Lowered position of shoulder when on‘D’ string playing on ‘A’ string BOWING EXERCISE FOR CHANGING STRINGS Play from middle ro point. When changing from D to A string, lower your arm slightly at shoulder, 2 my AY mv 4 Neos Deey ny, Revise Exercises 14 and 20 (middle to point) from memory (photographs 24, 25, 26 and 27), STEP 13 Position of arm at heel of Position of arm at middle of bow on ‘D’ string bow on'‘D’ string [Notice thatthe upper arm changes postion when bowing at che hee. [Next practise bowing from heel to middle - cis isa whole arm movement. (see phosographr 28 and 23). Revise Exeteises 4 5, 6,7, 8, 9, 4, 19, 20 and 30, Pay chem all rom heel to middle ‘You cin sil practise chem fom mide to point a well).Whee! Pe-=poine MM = middle WB = whole bow You are now ready co join the two half bows, inorder ‘The bow ress silently on che string during the rests - to play one note with a whole bow. This is best done in ut keep che wrist exible. easy stages as in these next cwo exercises (rove from shoulder) {move mainly from elbow) eee fn v A eM MoH HoM aM MON Wom Man aaan | ey ee oot re bat v o v v n v PrtoM = MeoPr ProM restatM = MoH HtoM Miolt take bow off ee = these two notes are played in the same bow wih avery sh Break between the bow ket on the sng fia Vee x S HwM-MwoPr PrioM MwH HoM MroPt ProM MwHerc. vy Ao ny, A v mv s 7 [fame | / ifewo mins ae oned Cea bee | J dco Treat beneen te rest ete ne ment SCALE OF D MAJOR Practise slowly at rst and gradually speed up the bow. Use WBs for every note he 2 nv v 33 novo movonivion EXERCISES FOR WHOLE BOWS. Wes Play with the melody of The Highland Lad (Exercise 78, also on the cassctee) L231 v n v A 34 aca Play with the melody of Litle Brown Jug (Exercise 52, also on the eassett) 0 be played four times 2 A v fn v 35——— "When you have practised Secp 14 2 good deal you pei pace, uying to use WBs for minims. Ifyou ‘will ind that your bow gradually scars to move more find this dificule count very slowly at first. Lift the bow quickly. Do not force the speed of your bow, bur ifyou during the ress and take care when placing it back can, move it easily from heel to point at a fisly con the string Revise Exercises 6, 7, 8, 9, 14 and 20 with whole bows, and also learn the following pieces A GENTLE BREEZE Usea whole bow on every note, ‘Smoothly and flowing WBs 37 | DOWN THE STEPS ‘Smoothly and firmly WBs 1 38 ON THE SWING Pamcese sem ose : 4 “ 20 ny Ay oA A 4 39sacemoremeree sy _ STEP 16 | BOWING EXERCISES USING WHOLE BOWS. AND HALF BOWS ‘Use whole bows for minims, half bows at ether heel or point for ctotchets. 2 A v 4 40 HoH WB Poo Pes WB HOM HH . HOH WB PoP WB oH H WB Peo Pe Pe Pe WB Revise Exercises 11, 12, 13, 15, 16, 17, 18, 21, ‘This stage is important as you are gaining 22, 23, 24 and 25 with the bow. Play with the same confidence with the bow, so linger here and make sure bowing as Exercise 40. you have thoroughly covered all the ground so fat. ‘Now you should be ready to use whole bows i.e. quick WBs for crotchets, slow WBs for minis, for erotchets. Continue with the Fllowing pieces and slower WBs for dotted using WBs for every noce, varying the speed: CRADLE SONG ‘Very slowly and smoothly Gorman Fok Song 2 n n 41 WR WB WB WB WB WB WR WB WR wR fn q 4 wa we Inthe flog pce here are onthe esther shown by he ine srore - QUEEN MARY Stow and smoothly Seo Fle Song y 4 q y 42 Revise Exercises 27, 28 and 29 using WBs for every note. ro Se)AE NWS foe couches, slower WB for minions and shoes bows at cach cos for quzve=s RHYTHM EXERCISE 43 5s WBWB HOH WB WEWEH HWE MELODY ‘Smoothiy~ 44 VILIKINS AND HIS DINAH English Song-——— A A y, A Vv Boisterously 45 THIS OLD MAN Briskly 2 v, 4 English Folk Song 46 ‘When you can play this piece more quickly ic wil not always be necessary o use whole bows for the 2» ctotchets. Generally, che amount of bow used depends ‘on the speed and character of the musi. As you become more experienced, you will arn co decide for yourself how much bow to use in each piceeTHE ‘E’ STRING Firs tune the E sering 2s you cuned the A string, “When changing from A to E string lower your arm slightly at che shoulder. er ee | 7 eins = inact ent te FRERE JACQUES ees A Round E Fronch Fl Song ° ° v 47 ad n q \, f MERRY MAY 48 = 13 —————————_{sF MAY DAY n n v Joytutty Gerinan Song© SHEEZOSS ee SCALE OF A MAJOR Sat nt op stay ag er ee def “ #2» A 50 Zoey == Se f a THE BILLY GOAT ecru Heel Pr Russian Folk Song iy! WB Y MHeel 513 eae SSS p= v Qf ySsvé LITTLE BROWN JUG Joey RA Exxtum Daintily v A 53 Oa) Ifyou can play Exercise 53 ata faitly quick speed, use only the middle of the bow.cl potes connected bya urn one bow 2488 - hld the note on for a lang a yu wish 5 THE VICAR OF BRAY English Song I7encontury v nq Vigorously " m. a n i in 7 — -. om. ny 7 Tov, t —w ENGLISH FOLK SONG Smoothly y_ Canon German Song 2 fo v vA if four freer ’ FOURTH FINGER EXERCISE” 2 n 4 * Note tothe teacher: is lite early to teach hhand and the flexibility of the fingers. IF the fourth finger, but this exercise might help to se the fourth finger is brought in a cis stage, the Fingering hand in the correct postion ifthe pupil i having can be added to some ofthe fallowing pieces difficulty. Mach depends on che size ofthe For further examples in use of fourth finger se Book 2.| <> =e lielen she mateo ight bee | pam, Som Rowe Ec Soe | =AML. = pradely shower WALTZ Scart in the middle of the bow. Gracefully 59 ICELANDIC LULLABY With a gence te ‘WB throughout. 2 A y, 7 60 P ———— 2nd time rall. e v no —— SS _——— OH DEAR, WHAT CAN THE MATTER BE? Ws drowgow i Erle Song 18 com 4 Danner ace) \ ny ans u uMLOCH LOMOND ‘Smoothly and with expression Scottish Ale 2nd time eal. 12 n Mev A i st —— CHERRY RIPE Gracefully CEHern 63 2nd time all. nd 13 mporese dim e POOR OLD JOE Sadly Stephen Foster n v n =f 2nd time wall, i 7 ———— =———— 20 => mpRHYTHM EXERCISES Carefully compare a,b and c. 2-H n HERE’S A HEALTH UNTO HIS MAJESTY Rhythmicaly Engish Song 1667 THE MERRY HAYMAKERS Joytully Englth Folk Song v A v n 67 E af70 71 72 ‘simply Sweetly sadly ‘When playing on the G string che arm should be slightly higher than when playing on the D, SCALE OF G MAJOR G oD 2 v o 1 2 8 KEYS OF HEAVEN n \ eed ——— SWEET ENGLAND v v mp eS a ee ene we \4 APPROACH OF WINTER v n v Vv 2nd time wall. EXERCISE IN DOUBLE STOPPING 2 a 4 a A n ‘Cheshire Folk Song English Folk Sang v wo German Folk Song vVigorously 4 2 A A A THE FIDDLER 73 18 * Keep your bow in your hand. DRINK TO ME ONLY Very smoothly and with expression 74 Here is avery useful piece for practising at che heel of Make sure that the litle finger isin position and the bow. This i always a difficult part ofthe bow as the keep all ehe fingers flexible, Lift the bow of the string tone tends co be seratchy. Hold the bow firmly but for every rest. Use only about 2-3 inches of bow and. do not pres. practise repeatedly until the tone sounds smooth, THE MAN Englth Song aPETER PIPER ‘This piece can be practised at che point and then at the middle of the bow. Daincity “Tradonal Nursery Rhyme a A 2 n 76 mp 6 IN THE FOREST German Folk Song Lighely n v v Scottish Fok Song. Rhythmically and with vigour‘Simply Gerrnan Fok Song 4 a y THE BIRDS ARE HERE Joyfully ‘German Folk Song DABBLING IN THE DEW Daintily Englth Folk Song 30If che pupil finds the pieces on these last swo pages rather difficult, they can be studied together with the frst parc of Book 2, or the pupil can learn them at a later date, AULD LANG SYNE With expression ' Scottish Air WATER OF TYNE hyehenally| North Country Falk Song ANNIE LAURIE ‘Smoothly and with expression Scottish Air Al 84 mp a) — mf crese. Ind time ort 0 7 dim. P a$= saunertinatar J] triple toot three soa pedi ue cfonecouhetex df) ewoaoe RHYTHM EXERCISES nvion n3 n3 A3 vs on v 2 nV nSsny, 85a myonm on A movin 2 mv myny LITTLE BO-PEEP ‘Smoothly Tradtonal Nursery Rtyme Instrict time English Country Dance Al 2 ‘798 (30800)