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% PRACTICE RECORD Week Date —_Assignment/Exercises_ © Mon Tue Wed Thurs Fri Sat Sun Total Initials ESSENTIAL ELEMENTS FOR STRINGS A COMPREHENSIVE STRING METHOD MICHAEL ALLEN +» ROBERT GILLESPIE + PAMELA TELLEJOHN HAYES ARRANGEMENTS BY JOHN HIGGINS Congratulations for successfully completing Book 1 and welcome to Sook? of Essential Elements 2000 for Strings! By now you are well aware of the benefits and joy of playing cello in the orchestra. The techniques you learned in Book 1 will help you reach a more advanced level in Book 2 that will make your musical experiences even more fun and exciting You can learn the new skils in the order they occur in Book 2, or you can master a particular skill atthe time it most ‘applies to your individual playing needs. Tabs appear on the sides of each page to help you quickly find the section cor concept you need to practice ‘There will be rewards for your effort! As you spend time learning more challenging material the mastery of new skills will bring you even more joy in the years to come. Good luck, and best wishes fora lifetime of musical happiness! Keys Performance Spotlight 34.37 D Major o Guar 43 Sight 38 Major 67g 39 AD Major .. 12-15 F & Bb Major 20-25 Finger Patterns 40-83 G&Dminor 28-29 scales | Rhythms Creating Music cece 3/4 Meter b 3 Dotted notes, Eighth notes/rests 8-11 Double Stops a7 Sixteenth notes, Syncopation 16-19 Fingering Chart a7 6/8 Meter oo 26-27 pl Mixed meter, Cut time, Teplets 30-33 Index . 48 ISBN 0-634-052675 Copyright © 2004 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved HALeLEONARD*® CORPORATION D MAJOR 2 Z REVIEW versione tesowaruns——_‘Nomes sun ae 4 Tle cae a Key of D CL AMajr Scale sa svies of eoht netstat flow a definite patter of whol tens and hal sep Major Scale. fatscp:sppest ont between sale steps 3-4 and 7-8 Evy mor scale has the ame efanpemeht whole steps and half steps 1. TUNING TRACK 2, D MAJOR SCALE - Round (when group A reaches group 8 begins at D) On @ Aam~s Wastep 12 12 2 3. D MAJOR ARPEGGIO A 4. D MAJOR MANIA Legato Play in a smooth and connected style. 5. THEME FROM LONDON SYMPHONY Franz J. Haydn (1732-1809) n vA EREVIEW ee ee een TIME SIGNATURE NoTES TE TEMPO MARKING 1st & 2nd ENDINGS Dotted Half Eighths i Lin a Moderato 6. D MAJOR IN THREES n i crescendo (crese.) === Gradually increase volume. Dynamics decrescendo (decresc.) ————————_ Gradually decrease volume. 7. DYNAMIC CONTRASTS PAT ee —_— ———=$/ ‘Norwegian composer Edvard Grieg wrote Peer Gynt Suite for a play by Henrik Ibsen in 1875, the year before the telephone. was invented by Alexander Graham Bell. "Morning" is a melody from Peer Gynt Suite. Music used in plays.or in films and television, is called incidental music. ‘ANOLSIH, 8. MORNING (from Peer Gynt) Moderato 9: Ze == P Edvard Grieg (1843-1907) 9. BARCAROLLE ‘Moderato Pa Tunneling Ridin’ The Rails Tappin’ And SI Slide your fingers up and down _ Slide up and down one string Tap your fingers on any string, slide toward the other ‘the fingerboard between 2 strings. with your fingers. tend of the fingerboard, and tap again. @ review ey stonarune Hooke TEMPO MARKING Bone | ‘Andante = a Key of G peed 10. G MAJOR SCALE - Round On, @ 11. G MAJOR ARPEGGIO = epee = | —— + Es = ; ‘The distance between two notes is called an interval Start with"1" onthe lower note, and count Interval ‘each ne and space between the notes. The number of the higher note isthe distance, or name, ‘of the interval 2nd 3rd ath Ss a) (a) a 6th 7th {8th or octave Name this interval 13. CHESTER Andante Wiliam Bilings (1746-1800) n : A = f (4 Isyourleft hand shaped properly? Al % REVIEW oe epee Allegro Key of G (Upper Octave -Wotn) 14, G MAJOR SCALE (Upper octave- violin) fn Intonation Intonation is how well each note is played in tune. 16. INTONATION ENCOUNTER - Duet 17. THE OUTBACK Allegro A tf ZB review KEY SIGNATURE TIME SIGNATURE STACCATO Key of ¢ 18. € MAJOR SCALE A . 2 3 eee ee 19. C MAJOR ARPEGGIO 4. 20, € MAJOR DUET _- al aa 21, BUFFALO GALS Allegretto <1 A ively tempo, faster than Andante, but slower than Allegro, f y Cool White (ohn Hodges) Sf (7 Checkyour bow hand, Are your fingers curved and is your thumb bent? Be @ REVIEW key sIoNaTURE TIMESIGNATURE ‘TONE PRODUCTION eo Salen a cea e ae Key of € (Lower Octave) + proper weight 22. C MAJOR SCALE - Round (Lower Octave) i ® o 23. € MAJOR ARPEGGIO ‘ower octave) n 24, C MAJOR MANIA plano ‘mezzo piano mezzo forte ‘mp (mezzo piano) Play moderately soft. Dynamics maf’ (mezzo forte) Play moderately loud. of fore (25. CROSSROADS Moderato n : + fn : mp 8 CHANGING BOW SPEED Change the bow speed according to the length of the note. When you have a longer note value, the bow speed should be slower. If there isa dotted half note on a down bow and a quarter note on an up bow, the speed of the bow must change. ee fe 2 oe = 26. THE DOT ALWAYS COUNTS “ tS mn : 7 » = Sj Slow Fast FF Bow __, Bow 2 a Bey 27. ALOUETTE Allegretto French Folk Song 5 28. RIGAUDON Moderato as Henry Purcell (1659-1695) 2 2 mp — - ‘J 2 2. oe o- = 2 2 °- | 34 = f i of 29. ESSENTIAL CREATIVITY - OH! SUSANNAH ‘Make up your own dynamics and write them in the music. Play the line and describe how the dynamics change the sound. Allegretto Stephen C.Foster (1826-1864) z a Se a oy aS Eighth Note & Eighth Rest 7 1/2 beat of sound 1/2 beat of silence Sener 30, RHYTHM RAP 2)y Shadow bow and count before playing LDS DB d DD Ded d Dy g const # 2&3 H84e Te2e3e4e TH2ES EHR TERETE SE 31, EIGHTH NOTES ON THE BEAT 32, SHORT AND SWEET n 33. RHYTHM RAP + J) Shed bom and cunt before poying vomynyon vomyny an ptt) wi na ty Comte 2e 3 24H TH2aT RAE TEPES RAE TH2ES HEHE 34, EIGHTH NOTES OFF THE BEAT A va : vn 35. SUNNY DAY en v |< 36. ESSENTIAL ELEMENTS QUIZ - JESSE JAMES Folk Ballad from Missouri Bet 10 Dotted Quarter ‘A dot adds half - > Geni Noes | oe) es bees Setar Jd ey vane 37. RHYTHM RAP ‘Shadow bow and count before playing. n eee yo vm ovom vwny Stow Fast Slow Fast Bow —+ Bow Bow—+ Bow cot B22 F248 TE2eF AFR TAPE T RSE TEPER HREE Fy = 5 z 38. THE DOT COUNTS nA vn Ae 39. WATCH THE DOT n 2 A £ 2 40. D MAJOR SEQUENCE 5 ef fe «2 2 = 41. DOTS ON THE MOVE o Fermata Hold the note (or rest) longer than normal. 42. D MAJOR BONANZA - Duet " 43. A CAPITAL SHIP Moderato ‘American Folk Song A 44. ESSENTIAL CREATIVITY ‘ Create your own rhythms by penciling in a dot and a fag to change any two quarter notes from J J tod. o EB vg: 45. HOOKED ON DOTS SWHLAHY ¢ Ritardando —ritard. (or) rit. ~ Gradually slower 46. THEME FROM NEW WORLD SYMPHONY Lento <3 Very low tempo Antonin Dvorak (1841-1904) 47. ESSENTIAL ELEMENTS QUIZ - RONDEAU Jean-Joseph Moutet (1682-1738) Andantino ~1 A tempo that s slightly quicker than Andante, ome 12 FORWARD EXTENSION ON THE G STRING Step 1 Shape your left hand as shown. Be certain your palm faces you. Notice that there is a wide space between your Ist and 2nd fingers: Step 2 Bring your hand to the fingerboard. Remember to keep a wide space between the 1stand 2nd fingers and tokeep your thumb behind the and finger. Cc is played with a forward extension onthe string, Listening Skills Pay whar your teacher plays. Listen carefully 48. LET’S READ “C?” (C-sharp) X2= 2nd finger forward extension. (X}4= 4th fingerin extended position. The whole step is between Ist and 2nd fingers. 8 Ch Pe 49. STAY SHARP n ° oot on a 50. AT PIERROT’S DOOR Andante 51, HOT CROSS BUNS Moderato © Were your C's in tune? TTT ee Shape your hand on the D string as shown, Gi is played with 2 forward extension on the D string, Listening Skills play what your teacher plays. Listen carefully. 52. LET’S READ “Gt” (G-sharp) me @ 22S 53. REACHING OUT 54, HIGHER AND HIGHER A oo oo Key Signature = ye SERRE pay anreasrt sar Csas CIC sap and 0664 Gata A MAJOR 55. A MAJOR SCALE 2 Oe xe 0 56. ESSENTIAL ELEMENTS QUIZ - A SONG FOR ANNE Moderato ey Bee z= : of ——S= SS 14 UME see Shape your hand on. the C string as shown, S Fi is played with 3 forviard extension ‘on the C string, Listening Skills sy wharyourteacherpiays. Listen careful 57. LET'S READ “F?” (F-sharp) oo FE 58. HIGH POINT a 59, MAGNIFICENT MONTANA. on a @ eee 60. D MAJOR SCALE - Round On nn Som ss In the second half of the 1800s many composers tried to express the spirit of their own country by writing music with 2 distinct national flavor. Listen to and describe the music of Scandinavian and Spanish composers, and Russian ‘composers such as Borodin, Tchaikavsky, and Rimsky-Korsakov. They often used folk songs and dance rhythms 10 ‘convey their nationalism. 61, RUSSIAN FOLK TUNE Allegretto Ti : x2 ou x FE . 15 Special Cello Exercise While the vin an basses are learning new noe daw the bales nthe music below. Then wit nthe counting Sl kk, Listening Skills Play whatyour teacher plays. Listen carefully. 62. LET'S READ “G¢” (G-sharp) - Review oo a y 2 63. A MAJOR SCALE n x Cr x ons. : 64, A MAJOR ARPEGGIO 7 ot 004 65. THE FIG TREE Allegretto erese t Accent — J a ® _ Emphasize thenote. Add weight or increase the speed at the beginning ofthe bow stroke. 66. SITKA CITY Moderato Russian Folk Song ee 7 3 9 PFE Rt 16 Sixteenth Notes ‘ . a 7 4 sixteenth notes = 1 beat @ & a Eachsivteenth note = 1/4 beat a . ai J PPPEr ere Tekareua 67. RHYTHM RAP ‘Shadow bow and count before playing. AE re 3 eed 68. SIXTEENTH NOTE FANFARE eerie nvunvnm vv ve count 1 Te éJJJ RHYTHMS 69. TECHNIQUE TRAX a Fu ADDS - S775 Asingle sixteenth note thas 2flags on the stem, 44 70. DINAH WON'T YOU BLOW YOUR HORN Allegretto of fn 71. MOCKINGBIRD Moderato A n et 72. RHYTHM RAP [dved=/ 22] ‘Shaciow bow and count before ploying. non von vo on y oo: PRO CAL JRL Re fe cele 3 Oe a ee 73. BLUEBERRY PIE a 74, TECHNIQUE TRAX A 75. RHYTHM RAP (Joad= 77 | ‘Shadow bow and count before playing. vom 3itd iow 4 = rd Foil 3—4 Count 1 8 & Bee 76. MARCHING ALONG n y ol v 77. ON THE MOVE pi] y 78. RHYTHM ETUDE - Duet 7 “ ¥ 2 79. ESSENTIAL ELEMENTS QUIZ - RHYTHM ROUND-UP A y Bs eC wetalaad 18 80. RHYTHM RAP ‘Shadow bow and count before playing. dat HOOKED ON D MAJOR . a nat LY 2 83, THE MOUNTAIN CLIMBER 84, KEEP IT SHORT novi 85. ESSENTIAL CREATIVITY Write a 0 Major scole using any ofthe following rhythms: JTae, dd, dea, J a Perform your composition forthe clas. B vs = {0 a note that is not on a strong beat. This type of “off-beat” feels common in many popular and classical styles, Scot S22) b 86. RHYTHM RAP ‘Shadow bow and count before playing, eer Von yo no cs! jd —__b iJ 3 __4 87. SYNCOPATION TIME n v mov on toon on : 88. MIRROR IMAGE avon Ai 2 89. CHILDREN’S SHOES Black American Spiritual veer v myo ss =| 90. HOOKED ON SYNCOPATION ce yey 91. ESSENTIAL ELEMENTS QUIZ - TOM DOOLEY a Moderato ‘American Folk Song == Be St nf — y SS = = SS — Le eee Al ~ a z Ee | z (B-FLAT) ON THE G STRING & Bb is played with 2 fingers on the G sting, Listening Skills pay what yourteacher pays. Ustencreuly 92. LET’S READ “Bb” (B-flat) a Bb 2E.= 93. ROLLING ALONG Moderato n Whe = = 2 Great musicians give encouragement to thelr fellow performers. Violin and bass players will now learn Team Work new challenging skill. The success of your orchestra depends on everyone's talent and patience. Play your best as members of these sections advance their musical technique. Special Cello Exercise Draw a note next to each printed note that will match the interval number shown, The note you draw can be higher or lower than the printed note. The first one is done for you. 2nd sth 3rd octave ath th 7h (camp) (goloweroniy) (golower ony) (golower only) Listening Skills etayha: your eacherplys. Linen careful 95. LET'S READ “F” (F-natural) - Review 96. TECHNIQUE TRAX n Key Signature F MAJOR 97. F MAJOR SCALE n ‘A Concerto is a composition in several movernents for solo instrument and orchestra. Exercise 98 is the theme from the fist _moyerent of the Concerto for Violin and Orchestra by Ludwig van Beethoven, composed while author William Wordsworth \as writing his poem i Wandered Lonely as a Cloud. A special feature of the concerto is the cadenza, which was improvised, ot ‘made up, by the soloist during a concert. improvising and creating your own music is great fun. Ty tif you have not already. -ANOLSIA 98. THEME FROM VIOLIN CONCERTO ‘Andante Ludwig van Beethoven (1770-1827) Lee CXS Step 1 Shape your left hand as shown, Be certain your palm faces you. Notice that theres a wide space between your 1st and 2nd fingers SN) E, ‘is played with a backward extension (X) fon the D string Listening Skills 99. LET’S READ “E>” (E-flat) x Step 2 Bring your hand to the fingerboard. Remember to keep a wide space between your tst and 2nd fingers, Your elbow should move forward to help the 1st finger extend backward Play what your teacher plays. Listen carefully. Be 100. HOT CROSS BUNS ra Y Bb is played with a backward extension (X) ‘onthe A string. Listening Skills Play what your teacher plays. Listen carefully, 101, LET’S READ “BS” (B-flat) 4 ue 102. VIKING WAY Ft 103. HIKING ALONG 5 x jignat RoR Se ae 104. B> MAJOR SCALE A x y 105. SLOVAKIAN FOLK SONG Allegro A : x x xi nf 107. ESSENTIAL ELEMENTS QUIZ - AYN KAYLOKAYNU Andantino ‘Traditional Jewish Song rit. atempo 4 Return to original tempo 24 Special Cello Exercise We VEN Valet cle rang fet netes mech the lowsig won wh fe cares defen Wits the covect lett af the defen nthe bank nex othe words 1.__ Staccato [A Gradually increase volume 2.____ Allegro B. Hold the note (or rest) longer slur . Curved line that connects two or more different pitches 4,__ Intonation D. Play with a stopped bow stroke 5.___Mezzo Forte E. Slower walking tempo 6.___ Interval F. Moderately loud 7.___ Crescendo G. Gradually slow the tempo 8.___Moderato H, Play ina smooth and connected style 9.__Ritardando 1. Fasttempo 10,___ Allegretto J. Moderately soft 11,__ Legato XK. Curved line that connects notes of the same pitch 12, Ferrata L. Medium tempo 13,___ Decrescendo IM. Lively tempo, faster than Andante, but slower then Allegro 14.__Lento NN. How well each notes played in tune 15,__Andante ©. Avery slow tempo is] te P. The distance between two notes 17,__Mezzo Piano Q. Gradually decrease volume 18.__Forte R. Loud 108. LET’S READ “E>” (E-flat) ~ Re a 4 v 110, LET’S READ “Bb” (B-flat) - Review xt ee b = 111, TECHNIQUE BUILDER x n 25 112, B> MAJOR SCALE n 113, THE MOUNTAIN DEER CHASE Allegretto xt North American Folk Song St 114. ESSENTIAL CREATIVITY - RAKES OF MALLOW Allegro . Irish Folk Song _ Music can be created and arranged by changing rhythms and notes to an existing example. Create your own arrangement of Fakes of Mallow by changing the chythms and melodic phrases. Perform your arrangement for others. Example 1:Changing rhythms Example 2:Changing melodic phrases A mn G beats per measure d= tbeat J = 2beats Eighth note gets one beat d= beats d. beats § Time Signature EE 6/8 time is usually played with 2 slight emphasis on the 1st and ath beats of each measure, This divides the measure Into 2 groups of 3 beats each. 115, RHYTHM RAP ‘Shadow bow and count before playing. men Yon gl Oy T coune1 23 116. LAZY DAY 6/8 RHYTHMS + —— l ‘Around isa musical form where performers play 0 sing the same melody, entering at Musical Form different times. This is called counterpoint, type of harmony. Try memorizing this round and performing it witha friend. 118. ROW, ROW, ROW YOUR BOAT - Round On ® American Folk Round a — of crese. or @ £ t decrese. af 119, SLURRING IN 6/8 TIME 5 v 120. JOLLY GOOD FELLOW Andante = ae f 1 . : hen sic re pled si en § Time Signature easier tosiress Beats one and four and Countedin6= 123 45 6 “el the pulse in wo large beats. Gountedin2= 1 4 2 24a 121. RHYTHM RAP ‘Shadow bow and count before playing, oc R e EF Ie 122, RISE AND FALL y rc FY wa a ‘amas Wiite in the correct time signature before you begin. Austrian composer Wolfgang Amadeus Mozart was a child prodigy who lived during the American Revolution. At five, he was composing music, and by his early teers he had mastered the violin, Mozart wrote more then 600 compositions during his short lfe,including oratorios, symphonies, concertos, and operas. imagine and describe the career of a composer. 124, MAY TIME Allegretto 7 W.A.Mozart (1756-1791) aa a — 28 ‘Aminor scale isa series of eight notes which foliow a definite pattern of whole steps and Minor Scales half steps. There are three forms of the minor scale; natural minor, harmonic minor and melodic minor, The D minor (natural scale uses the same pitches asthe F major scale. 125. D MINOR (Natural) SCALE n Austrian composer Gustav Mahler was also a successful conductor. He believed in unifying the arts and often combined ‘music. poetry, and philosophy in his compositions. Exercise 126 Mahler’ Theme first appears in his Symphony No. 1, played as a solo by the double bass. During Mahler's lifetime Vincent van Gogh created his most famous paintings, and Mark Twain wrote Tom Sawyer. i 126. MAHLER’S THEME - Round Andante: ‘Gustav Mahler (1860-1911) OnGve ® : 127, SHALOM CHAVERIM - Round Andante 4 Hebrew Folk Song @y n @ 128, THE SNAKE CHARMER Alllegretto v Key Signature G MINOR ee ‘The G minor (natural) scale uses the same pitches as the B> major scale 129. G MINOR (Natural) SCALE n 2 Wt the establishment of ala an independent poltial state n 1848, Htvah became the ral Ninel anthem The ‘ane yer Mohandas Gandh wes asasshated inna, ae ols tak Renan and ches Zero ae concert ee ren rea Gal toed | 130. HATIKVAH ‘Moderato Israeli National Anthem 7 fn —_ A 131. G MINOR (Natural) SCALE (Upper Octave - violin) x 132. ESSENTIAL ELEMENTS QUIZ - THE HANUKKAH SONG Allegro Israel Folk Song Bs : i Occasionally the mete time signature changes in music. Watch for meter changes Mixed Meter and count cerefully. 133, RHYTHM RAP ‘Shadow bow and count before playing. te tp 134, FRENCH FOLK SONG Moderato Cantabile inasinging style. © —_Thettalian word for“and” 135. KUM BA YAH Andante e cantabile African Spiritual +, ‘, ten JD) fd 1 tip-let 2. tip-let : Arpletic a group of thee note. In, 2. ord ime, De nec te Lee 136. RHYTHM RAP pL a a Tah y Count: 1 Dwiptet 3 4 1 Deptt 34 © D ipdet 2B triplet 4 Triplet 2 tiptet 3 137. D MAJOR SCALE WITH TRIPLETS UEC ea 138. ON THE MOVE A 7 7 7 3 s 3 142. FIELD SONG ‘Moderato Southern American Folk Song 32 beats beat beat 4 Time Signature : 2 beats per measure: bee 6 Se ee. 143. RHYTHM RAP Shadow bow and count before playing. nvynvon Te von vmaoyny YRaovn edd a teed sje defen fe edide dy mete 2 feds 6 tage ete (eae ete 1 8 144, ACUT ABOVE 2 A 145. CUT TIME MARCH n 146, RHYTHM RAP bese fide did ajo sidered fo —f Gm lets 18201025 1624 ede teas taae 1026 147. SYNCOPATION MARCH A 148, WHEN THE SAINTS GO MARCHIN’ IN Alllegro James M. Black v v v tf ¥ nv © Areyou counting in cut time? 33 149. RHYTHM RAP Shadow bow and coun before paying eH ae a Town As Coun 1 Lee a2 #8 Tee 2ee 1 & 2 a a a a a a eo 150. DOWN HOME 5 151. MOVING ALONG o 152. RHYTHM RAP Shade bo and coun before plying VinvaAy on Gai. ay nly cons 1 153. UP TOWN nh 154, FLYING BOWS n ‘Cantatas are pieces much like short operas that were written during the Baroque Period (1600-1750). They involve vocal soloists and choirs that are accompanied by small orchestras. Johann Sebastian Bach wrote nearly 300 of them between. 1704 and 1745. While Bach was composing his cantatas, the famous philosopher Voltaire was writing his books and Thomas Jefferson, the great United States president, was born. 155. MARCH FROM PEASANT’S CANTATA Allegretto 4.S.Bach (1685-1750) Vo a * v SWHLAHY » 34 PERFORMANCE SPOTLIGHT Performing music for others is fun and rewarding. Either small or large ensembles can perform the following arrangements. Always ‘observe proper concert etiquette by being well prepared, dressing appropriately, belng on time, and remembering all equipment. Show respect when others are playing by listening attentively and applauding at the appropriate time, 156, SAGEBRUSH OVERTURE - Orchestra Arrangement A= Melody part. B = Orchestra part. Andantino y Ga) [Suess of Laredo” ‘Ar, John Higgins | 2 . 3 ater == = . ess Gn =n Zz : r er cs nf rit edi oS) 2 by z cA = s = Ti edim = & 3] “Yetiow Rose of Teas” . , iM E 5 = & ; yi a a. > - ._=— > A fe 3| = pp — S om pot ABE = 2 a What were the strong points of your performance? 35 157. POMP AND CIRCUMSTANCE - Orchestra Arrangement Moderato A=Melody part. B= Orchestra part. A Edward Elgar 1857-1933) ‘Arr. John Higgins a ns 2 Es ° J 7 rit ts 2 Ve 5 158. AMERICA THE BEAUTIFUL - Orchestra Arrangement Samuel Augustus Ward (1847-1903) [F4 ‘Andante e legato ‘A= Melody part, B= Orchestra part. ‘John Higgins yo v A yoo a Gi a = a = a =———— _ i —=———— i . = a Fi z i} 4 a wt J zZ Ky PS Fi Gj i a a 4 36 159. LA BAMBA - Duet Mexican Folk Song, Alllegro ‘Arr. Michael Allen nh > > aos mod p— Gustav Holst was a famous British orchestra composer who frequently set words to music including poems by the American poet Walt Whitman. Holst’s St, Paus Suite for string orchestra was written for the St.Paul Girls School Orchestra and | _ published in 1913. His best known workis The Planets first performed in 1918, the same year as the end of World War |. 160. IN THE BLEAK MIDWINTER - Orchestra Arrangement Gustav Holst (1874-1934) ‘Andante ‘A= Melody part. B= Orchestra part. ‘At John Higgins nx nex ee ~ 2 a eS mp n mp 37 161. SWALLOWTAIL JIG - Orchestra Arrangement Irish Jig Moderately ‘A= Melody part, B= Orchestra part ‘Art. John Higgins a at Fa EJ A ° rd FS > FA rey Ea wa 3 ° = & 9 EF 3 38 Sight-reading ‘Sight-reading means playing a musical piece for the first time. The key to sight-reading Suecess sto know what to look for before you play. Use the word S-T-A-R-S to remind ‘yourself what to look for and eventually your orchestra will become sight-reading STARS! S — Sharps or flats in the key signature T — Time signature and tempo markings ‘A — Accidentals not found in the key signature R — Rhythms, silently counting the more difficult notes and rests 5 — Signs, including dynamics antculations repeats and endings 162. SIGHT-READING CHALLENGE #1 Andante 163. SIGHT-READING CHALLENGE #2 Lento 164. SIGHT-READING CHALLENGE #3 Allegretto 165. SIGHT-READING CHALLENGE #4 Allegro etd IIIT ek Natural harmonies are tones create bya wbrating sing divided into equal sections. 0 play a octave higher than an open sting, ight touch the string exactly half way between the bridge and the nut. nthe following examples harmonics are indicated by 2° above note plusa fingering number. 3 indicates a harmonic layed with the third finger, Natural Harmonic 166. row Pow 3 2 la Row a 2 #2 06 Pow |] Htecw 168. 2 hk New Note:A stow 169. 3 ° ti Sliding your left hand smoothly and lightly to a new location on the fingerboard indicated by a dash (-). Shifting Be sure your thumb moves with your hand. 170. 3 3 4 3 2 te | Ja 71, 3 4 3 4 te > CYTE Te Ce hl a a ES 40 LIEN \While the violins and violas are practicing various finger patterns, you will be playing some new notes in new positions. All new positions are indicated with a x and shifts with a -. Remember to slide your hand smoothly and lightly to the new location. ‘Always keep your thumb behind your second finger. FINGER PATTERNS (By Pattern) 174, 3-4 PATTERN (violin, volo) EString asting og 3 arp 1 Dstring 1 (votn,bas3) 71: 1 me, I GString string We 175, 2-3 PATTERN (violin viol) Estring asting 5g 3 Dstring ‘itn, bas) De 1 Ws 1 esting string [ e F = = oa ——* o =+ Wi a I 176, 1-2 PATTERN (violin, viola) esting Astring 3 a2 et 2 25-— EE = = ‘violin, bass) 1 1 : i 1 1 Gsting CString m m1 I 177. OPEN PATTERN Wiolin viola) on asting sg a psuteg (etn, bass) 1 1 m 1 GSstring String 2 4 _ FINGER PATTERNS (By String) 178. E STRING (violin, bass) Sta 4 oo 3 p08 Urs I *W 1 Vv 1 Vv 1 179, A STRING -1 Wp 1 Wy I m 1 m 1 180. D STRING 181, G STRING m 1 m I 182. ¢ STRING BI Ot ERE BE) TET ee 42 FINGER PATTERNS (By Key) 183. C MAJOR 3 (itn bass) a 1 m 1 184, G MAJOR 3 2% (itn, boss) im I 1 1 185. D MAJOR 3 aA, (olin, bass) Te 1 lh : Wr I be Wh h 43 186. A MAJOR 3 ‘violin, bass) ‘lin, bass) mw a m 1 188. B> MAJOR (otn, bass) +I 1 m I BSE EPEC BE dE | 44 SCALES AND ARPEGGIOS if "deni two important elements of performing scales and arpeggios accurately. As youplay each line, check to make sure you are able to do these things. 189. C MAJOR n 190. C MAJOR 191. G MAJOR 192. G MAJOR (upper Octave - violin) mo 193. D MAJOR A 194, D MAJOR ne 195. A MAJOR ne oo 196. A MAJOR (Upper Octave violin) ne oot ete etd 45 197. F MAJOR 198. B> MAJOR 199, Bb MAJOR (Upper Octave - violin) 5 a x 200. D MINOR (Natural) By Ci = = 201. D MINOR (Natural) a 2 202. G MINOR (Natural) A. Xn 203. G MINOR (Natural) (Upper Octave - violin) TTP PERE a ae el 46 CREATING MUSIC 1 Improvisation improvisations the art of freely creating your own music as you play. 204. sine toowing notes mpovseyouronnmeoty tines) Fee ILO togowtth te aecompanimet ine 8 B fe Composition is the art of writing original music. A composer often begins by creating a melody S ‘made up of individval phrases, lke short musical’sentences.” Some melodies have phrases that Composition costo answer or spond to uetor press asin Beethoven Ode To Joy Pay melody e ‘and listen to how phrase 2 answers phrase 1 205. ODE TO JOY 1.Question Ludwig van Beethoven (1770-1827) 206. PHRASE BUILDERS Write 2 cifferent phrases using the following rhythms. La 1d 207. Q. AND A. Write your own “answer"to the following melodies. Answer 1.Question ze 1.Question 4 208. YOU NAME IT: ‘Now write your own music IMPROVISATION/COMPOSITION Double Stops A double stop is playing two strings at once, 209. TWO AT A TIME n 210. ADDING FINGERS CELLO FINGERING CHART _ t= > Position backward foward yp feats forwatd yp = Harmonic Harmonic PET TPIT FON AT yee Titel] 48 &z REFERENCE INDEX Definitions (9) ATempo 23 HalfNote 2 Accent 15 Hooked Bowing 4 Alla Breve 32 MajorScale 2 Allegretto 6 Moderato 3 Andantino 11 Piano (p) 3 Cantabile 30 Quarter Note 2 Cantata 33 Slur 2 Composition 46 Staccato 6 Concerto 21 Te 3 Crescendo (crese.) 3 Tone 7 CutTime 32 WholeNote 2 Decrescendo (decrese,) 3 Dotted Quarter Note 10 Composers Double Stop 47 JS.BACH mics 3,7 Dynamics 3, + March from*Peasant’s Cantata" 33 e 30 Eighth rest 9 LUDWIG VAN BEETHOVEN Fermata 10 + Theme from*Violin Concerto in D" 21 Finger Patterns 40 (violin & viola) * OdeToJoy 46 aoe WILLIAM BILLINGS, Improvisation 46 + Chester 4 Interval 4 [ANTONIN DVORAK + Theme from*New World Symphony” 11 Intonation 5 Legato 2 Lento 11 EDWARD ELGAR Meter Change 30 + Pomp and Circumstance 35 Mero plano (sr) 7 STEPHEN COLLINS FOSTER, Mezzo forte (nf) 7 + OhtSusannah 8 Minor Seale 28, Ritardando rit) 11 EDVARD GREG + Morning from*Peer Gynt” 3 Round 26 Sighteading 38 ALICE HAWTHORNE (SEPTIMUS WINNER) oe 26 + Mockingbird 16 —— eo FRANZ JOSEPH HAYON Shiting 39 + Theme from“London Symphony” 2 Syncopation 19 cea Gustav Host Inthe Bleak Midwinter 36 Book I Review Gustav MAHLER Allegro 5 + Theme from”symphony No.1" 28 Ll JEAN-JOSEPH MOURET es + Rondeau 11 CommenTime 7 See WOLFGANG AMADEUS MOZART Eighth Note 3 o aie 1t&2nd Endings 3 JACQUES OFFENBACH Fone (f) 3 * Barcarlle 3 HENRY PURCELL + Rigaudon 8 SAMUEL WARD + America The Beautiful 35 COOL WHITE JOHN HODGES) + Buffalo Gals 6 World Music AFRICAN + KumBahYah 30 ‘AMERICAN + America The Beautiful 35, + ACapital Ship 11 + Children’s Shoes 19 + Mountain Deer Chase 25 Field Song 31 + Jesse James 9 + The Streets of Laredo 34 + Tom Dooley 19 + Row,Row,Row Your Boat 26 When The Saints Go Marching In 32 Yellow Rose ofTexas 34 ENGLISH Jolly Good Fellow 26 FRENCH + AtPierrot’s Door 12 + Alouette 8 French FolkSong 30, HEBREW/ ISRAELI + Ayn Kaylokaynu 23 + TheHannukah Song 29 + Hatikvah 29 + Shalom Chaverim 28 IRISH + Rakes of Mallow 25 + SwalloweailJig 37 MEXICAN LaBamba 36 RUSSIAN + Russian FolkTune 14 + Sitka City 15 SLOVAKIA + Slovakian Folk Song 23 a SE EL LP) Saeed eS es ect hea Pe ree ey EXERCISES 72 - end ete ment) IseN- “) HAL*LEONARD® "Sent: nail MM. se a olreuesslosze75