Volume I | Youneo rings ine Auton A String Method for Class or Individual Instruction AUL ROLLAND’S proach to String Piaying Compited and Edited by SHEILA JOHNSON STUDENT BOOK largaret Rowell Cello "author Cello Books Music Arranged by Robert Wharton BoosevenswkhSCONTENTS Page ‘Terminology of Instruments and Bows... Care and Maintenance of the Instrument. Note on Tuning. . ACTION 1: Establishing Correct Placement of the Instrument... ACTION 2: The Shuttle Between Registers... . he ; ‘Activities to Reinforce Left Hand Placement (Three Open Sirng Tunes) ACTION 3: Moving Across the Strings... 0.02.00... Plucked Open String Accompaniments — Left Hand Pizzicato | (Lightly Row; Camptowa Races; Hot Cross Buns; ‘Skip To My Lou; Let Us Chase the Squirrel: Jingle Belts) ACTION 4: Leaming to Hold the Bow . ACTION 5: Shadow Bowing ACTION 6: Holding the Instrument and Bow Together . ACTION 7: Sitting Position (Violin and Viola only) ACTION 8: Relaxing the Shoulder. eat Bee ACTION 9: Skort Strokes at the Middie of the Bow... ea ACTION 10: Playing Open String Accompaniments Using the Bow (Lightly Row; Camptown Races; Hot Cross Buns; Skip To My Lous vii veces Vili vill Let Us Chase the Squirrel; Jingle Bells)... a u NOTE-READING . i 14 Playing on Open Strings (Playing on the A and D Strings: Playing on the D and G Strings; Goldfish; Olivia’s Song; A Little Ragtime; Highlanders: Lowlanders: Playing on Two Strings; Double Notes; Diads HI; The Old Fiddler; Two By Two; Fifths; Supersteuth)..... 16 ACTION 11: Locating the Hand in First Position... .... 24 Rote Scales and Melodies — Played on All Strings (Locating the Hand in First Position; Descending Major Scales; French Folk Tune [Phrase]; Varlations on an Air of Gluck [Phrase] Hot Cross Buns; Burnt Hot Cross Buns [minor mode] ; Au Clair de la Lune [Phrase]; Mary Had a Little Lamb; Twinkle, Twinkle Little Star: Major Scales; Old MacDonald Had a Farm; Let Us Chase the Squire Jingle Bells)... eevee cveces 22 NOTE-READING ~ Playing First Finger on ‘All Strings 27 (Chinese Luliaby; Grambling) . 29 ACTION 12: Slurred String Crossings... 229 ACTION 13: Playing the Octave — Playing on All Strings (The Octave Game; Octave Exercise; Pony Ride) . 30NOTE-READING ~ Playing Third Finger in A,.D,G, E and C (Hot Cros Buns Pree Note Melody; Munble Pinger: Merry-Go-Round, Dance Josey: Rocky Mountain). . ACTION 14: Extending the Bow Stroke... NOTE-READING — Playing in All Perts of the Bow (Who's That Tapping At the Window)....00.00+06 NOTE-READING ~ Playing Fourth Finger (Exploring Major Keys; Descending Major Scales; Major Seales: Skipping Fingers and Crossing Strings; French Fotk Tune; Jingle Bells; The Blue Bells of Scotland; The Farmer in the Dell Isn't Well; The Furst Nowell; Old MacDonald Had a Farm)..... ACTION 15: Refining the Bow Stroke NOTE-READING ~ Playing Second Finger (Burnt Hot Cross Buns, in a, d, g, 6; Samurai Song, in a, de, 8). ACTION 16: Place and Lift the Bow (Silent) ‘ACTION 17; Single Lifted Strokes with Return (Barly Rebound nd Stoke). (Exercises for Single Lifted Strokes)... NOTE-READING ~ Playing Second and Fourth Finger (Exploring Major Keys: Moor Seales; Theme from Beethoven's th Symphony; Go Tell Aunt Rhody)... ...120vveescceecsvnseeeessencvee NOTE-READING ~ Alternating Second snd Third Finger (on all strings: Majorminor; Half Step March) ACTION 18; Long Slurred Strokes (Slurred String Crossings) .. : NOTE-READING — Alternating Second and ‘Tiird Finger on Neighboring Strings (Exploring Major Keys; Major Scales; Good King Wenceslaus; She'll Be ‘Comin’ Round the Mountain; Canon; Skip To My Lou; Cuckoo Clock; Canon in Two Parts) Stopping Two Strings with One Finger ~ (Finger Exercises; Aria), . Major and Minor Triad and Pentachord — in Byd,G, g, A,3,C, ¢ DG A, Cassette tapes containing the exercises and teaching pieces featured in this publication are available on sale Young musicians are encouraged to use the tapes to promote eartraining ‘and improve overall musicianship. © Copyright 1971 by Boosey & Hawkes, Inc. Expanded and Revised Edition © Copyright 1985 by Boosey & Hawkes, Inc. Arrangements of all masic in this book and original music by Sheila Johnson, Robert Wharton, and by Johnson and Wharton as co-authors © Copyright 1985 by Boosey & Hawkes, Inc, Copyright for all countries. All rights reserved. MEB-8S 37 44 44 47 47 49 52THE ROLLAND PHILOSOPHY “Get them started right and aim them in the right direction and they will reach the top... . It isa fallacy to believe that the careful teach- ing of fundamentals will slow down the pupil .. .. Most elements of string playing can be introduced, in embryonic form of course, during the first year of instruction, and refined thereafter... . One would be quite surprised at what pupils can be started on during the first and second years. .. . Music educators should strive to develop players who not only play in tune with a good sound but who also feel comfortable and happy in sodoing, and who use well coordinated movements without excessive tension as they play... .. It is of para- mount importance to develop a well balanced stance, balanced right and left arms, and a balanced hold . . . . Good balance is the key to efficient movements . . .. A small child can be taught to play with a beutiful tone and sonority by the use of good balance of the body and by avoiding static tensions in his movements , . .. Stressed is freedom of movement; trying to inculcate the pupil with a feeling of Kinesthesia, a feeling of lightness, both with the bow and the Instrue ment... naturalness, naturalness, naturalness...” ~ Paul RollandENDORSEMENTS No one has rendered greater service to violin playing than Peul Rolland. Of that rare breed of men ofa mind as penetrating as it is open, he brough! t0 our special art a talent and dedication which Could as easily have made sense and brought order to issues of more universal and widespread chaos etthe conservation of enevgy, distribution of resources, economy of communication techniques, for instance, 10 name but a few! He chose the violin and bow, concentrating on the workings of ten fingers in a very limited area, in their myriad functions of support and expression, transmitting the impultes of body, mind and heart, and receiving, as antennae, the soul waves of humanity at large. ‘He has organically absorbed the best of Suzuki, for instance (not simply grafted, but integrated), and by bringing his original mind to bear on teaching, bequeathed us what is one of the very best books on violin playing and teaching, as well as films of enormous value. ‘in recognizing his contribution, we can save years of blind confusing effort and money ~ for what is @ great man’s giftother than fo point the way and save humanity keartacke and wasting drift. = Yehudi Menuhin Paul Rolland's contributions 10 string playing and teaching have been historically significant. Prelude to String Playing or now Young Strings in Action isa major part of hls contribution. J hope ‘and suggest its widespread use, ~ Janos Starker — Cellist Distinguished Professor Indiana University, Music Bloomington, indiana Tain honored to express my views on Young Strings in Action, the Rolland siring teaching ‘method, revised by Sheila Johnson, You have in Paul Rolland, a genius in string pedagogy. His extensive research, thought, and application show him to be years altead of his time, and surely comparable with the finest teachers in violin history. His attention to balance, efficiency of movement, relaxation, and posture show ‘great insight into the disciplines of kinesiology and science. His methods result in an ease in playinis, and a tastefully musical quality in young performers. The literature Sheila Johnson has included and augmented from the original work is clearly presented, accurate, and reveals the exuberant, upbeat character that marked the teaching of Pau Rolland, and today, Shetla Jolinsan, Paul Rolland often skipped, danced, and smiled as he played or taught — learning was indeed great fun. Mr, Rolland was keenly interested in his private teaching and research before he begat the writ- ing of this original material. His concem for the public sckoo! music grew as he saw a treniendous need to aid in mass string teaching at a high level. It seems to me most commendable that from a comfortable private reaching situation at the University of Mlinois, he was willing to identify the need and systematically present his method, thus becoming a part of the solution of teaching the ‘young string player. His methods, vocabulary, and charming approach to string playing work! For over twenty years have been able to successfully reproduce string players and bow arms which prompted him before his untimely death to call here students “my grandchildren,”” ‘Young Strings in Aetion is the ultimate legacy of Paul Rolland, revised by a favorite pupil of his ~ Sheila Johnson. CAUTION! Its use could revolutionize string playing the world over!! — Susan §, Starrett No. Aurora, Illinois Lam very excited to see this volume, I have admired the work which Pau! Rolland has done for string teaching, and although his writing and films have proved very helpful, Sheila Johnson's reorganization of the teaching materials in a format that can be used to plan the development of a program from (he beginning on in sequence Is a great achievement. This is surely a work of love, devotion, and expertise. ~ Dr. Kenneth Sarch, Professor of Violin Shenandoah Conservatory of Music Winchester, VirginiaMr. Rolland has called upon a lifetime of experience as performer and teacher in producing this important work, In simple, ciear language it systematically takes up the elements of string tech- nique in detail. Excellent drawings, diagrams and photographs accompany and illustrate the text, Both remedial and developmental techniques are included. Mr, Rolland has thoroughly studied and mastered the rich pedagogical tradition from which contemporary string teaching has evolved, and ‘he draws upon the experience and wisdom of many of its articulate pedagogs in support of its prin= ciples, principles which urge and guide us toward the discovery of an involved “use of the self” with alt that this brings in the way of improved string technique. As a teaching manval, Young Strings in Action is certain to command wide acceptance and use by siring teachers everywhere. = Francis Tursi, Professor of Viola Eastman School of Music Rochester, New York Paul Rolland devoted his life t0 Improving the quality of string teaching and playing. His inven- tive genius never stopped working towards this goal, He sought to inspire string teachers to be inno- vate and open-minded. Since his untimely death Sheila Johnson, one of his most able students, with her dynamic, charismatic personality has helped to establish a mast suecessfidl Rolland trend among young string players in the U.S, and abroad. Ms, Jolson has now revised Prelude to String Playing in true Rolland tradition, Paut Roland would justly be proud of the work which she, with her innovative talents, has carried out most competently. 1 am glad to have this opportunity to endorse the work Sheila Johnson has done 0 excellently. String teachers will find Young Strings in Action che most exciting ancl inspirational ‘material available 10 string stuclents, = Clara Rolland ACKNOWLEDGEMENTS Photographs by Mimi Levine A special ‘Thank You' to Mrs, Clara Rolland, for her encouragement, ‘help and support, and to all who contributed to this revision. Sheila Johnson January, 1985TERMINOLOGY OF INSTRUMENTS AND BOWS CELLO ee Ser — Peg =| ate Peg Box Neck Fingerboard oo Neck dock Purfling. Top Ribs F Hole Bridge — Pine Tuners Tailpiece Tailpiece Gut justing Serew Saddle— ree Bad Pia CELLO BOW fa Tip or Point (Head) |Aajusting SerewCARE AND MAINTENANCE OF THE INSTRUMENT CELLO : 1, Always keep the instrument and bow in the bag 9. Storage: A great deal of unnecessary repair work or case when not in use, to avoid damage, results from improper storage, Keep the instru- ment out of excessively dry or damp areas and away from radiators and hot air vents, An ideal « 2. Do not stuff music into the instrument case, temperature is about 70 degrees Fahrenheit, with 7 a relative humidity of 45-50%. (In other words, what feels most comfortable for you is also best for your string instrument, 3. Make a habit of closing the locks on the caso ‘even when it is empty. 4, After each playing session, wipe off all rosin dust from the instrument, strings and bow stick, but not the hair. A clean, dry soft cloth should be used, with no cleaning agents, 5. Before putting the bow away, make sure the hair is loosened 50 that the tension is removed from. the arch of the stick. Similarly, when preparing, to use the bow, make sure not to tighten the hair too much; it should never be so tight that the bow's inward arch is entirely eliminated If pegs are slipping, they may be'treated ‘with a commercial “ped dope,” by a competent repair person. Never use chalk or any other abrasive, Worn adjustiment screws on tuners and end pins ‘may be lubricated with a light machine oil, used very sparingly, 8. The bridge should be tilted slightly back toward the tailpiece, Itis kept in position by the pressure of the strings. Under no circumstances should it ever be glued to the top. (In fact, nothing should ever be glued except by an expert.) ‘The high side of the bridge is under the C string. f NOTE ON TUNING ‘The four strings of the cello are tuned, from low to high, ,G, Dand A: t TT CGDA In the early stages tuning is mainly the responsibility of the teacher, Listen carefully as the teacher helps you tune your instrument and see if you can tell whether the note is “just right,” or too low or too high. vitACTION 1 ESTABLISHING CORRECT PLACEMENT OF THE INSTRUMENT Proparation: Use a straight chair. QA 1. Position of feet 3. Bear Hug 4, Pinzicato playing positionPicking withthe left pinkie (front vow) 6, Plucking with the ltt pinkie (sie view) ACTION 2 THE SHUTTLE BETWEEN REGISTERS (The Shuttle Game) Move the hand freely between the LOW, MIDDLE and HIGH registers of the fingerboard. This should be done with silent motions, with light left hand pizzicato. Shuttle with easy and unhunied motions. The illustration shows the hand in the high register. Note thumb placement.ACTIVITIES TO REINFORCE LEFT HAND PLACEMENT. THREE OPEN STRING TUNES 1. Pluck with the left pinkie Johnson 3 4” (count rests) stant gcocech rr tlecGGltri?| pire. Advancee| —f— Player DDDD|2?2 2 2{AAAAR 2 2@eleeee| Pluck with the feft pinkie 4ccc?: |GcG: |DDD? |AAA? [2tietl plex, 3. #cci : |G? 2 [pps 2 [AAI 2 [22ee4 iz,ACTION 3 MOVING ACROSS THE STRINGS PLUCKED OPEN STRING ACCOMPANIMENTS. Play these tunes with a slight movement of the elbow to promote felaxation in the left shoulder joint. 4, LIGHTLY ROW Pluck with the left pinkie DDD?HAAAHDDODOD |DDD? Light - ly row, light - ly row, o'er the glassy waves, weg. a ——— DDD?|AAA?|IDDAA |Di22 | Smooth -Iy glide, smooth -Iy glide, onthe sh - tent tide = S- a += 5. CAMPTOWN RACES ‘STEPHEN COLLINS FOSTER Pluck with the left pinkie (18261864) DDBDODIDDD 2?{A A&ela Ake Camp-town la + les sing this song doo - dah! 00 - dah! [pels ae at pep ee = DDDDIDDD?|A? A A [Dei 2] Camp-town race track nine miles long, Oh! doo = dah day! tte pte = Ete é = SSS si 6. HOT CROSS BUNS Pluck with the left pinkie DDD?|DDD? |DDDDAAAA|DDD? Wot cross buns! Hot cross buns! One a pen-ny, two a pen-ny, Hot eross buns! = — ej ss =a = t f7. SKIP TO MY LOU Pluck with the lef pinkie GGGG|IGGG?|DDDD{IDDD? Choose your pard - ners, Skip tomy Lou, Choose your pard - ners, Skip tomy Low, £ Peep peepee fp ft lo GGGG|GGG?|IDD DD |G?:cih Choose your pard - ners, Skip tomy Lou, Skip to my Lou, my dar - tin’, bye ft eg | 8. LET US CHASE THE SQUIRREL Pluck with the left pinkie Traditional GGDD|IG D |IGGDD|IGGDD Let us chase the squirrel, ‘Up the hick - ‘ry, down the hick - "ry, SSS tt SS GGDD{|G D |G G DD |G Let us chase the = squie = rel, Up the hick = "ry tree ~ pp =e9. JINGLE BELLS Puce withthe left pinkie : DDD DDD DDGG |D® Jin - gle Betis, Jin - gle Bells, Jin = gle all the way, bpp Pe — = = = i —S 7 GGGGI|IDDDD JA AA AJA A: Oh, what fun it isto ride. ones horse = pon seigh, Oh, | 2S ea ==] SS f ¢ DDD |DDD |D DGG ID? ‘ Bin ge Belly tin gle Bay Tin =e, all tke wages | ( = —-—= —— ‘ fa as : GGG|IDDDD|IAAA A[D? ff Q Ob, what fon it isto ride © @ one - horse 0 - pen sleigh! | « « “ ti ‘ chy fe oe pep oe ep t stg = = c ( ( (ACTION 4 LEARNING TO HOLD THE BOW Step Three Step One ‘The Early Bow Hold Balance the bow on the right thumb (front view) Step Two efit finger on the loft side of the conter Gide view) ce, the third and fourth fingers on the Int sido Of balance; bo qure that the fingers are Gved and clinging ~ never stiff or tense ‘ Step Four i —<—<—<——— ‘lige the right hand to the fog to establish the Regular Bow Hold, | SPIDER CRAWL: With the bow pointing up, “craw!” with the fingertips from the frog to the tip and | back down to the frog again (lowering and reising the bow in the air, | WINDSHIELD WIPER: With the proper bow hold, rotate the bow from left to right. Do not let the ' fingers wrap around the stick. Notice the pressure on the third and fourth fingers. | STIR THE POT: Hold the fog with the fingers, aiming the Bow tip up, with the frog pointing to the | floor. Move the bow in circles as if stirring large pot of soup.ACTION 5 SHADOW BOWING 1. Use aholiow cardboard tube such ais found inside toilet tissue, Hold the tube out in the left hand with the thumb facing the body, 2, Move the bow through the tube parallel to the chest. Keep the left hand still fo train the right hand to establish correct bowing move- nts ACTION 6 HOLDING INSTRUMENT AND BOW TOGETHER Riding the Track: Holding the tip of the bow with the eft hand, place ‘Without moving the bow, SLIDE the right hand back the right hand very lightly aver the frog area. and forth the full length of the stick, Do this on all strings,ACTION 7 SITTING POSITION for Violin and Viola only ACTION 8 RELAXING THE SHOULDER lowest to the highest string and back with easy, rts of the bow, Set the bow on the bridge, and silently cross from the relaxed movements, Do this repeatedly in different paoe = st ¢ ACTION 9 ‘ . SHORT STROKES AT THE MIDDLE OF THE BOW ROWING SYMBOLS; fc n v y : SCAMS BARRERA tc i ‘ 0 i 7 ¢ a € «| tact : Sent niyentyis ; > lamar arta cieas ; a CY ee enna nee ; ( Y80L PUL do, tow Fiddle, Saal Feely Ad, ; détaché : i it 4 a - 3 ‘ ee ( Hels Pal thal aal et lace ale : | | 9 oy ‘ | 4ACTION 10 >LAYING OPEN STRING ACCOMPANIMENTS USING THE BOW 11. LIGHTLY ROW oa b= oa | Vom Y¥ A A A-~-|D DD D|D D D— ae eB z= —— = E = a DD D—|A A A—|D DAA |D-——? | 12. CAMPTOWN RACES FOSTER DDODD|DD p—|A A—I|A A—| DDDD(|DDpD—A—A A |D—? 2 ff A 7 tit | i$ ae EF ee | 13. HOT CROSS BUNS Wem DD 2i/DDDDAAAA|IDD D2] ° # Bape 7 7 Peep ee we =e x EEE, tte Oa % UO< j} Oa ww th Oa i is ik i £ Ul14. SKIP TO MY LOU WITH VARIATIONS o Via Vom Vo«9 Vv GGGG|GGG+|DD DD |pp p— = fpf pp p= GGGG|GGG—|DD Dp c—c—| Variation 1 G GGG GG IG GGG—|D DDD DD |D DDD— Boge ft te ee e=p=p Pee a G GGG GG — IG GGG—-|D DDD DD G—G— ape f 3 p= Rte p 9 = =F Vatiation II GGGGG-|DDDDD D |[D GGGGG G DDDD— ft gg a * == GGGGG G |GGGGG—|DDDDD D|G—G—] ! ee eee a ==15, LET US CHASE THE SQUIRREL ‘Traditional ec Vs mettle insti, GGDD |G—D—|GGDD |GGDD = = — See leer ee G—: Il ee Sey 16. JINGLE BELLS a Von Yorn DDD—|D DD—|D DGG _ |p—| GGGGIDDDD|AAAA |A—A—| DD D—|D D D—|D D GG |p——|,NOTE-READING This is the musical STAFF. It has five lines and four spaces. the five tines the four spaces, t 5> \ a> ff. “3 \ 33 «2 , 29 te k i+ ‘ Additional fines and spaces can be created by adding LEDGER LINES above and below the staff 4th ledger ines 3rd > — spaces above staff k abovestaf — Ind+ — 23% 7 Ist > — cit ledgerlines ist + —~ “It, spaces « below staff’ — 2nq> — “24 below staff ‘The notes are named after the first seven letters of the alphabet: A, B, C, D, E, F and G. Notes can be ‘Ye written right on the lines or in tie spaces, These examples show how notes are written on the staff. We will learn to read these notes during the Actions to follow. NOTES WRITTEN ON LINES 4KEY SIGNATURES AND ACCIDENTALS Sharp: # Raises the note a half step. Flat: b Lowers the note a half step. Natural: 4 Lowers. sharp note, or raises a flat note 2 half step. Key Signatures: Dee One or more sharps or flats next to the clef indicate that those notes are always sharp or flat throughout the staff, unless altered by accidentals. t Bass Cit 1 Accidentals: A sharp or flat (or natural) which is not in the key signature, but which is placed before a note, is called an accidental. An accidental alters the pitch of its note, and all repetitions of that note within the same measure, unless it is cancelled by another accidental. RHYTHM Barlines and Measures: Barlines divide the music into equal measures, 4 Barlines Double Bar 4 + Measures (the end) Time Signatin This is the signature for “four quarter time.” Each measure has four counts (beats) and each count i the length ofa quarter note (#). Note and Rest Values in Four Quarter Time ‘© Whole Note: One note played for four counts. P HalrNote: Played for two counts, ‘Quarter Note: Played for one count. CLP Biaheh Notes: Two notes in each count. = Whole Rest: Rest for four counts, a= Half Rest: Rest for two counts 2 Quarter Rest: Rest for one count. 4{ Bighth Rest: Rest for a half count,NOTE-READING: PLAYING ON OPEN STRINGS 17, PLAYING ON THE A AND D STRINGS A a Via V NEW NOTES: D&A som V 18. PLAYING ON THE D AND G STRINGS NEW NOTE*[C ei Vv ie 19. GOLDFISH Andante Jotinson/Wharton, ( n Vv n aie n yv ¢ Student P Advanced Player P (Gall notes optional) 7 wife n v no tie20. OLIVIA'S SONG Johnson Andante = we ‘This is the signature for “two quarter time.” Each measure has two counts, each the length of quarter note. 21. A LITTLE RAGTIME Johnson/Wharton | Gently n22, HIGHLANDERS c Jolunson/Wharton nV he NeW NOTE: [E Johnson/Wharton it 7 te ‘ ( < t24, PLAYING ON TWO STRINGS 25. DOUBLE NOTES 26. DIADS II 27. THE OLD FIDDLER 28. TWO BY TWO 29. FIFTHS‘THE REPEAT SIGN: Two dots just before a double bur (in the 2nd and 3rd spaces) indicate that the music comin, { before this sign is to be repeated. A first ending (1-1) is taken the first tine through, and-a second endin CTE His substituted for the first ending during the repetition. ; ( 30. SUPERSLEUTH Allegretto Wharton 7 P erdiine Ff ) P (ndtime ff ) Eighth notes are counted by adding the word “and” between the counts;““I and 2 and 3 and 4and 1 and”(etc.). 20ACTION it LOCATING THE HAND IN FIRST POSITION Fingerneils must be kept short at all times. Signal Dots 2. Drop the first finger on the string, one whole 3 Preparation Lightly press all four fingers into the string, being a sure that the fourth finger is one octave above the next open string. 5. Procedure 1. Lift all fingers off, keeping them poised and hovering above the string as shown, while pluck- ing the open string. Begin on the D string; later practice the complete exercise on every string. mn step above the open string. It may slant slightly asshown. Drop the second finger a half step away from the first finger. Establish the habit of placing the thumb diteotly under the second finger. Feel this center of balance. Drop the third finger a half step away from the second, and be sure it keeps this distance. Place the fourth finger a half step above the third, See thet itis curved, Test it with the open string to its right.com> FS oP> Pre 31. LOCATING THE HAND IN FIRST POSITION CO0000000F Gl11111111) ©222222221 93333333 31 oe A4444444i4 4 44 ] | 00 0 ol 32. DESCENDING MAJOR SCALES (play on any two strings) “ten ee ( c é ¢ oe +4 rrttoord | ad Reade lela deat ae saa 33. FRENCH FOLK TUNE (Phrase) (Play on any two string) step sstep : 1 A 3 134;0—) —_/\ ( . 4441358 a 444333Ti iri ot | aeeeeeeeerr i ss ‘Accompaniment 234, a, b & d. VARIATIONS ON AN AIR OF GLUCK (Phrase) (In D, G & C Major) (Pay on any two strings) (1756. 44 WOLFGANG AMADEUS MOZART 756-1791) A, D,G BRE DGC 34c. VARIATIONS ON AN AIR OF GLUCK (Phrase) (In A'Major) MOZART (Count 1,2" four times.) Acting eaiza ize Be l4 4 [4310]o 31ford ita 35. HOT CROSS BUNS Play on all stings i wi 31023(3 102 |60001111/31 029 Hot cross buns! Hot cross buns! Qnte a pen-ny, two a pen-ny. Hot cross buns! ee ee36. BURNT HOT CROSS BUNS (2nd Finger) Play on all strings. ¥ step if a Arr. Rolland Woda or[Soo001111|2 toe G. ¢ 2 a I 37. AU CLAIR DELLA LUNE (Phrase) Play on all strings (3 rd Finger) 6 0 0 1 {3—i—Jo 3.11 lobe ee te ys pes EES =—_ a St Ss 60 0 1 [3—1~Jjo 311 lo? 2] ee aan 38. MARY HAD A LITTLE LAMB fame 3101 (33 3—|1 1 I—|3 3 3—| | 7 eee eee ceca 3101 [3333 [1131 lo—?e224 Mar- y had 2 lit - tle lamb- its fleece was white as snow. 439. TWINKLE, TWINKLE LITTLE STAR (Play on any two strings) ele n_ 0 O41 1 0—— cia Dae 0 a 4 sah re 1 —| kle, twins kle lit + tle star How 1 won der what you are. | 4413 3 1 | | gee ORS neo 3 x0 high, ee 0.0 [1 1 0—— | bee 0 0 FS 3. 001 oO Twin We, win le = te tar How {wonder whst you ove Lt gd — tg Jt f f a fener aan 40. MAJOR SCALES (Pay on ay two slags) Play each note four times 1/34/14 3 }10 I FST oe = = f= | 2s41. OLD MACDONALD HAD A FARM (Phrase) : (Play on any two strings) ( n 5 y 444 00 » \ea4 1100 2 ‘i Lah fas e242 O11 10-1 4- i A.D, G & & & D, Gc 11 T10- 42. LET US CHASE THE SQUIRREL (Play on any two strings) Traditional. ( rae 00 | I-———-4~] 0 O|1 1:0 0 |! Bee 4 4 I a4 ‘ Let us chase the squir - rel, Up the = hick- ‘ry, down the hick - ‘ry, ; J ee a f feo t Toot rp pRD oro fl Let us chase the ir ‘ Up the hick - try 2643, JINGLE BELLS | (Play on any two strings) | tee 0 7 2 7 | DGC 33 3-1333—13 O1 3— 4444 Jin gle Bells jin - gle Bells jin -gle all the way Oh what fun it Lt m4 a fF é Ja r= SSS SS oo a | i z |) ADG fe 0—! Dae #3331311 3/1— Poon | erste ae eee open segs efe-e one ne oe oe bet Ja ae t foe = f NOTE-READING: PLAYING FIRST FINGER, 44, PLAYING FIRST FINGER ON THE A STRING 45. PLAYING FIRST FINGER ON THE D STRING NEW NOTE: E Weg E fn o Vito 3 o1r0 146. PLAYING FIRST FINGER ON THE G STRING NEW NOTE: A nl Vin Ofijo 1 o 1oto a A 47. PLAYING FIRST FINGER ON THE E STRING Tacet 48. PLAYING FIRST FINGER ON THE C STRING NEW NOTE: D 5 5 i CW ra) tiotttyistea Hoge oe wr 49. PLAYING FIRST FINGER ON THE D AND G STRINGS 50. PLAYING FIRST FINGER ON THE A AND D STRINGS fn 1 28o “¢—— The SLUR ~ indicates that two or more notes are to be played with one bow stro Si. CHINESE LULLABY Rolland Rolland ACTION 12 53. SLURRED STRING CROSSINGS ® 1 tov oe oo Goring my way wee 4 SoV Ope Invent word rhythms 1 Bev o ee ® 4 FoVAv ay Bo sim, 29ACTION 13 : PLAYING THE OCTAVE | joa onigy 54+ THE OCTAVE GAME peers 44) 44 I @4 401440 a Tero ole Lrg=y=e-8 MP0 fopre—ellie apg beta bores Aopy / 55. OCTAVE EXERCISE : (Pay on any wo sings ; eae 4 41 4 41 4 41 4 4] 4 4) 4 4] 4 4] et bee TUN TB 3a TBST T 0 Hd cue eadst i ‘ SSS SS al | 56. PONY RIDE : a 44 4 4101301 4 4 040 | “ Deed 0 0 1013010 0 0 10130 atsTol ( ff ff pet f_#. fof Ppt ‘ aS ae a NOTE-READING: PLAYING THIRD FINGER t The Key of A Major (Three Sharps) ¢ 57. HOT CROSS BUNS NeW NoTE: ch 30 fl58. THREE NOTE MELODY Johnson 59. NIMBLE FINGERS Johnson 5 ry ‘The Key of D Major (Two Sharps) 60. HOT CROSS BUNS NeWNOTEE: Fe ieee 61. THREE NOTE MELODY Johason JohnsonNEW NOTE: B B A ati io it ‘The Key of G Major (One Sharp) 63. HOT CROSS BUNS a it og 64. THREE NOTE MELODY Johnson 65. NIMBLE FINGERS Jobnson ‘The Key of E Major (Four Sharps) 66. HOT CROSS BUNS 3267. THREE NOTE MELODY Johnson 68. NIMBLE FINGERS Jobnson n hm ‘The Key of C Major (No Sharps or Flats) 69. HOT CROSS BUNS NeW NOTE a 70. THREE NOTE MELODY Johnson 71, NIMBLE FINGERS n on= note. A dot-after a note is its normal duration, A dotted ha care o P_ hhekt For three counts. 72. MERRY-GO-ROUND (In D Major) o each the length of a quarter mentation dot.” It indicates that the note is played for half again Joknson 73. MERRY-GO-ROUND (In A Major) 74. MERRY-GO-ROUND (In G Major) Pystteetatas Jobson Johnson 75. MERRY-GO-ROUND (In C Major)76. DANCE JOSEY Traditional ‘Traditional ACTION 14 EXTENDING THE BOW STROKE This action may be performed to the aécompaniment of gently lilting music such as Sweer Little Buttercup. Preparation: The Flying Pizzicato. Extend the arm forward for spacious and Free arched pizzicato movements.NOTE-READING: PLAYING IN ALL PARTS OF THE BOW GLOSSARY OF BOWING TERMS: + W.B. = Whole bow (Play using the whole bow.) U.H. = Upper half (Piay in the upper half of the bow, between the middle and the tip.) Lit ‘ower half (Play in the lower half of the bow, between the frog and the miédle.) Tip y near the ti, Frog Play near the frog, 78. WHO’S THAT TAPPING AT THE WINDOW Traditional (are, Whaston) no oT Ua wa, Tip UH, 36NOTE-READING: PLAYING FOURTH FINGER 79. EXPLORING D MAJOR NEW NOTES: G&D 80. DESCENDING D MAJOR SCALE my sep whole step @ a ae eee | 81. D MAJOR SCALE 82. SKIPPING FINGERS AND CROSSING STRINGS (In D Major) Johason “The fine indicates that the finger isto be held down, 3783. FRENCH FOLK TUNE ‘To sustain the dotted half notes, the speed of the bow must be decreased. To compensate for this, the weight of the bow should be slightly increased. 84. JINGLE BELLS ut 38 ;‘The “up beat” is the last count in each measure, Pieces often start with an up beat, a single note preceding the first full measure. Up beats are usually played up-bow. 85. THE BLUE BELLS OF SCOTLAND Hh WB. un, v LH. Li WB. <> WB. Lee n ta WB Un wp LH we. 86. THE FARMER IN THE DELL ISN’T WELL The dotted quarter note ( gj.) is held for one and 2 half counts, Waa fn “Practice both part Land patt 11 and play as a duet with teacher or other student, exchanging parts87. THE FIRST NOWELL ; Ww “*Duting the first eleven measures of this piece, the up-bows are twice as fast as the down-bows. To compensate for this inerease in speed, the right hand “lifts” the bove gently curing its up-stroke to relieve pressure, ***(S) indfoates that the duet accompaniment can be played by the student, 88. EXPLORING G MAJOR NEW NOTE: C nh mon 89. DESCENDING G MAJOR SCALE ; Ystep whole step 3 aa 4 4090. G MAJOR SCALE 91. SKIPPING FINGERS AND CROSSING STRINGS (In G Major) Johnson oo p22 Bh 92. OLD MACDONALD HAD A FARM 5 4193. THE BLUE BELLS OF SCOTLAND (Phrase) (In G Major) v 94. EXPLORING A MAJOR 4 1 aa’ 1 m 2 ° 95. DESCENDING A MAJOR SCALE Ystep whole step ny a 1a 96. A MAJOR SCALE 97. SKIPPING FINGERS AND CROSSING STRINGS (In A Major) Tacet a98. THE BLUE BELLS OF SCOTLAND (Phrase) (In A Major) v 99, EXPLORING C MAJOR NEW NOTE: F n alt ikon 100. DESCENDING C MAJOR SCALE, Yestep whole step a Con oo fn ° 0 Ss 102. SKIPPING FINGERS AND CROSSING STRINGS (In C Major) ° Jobason fe 3 bao103. THE BLUE BELLS OF SCOTLAND (Phrase) y (In C Major) ACTION 15: REFINING THE BOW STROKE Practice silent bow placement and transfer, using portions of the bow between: 4.) frog and middle, b.) middle and tip, and c.) frog and tip. ©) FROG-TIP b) MIDDLE-TIP 2) MIDDLE FROG. NOTE-READING: PLAYING SECOND FINGER, 104. BURNT HOT CROSS BUNS NEW NOTE: ¢ (In A minor) n Arr, Rolland105. BURNT HOT CROSS BUNS (In D minor) NEW NOTE: F Avr, Rolland SS | 106. SAMURAI SONG (Iin.A minor) Wharton 107. BURNT HOT CROSS BUNS NEW NOTE: Bb (In G minor) Arr, Rolland / 108. SAMURAI SONG (In D minor)(In E minor) a 109. BURNT HOT CROSS BUNS t Tacet ‘ 110. SAMURAI SONG (InE minor) f Wharton n @ on ©) @) i 111. BURNT HOT CROSS BUNS i¢ (Inc minor) Ne NEW NOTE: Eb | | I | ‘ 112. SAMURAI SONG | ) (In G minor) (ACTION 16 PLACE AND LIFT THE BOW SILENTLY Place the bow on the string, fingers curved. Lift the bow as shown, moving the whole arm and bow to- gether. The arm is ight! ACTION 17 SINGLE LIFTED STROKES WITH RETURN (Early Rebound Stroke) Place the bow gently on the string between the frog and the middle, Draw the bow, curve and lift, and return to the string in a circular movement, Start with short strokes at first, eradually inereasing the length. of the strokes,113, EXERCISES FOR SINGLE LIFTED STROKES Practice these exercises at the frog and at the tip of the bow. y plfteaircle . yy Witbeicle , ye aff Pee iPe Pe qe Pe Pa q lift & circle lift & circle pipe sgh oto: Pop ipo kb a y uf ft & eirete up oa P poe dPaeipa teed v nn Widen py liftecircle y DB liftéeicle aN ex — — = ‘The bow isnot lifted inthis exerolse, However the motion & continous fellow-through movement when pausing at the tip ofthe bow making an aehke movement with the right hand. 48NOTE-READING: PLAYING SECOND AND FOURTH FINGERS. 114, EXPLORING G MAJOR n ™. 1AtAr «9 1m Wh ph « 2A\, 115. G MAJOR SCALE Astep cero ES tN = a———— ee — E 2a a A ree 5 Ar Ai oa —n a 116. THEME FROM BEETHOVEN'S 9TH SYMPHONY (In G Major) X 117. GO TELL AUNT RHODY (In G Major) 49118. EXPLORING C MAJOR NAL oo 4 . Oo tartar o 4 m Foo 119. C MAJOR SCALE 3 sg aM, bet At owt 2 Ato 4 120. THEME FROM BEETHOVEN'S 9TH SYMPHONY. (In C Major) 121.GO TELL AUNT RHODY (In C Major) 122. EXPLORING D MAJOR n aD DO Ar AZ Aro o M9 9 2 2 4123. THEME FROM BEETHOVEN'S 9TH SYMPHONY (In D Major) 124. GO TELL AUNT RHODY (In D Major) a uo st127. THEME FROM BEETHOVEN'S 9TH SYMPHONY (In F Major) 128. GO TELL AUNT RHODY (In F Major) NOTE-READING: ALTERNATING SECOND AND THIRD FINGERS 129. MAJOR-MINOR (In A) i 5 AA yen130. HALE-STEP MARCH (In A) NARNIA! Solnnson 131. MAJOR-MINOR (In D) Sohoson n 3 2 a 2 132, HALESTEP MARCH (In D) Pues ete ate ae Johnson133. MAJOR-MINOR (In G) 134. HALF-‘STEP MARCH (In G) Johnson 135. MAJOR-MINOR (In E) Tacet 54136. HALF-STEP MARCH (In E) Johnson (Inc) Johnson 138. HALF STEP MARCH (In C) JohasonACTION 18 LONG SLURRED STROKES Cross from string to string with a gently curving motion, always approaching a new string level. Raise and lower the arm gradually when approaching the new string. Avoid hasty, jerking movements. Play these exercises using the Regular Bow Hold, 139. SLURRED STRING CROSSINGS Use hal the bow on cach not Os A+ NS NOTE-READING: ALTERNATING SECOND AND THIRD FINGER ON NEIGHBORING STRINGS 140. EXPLORING G MAJOR142. GOOD KING WENCESLAUS 37143. SHE’LL BE COMIN’ ROUND THS MOUNTAIN rl WHEN SHE COMES : (| : i 144. CANON 1 dn G Major) THOMAS TALLIS , ( | Vv (1505-1585) ti (8) Melody Ga canon 9/4 | € eh | u $) Bass ‘ } Hi v : i 145. SKIP TO MY LOU i (In G Major) : t 4 | i | i ( | 7146. CUCKOO CLOCK (In G Major) Wharton 149. CANON (In C Major) TALLIS. V, seer (mene YI Ly Jy ddd dla dl dade ded ddd ld comp TUPE TURE TTF Piter reer rte i 150. SKIP TO MY LOU (In C Major) MonJol. CUCKUU CLOCK (In C Major) Wharton 153. D MAJOR SCALE TR AS OA 154. CANON (In D Major) TALLIS veiy Orono) NT Ld ddd ditddd|d ddd ltd ld = rr rrr ptt 155. SKIP TO MY LOU (In D Major) a 7 dd. J wa Jo 4 g plzz. 60THOMAS TALL 505-1585) Stings, one finger (Ist, 3rd, or 4th) ig {ROL down tue, one finger (Ist, 3a, te that calPe el na ind 165. STOPPING TWO STRINGS WITH ONE FINGER (In A Major) A 3 we? Wharton 8: Liven 2 466. STOPPING TWO STRINGS WITH ONE FINGER (In C Major) Wharton ; 167. ARIA “staccato dot” (+): Notes are short and separated. . 1 GEORG PHILIPP TELEMANN (1681 - 1767) 4 ryAt A OU 168. D MAJOR a) ° ere ereegel | 2ceeeeee ere ot sAs—8_ 169. D MINOR f e ° 1 -ecceeee eee o 27 oo Ae a2 170.G MAJOR 172. AMAJOR Sy aes a 1 173, A MINOR 1 ps raat oo 4 174. CMAJOR eee: ° 1. eee o 1 sya ° 175. C MINOR acc cp ee ce ce eectEY t £ vane irings ine/ lotion A String Method for Class or individual Instruction ‘Young Stings in Action is a two-volume course in the fundamentals of string playing. Specifically designed for feterogeneous iasirument classes, it has proven fo be very suecessfel in public schoo! string programs. Itis also intended for private es wel a self instruction. Its two volumes, covering te fst two years of instruction, constitute a complete manval Pf new ideas and proven techniques, enabling teachers to present in clear and concise terms the basic musical and technical skills socessary to play a violi, viola, cello, or bass. “This well-tested approach to sting playing offers all stadents a unique opportunity t0 progress quickly, while atthe same time strengthening and refining the baste fundamentals. The student does more than simply play o string instrument: he or she develops a clear understanding of fiow to play. ‘The material presented in these volumes is set forth ia a format which allows flexible adaptation to a wide variety of lncsroom conditions, such as varying class size and instrumentation. In the student books forthe four instruments, many of the repertoire pieces re presented in duet and iri arrangements, enabling performance by ensembles of like instruments, as well as various other combinations. Volume T emphasizes total body moveinent and Tet arm mobility helping students to acquire feeedom of movement, correct positioning and playing feclity. The alLimportant pesition and balance of the left hand is aided by early emphasis on the Central fingers and their relation t0 the adjacent strings, Better intonation and hand position are achieved by emphasizing jnterval and chord relationships, A balanced bow arm i achieved by stating students atthe middle ofthe bow. In Volume I, the student develops flexible finger movements and is introduced to the positions most often used in the left- fond fingering technique of each of the instruments, Refining the bow arm is also emphasized, using more complicated ‘owing patterns inthe exercises and pivees, as well as groups of slured notes and slurced string crossing. VOLUME 1 ‘Teacher's Book . Student's Books: Violin. « MER 79 Viola vu MBB 82 Cello. MEB 85 Bass. ‘MBB 88 Cassette Tapes: Part | TAP Pan?, TAP 10 ‘Teacher's Book o no MEB 77 Student's Rooks: Violin... -MEB 80 Viola. MBB 83 Cel MEB 86 Bass. .-MEB 89