RUBANK EDUCATIONAL LIBRARY No. 71 pO PANK 7 INTERMEDIATE VIOLA SYLVAN D. WARD A FOLLOW UP COURSE FOR INDIVIDUAL OR LIKE-INSTRUMENT CLASS INSTRUCTIONRUBANK EDUCATIONAL LIBRARY No. 71 RUBANK TYLA ARS elhod VIOLA SYLVAN D. WARD A FOLLOW UP COURSE FOR INDIVIDUAL OR LUKE-INSTRUMENT CLASS INSTRUCTION ra Heer rerdThe Viola Glef (B) Also known as the Alto or C Clef Middle © You will notice that Middle © appears on the 3rd line in Viola Clef. The Clef is made by taking two lines from the Bass Clef and two lines from the Treble Clef, with Middle © serving as the cen- ter tine thus: THE VIOLA STRINGS The strings ore tuned in fifths, like the Violin, except that the highest string is A ond the lowest is © (a fifth loner than the Violin). > 6 D a ¢ FIRST POSITION NOTES AND FINGERING in Treble Clef Shewing the same notes on the Vi ge : FINGER PLACEMENT First Position on all Strings Holf Steps ore indicated by brackets. 2 oo: 2 3 6 te ts OS Copyright MCMXL by Rubonk, Inc.,Chicogo, Il. Copyright Renewed International Copyright Secured 829-47Seale Fun Practice first seperate bowing, then 2 in a bow, and finally 4 ina bow. G Mojor Holf Half as step > Holf Position Half Position Fi Major A ‘ CH Major n F Mojor ot . 829:47Scale Fun (Continued) fa ? BL Major : ow ¢ 7 a - = - = Eb Mojor Ab Major a Db Major Gb Mojor Ch Major A Minor nN a~ —~ BE = i ? E Minor 8 Minor ny 29-476 Seale Fun (continued) FE Minor A * A 7 ~ GH Minor D¥ Minor ny can D Minor i 4 & b. Eb Minor ‘ he Bb. be? 829.47Intervals Nome notes before playing. Practice pizzicato first.then with the bow. Seconds ny n_y, iW 4 % Thirds Fourths Fifths V ® Note that the 2nd finger must be drawn back a half step to play F natural ofter crossing over from B natural on the G String. 829-478 Intervals (Continued) Practice three ways: frog, middle ond point. sixths ‘ a + = La — TH Ve £- £ -£ = aS ee £ — Ses = SS re} Sevenths ee ==: x - pal = cs casas Fe £ pe SSS 3 a ’ ft a Ninths rae = @ SSS a re 920-47Sailing Aleng Etude No.1 Moderato 829-47Theme and Variation Etude No.2 Andante PP lift dim, and rall. 290: 471” Detached Bowing Melody \ Etude No.3, 929-4742 Power in the Bow Etude No.4 v . # Mortele’— The bow is moved quickly and stopped abruptly. ‘* See this ond other important bow strokes fully described in the “Instrumental Director's Hand Book” published by Rubank. a2s- 4713 The Turn («) The Turn is a form used to represent @ group of notes played before or ofter a note thus: Example 1 Example 2 eX 2% oo If written be. tween two notes see ee Wee stone (ER Ifa sharp is written above the Turn & the highest note is rcised. If written above the note It is ployed If a shorp is written below the Turn g the lowest note is raised. If a flot is written, the note would be lowered. Example 3 Example 4 ¥ = + x Written Wr'sten Ployed Played Shepherd’s Tune Dolce ry ¢ - 629-4714 The Old Spinning Wheel Hums a Tune Etude No.5 Allegretto 10 003 ooo eos P06 Eva rad. Meno mosso SS = = P rantabsle _— THe Ly . Te! te i + 1 rit. and din. > eS Note: Also practice the first three T 829-47Feather touch : Etude No.6 Moderate “ightly ‘ ——~ = = ===] = = =46 Scherzo Etude No.7 Brightly v ‘ 929-477 The Positions The positions present no particulor problem. They simply represent a method used to extend the ronge of notes and make otherwise difficult music eusy to read. For each consecutive position, the hand is merely moved up the fingerboard one scale degree. It may be either a half step or a whole step, depending upon the key signature or accidentals involved. For exampl inthe key of C major, the range of notes and fingering in the first, second and third positions would appear a3 follows: First Position 5 2 A String & 2 D String G String = © String e oo = 1 2 o Third Positidn The treble clef (6) is also used in viola music to avoid having te read too mony Inger lines in viola clef. The nomes of the lines and spaces in the treble clef are os follows: 2 ini = aces u = Space — = e G¢ 8B ». F F a c E oe 2 = 2 2 2 2 = Ean The folowing notes, SS] in the viola clef c D € Fr 6 a 8 c would be written this way in treble clef: The two clefs alternate frequently in viole solos ond orchestra music, therefore a number of 2x ercis- @5 in this book will be devoted to the transfer of these clefs so that the student may become fomilior with their usage. 929-47* Second Position On the“A” String Nome cil notes before playing. Shift the whole hand trom iret potion to second = . (Simply move vp whale step). <4 Zz , shite shift 4 shit 2 TPosition TI Pos. T Pos, TI Pos. T Pos. Th Pos. T Pos, o 1 : half step alt step T Pos. shift 829-4719 Second Position on the D and A Strings wnt og 2 3 is F Major Scale Gan you point out the half steps in this scale? 4 ce 2 1 B String Practice different bowings. > > => => 5 Practice different bowings. ——_ > F Minor Scale Point out the half steps. b. he 4 829-4720 Second Position on the G,D, and A Strings shift 1 1 Pes. a T ‘ Waltz in B Major Also practice playing this piece in the Key of 8b (2 flets). 7 4 t 2 Double Shore half step 829-47at B Minor Seale Point out the holf steps. 4 ip 4g = = Pay II Pos. Bb Major Scale Nome the notes as you play. iH Bb Minor Scale Point out the helf steps. 1 a29- 4722 Second Position on the C String a2 wt 4 = a ¢ © 7 F o F Major Scale see fee 2 a, F Minor Scale —, Zpiet be eo Second Position Melody Be sure to play your half steps and whole steps correctly. asa 4 3 8 g20.4723 Theme in F Major Etude No. 8 Maestoso . i wg 1 TT Pos. +66, 1 te tie rites 1% fe » poco ritard. = 829-4724 Third Position Scales in Third Position Be sure you know where the holf steps cre. F Mojor zs a ‘ Gb Major 2 G Mojor G Minor FB Minor 829-4725 Practice in Shifting Keep the finger on the string as long as possible when shifting. Ist ond 2nd finger shifts. t——1 2 — — tst and ard finger shifts. oo 1— a 829-4726 wee Shifting (centinuea) tst ond 4th finger shifts. ‘ . zs er Lacs se a — we , ) + he yp ( Hr 1. 829-4727 Ricochet Bowing Etude No.9 Ricochet or Thrown Staccato opplies to tro or more staccato notes connected in one bow. The upper ars of uve bow Ib eda ane wes aised ens inoue GY eis eetag v6 BIBER claves Ge reesind Hie ok eA tnber of notes needed, Practice the exercise in different ways, os follows: 829-4728 Merry Dance Etude No.10 Gon spirito oo 7 8 Von ~ —" ° zeae] Near the frog schersando = = S Ez Z ET es PVA Sy eo Repeat previous Lento pesante noon eS eee a tempo y Lento pesante A A MOL. a! lia 2 | a i e29-4729 The Harmonic The Hermenic is a flute-like tone which is obtained by stopping the string lighty with the fingers. Natural Harmonics oppear in various places in the string. The most commonly used is the octave har - monic which divides the string exactly in half from nut to bridge. This is usually played with the 4th finger by stretching up one whole-step from third position. The Hermonic is indicated by a cipher o- long with the finger to be used (3). © strin 3 B String A String A String e2y-4730 Playful Harmonics Etude No. 11 ss a tempo oe USS = SS <> . rail —— PP e 3 agttato\ — G v3 2: * 1 Empire Builder Etude No.12 Stately osm wuetrcser = f i | rit. are @)... Fhefhe 3 te Phebe L = thee titer32 In Olden Times Etude No.13 stony Mined syle ‘ t = = PP lerese. ‘* ad bow § =e = ot —e diminuonde x +P —~ 829-6333 Triplets Play a Tune Etude No, 14 4 Allegro 2: 2 27 tt fe te PEt eye Pepe te tet Nee giay ab. 7 ‘ ,effte Eee fe . of2:f2 829.4734 Arpeggi Etude No.15 (Broken Chords) Practice: Separate bowing. Two in a bow. Three in a bow. Six in a bow. = 4 bee thee Set thas & as ee] fate = fe se oe 823-47Breakwater Etude No. 16 Freely 35 z = Fr j ess 829-4736 Concert Waltz TT T ™ Pizzicato, Sweep the strings with the forefinger of the right hand without chonging the position of ‘the bow. waa -4737 Ee III Pos. e2u- 4738 The Auto Race Etude No. 17 Ploy slowly at first. 1 42 a a C20 pee + te Jie on a 7 ni 825-4)39 Introducing the Treble Clef @ Review page 17 The Treble clef is confined mostly to the A string ond should present no special difficuly if the notes cre carefully learned. The treble clef is no more necessary in viol music than an extra clef would be in violin music (except for the slight advantage of avoiding leger lines on high notes) but must be learned in order to read foreign editions which use the clef frequently. These notes in Viola clef, a—t are written here in Treble clef. By examining the two lines above, you will notice that the treble clef brings the notes down into the stoff, thus eliminating the leger lines. Study the notes and fingering carefully so you will be able to recognize them, ond be able to play them when you see the change of clef in studies and solos. Here is a 2-octave scale showing how the treble clef connects with the viola clef. UI Pos. 2 2 a a B Ch oD cE FE Gt A 8 ch D £& FR Gh A You stort in viola clef then change to\treble and keep on ascending on the A string. Now come down the scale — It works the some way. . Ss os gy Gt. = 3 oe Z Zz Watch this oni You chonge to treble clef before you reach the A string. “D open . 829-47° Three Familiar Melodies Name the notes before playing. ° A string os ‘ . G Mojor Scole. (Point out holf steps ) Astring D.S.al Pine (Go back te and ‘end ot “Fine” 5236] D stringat Professor Alto, Meet Doctor Treble! Etude No.18 UI Pos. -- 829-4742 D Major Scale a 2 4 3g mm T Remember Playing This Before? Etude No.19 Name the notes before ploying. Allegro Ms f 1 Ya Pos. a 823-46743 Syncopating Novelty Etude No. 20 a29- 4744 Intermezzo Duet for Two Violas Viola t s.0.W. Allegrezze espressivo ALA wes ies my —= ———— slight rit. £2 £ ? erese. 2 2 at fie <= * — 4, TPs Alla marcio. Foster -g~ = a>. > A we a a 7 s Ze ad libitum Sj “i atempo pr mf crese. and rallentando 2 flelee Vigeroso 4 2 829-47oo 45 Intermezzo Viola ll Duet for Two Violas Allegrezzo espressivo 5.0.W. OO a as, slight rit, Alla marcia. Faster P in ad libitum fn ai % o% nod vo atempo ~— of crese. and rallentando P erese. Vigoroso te fee gE% Rondo i Duet for Two Violas Michael PLEYEL Allegretto a - 0 ie 929.4347 Rondo Duet for Two Violas Allegretto PLEYEL Viola i P f un poco rit, ——— P