Strings A COMPREHENSIVE STRING METHOD JACQUELYN DILLON + JAMES KJELLAND + JOHN O'REILLY Dear String Player, You are starting on a journey that will teach you many valuable and enjoyable things. The most important is how to make music— ‘an activity you can enjoy your entire life! Playing an instrument will open up a new world of friendship and fun as you learn to make music with others. Becoming a musician will also bring you many other important benefits. You will learn how to listen carefully, how to work carefully to reach goals, how to enjoy achievements, and how to cooperate and share with others in the music-making process. We wish you great success and enjoyment in your new endeavor. ‘Welcome to the world of string music making! Yours truly, c 4 of vs 0 / Jacquelyn Dillon James Kjelland \ John O'Reilly {© Copyright MCMXCII by HighlandVEtling Publishing, a division of Alfred Publishing Co., Ine. ‘Cove photo courtesy of She Roth nd United Musa struments US A in ‘ove eign Ted Enger and Teh Meyer ook production Brace GoldesEE 2 TAKING CARE OF YOUR CELLO TAKING CARE OF YOUR BOW HANDLE WITH CARE! Your cello is made of breakable wooden parts, s0 repairs can be expensive and time-consuming. Do not let anyone play your cello unless itis your teacher or an experienced cellist you trust. strument safely in the bag (case) when you are not ‘Always store your playing it. ‘When you set your cello down on its side, be sure to put the end pin back in so you don't trip over it. Never drag the side of your cello on the floor as you put it down or pick it up. This will avoid damage to the edges. When carrying your cello, be sure not to bump the bridge on doorways, chairs, etc Keep your cello lean! After playing, wipe off the rosin dust, smudges, fingerprints, etc, with a soft clean cloth, Always wash your hands before playing your cello. Do not let your instrument get too hot or too cold. If the temperature is uncomfortable for you, it is aso bad for your cello. For example, never leave it in a car on a hot or cold day. Allow only an experienced repair person to fix your cello. Make sure your bridge is lined up correctly and standing straight at all times. If it gets out of place, ask your teacher to straighten it for you. HANDLE WITH CARE! Your bow can easily be broken if you drop it, step on it, etc, Just as with your cello, repairs can be expensive and time-consuming. Be sure to remove your bow before you take the bag off your instrument. Always put your bow back in the bag after the bag is on your cello, otherwise the bow might get broken. Keep your bow clean! Wash your hands before playing and wipe rosin and smudges off your bow stick after playing, Avoid touching the bow hair. Dirt and skin oils will ruin the hair. Rosin your bow hair regularly. Have your teacher check to see if you are using too much or not enough ‘When tightening or loosening your bow hair, press lightly on the corner of the frog with your left thumb while you turn the tension screw with your right hand.PARTS OF YOUR CELLO 1, scroll 2. peg 3. peg box 4. nut 5. fingerboard 6. neck 7. top 8, ribs (on the side, not shown) 9. fhole 10. bridge 11. sound post (inside) 12, fine tuner 13, tailpiece 14, saddle 15, tail gut (not shown) 16, end pin Cover up this column to text yourself ™@ PARTS OF YOUR BOW v 1 tp 1 2. bow stick 3. bow hale 4. winding 5. ferrule 6. frog 7. tension screw4 HOLDING YOUR CELLO Figure 1: Getting into Position Figure 2: Good Posture and Position — Study the pictures carefully. — The bow should not hit your knees if you are — Pull the end pin out far enough to make the ee ee scroll of the cello at least as high as your chin — If your position is correct, you should feel when you are standing, relaxed and balanced in your chair—able to — Sit “tall” on the front edge of your chair with ee your knees bent and your left foot slightly forward, If you are sitting correctly, ‘you can stand up quickly and easily. = While holding your cello straight up and down, and at arm's length, center the end pin in front of you. (Figure 1) —_ Bring your cello toward you so the upper edge touches the center of your chest. The lowest peg should be touching your head just behind your left ear. (Figures 2 & 3) — The inside of both knees touch the sides of your cello. Do not grip with your knees. 0 3: Touching the C Peg™ PIZZICATO POSITION — Study the picture carefully — Place the tip of your right thumb on the side Of the fingerboard (near the corner). — Extend your first finger and pluck the string. (Figure 4) — Make the string vibrate as much as possible for the best sound. LEFT HAND PLAYING POSITION — Study the pictures carefully —_ Keep your elbow up as in the picture. (Figure 1) — Be sure your wrist is relaxed and straight. — Curveall of your finger joints, playing only ‘on the tips of your fingers. (Figure 5) (rim your fingernails.) — Keep your thumb relaxed (never squeezing) ‘and rest it behind the neck under your second finger. (Figure 5) — Keep your fingers close to the string when not playing notes. (Figures 6 & 7) Figure 5: Four Fingers on the String Figure 6: Three Fingers on the String Figure 7: Two Fingers Down eee@ HOLDING YOUR BOW Cf QL Oy ai | ALAA Figure 8: Make a Circle Figure 8: Holding a Pencil, Figure 10: Holding Your Bow Study the pictures carefully. Make a circle between the tip of your thumb and the space between your second and ‘third fingers. The thumb touches your fingers between your first and second joints. (Figure 8) — Place a pencil between your thumb and fingers. (Figure 9) — Place the first joint of your first and fourth fingers on the pencil. (Figure 9) — Always keep your thumb curved and relaxed—never squeezing or gripping. When practicing your bow hold, hold it straight up and down with your left hand. (Figure 10) Place your right thumb tip on the bow stick just above the end of the frog. Place your ather fingers on the bow stick just as you did ‘on the pencil. Be sure your second and third fingers hang over the stick. (Figure 10)Learning Open A, D and G Strings m7 parune ) [ measure | [poustesan] [nePearsion] { przzicato raed A eee | |-—-| l | aie pisyagsin | | ars QUARTER QUARTER: I d NOTE REST sirines J) a dt saiddrrlddrrlidtrldrded saeegalsatalsder|eered dd é oy rif Saalegerd ne8 M Learning Open C String Bryer lye ly ys lye 4 14 ’ J r| r4a| ryed did Big gle tel pee Jd Br gsaalese “1h 4iddd Brereeled) ide ‘tig é Brie efre eel sel eed aceLearning & and Fon the D String 9 cqidrajddar ~adrdrldady gddrafdidar gddddldire orn wea gales diddis da ajdder rdaldrds drrlddrs ddddjidddd wddilddr: jot Cross Buns dita dad ddan: did? dddr] ‘| | nae eng rifadajdare trek10 M Learning G on the D String Didderjederieaajeeay fda ater dyfdedaped ated yfeaag Bits rilidd yy Jdrrfddea|dedag Prepare fingers Diddirldid raided ssid, rier ded Bid dd ddd isis smidaeseag Prepare fingers Prepare fingers Jolly Fellows Bitedraltder ids, s, fude4 Prepare fingers Baresi ddd dy ygLearning B and Cion the A String m 11 REMINDERS og ftas nat fey, feiyy rr ypededpeede fried Mee, ae ‘4? wed ded ae d d J pitas 4 pe J J, ddd, pods dey Marching Along wrddid¢ didi jeteeyedeag12M Learning the D Major Scale MUSIC ALPHABET ABCDEFG buvVuuUY ont, Me adi a ceedeee MWddddd sty d 7 d did J Hddide or ddddpasasedaeedd di fdidd i ddgy Prepare fingers Yfdidddapde ral ares yds a ada diddid d yu dd J did ¢| et JedSongs for Fun @ 13 Merrily We Roll Along ead ddd er disap sey y wd ddie redid diserel art didadijdadeptsiay Std id dd isadipsaaay pettus ai ee eetitiaay d peedsddd desde, ,, ddd dpedeaqesttita aay Lightly Row sgt dy ieddy ddd dete ddd ddjs eisai y eeo a e 2 _ e oi 81 Gi 4 aid @= e< @< e_= ea ea ea 14m Bowing on the A, D and G Strings ~ ews e3 ea es REMINDERS. 1. Besure to check your bow hand for correct position 2. Place the bow on the string before starting each line, 3, Donot move or lift your bow during the rests 4, Try to keep your bow straight as you play. et eaREMINDER STRINGS Roll the bow ‘ON THE tothenew string during the rests, Four String Warm-up mv¥mVv¥ my my my my oy gy Jumpin’ Strings navav nm iy mymvom Vv ovum av16 Mf Learning Half Notes and Half Rests LUFT SIGN REMINDERS - , 1, Keep the bow straight. 2 beats start with a 2, Keep the bow speed steady, of silence new bow. 3, Roll the bow to the new string, HALF RESTBowing E and Fi on the D String m 17 Piz. ‘ARCO ‘Abbreviation for {MM Play with the pizzicato. bow. Usually found after pizzicato. NEW SKILL Play pizzicato while holding your bow. mVAV my omvmv mv ‘sttime play pizz. 2nd time play arco movoon movin 5 omvyav my mvnv mo Prepare fingers mov movm iy mov onvms mov v nvm mv omvmv mY omy AVA VAVA Hot Cross Buns nm 2m oon mis Merrily We Roll Along n y noon mo 1. plez, 2. aco Add the Barlines—Then Play18 ™ Bowing G on the D String SIMILE Continue in the same way. Keep fingers down until the line stops. | @ OnEE EEE] Learning B, Chand D on the A String m 19 Beethoven Folk Dance v Can-Can OffenbachOO 20 m String Orchestra Arrangements Jingle Bells 8 nr 26 Mozart Serenade Mozart A nCC Ed Learning the D Major Scale, Ties and Slurs ml 21 KEY SIGNATURE aE ‘This Key Signature tells you that af! Fs and Cs are played as Fland Ch T2384 Connects notes of Connects notes of the same pitch, different pitch 1234 1234 1234 1234 1234 1234 1234 1234 \ ) © © yo momo Oe vy om og yy Bo not lift, o) ap oY [a mov mm Bo not ltt mv v y ov a a la Fiddlin’ Tune, a % y ss a Add the Barlines—Then Play teo—e by y y o ag qitatre Sea. 22M Learning 3/4 Time, Dotted Half Notes and Three-Note Slurs ‘TEMPO MARKINGS. TIME DOTTED HALF NOTES tell us how fast or SIGNATURE slow to play the music. ro—fe beats to a measure Allegro—fast beats ton Moderato—at a moderate tempo Three To A Bow ) y By oS SF Oe Moderato mi Moderato French Folk Song Old MacDonak Allegro (vet) a ny plzz Allegro myLearning Left-Hand Pizzicato and 4th Finger Aon the D String 23 INTERVAL ‘The distance between two notes. For example’ wo not k + rst and second scale notes, ist and third Seale notes, Pluck the note with itst and eighth =| the ath finger of the scale notes. DYNAMICS. ‘SHIFT SIGN tell us how soft or loud to play Move yourwte Forte f = loud Plano P = soft hand toward or away ‘from the bridge. cave and dah Moderato London Bridge n we nv f P t Moderato Lightly Row, 5 Rs nos f at 2 f bs a Put in Time Signatures and Bar Oy yr y a nite in the counting,I 24 M1 Learning Eighth Notes fA ‘1st and 2nd ENDING EIGHTH NOTES 1a283848 no n - 5 0 2 See ==] VR2O3068 18283048 18283848 18283848 Ie 243848 © 5 On On ) | VE203G48 18283848 18283848 RIK TE OR n v 44s V82838 162838 162838 182838 142838 182838 THIe Ie JA 2eIE Baa Baa Black Sheep Moderato a y Fl tf Ind y P fi | saliagro German Folk Song 5rll NT EO String Orchestra Arrangements m@ 25 tego Polly Wolly Doodle 2 n nooo i Sor | sng civonses aG Major Scale and 4th Finger D on the G String 26 & Leaming the G String Notes, NEW KEY SIGNATURE Thiskay signature tall = Jourotartiaett (Garerolonger a) PS SP : Play Pisttime Play 1st time | and ff 2nd time ff and P 2nd time | | Moderato pee norte fF | | Allegro Russian Folk SongEOE — Learning 2/4 Time Signature and Up-Beats @ 27 TIME SIGNATURE Not all music begins on beat one, Q=2 beats to a measure Notes before the first full measure Ged gets 1 beat are called up-beats. Up-beats Usually begin with an bow. RITARDANDO: it) Play these | Gradually i Moderately fll siow stronger than the slow own others Ta2a 1828 1828 1828 1828 1828 1828 182E A nm Academic Festival Brahms This Old Man28 lM Learning Staccato Bowing and Baroque Style EIGHTH REST STACCATO d J d BAROQUE STYLE 4 ‘Away of playing music written Fee eT rctind 1600-1750 which uses thedots mean ff stocato bowing, 15. Bach's Jn Det ye tes fl te most famous ofthe = shorter. Baroque composers. or oy, On On “raze 1a28 1424 1828 1828 1828 1878 14are@ A Round with Reuben and Rachel v Allegro simile March from “Peasant's Cantata” we ze Yes P f “PP simile Allegro a " : : i;—“(ai‘( (ul lll SLURRED STACCATO. wl: weT2a4 The Birch Tree Andante Theme from the Fourth Symphony a pn = Tehaikowsk 39) fae: v Y The Merry Widow Waltz Lehar as n re Moderato Identify the Intervals and Guess the Song y Fine _y BC al Fine30 mLearning C-Natural and 4th Finger E on the A String Tinea oP Te Ree NATURAL REMINDER 22 £ i Keep fingers evenly spaced i “25% | This sign changes pay ‘anote back to NEW KEY SIGNATURE All notes are natural Om n> Om og 3 Moderato Slavonic Folk Song 5 Al 2.c. al Fine f. WEP = ‘Andante " ‘Theme from the First Symphony font * Can saanier f ? in-swing styier Mark the Half Steps (~) Then Play 0 . 2 AEES ‘hi String Orchestra Arrangements m 31 Moderato Bach Musette Bach William Tell Overture Rossini 2