’ YIVIVIVIIZD YO yy PVP YY Sinfonia &, pars ere h PROGRAMA DE VIOLIN Niucleo ENEL ructor Fernanda CruzLA MUSICA B Eselarte del sonido. a Como toda manifestacién artistica, es un producto cultural con m iples finalidades, entre otras, la de expresar sentimientos, emociones, circunstancias, pensamientos 0 ideas. “B] arte de combinar los sonidos de una manera agradable al oido”. Jean Rousseau. ‘Un conjunto'de elementos y un proceso, incluye: instrumento, instrumentista, el creador y su obra, un medio propagador y uz Claude Debussy. EL SONIDO El sonido es la vibracién de un cuerpo que se propaga en el aire u otro medio. Es percibide cuando estas vibraciones legan a nuestro oido. 4. Duracién.---~ 2. Altura heJa fuente de sonido. La Diapasén wht ah! Flawta 2 LN AN Violin Voz Humana Qe _ FIGURAS MUSICALES ¥ sus valores: ts REDONDA, es Is Figura de mayor duracién equivole o «8 CORCHEAS ais 5 SEMICORCHEAS g} >MATRIZ O ARMADURA J Nos da los datos claves para leer la miisica. La Matriz tiene 3 elementos: | Clave 0 Lave J | | cg ne | & | = ‘Armonia o Alterasionea | Métrica o in dor de compas vemos B | clave de do. 8g | METRICA Representada por el INDICADRO DE COMPAS 6 Namero Superior: indica la cantidad de PULSOS por COMPAS. BSLSOT DEES FS] | PULSO: patrén de tiempo simétrico y constante | [ COMPAS: division def Gempo en pequetias partes iguales. Cada parte debe contener la misma cantidad de puisos. | | Los pulsos se ordenan segin sus acentos. | ZS Namero Inferior: indica el tipo de figura musical, que equivale a UN pulso. Ejemplos: 2 2 2 2 2 2 2— ae 8h 21 2), 4 2 geo 6 Zee a2 }Ejercicio: ° Marcar el pulso de los siguientes compases con las pelmas, ° Solfear ritmicamente, 4 Moderato. : & $s : / : T Moderato. _. HLL. el —#— r tee —+ 7 Modera'o. Moderato, 4 Moderato. HLL. Soo a ea seareAndante aysai.(* - 109) DINAMICA MUSICAL 4. Indica los cambios de intensidad o volumen con que se interpreta una nota fragmento musical. 8 Estas son las mas usadas: PP Pianissimo Muy Suave Pp Piano Suave MP Mezzo Piano Medio Suave mf Meo Forte Medic Fuerte St Forte Fuerte tf Fortissimo Muy Fuerte ‘3?POSTURA DEL VIOLIN EL violin debe permanecer paralelo al suelo: Apertura del violin visto Apertura del Codo desde arriba:Colocacién del Arco = - Hono Derecha. Pante de Contacts. -o Bb - iow saat me doam manim TGS aE epee passColocar resina en el arco siempre antes de practicar: Ajusta las cerdas Coloca la pes: Limpia tu violin después de cada Practica para retirar los residuos de la pes.PARTES EL VIOLIN Mang Alma aoe Clavijas. oe) Voluta 1-8 5 Clavijas | Cuerdas > Efes Barbada | delantera Puente ; Cejilla Botén~ PARTES DELARCO vera Entorchado Tornillo Punta Cerdas o Pelo de CaballoCuerdas sucitasNotas Musicales en las Cuerdas del Violin “Nicolas Laoureus — «A Presicel Meth ‘Violin, Par 7 ete. s s s al Lighily, not roughly, at the nut. isNicolas Laoureux — A Practical Method forthe Violin, Part 17 Be Z Lightly, with the whole length of the bow. he 18 z z or the ertnote is to be played (1) from the middle to the Point, slightly raising the wrist for the up-tow; reverse movement for the Gown -bow; (2) close to the mut, using very lint bow, and solely with a wrist-movement, withoar moving the forearm, - FISS Sr-notes; from point to middle on the eighth-notes FS FSISS 'y, at the beginning try to get a have flexibility, it will become large, and wit voatene ‘bean‘Nicolas Laoureux — A Practical Method forthe Vion, Part 1 The eighth notes, from nut to middle; a whele bow on the quarter-notes. 25 eee < Gisva@ In the fizst measure take the eighths at the point; in the second, at the nut; and so forth, 26 see Z For a long time the pupil will find it very difficult to restrain the speed of his bow on the long notes, especially when they are preceded by short ones. The following exercises will accustom him to use the bow according to the length of the note. a7 : t# measure: Eighths at the point. 24measure: Kighths at the mut 28 29 r ‘Take the eighth-notes at the point. 80 ep- ~ Slowly ~ £ Pizzicato (plucked) Anon/TG 5 SSS ‘Vamoosh Violin Boote1‘Nicolas Laoureux — A Practical Method forthe Vielin, Part 1 THE LEFT HAND Hold the neck, close to the string-box, loosely vetween the first joint of the thumb and the third of the forefinger, with the fourth finger well to the left toward the fingers over to the strings with the thumb opposite the for "the neck of the instmment. Bring tically in a direet line with the forearm. ger. The hand should be p © 4 ° 1 ° 4 af aeNieolas Laoureux — Practical Method forthe Violin, Part 1 = = ; SES = =| Keep the fingers down while ascending. 23, uy naa F ot yk Lo 5 2 ta eS ul = + = Ss aes‘Nivoles Laoureux — A Practical Method forthe Violin, Part 1 fein) 12 aa ‘Keep the fingers down on the strings while ascending, so as to get thé same notes coming down. os ee 8 4 13 a2 2 pourMORNING SUNSHINE — a Play three times: 9 nD, Athen Da agais a 22292 111] - 2222 3333 ; 2222 111] : 011 0 9 : _Aftemaan |Ra n : Under the Cocomct 7 Tees a = Calmly is 20 After the intro, Play 940g. = sanach Vintin Rooke 1“toon Dance (walting pace) Andante a a ij 3 iff r| 19. Heokaibe Trestle’ : : Gently _ a 4 : SS | o P - —— aS —— = — 1 : | a aaa —~30. FoorPrin’s in Tite SHOW ~ ~ _» Moderato ~ ee ong Re ‘Yamoosh Violin Book 2C8 ee Ce eee cee ceeccece,, g XN in fH I~, NS = = Tee NC 4 Jos SI ” —| Mo low 2ow A and E strings wee TBO WaT Andante espressivo ge member ty ) use. a ZY 14, (Light and teissrety Leggiero ZT of SlurHHHDDRKD MMMM SS | (| Go Tell Aunt Rhody J Vas Le Dire &Tante Rhody TanteRhody Vey Dile a Tia Rédi co ‘Andantino cate Sanaa : a a 32 10 fate oS == = oe + : cos by or t e| 7 af othe symbol indicates «breath which cosurs at the ead of e pre (enuf mise) cee gt inges un option qu ev souvent a fa ene prs (oe shen masa mato) ‘es Zeichen 9 ene: Hier it ene Phrase 2a Ende cine Prat ia musikalachr Abani), . 1 Eleinbolo 9 fica final do wa ace (ona uni msi! taal) og Meus... = Orraec nih, (5) Perpetual Motion 5 ® yfouvement Perpetuel en La Majeur Perpetual Motion in A-Dur Movimiento Perpetuo en La Mayor - Allegro SSuzvki — e : 5 z = : & C : : = e z ©: os - r ° 20 3 ry = c . F_.0 C ‘a S 2 e ¢ = ee me Taian ae Coops euch cor au mica do cet Artes chu ot sns peer arch dns a cons xenon Items ise popes — sccléez He tempo. BR 1) 2 Ut ies de aren cores ene ent Pere ada not sia rss ™ @ «os short ow ceoes sth idl of he bow Stop each ie without pressing the boi the sting, Prt slony a fistan then sal eed SPS S « Spine nat nro Sich in er Mite, Stope nach ler Not wn pres dae in Boge lh in eS, Spee das schon ns ar gra nd See ~ nich md nach ds Tempo. xo sbre I cans. Practiqu despaco primero y gradulmenteaclee el tempo,«N25. FIERY FIDDLER Con moto (with movement) of 2 3 ae | | ) 2 1 Repeat ‘Vamoosh Violin Book 1Steadily eS Ppa tf ie | 4h 26H =———I ===<9. Barearalle from The Tales of Hoffmann Jacques Offenbach/T| fz eS SSS = a =F =e i Cee 7 6 26, PAPAGERG'S SORG = Andante from the Magic Flute Wolfgang Amadeus Mozart/TG 8 : u = . = id (SSS ———— ” = Se — E !30. Aw Acabian Night Lento (Quite stow) == S53 = ee _pespressivo (expressively)% 3 3 s 3 34from The Peasant Cantata Adhd “This baroque piece needs to be played with long firm bows, and a needs to be carefully st steady rhythm. The phrasing hhaped. Notice that some phrases are repeated as echoes. ‘Allegro moderato = St a SS ee + = st © 1982 by Faber Music Ltd. Reproduced from The Young Keyser and Fanny Waterman) by permission of the publishers. All right Violinist’s Repertoire Book 1 (edited by Paul de4 ad Magic Carpet Ride 4 “there is a lot of dynamic variety here, which can be used to achieve the ‘air of mystery’ which the ‘composer asks for. Swirling semiquavers are answered by echoes. ‘There are plenty of accidentals here, so be careful with your intonation. Notice also the unusual interval of the augmented 2nd from Eb to Fi, which appears many times. With an air of mystery ¢ = 72 n ce ew ry Sere eee © 1993 by Faber Music Lid. Reproduced from Superstudies for Violin Book 2 ‘by permission of the Publishers. All rights reserved.How infonia f.. 8 . porel Peru yy k aOorvocr ESCALAS c, a y P= Soi cee ¥ OtKOS ejercicioset se ee 2 a a =a a ee C Major Separate bows y F Major Separate bows ny 2mo G Major Separate bows A 2 0123 Slurred D Major Separate bows aA vA 4 2_restez, A 2&2 a» 1 : ea ——— : z z =; T 7 : D Harmonic Minor Separate bows AVA 3 restez.A Major ~ Separate bows = nin 7 123 - ~ Slurred - 2 gr 1 < 2 2 z = Arpeggio = yor = Rot 2 ze A Harmonic Minor Separate bows mvs aces E A Melodic Minor - Separate bows ~ ria ages ogee Slurred = A Minor Arpeggio = av? 3 = p23 — . SSeS : 3 - == + oB Major Separate bows avr 230 _ ® Harmonic Minor Separate bows AYA 230 B Melodic Minor Separate bows maya B Minor Arpeggio pie eae penn= Major Separate bows von 4 3 rester 2 Slurred Arpeggio € Harmonic Minor Separate bows movin 2_sestez 2 Slurred E Melodic Minor Separate bows soy E Minor Arpeggio ma oyoR poe ae 7 4G~ Chromatic scale starting on G . S234 0 oy = = TGR BM oer PPB So oe 3 Chromatic scale Starting on D oO 112 23 40 1 S122 3202 1 “pt o ~ Chromatic scale starting on A 3 : Se ee ee ~ 2 —J ~ Dominant 7th in C Dominant 7th in G —p4 f SsQue Senvoel Gl Vioim-iechiues, nee Section I. Exercises for promoting Dexterity in the various Positions, Y Exercises on One String. The pupil should be careful in all the exe 1g them with elasticity reises to keep the ham! perfectly quiet, fe" ing the Fingers fall stroncly, and rais. ir fro mast be lessened or accelerated, according tu the ability of the pupilbat is generally moderate. Copyright 1009 Dy GS oa Copyrtehl renewal ase trmen Tum 1928. 9G. Schirmer Lue = a we@ 2 as #2: 8 —Sinfonia § : poral Peri bi Oro suena B& : RITMOSJol . oth QUARTER, HALF, WHOLE NOTES AND RESTS IN QUARTER-TIME 10203 4 12 3 4 1 2 3 4 1 2 3 4 © 1973 by JOEL ROTHMAN, ATONE. 351d Suess, P. Landed, FL 33554 Made In US.A, ‘al Copyright 5 International Copyright Secured Rights Reserved eee ae a ae eee an nae ied ete NUN EET EE ETquips breton 4 L+243444 Lt 2434 44 L ‘Awhole rest indicates a full measure rest regardless of meter. EIGHTH-NOTES Lt2+ 3444 Lt 243444EIGHTH-NOTE RESTS Rize tet thoes tae yt C2tS tae 1+ peg egy \ ADUET yy YW yoyPREVIOUS MUSICAL ELEMENTS IN EIGHTH-TIME M4 1203 123 12:3 1 23 1923 45 12345 1234 5ao ee 234567 ts aseL 2345678910112 123456789101112DUETSIXTEENTH-NOTES IN QUARTER TIME 21 1+24+3e+a 4+ L+ 2e+a3+ deta 1 lanl142+ 30+ 4+ >= = Po ee a eSDUETSIXTEENTH-NOTES IN EIGHTH TIME 123 1+2+3+ 1243 1423 29 - 10203 4 5 1424344454 1243 445 12+3+4 5+ é123 445464 1 243 456iota SnOn nono) L+243t4454 6748494 ~ 33 me oS 23s SSS ES ee 12345678 9101112 142434445464 748494101 2eDUET a ee eeSIXTEENTH-NOTES AND RESTS IN QUARTER AND EIGHTH-TIME = 5 1©) a 2(e)+ a 3@)+a 4e)ra (3 ee SS SE - 1 et@2e+@ 7infonia Sinfor por el Pend cant es Sig SOLFEO CCLCOLCEC OEE &Presto d. = 125 Violin]. Concerto in G MAJOT cons ys eee L Vivaldi Edited by Alonso del Arte A = a Public Domain, 174)Concerto in G majorvale licorcheag, eas en cada tiempo. Leeciones con Semicorch é tro Cua Andante, 6366, leceién a de la } Reducecié;t j a { 6 a 3 a . é a ea F te q it = 3 1 i i q i i $ 3 7 ED : zt “Ue g 3 3 WE i ij i ( j 2 iG HT i “Til 3 fit] g 3 Hs $3 & 53 Hi NUPPPEEOOEDERAP ODER EPP ERE E EEE EEE eeeccc..