RUBANK EDUCATIONAL LIBRARY No. 53 RUBANK HWELWOD VIOLA SYLVAN D. WARDRUBANK EDUCATIONAL LIBRARY No. 53 RUBANK J J ( WETWOD VIOLA SYLVAN D. WARD Pe al aCe ADEs Cee tee)HOW TO HOLD THE VIOLA A vD BOW ‘The illustration to the left shows the correct manner of holding: the viola and bow with the baw on the string’ in playing position, Observe the natural position of the right hand and arm, the tapering, fingers and relaxed wrist, ‘The hair of the bow, you will see, faces the bridge on the instrument, Notice the left arm is held well under the Viola, See how nicely the fin gers lay on the strings, and that the wrist is in a normal position. Stand or sit straight and do not allow yourself to stoop. ‘The above illustration shows the correct. position of the left hand. See the curved position of the fine gers on the string. ‘The neck of the instrument is suspended between the thumb and the first finger and does not lay in the fleshy part of the hand. Notice the natural position of the wrist. Study this illustra- tion closely. HOW TO TUNE ‘The names of the strings are “A” (whieh is the highest), “D","G", and“C”. Notice Viola music is written in Viola (or Alto) clef. The staff on the right shows the corresponding notes on the piano Tune the strings to these notes. ‘The above illustration shows the correct man- ner of holding the bow. Observe the curved position of the thumb and that the bow fits in the second joint of the forefinger. The other fingers taper along the top of the stick with the little finger barely touching. Copyright MCMAXXVT Rubank Ine,, Chicago Tteenational Copyright SecuredLEARNING TO BOW ON THE OPEN STRINGS 8 ‘The exercises on this page are to enable you to get the “feel”of the bow, and to draw it straight(par- allel with the bridge.) Note values and counting will be taken up on the next page . Jn regard to playing the first note: Sometimes a better position of the arm can be acquired by starting the first note with an upbow instead of a downbow.This way you are able to determine im- mediately how long a bow you can draw and still keep it parallel with the bridge. Try it. ‘Open Strings 2 CGpA ww String NOTE: The sign“o” over the note meansopen string? o Und String. D Check up on the way you are holding the bow. Are you curving your thumb correctly ? @ ©. tra String ven String Are you drawing the bow straight? Copyright MOMXXXVI by Rubank Ine_,Chicago, {Il aon International Copyright Secureds HALF NOTES AND HALF RESTS If it is your preference to take up quarter notes before half notes,start at lower half of page. Count evenly 1 2 - 8-4 Means Means odie HSL Keep tw on sting Means tg reeat a V sities n _v = - f ea ee fe ~q (ete Beats) QUARTER NOTES AND WAnTER RESTS (Count one beat to each) Use most of the bow but draw it straight. a Vom V any aang Ret ny 5 v n y Danner at Cont 1-2-3824 ae a eeOPEN STRING DANCE ieee ae nm ovo M. teans te play sale of bow) Vv n v WHOLE NOTES AND WHOLE RESTS ‘Work for a nice full tone — Dont press hard on the bow WB. (Means ase the whole bow) 4 Count aloud 1-2-8-4 Count 1-2- 3-4 o Is your bowing moving straight? n os TONE STUDY OF HALF NOTES AND WHOLE NOTES Count 1-9-8-£ 10 2-3-4 Is your thumb curved properly on the bow? If in doubt refer to page 2 au°REVIEW OF HALF NOTES, QUARTER NOTES, WHOLE NOTES AND RESTS: ‘YeTime « 4 beats to a measure, eachuarter note gets one beat a nA V Count 1-2-9-4 1-2-8-48 ‘L.H.means use lower half of bow. U.H. means upper half. a Yume nV V La. wa, La Wwe. UE. wa. Upper Halt | Lower Halt n USING THE FIRST FINGER Place your finger down solidly but dort allow the joint to cave. © nV¥Vn Vay Keeothitiareoam. Is your bow moving straight? Is your left hand in the correct position? n_y, n WB. LH. WB. 08FIRST FINGER EXERCISE Learn the names of the your notes so you can recognize them immediately. Is your thumb eurved properly on the bow ? n MELODY IN 24, TIME S.D.W. Br Time ~ 2 beats to-a messareeach quarter note gets one best » Count 1 - 2 1-2MARCH S.D.W. > ‘ig means play USING THE SECOND FINGER NOTE: In learning the first three notes of the scale, it is desirable to first sing the notes with Do,Re, Mi before playing them. ‘This will help finger placement and intonation. 2 a 4 B = ‘Sing first Do Re ue ° A 1 2, MELODY v Li WB. Un. WB. Tpbeat Count 47236 TONE STUDY p means soft F means loud P a od Lt - oeFINGER PLAY Name the notes before playing them S.D.W. MARCH Do Be Me 1 2 Sing first F Sharp LITTLE SOLO Notice the F Sharp has ben put here (Inthe slgnature)which means tha all Ph fn that soto witl be called Psbary. 4 2 SECOND FINGER ON THE A STRING 2 od 2 2 oo 1 2 esharp “the € Sharp lis heen putin the algature ao al the C& in this plece will be called © Sharp. cy10 DOTTED HALF NOTES A dot after a note increases the value of the note one half. Gout 129 4 ADDING THE THIRD FINGER: Half step between 2nd-and 3rd finger Repeat several times Hall steva ° 4 aA Singfirat Do Re Mi Fa 34TIME ‘34 Time, 8 beats to a meacure,euch quarter note get one beat ex Lit the bow Keep tne 3rd finger een, a THIRD FINGER WALTZ Gaily S.D.W. Cout 128 Are you holding your right hand correctly ? Play short strokes jt below middle of towTHIRD FINGER ON THE G STRING a 4, 2 c ° Do Re Mi Hasty Fe G MAJOR SCALE Notice whore the half steps come in the Major Seale Reo BS yo SSS = _——— Pp aS Fr THIRD FINGER ON THE C STRING PL means atthe point of the bow Fr, means at the'frog:or! Nut of the bow avn v ny Vv — mo o i rs Fre WB. Pt O¢MATORSOALB Are you learning the names of your notes ?THE SLUR Connects two or more notes ina bow Vn S y fn = SS WF no vitard THIRD FINGER ON THE A STRING 2s soir tom carved properly on the bow? 3, Fr WB. Pt. D MAJOR SCALE Do Re me Fa ‘So Ta Te Do EIGHTH NOTES Count Tad 2 and = fant 2 and etete) aes SS erate cH. sousADDING THE FOURTH FINGER 18 Repeat on all strings ° 4, suetcn PTS ae 2 Practice both bowings - Play exercise on all strings. 3 ‘Wale Hen Do Re ai” Fe So ‘Keep the 4th tnger down ao a0 4 i Dsteing string FAMILIAR MELODY ON THE G STRING Is your left wrist in the correct position? w/o FOURTH FINGER MELODY o 1g BSiech & ao 48 fe ba Mi Fa So a 4 Do Re cA Pa ‘Se sous4 DOTTED QUARTER NOTES . Count 1 and 2 and 3and 4 and SOLO GERMAN FOLK SONG Play fingers as marked for practice a o2V sa 2 42 24 LEGATO Bee — os before playing he ganrter noteWALTZ ae S.D.W. a v 3 4 LARGO s 4 DVORAK Reepta linger an {Ghis cated w'nataraland If cancels the sharp, Therlore yor out move your necondFlnger back near the fist inet. susan ge Practice naming your notes before playing them “A MELODY IN A MINOR KEY sou,16 THIRDS STACCATO Keep the bow on the string - Mow it quilly - Stop it quickly n V 0 4 OUR OLD CLOCK ALLA BREVE TIME lekens the time, Means each halt note gets ane best. + © Count 1-2 sousr MARCH CADET 7 Alla Breve 2 St Count 1 - Dries ese) (Fseeons tie) 5 v 5 Y INTRODUCING THE FLAT A flat lowers a tone a half step ‘ o 4 3, ot Btn walt eep "a ben ced ithe nets which mean al Bn hn plese mi be cated Bia DETACHED BOWING Stop the bow abruptly on ench note — ply two notes in one bow ne 1a middle portion of bow SSF MAJOR SCALE %g TIME Clap rhythm with hands before playing, slightly aecenting the first and fourth notes Eee tee f ace set | ow tone | sousLULLABY # S.D.W. 4 pies PLAYING E FLAT ON THE C STRING Eft NV fans een ut inthe lqmature,x0 all BM inthis pee wi be called # Fiat. n a 2 a a ~S —20 WALTZ IN MINOR MODE Count 9 1-5-8 AMERICA THE BEAUTIFUL SAMUEL A.WARD BOWING TWO STRINGS AT ONE TIME (Double Stops) Ind. dt sousSHE'LL BE COMIN’ ROUND THE MOUNTAIN am Lively _ BOWING EXERCISES Frog WRIST BOWING Practice slowly at first then inerease tempo. M ‘Pay lke preceding maeanore Play ke preceding measure ae22 Sing first Do “He Woke ee ap Gsnary nate wep 3 Do Re we A MAJOR SCALE BAS Fe 80 da TE Do Do Be VARIATIONS ON THE SCALE Practice all bowings Anger baci soneSINGING STRINGS S.D.W. Always notice your key signature START AND STOP WILLIAM H, MONK Winger Baea FINGERING EXERCISES IN B FLAT MAJOR Baia Sing first Do Re Mi Mat yep PREPARATION FOR THE B FLAT MAJOR SCALE BbMAJOR SCALE Also practice slurring Ist two notes in the measureslast 2notes; 8 notes inabow;6 notes in a. bow. a — sonsSIXTEENTH NOTES WE, M. 1M with me wrist WB. GRASSHOPPER HOP Practice slowly in the middle of the bow, then increase tempo . Allegro ‘ A og 4 n Count 1 ant 2 and 1 and 2 and Playedithetint measare Prestoeee DOTTED SIXTEENTH NOTES Repeat several times. (Try clapping the rhythm before playing ) ™ OH! SUSANNA STEPHEN C. FOSTEF Vv DRINK TO ME ONLY WITH THINE EYES — ‘OLD ENGLISI STUDY IN HALF STEPS ‘i para anette it 0 ave mr secen ing pane a ep sous27 PLAYING TRIPLETS. ‘Try clapping the rhythm before playing Allegro rT tT ACCENTS Accents are procured by putting momentary pressure on the bow, causing a quick “bite? or “attack” of the string Se st ee SR accent as martes = sd ss 2S tape te cee —=—28 ETUDE S.D.w. Practice with and without the accents on the quarter notes. > > > eto. dim sous29 PIZZICATO (Plucking the Strings) Pluck the string with the forefinger of the right hand, allowing the bow to rest against the palmwith the hair turned away from the string . Place the thumb down on the edge of the fingerboard near the A string. On short pizzicato passages,hold the bow as when bowing on the string and merely extend the forefinger, plucking the string with the fleshy part of the finger. zz. (ptwek) ATCO (with the Bow) AMARYLLIS GAVOTTE Allegro moderato KING LOUIS XiII i.30 JINGLE BELLS J. PIERPONT ETUDE S.D.W. Also play: omyDEEP RIVER % American Negro Spiritual Lento A ? Do you always look at your key signature before you play? ‘Do Re Mi Fa So Allegpo WHERE IS MY LITTLE DOG GONE? 4 GERMAN SONG sous* PLAYING IN Eb MAJOR. Are you learning your sharps and flats as you go along so you know how many there are in each different scale you play? ampere were Bon ptget? PSs e é& ‘Nets how many Do Re Me Fa ‘Bo Za vi Do ANDANTINO Nillce Alla Breve Time so count 20 the mans, EDWIN H.LEMARE Cc MINOR: Notice where the half steps are inthe Minor seale.Are they inthe tame places coming down the eoale? 2 Compare the half steps in the Minor scale with those inthe Major seale at the top of the page. -N 2 SS83 PLAYING IN E MAJOR Notice how many sharps there are. set Stretens fe so PUTTING RHYTHM IN THE SCALE 1, Are you holding your left hand correctly? 2. Is your right thumb curved properly on the bow? A Vi fh A nV. non SYNCOPATION Count 1 and 2 and 3 and 4 and ' > SYNCOPATIN SAM sae sousB4 HALF STEP WALTZ PLAYING IN A FLAT MAJOR eis Slowly at first — MARCH SLAV Vigorously TSCHAIKOWSKY DL = > Sete. n i 2DOTTED SIXTEENTH NOTE ETUDE Stop the bow shortly on each note S.D.W. TIN SOLDIER PARADE t Allegretto, S.D.W. A f — Means to repeat preceding ensue, Gracenote =Play very quickly os36 LEARNING THE TRILL Also practice using other fingers on different notes and strings. EXERCISE IN DOUBLE STOPS a | isi ose = For practice, first play the double stop without the sixteenth notes. 4 bee Sao a 3 4 sousCHROMATIC WALTZ rit, a tempo rit. THINK YOUR INTERVALS Practice slowly, then increase tempo a tempo CHROMATIC SCALE88 WALTZ DORRELL Vigorously a oa > > Fd Smoothly, with long bows —_ 2 Hal poston so39 NONE BUT THE LONELY HEART PETER TSCHAIKOWSKY Andante non tanto — Avon P erese40 MAJOR AND MINOR SCALES MAJOR =e A Minor G MAJOR. D MAJOR or. Ta Intervals of thirds F# Minor41 Intervals of Fourths 1 pitee* e SSS Gf Minor F MAJOR Ez sS Intervals of Fifths SS Tr iRestos rt FSO? Dien Bb mR Intervals of Sixths 5 a p= Hb MAJOR Intervals of Sevenths ae — F fn) AbMAJOR, Db MAJOR. > ne Intervals of Octaves > Bb Minor Be =See ; SS te