The Philippine Folk String Ensemble (Bandurria, Octavina, Laud) ‘The bandurria, octavina, and laud are three instruments that are integral to the rondalla ensemble, the Philippine folk string ensemble. These three share many common features. All three have [4 strings attached to an independent tuning device called the pegs. These 14 strings are divided into six groups. The encircled numbers below indicate the groups. The numbers outside the circle indicate the fret numbers, The Open String Notes (Tuning ) From High to Low (Group 1-6) ®, ©, ©, © LaorA MiorE S SiorB @ OF Sol orG ReorD Review Fai or FA From Low to High ( Group 6-1 ) » 2 0 0Open String Exercises using Up [\] and [ =] Down StrokesPart 1. Fundamental Bandurria Skills Chpter 1. Tuning Techniques ‘Two most important basic steps in learning how to play any stringed musical Lesson 1. instrument: Tuning Methods 1) Know how to tune your respective instrument. 8 2) Recognize and be able to play open string notes. Both steps are essential in developing excellent sight-reading and listening (car training) skills. ‘The traditional Philippine bandustia has 14 strings, divided into six groups (sce illustration below): 1. Group 1 tuned to Sol or G is the first note on the right-hand side. 2. Group 2 tuned to Re ot D is the second note on the right-hand side. 3. Group 3 tuned to La or A is the third note on the right-hand side. 4. Group 4 tuned to Mi or B is the fourth note on the center. 5. Group 5 tuned to Si or B is one key below Middle C. 6. Group 6 tuned to Fa#t ot F# is the first note on your left-hand side. semen © © Q@ O OQ Note Name: Fatt Sol Middle ¢ {Ht see Bandurria Open Strings (Notes and Groupings) Oo B&B GB BWA ® fe Fat or F# string SiorB MiorE LaorA ReorD Sol or G group string group stringgroup string group string group _string groupLesson 2. Open String Exercises Ex, No. I starting from note FA # or String Group #@) Play and sing the note names. Apply down strokes. nas ate a AAP A 5 ABP Banduria = © = + ape = Machine Head § tf =e fe 4s fa si fa fa re fa fa la fa fa re fa fa sol fa Ex. No.2 starting from note SOL or String Group # @ ‘Alemating strokes vom — sol "fa sol sol si sol sol mi sol sol la sol solresol - = = Ex. No. 3 starting from note St or String Group # ® Atematng strokes mavemy # 5 - o sisi fa fa si sisi mimi si sisilala si si si re re si si si sol sol si Bx. No. 4 Starting from note RE or String Group #(2 Alemating strokes Vom Vv Ex.No5S Starting from note MI or String Group # @® Aternating strokes BmevVR VR o. osEx. 2-f Starting from note LA or String Group # Alternating strokes mV aan ® eV RR SSThe Virtworo Bandurria 9 Chapter 2. Sound Production Techniques Lesson 3. Using the Plectrum (Pick) 4 easy steps in holding the pick 1) Hold the pick firmly between your thumb and your index finger Backiew of the bandarria of the right hand, courtesy of Bandilla) 2) Make sure the pick feels like an extension of your fingernail. 3) Hold the pick firmly. 4) Keep your shoulders, arm, and wrists relaxed Flat-angled picking style for rest strokes. Ex, 3-a Rest Stroke on Re String with Down and Up Strokes AAA vv vv V mVmV SVAV PVAVRV AY OV Ex. 3-b Free Stroke with alternating Up and Down strokes PVR BYR om iy oe Ve repeat alternating stroke patterns Angled picking style for free strokes for playing the tremolo,Lesson 4. The Tremolo wanttitle ee “The tremolo is the most effective way of sustaining ag the sound of the bandurtia, or of any plucked instrument for that matter. Itis produced by a rapid succession of alternating up-and-down strokes. Learning how to do the tremolo technique correctly require patience and stamina. You have to practice this slowly at first. There is no short-cut to learning the tremolo technique. NOTATION EXECUTION 2¢¢¢ €——%—_. 4 ___ 4___ Quarter Note Tremolo Half Note Tremolo Whole note Tremolo Ex. 4-a w w we we ws we BVeVeVeVeVe 2 mvevee vee Ex. 4-b Duet sTeatsiar mig 2 2 ¢ 3O, llaw! Ex. 4-¢ »,, ORY vinv (Teacher) Use ghitar or oth ina if possibleThe Virtuoso Bandurria 13 Lesson 5. Open String Chords Lesson 6, Cross-Picking on Open Strings myAYm nyay mmo Fon oeChapter 3. Review on Open Strings Lesson 7. Open String Studies Up and Down Strokes on Simple Note Values * WHOLE NOTES @, Sol or G ReorD, @, @, © LaorA MiorE & SiorB Ex. I-a Oo MiorE LaorA ReorD oC SiorB Fait or Ft Fat or Ft Ex. l-bThe Virtuoso Bandurcia 15 Lesson 8. Combining Whole, Half, Quarter Notes and Rests Ex.2-a fx. 2d Ex. 2-€Lesson 9. 12 Open String Etudes ‘Michael Dads 2 simile Dn n mVVaVY mA mv vy! A SVS 8 BYR SRR % VM V_simile heThe Virtuoso Bandurria 17 a VV simi a mmvnV AAPart II: Intrmediate Bandurria Skills Chapter 4. Finding the Notes Lesson 10. Notes on Sol String or Group 1 oe no ee Ex.a Open string i ae 5 avo Yoo Pieye sot AERP Ex. bz press on 2nd fret Brey press on th fret e Ex. ds press on Sth fret bo Smart practice tips before you play: 1) Sing the notes. Ex.e Four-Note Scale on SOL Strings 5 3 ° 2 4 your hands, or tp your feet to the z : ands, oF tap feet to th ES ehythm, = 3) Keep your eyes on the score sheets Recognize the notes ber to use alternating strokes. Ex. f Memory Game Tune rx.g Little Waltz Michael DadsLesson 11. Five-Note Scale on Sol String ©, lo » Ip = a. Scale on SOL string eo w w ww w Ww w = b. G Major Lesson 12. Etudes and Short Pieces Tempo di Polka msymym y Michael Dadep my my 21 Allegretia graciose Michael Dace ¢ c o7D G7 G7 G7 q CG AT arc a d p7ire b7 G G7 ¢ = a G7D G7 G7B a? 122, ie CG AT a7ch dF CdimFR CG a7 G7 Lesson 13. Shifting Position a. Scale on C Maj. from the 5th position v! a = a = cir rv Press the Sol string on the 5th fret with finger #1, You will a hear the note Do. rao 3 | 2 eS f Press the Sol string on the 7th fret with finger #3. You will hear the note Re. Press the Sol string on the 9th fret with finger #1. You will ear the note Mi ; (12th feet) SSS Press the Sol string on the Press the Sol string on the 10th fret with finger #2. 12th fret with finger #3, ‘You will hear the note Fa, You will hear the note Sol.b. Scale study J Lesson 14. Etudes and Pieces with Shifting Positions Paru-parong Bukid Gav wr az “ te G7 re ee Py an F Cdim iG G7 € eae g7 MY & G7 c C7 FP Cdim CG a7 Toe thee ~-- G Major Scale and Arpeggio study - Melody in G Major Michael DadifThe Virtuoso Bandurria 23 Little Prelude Michael Dadap Awit ni Nanay Michael Dadap Andante Cantabile am am em am prt em dim D em zm em am D7 am em D7 gm F7 Bb F7 Bb DIA am eméiA—em/E> D7Lesson 15. Scale Studies on Re String a. Open String Masta b. 2pd fret, first (Ist finger) © 3ad fret Qnd finger) a. dgh fret (rd finger) SOL e. D Scale Major on Re & Sol Strings (Introducing Fatt & Do#) yy 2 ° 2 . : 2 o te Re Mi Fat Sol La Si Re (press on He) press Ath fret Dow {ores on 1 {p18 on ht) f. Memory Game g. The Music Ladder 0240 24 Arimunding-munding Folk Tune 2The Virtuous Bandurria 25 Lesson 16. Scale Studies on Re and Sol String a. D Minor Scale & Var. Make sure you press the corseet fies positions for each note, Watch for accidental Munting BalitawLesson 17. Studies on La String a. Open String © mvmy e b. 2nd fret (1st finger) 2 RVR YAYA oy ce. 3rd fret (2nd finger) vn ya d. Sth fret (sin finger) 4 mym AVA e. Four-Note Scale Vanations 0 2 3 5 f. A Minor Scale la Si Do Re Mi Fat Solf Lal Si Do Si La SOL Fa Mi RE Do Si LaThe Vietuoso Bandurcia 27 g. A Major Scale Study [vi] _ ate w ws Ww) simile tudy on Rapid Alternating Strokes id pick position) Allegro Adapted from Etude #10 in A Major for Guitar Femnando Sor mYmy mV mee my Ploeg —renment plat