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    8 views42 pages

    A Tune A Day - Volume 2

    Uploaded by

    José Francisco

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 42
    A LUNE A DAY FOR VIOLA. BY C. PAUt. HERFURTH Book Two A Tune a Day For VIOLA A Second Book for Viola Instruction in Group, Public School Classes or Individual Tessons Provides training in ensemble playing when used with the Violin and Violoncello books By C. Pau, Herrurtu BOOK TWO—INTERMEDIATE TEACHER’S MANUAL A complete guide for teaching “A TUNE A DAY” for either Violin, Viola or "Cello; containing piano accompaniments A very conventent book for home practice BOSTON MUSIC CO. WM. Co, 000 DICTIONARY OF TERMS AND SIGNS USED IN MUSIC For volume of tone: PP —Pianissimo, very soft. P —Piano, softly. mp —Mexzo-piano, rather softly. mf —Mezzo-forte, rather loudly. Sf —Forte, loudly. ‘ff —Fortissimo. very loud. af —Storzando, strong accent. (> A) cresc. —Crescendo, gradually louder. (————) dim, —Diminuendo, gradually softer. (===) For tempo (speed): Largo—Very slow. jio—Slow. Andante—Rather slow. Andantino—A little slower than Andante. Moderato—Moderately fast. Allegretto—Lively, but not too fast. Allegro—Fast. ‘Vivace—Faster than Allegro. Presto—Very fast. For increasing tempo: Aceelerando (Accel.)—Gradually faster. Stringendo (String)—Suddenly faster. Pid mosso—A steady, faster speed. For decreasing tempo: Ralleutando (Rall.)—Gradually slower. Ritardando (Rit.)—Gradually slower. Meno mosso—A steady, slower speed. For style: Animato—With spirit, with animation, Agitato—Agitated. Allargando—Broader. Cantabile—In a singing style. Dolee—Sweetly, softly. Espressivo—With expression. Legato—Smoothly, connected. Maestoso—Majestically. Con Spirito—With spirit. Staccato—Detached, separated. ( Tenuto—Sustained. (-) A Tempo—In the original time. Other signs: TD. C. Da Capo—From the beginning. Fine (fee-nay)—Ending. D.8. Dal Segno—Go back to the sign(¥) Hold (fermata)—Prolongs the time of a note or rest. (7) Til TO THE STUDENT To all the viola pupils who use this book: This is a persoual letter to you. I want you to read it and carry out carefully what I have asked you to do, and during the year let me know, through your teacher, how you are progressing. Having completed the study of Book I, you should be thoroughly familiar with the fundamentals of good viola playing, such as a good position, correct use of the fingers through the proper position of the left hand, and the elementary principles of bow coritrol. Book IJ includes a continuation of the elementary material, presenting slightly more advanced exercises and pieces, introducing the Sed. 4th and 5th positions. 'o be better able to play the familiar melodies and pieces, it is recommended that you carefully prepare the purely technical exercises at the beginning of each lesson where a new key and finger-placing is introduced. Study carefully the diagrams introducing new keys and fingerings so as to properly place your fingers for the new notes. Remember, that you must first read the note and then place the finger, so be sure to know exactly what note you are reading and the proper finger-position for that note. ‘The surest way to play well isto be able to read well. ‘To be able to think quickly, the following points regarding each note will make you a better player and will make your path to good viola playing easier: a (2) Name of note (iatural, sharp or fl How to play (finger-position and string). (8) How long to hold (time-value), Teould go on telling you about each lesson, but 1 must leave this to your teacher. If you do what he tells you, you will go through the pages of this book to the joys and pleasures of making your ‘cello sing beautiful melodies. Wishing you all the success your work deserves, I am, ‘Yours for good viola playing, Flt Borgo P. S,—Many of my pupils from each school have formed groups which meet at the different homes to play the duets, trios, and quartets with piano, thus forming a little orchestra. Why don't you try it, you will have lots of fun? TO THE TEACHER ‘In compiling Book II, [have tried to carry out in slightly more advanced material the fundamental principles of good “ello playing as set forth in Book I. ‘The material and grading has been carefully done, so that each new step is a logioal one for the progresa of the pupil. Adequate preparation for the development of the student has been provided for, although the amount of purely technical snuterial es been kepl to siuinun. ‘The contents of this book is very largely made up of folk- songs and other familiar melodies of good musical quality, arranged in duet, trio, and quartet form, through which the pupil will be acquiring the fundamentals of bowing and finger (intonation) technic, as well as a consciousness for good musical design and harmonic structure. ‘The use of the piano accompaniment (Teacher's Manual) should prove of value both in the classroom and in the home. ‘That important advantages will result from use is certain, ‘The interest and ambition of the pupil vwill naturally be atimulated through the addition of tho harmonie structure which will also serve as a guide to the proper placement of the fingers through hearing the tone he is producing in the harmony. ‘The use of the piano part is recommended from the earliest stages so as to stimulate the musical ear to a nice perception of modulations and hharmonies, for which the viola, as regards these matters, is comparatively imperfect. Class teaching should be a combination of individual struction and ensemble playing. At every lesson there should be individual playing so that all the necessary corrections can be made, Never allow pupils’ mistakes to {g0 unnoticed. since only in constant correction will they develop the habit of careful thinking and playing. ‘A decided advantage of group-teaching is that it pro= ‘video experionce in ensemble playing and gives every pupil the opportunity of listening to the others, .of observing their mistakes, and of hearing the corrections. ‘Por the best results each class ought not to number more than six for a half-hour lesson and twelve for an hour lesson. Irrespective of the numbers, the teacher must see to it that there is individual instruction as well as general directions to the class. Classes should be regraded whenever necessary so as not to retard the progress of the brighter students, nor to discourage the slower ones. Regrading also acts as’ an incentive for greater effort on the part of the pupils It is recommended that every student practice at least forty-five minutes a day. This course provides one lesson e-weeke for a school year. ‘The eventual success of each pupil depends on regular and careful home practice, according to directions. If possible it would be well for the teacher personally to keep in touch with the parents. C, Paun Henrunra, (iti) PUPIL’S PRACTICE RECORD SEPT. oct. Nov. Dec. JAN. T2348 571234 5;)12 34 5;)1?7 34 3]7 2354 5 Monday I ‘Tuesday ‘Wednesday ‘Thursday Friday Saturday FEB, MAR. APR MAY TONE Monday | - Tuesday Wednesday Thursday Friday Saturday ‘Always Record Practice Time in Minutes. All Practice Time Lost Must Be Made Up. WEEKLY GRADE ‘NAME ~ ‘ADDRESS ‘SCHOOL, GRADE ser. | oct. | Now. | Dec. | Jan | Feb, | Mar | Ape | May | June | Tess Ast Week 2nd Week ard Week ath Week E—Excellent; G—Good; M—Medium, Distinctly Above Passing; L—Low, Doubtfully Passing; F_Very Poor, Failure, i LESSON 4 1 Review of Keys Studied in Book I a oF D Major n Y= Em Follow bowings carefull vo ony nv. i, ® ms Ba nv pe Voonvn Kry or A MAjor * nv i) o™ or D Mayor ny : a 4 © 2 y @* or G Major ne ve ae tn a ¥ nVn, VnV mons yon Vv an ,V O, nya ‘ ‘ ‘ *Rxercises Nos. 4,5 and 6 are not playable with the violin class, but may beused with the ‘cellos. pu sfeseee Copyright 1940, 1967 by The Boston Music Company International Copyright Secured. Printed in U.S.A. All Rights Reserved. 2 LESSON 2 Studies for the Use of the Second Finger One new tone, C natural on the A string The importance of being able to read notes as well as you can read the letters of the alphaber cannot be overestimated. ‘This is the foundation on which your future progress depends. You must also know the exact position of your fingers on the fingerboard so as to be able to play any given note; for example, to play C¥ on the A string, the second finger is placed awhole tone from the first (high position) bul tu play C natural, the second fingeris placed close to the first (ow position). Therefore, the necessity of knowing whether the note is natural, sharp or flat is perfectly obvious. Have a picture of the fingerboard in your mind in order to see where your fingers are placed for the different notes, Study the following diagram showing position of notes already studied and the new note to be taken in this lesson. Name the whole and half tones. Fingers 2 2 1 1-___—_@_ @—_@—_@9-—__©—__ Fi Fingers 2 Name the following notes, finger used, high or low position for sccond finger, and on what string played. *Exercis No. 3:is not playable with violin class, but may be played with cellos. B.a.C0. 9669 LESSON 8 3 Familiar Melodies Using the Second Finger Lightly Row Allegretto (Brightly) a ee Pupil Teacher" The First No#l Con moto (With motion) on cate Gt Op epee. & Pupil ~ Pupil Home, Sweet Home Henzy R. Bishop Andante (Slowly) al (1786-1855) it & Le mes eo \ eke ee Se ween Pupil = Saas = = Pupil "Advanced student may also play the teacher parts. B.M.Co.9669 4 LESSON 4 G Major Scale and Arpeggio @, nv ads', af Pupil Pupil America i ‘ (My Country, Tis of Thee) Sree Carey ® Andante (Slowly) kw 4 isl BIGH o Pupil = he / 7 Pupil ipa Little Study Nagi oaLcatrt G@ trerettt teere, tepetttt rete } Hold finger down ge sitrttrit Home work: Mark with this sign~ the half steps in both parts of exercise No.4. Write 4 times the G Major scale marking the half steps and placing the sharp. Manuscript p.ce.ssso sheet page. Low Sas LESSON 5 5 Continuation of the key of @ Exercises in crossing from C natural to Ft ‘The second finger must be lifted and placed in its new position nv ®, die te es o OPN tt wetitey Mtret tre al tet teary @, snes @iv @ Hold first finger in position throughout above exercises. Practice both parts Durt Hohmann @, a vs D ‘ . v Pupil oy Pupil ‘Tempo Waltz. (In walta time) Little Waltz Hohmann n, kG £ © P L of ORCHESTRAL PART P ———<—- * Means repeat preceding measure. = "f Home work: Mark half steps on this page the same as before. 6 LESSON 6 Flow Gently, Sweet Afton Andante (Slowly) (Quartet) James E. Spilman tz ¥h v Pupil Pv |n Ay Pupil vy |, Papil Teacher Evening Song Robert Schu Moderato (Moderately fast) 7 (1810-1856) _ MELODY Y i 9 Vv "Pp FS ENSEMBLE y de ry ob SSS SSS A 4 Sin 2 = _ =a == SSSI —_—_ * rit, abbreviation for ritenuto_ gradually slackening in speed. **Trio— two violins and viola or two ‘cellos and viola. Note: All manuscript pages are to be used for home-work according to instructions 7 8 LESSON 7 ‘Two new tones, Fnatural on the D string and B flat on the G string. Study the following dia- gram so asto visualize the exact position of these two notes upon the fingerboard. Practice both parts on the double staff in this and the following lessons. Fingers 1 = 2 3 4 Ao 00 00 —__—. D-.—_——_—_O~—#)—_0—_0—_O————_ 6-0—-——0— 8) —__0—_0—__o—_———_. c°——_o0———90—o—_9 Fingers 1 2 2 3 4a fold the second finger tirmly v £ Dry age th Practice both upper and lower octaves. je ny A @ Softly Now the Light of Day Andante (Slowly) (Duet) nV ie nV 4 Oarl Marie von Weber (1786-1826) IGE Home work: Write © Major scale 4 times, marking the half steps. Also fill in blanks in above dia- gram. st. c0. 9660 LESSON 8 9 [Hearn to take particular notice of the key signature before playing. America, the Reantifal Samuel A. Ward Allegretto (Briskly) (Duet) (1847-1903) Von . . vn Pupil E oh, Pupil Ensemble Part* 4 o yon 4 Z F SS t Go Down, Moses Follow Bowings carefully Negro “Spiritual” Andante (Slowly) yon nv —~, VY 4 nVvin a. + ee PRS eee] Home work: Mark the half steps on this page. *Ensemble parts when used with violins and’cello form a string quartet. 10 LESSON 9 Continuation of the key of C Major Practice both upper and lower octaves. O_22 Russian Hymn Lento (Very slowly) ny, Duet) ns om ‘ ve y Pupil 7 - of n Vow Pupil Home work: Mark the half steps on this page as before. Ritl.Co, 9669 LESSON 10 "1 Onward, Christian Soldiers (Trio) Sir Arthur Sullivan (1842-1900) Moderato (Moderately fast) nV ‘ v Pupil F dE? uf nv Pupil of ny Pupil B.M. Co, 9669 12 LESSON 11 Note carefully the key signatures and what they mean, D.C. Da Capo—to beginning. Fine— Knd Melody Franz Joseph Haydn Moderato (Moderately) (1732-1809) , ®, 2 a Leo! Pupil = Fn Five Pupil 5 aS WS, Teacher English Morris Dance Allegretto (Brightly) (Duet) v ¥ ny vin A a oon Pupil a Pupil ENSEMBLE PART

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