A TUNEA Day FOR VIOLIN. sy C. PAUL HERFURTH BOOK THREE BosToN Music COMPANYA Tune a Day A Third Book for Violin Instruction In Group, Public School Classes or Individual Lessons By C. Paut Herrurtu BOOK ONE—ELEMENTARY BOOK TWO-INTERMEDIATE BOOK THREE—ADVANCED TEACHER’S MANUAL A complete guide for teaching “A TUNE A DAY" THE BOSTON MUSIC COMPANYFOREWORD TO STUDENTS POSITION It is probably advisable at this time to briefly review the position of the violin and its relation to the left hand. ‘The violin should be held firmly on the left collar-bone by bringing the left shoulder well under the violin, thus giving the necessary support. The chin should rest well up on the chin-rest. In this position the violin should be held WITHOUT ANY SUPPORT whatsoever by the left hand. Your teacher should decide whether or not it is necessary to use a pad for supporting the violin in order to avoid cramping the left shoulder. ‘THE LEFT HAND In order to use the fingers of the left hand correctly, much attention and THOUGHT must be given to the proper position of this hand. With the drawing of the left elbow well under the violin, the thumb should be placed fairly well under the neck so as to counteract the pressure of the fingers on the fingerboard. The knuckle joint at the base of the first finger should rest very lightly against the right side of the neck. This is modified at times and does not touch the neck. The thumb is best placed opposite and under the first finger. Thumb knuckle NOT BENT. In this position your hand has the necessary freedom to permit the proper use of the figers, is also relaxed to shift into the different positions, and to use the vibrato as well as respond to any demand expected of the left hand. INTONATION At this point of progress it might be well to analyze the two most important, factors that go to make up the art of violin playing, i. e., intonation (playing in tune) and bow control (tor production). As an aid to truer intonation it cannot be too strongly recommended that the student devote a part of his daily practice period to the technical exercises on pages 29 and 30. They should be played slowly at first, gradually increasing the speed. Give special attention to the development of a keen sense of relative pitch in hearing the various intervals. Develop the habit of listening more critically to your own playing. IMPORTANT RULE, Asan aid in judging the distance from one finger to another, FI VER POSSIBLE. ERS MUST BE HELD DOW WHI ‘TONE PRODUCTION Unfortunately the average student's right hand and bow arm is frequently neglected in an effort to develop left hand finger technic. The folly of such a procedure is obvious when we stop to consider that the bow produces the tones which the left hand prepares. Left hand technic is of little value unless the bow arm is capable of bringing it out tonally in an artistic manner. A PART OF THE DAILY PRACTICE PERIOD SHOULD BE DEVOTED TO BOWING PROBLEMS. THE HEART OF THE VIOLIN THE BOW which is the heart of the violin should be held rather firmly with the fingers, this firm- ness however should in no way interfere with the flexibility of the wrist. The bow MUST ALWAYS be drawn in a perfectly straight line across the strings. In order to do this, the hand and wrist motion must be sideways in line with the bow, and not in an up and down direction. The back of the hand should always be flat. Frequent use of a mirror is recommended to see if your bow is being drawn in a straight line. TRY IT.A Tune a Day Book III CHAPTER I A Short Review of the First Position Use a forearm stroke with complete relaxation of the wrist and elbow. Upper arm must not move. Use upper third of bow. Allow the first finger to bear slightly upon the stick to keep the hair evenly upon the strings. A eres ‘Keep fingers down R, Hofmann, Op.25, No. 14 nly ny A valuable exercise for string transfers. Use forearm stroke as in above exercise Keep the right arm ia such a position that the bow will lie well over two strings at once, so that changing from one string to the other cua be done by a wrist motion only. Play legato, no break inthe tone when changing bows. R, Hofmann, Op.25, No.18 ny ny 8 nv V nv © 1996, Renewed 1969 BOSTON MUSIC CO. B.M.Co.9207-29 International Copyright Secured Made in US.A. All Rights Reserved4 ‘Two notes slurred on one string. Use whole bow, also upper half and lower half. Play legato, ‘Two notes slurred on different strings. Use middle half of bow. Hold the bow well dver the two strings Relaxed wrist, —————————— ee 2 * Hold fingers down R, Hofmann, Op.25,No.25 ney ne ys ® BM, 60,0807 -295 A valuable exercise. for intonation and use of four strings. Use a forearm stroke in single bows and two notes slurred. Hold fingers dowa in crossing strings ‘* Hold fingers down Fr, Wohlfabrt, Op. 74, No.5 by A short study for the staccato stroke. Use upper third of bow, Be sure to use the same amount of bow for the two eighth notes as for the quarter note. Accent slightly the quarter note. Relax wrist, mann, Op, 25, No,15 ee B.M.co. 9307-29,6 Avery important exercise for sliding the fingers a half step up or down. Do not raise the finger when tak ing the hult step. Slide it along the string in arapid motion so that the slide will not be heard. Use whole bow Fr, Wohlfahrt, Op.45, No.16 Naat A study in triplets. Use the forearm stroke in both legato and detached style. “Hold fingers down nV D. AlardEtude Use upper half of bow. Begin at the middle of the bow and play the eighth note to the tip at which point the sixteenth notes are to be played, On the next eighth note, return to middie bow and execute the Uixteenth notes with short strokes at this part of the bow. Use a wrist stroke for the sixteenth notes. ee Wav nv Fr, Wohifabrt, Op.45,No.4 4 V_omvnv ny Fr. Wohtfahet,Op.14,No.t8 Onn Roy ; A eee, v eS nos y B.M.Co, 9307-29,Duet Playing Duet playing is a very valuable adjunct for the development of violin students and should therefore not be neglected. Tt is highly important in the furtherance of good sight reading, intonation and for free! dom and precision of bowing. Many self-conscious students will find duet and ensemble playing a great help in over-coming timidness while playing in public. Be able to play either first or second part. RlOLEN F. Mazas, Op. 38, No.2 Allegro moderato Bk ore vfDuet Second Violin F. Mazas, 0.38, No.2 Bk. 2 Allegro moderato ny Y nw noone yon vay erese, a dol. e yel Op, 4 and 48. With or with- Books containing the complete duets for two violins by Ple eal Classics. out piano ace., may be obtained in Schirmer's Library of BM. Cv, 9907-2810 This is one of the most important and valuable bowings for orchestral playing Use a wrist stroke in the upper part of the bow with a relaxed forearm. Hold the bow rather firmly upon the strings so as to stop the vibrations between notes A study in Syncopation, Be sure to master thin quite legat rhythm exercise. Do not sccont A study in octaves for intonation. Start with an up bow ut the tip. Hold fingers down, Hold the right elbow fairly high, Etude Fr, Wohl fahrt, Op. 45, No.27 ny 4 ies vV—~Chapter II " ‘THIRD POSITION 10 « particular part or section of the fingerboard used by the left hand fingers to produce fe some eleven positions in all, but for general use the first seven will cover the needs of the average violinist Having studied the first position in books | and 2-we now take up the study of the second and third positions, but in reverse ner. The third jnsitions, being used more frequently than the second, will be studied Gr. The different positions are established by sliding the first finger diatonically (from one tone to another) up the finger board. Thus it will be seen that by moving the first finger on the A string from B up to C or C2 we will be in the second position: and from C or C2 up to D we will have established our hand in the third position: Z THIRD position trom the left THIRD position rom the right THE FIRST FINGER IN THE THIRD POSITION SOUNDS THE OCTAVE ABOVE THE NEXT LOWER STRING. IMPORTANT THERE IS NO CHANGE IN THE RELATIVE POSITION OF THE L PLAYING IN THE FIRST, SECOND OR THIRD POSITION, The movement is entirely from the elbow Iv should be noted, the higher the position, the smaller will be the distance between finger placings. EFT HAND AND WRIST WHETHER On the A String Held fingers down 1Pos jsiee mytet te HI Po: pee idee12 D Major scale and arpeggio in the third position x Opp\ sf shan, ‘ nv 123% 12 3h Test Play the above scale with different bowings as indicated. Hold 1st finger on A and E strings. Two short exercises for surity of fingering in the third position. ® Be 3 ‘ i Hold finger down. i ans Hold tst finger on A and E strings. The First Noel* Divide the class, allowing half of the group to play the lower line in the first position while the other half plays the upper Line in the third position to test intonation, 2 y cael a2 fy Preparation n —~. a * Piano Acc. Page 27- No.4! as Piano dec. Page 83 in Teacher's Manual orin Piano Ace. for Book I B.M.co. 9307-29,13 Third Position On the D String IIPos, riaranerge) Annie Laurie Lady Joh Scott : ree \, =< Preparation ate Piano Ave, Page 5 No. Piano Ace. Page $2-No.8 Yin Teacher's Manual or in Piano Ace, for Book 's Piano Ace, Page 89-No.1 A.M.co. 9307-294 Third Position On the @ String ITPos. T¥os. Stephen Foste: «4 # Piano Ace. Paue 42- No.7 in Teacher's Manual or Page 10 No.7 in Piano Acc. for Book II ee Piano Ace, Page #4- No.3 in Teacher's Manual or Page 12 No.3 in Piano Acc. for Book IT 8. M.co, 0107-28CHAPTER II y Shifting To And From The Third Position While Playing Open Strings ting,the hand must glide lightly without any griping of the neck. Be sure that the thumb is kept the same re tion to the first finger while shift D Major arpeggio in two octave using first and third posit um n 1 i Deis =a Flow Gently, Sweet Afton eo + oY a 1 mt youn I yom mn oo) of rit tions, Use a forearm stroke single bows. Also varied bowings av gers down: bie exercise for changing po jarred; three slurred three single; three single three slurred. Hold fin Etude A most va follows, Fr Woblfahrt, Op 45, No.3 = Sees Use rather a full bow, Hold fingers down whenever pos A good study for changing positions in leguto playing, ble. Place finger on two strings at once. Ftude Fr. Wohlfahirt ,Op.74, No.83 = mt ne WL 1 3 fee 1 vearher's Manual or Page in Piano Acc. for Book II Piano Ave. Pi B.M.Co.9907-2816 ‘The two études on this page are of contrasting bowings, Use a rather fall bow. Etude Fr, Wohlfahrt, Op. 45, No.33 1 7 ur fi 4 G & ipenpop 2 hens 2 tp nn relayed D Minor arpeggio. Use whole bow, three motes slurred, also six notes slurred. lo EN 2 Vide #ey ! 2 n3 5 yl von ° Fr. Wohlfahrt, Op. 74, No.32 ial 4 Oe # fas17 Chapter IV CHANGING FROM FIRST TO THIRD POSITION WITH THE SAME FINGER In gliding from the first to the third position the hand, thumb and forearm must move together. Allow the finger making the shift to slide up the fingerboard without taking it from the string. ‘The pressure of the sliding finger however must be considerably lessened in making the shift. ‘The thumb also must be completely relaxed. CHANGING FROM A HIGHER TO A LOWER POSITION In shifting from the third position down to the first the thumb and wrist must move in advance of the fingers. the thumb down the lower edge of the neck as far as possible to give support to the new position, reach the new position, the thumb should assume its normal position, Move As soon as the fingers ‘Showing postion of THUMB in the descending shult ‘rom third to first postions. B.M.co.9307-2018 These two exercises introduce changing positions portamento (gliding). Use a whole bow with freedom of the entire arm, Hold elbow rather bigh for string crossings. Full tone throughout, Etude Fr, Wohlfahrt, Op. 45, No, 38 m ae TFN ast og Moderato 4 SEZ Mr Use a full bow with singing tone. Pluy slow! Andante in Piano Ave, for Book I * Piano Ace, Page BE in TeachersCHAPTER V 19 Changing Positions With Two Different Fingers The change of positions, using different fingers presents a new problem slightly more difficult than shift with one finger. THE SHIFT, EITHER UP OR DOWN IS ALWAYS MADE WITH THE FINGER COMING FROM,NEVER W1rH THE FINGER GOING TO. The instant the gliding finger reaches the new position, the new finger must be placed. The small grace-notes show the position of the gliding finger, but should not be heard ALLOW THE HAND TO SEIFT FREELY IN AN UNCRAMPED POSITION. v Diy BY Bee ea Fis ally BM.¢. 4107-2920 Andante cantabite (slowly, in singing style) smoothness in connecting tones with changes of bow. Be sure to give notes full value before changing positions. Do not shift positions too slowly. Etude Andante cantabile 5 Fr, Wohlfahrt, Op. 45, No. 47 nM yom room fae nis nia _ Broad bows ard a full tone throughout. Allegronon troppo _ Theme from Symphony No.1 i 4 : i _ Jobannes Brahms o a Via r7 1 rite 2 4 = SNS NE Graduation in tone, Play slowly with musical expression. Give full value to all notes, Larghetto Sweet and Low ow n 2 joseph Bas ab; — — v joe ae -a- rad, @ dim. r Page £2 in Plano Acc. for Book I Page 40 in Piano Ace. for Book If * Piano deo, Page 74 in Teacher's Manual Piano Acc. Page 73 in Teacher's Man: Quartet Arr, Page 85 Book II Violin Pa BM, Co.9307-2924 CHAPTER VI Shifting Positions (As in Scales) Changing positions as used in scale passages is by far the most difficult to execute and should be practiced diligently. Due to a difference of opinion as to how this shift should be made, any reference as to its exe- cution seems to have been omitted in most instruction books. The following examples show the two different methods of execution for this shift. Your teach- od to use. er will instruct you as to which me: ) () Example (a) gives a better picture us to how to prepare for this shift, although in actual play ng it sounds as follows, i) (a) Important Rule Inthis type of shift either ascending or descending, THE FIRST FINGER MUST NEVER LEAVE THE STRING. In example (c) ascending, the first and second fingers make the glide. finger reaches the new position the second finger is raised At the instant the first At the instant the first finger pass. In example (d) descending, the first finger starts the glide. The first finger how- es the position of the next note to be sounded, that finger should fall in place, ever, should continue the glide until it reaches its regular position. Do not forget that the thumb and wrist precede the fingers in the descending shift. THIS IS IMPORTANT, 2. M.c0, 9907-2922 Use whole bows. Play slowly. Study Play ina broad style using full bows. Beneath Thy Guiding Hand Vv = ~— . lay @z # Piano dec. Page 28 in Teachers Manual and in Piano Aco.for Book I B.M, Co, 9807-2923 Use upper half of bow. Watch intonation and rhythm. Etude t,0p-43, No. 37 Moderato nm y nv oe * 2 This is a study to develop fluency in shifting. PRACTICE DAILY24 Chapter VII HARMONICS Harmonie light flute-like tones are produced by very gently touching the string at certain divisions of its length, (between the nut and bridge) such as quarter, third and half. At this time we shall study the harmonic in the octave of the open string by dividing its length in half. By extending the fourth finger, either a whole or half step, from the third position we arrive at the exact center of the string, at which point, by very lightly touching the string with the feshy part of the finger tip we will sound the first harmonic of that string, one octave higher than its open tone. In playing harmonics all other fingers must be lifted. ‘The bow should be drawn nearer to the fingerboard and with reduced pressure upon the strings. HARMONIC from the lelt M.Co, 9307-2925 Octave harmonics may also be reached from any finger in the first position. Allow the slid- ing finger to glide to the third position, whereupon the fourth finger, in its extended position, lightly touches the string. As the fourth finger takes its position, the other fingers must be lifted. ® Go Down, Moses seer peta Andante A legro “Spiritual - n Vo lo< n Eos Fen rena Composer a Moderato ut if D.0.al Fine 1 Piano Aes. Page 4 in Teacher's Manual or Page £2 in Péano Ace. for Book I su Plane Ase, Page (0 in Teacher Manual or Page 14 in Plano Ace. for Book IT BM. C0, 9807-2926 CHAPTER VIIL Two études for the study of substitution of fingers on the same tone. Use whole bows throughout. om i Rtnde Fr, Wohl fahrt, Op.74 No.46 1, Y om 2 : a Fr, Wohlfahrt, Op.45, No.68 B.M.C0, 9307-2027 Chapter IX ‘THE SECOND POSITION ‘This position, lying midway between the first and third positions, is located by moving the first finger, thumb and hand, one note above the first position on the fingerboard. Many passages in violin music may be played advantageously in the second position thereby avoiding the necessity 1s. A thorough knowledge of the fingering for this position of constantly shifting between the first and third posit is quite necessary for a well-rounded violin technic. Lee C Major Scale and Arpeggio In the Second Position28 Second Position continued Long, Long Ago Andante Seoteh Melody el Pa z ‘Thos. H. Bayly we oY pee re cians Sere ra Valais © za 2arhatag 2a First and Second Positions Con moto Deck The Hall na cenn wee 0 q 2 2 4 4 A © Plano Ace. Page 50 in Teacher's Manual or Pege 18in Piano Ace. for Book IT Piano Acc. Page 52 No. 4 in Teacher's Manual or Puge 20,No.# in Plano Acc, for Book II s4# Plano Ace. Page 53 No. 6 in Teachers Manual or Pege 21, No.6 in Piano Acc. for Book IT eee Piano Ace. Page 53 in Teacher's Manual or Page 21 inPiano Acc. for Book IT B.M.co, 9307-2929 Play with a relaxed forearm stroke, legato, without accents, Fr, Woblfaet,0p.48, No. 48 my Dey ity gs ity Play with a broad fo: ha free wrist. Hold the first and fourth fingers down when stopping +. Wohlfahrt, Op. 45, No.50 Ome’, Aj the octaves, @ 430 Technical Exercises : ‘As an aid to truer intonation it cannot be too strongly recommended that the student devote a part of his daily practice period to the following exercises. They should be played slowly, at first gradually increasing the speed. Give special attention to the development of a keen sense of relative pitch in hearing the various intervals. DEVELOP THE HABIT OF LISTENING MORE CRITICALLY TO YOUR OWN PLAYING. ‘Hold fingers dowa Half step between 2nd and Srd finger dieee Bz BM. co, 9907-29Matt step Setween ist and 2nd fingers @.. ® ® © SR aE Tbe 7 or Oy ——— © Half step between rd and sth fingers @®. ote Sere H 2 —— cy Pa o-™ @ ux ® Wa ©. Zz - ——— el ——— 1s combinations of intervals ® = eas Practice the above exercises on different strings. B.M.co, 930PUPIL’S PRACTICE RECO! Nov. Monday Tuesday Wednesday ‘Thursday Friday Saturday ‘Always Record Practice Time in Minutes, All Practice Time Lost Must Be Made Up. WEEKLY GRADE NAME ‘ADDRESS mo ‘SCHOOL GRADE sept. | oce | nov. | pve | gan | rep, | mar. | Ave | Moy | June | Tone let Week 2nd Week 3rd ‘Week ath Week E-Excellent; G—Good; M—Medium, Distinctly Above Passing; L—Low, Doubtfully Passing: FVery Poor, Failure. liv]4. BOSTON MUSIC COMPANY A Division of The Music Sales Group @ eo FLETCHER THEORY PAPERS BY LEILA FLETCHER The most widely accepted theory papers in today's market. Full of exercises in rhythm and notation designed for successful use in any system of teaching. A TUNE A DAY SERIES f BY C. PAUL HERFURTH , ff short The most popular instruction books for various a BEA Uo ny instruments, for use in group, school classes, or for rs individual lessons. Packed full of lessons, illustrations, fingering charts, daily practice records, test questions, and manuscript Paper for homework. JUNIOR HYMNBOOKS BY RACHEL BETTY KAHL Hymns taken from youth and children's hymnals known throughout America provide playing pleasure while developing note-reading facility and ear raining. Order No, BMC-9307 BOSTON MUSIC COMPANY A part of The MUSIC SALES Group l $9.95 in US.A I | “Il $8.85