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1938

Violin Course: Grade 1, Compositions

Sherwood Music School

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Recommended Citation
Sherwood Music School. "Violin Course Grade 1, Compositions" (1938). Sherwood Community Music School, College Archives &
Special Collectons, Columbia College Chicago.

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 ~herwood 9K,usic ~c1wol ~ourses
VIOLIN COMPOSITION 101

The Song qf tne Open Strings

A skillful artist can make an interesting painting with only a few colors . In playing this Com-
position, you are to do something similar in making a melody with only a few tones - the four tones
of the open strings of the violin.

As you play, you will observe that these tones differ not only in pitch (see Lesson 2, GENERAL
THEORY), but also in quality. The G string has a quality somewhat l~ke that of a bass voice. The
D string might be thought of as a tenor voice; the A string, an alto voice; and the E string, a so-
prano voice. Thus, the four strings might be compared to the four singers in a quartet.

See Lesson 1, TECHNIC, for complete instructions on how to stand, how to hold the violin, and
how to draw the bow. Count as indicated, evenly and regularly, so that each tone may have the prop-
er duration. Give each tone of this Composition a full stroke of the bow.

Copyrig'ht 1937 by A. J. Ll ewelly n . Imp erial and International Copyrig ht Secur ed

All rights r eserved fo r all coun tries, i ncluding the r ight of tr a n s l at ion
Printed i n U. S. A .
eSherwood C21Uusic ~dwol ~ourses
VIOLIN COMPOSITION 102

Miniature March
(E stri'ng)
<2Sherwood <2itlusic <2Sc1wol ~ourses
VIOLIN COMPOSITION 102

Miniature March
(R string)
Think of soldiers on parade as you play this Composition. Count your time as directed; this will
help you to play evenly and regularly, as you must do to suggest the precise movements of a march·
ing body of men.

All the tones in your part of this Composition are played on the E string. The half step which
occurs between E and F is marked throughout with slanting lines beneath the notes, so that you may
remember to put your finger down close to the nut of the violin for the tone, F.

Stop the string firmly, and leave each finger down until the music requires that it be lifted, as
indicated by the extended straight lines over the notes. (See Lesson 2, TECHNIC .)

Give each tone a full stroke of the bow. Hold the bow so that the stick inclines toward the scroll
of the violin, and always draw the bow parallel to the bridge. Do not apply any pressure to the bow.
Keep all parts of your playing apparatus in an easy, relaxed condition.

Pupil

Teacher

Copyrlg'ht 193 7 by A. J . Ll ew ellyn. Imp eri• l and International Copyri ght S ecured
All rig ht s reserve d f or all count r ies, inoludiDg the rig ht of translation
Printed in U. S. A.
VC-102 - 2
~herwood @Jtusic eSdwol <2@ourses

VIOLIN COMPOSITION 103

The Carillon
(Open strings)
eSherwood <2/Jiusic eSclwol ~ourses
VIOLIN COMPOSITION 103

The Carillon
(Open stri'ngs)
A carillon is a set of bells so made that each bell sounds a tone of the musical scale. When
your part of this Composition is joined with that of your teacher, the whole will have a rich, bell-like
effect.
To play your part successfully, you must produce clear tones from the open strings of your violin.
And to produce such tones, you must take care to draw your bow always parallel to the bridge of the
violin, with the stick inclined slightly away from you. Do not apply any pressure to the bow, as yet.

When it is necessary to move the bow from one string to another, make the transfer by raising
or lowering your rig·ht elbow. (See Lesson 8, TECHNIC.)

Remember that the best results always depend upon a relaxed condition of all the members of
your playing apparatus.

Pupil

Teacher

Copyrlg·ht 1937 by A. J . Llewellyn. Imperial and International Copyright Secured

All rights reHerved for all countries , Including the right of trans lation
Printed In U. S. A.
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VC-103-2
~hertvood <2il{,usic ~clwol c4t3ourses
VIOLIN COMPOSITION 104

The Sandman Comes

(E string)
 ~herwood C2JKusic ~c1wol ~ourses
VIOLIN COMPOSITION 104

The Sandman Comes

(E string)

The evening is drawing to a close. It is getting late and you feel sleepy. Look out! The sandman
is coming. Of course, there is really no such person, but when you are sleepy, you rub your eyes, as
though there were sand in them; and so we just say "the sandman is coming."

This is the idea which you are to express through your playing of this Composition. To suggest
drowsiness, play softly and slowly, as marked; and connect your tones smoothly with legato bowing.
(See Lesson 5, TECHNIC.)

Play the fifth and sixth lines a trifle faster and a very little louder, as indicated; so~thing has
roused you - a noise perhaps - and you are restless for a few moments.

At the beginning of the seventh line, play softly and slowly again, to suggest dropping off to a
sound sleep. Toward the end you should play softer and softer. The last measure should be so soft
that you can hardly hear it. For now you are fast asleep, and must not be awakened until morning.

All notes in your part of this Composition are played on the E string. Press the string firmlyto
the fingerboard for all stopped tones, but avoid any undue tension in doing so. (See Lesson2, TECHNIC)
Keep all the members of your playing apparatus relaxed.

Be sure that your bow is always parallel to the bridge, and incline the stick toward the scroll of
the violin.

Play sqftty and slowly

"1,,-.... 2

Copyrig ht 1937 by A. J. Ll ew ellyn. Imperial and Int ern11tlon11l <;opyrlg ht Se cur ed

All rights re served for all countrie s, including th e right of tran sl ation
Printed in U. S. A.
Play a little faster, a little louder

Play softly wnd slowly again

,,,..-.....

·Play very softly

VC -104- 2
eSherWood <2/J;(,usic ~c1wol ~ourses
VIOLIN COMPOSITION 105

In Pensive Mood
(A string)
 @~her?.vood <2/Kusic ~chool ~ourses
VIOLIN COMPOSITION 105

In Pensive Mood
(A string)
Pensive means "dreamily thoughtful". Mood means "state of mind". If you should be sitting
quietly, not saying anything, but just thinking of something rather serious-perhaps wondering wheth-
er you will receive a high mark or a low one ori your next lesson- you would be in a pensive mood,
or a thoughtful frame of mind.
In playing this Composition you must first try to get into such a mood. You cannot play it ef·
fectively if you are joking or cross or thoughtless.
You will observe that the sustained tones of the melody are so arranged that they seem to express
a musical idea which is by nature serious. To produce the effect intended, play slowly and connect your
tones by legato bowing.(See Lesson 5, TECHNIC .-) Give each tone a singing quality.
Your tones will sing if you follow the rules which have been given you. Draw the bow parallel
to the bridge, and keep the stick inclined away from you. Apply no pressure to the bow. Stop the
string firmly. Keep all members of your playing apparatus relaxed .
.
If you detect a mistake in pitch, do not correct it by sliding your finger along the fingerboard; in·
stead, lift the finger and put it down again.
Hold your violin so that the fingerboard is horizontal, and keep it tilted enough so that the G
string is a little the highest.
Count your time as an aid in playing evenly, and play at the same rate of speed throughout this
Composition.
Play slowly
WB
L.J 3
Pupil

2 - 3, 1 - 2 - 3, etc.

Teacher

Covy rig ht 1937 by A. J. Ll ewelly n. Imp erial and Int.r1rntiona l Copyrill·ht Secured
All rig ht s r eserved for a ll co untrieb, in cludin g- the ri g ht of translati on
Printed in U. S. A.
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VC-105 -2
eSherwood C2iJtusic ~clwol ~ourses
VIOLIN COMPOSITION 106

The Old Legend

(G,.D and A strings)
 @}Sherwood <?Aiusic @1Sdwol ~urses
VIOLIN COMPOSITION 106

The Old Legend

(G, D and A strings)

It is the story telling hour, and around the camp fire sits a spellbound group, listening to an
old legend which has come down through the centuries.

Is it a comic folk tale, like the one about the man who was granted three wishes, and used
them so foolishly that he got nothing from them? No! It is a thrilling story of a heroic deed-
possibly the story of the boy who saved the Netherlands from being flooded by stopping a leak in
the dike with his hand.

When you begin your practice of this Composition, play very slowly, until you feel sure that
you can play the notes accurately. Then play it somewhat more spiri.tedly to .suggest the
excitement which underlies the poetic idea of the piece, as above explained.

Wherever you see the slur mark......_......, remember that the notes connected by it must be played
in one stroke of the bow. (See Lesson 5, TECHNIC.)

Bear in mind that only a half step lies between E and Fon the D string, and that the first
and second fingers must be put down rather close together for these two tones. Look atilluStration
1 of the FINGERBOARD CHARTS to see the fingerboard location of B~ on the A and Gstrings; and E~ on
the D string, as called for in this piece, in measures 17 to 28.

Rather slowly and moderately loud

WB
u
Pupil

Teacher

Copyrig-ht 1937 by A. J. Ll ewellyn . Imperia l aud lntern1tti onal Copyrig'ht s ~cure<i

All rlg-ht s re served for all countries , Including- the rig ht of transla tion
Printed In U.S . A .
 A little faster and louder

Rather slowly

36

48

VC-106 - 2
 eSherwood C21Kusic 0School ~urses ) (,'.H'J
t
VIOLIN COMPOSITION 107

Ballet of the Happy Spirits

GLUCK

As you know, a ballet is a dance, and after you have studied this Composition for a little while,
you may wonder why this very song-like piece is supposed to be a dance.

If you do so wonder, you must pause to think that this music comes to us from the eighteenth
century, when forms of musical expression were not so free as they a.Fe today.

You must remember, too, that this music (taken from the opera "Orpheus and Euridice") has to
do with spirits who are happy in the· peace of another world. Their happiness is a quiet happiness -
not_ari excited happiness.

In your playing, you will express their serenity by playing in moderate tempo, with a singing
tone. (See Lesson 19, TECHNIC.)

Watch your slur marks carefully, to see which.tones are played with separate strokes of the
bow, and which are slurred together in one stroke. (See Lesson 7, GENERAL THEORY.)

The rests in measures 5 and 25 must be observed by interrupting the movement of the bow.
(See Lesson 9, GENERAL THEORY.)

Measures 8, 9, and 28 contain repeat marks, and if you do not fully understand these, review
Lesson 7, GENERAL THEORY.

Mark this melody in your mind as a classic-· a piece which has stood the test of time, holding
a place in the affections of music lovers for nearly two centuries.

For biographical notes on Christoph Willibald Gluck, see Lesbon 76, HISTORY.

Copyright 1938 by A. J. Llewellyn . Imperial and International Copyright Secured

All rights reserved for all countrie s , including the right of translation
Printed in U. S. A .
 VIOLIN

Moderato

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VC-107-2
 eSherwood <2/U',usic ~dwol ~urses
VIOLIN COMPOSITION 107

Ballet of the Happy Spirits

GLUCK
4
For Violin and Piano

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Copyrig·ht 1938 by A. J. Llewellyn . Imperi a l and International Copyright Secur ed

All rights reser ved for a ll countries, including t he r ight of transl ation
Pr i nt ed in U. S. A .
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28

VCP -107 - 2
 eSherwood ~usic e&lwol ~urses
VIOLIN COMPOSITION -110

Son~tina
Op. to, No.1
HAUPTMANN

As you go on with your music study, you will come to know a large number of sonatas, as well-
a.s many pieces which are not called sonatas, but which are written in the sonata form.

A sonatina is a small sonata; so, from your study of this Composition, you will gain some idea
of what a sonata is .

As you will see, this piece has several divisions, or n;iovenients-three, to be exact-and when
you have learned to play them, you will find that they go well together, ;yet -they are delightfully differ-
ent from one another. You will find the same thing true of most of the, s.o natas Which you study later.

You will also find that the first movement of a sonata has two separate themes, or melodies. In
') studying this Sonatina, you will readily see that tlie first movement has two distinct parts (measures
1 to 8, and measures~ to 16); although you may find it hard to say whether these form two themes, or
two parts of the same theme.

~ The first movement should be played rather loudly, and in a fairly lively tempo (allegro moder-
ato). The second movement should be played mo:re slowly (andante), and softly. The third movement
should be played more rapidly than the first (vivace), and about as loudly. Piu mosso, the phrase
which you will find in the third movement, means "more rapidly"; so the last part of the final move -
ment should be played even faster than the first part.

In the first and second movements, especially, you will have need for tones which sing. To be
sure of producing sucli tones, you will fin,d it helpful to review the part of Lesson 19, TECHNIC, which
tells about "Coordinated Action in Producing Tones of Good Quality."

The sixteenth notes in the third movement should be played with the wrist legato stroke. (See
j Lesson 10, TECHNIC.) The staccato notes in the same movement should be played so that they will
sound like sixteenth notes separated_by sixteenth rests. (See Lesson 18, TECHNIC.)

Moritz Hauptmann (J..792-1868) was a German violinist and composer whose works are noted for
their perfection of form. He was a pupil of the famous Ludwig Spohr, and was one of the teachers of
Ferdinand David and Joseph Joachim.

28
Copyright 1988 by A J. Llewellyn . Imperial and International Copyright Secured
AU rights re serv.ed for all countrie s, including the right of translation
Printed iu U. S. A.
'-2
 VIOLIN

I
Allegro moderato
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VC-110 -2
~herwood C2Aiusic ~chool ~ourses
VIOLIN COMPOSITION 110
Sonatina
Op.10, No.1
HAUPTMANN
For Violin and Piano
Allegro moderato I
u 0
VIOLIN
mf

PIANO

u_ _ _ __
0

12

16

Copyright 1938 by A. J . L l ewellyn . Imperia l and Intern atio n a l Copyrign1' S ecured

All rights reserved for a ll countries, including the right of translation
Printed in U. S. A .
 2
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VCP-110-3· 2
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32

VCP-110-3- 3
~herwood C?Aiusic eSchool ~ourses
VIOLIN COMPOSITION 151

Tvvo Folk Song~

(Arranged for Two Violins by P. Marinus Paulsen)
 -,

<2-Sherwood <2/Kusic <2-Sclwol ~ourses

VIOLIN COMPOSITION 151

Two Folk Songs

(Arranged for Two Violins by P. Marinus Paulsen)

The first of these folk songs is known as "Sourwood Mountain"; it comes to us from the mountain
regions of Tennessee and Virginia. The second is an old, old May song of the people in Cornwall County, in
England.

Both are as jolly as can be; so, when you have learned them well, you can really "let yourself go"
tn playing them. The first should have a broad swing to its rhythm; the second, a merry lilt. The meas-
ure accents should · be made fairly strong in both. (See Lesson 6, GENERAL THEORY.)

As ypu will notice, you are asked to play rather softly at times, then again rather loudly. This will
call for differences in the amount of pressure which you apply to your bow. (See Lesson 14, TECHNIC.)

When you play the Cornish May Song with your teacher, you will observe that your teacher's part
is a repetition of yolll' own, most of the time, coming along four beats behind. Remember this as an ex·
ample of What we call "canonic imitation,,.

Folk songs are songs that are sung by the common people, and express, very largely; the character-
istics of the district or nation from which they come. _They often celebrate some national event or senti· ,
ment. We sometimes think of them not as the work of individual composers, but, instead, the product of
a whole people. This, of course,is incorrect. Someone must have composed them sometime; but, in most
cases, the name of the composer is lost, or was never known.

P. Marinus Paulsen, who has made the arrangements of these folk songs for two violins, is a oon·
temporary American composer of Danish descent.

SOURWOOD MOUNTAIN
Moderato
-. ·- -- -- -- -- -,. - --
ll I.I I I

-- -- -- -- - ..
I
Pupil "
I "'
4 -..... 4
I iJ 4

mp
I
t
...~
Teacher
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4!,)
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<

fl
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~

-"I .... ... -

Copyright 1938 by A. J . Llewellyn . Imperial and Intern ational Copyright Secured
All rights reserved for all countries, including the right of translation
Printed in U. S. A.
 CORNISH MAY SONG

Pupil

Teacher

VC-151- ~
~herwood C?Aiusic ~clwol ~urses
VIOLIN COMPOSITION 152

Bourree
BRANDVIG

In this Composition, you will find one of those happy melodies which insist on"runningthroughone's
head". Outside your practice period, you will quite likely find yourself whistling or humming it.

The mood which this piece expresses is the gay mood of the dance. The Bourree is one of the more
animated of the ancient dance forms.

The tempo .mark, allegretto, tells you that your playing should be only moderately fast, with speed
well under control. It tells you also that y~ur playing should sound light and cheerful. Alleg':'etto is one
or those terms which give a cue not only to the tempo but also to the general nature of a piece.

Take care to make clear your measure accents and your measure pulses, and to play in strict time.
Perfectly even rhythmic movement always adds to the musical effect of a dance of this kind.

As indicated by the repeat marks, the first section, ending with measure 8, should be played twice,
before you go_on with the rest of the piece. (See Lesson 7, GENERAL THEORY.)

The bowing is legato throughout, either with one stroke to each tone, or with one stroke slurred to
cover two tones. (See Lesson 5, TECHNIC.)

For directions to cover the playing of the double stops like those in measure 8, see Lesson 27,
TEOHNIC.

The last two measures should be played ritardando (gradually slower), to bring about a satisfao-
tory ending.

HerbertBrandvig is an American violinist and composer who has given special attention to the
composition of pieces which may be mastered and enjoyed by violin students in the early stages of their
progress.

Copyright 1938 by A. J . Llewe llyn. Imp eria l and Inter nation a l Copyr ight Secured
All r il'·h t s res erved for all countries, i ncluding the right of trans lation
Print ed i n U. S. A.
 VIOLIN

Allegretto

@-D t @IJ r r Ef IG 0 El D IJ r r a IF r J ~ I
f . mf 4

@-D J r r Q I G fff EJ D IJ rr a I d = 0 :I 8

12

@~ r r r CTI r J r E? Ir :J
rit
E 0 Ir 20

@~ .r J' . r D I F J E E1 I r 0 F ttLl I r· I24

VC-152-2
 ------------~~=============~==~====~,----,-,

~herwood C2iJiusic @dwol ·~ourses

VIOLIN COMPOSITION 152

Bourree
BRANDVIG
For Violin and Piano

Allegretto
A
VIOLIN

PIANO

ft

12
A u

16
Copyrig·ht 1938 by A. J . Llewellyn. Imperial and Internationa l Copyright Secured
All rig·ht s re s ~rved for all countrie s, Including the right of translation
Ptlnted In U. S. A
 ~

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VCP-152·
 eShertvood C21Kusic G?.&hool ~ourses
VIOLIN COMPOSITION 153

Minuet -
From the Concerto in F
HANDEL
(Arranged for Violin and Piano by P. Marinus Paulsen)

Every century leaves a record of itself in works of art-buildings, books, paintings, costumes,
music, and many other things.

Much of our education is given to a study of this record. By this means, we live not only in our
owntimes,but also in the past, enjoying the best that has been thought and said and done in all ages.

We observe, as we study, that styleE! in art are always changing. This Minuet is _a good example
of that fact.

It was written in the eighteenth century, and mig·ht have been played at that time for those who
danced the minuet. Now, it would seem out of place in a ballroom, but we enjoy it as a piece of mu-
sic which recalls a time when dancing was perhaps less exciting fun than now, but certainly a more
graceful diversion.

In playing this Minuet, your tempo must be unhurried, and your measure accents should be fair-
ly strong.

The changes from loud to soft, and from soft to loud, should not be made gradually, but sudde_n ly.
This will require v~ried amounts of pressure on the bow. -Be careful, however, never to exert too
much pressure, and to increase tlie speed of the stroke as you increas~ the pressure. (See Lesson 14,
TECHNIC.)

Watch carefully for tones which are to be played staccato. (See Lesson 18, TECHNIC.) A dis-
tinct contrast between connected and disconnected tones will add much to the charm of your playing.

As you will notice, the final measures are to be played very ~oftly, and pi.z.zicato. (See Lesson
22, TECHNIC .)

For biographical notes on George Frederick Handel, refer to Lesson 72, HISTORY. P. Marinus
Paulsen, who arranged this Composition for violin and piano, is a contemporary American composer.

Copyright 1938 by A. J. Llewellyn. Imperial and International Copyright Secured

All rights reserved for all countries, including the right of translation
Printed in U.S. A.
 ~

VIOLIN

.I

·I

~
I

:11

VC-15 a· 2

~
 eSherwood <2/J{usic eSdwol ~urses
VIOLIN COMPOSITION 153
J.\Iinuet
From the Concerto in F
HANDEL
(Arranged for Violin and Piano by P. Marinus Paulsen)
Moderato
VfOLIN

PIANO

Copyright 1938 by A. J . Ll ewellyn. Imp eria l and Internation al Copyright Secnred

All rights reserved for all cou.ntries , including the right of translation
Print ed in U. S. A .
2

... . ..

p sempre staccato

VCP-163• a· 2
 3

VOP-153- 3- 3
 eShettvood <?/Uusic e&1wol ~urses
VIOLIN COMPOSITION 154

Petite Berceuse
Op. 2, No. 2
LIPSKI
(Arranged for Violin and Piano by Sidney Silber)

The French title of this Composition simply means "little cradle song". So, this piece is intended
to give us a picture of a fond mother lulling her child to sleep.

Perhaps it will help you to grasp the meaning of the music if you will think of this piece as a
poem in which we repeatedly come upon the words "Hush-a-bye~' Do not the first three notes of fue
violin part suggest these words? This phrase is used eight times altogether, although sometimes
it is changed a little:

This is a good example of what we call a figure, or motive, in musical form. (See Lesson 17,
FORM AND ANALYSIS.)

Some of the accidentals in this Composition (see Lesson 8, GENERAL THEORY), will call
for chromatic stopping, and in preparation for this, you will find it helpful to review Lesson 12, TECH-
NIC.

Refer to Lesson 14, TECHNIC, for instructions on how to bow so that you earl make effective cres-
CB1Ulos and decrescendos, as needed at many points in this piece.

The use of the mute (as called for by the words con sordino), will help to give your playing the
dreamy and far-away quality which a lullaby should have. (See Lesson 73, TECHNIC.)

The fingering for this Composition requires some use of the Third Position. (See Lesson 28,
TECHNIC.) If preferred, however, it may be played in the Fir.st Position only.

In a number of measures you will find the note, D (fourth line of the treble staff) marked with an
1
0". This is a sign for a natural harmonic, an explanation of which you will find in Lesson 50, GEN-
ERAL THEORY. The natural harmonic in the last two measures should be played by touching the G
string lightly at C, with the third finger.

Stanislaus Lipski and Sidney Silber were fellow students under the famous Leschetizky~ in
Vienna. This Composition was originally written for the piano, and it has been ~rranged by
Sidney Silber for violin and piano, as a tribute to his friend and colleague.

Copyright 1938 by A. J . Ll ewellyn . Imp erial and International Copyright Secured

All rights re s erved for all cou ntries, including the right of tran slat ion
Printed in U. S. A.
 -

VIOLIN

Moderato (motto semplice e espressivo)

(~ (D) 4~
;j:•I

(A)

piu a;nimato

~- @ Ir ~ I j I ~zu
JQ? I u I E1 0 I r
u---? ~ I
===.- f=-

o a tempo
i-3 /\ 3 4

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y-• .' ---~ ,--. ~2 ~
I c4 I@
,,_-;-.....1
~ ~
- I
=======~.t-d
ri ar '11/:f tranquillo · P....__,,

Tempo I

4• L) 1ggj 1tUJ 1tEJJ IJ. Ji 1r=r

poco ritenuto ritard mp
I# ~ I

f
larga-
I

.
II

vc ·1M·2
eSherwood·<?JJ{,usic e&hool ~urses
VIOLIN COMPOSITION 154
Petite Berceuse
Op. 2, No. 2
LIPSKI
For Violin and Piano
Moderato (A)
(motto semplice e espressivo) u (D)

VIOL IN
" LI .. . -8 - ~
1 o-
~
8

---
tJ p I
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-
-'

r' r
\ '"-
' '
conrpedate r f'

Copy r ig·ht 1938 by A. J . Llew ellyn . Imper ial and International Copyrig ht Secured
All r ights r eserved for a ll count ries, including the r ight of tra n sla.tion
Printed in U. S . A.
 2
A s~!
a tempo
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ritard mf tranquillo
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VCP -164-1
 ~herwood ~usic <2&1wol ~urses
VIOLIN COMPOSITION 155

Indian Summer
To Mr. John T. Mc'Cutcheon

GEORGE PERLMAN

Along about the time when boys are busy with Hallowe'en pranks - o:r a little later, perhaps - We
have the short season of wonderful weather which we call "Indian Summer~'

Nature is drowsy, and she is getting ready for her winter slumber. However, as -we ourselves are often
apt to do, she puts off just a little longer the time for going to bed.

Responding to Nature's mood, we feel a dreaminess and languor which have been written into this
Composition with entrancing effect.

In taking up the pleasant task of mastering this piece, however, you must not be either dreamy or
languid. You must size up its problems, work out the answers to them, and proceed according to a plan.
It is for your listeners, rather than yourself, to dream as you play- although it is true that in order to do
your best you must yield yourself somewhat to the spell of your own magic.

No technical points present themselves with which you are not already familiar, but the matter of
phrasing is one which must be given your most careful attention.

This melody is put together like the links of a chain, each link a phrase. Here is the first:

41 ~1nea=1r~ =====--
The other phrases will become obvious to you as you feel your way through the music. The TECH-
NIC sections of Lessons 19 and 43 will tell you in detail just how to make your phrases stand apart, yet
cling together. Apply these instructions, and they will help you to make your interpretation a success.

Your tempo should be fairly slow. For the most part, your tones should be soft, but you must avoid
monotony. As an experiment, take just the first phrase and play it with slightly increasing intensity as
the tones rise in pitch, then 'with decreasing intensity as the pitch falls at the end of the phrase. Do you
not see how each phrase can be made equally interesting by your thoughtful treatment of varied intensi"o/?
(See Lesson 14, TECHNIO.)

This Composition, which will surely become a favored item in your repertoire, was written by George
Perlman, an American violinist, teacher, and composer, of our own times. It is dedicated to Mr. John T.
McCutcheon, the great American artist,"because of his tremendous contribution to his chosen art, but
especially for his masterpiece,'Injun Summer,'which has become dear to the heart of every American
child."

Copyrig-ht 1S38 by A. J. Llewellyn. Imperial and International Copyright Secured

All rig-hts reserved for all Countries, including the right of translation.
Printed in U.S. A .
2
VIOLIN

Moodily

~t1 1t ~
4

::::==-8

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19

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32

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VC·1$·Z

I
 eSherwood C2!Uusic <2&1wol ~ourses
VIOLIN COMPOSITION 155
Indian Summer
To Mr. J ohn T. McCutcheon
GEORGE PERLMAN
F'or Violin and Piano

\'JOLIN

PIANO > pp

0 .--.. _o
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Copyrig·ht 1938 by A . J. Llewellyn. Imperial and !n(ernation al Copyright Secured
All rights reserved for all countrie s, including the right of translati on
Printed in U.S. A.
 2
a temp•

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 3

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VCP-155-3-S
~herwood <2M',usic C0Sc1wol ~ourses
VIOLIN COMPOSITION 156

A Fond Memory
PAULSEN

Music is many things to us, but, most of all, it is a way of expressing our feelings. Sometimes it
can do this for us better than words.

If we want the baker to send us a loaf of bread, we have to use words to tell him so; nothing else
will do. If we are touched by the beauty of a wild flower, we may use poetry to tell others how we feel;
or, we may find that we can tell of our feelings better through music.

The title of this Composition makes it clear that the composer has drawn his theme from some- ·
thing which he remembers fondly out of the past, and the vein of feeling which runs through the music
is one of tenderness.

As we might expect, the melody is like that of a song, peaceful and expressive, moving in moder-
ate tempo, with certain strains repeating themselves several times.

For the singing tone needed in playing this Composition, you must observe all points of coordinated
technical action described in Lesson 19, TECHNIC.

Watch carefully for the numerous crescendos and decrescendos} and special accents, all of which
should be produced by varying the pressure on the bow,and the speed of the bow.(SeeLesson 14, TECHNIC.)

If you have progressed technically to the point where you are making use of Positions other than ·
the First Position, play this Composition with the fingering indicated; otherwise, play it in the First Po-
sition only (for which, by this time, you will need no special fingering indications).

The composer, P. Marinus Paulsen, is an American musician, of our own times, and of Danish
descent.

Copyright 1938 by A. J. Llewellyn. Imperial.and International Copyright Secure<.

All rights reserved for all countries, including- the rig·ht of trans lation
Printed in U. S . A .
 VIOLIN

Andante moderato
(G)

@•u J 'J J Jj 1bt_}1c f9. lid 101Jij

p .._/1====--
1--==:::::: ~
espressivo

a tempo

ten. slower

Jb J J J J I Ll J. J1 I f:Ji dgJz I J J cl--= r1 I

~1 = :: __ ~
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(D)

(Al . ' • r.-.i:,---...__£.

, '
(D)
a a
. o

J. UJ1 rQ r r?r 1rQ = = 1 1

VC-156-2
eSherwood <2/Jiusic eSchool ~urses
VIOLIN COMPOSITION 156

A Fond Memory
PAULSEN
.For Violin and Piano

Andante moderato
(G) ten. 4 r.-..
VIOLIN
..__,,,1 ........_,_ 4 ......._......
--=== =- 1

PIANO

piu
r.-..

mos so

Copyri&"ht 1938 by A. J. Llew ellyn . Imperia.l a nd Interna.tionl Copyright Secure d

All right s re se rved for all.countries, including the right of tran slation
Printe d in U.S. A.
 piu,
(E)
ten. 4
A

>
3~ rit.

mos so 2~1
~,

8l0Wer
ten. 4
-==== ===--

I'

p .___L._J
molto rit.

VCP-156-8
 eSherwood <?Atusic ~c1wol ~urses
VIOLIN COMPOSITION 157

Rondino
WILDMAN

A Rondino is a "little Rondo", and the thing for you to remember about a rondo is that it uses
the same melody several times, with other melodies set in between. (See Lesson 50, FORM AND
ANALYSIS.) .

The repeated use of the main melody gives one a sort of feeling that the music "goes 'round",
and in fact the word "rondo" and the word "round"do have a good deal in common.

You will have no difficulty in tracing the use of the main theme in this Rondino. Play meas-
ures 1to12; here you have it in the key of C. Play measures 21 to 32; here you find it ih the key
of A. Then you will find it again in the key of C, from measures 64 to 74. As you pfay the whole
piece, observe how eac~ "in-between" melody seems to lead back to the main theme; when you come
close to it each time, you will feel a sense of expectation, as if you might say, "Here it comes again!"

No doubt a rondo could be a sad p1oce, but the truth is that composers most often use it to ex-
press a mood which is quite gay. This Rondino is to be played allegretto giocoso} that is to say,
fairly fast and playfully.

Give your very best attention to measure 1. It contains a bowing pattern which is used a great
many times throughout the piece. As you will see, a long slur mark covers a short slur mark. So you
&re to play the whole measure with one stroke of the bow; but you must halt the bow for just an in-
stant after the second note, to observe the eighth rest. (See Lesson 41, GENERAL THEORY.)

You will find an echo effect in measures 32 to 39. The notes which you play loudly in meas -
ures 32 to 35, are to be repeated softly in measures 36 to 39. For instruction on playing loudly and
playing softly, see Lesson 14, TEOHNIC. The same effect occurs again in measures 48 to 55.

To get the greatest enjoyment from your study of this Composition, and all other Compositions,
read it right the first time you practice it. In this way, you will avoid errors which take needless
effort to correct, and you will more quickly get the full sense and beauty of the music.

Arthur Wildman, the composer of this piece, is an American musician, living in ·Chicago.

Copyri ght 1938 by A. J . Llew ellyn. Imperial a nd Int ernational Copyright Secured
All rights reserved f or all countrie s, including the right of translation
Printed in U. 6. A.
 VIOLIN

'
b 't 4 l1ltJ :l I d. I r I=~· I r I J I r I=r Ir- 1um. I
%

~ rit.
0

fa tempo
o

35 P 36 39 71/f 40
32

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~
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IFG . r--~='t=r 1=r"~"r. 114,r 1
lf1"r. 1r r rc=1r·1c _o .

rzt. a tempo 64 f ========-- crescendo 70

' o® IPf=
r1~r I•=st
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re [Cl ;~·
diminuendo rit. 74 p a tempo
I oi
fdrro§tI n 78

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rd. f a tempo P
rssl

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l l9JI
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VC-157·2
 ~herwood ~usic e&lwol <£?,ourses
VIOLIN COMPOSITION 157

Rondino
WILDMAN
For Violin and Piano

VIOLIN
==---=- crescendo

PIANO

diminuendo

f diminuendo

11

17

-
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1 I
- - - -211 1--------1 24

Copyright 1938 by A. J . Llewellyn. Imperial and International Copyright Stteured

All rights reserved for all oountr\es, including the right of tra.nslation
Printed in U. S . A.
 -.. . . .- - -
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f VCP-157- 3 - 3
 ~herwood <2iJiusic eSchool ~urses
VIOLIN COMPOSITION 160

Concertina
GEORGE PERLMAN

Have you ever stopped to think of the ways in which man is different from the animals? He seems to
be different in many ways-but, really, only in a few ways that count.

Man stands far above the animals because he excels in the use of his mind, his hands, and his voice.
What is more, man has a spirit, and his spirit is sensitive to beauty. Man loves beauty as he sees it in
Nature. He tries to live a life which wµI be beautiful. Out of sticks, stones, strings, sounds, and many
other things, he fashions the arts, that he may revel in their beauty.

We see then; that in working with music, we are dealing with something which has come out of the
the finest in man's nature. We see, too, when we try to trace music to its source, that it must have had
something to do with man's learning tu use his voice in singing. We may well believe that musical instru-
ments were developed as "another way of singing". So, your violin is, to you, "another voice". "When you
play it, you are singing- although not with your vocal cords.

These are ideas which you may remember and use to good advantage through all your music study. Ap-
ply them to your study of this Concertino. Open your mind to its beauty. Then sing it with your other voice,
the violin.
Your song will be rather exciting through the first movement. It will have no words, but your tones
should have all the eloquence and meaning of a dramatic poem. For the changes from lbud to soft, observe
the instructions given in Lesson 14, TECHNIC, under the he~ding "Playing Loudly and Playing Softly".
Bring into your playing, also, all the points of technical action necessary for a singing tone, as described
in Lesson 19, TECHNIC. Your tempo should be moderately fast.
The second movement is as dreamy as can be, and should be played fairly slowly. As you will see, it
is all to be played softly or very softly. In the very soft passages, you may find it desirable to withhold
from the bow a part of the weight of your hand, by pressing down slightly with your little finger.
The third movement is an example of the three part primary form which is described in Lesson 33,
FORM AND ANALYSIS. The first part ends with measure 37, and the second partendswithmeasure
57. The third part is, in effect, a repetition of the first. The very spirited first and third parts suggest a
lively folk dance; the middle section is like a plaintive song.
In playing the third movement, you will have much use for the wrist legato stroke, with the rapid
eighth and sixteenth notes. (See Lesson 10, TECHNIC.) Staccato strokes are also called for frequent-
ly. (See Lesson 18, TECHNIC.) Watch with special care for single staccato notes, as in measures 8 and 9.
These are important because they give a finishing touch to a phrase.
A Concertino is a short Concerto, and a Concerto is sometimes spoken of as a "show piece"because of
its brilliance. Within.the bounds of good taste, your playing of this Composition will display the tonal
charms of the violin, the beauty of the piece itself, and your own musical ability.
George Perlman is an American violinist who is well known as a teacher and composer. As a foot"'.
note to this piece, he writes: "This Composition was written with the idea of outlining for the benefit of
the elementary student all of the basic rhythmic phases, and introducing them in clearly defined pedagogic order,
so that the student,upon completion -o f this Concertino, will have evolved a well integrated rhythmic sense."

Copyright 11138 by A . J . Llewellyn. Imperial a.nd International Copyright Secured

All rights reserved for all countries, including the right of translation
Printed in U. S . A.
2 VIOLIN
I
Moderately fast (moderato) u
5 u . ~

' t 1 1
1
f
r J J 1 r· r 1r
(loudly )
t r c 1r J - 1r J J 1 JO

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17

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1n r r 1n c r 1u r E 1
4 4

--= ===========~
· ~~~
incr ease one mF(moder
:I atelyloud ) 32

&u r r 1u Evr Cr! 1r r ttttrc rr (r J J 1r· r1

. ritard (slow wp ) a tempo (in time) 37
~ 4

&r r·r t 1r 4 - 1r J J 1r r 1t t F r 14 1 - J
4

'
JJ
W
p
H J J I JJ 33 j In
A
JJ JJ JJ In JJ j I;f - ~I
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pp (very softly) 61

1JnnJJ w IJBwnJ w
68
1
VC·l60·6··8
 3

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VC-16():6·4
 5
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 eSherwood C2/U',usic ~chool C2@ourses
VIOLIN COMPOSITION 160

Concertino
GEORGE PERLMAN
For Violin and Piano
I
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Copyright 193 8 by A . J . Ll ew ellyn . Imperial and Intern ation al Copyri ght ::;ecured
Al.I rig ht s r eserved for a ll countrie s, in.e luding the right of tra ns l ation
Pri nt ed in U. S . A . ·
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