8

[I] Chorus from "Judas Maccabaeus"

Maestoso ~ G.F. Handel
(i) , ~ 0~ -----c_ 0

l~c
f
r go r r 1 1 ~= r r r· 1 1 1

t:
1~ u
@·-~-
rr1 r 1r r ..- ) J r·
0

- 0 -,
-
.0
~ 1@
m+'
1"1

'J
~
rr1
0 4~..... -~- 0

Ir r r r I J. I ?C; r r If r
0

IH F r I TI

IJ f Elf~
0

I E" i 1 IT f@! G G
l@ffF I
f
~

~16TUt1f
4 ------ 0 ........----.., 17'\

lEg· ~
~
I• rall.
?· ~ I r·
! ~
--========= ff
;
.
.~-1

I
I

~dante pastorale
w Musette /1 ) (.. ., \
V'--, \ - '
_..-'\ -·-i
i
''----- '•,,,
-~

...)
J.S. Bach
. _ /'0 0 -;_ 4
-·~~~-~·---- ---~

~ :"'\

IJ# ~t r Et I ~
mf
d'f E! I Q r E! I crrtf(fr IE OJ
~ E --
JE#IF f t If ~ d & I E=i' t1 ( r I t=E r r
f
~ ......-...__ ~
4

1
~ v-

mf dim.
~
arg 0

v F ~~r tL1' tr: f'"""iff("'"::;grrr1crrrr:s1

'""" '"""
cresc.
0 ;---

(,.;'\
~
{;\
·~

.~ 0~, 0/v
JE# F II
mf
r Erlf'c=Yf trl@ @I=E@IL fj)
p

Circled numbers refer to corresponding numbers in practice suggestions.

 j' j'

II --5±¥ a ;g;~J 1 II= & -.J I 1 ~ 1i ) #fl

mI
j'j'

P VJJ Jk J]J Jl fti

j I f ? J =II J J J J J J I J J J J J J ~~I
w ~ ~ ~ ~·

0 G)

II
0
J I J J J JJj I J 1 J 4I J 1 1 #81

t ._ t; 22! ;'~
J I 1. 1. jT 1. 1.
t.1 0

J #It
4
~ J I
•. •. • I
...... ......!
11~11 . -.-.
T
~

b~4 JIJ4J__JI1J 1 1 Ja a #mt

j'

pq;JJJJI J J. J JI 1. J. ~ a ~PI1

~~~· ~ :._-;
II •

6
 d f

1nootJ 1&ot~JtJ 1ffoVtJ 1&otJQ fl

I i to Ef
0
eI utJ ~ JtJ I [t 9s J. .j t)J n
'-' ·__- aLB] '-'t
fl
fw

I tfgJ~ dJ I tfg#j~j I
"- ...._,•
tfgJJtd ld#QJj(J 11
•
........,.
0 °__- Q ~
1\
~
1\
0 1

-
·, t · uoqB!JBA

d f

Et .J 1 a Jn 21 J n td J¥Jil
t
J at-

d
~
----============= ~ ~
I t .d I £J J fJ J I J il J I J1 J H= ~ fl ·
fw

E d a ;I LQ ; I J n
t
JI J1 J fJ J a~I .,
~

OlUJ;)POW

Ol
 II

Finger Placement Studies

Ex. 1 Practice resetting the finger firmly on each single string. Keep left
elbow flexible, swinging in under the viola for the C string, and
back to the left for A string notes.

Ex. 2. Practice staccato first, then legato. Set finger first, then bow, then play.

0 0 0

:me~ J Jr
4
! ~

•
I I fr
I
E frl r r J I EM; 4 4 .L

It r r J 11

Walking Finger Studies

Take care that the fingers are released with as much vitality
as when they are placed.
 /,'

--"·-
r "
~"' t -
12

[I] Waltz

-= =
~----- -~ ~ ---~~
-m trr ~ I FJrffil ?Eft IF" (81P poco cresc.
1

CFE1

~~ ,. .-. ._ u--:... ·~ ~ ~-~

IE L rE I ur r
1
I, FYW1 Ef@l
1
r '"r ~
f poco rit. PP a tempo ===---=--=-

11 FW I fG: 8 I hr- B I t1 ar I
poco rit.
F E I
 13

~ Bourrt~e
Allegretto G.F. Handel

4 -

-m rr u rr rr r rr r H r r t r
1 1 E g r·
1 A
f rit.
 14

Tonalization

I &~~ ~~ F F I F f I f f I f f
4

IF E Ic F =II r· ! II

Exercises for New Finger Pattern (Pattern 4)

Finger Pattern 4

0 2 3 4
1st finger is close to nut(~ step higher than open string.)
3rd and 4th fingers also are close.

.L .L

,., ,. •

~l
~
f If r r 4
br
4
1= ~~ b·
IS j r b j I &J b·I I I br bJ ]

To avoid pulling the 3rd finger out of proper position,

practice the following silent exercise. Keep the 3rd finger
This is the first time the lowered I st finger is used. in place as the 1st finger slides back from E~ to Eb.

3 3

r
1

IR&~~ ~[ IF $ II

Ear Training
Exercises for perfect octave intonation.
Listen to the resonance of the open C, G and D strings, and try to
match the octave pitches perfectly.
.
...
3

.
3
~ .
3

~ ~ *~
0 0

;~a
0
..
fife
f 1-Jl~d
b P'~
J'~ I . P-t f
Jl'i I Jl'i ~
. I
 15

[1] The 1\vo Grenadiers

CD R. Schumann
v
Moderato ~ Vr-·
I~&& e A - I_- $ •
''

I
~ t::}·r •
I
I E $ r I
mf
= =-
v
IE&&
0

r r #r
v
•
I I
~ :· ....
r--·
:
~
IE $ f I
====- =
=I&~ t r r' r ?t r F
--=====-
I~~~;:"@ I E' rd
i\
3

IE&~=r=-~
l
' '"\

fEll
I
l
.
;

•
~

J
~

d
V

J I
p agitato

cresc.
r u r·
v~.
\ I .

~ I •
=
r v0
v ~ -~ 0

~ 1 (?T;u< l"r r r 1

piu mosso --==~

Moderato @ f" -' _

II :ar • rrr 1 vr E2J
rit. f
'

JS# r t t r I F~~ 'I F I F F r r I f f r C

v
--==========
'.
-/'""'~ ~- v~

:m! r t i r 1 F~~ ~ c] 1 t r:rtr U 1 ~ CJr E!j

r
~

j ,......-----.

lit r r ~ ~
-I
f" -v • I
-
•
!
7
3
~ ,
I
.._• .L~
~ E
- --
r -
p·
I t=

-========
allarg.
16

[!] Theme from "Witches' Dance"

N. Paganini
0
V ~. o,.....--...._3 4 V

mf
E It ;_ E9 I ~ ~. E
0- 0 •
of:v o
~ 0

I ( j:J
3
§sf I F
~. ~3 4
v
0

1t" i t tt1~,
:::>

F
f

II

f
P meno mosso
 ,-
l

Position Etudes

The student should continue practicing until he becomes skillful at

these etudes.
At the beginning, practice the position etudes on one string at a time. When
they are mastered on one string, practice on the next string.

2nd Position

A string
1 2 3 ~4 3 2 . 1

IE 9tt r f f f r I 'r
1

1 ~ 1·

18 ! =II f

3rd Position
\ ;/\ !\ r--,I . t
,.. l. / \ .. \ -
A string 2
:3 ' 2 I 1 2 3 4 3·
2
4 3 4 3

IE ~bf f f I f f f =III;Uf f I f f fJm;!tif .f=kl f t

113 2 3 21

IB btJf f I f [4
1 _________________________
=llbfuTI
The left thumb should keep the same relative position with the rest of the
hand on both upwards and downwards shifts in these exercises. Hold the
viola firmly on the shoulder, but avoid excessive "squeezing" at all times,
and particularly on downward shifts.
18

Introduction to Positions

To familiarize the student with 2nd and 3rd positions. review the melody of
Perpetual Motion by Suzuki and then transpose it upward. step by step.

Perpetual Motion
E flat Major
4 . 4 4

crLt r~ rcrcr
• • • • • • ~ szm. ('- ....., ~ _._. ,_ • • ....., ~
Iii[,~~ e cr CJ (C LJ rc c· , 1 1 • 1 : ·::; 1 1

---1-
1

18 h~~ ff rr tt rr if cr r rrr t~_.__._ ~_._ .. t rr r rr r n

___________ 1
1 1
. t ___

etc.

F Major - 2nd position

2 3 3 2 3 4 4 3 4 1 3 4 2 1 1

m~e (rur:ru rrtrErtt 1

etc.

etc.

Also practice these exercises beginning on the G and C strings.

 ... \ /
'. -
~ Gavotte from "Mignon" 19

i - \'
AllegretJo ,. ,i'{Jhomas
I(, o ' ~ 4 0 ,., :1 •
I I • • •
~·. 1"'1 • ~ 0 • • • • • • • • • • - '. • ~

IE~
mf
ti I UP I r ;;rQ' I [Cft;;Cf.t I r ~ I
~. ? •
IE iffffl t ;-
··,I 4 ~
0 /'~,
··~ . . . . ~ . . 1!:. ~ •
- . • I I •

IB tJ f1 I ~ ; t fl t r jt r 1 6 hf 1 r , vc J
.fL

• 4

1~ f t#ft t r 1

I
~i).
4
•
CD9~ .40 0 ~ 0 •.•

a: ~r;t I F &[j riG ~ I E ¢t t f t FI

3 p

.. . rall. ., mf a tempo
\ .. ~ . . : •~ ? - '>i . : _._ £iii~ .. f-
IB r tt U 1d Of Qf r r1r u 1FMtt r c..td
~-. .
5£Ffft t 1 1t @t (F 1r

~
... . ~ . . . . .
;;rjtrtrrrrrtrl
...
20 .-
r"1
0 • • •

1 r ; r f1 1

rall. =========-- mf a tempo

~. . ~. .
;tnt r: :-cJ rt;;;; cd
4 • 0 ,;rL r"1 •
. f f:_
~t tt
-J!:_ • • .,_
1 1 Etftlj{far I

\f'
I c' - •
. 0 0

: ... I::J J7]

3
II?~
I #r I

.
Ii
~.
i. . C
5ftE£ . aJ.,_
I ,
\ ·'
~- 1"1
.
ltJ PI
0 •

- ~
~

I~ '
. r. . .
4

. rf
4B ( [ r -J I II
=====~

Twinkle, Twinkle, Little Star

(On the A String)

Note that only the first and last sections shift into 3rd position.

I
This is the key in which the violins generally play this piece.
Try rhythmic variants as before.

0 2 2 3 3 2 3 3 0
2 2 1 1

J FF I rrF I rr F F I
d II
1 3rd position rr Fine

4 4 4

r I r IF rr IF F r r IF F r II
D.C al Fine
 21

Ito I Gavotte
Allegretto V J.B. Lully
'\ ,, ~ 0 4
~

r ~ I r u t r 1r cr r u 1E u r @'
. ' _/ 0 • 0

··=mb ¢
mf con grazioso ~
1
[ 0
• 0 ~-
4

t
• ll

I; CJC E IF OFt I¥ rg
J. T

=mF=sf II · o ~
~~-~--;l"BCJ·nlr+Hir
•

mf
urea
. .~.

· f t ·I r ~
:W& F J!!.~ ~ 1? r I 1·
·- trr UIF &rrrrl
0 ~- 0 0
Ef E~
t32

~~ ~ ,
• r ~r=:,lpr=un1r =~====1=ttuEErr1
tr v o 0 o o o

poco rit. a tempo piu agilato \rd positionJ

P L. -
...
22

.i

-.-L LL r
L·f"·l .

1'7' v? 4
121223 ... 9'·
'
- i1 0 •......----.

-mb r r r r r r r r r
--~~
1

ritard. molto
I J jj F*+t=tft =f g
a tempo
mf

0 4

=1~ r Q' r U 1 F tr r e+# J

11
~~j_ I f &-fla
. . 4
II - . . . 4

I~& F C! F ~
I I j ll
I
. #f
J F
I
j
. r Ir F 4&11J
f

.
£J I
0
II
. j r I Ir ~ F
p

......----.
E? f~
mf
f I~ U!' Ult F
11
r t 1r U:t LJ
f

tr v
IH& F Ct f Ef I F [j f r FF I r~ }f pI F II
rit.
 23

In I Minuet in G
Allegretto G) : \ L. van Beethoven
v- 1
>-~ v~~~ ,
~ ft." " ~:f!:_• ~ ~·
B!£f ~~: r.

ft ~t
:f!:_"
"'-If u=tJh§ \

P
[
con grazia
·.0::>~ I I
+~ ~ I =
V~o 1. .I 2. 1 2. 1 1
~0 ~ ~
IS E # =-~ *~ I _.: ;-·
~I
•f •
! t l!IEEEffrl
1. 12. Q)V 1 4
-
I •

4.-...._ 3
v
4
4
0
4~

IE
I~# F I :.;'
=II I• e§f I =
t
mf
~
espress.
~ ~
L CF (Id
; -
v
f ,..........,
~

,- f r [J
...- \
v ._..,
8)\~
?'Ji •tli r J. I ~· ~~- :t~~ d~ I E
>- >- >- 1
3~0

t:tJ
2 4~
..........._ _7' ~
Ir I
..
 25

Practice Suggestions
Circled numbers refer to corresponding numbers in the composition.

(Chorus from "Judas Maccabaeus")

Check the potential sound of the first note by plucking it. To make the tone
ring clearly, use firm finger pressure.

0 When playing slurred, dotted rhythms (as in measure 1), listen for a smooth
legato sound.

0 Set fingers 3 and 4 on the D string to prepare G# and A.

(Musette)

CD Note that Musette has only two pulses in a measure.

0 Distribute the bow carefully (alternating bowing).

0 Go directly from one finger to another (walking fingers).

0 This note sounds well as a harmonic on the G string. The practice of

harmonics will prepare shifting into positions and later vibrato study.

Harmonics
Practice shifting the hand up along the neck until it hits the shoulder of the
viola. Extend the 4th finger without curving it, and touch the string lightly.
Your teacher will help you discover other harmonics on your viola.

4 4
0 4 0 4
0 4 0 4

r EIF r E lr
0 -9- 4 4

f Ir r I
0 0

r
0 0 0 0 0

I Id IJ r 11! rr II

(Hunters' Chorus)

Practice "lift and set" silently in the middle of the bow until the bow can be
placed securely on the string without tremor. Then play the first two notes,
coming off the string on the V bow, setting in lower half for the r"i bow,
and gripping the string before playing. Place only the 3rd finger on the
D string .

...