CUADRO DE LAS PRINCIPALES PALABRAS ITALIANAS (QUE SE BMPLBAN EN LA MUSICA. cal ‘eag & Mi Tego is Sige age hoes Si: Soin eae yet eo se etemart Eeecian’ i hos SE cae ya oe mre ° nad Molto Roo ort ies iia iow ein, uth ian peel tt Ape “tee Beret ane, rE: itis heh ed onto hy El stam ced t‘Términos, abreviaturas y signos usados en este libro (A), (8), (), eos = Eni eee inca, ex ecenao, el pune donde se reamed ia Sle 0 eels Sersean 1S fe estan tat >= Abeta de oss lene pio, abe ee Damion, que signen muy suave m en paras varus meat peo. Emison ere nm sprigs ions fore foeime, Emisin con dole = Gonsuaridedyaleore LF Stites rezone, 1 Svrane inn ue eb comesans ‘ene signifies lo vireo cress, y din, = Abra de oa terminon atines crescendo y diominvende. Se Sitigecons resoccvemente cele wma forma ave fos #08 Abristtara de los session talanon rhardendo, rierend yrlem ital oemtene. Con os ~ Phng,an foit tay densa saves mba Se tenia x * e ©. = Abveiecion Ins aelsben De Cope, = ‘ovncer desde cl vineipio eric donde dice Fin LLarhee = Dimintve de Largo. No tan pusado coma ev. } = ince we movimieromay paused sce ae ‘Saas debe ner mis Tiger cue Andere Alegre = Movie age sects 7 Deiter. Mees eet Wei | — Mowe eat Aer, ‘Sonne = Seneca[BL VIOLIN SR ANINA Pon QUINTAS JUSTAS, | LE VIOLON s'4000RDE PAR QUINTAS JUSTES. No ay erg gre afin in lw ooo Uy sie rogls your Ren cede som in ‘ioral plo 'n etm gute jos Bl redo) trent qo @exerer Tv esende une gine oe ‘Gaean rps coo feet det Ul preter owe | toe Kexecee sent souvet rp en psnoe du thar Fete ace rest, essen prs aol ena eo resi RoR gy tancter0s RATORIOS TRXPRCICHS PREPABATOIRES. PARA COLOCAR BIRN EL ARCO. (0) poun PLAGER U ARCHER, Se ener & Dr ete earns commas ty hott rbe s h ‘rds lean aun poce ics bin el | Cards (Sly apogee ine vers 1h dal dagen y purl a pestecolendn doe | ee ot pr webs ex nt asin de Lise ‘dso dared Unlnleano eenda La | ‘he gtr Pachter donut ube fre Viopeby dl Kee deepensucorionciginds el | — reno Le hat du bros di reser fab mths the ischpe ce wmercugerA medideeshar, | eo ft oop Parht. A wesue gue Farce wzi- eg. hina cose etn’ weysoel ren fin | | era ver ewan scream pe le bs afin te th qu ere eae la nom Acco, Tare ster tas be mae dein. Desde ber jo leo eds ® ‘ets voir je pol, arn ier botipoe Sd beecrty =—=S———] Miner ce rb ery ncn. meopaert fake sige atomecty So S— EE = el per tome amet sre ‘EdepeseMegra wedowe dob Lwin hoped que be gure wroccere vers He lewd fad plier. ‘Trnan temp dol pra que olson orchesem. |e piget eu Bia eco pur gu sree sit fe pte pte. Acre ple a cheat Parla sigite ampere ® ear exemple vet oneameater anol eo Ba joy hea ae eo rn en psa aeratveet Por Cente cdi eo tit ae E—=S———A soon ie archer tenet alco Tela eer co pres deere aia oc ata, de I ora Pee fin decor step daaer Yeni tte dsm” | ete cede i Scene it na oun, SEES wanese gerio se eaplert el aro de un ete tn al etc gu, pada cds et ea ej seer prc emperar dvds Iv anes stony are | Deal wai atacand eva fertay vse eade tase d, nde Seeds Grade de eo we inpeboee, slyly lai, sa gue tome parte ol braze el tata. 0 (On copiers Vache den eat Patri Aan et exreineo Paid bug we se da Pexeuple pat. at common dtm de Fatcatye eter len co Wasnt teat inet cage eee en derma cage ap anche sin eee noo Ue pr igh ane quelle ‘aoe seaman dbo de Ppl, Bamneroies PyEPAnaTontos Bs xeaio qu lear dd sare a eda se rset renzo sin Toca sin solamente sur sempre grinded leet le dedox Ibsen pen persion wo ipl. BJERCICIO Modo) (eterna Mo ExEncions Paeranatoines 1 tue le ih on ta st a care we 26. sete avant ge fice vim a poigant m sealmat del 5 Phage, La main dit toxjoars concewr une ese soups, lnet x dg (ied purer iprine we sorte 2 BXERCICE (sin weep min mera we ylNoten. | Bos | Naty: Yotgaeem: ae Zwistheuriume: 4. Hilfstinien tn She Si Linen: ES Speen SBE Legere Fishin eep aah snows ——= Linky: = every. = poment ys Rie nowy Namen dor Noten. Newey of thr avn. Jvéna ict Sa SSS ThelSahederaahhugtedghaghe gen a FE a B loth) ST hare esata i (0) [Die betwen Tone: ‘The Sttone Ephobungs. Brniedrigangs- —Autlisuagescichen ahem fon itaral otcen a ayond Sostovnei- {Slt mamén. Aectdentals —= Postvky: = ‘Kreuz. Doypet Kreuz: Be. Dopprt Rey Aaflonung. sharp, doable ery: flor dani: finds natural eat, BglFRRLEA: “hen deities tdeidha » a “nh feadayp oe eat wt edunhle flat “as cdoabre shar ei ee a bemot ote aototietteas (eh dultcee die th dr Noten und Pausen. Vale of nofew avd rests, Wodnota pot « pomtdek SS a at SS Ganze Note Gunae Pause ‘Halbe Viertel ‘Achtel — Suchuchntel Zwelundilreissigntel Whote sore’ Semibrecereat Mint, Crochet — unser Seaigaueer’ Dewatmtpances Baidacta’ Celdpomidkn — Palov tert Osmiea Seattictiaa Dvastfewsina Punk aebon Noten und Pausen. Dotvafter nites ad rests, Teoky pth nich a pomlehich, ==PEe ute unt Strche uber oder unter den Noten, Dw ad aes abue or ander the nto, Tey a thy nad ne Fou nota ‘Taktetrch: __—_Doppetstrich: _ Wiederholung: Viervesteltakt Bar lie Double bar Hse spent “rnktova car: Zavojens taktous Sara RepeticeMetodo Graduado de Solfeo PRIMER LIBRO LAZ Nociones preliminares Pentagrama (Pauta en que se escribe 1a miisiea) Glave de Sol en 2? linea : (Dacl nombre de Sol Is 2? linea del pentagrama) Nombre de tas notas en las linens, = eESS Mi Sol St Re Practica de lectura de notas colocadas en las lineas Propiedad del Batter para toaes 102 palace. Depositade. Tous drosts de reproduction et traduction riserods pour tout pegs. EDITORIAL BOILEAU-BARCELOWA. 4520Nombre de las notas en los espacios a ra Fa ta De Practica de lectura de notas colocadas en los espacios Nombre de las tres primeras notas de debajo del pentagramatt) =. coaris {Better s entzo tempos Y también Seta st oe Linea divisoria (Sirve para separar los compases) Figuras que valen 4 tiem ‘pos cada una, 0 sea un eom- pas f integro. {ay tas covtantee svt ou Tinea y enpacin Gisonses se aan ds adelante. 1520 Redondas:Variation B Variation C Variation D ‘Sh wit rat ah mt eng th oa rk nan ie Focbrsn pen apschger ow, Ben ree ThemeCuerda de LA = SSS SSOda a la Alegria Solo Violin L.V. BeethovenViotia4 ® Go Tell Aunt Rhody UTATUSOT Vas le Die 6 Tante Rhody Goh, era ex Tante Rody Ve y ile Ta R6th, 5 O Come, Little Children DVAPADR ert ‘igo rota Andante favo ——————— Venes, Petits Enfants The Kindereinkommet __Venid,Poqedios NiosMay Song TAD RD vomm ‘Exgro eplare Allegro Moderato Cichamsi Revers t 7 ot pe ‘Chanson de Mai Mal Geseng Cancgn de Mayo 7 Long, Long Ago eee eee ‘TM. Bayly Mogprato oe My Tres, Tres Lonetemps Lang, Lang i's her Wace Mucho, Mucho TiempoShinichi Suzuki 5 a —_ 26 tempo ¢ z 1] Perpetual Motion in A major ee Bh 4 em RASEEMom, pete een, eee ee na ore SSeS a Stic ses Atego ee gat F : \ fee Se —— ——Lt a if Stine Brean i Der Mouvement perpéuel en a majeur Movimiento Perpeto cal mayorVariation aK Ate hype Afr Mahle B.D tAPerpetual Motion 2B in D major ee H a km sme ets Si one Mon pm Variation Rm 10 Allegretto Tv7vek Shinichi Suzuki er “ Giese pers epee es aio‘Shinichi Suzuki exe Tonalization BPtURL yay Tension Tt Sein Beane Thr head anh tc nS Sd pet edn hea emo hegre deer nn et in J=60 aayG Major Scale ie heaoemE pores we, Ge Pes apse some (Ce ge 2 re ier Tere dee deter ac renie rmert Rechte “Coo i ie pi soe SNe ae So alo Etude fe ‘Shinichi Suzuki a snenomevnnnnieens. ne saves terreno ct tes Dame ta er! a fi he pore bese paSrea=oE| Variation RK ume ny eee AL eine Bop am era le Bach A Lp ne a AB Minuet 1 ARDY BL Allegretto. J.~66 4S. Bach i coal o 2 ot14) Minuet 2 ARDY bh BD guttgenc Dame meny temht enn 3 i oes oe15| Minuet 3 ARDY bh BS - ne et fe gen Allegretto J.-6s {Bigg erect re See rare pee Pra ae souls16| The Happy Farmer RLIBK Allegro giocoso yoy R Schumann S vergre LeGai Laboureur richer Landmann Gener Feliz7 ’ : Yat Fe1 1 Chorus from “Judas Maccabaeus” B® MW laxyavas7zrre Maestoso aR: 6.5 Handel : 4 pepe 4 all (Choeur de “Judas Maccabaeus” Chor aus “Judas Maccabaeus”” Coro de “Judas Macabeo” ie eo—reMecmnt a Derestemaaete es ee en int eT ieeraaiin tera Tomcat 2 Musette Andante pastorale = 3 ay b ee v 4a aoggsize 4 ae =? v rile bin tt mf Oe. v 3 ¥ 3 sodos 3 P am wv Musee Muscle Museta: 3 Hunters’ Chorus BANOS CChoeur des Chasseurs Jager Chor Coro de los Caradoes4 Long, Long Ago ay7 ayv7 Tat 1H. Bayly, Moderato ay a4 z tone Tone My ares, Tes Longtemps Lang, Lang i's her Hace Mucho, Mucho Tiemporato J. Brahms Moderat % % Tyna Pr 7 Foco erase eas a4, poe tee tempo oo Valse Walter ValsBourrée Tov Allegretto 6. F Mande! 7 fey ey P expressive szaseady| 7 The Two Grenadiers ZAO BH Les Deus Grenadiers Die ewei Grenadiere Los Dos Granaderos8 “os Theme from “Witches’ Dance” Bo RROD OS Andante} y ¥ boys 2 ‘ye Da: ‘eer 7 oe > Theme de la “Danse des Sorcires"” Thema aus “Herentan:”” Tema de “La Danza de ls Bras”i Minuet in G AKL b bs Allegretto 1. van Beethoven v 2 ® ) 4 ‘in| vee Peey es ™ a hay MpCgA a = Menuet en sol Menuet in G Minué en solD » Minuet ARDyb L. Boccherini ty I= = 7 Ga y A e gaa 2a a 4 Moderato e grazioso* [4] Humoresque A-tVAP A. Dvotak. Poco lento e grazioso Franzen? Te dimSoatempo f 20¢0 rig the Se tomo lergamente 3 FE Prague préinaie Vets Obes Pies Poti eeepc sie chia rnd a atom ee on, RS SSS Gee Een big, Bene i eee $ ecMelody in D Cornelius GuriittPim Pom ViotinPajarillo Barranquefio ViolinCielito Lindo ViolinLas Majfianitas ViatinNaranja Dulce Viotia & - = =G Major Scale Practice First octave in half notes 9 Inquarter notes 5 In slurred quarter notes ce ig is 17 Inslurred eighth notes cand oa 19 In sequential thirds (practice with and without slurs) er ere wy rT Se ss 27 Arpeggiosi Exercises in G55 Second octave in half notes 3 In quarter notes a In slurred quarter notes 11 In slurred eighth notes 73 In sequential thirds 81 Arpeagio85 Two octave scale 93 Two octave arpeggios (broken thirds) 103 ‘Two octave scale - rhythm exercise —C Major Scale Practice First octave in half notes 9 In quarter notes 13 In slurred quarter notes eae \? 17 In slurred eighth notes ce ee 19 In sequential thirds (practice with and without slurs) aes 27 Arpeggiosi Exercises in Css Second octave in half notes 6 In quarter notes Inslurred quarternotes o oe In slurred eighth notes In sequential thirds es a a ee ea si ArpeggioTwo octave scale ‘Two octave arpeggios (broken thirds) tos ‘Two octave scale - rhythm exercise aNoa Laourens — A Pe! Mad fr te Vin Pat Legato Notes Use the whole bow, being careful to divide it into two equal parts, one for each note.Divide the bow into three equal parts. : en ae‘Nicol Laoueus — A Pras! Mtod forthe Vii Pat Scale of D majorNicol Laurens — A Pail Method othe Vik, Pat Scale of G major : ete is 3 4 2105 Be a2 oaescols Laux — A Prt Meta fr the Vid, Pat Seales a2 ‘Bxeroises for suppleness ofthe wrist. [a the middle; and change strings with movement ofthe wrist only Keep fingers down,Escala Sol Maior Scale G Major Aquecimento 4 Escrito por: Felipe Lemos Kostezka -21/042017 { i] g aetedg eer tee Aa See 1) « Sap ea aa SS) Qe Ee ere Ceerr SS Peete Eee eet = = = OS aS aseNeols Laurent — A Patel Meta othe Vin, Pa Exercises on intervals with various bowings At first with separate bows for each note, from mile to point. 2 = pases of ONS Re eee ee fppere ee, eee £ SSF = oS Heise SSeS aS pies Snes — See se At firet detached, the first two elghths atthe nat, the other two at the pointNiols Lws — A Pas Mato fr he Vin, Pat a_i Pe f At First with separate bows for each note, =~ > 5 3* LT ae ape =e Se At first with separate bows for each note from midle,to point.nas Lar rs — A Prt Meta othe Vin, Pe At first with separate bows for each note, from middle to point, : —a Ss At first with separate bows for each note, from middle to point. 2 SS oes Ss SSSNols Laoweus — A Pvc Meta ote Vin, Pa Andantino Exercise to be practised with whole bow, well sustained. SeanaSeale of G major ee saecls Locus — A Pata Meth fr the Win, Past Staccato Notes in the Same Bow Each note detached, as Inthe martelé Allegretto i‘Tebappens very often ha the pupil, when performing the “martes” foros the tore nd stiffens the Heht tem. ‘The folowing exerisen wif hep t Sreteome this texdoacy by etlrding © moe eatary respite in whick the arm ean bv relaxed. stata the fo e A Pts! Method firth Vn, Pr 1 es 2Neos Laoutens — A Pre! Method fr te Vin Pat ‘The following study may be practised in three diferent wayss, Slowly, asing the whale bow far each note. &B gest, nan io of he bows al hs nots detache, but sustatod. oy With i Bowing as tadcated te elghth-notesdetanhed at the pat rato, pees, Satenato‘Wola Lauren — Ant! Mt fr th Vi, Pat ‘Use the whole bow on the eighth-note, bat lightly and without accent, Lento a Inthe middle: balf-bow, allowing as much bow forthe elghth-note as for the quarter. 7 ‘Allegretto Ertine 2 ‘timo u 224 time Y SEIT 2h ine ‘The staceato note short and well marked. Use about one Inch of bow for the elghth-note, tho bow ta come to an absolute stop ate the quarter-note, at the mit Lightn the pressure ofthe bow on the string. Moderatocls Lacan — A Prt Matin the Visi, Pat‘Nols aoweus — A Pcl Mead ore Vik, Past BS pp a pFTHE FIRST BOWING. Moderato, 6.\ prey) Sa ae ee ae a Andante.Etuden. | . Studies. M Heranterstrich. | Dowa bow V Hinaufstrich. | |v Up-Low. Die Finger maglichst lange Lieyen lassen, Hlold the ringers down a8 Long a8 poste, Das like Handgelenk seh ruhis. ‘The left weist very quiet Franz Woblfehet.Op.45, Book 1.4 ‘Auch hei der aweiten ditten und slebenten Etudebe. Tn the second, third and seventh Etudes the same bore nutze man die or Ehude [stehenden Strichirten. inge that were giver forthe first Btode are to be wwed, No 2. Allegro moderato.N24, Allegretto. N?5, Moderato.6 N26, Moderato. £ *3 Re Weenies = N07. Allegro moderato. , oe ta cont Paar a Poe peep lessrersrtd iefast Fetal a Sa anes Saray = + { seth fieteli. atite oe ae eeN? 24, Moderato assaiKey of D Major Key of G Major ee were - ee veee = sere geese sgKey of D Major No. 1 aera é : Key of G Major 4 == oye aeNo. 5 Key of D Major Key of @ Major |