a tune a day violino 2[1]

7/27/2019 A Tune a Day Violino 2[1]

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UNEAFORVIOUN.

BY C . P A U L HERFURTH.

BOOK Two.

BOSTON MUSIC COMPANY .



FORVIOLIN .B Y C .PAUL HERFURTH .

BOO K T w o .

Exclustve dístributors:

Music Sales Limited

14- I5Be rn ers Street, London Wl T lU Englan d.

Music Sales Pty Limited

20 Resoluticn Dríve, Caringbah, NSW 2229, Australia.

Orde r No . BM I 0298

ISBN0.7 119:1592.x

© Bos tonM u sk Ccm pan y

UnGuthomeJ RprocJucrian oj an)' ptJTt cf thi s pub liaJôon hy

an y I1KQlU i n d u d i ne phom eoPP"8 is on inJring ul ltm t ? f o o py r i tJ ht .

BO STO N M USIC CO MPAN Y.



DICTIONARY OF TERMS AND SIGNS USED IN MUSIC

For volume of tone:

pp -Pianiaimo, very 10ft.

p -Piano, softly .

." -Meuo-piano. rather !O ftl y .

.,-M~forte. rather loudly.

/ .-Forte, loudly.

/I -Fortissimo, very loud.

-/ -Sforzando, strong accent. c> 4)

~ -Creacendo, graduaJly louder. ( : >

•••• -Diminuendo, gradually IOfter. C J

For tempo (speed):

Larp-Very alo•• .

A~1V.

Andante-Rather alow.

Andantino-A little slower than AlKlaate.Moderato-Moderately l••t.

AlIepett&-Lively. but DOt too t..t.AIIqro-Fast.

Vãv.ce-Futer than Allegro.Presto----Very lut.

\

For increasing tempo:

A.cceIerando (Accel.)-Gradually luter.

Strintaado (Strin~-Suddenly luter.

Pi6mo.o-A steady, luter speed.

Por' decreasing tempo:

RallrDtando (Rall.)-GnduaDy sIower.

Bitardando (Rit.)-GraduaDy aIower.

Mmo ~A steady. aIower speed.

Por8tyJe:

Animat&-W'Jth spirit, with anjmation.

Agitat&-Agitated.

~Broader.

Cantabile-In a singing style.

Dolcê-Sweetly, softly.

Esp~vo-With expression.Legato-Smoothly. connected.

Maestoso-Majestically.

Con Spirito- With spirit.

Staccato-Detached. separated. (,)

Tenuto-Sustained. (-)

A Tempo--In the original time.

Other sips:

D. C. Da Capo-From the beginniag.

Fine (f~nay )-Ending.D. S. Dai Segno-Go baclt to lhe sign.(~)

Pause (fennata)- Proloop the time of a note or reIt. (f!'\)(iil

/



TO THE STUDENT

/

Having completed the study of Book I, you should be thoroughly familiar with the fundamentaIs of violin

playing, such as a good position, correct use of the fingers when placing the left hand, and the elementary principies

of bow control.

Book 11includes a continuation of the eIementary material, presenting slightly more advanced exereises and

.pieces. To be better able to play the familiar melodies and pieces, it is recommended that you prepare the purely

technical exereises at the beginning of each lesson where a new key and finger-pIacing is introduced.

Study carefully ,the diagrams introducing additional keys and fingerings when positioning your fingers for the

new notes. Remember that you must first read the note and then place the finger, soverify the note you are reading

and the exact finger-position for that note. The surest way to pIay w~llderives from the ability to read well.

Foster the habit of quick thinking by assimilating the folk,Ningpoints ai first g!anct:

(1) Name of Note (Natural, Sharp or FIat).

(2) How to Play (Finger-Position and String).

(8) How Long to Hold (Time-Value).

Training your perceptive powers to respond in this manner will enhance your command of violin technique and,

correspondingly, enlarge your musical horizon.

Many of my pupils have formed groups which meet to play the duets, trios and quartets with piano, thus forming

a little orchestra. Why don't you try it't-you'll have Iots of fun!

TO THE TEACHER

In eompíling Book 11, I have tried to carry out in slightly more advanced material the basic principIes of violin

playing as laid down in Book I.

The material has been selected and the grading edited to provide sequential progress as each step is mastered,

Adequate preparation for the development of the student is allowed for, although the amount of purely technicaI

work has been kept to a minimum. This book is very largely made up of folksongs and other familiar melodies of

good musical quality arranged in duet, trio and quartet forro. from which the pupil should aehíeve a sound bowing

style and firm grasp of finger-{intonation) technique. An awareness of musical form and harmonic structure stems

naturally from the study of these pieces.

The use of the piano accompaniment has proved of value both in the classroom and in the hom:e. That imporlant

advantages result from its use is eertain. The interest and ambition of the pupil is stimulated by the addition of the

harmonic structure, which also serves as a guide to the p'roper placing of the fingers through hearing the note 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 keen perception of modulations and hannonies, for which the violin, in that particular regard,

is comparatively imperfect.

I wish to acknowledge my indebtedness to Mr. Edmund Schill, Director of Music. Verona, N.J., and to Mr.

Francis Rice, Teacher of violin classes in East Orange. and Roselle Park, N.J., for their helpful suggestions and

criticisms in compiling this series of books.

[iii]



t

LESSON 1

Review of Keys Studied in Book 1

< v . K IY of D M ajor V . . V \ /

®

IFollow bowinga carefullyl

, . , V , . , V , . , V " , . , V , . ,

® K ly of Asr ..I

·n®

Copyright , 1933, by The Boston Music Co,Printed in England,

CHAPPELL & : Co., Ltd., 50 New Bond, Street, London, W.l.



LESSON 2

Studies for the use of the second finger in different positionsTwo new notes,C natural on the A stn..n.t a.ndG natural OD the E atring

T'he itnportance of being able to read notes as well as you can read the Ietters of the alphabet cannot be

overestimated. This is the foundation on which your future progress dependa. Vou must a180lmow the exact

posítíon of your f'íngers on the fingerboard so as to be able to play any given notei for example, to pIay C#

on the A strtng, the second finger Is placed a whole tone from the first (high posttíon) but to play C natural,

the second finger Is placed close to the first (low poeítíon) T'herefore, the necessity of lmowing whether the

note ís natural, sharp or fIat is perfectly obvious.

Have a picture of the fingerboard 'in your mind in order to 8e6where your fíngers are placed for the different notes,

Study the following diagram showing position of notes already studied and the two new notes to be takon

ln this Iesaon. Name the whoIe tones and semitones.

Fingers

E

A

D~ @~ 0

G~ 0 @----@ @Finger8 t. Z I 4

Name the following notee, finger used, high or low po.ition for second finger, and on what string played.

@Ol

~"

~.~~- tliª~~"® PIay slowly the following exercillM, obae1"Vingcareful1y the C'. and G's.. , . , .. 4

ISecond flnger in 10'911' position C~I

® Notiee the key signature; it is a guide for proper finger posítions.

'eLOWBIOB

-Exerciae No. 1 may also be played OD the E string.



LESSON 3

Familiar Melodies Using The Second Finger in the Low Position

Lightly Row

8

Allegretto (Brightly)

Pupil" '» M V

4 ! twp-..I • • • • • • • •••••• I - . . . . - I-" » I " l . . . . . -, ,- - ~ . • - ~ ,-- ~ . . . . • . -eacher

M' ! » - I

., - ••••• I • • • • • • - I

~»

' " '-

ti - - - -I ,-- ~ . . ..

- -The First Noel

Co~ moto (with motion)

Pupil

~» • • • • r::. - - - r::. .--... .. - - . - - . . . . ." " " '·

ti 1 1 J ! V • • • • • • I

" '» -. .•

• ~~ . • . . -.-/ I I I I I. . . . , - ~.ea.cher

~» .-:;. . - . . . . - -. - . . . . . . . . .

ti • • • • • • • • I

" J 1 -.', y~ <:» I - I I I I - -

Home, Sweet HomeHenry R. Bishop

{'8!1-t855Andante (Slowly)V

Pupil

~J 1 I.

" ~ J 1 " P uII

r I I r I I rI r

1

, . . • .~ I I I - . •~ I I I ~.eacher

~J 1 s:-: - 1 - - - I s>: "- ."

I "I' I r

" J 1 I

• .t!J 'l'J. I I I I I - I I I I I I ~"-,j• Advanced pupils may also pIay the teacher parts.



4LESSON 4

GMajor Scale and Arpeggio in Two Octaves

~ L~ ,

,~@

'eHIO~

Duet@ Practise both parts

LOW v n

P upi l

I \ ~ LOW {h"l:'U l,OW {h\.

• • I • I I I

-I

BIGB BIGH HIGH

~~ 4, v " " •• •

• . l i ! !- •. - BIOJI - . . . • - - I - - . . . • . - • .upi l

orTeache

BIGB

God Save The Queen

® Andante (Slowly)

Attdbuted to Henry Carey

.880-17"

Pupll

~~ n" " n

,flfI

I I I

f~

, ~ . • . . . ~ . . • . . . • . - - •.• 'y .•.y.•. 7!J ' I I I

Pupil

~~ 4_

o, I r I • • • • I

ffI

~JI ~crue.

l

ti I - - - - -.,; _ . I - - - • • • ~

L i " l e Study Franz Wohlfabrt@ " 1811-1884

• •Rola fIDg;r do.n - - - - - - - - - - - - - - . - - - -

.••Ia o . . . tCIOf'It.Mark with thilSsignAtbtS balf 8tepe in both parta of exerci se No. 4. Write 4 times the G~ lKlÚ8

in 2 octaves marJr.in« th" Iutlf atepa Uld p1acing the 8harp. M.,nusoript s~et page 7.



LESSON 5

Continuation of the key of GExercises in crosslng tromCnatural to FI

I

ITha sacond finger must be lifted and p1aced in its ne'Wposition.l

< D Play slaw1y ®

~ .. I~~elÍ Í o w HIOB .

~"~Be~1~ Hold first finger in position throaghout above exerciaes.

Duett5 ' Practise both parts.

\W n VHohmann

Pupil

~ ~ ;jLOW .••• ~ • • -_ _ _ . f i . n - ~ ~ - - " - n V

t' ~ V . n1 ~ LO W I I V

~ I I I I I . .upil

n~ 1 1 ~ . . - - . . - _ . . . . •

~ .•. -fL--' •.n

~~ ~ I I I

, • • I I I . . IKlGH

Little Waltz

® Te~ Waltz (ln waltz time)

~;~~êté=tf# ~@t~P

~"-- ~~~ 1IIf

~il ~6

~ . -- - - ~~~~dim.

Egj'-~ªereeo. tV

a - . . tOOf"": Mark hall stepa on thi. paga the eame as before.

Hohmann



LESSON 8

ILearn to take particular notice of the key signature before playing.1

Allegretto (Brisk1y)V

Americ8, the Beantiful Samuel A.Ward1"7-tlOI

Papll

fi

ttJ . . . . I

~ " ! I= ::

fi V r\ - V-

I ItJ . . . . . . . . ~ ( ~ ) . , ; . " ; ' ' ' ; = ii yy.'1 <:> - . . . . . . . . . . ~

PupR

1 '1 ~ 0 & 4.,t.

- -

, I

< f~I

t.J . • . . ";'-'; ~ ~~ :iJ <c:»:

fi I l I,..

tJ I I I

~ ritor , .(, .

• • • ~ ~

. .~

. •4"

Go Down, Moses

IFollow the bowíngs carefullyl

Andante (Slowly) Negro Spiritualtt V M M V M V .

"j.~ . . ,~ -- ~ " '-"'r

- .- - . :::

BOM . tII0f'1: Mark the half steps on this page.



t o LESSON 9

Oontinuation of the key ofC Major

In acale passages use the open string in ascending, and the fourth finger in descending.

C D

~ li n

®

~\_"n® V " V n .t o .

~"®

•

Lento (Very slowly)V n v v v

Pupll

fi n " ~ - -

.j

tJ • • • I ~ . .1!f!

fi n V n " V - V 1 1 V

V

••••• ••••• - -•.•. 'fi'

. . . .~

7J ?J

Pupll

-~ n V - . - - . o"

I • ~, ..

I . • ti ~

~ creso. f dilll.

f ' J "I

tJ ?J "ti .• 4.•• •• - . . ~~ - : j . • . • - : j -e-

V

Home fAlo"l: Mark the half stcps on this page as before.



u.

LESSON 10

Onward, Chrlstian Soldiers

TrioSir Arthur Sullivan

1842-1800

Moderato (Moderately fast)v

P u p i l~

, . ,I V , . ,

.41 1

11if••••• I'" I

Ti

~ M V n I V,

~ . • . . • . ~ . • . I"· I·· - ,. • • • "d o11ff

~ , . , " , . , V

~ .•••••••• fJ 7'l' ~ ~ ~ ~ 7 1 . . . = - . . - r;, r;, •.•. ;t ~ 7J•

Pupll

P u p i l

~ , . , V V

~.

•• • "-..-/ - - . . . , .

~ , . , V n V

, • • • • • • • • • • I~. •• - -= .- -" "'" • • • 77·

~ n V n V

~ ~ ~ .• . ~ 7 1 ? 1 •• ••• .•..•. -:;J." • ~j .••..•.•? t .

n n V

~ M , . ,

,•••• . .

~

..·.... : : - I - . . • . 1-9·

f : , . , : t ,

~ M V , . ,

~ - - .•.•..•• : ;J I ~.rito

~ M V , . ,.,

. ~ . ~ ? i ? 1 "fi .•.• - : J . . : ! • • • • • • • • • • • ~~

V



t4 LESSON 13

In this and lesson i6, two new notes are taken up. F~ on the E string and B~ on the A str ing , to be

played with the 1st finger placed close to the nut. Study diagram to see position of notes on the finger-

board. Great care must be taken in playing these notes. ])0 no! alioro fite knuc/de at f/te õas« of t/lP,fir.~f

finge,. to slids under t/&sneck. IPlay with the fips of lhe fingers·1

Fingers I

E

AK>-----\

D~- - - - ~- - - - ~- - - - ~- - - - ~8- - - ~~- - - - - C~- - - - - - - - -G~--~----~r--~J-----~--~j_----~---------Fíngers 1 t 3 4

C D~OW

® A

@ LOWHIGH LOW ®HIGH LOWHIGH . LOW 4~.J:_@ Little Scale Study

~Il

Con motoDuet

Henning

Pupil

~ n ~ M V V M h ~ . .- . . . . . " . . . . . . . .V

t

• 1 ' 1 f f " : : . - ' ' -= ' <»: "

~ M V M V Y M V -. " ' - V

4 ! +~-. li!' • __ -•• -I I

Pupil

v Y M~ n M - V M :.---: . . . .- - . . . . . - ~ . .

• I I I I I

~ M V , MI V M Y. . - . . n - I -

! I I - 1 I I I

Nome f()O,.It: Mark the half steps in this lesson and fill in blanks in above diagram.



LESSON 14 15

Continu8.tionof the key 01 C Major using F natural on the E string.

LODg, LODg Ago

AndanteThomas H. Bayly

Pupil

1 \ M A •••• - - n ~ ••••

,I

tT

mp

fl n »<:" ~

"-<:

l '~ , - -

~ - 4 V :. •

) •

J I - T

Fitle "[- . D . s . to Fixe

~ • • • V :6 , • • • • • • • • • • • • •

~

4 1 I 'r -

, . ,

AndanteV

Duet JacqU6S Féréol !.luast'7U-ts.l9

fl

" '- • • • . - . . . . . . . .u --:..

jtJ I

~ tw p

f' l M V

I

tJ ' - " ' I I ~

f' l V M 4 V_

I·.

t. I I I

~ cresc. 11ftr l 4 V,,

••• = i ~

I

~

,1

v

v1 oU

"1._ ,. .-

tJ I I

~ di•. rito

fl I V M

~ I. . .

I TI Õ

BOtIN toOrl: Mark hAlfBtep. in thi. te"OD .

• D . S . .1),11 StJKf 'W- Back to the .iKD. (M )



t 6LESSON 15

"I'he Little Sandman

Andante

Johannes Brahms1833- 1891

Pupil

fl V -

.~1 1 1 1 '

T Ir I~ :=:==-- --=::::: = = = = - -

't Y • • • • • , . . , . . . , . " • • • •., "- . . . . . . . - :/1 '-- r - - - ~ • • • - -

eacher

nfi

; " : - - . • . _ - - - - - V _ - : - - . . . . • . . . -

,f'

r

~ =I I I I

- -.., I I I - , r T I ! <:: " , - -

Theme from Symphony No. ti(Military Syrnphony)

AllegrettoHaydn

Pupil

~ M - - - M z: r-: r.-"'" V • . - . ' - ~ ~ ~ 0r::

,m .p -

I~~/I.-'à\~ M . . . • . . - - s> -

,.~ I r I

-I I ~

Teacher

~ M .-... M ã':,. r -: .. ; :; -- .. .. V • . - . • . : . . ,~ ~ - -, -I - - -M I~ •. ~~~~ - - sr-:

,I ~ r ,- r I " ' - = . . . ; '

First and SecondTime Bar1I 112.The term 1stand 2nd time bars applies to one or more bars in brackets at a doublc bar; thus I~·~~:I.

when the etrain is repeated, the first time bar isomitted and the second time bar played instead. E ••

I

I

All~rettoGerman College Song

- '

Pupil

1 '\ V" . . .•. ~ - 1

1. _I r 2.•

@?lfI -' ~

~ v - , . . . . " . , . , , . . , . , . . , .• .., - - - -

eacher



LESSON 16

Key of F Major

t,

Key of F Major, one flat (~). The flat (~)plaeed on the third line of the ataff, just after the elef aign,

affects every B throughout the píece. Refer to diagram in Les son 13 to see the exaet position of this

note on the fingerboard.

" V @" V

I ' li· I

Scale and Arpeggio of F Major@ Half Steps A to B~and E toF

•,@

~e

-- - - - - - - - - - - - - '. -

Deok the Hall

7~~-=

Hom6 worlr: Mark half steps. Write F Major scale 4 times.



i8LESSON 17

Continuatíon of the key of F Major

All Through the Night

Andan~ Welsh Folk Song

~ep~r~

Andantino·Santa Lucia

Neapolitan Boat Songn

Pupll

~ "v.-: _ : . - . . . . . V V - r - , V

"

, 1~I I

- . .I

, . V" - V

V '1-1 1•

tJ I, .

r

Pupll

VM V~ •a

4-.;; a "

~ r T

'<• • • • • •

. / \ I V 4I

, I

- - . .r I

Firs t Time Bar Second Time Bar

V li V 1 1 2 t:\ V V/ \ ~~ .:...-

"V _ _

;;. . V ~ a • • • • ~• • : . .. • • •

, = - ~

~ ~ ~ - " V_ V"

V I t:'\ V • • • V I

~ I I I I I' r I T r I-Little Study in F

. . . . . . . . . , .

4



LESSON 19

Detached notes of different values in one bow

Bowi1lg drill: Practise this line careful1y, gradually increasing the speed.

Oats and BeansAllegretto (brightly) Old English

~s~~ ,-o ~

IMulberry Bush

Allegretto "English Folk Song

_4~1'='~

~rdifM~~,~~ I

·Ding- DongAllegretto B. Remick.

.. . .

Wee Willie WinkieAllegretto c. P.H.

~" - .. - "

OldEnglish Morris DanceAllegretto V ,.,

V ~

• Used by perrnission of Silver-Burdett Co, Morristown. N. J. U.S.A.



• • •Note: Al1manuscript pages are to be used for home-workaccording to instructions.

~~~~~~~~

~~~~~~~~

~~~~~~~~

~~~~~~~~

~~~~~~~~

~~~~~~~~

~

~~~~~~~~

~~~~~~~~

~~~~~~~~

~~~~~~~~



LESSON 22

Vesper Hymn

Trio

Moderaton

Old RU88ian

P u p i l~ n 1

·111 1Wp I I , I ,

fI

,

~ • • P "I " 0,

·••••• I•.••• I· ~=i- " ••• f

" ,mp .

'"• • I

M

•..~ - r "y ~ ..•.,~ • • • • ••••

P u p i l

Teacher

~ • • 4

~ I " ,

.~I

"I~ I

.'''f I"· • • • • • \ , . • • • • I" .• 4-

~ • •~ \..... ~ - -. . • . ~. ~J.,; ~ ..•. ~"'J,,4o ~ ~ -.f t.-.f ~ .•.~ 4

A Capital Ship(lIarching Song)

. March time Old English Tune

~e

rito ti

t C 1 n p o rit• •at.fItJIO,-" befan.



. _ . ._ _._

LESSON28

Continuation of the key of S Major

Soale Study

Ii

The Blaoksmlth f71'-t~

Moderato

. .

I

Allegretto A Little Song

. • a tempo=

#--S . . rt I. ~. F~~.J:WE.~ ~c~ " ! I '

~ rito

-ri'., abbreviU10ll for ritemdo- gradaaDy s'aoJmdng Da••••••

-. """",- ••Won.



t 6 LESSON 24

Scale of B~Major, upper octaveIReview tower oct,ave of this sea1e in lesson 21·1

E .,(')--~

Ak)..-~

D~- ~~- ~- ~~- ~- - ~~- - ~- - - - ~J - - - - - - - - - -G~--~--~r-~~--<r---o---<r-----~------_

s"

4orOingers t 2

A U A U A U A

Scale of BbMajor, upper octave

HaH steps D to E~, and A to B~

® ~ ~ ..M M" .•

~II~~~ ~~~~

INotice tha! ,ou can n,ot play the open E string · 1

Scale of BbMajor, two octaves

@ ny

~

v ..•.•••.•...•.. " v n

~i~_~_~~

~

1\

• Melody"ADaçreon ln Hea.eu·

The Star- Spangled Banner John Stafford Smith1750-1838

mp

cre8c·f1':\ r . - .

~YMV~Jt.~. I

rito cresc. f. fHfHIU flJorlt: Write tbe B~Major scale in two octaves .•times, marlting flaia and the half ateps.



LESSON 27

Key of A Major

29

E~- - - o- -~~~o- - -<r- -~- - -<r -~J - - - - -

A~- - - - ~- - ~r - - - ~- - - - ~- - ~~- - ~~- - ~- - - - -Dto-----{)----(

G "<>---o---{

Fin era t

Scale of A Major- name the sharps

~ ••• r pia.'". a. for the E major aca1e. •

e

Place a sharp before the notes affected by the signature. .

; t e@ Chimes of Dunkirk

~Jl~Scale of A Major in two octaves

@_ e~ ~

oWorshlp the KingHaydn

Pupil

~JI ~ V I -

i' 1 1 J f

, I I I I I

~Ji ~ I I I

• • • 4- ..•.- ,. • . . •Teacher

"Ji •• I I

II I I I I I

"Ji ~ril.

• 4- .•..t- 't- - .• - - - •• .•• • •



LESSON 28

Semiquavers

A semiquaver ~ iJl equa1 to half the value of a quaver

one quaver ~ : j) and four sermquavers equal one crotchet

semiquavers j, = n !- ~Comparative tabIe showing number of semiquavers to other notes studied thus faro

80

~ Tw,o semiquavers equal

~: ~ Abbreviations for

: I

AndanteV

Bird Song

n 1 1 2

Pupil

~In this piece, 'Which requiree a sWwmovement, it ia better to divide tbeIime intol006 oount to each quaver)

AlI tKingdom Comin'



LESSON 29

Dotted Quavers and SemiquaversLegato (Connected)

This is one of the more difficult rhythms to learn. The dotted quaver is equal to three semiquavers.

Always feel a division of four on e ach beat when playing this rhythm, three on the dotted quaver

and one on the semiquaver. _ : ~

BE SURETO PLA.Y1liE DOITED QILWER LO~G E:\OUGH ANn THE SEMI<-ll AYEH. SHOH.T

ENOUGH.'1'" Legato (Connected)\.Y Largo Nery slow) @

t. 2 3 -I t 2 8 4-

Largo

(New WOl'ld Symphony)TrioLar~

Pupíl

p " - - =

M

Pupil~p

Teacher

Anton Dvoràk1841-1904

~ " - - - -• r ~ r I ~ • • • • • • I " - - = • .

/\" = P- -• I "- "- - T

'.:.. = '-' 11!:/ ~

t'l~P : : p

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~" - - - " - - - -.

t - - - - - ~1 " - ~ ~ I

, ,~ cresc. =f dim.:: p ppI

. . . .t

~~~~ . ~- ,-- ' - - = ' <c:

~ ~c r e s c . . :f dÚJI,. = = P P . P

4 ! ! . • .~~.~:.:".J~ .~".-:;).-,J.~ • • • • • • • • • • ~'

81



12LESSON 30

Dotted Quavers and SerniquaversStaccato <Detached)

Dotted quavers and semiquavers played staccato (detached) are separated by a short pause, the bow how-

ever must NOT be Iifted from the string.

~

These are general1y played in one bow with a very ortsp stroke of the wrist. Use upper half of bow. Dur-

ing the break botween the two notes the bow is held pressed on the 8trillg.

(!) Allegretto

t. .I •. 4

~

. .~

George F. Root

Allegretto 1820-189&

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Tr &mp! T~p! Tr ampl

Battle Hymn 01 the Republlc

Allegretto William Steffe

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.- -



84LESSON 32

Staccato Bowing8taccato, meaning detached, separated, ia a 8tyle of bowing used in violin playing to denote a short crisp note.

Notes to be played ataccato are marked with a dot, plaeed over or under them. Draw the bow with a short,

quíck stroke, and then suddenly stoppíng it for a short rest, during which the bow is preesed finn1yonthe

atring. W1th thia .troke the vibration of the atrlng ia stopped whioh givea lhe ahort staocaio effeet.

~~

Andantefrom Surprise Symphony

Haydn

~~~ ~ .. ~ ~ ~.~~ . . . .. . . . .. ..

ChromaticsThe word "chromatic" means moving by semitones. Chromatie (literally, coloured) ia well chosea, fbr by the uae

of sharps and f'lats, tone eolour or shadíng is added to the naturalsounds of the notes. A ohromatie interval ia

one semitone above or below the given note. A chromatíc scale is a scale that asoend. or descende by semi-

tones. In playing ehromatice the finger must move quickly to the new note so that no slide is heard.

~e

EtudeWoblfahrt

PizzicatoPUa. means to pluck the etring. The bow is held agai.nst the palm of the hand by the second, third and fourUl

fíngers, the firat being free to do the plueking. The tip of the thumb ia placed against the oorner of lhe fin-

gerboard under the E etring.

Amaryll1s

~ Gavotte ..~ep_Henrí Ghya



LESSON 33

Sweet and LowQuartet Joseph Barnby

1888-1898 .

Larghetto (Slow) vP u p l l

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r r ,

1\ M t . I V"

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P up l l

P up l l

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4V "

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tpp ereso

/ ' \ » Vm

l- ~ • • •

t r

1ifI I I I

1 1 » V 1'1' ereso

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t . . . • .~~' ~ ,--w '-....: ..••D* w' w w ww ~ ~'=i .,--o

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Itf dim. 1 1 rall. dim. pp

' \ J 1 n. . . . . . . - - - . . r . - .

ít ~ r I I I ,I

:f dim. 1 1 rall. e dim. 1'1'' \ »

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[ t :fI

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~» • • • dim~ 1 1 rall. e dim. 1 'P

,:'j ..•. "'!' 4? ~. w w q - - . .' ..•. trr'~ ~' ?}. = i. = i- - - - - - - - -

81

a tune a day violino 2[1]

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