Duets

TWO VIOLINS BOOK ONE

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To the Teacher: FOREWORD This Chamber Music book is to be started when the pupil reaches page 24 of the Samuel Applebaum String Method. However, it

can be used in conjunction with any good string method. It can be played by:

Two Violins - Two Violas Two Cellos Two Basses. Violin and Viola - Violin and Cello - Violin and Bass. Viola and Cello - Viola and Bass Cello and Bass.

To the Pupil: derive the greatest enjoyment from playing chamber music, you will want to train yourself to do the following:

1 To Sight Read. You must memorize the sensation of reading ahead. In this way you will be widening your peripheral vision. ~e measure-look away-and try to playas many notes as you can in the next measure. Practice this regularly to Improve your Play 0 sight reading.

2. To Develop a Beautiful Tone. Avoid touching two strings. If you do, move your right elbow a bit higher, or lower, to find the right string level.

note ou rna be pressing the bow on the strin a bit too firmly. Try c;JJ:awing the bow a bit faster and ~ r.

ve op the best possible quality, experiment by drawing the bow in the center between the bridge and the fingerboard, or by drawing the bow closer to the fingerboard, or to the bridge. There is on% one lane on wbich to d(a~ost beautifulJone, ~ depending, of course, on how loudly you are playing and how quicklY you are rawlng the bow. ----

3. To Develop Tone Color. Practice playing loudly and playing softly. You might practice this with scales or with lines in this chamber music book. You 0 learn to la raduall louder, and aduall softer.

Learn how to ~£~£'!1!.5erl!itLll~ ~e an l:_ ~~\Vltl.K!h~\!JLl:ti.Lfast~r at the start of the note. 4. To Play Musically. Tl}: to find out where each phrase begins and ends. Does it begin on an up 6eat or does it start on the

beginning of a measure? Does it start in the middle of a measure? Many times you :w:ilLi!IJow a sligh!'RausS (w:JlJ£aJ:h} bl;OO[e )(OU sYG tJlr..Dew phrase.

To play musically, you will pia th st note of man hrases a bit softer than the revious note. Listen carefully to your partner. If you ave erne 0 y, p ay JU a It lrmer. your partnernas the melody, playa bit softer.

However, when both parts move together In thirds, sixths or in octaves, the dynamic level should be the same. ~hen both parts move together, try to use the same amount of bow. V To Play In Tune. Listen very carefully to each other. When you practice alone, compare as many notes as possible to the

open strings. If the note is out of tune, move your finger higher or lower until it is in the correct spot on the fingerboard. MEmorize just what you did to play the note in tune. -~"''''~''''~._~_~~-'__ ....~~"' t.. • -,,

THREE SEPARATE AND MUSICIANSHIP

ETUDES FOR TECHNIC CHAMBER MUSIC FOR CHAMBER MUSIC FOR VIOLIN SOLOS WITH

PIANO ACCOMPANIMENT STRING ORCHESTRA TWO STRING INSTRUMENTS

For concert use, but cordesigned to develop a fine left

A collection of lovely chamber Interesting Etudes which are A collection of beautiful duets related to the Method, transcribed

band and a well-poised bow arm, music works which may be played for any two string instruments by string orchestra or string quar by Samuel Applebaum.

as well as the fundamental prinwhich are interchangeable. Excel

tet, or various other combinationslent for chamber music perfor 1. Smooth Sailing ...Efrem Crnnwttl ciples of good musicianship. The of string instruments, with piano mance. 2. The Space Waltz. ...L. S~ object is to correlate technic accompaniment. 3. Dance of the Clowns. .. F. ~ building with musicianship.

EACH BOOK IS COMPLETE IN ITSELF, BUT ALL ARE The VIOLIN MethodCORRELATED WITH EACH OTHER. For Class Instruction

or Individual Tutoring

EACH BOOK CAN BE USED SEPARATELY. HOWEVER,

FOR A WELL-BALANCED PRACTICE SCHEDULE

THESE SUPPLEMENTARY BOOKS SHOULD BE USED

IN CONJUNCTION WITH THE l'rlETHOD ITSELE

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Notice the open strings in the top line of the "Chorale". You are to keep fingers down while the open strings are played. We do this for two reasons: 1. to conform to the Samuel Applebaum String Method, 2. to develop a well-shaped left hand by clearing the open strings.

In No.2 - "Sailing", count carefully during the rests.

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I n No. 3 make sure that you both move together on the half notes. I n No. 4 change parts when you repeat this number. In No.5 listen carefully so that you will move together on the quarter notes.

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Change parts when you repeat No.6. Notice that we start using slurs in Nos. 7 and 8. Try to divide the bow evenly on the slurred notes.

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On the first page of this book, there are a few suggestions which will help you to become a fine chamber music player. Study them very carefully and think about them as you play.

In the 3rd and 9th measures of No.9, both should try to use the same amount of bow for the first note of the measure. It will be a rather fast bow stroke.

You may now start using the 4th finger. Keep the lower fingers down whenever possible.

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11. Waltz OLD DANCE A dance in 3/4 time. (4) 4

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Keep very strict time in No. 12, particularly in the accompanying passages. The player who has the melody is guided by the accompaniment.

Do not play on the quarter rests.

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The two slanted lines ( II ) mean that you are to lift the bow before starting again. Most of the time, you will start down-bow after the two slanted lines.

Do not play on the quarter rests in such measures as Nos. 4, 8, 12 etc. in No. 15 .

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"D.C." means "Da Capo". You are to be back to the beginning of the Minuet on page 7. "Fine" means the end of the piece. After you have gone back to the beginning, you are to stop where you see the

word, "Fine".

15. Scherzo ;;A Scherzo is an energetic and somewhat humorous dance in 3/4 time.

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On this page we have two lovely melodies. Aim for a beautiful tone for each note. Be sure to draw the bow parallel to the bridge at all times. Do not allow the bow to slide towards the fingerboard

as you approach the tip. The comma (.,) means a slight pause before starting a new phrase.

/ 16~ A Song of Thanks vGJ (]J,

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To develop a colorful and interesting style, you must learn to play gradually louder and gradually softer. "cresc:' (crescendo) means to play gradually louder. " dim." (diminuendo) means to play gradually softer. " P " means to play softly. " f " means to play loudly . ....::::::::::: means to play gradually louder . .:=:::::::::-. means to play gradually softer. Draw the bow a bit closer to the bridge as you make a crescendo and closer to the fingerboard as you make a diminuendo. "s" means to play that note softer. .~ ..

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When we end a phrase, we very frequently play the last note a bit softer than the note before it. When we speak to someone, we usually lower our voice on the last word of a sentence, unless we ask a question.

The letter "s" over a note means that you are to play that note softer. It is the end of the phrase.

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21. Novelette OLD DANCE

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(+) over a note means left hand pizzicato. Pluck the note with the finger of the left hand marked above the +. Do not move the left elbow when you pluck the string. A Gavotte is a French dance that goes back to the 17th century. It is in 4/4 time.

22. Three Gavottes JAMES HOOK

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When you play loudly (f ) use lots of bow and play closer to the bridge. When you play softly ( P ) use less bow and playa bit closer to the fingerboard. A Minuet is a graceful, dignified dance in 3/4 time.

23. Two Minuets LEOPOLD MOZARTffiJ

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To develop a beautiful tone, you must draw the bow in the correct lane. Experiment by drawing the bow a bit closer to the bridge or to the fingerboard. This will depend of course, on how loudly you play and how quickly you draw the bow.

A Rigaudon is a 17th century dance, usually in 4/4 time. Purcell was one of the first composers to use this dance form.

24. Two Oa.nces Rigaudon HENRY PURCELL

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In No. 25, play the 8th notes smoothly and evenly. Listen carefully to your partner so that you will both move together, using the same amount of bow.

25. The Cuckoo OLD ENGLISH DANCE

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,., V ., V,......~fIIJ".-- ~V ,......" .. . tJ a I .............. '--1 a 0 1 01 ________________ 0 a

, -2 ~ - ..., 1-2 r ;-- 4 1 0

Ii' -_#""" -. .,.' ,,-. #~ ".-- • -~

· '1

.... ,

· ·

fII . =-" '_--... ---... .::-.. V ~ ..

·I · , 2 f V".--..--... ., .--...

'" · · tJ !""""1 0 0 a2 -!""""- a 1a 1 2 11

[Melody] 26. A Stately Dance

rn JAMES HOOK I"" V ~ V ~ ~ V ~ V

..o Ia 4 0 a 1" • f II- 4-1st time f Y[Melody]P-2nd time 3 4V~ V ~ V~ 1"'1 V I, + +

....... .. c;,;'t. a 1 3 i a o ' 3 ~1i

· ·

· · o

VV ~ V

'-.;:' .-" \,..!f' 1 1 3 ~p:: ~st time [Melody]

~~nd time VV ~V

- . 1;,,0" 1___1 03 1J!. t:? 1 0 1 3 3o

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I

Notice the accents (:> ) over the notes in the 5th measure. Stress these. notes by playing them a bit louder and by drawing the bow a bit faster.

21. The Maypole Dance OLD GERMAN DANCE

v vWv.......,V .....-! ~ 4111 ::>

· · .. 3 1 I 3 "---'. '*J 17 .:J: I. I ::L::f 3 4 [Melody] ::::::=-=::::::::::•

1'\ V.....-! .----- V n V n

· · .. 3 ~ ....... 0 3 r- I 0 3 ::>~ 2-_

[Melody]

, V ., V®::> v~ .--..., V---..!,;/.-/.. I 3 1 __ 1 ..... -.." 0 0r-'r 33- [Melody1- ==-P

.,~~ V~ ~V~- . .. ::> I ....... I 1 I "",.. I 0 - "-.-. 174 [Melody] ~ o 0 2

28. The Festival OLD ENGLISH

V n n V n

· --. '1n V n V n V n V r"l. JoIo a'" V -

· .J.o.II.. 0 4 "'-"'1- 4 3 0-1 p2 1_

n Vf n VlJ n V n VV n !.!l V ~ V II~- · · .., "'-"' I ...., 3 '!" 4 ~ 01_ o PI 1

n VV n vn n_ n V n .If --.~ V ....-! V ,,+ -.., I 14 0 .r 1-.1 3 0 ~fa

I"L JoIo V ~ .". V .If IJ _ '"" Vn Vn vnv ~ n --.. V

.. ..... 4 1 0 4- I .r-- 11 __ 3 0 f

V nv .If __- ~v n V V V n V n ....... V V JIIIIIIII..-J

4 4 ...... I i 2 11 0411

P fV n V Jolon ~V nvn ...., V, n V nV '1 -

I ~ ......1.. 4 4 1 4p 1 _______ f 3 __

EL2321

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