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The string family includes the violin, viola, violoncello, and the double bass. The violin dates

back to the 16th century. The early ancestors of the violin were the Arabian rebab and rebec,

popular during the 14th–16th centuries. During the 1500s, there were two types of viols: the

viola da gamba, played on the knee, and the viola da braccia, played on the shoulder.

Gasparo da Salo, an Italian instrument maker, developed the present day violin during the

16th century. Da Salo and Nicolo Amati are credited with establishing the design of today’s

violin, which has survived with only a few minor changes. Antonio Stradivari, and the Guarneri

and Guadagnini families were famous instrument makers from the 17th and 18th centuries,

and their violins are still in use today.

Nearly every composer has written music for the violin, including Johann Sebastian Bach,

Ludwig van Beethoven, and Peter Illyich Tchaikovsky. Famous violin performers include Midori,

Isaac Stern, Stéphane Grapelli, Itzhak Perlman, Jascha Heifetz, Joshua Bell, and Mark O’Connor.

VIOLIN ! BOOK ONE

ESSENTIALELEMENTS

2000FOR STRINGS

A COMPREHENSIVE STRING METHOD

MICHAEL ALLEN ROBERT GILLESPIE PAMELA TELLEJOHN HAYESARRANGEMENTS BY JOHN HIGGINS

CONGRATULATIONS! You have made one of the most rewarding decisions in your life by joining the orchestra. The

key to succeeding with Essential Elements for Strings 2000 is your commitment to daily practice. Each time you learn

a new note, count a new rhythm, or play a melody with a friend, you become a more accomplished musician. As you

continue to develop your skills, you will become increasingly aware of an abundance of opportunities that are available

in the future. Musicians can teach, perform, conduct, or compose. No matter what profession you choose there are

always opportunities available to you. You can play in community, civic, or church orchestras, attend concerts, and

become a supporter of the arts. Whether you choose music as a vocation or avocation, we hope it will become an

important part of your life. We are thrilled to welcome you to our orchestra family and wish you the very best for

a lifetime of musical success.

ISBN 0-634-03817-6

Copyright © 2004 by HAL LEONARD CORPORATION

International Copyright Secured All Rights Reserved

HISTORY OF THE VIOLIN


2

THE VIOLIN

Tip Winding

Frog

Stick

Ferrule

Adjusting screw

Bow hair

Scroll

PegsPeg box

Nut

Fingerboard

Neck

Upper bout

“F” hole

Bridge

Sound post(inside)

Fine tuners

Tailpiece

Chin rest

End button

“C” bout

Take Special CareString instruments are delicate. Follow your teacher’s guidelines in caring for your instrument, and it will last forever.

Follow your teacher’s instructions when removing the instrument from the case.

Protect your instrument from heat, cold, and quick changes in temperature.

Always wipe off the instrument with a soft dry cloth. Be sure to remove all fingerprints and rosin.

Place a cloth over the top of the violin before closing the case.

Accessories Rosin

Shoulder rest

Soft cloth

Extra set of strings

THE BOW

Never touch the bow hair.

Keep the bow in your case until directed by your teacher.


3

HOLDING YOUR INSTRUMENT

The best way to learn to play your instrument is to practice one skill at a time. Repeat each step until you are comfortable demonstrating it for your teacher and classmates.

Many violin players begin by playing their instrument in guitar position. As you learn the basics, your teacher will help you change to shoulder position.

Shoulder PositionGuitar Position

GD

AE

Guitar PositionStep 1 Place the instrument case flat on the floor with the handle facing you. Open the case and lift the instrument up by the neck. Identify all parts of the violin.

Step 2 Cradle the violin under your right arm. Raise the scroll to shoulder height. Be sure the back of the violin is flat against your stomach.

Step 3 Identify the letter names of each string: G (lowest pitch), D, A, E.

Step 4 Raise your right thumb over the strings while continuing to hold the instrument. Pluck the strings as directed by your teacher. Plucking the strings is called pizzicato, and is abbreviated pizz.

Shoulder PositionStep 1 (Standing) – Stand with feet about a shoulder’s width apart. (Sitting) – Sit on the front part of the chair.

Step 2 Turn your left foot to the 10 o’clock position. Slide your right foot back. Adjust your position to place more weight on your left foot.

Step 3 Hold your instrument at eye level parallel to the floor. Curve your left hand around the upper bout. Find the end button with your right hand.

Step 4 Bring the instrument down to your shoulder. The end button should be near the middle of your neck. Turn your head slightly to the left, and place your jaw on the chin rest. Be sure the scroll does not point toward the floor.


4

Beat = The Pulse of Music The beat in music should be very steady, just like your pulse.

Quarter Note Œ = 1 Beat of Sound Notes tell us how high or low to play, and how long to play.

Quarter Rest Œ = 1 Beat of Silence Rests tell us to count silent beats.

Music Staff The music staff has 5 lines and 4 spaces.

Bar Lines Bar lines divide the music staff into measures.

Measures The measures on this page have four beats each. Bar Line

Measure

Bar Line Bar Line

Measure

MusicStaff

1. TUNING TRACK Wait quietly for your teacher to tune your instrument.

2. LET’S PLAY “OPEN D”

D 0

D D ŒDPizzicato (pizz.) Pluck the strings

D D D ŒD D D D D D D ŒOpen string

3. LET’S PLAY “OPEN A”

A

pizz.

0 A A ŒA A A A ŒA A A A A A A Œ

Keep a steady beat.

4. TWO’S A TEAM

D

pizz.

D D ŒA A A Œ

D D A A D D D Œ

5. AT PIERROT’S DOOR The melody is on your CD.

D

pizz.

D D A D Œ

A ŒD D A A

D A D Œ

THEO

RY


5

Treble Clef &Lines

œ œ œ œ œE G B D F

Spaces

œ œ œ œ œ œD F A C E G

Clefs indicate a set of note names.

Time Signature 4 4 beats per measure The time signature tells us how many beats are in

(Meter) 4 Œ or Œ gets one beat each measure and what kind of note gets one beat.

Double Bar A double bar indicates the end of a piece of music.

6. JUMPING JACKS Identify the clef and time signature before playing.

&44D

pizz.

D D ŒA A A Œ

D D A A D D D ŒDouble Bar

7. MIX ‘EM UP

&44D

pizz.

A D Œ

A D A Œ

D A D A

D D D ŒRepeat Sign .. Go back to the beginning and play the music again.

Counting Count 1 & 2 & 3 & 4 & One beat = Tap toe down on the number and Tap up on “&.” Always count when playing or resting.

8. COUNT CAREFULLY Keep a steady beat when playing or resting.

&44 ..1 & 2 & 3 & 4 &

D

pizz.

D Œ ŒCount: 1 & 2 & 3 & 4 &

A A Œ Œ1 & 2 & 3 & 4 &

D ŒA Œ

1 & 2 & 3 & 4 &

D A D ŒRepeat sign

9. ESSENTIAL ELEMENTS QUIZ Write in the counting before you play.

&44 ..— — — — — — — —

D

pizz.

ŒA Œ

— — — — — — — —

A A D Œ

— — — — — — — —

A D Œ Œ

— — — — — — — —

D A D ŒE

THEORYTHEORY


6

0 = Open string1 = 1st finger2 = 2nd finger3 = 3rd finger4 = 4th finger

G

3

F

2E

1

EA

DG

#

13

4

2

SHAPING THE LEFT HANDD S T R I N G N O T E S

Step 1 Shape your left hand as shown. Be certain your palm faces you.

Step 2 Bring your hand to the fingerboard. Place your fingers on the D string, keeping your hand shaped as shown below. Be sure your first finger forms a square with the fingerboard, and your wrist is relaxed and straight.

G is played with 3 fingers F# is played with 2 fingers E is played with 1 finger on the D string. on the D string. on the D string.

Listening Skills Play what your teacher plays. Listen carefully.

10. LET’S READ “G” Start memorizing the note names.

&44 G

pizz. 3 œ œ ŒG G œ œ ŒG œ œ œ G œ œ Œ

Sharp # A sharp raises the sound of notes and remains in effect for the entire measure. Notes without sharps are called natural notes.

11. LET’S READ “F# “ (F-sharp)

&44F

pizz. # 2 œ œ ŒF#F # œ œ Œ

F # œ œ œ F # œ œ ŒPlay all F

#'s. Sharps apply to the entire measure.

12. LIFT OFF

&44 ..G

pizz. 3 œ œ ŒF # 2 œ œ Œ

G œF # œ G F # G Œ

Is your left hand shaped as shown in the diagrams above?

THEO

RY


7

SHAPING THE RIGHT HANDB O W B U I L D E R O N E

Pencil HoldStep 1 Hold a pencil in your left hand at eye level.

Step 2 Hang your right fingers over the top of the pencil, as shown.

Step 3 Place your right 4th finger on top of the pencil.

Step 4 Touch the tip of your right thumb to the pencil just opposite your 2nd finger. The curve of your thumb will form an oval with the finger.

Step 5 Lean your right hand so the first finger rests on top of the pencil between the 1st and 2nd joints. Keep your fingers relaxed. Remove your left hand from the pencil. Practice shaping your hand on the pencil until it feels natural to you.

" Practice BOW BUILDER ONE daily.

13. ON THE TRAIL Say or sing the note names before you play.

&44 ..G

pizz. œF # Œ

G œF # Œ

G œF # œ G F # G Œ

14. LET’S READ “E”

&44E

pizz.

1 œ œ ŒE œ œ Œ

E œ œ œ E œ œ ŒE

15. WALKING SONG

&44 ..1 & 2 & 3 & 4 &

G

pizz. 3 œF # 2 œ

Count: 1 & 2 & 3 & 4 &

E 1 œ F # Œ1 & 2 & 3 & 4 &

E œ F # œ1 & 2 & 3 & 4 &

G œ œ Œ16. ESSENTIAL ELEMENTS QUIZ Draw the missing symbols where they belong before you play: & 44

G

pizz. œF # œ

E œD Œ

D œ E œ F # œ G ŒESheetMusicDirect.us Order 4404752 | 1 copy purchased by Gonzalo Escuti on Apr 09, 2016 at 9:02pm CDT

8

Swingin’ Out

Knuckle Turnovers

B O W B U I L D E R T W O

Pencil Hold Exercises

I’m Outta Here Finger TapsWave good-bye while keeping your Tap your first finger. Then tap your wrist relaxed. fourth finger.

Thumb Flexers Knuckle TurnoversFlex your thumb in and out. Turn your hand over and be sure your thumb knuckle is bent, as shown.

B O W B U I L D E R T H R E E

Bowing Motions

Swingin’ OutPut one finger inside your right elbow and swing your arm, as shown.

17. HOP SCOTCH

&441 & 2 & 3 & 4 &

G

pizz. œF # Œ

Count: 1 & 2 & 3 & 4 &

E œ F # Œ1 & 2 & 3 & 4 &

G F #E F

1 & 2 & 3 & 4 &

G œ œ ŒFolk songs have been an important part of cultures for centuries and have been passed on from generation to generation. Folk song melodies help define the sound of a culture or region. This folk song comes from the Slavic region of eastern Europe.

18. MORNING DANCE Slavic Folk Song&44 ..

G

pizz. 3 œF # 2

D 0

G œF #

D E 1 œ F # œ G œ œ Œ19. ROLLING ALONG

&44F

pizz. #E D E F # œ œ Œ

E œ œ ŒF # œ œ Œ

&F #

E D E F # œ œ œE œ F #

E D Œ Œ ŒGo to next line.

HIST

ORY


9

Strummin’ Along

W O R K O U T S

Place your instrument in shoulder position as shown on page 3. Then practice the following exercises with your left hand.

Finger TapsTap fingertips on any string. Practice in different combinations of fingers.

Pull AwaysPull your left hand away from the side of the neck, while keeping the thumb and fingers on the instrument.

Strummin’ AlongStrum the strings with your 4th finger while swinging your elbow under the violin, as shown.

20. GOOD KING WENCESLAS Welsh Folk Song&44 ..

G

pizz. 3 œ œ A 0 G œD Œ

E D E F # G Œ œ ŒKeep fingers down when you see this bracket.

21. SEMINOLE CHANT

&44 ..1Count: & 2 & 3 & 4 &

G

pizz. œE Œ

1 & 2 & 3 & 4 &

G œE Œ

1 & 2 & 3 & 4 &

G F #E D

1 & 2 & 3 & 4 &

E œ œ Œ

22. ESSENTIAL ELEMENTS QUIZ – LIGHTLY ROW

&44 A

pizz. 0F # 2 œ Œ

G 3E 1 œ Œ

D E F # G A œ œ Œ

& A F # œ Œ

G E œ Œ

D F # A œD Œ Œ Œ

Prepare F

# before playing.

E


10

D

3

C

2

B

1

EA

DG

#

A S T R I N G N O T E S

D is played with 3 fingers C# is played with 2 fingers B is played with 1 finger on the A string. on the A string. on the A string.


23. LET’S READ “D“

&44 D

pizz. 3 œ œ ŒD D œ œ Œ D œ œ œ D œ œ Œ24. LET’S READ “C# “ (C-sharp)

&44 C

pizz. # 2 œ œ ŒC# C # œ œ Œ C # œ œ œ C # œ œ ŒPlay all C

#'s. Sharps apply to the entire measure.

25. TAKE OFF

&44 D

pizz. 3 œ œ Œ C # 2 œ œ Œ D œC # œ D C # D Œ

26. CARIBBEAN ISLAND

&44 ..D

pizz. 3 œC # 2 œ D œ

D 0 Œ D 3 œ

C # œ D D D Œ

"" Practice BOW BUILDERS ONE, TWO, and THREE daily.


11

27. OLYMPIC HIGH JUMP

&44 ..D

pizz. œD œ D œ

C # Œ D œD œ D C # D Œ

28. LET’S READ “B“

&44 B

pizz. 1 œ œ ŒB B œ œ Œ B œ œ œ B œ œ Œ29. HALF WAY DOWN

&44 D

pizz. 3 Œ œ Œ C # 2 œ œ Œ B 1 Œ œ ŒA 0 œ œ Œ

30. RIGHT BACK UP

&44 A

pizz. 0 Œ œ Œ B 1 œ œ Œ C # 2 Œ œ Œ D 3 œ œ ŒScale A scale is a sequence of notes in ascending or descending order. Like a musical “ladder”, each note is the next consecutive step of the scale. This is your D Scale. The first and last notes are both D.

31. DOWN THE D SCALE Remember to memorize the note names.

&44 D

pizz. 3 œ œ Œ C # 2 œ œ Œ B 1 œ œ ŒA 0 œ œ Œ

& G 3 œ œ ŒF # 2 œ œ Œ

E 1 œ œ ŒD 0 œ œ Œ

32. ESSENTIAL ELEMENTS QUIZ – UP THE D SCALE

&44pizz.

D 0 œ œ Œ

E 1 œ œ ŒF # 2 œ œ Œ

G 3 œ œ Œ& A 0 œ œ Œ B 1 œ œ Œ C # 2 œ œ Œ D 3 œ œ ŒE

THEORY


12

Balancing The Bow

Early Bow Hold

B O W B U I L D E R F O U R

On The Bow (Early Bow Hold)Step 1 Identify all parts of the bow (see page 2). Hold the bow in your left hand near the tip with the frog pointing to the right.

Step 2 Put your right thumb and 2nd finger on the bow stick near the middle of the bow.

Step 3 Shape your right hand on the bow stick, as shown.

Step 4 Turn your right hand over, and be sure your thumb and fingers are curved.

Step 5 Hold the bow and repeat the exercises on page 8.

œ œ

Alert Do not place your bow on the instrument until instructed to do so by your teacher.

33. SONG FOR CHRISTINE

&44 D

pizz. œC # œ

B œA Œ

G œF #

D E œ œ Œ&

D F # A œ B œA Œ

G œ A œD œ œ Œ

34. NATALIE’S ROSE Remember to count.

&44D

pizz.

œ E G F # G A ŒF # œ G A B œ

A Œ&

F # G A ŒG A B Œ

A œ B C # D D D Œ

35. ESSENTIAL CREATIVITY How many words can you create by drawing notes on the staff below?

& œ œ œEExample G G


13

HISTORYFolk songs often tell stories. This Israeli folk song describes a game played with a dreidel, a small table-top spinning toy that has been enjoyed by families for centuries. The game is especially popular in December around the time of Hanukkah.

36. DREIDEL Israeli Folk Song&44

D

pizz.

œ E œ F #D Œ

F A œG F #

E Œ Œ ŒE œ F # œ

& G E Œ œ A G F #

E F # Œ Œ ŒA

F # A F A

F # Œ œ& A œ

G F #E Œ Œ Œ

G E G

E G E Œ œ A G F #

E D Œ Œ ŒB O W B U I L D E R F I V E

Shadow BowingShadow Bowing is bowing without the instrument.

Step 1 Tighten the bow hair as instructed by your teacher.

Step 2 Place the rosin in your left hand. Hold the bow at the balance point.

Step 3 Shadow bow by slowly moving the bow back and forth on the rosin. Be sure to move the bow, not the rosin.

Down Bow ≥ Move the bow away from your body (to the right).

Up Bow ≤ Move the bow toward your body (to the left).

37. ROSIN RAP #1 Bow these exercises on the rosin.

44 ..œ≥ Œ œ≤ ŒDown Rest Up Rest

œ≥ Œ œ≤ ŒDown Rest Up Rest

œ≥ œ≤ œ≥ œ≤Down Up Down Up


38. ROSIN RAP #2

44 ..œ≥ œ≤ œ≥ ŒDown Up Down Rest

œ≤ œ≥ œ≤ ŒUp Down Up Rest

œ≥ œ≤ Œ ŒDown Up Rest Rest


39. ROSIN RAP #3

44 ..œ≥ œ≤ Œ ŒDown Up Rest Rest



œ≥ œ≤ œ≥ œ≤Down Up Down Up

## Is your bow hand shaped as shown in the diagram above?


14

Review these notes. Write the letter names in the spaces below.

& œ œ œ# œ œ œ œ# œ— — — — — — — —

40. CAROLINA BREEZE

& 44 ..1 & 2 & 3 & 4 &

pizz.

œ3 œ œ# 2 œCount: 1 & 2 & 3 & 4 &

œ1 œ œ0 Œ

1 & 2 & 3 & 4 &

œ3 œ œ# 2 œ1 & 2 & 3 & 4 &

œ1 œ# 2 œ3 Œ

41. JINGLE BELLS J. S. Pierpont

& 44pizz. œ# 2 œ œ Œ œ# œ œ Œ œ# œ0 œ0 œ1 œ# Œ Œ Œ

& œ3 œ œ œ œ œ# 2 œ œ œ# œ1 œ œ œ Œ œ0 Œ

& œ# 2 œ œ Œ œ# œ œ Œ œ# œ œ œ œ# Œ Œ Œ

& œ œ œ œ œ œ# 2 œ œ œ0 œ œ3 œ1 œ Œ Œ Œ

42. OLD MACDONALD HAD A FARM American Folk Song

& 44 ..pizz.œ3 œ œ œ0 œ1 œ œ Œ œ1 œ œ0 œ œ3 Œ Œ œ

0

& œ3 œ œ Œ œ œ œ Œ œ œ œ œ œ œ œ œ0

& œ3 œ œ œ0 œ1 œ œ Œ œ1 œ œ0 œ œ3 Œ Œ Œ

"" Practice BOW BUILDER FIVE daily.

THEO

RY


15

Austrian composer Wolfgang Amadeus Mozart (1756–1791) was a child prodigy who first performed in concert at age 6. He lived during the time of the American Revolution (1775–1783). Mozart’s music is melodic and imaginative. He wrote hundreds of compositions, including a piano piece based on this familiar song.

43. A MOZART MELODY Adapted by W. A. Mozart

& 44pizz.

œ0

œ œ0 œ œ1 œ œ0 Œ œ3 œ œ# 2 œ œ1 œ œ0 Œ

& œ0 œ œ œ œ# œ œ Œ œ œ œ œ œ# œ œ Œ

& œ0

œ œ0 œ œ1 œ œ0 Œ œ œ œ# œ œ œ œ Œ

Key Signature A key signature tells us what notes to play with sharps and flats throughout the entire piece. Play all F’s as F# (F-sharp) and all C’s as C# (C-sharp) when you see D MAJOR

& ## this key signature, which is called “D Major.”

44. MATTHEW’S MARCH

& ## 44pizz.œ3 œ œ2 œ œ3 œ œ0 Œ œ3 œ œ œ œ œ1 œ Œ

& # # œ3 œ œ œ œ2 œ œ œ œ1 œ œ0 œ œ0

œ œ ŒPlay F

#'s and C

#'s when you see this key signature.

45. CHRISTOPHER’S TUNE

& ## 44pizz.

œ0 œ2 œ œ œ1 œ œ3 Œ œ1 œ3 œ œ œ œ œ Œ

& # # œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ Œ

46. ESSENTIAL CREATIVITY Play the notes below. Then compose your own music for the last two measures using the notes

you have learned with this rhythm:

& ## 44 pizz.

œ œ œ œ œ œ œ Œœ œ œ œ œ Œ œ Œ

HISTORYTHEORY


16

B O W B U I L D E R S I X

Let’s Bow!

Step 1 Hold the instrument with your left hand on the upper bout as illustrated.

Step 2 Hold the bow at the balance point (Early Bow Hold). Your right elbow should be slightly lower than your hand.

Listening Skills Play what your teacher plays. Listen carefully. Your tone should be smooth and even.

47. BOW ON THE D STRING

& ## 44arco

œ≥ œ≤ œ≥ œ≤ Œ Œ Œ Œ œ≥ œ≤ œ≥ œ≤ Œ Œ Œ Œ

& # # œ≥ œ≤ œ≥ Œ œ≤ œ≥ œ≤ Œ œ≥ œ≤ œ≥ œ≤ œ≥ Œ œ≤ Œ

Play with the bow on the string.

48. BOW ON THE A STRING

& ## 44 œ≥ œ≤ œ≥ œ≤ Œ Œ Œ Œ œ≥ œ≤ œ≥ œ≤ Œ Œ Œ Œ

& # # œ≥ œ≤ œ≥ Œ œ≤ œ≥ œ≤ Œ œ≥ œ≤ œ≥ œ≤ œ≥ Œ œ≤ Œ

Early Bow Hold

Your teacher will suggest when to begin moving your bow hand toward the frog, as shown in the Regular Bow Hold illustration. The tip of your thumb will move to the place on the stick where it touches the frog.

Regular Bow Hold Thumb Placement


17

W O R K O U T S

String LevelsYour arm moves when bowing on different strings. Memorize these guidelines:

Raise your arm to play lower-pitched strings.

Lower your arm to play higher-pitched strings.

49. RAISE AND LOWER

& ## 44 ..œ≥ œ≤ œ≥ œ≤ Raise your arm.Œ Œ Œ Œ œ≥ œ≤ œ≥ œ≤Lower your arm.Œ Œ Œ Œ

50. TEETER TOTTER

& ## 44 œ≥ œ≤ Œ Œ œ≥ œ≤ Œ Œ œ≥ œ≤ Œ Œ œ≥ œ≤ Œ Œ51. MIRROR IMAGE

& ## 44 œ≥ œ≤ œ≥ Œ œ≤ œ≥ œ≤ Œ œ≥ œ≤ œ≥ Œ œ≤ œ≥ œ≤ ŒBow Lift , Lift the bow and return to its starting point.

52. A STRAND OF D ‘N‘ A

& ## 44 ..œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ≥ Œ, Œ ŒBow Lift

53. ESSENTIAL ELEMENTS QUIZ – OLYMPIC CHALLENGE

& ## 44 œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ≥ Œ Œ ŒEB O W B U I L D E R S E V E N

Combining Both HandsUsing notes from the D major scale, echo what your teacher plays.

& ## 44 Example A:

œ œ œ œTeacher

œ œ œ œStudent Teacher Student Teacher Student

& ## 44 Example B:œ œ œ œTeacher

œ œ œ œStudent Teacher Student Teacher Student

Raise arm = lower string

Lower arm = higher string


18

PUTTING IT ALL TOGETHERCongratulations! You are now ready to practice like an advanced player by combining left and right hand skills while reading music. When learning a new line of music, follow these steps for success:

Step 1 Tap your toe and say or sing the letter names.

Step 2 Play pizz. and say or sing the letter names.

Step 3 Shadow bow and say or sing the letter names.

Step 4 Bow and play as written.

54. BOWING ”G”

& ## 44 œ≥3

œ≤ œ≥ Œ œ≤ œ≥ œ≤ Œ œ≥ œ≤ œ≥ œ≤ œ≥ œ≤ œ≥ Œ55. BACK AND FORTH

& ## 44 œ≥3

œ≤ œ≥ Œ œ≤2

œ≥ œ≤ Œ œ≥3

œ œ2 œ œ3 œ2 œ3 Œ56. DOWN AND UP

& ## 44 œ≥3

œ≤ œ≥2 Œ œ

1≤ œ≥ œ≤2 Œ œ≥ œ œ œ œ œ œ Œ

57. TRIBAL LAMENT

& ## 44 ..œ≥1

œ œ œ œ œ œ œ2 œ3 œ œ œ œ œ œ(Bow Lift)Œ,

58. BOWING ”D”

& ## 44 œ≥3 œ≤ œ≥ Œ œ≤ œ≥ œ≤ Œ œ≥ œ œ œ œ œ œ Œ59. LITTLE STEPS

& ## 44 œ≥3 œ≤ œ≥ Œ œ≤2 œ≥ œ≤ Œ œ≥3 œ œ2 œ œ œ œ Œ60. ELEVATOR DOWN

& ## 441 & 2 & 3 & 4 &

œ≥3 œ2 œ Œ1 & 2 & 3 & 4 &

œ≤ œ œ Œ1 & 2 & 3 & 4 &

œ≥1 œ œ œ1 & 2 & 3 & 4 &

œ œ œ ŒSheetMusicDirect.us Order 4404752 | 1 copy purchased by Gonzalo Escuti on Apr 09, 2016 at 9:02pm CDT

19

61. ELEVATOR UP

& ## 44 œ0≥ œ1 œ Œ œ≤ œ œ Œ œ2≥ œ3 œ œ œ œ œ Œ

62. DOWN THE D MAJOR SCALE

& ## 44 œ3≥ œ œ Œ œ≤2 œ œ Œ œ≥1 œ œ Œ œ≤0

œ œ Œ

& # # œ3≥ œ œ Œ œ

2≤ œ œ Œ œ1≥ œ œ Œ œ≤

0

œ œ Œ63. SCALE SIMULATOR Remember to count.

& ## 44 œ≥

œ œ Œ œ≤ œ œ Œ œ≥ œ œ Œ œ≤ œ œ Œ

& # # œ≥ œ œ Œ œ≤ œ œ Œ œ≥ œ œ Œ œ≤ œ œ Œ64. ESSENTIAL ELEMENTS QUIZ – THE D MAJOR SCALE

& ## 44 œ≥

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ŒE

Special Violin ExerciseWhile the basses learn a new note, draw the bar lines in the music below. Then write in the counting.

& ## 44— — — — — — — —

œ œ œ œ— — — — — — — —

œ Œ œ Œ— — — — — — — —

Œ œ Œ œ— — — — — — — —

œ œ œ Œ

65. LET’S READ “C#” – Review

& ## 44 œ≥2 œ œ Œ œ≤ œ œ Œ œ≥3 œ œ œ œ œ œ ŒSheetMusicDirect.us Order 4404752 | 1 copy purchased by Gonzalo Escuti on Apr 09, 2016 at 9:02pm CDT

20

Eighth Notes

Each Eighth Note = 1/2 Beat Two or more Eighth 2 Eighth Notes = 1 Beat Notes have a beam œ œ1 &

œ œ œ œ1 & 2 &

œ œ across the stems.

Beamœ œ œ œ œ œ œ œ=

Tap your toe down on the number and up on the “&”.

66. RHYTHM RAP

& ##

44

441 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤Count:

œ≥ œ œ œ œ œ1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

œ œ œ œ œ œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

œ œ œ œ œ œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ Œ

œ œ œ œ œ Œ67. PEPPERONI PIZZA

Shadow bow and count before playing.

68. RHYTHM RAP

& ##

44

441 & 2 & 3 & 4 &


œ≥ œ œ œ œ œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

œ œ œ œ œ œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

œ œ œ œ œ œ1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ Œ

œ œ œ œ Œ69. D MAJOR SCALE UP


Tempo Markings Tempo is the speed of music. Tempo markings are usually written above the staff, in Italian. Allegro – Fast tempo Moderato – Medium tempo Andante – Slower, walking tempo

70. HOT CROSS BUNS

& ## 44 ..Moderato

œ≥ œ œ Œ œ≤ œ œ Œ œ≥ œ œ œ œ œ œ œ œ œ œ Œ,

71. AU CLAIRE DE LA LUNE French Folk Song

& ## 44Andante

œ≥ œ œ œ œ œ œ œ œ œ œ Œ, œ≥ œ œ œ œ œ œ œ œ œ œ Œ

THEO

RY


21

72. RHYTHM RAP

& ##

44

44

..

Moderato

1 & 2 & 3 & 4 &



1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

œ œ œ œ œ œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

œ œ œ œ œ œ

,1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ Œ

œ œ œ œ œ Œ,

& # # œ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ

73. BUCKEYE SALUTE


2 Time Signature Conducting4 = 2 beats per measure Practice conducting this & 42 = Quarter note gets one beat two-beat pattern.

1 2

74. RHYTHM RAP

& ##

42

421 & 2 &

œ≥ œ≤Count:

œ≥ œ

1 & 2 &

œ≥ œ≤

œ œ

1 & 2 &

œ≥ œ≤ œ≥ œ≤

œ œ œ œ

1 & 2 &

œ≥ œ≤

œ œ

1 & 2 &

œ≥ œ≤

œ œ

1 & 2 &

œ≥ œ≤

œ œ

1 & 2 &

œ≥ œ≤ œ≥ œ≤

œ œ œ œ

1 & 2 &

œ≥ Œ

œ Œ75. TWO BY TWO


Play the 1st ending the 1st time through. Then, repeat 1st & 2nd Endings the same section of music, skip the 1st ending, and play

..1. ∑ 2. ∑ the 2nd ending.

76. ESSENTIAL ELEMENTS QUIZ – FOR PETE’S SAKE

& ## 42Moderato

œ≥ œ œ œ œ œ œ œ Œ œ≥ œ œ œ œ œ œ œ Œ œ≥ œ& # # ..œ œ œ œ œ œ œ œ œ œ œ œ

1.

1st time

œ œ œ œ Œ 2.

2nd time

œ œ œ œ œ ŒE

THEORYTHEORY


22

Half Note Half Rest

-—1 & 2 &

˙ = 2 Beats

1 & 2 &

Ó = 2 Silent Beats

Ó =

Œ Œ77. RHYTHM RAP

& ##

44

44

..

..Moderato

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤Count:

œ≥ œ œ œBowSlow

BowSlow

1 & 2 & 3 & 4 &

≥ ≤

˙ ˙

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤

œ œ œ œBowSlow

1 & 2 & 3 & 4 &

≥ Ó,

˙ Ó,78. AT PIERROT’S DOOR


French Folk Song

79. THE HALF COUNTS

& ## 44 œ≥ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙80. GRANDPARENT’S DAY

American Folk Song

& ## 44Andante

œ≥ œ œ œ œ œ≤ œ ˙ œ œ œ œ œ œ≤ œ ˙& # # œ≥ œ œ œ œ œ≤ œ ˙ œ œ œ œ œ œ≤ œ œ ˙

Repeat the section of music enclosed by the repeat signs. Repeat Signs (If 1st and 2nd endings are used, they are played as usual—

.. .. but go back only to the first repeat sign, not to the beginning.)

81. MICHAEL ROW THE BOAT ASHORE American Folk Song

& ## 44 ..ModeratoÓ œ≥ œ œ œ œ œ ˙ œ œ ≤ ˙ ≤ œ≥ œ& # # ..œ œ œ œ ˙ œ œ ˙≤ ˙

1.

˙ œ œ 2.

˙ Ó82. TEXAS TWO-STRING Holding your violin in shoulder position, pizz. this exercise with your left hand 4th finger. 4+ = 4th finger pizz.

& ## 44 œ4 + œ+ Ó œ4 +

œ+ Ó (etc.)œ œ Ó œ œ Ó œ œ œ Œ œ œ œ Œ œ œ œ œ œ œ œ œ

THEO

RYTH

EORY


23

4 T H F I N G E R

Your 4th finger is often used to match the pitch of the next highest open string, creating a smoother tone and fewer changes between strings for bowing.

83. FOUR BY FOUR

& ## 44 œ≥ œ œ œ ˙4 ˙ œ œ œ œ ˙ ˙& # # œ œ œ œ ˙4 ˙0 œ4 œ œ œ ˙ ˙84. 4TH FINGER MARATHON

& ## 42 œ≥ œ œ4 œ œ œ ˙ œ≤ œ œ4 œ œ œ ˙85. HIGH FLYING

& ## 42 œ≥ œ œ œ œ œ ˙ ˙4 œ œ œ œ œ œ ˙4 ˙German composer Ludwig van Beethoven (1770–1827) was one of the world’s greatest composers. He was completely deaf by 1802. Although he could not hear music like we do, he could “hear” it in his mind. The theme of his final Symphony No. 9 is called “Ode To Joy,” and was written to the text of a poem by Friedrich von Schiller. “Ode To Joy” was featured in concerts celebrating the reunification of Germany in 1990.

86. ESSENTIAL ELEMENTS QUIZ – ODE TO JOY Ludwig van Beethoven

& ## 44Moderato

œ≥ œ œ œ4 œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ œ4

& ## œ œ œ œ œ œ œ œ ˙ ˙ ˙ œ œ œ≤ œ œ œ œ& # # œ≥ œ œ œ œ œ≤ œ ˙4 œ≥ œ œ œ4 œ œ œ œ œ œ œ œ ˙≥ ˙≤

E

GFE

2 31

EA

DG

# 4

A

HISTORY


24

PERFORMANCE SPOTLIGHT

"" Good performers are on time with their instruments and music ready, dressed appropriately, and know their music well.

87. SCALE WARM-UP

& ## 44 œ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

& # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙88. FRÈRE JACQUES – Round (When group A reaches $, group B begins at %)

French Folk Song

& ## 42Moderato! œ≥ œ œ œ œ œ œ œ

"œ œ ˙4 œ≤ œ ˙4

& ## ..œ0≥ œ œ œ œ œ œ0 œ œ œ œ œ œ œ0 ˙ œ≤ œ≥

0

˙≤

Chord, Harmony Two or more pitches sounding at the same time form a chord or harmony. Throughout this book, A = Melody and B = Harmony.

89. BILE ‘EM CABBAGE DOWN – Orchestra Arrangement American Fiddle Tune

&&

### #

44

44A

B

Allegro

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

œ≥ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ

œ œ œ œ œ œœ œ œ œ œ œ


&&

### #

..

..A

B

5 Measure Number




œ œ œ œ Œœ œ œ œ Œ

THEO

RY


25


90. ENGLISH ROUND

& ## 44 ..!Andante

œ≥ œ ˙ "œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ Œ,

91. LIGHTLY ROW – Orchestra Arrangement

&&

### #

4444

A

B

Moderato

œ≥4

œ œ œ≤ œ œœ≥ œ œ œ œ œ

œ œ œ œ œ4 œ œœ œ œ œ œ œ œ

œ≤ œ œ œ œ œœ≤ œ œ œ œ œ

œ≤ œ œ4 œ ˙œ œ œ œ ˙

&&

### #

A

B

5

œ≥ œ œ œ œ œ œœ≥ œ œ œ œ œ œ

œ≤ œ œ œ œ œ œ4

œ œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ

œ œ œ4 œ ˙œ œ œ œ ˙

French composer Jacques Offenbach (1819–1880) was the originator of the operetta and played the cello. An operetta is a form of entertainment that combines several of the fine arts together: vocal and instrumental music, drama, dance, and visual arts. One of his most famous pieces is the “Can-Can” dance from Orpheus And The Underworld. This popular work was written in 1858, just three years before the start of the American Civil War (1861–1865).

92. CAN-CAN – Orchestra Arrangement Jacques Offenbach Arr. John Higgins

&&

### #

4242

A

B

Allegro

œ≥ œœ≥ œ

œ œ œ œœ œ œ œ

œ œœ œ


œ œœ œ




&&

### #

..

..A

B

9

œ œœ œ


œ œœ œ


œ œœ œ



œ œœ œ

## What were the strong points of your performance?

HISTORY


26

G S T R I N G N O T E S

C is played with 3 fingers B is played with 2 fingers A is played with 1 finger on the G string. on the G string. on the G string.


New Key Signature Ledger Lines G MAJOR & #

Ledger lines

Ledger lines

Play all F’s as F# (F-sharp) and all C’s as C n (C-natural). Ledger lines extend the music staff higher or lower.

93. LET’S READ “G”

& # 44 œ≥0

œ ˙ œ≤

œ ˙ ˙ ˙ œ œ ˙GPlay F#'s and C

n's in this key signature.

94. LET’S READ “C” (C-natural)

& # 44 œ3≥

œ ˙ œ≤

œ ˙ ˙ ˙ œ œ ˙C

95. LET’S READ “B”

& # 44 œ2≥

œ ˙ œ≤

œ ˙ ˙3

˙2

œ œ ˙B

96. LET’S READ “A”

& # 44 œ1≥

œ ˙ œ≤

œ ˙ ˙0

˙1

œ2

œ ˙3

A

CBA

EA

DG

321

4

THEO

RY


2797. WALKING AROUND Name the notes before you play.

& # 44 ˙≥3

˙ ˙2

˙ ˙1

˙ ˙0 Ó, ˙

≥˙ ˙ ˙ ˙ ˙ ˙ Ó

98. G MAJOR SCALE Write the note names before you play.

& # 44 ˙≥

˙— —

˙ ˙— —

˙ ˙— —

˙ ˙— —

˙ ˙— —

˙ ˙— —

˙ ˙— —

˙ ˙— —

99. FOURTH FINGER D

& # 44 œ≥

œ œ œ4th finger on G string = Open D pitch.

˙4

˙ œ œ œ œ ˙ ˙& #

œ œ œ œ ˙ ˙ œ4

œ œ œ ˙ Ó

Time Signature c = Common Time Conducting Practice conducting(Meter) Same as

44

1 4

32

this four-beat pattern.

100. LOW DOWN

& # c œ≥

œ œ œ ˙ ˙ œ œ œ œ ˙ ˙& # œ

4

œ œ4

œ ˙ ˙ œ4

œ œ œ ˙ ˙101. BAA BAA BLACK SHEEP

& # cModerato

œ≥

œ œ œ œ œ œ œ ˙ œ≤

œ œ œ œ œ ˙ œ4≥ œ œ œ œ œ œ œ œ ˙

& # œ4≥ œ œ œ œ œ œ œ œ ˙ œ

≥œ œ

0

œ œ œ œ œ ˙ œ≤

œ œ œ œ œ ˙102. ESSENTIAL ELEMENTS QUIZ – THIS OLD MAN

American Folk Song

& # 44Moderato

œ4≥

œ ˙4

œ4≤

œ ˙0 œ œ

0

œ œ œ œ œ œ œ& # œ≤

4

œ œ œ œ œ œ œ œ ˙4

œ≤ œ œ œ œ œ ˙

E

THEORY


28

Time Signature 3 = 3 beats per measure Conducting Practice conducting (Meter) 4 = q or Œ gets one beat

1 3

2

this three-beat pattern.

Dotted Half Note ——1 & 2 & 3 &

.˙ 3 Beatsof Sound

=

103. RHYTHM RAP

& ##

43

43

..

..1 & 2 & 3 &

œ≥ œ≤ œ≥Count:

œ≥ œ œ

1 & 2 & 3 &

œ≤ œ≥ œ≤

œ œ œBowSlow

1 & 2 & 3 &

.≥

.˙BowSlow

1 & 2 & 3 &

.≤

.˙104. COUNTING THREES


105. D MAJOR SCALE IN THREES

& ## 43 œ≥ œ œ œ œ œ .˙ .˙ œ œ œ œ œ œ .˙ .˙106. FRENCH FOLK SONG

French Folk Song

& ## 43Moderatoœ≥ œ œ œ≤ œ œ œ≥ œ œ .≤ œ œ œ œ œ œ

& # # œ œ œ .˙≤ œ œ œ œ œ œ œ œ œ .≤ œ œ œ& # # œ œ œ œ œ œ .≤ œ œ œ œ œ œ œ œ œ .˙≤107. ESSENTIAL ELEMENTS QUIZ – SAILOR’S SONG

English Sea Song

& ##Allegro

œ≥ œ œ œ≤ œ œ œ≥ œ œ .˙ .˙ .˙ œ œ œ .˙& # # œ≥ œ œ œ≤ œ œ œ≥ œ œ .≤ œ œ œ œ œ œ œ œ œ .˙≤

Write in the correct time signature before you begin.

E

THEO

RY

Dot.A dot adds half thevalue of the note.

˙ œ .˙2 beats + 1 beat = 3 beats

=


29

Tie A tie is a curved line that connects notes of the same pitch. & œ œ

Play a single note for the combined counts of the tied notes.

108. FIT TO BE TIED

& ## 44 ˙≥ œ œ ˙ œ œ ˙4 œ œ ˙4 Ó, ≥ œ œ ˙ œ œ ˙ œ œ ˙ Ó

Slur A slur is a curved line that connects two or more different pitches. & œ œ

Play slurred notes together in the same bow stroke.

109. STOP AND GO

& ## 44 œ≥ œ Ó œ≤ œ Ó œ≥ œ Ó œ≤ œ Ó œ≥ œ œ≤ œ œ≥ œ œ≤ œ ˙≥ ˙≤ ˙≥ Ó110. SLURRING ALONG

& ## 44 œ≥ œ Ó œ≤ œ Ó œ≥ œ Ó œ≤ œ Ó œ≥ œ œ≤ œ œ≥ œ œ≤ œ ˙≥≤

.˙≥ Œ111. SMOOTH SAILING

& ## 44 œ≥ œ ˙≤ œ≥ œ ˙≤ œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ ˙ ˙ .˙ Œ112. D MAJOR SLURS

& ## 44 œ≥ œ ˙ œ œ ˙ œ œ ˙ œ œ4 ˙ œ0 œ ˙ œ œ ˙ œ œ ˙ œ œ ˙113. CROSSING STRINGS

& ## 44 œ0≥ œ0 ≤

œ1≥ œ0 ≤

œ2≥ œ0 ≤

œ1≥ œ0 ≤

˙ œ œ114. GLIDING BOWS

& ## 44 œ0≥ œ0 œ≤ œ œ

1≥ œ0 œ≤ œ œ2≥ œ0 œ≤ œ œ

1≥ œ0 œ≤ œ ˙ ˙115. UPSIDE DOWN

& ## 44 œ0≥

œ0

œ≤ œ œ≥ œ1 œ≤ œ œ≥ œ2 œ≤ œ œ≥ œ1 œ≤ œ ˙ ˙

œ œ = 2 beatsTHEORY

THEORY


30

Upbeat A note (or notes) that appears before the first full measure is called an upbeat (or pickup). The remaining beats are found in the last measure.

116. SONG FOR MARIA

& ## 44Andante

Upbeat

œ≤ œ œ œ œ œ œ œ œ œ œ œ œ œ œ4 œ œ œ œ œ œ4

& ## œ œ œ œ0 œ œ œ œ œ œ4 œ œ œ œ œ œ œ œ œ œWhere is beat 4?

Latin American music combines the folk music from South and Central America, the Caribbean Islands, African, Spanish, and Portuguese cultures. Melodies often feature a lively accompaniment by drums, maracas, and claves. Latin American styles have become part of jazz, classical, and rock music.

Play until you see the D.C. al Fine. Then go back to the beginning and play until you see Fine D.C. al Fine (fee’- nay). D.C. is the abbreviation for Da Capo, the Italian term for “return to the beginning.” Fine is the Italian word for “the finish.”

117. BANANA BOAT SONG Caribbean Folk Song

& ## cModerato≥ ˙ ˙ ˙ œ œ œ œ œ œ Fine

œ œ œ œ ˙ œ≥

œ œ œ œ4 œ œ œ œ ˙& # # œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ4 œ œ œ œ ˙ œ œ œ œ œ œ D.C. al Fine

œ œ œ œ ˙118. FIROLIRALERA – Orchestra Arrangement

Mexican Folk Song Arr. John Higgins

&&

### #

4343

A

B

Allegro

Upbeats

œ≥4

œ œ œ

Upbeats

œ≥ œ œ œœ≥ œ

4≤ œ œ œœ≥ œ≤ œ œ œ

œ≤ œ4≥ œ œ œ

œ≤ œ≥ œ œ œœ ˙œ ˙

Œ œ≥ œ œ œŒ œ≥ œ œ œ

&&

### #

A

B

œ œ œ œ œœ œ œ œ œ


œ0 ˙œ ˙

Œ œ≥ œŒ œ≥ œ


œ≤ œ œœ≤ œ œ

&&

### #

A

B

œ≥ œ œ œ œ

œ≥ œ œ œ œ

œ≤ œ œœ≤ œ4 œ

œ≥ œ œ œ œœ≥ œ œ œ œ

œ≤ œ œœ≤

œ œTie

Tie

.˙≥

.˙≥œœ

THEO

RYHI

STOR

YTH

EORY


31

E SKILL BUILDERS – G Major

119.

& # 44 œ≥

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙120.

& # 43 œ≥

œ œ œ œ œ .˙ .˙ œ œ œ œ œ œ .˙ .˙121.

& # 42 œ≥

œ œ œ œ œ œ œ œ≤ œ œ œ œ œ œ œ œ œ œ ˙

122.

& # 44 œ≥

œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙4

œ œ123.

& # 43Slur three

œ≥ œ œ .˙≤ œ œ œ .˙ œ œ œ œ œ œ ˙ œ .˙124.

& # 42 œ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

Far Eastern music comes from Malaysia, Indonesia, China and other areas. Historians believe the first orchestras, known as gamelans, existed in this region as early as the 1st century B.C. Today’s gamelans include rebabs (spiked fiddles), gongs, xylophones, and a wide variety of percussion instruments.

125. JINGLI NONA Far Eastern Folk Song

& # c ..Allegro

œ≤ œ≥

œ œ œ4

œ œ œ œ0 œ œ œ œ œ ˙ ˙ œ œ œ œ

4

& #œ œ œ œ

0 œ œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ4

œ œ œ œ œ& # ..˙ ˙ œ œ œ œ œ œ œ

4

œ œ œ œ œ1.

˙ ˙2.

˙Where is beat 4?

œ

HISTORY


32

N E W F I N G E R P A T T E R N

Low 2nd FingerStep 1 Step 2 Shape your left hand Bring your hand to the as shown. Be certain fingerboard. Your 1st and your palm faces you. 2nd fingers touch. There Notice your 2nd finger is a space between your lightly touches your 2nd and 3rd fingers, and 1st finger. between your 3rd and 4th fingers.

Fis played with low 2nd finger on the D string.


Natural n A natural sign cancels a flat (b) or sharp (#) and remains in effect for the entire measure.

126. LET’S READ “F” (F-natural)

& # 44Low 2nd finger

œn ≥ œ ˙ œn ≤ œ ˙ ˙n ˙ œn œ ˙F

Half Step A half step is the smallest distance between two notes.

Whole Step A whole step is two half steps combined.

127. HALF-STEPPIN’ AND WHOLE STEPPIN’

& # 44 ..1/2 step 1/2 step

˙≥ High 2nd finger˙ ˙ Ó,Whole step Whole step

≥ ˙n ˙ Ó,

128. SPY GUY

& # c œ≥ œ œ œ œn œ œ# œ œ œ œ œ œ œ œ œ& # œ œ œ œ œn œ œ œ œn œ œ# œ œ œ œ Œ129. MINOR DETAILS

& c œ≥ œ œ œ œ œ œ œ œ œ œ4 œ œ œ œ œ œ œ œ4 œ œ œ ˙

1 3

4

2

F

2

E

1

EA

DG

34

THEO

RYTH

EORY


33

N E W F I N G E R P A T T E R N

Low 2nd Finger On The A StringShape your left hand on the A string as shown.

Cis played with low 2nd finger on the A string.


130. LET’S READ “C” (C-natural)

& ## 44 œn ≥2 œ ˙ œn ≤ œ ˙ ˙n ˙ œn œ ˙C

131. HALF STEP AND WHOLE STEP REVIEW

& ## 44 ..1/2 step 1/2 step

≥ ˙2 ˙ Ó,Whole step Whole step

≥ ˙n ˙ Ó,

Chromatics Chromatic notes are altered with sharps, flats, and naturals. A chromatic pattern is two or more notes in a sequence of half steps.

132. CHROMATIC MOVES

& ## c œ≥ œ œ œ œn œ œ# œ œ œ œ œ ˙ ˙& # # œ œ œ œ œn œ œ œ œn œ œ# œ œ œ œ Œ133. THE STETSON SPECIAL

& # 44 œ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙134. BLUEBIRD’S SONG

Texas Folk Song

& # 44Allegroœ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .˙ Œ

C

2

B

1

EA

DG 3 4

THEORY


34

Key Signature All notes are naturals. C MAJOR

&

135. C MAJOR SCALE – Round

& 42! œ≥

œ œ œ"œ

1/2 step

œ œ œ œ œ œ œ œ1/2

œ œ1/2

œ& œ œ œ œ œ œ œ

1/2

œ œ œ œ œ œ œ ˙Duet A composition with two different parts, played together.

136. SPLIT DECISION – Duet

&&

4444

A

B

œ≥

œ œ œ˙≥

˙˙ ˙œ œ œ œ

œ œ œ œ˙ ˙

˙ ˙œ œ œ œ

œ œ œ œ˙ ˙

˙ ˙œ œ œ œ

œ œ œ œ˙ ˙

˙ ˙œ œ œ œ

137. OAK HOLLOW

& cModerato

œ≥ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙

& œ≥ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙

138. A-TISKET, A-TASKET

& 44 ..Allegro

œ≤ ≥œ œ ˙ œ œ œ œ œ œ4 ˙ ˙

& ..œ œ œ œ œ œ œ œ œ œ œ œ1. .˙ œ≤ 2.

.˙In the second half of the 1800s many composers tried to express the spirit of their own country by writing music with a distinct national flavor. Listen to the music of Russian composers such as Borodin, Tchaikovsky, and Rimsky-Korsakov. They often used folk songs and dance rhythms to convey their nationalism. Describe the sounds you hear.

139. ESSENTIAL ELEMENTS QUIZ – RUSSIAN FOLK TUNE Russian Folk Song

& 44Andante

œ≥ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ œ4 œ œ œ œ œ

& œ œ œ œ ˙ ˙ œ œ œ4 œ œ œ œ œ œ œ œ œ .˙ ŒE

THEO

RYHI

STOR

Y


35

œ œ

Alert: This page mixes finger patterns. Watch for low second finger (C n) and high second finger (F# ).

140. BINGO 18th Century English Game Song

& # 42Allegro

œ≤ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& # ..œ≤ œ œ≤ œ œ œ≥ œ œ4 œ œ œ œ œ œ œ œ≤ œ≥Where is beat 2?

ŒEnglish composer Thomas Tallis (1505–1585) served as royal court composer during the reigns of Henry VIII, Edward VI, Mary, and Elizabeth I. Composers and artists during this era wanted to recreate the artistic and scientific glories of ancient Greece and Rome. The great artist Michelangelo painted the Sistine Chapel during Tallis’ lifetime. Rounds and canons were popular forms of music during the early 16th century. Divide into groups, and play or sing the Tallis Canon as a 4-part round.

141. TALLIS CANON – Round Thomas Tallis

& # 44Moderato!œ≤ "œ œ œ œ #œ œ œ œ $œ œ œ œ œ œ œ œ

& # ..œ œ œ œ œ œ œ œ œ œ œ œ œ œ œTheme and Variations Theme and Variations is a musical form where a theme, or melody, is followed by different versions of the same theme.

142. VARIATIONS ON A FAMILIAR SONG

& # cModeratoœ≥ œ œ œ œ œ ˙ œ≤ œ œ œ œ œ ˙ œ≥ œ œ œ œ œ ˙

& # œ≤ œ œ œ œ œ ˙Variation 1œ≥ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ

& # œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ ˙Variation 2 – make up your own variation

143. ESSENTIAL CREATIVITY – THE BIRTHDAY SONG

& # 43Moderato

œ≤ œ œ œ ˙ œ≥ œ≤ œ œ4 ˙ œ≤ œ≥ œ œ œ œ œ œ≥ œ œ4 ˙Now play the line again and create your own rhythm.

HISTORYTHEORY


36

Special Violin ExerciseWrite the note names below. Then, write stories using as many note names as possible. Share your work with orchestra friends.

& œ œ œ—

NoteNames: — —

œ œ œ œ— — — —

œ œ œ— — —

œ œ œ— — —

& œ œ œ œ œ œ œ— — — — — — —

œ œ œ œ œ œ œ— — — — — — —

Great musicians give encouragement to their fellow performers. Viola and cello players will now learn Team Work new challenging notes. The success of your orchestra depends on everyone’s talent and patience. Play your best as these sections advance their musical technique.


144. LET’S READ “C” – Review

& c œ≥

œ ˙ œ≤

œ ˙ ˙ ˙ œ œ ˙145. LET’S READ “F” – Review

& c œ≥ œ ˙ œ≤ œ ˙ ˙ ˙ œ œ ˙146. LET’S READ “E” – Review

& c œ≥ œ ˙ œ≤ œ ˙ ˙ ˙ œ œ ˙147. LET’S READ “D” – Review

& c œ≥ œ ˙ œ≤ œ ˙ ˙ ˙ œ œ ˙148. SIDE BY SIDE Name the notes before you play.

& 44 ≥ ˙ ˙ ˙ ˙ ˙ ˙ Ó, ˙≥

˙ ˙ ˙ ˙ ˙ ˙ Ó149. C MAJOR SCALE

& 44 ≥ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙SheetMusicDirect.us Order 4404752 | 1 copy purchased by Gonzalo Escuti on Apr 09, 2016 at 9:02pm CDT

37

Whole Note Whole Rest Whole Rest Half Rest

-—-—1 & 2 & 3 & 4 &

w = 4 Beats

1 & 2 & 3 & 4 &

∑ =A Whole Measureof Silent Beats

∑hangs froma staff line.

Ósits on astaff line.

150. RHYTHM RAP

&

44

44SlowBow

1Count: & 2 & 3 & 4 &

w≥

w≥SlowBow

1 & 2 & 3 & 4 &

w≤

w≤1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤1 & 2 & 3 & 4 &

∑

∑1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤

œ≥

œ≤

œ≥

œ≤

SlowBow

1 & 2 & 3 & 4 &

w≥

w≥


151. SLOW BOWS

152. LONG, LONG AGO T. H. Baily

& cModerato

˙≥

œ œ ˙≤ œ œ ≥ œ4 œ w≤≥ œ œ w≤

≥ œ œ w≤

& ˙≥

œ œ ˙≤ œ œ ≥ œ4 œ w≤≥ œ œ ˙≤ œ œ w

≥œ Œ Ó

Arpeggio An arpeggio is a chord whose pitches are played one at a time. Your first arpeggio uses the 1st, 3rd, 5th, and 8th steps from the C major scale.

153. C MAJOR SCALE AND ARPEGGIO

& 44 ˙≥ œ≤ œ œ œ œ œ ≤ œ œ œ œ œ œ ˙

≥ œ œArpeggiow≤ ≥ œ œ w

≤

154. LISTEN TO OUR SECTIONS

& c Violin

œ œ œ œ Viola∑ Cello∑ Bass∑ Vln. Vla.œ œ Ó Vcl. Bs.∑ Allœ œ œ œ œ œ ˙155. MONDAY’S MELODY

Traditional Folk Song

& cModerato

œ≥ œ œ œ œ œ œ≥ œ œ ˙ œ

≥ œ œ œ œ œ œ≥ œ œ ˙ œ≥ œ œ œ œ œ œ≥ œ œ ˙

& œ≥ œ œ œ œ œFine

œ≥ œ œ œ œ Œ, œ≥ œ œ œ œ≥ œ œ ˙ œ≥ œ œ œ D.C. al Fineœ≥ œ œ ˙

THEORYTHEORY


38

E S T R I N G N O T E S

A is played with 3 fingers G is played with 2 fingers F# is played with 1 finger on the E string. on the E string. on the E string.


156. LET’S READ “E”

& c œ0≥ œ ˙ œ≤ œ ˙ ˙ ˙ œ œ ˙E

157. LET’S READ “A”

& c œ≥3 œ ˙ œ≤ œ ˙ ˙ ˙ œ œ ˙A

158. LET’S READ “G”

& c œ2≥ œ ˙ œ≤ œ ˙ ˙ ˙ œ œ ˙G

159. LET’S READ “F#” (F-sharp)

& c œ# ≥ œ ˙ œ# ≤ œ ˙ ˙ ˙# œ œ# ˙F#

160. MOVING ALONG Name the notes before you play.

& # 44 œ3≥ œ œ Œ œ2 œ œ Œ œ1 œ œ Œ œ0 œ œ Œ œ≥ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ161. G MAJOR SCALE

& # c œ≥ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙

G

2

F

1E

AD

G3

A

#


39

G

2

F

1E

AD

G3

A

#4

B

162. SHEPHERD’S HEY English Folk Song

& ## 42 ..Moderatoœ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ,

163. BIG ROCK CANDY MOUNTAIN American Folk Song

& ## c .. ..Allegroœ≥ œ œ œ œ œ œ œ≤ œ œ œ œ œ œ œ œ 1.œ ˙ œ œ 2.œ ˙ œ œ œ œ œ œ

& # # œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ≤ œ œ œ œ œ œ œ œ œ œ œ œN E W N O T E

Bis played with 4 fingers on the E string.


164. LET’S READ “B”

& ## 42 œ4≥ œ œ œ œ œ œ œ œ œ œ œ ˙B

165. ICE SKATING

& ## 44Moderato

œ≤ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ4 œ œ œ4 œ œ& # # œ œ œ œ œ œ œ œ œ œ œ œ œ4 œ œ œ œ œ œ œ œ166. ESSENTIAL ELEMENTS QUIZ – ACADEMIC FESTIVAL OVERTURE THEME

Johannes Brahms

& ## 42Moderato

œ≤ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œESheetMusicDirect.us Order 4404752 | 1 copy purchased by Gonzalo Escuti on Apr 09, 2016 at 9:02pm CDT

40

Staccato Staccato notes are marked with a dot above or below the note. A staccato note is played with œ. œ.

or a stopped bow stroke. Listen for a space between staccato notes.

167. PLAY STACCATO

& ## 44 œ≥ œ œ œ œ. œ. œ œ œ œ œ. œ. œ œ œ œ œ. œ. œ œ œ œ œ. œ.& # # œ œ œ œ œ. œ. œ œ œ œ œ. œ. œ œ œ œ œ. œ. œ œ œ œ œ. œ.168. ARKANSAS TRAVELER

Southern American Folk Song

& ## 44Allegro

œ.≤ œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ. œ.

& # # œ œ œ œ œ. œ. œ. œ. œ. œ. œ œ œ œ œ. œ. œ œ œ. œ.E SKILL BUILDERS – G Major

169.

& # 43 œ≥ œ œ œ œ œ œ œ œ .˙ œ œ œ œ œ œ œ œ œ .˙170.

& # 42 œ≥ œ œ œ œ. œ. œ œ œ œ œ. œ. œ œ œ œ œ. œ. œ œ œ œ ˙171.

& # 43 œ≥ œ œ œ œ œ œ œ œ .˙ œ œ œ œ œ œ œ œ œ .˙172.

& # 42 œ≥ œ œ œ œ œ 4th finger on A string = open E pitchœ œ œ œ4 œ œ œ œ œ œ œ4 œ œ œ œ œ ˙173.

& # 43 œ.≥ œ. œ. .˙ œ. œ. œ. .˙ œ. œ. œ. œ.4 œ. œ. ˙ œ .˙SheetMusicDirect.us Order 4404752 | 1 copy purchased by Gonzalo Escuti on Apr 09, 2016 at 9:02pm CDT

41

Hooked Bowing Hooked bowing is two or more notes played in the same direction with

& œ. œ. a stop between each note.

174. HOOKED ON D MAJOR

& ## c œ.≥ œ.

≥ œ.≤ œ.

≤ œ.≥ œ.

≥ œ.≤ œ.

≤ œ.≥ œ.

≥ œ.≤ œ.≤ œ.≥ œ.≥ œ.≤ œ.≤

& ## ≥ œ.≤ œ.≤ ≥ œ.≤ œ.≤ ˙≥ œ.≤ œ.

≤ ˙≥ ˙≤175. WALTZING BOWS

& ## 43 .≥ œ.≥ .≤ œ.≤ .≥ œ.≥ .≤ . œ. . œ. . œ. .˙176. POP GOES THE WEASEL

American Folk Song

& ## 43Allegro

˙≥. œ≥. .≤ œ.

≤ œ≥ œ4 œ .˙≤ ˙≥. œ≥. .≤ œ.

≤ .˙ .˙& # # ˙≥. œ≥. .

≤ œ.≤ œ œ4 œ .˙ .≥

.≤ œ.

≤ .˙ .˙

E SKILL BUILDERS – C Major

177.

& 43 œ≥ œ œ œ œ œ .˙ .˙ œ œ œ œ œ œ .˙ .˙

178.

& 42 œ≥

œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙179.

& 43 œ≥ œ œ .˙ œ œ œ .˙ œ œ œ œ4 œ œ ˙ œ .˙180.

& 42 œ≥. œ œ œ. œ. œ. œ œ œ. œ. œ œ œ œ œ œ œ œ œ. œ œ ˙


42

Dynamics Dynamics tell us what volume to play or sing.

f (forte) Play loudly. Add more weight to the bow. p (piano) Play softly. Remove weight from the bow.

181. FORTE AND PIANO

& 44 ..fœ≥ œ œ Œ œ

≤œ œ Œ pœ œ œ Œ œ œ œ Œ

182. SURPRISE SYMPHONY THEME Franz Josef Haydn

& cAndante

pœ.≥

œ. œ. œ. œ. œ. ˙ œ.≤ œ. œ. œ. œ. œ. ˙

5

œ.≥

œ. œ. œ.& œ. œ. ˙ ˙ ˙# ˙ f

9

pn≤ ˙ œ≤. œ≤. œ œ œ œ œ.4 œ. œ. œ.

& œ. œ. œ. Œ, 13

fœ≥. œ. œ. œ. œ. œ. ˙4 œ≤. œ≤. œ œ œ œ œ. œ. ˙

E SKILL BUILDERS – Scales and Arpeggios

Add your own dynamics to any of the lines below.

183. D MAJOR

& ## 42 ..œ≥ œ œ œ œ œ œ œ≤ œ œ œ œ œ œ œ≥ œ œ œ≤ œ œ œ œ œ Œ,184. G MAJOR

& # 42 ..œ≥

œ œ œ œ œ œ œ≤ œ œ œ œ œ œ œ≥

œ œ œ≤ œ œ œ œ œ Œ,

185. G MAJOR

& # 42 ..œ≥ œ œ œ œ œ œ œ≤ œ œ œ œ œ œ œ≥ œ œ œ≤ œ œ œ œ œ Œ,186. C MAJOR

& 42 ..œ≥ œ œ œ œ œ œ œ≤ œ œ œ œ œ œ œ

≥ œ œ œ≤ œ œ œ œ œ Œ,187. C MAJOR (Lower Octave – viola and cello)

& 42 ..œ≥ œ œ œ œ œ œ œ≤ œ œ œ œ œ œ œ

≥ œ œ œ≤ œ œ œ œ œ Œ,


43


188. CRIPPLE CREEK – Orchestra Arrangement (A = Melody and B = Harmony) American Folk Song

Arr. Michael Allen

&&

### #

44

44....

A

B

Allegro

fœ≥ œ œ œ œ

fœ≥ œ œ œ œ

œ≤ œ ˙

œ≤ œ ˙

œ≥ œ œ œ œœ≥ œ œ œ œ

œ≤ œ ˙

œ≤

œ ˙

&&

### #

..

......

A

B


œ≥

œ œ œ œ œ

œ œ œ ˙

œ œ œ ˙œ≥ œ œ œ œ œ

œ≥

œ œ œ œ œœ œ œ ˙

œ œ œ ˙Africa is a large continent made up of many nations, and African folk music is as diverse as its many cultures. This folk song is from Kenya. The words describe warriors as they prepare for battle. Listen to examples of African folk music and describe the sound.

189. TEKELE LOMERIA – Orchestra Arrangement Kenyan Warrior Song Arr. John Higgins

&

&

c

c

..

..A

B

Moderato

fœ≥ œ œ œ œ œ œ œ

fœ≥ œ œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ4

œ œ œ œ

œ≤ œ œ œ œ œ œ

œ≤ œ œ œ œ œ œ

œ≥ œ4 œ œ œ œ

œ≥ œ œ œ4

œ œ

&&

A

B

p≥ ˙

pœ≥

œ œ œfœ œ œ œ œ œ

fœ4

œ œ œ œ œp≥ ˙

pœ≥

œ œ œfœ œ œ4 œ œ œ œ.

fœ0

œ œ œ œ œ œ.

HISTORY


44


Italian composer Gioachino Rossini (1792–1868) wrote some of the world’s favorite operas. “William Tell” was Rossini’s last opera, and its popular theme is still heard on television.

190. WILLIAM TELL OVERTURE – Orchestra Arrangement Gioachino Rossini

Arr. John Higgins

&&

##44

44A

B

Allegro

pœ≥ œ≤

Œœ. œ œ œ. œ œ

pœ≥. Œ œ.

≤ Œœ.≥ œ.≤ œ.≤ œ œœ.≥ œ.

≤ œ.≤ Œ

œ. œ œ œ. œ œ

œ≥. Œ œ.

≤ Œœ. œ. œ. fœ œœ. œ. œ. Œ

œ. œ œ œ. œ œ

fœ≥. Œ œ.

≤ Œ

&&

##

A

B

œ. œ. œ. œ œ

œ. œ. œ. œ œ

˙ œ œ œ œ˙ œ œ œ

Fineœ. œ. œ.œ. œ. œ.

pœ œ

pœ œ

9 œ. œ œ œ. œ œœ. œ œ œ. œ œ

œ. œ.4 œ. œ.4

œ. œ. œ. œ.

&&

##

A

B

œ. œ.4 œ. œ.œ. œ. œ. œ.

œ. œ. œ. fœ œ

œ. œ. œ. fœ œœ. œ œ œ. œ œœ. œ œ œ. œ œ

œ. œ.4 œ. œ.4

œ. œ. œ. œ.œ. œ.4 œ œ œ# œ

œ. œ. œ œ œ œ

D.C. al Fineœ. Œ, Œœ. Œ, Œ

191. ROCKIN’ STRINGS – Orchestra Arrangement John Higgins

&&

### #

44

44A

B

Moderato

fœ≥ œ œ œ œn œ œ œ

fœ≥ œ œ œ œ4 œ œ œ

œ œ œ œ œn . œ.

œ œ œ œ œ4. œ.

œ œ œ œ œn œ œ œ

œ œ œ œ œ4 œ œ œ˙ œn ≤ œ≥ œ.

≤

˙ œn ≤ œ≥ œ.≤

&&

### #

..

..A

B

œ œ œ œ œn œ œ œœ œ œn œ œ

4

œ œ œœ œ œ œ œn . œ.œ œ œn œ œ

4

. œ.

œ œ œ œ œn œ œ œœ œ œ œ œ4 œ œ œ

1. .˙ Œ,

.˙ Œ,2.˙ œ. Œ˙ œ. Œ

HIST

ORY


45


192. SIMPLE GIFTS – Orchestra Arrangement Shaker Folk Song Arr. John Higgins

&&

### #

44

44A

B

AndanteÓ Œ fœ≥ œ

Ó Œ fœ≥ œ

œ œ œ0 œ œ œ œœ œ œ0 œ œ œ œ

œ œ œ œ œ0 œœ œ œ œ œ0 œ

œ4 œ0 œ4 œœ4 œ0 œ4 œ

&&

### #

A

B

œ0 œ œ≤ œ≥ œ≤ œ≥ œ≤œ0 œ œ≤ œ≥ œ≤ œ≥ œ≤

œ≥ œ œ œ œ œ œ≥ œ œ

œ œ œ œ œ0 œ˙ œ œ

œ≥4 œ œ œ œ0

œ≤ œ ˙&&

### #

A

B

œ≥ œ ˙

œ≥ œ ˙

10

p≤4 œ œ

p≤4 œ œ

œ œ œ œ œ œœ œ œ œ

œ œ œ œ œ œ˙ ˙

œ œ œ Œ,

œ œ œ Œ,

&&

# ## #

A

B

f≥ œ œ

f≥ œ œ

œ œ œ œ œ œœ œ4 œ œ œ œ

œ4 œ œ œ œ0

œ œ œ œ˙ ˙˙ ˙

˙ Œ, œ≥ œ≤

˙ Œ, œ≥4

œ≤

&&

### #

A

B

19œ œ œ œ œ œ œ

œ œ œ0 œ œ œ œ

œ œ œ œ œ œœ œ œ œ œ

œ4 œ œ œ

œ œ œ œ

œ0 œ œ≤ œ≥ œ≤pœ≥

œ˙ œ

pœ≥

œ&&

### #

A

B

œ œ œ œ œ œ œ

˙ ˙

œ4 œ œ œ œ œœ4

œ œ œœ œ œ œ œ˙ ˙

˙ ˙˙ ˙

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46

PERFORMANCE SPOTLIGHT A solo is a composition written for one player, often with piano accompaniment. This solo was Solo with Piano written by Johann Sebastian Bach (1685–1750). You and a piano accompanist can perform for Accompaniment the orchestra, your school, your family, and at other occasions. When you have learned the piece well, try memorizing it. Performing for an audience is an exciting part of being involved in music.

193. MINUET NO. 1 – Solo Johann Sebastian Bach Arr. John Higgins

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Piano Accompaniment


47

Improvisation Improvisation is the art of freely creating your own music as you play.

194. RHYTHM JAM Using the following notes, improvise your own rhythms.

& ## 44 w w w w w w w w195. INSTANT MELODY Using the following notes, improvise your own melody (Line A), to go with the accompaniment (Line B).

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44

44A

B œ≥ œ ˙ œ œ ˙ œ œ œ œ œ œ4 ˙

VIOLIN FINGERING CHART

THEORY

E STRING

A STRING

D STRING

G STRING

w# 1

F

#& w0

E

& w0

G

& w0A

& w0

D

w2G

w3A

w4B

wB

1 wC

2 w# 2

C

#wD

3 wE

4

wE

1 wF

2 w# 2

F

#wG

3 wA

4

wA

1

wB

2

wC

3

wD

4


48

E REFERENCE INDEX

Definitions (pg.)

Allegro 20

Alto Clef 5 (viola)

Andante 20

Arco 16

Arpeggio 37

Bar Lines 4

Bass Clef 5 (cello & bass)

Beat 4

Bow Lift 17

Chord 24

Chromatics 33

Common Time 27

Counting 5

D.C. al Fine 30

Dotted Half Note 28

Double Bar 5

Down Bow 13

Duet 34

Dynamics 42

Eighth Notes 20

1st & 2nd Endings 21

Forte (f) 42

Half Note 22

Half Rest 22

Half Step 32

Harmony 24

Hooked Bowing 41

Improvisation 47

Key Signature 15

Ledger Lines 26

Measures 4

Measure Number 24

Moderato 20

Music Staff 4

Natural 32

Piano (p ) 42

Pickup 30

Pizzicato (pizz.) 4

Quarter Note 4

Quarter Rest 4

Repeat Sign 5

Repeat Signs (enclosed) 22

Round 24

Scale 11

Shadow Bowing 13

Sharp 6

Slur 29

Solo 46

Staccato 40

Tempo Markings 20

Theme And Variations 35

Tie 29

Time Signature 5

Treble Clef 5 (violin)

Up Bow 13

Upbeat 30

Whole Note 37

Whole Rest 37

Whole Step 32

ComposersJOHANN SEBASTIAN BACH

Minuet No. 1 46

LUDWIG VAN BEETHOVEN

Ode To Joy (from Sym. No. 9) 23

JOHANNES BRAHMS

Academic Festival Overture Theme 39

FRANZ JOSEF HAYDN

Surprise Symphony Theme 42

WOLFGANG AMADEUS MOZART

A Mozart Melody 15

JACQUES OFFENBACH

Can-Can From “Orpheus And The Underworld” 25

GIOACCHINO ROSSINI

William Tell Overture 44

THOMAS TALLIS

Tallis Canon 35

World MusicAFRICAN

Tekele Lomeria 43

AMERICAN

Arkansas Traveler 40

Big Rock Candy Mountain 39

Bile ‘Em Cabbage Down 24

Bluebird’s Song 33

Cripple Creek 43

Grandparents Day 22

Michael Row The Boat Ashore 22

Old MacDonald Had A Farm 14

Monday’s Melody 37

Pop Goes The Weasel 41

Skip To My Lou 35

Simple Gifts 45

This Old Man 27

CARIBBEAN

Banana Boat Song 30

ENGLISH

Bingo 35

English Round 25

Sailor’s Song 28

Shepherd’s Hey 39

FAR EASTERN

Jingli Nona 31

FRENCH

At Pierrot’s Door 22

Au Claire De La Lune 20

French Folk Song 28

Frére Jacques 24

MEXICAN

Firoliralera 30

RUSSIAN

Russian Folk Song 34

SLAVIC

Morning Dance 8

WELSH

Good King Wenceslas 9

TRADITIONAL HOLIDAY MUSIC

Dreidel 13

Jingle Bells 14


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