Professional Documents
Culture Documents
Q u a r t e r Note
J =1
Q u a r t e r ReSt
i=
Music Staff
Beat of S o u n d
I Beat of Silence
Bar lines
Measures
1. T U N I N G TRACK
Rests
B a r Lines
2.
of Music
Pulse
Measure
Music
Staff
Bar Line
Bar Line
Wait quietly
for your
teacher
to tune your
Measure
A
Bar Line
instrument.
(pizz.) i Pluckthe
0 -J Open
strings
string
r r1
oi r1
r1r1r oi r1o
1
p1
p1p = 3
o p1
j
?
Keep
a steady
beat.
4 . T W O ' S A TEAM
OO(Q
5. AT PIERROT'S D O O R
p1o p
The melody
o
^{
is on your
oo
oo
op
CD.
1 pi p pi o
1r
o
t
r
Spaces
Lines
B a s s Clef
Clefs
G
Time Signature
(Meter)
J o r * gets o n e beat
Double Bar
6. J U M P I N G J A C K S
Identify
the clefand
time signature
before
p p1O:
~ 1 1
4
playing.
c%
P 1O
n
D
>
7. MIX ' E M UP
6VA
P-
0 -
Repeat Sign
Counting
p 1 P
P1P1
Tap
8. C O U N T CAREFULLY
Count:
Keep
T I T i - T i T
a steady
beat
when
playing
or
oo
resting.
Repeat
ptz.z.
9 . ESSENTIAL ELEMENTS Q U I Z
O
so
-<
before
you
play.
sign
NOTES
0 = O p e n string
1 = 1 st f i n g e r
2 = 2 n d finger
3 = 3rd finger
4 = 4 t h finger
Bring your hand to the fingerboard. Place your fingers on the D string, keeping your hand shaped as show
Be sure your thumb is behind the second finger and slightly bent.
ith 3 fingers
is played with 4 fingers
is played with 1 finger
F Uff oisnptlahyeedDwstri
ng.
on the D string.
on the D string.
Step 2
Listenng Sklls
1 0 . LET'S READ "G"
G 3
LIFTOFF
the note
ames.
A s h a r p raises the sound of notes and remains in effect for the entire measure.
Notes without sharps are caled n a t u r a l notes.
jj
12.
memorzing
pizz. 4
0
Sharp
11.
Start
A Play
^ )
all
Ftt's. Sharps
apply
to the entire
measure.
D-i -
o 1 -
B U I L D E R ONE
Pencil Hold
Step 1
Step 2
Step 3
Step
Step 5
1 3 . O N THE TRAIL
Say or sing
the note
ames before
7 |
you
play.
>
1H
E V r r r ^
15. WALKING
SONG
pizz. 4
Count:
Draw
&
the missingsymbolswheretheybelong
before
you play:
BOW
B U I L D E R TWO
Pencil Hold E x e r c i s e s
l'm Outta Here
Finger Taps
wrist relaxed.
f o u r t h finger.
Thumb
K n u c k l e Turnovers
Flexers
Flex y o u r t h u m b n a n d o u t .
t h u m b k n u c k l e is b e n t , as s h o w n .
Knuckle
BOW
BUILDER
Turnovers
THREE
Bowing Motions
Elbow Energy
i /
TV \
// X A / x
'(
\7 \
,'/| i
fif\
(
bU^uJtW-U---*)-u
Elbow
JaJ-
Energy
1 7 . H O P SCOTCH
pizz.
Folk s o n g s h a v e b e e n a n i m p o r t a n t p a r t o f c u l t u r e s f o r c e n t u r i e s a n d h a v e b e e n passed o n f r o m g e n e r a t i o n t o g e n e r a t i o n .
Folk s o n g m e l o d i e s h e l p d e f i n e t h e s o u n d o f a c u l t u r e o r r e g i n . T h i s f o l k s o n g c o m e s f r o m t h e Slavic r e g i n o f e a s t e r n
1 8 . M O R N I N G DANCE
3
pizz. 4
Europe.
Slavic Folk S o n g l
3=3
19. ROLLING A L O N G
Go to next
pizz-
*y*\
i
IPir
11
line.
WORKOUTS
Finger Taps
Tap f i n g e r t i p s o n a n y s t r i n g . Practice in d i f f e r e n t
combinations o f fingers.
Strummin' Along
S t r u m t h e s t r i n g s w i t h y o u r 4th f i n g e r w h i l e s w i n g i n g
y o u r e l b o w , as s h o w n .
Strummin'Along
20. G O O D K I N G WENCESLAS
0 : 4pizz.
0
r1
A /Ceep fingers
21.
W e l s h Folk S o n g
o
down
-oV 1o uJf
when
i -
bracket.
SEMINOLE CHANT
pizz.
A
Count:
22.
^ n ^
F f
n-
1r L f
pizz.
-0-
I
A Prepare
F# before
playing.
/
/
A
L/
Di
tr% 4
"
10
A STRING
NOTES
Listening Skills
Ledger
lines
D
24.
lines
Lines
23.
2 5 . TAKE O F F
apply
to the entire
2 6 . C A R I B B E A N ISLAND
piz
Jfc
pizz.
Ledger
measure.
11
2 7 . OLYMPIC HIGH J U M P
M i
* 4
28.
, p
m
J
*
f
, p
|0
HALF W A Y D O W N
pizz.
ttlO-
11J
\
/ i
4 ^
30.
B
29.
o- -j
-P
RIGHT B A C K UP
^ s c a l e is a s e q u e n c e o f n o t e s
piz
>'.IJ^Q|g
n e x t c o n s e c u t i v e s t e p o f t h e s c a l e . T h i s is y o u r D Scale. T h e f i r s t a n d last n o t e s a r e b o t h D.
31.
D O W N THE D SCALE
Remember
to memorize
p/
4
32.
ames.
the note
ni
>
tM
*
f
r1
pizz. o
R ^ 4
>2
'
>
, p
>
>
12
BOW
BUILDER
FOUR
O n The B o w
Step 1
Step 2
Step 4
Step 5
Do not place your bow on the instrument until instructed to do so by your teacher.
Alert
33.
Step 3
S O N G FOR CHRISTINE
m_
O-
34.
NATALIE'S ROSE
Remember
to
pizz.
p^
s-^
-1
"O
1o
fT%
1J
fr\
ESSENTIAL CREATIVITY
Example
9 ~ ^ L 1
19
1p 1O
35.
u>
count.
t
1
How many
,p
words
>
n>o
1
0
ffl
12.
notes
on the staff
.
O
below?
13
Folk s o n g s o f t e n tell stories. This Israeli f o l k s o n g d e s c r i b e s a g a m e p l a y e d w i t h a d r e i d e l , a s m a l l t a b l e - t o p s p i n n i n g t o y
t h a t h a s b e e n e n j o y e d b y f a m i l i e s f o r c e n t u r i e s . T h e g a m e is e s p e c i a l l y p o p u l a r i n D e c e m b e r a r o u n d t h e t i m e o f H a n u k k a h .
36.
DREIDEL
Israeli F o l k S o n g
pizz.
ra
u>
1
)
BOW
BUILDER
- * M
4%
\.
p-j
a-
^1
'
i*
FIVE
Shadow Bowing
S h a d o w B o w i n g is b o w i n g w i t h o u t t h e i n s t r u m e n t .
Step 1
Step 2
Step 3
f
T i g h t e n t h e b o w h a i r as i n s t r u c t e d b y
your teacher.
Place t h e r o s i n i n y o u r l e f t h a n d .
H o l d t h e b o w in y o u r right h a n d .
Shadow b o w by slowly m o v i n g t h e
b o w back a n d f o r t h o n t h e rosin.
Be
sure t o m o v e t h e b o w , n o t t h e rosin.
Down Bow
M o v e t h e b o w a w a y f r o m y o u r b o d y (to t h e right).
Up
M o v e t h e b o w t o w a r d y o u r b o d y (to t h e left).
37.
Bow
R O S I N RAP #1
Bow these
exercises
J
Down
38.
Down
Rest
Up
j
Rest
R O S I N RAP # 2
4J
39.
Up
Down
Rest
R O S I N RAP # 3
v
Down
Up
Rest
on the rosin.
Rest
\J
Down
Rest
Up
Up
Down
Up
Down
Up
l
Rest
Rest
Rest
Rest
Is y o u r b o w h a n d s h a p e d as s h o w n i n t h e d i a g r a m a b o v e ?
\J
Down
Up
Down
Down
Up
Down
Rest
Rest
Up
Up
Rest
Rest
|J
J
Up
l :||
Down
Rest
Rest
v
f-
-+
Down
Up
Rest
Rest
Down
Up
Down
Up
40.
C A R O L I N A BREEZE
pizz.
Count:
&
&
&
&
&
&
&
&
&
&
&
&
&
&
&
&
4 1 . JINGLE BELLS
* ) : 4 -Xff
J
m m
>
-*
-iff
-|#
r
-
>
>
j i1
if
49
J.S. P\ierpont
1
49
>
i = l
J-
49- J
"
>
41
-m
49
f
0
\
1
!T<9
49
>
4
a
*i
\ x
* *
x x x 1
PIZZ,
42.
<>
-49
r=
11
MI
49-
1:
A u s t r i a n c o m p o s e r W o l f g a n g A m a d e u s M o z a r t ( 1 7 5 6 - 1 7 9 1 ) w a s a c h i l d p r o d i g y w h o f i r s t p e r f o r m e d i n c o n c e r t a t a g e 6.
H e l i v e d d u r i n g t h e t i m e o f t h e A m e r i c a n R e v o l u t i o n ( 1 7 7 5 - 1 7 8 3 ) . M o z a r t ' s m u s i c is m e l o d i c a n d i m a g i n a t i v e . H e w r o t e
h u n d r e d s o f compositions, i n c l u d i n g a piano piece based o n this familiar song.
4 3 . A MOZART MELODY
A d a p t e d b y W. A. M o z a r t
pizz.
-0
Key
Signature
A k e y s i g n a t u r e t e l l s us w h a t n o t e s t o p l a y w i t h s h a r p s a n d fats t h r o u g h o u t t h e
D MAJOR
t h i s k e y s i g n a t u r e , w h i c h is c a l l e d " D
Major."
4 4 . MATTHEW'S M A R C H
pizz.
signature.
1*
1*~
when
0
4m
45.
C H R I S T O P H E R S TUNE
pizz.
^ ; ^ S ^
s ff 4
46.
1
f
ESSENTIAL CREATIVITY
Play
you
the notes
have
below.
learned
- r
-0
Then
compose
your
own music
'
JJJJ
'
using
>
the
notes
1
1
B O W
B U I L D E R
S I X
Let's B o w !
3.
Thumb
Bow
Placement
Hold
Listeni n g S k i lis
47.
Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y . Y o u r t o n e s h o u l d b e s m o o t h a n d e v e n .
B O W O N THE D STRING
l
Play with
string.
arco
l i l i
m
B O W O N THE A STRING
v n v
r-0)
m>
v-m>
n
m
l i l i
n
v-m-
W O R K O U T S
String Levis
Your arm m o v e s w h e n b o w i n g o n different strings.
Memorize these
guidelines:
49.
RAISE A N D
J'H
50.
51.
53.
Lower
MIRROR IMAGE
Lift
- *
Lower arm
= lower string
Raise
arm.
-*
V
49
your
-0
string
-*M
V
L i f t t h e b o w a n d r e t u r n t o its s t a r t i n g p o i n t .
A STRAND O F D
-m
= higher
m m
arm.
-in
%;
your
TEET ER TC)TTER
Bow
52.
LOWER
Raise a r m
N'
/ Bow
3 =
Lift
:||
B O W
B U I L D E R
S E V E N
C o m b i n i n g Both H a n d s
U s i n g n o t e s f r o m t h e D m a j o r scale, e c h o w h a t y o u r t e a c h e r p l a y s .
E x a m p l e A:
w.
**
Teache r
E x a m 3le
Teacher
t 9
19
Studen
Teacher
Student
Teacher
Student
Teacher
Student
Teacher
Student
B:
Student
\\
18
C o n g r a t u l a t i o n s ! Y o u a r e n o w r e a d y t o p r a c t i c e l i k e a n a d v a n c e d p l a y e r b y c o m b i n i n g l e f t a n d r i g h t h a n d skills w h i l e r e a d i n g m u s i c .
W h e n l e a r n i n g a n e w line o f music, f o l l o w t h e s e steps f o r success:
Step 1
T a p y o u r t o e a n d say o r s i n g t h e l e t t e r a m e s .
Step 2
Play
Step 3
S h a d o w b o w a n d say o r s i n g t h e l e t t e r a m e s .
Step 4
B o w a n d p l a y as w r i t t e n .
54.
pizz- a n d say o r s i n g t h e l e t t e r a m e s .
BOWING
4
J H 1
55.
BACK AND
56.
n9
9v
W.
i*
n
*
n#
>
r i i
f
(Bow
Lift)
"
59.
LITTLE STEPS
4
60.
MI
ELEVATOR D O W N
9
i i
1*
n
,
3
m
-P
>
%
U MEIN T
TRIB AL
58.
Pl
57.
9)
-m>
V
p*
UP
n
9)
>
D O W N AND
FORTH
-t^-r-4-i
*\-\-a-A-
"G
>W
-49-
&
1
2
&
&
i
1
&
&
&
\
&
&
9)
&
=
&
&
v-0
- f
&
F
&
&
&
&
19
61.
ELEVATOR UP
4V*
62.
1 1
>': i
-0-
-0-
r-=y
19
63.
-Hl-
=^#=
v.
64.
to <:ount.
*9
n
4W
(9--
sm
%>
* II
-0-
^w
'
Specal Cello
While
the basses
learn
Exercise
a new note, draw
9
1
65.
'
>
below.
Then
write
V.
in the
counting.
>
_
T
>
r
20
Eighth N o t e s
n
1
Each E i g h t h N o t e = V2
&
2 Eighth Notes
J-J= 1 Beat
Beam
1 & 2&
Beat
T w o or m o r e Eighth
J
_
J
^ ^ ^ ^ ^ ^
across t h e stems.
N o t e s h a v e a beam
J
T
T a p y o u r t o e d o w n o n t h e n u m b e r a n d u p o n t h e "&'.'
66.
RHYTHM RAP
Shadow
n
4
Count: 1
Vn V
&
&
before
playing.
V
&
&
Vn V
&
&
V
&
&
Vn V
&
&
V
&
&
&
Vn
2
&
/
&
1
&
6 7 . PEPPERONI P I Z Z A
0
m
68.
RHYTHM RAP
Shadow
Count: 1
before
v n v
n v n
JIJ
&
&
playing.
^3ij
&
&
&
v n v
n v n
JIJ
2
&
v n v
J^IJ
&
&
n v n
J^IJ
ni
1
&
&
v n v
&
&
n
1
&
&
&
MI
4
&
6 9 . D M A J O R SCALE UP
m
Tempo Markings
70.
Tempo
is t h e s p e e d o f m u s i c . T e m p o m a r k i n g s a r e u s u a l l y w r i t t e n a b o v e t h e staff, i n I t a l i a n .
A l l e g r o - Fast t e m p o
Moderato - Mdium t e m p o
A n d a n t e - Slower, w a l k i n g t e m p o
HOT C R O S S B U N S
Moderato
0 0
7 1 . A U CLAIRE DE LA LUNE
Andante
F r e n c h Folk S o n g
21
72.
RHYTHM RAP
Shadow
before
playing.
vn vn v
n vnv n
vn vn v
n vnv n
>
Count: 1
&
&
&
&
&
&
&
&
&
&
&
&
&
&
&
&
7 3 . B U C K E Y E SALUTE
Moderato
74.
Conducting
Time Signature
2 beats per measure
Practice c o n d u c t i n g this
two-beat pattern.
RHYTHM RAP
Shadow
Count:
n v
1 & 2
&
before
n v
1 & 2
playing.
&
n v n v n v
1
&
&
&
n v
2
&
1 & 2
n v
&
&
nvnvn
2
&
1 & 2
&
&
MI
2
&
7 5 . T W O BY T W O
Play t h e 1 st e n d i n g t h e 1 st t i m e t h r o u g h . T h e n , r e p e a t
se
t h e s a m e s e c t i o n o f m u s i c , skip t h e 1 st e n d i n g , a n d play
0>
A lst
time
A 2 n d r/me
>O
Half Note
J
1
77.
= 2 Beats
&
Count: 1
&
= 2 Silent Beats
&
RHYTHM RAP
Shadow
78.
Half Rest
&
before
&
playing.
&
&
&
&
&
&
&
&
&
&
&
&
&
AT PIERROT'S D O O R
&
&
French Folk S o n g
Moderato
Slow
Bow-
Slow
Bow-
79.
THE HALF C O U N T S
80.
G R A N D P A R E N T ' S DAY
Andante
ii
Slow
Bow-
A m e r i c a n Folk S o n g
Repeat Signs
81.
only
- 0
*>
Pizz.
this exercise
4+ = 4th finger
0t i 01
4+
(etc.)
with your
pizz.
usual
beginning.)
A m e r i c a n Folk Song
-G
-&
2.
8 2 . TEXAS TWO-STRING
as
left hand
4th
finger.
n
0
23
83.
FOUR B Y F O U R
rf
rfi
'
n *
-p
-e
|-|
-m
fi
->
'
8 4 . 4 T H FINGER M A R A T H O N
'
.t 4
85.
-m
- 0
-m
mr
3r
H I G H FLYING
n
Germn composer L u d w i g v a n B e e t h o v e n (1770-1827) was o n e o ft h e world's greatest composers. He was completely deaf
b y 1 8 0 2 . A l t h o u g h h e c o u l d n o t h e a r m u s i c l i k e w e d o , h e c o u l d " h e a r " i t i n h i s m i n d . T h e t h e m e o f his f i n a l Symphony
No. 9
i
O
86.
ESSENTIAL ELEMENTS Q U I Z - O D E T O J O Y
Ludwig van Beethoven
Moderato
-f
*-
M
W
W
W
r'
'
1
1
24
PERFORMANCE SPOTLIGHT
G o o d p e r f o r m e r s are o n t i m e w i t h t h e i r i n s t r u m e n t s a n d m u s i c ready, dressed a p p r o p r i a t e l y , a n d k n o w t h e i r m u s i c w e l l .
8 7 . SCALE WARM-UP
0
-J
88.
FRRE J A C Q U E S - Round
(When
group
A reaches,
group
B begins
at
())
French Folk S o n g
-i
O
UJ
- i
| 4 r r M > n w
Moderato
P-
0-
P
i n g at t h e s a m e t i m e f o r m a c h o r d or h a r m o n y .
T h r o u g h o u t this book, A = Melody and B = Harmony.
inora, narmony
i t c n e s
89.
BILE 'EM C A B B A G E D O W N - O r c h e s t r a A r r a n g e m e n t
Allegro
v n v
9h
B
| 5 | -i
Measure
Number
American
FiddleTune
25
PERFORMANCE SPOTLIGHT
90.
ENGLISH R O U N D
Andante
91.
3=3
LIGHTLY R O W - O r c h e s t r a A r r a n g e m e n t
Moderato
i .
SI
-0000
F r e n c h c o m p o s e r J a c q u e s O f f e n b a c h ( 1 8 1 9 - 1 8 8 0 ) w a s t h e o r i g i n a t o r o f t h e o p e r e t t a a n d p l a y e d t h e c e l l o . A n o p e r e t t a s a
ic
This p o p u l a r w o r k w a s w r i t t e n
92.
CAN-CAN - O r c h e s t r a A r r a n g e m e n t
Jacques Offenbach
Arr.John Higgins
Allegro
[ /
performance?
0 0
~M.
26
G
S T R I N G
N O T E S
Listening Skills
Key
Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y .
Signature
G MAJOR
93.
"i
c
95.
signature.
mm
LET'S READ " B '
3
B 3
96.
G
94.
w
4
(C-natural).
27
97.
WALKING AROUND
4
before
98.
99.
you
play.
FOURTH FINGER D
(for vlolins
and
i 9
e9
f9
'
e.
lay.
9-
f-3
-<9
.-)
/
(2
1 \
1
violas)
Time Signature
(Meter)
= commonTime
Conducting
i
1
V\
\
\4
Practice c o n d u c t i n g
this four-beat pattern.
so
LOWDOWN
n
S a m e as |
100.
f/
0
1
i
1
1
1
101.
B A A B A A BLACK SHEEP
Moderato
-0-0-
-0
102.
02
- 0 0 ~
2ZI
A m e r i c a n Folk S o n g
m
m
28
Time Signature
(Meter)
= J or $ gets o n e beat
103.
Conducting
3 Beats
of Sound
1
&
&
&
Practice c o n d u c t i n g
this three-beat pattern.
Dot
A d o t a d d s half t h e
2 beats + 1 beat
valu o f t h e note.
= 3 beats
RHYTHM RAP
Shadow
Counf. 1
before
V
&
&
playing.
&
&
V
&
&
&
&
&
&
&
&
1 0 4 . C O U N T I N G THREES
n
5/ow
105.
D M A J O R SCALE IN THREES
106.
FRENCH FOLK S O N G
Moderato
S/ow
Bow
~0> 0-
^23
-&
107.
n
i
E n g l i s h Sea S o n g
time signature
before
you
begin.
29
A t i e is a c u r v e d l i n e t h a t c o n n e c t s n o t e s o f t h e s a m e p i t c h .
Tie
108.
= 2 beats
J J
Play a s i n g l e n o t e f o r t h e c o m b i n e d c o u n t s o f t h e t i e d n o t e s .
FIT T O BE TIED
I
Slur
A s l u r is a c u r v e d l i n e t h a t c o n n e c t s t w o o r m o r e d i f f e r e n t p i t c h e s .
m
O
Play s l u r r e d n o t e s t o g e t h e r i n t h e s a m e b o w s t r o k e .
1 0 9 . STOP A N D G O
# 1
-v
110. SLURRING A L O N G
n
=5
111.
1
1
1
S M O O T H SAILING
n
=51
112.
<*
D M A J O R SLURS
n
wm
-T#
IB S>
r -m>
f3
f *- -
TI
1 1 3 . CR OS SI N G iTRI N G S
0
o v
'
n .
- 1 1 -
N
0}
_0
0M
-*>
gWM
114. GLIDING B O W S
V
0T\
-p
r-0 0i 0
n .0|
115.
UPSIDE D O W N
0
H
s
.
r
m
r-0
1m
i
9
30
6
116.
A n o t e ( o r n o t e s ) t h a t a p p e a r s b e f o r e t h e f i r s t f u l l m e a s u r e is c a l l e d a n u p b e a t ( o r p i c k u p ) .
Upbeat
T h e r e m a i n i n g b e a t s a r e f o u n d i n t h e last m e a s u r e .
S O N G FOR MARIA
Andante
Whereis
Upbeat
beat
4?
D.C. a l F i n e
117.
(fee'-nay).
D . C . is t h e a b b r e v i a t i o n f o r D a C a p o , t h e I t a l i a n t e r m f o r ' r e t u r n t o t h e b e g i n n i n g . "
F i n e is t h e I t a l i a n w o r d f o r " t h e f i n i s h . "
B A N A N A BOAT S O N G
Moderato
C a r i b b e a n Folk S o n g
Fine
~ - s
(5
D.C. al Fine
1 1 8. FIROLIRALERA - O r c h e s t r a A r r a n g e m e n t
Allegro
n
Upbeats
M e x i c a n Folk S o n g
Arr.John Higgins
B
Upbeats
_
4> r
' tt J
-lS-li^,
- *
^J*
i
9
1*
i-^
-* *
J - --*J
*i*r v
P
*
3==
,i1
>
^r
n
n
V
0
-0
A Tie
-0
A Tie
F a r E a s t e r n m u s i c c o m e s f r o m M a l a y s i a , I n d o n e s i a , C h i n a a n d o t h e r reas. H i s t o r i a n s b e l i e v e t h e f i r s t o r c h e s t r a s , k n o w n
as g a m e l a n s , e x i s t e d i n t h i s r e g i n as e a r l y as t h e 1 st c e n t u r y B.C. T o d a y ' s g a m e l a n s i n c l u d e r e b a b s ( s p i k e d f i d d l e s ) , g o n g s ,
xylophones, and a w i d e variety o f percussion instruments.
125.
JINGU NONA
Allegro
ff
Far E a s t e r n F o l k S o n g
n
J
'
0)
9)
* 0
-s
- 0
m 0
tfV
/I*
L J T -
M9
1.
* t
2.
hz
Where
ZT0
is beat
41 \
32
S E C O N D
F I N G E R
O N
T H E
S T R I N G
i.
D
is p l a y e d w i t h
2 fingers o n
t h e O string.
Listening Skills
Natural
126.
Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y .
F y'T r
I
127.
Half Step
A h a l f s t e p is t h e s m a l l e s t d i s t a n c e b e t w e e n t w o n o t e s .
W h o l e Step
A w h o l e s t e p is t w o h a l f s t e p s c o m b i n e d .
HALF-STEPPIN' A N D W H O L E STEPPIN'
H
g
7/2 s f e p
7/2sfep
Whole
step
Whole
step
128.
SPYGUY
4
-*>0-
129.
M I N O R DETAILS
n
2
SECOND
FINGER
ON
THE
A STRING
is p l a y e d w i t h
2 fingers on
the A string.
Listening Skills
130.
Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y .
c -y-'-
131.
7/2srep
7/2sfep
Whole
step
Whole
step
, 2
| * O m a t C S
C h r o m a t i c n o t e s a r e a l t e r e d w i t h s h a r p s , fats, a n d n a t u r a l s . A c h r o m a t i c p a t t e r n is t w o o r m o r e
n o t e s in a s e q u e n c e o f half steps.
132.
CHROMATIC M O V E S
4
133.
134.
f-
tur
BLUEBIRD'S S O N G
Allegro
Texas Folk S o n g
34
K e y Signature
jrvr
C MAJOR
^ =
1 3 5 . C MAJOR SCALE - R o u n d
(D H
(2)
7/2
7/2
7/2
Duet
w0
0
0
J2
137. O A K HOLLOW
Moderato
n
1 3 8 . A-TISKET, A-TASKET
Allegro
2.
0
-0
In t h e s e c o n d h a l f o f t h e 1 8 0 0 s m a n y c o m p o s e r s t r i e d t o e x p r e s s t h e s p i r i t o f t h e i r o w n c o u n t r y b y w r i t i n g m u s i c w i t h
a d i s t i n c t n a t i o n a l f l a v o r . L i s t e n t o t h e m u s i c o f R u s s i a n c o m p o s e r s s u c h as B o r o d i n , T c h a i k o v s k y , a n d R i m s k y - K o r s a k o v .
T h e y o f t e n u s e d f o l k s o n g s a n d d a n c e r h y t h m s t o c o n v e y t h e i r n a t i o n a l i s m . D e s c r i b e t h e s o u n d s y o u hear.
"I. _
m
Russian Folk S o n g
%w
\w
>
35
^jj^
140.
Alert:
BINGO
Allegro
H
J
syfl
T h i s p a g e m i x e s f i n g e r p a t t e r n s . W a t c h f o r s e c o n d f i n g e r ( O ) a n d t h i r d f i n g e r (Fjt).
1* *
H '
-r
i r
i f r
rprrr~T^T__T~~[
mF
-
3
9
"
-_
"
\
4
Whereis
A
]
beat2?
E n g l i s h c o m p o s e r T h o m a s T a l l i s ( 1 5 0 5 - 1 5 8 5 ) s e r v e d as r o y a l c o u r t c o m p o s e r d u r i n g t h e r e i g n s o f H e n r y VIII, E d w a r d V I , M a r y ,
a n d E l i z a b e t h I. C o m p o s e r s a n d a r t i s t s d u r i n g t h i s e r a w a n t e d t o r e c r a t e t h e a r t i s t i c a n d s c i e n t i f i c g l o r i e s o f a n c i e n t G r e e c e
a n d R o m e . T h e g r e a t a r t i s t M i c h e l a n g e l o p a i n t e d t h e S i s t i n e C h a p e l d u r i n g Tallis' l i f e t i m e . R o u n d s a n d c a n o n s w e r e p o p u l a r
f o r m s o f m u s i c d u r i n g t h e e a r l y 1 6 t h c e n t u r y . D i v i d e i n t o g r o u p s , a n d p l a y o r s i n g t h e Tallis Canon
as a 4 - p a r t r o u n d .
1 4 1 . TALLIS C A N O N - R o u n d
Moderato
y4r ir
T h o m a s Tallis
-0
0 -
- 0 0 -
.J
T n e m e
T h e m e a n d V a r i a t i o n s is a m u s i c a l f o r m w h e r e a t h e m e , o r m e l o d y , is f o l l o w e d
\ i
a n d V a n a t l O n S
1 4 2 . VARIATIONS O N A FAMILIAR S O N G
Moderato
n
2.
\l
u
ti
WW
mw
\J
-J
ftP
- f
fr
up your
V a r i a t i o n 2 - make
143.
Variation 1
p
own
4W
WW
0
mw
i9
variation
3*3
own
rhythm.
36
C
S T R I N G
N O T E S
is p l a y e d w i t h 4 f i n g e r s
is p l a y e d w i t h 3 f i n g e r s
is p l a y e d w i t h 1 f i n g e r
o n t h e C string.
on t h e C string.
o n t h e C string.
Listen,ng Skills
Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y .
mm
145.
4*
-G
-G
-G
~\
E
147.
n
4*
F
146.
v,
W
LET'S READ " D '
^
'O
1 4 8 . SIDE BY SIDE
before
n
0
^ :44
-d-
d
d
1 4 9 . C M A J O R SCALE
d"
you
play.
0
"d"
>
G-
GL
-G
-G
"d
d-
-d-
37
Whole Note
W h o l e Rest
Whole Rest
A Whole Measure
o f S i l e n t Beats
= 4 Beats
150.
before
-oCount:
151.
<>
->
S/ow
Bow-
n
L
-m-
n
<>
-m-
T.H.Baily
V
^ 3
A n a r p e g g i o is a c h o r d w h o s e p i t c h e s a r e p l a y e d o n e a t a t i m e . Y o u r f i r s t a r p e g g i o u s e s t h e
LISTEN T O O U R SECTIONS
Violin
(*
Viola
Cello
Arpeggio
H
i.
Bass
Vln.
Va.
Vcl.
Bs.
All
T r a d i t i o n a l Folk S o n g
Moderato
. J . .*
1 st, 3 r d , 5 t h , a n d 8 t h s t e p s f r o m t h e C m a j o r s c a l e .
1 5 3 . C M A J O R SCALE A N D A R P E G G I O
Arpeggio
):
S/ow
Bow -
154.
staff line.
LONG, LONG A G O
Moderato
sits o n a
a staff line.
SLOWBOWS
playing.
v
<>
Slow
Bow -
152.
hangs from
RHYTHM R A P
Shadow
Half Rest
<s
L-
J - -J - f
Fine
'
D.C. al Fine
49
Note
ames: -
m
m
G r e a t m u s i c i a n s g i v e e n c o u r a g e m e n t t o t h e i r f e l l o w p e r f o r m e r s . V i o l i n a n d bass p l a y e r s w i l l n o w l e a m
Team W o r k
n e w c h a l l e n g i n g n o t e s . T h e success o f y o u r o r c h e s t r a d e p e n d s o n everyone's t a l e n t a n d p a t i e n c e .
Play y o u r b e s t as t h e s e s e c t i o n s a d v a n c e t h e i r m u s i c a l t e c h n i q u e .
Listening Skills
156.
Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y .
158.
Y
# *
159.
r-m>
*>
1--
VH'
LET'S READ
m
f
1
(F-sharp) - R e v i e w
m>
MOVI N G A L O N G
before
you
play.
r r>
0 m
161.
m>
160.
\ ir r r r ^
G MAJOR SCALE
.1 IJ i
-<I-
l ]
'f
nj
39
1 6 2 . SHEPHERD'S H E Y
Moderato
-dM ,,
^
- s
163.
*J
-m 9
~ff~ 0
-0
^
%
A m e r i c a n Folk S o n g
Allegro
0
Listening Skills
164.
Play w h a t y o u r t e a c h e r p l a y s . L i s t e n c a r e f u l l y .
m
165.
ICE S K A T I N G
Moderato
V
0 0
m
166.
ES
Johannes Brahms
Staccato
167.
S t a c c a t o n o t e s a r e m a r k e d w i t h a d o t a b o v e o r b e l o w t h e n o t e . A s t a c c a t o n o t e is p l a y e d w i t h
or f
PLAY STACCATO
r r r r r r iff^
1 6 8 . A R K A N S A S TRAVELER
Allegro
S o u t h e r n A m e r i c a n Folk S o n g
01
0
J
'
% SKILL BUILDERS
gtm
WW
gtm*
90
- G Mejor
169.
1
-Y
0 9w
_ 0
1 |
m'
9
170.
9
171.
r S
):
172.
J
173.
t) 9
i n
'
^ _y
**
i
=F^==F
,9
ri
gtm
W
J ^
p*
41
Hooked Bowing
H o o k e d b o w i n g s t w o o r m o r e n o t e s p l a y e d n t h e s a m e d i r e c t i o n w i t h
=jP
1 7 4 . HOOKED O N D MAJOR
V* i i
1. i a r*
_
ww
V
-p
n_
-m
v,v
.v
ii
175. WALTZING B O W S
r%
J"
m-
176.
v^
<9
P O P G O E S THE W E A S E L
Allegro
A m e r i c a n Folk S o n g
177.
AWM
r
aWI
Af
n
ww
-0
1 . }
/ T
180.
SKILL BUILDERS
- c Major
s
-
s-
-=
- P '
178.
179.
s>
mw
1\
42
Dynamics
181.
D y n a m i c s t e l l us w h a t v o l u m e t o p l a y o r s i n g .
f
(forte)
Play l o u d l y . A d d m o r e w e i g h t t o t h e b o w .
(piano)
Play softly. R e m o v e w e i g h t f r o m t h e b o w .
FORTE A N D P I A N O
1 8 2 . SURPRISE S Y M P H O N Y THEME
Andante
Franz Josef H a y d n
-&
3t*
13
_ "Y
V
SKILL BUILDERS
- Scales a n d A r p e g g i o s
A d d y o u r o w n d y n a m i c s t o a n y o f t h e lines b e l o w .
183.
D MAJOR
*Hir
ti
00>
184. G MAJOR
185. G MAJOR
(Upper
Octave-violin)
s
1 8 6 . C MAJOR
-
w
1 8 7 . C MAJOR
*V2
m
n
.
0 0
* iJ-
* 0
-J-
^ - 0
9
0-
i
0
.1
43
PERFORMANCE SPOTLIGHT
1 8 8 . CRIPPLE CREEK - O r c h e s t r a A r r a n g e m e n t
Allegro
^ j x -
B4
> kr
n
~l*
r "
5
1*
^ 1
n
-
* *
i
\
gtm
G-
J J
-?
*i
99
Arr. M i c h a e l A l i e n
f^-
? *
A m e r i c a n Folk S o n g
^4f-
r3
(A = M e i o d y a n d B = H a r m o n y )
--
<f>
*
\
A f r i c a is a l a r g e c o n t i n e n t m a d e u p o f m a n y n a t i o n s , a n d A f r i c a n f o l k m u s i c is as d i v e r s e as its m a n y c u l t u r e s . T h i s f o l k s o n g
is f r o m K e n y a . T h e w o r d s d e s c r i b e w a r r i o r s as t h e y p r e p a r e f o r b a t t l e . L i s t e n t o e x a m p l e s o f A f r i c a n f o l k m u s i c a n d d e s c r i b e
the sound.
1 8 9 . TEKELE LOMERIA - O r c h e s t r a A r r a n g e m e n t
Moderato
Arr. J o h n H i g g i n s
9^
-0
~-0
G-
_n_
00-
-0-
f
P
44
PERFORMANCE
SPOTLIGHT
190.
ii
r cr r
n
2>
*f
'
f f>
u
n vv
1m
*1
J *
-490
r cr r
i *
m
1
1
Fine
m
G i o a c h i n o Rossini
r r r r* f
H r
|(
ii
m
LH
iTT
49
**
4 -
-49
4J
4p -
m m m
D.C. al Fine
v * M nr J
:
191.
BZP
m.
S 3
R O C K I N ' STRINGS - O r c h e s t r a A r r a n g e m e n t
John Higgins
Moderato
n vnv
0-0-0
v nv
v nv
45
PERFORMANCE SPOTLIGHT
1 9 2 . SIMPLE GIFTS - O r c h e s t r a A r r a n g e m e n t
Andante
4
-fila
J
Shaker Folk S o n g
Arr. J o h n H i g g i n s
^~~
J-J-
1'
v n v
'''U
' "tt3 ~
0 +
3^
- ^ u
^
TT
00
" * * ^ p - v r
f rf
S>
-p
m
0
\r
Sr
-p
i1
-2.'
r
-
^_
r
^ ' Lj^
n v
v n */
^-s
-fr^u
f
n
i f
f 2
- 0
19
_f
v
r
n
r
H
#
= F
i
p
2.
(2
T^T
3
* -r r
-0
1m
-0
-0-
r--
4T% "
""""
->
46
PERFORMANCE SPOTLIGHT
A s o l o s a c o m p o s i t i o n w r i t t e n f o r o n e p l a y e r , o f t e n w i t h p i a n o a c c o m p a n i m e n t . T h i s s o l o w a s
Solo w i t h P i a n o
Accompaniment
1 9 3 . MINUET N O . 2 - Solo
Moderato
4 1
p-
-4
r
E
^^r.
/
^
**
09
r r
_ m
p-
CJ
n*
r f .
10
^
j
ff= r i T f
p<-f
TlTr i
i* *
pF
1 1
Piano A c c o m p a n i m e n t
Moderato
1
p
1
1
-<=
m
m
-t-e
-e
si;
i-
"
J
J
P
i
, H . H . H l - nj - n< - nj i -
*
-e-
J.
17
J.
m
m
i
<5>
J
m
J
L
J !
a-
JJ
-e
9
r u rj
L-l
r.rr
J
JJ1
rf
p-
Arr.John Higgins
Atm
h
v
J o h a n n Sebastian Bach
m
m
47
IITI p r O V I S C I t i OII
1 94.
/J*
RHYTHM J A M
I m p r o v i s a r o n is t h e a r t o f f r e e l y c r e a t i n g y o u r o w n m u s i c as y o u p l a y .
Using
the following
notes,
improvise
your
own
rhythms.
n\r
Using
1
1
1
1 <>
L-o
INSTANT M E L O D Y
T~%
1 95.
the following
notes,
improvise
your
own melody
the accompaniment
(Line
&
-0>
0>
i*
r*~~
1*
1*
CELLO F I N G E R I N G CHART
C STRING
G STRING
D STRING
A STRING
ctt
B).