Book1 Tenor G-Clef PDF [PDF]

Zitiervorschau

I

Passamezzo Method for viola da gamba TENOR Viol Book one

A new method for viola da gamba, designed for children and non-string players. Irresistible tunes from the Renaissance and Baroque periods engage and inspire the learner. Experience the joy of playing early music faster with this novel approach to learning the viola da gamba. WWW.JULIEELHARD.COM

$14.95

by ISBN # 978-0-9856823-1-6

ElhardCover2Tenor.indd 1

Julie Elhard 6/29/12 10:30 PM

I

Passamezzo Method for viola da gamba Tenor Viol Book one

by

julie elhard

Passamezzo Method for Viola da gamba for Tenor Viol By Julie Elhard © 2012 Julie Elhard ISBN # 978-0-9856823-1-6

PASSAMEZZO METHOD for viola da gamba Tenor Viol 3 Book One 4 CONTENTS Introduction  5

Are You Sleeping?—in D  25

Care of the Viola da gamba and Tuning  6

On the Bridge Avignon—in F  25

The Parts of the Viola da gamba  7

Are You Sleeping?—in C  26

Pre-Passamezzo Experiments  8

Fancy Fingers—in C  26

Tick-Tock Cuckoo Clock  10

Bransle  27

The String Song  10

Fancy Fingers—in F  28

Happy to Sad  11

On the Bridge Avignon—in D  28

Annika’s Countdown  11

English Pavane  29

Passamezzo Variations  12

Medieval Times  30

Moonlight  13

Gypsy Dance  30

Hot Cross Buns  14

The Snake Charmer  30

Scotland’s Burning  14

Fancy Fingers—in A-minor  31

Mixolydian Mode  15

Waves Upon the Sea  31

Twinkle, Twinkle Little Star  16

Perpetual Gunnar  32

Twinkle Slides  16

Simple Simpson  33

Od Hecaton  17

Rufty Tufty  34

Petrucci’s Piece  17

Fortune My Foe  35

The Clowns  18

Arirang  35

Old MacDonald  19

Simpson Study  36

Boil the Cabbage  20

Noel Nouvelet  37

Washerwoman  21

Perpetual Henrik  37

Lightly Row—in C  22

Over the Hills and Far Away  38

Lightly Row—in F  23

La Mantovana  39

Fancy Fingers—in D  24

Ding-Dong Scale  40

Lavender’s Blue  24

Ding-Dong Merrily We Fly  41

INTRODUCTION The pieces presented here are to be learned primarily by ear, or memorized as soon as possible. Playing away from the printed music allows for more awareness of the actual experience of playing music. It is hard to change what is not noticed, so awareness is a key element in learning and changing. To the Parent Helpful hints for playing time with the viol: 1. Create a space for music in your home. 2. Set a regular time to play with the viol. 3. Encourage exploration and inventiveness to learn how the viol works. 4. Resist the urge to “fix” or “correct.” Instead ask, “What happens if . . .” or “What did you notice about playing . . .” 5. Encourage child to create her or his own songs. To the Adult Student 1. Practice self-awareness by asking yourself, “What did I notice?” 2. Resist the urge to play it “right,” or to scold yourself. 3. Explore the instrument and make up your own warm-ups. 4. Expand your awareness to notice: a. Your comfort level b. Ease or difficulty of playing c. Thoughts and intentions while playing d. The sound of the viol I would like to thank my students for their willingness to explore this new method with me. You will find some of their names in this book. Also, I greatly appreciate the support of my family, friends and colleagues who have given me help and inspiration. I hope you find this method a fun way to explore the world of the viola da gamba. Julie Elhard

5

Care of the Viola da gamba Treat your viola da gamba with the same care as if it were a person. 1. Keep the viol in its case or protected from being knocked over. 2. Keep away from direct sunlight, heating source, or extreme cold. 3. Travel with viol inside the car, not the trunk. 4. Loosen bow when finished playing and wipe off rosin from stick. 5. Clean rosin off strings and off the belly of the instrument.

Tuning the Viola da gamba family This instrument is tuned like a Renaissance guitar. An interval of a third is between the middle two strings, and an interval of a fourth is between the outside sets of strings. from highest to lowest string (bass viol is an octave lower) Treble and Bass Viol Tuning String 1 D String 2 A String 3 E String 4 C String 5 G String 6 D Tenor Viol Tuning String 1 G String 2 D String 3 A String 4 F String 5 C String 6 G

6

THE PARTS OF THE VIOLA DA GAMBA Draw a line to each part The Parts of the Viola da gamba Draw a line to each part

Headoror Head scroll scroll

Peg box Peg box

Pegs Pegs Pegs Pegs

Nut Nut Strings Strings

Neck Neck

Frets Frets Fingerboard Fingerboard

Shoulders Shoulders

Sides Sides

Soundpost Soundpost (inside (insideinstrument) instrument)

C-holes C-holes

Bridge Bridge

Waist Waist

Back(hidden (hidden behind) Back behind)

Bottom bouts Bottom bouts Tailpiece Tailpiece

7

Pre-Passamezzo Experiments Exploring the instrument For treble and tenor viols, try using a “lap pad” to help stabilize the instrument. This is a rubber shelf roll cut into a long strip and placed on lap, under viol. Explore different ways to use the bow (overhand, underhand, fingers over stick “cave man” style, at frog, fingers on hair). See what feels comfortable and learn how the bow works on the string. “What did you notice about that way of using the bow?” Games for children • Play the game “Simpson Says touch the _______” (bridge, pegs, etc.) • Strum strings like a guitar by using the right hand thumb. • Ghost Song by Gabriel North, age 5 Make sounds from a haunted house 1. Ghosts sounds are bowing back and forth on the string at different speeds 2. Creaking door sounds are a heavy bow close to the fingerboard 3. Mice running around are the bow playing on the wrong side of the bridge 4. Bounce bow on string for making house creak and fall down • Play “I Spy.” Child makes spy glass with left hand and teacher plays viol; ask, “What did you spy?” Left Hand • Sing song Tick-Tock from Book One • Make a spy glass between middle finger and thumb (L.H. position) • Finger “pull-ups”: left hand fingers pluck string • Ski Jumps: slide 1st finger from nut to end of fingerboard, then pluck string • The gamba harp: strum strings with left hand, like a harp • “Itsy bitsy spider”: walk fingers up and down string • Finger puzzles: place fingers on different strings and frets, then pluck each note with the right hand (change order of fingers and order of strings)

8

The Bow • The Noodle Song by Bryan Boehnke, age 6. Bow across all strings from bottom to top • Airplane bows. Place a heavy bow on the string, then count down to take off and listen to the ring • Inch Worm bow. A sticky, short bow slowly inches along the length of the bow making tiny speaking notes • Play Happy to Sad from Book One Listen and Pluck Pieces • Noel Nouvelet. Pluck open E-string for treble and bass viol; Pluck open A-string for tenor viol (teacher plays melody) • Ding Dong Merrily. Pluck open C-string for treble and bass viol; Pluck open F-string for tenor viol (teacher plays melody) • Arirang. Pluck open A-string for treble and bass viols; Pluck open D-string for tenor viol (teacher plays melody) Listen and Bow Pieces • Play follow the leader. Take turns playing rhythms on open strings or a small sequence of notes • Twinkle in A. Child plays rhythm on 7th fret, note-E on A-string (teacher plays melody while the harmony E-note is played only on every 2nd note of Twinkle melody.) • Boil the Cabbage. Child plays bow rhythm on open D-string (teacher plays melody) • Make siren sounds by sliding finger up and down the string while bowing • Make ghost sounds by sliding a very light finger over harmonics while bowing • Make animal sounds for Old MacDonald • Play Annika’s Countdown from Book One Explore the physics of the bow “The Big Three” 1. Weight of bow on string 2. Placement of bow between bridge and fingerboard 3. Speed of bow What happens to the sound of the viol when any of these three elements change?

9

Tick-Tock Cuckoo Clock Children’s Song Start by swinging bow like a pendulum in front of viol and click tongue to make “tick-tock” sound. Sing song and pluck with the left hand the number of times the clock has struck. Children are good at thinking of dfferent ways to pluck, e.g. different fingers and different strings.

V 44 œ Vœ

Tick tock,

œ

Now

œ

œ

œ

œ

tick

tock,

I’m

a

œ

œ

œ

I’m

œ

strik - ing

1

œ

œ œ

œ

œ

œ

gam - ba cuck - oo clock.

œ

[pluck G string]

∑

o’ - clock:

The String Song Sing words and pluck open strings on the half notes.

# 4 œ. œ œ. œ ˙ V 4

˙

˙

œ. œ œ. œ ˙

˙

˙

G

G,

I can play a D

D

D,

[pluck G string]

# œ V #

I can play a G

œ. œ ˙

Down to the A

V nœ

œ. œ ˙

Way down to C

10

˙

A

˙

C

˙

œ. œ œ. œ n˙

n˙ F

F,

˙

œ. œ œ. œ ˙

˙

˙

A,

C,

I can play an F

All the way to G

G

˙

G.

Happy to Sad Annika Stall, age 6 The open strings. Start with a push bow.

≤ œ œ œ œ œ œ 4 V4 G string

F string

Vœ œ œ œ œ œ

D string

œ œ œ œ œ œ C string

œ œ œ œ œ œ

A string

œ œ œ œ œ œ G string

œ œ œ œ œ œ

Annika’s Countdown Annika Stall, age 6 Place your hand on the A string with your 4th finger on the 7th fret. Start with a push bow.

≤ œ œ œ œ œ 4 V4

œ

4

Vœ œ œ œ œ 2

œ

bœ œ œ œ œ 3

#œ œ œ œ œ 1

œ œ

Try this on all the strings and on different frets.

11

Passamezzo Variations Julie Elhard Start with 2nd finger on the 5th fret on the A string, using 2-1.

A

≤ # # 4 œ2 œ œ œ œ. œ. œ1 œ œ œ œ. œ. œ2 œ œ œ œ. œ. 0 œ œ œ œ œ. œ. V 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. V 2

B

1

2

0

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 V

# # œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ V C

# # œ≤ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ V

## œ œ œ œ œ œ œ œ œœœœœœœœ œœœœœœœœ V ## œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œœœœœœœœ V 12

Moonlight Julie Elhard To be played on the A string. Put 2nd finger on the 7th fret.

# 4 œ2 V 4

œ œ œ

? # 44 œ

œ œ œ

# œ2

œ œ œ œ

œ

œ4

œ

Walk - ing in the moon - light, Teacher

V

?# œ V

œ

# œ2

œ œ œ œ œ œ œ

œ

œ

Walk - ing in the moon - light,

# œ2

?# œ

œ œ œ

œ

œ œ œ # œ1

œ

œ

Make a wish at mid - night,

œ œ œ œ

œ

œ

œ œ œ œ

œ

#œ œ œ œ œ

œ

1

œ

œ

Look-ing for a star bright,

œ

Make a wish at mid - night,

?# œ V

œ

œ œ œ œ

Wait - ing for the day - light.

œ œ œ œ œ

œ

œ

œ

4

œ œ œ œ

Look-ing for

a star bright,

œ

œ œ œ œ

œ

œ2

œ œ œ œ

œ

Wait-ing for the day - light.

œ

œ œ œ œ

œ

13

Hot Cross Buns Traditional

≤ ### 4 œ V 4

Melody 3

1

œ

˙ œ œ

0

3

1

˙ œœœœœœœœ œ

1

˙ œœœœœœœœ œ

œ ˙

˙0 œ0 œ œ œ œ0 œ œ œ œ0

0 ˙ œ

0

0

1

3

0

œ ˙

Upper harmony

≤ ### 4 œ 4 V 3

˙1 œ œ0

œ

3

0

Lower harmony

≤ ? # # # 44 œ Teacher 0

œ

0

˙0 œ0 œ0

1

0

1

3

0

1

0

Scotland’s Burning Can be played as a round. Each voice enters after one measure.

## 4 0 V 4œ

1st finger on 7th fret 1

œ

œ 0

œ œ 0

œ 0

œ

œ œ 1

Traditional

œ3 œ1 œ3

Scot-land’s burn-ing, Scot-land’s burn-ing, Look out, look out,

3 œ œ œ œ œ œ œ œ ## œ V

œ œ œ

1

0

œ œ œ œ 3

1

0

Fi - re, fi - re, fi - re, fi - re, Pour on wa - ter, pour on wa - ter.

14

Mixoydian Mode ## 4 V 4œ œ œ œ œ

œ

## œ œ œ œ œ œ V

œ œ œ œ œ œ

œ œ œ œ œ œ

V

## œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

V

## œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

## œ œ œ œ œ œ V

œ œ œ œ œ œ

œ œ œ œ œ œ

œœœœœ œ œœœœœ œ

Mix-o - lyd - i - an mode

15

Twinkle, Twinkle, Little Star Traditional Try different rhythms on this theme.

≤

1 ### 4 0 œ œ V 4œ œ

### œ œ œ œ V 1

V

###

0

œ œ œ œ 0

1

œ3 œ ˙1

œ œ œ œ

œ œ ˙

œ œ ˙

œ œ œ œ

œ œ ˙

œ œ ˙

œ œ œ œ

3

3

1

1

0

3

1

0

0

3

1

3

1

0

1

0

œ œ ˙

Twinkle Slides Play this piece ONLY on the A string. Slide the 1st finger back to 1st position after the *1 notes. Finger 1 will slide back to the B on the A string, then place 4 for the next note. Enjoy the ride!

≤

slide 1st finger back to 1st pos. 3 *1 4

1 ### 4 0 œ œ œ œ V 4

# # # œ1 *1œ œ4 œ V V 16

###

œ œ œ œ 0

1

œ œ ˙

œ œ œ œ

œ œ ˙

œ œ ˙

œ œ œ œ

œ œ ˙

œ3 œ *1˙

œ œ œ œ

œ œ ˙

3

1

1

4

3

*1

4

3

1

3

1

0

1

0

Od Hecaton # # # 4 œ1 V 4

He - ca - ton

# # # œ1

œ œ ˙

œ3

# # # œ0 V

œ œ ˙

3

V

0

œ œ œ ˙

œ œ ˙

Od

œ œ œ ˙

3

œ

œ œ ˙

œ 1

1

œ œ ˙

œ

œ œ ˙ ..

œ œ ˙

Petrucci’s Piece arr. after “Dit le Burguynon” from Ottaviano Petrucci’s Od Hecaton, 1501



# # # 4 œ1 œ œ3 œ œ4 œ œ 0 ˙ V 4 ### . œ œ œ ˙ . V 3

0

0

˙

1

0

œ œ œ œ ˙ 1

˙

3

3

œ œ œ œ

0

˙

1

˙

..

1

..

˙

17

The Clowns “Les Buffons;” anon. 15c

≤

### 4 V 4œ œ œ œ 0

V

###

1

˙

4

œ œ œ œ

˙

˙

œ œ

˙

˙

0

1

3

≤ ### . ˙ . V 1

≥1 ### ˙ V

18

˙

3

3

1

œ œ 3

4

1

0

˙ 0

˙

œ œ œ œ 3

1

3

œ œ œ œ 3

0

0

1

≥3 1 3 0 œ œ œ œ

≤3 0 1 œ œ œ œ

1

˙ 0

˙

˙

˙

˙

1

0

˙

..

˙

˙

..

Old MacDonald Traditional

0 ## 4 œ œ œ 0 œ V 4 # # œ0 œ œ 0 œ V

1

0

œ œ ˙ 1

0

œ œ ˙

œ3 œ œ1 œ

w

œ3 œ œ1 œ

w

0

0

# # œ0 œ œ 0 œ0 œ œ Œ œ0 œ œ œ œ œ œ œ œ œ œ œ œœ V # # œ0 œ œ 0 œ V

1

0

œ œ ˙

œ3 œ œ1 œ

w 0

..

This is an exercise/game to learn about the viola da gamba.

This is an exercise/game to learn about the viola da gamba.

Use the following examples to make new sounds on the viol during the animal sounds

Use the following examples to make new sounds on the viol during the animal sounds in the in the third line: third line. 1. Mouse. Place 1st finger at the end of the finger board and make a squeaky sound with 1. Mouse – place 1st finger at the end of the finger board and make a squeaky sound the bow. with the bow 2. Siren. Slide 1st finger up and down the string while bowing. 2.3. Seagulls. Siren – slide 1st finger while while bowing. Slide 1st fingerup upand anddown down the the string string lightly bowing to create 3. Seagulls – slide 1st finer up and down the string lightly while bowing to create harmonics. harmonics. 4.4. Train. Train –Play playon ontwo twostrings strings at once (double to make train whistle at once (double stop)stop) to make a trainawhistle sound. sound. 5.5. Cat. Cat – Slide slide1st 1stfinger fingerupup and back a string to make a “meow” and back on aonstring to make a “meow” sound.sound. upup and back on aon low string to make a “moo” sound. sound. 6.6. Cow. Cow –Slide slide1st 1stfinger finger and back a low string to make a “moo” 7. Creaky door. Place bow on string close to fingerboard; then with heavy weight weight move 7. Creaky door – place bow on string close to fingerboard; then with heavy bow slightly.move bow slightly.

19

Boil the Cabbage Traditional On the repeat, add the open D string to the melody notes and play double stops.

# 2 1œ œ œ œ œ œ œ2 œ œ œ œ œ œ1 œ œ œ œ œ V 4 #

0

V œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ1 V V

20

# œ4 Shave

1

0

œ œ œ

2

1

œ

œ œ œ

0

œ

œ

1

and

a

hair

œ 0

-

cut,

œ œ ..

œ œ œ ‰

œ3 J

œ4

two

bits.

Washerwoman Bransle des Lavandieres arr. Michael Praetorius 0 # # 4 œ1 œ œ œ 0 œ œ ˙ V 4

œ œ œ œ œ œ ˙ 1

0

3

1

0

..

1

## . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . . V . f p 1

3

0

3

1

## . œ œ ˙ V . 1

# # œ1 œ 0 ˙ V

˙

0

3

˙ 3

0

3

1

3

0

3

1

0

3

1

˙

œ œ œ œ

œ œ œ œ

˙

œ œ œ œ

œ œ ˙

0

1

0

3

1

1

0

0

3

1

1

..

21

Lightly Row – in C Traditional 4 1 œ œ ˙ 4 V4

V

œ œ ˙ 2

œ4 œ1 œ œ

1

Vœ œ œ œ V

22

œ œ ˙ 2

0

0

1

2

4 œ œ œ œ

0

2

œ œ ˙

0

œ4 œ1 ˙

2

œ œ œ œ 2

œ4 œ ˙

œ œ œ œ

0

œ œ ˙

1

1

2 4 ˙ œ œ

œ œ œ œ

2

1

4 œ œ œ œ 2

1

œ œ ˙ 1

Lightly Row – in F Traditional

œ4 œ1 ˙ V b 44 Vb

œ4 œ1 œ œ œ œ œ œ 0

Vb Vb

œ4 œ1 ˙

œ2 œ0 ˙

2 œ œ œ œ

œ4 œ ˙

1 4 œ œ œ œ

œ œ ˙

2

œ2 œ0 œ œ

1

2

2 ˙ œ œ

1

2 4 ˙ œ œ

œ œ œ œ

1

œ2 œ0 ˙

0

1

4 œ œ œ œ 2

1

œ œ ˙ 1

23

Fancy Fingers – in D ## 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ V 4 0

1

4 œ ## œ œ œ œ œ V

V

3

œ4 œ œ œ œ œ

1 3 4 1 ## œ œ œ œ œ œ œ œ

0 1 3

œ œ œ œ œ œ 3

0

œ œ œ œ œ

œ

..

Lavender’s Blue Traditional broadside ballad

## 3 œ œ V 4 0

œ

1

œ

œ œ œ œ

0

3

1

0

œ

La - ven - der’s blue, did - dle did - dle,

## œ V 0

œ œ

When I

## œ V 0

œ

1

am

œ œ

1

œ œ3 œ1 œ0

œ

œ 3œ œ1 œ0

0

œ

œ0

œ 3

˙.

0

1

œ

you shall be

œ

œ 3

œ

Down in the vale, did - dle did - dle, where flow - ers

## œ V 0

œ

1

œ

And the birds

24

œ

˙.

la - ven - der’s green

0

king, did - dle did - dle,

œ 3

œ œ3 œ1 œ0

0

sing, did - dle did - dle,

œ0 œ3 œ1 all in

a

queen.

˙.

grow,

˙. 0

row.

Are You Sleeping? – in D Folk song Can be played as a round. Each voice enters after two measures.

≤ 1 3 0 ## 4 œ œ œ œ V 4 0

œ œ œ œ 0

1

3

0

0 1 ˙ œ œ 3

0 1 ˙ œ œ 3

1 3 1 0 3 0 1 3 1 0 3 0 0 0 0 œ œ œ œ œ œ œœ œ œœ œ œ ## œ ˙ V

0

0

0

œ œ ˙

On the Bridge Avignon – in F œ œ 4 b V 4

4 œ œ œ

œœ ˙

˙

2

0

1

2

2

œ

Traditional French

œ œ œ 1

2

4

2

œ

On the bridge A - vi-gnon, We all dance there, we all dance there.

œ œ b V 2

˙

œ œ ˙ 0

2 4 œ œ œ 1

2

œ

œ 4

1

œ

2

˙

On the bridge A - vi - gnon, We all dance there, round and round.

25

Are You Sleeping? – in C Folk song Can be played as a round.

 0 1 2 œ œ V 44 œ œ

2 4 ˙ œ œ

œ œ œ œ

2

2

0

1

2

1

œ0 œ1 œ0 œ2 œ1 œ2 œ0 œ1 œ0 œ2 œ1 œ2 œ2 œ4 ˙2 V

2 0 ˙ œ œ 1

4 2 œ œ ˙ 2

Fancy Fingers – in C V 44 œ œ œ œ œ 2

œ

œ œ œ œ œ 0

2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ V 1

œ œ œ œ œ œ 1

V

26

2

0

1

œ

œ œ œ œ œ œ

2 0 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 0

1

Bransle Claude Gervaise

œ œ 4 œ œ V4 2

0

1

œ œ œ œ V 2

0

1

œ2 œ1 œ0 œ2 œ2 œ1 œ0 œ2

œ œ œ œ 1

0

2

œ œ œ œ 1

0

2

˙

˙

0

1

2

œ œ ˙

..

4 1 0 1 2 0 1 2 4 1 0 1 2 0 1 œ œ œ œ œ œ œœ˙ œ œ œ œ œ œ œ œ œ œ . V.

œ œ œ œ V

œ2 œ1 œ0 œ2

œ œ Vœ œ

œ2 œ1 œ0 œ2

2

2

0

0

1

1

œ œ œ œ 1

0

2

œ œ œ œ 1

0

2

˙

..

˙

0

1

2

œ œ ˙

27

Fancy Fingers – in F œ œ œ œ œ œ 4 b V 4 2

Vb Vb

œ œ œ œ œ œ

œ1 œ œ œ œ œ2 œ0 œ1

œ2 œ œ œ œ œ

œ1 œ œ œ œ œ

0

œ2 œ œ œ œ œ

1 2 0 œ œ œ œ œ œ œ œ 0

œ œ œ œ œ

œ

2

..

On the Bridge Avignon – in D Traditional French

## 4 œ V 4 0

œ

˙

œ

On

the

bridge

A

œ0

V

## œ

V

## œ œ ˙

3

We

œ1

œ

all dance there,

1

28

0

A - vi - gnon,

œ 3

We

œ

1

3

œ

0

œ

-

œ 1

vi - gnon, 0

œ

we

all dance there.

œ0

œ1

0

œ

œ 1

˙ 0

œ œ

˙

On the bridge 3

œ

0

˙

all dance there round and round.

English Pavane Claude Gervaise

˙ 4 Vb 4

œ œ

1

˙4

˙2

˙1

œ œ

˙

œ0 œ2 œ1 œ Vb

˙

V b .. V b ..

2

4 œ œ

˙

œ. œ œ œ J 1

0

0

1

0

2

1

1 œ œ

œ œ 2

œ2 œ1 œ0 œ

˙

œ œ œ œ

0

0

2

1

0 1 2 0 œ œ œ œ

œ œ œ #œ 1

0

3

1

˙ ˙ 1

˙ 0

˙ ˙

.. ..

1 œ œ

˙

..

29

Medieval Times Gunnar Mikko, age 8 What would your own medieval melody sound like?

V 44 ˙ 0

1

œ œ

˙ 2

œ œ 0

1

œ œ œ œ 2

1

0

œ œ ˙

1

2

1

0

Gypsy Dance Mingli Halker, age 9

How would your own gypsy dance sound?

2 1 0 0 1 0 1 0 1 2 1 0 0 1 0 1 0 œ œ œ œ œ œ œ œ œ œœ œ œ œœ œœ œ ˙ 4 œ V4 0 1

The Snake Charmer arr. Gunnar Mikko, age 9

œ 4 œ V4 0

1

œ 2

œ 1

œ 0

œ œ 1

4 2 1 0 œ œ œ œ œ 2

œ œ 1

2 1 0 1 2 4 2 1 0 2 1 0 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ V 2 4 2 1 0 1 2 1 0 1 2 4 2 1 0 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ V

30

Fancy Fingers – in A minor V 44 œ œ œ œ œ 0

1

œ œ œ œ œ

œ

Vœ œ œ œ œ œ œ œ œ œ œ œ œ œ 2

0

1

2

œ

œ œ œ œ œ œ

4

4

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

2

1

Vœ œ œ œ œ œ

2

4

1

0

Waves Upon the Sea Julie Elhard



œ œ œ œ

V 44 œ œ œ œ 0

1

2

0

2 4 œ œ œ œ

V

1

Vœ 1 ˙ V

1

œ ˙

œ

œ

œ 2

0

1

0 œ œ œ œ 1

2

œ œ 1

 0

0

˙2

1

 0

2

0

œ 0

˙1

 1 ˙

œ œ œ œ

1

1

2

0

˙

œ œ œ œ 2

1

2

0

1

˙ 2

œ œ

 œ 2

1

0

œ œ œ 2

1

0

˙

2

œ

œ 2

œ

œ

1

1

œ œ

1

0

0

w 31

Perpetual Gunnar Gunnar Mikko, age 7 On the D string

≤0 ## 4 ˙ V 4 # # ˙0 V

On the G string

≤ ## . ˙ V .

V

## ˙

œ œ œ œ

˙ ˙

œ œ œ œ

œ œ œ œ

˙ ˙

3 0 œ œ œ œ

œ œ œ œ

0

3 1 œ œ œ œ 0

3 0 œ œ œ œ

1

1

œ œ œ œ œ œ œ œ

0

1

3 1 œ œ .. œ œ 0

1

œ œ œ œ œ œ œ œ . .

On the A string

≤ ## . V .˙

V

32

##

˙

œ œ œ œ

˙ ˙

œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ ..

Simple Simpson arr. Christopher Simpson

≤ 0 1 0 1 2 œ œ 4œ œ œ œ œ œ V4

2 4 2 0 1 œ œ œ œ œ œ œ œ

2

V V

1

1 2 1 3 4 œ œ b œ œ n œ œ œ œ

œ3 œ4 œ1 œ3 œ4

0

œ4 œ3 œ1 œ b œ2 œ1 œ0 œ

œ œ œ œ œ œ œ œ V 2

1

0

1

0

2

œ

œ œ œ œ œ œ œ œ 1

0

2

4

2

œ œ œ œ œ 0

2

1

0

2

1

œ

33

Rufty Tufty Popular Tune

0 ˙ 4 V4

1 œ œ

œ4 œ3 œ1 œ0 V .. V V

34

 1 .. œ

œ

œ0

œ1

œ

˙0

2

2

˙3

œ4 œ œ3 œ1

œ1 œ3

œ œ œ œ 0

2

1

œ0

œ œ œ œ

2

œ1

œ

œ 2

œ

˙

œ 2

4

2

˙0

œ

1

œ 1

0

2

0

˙

..

2

˙ œ

1

˙

0

˙ œ0 2

˙

.. œ ..

Fortune My Foe

≥

V 44 ˙ ≥1 ˙ . . V 0

V˙ 0

œ

œ

1

œ

2

˙.

1

œ

œ

œ

œ

˙.

œ

œ

œ4

œ

˙.

2

0

œ

1

2

œ

œ

œ4 # œ3

œ

1

1

1

0

0

œ

Anonymous

œ

w 0

1

..

0

œ

Arirang

≤0

1

1

œ

..

w

2

w

Korean Folk Song

## 3 œ œ œ œ œ œ œ œ . œ œ œ œ œ . Jœ œ œ V 4 œ. J œ J V

## œ . 0

≤ ## ˙ V 1

## œ . V 0

1

0

1

0

1

0

1

3

1

3

0

œ œ œ œ œ œ œ œ œ œ. J 1

0

œ

1

3

1

0

œ œ3 œ1

1

0

1

0

1

3

1

0

1

1

3

0

0

1

0

1

0

1

0

œ œ J 1

0

0

1

˙.

0

œ œ œ œ œ œ. 3

1

œ œ J

0

œ œ œ œ œ œ œ œ œ œ. J 1

1

1

0

1

œ œ œ J ˙.

35

Simpson Study Christopher Simpson

 0 1 2 0 1 2 0 œ œ œ œ œ œ 4 œ œ V4

2 4 1 2 0 1 2 œ œ œ œ œ œ œ œ

2

2 0 1 3 4 1 œ b œ n œ œ œ œ œ œ 0

V V

œ4 œ1 œ3 œ4 œ3 œ0 œ1 b œ2 2

œ3 œ4 œ1 œ3 œ4

1

0

1

2

1

2

1

œ

œ œ œ œ œ œ œ œ 1

œ œ œ œ œ œ œ œ V

36

1

2

2

0

1

0

1

œ4 œ2 œ1 œ0 œ2

2

4

œ

Noel Nouvelet traditional French, 15th c.

≤

3 0 # œ œ 4 œ œ V4 0

˙

1

3 0 # œ œ œ œ V 0

V˙ 2

1

œ

0

1

1

2

˙ 1

1

2

1

0

w

œ œ œ œ œ

˙

0

œ

œ

2

w

œ

0

2

1

3 0 # œ œ œ œ V 0

˙

1

œ œ œ œ œ

˙

1

˙ 2

1

1

2

1

0

œ

˙

œ 1

2

w

1

œ œ œ œ œ 0

0

1

˙ 0

w

..

Perpetual Henrik Henrik Mikko, age 10 Memorize the finger pattern and then make up your own finger pattern.

# 4 œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ. . V 4

Variation 1 1 Variation Start then get get faster and faster (as fast youas canyou play), gradually Startslowly, slowly, then faster and faster (asasfast canthen play), then slow down ­until you stop. Keep repeating as long as needed. Notice how you achieve different speeds gradually slow down until you stop. Keep repeating as long as needed. Notice how with the bow.

you achieve different speeds with the bow.

Variation 2 Variation 2 then start getting louder and louder (as loud as you dare), and then graduBegin very softly, Begin softly, louder louderNotice (as loud asyour you bow dare), ally startvery getting softerthen and start softergetting until the notes and disappear. what does to and then and gradually get louder softer. start getting softer and softer until the notes disappear. Notice

what you bow does to get louder and softer.

37

Over the Hills and Far Away Popular Tune

 0 1 0 0 1 3 1 0 1 3 0 4 1 3 œ ## 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ V 4 0 1 3 1 0 1 3 1

## œ œ œ œ œ œ œ œ œ œ V 0 1 3 1 0 1 3 1

1 0 3 1 # # . œ . Jœ œ œ V . 1 0 3 1 . œ œ ## œ œ J V

38

0

0

1

˙4

4 1 œ œ ˙ œ œ œ œ 1

1

œ œ

˙4

3

œ1 . œ0 œ3 œ0 J

1

œ œ ˙ 0

0

œ œ œ œ 1

0

3

..

œ4 œ1 ˙ œ4 œ1 ˙

..

La Mantovana “Fuggi, Fuggi” (Fly, Fly) Gasparo Zanetti, 17c. Italy

 V 44 œ 0

1

œ

œ

œ

œ œ œ

1

V

2

0

œ 0

œ œ

œ

œ

1

2

œ

2

V˙

,

œ

œ œ œ 4

 œ œ œ œ0 œ œ œ2 œ œ ˙1 V .. 1

œ2

2

1

œ

œ ,

0

œ

˙

..

œ œ œ œ œ œ ˙ 2

0

1

2

2

1

0

2 0 1 2 0 1 2 0 1 2 0 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2

0

1

1 2 1 0 2 4 2 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ V

0

˙

..

39

Ding-Dong Scale 2 0 1 œ œ œ œ œ œ

œ œ œ œ œ œ 4 Vb 4 2

Vb Vb

40

0

˙4 œ1

1

˙ œ0

2

0

œ

1

œ2

1 2 4 1 2 œ œ œ œ œ

2 0 1 2 0 œ œ œ œ œ

œ 2

2 4 1 2 œ œ œ œ œ œ

œ 1

1 2 0 œ œ œ œ 0

2 4 1 2 œ œ ˙ œ œ 1

˙

Ding, Dong Merrily We Fly ≤2 œ 4 b V 4

“Branle de l’Official;” Arbeau, 1589

œ

œ4 œ2 œ1 œ0 ˙2 œ 0œ 2œ œ œ1 ˙2 .

˙ . .

Ding, dong mer - ri - ly we fly, we fly a - way to - geth - er, Fly up high in-to the sky, to see the sun - ny wea - ther.

V b ..

≤ œ. 4

Ding,

Vb

œ1 . fly,

œ2 J

œ 1

œ2 œ4

dong mer - ri - ly

œ0 œ2 0œ œ1 œ2 J oh, mer - ri - ly

we

1

2

œ.

1 0 1 2 0 œ œ œ œ œ J

we

fly,

oh, mer - ri - ly we

œ œ0 .

fly,

1 2 0 1 œ œ œ œ œ J

2

oh, mer - ri - ly

we

≤ . œ1 œ0 œ1 œ2 œ0 œ1 . œ0 œ2 œ 0œ œ2 œ œ1 ˙2 ˙ . œ . Vb J J 2

fly, oh, mer - ri - ly we fly

a - way, we fly a - way to - geth - er.

41

J u l i e El h a rd performs regularly as a soloist and chamber musician around the country. Ms. Elhard received a Performing Artist Certificate from the Royal Conservatory of Music in The Hague, The Netherlands. She has taught at Carleton and St. Olaf Colleges in Northfield, Minnesota, and at workshops across North America. Ms. Elhard currently teaches at Macalester College in St. Paul, Minnesota, and at the Saint Paul Conservatory of Music, where she is developing a new method for teaching children and adult beginners the remarkable repertoire of the viola da gamba.