Violin Songs and Hand Shapes 2016 [PDF]
Matthew Zerweck, Violinist I began my violin studies at age 5, after watching Itzhak Perlman perform on the children's
32 0 7MB
Papiere empfehlen
![Violin Songs and Hand Shapes 2016 [PDF]](https://vdoc.tips/img/200x200/violin-songs-and-hand-shapes-2016.jpg)
- Author / Uploaded
- Ivan Hockley
Datei wird geladen, bitte warten...
Zitiervorschau
Matthew Zerweck, Violinist
I began my violin studies at age 5, after watching Itzhak Perlman perform on the children's television show, "Sesame Street." After studying with several esteemed artist teachers in Philadelphia, I entered the Eastman School of Music, where I frequently led the Eastman Orchestras as Concertmaster. I earned degrees from the Eastman School of Music (BM, MM), where I served as teaching assistant to world renowned violinist and teacher, Charles Castleman. Formerly the Asst. Concertmaster of the San Antonio Symphony (2008-2012), I teach violin full time in San Antonio, TX, and play in a professional string quartet, Camerata San Antonio. (www.cameratasa.org) My private students frequently gain entrance into the competitive TMEA All-State Orchestra and pursue music degrees at competitive colleges and conservatories. I'm also the director of Cadenza Academy of San Antonio, a non-profit that encourages serious young students to participate in chamber music and masterclass settings.
Violin Songs and Hand Shape Studies My intention in compiling the pieces in this volume was to offer an alternative repertoire set that could be used as a flexible model for the artist teaching of beginning students and transfer students, starting around 6-8 years of age and up. Some of the tasks may be too difficult for extremely young students. If that's the case, surely, a young student's time would be better spent learning fundamental musical skills away from the violin: actually singing the songs, clapping, and moving. There's also no shortage of material for very young students. I personally use a variety of material by Sassmanshaus, Auer, Rolland, Havas, etc, in addition to my own material. If you've met one young violin student, you've met one young violin student. There's no sense in ever assigning students music that is excessively difficult. Merely paralyzed by notes, students cannot expect to make significant improvement. This volume prioritizes: - Legato, singing tone through the learning of short songs. The songs have historical or cultural significance. The songs are extremely economical in length. - A straightforward, open structure, that allows for the adding or removing of works studied. - Left hand organization, as viewed through tetrachord hand shapes. - Early development of comprehensive reading skills and fingerboard knowledge in the 1st position. - Expressive bow work with the deliberate naming of bow strokes.
Personal Site: matthewzerweck.com Teaching Blog Site: zerweckviolin.com (Contains video examples of this set)
Contents (Page) 1
Tetrachord Talk. About “Hand Shapes.”
Unit 1: Fox Hand 4- Hickory, Dickory, Dock 4th finger Pizzicato Etude. What's an Etude? 5- Ringing Tones How do I find all of the notes? 7- Boil Dem Cabbage, Turn them Hoecakes, Roast that Possum, Down, Up Song on One String 9- Bowing Preparation for Mary Had a Little Lamb 11- Fox Hand, A String Why do we want to gain a systematic understanding of the fingerboard? 12- Mary Had a Little Lamb Detache and Slur. String Crossings (Bird Flap) 13- Dies Irae Practice Technique: Short-Long, Long-Short. Chunking Practice. Dyads. 14- Fox Hand, Common Patterns on all strings 15- Jingle Bells Son File, Staccato. 16- Oh When the Saints Go Marching In Bow Distribution. Lifting, Lifting at the Frog 17- Canons: Frere Jacques, Row, Row, Row Your Boat, Three Blind Mice 18- Daisy Bell, a Bicycle Built for Two Legato, String Crossings 19- Dreidel Song Syncopated Rhythms, Harmonics as Shifting Prep
20- Joy to the World Dynamics, Using Bow Distribution for Dynamics. Also, Weight, Contact Point. 21- Easy Riffs 22- Morse Code Tapping Exercises as Vibrato Prep 23- Finding Natural Harmonics 24- Taps Harmonics (Finger Sensitivity) 25- Amazing Grace Blocking the Left hand. 26- Good Morning to All, Happy Birthday Fermata, Slurs, A look at what's to come (C natural!)
Unit 2: Tea Hand 28- Ringing Tones How do I find all of the notes? 29- Tea Hand, Common Patterns on all strings 30- Joy to the World (Tea Transposition) 31- Snake Charmer Portato and Detache Porte 32- Hot Cross Buns Shifting Prep and Double Stop Challenge. D.C. al Fine 33- Mo Li Hua Duet uses C major arpeggio with 4 notes per bow 34- Pop Goes the Weasel Left Hand Blocking, Shifting to 3rd position 35- Scarborough Fair Bow Distribution, Perfect 5ths Scross Strings 36- Sakura Sakura Intonation in Octaves. 3rd position
37- Turkey in the Straw String Crossings, Mixture of T+F. Whole Bow Drone 38- My Country, 'Tis of Thee Bowing Distribution and R.H. Coordination 39- America the Beautiful Legato, String Crossings. 3rd Position and Guide Finger Shifts 40- Hail to the Chief Dotted Rhythms, Portato, Accents, Lifts 42- La Cucaracha String Crossings, 3/4 and 5/4 time signatures 45- Yankee Doodle Staccato and Spiccato
Unit 3: Rabbit Hand 47- Ringing Tones How do I find all of the notes? 48- Rabbit Hand, Common Patterns on all strings Alternate settings 50- Joy to the World (Rabbit Transposition) 51- Cielito Lindo Detache Lance, Frog Control 52- Korobeiniki Spiccato, Mixed Slur Patterns 53- Star Spangled Banner Portato, Porte, Accented Detache, Legato
Unit 4: Claw Hand 55- Ringing Tones How do I find all of the notes? 56- Claw Hand, Common Patterns on all strings Alternate settings 58- Joy to the World (Claw Transposition) 59- Georgie Porgie P4 Relationships, Transposition (into any position) 60- Greensleeves Some Chromatic Motion with 1st Finger
Unit 5: Crab Hand 62- Crab Hand 63- Hava Nagila Triplets, Syncopation 64- Misirlou Syncopation, Bowing Coordination (seamless changes), Tremolo 65- Jarabe Tapatio Crab Hand in Transposition, Interval/Intonation practice 66- Take Me Out to the Ball Game String Changes, Skipping Over a String. Large, Circular Retakes
Unit 6: Closed Claw, Chromatic Scale Study 68- Closed Claw Hand 69- Hand Shape Scales Across All Strings 73- Chromatic Discovery 76- Chromatic Scales
77- Burglar Music Extensions 78- Crab Canon, Bach 79- Chromatic Etude – Henley 82- Chromatic Etude – Leonard
Fundamental Scale Work 84- All Major Scales in 1st position 86- All Melodic Minor Scales in 1st position 89- All Harmonic Minor Scales in 1st position 92- Major and Minor Arpeggios in 1st position 94- Modal Scales in the 1st Position Only 96- Tone Study: Finding the Tonus 99- Melodic Intonation Cheat Sheet
Tetrachord Talk The way we talk about the mechanics of violin technique should reflect the way students learn to treat violinistic problems. The basic task of playing the violin is the act of simplifying complex problems. When it comes to left hand organization, I think we do students a disservice by ever saying “High 2, Low 2,” or merely naming the note name and finger number. That language causes students to focus unnecessarily on the placement of the individual finger, ignoring the relationship of an individual finger to the rest of the hand, ignoring the balance of the hand as a whole, and ignoring the frame of the hand. Students see complicated passage work as many individual fingers falling into the right place, instead of simple, limited tetrachord configurations. The “High 2, Low 2” concept also has no organizational function outside of 1st position, and as such, has the unfortunate side-effect effect of mystifying position work. I find it fascinating that there are no commonly accepted names for tetrachord hand patterns. Can you imagine playing chess without having names for the pieces? With no real identification of tetrachords, students often operate under the false assumption that there are a near-infinite variety of hand patterns. In reality, there are only four very common patterns that cover roughly 95% or more of all of our repertoire: 1_2^3_4 Fox Hand Shape 1^2_3_4 Tea Cup Hand Shape 1_2_3^4 Rabbit Ears Hand Shape 1_2_3_4 Claw Hand Shape Very uncommon, is the pattern for harmonic minor (1^2_3^4), “Crab” or “Live long and prosper,” and anything that resembles a chromatic figuration (Variations of 1^2^3^4), (Closed Claw). Most students have very minimal awareness of which fingers are close together in any given scale or passage in a piece. I have my incoming students play one octave scales and ask: “Which fingers are close together, where are the half steps?” Usually, the answer is incorrect or takes a very long time. In most cases, they've memorized 7 individual notes and intervals instead of 1 tetrachord. Most passages are easier to play when you can break them down into tetrachord chunks, instead of individually placed notes. Let me be clear, I'm not favoring “blocked” fingers over “independent” ones. The movement of the fingers is a contextual choice. The concise mental organization is what's important. I want my students to process groups of notes, all at the same time, and focus on the interdependent relationships at work in the left hand. I initially have students block all fingers down on the string at the same time in simple scale exercises. I learn a lot about the organization or disorganization in their left hand movements. From that point, it's not difficult to refine that shape into one that rolls or balances towards the 1st or 4th finger, a shape where unused fingers merely “hover” over a given location (fast passage work), or a shape where the fingers act much more independently (cantabile passages with a very free vibrato).
1
Most violin teachers start out with the A major scale pattern, where second and third fingers are close together (maybe even touching, depending on the size of the student's finger). It's the “Fox” pattern. Suzuki starts out that way too. Students of any age can easily demonstrate the various hand shapes away from the violin. Ideally, naming the tetrachord hand patterns will ignite a problem-solving approach in students' practice sessions, and an increase in physical awareness “What hand pattern am I using here?” “Do I want to organize myself more independently or more blocked for this passage?” “How can I move my left hand easily and efficiently?” The language used encourages the act of grouping and simplification as a useful guiding principle. Matthew Zerweck
2
Fox Hand Shape
In Unit 1, we'll work primarily with the Fox hand shape. In this hand shape, fingers 2 and 3 are close together. Depending on the size and shape of your hand, the fingers may touch. Students with very slender fingers may require a very small space between 2 and 3.
3
Hickory, Dickory, Dock
Hickory, dickory, dock. The mouse ran up the clock. The clock struck one, The mouse ran down, Hickory, dickory, dock
English Nursery Rhyme Left hand Pizzicato with 4th finger indicated by: + This is a 4th Finger Preparation study.
# 6 & 8
Pizz.
# 6 & 8
Arco
œ+ .
œ+ .
5
& &
# #
œ+ .
œ.
œ œ œ4 0œ œ œ Hick-o-ry
œ+ .
œ+ .
œ+ . œ.
œ œ œ œ œ œ
œ+ .
& & 13
& &
# # # #
œ+ . œ
œ+ .
œ+ .
j œ œ
j œ œ
œ+ .
œ+ .
œ+ .
œ+ .
œ+ .
œ+ .
œ+ .
œ+ .
j œ 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+ . j œ œ
œ+ .
œ+ .
œ+ .
Dick-o-ry
4 0
9
œ+ .
œ+ .
œ+ . œ+ .
œ.
œ+ .
œ+ .
œ+ .
œ.
œ+ .
Œ. Œ.
Ringing Tones: Play in tune with open strings. We should always attempt to play in tune with our violin's open strings. There are exceptions to every rule, but no need to worry about them at this stage. When playing perfectly in tune with our violin, G, D, A, and E, will produce "Ringing" tones, caused by our open strings vibrating sympathetically. We can find all of the notes in Fox Hand Position from the ringing tones.
3rd Fingers
& 44 w
w
G on D string rings with open G.
D on A string rings with open D.
w
& w
A on E string rings with open A.
To find C, find G on the D string, and then move the finger directly over to the G String.
4th Fingers
&
w
w
To find B, find E on the A string, and then move the finger directly over to the E String.
E on A string rings with open E.
&w
w
A on D string rings with open A.
5
D on G string rings with open G.
Test 2nd fingers against 3rd finger ringing tones when possible. For most hands, 2nd fingers will feel quite close to 3rd finger ringing tones. C# 2
4 œ &4 3
& œ
˙
#œ
3
3
B 2
3
œ
˙
F# 2
3
œ
œ
3
3
˙
#œ G# 2
#œ
˙
3
There is no "perfect" location for these 2nd fingers. Listen carefully and ask your teacher for feedback.
1st Fingers
&
w
w
A on G String will ring with open A
E on D String will ring with open E
#w
&w
F# on E String
B on A String
These will not ring significantly. Try to find them by feel on the A and E string. They are in the same location on the string as the other 1st fingers.
In most cases, you will be able to actually see your open strings vibrating sympathetically with the ringing tones. Certainly, the ringing tones will sound clearer, louder, more resonant. Another way to test ringing tones is with a tap test. You can tap the open string with a free finger to test if it is actually vibrating. The intonation we're developing here is called "Melodic" intonation, or slightly modified "Pythagorean" intonation, which prioritizes ringing tones. It's used for most melodies and scale passages.
6
Boil dem Cabbage, Turn them Hoecakes, Roast that Possum: down, up. Inspired by "Boil them Cabbage Down"
Preparation on the A String:
### 4 ≥ & 4 œ
0 Boil
&
###
œ
œ
œ
œ
dem
cabb -
age
Turn
œ
œ
œ
Roast
that
Poss
-
œ
œ
them
œ
≥ ˙
um
Down
Hoe
≤ ˙
œ - cakes *
Up
Song, only on the A String:
### ≥ œ &
0
&
# # # Eœ
A
œ œ
œ œ
œ œ
4
B
œ
œ
C#
0
1
2
œ
≥ ˙
≤ ˙
0
0
D
œ
3
n#
#
*At the end of this song, I ask students to "follow through" with the bow, lifting it in a "smile" shape above their heads.
7
D String
## ≥ & œ œ
E
œ œ
F#
≥ ˙
A
œ
œ œ
œ
œ
G
œ
œ œ
4
0
≤ ˙
0
n#
G String
&
# ≥
A
B
C
0
E String
&
œ
œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
# # # # ≥œ
D
œ
œ
F#
œ
4
œ
G# A
œ
œ
B
4
0
8
œ
œ
≥ ˙
˙
0
œ
####
≤
≥˙ 0
˙≤
Bowing practice for "Mary Had a Little Lamb" and String Crossings
1
### 4 ≥ & 4 œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
We'll use string "crossings" in the Duet for "Mary," as well as many later pieces. It will be advantageous to keep the frame of the bow arm and bow in the same plane.
2
### ≥ œ œ œ œ &
Count out loud: 1, 2,
3
### ≥ ˙ &
œ œ œ œ
œ œ œ œ
œ œ œ œ
˙
˙
˙
1, 2
˙
˙
9
˙
˙
Count out loud: 1,
1,
### ≥ œ &
œ
4
1, 2
œ
˙
Count out loud:1, 2, 3, 4 5
### ≥ w &
œ
˙
œ
w
œ
œ
˙
œ
˙
w
w
Ambitious students should try the following exercises with a metronome. Suggested tempi: 60, 80, 100, 120 = Quarter. Playing with a metronome helps keeps our rhythm honest and helps to keep track of our tempo progress.
6
### ≥ œ &
œ
Ma- ry
7
### ≥ œ &
œ
Ma - ry
œ
œ
had
œ
a
œ
had a
œ
œ
litt- le
œ
˙
œ
lamb,
œ
litt - le
œ lamb
10
œ
litt- le
œ its
œ
œ
˙
˙
lamb,
(Half
œ
œ
fleece was white as
˙
w snow.
notes!)
Fox Hand Open A, Pizz
Prep: 1
Open E, Pizz
+œ
4 & 4 œ+ 4
≥ &œ
B
arco 2
1
3
4
5
6
7
œ +
4
C#
+œ
D
2
œ +
E
œ
œ
#œ
3
+œ
œ +
+œ
œ
œ
#œ
œ
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
œ
A
œ
œ
0 For reading comprehension, speak the note names and play these exercises.
11
œ
..
Mary Had a Little Lamb English Nursery Rhyme, Poem by Sarah Josepha Hale
# # # 4 ≥œ & 4
œ
œ
œ
œ
### 4 w & 4 5
### œ & &
### w
œ
˙
œ
œ
œ
œ
œ
˙
w
w œ
œ
2
œ
œ
œ
œ w
w
œ
4
˙ 4
w œ
œ
œ
w
*
w
*Ending this song, we can lift the bow in a "smile" shape, allowing the open A to continue vibrating.
Mary had a little lamb, His fleece was white as snow, And everywhere that Mary went, The lamb was sure to go. He followed her to school one day, Which was against the rule, It made the children laugh and play To see a lamb at school. And so the teacher turned it out, But still it lingered near, And waited patiently about, Till Mary did appear. The Redstone School, likely the school mentioned in the nursery rhyme. "Mary," in 1878, was one of the first songs to ever be recorded on Edison's recording device, the Phonograph.
12
"Why does the lamb love Mary so?" The eager children cry. "Why, Mary loves the lamb, you know." The teacher did reply.
Dies Irae (Day of Wrath)
The day of wrath, that day will dissolve the world in ashes, David being witness along with the Sibyl.
Latin Hymn
# # # 4 ≥œ œ œ œ & 4 3
&
###
2
œ
3
1
œ œ œ œ 0
œ
œ
œ
*
,
œ
*
≥œ , œ≥ 4œ œ œ œ œ œ œ œ œ œ
œ
œ
˙
˙
indicates a bow retake (elliptical bow lift)
Practice Routines: Long-Short and Short-Long Beyond practicing slowly in small chunks (perhaps one measure at a time), there are several powerful, fundamental routines for increasing coordination. "Long-Short" and "Short-Long" effectively speed up every other note. 1) Prepare hand:
&
###
œ
### œ . &
œ
œ
3) Long-Short Routine
œ œ.
œ
œ
œ œ.
2) As slowly as possible!
Œ œ œ
œ
œ
œ œ.
œ
œ
œ
œ
œ œ.
œ
œ
4) Short-Long Routine
œ œ.
Dyad Practicing: Stopping and setting. This routine is incredibly useful for practicing the connection between notes.
&
# # # ≥œ
œ
œ
œ
œ
Stop and set the left hand and bow at each /.
13
œ
œ
Œ
Common patterns in Fox Hand With 2nd and 3rd fingers close together, you have a Fox Hand. These exercises can be useful in organizing the left hand, finding "blocked" hand movements, as well as more "independent" movement.
G String
& .. & ..
D String
1 2 3 4
œ œ œ œ œ œ œ œ
A B C D
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 0
G
& .. 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 2 3 4
E F# G A
& .. œ œ œ # œ # œ œ œ œ .. .. œ œ œ # œ # œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. 0
D
1 2 3 œ 4 œ œ œ # œ œ .. .. œ # œ œ œ œ œ # œ œ .. .. œ œ # œ œ œ # œ œ œ .. . # œ & .œ
A String
B C# D E
0 œ œ œ œ œ œ œ œ œ œ œ . # œ # œ . . # œ # œ . . œ . . œ œ . . œ œ œ œ œ .. & .œ A
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 . . . . . . & .
E String
F# G# A B
#. œ œ œ # œ # œ œ œ # œ . . # œ œ œ # œ # œ œ œ # œ . . œ # œ œ œ œ 0œ œ œ . . . . . . & . E
14
Jingle Bells
Jingle bells, jingle bells Jingle all the way, Oh what fun it is to ride In a one-horse open sleigh, hey...
James Lord Pierpont, 1857
A dot ( . ) usually indicates some sort of articulation. "Staccato" is a catch-all for all short strokes. A ( - ) usually indicates "tenuto," literally translated as "To Hold." All musical markings are contextual.
# # # 4 œ. & 4
˙-
œ.
œ.
### 4 & 4 w
˙-
œ.
œ.
œ.
w
œ.
œ.
˙-
'
Ó
w
w
Accompaniment plays long "Son Filé"in one bow 5
# # # ≥œ. & &
9
###
&
# # # ≥œ. & &
œ.
w
œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ.
˙-
+˙
'
Pizz, Lift Bow
w œ.
˙-
œ.
w
13
###
œ.
w
# # # œ. & ###
œ.
œ.
˙-
œ.
œ.
œ.
œ.
œ.
w œ.
w
w
˙-
œ.
œ.
w œ.
œ.
w
œ.
Ó
'
w œ. w
œ.
œ.
œ.
0 4
˙-
*
˙-
w * Located exactly halfway up the A string. Light touch!
15
Oh When the Saints Come Marching In American Gospel Hymn
O when the Saints go marching in When the Saints go marching in O Lord, I want to be in that number When the Saints go marching in...
This song was first recorded on May 13, 1938 by Louis Armstrong and his Orchestra.
### 4 Œ ≤ œ œ œ & 4 ### 4 & 4 5
### Π& ,
&
###
,
œ Œ
Ó
&
###
Œ
ϲ
&
### œ
,
Œ
Ó
&
###
≤ œ
œ
&
###
9
13
,
,
Œ ˙
w ≤ Œ œ œ œ
∑ ≤ œ œ œ
œ
Ó
œ
≤ Œ œ œ œ
,
˙
˙
Œ
≤ œ Œ
Frog
˙.
˙
œ Œ Ó ˙
˙
≤ œ
Œ
≤ œ Œ
≤ œ
Œ
œ
˙
œ
œ
œ
Œ
w
Œ
16
˙
˙ ≤ œ
Œ
≤ œ
œ≤ œ œ ˙. ≤ ˙
Ó
∑ ˙
≤ œ
≤ Œ œ œ œ
,
∑ œ
w
Œ
w ≤ œ
w
3 Canons: Frere Jacques French nursery rhyme Player 2 starts after two measures have been played.
## 4 ≥ & 4 œ œ &
##
0
œ
œ
œ
œ
0
œ œ œ œ œ œ
œ
*
œ
œ œ œ œ œ œ
4
˙
œ
œ 4
0
œ œ ˙
œ
4
˙
œ
'
4
œ œ ˙
..
Three Blind Mice English Nursery Rhyme
## . ≥ & .œ
## œ œ &
œ
˙ œ œ
œ œ œ
œ
*
œ
˙ œ œ
œ
œ
˙
œ
˙ '
œ
œ ˙
œ
.. 68
œ ˙
Row, Row, Row Your Boat English Nursery Rhyme
## 6 . & 8 . œ.
œ.
# # ≥œ œ œ œ œ œ &
œ
j œ œ.
*
œ œ œ œ œ œ 17
œ œ
j œ œ
j œ ˙.
j œ œ
j œ ˙.
4
'
'
..
Daisy, Daisy, Give me your answer do! I'm half crazy, All for the love of you! It won't be a stylish marriage, I can't afford a carriage But you'll look sweet upon the seat Of a bicycle made for two.
Daisy Bell, A Bicycle Built for Two Harry Dacre, 1892
# 3 ≥˙ . & 4
˙.
# 3 & 4 ˙. 7
#
˙.
& ˙. #
& œ #
& ˙.
˙.
∑
& ˙.
œ
œ
˙ ˙.
0
˙.
˙.
#
13
3
œ
œ
˙.
˙.
≥ ˙.
˙.
˙.
˙. ∑
˙. ˙.
œ
˙ ˙.
1-------------------------3
1.
1.
œ
œ
˙.
˙.
˙.
˙.
˙.
˙.
.. ˙ .
2.
..
2.
˙.
˙. ˙.
In 1961 an IBM 704 at Bell Labs was programmed to sing "Daisy Bell," the first example of computer speech synthesis.
18
I have a little dreidel. I made it out of clay. And when it's dry and ready, then dreidel I shall play. Oh dreidel, dreidel, dreidel, I made it out of clay. Oh dreidel, dreidel, dreidel, then dreidel I shall play.
Dreidel Song Hebrew Folk Melody
# 4 Ó & 4
≤ ≤ ≤ ≤ Œ ‰ j ‰ j œ œ œ œ œ œj œ œj œ œ œ œ œ œj œ œ œ œ œ œ œj œ œ œ œ œ œ
# 4 30 3 0 & 4 œ œ œ œ #
3 0 4 0 0
4
œ
œ
œ
œ
œ
œ ≤
≤
œ
œ
œ
œ
œ
œ
œ
≤
œ
œ
œ
4 0
‰ j j j & œ œ œj j œœœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œœœœœ # & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ The duet part has the option of playing a natural harmonic.
The are many great examples of great Jewish music and music inspired by Jewish folk melodies. Itzahk Perlman's recording of the Theme to Schindler's List (John Williams) or Fiddler on the Roof, are great examples. Josef Achron (1986-1943) wrote many works inspired by Jewish themes, his "Hebrew Melody" being the most well known. Violinist, Michael Ludwig, has recorded a CD featuring Achron's violin works. Though composer Max Bruch was a protestant, one of his best known works is "Kol Nidrei," based on a Hebrew prayer.
19
Joy to the World Popular Christmmas Hymn, inspired by Handel's "Messiah"
5
# # 4 ≥˙ & 4 p ## 4 & 4 w
œ.
# & # ˙.
œ-
& 9
##
0
œ J ˙.
& 13
&
##
w
16
& &
## ##
˙. cresc.
w
j œ œ
œ.
w
# & # w
œ-
4
ϲ
p
w œ.
˙.
œœ œ w
œ
≤ œ
w
w
œ
w
w
,
Œ
œ œ œ œ0
œ
Œ
f
≤ œ.
j œ œ
4
œ. w
œ œ
œ.
w ˙
0
˙. f
w
œ œ
œ.
˙
w
˙.
w
œ.
˙
w
## œ œ œ 0 œ & ##
œ
0
œ.
œ œ
œ.
w
4
j œ. œ œ œ
˙
w
w 20
˙
w f
œ
w
w
Œ Ó
Easy Riffs Shave and a Haircut, Two Bits.
# # # 4 ≥œ & 4
œ
œ
œ
œ
Œ
œ
œ
Œ
pizz
Two Bits is the price of a shave and a haircut, 25 cents. The italian version is "Ammazza la vecchia... col flit." Translation: "Kill the fly with DDT insecticide." This riff plays a major role in the 1988 film Roger Rabbit in a call and response gag. One way that American captives in the Vietnam war would verify a new prisoner's identity was by tapping the first notes of "Shave and a Haircut" against a wall, waiting for the appropriate response: (Two bits!). American prisoners were then able to communicate with one another via the quadratic alphabet code, similar to Morse Code, but simpler. I had several students knock on the door to my studio with the "Shave and a Haircut" riff. They heard it in the Disney movie, "Frozen." (2013)
Clock tone, on the hour
&
###
>œ > œ œ œ > >
> >œ œ œ œ > >
>œ > œ œ œ > >
# # # >œ >œ >œ >œ
>œ >œ >œ >œ
>œ >œ >œ >œ
Spooky riff (accompany with Bb)
&
### 3 ≥ & 4 œ œœœ
Vaudeville Riffs
### 4 ‰ & 4
≤ œ œ œ ≤ œ
˙
œ
Œ œ
21
> >œ U œ œ œ > > >œ >œ >œ >œ
3 4
6 œ≥ œ œ œ œ≤ œ . Jœ ‰ ‰ 4 8 4 J ˙
Tapping in Morse Code Morse code is a a communication method that can use tones, lights, or clicks. These audio cues can be directly understood by a listener without special equipment. For emergency signals, Morse code is one of the simplest and most versatile methods of telecommunication. The most common distress signal is SOS or three dots, three dashes and three dots. It is internationally recognized. (The patterns are approximated in musical notation here.)
### 2 & 4 œ.
j œ. ‰
œ.
43 œ-
œ-
œ-
42 œ.
œ
œ œ.
œ.
r œ œ ≈ ‰
"SOS," Save Our Ship
&
###
œ.
œ œ.
œ œ
œ.
j œ. ‰ Œ
"CQD" All stations distress
Tapping exercises can be a useful way of relaxing the left hand and preparing young students for a vibrato motion. The wrist touches upper bout of the violin. Fingers tap the spruce top. A true vibrato will be developed later on, likely after some security in 1st through 4th positions has been established.
Try tapping your "name" Rhythm and writing it out on staff paper, like so:
### 4 & 4 œ
œ
Ja-
&
###
œ An-
œ
scha
œ. to-
œ œ
œ Hei-
Œ
œ. Strad-
ni- o
22
Œ
fetz
œ œ œ œ ≈ Ó i- various
4 4
Finding Natural Harmonics * Exactly half of a string length, from Nut to Bridge. Same Pitch as written.
E String
4 0
w
w
G string
D String
A String
4 0
4 0
œ w
œ w
œ w
1/3 String length
& œw
w
4 0
& 44 w
4 0
4 0
œ w
œ w
1/4th string length, pitch is 2 octaves higher than open string.
œ w
œ & w 3 0
#œ
1/5th string length, produces a pitch 2 Octaves higher.
&
œ
w 2 0
(Alternate location in 3rd position)
˙
3 0
#w 2 0
3 0
3 0
3 0
(Alternate location in 3rd position)
˙
3 0
4 0
4 0
#œ
#œ
(Alternate location in 3rd position)
#˙
#w
2 0
3 0
2 0
#w
(Alternate location in 3rd position)
#˙
3 0
*Placing a left hand finger very lightly on the string at certain locations will produce a natural harmonic. These pitches will sound more clear when the the bow speed is somewhat fast and close to the bridge.
23
Taps A bugle call sounded at dusk, at funerals, and flag ceremonies.
≤ ≤ œ- . œ- ˙- .
0
4 &4 & ˙.
5
0
3
˙ œ- . œ-
˙. œ œ- . ≤ œ-
-ϲ
œ œ- . œ-
œ œ- . œ-
œ- . œ-
œ- . œ- w
˙.
As preparation for natural harmoncs, play first as stopped pitches. Then, practice as natural harmonics. Left hand fingers use as little pressure as possible, a delicate touch.
≤ ≤ œ- . œ- ˙- .
&
4
&
˙.
4
œ- . œ-
3
˙
œ- . œ- œ
œ- . œ- ˙ . ≤ œ-
≤ œ-
˙.
œ- . œ- œ
œ- . œ-
œ- . œ- w
Ambitious students with experience in 3rd position can try this version.
&
≤ ≤ œ- . œ- ˙- .
2
& ˙.
œ- . œ- ˙ .
1
œ- . œ- ˙ 1
2
≤ œ-
1
≤ œ-
24
œ- . œ- œ
3
˙.
œ- . œ- œ
œ- . œ- w
œ- . œ-
Amazing Grace
Amazing grace! How sweet the sound That saved a wretch like me. I once was lost, but now am found, Was blind but now I see.
Christian Hymn
# 3 Π& 4
≤ œ
Œ
# 3 & 4
˙
∑
˙
(hold 3 for the entire song)
#
&
#
˙ ˙
# ˙ & &
#
˙
1---------------4
œ œ
˙
œ
˙. ˙.
œ
˙ ˙
4------------1--------------1--------------3 3
(4)---------3
&
1----3
0
œ œ
˙
œ
˙. ˙.
1------3
œœ ˙ œ
˙. ˙.
0
œ
˙.
œ
0
œ œ œœ ˙ ˙
œ
˙. ˙.
4---------3
œ
˙ ˙
4------
˙
œ
œ
˙. ˙.
Œ
Œ
≤ œ
˙. ˙.
œ
˙
œ
0
1---------1-------3 4
œœ ˙ œ
˙. ˙.
œ
˙. ˙. ˙.
This work is a great opportunity to improve a student's hand shape through "blocking," the act of leaving fingers on the string for the sake of efficiency, and uninterrupted connections between notes. It may be too difficult for very small hands with very small fractional sized violins. However, breaking this piece down into small chunks will help greatly with the coordination difficulties.
25
Good morning to you Good morning to you, Good morning, dear children. Good morning to all
Good Morning to All Patty and Mildred Hill, 1893
≤ œ
# 3 & 4
œ
# 3 & 4 # 3œ & &
#
0
3
œ
œ
˙
œ
œ
œ
U
œ
œ
4
œ
Nœ 2
œ
1
3
œ
˙. 4
œ
œ
0
˙
˙.
Œ
˙
*C Natural
˙.
˙.
˙.
œ
œ
˙.
˙.
0
˙.
Happy Birthday & & & &
≤ ≤ œ. œ œ
# # # #
œ
œ
˙. ˙
≤ ≤ œ œ. œ
˙.
˙.
œ
œ
œ ˙. 26
U
œ
˙
≤ ≤ œ. œ œ
˙.
˙.
≤ ≤ Nœ. œ œ ˙.
œ
œ
œ
˙ ˙.
œ
Œ
Tea Hand Shape
In Unit 2, we'll work primarily with the Tea hand shape. Pretend you are holding a small teacup. 1st and 2nd fingers are close.
27
Find your new notes in Tea Hand from your Ringing Tones.
Our "new" notes in Tea Hand Shape are found with a different positioning of the 2nd finger.
G
F#
œ 4 &4
C
˙
#œ
œ
&œ
F
œ
˙
œ
Find C by Finding G on the E string first, then moving your finger over to the A String. Place B close to C.
G is a ringing tone. Place F# close to G.
E
B
A
˙
œ
E is a ringing tone. Place F close to it.
Bb
bœ
˙
A is a ringing tone. Place Bb close to it.
28
Common patterns in Tea Hand With 1st and 2nd fingers close together, you have a Tea Hand. These exercises can be useful in organizing the left hand, finding "blocked" hand movements, as well as more "independent" movement.
G String
& .. & ..
D String
1 2 3 4
œ bœ œ œ œ œ bœ œ
A Bb C D
œ œ œ bœ bœ œ œ œ
.. .. .. ..
œ bœ œ œ œ œ bœ œ
.. ..
œ œ bœ œ œ bœ œ œ
..
.. .. .. œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ 0
G
& .. 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 2 3 4
E F G A
& .. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. 0
D
1 2 3 œ4 œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. . & .œ œ œ
A String
B C D E
0 œ œ œ œ œ œ œ œ œ œ œ . œ œ . . œ œ . . œ . .œ œ . . œ œ œ œ œ .. & .œ A
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 String
1 2 3 4
F# G A B
œ œ œ œ œ œ #œ œ # œ œ œ œ 0œ œ œ œ œ œ œ œ œ #œ # œ # œ .. .. .. .. .. & .. E
29
Joy to the World (Tea) Popular Christmmas Hymn, inspired by Handel's "Messiah"
4 ≥˙ &4 p
œ . œj ˙ .
œ
˙
˙
˙. f
≤ œ
˙.
œ-
˙.
≤ ≤ j j , œ œ œ œ œ Œ Œ œ œ œ œ œ. œ œ œ œ œ. œ œ œ & . f p
œ-
w
8
& ˙ . œ œ œ œ œ œ œ ˙ . œ œ ˙ œ œ . œj œ œ ˙ ˙ œ . . .
œ. œ. œ. œ œ
14
cresc.
30
w f
œ
Œ Ó
Snake Charmer Various origins, likely inspired by "Kradoutja."
-
Indicates a Portato or "wa wa" bowstroke on a slur. On detache bowings, the bowstroke is called "detache porte."
≤ œ- œ-
4 &b 4 & b 44 6
˙
˙
˙
˙
& b ˙˙
˙ ˙
œ ˙ œ ˙
˙
˙˙
˙˙
œœ ˙˙
œ- œ-
˙˙ œ- œ-
œ- œ- œ- œ-
˙
œ œ
˙ ˙
œ ˙ œ ˙
œ-
œ-
≥ ˙˙
&b ˙
œ- œ- œ- œ-
œ- œ≤ œœ ˙˙ œœ ˙
˙ ˙
œ œ
œ- œœœ
œ- œ- œ- œ˙ ˙
˙ ˙
œ-
˙
˙
œœ
˙ ˙
˙ ˙
11
& b œ-
œ-
& b œœ
˙ ˙
œ-
œ-
œ-
œ œ
˙˙
˙˙
15
&b ˙ & b œœ
œ˙˙
œ-
œ-
œ-
œœ
˙˙
œ-
œ-
œ-
œœ
˙˙
œ˙˙
31
œ-
œ-
˙ ˙˙
Hot Cross Buns English Nursery Rhyme
4 0
5
4 0
# 4 ≥œ & 4 œ ˙
œ
# 4 & 4 Œ
Œ
0
3
≤ ≥ œœ ˙˙
0
3
œ ˙
Œ
œœ ˙˙
# . œœœœœ œœ œœ œœ˙ & . # . ≥ & . œ
œ
˙ ˙
œ
œ
4 Fine 0
œ œ œ œ œ œ œ œ 0 œ œ ˙
3
œ œ
œœ
Œ
˙ ˙
œœ ˙˙ 4 0
'
œœœ œ œœ œœ œ œ ˙
..
œ
..
3
œ œ œ
œ
0
≤ ≥ Œ œ ˙ œ ˙ D.C. al Fine
1) Solo part is an opportunity to relax the hand in a preliminary shifting exercise, and get acquainted with Tea Hand position. 2) The duet part may be too challenging for students at this stage. For the G and B double stop, G should be tested first (ringing tone), and B tested against it.
Hot cross buns! Hot cross buns! Zero a penny, one a penny, Hot cross buns! If you have no daughters, Give them to your sons Zero a penny, One a penny, Hot Cross Buns!
32
Flower of jasmine, so fair! Flower of jasmine, so fair! Budding and blooming here and there, Pure and fragrant all do declare. Let me pick you with tender care, Sweetness for all to share. Jasmine fair, oh Jasmine fair
Mo Li Hua Chinese Folk Song "Jasmine Flower"
2 ≥ & 2 œ œœœœœœ œ œœœ Œ & 22 6
&
œ œœœ œœ œ œœ˙
œ œ œ œ œ.
j œ œ œ œ ˙
œœœœ œœœœ œœœœ œœœœ œœœœ œ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œœ
≥ & œ
11
≥ œ œ œ œœ
œœœœ œœœœ œœœœ œœœœ œœœœ œ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œœ
& œ œ ˙ &
≥ œœ Œ œ œœœ œ œ œœœ
œ œ œ œ œ œ ˙
≤
œ
≤ œ
œ.
j 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 ˙
33
Ó Ó
Pop Goes the Weasel
Half a pound of two-penny rice, Half a pound of treacle. That’s the way the money goes, Pop! goes the weasel.
English Nursery Rhyme
3---------
# 6 & 8 œ
œ œ J
1
# 6 & 8 œ. 5
# #
& œ.
œ œ œ œ.
œ J
œ.
4------2
œ œ J
œ.
œ
3---------------4
œ.
3-------1
& œ
3--------
4-------2
œ J
œ.
œ.
1--------3
3---------------4
Œ.
œ.
34
œ œ J 1
œ J
œ.
0 +œ ≤ + œ ‰ ‰ ‰ œ J
œ œ œ œ.
0
œ.
4-------2
œ.
1-------------3
œ.
œ.
3--------------4
œ.
œ.
1-----------3
œ.
œ.
œ.
œœ ..
Scarborough Fair English Ballad
3 ≥ b & 4 ˙
4
˙
œ
& b 43 œ œ ˙ 6
&b ˙ &b œ
œ œ
˙ œ b & œ 15
œ
4
œ
œ œ ˙ œ œ œ œ œ
˙.
œ ˙
œ
œ œ œ œ œ
œ
Œ
ϲ
˙
œ œ œ œ
œ
œ
˙.
œ œ œ
≤ œ
œ œ œ œ œ
œ
2
˙ œ œ 35
˙.
œ œ
4 2
œ
œ œ œ œ œ œ
œ œ
œ œ 4
˙
1-------4
œ
œ
0
œ
œ
≥ œ œ
Œ
˙.
œ ˙
4
œ nœ œ
2------------------4
&b œ œ ˙
œ
1-----3
œ ˙
&b ˙
œ.
˙ œ œ
œ
&b ˙
11
œ
j œ œ
œ
œ ˙ Œ
Œ
Œ
Œ
Cherry blossoms, cherry blossoms, In fields, mountains and villages As far as the eye can see. Is it mist, or clouds? Fragrant in the morning sun. Cherry blossoms, cherry blossoms, Flowers in full bloom.
Sakura Sakura
Japanese traditional song
Sa- ku-
4 &4 œ & 44
ra
œ
˙
œ
œ
˙
œ
œ
œ
œ
œ
0
œ
0
1
œ
œ
˙
œ
œ
œ
œ
œ
œ œ ˙
1
1
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ ˙
œ
œ œ ˙
˙
œ
& 9
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
13
&
œ œ ˙
2
5
&œ
Cherry blossoms, cherry blossoms, Across the spring sky, As far as the eye can see. Is it mist, or clouds? Fragrant in the air. Come now, come now, Let's go and see them!
œ œ ˙ œ œ ˙
œ
œ
˙
œ
œ
˙
œ
œ
˙
œ
œ
˙
œ
œ
œ
œ
œ
w
œ
w
36
Turkey in the Straw
Turkey in the hay, in the hay, in the hay. Turkey in the straw, in the straw, in the straw, Pick up your fiddle and rosin your bow, And put on a tune called Turkey in the Straw.
American Folk Song
≥
0 0 0 0 > > > œ œ .. œ œ œ œ œ œ œ œ œœœœ œ œ œ œœ œœ œ œœœœœ œ > >
# 4 & 4
1 0
# 4 & 4 6
4
0
0
.. w w
0
0
34
w w
w w
w w
1 4 3 0 > 3œ 4œ œ > # œ œ œ œ œ œ œ œ .. & œœœœœœ œ œœœ œ œœ œ > > œ œ> # .. & w ww ww ww w 34
≤ # . ≥ œ œ œ œ œ & . J J
11
# . & .
ww
# œ œ œ œ &
15
&
#
Gn
ww
>2. œ œ œ Œ > > 2.
ww
œ œ œ ˙ J J
4 4 ≤ ≤4 œ œ œ œ œ œ . œ œ œ œ J J J J J
ww
ww
ww
≥ ≤ > œ œ œ œ œ œ œ Jœ œ œ œ œ œ œ œ Œ .. J > > ww
ww 37
ww
..
My Country, 'Tis of Thee ("America") My country, ' tis of thee, Sweet land of liberty, of thee I sing; Land where my fathers died, Land of the pilgrims' pride, From every mountainside let freedom ring!
Also known as "God Save the Queen."
# 3 ≥ & 4 œ œ # 3 & 4 œ 6
œ
#
œ
œ. 4
œ.
œ ,
& ˙. #
& ˙. 9
# œ & #
& œ
œ-
œ-
œ
œ
# . & œ
œ J
œ
#
j œ
œ
12
& œ.
jœ œ
œ
j œ œ
œ
œ œ
œ
œ.
j œ œ
œ
œ
œ
œ
j œ. #œ œ
œ
œ-
œ-
1
0
1
≥œ
œ-
œ-
œ.
œ J
œ
œ
œ
œ
œ.
j œ
œ
œ
≤ œ
œ.
œ J
œ
œ
ϲ
œ.
j œ œ
œ
œ-
œ
œ
œ 38
œ
œ
˙.
œ
œ
˙.
œ-
œ
O beautiful for spacious skies, For amber waves of grain, For purple mountain majesties Above the fruited plain! America! America! God shed His grace on thee And crown thy good with brotherhood From sea to shining sea!
America the Beautiful Samuel A. Ward
ϲ
# 4 & 4
œ.
# 4 & 4 5
#
˙0
& & 13
&
1
#
2
œ
# ˙. #
œ œ J
1
œ
œ
1
˙.
œ œ
& œ œ œ Œ
œ- œ J
œ.
œ
œ . œ- œ œ J 1
˙
œ
˙
1
˙
3
œ
œ.
œ
w
œ- œ J
#˙
w
3
˙
4
˙
œ
œ
1
2
œ
˙
œ œ œ œ
39
œ
0
œ . œ- œ- œJ 3
œ
1
œ
œ
œ
œ
#œ
w
w
# ˙.
4
j œ œ
œ.
œ
4
& ˙ 9
œ.
œ
w0
w
w
œ œ
œ œ
œ
2
1
# ˙. &
j œ œ
œ.
œ œ œ J
˙. 4 0
˙.
œ
Hail to the Chief James Sanderson, 1812
≥ 2 &2 ˙ 4 2 &2 œ
6
&
&œ
œ. œ ˙ J
1
œ
œ
˙
œ Nœ œ œ
˙
&˙
˙
&˙
œ.
&˙
˙
#˙
œ-
˙
˙
˙
˙
œ
,
,
œ w J œ
œ
œ 40
4
˙
w
& œ.
15
˙
˙
4 œ œ. œ œ. œ œ J J
j œ œ-
11
œ
˙
œ
˙
4 j œ . œ œ . œj œ - œ0
0
˙
˙
˙
˙
˙
œ
≥ ˙
œ . œJ ˙
œ
˙
œ
œ
˙
œ.
œ œ J >
˙
˙
˙
≥ ˙
œ.
œ ˙ J
œ
˙
œ
œ
>œ
œ . œJ ˙
œ
œ . œj ˙
œ œ >
œ >
˙ œ. œ
˙
j œ
& œ.
j œ œ-
&˙
˙
19
œ-
˙
˙
˙
˙
˙
œ.
œ ˙ J
œ
˙
œ
œ. œ ˙ J
œ œ
>œ >œ >œ œ >
˙
˙
˙
,
≥ ˙
œ . Jœ w
œ œ œ œ
˙
˙
. œœ œ œ & J
w
,
≥˙
&˙
œ Nœ œ œ
œ
23
#˙
˙
˙
˙
&˙
˙
œ œ ˙
28
&
œ.
œ
œ ˙
j œ œ œ ˙ > >
œ. œ
˙
œ J
˙
˙
œ
Œ
Lyrics written by Albert Gamse: Hail to the Chief we have chosen for the nation, Hail to the Chief! We salute him, one and all. Hail to the Chief, as we pledge cooperation In proud fulfillment of a great, noble call. Yours is the aim to make this grand country grander, This you will do, that's our strong, firm belief. Hail to the one we selected as commander, Hail to the President! Hail to the Chief!
41
Though "Hail to the Chief" is the official presidential anthem of the U.S., perhaps there are occasions for playing this tune in ordinary life: The entrance of an important visitor, friend, or loved one, may offer a humorous opportunity to perform this work.
La Cucaracha "The Cockroach," a traditional Corrido
≤ .. œ j ˙ œ œ œ œ œœœ œ
# 3 & 4
≤ .. ≥ œ œ
# 3 & 4 6
3--------1
1---0
#
≤ œ
& œ œ œ œ œ œ ˙ œ
& œ
œ
œ
œ œ
# . & .
œ
œ
œ
#
& œ
œ
œ
œ
œ
œ
œ
.. ˙ . j œ œ œ 2.
œ
..
œ
2.
œ œ
œ
œ œ4 œ œ œ œ >œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ 4
˙
4
œ
œ
œ
2-----------4
2---------
#
œ
œ
œ
˙
œ
>œ & œ œ œ œ œ œ
15
œ
œ
>œ
# . & . œ œ œ œ œ œ
11
≥ ≤ ≤ œ œ œ
œ œ œ œ œ œ œ.
0 0
#
≤ ‰ j œœœœœœ œ œ œ œ
œ
42
œ
œ
œ
˙ œ
œ 1.
œ
1.
œ
œ ..
˙ œ
œ
..
19
& & 21
& & 26
# # # #
œ.
2.
& œ & œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ œ ‰ œj œ œ œ œ œ œ œ œ ˙
œ ˙ œ
œ
œ
œ
# #
≤ j œ
2.
œ œ
œ
œ
œ
œ
œ
œ
A common translation of the lyrics: The cockroach, the cockroach can no longer walk because he doesn't have, because he lacks, a hind leg
œ
œ
œ œ
œ
œ
œ
œ œ œ
œ
œ
œ
Œ
Œ
Œ
Œ
œ œ
Originally, because this song was about a 5-legged Cockroach, the time signature was 5/4. However, most later versions of the song are in 3/4 or 6/4 meters. On the next page, we'll see what La Cucaracha looks like in 5/4.
43
La Cucaracha "The Cockroach," a traditional Corrido
Five-legged arrangement
# 5 & 4
≤ j .. œ œ œœœœ œœœœœœ œ œœœœœ œ œ œœ œ œœœœ ≤ ≤ ≤ .. ≥ œ œ ≥ œ œ œ œ œ œ œ œ
# 5 & 4 5
# œœœœœ œœ & #
& œ 9
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 œœœ œœ 2.
œ .. œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ 2.
#
œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ & œœœœ œ œ œ œ œ .. œ œ œ œ œ œ œ 2.
#
& œ 13
& &
# #
œ œ
œ
œ
œ
œ œ
œ œ œ .. œ 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
44
œ
œ
œ
..
œ
œ œ
œ
œ
Œ œ œ œ œ œ œ œ œ
œ
œ
œ
Œ
Yankee Doodle
Yankee Doodle went to town Riding on a pony; He stuck a feather in his hat, And called it macaroni.
American Song, Connecticut State Anthem
Staccato, and later, when ready, Spiccato, both parts. Be sure to listen to: Souvenirs d'Amérique, Op.17, by Henri Vieutemps
# 2 . & 4 . œ. œ. œ. œ.
# 2 . & 4 . œ. œ. œ. œ. 6
# œ. œ. œ. œ & . &
11
& &
13
& &
# # # # #
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. œ. œ.
≤ œ. œ.
≤ ≤ œ œ. œ .
.. œ.
œ
≤ œ.
œ
œ.
œ. 0
œ. œ. œ. œ.
œ
œ. œ. œ. œ. œ. œ. œ
œ. œ. œ. œ.
œ. œ. œ. œ.
œ œ. 3
2
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.
45
Rabbit Hand Shape
In Unit 3, we'll work primarily with the Rabbit hand shape. 3rd and 4th finger close together to make bunny ears with 1 and 2.
46
Find your new notes in Rabbit Hand from your Ringing Tones. Our "new" notes in Rabbit Hand Shape are found with a different positioning of the 3rd finger.
D
C#
4 &4 œ
A
4
œ
˙
#œ
3
&
D# 3
œ
3
A is a ringing tone. Place G# very close to A. B 4
A# 3
œ
˙
#œ
˙
#œ
4
D is a ringing tone. Place C# very close to D. E 4
G#
˙
#œ
Find your E on the A string. The move your finger over to the E string to find B.
E is a ringing tone. Place D# very close to E.
A# is very close to B.
Below, we can find the additional notes for the lower setting of "Rabbit" Hand. FYI, There's a cheat sheet for testing all of the notes in "Melodic" intonation on the last page of this book.
&
G
œ bœ 0
&
C
1
˙
4
˙
œ bœ
0
1
œ bœ
˙
0
Eb
œ bœ
˙
3
4
47
˙
1
D
Ab
œ bœ 3
A Bb
Eb
G
Db
œ bœ
3
D
Ab
4
˙
œ
E
F
0
1
A
Bb
œ
œ bœ
3
4
˙
˙
Common patterns in Rabbit Hand With 3rd and 4th fingers close together, you have a Rabbit Hand. These exercises can be useful in organizing the left hand, finding "blocked" hand movements, as well as more "independent" movement.
G String
& ..
1 2 3 4
œ œ #œ œ œ #œ œ œ
A B C# D
.. ..
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 0
G
D String
& .. 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 2 3 4
E F# G# A
& .. œ # œ œ # œ # œ œ # œ œ .. .. œ œ # œ # œ # œ # œ œ œ .. .. œ œ œ œ œ œ œ œ .. 0
D
1 2 3 œ4 œ # œ # œ œ .. .. œ # œ œ # œ # œ œ # œ œ .. .. œ # œ # œ œ œ # œ # œ œ .. . & . œ #œ #œ
A String
B C# D# E
0 œ œ œ œ œ œ œ # œ # œ # œ # œ . # œ # œ . . # œ # œ . . œ . .œ œ . . œ œ œ œ œ .. & .œ A
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 . . . . . . & .
E String
F# G# A# B
#. œ # œ œ # œ # œ œ # œ # œ . .# œ œ # œ # œ # œ # œ œ # œ . . œ # œ œ œ œ 0œ œ œ . . . . . . & . E
48
Common patterns in Rabbit Hand, alternate setting. With 3rd and 4th fingers close together, you have a Rabbit Hand. These exercises can be useful in organizing the left hand, finding "blocked" hand movements, as well as more "independent" movement.
G String
& ..
1 2 3 4
bœ bœ œ bœ bœ œ bœ bœ
Ab Bb C Db
& ..
.. ..
bœ bœ bœ œ
œ bœ bœ bœ
.. ..
bœ œ bœ bœ bœbœ œ bœ
..
0 .. .. .. .. .. bœ œ bœ bœ bœ bœ œ bœ bœ bœ œ bœ bœ œ bœ bœ bœ bœ œ œ bœ œ œ œ G
D String
& .. b œ œ œ b œ b œ œ œ b œ .. .. b œ œ b œ œ œ b œ œ b œ .. .. b œ œ œ b œ b œ œ œ b œ .. 1 2 3 4
Eb F G Ab
& .. b œ œ b œ œ œ b œ œ b œ .. .. b œ b œ œ œ œ œ b œ b œ .. .. b œ b œ œ œ b œ œ œ œ .. 0
D
1 2 3 4 b œ b œ œ œ b œ .. .. b œ œ b œ œ œ b œ œ b œ .. .. b œ œ œ b œ b œ œ œ b œ .. . & . bœ œ œ
A String
Bb C D Eb
0 b œ b œ b œ b œ b œ œ b œ œ œ œ œ . œ œ . . œ œ . . bœ . . bœ bœ . . bœ œ œ œ œ .. & . bœ A
bœ œ œ bœ œ œ œ bœ bœ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ .. .. .. .. .. & ..
E String
1 2 3 4
F G A Bb
bœ œ œ œ œ bœ œ b œ œ œ œ b œ œ0 œ œ œ bœ œ œ bœ œ œ œ œ .. .. .. .. .. & .. E
49
Joy to the World (Rabbit) Popular Christmmas Hymn, inspired by Handel's "Messiah"
### 4 ≥ & 4 ˙ p 8
& 14
&
### ###
j œ. œ ˙.
œ
˙
˙
˙. f
≤ œ ˙.
œ- w
œ- ˙ .
≤ ≤ , j j Œ Œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ. f p ˙ . œ œ œ œ œ œ œ ˙ . œ œ œ ˙ œ œ . œj œ œ ˙ ˙ . . . cresc.
≥ bb b & b ˙ p
22
œ . œj ˙ .
œ
˙
≤ œ
˙
˙.
w f
œ-
œ. œ. œ. œ œ œ
˙.
nnn b b bb
ŒÓ
œ-
w
˙. f 29 ≤ ≤ bb b Œ Œ j j œ œ œ œ œ b & œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ œ . . . . f p bb ˙ œ œ. j & b b ˙. œ œ ˙ œ œ œ ˙ ˙ . œ œ œ. œ. œ. œ œ œ
35
cresc.
50
w f
œ
ŒÓ
From Sierra Morena, My pretty darling, are coming down, A lone pair of little black eyes, Pretty little heaven, trying to sneak past.
Cielito Lindo Popular Mariachi song
Ah, ah, ah, ah, Sing and don't cry, Because in singing it gladdens, My little darling, the hearts.
Solo part: Detache Lance and Accented detache All Quarter notes use at least 1/2 bow.
# # # # 3 ≥œ œ œ ˙ & 4
œ œ œ œ ˙
œ œ œ œ ˙
œ œ ˙ >
˙
œ œ œ œ > ˙
˙
Œ
#### 3 ≥ ≤ Œ Œ Œ œ œ Œ Œ œ œ Œ & 4 Œ œ œ Œ . . . . . . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. Frog/LH, short strokes 9
# # # # ≥œ œ œ ˙ & &
17
&
####
Œ
# # # # ≥˙ .
#### Œ & #### ˙ &
25
#### Π&
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
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
51
œ. œ.
Œ
œ. œ.
Œ
Œ
œ. œ.
Œ
œ. œ.
˙ Œ
œ œ. œ. Œ œ. œ.
Korobeiniki Russian Folk Song, famous for use in "Tetris."
≥ bb 4 œ & 4 .
œ œ œ œ œ œ œ œ œ œ. J
œœ œ J
œ œ ˙
b & b 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. . . . . . . . . 5
b . ≥œ . b & .
œ J
œ œ œ œ.
œœ œœ œ. J
œœ œœ œ œ ˙ J
b & 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.
Korobeiniki were peddlers with trays, selling knicknacks and supplies in pre-revolutionary Russia. Nekrasov's poem is a sad story about the love between a peasant girl, Katya, and a young peddler. Oh, my crate is so full, I've got chintz and brocade. Take pity, oh sweety, Of this lad's shoulder...
52
..
Star Spangled Banner National Anthem, U.S.A.
≤ ≥ ≤ ≤ - œ- . - - ≤ œ- . œ- œ- ˙ œ ˙ œ œ- . œ œ œJ œ- n œ- ˙- œ- œ- œ- ≥ ≤ ≤ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ
b 3 b & 4 b & b 43 9
b b &
≤ ˙ œ œ . œ- œ - œ- œ œ- -
b &b œ œ œ b b &
17
& 25
bb
&b &
b
bb
œ- œ œ œ
O say can you see, by the dawn's early light, What so proudly we hailed at the twilight's last gleaming, Whose broad stripes and bright stars through the perilous fight, O'er the ramparts we watched, were so gallantly streaming? And the rockets' red glare, the bombs bursting in air, Gave proof through the night that our flag was still there; O say does that star-spangled banner yet wave O'er the land of the free and the home of the brave?
œ œ œ œ œ œ
œ- œ- œ œ œ ˙ Œ
œ- . œ- œ-
≤ œ- n œ- ˙-
œ œ œ œ œ œ
œœ œ œ œ ˙
≥≥ œ Œ Œ œ- Œ Œ
œ- . œ- œ- ˙ œ- œJ -
- œœ œ œ- œœ
œ œ œ
- œœ œ œ- œ-
œ œ œ œ œ œ
œ- œ . œ œ ˙ J
œ œ œ
≤ œ œ œ œ nœ
≥ ≥ ≥ ≤ ≤ œ œ œ œ- Œ Œ œ Œ Œ œ œ œ
≤ > >œ > > > >> œ œ œ œ œ œ œ œ œœœ ˙ œ >> > > > > ≥≤ ≥ œ œ œ œ œ œ œ œ œ œœ œ 53
œ
œ œ
, > U ≥ - . œ- œ- œ- U˙- , ≥- œ- œ- . , ≥œ- Uœ- - . œ œ œœ œ J œ ˙ J > --
≤U œœœ
U
U
œœœ œœœ œœ œ œ Œ œ
Claw Hand Shape
In Unit 4, we'll work primarily with the Claw hand shape. All fingers are separate.
54
Find your new notes in Claw Hand from your Ringing Tones. Our "new" notes in Claw Hand Shape are found with a different positioning of the 4th finger, or 1st finger.
(Finding the D# and A# this way is a slightly flawed solution. Ideally, we would want to test D# agains E and A# against B.) D 4
A 4
D# 4
& 44 N œ
#œ
Nœ
n˙
&
œ
F 4
œ
B 4
Ab
œ
bœ
A
Bb
&œ
bœ
&
C 4
œ
œ
˙
E is a ringing tone. Extend with a somewhat straighter finger to find F.
G
#œ
n˙
A is a ringing tone. Extend with a somewhat straighter finger to find A#.
D is a ringing tone. Extend with a somewhat straighter finger to find D#. E 4
A# 4
˙
Find E on the A string first, move the finger over to the E string. Extend with a somewhat straighter finger to find C. D
œ
˙
E
œ
b˙
55
Eb
bœ
˙
œ
˙
F
Common patterns in Claw Hand With none of the fingers close together, you have a Claw Hand. These exercises can be useful in organizing the left hand, finding "blocked" hand movements, as well as more "independent" movement.
G String
& .. & ..
1 2 3 4
bœbœ œ œ œ œ bœ bœ Ab Bb C D
bœ œ œbœ bœ œ œ bœ
.. .. .. ..
bœbœ œ œ œ œbœ bœ
.. ..
b œ œ b œ œ œb œ œ b œ
..
.. .. .. œ bœ œ œ œ œ œ œ b œ œ œ b œ b œ œ œb œ 0
G
D String
& .. b œ œ œ œ œ œ œ b œ .. .. b œ œ œ œ œ œ œ b œ .. .. b œ œ œ œ œ œ œ b œ .. 1 2 3 4
Eb F G A
& .. b œ œ œ œ
œ œ œ b œ .. .. b œ œ œ œ
œ œ œ b œ .. .. œ b œ œ œ œ œ œ œ .. 0
D
1 2 3 4 œ œ œ œ b œ .. .. b œ œ œ œ œ œ œ b œ .. .. b œ œ œ œ œ œ œ b œ .. . & . bœ œ œ
A String
Bb C D E
0 œ œ œ œ œ œ œ œ œ œ œ . œ œ . . œ œ . . bœ . . bœ bœ . . bœ œ œ œ œ .. & . bœ A
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ .. .. .. .. .. & ..
E String
1 2 3 4
F G A B
œ œ œ œ œ œ œ œ œ œ œ œ 0œ œ œ œ œ œ œ œ œ œ œ œ .. .. .. .. .. & .. E
56
Common patterns in Claw Hand, alternate setting With none of the fingers close together, you have a Claw Hand. These exercises can be useful in organizing the left hand, finding "blocked" hand movements, as well as more "independent" movement.
G String
& ..
1 2 3 4
œ œ #œ #œ #œ #œ œ œ
A B C# D#
.. ..
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 0
G
D String
& .. 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 2 3 4
E F# G# A#
0 . . . . . & . œ # œ # œ# œ # œ # œ # œ œ . . œ # œ # œ # œ # œ # œ # œ œ . . # œ œ œ œ # œ œ œ œ .. D
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
A String
B C# D# E#
0 # œ # œ # œ # œ # œ œ # œ # œ # œ # œ # œ . # œ # œ . . # œ # œ . . œ. . œ œ. . œ œ œ œ œ .. & .œ A
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 . . . . . . & .
E String
F# G# A# B#
#. œ # œ # œ # œ # œ # œ # œ# œ . .# œ # œ # œ # œ # œ # œ # œ# œ . . # œ # œ œ œ # œ 0œ œ œ . . . . . . & . E
57
Joy to the World (Claw) Popular Christmmas Hymn, inspired by Handel's "Messiah"
b 4 ≥˙ b & 4 p
œ . œj ˙ .
œ ˙
˙
˙. f
≤ œ ˙.
œ- w
œ- ˙ .
≤ ≤ b œ Œ Œ œ œ œ , j j œ œ b œ œ œ œ. œ & œ œ œ. œ œ œ œ. œ. œ. œ. œ œ f p
8
14
&
bb
j ˙. œ œ œ œ œ œ œ ˙. œ œ œ ˙ œ œ. œ œ œ ˙ ˙ . . .
# # # # ≥˙ & #
22
j œ. œ ˙.
œ ˙
≤ œ ˙.
˙
w f
œ
nn # # # # #
ŒÓ
œ- w
œ- ˙ .
˙. p f 29 ≤ ≤ #### œ Œ Œ œ œ j j œ œ œ œ # & œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ . . . . f p 35
&
####
# ˙.
j œ œ œ œ œ œ œ ˙. œ œ œ ˙ œ œ. œ œ œ ˙ ˙ . . .
58
w f
œ
ŒÓ
Georgie, Porgie
Georgie Porgie, Puddin' and Pie, Kissed the girls and made them cry, When the boys came out to play Georgie Porgie ran away
English Nursery Rhyme
5
b 6 ≥œb & 8
œ- œ J -
j œ- œ œ œ œ .
œ-
œ- œJ
b & b 68 œ -
j œ- œ-
j œ œ- -
j œ- œ-
j œ- œ .
œ.
b œb &
œ- œ J -
j œœ-
n œ-
j œ- œ-
b & b œ. 9
#### & # œ
œ- œJ
.. n n # # # # #
œ- œJ
œ-
j œ- œ-
j œ œ- -
j œ- œ-
j œ- œ .
œ.
# # # # œ& #
œ- œ J -
j œ- œ
# œ-
j œ- œ-
13
&
####
# œ.
œ.
œ œ œ ‰ œ œ. œ j j œ œ- œ- n œ- œ œ œ-
#
œ.
3 4
# .. n n # # # #
œ-
j œ- œ œ œ œ .
&
œ œ œ œ.
4
œ- œ œ œ œ . J
œ- œ . J
œ- œ J -
####
œJ
œ- œ . J
œ- œJ
œ œ œ œ. œ.
œ.
œ- œ œ œ œ . J
..
œ œ œ ‰ œ œ. œ jœ œ- - # œ-j œ œ œ
..
59
œ-
œJ
Alas, my love, you do me wrong To cast me off discourteously And I have loved you oh so long Delighting in your company
Greensleeves English Folk Song
Both parts offer chromatic motion with 1st finger, in addition to the "Claw" hand position.
≤ j œ œj œ . œ œ œ œj œ œ. œ œ œ
# 6 & 8 # 6 & 8 6
≤ j j j œ œ. #œ œ œ #œ œ œ 1
1 1 j j œ- œ œ œ # œj œ œj - - œ- -
j j œ œ- œ- œ-
1 1
2
4 3 4 ≥œ . j œ. œ œ j ‰ œ œ œ œ œ œ. œ œ #œ œ œ. œ & œ œ . #œ .
j œ- œ œj œ - -
& œ œj œ- #
& œ œj œ . œ œ œ
11
#
1
& œ œj œ # œj œ - - - - 16
1
#
& œ. #
1
& œ
œ
œ j œ
j œ œ
j œ œ-
j œ œ
j œ- œ .
# #
4 2
‰ œ. j œ- œ . œ
œ. #œ œ j œ-
œ-
≥œ . j j ‰ œ œ. #œ œ œ #œ œ
œ. #œ œ œ j œ œ. œ œ
j œ- œ -
œ-
1 1 1
4
#œ.
2 4
2
‰ œ. j j œ- œ- œ- œ 3
4
#œ
œ j œ-
œ60
œ. œ.
1 j j œ- œ œ œ # œj - -
œ œ
‰ ‰
Crab Hand Shape
In Unit 5, we'll work primarily with the Crab hand shape.
61
Common patterns in Crab Hand 1+2, 3+4, close together. These exercises can be useful in organizing the left hand, finding "blocked" hand movements, as well as more "independent" movement.
G String
& ..
1 2 3 4
œ bœ #œ œ œ #œ bœ œ
A B C# D
.. ..
œ bœ œ #œ #œ œ bœ œ
.. ..
œ #œ bœ œ œ bœ #œ œ
..
.. .. .. .. .. & .. # œ œ œ œ œ œ œ œ œ œ bœ bœ œ #œ œ œ œ œ #œ bœ bœ #œ œ œ 0
G
D String
& .. 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 2 3 4
E F G# A
& .. œ # œ œ œ
œ œ # œ œ .. .. œ œ # œ œ
0 . . œ # œ œ œ . . œ œ œ œ œ œ œ œ .. D
1 2 3 œ4 œ # œ œ œ .. .. œ œ œ # œ # œ œ œ œ .. .. œ # œ œ œ œ œ # œ œ .. . & . œ œ #œ
A String
B C D# E
0 œ œ œ œ œ œ œ # œ # œ # œ # œ . œ œ . . œ œ . . œ . .œ œ . . œ œ œ œ œ .. & .œ A
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 . . . . . . & .
E String
F# G A# B
#. œ # œ œ œ œ œ # œ # œ . .# œ œ # œ œ œ # œ œ # œ . . œ # œ œ œ œ œ0 œ œ . . . . . . & . E
62
Hava Nagila
Let's rejoice Let's rejoice Let's rejoice and be happy
Modern Israeli Folk Song
5
≤ ≤ 3 ≤ 4 3 ≥ 4 œ ‰ ‰ œ œ ‰ œœ œ œ œ #œ œ œ œ ˙ & 4 œ œ #œ œ œ #œ œ
..
≥ 4 &4 j j œ œ œ ˙
..
2.
& #œ
œœœ˙ j œ ˙
& j œ œ 9
≥j # œ œ œj œ œ œ
4
j j œ œ œ ˙
j œ œ œj œ œ œ j j j œ œ œ œ œ
j j œ œ œ ˙
2 1 2 3
j j œ œ œ ˙
j j œ œ œ ˙
3
2.
1 4 3 4
3 2 1
œ
œ œ œ œ œ
j j œ œ œ
j j œ œ œ
2.
& #œ & j œ
.. # œ
œ œ œ ˙ 3
œ
j œ
..
˙
2.
j œ œ
3
œ œ œ ˙ ≤
j œ
“Hava Nagila” ("Let us rejoice") was composed in 1920's, at a time when Hebrew was being revived as a spoken language.
63
˙
j œ
Misirlou Greek Folk music Popularized in "Pulp Fiction," with Dick Dale's Surfer Rock arrangement.
Alternatively, Solo can be played Tremolo.
≤≤ 4 ≥ j œ œ . œ # œ≤ œ≤ w & 4 œ. œ #œ J
≤ w
≤ ≤ j j ≤ ≤ j j≤ ≤ j j≤ 4 j j &4 œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œ > > > > & #w
≤. . ≤ ≤ j j≤ ≤ œ . . œj œ œj œ œ œ œ œ œ œ > >
≤ ≤ ≤ ≤ œ œ œ œ # œ # œj œ œj œ œ w J J
≤ w
7
≤ ≤ ≤≤ .. .. œ œ œ œ œ œ œ œ œ # œ J J J J
≤ w
Fine
..
≤ ≤ j j≤ ≤ j j≤ ≤ j j≤ ≤ j j≤ ≤ j j≤ ≤ . j j & œœœœœ œœœœœ œœœœ œ œœœœœ œœœœœ œœœœœ. > > > > > > ≥ . & .w
13
WB, travel
˙.
≤ ≤ . . & j j œ œ œ œ œ > ≥˙ & .
17
≤ w #œ œ ≤
j j œ œ œ œ œ >
≤ œ œ #˙.
≤ ≤
j & j œ œ œ œ œ >
≤
≤
≤ ≤ j j œ œ œ œ œ >
˙.
œ œ
≤ ≤ j j œ œ œ œ œ >
œ œ w
w≤
≤
≤ ≤ j j . œ œ œ œ œ . >
j j œ œ œ œ œ > 64
≤ ≤ j j œ œ œ œ œ >
D.C.
..
Jarabe Tapatio Mexican Hat Dance
% 43 4 œ # 6 Œ. ‰ œ . œ œ #œ œ œ œ œ œ œ n œJ œ œ œ œ œ œ . œ & 8 J œ œ œ nœ œ % # 6 .. ∑ & 8 œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ nœ œ œ œ œ 2. # nœ œ #œ œ œ œ. ‰ .. œ . ‰ œ œ # œ œJ œ œ & Fine //
6
4 3 4
&
#
2 1
œ.
œ.
1
œ.
œ.
œ.
>œ # œ œ œ œ œ œ & J œ
11
#
œ.
& œ. # œ &
15
#
& œ.
œ
œ. œ
œ
œ
œ.
œ.
.. . œ. Œ 2.
œ.
> œ œ œ œ œ œ œ œ œ Jœ œ
œ œ œ
œ.
œ.
œ.
œ. œ
œ.
65
œ.
œ.
‰
œ.
Œ.
œ
œ
D.S.
Take Me Out to the Ball Game Albert von Tilzer, 1908 Tin Pan Alley song
3 ≥ &4 ˙ -
œ- œ œ œ ˙.
≥ ˙-
4
˙.
Take me out to the ball game, Take me out with the crowd; Buy me some peanuts and Cracker Jack, I don't care if I never get back. Let me root, root, root for the home team, If they don't win, it's a shame. For it's one, two, three strikes, you're out, At the old ball game.
œ- œ œ œ ˙.
∑
≥ ≥ ≥ ≥ ≥ ≥ ≥ 3 Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ &4 Œ Œ œ œ œ œ œ œ œ œ œ œ 9
& 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 ≥ & ˙-
17
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 & ˙.
25
˙.
˙
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 66
Closed Claw Hand Shape
In Unit 6, we'll work primarily with the Closed Claw hand shape and Chromatic Scales.
67
Common patterns in Closed Claw Hand Shape With all fingers close together, you have a Closed Claw Hand. This hand position is very rare in real music, however, it's proven to be a good conceptual study. In the chromatic scales in the following pages, we'll start to find more freedom, as we move through the hand shapes with more fluidity.
G String
& .. & ..
D String
1 2 3 4
œ bœ nœ œ œ œ bœ œ
A Bb B C
œ œ œ bœ bœ œ nœ œ
.. .. .. ..
œ bœ œ nœ œ œ bœ œ œ œ œ bœ bœ nœ œ œ
.. .. .. ..
œ œ bœ œ œ bœ nœ œ 0
œ œ œ œ œ œœœ
.. ..
G
& .. œ œ # œ œ œ # œ n œ œ .. .. œ œ œ # œ # œ œ n œ œ .. .. œ # œ n œ œ œ œ # œ œ .. 1 2 3 4
E F F# G
& .. œ # œ œ n œ
œ œ # œ œ .. .. œ œ # œ n œ
œ # œ œ œ .. .. œ œ œ œ œ œ œ œ .. 0
D
1 2 3 4 . & . œ œ # œ œ œ # œ n œ œ .. .. œ œ œ # œ # œ œ n œ œ .. .. œ # œ n œ œ œ œ # œ œ ..
A String
B C C# D
0 œ œ œ œ œ œ œ . # œ n œ œ # œ . . # œ n œ œ # œ . . œ . .œ œ . . œ œ œ œ œ .. & .œ A
1 2 3 4 #. œ œ # œ œ œ # œ n œ # œ . .# œ œ œ # œ # œ œ n œ # œ . .# œ # œ n œ œ œ œ # œ # œ . . . . . . & .
E String
F# G G# A
# œ # œ œ n œ œ œ # œ # œ . .# œ œ # œ n œ œ # œ œ # œ . . œ # œ œ œ œ œ0 œ œ . . . . . . . & . E
68
Hand Shape Scales across 4 strings Be able to speak note names and play.
Fox
4 & 4 ..
2
3
1
4
2
1
4
œ
2
3
œ #œ 3
2
1
œ
4
œ
3
2
2
&
œ bœ
œ
œ
œ
œ #œ
œ
œ
œ
œ
œ
Rabbit
& .. &
œ
œ #œ
#œ #œ #œ œ
œ
œ #œ #œ œ #œ #œ œ œ
69
œ
œ
4
3
4
œ
œ
œ
œ #œ #œ
œ
œ
œ
œ
œ
œ œ
œ
œ
3
1
œ #œ
Tea
& ..
#œ #œ œ œ 1
œ #œ œ œ
1
4
œ #œ œ œ
œ œ œ œ
œ #œ #œ
3
&
1
œ
#œ #œ œ œ
3
4
2
1
2
œ
œ
œ
œ
œ
..
œ
œ œ
#œ
œ
œ
2
..
œ
#œ #œ #œ
#œ œ œ œ
œ
..
Claw
& .. &
1
œ
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
Crab
& .. &
Closed
1
2
3
4
œ bœ #œ
œ
#œ œ #œ œ
& ..
1
2
3
#œ nœ #œ œ &
œ #œ œ
#œ œ œ œ
4
œ bœ nœ
œ
œ
œ
œ #œ œ
#œ nœ œ œ
70
œ
œ #œ
œ
#œ œ œ œ
œ
œ #œ
œ
#œ nœ œ œ
#œ #œ #œ #œ ..
#œ œ #œ œ
#œ
œ #œ
œ
..
œ bœ œ œ
#œ
œ #œ
œ bœ œ œ
œ ..
Hand Shape Scales across 4 strings, starting on Ab Fox
4 & 4 .. bœ 3
&
1
2
3
œ
2
œ bœ
1
4
&
bœ ∫œ bœ bœ
bœ bœ
œ bœ
2
bœ
3
1
&
bœ bœ
œ bœ
œ œ œ bœ
4
bœ bœ bœ bœ bœ bœ bœ bœ
bœ
œ
œ bœ
œ œ bœ bœ
71
œ œ bœ bœ
1
bœ œ bœ bœ 1
4
œ bœ bœ
2
Rabbit
& ..
3
bœ œ bœ bœ
bœ bœ bœ bœ
Tea
& ..
1
4
3
bœ
2
2
3
1
4
4
œ bœ bœ
bœ bœ bœ bœ bœ bœ bœ bœ
bœ
œ
œ bœ
œ œ bœ bœ
3
2
2
3
4
1
2
bœ bœ bœ
œ
..
œ bœ bœ bœ
bœ bœ bœ
œ
œ
..
œ œ bœ
œ bœ bœ œ
..
Claw
4 & 4 .. 3
&
1
2
3
1
4
2
1
4
3
4
bœ œ œ œ
bœ bœ œ œ
œ œ œ œ
2
œ œ bœ œ
3
2
1
4
3
2
2
3
1
4
4
œ œ bœ œ
Crab
& .. &
bœ ∫œ
œ bœ
œ bœ œ bœ
bœ bœ
œ bœ
bœ bœ
œ bœ
&
bœ ∫œ bœ bœ œ bœ œ bœ
3
2
2
3
1
4
2
œ bœ bœ œ
œ bœ bœ bœ
œ ∫œ bœ œ
bœ bœ nœ bœ
bœ bœ nœ bœ
œ bœ nœ bœ
œ bœ bœ bœ
œ bœ bœ bœ
72
..
œ bœ œ bœ
œ bœ bœ bœ
Closed
& ..
œ œ œ œ
1
bœ œ œ œ 1
bœ ∫œ bœ œ
..
..
Understanding the Fingerboard, Chromatic Scales: In the black rings, write in the “Sharp” note names.
0
1
1
2
2
73
3
3
4
In the black rings, write in the “Flat” note names.
0
1
1
2
2
74
3
3
4
Enharmonic equivalents are notes in the “same” location on the violin, that can be “spelled” differently. We can say that G# and Ab are “enharmonic equivalents.” On the piano, where notes are tuned in “equal temperament,” G# and Ab are played by pressing the same key on the keyboard. However, on the violin, in “Melodic” intonation (Pythagorean intonation), we have the option of tuning more expressively than the piano. In most cases (melodic and scalar material), half steps with different letter names (G# and A) will be closer together than half steps with same letter names (Ab and A). In the future, you'll be sure to notice that tuning in double stops works differently. Many violinists use a different system of intonation for double stops, called “Harmonic” or “Just” intonation. There is no perfect system for intonation, and our best guides are context, sensitivity, and judgment.
75
Chromatic Scales in One Position & 44
bœ nœ bœ nœ b œ n œ œ b œ n œ b œ n œ bœ nœ bœ nœ œ b œ n œ œ b œ n œ bœ nœ bœ nœ œ bœ nœ 1 1 2
2 3 3 4
œ bœ œ bœ œ bœ œ œ bœ œ bœ œ œ bœ œ bœ œ bœ & œ œ bœ œ bœ œ œ bœ œ bœ There are a number of possible finger patterns for chromatic scales. The example above is probably the most common.
Alternate Finger Pattern (no shifting) :
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 2 1 2 3 4 0 1 2 1 2 3 4 (4)
1 2 1 2 3 4 0
1 2 1 2 3 4 0
œ #œ nœ #œ nœ #œ nœ œ #œ nœ #œ nœ œ #œ œ #œ nœ & #œ nœ œ #œ nœ #œ nœ œ #œ nœ #œ (4) 4 3 2 1 2 1 0 4 3 2 1 2 1
0 4 3 2 1 2 1
0 4 3 2 1 2 1
76
Burglar Music J. S. Zamecnik
gradually longer, travel to frog
bb 4 ≥ & 4 œ. 4
&
bb
8
12
&
bb
4
3
4
œ.
œ.
# œ.
œ.
≥ œ. œ œ œ . . .
œ Œ œ #œ 4
b &b
œ.
4
˙.
3
1
Œ
≥
œ. œ. . œ œ .œ. .
œ.
œ. œ œ œ . . . 4 0
≤ Œ œ- œœ
≥ ≤ ≥ 01 . ‰ r j j ‰ j ‰ . œj œ Œ œ œ œ. . œ œ . œ œ n œ œ œ .
77
œ.
œ-
œ4 4
4 0
œ-
œ.
œ