Teachers Manual

and Full Score

Volume I

THE
INTERMEDIATE STRING
CLASS
by

Samuel Gardner & Herbert S. Gardner

For full string ensemble classes (violins, violas, 'cellos and basses together> in
their second or third year of study. Introduces young players to:

ensemble playing

major keys to four sharps and four flats

minor keys

shifting on the outside string as a range extending device

counterpoint playing

enriched piano accompaniments

Photocopyable insbumental parts are included with the Teachers Manual and Full Score

copyright 1997 by Herbert S. Gardner

all rights reserved
 HOW THIS BOOK CAME TO BE WRITTEN
Dedication

The Intermediate String Class is the result of nearly 30 years of

development, testing, re-write and re-testing in public school classrooms. It

was begun in response to the need for a mixed-string method (for violin,

viola, 'cello and bass) which would bridge the gap between the beginning

level pupil, whose experience was usually limited to small, like-instrument

unison groups and the middle-level player who could function in a string

ensemble or orchestral setting.

When I began teaching in the public schools of the Bronx, NY, I was
teaching classes of 25 or more pupils in a mixed-string context. I applied the
conservatory approach to the beginners with an emphasis right from the start
on the ear-training component of instrumental development. I soon
discovered that there were no appropriate materials to support such a
training plan. Most of the extant methods were based on mechanical notions
promoting rigid left-hand positions which I knew were detrimental to the
training of competent string players. I preferred using a musical approach.

I appealed to my father and teacher, Samuel Gardner (1891-1984), a

violinist, teacher and Pulitzer Prize-winning composer, to write some
instructional training exercises which would serve middle-level students in
the mixed string class setting. They would have to conform to the principles
of his "Harmonic Thinking" which was the foundation for my own string
teaching.

At first, he wrote some very simple but delightful, harmonically self­

supporting exercises based on diatonic scales and arpeggios. As time passed,
the need for more problem-specific exercises was met with a range of short,
musical lines which, taken together, formed the beginning of a formalized,
progressive method which has resulted in The Intermediate String Class.

I wish to dedicate this work to my father's memory in honor of his

many significant contributions to string education in America.

Herbert s. Gardner
Bronx, NY

April I, 1995
 THE Il\7ERMEDIATE STRING CLASS

Table of Contents

Volume I

Dedication 1

HOW TO USE THIS BOOK! 11

Chapter 1 C major 1
Positions: Violin, viola, 'cello - I, bass - I, II
Full range of C major
Eighth notes, flagged and beamed
The tie

Chapter 2 G major 18
Positions: Bass I, II, III
The moveable lido"
. Key signature developed
Fourth finger for violins and violas
Principles ofchromatics

Chapter 3 D major 42
Positions: violin, viola I through Chapter 8
cello, half and extended positions
bass, I, II, III
Dotted-quarter eighth rhythm in several meters
Dynamics

Chapter 4 D major in Two Octaves 48

Positions: (same as Chapter 3)
Extending the range of the key upwards and downwards
The "incomplete octave"

Chapter 5 A major 66
Positions: bass, half, I, II, II& 112, III
Modulation (C to A)
Detached stroke
Dotted-quarter note in 3/4 time

Chapter 6 A minor 77
Positions: cello, lowered and extended I
Parallel minor concept
Detached slurs
Chapter 7 New Steps for Review 85
Positions: violins use extended first position
All previous positions included
Diminished fifths
New chromatics
Concert versions of familiar melodies

Chapter 8 F major 103

Positions: violin~ viola ~ "lowered first position"
Chromatics in F major
Eighth time (4/8 & 6/8meters)
Up-beats (1be Anacrusis)
First and second endings
Triplets
 HOW TO USE THIS BOOK!

The Intermediate String Class is organized into 15 key-centered

chapters divided into two volumes. These are developmentally linked by a
series of graduated steps.

The Teachers Manual contains a full score and an overview of the

new work to be covered in each chapter. This materially aids in the
preparation of lesson plans. Each numbered line lists the new work to be
introduced in that line, teaching suggestions specific to the new work. and on­
going reminders to the teacher. Many additional exercise lines and familier
tunes are provided for extra drill and reinforcement. A sample of a portion of
a score page appears below. (Note that in the actual score the identifications
of the instruments and the accompaniment staves are not included in the
interest of space economy.)

(Title of Line, if any)

(NHWWORK PRESENTED (Student Book pg.)

INTfllSLINE) (line number - same as in students' books:

1
, i
(Teaching suggestions follow
in this space) (Violin)
t)

(Viola)

('Cello) ··

(Bass) ··
,.,
(Basic Harmonic

Support)

tJ

II

(Enriched I
t)

Harmonic Support

)
for Pial1lo)
t ··
 ii
Compare the foregoing sample with the first score page to see how an

actual work, with teaching suggestions, is formatted.

The success which this book promises is based upon two central ideas:
(1) that real music, supported by correct harmonies, counterpoint and voice
leading promotes the musical growth of the student, and, (2) that, at this
point in the development of young players, the fingers of the left hand have
been freed of the constrictions previously imposed by tapes on the
fingerboard, finger patterns or the habituation of holding fingers down on the
string past the correct rhythmic value of the pitch being played. In other
words, "one note, one finger!"

Chapter 1, in C major, has been designed to assist teachers in the

accomplishment of this sometimes daunting task. Take this opportunity to
enable your students break out of the "D major mold" by requiring them to be
responsible for their own intonation. Basically, this is facilitated by asking
them two questions: (a) Does it sound right? and (b) How can it be
improved?

The teacher must now focus on the ear-training aspects of string

teaching and playing. This is a central purpose of the book. Teaching
suggestions for achieving this are included throughout. The two piano parts
support this goal.

The single staff, Basic Harmonic Support, is included for teachers

whose piano skills may be limited, or who prefer to use a "one-hand"
technique. The full piano, Enriched Harmonic Support, provides complete
accompaniments

GEmNG STARTED

Begin with Chapter L (C Major) and continue in sequence. Drill

material, tunes and review exercises are included in each chapter. It is a good
idea to occasionally go back to previously learned work for review and
reinforcement.

When preparing performance materials, it has been found useful to

return to the appropriate chapter in The Intermediate String Class to get the
players warmed up in a "new" key prior to introducing a new piece.

iii
 · Chapter 1- C Major
Instructional Guide

Positions:

The violins, violas and 'cellos will remain in I position until Chapter 9. The basses
will play in the 1/2 and I positions on the lower strings and will play in the II position on the G
string only as a range extending device.

Objectives:

1. To establish key-sense in a fixed do system.

2. To develop the key signature as arising from the major scale.
3. To create a feeling for fingerboard hannony through the primary chords of C
major.
4. To take the first steps in ensemble by playing in contrapuntal style.
5. To play the full range of C major in first position by both downward and
upward extensions of the key.
6. To develop eighth notes in both single flag and beamed notation, leading to
the performance of the dotted-quarter, eighth rhythm.
7. To play in more than one meter within this key.
8. To play the incomplete second octave. The bass will repeat the first octave
for sonority.
9. To introduce the tie as preparation for the dotted-half note.
10. To learn one key at a time until musical ear control is achieved.

These objectives will be noted in the score along with applicable teaching suggestions
for each.

General Teaching Hints:

PIZZICATO. As a general rule, pluck (pizz) the notes before using the bow. This focuses
attention on intonation before adding the complication of the bow.

BOW CONTROL. When starting the quarter notes, place the bow on the string slightly below
the middle. Tilt the stick away from the bridge (toward the fingerboard). Establish a definite
contact with the string, then draw the bow. Use the middle to upper half of the bow. Keep the
bow in the "imaginary grove" to produce a clear sound. This idea will keep the bow from
skating across the strings, producing an unclear and "fuzzy" tone.

FINGERINGS. The violins and violas should use both the open strings and the fourth finger as
shown in the exercises. This prepares those players for fluency in both the remote keys and for
playing in the higher positions which will be introduced in Chapter 9.

SHIFTING. The bass is the first instrument to make use of more than one position. This is in
the nature of the instrument and must be taught early. The up-shift to II position will occur
between steps 7 & 8 of the major scale (a-do). This strongly leading musical passage compels
and propels the hand and fingers as a unit into the higher position. Shifts will also take place
on other scale tones as shown in the exercises.

INCOMPLETE SECOND OCTAVE. This novel concept extends each new key out of its do to do
configuration both up and down to avoid an unprepared approach to a higher position.
iv
 CHAPTER 1 - C MAJOR
New Work Violin, Viola, 'Cello in First Position (I) until Chapter 9

FIRST OCTAVE OF C MAJOR Pluck (pizz) first time.

BASS; UP-SHIFT TO II pos. 1 Bow (arco) second time. (2tudent l2.ook pg. 1)
3 0
2 2

TEACIDNG SUGGESTIONS:
E F G A B
For the bass "Ti-Do" half-step shift 2
0 2
3~ 0 3
between scale steps 7 & 8, move the
left hand and thumb as a unit when
shifting from first to second
pOSition. (The down-shift Is the
reverse of thiS action.) 4
3*' 4 0 3
0 1
The ear gUided by the dominant
and tonic chords leads the fingers
to the correct pitches. The fourth
finger stays down while shifting. No
hops! This Is a silent slide-shift. 4 4 4
test' 2 0 2
This type of shift is the first
instinctive move which the pupil
will make. it Is practical as a first
experience In shifting. (See also the
bass shift in Ex. 3)

'Pluck to test starting pitch.

Class should sing sal-la-U-do .

• , 3 means thlrdftnger, NOT three

flngersll

BUILDING THE KEY SIGNATURE

C-Major Signature - no fiats, no sharps (S. B. pg. 1)

C MAJOR SIGNATURE 2
4 4
BASS DOWN·SHIFT TO 1/2 POS. 4

In measure two. the bass

down-shifts Into the half position
while playing the open E strtng.
Move the whole hand for the sblft. 4 4

The bass notes below the first

octave show a concept of the
downward range of C major Into
the half pOSition. This range
extentlon WIll occur In all keys for
aIllnsruments. Pupils should be
reminded that the lowest pitch In
any key Is not necessarily dol
2 o o 1 4 o 2
4
2 o 4 o 1 0 2
Violins and violas should develop
use of the fourth finger and open
string In all keys.

Extablishtng the key signatures

begtns In G major, Chapter 2.
 (S. B. pg. 1)
SLURRED QUARTER NQIES 3 Whole-step shift in Bass, step 6 to 7 in the C scale V Repeat three times
4 V o V0
BASS: NEW UP-SHIH TO II POS. 4 0 I"'! II"'! V I"'! I"'!
" 0

- .=±+=iII
t)
"'0 0 1 I -. 4 -.....- I 1 "-' -fT"-"'"
The violin and viola should use both

4th finger and open strings, as

shown. V hI"'!

0 0 V I"'! I"'! 0 V I"'!

-tIU-4.
71"- 4 I I 4 .... 71 77 ~ :./
4
I 4-' -~ 77-.-71
·
This portamento shift for the bass is
the more common one for completing
the C major scale. The firs t finger
V I"'! V h I"'! V I"'!
stays down on the G string while the

whole hand upshifts. It is released

simultaneously as the second finger +.......- -"'7f-:j. 4 ~ -../ -.;:'~~

is placed on C at the top of the scale.

. 2 0 1 2 o
1 2 4
.. .,..,. ..
2 1
0 2 1 0
2 V I"'! V~ .". !---- I"'! V I"'!

The basses have two lines. PIav the

entire exercise three times: the basses
~ 'C""'.. I I sol la ti do I I '.." '-' '­
...J
play the upper line the first time, the II
lower line second time and divisi the 4
third time. I"'! I"'!

-... , ... ­
..
;..; -...,;.""'1
1/2pos."'-
Note the counterpoint in the • ."",..r:. r:.,.. .,. • r1 Counter theme
, ~1J ~
accompaniment. This is part of the " 0

·
preparation for part-playing in later
lines. 4li Corr ter scale L.H. I I I I ­ -. I l
~
tr .­

-:j.7f ..,- 1

BEETHOVEN THEME
(S. B. pg. 1)
MELODY DRILL IN C MATOR
4 Unison
Adapted
BASS; 1/2 POS REVIEW
o 4 o o 4
"
Note test pitches. Class sings do,
mil
re
then plucks test notes to establish the
third step of C major, the starting
4li test .J.' - .... ~., . ...... ·-....:!'4
pitch for this exercise. 4
Vioins should use both open string
and 4th finger during replays.
test j'" ..... 0 ...... TT .... ..~.g. . .. ....:! 77

.. ... TT ........

.
I test :l'i"-- -"'7f -:j.-:j.7f'" ~7.t ...... - - .... 7f ++7f"- U 4
2 4
The bass begi.!ls in I pos. and then 1 o
downshifts!o half position in measure
5 during the open E. It remains in 1/2
pos. for the rest of the line.
. 1 20 4 0 2 I 4

test I
I I I I
·liz ".1

,., J i I ill
Teachers should continually inspect
pupils' technique during all drill lines.
-~ -"'~4 ~"''''''~;l .
~I ~
t)
i I
.• • I I I __ • • I I

L~ ~ I I
I I I
I I I
I I L

.......... -~ I

--
2
 BASIC ARPEGGIOS (broken chords) IN C MAJOR
Developing Fingerboard Harmony
CONCEPT OF INTONATION

PRINCIPAL TRIADS OF THE

MAJOR KEY;!. IV. V 5 FIRST PLUCK, THEN BOW
(5. B. pg.1)

MEASURE NUMBERS 3 1 3 2 o 2
11
The goal of this line is to establish
kpy sense through fingerboard
.g.
hat'nwny. tJ
'*'*
.g.
'*+
Correct playing of the principal 3 1
tones of a key, steps 1-3-5-8, is the 0 2 0 3 3
surest guide to good intonation.
Once t1iese tones are firmly
established, the passing tones,
2-4-6-7, will find their proper
.."..,,' - I I I .. .. -0- -,1-,1 I I I -rj
0 4 1 4
harmonic relationship to the 0 3 4
principal tones.

Improvement of INDEPENDENT
FINGER PLACEMENT is of the
utmost importance from this point
+.--
4 0 4
4
... '* ::d ~~ ....
1 0
-- ~
on.
·
Show the pupils how to locate their
place in t1ie music by using the
printed measure numbers. 1/2 ­
...... .... -­
I chord (chord symbols represent primary harmonies) Nchord

"
t)

"
----- .- ... -ttl
t) 1& II 1

lit

2 3 4
.~ 0
For tone improvement, establish a
definite bow contact with the string.
Then play. Try this three step drill:
tJ .... I I I v '* '* '* '* .g.
1. PLACE the bow on the string. 1 3 0 2 0

2. PRESS the bow into the string.

3. PULL the bow down.
......
1 4 0 3
-9- ..,,- I I -.." .." .." - -rj

The pupils will quickly understand

the relationship between bow ·
pressure and speed in order to
achieve a fine tone quality!
TT" .. .... -0- ~'* '*~ ~., ., ~ '* ~
0 1 4 2
Have the pUl?i1s think of moving the ·
bow in that Imaginary bowing groove.
I I .... .. .. I ... ... - ...
V7chord I chord (counter theme)

"
tJ .Y Y.
• -# 7-:) <::>
~
.- .n :g: n I

F
I

tf II I I.g.' 1&

--
(counter theme)
... ~

3
A YARIATION Of THE SCALE
6 Broken Thirds (5. B. pg.l)
o 4, o
"
As the scale patterns are changed into
the intervals of broken thirds, the
underlying factor which best guides the
!-W-4"
tJ ...... .. .. I I I I
intonation is the HARMONIC BASIS.

When playing these intervals, learn fD

4 0 , , 0
listen to each interval as part of a
harmony or chord.
The ear is agian guided by the same
TT .......... .. .. I I I I

principal major triads: I, IV. V7.

.
This HARMONIC CONTINUITY
trains the ear to guide the fingers to the
pitches. -:J -:J - T T .".,... ... . .
2 0 2 4
For continued TONE IMPROVEMENT, 1 0 1 0 4

establish a firm bow contact with the

string using the upper half of the bow.
4 2. I I ........
., .,
Playing eachnote twice allows time for
the ear to anticipate the next pitch and Bass plays both positions
puts the new note on the dOWrl bow for
added strength and emphasis ,.,
tJ ... ~

...,...., /.i d1
"
I~ (. Iff ( ... t~ l~~
tJ

'.
r Ii:
.~
lit etc.
"'"

,..l!1 o 4 o 4

I I •• ........ .,

o 4

I I ....

..
.. ., ... ... ., ., I I 2 4 I I

~I

4
 (5, B, pg, 1)
7
More Broken Thirds
4 o 4 (I (I
In this line, the inlervals of a third
now move fasler, This requlres
quiCker concentration for the
control of the pitches,

4 o <1

2 1 0 1 2 4 1 2
Basses should pradice both sets of
fingerings 10 improve fluency,

42

The enriched piano acrompaniment

increases interest by adding botI,
harmony and counterpoint, This
prepares the pupils for holding
their own in rounlrapunlai music.

Variation of "Lightly Row"

8 Ensemble with Broken Thirds (5, B, pg, 1)
COUNTERPOINT USING RESTS II]
1\ 1""1 4 o
This ensemble study is developed with
broken thlrds and rests in counterpoint
style, t)

0
., ~
...... ­
1""1
.,
0
.,
The four quarter rests show their

*~
reJated time value to the whole rest.
_ v
Prepare for the down bows in *4 -,t-,f*'"
measures <1 &. 5 during the resls in the
preceding measures, .
1""1

Pupils should count these resls 1

silently,
.-6- ",-,tV '"iJ:. -; • .,
-; ., v

o 1 2 21 1""1 1 4 2

I I I 11/2 - ~
I

1\ j I I J I I I I I J JJJ J I I I JJ
r
ty--" _...•....
~
..J

1\ ..it
tf
• ..it
rfrr r I
II]
I

~
I

;.
The piano introo uces a counler line
from a previous theme,
{-, ~it ~~ :counter theme
., ...

....
I

",.-;
I
(more",)

 WHOInRnST 8 (cont'd)
Relate th" whole re,! to the four whole rest - 4 counts
quarter rests previously shown.

ACCENT MARKS

Pupils should play the accented

notes with add".d bow pressure
and speed.
Basses should retake the bow on 4 1"'1 1"'1
the quarter rest for the double
o
down bow,

> >

Extending the C Scale Downward for

Violins

LOWER EXTENSION 01' C Below first octave (5tudent.ll.ook pg. 2)

SCALE FOR YIOLINS 9
C B G

HA!.FREST 3 2

This is an important concept for all

pupils. The lowes! pitch in any
key is no! necessarily an open
string! Half res!
1"'1 1"'1 1"'1
In later chapters, teachers mililit
ask what is the lowest playabfe
pitch (on the violin" for exampl,,) in
fue k"Ys of C, G, lib, Hb, D, etc.1
1"'1 1"'1 1"'1
In this line, the C major scale, for
the violins only, is extended
downward, C-B-A-G as do-li-Ia-sol.
The other inetruments provide the
necessary harmonic support. 1"'1

rr

r 6

fri

 Good King Wenceslas

(5. B. pg. 2)
ENSE:MBLE PLAYING
Old English Carol
In previous exercises, the 4 v
contrapuntal experience was
pro.ided by the piano
accompaniments. Here, the
instruments develop their own
counterpoint by using rests.
In measure 5" the lower voices count
~ilentl}' andre- enter the piece in
measure 6. This drill eases the
pupils into independent part playing
in a painless way! v
In measure 13, the whole rest is
substituted for the quarter rests.
The downward extention of C major
is utilized in the ~olin and bass
parts.
v

o o
1'2 JJJJIU J IJUJJ IJ J IUU JO U; J IW J VI; j I). i II
i

i 0

. . . . .~ Tt I I I -,; 4­ "'....::!"Tt Tt­

.
.... -,; U- :;i -:jJ"U
• .­
I I ~

'--'
1\ 1 """I I JJ I I I J
1

r It'
rr r r r trr
• ..,. .. ..,. .,. $:
'!J
1:J1:f ; fl,Jr

{~
WJ
~$
I
i:;Ji:t: I~:
> I r1fJ
::~ *-,;
r'r $~'
U r rr I
> >
1 r U '*. ~

!~ t:
7
 Repeated Eighth Notes

in two notations: single flag & beamed

EIGHJH NOlES ON COUNTS

TWQA@EOUR 11 UNISON and ENSEMBLE
(S. B. pg. 2)
THE FOREARM STROKE Middle to upper part of bow
" II 0
Use of the forearm stroke is to be
featured in this line. (If the basses
use the German [Butler} bow, their
guidelines for this bowing
technique will be different.)
..., ..,...,.-­
count 1 2 3:C 1 2 + 3 4
-­
o
- - ... ... ...

The three joints of the rigl)t arm

(wris~ elbow, shoulder) should be
loose. Play within the upper half of
the bow. Use short strokes for the
eighth notes.
. ....,...,. -- - - -- .. ..,. _......... - ....
Keep the same steady beat between
the quarters and eighths. Make sure
that the two eighths are evenly
played in the exact time of one
quarter note. 2 o
-­
2 o ",,2 2
- -..,. ....
first shown wi th the
sing
p
beamed. This
ils for the easy
recognition of the dotted quarter
I I - I I - .....
1/2 pos
and eighth in later chapters.
Have the pupils claJ? and count this
exercise hefore playing.

I I

Ill] 4
o 4

o 1-­
o 4 ,....,

- ... f

.....
I I i
I

• :fJ­

EIGHTH NOTES O::J COUNIS 12 More repeated eighth notes

O@ AND THREE
4
HABMONJC SUPPORT FROM
WITI-IIN TI-IB BNSEMB!.E "
Remember to use the upper part of
the bow for thls exercise.
tJ ... ...... -41.
1 + 2
'*'*'* ...
3 + 4
.. .. .... _ .. ­
0 4
This rhythm drill employs
basic harmonies within C
previously developed.
Each rhlthmic variation adds to
-,t .. .. -,t'lt'lt -,t-,t-,t -,t ..".".,.."."., --- 0 - - - --- ... '*
the pupIls' bowing technique.

·
­
TI-IE FEEUNG OF THE IlEAT IS
ACHIEVED THROUGH
TI-IINKING A::JD SENSING THE
PULSE!

Have the pupils dap and counl

·
~ - ~':iJ'~ ~~~

~ .. ., ~~'7!t"

,... ....
.. '7!t -,t '7!t

this line before playing,

'* '*
.. - 1 .. ........ 1

ID

r·
I .. .".. L

"'Il

..
Watch out for the last measure

- it's a rhythm trap!

tJ

...
I

--
_I _I

r r ......
-

-,t-,t-,t
~'7!t::J.

--- ..
............

'7!t -,t-,t-,t

- ­
I

·
-,t .. .... -,t ~':iJ':iJ - ... '*... ~
· - - ­
I I
- ........,

-----
I~
ID
" """
~=t ~'~ '7!t I~~ ~.

----------.. }---;
"'" -
9
 Independent Part Playing

13 Counterpoint Study
II d o
Play the slurred notes in the
upper half of the bow as for the
single stroked eighth notes. Use I.! ..,. .. ..,...,. -..,...,.., ~ '-' '­
'--I
short forearm strokes. 4
The slurred eighths have the
,
.
-
same speed in the fingers as the

-
-,t ..,.-,t'-If *-If -,t ..,. ., ., v v

•
.,~., ~
separate strokes. Only th~
~changes.

Feel the swing of the beat to find

.
-­
the correct bow speed. Think of
the swing of tl-.e condllctor's baton. :;J. -If':J':J Q -;;J. -If ..,. ..,. -9­ -9­ .. r

This exercise is the firs t of several

which, collectively, form mE
. t.. "'"
BAT1Ul OF RHYTIfMS!
I .. -9­ .. .,
~ -.; '-'
Ask the basses why they should
start this line in half rosjtjon.
~ ..
! ! }! JiJJ-DJ1J )
-
j ~ 'C-,-­ 1_.­ 1-
ll;JJJJ ~

r
, I _
Ij"ooIlj"ooI

.. ~ ~ "
[[]

F e- D D

r ~ r p

o
IJ DJ £JIJ
4
I; :;9rIJl:t m I;n; t II

111) ) 1

10
 Scale Ensemble in Contrary Motion

COUNTERPOINT IN
CONTRARY MOTION
14 In March Style (tempo di marcia) (S. B. pg 2)
4
o I a 4

Developing counter scaJepJaying.

'" It
as in contrary motion,offcrs new
musical values in harmony and
rhythm. If)
In measure three, the lower voices
must have their bows ready to
make a clear and definite entrance
on count two. I
v
Play in March Style, with strong ....

rhythmical accents!

I I I 1""1 ....

r I
~ rr f f r r
The enriched piano
accompaniment provides the
March Beat with Its drum effects.

. ..

1\
,., 0
o
... 1 ,." ~ 4

... ....
,., -- ,., 4 0
I 1
,., I"l ,.,
.....
I"l

-.tT"* - --
I"l I
.....
~ I"l 1"'1
- ........ y

,.,
~:;PJ""
........
--.... TT~

. ,., ~ 1"'1 1"'1 ,.,

,
I

. r""'I I)
-- I r1j} j..r: 1f Jl J~ JI
--... .....
1\
- -
I I
-
.,,[i]
. r ~rr I~ ! I..J I Ij"oI
fr
DI1
... . I"'!!!!! II'-
~...
'1'- I~~
-
Ill..
.. ~~
I

11
 C Major with First and Second Octaves

Upward Extensions of C major

THE SECOND (INCOMPLETE!

OCTAVEOFCMAIOR
BASSES SHIFT TO II POS,
15 Pizz, then arco
o 2
• • o 3 o .... .
!5.tudent Rook pg 3)

The C major scale is extended into

the second octave, In order to
carry out the coordinated plan of 1 0 3

rrrir
position playing, the violins, violas
and cellos remam in the first
pnsition. F :11
Violins play the first seven steps of I 4 4. 1 2 1
4
the second octave of the scale as a ' test 0 2 4 o .. .. .. .. 1#-.1#- .... 0 1 0
4
counterpoint to the full second
octave in the lower voices.
Reinind them how to find F on the
I I I I I

...... .......
E string!
2 2 4 2 1
Violins and violas should use hIllh o 1 2 o o 2 1 0
2
open string and fourth finger, as
shown, in all lines . This is in
preparation for playing in hidler II I I
positions and remote keys which
come later in thi' book.
c b' E F G A B

I J J J I , I I I I J J J J I
The basses have previously
completed the full first octave of C
major. Here they will shift to the
"
second position (II). This avoids
any higher positions at this time.
I I I
r i
These new ranges add a rich n tIl- .LJ

sonority to the string enxemble.

The pupils' ears willl:>e guided to I II I

the new pitches through the
tIl- I I I i I
counterpoint.

SECOND OCTAVE OF C MAIOR

IN UmSON AND CONTRARY
MOllO.lS.

The violins l'lay up to B on the E

string, the Violas and cellos to D on
the A string.
I 4 I
The bass repeats the first octave with
only a slight change.

J .. .. --
I
I 1 ! 2
........
4
tIl- .. ..

II I ............

I I J jJ)j j J ! I I I I I i J jJ)J j J I

I I
Counter melody
I I I I I I

I
r

12

 Basic Arpeggios in the Second Octave (S. B, pg, 3)

BROKEN CHORDS 17
The basic arpeggios in the second
octave require the same harmonic "
~-
2 4 .. . o
2
. .. 4 GJl 3
"(11-1'" 1'iI' .:.-..
apl'roach toestahHsh the pilches as ­
in the first octave, New keys will ~
be presented in the same manner.
REMINDER: 3 , 3
2
.fL.fL fL 2 ... .fI-.fI- .p. ....
4

"­
Aim for continuous improvement
in TItiB is achieved J I I I I 0 I
hy e how in that 4 2 2
IMA GROOVE, 1 4 2 0
1'iI' .."...". 17
PARALLEL TO THE BRIDGE,
The how should main tain firm

· "(11-"'"

contact with the string, Use the

4
~~rjlfilJow;oke with the~If 2 1 0 0
17 1'" "(11- "f!I­
Ells e"ahlate their
· "(11-"'"

'velyand
II

Do their pitches fit into the

supporting harmonies provided in
fJ
o-~ ­ 6....----...17·

~ -
the piano part?
~

·
a ~ ':;J':;J a:::- tfi:
­ -

[[] 3 2 4
[W4 0 0

0 2 3

4
2 4

0 2 0 2
2
Bass employs II position to top off
arpeggios!
II
~

13
 ITAllAN HYMN
(The Dotted-half Note)

(S.Il. pg. 3)
mE POrrED-HAI F Nom 18 Unison
l1lllIlR
RETAKE OF mE DOWN-BOW
II •
o
I
tie o
• . Giardini
.---j

tJ
-- , ,-~

1-2-3
This melody follows both the
broken chord and scale patterns.
count 1 2 - 3 1 + 2 3
,.,
._.
Be sure to drill the rhythmn
patterns in measures 5 & 10. , I I I I ,
Clapping and countmg the rhythm
s of this piece is good drill
technique.
,.,
Use these rhythms to play rote
~~~ts le's~~eggios as warm-ups
I I ,
,.,
The dolled-half note is developed
using the tie as in measure 3.
·
I I I
The "double down-bow·' occurs in
measures 6 & 7. Note that the new
phrase beginS with a new
down-bow in measure 7! t, J I I I I r'11 I I I J1 J I I ~ I
tJ
r I
r.­I I
I I r l.J11 JJJr ~I r ILl
II •
I

­I . ....
tJ

·
I
I I
IIoo.J
I~ ~~ ~ .~ 1'1

..-
:jJ
I I 4' Llf

The violins must open the left

hand in order to reach from
4thfinger E to 1st finger F in
II
o 4 o
• .. ."..
4

measure 11. tJ 0
4
0
• 4

I - I I
,
I ""01 I ...... I

"
·
I

I I J Ir"!
- ,
I I J
-
I r-t I . I J j-]1 J J I
,
I I

tJ

r tJr
;9-'

I r ~ r r trw I L...J I
.. .- ..
r: I I
" I I f.,

~ v.
J '*:; I:: !i [I
I
- I
~I 1.-'
~
:t
I

,
I
Jl .
, I1'"LL

I r

14
 Interval Drill
Broken Thirds in the Second Octave (s. B. pg. 3)
BISPKEN THlRDS 19 Unison and Ensemble [[]
2 3 4
2 4 3 0 4
EXTENDED SCALE FOR VIOLA

3
2 3 2 4 3
0

0 2 4 2
'1 2 4 2
0 4 0

The basic harmonic support uses 0 4 2

4
2 2 0 2 0 4

iliesimpl~thannonies.
enriched accompaniment is treated
Theadding
in an imaginativer manner,
special empbasis on rbyilimic
1~~I2~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
II
accentuation.
Bass: The portamruto shift in
measure 6 is done by sliding ilie
hand up to II pos. W1lh lhe 1st
finger maintaming contact wilh
lhe string. The 4ili finger com~
down on C as the hand reach~
ilie new J'osition. The hand stays
in II posItion while playing ilie
open G in measure 7.

[[] o
4 o 4 4

4
o

The cellos and

v
basses will
re-take an
~in
measure 9. v o 2 4 4

Basses
down-shift in
rneas.ll

15
 Broken Thirds in Harmonic Form-Ensemble (S, B pg,3)
20
.•..
SINGLE NOTES IN THIRDS

DE.LAXED ENTRANCE
"
4 0
.. -- ..L _..-
4
I
o
J

In this line, there are single notes

for each pitch, 'fllis means that the '-i

E
4
pupils will have to change pitch at
a faster speed. 'fllis promotes
velocity,
0 .. 4
~ __ .".. ':-f:. fL f:."..f:. __ ~ 4
L 0

The delayed violin entrance in

measure 2 is a step toward I
...
independent part playing,

Ask the pupils whether all of the . i • ~ :it-? ~1f':_ .. ~ .~

parts are the same, This is a good

time to introduce the orchestral

responsibility for listening to the

EE ....
other sections.

Om the basses locate their shift 1-'"-&-4--

I
o 4
•
1 4

-­
2
~ ? ~1
2 4 I
O .._~ ...
4

points (meas, 3 & 6)1

....
: I I J I j JJ J I J j I J I I I I
" ~
r
,-
'-i .; I I I I I , I I I I
I r Ir
[[)
J

F ........ I"~
I
I~ ~ ~~
I

-;,"-9­
1\ I I.. ··~I '"""

Two Octaves of C Major

Descant to An Old Oaluin Bucket
21 Unison and Ensemble (5, B,pg,3)

THE SCALE AS DESCANT 1\ .. ~ .. ..

'fllis simple scale drill within
the two octaves of C major is '-i --:- =if :;;1:-;" .. I I __ ..-fIL_
made doubly interesting by
treating it as a descant to 1fte I .. __ .".. .".. f:. ff:ft- 1":.
tune An Old Oaken Bucket,
played by the piano,
.. 7i" ....
Herein lies the charm of
CQunteqmint.
.. ..~f1"..L
This develops individual

technique and prepares the

ear and mind for ensemble "7i~T • ..... I - ....

and orchestral playing,

. 1'- .. 1 'f1"._~..1":.. ...

""'oi I .... I - ....

An Old Oaken Bucket countermelody
I
1\ ~I I ~ I I I I I , I I I I I , I I
:

{ ".
I
Ifr'

I
!I
I?'

I
~:
!I
?

I
II
I?-:
:

?
I I

1'­

I
I

~.

16
 Yankee Doodle

f(l\lSHING C MATOR 22 Unison (S.Bpg.3

greatly benefits the leamer. It gIVes

The principle
fum/her time of one key for aear,
toadjustthe chapter
and fingers to the varying interval
mind 1~~~~~~~~~~~~~~i~~~~~~~~$~~~~~t:~~~l~~~§~~~~~~~~1
tJ
combinations in the key.

Students' ensemble playing is

enhanced when they are confident
of their ability to find the pitches
easily.
In repeating Yaltkee Doodle, the piano
accompanimenls create different
ensemble effects.
Try playing this line as fast as you
canl
If two keyboards are available,
colleague(s) to.assist by playing
one accompanlffienl then the
second, and, finally, both together I
If three hands are available, play the
upper line of Piano B along with the
Apart!

Piano B

17
 Chapter 2 - G Major

Instructional Guide

Positions:

The violins, and violas will remain in 1st position until Chapter 9. The Cellos will use
EXTENDED FIRST POSITION. The basses will play in positions I, II and III.

Objectives:

1. To establish a moveable do.

2. To develop the key signature as arising from the major scale.
3. To advance fingerboard harmony through the primary chords of G major.
4. To take additional steps in ensemble by playing in canonic style.
5. To play the full range of G major in two octaves by both downward and
upward extensions of the key.
6. To develop use of the fourth finger for violins and violas
7. To play in more than one meter within this key.
8. To play the incomplete second octave of G major.
9. To reinforce new concepts by playing repertoire tunes
10. To introducethe principle of chromatics.

Teaching suggestions and performance hints are set forth in the score.

General Teaching Hints:

PIZZICATO. Continue to pluck (pizz) the notes before using the bow. This focuses attention on
intonation and fingering before adding the complication of the bow.

BOW CONTROL. When starting the quarter notes, place the bow on the string slightly below
the middle. Tilt the stick away from the bridge (toward the fingerboard). Establish a definite
contact with the string, then draw the bow. Use the middle to upper half of the bow. Keep the
bow in the "imaginary grove" to produce a clear sound. This idea will keep the bow from
skating across the strings, producing an unclear and "fuzzy" tone.

FINGERINGS. The violins and violas should use both the open strings and the fourth finger as
shown in the exercises. This prepares the players for fluency in both the remote keys and for
playing in the higher positions which will be introduced in Chapter 9.

SHIFTING. The use of extended position for cello (O-1-x2-x4) is introduced to enable the player
to perform certain chromatics. The basses will shift through I, II and III positions as the
musical demands broaden.

INCOMPLETE SECOND OCT AVE. This concept will be retained for each new key.

17A

~- - - - - - - -...- - - - . ----_.. - - - _...

.. __ ..- _ . __..._ - - - _...- - - - - - - ... _ .. _--_ ... - - _ .. - _.. _ - - ­
 CHAPTER 2 - G MAJOR

BASS I'OSITIONS: I, II, ill

C major Modulating to G Major S·i3·Cf2·lf

{,;EmNG INTO {,; MAlOR 1 Through the Ascending Chromatic
Gmajor 1"'1 tie wholeno!e
G MAJOR WITHOUT 0 2 2 3 0
SIGNATURE
MODULATION
1-2-3-4
The violins and violas musUl.id& 2 2 3
the second finger from F to F#. Do 0
not hop!
'Cellos and basses use a different
finger for F# .
3 4
Ask the pupils to define a 2
half-step.
Be sure to support the modulation
with the keyboard harmonies 0 1"'1 1 4
provided in the accompaniments. 2 2 4
0
What is modulation, anyway?

G Major Scale - First Octave

ElIl.:U OOAl:1.i Of {,; M.:l.IOR
2 G A B C D E F# G ~:e·C?&,4
WITfIDUT SI{,;N.:l.IURE 0 2 3 2 0 3 0
2
Can you guess what the signature of
G major might be? Why?
4
Cotma! if you played two G's at the 0 2 2 3 2 2 0
end of this line. "You're supposed to 3 0
be~."

The moveable do. Bx:P.!ain why do in

this cha~r is the pitCh G rather than 4 4 4 3 0
C as in pter 1. 0 3 0 3 3

2 0 2 4 0 4 2 0 2
0 0

18
 3 G major - with signature
(S. B pg.4)
KEY SIGNATURE
,., II o 4
The F# for this key Signature is
extracted from the scale and
placed at the beginning of the line.
The students' books have the

signatureprinled wjthin a bOX

t!
.­
~
•• •
0

..

....... ~
-~

11 0 1"'1"""
Use the middle 10 upper half of the
bows for this line. I
- ... ...
....

l..I- I U'"

... -
l..I- I U'"

,., II ... ,.., I ~ ~ .... 1"""1

-
t! ., .., ., ., ., t9

,., II ... .
t! ...itI.;i i~-
..""" ~
~ tT .. •
..
I I T .. ~
4 Basic Arpeggios in G Major
(S. B. pg, 4)
3

.....
o 2 3 3
0
mORnS OF I IV. V7 IN G " II
.M.A.IDR
Play this line pizzicato the firs t
tune. then area thereafter.
t.J .. .. .,-. T T 71 ~#* .. ...... 71
0 2 3 1 3
A &ood drill tedmique is to 0 3
highlight each section, in turn, by "
having it "lay aren while the oilier
sections oihers play pizzo I I I I

Flagged eillhths are reviewed here 3 4

to pr~are10r dotted rhythms
wlildi will be introduced in a later
chapter.
. 0 0 4 1 4

I I I I

2 1 2
0 0 1 0

I I
te I I

I chord IV chord
" JI

t!
fi~ G~

II]
~
" JI

~ -.
.... fI I ;-&
U­
!,.. ¥

more .............. ,

19
4 (cont'd)
2 o o

2 o o

Billy Boy
(S.B.pg.4)
5
Unison Mountain Song
o 4 o 4

20

 6 Broken Thirds (S, B. pg, 4)

4 o
1\ II

tJ ::-::-77 -;J. -;J. -# -# 77'­ ., -#-# ., . .. .­

4 0
Ii

I I I I

I I I I I I

I I I I I I

coWl,.:r-1mDtiv
1\ II I I , I

tJ or 4'

,
~
1\ II

{ v.
.~ ... :: • ~ :# I"'~I -~ ¥- .. • r'
I I

o 4

.... -# -# .,., 77 -# -# -:fJ ':it 77:;t:;t &

I"l o 4

I I I I

I"l I

I I I I

I"l

I I I I

1\ II I

i
'''' 77
I I

I I I I

21
 7 More Broken Thirds (S.B, pg. 4)

,1'''. II 4 o o 4

. ~
.
t.! :;;: -,J -:J." -,J " ... ~ .. • T -#-:;1. T:;;::tJ7i
4 0 4
" --... 0

I I 1 1

I I ~ I~I
I I I I I
.....­

1\ II I I I d J l I

eJ . - ~
- r Ur
~I~
i I I I Itff
II !

1\ II I I I J 0 I J

~ ", ~$ I~ ~
Lh. Iv I "!: ~ I~ ..­
I

Variation on an Old English Tune

8 Unison (S.B. pg. 4)
o

22
 G Major - The Second Octave
The complete second octave for violin,
incomplete second octave for viola, 'cello & bass
(S.B. pg.S)
9 P
... ..
GAB C D E G
THE SECOND OCTAVE OF G :3 0 ] 2 3 o 1 2 o
.MAlQR {1 It 1 1 o 3 2 J I
I I .

BASSES SHIfT TO III POS.

tJ 4 4 4
4
Only the violins will play the
~ second octave of G major. o 1 2 3}f: .i:f:1I"'~ 32 1 4
~ ~~
3
The other instruments will play the • • 11"'....,. {'- fL f: ~_ f: f:
3
jncomo\ete second octave so as to
J1 •• . . 11'" {'- {'-
!'rovide an ensemble support for
the violins.
4 0
The violas and cellos will remain in
first position while the bass shifts to
III position in order to reach the . 4 0
. ... ."..
1 2 4
~ ~.".. ..
4 2
~."..l 0 4 . . . . . . .".. ~11'" -fL1I"'••
dominant (D) on the G string.

The bass has new shifrin/! tones,

·
4 1 4 414
from B (I) to C (Ill). thIS is a new
kind of shift for the bass. Make
0 1
• • 11'" 'f!1­ {'- {'- 11'" 11'" {'-11"'. 1 0 • • 11"'11"'{'-11'" ."....
sure that the whole hand moves to
the new position as a unit. In the
upshift the fourth finger holds onto G A B C D I
B as the thumb and hand begin
their upward shift. It is released at
the moment the first finger is
!,oised to attack C! Reverse this for fI II I I I J j ) J j I I
the downshift.
·
f r r r rI r rJrrr r r rrJf
I
~
Reminder: have the violins and tJ I
violas use BOTH open strings and I
fourth finger on successive replays
of this line.
.tLlI I j J J I r J I I I I I J
tJ
~r~r ~ r r ~ " I I I I I I II I I~ I II I
10 fr !,p. fr 1{'-1I'" • • • fr ""''f!1­ I."....
·
10 Ensemble Drill in G Major (S.B. pg.5)
BASSES PLA¥ IN L II &: III o
o o o
POSIDQNS fI II 1 0-. (,)
J I

Violins and violas use both fourth

.
tJ 4 4 4 4
finger and open slrings on successive
replays.

The basses will employ three .

0
? {'- f: f: f: r:r: :f.: f: ,p. 'f!1- {'- 11'" .. 0

!'Ositions in this line. Make sure that

the whole hand moves as a unit for ~

each shift In measure 3, the second

finger drops onto B as the hand shifts
downward.
.
4

"
.. .... {'- ,,-. I? .. ? ......
4

·
. (,)
1
'f!1-
4
.,... 'f!1- ; 0-.
(,)
• ?
4
• 'f!1-.
1

III II I

" II 1 I I j J--J j J I I

tJ I r' P I 1

I ",-.
. . I

..
II .. I I.. 1

{~ .... - -' - I
I I I I I II

I. . .
I

{'-
I
I
11'" 'f!1-
VI
•
-
I I
i1":

- .
23
 G Major with First and Second Octaves

Upward Extensions of G major

UpwARD EXTENSION Of G
MAJOR FOR YIOJ.INS
11
o 4
COUNTER-THEME IN I.oWER
VOICES

BASSES' NEW SHIfT

Violins will explore the full range of

G major in first position. Be sure o
the 4th finger is employed on the
in preparation for the B on
string.
Lower voices will support the
violins with a counter-theme
,.,
beginning in measure S.
Basses will employ the portamenlo
shift in measure 6. The first finger
will remain on the string as the
whole hand shifts upward from A 1 2

~Cinrr~~(in~~~a~~~~~~~~~~~~~~~~~~~~~~~~~~f~~~~~~!~§~~~~~~~~I
small glissando ""ill be heard as this
occurs.) The fourth finger will land
011C as the hand enters II position, II
As bassists' confidence increases,
the speed of this move will
effectively eliminate the gliss!

Preparation for two ensembles in G major.

Following are two ensemble selections which serve to summarize the new learnings presented thus
far in Chapter 2. Take the time now to review them with your pupils before going ahead. They are:

.. Violins & Violas Use of the fourth finger, as required. Make sure that the left hand ~ so the
the fourth finger can reach the pitches~.

.. 'Cellos - Are they using the upper half of the bow?

.. Basses - Review the several shifts introduced so far.

24
 G Major Arpeggio Ensemble
in Canonic Imitation Style
12
~.
3
3
2
,. ,. .,. .
4
I 2 o
.... ..
2
(5. B. pg. 5)

"""
ttl ....
1 3
- 4
....
,J
3
~~ 1!: ~ 1!: 1!: ~ ~ , whole rest 1"'1 1-", f fL .f'-f f:
three coun Is

. 4
~ .. ,!- .. fL{f- .... 1"'1
2
1_~ 1 1

. 0
2
,. .. 4
{L ~ {L {L .. .. 0 1"'1 11'-
4
1'- 0 1

II III 111/2 Il
I
(Chords only for basic hannonic support)
, play [IJ
­
F'
i

-- -- 111 -; .. ,. - . ,I
,
II 1:;t --­
i

I ..... I
-
lila 3 IJI]
3
" " II
2 ~ .... I .......... . L .. 1'-. .L.L .J"'"I

ttl

"
- 0 2
o
....
2
fL ..
- {f- {f-{L 1'- 1'- 1'- :r: :r::r::r: 1'-1'-1'-'-'"

. ~ 3
0 2
~ I ~~ .... .. . . . . III fL .... ~

0
I 4 1 4
1'-
-- I 1'-1'- ....
2 0
.. ...... {f-
4 1
.. .. 0

J.....j

II II Ii] , , I
IJI]

!~
I~

J
~
J #
• :rJ
U1:rJ

I I I I

25
 Au Clair de La Lune
(and Billy Boy)

(5. R pg.5)
13 Unison with counter melody (lower voices) French Folk Song
test r;;
" II
• • • 1'-fJ- ~ .. .ft- 1'- 1'- n. . . . . 1'- fJ- ?- ., f'- 1'- 1'- o·
_.
t.J

11
test .?- n 1'- .. ., !"'I
., ?- 0 ~., .,
"

. test
0 ., . !"'I Ii? ".........

E
test
n .. !"'I 0 r-;,

II]
I I I I I A
" II

~ ... ...
rr r
... ... •
"If"lff Ir r
-,;-;- ~ ~
u
"If -
V, I

r I I
I
I I I I 1:'" J,.I I
rounlennelody
I
( (
I I I

[ji]
o !"'I

!"'I

pizz - 2nd time

TEACIDNG SUGGESTION:

Play line 13 twice: (1) unison, with piano, (2) unison until meas, 13, then viola, cello and bass play the counter melody (in small notes), with
piano only until moas. 13

26
 Broken Thirds in the Second Octave
of G major

14 Unison and Ensemble (5.B. pg. 5)

o 4 o

n III

. .. o 4

I I
o
I I
4
I I

~
" II

t)
§
."..". ~ .~~."..". ~tf::f:: ."..".~~~.
4

."..,.. ..
4
.,...".
-
~
·
.. ."..". .... .,...,...,..,. ... .,...,.. .. .. •• -
· • •
4
."..". ..
2 1
."..,..."..."..
4

..
2 4
.,...".
1 4

••
0
•• -
III II I

AJI 1 .J j I

J i I
- IJ r .J flj

t) i I I I L.J I ru rI I r (- UI
I I

Ii] ~
lUi • • • ."..".. i IJ • (l /I ~I I (J
:
t)
t I I I !
r' lIT r
I

~JJ~ n ~J
= n e
· h "fi- n

27

 Rock of Ages
(5. B. pg. 5)
15 Unison· First and Second Octaves in G Major
o Traditional
I
4 0
I +. - I

­
" II II .. ..

~ .- ..
u -fL-"-~ ft f- • -fL .;:;. -fL -,.---. ft f- • £.jL -n
~
~~ -,.-~ --:;
·
I I
-- I I

· -,.- .-----­ -,.-~ ..:;;

I I
-- I I -
I I I I I 1 . ,....,
" II

f I -III- -d
r r ~ -III- -d
rr r f f f r r
II II I I I I I I L ;Ur1Lj j J j J j IIj J I j J J
...... ..
~
~

r
• .-,.- • -fL ft ... ... 1J • .-,.- -fL-fL 1-fL ft ~ ~ 1-fL -fL .p­
· ~ 0 0

I I I I I I I I

Ii] 0 o
II II n
• I I I I I

~ - ...;;;;
]jill
.... I I I

~-
II I I I ­
. ..... ­
I I I I I -
1111 111.Jd ! ~ J 1 I rm I I I I

~ rrrr rr r i r" r 1 rr r- rr r r ffr 1- I "T r.

IfJ I I j L I I I:iI] IJj~ JJJ
-rr
II I I I 1 I

rr rr rI rI rr
!
~
~ I~
i

. .-fL-,.- 0 :=.:J-t- (t: . .J I I I -,.-. I I

,
..

rr r .,;.,; .... I -:;J. -d

28
 Chromatics in G Major

WN!:EfI QI ClROMAIl!::2 16 Unison and Ensemble

2 (S.B. pg. 6)
HALF·STEP fROM F# TO F
F' F~

IHE'CHIl.OMAII!: SLIIlE" A
This line introduces the chromatic
move from F# to F. The violins half step
and violas will retain the 2nd .1 4 4
finger on the string and SLIDE it
downward a mlf step between B
measures two and three. The
same will be true for the violins in F
their line B, only this lime the first
fin&er will make the mlf step 0 2 2
sli e!
A
Measure 6 re~uires both the half
step and who e step upward half step
from E.
0
1"'1 4 4 o 4
B

3 2

The cellos and basses will use

different fingers for F# and F.

4 2
A

Drill Suggestion. play this line

tbrecwys·
1) A part unison;

2} B part, ensemble;

3) A & B divisi (switch parts on

replay

29
 More Chromatics in GMajor

HALf-STEP FROM C TO C# 17 Unison

half step'
(S.B.pg.6)
4 o
CHROMATIC IN BOTH ~
2 I
OCTAVES OF G MATOR " .II

EXTENDED POSITION FOR

CELLO
A
tJ I
c ci
.
1"1 3
As in line 16, the violins and 1', /I 3 3 4 0 0 3
violas wlll slide from C to C#

-t~""" """~."* • • ~'" "* .

using the second fin~er in line A B

and !he third finger m line B.
Remind the students that they
musl reach with their third
tJ
7­
--!16' ~ .. u -9
TJ ;!_:J
~ 17- ~ :r::r: ~ -II- ~k ~ -II- ~
fingers in order 10 play the C# in
measure 5 in tune! 11 ,;. -II- -II- :(t -11--11­
A ..
.~

r"I
3 3 4 0 0 3 3
Ii
"

1"\

~~
2 3 4 2 1
Cellos, in line B will employ
extended position which places a
whole step between the first and A ·

r-- ~ 1*' '#'~.;. '#' -II- -II- ~'#' '#' fL ~'#'.- '#'.,.. -
second fuigers. Remind the I

pUfils to release the first finger

(A a I the same time as the 3 4 x4 3 4 3 1

second finger strikes (B), 1 x2 r"I x2

pivoting llie hand On the second B
ringer into extended first
position.
·
'-../
0

extended position I position

1"\

Basses will use I, II and IIJ A ·

o
r--
1 4
n
1
1*' 1*'
.~; 1*' *4 ,~1*'
-II- 1*'.p. .;~ 1
~1*'.-
4 1
1*'''''
4
0
4 0
­
positions in the A line and I
I
~
position only in the B line. IU II

201 2 4 0 4 2 1
r"I
Drill Suggestion· play this tine
three ways:

IIA part, unison

2 B part unison
3 A &. B parts .!lli::W
B

-- I!l
-=

" .II --. ,...-.. I

f'~1\ i""'.

..
<
tJ U' !# #i3
If ~r Ir
it.. -;

'1
'!!f
I ·
I J I
I I

• "half step" &. note names repeated in students' books

30
 Thuringian Folk Song

18 Unison, with chromatic in melody (5, B. pg. 6)

4 o

4
o 4

)(4

4 2

o 4

2 2

31
 Arpeggios in Two Octaves
(S. B. pg. 6)
19 In Canonic Style II]
'" ~
4 1"'1 0 0
I I I I
­ ~-.-

tJ p·T~ .. 71
T •
"
4 I
1"'1 0 0 ~ .- f:. 1*" 1*" f: .- f: -(;-'

I 1"'1 I
1"'1
.- .. f'- .- ,n- ,n­
· 1

I 1"'1 1 , ~ .- • f'-. ,n- ,n­

,. ~
£p ~ 0 ~

I
IT ., .,
t)
1f -.' '" -.'7J- 7J- 171 71 I' I'
~I .~ ~ ~
·
:::;;' I I

0
, 1\ II 1"-. .. .fLfL.

tJ ,
1"'1
'" 1"'1 _
.... ..... .. .. •
"
1"'1 4 'L 0 ..­

·
1"'1
-
1"'1 V 1"'1
- - l.J
.....
, 1-1 10.1 ,

·
1"'1 1"'1 V 1"'1
- .....
I 1-1 .... I

II] DI1
'" ~ ~ ---... .---... iii;;;: I

I \-
t) I v ~+ -., •
\
·
\ ~ . LJ(r\
i
:;j:"'"iJ
.....
I 1Iiii/'

32
 Chromatic Ensemble

20 (S, s, pg 7)
APPLICATION or
OiROMATICS IN TWO
OCTAVES
CUE NOTES !FOR VIOLINS;
FOURTH FINGER HALF-STEP Ii
SLIDE FOR CELLOS

Explain "cue notes" for the violins 1 • I 1 1

in measures 1 & 2, They will play
them in the absence or in support 4 o 4 3 2
432 1
of the violas,

Cellos will slide the fourth finger

up a half Slep between measures 1 I I I I - I ......- I I
& 2, from C loC#, Remember 10 4 4 2 1
keep the finger on the string for 1""1 0 4 2 1 0
during theThe
this shift, firsthand D in measure
openwillre-se! l!1~~.~~~~~~~~~EI~~~i§~~E~~§iij~~~~~~~E
:emind the cellos 10 "reach out" to I I I I GJ - I - I I

~~~~~~~~S~i~e:!e~e~
order to reach theci in tune,
Basses will down-shift to I position
on the open D in measure r4,
I;ff

n• "
• ~
- IT ......
I I I I I JJ .I J I I I I I

_...

~~~I~I~~~I~~~.~~

I!! ~ ~ :9: ;ijr::; ~ ~:~;i r:~f::: ~Ir:~ ~~::::: :

--. c-­ -....
1 2 3
• .;~; fL
4
E
0

Make Sure that the basses

make a quick, dean up-shift in I I I 1 1 1
o •4~ .p­
10
measure 13, and then
down-shift on the open D in
measure 14,
1"1 7 I I 4 I I i I

" jllil ~ WJ
:

~I@
I~
8 U
8
{' ". frfr 'U 8-

33
 Chorale in G Major
21 In Broad Style (5. B. pg. 7)

A Jj .... ;.. ,...-- .

.. . ~ I I rI 1
4

tJ

H ..... ~ 0
---~
I

.:--.. ,.- """,0

"""I

~-

1 I 1
COlU1ter·themel
_I
- I

·
......
"""" I I I _I

"""" ""'"
A Jj ~ I
tJ 1 I L
(Piano-rehealSal only)
, I
U I I 1 U T rr1rr'
'-'" rUru r U'r r~
A Jj

-u -u
r
I",
v
" " I~ ~ I~ ~ 119- -:J:17 '"
71-
'r
I 1

71­

o
A Jj 1 I

tJ 'I
0 -.
I"
I
.
.... ...
.....,
· I I
1 I
""'"
- ....., ...., -
-
I I I I
·
-----
fl JlliJ 1 I I I WJ 1 1 ~

tJ
T1 r tj! r' f LJD ,~ 1 ri J:: r
1:,' ~

I
14 lqg
I
17

I
14

I
171- -# '"
I 19'

:
9'

I I
Iftfr
~

1
34
 Preparatory Ensemble Studies

for

"Abide With Mel!

The following two lines (Nos. 22 & 23) review a range of technical problems which will be encountered in the Concert Version of
Abide With Me (line 24) which can be played in as many as eight parts, plus piano. They constitute a summary of the new skills
and understandings which have been introduced in Chapter Two.

This is a good time for teachers to review these skills, not only in lines 22 & 23, but by going back into the chapter for additoinal
emphasis. Of special importance are the chromatic slides and extentions, the use of extended position for 'cello and the fourth
finger for violin and viola.

22 Downward Extention of G major (5. B. pg. 7)

counler theme
,., II I I
4
v I I

t.I
extending G scale down
0 3 2 1 0 4

..
Ii I 1

G 'TT' F# Ii .. .......... "'If) -e- V- .... . . "

D c
0 x4 x2 1 o 1 x2 x4 0 1
·
I I .. ..............
(note names shown in all three lower voice parts)
-:J.""" .. -U -:J.J ~ 7tf

2 1 0 I I I

- ..
·
I I I \!t'- I I
*J
,., II n ~ n I
counter theme
...
I I ~ r----, ~

'" I ~ r r !I U
...... ., ... .. u

""'----i I
· v -e- -u ~ -u ~T""

35
23 Descant and Counterpoint [] (S. B. pg. 7)
4 r"'\ 4
,., II I I -.l

f.) I I

4 3 0 4 4 4

--LL

. .. ---1
71 .. ..
--- '---' -.....:!" .." --- ~ ­ -#

x4 x2 x4 1 x4 1
0 1 x2

.. .. -# - ---7t "+T-#- 7t ........: ...J ~7I~

.. --- .." .
r"'\ ---. r"'\

.. .. -# - --- ­ -#J I I ---.;: .. I ..

lI1

!~~ -= I ~ L - :::::,.

I I

~ --..... ~I ~ ~ ~ ~

I . I

~f'-
2 2
II. •
WJv I
~Jf. • 1*" .---- • .1*" JL -L 1*" 0 r"'\ • f'- 1*" • • ---- n•

tJ G
G
r"'\ r"'\
J.L I I I I I I ~

1"'1 1"'1

I I I

. r"'\ r"'\

I I I

.1tJf.
[2]
r"'\
-~
WJ
~ ~ .. ~ n.

tJ
I'" ~

0 • 1*" .p.- .p.­ ~ ~ ~ In

36
 Abide With Me
Concert Version

Play this piece at least twice.

First time all play the"A" parts with piano accompaniment. This is the unison version.

Second time, violins "divisi," all others play the "B" part, no piano. This is the ensemble version.

Another option is to have each section solo on the "A" part in turn with the others playing the "B" part.

24 Unison ("A" parts) and Ensemble (I'U" parts) !Student Iiook pg. 8)
4 4
~ I> I I I r _.- I
A
tJ
Violins violins "divis;" second time 4
4
,., II r"I
B
tJ

1"'1 4 0 4
lL 0

A
I I I I

Violas
It
4 0 ~

(cello) x2 x4
1"'1
'"
A
Cellos&<
Basses
-­ I I I I I I

1"1
.
B

,.-..,.
~ II I I I I I I I I I , ,i I •
tJ
f r ti
rr r I UI I i
II)
r rr r r I I r r ""...1

rill I~ ~I
~
1\ II I I I
.

I r 11
tJ
I I I II !I
{L ~l 10 I ~ J .p..' JJ ? 0 I'f:~
..

I I I
more...,............ ..

37
24 (cont'd)
fl II
1""1
r I I I o v 1 1 I

tJ

" II
1"1 ,
"
-'

- =
v'
tJ
1""1 0 V
"
I ..J

11
1"'1
4 0 4
1"'1
0 4 =
~
. 1""1 V

I I

v
- = =:

" II
I I I 1 I ,

tJ
ir r r r r i r I ~ I I r r rr r r I r r r r r rtf
" II
1 I I I I I I ~ r----I I

{~. JJ1J 10
J 1- ~
-
~

~ 1~: 1-tlP- J '.~.:::IJJ1~

~.

I
I t ~ I I I
r

38
 Old English Dance
Unison and Ensemble

25 Review of C Major (see Chap 1, # 1)

play in upper part of bow (5. B. pg. 8
o [I] o
'" '"
tJ

r1.ii
'"' ~ . ..../

/'""
~ .... 0
...
...'"
0
~ ...

I I I I

- . I . I I - ­ ....

- - - I - I I . .
1 1 1 I I J j lj
"
e.>

f ~ f f f f .~ I
[I]
rI
fI

.......
! r r rr
e.> 4 p 14 ~T 14 .... ':d
~ I"'~

.... 1"

~ I ! I l I
·
I U I.J
I I I I I I I I I I
r I I I I I I I t'

" 0 ,.
,. ,. ,. ,. ,. ,. ,-- ,. ,.

tJ I"'!
.f'- ~ ,. ,. ~ .f'- .f'- ~t .f'- t .f'- ~ .f'- ~ ,. ,. .f'-.f'- ~t .f'- t.f'­

·
~ . ~ ,. I

·
~ ,.
I I

~ . I

I I

",[2J rJlJ J r:JJi, J r:JJlJ 11 j 1 I J I I I J J

tJ
I I I I I I r I r ~ rrr r r I I rr.JI~rJ rr:J j ,­ r
r:JJiJ J r:JJi, r:JJlJ r:J j 1 'I J I 1 I 1
"
e.> I I I I -
• I ~
· • I I

r rr I U L.J
I I I I I I I I I
r I I I 1 I I I

39
 Modulation Ensemble
c to G to D major

26 eM'
aJor ITI (S. B. pg. 8)

r"'I o

.
.;1\

!!.i .g.
.. ~ -:; -:;I '-:;1 -; .. r"'I
.. -~

..
I

I I I -; .. .. -; ~ 'IT

·
-:tJ 111"*-;

I I I lp j J I I I J JlJ J

!~. 4!iI- ,-........:

I
I

:d

[i] Gmajor o
1\ r"'I o I I I I I I

!!.i violin counter melody

4
0 4

......
I I I

.g. ., IT ........­ I

I I
· '"

7J 111" 111" 111" ... tt- - '---/

·
.
I I I I I I

tt.. .. '---/

[ill

fGJJ ?1
...
-:;I !7f ::: .g. -;
7f.J -;;:

I I

-; -; 7f .. !I" '---/

more ........ ,.. "".... ..

40

26 (cont'd) Rit....................

D major 4 0
"
t)
"'--. :J. -:;j -:;j -;t ;1.... "* .... • "If"" foI

~ • 0
_.......

0
·_.w

I I

. ,., ,,---.
'-J!:" .... -;t I i I

. ~ I ,,-.
~. I··

1\ ~
rm I

Kit. ....•...........

!~. -y:
­
I~: ~ Ilf* IIi$ :f i~ T I'~
I

I I

41

 Chapter 3 - D Major
Instructional Guide

Positions:

The violins and violas will remain in 1st position until Chapter 9. The Cellos will use
both HALF POSITION and EXTENDED FIRST POSITION. The basses will play in positions I,
II and III.

Objectives:

1. To learn the dotted-quarter eighth rhythm in several meters.

2. To play the full range of D major in two octaves by both downward and
upward extensions of the key.
3. To take additional steps in ensemble by playing in contrapuntal style.
4. To require use of the fourth finger for violins and violas
5. To add to the skins required for the playing of chromatics.
6. To add several repertoire pieces for concert use.
7. To begin to observe expression dynamic marks.

Teaching suggestions and performance hints are set forth in the score.

General Teaching Hints:

CLAPPING AND COUNTING. The development of the dotted rhythms will be facilitated by
first counting alound while clapping the music. The plus (+ ) sign in the music should be read as
"and." Ex: "one, two and three, four."

PIZZICATO. Continue to pluck (pizz) the notes before using the bow.

BOW CONTROL. Dotted rhythms, half and whole notes will require added attention to
drawing a steady, smooth bow.

FINGERINGS. The violins and violas must the fourth finger in order to reach the top of first
position as shown in the exercises. Violas and cellos will use the lowered first finger to play
the low C# in this key. The violins will use this technique for A# on the A string.

SHIFTING. The use of extended position for cello (O-1-x2-x4) is necessary to enable the players
to perform in the lower octave of this key. The basses will shift through I, II and III positions
as the music demands.

l.j( A.
 Chapter 3 - D Major

The dotted quarter-eighth

THE COMP! En: fIRST 1 D Major Scale" First Octave (without signature)
OCTAVE 01' P MAIOR aitudenlll.ook pg, 9)
D E F4 GAB c! D o
THE EIGHTH REST 01230 23 2 3 2 0

The violins and violas should use

both the open Slrings and fourth
finger as shown, Play this line 4 4
eighth
one way on the first reading and test 1 2 3 4 1 2 3 rest
the other way on the repeat
"Test" noles are matching pitches
for the violas and cellos, fig! rrJJJI#J J pi J J n'IFF
Cellos will use the exlended xl x4 x4 xl o
tesl 1 xl x4 a a x4 xl
position, introduced in Chapler 2,

in this exercise,

The hasses should play their "A"

line the first time t1irough and the 2

"B" line on the repeat. Note the 0 0 4

o 4 1 o
t;;ni;'es!f,~~een measures ~&fl~~~~~~$~~~I~~~~~~~~
Try a..thi.c!1 reading with the basse III
divisi,wilh the ''B'' line played
P'ZZ, 0 10 2 0 4 o 4 o 2 1 0 1 0
the value of the eighth B

bass noles ~ the first octave

The Mysterious Dot!

Rote to Note
THE POUED OUARTER
NOTE-EIGHTH IN 414 TIME 2 From tie to dot (S,B,pg,9)
11 v v v v
incredible
The dot is really the
shrinking note! tJ ..............
count: 1 2 + 3 4
.. ........
~

1 2 + 3 4 1 2 + 3
• ...J" ....
1 2 34 1 2 + 3 4 .. ..
Show the students that the dol is
V V V V It

really a shrunken "Ighth nole first

connected to the quarter note by the
elastic tie, and then moved next 10
the quarter,
Have the students counl aloud, "one
. V V V V

two-and three four", TIw.n, have

them clap and count. Then play the I r r I I I r r I I I r I I I - I
passage by rote, pizzicato,
. V V V V

I r r I I I r r I 1 1 r I I I -I

<2 1.,..,.fj; ~.,." . J 1:

-

~~' "*T-:;}. *T:j} !~

e
e
u
! .... ~
,.....1

I ...... I I t...I I I t...J

42
I
r - I t...J I
 Drilling The Dot!
3 D Major with Signature (5. B. pg. 9)
0
v
play twice

'-/ . V
4

V V 4 4 o

4 Melody Rhythm Drill

1""1 V V

rr -

r
J
43

 Basic Arpeggios in D Major

Ties and Slurs with Dotted Quarter-Eighth Notes

5 (S, fl. pg. 9)

o o 3
II JI
2
I
3
"'r:­
v I I
3
I I
_M.

tJ v
count: '1 2 + 3 4
.... v ......
1 0
2 0
1 3 4 V 4
-nrri.
.g

1 x4
0
0
- V
...... .g
b
0
......
-U I I ..... .~ •• -;-; -It I I r 7f7f
0 0 2 1 0
0 1 V

I .. .. I
....
I J....O .......... I I I I I r I I

1'<. JI
1II
t)
I
-...-. N

fI JI I I I I I

!
r
t) v I I

11ff
. I I I J J 1 r1 J J 1 •.. f"{
n 1-fI-' :tt F--;-:t -fI--:--::- -..........

r I IU I I I

3 o 2
[ll] 4 o

2 o 3 4 o

o ,,4

o 4

44
 Joy To The World

Dotted Quarter in Two Quarter Time

6 Unison (5. B.pg. 9)

new tie! ylD

count: 1 - 2 1 2 (-I)

rr

45

7 The Mysterious Dot starts the fourth quarter! (5. B. pg. 9)

count: 1 2 3 4 + count & ekap ­

TEACHING SUGGESTIONS:

1. When clapping this and other dotted-rhythm exercises have the pupils use a clasped hands gesture at the dot.

2. At this point, it is usually a good idea to ask the pupils to sing simple lines in a moveable "do" solfege. (Mi, re, do, do, re I mi, re,..etc.)

3. Don't forget to try new lines pizzicato before using the bow!

46
8 Broken Thirds (S. B. pg. 9)
4
1\ 1I I I

-V­ ., ..
1 2 3 4+
4 0 4

~ . ..
•• I r I

.
-;-; .,~.,., ..... .,-,. I r 1

. I
,

I I ... .. . I r I

1\ 1I
II] I,
:
~ '-J
~ 'V .... ~ 'V

" 1I
J. J "': • n & 0 rl9 f:

{~
II I

~. ? -fL' .. • .fl.. 1....·11...... -fL' ~b) • f:.' II. ~

" 1I
,., I I I
4

~
1"'1
r
4
. .. 4
'-,..;;; ..
4
"
1 ,. . ....... .. . .~
~ ...

,.,
I
,.,
r v .... .. .. -;71 .... .... --.~. 7tf
I ,

I r
" .... 1 I "--' I

" 1I II)
Ill]

~ .... ....
u & &
"".

" 1I
,r1] Cil ) hJ1 & .... IJ j J. hJ

~~ & :""
If r ~
I.., ~n
~
~ r~ .fl..

47

 D Major in Two Octaves

(Incomplete Second Octave for Violins)

TEACHING SUGGESnONS:

1. The CONCEPT of extending the scale upwards and downwards through the full range of first position for violin, viola and 'cello (and I

and III positions for Bass) is explored in lines 9,10 and 11. This is a good time to reinforce the idea that the lowest (or highest) pitch in any

scale is not necessarily do.

2. The use of the FOURTH FINGER for violins and violas has been prepared throughout Chapters I and II. In line 9 the fourth finger MUST

be employed to reach the high B and E, respectively.

3. Cellos will use both regular and extended positions in line 9.

4. Note names and fjnIWrinis are shown in the Students' Books.

Upward Extension of D Major

9 Unison and Ensemble

Incomplete second ocmve ............. ..

(S. B. pg, 10)

D major· first E F' G A B

~ 1 2 3 4

o
~~ ~~~~~~~
4

4
4 o 4

o
simile simile
1 x2 x4 0 3 4

III

r
countermelody

48
 Mozart Melody Variation

II>
10 Unison (5. B. pg. 4&)
0 4 o
",-~II
• :f*" ~ ~ • • • ~
•
tJ
4
• • . 0 ,,--:;
4

. ..r-:.
I I I

. ."...--­

I I

.J j J ~ I J 1 I -------.
!".
" II
,n. I ~

I I~imile II II I II
~: ~: I~: l:ff: I-B-: l!: If- .,...ft

" II
----. fr ~
o
~ 0 . 4
•
tJ
It ~
4
0 . ~ 0

--- I
I I I

~ ~
h:- •

I I

" II II]

{". j.h. I I
fT' I I I
I~ :: l:d it l:d ;: Ii:

. or ... or ... I 7f.

49
 Downward Extension of D Major

C# ON THE G STRING FOR 11 (S. B. pg. 10)

VIOLINS B A
I 4 3 2 1
IDWERED FIRST FINGER FOR " JI
VIOl AS AND CELl.OS
The C# in ~ provides the
f)
.. \*J<I". ...,. ~ ...,. ...
challange in this line.
II
4 I 0 D cI
Violins. The Din mea%ure 4
must be played with the fourth v ...
-r(~~
... .. ...
finger. The pupils should be
encouraged to 'luck" the third
finger..l.lllW:l: the fourth so as to
acnieve the C#..in..twJ.e. A useful
4
D c j
1
"
image i. to suggest that the third
finger "kicks" the fourth finger off ~ - ... ... ...,.
the Siring! I
4
of!r
l(#>f 'if ~
The violas and cellos will perform
the C# by shifting the first finger .
0
1 0 2 1 0

backwards from D a half step, Do

not lift the finger off the string
during tItis move. The finger will Lower

.. of!r I I I
slide back up 10 D on count three. Extension............ ..... " ............................................

1 J J I J i
~ ,
I~
I I I
i
" JI
~ ~ t HJ ! ~ --
~.

These enriched Itarmonies depart

nr
:
·~1;
.... .,
~

b~.J ~J
somewItal from tIte (unVeIl tional

J 1
and demand added concentration
from the players!
fJ-'

I I

4 o o
" JI

.. ... ...,. .. ... ...,. ~. ·

_u
~ ~ ~ ~
f)
::J
4 0 0

# - 0 - 4 - ... .,. ...

,.......

I I
·
.
r--.

I
·
.
J J I J J J j ~ 1 J j 1-

-.-..... ~ . ~
~ - ·

~~

I ..: I.~

0
----- r-=; I I

I I ~ ...,.
~
-:;J- ~ '-..:!!" -"t. ·

50
 In The Gloaming

Concert Version in D Major

(s. B, pg.10)
Unison and Ensemble

12
Slowly
Harrison
1\ Jj ~ l

t)

J. »J I J. ))1 I
... ­ I , J. III »
J. J I J. llJ I I
...

I
-
I
-ti­
!7

I t\ I
"
,
~Irirrr
l
2nd time
irlf r r
. J. J I I. ~I I I ~ I I J. hi J. j) J I J. hI I I I I ~
2nd l1me
TV1i l Plr~~rr f r
J. j)J I I. hI I I I I J. hi J. iJ I J. hI I I I I I ",. I

2nd time I VI r I PI r r
,
,.. II !il jJJI I I !. h I
t)

1\ Jj
~

I-
rr r r -,J r(~r rr r'
1""1 I 1: ... J }..
I

I I
I
I I
t-"I
J. ~I
I t) -' .,.,
LUff T ~ .,
r PI I I r T 1
. . JJn I

~.
~

~ I I 'I..J
'--'"
I I I

~ ~!f;it 7t
'-.!!­
I TI

All instruments play twice. Violas, cellos and basses first time unison melody.
Second time, play "cue" notes.

51
 o Major Arpeggio
Ensemble
13
Violin A o
[[J (5. B. pg. 10)
4 4 0

(viola cue)

o 4 o

o
4
va

Bass, 0 14 0
lll/z III I

rounlennelody

-
4
o 1""1
o

o o 1""1 1""1 o 1""1

4 1""1
4 111

cellp; 1 1 1

TEACHING SUGGESTION,
1. Splil the violins between the A and B paris. Inlerchan11:e on replay.

52
 New Chromatics in D Major

E TO Be CHEOMATIC B A
A A' 4 (S. B. pg. 11)

A TO All CHEOMATIC o 1
1 o
FIRST FINGER HALF-STEP SLIDE
FORVIO!!NS
,J J#J J ,;; qJ ,JftJ; JIqJ~J ; F1ft E1
nus is a good time to introduce the

idea of EN'HAlThlONICS. The pitch I first finger slide' 4

Ell on tire piano is the same as F. 1

Show the students the piano Viola A l l 2 0.,1 0" "... ~..,..

for them. and identify

keyboard this half-step ~1~1~"~~Oij~g~~§~I~~"~~.~l!!;"~~"~~'fI"·''fI"~~~l;n~~''~l!t;..~~'fI"~'fI"I~"'~l!t~'''~'fI"~-r--~~t-~t-~~f-~~!I o
The violins and violas (A part) will
have to reach back with ilieir firs!
fingers to find the All in measure 3.
Then, they will slide this finger up a
half step to B.
The cellos (A part) will back-shift to
1/2 position in measure 3 for the All
and B, but will slide the first finger
between these 1:\"0 notes in measure
6!
The basses will shift to half position
in measure 2 in order to play the E#
in measure 2 and the A# in measure
3.
The violas, cellos and basses should Cello.B 4
alternate between the A and B lines 1 x2 3

on successive replays of this line. "I~~'~~~~~~~iji~~~~~~~~~~~~~~~~t1~~~

!
NOTE NAMES ARE IMPORTANT! , " "
-,J-lt - ~ .. v second finger S~de! I
Play this line three times:
Violins play their line three times, 1 2 4 2 4
~ ~
Bass A
o 2 4 J!.2! • .J!.,.... .J!., • 'fI" .,...-:;,.. -P-
~~~~jl~~~~~~~~~~~~~~~~~~~~~~~~ll~l~~~~~~
Violas, cellos and basses play the A
line, the B line and then, dimsi.

BassB
1 0 2 o 2 o 1 1 4 0

~~.~~~o~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~.~
I I ... ~ ... v " " I I
1/2

. .
1\ J!. I I I II n
countermotiv I If - - I

53
D Major Scale With Chromatics

54

 "Chromatic Waltz"
Introducing a New Chromatic
16 Unison
(S. B, pg. 11)
(Play three times, as in nos. 14 & 15)
" " Jj
I

.. ..
,
f)

V.i'i'laA
l!'

.. ~. .. rhin,
'II'

.. f!:. f'!:'

Ic::::' r r ,
r I
1
I
2
I
r If
r I 4

~ ..~ li\l~ f If'

.~
~:,~! iff' IF
Bass B
rr ~1'- r'
I~
I
,II

1 12
(~\

10
,
If
rr
r' ~~
I~ F

r
:. 1

, 1
.(2.'

r
I

" Jj

.,
'tJ
t ~ #f t
f'"
I
!"
r r tTrl~~ :J.:
GJl"T1i _ .....
f: .,

-
1

" Jj
hL
I if ~
~ ilnt' 'J:' 'J: ~ 1T

" i • I- t ~

......
r I

New Chromatic!
B HI
1 J 4
" Jj
I i i I I
··,4----1
t.i

"
.(2.' .. If.. .. ", . ..
1 i :.1 .(2.' .".. f: .".. (bh-­ f!:. ..

~.
I

.".'
I
Jj
I
. I I I
! a:'
k
"fiI-' 1 ..
I
(\j I

.
12
"fiI-'
I
Jj .
1 I I 12
!
J3
1I~ !,
14
J .I
~~
,~ I
1
..
14 I I I I II 2 (4 I I I I I

" .!l I I I J;j I .h~

1:* .,
~r
t.i ~.,

r
1
t I I

J>J r-r-r-,

~I .])1
" Jj
,..,1 ~ I hi J.:
f)

. ­ ----
"'""'-.I.J1oo..l ~-
.~

- I..J u,.:.J...J L.J

55
 "Chromatic Waltz" (cont'd)

f'l II I I I

tJ

"lI1
--. "'--/

~
'IIJ
4
---I

~~
.". .. :ft P n
"
------
I 1 1 1 I I I I fl
r r r I
. .("?1 JI~ .p. JI
" " ---
I
.("?2
I
JI~l
j I 14
.(i 11
II
I I I
r 'r---, r I
"
t:)

~,~ I I '1° I 1
I I I r V r rr I
f'l II 1""""'1 I

r .
tJ
r r'
[ll]
r r r' r' b·
f'l II I I
:
~ I I I ~ I I "'­

.'
!
,t) 1­ 1l....1...l...I ....

• ft' t: ~.
- .- t-., " .fL

o
I
" II

tJ '"1/ TI ----/

0
+I. ~

ol
• .".

I
\~}
I I
.II
I

•
I r fl
,~ r r

r ~qr
r I " I r r 'r~ r t

. II •
r ~~r r I I I r r !f~
r t
f'l II

t)

r
-<Ii +
r #f r v nil :: ;to.. $:

-
I
I I
1\ II

If' .
1 I
!
-
#r I- I
.
'TIl 1

u, .. ..

-
I ...... - V I ---...::: - -.- -;

56
 Preparation for "Largo"

Chromatic Ensemble and Rhythmic Variation

17 Violins di1)isi. Interchange A and B parts on replay.

II]
Violin A 0 4 o

4
iJ

2 3

Ilil
1
4 o

o o

o o
o 4 o

57
 Play Twice: "Largo" (Concert version in D Major)
1- Part A, unison melody with piano
2- Violins, A & B, divisi, with part A tacet 13 to 17 from the New World Symphony
18 Violas" Cellos, basses, part B only (ensemble) [I] (S.B.pg 12)
Dvorak

pp violin A tacet second time to 17

1"'1 4

frr
= rrr
58
 "Largo" (cont'd) WJ 4 4
[ill
4
1\ J.i 1 I 1 I"l _......_.- ------ ...._..

f)

1\ Jl
-- I -- p-
~
0
~-u '........-/
-- TT

cresc
0
,
~ ~
v
~..J
. . ~ :-J ::J :i "* T "* :;J ~

n fI---;' ~n
4
.---..., ~~ ~ "
m"
-6-'

.. ~ 4 crese
" I
,
4 .--. 0

v
.. ~

~
JJ J
1 2 3
I J. 7j)J I .... 1 i I\J. 1\ I I I hJ
-, 1 ;, 4cresc
. , jJ'1

11 I L.../ I I I I 1

Jl

rrrr ~

OIl
- r' f r r'r r ff f rfr [ill
f' ~
II J.i

.~ . ., -e
~resc ~
I-

fTrr: I'- TT

{ v. if: 3p 1/ I "111'-

>
4
~
1m
I"l
~

o
r r
f dim

>­

> I"l 1":'\

f P
= I"l solo
dim

>- "-'
1Tff-==:::. ~:::;:::..

~ 1':'\
 Chapter 5- A Major

Instructional Guide

Positions:

The violins and violas will remain in 1st position until Chapter 9. The Cellos will use
both HALF POSITION and EXTENDED FIRST POSITION. The basses will play in positions
1/2, I, II, II 1/2 and III.

Objectives:

1. To modulate from C major to A major

2. To learn how to play in the full range of A major
3. To playa detached stroke
4. To play the dotted-quarter eighth in three-quarter time
5. To perform an extended adaptation of the theme of a Mozart Piano Sonata

Teaching suggestions and performance hints are set forth in the score.

General Teaching Hints:

FINGERING. In this chapter the pupils will be required to play the pitches G# and C# by
using a lowered first finger. The basses will employ 1/2 position for these notes. In addition,
the violins and violas will be required to used an extended third finger as well as the fourth
finger to reach familiar pitches in a new key context.

BOWING. The detached slurs in line 3 should be done with a smooth up-bow,

PIZZICATO. Continue to pluck (pizz) the notes where indicated before using the bow.

SHIFTING. The use of extended position for cello will occur with increasing frequency in this

and later chapters. The basses will shift through 1/2 I, II, II 1/2 and III positions as the music
demands.

66a
 CHAPTER 5 - A Major

1 C major modulating to A major

A

(cello-bass cue) (J 0 0 1 V 1"'1 1"'1

r~rr BJjI ~JJi~J J 1~*J! i .111

mYEl OPING A MAlOR ­
HRSIOCTAYE

Violins, violas and cellos must

1E E J J 1 JjJIJoQ
.alidl: the first finger back for G#
and then forward for A(meas, 5 & (cello-bass cue) 0 0 0 VII V 1"'1 1"'1 1 1
6 and 6),

-rr I r r F j I JjjJ:q-±fi JI JJ~J JI~j j J I J*J*I lJJ#JJll

rr v 1"'1 V 1"'1

1"'1 V 1"'1

A Major Scale

2 (without signature)

IHIl CQMfL,EIE EIBSI QCIAYE A B d D E ! d A

3
S, B, pg, 15
OF A MAJOR 2 3 4 2 3 4 2 4 3 2
Violins and violas should be
encouraged 10 tL<" both fourth finger
and open strings in this line on
replays, 0 0

The cellos will employ extended

poSition for this scale, Note that the
designations x2, x4 are replaced with
the numerals only.
x4 x2 x4 0 4 2 4 2
Utis is done with the expectation that x2
the pupils will recognize themselves
when to use extended and normal
fingerings!
Basses 0 4 2 4 0
0 4 4 0

1/2

67
 The Detached Stroke

3 A Major with Signature, pg,

o o
VV 0

~~~~~~~
THE SIGNATURE OF A MAWR

VV o o
o

lLlL ,I\..
The new bowing 'DOWN, UP,
UP," requires that the bow be kept
on the string throughout.
Thehalf-note down bow is a
forearm stroke, The two up bow 4 o 4
notes are really one single up bow
">ith a brief rhythmic pause
between the two quarter notes,
1/2 1/2

4 Basic Arpeggios in A Major

REACWNI:i IHE MAWR IWRI2S 4 4 3 (5. B. pg, 15)
A mel ANI.lEmQi 0 2 2 o1 4

The violins. violas and cellos are

chaUanl,ed in this line to perform the
A to C and E to G# interVals IN ::;,..r
l'UNEl This re:ftires a new sensation
or feel in the Ie hand. 4 4 2 oI 3 4
3 1 0 2
The violins and violas must REACH
OUT with their third fingers to
achieve the C# and G# in tune. The ........
first finger must release from the
string at the moment as the
»4 1 0 0»2 x2 o1 x4 ~
third finger the C# or G# .
The cellos must REACH OUT with
their fourth fingers so that they
expand the hand by a half step in
order to play the C# and G# in tune,
0 4 1
0
4 !l.
The first finger must release from the
str~ at the same moment as the
fou fingers strikes the C#orG#. ........ 1/2
I
For some players. those with small
hands. a tiny, upward portameF1to slide
ofthe first fi':f:,r is approihriate, This
will insure t the four finger can
be placed with confidence,

---

68
 NEW "SENSA1JONS" IN THE 5 Broken Thirds
(Student book, pg. 15)
LEFIHANP 4
o 4 1 1
This deceptively simple tests
the independance of the of
the left nand for violins, and
cellos.r
n,e major third A to C# fe<;\uires
4
these pupils to "take a .giant: step
with the appropnate finger m
order to play tliis interval in tune.
Violins and violas must use their
fourth fingers as shown. This is
another example of how the left
hand mus tbe FUlXIBLEe so that
the minor third between F# and A
can be played in tune.

The cellos must expand their reach

for the A to C# interval.
4

6 A Major Scale - Second Octave ~~f;udent book, pg.

ABC' D E d A
1 2 3 o 2 3 2 u 3 2
o
COMPLETE SECOND OCTAVE
FORYIOUNS
INCOMPLETE SECOND OCTAVE 4
FOR YIOLA, CELLO &; BASS
(Note names for the second octave are
shown in all parts)

Although there are no "new" notes in

this line, pupils should pluck the
notes firs! because of the new key
context. o

69

 7 Broken Chord Ensemble

" 1'. Ii it
2 ()
3

,.,. 3 .,. 1

V looooooI

u Ii • .fL~ f::.fL • ". :f!: :f!: :f!: • • .,..,. .,. "'~

"
.,. .It­ n

" .
1
.,.
4
.fL
1

I III /2 III

" Ii II ­
iif" I I i
I

" Ii II
- ~

~ v. 11

-~

::d
jU-" -I
I

'" " Ii
2

II
.... .fl-
4

.. ,,~,
- - - ,.;.

V I

4
~

illi Ut f-:-.,. ~ ~f-" ~. .fl-.fl- •

. ,j
1
... .fl-
4

~ • .fl­ ~.,. .,..,.

.. ---II

"
!"I
1•
4
.fL V

... fL
!"I
1
.. ..
~"

1Il/2 1II -
" Ii !! I

,­
v

-1*'
(
i

. " ­ I ~ I

I
...
70

 Theme from liThe Bartered Bride"

adapted from the opera by Smetana
(Student book, pg, 15)
8 Ensemble
,......, o [1 4 DID
"" ~ II i I I ~ ~
- -:ji:
• ",_.­
t) "'--I ..... ...
tl II ... ~.fL- ~.fL~ ~~ J:.fL r: f ~~r: jL;,. '"
...­

. " '" .. ­ ~,fL~ #-:. ,., # • ~ .. - ;. ~.---

,.,
",--'---J

. Il .. .. 2
­ ~.fL~ ~~ 1 . ~ .
4
-f'- ~.. ~ ",-'"
2 1 ,.,2 1

II I 1/2

~ II II I ~i"""'ooo ,......,
- I I h r-, r11 r1 J j J j)

t)

fI II II:
."
- r r r
... ... .. ...
Plr lrr
...
r r lb.,.....Ptr au r
... .....,
ID
I

-.t-t­
\,J' '-./ .' simile ~""'iil
"""--...rT "'" 'ill

f ",
11

I I

'" ~ II ;;:--." 4 4 ,....

II ---
-
~

t) ...... I ..... -=

I "II
~ r-.
""'" .....,­
11.
-

~
r
r-. .... '
r
-f'- ,fL' ~1'-~, ""'1'--n!
I I

" .
4
-
1
2 1
r-. .. ~. -f{- -!'-' ~1'-~
I I

-
I 1/2 I

~", J'11 r"1 I I I"""" ~

r-, I I I I ....., _ _i
"
,.
tJ I ~ l...J r r r r- Plr £L

r 7
r p r- vII f

{~
..........

7ft
.....

.
..... ....

71
- ~~I

7
.... -
-.:
~"""'"

-.:

"'iIII1...J "'''''''001
 Downward Extension of A Major

9 Ensemble. (Student btlOk, pg. 16)

o 4
REACIDNG THE LOWEST
PITCH IN A MAJOR

EXTENDED FOURTH FINGER ~ I

FOR VIOLAS A cl FI E D
What is the lowest possible pitch - - ,II 1 3 2 1
in A major for each of the string
instruments?
'W
4 .. .. -41­
Violins are asked to employ fourth
finger for A in measure 5, as
shown. This is good technique 1 1
and is preparatory to playing in
the higher positions and remote
keys.
The violins, violas and'cellos will
employ the lowered first finger to
acliieve the low Git and Cit o 4
required in this key.

The Violas to extend the ... I I

fourth finger measure 3 so that

the scale fragment Gil down to C#

can be playea solely on the C

string. This demands extra ,., 1+ II I Ii""'oo.

flexibility in the left hand.

The cellos will employ extended

position to reach the same pitches.
-1>'

I r
--
r I I I
I I r r

(Note names are induded in cello

and bass parts)
I I

IJ '17-' J. I
!
I I I

,., II II o

.. ... :;t :;t

·
(#~ 7J
t) -,f-41-:;J :;J -,f -41-

" II
1 1 0 .0

. Ii
.. 4
1 1 xl
I
x4
-
0

-41­ .. 2
.......

1
..­
1

------'11
1/2 I ..­
,., II 1I J I I I
.....

·
~
r j I I $ 'J ~:

" 1+ II

~
t) ~
1-8-' I~ ::g I$::
·
. It
:
I
I I
·
72
 Broken Thirds in Two Octaves

Unison and Ensemble

10 Use separate strokes at first. (Student book, pg. 16)

4 o 4 /':.

-' - '
1 4
r.

4 WJ
-~ -~
4
0 4

--.; "-..!
4
~ -~ 4 4

-- "-..!
'-.;;::­

-~

'--.:!

73

 Dotted-Quarter Eighth
in 3/4 time

11 Pluck, then bow. (Student book, pg. 16)

v V r"1
v I i.. i..
PREPARATION FOR "MOZART " Ii it .J..
AT THE PIANO" tU1'o1' 13)

DOITED·QUARTER IN f)
count: 1 2 + 3 'etc. r r I j r I 1 2 + 3 12 + 3 .....
3i4METIJR
r"1 V V r"1 V r"1
As previously, the compound JJ. Ii r--.

rhythm is L'1traduced using the

"incredible shrinking eighth nole."

(Measures 4 & 5). The firsl eighth

of count two shrinks!o a mere do! 1 2 + 3 12 + 3 1

·

­
which then "hugs" count one.

This device is useful in having the . "

r"1 V V r"1 V r"1
pupils understand the concept of

dolted rhythm,.
1 2 + 3 12 + 3
·

Try clapping, counting and

smging before playing (a) pizz, and
then, (b) areo.
"
r"1 V V r"1 V r"1
­
- 1 2 + 3 12 + 3

" 1I II I I I
""" - 1

f)
:;:I tt-... r ur
!! rr r I I I r r I

f.. Ii * theme_ _

~ ",
..

llJ J. lJ
II r
I~
1 ~

It J. .,.. ~ I .. -f'- f I~-f'- ~ Iff:

r I
·

I I I

12 More Rhythm Drill

V V
DOTTED OUARIER-EIGHTH ON " 1I II ~ I I"""f I i.. I
CONSECUTIVE PITCHES
In line 11 the compound rhythm f)
- .... ·
-
occurred on repeated tones. Here.
there is a new pitch on the"and" of V V
count two. II Ii I I P"I

I .... I .... 1 r 1 1

. " r--. V r--. V

,
I -

V
I -...r

V
I ... ~

r--. r--.
~ ,

I I --...­ I ... ~

" 1I a ! I r--, - I I ~ I ~ I ;

'.

f)

" 1I II
V~ F
I
CJI
I
CJ I
I ~ I
~
I I
err ~r Vi T
r1
r
~!
, ".----T-i
II

",
"
~. J JI~ JJ .,.. ~ .. ~ ~ .,..~ . .. -f'- .. Ii~ ~ ~ Al.
·

74
 Mozart at the Piano

Adapted from the Piano Sonata

13 Unison and Ensemble (Shldent book, pg, 16)

D 4
4
"
I:::~="--
JI * I I I I

t)

4 4

~
I I I , I

I r I I

r I I
-
· 11

--
r I I ......

" II lt I hI I , 1 A,
~

rr r I i I ~

l' I r I I I tJl I I I i
I r Vr
It I I
:
~ I I I

!
II ! I' I -II I

I /~ f:. I
I ~ I I I
­
· -­

'- ­
c_ _ '-1"'-­
'":- I

" JI lt ~ I ~ ~
r::=
, ­
~

Ii Jj ..l I ~
-10
I I r I I

-------.
· jJ L

r I I I

-------.
· .J1 I

r I I I

Ji.JlJl I I I I I I

t)

" JIlt
11'"

~I
P r I
I
I
r !'" ~.~ r
l
r r I I I

I
PI
I
I V I r r r
!".
i I I I I

- 1*"

jJ .",-ft-'f£
- If:.H ... .",. 1ft- f:. .p..
" H:::::;;I-t-­
:
J1
- J J j

I -51'­

75
 (Slndent book, pg. 16j
13 (cont'd)
IlD
"" 1\ ~ l!
~. .. ;;:--..... 0 I I

II t! I

0
Jl II • ~ ~.

I I ! I I

;---.-..
"
I r

;---.-.. !"'I
.
-
I r

_t, II H I hi J ]l J I I I ~ I I h ; hi

tJ rrr r I
r I : r r' p r r r r ¥r r n I

WJ r Pi
... ~ l! m:l ~: .. - I I

!-,
~ I I I
:
.:
:
I
II
T
Jl ~ ~ ;;1: ~ . ~- [~\ . .. I?' I

., f, III! I I
o .. ~ I

..~
tJ I I o..,j

11 II I I .- r--.
r I I

u I I

I I I ...

Ii I I I
...

I I I ..

... ~ l! ~ I I I ~ ~ I ! j ..r:l ;;;:;,

t!

i i
., Vr r
I r ~
i r -r r' P r ~pr rru rp r
rr
3
f,1I1! I I I I I I I I I I 1 I I J I I

tJ ! \~).. I.".

:
I~ -r 1
..
It I I
I~
II
i r
..
Ii 10.

- I .......
I +
76
 Chapter 6- A Minor

Instructional Guide

Positions:

The violins and violas will remain in 1st position until Chapter 9. The Cellos will use
both LOWERED and EXTENDED FIRST POSITION. The basses will play in positions 1/2, I,
II, and III.

Objectives:

1. To move easily from A major to A minor

2. To learn how to play contrapuntally, using delayed entrances
3. To review the detached stroke
4. To review the dotted-quarter eighth
5. To perform an extended adaptation of "Hatikvah"

Teaching suggestions and performance hints are set forth in the score.

General Teaching Hints:

FINGERING. In this chapter the violins will be required to play both f# and f natural on the E
string with the first finger. They will also be required to play in the melodic minor on the
same string. This requires that the fingers of the left hand not remain on the string longer than
the correct rhythmic value of each note.

BOWING. The detached slurs in line 4 (measure 6) are preceded by a normal slur. This is a
new and sophisticated skill.

SHIFTING. The use of extended position for cello will occur with increasing frequency in this
and later chapters. The basses will shift through 1 /2 I, II and III positions as the music
demands. Violins and violas will make minute shifts within first position to reach the
required pitches in these keys.

76a
 CHAPTER 6 - A MAJOR TO A MINOR

A major to the Parallel A minor in the second octave without signatures

Ensemble Student Book pg. 17

A minor.
1 A major ,
C Cl F q F' G
f
E E
2 4
CONTRASTING THI:
MATOR AND MINOR
~

Review the principles of

introduced in Chapter 4
the lowered
"D Major third
to D stcpas
Milior." II~~~~~~~~~~~~~~~~~~~~~~~~~~~I~~~~~~~~~~~~~~~
Additional theory I 3 "'"""\ 2 ..........

~~~fl~~:uE~%~:{ IE'
I~,?: ~:!~Fd~rq~#r~F~r~I~FF~(gfgr~lr~F~r~I-~F~F~I
in measures 6 and 11 - . . . . r~f~lr~r~rr~l~r~r~r~F
. . I.

and the raised sixth and

seventh steps in measure

8.
Violins must reach back I~~~~~~~~~~~
IJ::::=:=
with their first "fingers III III
10 achieve the f in
measure 6. BE certain
that the finger is placed
on its tip and notlayed
flat On the first joint!
Cellos must "reach"
the G# in measure
using their fourth
fingers in extended
position.
Basses have several
shjfts and will utilize
half, firsl,second and
third positions as
shown.

:><4

2 4 1

77
 Scale Ensemble
The major and minor modes are presented in ensemble
A major style
2 separate strokes, at first Student Book, pg. 17

o II.
" t. "- II. !I•. .- 1/1" Jl,­

tJ I I

~~~ ~~#!-~ .- ~ ~ "f!:. ~

~~
~
.ji !if;. 1/1'
- ~
,., !1:.- .fL ~~
·

~ lii-
~
.ji ~ ~
~
.. ,., !1:.- .fL !I!;
·

I I
" I

tJ ~&:....:

--..
::lI:e

~iI. Ito
-
~l!.1i
r a
r I
I
"

tJ
u..::J...J'f
:f!: ~ .fL .- Ii. jL~
·

-....J I I.JI
A minor-melodic
1\ ~~ o

,.
-

I I r-"1
~
" ..
I

tJ
- .... ~ r r r r r ~? lj... :t
I
i i

~
F t t'~ J t.
~- ... ,L _ _ _ _ _

78

 A major to A minor in the First Octave

3 A major A minor. Student Book., pg. 17

A B c' c~
MAIOR AND MINOR MODhS 1 2 3 3
IN THE LOWER OCTAVE "
This unison drill features the -;
lowered thlrd and sixth steps for
tJ -:J -; ~+ + !I* -:J -:J -:J -; ~ + +-;-:Jp
all instrumets. 2 3 half step
1 1
3
Encourage the pupils to identify
the whole and half-steps which
define the major and minor
tonalities in this line. I I I I I I

Violins, violas and cellos will use a x2 x4 3 4

1 1
lowered first finger for the low G#. I
~ ..
Cellos will employ both first
I;;'3,~0lin":.d extended
first position 11

0 1 4 2 4
Basses will remain in first position
for this line.

11

"
tJ

~I"'T'-r-,
- WbJ:Tn " r-,...

F III­ ~

o
~ -If'" T

2
[CiiT

o
~
fl

tJ
~
~!': ~~ ?: + t1 :-;J

--
~ '---./
0 2 0

-----­ I

-­ I
~ "

I
2
-

.
---­ ~

- T 2
r ,--­ 11

'-----'" --­ r ~ 11

" .•.
I I I J I H.. f"

tJ <It'

J;:n r--,.......
..

F
~.

• ."..

I
!~-~

79
~

_.
~ ~

I
I [
 Two Octave Melodic Minor on A
(Raised and Lowered 6th & 7th Steps)
Unison and Ensemble s. B., pg. 17
4 raised 6th lowered 6th &
4 & 7th steps 4 7th steps
4
[[] 4 0
4 r-::..

0 -.....;::­
~ 0
4 4 -=­
4 0
0 0
x2 x4 4 2 r­

4 2 0 2
1
---- ----­
1/2

[[]

e 13

~
[![)

4 4
4 4

0 ~

,., ~ 0

~ ~ ,., -~

~ -~ 1"1 r­
-------

rf

80

 Major and Minor Ear Training

Harmonic Preparation for "Hatikvah" (Nos. 5-7)

A Major S. J), pg, 17

5
4

Cello

Bass.,

(Rehearsal
Only).

A Minor

4 4
0

I
-./

41""1 4
0 4 ~

'-"

81
 Chorale in A

Harmonic and Rhythmic Preparation for "Hatikvah"

including expression marks

5, B, pg, 18
7 With Expression [[]
o
fI II . ".,.--.
1"1 4

v p r
V V
1"1 4 4
0
fI I I I I

~ 0 4
~ 4
I r

~ . 11ff
.. ,.
'-'­

• • • • II, D
• • .11, • I
Viola
11ff p 11ff
V
Cello
. Y I J Y I "I I 1 Y I
Bass.

~ P I I
11ff I
[[]
fI

Rehearsal
Only
t.I j!6'-
11ff
,~

r1 j i~
p
~

J
l"it

11
..-

J
:&:
11ff
~ I~ 'fT

1 I
:&: :6t

I
~;

I . u I

I
I I
I

1"1 II[]
II] 0 0

!
p
::=:::::::::::­ <11ff
4 4 0
1"1

P <:::: 11ff
1"1
4 0 /I 4

P
1"1

::=:::::::::::­ ::=:::::::::::­ <::::11ff

1 J 1 J

82

 Hatikvah in A Minor

Concert Version

8 Ensemble.

fj
o #­

Violin A ~ --j
t)
(violins switch
parts on replay)
T 0
4
"""
~
0
f,

Violin B.
t)
f~ ....._ " " -...... Tit T":iJ.
0
• 1"'1
Viola.
I I
f
1 "
Cello

wen-!:arked r"'I I r"'I r"'I u"

Bass.
~ ~ 1/2
f

Obblig. " I . ~ ~ J5N ~ ~].; ~~ ti& Jfr.;

f 'PI r P I r ,r
-----'
Piano. t)
",. 'PI
r ~ I r I·
I 1 I I ' I

fj J J
I
J I I J r J

Co",," Pi.no ~ t)

. f
...
J
...
J
...
J )
...
J
"
1
...
J !.
..
J! J
:
) I } J
I I I I
r
I I

lD,..,.,..-- 4 o

t)
a - ,.....,
0

"
o - _ 4 o

-I

v J I
­ I

- I
v ~ I I I I

I I..J

._-+
... ­ ~ I ~ r:;
t I = I

I T r r r r f :II 183
 o
fl .1t-. •

v 11ff
I I I I

-if..

I I

I I

- I

r r I I

I r r ' r dIJf r r
~ J..l J I -L
J J J.l~..l J I 1'- II..
I il
I
)
I
II ,....., I
J
r I

- I 1-J I

CD

t'.
A little broader
r"'! - o ...
pocorit·o
-t!r

·tJ

t'.
....,
.....
...............

.~
0
f
r"'!
~

- 0
...
.....,

.....,
-_ . 0

tJ ~

4 14 4 0
I r"'! J I 0 I 4 I • 1+ ... .fL •

. I I
I

1:' ­ - I
- I
""01
I
0

. I I ~ -- I I
-
I I

..- f
"""'"'

-- -­ .. --II

II ~ ~.d~;il; ~~En I I I I I J "J~ J rT"7i

w
r1 J
tJ
i I r T> I I I f L.J...U ' r.
..
-*,
I I

A l.th:f::f: H-1'-" ~j
>
-t :J Ii I I I I rrJ.J n J

F- ,,- .-
r ....,
I
~ ~
~
I I' J -
I j~
j I
~~1'-1 ~ J ~ J } T • ~ 1
.. - ~ ~ -r I
__LJ • :!
r ~
01

li
84
 Chapter 7- New Steps for Review

Instructional Guide

Positions:

Positions previously learned will be reviewed in this chapter. The violins will use
extended first position to reach the high C on the E string.

Objectives:

1. To play easily in the keys of A, C, G and D major and D minor

2. To improve part-playing skills through counterpoint
3. To learn to play diminished fifths
4. To advance playing of chromatic passages
5. To review the dotted-quarter eighth
6. To perform concert versions of familier melodies

Teaching suggestions and performance hints are set forth in the score.

General Teachim~ Hints:

FINGERING. The violins will reach the high C on the E string by extending the fourth finger
out of first position. All instruments will practice the SLIDE of a finger on the string in order to
play adjacent half-steps in chromatic passages. Conversely, when a diminished fifth is
played with the SAME finger, it must be lifted from the first pitch and replaced onto th.e
second.

BOWING. Slurred groupings appear more frequently in this chapter.

SHIFTING. The violins and violas are asked to use the fourth finger throughout this chapter
instead of open strings. This is in preparation for playing in the higher positions which are
introduced in Chapter 9. The Cellos and basses will continue using the upper and extended
positions previously introduced.

84a
 CHAPTER 7 - New Steps for Review

Parll- Review of C, G, D major and minor, A major

Scale Ensemble in Counterpont Style. Student Book pg. 19.

REVU;W
This OF r.eviews
chapter C MAlOR
previous1y studied keys
r~~~~~~j~~~~~~~~~3~~§~~~ij~~~~~~~~~~~~j~~~~§1
using a variety of
rhytlims already
learned.
Warm up for this lesson
by lloing over the C
malor scales in Chapter
1, lmes 1,2 &; 3.

Stephen Foster Melody

Unison Review of C Major

2
o ID 4

1\ I 1"'1 I

. .
tJ .(1- '-..../

... .
-61- '-..../

I
-- ~ ~ 1"'1

I
...--.. ,
4
.~
0

... .. 1"'1
­ ~

- .
,
t§!
1 4
... .
2
1"'1
­ ~

ID

,", I I .. ., no ... .­
tJ
i :: :: I~: ..",. 1.(1- •• 1.(1-' I I

I . ~ I ~ I I ! I I .-:.~ I I 1 I~"f!: .... -----­ --..

.... -ill ........

85
 2 (cont'd)

'!

1\ 1 I 1

--
U -6- --........,./ rJ
-6-'

... -f'- '1'- .. -(l- n-f:. '1'- ~-:.. .­ 4 V

1 1

~- '1'- ~-f'-. ~ V

- r'1'- .. '1'- ~-f'- .. '1'--""" V

[!]
1\ ~ I I I up ~ I .. #- rr:;:, I
:

~J r
::J #~ ~ 1"- - I I f

I. ". 1 ..,--... I.-

- "
! '1'­

r
r I

V ,., 4
4
""~ I I I

IV v 4"
bows remain on string
during restv ,., ~ -f'- -f'- .;,-. ~ft '1'--f'-----;'
4
4
'1'- ..
- •
I

,.,
V
--- .. '1'- '::-.",.-f'- .. ~
..
1

V ,.,
--- .. r .. !L .. ; '
---
1

IlZJ
1\ I I I ~ ~I .I I J IJ ! I I I

:
::J-*-::j.
"*" I I

I"· I I I I..,j~
- -I
1
.'1'-

-VT r[ VI r
.. I..

I>~:;J
>­

86
 Ensemble Within Two Octaves
(Violins extend first position upwards to playa high C) s. B. pg. 19
3. Ensemble Extended first position
3 4 4
4 2
4 0 a 1
"., 1\ 2 3 . . . . #" ~ ... 1*-""'''''' t-t-t!:
t)
"*­ I C D E F G A B ("'Ii") C ( "do")
use 4th finger as shown 23 4
0 4 4 o 0 r"I 0 4 r"I~#"~""'f:r=

- T" I ..- ../ .. I

•..
I
3
r"I
... _.

":J ":J !.-/ 71 -:jJ.

r"I r"I r"I r"I r"I r"I

..
I

II I i I J I I 1 I J j j j J1 J
t)

if r r r I I I r I
! I I 1 I I I , I I !

1\ 1 I I J I~I I I J J J I Jj

~I·.
fl- fl­
u
U
I~ .,... .". It: ~ I=fL .".'

fl­
fl­ ":;t 71

4 4 4
II r"I 0 .1*­ .,....,...~~.,...1*-
4 3
..2 1
0 3 2 4 0,,­ ... 0 .. .,...~o 2 4

t)

; ,.,.
~
4
r"I r"I r"I r"I r"I r"I 4
- ~ r"I

I ..... 1 I

r"I #" r"I r"I r"I r"I r"I r"I r"I

":;t ":;tif" .. ., '-"":J

r"I r"I r"I r"I
. r"I r"I r"I r"I -""I

.. ..
r"I

I -ttt..: "'-'

countermelody r1 ..i. J"J I

f: I 1"1 I I ,.., I I I

t)
r (­ - 1 1 rUr [...ll "'-lr

~l
ffi]
I"""",

c;unter theme
v
1"* .. iT 1"* ":;)~
..­

I I • I

. ., -4­ -~ ... ~

r I I -:j):

87
 Extending The Chromatic Patterns
1n this line, violins and violas will get extensive practice with the fourth finger. This is
a prelude to learning to play in tbe .hi~ber positions.
All instruments will drill chromatic half-steps using tbe same finger for two adjacent
pitches. Keep the finger on the string during the half-step sUd,,! S, B, pg, 19

4 Unison [[J 2
4

'" I'l
2 3 O,--.j/. j/.,~o .. II~ .,. .,..;ft ~

u #­

(tcst)
~ " '----" I I
­ 4
3 4 0 1 1 ,,4 4 ~ ~-
ry
~~
3 0
j/., .. .,..p.
.,..
~"

T#-
(test)
~""lf ~ " I ... 4

I 4 I 1 3 .--.. 4

t£,! JjJ JlAJJiJ. J J IJ ~J J J IfpJ jl@#f F I If' ~r IF~F F r If f I

.,. *
~

--
-.....:;
4
(test)
1 2 4 4 0 ;--.. ..., 4 III
1 2

·
.. -(it­

~1T r
~
~
1I

I I I I tp ,II, ,,II .. II.. -t -!- :g::

" 0

."
ti -9- "jt6" " -9­

I I.,. .#fr- I
·
... '.jj. -9 -:jj

WJ
4 o 4

1$ flf F IT If r F F IF r Ir F#r r IF -F ~F r IF F r F Iflr II

4 3
~3
4
*
.,.. fL .,.--:;. .. ,II': .:Ii:' ~~ 0 .1 ~
4
'""""
r I

~ 4 4

I? Fr r- PIF #r qr lfirqr) IF r Ir FIf r 1c1f eft IF F F F IfOJ

*
II
.,..,. .~ III 0 .....-;;- --.... ,..-- ~ /'l
"

I I I

~J ,Ill. ..bJ II.! ~j -t~ rIPJ.,IIJ.! J ..bJJ J I J, ~I

:
u I I
I ir
·
r1.J. .hJ l)J '-(it­ .,.l=F
" ~.

88
 Diminished Fifths in C Major
Is there life aiter G 71 In this line the violas will use the 2nd finger and the violins will Use
the 1st and 2nd fingers to play the diminished 5th between band f. The implied half-srep
lIWVement of these fingers lakes place IN THE Am as the finger moves from one string to the
other.
5. Mostly Unison 1 dim. 5th IEJ S. B. pg. 19
,;' 1\
o

(!)
(test)
I
- ,...,4
F

2
~

2
I
I I I I ~

I I -I I 1 -,

·
(test)
1
-, 2 3

... r I ....
·
(test)
I
­ I
2 1

W
I

r I ....
IEJ
"
t.I +-; tf ...
fl I J I I I I I I I J I I J I

.. ..., ...
~
(!)
Itt.... i-ti

fr I I 1-tL~ r.1
·
--
"'" I

.............
--
IIJ dim. 5th
w:J
2 2 0 0 C

2 2 0 C

dim 5th

2 3

2 4 4
0 2 2

slide!

89

 Reuben and Rachel

Concert version in Canonic Style
Play this line three times: 1. For UNISON, all parts begin tune in first measure (lower voices disregard opening rest measure)
At measure 9, cellos and basses repea.t first eight measures.
2. In CANONIC STYLE as written, with or without bask piano support.
3. For CONCERT, play strings alone or with enriched piano accompaniment.

Unison and Ensemble

6
Ii

f)
Slowly, at first- then faster!.

..... .... I"

4

0 :.. ...... I"

- -
V
........

...
-- "'-' I" - ~
U"
S. B. pg. 19

..­

T T TT l-.f
., T T TT IT Iooo....j - '-..! IT"~ ,lit~ T
........ ..- i_ ..... ! ..
~

- - -- ..... '....- V

~
~
,.....,~
·
I. . . . .

....­ ~
F~"~'m~) .... - ~
~

+ .... + ,+
1
"* 1+
I ~ ~
'­

;---"
.. ~ ~ i~''''
~,

(Enriched Piano)
Ii • ... • • '1'-. •
- . ...
~.. f:-1'-
,

:fIJ-1'-f:- ..
-..........;

•
~

,f)

~l. -=
-
-=
i~
-=
I­

I.
•
,

~ :J ll= t: I:: :f: 1..- f:­

-
It -=

lllJ
ID
Ii l"I ... 4
.. • 1'- f:- f:- 1'-. .... ....... .-...
,.....,
-- -- - . ,­ - ·

-
f)
4
l"I ,.
4 4
• 1'- 1'- ~ ,. ,. ;:--.. 0

....... ·

·
"'-oj

-
"'-oj
l"I
1 "'-oj "'-oj

'1'- ,. ,. ~ ... I............

-
,.....,
I

1"1
counter"iheme
'1'- ,.
• ..... ,....., ..
""'"-I -----

- - .,

- ""'"-I ........­

~ II ~II'" r.r.i"'"I. ~~ .....-..

­
F m
countertheme
...
~

~n
~ II

..
II I~ ~ "
-
--
·

ty.. ------- .. 1"n

I-
'1'- '1'- ..

.... ,......
~'----'

' '··0·

- ~I ro­

. .. -; ;J' - -..oii1
·
on
 Foster Melody for Concert Ensemble
A Study in Dynamic Balance
For concert use, play STRINGS ALONE, with violins
interchanging the A &; B parts on re-play.

S. B,pg. 20
In Moderate Tempo
7.
,.,
VioHnA
0
o
~ f').
· . ~
o

IJ
"violin B
P
0
I I

rv I
4

.
- ­
v'
tJ
p "--"
;'y
--- 0
,. .fI- .".. '" 0

.
[I I
~
I II
P
.--- ."..
y
11ff pi ­ '-.../ -
.....--. ~ . Y I

11ff
lRehearsal only)
I I
~f II
llJ
--­ J J JJ
'-"

{:~ i
1'- ..-'
'-..: I~[~
~ ~ . I

... -; "it r '-"

o 4
a
"
tJ -e- '--'" I I I v
I-e-'
.. ~ V Y

IJ
it~ "'--' 15>-
... I
. I :;J;t :;J
I"l 0

m
I"l

5fl
~ ..
:if V
.,--", I
V I"l
I
I -­ i
V

11ff
r r
· - 4'

. V V I"l

11ff
r r
· -­
~ I WJ " I

~~~ .
~..

I • I
". I
...

t r= rr I-G"

:
I

91

 Foster Melody (cont'd)

S. B. pg .20

V o 4 4 o
II

t.I I II I
I '" I-&-"
II ~ 0

t.I - "" !-&-"

V V ~ ,..., I~ V

- - I r I I 1 'I I

. V

...
V ~

-
- ~

... -:;i. ... :../ -.....c:

- -
V

....
i V

.... ....
i ~

.. -'
- ~

"-
!

,..
-­
1m rm

~ I I I

!",
II I I I
"=- cr.""

i Ir-
!
r r r

I au I

....,
1J'i,J i~
.". .". t I

10....1

------ I W I I

92
 Part 2 - Unison Melodies
in G, D and A Major for concert with piano

All Through the Night

Review G major scales Welsh Folk Tune

Chapter 2, nos. 2 & 9

8. II] s. B. pg. 20
" 1\ jI
4 ,.,
~
t!
Ii .. -
4 ­
-- ,.,
0
I 4

,.,
.. -fI­ v
-
· ~,
I
.- M~'T -6- ..
----!:

· •

I --fI­ - I
1\ jI

t!
r r r riff f· r ur r r rJr &r r EJ ITI 'r er " r j,r j) S, r r tr

!~.
1\ 1I I 1 1 I
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1
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·
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r r r- r I rr r ~ ~ r f r fr f rloo"" I I~ I
LJ r I

fl~ I I I I I I I I I I I hi J SD ~~ IlJ J. hT
.:
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I

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93

 Review D Major Deck the Halls

Chapter 3, nos 1 & 9" Old Welsh Carol

S. B"pg.20
9
IDo
o o 4

4 4 o

94

 Beethoven Theme
From the 9th Symphony
Review A major,
10 Chapter 5, nos. 2 & 6.
s. B. pg. 20

" 1\ II It 4

t.! I r I I I

I Jl II

I I I I II II I I I

I I I I
I "--­

. Ii I
I

I I I I

1\ II It I I I I I I I I I I

t.!

1\ II II

~
It.!

. 11

rn:J
new tiel

95

 Parl3 - Performance Pieces

Long, Long Ago

Concert Version in C Major

S. B. pg. 21
11 The Theme, in Unison
4 Bayly

ff f

lD
"
~
.. ~~
.4-
.. ~~
. .". ,.". .
.".
­ .. . 14-'

,., i1 ~ i1 1"'"1 1""1 ii JJ i"1 1"'1

.
j I II I

. ,.,
n
,.,
.. I
- .. I
- !+~ ..- '6'­ ~ !~.

-
1""'1

- I ..... - I - -I .....

96
 Long, Long Ago (11 cont'd)

Variation I - Ensemble
[[]
1"'1 4 0
t*- a ,., fI".~,. ,. ""'"'
4

" a a

~
U

,., ,., ,., ,.,

I
,.,
I .. I I II
,., I - I I
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.. I
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I

I.... ....
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·
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r f r ~ I I
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r
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'--'
very softly
,., 4
4
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97
 Long, Long Ago (11 cont'd)

Variation II - As a round
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4

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4

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98
 Ensemble In The Style of Haydn
12 Steady Tempo. S. B, pg. 21
1\
Softly 0 ,. ,. [D 0
. . ~ ~ .,....,... ,. ,. ,.
v pizz II I
I ,. ,. ~~

~izzl
I
I I
... I

pizz I I

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pizz I I
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.... -- IT T ;)
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(for concert)
. i i i i i i i i i .

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areo
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99

 Part 4 - Chromatic Designs in D

Minor to Major

Variations on aViolin Etude by Wohlfart

Unison and Ensemble
S. B. pg.22
13 preparatory to
F
Wohlfart
F# I
(3) o. 1 I 1 ..J
CHROMATICS IN TWO
OCTAVES.

Each voice has two parts; A &

B. Try this line willi all A
pam" all 3 parts and (A)
combinations and

This is a good time to review

the princl;ples of chromatics. (B)
When two adjacent pitches
are pla)'ed WIth the same
finger, SLIDE the finger on (A)
the string from one pitch to
the other. The violins artd
violas will find examples of
this chromatic slide in both (B)
octaves.
(A)
Counterthemes will pop up
in the piano accotnl;"":iments
in this line and in No. 14!

r
Rhythmic Variation of Line 13 (assign parts as in line 13)
14 Play with separate strokes, at first

100
 Variation of Wohlfart Etude
s. B pg.22
15. 4, 4,

from Beethoven

101

 Battle of the Titans

Beethoven vs. Wohlfart

Unison and Ensemble A Study in Thematics - D major and melodic minor S. H. pg. 22
16 D major - Theme, 4
o ,...,1 ~

~] r r-- r r -
,..." II
---- " - !4-'
~

I
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/""'
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4
-----*-, (;) .---. I (;)

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4 I

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lin
'11
I

J 1
i j I

J J~ rn
r.-~ r
r I 11J ~~ r
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n f- ....--. "i 'C(I'flj\J •

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:6l: ....
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T T T T U I I a-oo I -. I I I

[[] Violin (A) IllD D mino~odic form

fl II ~ ,.....1 ----..
- - r"I ,

" II Violin (H)

~
~
metodi plinor scale ......... " ..........

1'"-;' l. ~Il.
........ " .. ,
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102
 (16, cont'd)

-
4 o 4
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14!J

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I I

PLAY NO. 16 THREE WAYS: INTERCHANGE PARTS (see examples below)

1. All play the (A)parl as a unison theme to the end
2. Violin part 10 measusre 9 then (B) pari, as descant ....1 th (Al part.li!J;l:i.

Viola, - play the (3) part - theme for ensemble

second time· concert ensemble

the (A) part. concert ensemble
THE PlANO IS AD LIB, BUT SHOULD PLAY THIRD TIME FOR CONCERT ENSEMBLE

Condenced Ensemble Patterns Showing Various Tonal Balances

1. Theme in Unison 2. Theme with Changes 3. Concert Ensemble

of Register and Descant [[]

Violin (Al
(~.r.:::; (3) ~.r.:::; ~)

(A)

Cello (A)

Bass (A)
 Chapter 8 - F Major

Instructional Guide

Posjtions:

Violins and violas will employ a "lower first position" so that their Bb and F naturals
can be comfortably reached. The cellos will use the lower extended position and the basses will
play from half position to III position.

Objectives:

1. To play easily in the key of F major in both available octaves

2. To play chromatics in F major
3. To learn to play in "eighth time" (4/8 & 6/8)
4. To play 6/8 time in two beats
5. To play triplets
6. To learn how to play up-beats (The Anacrusis)
7. To play mixed meters in ensemble
8. To play first and second endings

Teaching suggestions and performance hints are set forth in the score.

General Teaching Hints:

FINGERING. The violins will reach the Bb on the A string and the F on the E string by placing
the first finger on the tip one half step above the open string. In this key, the extension from
4th finger to 1st is larger than in keys already studied. Allow the thumb to move back (a
"lower first position") to accomodate this requirement. Violas must allow the second finger to
release from the string as soon as the fourth finger is placed. This helps the fourth finger to
extend to reach the correct pitch. Cellos will reach backward into the lowered extended
position to play the Bb on the A string.

BOWING. Generally speaking, single up-beat notes ("pick-ups") will be taken up-bow, while
the opposite will be true for double note up-beats.

ENSEMBLE CHALLANGE. The combining of meters and triplets in duple against 6/8 time will
test the pupils' ability in independent part-playing.
 CHAPTER 8· F MAJOR
Success in playing in this and other "flat" keys is achieved by allowing the left hand to find its natural,
lowered first position. Violins will need to do this immediately in line 1 so that their Bb's & Fs will be
secure. Violas will do this in line S. The bass will begin this key in half position. Cellos will employ
the lower extended position in line 5.
F major ­ first octave (without signature) Student Book pg.23
1 F G A Bb C D E F
o
sol-la-tj-do 2 3 0 I 2 o 1 o 3
2
3 ::>
3

t)
(test) 2 2
13 0 ::I 2 o 3

4 4 4
(tcst) 4 2 o
[4 0 2 2 o 4

2 F major. with signature

o o o o

4 4

103
 Basic Arpeggios in F Major Student Book pg.23
3
2 o 3
,;' " 2

1/, ttl I I
II r !
1 2 2
3 3 2 0
-t,~

II I I I
I
4 1 4
2
I 2 0 2

I .- • • I" "
i~
I I
.";--.1­

. 1 0 4 I
I
1 I
4
i
.. .. ---it ,
.. . .. ... I I I I
-f:\: .
.. ..
~..
ttl
~
~ . .. .... I!J -fl-1:-f:--fl- -fl-~-fl-

,.
I

~ ttl I !
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I I 1-fLJ!:J!±~ I
,

ID 3 o
2
.
"
ttl I
2
I I
2
I I
! r
I
.....

0 3 1 0

II r I I r
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4
. 0
2 1

I
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,
.. -- I ..
1 4
4 2
1
1
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" i I I I 1
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ttl

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&-----&

.... fl- . ., ....

-0-

~ .
D

m:J
I I I I
rr r r : t:~

!~

_._.

1- ..... !-

19- I .0
!~. -.. .. ~
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104
 4 Broken Thirds in F Major Student Book pg, 23
4 0 4 o 4 o 4 ,1
II .--.....

t) I I I I I
0
0 , 4 0 I !l 4 0 0

I I I I(loubJestopl I I
--­
. ""--L
I I I I - --..,/
'"
. I ...--,

... I I I I .. --..,/
'"
~ J J I J I J
" " 'If-
"
~ ~ I
r r I
r I
I I i I" J n~ I I

~iH
I I
I " I

l
,~
t) $:

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r-:.
.g

,r-;.
115' v

•
r
-(.r
I
-(.r

Extending the F Scale - Up & Down

I

£i~
I
Iy-~ .--.., I~~ ~~J

Starting second octave

5 First octave", '''''''''"''"."''"."."''".,,,,.,,.,,' F G A Bb
o 0,.-. t !.. ;. ~~),i ~ ;. 11'- !.. t 0

~c~~EbEIESECOND ~~~~:~~~~I:~f:~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~
In this line all voices will

0 .... o' G Bb C D
explore the upper and lower F A I. t • !....!!.o G

extensions of F major, Each ___ • 8 ~ .(~~ 11'- .~ ~ f'- f'- 1'"",..- ~

the highest and lowest
instrumentwilJ notes
reach into
in F major in the p o s i t i O l 1 l l .
Ili~~§~~~~~~~~g~~~~~~~~~g~~~§~~$~~~~~~~~~~~~§
• t
already reviewed. II :­

For example, beginning in ;. ! 0

measure 3 all instruments
will begin the upper octave
of F major, !he VIOlins will or
get as far as Bb on the E
string, the violas and cellos
will reach D on the A string
and the basses will climb to ­ o ;.. ! • 0

a D on the G string.
Conversely, when reaching ­ looooO fLP. III H.P.

J J J j J J J(~~ 1 J
downward into the lower
octave, the violins will get I I I j I J)

!
only as far as the open G
string, the violas and cellos
will reach an open C and
the basses can only get one i I I / I I I I
note in the lower octave, the
~,.,.

open E string. t)"'.

•
(Fingerings will be shown in
smaller type from this line I
onwards) I /1 I
I
t
..... _---, 105
...... 11'-•
 Downward Extension of F Scale
5 (cont'd)
" ,.,.ID ,.,
t)
l
4

- II
- F
2

, F
,E

-
D

"
C
3

I~
Bb
2

." ~
A
,
G

:;):
0

i~ ." ... ~ I
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E
• •
D
'0 I
-+--
....... -
·
•
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- - ...
8
#

•
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0
7:t
'.... .. ­ #J!
i
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•
,.,
•
- I

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•
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I
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i-
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- I

,,11 J I I I I L""1 J
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~

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I "
~
11 J 1 l)~
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h J .J J I
,~ ·
I I I
......,
r l-J I I
4

106
 Arpeggio Ensemble

with chromatics in F Major

6
II
o
. 1"'1 4'-
Student Book pg.23
0
•
u

• '?.
•
.jL
..
,

..
:;J. .... I

1"'1
I
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J=W ­
I I

• 0 .;. 1"'1 .! J.- ..

..
...
• • ;. . .. " •
1"'1
I
! ;. ! •
I

(chords only for bast: II H.P.

... ... " I II III II H.P.
..
sUPP9rt )
" :
1i1. .....-----
lT11~ AJl J
~

J J J J A J -J 1'J J
~
ID
II

tJ
I
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I J It
~
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~ I I II r=-f~=:J
"----'
I
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G#

(~Mt-.~
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• ..!t! ..
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1"'1 .- .fhi.. t
"
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1"'1
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10.-11

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u !ij~ ~
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$-:- J:."!" . -:t:

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107
...... ..........
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 Broken Thirds in Ensemble

Student Book pg,2.3

7
'" 1\
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4
-,
o
4 . ID
--­ ­
.­
tJ I I if
I
0
I I
• 0 !
I I I'
I .
I r II
i
I

I I I

1\ .J I I I I I I 1 J .J J

IV"
,.
$' .jI-
.,..
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r 7
I r r r ;II- ;II­

I I I to 1"""'1

----
-1­

{". ~
~.g, 1..9-

----
I~

I
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I

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-- ~
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I' '-../
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I , I ~
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.- I ..J j I J I I I I r-;

t
1\ I I

r r I , ,
r r
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108
 Frere Jacques Goes Round and Round

Student Book pg. 24

8 Two Part Round

-
o o
•
"
t!
-- I Ioo..-l ~~
-
::JL....."F.

~ 1 1

... ... I· "-.-.!!

P .
~
11 1 J j 1 J 1"'111 J J
t!

r i
:;; -
r r i r ~T
?'
I

1\

-t::f (ad Jib)

I

counlerti1eine
- -= I

mJ'
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ID • 0 0
~

tJ
• ** pizz I
0
•
T TT pizz T-,t

I~ . • I'"' ':J Co< I'"' ':J':J U

-­
pizz ':;j. ':J '"'

• • ::J- '" .. ::J-:J. '" --­ "~::J- .­

1 1 J
pizz
II ,........

0l.J

1\
I
-
r - - r- ....... ID
-<Ii-

!
t!

I""'!!!I-....

=---
P r
109
Sa Three-Part Round
s. B pg.24
,.,
- ..L
.~
......
tJ areo I
- I ...., i~ I-I -fill­
I - t--­
..- ' ; - -

~ I I I i'u....L..I
areo
I

I ~rco '-..'! ..
. - . -
-
.­
.,
I
.--+----{

~o '-..'!

[[J
_....-= I ~

F
.-.

(piano second time) rnf iI

I
I 1 r--..

.. - . .
... ­ ~

piu 1
:

-- .. -
pizz

.. .. -
- ...

- ..
pizz
1 i ,.....

.. - .. pizz

I ===-­
~
p

110
 Theme and Variations for New Rhythms
Development of "IlIGHTH TIME." The next 5lines will introduce the students to the concept of giving
one count to an eighth note, From 2/4 through 4/8 to 6/8 meters, these lines will use "Frere Jacques" to
build confidence with this new concept. Students should clap and count each of these lines to reinforce
rhythmic understanding.
Student Book pg,24
9 Veryslowly(in2).
fJ

I~(count)
-
o
_...

I
- 1.....1 I""-J
,

.
1 2 1 and 2 and
!

1 1­ . ~~
·
~
!

- Iloo.o.oI
- I

· -
fJ
I
- loo.o.oI
I I h
v
fJ
I I r r I I I I
~
~
~ ,
~

,
~
I.
v

·
l

9a Variation I (in 4· same speed as No.9)

~fJ

v (count) 1 2 3 4
V

!1 2 3 4 ...... - "V
-

I~~~~~~~~~·~·~~~V~~~~~~~~~~~~~~~~.~.~~~~~~~~~~~~~
- r L.....I -­
v 1"1

.. .

v 1"1

- .. ­
J . I
J 1 J
I I I
I
I

I
r
l
bo h..

111
 6/8 Time - Eighth Notes and Rests
The concept of six eighth notes in a measure is introduced here for the first lime. Teachers are
encouraged to further this concept by suggesting to students that ANY number of notes (beats) can be
organized into a single measure and that they will find, in much modern music, exactly that.

9b Variation II (in 6) Slowly

1\
- ,., P"""""t-'I
o

-
U (count) 1 2 3 4 5 6
' ... I
i,., i.. .. . ~ 1­

I:: •• t'- t'- t'- I-Il--Il--Il- ..

. ,., . .. . t'-t'-t'­

,.,
. ! • . 1+ t'- t'­

-
II
1\ -"""l ""­

U "* '* "* ~

A
: -.
t'-.
:
I
I
{I", .
I I

v ,., v ,., v v ,.,

tJ -- '1 2 • 4 • 6 1 • 3 4, • 6

·IHt·~-Il--Il-t'- '. V I~ t~ !. v
,.,

V ,., V V

-
v ,., v ,.,
-
V

III -
I
" J " JTj rT'1 J
I
I
... -t

112
 Development of 6/8 Time in Two Beats

Lines 9c and 9d should each be begun slowly in 6 beats

and accelerated until they are played in two beats to the
bar StudeJlt Book pg.24

9c Variation III - Two eighths tied into a quarter.

"
tJ
­ .... r
r"'I

1­
~
V ,..., ...... r"'I V /""""---~~.". .~ ;.

·
faster ar d fas ter so that r ~eat is in two!

...... r"'I V
- r"'I V /'"'"'~ LL~ ..--.. ~

I .... r ­
V
~
- r"'I V ,--- ~ ~ ~

·
••• .... r
- ---.
-
r"'I V r"'I V ,--- ~ ~ ~

·
.,.,., .... r -
f\
"""' r--1 I 1 I . . .,...

tJ I r I
·
L
I " 1""""1"'"

~ tJ
-.;- -.;-' 1 - ........... '-" ~ -;, -.;-' I"d', 1-6'-'

~
·
,~
I I 1

. .,' ·

9d
f\
Variation IV - Three eighths tied equals a dotted-quarter in 6/8 time
• • -- .-. .-., .' ~
. .".' .".
~
. . .".
~
­
dotted half in
6/8

tJ FROMTIETC DOT! faster and f< ter so repeat is in Il' o beats!

..
start in 6 beats

- - - , ~ ~ I .. ,
- ·
~ ~

·
,--- ,..--...

·
.. .. J. J )LTI 1
-
~.

" } -'Ll

tJ ........ I 1 I )I I
.. ~
. ·

t.. I IJ, ~ ~'

" 1 1

·
{", I"/J' ...... ~
~

I~f:' I~ ~~ ~ If'
I

If:' f:' Ii #~~'

·
113
 Row, Row, Row Your Boat
l'lay this line three times:
1. For UNISON, all parts begin tune in the firs! measure with notes; play eight measures.
2. The ROUND, as written with or without basic piano accompaniment
3, For CONCERT, strings alone or with regular piano accompaniment

LO Two eighths tied for a quarter in 6/8 Student Book pg.25

!J
- I"'!"'!
(whole rest in 6/8)

tJ 1­ 2__ i~ r -! i r - 1+ 7-:J.:: i1J'f'f

~ ,., • ,. ~ !r~ I ...... I~~~·-
1- 2- 10.I0o.I • ·
. r-­ .. ""'-'1It­ ....... i~-:.. ~

1. ­ 2­
·
.
1- 2-
(lhOle res t in 6 {8
-­ .i""'-'~
- !~---;. --..

lJ "­ Wr-1 J J J J, I ~ I LtJ

.... i I" - - ·
~.J ~~
tJ I
I I I VI I V
I "
[[) IA
~
(~r
t- VI ,~
) tJ I

J
\
I
-­ ~ I~. ~ f: ~ I~ • I
·
Preparatory Chromatics for "Sweet and Low"
11 Slowly, in 6 D Db B Bb
o 1"'1 2 •

I
• • y. i.... ..,-· .... ....,•
.~~::J:::;t I" • ....
• • • •• - ~ .
1--
1"'1

-
0

­
..

- - ~

... ... x4
- • • !.... • •
0 xl , G"

-
0 t
r 4

... o • :....,. :...:...' 0

- .........
hI h I h I
... ... r

r""1"1
..

I":'\J.'
'
!I' 1" ..

- I VI

I~ ::;to p '" 1:1: p:I: W'r. . . jf........ ..

_ .. 1""'1"1

... .. ....
114
 Concert Version of "Sweet and Low"
Old Scottish Tune by Joseph Hamby (1818-1896)
Play this line twice:
1. Unison melody with piano
2. Violins and violas repeat melody until measure 15, then violins divisi A&; B, violas B part only,
cellos &; bas!!es play ~ounter-melody divi9i. No piano.
Student Book pg.25
11 Slowly, in 6
o o
ID o

(lower siems for bass)

o II II[]

115
 The Up-Beat

Two new concepts are introduced in this line:

1. The up-beat (the"pick-up"). Students should be introduced to the idea of the "missing rests" at the
beginning and the end of this line.
2. First and second endings. Students must go back to the repeat mark at the first full measure then
skip to the second ending after the repeat.
Student Book pg.26
13 German College Song

l\
First beat is SILENTl
V

.... ·
,., .J--! 1"'""'1
- ....
V

f.}

V r'I
I
.. . .. .. ..
I

11-
1- ­ 1-
.. .... I-f.
I

11- 11- . -f. . V

,,,,,",,

.. -f.

~ ·
·
1--'
I
V

·
,., I •
. ...
, .- . r
V . I

V ,., • • 11-.~ "I'"

V .,.
·
(tor drill, play £irst
beat)

..... ·
I
­ ---
I I I I I

.... ·
I

[[]
-...., ­
!",
-;;;;.
"
.... ;J. T ..... ;J. T T !;J.
I I , I I i
·.. I .. it- · ...
Norwegian Folk Song
14

-
Silent count_ \'vbere's the missing
beat?
l\ } V ,"'""

V _

I I I

V
...

V
.......
j
I
- -,
J'f_

- -- I.... _ I

­
For drill, play 3

,., first ~o be;1l! I I

II t I I i I) ill} I I} I I

u ! I 1
I
I
I J
r
J
r I tu r
J 1 J
1 1

[-.

. j
countertheme

116
I I I
r
 Auld Lang Syne
Concert Version in F Major
Play twice:

1. Unison melody with piano S. B, pg. 26

2. Violins repeat melody, viola and cello countermelody, bass harmony
15 Unison and Ensemble
1 - 2 3 o [[] 0
~~ilent count) V o

viola melody V

viola countermelod 0

cello &: bass melod

v

:e u :e
:e :e

WJ 0

"-- 0

4 4 0

117
 For He's A Jolly Good Fellow
Old French Tune
Play twice:
1. In 6 beats to the bar
16 2. In 2 beats to the bar
s.B·pg·2l
" fl count
-
o
.-+-.. -- o

1-- 2-
Y
T:;j-
!
2--­
tit tit
0

tit"". tit. I!. ----!.. ,.,. .

~

~
II

f!:. ~.f'- *.,..

I

y 1"'1
..
y 1"'1
tit.

~
j t\1 t-..

i V1'"'1
. 1
r ~r '1 r !it '1 r VI '1 I
Vr'lkJ' r pI,
1
7'
rJ r P 11r
~

..
1 1
" I I
. :
.... i~ .. ~
-:J. "-:J.
fL *~tIt"" • i
r~ I
I rl...J..J I I ­
Irish Jig
17 Think the pr~ratory eighths

l"'Iy o o o

'"'­ ..
0
~ r"""r-I """- .l""'I""'I~~ ~I"""I--.I""'!""'lr-r-l_

" /I

'-!
Silent 1- 2.l"'Iy
h • ! ::fL.,... .,.. I.,.. .,... , .
0
.. I! ~ fL.,... ,.,. •.,.. .fL.,.. •
1 --
0
2

. ~1
- . .,... •
!• •.JL.,... "" . .,.. . . . .,...
~1
........
.,... I.
- i. .fL.,...
~

. .,.. . . . .,.. .
........ ......
,.,
"'"
7'!r ~f
r--.
""""'"
l'' '-o000o..
-­
'-!
'1
f ~f '1 f ff 'f ff t ~f ' r ~f 'I f ff f '!
~~
.­
'I

.. .... .... ... .... ...... .. ­

f· 'v'
I
'v'
I
{V'
I

.....
I

.
I.
",.
I
.", . ~.
:
'
I
..:....-..
..
h

118
 Changing 6/8 into Triplets

Combining 6/8 and 2/4 time

18 Keep the eighth note speed the same - Develop two pulses in each

"_.,,.' ,3"!,.. ,-3----, II] .•~.

tJ count 123 456 1 - - 2 __ 1 2

~

- ..
...
~I .
... . ..
r::+:=! J

....

mm

....

"See-Saw with "Row-Row"

Ensemble with Triplets

19
In 2

"See-Saw" r 3, r 3.., r - 3---, ,3-, 3

,~~
1'-3

"
tJ
count 1 ---­2
....
I.~
1 -2
.......

• • • .fL,..

La...J~...J L3~

I I L-a---.J La...JLa...J
3
''Row-Row'' ,.--,.. r 3, r 3.., r - 3---, ,-3-, ,3-, ,3-,

. -----
~ ~

U-I ·,-3-,,. ,3-, ,3-,

­
-. ~ ~ 1,.--,.. r3, r.!:J r- 3--,

· . --­
,~I'-~

!.
II] r3, ,3-, ,-3----, ,-3-,
"
.... .... ....... -. -.

• I.".~ ..... rTi_

• • .' .

119
 "Boogie-Chan with Auld Lang Syne
The "Battle of Meters" • 6/8 vs. 4/4

Counterpoint Ensemble in F Major

S, B. pg, 2;:;
20 SNAPPY STYLE ( in 2). Slowly at first, then aeeeJ.
V I"l V Keep bows on the string during
~"
123 45~ I "C"'cl V ,...,..., r-r-1
- 3 4 5 '

t,J 1---- 2 .-~~ r I r

V
1------- 2---~-- V ~ V t.. I I
" I
I
,

I-0I-l --..
cello
t.. ., ... I"l V t.. I"l t.. I "- I"l
t.. II"l

bass
I II I r I I
slap

cello &; bass I

(bass only) IiJ

" :t~ .". .". ft· :t ft"... ".. ft· :t ft .". .". -rs-ft .". -f'- :tf: :t

k· "- "- "- I t.. t.. "I

"
Violins divide into A &
B parts in measures 18 •
26
V Ili:J V v A divisi , I
~ I ~ I l- V
1- J"'i""""l ~
'" " I
.
t,J - ,
!;W r
V

r II
V

r I'
V

1-
V

r 1­
•
- .
. I ~ V V V
J J..,

.. ~

Ili:J WJ
1\ .fL' :J:J if-:J :J :: ..:: I

{~ I -, .
I .". -t*-.fLftf!::,
- ~I~ _L ..i..1 l- I ~I

120
20 (cont'd)
Same Beat, in 4 (6/8 into Triplet Equals One Quarter)
. . pg. to
f2:lTheme j)J
"
ViolinA [
h J J J. 1> J J J. I I J
tJ
.
divisi
.
Jiolin B ~317' , 3 - ; ,.3\j1 ,3-, ,.3, ,31J1 r3-, , 3 , r 3 -, r- 3 --, r- 3 --, ,3V1

tJ
Viola
,.,cOlmtermotive
1 V 1 t 1
r I r

1 t 1
f" I f"
1 1 V
f"
­ ~
-I

r-T"'"'1

L3.....l L..3......l L3---1 L3.....l L~--.J L.. 3 ---.J L 3 ..J L3.....l L 3 ..J L- 3 ---.J L- 3 ---.J

Cello & Bas'jo,

J '" ,.,
~3--, r- 3 --,
. V
"
,3-,
~ "
L3.....lL..3......l L3..JL3.....l I I

"
IE]
:
't .. • .". 't :( :@:: ~

{-, I
r 3 -, ,3""1,
f" 1
,3-,

" "
'1 3
-,
II
r 3 -, r3
f"
1 I. f:1: £.

r .3 r j r I r .-.l
., I
r Jr J r L- 3 ---.J L- 3 ---.J

n
~

)J J J. 1> J J. ~ I I J.
--
,3 V ,-3--, ,.3--, ,-3--,

f" I

ro3 3
-
....-3......,
,3 1t ~ I It r- Vr;3""1'1 hi

.. J. h I I J. j
I

I
i
~:
' ..

12.1