1UnIO GRA 130 & MUSK. Published for ‘1st VIOLIN VIOLA 2nd VIOLIN CELLO VIOLIN—OPEN STRINGS BASS 3rd VIOLIN PIANO ACG. SCORE F Score $3.00 Piano Acc. 2.00 Parts $1.25fe musica ‘om TATU aks we 2nd VIOLIN tee care 9 pr BOOK ONE Chambec Music for Sting Occhestea by Samuel Applebaum FOREWORD Chamber Music for String Orchestra may be started when the pupil reaches page 30 of the Samuel Applebaum String Method This book, however, is complete in itself and can be used in conjunction with any String Method. {tis carefully prepared in such a way that it can be played by 1) String orchestra. 2) String quartet, or any combination of strings, provided the piano part is used. For example, combinations might be two violins and viola; violin, viola and collo, ete However, when played by string orchestra or string quartet, the piano is ad li. To the player: to derive the greatest enjoyment from playing chamber music, you will want to train yourself to do the following: 1. To Sight Read. You must memorize the sensation of reading ahead. In this way you will be widening your peripheral vision, Play one measure-look away-and try to play as many notes as you can in the next measure. Practice this regularly to improve you sight reading, 2. To Develop a Beautiful Tone. Listen carefully to your own playing. Do not allow any tone to be scratchy. Avoid touching ‘wo strings. Experiment by finding the best possible lane in which to draw the most beautiful tone. It might be in the center: between ‘he bridge and fingerboard; nearer to the fingerboard, or nearer to the bridge, depending upon how loudly you play and how quickly you draw the bow, 3. To Develop Tone Color. Practice playing loudly, and playing softly. You might practice this with scales or with lines in this chamber music book: You must also learn to play gradually louder, and gradually softer. Learn how to accent certain notes by applying a bit more pressure, and by drawing the bow a bit faster at the start of the note. 4. To Play Musically. Try to find out where each phrase begins, and ends. Does it begin on an upbeat or does it start on the beginning of @ measure, does it start in the middle of a measure? Many times you will allow a slight pause (or breath) before you start the new phrase To play musically, you will play the last note of many phrases abit softer than the previous note. Listen carefully to your partner. If you have the melody, play just abit firmer. If your partner has the melody, play abit softer. However, when both parts move together in thirds, sixths, or in octaves, the dynamic level should be the same. CONTENTS 1. The Roun (OH Engi PRR clormenner ances _ 3. ok Son rattan. 217 Gane Genome) net rg & Catey tn canuinn “3 Te Dowootme tani Oia Sina 8 5, The Hunt (Gurlitt) 4 19. Petite Suite (Streabog) n 6. ach (Got) {Bleue una ia " 2 inlay Ga 5 Tuten bea lian camiyioonl TOI : 28 RuiDance iatVcartoy be 9. Galop (Ganschals) 6 24. Polonaise (Polish Dance} . . 13 10. A Legend (Flemish Melody) 6 25, Dance of the Penguins (18th Century) . 14 Tis We Plow te aoe) “Bane ofthe arg cai 12, Senet the Huns ane aoe ; ie 15, Seneca yan) Be AGroamalwanetermg) 02 1. Two Rone tanay 8B Rondo tap nn Published for: Pane Accompaniment Open She Vi Cais ‘evan Se vote Wee 63 oes Copyright © 1972 by Belwin-Mills Publishing Corp., Melville, N.Y International Copyright Secured Made in US.A. All Rights Reserved CBelwin SMiibl serutuichine corn ervnie wv someRounds or canons are frequently played in chamber music. They are very enjoyable to play and listen to. When you are older, you will look forward to playing a well-known minuet in the form of a canon by Franz Hadyn (opus 76 No. 2) The two slanted Ii 15 mean that you are to lift the bow from the string. E MusiCn. pe TATU 1. Three Rounds | OLD ENGLISH n Oy v @ 2 GUNGERVATORIO DRAMA “DR. CARLOS DE CAMP 2. ° at 0 2 ANONYMOUS. i EARLY AMERICAN 4 Or ; a. GbevasORIO ORAMATIOO E MUSICAL oh. GARLOB DE CAMPOS” DE TATU 2. Nocturne — — W. F. SHERWIN aa 1 ° 1 Copyright © 1972 by Belwin-Mills Publishing Corp., Melville, N. Y. International Copyright Secured Printed in U.S. A. ‘All Rights Reserved(mt 3 ‘Try to keep the fingers down throughout the length of the line underneath the staff. A thoughtful chamber music player will know where phrase begins and ends. The comms (9) will tell us when the phrase ends. It will mean a slight pause before starting the new phrase, with the bow remaining on the string, conervarono omamarcoemuscs 3, Folk Song Mpg6" DE TATU! "OR. OARLOS DE CAMP: TRADITIONAL, CONSERVATORIO DRAMATICO E MUSIENL 4. Lullah ‘CAMPOS DE TAT . Lullaby "OR. CARLOS DE — fn v EL 2341‘A good chamber music player has memorized the sensation of reading ahead. To become a sight reader, stop at any measure, look away from the music, and try to play one or more notes in the next measure. Practice this enjoyable game ‘many times. Jn No. 6, the violins and violas play two notes in the same bow stroke. Try to divide the bow evenly. CONBERVATORIO DRAMATIOO E MUSES 5. The Hunt sa CORNELIUS GURLITT JONBERVATORIO GRAMATICO E MUSILAL 6. March ne GanLoe BE Campos" DE TATU! ; CARL GANSCHALS simile # 2 [Melody] D y @ v mov omvn 1 Aa se 2° EL 2341 [Melody] [Melody]5 When we play chamber music we must train ourselves to listen to the other players as we play our own part, In No. 7 listen carefully to the basses and cellos, as in many phrases they will play the first note of the measure. Very frequently, the other instruments will have a rest on the first beat of the measure and will play quarter notes on the second and third beats of the measure. We call these after beats. As you play your own patt, listen carefully to these after. beats, They will be helpful in keeping all the parts together. consenvsrone onvwanco smu 7. In May 7 HE op OE on eee 6. guaLiTT nov @ mv n n 2 a 4 yt 7 3 3 [Melody] @ oN oy o 2 2 . 3 3 (Metods} a In No. 8 it is important that the first and second violinists move together. When two instruments play together, slurring ‘two notes to a bow, listen to each other and try to use the same amount of bow for each of the slurred notes. ‘A good chamber music player develops a sort of sixth sense, and can sense the amount of bow being used by the players around him. It takes @ lot of training, but is worth while. Listen carefully to the bss part. They wil lay qurter notes onthe fst and third bet ofeach mesure mau: & us tte aes oe canvas Dx TATU! 8. Canzonetta Bete OLD MELODY rn Pee, 2 0 [Melody] 1 2 . 9 asa ie 1 Meta ‘Mel: EL 2341 [Melody] [Melody]In No. 9 we introduce the right hand pizzicato. When we play pizzicato, we must listen carefully to the quality of each note. Move the finger to the side after each note, rather than lifting it above the string. When we play pizzicato, we do not permit the string to strike the fingerboard, roo" means to play with the bow. usin ™m 9. Galop . CARL GANSCHALS. conservarono oneeeormmm = 10. A Legend (Witees_ FLEMISH MELODY EL 23417 In No, 11 we introduce a new note, G sharp, for the violins. It is played with the third finger on the D string. Make sure that this note is high enough. We also introduce a C sharp for the violists, to be played with the third finger on the G string, It is important that we hold notes for their full value, In No. 12 we must hold the half note until the third beat begins. This is an important rule in all forms of ensemble playing. AMA rico & MUS . ouseeswacce ot curse" 11, We Plow the Fields J. A, SCHULZ v n CONSERVATORIO DRAMATICO E MUSICAL von oanion oe cauros" PTAA 49° Song of the Hussars r LOUIS KOHLER v a 2 a EL 23418 We now must begin to think about playing in @ musical manner. It is important that we know where each phrase begins and ends, Many phrases end by playing the last note a bit softer. In No. 13 we have an “'s" over certain notes. The note marked with an “s"” a bit softer. 13. Serenade orn ‘TA wageRvATORe SG aurop OF ipR. OARLOS ; J. HAYDN: = v is the last note of that phrase. Play this note = over a note means left hand pizzicato. The number over the “+"" tells you the finger that will pluck the string. sonservaroro oraunnicoemvems 14, Two Rounds SDR. CARLOS DE CAMPOS" DE TATU 1 ANONYMOUS ANONYMOUS © EL 2341We learn to play in a colorful manner. Some phrases be played loudly; some softly; some very loudly. In No. 18 we'start to play loudly. Continue to play loudly until measure No. 5, then play softly. When we play loudly, we apply a little more pressure on the strings and we draw the bow a bit faster, It is @ good idea when you play loudly to play a bit closer to the bridge. When you play softly, draw the bow closer to the fingerboard, SitasiC in FURIY URAW. iSO & MUBILN, “ 18 DE CAMPOS" DE TATU! a EE 15. Contemplation rn 18TH CENTURY AIR, s © eS = a > 13, very soft soft We introduce 8th notes here. Two 8th notes receive one count. LONBERVATORIO DRAM, 100 & Muswnt once Sareea 16. Chorale F MENDELSSOHN -BARTHOLOY Bintetee,__ Vv v F Vv 3 EL 2341 very softly10 In No. 17 be sure to observe the small " which means to play that note softer. In No, 18, all the players should use the same amount of bow for the quarter note, Use a great deal of bow, however, when you are to play loudly. 17. Cantabile R. SCHUMANN very loud slowe* ewunen : neeevcenocunrers™™ 18, Dance of the Goblins OR Steet OLD DANCE 2 loud soft EL 2341 louad® ciesu We will now use dynamic marks. ” PP" means to play softly, from the word “piano”, « F°" means to play loudly, from the Italian word “forte”. “SF” means “fortissimo” — play very loudly. ‘means to play gradually slower. “ @ tempo means to play in the same tempo as you played before the ritard. This is called a fermata, or a “hold”. You are to hold the note a bit longer. If there is @ conductor, he will tell you just how long to hold the note. If there is no conductor, you must all look at each other and decide just how long the note is to bbe held before continuing to play. musics CONGERVATORIO DRA be rare DR, CARLOS DE OA 19. Petite Suite L.sTREABOG stop Finale V A An Vv A Vv w amvreno oenusnen ewes 7 bnuch aster agement oa ~— —————— 20. In Motion eee (Round in Four Parts) Perera 206 Fi es “Se EL 234112 In chamber music it is important that we listen to the instrument which is playing the melody, as we play our own part. If we find it difficult to hear the melody, it might mean that we are playing too loudly, or that the “melody” instrument is playing too softly. g mus s rare 21. Minuet a aRvAtonie OF .mPos7 PE 5 setae oe LEOPOLD MOZART ps 1 t 3 ° rome DRAMATIOO & MUSA servaroreecmurost TX = 22 The Ghost Dance eo ——— 19TH CENTURY DANCE f° 2 ° 30 © 2° 20 4313 3 2a 2 P — [Melody] _ EL 234113 Hare we have two dances. They are to be played with sprit and dash. You yourself must feel their gaiety if you want the audience to respond. Mari eERVATORIO DRA’ ope. OARLO® DE PANE! Peat 23. Rural Dance With spirit 17TH CENTURY DANCE a TATU a 130 POLISH DANCE With spirit &, © 3 0 8 4 2 EL 234114) One of the most important technics to devel softer. lop when we play chamber music is to play gradually louder, and gradually = means to play gradually louder. === means to play gradually softer, To play gradually louder means that each note is to be a bit louder than the previous note. Avoid playing two notes exactly the same. Use a little more bow as you get gradually louder. Use a little less bow as you play gradually softer. = — means to play this note a bit louder, moving the bow a bit faster at the start, DE CAMPO! 18TH CENTURY oe omeiadyy + ° fz 9 > a ar = Melody] Pe 1 3 0 ee KR PL 2 (Melody) —— = B om f 3 ~ 3 1 1 vonstrvaroro pranariconmuecn 26. Island Song SOR GARLOB DE CAMPOS" DE TATU ee A-MULUER wet mn f Vv s F y 7 7 = as 7 pe oa —" fet_~— fs ri[Metods) mA @ nMetedsy——V15 When two or more instruments play 8th notes at the same time, listen carefully to each other to make sure that you ‘move together. When we play chamber music, there is a rule that when you have two notes that are the same, one at the end of @ measure and one at the beginning of the next measure, you slightly accent the second note. An example of this isin ‘measure two and in measure four. Note the mark above these notes (= ). This is called an accent. GONBERVATORIO DRAMATIC an as 27. A Bright Star 8, WILLIAM F. SHERWIN vitard, (2nd time) uo 6 MUSIEAL svusersnron oR See oa tat = 28, A Graceful Waltz ————— “OR. B CZERNY mv 3 F delow the middle P $ mov mov roy mov roy mov ona th EL 2341 P |. (2nd time)16 In this number we have an interesting challenge. It is technically quite difficult, Note the accents on the last two measures, Be sure to play each one of these notes very stronaly. “eresc.” — means" crescendo". Play gradually louder. "dim. " — means “ diminuendo”. Play gradually softer. JRAMATICO E MUSOAL, oe 29. Rondo roy v n v E. WAGNER 8 PY a peiody) 3 EL 2341 Gr Sf