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My Next Pieces Music for Intermediate String Players
Viola
Composed, arranged and compiled by
Stephen Chin
Welcome to your next stage of making music with a bowed string instrument! This book continues from “My First Pieces” which may already be familiar to you. By working with your teacher, following the instructions carefully and practising regularly, you will be able to continue your journey to a proficient level and have a lot of fun along the way!
As always, it is essential to check your posture, bow hold and the position of your left hand each time you play. Importantly, keep your neck, shoulders, arms, and hands relaxed so that they can work for you in the best way possible. Essential information appears throughout the book as the need arises and it is best to revise this regularly.
A glossary can be found at the back of the book so you can quickly find the meaning of the terms you have learned.
Feel free to go to www.everythingstring.com to find recordings of each piece’s accompaniment. This will help you keep in time, refine your pitch, and experience the music in a fuller way. Your teacher may also be able to play the accompaniment with you which is particularly enjoyable.
Have fun!
Everything String
SAMPLE
ONLY
As a founding member of the Sydney Youth Orchestra, Stephen's interest and enthusiasm for music lead him to undertake further studies at Sydney University where formal training in both violin and composition were completed under former leader of the Australian Chamber Orchestra, John Harding and renowned Australian composer, Peter Sculthorpe respectively. Since that time, he has been invited to perform with such groups as The ABC Sinfonia, The Badinerie Players, The Queensland Philharmonic Orchestra, The Queensland Symphony Orchestra, The Queensland Pops Orchestra and Corda Spiritus.
Stephen holds a Master of Music from Queensland Conservatorium of Music Griffith University specialising in violin performance and pedagogy. He is also an examiner for the Australian Music Examination Board (AMEB). In addition to this, Stephen performs regularly with a number of professional chamber ensembles. Stephen publishes a number of string compositions and arrangements which have been used as test pieces for a number of competitions throughout Australia and are also presented as examination pieces for the AMEB. Stephen has been invited many times to adjudicate various eisteddfods and competitions such as Queensland Festival of Music, The Western Australian Schools Orchestra Festival, The Hobart Eisteddfod and the Gold Coast Eisteddfod. He is also in demand as a string and orchestral clinician, regularly conducting a number of workshops and festivals both nationally and internationally including the Melbourne Youth Music Summer School, the Sunwater and Stanwell Winter Music School and the All State Senior Orchestra in New Mexico, USA.
Stephen is a past National President of The Australian Strings Association (AUSTA) and formerly a lecturer in String Pedagogy and Practicum at the Queensland Conservatorium of Music, Griffith University. From 2008 - 2013, he was the conductor of the BEL faculty Chamber Orchestra at the University of Queensland. Stephen is presently Principal String Teacher and Director of Orchestras at Brisbane Grammar School.
Copyright © 2021 Everything String, Brisbane, Australia. www.everythingstring.com
All rights reserved.
Stephen Chin M Mus, B Mus, Dip Mus Comp
SAMPLE
ONLY
Table of Contents
TITLE PAGE TITLE PAGE
1. D MAJOR SCALE & ARPEGGIO 1 23. BARTOK SUITE 21
2. G MAJOR SCALE & ARPEGGIO 1 23 (a) PLAY SONG 21
3. C MAJOR SCALE & ARPEGGIO 1 23 (b) OLD FRIENDS (LOW VERSION) 22
BOWING STYLES 2 - 3 FINDING HIGH E 23
4. RENAISSANCE SUITE 4 23 (b) OLD FRIENDS (HIGH VERSION) 23
4 (a) LA BERGAMESCA 4 23 (c) TRA LA LA LA TULIPAN 24
4 (b) SCIARAZULA MARAZULA 4 SYNCOPATION 25
4 (c) IL CARNARIO 5 24. SYNCOPA ON THE C MAJOR SCALE 25
4 (d) PAVAN 6 25. DANCE IT, SPIN AROUND 25
4 (e) BALLO FURLANO 6 26. GUT SHABBES EUCH 26
4 (f) BRANSLE 7 27. NOBODY KNOWS THE TROUBLE I’VE SEEN 26
5. FINGER GYM IN D 8 28. TIJUANA TANGO 27
6. FINGER GYM IN G 8 29. BETHENA 28
7. FINGER GYM IN C 8 30. REPEATED STRING CROSSINGS MARY STYLE 29
8. CUT COMMON TIME 9 31 (a) CRISS-CROSS LADDERS 29
9. CANON 9 31 (b) CRISS-CROSS LADDERS SLURRED STYLE 29
10. WALTZING MATILDA 10 32. THE RECONCILIATION REEL 30
11. HATIKVA 10 33. DROWSY MAGGIE 30
VIBRATO 11 34. CORRENTE 31
12. ANDANTINO IN B MINOR 12 35 (a) SEMI SLIDES 1 – B - A# 32
13. LAMENT 12 35 (b) SEMI SLIDES 2 – E - D# 32
14. ST ANTHONY’S CHORALE 13 35 (c) SEMI SLIDES 3 – A - G# 32
15. THE FIRST NOWELL 13 36. BY THE WATERS OF BABYLON 33
16. HOME SWEET HOME 14 37. BASQUE LULLABY 33
17. WRAGGLE TAGGLE GYPSIES 14 38. JOSHUA FIT THE BATTLE OF JERICHO 24
18. FUN WITH POSITION CHANGING - 1 15 SEMIQUAVERS 34
18 (a) REACHING FOR THE CLOUDS 15 39. SEMIQUAVERS ON THE G MAJOR SCALE 34
18 (b) OPEN CROSS BUNS 16 40 (a) BUSY MACDONALD 35
18 (c) SIGHS AT THE SHINING PAGODAS 16 40 (b) BUSY MACDONALD – SHORTHAND VERSION 35
19. SKYE BOAT SONG 41. BUGLE CALLS AT DAWN 36
20. THREE 18TH CENTURY MINUETS 18 42. DING DONG DIGGIDIGGI DONG 36
20 (a) MINUET 18 43. CLAP WITH ME 37
20 (b) FANFARE MINUET 19 44. ETUDE 37
20 (c) MINUET FROM THE ROYAL FIREWORKS 19 45. C SHARP ON THE G STRING 38
21. FIRE FLIES 20 46. THE FOX WHO STOLE THE GOOSE 38
22. MATTACHINS 20 47. ADIR HU 38
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TITLE PAGE TITLE PAGE
48. GREENSLEEVES 39 85. MARCH OF THE TOY SOLDIERS 60
49. G SHARP ON THE D STRING 40 86. SIX- EIGHT ON OPEN STRINGS 62
50. FRERE JACQUES 40 87. SIX- EIGHT RHYTHMS ON THE D MAJOR SCALE 62
51. DEATH AND THE MAIDEN 40 88. THREE ENGLISH DITTIES 63
52. A MAJOR SCALE & ARPEGGIO 41 88 (a) HICKORY DICKORY DOCK 63
53. FINGER GYM IN A 41 88 (b) HERE WE GO ROUND THE MULBERRY BUSH 63
54. MARCH FROM SCIPIO 42 88 (c) POP GOES THE WEASEL 63
55. ADVANCE AUSTRALIA FAIR 43 89. DRINK TO ME ONLY WITH THINE EYES 64
56. THE A MINOR SCALES AND ARPEGGIO 44 90. HULLABALOO BELAY 64
57. FINGER GYM IN A MINOR 44 91. SUMER IS A CUMEN IN 65
58. LET ALL MORTAL FLESH KEEP SILENT 44 92. LANIGAN’S BALL 66
59. MENUET 45 93. GIGUE À L’ANGLOISE 66
60. LES BERGERS RUSTIQUE 45 94. SWALLOWTAIL JIG 67
61. FANFARES 46 95. SURF’S UP! 68
62. TI - TIKA ON THE G MAJOR SCALE 48 96. WOOLLOOMOOLOO BLUES 69
63. SKIP TO MY LOU 48 97. SONATA IN E MINOR 69
64. WILLIAM TELL OVERTURE 48 97 (a) GRAVE 69
65. POLONAISE 49 BALLETTO 70
66. TIKA - TI ON THE D MAJOR SCALE 50
97 (b)
97 (c) GAVOTTA 70
67. MICHAEL FINNEGAN 50 98. FUN WITH F AND E ON THE E STRING 71
68. CRIPPLE CREEK 50 99. F PENTATONIC SCALE 71
69. U VOROT, VOROT FROM THE 1812 OVERTURE 51 100. ARCADIAN LULLABY 71
70. THE HUNTER’S CHORUS 51 101. OLD DAN TUCKER 72
71. TUM –– TIKA ON THE G MAJOR SCALE 52 102. A MINCE PIE OR PUDDING 72
72. GAVOTTE - RAMEAU 52 103. FUN WITH HIGH Bb AND A 73
73. FUN WITH POSITION CHANGING - 2 53 104. FUN WITH LOW Bb AND A 73
73 (a) VIOLAS ONLY 53 105. THE F MAJOR SCALE AND ARPEGGIO 73
73 (b) ALL TOGETHER! 53 106. FINGER GYM IN F 74
74. TO A WILD ROSE 54 107. ALLE VÖGEL SIND SCHON DA 74
75. TIM – KA ON THE G MAJOR SCALE 55 108. THE SLEIGH RIDE 74
76. HAPPY BIRTHDAY 55 109. ONCE IN ROYAL DAVID’S CITY 75
77. SCOTLAND THE BRAVE 55 110. LOCH LOMOND 75
78. MINUET FROM DON GIOVANNI 56 111. RUSSIAN FOLK SONG 76
79. VON FREMDEN LÄNDERN UND MENSCHEN 56 112. MENUET 76
80. ENGLISH COUNTRY GARDENS 57 113. FREUT EUCH DES LEBENS 77
81. DRILL YE TARRIERS 58 114. THE IRISH WASHERWOMAN 77
82. TRIPLETS ON THE D MAJOR SCALE 58 115. THE D MINOR SCALES AND ARPEGGIO 78
83. WIND TURBINES 59 116. FINGER GYM IN D MINOR 78
84. AMAZING GRACE 59 117. AH POOR BIRD 78
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TITLE PAGE TITLE PAGE
118. AUTUMN COMES 79 136. ANNIE THE MILLERS DAUGHTER 90
119. GOD REST YOU MERRY GENTLEMEN 79 137. A YA ZAIN 91
120. OLD FRENCH SONG 80 138. GO DOWN MOSES 91
121. ERSCHIENEN IST DER HERRLICHE TAG 81 139. BELLE QUI TIENS MA VIE 92
122. RONDO FROM ABDELAZAR 82 140. PAVAN 92
123. THE Bb PENTATONIC SCALE 84 141. COVENTRY CAROL 93
124. CHATTANOOGA CHOO CHOO 84 142. PASTIME WITH GOOD COMPANY 93
125. FUN WITH Eb AND D 85 143. TWO DANCES - HASSE 94
126. OH CALIFORNIA 85 143 (a) BOURREE 94
127. THE Bb MAJOR SCALE AND ARPEGGIO 86 143 (b) MENUETT 95
128. FINGER GYM IN Bb 86 144. TWO MINUETS - BACH 96
129. BOUND FOR SOUTH AUSTRALIA 86 144 (a) MINUET I 96
130. BOTANY BAY 87 144 (b) MINUET II 97
131. THE LONDONDERRY AIR 87 145. SHALOM 97
132. MENUET & TRIO 88 146. HAVA NAGILA 98
133. THE G MINOR SCALES AND ARPEGGIO 89 NOTES ON SCALES 99 - 100
134. FINGER GYM IN G MINOR 89 TWO OCTAVE SCALES AND ARPEGGIOS 101 - 6
135. BRISBANE LADIES 90 GLOSSARY 107 - 8
SAMPLE
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1. The D Major Scale and Arpeggio
Review
Adagio q = 60
Stephen Chin
7
Adagio q = 60
Stephen Chin
2. The G Major Scale and Arpeggio
Review both versions
7
Adagio q = 60
3. The C Major Scale and Arpeggio
Review
Stephen Chin
7
4
4
4
4
4
4
B##
≥
*(i)
(ii)
f
≤
≤
≥ (Learn both bowings)
(4)
B##
* Place bow at the p, keeping your right hand in line with
the C - bout. Always bow at a right angle to the string.
≥
≤(retake to tip)
,≥
≤
B#
(Use the same bowings as above.)
f
B#
B
(Use the same bowings as above.)
f
(4)
(low 2)
(4)
(low 2)
B
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ Ó ˙˙
˙˙
˙˙
w
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙Ó
˙˙
˙˙
˙˙
w
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
Ó
Ó
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
w
w
1
SAMPLE
ONLY
BOWING STYLES
for scales and arpeggios
3
4
2
4
4
4
3
4
B##
(i) Three Beats Each Note
TIP: Try also very slowly using SB's.
WB
≥
WB = Whole Bow UH = Upper Half LH = Lower Half
MB = Middle of the Bow FB = Fast Bow SB = Slow Bow
BP = Balance Point of the Bow = Retake or Li the Bow
≤ ≥ ≤
B##
(ii) Slurring Two Notes to a Bow
WB
TIP: Try also very slowly using SB's
≥≤
B##
≤
≥
(a) At the frog
(b) At the p
(c) Frog to p
(iii) Retakes
≥ ,
≤
≤
≥simile
B##
(iv) Martelé at the Middle
MB & FB
TIP: Silently wriggle the string with the bow hair before playing.
Move the bow quickly, stopping gently between strokes.
.≥
. ..≤ . . .≥ . . .≤ . .
˙. ˙. ˙. ˙.
˙ ˙ ˙ ˙
œ Œ œ Œœ
Œœ
Œœ
Œœ
Œ
œ
Œ
œ
Œ
œ œ œ œ œ œ œ œ œ œ œ œ
2
SAMPLE
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BOWING STYLES
(continued)
2
4
4
4
3
4
2
4
3
4
4
4
B##
(v) Smooth Quavers
TIP: Use a flexible right hand ac on.
MB, UH or LH
≥
B##
(vi) Bowing Divisions
WB - UH
≥
WB - LH
≤ ≥ ≤
B##
(vii) Bowing Divisions with Quavers
FB-UH
≥
FB-LH
≤ ≥ ≤
B##
(viii) Hook Stroke
.
≥
..≤
. . . . .
B##
(ix) Zig - Zag bowing
LH - MB - UH
≥
UH - MB - LH
≤ ≥ ≤
B##
(x) Spiccato at the Balance Point
TIP: Hold the bow lightly, bouncing the bow ver cally with
the hand before adding the slight sideways arm movement.
BP
.≥. . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . .
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ. œ
J
œ. œ
J
œ. œ
J
œ. œ
J
œ. œ
J
œ œ. œ
J
œ œ. œ
J
œ œ. œ
J
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3
SAMPLE
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Moderato q = 80
16th century Italian
Arr. Stephen Chin
4. Renaissance Suite
4(a) La Bergamesca
5
A
9
13
Allegro q = 132
Pierre Phalese (1510 - 1576)
Arr. Stephen Chin
4(b) Schiarazula Marazula
5
A
9
13
4
4
4
4
B##
f
≥
The Renaissance period in music is approximately 1400 - 1600.
A suite is a set of dances.
B##
p
≤
B##
f
≥
B##
p
≤ ≤ ≤
pp
B#
f
.≤ . . . . . . . . ..
. . . . .
.
B#
. . . . . . . . ..
. . . . .
(4)
p
B#
. . . . . . .
f
. . ..
. . .
(4)
p
B#
. . . . . . .
f
. . ..
>
œ œ œ œ œ œœ
œ
œ œ œ œ œ œ˙
œ œ œ œ œ œœ
œ
œ œ œ œ œ œ˙
œ œ œ œœ œ œ
œœ œ œ œ
œ œ ˙
œ œ œ œœ œ œ
œœ œ œ œ
œ œ ˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
œ œ œ œ œ œ œœ œ œ
œ œ œ œ œ œœ œ
œ œ œ œ œ œ œœ œ œ
œ œ œ ˙.
4
SAMPLE
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Allegro q = 132
Fabritio Caroso (1527 - 1604)
Arr.Stephen Chin
4(c) Il Canario
5
A
9
13
B
20
24
C28
32
D
36
40
3
4
2
4
3
4
2
4
3
4
B
f
≥ ≤ ≤(4)
B
(low 2)
B
p
-≤
-≤
(4)
B
(4)
f
≥
B
f
(4)
B
p
(4)
B
f
≤ ≤(4)
B
(4)
B
p
≤ ≤(4)
B
(4)
f
˙ œ œ œ œ ˙ œ ˙ œ
œ œ œ œ œ œ ˙ œ ˙ œ
˙ œ œ œ œ ˙ œ ˙ œ
œ œ œ œ œ œ ˙ ˙ œ œ ˙. ˙.
˙ œ ˙ œœ ˙ ˙ œ
˙ œ ˙ œ œ ˙ ˙ œ
˙ œ œ œ œ ˙ œ ˙ œ
œ œ œ œ œ œ ˙ œ ˙ œ
˙ œ œ œ œ ˙ œ ˙ œ
œ œ œ œ œ œ ˙ ˙ œ œ ˙. ˙.
5
SAMPLE
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Lento q = 60
Tylman Susato (1500 - 1564)
Arr. Stephen Chin
4(d) Pavan
5
A
9
13
Allegro q = 132
4(e) Ballo Furlano
5
A
9
13
B
17
21
4
4
4
4
B
p
≥
B
pp
≤ ≤≤
mf
≤
B
≤
p
≤
B
pp
B
f
≥(low 2)
Pierre Phalese (1510 - 1576)
Arr. Stephen Chin
p
≤
B
f
≥
B
p
≤
f
≥
B
p
≤
B
cresc.
≤ ≤
f
≥
B
dim.p
˙ œ œ ˙ œœ œ œ œ œ ˙. Œ
˙ œ œ ˙ œœ œ œ œ œ ˙.
œ
œ œ œœ œ œ œ
œ œ œ œ œ ˙ œ
œ
œ œ œœ œ œ œ
œ œ œ œ œ ˙.Œ
œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ ˙ œ œ
œ œ œ œ ˙ œ œ œ œ œ ˙ ˙˙
œ œ ˙ ˙˙ œ œ ˙ ˙ œ œ
˙ ˙ ˙ œ œ œ œ œ ˙ ˙ œ œ
˙ œ œ ˙ œ œ œ œ œ œ ˙ ˙
œ œ ˙ ˙ ˙ œ œ ˙ ˙
6
SAMPLE
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Vivace q = 160
Claude Gervaise (c 1500 - 60)
Arr. Stephen Chin
4(f) Bransle
5
A
9
13
B17
21
C
25
29
33
37
4
4B
#
f
≥
B#
B#
p
≤
B#
B#
f
≥
B#
p
≤
B#
f
≥
B#
B#
p
≤
B#
cresc.
f
≤ ≤ ≥
œ œ œ œ œ œ œ œœ œ œ œ ˙ ˙
œ œ œ œ œ œ œ œœ œ œ œ œ œ ˙
œ œ œ œ œ œ œ œœ œ œ œ ˙ ˙
œ œ œ œ œ œ œ œœ œ œ œ œ œ ˙
œ œœ œ œ œ œ
œ œ œ œ œœ œ œ œ œ
œ ˙
œ œœ œ œ œ œ
œ œ œ œ œœ œ œ œ œ
œ ˙
œ œ œ œ œ œ œ œœ œ œ œ ˙ ˙
œ œ œ œ œ œ œ œœ œ œ œ œ œ ˙
œ œ œ œ œ œ œ œœ œ œ œ ˙ ˙
œ œ œ œ œ œ œ œœ œ œ œ œ œ ˙
7
SAMPLE
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Moderato - Allegro q = 80 - 160
Stephen Chin
5. Finger Gym in D
3
Moderato - Allegro q = 80 - 160
Stephen Chin
6. Finger Gym in G
3
Moderato - Allegro q = 80 - 160
Stephen Chin
7. Finger Gym in C
3
4
4
4
4
4
4
B##
f
≥
B##
TIP: Prac se slowly at first and increase your speed gradually over a week or
more. Using a metronome will help you co-ordinate both hands accurately.
(4)
B#
f
≥
B#
B
f
≥
B
(4)
œ œ œœ œ œ œ
œ œ
œ œ œ œ œ œ œ
œœ
œœ
œœ
œœ
œœ œ
œ œœ
œœ
œ œ œœ œ œ œ
œ œ
œ œ œ œ œ œ œ
œœ
œœ
œœ
œœ
œœ œ
œ œœ
œœ
œ œ œœ œ œ œ
œ œ
œ œ œ œ œ œ œ
œœ
œœ
œœ
œœ
œœ œ
œ œœ
œœ
8
SAMPLE
ONLY
Moderato h = 50
Stephen Chin
8. Cut Common Time
on Open Strings
5
Moderato h = 50
1
Johann Pachelbel (1653 - 1706)
Arr. Stephen Chin
9. Canon
2
5
39
13
2
2
2
2
B#
f
≥
Two minim beats per bar.
or
,
B#
≥
B#
mf
≥
This piece may be played as a Canon but it is not essen al.
Canon - another player starts when the next sec on in a boxed number starts.
Player 1 finishes at the end, player 2 at bar 13 and player 3 at bar 9.
B#
mp
B#
U
mf
( )
B#
U
mp
( )
f
U
˙ ˙
˙ ˙
˙
˙ œ
œ
œ Œ
˙ ˙
˙ ˙
˙
˙
œ
œ
œŒ
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙˙
œœ
œ œ œœ
œ œ œœ
œ
œ œœ œ œ
œœ œ
œ œœ
œ
œ œœ œ
œ œ
œ œ. œ
J
w
9
SAMPLE
ONLY
Moderato h = 50
Marie Cowan (? - 1919)
Arr. Stephen Chin
10. Waltzing Matilda
5
A
9
13
Allegro moderato h = 60
11. Hatikvah
Israeli National Anthem
Samuel Cohen (1870 - 1940)
Arr. Stephen Chin
5
A
9
B
13
17
C
C
B
mf
≥
B
≥,
B
f
≥≤
B
mp
f
B
mf
≥(4)≥
≤≤
B
p
≥(4)≥
≤≤
B
f
≥(4)
≥
≤ ≥ ≤
p
≥(4)
≥
≤ ≥ ≤
B
mf
≥≥
(4)
≥ ≥
B
mp
(4)
≤
≤ (4)
≤
f
≤ ≥ ≤ ≥
"Hey!"
pizz.
+
œ œ œ œ œ œ œ œ œœœ œ œ
œœœœ œ œ œ œ œ œ
œ œ
œ œ œ œ œ œ œ œ œœœ œ œ
œœœœ œ œ œ œ œ ˙
œ œ œ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œœœ œ œ
œœœœ œ œ œ œ œ ˙
œ œ œ œ œ œ œ œ œœ˙ œ œ œ œ œ œ œ œ œ œ
˙
œ œ œ œ œ œ œ œ œœ
˙ œ œ œ œ œ œ œ œ œ œ˙
œ
œ œ œ œ œ œ œ ˙
œ
œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ
˙
œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ
œ
œ
10
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11
2nd finger p in forward posi on. 2nd finger p in backward posi on
Vibrato is used to give notes greater vitality or depth of tone. It is produced when the pitch of
a note changes slightly yet rapidly by the rocking ac on of the finger p (see images below).
Your teacher will be able to explain how this is best done on your instrument.
However, there are a few things that you need to keep in mind when doing vibrato:
1. Keep both arms very relaxed.
2. Prac se the rocking ac on on a smooth surface such as a table.
3. The le thumb and vibra ng finger p only gently touch the instrument.
4. Imagine there is a suc on cap at the end of the rocking finger p.
5. The instrument must remain s ll as the finger p rocks back and forth.
6. Violinists or violists may imagine they are shaking their fists.
7. Cellists and bassists could picture themselves bouncing a basketball.
8. The whole arm arches elegantly with the wrist bending out slightly.
Vibrato
SAMPLE
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Andantino q = 80
Stephen Chin
12. Andantino in B minor
5
A
9
13
Lento q = 60
Stephen Chin
13. Lament
5
A9
13
B
17
21
3
4
4
4
B##
p
≥
Use vibrato where possible
B##
mf
,
B##
f
≥
B##
p
B#
mp
≥
Use vibrato where possible
(4)
B#
≥≤ ≥ ≤ ≥
B#
mf
≥
≥
≤
B#
≥
f
B#
mp
≥(4)
B#
≥≤ ≥ ≤ ≥
˙. ˙. ˙.˙.
˙. ˙. ˙. ˙
Œ
˙.
˙. ˙.˙.
˙. ˙.
˙. ˙.
œ œ ˙ œœ
˙ œ œ œ œ˙ ˙
œ œ ˙ œœ
œ œ œ œ œœ œ ˙ ˙
œœ œ œ
œœ œ œ
œœ œ œ œ
œ œ ˙
œœ œ œ
œœ œ# œ œ œ# œ œ ˙ ˙
œ œ ˙ œœ
˙ œ œ œ œ˙ ˙
œ œ ˙ œœ
œ œ œ œ œœ œ ˙ ˙
12
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Andante h = 50
Josef Haydn (1732 - 1809)
Arr. Stephen Chin
14. St Anthony's Chorale
6
A
11
15
B
19
23
.
.
Moderato q = 92
17th Century English Carol
Arr. Stephen Chin
15. The First Nowell
5
.
.
9
13
2
2
3
4
B#
f
≥
Use vibrato where possible
- -(4)
B#
- -(4)
≥ ,
B#
p
≥≤ ≥ ≤
B#
mp
≥ ≤ ≥
B#
f
≥- -
(4)
B#
≥
p
U
B##
mpUse vibrato where possible
≤≥
(4) (4)
B##
mf
≤ ≥
B##
mp
≤(4)
(4)
≥
B##
f
≤
≥U
œ. œ
J
œ œ ˙ ˙ ˙ ˙ œ. œ
J
œœ œ
œ˙ œ
œ œ œ
œ. œ
J
œ œ ˙ ˙ ˙ ˙ œ. œ
Jœ œ
˙ œ
Œ
œ. œ
J
œ œ œ. œ
J
œ œ œ. œ
J
œ œ œ œ ˙
œ. œ
J
œ œ œ. œ
J
œ œ œ. œ
J
œ œ ˙ ˙
œ. œ
J
œ œ ˙ ˙ ˙ ˙ œ. œ
Jœ œ
w w w w ˙ ˙ ˙ ˙ w
œ œ œ. œ
J
œ œ ˙ œ œ œ œ œ ˙ œ œ
œ œ œ œ œ œ œœ œ ˙
œ œ œ. œ
J
œ œ ˙œ œ ˙ œ ˙.
œ œ œ œ œ œ œœ œ ˙
13
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Allegretto q = 104Sir Henry Bishop (1786-1855)
Arr. Stephen Chin
16. Home Sweet Home
5
9
13
.
.
Vivo h = 84
17. The Wraggle Taggle Gypsies
English Folk Song
Arr. Stephen Chin
5
.
.
.
.
9
13
.
.
4
4
C
B#
mfUse vibrato where possible
≤≥ (4)
p
B#
(4)
mf
B#
(4)
p
B#
(4)
pp
B
f
Accidental - an accidental is usually a flat, sharp or natural sign that is placed
before a note to alter its pitch. It is not generally put in front of a note that is
already affected by the key signature and lasts only for the dura on of the bar.
An accidental in a bracket is known as courtesy accidental and normally acts as a
reminder a er an accidental has been used in a previous bar.
≥ ≤
-
-≤ ≥ ≤
B
≥ ≤ ≥
B
p
≤≥
f
B
≥ > >
œ œ ˙ œœ ˙
œœ œ. œ
j
œœ ˙.
œ œ
˙ œœ ˙
œœ œ. œ
j
œœ ˙.
œ
œ. œ
J
œ œ ˙œ
œ œ. œ
j
œœ ˙.
œ
œ. œ
J
œ œ ˙œ
œ œ. œ
j
œœ ˙.
œ œ œœ œ
œ œ œ œ œ
œœ œ œ œ œ œ
œ ˙
œ œ œœ œ œ œ œ œ
œœ œ
œ œ œ œ œ
œ œ
œ˙ ˙
œ œ# œœ œ
œœ œ œ œ œ œ# œ œ
œ œ œœ œ<n> œ œ œ œ
œœ œ
œ œ œ œ œ
œ œ
14
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