BMC9386 A TUNE A DAY FOR CELLO (BOOK 1) Herfurth Cello $7.95

BY C PAUL HERFURTH

BOOK ONE.

~OSTON MUSIC COMPANY

A Tune a Day For 'CELLO

A First Book for Violoncello Instruction

in Group, Public School Classes or Individual Lessons

[Provides training in ensemble playing when] used with the Violin and Viola books

By

c. PAUL HERFURTH

BOOK ONE-ELEMENTARY TEACHER'S MANUAL

A complete guide for teaching "A TUNE A DkY" for either Violin, Viola or 'Cello; containing plano accompaniments

A verg convenient book lor home practice

© Copyright 1937, 1964 by The Boston Music Company

International Copyright Secured Printed in U.S.A. All Rights Reserved

PUPIL'S PRACTICE RECORD SEPT. OCT. NOV. DEC. JA N.

I 2 3 4 5 I 2 3 4 5 I 2 3 4 5 I 2 3 4 5 I 2 3

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday FEB. MAR. AP R. MAY JU NE

I 2 3 4 5 I 2 3 4 5 I 2 3 4 5 I 2 3 4 5 I 2 3

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Always Record Practice Time in Minutes. All Practice Time Lost Must Be Made Up.

1st Week

2nd Week

3rd Week

4th Week

NAME

TEL.

Sept. Oct. Nov.

WEEKLY GRADE

ADDRESS

SCHOOL GRADE

Dec. Jan. Feb. Mar. Apr. May June

4 5

4 5

Test s

E-Excellent; G-Good; M-Medium, Distinctly Aboye Passing; L-Low, Doubtfully Passing; F-Vcry Poor, Failure.

[ ii 1

BMC9386

FOREWORD TO TEACHERS

I N compiling this course the objective has intentionally been not to cover too much ground; but rather to con-cent.rate on the acquisition of a thorough musical back-ground and a solid foundation in good 'cello playing. These two requisites are inseparable.

A brief section is devoted to the simpler rudiments of music which should first be thoroughly understood. An-other introductory section discusses the holding of the 'cello and bow, since, without the correct position of the left hand, and the proper drawing of the bow, good 'cello play-ing is impossible. With this in mind, considerable material has been given for the open strings before attempting the use of the fingers .

The accurate placing of each finger should be insisted upon.

Cultivate in the pupil the habit of careful listening.

The familiar hymns and folk-songs have been selected because of their melodic interest as pieces, and because, in addition, in each appears some technical point to be mastered.

The value of learning to count aloud from the very beginning cannot be over-estimated. Only in this way can a pupil sense rhythm. Rhythm, one of the most essential elements of music, and usually conspicuous by its absence in amateur ensemble playing, is emphasized throughout. For instance, Lesson 12 emphasizes an essential step in rhythmic development.

Many teachers do the thinking for their pupils, instead of helping them to think for themselves. Insisting upon the mastery of each point will not dull their interest.

What greater joy, whether it he child or adult, than to accomplish, achieve, and gain more power.

Lessons marked "Supplementary Material " lllay be given as a reward for well-prepared work.

Class teaching should be a combination of individual instruction and ensemble playing. At every lesson there should be individual playing so that all the necessary co~rections can be made. Never allow pupils' mistakes t n go unnoticed, since only in constant correction will they develop the habit of careful thinking and playing.

A decided advantage of group-teaching is that it pro-vides experience in ensemble playing and gives every pupi l the opportunity of listening to the others, of observing their mistakes, and of hearing the corrections.

For the best results each class should not be made up of more than six for a half-hour lesson, and twelve for an hour lesson. Irrespective of the numbers, the teacher must see to it that there is individual instruction as well as general directions to the class.

Classes should be regraded whenever necessary so as not to retard the progress of the brighter students, nor t o discourage the slower ones. It also acts as an incentive for greater effort on the part of the pupils.

It is recommended that every student practice forty-five minutes a day. This course provides one lesson a week for a school year.

The eventual success of each pupil depends on the regular and careful home practice, according to directions.

If possible it would be well for the teacher to keep in touch with the parents.

Grateful acknowledgment is Tf!ade by the author for the assistance of many teachers under whose direction th is course has been used.

C. PAUL HERFURTH Director of Instrumental Music

East Orange, N. J .

FOREWORD TO THE REVISED EDITION Although the outstanding success of "A TUNE A DAY" in its original form for violin has far exceeded the

author's expectations, its use in many school systems throughout this country, Canada and Australia has prompted the author to consult with a number of these teachers, to discuss the possibility of improvement.

Because the material has been subjected to the routine of actual classroom teaching, it has been constantly revised and improved in the light of this experience, until in its present form it represents a thoroughly workable course of study for string class teaching.

In this revised edition the author has eliminated certain exercises for which no immediate need was necessar)' , and has incorporated additional material in the form of new melodies, and secondary teacher parts.

The addition of a piano book to aid the pupils in ear-training and rhythm will greatly enhance the value of this course.

C. P. H.

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BMC9386

RUDIMENTS OF MUSIC

Music is represented on pap_er by a combination of characters and signs, all of which it ie necessary

to learn in order to play the 'Cello intelligently.

Characters called notes are written upon and between five lines ~~ ~~~~~~ which is called the staff.

The character ::iJ~~~~~~~~ placed at the beginning of the staff is called the Bass or F clef.

The staff is divided by bars into measures as fo11ows.

Bar Bar Bar

? Mea&\lre Measure aea&\l£8 keae\lre I These measures, in turn, are equal in time value, according to the fractional numbers,

Line Notes Space Notes

? T ? II II ·r 11

II e + '.' ! ~ i Good Boys Deserve Favors At so An Children Enjoy Goodies

A rest indicates a pause, or silence for the value of the note after which it is named, such as , - 1- -Whole Rest Half Rests

THE'CELLO Scroll

c Strtnll,

flttr---~:--- G Strlnll,

I MI-----t-- D Strlnll,

11----+-~ Strinll.

I t I' ,· etl; Quarter Rests Eighth Rests

The end of a piece IS indicated by a light and heavy

line.

? II

"\\tnen a section or part of a piece is to be repeated, it

will be shown by a double bar with two dots.

=I

KEY SIGNATURES

The Sharps or Flats found after the Clef at the begin-

ning of each line is called the Key Signature.

These Sharps or Flats effect all the notes of the same

name throughout the piece, except when changed by a

new Key Signature or temporarily by an accidental. An

Accidental is a Sharp or Flat which does not belong to the

Key Signature. An Accidental applies only to the measure

in which it is placed.

SHARPS, FLATS, AND NATURALS

A Sharp (#) raises the note to which it applies by

Top on---half tone.

A Flat (!?) lowers the note to which it applies by

one-half tone.

A Natural (q) takes away the effect of a sharp or flat

and restores the note to its original pitch.

THE BOW GRIP

ft~K l

TIP__..,a @1··~===========-====~~-=~:!-:~-=====-=========:~=~==,,r·· SCREW HAIR FROC:

[ v l

B.MC9386

HOLDING THE 'CELLO

r l I

SIT rather well forward on the chair so that your

body is in a natural erect position. Hold the 'cello

firmly between the knees (just above its greatest

width) so that the right knee is against the right

side, and the left knee is against the left side. The

right, upper back edge of the 'cello should rest against

your chest.

The instrument should be adjusted as to height

by the tail-pin so that the C string peg (lower right)

is on a level with your left ear.

Fig. I Rest Position

POSITION OF THE LEFT HAND AND THUMB

Fig. II

WITH your left hand in a half closed position,

place the ball of your thumb against the back of

the neck about three and one half (3Yz) inches

down. Fingers curved over the fingerboard. The

first finger approximately three (3) inches down from

the nut; the second and third fingers should be curved

so that their tips may be pressed firmly upon the

strings.· The fourth or little finger is also slightly

curved. Firmness of left hand fingers (playing with

the fingertips) is of the utmost importance for good

tone production.

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BMC9386

HOLDING THE BOW Take the bow in the left hand, ,and hold at the extreme end below the frog, in such a position th at the hair is

facing up and the tip of the bow is pointing away from you (Fig. III ). (1 ) Place the T IP of the thumb (right hand) slightly curved at the joint, against the stick so that it t ouches the raised part of the frog on the stick (Fig. III and IV). (2) Allow the middle finger t o curve around the st ick at the first joint (from the tip ) oppos ite th e thumb. (3) Place the third, or ring finger, next to the middle finger so that it curves around the stick at t he first joint, and rest s against the side of the frog. (4) Allow the first finger t o rest on the stick in th e first joint. (5) Th e tip of the little finger rests on the stick in a natural position. R elease the left hand. The fingers should be close together (Fig. V and VI).

The bow is controlled by the first three fingers and the thumb. The bow hair for play ing should be tightened so that it is about a q ua rter of an inch a way from the st ick at the

center of the bow. Always loosen the hair when not playing.

Fi~. Ill

Fig. VII Position of bow while

playing at I he tip

Fi~. IV Showing position of bow stick in relation to fingers

Fi~. V

SILENT EXERCISES FOR THE BOW With the 'cell o in position, place the bow on the A

string at different points, i.e., at the middle, tip, and frog.

At each point hold the bow perfectly st ill for 2 minutes .

Take notice of the position of arm, wrist, etc. as follows.

The bow must always be at ri ght angles tp the strings, i.e. ,

parallel with the bridge, and midway between the finger-

board and bridge. When the bow is at the point, the

wrist. should be sunk in (ve ry slightly) and when at the

frog, should be cur ved up (not too much ) . The hand is

always in the same relative position to the bow. Do not

allow the fingers to move on the bow stick. When plac-

ing the bow on the strings, the sti ck is turned slightly

t owards the fingerboard, so that only the edge of the hair

touch es the strings. This rule varies according to the

dynamic effect desired. Practice this on all strings.

Fi~. VI

Fi~. VIII Position of bow while

playing at the frog

Notice that th~ elbow is slightly higher when playing on the A and D strings, but never should the elbow be higher than the hand . Raise the hand to the level of the st ring desired, keeping the elbow entirely relaxed . Any exertion

of the upper arm muscles is very harmful t o a good tone (Fig. VII and VIII).

BMC9386

SIGNS AND ABBREVIATIONS FOR BOWING

n means Down Bow V means Up Bow

W.B. means Whole Bow M.H. means Middle half of Bow

[vii]

TUNING YOUR 'CELLO

I

-&

I

............ IT is quite easy to tune your 'cello

with the aid of a piano, and you should learn as soon as possible. If no piano is available use a 'cello pitch-pipe.

DIRECTIONS

Hold the 'cello by the larger end between the knees, the strings toward you. Strike the note A on the piano (see diagram), or blow it on the pitch-ptpe. With the thumb of the left hand pick the A string to compare it with the piano. If the string sounds lower (flat) the pitch of the string must be rai sed by turning the A peg away from you with the right hand . Turn the peg slowly while picking the string with the left thumb until it sounds in unison with the piano or pitch-pipe. If the string sounds higher (sharp) than the piano it must be lowered by turning the peg slowly toward you until the pitch of the

I

Pee (G Stflna)

Pee (C s_rtlna)

... ·-,.., 'C ~·~

.

BMC9386

FOREWORD FOR OPTIONAL LESSONS ONE THHOUGH FIVE

Although the outstanding success of " A TUNE A DAY" in its present form has far exceeded the author's expectations. its use in many school systems through-out this country , Canada, and Australia has prompted the author to consult with a number of these teachers , to discuss the use of the quarter note approach.

The thinking of string teacher~ seems to be about equally divided between the whole note and the quarter note approach for beginning string instrument students.

In order to make the "TUNE A DAY" string class method more valuable to those teachers who prefer the quarter note approach, the author has compiled optional material for the first five lessons with this objective in mind. These optional lessons appear in the violin, viola, 'cello, and bass books, thus providing for the teaching of these instruments in one group through the class procedure.

In order to simplify the learning of holding the instrument and bow at the same time, the first lesson uses the pizzicato approach through employing open string letter names only, thus eliminating the holding of the bow and the reading of pitch names on the staff.

'Vith this approach in 't/4 rhythm the beginner is better able to think and feel the pulsation of this marching rhythm.

The whole and half note approach remains the same as before, starting with the regular Lesson One (1) on Page I for those teachers who prefer this procedure.

The author helieves that, with these first five optional lessons included in the series of "A Tl'NE A DAY'', it now covers the needs of all discriminating string teachers.

C. PAUL HERFURTH.

C G D A

LESSON 1 roPTIONALJ

The Open Strings Pizzicato

Pizzicato rpizz.) = Plucking the strings. Afte r learning the left hand position in holding the 'Ce llo (page \'1 ), the name s and positions of the open strings sl:ould be unce rstood. See diagram showing pizz. position as follows: Place the tip of the thumb (right hand ) against the upper edge of the finge rboard (about four inches from the low e r e nd ) under the C string and pluck the strings with the first finger.

Additional exercises for open strings G, D, A, Pizz., may be written on the blackbo

LESSON 2• (OPTIONAL)

c G D A 3}:

Q

e Holding and Drawing the Bow

-- : After acquiring the feeling for holding the bow correctly (P.VIIJ( in the beginning this can b e done much easier with a pencil) try playing on the open strings .* The right arm must be completely relaxed to permit the bow to be drawn freely.

c G D A

Silent bow exercises: With the left hand and arm holding an imaginary 'Cello move the right hand and arm down and up as in actual playing until complete relaxation has bee n ac-complished. When using the bow avoid all tension in the bow arm. 1""1 =Down Bow. Y =Up Bow.

Study the names of the open strings in relation to the notes as written on the staff, (s et' dia-l gram above ).You are now playing quarter notes (one count to each note ) COUNT ALOUD.

~ v r"1 y_ ~ v r"1 v @~ v ~ v ~ v ~ '!..

2= i r r 1 r r 1 F r 1 r ; =II= r r 1 r ~ 1 r r 1 F r =II Count: t 2 t 2 r t 2 t §

~ V ~ V D _ G ®~ ~ ~ ~ A D G D ®~2=~f~r~~~~~J~J~I~F~F~I~J~J§=~II=~c$r~I~J~r~I[~F~I~J$r~=ll

Count: t 2 t 2 t 2 t 2

Count: t 2 IF r I r

® NOT IN UNISON

r"1 v r"1 v r =II: r r 1 r r: 1 r r

i 2 t 2 I r r =II

NOT IN UNISON

r"1 v r"1 v @ -2= 1 r r 1 r r

i 2

NOT IN UNISON NOT IN UNISON

~ y_ r"1 y_ c - - @~ v 8 v G c (7) t~u!t, f i I f ~ I J J I J J =II= ~ ~ I J 4 I J J I J J =II

t 2 Baa! Baa! Black Sheep**

r"1 v r"1 v v Nursery Rhyme - -Pupil

Count: t '2 I 1t 12 I I I I t 2 I ! I I ! •••• 1,.,

Teacher I I I

r"1 v r"1 - - -. . I I I I I

I I • •• ! I I -- -· -. .

I .......,

•Procedure for this lesson .

LESSON 3 (OPT IONA.LJ

Continuation of Open String Quarter Notes (One Count Each)

,., CD v= I r

Count:t

v

J @,., v

1 r w =IIi r r t 2

,.,

lr t

v

r 1 r r 2

,.,

lr f

v J I r 2

NOT IN UNISON ,., v ,., v rli\ NOT IN UNISON

r =II

® ;>= 1 r r 1 r w 1 r r Count: t 2 t 2

\.::!;) ,., v ,., v

I r F =II= ~ g I ~ ~ I J J I :J g =II 2

,., v Twinkle, Twinkle, Little Star •

,., v ,., v Nursery RhymP. Pupil

Count: t 2

,., v ,., ,., v

t 2 t 2 ./)a papo (=From

LESSON 4 WPTIOHA.l)

Half Notes - Two Counts Each A half note is equal to two quarter notes tied . "\\"hen two notes on the same degree of the staff

LESSON 5 (OPTIONAL>

Whole Notes- Four Counts Each Draw the bow with an equality of motion in a straight lin e paralle l with the bridge . L earn to save the

bow, i. e., a fault that is very prevalent is the starting of the bow at a t o o rapid pace, whe reby the great-e r part of the bow is used up before half the time value of the note has e xpire d . Who le n otes f our counts, half notes two counts.

(Always count aloud and give each note its full value. ) USE A WHOLE BOW

1 Simplified piano accompaniments to all the exercises, scales and pie ces in this bo ok will be found in the PiC~no Accompaniment Book for home practice or in th e Teacher's Manual. Accompaniments naturally stim-uiate practice thereby making progress more rapid when these accompan i ment book s a r e u sed.

A D G c

i 1 0 0 ~

e 1 i I e ---

On the Ce llo

II On the staff

A TUNE A DAY

LESSON 1

The Open Strings

Hold the bow fir m ly upon th e strings whil e counttng the rests. Draw the bow wit h an eq u a lit y of mot i on in a straight line par al-l e l with th e bridge. Lea rn to save the bow, i.e., a fault th at is ve r y pr evale nt i s the s t a rting of the bow at a too rapid p a ce, whereby th e greater p a rt of the bow is u sed up befo r e half the time va lue of the note h as ex pir ed.

The Open A-String Whole not e s four counts, half notes two counts. Use whole bow for each note, drawing the bow a lit-

tle faster for the half notes than for the whole notes . n= Down bow, V= Up bow, W. B.= Whole bow.

Always count aloud and give each note its full value.

(!) WHOLE NOTE WB n WHOLE REST v v REPEAT

?=f 0 0 0 :II -Count: 1 2 3 4 1 2 3 4

®wB n v n v ®HALF NOTES

n V n v n v n v ?=t 0 0 0 0 :II: E E liT f9 I IE E It E :I Count: 1 2 3 4 1 2 3 4

Draw the bow a little faster for the half notes.

®wB nHALF REST V n v n v n v ?=t r - lc - I r: - IE - I E IE lc - liT - :I Count: 1 2 3 4

Au clair de Ia lune French Folk-Song

n V n v n v V n v n V ~ ~ -.

Pupil . Count: 1 2 3 4 12 3 4

n . Teacher .

I I I T T I I ------ I I I I I I I

Copyright 1937, by The Boston Must'c Co. BMC9386 Printed in U.S . A .

2 LES SON 2

The Open D-String Whol e not es four cou n t s , h a lf notes tw o coun ts . Count al o ud .

CDwB n v n v q:;t , e e - e - e - :II C ount: 1 2 3 4 1 2 3 4

® WB n v n v ®n v n v n v n v q:;t e e e e =l:r;; r I r r I r r lr r =II , I Count: 1 2 3 4 1 2 3 4 ®wB n v n v n v n v q: ~~ r - I~ - lr - I r - lr - lr - lr - lr :II Y · I Count: 1 2 3 4 1 2 3 4

Marching

® n v n v n v n v n v n v . Pupil .

Count: 1 i 2 134 I I I I I I 2 3 4 n .. .. .. ~ ~~~. .~ ... .

Teacher .

The Open A-and D-Strings In c ro ss1ng s tr1ng s do not lift th e b ow off the s tring. Hold th e bow firml y up o n th e s tri ng whi l e r a is-

ing or lo we n ng th e h a nd .

® wu n '?: B e Count: 1 2 3 4 1 2

(j) WB n v e

0

n

I r @ n .

Pupil . Count: 1

Teacher .

3

v r

2

v e

4

n e

n v n lr t I r

V n

I 2 ~ 4 3 4 1

I

n v e =II e -

v ®n v n v n v n v =II= r j lr It

.,9

lr =II 0 r I r 1 2 3 4 v @) n v n v n v n v j

=II= r [ It r I r c IF r =II 1 2 3 4

Merrily

,.., ,.., V n V n v n V n V n

I I I I

I I

B IC9386

LE SSON 3 3

Quarter Notes and Quarter Rests 1 r;ount , u se mi ddl e h a lf of bo w. Use who l e bow for whole and half not es. Give qu a r t er no t es f ul l value .

(.;\. M H CD MH n V n V n \.::/ n V n V ?= ·~ r r r r 1 r r r r 1 r r r r 1 r r r r =II= r ' r s 1 r t r t 1 r * r ~ 1 r ~ r s :!1 Count: 1 2 3 4. 1 2 3 4

n 0

V M V n V n ® n V n V n V n V

1 r r r r 1 ° 1 r r r r =II= r r r 1 r r r 1 r: r r 1 r r r :II 1234 1234

nVn Vn n V ® n VnV n

r r r 1 r r r 1 r r r 1 r r r :II : 0 1 r r r 1 r r 1 r r r r :II 1 2 3 4 1234 1 2 3 4

-TI ME MEAN S 2 ~ T wo counts to a meas u r e. 4 Qu a rt e r no t es g e t one coun t.

Ba a! Baa! Black S h ePp

I D & A S trings I Nur se r y R hyme

n V n V V n . . P u p il .

I I r I I T I I . I Count: 1 2 1 2 1 2

•••• -. . Teacher . -

I I I

n V V n . . I I I I I I 11 2 I I

I

__..----..._ - • • . . I "'--l I

j D&A S t rings j

n Y n

Hop, Hop , H op!

V n v n v G e rman Fol k - so ng

-. • Pupil .

I I I 1 I I Count: 1 2 1 2

~· • Teacher . I I

n V . . 1 1 I I 1

1 2 n - -. .

- I BMC9386

LESSON ~

The Open C-·String ('Cello and Viola only)

( Piano accompaniments for Lesson 4 should be transposed)

CD WB n V n ® n V n V n V 7J=il _ IJ J I _IJ J lJJJJIJ J IJ JJJIJ J =I Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 a 4

® n V n V ®n V n V n V ?=•1 J JJIJ JJIJJJ IJJJ =II=JJ JIJJ JIJJ JIJ:Jll Count: 1 2 3 4 1 2 3 4 1 2 3 4

I C & G Strings I Ten Little Indians n V n v .

Pupil . ~~ -r r - - ~~ ~ Count: 1 2

Teacher

Pupil

Teacher

Pupil

Teacher

n .

. .

I C,G 8:. D Strings I nV . . ----Count: 1 2 3 4 .... . .

I C, G & D Strings l n V . .

Count: t 2 3 -. . .

- - - I I I ~#-.~ ..,.. . .

I I -

Oats and Beans

V n nV

-- ~ I I I I I I I - I ~~~- - • ~!'-

• A Riddle

n V

I .t.~ ~ I - -

4

#- .p. ~~ n -· v n

I I I

~---.fll.. ·- --~

American Folk-tune

~ - - - ~~

-

Old English

---~ --I I --~

• • • •

German Folk-song

I ~ .t.t ~ I ~

#- '.P... ~~ n

~~ ~ I ~

~t~ .. n

• By permission of Silver, Burdett & Co. owners of the copyright. From Book one,''The Progressive Music Series'.'

B~I C9386

LESSON 5 5

The Open G- String

CDWB n V n V ® w~ V n V ?= e o 0 o 0 :II: J J I J J I J J I J j :II Count: 1 2 3 4 1 2 3 4

® MH li V 1i V li ® li V M V li ?= e :J :J J J I J J J :J I J J J :J I :J J J J =II: 0 I J J J I J J I J J J J :II Count: 1 2 3 4

I G, D 8: A Strings!

li v . . Pupil .

Count: 1

Teacher .

li v . . I

. . I I

:& Count: 1 2 3 4

. -

J

2

I

I

v

0

1.2341.2 34

Twinkle, Twinkle, Little Star

1 2 I I I I I

IEndl _j_

I I I I

I I - I I - I I jTo the b ginning

I I

The Four Open Strings (Cello and Viola only )

v 0 0

0 :II 0 0

® WB li y 1i ?= o ,

9 r 1 F Count: 1 2 3 4

r I J J IJ J I J J I J J I r r I L L :II (j) }.{ H li V li V M

. ')= ., 4 4 44 1 w w w w 1 r r r r 1 r r r r 1 r r r r 1 r r r r 1 J J J w 14 J:Jlll Count: 1. 2 3 4

® WB li V . ?= ., L F I J J I J J I F

Count: 1. 2 3 4 1. 2 3 4

llome wo1·k: Write 4 lines of open string notes, marking the name of each. Divide into measures,using whole, l:

6 LESSON 6

The Eighth Note To be played with a loose wrist and most generally with the middle part of the bow. Play slowly at first ,

grad u ally increasing the speed until you can play q.uite fast. Count aloud. Be careful not to cut the up bow stroke too sho rt. Use th e same am.ount of bow for notes of equal value.

CD ?=f

®I Note time signature I

nV nVnV n

r r r r 1 r r r r r r r r 1 r r r r 1 r r r r r r r r =H= i r u 1 L! r =II Count: 1 2 3 4 1 & 2 & 3 & 4 & Count: t 2 & 1 & 2

n V n ® ?=f Count:

r r r r r r 1 r r r r r r 1 F r r r r rd J J J w J Jl r r r r r r 1 r r r r r r=l 12 3&4&

I D & A Strings! Gaily The Troubadour

Thomas H. Bayly

n V n V n -. Pupil .

I r& r--& 2 I Count: t I ...... ....., I I .

Teacher . ..._, I ...... ...... I I I

n n - -. . I ~ loo....l I I ~ I ....... I I I -ll ---- - - - ~ . .

I -- I I G & D Strings j Lightly Row

Germa n Folk-tune n V n V n . •

Pupil . - ~ I ~I - - ~I -- 1...1 Count: 1. & 2 & .,_-- ~ -· ~~~ .fl •• ~- - _..,..fl. .. . Teacher .

n V n . .

"'-" I - - - - 1...1 I 1..1 I - - -- --- --~ ---. . .,._,... .fl- •• .. _....fl..f/L -. . -

Home work: Write 4lines of open string notes dividing into measures, using half, quarter and eighth notes in 4/4 and 2/4 time. Mark time signature.

BMC9386

BMC9386

. •

•

Note : All manuscript pages are to be used for home-work according to instructions 7

8

TEST-QUESTIONS THROUGH LESSON 6

Questions from this, an d following test-sheets, will be given as a check on your home-study of preceding lessons.

Remember: The more you know and understana about the -signs and symbols used in music -writ -i ng, the easier it will be for you to learn how to play well.

(1) This ~~~~~~ is called ?.

(2) This symbol ==l'~t~· ~~~~~ ::' is called? .. . . .... .. .. . .

(3) The staff is di vide d by bar - lines into? . . . . . . . .... .

(4) Fractions at the beginning of music are called? . .. .. .. . .. . signatures

(5) This 9=* 77 "2 f! ====:J! is a . . .. .. .. note, and h as . . ..... . counts? (6) These f): t r r II are . . . . . . . . notes a nd h ave .. .. .... counts each? (7) These ;J:t F F F r II are . . . ... .. notes and hav e . . .... . . co unt each?

o=; f f U II (8) These _ = ____ :: are . . . . . . . . . notes and h ave ........ count each? (9) Lines and spaces are named after the first ... . .. .. letters of the a lph a bet?

(10) This ==-.. ~·= I4 ~-~~II · t? ? f! 1s a . . .. . ... res .

t~=~- II (11) These ":i f! - are . ... . . . . rest?

(12) These SJ=t l l l £II are .... .... r est?

(13) This (~ ) is a? .

(14) This (b) is a? .

(15) How does a sharp affect a note?

(16) How does a flat affe ct a note?

(17) Name the open strings? ..

(18) Write (not ate) the open strings?

(19) This sign n means? .. (20) This sign V means? . .

;>= It

BMC9386

LESSON 7

First, secpnd an d third fing e r s must be perp end icula r from the first joint to the tip when pre ss ing on the strings. Keep the fin-gers over the strings . Do not a llow the little finger to curl under .· ·:·" --the neck. Listen carefully that you play exac tl y in tune and gi ve :'i'\ each note the prope r time v a lue . '-.

First Finger B on the A-String Whole tone from A to B

v t 0 1 0 1 0

0 0 0 0 0 0 0 :II , 'i1 v g y

Count: 12 s 4 ® 'd v

9

The 'Ce ll o fin rre 1·b oard as y ou see it from th e pla .'ltng p os it i o n.

?=t r r I r r I r r I r r IF r I r r I '9 r I r r :II Count: 1 2 3 4

Little A and B March .,., n .. , •• . ., --® 0 0 .

Pupil . Count: 1 234

I

Teacher . I I I -- I I tf 1'1' '1- I I I l

First Finger E on the D-String Whole tone from · D toE

® •1: t

n 0

v 0 0 0 1 :II £1 0 jj 0 • j 0 \ i

Count:1234

® f)= i

n·v ~ v o 'Q1 Y rrlvrlrr:lv vir v

1

I r V I r V I r V :II Count: 12 34

E

Little D and E March G 0 t 1 0 1

® v nV 0 V n .

Pupil . Count: 't 2 ~ 4 I I I I I I I I'''

1 I I j I I . Teacher .

I I I tf~ -,. I

H ome work: Writ e 4 lin es of the notes thus far studie d, marking name of each, and finger used. Divide into measu r es using whole, half, and quarter notes; mark time signature.

BMC9386

10

Optional Material for Lessons 7 & 8

Now The Day is Over J. Barnby

ny 0 nY Ll 1 - - .. • .

Pupil . l

Count: 1234

I

"""" I .I ~ .

Teacher . I • • I I I I ..._ r I -

The Boat Song C. P. H.

Count: 1 2 3 4

Au clair de Ia lnne French Folk-song

Harvest Time C.P. H.

BMC9386

LESSON 8

First Finger B, third Finger C# on A-String Whole tone A to B. Whole tone B to C#

Key of A Major, F#-C#-G#

v 1.

0

3 -&-

1. 0

:II

Count: 1 2 3 4

v v v n 1 3 1 3 1 n 1 3 1 ®n 3 1 3 n 3 1 0 1 r r r r 1 r r r r 1 r r r r 1 r r r r :II: t r 1 r r 1 f r r r 1 r

Count: 1 2 3 4

Count: 12 3 4

n V J 1 0 1 3

r r r r 1 rr r 1 r r r Count: 1 2 3 4

v Melody

11

0

ff :II

(i) MJ 0 3 1 1 3 n3 3

?= ~"~ t r r r r 1 r r r 1 r r r r 1 r r r 1 r r r r1 r r r r 1 rr r r 1 f'r ~ 11 Count: 1 2 3 4

First Finger E, third Finger F# on D-String Whole tone D t o E. Whole tone E to F#

Key of D Major, F#-C#

® ~ y 3 1 ®'d y ~ y ~ 1 3 1 ?=•ft 1 o I " I 0 I " :ll:p'l L F I L f' lfr':ll

Count: 1234 2 3 4

gnn~ '

~ v v ~ n13t 3t31 n131 o13t

?= •D t r F r F I r F rr I r F rr I r F r F :J Count: 2 3 4

f:#

® n X 1 3 t;;1 ~ 1. o 1 o ?=~a 1 r r I V r I r r r r I V r :II

Count: t 2 3 4 Melody

·@ V n V n V V A G n 1 31o 13 1 10'1 3 1 3 n

?= ~# t r V I F r r I V r I r r V I r V I F r r r I r r r r I f?r ~ II Count:t 2 3 4

Home work: Write 4 lines of notes as before, adding the two new notes in this lesson. Write and study the key signatures of D a nd A Major.

• When two notes on the same degree of the staff are tied by a slur~. they are to be p layed a s one note .

BMC9386

12

® ol . .

. .

tl .

.

t! .

.

. .

ol . . "'

Ll. .. .

. .

tl . . .

t! . .

i1 0 n

~

I

i1 1

I

Teacher

I

i1

SUPPLEMENTARY MATERIAL

3 ~.

,.,

I

I

I

HARMONIZATION FOR LESSON VIII Quartet for four 'Cellos

3 n -t'7 - n n -1*-•

I I I I I

I I I I T I

I I

I I I I I

i1

•• -1*- ..

- -I I

I I

I I

3 1 v 3 1 ~. 0 .. -1*-..,...-f:T •-n -1*-. .... • -1*--1*- ....... ·-i1 v i1 ()

I I I I I I I I I I I

i1 v i1 n 1 ~

I I I I r -r 1 r I I

Teacher i1 I v i1

I I I I I I I 1 T T r r I I I I I

i1 3 1 3 0 3 0 ~ .. . . ~ ..... ••n ... # •• ~··-i1 ~ - - - ~ - -

I I I I r I I I l I

n 0 1 1 - - - - -I I I I I 1 I I I I

Teacher n

I I I I I I

I I I I ·r T r I 1 I I I I I I l

,...--.._

.----....

I I

~

~

r r

I

,....--...._

,....--....

I

I I

Bi\1(9386

LESSON 9 On the A-String

First fin ger B, third finger C#, fourth fi nger D Who le Tone A to B, Wh ol e Tone B to C#, Half Tone C# to D

Key of A Major

Note: All manuscript pages are to be used for home-work according to instructions

•

BMC9386

L ESS ON 10

Slurred Notes (*legato) 15

This sign( ,.---..__ slu r ) w hen pl a c e d above or below two or more notes ind icat e s th a t th ey are t o be p layed wit h on e b o w. Grea t ca r e m u s t be g i ven to th e equal di v i s i on of th e b ow.

j On e h a lf of bow for ea ch n ot e .!

n Y n V n V n

r=r rr 1 r=r rl' 1 t7r fr 1 r+ V n___.. V n V n

rr- I tr rj I tft E? :II o II I One third of bow for eac h note. I

n~ V,.--..__

r r r 1 r r r :II r· 11 I One quart er of b ow fo r eac h note. l

® n v_. n------....._ V ~ ~ n ~H# f r F r F I GC r) I r E r E I F4 F1 I r£ r r F =II 0 II

* Smooth l y - con n ected.

The Scale A sca l e i s a s uc cess i o n of ton es fr om a g iv e n note to its oc t ave, 8 notes highe r .

all m a j or sca les a r e m od e l ed i s as f o ll ows: Th e form on w hi c h

~l: I j i 0

W. T. W. T . 1 2

The Nat ura l,or C Maj o r Scale

,, 0

""- H.T. / 3 ~ 4

W.T.

'i 0

W.T. 5 (j

W.T. ~H.T./ 7 ~ 8

II

Th e as c e nding progre ss io n is: t wo w hol e t on e s, one ha lf tone, th r ee wh ole t ones, one ha lf ton e . Th e ha lf to nes come b e twe e n th e numb er s 3- 4, 7- 8 .

The D Major Sc a l e - f ou r ton es on the D s tri ng; fo ur t ones on the A string.

--------0 0 ~-9- ..0. II 0 j j

1 2 3 4 5 6 7 8 ~ ~

P lay the following s ca l e and arp eggio with different bow ings a s in d ica t e d; al s o pl ay, sl ur ring fo u r notes t o one bow. Use plenty of bow. Pl ay slowly a t fir st us ing whole bow f o r eac h not e.

n v n v n---....._v CD n v n V o,.....--..1 ~rr ?= .# f ~1 f=Jt I r r 1r r ·~ v u u u n V

iff n V n V

I ff1 I v=r :II u "

u 1\ u 1\ u " u

1r. ~

rrlff rr 1rc @=II Ho m e wo rk: Write the D Major s c a l e 4 tim es, mar king h alf steps. Use key signature, and place a shar p b efore the notes a ffect e d .

BMC9386

16 LES SON 11

Up and Down the Ladder of D n V

1f rr1rcrriF r I odJ ®MELODY V

n 3 -. Pupil .

• Fido and His Master Duet

.fll- 3 n v

I I I DUET o; ENSEM BLE v n n 1 4 3 .

Pupil I I I I I I

Reuben and Rachel

n .. 3 .. v ~~~ v Duet n 4 3 ® MELODY . .. Pupil . .... --DUET nV 4 3 3 - 3 4 3 v nV . Pupil .

ENSEMBLE

n v 3 . Pupil .

.......... ...... ........... ---- .......... Q MELODY n V

4 3

German Folk Song V n V .... •• - -.

Pupil . I

DUET or ENSEMBLI v n 3 4 1 - -. Pupil .

I I T I I I I

MELODY *Katydid ® n V

3 4 v -!'- .. . .. .

DUET or ENSEMBLE n 4 3 .. -. .. . __. ....... I

v n • Polly's Bonnet MELODY ® n v 1 4 n ,....---. ~.fl. .. .p..p. n n . .

ENSEMBLE I

~ 1 3 1 4 1 .. . . I T I I I

F.B.BHge

~ ~ -!'- 3

I I

1 4 3 v -1 I

Amer1ca n T unc

.. .. -·~ j 4

4 3

........ I

T T I I

,..-, 3

I

Bohemian Folk- so ng

I

n - -I ...... I

v Fr ench Folk - s ong ,....---_ ~-!'-

I I I

3

I I

*By permission of Silver, Burdett & Co. owners of the copyr ight. F rom Book one,"The Progressive Music Series:'

B!\

LESSON 12 17

The Dotted Half Note and the Dotted Quarter Note A dot is equal to one half the value of the note it follows. A dott ed hal f note equa b a bca:.,, ;t

dotted quart e r note eq u a ls 11/2 b eats. Use the same amoun t of bow for th e quar t e r no t e as f (l r t il~:

half note.

Written Played Written Played .-......-..... ......-......._

?= r liT r II r I r ~ II Rhythm Drills

Play th e mod el as written. Repeat, using each variation below until the rhyth m rs "~':r~~onz e d.

Drill: Count a loud each va ri at ion while c la pp ing the hands once for each n ot e. l-< cpe t !-e\·eral t r:ll•""•

the n pl ay on the open s trings.

Model

CD WB n r· r· r· r· 1=##~ I r· r· r· r II Count: 1 2 3 1 2 3

Variations for the above ® n v ®n v © n v n v

-1:1 r r r I r r r II r r I r F II r r r j I r r r r II , Count: 1 2 3 1 2 3 1 2 3 &

@ n v n ®n v n ?=a F r r r I F r r r II r j r r I r r F F II Count: 1 & 2 3 1 2 & 3

® n v n v © n v ® n v ?=j r· ~ r 1 r· ~ r II ~ r r I ) r r II ~ ~ r I ~ ~ F II Count: 12 & 3 1 2 3 1 2 a

® Combinations of Different Rhythms

2 n

1= •@# 1 r r 1 r r 1 r r r r · 1 r r 1 r r 1 r r r 1 r · 11 Count: 1 2 3

GD n n ?= •# s r r 1 r · F r 1 r r r 1 CJ r r 1 J r r 1 r u r 1 r r r 1 r · 11

Count: 1 2 3 12 & 3

Count: 1 2 3 123& 1&23 1 2&3

/lome n·ork: Write 4 lines of notes thus far studied, using different groupings of not e s in 3/4 tim e .

BMC9386

lts LESSON 13

My First Solo Pieces (To be memorized)

Little Waltz in G C. P. H.

v ___

v· 1 rr 1 v· 1 r r r 1 FF

In A Garden C. P. H.

~ n 1 p. • 4 1 4 3 p. . p. ,. 1 ,. ?= • 1 C r r I V r I r r r r I c ~ I C r C I V r C I

?= u F r r r IF" ; I f r F I f' F I F F E F I F. 1 v 'i f 4

1t1 1 r r r 1 r r r lEndl Fine

v 4

?= • r r r r 'L 1 -r r r 1 r r r E 1 r r 1 r ~ 11 I To the beginm~

.D.C.

BM C9386

LE SSO N 14

Using the D Major Scale

French Folk Song

ENSEMBLE i1 ¥ 4 ?=•HI r· f I ['" I f I V I r· I IT" I r· I F I f I

4 3 1

?= •H 6. I V · I F t If C I F F I r I F r F I r F F I F r I F ~ II Joy to the lVor I d Handel

n V V n 4 ME LODY

4 -....

3 3 • ....----... 4 3

'HDi r u1r ~ 1r ·lr· ~~c· ~ 1r f1 f 1r r 1£rFJ1EE rf1 F Count: 1 2 1

i1 v

7HH trcr IH UIHE rlf" ilnuLF ~Itt F1 H f he FIr II Count: 1 &2 &

Joy to the World ENSEMBLE ~ 4 V " 3 . n ?= •# i r r I r · 2 I r c I r · P I F . g I r ~ I r::- 11 r r I r r I r r I

Beneath Thy Guiding Hand I Follow bowings carefully J ]. Hatto n V n Y,__.3 n Y-----.. v n v n v n V n v

n~ ~~fE~. P 4 3 1 · ?= •# ., r rr 1 r c L 1 c 1 19 J 1 r r r 1 c r 1 v r 1 v · ) 1

n V n V~ ~ V n V n V n Y n v n 3 ~ 3 / ~ ~ 4 3 E ~· ..

?=Uft r U if1 L=IC L Q I" IF Cl Fir V lr:- ll BMC9386

20 TEST- QUESTIONS THROUGH LESSON 14

(1)

(2)

This sign :IJ: means? .. . . This sign - means?

(3) Name the following lines and spaces of the staff?

(4)

(5)

(6)

(7)

1st space.

4th line.

3rd space.

3rd line ..

4th space.

The key of 2 sharps

The key of 3 sharps

This note ;)= r This note ~=i I F"

is? .

. ? IS ..

II ha s

II has

2nd space

1st line .

2ndline.

1st space below the staff.

2nd line below the staff.

co unts?

counts?

(8) Which finger should be us e d for th e following notes?

C~ on the A s tring B on th e A string .

E on the D string G on the D s tring .

D on the A string F# on the D s tring.

(9) What not e is played with th e following fingers? 1st finger on the D string 4th finger on the A string

3rd finger on the A string 3rd finger on the D string

(10)

4th finger on the D string

Divide the following

2 4

measures? 4 4

3 4

Js t finger on the A string

~ J J J J J J J. ) J J n J

(11) Write (n otate ) the key- signatures of D and A Major? ~5~)~;~~~~~~ ~5~l:~~~~~~

(12) This s ign ,......--..... connecting two or more notes means?

(13) What is a scale? . . . . . .

(14) Write and spell the D major scale?

(15) How many D's can you play? ..... . E's . G~ .. . .

n

(16) Mark the count under the following? J. ) J I J n J II J. ) n J I J J J J J II (17) Play the D Major scale and arpeggio from memory . .. . . .. .. .

(18) What l· s tht"s ~5~l~!~e~~~8 .=- R called? ......... .

BM C9386

LESSON 15 21

Detached Notes in One Bow Se mi- Stac cat o

A do t placed above o r b e low two or more no tes connected by a s lur indicates that the notes dfe to be pl aye d in one bow wi th a s hort p ause b e tw ee n eac h note. The bow is simply stopped and the n s t a r t-e d aga in . Th e bow, how eve r, mu s t not be lift e d from the s trings. A slight pinching of t ~e s t1ck a t the IJeginn i ng of each no t e wi ll produce the desi red effect.

~ ......--....... ,..----.... ....--...... ?= r r I r t r l II F r If I , I II

Written Pl aye d Written Played

CD M v~v M v~v M v~ M v~ M v ,..----.... q: ~~ e r r r I v F r IE r r I r r r lc r r ,

v~ M v~ M v~ ® ~~ M v,--.. ...V r • r lr ~ E lr ~ ~ M M ... : -~ I II r . . IF r r r~ _/

® v v M ~------ M ~~. M ~~. v,--..... v M ~ M M f If E ,r r It ._.._ ~ r F • r r r . ~ r r r I r r r :II: I :II .., Holy, Holy, Holy

Dykes

M v n ~~Y M M v M :,: -~ B r r r r I r r I r r r I F r I r , r r

4 :l n v ~ r r M v M ?= •u r I F r r· , liT I I r r r r IF r

M v ____ y M v M 4

?=-~ r· ~ • F 3 It 0 M v M I liT r r r II r I F r r· v I r· ) II Theme from Second Symphony HAYD N Adapt ed

M v V,--.... ~~ ~~ n ~----.... M 3 .--....v M It r 'j=#~ B r r r ,,9 r r IF r r r It r r

~---.. v ~----..... n Y---.. M M M ---.. r .-----..,_ ?=-# g I r r r I r v 1r r r lr r r I r r r r I M ~....--...... M ~------r If r If n ?= .# r r r r I B v I r· J II

BMC9386

22

lot ......

Pupil

Pupil

. .

. .

. .

.

LESSON 16

Second Position

!~~'I~ ~ ~m The se cond po s it io n is es tablished by moving th e left ha nd one tone /t I highe r on the fing erboard. In mov ing from one position to anoth e r the r~thumb

LESSON 17

The Up-Beat 2 3

Many pieces begin with an incomplete measure, usually starting with the last be a t or fr a ction th e re -of. This is called the up-beat and is generally played with an up bow. The ending a lways co mp le t es t he measure of the up-beat . Follow the bowings carefully.

Two German Folk Songs HARMONY PART Harmonization

(DENSEMBLEy n n. y n

?= •## " c I r c I V v I r r I r r r r I c c I v · r I V V I E r c II ® HARMONY :AR~ n 3 4 1 3 y ~ 3 3 V n ?= ~d 11 r 1 r f' 1 r r rr 1 r rr r 1r r rr 1 r rr r 1 r r rr 1 r r 1 r r E 11

Away in a Manger (Flow Gently Sweet Afton) II p Spil man

' OS . 4 I v 1 1

r f I r r r I r r I r r F lr f f Iff f !FJj 1

Away in a Manger ®ENSEMBLE y 3 1 n 1 ~~ 3 V V ?=~#I riEl IEFirr IF EILEriE!EW~rl(?t l

n t:"'\ 1 V v

~Hft" r r 1 r r 1 r r 1r r 1 r r r 1 r r r 1F D 1 r 11 The First Noel

fi"\ n V Christmas Caro l \01 ~ 1 n V n V t--,._ ~~ 't-* ~----- V n___ ~~ V n ~Hal E!lr·crriF ttp=fF1Ftt1 rr1rrr1 rr1r ~:II

V n v v n n V n V t-..... ..,._---_ n....- !!:::.' V

?= ~# r· rc r 1 r ;; t 1 r r 1 r r 1 r f r 1 r r f 1r r r 1 r 1 Blue Bells of Scotland

• Hold- A short curved line drawn over a dot, prolongs the time of the note.

BMC9386

24 LESSON 18

Hymns and Folk Songs emb r acing the differen t kinds of notes and bowings thus far studied. Review the written work' at the top of each p a ge. Pl ay the bowing and fingering as marked.

Old Black Joe

Old Black Joe ENSEMBLE n V ~ 4 1 n V 3 4 • V J;;t V ';! V

?= •# e r: fFI r · r 1 r r r r 1 r · J 1 r: r· r 1 r · r 1 r r r r 1 r J 1 r: fPI r · r1 r r rr1 r · r 1 n. V ~ 4 3 n V___.._ n V ~ V n 4 3 V n V ~ 4

:>= dft r gmr rr r1 c c lr· rlr r~ r1 rrirrlrtrrw r1Hrr 1rrr rw r 1 r rr ~ 11 While Shepherds Watched Their Flocks Arr. from Handel

4 v v n :J v v V n ~ 7H~ II u I r r r r I r 0 r a I r r r ft I Q f t I

v n V n ----._ n n~ V

?' #~ r r r r 1 r f? r r r 1 r r r r 1 r r r 1 r r f r 1 r · 11

Bayl y

BMC9386

LESSON 19

(Piano accompaniments for Lesson 19 should be transposed.)

Four tones on the C-String ( 'Cello and Viola only )

Open C to D Whole tone, D to 1£ Whole tone E to F Half tone . '

~): , c 0

Upper Fingering Optional ~ For Second Position 0

II Pos.

D 1

Key of C Major II E --------- F 1---- ----2

I G 4

0 0

II

25

I CD ?=.,

4 2 1 ....... 2 4 2 ~1 .......--2 4 2 .,............_ 1 1

I J f]J J I J jdj CJ I J CJ I~ 7J II 0 4......._.J.........,.4 0 4 ............... 3 ............... 4 0 4..............-3

1

II ® ?=e

0 1 1A2 4

JJJ JLJ j I @ II I II

I :J JB JIJ 4 =~~:JJJJijj Jjljj jjiJ 4 =II

® ?=f

II

II Folk Song of the Civil War I n V 1 z 4 1 4 4 2 t , 1 o

J J JJ??I@JJJJ. ;IJ J :JtJJIJJJJJ J Scale of C Major

Half tones E to~~ B to C Use different bowings as indicated.

® ;J=e

G) ?=e

Auld I~ang Syne

II

Home 1vork: Write 4 lines of notes, using new notes on the C string. Mark name below and finger used above. Write C Major scale 5 tin:es marking the sa me as the D 1\lajor. Sturly new key ~ignatures .

BMC9386

26

CD

LESSON 20

Five tones on the G-String Op en G to A whole tone, A to B whole tone, B to C half tone, C to D whole tone.

II --------o 1----- -- 2 4

0 Use Upper Fingering G For Second Positi on 0

,j o I ·j o II A B..___ ----- C 1 3 ------ 4

D 0

?=• e 0 1 3'-"'4 0 4.............-3 4 0 4..........,....3 4 0 4........._.,..3 1 0

® 1=• e

M V v 2 4 2 1 1 ® M V 2"'1 4 2 1 4 1 J J J"~ I t r I r J ~ J U J :II: J J J J I J r: J J IJ :J rr J IJ J :1 0 134 o 431 0 0 314 3 o41 0 3 o3 0

nV "" "" ®nv J J J J I J J J J I J J J t I J J J J :II: J J J WI J J J J I J [ J.J I J J JJ :II

0 II

0 1 31 4 3 o 143 0 31 143 3o4 14

Oats and Beans @ nV v nV

?= • e J J J J I J J 6l I J J J J I J J J J I J J t J I J J r J I J J J J I J J J =II 3 1 o 4 V3 1 3 4 0 1 3 4 3 1 0

Scale of G Major One sharp, F#. Half tones B to C, F# to G

P l ay th e following s c a l es and arp e ggio with different bowings as indicated.

(j) M V M V ...-....,

:H., J d I E§J I f9' I 0 I VJ I ff I tJ I A J =II u'---"' /\ u /\ u /\ u /\ ~

@ nVnV M ®n¥ ';;1~ M 4 14 7Htl JJ4dl[r{!'lft(fi§~HI:JJ f.]'IF]lJIJd f=tlr?!H

u /\ u /\ u /\ u /\ u /\ u /\ u /\ Old Folks at Home Stephen Foster

MELODY ~ V M V M 4 3 ';1 y M V M 4 M ¥ M V 1= • e ] J j tJ I J F ~ F ·1 r J J I A. s I j J J d_J I J F F F. I r tQ J J I J. J :II

~ V 4 4 1 V 'i Y n V n 4 n ~ n ?=• r·Hrlr·~rFIFrJ rlr· ~IJ JJd_JI; FFE'IrlHJIJ. n

H om e work: Write 4 lines of notes on the G string as before, also scale of G Major 4 times. Mark half steps.

BMC9386

LESSU.N ~1 27

Review of the different keys, rhythms, and bowings thus far studied.

Annie Laurie Scotch Air

n V 31 V n V n

?= • f?v r 1 r· l a. Jd J J r 1 r · ~ r · P 1 r J r 1 r · ~ r- v 1 V_..__, 4 3 1 V n 3 V n 4 V 1

?=• r J E r I F" ~ r ffii6 I pd lJ I @F !h J. J1 I ~- II Count 1 +2 + 3 4 +

Old Melody

Largo From New World Symphony (MASSA .DEAR) DYora.k

ENSEMBLE M M,r-;4 3 ---:--- r-- . V n ~ n V~ .

fH# I r r I j" ~ f I t l r t If • I ., I If t t If ~ I r r I 4 4 ~ ~ V ~ ~ V n r-:

?=~~ rrt 1r rn 1e tiF r 1rrr 1r rr 1e •1 r c 1 r~E 1 ~ 4

?=•# L"l(r1r r If' f' 1g r 1e r 1 ., 1e r 1 ., 1e r 1r r 1 ~r _ 11 Hymn

Henry Smart ENSEMBLE M V 8 • ~.-..._,_ n

. ? •" ., r r r r 1 r 2 r r 1 r r r r 1 r r r 1 r r r r 1 r · ~ r r 1 v

n ~· ~ r'}- 1 o 1 ?5 r r r r 1 v r 1 r ~ r r 1 r r 1 r r r± t 1 r J r 4 1

BMC9386

28 LESSON 22

Ensemble Playing

Pieces a rr ange d fo r trio

Teacher, advanced student,or violin class may play melody

3

M

M .. 1 1

LESSON 23

Lightly Row Trio for Three 'Cellos

3

1 3 0

Lightly Row Optional part for String Quartet

29

Arr. C. P. H.

3 1 4

3

n V 3 " 3

tJ~•Bi f [ r rlrrr lrrt; ,rrt; lr ErE ,ur ltrfJifr C! I 3

?•« rrrr,r:r 1fEflF!trr lrfrfiUtlr;EfJif&n

n V n --Pupil ..... ....

r'" v Pnpil

nv Pupil

I I I I

BM C9386

German Folk Song (Trio)

nv -~-fA..-4 -- '::::!

...

I I

--.....

I

Arr. C. P. H. n V

~~ .. -. • .p..

I

1

II~ I

30

~

Pupil

n -. Pupil

'i' Pupil

Ll. 'i' . Pupil

'"\

t :..L . . .

2 L.l. ..... -. .

3 L.l. 3 . . r

4 . . I

t 3

I

2 " L.l. ~ .fl.. ~ .

3 Ll. 0 3 . I

4 L.l. 3 . .

I

LESSON 24

Old Folks at Home (Quartet -for Four 'Cellos)

v_ -- .... 3 . ... I

~~ .... -{!; .. 3 1 .

...... r

I

n v~ n v n .... • • -· ... ;.. 3 v n - - • of"" .,...

n .. -· -· I .. 1 !i' . . r

v -9- . - .... 3 -· 3

~· ·v n -fl-• - ......

1 v n 3 . I I I ...... r t v n .

I

n.

n. v

. T

1 .

- 1 I . .,.. .,._

.. 1 I

3 v ... ._..-..

-

v.--_

-.

1 v __

STEPHEN FOSTER Arr. C.P. H.

n -tJ1' - .,.-.,

n .fl. ... -

n

-'11

3 1 .

~ .If...- ...

.

1

n - - . - .;,_ 3 I~

n - . n

BMC9386

MELODY ./ n

-----. Pupil . I

1""1 -. Pupil . .

I ,

1""1 -. . Pupil . .

I

1""1

Pupil J .._......

t M -. I I I

2 M . .

T .,_.....• I

3 MELODY M ,.--.. . I

4 ·n . I ,

MELODY V t M v M V _--....

2 M v M V ~-. I I

3 M v M v . I I I

4 M v M v . ' I I I I

BMC9386

.

.

. I

.

I

... -

LESSON 25

Old Black Joe (Quartet for Four 'Cellos)

-~ .... -· v M v l r

MELODY -

l T I

I

. I I I

- -- I

v M -----

. . . I

v M

I I .._...... I I

v M --. . . I I I I I

MELODY II Po~.

4 ~ 2 t

I Pos. 2 t

-~- ~ .,...~ --- •

. I I I T -

-.fl.~-

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-~~-

--..... 1 I 1 l

..... -

I

I l r -, l I I I

II Pos. 2 2 4 t 2 I Pos.

1 -· ~ •. ~·~ .fl.. •

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81

STEPHEN FOSTER Arr. C.P. H.

v .

l I

- v . . .,..

i -61-" v

l

v .

I

v .

I l

v

I

.(2. -61- l.p.· v

I

v

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: .(2.. ,9- l.p.·

-.!..-.

I

32 TEST-QUESTIONS THROUGH LESSON 25

(1)

(.2)

This sign I':'. means? . . ....

This " is an .... . . . ... rest?

(3) This sign :-----_ placed above or below two or more notes means?. . . . . . .. .

(4) Kinger the following?

(5) Bow the following? J I J J J J un tJ J J nn IJ J J II '-" -

(6) Mark the count under the following? ~ j.J jJ I J n II~ J. .m I )lJ. J II (7) Name the four tones on the C string? ...

(8) What is the signature of C Major? ..

(9) Write (notate) and spell the scale of C Major?

(10) Name the four tones on the G string? ...

(11) What is the signature of G Major? ..

(12) Write and spell the G Major scale?

?

( 13) Finger the following? ~5~I:·~~I§J§· ~J~j~JII~;~F~J~J~II

(14) Finger the following? ? 1 I I J J J JJ J J J ( 15) Write the following notes.

I

4th finger on the D string ?

3rd finger on the C string .. : ..t

I I

1st finger on the C string - ? I 3rd finger on the G string ? I

1st finger on the G string , I 3rd finger on the A string ? I

4th finger on the A string ? I 1st finger on the A string ~')~~~~~~ ~ II Uh finger on the G string I 3rd finger on the D string , I

(16) Write the signatures of G-1>-A. and C major. ? I? I? I (17) How many of the following notes can you play? C .... B .... G .... A .... E · · · .

(18) Write (notate) your answers to No. 17.

(19) Music written for three in•truments a called? (20) Music written for four instruments is called?

BMC9386

FLETCHER THEORY PAPERS BY LEILA FLETCHER

The most widely accepted theory papers in today's market. Full of exercises in rhythm and notation designed for successful use in any system of teaching.

A TUNE A DAY SERIES BY C. PAUL HERFURTH

The most popular instruction books for various instruments, for use in group, school classes, or for individual lessons. Packed full of lessons, illustrations, fingering charts, daily practice records, test questions, and manuscript paper for homework.

JUNIOR HYMNBOOKS BY RACHEL BETTY KAHL

Hymns taken from youth and children's hymnals known throughout America provide playing pleasure while developing note-reading facility and ear training.

EXCLUS IU ELY

DI STRI BUT ED BY I ~~;In~~~~~~ , I Jl~ U!l , Order No. BMC-9386 BOSTON MUSIC COMPANY

A pur ofThe MUS IC SALES Group

~------'-1"-=SB~N----"-'1 0"-'---': 0-8256-3587-X

ISBN - 13: 978 - 1 - 874340-85-0

50795

111 11 111 11 111111