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Blast Off! Lift bow up in the air on 'blast off', landing back on the shing without a bump. Memorize and transpose into C major

Beim'blast off' den Bogen abheben und dann wieder auf den Saiten landen lassen, ohne zurückzufedern. Auswendig lernen und nach C-

Dur transponieren.

With lots of energy middle of bow

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off!

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middle

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Blast

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Operation Space Station 1- and 2-octave harmonics

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1- und 2-oktavige Flageoletti

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Rockets to the Rescue

Relaxed bow-hold and balanced arm movement in semiquavers. Scale Passages

With energy, but in control! upper half oJ'box

Entspannte Bogenhaltung und ausbalancierte Armbewegung bei den Sechzehnteln. Tonleiterpassagen

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4. Space Walk

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finger drift!

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Calmly

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your base - don't let the first

Finger vom Kurs abweichen!

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= 116

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Auf der Basisstation bleiben - nicht mit dem ersten

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Ball 5. Robots Rockitg at the Microchip you reach the still Pizztcalo,

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Rock steady beat, with a strong sound

Den ganzen rechten Arm dazu benutzery die Saiten zu erreichen. Gelegentlich das Stück auch im pizzicøto spielen, aber

mit dem Bogen in der Hand

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6. Rocking Rowboats Weitei Saitenwechsel; Bindungen; gute Armhaltung für den Ton und die Intonation

position for Smooth string-crossinç slurs; good arm tone and intonation

Andante

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7. Floating in the swimming Pool

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of Slow bows, saving enough bow for,the ends notes; shing crossìngs in different directions

Lanqsame Srriche; genug Bogen tür das Ende der Notãn aufsParen Saitenwechsel in

unterschiedlichen Richtungen

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Wave Machine lassen Den rechten Arm mit den Wellen schwingen

the waves Let your right arm bob along with

SmoothlY

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Gliding along at the Octopus Ball

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Smooth bowing; finding octave harmonics; checking tuning of octaves

Weiche Striche; Oktavflageoletti finden; die Stimmung der Oktaven prüfen

Molto legato J. = SO ñ

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Hear that ïVhistle! Linked bows; glissandos and for the train whistles; good 3rd finger tuning in Lst position

Dichte Striche; glissandi und Flageoletti für die Eisenbahnpfeifen; gute Intonation des 3. Fingers in der 1. Lage

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Chugging and chugging and chugging ,lo,rg J.= 63

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up the G string

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IL. Flurry if youl want to see the Engine! Einfache, langsame Triller; bei den Sechzehnteln eine entspannte Bogenhaltung beibehalten; gegensäFzliche Dynamiken. (Kannst Du Dir denken, worum es in dieser Geschichte geht?)

Simple, slow trills; keeping a relaxed bow-hold in the semiquavers; contrasting dynamics (Can you work out the story this piece tells?)

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Lively

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(repeat and fade to nothÌng)

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2..' Strawbe rry

Milk

Shake

[1 = den 1. Finger über beide Saiten halten

both strings [1 = place 1st finger 1hold finger down on string

1 den Finser unten auf der Saite halten Vorsicht in Takt 12

Watch out in bar L2!

Frothily J = 88 upper half of bctw

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Toffee Nut Fudge Cake

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Neat bowing; nimble fingering; introducing semitones

'sliding

Perky polka stYle r =77'8O upper half of bow

Saubere Slriche; wendige Fingersätze; Einfirhrung

von'gleitenden Halbtönen'

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1-5. Vanilla Ice Cream P¡actise

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with the correct

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Va-nil-ln

Va - nil-la ice cream 1 note several times to get the feel of the on bowing

,bJ icectetm

mit richtiger Bogenführung auf

einem Ton meh¡ere Male üben, um das Rhythmus gefiihl zu trainiere¡

rhythm

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L6. Cuckoo? Where's that Cuckoo? Keep the 2nd finger close to the string at all times to act ãs a guide for the 3rd finger; contrasting echo

dynamics; simpìe octave harmonics

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Den 2. Finger dicht an der Saite halten, um dem 3. Finger die Orientierung zu erleichtem; gegensätzliche Echodynamik; einfache Oktavflageoletti

cresc.

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whole bows

17. Let's all go to the Gnzzly Bear's Grump Dotted rhythms in linked bows; good tone on lower strings

Putting on an air of grumpin"r, J

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Punktierte Rhythmen bei dichten Strichen; guter Ton auf den tiefen Saiten

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Tawny Owl Blues

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With feeling J =

Zuersteinmal ùben, die Wörter zu sprechen; rhythmisch präSnante Striche; immer fest im Metrumbleiben

rhvthmic

Practise saying the words first; bowing; very steadY beat

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Too

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I'm feel- ing blue !

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optional tremolo on last note

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!9. Banana Bounce Bounce the bow on the spot, then add tiny sideways 'bananas', spíccatol Notice how the bow bounces best nearer the heel on the C string when you are plalng.¡f and nearer the middle on the A string in p. Bars 41,47,57-63 can be played in either 1st or 3rd position

Cheekily

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Den Bogen auf der Stelle springen lassen und dann etwas seitlicher 'Banønas' im spiccnto spielen. Der Bogen springt im.¡f auf der C-Saite am Frosch und im 1a auf der A-Saite in der mitte am besten.

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hey !'

Bounce,

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nearer the middle

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Eosy

originol studies

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nfoche Originoletüden für

Angfönger

Etudes originoles et fociles

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J-. Overture and B eglnners... r (The show's øbout to start!) t-

Crisp bowing; watch out when

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changes. to

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; quick changes between arco and-pi2 zícato; Bars37-Qican be fingered in either 1st or 3rd position

Lebendige Bogenfüùrrung. Vorsicht beim Wechsel

r- r-l vonrI aazv.a.

Schneller Wechsel zwischen arco und pizzicato. Die Takte 37 bß 44 können in der ersten oder in der dritten Lage gegrif fen werden.

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2. Saturd"y Night Stomp Double-stopping is easy if you balance your bow on an imaginary string between the two you are playing. Watch the angle of your LH fingers. 'Stomp'with your feet on the accented notes

With a lively beat

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Doppelgriffe sind einfach, wenn den Boqen auf einer imaginären Saite führt, die man siÈ'h zwischen den gestrichenen Saiten vorstellen muß. Zu beachten ist der Fingerwinkel links. Bei den Akzenten mit den Füßen aufstampfen.

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Hot Chocolate Treat the cøfe on the corner . . . )

Let the bow arm ripple across the strings like hot chocolate sauce; gooJ LH finger angles needed to avoid catching the open Ds; balance the bow belween the strings rvhen double-stopping. Look at bars 5-8, then at 13-1ó - compare similar sections in alto and treble clefs

Der Bogenarm muß über die Saiten rinnen wie heiße Schokoladensoße. Man braucht links günstige Fingerwinkel, um die leeren Ds zu umgeheñ. Bei Doppelgriffen wird den Bogen zwischãn den Saiten geführt Man beachte die Takte 5 bis g, danach die Takte 13 bis 16 und vergleiche gleiche Abschnitte

im Alt- und im Violinschlüssel.

Rich and velverv smootn! J = 116-126 4

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b,A = IÞ Make your Mind tP, Please! Klare und schnelle Bewegungen helfen dem zweiten Finger bei der Entscheidung! Vorsicht in Takt 12: der Sprung von Fis nach C ist weiter als man denkt! Man vergleiche die Takte 1 bis 5 mit den Takten 6 bis 8 usw! Auch die Notenschlüssel können sich nicht entscheiden . . .

needed

Watch

to

you thi fs can't

up,either...

Steady polka

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eidi Hi! Try for a light, springy ieel in the LH

as you change position. Repeated up-borss need to dance too. One-in-a-bar feel

Tempo di ländler

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Beim Lagenwechsel ist in der linken Hand ein gewichtsloses Sprunggeftihl wichtig. Auch wiederholte V Striche müssen tanzen. Geftihl von Ganztakten.

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6. Make it Snappy (reel-y snappy !) Try to start the 1st note of each bar in the same part 'the bow every time you play the 'make it snappy' of

Beím'make

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snøppy'-I?hythmus

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sollte die erste Note eines jeden Taktes möglichst mit derselben Bogenstelle beginnen. Bei einem schnelleren Tempo beginnt man näher der Mitte.

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At a faster temPo, start nearer the middle

Lively, with a ringing ton" J =72 or 84 ot 92 0

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The Snake-Charme Í' s Lament Long, smooth the strings;'a

Lange und weiche Shiche, übermäßige Intervalle, Flageoletti.

egato, especiall v across

intervals; harmonics

Sinuously continuous

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8. Fivepenny Waltz Return to the same place for each

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bow after the

Rückkehr an dieselbe Stelle bei jedem

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Singing vibrato ín the cantabile section. 'Pass' the vibiato"from 1 note to the next as you change bow very smoothly. Hear the f'''l [T'] l" your head as you play

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The Whirly Bird and the Hen. LH 4th-finger strengtlening; LH 4th-finger pizzicato; varied borr-ings; holding Lst finger down on string to support and strengthen other fingers throughout b ars 1,-8,77-23

Der erste Finger bleibt während der Takte 1 bis g

Allegretto J = 108- 120

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Magic Carpet Ride

11... interv

Carpe ays ba ar to b

s.

ovises

to the

tuttibars 1 - 4 until everyone has had a turn at improvising.

Witlr an air of mystery V

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Man soll die Magic Cørpet-Rondos zusammen mit Freunden spielen. Jeder spielt die Takte 1 bis 4. Dann improvisiert ein Spieler vier Takte lang; was den Takten 5 bis 8 entspricht. Darauf kehrt man zu den úufúi-Takten 1 bis 4 zurück, bis schießlich jeder mit Improvisieren an die Reihe gekommen ist.

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V

m'1f

I It+

The Musical Box Winds Down

a

(. . . the end of a perfect day . . .)

Verylightwholebows;

) ) )

) ) ) ,rguo. Hemiolen in den Takten ,urrão3o/st.

leggiero;

Sehr leichte, ganze

hemiolas in bars 26 - 27;rO- a'-*nr*mic and dynamic control as the musical boi winds down

Bögen

Rhythmische und dynamische Kontrolle, wenn die

Spieldose allmählich verklingt.

Dreamily

)

=52

n

pp

p

j

;s

ñ

p t2

ñ

'O

, dim.

vry

=-

EP

"tB

t

leggíero

V o

_'-J

ñ

V

0

p ,B

n

V

ñ

V

o

.D.C. al Qt poi al Coda

n 0

ôô

/l T-?

CODA

ñI

w

f't

o

¿

ô

4

rnorendo

e¿o intermediate studies for solo viola 14 mittelschwere Studien für Soloviola MARY COHEN 14

(

I

I

I

I

I

(

( (

(

(

.€

1

l ¡

(

) I

I

I

,

t

,

t) tf*

V

( ,

çl

3

Use open strings where possible Play 3-part chords as 2 i 2 notes Lighten the 2nd note in duplets Keep fingers down on strings where possible

Molto mode rato ) =72

Möglichst leere Saiten verwenden Dreiteilige Akkorde als 2 + 2 Noten Die zweite Note der Duolen sollte leichter sein

Finger möglichst auf den Saiten lassen

o

3

2

4

rn o 2

5

!J-t.t ¿ì-

Cr

QlJ.ù

\,-J"^.ld

9

{.

o

3r

t

oz_

ú o

4

3

15

0

14

4

'l-

znf

rnr

189 L-

---a

poco rit.

22

rò

lUtogte{ fi{h: plep_a19-þ ch9-r$ by placing tst finger across 2 strings before playing Quinten imBanée-Gnff: Der Akkord wird vorbereitet, indem man dãn 1. Finglr íorñer arrf zwei Saiten legt @) I qq? hw Falrpr Àfrr.i^

T +'t

6

4 Swirling Arabesques Balance the whole arm in string-crossings Watch out when the arm movement changes direction in bar 17 Use open strings

Allegretto )

pe1 Sanzgn Arm bei Saitenkreuzungen balancieren Achtung, in Takt 17 bewegt sich deiArm in die andere Richtung Leere Saiten benutzen

= Ae

n

'i

znf 4

4

5

3

2

o

3

n

(last

time: rall.)

(a tempo)

2

4

10

3

2

cresc. (last time: rall.)

4

15 2

't

3

o

4

3

0

3

n t

FINE

0

o

nùp r9

t1

24

0{

29

tof0

oo

m

T

t

t4

2

2

o4

D.C. al Fine

I

''

ìti

t

ç

"r'

Jo' g

**,

t'-r i ('v=

)

J

I

a

{"

( (

y¡, r

ç

f"

(

i !_,rg

ì

I

(

êPç (

J^,

^UL)

-d

I

.)l ( I

1

\

o

I

\-Þ

qC

n

(

(

6.

I

( (

+,Jr

(

(

(

ryt

Å,

6

4,,0J

(.-

L

t I

I

2r

I

o v

-t

ô

ç

ç

V

ç

V

8

il)/

il;:l ..t' r. ç,r

r.'r'

i. L, r-

ì

t! /

r,),. i

('r,/r

dJ'l1t

-u

I .

r'

\

,)\

.'i

'

, 'r') O.

l

,''-;, {

tO¡,,, illage B"gpipes

Flexible string crossings Hooked bowings

\1.Jri'

L-EVÏÜ

).= nO

po

]

é-q

uls

cr2 Crrçrata, ¿..

ønf

40'tur1 0

5

ß J

3 :>

0

4

:3 I4

o

>

4

o

0

>

4

0

o

>

4 I

lt

3

19

--'t

I

:[ 24

>I

G

Bewegliche Saitenwechsel

n

9

l

Gebogene Striche .Betonung der Melodielinie

Emphasizing a melodic line

Allegro spiritoso

I

o

o

l

"-1,c.

9

28

'o

$!

32

37

ñ

3

o

4

3

o

o

4

I

b tf"^{

/.,(a

,

3

o

0 3

o

Trt (vËr[ 42

ñ

47

52

ñ

3

o

2

I 3

57n

D.C. al

,@t

poi al Coda

3

62

o

3

o

coDA

r

t

UA

l0

F':-., 7 Looping the Loop Strengthening the 4th finger Double stops Leave fingers down on strings where possible Flarmonics

Finger möglichst auf der Saite lassen Flageoletti

) = Ll2

Allegro energico

ñ 3

Kräftigung des 4. Fingers Doppelgriffe

I

V

+

poco 4

+

V

rit. I ñ oB

a tempo 3

tnf

4

@r)

4

g4

7

3

43o

3

rnf Ir.

ll2.

4

o

10

n

4 o

ñV

ñ

V

o

o

3

3

3

rnp 13

2

*

t

2

t

I

3

16

2

nùp 19

cresc.

n

l-

3

tnf 22 g4

25

g 4 3o

'ffi

3

3

o

cresc-

* blocked fifth: prepare

the chord by placinq 2nd finser across 2 sfrinæ lsfn¡a

nl¡.'i--

i,f

16

with Variations

L0 Sarabande bowing I ;:;ä;""r-,! )l¿)) Legato

Legato Bogenführung

I

first beat of each bracket to bring out the feel of the 'slow 3' phrasing e-mp-hasizg the

Broadly

)

n

(2

In Kl

Schlagjeder der,lángsamen

3',

=76

tr

p)

ñ

J

6

m,f

I

al-

11

ñ qnp

17

4q

2 4

V

úr

p

Variation

I

ñ

*

3

nùp

21

r * emphasize

the melodic notes and add some Die Melodietöne hervorheben t¡nd einige >

fÍ

--

13

3

3

-l

rl

4

2

pr

V

J

..-3

BASS

rì

pl

J

3

3

AND :IHE

I

n

J

-\2

to each bar'

21. THE TENOR

JI

2

>;;>

position across the strings' Keep the fingers The follorr.ing melody introduces changes of to leap from one string to ano¡her' do*n *.here indicated *¿ ,t i, v.,ill preveár anyìendency

22. W ALTZING 1

Moderato TI

o

I

3

V

1

2Ç

a

2

V

---é---

3-

p

/----___---\

1

3

a

o

2

?rup

l-

t3

2

l/r

4

t

o

4

2

2-

l3 1

o

a

2

2

3

1

o

2 J

lt,rsir:,.,11

ir

I

(.h:::ì.i:rl: i,r ihc \:¡j¡

()\l:()l{l) L'\ lVEllSl'l'\' l'Ri:'

4<

I

îEi I

(

l

I

e

Jvy

EASY POSITION T{JNES FOR VIOLA

'\:¿ -1r'

,,

NEIL MACK/

3rd POSITION

,il'

:Ï

The

D stiing

Play the D string tetrachord and pause on the note G with rhe 3rd finger. Move the hand up to 3rd position so thar rhe same note is prayed by ,h. il finger.

n

l------

3a"\ 4

2

^

3

3

2

3

2

- keep the finger

ón rhe srring. semirone between rhe nores. continue in the same manner.

A orVsimile

-

d

Moderato

? V

nw t-

rÊ,rn-n-rÊrB

"\'

(.

"laJ

5

iñile

r

: ln

V

V

â

mp

rall Allegretto

p

THE SPINNING WHEEL

I

-

p

3_ n 4

o

ry

ry

p

2

2

crescendo

ry

*f diminuendo

>Pp

)Oxford University press 1965 Printed in Great Britain OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, VALTON STREET, OXFORD OX2 6DP Photocopying this copyright material is ILLEGAL

a#

'

The G string

fingering is the same as that used on the D string.

n

23

32

l-

EMI

I

4

3

Allegro risoluto

\â

f'l

V

shnìte

\á+

ñ ,,f ii.f;r *'

.

''id,'.

-

*,.

-. ttÃ'..; -.

ñ

,.1

rw

"f

',å1.

J¡

.ì.,

J,

..

:í

Andantino

nw

ESIDE VIEW

z_

r'1

o

2-

o

2

r-r

mf

lrO

o

3

3

2

2

2

nw

2

2

V

o

':.

2

2 ,'i,1:l

,i$ira"r

Tuncs for Viola

o

l-

o

s

\

I I

t^

Ë

(

H

1

I

\

H

D strings

!,

Play the G string tetrachord followed by that

of the D string and the resu¡ is the SCALE

i

,.ii.'

n

t

2

I

J,

'ractise also with z and 4 notes per bow

arpegglo r'1

I

imile

1:

means rst finger covering two strings at the same time. Practise also usi a bow to each bar.

URTIER'S D ANCE

'he staccato quavers should be

-

in the L.H. part of the bow.

Allegretto grazioso n

l_

2

l-

t¡

tn

2-

l-

ll-

p poco rall.

BUGLE PARADE

Allegro moderato

,

t'l

o

rry)

l_ t,

--

2

o

mf

n

l-

L ñ I

o

nw

*f y Position Tunes for Viola

,

4

The A string

.1" t

A string fingering is the same

as that used on the

n

no

4-

(3)

I

1q.,u

,

(:it-".'*ì

A;

U.

(-, t Q

p

_

2

4

2

ELODY 0)

o.J ¿

J

n

3

E

\i. ) I

Grazioso -¡.''

l-

2

\ c..\

G and D strings.

.l

-----=\ 2

nw

sim;le

.-.._--\ r'1

p

2

MARCH

IN D

Moderato

,

Ò

¡

tfo

1-

t-

5i¡¡il¿

I

n 2

îrw

o

2-

, cresc.

"t

o

TheDandAstrings play the D string tetrachord followed by that of the

A

string and the result is the SCALE OF G'MAJOR'

2

Practise also with z and 4 notes per bow.

G major arpeggio

simile

Practise also using a bow to each bar'

5

þt¿¿Jar

KATHLEEN'S \MEDDING Giocoso I

nw

o

o

*f

2

>

:>

mp

p 11p

CHATTERBOX

Tempo comodo I

,

p 1

nw

l_

mf

l_

2-

, nw t-

, 2_ crescendo

I

"!f

-p

sy Position Tunes fo¡ Viol¡

pp

6

The C string

f..p

your lefr elbow tucked under the viola and allow the thumb to slide under the äeck oitire instrument. Thiswill ensure a goodleft hand position and correctfinger action' ñ

t-i;

â

n

I

3

3

2

l-

3

2

2

I

THE DRUM-MAJOR Play the staccato notes off the string in the Lower Half bow.

Moderato

mf

o

I

"f

"!f V

-t

..{

TheCandGstrings Play the C string tetrachord followed by that of the G string and the result is the SCALE OF F MAJOR.

I per bow. z and notes also with Pracdse 4 ,

2

F major arpeggio

i..,

¡',. a'.

J*,'

4

¡1

simile

Practise also using a bow to each bar

4l , MTNUET .ì1.

P

, nw

I

FINE.7

y

--p

l_

2

l_

D.C. al Fine nw

2_

2

45 cAVorrE Tempo di gavotta n

>

3

nw

V

l_

o

l__

r\/ cresc.

2

¡ V

, 2_

2

nw

-F V

li'

t-t

2 ¡J

>

>

ñ cresc.

y Position Tunes for Viola

-

"!f

OSITION

2nd

The D string on the note F, then move the hand up to znd position so that rhe same note is with the first finger. n

(a

/,

/n 'o

I

2

4_

3

2

3

t_

4 _-_-___3

3

2

PADDY McFANE Allegro

2

^\

l/r

f:-

n

nw

2

l;' Tfe last note is an Artifrcial Harmonic. Press firmly with the first finger on F, and lightly wirh rhe 4rh on gb. t¡is should a sound two octaves above the stopped note F.

A KELTIC LAMENT '.¡:.1"

o

2-

îrW.--

o

o

p

2_

n 2

> t---\

o

nw

2

2

o

p

rall. e dim.

The G string The G string fingering is the same as that used on the D string. ñ

34

3

32

2

h ç 1. V "r'vfiLs a

ülJ

c

THE \MATER WHEEL

sinile

crescendo

tn cfesc.

-

-P

HIGH TIME

Tempo comodo

)¡

--P

,u

o

rnf

o

i,

,

-_

V

p

nW

poco

rall. -pp

:

The G and D strings

'lay the G string tetrachord followed by that of the

D

string and the resu¡ is the SCALE OF Bb MAJOR.

n

I

Practise also with z and 4 notes per bow.

Bb major arpeggio r'1

t

simíle

Practise also using a bow to each bar. asy Positiou Tunes for Viola

I

j{! 10

COUNT BRONOWSKI ,!r

Grazioso n

:?l 11'1

l--

'S)-i a¡.\' .t-,, f,-

p

tM) tl

2

{:

-11-

o

?nl "

r.l

I

L-

=:>-

V

2 :-:

>

*,f ô

o

t

A^h

t1 IAN FINDLAY'S REEL

u'JAuñ\.

Allegro ma non troppo ñ

o

mpr

o

, rnf

"f

:. V

o

mf

;-

"t

crescendo

The A string The A string frngering is the same as that used on the D a¡ld G strings. t-l

t1

(2)

I

2

3,,2':¿-.-^\3

2

I

2

4

2l

I1

2o THE F'ALLS O'FBARN o

repeatmp)

mp (reþeatmf) o

rall. znd ùme

SONG OF STORNAWAY Andantino o

p

o

,

2

::I

nWt

FINE.

,

--

2

n

,

--

D.C. a temþo al fine

nw

o

þoco rall.

>-

TheDandAstrings !/ the

D

string tetracho¡d followed by that of the

A string and the resulr is the scALE oF F MAJOR.

r'l

2

Practiçe also with z and 4 nores per bow.

F major arpeggio ñ

I

simile

Practise also using a bow to each bar. Position Tunes for Viola

a

L2

2L

:i.

11"

:.3

NEGRO SPIRITUAL

Allegretto

i!'

ñ

t-

nw

3_

o

3

o

rnJf

, l_

2

2

p

-_,¡7W nw

l_

:-

o

L5

?nr

COOL WA-IERS

Andante con espressione

ñ

n

2-

3_

,nJf

-

2

V

n

V

nW

o

2

n

mf

o

-

,,.,í'',

ir,:,

â

V

V

p

==:--

poco rall.

The C string

..

"{,r'

-PP

The C string fingering is the same as that used on the other three strings. i

i'"

iI

n

n

234

32t

324321

2+ REGRETS Largo

,

V

Ì\p r-

símìle

-p , nw

pp

13

TheCandGstrings C string tetrachord followed by that of the G string and the result is the SCALE OF Eb MAJOR. n 2

Practise also wirh z and 4 nores per bow

Eb major arpeggio n

t-

imile

Practise also using a bow to each bar.

',:

2(

FANTASIE

Andantino n

pt

i:

o

rntp V

-

l_

-

l_

-nW n

>

3_

--

mf

_\-

nw

mf

-O

l_

.1.'¡iii

.::¡!:-1'

sy Position Tunes for Viola

Præssed and printed by Halstan & Co. Ltd., Amershom, Bucks., England

OXFORD T'NIVERSITY PRESS,; .i¡1, .