Violin (Book 1)

December 6, 2017 | Author: LaraSami | Category: Violin, String Instruments, Ode To Joy, Tempo, Musical Instruments
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A COInPR.EHENSI\íE SÍRTNG lnEÍHOD BY

NilICHAEL ALLEN

ROBERÍ GTLLESPTE PA'NELA TEITEJOHN HAYES ARRANOEI'IENÏS BY JOHN [email protected]@INS

EFâ=t:,-.-E-o^\+xR'

THE VIOTIN Scroll

Toke Speciol Cqre

Pegs

String instruments are delicate. Follow your teacher's guidelines in caring for your instrument, and it will last forever.

Peg box

. Follow your teacher's instructions when removing the instrument from the case.

Nut

. Protect your instrument from heat, cold, and quick changes in temperature.

Fingerboard

. Always wipe off the instrument with a soft dry cloth. Be sure to remove all fingerprints and rosin.

Neck

. Place a cloth over the top of the violin before closing the case.

Upper bout

Accessories .

Rosin

. Shoulder rest

,rcl ,rFl

bout hole

. Soft cloth . Extra set of strings

Bridge Sound post (inside)

Fine tuners

Tailpiece

Chin rest End button

THE BOW Winding

.

Bow hair Never touch the bow hair.

. Keep the bow in your case until directed by your teacher.

Adjusting screw

Ferrule

Frog

HOTDTNG YOUR TNSTRUftTENT

The best way to learn to play your instrument is to practice one skill at a time. Repeat each step until you are comfortable demonstratinr it for your teacher and classmates. Many violin players begin by playing their instrument in guitar position. As you learn the basics, your teacher will help you change to

shoulder position.

Guitqr Position Step

I

Shoulder Posifion

Place the instrument case flat on the floor with the handle facing you. Open the case and lift the instrument

Step I

up by the neck. ldentify all parts of the violin.

Sfep

2

Step

2

Sfep

3

Cradle the violin under your right arm. Raise the scroll to shoulder height. Be sure the back of the violin is

Standing) - Stand with feet about a shoulder's widtl" apart. íSift,ir g) - Sit on the front part of the chair. Turn your left foot to the 10 o'clock position. Slide your right foot back. Adjust your position to place more weight on your left foot.

flat against your stomach.

Srep Sfep

3 4

Hold your instrument at eye level parallel to the floor

ldentify the letter names of each srring:

Curve your left hand around the upper bout. Find th

G (lowest pitch), D, A, E.

end button with your right hand.

Raise your right thumb over the strings whíle continuing to hold the instrument. Pluck the strings as directed by your teacher. Plucking the strings is called pizzicato, and is abbreviated pizz.

Sfep

4

Bring the instrument down to your shoulder. The enr button should be near the middle of your neck. Turn your head slightly to the left, and place your jaw on the chin rest. Be sure the scroll does not point towar the floor.

:2 lD Guitar Position

n/,/

/

Shoulder Position

Beqt = The Pulse of Music

:

> É,

Gluorter

Note

Gluqrfer

Rest Ì

r'O 'rrr ,,h

J =tgeatofsound = r Beatofsilence

The beat in music should be very steady, just like your pulse.

Notes tell us how frigt't

or,

low to play, and how long to play.

Rests tell us to count silent beats.

Music Stoff

The music staff has 5 lines and 4 spaces.

Bqr Lines

Bar lines divide the music staff into measures.

Meqsures

The measures on this page have four beats each.

Measure

Measure

t l

l.

TUNING TRACK

2.

LET'S PIAY "OPEN

Bar Line

A Bor Line

Wait quietlyforyourteachertotuneyour instrument.

D''

Pizzicato lpizz.) < Pluckthe strings Q < Open string

3.

[ET'S PlÂY "OPEN

A"

pizz.

0

flt

fiìl

t{

t,!

t,!

'1!

Keep a steady beat.

4.

TWO'S A TEAM

pizz.

ti!

5. AT PIERROT'S DOOR

ti'l

7rl

The melody is on your CD.

ptzz.

trìl

A Bor Line

Music

stoff

Treble Clef

Clefs indicate a set of note names.

Time Signoture

4 4

(Merer)

The time signature tells us how many beats are in

J

each measure and what kind of note gets one beat.

or

ì

gets one beat

Double Bor

6.

(

A double bar indicates the end of a piece of music.

JUMPING JACKS

7. MIX'EM

I

4 beats per measure

ldentify the clef and time signature before playing.

UP

Repeotsign

:

Go back to the beginning and play the music again.

(r

Gounling

Count Tap

8.

COUNT CAREFUILY

1&2&3&4&

J1ürJtrt

One beat = Tap toe down on the number and up on "&." Always count when playing or resting.

Keep a steady beat when playing or resting.

&3 &4

9.

ESSENTIAI ELEMENTS GIUIZ

n

Writeinthe countins beforeyou ptay.

&

&2&3&4&

SHAPTNO Step

I

ÏIIE

1EFT HAND

Shape your left hand as shown. Be certain your palm faces you.

0 = Open stÍing 1 = lst finger 2 = 2nd finger 3 = 3rd finger 4 = 4th finger

Sfep

2

Bring your hand to the fingerboard. Place your fingers on the D string, keeping your hand shaped as shown below. Be sure your first finger forms a square with the fingerboard, and your wrist is relaxed and straight.

is played with 3 fingers on the D string.

lisfening Skills I

É o Irl

Shorp

F

It .

í

is played with 2 fingers on the D string.

3

A sharp raises the sound of notes and remains in effect for the entire measure. Notes without sharps are called natural notes.

#

[ET'S READ trçfitt (F-shorp)

\

Play ollFl's. Sharps apply to the entire measure,

LIFT OFF ptzz.

t/

is played with 1 finger on the D string.

Start memorizing the note names.

r# I2.

E E

Play what your teacher plays. Listen carefully.

O. [ET'S READ "G" ptzz.

E++ f

ls your left hand shaped as shown in the diagrams above?

SHAPING ÏHE RIOHT HAND Pencil Hold Sfep I Hold a pencil in your left hand at eye level. Sfep

2

iíti

"

Hang your right fingers over the top of the pencil, as shown.

Srep 3

Place your right 4th finger on

Srep 4

Touch the tip of your right thumb to the pencil just opposite your 2nd finger. The curve of your thumb will form an oval with the finger.

Srep 5

Lean your right hand so the first finger rests on

top of the pencil.

top of the pencil between the 1st and 2nd joints. Keep your fingers relaxed. Remove your left hand from the pencil. Practice shaping your hand on the pencil until it feels natural to you.

Practice BOW BUILDER ONE daily.

13. ON THE TRAIL Say or sing the note namesbeforeyou

ptay.

pizz.

14.

[ET'S READ

"E"

ptzz.

E

I5.

WATKING SONG ptzz.

3

2

Count:1&2&344&

16.

ESSENTIAL ETEMENTS pizz.

n

2a GIUIZ Draw the missing symbols where they betong before you ploy:

6

Pencil Hold Exercises l'm Oullq Here

Finger Tops

Wave good-bye while keeping your

Tap your first finger. Then tap your

wrist relaxed.

fourth finger.

Thumb Flexers

Knuckle Turnovers

thumb in and out.

Flex your

Turn your hand over and be sure your thumb knuckle is bent, as shown.

Knuckle Turnovers

Bowing Motions Swingin' Out Put one finger inside your right elbow and swing youÍ arm, as shown.

Swingin'Out

17.

HOP SCOTCH pizz.

&4&

Count:

É o F I

Folk songs have been an important part of cultures for centuries and have been passed on from generation to generation. Folk song melodies help define the sound of a culture or region. This folk song comes from the Slavic region of eastern Europe.

18. MORNING DANCE pizz.

3

19. ROIIING

20

ATONG

Slavic Folk Song

Place your instrument in shoulder position as shown on page 3. Then practice the following exercises with your left hand.

Finger Tops Tap fìngertips on any string. Practice in different combinations

of fingers.

Pull Awoys Pull your left hand away from the side of the neclç while keeping the thumb and fingers on the instrument.

Strummin'Along Strum the strings with your 4th finger while swinging your elbow under the violin, as shown.

20.

Strummin'Along

GOOD KING WENCESTAS ptu.

Welsh Folk 5o

0

3

\ Keep fìngers down when you see this bracket.

21.

SEMINOTE CHANT pizz.

Count:

1

22. ESSENTIAT ETEMENTS pizz.

GIUIZ

O

n J

PrepareFil before playing.

- TIGHTTY ROW 31

is played with 3 fingers on the A string.

listening Skills

23.

c#

:fli'"ïÏ;lfffinsers

Play what your teacher plays. Listen carefully.

[ET'S READ "D" ptzz.

3

24. 'LET'S READ nçfiu (C-shorp)

c# \

25.

TAKE OFF ptzz.

26.

I

^ -t

CARIBBEAN ISLAND ptzz.

).

Play allC#'s. Sharps apply to the entÌre measure.

3

2

Practice BOW BUILDERS ONE,TWO, and THREE daily.

is played

with 1 finger

on the A string.

27. OTYMPIC

28.

29.

[ET'S READ

"B"

HAIF WAY DOWN pízz.

30.

HIGH JUMP

3

RIGHT BACK UP pizz. 0

A scale is a sequence of notes in ascending or descending order. Like a musical"ladderïeach note is the next consecutive step of the scale. This is your D Scale. The first and last notes are both D.

ScEle

3Ì.

DOWN THE D ptzz.

32.

n

SCATE

Remember to memorizethe note names.

3

ESSENTIAT ETEMENTS GIUIZ

2

- UP THE D SCALE

On The Bow (Eorly Bow Hold) Sfep I

ldentifu all parts of the bow (see page 2). Hold the bow in your left hand near the tip with the frog pointing to the right.

Step 2

Put your right thumb and 2nd finger on the bow stick near

the middle of the bow

BalancingThe Bow

Sfep

3

Shape your right hand on the bow sticlç as shown.

Süep

4

Turn your right hand over, and be sure your thumb and fingers are curved.

Sfep

5

Hold the bow and repeat the exercises on page 8.

Alert

à 2

Do not place your bow on the instrument until instructed to do so by your teacher.

33.

SONG FOR CHRISTINE

34.

NATAIIE'S ROSE

35.

ESSENTIAI CREATIVITY

E Example

Early Bow Hold

Remembertocount.

How many words can you create by drawing notes on the staff below?

Folk songs often tell stories. This lsraeli

folk song describes a game played with

that has been enjoyed by families for centuries. The game

3ó.

a dreidel, a small table-top spinning toy is especially popular in December around the time of Hanukkah.

DREIDET lsraeli Folk

puz.

Shodow Bowing Shadow Bowing is bowing without the instrument.

Sfep

I

Sfep

2

Place the rosin in your left hand. Hold the bow at the balance point.

Sfep

3

Shadow bow by slowly moving the bow back and forth on the rosin. Be sure to move the bow, not the rosin.

Tighten the bow hair as instructed by your teacher.

--Down Up

Bow -

Bow

37.

ROSIN RAP llV

Down

38.

Rest

Move the bow toward your body (to the left).

V

#t

Up

Bow these exercises on the rosin.

-V-V Rest

Down

Rest

Up

Down

Up

Down

Up

Down

Rest

Up

Up

Rest

-

Down Up Down

Rest

Up

Rest

Down

Up

ROSTN RAP #3

Down Up Rest Rest Down

1/

Up

ROSIN RAP #2

NV

39.

Move the bow away from your body (to the right).

ls

Up

your bow hand shaped as shown in the diagram above?

Down

Rest

Up

Up

Rest

Sc

"t4 Review these notes. Write the letter names in the spaces below.

É o H

40.

CAROTINA BREEZE

Count:1 & 2 & 3 & 4

4I.

1&2&3&4&

1& 2 & 3 & 4

&

1&2&3&4&

JINGTE BETIS J. S.

42. OtD íìAACDONATD ptzz.

)'.

&

HAD A FARfú

3

Practice BOW BUILDER FIVE daily.

Pierpont

American Folk Song

Austrian composer Wolfgang Amadeus Mozart (1756-1791) was a child prodigy who first performed in concert at age 6. He lived during the time of the American Revolution (1775-1783). Mozart's music is melodic and imaginative. He wrote hundreds of compositions, including a piano piece based on this familiar song.

43. A MOZART METODY ptzz.

0 O

A key signature tells us what notes to play with sharps and flats throughout the entire piece. Play all F's as Ff (F-sharp) and all C's as Cil (C-sharp) when you see

Key Signoture D MA'OR

44.

this key signature, which is called "D Major."

MAÏTHEW'S MARCH ptzz"

\

45.

.1.

Play Fil's and

Cfr's

when you see this key signature.

CHRISTOPHER'S TUNE

tt

46.

3

-

-

ESSENTIAL CREATIVITY

Ptay the notes below. Then compose your

youhavetearnedwiththisrhythm: ptzz.

E

)

own

music for the last two measures using the notes

)

)

)

) ÌÌ JJ )

Ì

Lef's Bow!

Early Bow Hold

Slep I

Sfep 2

Regular Bow Hold

Thumb Placement

Hold the instrument with your left hand on the upper bout as illustrated.

Your teacher will suggest when to begin moving your bow hand toward the frog, as shown in the Regular Bow Hold illustration. The tip of your thumb will move to the place on the stick where

Hold the bow at the balance point (Early Bow Hold).

it touches the frog.

Your right elbow should be slightly lower than

your hand.

Listening Skills

47.

BOW ON THE D STRING arco

48.

ptay what your teacher ptays. Listen carefully. Your tone should be smooth and even.

-)

Play with the bow on the string.

BOW ON THE A STRING

-VNV

-

-

-

ll

-

n

rl

Srring levels Your arm moves when bowing on different strings.

Memorize these guidelines:

. Raise your arm to play lower-pitched strings. . Lower your arm to play higher-pitched strings.

49.

RAISE

50.

TEETER TOTTER

5T.

MIRROR IMAGE

AND TOWER

nv.

-V

-v- V-

BOw Liff

t

Lift the bow and return to its starting point.

52. A STRAND OF D'N'A

53. ESSENTIAT ELEMENTS GIUIZ llV

-

OLYMPIC CHALIENGE

n Combining Both Honds Using notes from the D major scale, echo what,your teacher plays.

Raise

arm =

Lower arm

lower string

= higher string

18

PUTilNG

Iï Att TOOEÏHER

Congratulations! You are now ready to practice like an advanced player by combining left and right hand skills while reading music. When learning a new line of music, follow these steps for success:

I Sfep 2 Sfep 3 Sfep 4 Sfep

Tap your toe and say or sing the letter names. Play

piu.

and say or sing the letter names.

Shadow bow and say or sing the letter names. Bow and play as written.

54, BOWING "G" 3

55.

BACK AND FORTH

57.

TRIBAT IATYIENT

-

óI.

ETEVATOR UP

62. DOWN

32

THE D MAJOR SCALE

ó3.

SCATE SIMULATOR Remembertocount.

64.

ESSENTIAL ETEMENTS GIUIZ

7A

,4

-

THE D MAJOR SCATE

-

Speciol Violin Exercise While the basses learn a new note, draw the bar lines in the music below. Then write in the counting.

ó5.

[ET'S READ 'C#o

- Review

20

)* J*

Eighth Nofes É o trt l-

J1

,r: n 1&2&

Each Eighth Note = 1/z Beat 2 Eighth Notes = 1 Beat

1&

1

Two or more Eighth Notes have a beam

JlJT

JI

across the stems.

Beam

ilü1Jt|)=JTJ1 JlJï

Tap your toe down on the number and up on the"&'j

66.

RHYTHM RAP Shadow bow and count before playing.

-V-V-

V

&2&3&4&

67.

PEPPERONI PIZZA

ó8.

RHYTHM RAP

-V-VN

-v-vl't

-V-V-

1&2a3&4&

1&2&3a4&

I &2 &3 &4

&

Shadow bow and count before playing.

ll

VNV

NV

Count:l & 2 & 3 & 4

69.

&

VI'IV

VNV



1&2&3&4&

1&2&3a4&

V-V &2&

&4&

D MAJOR SçALE UP

Tempo Morkings

Tempo is the speed of music. Tempo markings are usually written above the staff, in ltalian.

Allegro

-

Fast

tempo

Moderato

-

Medium

tempo

Andante - Slower, walking tempo

70. HOT CROSS BUNS

71.

AU CTAIRE DE LA LUNE Andante

French Folk Song

72.

RHYTHM RAP Shadow bow and count before playing.

-

-VlìV-

V-VFV

Count:l & 2 & 3 & 4

73.

&

1&

V-VNV

2 a 3 & 4

&

-V-VN 1& 2 & 3 & 4

l&2&3&4&

BUCKEYE SATUTE Moderato

fiti^" Signoture

Conducring = =

74.

2 beats per measure Quarter note gets one beat

Practice conducting this two-beat pattern.

,rb

RHYTHM RAP Shadow bow and count before playing.

-V Count:1 &, /

75.

&

FIVFIV

1&2&

1&2&

NV-V 1&2&1&2&

1&2&

1&2&

1&2t

TWO BY TWO

I sr

76.

2

NV

& 2nd Endings

ESSENTIAT ETEMENTS GIUIZ

the 1st ending the 1st time through. Then, repeat the same section of music, skip the 1st ending, and play the 2nd ending. Play

- FOR PETE'S SAKE

n \

l

st time

- - - - I 2ndtime

&

22

Holf Note

Holf Resf

É,

o E

O1=2Beats I

F

= 2 Silent Beats

1& 2&

77.

--r--

1& 2&

RHYTHM RAP Shadow bow and count before playing.

Count:1

78.

& 2

&

3a4&

&2&

&2&

&4&

& 4

&

&2&3&4&

AT PIERROT'S DOOR Moderato

French Folk Song

Slow Bow

79.

THE HALF COUNTS

80.

GRANDPARENT'S DAY

Slow

>

Bow

SIow

Bow

,

Andante

É, o t{

American Folk Song

Repeat the section of music enclosed by the repeat signs. (lf I st and 2nd endings are used, they are ployed as usualbut go back only to the first repeat sign, not to the beginning.)

Repeot Signs

t-

8I

.

>

MICHAET ROW THE BOAT ASHORE Moderato

.

I r.

82. TEXAS TWO'STRING

llz

Holding your violin in shoulder position, pizz. this exercise wìth your left hand 4th finger. 4+ = 4th finger pizz.

Your 4th finger is often used to match the pitch

ofthe next highest open string, creating a smoother tone and fewer changes between strings for bowing.

83.

FOUR BY FOUR n

84.

4TH FINGER MARATHON

85.

HIGH FTYING

German composer Ludwig van Beethoven (1770-1827) was one of the world's greatest composers. He was completely deaf by 1802. Although he could not hear music like we do, he could "hear" it in his mind. The theme of his final Symphony No.9 is called "Ode To Joy," and was written to the text of a poem by Friedrich von Schiller."Ode To Joy" was featured in concerts celebrating the reunification of Germany in 1990.

8ó.

ESSENTIAT ETEMENTS QUIZ Moderato

n

n

-

ODE TO JOY Ludwig van Beetho'

124

PERFORTIANCE SPOTTIOHÏ )t

Good performers are on time with their instruments and music ready, dressed appropriately, and know their music well.

87.

SCALE WARM.UP

88. fnÈnf JACQUES - Round (when group A [email protected],group

É,

Chord, l/ormony

r,ìO

:;|:..{iÉr

:F ::

Bbegins [email protected])

Two or more pitches sounding at the same time form a chord or harmony. Throughout this bookA = Melody and B = Harmony.

r::.

89.

BltE ,EM CABBAGE DOWN Allegro

N

V-V

i,

r

-

Orchestrq Arrqngement American FiddleTune

NV

A ')

Âu

I

-

B

--,

E

MeasureNumber

A

-

a)

ÀU B

|

|

r -

-

-

I

-

I

I

-

J-A

-

I

PERFORTI'IANCE SPOTITGHT

90.

ENGTISH ROUND

91.

LIGHTIY ROW

-

Orchestrq Arrongemenf

Moderato 4

A t

a)

ltu

-

úis-1+-

B

French composer Jacques Offenbach (1819-1880) was the originator of the operetta and played the cello. An operetta is a form of entertaidment that combines several of the fine arts together: vocal and instrumental music, drama, dance, and visual arts. One of his most famous pieces is the "Can-Can" dance from Orpheus And The lJnderworld. This popular work was written in 1858, just three years before the start of the American Civil War (1861-1865).

92.

CAN-CAN

- Orcheslrq Arrqngement

Jacques Offenb;

Arr.John Higg

A

ït

dt'

ltu B

1/

lt ll

What were the strong points of your performance?

is played with 2 fingers

is played with 3 fìngers on the G string.

listening Skills

on the G string.

Play what your teacher plays. Listen carefully.

New Key Signofure

É, o

G MAJOR

III

Play all F's as Ffi (F-sharp) and all C's as Ch (C-natural).

LET'S READ

"G"

-\ PIayFF's and

CVs

in this key signature.

94. [ET'S READ "C," (Q-noturol] 3

c 95. [ET'S READ "B" 2

B

-
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