teacher’s score

My Next Pieces Music for Intermediate String Players

Teacher’s Score

Composed, arranged, and compiled by

Stephen Chin

Everything String

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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

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Some Notes for the Teacher My Next Pieces, following on from My First Pieces, has been devised to guide developing string players to an intermediate level of playing. As in My First Pieces, an important feature is that the teacher may accompany the student for each piece on their instrument of choice with a separate part. Many teachers have found this musical and personal connection to be a significant contribution to each student’s focus, progress, and enjoyment in playing music. Additionally, audio recordings of the piano accompaniments for each piece may be downloaded freely from www.everythingstring.com

As always, it is advisable to consistently check students’ posture, bow hold and the position of their left hand each time they attend lessons. Important information appears throughout the book as the need arises and it is best to revise this regularly with students during lessons. A glossary can be found at the back of the book so that students can quickly find the meaning of the terms they have learned.

Throughout the book there are “Teacher’s Notes” which you may find useful when tackling a new idea or work. However, this is by no means the definitive way of explaining things as there are many different and valid ways of communicating essential information.

The string pedagogy has been carefully sequenced so that both musical and technical concepts build in a logical yet enjoyable manner. Renaissance, Baroque, Classical, Folk, Swing, Romantic are just a few of the musical styles that are presented. The wide array of keys and modes used may provide each developing player with a greater aural sphere. A summary of how the book is sequenced is found on the next page.

I would like to acknowledge the wonderful musicians and string colleagues that I have worked with over the years, whose ideas and passion for string teaching have made a tremendous impact on me. Particularly, I wish to pay tribute to my dear friends and fellow string teachers Amy Phillips and Michael Patterson who spent hours proof reading and making suggestions in the final stages of the book. Furthermore, I thank my son Alexander Chin, also a string teacher, who helped enormously with the photography.

Above all, I trust that you find the material in My Next Pieces helpful and musically rewarding.

Stephen

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Sequencing of Musical and

Technical Concepts

REVISION OF THE D, G AND C MAJOR SCALES AND ARPEGGIOS.

OVERVIEW OF DIFFERENT BOWING STYLES: SLURRED NOTES, RETAKES,

MARTELÉ, DIVISIONS, HOOK STROKE, ZIG-ZAG BOWING AND SPICCATO.

REVISION PIECES THAT USE THE ABOVE SCALES AND FAMILIAR RHYTHMS.

TWO – TWO OR CUT COMMON TIME.

VIBRATO.

POSITION CHANGING (1) – TO A HARMONIC, USE OF AN OPEN STRING, AND THE

SAME FINGER.

SPICCATO.

SYNCOPATION.

REPEATED STRING CROSSING USING BOTH SEPARATE AND SLURRED BOWINGS.

CHROMATIC SLIDES WITH THE FIRST FINGER.

SEMIQUAVERS.

C SHARP AND G SHARP.

THE KEYS OF A MAJOR AND A MINOR.

ADDITIONAL SEMIQUAVER GROUPS.

POSITION CHANGING (2) – USING DIFFERENT FINGERS.

TRIPLETS.

SIX – EIGHT TIME.

SWING STYLE.

THE KEYS OF F MAJOR AND D MINOR.

THREE – TWO TIME.

THE KEYS OF B FLAT MAJOR AND G MINOR.

TWO OCTAVE SCALES AND ARPEGGIOS.

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Table of Contents

TITLE PAGE TITLE PAGE

1. D MAJOR SCALE & ARPEGGIO 1 23. BARTOK SUITE 45

2. G MAJOR SCALE & ARPEGGIO 2 23 (a) PLAY SONG 45

3. C MAJOR SCALE & ARPEGGIO 3 23 (b) OLD FRIENDS (LOW VERSION) 48

BOWING STYLES 4 - 7 FINDING HIGH E 49

4. RENAISSANCE SUITE 8 23 (b) OLD FRIENDS (HIGH VERSION) 50

4 (a) LA BERGAMESCA 8 23 (c) TRA LA LA LA TULIPAN 52

4 (b) SCIARAZULA MARAZULA 9 SYNCOPATION 55

4 (c) IL CARNARIO 10 24. SYNCOPA ON THE C MAJOR SCALE 55

4 (d) PAVAN 12 25. DANCE IT, SPIN AROUND 56

4 (e) BALLO FURLANO 13 26. GUT SHABBES EUCH 58

4 (f) BRANSLE 15 27. NOBODY KNOWS THE TROUBLE I’VE SEEN 59

5. FINGER GYM IN D 17 28. TIJUANA TANGO 61

6. FINGER GYM IN G 17 29. BETHENA 63

7. FINGER GYM IN C 18 30. REPEATED STRING CROSSINGS MARY STYLE 65

8. CUT COMMON TIME 18 31 (a) CRISS-CROSS LADDERS 66

9. CANON 19 31 (b) CRISS-CROSS LADDERS SLURRED STYLE 67

10. WALTZING MATILDA 20 32. THE RECONCILIATION REEL 68

11. HATIKVA 21 33. DROWSY MAGGIE 70

VIBRATO 23 34. CORRENTE 71

12. ANDANTINO IN B MINOR 24 35 (a) SEMI SLIDES 1 – B - A# 73 – 74

13. LAMENT 25 35 (b) SEMI SLIDES 2 – E - D# 74

14. ST ANTHONY’S CHORALE 27 35 (c) SEMI SLIDES 3 – A - G# 74

15. THE FIRST NOWELL 29 36. BY THE WATERS OF BABYLON 75

16. HOME SWEET HOME 30 37. BASQUE LULLABY 76

17. WRAGGLE TAGGLE GYPSIES 31 38. JOSHUA FIT THE BATTLE OF JERICHO 77

18. FUN WITH POSITION CHANGING - 1 32 SEMIQUAVERS 78

18 (a) REACHING FOR THE CLOUDS 32 39. SEMIQUAVERS ON THE G MAJOR SCALE 78

18 (b) OPEN CROSS BUNS 33 40 (a) BUSY MACDONALD 79

18 (c) SIGHS AT THE SHINING PAGODAS 33 40 (b) BUSY MACDONALD – SHORTHAND VERSION 80

19. SKYE BOAT SONG 34 41. BUGLE CALLS AT DAWN 81

20. THREE 18TH CENTURY MINUETS 37 42. DING DONG DIGGIDIGGI DONG 82

20 (a) MINUET 37 43. CLAP WITH ME 83

20 (b) FANFARE MINUET 39 44. ETUDE 84

20 (c) MINUET FROM THE ROYAL FIREWORKS 41 45. C SHARP ON THE G STRING 86 – 87

21. FIRE FLIES 42 46. THE FOX WHO STOLE THE GOOSE 87

22. MATTACHINS 44 47. ADIR HU 88

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48. GREENSLEEVES 89 85. MARCH OF THE TOY SOLDIERS 138

49. G SHARP ON THE D STRING 91 – 92 86. SIX- EIGHT ON OPEN STRINGS 141

50. FRERE JACQUES 92 87. SIX- EIGHT RHYTHMS ON THE D MAJOR SCALE 142

51. DEATH AND THE MAIDEN 93 88. THREE ENGLISH DITTIES 143

52. A MAJOR SCALE & ARPEGGIO 95 88 (a) HICKORY DICKORY DOCK 143

53. FINGER GYM IN A 95 88 (b) HERE WE GO ROUND THE MULBERRY BUSH 144

54. MARCH FROM SCIPIO 96 88 (c) POP GOES THE WEASEL 144

55. ADVANCE AUSTRALIA FAIR 98 89. DRINK TO ME ONLY WITH THINE EYES 146

56. THE A MINOR SCALES AND ARPEGGIO 100 90. HULLABALOO BELAY 147

57. FINGER GYM IN A MINOR 101 91. SUMER IS A CUMEN IN 148

58. LET ALL MORTAL FLESH KEEP SILENT 101 92. LANIGAN’S BALL 150

59. MENUET 103 93. GIGUE À L’ANGLOISE 151

60. LES BERGERS RUSTIQUE 104 94. SWALLOWTAIL JIG 152

61. FANFARES 105 95. SURF’S UP! 154

62. TI - TIKA ON THE G MAJOR SCALE 108 96. WOOLLOOMOOLOO BLUES 156

63. SKIP TO MY LOU 109 97. SONATA IN E MINOR 157

64. WILLIAM TELL OVERTURE 110 97 (a) GRAVE 157

65. POLONAISE 111 BALLETTO 157

66. TIKA - TI ON THE D MAJOR SCALE 113

97 (b)

97 (c) GAVOTTA 159

67. MICHAEL FINNEGAN 114 98. FUN WITH F AND E ON THE E STRING 160 - 161

68. CRIPPLE CREEK 114 99. F PENTATONIC SCALE 161

69. U VOROT, VOROT FROM THE 1812 OVERTURE 116 100. ARCADIAN LULLABY 162

70. THE HUNTER’S CHORUS 117 101. OLD DAN TUCKER 163

71. TUM –– TIKA ON THE G MAJOR SCALE 119 102. A MINCE PIE OR PUDDING 164

72. GAVOTTE - RAMEAU 119 103. FUN WITH HIGH Bb AND A 165 - 167

73. FUN WITH POSITION CHANGING - 2 121 104. FUN WITH LOW Bb AND A 167

73 (a) BASSES ONLY 121 105. THE F MAJOR SCALE AND ARPEGGIO 168

73 (b) ALL TOGETHER! 123 106. FINGER GYM IN F 168

74. TO A WILD ROSE 124 107. ALLE VÖGEL SIND SCHON DA 169

75. TIM – KA ON THE G MAJOR SCALE 127 108. THE SLEIGH RIDE 170

76. HAPPY BIRTHDAY 128 109. ONCE IN ROYAL DAVID’S CITY 171

77. SCOTLAND THE BRAVE 128 110. LOCH LOMOND 172

78. MINUET FROM DON GIOVANNI 130 111. RUSSIAN FOLK SONG 174

79. VON FREMDEN LÄNDERN UND MENSCHEN 131 112. MENUET 175

80. ENGLISH COUNTRY GARDENS 132 113. FREUT EUCH DES LEBENS 176

81. DRILL YE TARRIERS 134 114. THE IRISH WASHERWOMAN 178

82. TRIPLETS ON THE D MAJOR SCALE 135 115. THE D MINOR SCALES AND ARPEGGIO 179

83. WIND TURBINES 136 116. FINGER GYM IN D MINOR 180

84. AMAZING GRACE 137 117. AH POOR BIRD 180

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118. AUTUMN COMES 181 136. ANNIE THE MILLERS DAUGHTER 205

119. GOD REST YOU MERRY GENTLEMEN 182 137. A YA ZAIN 206

120. OLD FRENCH SONG 183 138. GO DOWN MOSES 207

121. ERSCHIENEN IST DER HERRLICHE TAG 185 139. BELLE QUI TIENS MA VIE 208

122. RONDO FROM ABDELAZAR 186 140. PAVAN 209

123. THE Bb PENTATONIC SCALE 190 141. COVENTRY CAROL 210

124. CHATTANOOGA CHOO CHOO 190 142. PASTIME WITH GOOD COMPANY 211

125. FUN WITH Eb AND D 192 - 3 143. TWO DANCES - HASSE 212

126. OH CALIFORNIA 193 143 (a) BOURREE 212

127. THE Bb MAJOR SCALE AND ARPEGGIO 195 143 (b) MENUETT 214

128. FINGER GYM IN Bb 195 144. TWO MINUETS - BACH 216

129. BOUND FOR SOUTH AUSTRALIA 196 144 (a) MINUET I 216

130. BOTANY BAY 197 144 (b) MINUET II 218

131. THE LONDONDERRY AIR 198 145. SHALOM 220

132. MENUET & TRIO 200 146. HAVA NAGILA 220

133. THE G MINOR SCALES AND ARPEGGIO 202 NOTES ON SCALES 223 - 226

134. FINGER GYM IN G MINOR 203 TWO OCTAVE SCALES AND ARPEGGIOS 227 - 238

135. BRISBANE LADIES 204 GLOSSARY 239 - 240

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Adagio q = 60

1. The D Major Scale and Arpeggio

Review

TEACHER'S NOTE

Placing the bow at right angles to the string at the p helps to keep the bow parallel to the bridge which

makes it easier to produce an even tone. Depending on the student's arm length, the " p" of the bow may be

be er placed at a different spot in the area near the actual p. When star ng to bow from the p, it is good to

allow the wrist to raise slightly and allow the hand to complete the stroke before playing a downbow to

promote a smooth change of bow. This ac on will work well in reverse when star ng a downbow.

Stephen Chin

Violin

Viola

Violoncello

Double Bass

7

Vln.

Vla.

Vc.

Db.

4

4

4

4

4

4

4

4

&

##

≥

JUST FOR BASSISTS

As bass players usually need to move around in posi ons more o en than other string players, it is suggested

that the scales below be prac sed with a variety of fingerings, including the ones shown. Generally, know

where the notes are on each string then be always prepared to play them with different fingerings.

*

(ii)

(i)

f

≤

* Place bow at the p, keeping your right hand in line with the C -

bout. Always bow at a right angle to the string. Learn both bowings.

≤

≥

(Student Book - Page 1)

(4)

B##

f

(4)

?##

f

?##

f

0

0

1

1 4

4

(D string)

0

1

1

4 1

(G string)

4

2

4 4

4

&

##

≥

≤

(retake to p)

,≥

≤

B##

?##

?##

0

0

1

4

1

4 4

4

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙

Ó

˙˙

˙˙

˙˙

w

˙ ˙ ˙ Ó ˙˙

˙˙

˙˙

w

˙ ˙ ˙ Ó ˙˙

˙˙

˙˙

w

˙ ˙ ˙ Ó ˙˙

˙˙

˙˙

w

=

1

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Adagio q = 60

Stephen Chin

2. The G Major Scale and Arpeggio

Review both versions

TEACHER'S NOTE

It is a good me to remind students about the SET UP RULE, which is "set up all your fingers on the string you

are tp play on then li as few fingers as possible to play the first note." Also, keep the wrist gently out, ensure

the fingers are well rounded and make sure the thumb does not overly press against the neck.

Vln.

Vla.

Vc.

Db.

7

Vln.

Vla.

Vc.

Db.

4

4

4

4

4

4

4

4

&

#

f

(4)

(Use the same bowings as no.1.)

(low 2)


(4)

(low 2)

B#

f

?#

f

?#

f

2

2

0

0

1

1

(A string)

2

1

0

4

(D string)

1

1 2

4 0

4

&

#

B#

?#

?#

2

2

1

1

0

4

0

4

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙

˙

˙

˙

˙

˙Ó

Ó

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

w

w

˙ ˙ ˙Ó

˙˙

˙˙

˙˙

w

˙ ˙ ˙

Ó

˙˙

˙˙

˙˙

w

˙ ˙ ˙

Ó

˙˙

˙˙

˙˙

w

=

2

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TEACHER'S NOTE

Some students may know that C major has no flats or sharps in its key signature. It would be useful to revise

the previous scales' key signatures and name each note of each scale.

Adagio q = 60

3. The C Major Scale and Arpeggio

Review

Stephen Chin

Vln.

Vla.

Vc.

Db.

7

Vln.

Vla.

Vc.

Db.

4

4

4

4

4

4

4

4

&

f

(4)

(Use the same bowings as no.1.)

(low 2)


(4)

(low 2)

B

f

(4)

(low 2)

(4)

(low 2)

?

f

?

f

2

2

0

0 1

1

(D string)

2

1

0

4 1

(G string)

1

2

4 4

4

&

B

?

?

2

2

1

1

0

4

4

4

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙

Ó

˙˙

˙˙

˙˙

w

˙

˙

˙

˙

˙

˙

Ó

Ó

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

w

w

˙

˙

˙

˙

˙

˙

Ó

Ó

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

w

w

˙ ˙ ˙ Ó ˙˙

˙˙

˙˙

w

=

3

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TEACHER'S NOTE

Allow plenty of me to check each student's bowhold. It is important to check the posi on of each finger in

rela on to a correctly placed thumb. Make sure each bowhold is relaxed and flexible. Encourage each student

to memorise each of the bowing abbrevia ons below.

BOWING STYLES

for scales and arpeggios

Vln.

Vla.

Vc.

Db.

Vln.

Vla.

Vc.

Db.

3

4

3

4

3

4

3

4

2

4

2

4

2

4

2

4

&

##

(i) Three Beats Each Note

WB

≥

TIP: Try also very slowly using SB's.

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##

≥≤

?##

≥≤

?##

≥≤

˙. ˙. ˙. ˙.

˙. ˙. ˙. ˙.

˙. ˙. ˙. ˙.

˙. ˙. ˙. ˙.

˙ ˙ ˙ ˙

˙ ˙ ˙ ˙

˙ ˙ ˙ ˙

˙ ˙ ˙ ˙

=

4

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TEACHER'S NOTE

All retakes need to be executed with the bow well balanced in the right hand with the arm moving evenly in

an ellip cal manner. The li le finger in par cular needs to be curved and should feel the weight of the bow,

especially for violins and violas.

BOWING STYLES

(continued)

Vln.

Vla.

Vc.

Db.

Vln.

Vla.

Vc.

Db.

4

4

4

4

4

4

4

4

3

4

3

4

3

4

3

4

&

##

≤

≥

(iii) Retakes

(a) At the frog

(b) At the p

(c) Frog to p

≥ ,

≤

≤

≥


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.

.

≤

. . .

≥

. . .

≤

. . .

B##

.≥

. ..≤ . . .≥ . . .≤ . .

?##

.≥

. . .≤

. ..≥ . . .≤ . .

?##

.≥

. . .≤

. ..≥ . . .≤ . .

œ

Œ

œ

Œ

œ

Œ

œ

Œœ

Œœ

Œœ

Œœ

Œ

œ Œ œ Œœ

Œœ

Œœ

Œœ

Œ

œ

Œ

œ

Œ

œ Œ œ Œ œ Œ œ Œœ

Œœ

Œœ

Œœ

Œ

œ Œ œ Œ œ Œ œ Œœ

Œœ

Œœ

Œœ

Œ

œ œ œ œ œ œ œ œ œ œ œ œ




=

5

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BOWING STYLES

(continued)

Vln.

Vla.

Vc.

Db.

TEACHER'S NOTE

Remind students to keep the bow arm in live with the "C" bout and keep the bow at right angles to the

string. Some pressure needs to be exerted by the index finger when playing in the UH to keep the sound

even.

Vln.

Vla.

Vc.

Db.

TEACHER'S NOTE

The bowhand needs to be quite flexible from the wrist when execu ng quavers.

Vln.

Vla.

Vc.

Db.

2

4

2

4

2

4

2

4

4

4

4

4

4

4

4

4

3

4

3

4

3

4

3

4

&

##

(v) Smooth Quavers

MB, UH or LH

≥

TIP: Use a flexible right hand ac on.


B##

≥

?##

≥

?##

≥

&

##

(vi) Bowing Divisions

WB - UH

≥

WB - LH

≤ ≥ ≤

B##

≥ ≤ ≥ ≤

?##

≥ ≤ ≥ ≤

?##

≥ ≤ ≥ ≤

&

##

(vii) Bowing Divisions with Quavers

FB - UH

≥

FB - LH

≤ ≥ ≤

B##

≥ ≤ ≥ ≤

?##

≥ ≤ ≥ ≤

?##

≥ ≤ ≥ ≤

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 œ œ œ œ œ œ œ œ œ œ œ œ




=

=

6

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BOWING STYLES

(continued)

Vln.

Vla.

Vc.

Db.

Vln.

Vla.

Vc.

Db.

TEACHER'S NOTE

It is important that the bowhold is well balanced and that the bounces are ini ally made at the balance

point of the bow at a fairly close distance from the string.

Vln.

Vla.

Vc.

Db.

2

4

2

4

2

4

2

4

3

4

3

4

3

4

3

4

4

4

4

4

4

4

4

4

&

##

(viii) Hook Stroke

≥

. .

≤

.


. . . . .

B##

.

≥

..≤

. . . . .

?##

.

≥

. .

≤

.. . . .

?##

.

≥

. .

≤

.. . . .

&

##

(ix) Zig - Zag bowing ( )

LH - MB - UH

≥

UH - MB - LH

≤ ≥ ≤

B##

≥ ≤ ≥ ≤

?##

≥ ≤ ≥ ≤

?##

≥ ≤ ≥ ≤

&

##

(x) Spiccato at the Balance Point

BP

≥

. . . .

TIP: Hold the bow lightly, bouncing the bow ver cally with

the hand before adding the slight sideways arm movement.

. . . . . . . . . . . . . . . . . . . . . . . . . . . .

B##

.≥

. . . . . . .. . . . . . . . . . . . . . . . . . . . . . . .

?##

.≥

. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .

?##

.≥

. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .

œ. œ

j

œ. œ

j

œ. œ

j

œ. œ

j

œ. œ

J

œ. œ

J

œ. œ

J

œ. œ

J

œ. œ

J

œ. œ

J

œ. œ

J

œ. œ

J

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

J

œ œ. œ

J

œ œ. œ

J

œ œ. œ

J

œ

œ. œ

J

œ œ. œ

J

œ œ. œ

J

œ œ. œ

J

œ

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




=

=

7

SAMPLE

ONLY

°

¢

°

¢

°

¢

Moderato q = 80

TEACHER'S NOTE

Discuss with students various periods of music and perhaps some world events that took place during that

me. Also, being aware of the clothing, art and architecture of the me may increase an apprecia on of the

musical style. In this style, the notes are usually played in a slightly detached manner for greater clarity.

16th century Italian

Arr. Stephen Chin

4. Renaissance Suite

4(a) La Bergamesca

Vln.

Vla.

Vc.

Db.

6

A

Vln.

Vla.

Vc.

Db.

11

Vln.

Vla.

Vc.

Db.

4

4

4

4

4

4

4

4

&

##

f

≥

The Renaissance period in music is approximately 1400 - 1600.

A suite is a set of dances.


p

≤

B##

f

≥

p

≤

?##

f

≥

p

≤

?##

f

≥

p

≤

&

##

f

≥

B##

f

≥

?##

f

≥

?##

f

≥

&

##

p

≤ ≤ ≤

pp

B##

p

≤ ≤ ≤

pp

?##

p

≤ ≤ ≤

pp

?##

p

≤ ≤ ≤

pp

œ œ œ œ œ œœ

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 œœ

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 œœ

œ

œ œ œ œ œ œ˙ œ œ œ œ

œ œ œœ

œ œœ

œ


œ œ œœ

œ œœ

œ


œ œ œœ

œ œœ

œ


œ œ œœ

œ œ œ œœ œ ˙

œ œ œ œœ œ œ

œœ œ œ œ

œ œ ˙

œ œ œ œœ œ ˙

œ œ œ œœ œ œ

œœ œ œ œ

œ œ ˙

œ œ œ œœ œ ˙

œ œ œ œœ œ œ

œœ œ œ œ

œ œ ˙

œ œ œ œœ œ ˙

œ œ œ œœ œ œ

œœ œ œ œ

œ œ ˙

=

=

8

SAMPLE

ONLY

°

¢

°

¢

°

¢

Allegro q = 132

Pierre Phalese (1510 - 1576)

Arr. Stephen Chin

4(b) Schiarazula Marazula

Vln.

Vla.

Vc.

Db.

7

A

Vln.

Vla.

Vc.

Db.

12

Vln.

Vla.

Vc.

Db.

4

4

4

4

4

4

4

4

&

#

f

.≤

.

.

.

.. . .


. . . . . . . .

. .

.

.

.. . . .

B#

f

.≤ . . . . . . . . ..

. . . . .

. . . . . . . . .

?#

f

.≤ . . . . . . . .. . .

.. . .

. . . . . . . . .

?#

f

.≤ . . . . . . . .. . .

.. . .

. . . . . . . . .

&

#

. . . . . . .

(4)

p

. . . . . . .

f

. . . .

B#

..

. . . . .

(4)

p

. . . . . . .

f

. . ..

?# . . ..

. . .

p

..

. . ..

.

f

.. . .

?# . . ..

. . .

p

..

. . ..

.

f

.. . .

&

#

. . .

(4)

p

. . . . . . .

f

. . . .

>

B#

. . .(4)

p

. . . . . . .

f

. . ..

>

?# . . .

p

..

. . ..

.

f

.. . .

>

?# . . .

p

..

. . ..

.

f

.. . .

>


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 œœ œ œ


œ œ œœ œ œ


œ œ œœ œ œ


œ œ œœ œ œ

œ œ œœ œ œ œ œ œ œ œ œ

œ œ œœ œ œ ˙.







=

=

9

SAMPLE

ONLY

°

¢

°

¢

°

¢

Allegro q = 132

TEACHER'S NOTE

The change of me signature is quite representa ve of this style. It is known as a "hemiola" which is

essen ally a shi from two groups of three notes to three groups of two.

Fabritio Caroso (1527 - 1604)

Arr.Stephen Chin

4(c) Il Canario

Vln.

Vla.

Vc.

Db.

8

A

Vln.

Vla.

Vc.

Db.

15

B

Vln.

Vla.

Vc.

Db.

3

4

3

4

3

4

3

4

2

4

2

4

2

4

2

4

3

4

3

4

3

4

3

4

&

f

≥ ≤ ≤(4)


(low 2)

B

f

≥ ≤ ≤(4)

(low 2)

?

f

≥ ≤≤

(2)

?

f

≥ ≤≤ (2)

&

p

≤

-

≤

-

(4)

B

p

-≤

-≤

(4)

?

p

-≤

≤

-

?

p

-≤

≤

-

&

(4)

f

≥

f

(4)

p

B

(4)

f

≥

f

(4)

p

?

f

≥

fp

?

f

≥

f p

˙ 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 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 œ ˙. ˙.˙ œ ˙ œ

œ ˙ ˙ œ ˙ œ

˙ ˙ œ œ ˙. ˙.

˙ œ ˙ œœ ˙ ˙ œ ˙ œ

˙ ˙ œ œ ˙. ˙.

˙ œ ˙ œœ ˙ ˙ œ ˙ œ

=

=

10

SAMPLE

ONLY

°

¢

°

¢

°

¢

25C

Vln.

Vla.

Vc.

Db.

32

D

Vln.

Vla.

Vc.

Db.

39

Vln.

Vla.

Vc.

Db.

2

4

2

4

2

4

2

4

3

4

3

4

3

4

3

4

&

(4)

f

≤ ≤(4)

B

(4)

f

≤ ≤(4)

?

f

≤≤

?

f

≤≤

&

(4)

p

≤ ≤(4)

B

(4)

p

≤ ≤(4)

?

p

≤≤

?

p

≤≤

&

(4)

f

B

(4)

f

?

f

?

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 ˙ ˙ 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 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 ˙. ˙.

=

=

11

SAMPLE

ONLY

°

¢

°

¢

°

¢

TEACHER'S NOTE

The Pavan and Bransle that follow ere very popular dances in the Renaissance period. Ask students to explore

the character and perhaps the dance steps that are associated with them.

Lento q = 60

Tylman Susato (1500 - 1564)

Arr. Stephen Chin

4(d) Pavan

Vln.

Vla.

Vc.

Db.

7

A

Vln.

Vla.

Vc.

Db.

12

Vln.

Vla.

Vc.

Db.

4

4

4

4

4

4

4

4

&

p

≥


pp

≤

B

p

≥

pp

≤

?

p

≥

pp

≤

?

p

≥

pp

≤

&

≤ ≤

mf

≤

B

≤≤

mf

≤

?

≤ ≤

mf

≤

?

≤ ≤

mf

≤

&

≤

p

≤

pp

B

≤

p

≤

pp

?≤

p

≤

pp

?≤

p

≤

pp

˙ œ œ ˙ œœ œ œ œ œ ˙.

Œ

˙ œ œ ˙ œœ

˙ œ œ ˙ œœ œ œ œ œ ˙. Œ

˙ œ œ ˙ œœ

˙ œ œ ˙ œœ œ œ œ œ ˙. Œ

˙ œ œ ˙ œœ

˙ œ œ ˙ œœ œ œ œ œ ˙. Œ

˙ œ œ ˙ œœ

œ œ œ œ ˙.œ 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 œ œ œ ˙.Œ

˙ œ



˙ œ



=

=

12

SAMPLE

ONLY

°

¢

°

¢

°

¢

Allegro q = 132Pierre Phalese (1510 - 1576)

Arr. Stephen Chin

4(e) Ballo Furlano

Vln.

Vla.

Vc.

Db.

5

Vln.

Vla.

Vc.

Db.

A

9

Vln.

Vla.

Vc.

Db.

4

4

4

4

4

4

4

4

&

f

≥(low 2)


p

≤

B

f

≥(low 2)

p

≤

?

f

≥(2)

p

≤

?

f

≥(2)

p

≤

&

f

≥

B

f

≥

?

f

≥

?

f

≥

&

p

≤

f

≥

B

p

≤

f

≥

?

p

≤

f

≥

?

p

≤

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 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

=

=

13

SAMPLE

ONLY

°

¢

°

¢

°

¢

13

Vln.

Vla.

Vc.

Db.

B

17

Vln.

Vla.

Vc.

Db.

21

Vln.

Vla.

Vc.

Db.

&

p

≤

B

p

≤

?

p

≤

?

p

≤

&

cresc.

≤ ≤

f

≥

B

cresc.

≤ ≤

f

≥

?

cresc.

≤ ≤

f

≥

?

1

cresc.

≤ ≤4

2

4

f

≥

&

dim.p

B

dim.p

?

dim.p

?

- 1

dim.p

˙ ˙ ˙ 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 œ œ œ œ ˙ ˙

œ œ ˙ ˙ ˙ œ œ ˙ ˙

œ œ ˙ ˙ ˙ œ œ ˙ ˙

œ œ ˙ ˙ ˙ œ œ ˙ ˙

œ œ ˙ ˙ ˙ œ œ ˙ ˙

=

=

14

SAMPLE

ONLY

°

¢

°

¢

°

¢

Vivace q = 160

Claude Gervaise (c 1500 - 60)

Arr. Stephen Chin

4(f) Bransle

Vln.

Vla.

Vc.

Db.

8

A

Vln.

Vla.

Vc.

Db.

15B

Vln.

Vla.

Vc.

Db.

4

4

4

4

4

4

4

4

&

#

f

≥


B#

f

≥

?#

f

≥

?#

f

≥2

4

1

2

4

1

&

#

p

≤

B#

p

≤

?#

p

≤

?#

p

≤

&

#

f

≥

B#

f

≥

?#

f

≥

?#

4

f

≥

2

1

2

4

1

1

4

2

1

2

4

1

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 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 œœ œ œ œ œ

œ ˙


œ œœ œ œ œ œ


œ ˙


œ œœ œ œ œ œ


œ ˙


œ œœ œ œ œ œ


œ ˙

=

=

15

SAMPLE

ONLY

°

¢

°

¢

°

¢

21

C

Vln.

Vla.

Vc.

Db.

28

Vln.

Vla.

Vc.

Db.

35

Vln.

Vla.

Vc.

Db.

&

#

p

≤

f

≥

B#

p

≤

f

≥

?#

p

≤

f

≥

?#

p

≤

f

≥

&

#

p

≤

B#

p

≤

?#

p

≤

?#

p

≤

&

#

cresc.

f

≤ ≤ ≥

B#

cresc.

f

≤ ≤ ≥

?#

cresc.

f

≤ ≤ ≥

?#

cresc.

f

≤ ≤ ≥

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 œœ 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 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 œœ œ œ œ œ œ ˙




=

=

16

SAMPLE

ONLY

°

¢

°

¢

Moderato - Allegro q = 80 - 160

TEACHER'S NOTE

There are a number of "Finger Gyms" throughout the this book which promote le hand dexterity within a

number of keys. It is essen al that students try to keep their fingers just above the strings as they come off as

this will help establish a solid le hand frame. Also, once the notes have been mastered, it is strongly

recommended that these exercises be played with a variety of slurred, accented and li ed bowing styles.

Stephen Chin

5. Finger Gym in D

Vln.

Vla.

Vc.

Db.


Stephen Chin

6. Finger Gym in G

Vln.

Vla.

Vc.

Db.

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

&

##

f

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

≥(4)

?##

f

≥

?##

f

≥

&

#

f

≥


(4)

B#

f

≥

?#

f

≥

?#

f

≥

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


œœ

œœ

œœ

œœ œ

œ œœ

œœ

œ œ œœ œ œ œ

œ œ


œœ

œœ

œœ

œœ œ

œ œœ

œœ

œ œ œœ œ œ œ

œ œ


œœ

œœ

œœ

œœ œ

œ œœ

œœ

œ œ œœ œ œ œ

œ œ


œœ

œœ

œœ

œœ œ

œ œœ

œœ

œ œ œœ œ œ œ

œ œ


œœ

œœ

œœ

œœ œ

œ œœ

œœ

œ œ œœ œ œ œ

œ œ


œœ

œœ

œœ

œœ œ

œ œœ

œœ

œ œ œœ œ œ œ

œ œ


œœ

œœ

œœ

œœ œ

œ œœ

œœ

=

17

SAMPLE

ONLY

°

¢

°

¢

°

¢


Stephen Chin

7. Finger Gym in C

Vln.

Vla.

Vc.

Db.

Moderato h = 50

TEACHER'S NOTE

To get a feelling of two minims in a bar, it may be useful to say or sing the words to some well known

pieces such as "Twinkle" whilst clapping the beat. This is good to do also before tackling any new work.

Stephen Chin

8. Cut Common Time

on Open Strings

Vln.

Vla.

Vc.

Db.

5

Vln.

Vla.

Vc.

Db.

4

4

4

4

4

4

4

4

2

2

2

2

2

2

2

2

&

f

≥


(4)

B

f

≥

(4)

?

f

≥

?

f

≥

&

#

f

≥


Two minim beats per bar.

or

,

B#

f

≥,

?#

f

≥,

?#

f

≥

,

&

#

≥

B#

≥

?#

≥

?#

≥

œ œ œœ œ œ œ

œ œ


œœ

œœ

œœ

œœ œ

œ œœ

œœ

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œœ

œœ

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œ œ œœ œ œ œ

œ œ


œœ

œœ

œœ

œœ œ

œ œœ

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œ œ


œœ

œœ

œœ

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œœ

˙ ˙

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˙

˙ œ

œ

œ

Œ

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œ

œ Œ

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˙ ˙˙ ˙

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Œ

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œŒ

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œ

œ

œ

Œ

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˙˙

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=

=

18

SAMPLE

ONLY

°

¢

°

¢

°

¢

Moderato h = 50

1

Johann Pachelbel (1653 - 1706)

Arr. Stephen Chin

This piece may be played as a Canon but it is not essen al.

Canon - another player starts when the next sec onin a

boxed number starts. Player 1 finishes at the end, player

2 at bar 13 and player 3 at bar 9.

9. Canon

2

Vln.

Vla.

Vc.

Db.

73

Vln.

Vla.

Vc.

Db.

13

Vln.

Vla.

Vc.

Db.

2

2

2

2

2

2

2

2

&

#

mf

≥


mp

B#

mf

≥

mp

?#

mf

≥

mp

?#

mf

≥

mp

&

#

U

mf

( )

B#

mf

?#

mf

?#

mf

&

#

U

mp

( )

f

U

B#

mp f

U

?#

mp f

U

?#

mp

4

f

U

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙˙ œ

œœ œ œ

œœ œ œ

œ

œ

œ œœ œ œ

˙ ˙ ˙˙ œ

œœ œ œ

œœ œ œ

œœ

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˙ ˙ ˙˙ œ

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œœ

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œœ œ œ

œœ

œ œœ œ œ

œœ œ

œ œœ

œ

œ œœ œ

œ œ

œ œ. œ

j

w

œœ œ

œ œœ

œ

œ œœ œ

œ œ

œ œ. œ

J

w

œœ œ

œ œœ

œ

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œ œ

œ œ. œ

J

w

œœ œ

œ œœ

œ

œ œœ œ

œ œ

œ œ. œ

J

w

=

=

19

SAMPLE

ONLY

°

¢

°

¢

°

¢

Moderato h = 50

Marie Cowan (? - 1919)

Arr. Stephen Chin

10. Waltzing Matilda

Vln.

Vla.

Vc.

Db.

6

A

Vln.

Vla.

Vc.

Db.

11

Vln.

Vla.

Vc.

Db.

C

C

C

C

&

mf

≥


≥

B

mf

≥ ≥

?

mf

≥ ≥

?

mf

≥ ≥

&

,

f

≥ ≤

B

,

f

≥≤

?

,

f

≥≤

?

,

f

≥

4

≤

2

1

&

mpf

B

mp f

?

mp f

?

mp f

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 œœ

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œœ


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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 ˙







=

=

20

SAMPLE

ONLY

°

¢

°

¢

°

¢

Allegro moderato h = 60

11. Hatikvah

Israeli National Anthem

Samuel Cohen (1870 - 1940)

Arr. Stephen Chin

Vln.

Vla.

Vc.

Db.

5

Vln.

Vla.

Vc.

Db.

8

A

Vln.

Vla.

Vc.

Db.

C

C

C

C

&

mf

≥


(4)≥≤ ≤

B

mf

≥(4)≥

≤≤

?

mf

≥≥

≤ ≤

?

mf

≥≥

≤ ≤

&

p

≥(4)≥

≤

B

p

≥(4)≥

≤

?

p

≥≥

≤

?

p

≥≥

≤

&

≤

f

≥(4)

≥≤ ≥

≤

B

≤

f

≥(4)

≥

≤ ≥ ≤

?

≤

f

≥≥

≤ ≥ ≤

?

≤

f

≥≥

≤ ≥ ≤

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


=

=

21

SAMPLE

ONLY

°

¢

°

¢

°

¢

11

B

Vln.

Vla.

Vc.

Db.

15

Vln.

Vla.

Vc.

Db.

18

Vln.

Vla.

Vc.

Db.

&

p

≥(4)

≥≤ ≥

≤

mf

≥ ≥

B

p

≥(4)

≥

≤ ≥ ≤

mf

≥≥

?

p

≥≥

≤ ≥ ≤

mf

≥≥

?

p

≥≥

≤ ≥ ≤

mf

≥≥

&

(4)

≥

≥

mp

(4)

≤

B

(4)

≥≥

mp

(4)

≤

?

≥ ≥

mp

≤

?

≥ ≥

mp

≤

&

≤ (4)

≤

f

≤ ≥ ≤ ≥

"Hey!"

pizz.

+

B

≤ (4)

≤

f

≤ ≥ ≤ ≥

pizz.

+

?

≤ ≤

f

≤ ≥ ≤ ≥

pizz.

+

?

≤ ≤

f

≤ ≥ ≤ ≥

pizz.

+

œ

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œ


œ


œ


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œ œ œ œœ œ œ œ œ œ œ œ œ œ œ

œ

œ


œ

œ


œ

œ


œ œ

=

=

22

SAMPLE

ONLY

23

Viola


Cello

2nd finger p in forward posi on 2nd finger p in backward posi on

Bass

Vibrato

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.

Violin

SAMPLE

ONLY

teacher’s score

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