2nd Edition - Violin Time · 2020. 9. 29. · 2nd-2nd and 1st-2nd Finger shifting with flats 14....

2nd Edition

RGP (Release, Glide and Press) Shifting Method 2 1st Finger shifting with 1 sharp 2 Exercise 1: 1st-3rd Position shifting in G major 2 Scale and arpeggio of G major 2

Kayaking Down the Tarwin 3 Scale and arpeggio of E melodic and harmonic minor 3

Your turn to compose 4 G major composition in 1st - 3rd position 4

Playing with a singing tone 5 Bowing technique 5 Exercise 2: Playing with a singing tone 5 Exercise 3: Controlling the sound in the UH and LH of the bow 5

1st Finger shifting with 2 flats 6 Exercise 4: 1st–3rd position shifting in B major 6 Scale and arpeggio of B major 6 Scale and arpeggio of G harmonic minor 6

La Festaiola 7Ornamentation 8 Exercise 5: Finger strengthening exercises for ornamentation 8 Exercise 6: The Trill 8 The Upper Mordent 8 The Appoggiatura 8

Your turn to compose 9 D major composition using 1st - 3rd position 9

2nd Finger shifting with 2 sharps 10 Exercise 7: 1st-3rd position shifting in D major 10 Scale and arpeggio of D major 10

Waltz Felice 11 2nd Finger shifting with naturals 12 Scale and arpeggio of A harmonic and melodic minor 12 Exercise 8: 1st-3rd position shifting in C major 12 Scale and arpeggio of C major 12

Sea Biscuit 13 2nd-2nd and 1st-2nd Finger shifting with flats 14 Exercise 9: 1st-3rd position shifting in B major 14 Exercise 10: Using the guide note 14

Waltzing Through the Mistletoe 15 2nd and 3rd Finger shifting with 3 flats 16 Exercise 11: 1st-3rd position shifting in C minor/E major 16 Scale and arpeggio of C harmonic and melodic minor 16 Scale and arpeggio of E major 16

Non Piangere 17 3rd Finger shifting with 2 flats 18

Exercise 12: 1st-3rd position shifting in B major/G minor 18 Scale and arpeggio of G melodic minor 18

The Blues Singer 19 3rd Finger shifting with 2 sharps 20 Exercise 13: 1st-3rd position shifting in D major 20

Oom Pah Pah! 21 A Lilt in the Air 22 Spiccato Preparation 23 Exercise 14: Ricochet bowing 23 Exercise 15: Spiccato bowing 24

Tango Etude 25 Pizzicato Chords 26 Exercise 16: Chordal pizzicato 26 Scale and arpeggio of B harmonic and melodic minor 26

Quick as a Flash 27 March of the Swagman 28 2nd Position (low form) 29 Exercise 17: Semitone shifting to the low form of 2nd position 29 Exercise 18: Tone shifting to the low form of 2nd position 29 Scale and arpeggio of C major

Tango Waltz 30 Your Turn to Compose 32 C major composition using 1st and 2nd position 32

2nd Finger shifting with 3 sharps 33 Exercise 19: Shifting to the high form of 2nd position 33

Jolly Jerry 34 Vibrato 36 Exercise 21: Vibrato 36

Sono Triste 37 Tears for Elsa 38 Street Dances at Sunset 40 Chromatic Scales 43 Exercise 20: Pitch checking while playing chromatics 43

Chromatically Relaxed 44 Double Stops 46 Exercise 22: Double stopping in 3rds in the keys of C, G and D major 46 Scale and arpeggio of D harmonic and melodic minor 46 Exercise 23: Double stopping in 6ths in the keys of 47 E , E and F major Scale and arpeggio of F major 47

Double or Nothing 48 Words/Signs and Terms 50

When you see this picture, you should ask your teacher to explain and help you!

Violin TimeBook 2

Points for ParentsTips Teacher ChecklistPurpose Theory

32

• To practise shifting from 1st to 3rd position with the 1st finger, using the Release, Glide, and Press (RGP) technique as shown in Diagram 1.

• To learn the note names in 3rd position, remembering that there is an F#.

• To practise sight-reading in 1st and 3rd position.

• Listen carefully to the ‘ghost’ note when shifting (the sound the finger makes when lightly gliding between 1st and 3rd position) and only press down on the string when you can hear the correct pitch of the new note.

• Without using the bow, hold the violin and place the fingers on the fingerboard while saying the note names aloud in 3rd position. Finger Chart 1 can help you identify whether fingers are a tone or a semitone apart.

• Can shift using the RGP technique.

• Listens to the ‘ghost’ note while gliding the finger up or down the string.

• Student shifts using the whole hand, and the thumb always remains opposite the pointer finger.

• Poco rall . . . stands for poco rallentando which means gradually becoming a little slower.

• A dot preceding a note lengthens it by half of its value. i.e. a dotted minim lasts for a minim plus a crotchet (3 crotchet beats in total).

RGP Shifting Method Kayaking down the Tarwin

[Unnamed (treble staff)]

5

44&# 0 1 2

G major scale - 1st-3rd position

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3

4 1 3

3

1 0 23 0

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 w

Diagram 1

Finger chart 1


Ghost between the shifts and listen to the pitch5

44&#

1 1 1 1 1

1st-3rd Position Shifting Exercise (1 sharp) 1-1

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1 1 1 1 1

˙ ˙ ˙ ˙ œ œ ˙ œ œ ˙

˙ ˙ ˙ ˙ œ œ ˙ œ œ ˙

Exercise 1: 1st-3rd Position shifting in G majorUse the Diagram 1 on the right to help you with seeing how far your

hand should shift to reach the 3rd position notes.

Copyright © 2013

[Unnamed (treble staff)]Andante q = 116

5

9

13

17

44&# ≥ 1 1 1 1 1 1

Kayaking Down the TarwinNicole Billimoria

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œ œ œ œ œ œ ˙ œ œ œ œ w[Unnamed (treble staff)]

5

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E melodic and harmonic minor

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3

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Scale and Arpeggio of E melodic and harmonic minor

1st finger shifting with 1 sharppoco rall

Release the finger pressure from the string

Glide the whole hand (thumb included) along the neck/fingerboard of the violin. The shifting finger will ‘ghost’ its way

up the string as it lightly touches the string while shifting.

Press the finger down once it has arrived on the new note.

Shifting is when you move your whole left hand up or down the fingerboard in order to

change notes. In Book 1 every piece only used the 1st

position. In Book 2 you will learn how play in 2nd and 3rd position.

The RGP technique helps you to move between 1st, 2nd, and 3rd position.

Try playing Kayaking down the Tarwin while reading the music.

Then, when you feel extra confident, close the book and try playing it from memory!

Playing from memory is a great skill to develop, and makes any performance even more special

for the player and the audience!

Mark in the semitones of the scale with your pencil to help you remember whether your fingers should be a tone

apart or a semitone apart!

Scale and Arpeggio of G majorUse Finger Chart 1 to help you determine where the semitones and tones are when playing

with 1 sharp (which are the keys of G major or E minor), in 3rd position!


1312

• To practise shifting from 1st to 3rd position using the 2nd finger as shown in Diagram 4 on the previous page.

• To revise playing in a swing style.• To learn playing with triplets (3

quaver beats in the space of 2).

• Practise saying the rhythm in time with the metronome on the bars, which use syncopation and triplets.

• Learn where the semitones lie in 3rd position by studying finger chart 4 (page 12)

• Can play all the notes in tune and in time with the metronome.

• Uses the RGP shifting technique.• Understands where the semitones

lie in 1st and 3rd position in the key of C major and/or A minor.

• Let's find out the key signature! It has no sharps or flats, so it must be in either A minor or C major. However, since it ends on an A and has many G#s throughout the piece it is in the key of A minor (G# is the 7th scale degree of A minor and is often raised by a semitone in minor keys to change the colour of the melody).

2nd finger shifting with naturals Sea Biscuit

Diagram 4Exercise 8: 1st-3rd position shifting in C major

This exercise shifts between a C to an E as shown in Diagram 4. Notice how the B and C begin close together and then spread apart once in 3rd position.

Scale and arpeggio of C major


24&2 2 2 2 2 2

1-3 position shifting ex in C major 2-2

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C major - 3rd position

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The term ‘swing’ is used to describe a unique feel to playing music, commonly used in jazz styles.

It loosens the rhythm of quavers.

A triplet occurs when 3 notes are played in the space of 2. This rhythm can be said as ‘tri-o-la’.

Syncopation is when there is an interruption to the regular flow of the rhythm.

Scale and arpeggio of A harmonic and melodic minorNotice the figure 3 inside a bracket over the notes of line 3? This is called a triplet

configuration. This means that 3 crotchet beats are played in the space of 2!


5

9

44&

A melodic and harmonic minor

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3 3

3

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29


28

Copyright © 2013


low form of 2nd position (where 1st finger moves to a C)

low form of 2nd position (where 1st finger moves to an F)

1

low form of 2nd position (where 1st finger moves to a B flat)

1

44&1 2 2 1 1 1 1 1 2 3 4 4 3 2 1

Shifting Exercizes from 1st to 2nd PositionNicole Billimoria

&1 2 2 1 1 1 1 1 2 3 4 4 3 2 1

&1 2 2 1 1 1 1 1 2 3 4 4 3 2 1

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œ œb œ œ œ œb ˙ œb œ œ œb œb œ œ œb

• To learn hook stroke bowing and revise playing triplets.

• To learn to play a four note chord pizzicato.

• To revise shifting to and from 1st and 3rd position.

• Play the hook stroke bowing in the middle of the bow and try to articulate the semiquaver at the end by leaning a little on the stick of the bow with the first finger.

• Use the words tim-ka to say the rhythm of the dotted quaver (tim) – semiquaver (ka). Use the word tri-o-la for the triplets.

• Play the chord diagonally over the fingerboard with one pizzicato.

• Can play all notes in tune and in time with the metronome.

• Understands the difference in rhythm between the hook stroke notes and the triplets.

• Shifts fluently between 1st and 3rd position.

• Plays the chord at the end with confidence and accuracy, creating a resonant sound.

• Hook stroke is a style of bowing used to play a dotted quaver linked to a semiquaver. It is an energetic bowing and is generally played in the middle to upper half of the bow.

• Chords are when more than two notes are played with the bow or pizzicato at a time. When playing chords using pizzicato, it is best to play them in a diagonal line across the fingerboard.

• moderato assai - very moderate tempo

March of the Swagman 2nd Position (low form)

Exercise 17: Semitone shifting to the low form of 2nd positionIn the following exercises the 1st finger only shifts a semitone up to the low form

of 2nd position as shown in Diagram 9.Take note that the semitones occur between the 3rd and 4th finger in these exercises.

Diagram 9

Exercise 18: Tone shifting to the low form of 2nd positionThe E string shift to the low form of 2nd position is a little different because there is a tone space

between F and G, as shown in Diagram 10. Take note that the semitones occur between the 2nd and 3rd finger because of the B in the key

signature.

Diagram 10

Copyright © 2013


Low form of 2nd position: 1st finger begins in natural (low) position, then moves a tone to G

44&1 2 2 1 1 1 1 1 2 3 4 4 3 2 1


œ œ œ œ œ œ ˙ œ œ œb œ œ œb œ œ

Scale and arpeggio of C major[Unnamed (treble staff)]

5

44&2

C major - 2nd position

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3

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3

1 2 43 2




Finger chart 6

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3332

Your turn to Compose!

C major composition using 1st-2nd positionTry composing a tune using 1st position and the low form of 2nd position in this key.

Remember to ask yourself:What is the key signature? And what is the time signature?

5

9

13

44&

composition # 2

&

&

&

2nd finger shifting with 3 sharps

Exercise 19: Shifting to the high form of 2nd positionIn the following exercises the 1st finger shifts a tone to 2nd position. Take note

that the semitones occur between the 1st and 2nd fingers in 2nd position.

Diagram 11

Copyright © 2013


high form of 2nd position (where 1st finger moves to a C#)

high form of 2nd position (where 1st finger moves to an F#)

5

high form of 2nd position (where 1st finger moves to a B)

9

high form of 2nd position (where 1st finger moves to a G#)

13

44&1 2 2 1 1 1 1 1 2 3 4 4 3 2 1


&1 2 2 1 1 1 1 1 2 3 4 4 3 2 1

&1 2 2 1 1 1 1 1 2 3 4 4 3 2 1

&1 2 2 1 1 1 1 1 2 3 4 4 3 2 1

œ œ# œ œ œ œ# ˙ œ# œ œ œ# œ# œ œ œ#

œ œ# œ œ œ œ# ˙ œ# œ œ œ œ œ œ œ#

œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ

œ# œ# œ œ œ# œ# ˙ œ# œ œ œ# œ# œ œ œ#

Finger chart 7

2nd Edition - Violin Time · 2020. 9. 29. · 2nd-2nd and 1st-2nd Finger shifting with flats 14....

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Transcript of 2nd Edition - Violin Time · 2020. 9. 29. · 2nd-2nd and 1st-2nd Finger shifting with flats 14....