UNEAFORVIOUN.BY C.PAUL HERFURTH.

BOOK Two.

BOSTON MUSIC COMPANY.

FORVIOLIN.BY C.PAUL HERFURTH.

BOOKTwo.

Exclustve dstributors:Music Sales Limited

14- I5Berners Street, London Wl T lU England.Music Sales Pty Limited

20 Resoluticn Drve, Caringbah, NSW 2229, Australia.

Order No. BM I0298ISBN0.7 119:1 592.x

BostonMusk CcmpanyUnGuthomeJ RprocJucrian oj an)' ptJTt cf this publiaJon hy

any I1KQlU indudine phomeoPP"8 is on inJringulltm t?f oopyritJht.

BOSTON MUSIC COMPANY.

DICTIONARY OF TERMS AND SIGNS USED IN MUSICFor volume of tone:

pp -Pianiaimo, very 10ft.p -Piano, softly .." -Meuo-piano. rather !Oftly ..,-M~forte. rather loudly./ .-Forte, loudly./I -Fortissimo, very loud.-/ -Sforzando, strong accent. c> 4)~ -Creacendo, graduaJly louder. ( :> -Diminuendo, gradually IOfter. C J

For tempo (speed):Larp-Very alo.A~1V.Andante-Rather alow.Andantino-A little slower than AlKlaate.Moderato-Moderately lt.AlIepett&-Lively. but DOt too t..t.AIIqro-Fast.Vv.ce-Futer than Allegro.Presto----Very lut.

\

For increasing tempo:A.cceIerando (Accel.)-Gradually luter.Strintaado (Strin~-Suddenly luter.Pi6mo.o-A steady, luter speed.

Por' decreasing tempo:RallrDtando (Rall.)-GnduaDy sIower.Bitardando (Rit.)-GraduaDy aIower.Mmo ~A steady. aIower speed.

Por 8tyJe:Animat&-W'Jth spirit, with anjmation.Agitat&-Agitated.~Broader.Cantabile-In a singing style.Dolc-Sweetly, softly.Esp~vo-With expression.Legato-Smoothly. connected.Maestoso-Majestically.Con Spirito- With spirit.Staccato-Detached. separated. (,)Tenuto-Sustained. (-)A Tempo--In the original time.

Other sips:D. C. Da Capo-From the beginniag.Fine (f~nay )-Ending.D. S. Dai Segno-Go baclt to lhe sign.(~)Pause (fennata)- Proloop the time of a note or reIt. (f!'\)

( ii l

/

TO THE STUDENT

/

Having completed the study of Book I, you should be thoroughly familiar with the fundamentaIs of violinplaying, such as a good position, correct use of the fingers when placing the left hand, and the elementary principiesof bow control.

Book 11 includes a continuation of the eIementary material, presenting slightly more advanced exereises and.pieces. To be better able to play the familiar melodies and pieces, it is recommended that you prepare the purelytechnical exereises at the beginning of each lesson where a new key and finger-pIacing is introduced.

Study carefully ,the diagrams introducing additional keys and fingerings when positioning your fingers for thenew notes. Remember that you must first read the note and then place the finger, so verify the note you are readingand the exact finger-position for that note. The surest way to pIay w~ll derives from the ability to read well.

Foster the habit of quick thinking by assimilating the folk, Ning points ai first g!anct:(1) Name of Note (Natural, Sharp or FIat).(2) How to Play (Finger-Position and String).(8) How Long to Hold (Time-Value).

Training your perceptive powers to respond in this manner will enhance your command of violin technique and,correspondingly, enlarge your musical horizon.

Many of my pupils have formed groups which meet to play the duets, trios and quartets with piano, thus forminga little orchestra. Why don't you try it't-you'll have Iots of fun!

TO THE TEACHERIn eompling Book 11, I have tried to carry out in slightly more advanced material the basic principIes of violin

playing as laid down in Book I.The material has been selected and the grading edited to provide sequential progress as each step is mastered,

Adequate preparation for the development of the student is allowed for, although the amount of purely technicaIwork has been kept to a minimum. This book is very largely made up of folksongs and other familiar melodies ofgood musical quality arranged in duet, trio and quartet forro. from which the pupil should aeheve a sound bowingstyle and firm grasp of finger-{intonation) technique. An awareness of musical form and harmonic structure stemsnaturally from the study of these pieces.

The use of the piano accompaniment has proved of value both in the classroom and in the hom:e. That imporlantadvantages result from its use is eertain. The interest and ambition of the pupil is stimulated by the addition of theharmonic structure, which also serves as a guide to the p'roper placing of the fingers through hearing the note he isproducing in the harmony. The use of the piano part is recommended from the earliest stages so as to stimulatethe musical ear to a keen perception of modulations and hannonies, for which the violin, in that particular regard,is comparatively imperfect.

I wish to acknowledge my indebtedness to Mr. Edmund Schill, Director of Music. Verona, N.J., and to Mr.Francis Rice, Teacher of violin classes in East Orange. and Roselle Park, N.J., for their helpful suggestions andcriticisms in compiling this series of books.

[iii]

tLESSON 1

Review of Keys Studied in Book 1

LESSON 2

Studies for the use of the second finger in different positionsTwo new notes,C natural on the A stn..n.t a.nd G natural OD the E atring

T'he itnportance of being able to read notes as well as you can read the Ietters of the alphabet cannot beoverestimated. This is the foundation on which your future progress dependa. Vou must a180 lmow the exactposton of your f'ngers on the fingerboard so as to be able to play any given notei for example, to pIay C#on the A strtng, the second finger Is placed a whole tone from the first (high postton) but to play C natural,the second finger Is placed close to the first (low poeton) T'herefore, the necessity of lmowing whether thenote s natural, sharp or fIat is perfectly obvious.Have a picture of the fingerboard 'in your mind in order to 8e6 where your fngers are placed for the different notes,Study the following diagram showing position of notes already studied and the two new notes to be takon

ln this Iesaon. Name the whoIe tones and semitones.

Fingers

E

A

D~ @ ~ 0G~ 0 @----@ @

Finger8 t. Z I 4

Name the following notee, finger used, high or low po.ition for second finger, and on what string played.

@Ol

~"

~.~~- tli~~" PIay slowly the following exercillM, obae1"Vingcareful1y the C'. and G's.. ,., .. 4ISecond flnger in 10'911' position C~I

Notiee the key signature; it is a guide for proper finger postions.

'e@ LOWBIOB-Exerciae No. 1 may also be played OD the E string.

LESSON 3Familiar Melodies Using The Second Finger in the Low Position

Lightly Row

8

Allegretto (Brightly)

Pupil"' M V

4! twp-..I I -.. ..- I-'" I"l..... -, ,-- ~ .- ~ ,-- ~ .....-TeacherM'! - I ., - I - I~ '"' -

ti - - - - I ,-- ~ .... - -The First Noel

Co~ moto (with motion)

Pupil~ r::. --- r::. .--..... -- .--..... """'

ti 11J!V I"' -. . ~~ ... -.-/ I I I I I ...., - ~.Tea.cher

~ .-:;. .-.... -- .-.........ti I

" J1 -.', y ~

4 LESSON 4G Major Scale and Arpeggio in Two Octaves

~ L~ ,,~@ 'e HIO~

Duet@ Practise both parts

LOW v nPupil

I\~ LOW {h"l:'U l,OW {h\.

I I I I - IBIGB BIGH HIGH~~ 4, v " "

. li!! - . - BIOJI -...- - I - -....-.PupilorTeache BIGBGod Save The Queen

Andante (Slowly)Attdbuted to Henry Carey

.880-1'7"

Pupll~~ n " " n,

flfII I I f~~

, ~ .... ~ ...... - - . 'y ..y .. 7!J' I I IPupil~~ 4_

o, I r I Iff

I

~JI ~crue.

l

ti I - - ---..,; _. I --- ~Li"le Study Franz Wohlfabrt@ " 1811-1884

Rola fIDg;r do.n - - - - - - - - - - - - - - . - - - -

.Iao... tCIOf'It.Mark with thilSsignAtbtS balf 8tepe in both parta of exerci se No. 4. Write 4 times the G ~ lKl8

in 2 octaves marJr.in th" Iutlf atepa Uld p1acing the 8harp. M.,nusoript s~et page 7.

LESSON 5

Continuation of the key of GExercises in crosslng trom Cnatural to FI

I

ITha sacond finger must be lifted and p1aced in its ne'Wposition.l

8LESSON 6

Flow Gently, Sweet Afton(Quartet)

James E. SpilmanAndante (Slowly)V ,.,

Pupil===:::::t=- PPV M

Pupil,.,

Pupil====t~P

--==1=== 7!ff. rit .1':\

--=;;;::f===== "'I' rit." 1':\

Evening SongModerato (Moderately fast)V M M

Roberl Schumann...-...."

Pupil

,., V ,.,

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

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~

'7

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8 LESSON 7Two new notes, F natural on lhe D strtng' and B flat on the G string. Study the folloW1Dgdiagram. 80

to visua/i~tJ the exact posiUon of these two noles upun lhe fingerboard.

Practise both parta on lhe double ataff in thia and the following le880n8.

Finger8 t aB~------~J---~--~r-~~---~-------A~--------~J----C~--~J---~-----Cr---------D~--------~J---~O~----------~__~ -~--~o~---------

a I 4Fingers t.

(J)

~w:~ - - - - - -- -- -.. -. - ~ - - - - - - - - - -

" @ Hold lhe 2nd finger firmly

- - - - -- - - - - -a~'-- ~ ~ ~ ~ ':...-/"--",. -- ----"--'" '-.-/ ~ '- - - - - - ,-------.- -----.----

.

. ------ .--_ .. -.---- -------------C Major Scale

(j) Play also as crotchets, separate and slurred bowing. Learn to spell each new scale.

~I!

SoftI,. Now the Lt,rht of Da,.@ Andante (Slowlv\

" J' 4

Carl lIuia ..,..Webw1,...-1Pupil

=--Pupll

.\V. V .~~.lIDIM IDM'k: Write C Major scale " Um"II, marking the balf atep. Alao fiU in blanka in above cllap'&m.

LESSON 8

ILearn to take particular notice of the key signature before playing.1

Allegretto (Brisk1y)V

Americ8, the Beantiful Samuel A.Ward1"7-tlOI

Papllfi

ttJ .... I

~ "!I = ::fi V r\ - V -II

tJ ........ ~ (~).,;. ";'''; =ii y y.'1' - .......... ~PupR1'1 ~ 0& 4.,t. - - , I< f~

It.J ... ";'-'; ~ ~~ :iJ

to LESSON 9Oontinuation of the key ofC Major

In acale passages use the open string in ascending, and the fourth finger in descending.

CD~" li n~I\_"n V" V n .to .

~"

Lento (Very slowly)V n v v v

Pupllfi n " ~ - -

.jtJ I ~ ..1!f!fi n V n " V - V 11 VV -- .. 'fi' .. .. ~ 7J ?JPupll -

~ n V - .- -. o "I ~ ,.. I . ti ~~ creso. f dilll.

f'J "I

tJ ?J "ti . 4 . - ..~~ -:j .. -:j -e-V

Home fAlo"l: Mark the half stcps on this page as before.

u.LESSON 10

Onward, Chrlstian SoldiersTrio

Sir Arthur Sullivan1842-1800

Moderato (Moderately fast) vPupil

~ ,., I V ,.,.411 11if I'" I Ti~ M V n I V

,

~ ....~ .. I" I - ,. "do11ff~ ,., " ,., V

~ . fJ 7'l' ~~~~ 71. .. =- .. - r;, r;, .. ;t ~ 7J

Pupll

Pupil

~ ,., V V~

. "-..-/ - - ...,.~ ,., V n V, I~. --= .--""'" 77~ n V n V

~ ~~ .. ~ 71 ?1 .... -:;J." ~j .... ?t.

n n V

~ M ,.,, .. ~ .......::- I - ...1-9f : ,.,:t,

~ M V ,.,

~ - - .... :;JI ~.f rito~ M V ,.,

., .~.~ ?i ?1 "fi .. -:J..:! ~~

V

LESSON 11

Note careful1y the key signatures and what they mean.D. C.- Da Capo- to beginning.Fine- End

MelodyTrio Franz Joseph Haydn

1782-1809

CD Moderato (Moderately) v vPupil

fI~ n , I "' " "' I

" mf' c;,# I I FineI\~ n V nf) mf ~ t:t Fint1~~ ,., ,.,, .... -d =?1 .".."..... ,;;- - ... 4 Y."..... -do

Pupil

Teacher

I'\~ " " ,

" I - I ./).0.~~ n, ~ '-.!!' - - - ... ,;; c;,# Q ./). o.~~

, "fI.~ ~ !?j 7J ~~ .. 7Jt ~ ~~ . 7l' ,;; ... -,j.

English Morris Dance

All~grett~(Bright1y)v Fi (end) v D.C.(to~

Pupil~~ .- ~ - ',-;;. . ne en " 0'1J" "tf I

, I , I~~ n Fine (end) 0.0.

, I , I ...., , , I ...., "' I , -riPupil

M 100Ludwig vaIl Beethovene y 1770-1827 -

LESSO~ 12Christmas Carols

1.3

Felix Mendelssohn Bartholdy1I!09-1847

~ ~ f

Theme From "Lohgesang"

o Come, All Ye Faithtul. (Adeste Pdeles)

Moderato (Moderately) XIIIth Century Latin Hymn

Silent Night, Holy NightAndante (Slowly)

Franz Gruber1'78'7-1863

Pupil, 11 n......---... ~ 4~_ .. .

111

Pr r

~ 11

. ., ~ .a ~ -'J.. - ~ ~ -. . oTeacher

~ ~ 1 .- - ~ n_ - 1""'-1- - .o, oI I , I r I I , I r"'11 .....-.- ~--.-...

o . o, "--~ .or~'" Y-.-!/ I ""'---"'" c::.I0 ~ I ------~ sr-. - l.., -- - 17~ 1.---~ ~ "fi r#.

oo . ., {,of.

~ - - t:i1. ~~ 4- ~ :;;. ~

t4 LESSON 13

In this and lesson i6, two new notes are taken up. F~ on the E string and B~ on the A str ing , to beplayed with the 1st finger placed close to the nut. Study diagram to see position of notes on the finger-board. Great care must be taken in playing these notes. ])0 no! alioro fite knuc/de at f/te as of t/lP,fir.~f

finge,. to slids under t/&sneck. IPlay with the fips of lhe fingers1

Fingers I

E

AK>-----\

D~----~----~----~----~8---~~-----C~---------G~--~----~r--~J-----~--~j_----~---------Fngers 1 t 3 4

CD~OW A

@ LOWHIGH LOW HIGH LOWHIGH . LOW 4~.J:_@ Little Scale Study

~Il

Con motoDuet Henning

Pupil~ n ~ M V V M h ~ ..--..... "........ V

t 1'1ff"::.-' '-='

LESSON 14 15

Continu8.tionof the key 01 C Major using F natural on the E string.

LODg, LODg Ago

AndanteThomas H. Bayly

Pupil1\ M A - - n ~

,It

T

mpfl n

t6 LESSON 15

"I'he Little Sandman

AndanteJohannes Brahms

1833-1891

Pupilfl V -.

~ 1111' T Ir I~ :=:==-- --=::::: ====--'t Y ,..,...,." ., "- ........- :/1 '-- r --- ~ --Teacher

nfi ;": - - .._- - - - - V _-:--... .. .. -,

f' r~ =- I I I I - -... ., I I I -, r T I !

LESSON 16

Key of F Major

t,

Key of F Major, one flat (~). The flat (~)plaeed on the third line of the ataff, just after the elef aign,affects every B throughout the pece. Refer to diagram in Les son 13 to see the exaet position of thisnote on the fingerboard.

" V @" VI' li I

Scale and Arpeggio of F Major@ Half Steps A to B~and E to F.,@

~e - - - - - - - - - - - - - - - '. -Deok the Hall

7~~-=

Hom6 worlr: Mark half steps. Write F Major scale 4 times.

i8 LESSON 17Continuaton of the key of F Major

All Through the NightAndan~ Welsh Folk Song

~ep~r~

AndantinoSanta Lucia

Neapolitan Boat SongnPupll

~ " v.-: _:.-..... V V- r-, V ",1~ I I -.. I,. V "- V V '1-1 1

tJ I ,. rPupll

V M V~ a 4-. ;; a "~ r T '< . /\ I V 4 I, I --.. r I

First Time Bar Second Time BarV li V 11 2 t:\ V V/\ ~~ .:...- "

V__;; . . V ~ a' ~ :...

, = - ~~ ~ ~ - " V_ V " VI t:'\ V VI

~ I I I I I' r I T r I-Little Study in F

.........,.

4

LESSON 18t'Six-eight time

Count six beats to each bar in slow tempo a qu aver () ) being the unit 01' a beat.Count two beats to each bar in fast tempo a dotted crotchet (~.) being the unit of heat.

Ipreparatory exercise.1 Repeat each of the following bars until the rhythm of the different groupings

is memorized. Play on the open strings. Count aloud

Slow Coun@i 2 3 4 5 6 t 2 S 45 6 i2 3 456@ 1 2 3 4 5 6 t 2 S 456 t 2 8 456

t 1 2Fast Count- iINotice key signature and finger accordinglY.1

(!) Play exercises slowly at f ir st , gradually increasing the apeed.

cou;;t:::::: ~~Play the D Major scale different ways using the var ious rhythm patterns indicated above.

Row, Row, Row Your Boat

. .::..--' '--= ~ ~The above tune may be used as a round by dividing the class into two or four groups.

Peek - A - Boo@ Allegro (Bright/y) . c. P. H.

'---..: '--'"

V~~.

~.~I

Oh Dear! What Can the Matter Be?@ Allegretto Eng1ish Folk Song

HMM flJOTlr: Write 4 lines of notes, using different groupings in g time dividing into bars,

LESSON 19Detached notes of different values in one bow

Bowi1lg drill: Practise this line careful1y, gradually increasing the speed.

Oats and BeansAllegretto (brightly) Old English

~s~~ ,-o ~

IMulberry Bush

Allegretto "English Folk Song

_4~'1 '='~~rdifM~~, ~~ I

Ding- DongAllegretto B. Remick.

.. . .

Wee Willie WinkieAllegretto c.P.H.

~" -..-"

Old English Morris DanceAllegretto V ,.,

V ~

Used by perrnission of Silver-Burdett Co, Morristown. N. J. U.S.A.

s::::;

LESSON 20

Continuation of ItimeDrink To Me Only With Thine Eyes

Pupil

v V 1.1.Old Englieh Air

I I~. V IAndante Slowlyn V n V"

~~ .~ .....-! 4_ n, J~~ - ., J r I r r ......-

V V v v ,., V V

I\~ ri V - ri r--.... V 'l ri. I I I I~ ~ rito

.411 - ~ -'-'" --...::.,... -'-'" ~ ....

V V V

It Came Upon a Midnight Clear Richard S.Wi11is_C' ~u-_1r/-f .

== "'V Scale 8tudy

.P1aoe finger on both stringe at once.

Note: Al1manuscript pages are to be used for home-workaccording to instructions.

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LESSON 21Key of B~Major

K.eyofB~.B~andm. See diagIam for poaitioD of E~ODthe D atriDg. Review POSitiOD of B~OD tbe G atrlng iaLeIloa 7.

E~--o-----~---O----o---~----o--------A!-o----{jJ ,}--.....;.o{)----o---()---C)---o------

D t-O---{

G~--~>------C~-~Fingers 1

it., I___ - - "'U'

Scale of BJ, Half steps D to Eb, and A to Bb. PIay a lso as crotchets.

~ 11/:: .-= u~-;=~~ ~::u 1\ A

~11

~ A u A~ ~ , ~U 1. _

15 _ _ ~:.,...' :.--', U A --..: -......:: '--.!U A u n ~

.

~I

J101M ttJo,.k: Write tbe B~Major scale 4 time!;, marking flats and batf steps, also fill mbtanks in above dlagram.

LESSON 22

Vesper HymnTrio

ModeratonOld RU88ian

Pupil~ n 1

111 1Wp I I , I , f I ,~ P"I " 0,, I. I ~=i-" f ",mp .'" I M

..~ - r "y ~ ....,~

Pupil

Teacher

~ 4~ I ",.~ I "

I~ I.

'''f I" \, . I" . 4-~

~ \..... ~ --... ~. ~J.,; ~ ... ~"'J,,4o ~ ~ -.f t.-.f ~ ..~4A Capital Ship(lIarching Song)

. March time Old English Tune

~e

rito ti

tC1npo rit at.fItJIO,-" befan.

. - _ ..__._---~-------------.

LESSON28

Continuation of the key of S MajorSoale Study

Ii

The Blaoksmlth f71'-t~Moderato

..

I

Allegretto A Little Song

. a tempo=#--S . . rt I. ~. F~~.J:WE.~ ~c~ "!I'

~ rito-ri'., abbreviU10ll for ritemdo- gradaaDy s'aoJmdng Da-. """",- Won.

t6 LESSON 24Scale of B~Major, upper octaveIReview tower oct,ave of this sea1e in lesson 211

E .,(')--~

Ak)..-~

D~-~~-~-~~-~--~~--~----~J----------G~--~--~r-~~--

LESSON 25Key of E~Major

E~ ~ ~ cr cr~~:----~O~-----AI-:>--~

Dt-o----f

(j'"O---~ )----0----0---0---< r--O--D----Fingers i 3 4-orO

Scale of E~Major- name the flatsNotice that the finger placing is the same as for the upper octave of the B~major scale.Recite the notes of all scales studied.Use different bowings as in other soales, and pIay also as crotchets.mj1~

IN~

~e~Q ~

Austrian HymnAndante Haydn

"Pupil

"l I I " "411 ~ - ~- , I '----" I '-... ,---; I1'ff -~ ,, -.J - . '-...,..: ...~ '-C.-.~.~- r;; -- ~ ..- -

18 LESSON 26Key of E Major

E~--~--~--~--~--~--~~~~--Ah?----{)---{

Dt---..o.._-(

o~--~r---~----o----

LESSON 27Key of A Major

29

E~---o--~~~o---

LESSON 28Semiquavers

A semiquaver ~ iJl equa1 to half the value of a quaver

one quaver ~ : j) and four sermquavers equal one crotchetsemiquavers j, =n != -~Comparative tabIe showing number of semiquavers to other notes studied thus faro

80

~ Tw,o semiquavers equal

~: ~ Abbreviations for

: I

AndanteV

Bird Songn 112

Pupil

~In this piece, 'Which requiree a sWwmovement, it ia better to divide tbe Itime into l (006 oount to each quaver)

AlI t Kingdom Comin'

LESSON 29Dotted Quavers and Semiquavers

Legato (Connected)This is one of the more difficult rhythms to learn. The dotted quaver is equal to three semiquavers.

Always feel a division of four on e ach beat when playing this rhythm, three on the dotted quaver

and one on the semiquaver. _ : ~

BE SURETO PLA.Y1liE DOITED QILWER LO~G E:\OUGH ANn THE SEMI

12 LESSON 30Dotted Quavers and Serniquavers

Staccato

LESSON 31Triplets

Tr iplet.s are groups of three notes played in the time of two notes of the same value. They are indicatedbya figure "3" and a slur placed over or under a group of three notes.

-a--;l:.A bar of icontaning two triplets tm.J.J.J is t he same as a bar of t in march time. ~ .rJ~m

Pile;rims' Chorus

(Tannhueer )

Rchard WagnerAndante maestoso (Majestically) 1813-1883

~ a ~

~~~Uj1g~8 rato

Alla Breve or ~ TimeAlta Breve, or cut time is played the same 8,S f time. Each note having half the value as in t time,

a minim being lhe unit of a heat.

Softly NowThe Light of Day

Andante cantabile (In a singing style)von Weber

Pupilrl

t I

~mp

, ~ v -Teacher

"~t I I ~

~ M

"~ v- C.I

77 :&t -u ~,..

German College Song

~L~rr~?7JI = :::==-

~~~4 .~II If 2 ~ ..-===-~=- L. cresc, f

-Hold third finger down while extendng the fourth.

33

v

84 LESSON 32Staccato Bowing

8taccato, meaning detached, separated, ia a 8tyle of bowing used in violin playing to denote a short crisp note.Notes to be played ataccato are marked with a dot, plaeed over or under them. Draw the bow with a short,quck stroke, and then suddenly stoppng it for a short rest, during which the bow is preesed finn1yontheatring. W1th thia .troke the vibration of the atrlng ia stopped whioh givea lhe ahort staocaio effeet.

~~

Andantefrom Surprise Symphony

Haydn

~~~ ~ .. ~ ~ ~.~~ . . . .p. . . . .. ..

ChromaticsThe word "chromatic" means moving by semitones. Chromatie (literally, coloured) ia well chosea, fbr by the uae

of sharps and f'lats, tone eolour or shadng is added to the naturalsounds of the notes. A ohromatie interval iaone semitone above or below the given note. A chromatc scale is a scale that asoend. or descende by semi-tones. In playing ehromatice the finger must move quickly to the new note so that no slide is heard.

~eEtude

Woblfahrt

PizzicatoPUa. means to pluck the etring. The bow is held agai.nst the palm of the hand by the second, third and fourUl

fngers, the firat being free to do the plueking. The tip of the thumb ia placed against the oorner of lhe fin-gerboard under the E etring.

Amaryll1s~ Gavotte ..~ep_' Henr Ghya

LESSON 33

Sweet and LowQuartet Joseph Barnby

1888-1898 .Larghetto (Slow) v

Pupll11M ;---.. - .~ - - " -

~ W r r ,1\ M t. I V " , -- .~ I r- I ,.. I - , I r/'\ fYP ...L- V " 4

141 w w,.. ~~ w-.-"'" ~ -- _. IJ.. ~ .---

86 LESSON 34From the Classics

Theme From the Violin ConcertoBeethoven

.

Theme From Symphony No.!Brahrns

"--' ===-Theme From Der Freischtz

von Weber

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Printed by Printwise (HaverbiU) Limited, Suffolk 6ICIJ(169945)

UNEA

9 780711 915923

EXCLUS I VEL ,DJSTRIBUTED B'1

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ince the publication cif the first A Tune A Day book more than 60 years ago, this enduring series cif instruction9uides has become the mainstay cif beqinner musicians and teachers alihe. Each book encourages the development

cif a sound instrumental technique whilst giving an excellent grounding in music theorv.The presentation cif the books allows the student to progress at a pace best suited to bis abilities and enables him to

reach an advanced 5tage cif peiformance in the optimum time.

Equally ifJective for individual or group study, the books embrace most instruments cif modern musicalcombinations,fiom Flute to French Horn and fiom Soxoplione to Sousaphone.

ACCORDION Eb/BBb BASS OR SOUSAPHONE TROMBONE OR EUPHO IUM

Book One Book One Bass C/1 Book OneBoss elej Book Jivc

BANJOfLUTE

Book OneBook OneBookTR'O

TROt.mO E OR EUPHONIUMRepertoue One !reble C/1 Book ne

BASSOON

Book (Ine FRENCH HORN OR TENOR I-:lORNT,eb/e C/if Book 7wo

Book One

CELLOTRUMPET OR CORNET

Book One GUITARBook ne

Book Jj,o Book OneBook li.,o

Book 7ivo Esemb/e O"e

CLARlNETRepenore Dne Repertore Dne

Booh (Inc MARlMBA, XYLOPHO E AND BEL L$ VIOLABook Two Book One Book OneEnsemble Book Two

Repenore Dne OBOE Book ThreeBook Dne

CLASSICAL GUITARVIOU"AXOPHONE

Book neBook One Book ne

Book Jit'oBookTwo BookTwo

Book Three Book ThreeKepertoue One STRlNG BASS Beemnme Scale Book

Book One Piano Accompamments One

DRUMS Book livo Piano Accompommems TwoBook One Playins SUns Bass Repenote Dne

C. Paul Herfurth, author if thejirst utles to be published, lata enlisted the senices if Hugh M. 5tuart (Woodwind), ~rnon R. Mil/er and Herbert A. Mattick (Brass) andffoward M. Petetsoti (Mallei Percussioti}as associate ",riters co expand the instrumental coverageif tbe books.

Bom ia 1893, He1uIth beqan violin lessons ae the age if seven and studied in German)'for a )'ear bifore entering the New England Conservatory if Music in 1911.Graduatinq in 1916, hisfirst school position