TEACHER’S MANUAL BOOK 1 ESSENTIAL ELEMENTS...

ESSENTIALELEMENTS

2000

TEACHER’S MANUAL BOOK 1

A COMPREHENSIVE STRING METHOD

BY

MICHAEL ALLENROBERT GILLESPIEPAMELA TELLEJOHN HAYES

ARRANGEMENTS BY

JOHN HIGGINS

TEACHER’S MANUAL

ESSENTIALELEMENTS

2000FOR STRINGS

A COMPREHENSIVE STRING METHOD

MICHAEL ALLEN ● ROBERT GILLESPIE ● PAMELA TELLEJOHN HAYES

ARRANGEMENTS BY JOHN HIGGINS

ESSENTIAL ELEMENTS INCLUDES:Comprehensive Pedagogy● Address the process of teaching and learning.

Melodic Approach● Early pizzicato tunes develop ear and hand.

Integrated Curriculum● Theory, history, and multiculturalism in the examples.

Innovative Rhythm System● Graphics, subdivision, and easy-to-learn sequence.

Easy Note Reading● Easy notes thoroughly reinforced with note names.

Broad Musical Spectrum● Classics to contemporary-designed to motivate.

AVAILABLE PUBLICATIONS Violin Viola Cello Double Bass Piano Accompaniment Play-Along CDs EE String Orchestra Series

Copyright © 2004 by HAL LEONARD CORPORATIONInternational Copyright Secured All Rights Reserved

ISBN 0-634-03816-8

TABLE OF CONTENTSThe Essential Elements 2000 for Strings Teacher’s Manual Book 1 is designed to serve as a resource for all your string teaching needs. It contains teaching tips for every page of Essential Elements 2000 for Strings Book 1. It also includes sample letters for communicating with parents, sample test forms for evaluating students’ playing skills, guidelines for instrument care, sizing students for instruments, a keyboard chart, and words to the some of the familiar melodies throughout the book. National standards for teaching strings as well as a resource list of additional materials to help you in your teaching are provided.

Student Page Topic/Title Teacher Page

Sequence of Essential Elements 2000 Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-9

Using Essential Elements 2000 for Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-11 Starting Systems, Rhythm Raps, Play-Along CD Disc 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Performance Spotlights, EE Skill Builders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Music Theory, History, and Cross-Curricular Activities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Creativity, Assessment, Additional Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Essential Elements 2000 for Strings Beginning Skills Teaching Sequence . . . . . . . . . . . . . . . . .12

Parent Communication & Student Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13-33

1 History of the Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

2 Parts of the Instrument and Bow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35-36

3 Holding Your Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37-38

4 1. Tuning Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 2. Let’s Play “Open D” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 3. Let’s Play “Open A” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 4. Two’s A Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 5. At Pierrot’s Door . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

5 Definitions (Clef, Time Signature, Double Bar) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42 6. Jumping Jacks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43 7. Mix ’Em Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43 8. Count Carefully. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44 9. Essential Elements Quiz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

6 Shaping The Left Hand/D String Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46-47 Listening Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 10. Let’s Read “G” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49 11. Let’s Read “F# ” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 12. Lift Off 51

7 Shaping The Right Hand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52-53 Bow Builder One: Pencil Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52-53 13. On The Trail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54 14. Let’s Read “E” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54 15. Walking Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 16. Essential Elements Quiz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

8 Bow Builder Two: Pencil Hold Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56-57 Bow Builder Three: Bowing Motions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56-57 17. Hop Scotch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57 18. Morning Dance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58 19. Rolling Along . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

9 Work-Outs/Bass: New Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60-61 20. Good King Wenceslas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61 21. Seminole Chant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62 22. Essential Elements Quiz – Lightly Row . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

10 A String Notes (Bass: G String Notes)/Listening Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64-65 23. Let’s Read “D” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66 24. Let’s Read “C# ” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67 25. Take Off. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67 26. Caribbean Island . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

11 27. Olympic High Jump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69 28. Let’s Read “B” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70 29. Half Way Down. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 30. Right Back Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72 31. Down The D Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73 32. Essential Elements Quiz – Up The D Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

33

12 Bow Builder Four: On The Bow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 33. Song For Christine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 34. Natalie’s Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 35. Essential Creativity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

13 36. Dreidel 79-80 Bow Builder Five: Shadow Bowing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 37. Rosin Rap #1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 38. Rosin Rap #2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 39. Rosin Rap #3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

14 40. Carolina Breeze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 41. Jingle Bells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84-85 42. Old MacDonald Had A Farm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86-87

15 43. A Mozart Melody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88-89 44. Matthew’s March . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 45. Christopher’s Tune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 46. Essential Creativity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

16 Bow Builder Six: Let’s Bow!/Listening Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93-95 47. Bow On The D String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 48. Bow On The A String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

17 String Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 49. Raise And Lower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98-99 50. Teeter Totter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 51. Mirror Image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 52. A Strand Of D’N’A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 53. Essential Elements Quiz – Olympic Challenge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Bow Builder Seven: Combining Both Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

18 Putting It All Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 54. Bowing “G” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 55. Back And Forth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 56. Down And Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 57. Tribal Lament . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 58. Bowing “D” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 59. Little Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 60. Elevator Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

19 61. Elevator Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 62. Down The D Major Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 63. Scale Simulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 64. Essential Elements Quiz – The D Major Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110-111 Special Violin, Viola, Cello Exercise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 65. Let’s Read “C# ” – Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

20 66. Rhythm Rap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 67. Pepperoni Pizza. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 68. Rhythm Rap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 69. D Major Scale Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 70. Hot Cross Buns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 71. Au Claire De La Lune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

21 72. Rhythm Rap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 73. Buckeye Salute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116-117 74. Rhythm Rap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 75. Two By Two . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 76. Essential Elements Quiz – For Pete’s Sake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

22 77. Rhythm Rap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 78. At Pierrot’s Door . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 79. The Half Counts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 80. Grandparent’s Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 81. Michael Row The Boat Ashore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 82. Texas Two-String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

23 Violin/Viola: 4th Finger/Bass: New Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 83. Four By Four . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 84. 4th Finger Marathon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 85. High Flying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 86. Essential Elements Quiz – Ode To Joy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128-129

24 Performance Spotlight 87. Scale Warm-Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 88. Frère Jacques – Round . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 89. Bile ‘Em Cabbage Down-Orchestra Arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132-133

44

25 90. English Round. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 91. Lightly Row – Orchestra Arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134-135 92. Can-Can – Orchestra Arrangement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136-137

26 G String Notes (Bass: E and A String Notes)/Listening Skills . . . . . . . . . . . . . . . . . . . . . . . . .138-139 93. Let’s Read “G” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 94. Let’s Read “C” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 95. Let’s Read “B” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 96. Let’s Read “A” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 97. Walking Around . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

27 98. G Major Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 99. Fourth Finger D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 100. Low Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 101. Baa Baa Black Sheep. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147-148 102. Essential Elements Quiz – This Old Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

28 34 Time Signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

103. Rhythm Rap. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 104. Counting Threes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 105. D Major Scale In Threes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 106. French Folk Song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152-153 107. Essential Elements Quiz – Sailor’s Song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153-154

29 108. Fit To Be Tied. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 109. Stop And Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 110. Slurring Along. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 111. Smooth Sailing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 112. D Major Slurs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 113. Crossing Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 114. Gliding Bows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 115. Upside Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

30 116. Song For Maria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 117. Banana Boat Song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 118. Firoliralera – Orchestra Arrangement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164-166

31 EE Skill Builders – G Major 119–124 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167-170 125. Jingli Nona . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171-172

32 New Note: Fn/Listening Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .172-173 126. Let’s Read “F” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 127. Half-Steppin’ And Whole Steppin’. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 128. Spy Guy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 129. Minor Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

33 New Note: Cn/Listening Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178-179 130. Let’s Read “C” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 131. Half Step And Whole Step Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 132. Chromatic Moves. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180-181 133. The Stetson Special. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 134. Bluebird’s Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

34 135. C Major Scale – Round. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 136. Split Decision – Duet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184-185 137. Oak Hollow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 138. A-Tisket, A-Tasket . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 139. Essential Elements Quiz – Russian Folk Tune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188-189

35 140. Bingo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 141. Tallis Cannon – Round. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 142. Variations On A Familiar Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192-193 143. Essential Creativity – The Birthday Song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

36 Special Violin And Bass Exercise/Listening Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195-196 144. Let’s Read “C” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 145. Let’s Read “F” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 146. Let’s Read “E” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 147. Let’s Read “D” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 148. Side By Side . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 149. C Major Scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

55

37 150. Rhythm Rap. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 151. Slow Bows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 152. Long, Long Ago . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 153. C Major Scale And Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 154. Listen To Our Sections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 155. Monday’s Melody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204-205

38 Violin/Bass: E String Notes, Viola: E/Listening Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206-207 156. Let’s Read “E” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 157. Let’s Read “A” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 158. Let’s Read “G” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 159. Let’s Read “F# ” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 160. Moving Along . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 161. G Major Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

39 162. Shepherd’s Hey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 163. Big Rock Candy Mountain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .213-214 164. Let’s Read “B” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 165. Ice Skating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 166. Essential Elements Quiz – Academic Festival Overture Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

40 167. Play Staccato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 168. Arkansas Traveler. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 EE Skill Builders – G Major 169–173 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .220-222

41 174. Hooked On D Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .223-224 175. Waltzing Bows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .224-225 176. Pop Goes The Weasel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .225-226 EE Skill Builders – C Major 177–180 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227-228

42 181. Forte And Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 182. Surprise Symphony Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230-231 EE Skill Builders – Scales And Arpeggios 183–187 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231-233

43 Performance Spotlight 188. Cripple Creek - Orchestra Arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .234-235 189. Tekele Lomaria – Orchestra Arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .236-237

44 Performance Spotlight 190. William Tell Overture – Orchestra Arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238-241 191. Rockin’ Strings – Orchestra Arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .242-243

45 Performance Spotlight 192. Simple Gifts – Orchestra Arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244-249

46 193. Solo with Piano Accompaniment Violin – Minuet No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Viola – Minuet In C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 Cello – Minuet No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Double Bass – March In D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

47 194. Rhythm Jam. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 195. Instant Melody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Fingering Chart Violin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Viola. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Cello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Double Bass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

48 EE Reference Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Tips for Caring for Your Instrument: What to Do and What Not to Do! . . . . . . . . . . . . . . . . . . 259

Guidelines for Selecting the Correct Sized String Instrument for Your Students . . . . . . . . 260

Keyboard Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Words to Familiar Melodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

ASTA with NSOA-Standards for Successful School String/Orchestra Teaching . . . . . .263-265

ASTA with the NSOA-Essential Resource List for String Teachers 266

66

SEQUENCE OFTeacher 34 35–36 37–38 39–41 42–45 46–51 52–56 56–59 60–63 64–68 69–74 75–78Page

Student 1 2 3 4 5 6 7 8 9 10 11 12Page

Bow Builder Bow Builder

Two: Bow Builder

One: Pencil Hold Four: Bowings Shaping the Exercises Shaping the Right Hand, Bow Builder Hand on Three: the Bow

Pencil Hold Bowing Motions

Rhythms Œ Ô

Theory Scale

Instrument

History Histories

Folk Songs

Beat, Clef, Sharp, Music Staff, Time Signature, Keeping

Keeping Fingers

Terms pizz. Bar Line, Double Bar, Fingers Down Bracket

Measure, Repeat Sign, Down Bracket Notes, Rest Counting (Bass)

(Violin, Viola, Cello)

Listening

Skills G, F# , E D, C# , B

Familiar At Good King

Melodies Pierrot’s

Morning Dance, Wenceslas,

Door Rolling Along Lightly Row

Instrument Care, New Bass Note:

Special Welcome Instrument Parts,

Instrument Shaping A on G String, Pizzicato

Features to String Position,

Counting Left Hand

D Major Scale,

Playing Bow Parts, Pizzicato Introduced

Introduced Left Hand Bass Shifting

Accessories Rote Exercises

pizz. D/A pizz. D String Strings,

pizz. D String (G String Bass), Left Hand

Counting,

(G String Bass),

Counting, Shape, Essential

Counting,

Steady Beat, A String Creativity,E Quiz

Steady Beat, Square 1st Finger, Notes Bass Shifting, Drawing Notes

Œ Ô Square 1st Finger,

Keeping Fingers on the Staff

Assessments

Time Signature,

Down, Violin/Viola pizz. D Major

Steady Beat

Clef, Double Bar Shoulder Position

Scale

NoteSequence

&

B

?

?

Violin

Viola

Cello

Bass

œ

œ

œ

œ

œ

œ

œ

œ

œ œ#

œ œ#

œ œ#

œ œ#

œ

œ

œ

œ

œ

œ œ#

œ œ#

œ œ#

œ œ#

œ

œ

œ

œ

CorrelatingSt. Orch. Arr.Levels

77

ESSENTIAL ELEMENTS 2000Teacher 79–82 83–87 88–92 93–97 98–102 103–106 107–112 113–115 116–119 120–124 125–129 130–133Page

Student 13 14 15 16 17 18 19 20 21 22 23 24Page

String Levels

Bow Builder

Five:

Bow Builder Bow Builder Bowing Bowings Six: Seven: Fingered

Bowing with Let’s Bow! Bowing Notes Notes

Rosin Raps

of the D Major Scale

ŒÂÂÂ Œ Œ Rhythms Œ ŒÂ ŒÂ Œ Ó ◊± Œ ŒÂ Œ ŒÂ

Time Signature: 2

4

Round,

Theory Writing D Major

D Major

Repeat

Chord,

Scale Notes

Key Signature 1st and 2nd

Signs Harmony

Endings

History

Israeli Mozart Beethoven

Folk Song

Down Bow,

Tempo Markings:

MeasureTerms arco Bow Lift Allegro

Number

Up Bow Moderato

Andante

Listening

Skills

Bowing Open

D, A Strings

At Pierrot’s Door, Frère Jacques,

Familiar Jingle Bells, Hot Cross Buns, Grandparent’s

Melodies Dreidel Old MacDonald

Twinkle, Twinkle, Day, Ode To Joy Bile `Em

Had A Farm Little Star

Au Clair De

Michael Row The Cabbage

La Lune

Boat Ashore Down

Steps For

Special Exercises

Conducting

Special Essential

Practicing

(Violin, Viola, Cello), Pattern 4th Finger Bowing

Performance

Features Creativity:

Music that

Bass C# on Pizzicato 4th Finger

Spotlight Composing

is Bowed

A String (Violin, Viola) (Violin, Viola)

1 2

Parallel Bowing, Bowing D/A Notes, Bow Markings, Smooth and

Bow Markings,

Parallel Bowing,

Even Tone, Parallel Bowing, String Levels,

4th Finger E Quiz

String Levels, Half and (Violin, Viola)

Arm Level Whole Steps, Assessments

Changes at Half and 1st and 2nd String Crossings Whole Steps Endings

NoteSequence

&

B

?

?

Violin

Viola

Cello

Bass œ#

III

œ4

III

œ1


ExplorerLevel

88

SEQUENCE OFTeacher 133–137 138–142 143–149 150–154 155–161 162–166 167–172 173–177 178–182 183–189 190–194 195–200Page

Student 25 26 27 28 29 30 31 32 33 34 35 36Page

Bowing G String (Violin, Viola,

Changing Slur 2 Notes Slur 3 Notes

Bowings Cello), Bow Speeds

Bowing E, A Strings

œ œ

œ œ œ

(Bass)

Rhythms

Tie, Upbeat,

n

C Major

Theme and

Theory G Major

Common Time Ó. Half Step, Chromatics

Key Signature

Variations

c

Slur D.C. al Fine Whole Step

Offenbach Latin Far

Nationalistic 16th Century,

History American Eastern Music

Operetta Music Music Thomas Tallis

Ledger Lines

Terms (Violin)

Duet

Listening C String

Skills G, A, B, C Fn Cn Notes

(Viola, Cello)

Bingo,

Familiar Lightly Row Baa Baa French Banana

Jingli

Bluebird’s

A-Tisket,

Melodies Black Sheep, Folk Song, Boat Song,

Nona

Song

A-Tasket, Skip To My Lou,

Can-Can This Old Man Sailor’s Song Firoliralera Russian Folk Tune Happy Birthday

Writing G Time Signature: Low and High Special Exercises Major Notes, 3

4

New Finger New Finger

Second Finger and Orchestra

Special

Performance 4th Finger D

Orchestra

EE Skill Builders: Pattern:

Pattern: Duet, Patterns

Team Work,Features

Spotlight

on G String Conducting Arrangement

G Major

Low 2nd Finger Low 2nd (Violin, Viola),

(Violin, Viola), 3-Beat Pattern, on D String Finger on

New Position Essential Creativity: C Major Conducting New Position (Violin, Viola)

A String II (Bass) Creating Rhythms, Scale

4-Beat Pattern II 1/2 (Bass) (Violin, Viola)

Round

G String Notes F-natural (Violin, Viola, Cello),

3

4 Time, C-natural 4th Finger (Violin, Viola), on G String Counting Ó. E Quiz

(Violin, Viola), 4th Finger, Counting ‰, Ó Changing

Tempo Marking:

Assessments

in

4

4 Time Bow Speeds

Andante

NoteSequence

&

B

?

?

Violin

Viola

Cello

Bass

œ

œ œ œ

œ

œ œ œ

œ

œ œ œ

œ

œ œ œ

œn

œn

œn

œn

œn

œn

œn

œn

œ

œ œ œ

œ

œ œ œ


PerformerLevel

99

ESSENTIAL ELEMENTS 2000Teacher 201–205 206–212 213–217 218–222 223–228 229–233 234–237 238–243 244–249 250–253 254–257 258Page

Student 37 38 39 40 41 42 43 44 45 46 47 48Page

Changing

Bowings Bow Speed

Forte Bowing,

œ.

œ.

œ.

Piano Bowing

Rhythms

„ Theory Improvisation Arpeggio

History

African

Gioachino

Music

Rossini

Terms Staccato

Hooked Dynamics Solo

Bowing

Listening

D, E, Fn , Bowing

Skills

F# , G, A E String

(Violin)

Shepherd’s Hey,

Familiar

Long, Big Rock Surprise

Melodies

Long Ago, Candy Mountain,

Arkansas

Pop Goes Symphony

Cripple

William Tell

Simple

Monday’s Academic Festival Traveler

The Weasel

Theme Creek

Overture

Gifts

Melody Overture Theme

Performance

Hooked Dynamics: Spotlight, Improvising

Staccato, Bowing,

f, p Performance

Performance

Performance

Solo with Piano Rhythms Special

Upper Octave

Spotlight,

Spotlight,

Spotlight, Accompaniment and Melodies, EE Reference

Features G Major Scale

EE Skill Builders:

EE Skill Builders: Orchestra

Orchestra

Orchestra Violin: Bach Minuet No. 1 Index

(Violin)

G Major

EE Skill Builders:

Scales and Arrangement

Arrangement

Arrangement Viola: Bach Minuet in C Fingering

C Major

Arpeggios Cello: Bach Minuet No. 2 Chart Bass: Bach March in D

E String Notes, E Quiz Up-Beat Assessments

NoteSequence

&

B

?

?

Violin

Viola

Cello

Bass

œ

œ œ œ#

œ4

œ#

œ


ArtistLevel

1010

USING ESSENTIAL ELEMENTS 2000 FOR STRINGSEssential Elements 2000 for Strings is a comprehensive

method for string musicians, and can be used with hetero-

geneous and like-instrument classes or individuals. It is

designed with fail-safe options for teachers to customize

the learning program to meet their changing needs.

The Teacher’s Manual includes all the music and text from

the student books, plus time-saving EE Teaching Tips throughout the score. As in the student books, the

introduction of a new concept is always highlighted by

a color box.

STARTING SYSTEMS

INSTRUMENT POSITION

● Guitar Position

● Shoulder Position

SHAPING THE LEFT HAND ● Higher numbered fingers first to help shape the hand

● Pizzicato reinforced first so that bowing skills may be

developed separately for mastery before combining

with left hand skills

● Work-outs – rote activities for developing left hand skills

LISTENING SKILLS ● Included for each new pitch to develop intonation skills.

BOW BUILDERS ● Seven carefully sequenced activities for developing

string students’ beginning bowing skills.

RHYTHM RAPSAfter establishing the quarter note pulse, all new rhythms

are presented in the innovative Rhythm Rap format. Each

Rhythm Rap may be clapped, tapped, counted aloud or

silently, shadow bowed (bowed in the air), or bowed on an

open string. After each Rhythm Rap, the identical rhythms

are played on simple pitches in the next exercise.

PLAY-ALONG CD DISC 1

Every student receives a play-along CD in their book that

covers the first 71 exercises. From the very beginning, they

can model tone production and technique by listening to

a professional orchestra.

For classroom use, the Teacher’s Manual includes a play-

along CD featuring the same exercises, with a small string

ensemble demonstrating the melody part.

Each track is played twice—the second time is the accom-

paniment only. There is a one measure count-off before

each track, with metronome clicks that are subdivided

by soft cymbal notes. These tracks are performed on real

instruments that support phrasing and dynamics, teaching

musicality from the start. They explore a rich variety of musical

styles and cultures, including classical, rock, jazz, country,

and world music.

PERFORMANCE SPOTLIGHTS

Carefully selected music that reviews skills and technique,

and may be used for concert performance.

EE SKILL BUILDERS

Technical exercises to reinforce important playing skills.

MUSIC THEORY, HISTORY, AND CROSS-CURRICULAR ACTIVITIES

All the necessary materials are woven into the learning

program—right in the student books. With teaching time

in short supply, it would normally be impractical to take

class time to relate music to history, world cultures or to

other subjects in the curriculum. But Essential Elements 2000

for Strings correlates these activities with the concepts and

music throughout the program. These Theory and History

features are highlighted by color boxes and appear

throughout the book.

As a result, teachers can efficiently meet and exceed the

National Standards for Arts Education, while still having

the time to focus on music performance skills.

11

CREATIVITY

Essential Creativity exercises appear throughout the book.

These are preliminary activities designed to stimulate

imaginations, and to foster a creative attitude toward

music. Strategies for completing each Essential Creativity

exercise are included in the student book. Additional

suggestions are included in the Teacher’s Manual.

ASSESSMENT

ESSENTIAL ELEMENTS QUIZZES

Playing quizzes appear throughout the student books.

Objectives highlight the exact elements being reviewed

and tested. Review exercises in the Teacher’s Manual

suggest specific examples for students requiring additional

practice. Be certain students meet your performance

expectations on each quiz.

A Star Achiever chart is provided in the Teacher’s Manual.

It lists all the Essential Elements Quizzes and Essential

Creativity exercises. This chart should be reproduced and

distributed to each student.

EE CHECKS ✔✔

EE Checks appear throughout Essential Elements 2000 for

Strings. They are special reminders for students to evaluate

the playing skills that have just been introduced.

Additional Resources Available…

PLAY-ALONG CD SET DISC 2 & 3

This set of play-along tracks features a variety of

accompaniment styles similar to Disc 1, and includes

exercise 72 through the end of Book 1. It features the

melody demonstrated by a small string ensemble,

followed by the accompaniment only for each exercise.

For use by all instruments.

PIANO ACCOMPANIMENT BOOK

Piano accompaniments for each exercise are provided

in a separate book, but are also printed in the

Teacher’s Manual. These easy accompaniments have

been arranged to match the style and harmony of the

accompaniments heard on the play-along CDs. They

may be used for teaching or performance and offer

a variety of styles, from classical to contemporary

popular music. You may want to alter these piano

accompaniments to meet your specific needs.

CORRELATED MATERIALS

The Essential Elements 2000 for String Series includes

original and popular music, arranged for beginning

strings. Each publication is correlated to one of five

specific “levels” within Books 1 and 2 (see the

Sequence Of Essential Elements 2000 chart in the

Teacher’s Manual for details). Contact your music

dealer or the publisher for information on the latest

releases in this series.

1111

12

ESSENTIAL ELEMENTS 2000 FOR STRINGSBEGINNING SKILLS TEACHING SEQUENCE

Beginning string students need to learn many different skills when first learning to play their string instruments:

Left Hand (posture, instrument position, left hand shape, and finger dexterity), and Right Hand (bow hand shape

and detache bowing). Each of these skills needs to be introduced separately, and then developed simultaneously.

Essential Elements 2000 for Strings is designed so that students can learn each of these skills sequentially and

independently, leading to mastery. For ease of reference, the following diagram outlines the introduction and

integration of each of these skills.

Bow Builder Seven:

Combining Both Hands, pg. 17

Bowing D Major Scale pitches

Left Hand Skills

Instrument Position, pg. 3

Left Hand Shape D string

pizz. G, F# pg. 6

pizz. G, F# , E, D pg. 7

pizz. A string notes

pizz. D,C# , pg. 10

pizz. D Major Scale pitches, pg. 11

Right Hand Skills

Bow Builder One:

Shaping the Right Hand, pg. 7

Bow Builder Two:

Pencil Hold Exercises, pg. 9

Shaping the bow hand on a pencil

Bow Builder Three:

Bowing Motions, pg. 9

Learning bowing motions in the air

practicing Bow Builders

One, Two, and Three, pg. 10

Bow Builder Four:

On the Bow, pg. 12

Holding the Bow

Bow Builder Five:

Shadow Bowing, pg. 13

Bowing on rosin

Practicing Bow Builder Five, pg. 14

Bow Builder Six:

Let’s Bow!, pg. 16

Bowing open strings

String Crossings, pg. 17

Changing string levels

On the A and D strings

13Communication

PARENT COMMUNICATION & STUDENT EVALUATION

Teacher

Communication with parents is an essential element for a successful orchestra program. The following letters and “Message For Parents” provide valuable information for orchestra parents. Feel free to adapt or make photocopies of these materials for your use. The letters include the following topics:

● Recruiting students

● “Message To Parents” explaining benefits of string study

● Guidelines for obtaining an instrument

● After the first week of study

● After 3–4 weeks of study

● Midyear practice encouragement

● When a student is discouraged or considering dropping out

● Instrument maintenance needed

● When student forgets instrument for class

● Concert Etiquette

● When students are signing up for next year’s classes

The evaluation forms and reports include the following:

● Progress Report

● Position Evaluation

● Orchestra Progress Report

● Orchestra Class Interim Report

● Performance Evaluation (2)

● Practice Record

14 Communication

DATELINE: Distribute to all students when recruiting

Dear Parents:

(Name of school or school district) is pleased to be able to offer beginning strings instruction to students in the (grade level) grade this year. Orchestra classes will meet during the school day and will be free of charge. Instruction will be offered on violin, viola, cello, and bass. In order for your child to participate in these classes, it will be necessary for you to furnish an instrument. Local music stores offer very reasonable rental or lease plans for these instruments. Please do not obtain an instrument until your child has received a written notice of the exact instrument needed.

String instrument instruction will continue to be available to your child through the 12th grade. Learning to play an instrument and belonging to the school orchestra opens up a whole new world of friendship and fun. Your child will be able to take advantage of music performances with orchestras at the (middle school or junior high) and high school levels. The opportunities for playing a string instrument after high school are abundant, with many universities offering scholarships for orchestra participation. Orchestra provides a great foundation for your child in all aspects of life. In addition to music, students learn self-discipline, group cooperation, problem-solving, goal-setting, self-expression, memory skills, concentration, poise, enhanced physcal coordination, high self-esteem, and the importance of teamwork—skills in great demand in almost every aspect of life. Like all the arts, music has a profound effect on the academic success of students as well.

If you wish to enroll your child, please complete and return the application form to the orchestra teacher at the school. If additional information is desired, please feel free to contact me at (phone number).

Cordially,

Orchestra Teacher

(Please detach and return)

ORCHESTRA APPLICATION FORM

Name ___________________________________________________________________

Address _________________________________________________________________

Phone (Home)____________________________(Work) __________________________

Homeroom ____________Teacher ___________________________________________

Parent’s Signature ________________________________________________________

15Communication

DATELINE: Distribute your version of this “Message To Parents” at your first orchestra parents meeting

MESSAGE TO PARENTS

A Parent’s Guide To Enhancing Your Child’s Musical Experiences

CONGRATULATIONSYour decision to provide your child with a quality musical instrument is an investment in your child’s future. In making it possible for your child to play a musical instrument, you are providing the opportunity for self-expression, creativity, and achievement.

Numerous studies indicate that parental attitude, support and involvement are important factors in a child’s ability to successfully learn to play and enjoy music.

These guidelines are designed to assist you in giving your child the best support possible for his or her musical endeavors. Like any skill, interest counts far more than talent. With strong support from you, playing music will become a natural part of your child’s life.

BENEFITSFor Your ChildMusic participation enhances:● Problem-solving● Teamwork● Goal-setting● Self-expression● Physical coordination● Memory skills● Self-confidence and esteem● Concentration● Poise● and much, much more!

For Your Family● A child’s music study also offers opportunities for shared family experiences, including:● Musical event attendance● Family music-making● Performing for, and with, family and friends● Learning about the lives of composers and the cultural heritage of many civilizations● A sense of accomplishment and pride for the entire family

HOW YOU FIT INAlways keep in mind that your support is an essential element in your child’s success with music study.

Schedule Practice TimesMusic achievement requires effort over a period of time. The time in orchestra rehearsal is limited. New concepts learned at school need daily personal practice time by your child at home in order for these new skills to be developed. You can help your child by:● Providing a quiet place in which to practice● Remaining nearby during practice times as often as possible● Scheduling a consistent daily time for practice● Praising your child’s efforts and achievements

16 Communication

WHAT TO DOTo give your child the best possible support, you should:● Remind your child to bring instrument and music to orchestra class● Encourage your child to play for family and friends● Offer compliments and encouragement regularly● Expose your child to a wide variety of music, including concerts and recitals● Encourage your child to talk with you about classes ● Make sure your child’s instrument is always maintained well● Listen to your child practice, and acknowledge improvement● Help your child build a personal music library● Encourage your child to make a commitment to his or her music studies● Get to know your child’s teacher

WHAT TO AVOID● Using practice as a punishment● Insisting your child play for others when he/she doesn’t want to● Ridiculing or making fun of mistakes of less-than-perfect playing● Apologizing to others for your child’s weak performance

TO MAINTAIN YOUR CHILD’S INTEREST● Talk with your child if his or her interest begins to decline● Discuss with the orchestra teacher ways to maintain your child’s enthusiasm for playing ● Increase your enthusiasm and involvement in your child’s playing

CREDITSThis message has been adapted from publications by the following organizations in the interest of making music study and participation an enjoyable and richly rewarding experience for children and their families. Hal Leonard Corporation appreciates the cooperation of these organizations for graciously allowing us to reprint this important message.

AMERICAN MUSIC CONFERENCE303 East Wacker Drive, Suite 1214Chicago, IL 60601(312) 856-8820

MUSIC EDUCATORS NATIONAL CONFERENCE 1806 Robert Fulton DriveReston, VA 22091-4348(703) 860-4000

MUSIC TEACHERS NATIONAL ASSOCIATION617 Vine St., Suite 1432Cincinnati, OH 45202-2434(513) 421-1420

NATIONAL ASSOCIATION OF MUSIC MERCHANTS5140 Avenida EncinasCarlsbad, CA 92008-4391(619) 438-8001

17Communication

DATELINE: Distribute to students once they have been measured for an instrument

PLEASE TAKE THIS FORM WITH YOU TO THE MUSIC STORE

___________________________________ is officially enrolled in the (name of school) Orchestra Program. An instrument may be obtained from any of our local music stores who have agreed to stock the proper sizes and specifications for our school. These stores have reasonable lease, rental, and/or trial-purchase plans available. You may do business with any store you prefer. They are listed in alpha-betical order.

(List names of music stores with addresses, phone numbers, and contact persons)

If you are considering purchasing an instrument from another source, we suggest you call on us to assist you in evaluating it, as one of the principle causes of pupil failure is an inferior instrument. You should obtain the following for your child:

1. Instrument ___________________ Size ____________

2. Essential Elements 2000 for Strings, Book I (be sure the book has the same name as the instrument)

3. A folding metal music stand

4. A shoulder pad for violins and viola

5. A rock stop for cellos and basses (sometimes this is included with the instrument)

6. Stool for basses; if needed

7. A pencil - BRING TO EVERY CLASS!

8. A soft cloth to keep the instrument clean

9. Rosin

Students enrolling in orchestra must understand that they are making a commitment to daily practice at home. Good practice habits and a positive attitude have a great effect on the success your child will achieve through this class.

Parents are urged to consult the teacher any time a question or problem arises. The earlier a positive working relationship is reached between child, parent and teacher, the greater your child’s success will be.

Sincerely,

Orchestra Teacher

18 Communication

DATELINE: Send first week of the program

Dear Parents:

Congratulations on enrolling your child in the orchestra! Orchestra is one of the most rewarding and exciting educational opportunities offered by our schools. Your investment will pay tremendous dividends in your child’s life for many years to come.

Music provides students with a wealth of benefits. In addition to obtaining the musical skills needed to become a performer, a child learns skills that can be used in every facet of life. Team work, dedication, self-discipline and responsibility prepare a child for a successful future in any profession he/she may choose. A variety of research shows that music students are among the academically strongest in their schools and score higher on the SAT than other students. Most colleges and universities now look for more than good grades on a child’s transcript. They want well-rounded students that have been able to accomplish more than textbook knowledge.

You do not have to know anything about music to assist your child in this new endeavor. Arrange a time and place where practice can be done without interruptions. This practice should become a part of each child’s daily routine. He/she should never merely put in the required time, but should practice with the goal of always improving. Music should be placed at eye level. Please do not allow your child to put the music on a table, bed, etc. This encourages poor playing posture. Remember, practice doesn’t necessarily make perfect, but PERFECT practice does!

Again, I congratulate you on enrolling your child in the orchestra. As the year progresses, I hope you will feel free to contact me whenever necessary.

Sincerely,

Orchestra Teacher

19Communication

DATELINE: Send 3-4 weeks into the program

Dear Parents:

It is a pleasure to have your child in the (name of school or school district) Orchestra Program. This school district offers string instruction from the (grade level of beginners) through the 12th grade. The program is a continuous one, and I hope to see every student performing in the high school orchestra some day. Your interest and support is a lifetime investment for your child.

All beginning classes are now underway, and I’m sure your child has already performed for you. Proper care of the instrument is encouraged. Students have been shown how to handle the instrument so as not to harm it. I suggest that no one else handle the instrument unless they have your permission and your child’s instructions.

During the first several weeks of class the primary emphasis has been on developing good playing position as well as correct posture. Failure to master these concepts can hamper a student’s ability and progress for years to come. Thus, these first few weeks are the most critical. This cannot be overemphasized! Practice is needed to develop the coordination and strength necessary to play a stringed instrument. A practice “marathon” cannot accomplish the same results as consistent daily practice. Your encouragement is a very important ingredient for your child’s success right now.

Report cards will be sent home every (number) weeks so that you may follow your child’s progress. Please encourage (student’s name) to demonstrate for you and other supportive family members what he/she has learned and be generous in your praise and encouragement. Help ( student’s name) to remember his/her instrument and materials for class. A child takes pride not only in learning to play, but in learning to play well.

As questions or problems arise, please feel free to contact me. I hope that your child’s experience with the orchestra is a successful one.

Sincerely,

Orchestra Teacher

20 Communication

DATELINE: Send as needed

Dear Parents:

Now that our school year is (nearly halfway completed), I would like to touch base with you regarding your child’s participation in the orchestra. We’ve had a very good year so far, and the orchestra shows a lot of promise. I am very proud of all of the students and the progress they have made.

Keep in mind that the beginning of the year had the excitement of a new instrument and a new activity. Then came the excitement of being able to perform that first tune, followed by the thrill of a public performance complete with lots of applause and proud parents. Now that all of that is gone, we have settled back into the routine of learning to develop new technical skills. Don’t be surprised if your child experiences some decrease in interest during this time. It is completely normal. However, with your continued support and encouragement, we can overcome any decline in enthusiasm and reach for the next performance level.

Your child may need EXTRA encouragement during the next few weeks to continue good practice habits and performance in class. These are the formative years and how (he/she) handles situations now can determine the way (he/she) approaches every aspect of life. Though the requirements for learning an instrument often demand a high level of personal discipline, it is this same discipline which will be applied as a habit to all tasks in life, especially (his/her) academic success right now. A child must learn that long range benefits of a task only come from long range commitment and dedication.

Please contact me at your earliest convenience if you would like to discuss any aspect of your child’s performance in orchestra class. I am anxious to do all I can to assist you in the successful development of your child’s abilities.

Sincerely,

Orchestra Teacher

21Communication

DATELINE: When a student is discouraged or considering dropping out

Dear (Name of Parent):

I want to express my concern that (name of child) seems to be experiencing some decline in interest in orchestra class. I want you to know that while this is a very normal occurrence, it is important to address immediately. A child experiences a variety of levels of interest during the first year of study. However, it is not common for (him/her) to consider dropping out of the program completely.

As a parent, I ask you for your extra support and encouragement during this time. Do not make a hasty decision, something which you and your child could regret for years to come. Everyone experiences periods of discouragement during (his/her) music study. We all know that it is easy to start a task, but making it to the finish line takes persistence, especially when the going gets rough. I have met countless adults who say, “I wish I hadn’t quit” or “I wish I would have had the opportunity to play when I was in school.” Of course, there are times when pushing a child too far can have the opposite effect and make the child resentful of music in the future. Neither one of us wants this to happen. There is a fine line between the two, and it is sometimes difficult to distinguish what is best for each child.

Thus, the purpose of this letter is simply to ask that we work together to make the best possible decision for your child’s future. Please contact me at your earliest convenience to discuss the matter. I will support whatever decision you feel is best for your child.

Sincerely,

Orchestra Teacher

22 Communication

DATELINE: Send as needed

To the parents of:

__________________________________________

Proper instrument maintenance and equipment is essential for each student. An instrument must be in excellent condition or it will hamper a student’s progress. The checklist below is for your assistance. When the necessary items have been corrected, please return this sheet to the instructor.

_____ Clean body of fingerprints, rosin dust, etc. USE ONLY POLISH MADE ESPECIALLY FOR STRINGED INSTRUMENTS WHICH IS AVAILABLE AT A MUSIC STORE.

_____ String(s) need to be replaced.

_____ Bridge needs to be replaced. Please be sure the bridge is properly fitted by a repairman. You must take the instrument with you to the music store. Simply buying a bridge will not solve the problem.

_____ Soundpost must be set-up and adjusted inside the instrument.

_____ A shoulder pad is needed to support the instrument properly. It is suggested that the student take the instrument with him and try out several to find the one that is the most effective.

_____ A rock stop is needed.

_____ The bow needs to be rehaired.

_____ Rosin is needed.

_____ The fine tuner needs to be repaired or replaced.

_____ Repair bass stool as needed.

_____ A cloth is needed to keep in the case. (Any soft cloth will work.)

_____ Other:

Remember to have your child return this letter to me when the above item(s) have been corrected. If you need further information, please feel free to contact me.

Sincerely,

Orchestra Teacher

Date notified: __________

Date corrected: _________

Parent’s Signature ___________________________________________

23Communication

DATELINE: Send when student forgets instrument for class

Dear parents:

Your child was without an instrument in orchestra class today. In an effort to assure that he/she does not fall behind in class, I asked your child to make detailed notes of the material covered during class. It is important for your child to practice this material at home today so that his/her grade will not be affected. Please have your child return this paper with your signature tomorrow.

Sincerely,

Orchestra Teacher

Parent’s Signature ________________________________________________________

CLASS NOTES (use back if needed):

24 Communication

DATELINE: Send before concerts-Concert Etiquette

Dear Parents:

The students have made great progress in learning the fundamentals of playing their string instrument. They are so excited to perform for you and friends! As this may be the first time they have ever performed in a formal concert setting, please help them prepare by reviewing these guidelines together for proper concert etiquette. These also include suggestions for audience behavior expectations to help you.

Date of the concert: (day) ______________________ , date ________________ .

● Students should arrive early enough before the concert begins for tuning and warm-up. Students should arrive at (concert site) ____________________ by (time) ___________ .

● Students should arrive at the concert site in proper concert attire. Clothes should be neat and clean . Boys should wear: _______________________________________________ ; girls should wear: _________________________________________________ .

● Be sure your child brings his/her music, instrument, and bow to the concert. The students will be excited, so it will be easy for them to forget.

● Students should sit quietly on stage during the concert and acknowledge applause of the audience as directed by the teacher. During the concert the students should focus their attention on their director. They should avoid looking at the audience. Students should especially watch the director closely for all starting and stopping cues.

● Remind students that it is inappropriate for them to eat, drink, or chew gum during a concert.

● During the concert students should maintain good posture and a positive stage presence at all times when on stage. They are not only representing themselves, but also the entire orchestra.

● Encourage your child to play with his/her best effort. One purpose of a concert is to show the audience the great progress made. Of course, students should must enjoy making beautiful music!

Thanks so much for letting me teach your child. The children have worked very hard and are eager to perform for you and your family and friends. Maybe your child has already played for you some of the music that will be performed. I look forward to seeing you at the concert!

Sincerely,

Orchestra Teacher

25

DATELINE: Send when students are signing up for next year’s classes

Dear Parents:

I know you share my pride in your child’s progress in orchestra this year. The personal discipline and commitment have paid off many times over. We’ve had a GREAT year!

It is now the time of year when students must schedule classes for the coming year. Make certain that orchestra is part of that schedule. If there is ANY indecision or scheduling problems concerning your child’s future participation in the orchestra program, please make an appointment with me so we can discuss this matter. Sometimes it may seem that required courses allow no room for electives, but there are many ways to include orchestra in your child’s schedule.

I want your child to enjoy continued positive growth during his/her educational career. Group participation enhances self esteem, and there is nothing that brings out a sense of personal contribution quite like being in the orchestra. You have made a great investment in your child’s future, and there are many benefits still ahead.

Again, I encourage your communication in this important step. If you have any questions, please feel free to call me at school (#) or home (#). I am your partner in seeing that your child has the opportunity to continue his/her important musical development.

Sincerely,

Orchestra Teacher

Communication

26 Evaluation

Dear Parents:

After (number of weeks) in orchestra, we have completed (number) pages in Essential Elements 2000 for Strings Book 1. We are continuing to have a good year, and I am very proud of our progress. Thank you for all of the support you have offered to this success. What follows is a progress report for your child.

PROGRESS REPORT

Student’s Name ________________________________________

Letter Grade: ___________

1 = outstanding 2 = above average 3 = average 4 = below average

INSTRUMENT POSITION ————— 1 2 3 4

LEFT HAND POSITION ————— 1 2 3 4

RIGHT HAND POSITION ————— 1 2 3 4

RHYTHM ——————————— 1 2 3 4

BOWING SKILLS ———————— 1 2 3 4

REMEMBERING EQUIPMENT ——— 1 2 3 4

Please check the following:

_____ My child always practices without being reminded.

_____ My child usually practices without being reminded.

_____ My child seldom practices without being reminded.

_____ My child practices only when reminded.

_____ My child seldom practices at all.

Parent’s Signature _____________________________________

Please have your child return this letter to me when the above report has been completed and signed by you. I would like to remind you about our upcoming concert on (date/time/location). You and your entire family are invited to hear our performance. Thank you again for your support!

Sincerely,

Orchestra Teacher

27Evaluation

POSITION EVALUATION Name _________________________________________________________________

SKILL ; CHECK LIST ;

+ Indicates skill is demonstrated – Indicates skill needs to be improved

Instrument Hold/Posture

______ Sitting/standing properly______ Instrument at correct angle______ Instrument properly supported

Bow Hand

______ Thumb placement______ Thumb bent______ All fingers placed correctly______ Fingers over frog______ Pinky curved

Left Hand Position

______ Fingers properly curved______ Thumb placement______ No squeezing the neck______ Arm/elbow at correct angle______ Wrist properly aligned

Comments:

Parent’s Signature _____________________________________________________________

28 Evaluation

Orchestra Progress ReportFirst Grading Period

Student’s Name _______________________________________________________

Letter Grade _____________

1 = outstanding 2 = above average 3 = average 4 = below average

INSTRUMENT POSITION —————— 1 2 3 4

LEFT HAND POSITION —————— 1 2 3 4

RIGHT HAND POSITION —————— 1 2 3 4

BOWING SKILLS ————————— 1 2 3 4

REMEMBERING EQUIPMENT ———— 1 2 3 4

COMMENTS:

Parent’s Signature _____________________________________________________

29Evaluation

Orchestra Class Interim Report

Name ______________________________________________________________________________

1 = outstanding 2 = above average 3 = average 4 = below average 5 = failing

CLASS PERFORMANCE COMMENTS

1. Proper care of instrument/music 1 2 3 4 5

2. Remembering equipment 1 2 3 4 5

3. Correct posture 1 2 3 4 5

4. Mastery of daily assignments 1 2 3 4 5

5. Attitude and effort in class 1 2 3 4 5

LEFT HAND-FINGER DEVELOPMENT

1. Position 1 2 3 4 5

2. Intonation 1 2 3 4 5

BOWING DEVELOPMENT

1. Right hand position 1 2 3 4 5

2. Flexibility 1 2 3 4 5

RHYTHM

1. Counts or taps toe during class 1 2 3 4 5

2. Correct rhythms 1 2 3 4 5

3. Steady beat 1 2 3 4 5

GRADE __ PARENT’S SIGNATURE ________________________________________

30 Evaluation

Performance Evaluation

Name __________________________________________________________________

SKILL POINTS POSSIBLE SCORE

Instrument Position 20 _______

Bow Hand Position 20 _______

Left Hand Position 20 _______

Bowing Skills 20 _______

Intonation 20 _______

TOTAL: _______

GRADE: _______

COMMENTS:

31Evaluation

Performance Evaluation

Name __________________________________________________________________

SKILL POINTS POSSIBLE SCORE

Instrument Position 30 _______

Bow Hand Position 15 _______

Bowing Skills 15 _______

Left Hand Position 30 _______

Correct Notes 5 _______

Rhythm 5 _______

TOTAL: _______

GRADE: _______

COMMENTS:

32 Evaluation

PRACTICE RECORD

Name ________________________________________________________________________

Week: _____________

Assignment: ______________________________ ______________________________ ______________________________ ______________________________

Friday Saturday Sunday Monday Tuesday Wednesday Thursday

(number of minutes each day)

TOTAL for the week: _________ GRADE EARNED ___________

Parent’s Signature: _____________________________________________________________

DUE:

33Evaluation

You can mark your progress through the book on this page. Fill in the stars as instructed by your orchestra teacher.

1. Page 3, Holding Your Instrument 12. Page 23, EE Quiz, No. 86

2. Page 5, EE Quiz, No. 9 13. Pages 24–25, Performance Spotlight

3. Page 7, EE Quiz, No. 16 14. Page 27, EE Quiz, No. 102


5. Page 11, EE Quiz, No. 32 16. Page 31, No. 125

6. Page 12, Essential Creativity, No. 35 17. Page 33, No. 134

7. Page 13, Shadow Bowing 18. , EE Quiz, No. 139

8. Page 15, Essential Creativity, No. 46 19. Page 35, Essential Creativity, No. 143


10. Page 19, EE Quiz, No. 64 21. Pages 43–46, Performance Spotlight

11. Page 21, EE Quiz, No. 76

MUSIC — AN ESSENTIAL ELEMENT OF LIFE

12

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1112

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ESSENTIALELEMENTS

2000

STAR ACHIEVER

NAME_________________________________

FOR STRINGS

34 Student Book Page 1

Teacher Discuss with students the key elements in the first paragraph on student book page one. Congratulate students on their decision to play a string instrument. Stress that much of their success as a new musician will depend on the degree and quality of their practice. Point out the life-long learning and playing experiences possible with string instruments. Briefly discuss your musical experiences with string instruments, both as an avocation and career.

A brief instrument history also appears on student book page one. Consider showing students photos of early string instruments. Students like to hear stories about some of the most famous instrument makers such as Guaneri, Amati, and Stradivarius. Also showing photos and playing recordings of famous string instrument performers helps develop students’ interests in playing string instruments. Talk about the history of your string instrument and bow.

HIS

TO

RY

OF

TH

E I

NS

TR

UM

EN

TS

Violin

The string family includes the violin, viola, violoncello, and the double bass. The violin dates back to the 16th century. The early ancestors of the violin were the Arabian rebab and rebec, popular during the 14th–16th centuries. During the 1500s, there were two types of viols: the viola da gamba, played on the knee, and the viola da braccia, played on the shoulder.

Gasparo da Salo, an Italian instrument maker, developed the present day violin during the 16th century. Da Salo and Nicolo Amati are credited with establishing the design of today’s violin, which has survived with only a few minor changes. Antonio Stradivari, and the Guarneri and Guadagnini families were famous instrument makers from the 17th and 18th centuries, and their violins are still in use today.

Nearly every composer has written music for the violin, including Johann Sebastian Bach, Ludwig van Beethoven, and Peter Illyich Tchaikovsky. Famous violin performers include Midori, Isaac Stern, Stéphane Grapelli, Itzhak Perlman, Jascha Heifetz, Joshua Bell, and Mark O’Connor.

Viola

The string family includes the violin, viola, violoncello, and the double bass. The early ancestors of the string family were the Arabian rebab and rebec, popular during the 14th–16th centuries. The viola is the oldest of the modern string instruments, and the word “viola” was used to describe many different string instruments until the 18th century. Today’s violas look like violins, though they are larger and longer.

The sound of the viola includes notes lower than the violin and has a particular mellow quality that is darker and richer. The viola is often referred to as the alto voice of the orchestra. Antonio Stradivari, and the Guarneri and Guadagnini families were famous instrument makers from the 17th and 18th centuries, and their violas are still in use today.

Many important composers have been violists, including Wolfgang Amadeus Mozart and Paul Hindemith. Other composers known for their viola compositions include Hector Berlioz, Ernest Bloch, and Bela Bartok. Famous viola performers include Walter Trampler, Lionel Tertis, Donald McGinnis, and William Primrose.

Cello

The string family includes the violin, viola, violoncello, and the double bass. The early ancestors of the string family were the Arabian rebab and rebec, popular during the 14th–16th centuries. During the 1500s, there were two types of viols: the viola da gamba, played on the knee, and the viola da braccia, played on the shoulder.

The sound of the violoncello, called ‘cello’ for short, is pitched an octave below the viola. The cello has a warm tone and is capable of playing a wide range of dynamics. It is often referred to as the tenor of the orchestra. Antonio Stradivari, and the Guarneri and Guadagnini families were famous instrument makers from the 17th and 18th centuries, and their cellos are still in use today.

Nearly every composer has written music for the cello, including Johann Sebastian Bach, Ludwig van Beethoven, and Peter Illyich Tchaikovsky. Famous cello performers include Janos Starker, Leonard Rose, Pablo Casals, and Yo Yo Ma.

Bass

The string family includes the violin, viola, violoncello, and the double bass. The double bass (also called the ‘string bass’, or the ‘bass’ for short) is the most versatile of all the string instruments. At home in the symphony orchestra, jazz combo, concert band, and the dance band, the double bass provides the harmonic foundation in many styles of music.

The double bass sounds much lower than the cello and is tuned differently than the other instruments of the string family. Gasparo da Salo is credited with being the first to make a double bass in its present form. Other famous double bass makers include Carlo Guiseppe Testore, Carlo Berg onzi, and John Frederich Lott.

Nearly every composer has written music for the double bass, including Johann Sebastian Bach, Ludwig van Beethoven, and Peter Illyich Tchaikovsky. Famous double bass performers include Gary Karr, Francois Rabbath, Ron Carter, Milt Hinton, and Ray Brown.

35Student Book Page 2

Teacher Essential Elements Instructional Design

Students need to develop mastery of their instrument position, left hand shape, and fingering skills before combining with bowing skills. This method has been designed to develop students’ right and left-hand skills simultaneously, but independently. This sequence of learning promotes mastery, and greatly helps your students learn to properly play their string instrument.

The following instructions appear on page 2 of each student book. Review the principal parts of the instruments, and point out the need to handle string instruments carefully. They are fragile and easily damaged. Have students state the name of each instrument part as they are touching it.

Violin Viola

THE VIOLIN

Tip Winding

Frog

Stick

Ferrule

Adjusting screw

Bow hair

Scroll

PegsPeg box

Nut

Fingerboard

Neck

Upper bout

“F” hole

Bridge

Sound post(inside)

Fine tuners

Tailpiece

Chin rest

End button

“C” bout

Take Special CareString instruments are delicate. Follow your teacher’sguidelines in caring for your instrument, and it willlast forever.

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

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

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

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

Accessories• Rosin

• Shoulder rest

• Soft cloth

• Extra set of strings

THE BOW

• Never touch the bow hair.

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

THE VIOLA

Tip Winding

Frog

Stick

Ferrule

Adjusting screw

Bow hair

Scroll

PegsPeg box

Nut

Fingerboard

Neck

Upper bout

“F” hole

Bridge

Sound post(inside)

Fine tuners

Tailpiece

Chin rest

End button

“C” bout





• Place a cloth over the top of the viola before closingthe case.


• Shoulder rest

• Soft cloth

• Extra set of strings

THE BOW


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

Violin/ Instruct students to leave the bow in their case until they have developed their bow hand shape on a pencil, Viola pen, or straw. Students need to develop mastery of their instrument position, left hand shape, and finger

dexterity before combining with bowing skills.


Cello Bass

THE CELLO

Tip Winding

Frog

Stick

Ferrule

Adjusting screw

Bow hair

Scroll

Pegs

Peg boxNut

Fingerboard

Neck

Upper bout

“F” hole

Bridge

Sound post(inside)

Fine tuners

Tailpiece

End pin

“C” bout






• Soft cloth

• Rock stop

THE BOW


THE BOW


THE DOUBLE BASS

Adjustingscrew

Scroll

Machine head(Tuning mechanism)

Peg boxNut

Fingerboard

Neck

Upper bout

“F” hole

Bridge

Sound post(inside)

Tailpiece

End pin

“C” bout






• Soft cloth

• Stool (optional)

Tip Stick Bow hair Winding Ferrule Frog

Cello/ Instruct students to take the bow out of the case before removing the instrument. This will help protect the bow Bass from being damaged. At the end of class, students should loosen the end pin screw, carefully push the end pin in the instrument, put the instrument in the case, and then return the bow to the case.


Teacher Demonstrate and lead each instrument through the four instrument-position steps on student book page 3. Then lead the students as a class through the four steps. Be sure to carefully check each student’s instrument position so that an acceptable instrument position may be established right from the start. Practice leading the students through the four steps many times so that correct instrument position habits may be secured.

Have students compare their posture and instrument position to the drawings on student book page 3. Students may also assist the teacher by comparing their classmates’ posture and instrument to the drawings. Actively employing students in the teaching process helps them be aware of their own playing skills.

Violin Viola

HOLDING YOUR INSTRUMENT

The best way to learn to play your instrument is to practice one skill at a time. Repeat each step until you are comfortable demonstrating 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.

Guitar Position Shoulder Position

GD

AE

Guitar PositionStep 1 Place the instrument case flat on the floor with the

handle facing you. Open the case and lift the instrument up by the neck. Identify all parts of the violin.

Step 2 Cradle the violin under your right arm. Raise the scroll to shoulder height. Be sure the back of the violin is flat against your stomach.

Step 3 Identify the letter names of each string:G (lowest pitch), D, A, E.

Step 4 Raise your right thumb over the strings while continuing to hold the instrument. Pluck the strings as directed by your teacher. Plucking the strings is called pizzicato, and is abbreviated pizz.

Shoulder PositionStep 1 (Standing) – Stand with feet about a shoulder’s width

apart. (Sitting) – Sit on the front part of the chair.

Step 2 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.

Step 3 Hold your instrument at eye level parallel to the floor.Curve your left hand around the upper bout. Find the end button with your right hand.

Step 4 Bring the instrument down to your shoulder. The end 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 toward the floor.



Many viola players begin by playing their instrument in guitar position. As you learn the basics, your teacher will help you change to shoulder position.

Guitar Position Shoulder Position

CG

DA

Guitar PositionStep 1 Place the instrument case flat on the floor with the

handle facing you. Open the case and lift the instrument up by the neck. Identify all parts of the viola.

Step 2 Cradle the viola under your right arm. Raise the scroll to shoulder height. Be sure the back of the viola is flat against your stomach.

Step 3 Identify the letter names of each string:C (lowest pitch), G, D, A.

Step 4 Raise your right thumb over the strings while continuing to hold the instrument. Pluck the strings as directed by your teacher. Plucking the strings is called pizzicato, and is abbreviated pizz.

Shoulder PositionStep 1 (Standing) – Stand with feet about a shoulder’s width

apart. (Sitting) – Sit on the front part of the chair.

Step 2 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.

Step 3 Hold your instrument at eye level parallel to the floor.Curve your left hand around the upper bout. Find the end button with your right hand.

Step 4 Bring the instrument down to your shoulder. The end 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 toward the floor.

Violin/ Demonstrate your preferred method of holding the instrument. Many teachers instruct their beginning violin and Viola viola students first to play in guitar position. Playing in guitar position requires fewer specific teacher instructions.

This helps students easily pizzicato open strings on the first day of class. Guitar position also enables students to more easily develop their left-hand position separately while they are gradually developing shoulder position playing skills.

Playing in shoulder position is a skill that students develop over a period of time. As students’ left-hand shapes are developing in guitar position, begin to gradually introduce shoulder position. When ready, have students first learn how to hold the instrument on their shoulder, and then begin to pizzicato. Be sure students have some type of commercial shoulder pad, or material such as foam rubber, to provide adequate instrument support in shoulder position. There should be friction between the material and the student’s clothing to help prevent the instrument from slipping. To determine the proper height of the shoulder pad, a student’s jawbone should generally be parallel to the floor when the instrument is in shoulder position. Note that the button of the instrument is positioned at or near the center of the player’s neck.


Cello Bass



Step 1 Remove the bow from the case and put it in a safe place. Open the case and remove the cello. Identify all parts of the cello.

Step 2 Adjust the length of the end pin so that the scroll of the cello is near your nose when standing.

Step 3 Sit on the front half of your chair with your feet positioned underneath your knees. Place the end pin directly in front of you one arm's length away.

Step 4 Lean the cello slightly to the left and allow the instrument to rest against your chest. The ‘C’ peg should be near your head behind your left ear, and both knees should touch the cello just below the ‘C’ bout. It may be necessary to readjust the length or position of the end pin. Identify the letter names of each string: C (lowest pitch), G, D, A. Raise your right index finger over the strings and pluck them as directed by your teacher. Plucking the strings is called pizzicato, and is abbreviated pizz.

Step 2 Step 3

Step 4

C G D A



E A D G

Holding The Double Bass (sitting)

Step 1 Remove the bow from the case and put it in a safeplace. Open the case and remove the bass. Identify all parts of the bass.

Step 2 Adjust the length of the end pin so that the nut ofthe bass is near the top of your forehead when standing.

Step 3 Sit squarely on the front half of the stool with yourright foot on the floor and your left foot on a rung of the stool.Place the end pin in front of your left foot about one arm'slength away.

Step 4 Rotate the bass slightly to the right and lean the basstoward your body so that the upper bout rests against the leftside of your stomach. Identify the letter names of each string:E (lowest pitch), A, D, G. Raise your right index finger over thestrings and pluck them as directed by your teacher. Plucking the strings is called pizzicato, and is abbreviated pizz.

Holding The Double Bass (standing)

Step 1 Remove the bow from the case and put it in a safeplace. Open the case and remove the bass. Identify all parts of the bass.

Step 2 Adjust the length of the end pin so that the nut ofthe bass is near the top of your forehead when standing.

Step 3 Place the end pin in front of your left foot about one arm's length away. Place your left foot slightly forward.

Step 4 Rotate the bass slightly to the right and lean the basstoward your body so that the upper bout rests against the leftside of your stomach. Identify the letter names of each string:E (lowest pitch), A, D, G. Raise your right index finger over thestrings and pluck them as directed by your teacher. Plucking the strings is called pizzicato, and is abbreviated pizz.

E A D G

Bass Students may play the bass standing or sitting. The authors suggest that beginning students play the bass while sitting on a stool. This helps balance the bass, freeing the player’s left hand from holding the bass in the beginning

stages of playing. Inexpensive thirty-inch stools may be purchased from local hardware stores for students to use. However, be sure that the length of the legs of the stool allows the player’s right foot to rest flat on the floor com-fortably. This may require either trimming the legs of the stool or purchasing a commercially adjustable stool.


Teacher Elements of reading music are first introduced on student book page 4. Have students say or sing the letter names of the pitches, as well as say “rest” during the quarter rests. Note names appear inside each note on exercises 1–9 to help beginners recognize note names and their location on the staff.

Beat = The Pulse of Music The beat in music should be very steady, just like your pulse.

Quarter Note Œ = 1 Beat of Sound Notes tell us how high or low to play, and how long to play.

Quarter Rest Œ = 1 Beat of Silence Rests tell us to count silent beats.

Music Staff The music staff has 5 lines and 4 spaces.

Bar Lines Bar lines divide the music staff into measures.

Measures The measures on this page have four beats each. Bar Line

Measure

Bar Line Bar Line

Measure

MusicStaff

Teacher If you are going to use the Essential Elements 2000 for Strings accompanying CD in class begin by playing track one: Tuning Track. Compare and tune each of the student’s instruments open strings to the CD. To save time tune only those strings that will be played in class that day. Instruct students to wait quietly while you tune the instruments. As students’ playing skills develop, begin teaching them how to tune their own strings using the fine tune tuners or machine-head pegs on their instruments.

Demonstrate to students how to pluck their open strings, either in guitar or shoulder position. For violins and violas it is easier to pluck with the right thumb when holding the instrument in guitar position; in shoulder position it is easiest for students to use their right index finger.

Have students say and spell pizzicato. Point out to students the abbreviation pizz. for pizzicato.

Teacher All musical selections in Essential Elements 2000 for Strings are accompanied on the Play-Along CD recordings, available on CD from your local music dealer. Recorded accompaniments for the first 71 exercises are included on the CD enclosed in the student books and the Teacher’s Manual. Professional musicians on acoustic instruments perform the recordings. Students may play with the recordings, as they are designed to guide and encourage students’ home practice and enliven class rehearsal. Recordings provide a harmonic background for each selection and a performance model for students to emulate. Research strongly suggests that modeling and harmonic accompaniment promotes students’ development of intonation.

Play-Along recording accompaniments are recorded at tempos playable by beginning students and include diverse styles of music, including rock, country, and classical. Use of recordings in class frees the string teacher to move throughout the class and assist individual student playing. Please note that the Essential Elements 2000 for Strings piano accompaniments are easier to play than those on the recordings so that you may focus on your students’ performance, not your keyboard skills.

1. TUNING TRACK Wait quietly for your teacher to tune your instrument.

Teacher Remind violin and viola students to keep their bows in their cases. Request cello and bass students to take the bow out of their case first before removing the instrument. They may place the bow on the floor by their chair or stool, or on their music stand. Students will begin developing bowing skills on student book page 7.

THEORY


DD 0

DViolin

DD 0DViola

DD 0DCello

DD 0DBass

Teacher Instruct students to say and sing the letter

names as they are plucking the strings.

2. LET’S PLAY “OPEN D”

&?

### #

4444

Violin

Viola

Cello

Bass

Piano

DD 0

DD DD ŒPizzicato (pizz.)

Open stringPluck the strings

DD 0 DD DD ŒPizzicato (pizz.)



œœ œ œ œœ ˙D

Œ ˙ œw

DD DD DD ŒDD DD DD ŒDD DD DD ŒDD DD DD Œœœ œ œ œœ ˙

G/D

Œ ˙ œw

DD DD DD DD DD DD DD DD DD DD DD DD DD DD DD DD œœœ œœœ ˙

D/F# G D/A Bmi

œ œ œ œ œ

DD DD DD ŒDD DD DD ŒDD DD DD ŒDD DD DD Œœœœ œœœ ˙G Emi7 D

œ œ œ ˙Piano accompaniments have been arranged to match the style and harmony of the accompaniments heard on the play-along CD.

AA 0AViolin

AA 0AViola

AA 0ACello

AA 0A

Bass

3. LET’S PLAY “OPEN A”

&?

### #

4444

Violin

Viola

Cello

Bass

Piano

AA

pizz. 0 AA AA ŒKeep a steady beat.

AA

pizz. 0 AA AA ŒAA

pizz. 0 AA AA ŒAA

pizz. 0 AA AA Œœœœ œœœ ˙˙

G/A

˙ œ œ œ œ

AA AA AA ŒAA AA AA ŒAA AA AA ŒAA AA AA Œœœœ œœœ ˙F#mi/A

˙ œ œ œ œ

AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA œœœ œœœ œœœ œœœ

G/A F#mi/A

˙ œ œ œ œ

AA AA AA ŒAA AA AA ŒAA AA AA ŒAA AA AA Œœœœ œœœ ˙G/A D

.œ jœ œ œ


4. TWO’S A TEAM

&?

### #

44

44

Violin

Viola

Cello

Bass

Piano

DD

pizz.

DD DD ŒDD

pizz. DD DD ŒDD

pizz. DD DD ŒDD

pizz. DD DD Œœœœ œœœ ˙D

..˙ œ œ

AA AA AA ŒAA AA AA ŒAA AA AA Œ

AA AA AA Œœœœ œœœ ˙˙

G/A

.˙ œ œ

DD DD AA AA DD DD AA AA

DD DD AA AA

DD DD AA AA

œœœ œœœ œœœ œœœD G/A

..œœjœœ .œ jœ

DD DD DD ŒDD DD DD ŒDD DD DD ŒDD DD DD Œœœœ œœœ ˙D Gsus2 D

œœ œ œœ œ5. AT PIERROT’S DOOR The melody is on your CD.

&?

### #

44

44

Violin

Viola

Cello

Bass

Piano

DD

pizz.

DD DD AA DD

pizz. DD DD AA

DD

pizz. DD DD AA

DD

pizz. DD DD AA

œœœ œœœ œœœ œœœD A/C#

.˙ œ

DD ŒAA Œ

DD Œ AA ŒDD Œ AA ŒDD Œ

AA Œœœœ Œ œœœ ŒBmi7 A

œ Œ œ Œ


DD DD AA AA

DD DD AA AA

œœœ œœœ œœœ œœœG(add9) A

.œ jœ .œ jœ

DD AA DD Œ

DD AA DD Œ

DD AA DD Œ

DD AA DD Œ

œœœ œ ˙G(add9) D

˙ œ œTeacher Once students can pizzicato the open strings in exercise 5 you may either play the melody on your string

instrument while the students are plucking, or play the CD which features the melody on track 5.


Teacher Read the definitions of clef, time signature, and double bar that appear on student book page 5. Point out the note names as they appear in different clefs. Have students point to the time signatures and double bars on the page.

Treble Clef & Lines

œ œ œ œ œE G B D F

Spaces

œ œ œ œ œ œD F A C E G

Clefs indicate a set of note names.

Alto Clef B Lines

œ œ œ œ œF A C E G

Spaces

œ œ œ œ œ œE G B D F A

Bass Clef ? Lines

œ œ œ œ œG B D F A

Spaces

œ œ œ œ œ œF A C E G B

Time Signature 4 4 beats per measure The time signature tells us how many beats are in

(Meter) 4 Œ or Œ gets one beat each measure and what kind of note gets one beat.

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

THEO

RY


6. JUMPING JACKS Identify the clef and time signature before playing.

&B??

&?

### #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

DD

pizz.

DD DD ŒDD

pizz. DD DD ŒDD

pizz. DD DD ŒDD

pizz. DD DD Œœœ œœ œn ˙

D5

œœ œœ œœ œœ

AA AA AA ŒAA AA AA ŒAA AA AA Œ

AA AA AA Œœœ œœ œ ˙

A5

œœ œœ œœ œœ


DD DD AA AA

DD DD AA AA

œœ œœ œn ˙D5 A5

œœ œœ œœ œœ

DD DD DD ŒDouble Bar

DD DD DD ŒDD DD DD ŒDD DD DD Œ˙ ˙Csus2 D5

œœn œœ œœ œ

7. MIX ‘EM UP

&B??

&?

### #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

DD

pizz.

AA DD Œ

DD

pizz. AA DD Œ

DD

pizz. AA DD Œ

DD

pizz. AA DD Œ

œ œ œ ŒD7

...˙n œ œ

AA DD AA Œ

AA DD AA Œ

AA DD AA Œ

AA DD AA Œ

œœœn œ ˙bG9 C13

.œ jœ œn œ

DD AA DD AA

DD AA DD AA

DD AA DD AA

DD AA DD

AA

œ œ œœn œD7 G9

˙n# ˙n

DD DD DD ŒDD DD DD ŒDD DD DD ŒDD DD DD Œ

œ œœ ˙˙nE7 G/A D7

œœ# œœn œœ œ


Teacher Read the definition of repeat sign and note the symbol. Point out the repeat sign in exercise 8.

Demonstrate your preferred method of counting, clapping and tapping. This book uses a traditional counting system and teaches the subdivided beat from the beginning. If you elect to use another counting system, have students write the syllables or system in their books, including subdivided beats.

Counting is shown below the staff in each student book. We strongly encourage you to count, sing, and clap all exercises with your students before playing them. A counting system is not shown below all exercises, so that students will develop rhythmic and counting independence.

Repeat Sign .. Go back to the beginning and play the music again.

Counting Count 1 & 2 & 3 & 4 & One beat = Tap toe down on the number and Tap ↓ ↑ ↓ ↑ ↓ ↑ ↓ ↑ up on “&.” Always count when playing or resting.

8. COUNT CAREFULLY Keep a steady beat when playing or resting.

&

B??

&?

### #

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

1 & 2 & 3 & 4 &

DD

pizz.

DD Œ ŒCount:

DD

pizz. DD Œ ŒDD

pizz. DD Œ ŒDD

pizz. DD Œ Œ

œœœ œœœ ‰ jœ œ œG(add9)

œ œ Ó

1 & 2 & 3 & 4 &

AA AA Œ ŒAA AA Œ ŒAA AA Œ Œ

AA AA Œ Œ

œœ œœ ‰ jœ œ œD/F#

œ œ Ó

1 & 2 & 3 & 4 &

DD ŒAA Œ

DD Œ AA ŒDD Œ AA ŒDD Œ

AA Œ

œœœ œ œ œœ œ œG(add9) D/F#

œ Œ œ Œ

1.

1 & 2 & 3 & 4 &

DD AA DD ŒRepeat sign

DD AA DD Œ

DD AA DD Œ

DD AA DD Œ

œœœ œœœ œœœŒG(add9) G/A D

œ œ œ œ œ

2.

1 & 2 & 3 & 4 &

DD AA DD Œ

DD AA DD Œ

DD AA DD Œ

DD AA DD Œ

œœœ œœœ ˙G(add9) G/A D

œ œ œ œ

Student books have repeats,not 1st and 2nd endings (until ex. 76).

THEO

RY


Teacher Performance objectives of each quiz are listed. Objectives highlight the exact elements being reviewed and tested. Review exercises suggest specific examples for students requiring additional practice. Be certain students meet your performance expectations on every quiz.

QUIZ OBJECTIVES

● Pizzicato D and A strings

● Counting quarter notes and rests using subdivided beats

● Steady beat

Review Exercises:

4. Two’s A Team

6. Jumping Jacks

8. Count Carefully

Teacher Have students write in the counting for exercise 9. Check to be sure they have written in both the number and subdivided “&” for each pulse.

9. ESSENTIAL ELEMENTS QUIZ Write in the counting before you play.

&B??

&?

### #

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

— — — — — — — —

DD

pizz.

ŒAA Œ

DD

pizz. Œ AA ŒDD

pizz. Œ AA ŒDD

pizz. ŒAA Œ

œœœ œ œ œ œœ œD A/C#

œ Œ œ Œ

— — — — — — — —

AA AA DD Œ

AA AA DD Œ

AA AA DD Œ

AA AA DD Œ

œœ œœ œœœ œ œ œG/B A/C# D

œ œ œ œ œ

— — — — — — — —

AA DD Œ Œ

AA DD Œ Œ

AA DD Œ Œ

AA DD Œ Œ

œœœ œ œBmi7 D/A

˙˙ ˙

1.

— — — — — — — —

DD AA DD Œ

DD AA DD Œ

DD AA DD Œ

DD AA DD Œ

œ œœ œœ œœœG Emi7 D G/A

œ œœ œ œ œ œ

2.

— — — — — — — —

DD AA DD Œ

DD AA DD Œ

DD AA DD Œ

DD AA DD Œ

œ œœ œœŒG Emi7 D

œ œœ œ œ œ Œ

Student books have repeats,not 1st and 2nd endings (until ex. 76).E


Teacher In string teaching, beginning players first put the sounding finger and all lower numbered fingers on the string together to play a pitch. This is called block fingering. After students’ left hand shapes are well established they may begin to use independent fingering, placing only the sounding finger on the string for a pitch.

To help students develop their left-hand shape, the first notes introduced use three fingers for violin/viola and four fingers for cello. Basses should place four fingers on the D string for the pitch F sharp while sounding their open G string when beginning to play. In addition to helping students shape their left hand, playing pitches first that use many fingers is better for students because it is easier to lift off fingers than add them. This approach also helps students establish better intonation.

Have students hold up their left hand and position their fingers as in the drawing on student book page 6. Point out to violin and viola students the second and third fingers touch. Have students say the finger numbers out loud. Notice that the thumb is not a numbered finger in string playing.

Violin/ To help students properly shape their left hand, their index finger should form a square. The square is formed by Viola the fingernail, top of the finger, side of the finger, and the fingerboard. The side of the index finger should touch or

be near the side of the fingerboard near the base hand knuckle. This allows the other fingers to be poised over the fingerboard for better playing and intonation, and promotes a straight and relaxed left wrist. Failure to form this square first finger prevents students from properly developing all other left hand skills.

Also notice that the thumb is positioned on the side and is across from the first fingertip. Have students gently tap their thumb on the side of the fingerboard near the first fingertip to find the most natural position of the thumb.

Notice that the player’s fingernails are short so that the fingers may be positioned on their tips. Point out to students how the left arm and hand are in a straight line. The wrist should be generally straight, though relaxed.

Violin

0 = Open string1 = 1st finger2 = 2nd finger3 = 3rd finger4 = 4th finger

G

3

F

2E

1

EA

DG

#

13

4

2

SHAPING THE LEFT HANDD S T R I N G N O T E S

Step 1 Shape your left hand as shown.Be certain your palm faces you.

Step 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.

G is played with 3 fingers F# is played with 2 fingers E is played with 1 fingeron the D string. on the D string. on the D string.

Viola


G

3

F

2

E

1

AD

GC

#

13

4

2



Step 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.



Cello


G

3

F

2

E

1

AD

GC

#

4



Step 2 Bring your hand to the fingerboard. Place your fingers on the D string, keeping your hand shaped as shown below.Be sure your thumb is behind the second finger and slightly bent.


23

41

Bass




F# Eis played with is played with 4 fingers on 1 finger on the D string. the D string.

23

41

Step 2 Bring your lefthand to the fingerboard.Place your fingers on the D string, keeping your hand shaped as shown.Be sure your thumb isbehind the second fingerand slightly bent.

3

F

2

E 1

GDAE

# 4

Teacher Checkpoints Teachers are encouraged to develop checkpoints for quickly evaluating students’ playing skills. A list of checkpoints for student skills introduced on student book page 6 would include:

● Body position

● Feet position

● Instrument position

● Fingers curved over strings

● Thumb shape and position

● Violin/Viola: square first finger

● Left wrist straight and relaxed


Listening Skills Play what your teacher plays. Listen carefully.

Teacher Listening Skills are included every time a new note is introduced. Research suggests that students with well-developed listening skills have better left/right hand coordination, intonation, sound production, and memorization skills.

Teachers are given sample four-beat patterns for students to echo. The echo patterns may be played on any instrument and should be played behind the class so that students cannot see the teacher’s fingering. These echo patterns are in treble clef and are only suggestions. Teachers are encouraged to create their own echo patterns. In the beginning, teachers may play echo patterns either pizzicato or with the bow for students to imitate.

1.

& 44 ..Teacher playsœ œ œ œ Students echoœ œ œ œ2.

& # 44 ..Teacher playsœ œ œ œ Students echoœ œ œ œ3.

& 44 Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher plays

œ œ œ œStudents echo

œ œ œ œ& Teacher playsœ œ œ œ

Students echoœ œ œ œTeacher playsœ œ œ Œ Students echoœ œ œ Œ

4.

& 44 ..Teacher plays


œ œ œ œ5.

& # 44 Teacher playsœ œ œ œStudents echoœ œ œ œ

Teacher plays


œ œ œ œ& # Teacher plays


œ œ œ œTeacher plays


œ œ œ œ


& GG 3GViolin

B GG 3GViola

? GG 4GCello

? GG 0GBass

Teacher All finger numbers for pitches appear above the printed notes, and counting symbols below. Each time a new note is introduced, the rhythm in all the exercises immediately following is the same. This allows students to learn one new skill at a time.

Saying letter names out loud, singing letter names, or using solfeggio syllables before and/or during each exercise helps students develop pitch recognition, note reading, and accurate intonation.

As students begin to pizzicato their first left-hand pitches, instruct them to pizzicato quietly, so their left hand will remain relaxed on the fingerboard. Players only need enough weight on the string with their left hand to sound the pitch. No excessive weight or squeezing is needed.

10. LET’S READ “G” Start memorizing the note names.

&B??

&?

#

#

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

GG

pizz. 3 œ œ ŒGG

pizz. 3 œ œ ŒGG

pizz. 4 œ œ ŒGG

pizz. 0 œ œ Œ

œœœ œœœ ˙G5

.˙ œ œ

GG œ œ ŒGG œ œ ŒGG œ œ ŒGG œ œ Œ

œœœœ œœœœ ˙˙˙Csus2

.˙ œ œ

GG œ œ œGG œ œ œGG œ œ œGG œ œ œ

œœœ œœœ œœœœ œœœœG5 Csus2

˙ ˙

GG œ œ ŒGG œ œ ŒGG œ œ ŒGG œ œ Œ

œœœ œœœ ˙G5

.˙ œ

Teacher In the first part of this method, sharp is being used as an accidental, not as a part of the key signature.

Sharp # A sharp raises the sound of notes and remains in effect for the entire measure.

Notes without sharps are called natural notes.

THEORY


&FF # 2

F#Violin

B FF # 2

F#Viola

? FF # 3

F#Cello

? FF # 4

F#Bass

11. LET’S READ “F# “ (F-sharp)

&B??

&?

### #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

FF

pizz. # 2 œ œ ŒPlay all F

#'s. Sharps apply to the entire measure.

FF

pizz. # 2 œ œ ŒFF

pizz. # 3 œ œ ŒFF

pizz. # 4 œ œ Œ

œœ# œœ ˙F#

œ œ œ œ œ œ

FF # œ œ ŒFF # œ œ ŒFF # œ œ ŒFF # œ œ Œ

œœ œœ ˙D

œ œ œ œ œ œ

FF # œ œ œFF # œ œ œFF # œ œ œFF # œ œ œ

œœ œœ œœ œœBsus2 C#7sus

.œ jœ .œ jœ


œœ# œœ ˙F#

œ œ œ œ œ œ


Teacher Beginning in exercise 12 the letter name in a repeated note head occurs only in the first pitch. Students should be encouraged to recognize the name of those notes without the alphabet letters as they are note reading and playing.

Encourage students to keep their fingers near the string when lifting off the strings in exercise 12. The fingers that are not on the string should be curved over the strings. The line underneath the staff in the bass part is a bracket indicating that students should keep fingers down while playing additional pitches. This promotes proper left hand shape and intonation. Also, check that violin and viola students are consistently maintaining a square first finger shape as they are playing.

As students are playing the exercises on page 6, encourage them to compare their left hand shape with the drawings.

12. LIFT OFF

&B??

&?

#

#

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

GG

pizz. 3 œ œ ŒGG

pizz. 3 œ œ ŒGG

pizz. 4 œ œ ŒGG

pizz. 0 œ œ Œ

œœ œ œœ œ œœ œ œG

˙ ˙

FF # 2 œ œ ŒFF # 2 œ œ ŒFF # 3 œ œ ŒFF # 4 œ œ Œ

Keep fingers down when you see this bracket.

œœ œ œœ œ œœ œ œD

˙ ˙

GG œFF # œ

GG œFF # œ

GG œFF # œ

GG œFF # œ

œœ œ œœ œ œœ œ œœ œC/G D/G

˙ ˙

GG FF # GG ŒGG FF # GG ŒGG FF # GG ŒGG FF # GG Œ

œœ œ œœ œ ˙C D G

œ œ ˙

Student Is your left hand shaped as shown in the diagrams above?

Teacher The line underneath the staff in exercise 12 in the bass is a bracket indicating that students should keep fingers down while playing additional pitches. This promotes proper left hand shape and intonation. Once students consistently demonstrate an acceptable left-hand shape they may begin to use independent fingering-playing a pitch with only one finger on the string.


Teacher BOW BUILDER ONE appears at the top of student book page 7. The purpose of BOW BUILDERS is to present activities for students to develop their bowing skills independent of their left-hand skills. Students should practice the BOW BUILDER exercises frequently until they are mastered.

The purpose of BOW BUILDER ONE: PENCIL HOLD is to help students develop a well shaped bow hand position. Shaping the bow hand on a pencil first allows students to focus on the hand shape without having to hold the bow.

Each of the five steps in BOW BUILDER ONE should be practiced daily until the skills are mastered. It is critically important for students to master forming their bow hand shape. The successful combination of bowing with instrument position and left hand skills introduced on student book page 18 depends on how well students master each of the BOW BUILDERS in this book.

Violin

SHAPING THE RIGHT HANDB O W B U I L D E R O N E

Pencil HoldStep 1 Hold a pencil in your left hand at eye level.

Step 2 Hang your right fingers over the top of the pencil,as shown.

Step 3 Place your right 4th finger on top of the pencil.

Step 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.

Step 5 Lean your right hand so the first finger rests on 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.

Viola


Pencil HoldStep 1 Hold a pencil in your left hand at eye level.

Step 2 Hang your right fingers over the top of the pencil,as shown.

Step 3 Place your right 4th finger on top of the pencil.

Step 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.

Step 5 Lean your right hand so the first finger rests on 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.



Cello


Pencil HoldStep 1 Hold a pencil in your left hand about waist level.

Step 2 Place the tip of your right thumb between the first and second joints of your second finger.

Step 3 Place the pencil between your thumb and second finger, while keeping your thumb gently curved.

Step 4 The pencil should touch your first three fingersbetween the first and second joints, and touchthe fourth finger at the first joint, as shown.

Step 5 Remove your left hand from the pencil. Keep your fingers relaxed. Practice shaping your hand on the pencil until it feels natural to you.


Bass


Pencil HoldStep 1 Hold a pencil in your left hand about waist level.

Step 2 Place the tip of your right thumb between the first and second joints of your second finger.

Step 3 Place the pencil between your thumb and second finger, while keeping your thumb gently curved.

Step 4 The pencil should touch your first three fingersbetween the first and second joints, and touchthe fourth finger at the first joint, as shown.

Step 5 Remove your left hand from the pencil. Keep your fingers relaxed. Practice shaping your hand on the pencil until it feels natural to you.


Violin/ The following illustrations show acceptable and unacceptable left hand positions. Note the placement of the Viola thumb. Note in acceptable position the thumb is on its side slightly and positioned near the first fingertip. One

successful teaching strategy to help students develop an acceptable left hand position is to have them slide their thumb forward as illustrated, promoting a better left hand shape and a straight, but relaxed, wrist position.

AcceptableUnacceptable


Teacher It is recommended that as students learn to play each new pitch that they also memorize the letter name of each note. Spend time in class reviewing note names as students learn to play new pitches.

13. ON THE TRAIL Say or sing the note names before you play.

&B??

&?

##

44444444

4444

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

GG

pizz. œFF # Œ

GG

pizz. œFF # Œ

GG

pizz. œFF # Œ

GG

pizz. œFF # Œ

‰ Jœœ œœ œœ ˙G D

œœ œœ œœ œœ

GG œFF # Œ

GG œFF # Œ

GG œFF # Œ

GG œFF # Œ

‰ jœœ œœ œœ ˙C D

œœ œœ œœ œœ

GG œFF # œ

GG œFF # œ

GG œFF # œ

GG œFF # œ

‰ Jœœ œœ œœ ˙G D

œœ œœ œœ œœ

1.


œœœ œœœ œœœ œ œC D G

œ œ ˙

2.


œœœ œœœ œœœ œœœ jœœœ ‰C D G C G

œ œ œ œ jœ ‰


&EE 1

EViolin

B EE 1EViola

?EE 1E

Cello

?EE 1E

Bass

Violin/ Remind students to carefully form a square first finger shape as illustrated on page 6. Be sure all other fingers are Viola poised over the string for all instruments.

14. LET’S READ “E”

&B??&?

444444444444

Violin

Viola

Cello

Bass

Piano

EE

pizz.

1 œ œ ŒEE

pizz. 1 œ œ ŒEE

pizz. 1 œ œ ŒEE

pizz. 1 œ œ Œœœœ œœœ œœœ œ œC

. .œ rœ ˙

EE œ œ ŒEE œ œ ŒEE œ œ ŒEE œ œ Œœœœ œœœ œœœ œ œ

Ami7

. .œ rœ ˙

EE œ œ œEE œ œ œEE œ œ œEE œ œ œœœœ œœœ œœœ œœœ

Fma7 G6

. .œ rœ ˙

EE œ œ ŒEE œ œ ŒEE œ œ ŒEE œ œ Œœœœ œœœ ˙C

. .œ rœ ˙


Teacher Be sure students review their counting, including subdivisions, when playing exercise 15.

15. WALKING SONG

&B??

&?

##

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

1 & 2 & 3 & 4 &

GG

pizz. 3 œFF # 2 œ

Count:

GGpizz. 3 œ

FF # 2 œGG

pizz. 4 œFF # 3 œ

GG

pizz. 0 œFF # 4 œ

œœœn œœœ œœœ## œœœG7 B7

.œ jœ .œ jœ

1 & 2 & 3 & 4 &

EE 1 œ FF # ŒEE 1 œ FF # ŒEE 1 œ FF # 3 ŒEE 1 œ FF # 4 Œ

œœœb œœœ ˙C7 D7

.œ jœ œ œ œ œ

1 & 2 & 3 & 4 &

EE œ FF # œEE œ FF # œEE 1 œ FF # 3 œEE 1 œ FF # 4 œ

œœœb œœœ œœœ œœœC7 D7

.œ jœ .œ Jœ

1.

1 & 2 & 3 & 4 &

GG œ œ ŒGG œ œ ŒGG 4 œ œ ŒGG 0 œ œ Œ

œœœb œœœ œœœnn ŒC7 G7

.œ jœ œ œn œ œ

2.

1 & 2 & 3 & 4 &

GG œ œ ŒGG œ œ ŒGG 4 œ œ ŒGG 0 œ œ Œ

œœœb œœœ ˙˙nnC7 G7

.œ jœ ˙


QUIZ OBJECTIVES – ICE DANCING

● Pizzicato notes on D string (pizzicato G string on Bass)

● Counting

● Steady beat

● Square first finger shape (Violin/Viola)

● Recognizing, writing, and reading clef signs, time signatures, and double bar lines

Review Exercises:

13. On the Trail

14. Let’s Read “E”

15. Walking Song

● Have students write the clef sign for their instrument

● Have students write 4

4 time signatures

56 Student Book Pages 7 and 8

16. ESSENTIAL ELEMENTS QUIZ Draw the missing symbols where they belong before you play: & ? B

4

4

&?

##44

44

Violin

Viola

Cello

Bass

Piano

GG

pizz. œFF # œ

GG

pizz. œFF # œ

GG

pizz. œFF # œ

GG

pizz. œFF # œ

œœ œ œœ œœ œ œœG D/G

ww

EE œDD Œ

EE œDD Œ

EE œDD Œ

EE œDD Œ

œœ œ œœ œœ œ œ œC/G D/G

ww

DD œ EE œDD œ EE œDD œ EE œDD œ EE œ

œœ œœ œœ œ œœG/B C

˙ ˙

FF # œ GG ŒFF # œ GG ŒFF # œ GG ŒFF # œ GG Œ

œœ œ œœ ˙D Gsus

œ œG

˙ ˙Teacher BOW BUILDER TWO and BOW BUILDER THREE are introduced at the top of student book page 8. Have students

master BOW BUILDER TWO before proceeding to BOW BUILDER THREE. BOW BUILDER TWO: PENCIL HOLD EXERCISES will help students develop curved, relaxed, flexible fingers and thumbs. BOW BUILDER THREE: BOWING MOTIONS will help students develop proper violin/viola bowing motion from the elbow, not the shoulder. Elbow Energy develops cello students bowing skills, as does The Pendulum for basses.

Violin/Viola

Swingin’ Out

Knuckle Turnovers

B O W B U I L D E R T W O

Pencil Hold Exercises

I’m Outta Here Finger TapsWave good-bye while keeping your Tap your first finger. Then tap your wrist relaxed. fourth finger.

Thumb Flexers Knuckle TurnoversFlex your thumb in and out. Turn your hand over and be sure your

thumb knuckle is bent, as shown.

B O W B U I L D E R T H R E E

Bowing Motions

Swingin’ OutPut one finger inside your right elbow and swing your arm, as shown.

E


CelloB O W B U I L D E R T W O

Pencil Hold Exercises





Bowing Motions

Elbow Energy• Swing your right elbow away from your body.• Open your right forearm, as shown.• Close your right forearm.• Swing your elbow back toward your body.

Knuckle Turnovers

Elbow Energy

BassB O W B U I L D E R T W O

Pencil Hold Exercises (French Bow Only)





Bowing Motions

The Pendulum (French and German Bow)Let your arm hang down to your side. While keeping your elbow straight, swing your arm back and forth like a pendulum.

Knuckle Turnovers

The Pendulum

17. HOP SCOTCH

&B??&?

##

444444444444

Violin

Viola

Cello

Bass

Piano

1 & 2 & 3 & 4 &

GG

pizz. œFF # Œ

Count:

GG

pizz. œFF # Œ

GG

pizz. œFF # Œ

GG

pizz. 0 œFF # 4 Œ

œœœ œœœ œœœ œœœ œœœ œœœœœœ œœœœœœG D

˙ ˙

1 & 2 & 3 & 4 &

EE œ FF # ŒEE œ FF # ŒEE œ FF # ŒEE 1 œ FF # 4 Œœœœ œœœ œœœ œœœ œœœ œœ œœœœœœœœ œœC D

˙ œ œ œ œ

1 & 2 & 3 & 4 &

GG FF #EE FF

GG FF # EE FF GG FF # EE FF GG FF # EE FF œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœG D C D

œ œ œ œ

1 & 2 & 3 & 4 &

GG œ œ ŒGG œ œ ŒGG œ œ ŒGG œ œ Œœœœb œœœ œœœ œœœ ...œœœn œœœ œœœ

C7 G

˙ œ œ œœ œ


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.

Teacher Familiarize students with different types of folk music by playing recorded examples of Slavic folk music. Discuss examples of American folk music, e.g. Skip To My Lou, Long Long Ago.

18. MORNING DANCE Slavic Folk Song

&B??&?

##

444444444444

Violin

Viola

Cello

Bass

Piano

GG

pizz. 3 œFF # 2

DD 0

GGpizz. 3 œ

FF # 2

DD 0GG

pizz. 4 œFF # 3

DD 0GG

pizz. 0 œFF # 4

DD 0

œ œ œ œ œ œ œ œ œ œEmi Bmi

˙ ˙

GG œFF #

DD GG œ

FF #DD

GG œFF #

DD GG œ

FF #DD

œ œ œ œ œ œ œ œ œ œEmi Bmi

˙ ˙

&B??&?

##

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

EE 1 œ FF # œEE 1 œ FF # œEE 1 œ FF # œEE 1 œ FF # œœ œ œ œ œ œ œ œ œ œ œ œC D

˙ ˙

1.

GG œ œ ŒGG œ œ ŒGG œ œ ŒGG œ œ Œœœ œ œ œ œ œ ˙G

˙ œœ œ œ

2.

GG œ œ ŒGG œ œ ŒGG œ œ ŒGG œ œ Œœœ œ œ œ œ œ œœ

jœœœ ‰G

˙ œœ jœœ ‰


HIST

ORY


19. ROLLING ALONG

&B??

&?

### #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

FF

pizz. #EE DD EE

FF

pizz. #EE DD EE

FF

pizz. #EE DD EE

FF

pizz. #EE DD EE

œœœn œœœ œœœn œœœD7 G7

œ Œ œ œ Œ


œœœn œœœ œœœ ŒD7

œ Œ œ œ œ

EE œ œ ŒEE œ œ ŒEE œ œ ŒEE œ œ Œ

œœœœ œœœœ œœœœ œ œA9

œ Œ œ œ Œ


œœœœn œœœœ œœœœ œ œ œ œD7 N.C.

œ Œ œ œ œ œ œ

&B??

&?

### #

Violin

Viola

Cello

Bass

Piano

FF #EE DD EE

FF #EE DD EE

FF # EE DD EE FF # EE DD EE

œœœn œœœ œœœn œœœD7 G7

œ Œ œ œ Œ

FF # œ œ œFF # œ œ œFF # œ œ œFF # œ œ œ

œœœ# œœœ œœœn œœœF#7 Bmi7

œ Œ œ œ Œ

EE œ FF #EE

EE œ FF # EE EE œ FF # EE EE œ FF # EE

œœœ# œœœ œœœn œœœE7 A7

.œ jœ œ œ

DD Œ Œ ŒDD Œ Œ ŒDD Œ Œ ŒDD Œ Œ Œ

œœœnŒ Œ ŒD7

œ Œ Œ Œ

Go to next line.


Violin/ Review holding the violin or viola in shoulder position as shown on page 3. Check to see if the scroll is generallyViola parallel to the floor and positioned over the left foot. Also check the location of the instrument button. It should

be either near or touching the middle of the neck, with the side corner of the jaw resting on the chin rest and the head erect.

Violin/ The following Workouts will help your students develop a relaxed left hand. Violin/Viola students should now be Viola/ spending more time playing in shoulder position than in guitar position. Left-hand exercises were not included Cello in the student bass book because of the space devoted to the two different bow holds: French and German.

However, bass students can do these exercises also.

Practice each of the Workout exercises with students until they have mastered them. The foundation for more advanced left-hand skills is being established by successfully mastering each of the Workouts. Demonstrate each of the Workouts for the students before they practice them.

Violin

Strummin’ Along

W O R K O U T S

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

Finger TapsTap fingertips on any string. Practice in different combinations of fingers.

Pull AwaysPull your left hand away from the side of the neck, while keeping the thumb and fingers on the instrument.

Strummin’ AlongStrum the strings with your 4th finger while swinging your elbow under the viola, as shown.

Viola

Strummin’ Along

W O R K O U T S

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


Pull AwaysPull your left hand away from the side of the neck, while keeping the thumb and fingers on the instrument.

Strummin’ AlongStrum the strings with your 4th finger while swinging your elbow under the viola, as shown.

CelloW O R K O U T S

Practice the following exercises with your left hand.


Strummin’ AlongStrum the strings with your 4th finger while swinging your elbow, as shown.

Strummin’ Along


BassN E W N O T E

Ais played with 1 finger on the G string. 3

2

A1

GDAE

4

? AA 1ABass

Bass The note A played in first position on the double bass is introduced in exercise 20. There are no new notes introduced in the violin, viola, or cello student books. Those instruments are playing their open A string while the bass is fingering the A on the G string.

In exercise 20, Good King Wenceslas, for the first time the violin, viola, and cello students should keep their fingers down on some pitches while playing others. Basses did this first in exercise 12. This helps students develop a well-shaped left-hand position when first learning to play.

The words to Good King Wenceslas are provided on page 262. Have students say and sing the words to Good King Wenceslas as they are learning to play the melody.

20. GOOD KING WENCESLAS Welsh Folk Song

&B??

&?

##

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

GG

pizz. 3 œ œ AA 0Keep fingers down when you see this bracket.

GG

pizz. 3 œ œ AA 0

GG

pizz. 4 œ œ AA 0

GG

pizz. 0 œ œ AA 1

œœ œ œœ œ œœ œ œœ œG Ami/D

˙ œ œ

GG œDD Œ

GG œDD Œ

GG œDD Œ

GG œDD 0 Œ

œœ œ œœ œ œœ œ œ œG Emi7

˙ ˙

EE DD EE FF #EE DD EE FF #EE DD EE FF #EE 1 DD EE FF # 4

œœ œ œœ œ œœ œ œœ œC G/B Ami7 D

œ œ œ œ

1.

GG Œ œ ŒGG Œ œ ŒGG Œ œ ŒGG Œ œ Œ

œœ œ œ œ ˙G C/D

˙ œ œ œ

2.

GG Œ œ ŒGG Œ œ ŒGG Œ œ ŒGG Œ œ Œ

œœ œ œ œ ˙G

˙ ˙



21. SEMINOLE CHANT

&B??

&?

##

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

1Count: & 2 & 3 & 4 &

GG

pizz. œEE Œ

GG

pizz. œEE Œ

GG

pizz. œEE Œ

GG

pizz. 0 œEE 1 Œ

œœ œœ ˙Emi7

..˙ œœ

1 & 2 & 3 & 4 &

GG œEE Œ

GG œEE Œ

GG œEE Œ

GG œEE Œ

œœ œœ ˙Csus2 Cma7

..˙ œœ

1 & 2 & 3 & 4 &

GG FF #EE DD

GG FF # EE DD GG FF # EE DD GG FF # 4

EE DD 0

œ œ œœ œDsus D C D5

˙˙ œœ œœ

1.

1 & 2 & 3 & 4 &


œœ œœ ˙E5

œœ œœ œœ œ œ

2.

1 & 2 & 3 & 4 &


œœ œœ ˙E5

œœ œœ ˙


QUIZ OBJECTIVES – LIGHTLY ROW

● Pizzicato notes on D string (and the G string on Bass)

● Counting

● Steady beat

● Square first finger shape (Violin/Viola)

● Keeping fingers down while playing pitches on another string

● Violin and Viola shoulder position

Review Exercises:

Page 9 Workouts

19. Rolling Along

20. Seminole Chant

21. Good King Wenceslas

63

EStudent Book Page 9

22. ESSENTIAL ELEMENTS QUIZ – LIGHTLY ROW

&B??

&?

### #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

AA

pizz. 0FF # 2 œ Œ

Prepare F

# before playing (except Bass).

AApizz. 0

FF # 2 œ ŒAA

pizz. 0FF # 3 œ Œ

AApizz. 1

FF # 4 œ Œ

œœœ œœ ˙˙Dma7

˙ œ œ œ œ œ

GG 3EE 1 œ Œ

GG 3EE 1 œ Œ

GG 4EE 1 œ Œ

GG 0EE 1 œ Œ

œœœ œœœ ˙˙G/D

˙ œ œ œ œ œ

DD EE EE # GG DD EE FF # GG

DD EE FF # GG

DD EE FF # GG

œœœ œœœ œœœ œœœD Emi/A D G/A

œ œ œ œ œ

AA œ œ ŒAA œ œ ŒAA œ œ ŒAA œ œ Œ

œœœ œœœ œœœn œœD(add9)/F# Fma7 G/A

˙ œn œ

&B??

&?

### #

Violin

Viola

Cello

Bass

Piano

AA FF # œ Œ

AA FF # œ Œ

AA FF # œ Œ

AA FF # œ Œ

œœœ œœ ˙˙Dma7

˙ œ œ œ œ œ

GG EE œ Œ

GG EE œ Œ

GG EE œ Œ

GG EE œ Œ

œœœ œœœ ˙˙G/D

˙ œ œ œ œ œ

DD EE # AA œDD FF # AA œDD FF # AA œDD FF # AA œ

œ œ œ œG(add9) G/A

˙˙ ˙˙ ˙


...œœœ jœœœ ˙Cma9 D

.œn Jœ ˙


Teacher The pitches D, C # , and B are introduced. D and C # notes are in third position on the double bass so that bass students will be able to avoid octave displacements. Research suggests that students have difficulty recognizing and understanding a melodic line that contains octave displacements. Point out to bass students that their finger spacing in third position is the same as in first position, and that the thumb remains behind the second finger.

For developing student listening skills sample four-beat patterns are provided that incorporate the new pitches introduced on student book page 10. Play the pitch patterns provided, or ones you create, for students to echo so that they may continue to develop their listening skills. Remember the echo patterns may be played on any instrument and should be played behind the class so that students cannot see the teacher’s fingering.

Remind students to memorize the names of the new notes they are learning to play.

Violin/Viola

D

3

C

2

B

1

EA

DG

#

A S T R I N G N O T E S

D is played with 3 fingers C# is played with 2 fingers B is played with 1 fingeron the A string. on the A string. on the A string.

C

2

B

13

D#

AD

GC

Violin Viola

CelloA S T R I N G N O T E S

D is played with 4 fingers C# is played with 3 fingers B is played with 1 fingeron the A string. on the A string. on the A string.

D

3

C

2

B

1AD

GC

#

4

BassG S T R I N G N O T E S

is played with is played with is played with

D 4 fingers on the C# 2 fingers on the B 4 fingers on the G string in third G string in third G string in first position (III). position (III). position (I).

3

C

2A

1

GDAE

#

4

32

1

4

B

D

I

III



1.


& ## 44 ..Teacher playsœ œ œ œ Students echoœ œ œ œ3.

& ## 44 Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher playsœ œ œ œ Students echoœ œ œ œ

& ## Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher playsœ œ œ Œ Students echoœ œ œ Œ4.


& ## 44 Teacher playsœ œ œ œStudents echoœ œ œ œ

Teacher playsœ œ œ œ Students echoœ œ œ œ

& ## Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher playsœ œ œ œStudents echoœ œ œ œ

6.

& ## 44 Teacher playsœ œ œ Œ Students echoœ œ œ Œ Teacher playsœ œ œ Œ Students echoœ œ œ Œ

& ## Teacher playsœ œ œ Œ Students echoœ œ œ Œ Teacher playsœ œ œ Œ Students echoœ œ œ Œ

& ## Teacher playsœ œ œ Œ Students echoœ œ œ Œ Teacher plays

œ œ œ Œ Students echo

œ œ œ Œ

& ## Teacher plays


œ œ œ Œ Teacher plays


œ œ œ Œ


Viola/Cello/Bass

Ledger Lines

Ledger lines

Ledger lines

Ledger lines extend the music staff higher or lower.

& DD 3D

Violin

B DD 3D

Viola

? DD 4D

Cello

?III

DD 4D

Bass

23. LET’S READ “D“

&B??

&?

### #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

DD

pizz. 3 œ œ Œpizz.

DD 3 œ œ Œpizz.

DD 4 œ œ Œpizz.

DD

III

4 œ œ Œ

œœœœ œœœœ ˙˙˙D(add9)

.˙ œ œ œ

DD œ œ ŒDD œ œ ŒDD œ œ ŒDD œ œ Œ

œœœ œœœ ˙˙G(add9)

.˙ œ œ œ

DD œ œ œDD œ œ œDD œ œ œDD œ œ œ

œœœ œœœ œœœ œœœF6 G(add9)

˙n ˙

DD œ œ ŒDD œ œ ŒDD œ œ ŒDD œ œ Œ

œœœœ œœœœ ˙˙˙D(add9)

˙ ˙

THEO

RY


& CC # 2

C#Violin

B CC # 2

C#Viola

? CC # 3

C#Cello

? CC

III

# 2

C#Bass

24. LET’S READ “C# “ (C-sharp)

&B??

&?

44

444444

44

44

Violin

Viola

Cello

Bass

Piano

CC

pizz. # 2 œ œ ŒPlay all C

#'s. Sharps apply to the entire measure.

pizz.CC # 2 œ œ Œ

pizz.CC # 3 œ œ Œ

pizz.CC

III

# 2 œ œ Œœœœ## # œœœ œœœ# œ œ#

C# F#mi/C#

ww##

CC # œ œ ŒCC # œ œ ŒCC # œ œ ŒCC # œ œ Œœœœ## # œœœ œœœ# œ œ#

C#/G# F#mi/G#

w#

CC # œ œ œCC # œ œ œCC # œ œ œCC # œ œ œ

œœœ## # œœœ œœœ# œ œ#C# F#mi/G#

˙## ˙#

CC # œ œ ŒCC # œ œ ŒCC # œ œ ŒCC # œ œ Œœœœ## # œœœ ˙

C#

œœ## œœ ˙25. TAKE OFF

&B??

&?

### #

44

44

44

44

4444

Violin

Viola

Cello

Bass

Piano

DD


DD 3 œ œ Œpizz.

DD 4 œ œ Œpizz.

DD

III

4 œ œ Œœœœ œœœ œœœ œ œ œDsus D

.œ jœ ˙

CC # 2 œ œ ŒCC # 2 œ œ ŒCC # 3 œ œ ŒCC # 2 œ œ Œœœœ œœœ œœœ# œ œ œF#sus F#/A#

.œ œ œ# ˙#

DD œCC # œ

DD œCC # œ

DD œCC # œ

DD œCC # œ

œœœ œœœ œœœn œœœG(add9) G A

.œn jœ .œn jœ

DD CC # DD ŒDD CC # DD ŒDD CC # DD ŒDD CC # DD Œœœœ œœœ ˙G A Dsus

œ œD

œ œ ˙


26. CARIBBEAN ISLAND

&B??

&?

### #

44

44

44

44

4444

Violin

Viola

Cello

Bass

Piano

DD

pizz. 3 œCC # 2 œ

pizz.DD 3 œ

CC # 2 œpizz.

DD 4 œCC # 3 œ

pizz.

III

DD 4 œCC # 2 œ

...œœœjœœœ ...œœœ

jœœœD A

.œ œ œ œ .œ œ œ œ

DD œDD 0 Œ

DD œDD 0 Œ

DD œDD 0 Œ

DD œDD 0 Œ

...œœœjœœœ ...œœœ œœ œœ œœ

G D

.œ œ œ œ .œ jœ

DD 3 œCC # œ

DD 3 œCC # 2 œ

DD 4 œCC # 3 œ

DD 4 œCC # 2 œ

...œœœjœœœ ...œœœ

jœœœA


&B??

&?

### #

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

1.

DD DD DD Œ

DD DD DD Œ

DD DD DD Œ

DD DD DD Œ

...œœœjœœœ œœœ ≈ œ œ œ œ

G D N.C.

.œ œ œ œ œ ≈ œ œ œ œ

2.

DD DD DD Œ

DD DD DD Œ

DD DD DD Œ

DD DD DD Œ

...œœœjœœœ œœœ ≈ œœ œœ œœ œœ

G D

.œ œ œ œ œ ≈ œ œ œ œ


Student ★★ Practice BOW BUILDERS ONE, TWO, and THREE daily.

Teacher Continually review the counting system you have selected with students as they learn to play each exercise. It is recommended that students count aloud each exercise while they are playing. Review BOW BUILDERS ONE, TWO, and THREE daily with students until they are mastered..


Teacher Have students compare their fingered D to the open D string in measures 1, 4 of exercise 27, Olympic High Jump. Point out to students that both pitches are D, only an octave apart. Ask students to find another D on their instrument by moving their left hand along the fingerboard, using their ear to guide them.

27. OLYMPIC HIGH JUMP

&B?

?

&?

### #

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

DD

pizz. œDD œ

pizz. DD œDD œ

pizz. DD œDD œ

pizz.DD

III

4 œDD 0 œ

˙ ˙bnD Bb/D

œ œ œ œ œ œ œ œ

DD œCC # Œ

DD œCC # Œ

DD œCC # Œ

DD œCC # 2 Œ

˙n ˙G/D A/D


DD œDD œ

DD œDD œ

DD œDD œ

DD œDD œ

˙˙ ˙˙˙nG(add9)/B Csus2

œ œ œ œ œn œ œ œ

DD CC # DD ŒDD CC # DD ŒDD CC # DD ŒDD CC # DD Œ

œœœ œœœ# ˙G A Dsus

œ œD

œ œ œ œ œ œ œ


& BB 1BViolin

B BB 1BViola

? BB 1BCello

? BB 4BBass

Teacher Students learn a new note, B, in exercise 28. Remind students to memorize the note name as they are learning to play the note.

28. LET’S READ “B“

&B??

&?

### # ## # # # #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

BB


BB 1 œ œ Œpizz.

BB 1 œ œ Œpizz.

BB 4 œ œ Œ

œœœ œœœ ˙B E/B B

˙ œœ œ ‰ jœ

BB œ œ ŒBB œ œ ŒBB œ œ ŒBB œ œ Œ

œœœ œœœ œœœ œ œE/B B

˙ œœ œ Œ

BB œ œ œBB œ œ œBB œ œ œBB œ œ œ

œœœ œœœ œœœ œœœB/D# E

.œa œ œ .œ jœ

BB œ œ ŒBB œ œ ŒBB œ œ ŒBB œ œ Œœœœ œœœ ˙

C#mi7 E/F# B

œ œ ˙


Bass In exercise 29, Half Way Down, basses shift for the first time. They shift from third to first position in measure 3 to play B. Instruct basses to release their hand weight on the string before and during the shift and that the thumb and hand move together as a unit. The thumb should remain by the second finger. Students may practice the shifting motion in the air away from the bass to help develop their shifting skill. Bass students should also practice shifting back and forth from C# to B and from B to C# in preparation for exercise 30, Right Back Up.

Dashes before finger numbers are used to indicate both ascending and descending shifts. Four positions are used in Book I and are indicated in students books by Roman Numerals:

I = First position (first finger plays A on the G string)

II = Second position (first finger plays Bb on the G string)

III = Third position (first finger plays C on the G string)

Bass

Shifting Sliding your left hand smoothly and lightly to a new location on the fingerboard, indicated by a dash (–).

29. HALF WAY DOWN

&B??

&?

### #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

DD

pizz. 3 Œ œ Œpizz.

DD 3 Œ œ Œpizz.

DD 4 Œ œ Œpizz.

DD

III

4 Œ œ Œ

˙ œœœ ≈ œœœ œœœ œœœD


CC # 2 œ œ ŒCC # 2 œ œ ŒCC # 3 œ œ ŒCC # 2 œ œ Œ

˙ œœœ ≈ œœœ œœœ œœœA


BB 1 Œ œ ŒBB 1 Œ œ ŒBB 1 Œ œ ŒBB

I

– 4 Œ œ Œ

˙ œœœ ≈œœœ œœœ œœœG


AA 0 œ œ ŒAA 0 œ œ ŒAA 0 œ œ ŒAA 1 œ œ Œ

...œœœ œœœ ...œœœ œœœ ...œœœ œœœ œœœD A D



Bass Basses shift from first to third position.

30. RIGHT BACK UP

&B??

&?

### #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

AA

pizz. 0 Œ œ ŒAA

pizz. 0 Œ œ ŒAA

pizz. 0 Œ œ ŒAA

pizz. 1 Œ œ Œ

œœœ œœœ œœœ œœœA G/A A


BB 1 œ œ ŒBB 1 œ œ ŒBB 1 œ œ ŒBB 4 œ œ Œœœœ œœœ ˙G


CC # 2 Œ œ ŒCC # 2 Œ œ ŒCC # 3 Œ œ ŒCC

III

# – 2 Œ œ Œ˙ ˙A/G


DD 3 œ œ ŒDD 3 œ œ ŒDD 4 œ œ ŒDD 4 œ œ Œ˙˙ ˙Dsus D

œ œ œ œ ˙Teacher Read the definition of scales. Demonstrate examples of various scales. Point out that scales begin and end on

the same note.

A descending scale is introduced first because it helps promote the left-hand shape of the violins, violas, and cellos. Also, it is easier for students to lift off fingers while maintaining an acceptable left-hand shape as they are playing a descending scale.

Reviewing the names of the notes with students is an excellent activity while students are practicing their D major scale on student book page 11.

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

THEO

RY


31. DOWN THE D SCALE Remember to memorize the note names.

&B??

&?

### #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

DD


DD 3 œ œ Œpizz.

DD 4 œ œ Œpizz.

DD

III

4 œ œ Œœœœ œœœ œœœ œ œD

.œ Jœ .œ Jœ

CC # 2 œ œ ŒCC # 2 œ œ ŒCC # 3 œ œ ŒCC # 2 œ œ Œ

œœœ œœœ œœœ œ œ œF#mi

.œ jœ ˙

BB 1 œ œ ŒBB 1 œ œ ŒBB 1 œ œ ŒBB

I

– 4 œ œ Œ

œœœ œœœ œœœ œ œG

.œ jœ ˙

AA 0 œ œ ŒAA 0 œ œ ŒAA 0 œ œ ŒAA 1 œ œ Œ

œœœ œœœ œœœ œ œ œF#mi

.œ jœ ˙

&B??

&?

### #

Violin

Viola

Cello

Bass

Piano

GG 3 œ œ ŒGG 3 œ œ ŒGG 4 œ œ ŒGG 0 œ œ Œ

œœœ œœœ œœœ œ œG

.œ jœ ˙

FF # 2 œ œ ŒFF # 2 œ œ ŒFF # 3 œ œ ŒFF # 4 œ œ Œ

œœœ œœœ œœœ œ œ œD/A

.œ jœ ˙

EE 1 œ œ ŒEE 1 œ œ ŒEE 1 œ œ ŒEE 1 œ œ Œ

œœœ œœœ œœœ œ œ œEmi/A

.œ jœ ˙

DD 0 œ œ ŒDD 0 œ œ ŒDD 0 œ œ ŒDD 0 œ œ Œ

œœœ œœœ ˙D

.œ jœ ˙


QUIZ OBJECTIVES – UP THE D SCALE

● Left-hand shape ● Bass shifting ● Pizzicato D major scale

Review Exercises:

29. Half Way Down 30. Right Back Up

32. ESSENTIAL ELEMENTS QUIZ – UP THE D SCALE

&B??

&?

### #

44444444

4444

Violin

Viola

Cello

Bass

Piano

pizz.

pizz.

pizz.

pizz.

DD 0 œ œ ŒDD 0 œ œ ŒDD 0 œ œ ŒDD 0 œ œ Œœœœ œœœ ˙D


EE 1 œ œ ŒEE 1 œ œ ŒEE 1 œ œ ŒEE 1 œ œ Œœœœ œœœ ˙A


FF # 2 œ œ ŒFF # 2 œ œ ŒFF # 3 œ œ ŒFF # 4 œ œ Œœœœ œœœ ˙D


GG 3 œ œ ŒGG 3 œ œ ŒGG 4 œ œ ŒGG 0 œ œ Œœœœn œœœ ˙G


&B??

&?

### #

Violin

Viola

Cello

Bass

Piano

AA 0 œ œ ŒAA 0 œ œ ŒAA 0 œ œ ŒAA 1 œ œ Œœœœ# œœœ ˙D


BB 1 œ œ ŒBB 1 œ œ ŒBB 1 œ œ ŒBB 4 œ œ Œœœœn œœœ ˙G


CC # 2 œ œ ŒCC # 2 œ œ ŒCC # 3 œ œ ŒCC

III

# – 2 œ œ Œœœœ œœœ ˙A


DD 3 œ œ ŒDD 3 œ œ ŒDD 4 œ œ ŒDD 4 œ œ Œœœœn œœœ ...œœœ# œœœ œœœG D


E


Teacher BOW BUILDER FOUR: ON THE BOW is introduced on the top of student book page 12. The purpose of this BOW BUILDER is to apply the hand shape previously positioned on a pen, pencil, or straw to the bow stick. Notice that the bow hand is positioned at the balance point of the bow for violin and viola. Students are able to hold the bow lightly if the hand is positioned first at the balance point. As students master the bow hand shape at the balance point they may begin to gradually move the hand to the frog.

The skills of holding the bow with an acceptable hand shape takes time for students to master. The authors recommend that students wait until their hand shape is mastered before setting the bow on the string to begin to learning bowing motions. While the bow hand is being mastered students may continue to work on their left hand, counting, listening, and note reading skills.

Violin/Viola

Balancing The Bow

Early Bow Hold

B O W B U I L D E R F O U R

On The Bow (Early Bow Hold)Step 1 Identify 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.

Step 3 Shape your right hand on the bow stick, as shown.

Step 4 Turn your right hand over, and be sure your thumb and fingers are curved.

Step 5 Hold the bow and repeat the exercises on page 8.

Cello


On The BowStep 1 Identify 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 Place the bow between your right thumb and second finger. The tip of your thumb will contact the stick next to the frog, and your second finger will extend to the ferrule.

Step 3 Shape the remaining fingers on the bow stick,as shown.

Step 4 Turn your right hand over, and be sure your thumb is curved.


Bass


On The Bow (French)Step 1 Identify 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 Place the bow between your right thumb and second finger. The tip of your thumb will contact the stick next to the frog, and your second finger will extend to the ferrule.

Step 3 Shape the remaining fingers on the bow stick as shown.

Step 4 Turn your right hand over, and be sure your thumb is curved.


On The Bow (German)Step 1 Identify 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 Place the frog in your right hand at the base joints of your fingers.

Step 3 Put your thumb on top of the bow while the tips of the first and second fingers touch the side of the stick and frog.

Step 4 Hook your fourth finger underneath the frog touching the ferrule. Allow the third finger to curve and relax.

French Bow French Bow German Bow German Bow


œœ

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

33. SONG FOR CHRISTINE

&B??

&?

### #

44

4444

44

44

44

Violin

Viola

Cello

Bass

Piano

DD

pizz. œCC # œ

pizz.DD œ

CC # œpizz.

DD œCC # œ

pizz.DD

III

4 œCC # 2 œ

œœœœ œœœœ œœœ œœœD(add9) A/D

˙ ˙

BB œAA Œ

BB œAA Œ

BB œAA Œ

BB

I

– 4 œAA 1 Œ

œœœ œœœ ˙G/D D

˙ .œ jœ

GG œFF #

DD GG œ

FF #DD

GG œFF #

DD GG 0 œ

FF # 4

DD 0

œœœ œœœ œœœa œœœG(add9)/B Dma7/A

˙ ˙

EE œ œ ŒEE œ œ ŒEE œ œ ŒEE 1 œ œ Œ

œœ œœ ˙E/G# G/A

œœ œœA

˙# ˙

&B??

&?

### #

Violin

Viola

Cello

Bass

Piano

DD FF # AA œDD FF # AA œDD FF # AA œDD 0 FF # 4

AA 1 œ

œ œ œœœ œœœBmi7 D/A

˙ ˙

BB œAA Œ

BB œAA Œ

BB œAA Œ

BB 4 œAA 1 Œ

œœœ œœœ ˙˙˙Gma7 D(add9)/F#

˙ .œ jœ

GG œ AA œGG œ AA œGG œ AA œGG 0 œ AA 1 œ

œœœ œœœ œœœ œœœEmi7 A7sus

˙ ˙

DD œ œ ŒDD œ œ ŒDD œ œ ŒDD 0 œ œ Œ

œœœ œœœ ˙G/C D

˙n ˙


34. NATALIE’S ROSE Remember to count.

&B??

&?

### #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

DD

pizz.

œ EE GG DD

pizz. œ EE GG

DD

pizz. œ EE GG

DD

pizz. 0 œ EE 1 GG 0

œœœ œœœ œœœ œœœD Emi/D

.œ Jœ ˙

FF # GG AA ŒFF # GG AA ŒFF # GG AA ŒFF # 4

GG 0 AA 1 Œ

œœœ œœœ œœ œœ œœ œœD Emi/D D

.œ Jœ ˙

FF # œ GG AA FF # œ GG AA

FF # œ GG AA FF # 4 œ GG 0 AA 1

œœ œœ œ œD Emi/D

œ œ œ.œ Jœ ˙

BB œAA Œ

BB œAA Œ

BB œAA Œ

BB 4 œAA 1 Œ

œœ œœ ˙G E/G# Asus

œ œA

œ œ# ˙

&B??

&?

### #

Violin

Viola

Cello

Bass

Piano

FF # GG AA ŒFF # GG AA ŒFF # GG AA ŒFF # 4

GG 0 AA 1 Œ

œœ œœ ˙œ œBmi G/B Asus A

˙ œ œ œ œ œ

GG AA BB ŒGG AA BB ŒGG AA BB ŒGG 0 AA 1 BB 4 Œ

œœœ œœœ ˙G/B A G

œ œ œ œ œœ œ ˙

AA œ BB CC #AA œ BB CC #

AA œ BB CC #

AA 1 œ BB 4 CC

III

# – 2

œœœ œœœ œœœ œœœF#mi/A F#mi G A7/E

œ œ œ œ œ œ

DD DD DD Œ

DD DD DD Œ

DD DD DD Œ

DD 4DD 0 DD 4 Œ

œ œ œœœ ŒDsus A7/D D

œ œ œ

œ œ œ œ jœ ‰


Teacher The goal of exercise 35, ESSENTIAL CREATIVITY, is to reinforce students note reading skills in a creative manner. Students are asked to spell words using the pitches they have learned to play. Answers may include egg, bed, dad, fad, dog, cab, etc.

35. ESSENTIAL CREATIVITY How many words can you create by drawing notes on the staff below?

&B??

Violin

Viola

Cello

Bass

œ œ œEExample G Gœ œ œEExample G Gœ œ œEExample G Gœ œ œEExample G G

Teacher The well-known folk song, Dreidel, is presented at the beginning of student book page 13. Familiarize students with other traditional Jewish folk songs by playing recorded examples in class. Discuss the history of Israel and its relationship to the United States.

Please note that Dreidel is the last exercise that includes alphabet letters in note heads to aid students in their note reading. Review students’ note reading again, so that they will be successful in reading notes from this point on.

Folk songs often tell stories. This Israeli folk song describes a game played with a dreidel, a small table-top spinning toy that has been enjoyed by families for centuries. The game is especially popular in December around the time of Hanukkah.

HIST

ORY


36. DREIDEL Israeli Folk Song

&B??

&?

### #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

DD

pizz.

œ EE œDD

pizz. œ EE œDD

pizz. œ EE œDD

pizz. 0 œ EE 1 œ‰ jœœœ

‰ jœœœ‰ jœœœ ‰ jœœœ

D Dsus

œ œ œ œ

FF #DD Œ

FF FF #

DD Œ FF FF #

DD Œ FF FF # 4

DD Œ FF

‰ jœœœ‰ jœœœ


D

œ œ œ œ

AA œGG FF #

AA œGG FF #

AA œGG FF #

AA 1 œGG 0 FF #


‰ jœœœ ‰ jœœœDsus D

œ œ œ œ œ

EE Œ Œ ŒEE Œ Œ ŒEE Œ Œ ŒEE Œ Œ Œ‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœ

A7

œ œ œ œ

&B??

&?

### #

Violin

Viola

Cello

Bass

Piano

EE œ FF # œEE œ FF # œEE œ FF # œEE œ FF # œ‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœœ œ œ œ

GG EE Œ œ

GG EE Œ œ

GG EE Œ œ

GG EE Œ œ

‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœœ œ œ œ

AA GG FF #EE

AA GG FF # EE AA GG FF # EE AA GG FF # EE ‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœœ œ œ œ

FF # Œ Œ ŒFF # Œ Œ ŒFF # Œ Œ ŒFF # Œ Œ Œ‰ jœœœ


‰ jœœœD

œ œ œ œ


&B??

&?

### #

Violin

Viola

Cello

Bass

Piano

AA FF # AA

FF AA

FF # AA FF

AA FF # AA

FF AA

FF # AA FF

( )‰ jœœœ‰ jœœœ


D

œ œ œ œ

AA FF # Œ œ

AA FF # Œ œ

AA FF # Œ œ

AA FF # Œ œ



œ œ œ œ

AA œGG FF #

AA œGG FF #

AA œGG FF #

AA œGG FF #


‰ jœœœ ‰ jœœœDsus D

œ œ œ œ œ

EE Œ Œ ŒEE Œ Œ ŒEE Œ Œ ŒEE Œ Œ Œ‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœ

A7

œ œ œ œ

&B??

&?

### #

Violin

Viola

Cello

Bass

Piano

GG EE GG

EE GG

EE GG EE

GG EE GG

EE GG

EE GG EE


GG EE Œ œ

GG EE Œ œ

GG EE Œ œ

GG EE Œ œ


AA GG FF #EE

AA GG FF # EE AA GG FF # EE AA GG FF # EE ‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœœ œ œ œ


œœœ‰ jœœœ jœœœ

‰ ŒD A7 D

œ ‰ jœ jœ ‰ Œ


Teacher The purpose of BOW BUILDER FIVE: SHADOW BOWING is to help students develop beginning bowing skills away from the instrument. This teaching strategy allows students to concentrate on only one skill at a time. The steps to begin teaching shadow bowing are the same for all four instruments.

Point out to students the definition of shadow bowing: bowing without the instrument. In BOW BUILDER FIVE, shadow bowing is done on rosin so that students will learn to pull the bow in a straight line. Shadow bowing may also be done by bowing in the air, through a PVC tube or paper product tube held in the air (cello/bass), or on the shoulder or arm (violin/viola).

First, demonstrate for students how to tighten and loosen the bow hair. Turn the screw of the bow clockwise to tighten, and counter-clockwise to loosen. Instruct students to always loosen the bow hair when they are finished playing.

Next, have students shadow bow on their rosin as illustrated on student book page 13. Basses should wait to use real bass rosin until page 16, or later, so that they can learn how to pull the bow in a straight line on a rectangular cake of rosin as illustrated.

Another way to practice shadow bowing is to bow through a PVC tube or paper product tube. Violin and viola students may hold the tube with their left hand over their left shoulder. They can place their bow inside the tube and bow through it to help learn their bowing motion. Cello and bass students may hold the tube in front of themselves where the bow would be contacting the string while bowing through the tube.

Review the definition and symbols for down and up bow. Demonstrate up and down bow directions for students.

Violin/ViolaB O W B U I L D E R F I V E

Shadow BowingShadow Bowing is bowing without the instrument.

Step 1 Tighten the bow hair as instructed by your teacher.

Step 2 Place the rosin in your left hand. Hold the bow at the balance point.

Step 3 Shadow bow by slowly moving the bow back and forth on the rosin. Be sure to move the bow, not the rosin.

CelloB O W B U I L D E R F I V E



Step 2 Place the rosin in your left hand.Hold the bow in your right hand.


BassB O W B U I L D E R F I V E



Step 2 Place the rosin in your left hand.Hold the bow in your right hand.


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

Up Bow ≤ Move the bow toward your body (to the left).


Teacher Rosin Raps 37–39 promote development of bowing skills away from the instrument so that students need to learn only one kinesthetic skill at a time. Rosin Raps also help students develop the physical coordination of reading music while bowing at the same time. Bowing on rosin is one way for students to shadow bow.

Have students say or sing “down” and “up” for bow direction and “rest” as indicated in the student book while bowing the following Rosin Raps. Have violin and viola students first bow the Rosin Raps with their bow hand positioned at the balance point. Once students can consistently bow the raps while keeping an acceptable bow-hand shape they may begin to gradually move their bow hand position to the frog.

As students are practicing the Rosin Raps encourage them to frequently compare their bow hand shape to the one in the illustration.

37. ROSIN RAP #1 Bow these exercises on the rosin.

/

&?

bb

44

44

44

..

..

..Piano

œ≥ Œ œ≤ ŒDown Rest Up Rest

œ ‰ jœ œ ‰ jœD5

œœœ Œ œœœ Œ


œ œ œ œ œ ‰ jœF5

œœœ Œ œœœ Œ

œ≥ œ≤ œ≥ œ≤Down Up Down Up

œ œ œ œ œ œ œ œG5 F5

œœœ œœœ œœœ œœœ

1.


œ ‰ jœ œ œ œ œD5

œœœ Œ œœœ Œ

2.


œ ‰ jœ œ ŒD5

œœœ Œ œœœ Œ

Student books have repeats, not 1st and 2nd endings (until ex. 76).

38. ROSIN RAP #2

/

&?

bb

44

44

44

..

..

..Piano

œ≥ œ≤ œ≥ ŒDown Up Down Rest

..˙ œ œD5

œœ œœ œœ Œ

œ≤ œ≥ œ≤ ŒUp Down Up Rest

..˙ œ œA5/D

œœ œœ œœ Œ

œ≥ œ≤ Œ ŒDown Up Rest Rest

..˙ œ œG5/D

œœ œœ Ó

1.


˙ œ œ œ œD5

œœ œœ Ó

2.


˙ œ œ jœ ‰D5

œœ œœ Œ jœœ ‰


39. ROSIN RAP #3

/

&?

bb

44

4444

..

..

..Piano


‰ jœœ œœ œœ œœ œ œDmi7

œ œ Ó


‰ jœœ œœ œœ œœ œ œœ œ Ó


‰ jœœ œœ œœ œœn œ œG7

œ Œ œ Œ

1.


‰ jœœ œœ œœ œœ œ œDmi7

œ œ œ œ

2.


‰ jœœ œœ œœ œœ œDmi7

œ œ œ œœ


Student ✔✔ Is your bow hand shaped as shown in the diagram above?


Teacher Have students write the letter names of the notes in the theory exercise that appears at the top of student book page 14.

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

Violin

& œ œ œ# œ œ œ œ# œ— — — — — — — —

ViolaB œ œ œ# œ œ œ œ# œ— — — — — — — —

Cello/Bass? œ œ œ# œ œ œ œ# œ— — — — — — — —

Teacher All remaining exercises will use regular music notation. Students should name the notes of the following examples to reinforce note reading skills.

While students are learning to pizzicato and read the note names in exercises 40–42 they should be continuing to practice BOW BUILDER FIVE in preparation for bowing on the string beginning on student book page 16.

40. CAROLINA BREEZE

&B??

&?

##

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

1 & 2 & 3 & 4 &

pizz.œ3 œ œ# 2 œCount:

pizz. œ3 œ œ# 2 œpizz. œ4 œ œ# 3 œpizz. œ0 œ œ# 4 œ

œœœœb œœœœ œœœ œœœC9 Bmi7

˙ ˙

1 & 2 & 3 & 4 &

œ1 œ œ0 Œ

œ1 œ œ0 Œœ1 œ œ0 Œœ1 œ œ0 Œ

œœœ œœœ œœœnn œœœAmi7 G7

œ œ œ œœœ

1 & 2 & 3 & 4 &

œ3 œ œ# 2 œœ3 œ œ# 2 œœ4 œ œ# 3 œœ0 œ œ# 4 œ

œœœœb œœœœ œœœ œœœC9 Bmi7

˙ ˙

1.

1 & 2 & 3 & 4 &

œ1 œ# 2 œ3 Œœ1 œ# 2 œ3 Œœ1 œ# 3 œ4 Œœ1 œ# 4 œ0 Œ

œœœ œœœ œœœnn œb œAmi7 D7 G7

œ œ ˙

2.

1 & 2 & 3 & 4 &

œ1 œ# 2 œ3 Œœ1 œ# 2 œ3 Œœ1 œ# 3 œ4 Œœ1 œ# 4 œ0 Œ

œœœ œœœ œœœnn œAmi7 D7 G7

œ œ œ œ

THEORY


41. JINGLE BELLS J. S. Pierpont

&B?

?

&?

### #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

pizz. œ# 2 œ œ Œpizz. œ# 2 œ œ Œpizz. œ# 3 œ œ Œpizz. œ# 4 œ œ Œ

‰ jœœœ œœœ ‰ jœœœ œœœD(add9) D

Jœ ‰ ‰ jœ Jœ ‰ ‰ jœ

œ# œ œ Œœ# œ œ Œœ# œ œ Œœ# œ œ Œ



œ# œ0 œ0 œ1

œ# œ0 œ0 œ1

œ# œ0 œ0 œ1

œ# œ1 œ0 œ1

‰ jœœœ œœœ ‰ jœœœ œœœD(add9) A7sus


œ# Œ Œ Œœ# Œ Œ Œœ# Œ Œ Œœ# 4 Œ Œ Œ

‰ jœœœ œœœ ‰ jœ œ œD(add9) D

Jœ ‰ ‰ jœ Jœ ‰ Œ

&B?

?

&?

### #

Violin

Viola

Cello

Bass

Piano

œ3 œ œ œœ3 œ œ œ

œ4 œ œ œ

œ0 œ œ œ

‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœG(add9) G

œ œ œ œ

œ œ# 2 œ œœ œ# 2 œ œ


‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœDsus D Bmi7

œ œ œ œ

œ# œ1 œ œœ# œ1 œ œ

œ# œ1 œ œ

œ# œ1 œ œ4

‰ jœœœ# ‰ jœœœ ‰ jœœœ ‰ jœœœE9 E7 E9

œ œ œ œ

œ Œ œ0 Œœ Œ œ0 Œœ Œ œ0 Œœ1 Œ œ1 Œ

˙n œ œ œ œG6/A A7

œ œ ˙


&B?

?

&?

### #

Violin

Viola

Cello

Bass

Piano

œ# 2 œ œ Œœ# 2 œ œ Œœ# 3 œ œ Œœ# 4 œ œ Œ






œ# œ œ œœ# œ œ œ

œ# œ œ œœ# œ1 œ0 œ1

‰ jœœœ œœœ ‰ jœœœ œœœD(add9) G/A


œ# Œ Œ Œœ# Œ Œ Œœ# Œ Œ Œœ# 4 Œ Œ Œ

‰ jœœœ œœœ ‰ jœ œ œD(add9) D

Jœ ‰ ‰ jœ Jœ ‰ Œ

&B?

?

&?

### #

Violin

Viola

Cello

Bass

Piano

œ œ œ œœ œ œ œ

œ4 œ œ œ

œ0 œ œ œ

‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœG(add9) G

œ œ œ œ



‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœDsus D Bmi7

œ œ œ œ

œ0 œ œ3 œ1

œ0 œ œ3 œ1

œ0 œ œ4 œ1

œ1 œ œ0 œ1

‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœEmi7 A7sus A7

œ œ œ œ

œ Œ Œ Œœ Œ Œ Œ

œ Œ Œ Œ

œ0 Œ Œ Œ

‰ jœœœ œœœ Œ œœœD(add9) D

Jœ ‰ ‰ jœ Jœ ‰ œ


42. OLD MACDONALD HAD A FARM American Folk Song

&B?

?

&?

#

#

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

pizz. œ3 œ œ œ0

pizz. œ3 œ œ œ0pizz. œ4 œ œ œ0pizz. œ0 œ œ œ0

œœ œ œ œ œ œœ œ œ œ œG

œ œ œ œ

œ1 œ œ Œœ1 œ œ Œœ1 œ œ Œœ1 œ œ0 Œ

œœ œ œ œ œ œœ œ œ œ œC G

œ œ œ Œ

œ1 œ œ0 œœ1 œ œ0 œ


œœ# œ œ œ œ œœn œ œ œ œA7 D7

œ œ œ œ

œ3 Œ Œ œ0

œ3 Œ Œ œ0

œ4 Œ Œ œœ0 Œ Œ œ

œœ œ œ œ œ œœ ŒG

œ œ œ œ œ œ

&B?

?

&?

#

#

Violin

Viola

Cello

Bass

Piano

œ3 œ œ Œœ3 œ œ Œœ4 œ œ Œœ œ œ Œ

œœ œœ œ œ œ œ œ œnG7

œ œ œ Œ

œ œ œ Œœ œ œ Œœ œ œ Œœ œ œ Œ

œœ œœ œ œ œn œb œn œ œC

œ œ œ Œ


œ œ œ œ

œ œ œ œ

œœ œ œ œ œ œœ œ œ œ œG C

œ œ œ Œ

œ œ œ œ0

œ œ œ œ0

œ œ œ œ0

œ œ œ œ

œœ œ œ œ œ œœ ŒG

œ œ œ œ œ œ


&B?

?

&?

#

#

Violin

Viola

Cello

Bass

Piano

œ3 œ œ œ0

œ3 œ œ œ0

œ4 œ œ œ0

œ œ œ œ

œœ œ œ œ œ œœ œ œ œ œG

œ œ œ œ

œ1 œ œ Œœ1 œ œ Œœ1 œ œ Œœ1 œ œ Œ

œœ œ œ œ œ œœ œ œ œ œC G

œ œ œ Œ



œœ# œ œ œ œ œœn œ œ œ œA7 D7

œ œ œ œ

œ3 Œ Œ Œœ3 Œ Œ Œœ4 Œ Œ Œœ0 Œ Œ Œ

œb œn œ œb œn œœœ œ œœœ jœœ ‰G D7 G

œ Œ ‰ Jœ jœ ‰Student ★★ Practice BOW BUILDER FIVE daily.


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.

Teacher Familiarize students with music of Mozart by playing recorded examples of his works. You may also want to use the movie Amadeus as a resource.

43. A MOZART MELODY Adapted by W. A. Mozart

&

B?

?

&?

### #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

pizz.

œ0

œ œ0 œpizz. œ0 œ œ0 œ

pizz. œ0 œ œ0 œpizz. œ0 œ œ1 œ

œ œ œ œ œ œ œ œ œ œ œD D/F#

œ œ œ Œ

œ1 œ œ0 Œœ1 œ œ0 Œœ1 œ œ0 Œœ4 œ œ1 Œ

œœ œ œ œœ œ œœ œ œ œG/B G D/F# D

œ œ œ œ

œ3 œ œ# 2 œœ3 œ œ# 2 œ

œ4 œ œ# 3 œ

œ0 œ œ# 4 œ

œœ œœ œ œ œ œ œ œG/B A7/C# D D/F#

œ œ œ œ

œ1 œ œ0 Œ

œ1 œ œ0 Œ

œ1 œ œ0 Œ

œ1 œ œ0 Œ

œ œ œ œœ œ œ œEmi/GA7 D

œ œœ œ ˙

HIST

ORY


&

B?

?

&?

### #

Violin

Viola

Cello

Bass

Piano


œ0 œ œ œ

œ1 œ œ œ

œœ œœ œ œ œœ œœ œ œD/F# A7sus/E A/E

œ Œ œ Œ


œœ œ œ œ œ œ œœD Asus A

œ Œ œ œ


œ œ œ œ

œ œ œ œ

œœ œœ œ œ œœ œœ œ œD/F# A7sus/E A/E

œ Œ œ Œ


œœ œ œ œ œ œ œœD Asus A

œ Œ œ œ

&B?

?

&?

### #

Violin

Viola

Cello

Bass

Piano

œ0

œ œ0 œœ0 œ œ0 œ

œ0 œ œ0 œ

œ0 œ œ1 œ

œ œ œ œ œ œ œ œ œ œ œD D/F#

œ œ œ Œ

œ1 œ œ0 Œœ1 œ œ0 Œœ1 œ œ0 Œœ4 œ œ1 Œ

œœ œ œ œœ œ œœ œ œ œG/B G D/F# D

œ œ œ œ

œ œ œ# œœ œ œ# œ

œ œ œ# œœ0 œ œ# œ

œœ œœ œ œ œ œ œ œG/B A7/C# D D/F#

œ œ œ œ


œœœ œœœ œœ œ œ œAsus/G A7 D

œ œ ˙


Key Signature: D MAJOR

& ##

B ##

? ## A key signature tells us what notes to play with sharps and flats

throughout the entire piece. Play all F’s as F# (F-sharp) and all C’s as

C# (C-sharp) when you see this key signature, which is called “D Major.”

Teacher Read the definition and example of key signature as presented on student book page 15. Give students examples of other key signatures and have them practice writing them. Be sure students are counting, including subdivisions, when learning to play each exercise.

44. MATTHEW’S MARCH

&B??

&?

### ## ## ## ## #

44

44

44

44

4444

Violin

Viola

Cello

Bass

Piano

pizz. œ3 œ œ2 œPlay F

#'s and C

#'s when you see this key signature.pizz. œ3 œ œ2 œpizz. œ4 œ œ3 œpizz.

III

œ4 œ œ2 œ

‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœD A7

œ œ œ œ

œ3 œ œ0 Œœ3 œ œ0 Œœ4 œ œ0 Œœ4 œ

I

œ–1 Œ

‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœD

œ œ œ œ œ

œ3 œ œ œœ3 œ œ œœ4 œ œ œ

III

œ– 4 œ œ2 œ

‰ jœœœ ‰ jœœœ ‰ jœœœ# ‰ jœœœBmi F#

œ œ œ œ

œ œ1 œ Œœ œ1 œ Œœ œ1 œ Œœ4

I

œ– 4 œ1 Œ

‰ jœœœ ‰ jœœœ# ‰ jœœœnn ‰ jœœœBmi E7 A7sus A7

œ œ œ œ

&B??

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano

œ3 œ œ œœ3 œ œ œœ4 œ œ œœ0 œ œ1 œ

‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœG A/G G

œ œ œ œ

œ2 œ œ œœ2 œ œ œœ3 œ œ œœ4 œ œ0 œ

‰ jœœ ‰ jœœ ‰ jœœ ‰ jœœD/F# G/B D/A

œ œ œ œ

œ1 œ œ0 œœ1 œ œ0 œœ1 œ œ0 œœ1 œ œ1 œ1

‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœG6 A7

œ œ œ œ

œ0

œ œ Œœ0 œ œ Œœ0 œ œ Œœ0 œ œ Œ

‰ jœœœ‰ jœœœ ˙

D G/D D

œ œ ˙

THEO

RY


45. CHRISTOPHER’S TUNE

&

B

?

?

&?

##

# #

# ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

pizz.

œ0 œ2 œ œ

pizz. œ0 œ2 œ œpizz. œ0 œ3 œ œpizz. œ0 œ4 œ œ

‰ œœ œœ ‰ jœœ ‰ œœ œœ ‰ jœœD

Jœ ‰ jœ ‰ Jœ ‰ œ œ

œ1 œ œ3 Œ

œ1 œ œ3 Œ

œ1 œ œ4 Œ

œ1 œ œ0 Œ

‰ œœ œœ ‰ jœœ ‰ œœ œœ ‰ jœœA7

jœ ‰ œ œ jœ ‰ œ œ

œ1 œ3 œ œœ1 œ3 œ œ

œ1 œ4 œ œ

œ œ œ œ

‰ œœ œœ ‰ jœœ ‰ œœ œœ ‰ jœœjœ ‰ œ œ jœ ‰ œ œ

œ œ œ Œ

œ œ œ Œ

œ œ œ Œ

œ œ œ1 Œ



&

B

?

?

&?

##

# #

# ## #

# ## #

Violin

Viola

Cello

Bass

Piano


œ œ œ œ

œ4 œ1 œ œ



œ œ œ Œœ œ œ Œœ œ œ Œœ0 œ œ4 Œ

‰ œœ œœ ‰ jœœ ‰ œœ œœ ‰ jœœG



œ œ œ œ

œ1 œ œ4 œ

‰ œœ œœ ‰ jœœ ‰ œœ œœ ‰ jœœA7


œ œ œ Œœ œ œ Œœ œ œ Œœ

III

œ–2 œ4 Œ

‰ œœ œœ ‰ jœœ ‰ jœœ œœD

jœ ‰ œ œ Jœ ‰ œ


Teacher Have students create and write notes they choose to complete the melody in ESSENTIAL CREATIVITY, exercise 46. This allows students to begin composing their own melodies while reinforcing their note reading and rhythm reading skills. Give them the opportunity to play their completed melodies in class. Consider allowing students to play them on a concert.

46. ESSENTIAL CREATIVITYPlay the notes below. Then compose your own music for the last two measures using the notes you have learned with this rhythm:

&

B

?

?

##

# #

# ## #

44

44

44

44

Violin

Viola

Cello

Bass

pizz.

œ œ œ œpizz.œ œ œ œ

pizz.œ œ œ œ

pizz.œ œ œ œ


œ œ œ œ œ Œ œ Œ


Teacher BOW BUILDER SIX: LET’S BOW! is introduced at the top of student book page 16. The purpose of this exercise is to give students the opportunity to begin bowing on the string, using all the skills learned in the previous BOW BUILDERS.

Violin/ViolaB O W B U I L D E R S I X

Let’s Bow!

Early Bow Hold Regular Bow Hold Thumb Placement

CelloB O W B U I L D E R S I X

Let’s Bow!

Bow Hold

Thumb Placement

BassB O W B U I L D E R S I X

Let’s Bow!

Regular Bow Hold

French Bow Hold

Thumb Placement (French)

German Bow Hold


Violin/ Even though students will only be bowing open strings first, be careful that they keep the proper shape and Viola position of their left hand while bowing. Notice in the illustration that the left hand is on the bout where the

neck and instrument meet and that all the fingers are curved. This finger position helps reinforce students left hand shape as they get ready to bow fingered notes.

Examine the illustration with a straw in the “F” hole. Notice that the straw is placed in the “F” hole near the low string of the student’s instrument. The bow is placed between the bridge and the straw. The straw helps the student bow in a straight line parallel to the bridge. This bow placement will produce the best sound for students.

Teacher Also notice the illustration with the bow traveling through a tube attached to the string. Bowing through a tube will help all string students learn the proper bowing motion. Either plastic PVC tubes or paper product tubes may be used. Place a rubber band under the strings and then loop the ends around each end of the tube.

Students should begin bowing with short bow strokes: violins and violas in the middle of the bow; cellos and basses in the lower half of the bow. As students’ bowing skills develop, they should gradually lengthen their bow strokes.

Violin/Viola

Step 1 Hold the instrument with your left hand on the upper bout as illustrated.

Violin/Viola

Step 2 Hold the bow at the balance point (Early Bow Hold). Your right elbow should be slightly lower than your hand.

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 it touches the frog.

This illustration is in Teacher’s Manual only.

Straw in the “F” hole

This illustration is in Teacher’s Manual only.

Bowing through a tube


Teacher Model open D’s and A’s for students to echo. Evaluate the tone of students’ echoes. The tone should be smooth, even, and pleasant to hear. Sample open string examples for echo practice with students are provided.


1.

& 44 Teacher plays




œ œ œ œ& Teacher plays


œ œ œ Œ Teacher plays


œ œ œ Œ2.

& 44Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher playsœ œ œ œ Students echoœ œ œ œ

&Teacher playsœ œ œ Œ Students echoœ œ œ Œ Teacher playsœ œ œ Œ Students echoœ œ œ Œ

3.

& 44Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher plays


œ œ œ œ&

Teacher playsœ œ Œ Œ Students echoœ œ Œ Œ Teacher plays

œ œ Œ Œ Students echo

œ œ Œ Œ4.

& 44Teacher playsœ œ œ Œ Students echoœ œ œ Œ Teacher plays


œ œ œ Œ

&Teacher plays

œ œ œ œ Students echo

œ œ œ œ Teacher plays


œ œ œ Œ


Teacher As students develop their bowing skills, have them do some of the exercises on student book page 8 to relax their hand during the rests. For exercise 47, check to make sure that students’ elbows are at the proper height when their bow is on the D string.

47. BOW ON THE D STRING

&B??

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

arco

œ≥ œ≤ œ≥ œ≤Play with the bow on the string.

arcoœ≥ œ≤ œ≥ œ≤arcoœ≥ œ≤ œ≥ œ≤arcoœ≥ œ≤ œ≥ œ≤

œœ œ œœ œ œœ œ œœ œG

œ œ œ œ

Œ Œ Œ ŒŒ Œ Œ ŒŒ Œ Œ ŒŒ Œ Œ Œ

œœ œœ œ ‰ jœœ œD

œ œ

œ œ œ œ

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œœ œ œœ œ œœ œ œœ œG

œ œ œ œ

Œ Œ Œ ŒŒ Œ Œ ŒŒ Œ Œ ŒŒ Œ Œ Œ

œœ ‰ Jœœ œœ œD

œ œ

œ œ œ œ

&B??

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano

œ≥ œ≤ œ≥ Œœ≥ œ≤ œ≥ Œœ≥ œ≤ œ≥ Œœ≥ œ≤ œ≥ Œ

œœœ# œœœ œœœ ŒE7

œ œ œ œ œ

œ≤ œ≥ œ≤ Œœ≤ œ≥ œ≤ Œœ≤ œ≥ œ≤ Œœ≤ œ≥ œ≤ Œ

œœœn œœœ œœœ ŒG/A

œ œ œ œ œ

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œœ œ œœ œ œœ œœ œœD G D/F# Emi7

œ œ œ œ œ

œ≥ Œ œ≤ Œœ≥ Œ œ≤ Œœ≥ Œ œ≤ Œœ≥ Œ œ≤ Œ

œœ Œ œœ ŒD

œ œ œ œ œ Œ


Teacher Check to make sure that students’ elbows are at the proper height for the A string.

48. BOW ON THE A STRING

&B??

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œœœ œœœ œœœ œœœD(add9)

.œ Jœ ˙

Œ Œ Œ Œ

Œ Œ Œ ŒŒ Œ Œ ŒŒ Œ Œ Œ

˙ œœœ œ œ œA(add9)/C#

.œ jœ ˙

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œœœ œœœ œœœ œœœG(add9)/B D

.œ jœ .œ jœ

Œ Œ Œ Œ

Œ Œ Œ ŒŒ Œ Œ ŒŒ Œ Œ Œ

˙ œœœ œ œ œG(add9)

.œ jœ ˙

&B??

&?

### ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano

œ≥ œ≤ œ≥ Œœ≥ œ≤ œ≥ Œœ≥ œ≤ œ≥ Œ

œ≥ œ≤ œ≥ Œ

œœœ œœœ œœœ œ œ œD(add9)/F# G(add9)

˙ œ Œ

œ≤ œ≥ œ≤ Œœ≤ œ≥ œ≤ Œœ≤ œ≥ œ≤ Œ

œ≤ œ≥ œ≤ Œ

œœœ œœœ œœœ œ œ œD(add9)/F# G(add9)

˙ œ Œ

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œœœ œœœ œœœ œœœD(add9)/F# G(add9) G/A

œ œ œ œ

œ≥ Œ œ≤ Œœ≥ Œ œ≤ Œœ≥ Œ œ≤ Œ

œ≥ Œ œ≤ Œ

œœœ œ œ œœœ ŒD(add9)

œ Œ œ Œ


Teacher String levels, for string crossing motions, are introduced on student book page 17. Note that the motion to change string levels is the opposite for upper and lower strings, i.e., a player raises the right arm to play lower-pitched strings for violin/viola, but lowers the right arm to play lower-pitched strings on the cello/bass.

Be sure that students raise and lower their arms during the rests for each new string level in the following exercises.

Violin/ViolaW O R K O U T S

String LevelsYour 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.

Raise arm = lower string

Lower arm = higher string

CelloW O R K O U T S


• Move your arm forward and up to to play higher-pitched strings.

• Move your arm back and down to play lower-pitched strings. Raise arm = higher string

Lower arm = lower string

BassW O R K O U T S


• Move your arm forward and up to to play higher-pitched strings.

• Move your arm back and down to play lower-pitched strings.

Raise arm = higher string

Lower arm = lower string

49. RAISE AND LOWER

&B??

&?

### ## ## ## ## #

44

44

44

44

4444

Violin

Viola

Cello

Bass

Piano

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œœœ œœœ œœœb œœœnA7 G(add9)/B Cmi6 A7/C#

œ œ œn œ#

Raise your arm.Œ Œ Œ ŒRaise your arm.Œ Œ Œ ŒLower your arm.Œ Œ Œ ŒRaise your arm.Œ Œ Œ Œ

∑œ œ œ œ œ œ œ

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œœœn œœœ œœœb œœœnD7 C(add9)/E Fmi6 D7/F#

œ œ œn œ#

Lower your arm.Œ Œ Œ ŒLower your arm.Œ Œ Œ ŒRaise your arm.Œ Œ Œ ŒLower your arm.Œ Œ Œ Œ

∑

œ œ œ œn œ œ œ

Student books have a repeat sign in measure 4.


&B?

?

&?

### ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œœœ œœœ œœœ œœœG/A F#mi/A Emi/A D/A

œ œ œ œ

Raise your arm.Œ Œ Œ ŒRaise your arm.Œ Œ Œ ŒLower your arm.Œ Œ Œ ŒRaise your arm.Œ Œ Œ Œ

œœœ Œ ÓA7


œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œœœ œœœ œœœ œœœG/A F#mi/A Emi/A D/A

œ œ œ œ

Lower your arm.Œ Œ Œ ŒLower your arm.Œ Œ Œ ŒRaise your arm.Œ Œ Œ ŒLower your arm.Œ Œ Œ Œ

Ó ˙D

œ œ œ œ œ ˙50. TEETER TOTTER

&B?

?

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥ œ≤ Œ Œœ≥ œ≤ Œ Œœ≥ œ≤ Œ Œ

œ≥ œ≤ Œ Œ

œœœœ œœœœ œ œ œ œ œ œ œAsus

œ œ Ó

œ≥ œ≤ Œ Œ

œ≥ œ≤ Œ Œ

œ≥ œ≤ Œ Œ

œ≥ œ≤ Œ Œ

œœ œœ œ œ œ œ œ œ œD5

œ œ Ó

œ≥ œ≤ Œ Œœ≥ œ≤ Œ Œœ≥ œ≤ Œ Œ

œ≥ œ≤ Œ Œ

œœœœ œœœœ œ œ œ œ œ œ œAsus

œ œ Ó

œ≥ œ≤ Œ Œ

œ≥ œ≤ Œ Œ

œ≥ œ≤ Œ Œ

œ≥ œ≤ Œ Œ

œœ œœ ‰ jœœn œœD5 C5 D5

œ œ ‰ jœn œ


51. MIRROR IMAGE

&B??

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano


œœ œ œœ œ œ œ œ œD/A A7sus

˙ œ œ œ œ


œœ œ œœ œ ˙Bmi Bmi/A G#mi7(b5)

œ œ œ# œ œ


œœ œœ ..œœ œ œœœ œ œG A/G D/A

˙ ˙


œ œœ œœŒG Emi7 D

œ œœ œ œ œ Œ

Bow Lift

,

Lift the bow and return to its starting point.

Teacher Read the definition and show students the symbol for bow lift. Practice lifting and setting the bow on the string with students. Be sure that students relax their shoulder, arm, wrist, and bow hand after they set the bow on the string each time before pulling the bow.

Be sure that students raise and lower their arms during the rests for each new string level in the following exercises. Notice that violin/viola and cello/bass levels are reversed.

52. A STRAND OF D ‘N‘ A

&B??

&?

### ## ## ## ## #

44

44

44

44

4444

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œœœ œœœ œœ œœG(add9) D/F#

.œ œ œ .œ œ œ

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œœœ œœœ œœœ œœœDsus/E D/F#

˙ ˙

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œœœ œœœ œœœ œœœG(add9) D/F#

.œ œ œ .œ œ œ

œ≥ Œ, Œ ŒBow Lift

œ≥ Œ, Œ Œœ≥ Œ, Œ Œœ≥ Œ, Œ Œ

œœ# ‰ jœœn ˙E7 G/A D

œ ‰ jœ ˙


QUIZ OBJECTIVES – OLYMPIC CHALLENGE

● Parallel bowing

● Smooth and even tone

● Arm level changes at string crossings

Review Exercises:

49. Raise and Lower

50. Teeter Totter

52. A Strand of D’N’A

53. ESSENTIAL ELEMENTS QUIZ – OLYMPIC CHALLENGE

&B?

?

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ œ œ œ œ œ œ œ œ œ œ œDsus2

˙ ˙

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 œDsus2/G

˙ ˙

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 œDsus2/F Dsus2/G

˙n ˙

œ≥ Œ Œ Œ

œ≥ Œ Œ Œ

œ≥ Œ Œ Œ

œ≥ Œ Œ Œ

œ œ œ œ œ œ œœ ŒDsus2

˙ œ Œ

E


B O W B U I L D E R S E V E N

Combining Both HandsUsing notes from the D major scale, echo what your teacher plays.

Teacher BOW BUILDER SEVEN: COMBINING BOTH HANDS involves the teacher playing pitch patterns and the students echoing those patterns. Before students proceed to page 18, be sure that they have mastered proper bow hand shape, beginning open string motions, and changing string level skills in the echo patterns. On page 18 students will begin to bow fingered notes for the first time. This is an important skill and students must first master bowing open string skills before they begin bowing fingered pitches.

&B??

### ## ## #

44

44

44

44

Violin

Viola

Cello

Bass

Teacher playsExample A:



Student echoes



Teacher Student Teacher Student

&B??

### ## ## #

44

44

44

44

Violin

Viola

Cello

Bass

Teacher playsExample B:



Student echoesœ œ œ œœ œ œ œ


Teacher Student Teacher Student


Teacher Students should now be ready to begin learning to bow fingered pitches while reading music. A suggested practice routine is provided for them in the student text. These sequential practice steps are important for students to follow because they will help them develop successful playing skills and home practice skills. Lead students through these steps carefully for each of the remaining playing exercises, and encourage students to use these steps while practicing at home. Create and substitute additional practice steps as needed.

Remember, there are many different ways to shadow bow that can be used in Step 3, e.g. bowing in the air, bowing on rosin, or bowing through tubes attached to the instrument or held over the left shoulder (violin and viola) or in front (cello and bass). One way is to ask students to bow vertically in the air, being careful that the down bow motion is toward the floor and the up bow motion is toward the ceiling. Bowing vertically helps eliminate tension in the right hand, which will occur if the bow is held in the air horizontally while shadow bowing. Of course, you may always have students practice bowing their open strings.

PUTTING IT ALL TOGETHERCongratulations! 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:

Step 1 Tap your toe and say or sing the letter names.

Step 2 Play pizz. and say or sing the letter names.

Step 3 Shadow bow and say or sing the letter names.

Step 4 Bow and play as written.

54. BOWING ”G”

&B?

?

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥3

œ≤ œ≥ Œœ≥3 œ≤ œ≥ Œœ≥4 œ≤ œ≥ Œœ≥0 œ≤ œ≥ Œ

œœœ œœœ œ œ œ œ œ œ œG

œ œ œ œ


œœœn œœœ œœ œ œ œ œ œC/G

œ œ œ œ

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œ≥ œ≤ œ≥ œ≤

œœœnn œœœ œœœ œœœ œœœ œœœCsus/G C

œ œ œ œ


œœœ œœœ œœœ œœœ ŒG

œ œ œ œ


55. BACK AND FORTH

&B?

?

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥3

œ≤ œ≥ Œœ≥3 œ≤ œ≥ Œœ≥4 œ≤ œ≥ Œœ≥0 œ≤ œ≥ Œ

œœœœ œœœœ ˙˙˙G(add9)

.œ œ œ .œ œ œ

œ≤2

œ≥ œ≤ Œœ≤2 œ≥ œ≤ Œœ≤3 œ≥ œ≤ Œœ≤4 œ≥ œ≤ Œ

˙˙n ˙˙bD9 D7(b9)

.œ œ œ .œ œ œ

œ≥3

œ œ2 œœ≥3 œ œ2 œ

œ≥4 œ œ3 œœ≥0 œ œ4 œ

˙˙˙ ˙G(add9) Bmi7

.œ œ œ .œ œ œ

œ3 œ2 œ3 Œœ3 œ2 œ3 Œœ4 œ3 œ4 Œœ0 œ4 œ0 Œ

œœœ œœœœbn œœœœ œœœœ œœœœjœœœœ ‰Cma7 D7(b9) G(add9)

œn œ œ œ œ jœ ‰

56. DOWN AND UP

&B?

?

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥3

œ≤ œ≥2 Œ

œ≥3 œ≤ œ≥2 Œœ≥4 œ≤ œ≥3 Œœ≥0 œ≤ œ≥4 Œ

‰ jœœœ ‰ jœœœ ‰ jœœœ# ‰ jœœœG B7

œ œ œ œ

œ1≤ œ≥ œ≤

2 Œœ1≤ œ≥ œ≤2 Œœ1≤ œ≥ œ≤3 Œœ1≤ œ≥ œ≤4 Œ

‰ jœœœn ‰ jœœœ ‰ jœœœn ‰ jœœœC D7

œn œ œ œ

œ≥ œ œ œœ≥ œ œ œ


‰ jœœœ ‰ jœœœ ‰ jœœœ# ‰ jœœœG B7

œ œ œ œ


‰ jœœœn ‰ jœœœn œœœ œC D7 G

œn œ œ œ


57. TRIBAL LAMENT

&B?

?

&?

### ## ## #

# ## #

44

44

44

44

44

44

..

..

..

..

..

..

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

œ≥1

œ œ œœ≥1 œ œ œ

œ≥1 œ œ œ0

œ≥1 œ œ œ0

œœ œœ œœ œœE5 D/E

œ œ œ œ

œ œ œ œ2

œ œ œ œ2

œ œ œ œ3

œ œ œ œ4

œœ œœ œœ œœE5 D/E

œ œ œ œ



œœ œœ œœ œœEmi D/E

œ œ œ œ

1.

œ œ œ(Bow Lift)Œ,

œ œ œ Œ,

œ œ œ Œ,

œ œ œ Œ,

œœ œœ œœ œ œEmi

œ œ ˙

2.

œ œ œ(Bow Lift)Œ,

œ œ œ Œ,

œ œ œ Œ,

œ œ œ Œ,

œœ œœ œœ ŒEmi

œ œ œ œ


58. BOWING ”D”

&B?

?

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥3 œ≤ œ≥ Œœ≥3 œ≤ œ≥ Œœ≥4 œ≤ œ≥ Œ

III

œ≥4 œ≤ œ≥ Œ

œœœ œœœ œœœ ŒD



œœœ œœœ œœœ ŒBmi



œ≥ œ œ œ

œ≥ œ œ œ

œœ œœ œœ œœ œœ œ œ œG A/G G D/A

˙ ˙


œœœ œ œ œ œœ ŒA7sus G Emi7 D

œœ œ œ œ œœ Œ


59. LITTLE STEPS

&

B

?

?

&?

##

# #

# ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥3 œ≤ œ≥ Œœ≥3 œ≤ œ≥ Œœ≥4 œ≤ œ≥ Œ

III

œ≥4 œ≤ œ≥ Œ



œ≤2 œ≥ œ≤ Œœ≤2 œ≥ œ≤ Œœ≤3 œ≥ œ≤ Œœ≤2 œ≥ œ≤ Œ

œœœ œœœ œœœ ŒA



œ≥4 œ œ3 œ

œ≥4 œ œ2 œ

œœœ œœœ œœœ œœœG A

œ œ œ œ œ œ


œœœ œœœ œœœ ŒG A D

œ œ œ œ œ jœ ‰

60. ELEVATOR DOWN

&

B?

?

&?

##

# ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

1 & 2 & 3 & 4 &

œ≥3 œ2 œ Œœ≥3 œ2 œ Œœ≥4 œ3 œ Œ

III

œ≥4 œ2 œ Œ

‰ jœœœ ‰ jœœœ ‰ jœœœ œ œ œD A D

œ œ œ Œ

1 & 2 & 3 & 4 &

œ≤ œ œ Œœ≤ œ œ Œœ≤ œ œ Œœ≤ œ œ Œ

‰ jœœœ# ‰ jœœœ ‰ jœœœ œ œ œF#7

œ œ œ Œ

1 & 2 & 3 & 4 &

œ≥1 œ œ œœ≥1 œ œ œ

œ≥1 œ œ œ

I

œ≥– 4 œ1 œ œ

‰ jœœœ ‰ jœœœ ‰ jœœœ œ œ œG D G

œ œ œ Œ

1 & 2 & 3 & 4 &

œ œ œ Œ

œ œ œ Œœ œ œ Œœ œ œ Œ

œœœ œœœ œœœ œœœ ŒD A D

œ œ œ œ Œ


Teacher Counting and playing eighth notes will be introduced on student book page 20. Counting quarter note subdivisions was first introduced on page 5, with additional examples on successive pages. Give students further preparation for page 20 by counting aloud as a class, including subdivisions, for each of the exercises on page 19. The authors also recommend that students review their toe tapping skills as they play each exercise.

61. ELEVATOR UP

&B?

?

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ0≥ œ1 œ Œœ0≥ œ1 œ Œœ0≥ œ1 œ Œœ1≥ œ4 œ Œ

œœœœ œœœ œœœœ œ œ œD(add9) G/D D(add9)

.œ jœ ˙


œœœ œœœœn œœœ œ œ œG Cma7/G G

˙ ˙

œ2≥ œ3 œ œœ2≥ œ3 œ œ

œ3≥ œ4 œ œ

III

œ≥–2 œ4 œ œ

œœœ œœœ œœœ œœœA D/A A A/G

.˙ œ


œœœ œœœ œœœœ ŒG/C D(add9)

˙n œ Œ


62. DOWN THE D MAJOR SCALE

&

B?

?

&?

##

# ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ3≥ œ œ Œœ3≥ œ œ Œœ4≥ œ œ Œ

III

œ4≥ œ œ Œ

œœœ œœœ œ œ œ œD

˙ ˙

œ≤2 œ œ Œœ≤2 œ œ Œœ≤3 œ œ Œœ≤2 œ œ Œ

œœœ œœœ œ œ œ œF#mi

˙ ˙

œ≥1 œ œ Œœ≥1 œ œ Œœ≥1 œ œ Œ

I

œ≥– 4 œ œ Œ

œœœ œœœ œ œ œ œG

˙ ˙

œ≤0

œ œ Œœ≤0 œ œ Œœ≤0 œ œ Œœ≤1 œ œ Œ

œœœ œœœ œœœ œ œ œDsus D

˙ ˙

&

B?

?

&?

##

# ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano

œ3≥ œ œ Œœ3≥ œ œ Œœ4≥ œ œ Œœ≥0 œ œ Œ

œœœ œœœ œœœ œ œ œEmi7 G/A

˙ ˙

œ2≤ œ œ Œœ2≤ œ œ Œœ3≤ œ œ Œœ≤4 œ œ Œ

œœœ œœœ œœœ œ œ œD Bmi7

˙ ˙

œ1≥ œ œ Œ

œ1≥ œ œ Œœ1≥ œ œ Œœ1≥ œ œ Œ

œœœ œœœ œœ œ œœ œEmi7 A7sus A7

˙ ˙

œ≤0

œ œ Œ

œ≤0 œ œ Œ

œ≤0 œ œ Œ

œ≤0 œ œ Œ

œœœ œœœ œœœŒD Dsus D

œ œ œ Œ


63. SCALE SIMULATOR Remember to count.

&B?

?

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥

œ œ Œ

œ≥ œ œ Œ

œ≥ œ œ Œ

œ≥0 œ œ Œ

œœœ œœœ œœœ œ œ œD(add9)

œ .œ œ ˙

œ≤ œ œ Œœ≤ œ œ Œœ≤ œ œ Œœ≤1 œ0 œ Œ

œœ œœ œœ œ œA/C# G/B A

œ œ ˙

œ≥ œ œ Œœ≥ œ œ Œœ≥ œ œ Œœ≥4 œ œ Œ

œœœ œœœ œœœ œ œD(add9) Bmi7

œ .œ œ ˙

œ≤ œ œ Œœ≤ œ œ Œœ≤ œ œ Œœ≤0 œ4 œ Œ

œœœ œœ œœ œ œ œG(add9) D/F# Emi7

œ œ ˙

&B?

?

&?

### ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano

œ≥ œ œ Œœ≥ œ œ Œœ≥ œ œ Œœ1≥ œ œ Œ

œœœ œœœ œœœ œ œ œ œD/A F#mi/A

œ .œ œ ˙

œ≤ œ œ Œœ≤ œ œ Œœ≤ œ œ Œœ≤4 œ œ Œ

œœœ œœœ œœœ œ œ œG/A A Gma7/A

˙ ˙

œ≥ œ œ Œœ≥ œ œ Œœ≥ œ œ Œ

III

œ≥–2 œ œ Œ

œœœ œœœ œœœ œ œA A/G

œ .œ œ ˙

œ≤ œ œ Œœ≤ œ œ Œœ≤ œ œ Œœ≤4 œ œ Œ

œœœ œœœ œœœœ ŒD(add9)/F# A7/E D(add9)

œ œ œ Œ


QUIZ OBJECTIVES – THE D MAJOR SCALE

● Bowing and fingering D and A string notes

● Playing correct bow markings

● Bowing parallel to the bridge

● String Levels

● Half steps and whole steps

Review Exercises:

62. Elevator Down

63. Down the D Scale

63. Scale Simulator

Teacher As students are practicing for exercise 64. Essential Elements Quiz – The D Major Scale, encourage them to constantly evaluate their intonation. The half and whole steps must be in tune. Assisting students as they develop self-assessment skills is critical to developing effective practice skills.

64. ESSENTIAL ELEMENTS QUIZ – THE D MAJOR SCALE

&B?

?

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥

œ œ œœ≥ œ œ œ

œ≥ œ œ œ

œ≥ œ œ œ

œ œ œ œœD/F# A/C#

‰ Jœ œ œ ‰ Jœ œ


œ œ œ œ

œ œ œ œ

œœ œœ œ œ œ œbBmi G#mi7(b5)

˙ ˙b


œ œ œ œ

œ œ œ œ

œœœ œœœ œœœ œœœD/A G#mi7(b5)

˙ ˙#


œ œ œ œ

III

œ–2 œ œ4 œ

œœœ œœœ# œœœ œœœF#sus F# Bmi Bmi/A

˙ œ œ

E


&B??

&?

### ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano



œœœ œ œ œœ œœG Dma7/F#

˙˙ ˙


œ œ œ œ

I

œ– 4 œ œ œ

œœ œœ ˙Emi/G D/F#

œ œ˙ œ œ œ œ



œœ œœ œœ œœG/B Gmi/Bb D/A G#mi7(b5)

œ œb œ œ#


œœ œ œ œœŒ

Emi/G A7sus A7 D

œœn œ œ Œ

Teacher The basses learn the new note C # while the other instruments review note reading, bar lines, and counting through a written exercise.

Special Exercise (Violin/Viola/Cello)While the basses learn a new note, draw the bar lines in the music below. Then write in the counting.

&

B

?

##

# #

# #

44

44

44

Violin

Viola

Cello

— — — — — — — —

œ œ œ œ

— — — — — — — —

œ œ œ œ

— — — — — — — —

œ œ œ œ

— — — — — — — —

œ Œ œ Œ

— — — — — — — —

œ Œ œ Œ

— — — — — — — —

œ Œ œ Œ

— — — — — — — —

Œ œ Œ œ

— — — — — — — —

Œ œ Œ œ

— — — — — — — —

Œ œ Œ œ

— — — — — — — —

œ œ œ Œ

— — — — — — — —

œ œ œ Œ

— — — — — — — —

œ œ œ Œ


Bass

C#is played with 4 fingers on the A string.

C

GDAE

# 43

2

1

? œ# 4

C#Bass

65. LET’S READ “C#” – Review

&

B?

?

&?

##

# ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥2 œ œ Œœ≥2 œ œ Œœ≥3 œ œ Œ

œ≥4

œ œ Œ

œœœ œœœ œœœ œ œ œA

œ œ œ œ œ Œ

œ≤ œ œ Œœ≤ œ œ Œœ≤ œ œ Œ

œ≤ œ œ Œ

œœœ œœœ œœœ œ œ œœ œ œ œ œ Œ

œ≥3 œ œ œœ≥3 œ œ œ

œ≥4 œ œ œ

œ≥0 œ œ4 œ

œœœ œœœ œœœ œœœG A



œ0 œ œ Œ


œ œ œ œ œ Œ


Eighth Notes

Each Eighth Note = 1/2 Beat Two or more Eighth 2 Eighth Notes = 1 Beat Notes have a beam

œ œ1 &

œ œ œ œ1 & 2 &

œ œ across the stems.

Beamœ œ œ œ œ œ œ œ=

Tap your toe down on the number and up on the “&”.

Teacher Rhythm Raps introduce new rhythms and meters. Notice the exercises that immediately follow the Rhythm Raps are in the same rhythm. This helps students combine their bowing, fingering, and rhythm reading skills. A suggested four-step teaching sequence for Rhythm Raps, as students tap their toes on the pulse, is as follows:

Step 1 – Shadow bow on rosin.

Step 2 – Bow rhythm in the air vertically, or through a tube attached to the string.

Step 3 – Bow rhythm on any open string.

Step 4 – Bow rhythm on a scale.

The piano accompaniment may be used with steps 1 and 2.

66. RHYTHM RAP Shadow bow and count before playing.

/

&?

### #

44

44

44Piano

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤Count:

œœœ œœœ œœœ œœœ œœœ œœœD A7

œ œ œ œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

œœœ œœœ œœœ œœœ œœœ œœœG D

œ œ œ œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤


œ œ œ œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ Œ

œœœ œœœ œœœ œœœ œœœŒ

A7 D

œ œ œ œ œ67. PEPPERONI PIZZA

&B??

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥ œ œ œ œ œœ≥ œ œ œ œ œœ≥ œ œ œ œ œ

III

œ≥4 œ œ œ œ2 œ

œœœ œœœ œœœ œœœ œœœ œœœD A7

œ œ œ œ

œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ

I

œ– 4 œ œ œ œ1 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 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 Œ

œœœ œœœ œœœ œœœ œœœŒ

A7 D

œ œ œ œ œ

THEORY



/

&?

### #

44

44

44Piano

1 & 2 & 3 & 4 &


œœœ œœœ œœœ œœœD Emi7/A

.œ Jœ .œ jœ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

œœœ œœœ ˙˙˙D/F# C

.œ Jœ .œn jœ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

œœœœ œœœœ œœœœ œœœœDma7/A Emi7/A

.œ jœ ˙

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ Œ

œœœœ œœœœ œœœ ŒA7 D

.œ jœ œ ŒPiano part can be used to accompany shadow bowing and rhythm exercises.

69. D MAJOR SCALE UP

&B?

?

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥

œ œ œ œ œœ≥ œ œ œ œ œ

œ≥ œ œ œ œ œ


œœœ œœœ œœœ œœœD Emi7/A

.œ Jœ .œ jœ

œ œ œ œ œ œœ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œœœ œœœ ˙˙˙D/F# C

.œ Jœ .œn jœ


œ œ œ œ œ œ

œ œ œ œ œ œ

œœœœ œœœœ œœœœ œœœœDma7/A Emi7/A

.œ jœ ˙

œ œ œ œ Œœ œ œ œ Œœ œ œ œ Œ

III

œ–2 œ œ œ4 Œ

œœœœ œœœœ œœœ ŒA7 D

.œ jœ œ Œ

Tempo Markings Tempo is the speed of music. Tempo markings are usually written above the staff, in Italian. Allegro – Fast tempo Moderato – Medium tempo Andante – Slower, walking tempo

Teacher The definition of tempo is presented on student book page 20. Only three different tempos are presented in Book 1, so that students may master their understanding.


70. HOT CROSS BUNS

&B?

?

&?

### ## ## ## ## #

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

Moderato

œ≥ œ œ Œœ≥ œ œ Œœ≥ œ œ Œœ≥ œ œ Œ

œœœ œœœ ˙D A D

œ œ .œ œ œ


œœœ œœœn ˙D C D

œ œn 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

‰ jœœ œœ œœ ‰ jœœ# œœ œœG A

˙ ˙

1.

œ œ œ Œ,

œ œ œ Œ,

œ œ œ Œ,

œ œ œ Œ,

œœœ œœœn ˙D C D

œ œn œ# .œ œ œ œ

2.

œ œ œ Œ,

œ œ œ Œ,

œ œ œ Œ,

œ œ œ Œ,

œœœ œœœn œœœŒD C D

œ œn œ Œ


71. AU CLAIRE DE LA LUNE French Folk Song

&B??

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

Andante

œ≥




œœ œœ œœ œœ œœ œœD Emi/D D Emi/D

œ œ œ œ

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 œœ œ œœ œ œD Emi/G A D

œ œ œ œ Œ

œ≥




œœ œœ œ œœ œ œ œBmi Bmi/A G A

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 Œ

œœ œœ œœ ŒG/B A/C# D

œ œ œ Œ



/

&?

### #

44

4444

Piano

1 & 2 & 3 & 4 &


‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœD A

œ œ œ œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœG D/F# D

œ œ œ œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœG G/B D/A D/F#

œ œ œ œ

,1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ Œ

‰ Jœœœ# ‰ jœœœn ‰ jœœœ ‰ jœœœE7 A7 D

œ œ œ œ

/

&?

### #

Piano

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

‰ jœœœ ‰ jœœœ ‰ jœœœ# ‰ jœœœBmi F#7

œ œ œ œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

‰ jœœœ ‰ jœœœn ‰ Jœœœ œœœn>Bmi D7 G G#o

œ œ œ œ#>

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ œ≤

‰ jœœœ# ‰ jœœœ ‰ jœœœ ‰ jœœœnD/A G G#o

œ œ œ œ#

,1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤ œ≥ Œ

‰ jœœœ ‰ jœœœ ‰ jœœœ# œœœ>A7 D

œ œ œ œ>73. BUCKEYE SALUTE

&B??

&?

### ## ## #

# ## #

44

44

44

44

4444

Violin

Viola

Cello

Bass

Piano

Moderatoœ≥ œ œ œ œ œœ≥ œ œ œ œ œœ≥ œ œ œ œ œ

III

œ≥4 œ œ œ2 œ œ


œ œ œ œ


I

œ– 4 œ œ œ œ œ

‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœG D/F# D

œ œ œ œ


‰ jœœœ ‰ jœœœ ‰ jœœœ ‰ jœœœG G/B D/A D/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,

‰ Jœœœ# ‰ jœœœn ‰ jœœœ ‰ jœœœE7 A7 D

œ œ œ œ


&B??

&?

### ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano

œ≥


œ≥ œ œ œ œ œœ≥ œ œ œ œ œ

‰ jœœœ ‰ jœœœ ‰ jœœœ# ‰ jœœœBmi F#7

œ œ œ œ


œ œ œ œ œ œ

œ œ œ œ œ œ

‰ jœœœ ‰ jœœœn ‰ Jœœœ œœœn>Bmi D7 G G#o

œ œ œ œ#>


œ œ œ œ œ œ

œ œ œ œ œIII

œ– 4

‰ jœœœ# ‰ jœœœ ‰ jœœœ ‰ jœœœnD/A G G#o

œ œ œ œ#

œ œ œ œ œ Œœ œ œ œ œ Œœ œ œ œ œ Œœ2 œ œ œ œ4 Œ

‰ jœœœ ‰ jœœœ ‰ jœœœ# œœœ>A7 D

œ œ œ œ>Teacher Another way to help students feel a pulse is for them to conduct a meter pattern. Illustrations of meter conducting

patterns are provided and can be practiced by students to develop their kinesthetic sense of pulse and consistent tempo. Please note that conducting patterns are for student use only. Teachers should be moving throughout class correcting students’ playing position and posture, playing (modeling) for the students, and giving instruction. The

2

4 time signature is introduced on student book page 21 and a sample 2-beat conducting pattern is shown.

2 Time Signature Conducting4

= 2 beats per measure Practice conducting this& 42

B 42

? 42 = Quarter note gets one beat two-beat pattern.

1 2


/

&?

### #

42

42

42Piano

1 & 2 &

œ≥ œ≤Count:

œ œ œ œDsus

˙

1 & 2 &

œ≥ œ≤

œ œ œ œD

˙

1 & 2 &

œ≥ œ≤ œ≥ œ≤

œœ œ œœ œA/D G/D

œ œ

1 & 2 &

œ≥ œ≤

œœ œD

œ œ œ œb

1 & 2 &

œ≥ œ≤

œœœ œœœEmi/A

œ œ œ œ

1 & 2 &

œ≥ œ≤

œœœ œœ œG/A

œ œ œ

1 & 2 &

œ≥ œ≤ œ≥ œ≤

œœœ œœœBmi7 A

œ œ œ œ

1 & 2 &

œ≥ Œ

œœœ jœœœ>‰Dsus D

œ jœ>‰

THEORY


75. TWO BY TWO

&B??

&?

### ## ## ## ## #

42

42

42

42

42

42

Violin

Viola

Cello

Bass

Piano

œ≥

œœ≥ œ

œ≥ œœ≥ œ

œ œ œ œDsus

˙

œ œœ œ

œ œœ œ

œ œ œ œD

˙

œ œ œ œœ œ œ œœ œ œ œœ œ œ œ

œœ œ œœ œA/D G/D

œ œ

œ œœ œ

œ œœ œ

œœ œD

œ œ œ œb

œ œœ œ

œ œœ œ

œœœ œœœEmi/A

œ œ œ œ

œ œœ œ

œ œœ œ

œœœ œœ œG/A

œ œ œ


œœœ œœœBmi7 A

œ œ œ œ

œ Œœ Œœ Œœ Œ

œœœ jœœœ>‰Dsus D

œ jœ>‰

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

..1. ∑ 2. ∑ the 2nd ending.

Teacher The definition of 1st and 2nd endings is given on student book page 21. Present 1st and 2nd endings to students as they prepare to play exercise 76, an Essential Elements Quiz that includes this new musical element.

QUIZ OBJECTIVES – FOR PETE’S SAKE

● Playing correct bow markings

● Bowing parallel to the bridge

● String Levels

● Half steps and whole steps

● 1st and 2nd endings

Review Exercises:

68. Rhythm Rap

74. Rhythm Rap

75. Two by Two

THEO

RY


76. ESSENTIAL ELEMENTS QUIZ – FOR PETE’S SAKE

&B??

&?

### ## ## ## ## #

42

42

42

42

42

42

Violin

Viola

Cello

Bass

Piano

Moderato

œ≥

œœ≥ œœ≥ œœ≥ œ

˙˙˙D6/9

.œ œ œ œ

œ œœ œœ œœ œ

˙˙˙.œ œ œ œ

œ œ œœ œ œœ œ œœ œ œ

œœœœ œ œEmi7/A

.œ œ œ


˙˙.œ œ œ œ

œ≥ œœ≥ œœ≥ œœ≥ œ

˙nAmi7/D

.œ œ œ œ


˙n.œ œ œ œ


œœœ œœœ œGma9

.œ œ œ


Œ œœb>C9(#11)

Œ œœn>>


˙Bmi7

.œ œ œ œ

&B??

&?

### ## ## ## ## #

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano


˙Dma7/A

.œ œ œ œ

œ œ œ œœ œ œ œœ œ œ œœ œ

III

œ–2 œ

œœœ œœœGma7 A/G

.œ œ œ œ

œ œœ œœ œœ4

I

œ–1

œœœ œœœD(add2)/F#

.œ œ œ œ

œ œœ œœ œœ4 œ

œœœ œEmi7

.œ œ œ œ


œœœ œ.œ œ œ œ

1.

1st time


œœœba œ œA9(b5)

.œ œ œ


˙A7

Œ œœb>

Eb7(#9)

Œ œb

2.

2nd time


œœœ œœœbG/A A7(b9)

.œ œ œ œ


œœœŒ

D6/9

œ œœ^

Essential Elements 2000 for Strings Correlated LiteratureStudents will enjoy playing their own special part in string orchestra arrangements. The Explorer level of Essential Elements 2000 for Strings series is a collection of string orchestra arrangements that only use the rhythms, bowings, and notes that are introduced on pages student book page 1–21 (Teacher Manual pages 34–119). See your Hal Leonard dealer for the latest releases.

E


Half Note Half Rest

-—1 & 2 &

˙ = 2 Beats

1 & 2 &

Ó = 2 Silent Beats

Ó =

Œ ŒTeacher Use the suggested practice sequence for exercises 77–78 to introduce counting half notes. Be sure the students

are subdividing while they are counting. The authors recommend that students count, tap, and clap each exercise before playing. You may have students shadow bow each exercise before playing as well.

Teacher When students begin to alternate bowing quarter notes and half notes, show students how the bow should travel slower during longer notes. Students can practice this skill by bowing in the air before playing on the string. You may also use a miles-per-hour analogy to help students understand different bow speeds, e.g. slower bows travel at lower miles-per-hour than faster bows.


/

&?

### #

44

44

44

..

..

..Piano

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤Count:

˙ œœœ œD A7

œ œ œ œ œ œ

1 & 2 & 3 & 4 &

˙≥ ˙≤

˙ ˙D A7

œ œ œ œ œ œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤

œœ œœœ œœœ œœœBmi Asus A

.œ jœ .œ jœ

1.

1 & 2 & 3 & 4 &

˙≥ Ó,

œœœ œœœ‰ jœœœ> œœœ>

G D/F# Emi7 A7

œ œ ‰ jœ> œ>

2.

1 & 2 & 3 & 4 &

˙≥ Ó,


G D/F# Emi D

œ œ ‰ jœ> œ>

Student books have repeats, not 1st and 2nd endings.

78. AT PIERROT’S DOOR French Folk Song

&B??

&?

### ## ## ## ## #

44

44

44

44

4444

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

Moderato

œ≥

œ œ œœ≥ œ œ œœ≥ œ œ œœ≥ œ œ œ

˙ œœœ œD A7

œ œ œ œ œ œ

BowSlow

BowSlow

˙ ˙˙ ˙˙ ˙˙ ˙

˙ ˙D A7

œ œ œ œ œ œ


œœ œœœ œœœ œœœBmi Asus A

.œ jœ .œ jœ

1. Slow Bow

˙ Ó,

˙ Ó,

˙ Ó,

˙ Ó,


G D/F# Emi7 A7

œ œ ‰ jœ> œ>

2. Slow Bow

˙ Ó,

˙ Ó,

˙ Ó,

˙ Ó,


G D/F# Emi D

œ œ ‰ jœ> œ>


THEO

RY


79. THE HALF COUNTS

&B?

?

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano


œ≥ œ œ œ

III

œ≥4 œ œ2 œ

œœœn œœœ œœœ# œœœD7 A7

œ œ œ œ# œ œn œ œ

˙ ˙˙ ˙

˙ ˙

I

˙– 4 ˙

œœœn œœœ ˙#nG7 D7

œ œ œn œ# œ œ œ œ



œœœb œœœ œœœ# œœœC7 Dma7

œn œ œ œ œ œ œ œ

˙ ˙˙ ˙

˙ ˙˙ ˙

œœœb > œœœ- œœœn > œœœn# -Bb7(b5) A7 G7 D

œb œ œ œ œ œn œ


80. GRANDPARENT’S DAY American Folk Song

&B??

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

Andante

œ≥

œ œ œ œœ≥ œ œ œ œœ≥ œ œ œ œœ≥ œ œ œ œ

œœ œ œ œœ œ œ œD Bmi

.œ Jœ ˙

œ≤

œ ˙œ≤ œ ˙

œ≤ œ ˙

œ≤ œ ˙

œœ œ œ œœ œ œ œG D/F#

.œ jœ ˙

œ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œ

œœ œ œ œœ# œ œ œBmi7 E9

.œ jœ ˙

œ≤ œ ˙œ≤ œ ˙œ≤ œ ˙œ≤ œ ˙

œœn œ œ œ œœ œn œœ# œGma7 C A7

.œ jœ œn œ

&B??

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano

œ≥

œ œ œ œœ≥ œ œ œ œœ≥ œ œ œ œœ≥ œ œ œ œ

œœ œ œ œœn œ œ œD D7

.œ Jœ ˙

œ≤

œ ˙œ≤ œ ˙

œ≤ œ ˙

œ≤ œ ˙

œœ œ œ œœb œ œ œG/D G6/9 Emi7(b5)

.œ Jœ œ œ


œœ œ œ œ œœ œ œ œD/A Bmi7

.œ jœ ˙

œ≤ œ œ ˙œ≤ œ œ ˙œ≤ œ œ ˙œ≤ œ œ ˙

œœ œ œœ œ œœ œ œœGma7 A7 Dsus D

œ œ ˙ Repeat the section of music enclosed by the repeat signs.Repeat Signs (If 1st and 2nd endings are used, they are played as usual—

.. .. but go back only to the first repeat sign, not to the beginning.)

Teacher Have students point with their bows to the repeat signs and first and second endings in exercise 81. Show them other examples of music with repeats and 1st and 2nd endings. Ask students to explain how to play exercise 81 to check their understanding of repeat signs and 1st and 2nd endings.

THEO

RY


81. MICHAEL ROW THE BOAT ASHORE American Folk Song

&B??

&?

### ## ## ## ## #

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

ModeratoÓ œ≥ œ

Ó œ≥ œ

Ó œ≥ œÓ œ≥ œ

œ œ œ œ œ œN.C. G/A

˙Ó ˙


œ œ œ œD A/C#˙ ˙˙ ˙

˙ œ œ˙ œ œ˙ œ œ˙ œ œ

˙ œœ œœœBmi7 D/A F#mi/A

˙ ˙

≤ ˙≤ ˙≤ ˙≤ ˙

˙ ˙G

w

≤œ≥ œ

≤ œ≥ œ≤ œ≥ œ≤ œ≥ œ

˙ œ œD/F# D

œ œ ˙˙ ˙

&B??

&?

### ## ## ## ## #

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano


œœ œ œœœ œœœF#mi Emi D

˙˙ œ œ œ


˙ œœœ œœœA/C# G/B A

˙ œ œ

˙≤ ˙≤ ˙≤ ˙≤ ˙

˙ ˙Gma7 Asus

œœ œœA

˙ ˙

1.

˙ œ œ˙ œ œ

˙ œ œ˙ œ œ

˙ œ œG/A

˙D

˙ ˙

2.

˙ Ó˙ Ó˙ Ó˙ Ó

˙ ÓD

˙ ÓViolin/ It is important for students to develop their left hand fourth finger facility. The following exercises and melodies Viola are designed to help students begin to develop their fourth finger playing skill. This is critical for successful

playing in the future and should be reviewed frequently. Be sure students’ left hands are balanced on the third finger to make playing with the fourth finger easier.

Use rote exercises such as tapping and sliding the fourth finger while other fingers are on the string to help prepare students to use the fourth finger in their playing.


Teacher Please note that exercise 82 involves pizzicato with the left hand, not right hand.

82. TEXAS TWO-STRINGViolin/Viola Holding your violin/viola in shoulder position, pizz. this exercise with your left hand 4th finger. 4+ = 4th finger pizz. Cello/Bass Pizz. this exercise with your left hand 4th finger. 4+ = 4th finger pizz.

&B??

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ4 + œ+ Óœ4 + œ+ Óœ4 + œ+ Ó

œ4 + œ+ Ó

œœœ œœœ ‰ jœœœ œœœAsus

œ œ ‰ jœ œ

œ4 +

œ+ Ó

œ4 + œ+ Óœ4 + œ+ Óœ4 + œ+ Ó

œœœ œœœ ‰ jœœœ œœœG/A

œ œ ‰ jœ œ

(etc.)œ œ Ó(etc.)œ œ Ó(etc.)œ œ Ó(etc.)œ œ Ó

œœœ œœœ ‰ jœœœ œœœAsus

œ œ ‰ jœ œ

œ œ Óœ œ Óœ œ Óœ œ Ó

œœœ œœœ ‰ jœœœ œœœG/A

œ œ ‰ jœ œ

&B??

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano


œ œ œ Œ

œœœ œœœ œœœ ŒAsus A/C# D

œ œ œ œ œ


œœœ œœ œœ ŒD D/F# G

œ œ œ œ œ

œ œ œ œœ œ œ œœ œ œ œ

œ œ œ œ

œœœ œœœ œœœ œœœAsus A

œ œ œ œ œ


œœœ œœœ œœœ œœœD G/D D

œ œ œ œ


Violin

4 T H F I N G E R

Your 4th finger is often used to match the pitch of the next highest open string, creating a smoother tone and fewer changes between strings for bowing.

GFE

2 31

EA

DG

# 4

A

Viola

4 T H F I N G E R

Your 4th finger is often used to match the pitch of the next highest open string, creating a smoother tone and fewer changes between strings for bowing.

GFE

2 31

#4

A

AD

GC

BassN E W N O T E S

is played with 4 fingers is played with 1 finger

A on the D string in third G on the D string in thirdposition (III). position (III).

3

G

2

1

GDAE

4

32

1

4A

I

III

Bass New notes A and D in third position are introduced on student book page 23. First, have students only finger the pitches. Then, have them pizzicato the pitches. This teaching sequence will help prepare students to correctly bow the pitches.

Violin/ Fourth finger on the D string is introduced on student book page 23. The fourth finger was prepared by left-hand Viola pizzicato exercises on page 22. Be sure students hand shape is balanced on the third finger so that they can easily

reach their fourth finger pitches.

Cello No new notes are presented. However, consider challenging your students by having them use II 1/2 position to play this page. Introduce this in exercise 83 by having them place their first finger on F# , 2nd finger on G, and 4th finger on A. They stay in this position until measure 7 when they will need to slide their hand lightly back to first position to play E. Remember to tell your students to keep the second finger behind the thumb at all times. Let them discover how they can use this new position to play other lines on this page.


83. FOUR BY FOUR

&B?

?

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano


œ≥ œ œ œ

œ≥4 œIII

œ–1 œ

œœœ œ œ œœœ œœœD G/D

˙ ˙

˙4 ˙˙4 ˙

˙ ˙

˙4 ˙

œœœ œ œ œœœ œ œ œA(add9)/C# D

.œ jœ ˙



œœœ œœœ œœœ œœœD(add9)/A D G/A A7

˙ ˙

˙ ˙˙ ˙

˙ ˙

I

˙– 4 ˙

œœœ œ œ œ œœœD Gma7/A

.˙ œœ

&B?

?

&?

### ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano


œ œ œ œ

œ œIII

œ–1 œ

œœœ œœœ œœœ œœœD G(add9)/B

.œ Jœ ˙

˙4 ˙0

˙4 ˙0

˙ ˙

˙4 ˙

œœœ œœœ œœœn œ œF#mi/A D7

˙ ˙

œ4 œ œ œœ4 œ œ œœ œ œ œœ œ

I

œ– 4 œ

œœœ œœœ œœœ œœœ#Gma9 G6 Emi9 A7

˙ œ œ

˙ ˙˙ ˙

˙ ˙

˙ ˙

œœœ œ œ ˙G/D D

˙ ˙


84. 4TH FINGER MARATHON

&B?

?

&?

### ## ## #

# ## #

42

42

42

42

42

42

Violin

Viola

Cello

Bass

Piano

œ≥ œœ≥ œ

œ≥ œ

œ≥4 œ

œœœ œœœD

œ œ# œ .œ œ

œ4 œœ4 œ

œ œ

III

œ– 4 œ

œœœ œœœD5

œ œ# œ .œ œ

œ œœ œ

œ œœ œ1

œœœ œœœnC5

œ œ œ œn œ œ

˙˙

˙

I

˙– 4

˙D

œ œ# œ .œ œ

œ≤ œœ≤ œ

œ≤ œ

œ≤ œ

œœœ œœœD

œ œ# œ .œ œ

œ4 œœ4 œ

œ œ

III

œ– 4 œ

œœœ œœœD5

œ œ# œ .œ œ

œ œœ œœ œœ1

I

œ–1

œœœn œœœC5

œn œ œ œ œ œ

˙˙

˙

˙0

˙D

œ œ# œœ85. HIGH FLYING

&B?

?

&?

### ## ## ## ## #

42

42

42

42

42

42

Violin

Viola

Cello

Bass

Piano

œ≥


œ≥ œ œ œ

œ≥ œ œ œ

œœ œœ œœ œD

œ œ œ œ

œ œœ œ

œ œ

œ œ

œœ œœœœ œ

˙˙

˙

˙

œœœ œœœ œœœ œœœA7

œ œ œ œ

˙4

4

˙

˙1

œœœ œœœœ œ


œ œ œ œœ0 œ œ œ

œœœ œœœ œœœ œG

œ œ œ œ

œ œœ œ

œ œ

œ œ

œœœ œœœEmi

œ œ

˙4

4

˙

˙

œœœ œœœ œœœ œœœA

œ œ œ œ

˙˙

˙

˙

œœœ œœœD

œ œ œ


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.

Teacher Familiarize students with the music of Beethoven by playing recorded examples of his music in class, especially the last movement of his Symphony No. 9 which includes the “Ode To Joy” theme.

QUIZ OBJECTIVES – ODE TO JOY

● Counting and playing quarter, eighth, and half notes in 4

4 meter ● Changing bow speeds for different lengths of notes ● Violin/Viola fourth fingers

Review Exercises:

78. At Pierrot’s Door 84. Four by Four 85. Fourth Finger Marathon 86. High Flying

86. ESSENTIAL ELEMENTS QUIZ – ODE TO JOY Ludwig van Beethoven

&B?

?

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

Moderato

œ≥ œ œ œ4

œ≥ œ œ œ4

œ≥ œ œ œ

œ≥4 œIII

œ–1 œ4

Fœœ œœ œœ œœD

˙ .œ jœ


I

œ– 4 œ

œœ œœ œœ œœ˙ .œ jœ


œ œ œ œ

œ œ œ œ

œœ œœ œœ œœ˙ .œ jœ

˙ ˙˙ ˙

˙ ˙˙ ˙

˙ ˙˙˙A7(no3rd)

œ œ> œ œ œ œ

œ œ œ œ4

œ œ œ œ4

œ œ œ œ

œ œIII

œ–1 œ4

œœ œœ œœ œœD

˙ .œ jœ


I

œ– 4 œ

œœœ œœ œœœ œœœG/D D A7(sus4)

˙ .œ jœ

HIST

ORY

E


&B?

?

&?

### ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano


œ œ œ œ

œ œ œ œ

œœœ œœœ œœœ œœœD Bmi Emi/G D


˙ ˙˙ ˙

˙ ˙˙ ˙

˙ ˙A7sus D

œ œA7

˙ ˙

˙ œ œ˙ œ œ

˙ œ œ˙ œ œ

œœœ œœœ œœœ œœA D/A

.œ jœ .œ jœ

œ≤ œ œ œ œœ≤ œ œ œ œ

œ≤ œ œ œ œœ≤ œ4 œ0 œ œ

œœœ œœœ œœ œœœ œœA D/A

.œ jœ .œ jœ

œ≥ œ œ œ œœ≥ œ œ œ œ

œ≥ œ œ œ œ

œ≥ œ4 œ0 œ œ

œœ œœ œœ œœ œœA F#7/A#

œ œ œ# œ

&B?

?

&?

### ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano

œ≤ œ ˙4

œ≤ œ ˙4

œ≤ œ ˙

œ≤ œ ˙

œœ œ œœ# ˙Bmi E A

œ œ ˙n

œ≥ œ œ œ4

œ≥ œ œ œ4

œ≥ œ œ œ

œ≥ œIII

œ–1 œ4

œœœ œœœ œœœ œœœnD G/D D7

.œ jœ .œ jœ


I

œ– 4 œ

œœœn œœœ œœœ œœœD7/G G D/G A7sus/G

.œ jœ .œ jœ


œ œ œ œ

œ œ œ œ

œœœ œœœ œœœ œœœD/A D/C# A7(no3rd) D/F#


˙≥ ˙≤

≥ ≤

≥ ≤

≥ ≤

˙ ˙A7sus D

œ œA7

œ œ ˙


PERFORMANCE SPOTLIGHT

Teacher A PERFORMANCE SPOTLIGHT appears on student book pages 24 and 25. The purpose of these pages is to summarize some of the principal playing skills the students have learned. These pieces may be used in a special concert performance. You may wish to show the learning process through a progression of scales, rhythm studies, duets and rounds, and/or choose to showcase the orchestra arrangements. Different styles of music are included to provide a varied musical experience for both the audience and performers.

Discuss with students proper concert etiquette for both performers and audience members. Point out that performers must practice their music until it is mastered before performing. Performers must dress appropriately for the concert, and arrive on time. Once the music is ready for performance, the audience must respect the efforts of the performer by listening quietly and attentively.

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

87. SCALE WARM-UP

&B??

&?

### ## ## ## ## #

44444444

4444

Violin

Viola

Cello

Bass

Piano

œ≥

œ œ œœ≥ œ œ œœ≥ œ œ œœ≥ œ œ œ

‰ jœ œ œ œ œD A/E

˙ ˙


‰ jœ œ œ ˙D/F# G

˙ ˙


‰ jœ œ œ œ œD/A G/B

˙ ˙

œ œ œ ˙œ œ œ ˙œ œ œ ˙

III

œ–2 œ œ ˙4

œ œ ˙A7/C# D

˙ ˙

&B??

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano


œ œ œ œ œ œG/D F#mi/C#

˙ ˙


I

œ– 4 œ œ œ

œ œ œ œ ˙G/B D/A

˙ ˙


œ œ œ œEmi/G D/F#

˙ ˙

œ œ œ ˙œ œ œ ˙œ œ œ ˙œ œ œ ˙

œ œ œ ˙A/E D

˙ ˙


Teacher Explain to students the organization of a round. Discuss with the class other examples of rounds common to American folk music, such as Row, Row, Row Your Boat.

88. FRÈRE JACQUES – Round (When group A reaches ②, group B begins at ①) French Folk Song

&B??

&?

### ## ## ## ## #

42

42

42

42

42

42

Violin

Viola

Cello

Bass

Piano

Moderato①

œ≥ œœ≥ œ

œ≥ œœ≥ œ

œ œœD A

œ œ


œœ œD

˙

œ œœ œ

œ œœ œ

œ œœD A

œ œ


œœ œ œD

˙

②œ œœ œ

œ œœ œ0

œœ œœD A7

œ œ

˙4

˙4

˙˙1

œœ œ œD

˙

œ≤ œœ≤ œ

œ≤ œœ≤ œ

œœ œœD A7

œ œ

˙4

˙4

˙˙

œœ œD

˙

&B??

&?

### ## ## #

# ## #

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

œ0≥ œ œ œœ0≥ œ œ œœ≥ œ œ œœ≥ œ œ œ

œœ œœ œD A7

œ œ


œœ œD

˙

œ0 œ œ œœ0 œ œ œœ œ œ œœ œ œ œ

œœ œœ œD A7

œ œ


œœ œD

˙

œ œ0

œ œ0

œ œ

œ œRepeat 4 bars on last time (to accompany the round).

œ œD A

œ œ

˙˙˙˙

˙D

˙

œ≤ œ≥

0

œ≤ œ≥0

œ≤ œ≥

œ≤ œ≥

œ œD A

œ œ

˙≤

≤

≤

≤

˙D

˙


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

Teacher Review the definition of chords and harmony as presented. Show and demonstrate for students different examples of chords.

Bile ‘Em Cabbage Down, exercise 89, is the first orchestra arrangement in this book. All arrangements can be played with many different combinations of instruments. For the best concert performance, violins should be divided between the A and B parts, and all other instruments should play part B.

89. BILE ‘EM CABBAGE DOWN – Orchestra Arrangement American Fiddle Tune

&&

BB??

??

&?

### #

# ## ## ## ## ## #

# ## #

44

44

44

44

44

44

44

44

44

44

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

Allegro

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≥ œ≤ œ≥ œ≤ œ≥ œ≤pizz.œ Œ œ Œ

œœœ œœ œœ œœœ œœ œœD

œ Œ œ Œ



œ œ œ œ œ œœ Œ œ Œ

œœœ œœ œœ œœœ œœ œœA7/G

œ Œ œ Œ



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 œœ œœ œœ œœ œœA7

œ Œ œ Œ

THEO

RY

133Student Book Pages 24 and 25

&&BB????

&?

### ## ## ## ## ## ## ## ## #

..

..

..

..

..

..

..

..

..

..

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

5 Measure Number

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 œœ œ œ œ œ œœ Œ œ Œ

5


œ Œ œ Œ


œœœ œœ œœ œœœ œœ œœA7/G

œ Œ œ Œ


œœœ œœ œœ œœ œœ œœD A7

œ Œ œ Œ

œ œ œ œ Œœ œ œ œ Œœ œ œ œ Œœ œ œ œ Œœ œ œ œ Œœ œ œ œ Œœ œ œ œ Œœ Œ œ Œ

œœœ œœ œœ œœœ ŒD

œ Œ œ Œ90. ENGLISH ROUND

&B??

&?

### ## ## ## ## #

44

444444

4444

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

①Andante

œ≥ œ ˙œ≥ œ ˙œ≥ œ ˙œ≥ œ ˙

œœœ œœœ œœœ œ œ œD Emi/G D

œ œ ˙

②œ œ ˙œ œ ˙œ œ ˙œ

III

œ–1 ˙4

œœœ œœœ œœœ œ œ œD Emi/G D

œ œ ˙

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ4 œ4 œ œ2 œ4

I

œ–1 œ œ

œœœ œœœ œœœ œœœD Emi/G D Emi/G

œ œ œ œ

Repeat bar on last time

œ œ œ Œ,œ œ œ Œ,œ œ œ Œ,

œ œ œ Œ,

œœœ œœœ œœœŒD Emi/G D

œ œ œ Œ


91. LIGHTLY ROW – Orchestra Arrangement

&&BB??

??

&?

### ## ## ## ## ## ## #

# ## #

44

44

44

44

44

44

44

44

44

44

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

Moderato

œ≥4

œ œ œ≤ œ œœ≥ œ œ œ œ œœ≥4 œ œ œ≤ œ œœ≥ 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

œœ œœ œœ œœ œœ œœD A7

œœ œœ œœ œœ œœ œœ

œ œ œ œ œ4 œ œ

œ œ œ œ œ œ œœ œ œ œ œ4 œ œ


œ≥ œ œ œ œ œ œ




œ œ œœ œœ œœœ œœœ œœœD A


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 œ

œ≤ œ œ œ≥ œ œ

œ≤ œ œ œ≥ œ œœ≤ œ œ œ≥ œ œ



œ≤

œ œ4 œ ˙

œ œ œ œ ˙œ≤ œ œ4 œ ˙

œ œ œ œ ˙

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 œœ ˙D A D

œ œ œœ œœ œ œ œ


&&BB??

??

&?

### ## ## ## ## ## ## #

# ## #

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

5


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



œœ œ œœ œ œœ œœ œœA A7

˙ œ œ

œ≤ œ œ œ œ œ œ4

œ œ œ œ œ œ œœ≤ œ œ œ œ œ œ4






œœ œ œœ œ œœ œœ œœD D/F#

˙ 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 œ


œ≥ œ œ œ≤ œ œœ≥ œ œ œ≤ œ œ



œ œ œ4 œ ˙œ œ œ œ ˙œ œ œ4 œ ˙œ œ œ œ ˙

œ≥ œ œ œ ˙œ≥ œ œ œ ˙

œ≥ œ œ œ ˙œ≥ œ œ œ ˙

œ œ œœ œœ ˙D A D

œ œ œœ œœ ˙


French composer Jacques Offenbach (1819–1880) was the originator of the operetta and played the cello. An operetta is a form of entertainment 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 Underworld. This popular work was written in 1858, just three years before the start of the American Civil War (1861–1865).

Teacher Discuss the history and musical contributions of Jacques Offenbach as presented on student book page 25. Point out to students how European operettas are similar in some ways to today’s American Broadway musicals. It is fun for students to find out that Offenbach, the famous composer of the Can-Can, was a cellist!

92. CAN-CAN – Orchestra Arrangement Jacques Offenbach Arr. John Higgins

&&BB????

&?

### ## ## ## ## ## ## ## ## #

42

42

42

42

42

42

42

42

42

42

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

Allegro

œ≥

œœ≥

œœ≥ œœ≥ œ

œ≥ œœ≥ œ

œ≥ œœ≥ œ

œœ œ œœ œD

œ œ



œ œ œ œ

œ œ

œ œ œ œA7

œ œ

œ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œ

œœ œ œœ œD

œ œ

œ œ œ œ

œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ

œ œ

œœ œ œ œœ œ


œ œœ œ

œ œ

œ œ

œ œœ œ œœA7

œ œ



œ œ œ œ

œ œ

œ œ œ œœ œ



œIII

œ– 4 œI

œ– 4

œIII

œ– 4 œI

œ– 4

œ œ œ œN.C.

œ œ œ œ

œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ


HIST

ORY


&&BB????

&?

### ## ## ## ## ## ## #

# ## #

..

..

..

..

..

..

..

..

..

..

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

9

œ œœ œœ œœ œœ œœ œ

œ œœ œ

9

œœ œ œœ œD

œ œ

œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ

œ œ œ œ

œ œ

œ œ œ œA7

œ œ

œ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œ

œœ œ œœ œD

œ œ

œ œ œ œ



œ œ

œœ œ œ œœ œ


œ œœ œ

œ œ

œ œ

œ œœ œ œœA7

œ œ



œ œ œ œ

œ œ

œ œ œ œœ œ



œ œ œ œ

œ œ œ œ

œœœ œœœD A7

œ œ

œ œœ œœ œœ œœ œœ œœ œœ œ

œœœ œD N.C.

œ œ

Student ✔✔ What were the strong points of your performance?


Teacher The G string and the pitches C, B, and A are introduced for the violin, viola, and cello on student book page 26. C, B, and low G are introduced for the bass since the G string already was introduced on student book page 6.

The speed of the bow should be slower on the G string than on the D and A strings. Instruct students that the lower the string, the slower the bow must travel. In addition, the bow should travel closer to the bridge on lower strings, especially on the cello and bass.

ViolinG S T R I N G N O T E S

C is played with 3 fingers B is played with 2 fingers A is played with 1 fingeron the G string. on the G string. on the G string.

CBA

EA

DG

321

4

ViolaG S T R I N G N O T E S


C

3

B

2A

1

AD

GC

4

CelloG S T R I N G N O T E S


CB

A

AD

GC

4321


Bass

E A N D A S T R I N G N O T E S

is played with is played with is played with

G 2 fingers on C 2 fingers on B 1 finger on the E string. the A string. the A string.

G

B

GDAE

432

1

432

1

C


1.

& 44 Teacher plays

˙ ˙Students echo

˙ ˙Teacher plays

œ œ ˙Students echo

œ œ ˙Teacher plays


œ œ œ œ2.

& 44 Teacher plays






œ œ œ œ3.

& 44 Teacher plays








œ œ œ œ4.


Teacher plays


œ œ œ œ

& # Teacher plays





œ œ œ œ

& # Students echo





œ œ œ œ


New Key Signature: G MAJOR

& #

B #

? # Play all F’s as F# (F-sharp) and all C’s as C n (C-natural).

Violin

Ledger Lines

Ledger lines

Ledger lines

Ledger lines extend the music staff higher or lower.

& œ0

GViolin

B œ0GViola

? œ0GCello

? œ2GBass

93. LET’S READ “G“

&

B

?

?

&?

#

#

#

#

#

#

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥0

œ ˙Play F#'s and C

n's in this key signature.

œ≥0

œ ˙

œ≥0

œ ˙

œ≥2

œ ˙

....˙˙ ‰ jœœœœGma7

œ œ .œ œ œ œ

œ≤

œ ˙œ≤ œ ˙

œ≤ œ ˙

œ≤ œ ˙

....˙˙˙b ‰ jœœœœC9

œ œ .œ œ œ œ

˙ ˙˙ ˙

˙ ˙

˙ ˙

....œœœœnjœœœœ ....œœœœb

jœœœœGma7 C9


œ œ ˙œ œ ˙

œ œ ˙

œ œ ˙

wwwwnGma7

œ œ œ ˙

Violin/ When violin and viola students finger notes on the G string, their left elbow should be well under the instrument. Viola If their arm is properly centered underneath the instrument, students should be able to see the side of their arm

as they look through the C bout on the high string side of their instrument. Be aware that some students get confused and attempt to swing their arm underneath the instrument to try to see their elbow. However, only the side of the arm needs to be seen through the C bout.

THEO

RY


& œ3

CViolin

B œ3CViola

? œ4CCello

? œ2CBass

94. LET’S READ “C“ (C-natural)

&B??

&?

######

44

44

44

44

4444

Violin

Viola

Cello

Bass

Piano

œ3≥

œ ˙œ3≥ œ ˙œ≥4

œ ˙œ≥2

œ ˙œœ œ œœ œ œ jœ ˙C

œ œ œ œ œ

œ≤

œ ˙œ≤ œ ˙œ≤ œ ˙œ≤ œ ˙œœn œ œœ œ œ jœ ˙F

œn œ œ œ œ

˙ ˙˙ ˙˙ ˙˙ ˙œœ œ œœ œ œ œœn œ œœ œ œC F

œ œ œ œn œ œ

œ œ ˙œ œ ˙œ œ ˙œ œ2 ˙œœ œ œœ œn œ œ œœn œœC G7 C G7 C

œ œ œ œ œ

& œ2

BViolin

B œ2BViola

? œ3BCello

? œ1BBass

95. LET’S READ “B”

&B??

&?

#

#####

44

44

44

44

4444

Violin

Viola

Cello

Bass

Piano

œ2≥

œ ˙œ2≥ œ ˙œ3≥ œ ˙œ1≥ œ ˙‰ jœœœ. ‰ jœœœ. ‰ œœœ œ œœœ-

Emi

œ œ œ œ

œ≤

œ ˙œ≤ œ ˙œ≤ œ ˙œ≤ œ ˙‰ jœœœ. ‰ jœœœ. ‰ œœœ œ œœœ-œ œ œ œ

˙3

˙2

˙3 ˙2

˙4 ˙3

˙2 ˙1

‰ jœœœn . ‰ jœœœ. ‰ jœœœ. ‰ jœœœ.F Emi

œn œ œ œ

œ œ ˙œ œ ˙œ œ ˙œ œ2 ˙

‰ jœœœn . ‰ jœœœ. ‰ jœœœ œœœ-F G C

œn œ ˙


Violin Be sure all violin and viola students are forming a square with their first finger on the fingerboard when playing Viola “A” on the G string.

& œ1

AViolin

B œ1AViola

? œ1ACello

96. LET’S READ “A“

&

B??

&?

#

#

##

#

#

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ1≥

œ ˙œ1≥ œ ˙

œ1≥ œ ˙œ0≥ œ ˙

œœœ^

œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.Asus Ami

w>

œ≤

œ ˙œ≤ œ ˙

œ≤ œ ˙œ≤ œ ˙

œœœ^

œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.Asus/F Ami/F

wn >

˙0

˙1

˙0 ˙1

˙0 ˙1

˙2 ˙0

œœ œ œœ œ œœ œn œœ œGsus G F

˙ ˙n

œ2

œ ˙3

œ2 œ ˙3

œ3 œ ˙4

œ1 œ ˙2

˙ ˙Esus Ami

œ œ#E

˙ ˙


97. WALKING AROUND Name the notes before you play.

&B

?

?

&?

#

#

#

#

##

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

˙≥3

˙≥3 ˙≥4 ˙≥2 ˙

˙˙˙˙˙

C(add9)

.œ jœ .œ jœ

˙2

˙˙2 ˙

˙3 ˙

˙1 ˙

˙˙ ˙G(add9)/B

.œ jœ .œjœ

˙1

˙˙1 ˙

˙1 ˙

˙0 ˙

˙˙˙ œœœn œ œ œF(add9) Dmi9

.œn jœ .œ jœ

˙0 Ó,

˙0 Ó,

˙0 Ó,

˙2 Ó,

˙˙˙n ˙˙˙G7sus G7

.œ jœ œ œ œ œ

&B

?

?

&?

#

#

#

#

##

Violin

Viola

Cello

Bass

Piano

˙≥

˙≥ ˙

˙≥ ˙

˙≥ ˙

˙˙˙ ˙˙˙C(add9)/E

.œ jœ .œ jœ

˙ ˙˙ ˙

˙ ˙

˙ ˙

˙˙˙n ˙˙˙#F(add9) D(add9)/F#

.œn jœ .œ# jœ

˙ ˙˙ ˙

˙ ˙

˙ ˙

˙ ˙nG G7/B

.œ jœ .œ jœ

˙ Ó

˙ Ó

˙ Ó

˙ Ó

œœœn œœœ ˙Csus C

œ œ ˙


Teacher Check that students have written the correct name of the notes in exercise 98 before playing.

98. G MAJOR SCALE Write the note names before you play.

&

B??

&?

#

###

##

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

˙≥

˙— —≥ ˙

˙≥ ˙

˙≥2

˙0

˙ œœœ œœœG D/F#

.œ jœ œ Œ

˙ ˙— —

˙ ˙

˙ ˙

˙1 ˙2

˙ œœœb œœœEmi7 Cmi/Eb

.œ jœ œb Œ

˙ ˙— —

˙ ˙

˙ ˙

˙0 ˙1

˙ œœœn œœœG/D C/D

.œ jœ œ Œ

˙ ˙— —˙ ˙

˙ ˙

˙4 ˙0

œœœ œ œ œ ˙D7 G

.œ jœ œ œ œ

&

B??

&?

#

###

##

Violin

Viola

Cello

Bass

Piano

˙ ˙— —˙ ˙˙ ˙˙ ˙

˙ œœœ œœœC D/C

.œ jœ œ Œ

˙ ˙— —˙ ˙˙ ˙˙ ˙

˙ œœœ œœœAmi G/B

.œ jœ œ Œ

˙ ˙— —

˙ ˙˙ ˙˙ ˙

˙b œœœ œœœCmi/Eb G/D

.œb jœ œ Œ

˙ ˙— —

˙ ˙˙ ˙˙ ˙

œœœ- œœœ- ˙Ami7/D D7 G

.œ jœ ˙


Violin/ Fourth finger D on the G string is introduced in exercise 99. Have students compare their fingered D to their Viola open D string for tuning. Be sure their left arm is centered underneath their instrument so that they may reach

the fourth finger D on the G string.

99. FOURTH FINGER D

&B??

&?

#

###

##

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥


œ≥ œ œ œ

œ≥2

œ0 œ1 œ2

œœœ œœœ œœœ œœœG

.œ jœ .œ jœ

4th finger on G string = Open D pitch.

˙4

˙4th finger on G string = Open D pitch.˙4 ˙

˙ ˙˙0 ˙

œœœ œœ œ œ ˙˙˙D

.œ jœ .œ œ œ œ


œœœ œœœ œœœ œœœ.œ jœ .œ jœ

˙ ˙˙ ˙˙ ˙˙ ˙

˙ œœœ œœœG C G

.œ jœ œ œ

&B??

&?

#

###

#

#

Violin

Viola

Cello

Bass

Piano



œœœ œœœ œœœ œœœD7

.œ jœ .œ jœ

˙ ˙˙ ˙˙ ˙˙ ˙

œœœ œœ œœ## ˙˙˙nC D7/A

œ œ œ# œ œ

œ4

œ œ œœ4 œ œ œœ œ œ œœ œ œ œ

œœœ œœœ œœœ œœœD D7

.œ jœ .œ Jœ

˙ Ó

˙ Ó

˙ Ó

˙ Ó

˙ ‰ jœœœ^

œœœ-C G

œ œ œ ‰ jœ œ-


Time Signature c = Common Time Conducting Practice conducting

(Meter) Same as 4

4

1 4

32

this four-beat pattern.

Teacher Have students practice the 4

4 conducting pattern to reinforce their feeling and understanding of Common Time.

100. LOW DOWN

&B??

&?

#

#####

cccc

cc

Violin

Viola

Cello

Bass

Piano

œ≥

œ œ œœ≥ œ œ œœ≥ œ œ œœ≥2

œ1 œ œ‰ jœ œ œ œ œ œ œG

w

˙ ˙˙ ˙˙ ˙˙0 ˙‰ jœ œ œ œ œ

D7

w

œ œ œ œœ œ œ œœ œ œ œœ œ œ œ‰ jœ œ œ œ œ œ œ˙ ˙

˙ ˙˙ ˙˙ ˙˙ ˙‰ jœ œ œ œ œG

w

&B??

&?

####

##

Violin

Viola

Cello

Bass

Piano

œ4

œ œ4

œœ4 œ œ4 œœ œ œ œœ œ œ œ

‰ jœ œ œ œ œ œ œG G/B

˙ ˙

˙ ˙˙ ˙˙ ˙˙ ˙

‰ jœ œ œ œ œC Ami7

˙ ˙

œ4

œ œ œœ4 œ œ œœ œ œ œœ œ œ œ

‰ jœ œ œ œ œ œ œD7

˙ ˙

˙ ˙˙ ˙˙ ˙˙ ˙

‰ jœ œ œ ˙G

œ Œ ˙

THEO

RY


101. BAA BAA BLACK SHEEP

&B?

?

&?

#

#

#

#

##

c

c

c

c

cc

Violin

Viola

Cello

Bass

Piano

Moderato

œ≥


œ≥ œ œ œ

œ≥2

œ œ0 œ

œœœ œœœ œœœ œœœG Bmi7

˙ .œ jœ

œ œ œ œ ˙œ œ œ œ ˙

œ œ œ œ ˙œ1 œ œ œ ˙0

œœœ œœœ ˙Cma7 Bmi7

˙ .œ jœ

œ≤

œ œ œœ≤ œ œ œ

œ≤ œ œ œœ≤2

œ œ1 œ

œœœ œœœ œœœ œœœC/D Bmi/D

˙ .œ Jœ

œ œ ˙œ œ ˙

œ œ ˙œ0 œ ˙2

œœœ œœœ ˙Ami/D G

˙ .œ jœ

&B?

?

&?

#

#

#

#

##

Violin

Viola

Cello

Bass

Piano

œ4≥

œ œ œ œ œœ4≥ œ œ œ œ œ


œœœ œœœ œœœ œœœGma7/D C/D

˙ .œ Jœ

œ œ œ ˙œ œ œ ˙


œœœ œœœ ˙Bmi/D Ami/D

˙ .œ Jœ

œ4≥

œ œ œ œ œœ4≥ œ œ œ œ œ


œœœ œœœ œœœ# œœœBmi7 E+7

˙ .œ Jœ



œœœ œœœ ˙Ami9 D9

˙ .œ Jœ


&

B?

?

&?

#

#

#

#

##

Violin

Viola

Cello

Bass

Piano

œ≥

œ œ0

œ

œ≥ œ œ0 œ

œ≥ œ œ œ

œ≥ œ œ œ

œœœ œœœ œœœ œœœG Bmi7

˙ .œ jœ



œœœ œœœ ˙˙˙#Cma7 E9

˙ .œ Jœ

œ≤


œ≤ œ œ œœ≤ œ œ œ

œœœn œœœ œœœœ œœœœAmi7 Gma7/D

˙ ˙

œ œ ˙œ œ ˙

œ œ ˙œ œ ˙

œœœ œœœ ˙Ami/D G

˙ ˙

QUIZ OBJECTIVES – THIS OLD MAN

● G string notes

● Violin/Viola 4th finger D

● Counting quarter, eighth, and half notes in 4

4 time

Review Exercises:

97. Lift Off

99. Fourth Finger D

100. Low Down

101. Baa Baa Black Sheep


102. ESSENTIAL ELEMENTS QUIZ – THIS OLD MAN

American Folk Song

&B?

?

&?

#

#

#

#

#

#

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

Moderato

œ4≥

œ ˙4

œ4≥ œ ˙4

œ≥ œ ˙

œ≥ œ ˙

œœ œœ ˙G

˙ .œ jœ

œ4≤

œ ˙0

œ4≤ œ ˙0

œ≤ œ ˙

œ≤ œ ˙

œœ œœ ˙˙ .œ jœ

œ œ0

œ œœ œ0 œ œœ œ œ œœ œ œ œ

œœ œœ œœ œœC

˙ .œ jœ

œ œ œ œ œœ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ

œœ œœ œœ œ œD7

˙ .œ jœ

&B?

?

&?

#

#

#

#

#

#

Violin

Viola

Cello

Bass

Piano

œ≤4

œ œ œ œœ≤4 œ œ œ œœ≤ œ œ œ œœ≤ œ œ œ œ

œœ œ œ œ œG

˙ .œ jœ

œ œ œ œ ˙4

œ œ œ œ ˙4

œ œ œ œ ˙

œ œ œ œ ˙

œ œ œœ œœ ˙˙ .œ jœ

œ≤


œ≤ œ œ œ

œ≤ œ œ œ

œœ œ œœ œœD7

˙ .œ jœ

œ œ ˙œ œ ˙

œ œ ˙œ œ ˙

œœ œœ ˙G D7 G

œ œ ˙

E


Teacher 3

4 meter and dotted half notes are introduced on student book page 28 in the familiar key of D Major. Newly learned skills will be combined for review and reinforcement on Skill Builder pages, such as the G Major Skill Builder on page 31.

Time Signature 3 = 3 beats per measure Conducting Practice conducting

(Meter) 4 = q

or Œ gets one beat 1 3

2

this three-beat pattern.

Dotted Half Note ——1 & 2 & 3 &

.˙ 3 Beatsof Sound

=

Teacher When students practice exercises on student book page 28 be sure that they count the dotted half notes carefully and move their bow slower while playing them. One suggested practice sequence is to follow the steps introduced for the previous Rhythm Raps (Teacher’s Manual page 113). As students are pulling their bows, they can count 1 & 2 & etc. for the rhythm while adjusting their bow speed and tapping their foot. Alternatively, they can describe the bow speed as they are bowing, using such phrases as:

● quarter note = “fast”

● half note = “slow bow”

● dotted half note = “real slow bow”

● whole note = “real, real slow bow”


/

&?

### #

43

43

43

..

..

..Piano

1 & 2 & 3 &

œ≥ œ≤ œ≥Count:

Œ œœœ œœœD

.˙

1 & 2 & 3 &

œ≤ œ≥ œ≤

Œ œœœ œœœA7

.˙

1.

1 & 2 & 3 &

.≥

Œ œœœ œœœD

.˙

1 & 2 & 3 &

.≤

...˙D/A

œ œ œ

2.

1 & 2 & 3 &

.≥

œœœŒ Œ

D

œ œ œ

1 & 2 & 3 &

.≤

...˙

.˙


THEO

RY

Dot.A dot adds half thevalue of the note.

˙ œ .˙2 beats + 1 beat = 3 beats

=


104. COUNTING THREES

&B??

&?

### ## ## ## ## #

43

43

43

43

43

43

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

œ≥ œ œœ≥ œ œ


Œ œœœ œœœD

.˙

œ œ œœ œ œ

œ œ œœ œ œ

Œ œœœ œœœA7

.˙

BowSlow1.

.˙

.˙

.˙

.˙

Œ œœœ œœœD

.˙

BowSlow

.˙

.˙

.˙

.˙

...˙D/A

œ œ œ

BowSlow2.

.˙

.˙

.˙

.˙

œœœŒ ŒD

œ œ œ

BowSlow

.˙

.˙

.˙

.˙

...˙

.˙


105. D MAJOR SCALE IN THREES

&B?

?

&?

### ## ## #

# ## #

43

43

43

43

43

43

Violin

Viola

Cello

Bass

Piano


œ≥ œ œ

œ≥ œ œ

œœ œœ œœD

.˙

œ œ œœ œ œ

œ œ œ

œ œ œ

œœ œœ œœG

.˙

.˙

.˙

.˙

III

.˙–2

.˙A/D

œ œ œ

.˙

.˙

.˙

.˙

.˙

.˙Dœ œ œ

.˙

œ œ œœ œ œœ œ œœ œ

I

œ– 4

œœ œœ œœG

.˙


œœ œœ œœEmi

.˙

.˙

.˙

.˙

.˙

.˙Emi/A

œ œ œ.˙

.˙

.˙

.˙

.˙

..˙D

..˙


Bass In French Folk Song, basses should play B in measure 3 with the first finger. Students may either shift their hand back to B in second and a half position, or they may pivot their hand on their thumb back to B. Remind students that the thumb slides with the hand as a unit when shifting. Instruct them that when pivoting, the thumb does not slide along the neck of the instrument, but pivots on the pad of the thumb.

Bass

New Position – II1/2 (Second and a half position – first finger on B.)

106. FRENCH FOLK SONG French Folk Song

&B??

&?

### ## ## ## ## #

43

43

43

43

43

43

Violin

Viola

Cello

Bass

Piano

Moderatoœ≥ œ œœ≥ œ œœ≥ œ œ

III

œ≥4 œ œ

œ œ œD

..˙

.˙

œ≤ œ œœ≤ œ œœ≤ œ œœ≤2 œ œ

œ œ œA/D

..˙

.˙

œ≥ œ œœ≥ œ œœ≥ œ œ

II /12

œ≥–1

III

œ–2 œ4

œ œ œG/D

.˙

.˙

.≤

.≤

.≤

I

.≤–1

..œœ Jœ œ œD

.˙


œ œ œG G/A

..˙˙ œ


œ œ œBmi

..˙

.˙


œ œ œC A

˙n œœ#˙n œ

.˙≤

.≤

.≤

.≤

˙ œœœD G/A

˙ œ

&B??

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano

œ œ œœ œ œœ œ œœ0 œ1 œ4

œœ œœ œœD Emi/D D

˙ œ œ



˙ œ œ



˙ œ œ

.≤

.≤

.≤

.≤0

.˙G/D

œ œ œ œ œ œ.˙


œœ œœ œœEmi/A D/A G/A

˙ œ œ



˙ œ œ


&B??

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano



˙ œ œ

.≤

.≤

.≤

.≤1

..œœjœœ œœ

A Bmi A/C#

.œ jœ œ

œ œ œœ œ œœ œ œ

III

œ– 4 œ2I

œ– 4

œœ œœ œœD A/D Emi7

˙ œ


œ œ œD/F# Emi7 D

˙ œœ œ œ

œ œ œœ œ œœ œ œœ1 œ0 œ

œœ œ œœA7sus A7

˙ œ˙ œ

.˙≤

.≤

.≤

.≤

.˙G

œœ ˙D

œ ˙QUIZ OBJECTIVES – SAILOR’S SONG ● 34 time signature ● Counting dotted half notes ● Changing bow speeds for different note lengths

Review Exercises: 104. Counting Threes 105. D Scale in Threes 106. French Folk Song

107. ESSENTIAL ELEMENTS QUIZ – SAILOR’S SONG English Sea Song

&B??

&?

### ## ## ## ## #

4343

Violin

Viola

Cello

Bass

Piano

Allegro

œ≥ œ œWrite in the correct time signature before you begin.œ≥ œ œœ≥ œ œœ≥ œ œ

œœ œ œœ œ œœD

˙ œ œ

œ≤ œ œœ≤ œ œœ≤ œ œœ≤ œ œ

œœ œ œœ œ œœ œBmi

.˙

œ≥ œ œœ≥ œ œœ≥ œ œœ≥ œ œ


˙ œ œ

.˙

.˙

.˙

.˙

œœ œ œœ œ œœ œBmi

.˙

.˙

.˙

.˙

.˙


˙ œ œ

E


&

B?

?

&?

##

# ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano

.˙

.˙

.˙

.˙

œœ# œ œ œ œ œB7

.˙

œ œ œœ œ œ

œ œ œ

œ œ œ

œœ œ œ œn œœEmi

˙ œ œ

.˙

.˙

.˙

.˙

..˙A

œ œ œ œ


œ≥ œ œ

œ≥ œ œ

œœœ œœœ œœœEmi7

˙ œ œ

œ≤ œ œœ≤ œ œ

œ≤ œ œœ≤ œ œ

œœœ œ œœœA7

˙ œ œ

&

B?

?

&?

##

# ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano



œœœ œ œœœEmi7

˙ œ œ

.≤

.≤

.≤

.≤

...˙˙ œ

œ œ œœ œ œ

œ œ œ

œ œ œ

œœ œ œ œ œ œA7

˙ œ

œ œ œœ œ œ

œ œ œœ œ œ

œœ œ œ œ œ œ

˙ œ œ

œ œ œœ œ œ

œ œ œ

œ œ œ

œœ œœ œœD

˙ œ

.˙≤

.≤

.≤

.≤

...˙

.˙


A tie is a curved line that connects notes Tie of the same pitch. Play a single note for

& œ œ

B œ œ

? œ œ the combined counts of the tied notes.

Teacher Ties and slurs are presented on student book page 29. Discuss with students the difference between a tie and a slur.

108. FIT TO BE TIED

&B??

&?

### ## ## ## ## #

44

44

44

44

4444

Violin

Viola

Cello

Bass

Piano

˙≥ œ œ≥ œ œ≥ œ œ≥ œ œ

œœœ œœœ ˙˙˙D Asus

œ œ œ œ œ œ

˙ œ œ˙ œ œ

˙ œ œ

˙ œ œ

œœœ œœœ ˙D/F# G

œ œ œ œ œ œ

˙4 œ œ˙4 œ œ˙ œ œ˙ œ œ


œ œ œ œ œ œ

˙4 Ó,˙4 Ó,

˙ Ó,

˙ Ó,

œœœ œœœ ˙Asus A

œ œ œ œ œ

&B??

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano

≥ œ œ≥ œ œ≥ œ œ≥ œ œ


œ œ œ œ œ œ


œœœ œœœ ˙˙˙D/A Asus

œ œ œ œ œ œ


œœœn œœœ œœœ œœœ#Gsus G Asus A

œ œ œ œ

˙ Ó˙ Ó˙ Ó˙ Ó

œœœ œœœ ˙Dsus D

œ œ ˙

œ œ = 2 beats

THEORY


A slur is a curved line that connects two or more Slur different pitches. Play slurred notes together

& œ œ

B œ œ

? œ œ

in the same bow stroke.

Teacher To help prepare to learn slurring, have students trill while pulling their bow in one direction. Incorporate slurred examples in their listening skill echoes. Also, consider adding slurs to the D major scale and to previously learned pieces. Another effective way to introduce slurring is to have students practice bowing two detached notes in the same direction, eventually eliminating the bow stop between the pitches, e.g. œ≥. œ≥. œ≤. œ≤.

to œ≥ œ œ≤ œ

109. STOP AND GO

&B??

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥ œ Óœ≥ œ Óœ≥ œ Óœ≥ œ Ó

œœœbn œœœn Œ œ œ œBb C/Bb

œb Œ œ Œ

œ≤ œ Óœ≤ œ Óœ≤ œ Óœ≤ œ Ó

œœœ œœœŒ

œ œ œD

œ Œ œ Œ

œ≥ œ Óœ≥ œ Óœ≥ œ Óœ≥ œ Ó

œœœb œœœn Œ œ œ œGmi Ami7

œ œ œ Œ

œ≤ œ Óœ≤ œ Óœ≤ œ Óœ≤ œ Ó

œœœ œœœ‰ jœ œ œ

D

˙ ˙

&B??

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano

œ≥ œ œ≤ œœ≥ œ œ≤ œœ≥ œ œ≤ œœ≥ œ œ≤ œ

œœœ œœœ œœœ œœœD Emi/D D

˙ ˙

œ≥ œ œ≤ œœ≥ œ œ≤ œœ≥ œ œ≤ œœ≥ œ œ≤ œ

œœœ œœœ œœœ œœœEmi/D D

˙ ˙

˙≥ ˙≤≥ ≤

≥ ≤

≥ ≤

˙ ˙Gmi Ami7

œb œ œ œ œn œ œ œ.œ jœ .œ jœ

˙≥ Ó≥ Ó≥ Ó≥ Ó

˙ ˙D

˙ ˙

THEO

RY


110. SLURRING ALONG

&B?

?

&?

##

# #

# ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥ œ Ó

œ≥ œ Ó

œ≥ œ Ó

œ≥ œ Ó

œœœ œœœ ÓD Emi/D

˙ œ œ œ

œ≤ œ Óœ≤ œ Ó


œœœ œœœ ÓDma7 Emi/D

˙ œ œ œ

œ≥ œ Ó

œ≥ œ Ó

œ≥ œ Ó

œ≥ œ Ó

œœœ œœœ ÓD Emi/D

˙ œ œ œ



œœœ œœœ œ œ œDma7 Emi/D

˙ ˙

&B?

?

&?

##

# #

# ## ## ## #

Violin

Viola

Cello

Bass

Piano

œ≥ œ œ≤ œœ≥ œ œ≤ œ

œ≥ œ œ≤ œ

œ≥ œ œ≤ œ

œœœ œ œœœ œGma7

˙ œ œ œ œ

œ≥ œ œ≤ œœ≥ œ œ≤ œ

œ≥ œ œ≤ œ

œ≥ œ œ≤ œ

œœœ œ œœœ œG/A

˙ œ œ œ œ

˙≥ ˙≤

≥ ≤

≥ ≤

≥ ≤

˙ ˙abD C9(#11)

˙ ˙n

.˙≥ Œ

.≥ Œ

.≥ Œ

.≥ Œ

˙ œœœŒ

D

˙ œ œ


111. SMOOTH SAILING

&

B

?

?

&?

##

# #

# ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥ œ ˙≤

œ≥ œ ≤

œ≥ œ ≤

œ≥ œ ≤

œ œ œœœ œ œ œD A

˙˙ ˙

œ≥ œ ˙≤

œ≥ œ ≤

œ≥ œ ≤

œ≥ œ ≤

œ œ œœœ œ œ œG D

˙˙ ˙

œ œ ˙œ œ ˙

œ œ ˙

œ œ ˙

œ œ œœœ œ œ œA Bmi

˙˙ ˙

œ œ ˙œ œ ˙

œ œ ˙

œ œ ˙

œ œ ˙E9 Asus

˙ œ œA

˙ ˙

&

B

?

?

&?

##

# #

# ## ## ## #

Violin

Viola

Cello

Bass

Piano


œ œ œ œ

œ œ œ œ

œ œ œ œD D/F#

˙ ˙˙ ˙


œ œ œ œ

œ œ œ œ

œ œ œ œG E/G#˙ ˙˙ ˙#

˙ ˙˙ ˙

˙ ˙

˙ ˙

œœ œ œ ˙G/A

˙ ˙

.˙ Œ

.˙ Œ

.˙ Œ

.˙ Œ

œœœ œ œ œœœŒD

˙ œ Œ


112. D MAJOR SLURS

&B?

?

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥ œ ˙œ≥ œ ˙

œ≥ œ ˙

œ≥ œ ˙

œ œ ˙Asus

˙D

˙ ˙

œ œ ˙œ œ ˙

œ œ ˙

œ œ ˙

œ œ ˙A/C# D

˙

˙ ˙

œ œ ˙œ œ ˙

œ œ ˙

œ œ ˙

œ œ ˙D7 G

˙˙n˙ ˙

œ œ4 ˙œ œ4 ˙

œ œ ˙

œ œ ˙

œ œ ˙Emi

˙ œ œ#Asus A

˙ ˙

&

B?

?

&?

##

# ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano

œ0 œ ˙œ0 œ ˙

œ œ ˙

œ œ ˙

œ œ ˙nDma7 Cma7/D

˙

˙ ˙

œ œ ˙œ œ ˙

œ œ ˙

œIII

œ–2 ˙

œ œa ˙Gma7 A/G

˙˙ ˙

œ œ ˙œ œ ˙

œ œ ˙

œ œ4 ˙

œ œ ˙F#mi/A G/A

˙

˙ ˙

œ œ ˙œ œ ˙

œ œ ˙

œ œ ˙

œœ œœ ˙A7sus A7 D

˙˙ ˙


Teacher Tell students that their string crossings should be smooth. Show them that in slurred string crossings their bow should follow the natural curvature of their instrument’s bridge. Check to see if their right arm and bow hand are changing levels when changing strings.

113. CROSSING STRINGS

&B??

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ0≥ œ0 ˙≤

œ0≥ œ0 ≤

œ0≥ œ0 ≤

œ0≥ œ0 ˙≤

œœœ œœ ˙nD9 D9/F#

.œ œ œ œ ˙

œ1≥ œ0 ˙≤

œ1≥ œ0 ≤

œ1≥ œ0 ≤

œ1≥ œ0 ˙≤

œœœn œœ ˙˙#G13 A9

.œ œ œ œ# ˙

œ2≥ œ0 ˙≤

œ2≥ œ0 ≤

œ≥3 œ0 ≤

œ≥4 œ0 ˙≤

œœœ# œœ ˙nD9 D9/F#

.œ œ œ œ ˙

œ1≥ œ0 ≤

œ1≥ œ0 ≤

œ1≥ œ0 ≤

œ1≥ œ0 ˙≤

œœœn œœ ˙nG13 A7 D9

œœn œœ ˙#

˙ œ œ˙ œ œ

˙ œ œ˙ œ œ

wN.C.

ww114. GLIDING BOWS

&B?

?

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ0≥ œ0 œ≤ œœ0≥ œ0 œ≤ œ

œ0≥ œ0 œ≤ œ

œ0≥ œ0 œ≤ œ

œ œ œ œœ œBmi7 Bbma7

˙ ˙b

œ1≥ œ0 œ≤ œœ1≥ œ0 œ≤ œ

œ1≥ œ0 œ≤ œ

œ1≥ œ0 œ≤ œ

œœ œ œ œœ œAsus A

˙ ˙

œ2≥ œ0 œ≤ œœ2≥ œ0 œ≤ œ

œ≥3 œ0 œ≤ œ

œ≥4 œ0 œ≤ œ

œ œ œ œD(add9) F#mi7

˙ ˙˙ ˙

œ1≥ œ0 œ≤ œœ1≥ œ0 œ≤ œ

œ1≥ œ0 œ≤ œ

œ1≥ œ0 œ≤ œ

œ œ œ œG6 Asus

˙ ˙˙ ˙

˙ ˙˙ ˙

˙ ˙

˙ ˙

˙ ˙D

œb œnGmi Ami

œ œ ˙


115. UPSIDE DOWN

&B?

?

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ0≥

œ0

œ≤ œ

œ0≥ œ0 œ≤ œ

œ0≥ œ0 œ≤ œ

œ0≥ œ0 œ≤ œ

œœœ œœœ œœœ œœœD(add9) D

˙ ˙

œ≥ œ1 œ≤ œœ≥ œ1 œ≤ œ

œ≥ œ1 œ≤ œ

œ≥ œ1 œ≤ œ

œœœn œœœ œœœ œœœFma7 A7sus

˙n ˙


œ≥ œ3 œ≤ œ

œ≥ œ4 œ≤ œ

œœœ œœœ œœœ œœœD(add9) D

˙ ˙


œ≥ œ1 œ≤ œ

œ≥ œ1 œ≤ œ

œœœn œœœ œœœ œœœFma7 A7sus

˙n ˙

˙ ˙˙ ˙˙ ˙

˙ ˙

œœn œœ ˙#Bbma7 Asus D

œb œ ˙


Upbeat A note (or notes) that appears before the first full measure is called an upbeat (or pickup). The remaining beats are found in the last measure.

Teacher Read the definition of upbeat presented on student book page 30. Upbeats are sometimes called pick-up notes.

116. SONG FOR MARIA

&B??

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

Andante

Upbeat

œ≤

œ≤

œ≤

œ≤

œ

Œ


œ œ œ œ

œ œ œ œ

œ œ œœœ œœD D/F#

Ó œ œ œ


jœœ ‰ œœœ œ ˙G A7 D

jœ ‰ œ ˙

œ œ œ œ4

œ œ œ œ4

œ œ œ œ

œ œ œ œ

Ó œ œœEmi/G F#mi7

Ó œœ œœ

œ œ œ œ œ œ4

œ œ œ œ œ œ4


œœ œ œœ œ ˙G A7 D

œ œ ˙

&B??

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano

œ œ œ œ0

œ œ œ œ0

œ œ œ œ

œ œ œ œ

Ó œœœ œœD D/F#

Ó œ œ œ

œ œ œ œ œ œ4

œ œ œ œ œ œ4œ œ œ œ œ œœ œ œ œ œ œ

jœœ ‰ œœ œ ˙G A7 Bmi

jœ ‰ œ œ œ


˙ ˙Emi/G D/A

˙ ˙

œ œ œ œWhere is beat 4?


œ œ œœA7sus A7 D

˙˙œ œ œ œ

THEO

RY

163

Latin American music combines the folk music from South and Central America, the Caribbean Islands, African, Spanish, and Portuguese cultures. Melodies often feature a lively accompaniment by drums, maracas, and claves. Latin American styles have become part of jazz, classical, and rock music.

Play until you see the D.C. al Fine. Then go back to the beginning and play until you see Fine D.C. al Fine (fee’- nay). D.C. is the abbreviation for Da Capo, the Italian term for “return to the beginning.” Fine is the Italian word for “the finish.”

Teacher Play recorded examples of Latin, Caribbean, African, Spanish, and Portuguese music to familiarize students with these musical styles.

117. BANANA BOAT SONG Caribbean Folk Song

&B??

&?

### ## ## ## ## #

cccc

cc

Violin

Viola

Cello

Bass

Piano

Moderato≥ ˙≥ ˙≥ ˙

III

≥4 ˙2

˙ ˙D A7

œ œ œ œ œ œ

˙ ˙˙ ˙˙ ˙

I

˙– 4 ˙1

˙ ˙G D

œ œ œ œ œ œ


œœœ œœœ œœœ œœœD

.œ jœ .œ jœ

Fine

œ œ œ œ ˙œ œ œ œ ˙œ œ œ œ ˙œ œ œ œ ˙

œœœ œ œœœ œ ˙A7 D

œ œ œ œ œ

œ≥

œ œ œ œ4 œœ≥ œ œ œ œ4 œœ≥ œ œ œ œ œœ≥ œ œ œ œ œ

œœœ œ œ œ œ œœ Œ Ó


œ œ œ ˙∑

&B??

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano


œœœ œœœ œœœ œœœD

.œ jœ .œ jœ


œœœ œ œœœ œ ˙A7 D

œ œ œ œ œ

œ œ œ œ œ4 œœ œ œ œ œ4 œœ œ œ œ œ œœ œ œ œ œ œ

œœœ œ œ œ œ œ

œ Œ Ó


œ œ œ ˙∑


œœœ œœœ œœœ œœœ.œ jœ .œ jœ

D.C. al Fine


œœœ œ œœœ œ ...œœœ œ> œ> œ>œ>A7 D

œ œ .œ œ> œ> œ œ>

THEORY

Student Book Page 30

HISTORY


118. FIROLIRALERA – Orchestra Arrangement Mexican Folk Song

Arr. John Higgins

&&

BB

??

??

&?

### #

# ## #

# ## ## ## #

# ## #

43

43

43

43

43

43

43

43

43

43

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

Allegro

Upbeats

œ≥4

œ œ œ

œ≥ œ œ œœ≥4 œ œ œ

œ≥ œ œ œ

œ≥ œ œ œ

œ≥ œœ≥ œ œ œ

œ≥ œ

œœ œœ œœ œœD

œ œ

œ≥ œ4≤ œ œ œ

œ≥ œ≤ œ œ œœ≥ œ4≤ œ œ œ

œ≥ œ≤ œ œ œ


œ Œ œ≤


œ Œ œ≤

œœ œœ œœ œœ œœœ Œ œ

œ≤ œ4≥ œ œ œ

œ≤ œ≥ œ œ œœ≤ œ4≥ 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 œœ ˙œ Œ œ

œœ ˙A7

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 œœ œœ œœ œœœ Œ Œ


&&

BB

??

??

&?

### #

# ## #

# ## ## ## #

# ## #

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

œ œ œ œ œ


œ œ œ œ œ

œ œ œ œ œ

œ≥ Œ œ≤

œ 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


œ0 ˙œ ˙œ0 ˙œ ˙œ ˙

œ Œ œœ ˙

œ Œ œ

œœ ˙D

œ Œ œ

Œ œ≥ œŒ œ≥ œ

Œ œ≥ œ

Œ œ≥ œ

Œ œ≥ œ

œ Œ œŒ œ≥ œ

œ Œ œ

Œ œœ œœA7

œ œ œ

œ œ œ œ œ



œ Œ œ≤

œ œ œ œ œœ Œ œ≤

œœ œœ œœ œœ œœD

œ Œ œ

œ≤ œ œœ≤ œ œœ≤ œ œœ≤ œ œœ≤ œ œ≥ œ≤

œ≤ œ œ≥ œ≤

œœ œœ œ˙ œ


&&

BB

??

??

&?

### #

# ## #

# ## ## ## #

# ## #

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

œ≥ œ œ 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 œœ œœ œœG

œ Œ œ

œ≤ œ œ

œ≤ œ4 œœ≤ œ œ

œ≤ œ4 œ

œ≤ œ œ

˙ œœ≤ œ œ

˙ œ

œœ œœ 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

œœ œœ œœ œœ œœD/A

œ Œ œ

œ≤ œ œ

œ≤

œ œœ≤ œ œ

œ≤ œ œœ≤ œ œœ≥ Œ œœ≤ œ œœ≥ œ œ

œœ œœ œœA7

œ œ œ

Tie

.˙≥

.˙≥

.≥

.≥

.≥

.≥

.≥

œ≤ œ œ

.˙D

.œ œ œ

œœœœ

œœ

œœ≥

œœœ


E SKILL BUILDERS – G Major

Teacher The purpose of EE SKILL BUILDERS is to summarize and reinforce playing skills that have been recently learned. The exercises are in sequential order of playing difficulty. Students should master each of the exercises in the EE SKILL BUILDERS before proceeding to the next one.

119.

&B??

&?

######

44

44

44

44

4444

Violin

Viola

Cello

Bass

Piano

œ≥


œ≥ œ œ œ

œ≥2

œ0 œ1 œ2

...œœœ œœœ œœœ ‰ jœœœ œœœG C

.œ Jœ œ œ œ


œ œ œ œ

œ0 œ1 œ4 œ0

...œœœ œœœ œœœ ‰ jœœœ œœœD7 G

.œ jœ œ œ œ


...œœœ œœœ œœœ ‰ jœœœ œœœC G

.œ jœ œ œ œ

&B??

&?

######

Violin

Viola

Cello

Bass

Piano


...œœœ œœœ œœœ ‰ jœœœ œœœD7 G

.œ jœ œ œ œ

˙ ˙˙ ˙˙ ˙˙ ˙˙ œœœ œœœ

Emi D G

œ œ œ œ

˙ ˙˙ ˙˙ ˙˙ ˙...œœœ

jœœœ œœœ œœœ œœœEmi C Ami7 G

œ œ œ œ œ œ


120.

&B??

&?

#

#

##

##

43

43

43

43

43

43

Violin

Viola

Cello

Bass

Piano

œ≥

œ œœ≥ œ œ

œ≥ œ œ

œ≥ œ œ

œœ œ œ œ œ œ œG

˙ œ œ

œ œ œœ œ œ

œ œ œ

œ œ œ

œœ œ œ œ œ œ œD7

.˙

.˙

.˙

.˙

.˙

œœ œ œ œ œ œ œG

˙ œ œ

.˙

.˙

.˙

.˙

œœ œ œ œ œ œ œBmi

.˙

&B??

&?

#

#

##

##

Violin

Viola

Cello

Bass

Piano


œœ œ œ œ œ œ œC

˙ œ œ


œœ œ œ œ œ œ œD7

.˙

.˙

.˙

.˙

.˙

œœ œ œ œ œ œœ œAmi7 D7

˙ œ

.˙

.˙

.˙

.˙

..˙G

.˙


121.

&B??

&?

#

#

##

##

42

42

42

42

42

42

Violin

Viola

Cello

Bass

Piano

œ≥

œ œœ≥ œ œ

œ≥ œ œœ≥ œ œjœœ œœ

jœœG

œ œ

œ œ œœ œ œ

œ œ œœ œ œjœœ œœ

jœœœ œ

œ œ œœ œ œ

œ œ œœ œ œ

Jœœ œœ Jœœ

œ œ

˙≤

≤

≤

≤

œœ œœ œœ œœnG7

œ œ

œ œ œœ œ œ

œ œ œœ œ œ

Jœœ œœ Jœœ

C

œ œ œ

œ œ œœ œ œ

œ œ œœ œ œ

Jœœ œœ JœœG

œ œ œ


œ œ œ œœ œ œ œjœœ œœ jœœ

D7

œ œ œ

˙˙

˙˙˙G

œ œ122.

&B?

?

&?

#

#

#

#

#

#

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥

œ ˙œ≥ œ ˙

œ≥ œ ˙

œ≥ œ ˙

œ œ ˙G

˙ œ œ

œ œ ˙œ œ ˙

œ œ ˙

œ œ ˙

œœ œœ œ œ œœ œ œ œ


œ œ œ œ

œ œ œ œ

œœ œ œœ œœC C/D D7

˙ œ œ œ œ


œ œ œ œEmi

˙ ˙.œ jœ ˙


œœ œœ œœ œœAmi G/B C6 G/D

œ œ œ œ

˙4

œ œ˙4 œ œ˙ œ œ˙ œ œ

˙ ˙C/E G

œ œD7/F#

œ œ ˙


123.

&B?

?

&?

#

#

#

#

##

43

43

43

43

43

43

Violin

Viola

Cello

Bass

Piano

Slur three


...˙gggG

.˙

.˙≤

.≤

.≤

.≤

...˙gggBmi7

.˙

œ œ œœ œ œ

œ œ œ

œ œ œ

˙ggg œœœgggC D7

˙ œ

.˙

.˙

.˙

.˙

...˙gggEmi7

.˙


œœœggg œœœggg œœœgggD/C C Bmi7

˙ œ


...˙gggAmi7

.˙

˙ œ˙ œ

˙ œ˙ œ

˙ggg œœœgggD6 D7

˙ œ

.˙

.˙

.˙

.˙

...˙gggG

.˙124.

&B?

?

&?

#

#

#

#

##

42

42

42

42

42

42

Violin

Viola

Cello

Bass

Piano


œœœ œœœEmi

œ œ œ

œ œœ œ

œ œ

œ œ

œœœ œœœBmi

˙


œœœ œœœAmi

œ œ œ

œ œœ œ

œ œ

œ œ

œœœ œœœEmi

˙


œ œ œ œ

œ œ œ œ

œœœ œœœC

œ œ œ


œ œ œ œ

œ œ œ œ

œœœ œœœD7

˙

œ œ œœ œ œ

œ œ œœ œ œ

œœœ œœœC D7

œ œ œ œ

˙˙

˙

˙

˙G

œ œœ


Far Eastern music comes from Malaysia, Indonesia, China and other areas. Historians believe the first orchestras, known as gamelans, existed in this region as early as the 1st century B.C. Today’s gamelans include rebabs (spiked fiddles), gongs, xylophones, and a wide variety of percussion instruments.

125. JINGLI NONA Far Eastern Folk Song

&

B??

&?

#

#

####

c

ccc

cc

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

Allegro

œ≤

œ≤

œ≤

œ≤

œN.C.

Œ

œ≥

œ œ œ4

œ≥ œ œ œ4

œ≥ œ œ œ

œ≥ œ œ œ

wwG5

..œœ jœœ ˙

œ œ œ œ0

œ œ œ œ0

œ œ œ œ

œ œ œ œ

‰ jœ œ œb ˙..œœ jœœ ˙


wwC5

..œœ jœœ ˙

˙ ˙˙ ˙

˙ ˙˙ ˙

‰ jœ œ œb ˙G5

..œœ jœœ ˙

œ œ œ œ4

œ œ œ œ4

œ œ œ œ

œ œ œ œ

wwG5

..œœ jœœ ˙

&B??

&?

#

#

##

##

Violin

Viola

Cello

Bass

Piano

œ œ œ œ0

œ œ œ œ0

œ œ œ œ

œ œ œ œ

‰ jœ œ œb ˙..œœ jœœ ˙


wwC5

..œœ jœœ ˙

˙ ˙˙ ˙˙ ˙˙ ˙

‰ jœ œ œb ˙G5

..œœ jœœ ˙



wwAmi

..œœ jœœ ˙

œ œ œ4

œœ œ œ4 œ


wwG

..œœ jœœ ˙



wwnF

..œœn jœœ ˙

HISTORY

172 Student Book Pages 31 and 32

&B??

&?

#

#####

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

˙ ˙˙ ˙

˙ ˙˙ ˙

wwEmi

..œœ jœœ ˙


wwC5

..œœ jœœ ˙

œ œ œ4

œœ œ œ4 œœ œ œ œœ œ œ œ‰ jœ œ œb ˙

G5

..œœ jœœ ˙

œ œ œ œœ œ œ œœ œ œ œœ œ œ œww

D5

..œœ jœœ ˙

1.

˙ ˙˙ ˙

˙ ˙

˙ ˙

‰ jœ œ œb ˙G5

..œœ jœœ ˙

2.

˙Where is beat 4?

œ˙ œ˙ œ˙ œ‰ jœ œ œb œœ

G5

..œœ jœœ œœTeacher Fn and C n are introduced on student book pages 32 and 33. To help prepare students to finger Fn, which requires

a new finger pattern for the violin and viola, have students tap their second finger while keeping their other fingers on the string. Also, have them slide their second finger back and forth between their first and third fingers, while keeping all of their fingers on the string. Both of these rote exercises help develop finger flexibility and independence of fingers. In addition, prepare and reinforce student aural learning of Fn by incorporating the following Listening Skills echo patterns for students.

Violin/ViolaN E W F I N G E R P A T T E R N

Low 2nd FingerStep 1 Step 2Shape your left hand Bring your hand to the as shown. Be certain fingerboard. Your 1st and your palm faces you. 2nd fingers touch. There Notice your 2nd finger is a space between your lightly touches your 2nd and 3rd fingers, and 1st finger. between your 3rd and 4th

fingers.

13

4

2

Violin

Fis played with low 2nd fingeron the D string.

F

2

E

1

EA

DG

34

Viola

Fis played with low 2nd fingeron the D string.

F

2

E

13 4

AD

GC


CelloS E C O N D F I N G E R O N T H E D S T R I N G

Fis played with 2 fingers onthe D string.

3

F

2

E

1

AD

GC 4

BassS E C O N D F I N G E R O N T H E D S T R I N G

Fis played with 2 fingers onthe D string. 3

F 2

E 1

GDAE

4


1.

& # 44 Teacher plays



œn œ ˙Students echo

œn œ ˙Teacher plays

œ# œ ˙n

& # Students echo

œ# œ ˙nTeacher plays

œ œ ˙nStudents echo

œ œ ˙nTeacher plays

œn œ ˙ Students echo

œn œ ˙2.


Teacher playsœ œ œn œStudents echoœ œ œn œ

& # Teacher playsœ œ# œ œ Students echoœ œ# œ œ Teacher playsœ œ œn œStudents echoœ œ œn œ

3.


Teacher playsœ œn œ œStudents echoœ œn œ œ

& # Teacher plays

œ œn œ œ Students echo

œ œn œ œ Teacher plays

œ œ# œ œ Students echo

œ œ# œ œ


Natural n A natural sign cancels a flat (b) or sharp (#) and remains in effect for the entire measure.

& œnFViolin

Low2ndfinger

=

B œnFViola

Low2ndfinger

=

? œn 2

FCello

? œn 2

FBass

Teacher Review with students the definition of a natural sign as presented on student book page 32.

126. LET’S READ “F” (F-natural)

&B?

?

&?

#

#

#

#

#

#

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

Low 2nd finger

œn ≥ œ ˙œn ≥ œ ˙

œn ≥2 œ ˙

œn ≥2 œ ˙

œœœn œœœ ˙F

œn œ œ œ œ œ œ œ

œn ≤ œ ˙œn ≤ œ ˙

œn ≤ œ ˙

œn ≤ œ ˙

œœœn œœœ ˙F/A


˙n ˙˙n ˙

˙n ˙˙n ˙1

˙nb ˙Bb C

œb œ œ œ œ œ œ œ

œn œ ˙œn œ ˙

œn œ ˙

œn 2 œ ˙

œœœnb œœœ ˙Bb F

œb œ œ œ ˙n

THEO

RY


Half Step A half step is the smallest distance between two notes.

Whole Step A whole step is two half steps combined.

Teacher Read and discuss the definitions of half and whole steps found on student book page 32. Present some rote listening-skill echoes to students that incorporate both half and whole steps. Also, have students mark the half steps in exercises 128, 129, and 132 to reinforce their understanding of half and whole steps.

127. HALF-STEPPIN’ AND WHOLE STEPPIN’

&B?

?

&?

#

#

#

#

##

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

1/2 step 1/2 step˙≥High 2nd finger

˙≥ ˙≥4 ˙3

≥0 ˙4

˙ ˙G D/G

.œ jœ ˙

˙ Ó,

˙ Ó,

˙ Ó,

˙ Ó,

˙ œ œ œ œC

.œ jœ ˙

Whole Wholestep step˙≥ ˙n

≥ ˙n≥4 ˙n 2

≥0 ˙n 2

˙b ˙nbAbma7 Bbma7

.œb jœ ˙b

1.

˙ Ó,

˙ Ó,

˙ Ó,

˙ Ó,

˙n œ œ œ œC

.œ jœ ˙

2.

˙ Ó˙ Ó˙ Ó˙ Ó

˙ ˙C N.C.

.œ jœ ˙

Student books have repeats,not 1st and 2nd endings.

THEORY


128. SPY GUY

&B?

?

&?

#

#

#

#

#

#

c

c

c

c

cc

Violin

Viola

Cello

Bass

Piano



œœœb œœœ œœœ œœœGmi D/F#

˙ ˙

œn œ œ# œœn œ œ# œ

œn 2 œ œ# 3 œ

œn 2 œ œ# 4 œ

œœœnb œœœ œœœ# œœœBb/F D/F#

˙n ˙#


œ œ œ œœ0 œ œ œ

œœœb œœœ œœœ œœœGmi D/F# D

˙ œ œ


œœœb œœœ œœœn œ œ œCmi/Eb C

œb œ ˙

&

B?

?

&?

#

#

#

#

##

Violin

Viola

Cello

Bass

Piano



œœœb œœœ œœœ œœœGmi D/F#

˙ ˙

œn œ œ œœn œ œ œ

œn 2 œ œ1 œœn 2 œ œ1 œ

œœœnb œœœ œœœ œœœBb/F C/E

˙n ˙


œn 2 œ œ# 3 œ

œn 2 œ œ# 4 œ

œœœnb œœœ œœœ# œœœBb/F Bb/D D/F# D

œn œ œ# œ

œ œ œ Œœ œ œ Œœ œ œ Œœ0 œ œ Œ

œœœb œ œœœ ŒGmi

˙ œ Œ


129. MINOR DETAILS

&B?

?

&?

b

b

b

b

b

b

c

c

c

c

cc

Violin

Viola

Cello

Bass

Piano

œ≥


œ≥ œ œ œ œ2 œ

œ≥ œ œ œ œ2 œ

œœ œœ œœ œœ œœ œœDmi A/C# Dmi

œ œ# œ Œ

œ œ œ œ œ4 œœ œ œ œ œ4 œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œœ œœ œœ œœ œœ œœF/A C/E F

œ œ œ Œ



œœ œœ œœ# œœ œœ œœAsus A7 Gmi7 Emi7(b5)

œ Œ œ œ

œ4 œ œ œ ˙œ4 œ œ œ ˙œ œ œ2 œ ˙œ œ œ2 œ ˙

œ œ œ œ ˙N.C.

œ œb œn œ# ˙


ViolinN E W F I N G E R P A T T E R N

Low 2nd Finger On The A StringShape your left hand on the A string as shown.

Cis played with low 2nd fingeron the A string.

C

2

B

1

EA

DG 3 4

ViolaN E W F I N G E R P A T T E R N

Low 2nd Finger On The A StringShape your left hand on the A string as shown.

Cis played with low 2nd fingeron the A string. C

2

B

13 4

AD

GC

CelloS E C O N D F I N G E R O N T H E A S T R I N G

Cis played with 2 fingers onthe A string.

3

C

2

B

1AD

GC

4

BassC N A T U R A L I N T H I R D P O S I T I O N

Cis played with 1 finger on the G string in thirdposition (III).

3

C

2

1

GD

AE

41

I

III



1.

& ## 44 Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher playsœn œ œ œ Students echoœn œ œ œ Teacher playsœ# œ œn œ

& ## Students echoœ# œ œn œ Teacher playsœ œ œn œ Students echoœ œ œn œ Teacher playsœ œ# œ œ Students echoœ œ# œ œ2.

& ## 44 Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher playsœ œn œ œ Students echoœ œn œ œ Teacher playsœ œ œ œ& ## Students echoœ œ œ œ

Teacher playsœ œn œ œStudents echoœ œn œ œ

Teacher plays

œ œn ˙Students echo

œ œn ˙3.

& ## 43Teacher plays

œ œ œStudents echo

œ œ œTeacher plays

œ œn œStudents echo

œ œn œTeacher playsœ œ œ Students echoœ œ œ

& ## Teacher playsœ œn œ Students echoœ œn œ Teacher playsœ œn œ Students echoœ œn œ Teacher playsœ œ# œ Students echoœ œ# œ

& œn 2

C

Violin

B œn 2

C

Viola

? œn 2

C

Cello

?III

œn 1

C

Bass

130. LET’S READ “C” (C-natural)

&B??

&?

### ## ## ## ## #

44

44

44

44

4444

Violin

Viola

Cello

Bass

Piano

œn ≥2 œ ˙œn ≥2 œ ˙œn ≥2 œ ˙

III

œn ≥1 œ ˙

œœœnn œœœ ˙C5

˙n .œ œ œ

œn ≤ œ ˙œn ≤ œ ˙œn ≤ œ ˙œn ≤ œ ˙

œœœnn œœœn ˙C5 F5 C5

œn œn .œ œ œ

˙n ˙˙n ˙˙n ˙˙n ˙

˙nn ˙G5

.œn œ œ .œ œ œ

œn œ ˙œn œ ˙œn œ ˙œn œ ˙

œœœnnn œœœ ˙F5 C5

œn œ œn œ œ


131. HALF STEP AND WHOLE STEP REVIEW

&B??

&?

### ## ## ## ## #

44

44

44

44

4444

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

1/2 step 1/2 step≥ ˙2≥ ˙2≥4 ˙3

III

≥4 ˙2


œ œ œ ˙

˙ Ó,˙ Ó,˙ Ó,˙ Ó,

‰ jœœœ ‰ jœœœ ‰ œœœ œœœ ‰ jœœœD

œ œ œ ˙

Whole Wholestep step≥ ˙n

≥ ˙n≥4 ˙n 2

≥4 ˙n 1

‰ Jœœœ ‰ Jœœœ ‰ jœœœn ‰ jœœœG C

œ œ œ ˙n

1.˙ Ó,˙ Ó,˙ Ó,˙ Ó,

‰ Jœœœ ‰ Jœœœ ‰ œœœ œœœ ‰ JœœœG

œ œ œ ˙

2.˙ Ó˙ Ó˙ Ó˙ Ó

‰ Jœœœ ‰ Jœœœ Œ œœœG D

œ œ œ œ œ


Chromatics Chromatic notes are altered with sharps, flats, and naturals. A chromatic pattern is two or more notes in a sequence of half steps.

132. CHROMATIC MOVES

&B??

&?

### ## ## #

# ## #

c

ccc

cc

Violin

Viola

Cello

Bass

Piano

œ≥ œ œ œœ≥ œ œ œœ≥4 œ œ3 œ

III

œ≥4 œ œ2 œ

œœœn œœœ œœœ## œœœD7 F#7

˙ ˙


œn 2 œ œ# 3 œœn 1 œ œ# 2 œ

œœœnn b œœœ œœœ## n œœœF7 F#7

˙n ˙#

œ œ œ œœ œ œ œœ œ œ œœ4 œ œ œ

œœœn œœœ œœœ## œœœD7 F#7

˙ ˙

˙ ˙˙ ˙˙ ˙˙ ˙0

œœœn œœœ ˙˙n#G7 D7

˙ ˙

THEO

RY


&B?

?

&?

### ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano

œ œ œ œœ œ œ œœ4 œ œ3 œœ4 œ œ2 œ

œœœn œœœ œœœ# œœœG7 F#7

˙ ˙

œn œ œ œœn œ œ œœn 2 œ œ1 œœn 1 œ

II /12

œ–1 œ

œœœnb œœœ œœœ# œœœF7 E7

˙n ˙


œn 2 œ œ# 3 œ

III

œn–1 œ œ# 2 œ

œœœnb b œœœ œœœ#n n œœœAb7 A7

˙b ˙n

œ œ œ Œœ œ œ Œœ œ œ Œœ4 œ0 œ Œ

˙˙n œ ŒD7

˙ œ Œ

133. THE STETSON SPECIAL

&B?

?

&?

#

#

#

#

##

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano



œ≥0 œ œ1 œ œ4 œ

œœ œœ œœ œœ œœ œœG D7 G

œ œ œ œ


œ œ œ2 œ œ œ

œ œIII

œ–1 œ œ4 œ

œœ œœ œœ œœ œœ œœG D7 G

œ œ œ œ


œ œ œ2 œ œ œ2

œ œ œ1 œII /1 2

œ–1

III

œ–1

œœ œœ œœ œœ œœ œœG D7 G C

œ œ œ œ

œ œ œ œ ˙œ œ œ œ ˙œ œ2 œ œ ˙œ4 œ1

I

œ– 4 œ1 ˙0

œœ œ œœ œ ˙D7 G

œ œ ˙


134. BLUEBIRD’S SONG Texas Folk Song

&B??

&?

####

##

44

44

4444

4444

Violin

Viola

Cello

Bass

Piano

Allegroœ≥ œ œ œœ≥ œ œ œœ≥ œ œ œœ≥ œ œ œ˙ ˙Gma7

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 œ˙ ˙

œ œ .œ œ œ

œ œ œ œœ œ œ œœ2 œ œ2 œœ2 œ0 œ œ˙ ˙C/D

œ œ .œ œ œ

œ œ œ œ œ œœ œ œ œ œ œœ2 œ œ œ œ œœ œ œ œ œ œ˙ œ œ

D7(b9)

˙˙bœ œ ˙

&B??

&?

####

##

Violin

Viola

Cello

Bass

Piano


œ œ œ œ

˙ ˙Gma7

œ œ .œ œ œ


œ œ œ œ œ œ

˙n ˙˙˙#Bmi7(b5) E7(b9)

œ œ œ œ

œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ2 œ œœ œ œ0 œ2 œ1 œ

0

˙ ˙˙˙Ami7 D7

˙ ˙

.˙ Œ

.˙ Œ

.˙ Œ

.˙2 Œ

jœœ œœ jœœ ˙Ebma7 F6 G

jœb œ jœn ˙

Essential Elements 2000 for Strings Correlated Literature

The Performer level of Essential Elements 2000 for Strings is a collection of string orchestra arrangements that only uses the rhythms, bowings, and notes introduced on student pages 1–33 (Teacher Manual pages 39–182). Contact your local music dealer for more information.


New Key Signature: C MAJOR

&

B

?

All notes are naturals.

Bass

New Position – II (Second finger on B, fourth finger on C.)

Teacher Student book page 34 introduces the key of C major. A one-octave C major scale is presented, along with three melodies in C Major. This involves introducing second-finger B and fourth-finger C in second position on the double bass.

135. C MAJOR SCALE – Round

&B??

&?

42

424242

4242

Violin

Viola

Cello

Bass

Piano

①

œ≥

œœ≥ œœ≥ œœ≥2

œ

œœœ œœœC(add9)

.œjœ


œœœ œœœG7sus

˙

②

œ 1/2 stepœœ œœ œœ1 œ


.œjœ

œ œœ œœ2 œœ2 œ

œœœ œ œG7sus

˙



.œjœ


œœœ œœœG7sus

˙

œ 1/2œœ œœ œ

II

œ–2 œ


.œjœ

œ 1/2œœ œœ2 œœ4 œ

œœœ œ œG7sus

˙&B??

&?

Violin

Viola

Cello

Bass

Piano



.œjœ

œ œœ œœ œ

I

œ–1 œ

œœœ œœœG7sus

˙



.œjœ

œ 1/2œœ œœ2 œœ2 œ

œœœ œ œG7sus

˙



.œjœ


œœœ œœœG7sus

˙


Repeat to accompany round


.œjœ

˙˙˙˙jœœœ ‰ œœœ

G7sus

jœ ‰ œ

THEORY


Duet A composition with two different parts, played together.

136. SPLIT DECISION – Duet

&&BB??

??

&?

44

44

44

44

44

44

44

44

44

44

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

œ≥

œ œ œ˙≥

˙œ≥ œ œ œ≥ ˙

œ≥ œ œ œ≥ ˙

œ≥ œ œ œ≥ ˙

œœœ œœœ ˙C

˙ ‰ jœ œ œ

˙ ˙œ œ œ œ˙ ˙œ œ œ œ

˙ ˙œ œ œ œ

˙ ˙œ œ œ œ

œœœ œœœ ˙Gsus G

˙ ‰ jœ œ œ

œ œ œ œ˙ ˙œ œ œ œ˙ ˙

œ œ œ œ˙ ˙

œ œ œ œ˙ ˙

œœœ œœœ ˙C

˙ ‰ jœ œ œ


˙ ˙œ œ œ œ

˙ ˙œ œ œ œ

œœœb œœœ ˙Fsus F

˙ ‰ jœ œ œ


&&BB??

??

&?

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass


œ œ œ œ˙ ˙

œ œ œ œ˙ ˙

œœœ œœœ ˙C/G

˙ ‰ jœ œ œ


˙ ˙œ œ œ œ

˙ ˙œ œ œ œ

œœœ œœœ ˙Ami F

˙ ‰ jœ œ œ


œ œ œ œ˙ ˙

II

œ–2 œ œ œ

II

˙–2 ˙

œœœ œœœ ˙G

˙ ‰ jœ œ œ


˙ ˙œ œ œ œ

˙4 ˙œ4 œ œ œ

œœœ œœœ ˙F/C C

œ œ œ œ ˙


137. OAK HOLLOW

&B?

?

&?

c

c

c

c

cc

Violin

Viola

Cello

Bass

Piano

Moderato

œ≥


œ≥ œ œ œ

œ≥ œ œ œ

‰ jœ œ œ ‰ jœ œ œC

˙ ˙



‰ jœ œ œ ‰ Jœœ œœ œœ

G7sus C

˙ ˙


œ œ œ œ

œ œ œ œ

‰ jœ œ œ ‰ jœ œ œF Dmi

˙ ˙


‰ jœ œ œ œœ œœF/G Gsus G

˙ ˙

&B?

?

&?

Violin

Viola

Cello

Bass

Piano


œ≥ œ œ œ

œ≥ œ œ œ

‰ jœ œ œ ‰ jœ œ œC Emi

˙ ˙

œ œ ˙œ œ ˙

œ œ ˙

œ1 œ4II

˙– 4

‰ jœ œ œ ‰ jœ œ œAmi Ami/G F#mi7(b5)

œ œ ˙#

œ œ œ œœ œ œ œœ œ œ œœ

I

œ–1 œ œ

‰ jœ œ œ ‰ jœ œ œC/G Ami7

˙ ˙

œ œ ˙œ œ ˙

œ œ ˙œ œ ˙

œœ œœ ˙F6/G G6 C

œ œ ˙


138. A-TISKET, A-TASKET

&B?

?

&?

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

Allegro

œ≤

œ≤

œ≤

œ≤

œN.C.

Œ

˙≥ œ œ≥ œ œ≥ œ œ2

≥ œ œ

˙ œœ œœœC F

œ œ œ œ

˙ œ œ˙ œ œ

˙ œ œ˙ œ œ

˙ œœ œœœC F

œ œ œ œ

œ œ œ œ4

œ œ œ œ4

œ œ œ œ

œ œ œ œ

˙ œœ œœœC F

œ œ œ œ

˙ ˙˙ ˙˙ ˙˙ ˙

˙ œœ œ œC

œ œ ˙

&B?

?

&?

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano


œœ œœ œœ œœG7sus G

˙ ˙


œœ œœ œœ œœG7sus G

˙ ˙


œœ œœ œœ œœF G

˙ ˙

1.

.˙ œ≤

.˙ œ≤

.˙ œ≤

.˙ œ≤

œœ œ œ œœœC G7sus

.˙ œ

2.

.˙

.˙

.˙

.˙

...˙C

.˙


In the second half of the 1800s many composers tried to express the spirit of their own country by writing music with a distinct national flavor. Listen to the music of Russian composers such as Borodin, Tchaikovsky, and Rimsky-Korsakov. They often used folk songs and dance rhythms to convey their nationalism. Describe the sounds you hear.

Teacher Discuss the concept of nationalistic music. Play recordings of music by Russian composers, Borodin, Tchaikovsky and Rimsky-Korsakov. Discuss how their music is often nationalistic. Introduce recordings of other nationalistic compositions such as Finlandia by Sibelius and The Moldau by Smetana.

QUIZ OBJECTIVES – RUSSIAN FOLK TUNE

● F natural ● C natural ● Violin/Viola 4th finger ● Andante tempo

Review Exercises:

129. Minor Details 133. The Stetson Special 135. C Major Scale 138. Oak Hollow

139. ESSENTIAL ELEMENTS QUIZ – RUSSIAN FOLK TUNE Russian Folk Song

&B?

?

&?

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

Andante

œ≥


œ≥ œ œ œ

œ≥ œ œ œ

‰ jœœœ ‰ jœœœ ‰ jœ œ œC

œ œ ˙

˙ ˙˙ ˙

˙ ˙

˙0II

˙– 4

‰ jœœœ ‰ jœœœ ‰ jœ œ œ

œ œ ˙


œ œ œ œ

I

œ–1

II

œ–2 œ4I

œ–1

‰ jœœœ ‰ jœœœ ‰ jœ œ œF

œ œ ˙

˙ ˙˙ ˙

˙ ˙˙ ˙


œ œ ˙

E

HIST

ORY


&B?

?

&?

Violin

Viola

Cello

Bass

Piano

œ œ œ4 œœ œ œ4 œ

œ œ œ œ

œ œ œ œ

‰ jœœœ ‰ jœœœ ‰ jœ œ œF

œ œ ˙


œ œ œ œ

œ œ œ œ


œ œ ˙


œ œ œ œ

œ œ œ œ

‰ jœœœ ‰ jœœœ ‰ jœ œ œG7

œ œ ˙

˙ ˙˙ ˙

˙ ˙

˙ ˙

‰ jœ œ œ ‰ jœ œ œC G/B

˙ ˙

&B?

?

&?

Violin

Viola

Cello

Bass

Piano

œ œ œ4 œœ œ œ4 œ

œ œ œ œ

œ œ œ œ

‰ jœ œ œ œ œ œ œF/A

w


œ œ œ œ

œ œ œ œ

‰ jœ œ œ œ œ œ œC/G

w


œ œ œ œ

œ œ œ œ

‰ jœ œ œ œ œ œ œG7

w

.˙ Œ

.˙ Œ

.˙ Œ

.˙ Œ

‰ jœ œ œ œœœ ŒC

œ œ œ Œ


œœ

Alert: This page mixes finger patterns. Watch for low second finger (C n) and high second finger (F# ).

Teacher Student book page 35 reinforces students’ knowledge of the notes Fn and C n by contrasting them with F# and C # within melodies. Have students play C n and C # and Fn and F# as a review in listening-skill rote echoes before beginning to practice the melodies on this page.

140. BINGO 18th Century English Game Song

&B??

&?

######

42

42

42

42

42

42

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

Allegro

œ≤

œ≤

œ≤

œ≤

œœœD7

œ


œœ œœ œœ œœG

œ œ


œœ œœ œœ œœC G

œ œ


œœ œœ œœ œœD7

œ œ

œ œœ œœ œœ œ0

œœ œG

œ œ

œ œœ œœ œ

II

œ2 œ

œœ œœœ œ

œ œ œœ œ œœ2 œ œœ4 œ œ

œœ œœ œœC

œ œ

œ≤ œœ≤ œœ≤ œ

I

œ≤1 œ

œœ œœD7

œ œ

&B??

&?

######

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano


œœ œœ œœG

œ œ


œœ œœEmi

œ œ

œ4 œ œ œœ4 œ œ œœ œ œ œœ œ œ œ

œœ# œœ œœ œœA7

œ œ

œ œ œ œœ œ œ œœ3 œ œ œœ œ œ œ

œœn œ œ œD7

œ œ

œ≤ œ≥

œ≤ œ≥

œ≤ œ≥œ≤ œ≥

œœ^ œœ

^ œœ^G C G N.C.

œ^ œ œ^

1.Œ( )œ

Œ ( )œŒ ( )œŒ ( )œ

∑œ œ œ œ

Where is beat 2?

2.ŒŒŒŒ

œœ^ œœ

^G

œ^ œ^


Student books repeat to the upbeat before measure 1.

-

-

-


English composer Thomas Tallis (1505–1585) served as royal court composer during the reigns of Henry VIII, Edward VI, Mary, and Elizabeth I. Composers and artists during this era wanted to recreate the artistic and scientific glories of ancient Greece and Rome. The great artist Michelangelo painted the Sistine Chapel during Tallis’ lifetime. Rounds and canons were popular forms of music during the early 16th century. Divide into groups, and play or sing the Tallis Canon as a 4-part round.

Teacher Have students use note names or solfeggio to sing the Tallis Canon.

141. TALLIS CANON – Round Thomas Tallis

&B??

&?

####

##

44

44

44

44

4444

Violin

Viola

Cello

Bass

Piano

Moderato①œ≤

œ≤œ≤œ≤

œN.C.

Œ

②œ œ œ œœ œ œ œœ œ œ œœ œ œ œ

œ œ œ œ

˙ ˙

③œ œ œ œœ œ œ œœ œ œ œœ œ œ œ

œ œ œ œœ œ ˙

④œ œ œ œœ œ œ œœ2 œ œ œ

II

œ– 4 œ œ2 œ

œœœ œœœ œœœ œœDsus D G G/B

œ œ œ œ


œ œ œ œ

I

œ–1 œ œIII

œ– 4

œœœ œœœ œœ œœ œœDsus D G

˙ ˙

&B??

&?

####

##

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

œ œ œ œœ œ œ œœ2 œ œ œœ1

I

œ–1 œ œRepeat 4 bars on last time (to accompany the round)

œœœ œœœ œ œ œ œDsus D G

˙ ˙


œœœ œœœ œœ œœ œœDsus D G

˙ ˙


œ œ3 œ œ

œ œ œ œ

œœœ œœœ œœ œœDsus D G/B G

˙ œ œ


œœœ œœœ œœœD7sus D7 G

œ œ œ

HISTORY


Theme and Variations Theme and Variations is a musical form where a theme, or melody, is followed by different versions of the same theme.

Teacher Contrast the differences between the musical forms of Rounds and Theme and Variations as students prepare to play exercise 142.

In exercise 142 students are given the opportunity to compose their own variation on the melody Skip to My Lou. Specify musical parameters to help them compose their variation. For example, suggest sample rhythms or slurring that they can use.

142. VARIATIONS ON A FAMILIAR SONG

&B??

&?

#

#####

cccc

cc

Violin

Viola

Cello

Bass

Piano

Moderatoœ≥ œ œ œœ≥ œ œ œœ≥ œ œ œœ≥ œ œ œ

œ œ œ œG


œ œ ˙œ œ ˙œ œ ˙œ œ

III

˙– 4

œ œ ˙œ œ œ œ ˙

œ≤ œ œ œœ≤ œ œ œœ≤ œ œ3 œ

I

œ≤–1 œ œ4 œ

œ œ œ œD7/F#


œ œ ˙œ œ ˙œ œ ˙2

III

œ– 4 œ ˙1


&B??

&?

#

#####

Violin

Viola

Cello

Bass

Piano

œ≥ œ œ œœ≥ œ œ œœ≥ œ œ œ

I

œ≥– 4 œ œ0 œ

œ œ œ œG


œ œ ˙œ œ ˙œ œ ˙œ œ

III

˙– 4


œ≤ œ œ œœ≤ œ œ œœ≤ œ2 œ œœ≤4 œ1

I

œ– 4 œ1

œ œ œ œD7/F#


œ œ ˙œ œ ˙œ œ ˙œ0 œ ˙

œ œ ˙G Gsus G

œ œ œ œ ˙

THEO

RY


&

B??

&?

#

#

##

#

#

Violin

Viola

Cello

Bass

Piano

Variation 1œ≥ œ œ œ œ œœ≥ œ œ œ œ œœ≥ œ œ œ œ œœ≥ œ œ œ œ œ

œœ œœ œœ œœ œœ œœG G/B

˙ ˙


œ œ œ ˙

œ œ œIII

˙– 4

œœ œœ œœ ˙G/D G/B

˙ œ œ œ

œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ3 œ œ

I

œ–1 œ œ œ4 œ œ

œœ œœ œœ œœ œœ œœD/F# D

˙ ˙


œ œ œ ˙2

III

œ– 4 œ œ ˙1

œœ œœ œœ ˙D7/F#

˙ œ œ œ

&

B?

?

&?

#

#

#

#

#

#

Violin

Viola

Cello

Bass

Piano


I

œ– 4 œ œ œ œ œ

œœ œœ œœ œœ œœ œœG G/B

˙ ˙


œ œ œ ˙

œ œ œIII

˙– 4

œœ œœ œœ ˙nG/D G7/B

˙ ˙


œ œ2 œ œ œ œ

œ4 œ1 œI

œ– 4 œ œ1

œœ œœ œœ œœ œœ œœAmi/C Ami G/D D7

œ œ ˙

˙ ˙˙ ˙

˙ ˙

˙0 ˙

˙ ˙G

wStudent Variation 2 – make up your own variation.


Teacher Teach students Exercise 143 The Birthday Song as printed. Students will notice that the typical two-eighth note pick up is missing from the traditional Happy Birthday melody. Have them add this rhythm when performing as a part of their creativity development.

143. ESSENTIAL CREATIVITY – THE BIRTHDAY SONG

&B??

&?

#

####

#

43

43

43

43

43

43

Violin

Viola

Cello

Bass

Piano

Moderato

œ≤

œ≤

œ≤

œ≤

œœœD7

œ

œ œ œœ œ œ

œ œ œ

œ œ œ

œœœ œ œœœG6 G

˙ œ

˙ œ≥

˙ œ≥

˙3 œ≥

˙ œ≥

˙˙ œœD9

.œ Jœ œ

œ≤ œ œ4

œ≤ œ œ4

œ≤ œ œ

œ≤ œ œ

œœœ œ œœœ˙ œ

˙ œ≤

˙ œ≤

˙ œ≤

˙ œ≤

˙ œG

.œ jœ œ

&B??

&?

#

###

##

Violin

Viola

Cello

Bass

Piano


III

œ≥– 4

I

œ– 4 œ0

œœ œœ œG/B

˙ œ

œ œ œœ œ œ

œ3 œ œ2

œ œII

œ– 4

œœ œœ œœœD/C C Ami

˙ œ

œ≥ œ œ4

œ≥ œ œ4œ≥ œ œœ≥2 œ0

I

œ–1

œœœ œœ œœœG/D D7

˙ œ

˙˙˙˙

˙G

˙Student Now play the line again and create your own rhythm.


Teacher Student book page 36 introduces C string pitches to viola and cello students. Once learned, the cellos and violas will be prepared to play two-octave C major scales on their instruments. Be sure to incorporate listening-skill rote echoes in your teaching to help develop students’ aural understanding of C string pitches.

It is important for the violas and cellos to have enough time in class to develop skill playing on their C string. Even though the following exercises are a review of previously learned pitches for the violin and bass, students must understand the importance of being patient while their classmates learn new notes. To help, a message about the importance of team work in the orchestra and special note and story writing exercises are provided in violin and bass student books.

Introduce C string pitches through listening exercises. Violin and bass students echo the pitches on their instruments in different octaves.

ViolaC S T R I N G N O T E S

F is played with 3 fingers E is played with 2 fingers D is played with 1 fingeron the C string. on the C string. on the C string.

FED 321

AD

GC

4

CelloC S T R I N G N O T E S

F is played with 4 fingers E is played with 3 fingers D is played with 1 fingeron the C string. on the C string. on the C string.

FE

D

AD

GC

43

21

Violin

Special Violin ExerciseWrite the note names below. Then, write stories using as many note names as possible. Share your work with orchestra friends.

& œ œ œ—

NoteNames: — —

œ œ œ œ— — — —

œ œ œ— — —

œ œ œ— — —

& œ œ œ œ œ œ œ— — — — — — —

œ œ œ œ œ œ œ— — — — — — —


Bass

Special Double Bass ExerciseWrite the note names below. Then, write stories using as many note names as possible. Share your work with orchestra friends.? œ œ œ

—NoteNames: — —

œ œ œ œ— — — —

œ œ œ— — —

œ œ œ— — —

? œ œ œ œ œ œ œ— — — — — — —

œ œ œ œ œ œ œ— — — — — — —

Violin/Bass Great musicians give encouragement to their fellow performers. Viola and cello players will now Team Work learn new challenging notes. The success of your orchestra depends on everyone’s talent and patience. Play your best as these sections advance their musical technique.


1.

& c Teacher plays




œ œ ˙& ..Teacher plays


œ œ ˙Teacher playsœ œ ˙ Students echoœ œ ˙

2.

& c Teacher plays






œ œ œ œ Teacher playsœ œ œ œ Students echoœ œ œ œ3.

& c Teacher plays




œ œ œ œ Teacher playsœ œ œ œ& Students echoœ œ œ œ Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher plays


œ œ ˙4.

& c ..Teacher plays


œ œ œ œTeacher playsœ œ œ œ Students echoœ œ œ œ

& .. ..Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher playsœ œ œ œStudents echoœ œ œ œ


B œ0

CViola

?œ0

CCello

144. LET’S READ “C”

&B??

&?

cccc

cc

Violin

Viola

Cello

Bass

Piano

œ≥

œ ˙œ≥0

œ ˙œ≥0

œ ˙œ≥ œ ˙

...˙b œœ^ œœ

^ ‰Cmi

œ œ œ ˙

œ≤

œ ˙œ≤

œ ˙œ≤

œ ˙œ≤ œ ˙

...˙ œœ^ œœ

^ ‰F/C

œ œ œ ˙

˙ ˙˙ ˙˙ ˙˙ ˙

œœœb œœ^ œœ

^ ‰ œœœ œœ^ œœ

^ ‰C7(no3rd) F/C

œ œ œ œ

œ œ ˙œ œ ˙œ œ ˙œ œ ˙

œœœb œœœ ˙Cmi F/C Cmi

œ œ œ œ œB œ3F

Viola

? œ4

FCello

145. LET’S READ “F”

&B??

&?

cccc

cc

Violin

Viola

Cello

Bass

Piano

œ≥ œ ˙

œ≥3

œ ˙œ≥4

œ ˙œ≥ œ ˙

œœœ œœœb œœœ ˙nF Bb F

œ œb œ œ œ œ

œ≤ œ ˙

œ≤ œ ˙œ≤

œ ˙œ≤ œ ˙

œœœ œœœb œœœ ˙nBb F

œ œb œ œ œ œ

˙ ˙

˙ ˙˙ ˙˙ ˙

œœœ œœœ œœœ œœœb œœœn œœœF/A Bb Bo

œ œ œb œn

œ œ ˙

œ œ0 ˙

œ œ0

˙œ œ ˙

œœœ œœœb ˙F/C C7 F

œ œ œ œ œ


B œ2

EViola

? œ3

ECello


&B??

&?

cccc

cc

Violin

Viola

Cello

Bass

Piano

œ≥ œ ˙œ≥2

œ ˙œ≥3

œ ˙œ≥ œ ˙

œœœ# œœœ# ˙E A/E E

.œ œ œ .œ œ œ

œ≤ œ ˙œ≤

œ ˙œ≤

œ ˙œ≤ œ ˙

œœœ# œœœ# ˙E A/E E

.œ œ œ .œ œ œ

˙ ˙˙ ˙˙4

˙˙ ˙

˙n ˙˙˙nF C(add9)/E

.œ œ œ .œ œ œ

œ œ ˙œ œ

0 ˙œ œ

0

˙œ œ ˙

œœœb œœœ ˙Bbsus/F C7sus F

.œ œ œ .œ œ œB œ

1

DViola

? œ1

DCello

147. LET’S READ “D”

&B??

&?

cccc

cc

Violin

Viola

Cello

Bass

Piano

œ≥

œ ˙œ≥1

œ ˙œ≥1

œ ˙œ≥ œ ˙

œ œœ ˙Dmi Dmi7 G/D


œ≤

œ ˙œ≤

œ ˙œ≤

œ ˙œ≤ œ ˙

œ œœ ˙Dmi Dmi7 G/D


˙ ˙

˙0

˙

˙0

˙1

˙ ˙

œ œ œ œ œ œ œ œCsus Dsus Dmi

˙ ˙

œ œ ˙

œ2

œ ˙3

œ3

œ ˙4

œ œ ˙

œ œ œ œ ˙C/E F

œ œ ˙


148. SIDE BY SIDE Name the notes before you play.

&B?

?

&?

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

≥ ˙

˙≥3

˙

˙≥4

˙≥ ˙

œœ œ œ œ ˙F

˙ œ œ

˙ ˙

˙2

˙

˙3

˙˙ ˙

œœ œ œ œ ˙C7/E

w

˙ ˙

˙1

˙

˙1

˙˙ ˙

œœ œ œ œ ˙Dmi

˙ œ œ

˙ Ó,

˙0 Ó,

˙0 Ó,

˙ Ó,

œœ œ œ œ œ œ œ œF/C Ami/C

w

&B?

?

&?

Violin

Viola

Cello

Bass

Piano

˙≥

˙

˙≥

˙

˙≥

˙≥ ˙

œœœb œ œ œ ˙Bb/C

˙ œ œ

˙ ˙

˙ ˙

˙ ˙˙ ˙

œœb œ œ œ ˙Bb/D

w

˙ ˙

˙ ˙

˙ ˙˙ ˙

œœ œ œ œ ˙˙bC7/E

˙ œ œ

˙ Ó

˙ Ó

˙ Ó˙ Ó

œœb œ œ œ ˙Fsus F

˙ ˙


149. C MAJOR SCALE

&B?

?

&?

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

≥ ˙≥ ˙≥ ˙

II

≥4 ˙2

œœ œ œ œ œ œœ œ œ œ œC G/B

˙ ˙

˙ ˙

˙ ˙

˙ ˙

I

˙–1 ˙

œœ œ œ œ œ œœ œ œ œ œF/A Emi/G

˙ ˙

˙ ˙

˙ ˙

˙ ˙˙ ˙

œœ œ œ œ œ œœ œ œ œ œF C/G

˙ ˙

˙ ˙

˙ ˙

˙ ˙˙ ˙

œœ œ œ œœ œœ œ œ œ œDmi7 G7 C

œ œ œ œ

&B

?

?

&?

Violin

Viola

Cello

Bass

Piano

˙ ˙

˙ ˙

˙ ˙˙ ˙

œœ œ œ œ œ œœ œ œœ œC Csus/D

˙ ˙

˙ ˙

˙ ˙

˙ ˙˙ ˙

œœ œ œœ œ œœb œ œœ œC/E Fmi/Ab

˙ ˙

˙ ˙

˙ ˙

˙ ˙˙ ˙

œœ œ œœ œ œœn œ œœ œC/G F/G

˙ ˙

˙ ˙

˙ ˙

˙ ˙

II

˙–2 ˙4

œœ œ œ œ œ œ œ œ œ œG7 C

˙ ˙


Whole Note Whole Rest Whole Rest Half Rest

-—-—1 & 2 & 3 & 4 &

w = 4 Beats

1 & 2 & 3 & 4 &

∑ =A Whole Measureof Silent Beats

∑hangs froma staff line.

Ósits on astaff line.

Teacher Practice with students the Rhythm Rap, exercise 150, using the suggested practice techniques from previous Rhythm Raps. Remind students that they must pull their bows very slowly and count carefully when playing whole notes. Emphasize the difference in placement on the staff of a whole rest and a half rest.


/

&?

44

4444

Piano

1Count: & 2 & 3 & 4 &

w≥

œœœ œœœ œœœ Œ œœœDmi

œ Œ œ Œ

1 & 2 & 3 & 4 &

w≤

œœœ# œœœ œœœ Œ œœœA/C#

œ# Œ œ Œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤

œœœb œœœ œœœ Œ œœœBb

œb Œ œ Œ

1 & 2 & 3 & 4 &

∑

œœœ œœœ œœœ Œ œœœF/A

œ Œ œ Œ

1 & 2 & 3 & 4 &

œ≥ œ≤ œ≥ œ≤

œœœ œœœ œœœ Œ œœœC

œ Œ œ Œ

1 & 2 & 3 & 4 &

w≥

œœœ œœœ œœœ ˙F

œ Œ œ œ>151. SLOW BOWS

&B?

?

&?

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

SlowBow

w≥

w≥

w≥

w≥

œœœ œœœ œœœ Œ œœœDmi

œ Œ œ Œ

SlowBow

w≤

w≤

w≤

w≤

œœœ# œœœ œœœ Œ œœœA/C#

œ# Œ œ Œ

œ≥

œ≤

œ≥

œ≤

œ≥

œ≤

œ≥

œ≤

œ≥

œ≤

œ≥

œ≤

œ≥ œ≤ œ≥ œ≤

œœœb œœœ œœœ Œ œœœBb

œb Œ œ Œ

∑

∑

∑

∑

œœœ œœœ œœœ Œ œœœF/A

œ Œ œ Œ

œ≥

œ≤

œ≥

œ≤

œ≥

œ≤

œ≥

œ≤

œ≥

œ≤

œ≥

œ≤

œ≥ œ≤ œ≥ œ≤

œœœ œœœ œœœ Œ œœœC

œ Œ œ Œ

SlowBow

w≥

w≥

w≥

w≥

œœœ œœœ œœœ ˙F

œ Œ œ œ>

THEORY


152. LONG, LONG AGO T. H. Baily

&B?

?

&?

c

c

c

c

cc

Violin

Viola

Cello

Bass

Piano

Moderato

˙≥

œ œ

˙≥

œ œ

˙≥

œ œ≥ œ œ

˙ œœœ œC F/G

˙ ˙

˙≤ œ œ

˙≤

œ œ

˙≤

œ œ≤ œ œ

˙ œœœ œC F/G

˙ ˙

≥ œ4 œ≥ œ œ

˙≥ œ œ≥ œ œ

˙ œœœ œC G/G

˙ ˙

w≤

w≤

w≤

w≤

wwwC

˙ œ œ œ

≥ œ œ˙≥4 4th finger on C string = open G pitch

œ œ˙≥ œ œ≥ œ œ

˙˙ œœœ œG7sus

˙ ˙

w≤

w≤

w≤

w≤

www˙ œ œ œ

≥ œ œ˙≥ œ œ˙≥

œ œ≥ œ œ

˙ œœœ œC/G G7sus

˙ ˙

w≤

w≤

w≤

w≤

˙ œœœb œœœC Bb F/G

˙ œb œ

&B?

?

&?

Violin

Viola

Cello

Bass

Piano

˙≥

œ œ

˙≥

œ œ

˙≥

œ œ≥ œ œ

˙ œœœ œC F/G

˙ ˙

˙≤ œ œ

˙≤

œ œ

˙≤

œ œ≤ œ œ

˙ œœœ œC F/G

˙ ˙

≥ œ4 œ≥ œ œ

˙≥ œ œ≥ œ œ

˙ œœœ œC G/G

˙ ˙

w≤

w≤

w≤

w≤

wwwC

˙ œ œ œ

≥ œ œ≥4 œ œ˙≥ œ œ≥ œ œ

˙˙ œœœ œF/G

˙ ˙

˙≤ œ œ

˙≤

œ œ

˙≤

œ œ≤ œ œ

˙˙ œœœ œF/G

˙ ˙

w≥

w≥

w≥

w≥

wwwbFsus/Bb

˙b œ œ œ

œ Œ Ó

œ Œ Ó

œ Œ Ó

œ Œ Ó

œœœŒ Ó

C

œ Œ Ó


Arpeggio An arpeggio is a chord whose pitches are played one at a time. Your first arpeggio uses the 1st, 3rd, 5th, and 8th steps from the C major scale.

Teacher Discuss the definition of arpeggio. Practice the arpeggio in the last four measures before playing the entire exercise.

153. C MAJOR SCALE AND ARPEGGIO

&B??

&?

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

˙≥

œ≤ œ

˙≥

œ≤

œ

˙≥

œ≤

œ≥ œ≤ œ

˙ œœœ œœœC

œ œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œœ œ œ1

II

œ–2

˙ ˙F/C

œ œ œ œ œ

≤ œ œ≤ œ œ≤ œ œ≤4 œ2

I

œ–1

˙ ˙C

œ œ œ œ œ


˙ ˙F/C

œ œ œ œ œ

&B??

&?

Violin

Viola

Cello

Bass

Piano

˙≥ œ œ

˙≥

œ œ

˙≥

œ œ≥ œ œ

˙ ˙Ami

œ œ œ œ œ

Arpeggio

w≤

w≤

w≤

II

w≤– 4

˙ ˙C/G

œ œ œ œ œ

≥ œ œ≥ œ œ≥

œ œ≥ œ0

I

œ–1

˙˙ ˙˙Csus/F

œ œ œ œ œ

w≤

w≤

w≤

w≤

...˙ œœœ>C

œ œ œ œ œ>

THEORY


154. LISTEN TO OUR SECTIONS

&B??

&?

cccc

cc

Violin

Viola

Cello

Bass

Piano

Violin

œ œ œ œ∑∑∑

œ œ œ œN.C.

∑

Viola ∑

œ œ œ œ∑∑

∑œ œ œ œ

Cello ∑∑

œ œ œ œ∑

∑

œ œ œ œ

Bass ∑∑∑

œ œ œ œ

∑

œ œ œ œ

Vln. Vla.œ œ ÓÓ œ œ

∑∑

œ œ ÓÓ œ œ

Cello Bass∑∑

œ œ ÓÓ œ œ

∑

œ œ œ œ

Allœ œ œ œœ œ œ œœ œ œ œœ œ œ œ

œ œ œ œG7

www


œ œ ˙C

www

155. MONDAY’S MELODY Traditional Folk Song

&B?

?

&?

c

c

c

c

cc

Violin

Viola

Cello

Bass

Piano

Moderato

œ≥

œ œ œ œ œ

œ≥

œ œ œ œ œ

œ≥

œ œ œ œ œœ≥ œ œ œ

III

œ–1 œ

œ œ œ œ œ œ œ œ œ œC

˙ ˙

œ≥ œ œ ˙

œ≥ œ œ ˙

œ≥ œ œ ˙œ≥4 œ1 œ4 ˙1

œ œ œ œ œ œ œ œ œ œF C

˙ ˙

œ≥

œ œ œ œ œ

œ≥

œ œ œ œ4 œ

œ≥

œ œ œ œ œ

I

œ≥–2 œ œ œ œ0 œ

œ œ œ œ œ œ œ œ œ œ˙ ˙

œ≥ œ œ ˙œ≥ œ œ ˙œ≥

œ œ ˙œ≥ œ œ ˙

œ œ œ œ# œ œ œ œ œF D7 G

œ œ ˙


&B?

?

&?

Violin

Viola

Cello

Bass

Piano

œ≥

œ œ œ œ œ

œ≥

œ œ œ œ0 œ

œ≥

œ œ œ œ œœ≥ œ œ œ

III

œ–1 œ

œ œ œ œ œ œ œ œ œ œC

˙ ˙

œ≥ œ œ ˙

œ≥ œ œ ˙

œ≥ œ œ ˙œ≥4 œ1 œ4 ˙1


˙ ˙



œ≥

œ œ œ œ œ

I

œ≥–2 œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œF C Ami

˙ œ œ

Fine

œ≥ œ œ œ œ Œ,

œ≥

œ œ œ œ Œ,

œ≥

œ œ œ œ Œ,

œ≥ œ œ œ œ Œ,

œ# œ œn œ ˙ œ œD7 G7 C

œ œ ˙

&B?

?

&?

Violin

Viola

Cello

Bass

Piano

œ≥ œ œ œœ≥ œ œ œœ≥ œ œ œ

III

œ≥–1 œ œ œ1


˙ ˙

œ≥ œ œ ˙

œ≥ œ œ ˙

œ≥ œ œ ˙œ≥4 œ1 œ4 ˙1

œ œ œ œ œ œ œ œ œF C

˙ ˙

œ≥ œ œ œœ≥ œ œ œœ≥ œ œ œœ≥1 œ œ œ1

œ œ œ œ œ œ œ œ œ# œF C A7

˙ œ œ

D.C. al Fine

œ≥ œ œ ˙

œ≥ œ œ ˙

œ≥ œ œ ˙œ≥4 œ1 œ4 ˙1

œn œ œ# œ œœ œ œD7 G

˙ ˙


Teacher The E string and the pitches A, G, and F# are introduced for violin on student book page 38. Fourth finger E on the A string is introduced on the viola. No new notes for the cello are introduced, while the E string and F# are introduced for the bass. Special writing exercises are provided for the viola and cello.

ViolinE S T R I N G N O T E S

A is played with 3 fingers G is played with 2 fingers F# is played with 1 fingeron the E string. on the E string. on the E string.

G

2

F

1E

AD

G3

A

#

ViolaN E W N O T E

Eis played with 4 fingers onthe A string. C

2

B

13

D

4

E

AD

GC

Cello

Special Cello ExerciseWrite the note names below. Then, write stories using as many note names as possible. Share your work with orchestra friends.? œ œ œ


œ œ œ œ— — — —

œ œ œ— — —

œ œ œ— — —

? œ œ œ œ œ œ œ— — — — — — —

œ œ œ œ œ œ œ— — — — — — —

BassE S T R I N G N O T E S

F#is played with 1 finger on the E string.

GDAE

432

1F#


Viola, Cello Great musicians give encouragement to their fellow performers. Violin and bass players will now learnTeam Work new challenging notes. The success of your orchestra depends on everyone’s talent and patience. Play your best as these sections advance their musical technique.

Teacher Play the following Listening Skills patterns to begin introducing the new notes to students. Remember that the patterns may be played on any instrument.


1.

& c .. .. ..Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher playsœ# œ œ œ Students echoœ# œ œ œ

2.

& # c .. .. ..Teacher playsœ œ ˙ Students echoœ œ ˙ Teacher playsœ œ ˙ Students echoœ œ ˙

& # .. ..Teacher playsœ œ œ œ Students echoœ œ œ œ

3.

& # c Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher playsœ œ œ œ Students echoœ œ œ œ

& # ..Teacher playsœ œ œ œ Students echoœ œ œ œ

4.

& c Teacher playsœ œ œ4 œ4 Students echoœ œ œ4 œ4 Teacher playsœ4 œ4 œ œ Students echoœ4 œ4 œ œ

& ..Teacher playsœ œ œ4 œ4 Students echoœ œ œ4 œ4


& œ0E

Violin

B œ4E

Viola

? œ0

E

Bass


&

B?

?

&?

## # #

# # # ## # # ## # # #

# # # ## # # #

c

cc

c

cc

Violin

Viola

Cello

Bass

Piano

œ0≥ œ ˙œ≥4 œ ˙

œ≥ œ ˙

œ≥0

œ ˙

‰ Jœœœn ‰ J

œœœ ‰ Jœœœ ‰ J

œœœE7

œ œ œ œ œ

œ≤ œ ˙œ≤ œ ˙

œ≤ œ ˙

œ≤

œ ˙

‰ Jœœœn ‰ J

œœœ ‰ Jœœœ ‰ J

œœœA7

œ œ œ œn œ

˙ ˙˙ ˙

˙ ˙

˙ ˙

‰ Jœœœn ‰ J

œœœ ‰ Jœœœn ‰ J

œœœE7 A7

œ œ œ œn œ

œ œ ˙œ œ ˙

œ œ ˙

œ œ ˙

‰ Jœœœn ‰ J

œœœ ˙˙˙E7

œ œ ˙

Viola

Special Viola ExerciseWrite the note names below. Then, write stories using as many note names as possible. Share your work with orchestra friends.B œ œ œ


œ œ œ œ— — — —

œ œ œ— — —

œ œ œ— — —

Viola Great musicians give encouragement to their fellow performers. Violin and bass players will now Team Work learn new challenging notes. The success of your orchestra depends on everyone’s talent and patience. Play your best as these sections advance their musical technique.


& œ3AViolin

157. LET’S READ “A”

&B??

&?

cccc

cc

Violin

Viola

Cello

Bass

Piano

œ≥3 œ ˙œ≥4 œ ˙œ≥ œ ˙

œ≥0

œ ˙œœ œœ œœ œœ œœ œœ œœ œœA

œœ œœ# ˙

œ≤ œ ˙œ≤ œ ˙œ≤ œ ˙

œ≤ œ ˙œœ œœ œœ œœ œœ œœ œœ œœœœ œœ# ˙

˙ ˙˙ ˙˙ ˙

˙ ˙œœ# œœ œœ œœ œœ œœ œœ œœD A

˙ ˙

œ œ ˙œ œ ˙œ œ ˙

œ œ ˙œœ œœ# ˙

E A

œœ œœ ˙

& œ2GViolin

158. LET’S READ “G”

&B??

&?

cccc

cc

Violin

Viola

Cello

Bass

Piano

œ2≥ œ ˙œ≥ œ ˙œ≥ œ ˙

œ≥2

œ ˙œœ œœ ˙

G5


œ≤ œ ˙œ≤ œ ˙œ≤ œ ˙

œ≤ œ ˙œœ œœ ˙œ œ œ œ œ œ œ œ

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙˙F/G


œ œ ˙œ œ ˙œ œ ˙

œ œ ˙œœ œœœ ˙G F/G G

œ œ œ œ ˙


& œ# 1

F#Violin ? œ#1

F#Bass

159. LET’S READ “F#” (F-sharp)

&B??

&?

cccc

cc

Violin

Viola

Cello

Bass

Piano

œ# ≥ œ ˙œ# ≥ œ ˙

œ# ≥ œ ˙

œ#≥1

œ ˙˙## ˙#

F#sus F#

.œ# jœ# ˙#

œ# ≤ œ ˙œ# ≤ œ ˙

œ# ≤ œ ˙

œ#≤

œ ˙

˙˙### ˙#F#sus2 F#

.œ# jœ# ˙#

˙ ˙#˙ ˙#˙ ˙#

˙2 ˙#1

œn œ ˙#Gsus G Bsus

˙ œ œ#B

.œ jœ ˙

œ œ# ˙

œ œ# ˙

œ œ# ˙

œ0

œ#1 ˙2

œœœ œœ# œ œC D Gsus G

˙œ œ ˙


160. MOVING ALONG Name the notes before you play.

&B?

?

&?

#

#

#

#

#

#

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ3≥ œ œ Œœ≥4 œ œ Œœ≥ œ œ Œ

œ≥0

œ œ Œ

œœœ œœœ œœœ ŒA5


œ2 œ œ Œœ œ œ Œœ œ œ Œ

œ2 œ œ Œ

œœœ œœœ œœœ ŒG/A



œ1

œ œ Œ

œœœ œœœ œœœ ŒD/A



œ0

œ œ Œ

œœ œœ œœ ŒA5


&B?

?

&?

#

#

#

#

#

#

Violin

Viola

Cello

Bass

Piano

œ≥ œ œ œ Œœ≥ œ œ œ Œœ≥ œ œ œ Œ

œ≥

œ œ œ Œ

œœ œœ œœ œœ ŒE5

œ œ œ œ œ œ


œ œ œ œ Œ

œœœ œœœ œœœ œœœ ŒD/E

œ œ œ œ œ œ


œ œ œ œ Œ

œœœ# œœœ œœœ œœœ ŒE

œ œ œ œ œ œ


œ œ œ œ Œ

œœœ œœœ œœœ œœœ# ŒAsus A

œœ œœ œœ œœŒ


161. G MAJOR SCALE

&B?

?

&?

#

#

#

#

#

#

ccc

c

cc

Violin

Viola

Cello

Bass

Piano

œ≥ œ ˙

œ≥ œ ˙

œ≥ œ ˙

œ≥2

œ ˙0

œœœ œœœ œœœ œ œ œG D

.œ jœ ˙

œ œ ˙

œ œ ˙

œ œ ˙

œ1 œ ˙2

œœœ œœœ œœœn œ œ œG F

.œ jœ ˙n

œ œ ˙

œ œ ˙

œ œ ˙

œ0 œ ˙1

œœœ œœœ œœœ œ œ œG C

.œ jœ ˙

œ œ ˙

œ œ ˙

œ œ ˙

œ4 œ ˙0

œœœ œœœ ˙D G

.œ Jœ œ œ œ œ

&B??

&?

#

#

##

#

#

Violin

Viola

Cello

Bass

Piano


œœœ œœœ œœœ# œ œ œG B7

.œ jœ ˙


œœœ œœœ œœœn œ œ œC G

.œ jœ ˙


œœœ œœœ œœœ œ œ œC G

.œ jœ ˙


œœœn œœœ# ˙F D G

œn œ ˙


162. SHEPHERD’S HEY English Folk Song

&B?

?

&?

### ## ## #

# ## #

42

42

42

42

42

42

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

Moderatoœ≥ œ œ œ

œ≥ œ œ4 œ

œ≥ œ œ œ

œ≥ œ œ œ

˙D5

œ œ

œ œ

œ œ

œ œ

œ œ

˙Emi/D

œ œ

œ œ œ œ

œ œ œ4 œ

œ œ œ œ

œ œ œ œ

˙D

œ œ


˙Dsus

œ œ œ œA7

œ œ

œ œ œ œ

œ œ œ4 œ

œ œ œ œ

œ œ œ œ

˙D5 D5/C

œ œn

œ œ œ

œ œ œ

œ œ œ

œ œ œ

˙G/B G/Bb

œ œb

œ œœ4 œœ œœ œ

œœœ œœœD/A A7sus

œ œ

œ Œ,

œ4 Œ,

œ Œ,

œ Œ,

œœœ ŒD

œ Œ

163. BIG ROCK CANDY MOUNTAIN American Folk Song

&B?

?

&?

### ## ## ## ## #

c

c

c

c

cc

..

..

..

..

..

..

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

Allegroœ≥ œ

œ≥ œ

œ≥ œ

œ≥ œ

œ œA7

œœ

œ œ œ œ œ

œ4 œ œ œ œ


œœ œœ œœ œ œD A7

˙ ˙

œ≤ œ œ œ œ

œ≤4 œ œ œ œ



˙ ˙

œ œ œ œ

œ4 œ œ œ


œœ œœ œœ œœD A7

˙ ˙

1.œ ˙ œ œ

œ ˙ œ œ

œ ˙ œ œ

œ ˙ œ œ

œœ ˙ œ œD A7

œ˙ œ œ


&B?

?

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano

2.œ ˙ œ œ

œ ˙ œ œ

œ ˙ œ œ

œ ˙ œ œ

œœ ˙ œœ œœD

˙ ˙

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œœ œœ œ œ œ œA7

˙ ˙

œ œ œ œ

œ œ œ4 œ

œ œ œ œ

œ œ œ œ

œœ œœ œ œ œ œD

˙ ˙

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œœ œœ œ œ œ œA7

˙ ˙

œ ˙ œ œ

œ ˙4 œ œ

œ ˙ œ œ

œ ˙ œ œ

œœ ˙ œ œD A7

œœ ˙ œ

&B?

?

&?

### ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano

œ œ œ œ œ

œ4 œ œ œ œ



˙ ˙

œ≤ œ œ œ œ

œ≤4 œ œ œ œ



˙ ˙

œ œ œ œœ4 œ œ œœ œ œ œœ œ œ œ

œœ œœ œœ œœA7

˙ œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œœ œœ œœD G D

œ œ œ


Violin

G

2

F

1E

AD

G3

A

#4

B

N E W N O T E

Bis played with 4 fingers onthe E string.

Teacher The note B is introduced for the violin on student book page 39. Use the following Listening Skills echo patterns to help students learn this new pitch.


1.

& # 44Teacher playsœ œ ˙ Students echoœ œ ˙ Teacher playsœ œ ˙ Students echoœ œ ˙ Teacher playsœ œ ˙

& # Students echoœ œ ˙ Teacher playsœ œ ˙ Students echoœ œ ˙ Teacher playsœ œ ˙ Students echoœ œ ˙2.

& # 42Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher playsœ œ œ œ Students echoœ œ œ œ

& # Teacher playsœ œ œ œ Students echoœ œ œ œ Teacher playsœ œ ˙ Students echoœ œ ˙

& œ4BViolin

164. LET’S READ “B”

&B??

&?

### ## ## ## ## #

42424242

4242

Violin

Viola

Cello

Bass

Piano

œ4≥ œœ≥ œœ≥ œœ≥ œ

œœœ œœœB5

œ œ œ œ


œœœ œœœE5

œ œ œ œ


œœœ œœœB5

œ œ œ œ


œœœ œœœE5

œ œ œ œ

˙˙˙˙

œœœ œœœB5

œœ œœ


165. ICE SKATING

&B?

?

&?

### ## ## #

# ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

Moderato

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

œœœ œœœ ˙D(add9) A/G

˙ ˙

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œœœ œœœ ˙Dma7 A/G

˙ ˙

œ œ œ œ œ4 œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

˙ œœœ œœœD(add9)/F# Gma7 D(add9)/F#

˙ œ œ

œ œ4 œ œœ œ œ œœ œ œ œœ œ œ œ

˙˙ ˙G(add9) G/A

.œ Jœ œ œ

&B?

?

&?

### ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œœœ œ œ ˙Bmi Dma7/A

˙ ˙

œ œ œ œ œ œœ4 œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ

œœœ œ œ ˙A7sus Dma7/A

˙ ˙

œ4 œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ

˙ œœœ œœœGma7 Emi7 G/A

˙ œ œ

œ œ œœ4 œ œœ œ œœ œ œ

...˙˙D(add9)

.˙


Teacher Familiarize students with different examples of music by Johannes Brahms. Play an excerpt of the melody in exercise 166 from a recording of the Academic Festival Overture.

QUIZ OBJECTIVES – ACADEMIC FESTIVAL OVERTURE THEME

● E string notes ● Upbeat

Review Exercises:

162. Shepherd’s Hey 163. Big Rock Candy Mountain 165. Ice Skating

166. ESSENTIAL ELEMENTS QUIZ – ACADEMIC FESTIVAL OVERTURE THEME Johannes Brahms

&B?

?

&?

### ## ## #

# ## #

42

42

42

42

42

42

Violin

Viola

Cello

Bass

Piano

Moderato

œ≤

œ≤

œ≤

œ≤

œœ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œœ œœ œœ œœD A7sus/E

jœ ‰ jœ ‰

œ œ

œ œ

œ œ

œ œ

œœ œœD/F# A/C#

œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œœ œœ œœ œœD D/C#

Jœ ‰ jœ ‰

œ œ

œ œ

œ œ

œ œ

œœ œœBmi Gmi/Bb

œ œb

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œœ œœ œœ œœF#mi/A B7/D#

jœ ‰ jœ# ‰

œ œ

œ œ

œ œœ œ

œœ œœEsus A7/C#

œ œ

œ œ

œ œ

œ œœ œ

œœ œœD A7sus

œ œ

œ

œ

œ

œ

œœD

œ

E


Staccato Staccato notes are marked with a dot above or below the note. A staccato note is played with œ. œ.

or a stopped bow stroke. Listen for a space between staccato notes.

Teacher Staccato bowing is introduced at the top of student book page 40. Demonstrate the stroke for students. Point out how the staccato stroke begins with a slight pinch of the index finger on the bow stick. You may have students just practice the pinching motion at the balance point of their bow as a separate task before they pull the bow to start the staccato stroke. Have students practice their staccato bowing on open strings first, then on familiar scales.

167. PLAY STACCATO

&B??

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

œ≥

œ œ œ œ. œ.œ≥ œ œ œ œ. œ.

œ≥ œ œ œ œ. œ.

œ≥ œ œ œ œ. œ.

œœœ œœœ œœœ œœœ œœœ. œœœ.D

˙ œ. œ.

œ œ œ œ œ. œ.œ œ œ œ œ. œ.

œ œ œ œ œ. œ.

œ œ œ œ œ. œ.

œœœ œœœ œœœ œœœ œœœ. œœœ.A

˙ œ. œ.


œ œ œ œ œ. œ.

œ œ œ œ œ. œ.


˙ œ. œ.


œ œ œ œ œ. œ.

œ œ œ œ œ. œ.

œœœ œœœ œœœ œœœ œœœ. œœœ.G

˙ œ. œ.

&B??

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano




˙ œ. œ.



œœœ œœœ œœœ œœœ œœœ. œœœ.G

˙ œ. œ.


œ œ œ œ œ. œ.

III

œ–2 œ œ œ œ. œ.

œœœ œœœ œœœ œœœ œœœ. œœœ.A

˙ œ. œ.


œ œ œ œ œ. œ.œ4 œ œ œ œ. œ.


˙ œ. œ.


168. ARKANSAS TRAVELER Southern American Folk Song

&B?

?

&?

### ## ## ## ## #

44

44

44

44

44

44

Violin

Viola

Cello

Bass

Piano

Allegro

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.‰ jœœœ

‰ jœœœ‰ jœœœ ‰ jœœœ

D G

œ œ œ œ

œ. œ. œ. œ.œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.


‰ jœœœ ‰ jœœœD

œ œ œ œ

œ. œ. œ. œ.œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.

‰ jœœœ# ‰ jœœœ ‰ jœœœ ‰ jœœœE E7

œ œ œ œ

œ œ œ œ œ. œ.œ œ œ œ œ. œ.œ œ œ œ œ. œ.œ œ œ œ œ. œ.‰ jœœœn ‰ jœœœ ‰ jœœ œœbn œœ

A7

œ œ ˙

&B?

?

&?

### ## ## ## ## #

Violin

Viola

Cello

Bass

Piano

œ œ œ œ œ. œ.œ œ œ œ œ. œ.œ œ œ œ œ. œ.œ œ œ œ œ. œ.‰ jœœœ#n ‰ jœœœ ‰ jœœœ ‰ jœœœD G

œ œ œ œ

œ. œ. œ. œ.œ. œ. œ. œ.

œ. œ. œ. œ.

œ. œ. œ.III

œ.– 4



D

œ œ œ œ


œ œ œ œ œ. œ.œ4 œ2 œ

I

œ– 4 œ. œ.

˙ ˙G

œ œ œ œ

œ œ œ. œ.œ œ œ. œ.

œ œ œ. œ.

œ œ œ. œ.

œœœ œœœ œœœ œœœ œœœD/A A7 D

œ œ œ


Teacher EE SKILL BUILDERS – G MAJOR appears on student book page 40. Its purpose is to reinforce students’ understanding of G major, especially the upper octave incorporating the E string on the violin.


169.

&B??

&?

####

##

43

43

43

43

43

43

Violin

Viola

Cello

Bass

Piano

œ≥ œ œ

œ≥ œ œ


œ œ œG

.˙

.˙

œ œ œ

œ œ œ

œ œ œœ œ œ

œ œ œC/G

.˙

.˙


œœ œ œD/F#

.˙

.˙

.˙

.˙

.˙

œœ œ œEmi G/D

˙ œ


œ œ œC

.˙

.˙


œ œ œAmi7

.˙

.˙

œ œ œœ œ œœ œ œœ œ œœ œ œAmi7/D

.˙

.˙

.˙

.˙

.˙

.˙œ ˙

Gsus G

..˙

.˙170.

&B??

&?

####

##

42

42

42

42

4242

Violin

Viola

Cello

Bass

Piano

œ≥ œ œ œœ≥ œ œ œœ≥ œ œ œœ≥ œ œ œ‰ jœœœ ‰ jœœœG

œ œ

œ. œ.

œ. œ.œ. œ.œ. œ.‰ jœœœ# ‰ jœœœ

B7

œ œ


‰ jœœœnn ‰ jœœœG7

œ œ

œ. œ.

œ. œ.

œ. œ.

œ. œ.

‰ jœœœ ‰ jœœœC

œ œ


‰ jœœœ# ‰ jœœœA7

œ œ

œ. œ.

œ. œ.

œ. œ.

œ. œ.

‰ jœœœn ‰ Jœœœ#

D7 E7

œ œ


‰ Jœœœ#n ‰ J

œœœnA7 D7

œ œ

˙˙˙˙‰ J

œœœ œœœ>G

œ œ>



171.

&B??

&?

#

#

##

##

43

43

43

43

43

43

Violin

Viola

Cello

Bass

Piano


œœ œœ œœG C/G

.˙

œ œ œ

œ œ œ4

œ œ œœ œ œ

œœ œœ œœG

.˙


œœ œœ œAmi/C G/D D/F#

œ œ œ œ

.˙

.˙

.˙

.˙

.˙G

œ œ œ

&B??

&?

####

##

Violin

Viola

Cello

Bass

Piano

œ œ œ

œ œ œ

œ œ œ

œ œ œ

œ œœ œœEmi D/E Emi

.˙

.˙

œ œ œ


œ œœ œœAmi G/A Ami/G

.˙˙ œ

œ œ œ

œ œ œ

œ œ œ

œ œ œ

œ œ œœD/F# Ami/D D7

œ œ ˙

.˙

.˙

.˙

.˙

..˙G

.˙



172.

&B?

?

&?

#

#

#

#

##

42

42

42

42

42

42

Violin

Viola

Cello

Bass

Piano

œ≥ œ œ œ

œ≥ œ œ œ

œ≥ œ œ œ

œ≥ œ œ œ

œ œ œ œG

˙

œ œ

œ œ

œ œ

œ œ

œ œG/B

˙

4th finger on A string = open E pitchœ œ œ œ4

œ4 œ œ0 œ

œ œ œ œ

œ œ œ œ

œ œ œ œC

˙

œ œ

œ œ

œ œ

œ œ

œ œD

˙


œ œ œ œC

˙

œ4 œ

œ œ

œ œœ œ

œ œAmi7

˙

œ œ œ œ

œ œ œ œ


˙C/D

œ œ œ˙

˙

˙

˙

˙

˙G

˙173.

&B?

?

&?

#

#

#

#

##

43

43

43

43

43

43

Violin

Viola

Cello

Bass

Piano

œ.≥ œ. œ.

œ.≥ œ. œ.

œ.≥ œ. œ.

œ.≥ œ. œ.

œœ. œœ. œœ.G

.˙

.˙

.˙

.˙

.˙

..˙D

œ œ œ

œ. œ. œ.

œ. œ. œ.

œ. œ. œ.

œ. œ. œ.

œœ. œœ. œœ.D

.˙

.˙

.˙

.˙

.˙

..˙G

œ œ œ

œ. œ. œ.

œ. œ. œ.

œ. œ. œ.

œ. œ. œ.

œœ. œœ. œœ.D

.˙

œ.4 œ. œ.

œ. œ. œ.

œ. œ. œ.œ. œ. œ.œœ. œœ. œœ.C

.˙

˙ œ

˙ œ

˙ œ˙ œ

˙ œœD6 D7

.˙

.˙

.˙

.˙

.˙

..˙G

.˙


Hooked Bowing

Hooked bowing is two or more notes played in the & œ. œ. B œ. œ.

? œ. œ. same direction with a stop between each note.

Teacher Demonstrate hooked bowing for students. Explain that hooked staccato notes simply involve bowing two staccato pitches in the same direction. As students practice their hooked bowing, their bows should completely stop between pitches. Practice hooked bowing on open strings first and then on familiar scales, as in exercises 174 and 175.

174. HOOKED ON D MAJOR

&B?

?

&?

### ## ## #

# ## #

c

c

c

c

cc

Violin

Viola

Cello

Bass

Piano

œ.≥

œ.≥ œ.

≤ œ.≤

œ.≥ œ.≥ œ.≤ œ.≤

œ.≥ œ.≥ œ.≤ œ.≤

œ.≥ œ.≥ œ.≤ œ.≤

œœœ œœœ œœœ œœœDsus D Asus A


œ.≥ œ.

≥ œ.≤ œ.

≤

œ.≥ œ.≥ œ.≤ œ.≤

œ.≥ œ.≥ œ.≤ œ.≤

œ.≥ œ.≥ œ.≤ œ.≤

œœœ œœœ œœœn œœœD Gsus G


œ.≥ œ.

≥ œ.≤ œ.≤

œ.≥ œ.≥ œ.≤ œ.≤

œ.≥ œ.≥ œ.≤ œ.≤

œ.≥ œ.≥ œ.≤ œ.≤

œœœ œœœ œœœ œœœ#Dsus D Esus E


œ.≥ œ.≥ œ.≤ œ.≤

œ.≥ œ.≥ œ.≤ œ.≤

œ.≥ œ.≥ œ.≤ œ.≤

III

œ.≥–2 œ.≥ œ.≤4 œ.≤

œœœ œœœ œœœ œœœA A/C# Dsus D



&B?

?

&?

### ## ## #

# ## #

Violin

Viola

Cello

Bass

Piano

≥ œ.≤ œ.≤≥ œ.≤ œ.≤

≥ œ.≤ œ.≤

≥ œ.≤ œ.≤

˙ œœœ œœœG A/G


≥ œ.≤ œ.

≤

≥ œ.≤ œ.≤

≥ œ.≤ œ.≤

I

≥– 4 œ.≤ œ.≤

˙ œœœ œœœG A/G


˙≥ œ.≤ œ.

≤

≥ œ.≤ œ.≤

≥ œ.≤ œ.≤

≥ œ.≤ œ.≤

˙ ˙G/A Bmi


˙≥ ˙≤

≥ ≤

≥ ≤

≥ ≤

œœœ œœœ œœœ œœœAsus A Dsus D

œ œ œ œ œ œ œ175. WALTZING BOWS

&

B?

?

&?

##

# ## ## #

# ## #

43

43

43

43

43

43

Violin

Viola

Cello

Bass

Piano

.≥ œ.≥

.≥ œ.≥

.≥ œ.≥

III

.≥4 œ.≥

œœœ œ œœœG(add9)

.˙

.≤ œ.≤.≤ œ.≤

.≤ œ.≤

.≤ œ.≤

œœœ œ œœœA/G

.˙

.≥ œ.≥

.≥ œ.≥

.≥ œ.≥

I

.≥– 4 œ.≥

œœœ œ œœG(add9)

.˙

.≤

.≤

.≤

.≤

.˙F#mi7

˙ œ#B7

œ œ œ


&

B?

?

&?

##

# ## ## ## ## #

Violin

Viola

Cello

Bass

Piano

. œ.. œ.

. œ.

. œ.

œœn œ œœEmi7 G/A

˙ œ

. œ.. œ.

. œ.

. œ.

œœœ œ œœœBmi7

˙ œ

. œ.. œ.

. œ.

. œ.

œœœn œ œœœ#C A7

˙n œ

.˙

.˙

.˙

.˙

..˙D

..˙

176. POP GOES THE WEASEL American Folk Song

&

B?

?

&?

##

# ## ## ## ## #

43

43

43

43

43

43

Violin

Viola

Cello

Bass

Piano

Allegro

˙≥. œ

≥.

≥. œ≥.≥. œ≥.≥. œ≥.

Œ œœœ œœœD

.˙

.≤ œ.

≤

.≤ œ.≤

.≤ œ.≤

.≤ œ.≤

Œ œœœ œœœA7

.˙

œ≥ œ4 œœ≥ œ4 œ

œ≥ œ œ

œ≥ œ œ

Œ œœœ œœœD

.˙

.˙≤

.≤

.≤

.≤

Œ œœœ œœœ.˙

˙≥. œ

≥.

≥. œ≥.≥. œ≥.≥. œ≥.

Œ œœœ œœœ.˙


&

B?

?

&?

##

# ## ## ## ## #

Violin

Viola

Cello

Bass

Piano

.≤ œ.

≤

.≤ œ.≤

.≤ œ.≤

.≤ œ.≤

Œ œœœ œœœA7

.˙

.˙

.˙

.˙

.˙

Œ œœœ œœœ.˙

.˙

.˙

.˙

.˙

Œ œœœ œœœ.˙

˙≥. œ

≥.

≥. œ≥.≥. œ≥.≥. œ≥.

Œ œœœ œœœ.˙

.≤ œ.

≤

.≤ œ.≤

.≤ œ.≤

.≤ œ.≤

Œ œœœ œœœF#mi7(b5)/C

.˙n

&

B?

?

&?

##

# ## ## ## ## #

Violin

Viola

Cello

Bass

Piano

œ œ4 œœ œ4 œ

œ œ œ

œ œ œ

Œ œœœ œœœG/B

.˙

.˙

.˙

.˙

.˙

...˙˙˙bb >Bb7

.˙b >

.≥

.≥

.≥

.≥

Œ œœœn œœœG/A

.˙

.≤ œ.

≤

.≤ œ.≤

.≤ œ.≤

.≤ œ.≤

Œ œœœ œœœA7

.˙

.˙

.˙

.˙

.˙

...˙D

œ œ œ

.˙

.˙

.˙

.˙

...˙

.˙


Teacher EE SKILL BUILDERS – C MAJOR will reinforce students’ understanding of C major, especially the lower octave incorporating the C string on the viola and cello.

E SKILL BUILDERS – C Major

177.

&B??

&?

43

43

43

43

4343

Violin

Viola

Cello

Bass

Piano

œ≥

œ œ

œ≥

œ œ

œ≥

œ œœ≥2

œ0 œ1

œ œ œC

.˙

.˙

œ œ œ

œ œ œ

œ œ œœ œ œ2

œ œ œG7

.˙

.˙

.˙

.˙

.˙

.˙0

œ œ œC

.˙

.˙

.˙

.˙

.˙

II

.˙–2

œ œ œEmi

.˙

.˙

œ œ œœ œ œœ œ œœ4 œ2

I

œ–1

œœ œœ œœF

.˙


œ œ œG7

.˙

.˙

.˙

.˙

.˙

.˙

˙ œœDmi G7

˙ œ

.˙

.˙

.˙

.˙

..˙C

.˙178.

&B??

&?

42

42

42

42

42

42

Violin

Viola

Cello

Bass

Piano

œ≥

œ œœ≥

œ œœ≥

œ œœ≥ œ œ

‰ jœœ ‰ jœœC

œ œ


‰ jœœ œœ œœœ œ


‰ jœœ ‰ jœœœ œ

˙˙˙

II

˙– 4

‰ jœœ œœ œœ˙


‰ jœœ œœF

˙

œ œ œœ œ œœ œ œœ0 œ œ

‰ jœœ œœC

˙


I

œ–1 œ œ œ

œœ œœG7

œœ œœ

˙˙˙˙

˙C

˙


E SKILL BUILDERS – C Major

179.

&B?

?

&?

43

43

43

43

43

43

Violin

Viola

Cello

Bass

Piano


II

œ≥4 œ2I

œ–1

...˙C

.œ jœ œ

.˙

.˙

.˙

.˙0

...˙Emi

.œ jœ œ

œ œ œœ œ œ

œ œ œ

œ œ1II

œ–2

˙ œœœF G

˙ œ

.˙

.˙

.˙

.˙4

...˙Ami

.œ jœ œ


I

œ– 4 œ œ

œœœ œœœ œœœG/F F Emi

˙ œ

œ4 œ œœ4 œ œœ œ œœ œ œ

...˙Dmi

.œ jœ œ

˙ œ˙ œ˙ œ˙ œ

˙ œœœG6 G7

.˙

.˙

.˙

.˙

.˙

...˙C

.˙180.

&B?

?

&?

42

42

42

42

4242

Violin

Viola

Cello

Bass

Piano

œ≥. œ œœ≥. œ œœ≥. œ œ

II

œ≥4.I

œ– 4 œ1

Œ œœœAmi

œ œ Œ

œ. œ.œ. œ.

œ. œ.

œ. œ.

Œ œœœEmi

œ œ Œ

œ. œ œœ. œ œœ. œ œœ. œ œ

Œ œœœDmi

œ œ Œ

œ. œ.œ. œ.

œ. œ.œ. œ.

Œ œœœAmi

œ œ Œ


œ œ œ œ

œ œ œ œ

Œ œœœF

œ œ Œ


œ œ œ œ

œ œ œ œ

Œ œœœG7

œ œ Œ

œ. œ œœ. œ œ

œ. œ œœ. œ œ0

œœœ œœœF G7

œ œ

˙˙

˙

II

˙– 4

˙C

œ œ


Dynamics Dynamics tell us what volume to play or sing.

f (forte) Play loudly. Add more weight to the bow. p (piano) Play softly. Remove weight from the bow.

Teacher The definition of forte and piano dynamics is given at the top of student book page 42. Play listening skill exercises incorporating different dynamic levels in preparation for exercises 181 and 182.

181. FORTE AND PIANO

&B?

?

&?

44

44

44

44

44

44

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

fœ≥ œ œ Œ

fœ≥ œ œ Œ

fœ≥ œ œ Œ

fœ≥ œ œ Œ

fœœœb œœœ œœœ ŒCmi

˙ œ œ œ œ

œ≤

œ œ Œ

œ≤ œ œ Œ

œ≤ œ œ Œ

œ≤ œ œ Œ

œœœbb œœœ œœœ ŒAb

˙b œ œ œ œ

pœ œ œ Œ

pœ œ œ Œ

pœ œ œ Œ

pœ œ œ Œ

p‰ jœb œb œ œ œ

Eb

wb

1.

œ œ œ Œ

œ œ œ Œ

œ œ œ Œ

œ œ œ Œ

‰ jœ œ œ œ œF

w

2.

œ œ œ Œ

œ œ œ Œ

œ œ œ Œ

œ œ œ Œ

‰ jœ œ œ œœœn ŒF C

˙ œ Œ



Teacher Familiarize students with the music of Franz Josef Haydn by playing recorded examples of his music, including the second movement of his Symphony No. 94 that contains The Surprise Symphony theme in exercise 182.

182. SURPRISE SYMPHONY THEME Franz Josef Haydn

&B??

&?

cccc

cc

Violin

Viola

Cello

Bass

Piano

Andante

pœ.≥

œ. œ. œ.

pœ.≥ œ. œ. œ.

pœ.≥ œ. œ. œ.

pœ.≥ œ. œ. œ.

pœ. œ. œ. œ.C

˙ Ó

œ. œ. ˙œ. œ. ˙œ. œ. ˙œ. œ. ˙

œ. œ. ˙˙ Ó

œ.≤ œ. œ. œ.œ.≤ œ. œ. œ.

œ.≤ œ. œ. œ.

œ.≤ œ. œ. œ.

œ. œ. œ. œ.F6

˙ Ó

œ. œ. ˙œ. œ. ˙œ. œ. ˙œ. œ. ˙

œ. œ. ˙G

˙ Ó

5

5

œ.≥

œ. œ. œ.œ.≥ œ. œ. œ.

œ.≥ œ. œ. œ.

œ.≥ œ. œ. œ.

œ. œ. œ. œ.C

˙ Ó

&B??

&?

Violin

Viola

Cello

Bass

Piano

œ. œ. ˙œ. œ. ˙œ. œ. ˙œ. œ. ˙

œ. œ. ˙˙ Ó

˙ ˙#˙ ˙#˙2 ˙# 3

˙2 ˙# 4

˙ ˙#Ami D

˙ ˙

˙ f˙

f˙

˙f˙

˙f˙

˙f˙>G

˙ ˙>

9

9

pn≤ ˙

p˙n ≤ ˙

p˙n ≤ ˙

p˙n ≤2 ˙

p ˙G7 C/G

Œ ˙ œ

œ≤. œ

≤. œ œ œ œ

œ≤. œ≤. œ œ œ œ



œœ. œœ. œœ œœ œœ œœG

œ œ ˙

œ.4 œ. œ. œ.œ.4 œ. œ. œ.

œ. œ. œ. œ.œ. œ. œ. œ.

œœ. œœ. œœ. œœ.Œ ˙ œ


&B??

&?

Violin

Viola

Cello

Bass

Piano

œ. œ. œ. Œ,

œ. œ. œ. Œ,

œ. œ. œ. Œ,

œ. œ. œ. Œ,

œœ. œœ. ..œœ jœb˙ ˙

13

13

fœ≥. œ. œ. œ.

fœ≥. œ. œ. œ.

fœ≥. œ. œ. œ.

fœ≥. œ. œ. œ.

fœn . œ. œœ. œœ.C

œ œ. œ. œ.

œ. œ. ˙4œ. œ. ˙4

œ. œ. ˙

œ. œ. ˙

œœ. œœ. ˙œ. œ. ˙

œ≤. œ≤. œ œ œ œœ≤. œ≤. œ œ œ œ

œ≤. œ≤. œ œ œ œœ≤. œ≤. œ œ œ œ

œœœ. œœœ. œœœ œ œœ œF6 G7

œ. œ. œ. œ.

œ. œ. ˙œ. œ. ˙

œ. œ. ˙œ. œ. ˙

œœœ. œœœ. ˙C

œ. œ. ˙Teacher EE SKILL BUILDERS – SCALES and ARPEGGIOS reviews and reinforces all the scales, and their related arpeggios,

presented in this book.

E SKILL BUILDERS – Scales and ArpeggiosAdd your own dynamics to any of the lines below.

183. D MAJOR

&B??

&?

### ## ## ## ## #

42

42

42

42

4242

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano


œœ œ œ œœD

œ œ œ


œ œ œ œ

œ œ œIII

œ–2

œœ œœ œœG

œ œ œ

œ≤ œ œœ≤ œ œœ≤ œ œœ≤4 œ2

I

œ– 4

œœœ œ œœD

œ œ œ


œœ œ œ œœA

œ œ œ


œ≥ œ œ

œ≥ œ œ

œœ œœ œœD

œ œ œ

œ≤ œ œœ≤ œ œœ≤ œ œ

III

œ≤– 4

I

œ–1 œ

œœ œœ œœBmi

œ œ


œœ œœœœG

œ œ

1.

œ Œ,

œ Œ,

œ Œ,

œ Œ,

œœ œœœœœœD

˙

2.

œ Œœ Œœ Œœ Œœœ ŒD

œ Œ



E SKILL BUILDERS – Scales and Arpeggios

184. G MAJOR

&B??

&?

#

#

##

##

42

42

42

42

4242

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

œ≥

œ œœ≥ œ œ

œ≥ œ œ

œ≥ œ œ

‰ œœ œœ ŒG

œ ‰ jœ


œ œ œ œ

œ œ œ œ

‰ œœœœ ŒC

œ ‰ jœ


‰ œœ œœ ŒG

œ ‰ jœ


‰ œœœœ ŒD

œ ‰ jœ

œ≥

œ œœ≥ œ œ

œ≥ œ œ

œ≥ œ œ

‰ œœœœ ŒG

œ ‰ jœ


‰ œœœœ ŒEmi

œ ‰ jœ

œ œœ œ

œ œœ œ

‰œœœœ ŒC

œ ‰ jœ

1.

œ Œ,

œ Œ,

œ Œ,

œ Œ,

‰ œœœœ ŒG

œ œ œ

2.

œ Œ

œ Œ

œ Œ

œ Œ

œœ ŒG

œ Œ


185. G MAJOR (Upper Octave – violin)

&B??

&?

#

#

##

##

42

42

42

42

4242

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

œ≥ œ œ

œ≥ œ œ

œ≥ œ œ

œ≥ œ œ

œœ œœœ œG

˙

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œœ œœœ œC

˙


œœ œœœ œG

˙


œœ œ œœ œD

œ œ œ

œ≥ œ œ

œ≥ œ œ

œ≥ œ œ

œ≥ œ œ

œœ œœ œ œG

˙


œœ œœ œ œEmi

˙

œ œ

œ œ

œ œœ œœœ œœœ œC

˙

1.œ Œ,

œ Œ,

œ Œ,

œ Œ,

œœœœ Jœ ‰G

œ œ œ

2.œ Œ

œ Œ

œ Œ

œ Œ

œœ ŒG

œ Œ



E SKILL BUILDERS – Scales and Arpeggios

186. C MAJOR

&B??

&?

42

42

42

42

42

42

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

œ≥

œ œœ≥ œ œ

œ≥ œ œ

œ≥ œ œ

œœœ œœœ œœœC

.œ jœ


œ œ œ œ

œ œ œII

œ–2

œœœ œœœF

jœ œ jœ

œ≤ œ œœ≤ œ œœ≤ œ œœ≤4

I

œ– 4 œ


.œ jœ


œœœ œœœG

jœ œ jœ


œ≥ œ œ

œ≥ œ œ


.œ jœ


II

œ≤– 4 œ0I

œ–1

œœœ œœœAmi

jœ œ jœ

œ œœ œ

œ œœ œ

œœœ œœœF

œ œ œ

1.

œ Œ,

œ Œ,

œ Œ,

œ Œ,

œœœ œ œC

œ Œ

2.

œ Œ

œ Œ

œ Œ

œ Œ

œœœ ŒC

œ Œ


187. C MAJOR (Lower Octave – viola and cello)

&B?

?

&?

42

42

42

42

4242

..

..

..

..

..

..

Violin

Viola

Cello

Bass

Piano

œ≥

œ œ

œ≥

œ œ

œ≥

œ œœ≥ œ œœœœ œœœC

jœ œ jœ

œ œ œ œ

œ œ œ œ

œ œ œ œœ œ œ

II

œ–2

œœœ œœœF

jœ œ jœ

œ≤ œ œœ≤ œ œœ≤ œ œœ≤4

I

œ– 4 œ

œœœ œœœC

jœ œ jœ

œ œ œ œœ œ œ œœ œ œ œœ œ œ œœœœ œœœG

jœ œ jœ

œ≥ œ œ

œ≥

œ œ

œ≥

œ œœ≥ œ œ

œœœ œœœC

jœ œ jœ


II

œ≤– 4 œ0I

œ–1

œœœ œœœAmi

jœ œ jœ

œ œ

œ œ

œ œœ œœœœ œœœ ‰ œœœ œœœ ‰F

œ œ ‰ œ œ ‰

1.

œ Œ,

œ Œ,

œ Œ,

œ Œ,

œœœ ŒC

œ œ œ# œ

2.

œ Œ

œ Œ

œ Œ

œ Œœœœ ŒC

œ Œ




Teacher The following orchestra arrangements in the PERFORMANCE SPOTLIGHT are found on student book pages 43–44. The A and B parts for each instrument section may be combined in any way. All instruments have been provided with melody parts. However, for performance purposes the arrangements are designed for the violins to be divided between parts A and B and for all other instruments to perform part B.

188. CRIPPLE CREEK – Orchestra Arrangement (A = Melody and B = Harmony) American Folk Song

Arr. Michael Allen

&&

BB??

??

&?

### #

# ## ## ## #

# ## ## ## #

44

44

44

44

44

44

44

44

44

44

..

..

..

..

..

..

..

..

..

..

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

Allegro

fœ≥ œ œ œ œ

fœ≥ œ œ œ œ

fœ≥ œ œ œ œ

fœ≥ œ œ œ œ

fœ≥ œ œ œ œ

fœ≥ Œ œ≤ Œ

fIII

œ≥– 4 œ œI

œ–1 œ

fœ≥ Œ œ≤ Œ

œœœŒ œœœ

ŒD

œ Œ œ Œ

œ≤ œ ˙

œ≤ œ ˙œ≤ œ ˙

œ≤ œ ˙

œ≤ œ ˙

œ≥ œ ˙

œ≤ œ ˙

œ≥ œ ˙

œœœ œœœ ˙G/D

œ œ ˙

œ≥ œ œ œ œœ≥ œ œ œ œœ≥ œ œ œ œœ≥ œ œ œ œœ≥ œ œ œ œ

œ≤ Œ œ≥ Œ

III

œ≥– 4 œ œI

œ–1 œ

œ≤ Œ œ≥ Œ

œœœŒ œœœ

Œ

œ Œ œ Œ

œ≤ œ ˙

œ≤

œ ˙œ≤ œ ˙

œ≤ œ ˙œ≤ œ ˙œ≤ œ ˙

œ≤ œ ˙œ≤ œ ˙

œœœ œœœ ˙G6 G D

œ œ ˙


&&BB??

??

&?

### ## ## ## ## ## ## #

# ## #

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass


œ≥


œ≥ œ œ œ œ œœ≥ œ œ œ œ œœ≥ Œ œ Œœ≥ œ œ œ œ œœ≥ Œ œ Œ

˙ ˙˙˙D A7sus/D

œ œ œ œ

œ œ œ ˙


œ œ œ ˙

œ œ œ ˙

œ Œ, œ≥ œ

œ œ œ ˙

œ Œ, œ≥ œ

œœœ œœœ ˙D

œ œ œ œ


œ≥


œ≥ œ œ œ œ œœ≥ œ œ œ œ œœ≥ Œ œ Œœ≥ œ œ œ œ œœ≥ Œ œ Œ

˙ ˙˙˙D A7sus/D

œ œ œ œ

œ œ œ ˙


œ œ œ ˙



œ œ œœ ˙A7 D

œ œ ˙


Africa is a large continent made up of many nations, and African folk music is as diverse as its many cultures. This folk song is from Kenya. The words describe warriors as they prepare for battle. Listen to examples of African folk music and describe the sound.

Teacher Play recordings of African folk music and have students describe the sounds they hear.

189. TEKELE LOMERIA – Orchestra Arrangement Kenyan Warrior Song Arr. John Higgins

&&

BB

??

??

&?

cc

cc

cc

cc

cc

..

..

..

..

..

..

..

..

..

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A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

Moderato

fœ≥ œ œ œ œ œ œ œ





fœ≥ œ ˙

fIII

œ≥4 œ œ œ1 œ4 œ œ1 œ0

fœ≥ œ ˙

fœœ œœ œ œœ œœ œ

D5

œœ œœ ˙

œ œ œ œ œ œ

œ œ4

œ œ œ œœ œ œ œ œ œ

œ œ4 œ œ œ œ

œ œ œ œ œ œ

œ≤ œ œ œ œ

I

œ–2 œ œ œ œ œ

œ≤ œ œ œ œ

œœ œœ œ œœ œœDmi

œœ œœ œœ œœ

œ≤ œ œ œ œ œ œœ≤ œ œ œ œ œ œœ≤ œ œ œ œ œ œœ≤ œ œ œ œ œ œœ≤ œ œ œ œ œ œ

œ≥ œ ˙

III

œ≤–1 œ œ œ4 œ1 œI

œ–2

œ≥ œ ˙

œœ œœ œ œœ œœC5

œœ œœ ˙

œ≥ œ4 œ œ œ œ

œ≥ œ œ œ

4

œ œœ≥ œ4 œ œ œ œ

œ≥ œ œ œ4 œ œ


œ≤ œ œ œ œ

œ≥0 œ1 œ2 œ0 œ œ

œ≤ œ œ œ œ

œœ œœ œ œœ œœœœ œœ œœ œœ

THEO

RY


&&

BB

??

??

&?

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

p≥ ˙

pœ≥

œ œ œ

p≥ ˙

pœ≥ œ œ œ

p≥ ˙

pœ≥ œ œ œ œ œ œ œ

p≥2 ˙


pœœ œ œœ œ

Dmi7


fœ œ œ œ œ œ

fœ4

œ œ œ œ œ

fœ œ œ œ œ œ

fœ4 œ œ œ œ œ

fœ œ œ œ œ œ

fœ œ œ œ œ œ

fœ œ œ œ œ œ

fœ œ œ œ œ œ

fœœ œœ œœ œœ œœ œœ

C5

œ œ œ œ

p≥ ˙

pœ≥

œ œ œ

p≥ ˙

pœ≥ œ œ œ

p≥ ˙


p≥ ˙


pœœ œ œœ œ

Dmi7


fœ œ œ4 œ œ œ œ.

fœ0

œ œ œ œ œ œ.

fœ œ œ4 œ œ œ œ.

fœ0 œ œ œ œ œ œ.

fœ œ œ œ œ œ œ.

fœ œ œ œ œ.

fœ œ œ œ œ œ œ.

fœ œ œ œ œ.

fœœ œ œœ œ œœ œœ œœ

C5 A5 Dmi

œ œ œœ œœ œœ



Italian composer Gioachino Rossini (1792–1868) wrote some of the world’s favorite operas. “William Tell” was Rossini’s last opera, and its popular theme is still heard on television.

Teacher Familiarize students with the music of Gioachino Rossini by playing recorded examples of his works in class. He wrote many lively overtures, such as the Overture to William Tell, which are interesting for young students to hear.

190. WILLIAM TELL OVERTURE – Orchestra Arrangement Gioachino Rossini

Arr. John Higgins

&&

BB

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&?

##

##

##

##

#

#

44

44

44

44

44

44

44

44

44

44

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

Allegro

pœ≥

œ≤

Œ

pœ≥ œ≤

Œ

pœ≥ œ≤

Œ

pœ≥ œ≤

Œ

pœ œŒ

œ. œ œ œ. œ œ

pœ≥. Œ œ.

≤ Œ

œ. œ œ œ. œ œ

pœ≥. Œ œ.

≤ Œ

œ. œ œ œ. œ œ

pœ≥. Œ œ.

≤ Œ

œ. œ œ œ. œ œ

pœ≥. Œ œ.≤ Œ

œœ. œ œ œœ. œ œG

œœ. Œ œœ. 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

œ.≥ œ.≤ œ.≤ œ œœ≥. œ.≤ œ.≤ Œ

œ. œœ. œœ. œ œD/G G

œœ. œœ. 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

œœ. œ œ œœ. œ œœœ. Œ œœ. Œ

œ. œ. œ. fœ œœ. œ. œ. Œœ. œ. œ.

fœ œ

œ. œ. œ. Œœ. œ. œ.

fœ œ

œ. œ. œ. Œœ. œ. œ.

fœ œ

œ. œ. œ. Œ

œœ. œœ. œ. fœ œD7

œ. œ. œ. Œ

HIST

ORY


&&

BB

??

??

&?

##

##

##

##

#

#

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

œ. œ œ œ. œ œ

fœ≥. Œ œ.

≤ Œ

œ. œ œ œ. œ œ

fœ≥. Œ œ.

≤ Œ

œ. œ œ œ. œ œ

fœ≥. Œ œ.

≤ Œ

œ. œ œ œ. œ œ

fœ≥. Œ œ.≤ Œ

œœ. œ œ œœ. œ œG

œœ. Œ œœ. 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. Œœ. œ. œ. œ œ4

œ. œ. œ. Œ

œ. œœ. œœ. œ œD/G G

œœ. œœ. œœ. Œ

˙ œ œ œ œ

˙ œ œ œ˙ œ œ œ œ

˙ œ œ œ˙ œ œ œ œ


III

˙– 4 œ4 œ1I

œ– 4 œ1


˙ œœ œ œ œD


Fine

œ. œ. œ.œ. œ. œ.œ. œ. œ.

œ. œ. œ.œ. œ. œ.

œ. œ. œ.œ. œ. œ.

œ. œ. œ.

Fine

œ. œ. œœ.œ. œ. œ.


&

&

B

B

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?

&?

#

#

#

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#

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#

#

#

#

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

pœ œ

pœ œ

pœ œ

pœ œ

pœ œ

pœ œ

pœ œ

pœ œ

pœœ œœŒ

9

9

œ. œ œ œ. œ œ

œ. œ œ œ. œ œ

œ. œ œ œ. œ 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. œœ œœ œœ. œœ œœEmi

œœ. Œ œœ. Œ

œ. œ.4 œ. œ.4

œ. œ. œ. œ.

œ. œ.4 œ. œ.4

œ. œ. œ. œ.

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œ. Œ œ. Œ

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œ. Œ œ. Œ

œœ. œœœ. œœ. œœœ.

œœ. Œ œœ. Œ

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œ. œ. œ. œ.œ. œ.4 œ. œ.

œ. œ. œ. œ.

œ. œ. œ. œ.

œ. Œ, œ.≥ œ.≤

œ. œ. œ. œ.

œ. Œ, œ.≥ œ.≤

œœ. œœœ. œœ. œœ.B7

œœ. Œ œ. œ.

œ. œ. œ. fœ œ

œ. œ. œ. fœ œ

œ. œ. œ.fœ œ

œ. œ. œ. fœ œ

œ. œ. œ.fœ œ

œ.≥ œ. œ.fœ œ

œ. œ. œ.fœ œ

œ.≥ œ. œ.fœ œ

œœ. œœ# . œ. fœœ œœ

Emi B7 Emi

œ. œ. œ. Œ


&

&

B

B

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&?

#

#

#

#

#

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A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

œ. œ œ œ. œ œ

œ. œ œ œ. œ œ

œ. œ œ œ. œ œ

œ. œ œ œ. œ œ

œ. œ œ œ. œ œ

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œœ. œœ œœ œœ. œœ œœ

œœ. Œ œœ. Œ

œ. œ.4 œ. œ.4

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œ. œ.4 œ. œ.4

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œ. Œ œ. Œ

œ. œ. œ. œ.

œ. Œ œ. Œ

œœ. œœœ. œœ. œœœ.

œœ. Œ œœ. Œ

œ. œ.4 œ œ œ# œ

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œ. œ.4 œ œ œ# œ

œ. œ. 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. œœ. œœ œœ œœ# œœD A7

œ. Œ œ. œ.

D.C. al Fineœ. Œ, Œ

œ. Œ, Œ

œ. Œ, Œœ. Œ, Œœ. Œ, Œ

œ.≥ œ≤ œ≥ œ≤

œ. Œ, Œ

œ.≥ œ≤ œ≥ œ≤

D.C. al Fineœœ. Œ ŒD

œ. œ œ œ


191. ROCKIN’ STRINGS – Orchestra Arrangement John Higgins

&

&

B

B

?

?

?

?

&?

### #

# ## #

# ## #

# ## #

# ## #

44

44

44

44

44

44

44

44

44

44

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

Moderato

fœ≥ œ œ œ œn œ œ œ

fœ≥ œ œ œ œ4 œ œ œ


fœ≥ œ œ œ œ4 œ œ œ



fœ≥1 œ

II

œ–2 œ œn 4 œ œ2 œ


fœœœn œœœ œœœ œœœ œœœn œœœ œœœ œœœ

D7 G/D Ami/D G/D

œ œ œ œ

œ œ œ œ œn . œ.

œ œ œ œ œ4. œ.œ œ œ œ œn . œ.

œ œ œ œ œ4. œ.


œ œ œ œ œ. œ.

I

œ–1 œII

œ–2 œ œn 4. œ2.

œ œ œ œ œ. œ.

œœœn œœœ œœœ œœœ œœœn œœœD7 G/D Ami/D G/D

œ œ œ œ


œ œ œ œ œ4 œ œ œœ œ œ œ œn œ œ œ

œ œ œ œ œ4 œ œ œ



I

œ–1 œII



œœœn œœœ œœœ œœœ œœœn œœœ œœœ œœœD7 G/D Ami/D G/D

œ œ œ œ

˙ œn ≤œ≥ œ.

≤

˙ œn ≤œ≥ œ.

≤

˙ œn ≤ œ≥ œ.≤

˙ œn ≤ œ≥ œ.≤

˙ œn ≤ œ≥ œ.≤

˙ œn ≤ œ≥ œ.≤

I

˙–1 œn ≤ œ≥ œ.≤

˙ œn ≤ œ≥ œ.≤

˙n œ œ œ.D7

˙ œn œ œ.


&

&

B

B

?

?

?

?

&?

### #

# ## #

# ## #

# ## #

# ## #

..

..

..

..

..

..

..

..

..

..

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass


œ œ œn œ œ4

œ œ œœ œ œ œ œn œ œ œ

œ œ œn œ œ4 œ œ œ



œ œ œ œ œn œ œ œœ œ œ œ œ œ œ œ

œœœn œœœ œœœn œœœ œœœn œœœ œœœ œœœG7 C/G Dmi/G C/G

œ œ œ œ


œ œ œn œ œ4

. œ.œ œ œ œ œn . œ.

œ œ œn œ œ4. œ.


œ œ œ œ œ. œ.œ œ œ œ œn . œ.

œ œ œ œ œ. œ.

œœœn œœœ œœœn œœœ œœœn œœG7 C/G Dmi/G G

œ œ œ œ


œ œ œ œ œ4 œ œ œœ œ œ œ œn œ œ œ

œ œ œ œ œ4 œ œ œ



œ1 œII



œœœ#n œœœ œœœ œœœ œœœn œœœ œœœ œœœD7 G/D Ami/D G/D

œ œ œ œ

1. .˙ Œ,

.˙ Œ,

.˙ Œ,

.˙ Œ,

.˙ Œ,

œ œ œ œ œ. œ.

I

.˙–1 Œ,

œ œ œ œ œ. œ.1.

...˙n œœœ#D7 A7

œ œ œ œ

2.˙ œ. Œ

˙ œ. Œ

˙ œ. Œ˙ œ. Œ

˙ œ. Œ

œ œ œ œ œ. Œ

˙ œ. Œ

œ œ œ œ œ. Œ2.

˙n œ. ŒD7

œ œ œ. Œ



192. SIMPLE GIFTS – Orchestra Arrangement Shaker Folk Song Arr. John Higgins

&

&

B

B

?

?

?

?

&?

### #

# ## #

# ## #

# ## #

# ## #

44

44

44

44

44

44

44

44

44

44

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

AndanteÓ Œ fœ≥ œ

Ó Œ fœ≥ œ

Ó Œfœ≥ œ

fœ≥ œ≤ œ≥ œ≤ œ≥ œ≤

Ó Œ fœ≥ œ

fœ≥ œ≤ œ≥ œ≤ œ≥ œ≤

Ó Œ fœ≥ œ

fœ≥ œ≤ œ≥ œ≤ œ≥ œ≤

fÓ Œ œ œ

D5


œ œ œ0 œ œ œ œ



˙≥ ˙

œ œ œ œ œ œ œ≥ ˙


≥ ˙


˙ ˙


œ4 œ œ œ œ œ

.˙ œ

œ œ œ œ œ œ.˙ œ≤

œ œ œ œ œ œ

∑

œ œ œ œ œ œN.C.

.˙ œ

œ4 œ0 œ4 œœ4 œ0 œ4 œ

œ œ œ œ˙4 ˙

œ œ œ œ˙ ˙

œ œ œ œ∑

œ œ œ œ˙ ˙


&

&

B

B

?

?

?

?

&?

### #

# ## #

# ## #

# ## #

# ## #

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

œ0 œ œ≤ œ≥ œ≤ œ≥ œ≤

œ0 œ œ≤ œ≥ œ≤ œ≥ œ≤

œ œ œ≤ œ≥ œ≤ œ≥ œ≤

˙ œ œ

œ œ œ≤ œ≥ œ≤ œ≥ œ≤

˙ œ œ

œ œ œ≤ œ≥ œ≤ œ≥ œ≤

∑

œ œ œ œ œ œ œ˙ œ œ


≥ œ œ


≥ œ œ4

œ≥ œ œ œ œ œ œ≥ ˙


fIII

≥4

I

˙– 4

œœ œ œ œœ œ œ œD Bmi7

˙ ˙

œ œ œ œ œ0 œ

˙ œ œ

œ4 œ œ œ œ œ˙ œ4 œ œ

œ œ œ œ œ œ˙ ˙


œœ œ œ œœ œ œG(add9) D

˙ ˙

œ≥4 œ œ œ œ0

œ≤ œ ˙

œ≥ œ œ œ œ

œ≤ œ ˙

œ≥ œ œ œ œ˙ ˙

œ≥ œ œ œ œ

˙ ˙

œœ œœ œœ œ œG6/9 A

˙ ˙


&

&

B

B

?

?

?

?

&?

### #

# ## #

# ## #

# ## #

# ## #

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

œ≥ œ ˙

œ≥ œ ˙

œ≥ œ ˙

œ œ ˙

œ≥ œ ˙œ œ ˙

œ≥ œ ˙œ œ ˙

œœ œœ ˙G Emi7 D

œœ œ ˙

10

10

p≤4 œ œ

p≤4 œ œ

p≤4 œ œ

p≤4 œ œ

p≤ œ œ

∑

p≤ œ œ

∑

p˙ œ œ

N.C.

˙ 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 œÓ Œ p

œ≤

œ œ œ œ œ œ∑

œ œ œ œ œ ŒC

˙ œ œ




œ œ œ œ œ œ

∑

œ œ œ œ œ œD5

˙ ˙

œ œ œ Œ,

œ œ œ Œ,

œ œ œ Œ,

œ œ œ Œ,

œ œ œ Œ,

œ œ œ Œ,

œ œ œ Œ,

∑

œ œ œ ŒA5

œ œ œ œ œ œ


&

&

B

B

?

?

?

?

&?

### #

# ## #

# ## #

# ## #

# ## #

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

f≥ œ œ

f≥ œ œ

f≥4 œ œ

fœ≥ ˙ œ≥

f≥ œ œ

fœ≥ ˙ œ≥

f≥ œ œ

fœ≥ ˙ œ≥

f˙ œœ œœD

œœ ˙ œœ

œ œ œ œ œ œœ œ4 œ œ œ œœ œ œ œ œ œ

œ≤

˙ œ≤

œ œ œ œ œ œ

œ≤ ˙ œ≤

œ œ œ œ œ œœ≤ ˙ œ≤

œœ œœ œœ œ œœ œD/G5

œœ ˙ œœ

œ4 œ œ œ œ0

œ œ œ œ

œ œ œ œ œ

œ≥

˙ œ≥

œ œ œ œ œ

œ≥ ˙ œ≥

œ œ œ œ œœ≥ ˙ œ≥

œœ œœ œœ œ œA5 A

œœ ˙ œœ

˙ ˙

˙ ˙

˙ ˙

œ œ ˙

˙ ˙

œ œ ˙˙ ˙œ≤ œ ˙

˙ ˙G Emi7

œ œ ˙

˙ Œ, œ≥ œ≤

˙ Œ, œ≥4

œ≤

˙ Œ, œ≥ œ≤

˙ Œ, œ≥4 œ≤

˙ Œ, œ≥ œ≤

˙ Œ, œ≥ œ≤

˙ Œ, œ≥ œ≤

≥ Ó,

˙ Œ œ œD N.C.

opt.

˙ Óœ œ œ œ œ œ œ


&

&

B

B

?

?

?

?

&?

### #

# ## #

# ## #

# ## #

# ## #

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass

19

19





œ œ œ œ œ œ œ˙ ˙


III

≥– 4 ˙2

œœ œ œ œ œ œœ œœD D/C#

˙ ˙

œ œ œ œ œ œ

œ œ œ œ œ

œ4 œ œ œ œ œœ œ œ œ


œ œ œ œ œ œ

I

˙– 4 ˙

œœœ œ œ œœ œ œBmi7 D/A

˙ ˙

œ4 œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ˙ ˙

œ œ œ œ˙ ˙

œœ œœ œ œG6/9 D/F#˙

˙ ˙

œ0 œ œ≤ œ≥ œ≤pœ≥

œ˙ œ

pœ≥

œœ œ œ≤ œ≥ œ≤ pœ

≥ œ˙ œ4

pœ≥ œ

œ œ œ≤ œ≥ œ≤ pœ≥ œ

˙ œ≤pœ≥

œ œ œ≤ œ≥ œ≤ pœ≥ œ

˙ œ≤pœ≥

œœ œ œ œ œpœ œ

A/G

˙ œ œ


&

&

B

B

?

?

?

?

&?

### #

# ## #

# ## #

# ## #

# ## #

A

B

A

B

A

B

A

B

Violin

Piano

Viola

Cello

Bass


˙ ˙œ œ œ œ œ œ œ

˙ ˙

œ œ œ œ œ œ œ≤ ˙


≤ ˙

œœ œ œ œœ œ œ œD Gma7

˙ ˙

œ4 œ œ œ œ œ

œ4

œ œ œœ4 œ œ œ œ œ

œ4 œ œ œœ œ œ œ œ œœ≤ œ ˙

œ œ œ œ œ œ

œ≤ œ ˙

œœ œœ œ œœ œ œD/F# Emi7 D

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 œG6 A

˙˙ ˙

˙ ˙

˙ ˙˙ ˙

˙ ˙

˙ ˙˙ ˙

˙ ˙˙ ˙

˙ ˙G Emi7

˙ ˙

w

ww

w

ww

w

w

œœŒ ‰ Jœ œ œD

œ° œ œ ˙&

˙ Ó

˙ Ó

˙ Ó

˙ Ó

˙ Ó˙ Ó

˙ Ó

˙ Ó

˙ Ó

˙ Ó

Essential Elements 2000 for Strings Correlated Literature

Students will enjoy playing their own special part in other string orchestra arrangements. The Artist level of Essential Elements 2000 for Strings series is a collection of string orchestra arrangements that only use the rhythms, bowings, and notes that are introduced on pages student book page 1–42 (Teacher Manual pages 39–233). See your Hal Leonard dealer for the latest releases.


PERFORMANCE SPOTLIGHT – Violin A solo is a composition written for one player, often with piano accompaniment. This solo was Solo with Piano written by Johann Sebastian Bach (1685–1750). You and a piano accompanist can perform for

Accompaniment the orchestra, your school, your family, and at other occasions. When you have learned the piece well, try memorizing it. Performing for an audience is an exciting part of being involved in music.

Teacher Each instrument has its own solo as a part of PERFORMANCE SPOTLIGHT on student book page 46. The solos may be used as a new musical experience for the string student and as a reward for effort and achievement. The corre-sponding piano accompaniments are included in each student book. Consider featuring these solos on concerts, performed by individual students or by instrument sections.

193. MINUET NO. 1 – Solo Johann Sebastian Bach Arr. John Higgins

&

&?

###

43

43

43

Violin

Piano

Moderato

fœ≥ œ.≤ œ.≤

Fœœ œœ œœœ œ œ

œ œ œ œœœ œ œ œœ œ œ

œ œ. œ.

œ œœ œœœ œ œ œ œ

˙ œ˙ œœœ œ œ œ

œ≥ œ œ œ œœœ œ œ œ œœ Œ Œ

œ≤4 œ œ œ œœœ œ œ œ œœ Œ Œ

&

&?

#

##

..

..

..

œ œ œ œ

œ œ œ œœ˙ œ

˙ Œ,

..˙œ ˙

9

pœ≥ 4

pœœœ ˙˙ œ

œ# œ œ œ

œœ# œ œ œ.˙œ œ œ

œ œ0 œ

œœ œœ# œœœ œ œ

œ œ œ# œ œœ œ œ# œ œŒ œ œ œ.˙

&

&?

#

##


œ≤ œ œ œ œœœ œ œ œ œœ Œ Œ

œ# œ œ

œ# œ œœ˙ œ

.˙

..˙œ œ œN œ œ

17

fœ œN œ œ

fœœ œN œ œœ˙ œ

œ œ œ œ

œœ œ œ œœ œ œ

&

&?

#

##

˙ œ œ

˙ œ œœ œ œœ œ œ

.˙

..˙

.œ Jœ œ œ


œ≤4 œ œ œ œœœ œ œ œ œœ Œ Œ

œ œ œ œ

œ œ œ œœ˙ œ

.˙

..˙œ ˙


PERFORMANCE SPOTLIGHT – Viola A solo is a composition written for one player, often with piano accompaniment. This solo was Solo with Piano written by Johann Sebastian Bach (1685–1750). You and a piano accompanist can perform for


193. MINUET IN C – Solo Johann Sebastian Bach Arr. John Higgins

B

&?

43

43

43

Viola

Piano

Moderato

pfœ≥ œ.≤ œ.≤

pf˙ œœ˙ œ

œ œ œ œ

..˙œ œ œ œ œ

œ≥ œ≤ œ œ œ0

˙ œœ˙ œ

œ œ0 œ œ≤

..˙œ œ œ

œ≥4 œ.≤ œ.≤

..˙

.˙

œ œ≤ œ œ œ0

˙ œœ.˙

B

&?

..

..

..

œ œ œ œ0 œ

œœ œ œœ

œ œ œ

.˙

..˙œ œ œ œ œ

9

pœ≥4 œ.≤ œ.≤

p œœ˙ œ

œ œ œ# œ

.˙

.˙

œ0 œ œn

œ œ œœœ œ œ

œ œ0 œ œ

œœ œ œœ œ œ

B

&?

fœ≥ œ.≤ œ.≤

f..˙.˙

œ œ œ œ œ# œ

.œ œ œ#˙# œ

œ0 œ œ#

˙ œ#œ œ œœ œ œ

≥ Œ,

..˙œ œ œ œ œ

17

pœ≥ œn .≤ œ.≤

p˙N œ

.˙

œ œ4 œ œ

..˙œ œ œ œ œ

B

&?

œ≥ œ.≤ œ.≤

˙ œ.˙

œ œ œ œ œ0

˙ œœ˙ œ

fœ≥ œ.≤ œ.≤

f˙ œœ˙ œ

œ œ0 œ œ

œœ œœ œœ œœ.˙

œ œ œ œ œ0 œ

œœ œœ œœ˙ œ

.˙

..˙

.˙


PERFORMANCE SPOTLIGHT – Cello A solo is a composition written for one player, often with piano accompaniment. This solo was Solo with Piano written by Johann Sebastian Bach (1685–1750). You and a piano accompanist can perform for


193. MINUET NO. 2 – Solo Johann Sebastian Bach Arr. John Higgins

?

&?

43

43

43

Cello

Piano

Moderato

fœ4 œ1 œ4 œ2 œ0 œ1

f˙ œœ˙ œ

œ2 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 œ2

˙ œœœ œ œ

œ.4 œ. œ œ2

˙ œœœ œ œ

œ2 œ4 œ2 œ1 œ2

œ œ œ œ œœ œ œœ œ œ

?

&?

.≤0

.˙œ œ œ œ œ œ

9

fœ œ œ œ œ œ

f˙ 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

.˙

œ0 œ4 œ2 œ1 œ0

...˙

œ œ œ

œ≤4 œ2 œ1 œ0 œ4

...˙

œ œ œ

?

&?

..

..

..

œ œ2 œ.≤ œ.

≤3

œœœ œ œœ˙ œ

.˙4

..˙œ œ œ

17

pœ≥0 œ œ.

pœ œ œ œ œ œ˙ œ

œ1 œ œ.œ œ œ œ œ œ˙ œ

œ2 œ œ œ œ

˙ œœœ œ œ

.≤0

..˙

œ œ œ œ œ œ

fœ≥ œ œ œ œ œ

f˙ 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 œ

œ œ œ.≤ œ.

≤

œœœ œ œœœ

œ œ œ

.˙

...˙

œ œ œ


PERFORMANCE SPOTLIGHT – Bass A solo is a composition written for one player, often with piano accompaniment. This solo was Solo with Piano written by Johann Sebastian Bach (1685–1750). You and a piano accompanist can perform for


193. MARCH IN D – Solo Johann Sebastian Bach Arr. John Higgins

?

&?

### ## #

44

4444

Bass

Piano

Moderato

fœ≤ œ

fœ œœ œ

œ≥ œ œ œ œ

œœ œ œ œ œ œ œœ œ œ œ œ

œ œ œ œ

œ œ œœ œ œœ œœ œœ œ œ œ


œ œ œ œœ œœ˙œ œ œ œ œ œ

.≥pœ≤ œ

..˙ pœ 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 œœ œœœ œ œ œ

œ≥ œ œ œ≤ œ œœ œ œ œœ œœ˙œ œ œ œ œ œ

.≥fIII

œ≤– 4

..˙fœ œ

œ œ œ œ œ

œ4I

œ–1 œ œ9

œ œœ œ œœ œœ œ œ œ

?

&?

### ## #

œ œ œ œ

œœ œœ œ œœ œ œœ œ œ œ

œ≥ œ œ œ≤ œ œ œ

œœ œ œ œ œ œ œœ œ œ œ œ œ œ

.≥pœ≤ œ

œ œ œpœ œ

.˙ œ œ

œ≥ œ œ œ≤ œ œ œœœ 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 œœ œ œ œœ œœ˙œ œ œ œ œ œ

.˙ fIII

œ≤– 4

..˙fœ œ

œ œ œ œ œ

17 œ4I

œ–1 œ œ≤ œ≥

œœ œœ œ œœ œ œœ œ œ œ œ

œ≤ œ œ œ≥ œ≤

œœ œœ œ œœ œ œœ œ œ œ œ

œ≥ œ œ œ≤ œ œ œ

œœ œ œ œ œ œ œœ œ œ œ œ œ œ

?

&?

### ## #

.≥pœ≤ œ

œ œ œpœ œ

.˙ œ œ

œ≥ œ≤ œ œ œ œ œ

œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ

œ≥ œ œ≤ œ œ.≤ œ.≤

œ œ œ œ œ œœœ œ œ œ œ œ

œ≥ œ œ œ.≤ œ.≤

œ œ œ œœ œœ˙œ œ œ œ œ œ

.˙...˙

œ œ œ


Improvisation Improvisation is the art of freely creating your own music as you play.

Teacher Students are given the opportunity to apply rhythms of their choice to the pitches provided In exercise 194, Rhythm Jam. Remind students that there must be a total of four beats in each measure. Inform them that they can use a variety of bowings including slurs, staccato and/or hooked bowings. Give students the opportunity to perform their examples in class. Some may even be selected to perform on a concert to reinforce and reward student creativity.

194. RHYTHM JAM Using the following notes, improvise your own rhythms.

&B?

?

### ## ## #

44

44

44

44

Violin

Viola

Cello

Bass

ww

w

w

ww

w

w

ww

w

w

ww

w

w

ww

w

w

ww

w

w

ww

w

w

ww

w

w

THEO

RY


Teacher Give students parameters when they begin to create their improvised melody in exercise 195. For example, instruct students to select pitches only from the D major scale. Also, remind them that there must be four beats in each measure. Consider limiting rhythmic values that students may use to help them in their creativity, e.g. using only quarter and half notes, or quarter and eighth notes. Suggest that their melody will sound more natural if it begins and ends on the pitch D. Have students write out their improvised melodies to reinforce their note and rhythmic reading. Allow students to perform their melodies while accompanied by other students playing the B line. Select students to play their newly created, improvised melodies on a concert.

195. INSTANT MELODY Using the following notes, improvise your own melody (Line A), to go with the accompaniment (Line B).

& ## w w w w w w

B ## w w w w w w

? ## w w w w w w

&&

BB

??

??

### #

# ## #

# ## #

# ## #

44

44

44

44

44

44

44

44

A

B

A

B

A

B

A

B

Violin

Viola

Cello

Bass

œ≥

œ ˙

œ≥ œ ˙

œ≥ œ ˙

œ≥ œ ˙

œ œ ˙

œ œ ˙

œ œ ˙

œ œ ˙

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ4 ˙

œ œ4 ˙

œ œ ˙

œ œ ˙


Teacher The following fingering charts appear on page 47 of each student book.

Violin

VIOLIN FINGERING CHART

E STRING

A STRING

D STRING

G STRING

w# 1

F

#& w0

E

& w0

G

& w0A

& w0

D

w2G

w3A

w4B

wB

1 wC

2 w# 2

C

#wD

3 wE

4

wE

1 wF

2 w# 2

F

#wG

3 wA

4

wA

1

wB

2

wC

3

wD

4

Viola

VIOLA FINGERING CHART

A STRING

D STRING

G STRING

C STRING

wB

1B w0A

B w0

C

B w0D

B w0G

w2C

w# 2

C

#

w4E

wE

1 wF

2 w# 2

F

#wG

3 wA

4

w1A

w2B

w3C

w4D

w3D

w1

D

w2

E

w3F

w4G


Cello

CELLO FINGERING CHART

A STRINGD STRINGG STRINGC STRING

? w0A

?w0

C

? w0D

? w0G

w1

D

w3

E

w4

F

w1A

w3B

w4C

wE

1

wF

2

w# 3

F

#

wG

4

wB

1

w2C

w#C

#

3

w4D

Bass

DOUBLE BASS FINGERING CHART

G STRINGD STRINGA STRINGE STRING ? w0G

? w0

E

? w0D

? w0A

wE

1

wF

2

w# 4

F

#wG

wA

w1B

w2C

w# 4

C

#

w#1

F

#

w2G

wA

1

wB

4

wC

w#C

#wD

1

4

III

1

4

III

2

4

II 1

2

4

II1/2

2

Note: Fingerings for first position are given inside circles.

258

E REFERENCE INDEX

Definitions (pg.)

Allegro 20

Alto Clef 5 (viola)

Andante 20

Arco 16

Arpeggio 37

Bar Lines 4

Bass Clef 5 (cello & bass)

Beat 4

Bow Lift 17

Chord 24

Chromatics 33

Common Time 27

Counting 5

D.C. al Fine 30

Dotted Half Note 28

Double Bar 5

Down Bow 13

Duet 34

Dynamics 42

Eighth Notes 20

1st & 2nd Endings 21

Forte (f) 42

Half Note 22

Half Rest 22

Half Step 32

Harmony 24

Hooked Bowing 41

Improvisation 47

Key Signature 15

Ledger Lines 10, 26

Measures 4

Measure Number 24

Moderato 20

Music Staff 4

Natural 32

Piano (p ) 42

Pickup 30

Pizzicato (pizz.) 4

Quarter Note 4

Quarter Rest 4

Repeat Sign 5

Repeat Signs (enclosed) 22

Round 24

Scale 11

Shadow Bowing 13

Sharp 6

Slur 29

Solo 46

Staccato 40

Tempo Markings 20

Theme And Variations 35

Tie 29

Time Signature 5

Treble Clef 5 (violin)

Up Bow 13

Upbeat 30

Whole Note 37

Whole Rest 37

Whole Step 32

ComposersJOHANN SEBASTIAN BACH● March in D 46● Minuet No. 1 46● Minuet No. 2 46● Minuet in C 46

LUDWIG VAN BEETHOVEN● Ode To Joy (from Sym. No. 9) 23

JOHANNES BRAHMS● Academic Festival Overture Theme 39

FRANZ JOSEF HAYDN● Surprise Symphony Theme 42

WOLFGANG AMADEUS MOZART● A Mozart Melody 15

JACQUES OFFENBACH● Can-Can From “Orpheus And The

Underworld” 25

GIOACCHINO ROSSINI● William Tell Overture 44

THOMAS TALLIS● Tallis Canon 35

World MusicAFRICAN● Tekele Lomeria 43

AMERICAN● Arkansas Traveler 40● Big Rock Candy Mountain 39● Bile ‘Em Cabbage Down 24● Bluebird’s Song 33● Cripple Creek 43● Grandparents Day 22● Michael Row The Boat Ashore 22● Old MacDonald Had A Farm 14● Monday’s Melody 37● Pop Goes The Weasel 41● Skip To My Lou 35● Simple Gifts 45● This Old Man 27

CARIBBEAN● Banana Boat Song 30

ENGLISH● Bingo 35● English Round 25● Sailor’s Song 28● Shepherd’s Hey 39

FAR EASTERN● Jingli Nona 31

FRENCH● At Pierrot’s Door 22● Au Claire De La Lune 20● French Folk Song 28● Frére Jacques 24

MEXICAN● Firoliralera 30

RUSSIAN● Russian Folk Song 34

SLAVIC● Morning Dance 8

WELSH● Good King Wenceslas 9

TRADITIONAL HOLIDAY MUSIC● Dreidel 13● Jingle Bells 14

Student Book Page 48

259Instrument Care Guidelines

Teacher The following may be photocopied and used as a student handout for instrument care.

TIPS FOR CARING FOR YOUR INSTRUMENT:WHAT TO DO AND WHAT NOT TO DO!

String instruments can last forever, but are easily damaged. To protect your instrument, be sure to follow these guidelines:

1. Never touch the bow hair, or the wooden part of the instrument with your hands.

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

3. Wipe any rosin off your instrument with a soft cloth.

4. Place a cloth over your violin or viola before closing your case. Be sure to latch the case.

5. Loosen the bow hair after every use. Tighten it the same amount every time before playing.

6. Keep your instrument away from those who do not know how to properly care for it.

7. Do not attempt to repair your instrument. Tell your teacher or qualified music dealer if something needs to be fixed.

260 Instrument Sizing Guidelines

GUIDELINES FOR SELECTING THE CORRECT SIZEDSTRING INSTRUMENT FOR YOUR STUDENTS

Instrument Size Left Hand Span Left Arm Length Height (Between pinky (From shoulder sleeve and index fingers) to end of middle finger)

Violin Full 5–6 inches over 24 inches 3/4 4 1/2–5 inches 21–24 inches 1/2 4–4 1/2 inches 18–21 inches 1/4 3 1/2–4 inches under 18 inches

*Viola 16 inch 6 inches or more 28 inches or more 15 1/2 inch 6 inches 26–27 inches 15 inch 5–6 inches 25 inches 14 inch 5–6 inches 24 inches 13 1/4 inch 4 1/2–5 inches 21–24 inches

Cello Full 6 inches 24 inches 60 inches 3/4 5 inches 22 inches 56 inches 1/2 4 inches 20 inches 52 inches 1/4 3 inches 18 inches 48 inches

Bass 3/4 6 1/2 inches 24 inches over 60 inches 1/2 5 3/4 inches 22 inches 56 inches 1/4 5 inches 20 inches 52 inches

* A 3/4 violin and a junior viola are the same length. A full size violin is the same length as an intermediate viola.

261

DF¯

EE˜

F G AC¯

BB˜

CB˜

C

C˜

D¯

D˜

E¯

F˜

G¯

G˜

A¯

A˜

B¯

Keyboard Chart

Teacher This keyboard diagram can be used as a visual aid to help you explain to your students half steps and whole steps. You may make photocopies of this keyboard for use by your students.

262 Words to Familiar Melodies

WORDS TO FAMILIAR MELODIES

The following are words to some of the familiar melodies that appear throughout this method. They are provided as a resource when teaching students to play the melodies on their string instruments.

Hot Cross BunsHot cross buns! Hot cross buns!One, a pen-ny, Two, a pen-ny, Hot cross buns!

Michael Row the Boat AshoreMi-chael, row the boat a shore, Al-le-lu-yaMi-chael, row the boat a shore, Al-le-lu-ya.

Sis-ter, help to trim the sail, Al-le-lu-yaSis-ter, help to trim the sail, Al-le-lu-ya.

Mi-chael’s boat is a gos-pel boat, Al-le-lu-yaMi-chael’s boat is a gos-pel boat, Al-le-lu-ya.

Jor-dan’s riv-er is chill-y and cold, Al-le-lu-yaJor-dan’s riv-er is chill-y and cold, Al-le-lu-ya.

Jor-dan’s riv-er is deep and wide, Al-le-lu-yaMeet my moth-er on the oth-er side, Al-le-lu-ya.

Good King WenceslasGood King Wen-ces-las looked out, On the feast of Ste-phen, When the snow lay ‘round a-bout, deep and crisp and e-ven.

Old MacDonaldOld MacDonald had a farm, E-I-E-I-0And on his farm he had a cow, E-I-E-I-0With a moo-moo here, and a moo-moo thereHere a moo, there a mooEverywhere a moo-mooOld MacDonald had a farm, E-I-E-I-0.

Old MacDonald had a farm, E-I-E-I-0And on his farm he had a pig, E-I-E-I-0With a snort, snort here, and snort, snort thereHere a snort, there a snortEverywhere a snort, snortWith a moo-moo here, and a moo-moo thereHere a moo, there a mooEverywhere a moo-mooOld MacDonald had a farm, E-I-E-I-0.

Pop Goes the WeaselRound and round the cobbler’s benchThe monkey chased the weasel,The monkey thought ‘twas all in funPop! Goes the weasel.

DreidelI have a little dreidelI made it out of clayAnd when it’s dry and readyThen dreidel I shall play.

Chorus:Dreidel, dreidel, dreidelI made it out of clayDreidel, dreidel, dreidelThen dreidel I shall play.

This Old ManThis old man, he played oneHe played knick-knack on my thumbKnick-knack paddywhack, give your dog a boneThis old man came rolling home.

This old man, he played twoHe played knick-knack on my shoeKnick-Knack paddywhack, give your dog a boneThis old man came rolling home.

Long, Long AgoTell me the talesThat to me were so dear,Long, long ago,Long, long ago:Sing me the songsI delighted to hear,Long, long ago,Long ago.

Jingle BellsJingle bells, jingle bellsJingle all the wayOh what fun it is to rideIn a one-horse open sleigh.O Jingle bells, jingle bellsJingle all the wayOh what fun it is to rideIn a one-horse open sleigh.

263National Standards

Teacher The following are standards established by the American String Teachers Association with the National School Orchestra Association for successful string/orchestra teaching in the schools. Use the standards as goals and guidelines in evaluating and developing your teaching skills.

AMERICAN STRING TEACHERS ASSOCIATION with NATIONAL SCHOOL ORCHESTRA ASSOCIATION

STANDARDS FOR SUCCESSFUL SCHOOL STRING/ORCHESTRA TEACHING

I. As a Musician

1. demonstrates a high level of musicianship in performance

2. performs at an intermediate to advanced level on at least one string instrument

3. demonstrates at least basic to intermediate performance concepts on one string instrument and understands advanced and artistic concepts on other string instruments

4. demonstrates ability to play by ear and improvise

5. demonstrates a basic knowledge of performing and teaching the woodwind, brass, and percussion instruments at least at a basic level, with an understanding of intermediate to advanced concepts

6. demonstrates orchestral conducting skills

7. demonstrates keyboard skills of at least a basic to intermediate level and accompanies melodies using at least I-IV-V chords

8. demonstrates aural discrimination skills

9. demonstrates the understanding of prevention of performance injuries

10. demonstrates the knowledge of a wide range of music repertoire for teaching diverse styles, genres, cultures and historical periods

264 National Standards

II. As an Educator

1. understands and applies pedagogy for violin, viola, cello and bass

2. demonstrates effective rehearsal techniques for string and full orchestra

3. demonstrates the knowledge of a variety of string and orchestral instruction materials at all levels

4. demonstrates the knowledge of repertoire for student performance, including solo literature, orchestra music, and chamber music

5. demonstrates skill in arranging music for school orchestras

6. demonstrates strategies for integrating music with other disciplines

7. understands different student learning styles, levels of maturation, special needs, and adapts instruction accordingly

8. demonstrates knowledge of comprehensive, sequential K-12 music curricula, including string and orchestra, with appropriate goals and expectations for all levels of proficiencies

9. demonstrates understanding of the principles of a variety of homogeneous and heterogeneous pedagogical approaches for teaching string classes (Suzuki, Rolland, Bornoff, e.g.)

10. exhibits effective classroom management skills and strategies

11. demonstrates understanding of how to teach students of diverse ages, socio-economic, ethnic, and geographic backgrounds

12. demonstrates effective methods of assessing and evaluating student achievement

13. knows about instrument rental and purchasing

14. knows current technology for instruction, research, and musical applications

15. knows of current music and general education policies, including current scheduling practices for successful string and orchestra programs

16. demonstrates ability to gather pertinent orchestra program data

17. understands the importance of maintaining a balance between personal and career interests

18. demonstrates ability to develop budgets for equipment and supplies

19. demonstrates understanding of effective advocacy strategies for comprehensive music programs which include string/orchestra programs

20. demonstrates clear communication in written and oral form

21. demonstrates understanding of the K-12 National Music Education Standards and other state and local standards for music

265National Standards

III. As a Professional

A. Musician

1. continues to perform

2. demonstrates concepts and understandings necessary for student achievement of Grade 12 National Music Education Standards

3. exhibits effective, on-going professional self-assessment

4. continues to pursue opportunities for learning as a musician

B. Professional Affiliations and Related Activities

1. maintains active involvement in professional associations, such as MENC, ASTA/NSOA, SSA, CMA

2. continues to interact with other music educators, observes other programs

3. demonstrates professional ethics, appearance, behavior, and relationships within the profession, the school, and greater community

4. participates in ongoing professional development to improve teaching effectiveness

5. serves in leadership roles with state and local MEA’s, ASTA/NSOA chapters

C. School and Community Relations

1. develops a healthy rapport with school administrators for nurturing a successful string and orchestra program

2. understands the value of positive interaction with other members of the music and arts community

3. establishes and maintains positive relations with school administrators, staff, and fellow teachers through communication and dialogue

4. articulates the positive aspects of the string/orchestra component of a school music program through writing and speaking

5. communicates effectively with parent support/booster groups, including clear and grammatically correct communication

6. advocates effectively for a strong school orchestra program

Copyright © 1998, 1999 by The American String Teachers Association. All rights reserved. Used with permission.

266 Bibliography

Teacher The following bibliography lists the resources considered essential by the Professional String Teaching and Playing Association (ASTA with NSOA).

AMERICAN STRING TEACHERS ASSOCIATION with the NATIONAL SCHOOL ORCHESTRA ASSOCIATION

ESSENTIAL RESOURCE LIST FOR STRING TEACHERS

Stringed Instruments: Instruction and Study

The Complete String Guide: Standards, Programs, Purchase, and Maintenance. (1988). Reston, VA: Music Educators National Conference.

Dillon, J. & Kriechbaum, C. (1978). How to Design and Teach a Successful School String and Orchestra Program. San Diego, CA: Kjos West.

Dillon-Krass, J. & Straub, D. A. (Compilers). (1991). TIPS: Establishing a String and Orchestra Program. Reston, VA: Music Educators National Conference.

Green, E. A. (1966). Teaching Stringed Instruments in Classes. Englewood Cliff, NJ: Prentice-Hall, Inc. (available through ASTA).

Guidelines for Performances of School Music Groups: Expectations and Limitations. (1986) Reston, VA: Music Educators National Conference.

A Guide to Teaching Strings. Dubuque, IA: Wm. C. Brown and Co.

Mullins, S. (1998). Teaching Music: The Human Experience. Dallas, TX: Tarrant Dallas Printing.

Teaching String Instruments: A Course of Study. (1991). MENC Task Force on String Education. Reston, VA: Music Educators National Conference.

Highlights from the ASTA School Teacher’s Forum. (1984-1994). Bloomington, IN: Tichenor Publishing.

String Syllabus. (revised 1997). ASTA. Bloomington, IN: Tichenor Publishing.

Straub, D. A., Bergonzi, L., & Witt, A. C. (Eds.). (1996). Strategies for Teaching Strings and Orchestra. Reston, VA: Music Educators National Conference.

Young, P. (1978). Playing the String Game - Strategies for Teaching Cello and Strings. Ann Arbor, MI: Shar Music.

Young, P. (1985). The String Play - The Drama of Playing and Teaching Strings. Austin, TX: University of Texas Press.

Strings, Winds, Brass, and PercussionManaging the Instrumental Music Program

Colwell, R. J. and Goolsby, T. (1992). The Teaching of Instrumental Music. Englewood Cliffs, NJ: Prentice Hall.

Kohut, D. L. (1973). Instrumental Music Pedagogy: Teaching Techniques for School Band and Orchestra Directors. Englewood Cliffs, NJ: Prentice-Hall.

Strategies for Success in the Band and Orchestra. (1994). Reston, VA: Music Educators National Conference.

Walker, D. E. (1988). Teaching Music: Managing the Successful Music Program. New York, NY: Schirmer Books.

267Bibliography

String Class Materials

Method Books

Allen, M., Gillespie, R., & Hayes, P.T. Essential Elements for Strings, (1995) Books I, II, and the Teacher Resource Kit, and Essential Techniques for Strings. Milwaukee, WI: Hal Leonard Corporation.

Anderson, G. & Frost, R. (1986). All for Strings. Kjos. Supplementary materials available.

Applebaum, S. Applebaum String Method. Books I, II, III. New York, NY: Belwin-Mills. Books I - III. Supplementary Applebaum materials include the following: Etudes for Technique and Musicianship, Chamber Music for Two String Instruments, Chamber Music for String Orchestra, and Solos with Piano Accompaniment.

Dabczynski, A., Meyer, R., & Philiips, B. (2002). String Explorer. Books I and II. Highland/Etling Pub. (a division of Alfred Music Publishing).

Dillon, J., Kjelland, J. & O’Reilly, J. Strictly Strings. Books I, II and III. Highland/Etling Pub. (a division of Alfred Music Publishing). Supplementary materials available.

Etling, F. String Method, Books I and II; Intermediate String Techniques; Solo Time for Strings, Books I, II, III, IV, and V; Workbook for Strings, Books I and II.

Froseth & Johnson (1981). Introducing the Strings, G.I.A. Publications.

Frost, R., & Fischbach, G. (2002). Artistry in Strings. Books I and II. San Diego, CA: Neil A. Kjos Music Company.

Gazda, D. & Stoutamire, A. (1997). Spotlight on Strings. San Diego, CA: Neil A. Kjos Music Company.

Isaac, M. (1962) String Class Method. Chicago, IL: M. M. Cole. Books I and II.

Matesky, R. & Womack, A. (1971). Learn to Play a Stringed Instrument. New York, NY: Alfred Music Co. Books I, II, and III.

Matesky, R. Learn to Play in the Orchestra. (1971). New York, NY: Alfred Music Co. Volumes I and II

Muller, F. & Rusch, H. Muller-Rusch String Method. (1961). Books I - V plus supplementary materials: ensembles, solos, etc. San Diego, CA: Neil A. Kjos Music Co.

Music Lists for Orchestra/String Orchestra

Non-Graded:

Farrish, M. K. (1965). String Music in Print. New York, NY: R. R. Bowker.

Farrish, M. K. (1968). Supplement to String Music in Print. New York, NY: R. R. Bowker.

Farrish, M. K. (1979). Orchestral Music in Print: Educational Section. Philadelphia, PA: Musicdata.

Littrell, D. & Racin, L. (2001) Teaching Music Through Performance in Orchestra. Chicago, IL: GIA Publications, Inc.

Graded Lists:

Matesky, R. & Smith, J. (1979). ASTA - NSOA Compendium of Orchestra & String Orchestra Literature: 1959-1977. Reston, VA: American String Teachers Association.

Mayer, F. R. (Ed.). (1993). The String Orchestra Super List. Reston, VA: Music Educators National Conference.

National School Orchestra Association - Sure-Fire Materials for the First-Year Orchestra Director.

NOTE: Many state organizations have graded music lists available.

268 Bibliography

National Standards for Arts Education

Allen, M. L. (1995). “The national standards for arts education: Implications for school string programs.” American String Teacher, 45 (2), 30.

Bergonzi, L. (1996). “School teachers: The national standards in music: Access to string study for all children.” American String Teacher, 46 (2), 69.

Dabczynski, A. H. (1995). “National standards for arts education: A golden opportunity for string teachers.” American String Teacher, 45 (1), 73.

Daugherty, E. (1995). “Editorial: Implementing national standards in music: Context challenges and opportunities.” The Quarterly of the Center for Research in Music Education, 6 (2), 3.

Kjelland, J. (1995). “String teacher preparation and the national music standards.” American String Teacher, 45 (4), 34.

Mark, M. L. (1995). “Music education and the national standards: A historical review.” The Quarterly of the Center for Research in Music Education, 6 (2), 34.

National Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts. Reston, VA: Music Educators National Conference.

Opportunity-to-Learn Standards for Music Instruction: Grades Pre K-12. (1994) Reston, VA: Music Educators National Conference.

Performance Standards for Music: Strategies and Benchmarks for Assessing Progress Toward the National Standards, Grades Pre K-12. (1996) Reston, VA: Music Educators National Conference.

The School Music Program: A New Vision. (1994). Reston, VA: Music Educators National Conference.

Shuler, S. C. (1995). “The impact of national standards on the preparation, in-service professional development, and assessment of music teachers.” Arts Education Policy Review, 96 (3), 2.

Straub, D. A. (1995). “The national standards for art education: context and issues.” American String Teacher, 45 (3), 24. Straub, D. A., Bergonzi, L., & Witt, A. C. (Eds.) (1996) Strategies for Teaching Strings and Orchestra. Reston, VA: Music Educators National Conference.

Advocacy

Action Kit for Music Education. (1991). Reston, VA: Music Educators National Conference. (brochures, books, videos)

Does Your School District Have an Orchestra Program? (1993). Reston, VA: Music Educators National Conference. (brochure)

Day, S. H. (1996). “Teaching orchestra on a year-round schedule.” Teaching Music, 4, 33-35.

Kendall, S. (1997). “Securing our string programs.” American String Teacher, 47 (2), 47.

Tellejohn, P. (1989). “Ensure your string program’s success.” American String Teacher, 76 (2), 30-32.

Scheduling Time for Music. (1995). Reston, VA: Music Educators National Conference.

Pedagogical Videos

From University of Wisconsin, Division of University Outreach, Department of Continuing Education.

Rabin, M. , et al. (1986). Rabin on Strings.

Rabin, M. & Smith, P. (1984). Guide to Orchestral Bowings Through Music Styles.

269Bibliography

Paul Rolland

Rolland, P. Basic Principles of Violin Playing. (MENC Publication, 1959: ASTA, 1983).

Rolland, P. and Mutschler, M. (1974). The Teaching of Action in String Playing: Developmental and Remedial Techniques. Urbana, IL: Illinois String Research Associates.

Film

University of Illinois Film Series on Teaching of Action in String Playing. Urbana, IL: Illinois String Research Associates. Fourteen 16mm color films or videotapes; artists, teachers, and students demonstrate principles of Teaching of Action in String Playing.

String Repair

Bearden, L. & Bearden, D. (1972). Emergency String Repair Manual, 2nd Edition. AL: The University of Alabama Press.

Weisshaar, O. H. (1966). Preventative Maintenance of Stringed Instruments. Rockville Center, MD: Belwin, Inc.

Zurfluh, J. D. (Ed.). (1978). String Instrument Repair and Maintenance Manual. American String Teachers Association.

Bowing

Green, E. A. (1957). Orchestra Bowings and Routines - 2nd edition. (18th Printing). Reston, VA: American String Teachers Association.

Berman, J., Jackson and Sarah K. ASTA Dictionary of Bowing/Pizzicato Terms and Techniques (4th Edition). 1998. Bloomington, IN: Tichenor Publishing.

Video-Tape

Rabin, M. & Smith, P. (1991). Guide to Orchestral Bowings through Music Styles. Madison, WI: University of Wisconsin-Extension.

Pedagogical Concerns

From American String Teacher

Allen, M. L. (1994). “Introducing and integrating basic skills in the beginning string class.” American String Teacher, 44 (3), 69-72.

Fischbach, G. “Getting from here to there with a smile: A sequential outline of the skills of shifting for business and pleasure.” American String Teacher.Three part article: I. Basic Principles, Summer 1980, 30 (3), 11-12. II. Sequential Course of Study. Autumn, 1980, 30 (4), 28-30. III. Shifting for Pleasure, Winter 1981, 31(1), 12-13.

Gillespie, R. (1997). “String teacher training: Using history to guide the future.” American String Teacher, 47 (1), 62-66.

Moskovitz, M. D. (1997). “Making the connection: Shifting through hand positions.” American String Teacher, 47 (3), 55-58.

270 Bibliography

From The Instrumentalist

Burgess, N. (1977). “Fiddling for technical development.” The Instrumentalist. 32 (5), 81-83.

Gillespie, R. (1989). “Teaching spiccato to string classes: Effective strategies for teaching your group the spiccato bounce.” The Instrumentalist, 44 (4), 52, 56, 59-60.

Gillespie, R. (1992). “Building a Bass Section.” The Instrumentalist, 47 (5), 66-69.

Grieve, T. (1989). “Fresh approaches to scale practice.” The Instrumentalist, 43 (7), 44-46.

Rejto, G. (1978). “Strings: Producing a beautiful string tone.” The Instrumentalist, 33 (2), 76.

Copyright © 1998, 1999 by The American String Teachers Association. All rights reserved.

Journals

American String TeacherAmerican String Teachers Association (ASTA) with the National School Orchestra Association (NSOA)4153 Chain Bridge RoadFairfax, VA 22030

The Instrumentalist200 Northfield RoadNorthfield, IL 60093

Music Educators JournalMusic Educators National Conference1806 Robert Fulton DriveReston, VA 22091-4348

Teaching MusicMusic Educators National Conference1806 Robert Fulton DriveReston, VA 22091-4348

Professional Organizations

American String Teachers Association (ASTA) with the National School Orchestra Association (NSOA)4153 Chain Bridge RoadFairfax, VA 22030www.astaweb.com

Music Educators National Conference1806 Robert Fulton DriveReston, VA 22091-4348www.menc.org

Suzuki Association of the AmericasP.O. Box 17310Boulder, CO 80308

271Video String Teacher Teaching Programs

Teacher The following are video training programs for developing skills to diagnose and solve string students playing skills.

Video String Teacher Teaching Programs

Contact Robert Gillespie for these materials:Ohio State University School of Music110 Weigel Hall1866 College RoadColumbus, OH [email protected]

Gillespie, Robert. The Violin Bowing Diagnostic Skills Program. Two videotapes and manual designed to train and evaluate teachers’ abilities to recognize and solve common bowing problems of beginning violin students. Available for rent or purchase through the ASTA Media Resource Center.

Gillespie, Robert. The Violin Instrument Position and Left Hand Skills Training Program. A videotape and manual designed to train teachers to recognize common instrument position and left hand skills problems of beginning and intermediate violin students. Available for rent or purchase through the ASTA Media Resource Center.

Gillespie, Robert, William Conable, and Brent Wilson. The Cello Diagnostic Skills Training Program. A videotape and manual designed to train teachers to recognize common instrument position and left hand fingering problems of beginning and intermediate cello students. Available for rent or purchase through the ASTA Media Resource Center.

272

Authors

MICHAEL ALLENProfessor of Music Education, Florida State University, Tallahassee, FL

ROBERT GILLESPIEProfessor of Music, The Ohio State University, Columbus, OH

PAMELA TELLEJOHN HAYESOrchestra Coordinator (retired), Richland School District Two, Columbia, SC

JOHN HIGGINSManaging Producer and Editor, Composer and Arranger, Hal Leonard Corp., Milwaukee, WI

Credits

Managing Editor and Producer Paul Lavender

Production Editor Stuart Malavsky

Orchestra Arrangements John Higgins

Design and Art Direction Richard Slater Tim Begonia

Music Engraving and Typesetting Thomas Schaller

Play Along Trax Paul LavenderArrangements and Production John Higgins

Additional Arrangements John Moss

Essential Elements Rhythm Section Steve Millikan - Keyboards Steve Potts - Keyboards Steve Dokken - Bass Sandy Williams - Guitars Steve Hanna - Percussion Larry Sauer - Drums

Recording and Mixing Engineers Mark AspinallAire Born Studios, Indianapolis, IN John Bolt David Price Ben Vawter Mike Wilson

Additional Recording Production Jared Rodin Mark Aspinall

Project Supervision Nanci MilamAire Born Studios, Indianapolis, IN Mike Wilson Nina Hunt

Announcer Scott Hoke

The authors wish to give special thanks to Herman Knoll Senior, Vice President of Hal Leonard, for his dedication, leadership, and expertise in the creation of the Essential Elements educational program.

TEACHER’S MANUAL BOOK 1 ESSENTIAL ELEMENTS...

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Transcript of TEACHER’S MANUAL BOOK 1 ESSENTIAL ELEMENTS...