Superstudies 1 y 2 y Cambios de Posición
88
ljooH I VIOIC Reolly eosy originol studies for the younq ployer I t $ I It ll I v1 ( I I I 7 { i I ¡ I I I tr FABER MUSIC I
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Transcript of Superstudies 1 y 2 y Cambios de Posición
ljooH I VIOIC
Reolly eosy originol studies
for the younq ployer
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Blast Off!
With lots of energymiddle of bowñ
) =nr-rooBlast offlo
Lift bow up in the air on 'blast off', landing back onthe shing without a bump. Memorize andtranspose into C major
Beim'blast off' den Bogen abheben und dannwieder auf den Saiten landen lassen, ohnezurückzufedern. Auswendig lernen und nach C-Dur transponieren.
:> >
o*r 1 1' J cresc. rBlast off!
middle :>5
9
ñ
rnf
o
cresc
:>
rBlast off!
:>:>n
off!4o>
Blast1o>
.ta11
3
%¡ cresc.
2o13
rnlf cresc. r ¿
i¡tt ¡'l ;4t^ t-avltt . .-'.t, ,
Operation Space Station
Clearly ) = r,I rln\4
o V4o
ñ4o
V4o
\ '1,
( \'.o 0
nrf
1- und 2-oktavige Flageoletti1- and 2-octave harmonics
!.-i-l
cresc.
n05
p4o
t
.tLl0
4o
oo
4o
9
znf .t
This music is copyright. Photocopying is illegaO 1993 by Faber Music Ltd
i'A Rockets to the Rescue
With energy, but in control! J = 100-112upper half oJ'box o
Relaxed bow-hold and balanced arm movement insemiquavers. Scale Passages
Entspannte Bogenhaltung und ausbalancierteArmbewegung bei den Sechzehnteln.Tonleiterpassagen
ñ
,lrw cresc.
0
cresc. .tntf
ñ9
nw cresc.
tt3
rnf rI¡
I 4. Space Walk
IStay anchored to your base - don't let the firstfinger drift!
Auf der Basisstation bleiben - nicht mit dem erstenFinger vom Kurs abweichen!
Calmly ) = 116 r)---\n
I
V
,¡
/I
p
447 (liJr,lantl) -
I
pp
J
ño4
14
p
21
ñ
p
co ritpo
27 o
-5. Robots Rockitg at the Microchip Ballyou reach the
ce still Pizztcalo,
Den ganzen rechten Arm dazu benutzery die Saitenzu erreichen. Gelegentlich das Stück auch impizzicøto spielen, aber mit dem Bogen in der Hand
Rock steady beat, with a strong soundplzz. sempre
)=tzo
ngf
5
r anI)
10
mf
15
p
20
r
6. Rocking Rowboats
Smooth string-crossinç slurs; good arm position for Weitei Saitenwechsel; Bindungen; gute Armhaltungfür den Ton und die Intonation
tone and intonation
ñ)=n0
Andanten0
n
m,fpmf
- FINE ã o
tn:prD.C. ol Fine
cresc.pp znP
I 7. Floating in the swimming Pool
).= s+
/I
i:1l: IY!
1
-.1
I
I
Lazilyn
Slow bows, saving enough bow for,the ends of
notes; shing crossìngs in different directionsLanqsame Srriche; genug Bogen tür das Ende der
Notãn aufsParen Saitenwechsel inunterschiedlichen Richtungen
\r
p
cresc.
ñ
p
t
FINE14
2l
nryïnJf
D.C. al Fine-)7
ñ V
Wave Machine
n o VSmoothlY
t_a- -12ñ0
mp,nf
Let your right arm bob along with the waves Den rechten Arm mit den Wellen schwingen lassen
oo
6
t¿fr,
m1f
o
-t
flt1
ts.-
6
;l Gliding along at the Octopus BallSmooth bowing; finding octave harmonics;checking tuning of octaves
Weiche Striche; Oktavflageoletti finden; dieStimmung der Oktaven prüfen
Molto legato J. = SO
4o
4 4o 4
o
-r3
ñ0
p
-0
nyf4
q
ñ
m'1fp
5
'-l
:.1
I no
nrf.f
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n3
6 n
anp
Hear that ïVhistle!
Chugging and chugging and chugging ,lo,rg J.= 63 3o
ñ3o
V3on
3
p m,fnr3zto
3o n
3o
n3
train whistles; good 3rd finger tuning in Lst positionDichte Striche; glissandi und Flageoletti für dieEisenbahnpfeifen; gute Intonation des 3. Fingers inder 1. Lage
for theLinked bows; glissandos and
r)o
p
FINE
) o
I
, ,.]n3
ngfvery slow glíssandoup the G string
pheel
I3
rtlf
o
d"^
n
1",
D.C. al FineIheelLH+
1
IL. Flurry if youl want to see the Engine!Simple, slow trills; keeping a relaxed bow-hold inthe semiquavers; contrasting dynamics(Can you work out the story this piece tells?)
Einfache, langsame Triller; bei den Sechzehntelneine entspannte Bogenhaltung beibehalten;gegensäFzliche Dynamiken. (Kannst Du Dir denken,worum es in dieser Geschichte geht?)
1
t Lively ) = tn
I
I'1
pp cresc.
ñt 6 ñ ñ
pI
ppI
I1 ñ
f16a
I
1¡1
I
nyf p w(repeat and fade to nothÌng)
22
dim. pgp
I2..' Strawbe rry Milk Shake
Frothily J = 88upper half of bctwñ 0 nV n (4) 0
1- hold finger down on stringWatch out in bar L2!
[1 = den 1. Finger über beide Saiten halten1 den Finser unten auf der Saite haltenVorsicht in Takt 12
both strings[1 = place 1st finger
o
znlf
ñ
nùp cresc
V6
-Ir
FINE:>
r m'P rnlfD.C. al Fine
o:>I2
r
o
:>
a Toffee Nut Fudge Cake
I
Perky polka stYle r =77'8Oupper half of bown>
rnp cresc
V:>ñ
:>:>
znif
rl:>
arw
V:>
Neat bowing; nimble fingering; introducing Saubere Slriche; wendige Fingersätze; Einfirhrungvon'gleitenden Halbtönen'
semitones
'sliding
t't>:>FINE N
)rlær time(
D.C. al Fine2-2
ño-t
Lively Cance stylen
ñ ôr-t-f
a
rnlt -<.
ntf
L4. Rum-Bah Ba!
t
t
) = 20E+ñI
I
I
{{
practise ) ) JtRum-Bah Ba
really feel the rhythmWatch out in bars 8 and 16
on 1 note until you can .j, i^; !^' auf einem Ton üben' bis man
den Rhythmus wirklichfihlf .
Vorsicht in den Takten 8 und 16
4
znlf
,mif
p
V
I
9
yeahoh
?nJf
7
ru n
p
t
I
tI yeah!
oh4
( 14o
1-5. Vanilla Ice Cream
V V
/nL
Coolrhythml)=rc-SgV V
nùp
JI ,bJwith the correct
\v,
Va-nil-ln icectetmmit richtiger Bogenführung auf
P¡actiseVa - nil-la ice cream
bowing on 1 note several times to get the feel of the
rhythm
J i)i ,bJ
einem Ton meh¡ere Male üben, um das
Rhythmus gefiihl zu trainiere¡
5 V
V
v/^VV V
V
Trycresc.
9 vV
>rnfquick whole b<
ñ3
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ñ V V:>
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L6. Cuckoo? Where's that Cuckoo?
Keep the 2nd finger close to the string at all times toact ãs a guide for the 3rd finger; contrasting echodynamics; simpìe octave harmonics
Den 2. Finger dicht an der Saite halten, um dem 3.Finger die Orientierung zu erleichtem;gegensätzliche Echodynamik; einfacheOktavflageoletti
t_a- -7666Chirpily
--ññ0
mf p rnif p cresc.
ññno0
gp
7
3 n
rnf nùp pp
4o
/¡9
p whole bowszrùp pp
17. Let's all go to the Gnzzly Bear's GrumpDotted rhythms in linked bows; good tone on lowerstrings
Punktierte Rhythmen bei dichten Strichen; guterTon auf den tiefen Saiten
Putting on an air of grumpin"r, J = i|^2'-Jz6
\-/-r
\--,,-
\--z >>
ñ
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FINEjn
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l* lust tin.¡e:rtld lowcr octlrvr:
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Tawny Owl Blues
I
With feeling J = ll2-120þ ñ-> -
Too wit too woop , i.'jnkao . ;b n
I'm feel- ing blue !
¡oo^tä ''
Zuersteinmal ùben, die Wörter zu sprechen;rhythmisch präSnante Striche; immer fest imMetrumbleiben
rhvthmicPractise saying the words first;bowing; very steadY beat
n4 ñ n
I'm feel-ing ve - rY ve - ry
4 - n8
m1fblue!
I2 /:\ñ
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rpI optional tremolo on last note
t2
!9. Banana Bounce
Cheekily ) = ß2-V
Bounce the bow on the spot, then add tiny sideways'bananas', spíccatol Notice how the bow bouncesbest nearer the heel on the C string when you areplalng.¡f and nearer the middle on the A string inp. Bars 41,47,57-63 can be played in either 1st or3rd position
Den Bogen auf der Stelle springen lassen und dannetwas seitlicher 'Banønas' im spiccnto spielen. DerBogen springt im.¡f auf der C-Saite am Frosch undim 1a auf der A-Saite in der mitte am besten.
- V ñI{
m'if cresc. 'Do the Ba -
at the heel6 -
I na na Bounce, hey !'
nearer the middle
r,!
1I
ngf
17 tt;et-
r
T trcurer tlrc middleñV
I
23
rnfIt-I
I
fttiddleI29n
p
34
--39
jf cantabile e legato
V ñ
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Tt
ItilIth(
44
rnlf
V50
55
'Ba -na - nas!' znf
61
67
V
f
V r'l
'Ba- na - nas? Oh yeh!'
ljooiH 2 VIOICì
Eosy originol studies
I (vl lcç
for the young ployer
Ei nfoche Originoletüden
für Angfönger
Etudes originoles et fociles
pour les jeunes musiciens
morg
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USIC Cohøn
J-. Overture and B(The show's øbout to start!)
)
; (:êeglnners... r
ô4o
0Jl_Deciso = 104-108
nù:p
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cresc.
,4-4tie
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tn¡f _-
9
ntf cresc.
130I
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r
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17
1/-/
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t-Crisp bowing; watch out when ) ) ) changes. to
n1 ; quick changes between arco and-pi2 zícato;Bars37-Qican be fingered in either 1st or 3rdposition
Lebendige Bogenfüùrrung. Vorsicht beim Wechsel
I r- r-lvonr aazv.a.Schneller Wechsel zwischen arco und pizzicato.Die Takte 37 bß 44 können in der ersten oder in derdritten Lage gegrif fen werden.
O 1993 try Faber Music Ltd. This music is copyright. Photocopying is
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2. Saturd"y Night StompDouble-stopping is easy if you balance your bow onan imaginary string between the two you areplaying. Watch the angle of your LH fingers.'Stomp'with your feet on the accented notes
Doppelgriffe sind einfach, wenn den Boqen aufeiner imaginären Saite führt, die man siÈ'h zwischenden gestrichenen Saiten vorstellen muß. Zubeachten ist der Fingerwinkel links. Bei denAkzenten mit den Füßen aufstampfen.
With a lively beat ) = L2O-132ñ
rV
5
13
17
21
znlf
tnlf
3-3
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125
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4
a Hot Chocolate Treatthe cøfe on the corner . . . )
Rich and velverv smootn! J = 116-1264o
4o -xîo
rnp p
Let the bow arm ripple across the strings like hotchocolate sauce; gooJ LH finger angles needed toavoid catching the open Ds; balance the bowbelween the strings rvhen double-stopping. Look atbars 5-8, then at 13-1ó - compare similar sections inalto and treble clefs
Der Bogenarm muß über die Saiten rinnen wieheiße Schokoladensoße. Man braucht links günstigeFingerwinkel, um die leeren Ds zu umgeheñ. Bei -Doppelgriffen wird den Bogen zwischãn den Saitengeführt Man beachte die Takte 5 bis g, danach dieTakte 13 bis 16 und vergleiche gleiche Abschnitteim Alt- und im Violinschlüssel.
6 n
,n¡f p cresc.
r'10I]
16
r p cresc_
FINE
tnp I21
)27 I
32
r ,mif
D.S. '8 al Fine
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b,A = IÞ
Make your Mind tP, Please!neededWatch toyou thifs can't
up,either...
Klare und schnelle Bewegungen helfen demzweiten Finger bei der Entscheidung! Vorsicht inTakt 12: der Sprung von Fis nach C ist weiter alsman denkt! Man vergleiche die Takte 1 bis 5 mitden Takten 6 bis 8 usw! Auch die Notenschlüsselkönnen sich nicht entscheiden . . .
Steady polka ) =88lower half of bowño o c)
mp
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(rit. last time)(arco)'n
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eidi Hi!Try for a light, springy ieel in the LH as you changeposition. Repeated up-borss need to dance too.One-in-a-bar feel
Beim Lagenwechsel ist in der linken Hand eingewichtsloses Sprunggeftihl wichtig. Auchwiederholte V Striche müssen tanzen. Geftihl vonGanztakten.
Tempo di ländler ) = nO V o4o-
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6. Make it Snappy(reel-y snappy !)
Try to start the 1st note of each bar in the same part -
of 'the bow every time you play the 'make it snappy'
rhvthm: r--= -t I l.-' ) )¡). lJ )
At a faster temPo, start nearer the middle
Lively, with a ringing ton" J =72 or 84 ot 92
Beím'make it snøppy'-I?hythmus n n I Jlsollte die erste Note eines jeden Taktes möglichstmit derselben Bogenstelle beginnen.Bei einem schnelleren Tempo beginnt man näherder Mitte.
0 0 o
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The Snake-Charme Í' s Lament
) =eø ISinuously continuous
n 23o
nùp ztgf
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Lange und weiche Shiche, übermäßige Intervalle,Flageoletti.intervals; harmonics
v acrossegato, especiallLong, smooththe strings;'a
5t a
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nry ngf
4o
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8. Fivepenny WaltzReturn to the same place for each ñ bow after the
YYYrJJ
Rückkehr an dieselbe Stelle bei jedem n Shich nach
YYY--aItl
hnitt. BeiVibrato vonwerden.
DasinnereOhrhört n [n ,wennmansoielt I I' ) ¿.
Singing vibrato ín the cantabile section. 'Pass' the
vibiato"from 1 note to the next as you change bowvery smoothly.
Hear the f'''l [T'] l" your head as you play¿¿aa.tta a.
Allegretto .b= tS2mtddle of bctw
off sño
o{'r
m,p leggiero
STM.
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Allegrettoñ
(-L'¡ì; >rÍ\
The Whirly Bird and the Hen.
J = 108- 120
s4 V4 nV1
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lnnan, ,flñ 4 -4V4
LH 4th-finger strengtlening; LH 4th-fingerpizzicato; varied borr-ings; holding Lst finger downon string to support and strengthen other fingersthroughout b ars 1,-8,77-23
Der erste Finger bleibt während der Takte 1 bis g
5
4+40
9
I
44++ 0 4+3
n nV 44++13 Flo V
ñ
--"17 1 3434 44+
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34 \l-)4 4 4 44
* 2 mechanical 19ih-century toys" Zweí mechanische Spielzeuge aus dem 19. ]ahrhundert
no
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21 RHptzz.
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11... Magic Carpet Ride
Witlr an air of mystery ) =72V 1 4
rnif p mlf
4
intervCarpe s.
ays ba ovisesar to b to the
tuttibars 1 - 4 until everyone has had a turn atimprovising.
Man soll die Magic Cørpet-Rondos zusammen mitFreunden spielen. Jeder spielt die Takte 1 bis 4.Dann improvisiert ein Spieler vier Takte lang; wasden Takten 5 bis 8 entspricht. Darauf kehrt man zuden úufúi-Takten 1 bis 4 zurück, bis schießlich jedermit Improvisieren an die Reihe gekommen ist.
ñtnI4
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p
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a The Musical Box Winds Down(. . . the end of a perfect day . . .)
Dreamily =52)
p
n
pp
Verylightwholebows; ) ) ) leggiero;
hemiolas in bars 26 - 27;rO- a'-*nr*mic anddynamic control as the musical boi winds down
Sehr leichte, ganze Bögen ) ) ) ,rguo.
Hemiolen in den Takten ,urrão3o/st.Rhythmische und dynamische Kontrolle, wenn dieSpieldose allmählich verklingt.
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dim. EP =- vry
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e¿o14 intermediate studies for solo viola
14 mittelschwere Studien für SoloviolaMARY COHEN
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poco rit.22
lUtogte{ fi{h: plep_a19-þ ch9-r$ by placing tst finger across 2 strings before playingQuinten imBanée-Gnff: Der Akkord wird vorbereitet, indem man dãn 1. Finglr íorñer arrf zwei Saiten legt
rò
Use open strings where possiblePlay 3-part chords as 2 i 2 notesLighten the 2nd note in dupletsKeep fingers down on strings where
Möglichst leere Saiten verwendenDreiteilige Akkorde als 2 + 2 NotenDie zweite Note der Duolen sollte leichter seinFinger möglichst auf den Saiten lassenpossible
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@) I qq? hw Falrpr Àfrr.i^ T +'t
6
4 Swirling ArabesquesBalance the whole arm in string-crossingsWatch out when the arm movement changesdirection in bar 17Use open strings
pe1 Sanzgn Arm bei Saitenkreuzungen balancierenAchtung, in Takt 17 bewegt sich deiArm in dieandere RichtungLeere Saiten benutzen
Allegretto ) = Aen 'i
I
znf
25 4 3 3
4o n
(last time: rall.)
-
(a tempo)2
42 3
cresc.
FINEnt
nùp
15 2 't
10
r9 t1
0{
29
(last time: rall.)4
3 3
4o 03 o0
oo tof0 t2 t4
24 2
o4D.C. al Fine
T
m
a
(((
I
(
(
I
(
I
1
\
I
(
(
I
(
(
(
(
(.-
L
I
o\-Þ
'' ìti t ç
Jo'g
t'-r i
"r'
**,
) J('v=
ç y¡, r{" f"i !_,rg ì
êPç ^
J^,UL)
-d.)l
Cqn
+,Jr ryt Å, 4,,0J
6.
6(
I
tI
I2r
ô
Vç-tv
Vç
o
ç
8
I4
19
il)/il;:l ..t' r.'r' ì
t! / I('r,/r \ ,)\r,),. i dJ'l1t
I . r'
.'i 'r ', ')
r. ç,r i. L, r- -u O.l tO¡,,, ,''-;, {
\ ri'1.J
lillage B"gpipes G
Allegro spiritoso ).= nO L-EVÏÜ ] é-q ulspo cr2
Crrçrata, ¿.. "-1,c.
ønf
n
:3
40'tur10
5
ßJ
3:>9 0 4
4o>
40>o4o> 0
24 I> oo
Flexible string crossingsHooked bowings
Bewegliche SaitenwechselGebogene Striche.Betonung der MelodielinieEmphasizing a melodic line
-
ltI
3
:[
--'t I
l
9
'o28
32
37 ñ
42
47
52
57n
62
b tf"^{ /.,(a ,$! 43
o
3o
4o
3o
oI 0
ñ
Trt
3
UA
ñ 3o
2
(vËr[
I3
D.C. al ,@t poi al Coda3o coDA r
t3o
Strengthening the 4th fingerDouble stopsLeave fingers down on strings where possibleFlarmonics
Kräftigung des 4. FingersDoppelgriffeFinger möglichst auf der Saite lassenFlageoletti
l0
7
F':-., 7 Looping the Loop
Allegro energicoñ3 V
)I+
= Ll2poco rit. a tempo
3 4IV
4+
ñ oB
tnf @r)43o4 g4
3
3
cresc.
rnf
Ir.V3o
4o
4o
ll2.
13
10
16
19
22 g4
n ñV ñ3o
*
g 4 3o
3
rnp
t2
n3
t I2
32
nùp
l-
tnf
3
25 'ffi 3 o
cresc-
* blocked fifth: prepare the chord by placinq 2nd finser across 2 sfrinæ lsfn¡a nl¡.'i-- i,f
16
6
11
17
21
qnp
V
*
L0 Sarabande with VariationsLegato bowing I I;:;ä;""r-,! )l¿))e-mp-hasizg the first beat of each bracket to bring outthe feel of the 'slow 3' phrasing
Legato BogenführungIn SchlagjederKl der,lángsamen3',
Broadly ) =76n
4q
tr
24
m,f
(2 p)ñ
J
al- I
úrñ FINE
p
Variation Iñ 3
nùp
r* emphasize the melodic notes and add some
-- -- to bring out the phrasing
Die Melodietöne hervorheben t¡nd einige <:
-
hinzufÇen, um áie Phraãierung zu verstärken
t7
25
29
33
37
40
43
46
rnJf
ñ
n
Variation IIñ
,np
ñ
I
n
,np
3
cresc.p
4
znf
ñ
r
ñ
znf
Sorabande D.C.(senza replica)
l-
t
cresc.
l8
7
LL Sequenza
Conmoto )=rca0 o 0 o o f_
r qrry
t-
nry
o
,np
r
1*p
qn:p
p
2
p
4 0
r
ryP
3 4
I
o
0
r2*
tB10
taoo
p
t13 o
,of rnp cresc.
16 o
* block the fifth across the stringdie Quinte mit dem BarréeGnff (mit einem Finger quer über zwei Saiten greifen) spielen
c2
p *f "np
12IIo
cresc.
t hold finser down on strinsUse open strings where possible to add to theresonance'Point' the pivotal harmony notesWatch out for the hemiola inbarc21-22
Den Finger auf der Saite lassenUm der Resonanz willen sollte man möglichst leereSaiten verwendenDie sich drehenden Flageoletti werden mit der
'Spitze gestrichenVorsichtbei dem Hemiolen in den Takten2l-22
19
22
25
28
34
37
rnJÊnùp p
o1
Io
19
-
p
o
-nùrcresc. r
p
t0 oE o
tr
3
cresc.
tE:> 0 o
r
nùp
o t-
nùJf
31 I
Broadening out
cresc.
t- o
gpp p
mrf deltberamente I
Oo
4-ooo
cresc tr
¡5c+L+r' b€ ¡<L 'H4Yor< y þ5 rNSt cTuS
64 +t¿.. e! orø .
r-1' Tr \I
?r ) ^
I I
c
I I
)
I II
II I I I
þs t
)
I
t ¿ ì,t
ttl
ct\ - 7
I
n
fl1 FTTt¿
É1-t))tI ' i, -t.¡rt'
È "{"j
f :i lnOq¡ JJ:'t ll,, i v^
(5(5n
(/tiñ I
-
vv S+u¡nnovrÍ-g (r^ØfiÍ) )t€n? ¡ €5
!,u
f1 n\/ v n"@ PUtt"rl3 O n+Cdv¡?s (J¡urcrf)
@ VMiTo s4 5(îi'.d¡)
-ì 1.( ,t'L\.n
J
u
I I
II I
I
I
I
a
l
¡
^-\I
I
nv
ta l.t'r.^ clv,r hc aras
a,
@ (nc.à'* )
hvnv Qv nv
6l'Iãion n
T ?.,:- i). 1- -
,?
\,
.¿.lt,Lt1
l1 lt
)
tY I
t (
)I
I'l
/I
J I
,000
J I
a ,
/
, , a
,
rtl
'ã1-( I t I a l
il
tSa a
il
) I ,
a
aaaÀa
I
,'0
il
? J
)0û
a!
, 7
ü
7
I- -rtt, t,0-
I l I
I
f
ilI ll I
il
I
ltrcca f
I
a a aIr¡ I
lllt
I
It-.r() tl;). a-,ri1 l.¿)í
ÆÀ\uilctt+e;'¡,3. V n VN V D VN_-(ry-
n ,l fx ,/
trÐi;:
taJ
I
F.unning on D ¿ - ao up to li)o.í
t
I-It
{
{It
¡
l-lf,fll]1'fr{h
+- P -1D-
-e- +-)1ra
_e_ll
-l>
-1
ll!-
l
Variations on the Theme to Running
n
li.
E F.
V-
C Dñ VV
B
V
lt
-1D*
-)
*p tzztca to
lUse r.vhole bou,s. AIIoT /3 of borv t" r"*'(5)<)
ñ11
to upper strings. Use free arm u'erg-lrt.
lrl'l
lil ,;
,,!J Pu ì I r:gilt ;rnn r','eight freell' a
of singi ng iont'.to produce maximum volume
ri\/
lr|jr
ë
V.-e-
-(tx
=ij'
.ll1.
,
*tj
g
'.3
ï
1
"J
S
Vn
V
1-close
2-cÌose
uPu sh
neeK
2nd and 3rd fingers should be placed close togethe¡ as in a rnino¡ second
Singles|.lv
Doubles
Quadruples
Variations on the Therne to Cartrn'heels"Slurring 2" "slurring 4',
ñv.v
7
7
:l
t3
-J.4,.-.ì-dla
'1tr4(*q
V
BA
JT,
. V .V
t,.l
(-/-=-*
ff¡l.l
')'
! I)'o
)tþ
llh
+
Þ
tl
+
<.
o
Hs+
$
o
t-1 t-l l-ì t-r ¡-----ì ç----ì. 11. _T-----\. f- --r_ . I \. q-
6
tþ
l+h
'f
lrf_I
õ
)I
.J
)
t
\ht'
'rl
Group III
I
) -- eo up to r2o
.) J
4 Variation
.-Þ
J
-I
j_i
_¡
j--ljJ_J
jJ
ìJ
i
i
i
() 'J
lvlaintain constant souncì on two srrings fi-t_
4
-o-e ô + (f-ì+Ë*+
4
u TF o T' ìF u õ u
o
{>
TF
-'[
1
ï
ï
r,-l
.T
'Í
Keep sound equal on both strings
V.Snou-plo\\'s
Stemming
.)14 I2 o
o
o
õ-
o
1
o c o o oo
rlI2 I
Para llelso o o o o
2+
14
ó .crc
a)
tõ
/c
\rr r - ¡ . '
J¿l;l l
¡
Touch strrng lrghtly on notr rndrc¿f ed r', jih
4
Jr-1
À_l J
CC
T=.
è¡
rlI
lll
*d
4j
a-:
{
oU o
11
C*
r]ré
:îl
c
43 TIJ
ll
tÉ
-o-C o
F
^l1
ÞD
ooo
4o
Ir1
Ii
-å¿
:rL
lI
oc-7oo
Co-p-i- t--ç- o
44ù,J44Oôo10ó^o o2
?1
æ r^,-, al .l\-r
\
()
-^
l{ ",
þt
þ-r
I11
+
tþ
I
+
t:.
IC)
\
$
þto
tc
c)\t$
.)
\
*? -t +l Fî n n ry ry FT I*! f*x ry f*F f-E t*E f-Þ l*f l-r, ,-Ì
\
rf
-r f
I
s-I
v-+
il.
!.-- ¡--,- ¡.-4, ,f¡ -
.-¡ 1l ¡- l¡l¡ I
+
1-
-t-
l+
tÉ(D
ØÉ-lCD
Ø
*l
rtdÞ
(DHø*,Hã{íoÞ.+!foØr+TÞ
ogo-o+)or-loE
OJ
Þ0Þ
èÍ*)Þ
ûÞ(ÞFt
€NNaÞiFFo
+iI
J.
+
f+f-,{-+
f_+
f_rl--*
+
+
+
J-
-l
+
+
o
a
a
ir
(
(
F
(o
(
t
(
((
I
:
l
((
I
t
I
(
(
I
J
I
t_ilÈO
<;
<
+)o
rtqI
_l
-t
I
Fd
<
l1ûg
.I
I
tl"Íu-'
r-l ,-î
t
t'
r-ôr^r-a
-(^I
-r-(-r-(^a(
ea(
((
(i
(
!(C
f(-
l\_
f..
'-r_
(_
t_
ttt'
--¡t7 t
b
v
s
tt vr n'u v L V
POSI-f ION CFIANGING I'OR -I-H1L VIOLNEIL t'1¡\(
able to clean the neck of the viola rvith a
ee fìom any dirt or perspiration rvhich coulci
tlown the instrument.
I ro shift rhe rhumb at the same lime so that
ñngers. as it did in lst Posirion'
first as the ñnger slides over the string'
ressure slighrly during the change ofnt is increased, the glissando t6s6¡ u'ill
*1'- lst FINGER NTOVENIENTD and G strings
I - I meens keep rhe fìnger on the string
-E
I
-Ì
:l
t-I
-J
ì.
Jì
I
-r,
V
l-
t-
Lj'tI
t
I
HEBRIDEAN LULLABY--l
Jr''-l
-t1
tIII
\-t\
tì
,\l''
1\
-f.¡rl
ï)
;ir1:
1. ì.t
fT f') J j-!Largo
con sordint\/f
pp
\:23
t-- I
(
rl
?V a n
l-
l_ t /'----\
ñ
?rw
V
rall.¡-l
risrrY
p
!.
T) poco
Prinrcd in C
.\ q. IÁ
\--?
Lr^ 4öG& e?L t4'2 4
o
I
)o nd D strings
-l -l4\ ta're.p..f
,l'i {C cx
e. THE FAIR ISLE
\4
I
Allegretto a4ftt- I
2_
faI A V
r
-lV
44'llu 7tW
J4 2JI _l
fcÍesc
A¡dantinon
17'tp L- L
nd C strings
rall. -<'
l-l
f .*
€l-
.+r--1
I4,À
f
i,EESIDE
ñV í!y
n
l.- t
mfr'ì V
,. ,hÍ -' ,
II
,Lr ia a!_-,:_,. r-- r,- Vi^tl
1
1 t- |
-f
n,'(;r'
'é+
2 FINGER N,IOVE.NI E N:t-
and str¡ngs "€-(Y$)
-È2
------i
1
-
2 22 2
V
2--2
2--2
J ''' a."' Å{ ,...,J
,rtl'1
Graziosort
1,
UET
-t
2-
2
-2
ì
1
2ztw
mP
-l J -l
2-
-
c
-
o 2
m¡f 2
2-
2
-
2
2 --2
m¡f
A and D stringsII
I
!
i
I
:
I
2ît
2
V
2
2- I:"j'.'
.. :
I .: :'r'
;,Posiúon Ch:ngrng.for ihc Vio¡,
2 2- 22
i 3rd FINGER NIOVL'NtE'N-f
D strirl
--J¿,^
t to..¿-I
\-s
-ì
-1
e
--- ---
SPRING MORNING
Allegretto -'^-J¿^{ : }+)-7â
{1)
)
nw--<-t 3--'3r_ ^.J 1j.-z :
r
3
3
C string
---I
)
J
mp ,J- cresc. tu/ nf\J
3 3- 33
a
-33-
EVENSONG.t
II
Lentocott sordùti
4
--- 33-
-3
3 -<.P
3n1
l
2 3I
, o3 _37n[)
---pp3- -3
tÌ
3 .1 3 1
poco rall2
T
G rr¡rcl C strings
.if
I
J
n1
-1 l.
11
1
1 I
V
I 1 11
SoothinglY¿ott sordini
11. IRISH LULLABY
J
I
I
::---tp (repeatpP)
J
I
I 21
1 -e>-
2 2
-
:==-- P1¿
J
=:--poco rall.1p
PPI
J
J
1
2
3-
HANGING POSITIONFrom lst Finger
,2--\2 to
),, -Pj 2nd, 3rd' and 4th----li-.
finger effecring rhe change. of posirion should arrive at a guide nore ()) btfot'
rhe nexr no¡e is pj;;;å. t]ii,ù pt.itice ri,e glissando and guide lore can be omitted'
Guide nores are not marked rhroughout rhe melodies, but should be used during each
change of Posirion.
h 5^,^L ,J*k G and C strings
l.Þ I
3
1,-l
-a-l<l
22 l..- I
l.-
-3 r-l
l-l
I
V
1a ...-31- ---
:
t
t
t
') VALSE, TRISTE.I
Moderato
Iv
V-)
V
ñ 3
mfI
p cfcsc. poco a poco
3,IfuT)
V
o
-2
3
tl
I
_.=-:-e
D a¡rci A strings
34_¿
1-1
poco acccl
.) l- I -3
3-3
¡-t
VI
.-2
.A.llegretto
13. THE DANCING CLASS
>n
a >?_)
?nP1>
l> >
:-m¡f (a rcmPo)
i-lpoco accel
3 2
rì
p a tempo
:>
I
I
rì1>
eJ
fìl
mp
I3
nolto accel
aì n
c i-lÀ G NG[ìro 2¡rtl rrrlcl 3
St-i tON[ìingers
)
A and D strings
4.-4
'1- 1
luAl{uEL BARoNViolo
1_1a 2 3 J
Vi-t'-l
t 3-3 1_1
I
o) 2-2
Åndante con moto
p 23
z-2
14. THE :fROUBADOUR'S SONG
3
a<--.)
3
ra
3
c
mfV
nw
11
-t
J
J 2
-rall.pp
a temPo
12
T
I
J 3._ 3
GandCs trings
poco roll.
1_-13'2-? 3
V
3-J¡-2
f
l'osition Ch*n!i:rg fOr ihc \:iol¡
3'\-l-:
1 1 \4
t0
ANSE MACABREI
I
MisteriosoV
13 \--l' 1nw 2 a
V 1 V
p3 2 1
-
l-r-_-_./
V
13 I
1
V1 rl
poco d poco accel
The lest notc of D¿rsc .ltacobrc is en .{rrifici¡l Harmonlc.Srop Å normally u'irh ¡hc lsr linger. r¡ ¡he seme rimc play D lighrly wirh rhc pad of rhc {th. This shoqldproducc a sound 2 oct¡vcs ¡bovc thc stoppctl notc.{.
å HARMONICS å
There are r\\,o types of harmonics pìayable on the viola. One is a NATURAL harmr:nicand the other ARTIFiCIÄL.
The follou'ing harmonics are natura¡, and are plal'ed half way up lhe srring wirh rhe padof the litrle ñnger.
Keep the left hand in 3rd Posidon and ex¡end the fourth finger so that it rests lightly onthe string. The viola rvill produce a flute-like note rvhich is rather plaindve in sound.
,a_
32
t1o
oç1
ênI
Io
4o
1o
1o
4o
1o
t-
1o
I-)
1o
1
1on
I
1o
1f-ì
IJ
t
'iI
.t
lr
j
1ó. REVEILLE,Play S't'.{CCATO nores OFF THE STRING in L'H' borv
VivoJJ 1
o1o'1'
o1
.Jla.)
>cresc
>mf >
4o >.lr
lr
lr
2
)J -f
- ,t---1
/)
{1o
1o
17. ON PARADEPlay STÅCCATO in U.H. borv
Àllegro 1o
I
nw
:---
V---
m¡f
1o u/^
"f
4o
18. TYROLEAN AIRt
r\llegretto grazioso1o
t,1o
I
1o
-j4
-lr-oI
o+
I
-l
cfesc.?tw-a-E
m¡fI cresc.
1o
1o---
1o
-lD-rì3
fÇ
t
dim1o
tI'osiljon Ch:nging ¡6ç 6ç \'iola
o
pp
1þ1:tj'.J-IL'
1o
nw
t
j
t
1o
Io1
o
' dim. Poco rall
¿
I
JI
J
I :l
C) rrrrtl C strirrgsI
,, I
J :lfì
It-t 2-/ 2_2 3 33
t,
VJ32 2 3..-3
2/ -\2l-/' \t
J Practise also using a bol to each bar'
21. THE TENOR AND :IHE BASSJI
Allegro giocosorì 2 4In
Jpl pr
VJ
2V a
J *f,nwn
3 13V 3
-l
rl
>> >;;>-- fÍ
The follorr.ing melody introduces changes of position across the strings' Keep the fingers
do*n *.here indicated *¿ ,t i, v.,ill preveár anyìendency to leap from one string to ano¡her'
22. W ALTZING
ModeratoTI
p
I1o
---é---
/----___---\ V3 3 1
3-
1o
Va
2
l-
a 2Ç 2
?rup
l/r4
4o
t-3 t 2
2
l- 2-3
11o
2 2o a
J
2
()\l:()l{l) L'\ lVEllSl'l'\' l'Ri:'lt,rsir:,.,11 (.h:::ì.i:rl: i,r ihc \:¡j¡
ir
I
3
4<
I
IîEi
(
l
eI
'\:¿
-1r'
EASY POSITION T{JNESJvy
FOR VIOLANEIL MACK/,, 3rd POSITION
,il':Ï
The D stiingPlay the D string tetrachord and pause on the note G with rhe 3rd finger. Move the handup to 3rd position so thar rhe same note is prayed by ,h. il finger.
^2 3a"\ 4 3n 2 3 2 3
l------ - keep the finger ón rhe srring.A orV- semirone between rhe nores.simile - continue in the same manner.
dModerato ?
V
nw
rÊ,rn-n-rÊrB"\' 5 "laJ
(. rt- iñile :
ln V
V
mp
â
-
prall
Allegretto
ITHE SPINNING WHEEL
p3_
n4o
ry 2
-
p
ry 2crescendo *f
ry diminuendo
)Oxford University press 1965
>Pp
Printed in Great Britain6DP
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, VALTON STREET, OXFORD OX2Photocopying this copyright material is ILLEGAL
a#
' The G string
fingering is the same as that used on the D string.
n 23 32 l- 3 4
EMII
Allegro risoluto \âV
f'l
shnìte
\á+ñ
,,f
ii.f;r .*'*,. -.ttÃ'..; -.''id,'. -
ñ
,.1
',å1.
.ì.,
J, ..
J¡
"f
Andantinoz_ ESIDE VIEW
rw
:í nw 2-
r'1
o o2
r-r V
mf 3 o 32 2
2
o2nw2lrO':.
2 l-
-
oo2
,'i,1:l
,i$ira"r Tuncs for Viola
s
H\
1
I\I
I
Ë Ht^
(
!,
Play the
i
,.ii.' n
D strings
G string tetrachord followed by that of the D string and the resu¡ is the SCALE
t 2J,
'ractise also with z and 4 notes per bow
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'he staccato quavers should be
- Allegretto grazioso
arpegglo
URTIER'S
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Din the L.H. part of
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A string fingering is the same as that used on the G and D strings.
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TheDandAstrings
play the D string tetrachord followed by that of the A string and the result is the SCALE OF G'MAJOR'
2
Practise also with z and 4 notes per bow.
G major arpeggio
simile
Practise also using a bow to each bar'
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THE DRUM-MAJOR
Play the staccato notes off the string in the Lower Half bow.
Moderato
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TheCandGstrings
Play the C string tetrachord followed by that of the G string and the result is the SCALE OF F MAJOR.
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Pracdse also with z and 4 notes per bow.
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F major arpeggio, i..,¡',.a'.J*,'
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Practise also using a bow to each bar
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2nd OSITION
The D string
on the note F, then move the hand up to znd position so that rhe same note iswith the first finger.
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Allegro
PADDY McFANE
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Press firmly with the first finger on F, and lightlya sound two octaves above the stopped note F.
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The G stringThe G string fingering is the same as that used on the D string.
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'lay the G string tetrachord followed by that of the D string and the resu¡ is the SCALE OF Bb MAJOR.
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Practise also with z and 4 notes per bow.
Bb major arpeggio
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t simíle
Practise also using a bow to each bar.
asy Positiou Tunes for Viola
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The A string
The A string frngering is the same as that used on the D a¡ld G strings.
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TheDandAstrings!/ the D string tetracho¡d followed by that of the A string and the resulr is the scALE oF F MAJOR.
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2
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Practise also using a bow to each bar.
Position Tunes for Viola
Practiçe also with z and 4 nores per bow.
F major arpeggio
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Allegretto
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The C string
The C string fingering is the same as that used on the other three strings.
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2+ REGRETSLargo
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TheCandGstringsC string tetrachord followed by that of the G string and the result is the SCALE OF Eb MAJOR.
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2
Practise also wirh z and 4 nores per bow
Eb major arpeggio
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Practise also using a bow to each bar.
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Præssed and printed byHalstan & Co. Ltd., Amershom, Bucks., Englandsy Position Tunes for Viola OXFORD T'NIVERSITY
.1.'¡iii
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PRESS,;. .i¡1,
