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Blast Off! Lift bow up in the air on 'blast off', landing back on the shing without a bump. Memorize and transpose into C major
Beim'blast off' den Bogen abheben und dann wieder auf den Saiten landen lassen, ohne zurückzufedern. Auswendig lernen und nach C-
Dur transponieren.
With lots of energy middle of bow
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off!
Blast
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off!
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middle
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Operation Space Station 1- and 2-octave harmonics
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Rockets to the Rescue
Relaxed bow-hold and balanced arm movement in semiquavers. Scale Passages
With energy, but in control! upper half oJ'box
Entspannte Bogenhaltung und ausbalancierte Armbewegung bei den Sechzehnteln. Tonleiterpassagen
J = 100-112
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4. Space Walk
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finger drift!
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Calmly
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your base - don't let the first
Finger vom Kurs abweichen!
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= 116
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Auf der Basisstation bleiben - nicht mit dem ersten
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Ball 5. Robots Rockitg at the Microchip you reach the still Pizztcalo,
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Rock steady beat, with a strong sound
Den ganzen rechten Arm dazu benutzery die Saiten zu erreichen. Gelegentlich das Stück auch im pizzicøto spielen, aber
mit dem Bogen in der Hand
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plzz. sempre
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6. Rocking Rowboats Weitei Saitenwechsel; Bindungen; gute Armhaltung für den Ton und die Intonation
position for Smooth string-crossinç slurs; good arm tone and intonation
Andante
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7. Floating in the swimming Pool
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of Slow bows, saving enough bow for,the ends notes; shing crossìngs in different directions
Lanqsame Srriche; genug Bogen tür das Ende der Notãn aufsParen Saitenwechsel in
unterschiedlichen Richtungen
1 -.1
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Lazily
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Wave Machine lassen Den rechten Arm mit den Wellen schwingen
the waves Let your right arm bob along with
SmoothlY
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Gliding along at the Octopus Ball
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Smooth bowing; finding octave harmonics; checking tuning of octaves
Weiche Striche; Oktavflageoletti finden; die Stimmung der Oktaven prüfen
Molto legato J. = SO ñ
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Hear that ïVhistle! Linked bows; glissandos and for the train whistles; good 3rd finger tuning in Lst position
Dichte Striche; glissandi und Flageoletti für die Eisenbahnpfeifen; gute Intonation des 3. Fingers in der 1. Lage
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Chugging and chugging and chugging ,lo,rg J.= 63
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up the G string
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IL. Flurry if youl want to see the Engine! Einfache, langsame Triller; bei den Sechzehnteln eine entspannte Bogenhaltung beibehalten; gegensäFzliche Dynamiken. (Kannst Du Dir denken, worum es in dieser Geschichte geht?)
Simple, slow trills; keeping a relaxed bow-hold in the semiquavers; contrasting dynamics (Can you work out the story this piece tells?)
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(repeat and fade to nothÌng)
22
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2..' Strawbe rry
Milk
Shake
[1 = den 1. Finger über beide Saiten halten
both strings [1 = place 1st finger 1hold finger down on string
1 den Finser unten auf der Saite halten Vorsicht in Takt 12
Watch out in bar L2!
Frothily J = 88 upper half of bctw
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Neat bowing; nimble fingering; introducing semitones
'sliding
Perky polka stYle r =77'8O upper half of bow
Saubere Slriche; wendige Fingersätze; Einfirhrung
von'gleitenden Halbtönen'
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Vorsicht in den Takten 8 und 16
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den Rhythmus
rhythm
Watch out in bars 8 and 16
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1-5. Vanilla Ice Cream P¡actise
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with the correct
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Va-nil-ln
Va - nil-la ice cream 1 note several times to get the feel of the on bowing
,bJ icectetm
mit richtiger Bogenführung auf
einem Ton meh¡ere Male üben, um das Rhythmus gefiihl zu trainiere¡
rhythm
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L6. Cuckoo? Where's that Cuckoo? Keep the 2nd finger close to the string at all times to act ãs a guide for the 3rd finger; contrasting echo
dynamics; simpìe octave harmonics
t_ Chirpily a- 66 -76 ñ 0
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Den 2. Finger dicht an der Saite halten, um dem 3. Finger die Orientierung zu erleichtem; gegensätzliche Echodynamik; einfache Oktavflageoletti
cresc.
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whole bows
17. Let's all go to the Gnzzly Bear's Grump Dotted rhythms in linked bows; good tone on lower strings
Putting on an air of grumpin"r, J
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Punktierte Rhythmen bei dichten Strichen; guter Ton auf den tiefen Saiten
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Tawny Owl Blues
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With feeling J =
Zuersteinmal ùben, die Wörter zu sprechen; rhythmisch präSnante Striche; immer fest im Metrumbleiben
rhvthmic
Practise saying the words first; bowing; very steadY beat
ll2-120
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wit too woo 'jnkao , i.n ¡oo^tä ''
Too
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I'm feel- ing blue !
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blue!
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optional tremolo on last note
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!9. Banana Bounce Bounce the bow on the spot, then add tiny sideways 'bananas', spíccatol Notice how the bow bounces best nearer the heel on the C string when you are plalng.¡f and nearer the middle on the A string in p. Bars 41,47,57-63 can be played in either 1st or 3rd position
Cheekily
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Den Bogen auf der Stelle springen lassen und dann etwas seitlicher 'Banønas' im spiccnto spielen. Der Bogen springt im.¡f auf der C-Saite am Frosch und im 1a auf der A-Saite in der mitte am besten.
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'Do the
{ at the heel
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hey !'
Bounce,
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nearer the middle
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trcurer tlrc middle
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cantabile e legato
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VIOICì
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Eosy
originol studies
for the Ei
young ployer
nfoche Originoletüden für
Angfönger
Etudes originoles et fociles
pour
les jeunes musiciens
morg USIC
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J-. Overture and B eglnners... r (The show's øbout to start!) t-
Crisp bowing; watch out when
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changes. to
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; quick changes between arco and-pi2 zícato; Bars37-Qican be fingered in either 1st or 3rd position
Lebendige Bogenfüùrrung. Vorsicht beim Wechsel
r- r-l vonrI aazv.a.
Schneller Wechsel zwischen arco und pizzicato. Die Takte 37 bß 44 können in der ersten oder in der dritten Lage gegrif fen werden.
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2. Saturd"y Night Stomp Double-stopping is easy if you balance your bow on an imaginary string between the two you are playing. Watch the angle of your LH fingers. 'Stomp'with your feet on the accented notes
With a lively beat
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Doppelgriffe sind einfach, wenn den Boqen auf einer imaginären Saite führt, die man siÈ'h zwischen den gestrichenen Saiten vorstellen muß. Zu beachten ist der Fingerwinkel links. Bei den Akzenten mit den Füßen aufstampfen.
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Hot Chocolate Treat the cøfe on the corner . . . )
Let the bow arm ripple across the strings like hot chocolate sauce; gooJ LH finger angles needed to avoid catching the open Ds; balance the bow belween the strings rvhen double-stopping. Look at bars 5-8, then at 13-1ó - compare similar sections in alto and treble clefs
Der Bogenarm muß über die Saiten rinnen wie heiße Schokoladensoße. Man braucht links günstige Fingerwinkel, um die leeren Ds zu umgeheñ. Bei Doppelgriffen wird den Bogen zwischãn den Saiten geführt Man beachte die Takte 5 bis g, danach die Takte 13 bis 16 und vergleiche gleiche Abschnitte
im Alt- und im Violinschlüssel.
Rich and velverv smootn! J = 116-126 4
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b,A = IÞ Make your Mind tP, Please! Klare und schnelle Bewegungen helfen dem zweiten Finger bei der Entscheidung! Vorsicht in Takt 12: der Sprung von Fis nach C ist weiter als man denkt! Man vergleiche die Takte 1 bis 5 mit den Takten 6 bis 8 usw! Auch die Notenschlüssel können sich nicht entscheiden . . .
needed
Watch
to
you thi fs can't
up,either...
Steady polka
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eidi Hi! Try for a light, springy ieel in the LH
as you change position. Repeated up-borss need to dance too. One-in-a-bar feel
Tempo di ländler
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Beim Lagenwechsel ist in der linken Hand ein gewichtsloses Sprunggeftihl wichtig. Auch wiederholte V Striche müssen tanzen. Geftihl von Ganztakten.
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6. Make it Snappy (reel-y snappy !) Try to start the 1st note of each bar in the same part 'the bow every time you play the 'make it snappy' of
Beím'make
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it
snøppy'-I?hythmus
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sollte die erste Note eines jeden Taktes möglichst mit derselben Bogenstelle beginnen. Bei einem schnelleren Tempo beginnt man näher der Mitte.
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At a faster temPo, start nearer the middle
Lively, with a ringing ton" J =72 or 84 ot 92 0
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The Snake-Charme Í' s Lament Long, smooth the strings;'a
Lange und weiche Shiche, übermäßige Intervalle, Flageoletti.
egato, especiall v across
intervals; harmonics
Sinuously continuous
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8. Fivepenny Waltz Return to the same place for each
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Rückkehr an dieselbe Stelle bei jedem
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Shich nach
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Singing vibrato ín the cantabile section. 'Pass' the vibiato"from 1 note to the next as you change bow very smoothly. Hear the f'''l [T'] l" your head as you play
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The Whirly Bird and the Hen. LH 4th-finger strengtlening; LH 4th-finger pizzicato; varied borr-ings; holding Lst finger down on string to support and strengthen other fingers throughout b ars 1,-8,77-23
Der erste Finger bleibt während der Takte 1 bis g
Allegretto J = 108- 120
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ovises
to the
tuttibars 1 - 4 until everyone has had a turn at improvising.
Witlr an air of mystery V
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Man soll die Magic Cørpet-Rondos zusammen mit Freunden spielen. Jeder spielt die Takte 1 bis 4. Dann improvisiert ein Spieler vier Takte lang; was den Takten 5 bis 8 entspricht. Darauf kehrt man zu den úufúi-Takten 1 bis 4 zurück, bis schießlich jeder mit Improvisieren an die Reihe gekommen ist.
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hemiolas in bars 26 - 27;rO- a'-*nr*mic and dynamic control as the musical boi winds down
Bögen
Rhythmische und dynamische Kontrolle, wenn die
Spieldose allmählich verklingt.
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Use open strings where possible Play 3-part chords as 2 i 2 notes Lighten the 2nd note in duplets Keep fingers down on strings where possible
Molto mode rato ) =72
Möglichst leere Saiten verwenden Dreiteilige Akkorde als 2 + 2 Noten Die zweite Note der Duolen sollte leichter sein
Finger möglichst auf den Saiten lassen
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4 Swirling Arabesques Balance the whole arm in string-crossings Watch out when the arm movement changes direction in bar 17 Use open strings
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with Variations
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Legato Bogenführung
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Conmoto
Den Finger auf der Saite lassen Um der Resonanz willen sollte man möglichst leere Saiten verwenden Die sich drehenden Flageoletti werden mit der 'Spitze gestrichen Vorsichtbei dem Hemiolen in den Takten2l-22
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die Quinte mit dem BarréeGnff (mit einem Finger quer über zwei Saiten greifen) spielen
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From lst Finger
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h
5^,^L
,J*k
G and C strings
3 1,-l
22
l..-
I
-3
r-l
I
V
-al
1-
a
l.-
...-3
1
l-l
---
:
t I ') VALSE, TRISTE.
t
v I
Moderato
V
ñ
t
3
mf
I
cfcsc. poco a poco
p
-) V
V
3
,IfuT)
o 3
_.=-:
-2
-e
D a¡rci A
.)
l-
¡-t
strings
3
I
1-1
3-3
.-2
V I
4_¿
tl
-3
13.
THE DANCING CLASS
.A.llegretto
poco acccl
>
n
>
a ?_)
?nP
1
>
l>
>
:m¡f (a rcmPo) poco accel
i-l
I
a tempo
I
I
fì
l eJ
mp
2
3
3
p
1
aì
rì
nolto
accel
> I
:>
n
rì
c i-lÀ [ìro )
G NG
St-i tON
2¡rtl rrrlcl 3
[ìingers luAl{uEL BARoN Violo
A and D strings
i
1_1
4.-4
3
2
a
J
V
-t'-l
t
o)
I
'1-
z-2
3
2-2
14.
1_1
3-3
1
THE :fROUBADOUR'S
SONG
Åndante con moto .)
p
a
<--
23
3
r a 3
c
nw
mf
1
V
1
-t
pp
a
rall. J
2
J
-
temPo
1
2
T
poco roll.
I J
GandCs trings '2-?
3._
3
3
3
1_-1
f V
3
l'osition Ch*n!i:rg fOr ihc \:iol¡
'\-l-:
¡-2
1
3-J
1
\4
t0
ANSE MACABRE I I
Misterioso
V
\--l'
3
nw
1
1
2
a
1
V
V
1
2
3
p
l-r-_-_./ V
I
3 1
1
rl
1
3
V
2
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 shoqld producc 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:nic and the other ARTIFiCIÄL. The follou'ing harmonics are natura¡, and are plal'ed half way up lhe srring wirh rhe pad of the litrle ñnger. Keep the left hand in 3rd Posidon and ex¡end the fourth finger so that it rests lightly on the string. The viola rvill produce a flute-like note rvhich is rather plaindve in sound. 1
1
1
n I
,a_
ê
o
o
ç
I
4
n
4
1
o
o
t
o
o
o
I
1
-)
t-
1
o
o
1
o
I
J
f-ì I
1
1
o
1
1
o
t
'i I
.t j
1ó. REVEILLE,
lr
borv
Vivo
JJ
1
'1'
.Jl
1
o
o
>
>
>
cresc 4
>
o
)J
1
o
mf
a.)
.lr
lr
THE STRING in L'H'
Play S't'.{CCATO nores OFF
2
-f
lr
t
17. ON PARADE
,
-
Play STÅCCATO in U.H. borv 1
Àllegro
1
o
V
---
/)
m¡f
nw
u/^
1
o
---
1
:
1
o
I
---
o
{
"f
18.
TYROLEAN AIR
t r\llegretto grazioso
I
o
o
o
cfesc.
?tw I
-l
o
+
I
m¡f
t
1
1
4
o
-a-
o
-j
-lr-
E
cresc.
rì
1
3
-lD-
o
1
1
o
o
---
f
t
t,
1
4
1
I
dim 1
Ç
1
o
o
o 1
I
o
o
o
j
t
t
nw
' dim.
Poco
rall
pp
¿
I'osiljon Ch:nging ¡6ç 6ç \'iola
1þ1:tj'. J-IL'
I I
JI
C) rrrrtl
:l
C strirrgs
I
J ,,
fì
I
J
:l
I
2_2
2-/
t-t
33
3
t,
J
V
l-/'
J
2/
\t
Practise also using a
bol
2
Allegro giocoso
2
V
a
*f,
nw
n V
>>
fÍ
--
13
3
3
-l
rl
4
2
pr
V
J
..-3
BASS
rì
pl
J
3
3
AND :IHE
I
n
J
-\2
to each bar'
21. THE TENOR
JI
2
>;;>
position across the strings' Keep the fingers The follorr.ing melody introduces changes of to leap from one string to ano¡her' do*n *.here indicated *¿ ,t i, v.,ill preveár anyìendency
22. W ALTZING 1
Moderato TI
o
I
3
V
1
2Ç
a
2
V
---é---
3-
p
/----___---\
1
3
a
o
2
?rup
l-
t3
2
l/r
4
t
o
4
2
2-
l3 1
o
a
2
2
3
1
o
2 J
lt,rsir:,.,11
ir
I
(.h:::ì.i:rl: i,r ihc \:¡j¡
()\l:()l{l) L'\ lVEllSl'l'\' l'Ri:'
4<
I
îEi I
(
l
I
e
Jvy
EASY POSITION T{JNES FOR VIOLA
'\:¿ -1r'
,,
NEIL MACK/
3rd POSITION
,il'
:Ï
The
D stiing
Play the D string tetrachord and pause on the note G with rhe 3rd finger. Move the hand up to 3rd position so thar rhe same note is prayed by ,h. il finger.
n
l------
3a"\ 4
2
^
3
3
2
3
2
- keep the finger
ón rhe srring. semirone between rhe nores. continue in the same manner.
A orVsimile
-
d
Moderato
? V
nw t-
rÊ,rn-n-rÊrB
"\'
(.
"laJ
5
iñile
r
: ln
V
V
â
mp
rall Allegretto
p
THE SPINNING WHEEL
I
-
p
3_ n 4
o
ry
ry
p
2
2
crescendo
ry
*f diminuendo
>Pp
)Oxford University press 1965 Printed in Great Britain OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, VALTON STREET, OXFORD OX2 6DP Photocopying this copyright material is ILLEGAL
a#
'
The G string
fingering is the same as that used on the D string.
n
23
32
l-
EMI
I
4
3
Allegro risoluto
\â
f'l
V
shnìte
\á+
ñ ,,f ii.f;r *'
.
''id,'.
-
*,.
-. ttÃ'..; -.
ñ
,.1
rw
"f
',å1.
J¡
.ì.,
J,
..
:í
Andantino
nw
ESIDE VIEW
z_
r'1
o
2-
o
2
r-r
mf
lrO
o
3
3
2
2
2
nw
2
2
V
o
':.
2
2 ,'i,1:l
,i$ira"r
Tuncs for Viola
o
l-
o
s
\
I I
t^
Ë
(
H
1
I
\
H
D strings
!,
Play the G string tetrachord followed by that
of the D string and the resu¡ is the SCALE
i
,.ii.'
n
t
2
I
J,
'ractise also with z and 4 notes per bow
arpegglo r'1
I
imile
1:
means rst finger covering two strings at the same time. Practise also usi a bow to each bar.
URTIER'S D ANCE
'he staccato quavers should be
-
in the L.H. part of the bow.
Allegretto grazioso n
l_
2
l-
t¡
tn
2-
l-
ll-
p poco rall.
BUGLE PARADE
Allegro moderato
,
t'l
o
rry)
l_ t,
--
2
o
mf
n
l-
L ñ I
o
nw
*f y Position Tunes for Viola
,
4
The A string
.1" t
A string fingering is the same
as that used on the
n
no
4-
(3)
I
1q.,u
,
(:it-".'*ì
A;
U.
(-, t Q
p
_
2
4
2
ELODY 0)
o.J ¿
J
n
3
E
\i. ) I
Grazioso -¡.''
l-
2
\ c..\
G and D strings.
.l
-----=\ 2
nw
sim;le
.-.._--\ r'1
p
2
MARCH
IN D
Moderato
,
Ò
¡
tfo
1-
t-
5i¡¡il¿
I
n 2
îrw
o
2-
, cresc.
"t
o
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'
5
þt¿¿Jar
KATHLEEN'S \MEDDING Giocoso I
nw
o
o
*f
2
>
:>
mp
p 11p
CHATTERBOX
Tempo comodo I
,
p 1
nw
l_
mf
l_
2-
, nw t-
, 2_ crescendo
I
"!f
-p
sy Position Tunes fo¡ Viol¡
pp
6
The C string
f..p
your lefr elbow tucked under the viola and allow the thumb to slide under the äeck oitire instrument. Thiswill ensure a goodleft hand position and correctfinger action' ñ
t-i;
â
n
I
3
3
2
l-
3
2
2
I
THE DRUM-MAJOR Play the staccato notes off the string in the Lower Half bow.
Moderato
mf
o
I
"f
"!f V
-t
..{
TheCandGstrings Play the C string tetrachord followed by that of the G string and the result is the SCALE OF F MAJOR.
I per bow. z and notes also with Pracdse 4 ,
2
F major arpeggio
i..,
¡',. a'.
J*,'
4
¡1
simile
Practise also using a bow to each bar
4l , MTNUET .ì1.
P
, nw
I
FINE.7
y
--p
l_
2
l_
D.C. al Fine nw
2_
2
45 cAVorrE Tempo di gavotta n
>
3
nw
V
l_
o
l__
r\/ cresc.
2
¡ V
, 2_
2
nw
-F V
li'
t-t
2 ¡J
>
>
ñ cresc.
y Position Tunes for Viola
-
"!f
OSITION
2nd
The D string on the note F, then move the hand up to znd position so that rhe same note is with the first finger. n
(a
/,
/n 'o
I
2
4_
3
2
3
t_
4 _-_-___3
3
2
PADDY McFANE Allegro
2
^\
l/r
f:-
n
nw
2
l;' Tfe last note is an Artifrcial Harmonic. Press firmly with the first finger on F, and lightly wirh rhe 4rh on gb. t¡is should a sound two octaves above the stopped note F.
A KELTIC LAMENT '.¡:.1"
o
2-
îrW.--
o
o
p
2_
n 2
> t---\
o
nw
2
2
o
p
rall. e dim.
The G string The G string fingering is the same as that used on the D string. ñ
34
3
32
2
h ç 1. V "r'vfiLs a
ülJ
c
THE \MATER WHEEL
sinile
crescendo
tn cfesc.
-
-P
HIGH TIME
Tempo comodo
)¡
--P
,u
o
rnf
o
i,
,
-_
V
p
nW
poco
rall. -pp
:
The G and D strings
'lay the G string tetrachord followed by that of the
D
string and the resu¡ is the SCALE OF Bb MAJOR.
n
I
Practise also with z and 4 notes per bow.
Bb major arpeggio r'1
t
simíle
Practise also using a bow to each bar. asy Positiou Tunes for Viola
I
j{! 10
COUNT BRONOWSKI ,!r
Grazioso n
:?l 11'1
l--
'S)-i a¡.\' .t-,, f,-
p
tM) tl
2
{:
-11-
o
?nl "
r.l
I
L-
=:>-
V
2 :-:
>
*,f ô
o
t
A^h
t1 IAN FINDLAY'S REEL
u'JAuñ\.
Allegro ma non troppo ñ
o
mpr
o
, rnf
"f
:. V
o
mf
;-
"t
crescendo
The A string The A string frngering is the same as that used on the D a¡ld G strings. t-l
t1
(2)
I
2
3,,2':¿-.-^\3
2
I
2
4
2l
I1
2o THE F'ALLS O'FBARN o
repeatmp)
mp (reþeatmf) o
rall. znd ùme
SONG OF STORNAWAY Andantino o
p
o
,
2
::I
nWt
FINE.
,
--
2
n
,
--
D.C. a temþo al fine
nw
o
þoco rall.
>-
TheDandAstrings !/ the
D
string tetracho¡d followed by that of the
A string and the resulr is the scALE oF F MAJOR.
r'l
2
Practiçe also with z and 4 nores per bow.
F major arpeggio ñ
I
simile
Practise also using a bow to each bar. Position Tunes for Viola
a
L2
2L
:i.
11"
:.3
NEGRO SPIRITUAL
Allegretto
i!'
ñ
t-
nw
3_
o
3
o
rnJf
, l_
2
2
p
-_,¡7W nw
l_
:-
o
L5
?nr
COOL WA-IERS
Andante con espressione
ñ
n
2-
3_
,nJf
-
2
V
n
V
nW
o
2
n
mf
o
-
,,.,í'',
ir,:,
â
V
V
p
==:--
poco rall.
The C string
..
"{,r'
-PP
The C string fingering is the same as that used on the other three strings. i
i'"
iI
n
n
234
32t
324321
2+ REGRETS Largo
,
V
Ì\p r-
símìle
-p , nw
pp
13
TheCandGstrings C string tetrachord followed by that of the G string and the result is the SCALE OF Eb MAJOR. n 2
Practise also wirh z and 4 nores per bow
Eb major arpeggio n
t-
imile
Practise also using a bow to each bar.
',:
2(
FANTASIE
Andantino n
pt
i:
o
rntp V
-
l_
-
l_
-nW n
>
3_
--
mf
_\-
nw
mf
-O
l_
.1.'¡iii
.::¡!:-1'
sy Position Tunes for Viola
Præssed and printed by Halstan & Co. Ltd., Amershom, Bucks., England
OXFORD T'NIVERSITY PRESS,; .i¡1, .
