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VIOIC

v1 It

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I
7

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Reolly eosy originol studies


for the younq ployer

FABER MUSIC

tr

I
I

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 zurckzufedern. Auswendig lernen und nach C-

Dur transponieren.

With lots of energy middle of bow

) =nr-roo
o
Blast

:>

offl >

o*r 1 1'
5
middle

J
o
cresc

cresc.
:>

Blast

off!
:>

rnf
9

r
Blast
:>

off!

:>

%
13 o

cresc.

.t
11

Blast
1

off!
4

>

>

rnlf

cresc.

itt vltt

'l .

;4t^ .-'.t,

t-a ,

Operation Space Station


1- and 2-octave harmonics

1- und 2-oktavige Flageoletti

I
\
'1,

rln \4

Clearly
o

) = r,
V
4

\'.

nrf
5

n
0

i-l
cresc. o
o

!.4 4 o o

p
4

.t
Ll
0

znf

.t
This music is copyright. Photocopying is illega

O 1993 by Faber Music Ltd

i'A

Rockets to the Rescue


Entspannte Bogenhaltung und ausbalancierte Armbewegung bei den Sechzehnteln. Tonleiterpassagen

Relaxed bow-hold and balanced arm movement in semiquavers. Scale Passages

With energy, but in control!


upper half oJ'box o

J = 100-112

,lrw

cresc.

ntf
9

cresc.

.t

nw
tt3

cresc.

rnf
I

r
4. Space Walk
your base - don't let the first

I
Stay anchored to

I
I

Auf der Basisstation bleiben - nicht mit dem ersten


Finger vom Kurs abweichen!

finger drift!

Calmly

= 116

r)---\
V

, /
I
7

p
(liJr,lantl) 4
4

pp
I

14

21

p
po co

rit

27

Ball 5. Robots Rockitg at the Microchip


ce

you reach the still Pizztcalo,

Den ganzen rechten Arm dazu benutzery die Saiten zu erreichen. Gelegentlich das Stck auch im
pizzicto spielen, aber

mit dem Bogen in der Hand

Rock steady beat, with a strong sound


plzz. sempre

)=tzo

ngf
5

r
10

anI)

mf
15

p
20

6. Rocking Rowboats
position for Smooth string-crossin slurs; good arm tone and intonation

Weitei Saitenwechsel; Bindungen; gute Armhaltung fr den Ton und die Intonation

Andante

)=n
0

n
0

mf
FINE
tn:p
o

m,f

r
pp
znP

D.C. ol Fine

cresc.

7. Floating in the swimming Pool


of Slow bows, saving enough bow for,the ends
notes; shing crossngs in different directions

/
I

Lanqsame Srriche; genug Bogen tr das Ende der Notn aufsParen Saitenwechsel in

unterschiedlichen Richtungen

1
-.1

Lazily

).=

i:1
s+
l:

Y!

\r

cresc.

FINE
14

2l

nry

nJf

)7

D.C. al Fine

Wave Machine
the waves Let your right arm bob along with lassen Den rechten Arm mit den Wellen schwingen

SmoothlY

t_ a-

-12

n
V

,nf
mp

t1

fl
m1f

-t

ts.tfr,

;l

Gliding along at the Octopus Ball


Smooth bowing; finding octave harmonics; checking tuning of octaves Weiche Striche; Oktavflageoletti finden; die Stimmung der Oktaven prfen

Molto legato J. = SO
0
-r3

4 o

0 nyf

p
q

'-l
:.1

p
n o

m'1f

II

.f
6

nrf
n
n
3

anp

Hear that Vhistle!


Linked bows; glissandos and for the train whistles; good 3rd finger tuning in Lst position
Dichte Striche; glissandi und Flageoletti fr die Eisenbahnpfeifen; gute Intonation des 3. Fingers in der 1. Lage
V
3

Chugging and chugging and chugging ,lo,rg J.= 63

n
3

p
n
r)
3

m,f
nr3 zto
o
3

n
o
3

FINE

p
)
o

ngf
very slow glssando

up the G string

n
3

p
o

,.]

I3

heel

heel

I LH +
1",

D.C. al Fine

rtlf

d"^

IL. Flurry if youl want to see the Engine!


Simple, slow trills; keeping a relaxed bow-hold in

I
1

the semiquavers; contrasting dynamics (Can you work out the story this piece tells?)

Einfache, langsame Triller; bei den Sechzehnteln eine entspannte Bogenhaltung beibehalten; gegensFzliche Dynamiken. (Kannst Du Dir denken, worum es in dieser Geschichte geht?)

Lively

) = tn

I
'1

pp
6

cresc.

t
I
I
a

I1

p
16

f
nyf

I
1
1

w
(repeat and fade to nothng)

22

I
dim.

pgp

2..' Strawbe rry


both strings [1 = place 1st finger 1hold finger down on string
Watch out in bar L2!

Milk

Shake

1 den Finser unten auf der Saite halten Vorsicht in Takt 12

[1 = den 1. Finger ber beide Saiten halten

Frothily J = 88
upper half of bctw

V
o

(4)

n
np

znlf

6
:>

cresc

FINE

I2

rIr

m'P
o

rnlf
D.C. al Fine
:>

:>

Toffee Nut Fudge Cake


'sliding
Saubere Slriche; wendige Fingerstze; Einfirhrung

Neat bowing; nimble fingering; introducing semitones

von'gleitenden Halbtnen'

Perky polka stYle r =77'8O upper half of bow


I

n >

:>

:>

:>

:>

rl

rnp

cresc

znif

arw

:>

t't >

:>

FINE

( lr time

)r

o-t

r-t-f

2-2

D.C. al Fine

rnlt

-<.

ntf

L4. Rum-Bah Ba!


practise )
really feel the

) Jt
Ba

on 1 note until you

Rum-Bah

can .j,

i^; !^'

auf einem Ton ben' bis man

rhythm

den Rhythmus

wirklichfihlf

t I
I

Watch out in bars 8 and 16

Vorsicht in den Takten 8 und 16

Lively Cance style

) = 20E+

I
{ {4
V

znlf

,mif

yeah

oh
7

?nJf

ru

t
I

p
yeah!
oh 4
14

1-5. Vanilla Ice Cream


Pactise

i)i

,bJ

with the correct

JI

\v,

,bJ
icectetm

Va - nil-la ice cream 1 note several times to get the feel of the on bowing

Va-nil-ln

mit richtiger Bogenfhrung auf

einem Ton mehere Male ben, um das


Rhythmus gefiihl zu trainiere

rhythm

Coolrhythml)=rc-Sg
V

np
V V

/nL

v/^V
Try

cresc.

rnf 13n
V

>
quick whole
:> V :>

b<

,)

L6. Cuckoo? Where's that Cuckoo?


Keep the 2nd finger close to the string at all times to act s a guide for the 3rd finger; contrasting echo

dynamics; simpe octave harmonics

Den 2. Finger dicht an der Saite halten, um dem 3. Finger die Orientierung zu erleichtem; gegenstzliche Echodynamik; einfache Oktavflageoletti

t_ Chirpily a- 66 -76
0

rnif
n o

mf
7
0

cresc.

gp
3

rnf
9

np
4 o

pp

/
whole bows

zrp

pp

17. Let's all go to the Gnzzly Bear's Grump


Dotted rhythms in linked bows; good tone on lower strings

Punktierte Rhythmen bei dichten Strichen; guter Ton auf den tiefen Saiten

Putting on an air of grumpin"r, J

= i|^2'-Jz6

r
j
n

\--z

>>

\-/

>

FINE

l*

-t
lust tin.e:rtld lowcr octlrvr:

\--,,-

ll

13

>

:>

:>

>>

D.C. al Fine

cresc

r
Tawny Owl Blues

Practise saying the words first; bowing; very steadY beat

rhvthmic

Zuersteinmal ben, die Wrter zu sprechen; rhythmisch prSnante Striche; immer fest im Metrumbleiben

With feeling J =

ll2-120

->
I'm feel- ing blue !

Too

wit too woo 'jnkao , i.n oo^t ''


p

. ;b

n
I'm feel-ing ve

- rY ve -

ry

n
m1f

blue!

I2

/:\

p
I
optional tremolo on last note

t2

!9. Banana Bounce


Bounce the bow on the spot, then add tiny sideways 'bananas', spccatol 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

Den Bogen auf der Stelle springen lassen und dann etwas seitlicher 'Bannas' 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.

Cheekily

) = 2

I
{
6

m'if

cresc.

'Do the

Ba

at the heel

I
,!
1I

na

na

Bounce,

hey !'

nearer the middle

ngf

17

tt;et

r
T
tI

23

trcurer tlrc middle

I I

rnf

i
I
1

fttiddle

29n

.l
{

34

39

jf
cantabile e legato

I !
I

44

rnlf

I
{ t

50

,l
55

T
t

'Ba -na -

nas!'

znf

I
t
I

il

61

t
(

f
67
V

r'l

'Ba- na -

nas?

Oh

yeh!'

ljooiH 2

VIOIC

(vl lc

Eosy

originol studies

for the
Ei

young ployer

nfoche Originoletden
fr

Angfnger

Etudes originoles et fociles

pour

les jeunes musiciens

morg
USIC

Cohn

J-. Overture and B eglnners... r


(The show's bout to start!)
Crisp bowing; watch out when

(:

) ) )

t-

changes. to

Lebendige Bogenfrrung. Vorsicht beim Wechsel

n1

; quick changes between arco and-pi2 zcato; Bars37-Qican be fingered in either 1st or 3rd position

r- r-l vonrI aazv.a.

Schneller Wechsel zwischen arco und pizzicato. Die Takte 37 b 44 knnen in der ersten oder in der dritten Lage gegrif fen werden.

J
Deciso

= 104-108

l_

4
0
o

cresc.

n:p

,4

-4t ie

tnf

_-

ntf

cresc.

130

I
t

r
17

c4)
,1
,

/-/

znif

r
This music is copyright. Photocopying is

1993 try Faber Music Ltd.

ptzz-

,7?'p

f
ptzz

arco

np
arco

l*
I 33

rnp

f
pizz

arco

/1

rnp

37

arco

rnf

l
41

I I
(

mf

cresc.

I\.n
t

r.\

Kr
-

ln,

,rl .t
\j

t i
.1

LY

l
I

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 Doppelgriffe sind einfach, wenn den Boqen auf einer imaginren Saite fhrt, die man si'h zwischen den gestrichenen Saiten vorstellen mu. Zu beachten ist der Fingerwinkel links. Bei den Akzenten mit den Fen aufstampfen.

With a lively beat

)=

L2O-132
V

r
5

3-3

,-q

znlf
9
q

3-3
:> :>

tnlf
13

3-3

[t

n
>

r
17

[r

3-3

[f

:>

p
21

,np
3j3

3-3
:> :>

rnf
25

:>

:>

Hot Chocolate Treat


the cfe on the corner . . . )
Der Bogenarm mu ber die Saiten rinnen wie heie Schokoladensoe. Man braucht links gnstige Fingerwinkel, um die leeren Ds zu umgehe. Bei Doppelgriffen wird den Bogen zwischn den Saiten gefhrt Man beachte die Takte 5 bis g, danach die Takte 13 bis 16 und vergleiche gleiche Abschnitte

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 13-1 - compare similar sections in alto and treble clefs

im Alt- und im Violinschlssel.

Rich and velverv smootn! J = 116-126


4

-x
p

rnp
6

,nf

p
r'1

cresc.

I]

r
16

cresc_

FINE

tnp
21

27

r
32

,mif
D.S.

'8

al Fine

b,A = I
Make your Mind tP, Please!
needed

-)

Watch

to

you thi
fs can't

up,either...

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 Notenschlssel knnen sich nicht entscheiden . . .

Steady polka

) =88
c)

lower half of bow

1-l

tift. It

:>

mp

tnlf

V
<)

>

t --f

cresc.

Il
:>

(rit.

(arco)
last time)

'n

r
o

,np

t0

r
D.C. 13
II

piu-

G^ 6
4

mb.Qe rus Fonq*o qQ +"k


{occ^* oS
Co

- g cquo r,tco- [L*nu y

n +rdu

'l

'I

vqce$mre

qLCos

.h
i/
V

0.

roi"

"l

d,.rc.- bt*o
g ia,rqr

Y'"""\er' ,"do

q e,

{oc

c,?rcrbq

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rui'irf'O

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1

I
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l
)
)

)
)

)
)

)
.)

)
.)

)
l

)
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6
-t

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

Beim Lagenwechsel ist in der linken Hand ein gewichtsloses Sprunggeftihl wichtig. Auch wiederholte V Striche mssen tanzen. Geftihl von Ganztakten.

Tempo di lndler

) = nO
V

V V

4 o
o

m,JF
5
o
3

"r,

Is

f+ ,'* ( *'
4

z7p

V
o

T
IO

TnJf
4

4g

-4

o,

4
I5
4

f
n
4

FINE

---l
,'
20
V V

vnP

24v

4
V

9s

0 o

D.C. al Fine

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
-

Bem'make

it

snppy'-I?hythmus

n n

I Jl

rhvthm: r--= -t

'

) )). lJ

I l.-

At a faster temPo, start nearer the middle

sollte die erste Note eines jeden Taktes mglichst mit derselben Bogenstelle beginnen. Bei einem schnelleren Tempo beginnt man nher der Mitte.

Lively, with a ringing ton" J =72 or 84 ot 92

znp
6
0 0

Ir

ngf
0

:==1I
o
0
L1

p
23
4 o

17

Il

o4

[t

nt'f
23

ft

t-l

r
29

nT)

I -l

I
o

/t
I

m,f
35
0 o

znlf
Ir
o
3

0t

4 o

I
I

The Snake-Charme ' s Lament


Long, smooth
the strings;'a

intervals; harmonics

egato, especiall v across

Lange und weiche Shiche, bermige Intervalle, Flageoletti.

Sinuously continuous

) =e

n
np

23

I
o o

ztgf

nry

ngf
4 o
0

t
q

2t

3n

r
t3
q

I t I I

4 4

17

I I t I

?
t
21

nrf

8. Fivepenny Waltz
Return to the same place for each

bow after the

Rckkehr an dieselbe Stelle bei jedem

Shich nach

YYY

rJJ
aa. '

YYY --a

Itl

Singing vibrato n 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

hnitt. Bei Vibrato von


werden.

DasinnereOhrhrt

a a.
Allegretto .b= tS2
mtddle

tt

soielt I

n [n

,wennman

of bctw
off
s

o{'r

0 STM.

-l

m,p leggiero
o

m'1f poco

:>

24

rit
o

dim.
0 :>

a tempo 9

t-t('T->
znlf

ryp
0

4 13

2 0

FINE

reStez

17

.)

rnp cantabile
t

22

m1F

t7

{
4
o

D.C. al Fine

4 n

t
+

n
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A**-"
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(A)

vl

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</

q
o
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r
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o-9!

!il

o' o iz <
og
a) a), t-i@

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: L6 - ."o
V
V V

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a

vr

Ot

bJt TO o

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Fa

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yr l l

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FE' &P r
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3

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rfJ X h H o gl
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29

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>

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:>

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n
o
3

FINE

tr
41 4
p
t
-)

v/-!

4
np
1r'

46

stm-

znf
52

T'r.

"t
58 .,^'.
--,. lnp
63
!

p
.-'-. z----.

ry---. z'--.
rnf
? r-/
,..S.

6B

z->

z->

.8

al Fine

.f
-

72

^d4 ql,;.-

- tJc.t-:;.L - p\rrr. ,u, t^E )..,',


(-L'; >r \

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 whrend der Takte 1 bis g

Allegretto J = 108- 120

s4

V4

V
1

4 a

lnnan,
5

,fl

4V4

44 ++

13

Fl

nV

44 ++

-"17 1

3434

(t)

21

34

\l

-)

RH ptzz.

l4,..,o
* 2 mechanical 19ih-century toys " Zwe mechanische Spielzeuge aus dem 19. ]ahrhundert

,t^^)"

l3
'7--.

11...
Carpe ays ba ar to b
interv

Magic Carpet Ride


s.

ovises

to the

tuttibars 1 - 4 until everyone has had a turn at improvising.

Man soll die Magic Crpet-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 ufi-Takten 1 bis 4 zurck, bis schielich jeder mit Improvisieren an die Reihe gekommen ist.

Witlr an air of mystery


V 1

=72
4

rnif
4

p
n I

mlf
4

vtrp

n
0

p
I2

gp

trgf
15

p
1 f

rnf
18

mp
V

znlf

22

m'1f

I
It+

The Musical Box Winds Down


(. . . the end of a perfect day . . .)
leggiero;
Sehr leichte, ganze

Verylightwholebows;

) ) )

hemiolas in bars 26 - 27;rO- a'-*nr*mic and dynamic control as the musical boi winds down

) ) ) ,rguo. Hemiolen in den Takten ,urro3o/st.


Bgen
Spieldose allmhlich verklingt.

Rhythmische und dynamische Kontrolle, wenn die

Dreamily

=52

pp
j

;s

p
t2

,
dim.

'O

EP

=-

vry

"tB

t
_'-J

leggero

V o

p
,B

n
0

.D.C. al Qt poi al Coda

/l
T-?

CODA

f't
4

rnorendo

eo
intermediate studies for solo viola 14 mittelschwere Studien fr Soloviola MARY COHEN
14

(
(

1
)
I

t) tf*

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

Finger mglichst auf den Saiten lassen

Mglichst leere Saiten verwenden Dreiteilige Akkorde als 2 + 2 Noten Die zweite Note der Duolen sollte leichter sein

Molto mode rato ) =72

o
2

rn
5
o 2
Cr

{.

!J-t.t 9

QlJ.
o

\,-J"^.ld

3r

oz_

15

14

'lrnr

znf

189
L-

---a

22

poco rit.

lUtogte{ fi{h: plep_a19- ch9-r$ by placing tst finger across 2 strings before playing Quinten imBane-Gnff: Der Akkord wird vorbereitet, indem man dn 1. Finglr orer arrf zwei Saiten legt
@) I qq? hw Falrpr frr.i^
T +'t

4 Swirling Arabesques
Balance the whole arm in string-crossings Watch out when the arm movement changes direction in bar 17 Use open strings

pe1 Sanzgn Arm bei Saitenkreuzungen balancieren Achtung, in Takt 17 bewegt sich deiArm in die
andere Richtung Leere Saiten benutzen

Allegretto )

= Ae

'i

znf
5
4
4 2 3 3

(last

time: rall.)
2

(a tempo)

10
4
2

cresc.
4

15 2

't

(last time: rall.)


4
3

FINE

n
t

np r9

t1

oo

tof0

t4

24

0{

29

o4

D.C. al Fine

''

ti

Jo'
g

"r'
**,

t'-r i
('v=

a
( (
(

I
{"
i !_,rg

f"

y, r

P
(

UL) ^

J^,

.)l
(
I

-d

\-

qC

(
I

6.

(
(

(
(.-

+,Jr
I

ryt

4,,0J

6
t

2r
o v

-t

il)/

il;:l ..t'
r. ,r

r.'r'

r,),. i

dJ'l1t
I . r'

('r,/r
l

t! /

,)\

.'i

, 'r ')
O.

'

i. L, r-

-u

tO,,, illage B"gpipes


Bewegliche Saitenwechsel
Gebogene Striche .Betonung der Melodielinie

\1.Jri'

,''-;, {

l
G

Flexible string crossings Hooked bowings Emphasizing a melodic line

Allegro spiritoso

).= nO

L-EV
40'tur1
0

-q

uls

cr2 Crrrata, ..

po

"-1,c.

nf

J
9
0

3 :>

:3
I4
>
o

>

>

4
I

lt

19

--'t

:[
24 I >
o

28

'o

32

$!

b tf"^{

/.,(a

37

4
o

0 3 o

Trt (vr[
42

UA

47

52

I
3

57n

D.C. al

,@t

poi al Coda
o
3

62

coDA

l0

F':-., 7 Looping the Loop


Strengthening the 4th finger Double stops Leave fingers down on strings where possible Flarmonics

Krftigung des 4. Fingers Doppelgriffe


Finger mglichst auf der Saite lassen Flageoletti

Allegro energico

) = Ll2
+

poco
V

rit. I oB

a tempo
3

tnf
4

@r)
g4
3

43o

rnf
Ir.
10
4

4 o

ll2.

o
3

rnp
13
2

16

3
2

np
19

cresc.

l-

n
3

tnf
22 g4
g 4 3o
3

25

'ffi
cresc-

* blocked fifth: prepare

the chord by placinq 2nd finser across 2 sfrin lsfna

nl.'i--

i,f

16

L0 Sarabande
bowing I ;:;;""r-,! )l))
Legato
I

with Variations
Legato Bogenfhrung

first beat of each bracket to bring out the feel of the 'slow 3' phrasing
e-mp-hasizg the

In Kl
3',

Schlagjeder der,lngsamen

Broadly

=76

tr

(2
6

p)
V
2 4 4 q

J
al-

m,f

11

qnp

FINE

17

Variation

np

21

r
* emphasize
the melodic notes and add some Die Melodietne hervorheben tnd einige <:

--

--

to bring out the phrasing

hinzufen, um ie Phraierung zu verstrken

t7

25

rnJf

,np

29

cresc.

Variation
33

II

znf

37

40

r
43

znf

,np

46
lcresc.

Sorabande D.C. (senza replica)

l8

LL Sequenza
hold finser down on strins Use open strings where possible to add to the resonance 'Point' the pivotal harmony notes Watch out for the hemiola inbarc21-22

Den Finger auf der Saite lassen Um der Resonanz willen sollte man mglichst leere Saiten verwenden Die sich drehenden Flageoletti werden mit der 'Spitze gestrichen Vorsichtbei dem Hemiolen in den Takten2l-22

Conmoto

)=rca
0

f_

r
4
0

qrry

r
3 4

qn:p

t-

r
7

,np

r
10
o

nry

1*p
*
tB

2
o

ta
2

p
ryP
t
13
c2

,of rnp
16
o

p
I
I

cresc.

*f
12

"np

p
o

cresc.
*

block the fifth across the string

die Quinte mit dem BarreGnff (mit einem Finger quer ber zwei Saiten greifen) spielen

19

19

np

rnJ

22

t0
o

I
3

cresc.

tr
o 0 o

t
25

E :>

r
28
o

-nr
cresc.

t-

nJf

r
o

31

t-

np

p
Broadening out

gp
Oo

34

cresc.

mrf

deltberamente oo
cresc
o

37

4-

tr

5c+L+r'

b
)

<L 'H4Yor<
.

y 5
c
I I

rNSt cTuS )
I
I
I

64 +t.. e! or

r -1'

Tr

\
I

?r

^
I

)
s

t\

,t

7
I
(5

ttl
(5n

(/ti
- 1. ( ,t'L

fl1

1-t FTT ))t t I i, -t.rt'

f :i lnOq JJ:'t

ll,, i

'

^
u

"{"j

I
I
I
a

\.n
v

I I
I

I
I

^-\

I
I

S+unnovr-g (r^fi)

nv
,

!,u

f1
a

n\/
rtl
6l'I

)tn? 5

vn
aaaa

"@
I

PUtt"rl3
I t,
7

s4 5 @ VMiTo (i'.d)

O n+Cdv?s (Jurcrf)
hvnv
Qv nv
f
I

..lt,

t1

tY )

I'l
I

I
I

tSa

,
I

rtt, -

il )0

-, - 7

ll rcca
I

lllt

\, ta

)
ion

/ ^

il il

lt

I
I

l.t'r.
clv,r
a,

hc

aras

n
? J

@
r I
I

'1-( I l1 lt t It-.r

t I al
(

(nc.'* ) n
a a a

,l fx
I

,/

,000

, ,

,'0

il
T ?.,:- i
).

I _-(ry?

il

1- -

tl;).l.)a) ,ri1

\uilctt+e;',3. V n

VN V D

VN

t
ri;:

F.unning on

D -

ao up to li)o
.

ta
J

+-

-1D-

I l

)1
_e_

t
{ {

-e-

ra

+-

-I

-l>

-1

l l l
Variations on the Theme to Running
V

!-

It

li.

lt

F.

l-l f,
fl

l]1

{h

'fr

p tzztca to
-1D

*
-)

l l il

Use r.vhole

bou,s. AIIoT

/3 of borv t" r"*'(5)<)

to upper strings. Use free arm u'erg-lrt.

11

lrl'l

,;

,,!J

Pu

I r:gilt ;rnn r','eight freell' of singi ng iont'.


\/ |jr

to produce maximum volume

ri
lr

Pu sh u

-e-

=ij'

.l

K nee
n
V

l
*

1 .
,

-(t

jt

g
'.3

close

1-

2cose

2nd and 3rd fingers should be placed close togethe as in a rnino second

|.lv

v.v

Singles

Doubles

"J
7
Quadruples

JT,

-dla

:l
t3

-J.4,.-.

Variations on the Therne to Cartrn'heels


"Slurring
'1tr4(*
q

2"

. A

.V
B

"slurring 4',
V

t,.l

l.l

(-/-=-*

I
)'
+

f
<.

')'

ll
h
+
o

+
6

Hs

tl
t

l+
h

'f

.J

f_ I
t
\h t'

lr

t-1

t-l

l-

t-r

----- ----. 11.

_T-----\. f- --r_

.I

\.

q-

'rl

-I
Group III .-

_i
_

) -- eo up to r2o
.) J

j j
--l

Variation

J
_J
lvlaintain constant sounc on two srrings

()

'J

j
J
J

t_

fi-

-o-

(f-

i
i
u
TF

T'

TF

i
-'[
Keep sound equal on both strings

1

,-l

Snou-plo\\'s
V

.) 4

I
o

Stemming
o
o

c
I

r
'

rl

.T

Para
o
o

llels
o o o o

+
1

/c

a)

{>
t

.cr
c

J
\rr

l
;l l

r -

. '

Touch strrng lrghtly on notr rndrcf ed r', jih

_l
T=.

Jr-

d
4
a-:
j

l
l
U
I

rl

{ *
r]
r

l
11

l l l
1

-o-

:l
^

r1

I
i

4
o
o

o
o i-

I
- rL
:

-p-

--

t-

-7

l
I

^o

44

o10

o2

44

,J

?1

r^,

-,

al

.l\-r

-^

!.--

--,-

.-4,

,f t (D

.-

1l

ll

t_

o
il
-l

I
a a

CD

l{ ",

<;

i
r
(

t
-r
I
C)

i
t:.

1*l

+
(

rt
(D

-t-

I
J.

l+

*,

I
11

\
$

{
o

<
+) Io rtq
( o
(

.+

!f o

f+
s-

r+

+ + +

_l
(

I
to

f-,
{-+

og

oo +)

E
OJ

o r-l o

-t

( (

I
Fd

I
+ t$

f_+
tc

*)

J-

(
(

( Ft

<

t
I
( (
I

v+

-l

c)

f_r l--*

N
N
i

a
FF

+
I

rf
.)

l1
g

\
()

il.
-r

.I

f
I

*?

+l F n n ry ry FT I*! f*x ry -t

f*F

f-E t*E f- l*f

l-r, ,-

r-l

,-

tl"u-'

t'

r-

r^

a
(^
I

r-

(r-

r(^

a
(

e
a
(

(
(

(
i

( !

(
C

f
(-

l
\_

f..

'r_
(_

t7

--

t_

ttt'

tt

vr

n'u

POSI-f ION

-I-H1L VIOL I'OR CFIANGING


NEIL t'1\(
able to clean the neck of the viola rvith a ee fom any dirt or perspiration rvhich coulci tlown the instrument. I ro shift rhe rhumb at the same lime so that

-E

ngers. as it did in lst Posirion' first as the nger slides over the string' ressure slighrly during the change of nt is increased, the glissando t6s6 u'ill

:l

*1'-

lst FINGER
t-

NTOVENIENT

D and G strings
I

- I meens keep rhe fnger on the string

I
-J

.
V

l-

I
-r,
--l

tt
L

j't

HEBRIDEAN LULLABY

Jr
''-l

Largo
con sordint
\/ f

) J j-!
3
t-I

-t

rl

fT f' \:2

1
t

II
\ -t\
t

pp
V

(
l_

?
n
t /'----\

?rw

,\ l''
1\

-f.

T)

-l

rl

risrrY

lpoco

rall.
Prinrcd in
C

;ir
1:

!.

.
t

.\ q.
Lr^
'2

\-? 4

I
4G

o
I

L t4

& e?

)o

nd D strings

4
e.p..f e
Allegretto
ft

-l

-l

\ ta'r ,l'i {C cx
. THE FAIR ISLE
I

t-

2_

\4
I

a4

f
V

V
r

-l

lu
I

7tW
4

_l

44'l

cesc

.*

f
nd C strings

rall.

-<'

l-

.+ r--1

4 i,
f

I
EESIDE

Adantino
n

17'tp

L-

V
-f

!y

mf

l.-

1
r'

l-l

,. ,h
,Lr ia a!_-,:_,. r-- r,- Vi^tl

-'

t-

n,
'(;r'

I
I

'+

FINGER
and

N,IOVE.NI E N:tstrngs
2

-
2

$)

(Y "-

22

2-2

2-2

''' a."' {
J

,...,
,r tl

'1

UET
1

Grazioso rt
2

ztw

------i
-l

-t
o
J

2-

-l

1 mP

mf

2-

1, 2mf

A and D strings
t

I
! i

I
: I

-2

2;,Posion Ch:ngrng.for ihc Vio,

:"j'.'

--2

2-

..

.: :'r'

3rd FINGER NIOVL'NtE'N-f


I

D strirl

t to..-

\-s

--J ,^

SPRING MORNING
Allegretto

-1
{
1)

--- ---

-'^-J^

: }+)-7

nw--<j.-z :
3r_ .J ^
1

I
)

---

3--'

\J
J

mp

,J-

cresc.

tu/ nf

C string

3-

3- 33

-3

Lento
I
I

.t
4

EVENSONG

cott sordti

--3

-<.

3-

P
1

3
2

l
3

_3

,
7n[)

-3

3-

.1

-3

poco

rall

---pp

G
.i
f

rrrcl

C strings
1

l.

-1

11

11. IRISH LULLABY


J

SoothinglY
ott sordini I

I
p (repeatpP)
J
-t

::-I
1
1

I
J

>-

-e

:==--

PP

I
J
J

=:-- rall. poco

HANGING POSITION
l. -\2 -Pj ),, ----li-.
I

2 3-

,2-

From lst Finger


to

at a guide nore ()) btfot' finger effecring rhe change. of posirion should arrive glissando and guide lore can be omitted' rhe nexr noe is pj;;;. t]ii, pt.itice ri,e but should be used during each Guide nores are not marked rhroughout rhe melodies, change of Posirion.

2nd, 3rd' and 4th

5^,^L

,J*k
1,-l
V

G and C strings

3
22
l..I

-3

r-l

-al<l

1l.-

...-3

---

l-l

t
I ') VALSE, TRISTE.

v
I

t
V

Moderato

I
3

mf
cfcsc. poco a poco
-)
V
V

o
3

,IfuT)

-e

-2

_.=-:

D arci A

strings

.)

-t
V I

l-

-3

tl

4_ 1-1

.-2

3-3

13.
.A.llegretto
n
a
?_)

THE DANCING CLASS


> >
1

poco acccl

?nP

l>

>

>

:mf (a rcmPo)
i-l

poco accel
3 2

p
f

a tempo
a

l
eJ

>
I

:>

mp

nolto

accel

c i-l
[ro
)

G NG
2rtl rrrlcl 3

St-i tON
[ingers
luAl{uEL BARoN Violo
1_1
J

A and D strings
a

4.-4

i
-t'-l

t
I

o)

2-2

z-2

'1-

3-3

1_1

14.
ndante con moto
.) 23

THE :fROUBADOUR'S

SONG

<--

r
a 3

mf
1

nw
V
1

-t

pp
rall. J
1

temPo
2

poco roll.

I
J
'2-?
3._
3

GandCs trings
3 3

1_-1

f
V 3 '\-l-:

-2

3-J

\4

l'osition Ch*n!i:rg fOr ihc \:iol

t0

ANSE MACABRE
I I

Misterioso

nw
V

3 2

\--l'

1
a

l-r-_-_./
V

3
1

rl

poco d poco accel

The lest notc of Drsc .ltacobrc is en .{rrificil Harmonlc. Srop 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 octvcs bovc thc stoppctl notc.{.

HARMONICS

There are r\\,o types of harmonics payable on the viola. One is a NATURAL harmr:nic and the other ARTIFiCIL. The follou'ing harmonics are natura, and are plal'ed half way up lhe srring wirh rhe pad of the litrle nger. Keep the left hand in 3rd Posidon and exend 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

n
I

,a_

-)

t-

n
I

f- I

'i

.t j

lr
JJ

1. REVEILLE,
Play S't'.{CCATO nores OFF

THE STRING in L'H'

borv

Vivo
'1'

.Jl

a.)

mf
o

> >

cresc
4
2

>

>

.lr

lr
lr

)J

-f
17. ON PARADE
Play STCCATO in U.H. borv
1

t
mf
1

llegro

/)

---

---

nw
1

u/^

---

"f

18.

TYROLEAN AIR
4

t
r\llegretto grazioso
1

I -l I
mf
r
3

t,

?tw
I

cfesc.

+
cresc.

-lr-

-j

-a-

-lD-

--dim
1 1

t
1 j

o o
1

nw

' dim.

Poco

rall

pp

I'osiljon Ch:nging 6 6 \'iola

11:tj'. J-IL'

I
I

:l

JI
I

C) rrrrtl

C strirrgs

J
,,
I

J
J
J
JI

:l

I
V

t-t

2-/

2_2
t,

33

l-/'

\t

2/ to each bar'

-\2

..-3

Practise also using a

bol

21. THE TENOR


Allegro giocoso
n
I

AND :IHE
r

BASS
2

J
V

pl
a

pr
V

J -l

nw
V
3

*f,
n
3

13

rl

--

>>

>;;>

position across the strings' Keep the fingers The follorr.ing melody introduces changes of to leap from one string to anoher' do*n *.here indicated * ,t i, v.,ill prever anyendency

22. W ALTZING
Moderato
TI
3

I 3-

o
3 1

/----___---\

p
2

-----a

V
a

l2 3

?rup

tt

l/ r
2 4

l3 1

22 2 3

2
J

lt,rsir:,.,11

(.h:::.i:rl: i,r ihc \:j

()\l:()l{l) L'\ lVEllSl'l'\' l'Ri:'

ir

4<

Ei I

'\: -1r'

EASY POSITION T{JNES FOR VIOLA


3rd POSITION
The
NEIL MACK/

Jvy

,il'

,,
:

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.

3a"\ 4

l-----simile

A orV-

- keep the finger

n rhe srring. semirone between rhe nores. continue in the same manner.

Moderato

?
V

r,rn-n-rrB

"\'
iile

"laJ
ln
V

(.

nw t-

rall

mp

Allegretto

THE SPINNING WHEEL


3_
n
o
4

I
p

ry

ry

crescendo

*f diminuendo

ry

>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#

'
n

The G string

fingering is the same as that used on the D string.

23

32

l-

EMI
Allegro risoluto
V

f'l

shnte

,,f ii.f;r *'

\+

-. tt'..; -.

*,.

''id,'.

,.1
',1.

"f
J

rw

..,

J,

..

Andantino

z_
o
2

ESIDE VIEW
r'1

nw

2-

r-r

mf

3 2

o
2

lrO
':.

nw

l-

2 ,'i,1:l

,i$ira"r

Tuncs for Viola

I
I

H
H

t^

!,

D strings
of the D string and the resu is the SCALE
n

Play the G string tetrachord followed by that


i

,.ii.'

t
J,

'ractise also with z and 4 notes per bow

arpegglo
r'1

imile

means rst finger covering two strings at the same time. Practise also usi a bow to each bar.

1:

'he staccato quavers should be

URTIER'S D ANCE
in the L.H. part of the bow.
l_
2

Allegretto grazioso
n ln

t-

2-

l-

ll-

p
poco rall.

Allegro moderato
t'l

BUGLE PARADE
,
l_
2

-o

rry)

o
t,

mf
l-

I
o

nw

*f
y Position Tunes for Viola

4
.1" t

The A string
A string fingering is the same
n o
as that used on the
(3)

G and D strings.
l3

n
I

42

1q.,u

U.
p
r'1

,
n

A;
c..\

(:it-".'*
\

(-, t Q

\i. ) I
o.J

ELODY
0)

Grazioso -.''
J

.l
nw
2

-----=\

sim;le

.-.._--\

MARCH
Moderato

IN D
,
t-

tfo

1-

5iil

n
2

2-

rw

,
cresc.

"t

TheDandAstrings
play the D string tetrachord followed by that of the

string and the result is the SCALE OF G'MAJOR'

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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KATHLEEN'S \MEDDING
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The C string

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your lefr elbow tucked under the viola and allow the thumb to slide under the eck oitire instrument. Thiswill ensure a goodleft hand position and correctfinger action'
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THE DRUM-MAJOR
Play the staccato notes off the string in the Lower Half bow.

Moderato

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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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F major arpeggio
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Practise also using a bow to each bar

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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.

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The G string fingering is the same as that used on the D string.

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The G and D strings


D
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'lay the G string tetrachord followed by that of the

Practise also with z and 4 notes per bow.

Bb major arpeggio
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Practise also using a bow to each bar.


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The A string
The A string frngering is the same as that used on the D ald G strings.
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A string and the resulr is the scALE oF F MAJOR.

Practie also with z and 4 nores per bow.

F major arpeggio

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Practise also using a bow to each bar.

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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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TheCandGstrings
C string tetrachord followed by that of the G string and the result is the SCALE OF Eb MAJOR.
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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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Prssed and printed by Halstan & Co. Ltd., Amershom, Bucks., England

OXFORD T'NIVERSITY PRESS,; .i1,


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