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UNE A FORVIOUN. C.PAUL BY HERFURTH. Two. BOOK BOSTON MUSIC COMPANY. FORVIOLIN. BY C.PAUL HERFURTH. BOOKTwo. Exclustve dístributors: Music Sales Limited 14-I5Berners Street, London WlTlU England. Music Sales PtyLimited 20Resoluticn Dríve, Caringbah, NSW 2229, Australia. OrderNo.BMI0298 ISBN0.7119:1592.x ©BostonMuskCcmpany UnGuthomeJ RprocJucrian ojan)'ptJTtcfthispubliaJôonhy anyI1KQlUindudine phomeoPP"8 isoninJringulltm t?foopyritJht. BOSTON MUSIC COMPANY. DICTIONARY OF TERMS AND SIGNS USED IN MUSIC For volume of tone: pp -Pianiaimo, very 10ft. p -Piano, softly. ." -Meuo-piano. rather !Oftly. .,-M~forte. rather loudly. / .-Forte, loudly. /I -Fortissimo, very loud. -/ -Sforzando, strong accent. c> 4) :> ~ -Creacendo, graduaJly louder. ( •••• -Diminuendo, gradually IOfter. C J For tempo (speed): Larp-Very alo••. A~1V. Andante-Rather alow. Andantino-A little slower than AlKlaate. Moderato-Moderately l••t. AlIepett&-Lively. but too t..t. DOt AIIqro-Fast. Vãv.ce-Futer than Allegro. Presto----Very lut. \ For increasing tempo: A.cceIerando (Accel.)-Gradually luter. Strintaado (Strin~-Suddenly luter. Pi6mo.o-A steady, luter speed. Por' decreasing tempo: RallrDtando (Rall.)-GnduaDy sIower. Bitardando (Rit.)-GraduaDy aIower. Mmo ~A steady. aIower speed. Por8tyJe: Animat&-W'Jth spirit, with anjmation. Agitat&-Agitated. ~Broader. Cantabile-In a singing style. Dolcê-Sweetly, softly. Esp~vo-With expression. Legato-Smoothly. connected. Maestoso-Majestically. Con Spirito- With spirit. Staccato-Detached. separated. (,) / Tenuto-Sustained. (-) A Tempo--In the original time. Other sips: D. C. Da Capo-From the beginniag. Fine (f~nay )-Ending. D. S. Dai Segno-Go baclt to lhe sign.(~) Pause (fennata)- Proloop the time of a note or reIt. (f!'\) l (ii TO THE STUDENT Having completed the study of Book I, you should be thoroughly familiar with the fundamentaIs of violin playing, such as agoodposition, correct use ofthe fingerswhen placing the left hand, and the elementary principies of bow control. Book 11includes a continuation of the eIementary material, presenting slightly more advanced exereises and .pieces. To be better able to play the familiar melodies and pieces, it isrecommended that you prepare the purely technical exereises at the beginning ofeach lessonwhere a newkey and finger-pIacing isintroduced. Study carefully ,the diagrams introducing additional keys and fingerings when positioning your fingers for the newnotes. Remember that you must first read the note and then placethe finger,soverify the note you are reading and the exact finger-position for that note. The surest way to pIay w~llderives from the ability to read well. Foster the habit ofquick thinking by assimilating the folk,Ningpoints aifirst g!anct: (1) Name ofNote (Natural, Sharp or FIat). / (2) How to Play (Finger-Position and String). (8) How Long to Hold (Time-Value). Training your perceptive powers to respond in this manner will enhance your command of violin technique and, correspondingly, enlarge your musical horizon. Manyofmy pupils haveformed groups whichmeet to play the duets, trios and quartets with piano, thus forming a little orchestra. Why don't you try it't-you'll have Iots offun! TO THE TEACHER In eompíling Book 11,I have tried to carry out in slightly more advanced material the basic principIes ofviolin playing as laid down in Book I. The material has been selected and the grading edited to provide sequential progress as each step ismastered, Adequate preparation for the development of the student is allowed for, although the amount of purely technicaI work has been kept to a minimum. This book is very largely made up of folksongs and other familiar melodies of good musical quality arranged in duet, trio and quartet forro. from which the pupil should aehíeve a sound bowing style and firm grasp offinger-{intonation) technique. An awareness ofmusical form and harmonic structure stems naturally from the study ofthese pieces. The useofthe piano accompaniment hasproved ofvalue both inthe classroom and inthe hom:e. That imporlant advantages result from its useiseertain. The interest and ambition ofthe pupil isstimulated by the addition ofthe harmonic structure, which also serves as a guide to the p'roperplacing ofthe fingers through hearing the note he is producing in the harmony. The use of the piano part is recommended from the earliest stages so as to stimulate the musical ear to a keen perception ofmodulations and hannonies, for which the violin, in that particular regard, is comparatively imperfect. I wish to acknowledge my indebtedness to Mr. Edmund Schill, Director of Music. Verona, N.J., and to Mr. Francis Rice, Teacher of violin classes in East Orange. and Roselle Park, N.J., for their helpful suggestions and criticisms in compiling this series of books. [iii] t LESSON 1 Review of Keys Studied in Book 1 <v. KIYof D Major V .. V \/ ® I Follow bowinga carefullyl ,., V ,., V ,., V " ,., V ,., sr . ® Kly of A . I ·n ® Copyright, 1933,byThe Boston Music Co, Printed in England, CHAPPELL &:Co., Ltd., 50 New Bond, Street, London, W.l. LESSON 2 Studies for the use of the second finger in different positions Two new notes,C natural on the Astn..n.t a.ndG natural OD the E atring T'he itnportance of being able to read notes as well as you can read the Ietters of the alphabet cannot be overestimated. This is the foundation on which your future progress dependa. Voumust a180lmow the exact posítíon of your f'íngers on the fingerboard so as to be able to play any given notei for example, to pIay C# on the A strtng, the second finger Is placed a whole tone from the first (high posttíon) but to play Cnatural, the second finger Is placed close to the first (low poeítíon) T'herefore, the necessity of lmowing whether the note ís natural, sharp or fIat is perfectly obvious. Have a picture of the fingerboard 'inyour mind in order to 8e6where your fíngers are placed for the different notes, Study the following diagram showing position of notes already studied and the two new notes to be takon ln this Iesaon. Name the whoIe tones and semitones. Fingers E A D~ @ 0 ~@----@ 0 G~ @ Finger8 t. Z I 4 Name the following notee, finger used, high or low po.ition for second finger, and on what string played. ~" ~.~~- tliª~~" @Ol . ® PIay,.,slowly the following exercillM, obae1"Vingcareful1y the C'. and G's. . . 4 I I Second flnger in 10'911' position C~ ® 'eNotiee the key signature; it is a guide for proper finger posítions. @ LOWBIOB -Exerciae No. 1may also be played OD the E string. 8 LESSON 3 Familiar Melodies Using The Second Finger in the Low Position Lightly Row Allegretto (Brightly) "'» M V ..- Pupil -.. - - 4! twp-..I ••••••• •••••• I I I"l..... '"» .•- - • ....•. Teacher , ,-- ,-- ~ ~ ~ - M '!» . - I , - ••-••• I •••••• . I ~» '"' - - - ... - - ,-- - ti I ~ The First Noel Co~ moto (with motion) -- --- .--..... ~» •••• r::. r::. .--..... """' · · Pupil •••••• ti 11J!V I . - "'» . . - Tea.cher .•.. • -.-/ ...., • ~~ I I I I -I- ~ .-.... .-......... .-:;. ~» •••••••• ti I - - " J1 - , - .' y ~ <:» I I I I I Home, Sweet Home Henry R. Bishop Andante (Slowly) {'8!1-t855 V ~J1 . I Pupil " II r I I r I I r I r . ~ J1 "Pu .• 1 Teacher , ..•. - ~ I I I ~ I I I ~ ~J1 s:-: -1--- . I s>: "- . " I "I' I r "J1 . I. • - ~"-,j t!J 'l'J. I I I I I I I I I I I •Advanced pupils may also pIay the teacher parts. 4 LESSON 4 G Major Scale and Arpeggio in Two Octaves ,~ ~ L~ , ê @ 'e HIO~ Duet @ Practise both parts v n I\~ LOW {h"l:L'UOW l,OW {h\. - Pupil • • • I I I I I BIGB BIGH...• v HIGH •. Pupil ~~ 4, - - " " -...•.•-•• or - - Teache •. li!! - •. - BIOJI I BIGB God Save The Queen Attdbuted to Henry Carey ® .880-1'7" Andante (Slowly) ~~ n " " n Pupll , flfI I I I f ~~ .•... ..•...•. - Pupil , - ~ ~ •.• 'y .•.y .•. 7!J' I I I ~~ 4_ , I r I •••• . oI I crue. ff ~JI ~ - --- l - _. --- •• .,; • ti I I ~ Li"le Study Franz Wohlfabrt @ " 1811-1884 •Rola do.n - - - - - - - - •- - - - - - . - - - - fIDg;r .••I ao... tCIOf'It.Mark with thilSsignAtbtS balf 8tepe in both parta of exerci se No.4. Write 4times the G~ lKlÚ8 in 2 octaves marJr.in« th" Iutlf atepa Uld p1acing the 8harp. M.,nusoript s~et page 7. I LESSON 5 Continuation of the key of G Exercises in crosslng tromCnatural to FI I Tha sacond finger must be lifted and p1aced in its ne'Wposition.l <D ® Play slaw1y ~ .. I~~el ÍÍow HIOB . ~"~Be~1 ~ Hold first finger in position throaghout above exerciaes. Duet t5' - Practise both parts. Hohmann \W~ ~ n;jLOW .V••• ~ •• - ___ .fi. n --" - n V ~ ~ Pupil t 11 ~ '~ V. n LOW V I I .. Pupil .. .. ~ I I - ....I• I I -- _ n .•. -fL--' •. ~ 11 ~ ~ n , ~ ~ ~ I I .. I •• I I I I KlGH Little Waltz ® Te~ Waltz (lnwaltz time) Hohmann ~;~~êté=tf# ~@t~ P ~"-- ~ ~~ 1IIf ~il ~6 ~ -- --~~~~ . dim. Egij'-~ª a-.. tV ereeo. tOOf"": Mark hall stepa onthi. paga the eame as before.