Volume Il buneco Virings i 0 Abtion A String Method for Class or Individual Instruction PAUL ROLLAND’S Approach to String Piaying Compiled and Edited by SHEILA JOHNSON STUDENT BOOK Margaret Rowell Cello Co-author Cello Books Music Arranged by Robert Wharton BOOSEY (cy HAWKESHolding the instrument in playing position, the studen pucks the strings with the fingers of the left hand while ad- justing the fine tuners with the right hand. Gellists wif have to lean forward to reach the tuners on their instruments. Adjustment of pegs will probabl I Tequire the assistance ofthe teacher, who should ensure that they are always set so that the fine tuners can be t c pees noe : - tumed both ways, sharper or flatter, as needed.ACTION 19: BUILDING CHORDS 176, MAJOR AND MINOR CHORDS (Played by four players or groups) ad \ strings, Gand D strings. and G strings. b MAJOR CHORD (Play in other keys* ) D MINOR CHORD Rolland me tn r string), ete aad TV 177. MAJOR AND MINOR CHORDS (Played by two players or groups) BD MINOR ©.D MAJOR [Link] (Piay in other keys) (alternate fingerings) perf, Sth? Serr Rolland ° é 3 7 7 2 ete ee RRS Gs! i t oa Baris maj. 3 6 bet Bal 3 | oa 7 {mo notes. Six ofthe most often used intervals are; ‘The open strings ofthe cello are tuned a perfect fifth, apart ‘gree with the open string to the right “INTERVALS: Intervals de 1, The perfect fith (perf. 5 2 " (Sve): The upper note (4th finger) must xth (min, 6th). ird (min, 3rd. 6. The major third (naj 3nd,178. MAJOR AND MINOR CHORDS (Played by a single player or group) Play major and minor chords: 1. In D on the D and A strings, 2. In G on the G and D strings 3. In G on the Cand G strings D MAJOR CHORD (Play in gther keys.) D MINOR CHORD, YEE se 8. 179. CATCH ME IF YOU CAN D-MAJOR CHORD (Play in other keys,) D MINOR CHORD Rolland 180. CHORD ETUDE Play the etude (the French word for “study") on any two strings: Dand A (D,G, \7 and D major chords) G and D (G, C, D7 and G major chords). Gand G (C, F, G7 and C major chords). Play pizzicato and with the bow, using the bowings listed below 1 2 s f pe tn ft {SS ee == = = | —— tect (mn Vw a toe ee a 4 = = =e P MAJOR CHORD (Pay other keys) Ci NeLarr ma 4 ee 2 9. Weta aes DMAJOR CHORD A7 CHORD 4 Dei 6k ee ee priate ty So ee eee1 : RANGE ‘WARD | ACTION 20: EXTENDING THE RANGE DOWNWA\ JON INTRODUCING THE BACKWARD EXTENS| from the base knuckle. The othe ered a half step by placing it back close to the nut , and pivoting from th mit with the thumb always opposite tl HOT CROSS BUNS NOTE-READING: PLAYING THE BACKWARD EXTENSION 181. EXPLORING F MAJOR NEW NOTE: Bb fn _- + lbw | = = See NEW NOTE: Eb 5 32 ee N= al 183. EXPLORING E FLAT MAJOR NEW NOTE: ab 7 Sse 184. EXPLORING A FLAT MAJOR NEW NOTE: Db. a= % step 4 A 1 tbr 185. EXPLORING C MAJOR Tacet 4186. INTERVALS Don't stiffen the left arm 187. FINGER EXERCISE (Play on all strings.) Johnson a £ Se fp ft petetetet Ap tetet Petry 188. END-O-THE-FINGERBOARD BLUES Moderately WhartonAnew Finger is put in place of ai oh fourth finger. is taken by the third f Play on all strings, Play on all strings. a 4 3 fo £ INGER SUBSTTEL hand. tn the followins above D. can be playe 190, EXERCISE ba SE UPWARD | rON exercises. D. usually played by thy nd by the Fourth finger Rollang 2 2 — Notes played by second, third and fourth fingers in frst position are 191. EXERCISE NOTE-READING: PLAYING IN SECOND POSITION wyed by first, second and third fingers in second position FOR MOVING BETWEEN FIRST AND SECOND POSITIONS 2p 3 23 2 2 using both fingerings, 2p 193. EXPLORING E FLAT MAJOR . NEW NOTE: Ab ab194, EXPLORING A FLAT MINOR NEW NOTE: Db, Db 2 SS SS 2p. Ip. 195. EXPLORING D FLAT MAJOR NEW NOTE: Gb 196. EXPLORING F MAJOR Tacet 197, FINGER EXERCISE Johnson ete etetetet ite » 1 » ite ip‘I TH NOTES. NOTE-READING: COUNTING SIXTEEN J sixteenth rests have double loops: Sixteenth notes have double beams (or flags), Sixteenth ret = 9 vr note, and two sixteenths are played jn ie sa before and after “ang™ a fe tas Four sixteenth notes are played in the time of «au time of an eighth, arr we fared that eighth notes fe tween the’ counts, Sixtcenthy are counted by adding the sy “bade or “2a & a” p- re 198. RHYTHM EXERCISE [Link] the syllables written below the notes, clapping hands on each count, The hand claps should gp even like the ticking of a clock, (Syllables in parenthese are not spoken aloud), [Link] the rhythms on open strings using right and left hand pizzicato, and the bow. * “270 TFRS=: 2 & Laka raha clap clap clap clap 2h I] 11S AT |J 7 a & 2 & i &a2 &a | £ ° ° a 2 77] I y & 128 gue clap clap clap clap clap BOWING VARIATION: Play all notes which ccur during fj beats on the adjacent higher strings St PS ON a lower higher string: ONT string and alt notes occuring during soaD. m = i SRPALPIS CACAO, la&a2aha 1 @)a 2&)a 1 &a2 &a | (&)a 2 (&). clap clap clap lap alae" egy eta * ci OO? PMA e NOR +9 a la&a2r & te awe 1 &a2@a 1 &(2 @ clap clap clap clap clap clap clap clap PMAR ATARI AA + ll a saps 2)" 1 @&a2 @&a an & 1 (& 2 & clap lap clap clap clap lap Students are encouraged to write out and perform their own rhythm exercises in 2/4, 3/4 and 44 time, using combinations of sixteenth, eighth, dotted eighth and quarter notes and rests.199, EXPLORING CELLO POSITIONS othe four strings, A (D, D UD, G CID and sriNeT and notes marked. sith qual potes with open stings to insure gay c The Rom: me an numerals in exercises A, B,C and D refer t Notes marked with an asterisk (*) are identical tothe open strins {Parean octave higher than the open string to the [Link] these ig tO ‘A. 2nd POSITIONSHIFTING EXERCISES Shit up Shit ian oF Ghost Tones” (small note). AC fist bow ther faintly, but later finger them with= Shit of pat witha light contact of fingers and thumb. Release pressure and take a new impulse fer a are wzers and thumb, Release p tak pulse for each Notes which are writ or emich are written differently but which have the same pitch are called “enharmonic equi sks are cree entmple, C sharp and D fiat.) In exerises E, F, G and H, the notes marked with deuble ce bY the ae eiHY eauivalent to the small note at the end of the preceding measure, and both notes ne played by the same finger. : ’ played E. THE A STRING 2pm od G._THE G STRING 7 i Ds28 Bop a oe Ot Too nie - = & ii Ee gee haee eee eee H. THE C STRING P. 2p. . hp. uwARPEGGIO 300. E FLAT MAJOR SCALE AND pt meas! os tp. sJusdat bplbal | 0 Ete * Preparatory Shifting Exercise -sas a ees 201.D FLAT MAJOR SCALE AND ARPEGGIO P. * ° 2p. 2p. os te aE RS SES 4S Ge = eee — * Preparatory Shifting Exercise 5e sa = PES i 202.A FLAT MAJOR SCALE AND ARPEGGIO Ip. mop. 7 3p. ia Seg eet es * Preparatory Shifting Exercise a sy IP : Py SS a 12= dagagivto. 2 f at 203. B FLAT MAJOR SCALE AND ARPEGGIO zaot, ®. Io 204. THIS OLD MAN Moderately Traditional Children’s Song.UET MIN PET (RUM 205. T W. DUNCOM e—f-ff-f Ef = a Bapere te Spa Aisa a = ttAmerican fiddle tune student . fp te tte. p= — = = - a Fo == — = = v ~ ae == = _4A z= = z Slanted beams drawn through the stents of the notes indicate that two or more rey or more repeated notes are to be played tremolo £( B)= Play two sixteenth in the time of an eighth Waves Creole F Play four sixteenths inthe time of «quarter. ¥ = Play eight sixteenths in the time of a half note,> CHORALE | 207, ST. ANTHONY © A | Andante @ arco & "4 pire i Student Players * The first interval in this piece, the octave Gescent from middle B flat, is one of th widest stretches for the cellst’s left hand, ‘Therefore, the following preparatory exer. cise is recommended208. SARABANDE Andante JOHANN PACHELBEL (1653 - 1796) "Advanced Players SFi2 volta mf) > vy Fi2 volta mf) y sy, Fv wf) * 2volta ppp : Second time pianissimo,ACTION 2. TENDING THE RANGE FURTHER UPWARD TENDING ANGE FURTHER UPWARD FINGER SUBSTITUTION ger, so that b natural. a where ste fourth finger is taken by second Fina om g exercise, D, usually: played by the a 209, EXERCISE (Play on all stvings.} 4 210, EXERCISE 4 2——____— zg £. o £ e— Rong (Play on all strings.) 211. EXPLORING DOUBLE BASS POSITIONS Tacet NOTE-READING: AYING FORWARD EXTENDED FIRST POSITION AND HIGH SECOND POSITION INTRODUCING THE FORWARD EXTENSION In any of the leftch higher than they and hand (excep) In is very important that all the fingers ar Inge can be extended by having second, third and fourth To 5. the first finger ward one-half st fingers play tones a hal! step and pivots on its note, while the whole fh the thumb always opposite the second finger. The backward extension, described in ACTION 20, is alo used throughout all the positions 212. EXPLORING B MAJOR NEW NOTES: D# & E fwdext. nt op T hp. 1 vos “The four strings ae identified (fom high to Tow) by Roman numerals} Mp vumerals 1,11, 1 Hand Iv. 18 Vv.(Play on all strings.) CY second timey ‘dite BB 2 — 2 42) sich CE EP Eee ar Fp | eee 214. FINGER EXERCISE Cobh gett cette sagt fr cist iP af ofeP sae tees = ——= =. cet we oe C eS A 216. * Exercise for shifting between first position and high third position: Ip.h2p _ te _ £ = == E MAJOR CHORD STUDY hap! 2 iP, Ip. 1 1% fre ; ecitette w hap tp, ES eSShifting exercise (m.4 & 5): == 218. EXPLORING A MAJOR NEW NOTES: C#.& D ce] 220. AMAJOR CHORD STUDY mit Fas221. THEME from 10 Variations on an Air of Chr. W. Gluck Allegretto ( J=72) (adapted) hy WOLFGANG AMADEUS MOZART 2 (1756-1791) 7 4 IP hop. Ip. a aa 4 hap, Shifting exercise (m.8 & 9) NOTE-READING: PLAYING SYNCOPATED NOTES Syncopation (meaning to cut short) occurs when the time values of two notes, the first being normally twice the duration of the second, are exchanged, causing the first note to become short and the second long, 222. SYNCOPATED NOTES Syncopation hap. Syacopation ‘ tatw Vv! BS Ras wiv oF = z Sis Syncopated notes are sometimes played using two consecutive down strokes ofthe bow (as in the following piees, measures Portes flere the short, staccato first note is played by a quick, biting down stroke, ater which the bow isinstant oo. th ed and returned tothe fig in preparation ofthe sond note, which i played with somewhat of an accent 223. CZECH FOLK SONG Moderato ' nt og 4 Toa 4% 21224. CAISSON SONG Traditional American Ug, chin ms, ty Student225, EXPLORING F SHARP MAJOR Tacet 226, BMAJOR SCALE STUDY Tacet 227. BMAJOR CHORD STUDY Tacet 228. EXPLORING D MAJOR NEW NOTES: FE & G 23,FER 3: SILENT BC yw TRANS ACTION 2. bow transfer. Practicing this exercise Another very good exercise for extending the bow 1 daily gives the student the “eel” of the correet bow 1, Pha ice point, Keep the the tle Finger. a 3, Lift the bow — return it to the middle Row return it to the frog. All fines should be curved, Tap the litte finge Make sure the thumbs is curved ING HIGH SECOND POSITION 231. FINGER EXERCISE (Play on all strings. Hold fingers down whenever possible.) hap. in Johnsoa hang : PrP eres232. D MAJOR SCALE STUDY M2 42, tp Mp ware ie geet aig go el pera 233. D MAJOR CHORD STUDY a i 234. G MAJOR SCALE STUDY hop Ip. x 2423 hap, Ip. bap. 1p. ne o1t2 42 x. u 3 a3 fag Ip. Ip. 235. G MAJOR CHORD STUDY 236, A MAJOR SCALE STUDY Tacet 237. AMAJOR CHORD STUDY Tacet 25IDY 238, C MAJOR SCALE sTl Ip. 7" B an 239.C pwoncokd STUDY ae Sapam a 240. BOUREE ESPRIT PHILIPPE CHEDEYI (1696 - 1762) og Vivace on, : aa SS po SSS =ACTION 24: REFINING THE BOW STROKE REFINING THE BOW STROKE Hold the bow firmly yet flexibly with rounded fingers, Place bow gently on the string with “soft landiny hand loose if the fingers stiffen. The bow hair must cross the string at a right angle. The THUMB remains Flexible and opposite the second finger. Practice bow placement and transfer without sound between: a) MIDDLE—FROG b) MIDDLE-TIP c) FROG-TIP ere ~~ ~ N = Silent transfer of the Bow 2LIZ vat, CHROMATIC WA Ip. 4—1 hp, Paying exercise (m.4.& S and 1) & 12), Ply on Gand D strings alsor oe 28242. EXCERPT FROM HUNGARIAN RHAPSODY NO. 2 (adapted) Vivace FRANZ LISZT (isTi-1886) noe acted t et ieee ty student tite * Exercise for shifting between first position and high second posi 244. A MAJOR CHORD STUDY hap, Pp. 930 at o 2 Ady o% 144 ritgerti—“-| : d 7 § 77 d Dio od, wltas sf 6 hn m8 23.4)6 a cmp wee clap clap clep m7 IvI J J h 7 vdlt7. 7 8 te oi 5 6 le (2 3) : 6 | 1@Q) 3 4 (5) 6 a 2) 3 clap (S 6) clap clap clap clap clap clap p Soa, d|ITQ da | J aii | 123 46) 6 123 4)5 6 1( 34 5) clap 7 eo 6 clap clap clap clap clap clap 8 F71 ITA fbi MATRA | J ; per 3 A S86 1 3846 183 585 TRS 1 @)3 4 (5 6) clap clap lap clap clap clap clap clap (tn 618 time, sixteenth notes are counted by adding “and” between counts ) 82 JOT IITA Am. | Wp fk 1&3 4 (5)a6 1 S @4 Gas 6 clap clap clap clap tan pa, V& 6 & cut one ) Students are encouraged to write out and perform their ow ir own 1 Siétbes j feat combinations of the note values found in these exereigeg ” “RYENM exercises in 6/8 time, using various When 6/8 time is performed rapidly, itis counted “in toy.» the Ist and 4th counts of the slower tempo wn WO". the two beats per measure corresponding to Blo fl) TIM clap ap jer tetl fT! La Jia | clap clap clap & a & a ae) a 68 Sap coe. a6258. POP GOES THE WEASEL Lively pplucks open StriNES: . nie | * indicates left hand pizzicato, The Fit PY 37Ww STROKE ACTION 27: EXTENDING THE BO 259. GREENSLEEVES Use log LEGATO pom stokes (List m ow ~ Change th Moder oun [OF Rpt POLE eee H Sat & aneaseed 5 = == ts ia : | ACTION 2: SINGLE LIFTED STROKES WITH RETURN THE REBOUND Place the bow gently on the string be- tween the frog and the middle. With a circular movement swing the arm with free, rounded movement and produce a ringing sound, Continue the move- ment in the air without stopping as the bow returns to the starting posi- tion. Repeat the action many times, Start with short strokes at first; gradu. ally increase the lengths of the strokes,260. CIRCUS S PARADE Delibe ates dese Whart ASS ae a Pappa fap papper ty pee re = = Sp EE et a ptt se UL =| a > pope ti ee LG (pa SE Tee eel _ 3 fe ae Aus ep tet pit Ef £ 9 erCALE STUDY 261.G MAJOR S 2p.y Ip. 2p. t 2ACTION 29: LONG STROKES FOLLOWED BY RELEASE 1, Play two successive notes. Begin the down bow stroke with che body weight balanced on both feet, \Mlaw weight to transfer to the left foot when approaching the Up, 1) 2» 8 np now lI i 2. Play second pattern with whole bows. At the end ofthe down bow, if the bow, create a site dha continue tie carved Felease in the ai with « smooth Follow through Ns wif felt wa — el ow (this is a Sequential he arm; let the hand, fingers and to a and Triple strokes along267. SOLDIERS’ MARCH ROBERT SCH M One aN Munter und 5 Lively and striet) 2 id strat (Lively “ee voy pried tai wedent ha PS ets pa fa = _268. ST. PATRICK'S DAY IN THE MORNING BSS —— 43269. THE PRINCE'S MARCH ANTHONY Youy, oy Na Alla Marcia Student> N en CTION 30: PLAYING HARMONICS ESS | poses fone oF the inger at half ting length Pijoy between bridge and. nut) will produce ' (OCTAVE HARMONIC. Only one finger should ‘Mote sting. Harmonies are played with the bal vp [Link] the lip. The small circles above the or fnindcate that they are to be played as harmon. megaman numerals, 1. U1, Mand IV, indicate the A trngs from highest to lowest Seti the half string length, measure first with a eee then with the eye. Extend the third Ringer vr Thethumb adhetes to the left side of the neck ina the unused fingers hover above the string. me Facet cise IV, allemmate and compare the stopped fees sive of the next higher string with OCTAVE HARMONIC on the same string. The harmonic is ihe true pitch! Both octaves should have the same w TCH, hut they are different in COLOR (Timbre), Lem to distinguish between harmonies and stopped -tonesby ear, without looking. ‘The difference is in | te TIMBRE, NOTE-READING: PLAYING GRACE NOTES Grace notes”, one or more short ornamental tones which decorate the melody, notes which they embellish: se written in smaller size notes than the main GRACE NOTES x — = £. | They are usually slurred to the note which follows them, and the time required to play them is borrowed (rom the note (or rest) which precedes them, 270. POPCORN Johnson/Wharton Moderato ° ie = sul pone.* gee, creating a nasal “hissing” sound, .1 5 ponticedto: The bow plays very lox ioe ee en * Indicates left hand pizeicato. ‘The left pitLOW 7 271, THE RAKES OF MAL“GAVOTTE IT” 272 ) from the Sint Suite for Solo Cello d= 60 JOHANN SEBASTIAN BACH (1685 - 1750) | vo i... non = et aos Ph ele a fa» on Fe Byte t ip PSS pepe a w - SS ps, copa Sait ty eta S=— P ™ Page! @ hie il Hee fae tet | ———- iff ete et tia -=IEEEE Sp pS—_ a el > — £ (DOUBLE STop: ACTION a: PLAYING ON TWOSTRINGS ATO C S\ ee =e Haake ation 28) mre Let the tone Jow action must be soo ring during rests. Bow action Oth, ye : ier) string. pair of strings ore into 1. Place the bow on two s 2. Play intervals in double stops as shown on each " sous the hair me the tone fll, Avoid “choke stoke", Focus th VALS anor Walon ay on any two strings) MINOR ino Ba SIXTHS TI piers OcTAVES THIRDS SATS oo 243, noo 7 a f 273. CLIM (Play on any vo strings 3ING UP THE MO IN MAJOR AND MINOR KEYS 4 MINOR MajoRKEY 5 3 gg ws Sos 3 303 o_O NOTE-READING: PLAYING OFF BEATS The term “offbeat” is used to describe notes played on the unaccented beats of the measure (such as the second and Fourth counss in four-quarter time), or notes played between beats (such as those occurring on the “and” which follows each of the counts in two-quarter time). 274, PLAYING OFFBEATS Moderato (Play arco A. . Y Wharton and pire.) * - P Sf * In measures five and six, there isa series of four consecutive down strokes, Here the b ct s, Here the bow must be lifted during the quarter ress and returned {0 the trog in preparation of the next attack Sing the quater Allegro (Play arco and pizz.) y ya P if Allegro 275. POLKA Traditional Bohemian Melody Fine af276. THE DEVILS DREAM seuten! American fiddle tune t 2 - Fine VY5 3 3: PLAYING TRIPLET Gray fa quarter,“I & ", “2 & ", etc, sm ool juration played in the equal d fF eapy an eighth note beam NOTE-READIN in the ighth notes in Tee nates duplets”. | Theee terete phe three are conn al 3 med to play two for eighth notes time of a qu next to which is plac ee (de! after the word “and”, “1 & a", “2 & aM ete, rhythms (all playe’ Triplets are counted by adding the syllable a in the time of a quarter note); Care must be taken to distinguish between these three fy iru 8 2 We WA A 1. A long note followed by two short notes. 2. Two short notes followed by one long note: 3. Three notes of equal duration, shorter than eighths but longer than sixteenths, 277. RHYTHM EXERCISE 1. Chant the syllables written below the notes, rhythmically clapping hands on each count 2. Play the rhythms on open strings using right and left hand pizzicato, and the bow, alternating ‘successive beats on neighboring strings.* 4 i { clap clap ae ri one clap « clap clap 3 3 3 a I f worn iho clap clap clip > cap cp * cop * gt, * aa 3 3 © 4d TIT ATM m ram geared {aie lap clap clap dp" a * . clap clap 2 bagi 157] oe ade oe cin * do? ® yk aaa cy tap cop * aan suse TH Th mH | = 5 u 3 J Heh hen Cy Le 28 a2 Dee | 1 2 F Students are encouraged to write out and perform ¢ keg ot a using quarter, eighth andi 278. MENUET LEOPOLD MOZART (1719-1787) 5 4 WOLFGANG AMADEUS MOZART (1786-1791),H SONG 280. OLD FRENC PETER ILYICH TCHAIKOVgqy (1840-1893) Opus 39, No.16 ‘Student 1 Advanced Players u281. RUSSIAN DANCE Tralions ah Players student5LD EL PASO INC a Polka Lively a 100 ae ad ae aa 283, FMAJOR SCALE AND CHORD STUDY } + ae ae) ‘ 5: = ¢- 1 IE ===_——: f OTe oe ee A 284, B FLAT MAJOR SCALE AND C HORD STUDY 54285. E FLAT MAJOR SCALE AND CH ORD STUDY 286. C MAJOR SCALE AND CHORD STUDY Tacet 287. IRISH REEL Quick and light From the Petrie Collection Student Advance Player when continuing to the next strain, and the one below the staff .n taking the repeat, * Use the fingering above the staff whe 33R XPLORING B FLAT MINO! whole step 288. E! @ ba i NEW NOTE: Gb NEW NOTE: Cb New Nore: Fb 292. EXPLORING F MINOR Tacet 293. FINGER EXERCISE 2p. = +> Acasa ae294. D FLAT MAJOR SCALE AND ARPEGGIO Pray the following scales and arpeggios usin 8 these bowings, PREPARATORY SHIFTING EXERCISE (Play this exercise on the G, C and D strings also) ; - 4 ‘id Gp) ° » a er } +x Yo bei 2 i FE = Gp {eharsonic equivalents) 4p. > e 2p. 2p.) Gp.) 1 ve t 6 1 44 296. A FLAT MAJOR SCALE AND ARPEGGIO TacetStudent CARL MARIA von w (1786 - 1539) St 298. THEME FROM SONATA K. 331 Andante grazioso (adapted) 4p. WOLFGANG AMADEUS MOZART TH oaks Advanced Players299. A FLAT MAJOR SCALE AND ARPEGGIO Tacet 300. D FLAT MAJOR SCALE AND ARPEGGIO 4p, Pt 4 s34 2 {2 P. ‘ ay tag) 3 ome wont guy tae ‘ oy Beh peices 301. HEIDENROSLEIN Lighty THE WILD ROSE, FRANZ SCHUBERT 3p. (1797 - 1828) 5 y 1 4A second position or (transposition). positions Letty the pase in fs pon, Shit up withthe ai of “Ghost foe $: ty the ame pase son oto 4 Repeat the sme prcere and pay he 0 Use entered postin ine though out NE 302. AU CLAIR DE LA LU Extended Ist pos. 4 2 4 “* and locate starting tone avon [Link] step Ii her position “Ghost tones” « PX 1 shift upy whole step a bat. 2p , \ B, - 3 4 2 = = i —e— a - = shift upa whole step shiftup , whole step . ao shift up half step shift up a whole step : 2 == += * “Ghost tones” are aids to locate new positions. Pl lay them almost ina while, “feel” these notes but don’t sound them, ‘navaibly using left hand pizz Toe be Tee ‘icato or bowing faintly. Alte ** Practice on all strings,banecoirings ine Acton A String Method for Class or Individual Instruction & Young Strings in Action is a three-volume course in the fi lundamentals of string playing. Specifically designed for heterogeneous instrument classes, it has Proven to be very successful in public school string Programs. It is also intended for private as well as se instruction. Its three volumes, covering the frst tires ears of instruction, constitute a complete manual of new ideas and proven techniques, enabling teachers to ys P ia 6 Present in clear and concise terms the basic musical and technical skills necessary t0 play a violin, viola, cello or bass. This well-tested approach to string playing offers all students a unique opportunity to progress quickly, while at the same time strengthening and refining the basic fundamentals. The student does more than simply play a string instrument: he or she develops a clear understanding of ow to play The material presented in these volumes is set forth in a format which allows flexible adaptation to a Wide variety of classroom conditions, such as varying class size and instrumentation. In the student books for the four instruments, many of the repertoire pieces are presented in duet and thio arrangements, enabling Performance by ensembles of like instruments, as well as Various other combinations Volume I emphasizes total body involvement and left arm mobility, helping students to acquire free- dom of movement, correct position and playing facility. The all-important position and balance cf the left hand is aided by early emphasis on the central fingers and their relation to the adjacent strings. Better i fonation and hand position are achieved by emphasizing interval and chord relationships, A balanced bow arm is achieved by starting students at the middle of the bow. In Volume Il, the student develops flexible finger movements, and is introduced to the positions most often used in the leftchand fingering technique of cach of the instruments. Refining the bow arm is also emphasized, using more complicated bowing patterns in the exercises and pieces, ‘as well as groups of slurred notes and slurred string crossing, VOLUME 1 VOLUME 2 Teacher's Book....... MEB-76 Teacher's Book. ...... MEB-77 Student's Books: Student's Books: Violin cess MEB-79 -. MEB-80 Mibles cad MEB-82 -- MEB-83 Cello... MEB-85 - MEB-86 Bass. MEB-88 . MEB-89