Easy Violin

(1)

METHODBO

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OLIN FINGERING Cf.lART

st Finger (index) 2nd Finger ( iddle) 3rd Finger (Ring)

(SOL) (RE) (LA) (MI)

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DA

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Finger (Pinkie)

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Low 1

Low 2

High 3

Low 4

(3)

METHOD BOOK

(4)

SOUND PUBLISHING CORPORATION Makati, Philippines

No part of this bookmeybe produced or transmitted in any form or by any means, electronic or mechanical, including photo copying

or by any reformation storage and retrieval system,

without permission in writing from the publisher.

Cover design by

Nathaniel A.Cruz

ISBN 978-971-8994-90-0

The EASY VIOLIN Method Book is published and printed by Sound Publishing Corporation, with business and editorial office at 2nd Floor, Yupangco Building, 339 Gil J.Puyat Avenue, Makati City. Telephone Nos.897-2157 & 897-2187. Address af/ manuscripts with self address stamp envelope and correspondence or through Telefax No. 895-63-38 Published under PCM Certificate of Reg. NO.167.

(5)

FOREWORD

Easy Violin Method Book is created especially for people like you who

want to have a good foundation regarding the proper method for playing the violin.

Playing this instrument demands a great amount of time learning the basics. Each page of this book will help you discover your potential of

producing a good, controlled solid sound of the violin. Basic lessons of proper holding of the bow, proper posture to the actual playing the instrument,

iUustrationsand pictures are presented in a very understandable way so that you

willenjoy

learning.

I hope that this hook will become part of your success in becoming a good violinist.

JOSELITO C. ALEJANDRINO

(6)

ACKNOWLEDGEMENT

I dedicate this book to my family, my wife Nerise and to my only child, my little violinist 8etina.

Special thanks also to Mr. Noel De Los U. Angeles for helping me in

making this book look more presentable than it was when I composed it.Also to Mr. Rene Mari Yupangco in giving me the opportunity to share my ideas through the help of SOUND Publishing Corporation.

JOSELITO C. ALEJANDRlNO

(7)

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6

Howto attachstringscorrectly 7 Howto tuneyourviolin 7 Thefourstringsof theviolin 8 Tetrachordpositionchart 9

Howto holdthe bowcorrectly 10

Howto drawthe bowcorrectly 12

Fingerandbowpressure 16

Positionandaction 16

Howto takecareof yourinstrument 17

Exercisesonopenstrings 18

Exercisefor combinationsof all thefourstrings 22

Exercisesfor gainingfirmercontrolot the bow 23

Exercisesfor crossing andconnectingthefourstrings 33

Exercisesinquarternotes 33

Fnatural 35

Etude1 214time 37

Etude2 3/4time 38

Scaleof C Major 39

Etude 3 eighth notes 41

Dottednotes 43 LegatoPlaying 44 Slurrednoteson onestring 45 3 notesin onebow 45 4 notesin onebow 46 Changeof Strings 46 Fourthetude 49 Relalivedistances 50 Fifthetude

5

1

ScaleofA minor 51 Notesofdifferenttimevalues 52 Sixthetude 54 Scaleof G Major 55 Brokenchords 55 Exercisesfor crossingthestrings 56 Wholebow 57 Skipacrossoneortwostrings 59

Exercisefor changeot bow 59

Exercisesacrosstwostrings 61

Exercisesfor differentdynamicexpression 61

Scaleof E minor 62

(8)

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PARTS OF TUE BOW

." point StiCk} Adjusting screw

(9)

WOW

TO

ATTACU STRINGS CORRECTLY

Correct Incorrect

The above illustrsiions show clearly how the strings

should be attached and wound around the pegs

The pegs should always be in good condition, sh.ould fit exactly and should respond to the slightest touch of the player.

If the pegs begin to stick and do not work easily, they should be taken out one at a time and be rubbed with a little soap if too tight, or with a chalk if too

loose.

HOW TO TUNE YOUR VIOLIN

TUNING OF THE FOUR STRINGS

The Four Strings are tuned in so-called Perfect Fifths.

A

perfect Fifth is

an interval of five (5) diatonic degrees, counted from the first note (prime) in a

cale. (See next page)

It is of the utmost importance that the Violin is properly tuned. As correct

ning Of the Violin by ear is difficult for a beginner, the Violin may at first be tuned

'th the aid of a piano or a tuning pipe.

As soon as possible, the pupils should be taught to tune their own Violins ear. This is one of the reasons why Ear training should begin early.

(10)

rUE FOUR gTRINGg OF rUE VIOLIN

(SOL)

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D

Indicates Open String.

(11)

TETRACUORD POSITION CUART

• Major Tetraehord Position

OPEN STRINGS Tetrachord :First four notes or last four notes of a scale

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2.

CORRECTLY

Make a circle with the tip of your thumb on the first joint or crease of your

middle finger. Keep your thumb bent. (fig. 1)

Place the thumb of the right hand, slighly curved, beneath the pencil and

opposite to the middle finger, with the other fingers placed side by side on the

bow touching each other. (fig. 2)

4.

1.

The thumb must be placed simultaneously against the nut and the stick. (fig. 3 & 4)

(13)

6.

The bow must lie in a slanting position between the first and the second

. ints of the first finger and and the tip of the little finger. (fig. 5 & 6) .

7.

8.

Hold the bow firmly but in doing so, the thumb and fingers must never be

strained, and should not touch the hair of the bow. (fig. 7 & 8)

Never forget that next to the fingers and the arm itself, the wrist is the most important factor for the ultimate mastery of bowing. To play with a cramped wrist will not bring satisfactory results in violin playing as a loose and flexible wrist is

important in correct and artistic bowing.

(14)

UOW

TO DRAW TUE BOW CORRECTLY

The bow should never be drawn in a direction too far forward (fig.9)

or

too

far backward (fig. 10) but always in a straight line, parallel to the bridge. (fig.11)

The bow should be drawn straight across the strings, parallel to the bridge and midway between the bridge and the fingerboard. It should be drawn evenly,

touching only one string at a time.

9. Incorrect

11. (Correct)

10. (Incorrect)

(15)

The wrist should be entirely loose and flexibl~ capable of moving with ease.

In fact, the bow cannot be drawn straight across thestrinqs without raising the

wrist at the frog and lowering the wrist at the tip. (fig.12,& 13)

The change of the bow should not be noticed but be done as quietly as possible, and here again a loose wrist is required. In fact, mastery of this most

important requirement would be impossible without a flexible and pliant wrist.

12 .

14.

13.

15

(16)

e lower arm and wrist should always be moved to and fro with natural eedom and simultaneous action. Do not hold the elbow too near the body and also beware of holding it too high. When playing upon the G string, the elbow

must always, and quite naturally, be held considerably higher than when playing upon the E string.

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b

Variations in the position ofthe right ann in executinga stroke;

(a) at the point of the bow;

-(b) in the middle; (c)at the nut.

The straining of the muscles and ligaments of both the left and right hands, fingers, wrists, arms and shoulders, through stiff or cramped exertions on the part of the player must be absolutely avoided. All movements must be carried out with natural freedom and pliancy.

(18)

ImQortant PrinciQles Concerninq

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1. The left hand fingers should stop the strings with exceedingly strong pressure, but without stiffening or cramping the hand or fingers.

2. The pupil should gradually strengthen and develop the fingers, so that they will fall upon the strings like individual little hammers.

3. The right hand fingers should draw the bow lightly and smoothly over the strings without any rough or heavy pressure. To be able to do this, you need to use different dynamic pressure from the two hands:

a. Strong finger pressure for the left hand; Light bow pressure for the right hand b.The wrist should be free and flexible to insure free movements of the arm.

POSITION AND ACTION

of the fingers of the left hand

The fingers of the left hand should be held above the finger board in a natural and curved position. The actual stopping of the notes shall only be done by the tips

of the fingers where the sensory nerves are located. Always enable the fingers to

be kept above the finger board, ready to fall into place with the necessary strength and precision.

SUMMARY

1. Always stand erect, with shoulders well straight back and chest forward;

the weight of your body resting on the left foot.

2. Do not let your Violin sag but keep it in a straight, horizontal position.

3. Draw your bow mid-way between the bridge and the fingerboard, straight across the strings; the sounding point must never vary and the direction in which it is drawn must always be in right angle to the strings.

4. In changing from down-bow to up-bow, or from up-bow to down-bow, move

your wrist.

(19)

5. Play in exact time giving the precise value to each note. Train your sense of rhythm incessantly through correct and proper counting.

6. Be sure that your Violin is perfectly tuned.

music must be placed exactly in line with your eyes, the height to be

lated by the necessary raising or lowering of the music stand.

UOW

TO TAKE CARE OF YOUR INSTRUMENT

VIOLIN

Handle your violin, bow and case with care. Instruments and bows are made of thin wood, and can break easily. Bumping your instrument, either in or out of the case, may cause it to go out of adjustment.

Keep your violin clean. Each time you finish playing, use a soft clean cloth to wipe the rosin dust from your instrument, bow stick and strings.

When you are not using your violin, always store it in its case. Before placing your instrument inside, remove first the shoulder rest. Secure the latch properly.

Never put this book inside your case. Placing it inside may cause your violin to break or go out of adjustment.

Do not expose your instrument to excessive heat or cold. Extreme temperatures may cause your violin to crack.

Check your bridge often. If it is not standing straight, ask your teacher to adjust it yourself.

Do not attempt your own repairs. Only an expert musical repairman has the skill and experience to repair your instrument.

Do not let others play your violin.

BOW

Bows break easily. Do not drop your bow or hit it on anything that will cause it

to break. .

Do not touch the hair of your bow. Moisture, perspiration, oil or dirt from your

hands, face, or hair will spoil the bow hair.

Before you begin to play, tighten your bew with the adjusting screw. Your eacher will show you the correct tension to use.

Each time you finish playing, loosen the tension of your bow.

(20)

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(39)

ETUDE 1

2 /

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ETUDE 2

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• -

-I =4i

..

.

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• o 1 • • , I 2 1 _o

I

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.

-11 2. • • •

•

(63)

Exercise across two strings

at the Nut

,.,

• • • • ) atthe Tip • • o • • u 0

,

.,

,.,

• • • • U U

Exerci

s

es for different Dynamic Expre

s

sion

forte: Play nearer to the bridge with slightly increased Bow-pressure.

Piano: Play nearer tothe fmgerboard with diminished Bow-pressure.

61 • • • • • • • • • •

(64)

fro

r

te

piano

I

_n

I

0 0 0 - _n e -n e

-r

r::t

e

piano e

-bt

-44J

n

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0

I

0

I

0

I

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r~te

piano

I

0

I

n

I

0

I

0

I

0

I

()

I

0

rr~:e

piano

I

0 _~

F

_e

?

_-

I

O -_e_- - -O n

Scale of E minor

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62

(65)

TEQHNrQUE 1)EtJELOPHENT

D Major scale

D Major broken thirds

1\ JJ. _- _n _n

-••

-

I.

,

.

~

-

..•. r: I• -....~ ~

,

..•

'-~ 1- =r ~:;. I. ~'17 'T _._"'" '" ~ ~

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...

t. _-₆ ""l: _~ -""l'.j ""l'.j

D Major scale

G Ma

j

or broken thirds

Major scale

Ma

j

or broken thirds

Play the scales and broken thirds with the rhythms and bowings listed on the next page. Be sure to play these

Easy Violin

METHODBO

OLIN FINGERING Cf.lART

(SOL) (RE) (LA) (MI)

G

DA

E

~,./"---'

Low 1

Low 2

High 3

Low 4

METHOD BOOK

FOREWORD

willenjoy

ACKNOWLEDGEMENT

CONTENTS

~~~hB~

6

5

1

o

-

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Pegbox~---~---~~

Fingerboard

o---4-+Ti'T-f.l

....

.

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o

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•

.

~~----

-

o

~..

~~~=---o

PARTS OF TUE BOW

WOW

TO

ATTACU STRINGS CORRECTLY

HOW TO TUNE YOUR VIOLIN

A

rUE FOUR gTRINGg OF rUE VIOLIN

(SOL)

G

(RE)

D

(LA)

A

(MI)

E

.

I

I

,

,

,

,

,

,

,

,

,

,

,

•

:

,

,

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