A Tune a Day

A First Book
for
Violin Instruction
By

c. PAUL HERFURTH

BOOK ONE-ELEMENT AR Y
BOOK TWO-INTERMEDIA TE
BOOK THREE-ADV ANCED
TEACHER'S MANUAL
.4 complete guide 101tetlchi1l6"A rUNE A DAY"
containi"g plano accompaniments lor boob 1 & 2
and the sllpllratll numbers noted in book J. A
t'llr!/ convenient book 101 home practice.

@1927, 1933, 1953 BaSTaN MUSIC ca., 116 Boylston St., Boston, Mass. 02116
Copyright Renewals Effective 1955, 1961
International Copyright Secured Made in U.SA Al! Rights Reserved
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 FOREWORD TO TEACHERS
N compiling this course the objective has intentionally
I been not to cover too much ground; but rather to con-
centrate on the acquisition ot a thorough musical back-
ground and a solid toundation in good violin playing. These
two requisites are inseparable.
A brief section is devoted to the simpler rudiments of
music which should 6rst be thoroughly understood. An-
other introductory section discusses the holding ot the violin
aud bow, since, withol1t the correct position ot the left
hand, and the proper drawing of the bow, good violn play-
ing is impossiblt>. With this in mind, considerable material
has been given tor the open strings betore attempting the
use ot the fingers.
The accurate placing ot each finger should be insisted
upon.
Cultivate in the pupiJ the habit ot careful listening.
The familiar hymns and folk.songs have been selected
because of their melodic interest as pieces, and because, in
addition, in each appea!'s some techniC'al point to be
mastered.
The value of learning to count aloud from the very
beginning cannot be over-estimated. Only in this way can
a pupil sense rhythm. Rhythm, one of the most essential
elements of music, and usualIy conspicuous by its absence
in amateur ensemble playing, is emphasized throughout.
For inst.ance, Lesson 12 emphasizes an essential step in
rhythmic development.
Many teachers do t.he thinking for their pupils, instead
01 helping them to think for themselves. Insisting upon
the mastery of each point will not dun their interest.
What greater joy, whether it be child 01' adult, than to
accomplish, achieve, and gain more power.
Lessons JlU'rked "Supplementary Material" may be
given as a reward for well-prepared work.
Class teaching should be a combination of individual
instruction and ensemble playing. At every lesson there
should be individual playing so that aIl the necessary correc-
tions can be made. Never allow pupils' mistakes to go
unnoticed, since only in constant correction will they
develop the hahit of careful thin!cing and playing.
A decided advantage of group-tesching is that it pro-
vides experience in ensemble playing and gives every pupil
the opportunity of listt>ning to the others, ol observing their
mistakes, and ol hearing the corrections.
For the best results each dass should not be made up of
more than six for a half-hour lesson, and twelve for sn hour
lesson. Irrespective of the numbers, the teacher must see
to it that. there is individual instruction as wen as general
directions to t.he dass.
Classes should be regraded whenever necessary so as
not to retard the progress of the brighter students, nor to
discoursge the slower ones. lt also acts as an incentive for
greater efforl on the parl oEthe pupils.
It is recommended that every student practice forly-
five minutes a day. This course provides one lesson a week
for a school year.
The eventual success of each pupil depends on the regular
and careful home practice, according to directions.
If possible it \Vould be wen for the teacher to keep in
touch with the parents.
Grateful acknowledgment is made by the author for
the assistance of many teachers under whose direction this
course has been used.
C. PAUL HERFURTH
Director 01 Instrumental Mus.c
East Orange, N. J.

FOREWORD TO THE REVISED EDITION

Although the outstanding succes.<of "A TUNE A DA Y" in its original form has far exceeded the authors expec-
tations, its use in many school systems throughout this country and Canada has prompted the aut.hor to consult with a
number of these teaehers, to discuss the possibility 01 improvement.
Because the material has been subjected to the routine of actual classroom teaching, it has been constantly revi!led
and improved in the light of thi; experience, until in its present form it represents a thoroughly workable course of study
for violin class teaching.
In this revised edition t..he author has eliminated certain exereises for which no immediate need was necessary. and
has incorporated additional materia] in the form of new melodies, and secondary teacher violn parts.
The addition of a piano book lo &idthe pupils in ear-training and rhyt.hm will greatly enhance the value of this COUFSe.
C. P. H.

(;0. AAOO (iii]

1'. M.
 RUDll\fENTS OF MUSlO

Musie is represented on paper by a eombination of eharaeters and signs, all of whieh it is neeessary to
learn in order to play the violn intelligent1y.
Charaeters ealled notes are written upon and between five lines I I
which is ealled the staff.

The characler
~ I
placed al Ibe beginning of Ihe ,Iaff i, called Ibe Ireble or G clcf,

-
The staff is divided by bars into measures as follows:
Bar Bar Bar
liJAR lIJ"'.A...111"1'I 1J"'R ",...'"
""1"1'1

These measures, in turn, are equal in time value, aeeording to the fractional'numbers, (Time signatura)

.
placed at the beginning of each pieee.
The time signature indieates the number of notes of equal vaIue in eaeh measure. The upper figure
gives the number of beats or counts in a measure, and the Iower figure indicates what kind of a note has

one beal, 'nch ., 1,or

half note and two quarters

e eqnal,
~
in eaeh measurej
2
4" equals
fonr quarter note' or Ibe equivalenl

2 quarter notesj
4
8 equals 4 eighth notes; ete.

There are different kinds of notes, eaeh variety representing a certain time vaIue as follows:

D
1 2 3 4 1234 1 2 3 4 1 & 2 & 3 & 4&
Whole Note equals, Two Half Notes, Four Quarter Notes, or Eight Eighth Notes.

The count for the above would be, four to the whole note: two to eaeh half note: one to eaeh quarter
note and one to each group of two eighth notes.
The notes are named after the first seven letters of the alphabet, i.e., (a, b, e, d, e, f, g,) according to the
line on or space in whieh they are plaeed.

The G cle
~
whieh the other lnes and spaees
whicb encircle,

are named
Ihe ,ecoud

as follows:
line, eslahli.bes Ibe note G on Ibis line, from

o
O .. ~O .. O ~... O O ... O u
G A B C D E F G G F E D

In addition notes are written upon and between short lnes above and beIow the staff. These lnes are
called Iedger lnes.

~ A B C D
I u
D
o&-
e
'U"
B
o&-
A
'U"
G

B.M. Co. 8860 IV

 ~
~
&2 ~ ni
Every Good Boy Does Finely F - A - C - E
A rest indicates a paue, or silence for the value of the note after which it is named, such as

- - ~".t~.
~ WhOl~ Re.1 Half Rests Quarter Rests Eighth Rests

The end of a picce is indicated by a light and heavy line

When a section or part of a piece is to be repeated it will be shown by a doubte bar with two dots.

~
Key Signatures
The Sharps or Ftats found after the Clef at the beginning of each tine is called the Key Signature.
These Sharps or Ftats effect a11 the notes of the same name throughout the piece, except when changed
by a new Key Signature o,r temporarily by an accidental. An Accidental is a Sharp or Flat which does
Dot belong 10 the Key Signature. An Accidental applies only to the measure in which it is ptaced.

Sharps, Flats, and Naturals

A Sharp (#) raises the note to which it applies by oDe-half tone.
A Flat (~) towers the Dote to which it applies by one-half tone.
A Natural (q) takes away the effed of a sharp or flat and restores the note to its original pitch.

The Violin and Bow

CHIN.REST- - ROLL

,,
TAIL.PIECf:'
,
FlNGERBOARD

STICK

TIP.. - ---.E.
..
,
HAIR

B,M.Co.81180
(v I
 HOLDING THE VIOLIN
(4)
Tak~ tht' violin, Bend the first finger
tllE' strings away so that its tip lalls on
hom the body, the A string (third
and hold it under string lrom you) about
tht' right armo one inch lrom the nut.
(Re.'t Po.,iti01l) This will vary accord-
.8T P081TIOIIf
ing to the size 01 the
violin.

(5)
(1) With the help 01 the
Stretch tht' finge:-rs01 right hand, without
the lelt hand out changing the position
straight, tht' thumb of the left hand, raise
pointing up. the violn so that it
rests on the lelt collar-bone, the chin over tht" chin-rest.

(6)
(2) Bring the leEtelbow
Plact' the side ol the tlJell under the t'iolin
knucklt' at the base:-ol to the right, allowing
the first finger, against the thumb to draw
the lower edge ol the slightly under the
neck, so that tht' back neck, the hand also
ol tht' hand is in lint' turning toward the
with the nut, or saddle, side 01 the neck (not '
at right anglt's to th(' strings. touching), rounding the other fingers over the strings
in position to strike. Release the right hand.

(3) (7)
I-(>tthe thUlllh (joint By this position 01
not hent) r(>st against the elbow, the lelt
the upper side ol the ahoulder is brought
nt'ck ahout one inch under the violn to
lrom tht' nut. Tht' ,ive aupport and
flesh~' part ol tht' hand counteract the pres-
hMween the thumh and 8ure 01 the chin ud jaw-bone. The violin should
first finger must 1Ioftouch the neck. thU8 bt- held finn witJaoat the aid 01 the lelt hand.

[ vi ]
 11re '\'iiotin~~ldslanta'boUt, ~de~rees 'lo th~ 't'iglit,Bna 'lit 'st1~ha 'h~gtit that :the'~rt];~f',tbe 'Vloirn ii5:in UtR!'Wifn
t~ ~'e. J~1terho'W 1\ttiOtmder 1:hevKiiin. Thenaildfthe 'irst:16nge-r'fiel! :hand) ~htidJa ffHce,'YOtI.''Pttis!fiVik!!S'lb ~iltt!A
_no ~strn~s 'only.The tipor t'he 'thumbshould 'poiht(jut. :Space :~n ~r'tlJe '<11(~atld'he~hy :Pli't'<Ir~ath
iJx'tWffTlthuftlhaDtlfi rstlinfter. From 't'he '1muC'klesft'he il~'hand (tbfbetJ.Mw~1d 1bt!~8'Sf~i~lit line.

HoldinatM Bow
'TaJJ.\be bowi1t itJhe1}ft'band. :and ibdldlit theXtreme ,~tUl:~~*~, ;ibtfU(tn ~itiidb !f1M ~ tWir liSrfaeik
'"
"",a:n4 tbt- t~Uf ~:he~' ,s ,pomtiR~ ;:iw:.y ifl'of1,~()n. '(!l' Place'~ 'JI1fJp'df. ~ib ~~ ~lt), 'sli~ti1ry'etW'\~a ~
t'trej6iIfllt",a.ga:mstthe :st~ :so t;fiat it 'tout<hes 'thel'liise(J !f)1trt.dt 't}re p,~ 'dh it!1tt-sikik. Ip~ .jdi1it~~m heiklsdtit ,~ijhciJ
TMm ttte 1001'. <~) Mlo'W;tlre 'mid~ ;6it~rto('til'\'~lttounfl \theSt,& 'tft - iflM ~6itit \(ftoth ~ Itp')~~~ tflte ~ii'b.
(~) ftaceVhe titrr.d,or 'r~"~bger. "nm ,to 't'hf'.nJiEl4Jefi~ '901'1iatlit 1-tIi"\~'liNjotl 'f~ ,.i& 'lit ~ ifiPSt,.,'tiH ~
4t,,~mIt t~ sideof tht>y,r()g. (4)A\JJow 'tt1fe''rst ;fin~ 'lo '1'~8t(in'the sti& 'in '.ti~ Iflrs't~()irit. ((.')~'!f!ke,~p Jr~tlhei}k1!1e tflit~'
~s '<mthe St.i0k .jJft;a ftatg~1 if-'Stt.ro:n. iJhlea-se:the;hfft ih"fHl.
nre ~s1wttl !he1('1oset~~. ~t?mWhin~)

Silent Exercisesfor theBow

\Vith the yjolinin posihon. place Ore bow'O'R the A string~tdfflerfitt 'J'OtRts.,.'e.,.al themktme fFifl. 1). itiip'fFi{J.~},
and frog (f'ig. J). At eadl Jmint hold tihe bo'\V~Iy stiJI 'fd-emi<ntJttts.~a!J..'" 'nOtiee orthe PO'!Jitidft '<iriann,w'rnit,
~:('..as foUows: Tire 1'10.' mustatways be at"'~htangles to t1estri~, i. '., })a1',.Ue]""it'h t!ke };,.~,Hfid ~ay be~
h\~n the fin~e1'hoard aMi hrid~. WIren the~w :is..att\te ~IM. ttte 'WI'istshoo'M besu'nkin (Ver.y-s't*~, 'anA 'W'h'eat
t~ frog,shooM he ('\if'\"d "P (ROt too ft1troh),.The bac'k 'of fhe harnda.lways Iftat, 'ami .~..ys 1Mit>1re'~ Tetat;"\' 'J-
sitron to tM- bow. Da ~ _Il<0wt~ fin~ '~ moV~ 'Oft the bo".-Sti('k. \'\'trert "'cing t+ie 'tJ~ ~ ~~, 'ttte mdc
is turned sli,dttJy towatdstM.> fi~,:Sf0 tMt oM.vt~ ~ of lile hait ~ t,Iie~. '~Wr't ~'5 i~f)Ig
to the'<dymtmi(' eff~t desi~. I~~'e th~ '(')TI
'/tU,stri~. NQt1re t,hat th~ ~'W is '9Jig'tttly~fgtrer 1\.~ :pta}"iWg'dn 't~
))an<l G strings. OOt n('\,er shOt1Mthedbow be hi~ tban ttre kwd. ltaise tire haRd to ttr tveil ( thest~ *!ftWd.,
kfffJtnl! the 'elbo\\' t'ntirel,\' f't'taxe<t. An:ye:xertioRM tire u>pe1''Rt'mJfn:lsclesis very har:mtftltO a.~ .to'ne:.

Fig. 1 Fift. i

Signs and Abbreviations for Bowina

" Mt6ft1 DoWt\&-
V m~.ns Up &w
W.n. InOfis Whote Dow
M.H. IUltns Mddlt htd, or Do",

[ vii )
 Tuning Your Violin

......
~
A

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t t
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8
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1 8
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...$ .~~
'\ , ~ ~('
\ !" ~
\ "
\ '
\ ,,'

While turning the pega alwaya pretil tbem into

T is quite eu)' to tune )'our violin witb the aid
I of a piano, and you should leam as 800n as
pos~~bie. If no piano ia available use a violin
tbe hoJes 80 tbat tbey wiJl atay in position wben
you take YQur band away.
pitch-pipe. Tune the stringa in the following order, A-
D-G-E.
DIRECTIONS When you become more advanced yo u wiJl
Hold the vioJin by the targer end between the be able to tune your violiD in tbe pllIying po8ilnl.
kneel, lupporting it by the left hand at the neck. TAU CARE OF YOUR VlOLIN
Strike the note A on the piano (/lee diagram), or y our violin wiJl not lOund its best, nor will
blow It ODthe pitch-pipe. With the thumb o, the
your learning to play it be u easy unle. every-
Ieft haDd pick the A string to compare it with the
thing pertaining to the inatrumeDt is kept in
piano. Ir the strin~ !IOundsJower (8at) the pitch
perfect condition.
of the string must bt>raised by turning the A peg away flOm
you with the right hand. Turn the peg "lowly while pick- If your vioIin is not a new one it should be taken to a
ing the strinp: with the lr.ft thumb until it sound" in unison violin repairer fOl a1I nessary adjustmenta. Your teache"
with the piano or pitch-pipe. lf the string sounds higher "in tell you wbat . aeededto put your violinin goodplay-
(aharp) than the piano it must be lowered by turning the ing col)ditioD.
peg slowly toward you untiJ t.he pitch of the string is the Always keep JOUI'violn in tbe eue wben not practicing.
aame as the piano. Tu. tbe E atring, in the same manDer NEVER looeen the 8triDp OD your violin but AL WAYS
as the A atring. loosen tbe hain ODthe bow whee not playiog. Rosin tbe
bow-hair a tittle eIIIfIadq. Never allow rosin to collect 00
To tune the D and G atringa, by reversing tbe hands,
the violn ol ODthe bow-8tick; ALWAYS keep them cleaa.
the rigbt band bolding the neck of tbe violin. plucking fhe
!ltrings with tbe thumb. The pega for tbese atring. will be Take a pride ia . way your violn loob as nll u in
turned by tbe Jeft band the aame U )'ou did with tbe rilbt how it lOUIIdL U. aood strinp, and ALWAYS have aa
hand for tbe A and I .tringa. extra eet in '108 ftaIiD...aae.
[ vi ]
 FOREWORD FOR OPTIONAI. LESSONS ONE THROUGH FIVE

Although the outstanding success of "A TUNE A DA Y" in its present form
has far exceeded the author's expectations, its use in many school systems through-
out this country, Canada, and Australia has prompted the author to consult with
a number of these teachers, to discuss the use of the quarter note approach.

The thinking of string teachers seems to be about equally divided between

the whole note and the quarter note approach for beginning string instrument
students.

In order to make the "TUNE A DA Y" string class method more valuable
to those teachers who prefer the quarter note approach, the author has compiled
optional material for the first five lessons with this objective in mind. These
optional lessons appear in the violin, viola, 'cello, and bass books, thus providing
for the teaching of these instruments in one group through the class procedure.

In order to simplify the learning of holding the instrument and bow at the
same time, the first lesson uses the pizzicato approach through employing open
string lettet names only, thus eliminating the holding of the bow and the reading
of pitch names on the staff.

With this approach in 2/4 rhythm the beginner is better able to think and feel
the pulsation of this marching rhythm.

The whole and half note approach remains the same as before, starting with
the regular Lesson One (1) on Page 1 for those teachers who prefer this procedure.

The author believes that, with these first five optional lessons included in
tl.e series of "A TUNE A DA Y", it now covers the needs of all discriminating
string teachers.

c. PAUL HERFURTH.

IX
 LESSON 1
(OPTION.J.L)

The Open Strings Pizzicato

Pizzicato (pizz.) = Plucking the strings.
o o o o After 1earning the 1eft hand position in
G D A E ho1d;.ng the violn (page VD, the names
and positions of the open strings should
be understood. See diagram at right show.
ing pizz. position as fol1ows: Place the tip
of the thumb (right hand) against the up.
per right hand corner of the fingerboard
I under the E string. With the right hand in
this position, p1uck the strings (about two
I inehes down on the fingerboard)with the
first Hnger.
Additiona1 exereises for open strings
G, D, A, Pizz., may be written on the
b1aekboard.

Pizz. A- A
CD
Count: 1- 2

CID
Pizz. D -~
Count: 1- 2

Pizz. A- A
<ID
Count: 1- 2

@ Pizz. D~ G- G D-D G-G D-D G -G ~D-D G - ~"tl-t-:-H

Count: 1-2 1 - 2 I 1-2 I 1-2 I 1-2 I 1-2 1-2 I 1-2" 1-2

D -A -G -
Pizz.
CID Count:
D - A f-D - G
1 -2 1 - 2 I
D-A
1-2 I
D-G
1-2 I
D-A
1-2 I
D-G
1-2 I 1-2
~D
1-2" .~
G
1-2 H
NOT IN UNISON

@ Pizz. A-A E-E A -A E - A -D A -E A -D A -E A-

~-I
Count: 1 2 - I 1 -2 I 1-2 I 1-2 ~-1 1-2 I 1-2 I 1-2 I 1-2" "~ 1-2

(j) Pizz.
Count:

Pizz. 2D-D A-A

Count: 4: 1 - 2 1 . 2

B.M. Co. 8860 [x]

 G D A E LESSON 2-
~-=:::JI: .. E On the
staff
(OP:J'IONALJ
-u: I
f:
:. ::I ::I Holding and Drawing the Bow
I

g g ~ ~ ~~W~ After acquiring the feeling for holding the bow correctly (P. vm (in the beginning this
can be done much easier with a penciD try playing on the open strings.- The right arm
must be completely relaxed to permit the bow to be drawn freely.
Silent bow arm exercises: With the left hand and arm holding ao imaginary violn move

@.
the right hand and arm down and up as in actual playing until complete relaxatioo has been
accomplished.When using the bow avoid all tension in the bowarm. M= Down Bow. V = Up Bow.
Study the names of the open strings in relation to the notes as written 00 the staff(see dia-
gram above). You are now playing quarter notes (one count to each note). COUNT ALOUD.

cv.

@.
Count: f 2 f 2 f 2
M V
M f.\ M V M V
V

Count: f 2 1 2
1 2
NOT IN UNISON NOT IN UNISON

Count: 1 2 ,1 2 1 2
~OT VIN UNISON ~OT VN UNISON
@
en.
Baa! Baa! Black SheepUf
M v M n V Nursery Rhyme
Pupil
2

Teacher
, v M V,

..
1
..
2
o

i
.. ..
1 2-
.. .. ;-
i
.. .

I
I!
11
lO

ti .. ... I ......
Jingle Bells
-~
M v M M V M
Pupil

.. ...", ..
. Procedure for this ies~on: (1)Recite letter names in rhythm. (2) Play pizzicato, counting one -two.
(3) Play using bow. The_bow must be held fhmly wlth th::: fingers of the right hand. Use the middle two-
thirds of the bow and play with a bold firm stroke. Be oareful of any tension in the bowarm.
..Piano Acc. Teacher's Manual, Page 6.
B.M. Ca. 8860 [XI]
~.
@. 2
~OT vN UNgON

,.,
V

Twinkle,
LESSON 3
(OPTIONALJ

Continuation of Open String Quarter Notes

(One Count Each)

Twinkle,
@ ~OT IV UNIS~N

Little Star.
2

,., V
V

Nursery Rhyme
V

Pupil
Fine !
.,
2 (~End) !

Teacher

r'1 V

. -;
i. -.
- rI
-
d..
:'
t .f)a Cap'o(~From theibeginning) !!

Oats and Beans

,., V r'1
n V r'1 OId English

Pupil
t 2

,., r'1 V
r'1 V

*Piano Acc. Teacher's Manual, Page 9

Hume work: Write letter names above notes on this page.

B.M. Co. 8860 [XII]

 LESSON 4
WPTIONAD

Half Notes - Two Counts Each

A half note is equal to two quarter notes tied. When two notes on the same degree of the staff Oine or
space) are tied by a slur 8:, they are to be played as one note.
USE A WHOLE BOW (W. BJ (FROG TO TIP, TIP TO FROG)

Thi" ~equals this

~r"1 V r"1 V @r"1 V V

r"1

12

r"1 V r"1 V @r"1 V V

r"1
.. ..
--'---~
12 ~~u

12

Introducing Four-Four(!) Time

Two measures of cwo-fur time equal one measure of four-four time. The count for each measure now
becomes one-two-three-four. One-two for the first half note, and three-four for the second half note.

j
Au Clair de la Lun~ - French Folk Song
V , V
.
Pupil
4! Count:
1 2 3 -4 1 2 3 -4 .. .' ..
..~ .. .. ....
::
i ~~i: I : I I I :' :
- I I ::
Teacher --
4! I I I I I I I
I

V
Marching .. V

Pupil
..
......
::
Teacher

Merrily.-- HALF
REST
Pupil
. -12 3 -4
11
!!
:I I
ii
..

Teacher

* Piano Acc. Teacher's Manual, Page 4

**" " " "" 5
***" " " " "9
B.M. Co. S860 [XIII]
 LES SON 5
WPTIONAD

Whole Notes - Four Counts Each

Draw the bow with an equality o motion in a straight line parallel with the bridge. Learn to save the bow,
i. e., a fault that is very prevalent is the starting o the bow at a too rapid pace, whereby the greater part
of the bow is used up bafore half the time value o the note has expired. Whole notes four counts, half
notes two counts.
(Always count aloud and give each note its full value.) USE A WHOLE BO"TN (W. BJ

(6) M M
ti~W'B'
~CD ~~Iu
V M
..
V

-t: I
V

Count:l ~34
I I
u u
1234 -
"U

~@
Count:12
NOT IN UNISON

~M.\
u

34
l
~~M
."
t ...
V

.
@
u
~OT IN UNISV>N

1234
r-
-
-n
M

Whole Notes and Half Notes

THE BOW MUST BE DRAWN TWICE AS FAST FOR THE HALF NOTES.
'y M M V @ M"I M Y M
M V

~
Y

~
.

~ ::
-
Count:r234
u I~' D-~
...
NOT IN UNISON !'>OT IN UNISON
f8\

~:~~ Count:t 2 s4
.

12 3 4

Whole, Half, and Quarter Notes

Folk Song
,., ,.,
,.,
V M V M M V V v v V

Pupil

#
-
-
u
-
-
u

M~
,.,

34 34 1234

B.M. Ca. 8860 [XIV]

 t

A TUNE A DAY
LES SON 1

~
A E
The Open Strings
E On the staff
u
6 RoId the bow firmIy upon the strings while counting the rests..
G D A E On the Violin
Draw the bow with an equality of motion in a straight line parallel
with the bridge. Learn to save the bow, Le., a fault that is very
prevalent is the starting of the bow at a too rapid pace, whereby
the greater part of the bow is used up before half the time va1ue
of the note has expired.

I
\ The Open A-String
Whole notes four counts, half notes two counts. Use whole bow for each note, drawing the bow a Httle
faster for the half notes than for the whole notes.

1
~ v
WHOLE
- REST
- M
.. - -REPEAT

~ I
341234
I I , 1
&~
I :1

Y.. M V M V M V
n: ~ ~
IDraw the bow a HUle fas!er for th6 half natf'", J
@
n VI M V
-~FU~V
i-:-~ - ~ ~ - - ~-~-4
Count:

Au clair de la lune
French Folk Song
rJ M v M. , M v V M V M V
"
Pupil
" Count:1 2 3 4 1234
~~: - I
-
Teacher
" I -...-/
i !

B. M. Ca. S 580
 LESSON 2
The Open D-String
Whole notes four counts, half notes two counts. COllnt alrjud.

CD
n
~n I -~
V

u ~ -~ u 1-1
V

u 1-:1
Cou~t:l' 2 3,. 1 2 3"
~
~n
@
u
1234
I
V

u
L
n
u
~ u
V
~:.
~ 1234
:

tWBn V n V n
-
eJ-~-~~-~ - - ~
Count: 1 2 3 4 1 2 3 4
Marching
M V M V M V M v M v M V
Pupil

Teacher

The Open A- and D-Strings

In crossing strings do not Eft the bow off the string. Hold the bow firmly upon the string while rais-
ing or lowering the hand.
@
~WBn
-
..co~nt: ~'2 3 ~ - ~V ~ I
- 1: I
- :1

(j)

~
@WB

~
Merrily
@ M v
~n V M V M , ,, , . .

'"
PupH
~~" ~V '-7
Count: 1 2 8 4, ~1234
"
~j
--- ~-- -
Teacher
4

B.M.Co.8880
 3
LESSON 3
Quarter Notes and Quarter Rests
t count, use middle half of bow. Use whole bow for whole and half notes. Give quarter notes full value.

i~H.~
@Count;
1 2 3 4 1 2 3 4 1 2 3 4
n
~ e n ~vnvnt~
1234
...
12341234
..

~eJ~:.~-
1 2 3 4 1234 1 2 34

2 TWO counts to a measure.

-TIME MEANS {
4 Quarter-notes get one count.

Baal Baa! Black Sheep

D. &A. Strings Nursery Rhyme
I

n
I
v n
Pupil

. Teacher

n v n

Hop, Hop, Hop!

ID. &A. Stringsl German Folk Song
n n V. n V
Pupil
2

Teacher

n .. v ..
, .. .. .. .. .. ..
~~n

, ...:::;t .. .. - ..

B.M.Co.8880
4
LESSON 4
The Open E-String
(Violin and Bass only)
~nvnv n V
D
.. .. .
1.2341234

n V n v
~
...... .
1.23 4, 1. 2 3 4 1. 234

Ten Little Indians

lA. &E. Stringsl American Folk Tuna
f1 V, 1,1 V I

Pupil
" I I

, Count:1. 2

~I I I I I
"
Teacher
41
- I I - -.......
- I

Oats and Beans

ID. A.& E. Strings! Old English
n V, V n
Pupil
"

, Count: 1. 2 3 4 .
, ~H I I I I I

Teacher
, --. -- -..... --- - I I I -- ---. . --
*A Riddle
ID. A. &E. Stringsl German Folk Song
n nv ~I
Pupil
, Count:1. 2 3 4, .... ....
1 ~ti -- ---- -
Teacher
41 ... I I ~e. -& ... r... -&

n v. n
~~~..
..
~ ~i ...
~~.
.. - ... 7.j -....- .""'l:j ... ! I c.. -&
*By permission of Silver, Burdett &:Co. owners of the copyright. From. Book one, "The pl'Ogr8ssive Musio Series."
B.M.CO.8880
 I

LESSON 5
The Open G-String

:M
~
v M V
I I I .: n .
.
-
'U
-
'U
-
1[J'
- .
-

. 'U
CIDCount: 1 2 8 4- t 2 3 4

~:..~ 1284 t284t284

Twinkle,Twinkle, Little Star

Nursery Rbyme
n
Pupil

Teacher

...
The Four Open Strings
@ (Violin and Bass only)

~~ ': ,:
@Count:t
"U

2 8 4
Y. In I~V.
~ "U
I

. .

@ 2V8
~ @W\

t 2 8 4
HomB work: Write" Unes of open string notes, marking the name 01 each. Divide iDto llle88U.1"e8,
U8Igwho1e,
half and quarter notes. Mark time signature.
B. M.Co. 8880
6

LESSON 6
The Eighth Note
To be played with a loose wrist and most generally with the middle part of the bow. Play slowly at
first, gradual1y increasing the speed until youcan play quite fasto Count aloud.. Be careful not to cut
the up bow stroke too short. Use the same amount of bow for notes of equal value.

.
CD n

Count: 1 2 3"
V

1 & 2 & 3 &" &

CIDINote time signature.1

1 2 & 1 &2

.
Gaily The Troubadour
I
D.&A. Stringsl
n V n V
Pupil

Teacher

Lightly Row
I
G. &D. Strings I

nVn
Pnpil

Teacher

Home work: Write 4 lines of open string notes dividitig into measures, using half, quarter and eighth notes
in ~and 2-'4 time. Mark time signature.
B.M.CO.8860
 7
Note: All manuscript pages are to be used for home-work according to instructions.

~
f
t
~
~
~
~
f
t
t
t
~
RM.CO.8860
8 TEST-QUESTIONS THROUGH LESSON 6
Questions frOID this. and following test-shef'ts. will be given as a check on your home~study 01 pr~eding
lenons.
Remember: The more you know and understand about the signa and aymbols used in music-wrting,
the e8sier it will be for you to learn how to play well.

(1) This
~ I is cal1...d?............. ...

(2)

(S)
This aymbol
~ lcalled1

The ItaR is dividNl by bar-lin~s into?

.............-....

... .. .
o.."""

. (4) Fractions at th~ b~.ginning 01 music arE' call...d . . . . . . . . . . . . si~aturt>s?

(5) Tbl
~ ia a. . . . . . . . . . note, and bas . . . . . . . . . . counts?

(8) ",.".
~ are . . . . . . . . .. notes and have . . . . . . . . . . counta f'8ch?

(7) ",.".
~ are. . . . . . . . . . nott"l and bave . . . . . . . . . . count each?

(8) ",.".
~ are. . . . . . . . . . notE'S and ha ve . . . . . . . . . . count each?

(9) LiD~ and apaces are named aft~r the fint . . . . . . . . . . lettE'n of tbe alphabetP

(10) Tbio
~- s a . . . . . . . . rest?

(11) ",.".
~ .. I are . . . . . . . . rnts?

(11)

(19)
Tb...
~
Tbia (1) ila? O""""
.
are . . . . . . . . rt>sts?

(14) Tbia (I~) is a? .

(15) Hew does a aharp affect a note? o .

(16) How does a ftat aftect a note? ..........

(17) Name the opE'natringa? ..............................

(18) Write (notate) the opeD atriop?

~ I
(19) Tbissigo mean.? . .
" """'"
(~O) 'ntis V mean, ? . o .
 9

B
On the staff LESSON 7
1

G D A E Open strings
First, second and third fingers must be perpendicular fraro the
first joint to the tip when pressing on the strings. Keep the fingers
over the strings. Do not allow the Httle finger to curl under the
neck. Listen careful1y that you play exact1y in tune and give each
Finger note the proper time value.
1 On the Violin

First Finger B on the A-String

"Whole tone fraro Ato B

V
1 o L o ! o. !
.,.,
:o: - D
.,., D
.,.,
I

Little A and B March

,
nvnv 1 o r;t V o
Pupil

Teacher

First Finger E on fue D-String

.
'Whole tone from D to E
@ n. V

~:,
1 o 1 o 1 f

I
o I
~I o I ~I o I I o
:1

Little D and E March

n Vn ~ 1
nVn
1 o 1
Pupil

Teacher
#
Dome work: Write 4 lines o the notes thus far studied, marking name of each, and finger used.
Divide into measures using whole, hall, and quarter notes; mark time signatura.
B. M.C3. 8860
lO

Optional Material for Lessons 7 & 8

Now The Day i8 Over

ILesson 71
ilV v. M
Pupil

Teacher
r
The Boat Song
C. P. H.
v
_(-11

.-1

Au clair de la lune
I
Lesson 81 French Folk Song

~(~~(~/I

Harvest Time
ILesson81 c. P.H.
V V
~.(-/ .

I~ (-/ I

B.M.Co.8880
 11
~ On the staff LESSON 8
~
G D A E Open strings

Finger
On the Violn
1

2 First finger B, second finger C# on the A -String

Whole tone Ato B. Whole tone B toC#
Kcy of A Major F#-C#-G#

CD n V V n V n V M V

~
1 1

~
! 2
n
~

.
~
~
......

CID nVnV nVnV n t4"n V n V nv

..
f5\

@
.
Melody

Merrily

.
en
Melody

First finger E, second finger F# on the D-String

Whole tone D to E. Whole tone E to F#.
Key of D Major F#-c#

';1121
~
V
1

2 1 2 1
2

n
nO
O.
1 @~ Y

@~
21

2
21

nO
2

1
1

O
1 2 1 O
~
2 1 2 1 O
.
..
:u:

.
@

. Write aad study the key signatures of D and A Major.

When two notes on the same degree of the staff are tied by a s1ur
B. M.Co. 8880
Melody

Dome work: Write 4. lnes of notes aS before, adding the two new notes in this lesson.

-,
they are to be played as one note.
 SUPPLEMENTARY MATERIAL
HARMONIZATION FOR LESSON VIII
@

--
M

--
M -----

--
@
f\~~ M I V ..

~I 1 I 1 I r 1 1 1 I I I I I I I I
--
M
ni V
-yf~# l ' I I

. .
1 '

~. . ...~ . .. . --
~~~M , I V M
I I -..

~t.

Teacher
"JJ~ # M V M

\t.J
~1T
..... ..~ ... ~..... - - .. " --
-4..

(j)
~~~I , I

4 I I I I I 1 I 1 J 1 I 1 1
--
f~# M, I .

.
I I I

.
"

t.) ... . .. <J .... . ----

f.u ~M I I I -..
"

.
~~~Te~cher

~...-.. ". 4- . .... . ~...-...- ........ . . -4..

----

B.II.Co. 8880
 18
LES SON 9
On the A-String
First finger B, second finger C#, third finger D
~D ~ Whol. Ton. Ato B. Whol. Ton. B lo C#. Half Ton. Cito D.
Key of A Majar F#-C#-G#
;- .

On the staff
G D A E Open strings
Learn to keep the fingers on the strings whenever possible. Rule:
Never lift a finger unless obliged to. Press the fingers firmly upon
the strings, but do not allow the hand to become cramped. Listen
Finger carefully to play in tune and always count. It is not musc where
1 On theViolin there is no time or rhythm. l.nave you a good position?l.
This sign indicates half step, fingers close together.

..
I I
: ~ l'~ @;~. I
~ I :~7~?\-~+~': ~ O A
.
@ I
Cf
I p"'dr""dowDI... - . - - - - - . - - -

@~8 S
.. . ..
.8 8
.

..

@ Melody

~{j~

.
(j)

On the D String
MeIody

First finger E, second finger F#, third finger G

Whole Tone D to E. Whole Tone E to F#. Half Tone F# to G
Key of D Major F#-C#
~ v 2 S 2 S 2

u A ..cJ --0---+ --.r --t--0- -t---u ~ ~

-- - -
@

....
n.~ "'""""
~
:a:
S 8 8

@ Melody
~V
O S O 3 V ~ 3 3

..............

Home wo.,.k: Write 4 lines of notes thus far studied, as before.

- - - - - Hold fingers
B.M.Co.8880
down.
14

Note: All manuscript pages are to be used for home-work according to instructions.

~
~
t
~.
~
~
t
~
t
~
~
t
RM.CO.8860
 LESSON 10 15
Slurred Notes (*legato)
This sign ( slur) when plaeed above or below two or more notes indieates that they are to be

.-
played with one bow. G.ceat eare must be given to the eq'Ual di'Oision of the bow.

u I

~ ------------ u I
. Smoothly-eonnected.
The Scale
A scale is a suecession of tones from a given note to its octave] 8 notes higher. The form on whieh
all majar sealcs are modeled is as follows:
The Natural, or e Major Scale

-&- W.T. u W.T. a~

D
W.T.
a
W.T.
D
W.T.
I
1 2 3 5 6

The ascending progression is: two whole tones] one half tone] three whole tones] one half tone.
The half tones come between the numbers 3 -4] 7 - 8.
The D Major Scale - four tones on the D stringj four tones on the A string.

./".....

u
t
o
2
#.:--- -o
-----
3 4
~I ..
5
O

6
#.~
7
---
(>

8
I

.
Play the following seate and arpeggio with different bowings as indicated also play, slurring four notes t()
one bow. Use plenty o bow. Play slowlyat first using whole bow for each note,
CD

LJ LJ LJ"-- A"--
LJ'--" A A A

n V r1 V n
..
~
:n:
0:-'1\ LJ LJ LJ
LJ A
Home wO'Yk: "'''rite the D Major seale 4 times] marking half steps. Use key signature, and place a
sharp before tha notes affected.
B. M. Co. 8880
16
LES SON 11

~
Up and Down the Ladder of D

*Fido and His Master

- O'

E. B. Birge
I

.
.
@ n
Reuben and Rachel

German Folk Song

.@

~I..I
*Katydid

*Polly's Bonnet
Bohemian Folk Song

Frenoh Folk Song

*By permission of Silver, Burdett & Co. ownersof the copyright. From Bookone, "The Progressive Musio
Series?'
B.II. Ca. 8880
 LESSON 12
1'1
The Dotted Half Note and the Dotted Quarter Note
A dot is equal to one half the value of the note it follows. A dotted half note equals 3 beats a
dotted quarter note equals 1% beats. Use the same amount of bow for the quarter note as for the
half note.
Played Written Played
wr1t"
~ ~. ~
Rhythm Drills
Play the model as written. Repeat, using each variation below until the rhythm is memorized.
Dt"ill: Count aloud each variation while clapping the hands once for each note. Repeat several
times, then play on the open strings.

Q)' Model
WB

~. ~.~ g ~ ~ I
t 2 3 1 2 3
Varlations for the above
@ @

~
.
s.

.
F
1 2 12 S 1 2 3

@ @ -

.. @@ @

.
@

Home Ulot"k: Write

B.M.Co.U80
4 tines of notes
Combinations

thus far studied,

of Different Rh.ythms

using different groupings of notes in ~ time.

18

LESSON 13
My First Solo Pieces

Little Waltz in G
C.P.H.

In A Garden

_.
C.P.H.

~.
~.
~ .,-._.~
I
To tke beginningl
b.a.

B.II.Co. ..80
 19
LESSON 14
Using the D Majar Scale

French Folk Song

~~
d
Joy to the World Handel

~~ ~. ~.
~. V-~r~. ~r r ~ ~
~.
~.~. ~~ I
1 +2 +
Beneath Thy Guiding Hand J. Hatton
IFollow bowings carefullyl r1 V

~n~~
J (~ ~
~

v n v
J ~
~r
r1 V r1 V r1
~r~~ ~ ~. ~ ~

B. M .Co. 8880
20 TEST-QUESTIONS THROUGH LESSON 14
(1) This aign :1: means? ............
(i) This sign meaDs?...........
(S) Name the lollowing lioes and spaces 01 the staff?
1st space .......... ind space . . . . . . . . . .
4th lint> . . . . . . . . . . 1st line . . . . . . . . . .
Srd space . . . . . . . . . . iod line ..........
Srd Une. ......... 1st space below the ataff . . . . . . . . . .
4th space . . . . . . . . . . Srd space below the staff . . . . . . . . . .
(4) The key 01 i sharps is? . . . . . . . . .
(5) Tht> kt>y 01 :1 sharpa is? .... . ....

(O) This note has. . . . . . . . . . counts?

(7) Thia nott' has. . . . . . . . . . counts?

(8) "ich fiogt>rshould h(' ust"d lor the lollowiog notes?

C# on the A string . . . . . . . . . .
E 00 tht' ]) string ...... . .
D on tht> A string . . . . . . . . . .
(9) What note is played with the following fingers?
1st fin~er on the D string . . . . . . . . . .
Srd fingt>r on the A striog . . . . . . . . . .
ind fin~er 00 the D striog . . . . . . . . . .
B on the A atring . . . . . . . . . .
.. G on the D atriog . . . . . . . . . .
F# on the D atriog . . . . . . . . . .
ind finger on the A string . . . . . . . . . .
Srd finger 00 the D .tring ..........
1st fingt"r on the A string ..,.......

(10) Divide the following ioto measures?

1 J IJJ nnnJ J J n
I !JJ J J..hJ J JJJ
(11)

(1i)
Writ. (notote) th. key-.ignotures

This sign
01 D ond A Mojor

connf."Ctingtwo or more notes means?

~ I
(13) What is a scalt>? . . . . . . . . . . . . . . . . . . . . . . .

I
(14)

(15)
Writ. aud "",,11th. D mojor ..,ole?

How many D's can you play?

*
........ E's . G's .

(16) Mark the count undt"r the lollowiog? J. )\ J IJ n J U J. )\ n J IIm J ,

(17) Play the D Major acate aod arpt>ggio from memory. . . . . . . . . . . . . . . . . . . -... . . . . . . . . . . . . . .

(1M) What i. thi.

~ called? ... .
20 TEST-QUESTIONS THROUGH LESSON 14
(1) This aign :1: means? ............
(i) This sign meaDs?...........
(S) Name the lollowing lioes and spaces 01 the staff?
1st space .......... ind space . . . . . . . . . .
4th lint> . . . . . . . . . . 1st line . . . . . . . . . .
Srd space . . . . . . . . . . iod line ..........
Srd Une. ......... 1st space below the ataff . . . . . . . . . .
4th space . . . . . . . . . . Srd space below the staff . . . . . . . . . .
(4) The key 01 i sharps is? . . . . . . . . .
(5) Tht> kt>y 01 :1 sharpa is? .... . ....

(O) This note has. . . . . . . . . . counts?

(7) Thia nott' has. . . . . . . . . . counts?

(8) "ich fiogt>rshould h(' ust"d lor the lollowiog notes?

C# on the A string . . . . . . . . . .
E 00 tht' ]) string ...... . .
D on tht> A string . . . . . . . . . .
(9) What note is played with the following fingers?
1st fin~er on the D string . . . . . . . . . .
Srd fingt>r on the A striog . . . . . . . . . .
ind fin~er 00 the D striog . . . . . . . . . .
B on the A atring . . . . . . . . . .
.. G on the D atriog . . . . . . . . . .
F# on the D atriog . . . . . . . . . .
ind finger on the A string . . . . . . . . . .
Srd finger 00 the D .tring ..........
1st fingt"r on the A string ..,.......

(10) Divide the following ioto measures?

1 J IJJ nnnJ J J n
I !JJ J J..hJ J JJJ
(11)

(1i)
Writ. (notote) th. key-.ignotures

This sign
01 D ond A Mojor

connf."Ctingtwo or more notes means?

~ I
(13) What is a scalt>? . . . . . . . . . . . . . . . . . . . . . . .

I
(14)

(15)
Writ. aud "",,11th. D mojor ..,ole?

How many D's can you play?

*
........ E's . G's .

(16) Mark the count undt"r the lollowiog? J. )\ J IJ n J U J. )\ n J IIm J ,

(17) Play the D Major acate aod arpt>ggio from memory. . . . . . . . . . . . . . . . . . . -... . . . . . . . . . . . . . .

(1M) What i. thi.

~ called? ... .
 LESSON 15
Detached Notes in One Bow
Semi-Staccato
A dot placed above or below two or more notes connected by a slur indicates that tho notes are to
be played in one bow with a short pause between each note. The bow is simply stopped and then
started again. The bow) however) must not be lifted from the strings. A slight pinching of the stick
at the beginning of each note will produce tha desired effect.

Wri tten Played 'Vritten Playcd

n V n V n

~ ~------
~ 0------.
o o 0 0

V- n Y-o
@ n V n
r-==r-:l
~ ~
---------

--
Holy, Holy, Holy Dykes
,.,
V n

~~~ V n
~
~ ~.
MYM.

~ .
~~i
0

IIay"dn
(From Second Symphony)
r~
Adapted

~
~ ~

v
V

~'I

o o ~
~

~ .
B.M.CO.8880
22

LES SON 16 ;L'

The Fourth Finger on the D and A Strings
This finger being short and weak requires a great de al of attention to make it as strong as the others.
Keep the elbow well under the violin, stretch the fourth finger and press firm1y with the tip upon the string.
The fingers must be pressed firmIy upon the strings in order to produce a clear tone. "Whole tone fram D to
E. "Whole tone from G to A.

~~~~

..
I
~----.._--
!.._-----------

@~
~(~ ..~
~

Old English Song

Adapted

..~

.'
Lightly Row

The Cuckoo

~ ~
n
~.J~
B.M.Qo.8880
 23
LESSON 17
The Up-Beat
Many pieccs begin with an incomplete measure} usually starting with the last beat or frachon thereof.
This is called thc up-beat and is generally played with an up bow. The ending always completes the
measure of thc up-beat. Follow the bowings carefully.

.
Two German Folk Songs
CD n

.
(g) V
- V

..
@

"
v n
Away in a Manger
(Flow Gently, Sweet Afton)

- 'I'''~..
~
Spilman

.
The First NoeI Traditional Christmas Carol
@ o n V n n V n
V V 1"'1 V nV

.
@
~

V n
.

Vn V nV
Blue Bells of Scotland
n V V
V

~ ~ e
.

.
.
:ID n

-Note: Place the finger on two strings at once.

.. Hold- A short curved tine drawn over a dot, prolongs
RM.Co. 8880
German Folk Song

the time of the note.

 LESSON 18
H ym ns and Folk Songs embracing the different kinds of notcs and bowings thus far studied. Review the
writt('n work at the top of cach page. Play the bowing and fingcring as marked.

Gone Are the Days

. o Stephen Foster
V M V- 4 o
'1\

~.._~=:
~-~,--

.
-~
v V

While Shepherds Watched Their Flocks

Arr. froro Handel
V n V 4 V ~- V-;:::

Stephen Foster Melody

~~
. Gaily the Troubadour

~-
V Bayly
EIGHTH 4

B.
M.Co.
8110
 LESSON 19
Five tones on the E String
(Violn and Bass 001,)
Open E 10 FI whole tone; F# to GMwhole tone.
G' to A half tone and Ato B whole tone.
Key ofE Major FI,cl,G', DI.

Folk Song 01 the Civil War

.
CID

Seale o A Major
FI, el, G#. Half tones el to D. GI to A.
Play the following sca1es and arpggio with different bowings as indicated.

~(\~
~~ LJ A LJ A

Auld Lang
LJ

Syne
LJ A LJ U A

(Scotch Folk Song) V

~~
. 4

Dome work: Write 4 lines of notes, using new notes on the E string. Mark name below and finger
Write A Major seale 6 times marking the same as the D Major. Study new key signatures.
B.M.Co.8880
used above.
 26

LESSON 20
Five tones on the G-String
Open G to A whole tone, A to B whole tone, B to C half tone, C to D whole tone.

Keep the elbow well under the violin so as to let the fingers fall straight upon the strings.

"

Oats and Beans

@

.
Scale of G Major
One sharp, F#. Half tones B toC, and F# to G.

Play the following scales and arpggio with different bowings as indicated.

~(~~ LJ' / ~ u=-

.

A~
.

~ A~
~ A~

'~I~~ .~CJ
."""
1\
.

LJ'--' A= U A ~
U A'-"
-

U'J A LJ A~
-.

U'J A
.

LJ
A'-.
U

Old Folks ~t Home

Home work: Write 4 lines of notes on the G string as before, also scale of G Major 4 times. Mark half steps.

a.M.Co.8880
 21
LESSON 21
Review of the different keys, rhythms, and bowings thus far studied.

Annie Laurie Scotch Air

V

~
. ~..

~~ ~
.. ,
Old Melody

':-'

..
Largo from New World Symphony
.
Dvork

.~-~-~-7t-1
Hymn Henry Smart
. n n

~ J~. j~ ~
V

- ~
v
~~.~ ~
n
~r.
~B.M.Co.8860
.
I
28

LESSON 22

Ensemble Playing

Pieces arranged for trio (ti,,... pa,.tN and quartet (f'ou,. ,.,.'8) are given for your training la eIi$elltble
(to8ete,.) playing, and also to prepare you for your place in the school orchestTL Heretofot'e 1OQ.b&'M .twa.J$
played the melody, but in these arrangements you will play s~cond8.ry or harmony parta.. U. Tune.
that you have played before in this book were selected so that you could hea.r the melody 'WhUe pla.yiDg
a secondary parto Listen carefully to ALL the parts so that you keep in time and in tuue (Ac"fIIU).-Jwith
them. Learn to play each part equally well so that you can take turns with tbe otber mem.~ra of ~ ctass
in playing the different parts.

Twinkle, Twinkle, Little Star

(Trio for Three Violins)

Au. c.P. B.
~~ti n
Pupil . -
4 I I . . I

A ~ti n . I I I

Pupil
- .
ft - - - I t 1

\
Teacher ~~-
,\4 I'T
.. -.. ...... .... 6- ~~..6- -

~~~" I I
- I

~I I I I I I

~ti I I I I I I

~I I I - - -
~~~~~-
'--- ............ - .. -6" - ..

B. K.Co. 8880
 29

LESSON 23
Lightly Row
(Trio for Three Violins)
German Folk-Song
Arr. C. P. B.
n
" " v.

Pupil

v
Pupil

Teacher

..

German Folk Song

(Trio far Three Violins)
Arr. C. P. B.
4 .. V
'1 U 1'"1V l I r'1
Pupil
41
.. .. I . . . I I
~u r'1'
Pupil
~.
~U ,., V
Pupil
. .... .... ~~.. . . . . .. ~~CJ
B.M.Co.8880
80
LESSON 24
Old Folks at Borne
(Quartet for Four Violins)
Stephen Foster
Arr.C.P.H.
Melody
n n
Pupil

M
Pupil
II~
.
~.. . I I r
l' - 1
$"

Ll1eIOdy.
.. - -,.... M I I I I
..
I

~. .
Pupil
.
~.

Teache
1I .. I I r~~n

. . .
..

o ,

.
Melody
M

. .
M

B.M.Co.8880
 31
LES SON 25
Gone Are the Days
(Quartet for Four Violins)
Stephpn Foster
Arr. C. P H.
Mel odY
n n v
Pupil
.
------
Melody
v r1 y
Pupil

y
Pupil

v
Pupil
.
"--""
i1 " "

Melody
"

Melody Melody
v v

"

nV

B. M.Co. 8&60
82 TEST..QUESTIONS THROUGH LESSON 25
(1) This sign 1":\ means?
""""""""""

(i) This" is an . . . . . . . . . . rest?

(3) This sign r placed above or below two or more notes means? """.'..".

(4) Finger the lollowing?

(5) Bow the 101Iowing?

J ,J J J J "n, J J J "D' J LJ "
(6) Mark the count underthe lollowing?
i)\J )\, J n DI J. mi 'J. J 11
(7) Name the five tones on the E string? ....................
(8) What is the signature 01 E Major? ............

(9) Write (notate) and spell the seale 01 A Major?

~ I
(10) Name the five tones on the G string? .............
""""

(11) What is the signature 01 G Major?

(12) Write and spell the G Major seale?

~ D

(IS) F1nger the lollowing?

~
(14)

(15)
Finger the lollowing?

~
Write the lollowing notes:

2nd finger on the D string

~ 1st finger on the E string ~
Srd finger on the E string
~ 8rd finger on the G string ~
1st finger on the G string
~ 2nd fioger 00 the A string
~
4th fingr on the A string
~ 4th finger 00 tho E string
~
2nd finger 00 !he G string
~ Srd finger 00 the D string
~
(18) Write the sigootores 01 G-D--A aod E major. M ~ ~ I

(17) How many 01 the foUowing notes can you play? F# B G A E.....

(18) Write (nototo) yom answers lo No. 17.

~ I
(19) Musie written for three instruments is caUed? "-o.. ..................
(20) Musre written fOl lour instruments is cal1ed? o.' o.",",,,,,,,.,,,,, o...
'"'
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Hymns taken from youth and children's hymnals known throughout
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