METHODBO
Joselito
C. Alejandrino
OLIN FINGERING Cf.lART (SOL) (RE) (LA) (MI)
G
DA
E
Low 1 st Finger (index)
Low 2 2nd Finger ( iddle)
3rd Finger (Ring)
High 3 Low 4 Finger (Pinkie)
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METHOD BOOK
Joselito
c. Alejandrino
First Printing © 2008
SOUND PUBLISHING CORPORATION Makati, Philippines
All rights reserved. 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.
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 Author
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 Author
CONTENTS Partsoftheviolin
6
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6
Howto attachstringscorrectly Howto tuneyourviolin Thefourstringsof theviolin Tetrachordpositionchart Howto holdthe bowcorrectly Howto drawthe bowcorrectly Fingerandbowpressure Positionandaction Howto takecareof yourinstrument
7 7 8 9 10 12 16 16 17
Exercisesonopenstrings Exercisefor combinationsof allthefourstrings Exercisesfor gainingfirmercontrolot the bow Exercisesfor crossing andconnectingthefourstrings Exercisesinquarternotes Fnatural Etude1 214time Etude2 3/4time Scaleof C Major
18 22 23 33 33 35 37 38 39 41 43 44 45 45 46 46 49 50
Etude 3 eighth notes
Dottednotes LegatoPlaying Slurrednoteson onestring 3 notesin onebow 4 notesin onebow Changeof Strings Fourthetude Relalivedistances Fifthetude ScaleofA minor Notesofdifferenttimevalues Sixthetude Scaleof G Major Brokenchords Exercisesforcrossingthestrings Wholebow Skipacrossoneortwostrings Exercisefor changeot bow Exercisesacrosstwostrings Exercisesfor differentdynamicexpression Scaleof E minor
51 52 54 55 55 56 57 59 59 61 61 62
Technique development
63
51
Scroll
o----------~
Pegbox~------~------~~
4-----<")
Nut
f+-~---o
Fingerboard
Pegs
O----------fltl.1
Neck
11+------0
Top cr-..-..-..--~
Strings o-------4-+Ti'T-f.l
.....,f-------Q F hole •.~~-----o
Bridge o---t~~~~b Fine tuners
Sound post
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Tail piece
Ch in rest o-----.;w---.
~..~~~=-----o
End button
PARTS OF TUE BOW ."
point
StiCk}
Adjusting screw
Bow grip 6
WOW TO ATTACU STRINGS CORRECTLY
Incorrect
Correct
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.
7
rUE FOUR gTRINGg OF rUE VIOLIN
(SOL)
(RE)
(LA)
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A
(MI)
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Indicates Down-Bow.
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Indicates Up-Bow.
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Indicates Open String.
8
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E
F
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TETRACUORD POSITION CUART • Major Tetraehord Position Tetrachord : First four notes or last four notes of a scale
OPEN STRINGS
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Major Tetrachord : First four notes of a Major scale. E
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Minor Tetrachord : First four notes of a minor scale. }
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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)
1.
2.
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) The thumb must be placed simultaneously against the nut and the stick. (fig. 3 & 4) 3.
4.
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) .
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.
11
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) 9. Incorrect
10. (Incorrect)
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. 11. (Correct)
12
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)
13.
12.
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. 14.
15
13
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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Variations in the position ofthe right ann in executing a 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.
ImQortant PrinciQles Concerninq
(:lKG.~~A.Kt) BOW P~~~~UQ.~ 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. 16
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.
17
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ETUDE 1 2/4 time
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I'byIlhms and bowings with good bow division. 63
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BOW DIVISIONS
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10.
d
18.
d.
J J
11.
J
19.
J nJ
12.
nJ
20.
J J
n
21.
nJ
J
J J.
22.
J. J J ---------
J"-' J
23.
J
,
r-I
3.
d
4.
J J d
5.
JmJ
6.
J.------ J. J. J
1"4.
J. J J J. ----.---
15.
J
J ----
•
•
= M.
J J
J
7.
Middle
9.
2.
~
= L.H.
2 4
J J J J r-I
Lower Half
•
8. Slur 4 notes
13.
nn •
~
16. Slur 2 notes
64
•
•
J --------~
24. Slur 3 notes
