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TWO VIOLINS

BOOK ONE

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To the Teacher:

FOREWORD This Chamber Music book is to be started when the pupil reaches page 24 of the Samuel Applebaum String Method. However, it can be used in conjunction with any good string method. It can be played by: Two Violins - Two Violas Two Cellos Two Basses. Violin and Viola - Violin and Cello - Violin and Bass. Viola and Cello - Viola and Bass Cello and Bass.

To the Pupil:

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derive the greatest enjoyment from playing chamber music, you will want to train yourself to do the following: 1 To Sight Read. You must memorize the sensation of reading ahead. In this way you will be widening your peripheral vision. Play 0 e measure-look away-and try to playas many notes as you can in the next measure. Practice this regularly to Improve your sight reading. 2. To Develop a Beautiful Tone. Avoid touching two strings. If you do, move your right elbow a bit higher, or lower, to find the right string level. If you scratch on an note ou rna be pressing the bow on the strin a bit too firmly. Try c;JJ:awing the bow a bit faster and ~ la . r. o ve op the best possible quality, experiment by drawing the bow in the center between the bridge and the fingerboard, or by drawing the bow closer to the fingerboard, or to the bridge. There is on% one lane on wbich to d(a~ost beautiful Jone, ~ depending, of course, on how loudly you are playing and how quicklY you are rawlng the bow. ---- ­ 3. To Develop Tone Color. Practice playing loudly and playing softly. You might practice this with scales or with lines in this 0 learn to la raduall louder, and aduall softer. chamber music book. You ~e an l:_ ~~\Vltl.K!h~\!JLl:ti.Lfast~r at the start of the note. Learn how to ~£~£'!1!.5erl!itLll~ 4. To Play Musically. Tl}: to find out where each phrase begins and ends. Does it begin on an up 6eat or does it start on the beginning of a measure? Does it start in the middle of a measure? Many times you :w:ilLi!IJow a sligh!'RausS (w:JlJ£aJ:h} bl;OO[e )(OU sYG

tJlr..De w phrase.

To play musically, you will pia th st note of man hrases a bit softer than the revious note. Listen carefully to your partner. If you ave erne 0 y, p ay JU a It lrmer. your partnernas the melody, playa bit softer. However, when both parts move together In thirds, sixths or in octaves, the dynamic level should be the same. ~hen both parts move together, try to use the same amount of bow. V To Play In Tune. Listen very carefully to each other. When you practice alone, compare as many notes as possible to the open strings. If the note is out of tune, move your finger higher or lower until it is in the correct spot on the fingerboard. MEmorize just what you did to play the note in tune. -~"''''~''''~._~_~~-'__ .... ~~"'

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EACH BOOK IS COMPLETE IN ITSELF, BUT ALL ARE CORRELATED WITH EACH OTHER.

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The VIOLIN Method For Class Instruction

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Individual Tutoring

EACH BOOK CAN BE USED SEPARATELY. HOWEVER, FOR A WELL-BALANCED PRACTICE SCHEDULE THESE SUPPLEMENTARY BOOKS SHOULD BE USED IN CONJUNCTION WITH THE l'rlETHOD ITSELE

ETUDES FOR TECHNIC AND MUSICIANSHIP

CHAMBER MUSIC FOR TWO STRING INSTRUMENTS

CHAMBER MUSIC FOR STRING ORCHESTRA

THREE SEPARATE VIOLIN SOLOS WITH PIANO ACCOMPANIMENT

Interesting Etudes which are designed to develop a fine left band and a well-poised bow arm, as well as the fundamental prin­ ciples of good musicianship. The object is to correlate technic­ building with musicianship.

A collection of beautiful duets for any two string instruments which are interchangeable. Excel­ lent for chamber music perfor­ mance.

A collection of lovely chamber music works which may be played by string orchestra or string quar­ tet, or various other combinations of string instruments, with piano accompaniment.

For concert use, but cor­ related to the Method, transcribed by Samuel Applebaum. 1. Smooth Sailing ... Efrem Crnnwttl 2. The Space Waltz. ...L. S~ 3. Dance of the Clowns. .. F. ~

2 Notice the open strings in the top line of the "Chorale". You are to keep fingers down while the open strings are played. We do this for two reasons: 1. to conform to the Samuel Applebaum String Method, 2. to develop a well-shaped left hand by clearing the open strings. In No.2 - "Sailing", count carefully during the rests.

1.thorale /'

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3 I n No. 3 make sure that you both move together on the half notes.

I n No. 4 change parts when you repeat this number.

In No.5 listen carefully so that you will move together on the quarter notes.

3. Solitude

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) over the notes in the 5th measure. Stress these. notes by playing them a bit louder and by drawing the bow a bit faster.

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