The following is a set of scales that uses the octave pattern of the fingers. These two scales can be studied extensively with slur patterns of 2, 3, 4, 6, 8, 12, 16, & 24, including bowing variations. After a degree of mastery is achieved with the scale, arpeggios can be added.

G Major uses open to start, then first finger to begin each subsequent octave.

E               1 2 3 4

A        1 2 3 -1 2 3 4

D 0 1 2 -1 2 3 4

G 0 1 2 3

A Major uses 1 for the beginning of each octave.

E               1 2 3 4

A        1 2 3 -1 2 3 4

D 1 2 3 -1 2 3 4

G 1 2 3 4
 

After extensive study of these two scales (and arpeggios) you may introduce Flesch or the Barber Barber scale books.

Souvenir de Sarasate is a vibrant piece for the advanced player. A firm foundation in chords in various positions is necessary in order for the student to have execute this work well. Techniques used in the piece include:

• Double stop passages moving through first, second and third position
• Left hand pizzicato
• Harmonics
• Off the string strokes
• Fast arpeggios and triplets

The opening of the piece runs through arpeggios and neighboring triplets, this section, once mastered, will be repeated through the piece.

The first double stop passage that begins in m. 4 should be played with a spiccato stroke. Initially, moving pitches should be practiced without the open string drone. The last three chords use fingered notes on two strings and cross string, so they may require special attention. Spiccato stroke should be practiced in double stops without the use of the left hand to make sure timing of double stops and string crossings are in place with the proper articulation.

In m. 10, the first left hand pizzicato section is introduced. If the student has previous experience with left hand pizzicato, this one will not prove to be as difficult although it does shift. Pitches may be practiced with the bow (without use of pizzicato). If intonation is correct, the player should add the left hand pizzicato. At the end of this passage, the bow needs to move to the tip to prepare for the next entrance.

A new double section begins at m. 17. This one includes also gets more difficult as it progresses. The last two chords should be practiced and placed carefully. The first finger can be played across the two strings on the last three double stops. This passage should be practiced similarly to the other double stop passage. It ends with an arpeggio and two harmonics. The player should use a fast bow for these harmonics.

At m. 19, a new theme is introduced. It uses double stops that go between first, second, and third positions. Some will use portamento. This is possibly the hardest to tune section of the work. As the player shifts, consideration for finger spacing should be made. Proper placement of half steps will ensure correct notes and tuning.

The minor theme at m. 35 (key change) has moves between positions and has excellent opportunities to explore expressive shifting.

The most difficult left hand pizzicato section in the piece is at m. 43. This section can be performed without the left hand pizzicato if necessary, however, with some work, it should be able to be performed. The bow hand should practice the some what syncopated rhythm without the left hand. The tempo should slow in this section, also.  The dynamic contrast in this section may also pose a problem during practice.

Another spot for double stop portamento occurs in m. 50. This measure should be examined carefully to make sure the player is using the proper spacing between the fingers across the strings on each double stop. The thirds in m. 48 may also pose a challenge for players inexperienced with shifting through thirds. The finger spacing on these must also be calculated.

In m. 74, the short coda that includes some left hand pizzicato should be practiced as a preview.

Polish Dance by Edmund Severn is an excellent show piece for an experienced player who has some experience with chords and double stops. The student needs to have a firm basis in shifting and intonation before playing a piece of this level. Techniques used in the piece include:

• Left hand and right hand pizzicato
• Double stops and chords
• Harmonics
• Passages shifting high on the G string

In the introduction, the student should spend time learning how to properly break the chord across the string. On a down bow, you should break the chords before the balance point. On up bows, you should break them after you get a firm start on the lower two strings.

In m. 9, the left hand pizzicato section should be practiced slowly by placing the finger then plucking with each finger. The bow can be practiced separately to make sure there is a proper lift to allow the pizzicato note to speak. Finally, it can be put together and timed very precisely.

In m. 19, the chord should be broken at the balance point, and in the following measure, the player will need to use a lot of bow on the up bow to get back to the lower half of the bow for the double stops that alternate strings. This section can be practiced without the left hand to ensure bow accuracy in string crossing.

In m. 22, there is a sul G section. The player can think of keeping the bow parallel to the floor with a deep tip to get a rich sound in this passage.

In m. 46, there is a shift from first to fourth position. It uses the new finger to shift up. The player does not need to hide this shift (as the passage is already espressivo).

Another spot that may require some attention is m. 59 to 64. This passage contains harmonics and trills. Timing on this seems to be difficult. Getting harmonics to speak may prove to be difficult as well as timing the trills. At the end of this passage, you will go back to the original theme.

In m. 80, there is change in key signature and an introduction of a new theme. The passage is low on the G string and does shift to third position on this string. The marking “doloroso” evokes a painful or mournful feeling for this section.

In m. 106, there is a new theme with new double stops and chords. In m. 109 of this section the player must shift from third position to a new double stop using the same fingers in first position. This allows the player to use portamento to move from one chord to the next. The finger spacing will change from a whole step in third position to a half step in first position. This must be practiced for intonation.

A difficult left hand pizzicato section occurs in m. 122. The player must move back and forth between two seemingly simple chords that will be plucked by the left hand. The pizzicato and chord changes should be played without the bow getting involved until that can be mastered. At that point, the player can add properly timed down bow double stops into the equation. Although this passage seems simple to the eye, it will take quite a bit of time to coordinate.

In m. 157 to 162, the moving line should be practiced by itself as it shifts up and down, the the D string drone can be added.

The final section of the piece includes a few new challenges with a fast arpeggio followed by moving triplets that moves through a chord progression in m. 235. Intonation may be a challenge on this sequence. The frame of the pitches should be practiced without the repeat triplets for tuning. Once the tuning through the chords and shifting is in place, the player should add the repeated notes. At the end, you find a fingered harmonic that can be tricky to find and lace the its preceding grace notes. Movement from the previous chord in third position to the fingered harmonic should be practiced to assist with this move.

The Boy Paganini by Edward Mollenhauer is a great piece for a young violinist who has learned some shifting. It  gives the student an opportunity to explore music besides the baroque. Techniques necessary for the piece include:

• Shifting to fifth position
• Harmonics
• Left hand pizzicato
• Slurred and arpeggiated chords
• Off the string strokes using “colle”
• Intermediate bow distribution

In the opening of the tune, various bow distributions will enable the student to express the phrasing more eloquently.  Accidentals in the opening will pose a challenge for tuning. Students should know the finger patterns for each part if tuning is a problem.

Various approaches are seen to harmonics throughout the pieces. In m. 11, an extension from 3rd position will allow them to reach the first partial on the E string. Good bow speed and use is required for any harmonic. In m. 32 and to end end of the first movement, there are harmonics of various partials on the G string. The student will need to work on making each of these harmonics speak clearly. Although they are marked at the point of certain notes, they may be slightly below or above where they marked. This would be an excellent opportunity to talk about the divisions of the strings that make harmonics.

In the second movement’s theme, the colle stroke make be used on the repeated up bow strokes. Another opportunity to use the colle stroke is in m. 56 as the student plays grace notes and brings the bow slightly off the string with the fingers.

The variation in the second movement will require practice because its use of bowed notes and left hand pizzicato. Some exercises may be done to prepare for this. If the student has played The Puppet Show by Josephine Trott, they should have a firm grasp on left hand pizzicato. Rhythmically, I found the entrance in the variation to be a challenge.

The variation also has some chords that are slurred as arpeggios. The student will need to be able to place fingers correctly in tune without the bow. If a passage of this type is new, you may also preview rolling the bow across the strings for the arpeggio. I found using the wrist motion made this work more smoothly for this passage. I do not think that this is the bowing used in the Mendelssohn Concerto.

I found spiccato section marked in m. 112 is more likely to be sautielle if the piece is moving fast enough. A challenge through this section would be to have the student put the stroke back on the string (through the crescendo) and then move it off again (through the decrescendo).

The first movement of the Charles de Beriot’s Concerto No. 9 in A minor  in an excellent showy piece for the developing violinist. The work moves up to 8th position on the fingerboard and uses extensive passage of double stops on multiple strings including thirds, fourths, fifths, sixths and octaves. Students will read passages an octave above. Those passages can be practiced lower on the fingerboard before taking into higher positions. Students should be very comfortable with shifting to all positions while keeping the left hand shape intact. The bow should be able to work efficiently in string crossings, slurred runs, long strokes, and double stops with string crossings.

It is available in the Barbara Barber “Solos for Young Violinists” Volume 4. It also comes independently as a concerto with all movements in an edition by Schirmer, edited by Henry Schradieck.  In the Schirmer edition, there is a note error in m. 38. The F# should be F double sharp.

To prepare for this piece, I would recommend students play a three octave a minor scale in all forms (natural, harmonic, and melodic), and the Flesch arpeggios, with appropriate accelerations. Students should also play an a minor scale in octaves, making sure that the second and third finger of the left hand float along on top of the string without tension.

Teachers may also want to prepare students with an etude that uses sixths, fourths, fifths thirds, and octaves in this key signature. I would recommend Etudes No. 12, 13, and 17 from the Josephine Trott Melodious double stops. Or even No. 18 from de Beriot’s own “Thirty Concert Studies.”

Ornamentation used in the pieces includes trills, grace notes, and ornamental runs. All runs will need to be timed appropriately. Grace should also be practiced at slow tempi for precision. Trills should be removed to help with rhythm and added as soon as notes and rhythms are clear.

Chromatic passages should be worked to make sure half steps and whole steps are accurately paces. Examples include m. 38, 48, 49 and 50.

There is an interesting trick in m. 55. It is introduced in 1st position and can be practiced several times there without shifting. As the piece continues in m. 57, the figure moves up and down the fingerboard. The teacher can help student master this and move it up and down the fingerboard as a preparation to playing the passage as written.

Extensive octave work is used in m. 62 to m. 73. Scales and other melodies in octaves would be helpful for this section.

There is a sul D passages in m. 90 that is repeated in m. 98. This is great practice for a later section that is sul D with a double stop drone of open G. This passage can be practiced without the G drone until shifts are comfortable. The G will assist in tuning of the passage.

In m. 110, another trick is used. There is a 6 note bariolage pattern repeated up and down the fingerboard. It can be practiced low on the fingerboard and moved up and down the fingerboard chromatically (away from the music) to assist with practicing this passage.

There is a high double stop passage in m. 116 that can be practices in third position without and with double stops. The difficulty will be the angle of the first finger in position to enable the student to keep the first finger across two strings in sixth position. The strings become further apart at this high position, so placing the finger on both strings becomes difficult.

The Barber edition has a change in position in m. 18. I prefer the Schradieck fingering that remains in the higher position. This is great practice for when students will see this type of work in more difficult concertos.

Broken chords in m. 124 can be practiced by moving the left hand from chord to chord (without use of the bow), then adding the bow. This passage can also be practiced with just the bow hand alone to get proper string crossing and sforzando articulation.

The final difficult passages will be the chordal section in m. 130. The notes on the A and E string can be isolated and worked to incorporate the double stops with extensions. Pinky may need to flatten and elbow come around the body of the violin to reach the octave between 2nd and 4th finger. Once the upper notes can be placed and played in tune, student can add first finger on the D string. Finally, this passage can be played completely. If string crossings with double stops, open strings can be isolated to practice this type of bow work.

Other things that may need to be practiced in order to perfect this piece may include shifting between some of the larger leaps in the piece, especially in the introduction.

These are the words to Long Long Ago, by T.H. Bayly. I change them slightly for teaching. You will see my change below.

Tell me the tales that to me were so dear,
Long, long ago; long, long ago.
Sing me the songs I delighted to hear
Long, long ago; long ago.
Now you are come, all my grief is removed.
Let me forget that so long you have roved.
Let me believe that you love as you loved,
Long, long ago; long ago.

2. Do you remember the path where we met?
Long, long ago; long, long ago.
Ah yes, you told me you ne’er would forget.
Long, long ago; long go.
Then to all others, my smile you preferred.
Still my heart treasures the praises I heard.
Still my heart treasures the praises I heard.
Long, long ago; long ago.

3. Though by your kindness my fond hopes were raised,
Long, long ago; long, long ago.
You, by more eloquent lips have been praised,
Long, long ago; long ago.
But by long absence your truth has been tried.
Still to your accent I listen with pride.
Blest as I was when I sat by your side,
Long, long ago; long ago.

My version for teaching.

Tell me the tales that to me were so dear,
Long, long ago; long, long ago.
Tell me the tales I delighted to hear,
Long, long ago; far away.
Long Long Ago, Ribbit, Far Far away.
Long Long Ago, Ribbit, Far Far away.
Tell me the tales that to me were so dear,
Long, long ago; far away.

These are alternate lyrics to Song of the Wind. It is actually a German folk song. The literal translation is below.

German text:

Fuchs, du hast die Gans gestohlen,
Gib sie wieder her!
Gib sie wieder her!
Sonst wird dich der Jäger holen
Mit dem Schießgewehr,
Sonst wird dich der Jäger holen
Mit dem Schießgewehr.

Seine große, lange Flinte,
Schießt auf dich den Schrot,
Daß dich färbt die rote Tinte,
Und dann bist du tot.

Liebes Füchslein, laß dir raten:
Sei doch nur kein Dieb,
Nimm, du brauchst nicht Gänsebraten,
Mit der Maus vorlieb.

English translation:

Fox, you’ve stolen the goose
Give it back!
Give it back!
Or the hunter will fetch you
With his gun,
Or the hunter will fetch you
With his gun.

His big, long gun,
Shoots a small shot at you,
So, you’re tinged with red
And then you’re dead.

Dear little fox, let yourself be advised:
Don’t be a thief,
You need no roast goose,
Rather take a mouse.

German setting:

Ihr Kinderlein, kommet, O kommet doch all!
Zur Krippe her kommet In Bethlehems Stall.
Und seht was in dieser Hochheiligen Nacht
Der Vater im Himmel Für Freude uns macht.

O seht in der Krippe Im nächtlichen Stall,
Seht hier bei des Lichtes Hellglänzendem Strahl,
In reinliche Windeln Das himmlische Kind,
Viel schöner und holder, Als Engelein sind.

Da liegt es, ihr Kinder, Auf Heu und auf Stroh,
Maria und Josef Betrachten es froh;
Die redlichen Hirten Knien betend davor,
Hoch oben schwebt jubelnd Der Engelein Chor.

English setting.

I discovered there is an Easter hymn to the music of Chorus from Judas Maccabeus. Thanks to Nancy for sharing with me:

Thine be the glory, risen, conquering Son;
endless is the victory, thou o’er death hast won;
angels in bright raiment rolled the stone away,
kept the folded grave clothes where thy body lay.
Refrain:
Thine be the glory, risen conquering Son,
Endless is the vict’ry, thou o’er death hast won.

Lo! Jesus meets us, risen from the tomb;
Lovingly he greets us, scatters fear and gloom;
let the Church with gladness, hymns of triumph sing;
for her Lord now liveth, death hath lost its sting. Refrain

No more we doubt thee, glorious Prince of life;
life is naught without thee; aid us in our strife;
make us more than conquerors, through thy deathless love:
bring us safe through Jordan to thy home above. Refrain

Words: Edmond Budry (1854-1932), 1884;
trans. Richard Hoyle (1875-1939), 1923;