5295 CELLO / Book 1 A COMPREHENSIVE STRING METHODStrings A COMPREHENSIVE STRING METHOD JACQUELYN DILLON * JAMES KJELLAND + JOHN O'REILLY Dear String Player, You are starting on a journey that will teach you many valuable and enjoyable things. The most important is how to make music— an activity you can enjoy your entire life! Playing an instrument will open up a new world of friendship and fun as you learn to make music with others. Becoming a musician will also bring you many other important benefits. You will learn how to listen carefully, how to work carefully to reach goals, how to enjoy achievements, and how to cooperate and share with others in the music-making process. We wish you great success and enjoyment in your new endeavor. Welcome to the world of string music making! Yours truly, Jacquelyn Dillon James Kjelland John O'Reilly ea) © Copyright MCMXCII by Highland/Etling Publishing, a division of Alfred Publishing Co., Inc ‘Cover photo courtesy of Scher! & Roth and United Musical Instruments US.A. Ine Cover design: Ted Engelbart and Trish Meyer ee eee2 m@ TAKING CARE OF YOUR CELLO @ TAKING CARE OF YOUR BOW a‘ HANDLE WITH CARE! Your cello is made of breakable wooden parts, 0 repairs can be expensive and time-consuming. Do not let anyone play your cello unless it is your teacher or an experienced cellist you trust. Always store your instrument safely in the bag (case) when you are not playing it. When you set your cello down on its side, be sure to put the end pin back in so you don’t trip over it. Never drag the side of your cello on the floor as you put it down or pick it up. This will avoid damage to the edges. When carrying your cello, be sure not to bump the bridge on doorways, chairs, ete. Keep your cello clean! After playing, wipe off the rosin dust, smudges, fingerprints, etc., with a soft clean cloth. Always wash your hands before playing your cello, Do not let your instrument get too hot or too cold. If the temperature is uncomfortable for you, it is also bad for your cello. For example, never leave it in a car on a hot or cold day. Allow only an experienced repair person to fix your cello. Make sure your bridge is lined up correctly and standing straight at all times. If it gets out of place, ask your teacher to straighten it for you. HANDLE WITH CARE! Your bow can easily be broken if you drop it, step on it, etc. Just as with your cello, repairs can be expensive and time-consuming. Be sure to remove your bow before you take the bag off your instrument. Always put your bow back in the bag after the bag is on your cello, otherwise the bow might get broken. Keep your bow clean! Wash your hands before playing and wipe rosin and smudges off your bow stick after playing. Avoid touching the bow hair, Dirt and skin oils will ruin the hair. Rosin your bow hair regularly. Have your teacher check to see if you are using too much or not enough When tightening or loosening your bow hair, press lightly on the corner of the frog with your left thumb while you turn the tension screw with your right hand,Ml PARTS OF YOUR CELLO ™@ PARTS OF YOUR BOW 10 n 2 B 4 5 16 10. un 12. 13. 14, 15. 16. A scroll peg peg box nut fingerboard neck top ribs (on the side, not shown) fhole bridge sound post (inside) fine tuner tailpiece saddle tail gut (not shown) end pin Cover up this column to test yourself! v tip bow stick bow hair winding ferrule frog tension screw4 ™ HOLDING YOUR CELLO Figure 1: Getting into Position — Study the pictures carefully. — Pull the end pin out far enough to make the scroll of the cello at least as high as your chin when you are standing — Sit “tall” on the front edge of your chair with your knees bent and your left foot slightly forward. If you are sitting correctly, you can stand up quickly and easily, — While holding your cello straight up and down, and at arm’s length, center the end pin in front of you. (Figure 1) — Bring your cello toward you so the upper edge ‘touches the center of your chest. The lowest eg should be touching your head just behind your left ear. (Figures 2 & 3) — The inside of both knees touch the sides of your cello. Do not grip with your knees. Figure 2: Good Posture and Position The bow should not hit your knees if you are in the correct position. If your position is correct, you should feel relaxed and balanced in your chair—able to easily move from side to side.M1 PIZZICATO POSITION —_ Study the picture carefully. — Place the tip of your right thumb on the side of the fingerboard (near the corner) — Extend your first finger and pluck the string. (Figure 4) — Make the string vibrate as much as possible for the best sound. LEFT HAND PLAYING POSITION — Study the pictures carefully. —_ Keep your elbow up as in the picture. (Figure 11) — Be sure your wrist is relaxed and straight. — Curve all of your finger joints, playing only ‘on the tips of your fingers. (Figure 5) (Trim your fingernails.) — Keep your thumb relaxed (never squeezing) and rest it behind the neck under your second finger. (Figure 5) — Keep your fingers close to the string when not playing notes. (Figures 6 & 7) Figure 4: Pizzicato Position Figure 5: Four Fingers on the String Figure 6: Three Fi Figure 7: Two Fingers Down6 ™ HOLDING YOUR BOW Figure 8: Make a Circle — Study the pictures carefully. — Make a circle between the tip of your thumb and the space between your second and third fingers. The thumb touches your fingers between your first and second joints. (Figure 8) — Place a pencil between your thumb and fingers. (Figure 9) — Place the first joint of your first and fourth fingers on the pencil. (Figure 9) — Always keep your thumb curved and relaxed—never squeezing or gripping. — When practicing your bow hold, hold it straight up and down with your left hand. (Figure 10) — Place your right thumb tip on the bow stick just above the end of the frog, Place your other fingers on the bow stick just as you did on the pencil. Be sure your second and third fingers hang over the stick. (Figure 10) Figure 9: Holding a Pencil Figure 10: Holding Your Bow Figure 11: The Whole PictureLearning Open A, D and G Strings m7 MEASURE | DOUBLEBAR | REPEATSIGN | | PIZZICATO means to |-—> | pluck the play again string QuanteR NOTES sraines DS A J 3 d 1 on 1 beat i silence | TIME SIGNATURE 4=4 beats jos mere 4.=J gets 1 beat Go back to the beginning Bidd?? Birr dl: Bidie:8 M Learning Open C String Bry lyst ly ty tlyyy ta Jd ¢ 2 4 Bi? rlyt ye te? rye ere Bt yy glhteel [een da) pre OF yy yyleddale re Jerre a J Tver ss bree] Fede ddd a J Bieerried ise fan 3 pydoeferea| fselj yaadLearning E and Fi on the D String @ 9 2. Curve the fingers. 3. Touch the string with just the tips of th =2nd Finger 3=3rd Finger 4=4th Finger ‘till Fe oaddrafddarpdaaddaajddreg Badidrldrdrferteldadrfdidey oaddrr[dierriedrri(ddraidddey Oaddddldrrilddddpeeddidr rey Baddalddl ried delddrrierey Prepare fingers Hot Cross Buns Go to next line ore rdaldarr mada idrae| ae wryarddrald Bidrdile patentee O4aderr|d Prepare fingers re fingers 10 Ml Learning G on the D String Jrapedaa| rdalidrey riledrr rapide, “dddieddd deified? Jolly Fellows Mitidey Jityeedeg dea tdiilidi dig didjederg idi(tddag did id did die tayLearning B and Cf on the A String m 11 ] ° 1 a 1 ° Oi eat eet a) oe ddd ddddidd dd J ai? joree| [“rrrd Jt Pea, fda ypeye ddd die, ddd 84 oy cl J o,74 | 01° ddd J dd d ati ded of yes iy " aie Jeid, req Marching Along ards yr dase edit ydyy12M Learning the D Major Scale Music Leah AB CD jotes in a row that follow the cronientenh r example: DEHGABGD WuoVvuuuUY jae | oats faerie rifddrrd doe Jo | piety " ee tistieg ge oad Jd adel jocda a dye. ered The D Major Scale id or dsddpeddjddeeres yy, Seeded sda didsgaide eal apd did staid ta dap dda , Jd Jd dd de | van de]Songs forFun @ 13 Merrily We Roll Along addi dd lida aed, ddd ies dd isd disicel pir sdidadifdi dd dsey Syed d didi di idan al Old MacDonald Had a Farm patted ied dap t titi aag Jolly Old St. Nicholas é é ace joes aed real ddddjsdtapteee tian Lightly Row aa daft dda psd seedy fds itdddd esis a ay14 Mf Bowing on the A, D and G Strings DOWN BOW REMINDERS 1. Be sure to check your bow hand for correct position. 2. Place the bow on the string before starting each line. 3. Do not move or lift your bow during the rests. 4, Try to keep your bow straight as you play. Dies ddlrrrrlddddlrirird Jig. dd) dg ~ ~ ~ ~ Oi be Be 8 > et @u< es a =< eas ~ i_« a a @i< es = a aw Ga ~Reading the Open Strings on the Staff m 15 BASS REMINDER CLEF SIGN OPEN STRINGS Roll the bow . ON THE = to the new . string during 2 oe the rests. Four String Warm-up aAVvVmVvV mpvymvy mpv¥ my PY oy Jumpin’ Strings eve eee mavymy mov BV mv Bl Cello Special Minae veer eve ev16 ™@ Learning Half Notes and Half Rests HALF NOTE HALF REST LIFT SIGN REMINDERS 4 - ’ |. Keep the bow straight. 2 beats Start with a Keep the bow speed steady. of silence new bow. Roll the bow to the new string. Open-String March mv my nm v nym! my Name the Notes—Then Play Bae Pavone enV Re me ay,Bowing E and Fi on the D String M17 == Pizz. arco | Abbreviation for | | Play with the pizzicato. | bow. Usually | found after | pizzicato. NEW SKILL Play pizzicato while holding your bow. my my mv mv mvmy my AYmV omy time play p nd time play a AVA vv in mYm oVmave v18 M Bowing G on the D String SIMILE Continue in the same way, (b) = (b) fr © (dd) Indian Lament Lal y v m, v A Short Round Good King Wenceslas 5 v v n v Cello SpecialLearning B, Ci and D on the A String M 19 pik Dance v Can-Can o20 ™@ String Orchestra Arrangements pizz. Mozart Serenade MozartLearning the D Major Scale, Ties and Slurs ml 21 KEY SIGNATURE BE 2 34 This Key Signature tells you that all Connects notes of Connects notes of Fs and Cs are played as FH and Ch. ‘the same pitch. different pitch. 1234 1234 1234 1234 1234 1234 1234 1234 Fiddlin’ Tune B y he % 4 ee y Add the Barlines—Then Play v Dopo oe $y Vv — "i yn | § 2 z ize SS22M Learning 3/4 Time, Dotted Half Notes and Three-Note Slurs TEMPO MARKINGS TIME DOTTED HALF NOTES tell us how fast or SIGNATURE slow to play the music. Allegro—fast 3 Moderato—at a moderate tempo 3 beats to a measure A= gets 1 beat Three To A Bow modeate French Folk Song Old MacDonald Allegro (Duet) pizz. Allegro Cello Special: Fiddler's Warm-Up a Tip 8 rn > oYETERS SS i ((C FF Learning Left-Hand Pizzicato and 4th Finger A on the D String m 23 INTERVAL LEFT HAND PIzz. The distance between two notes + 2nd = first and second scale notes. ath = first and fourth scale notes. Pluck the note with 3rd = first and third Octave the 4th finger of the scale notes, scale notes. left hand, For example: DYNAMICS SHIFT SIGN tell us how soft or loud to play. Meee ae : . hand toward or away Forte f = lou Piano P =soft from the bridge. sh Th atve 2nd acd ath sth i a ee London Bridge Moderato Lightly Row, 5 moos be f n A 4-4 P a Put in Time Signatures and Bar Lines Gohl iy iy diay Write inthe counting | a24 M@ Learning Eighth Notes EIGHTH NOTES 1st and 2nd ENDING nw i : ) 2nd time i ee 7] An n> lifss 18283848 1283848 1828384% 18283848 18283848 @ Om @ @ TA283048 18283848 18283848 18283848 8 A Via y 182838 182838 182838 182838 162838 182838 182838 182838 Baa Baa Black Sheep v fn Moderato n A S A ¥ mB mn P f Allegro German Folk Song 5 Two at A Time ‘Moderato SString Orchestra Arrangements ml 31 Moderato Bach Musette Bach Allegro vy jo > a Rossini v ue P simile Fine 70] mY [mony 7 DG al Fine n >The key of Chas FERMATA all natural notes. Therefore all Fs io) and Cs are played Hold the note longer as naturals than normal. DOTTED QUARTER NOTE Taraliazaliaze ta2a/rarelrazelire Tazalrazalr4aze Vin oa VAN 2 1&28 1&2& 1428 1828 1828 1828 1828 1828 on All Through the Night Welsh Folk song a v Fine “pf Se D.C al Fine ft Pit. Shepherd's Hi English Folk Song ai ey ‘D.C. al Fine Moderato Fine v 5 eae eeLearning Whole Notes and Four-Note Slurs ml 33 DYNAMICS LEGATO mf mp ‘Smoothly mezzo forte mezzo piano flowing medium loud medium soft ‘ @ Py wy on—-~ Or ee we1234 1234 Andante Japanese Folk Song 5 t mf = Simple Gifts Moderato 2 a a n Shaker Melody “mf legato ss a y ap Ws gear _—34 Ml Reviewing the G Major Scale and Learning the Whole Rest CRESCENDO DECRESCENDO DYNAMICS WHOLE REST | eee Pp = Fortissimo Pianissimo ae Gradually get Gradually get of silence louder softer Very loud Very soft G Major Scale A Deere eral a ‘Theme from Capriccio Italien Moderate — : —~ 2 : ? Tehaikovsky vi mf - =f ie Double-String Blues ModeratoLearning the C String Notes and Extended Hand Position M35 Lowers the note one half step TEMPO Largo Very slowly Fun Jot Cross Buns” Goin’ Home36 M Learning Spiccato Bowing and Classical Style ‘SPICCATO CLASSICAL STYLE Divist A bowing that begins Away of playing music (div) and ends off the string written around oon using a brushing motion. 1750-1825. Mozart is i fee a) the most famous of the nee. (Near the frog) classical composers. on On Off on ofr On Mary Had ; Little Lamb v Allegro: Twinkle, oe Little Star Mozart rine _2G al Fine oe 5 > Finale from the “New World Symphony” Dvoiak Vv a ma Vivace ~ Sf Moderato Not Quite Nachtmusik ‘spiccato Inspired by Mozart f Simle AYRString Orchestra Arrangement m 37 Pachelbel Canon 5 Pachelbel rnf@) TTC eee Toaedide det e= Ted aste Sd Beds Diet 2 eT Josuidgs edu WM | hed 4 Dasth Woy inyy thy ined Lyi Wena nied on silioiad dd. di, dd Wag pIACCENT Play these notes stronger than the others. ALLEGRO Fast tempo. ANDANTE Moderately slow tempo. ARCO Play with the bow. Usually found after a pizzicato section in the music. BAR LINE Vertical lines separating the staff into measures. BAROQUE STYLE A way of playing music written around 1600-1750. CLASSICAL STYLE A way of playing music written around 1750-1825. CLEF SIGNS Sign at the beginning of each line of music. Grreble clef; IB Alto clef; Bass clef CRESCENDO Gradually get louder. D.C. AL FINE Go back to the beginning and play to fine without taking any repeats. DECRESCENDO Gradually get softer. DIVISI Play only one of the notes. DOUBLE BAR The end of a piece or section. DOWN BOW To draw the bow from frog to tip. DYNAMICS Tell us how soft or loud to play. FERMATA Hold the note longer than normal. FINE The end. FLAT Lowers a note one-half step. FORTE Play loudly. FORTISSIMO Play very loudly. FROG Where the bow is held, HALF-STEP The smallest distance between notes HOOKED BOWING Slurred staccato bowing on notes with uneven rhythm. INTERVAL The distance between two notes. KEY SIGNATURE Tells you which notes to play sharp and flat. LARGO Play very slowly. LEGATO Play smoothly. 39 LIFT SIGN Start with a new bow. MEASURE The space between two bar lines. MUSIC ALPHABET A, B, C, D, E, F, G. MODERATO A moderate tempo. NATURAL SIGN Changes a note back to natural. PIANISSIMO Play very softly. PIANO Play softly. IZZICATO Pluck the string. += Left hand REPEAT SIGN Play again. RITARDANDO Gradually slow down. SCALE A series of eight notes moving step-wise that follows the letters of the music alphabet. SHARP Raises the note one half step. SIMILE Con ue in the same way. SLUR A curved line connecting notes of different pitches. SLURRED STACCATO BOWING Two or more notes played in the same bow direction with a stop in between notes. SPICCATO BOWING A bowing that begins and ends off the string using a brushing motion. STACCATO BOWING Play notes shorter by stopping the bow between each note. STAFF The lines and spaces upon which notes are written. TIE A curved line connecting notes of the same pitch, TIME SIGNATURE Two numbers at the beginning of a line of music. The top number indicates how many beats per measure. The bottom number indicates which note value gets one beat. TIP. The point of the bow. UP-BEAT Notes occurring before the first complete measure. UP BOW Draw the bow from the tip toward the frog, VIVACE Lively tempo. WHOLE STEP Two consecutive half-steps.g & $ g g Jo}aNIC eNSEY20 ueyaty sewer Pup {0 BUC Yoo pajajdwiod Ajnjssadons sey Ayeu.0 Wyor,$6.99 in USA Srictls Stri Qs Series ie The Strictly students in the classroom, but will also encourage IS « _ | Strings Method home chamber music sessions. The ensembles are Ss | Gacquelyn Dillon, —_attanged in a flexible format which allow the | a book to be used successfully wth any combination John O'Reilly) This easy-to-teach, straightforward \ a string method is designed to promote success in beginning string players through the joy of ensemble playing. A unique letter-note style of music notation ensures a smooth and successful transition to note reading. Students are introduced to ensemble playing with a wide variety of fun-to-play selections drawn from international folk songs, famous classical melodies, familiar symphonic themes and new, original compositions. Strictly Strings features a carefully prepared lesson sequence which effectively develops each player's abilities. Strictly Strings Play-Along Accompaniments Improve intonation and rhythm while having more fun at practice sessions with these play-along accompaniments. These highly creative, pop-style accompaniments for virtually every selection in the Strictly Strings method books work with all string instruments! Available on two cassette tapes or ‘two compact discs Strictly Strings Christmas | and Chanukah Ensembles (ohn O'Reilly) The Strictly Strings Christmas and Chanukah Ensembles are correlated to specific pages in Book 1 of the Strictly Strings method. This collection of 23 holiday favorites will not only motivate beginning string of instruments, from a solo player with piano accompaniment to a full string ensemble. < = Strictly Strings Orchestra Series These excellent selections of orchestral literature in all levels and styles have been skillfully arranged for string orchestra, Each title in the Strictly Strings Orchestra Series correlates page-by- page with the Strictly Strings method, Cripple Creek Strictly Classi (ohn O'Reilly) Each of the ensembles in this collection is correlated to specific pages in Books 1 and 2 of the Strictly Strings method. These arrangements will not only motivate beginning string students in the classroom, but will also encourage home chamber music sessions. Each of the four instruments is divided into two parts—part A and part B. Each instrument's part A contains the melody. For the Violin and Viola, part 8 is a harmony line, and for the Cello and Bass, it is the bass part. This flexible format also includes a simple piano accompaniment. HIGHLAND/ETLING envision oF (Aled ISBN 0-88284-552.2 stfed.com