Violin star 3

$

e e01n

ogressive pieces for Grade 1 to 2 violinists

a d Huws [onesl~ati·ons by Mark Beech

elcome to Violin StarTo the teacher: This series will inspire violinists to develop confidence and musical skills through a t4crefreshing choice of pieces.The repertoire presents a logical and approachable progression from thevery first stages of playing through to Grade 2.

Each piece is designed to develop a specific technique; as the series progresses, the pieces introducethe keys (and their related finger patterns) encountered at the early grades. There is a fun mix ofmusical styles, which include arrangements and original compositions.

For each of the three Violin Star levels, there is one Student's book and one Accompaniment book.The Student's books contain the solo violin part, and an audio CD.The Accompaniment bookshave separate piano and violin accompaniments for every piece. The three different forms ofaccompaniment in Violin Star offer variety, flexibility and interaction for both pupil and teacher.

Dotted around the Student's books you will find suggestions for supporting activities, which can beused in individual or group teaching and can form a base to develop your own ideas.

All 106 pieces in Violin Star were created during the course of my work as a peripatetic violin teacher.Children are wonderful critics, and if they don't like the music they won't mince their words. Therepertoire in Violin Star passed the test - in fact, it could not have been written without the students.I hope you enjoy Violin Star!

Edward Huws [ones

Book design, cover and text origination by Kate BenjaminIllustrations by Mark Beech, represented by NB Illustration

usic origination by Andrew jones Notation

C> backing tracks by Stuart Briner, Frank Mizen and Chris Norton

?rinted in England by Caligraving Ltd, Thetford, Norfolk

blished in 2011 by ABRSM (Publishing) Ltd, a wholly owned subsidiary of ABRSMf) 2011 by The Associated Board of the Royal Schools of Music

ISB 978 1 86096901 O3382 ~Ji

DO NOT PHOTOCOPY© MUSIC

rights reserved. No part of this publication may be reproduced, stored in a retrievalsyste~, ór transmitt~d in ~ny form or by any means, electronic, mechanical, photocopying,recording, ar otherwise, without the prior permission of the copyright owner.

ontents li]

0-1-2-34 finger pattern (A major)Clitter Ball Edward Huws [ones [EHJ] (b.1948) 4Bravo, Bravissimo Traditional 4Festou Noz Breton 5Eynhallow Sound EHJ 6Clanbrân Welsh 7The Blue Danube J. Strauss 11 (1825-99) 8

6/8Fandango EHJ 9For He 's a jolly Cood Fellow Traditional 10The Basket ofTurf Irish 11The Punk's Delight 17th-century English 11

01-2-3 finger pattern (F major)Mr Kool EHJ 12The Quaker's Crace 18th-century English 13

01-2-34 finger pattern(B flat major)Daydream EHJ

/llfattachins 16th-century French

Estampie 13th-century French

Haley's Comet EHJ

13141516

Minor keys/llforag's /llfedicine EHJ

Üsküdar Turkish

Bamboo in the Breeze Chinese

Oh Father! Klezmer

Venetian Condoia SongMendelssohn (1809-47)

Tsamikos Greek

17181920

2122

Grade 2 repertoire piecesOld joe Clark North American

/llfonsieur de Ceix's FanfareCaix d'Hervelois (c.1680-c.1755)

Baba /llfnumzane South African

Fiela South African

/llfinuet and Trio Haydn (1732-1809)

Hurdy-Curdy EHJ

22

2324252627

~------------------------"IitUsing the CD

Each piece in this book has two consecu.tivetracks on the CO:a full performance .with

solo violin, followed by a play-along versionof just the accompaniment.

(~ accomp7~~;full performance \@'--/' I.

I·

i:

I

GIftter BallDisco beat J = c.92 o 4;.2

1_,

nf

-11 r1 t ('1) 3 1 4-3

. ~

I ~#Inf > »>

ff

Bravo, BravfssfmoTraditional

With a lilt J = c.1l6; =-1 1 li 1 ij ~~~ J ~' ~mf

ró

~ WªJªJ~{~\

ij r r ~'

11.~

~ J ~'

112. opoco rito t:\

~:~ ~~' ~~~ ~

Festou NozThese three dance tunes frorn Brittany can

be played as a sequence or individuaUy

1. Breton

-§:j3<:» <:»

Fine

mp

3.

f

D.e. ai Fine

Make up a two-bar phrase and then repeat it. Then make up another two-bar phrase andrepeat that. This will create an eight-bar phrase that you can play. It works best if you finisheach phrase on either an A (first finger on the G string or an open A) or an E (flrst finger onthe D string) - these are the two notes a bagpiper would play as an accompaniment.

Your teacher can adapt the piano or violin accompaniment from No. 1 of Festou Noz,joining in the repetition of your tune in bars 3-4 and 7-8.

••• o.n.c.e.yo.u.h.a.v.e ·.cr.ea.t.ed_a.tu.n.e.th.a.t .yO.U.I.ik.e,.t.ry.w.r.it.in.g.it.d.ow_n. __ ••••• ACT IVITV

Now make up your own Breton dance tune. Use any of the notes of the A major scale(bottom octave) ascending or descending:

~ • • ••••• I... -.-.... . ... -.- ...

5

Eynhallow Sound

•.~~.~.===========- p

~fd§J~.~~~. ~~. ~1f~I~~~~~. ~p

~ mpW==S~. ~ ~~.

dim.

30 aIlargando

~~. ~I~I ~2 ~I ij jp

GlanbrânCh

eerfully J =c.1l6 =----===v==~-~F~'.121~ __ Welsh

~."~~~~:resc.p

7

The Bfue Danube(lower half)

v

J. Strauss II(1825-99)

Moderate waltz tempo J = c.l323 t:\ t:\

;,~l' I~p

v

&~H ~ t f==tÇ t

v*=t l

v. .ª l

18 .

=P-f* . .

§F l ~*~===== mf

_.

.~*, >

~ifr'~<1f

30 >____ 11. 112. r"1 V I~. ~ >=--Jffi~:l=1 i j=i=ll~ .~~~~

FandangoThere are two ways of counting ~ : either six quaver beats (m m) ar two dotted crotchetbeats ( J J) per bar. The second way is usually the most musical, unless the pulse is very slow.

To help you feel two beats in a bar, sway from foot to foot as you play Fandango, following themovement of your bow. But remember to stop swaying and keep still in bar 16! ACTIVITV

Steady two-in-a-bar J. = c.66

~e' 2+

r

~.>

~

> > >i i ~' F' ij' l'

/

m==o i ij' b@# i ii F',- -- ~

(Keep still!) ( r1

W;b l' W' j.~,

,l' :~i i I

I\ ,\ > > > Jsf -,,,/ - ,._--_....--.~---~~---_..-

'-.:!.,.,.------

~i i ti, J. b@# i i

f9~'~J.~-~=========

ijJJfJn > > >J. i i ~F' F' ij' l' ~ff

9

For He's a Jolly Good FellowBoisterously J. = c.72±80

~~~ ~ ~.

b~. J ~

Traditional

~~. ~J~m-------=-------a jol - ly good felOh! for he's low, for he's a jol - ly good

I\~~Ô

~.~.~ ~. I~t.ªt~f~fel - low, for he's a jol - ly good fel low, and so say alI of

uso And so say alI forof us, and so say all of us,

~. J m ~. J ~------=------ ------=------a jol - ly good fel low, for he's a jol - ly good fel low, forhe's

he's

accel.

~~. ~It~.ªt~f~'1'11and so say alI of us. sfa jol - ly good fel low;

The Basket of TurfIrish

Liltingjig tempo J. = c.66 slightly faster ou the repeat

· ,~8Y I: - I~*"~*~_mf

\

The Punk's Delightr /.-.....\ With a swagger J. = c.72

~\ 2 (middle)

;1~1 I~"f m.f!'

'-~ '3

17th-century English

(~\:J. ~ #lT" F j I

~~a gg"

~~~ @ ~~ª" Ff

~

j

"

j

11

~ t-

~ t-

pp

The Quaker' 5 Grace18th-century English

Lively J = c.104

/',~I~I-I-~-mf

6

~~~

mf

11

15 poco ritoon the repeat 11.

-112.

~mf

DaydreamGently, but with movement J = c.lOO

l, ,~'ir=-~~MT37~~· ~l~p

=

13

MattachinsIn fvfattachins it is important to make the contrast between I (Ioud) and p (soft), For the I passages use lotsof bow, slightly nearer the bridge and with more pressure. For the p passages do the opposite: not quite 50

much bow, further from the bridge and with less pressure. Think of nfas your normal. comfortable dynamic.

Imagine playing this piece for dancing at the Tudor court. The final note (played p ) is when the dancers bowor curtsy gracefully to their partners .

•....•--------------- ••..: ACTIVITY t16th-century French

With bravado J = c.76

~=f~hl~1~2 ~I~~r~~I(p)

F

r~I':\ ~

u-========= I p

EstampieBoldly and with energy J = c.138

-4 I 4 1""1 '

s ~ ~)II Ire>-----l[~~F ~@sT====;;=F====1W,

13th-century French

15

~~* ~ !=If- ~, ~21,~I,~~,~~r:::====~

31,~I,~37

~-

43

~t~~fl

15

for jenet Haley

Haley' 5 Comet,3,

Jaunty swung rhythm (n = J j) J = c.100ri

.~*~~í_ê~~ ~ ~

Vri 11. II to finish .

~~í ~~t~-~~~t ~í }~>Fine13 pizz.'.b j J

mp

arco ~

~~~~-~f D.e. al Fine

p!!!"'!'-_ ••.........----------~---~ -----------------.........--

Morag' s Medicine

Vigorous foIk-fidd1e style J = c.116

+~

5~~

5 11.~§ ~.~

112. v, :lt" ~p

:

13 11.l~~~ ~.f

112. Iv

~ J ,~

p sf

17

ÜsküdarTurkish

Gently flowing J = c.104 L(.

·li~tt·_mf

13

P 4_ j~. li

1 n

_·~.ll

-

=Fi a_~' lip

~======== mp

n

Bamboo In the BreezeCalm and spacious d = c.54

;,lfi, 2 I~~m ~~F ~,mp cantabile

Chinese

7

~

pizz.

~.~~. ~*~*d*~*-p

13 arcol~b~"!f

19 r"1l~bU hfmp cantabile

pizz.

~ * ~ * d * ~ * -p

ij~~ ~

arco

~~.~'Imf ====-

F,

I

1':\

I o-19

·.Fast and rhythmic J = c.108 Klezmer

t. pl 2I=

=

=

&~~. ~i-----~§. ~fê11

~~~ ~f~fp

·r

~~f ~i----- §. ~fê=

19

~*~*_3 11.

l~~§'~=

112. > 1f :~ f ~

f

Gently lapping J. = c.46

,h l~bg - I ~.~

Mendelssohn(1809-47)

21

TsamikosGreek

Gracefully swaying J = c .92

• ~~II 2 I@ ~~~l~mp

7Vi~t ~ _~l~p

~ F ~ * W ~ ~~l~JP=±nif

Old Joe ClarkNorth American

Lively bluegrass style J = c.120

(Slide up on the 4th finger if you like.)O

~~1121~~~F~tmf

Monsieur de Caix's Fanfare

I As a warm-up for Monsieur de Csix's Fanfare, practise the broken slurs (also known as 'hooked bowing') on each of the openstrings. Here is an exercise on the A string: stop the bow on the string between the two notes.

Now practise the same pattern, but this time using string crossings, for example:

'---------------------1 ACTIVITV

Caix d'Hervelois(c.1680-c.1755)

Heavy and rhythmic J = c .96~~~-~~f ~ '-'

If~·§F~p

rito

(53F ij===, ~J==J==rf

23

Slow and spacious J = c.69

.~t~~-~~tlmp cantabile

South African

Two South African Wedding Songs

Baba Mnumzane

Fast and rhythmic J = c.116

~3,~~_~. ~~. ~f = = = p sim.

21 rito Tempo I

~~. ~~. ,P mp cantabile

1':\-~.pp

attacca

r3--,Cheerfully (n = ~ )l) J = c.116

(middle)v

7~1mf

FielaSouth African

v v v

~~I ~ I ij~1 [§mf

9 v ri V v---..

~~~Qª,~~E=::=~:::=±I==§~m~I~I~ª~~~~ ~ :

5r,~,f

Minuet and TrioHaydn

(1732-1809)

~ (lower half)r"1,~ ,

mf

Stately dance tempo J = c.92

;, 'ÜI t - I ,

(Pause on CD = 2 J beats.)

19pt r"1~t_t~p f Fine

Trio

=r~~t~~l~p

31

~ :

~~ l Ip ~ _:~~

D.S. ai Fine

76

Hurdy~GurdyFast and raucous J = c.84 ri;, 'I a'l

> >

19 v ri_iai~> >

31~~I~I-f :

41 ri~iai~:

> >

-3 ri

'"ft j) >

'7 D '7>

27

I n l"'II""n ••••

a