16 worksheets for VIOLIN pupils being taught in … · 16 worksheets for VIOLIN pupils being taught in groups16 worksheets for VIOLIN pupils being taught in groups CONTENTS ... Treble/Alto

16 worksheets for VIOLIN pupils being taught in groups16 worksheets for VIOLIN pupils being taught in groups

CONTENTS

Contents 1

Rhythm Catch 1 2Rhythm Catch 2 (to view) 3Rhythm Catch 2 (to print) 4Rhythm Catch 3 5

Spiccato - Tap! 6

Slurs - the buoyant elbow! - 1 7Slurs - the buoyant elbow! - 2 8

Positions 9

Feeling the Harmony: 1 10Feeling the Harmony: 2 11

Creative Music Writing: 1 12Creative Music Writing: 2 13Creative Music Writing: 3 14

Pentatonic Exploration 15

Treble/Alto Switchback:1 (to view) 16Treble/Alto Switchback:1 (to print) 17Treble/Alto Switchback:2 (to view) 18Treble/Alto Switchback:2 (to print) 19Treble/Alto Switchback:3 (to view) 20Treble/Alto Switchback:3 (to print) 21

�� 1. Just play one part of the

accompaniment, A or B or C2. First of all, just keep one pattern

up, on the notes indicated.3. For your next trick - try juggling

two patterns. Keep changing everytwo bars.

�� Again, start by keeping one rhythmgoing. Then try to juggle two patterns.Change rhythm every two bars.

“Images and Imagination” sheet 1© Kerry Milan, 1993

published by

Ardross House, Stafford, ST17 0AX

Rhythm Catch 1

1. Just play one part of the accompaniment, A or B or C.2. First of all, just keep one pattern going, on the notes indicated.3. For your next trick - try juggling two patterns. Keep changing every two bars.

��


published by


SHEET TWO APPEARS TWICE, HERE IN PORTRAIT FORMAT FOR EASY READING ON THESCREEN, AND ON THE FOLLOWING PAGE IN LANDSCAPE FORMAT FOR PRINTING OUT.

Rhythm Catch 2 (to view)

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heet

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Ker

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199

3pu

blis

hed

by

Ard

ross

Hou

se, S

taff

ord,

ST

17 0

AX

Rhythm Catch 2 (to print)

�� 1. Just play one part of the

accompaniment, A or B or C2. First of all, just keep one

pattern up, on the notesindicated - but end each phrasewith a crotchet and rests, as printed

3. For your next trick - try jugglingtwo patterns. Keep changingevery four bars.


published by


Rhythm Catch 3

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�� !"�#�! �$“Images and Imagination” sheet 4

© Kerry Milan, 1993published by


Spiccato - Tap!

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“Images and Imagination” sheet 5(with sheet 6)



Slurs - the buoyant elbow! - 1

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published by

Ardross House, Stafford, ST17 0AX(Greensleeves ctd.)

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Slurs - the buoyant elbow! - 2

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Repeat these 3 pieces, but this time slide the hand slightly up the neck - into 'second' position, so that the fingered notes are now covered by the second finger. Then move the hand a further step up the neck, into 'third' position, with the fingered notes now covered by the first finger.In each case, check that the thumb still sits opposite the first finger.

This time, instead of using so many open strings, try fingering some of thenotes instead. For example, in third position, the beginning of "Moonshot"

Finally, in this short introduction to positions, play Westminster Chimesin first, second and third positions.

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Practise these 3 pieces,with a perfectly roundedthird finger, and keepingthe other fingers off thestring.

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published by


Positions

3��-��

A good way to provide backing for amelody is to add chords, not just on akeyboard, but on many other instruments.On a keyboard, the notes C E G form theArpeggio of C. Arranged in a differentorder, they still belong to the chord of C.The G arpeggio also has 3 notes, G B D,which can also be re-grouped. Study whicharpeggios are used in the chorus below.

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1. Choose a rhythm to accompany the melody.2. As the music goes along, play your rhythm,

just using one note from each of the flaggedchords.

3. Later, switch between two harmony notesfrom each bar, such as the first two, orbottom two notes, etc.

4. If you can feel the chord sequence, try line twoby ear - both lines are the same.

5. If you are more ambitious, use all the notes, ordifferent rhythms.

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published by


Feeling the Harmony: 1

3��-��

A good way to provide backing for a melodyis to add chords, not just on a keyboard, buton many other instruments.On a keyboard, the notes C E G form theArpeggio of C. Arranged in a differentorder, they still belong to the chord of C.The B� arpeggio also has 3 notes, B�, D, Fwhich can also be re-grouped. Study whicharpeggios are used in the chorus below.Would the same chord sequence also fit theopening?

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published by


1. Choose a rhythm to accompany the melody.2. As the music goes along, play your rhythm,

just using one note from each of the flaggedchords.

3. Later, switch between two harmony notesfrom each bar, such as the first two, orbottom two notes, etc.

4. If you are more ambitious, use all the notes, ordifferent rhythms.

5. There is one chord with four different notes.The extra note is called the 7th.

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Feeling the Harmony: 2

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Try out this tune, starting on the open D string.

Then notes to use will be

Now try playing on one of the other strings.If you play on the A string, what notes will be needed?Play the tune on the other strings too. Maybe you know the song.

Now make up your own tune (about 16 notes), using the A string

or the D string. You may use and notes.q hw

Now play the piece on your instrument, and give it a name ...................................

* *This time, make up a tune on one of the other strings.

(use notes too, if you wish.)

This piece is called ..........................................Now play the music on your instrument.


published by


Creative Music Writing: 1

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The title of this piece is ..........................................Now make sure you can play what you have written.


published by


q h

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Can you work out this well-known tune (perhaps starting on the open D string)before playing it on your instrument.

The notes to use will be

Now try playing on one of the other strings.If you start on open G, what other notes will be needed?Play the tune on the other strings too. Any problems?

Now make up your own tune (about 16 notes), choosing the set of fivenotes you like best for the music.

You may use , , and notes.

This new piece is called .............................................Now learn to play the music on your instrument.

* *This time, make up a tune usinga different set of five notes.


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published by


Can you work out this famous tune (starting on the open D or open A string),before playing it? Because of the high note, we need an extra line.

Underneath the notes below, write the names of the other notes used in this piece,if the bottom note is A. Then do the same starting on D.

Now make up your own tune (about 16 notes), choosing the setof notes you like best for the music.TITLE: “......................................................................”

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... and now practise your composition.

Finally can you recognise this well-known tunethat needs all five lines for its stave?

Practise this carol, and trydrawing some treble clefs!


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Use your violin to explore this new musical world.As you make up some pentatonic tunes, let your fingers lead you - no second finger remember - and choose different moods, sometimes slow and gentle, then fast and lively. Here are two ideas to get you started. Do you think they make good openings?

You can play this scale in class as a round, one or two beats apart, in two three or more parts. Don't forget the crescendo and diminuendo - and no second finger.Many pieces use just these notes. Here are two of the most famous for you to learn.

There are 12 different pentatonic scales - you can find one of them very easily on a keyboard by playing only on the black notes.

For strings the G A B D E scale can be re-arranged on the D and A strings, and the open E. Which finger is not needed?

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Pentatonic Exploration

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!�� 1 1. What do you notice about the start and end points of the switchback curve at

the top of the page?2. What do you notice about the sweep of the notes in the G major Scalework?3. The second halves of “The Muffin Man” and “Here we go round the Mulberry

Bush” have their notes written on the Alto Stave; but what else do you noticeabout the two halves of each piece?


published by


SHEET FOURTEEN APPEARS TWICE, HERE IN PORTRAIT FORMAT FOR EASY READING ONTHE SCREEN, AND ON THE FOLLOWING PAGE IN LANDSCAPE FORMAT FOR PRINTING OUT.

Treble/Alto Switchback:1 (to view)

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“Im

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heet

14

© K

erry

Mila

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993

publ

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d by

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ross

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taff

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ST

17 0

AX

Treble/Alto Switchback:1 (to print)

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!�� 1 1. Sheet two gives practice in reading the G string notes.2. Notice that the G string notes no longer need leger lines.3. What do you notice about the two halves of “Lavender’s Blue”?4. In “Hot Cross Buns”, how many times does bar one appear?“Images and Imagination” sheet 15



SHEET FIFTEEN APPEARS TWICE, HERE IN PORTRAIT FORMAT FOR EASY READING ON THESCREEN, AND ON THE FOLLOWING PAGE IN LANDSCAPE FORMAT FOR PRINTING OUT.


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1.Sh

eet

two

give

s pr

acti

ce in

rea

ding

the

G s

trin

g no

tes.

2.N

otic

e th

at t

he G

str

ing

note

s no

long

er n

eed

lege

r lin

es.

3.W

hat

do y

ou n

otic

e ab

out

the

two

halv

es o

f “L

aven

der’

s B

lue”

?4.

In “

Hot

Cro

ss B

uns”

, how

man

y ti

mes

doe

s ba

r on

e ap

pear

?“I

mag

es a

nd I

mag

inat

ion”

she

et 1

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ry M

ilan,

199

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hed

by

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17 0

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SHEET SIXTEEN APPEARS TWICE, HERE IN PORTRAIT FORMAT FOR EASY READING ONTHE SCREEN, AND ON THE FOLLOWING PAGE IN LANDSCAPE FORMAT FOR PRINTING OUT.

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!�� 1 Finally, in this introduction to the alto clef, work outwhere to write the viola C string notes (F E D C).“Images and Imagination” sheet 16




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Fin

ally

, in

this

intr

oduc

tion

to

the

alto

cle

f, w

ork

out

whe

re t

o w

rite

the

vio

la C

str

ing

note

s (F

E D

C).

“Im

ages

and

Im

agin

atio

n” s

heet

16

© K

erry

Mila

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16 worksheets for VIOLIN pupils being taught in … · 16 worksheets for VIOLIN pupils being taught in groups16 worksheets for VIOLIN pupils being taught in groups CONTENTS ... Treble/Alto