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PREFACE TO COLOURSTRINGS CELLO SCHOOL, BOOK E
The Colourstrings Cello ABC series is based on Zoltán Kodály’s principles of music education, aiming to develop the whole personality with music and by music.
Book E teaches pentachords.
It is recommended that the student should �rst sing the folk songs, and frequently, before playing the melodies with natural harmonics and in di�erent positions. This will encourage the development of inner hearing and a clear sense of pitch. While studying and playing these transpositions, students can explore the technical characteristics of the instrument and play over the entire �ngerboard using various bowing techniques.
Books C and D helps students to become familiar with pentatonic melodies from many countries and nations of the world.
The new element, the minor 2nd interval was introduced by adding the FA and TI notes. Later on these are expanded into the four types of tetrachrods (Major, Minor, Phrygian, Lydian). Melodies based on these tone sets (including folk song arrangements) help develop the students’ taste and sense of musical character (which is the foundation for understanding the music of the 20th century). The precise and interesting �ngerings aid their sense of pitch.
The four types of tetrachords are: DO-RE-MI-FA = SO-LA-TI-DO (major) RE-MI-FA-SO = LA-TI-DO-RE (minor) MI-FA-SO-LA = TI-DO-RE-MI (Phrygian) FA-SO-LA-TI (Lydian) with three major 2nd intervals
Book E teaches the new material, the 5 di�erent pentachords, using numerous folk songs and chamber music works. Teachers should choose the music that best suits their pedagogical aims and needs.
Béla Bartók’s Mikrokosmos (written in two parts) leads students further into the world of polyphony. Folk songs slowly give way to the compositions of classical composers. This progression will be more prominent in Book F and especially so in Book G.
There is a vast selection of music from around the world and teachers are of course free to select additional pieces that are suitable for the technical, emotional and intellectual development of the student’s skills and character.
“The �nal purpose of all this must be to introduce pupils to the understanding and love of great classics of past, present and future.” (IKS Bulletin, 1985/1 p. 18. Kodály: The Role of the Authentic Folksong in Music Education. Lecture (Interlochen, 1966))
Csaba Szilvay
TABLE OF CONTENTS
TRICHORDS
TETRACHORDS
PENTACHORDS
I. DO (SO) Pentachord (‘major’)
II. RE (LA) Pentachord (‘minor’)
III. MI Pentachord
IV. FA Pentachord
V. TI Pentachord
COMBINATIONS
APPENDIX
1
6
34
34
66
88
91
94
95
113
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page
A Brief Introduction to the Colourstrings Symbols
Colours: 1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
A string �ngerings:
D string �ngerings:
G string �ngerings:
C string �ngerings:
V
VI
VII
Positions: Half position
1st position
2nd position
6th position
7th position
3rd position
4th position
5th position
3=
1 1lower in pitch:
2 4higher in pitch:
Example:
blue colour represents A string
orange colour represents D string
green colour represents G string
red colour represents C string
Basic (suggested) positions and �ngerings are normally written above the stave. Alternative positions and �ngerings are written below the stave.
Excerpt from a longer piece
The parts of the bow(bow division):
point/tip of the bowheel/nut/frog of the bowlower half of the bowupper half of the bowwhole bowmiddle of the bow
1 Circled �nger number indicates change of position.
(2x )
≤ ≤ ≤ ≤≥
≥
2? ## 4
4 œf p
œ œ œ œ œ24 423
extension between �ngers:e.g. 1 2
SOMI FAREDO LA TI
MARA LU TASA
SI
FIRIDI LI
basic names of steps:
raised (sharp):
lowered (�at):
DO is the tonic of the major. LA is the tonic of the minor.
Relative Solmisation:
& œ œ œ œ œ œ œ œ31 12 2
The Bird position (Thumb position one octave higher than the open string)
The Moon position (Thumb position one octave and a perfect �fth higher than the open string)
The Sun position (Thumb position two octaves higher than the open string)
A faint symbol means that only one �nger is touching the Bird, Moon or Sun positions, instead of moving the thumb to the next position.
The Double Moon position (Thumb position two octaves and a perfect �fth higher than the open string)
The Double Sun position (Thumb position three octaves higher than the open string)
& œ œ œ œ œ œ œ œ œ œ1 3 342 1 2
COLOURSTRINGS
*) hemiola
SO
0 1
2
24
3 44 331
?4
2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œŒ
1 32 4 43
10 3 4
. . .? ## 4
2 ..œ œ œ œ œ œ œ11 24 33
2 40 1
. . .? b 4
2 ..œ œ œ œ œ œ œ
4 11 2423
1 24 4
. . .? #### 4
2 ..œ œ œ œ œ œ œ1
32
. . .&#
4
2 ..œ œ œ œ œ œ œ
TRICHORDSDO
LA
TI
MIFA
SO
SO
4
‚1111 13
22 24 HFS
& 4
2 ‚ ‚F
‚ ‚ ? ‚ ‚
p‚ ‚ & ‚ ‚
F‚ ‚ ‚p
‚ ‚F
‚Œ
2 44 3 34
111 2 1 11
,DO,
DO ,DOSO SO
MIMIFA FA
LA LATI TI
& .. .. .. .. .. .. ..‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚b ‚ ‚? ‚‚ ‚ ‚# ‚
&‚
‚# ‚b ‚‚
?2
2 4
3
*)? #8
6
4
3
8
6
4
3œJ
œ œJ
œ œJ
œ‰
œ œ œJ
œ œJ
œ œJ
œ jœ ‰ œ œ
LA
Moroccan FS (Khenifra)? #
8
6
4
3
8
6
4
3œJ
œ œJ
œ œ Œ œ œ œJ
œ œJ
œ œ œ œ
1 32 2. . .
B # 4
2 ..œ œ œ œ œ œ œ3 12
. . .B bb
4
2 ..œ œ œ œ œ œ œ
2
COLOURSTRINGS
≤≥
124 1 3
3
4
43 34233
SO MIFA DOLA TI
?8
6 .. .. ..œ œ œ œ œ œ .œ .œ œ œ œ œ œ œ .œ .œ
00
1
3
4
4
3
4
3
2
143SO LA
?8
6 .. .. ..œ œ œ# œ œ œ .œ .œ# œ# œ# œ œ œ œ .œ# .œ
1 22 00
112 3 44
1
3 3SO LA
?8
6 .. .. ..œ œb œ œ œ œ .œb .œ œ œn œ œ œ œ .œ .œ
2
24
4
0
0
2
4
4
4
1
2
2
2 3
340
0
4 4
4
1
1
12 2
21
1
SO
?
?
8
6
8
6
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
..œœŒ
..œœŒ
1
1
1
2
2
0
0
0
2
4 44
4
1
1
22
2
0 44
4 44 1
112 2
2 33
4
1
4
1
1 2 21 1 4 3
3
DO
?
?
8
6
8
6
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
..œœ Œ
..œœ Œ
1 0 0
12 3
4
4 4
14
1SO LA
?8
6 .. .. ..œ œ œ# œ œ œ .œ .œ# œn œ œb œ œ œ .œ .œb
SO
≥
4 12433HChS?
4
2 œ œ œ œ œ œ œ œ œŒ
SO
≥
124
3433
HChS? b 4
2 œ œ œ œ œ œ œ Œ
57
COLOURSTRINGS
f fp p 13 2,DO
HFSB # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
DO
DO
RE
MIFA
SO
,
*)
*)
1 2
ff p
Vivace≥
313
313
2
2,DO
,DO
SO MI
B # 4
2
œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
Canon
*) See Rascals, Volume 5, arr. L. Rossa.
≥
2
DO
American FSB bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
F
Allegretto≥
≥
3
3
112 2
1 2
SO
B bb4
2
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Canon
1 13 2B ## 4
2œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#
B ##œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#
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