2nd Edition - Violin Time

2nd Edition

RGP (Release, Glide and Press) Shifting Method 2 1st Finger shifting without accidentals 2 Exercise 1: 1st-3rd Position shifting in C major 2 Scale and arpeggio of C major 2

Kayaking Down the Tarwin 3 Scale and arpeggio of A melodic and harmonic minor 3

Your turn to compose 4 C major composition in 1st - 3rd position 4

Playing with a singing tone 5 Bowing technique 5 Exercise 2: Playing with a singing tone 5 Exercise 3: Controlling the sound in the UH and LH of the bow 5

1st Finger shifting with 2 flats 6 Exercise 4: 1st–3rd position shifting in E major 6 Scale and arpeggio of E major 6 Scale and arpeggio of C harmonic minor 6

La Festaiola 7Ornamentation 8 Exercise 5: Finger strengthening exercises for ornamentation 8 Exercise 6: The Trill 8 The Upper Mordent 8 The Appoggiatura 8

Your turn to compose 9 G major composition using 1st - 3rd position 9

2nd Finger shifting with 1 sharp 10 Exercise 7: 1st-3rd position shifting in G major 10 Scale and arpeggio of G major 10

Waltz Felice 11 2nd Finger shifting with 1 flat 12 Scale and arpeggio of D harmonic and melodic minor 12 Exercise 8: 1st-3rd position shifting in F major 12 Scale and arpeggio of F major 12

Sea Biscuit 13 2nd-2nd and 1st-2nd Finger shifting with flats 14 Exercise 9: 1st-3rd position shifting in E major 14 Exercise 10: Using the guide note 14

Waltzing Through the Mistletoe 15 2nd and 3rd Finger shifting with 4 flats 16 Exercise 11: 1st-3rd position shifting in F minor/A major 16 Scale and arpeggio of F harmonic and melodic minor 16 Scale and arpeggio of A major 16

Non Piangere 17 3rd Finger shifting with 3 flats 18

Exercise 12: 1st-3rd position shifting in E major/C minor 18 Scale and arpeggio of C melodic minor 18

The Blues Singer 19 3rd Finger shifting with 1 sharp 20 Exercise 13: 1st-3rd position shifting in G major 20

Oom Pah Pah! 21 A Lilt in the Air 22 Spiccato Preparation 23 Exercise 14: Ricochet bowing 23 Exercise 15: Spiccato bowing 24

Tango Etude 25 Pizzicato Chords 26 Exercise 16: Chordal pizzicato 26 Scale and arpeggio of E harmonic and melodic minor 26

Quick as a Flash 27 March of the Swagman 28 2nd Position (low form) 29 Exercise 17: Semitone shifting to the low form of 2nd position 29 Exercise 18: Tone shifting to the low form of 2nd position 29 Scale and arpeggio of F major

Tango Waltz 30 Your Turn to Compose 32 F major composition using 1st and 2nd position 32

2nd Finger shifting with 2 sharps 33 Exercise 19: Shifting to the high form of 2nd position 33

Jolly Jerry 34 Vibrato 36 Exercise 21: Vibrato 36

Sono Triste 37 Tears for Elsa 38 Street Dances at Sunset 40 Chromatic Scales 43 Exercise 20: Pitch checking while playing chromatics 43

Chromatically Relaxed 44 Double Stops 46 Exercise 22: Double stopping in 3rds in the keys of F, C and G major 46 Scale and arpeggio of G harmonic and melodic minor 46 Exercise 23: Double stopping in 6ths in the keys of 47 A , A and B major Scale and arpeggio of B major 47

Double or Nothing 48 Words/Signs and Terms 50

When you see this picture, you should ask your teacher to explain and help you!

Viola TimeBook 2

Points for ParentsTips Teacher ChecklistPurpose Theory

32

• To practise shifting from 1st to 3rd position with the 1st finger, using the Release, Glide, and Press (RGP) technique as shown in Diagram 1.

• To learn the note names in 3rd position, remembering that there is a B natural.

• To practise sight-reading in 1st and 3rd position.

• To practise playing from memory

• Listen carefully to the ‘ghost’ note when shifting (the sound the finger makes when lightly gliding between 1st and 3rd position) and only press down on the string when you can hear the correct pitch of the new note.

• Without using the bow, hold the violin and place the fingers on the fingerboard while saying the note names aloud in 3rd position. Finger Chart 1 can help you identify whether fingers are a tone or a semitone apart.

• Can shift using the RGP technique.

• Listens to the ‘ghost’ note while gliding the finger up or down the string.

• Student shifts using the whole hand, and the thumb always remains opposite the pointer finger.

• Can play from memory.

• Poco rall . . . stands for poco rallentando which means gradually becoming a little slower.

• A dot preceding a note lengthens it by half of its value. i.e. a dotted minim lasts for a minim plus a crotchet (3 crotchet beats in total).

RGP Shifting Method Kayaking down the Tarwin

Scale and Arpeggio of C majorUse Finger Chart 1 to help you determine where the semitones and tones are when playing

with no sharps or flats (which are the keys of C major or A minor), in 3rd position!

[Unnamed (treble staff)]

5

44B0 1 2

G major scale - 1st-3rd position

B 3 1

3

4 1 3

3

1 0 23 0

œ œ œ œ œ œœ 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 w

Diagram 1

Finger chart 1

Copyright © 2013

ghost between shifts and listen to the pitch5

44B1≥ 1 1 1 1 1

Kayaking Down the Murray

B1 1 1 1 1 1

˙ ˙ ˙ ˙ œ œ ˙ œ œ ˙

˙ ˙ ˙ ˙ œ œ ˙ œ œ ˙

Exercise 1: 1st-3rd Position shifting in C majorUse Diagram 1 on the right to help you with seeing how far your hand

should shift to reach the 3rd position notes.

Copyright © 2013

[Unnamed (treble staff)]Andante q = 116

5

9

13

17

44B ≥ 1 1 1 1 1 1

Nicole Billimoria

B2 4 2 1 1

B≥ 1 2

B1 3 1 1 1 1 1

B2 4 2 1 1

œ œ ˙ ˙ ˙ œ œ œ œ œ ˙ ™

œ œ œ œ œ œ ˙ œ œ œ œ w

œ ™ œJ œ œ œ œ œ œ œ ˙ ˙ ˙ w

œ œ ˙ ˙ ˙ œ œ œ œ œ ˙ ™

œ œ œ œ œ œ ˙ œ œ œ œ w[Unnamed (treble staff)]

5

44B

E melodic and harmonic minor

B3 3

œ œ œ œ œ œ#œ# œ œn œn 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 w

Scale and Arpeggio of A melodic and harmonic minor

1st finger shifting without accidentals

poco rall

Release the finger pressure from the string

Glide the whole hand (thumb included) along the neck/fingerboard of the violin. The shifting finger will ‘ghost’ its way

up the string as it lightly touches the string while shifting.

Press the finger down once it has arrived on the new note.

Shifting is when you move your whole left hand up or down the fingerboard in order to

change notes. In Book 1 every piece only used the 1st

position. In Book 2 you will learn how play in 2nd and 3rd position.

The RGP technique helps you to move between 1st, 2nd, and 3rd position.

4 Flats(B♭ E♭ A♭ D♭)

3rd Position

C G D A

1st Position

3rd Position

D♭

F C G

D♭ E♭A♭

G

A♭ E♭ B♭ F

B♭ F C G

1 Flat(B♭)

3rd Position

C G D A

1st Position

3rd PositionF C DG

G D EA

B♭ F

A E

B♭ F C G

No Sharps or Flats3rd Position

C G D A

1st Position

3rd PositionF C DG

G D EA

F

A E B

F C G

B

1 Sharp(F♯)

3rd Position

C G D A

1st Position

3rd PositionC DG

F♯

G D EA

A E B F♯

C G

B F♯

2 Flat(B♭ E♭)

3rd Position

C G D A

1st Position

3rd PositionF C DG

E♭

G D A

E♭ B♭ F

A

B♭ F C G

3 Flats(B♭ E♭ A♭)3rd Position

C G D A

1st Position

3rd PositionF C DG

E♭A♭

G D

A♭ E♭ B♭ F

B♭ F C G

1 Flat 1 Sharp

C G D A

1st Position

3rd Position

A E

C G

Diagram 1

C G D A

1st Position

3rd PositionC

A♭

Diagram 2 Diagram 3

C G D A

1st Position

3rd Position

B F♯

D A

C G D A

1st Position

3rd Position

F

A

1 11

2 2

2

Diagram 4

C G D A

1st Position

3rd Position

G

2

Diagram 5

E♭

B♭

E♭

1

C G D A

1st Position

3rd Position

F

2

Diagram 6

A♭

B♭

2

D♭

F

A♭

3

C G D A

1st Position

3rd Position

Diagram 7

C

E♭

3

C G D A

1st Position

3rd Position

Diagram 8

C

E

3

G

B

3

C G D A

1st Position

Diagram 9

A

B♭

D E

FE♭1 1 1

2nd Position Low Form

Try playing Kayaking down the Tarwin while reading the music.

Then, when you feel extra confident, close the book and try playing it from memory!

Playing from memory is a great skill to develop, and makes any performance even more special

for the player and the audience!

Mark in the semitones of the scale with your pencil to help you remember whether your fingers should be a tone

apart or a semitone apart!

Points for Parents

76

TheoryTeacher ChecklistTipsPurpose• To practise shifting from 1st

to 3rd position using the 1st finger (see Diagram 2)

• To revise where the semitones occur in the key of E major in 1st and 3rd position.

• To practise playing two consecutive up bow quavers

• To practise the augmented 2nd interval as it occurs during the piece in the key of C harmonic minor (A to B)

La Festaiola begins and ends on a C, just like the C minor scale. Also, the note B occurs frequently during the piece. Sometimes in minor keys the second last note of the scale (the 7th scale degree) is raised by a semitone to add melodic colour to the music.Every major scale has a minor scale with the same key signature, this is called a relative minor, or vice versa, it would be called a relative major.

• Practise saying the syncopated rhythm (ti-ta-ti) using the metronome.

• Practise stretching from an A to a B on the G string (Augmented 2nd)

• Learn where the semitones occur in 3rd position by studying the finger chart.

• Revise where the semitones are in 1st position by playing the Emajor scale

• Can play the whole piece in tune and in time with the metronome.

• Student uses the correct shifting technique (RGP).

• Ghosts (lightly glides the finger along the string) between 1st and 3rd position.

• Lands notes in 1st and 3rd position exactly without glissando or guessing.

• Can play with the correct bowing style in the correct parts of the bow.

1st finger shifting with 3 flats La Festaiola

Exercise 4: 1st - 3rd position shifting in E majorUse the finger chart and notice how your 1st finger will be shifting from

a lower position up to 3rd position.

Scale and arpeggio of E major

Scale and arpeggio of C harmonic minor

Diagram 2

5

44Bbbb2

Scales Set 1

Bbbb2 4

23 1 3 1

3

41 3

3

1 2 43 2





5

44Bbbb1 2

G harmonic minor

Bbbb3 1 3 1

3

4 1 3

3

1 0 23

œ œ œ œ œ œœn œ œ œ œ œ œ œn

œ œ œ œ œ œ œ œ œn œ œ œ œ œ ˙


Finger chart 2

44Bbbb1 1 1 1 1

1st-3rd Position Shifting Exercise (2 flats) 1-1

˙ ˙ ˙ ˙ œ œ ˙ œ œ ˙

La Festaiola has a B , E and an A , which means it could be in one of two keys. E major or its relative, C minor. When a piece is in a minor key, it often has a melancholy (sad) sound as opposed to pieces in a

major key, which sound more uplifting (happy). Does La Festaiola sound happy or sad?

[No instrument (bar rests shown)]

&79‰ ‰ Œ Ó

[No instrument (bar rests shown)]

&79‰ ‰ Œ Ó

A crotchet rest lasts for one crotchet beat

A quaver rest lasts for one quaver beat


3rd Position

C G D A

1st Position

3rd Position

D♭

F C G

D♭ E♭A♭

G

A♭ E♭ B♭ F

B♭ F C G

1 Flat(B♭)

3rd Position

C G D A

1st Position

3rd PositionF C DG

G D EA

B♭ F

A E

B♭ F C G


C G D A

1st Position

3rd PositionF C DG

G D EA

F

A E B

F C G

B

1 Sharp(F♯)

3rd Position

C G D A

1st Position

3rd PositionC DG

F♯

G D EA

A E B F♯

C G

B F♯

2 Flat(B♭ E♭)

3rd Position

C G D A

1st Position

3rd PositionF C DG

E♭

G D A

E♭ B♭ F

A

B♭ F C G


C G D A

1st Position

3rd PositionF C DG

E♭A♭

G D

A♭ E♭ B♭ F

B♭ F C G

1 Flat 1 Sharp

C G D A

1st Position

3rd Position

A E

C G

Diagram 1

C G D A

1st Position

3rd PositionC

A♭

Diagram 2 Diagram 3

C G D A

1st Position

3rd Position

B F♯

D A

C G D A

1st Position

3rd Position

F

A

1 11

2 2

2

Diagram 4

C G D A

1st Position

3rd Position

G

2

Diagram 5

E♭

B♭

E♭

1

C G D A

1st Position

3rd Position

F

2

Diagram 6

A♭

B♭

2

D♭

F

A♭

3

C G D A

1st Position

3rd Position

Diagram 7

C

E♭

3

C G D A

1st Position

3rd Position

Diagram 8

C

E

3

G

B

3

C G D A

1st Position

Diagram 9

A

B♭

D E

FE♭1 1 1


LH

forte

Allegro ma non troppo1

5

mf

9

forte

13

LH

forte

17

21

44Bbbb1≥

0≤ 1 01≥ ≤ 1 1 0

Nicole BillimoriaLa Festaiola

Bbbb1≥ ≤ 4 ≤ 4

.>o

Bbbb1≥ 2 ≤ ≤

.≤.

Bbbb1≥ 4 . 4

Bbbb≥

0

≤ 1≥0

≤1 1

Bbbb1≥ ≤ ≤ 4

.>o

œ œ ‰ œJ œ œ œ œ œn œb œ œ œ ‰ œJ œ œ œ œ ˙

œ œ ‰ œJœ œ œ œ œ œ œ œ œ œ œ œ ‰ œj œ œ ˙

œ Œ

œ œ œ œ œj œ œj œ œ œ œ œ œ œ œj œ œj ˙n

œ œ œ œ œJ œ œJ œ œ œ œ œ œ œ œ ˙

œ œ ‰ œJ œ œ œ œ œn œb œ œ œ ‰ œJ œ œ œ œ ˙

œ œ ‰ œJœ œ œ œ œ œ œ œ œ œ œ œ ‰ œj œ œ ˙

œ Œ

When playing in 3rd position, try checking your 3rd position notes with the open string. For example

1st finger (in 3rd position) on DGstring should sound lovely and in tune when played with Open C

string.

11

Tips Teacher ChecklistPurpose Theory

10

2nd finger shifting with 1 sharp Waltz Felice

• To learn to play in the style of a waltz, beat 1 being the strongest and beats 2 and 3 being the weak beats.

• To learn where the semitones are in 3rd position when playing with one sharp (F#).

• To practice shifting from 1st to 3rd position using the 2nd finger as shown in Diagram 3.

• Think of the rhythm as being Oom (beat 1) pah pah (beat 2 and 3).

• Practise the bowing divisions in bar 11 by using more bow on the 3rd beat to bring out the crescendo.

• Learn the note names by studying the finger chart and singing the piece in fixed pitch.

• Check notes in 3rd position with open strings to ensure they are in tune!

• Can play in time with the metronome and in tune.

• Understands the concept of simple triple time.

• Is familiar with the bowing divisions needed to play slurred staccato.

• Can play with full use of the bow in order to maximize the dynamics.

• Simple Triple time means that there are 3 crotchet beats per bar. The first beat being the strongest followed by two weaker beats.

• A waltz is a ballroom dance in triple time with a strong accent on the first beat of each bar.

Points for Parents – Waltz Felice

mp

Tempo di waltz1

forte

8

mp

16

21

mf

25

30

mf

34

41

46

34B# 2≥

2 2≤ 2 1

Waltz Felice

B# ≥ ≥m

≤ . . Ÿ~~~~

B# ≥ 2 2 0 2 2 1 0

B# 2 2

B# Ÿ~~~~~~~~~~~~~~~.

B#. .

.>

B#2≥

2 2≤

2 1 ≤

B# ≤m

≥ ≤ . . Ÿ~~~~~~~~~~

B# .

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 ™ œJ œ œ œ œ œ œ œ œ œ œ œ œ ™ œj 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 ˙ ™

Exercise 7: 1st-3rd position shifting in G majorThis exercise shifts between an B to an D, and a F# to an A as shown in Diagram 3. Diagram 3

Grace notes are decorative notes played on the 1st beat of the note, to which they are linked. The 1st and 2nd fingers should both remain on the string and glide up together when shifting between 1st and 3rd position.

Scale and arpeggio of G major

8

34B# 2 2 2 2 2

1-3 position shifting exercise with 2 sharps 2-2

B# 2 2 m 2 m 2 2

˙ œ œj ˙ ™ ˙ œ ˙ ™ œ œ œ œ œ œ ˙ ™

˙ œ ˙ ™ ˙ œ ˙ ™ œ œ œ œ œ œ ˙ ™


5

44B# 2

D major scale - 3rd Position

B# 2 4 23 1 31

3

41

3

3

1 2 4

3

2




Finger chart 3

Tips Teacher ChecklistPurpose Theory

10


3rd Position

C G D A

1st Position

3rd Position

D♭

F C G

D♭ E♭A♭

G

A♭ E♭ B♭ F

B♭ F C G

1 Flat(B♭)

3rd Position

C G D A

1st Position

3rd PositionF C DG

G D EA

B♭ F

A E

B♭ F C G


C G D A

1st Position

3rd PositionF C DG

G D EA

F

A E B

F C G

B

1 Sharp(F♯)

3rd Position

C G D A

1st Position

3rd PositionC DG

F♯

G D EA

A E B F♯

C G

B F♯

2 Flat(B♭ E♭)

3rd Position

C G D A

1st Position

3rd PositionF C DG

E♭

G D A

E♭ B♭ F

A

B♭ F C G


C G D A

1st Position

3rd PositionF C DG

E♭A♭

G D

A♭ E♭ B♭ F

B♭ F C G

1 Flat 1 Sharp

C G D A

1st Position

3rd Position

A E

C G

Diagram 1

C G D A

1st Position

3rd PositionC

A♭

Diagram 2 Diagram 3

C G D A

1st Position

3rd Position

B F♯

D A

C G D A

1st Position

3rd Position

F

A

1 11

2 2

2

Diagram 4

C G D A

1st Position

3rd Position

G

2

Diagram 5

E♭

B♭

E♭

1

C G D A

1st Position

3rd Position

F

2

Diagram 6

A♭

B♭

2

D♭

F

A♭

3

C G D A

1st Position

3rd Position

Diagram 7

C

E♭

3

C G D A

1st Position

3rd Position

Diagram 8

C

E

3

G

B

3

C G D A

1st Position

Diagram 9

A

B♭

D E

FE♭1 1 1


mp

Tempo di waltz1

forte

8

mp

16

21

mf

25

30

mf

34

41

46

34B# 2≥

2 2≤ 2 1

Waltz Felice

B# ≥ ≥m

≤ . . Ÿ~~~~

B# ≥ 2 2 0 2 2 1 0

B# 2 2

B# Ÿ~~~~~~~~~~~~~~~.

B#. .

.>

B#2≥

2 2≤

2 1 ≤

B# ≤m

≥ ≤ . . Ÿ~~~~~~~~~~

B# .


˙ ™ 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 ˙ ™

mp

Tempo di waltz1

forte

8

mp

16

21

mf

25

30

mf

34

41

46

34B# 2≥

2 2≤ 2 1

Waltz Felice

B# ≥ ≥m

≤ . . Ÿ~~~~

B# ≥ 2 2 0 2 2 1 0

B# 2 2

B# Ÿ~~~~~~~~~~~~~~~.

B#. .

.>

B#2≥

2 2≤

2 1 ≤

B# ≤m

≥ ≤ . . Ÿ~~~~~~~~~~

B# .


˙ ™ 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 ˙ ™

3332

Your turn to Compose!

F major composition using 1st-2nd positionTry composing a tune using 1st position and the low form of 2nd position in this key.

Remember to ask yourself:What is the key signature? And what is the time signature?

2nd finger shifting with 3 sharps

Exercise 19: Shifting to the high form of 2nd positionIn the following exercises the 1st finger shifts a tone to 2nd position. Take note

that the semitones occur between the 1st and 2nd fingers in 2nd position.

Diagram 11

Copyright © 2013

high form of 2nd position (where 1st finger moves to an F#)

high form of 2nd position (where 1st finger moves to a B)

5

high form of 2nd position (where 1st finger moves to an E)

9

high form of 2nd position (where 1st finger moves to a C#)

13

44B##1 2 2 1 1 1 1 1 2 3 4 4 3 2 1

Shifting Exercizes from 1st to 2nd PositionNicole Billimoria

B##1 2 2 1 1 1 1 1 2 3 4 4 3 2 1

B##1 2 2 1 1 1 1 1 2 3 4 4 3 2 1

B##1 2 2 1 1 1 1 1 2 3 4 4 3

2 1

œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ ˙ œ œn œ œ œ œ œn œ

œ œ œ œ œ œ ˙ œ œn œ œ œ œ œn œ

œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ

Finger chart 7

TEMPLATE(F♯)

C G D A

1st Position

3rd Position

A♭ E♭ B♭ F

A E B F♯

B♭ F C G

B F♯ A♭C♯

C G AD

C♯ A♭ B♭E♭

D A BE

E♭ B♭ F C

E B F♯ C♯

F C G D

F♯ C♯ A♭ E♭

1 Flat(B♭)

2nd Position (Low Form)

C G D A

1st Position

3rd Position

B♭ F C

E

F C DG

G D EA

B♭ F

A E


1 Sharp(F♯)

2nd Position (High Form)

C G D A

1st Position

3rd Position

C

E B F♯

C DG

F♯

G D EA

A E B F♯

2nd Position High Form

Diagram 1 Diagram 2 Diagram 3

C G D A

1st Position

Diagram 10

B♭

C

1


C G D A

1st Position

Diagram 11

D

E

1

2nd Position High Form

A

B

1

E

F♯

1

B

C♯

1

5

9

13

44Bb

Composition # 1

Bb

Bb

Bb

Points for ParentsTips Teacher ChecklistPurpose Theory

4948

• To revise playing tunnels using the left hand while playing double stops and also while playing fast quaver passages.

• To learn double stopping (playing two notes at once).

• To revise playing fast quavers in the middle of the bow.

• Practise the double stop notes separately and slowly. Where possible, double-check the tuning of 3rd fingers with the open strings below and the 1st finger with the open string above. The intervals you will be listening for will be a perfect octave and a perfect fourth respectively.

• Play in the middle of the bow and follow the tunnel markings for the left hand (indicated by a finger marking with a long line) in order to achieve accurate pitch.

• Can play in tune and in time with the metronome.

• Uses tunnels where marked.• Plays the double stops in tune and

knows how to check their pitch when practising at home.

• Double stopping is when 2 strings are played at once.

Double or NothingViolin

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6

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Points for Parents

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Violin

Violin

middle of the bowmf

Allegro

6

mf

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V.S.

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Documents

2nd Edition - Violin Time