DOCSLIB.ORG

Connect the Dots to Make Your Own Viola! Worksheet 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Connect the Dots to Make Your Own Viola! Worksheet 1 Connect the dots to make your own Viola! Worksheet 1 Circle the answer! To the right, there is a Violin and a Viola. Circle the Viola! Because the Viola is slightly larger than the Violin, it makes sounds that are a little bit: Lower Higher To make higher sounds, string players make the strings ______ with their fingers. Shorter Longer What is it called when string players slide their fingers on the string? Glitter Glissando Gusto Glimmer Worksheet 2 ALL ABOUT THE VIOLA Below are a Violin and Viola. Circle the Viola! How did you know this was the Viola? Without using their fingers, Viola players would be limited to only 4 notes! By using their fingers to change the length of the strings, they are able to play many more pitches. Do Viola players make the string shorter or longer to play higher notes? Why? Leslie and Olga told us about many cool techniques string players can use on their instruments. Can you match the technique to what it means? Draw a line from the term to its definition. Spiccato When musicians pluck the strings Legato When string players slide their fingers on the string Glissando Connected, flowing notes Double Stop When string players bounce their bows on the string Pizzicato When string players play two notes at the same time What does the Viola sound like to you? How does that sound make you feel? Use the back of this sheet to write or draw what the sound of the Viola makes you think of! Worksheet 1 - ANSWER Circle the answer! To the right, there is a Violin and a Viola. Circle the Viola! Because the Viola is slightly larger than the Violin, it makes sounds that are a little bit: Lower Higher To make higher sounds, string players make the strings ______ with their fingers. Shorter Longer What is it called when string players slide their fingers on the string? Glitter Glissando Gusto Glimmer Worksheet 2 - ANSWERS ALL ABOUT THE VIOLA Below are a Violin and Viola. Circle the Viola! How did you know this was the Viola? The viola is slightly bigger than the Violin. It’s a little bit wider and taller! Like Kristen told us, this also makes it sound a little bit lower! Without using their fingers, Viola players would be limited to only 4 notes! By using their fingers to change the length of the strings, they are able to play many more pitches. Do Viola players make the string shorter or longer to play higher notes? Why? Shorter! Like we have seen so far with the Violin and Viola, instruments that are shorter, smaller, or thinner, make higher sounds! Barb showed us how she plays higher and lower notes! Leslie and Olga told us about many cool techniques string players can use on their instruments. Can you match the technique to what it means? Draw a line from the term to its definition. Spiccato When musicians pluck the strings Legato When string players slide their fingers on the string Glissando Connected, flowing notes Double Stop When string players bounce their bows on the string Pizzicato When string players play two notes at the same time What does the Viola sound like to you? How does that sound make you feel? Use the back of this sheet to write or draw what the sound of the Viola makes you think of!.
Load more

Recommended publications
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • This Paper Is a Revised Version of My Article 'Towards A
    1 This paper is a revised version of my article ‘Towards a more consistent and more historical view of Bach’s Violoncello’, published in Chelys Vol. 32 (2004), p. 49. N.B. at the end of this document readers can download the music examples. Towar ds a different, possibly more historical view of Bach’s Violoncello Was Bach's Violoncello a small CGda Violoncello “played like a violin” (as Bach’s Weimar collegue Johann Gottfried Walther 1708 stated)? Lambert Smit N.B. In this paper 18 th ­century terms are in italics. Introduction Bias and acquired preferences sometimes cloud people’s views. Modern musicians’ fondness of their own instruments sometimes obstructs a clear view of the history of each single instrument. Some instrumentalists want to defend the territory of their own instrument or to enlarge 1 it. However, in the 18 th century specialization in one instrument, as is the custom today, was unknown. 2 Names of instruments in modern ‘Urtext’ editions can be misleading: in the Neue Bach Ausgabe the due Fiauti d’ Echo in Bach’s score of Concerto 4 .to (BWV 1049) are interpreted as ‘Flauto dolce’ (=recorder, Blockflöte, flûte à bec), whereas a Fiauto d’ Echo was actually a kind of double recorder, consisting of two recorders, one loud and one soft. (see internet and Bachs Orchestermusik by S. Rampe & D. Sackmann, p. 279­280). 1 The bassoon specialist Konrad Brandt, however, argues against the habit of introducing a bassoon in every movement in Bach’s church music where oboes are played (the theory ‘wo Oboen, da auch Fagott’) Bach­Jahrbuch '68.
    [Show full text]
  • Viola Concerto Second Movement
    String Orchestra Series • Grade 3.5 Viola Concerto Second Movement Georg Philipp Telemann arranged by Todd Parrish 1 Full Score 8 Violin I 8 Violin II 5 Viola 5 Cello 5 Bass For PreviewExtra Parts P3035221 Only 3035222 sm INGERT WONES J P UBLICATIONS Program Notes The Telemann Viola Concerto is one of the most famous ever written for the instrument. Although originally in four movements, this arrangement focuses on the exuberant second movement. Care has been taken to keep a great deal of melodic material in the viola part. Difficult sixteenth note passages have been broken up to be easily played by both the violin and viola sections. Student violists will enjoy playing this medium level work, and they will appreciate the opportunity it gives to showcase the beauty and power of their instrument. About the Arranger Todd Parrish has taught public school orchestras at all levels for 17 years in both Illinois and Virginia. He currently has several original compositions and arrangements published with Alfred Music and Wingert-Jones Publications. He received a Bachelor of Music Education from Oral Roberts University in Oklahoma and a Master of Music in orchestral conducting from the University of Arizona in Tucson. He has also studied conducting at workshops with many leading teachers in Colorado, Illinois, South Carolina, Maine, and Aix-en-Provence, France. Todd is the orchestra editor for J.W. Pepper & Son sheet music and the string editor for Wingert-Jones Publications based in Exton, Pennsylvania. In addition to playing violin and viola with many symphony orchestras around the country, he regularly guest conducts student orchestras upon request ([email protected]) For Preview Only Duration 3:00 Viola Concerto Second Movement Georg Philipp Telemann arranged by Todd Parrish Allegro q = 100 œ œ≥ œ œ œ Violin I ° #4 ≥ .
    [Show full text]
  • The String Family
    The String Family When you look at a string instrument, the first thing you'll probably notice is that it's made of wood, so why is it called a string instrument? The bodies of the string instruments, which are hollow inside to allow sound to vibrate within them, are made of different kinds of wood, but the part of the instrument that makes the sound is the strings, which are made of nylon, steel or sometimes gut. The strings are played most often by drawing a bow across them. The handle of the bow is made of wood and the strings of the bow are actually horsehair from horses' tails! Sometimes the musicians will use their fingers to pluck the strings, and occasionally they will turn the bow upside down and play the strings with the wooden handle. The strings are the largest family of instruments in the orchestra and they come in four sizes: the violin, which is the smallest, viola, cello, and the biggest, the double bass, sometimes called the contrabass. (Bass is pronounced "base," as in "baseball.") The smaller instruments, the violin and viola, make higher-pitched sounds, while the larger cello and double bass produce low rich sounds. They are all similarly shaped, with curvy wooden bodies and wooden necks. The strings stretch over the body and neck and attach to small decorative heads, where they are tuned with small tuning pegs. The violin is the smallest instrument of the string family, and makes the highest sounds. There are more violins in the orchestra than any other instrument they are divided into two groups: first and second.
    [Show full text]
  • Lunchtime Concert in Europe, Scandinavia, China, the U.S
    Rob Nairn worked as Associate Professor of Double Bass at Melbourne Conservatorium and Head of the Early Music Department for the past three years. He previous taught on the faculty of the Juilliard School for 11 years and Penn State University for 18 years where he was a Distinguished Professor. A Past-president of the International Society of Bassists he hosted the Society’s 2009 Convention at Penn State. Rob received his Bachelor of Music with distinction from the Canberra School of Music and a post-graduate diploma from the Berlin Musikhochschule by courtesy of a two-year DAAD German Government Scholarship. His teachers have included Klaus Stoll, Tom Martin, and Max McBride. In 2008 he was awarded a Howard Foundation Fellowship from Brown University. Rob has performed with the Pittsburgh Symphony Orchestra, the London Philharmonic, the English, Scottish and Australian Chamber Orchestras, the Bavarian Radio Symphony Orchestra, The Oslo Philharmonic, The Gothenburg Symphony, The Baltimore Symphony, The Halle Orchestra, the London Sinfonietta, and the Sydney, Adelaide, Queensland and Melbourne Symphony Orchestras, the Australia Ensemble, The Australian World Orchestra and the Australian String Quartet. Rob has recorded for Deutsche Grammaphon, Sony Classical , EMI, Naxos, Tall Poppies, RCA and ABC Classics. In Historical Performance he is currently principal bass with the Australian Brandenburg Orchestra and the Handel Haydn Society of Boston and has worked with the Boston Early Music Festival, Juilliard Baroque, Orchestre Revolutionnaire et Romantique, English Baroque Soloists, Smithsonian Chamber Players, Concerto Caledonia, Ironwood, Washington Bach Consort, the Aulos Ensemble, Rebel, Florilegium and the Orchestra of the Age of Enlightenment.
    [Show full text]
  • The Issue of Size: a Glimpse Into the History of the Violoncello Piccolo
    Page 1 The Issue of Size: A Glimpse into the History of the Violoncello Piccolo by Johanna Randvere Early Music Department University of the Arts, Sibelius Academy April 2020 Page 2 Abstract The aim of this research is to find out whether, how and why the size, tuning and the number of strings of the cello in the 17th and 18th centuries varied. There are multiple reasons to believe that the instrument we now recognize as a cello has not always been as clearly defined as now. There are written theoretical sources, original survived instruments, iconographical sources and cello music that support the hypothesis that smaller-sized cellos – violoncelli piccoli – were commonly used among string players of Europe in the Baroque era. The musical examples in this paper are based on my own experience as a cellist and viol player. The research is historically informed (HIP) and theoretically based on treatises concerning instruments from the 17th and the 18th centuries as well as articles by colleagues around the world. In the first part of this paper I will concentrate on the history of the cello, possible reasons for its varying dimensions and how the size of the cello affects playing it. Because this article is quite cello-specific, I have included a chapter concerning technical vocabulary in order to make my text more understandable also for those who are not acquainted with string instruments. In applying these findings to the music written for the piccolo, the second part of the article focuses on the music of Johann Sebastian Bach, namely cantatas with obbligato piccolo part, Cello Suite No.
    [Show full text]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date: 12-May-2010 I, Chiu-Ching Su , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Viola It is entitled: A Performance Guide to Franz Anton Hoffmeister’s Viola Concerto in D Major with an Analytical Study of Published Cadenzas Student Signature: Chiu-Ching Su This work and its defense approved by: Committee Chair: Catharine Carroll, DMA Catharine Carroll, DMA 6/18/2010 657 A Performance Guide to Franz Anton Hoffmeister’s Viola Concerto in D Major with an Analytical Study of Published Cadenzas A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2010 by Chiu-Ching Su B.M. Fu Jen Catholic University, 2001 M.M. University of Cincinnati, 2003 ABSTRACT Franz Anton Hoffmeister’s Viola Concerto in D Major (written prior to 1799) has become among the standard repertoire of viola concertos, due to the rise of viola virtuosos since the beginning of the twentieth century and the rarity of virtuosic viola concertos with stylistic forms from the Classical period. This piece has been included in several major orchestra auditions and competitions. While violists often lack hands-on experiences of the Classical repertoire, this document is to provide violists ways to perform this piece and pieces from the same period. Hoffmeister’s Viola Concerto in D Major has been published by G. Henle Verlag, Kunzelmann, Peters, Kalmus, International Music Company (New York), H.
    [Show full text]
  • The Use of Scordatura in Heinrich Biber's Harmonia Artificioso-Ariosa
    RICE UNIVERSITY TUE USE OF SCORDATURA IN HEINRICH BIBER'S HARMONIA ARTIFICIOSO-ARIOSA by MARGARET KEHL MITCHELL A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC APPROVED, THESIS COMMITTEE aÆMl Dr. Anne Schnoebelen, Professor of Music Chairman C<c g>'A. Dr. Paul Cooper, Professor of- Music and Composer in Ldence Professor of Music ABSTRACT The Use of Scordatura in Heinrich Biber*s Harmonia Artificioso-Ariosa by Margaret Kehl Mitchell Violin scordatura, the alteration of the normal g-d'-a'-e" tuning of the instrument, originated from the spirit of musical experimentation in the early seventeenth century. Closely tied to the construction and fittings of the baroque violin, scordatura was used to expand the technical and coloristlc resources of the instrument. Each country used scordatura within its own musical style. Al¬ though scordatura was relatively unappreciated in seventeenth-century Italy, the technique was occasionally used to aid chordal playing. Germany and Austria exploited the technical and coloristlc benefits of scordatura to produce chords, Imitative passages, and special effects. England used scordatura primarily to alter the tone color of the violin, while the technique does not appear to have been used in seventeenth- century France. Scordatura was used for possibly the most effective results in the works of Heinrich Ignaz Franz von Biber (1644-1704), a virtuoso violin¬ ist and composer. Scordatura appears in three of Biber*s works—the "Mystery Sonatas", Sonatae violino solo, and Harmonia Artificioso- Ariosa—although the technique was used for fundamentally different reasons in each set. In the "Mystery Sonatas", scordatura was used to produce various tone colors and to facilitate certain technical feats.
    [Show full text]
  • Graduate Recital in Viola
    University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2017 Graduate recital in viola Isaak Walter Sund University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2017 Isaak Walter Sund Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Music Performance Commons Recommended Citation Sund, Isaak Walter, "Graduate recital in viola" (2017). Dissertations and Theses @ UNI. 413. https://scholarworks.uni.edu/etd/413 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. GRADUATE RECITAL IN VIOLA An Abstract of a Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music in Performance Isaak Walter Sund University of Northern Iowa July 2017 This Study by: Isaak Sund Entitled: Graduate Recital in Viola has been approved as meeting the thesis requirement for the Degree of Master of Music in Performance ___________ _____________________________________________________ Date Dr. Julia Bullard, Chair, Thesis Committee ___________ _____________________________________________________ Date Dr. Rebecca Burkhardt, Thesis Committee Member ___________ _____________________________________________________ Date Dr. Alison Altstatt, Thesis Committee Member ___________ _____________________________________________________ Date Dr. Kavita R. Dhanwada, Dean, Graduate College This Recital Performance by: Isaak Sund Entitled: Graduate Recital in Viola Date of Recital: March 29, 2017 has been approved as meeting the recital requirement for the Degree of Master of Music in Performance ___________ _____________________________________________________ Date Dr. Julia Bullard, Chair, Graduate Recital Committee ___________ _____________________________________________________ Date Dr.
    [Show full text]
  • A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia
    University of South Carolina Scholar Commons Theses and Dissertations 2018 A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Chang, C.(2018). A Guide for Playing the Viola Without a Shoulder Rest. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5036 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A Guide for Playing the Viola Without a Shoulder Rest by Chin Wei Chang Bachelor of Music National Sun Yat- sen University, 2010 Master of Music University of South Carolina, 2015 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2018 Accepted by: Daniel Sweaney, Major Professor Kunio Hara, Committee Member Craig Butterfield, Committee Member Ari Streisfeld, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Chin Wei Chang, 2018 All Rights Reserved ii DEDICATION This dissertation is dedicated to my dearest parents, San-Kuei Chang and Ching-Hua Lai. Thank you for all your support and love while I have pursued my degree over the past six years. iii ACKNOWLEDGMENTS I truly appreciate the director of the dissertation, Dr. Daniel Sweaney, for his advice, inspiration, and continuous encouragement over the past four years.
    [Show full text]
  • Met De Speeltuigen Is Het Een Verwarde Boedel 1 "The Names of Instruments Are an Untidy Mess"
    Violone da brazzo, Violoncello da braccio, Bassa Viola Viola d a s palla, Schulter-Viole etc.: a four-string C-G-d-a cello. by Lambert Smit. Throughout this article eighteenth-century terms and texts are in italics. Met de speeltuigen is het een verwarde boedel 1 "The names of instruments are an untidy mess". This paper offers more unanswerable questions2 than solutions. It will discuss those Violoncello variants that were played in a more or less h orizon ta l 3 position. The smallest form of Violoncello instruments that were played in this way is the Bach-Hoffmann 5-string C-G-d-a -e1 Violoncello piccolo 4 with a body length of 45 to 46 cm, whether it is presented as Viola pom pos a or (Violoncello / Viola) d a s palla or violone piccolo d a braz z o . The following arguments, derived from old texts, show that the player who simply removes the e1-string from a Hoffmann C-G-d-a -e1 five-string instrument cannot present the result as a kind of standard 18 th-century violoncello. I. Recent documents compared with old texts. Let us compare statements in modern lexica and 18th-century German sources about Violoncello (piccolo), Viola da spalla, Viola pomposa, Schulter-Viole &c. 1 Sta tem en t by Ma tth es on s pu pil J a cob Wilh elm Lu s tig (1706-1796) Dutch theorist, organist and composer of German descent, in "Inleiding tot de Mu ziekku n de, TWEEDE DRUK, 1771." in "HET VIERDE KAPITTEL Van de MUZIKAALE INSTRUMENTEN" §.
    [Show full text]
  • Viola Pizzicato Exercises 1
    VIOLA PIZZICATO EXERCISES 1 OPEN A Exercise Locate the OPEN A STRING. Set the Metronome to 72 BPM. Keep a steady tempo. Here we go! [1-2-3-4 Begin] OPEN D Exercise Remember to emphasize Down-Beats. Keep a steady tempo. Follow the conductor! OPEN G Exercise © Copyright 2013 Reg. #18-36Q-18Q “The Quest for String Playing Mastery VIOLA PIZZICATO EXERCISES 2 OPEN C Exercise STRING CROSSING EXERCISES I am floating against the edge of the fingerboard in order to encourage everyone to remain loose. Feel as though you are floating into playing-position to perform pizzicato motions. While in playing-position, strive to achieve a controlled-looseness in your playing motions. The distance from one string to the next is quite small. The range of motion needed to perform string-crossings efficiently is equal to the curve of the top arch of the bridge. OPEN D and OPEN A OPEN G and OPEN D © Copyright 2013 Reg. #18-36Q-18Q “The Quest for String Playing Mastery VIOLA PIZZICATO EXERCISES 3 ALL OPEN STRINGS DYNAMIC CHANGE EXERCISES Hi! I am going to appear above your music in order to bring your attention to dynamic changes. When the music is louder, I will appear bigger and when the music is softer, I will appear smaller. Soft Dynamics = Play Over the Fingerboard Loud Dynamics = Play Closer to the Bridge Always be kind to your instrument and pizzicato away from the bridge. PIZZICATO DYNAMIC CHANGE EXERCISE © Copyright 2013 Reg. #18-36Q-18Q “The Quest for String Playing Mastery VIOLA PIZZICATO EXERCISES 4 CRESCENDO EXERCISE DECRESCENDO EXERCISE Come and Play Your Part! www.stringquest.com © Copyright 2013 Reg.
    [Show full text]