-Hans-Sitt-Practical-Viola-Method 1

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H. Sitt PRACTICAL VIOLA METHOD Revised and Enlarged by W. F. Ambrosio CARL FISCHER® 65 Bleecker Street, New York, NY 10012 Copyright 1924 by Carl Fischer, Inc. Copyright Renewed All Rights Assigned to Carl Fischer, LLC. International Copyright Secured. All rights reserved including performing rights. This publication is protected by Copyright law. To photocopy or reproduce by any method is an infringement of the Copyright law. Anyone who reproduces copyrighted 0362 matter is subject to substantial penalties and assessments for each Printed in the ISBN 0-8258-3383-3Introduction The Viola, sometimes called the Tenor Violin, belongs to the group of stringed in - struments played with a bow, known as the Viol family. It is a descendant jointly of the Alto and Tenor Violinos, both of which were larger than our present-day Violin. To all appearances it is but an overgrown Violin, and is played in precisely the same man- ner, fingering and all. While the Viola possesses an individual tone quality of great breadth and richness, especially on the lower strings, this fact was entirely over- looked by the earlier composers, who gave it only the lowest notes in company with the Cellos and Basses; the Viols being divided into 1st and 2nds, making up a String Trio. Mozart recognized the possibilities of the Viola and not only gave it an independent place in the string ensemble, establishing the String Quartet, but utilized its individual tone quality for special solo effect. It has been said that viola players are mostly recruited from the ranks of violinists, it being largely only a question of becoming with the alto clef. But some con- sideration must be given to the longer arm reach and greater finger stretches on the vi- ola fingerboard; students with short arms and more especially small hands will experi - some in mastering the Viola. The increased finger spacing alsc offers greater possibilities for faulty intonation, so a good ear is essential as well. Violas vary in size from the large 16th century Gaspar da Salo to the smaller modern French viola, but it is generally conceded that the larger the instrument, the more per - fect the tone. Hermann Ritter (B. 1849), a renowned viola player, invented the so-called Viola - Alta in order to bring about the ideal relationship between pitch of tone and size of instru - ment, but it has not been a practical success, although its merits were recognized. The Viola bow is a counterpart of the violin bow, except that it is heavier, and rather less adapted to the very lightest violin bow strokes. No finer tribute has ever been paid to the viola than is contained in the following excerpts from the writings of Hector Berlioz, the great authority on orchestration. "Of all instruments in the Orchestra the one whose excellent qualities have been longest mis- appreciated is the viola. It is no less agile than the violin. The sound of its strings is peculiarly telling. Its upper notes are distinguished by their mournfully passionate accent; and its quality of tone, altogether of profound melancholy, differs from that of other instruments played with a bow. Melodies on the high strings of the viola have a marvellous beauty in scenes of a religious and unique character." In this method the author, supported by his own practical studies and long experience in teach- ing,has endeavored to present concisely all that is necessary enable the student to become a thoroughly good and efficient Viola player, either in the orchestra or in chamber- music; provi - ded that he who chooses this instrument for study, has previously acquired some proficiency in violin playing and a thorough knowledge of the rudiments of music. VIThe Viola and its Component Parts 1 2 3 4 5 6 7 8 9 6 10 12 11 1. The scroll or head 7. The ribs (made of Maple wood) 2. The pegs 8. The F or sound-holes 3. The nut 9. The bridge 4. The neck 10. The tail-piece 5. The finger-board 11. The end-pin 6. The top (made of Pine wood) 12. The purfling 23035 VIThe Clefs and Notation for the Viola The clef regularly employed in writing music for the Viola is the Alto or C Clef; which indicates the position of "Middle also shown for sake of comparison in the Treble and Bass Clefs. C Notes that would necessitate continuous use of leger lines above the staff are often written in the G or Treble Clef, sometimes called the Violin Clef., would be easier to write and read, thus: The four strings, C, G, D, A are tuned in 5ths, like the Violin strings, but beginning on C, a 5th below the Violin "G" string. Therefore the Viola is said to be pitched a fifth lower than the violin. the identical sounds would be written G A in the and clefs, thus: D Whereas on the violin only one string (G) is wound with silver or copper wire, the two low - est strings of the Viola (G and C) are wound with wire. Most students of the Violin who desire to take up the Viola have acquired some knowledge of the Bass Clef through association with piano accompaniments, and while the Bass clef is never used in Viola music a comparison between the two clefs showing the same identical notes may serve to locate the exact position of the C string notes, while the notes above are show in Treble clef as well. G Violin C string notes Viola Cello C The full orchestral compass of the Viola is as follows: but the extreme upper notes would preferably be written for the violins except where it is necessary to carry the viola into the high register to preserve continuity of tone color in a passage, or where the peculiar tone quality of the viola A string was purposely sought. 23035- VI3 Practical Viola Method By HANS SITT Newly Revised and Enlarged Edition by F. Ambrosio Explanation of the signs = broad strokes with bow remaining on the strings = short, detached bowing = Down-bow V = Up-bow I = first position II = second position III = third position IV = fourth position V = fifth position The placing of the fingers in the First Position C string C D E F G F E D 4 2 3 2 0 1 1 0 G string C D C B A G G A B 1 2 3 3 2 1 0 D string F G A G F E D D E 2 3 2 1 0 A string D E D A B B A U 1 2 2 1 0 Scale in C major 0 2 3 3 4 3 2 1 Copyright MCMXXIV by Carl Inc.,New York 23035 - seIntervals Seconds Thirds Fourths Fifths 44 Sixths 23035- 525 Sevenths 4 Octaves 4 Ninths Tenths SCALES IN ALL MAJOR AND MINOR KEYS In order to insure purity of intonation on the Viola as soon as possible, it is necessary to practise the fol- lowing scales, very slowly at first. C major A minor G major E minor D major6 B minor A major Ft minor E major minor B major minor 3 major Gb major 3, D# minor Eb minor7 major Db major Bb minor Ab major F minor Eb major C minor Bb major G minor F major D minor8 EXERCISES FOR DIFFERENT NOTE VALUES AND RHYTHMIC VARIETIES Andantino 1 0 AllegrettoModerato10 Andantino 4 dolce oresa EXERCISES FOR VARIOUS BOWING VARIETIES With the whole length of bow Moderato 0 5 4 0 0 5211 This same exercise is also to be practised in quicker tempo, using staccato strokes at the point of the bow. 2 5 6 10 11 12 13 14 15 16 17 18 Allegro 6 23035- 5212 6 8 10 12 7 9 11 13 14 15 17 16 18 Allegro 7 FINGER EXERCISES To be practised very slowly at first. Special care must be taken to secure pure intonation and perfect evenness. A a13 B 0 C 4 0 D 4 0 23035-5214 E 0 4 4 4 4 0 H 23035-52