- Lightly Row -

WHATS NEW AND DIFFERENT

Placement of the 1st finger and high 2nd finger on the A string while playing the
open E string with a clear tone

Terms: Moderato

MASTERING THE NEW AND DIFFERENT

Help the student to place the 1st and 2nd fingers on the A string. The teacher can play the
bow while the student concentrates on the left hand position.

HOW TO PRACTICE

Start with 1st and 2nd fingers down (B and C#) on the A string, making a bridge over
the E string. Leave these fingers down while playing the open E. As a general rule,
leave the fingers down if returning to them within the same position.

Lightly Row is to be played in the UH of the bow, with a legato stroke, using the
forearm. The same amount of bow will be used for the quarter notes as the half
notes. If necessary, make the student aware of the different bow speeds. (This should
not be too difficult since this task has already been accomplished in the Twinkle
Theme.)

Review the A Major Scale with the Twinkle Variation rhythms.

THE FORM

ABCB

- Song of the Wind -

WHATS NEW AND DIFFERENT

Independence of the 3rd finger

3rd finger hopping from the A string over to the E string

UH down bow circles

Discuss the repeat sign (Even though the student is playing without the music,
repeating the song will be discussed.)

MASTERING THE NEW AND DIFFERENT

Flying pizzicato done with the right hand index finger, gently plucking all strings over
the finger boards high dot and then circling around.
 Half down bow circles from the middle to tip on the A and E strings - quick circles
following through with the arm.

Left arm swing: Left pinky pizzicato over the high dot -- G, D, A, E. This gives the
left elbow flexibility in changing its position from string to string. Remember the
elbow levels are changing from the ball and socket joint.

Isolate M.3. (Ask the student to repeat this 25 times a day.) The third finger jumps
from the A to the E string while leaving the first finger down on the E string. This is a
PIVOTAL MOMENT in the development of independent fingers.
Note: If the 3rd finger is placed simultaneously on both the A and E strings as a
perfect fifth, the wrist can become distorted. Eventually, the student will place the
finger on both strings for a P5, but for now, the jump is a better solution.

HOW TO PRACTICE

Review the A Major Scale with the Twinkle Variation rhythms

Song of the Wind is played in the UH of the bow using the forearm

Fingers: Block the three fingers when descending in M.7 and M.11

THE FORM

ABB

- Go Tell Aunt Rhody -

WHATS NEW AND DIFFERENT

Taking 1st and 2nd fingers off together in M.4

Discuss dynamics Playing piano (P) in the second half of the B phrase

MASTERING THE NEW AND DIFFERENT

Isolate M.4. Stop before the last A in M.4 and raise the 1st and 2nd fingers together.
Repeat 10 times every day.

HOW TO PRACTICE

Go Tell Aunt Rhody is played in the UH with a beautiful singing tone and clear
intonation

Use a full half bow for the quarter notes, and a little less bow for the eighth notes

Use less bow to play the piano passage of the B phrase, staying in the UH

Review the A Major Scale with the Twinkle Variation rhythms

 Fingers: Begin with 1st and 2nd fingers on the A string. When descending in M.3,
block the three fingers.

THE FORM

ABBA

- O Come Little Children -

WHATS NEW AND DIFFERENT

New bow position Changing to the grown-up bow position

Using the whole bow

Bow division of W (whole) H (half) H (half)

Beginning a piece with an up bow (pick-up) for the first time

Completely independent 3rd finger on the E string

First eighth note rest

First dotted quarter note (last note of piece)

Discuss dynamics crescendo and decrescendo

Term - Andante

MASTERING THE NEW AND DIFFERENT

New bow position In the beginning, the thumb is placed on the underside of the
frog opposite the longest finger. Now, the thumb is placed between the frog and the
wrapping opposite the longest finger. Ideally, the thumb will be placed on the
octagonal side of the stick closer to the body. (See picture) The thumb must
remain relaxed and flexible for evermore. (The key words here are relaxed and
flexible. Since the thumb is a finger that biologically is used to grab, it is now faced
with the life-long prospect of simply helping to balance and support the other fingers
on the bow. To develop this state of physical being, takes constant awareness for
many years.) Check that the longest finger is opposite the thumb and forms a slightly
rounded circle. Tap the 1st finger on the bow, the two middle fingers and the little
finger allowing the fingers to find their own most natural position.

Whole Bow Exercises:

o Silent Bow Placements at the frog, middle and tip. Make sure the back of the
right hand is loose when the bow is at the tip. In the middle, the right hand is
balanced between the first finger and little finger. At the frog, the hand is
 balanced towards the pinky. Tap the fingers at each position making sure the
hand stays soft and relaxed.

o Practice Whole Bow Circles beginning down bow and up bow on the A and
the E strings

o Bow Wanderings - Begin at the tip of the bow and play with relaxed detache
bows. Make your way to the frog and then return to the tip. The fingers
remain relaxed. The forearm will be used on the up bow until it can go no
further, and then the upper arm will kick in bringing the bow to the frog. (See
the TRAIN STORY)

Practice WHH bows on the open A and E strings with singing tones

Silent String Crossings: roll the bow over all four stings by rotating the right arm from
the ball and socket joint

Place the left pinky at the tip of the bow, wave hello with the right arm while
maintaining a good balance with the right hand bow position. This helps to develop a
relaxed bow arm.

HOW TO PRACTICE

Begin in the middle of the bow. Then, use a whole bow for the quarter notes and half
a bow for the eighth notes except for the quarter note at the end of each phrase. For
these notes return only to the middle of the bow. Make sure to leave the bow on the
string during the rests to be ready for the next pick-up.

In the last phrase (M.14), place only the 3rd finger on the E string

Up bow circle off at the end of the piece

A Major Scale

Two detaches per note in the UH

Two detaches per note in the LH

Every note once for two beats using the WB

Legato WHH on each note using the quarter note, two eighth note rhythm

Bow divisions are all common sense and good logic.

THE FORM

AABC

- May Song -
WHATS NEW AND DIFFERENT

The first dotted rhythm (dotted quarter note and eighth note ta-dot-ti)

A Major Arpeggio

MASTERING THE NEW AND DIFFERENT

To practice the one octave A Major arpeggio use the whole bows. Play the open A,
then place the 1st and 2nd fingers on the A string. Leave them down while playing the
open E string and then place the 3rd finger on the E string.

Practice M.1 on the open A string. Use a whole bow for the dotted quarter note, a half
bow for the eighth note, a half bow for the next quarter note and a whole bow for the
last quarter note returning to the frog.

Stay aware of the bow division and different bow speeds for the same note value.

HOW TO PRACTICE

Bow Division

o Practice the first measure as described above. Use a WB on the quarter and
half notes, and half bows on the eighth notes.

o In the B phrase, use less bow when repeating in P.

Placement of Fingers

o M.1, place the 1st and 2nd fingers down together for the C#. Keep the two
fingers down while playing the open E and until you have played the 3rd
finger on the E string.

o M.2, leave the 1st finger down as you play only the 3rd finger because you are
returning to the 1st finger.

o M.3, block all three fingers on the A string and release the 3rd finger as you
play the open E

o M.5, block the three fingers and leave the 2nd finger down because you return
to it in M.6

Review the A Major Scale (See O Come Little Children)

THE FORM

ABBA

- Long, Long Ago -

WHATS NEW AND DIFFERENT

First note on the D string

MASTERING THE NEW AND DIFFERENT

Isolate the two measures with the new note (1st finger on the D string) and repeat 10
times/day (M. 9-10)

o Keep the 1st finger on the D string while you play the 3rd finger on the A
string (M.9-10) After you have played the D in M.10, hop your 1st and 2nd
fingers to the A string.

HOW TO PRACTICE

Review the WHH bowing pattern on the open D, A and E strings

Bow division of WHH throughout the piece

Review the A Major Scale:

Two detaches per note in the UH

Two detaches per note in the LH

Every note once for two beats using the WB

Legato WHH on each note using the quarter note, two eighth note rhythm

THE FORM

ABCB

TEACHING TIPS

It is helpful for the student to have three levels of pieces concurrently in the pipe-line.
Practicing and performing a piece below the present level gives the student a sense of
confidence and well-being. (This can consist of a review piece(s).) A piece at the
current level keeps the musical and technical growth intact. To keep the student
challenged and modest, present a piece with new difficulties.

Divide the weekly lesson into three categories: etudes (measures isolated), repertoire,
and group pieces. At different times the emphasis will shift depending on what the
priorities are, i.e., solo recital, group concert, attention to technique, etc.

SAMPLE PRACTICE ASSIGNMENT for daily practice on arrival at Long, Long

Ago might include:

A Major Scale
 o Two detaches per note in the UH

o Two detaches per note in the LH

o Every note once for two beats using the WB

o Legato WHH on each note using the quarter note, two eighth note rhythm

o Twinkle Variation rhythms

Isolating the difficulties in Long, Long Ago (10xs/day)

Playing Long, Long Ago (5xs/day)

May Song (3xs/day)

Alternating every other day reviewing the earlier Book One Pieces (1x/day)

Group repertoire

Remember that practicing is a matter of repetition, not a specific amount of time.

- Allegro -

WHATS NEW AND DIFFERENT

Fermata

Ritard

Dolce

A tempo

Allegro

Learning to lead the pianist after a fermata

MASTERING THE NEW AND DIFFERENT

Learn the new musical terms by drilling at the lesson and at home

Show the student how to lead the pianist after the fermata with a lift and play

HOW TO PRACTICE

Allegro combines all the bow strokes learned up to this point:

Martele
 Detache

Legato

The A phrases are played in the UH with the martele (quarter notes) and detache stokes
(eighth notes). The B section is played with a WB legato stroke.

It might be necessary to review taking the second and third fingers off simultaneously in M.2,
and taking the 1st and 2nd fingers off together in M.4. Isolate these measures. (This skill was
introduced in Go Tell Aunt Rhody)

THE FORM

AABA

- Perpetual Motion in A Major -

WHATS NEW AND DIFFERENT

Introducing the 4th finger

More complex memorization

Coordination between the right and left hands with faster note values: Finger Before
Bow (FBB)

Time to begin note reading

MASTERING THE NEW AND DIFFERENT

To introduce the fourth finger, practice a "Broken Record" with a detache stroke in the
UH on the open A and E strings

Review the set-up of the left hand. It is helpful to check that the left hand is balanced
back from the 3rd and 4th fingers. This is the most elusive left hand problem to
define, yet not difficult to fix.

HOW TO PRACTICE

Martele in the UH placing the Finger Before Bow (FBB)

Detache playing every note two times in the UH (double troubles)

Detache playing every note two times in the LH detache, slowly

Triplet detaches in the UH

Placement of Fingers: In M.5, 6, 7, block all three fingers

 Review the A Major Scale

THE FORM

AABBCCAA

- Perpetual Motion in D Major -

WHATS NEW AND DIFFERENT

A new key and new string - D MAJOR and D String

MASTERING THE NEW AND DIFFERENT

Practice a D Major One Octave Scale the following ways:

The Twinkle Variation rhythms

Two detaches per note in the UH

Two detaches per note in the LH

Every note once for two beats using the WB

Practice the 4th finger Broken Record on the D string

HOW TO PRACTICE

Martele in the UH placing the Finger Before Bow (FBB)

Detache playing every note two times in the UH (double troubles)

Detache playing every note two times in the LH detache

Triplet detaches in the UH

Time to begin NOTE READING

Follow this sequence of tasks and good music reading abilities are assured. Begin these drills
at Perpetual Motion and continue through the completion of Book One. The student should
master each task before going on to the next. This is not difficult to accomplish IF (and this is
the important point) practiced daily.

Rhythmic reading begins in the first Group Class and the following has been learned:

What is a staff, measure, bar line, time signature, treble clef, bass clef, note values
with the Kodaly syllables

Learning how to read pitch names:

 Learn the names of the notes under the fingers on the A string by answering the
question, "What are the names of the notes under the first, second, third fingers?"
Also, have the student play a note and say the name. (For example, What note is
second finger on the A string? The student will say, C#.)

Continue the above process with the names of the notes under the fingers on the E
string, D string and then G string. (One string per week makes good sense.)

Make flash cards for the A string notes. Flash the card to the student who says the
name of the note and then plays it on the violin. Explain that notes live on spaces or
lines, and when the notes go up, the pitch goes up.

Make flash cards for the E, D and G strings. (Again, one string per week.)

Return to Twinkle in Suzuki Book One and begin writing out the names of the notes.
Continue this note identification for all the pieces up through the latest piece.

Prepare note drilling pages or use the Avsharian Notespeller* if more drilling is
necessary.

This process may take two months, but is well worth the careful effort.

Rhythmic Training by Robert Starer is an excellent book for elementary to advanced students
for rhythm reading skills.

From this point, new pieces are learned with the music but are always memorized.

- Allegretto -

(A note: Andantino can be taught before Allegretto. Rhythmically, Andantino is easier to

grasp for many students.)

WHATS NEW AND DIFFERENT

Key of D major

Awareness of articulation with the bowing pattern WHH. The WB (quarter notes)
will be played with a martele stroke, and the half bows (eighth notes) with detache.

First G string note

Continuing development of the fourth finger

Terms: cesura, accent, Allegretto

MASTERING THE NEW AND DIFFERENT

Practice WHH bow pattern on open strings

 D Major One Octave Scale

o Two detaches per note in the UH

o Two detaches per note in the LH

o Every note once for two beats using the WB

o WHH (Articulation: Whole Bow will be played with a martele stroke and the
half bows with detache)

Isolate the D to G string notes in M.9, and repeat 15 times/day (The first finger hops
from the D to the G string. This is easy to do since this task was mastered in Long,
Long Ago.)

HOW TO PRACTICE

The 8th notes will be played with a half bow using the detache stroke. The quarter
notes will be played WB using the martele stroke. (Note: The WB martele is not a
short fast bow, but a WB with a ringing articulation.)

THE FORM

AABA

- Andantino -

Andantino is taught in the same manner as Allegretto

WHATS NEW AND DIFFERENT

Terms: Andantino

- Etude -

WHATS NEW AND DIFFERENT

The key of G Major - Introduction of the low 2nd finger with C natural on the A
string, and G natural on the E string.

Memorization is more complex. (However, mastering Etude makes the Minuets

easier.)

MASTERING THE NEW AND DIFFERENT

G Major Two Octave Scale with the first use of low 2nd finger

The development of independent fingers begins with Song of the Wind. Upon arriving
at Etude, the 3rd finger is placed by itself in a descending passage when it is followed
 by a low 2nd finger. When descending with the high 2nd finger, continue to place all
three fingers. (High second finger on the low two strings and low second finger on
the high two strings.)

Note: The reason for proceeding in this manner is that the student is habitually used to
placing the 2nd finger next to the 3rd finger. Placing only 3rd finger will be a reminder that
the low 2nd finger follows.

Broken record with the high and low 2nd finger.

Begin practicing the Two Octave G Major Scale by practicing all the previous bowing
patterns:

o Two detaches per note in the UH

o Two detaches per note in the LH

o Every note once for two beats using the WB

o WHH (Articulation: Whole Bow will be played with a martele stroke and the
half bows with detache)

o Twinkle Variation bowings

New Bow Division Pattern for the Two Octave G Major Scale:
Note: The term "stopped bow" is also used to indicate the martel stroke.

o Two stops (martels) per bow. Do the same thing with 3, 4, 5, 6, 7, 8 and 15
stops per bow as the student develops. (Begin by introducing 2, 3 and 4
stops/bow. Each lesson, add a few more notes to the bow.)

o When comfortable with the bow division, play the scale with slurs using 2, 3,
4, 5, 6, 7, 8 and 15 notes/bow. This is an essential tool for learning and
reinforcing bow division. Precise bow division must be emphasized. Dont
hesitate to leave the middle marker on the bow. This can stay put for many
months if not years.

HOW TO PRACTICE

Divide Etude into phrases to help organize the memory. If problems exist, try the
following:

o Bracket each phrase in a different color.

o Copy the music and cut the music into its phrases. Paste each phrase on the
wall in a different place. The student will have to walk from one phrase to the
next which gives a spatial sense of memory.

Martele in the UH with Finger Before Bow (FBB)

 Detache in the UH with every note two times (the old Double Troubles)

Detache every note two times at the frog

Detache triplets in the UH

Placement of Fingers

o M.1, begin with 1st finger and leave down until the 3rd finger G has been
placed on the D string

o M.2, leave 1st finger down, place the 3rd finger (without the 2nd)

o M 4, leave the 2nd finger down, find the 4th finger and then place the 3rd
finger

o M.8-14, remember to place only the 3rd finger when descending with a low
2nd finger. Still block the fingers when descending with the high 2nd finger.

Continue flash card drilling and writing the names of the notes in the music

THE FORM

AABA

- Minuet I -

WHATS NEW AND DIFFERENT

3/4 meter

Slurs

New bow divisions (Down up up)

Concept of strong and weak beats

First dotted half note

Review repeat sign

Expanded fourth finger independence

The use of high and low second finger

Term: Minuet

MASTERING THE NEW AND DIFFERENT

 Slur studies

Using the WB, practice down up up with martele bowing on the A string (M.1)

Practice down up up with a Two Octave G Major Scale

G Major Scale (See Etude)

Review the 4th finger broken record on the G, D, A, and E strings

High and Low Second Finger Broken Record

HOW TO PRACTICE

Bow Division

o M.1, play W-half-half

o M.2, play W-half-half-W

o M.5, play WB on the quarter notes and bows on the 8th notes

o The above pattern remains throughout

Placement of Fingers General Rules

o Place only 3rd finger when followed by a low 2nd finger

o Leave the old finger down to find the new finger for secure intonation

o Leave the finger down if returning to it within the same position

Placement of Fingers Minuet I

o M.1, begin with 3rd and 1st fingers down

o M.2, leave 1st finger down on the 8th note B to more easily find the G

o M.3, play only the 3rd finger, descending with a low 2nd finger

o M.5, leave the last 3rd finger down to find the next 4th finger (E)

o Patterns remain the same throughout

THE FORM

A://BC
 - Minuet II -

WHATS NEW AND DIFFERENT

Triplet figure

First legato slur

High and low 3rd finger

Consecutive string crossings and skipping a string

G Major Arpeggio

If the left hand is soft and relaxed, the teacher can begin to wiggle the students left
hand fingers for vibrato see Vibrato Link

MASTERING THE NEW AND DIFFERENT

Explain triplets

Isolate the triplets in M.15-16 and M.23-24, first with stopped bows and then slurs.
The student can say, "Strawberry ice cream cone" (or they may like chocolate better)
to help remember the rhythm.

Use the "broken record" exercise to practice the D#

Practice the first measure with martele bows in the UH with finger before bow (FBB),
and stopping the bow on the new string.

The G major arpeggio is played using whole bows with a beautiful, singing tone.
("The singing whole bow") Play open G, then place 1st and 2nd fingers on the G
string, leave them down and play the open D string. Place the 3rd finger on the D
string, leave this 3rd finger down to find the 1st finger on the A string, play the 3rd
finger on the A string, leave 1st finger down to find the 2nd finger on the E string.

Vibrato beginnings: At this point, the student may be ready to have the teacher wiggle
the left hand fingers. This can begin if the students hand is well-shaped, soft and
flexible. If this is not the case, wait patiently. It takes years to develop a beautiful
vibrato but it can all begin around this time.

HOW TO PRACTICE

The first measure should be practiced with martele in the UH, stopping the bow on the new
string. Also practice M.1 with finger before bow (FBB). The first measure will be performed
with a detache bow in the UH.

Bow Division
 o M.1, play in the UH using the detache stroke

o M.2, stay in the UH

o M.4, arrive at the frog on the second V bow

o M.5, play W- W- half-half

o M.8, save the bow on the dotted half note, arriving to the middle

o M.23, use the WB on the triplets, and bow on each V bow quarter note

o M.25, use the WB on the quarter notes, bow on the 8th notes

Placement of Fingers General Rules:

o Place only 3rd finger when followed by a low 2nd finger

o Leave the old finger down to find the new finger for secure intonation

o Leave the finger down if returning to it within the same position. (At this time,
the student is not shifting, but this rule is in development.)

Placement of Fingers Minuet II

o M.1, begin with 3rd and 1st fingers down

o M.2, place only the 3rd finger on the D string

o M.5, leave the 2nd finger down to find the 3rd finger in M.6

o M.6-7, 2nd finger hops from the G to the C (the P5th)

o M.12-13, leave the 3rd finger down to find the 4th finger in M.17

o M.17, begin with only 3rd finger

Review the Two Octave G Major Scale

THE FORM

AA:||BCDA

- Minuet III -

WHATS NEW AND DIFFERENT

Finger independence - the continuing development

 First 8th note slurs with string crossings

Concentric Circles: This would be a good time to introduce concentric circles which
reinforce free motions and give the student control to begin and end at any point in the
bow.

MASTERING THE NEW AND DIFFERENT

Isolate M.17 (first measure of the B section) and create a "broken record" exercise.
Begin with the first, second and fourth finger down.

Practice the slurs with stopped bows

Concentric Circles - Begin with a WB down bow circle. With each consecutive
circle, begin and end closer to the middle until you have arrived at a very tiny circle in
the middle. Up bows are done in a similar manner. (This is the Russian doll concept
of placing the smaller doll within the larger doll.)

HOW TO PRACTICE

Bow Division

o M.1, use the WB on the quarter notes and the two slurred 8th notes

o M.2, use the WB on the quarter note, and half bows on each quarter note V
bow (M.2)

o Same pattern remains throughout

Placement of Fingers

o M.1, place only 3rd finger on the A string, jump over to the D string for the P5

o M 2-3, leave the 3rd finger down to find the 4th finger

o M.6, block the three fingers in the descending passage (still blocking with the
descending high 2)

o M.17, place the 2nd and 4th fingers

Review the G Major Scale and Arpeggio

THE FORM

AA:||BC

ALWAYS CHECKING/DOING

Position of Feet
 Relationship of the head, neck and back

Suppleness and flexibility in the left hand

Tapping fingers on bow

Not squeezing or pressing up on the thumb of the bow hand

Statue of Liberty

Tapping left hand over the high dot

Whole Bow Down and Up Bow Circles

Concentric Circles

Silent Bow Placements

Bow Wanderings

NOTE: At this point, Fiddle Magic by Sally OReilly can be introduced. These are helpful
finger exercises in an array of colors and figures. The exercises can also serve as reading
exercises and pave the way for the Wohlfhart Etudes, Op. 45 which are coming up in Book
Two.

- The Happy Farmer -

WHATS NEW AND DIFFERENT

A dotted-quarter note hooked to an eighth note. This is the first dotted quarter note
since May Song, and can be practiced on the open strings. Catch (articulate) the
eighth note with the bow.

First pick-ups since O Come Little Children

First Z bowings (Link to Volume Two)

Term: Allegro giocoso

MASTERING THE NEW AND DIFFERENT

Practice the dotted rhythm on the A string and then with the G Major Two Octave
Scale. Articulate the eighth note with the bow which will give a ringing tone to the
dotted quarter. This begins the development of the Viotti Stroke.

HOW TO PRACTICE

Bow Division
 o Begin in the middle of the bow and go to the frog

o M.1, use the WB, leaving 1/3 of the bow for the 8th note

o M 2, stay in the LH for the 8th notes, use a WB on the dotted-quarter note, and
then stay in the UH for the 8th notes in M.3

o M.4, the first Z bowing. On the second beat which is an up bow, return to
the frog, and on the 3rd beat which is a down bow, stop in the middle. The
student is ready for the next pick-up.

Placement of Fingers

o M.1, place only the 3rd finger. Keep 1st finger down while playing the D and
the next G

Review the G Major Scale and Arpeggio

Awareness of phrase endings for memorization

Vibrato wiggles

THE FORM

AABB

- Gossec Gavotte -

The Gossec Gavotte is generally taught after Bourree in Book Two at the Indiana University
String Academy. The difficulties in the Gavotte are more easily accomplished at this point.

WHATS NEW AND DIFFERENT

Grace notes (first appoggiatura)

Crossing two strings

16th notes with slurs

High second finger and low second finger in a 16th note passage

Terms: Da Capo al Fine, Gavotte

First pizzicato

MASTERING THE NEW AND DIFFERENT

Isolate M.2 with the string crossing and grace note. Stop the bow on the new string
and prepare the finger.
 Isolate all of the 16th notes. Practice with separate bows, stopped bows and then
slurs. Repetitions are the key to success.

Isolate M.20 with high and low second finger. Place the 2nd finger with the 3rd
finger and take the high second finger (C#) off the string after it has been played.
Leave the 1st finger down throughout. Practice with separate bows, stopped bows
and then slurs. (The exercizes in the Suzuki Book are helpful.)

Isolate pizzicato

HOW TO PRACTICE

Bow Division

o M.1, play in the UH of the bow with the martele stroke

o M.2, stay in the UH, but a generous UH

o M.7, use a WB on the quarter notes, bow on the 8th notes

o M.17, use the WB

o M.18, use the WB on the first beat, UH for the 2nd and 3rd beats

o M.19, use the WB

o M 20, use the generous LH

o M.25, use the WB on the 1st beat, and generous UH for the remaining quarter
notes

o M 27, place the bow again at the frog

o M.31-32, play to the frog on the two V bows before the pizzicato

Placement of Fingers

o M.1, begin with only the 3rd finger

o M.2, only the 3rd finger on the D string

o M.7, 4th finger on the C# on the G string

o M.13, only 4th finger (descending with a low 2nd finger)

o M.18, leave the 3rd finger down because returning to it

o M 20, see Mastering the New and Different

 Review the G Major Scale and Arpeggio

THE FORM

AA:||:BC:|| Fine

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