I

Passamezzo
Method
for viola da gamba
TENOR Viol
Book one

A new method for viola da gamba, designed

for children and non-string players. Irresistible
tunes from the Renaissance and Baroque periods
engage and inspire the learner. Experience the
joy of playing early music faster with this novel
approach to learning the viola da gamba.

WWW.JULIEELHARD.COM

$14.95

by
ISBN # 978-0-9856823-1-6 Julie Elhard

ElhardCover2Tenor.indd 1 6/29/12 10:30 PM

 I
Passamezzo
Method
for viola da gamba

Tenor Viol
Book one

by
julie elhard
Passamezzo Method for Viola da gamba for Tenor Viol
By Julie Elhard

© 2012 Julie Elhard

ISBN # 978-0-9856823-1-6
 PASSAMEZZO METHOD
for viola da gamba
Tenor Viol 3 Book One 4 CONTENTS

Introduction  5 Are You Sleeping?—in D  25

Care of the Viola da gamba and Tuning  6 On the Bridge Avignon—in F  25
The Parts of the Viola da gamba  7 Are You Sleeping?—in C  26
Pre-Passamezzo Experiments  8 Fancy Fingers—in C  26
Tick-Tock Cuckoo Clock  10 Bransle  27
The String Song  10 Fancy Fingers—in F  28
Happy to Sad  11 On the Bridge Avignon—in D  28
Annika’s Countdown  11 English Pavane  29
Passamezzo Variations  12 Medieval Times  30
Moonlight  13 Gypsy Dance  30
Hot Cross Buns  14 The Snake Charmer  30
Scotland’s Burning  14 Fancy Fingers—in A-minor  31
Mixolydian Mode  15 Waves Upon the Sea  31
Twinkle, Twinkle Little Star  16 Perpetual Gunnar  32
Twinkle Slides  16 Simple Simpson  33
Od Hecaton  17 Rufty Tufty  34
Petrucci’s Piece  17 Fortune My Foe  35
The Clowns  18 Arirang  35
Old MacDonald  19 Simpson Study  36
Boil the Cabbage  20 Noel Nouvelet  37
Washerwoman  21 Perpetual Henrik  37
Lightly Row—in C  22 Over the Hills and Far Away  38
Lightly Row—in F  23 La Mantovana  39
Fancy Fingers—in D  24 Ding-Dong Scale  40
Lavender’s Blue  24 Ding-Dong Merrily We Fly  41
INTRODUCTION
The pieces presented here are to be learned primarily by ear, or memo-
rized as soon as possible. Playing away from the printed music allows
for more awareness of the actual experience of playing music. It is hard
to change what is not noticed, so awareness is a key element in learn-
ing and changing.

To the Parent
Helpful hints for playing time with the viol:
1. Create a space for music in your home.
2. Set a regular time to play with the viol.
3. Encourage exploration and inventiveness to learn how the viol
works.
4. Resist the urge to “fix” or “correct.” Instead ask, “What happens
if . . .” or “What did you notice about playing . . .”
5. Encourage child to create her or his own songs.

To the Adult Student

1. Practice self-awareness by asking yourself, “What did I notice?”
2. Resist the urge to play it “right,” or to scold yourself.
3. Explore the instrument and make up your own warm-ups.
4. Expand your awareness to notice:
a. Your comfort level
b. Ease or difficulty of playing
c. Thoughts and intentions while playing
d. The sound of the viol

I would like to thank my students for their willingness to explore this

new method with me. You will find some of their names in this book.
Also, I greatly appreciate the support of my family, friends and col-
leagues who have given me help and inspiration.
I hope you find this method a fun way to explore the world of the
viola da gamba.

Julie Elhard

5
 Care of the
Viola da gamba
Treat your viola da gamba with the same care as if it were a person.
1. Keep the viol in its case or protected from being knocked over.
2. Keep away from direct sunlight, heating source, or extreme cold.
3. Travel with viol inside the car, not the trunk.
4. Loosen bow when finished playing and wipe off rosin from stick.
5. Clean rosin off strings and off the belly of the instrument.

Tuning the
Viola da gamba family
This instrument is tuned like a Renaissance guitar. An interval of a
third is between the middle two strings, and an interval of a fourth
is between the outside sets of strings.

from highest to lowest string

(bass viol is an octave lower)

Treble and Bass Viol Tuning

String 1 D
String 2 A
String 3 E
String 4 C
String 5 G
String 6 D

Tenor Viol Tuning

String 1 G
String 2 D
String 3 A
String 4 F
String 5 C
String 6 G

6
 THE PARTS OF THE
VIOLA DA GAMBA
The Parts of the Viola da gamba
Draw a line to each part
Draw a line to each part

Headoror
Head Peg
Pegbox
box
scroll
scroll

Pegs
Pegs

Pegs
Pegs Nut
Nut

Neck
Neck Strings
Strings

Frets
Frets

Fingerboard
Fingerboard

Shoulders
Shoulders

Sides
Sides

Soundpost
Soundpost
(inside
(insideinstrument)
instrument)

Bridge
Bridge C-holes
C-holes

Waist
Waist

Back
Back(hidden behind)
(hidden behind)

Bottom bouts
Bottom bouts

Tailpiece
Tailpiece

7
 Pre-Passamezzo Experiments
Exploring the instrument
For treble and tenor viols, try using a “lap pad” to help stabilize the
instrument. This is a rubber shelf roll cut into a long strip and placed
on lap, under viol.
Explore different ways to use the bow (overhand, underhand,
fingers over stick “cave man” style, at frog, fingers on hair). See what
feels comfortable and learn how the bow works on the string. “What
did you notice about that way of using the bow?”

Games for children

• Play the game “Simpson Says touch the _______” (bridge, pegs, etc.)
• Strum strings like a guitar by using the right hand thumb.
• Ghost Song by Gabriel North, age 5
Make sounds from a haunted house
1. Ghosts sounds are bowing back and forth on the string at dif-
ferent speeds
2. Creaking door sounds are a heavy bow close to the fingerboard
3. Mice running around are the bow playing on the wrong side of
the bridge
4. Bounce bow on string for making house creak and fall down
• Play “I Spy.” Child makes spy glass with left hand and teacher plays
viol; ask, “What did you spy?”

Left Hand
• Sing song Tick-Tock from Book One
• Make a spy glass between middle finger and thumb (L.H. position)
• Finger “pull-ups”: left hand fingers pluck string
• Ski Jumps: slide 1st finger from nut to end of fingerboard, then
pluck string
• The gamba harp: strum strings with left hand, like a harp
• “Itsy bitsy spider”: walk fingers up and down string
• Finger puzzles: place fingers on different strings and frets, then
pluck each note with the right hand (change order of fingers and
order of strings)

8
The Bow
• The Noodle Song by Bryan Boehnke, age 6. Bow across all strings from bot-
tom to top
• Airplane bows. Place a heavy bow on the string, then count down to take
off and listen to the ring
• Inch Worm bow. A sticky, short bow slowly inches along the length of the
bow making tiny speaking notes
• Play Happy to Sad from Book One

Listen and Pluck Pieces

• Noel Nouvelet. Pluck open E-string for treble and bass viol;
Pluck open A-string for tenor viol (teacher plays melody)
• Ding Dong Merrily. Pluck open C-string for treble and bass viol;
Pluck open F-string for tenor viol (teacher plays melody)
• Arirang. Pluck open A-string for treble and bass viols;
Pluck open D-string for tenor viol (teacher plays melody)

Listen and Bow Pieces

• Play follow the leader. Take turns playing rhythms on open strings or a
small sequence of notes
• Twinkle in A. Child plays rhythm on 7th fret, note-E on A-string
(teacher plays melody while the harmony E-note is played only on every
2nd note of Twinkle melody.)
• Boil the Cabbage. Child plays bow rhythm on open D-string
(teacher plays melody)
• Make siren sounds by sliding finger up and down the string while bowing
• Make ghost sounds by sliding a very light finger over harmonics while
bowing
• Make animal sounds for Old MacDonald
• Play Annika’s Countdown from Book One

Explore the physics of the bow

“The Big Three”
1. Weight of bow on string
2. Placement of bow between bridge and fingerboard
3. Speed of bow
What happens to the sound of the viol when any of these three elements change?

9
 Tick-Tock Cuckoo Clock
Children’s Song

Start by swinging bow like a pendulum in front of viol and click tongue to make
“tick-tock” sound. Sing song and pluck with the left hand the number of times
the clock has struck. Children are good at thinking of dfferent ways to pluck,
e.g. different fingers and different strings.

œ
V 44 œ œ œ œ œ œ œ œ œ œ
Tick tock, tick tock, I’m a gam - ba cuck - oo clock.

œ
Vœ œ œ œ
[pluck G string]
œ œ ∑
Now I’m strik - ing 1 o’ - clock:

The String Song

Sing words and pluck open strings on the half notes.

# 4 œ. œ œ. œ ˙ ˙ ˙ œ. œ œ. œ ˙
[pluck G string]
˙ ˙
V 4
I can play a G G G, I can play a D D D,

# œ œ. œ ˙
V ˙ ˙ œ. œ œ. œ n˙ n˙ ˙
Down to the A A A, I can play an F F F,

#
V nœ œ. œ ˙ ˙ ˙ œ. œ œ. œ ˙ ˙ ˙
Way down to C C C, All the way to G G G.

10
 Happy to Sad
Annika Stall, age 6

The open strings. Start with a push bow.

≤
œ œ œ œ œ œ
G string D string A string
4 œ œ œ œ œ œ œ œ œ œ œ œ
V4

F string C string G string

Vœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Annika’s Countdown
Annika Stall, age 6

Place your hand on the A string with your 4th finger on the 7th fret.
Start with a push bow.
≤
4 œ œ œ œ œ œ bœ œ œ œ œ œ
4 3

V4

Vœ œ œ œ œ œ #œ œ œ œ œ œ
2 1

Try this on all the strings and on different frets.

11
 Passamezzo Variations
Julie Elhard

Start with 2nd finger on the 5th fret on the A string, using 2-1.
≤
# # 4 œ2 œ œ œ œ. œ. œ1 œ œ œ œ. œ. œ2 œ œ œ œ. œ. 0
A V 4 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
2 1 2 0 2

V œ. œ.

# # œ≤. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ
B V œ. œ œ œ. œ œ

# # œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ
V 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
C V

## œ œ œ œ œ œ œ œ
V œœœœœœœœ œœœœœœœœ

## œ œ œ œ œ œ œ œ œ œ œ œ
V œœœœ œœœœœœœœ

12
 Moonlight
Julie Elhard

To be played on the A string. Put 2nd finger on the 7th fret.

# 4 œ2 œ œ œ œ œ œ4 œ œ œ œ œ
V 4
Walk - ing in the moon - light, Look-ing for a star bright,

? # 44 œ
Teacher
œ œ œ œ œ œ œ œ œ œ œ

# œ2 œ œ œ œ œ #œ œ œ œ œ
1
œ
V

?# œ
Make a wish at mid - night, Wait - ing for the day - light.

œ œ œ œ œ œ œ œ œ œ œ

# œ2 œ œ œ œ œ œ
4
œ œ œ œ œ
V

?# œ
Walk - ing in the moon - light, Look-ing for a star bright,
œ œ œ œ œ œ œ œ œ œ œ

# œ2 œ œ œ # œ1 œ œ2 œ œ œ œ œ
V

?# œ
Make a wish at mid - night, Wait-ing for the day - light.

œ œ œ œ œ œ œ œ œ œ œ

13
 Hot Cross Buns
Traditional

≤
Melody

### 4 œ
˙ œ œ ˙ œœœœœœœœ œ
1 0 3 1 0 0 1 3 1 0

œ œ ˙
3

V 4
Upper harmony
≤
### 4 œ 3
œ
0
˙1 œ œ0
3
˙ œœœœœœœœ œ
1 1 0 3
œ ˙
0 1

V 4
Lower harmony
≤
? # # # 44 œ ˙0 œ0 œ0 ˙0 œ0 œ œ œ œ0 œ œ œ œ0 ˙
Teacher 0
œ œ
0 00

Scotland’s Burning
Traditional
Can be played as a round. Each voice enters after one measure.

## 4 0 œ
0
œ œ
0
œ
0
œ œ
1
œ3 œ1 œ3
V 4œ œ œ
Scot-land’s burn-ing, Scot-land’s burn-ing, Look out, look out,
1st finger on
œ œ œ œ œ œ œ œ
7th fret
## œ œ œ œ œ œ œ œ
1 3 1 0 3 1 0

V
Fi - re, fi - re, fi - re, fi - re, Pour on wa - ter, pour on wa - ter.

14
 Mixoydian Mode
## 4
V 4œ œ œ œ œ œ œœœœœ œ œœœœœ œ
Mix-o - lyd - i - an mode

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
V

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
V

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
V

## œ œ œ œ œ œ œ œ œ œ œ œ
V œ œ œ œ œ œ

15
 Twinkle, Twinkle, Little Star
Traditional
Try different rhythms on this theme.
≤
### 4 0 œ œ œ3 œ ˙1 œ œ œ œ œ œ ˙
1 0 3 1 0

V 4œ œ

### œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
1 0 3 1 1 0 3 1

### œ œ ˙
œ œ œ œ œ œ œ œ
0 1 3 1 0 3 1 0

V œ œ ˙

Twinkle Slides
Play this piece ONLY on the A string. Slide the 1st finger back to 1st position after the
*1 notes. Finger 1 will slide back to the B on the A string, then place 4 for the next note.
Enjoy the ride!
≤
slide 1st finger
back to 1st pos.

### 4 0 œ œ œ œ ˙ œ œ œ œ œ œ ˙
1 3 *1 4 3 1 0

V 4 œ œ

# # # œ1 *1œ œ4 œ œ œ ˙
3 1
œ œ œ œ
1 *1 4
œ œ ˙
3 1

### œ3 œ *1˙
œ œ œ œ œ œ œ œ œ œ ˙
0 1 4 3 1 0

16
 Od Hecaton
# # # 4 œ1 3
œ œ œ ˙ œ œ œ ˙
0

V 4 œ œ ˙
Od He - ca - ton

# # # œ1 œ œ ˙ œ3 œ œ ˙ œ
1
œ œ ˙
V

# # # œ0 œ œ ˙
3
œ œ œ ˙
1
..
V œ œ œ ˙

Petrucci’s Piece
arr. after “Dit le Burguynon”
from Ottaviano Petrucci’s Od Hecaton, 1501

# # # 4 œ1 œ œ3 œ œ4 œ œ 0 1 3 0 1

V 4 ˙ œ œ œ œ ˙ ˙ ..

### . œ œ œ ˙
3 0 0 1 3 0 1

V . ˙ ˙ œ œ œ œ ˙ ˙ ..

17
 The Clowns
“Les Buffons;” anon. 15c
≤
### 4 ˙ ˙
V 4œ œ œ œ œ œ œ œ
0 1 3 4 3 1 3 0 1

˙ ˙

### ˙ ˙
œ œ œ œ œ œ œ œ ..
0 1 3 4 3 0 1 0

V ˙ ˙
≤ ≥3 1 3 0
### . ˙ œ œ ˙ ˙ œ œ œ œ ˙ ˙
1 3 1 0 1

V .
≥1 ≤3 0 1
### ˙ œ œ ˙ ˙ œ œ œ œ ..
3 1 0 0

V ˙ ˙

18
 Old MacDonald
Traditional
0
## 4 œ œ œ 0 1 0
œ3 œ œ1 œ w
0

V 4 œ œ œ ˙

# # œ0 œ œ 0 1 0
œ3 œ œ1 œ w
0

V œ œ œ ˙

# # œ0 œ œ 0 œ0 œ œ Œ œ0 œ œ œ œ œ œ œ œ œ œ œ
V œœ

# # œ0 œ œ 0 1
œ œ ˙
0
œ3 œ œ1 œ w
0
..
V œ

This is an exercise/game to learn about the viola da gamba.

This is an exercise/game to learn about the viola da gamba.
Use the following examples to make new sounds on the viol during the animal sounds
Use the following examples to make new sounds on the viol during the animal sounds in the
in the third line:
third line.
1. Mouse. Place 1st finger at the end of the finger board and make a squeaky sound with
1. Mouse
the bow.– place 1st finger at the end of the finger board and make a squeaky sound
with
2. Siren. Slide 1st the bow
finger up and down the string while bowing.
2.3. Seagulls.
Siren – slideSlide 1st fingerup
1st finger upand
anddown
down thethe string while while
string lightly bowing.bowing to create
3. Seagulls
harmonics.– slide 1st finer up and down the string lightly while bowing to create harmonics.
4.4. Train.
Train –Play
playonontwotwostrings
strings at once
at once (double
(double stop)stop) to make
to make a trainawhistle
train whistle
sound. sound.
5.5. Cat.
Cat – Slide
slide1st
1stfinger
fingerupupand back
and on aonstring
back to make
a string a “meow”
to make sound.sound.
a “meow”
6.6. Cow.
Cow –Slide
slide1st
1stfinger
fingerupupand
andback on aon
back low string
a low to make
string a “moo”
to make sound. sound.
a “moo”
7. Creaky door. Place bow on string close to fingerboard; then
7. Creaky door – place bow on string close to fingerboard; then with heavy with heavy weight weight
move
bow slightly.move bow slightly.

19
 Boil the Cabbage
Traditional

On the repeat, add the open D string to the melody notes and play double stops.

# 2 1œ œ œ œ œ œ œ2 œ œ œ œ œ œ1 œ œ œ œ œ
V 4

# 0

V œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1 2

# œ1 0 1

V œ œ œ œ œ œ œ œ œ œ œ ..

# œ4 œ œ œ œ œ3 œ4
0 1 0

V ‰ J
Shave and a hair - cut, two bits.

20
 Washerwoman
Bransle des Lavandieres

arr. Michael Praetorius

# # 4 œ1 œ œ œ 0 œ œ œ œ œ œ ˙
œ œ ˙ ..
0 1 0 3 1 0 1

V 4

## . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .
1 3 0 3 1 0 3 1 3 0 3 1 0 3 1

V . .
f p
## . œ œ ˙ ˙ œ œ œ œ œ œ œ œ
1 0 3 0 1 0 3 1

V . ˙

# # œ1 œ 0 ˙ ˙ œ œ œ œ ..
œ œ ˙
3 1 0 3 1 0 1

V ˙

21
 Lightly Row – in C
Traditional

œ œ œ ˙ œ4 œ ˙
œ ˙ œ œ œ œ
4 1 2 0 2 0 1 2
4
V4

œ4 œ1 œ œ œ œ œ œ œ œ
œ œ œ œ ˙
2 0 2 4 1 1

0
œ œ ˙
1 2
œ œ œ œ
1
œ œ
2
˙
4

Vœ œ œ œ

œ4 œ1 ˙ œ œ ˙ œ œ
œ œ œ œ ˙
2 0 2 4 1 1

22
 Lightly Row – in F
Traditional

œ4 œ1 ˙ œ2 œ0 ˙ œ œ4 œ ˙
œ œ œ
2 2 0 1

V b 44

œ4 œ1 œ œ œ2 œ0 œ œ 2
œ
1
œ
4
œ œ œ ˙
1
œ
Vb

œ œ œ œ
0
œ œ
1
˙
2
œ œ œ œ
1
œ œ
2
˙
4

Vb

œ4 œ1 ˙ œ2 œ0 ˙ œ œ
œ œ œ œ ˙
2 4 1 1

Vb

23
 Fancy Fingers – in D
## 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
0 1 3 0 1 3

V 4

## œ œ œ œ œ
œ œ4 œ œ œ œ œ œ œ œ œ œ œ
4 3

## œ œ œ œ œ œ œ œ
1 3 4 1 0
œ œ œ œ œ œ ..
V

Lavender’s Blue
Traditional broadside ballad

## 3 œ œ
0 1
œ œ œ œ œ œ
0 3 1 0
œ
3
œ ˙.
œ
V 4
La - ven - der’s blue, did - dle did - dle, la - ven - der’s green

## œ
0
œ œ
1
œ œ œ3 œ1 œ0
0
œ0 œ
3 0
˙.
1

V œ
When I am king, did - dle did - dle, you shall be queen.

## œ
0
œ œ
1
œ œ 3œ œ1 œ0
0 œ
3 œ ˙.
œ
V
Down in the vale, did - dle did - dle, where flow - ers grow,

## œ œ œ œ œ œ3 œ1 œ0 œ0 œ3 œ1 ˙.
0 1 0 0

V
And the birds sing, did - dle did - dle, all in a row.

24
 Are You Sleeping? – in D
Folk song
Can be played as a round. Each voice enters after two measures.
≤ 1 3 0
## 4 œ œ œ œ œ ˙ œ ˙
œ œ œ œ œ œ
0 0 1 3 0 3 0 1 3 0 1

V 4

## œ œ œ œœ œ
1 3 1 0 3 0
œ œ œ œœ œ œ
1 3 1 0 3 0 0 0 0 0 0 0

V œ ˙ œ œ ˙

On the Bridge Avignon – in F

Traditional French

œœ ˙ œ œ œ œ œ œ
2
4 2 1 2 4 2
œ œ ˙ œ
2 0 1

b 4 œ
V 4
On the bridge A - vi-gnon, We all dance there, we all dance there.

œ œ ˙ œ œ
2
œ
4 2
œ
4 1 2
œ œ ˙ œ ˙
2 0 1

b œ
V
On the bridge A - vi - gnon, We all dance there, round and round.

25
 Are You Sleeping? – in C
Folk song
Can be played as a round.
 0 1 2
œ œ œ ˙ œ ˙
V 44 œ œ œ œ œ œ œ œ
2 2 0 1 2 1 2 4 1 2 0

œ0 œ1 œ0 œ2 œ1 œ2 œ0 œ1 œ0 œ2 œ1 œ2 œ2 œ4 ˙2 2
œ
4 2

V œ ˙

Fancy Fingers – in C

V 44 œ œ œ œ œ œ œ œ œ œ œ
2 0
œ

œ œ œ œ œ œ œ œ
1
œ
2
œ œ œ œ œ
2 0 1
œ œ œ œ œ œ
V

œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ ..
1 0 2 0 21

26
 Bransle
Claude Gervaise

4 œ œ œ œ2 œ1 œ0 œ2 œ œ œ œ ˙ ˙
2 0 1 1 0 2 0

V4 œ

œ œ œ œ2 œ1 œ0 œ2 œ œ œ œ
2 0 1 1 0 2 1 2

V œ œ œ ˙ ..

œ
4
œ œ
1
œ œ œ œ œ
0 1 2 0 1 2
œ œ œ
4
œ œ
1
œ œ œœ˙
0 1 2 0 1
œ
.
V. ..

œ œ œ œ2 œ1 œ0 œ2 œ œ œ œ ˙ ˙
2 0 1 1 0 2 0

V œ

œ œ œ2 œ1 œ0 œ2 œ œ œ œ
Vœ œ
2 0 1 1 0 2 1 2
œ œ ˙

27
 Fancy Fingers – in F
œ œ œ œ œ œ
2
œ œ œ œ œ œ
0
œ1 œ œ œ œ œ2 œ0 œ1
b 4
V 4

œ2 œ œ œ œ œ œ2 œ œ œ œ œ œ1 œ œ œ œ œ
Vb

œ œ œ œ œ
0
œ
1
œ
2
œ
0
œ œ œ œ œ
2
œ
Vb ..

On the Bridge Avignon – in D

Traditional French

## 4 œ œ œ ˙
0
œ ˙
1

V 4
On the bridge A - vi - gnon,

## œ
3
œ0 œ1 0 3 0
œ
1 0 0
œ œ œ œ œ œ ˙
V
We all dance there, we all dance there. On the bridge

## œ œ ˙
1
œ
3
œ0 œ1 0
œ
1 3 0
œ œ ˙
V
A - vi - gnon, We all dance there round and round.

28
 English Pavane
Claude Gervaise

˙ œ œ ˙ œ œ œ2 œ1 œ0 œ ˙ ˙
1 4 1

4 ..
Vb 4

˙4 ˙2 œ. œ œ œ
1 0 2 1
œ œ œ œ
0 2 1 0

˙ ˙
V b .. J ..

˙1 œ œ
2 0
˙
1
œ œ
1
œ œ œ œ
0 1 2 0
˙
1
œ œ
1

V b ..

œ0 œ2 œ1 œ ˙
0
œ œ
2
œ œ œ #œ
1 0 3
˙
0
˙
Vb ..

29
 Medieval Times
Gunnar Mikko, age 8
What would your own medieval melody sound like?

œ œ œ œ œ œ
V 44 ˙ ˙ œ œ ˙
0 1 2 0 1 2 1 0 1 2 1 0

œ œ

Gypsy Dance
Mingli Halker, age 9
How would your own gypsy dance sound?

œ œ œœ œ œ œ œ
œ œ œœ œœ œ œ œ œ ˙
4 œ
0 1
2 1 0 0 1 0 1 0 1 2 1 0 0 1 0 1 0

V4

The Snake Charmer

arr. Gunnar Mikko, age 9

4 œ œ
0 1
œ
2
œ
1
œ
0
œ œ
1
œ
2
œ
4
œ œ œ
2 1 0
œ œ
1

V4

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2 1 0 1 2 4 2 1 0 2 1 0 1

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
2 4 2 1 0 1 2 1 0 1 2 4 2 1 0

30
 Fancy Fingers – in A minor

V 44 œ œ œ œ œ
0 1

œ œ œ œ œ œ œ

Vœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2 0 1 2 4 4

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
2 1 2 4 1 0

Vœ œ œ œ œ œ

Waves Upon the Sea

Julie Elhard
  
œ œ œ œ ˙ ˙
V 44 œ œ œ œ œ œ œ œ
0 1 2 0 1 0 2 1 0 1 2 0 1

œ œ œ œ ˙2 œ œ ˙
œ œ œ œ
1 2 4 1 0 2 1 2 0 1 2 1

V œ œ
 
œ œ œ œ œ œ œ
0 1 2 0 1 0 2 1 0 1 2 0

Vœ œ œ œ œ
1
˙ ˙ œ œ œ
1
œ
0 2
˙1 œ œ
2 1 0 2 1 0
˙ œ œ w
V

31
 Perpetual Gunnar
Gunnar Mikko, age 7

On the D string
≤0
## 4 ˙ œ œ ˙ œ œ œ œ
0
œ
3
œ
0 1
œ œ
0
œ
3
œ
0 1

V 4

# # ˙0 œ œ ˙ œ œ œ œ œ œ œ œ œ œ ..
0 3 1 1 0 3 1 1

On the G string
≤ œ œ œ œ œ œ œ œ
## . ˙ œ œ ˙ œ œ
V .

## ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ .
V .

On the A string
≤
## .
V .˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ

##
V ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ..

32
 Simple Simpson
arr. Christopher Simpson
≤ 0 1
4œ œ œ œ œ œ
2 0 1
œ
2
œ œ
1
œ
2
œ
4
œ œ
2
œ
0
œ
1
œ
V4

œ
0
œ
1
b œ
2
œ œ
1
n œ
3
œ
4
œ œ3 œ4 œ1 œ3 œ4 œ
V

œ4 œ3 œ1 œ b œ2 œ1 œ0 œ œ œ œ œ œ œ œ œ
1 0 2 4 2 1

œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2 1 0 1 0 2 0 2 1 0 2

33
 Rufty Tufty
Popular Tune

œ4 œ œ3 œ1
0
˙ œ œ
1
˙3 œ1 œ3 ˙
0
˙
4 ..
V4

œ4 œ3 œ1 œ0 œ œ œ œ
0 2 1 2
œ œ œ œ
4 2 1 0 2

˙
V .. ˙ ..

œ œ0 œ œ1 œ ˙0 œ œ0 œ
.. œ œ
1 2 2 1 2

œ1 œ
2
˙0 œ0 œ œ
2
œ
1 0 2
˙ ˙ ..
V

34
 Fortune My Foe
≥ Anonymous

œ
V 44 ˙ œ ˙. œ œ œ w ..
0 1 2 1 0 1 0 2 1

œ œ
≥1
˙ œ œ ˙. œ œ œ4 # œ3 œ w
.
1 1 0

V .

œ4 œ ˙.
V˙ œ ..
0 2 1 2 1 0 1 0

œ œ œ œ w

Arirang
≤0
Korean Folk Song

## 3 œ . œ œ œ œ œ œ œ œ œ
1 0 1 0 1 0 1 3 1 3 0 1 0 1 0 1

œ
V 4 œ. J œ œ J œ . Jœ œ œ

## œ . œ œ œ œ œ œ œ œ œ œ. œ œ ˙.
0 1 0 1 3 1 0 1 0 1 0 1 0

V J J
≤
## ˙ œ œ œ3 œ1 œ œ œ œ œ
1 3 1 3 0 1 0 1 0 1

V œ. œ œ œ
J

## œ . œ œ œ œ œ œ œ œ œ œ. œ œ ˙.
0 1 0 1 3 1 0 1 0 1 0 1 0

V J J

35
 Simpson Study
Christopher Simpson
 0 1 2 0 1 2 0
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4 œ
2 1 2 4 1 2 0 1 2

V4 œ

œ œ
0
b œ
2
œ œ
1
0 1
n œ
3
œ
4
œ
1
œ3 œ4 œ1 œ3 œ4 œ
V

œ4 œ1 œ3 œ4 œ3 œ0 œ1 b œ2 œ œ œ œ œ œ œ œ
1 2 0 1 0 1 2 4

œ œ œ œ œ œ œ œ
2 0 1 2 1 2 1 2
œ4 œ2 œ1 œ0 œ2
V œ

36
 Noel Nouvelet
traditional French, 15th c.
≤
4 œ # œ œ ˙ ˙ œ œ œ œ œ
0
3 0 1 1 2 0 1 2 1 0

V4 œ w

œ # œ œ ˙ ˙ œ œ œ œ œ
0 3 0 1 1 2 0 1 2 1 0

V œ w

V˙ œ œ
2 1 0 1 2 1 0 1

œ œ w œ œ ˙ ˙

œ # œ œ ˙ ˙ œ œ œ œ œ ..
0 3 0 1 1 2 0 1 2 1 0

V œ w

Perpetual Henrik
Henrik Mikko, age 10

Memorize the finger pattern and then make up your own finger pattern.
# 4 œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ.
V 4 .

Variation
Variation 1 1
Startslowly,
Start slowly, then
then get get faster
faster and faster
and faster (asasfast
(as fast youas
canyou canthen
play), play), then slow down
gradually
gradually slow down until you stop. Keep repeating as long as needed. Notice how
­until you stop. Keep repeating as long as needed. Notice how you achieve different speeds
with the bow.
you achieve different speeds with the bow.
Variation 2
Variation
Begin 2 then start getting louder and louder (as loud as you dare), and then gradu-
very softly,
Begin
ally startvery softly,
getting softerthen
and start
softergetting louder
until the notes and louderNotice
disappear. (as loud asyour
what you bow
dare),
does to
and
get then and
louder gradually
softer. start getting softer and softer until the notes disappear. Notice
what you bow does to get louder and softer.
37
 Over the Hills and Far Away
Popular Tune

## 4 œ œ œ œ œ œ œ œ œ œ œ
0 1 3 1 0 1 3 10 1 0
œ œ œ
œ œœœ œ œ œ œ
0 1 3 1 0 1 3 0 4 1
œ
3

V 4 œ

## œ œ œ œ œ œ œ œ œ œ ˙4 œ
œ œ œ œ œ ˙
0 1 3 1 0 1 3 1 0 1 1 0
4 1 3

V ..

# # . œ . Jœ œ œ œ1 . œ0 œ3 œ0 œ4 œ1 ˙
1 0 3 1 0 1
œ œ ˙ J
V .

## œ . œ œ œ ˙4 œ4 œ1 ˙
œ œ œ œ
1 0 3 1 0 1 1 0 3

J œ œ ..
V

38
 La Mantovana
“Fuggi, Fuggi” (Fly, Fly)
Gasparo Zanetti, 17c. Italy

œ œ œ œ2 œ œ
V 44 œ œ
0 1 2 0 1
œ œ

,
œ œ œ œ œ œ œ œ œ
1 0 2 4 2 1 0

V œ œ ˙ ..

œ œ œ œ0 œ œ œ2 œ œ ˙1
œ œ œ œ œ œ ˙
1 2 0 1 2 2 1 0

V ..

, œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2 2 2 0
0 1 1 2 0 1 2 0 1 2 0

V˙

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1 2 1 0 2 4 2 1 0

V ˙ ..

39
 Ding-Dong Scale
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
œ
2 0 1 2 0 1 2 0 1 2 4 1 2

4
Vb 4

˙4 ˙ œ œ2 œ œ œ œ œ
1 2 4 1 2
œ
1
œ
0
œ œ œ
1 2 0

Vb

œ1 œ0 œ œ œ œ œ
2 0 1 2 0
œ
2
œ
1
œ œ œ
2 4 1
˙
2
˙
Vb

40
 Ding, Dong Merrily We Fly
“Branle de l’Official;” Arbeau, 1589
≤2
4 œ œ œ4 œ2 œ1 œ0 ˙2 œ 0œ 2œ œ œ1 ˙2 ˙ .
b
V 4 . .
Ding, dong mer - ri - ly we fly, we fly a - way to - geth - er,
Fly up high in-to the sky, to see the sun - ny wea - ther.
≤
œ.
4
œ2 œ
1
œ2 œ4 œ
1
œ.
2
œ œ œ œ œ
1 0 1 2 0

J
V b .. J
Ding, dong mer - ri - ly we fly, oh, mer - ri - ly we

œ1 . œ0 œ2 0œ œ1 œ2 œ0 . œ œ œ œ œ
2 1 2 0 1

Vb J J
fly, oh, mer - ri - ly we fly, oh, mer - ri - ly we
≤
œ . œ1 œ0 œ1 œ2 œ0 œ1 . œ0 œ2 œ 0œ œ2 œ œ1 ˙2 ˙ .
Vb
2

J J .
fly, oh, mer - ri - ly we fly a - way, we fly a - way to - geth - er.

41
 J u l i e El h a rd
performs regularly as a soloist and chamber
musician around the country. Ms. Elhard re-
ceived a Performing Artist Certificate from the
Royal Conservatory of Music in The Hague,
The Netherlands. She has taught at Carleton
and St. Olaf Colleges in Northfield, Minnesota,
and at workshops across North America. Ms.
Elhard currently teaches at Macalester College
in St. Paul, Minnesota, and at the Saint Paul
Conservatory of Music, where she is develop-
ing a new method for teaching children and
adult beginners the remarkable repertoire of
the viola da gamba.