bamuel Applebaum CHAMBER MUSIC Far RING ORCHESTRA c Published for ‘1st VIOLIN VIOLA 2nd VIOLIN CELLO VIOLIN—OPEN STRINGS BASS 3rd VIOLIN: PIANO ACC. SCORE Score Sey $3.00 ar ae Piano Acc. Masye: .$2.00- "ATI00 & MUBICA 3rd VIOLIN (VIOLA T.C,) Satcures oe purse BOOK ONE Chambez Music for Sting Owhesto by Samuel Applebaum FOREWORD Chamber Music for String Orchestra may be started when the pupil reaches page 30 of the Samuel Applebaum String Method. This book, however, is complete in itself and can be used in conjunction with any String Method It Is carefully prepared in such @ way that it can be played by 1) String orchestra, 2) String quartet, or any combination of strings, provided the piano part is used. For example, combinatigns might be two violins and viola; violin, viola and cello, etc. However, when played by string orchestra or string quartet, the piano is ad lib To the player: to derive the greatest enjoyment from playing chamber music, you will want to train yourself to do the following 1. To Sight Read. You must memorize the sensation of reading ahead. In this way you will be widening your peripheral vision. Play one measure-look away~and try to play as many notes as you can in the next measure, Practice this regularly to improve your sight reading, 2. To Develop a Beautiful Tone. Listen carefully to your own playing. Do not allow any tone to be scratchy. Avoid touching ‘wo strings. Experiment by finding the best possible lane in which to draw the most beautiful tone. It might be in the center; between the bridge and fingerboard; nearer to the fingerboard, or nearer to the bridge, depending upon how loudly you play and how quickly ‘you draw the bow, 3. To Develop Tone Color. Practice playing loudly, and playing softly. You might practice this with scales or with lines in this chamber music book. You must also learn to play gradually louder, and gradually softer, Learn how to accent certain notes by applying a bit more pressure, and by drawing the bow a bit faster at the start of the note, 4. To Play Musically. Try to find out where each phrase begins, and ends. Does it begin on an upbeat or does it start on the beginning of a measure, does it start in the middle of a measure? Many times you will allow a slight pause (or breath) before you start the new phrase, To play musically, you will play the last note of many phrases a bit softer than the previous note, Listen carefully to your partner. If you have the melody, play just a bit firmer. If your partner has the melody, play a bit softer. However, when both parts move together in thirds, sixths, or in octaves, the dynamic level should be the same, CONTENTS 1. Three Rounds (Old English) 2 48, Contemplation (18th Century Air)... 9 2. Nocturne (Sherwin) 2 16. Chorale (Mendelssohn—Bartholdy) - 1 3. Folk Song (Traditional) 3 17. Cantabile (Schumann) : cess 10 4, Lullaby (17th Century) 3 18. Dance of the Goblins (Qld Dance)... 10 5, The Hunt (Gurlitt) . 3 19, Petite Suite (Streabog) 02... 1 1s " 6. March (Ganschals) i 20. In Motion (Round in 4 parts — Brahms) " 7, In May (Gurlitt) 6 5 TIE Gher Daee HER GaT ney o i 1 Ghost Dance fentury Dance) a Spee ee 5 23, Rural Dance (17th Century Dance) : 13 8. Galop (Genechale} 60 a 24. Polonaise (Polish Dance} eer} 10. A Legend (Flemish Melody) 6 25, Dance of the Penguins (18th Century]... 4 11, We Plow The Fields (Schulz) “7 26. Island Song (Muller) . 4 12, Song of the Hussars (Kohler) 7 27. A Bright Star (Sherwin) 15 13, Serenade (Haydn) 8 28. A Graceful Waltz (Czerny) - : 15 14, Two Rounds (Anon) 8 29. Rondo (Wagner) rae Published for: Conductor 2nd Violin Viota Piano Accompaniment Open String Violin Cello 1st Violin 3rd Violin (Viole T.C.) Bass Copyright © 1972 by Belwin-Mills Publishing Corp., Melville, N.Y. Internationa! Copyright Secured Mace in US.A, All Rights Reserved “Belwin, CMS utiishing Corp. MELVILLE, N.Y. 11746Rounds or canons are frequently played in chamber music. They are very enjoyable to play and listen to, When you are older, you will look forward to playing a well-known rainuet in the form of a canon by Franz Hadyn (opus 76 No. 2) The two slanted lines mean that you are to lift the bow from the string. TORIO DRAMATIC, MUBIGa: "ibe GARLO® DE cAuros7/DE TATU! 1. Three Rounds 1 OLD ENGLISH @ ANONYMOUS. EARLY AMERICAN 4 n v_ @p myn iv vom o 4 13 8 100 & MUSICAL contERVATORO DRIES Dg ATR 2. Nocturne CARLOS 7 W. F. SHERWIN A \, rn On 4 2 {= [Melody] 1 n Vv w 1 ° a EL 2342 Copyright © 1972 by Belwin-Mills Publishing Corp., Melville, N. ¥. International Copyright Secured Printed in U.S.A. All Rights Reserved‘Try to keep the fingers down throughout the length of the line underneath the staff. A thoughtful chamber music player will know where a phrase begins and ends. The comma (9) will tell us when the Phrase ends. It will mean a slight pause before starting the new phrase, with the bow remaining on the string, CONSERYATORIO ORAMATICD & MUBIOAL 3. Folk Song “OR. GARLO® DE CaMPoR DE TATIN TRADITIONAL v8) Fl cea 2 9 Melody} agarose =. Lullaby 17TH CENTURY. EL 2342‘A good chamber music player has memorized the sensation of reading ahead. To become a sight reader, stop at any measure, look away from the music, and try to play one or more notes in the next measure. Practice this enjoyable game many times. In No. 6, the violins and violas play two notes in the same bow stroke. Try to jvide the bow evenly. NSERYATORIO ORAMATIOO & MUBIGA. OR. GARLOO DE: Bo mm 5. The Hunt CORNELIUS GURLITT 5 ) A rn n rn 0 BERVATORIO DRAMATICO & MUSIOAL, eee Ape DE CAMPOS" OE TATU 6. March Binhateet CARL GANSCHALS simile mv Vv n v @ - Vv EL 2342 [Melody]5 When we play chamber music we must train ourselves to listen to the other players as we play our own part. In No, 7 listen carefully to the basses and cellos, as in many phrases they will play the first note of the measure. Very frequently, the other instruments will have a rest on the first beat of the measure and will play quarter notes on the second land third beats of the measure. We call these after beats. As you play your own part, listen carefully to these after-beats. They will be helpful in keeping all the parts together. 7, In May GONBERVATORIO DRAMATICO, MUSICA: SDR. CARLO® DE ousery (om TATU Fy ny A - - ‘ £ : > = = z ris af t 7 ~*~ as y Melod; 2 n @ on fietotl ©. GURLITT SF [Melody] maanvaronso ptaarco swnec’ 26. Island Song oe n Ac MULLER15 struments play 8th notes at the same time, listen carefully to each other to make sure that you ‘move together. When we play chamber music, there is a rule that when you have two notes that are the same, one at the end of a measure and one at the beginning of the next measure, you slightly accent the second note, An example of this is in ‘measure two and in measure four. Note the mark above these notes (>). This is called an accent. CONSERVATORIO DRAMA im 7. A Bright Star "BR CARLOB DE Saurogr a 27. g WILLIAM F. SHERWIN n +z 2 ritard, (2nd time) CMe eames oe cauros’ or” = «28, A Graceful Waltz nara CZERNY 9 S Below the middle . nov n EL 2342 Pp a16 In this number we have an interesting challenge. It is technically quite difficult. Note the accents on the last two measures, Be sure to play each one of these notes very strongly. is“ crescendo”. Play gradually louder. mevese."” — mm ” dim." — means " diminuendo". Play gradually softer. 29. Rondo earvATOR(o DRAMATIOO E MUSICA. Ge ‘TATU —. WAGNER eeenganoe Oe ga antawee EE, ° dim. 4 A