O’CONNOR Method ‘A.New American Schoo! of String Playing By Mark O'Connor Batutaley BIBUOTECA MUSICAL compra 2 Canye (J Poracién fecha 2OM Procedencia fund precio SS 40.O'CONNOR, Method The O'Connor Method and all of the materials contained in the O'Connor Methed Books were authored and composed/arranged/orchestraved by Mark O'Conner. Original art work and graphic design for the O'Connor Method was created by Doug Regen of Nashville, Tennessee. Educational/historical notes about the traditional music as well as the original compositions contained in Books | & I! were written by Mark O'Connor and ‘dited by Parola Wiley. ‘The hand-made violin and bow pictured in the “PARTS OF THE VIOLIN” were made by luthier Jonathan Cooper from Gorham, Maine, Photographs of students taken at the Mark O'Connor Sering Camp. in New York City are by Greg Kessler. The photograph of Mr. O'Connor with young children was taken at the Thurnauer School, New Jersey. All additional photos/llustrations and any materials in Books | & I! that are not public domain are courtesy of the Mark O'Connor Collection Or are used with express permission, The CD for Orchestra Book | features the Mark O°Connor String Orchestra: Violins: Kelly Hall-Tompkins, Sarah Geller. Sarah Charness, Mary Jo Stip ‘Christiana Liberis. Chi-Young Hwang, Sanchie Bobrow, Brooke Quigzins. Violas: Kyle Armbrust, Gilian Gallagher, Sadie deWal, Chris Jenkins, Lev Liova Zhurbin Callos: Jooy Amini, Patrice Jackson, Louise Dubin, Laura Metcaif,Leat Sabbah. Piano: Rieko Aizawa. Piano parts arranged by Mark O'Connor and Bob Philip. ‘The CD was recorded June 18th, 2010 at The Society for Ethical Culture, New York, NY.and was engineered by Sean Swinney. The recordings were produced and edited by Mark O'Connor ‘with final mixing by Mark O'Connor and Sean Swinney. 315 Were S705 Stren Suga AH, New Yorks 10019 ‘ALL RIGHTS RESERVED, Ierntonal cop secure. BLL Made ard rived the USA. No prt fds pubteton may be epraduce in ‘nhc ori parser cansvine ay form x yay meas, elecroni O mecraneal ching photecepyne recording or by any normaton so ae and ete gacem. Fora works contaredteren: Unautonze copy an winger of copia. ifinger a abe under tlw Visit Mark O'Connor Online at www.markoconnor.com Copyright © 2009 by Mark O'Connor Musi IncerratoralO'CONNOR ACKNOWLEDGMENTS 2 saosld ihe to remember ayy mother, Marty O'Connor, who believed that a goad music education far ter childror could make 2 difference in one lives ot well at tn the lines of those cround us, The photographs tn this book of wgsel} as a child ware tahen by ony mother. 2 would sibe to thenh tue voleran sbring pecaganuet, Pamela ‘Wiley cued Boh Philips individually, for their amending rei dating, cae cd foadcels cx far their bali in may 6'Coancr Method. J would alto lhe te thank the cousitess odoin / fiddle cand string tocclors 9 have “bonnoed ny idea off of” for years, testing the waters fore. news hing method. 9 would lke le achnowledge uy owe sick file teachers ab child: Barlare Lamb and Joho Burke from Weshington, Bonny Thomatton fram Teras and Stephee Grappa fram Prance, for providing muuch of the inspiration J draw upon and for helping sme ta forme mary of the ideas and concepts J have utiliped i ong olin method. Perhaps mast impartanlly, Dard ta thanh iy teachers oad mentors for instilling in ms the desine to learn and Ua capacity to there ulat D have lecrned with others, Gurther credit goet to the dagans of string taachors at asll as the thoutands of students whe have participated in ty Samaner projects - String Camps in Now Yorks City, String Conferences ia Sa Diego, Gidile Camps ns Tenneston and Shing Dustdutes of UCLA, Los Angeles, Its my strong belie that 9 have lecrued cs much 0b enyana ower the yocrs of my oun eduectionel string coords. A special tah you ts my co-director of fifleon yeors, Helen Melzer, {or tor téreless energy towards creating on eratronment in hich people can learn. Some of the photographs of children playing in this book were taken at the 2009 Mark O'Connor String Came ix Neus Yorks City. Method Batutae/ BIBLIOTECA MUSICALORCHESTRA VIOLIN BOOK I Parts of the Violin Foreword ‘Author Biography Eight Principles of the O'Connor Method Feeling the Violin Musical Terms Musical Notation ‘Tone and Sound Note Chart Pitch Boil ‘em Cabbage Down (Variation 1). Boil ‘em Cabbage Down (Variation 2)... ‘Amazing Grace Boil “em Cabbage Down (Variation 4). ‘When the Saints Go Marching In.. Westward Journoy. Bonaparte's Retreat. Old Joe Clark. Climbing the Mountain.. ‘Appalachia Waltz Boogie Woogie. Golden Slippers... Boil “em Cabbage Down (Variation 6) Boil “em Cabbage Down (Variation 7) Johnny Has Gone for a Soldier ‘Sweet Betsy from Pike Soldier's Joy... ‘The World Turned Upside Down. Scales and intervals Used in Books | & I! CONTENTSPARTS OFTHE VIOLIN Memnod = F Hie Bridge Soundpost (inside) Fine Tuners Chincest Tallpiece Endbutton Shoulder Rest (underneath) ‘Tip Bowliair Stick [— MppLE — Grip Screw (___ urrer ———! ower —aip FrogO'CONNOR FOREWORD Method {lam pleased to introduce the O'Connor Method for string teachers and students, This Method Book series is designed to guide students gradually through the development of pedagogical and musical techniques necessary to become proficient, wellrounded musicians through a carefully planned progression of pieces. Gradual development of left-hand technique, bowing skill and ear training as revealed through the study of beautiful music encourages 2 love of music-making in a slow, steady and natural way. ‘The music that 1 have collected for the O'Connor Method Books | & I! includes some of the most endearing ‘melodies in American music as well as some of the great folk fiddle tunes that have endured our 400 yearole history of string playing. | have made ita specific feature of the Method to include musical literature that ‘represents all of the Americas ~ Mexico, Canada and every region of the United States = and so many musi- «al styles ~ classical, folk, Latin, jazz, rock, ragtime, etc. I have chosen and arranged material that will be both instructive and artistically enriching, and will help create the future classical player, folk music player, jazz ‘musician - or all three! ‘The Method Books | & I! take into consideration that, even at the beginning levels, learning music possessing a timeless quality is # healthy vehicle for engendering a Wielang love of music-making. Beginner tunes can be great tunes, and could very well stay with the student fora lifetime of playing and performing. {In my own experience giving classes around the country, | often toll students that | have professionally recorded three ofthe firs fiddle tunes I learned as a child. All three = Solder’ Joy, Arkantet Traveler, and Fiddler's Dreams are presented early inthis Method. | believe there are no throw-aways. The beginning tunes are built to last, Providing a sturdy foundation and core for the novice. The tune that | have arranged to provide the most rudimentary studies for a beginning string player ~ Beil em Cebboge Down - isthe frst fiddle tune I learned asa child, In the early books, students wil learn simplified arrangements of more advanced music which will appear later in the Method. Many of my own compositions such as Appolachia Waltz and The Fiddle Concerto, appear in the carly books in a form accessible to beginners. Students revisiting these and other pieces at a higher technical and musical level some years down the road will find themselves coming ful circle with their own earliest years lof wonderment and fascination with string playing, My travels of the past 30 years have convineed me that a new ‘American Classical Music is evolving. | have encountered thousands of students of all ages and abilities at concerts, workshops, collegelconservatoryluniversity seminars and fiddle camps and have found repeatedly that students do ‘not want to be left out” of the great sounds and energy of fiddling and jazz because they wish to become fine classical players. It is my firm belief that the new American Classical ‘Music will embrace the totality of our rich history of string playing, and itis my sincere hope that my Method will further this process and perpetuate love for string playing. PD ok. B Lamm (ew Yor iy, 2009)Batuta (e_/ BIBLIOTECA MUSICAL AUTHOR BIOGRAPHY O'CONNOR Method MARK O'CONNOR, [A product of Americas rich aural folk tradition as well as being a Classical and Flamenco music student in his formative years, violinist and composer Mark O'Connor is widely recognized as one ofthe most gifted contemporary comporers in America and surely ane of the brightest talents of his generation. Mr. O'Connor's creative journey began atthe feet ofthe folk fiddler and innovator whe created the modern era of American fidaing in the 1940s, Benny ‘Thomasson, anda French jaz violinist who was considered one ofthe {greatest improvisorsin the history ofthe violin, Stephane Grappell. ‘Along the way, between these marvelous musical extremes, Mari. (0'Connor absorbed knowledge and intuence fromthe mutica of ‘musical styles and genres e studled. Now, at age 48, he has melded and shaped these influences into anew American Clasical musieand 's perpetuating his vision ofan American Schoo! of string playing. The New York Times ells his “one of the most spectacular journey in racent American music” The Los Angeles Times describes hin as an artist who is one of the ‘most talented and imaginative..working in music ~ any music ~ today" (One of the mostrecorded violinists in mary genres, Mr. O'Connor's firs recording for the Sony Classical record label, ‘Appalachia Walt, was a collaboration with Yo-Yo Ma and Edgar Meyer. The works Mr. O'Connor compotad for the dite, including its ttle track, gained worldwide recognition for him as a leading proponent of a new American musical idiom, ‘The tremendously successful follow-up release, Appelachien Jourmey, received a Grammy Award in February 2001. With more than 200 performances, his first full lngth orchestral score The Fidéle Concerte has become the ‘mest-performed violin concerto composed in the last 40 years. In April 2000, Mr. O’Connor premiored his 4th violin concerto The Americon Seasons: Seasons of en American Life, at Troy Music Hall in Troy, N.Y. The New York Times said..f Dvorak had spent his American leisure time in Nashwille instead of Spilvlle,lowa,’New World Symphony’ ‘would have sounded like thi.” The American Seasons was recorded with the Metamorphosen chamber orchestra and released in 2001 Mr. O'Connor received a commission from fifteen symphony orchestras in 2007 to compose his Americone Symphony recorded by the Baltimore Symphony in 2008, Mark O'Connor has performed his compositions in concert at The ‘White House, the Presidential Inauguration Celebration and the ceremonies of Atlanta's Centennial Olympic Games {for which he compored Olympic Reel. He is often featured on major network television shows, and past appearances include “CBS Sunday Morning:"“Great Performances” on PBS, and the "Kennedy Center Honors" Mr. O'Connor regularly conducts residencies, giving lecture/demonstrations and teaching workshops, at many Prestigious schools of music. Mr. O'Connor was the inaugural Herb Alpert Schoo! Of Music Artis in Residence at UCLA forthe 2008-2009 season and isthe Frost School of Music Arts in Residence atthe University of Miami fr the 2009-2010 season. Mr.©'Connor generously donates his ime in support ofa number of organization that promote music education and outreac, including Opus 118, Midori and Friends and Sphins. He serves on the advisory panel for the selection ofthe Kennedy Center Honors. Hels the founder and president ofthe internationally recognized Mark {Connor String Camp and Fiddle Camp atzractng an average of 400 students from around the worl arually. Me ‘©Connor was born in Seatte in 1961 and curently resides in New YorEIGHT PRINCIPLES OF THE O'CONNOR METHOD |. LISTENING. Listen to the leon reference recording every day. Development of good string playing depends ‘upon ear traning, Sing or hum the pieces, with oF without the words. Listen to your favorite musicians play their msc, 2. PRACTICE. Try to practice dally. There I no substieue for time with the instrument. This Method is accessible to students 3 years old and older (beginners of any age can start with my Book ). A good rule of ‘thumb for practice is $ minutes per day for each year old you are until you raach 12 years old. An hour every ‘ay will produce steady progress. More practice time will produce even more rapid development of physical stall and artiste sensieiy 3. PROGRESSION. Study the pieces in the order prosented. The tunos are organized in a carefully planned sequence designed to layer new skilb on top of established ones. Keep playing all the material learned. This Method is cumulative not just linear. Practice a plece until its "eany" not just until you believe ies correct." 4 EXERCISING. Pedagogical exercises should accompany the study of each piece. Some ofthese materials are included in che “learning pages” as wells in diagrams throughout the book. Your teacher wil also help you locate the points of advancement in each piece and help you create exercises or “practice spots" where needed. Fingerings are provided inthe early pieces (4° finger v- open string recommendations are provided throughout). 5. PERFORMANCE. Play along with the reference recording. Music ca language and is best learned by imitat- ing someane who speaks the language often. Copying the recording’s intonation, tone and phrasing wil develop, | good foundation for future intorpretationt or creativity of your own. 5, RELEVANCE. Become familiar with the historical bacaground presented with each piece. Aciuiring an understanding of the many styles of music that comprise our rich and diverse musica heritage provides rel- ‘evance to our own musical development. Students who establish this habitat an early age wil develop a fine knonledge of music history and appreciation, and will become more complete musicians 7. CREATIVITY, Indiviual creativiey is encouraged from the very earlstt stages of development. The under. ‘standing of musical form and how a piece is structured is aided by the adltion of enciosed rehearsal letter, double bars (parts). Acquiring a sense of harmony is alto aided by listening t the other instruments and parts of the orchestra. 8. EXPRESSION. Get to know Fiddle Boy. He shows up now and then in the firs few hooks. formed ‘this caricature years ago to help me describe what it was like to perform The Fiddle Concerto with symphony ‘orchestras allover America. | found myself wanting to communicate the language and expression of the music as wel as the notes and techniques, He is a lite buddy, a helper who does everything a lite bit der. tently. He loves to exprass himself as you can see from his funny hair and playing style! Fiddle Boy wants o help yoU discover the emotions of pieces 40 that you can eventually express your own feelings in music that you have lenrnec. Maric O'Connor (2008) 0 “Hello! | really love the orchestra, and | — ‘am so happy you are here to join us. Uhope you will love the orchestra too!”O'CONNOR, Method lace the neck of the olin in your left hand. Holding the neck of the violin in your left hand, move your hand and fingers around the neck to know how it feels. Hold the violin ike a guitar with the back against your stomach. Pluck the strings with your right thumb away from the area where the bow goes because your fingers have cily skin and ~ you need the bowing area See to remain sticky for your bow hair. As you pluck the strings with your thumb, feel the back of the violin vibrate on your stomach. Does that make you smile? Lay your leftchand fingers across the strings. Feel what iti lke to have all four strings against the insides of your fingers. Now place the violin on top of your left shoulder. Turn your head ‘0 the left, point your nose to the seroll and place the left side of your chin comfortably into the violin’schinrese. Fee! how your hhead, neck, shoulder and chin embrace the violin. Cradle the violin neck with your left thumb to the back of the neck and your fingers in the front. Feel the arch where the violin neck turns into the scroll. Now lower your hand slightly creat- ing a small space between this arch and your hand. Support the ‘weight of the violin with the weight of your head and the top of your shoulder. Find a balance where it becomes unnecessary to prop the violin up with your left hand. FEELING THE VIOLIN Now arch your fingers creating a rain- bow. Lift the fingers slighty and then drop your Znd finger down on to the “A” string. Let your finger drop 20 the string hits the middle of your finger and your finger is lear of the other strings. Feel the string as you place your finger there. Feel the fingertip fn the string and on the fingerboard underneath as you hold ie there.O'CONNOR Method FEELING THE VIOLIN ry dropping your arched 3rd finger onto the “A” {tring while lifting the 2nd finger at the same time. Feel the energy exchanging between the fingers as you change from the 2nd finger to the 3rd. Then try this with all your fingers, one at a time. Now try another string,a lower string. Feel how it is difierent against your fingertip? The larger and wider strings make a lower, warmer sound. The “E” string feels thin. Its sound is high and bright. De you feel the difference with your fingertips? Pick up the bow, being careful not to touch the bow hair wich olly fingers, and tighten the hair. Turn the screw until the hair is separated from the stick just ‘enough to put a peneil between the hair and the stick. Feel the tension increase on the bow hair and stick as you tighten the screw. Balance the bow on one of the strings about half way between the frog and the tip. Feel how you hold the bow with your right hand. Drape your right hand ‘on tap of the stick over the frog with small spaces between your fingers. Feel your thumb and each fin- ger and how they touch the bow and frog in order to guide the bow across the strings. Practice long up and down bow strokes the full length of the bow. ‘Make sure the bow hair is flat on the string and stays a consistent dis- tance from the bridge. Notice how you hold the bow in your hand and how your wrist and arm allow you to apply more weight on the string to increase the sound valume. Can you feel the vibrations of the strings coming through the bow! Continue your long bow strokes while using a flexible wrist that flows with each bow stroke. Can you feel that your right hand is a"‘connector” between your arm and the strings? Don't the violin and bow fee! wonderful in your hands? Mark O'Connor (2009)$_________ O’CONI Method © MUSICAL TERMS SOUND = something you hear. ) TONE = musical sound. (>) MUSIC = instrumental and vocal sounds having thythm, melody and/or harmony. NOTE = musical symbol describing the length and SSNS pitch of a tone = PITCH = the position of a tone in a musical scale determined by its rate of vibrations. HARMONY/CHORDS = combination of musical notes. ACCENT = making the beginning of a musical note sound louder. 7 J TEMPO = rate of speed of a musical piece. == 150 °° 2-100MUSICALTERMS METER = beats per measure in music. RHYTHM = accent, meter, and tempo in music. TUNE/MELODY = theme, pleasing sequence of notes. (Key ofD) {Key of G min) KEY = a system of tones and harmonies. TUNING STANDARD = "A" note above middle " (440 vibrations per second). = (mace INTERVAL = relationship between pitches.MUSICAL NOTATION Acicsecivtats abt rian vaso rere ee aoe = Tg ars ene £ * nee. 2 minemitene —|| ‘Notes in the spaces: ‘Notes on the lines Ledger Lines — a——* aS a atte Ew Ge Be De Fm e 3% Acsharp raises A flat lowers the A natural cancels Ty bow the string ‘To pluck the strin the pitch ahalt step. pitch abalfstep. outa sharp or fat, ea ees j arco paz a = = | ‘Sharps, fats and naturals carry through the rest of the measure in which they appear. ‘Tempo markings indicate how fast or slow eee wn pate should pe Fe Quarer me slpnature or meter indicates Should be played tne note per eich at set ‘the number of beats per measure. Ee sl 7 90 ona metronome. Eighth notes - 2 notes per clic. Lively Four beats to a measure =A quarter note receives one heat, A quarter rest rcsives et 2 3 4 123 4 Pe 2 eae at A quarter note receives one beat, Quarter notes can be subsiivided into eighth notes, Esch eighth note receives a hal , Chord symbol indicates he. Akey signature is 2 group of sharps and flats that appear at the a y beating ofthe sal'save wo indicate which mes Wl be layed sharp or ta, 19 F chord to use io accompa ‘The key CA majo} mean har al Ce tnd Ce re payed ar Samp, Ss be A ————— ee CH EB FR G#TONE AND SOUND ‘To play with good “tone” and sound, listen to the bow on the string and try to play without sounding scratchy. Practice with a nice smooth bowing motion, in a way that sounds beautiful. When you change directions with the bow (down - up - down). do it smoothly and easily. ‘Stand up straight with good posture. and with your violin comfortably ander ‘your chin and placed on your left shoulder. Draw the bow across the strings softly and then repeat i loudly al with a Nexible right bow arm and wrist ‘Try to find a nice tone that resonates. where the note is clear and has a singing quality Ex. 1: "down bow" and "up bow" Ne y . v © SSS Ex. 1 ~The "down bow" sign tells you to move the bow to the right and the "up bow tothe lett ‘This number tells you to play the open string / 0 it indicates which finger to use (1,2. 304), o —— } =a . 7 —— Crescendo (soft to loud) ° . Decrescendo (Joud to soft) Always stand! up straight when you get ready to play. use good posture ‘Take a couple of deep breaths and put the violin uncer your chin. and over your left shoulder make sute the violin is level to the floor. Play with a beautiful sound quality. Try (© find good inonstion with each note and find the sight pitch with your left fingers. Carefully find the pite, Feel good thet you are able to produce a wonderful violin tone. The bow drawn across the sirings excites them and makes them resonste beautifully. Make the music "sing" with your bow and your fingers. Play with a good feeling and play from your heart& NOTE CHART O’CONN' MePITCH O'CONNOR, STRINGS OF THE VIOLIN LOW "G" STRING IS DARK Little, Bright High 9 —_— “@eoee Big, Dack, LowO'CONNOR Method Orga Yn Boil ‘em Cabbage Down American Folk Song (Variation 1) ‘Are by Marke O'Connor ca atin Boil “em Cabbage Down mice oh Sng (Variation 2) Arr. by Mark O'Connor {© 2006 Mack O'Connor Musik IntemationalOgg Yn Boil ‘em Cabbage Down (Variation 3) American Folk Song Ec ek a ee P African shaves that were brought to the southorn part ofthe United States almost 400 hundred years ago. Africans played “bowed” string instruments that resembled the fide, so they found the violin tobe a familiar instrument. African American fiddlers played with percussive effect and rhythmic bowings derived fram their Peed eat ace eee te ent eee re ee rn eer ee eee ee ee ee ee eee Said eaten a ee eer eg tee Con ea ane to the southem colonies. They boiled these greens dawn unt See ee ae ee eee eee] the famous “southern greens” The chorus of the tune also Caen ae ee ere an eee eee ery Cee el Peete eer “If you ask me, Boil “em Cabbage Down smells like good southern cooking! (© 2006 Mark © Connor Musik InternationalMark O'Connor Gare Hy. Especial wen sas to cme oy frre coors the color of blue. eateaie Majestic, that | wanted to write music about the beautiful ‘Sometimes | just want to stretch my arms out wide and try to reach | the sky. know that {© 2006 Mak O'Connor Musik Imerstonsteee We ae cu ec ee eee Soe ee Rai er and The Christy's Minstrels (two of New York's first performing troupes) encouraged the young Faster Se RLS SE ero ere wae this category and eventually enjoyed great popu- larity. The lyrics describe a man from Alabama ee Sees ta It rained all night the day I left, the weather it was dry. The sun so hot | froze to death; Susanna, don’t you cry. Ha Ha! Such a fun tune to play!” (© 2006 Mark O'Connor Mesiklntematons]a O'CONNOR Orage oka Buffalo Gals nck tor {Ale eey ih = uffalo Gals” is a traditional American song from almost 200 years ago. In 1844, it was published by a eee eee oy ere eo the song was about Buffalo, NY, during the construction Be ee steam engines were commonly used, barges carrying Seer ae . tribution were pulled by © ee % ero cho oe Se ee ee wel ee eee ad ra minstrel performers began to alter the lyrics to appeal to Reem cae ekiad Boston Gals," “Charleston Gals” and “Round Town etd (© 2006 Mark O'Connor Musik InterstionslDe Cn ad Boe Eur cda Batuta le BIBLIOTECA MUSICAL ‘CON! O'CONNOR Amazing Grace See Rene ee en Ce ee ee nes Cet iae tae ee ene eee ee et eet eee) Sea cee teens oe Loca ee eee Saeed oa eee aed eae oie ein neta ts eee ee eee ae one eee ee ee eo and the words to Wy emotions “This 500 year-old bagpipe tui Amazing Grace make me fe through the music. (© 2006 Mark O'Connor Musik Intemational— O'CONNOR Bh oneaas tg yo Boil ‘em Cabbage Down (Variation 4) Aarcby Wark OConnat samistt Boil ‘em cabbage down, D A i SS can sing is Boil ‘em cab-bsge down © 2006 Mak O'Cornar Musik iterations!onigzyet When the Saints Go Marching In Are by Mus Seca sess jreees “When the Saints Go Marching in isan African American spiritual ener iaaneaee entertain iey Petri gia att ere tea phe npenseerraitiiie seed pene ered are Eon ee er ed oor naa eee aera — mt he lyrics express a wish of the dec join the Saints marching through the "Pearly Gates" into heaven. Many New Orleans musicians in the carly 1900s made a practice of turning church tongs into brass band and dance tune: ee ee es “When I play this tune, | can just imagine ~ the Saints going through those Pearly Gate: I want to be in that number!” (© 2006 Mark O°Conmor Musik InternationaMark O'Connor ‘cousin Dav and | hopped on top of the old [vragen at my uncle's ranch in Montana. Our horse was right beside us. It was amazing to think {© 2006 Mask O'Connor Musik InternationalOh Yn Bonaparte’s Retreat Somes Hea ut wz . \ Sprang aire te Leanne eae een tr) Sangachmcpinar nen11] O'CONNOR Method ona Old Joe Clark “Traditional Are by Mark O'Connor ee ee ee rye y wy ee er ek tan Pero rer erat Although the identity of the writer of this old te ee) et ee tee ee eee eee oe oe They also suggest that the writer did have some personal knowledge of, and perhaps some interest in, the Clark family home: “Eighteen miles of ee ee et ee eo here aT be amarried man” ‘© 2006 Mark O'Connor MesikInterstionalOGORNOR B Climbing the Mountain Mark O Conor Fiegeets ys as often dream of going to ‘the top of a mountain. Every time | see the moun ‘ains,1 want to climb them! ike walling through the meadow with the moun- ‘ain range hovering over ‘me. Then | gradually head up into the foothills seeing the mountain ahead. As the - i slopes become steeper, take long, smooth stops. | think about fying up ‘the mountain with the biggest, most graceful steps I can take. I usually don't make it all the way to the top because most of the mountains are so big. When | composed “Climbing the Mountain’ | have you begin at the ‘very bottom on the lowest string. As you play this tune, you can make fe all the way to the top! (© 2005 Mark 0*Connor Masi IntemationalMethod ont a Appalachia Waltz Mark Onno like the leaves when they change color in Autumn. /All through the Appalachian mountains the colors are ‘so beautiful. The red, orange and yellow leaves are every- ee Ee Hwrote “Appalachia ‘Waitz” about this nice place. When | pick wild flowers, | thinle music helps me remember my favorite things. (©2006 Mask O'Connor Musik Inecnationl— O'CONNOR a Boogie Woogie Mark 0 Commer 140 With Berns play saith ~ do x swing ight te ‘musical discoveries was how guitar music ‘could be played on the violin. A lot of people “boogie” on the guitar, and I wanted to create the same feel on the violin. So I figured out a violin version of a “Boogie Woogie.” ‘When I go outside and kick a ball around, sometimes | try to kick it right down the mid- dle of the road. It's fun just boogieing on down the road. like playing guitar, too. One of my favorite | ‘© 2006 Mark O°Connor Mask ateuational@ O'CONNOR “Golden Slippers" was written in 1879 by African- ‘American composer James ABland. The song’: original title and lyric “Oh, Dem Golden Slippers,” was originally ed keer tet ed of African American minstrels also Poe eet eee eee eed emer brea to see it outiawed after the Dae erate ae eee cena Poser ee Coen ied ee ere eee ees white robe, a banjo and,most importantly, golden slippers. The lyries also present the image of going to heaven in a chariot, a conventional fe eeaceieene a ees '© 2006 Mak O'Connor Musik IntemationalO’CONNOR @ ost ye Boil ‘em Cabbage Down presen sa son connie (Variation 6) Arr by Mark O'Connor Energicl'y ow nf Og Yin Boil ‘em Cabbage Down etn re sng eaten (Variation 7) ‘Arc by Mash O'Connor pas : {© 2006 Mark O'Connor Musi Interasoaal—__] O'CONNOR. Ml Method ovigaeysin — JOhnny Has Gone for a Soldier ‘Are by Mark O'Comaot Some Moderne Soe i a Boe Von ° v « of 5 > Ne eet ed ane ee eee ee aR | is thought to have been an older irish tune. cates Dt Soe emieton ‘And every tear would turn a mill. johnny has gone for a soldier. | will play this melody as a lament ‘She misses Johnny so much!” (© 2006 Mark O'Contor Musk ntationalO'CONNOR EF Method a eras Pay riea eepeprcer- 2 iat ok ee bist stoeols opeenmrrerer-eoyonis anew aver drat otra Fiserv sent arms ior teovp pera pee Testi seral nema sore ei eerie Hal reseanremesnimeripenaionaany wre t esis b “The song's author is unknown, but the tyries may have been writ- Dale latest osc Francisco entertainer who wrote, adapted and collected songs about the gold miners of that time. The melody is most likely 2 variation of = tune originally from treland. The hard times described in the song become especially poignant when, after all oftheir trials and eribula- tions during their journey west, Betsy and Ike do not end up together 23 a couple. “The Shanghai ran off, and the cattle all died. That morning the last piece of bacon was fried. The dog drooped his tail and looked wonderfully sad” (© 2006 Mark O'Connor Musk International19] O'CONNOR Orchestra Violin ‘Book | seein ogy Wey negate ‘Als Soldier’s Joy “aan sr Wy Mn Sat See eget ie ees eee eer eee eet ned in London and Scandinavia in-the middle 1700s. Early aT cers ect) ec eee! The tune was also well known ee eg oe In America, “Soldier's Joy” eventually came to be known as the mor- phine used by Civil War seldiors when they were injured in battle. A Fe ee ee Caer ee ee ena al “A cigar box was sometimes used as a fic to play this tune during the Civil War. T tough, and this music lifted everyone's spirits. It's joyful to play and to hear! (© 2006 Mak O'Connor Musik interationsO'CONNOR B owgzye The World Turned Upside Down as sy Ma at me Lae te es bby the ttle "When the King Enjoys His Own Again” te was frst [published in 1643 as a protest against Oliver Cromwell atternpt to Peed eee pare eee Tees pal dace beteuaed Revolution, the British band played this tune. Aedanus Burke vividly describes the atmosphere created See crete ee eta Seta eas pe eee er anette an (© 2006 Mark O'Connor Mesit InternationalO'CONNOR ‘Method SCALES AND INTERVALS INCLUDED IN BOOKS | & as pd cee Indigo eee oS coy (Key oF C= Imerys) (cme-Home Gndlegme ose ae st dame sn aeeee nee One Hame (Key of G- Intervals) CHES | aS Gin tast sittiese Snetpee “anapee Shtiene “Geko Tg it tom (Key of D- Iteras) ‘one-one 2ndsepme Samree sb daee Shanes Sceue Teme Ose lane SS ESSE fove-Hne Intake ede shdeuNe 5 dee Gee TNSepme One Heme Ohe-Hone Enddezee leepee 4NGepy —Shdipme Gh epe Mh dggme One. Home (Key of G min - Intervals) = One-Home andre keer haepee —sindogme —Sheewee dee he Hone e-tHene fuldepee Sitdepee Adages Sthdapme edie Te One Home (key of A min - Intervals) i Ee. SEs Greene Galdeper Sek deems Ame hdaree Gage degen Hone