SERIES 1 THIR~ GRADE

Issued under the authority of the

Australian Music ~ Examinations Board

--------~
 SERIES 1 THIRD GRADE

Editorial Consultant - Gwyn Roberts

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 FOREWORD

This book contains requirements for the Third Grade pieces in Lists A, B and C.
Candidates must refer to the publication Cello Technical Work Book for all examination
requirements of technical work and to the Manual of Syllabuses for:

(a) the complete syllabus and regulations governing the examinations;

(b) alternative works;
(c) General Notes under the Violoncello syllabus;
(d) details of requirements for Aural, Sight Reading and General Knowledge tests; and
(e) any amendments which may be made from time to time.

Published by Allans Publishing Pty. Limited, official publishers to the Board. 1995.

m::c:.-:-:":"'lg prohibited. All rights reserved. No part of this publication may be reproduced, arranged, stored in a retrieval system or transmitted in any form by any,...._,._._
~~=~- mechanica l, photocopying, recording or otherwise, without the prior pennission of Allans Publishing Pty. Limited, 99 King Street, Melbourne, Austra::.:

This publication copyright 1995 by AMEB, Melbourne, Australia. ISB N 1 86367 232 X
:.Z,., ,...-:--: ;....15 been made to trace and acknowledge copyright owners of works contained in this publication. If any right has been omitted, or any errors made in acknowledgmt"":: ~
works, the publishers offer their apologies and will rectify any omissions or errors in subsequent editions following notification.

Cover design by Rodney Saulwick. Printed by Adept Printing Pty. Ltd., Melbourne.
 CONTENTS

Page
Cello Piano

PREFACE ................ ............ ... ..... ..... .................. ................... ........... .. ............ 4

LIST A
Basler-Novsak & Stein ................... Presto & The Regiment Marches
Along the Road...................... 3
Kummer............................................ Study in G............................... 4
Roberts.............................................. Mice .. ... .. .. .. .. .. ... .. ... ... ... .. ... .. ... .. 6

LIST B
Ticciati............................................... Bourn~e.................................... 7
Schubert............................................ An die Musik ......................... 7 8
Cirri...... ... .. ... .. ... .. .. .. .. .. .. .. .. .. .. .. .. ... .. ... Allegro .. .. ... .. .. .. .. .. .. .. ... .. .. .. .. .. .. 8 10

LIST C
Holland............................................. Goblins.................................... 9 12
Grechaninov ..................................... Twilight & On Winter's Eve. 10 14
Bartok .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . Studies 2 & 9........................... 11 17

PERFORMANCE NOTES ..... ............................................................................ 19

 PREFACE

The present series of Cello Grade Books ranges from Preliminary to Fourth Grade. All editorial
marks appear in shaded print. (For example: -•=- ) It is to be stressed that editorial marks
are for guidance only. __:. ~- *
~

Key signatures and time signatures are always given in modern equivalents. Tempo markings
are given in original terms. Original dynamics have, as far as possible, been retained. Editorial
realisation of ornamentation is to be found throughout these volumes. This is provided in small
type adjacent to the printed sign. Unless specified, all fingerings and bowings, w hich are shown
in black type, are to be regarded as editorial and are provided for guidance only.

In making decisions as to which fingering, bowing, phrasing, ornamentation and dynamics to

employ, it is to be realised that the character of the music should determine the appropriate
technical and interpretative devices. Some suggestions to achieve this end have been made; they
are by no means the only solution.

Editorial bowing marks used in this series are as follows:

,., down bow

v up bow
( v) up bow above the strings
El middle of bow

.. ..
faster bow speed
slower bow speed

roll chord

WB whole bow
UH upper half
LH lower half
0 open string
1 first finger
2 second finger
3 third finger
4 fourth finger
+1 etc. extension
I A string
II D string
III G string
IV C string
plZZ. pizzicato (plucked)
+ left-hand pizz.
Q pizz. right-hand thumb
areo with the bow
 ABOUT THE EDITOR

Gwyn Roberts is one of Australia's most distinguished cellists. He currently holds the positions
of Senior Lecturer in Cello and Conducting and of Deputy Head of Music at the University of
Queensland. Born and educated in Hobart, he studied cello with Sela Trau and chamber music
with Jan Sedivka. For six years Gwyn was Principal Cellist with the Tasmanian Symphon~·
Orchestra.

A Churchill Fellow, Gwyn has held teaching positions with the Tasmanian Education
Department and the Tasmanian Conservatorium, and has played as a m ember of a number of
Australia's most respected symphony and chamber orchestras. He regularly conducts you th
and professional orchestras in Australia.

Overseas concert and recording tours with the chamber music groups Ensemble I, Perihelion
and the Queensland Piano Trio have also provided Gwyn with the opportunity to attend Maste::-
Classes in cello and conducting in many European cities. AMEB examining and cello
workshops enable Gwyn to retain an involvement with all levels of cello teaching.

Additional editorial advice and suggestions offered by Marianne Maxwell are gratefuL ~­
acknowledged. Jenni Flemming spent many hours accompanying the editor in the selectio.
process and Robert Miller provided advice on baroque and classical performance practice.
6

GENE RAL NOTES

• Fingerings have been kept to a minimum to encourage the reading of notes.

• Many string players think more about the left hand than the right. Naturally, the left hand
must strike the notes accurately, move between them efficiently and very often expressively,
and colour the tone with a variable vibrato, but it is the right hand which shapes the music.

• Cellist Christopher Bunting has used the term 'bow choreography' to cover all aspects of the
bow's adventures - singing sostenuto, gymnastic jumping, diverse dynamics, controlled
crescendi, delicate diminuendi, and many others. Balance bow speed and arm weight to
achieve a beautifully shaped musical result. Enjoy using the bow, and finding the right part
of it to use. In sensitive hands, the bow's expressive qualities are almost endless.

• Bow segments:

~?]================~=d~o~J~w
4 3 2 1
These segments are referred to in the Notes in relation to bow division.

• Dartboard shifts: This term is used by the editor to describe shifts which need to be quick
and efficient, rather than slow and expressive. The challenge of the game is to launch the
dart, rather than carry it to the dartboard. If you miss the target, you improve your aim by
trying again. Of course there are differences between playing darts and playing the cello, but
the similarities are the presence of a target, the release of pressure, and the timing of the
throw. Use your imagination to make dartboard shifts work for you.

• Portamento: An expressive technique of gliding between notes, portamento should always be

used with good taste and hopefully, not as a technical accident. The word "gliding" implies a
smooth, well-timed movement, which can be made either on the finger w hich you are
leaving, or on the finger to which you are shifting. The two different approaches each have a
distinctive character. Decide which one suits the particular mood you wish to capture.

• Double-stopping: As the subject of double-stopping deserves m ore attention than space in

this book allows, comments will be confined to those techniques relevant to the pieces in the
book.
This is a very important technique to develop on the cello. Most, if not every piece we play
includes double-stops for the left hand, even if the bow does not play both notes at the same
time. This is because of string crossing in the left hand. It is often a good idea to prepare
fingers in advance, creating a left-hand double-stop, even if the notes are not sounded
toget.ilzr- this also helps co-ordination with the bow.
Left-hand string-crossing in double-stops needs two basic techniques. The editor calls them
swap-hops and crab-crawls. Swap-hops (exercise 1) involve a significant, and at times, a
complete release of pressure, while crab-crawls (exercise 2) involve less release of pressure,
and require more finger independence. Having found the notes, balance the hand well on
both fingers, which should generally be kept well curved. Another helpful exercise involves
practising each part separately, but use the correct fingering.
Exercise 1: Sw ap-Hop (not for examination)

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Exercise 2: Crab-Crawl (not for examination)

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Gwyn Rob.:;:-_::
 g
LIST B No. 2
An die Musik
D547 Franz Schuben
(1797-1 828)
Based upon an edition by Demuth & Fraser
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10
LIST B No.3
Allegro
from Sonata in C for Violoncello and Basso continuo
Giambattista Cirri
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 LIST C No.1
Goblins
from Cello Pictures Dulcie Holland
(born 1913)
Playfully and at a moderate tempo ,J =120-126 Australian composer
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14 LIST C 1\o. 2
Twilight & On Winter's Eve
from In aller Fruhe Op. 126b
For the purpose of examination both works are required.
Aleksandr Grechaninc--.
Twilight ( 1864- 1956)
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 LIST C No.3
Studies 2 & 9
from For Children

2 BelaBr.: :··
(1881-: ~5
Based upon an edition by Liebner & H"' ·-=-::-

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 PER FORMANCE NOTES

LIST A No. 1
Presto and The Regiment Marches Along the Road from Fun With Double-Stops for Young Cellists
Basler-Novsak & Stein
For the purpose of examination both works are required. Practise the 'Presto and The Regiment Marches
Along the Road' exercise (exercise 3) with well-curved left-hand fingers, and energetic finger percussior:.
Check the fourth finger D against the open 'D' string before commencing. At first it may be necessary to
find the notes one at a time, but make sure you also practise putting the fingers down as a pair. In the
'Presto' itself, use a swap-hop to get to the first beat of bar 2, and especially the third beat of bar 3. The next
three bars are excellent examples of crab-crawl technique. Swap-hop ag!lin for bar 7. 'The Regiment
Marches Along the Road' involves many more crab-crawls. Each piece has examples of legato and martelc?
bowing.

Exercise 3: Presto and The Regiment Marches Along the Road (not for examination)

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LIST A No. 2
StudyinG
Friedrich August Kummer
Kummer was a member of a large Saxon family of musicians. His musical career began as an oboist in the
brilliant electoral court orchestra of Dresden, but in 1852 he succeeded his teacher, Friedrich Dotzauer, as
principal cellist of tha t orchestra. Kummer composed many pieces for the cello, including concertinas, duos
and a concerto, and he also made a number of arrangements and transcriptions. His many studies are
considered to be among the finest ever w ritten for the cello.
This lyrical study is very similar in mood to many opera scenes in which the guitarist is serenading
his sweetheart w ho is looking down from a balcony. The melody gives the cellist an opportunity to sing in a
register and style which the cello likes best. The bow division is very straightforward, except perhaps in
bars 18 and 20 w here the success of the second half of the bar depends on how much bow is available. Pay
particular attention to dynamic differences. For example, compare bars 3 and 5, and bars 18 and 20.
For the left hand, the two main technical features are the use of varied positions, and harmonics.
Except for the harmonics, most of the shifts need to be executed cleanly without portamento. Most of the
harmonics however should be approached expressively, with a flowing gesture - think about moving
along the string as though it were a monorail. Those in bars 22 and 23 should be played with a confident
a -tion, \\·ithout portamento, in order to make su re the notes speak clearly. A .E. OT..:
20
LIST A No . 3
Mice
Gwyn Roberts
Mice move at many different speeds, but mostly fast. This one darts off, then stops and twitches its nose . I:
does this twice more before deciding to run a little further. The study is mostly a challenge for the left hand ,
but don' t overlook the exciting d ynamics.
During the crotchet rests (quaver rests in bars 7, 8 and 16), move 'dart-like' to the note which starts the
next bar. The same applies to the bow. Bar 15 is a particular challenge because of the need to make tw o
dartboard shifts - to the B flat, and to the F~ - and b ecause of the very fast bow changes. Choose some
bars of the study to play as finger exercises in continuous semiquavers. The finger action should be even ,
and small but percussive. Don' t wiggle fingers unnecessarily.

LIST B No. 1
Bourn~e from The Young Cellist Vol. 3
Niso Ticciati
Niso Ticciati w as a distinguished Italian-English cello teacher and com poser of educational material for
student cellists. Many for his w orks are based upon traditional forms and styles. This work, modelled upon
the French dance - the bourree - is such an exam ple. During the late seventeenth and early eighteenth
centuries, the bourn~e came to be included as a movement of the instrumental suite. Its p rincipal
characteristics include duple m etre (often using a time signature of either 2 or¢), an up-beat of a crotchet or
two quavers, and a moderate to fast tempo.
This example by Ticciati is an excellent introduction to the bourn~e from the Solo Suite No. 3 by Bach. A
steady minim tempo is suggested in order to achieve a bouncy feel. The piece_should be bowed on the
string, and generally in segments 2 and 3 of the bow. The crotchets marked thus r sho_uld be either gently
r.
I

or strongly pulsed with a scooping action, and well contrasted with those marked thus The figure in bars
3 and 19 has three quavers to the right and one to the left, so you could easily arrive at the w rong end of the
bow for the next bar. Try bow ing this in the air w ithout the bow to get a feel for the choreography. All grace
notes should be played before the beat. Take a slightly broader tempo for the last line to allow the chords to
speak sonorously.

LIST B No. 2
An die Musik (D 547)
Franz Schubert
Franz Schubert was a Viennese composer who, during his short life, wrote an enormous amount of music
for a variety of instrumental combinations. He also composed choral music, and more than 600 songs. One
example is 'To Music', written in March 1817 on a text of Schober. The translation from the original German
reads:
Thou charmful Art,
In many a gloomy hour"'
When I have bow' d before the storms of life,
Hast thou revived m y heart with glowing power.
While it is difficult and perhaps irrelevant to single out one piece of mu sic for special mention, tb..:S
simple and serene work of Schubert ha s all the elements of a m inia ture masterpiece. Sing this meloc::
vocally before playing it. Schubert's music finds its greatest expression in song, and singing the melod:.- \·,-:::
give a real sense of the phrase shape. Bow choreography is of great importance, especially in bars 1~ a..-:.::~=

For all its romantic appeal, the piece does not seem to call for portamento, so the fingerings ha\·e ~-=-­

suggested accordingly.
LIST B No. 3
Allegro from Sonata inC for Violoncello and Basso continuo
Giambattista Cirri
The term sonata comes from the Italian suonare, meaning 'to sound' or 'to play', as opposed to cmz~_,r~­

meaning 'to sing' and is used to describe a work to be played by one or more instruments. A sonata usual:;;
but not always, consists of several movements, or self-contained sections. Giambattista (or Gim·a:-.r.:
Battista) Cirri was an Italian cellist and composer. In 1764 Cirri moved to London w here he led an actiYe li:"c
as a professional musician. His musical compositions, many of them for the cello, made him very pop u la:-
during the 1760s and 1770s.
'Research over the last thirty years by scholarly performers such as Nikolaus Harnoncourt anc
Christopher Hegwood has shed new light on performance practice in music of the seventeenth, eighteent::C
and nineteenth centuries. The style of this music is characterised by elegance, achieved through lightness o:"
bowing, tasteful stressing of certain notes, clear phrase direction and tasteful ornamentation. The
articulation, dynamics, ornamentation and even the tempo can be varied in repeated sections, or in repea:
performances, in order to provide variety and to demonstrate superior musicianship. The aim is to present
these works with the voice of the century in which they were written .
All of these elements are present in this charming sonata movement. While the trills should sound
spontaneous it is advisable to practise them in slow motion with the suggested number of notes, and then
play them in context with flair. Pay particular attention to the stressed note which commences the trill in bar
8, and to ending trills without sounding clumsy.

LI ST C No. 1
Goblins from Cello Pictures
Dulcie Holland
Born in Sydney, Dulcie Holland studied at the Sydney Conservatorium of Music. She is an honoured and
respected pioneer of Australian music, and is recognised for her contribution as a cellist, pianist, lecturer
and educator, and as a composer.
In a letter to the editor the composer writes: 'Goblins are mischievous people, so the music, mainly in
A minor, needs to suggest that they are trying to tease us' . The composer also suggests a metronome mark
of J = 104-112, but adds 'please feel free to alter this as you wish'.
This playful little piece uses the same left-hand technique as 'Mice' in List A. Bow choreography is
very important if you are to avoid getting caught in the wrong part of the bow. Try the exercise below to
discipline your bowing.
,., (v )

9= 2f ~
Bow segment: 2 2 2 2 2 1 1 ' 2, 3

The minims offer a chance to try your best vibrato, but perhaps not too fast. The final pizzicato will haYe
good sonority if played by the right-hand thumb, and with a vibrato which commences on the third beat o:"
:he pre\·ious bar. A.E. o: - ~
 LIST C No . 2
Twilight and On Winter's Eve from In aller Friihe Op. 126b
Aleksandr Grechaninov
Aleksandr Grechaninov was a Russian-born composer whose principal instrument was the piano. In 1925
Grechaninov left Russia to settle in Paris but by 1939, he had moved to America, and in 19-!6 became a
citizen of that country. He composed a wide variety of music, including operas for children.
For the purpose of examination both works are required. 'Twilight' is a peaceful time for reflecting on
the day gone by, and preparing for the calm of night. Careful attention to the dynamics in the A minor
section should help to capture this mood. The C major section gives a chance to reflect upon a couple of the
day's more lively activities, but A minor returns to close the piece. Shift gently (but cleanly) to the last note
as the winter sun sinks below the horizon.
'On Winter 's Eve' explores a number of different positions, and therefore requires special attention to
intonation. One technique which occurs often is the 'replacement' fingering, where the 'new' finger plays
the same note as the 'old' finger. Each of the first three lines have examples of this technique. Making a
swap-hop works very well, especially if the note before the shift is shortened very slightly. Use a lighter bow
stroke for the gra zioso until the mezzo forte, and give special attention to bow choreography in the last two
lines. Starting the third last bar in bow segment 3, just w here the minim of the previous bar finishes, allows
enough bow for the next bar to be sensitively played. The shift in this bar is best approached by moving
lightly on the first finger along the monorail 'D' string, opening the hand, and hopping to the C# . The
alternative, crossing to the 'N string, is much less expressive.

Li s t C No . 3
Studies 2 and 9 from For Children
Bela Bartok
Bela Bartok is generally acknowledged as the greatest of Hungarian composers. Together with his friend
Zoltan Kodaly, Bartok collected and researched the rich area of folk music of his own and neighboring
.:ountries. In turn, this folk music influenced his own style of composition.
For the purpose of examination both works are required. The main feature of the first of these two
characteristic pieces is the snappy rhythm: U · . Practise this as follows:

,., ,.' > ,., >

l(j· r Iu·
\

?: i tr· u f f JC f' I
~

-=-.:-t be fully effective, there needs to be firm bow pressure, while the wrist and forearm make a strong 'jerk
.::.::d rebound' action. Pay attention to w here the accents and tenuto marks are placed - these give the piece
~:s particular character. A piano cue is given in the third last bar - the cellist leads the next bar, after
Co\,·ing for the piano pau se. There should be no hint of slow ing down in the last bar - the pause at the
"'='-j is an excellent clue to finishing the piece effectively.
The second Allegretto also includes the snappy rhythm, and the accents and temlto marks. The
U·
=-.:_:jons is marked u·.
:-·..:ggested bowing maLseem unusual. The reason revolves around the rhythm, which in some
The Hungarian edition upon w hich this edition is based presents the rhythm
thus: r . .This is more characteristic and energetic, but does present some bow ing challenges. b wr ::
~
give th:Tirst quaver a good swing, allowing the next bar to be played in the lower half. Lean into the bur.·.:- ::-
produce a strong forte in bar 9, working your way back to the lower half for bar 11. Enjoy the rhythmic dr:·.·c
of this spirited piece.
 SERIES 1 THIRD GRADE

Editorial Consul tant - Gwyn R oberts

For the Public Examinat ions in Music conducted by the office of the Ministry of Education , and Youth Affairs, New South Wales, fhe _'.·~:-r::_<:;r
Education, Queensland, the Minister for Education and the Arts, Tasrrum ia, and the Universities o_f Melboum e, Adelaide and "Y'I'esfZM": _:!....;...;:::-;::.:
 CONTE N TS

Page

Cello Piano

PREFACE .. .. .. .. ...... .. .. ........ ... ... ... ...... .... .... ........................................ ... ... ........ 4

LIST A
Basler-Novsak & Stein ................... Presto & The Regiment Marches
Along the Road...................... 3
Kummer ............................................ Study in G............................... 4
Roberts....................... ....................... Mice........................... .............. 6

LIST B
Ticciati ............................................... Bourn~e......... . ............... . .......... 7
Schubert............................................ An die Musik ......... ................ 7 8
Cirri...... .. .. .. ... .. .. .. .. ... .. .. .. ... .. .. .. .. .. .. .. .. Allegro .. .. ... .. .. .. ... .. ... .. .. .. ... .. .. .. 8 10

LIST C
Holland ............................................. Goblins .................................... 9 12
Grechaninov ..................................... Twilight & On Winter's E\·e. 10 14
Bartok ..... ........... ............... ...... .......... Studies 2 & 9........... ... .. ... .. .. .. .. 11 17

PERFORMANCE NOTES ............................................................... .. ......... ...... . 19

 LIST A No.1
Presto & The Regiment Marches Along the Road
from Fun With Double-Stops for Young Cellists

For the purpose of examination both works are required.

Presto

v_... . v
J1 n1 . . . . > >

lr
5

:r• r F 'r>
r @j_J ~r r I~ ~ I~ ~ tf

The Regiment Marches Along the Road

Slovenian Folksong

.I =112-120

tH•~ {J I~ mf . WB .._., p WB :::::--- mf

LH UH

II

Reprinted by permission of
N. Simrock/Richard Schauer music publishers, London, Hamburg.
Authorized for sale in Australia and New Zealand only.

Allans Publishing Pty. Limited, 99 King Street, Melbourne.

4
LIST A No. 2
StudyinG Friedrich August Kummer
(1797-1879)
Based upon an edition by Alfredo (Carlo) Piatti
CANTILENA 3

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I"'!
And ante )l = 104-110

I
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pizz.
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cresc. __ _____ - - -- -- -- ---

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li - ,...-, -I -
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lJ This accompanying part is not required for examination. It is for rehearsal purposes only.
- ....1

©Copyright Stai ner & Bell Ltd, London, England.

Reproduced with the kind permission of Stainer & Bell Ltd.
All rights reserved. International copyright secured.
_,;,_J::..::s Publishing Pty. Limited , 99 King Street, Me lbourne.
 5

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Allans Publishing Pty. Limited, 99 King Street, Melbourne.

 6
LIST A No.3
Mice Gwyn Roberts
(born 1948)
Allegro .J = 126-138 Australian musician
~.
4~

tJ:W·& i qi£Cp 7 s IprtFrD 5 ± 1

rrftv 7 * 1r•r rr D '
4~.

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II

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p
© Copyright 1995 by Gwyn Roberts.
Reproduced with the kind permission of the composer.
All rights reserved. International copyright secured .
.-Vlans Publishing Pty. Limited, 99 King Street, Melbourne.
 LIST B No. 1
7
Bourree
(Unaccompanied) Niso Ticciati
j =69-72 from The Young Cellist Vol. 3 (1924-1972)
v~
- +- ~~---,> v
~ ~ v ~--
=F 0: ILf r Efl EEtfCHF itCrHr EEl
- .-:::: - 0 ,...-.._
!J#e t! IF
mp [=:J poco
P (2nd time)

I
II
mp
LIST B No.2
Franz Schubert
An die Musik (1797 -1828)
D547 Based upon an edition by Demuth & Fraser
Moderato ., = 63-69 M 2 ~
4~
9
2
II*por t r
4 3

IF' F If¥1Fft&IQ -
~
7 ~

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v r r rcrr 1
1
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:::::::=- mp
~

rita rd.

- 1-
p
J Ir·
2

t II
©Copyright Oxford University Press.
Reproduced with the kind penni ssion of Boosey & Hawkes (Australia).
All rights reserved. International copyright secured.
-' ,-~ P..±:.isbng Pi)·. I....imited. 99 Kin_g Street, Melbourne. A.E. 0274
 8
LIST B No.3
Allegro
from Sonata in C for Violoncello and Basso continuo
Giambattista Cirri
Allegro J= 136-142 (ca. 1740-1808)
1"'1 v 1 +2

tJ:e ~ F E IE F @ IF F r lcrrrr r 1
-=-=-

10 t:.v t +2
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f): rt i-F r1 f_r I(r Er rJ fj IUF1 (c rs- I tf f Ff f r r I

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-.:....;.;.::.s Publishing Pty. Limited, 99 King Street, Melbourne.
 LIST C No.1
Goblins Dulcie HoJ:c.r.:
from Cello Pictures (born 19 13 '
Playfully and at a moderate tempo J= !20-126 Australian compcsc:-
n~ 1t r;t~
v3
rrrr r * 6f&1r·
r;t (V)

9: 1 r
mp
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1

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25

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p
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pizz.
4

F f I >
J J 1 II
© Copyright EMl Music Publishing (Australia).
Reproduced with the kind permission of EM! Music P ublishing.
All rights reserved. International copyright secured.
.-\Hans Publishing P ry. Limited, 99 King Street, Melbourne. AE. OT-+
 10
LISTC No.2
Twilight & On Winter's Eve
from In aller Friihe Op. 126b
For the purpose of examination both works are required.
Twilight
Aleksandr GrechaninoY
Andante . =50-54 ';'
(1864-1 956)
4
11[1
mf
f}
==-
1t?!
::::=--
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V
10

f):
~

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==-
e 0 ImD Ia rn I
1~

I [;;F bf r I F
---

11:
mf
2 4 0 4

v2 ~ v

ua me am r· v rocr ru o
rit V a tempo
16 2 420 . 1 ~ ~

2' r·
4
~
~
1
v v ==- 1 1 1 1
:=:::=-
mp
::::=--
1 1

1. 2 a tempo rail. _ _ _ _ _ _ _

u Eli I
23 1,..---;;;; _...--.,. Jj . rail. - I":\
_---.,_
:>: EJ~ btr r r
2 t

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:::::::=-- ====- dim.

On Winter's Eve
v
Andante ,; = 56-60 4 V v
3 ~

tHD i f E IEfijr Irfitt IF r r Ci?r 'II

1 1
mf

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1r r IEifF I&rs
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,rmcr ~IP
' 4 ,.-::: .-=:

:>:ftft 2 3
Ttl =II

II
LH f mf
UH
© Copyright Schott & Co, London.
Reproduced with the kind permission of Boosey & Hawkes (Australia).
All rights reserved. International copyright secured.
Allans Publishing Pty. Limited, 99 King Street, Melbourne.
 LIST C No.3
Studies 2 & 9
from For Children
For the purpose of examination both works are required.
Bela Bartok
2 (1881-1945)
I Based upon an edition by Liebner & Halasz
Allegretto • = 74-80
n >

t>:! E r·
p
0

EJ
2

r F r 1tr· mp
0
j
€,L·
F 13 r
0

12
leggiero
a tempo
2 > > riten. molto V
5

9:1 m~Lttf!t Ut li fJ r cr· r

>

If C r F 1 12

> I':\

mf 4 4
j r cr· r 1 II
P.P
UH

9
Allegretto J=78-84
v0 > ~

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fEJ
f I!
>
r r
> >:-...-<

f
IS t t t r I§ r C ~ E I
v n ~ riten. - .. -------- -
----.~"f=-~ V ~ --

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f
a tempo I
>
19 ~

r r r r
0 >

!r a t ttr It r I
© Copyright Boosey & Hawkes (Australia).
Reproduced with the kind permission of Boosey & Hawkes (Australia).
All rights reserved . International copyrig ht secured .
.-\.lla:Js Publi shing Pty. Limited, 99 King Street, Melbourne. A .E. OT~