2. $

3. e e 01n
ogressive pieces for Grade 1 to 2 violinists
a d Huws [ones
l~ati·ons by Mark Beech

4. elcome to Violin Star
To the teacher: This series will inspire violinists to develop confidence and musical skills through a t4c
refreshing choice of pieces.The repertoire presents a logical and approachable progression from the
very first stages of playing through to Grade 2.
Each piece is designed to develop a specific technique; as the series progresses, the pieces introduce
the keys (and their related finger patterns) encountered at the early grades. There is a fun mix of
musical styles, which include arrangements and original compositions.
For each of the three Violin Star levels, there is one Student's book and one Accompaniment book.
The Student's books contain the solo violin part, and an audio CD.The Accompaniment books
have separate piano and violin accompaniments for every piece. The three different forms of
accompaniment in Violin Star offer variety, flexibility and interaction for both pupil and teacher.
Dotted around the Student's books you will find suggestions for supporting activities, which can be
used in individual or group teaching and can form a base to develop your own ideas.
All 106 pieces in Violin Star were created during the course of my work as a peripatetic violin teacher.
Children are wonderful critics, and if they don't like the music they won't mince their words. The
repertoire in Violin Star passed the test - in fact, it could not have been written without the students.
I hope you enjoy Violin Star!
Edward Huws [ones
Book design, cover and text origination by Kate Benjamin
Illustrations by Mark Beech, represented by NB Illustration
usic origination by Andrew jones Notation
C> backing tracks by Stuart Briner, Frank Mizen and Chris Norton
?rinted in England by Caligraving Ltd, Thetford, Norfolk
blished in 2011 by ABRSM (Publishing) Ltd, a wholly owned subsidiary of ABRSM
f) 2011 by The Associated Board of the Royal Schools of Music
ISB 978 1 86096901 O
3382 ~Ji
DO NOT PHOTOCOPY
© MUSIC
rights reserved. No part of this publication may be reproduced, stored in a retrieval
syste~, ór transmitt~d in ~ny form or by any means, electronic, mechanical, photocopying,
recording, ar otherwise, without the prior permission of the copyright owner.

5. ontents li]
0-1-2-34 finger pattern (A major)
Clitter Ball Edward Huws [ones [EHJ] (b.1948) 4
Bravo, Bravissimo Traditional 4
Festou Noz Breton 5
Eynhallow Sound EHJ 6
Clanbrân Welsh 7
The Blue Danube J. Strauss 11 (1825-99) 8
6/8
Fandango EHJ 9
For He 's a jolly Cood Fellow Traditional 10
The Basket ofTurf Irish 11
The Punk's Delight 17th-century English 11
01-2-3 finger pattern (F major)
Mr Kool EHJ 12
The Quaker's Crace 18th-century English 13
01-2-34 finger pattern
(B flat major)
Daydream EHJ
/llfattachins 16th-century French
Estampie 13th-century French
Haley's Comet EHJ
13
14
15
16
Minor keys
/llforag's /llfedicine EHJ
Üsküdar Turkish
Bamboo in the Breeze Chinese
Oh Father! Klezmer
Venetian Condoia Song
Mendelssohn (1809-47)
Tsamikos Greek
17
18
19
20
21
22
Grade 2 repertoire pieces
Old joe Clark North American
/llfonsieur de Ceix's Fanfare
Caix d'Hervelois (c.1680-c.1755)
Baba /llfnumzane South African
Fiela South African
/llfinuet and Trio Haydn (1732-1809)
Hurdy-Curdy EHJ
22
23
24
25
26
27
I·
~------------------------"Iit Using the CD
Each piece in this book has two consecu.tive
tracks on the CO:a full performance .with
solo violin, followed by a play-along version
of just the accompaniment.
(~ accomp7~~;
i:
full performance @'--/' I.
I

6. GIftter Ball
;.2Disco beat J = c.92 o 4 _,
1
nf
-
11 r1 t ('1) 3 1 4-3
. ~
I ~#I
nf > »>
ff
Bravo, Bravfssfmo
With a lilt J = c.1l6 ; =-11 li 1 ij ~~~ J ~' ~
Traditional
mf
r
ó
~ WªJªJ~ {~
ij r r ~'
11.
~
~ J ~'
112. o
poco rito t:
~~:~ ~~~' ~~

7. Festou Noz
These three dance tunes frorn Brittany can
be played as a sequence or individuaUy
1. Breton
-§:j3
<:» <:»
Fine
mp
3.
f
D.e. ai Fine
Now make up your own Breton dance tune. Use any of the notes of the A major scale
(bottom octave) ascending or descending:
~ ... -.-.... • • ••••• .... -.- ... I
Make up a two-bar phrase and then repeat it. Then make up another two-bar phrase and
repeat that. This will create an eight-bar phrase that you can play. It works best if you finish
each phrase on either an A (first finger on the G string or an open A) or an E (flrst finger on
the D string) - these are the two notes a bagpiper would play as an accompaniment.
Your teacher can adapt the piano or violin accompaniment from No. 1 of Festou Noz,
joining in the repetition of your tune in bars 3-4 and 7-8.
••• o.n.c.e.yo.u.h.a.v.e ·.cr.ea.t.ed_.tau.n.e.th.a.t .yO.U.I.ik.e,.t.ry.w.r.it.in.g.it.d.ow_n. __ ••••• ACT IVITV
5

8. Eynhallow Sound
•.~~.~.
===========- p
~fd§J~.~~~. ~~. ~1f~I~~~~~. ~
p
~ mp W==S~. ~ ~~.
dim.
30 aIlargando
~~. ~I~I ~2 ~I ij j
p

9. Glanbrân
Ch
eerfully J =c.1l6 =----===v==~
'.121~ -~_F~_ Welsh
~~."~~~:resc. p
7

10. The Bfue Danube
(lower half)
v
J. Strauss II
(1825-99)
Moderate waltz tempo J = c.l32
3 t: t:
;,~l' I~
p
v &~H ~ t f==tÇ t
v*=t l
v
. . ª l
18 . =P-f* . . §F l ~*~===== mf
_. .~* , > ~ifr'~<1
f
30 >____ 11. 112. r"1 V I
~. ~ >=--Jffi~:l=1 i j=i=ll
~ .~~~~

11. Fandango
There are two ways of counting ~ : either six quaver beats (m m) ar two dotted crotchet
beats ( J J) per bar. The second way is usually the most musical, unless the pulse is very slow.
To help you feel two beats in a bar, sway from foot to foot as you play Fandango, following the
movement of your bow. But remember to stop swaying and keep still in bar 16! ACTIVITV
Steady two-in-a-bar J. = c.66
+ ~e' 2
r
~. >
~
> > >
i i ~' F' ij' l'
/
m==o i i ij' F' b@# i i
,- -- ~
(Keep still!) ( r1
W;b l' W' j.
, i i ,
I
l' I
:~ ~,
sf -,,,/> > > J - ,._--_....--.~---~~---_ ..- '-.:!.,.,.------
~
i i ti, J. b@# i i
f9~'~J.~
-~=========
ijJJfJn J. > > > i i ~F' F' ij' l' ~
ff
9

12. For He's a Jolly Good Fellow
Boisterously J. = c.72±80
~. ~~
~ ~ b~. J ~
Traditional
~~. ~J~m -------=-------
Oh! for he's a jol - ly good fel low, for he's a jol - ly good
I~~Ô
~.~.~ ~. I~t.ªt~f~
fel - low, for he's a jol - ly good fel low, and so say alI of
uso And so say alI of us, and so say all of us, for
~. ------=------ J m ~. ------=------ J ~
he's a jol - ly good fel low, for he's a jol - ly good fel low, for
he's
accel.
~~. ~It~.ªt~f~'1'11
a jol - ly good fel low; and so say alI of us. sf

13. The Basket of Turf
Irish
Liltingjig tempo J. = c.66 slightly faster ou the repeat · ,~8Y I: - I~*"~*~_ mf
The Punk's Delight
r /.-..... With a swagger J. = c.72
~ 2 (middle)
;1~1 I~"
f m.f!'
'-~ '3
17th-century English
(~
:J. ~ #lT" F j I
~~a gg"
~~~ @ ~~ª" F f
~
j
"
j
11

14. ~ t-
~ t-pp

15. The Quaker' 5 Grace
18th-century English
Lively J = c.104
/',~I~I-I-~-
mf
6
~~
~
mf
11
- 15 poco ritoon the repeat 11. 112.
~
mf
Daydream
,~Gently, r='but i-~~with movement J = c.lOO
l, MT37~~· ~l~
p
=
13

16. Mattachins
In fvfattachins it is important to make the contrast between I (Ioud) and p (soft), For the I passages use lots
of bow, slightly nearer the bridge and with more pressure. For the p passages do the opposite: not quite 50
much bow, further from the bridge and with less pressure. Think of nfas your normal. comfortable dynamic.
Imagine playing this piece for dancing at the Tudor court. The final note (played p ) is when the dancers bow
or curtsy gracefully to their partners .
•....•--------------- ••..:ACTIVITY t
16th-century French
With bravado J = c.76 ~=f~hl~~12 ~I~~r~~
I(p)
F
r
~I': ~
u -========= I p

17. Estampie
13th-century French
Boldly and with energy J = c.138 -4 I 4 1""1 ' s ~ ~)II Ire>-----l[~~F ~@sT====;;=F ====1W,
15~~* ~ !=If- ~, ~
21,~I,~~,~~r:::====~
31,~I,~
37
~-
43
~t~~fl
15

18. for jenet Haley
Haley' 5 Comet
,3,
Jaunty swung rhythm (n = J j) J = c.100
ri .~*~~í_ê~ ~ ~ ~
V
ri 11. II to finish .
~~í ~~t~-~~~t ~í }~
'.13 b >
Fine pizz. j J
mp
arco ~ ~~~~-~
f D.e. al Fine

19. p!!!"'!'-_ ••...-.-.-..-.-.-----~---~ -----------------.........--
Morag' s Medicine
Vigorous foIk-fidd1e style J = c.116
+~
5~~
5 11.
~§ ~.~
112. , v :lt" ~
p
:
13 11. l~~~ ~.
f
112. I v
~ J , ~
p sf
17

20. Üsküdar
Turkish
Gently flowing J = c.104 L(. ·li~tt·_ mf
13P 4_ j~. li
1 n
_·~.ll
- =Fi a_~' li p
~======== mp
n

21. Bamboo In the Breeze
Calm and spacious d = c.54
;,lfi, 2 I~~m ~~F ~,
mp cantabile
Chinese
7
~
pizz. ~.~~. ~*~*d*~*-
p
13 arco l~b~ "!f
19 r"1 l~bU hf
mp cantabile
pizz.
~ * ~ * d * ~ * -
p
ij~~ ~
arco
~~.~'I
mf ====-
F , I
1':
-I o
19

22. ·. Fast and rhythmic J = c.108 Klezmer
t. pl 2I
=
&~~. ~i-----~§. ~fê
=
11
~~~ ~f~f
=
p
·r
~~f ~i----- §. ~fê
=
19
~*~*
_3 11. l~~§'~ =
112. > 1
f :~ f ~
f

23. ,h l~bg - I ~.~
Gently lapping J. = c.46
Mendelssohn
(1809-47)
21

24. Tsamikos
Greek
Gracefully swaying J = c.92
• ~~II 2 I@ ~~~l~
mp
Vi~7t ~ _~l~ p
~JP=±nif F ~ * W ~ ~~l~
Old Joe Clark
North American
Lively bluegrass style J = c.120
(Slide up on the 4th finger if you like.)
O
~~1121~~~F~tm
f

25. Monsieur de Caix's Fanfare
I As a warm-up for Monsieur de Csix's Fanfare, practise the broken slurs (also known as 'hooked bowing') on each of the open
strings. Here is an exercise on the A string: stop the bow on the string between the two notes.
Now practise the same pattern, but this time using string crossings, for example:
'---------------------1 ACTIVITV
Caix d'Hervelois
(c.1680-c.1755)
Heavy and rhythmic J = c.96 ~~~-~~ f ~ '-'
If~·§F~
p
rito
(53F ij===, ~J==J==r f
23

26. Slow and spacious J = c.69
.~t~~-~~tl
mp cantabile
South African
Two South African Wedding Songs
Baba Mnumzane
Fast and rhythmic J = c.116
~3,~~_~. ~~. ~
f = = = p sim.
21 rito Tempo I
~~. ~~. , P mp cantabile
1': -
~.
pp
attacca

27. r3--,
Cheerfully (n = ~ )l) J = c.116
(middle)
v
7~1
mf
Fiela
South African
v v v
~~I ~ I ij~1 [§
mf
5r,~, f
9 v ri V v---.. ~~~Qª,~~E=::=~:::=±I==§~m~I~I~ª~~~ ~ ~ :

28. Minuet and Trio
Haydn
(1732-1809)
~ (lower half)
,~r"1 , mf
Stately dance tempo J = c.92
;, 'ÜI t - I ,
(Pause on CD = 2 J beats.)
19 pt ~r"1 t_t~ p f Fine
Trio =r~~t~~l~ p
31
~ :
~~ l I
p ~ _:~~
D.S. ai Fine
76

29. Hurdy~Gurdy
Fast and raucous J = c.84 ri ;, 'I a'l
> >
19 v ri _iai~
> >
31~~I~I- f :
41 ri ~iai~:
> >
-3 ri
'"ft j) >
'7 D '7
>
27

30. I n l"'II""n ••••
a