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Violin Scale Charts for students, parents, adults Major Scales Minor Scales Major Arpeggios Minor Arpeggios Violin Scale Charts™, © Sarkett Productions, 1992, All Rights Reserved, $15.00

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Page 1: 45774778 Violin Scale Charts

Violin Scale Charts™

for students, parents, adults

Major ScalesMinor Scales

Major ArpeggiosMinor Arpeggios

Violin Scale Charts™, © Sarkett Productions, 1992, All Rights Reserved, $15.00

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Violin Scale Charts™ Page 2

Before you begin, a few words of explanation . . .

While every effort has been made to make this graphic reference work authoritative, it must be notedthat there is no single, one and only, and exclusively "correct" way to finger a scale. Different scalepassages in different repertory may call for different approaches. Different scales may be, and infact, must be, played in different positions, different finger patterns from time to time. On an evenmore individual level, one player's high "3" may be another player's low "4." G major is a goodexample. Some violinists ascend on open strings D, A and E, and descend using "4" for thosenotes. This is the most common teaching. Nevertheless, other players go up and down with "4."Still others go up and down with open strings. You see what we mean, of course . . .

These elementary level Violin Scale Charts™ open the door to various positions and finger patterns.By all means, experiment. Should your teacher differ with anything presented here, please followhis/her approach. What's the position of your editors, you say? As you play through the book,you'll notice your editor has stressed the use of "4" versus open strings in order to develop yourfacility and confidence in this often called for, and sometimes insecure finger. Indeed, one of thegreatest benefits of using Violin Scale Charts™, especially at the elementary level, will be to build astrong and secure "4" finger, a more beautiful tone, and stronger and more confident expression.

After all, as a musician who happens to play the violin, expression is what you are all about anyway,isn't it? Have fun with these charts. They will make you a more expressive, more confidentmusician.

Sincerely, John A. Sarkett, [email protected],http://homepage.interaccess.com/~jas/violin_scale_charts.html

Editorial Review Committee (in alphabetical order)

Dr. Milton Goldberg, Distinguished Suzuki Educator, Winnetka, IL, USAViolin: D.M.A., M.M., B.M., Northwestern U., student of Henry Sopkin, Angel Reyes andSamuel Thaviu; member, board of directors and formerly treasurer, Suzuki Association of theAmericas; violin editor, S. A. A. Journal; faculty member, American Suzuki Institute at StevensPoint (holder of Suzuki Chair, 1979); Winnetka "Educator of the Year" 1980; coordinator ofinstrumental instruction (1945-1978) in Winnetka public schools where he pioneered the introductionof the Suzuki method (1964); former concertmaster, Highland Park (IL) Strings; registered teacher-trainer, Suzuki Violin Pedagogy. Faculty member of the Music Center of the North Shore.

Christopher Hoff, Violinist and Attorney-at-Law, Germantown, MDStudent of Russian violin pedagogue and JCC Symphony Concertmaster Yakov Shapiro.

Kathleen Paramore, Washburne Junior High School, Winnetka, IL, USAViolin: B.M., Northwestern U., student of Betty Haag, John Kendall and Stan Nosal; member ofSAA, MENC, IGSMA; director of strings, Winnetka Public Schools; former instructor for theWaukegan, IL Public Schools; former instructor for the Lake Forest (IL) Symphony Music Institute;former instructor at Haag/Leviton Academy for the Performing Arts.

Klaus Pfefferkorn, Conductor, Bludenz Youth Orchestra, Bludenz, AustriaViolin teaching diploma at the Academia "Mozarteum" in Salzburg, Austria by Professor B.Steinschaden. Member of the Sinfonic Orchestra of Vorarlberg. Mr. Pfefferkorn teaches violin andorchestra in Bludenz/Austria and Vaduz/Liechtenstein.

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finis!

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A Visual Learning Supplement:

Violin Scale Charts™

by John A. Sarkett

Eyes are vocal, tears have tongues,And there are words not made with lungs.

Crashaw

The gaps are the thing. The gaps are the spirit’s one home, thealtitudes and latitudes so dazzlingly spare and clean that the spirit candiscover itself like a once-blind man unbound. The gaps are the cleftsin the rock where you cower to see the back parts of God; they are thefissures between mountains and cells the wind lances through, the icynarrowing fiords splitting the cliffs of mystery. Go up into the gaps. Ifyou can find them; they shift and vanish too. Stalk the gaps. Squeakinto a gap in the soil, turn, and unlock -- more than a maple -- auniverse.

Annie Dillard

In the beginner’s mind there are many possibilities, but in the expert’smind there are few.

Shunryu Suzuki

Think of Beethoven.Do you hear G - G - G- Eb-------?Or do you see that face: eyes

piercing, hair tousled, mouth scowling?Either way, you activate your

‘right brain’.It’s this side of your brain that had

historically been overlooked in the traditionalacademic presentation of lectures andreading, employing left brain and linearthinking, but today many modern educatorsrealize just how productive right-brain, visual,holistic learning can be. They take steps toincorporate it into the learning experience.

As Linda Verlee Williams notes inher book Teaching for the Two-Sided Mind , “Visual thinking [should not beonly] associated with the visual arts and relegated to a single area in thecurriculum; it [should be considered] a part of every subject because it is abasic way of obtaining, processing, and representing information. To ignore itsrole in any subject is to fail to train students in its use and to deny to those whoare primarily visual processors the opportunity to learn in the mode whichcomes most easily for them.”

“Any subject” can even include the ‘sound’ and serial note world ofmusic, I learned as a Suzuki parent.

Supplementary scalesExpanding on our regular Suzuki regimen, our teacher, Susan

Rozendaal, assigned scales to my daughter, Sharika, then 9. To aid herlearning, I devised a simple, visual chart of the notes, much like a chord chartcommon in the guitar world. I used the Hypercard program for the Macintosh -- a graphics and text processing program. Each week she would be assigned anew scale, and each week I would draw up one new chart. I titled these,simply enough, ‘Violin Scale Charts.’

So, instead of presenting the information serially, (left brain), astraditional notes on a scale, or aurally, on tape, as pure sound to imitate, ViolinScale Charts™ presents the scale and arpeggio information as a simple (rightbrain) picture, a map of where to put your fingers.

Sharika used these charts regularly. Her tone, confidence andspecifically, ‘4’ finger were noticeably enhanced.

When our Suzuki teacher happened upon my charts in the pile ofSuzuki volumes, Applebaum, Auer, Dofflein, Schradieck, Trott, and Wohlfahrt,at our weekly lesson, she said ‘What a great idea! You must publish these!’Flattered, and thinking that the worst case scenario would be that my daughterwould have a full, finished set, I set about to develop a complete set of scalesand arpeggios, two octaves, major and minor keys.

Preparing the charts was a formidable task. Just as there is no oneway to process information, I learned there was no one way to present scaleand arpeggio information. Therefore, I began the Violin Scale Charts™ withthe following preface:

While every effort has been made to make this graphic reference workauthoritative, it must be noted that there is no single, one and only, andexclusively "correct" way to finger a scale. Different scale passages indifferent repertory may call for different approaches. Different scales maybe, and in fact, must be, played in different positions, different fingerpatterns from time to time. On an even more individual level, one player'shigh "3" may be another player's low "4." G major is a good example.Some violinists ascend on open strings D, A and E, and descend using "4"for those notes. This is the most common teaching. Nevertheless, otherplayers go up and down with "4." Still others go up and down with openstrings. You see what we mean, of course . . .

These elementary level Violin Scale Charts™ open the door to variouspositions and finger patterns. By all means, experiment. Should yourteacher differ with anything presented here, please follow his/herapproach. What's the position of your editors, you say? As you playthrough the book, you'll notice your editor has stressed the use of "4"

versus open strings in order to develop your facility and confidence in thisoften called for, and sometimes insecure finger. Indeed, one of thegreatest benefits of using Violin Scale Charts™, especially at theelementary level, will be to build a strong and secure "4" finger, a morebeautiful tone, and stronger and more confident expression.

After all, as a musician who happens to play the violin, expression is whatyou are all about anyway, isn't it? Have fun with these charts. They willmake you a more expressive, more confident musician.

My initial effort was edited by teachers at the Music Center of theNorth Shore, and Washburne Middle School, both of Winnetka, Illinois,including Enid Cleary, Milton Goldberg and Kathleen Paramore.

Hands across the waterSubsequently, two fellow denizens of the Internet global village also

made significant and creative suggestions of their own: Klaus Pfefferkorn,Conductor, Bludenz Youth Orchestra, Bludenz, Austria and Christopher Hoff,Violinist and Attorney-at-Law, Germantown, Maryland.

Next step was to make the Charts available to the larger violinworld. A mailing to Suzuki trainers and teachers yielded positive results. Thelarge catalog company, Shar Products, expressed interest in carrying theproject if I would develop mailers, which I did. Finally, reaching out to stringplayers around the globe, the Violin Scale Charts™ worldwide web sitedebuted in 1995:

http://homepage.interaccess.com/~jas/violin_scale_charts.html

The Charts are now used by players in North and South America,remote islands of Hawaii!, Australia, the Far East, and Europe. Response hasbeen gratifying: “My violin teacher and I have concluded this is a very goodwork, of great value, especially to beginners.” Ivo Barbi, Florianopolis, Brazil.

What is it about this presentation of scales and arpeggios that makesit effective and helpful? Actually, there is a good bit of educational psychologybehind it, the power of right brain learning, though I didn’t realize it per sewhen I was drawing up these charts.

Developing the inner eye

It was in 1865 that Paul Broca reported that injuries to the left side ofthe brain almost invariably produced speech disorders while injuries to thesame area of the right hemisphere did not. His report was confirmed, in 1874,by German researcher Carl Wernicke. A number of researchers followed intheir footsteps, but the next major ground-breaking study came in the early1960s when Cal Tech’s Roger Sperry performed a series of operations whichmade it possible to study the two brain hemispheres in isolation from each other.His work received the Nobel Prize in 1981.

Sperry was working with patients affected by severe epilepticseizures. Sperry believed that by cutting the thick bundle of nerve fibers (200million !) connecting the two brain hemispheres he could prevent the seizurefrom spreading from one hemisphere to the other. Subsequently, he and histeam conducted a series of subtle experiments to identify characteristics of theright and left brain hemispheres. Briefly summarizing this complex work, heidentified the sides of the brain with the following functions:

LEFT HEMISPHERE RIGHT HEMISPHERE Verbal Spatial

Parts Patterns

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Language Musical, visualSerial processing Simultaneous or holistic processing

Analytical Relational, constructional

While subsequent research indicates a much greater complexitywithin the hemispheric model, (e.g. ability of the right hemisphere to processwords, individual variations, variations for left-handed individuals, male-femalevariation), nevertheless, a path was cut through the mysterious forest of brainfunction. The importance of the right hemisphere, i.e. musical, visual, spatialmental processing was laid down.

The implications for education cannot be overstated, and in the last30 years or so, extensive changes have been made to incorporate visuallearning into our school systems. Students today, as a matter of course,supplement book-lecture learning with the production of charts, graphs,artwork, and demonstrations. Film and video are considered teaching tools noless than books and monographs, and in some case, possibly superior in theirability to make a lasting impact on the mind’s eye.

As author Williams notes, it all begins with seeing. Students mustlearn to see, they need to know what to look for, and how to interpret whatthey see. Next, they need to learn to represent information graphically. Someinformation, such as the spatial relationships between notes in a scale orarpeggio, can be better represented in a picture than via a verbal description.Finally, students must develop their inner eye. Visualizing helps with a widevariety of tasks that go beyond scales and arpeggios, and include rememberinginformation, spelling, math, and solving problems with spatial relations.

From this base, they may gain facility with fantasy, metaphor andself-expression in any mode, including old-fashioned, left-brain, verbal. Theymay integrate and maximize the dual functions of the brain for maximumcreativity and productivity.

Not just for kids Interestingly, though Violin Scale Charts™ was developed for a

young Suzuki student, many of the users are adults. “What a great idea!” saysDr. William Wood, Ottawa, Ontario, Canada. “Very helpful for all beginners,adults, too . . . . effectively introduces positions I-IV. Thank you very much!”says Ann Grier Carmen, Violin Teacher, West Nyack, New York.

While Suzuki has traditionally been a children’s program, I believeit holds potential as an adult enrichment educational experience as well. Frommy experience in corresponding with and talking with adult string playersaround the globe, mature learners -- adult beginners -- are some of the mostinterested, motivated and passionate musicians around. They are hungry fortools to realize the sounds that are bursting forth in their inner ears.

Notice the admiration and wannabe quality in this adult beginnerfrom Indiana who wrote me: “Thank you for your assistance and yourencouragement. I am finding the task of learning of much pleasure even if Ioften cannot make it sound right. It will be a long while before Carnegie Hall,and then only with a ticket to get in.” In a second letter he reports: “I amsqueaking along. I found that the video which accompanied a CD produced byItzhak Perlman and which I acquired from PBS was quite helpful. However,Perlman’s bowing techniques, of course, are those of a master. Kind of like adriveway-hoop basketball player watching Michael Jordan; just plain fun towatch; not a chance of duplication.” Motivated by his vision, aided bypictures, videos, inspiration, he presses on with a sense of irony, but also funand enjoyment.

The other beneficiaries are traditional Suzuki parents. “Greatteaching tool, all my students use Violin Scale Charts . . . parents benefit, too!”says Laura Polick, Violin Teacher, Wheaton Suzuki Institute, Wheaton, IL.Some parents may lack music and music theory training, but pictures -- well,anyone can understand a picture, it seems. Anyone can read a map. They cansee what is to be played, and they can easily enough repeat it on the violinthemselves, or check to see if it is being played correctly by their young Suzukimusician. For many parents, the material is less forbidding, less technical if it ispresented in a picture.

Summarizing, visual thinking is so basic a part of our daily lives thatwe use it all the time, whether we are aware of it or not. Violin Scale Charts™presents another way to literally look at musical information. It takesadvantage of everyone’s ability to learn through seeing pictures. It isespecially helpful for the predominately visual learner, the adult beginner andthe Suzuki parent. Finally, it stimulates whole brain productivity, and opens thedoor to the larger world of fantasy, metaphor and self-expression.

As Lao-Tzu advised so long ago in the Tao Te Ching:

Give them Simplicity to look at, the Uncarved Block to hold,Give them selflessness and fewness of desires.

---------------------------------------------------------------------------------------John A. Sarkett may be reached at [email protected] or via the Violin ScaleCharts™ website at:http://homepage.interaccess.com/~jas/violin_scale_charts.html.

Technical research for this feature was provided by educational psychologistKaren Kurtzon, M.S., Evanston, Illinois.

SIDEBAR: LEARNING STYLES:

VISUAL• NEEDS TO SEE IT TO KNOW IT• STRONG SENSE OF COLOR• LIKELY ARTISTIC ABILITY

• DIFFICULTY WITH SPOKEN DIRECTIONS• OVERREACTION TO SOUNDS• TROUBLE FOLLOWING LECTURES• MISINTERPRETATION OF WORDS

LEARNING TIPSVISUAL• USE OF GRAPHICS TO REINFORCE LEARNING: FILMS, SLIDES,ILLUSTRATIONS, DIAGRAMS• COLOR CODING TO ORGANIZE NOTES AND POSSESSIONS• WRITTEN DIRECTIONS• USE OF FLOW CHARTS AND DIAGRAMS FOR NOTETAKING• VISUAL SPELLING OF WORDS OR FACTS TO BE MEMORIZED

AUDITORY• PREFERS TO GET INFORMATION BY LISTENING - NEEDS TOHEAR IT TO KNOW IT• DIFFICULTY FOLLOWING WRITTEN DIRECTIONS• DIFFICULTY WITH READING• PROBLEMS WITH WRITING• INABILITY TO READ BODY LANGUAGE AND FACIALEXPRESSIONS

AUDITORY• USE OF TAPES FOR READING AND FOR CLASS AND LECTURENOTES• LEARNING BY INTERVIEWING OR BY PARTICIPATING INDISCUSSIONS• HAVING TEST QUESTIONS OR DIRECTIONS READ ALOUD ORPUT ON TAPE

KINESTHETIC OR HAPTIC• PREFERS HANDS-ON LEARNING• CAN ASSEMBLE PARTS WITHOUT READING DIRECTIONS• DIFFICULTY SITTING STILL• LEARNS BETTER WHEN PHYSICAL ACTIVITY IS INVOLVED• MAY BE VERY WELL-COORDINATED AND HAVE EXCELLENTATHLETIC ABILITY

KINESTHETIC OR HAPTIC• EXPERIENTIAL LEARNING (MAKING MODELS, DOING LABWORK, ROLE PLAYING)• FREQUENT BREAKS IN STUDY PERIODS• TRACING LETTERS AND WORDS TO LEARN SPELLING ANDREMEMBER FACTS• USE OF COMPUTER TO REINFORCE LEARNING THROUGHSENSE OF TOUCH• MEMORIZING OR DRILLING WHILE WALKING OR EXERCISING• EXPRESSING ABILITIES THROUGH DANCE, DRAMA,GYMNASTICS, ETC.

###

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Violin, Violin Scale Charts, strings, Suzuki, Suzuki violin, music, music education

Wednesday, November 3, 1999 http://option-wizard.com/vsc/violin_scale_charts.shtml

For Students, Parents, Adults

Finger positions for major and minor scales and arpeggios

The Violin Scale Charts Online Store & Discount Bookstore

My violin teacher and I have concluded this is a verygood work, of great value, especially to beginners.

Ivo Barbi, Florianopolis, BRAZIL

What a great idea!

Dr. William Wood, Ottawa, Ontario, CANADA

Great teaching tool, all my students use Violin ScaleCharts . . . parents benefit, too!"

Laura Polick, Violin Teacher, Wheaton Suzuki Institute, Wheaton, IL, USA

Very helpful for all beginners, adults, too . . . .effectively introduces positions I-IV. Thank you verymuch!

Ann Grier Carmen, Violin Teacher, West Nyack, NY, USA

I have misplaced my copy of Violin Scale Charts. Ithought it was very helpful. Therefore, I would like toorder another one.

C.K., Herndon, Virginia

I really do appreciate the time you spent with me. It is apleasure to do business with such a company.

Tom Trice, Black Rock, AR

Comprehensive. Violin Scale Charts presents all major and minor (melodic) scales and arpeggios in two octaves. It usesvarious positions I-IV. Eight charts per page.

Scales become easy to remember. VSC will help you and-or your student master scales and arpeggios quickly and easily.Violin Scale Charts show scale and arpeggio patterns in graphic, chart form. This makes them easy to learn, easy toremember.

Pays for itself. Violin Scale Charts pays for itself in lesson time many times over: it helps the student quickly master thebasics, and move efficiently and securely, with excellent intonation, to more difficult exercises and repertory.

Lies flat on your stand. VSC is spiral-bound to lie flat on your music stand.

Noted editors. Edited by distinguished educators, including faculty members of the Music Center of the North Shore, Winnetka,IL, Dr. Milton Goldberg, Suzuki teacher and orchestra conductor Kathleen Paramore, as well as Klaus Pfefferkorn, Conductor,Bludenz (Austria) Youth Orchestra.

More expression, more confidence. While every effort has been made to make this graphic reference work authoritative, itmust be noted that there is no single, one and only, and exclusively "correct" way to finger a scale. Should your teacher differwith anything presented here, please follow his/her approach.

One of the greatest benefits of using Violin Scale Charts, especially at the elementary level, will be to build a strong and secure"4" finger, a more beautiful tone, and stronger and more confident expression. As a musician who happens to play the violin,expression is what you are all about anyway, isn't it? Have fun with these charts. They will make you a more expressive, moreconfident musician.

Questions? E-mail to me via [email protected]. Please include your name, address, phone, fax and e-mail addresses.

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Violin, Violin Scale Charts, strings, Suzuki, Suzuki violin, music, music education

Wednesday, November 3, 1999 http://option-wizard.com/vsc/violin_scale_charts.shtml

Special feature: For The Visual Learner

Sample Chart: Second Position

Sample Chart: Melodic Minor Scales

To order:

Page 32: 45774778 Violin Scale Charts

Violin, Violin Scale Charts, strings, Suzuki, Suzuki violin, music, music education

Wednesday, November 3, 1999 http://option-wizard.com/vsc/violin_scale_charts.shtml

Price Please visit the Violin Scale Charts™secure online store

$14.95

Violin Scale Charts by web download in your choice of:

Macintosh or PC Microsoft Word (Ms. Word Reader is free!) Macintosh Hypercard Universal Adobe Acrobat .pdf format.

All 50+ charts as per above, 2 charts per page. Print your own copy.

$18.90 Violin Scale Charts by mail, seven pages, eight charts per page, printed on 94(super brightness), 24 lb. archival quality paper, card stock canary yellowastrobright covers: $14.95 plus $3.95 shipping/handling, $18.90 total.

$22.40 Violin Scale Charts by mail to foreign lands.

$99.95 Teachers license to reprint a copy of Violin Scale Charts for up to 10 students.(Want a license to reproduce for more students? Please inquire by email [email protected].)

Prefer to send check? Of course:

Violin Scale Charts, Sarkett Productions, 485 Sunset Road, Winnetka, IL 60093.

Recommended Newsgroups and Web sites: rec.music.makers.bowed-strings rec.music.classical rec.music.marketplace

Coda Bow String Pedagogy Notebook Maestronet Do-Music Classical.net Sibelius

Thanks for stopping! Please visit:

The Violin Scale Charts Online Store & Discount Bookstore

Wednesday, 03-Nov-1999 12:11:31 EST CHICAGO 22279442 Wednesday, 03-Nov-1999 17:11:31 GMT Last modified:Wednesday, 16-Jun-1999 17:46:05 EDT

Violin Scale Charts is a trademark of Sarkett & Associates, Inc.This page created and maintained by Sarkett New Media, Inc., [email protected]

Instant delivery and Best Value!

Page 33: 45774778 Violin Scale Charts

Please post at your Music School, or give this page to your friends . . .

Violin Scale Chartsª

For Students, Parents, AdultsFinger positions for major and minor scales and arpeggios

"Great teaching tool, all my students use Violin Scale Charts™ . . . parents benefit, too!"Laura Polick, Violin Teacher, Wheaton Suzuki Institute, Wheaton, IL"

"Very helpful for all beginners, adults, too . . . . effectively introduces positions I-IV. Thank you very much!Ann Grier Carmen, Violin Teacher, West Nyack, NY"

SSSSccccaaaalllleeeessss bbbbeeeeccccoooommmmeeee eeeeaaaassssyyyy ttttoooo rrrreeeemmmmeeeemmmmbbbbeeeerrrr. HereÕs a new teaching aid that will help you and-or your student master scales and arpeggiosquickly and easily. Violin Scale Chartsª show scale and arpeggio patterns in graphic, chart form. This makes them easy to learn, easy toremember.

PPPPaaaayyyyssss ffffoooorrrr iiiittttsssseeeellllffff. This new publication will pay for itself in lesson time many times over: it helps the student quickly master the basics,and move efficiently and securely, with excellent intonation, to more difficult exercises and repertory.

CCCCoooommmmpppprrrreeeehhhheeeennnnssssiiiivvvveeee. This 27-page publication presents all major and minor (melodic) scales and arpeggios in two octaves, and using variouspositions I-IV.

NNNNooootttteeeedddd eeeeddddiiiittttoooorrrrssss. Edited by distinguished educators.

MMMMoooorrrreeee eeeexxxxpppprrrreeeessssssssiiiioooonnnn,,,, mmmmoooorrrreeee ccccoooonnnnffffiiiiddddeeeennnncccceeee. While every effort has been made to make this graphic reference work authoritative, it must benoted that there is no single, one and only, and exclusively "correct" way to finger a scale. Should your teacher differ with anything presentedhere, please follow his/her approach. One of the greatest benefits of using Violin Scale Chartsª, especially at the elementary level, will be tobuild a strong and secure "4" finger, a more beautiful tone, and stronger and more confident expression. As a musician who happens to play theviolin, expression is what you are all about anyway, isn't it? Have fun with these charts. They will make you a more expressive, more confidentmusician.

WWWWoooorrrrllllddddwwwwiiiiddddeeee WWWWeeeebbbb. http://homepage.interaccess.com/~jas/violin_scale_charts.html. Violin Scale Chartsª -- used by students aroundthe globe!

VVVViiiioooollllaaaa SSSSccccaaaalllleeee CCCChhhhaaaarrrrttttssss. New! By popular demand!

VVVViiiioooolllliiiinnnn oooorrrr VVVViiiioooollllaaaa SSSSccccaaaalllleeee CCCChhhhaaaarrrrttttssssªªªª $$$$11114444....99995555,,,, pppplllluuuussss sssshhhhiiiippppppppiiiinnnngggg aaaannnndddd hhhhaaaannnnddddlllliiiinnnnggggSample Chart Major Scales

OOOORRRRDDDDEEEERRRR VVVVIIIIAAAA:::: http://homepage.interaccess.com/~jas/violin_scale_charts.html Or mail check to: Violin Scale Chartsª, 485 Sunset Road, Winnetka, IL 60093

___ Yes! Sounds great! Please send me ___ copies of the Violin Scale Chartsª, $18.90 each, includes shipping.

Your Name: ________________________________________

Address: ________________________________________

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