Suzuki Violin Method - Vol 02

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<p>nt Yiolir chool</p><p>YI()TIITM</p><p>YOrUt{E 2</p><p>Suzuki Method International</p><p>Sdi'Vlomschool</p><p>YIOIINP\RT</p><p>YOrtDInz</p><p>Copyright O 1978 Dr. Shinichi Suzuki</p><p>Sole publisher for the entire world except Japan:</p><p>Summy-Birchard Inc.</p><p>exclusively distributed by</p><p>Warner Bros. Publications Inc.</p><p>15800 N.W.48thAvenue</p><p>Miami, Florida 330T4</p><p>All rights reserved Printed in U.S.A.</p><p>ISBN 0-81487-146-8</p><p>The Suzuki name, logo and wheel device</p><p>are trademarks of Dr. Shinichi Suzuki used under</p><p>exclusive license by Summv-Birchard" Inc.</p><p>Any duplication, adaptation or arrangement of the compositions</p><p>contained in this collection requires the written consent of the Publisher.</p><p>No part of this book may be photocopied or reproduced in any way without permission.</p><p>Unauthorized uses are an infringement of the U. S. Copyright Act and are punishable by Law</p><p>I</p><p>] - 3 .</p><p>INTRODUCTION</p><p>FOR THE STUDENT: This material is part of the worldwide Suzuki Method of</p><p>teaching. Companion recordings should be used with these publications. In addi-</p><p>tion, there are piano accompaniment books that go along with this material.</p><p>FOR THE TEACHER.' In order to be an effective Suzuki teacher, a great deal of</p><p>ongoing education is required. Your national Suzuki association provides this for</p><p>its membership. Teachers are encouraged to become members of their national</p><p>Suzuki associations and maintain a teacher training scheduleo in order to remain</p><p>current, via institutes, short and long term programs. You are also encouraged to</p><p>join the International Suzuki Association.</p><p>FOR THE PARENT: Credentials are essential for any teacher that you choose.</p><p>We recommend you ask your teacher for his or her credentials, especially listing</p><p>those relating to training in the Suzuki Method. The Suzuki Method experience</p><p>should be a positive one, where there exists a wonderful, fostering relationship</p><p>between child, parent and teacher. So choosing the right teacher is of the utmost</p><p>importance.</p><p>In order to obtain more information about the Suzuki Metho4 please contact your</p><p>country's Suzuki Association, the International Suzuki Association at 3-10-15 Fukashi,</p><p>Matsumoto City 390, JWan, The Suzuki Association of the Americas, 1900 Folsom</p><p>#101, Boulder Colorado 80302 or Summy-Birchard Inc., c/o Warner Bros.</p><p>Publications Inc.. 15800 N.W. 48th Avenue, Miami, Florida 33014.</p><p>Licensed by Warner Bros. Publications Inc.</p><p>our catalogue</p><p>on line</p><p>r;=ii-i</p><p>- . .+--=;</p><p>"te-r}&'</p><p>www.carisch.com</p><p>This olbum @ 2OO2 by NUOVA CARISCH s.r. l, - Milono</p><p>All rights reserued. No part of this book may be photocopied or reproduced</p><p>in any way without permission. Unauthorized uses are punishable by law.</p><p>I</p><p>C(NTDITTS</p><p>S t u d y P o i n t s f o r V o l u m e 2 . . o o . . . o o . . . . . . . o . . . o . . . . . o . . . o . . . . . . . . . 4</p><p>EfflJ Chorus from ttJudas lVlaccabaeust', G. E Hgndel . . . . . . . . o . o. . . . . ......7</p><p>l A M u s e t t e o J . S . B a c h o o . . r . . . . o . . . . . o o . . . . . o . o o . o o o o o o r . . . . r . . . . . . . 7</p><p>f _ l _ l H u n t e r s t C h o r u s , C . M . v o n W e b g r . . o o o . . . . . . , l o o . o . . . . . . . . . . . . . . . . 8</p><p>1 A l r o n g , I n n g A g o o T . H . B a y l y ' . . o o . . o o . . . . . . . . . i . . . o o o o o o o . o . o . r . . . . . 9</p><p>f . ! ! W a l t 4 J . B r a h m s . . o . o . . . . . . . r r . o o o . . . . o o . . . o . . . o o o . o o . . . . . . o . . 1 0</p><p>l - { l B o u n d e r G . E H a n d e l . o o o . . o o . . . . . . . o o . . . . . o o . . . . . . . . . . . . . . . o . . . l l</p><p>f Z J T h e f i r o G r e n a d i e r s , R . S c h u m a n n . . o . . . . . . . . . . . . . . . . . . . . . o o o . . . . 1 2</p><p>LqJ Theme f rom 56Wi tches t l )ance t ' rN . Pagan in i . . . . . . . o o . . . o . . . . o . . . . . . 13</p><p>t 2 J G a v o t t e f r o m t t l l i g n o n " r A . T h o m a s . . o o . o . . . . . o o o . o . . r . o o . . . . . . . . . 1 4</p><p>t D f - - l r - -</p><p>E q G a v o t t e , J . B . L u l l y . . . o . . o r o . o . . . . o . o o o o . . o . . . . r . o . o o . . o . . . . . ' . . 1 6</p><p>L U M i n u e t i n G L . v g n B g e t h o v g n o f . o . . . . o o o . o . . . . o . . . . . . . . ? . . . . . . . . l E</p><p>t r M i n u e t , L . B o c c h e r i n i . o . . o o o o . o . . o . . . . . . o . . . . . o . . . o o . o . . . . . . o . . l g</p><p>k :</p><p>Study Points for Volume 2</p><p>fr 2 *o+tla;-*: i i '</p><p>Points d' Etude pour le Volume 2 Studium Hinweise fiir Bund 2 Puntos de Estudio para el Vol. 2</p><p>I . f - t ' 6 t : . T t 6 r : t t&g v a - f ' t l l t l r ' r f b : t</p><p>t : J 'r . 1 t t ) * L r ' # a t ? , ! } t t . r t g -</p><p>,p*Et : r j r . A. h . t i h t l i r t t '> t t t l . l l tL ( t r i b t i r \o</p><p>3 . 4 l f i a t L t . t : J o ( . [ L r . * f ? . r ] . L r ' * t ] . f i</p><p>L u . , ] a> l+16 t , 1 * b t L A "</p><p>1. The child should listen to the reference recordings 1. Das Kind sollte jeden Tag dic d.iesbeziigliche</p><p>every day at home to develop musical sensitivity. Rapid Schallplutten-Aufnahme daheim anhdren, um seine</p><p>progress depends on this listening. musikulische EmpJindsumkeit zu entwickeln Rascher</p><p>2.Tonalization, or the production of a beautiful tone, Fortschritt hiingt von diesem Zuhdren ab.</p><p>should be stressed in the lesson and at home. 2. Tbnftihrung oder das Heworbringen eines schdnen</p><p>3. Constant attention should be given to accurate Tbnes sollte im Unterricht und daheim besonders betont</p><p>intonation, correct posture, and the proper bow hold. werden.</p><p>3. Stiin dige Aufm erks amkeit so llte der genaa en</p><p>Intonierang, korrekter Haltung und richtiger</p><p>Bogenftihrung gezollt werden.</p><p>1. L'enfont devrait 1couter le disque de 1. El niffo debe escuchar los discos de referenciacada</p><p>rifdrence chaque jour d Ia maison, afin de d,ivelopper dia en su casa para desarrollar sensibilidad musical. El</p><p>une sensibtlitd musicqle. Des progrds rapides progreso r6pido depende de esta audici6n.</p><p>ddpendent de cette audition. 2. Sonidizaci6n, o producci6n de un tono hermoso debe</p><p>2. La tonalisation, ou la production de beaux tons, ser enfatizada en la lecci6n y en casa.</p><p>devrait €tre travaillde pendant la legon et d la maison. 3. Una atenci6n constante debe ser prestada a una</p><p>3. Une attention constante devrait €tre donnbe afin afinaci6n exacta, postura correcta y la forma debida de</p><p>d'obtenir une intonation exacte, une posture correcte sujetar el arco.</p><p>et une bonne tenue de I'archet.</p><p>Tonalization</p><p>l ' : | t ) t 4 > 3 ></p><p>Tonalisation Tonfiihrung Sonidizaci6n</p><p>( ) { o l - F i i l a ) f i l t ? l i . ' : . . 7 ' v a - / - v t ' F l i f 6 t e</p><p>t : t [ i t t c h 6 " ) ( f i i v</p><p>(This exercise in G minor should be taught</p><p>in the same time the child is studying</p><p>the Bourr6e of Hiindel.)</p><p>(Cet exercice en sol mineur devrqit €tre</p><p>enseignt au moment oi l'enfant Atudie la</p><p>Bourrde de Hcindel.)</p><p>7 - > )</p><p>(Diese Ubung in G-Moll sollte sur gleichen</p><p>Zeit gelehrt werden, wenn dus Kind Bourrde</p><p>von Hiindel studiert.)</p><p>(Este ejercicio en sol menor debe ser enseflado</p><p>al mismo tiempo que el nifro est6 estudiando la</p><p>Chamarasca de Hiindel)</p><p>t f i , ! ; . t a l f r l j ( i e ( f 6 H t , ' (</p><p>s t l t i a f . 3 a l ? 2 l s i r : t</p><p>6 *i i?.</p><p>This is the first time the lowered first finger is used. When this</p><p>finger is placed on the stringo the third finger has the tendency to</p><p>pull back out of proper placement, toward the first finger. To avoid</p><p>this, try playing the following exercise silently. Keep the third</p><p>finger in place as the first finger moves back from Bi to Bb.</p><p>C'est la premidre fois que le premier doigt reculd est utilis6.</p><p>Quand ce doigt descend sur la corde, le troisiime doigt a une</p><p>tendance de reculer aussi de sa position correcte, vers le premier</p><p>doigt. Pour |viter ceci, essayer</p><p>de jour I'exercice suivante en</p><p>silence. Gqrder le troisiime doigt en place pendant que le</p><p>premier doigt recule de si\d sib.</p><p>3 o l f r b , ! h " ) + f v , r h T )</p><p>t ? I a l g t : $ t f f 3 r f</p><p>Dies ist dus erste Mal, duss der gesenkte erste Finger benutzt wird,</p><p>Wenn dieser Finger an die Suite gesetzt wird, so hat der dritte Finger</p><p>die Tendeng, von seiner korrekten Lage und nuch dem ersten Finger</p><p>zurilckzuziehen. [Im dies zu vermeiden, versuche, die folgende</p><p>tibung luutlos 7,u spielen. Halte den dritten Finger un seiner Stelle,</p><p>wiihrend der erste Finger sich vun H nach B zuriickbewegL</p><p>Esta es primera vez que se usa el primer dedo bemolado' Cuando este</p><p>dedo est6 colocado en la cuerda, el tercer dedo tiene tendencia de</p><p>quitarse de la posici6n correcta, por moverse hacia el primer dedo. Para</p><p>evitar 6ste trate de ejecutar el ejercicio siguiente en silencio. Mantenga</p><p>el tercer dedo en su lugar mientras el primer dedo retorna de si ! a si b.</p><p>S r g r</p><p>I</p><p>Chorus from "Judas Maccabaeus"</p><p>E rz/ '^?/J*? Xr h'P)</p><p>Maestoso</p><p>n</p><p>,A.</p><p>trl</p><p>{ iE t :</p><p>te</p><p>p dim.</p><p>V</p><p>Bitte darun denken, dass das Kindjeden Tug</p><p>die Schallplatten unhiiren soll.</p><p>Por favor recuerde que el niflo debe escuchar</p><p>los discos cada dia.</p><p>G. F. Handel</p><p>; 2 f ' t v</p><p>Please remember that the child should listen</p><p>to the recordings every day.</p><p>Surtout ne pqs oublier que l'enfant doit</p><p>icouter les disques tous les jours.</p><p>Andante</p><p>n r</p><p>0</p><p>pastorale :z €.7 l.</p><p>3 - q</p><p>cresc.</p><p>3</p><p>E q B o F.-o0I</p><p>n</p><p>2^l</p><p>3 0 1</p><p>J. S. Bach</p><p>V / ; ' / ' t \</p><p>t.</p><p>3I</p><p>*f</p><p>n</p><p>0</p><p>r</p><p>Choeur de "Judas MaccabaeLts" Chor uus "Judus Muccubueus" Coro de "Judas Macabeo"</p><p>a</p><p>Muset</p><p>Musette</p><p>0 3 6 A 2</p><p>--_</p><p>Hunterst Chorus</p><p>reAOAIE</p><p>C. M. v. Weber</p><p>l r . - z{ -</p><p>Y V3</p><p>' t</p><p>V</p><p>0</p><p>L o 3 o t</p><p>3</p><p>n</p><p>3</p><p>?</p><p>n</p><p>Choeur des Chasseurs Jiiger Chor Coro de los Cazadores</p><p>tr</p><p>LongAgootrg,</p><p>v> ?" v> ?" 7=" -</p><p>T. H. Bayly</p><p>^ { - 1 , -</p><p>- - -</p><p>l-9 B</p><p>-----_</p><p>*f</p><p>n</p><p>*f,</p><p>n</p><p>n</p><p>3 0 3- j</p><p>Variation (* 4 rk)</p><p>Variation Variation Variacion</p><p>! oY ld 3 r i+ {</p><p>l i o 3 + 1 1 o j o</p><p>3 # { t o S s z l o o r o</p><p>\J</p><p>g 3 - . e o</p><p>n</p><p>3 0 3_o 2</p><p>3#i-t oJ o ?||.{ Bo</p><p>3.9-3-t o e</p><p>t _ o 0</p><p>3-t ,_J o o l o</p><p>g B - . o o</p><p>t 0 t 2 3 0 4 3</p><p>3_o z</p><p>I</p><p>I</p><p>Il y a Trds, Trds Longtemps Lung, Lung ist's her Hace Mucho, Mucho Tiempo</p><p>10</p><p>Waltz</p><p>v )v'y</p><p>p'dolce</p><p>Moderato</p><p>I</p><p>foco clesc.</p><p>poco rit.</p><p>ValsValse Wulzer</p><p>--_</p><p>Bourr6e</p><p>Allegretto</p><p>p espressiuo</p><p>( 4 )</p><p>2 3 t 2 3 0</p><p>V N</p><p>o 3</p><p>G. F. Handel</p><p>+ 2 7 ' t v</p><p>3</p><p>n</p><p>3^.1.-- \</p><p>- p</p><p>( 4 )</p><p>2 3 0 2</p><p>- ( 4 ) . ' ^</p><p>t l iS- -0 l-+</p><p>k a</p><p>2 r</p><p>f i 0 3 X-..0 (f,gj) | 2 g</p><p>l-g I oA2a ?*_g</p><p>t 0 t 2</p><p>3 0 r 8 O j l J .</p><p>w</p><p>1-{ 3-{ o z- 3-o</p><p>1-g I o.-L 2 a ',</p><p>p espressiuo</p><p>B o I s o L Z o</p><p>!10</p><p>G)</p><p>2 3 0 2</p><p>({)</p><p>2 3 0 2</p><p>r</p><p>R. Schumann</p><p>' / 1 - ' ? 2</p><p>r;</p><p>l ' l</p><p>The Two Grenadiers-AaffilvR</p><p>t2</p><p>Z \ o</p><p>--__</p><p>Moderato</p><p>--_</p><p>I</p><p>-</p><p>0</p><p>rit.</p><p>3</p><p>n</p><p>0</p><p>n</p><p>3</p><p>allarg.</p><p>Die zwei Grenudiere Los Dos Granaderos</p><p>Moderato</p><p>V N</p><p>L r . l r ^ 0 I</p><p>? . ? z l z ! 0</p><p>Les Deux Grenadiers</p><p>I</p><p>l " l</p><p>o'wit</p><p>rffifEr</p><p>V</p><p>0</p><p>Theme from chest Dance))</p><p>T 3 ,</p><p>Andant. T___o y n</p><p>2-^.-f</p><p>) t 2 0</p><p>,)lfr 0 t h't)</p><p>O-.3</p><p>!}l o-.-{</p><p>N. Paganini</p><p>r 9 ) f = - =</p><p>0</p><p>n</p><p>l.--0</p><p>3</p><p>n</p><p>1-? $)l^_0 #l1i #</p><p>t O-'-.?</p><p>3_? I</p><p>3_o 2</p><p>. f 3</p><p>n</p><p>2</p><p>a</p><p>0I23n</p><p>t</p><p>P meno ,nosso</p><p>Thdme de la "Danse des Sorcidres" Themu aus "Hexentunztt Tema de "LaDanza de las Brujas"</p><p>l</p><p>I</p><p>I</p><p>I</p><p>I</p><p>j</p><p>I</p><p>I</p><p>i</p><p>I</p><p>I</p><p>I</p><p>i</p><p>I</p><p>I</p><p>i " - ' ,L</p><p>t4</p><p>Gavotte from "Mignon"</p><p>a) liif 'y I.r : = 3 Y t</p><p>A. Thomas</p><p>t - - - ?</p><p>n 23 7</p><p>Allegretto</p><p>n P o - 9 3 4 2 3 ,^ o</p><p>2 2 - 3 |</p><p>0 0 l</p><p>V</p><p>l _ 3 2 4</p><p>( b ) t 3 Z 4</p><p>0 1 3 r , 0 ( l ) l</p><p>t 2 3 4 2 3 l" 0</p><p>({)</p><p>o</p><p>t z 3 4 z 3 \ o</p><p>Gavota de "Mifl6n"Guvotte aus "Mignon"Gavotte de "Mignon"</p><p>(g)</p><p>n</p><p>?</p><p>( l )</p><p>9 {</p><p>( { )</p><p>0</p><p>ptzz .</p><p>Entrenamiento del oido</p><p>Ubu ng fiir die voII e n dete Oktaven-Intonierung,</p><p>Dem Klange der offinen G, D, undA Saiten</p><p>Iauschen; die Oktaven-Hdhen genuu</p><p>zu treffen versuchen.</p><p>Ejercicio parala perfecta afinaci6n de octava.</p><p>Escuche la resonancia de las cuerdas al aire de sol,</p><p>re, y trate de acertar los dipasones de octava</p><p>perfectamente.</p><p>Ear Training</p><p>uai,tlffi</p><p>Entrainement de I'oreille Gehiiriibung</p><p>'rti:t 2 ? - -r,fi'i|,.i):.,</p><p>G . D . Aa � l ' * l , l t t t . 2 r l ! j t , L +oU L , rS t J ( l l t l r , , ( ) ' c ' i |</p><p>r t t ? ? - ' 7 t u ( l * t l "</p><p>Exercise for perfect octave intonation.</p><p>Listen to the resonance of the open G, D, and</p><p>A strings, and try to match the octave</p><p>pitches perfectly.</p><p>S'exercer ii obtenir une intonation</p><p>d'octave parfaite.</p><p>Ecouter lq rtsonqnce des cordes libres du</p><p>sol, rim rb et du la, et essayer d'accorder</p><p>parfaitement les diapasons d'octaves.</p><p>Cet exercice devrait €tre |ffectue tous les</p><p>jours jusqu'ii ce qu'il soit parfaitement</p><p>maitris2. Le professeur devrait I'entendre</p><p>au commencement de chaaue lecon.</p><p>' / u ' l , . l t h t v , 7 > l f t ' l l L T . r r : t t : / t l r r t 6 J i t : . t</p><p>t : v t 7 > h A i j { : t J h ' t i i , t 4 6 J i t : .</p><p>This exercise should be practiced daily untit Diese Ubung sollte ttiglich gespielt werden,</p><p>it is mastered. The teacher should hear this bis sie viillig behewscht wird. Der Lehrer</p><p>at the beginning of each lesson. sollte dies bei Beginn jeder Stunde anhiiren.</p><p>Este ejercicio se debe practicar diariamente</p><p>hasta que se domine. El maestro debe escuchar</p><p>esto al comienzo de cada lecci6n.</p><p>l ^ " 1</p><p>Gavotte</p><p>T6</p><p>f'fi.2 l.</p><p>Allegretto</p><p>D Vq e</p><p>J. B. Lully</p><p>t ) - ,V c )</p><p>z ?^9</p><p>\--l'</p><p>a tempo ma piil ogitato</p><p>l - .s o</p><p>o u \ t Z o</p><p>o</p><p>gfaznso</p><p>^f</p><p>( . )</p><p>0</p><p>poco rit.</p><p>\--7</p><p>B A ! 3 *</p><p>3 _</p><p>3 A 1</p><p>2 , . r ^ o B</p><p>(c )</p><p>0 to-P-a I r $ ? 0</p><p>3 _</p><p>2 u \ o</p><p>17</p><p>0 2 1 . 0</p><p>ritard.</p><p>r i t .</p><p>n H 4 b i ) : , n 3 f f i a # r . / : I l " F f t t E t (</p><p>Procedure for practice Comment s'exercer Verfuhren zur Ubang Procedimiento pall.aprhctica</p><p>( c )</p><p>0</p><p>( o )</p><p>0 l o-l o r^ o I</p><p>( c )</p><p>( c )</p><p>0</p><p>( o )</p><p>0 9^9</p><p>n</p><p>i?z</p><p>*</p><p>i3 i?i3 ***13,11 o I</p><p>I ,</p><p>18</p><p>Allegretto</p><p>Y z</p><p>Minuet in G</p><p>t xr.7 l-</p><p>3 3</p><p>l-</p><p>V</p><p>3</p><p>Effi</p><p>L. van Beethoven</p><p>- { - l . - . 1 D.C. al Fine</p><p>SUZT JKI METHOD INIERNAIIONAL</p><p>tsBN 88-507-0235-3</p><p>,lltililililtililHHil</p><p>NUOVA CARISCH s.r. l .</p><p>VIA CAMPANIA, 12 - Zona Industriale Sesto Ulteriano</p><p>20098 s. GruLrANo MILANESE (Ml)</p><p>UFF. CLIENTI -fel.02-98.221 .212</p><p>www.carisch.com</p><p>Licensed by</p><p>SUMMY-BIRCHARD INC.</p><p>DlStributed by</p><p>WARNER BROS, PUBLICATIONS</p><p>15800 N.W. 48th Avenue. Miami, Florida 33014</p><p>A Warner Music Group Company</p><p>.-l</p><p>I Alf t AOZ L-AfiWZ</p>