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nt
Yiolir chool YI()TIITM
YOrUt{E2
Suzuki MethodInternational
Sdi'Vlomschool YIOIINP\RT
YOrtDInz
Copyright O 1978 Dr. Shinichi Suzuki Sole publisher for the entire world except Japan:
Summy-Birchard Inc. exclusively distributed by Warner Bros. Publications Inc. 15800N.W.48thAvenue Miami, Florida 330T4 All rights reserved Printed in U.S.A. ISBN 0-81487-146-8
The Suzuki name, logo and wheel device are trademarks of Dr. Shinichi Suzuki used under exclusive license by Summv-Birchard" Inc.
Anyduplication, adaptation or arrangement of thecompositions containedin this collectionrequiresthe writtenconsentof the Publisher. No part of this book may be photocopiedor reproducedin any way withoutpermission. Unauthorizeduses are an infringementof the U. S. CopyrightAct and are punishableby Law
] - 3 .
INTRODUCTION FOR THE STUDENT: This material is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with thesepublications.In addition, there are piano accompaniment books that go along with this material. FOR THE TEACHER.' In order to be an effective Suzuki teacher, a great deal of ongoing education is required. Your national Suzuki associationprovides this for its hip. Teachers are encouraged to become of their national Suzuki associationsand maintain a teacher training scheduleoin order to remain current, via institutes, short and long term programs. You are also encouraged to the International Suzuki Association. FOR THE PARENT: Credentials are essentialfor any teacher that you choose. We recommend you ask your teacher for his or her credentials, especiallylisting those relating to training in the Suzuki Method. The Suzuki Method experience should be a positive one, where there exists a wonderful, fostering relationship between child, parent and teacher. So choosing the right teacher is of the utmost importance. In order to obtain more information about the Suzuki Metho4 please your country's Suzuki Association,the InternationalSuzukiAssociationat 3-10-15 Fukashi, Matsumoto City 390, JWan,The Suzuki Associationof the Americas, 1900 Folsom #101, Boulder Colorado80302or Summy-BirchardInc., c/o WarnerBros. PublicationsInc.. 15800N.W. 48th Avenue,Miami, Florida 33014.
Licensedby WarnerBros. PublicationsInc. our catalogue
on line -..+--=;
r;=ii-i
"te-r}&' www.carisch.com
- Milono Thisolbum@2OO2 s.r.l, by NUOVACARISCH All rightsreserued.No part of this book may be photocopiedor reproduced in any way withoutpermission.Unauthorizeduses are punishableby law.
C(NTDITTS S t u d y P o i n ft o s r V o l u m 2e . . o o . . . o o . . . . . . . o . . . o . . . . . o . . . o . . . . . . . . . 4 ttJudas lVlaccabaeust',G. E Hgndel . . . . . . . . o . o. . . . . ......7 EfflJ Chorus from lA
M u s e t t e o J .S . B a c h o o . . r . . . .
o.....
oo.....
o. oo. oooooor....
r. ......7
t h o r u s , CM . . v o n W e b g r. . o o o . . . . . . , l o o . o . . . . . . . . . . . . . . . . 8 f _ l _ lH u n t e r s C 1A
l r o n g ,I n n g A g o o T . H . B a y l y ' . . o o . . o o . . . . . . . . .
f.!!
Walt4J. Brahms .. o.o.......
l-{l
B o u n d e r G .E H a n d e l . ooo . . oo . . . . . . .
i...
ooooooo . o . o . r . . . . . 9
r r . ooo . . . . oo . . . o . . . ooo . oo . . . . . . oo . . . . . oo . . . . . . . . . . . . . . .
o..10 o...ll
s ,. S c h u m a n n . . o . . . . . . . . . . . . . . . . . . . . . ooo . . . . 1 2 fZJ Thefiro GrenadierR 5 6 W i t c h e s t l ) a n c e t ' rP Na. g a n i n i . . . . . . . o o . . . o . . . . o . . . . . . 1 3 LqJ Themefrom t 2 J G a v o t t ef 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 t
D
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G a v o t t eJ,. B . L u l l y . . . o . . o r o . o . . . . o . o o o o . . o . . . . r . o . o o . . o . . . . . ' . . 1 6
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tr
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?........lE
Study Points for Volume 2 fr 2 *o+tla;-*:ii' Studium Hinweise fiir Bund 2
Points d' Etude pour le Volume2
I . f-t'6t:.
Puntos de Estudio para el Vol. 2
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1. The child should listen to the reference recordings every day at home to develop musical sensitivity. Rapid progress depends on this listening. 2.Tonalization, or the production of a beautiful tone, should be stressed in the lesson and at home. 3. Constant attention should be given to accurate intonation, correct posture, and the proper bow hold.
1. Das Kind sollte jeden Tag dic d.iesbeziigliche Schallplutten-Aufnahme daheim anhdren, um seine musikulische EmpJindsumkeit zu entwickeln Rascher Fortschritt hiingt von diesem Zuhdren ab. 2. Tbnftihrung oder das Heworbringen eines schdnen Tbnes sollte im Unterricht und daheim besonders betont werden. 3. Stiin dige Aufm erksamkeit sollte der genaa en Intonierang, korrekter Haltung und richtiger Bogenftihrung gezollt werden.
1. L'enfont devrait 1couter le disque de rifdrence chaquejour d Ia maison, afin de d,ivelopper une sensibtlitd musicqle. Des progrds rapides ddpendent de cette audition. 2. La tonalisation, ou la production de beaux tons, devrait €tre travaillde pendant la legon et d la maison. 3. Une attention constante devrait €tre donnbe afin d'obtenir une intonation exacte, une posture correcte et une bonne tenue de I'archet.
1. El niffo debe escucharlos discos de referenciacada dia en su casapara desarrollar sensibilidad musical. El progreso r6pido dependede esta audici6n. 2. Sonidizaci6n, o producci6n de un tono hermoso debe ser enfatizadaen la lecci6n y en casa. 3. Una atenci6n constantedebe ser prestadaa una afinaci6n exacta, postura correcta y la forma debida de sujetar el arco.
Tonalization l':|t)t4>3> (){o
l-Fiila)filt?li.':..7'va-/-v tt c h 6") (fii v
t:t[i
Sonidizaci6n
Tonfiihrung
Tonalisation
t'Flif
6 t e
7->)
(This exercisein G minor should be taught in the same time the child is studying the Bourr6e of Hiindel.)
(Diese Ubung in G-Moll sollte sur gleichen Zeit gelehrt werden, wenn dus Kind Bourrde von Hiindel studiert.)
(Cet exercice en sol mineur devrqit €tre enseignt au moment oi l'enfant Atudiela Bourrde de Hcindel.)
(Este ejercicio en sol menor debe ser enseflado al mismo tiempo que el nifro est6 estudiando la Chamarascade Hiindel)
tfi,!;. talfrlj(ie(f6Ht,' stltiaf.
3al?2lsir:t
( 3olfrb,!h")+fv,rhT) t?Ialgt:$tff3rf
6 *i i?. This is the first time the lowered first finger is used. When this finger is placed on the stringo the third finger has the tendency to pull back out of proper placement, toward the first finger. To avoid this, try playing the following exercise silently. Keep the third finger in place as the first finger moves back from Bi to Bb. C'est la premidre fois que le premier doigt reculd est utilis6. Quand ce doigt descend sur la corde, le troisiime doigt a une tendance de reculer aussi de sa position correcte, vers le premier doigt. Pour |viter ceci, essayer de jour I'exercice suivante en silence. Gqrder le troisiime doigt en place pendant que le premier doigt recule de si\d sib.
S
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Dies ist dus erste Mal, duss der gesenkte erste Finger benutzt wird, Wenn dieser Finger an die Suite gesetzt wird, so hat der dritte Finger die Tendeng, von seiner korrekten Lage und nuch dem ersten Finger zurilckzuziehen. [Im dies zu vermeiden, versuche, die folgende tibung luutlos 7,uspielen. Halte den dritten Finger un seiner Stelle, wiihrend der erste Finger sich vun H nach B zuriickbewegL Esta es primera vez que se usa el primer dedo bemolado' Cuando este dedo est6 colocado en la cuerda, el tercer dedo tiene tendencia de quitarse de la posici6n correcta, por moverse hacia el primer dedo. Para evitar 6ste trate de ejecutar el ejercicio siguiente en silencio. Mantenga el tercer dedo en su lugar mientras el primer dedo retorna de si ! a si b.
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Chorus from "Judas Maccabaeus" ,A. E rz/'^?/J*? Xr h'P) trl Maestoso {iEt:
G. F. Handel
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Choeur de
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"Judas
MaccabaeLts"
Coro de "JudasMacabeo"
Chor uus "Judus Muccubueus"
Please that the child should listen to the recordings every day.
Bitte darun denken, dass das Kindjeden die Schallplatten unhiiren soll.
a
Surtout ne pqs oublier que l'enfant doit icouter les disques tous les jours.
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Por favor recuerde que el niflo debe escuchar los discos cada dia.
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Hace Mucho, Mucho Tiempo
10
Waltz v )v'y Moderato
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Wulzer
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Los Dos Granaderos
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Themu aus "Hexentunztt
Tema de "LaDanza de las Brujas"
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Entrenamiento del oido
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G . D . A a l ' * l , l t t t . 2 r l ! j t ,L + o U L , r St J ( l l t l r , , ( ) ' c ' i | rtt??-'7tu(l*tl" Exercise for perfect octave intonation. Listen to the resonance of the open G, D, and A strings, and try to match the octave pitches perfectly.
Ubu ng fiir die voII en dete Oktaven-Intonierung, Dem Klange der offinen G, D, undA Saiten Iauschen; die Oktaven-Hdhen genuu zu treffen versuchen.
S'exercer ii obtenir une intonation d'octave parfaite. Ecouter lq rtsonqnce des cordes libres du sol, rim rb et du la, et essayer d'accorder parfaitement les diapasons d'octaves.
Ejercicio parala perfecta afinaci6n de octava. Escuchela resonanciade las cuerdasal aire de sol, re, y trate de acertar los dipasones de octava perfectamente.
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rr:tt:/tlrrt6
t: v t 7 > hAij{: tJ h'ti i, t 4 6J
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This exercise should be practiced daily untit it is mastered. The teacher should hear this at the beginning of each lesson.
Diese Ubung sollte ttiglich gespielt werden, bis sie viillig behewscht wird. Der Lehrer sollte dies bei Beginn jeder Stunde anhiiren.
Cet exercice devrait €tre |ffectue tous les jours jusqu'ii ce qu'il soit parfaitement maitris2. Le professeur devrait I'entendre au commencementde chaaue lecon.
Este ejercicio se debe practicar diariamente hasta que se domine. El maestro debe escuchar esto al comienzo de cada lecci6n.
T6
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ritard.
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ri t. nH4 bi):,n3ffia#r./:I l" Procedure for practice
Comment s'exercer
i3 i?i3
FfttEt
Verfuhren zur Ubang
( Procedimiento pall.aprhctica
***13,11 oI
18
Minuet in G t xr.7 l- l- Effi
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ll2.no.c.at Finel
Minu6 en sol
19
Minuet /X!'yl.
Moderato e grazioso V N
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D.C. al Fine
SUZTJKI METHOD INIERNAIIONAL
NUOVACARISCHs.r.l. VIA CAMPANIA,12 - Zona IndustrialeSesto Ulteriano 20098s. GruLrANoMILANESE(Ml) UFF.CLIENTI-fel.02-98.221.212 www.carisch.com
tsBN 88-507-0235-3
,lltilililil
Licensed by INC. SUMMY-BIRCHARD DlStributedby WARNER BROS, PUBLICATIONS 15800N.W.48thAvenue. Miami,Florida33014 A Warner MusicGroup Company
I
Alf t AOZ
.-l L-AfiWZ
Yiolir chool YI()TIITM
YOrUt{E2
Suzuki MethodInternational
Sdi'Vlomschool YIOIINP\RT
YOrtDInz
Copyright O 1978 Dr. Shinichi Suzuki Sole publisher for the entire world except Japan:
Summy-Birchard Inc. exclusively distributed by Warner Bros. Publications Inc. 15800N.W.48thAvenue Miami, Florida 330T4 All rights reserved Printed in U.S.A. ISBN 0-81487-146-8
The Suzuki name, logo and wheel device are trademarks of Dr. Shinichi Suzuki used under exclusive license by Summv-Birchard" Inc.
Anyduplication, adaptation or arrangement of thecompositions containedin this collectionrequiresthe writtenconsentof the Publisher. No part of this book may be photocopiedor reproducedin any way withoutpermission. Unauthorizeduses are an infringementof the U. S. CopyrightAct and are punishableby Law
] - 3 .
INTRODUCTION FOR THE STUDENT: This material is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with thesepublications.In addition, there are piano accompaniment books that go along with this material. FOR THE TEACHER.' In order to be an effective Suzuki teacher, a great deal of ongoing education is required. Your national Suzuki associationprovides this for its hip. Teachers are encouraged to become of their national Suzuki associationsand maintain a teacher training scheduleoin order to remain current, via institutes, short and long term programs. You are also encouraged to the International Suzuki Association. FOR THE PARENT: Credentials are essentialfor any teacher that you choose. We recommend you ask your teacher for his or her credentials, especiallylisting those relating to training in the Suzuki Method. The Suzuki Method experience should be a positive one, where there exists a wonderful, fostering relationship between child, parent and teacher. So choosing the right teacher is of the utmost importance. In order to obtain more information about the Suzuki Metho4 please your country's Suzuki Association,the InternationalSuzukiAssociationat 3-10-15 Fukashi, Matsumoto City 390, JWan,The Suzuki Associationof the Americas, 1900 Folsom #101, Boulder Colorado80302or Summy-BirchardInc., c/o WarnerBros. PublicationsInc.. 15800N.W. 48th Avenue,Miami, Florida 33014.
Licensedby WarnerBros. PublicationsInc. our catalogue
on line -..+--=;
r;=ii-i
"te-r}&' www.carisch.com
- Milono Thisolbum@2OO2 s.r.l, by NUOVACARISCH All rightsreserued.No part of this book may be photocopiedor reproduced in any way withoutpermission.Unauthorizeduses are punishableby law.
C(NTDITTS S t u d y P o i n ft o s r V o l u m 2e . . o o . . . o o . . . . . . . o . . . o . . . . . o . . . o . . . . . . . . . 4 ttJudas lVlaccabaeust',G. E Hgndel . . . . . . . . o . o. . . . . ......7 EfflJ Chorus from lA
M u s e t t e o J .S . B a c h o o . . r . . . .
o.....
oo.....
o. oo. oooooor....
r. ......7
t h o r u s , CM . . v o n W e b g r. . o o o . . . . . . , l o o . o . . . . . . . . . . . . . . . . 8 f _ l _ lH u n t e r s C 1A
l r o n g ,I n n g A g o o T . H . B a y l y ' . . o o . . o o . . . . . . . . .
f.!!
Walt4J. Brahms .. o.o.......
l-{l
B o u n d e r G .E H a n d e l . ooo . . oo . . . . . . .
i...
ooooooo . o . o . r . . . . . 9
r r . ooo . . . . oo . . . o . . . ooo . oo . . . . . . oo . . . . . oo . . . . . . . . . . . . . . .
o..10 o...ll
s ,. S c h u m a n n . . o . . . . . . . . . . . . . . . . . . . . . ooo . . . . 1 2 fZJ Thefiro GrenadierR 5 6 W i t c h e s t l ) a n c e t ' rP Na. g a n i n i . . . . . . . o o . . . o . . . . o . . . . . . 1 3 LqJ Themefrom t 2 J G a v o t t ef 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 t
D
f
--lr--
Eq
G a v o t t eJ,. B . L u l l y . . . o . . o r o . o . . . . o . o o o o . . o . . . . r . o . o o . . o . . . . . ' . . 1 6
LU
M i n u e t i n G L . v g n B g e t h o v g no f . o . . . . o o o . o . . . . o . . . . . . . .
tr
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
?........lE
Study Points for Volume 2 fr 2 *o+tla;-*:ii' Studium Hinweise fiir Bund 2
Points d' Etude pour le Volume2
I . f-t'6t:.
Puntos de Estudio para el Vol. 2
v a - f' tlltlr'rf b : t fiJ'-e -ti 6 " + ntrlb'lB+t: J
T t 6 r:tt&g
t: J'r < *'*6!lgt..t t) tt + ,'i[{6 t t lt h't " 2 . | + t t{ 1 ' z a > . 1 t t ) * L r ' # a t ? , ! } t t . ,p*Et:
r j r . A .h . t i h t l i r t
3. 4lfiatLt.t: J o (.
rtgt'>tttl.ll tL(tri b ti r\o
[Lr.*f?.
r].Lr'*t].
fi
L u ., ] a > l + 1 6 t , 1 * b t L A "
1. The child should listen to the reference recordings every day at home to develop musical sensitivity. Rapid progress depends on this listening. 2.Tonalization, or the production of a beautiful tone, should be stressed in the lesson and at home. 3. Constant attention should be given to accurate intonation, correct posture, and the proper bow hold.
1. Das Kind sollte jeden Tag dic d.iesbeziigliche Schallplutten-Aufnahme daheim anhdren, um seine musikulische EmpJindsumkeit zu entwickeln Rascher Fortschritt hiingt von diesem Zuhdren ab. 2. Tbnftihrung oder das Heworbringen eines schdnen Tbnes sollte im Unterricht und daheim besonders betont werden. 3. Stiin dige Aufm erksamkeit sollte der genaa en Intonierang, korrekter Haltung und richtiger Bogenftihrung gezollt werden.
1. L'enfont devrait 1couter le disque de rifdrence chaquejour d Ia maison, afin de d,ivelopper une sensibtlitd musicqle. Des progrds rapides ddpendent de cette audition. 2. La tonalisation, ou la production de beaux tons, devrait €tre travaillde pendant la legon et d la maison. 3. Une attention constante devrait €tre donnbe afin d'obtenir une intonation exacte, une posture correcte et une bonne tenue de I'archet.
1. El niffo debe escucharlos discos de referenciacada dia en su casapara desarrollar sensibilidad musical. El progreso r6pido dependede esta audici6n. 2. Sonidizaci6n, o producci6n de un tono hermoso debe ser enfatizadaen la lecci6n y en casa. 3. Una atenci6n constantedebe ser prestadaa una afinaci6n exacta, postura correcta y la forma debida de sujetar el arco.
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(This exercisein G minor should be taught in the same time the child is studying the Bourr6e of Hiindel.)
(Diese Ubung in G-Moll sollte sur gleichen Zeit gelehrt werden, wenn dus Kind Bourrde von Hiindel studiert.)
(Cet exercice en sol mineur devrqit €tre enseignt au moment oi l'enfant Atudiela Bourrde de Hcindel.)
(Este ejercicio en sol menor debe ser enseflado al mismo tiempo que el nifro est6 estudiando la Chamarascade Hiindel)
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6 *i i?. This is the first time the lowered first finger is used. When this finger is placed on the stringo the third finger has the tendency to pull back out of proper placement, toward the first finger. To avoid this, try playing the following exercise silently. Keep the third finger in place as the first finger moves back from Bi to Bb. C'est la premidre fois que le premier doigt reculd est utilis6. Quand ce doigt descend sur la corde, le troisiime doigt a une tendance de reculer aussi de sa position correcte, vers le premier doigt. Pour |viter ceci, essayer de jour I'exercice suivante en silence. Gqrder le troisiime doigt en place pendant que le premier doigt recule de si\d sib.
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Dies ist dus erste Mal, duss der gesenkte erste Finger benutzt wird, Wenn dieser Finger an die Suite gesetzt wird, so hat der dritte Finger die Tendeng, von seiner korrekten Lage und nuch dem ersten Finger zurilckzuziehen. [Im dies zu vermeiden, versuche, die folgende tibung luutlos 7,uspielen. Halte den dritten Finger un seiner Stelle, wiihrend der erste Finger sich vun H nach B zuriickbewegL Esta es primera vez que se usa el primer dedo bemolado' Cuando este dedo est6 colocado en la cuerda, el tercer dedo tiene tendencia de quitarse de la posici6n correcta, por moverse hacia el primer dedo. Para evitar 6ste trate de ejecutar el ejercicio siguiente en silencio. Mantenga el tercer dedo en su lugar mientras el primer dedo retorna de si ! a si b.
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Bitte darun denken, dass das Kindjeden die Schallplatten unhiiren soll.
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Surtout ne pqs oublier que l'enfant doit icouter les disques tous les jours.
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Por favor recuerde que el niflo debe escuchar los discos cada dia.
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G . D . A a l ' * l , l t t t . 2 r l ! j t ,L + o U L , r St J ( l l t l r , , ( ) ' c ' i | rtt??-'7tu(l*tl" Exercise for perfect octave intonation. Listen to the resonance of the open G, D, and A strings, and try to match the octave pitches perfectly.
Ubu ng fiir die voII en dete Oktaven-Intonierung, Dem Klange der offinen G, D, undA Saiten Iauschen; die Oktaven-Hdhen genuu zu treffen versuchen.
S'exercer ii obtenir une intonation d'octave parfaite. Ecouter lq rtsonqnce des cordes libres du sol, rim rb et du la, et essayer d'accorder parfaitement les diapasons d'octaves.
Ejercicio parala perfecta afinaci6n de octava. Escuchela resonanciade las cuerdasal aire de sol, re, y trate de acertar los dipasones de octava perfectamente.
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This exercise should be practiced daily untit it is mastered. The teacher should hear this at the beginning of each lesson.
Diese Ubung sollte ttiglich gespielt werden, bis sie viillig behewscht wird. Der Lehrer sollte dies bei Beginn jeder Stunde anhiiren.
Cet exercice devrait €tre |ffectue tous les jours jusqu'ii ce qu'il soit parfaitement maitris2. Le professeur devrait I'entendre au commencementde chaaue lecon.
Este ejercicio se debe practicar diariamente hasta que se domine. El maestro debe escuchar esto al comienzo de cada lecci6n.
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SUZTJKI METHOD INIERNAIIONAL
NUOVACARISCHs.r.l. VIA CAMPANIA,12 - Zona IndustrialeSesto Ulteriano 20098s. GruLrANoMILANESE(Ml) UFF.CLIENTI-fel.02-98.221.212 www.carisch.com
tsBN 88-507-0235-3
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Licensed by INC. SUMMY-BIRCHARD DlStributedby WARNER BROS, PUBLICATIONS 15800N.W.48thAvenue. Miami,Florida33014 A Warner MusicGroup Company
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