Suzuki‘ Violin School VIOLIN PART VOLUME 9 Suzuki Method InternationalINTRODUCTION FOR THE STUDENT: This material is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with these publications. In addi- tion, 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 association provides this for its membership. Teachers are ‘encouraged to become members of their national Suzuki associations and maintain a teacher training schedule, in order to remain ‘current, via institutes, short and long term programs. You are also encouraged to join the International Suzuki Association. FOR THE PARENT: Credentials are essential for any teacher that you choose. ‘We recommend you ask your teacher for his or her credentials, especially listing 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. Tn order to obtain more information about the Suzuki Method, please contact your country's Suzuki Association, the Intemational Suzuki Association at 3-10-15 Fukashi, Matsumoto City 390, Japan, The Suzuki Association of the Americas, 1900 Folsom #101, Boulder, Colorado 80302 or Summy-Birchard Inc., clo Warner Bros. Publications, 15800 N.W. 48th Avenue, Miami, Florida 33014, for current Associations” addresses.uzuki‘ Violin School VIOLIN PART VOLUME 9 CONTENTS Concerto in A Major, WA. Mozart. Allegro aperto 2 Adagio ... 8 Rondo. . i ‘Copyright © 1955, 1975 Dr. Shinichi Suzuki Sole publisher for the entire world excepe Japan Surnmy-Birchard Ine exclusively distributed by Warner Bros. Publicaties, 15800 N.W 48th Avenue, Miami, Florida 33014 All rights reserved Printed in US.A. ISBN 0.87487.225-1 The Suzuki mam Jogo and wheet device are trademarks of Dr, Shinichi Suzuki usedt under exclusive license by Summy-Birchard, IneConcerto in A Major tytalh 42H Wolfgang Amadeus Mozart Joachim - Suzuki Allegro aperto (J. 132-144) Tutti SstAdagio {Jd 39-100) 40 Solo 11 t pee (com express. Allegro aperto 6. ~~ +: == ree r TF) , 2 1 itt tte ts, i i (Pima espress.) aie atectieeetet SS es brillante) Tutsi ——CPESC. Prillante t Tutti ieaS eines Pb a a fF ffasetes Up ak PAPA tye]80) 2 Adagio ( (soavamente) —— (espress)a nit bee ate ee ee tet Se =0Rondo Tempo di Minuetto (J - 112-126) Solo fy (amatile) = oo Vee raz.) . ~ ae aoe me Cadenza di Joseph Joachim. 3. pe malt. rit = pilenpo aHl atempoAllegro (J133—160), TY Tutti AS“ (P —+. —=s cat 5 tats 109 bale229 SoloThe First Movement u 5 — RRL Allegro aperto Point of Practice Many pupils, when they have learned to play, are apt to become self-satisfied and give up further practice. But if they ever want to cultivate superior ability, they stil need 10 continue their daily practice, always tying to improve theit performance,even if they already can play ‘comectly: One should never forget that one's ability will be fostered in proportion to the amount of one's diligent and steady practice, Fundamental Exercise & #8 ied ids z= FRONT MISE IEREE, BCOARELL TAM EROTLEOM ETT, AMEN ENE ALE BONY MUDEFIETHSL, SHEEN E CRE DEW URY KL CBO TT, MOMENT LE, ERTL REM IL tome oT CLOLOTH, 13 a lette Practise each exercise over and over, and do not proceed to the next section before you are sure of playing this ‘one well. Each succeeding repetition should be practised in this way, Note: play slowly and accurately. @in zt FORGED FEMME C 2M NEL, APMED STO CN ELT CFB WEAR oon ORC tO, MeN. HB oo CUS, EL MH Se 4a 2a In this placing of fingers, the descending movement of the fourth finger (44) is likely to become unsteady if it is done by moving the fourth finger independently. In ‘order to give i stability, leamn to change position with the first finger following together with the fourth az 222 wi: : ey 7 Tt} Note: Where the indication tr. is given, first practise without the ornament, and then practise as designated. SOWL HE, BAA CREE mRE CT. & PRAELOMEW KEE THe a TOME AM LRM OOO Er, domes eS DESL TAA mL, Tleamsecr et es ‘When you have placed the fourth finger, raise the second finger’ to form the shape 1-4, and continue to descend ‘with this shape unchanged, sar Hee PU AOS OU et, ET ke 2 om ea < eomese BeMb ines sek aeNote: Make sure that the two fingers are prepared in place before you start to play the trill. 2 waey fo Re — For detailed explanation, the position of the right hand to ply EE should be slightly raised toward the position of double stopping on the E and the A strings. ‘Then change strings by slightly raising the right hand fingers (which hold the bow) when the third finger is moved to the A string, The wrist should not be raised. Veet? : Ae 2: 7A) () “G@ Preparation of the First Finger ‘The following instruction for practice will serve further to improve you in executing downward changes of position, While the second finger in third position is playing thi passage, keep the first finger attached to the second finger, and the moment you place the fourth finger, lift the second finger alone, leaving the first finger where itis. In other words, the movement which starts with the fourth Finger should proceed downward led by the first finger, thus changing to the first position through shift- ing from the first to the second finger. If the second finger of the third position were given the initiative in such change of position, (that is, the fourth, the third tand the second fingers were placed separately one after another centering around the second finger). the pitches would easily become faulty because you will then have to place the first finger anew, which in turn must be immediately shifted to the second finger of the first position. ‘This should always be kept in misid as itis applicable to many cases appearing later. Ok SLO E mem LAMA THC SE To play this figure, the first finger should be placed beforehand. et a ee ee SMe MILs cLOM OMA TASS bh Ga Chee Before actually playing the trill, go through the exercise for rapid placing of the third finger. This Figure can be executed miost effectively if the first finger is placed in advance, HOT Powe: 2 Ome Fete we oe oS 7 DOTA TOME MAE S MMOL In playing this figure, you again need to place the first and second fingers together and rapidly get the thied finger prepared for the til o pore £39 4 Ge: PMON I Elbe MABEL AME DONMS, Adhm Dit, DECOM LE TH. Train the left hand for changing strings from E to A. ‘Also practise change of strings from A to D, and from D0. corcamrass, £ oeree nomen ABO MR EM CMG HIT, BONA Bel MMM (UE GON) Mb te had MELERL 2 THLETS, Phas mide thee, MELFESNLEA OOM Es CUE MEETS. In the same way practice changing strings carefully on each pair of strings. LOO WEG . ts HEE a MOBO OK, MONEE BAM TRAS LEG. MOET, WOR ES PO ROREMO Te ERO LOH CHE TH A, AMEE E bMS Lott EIN TL OM EMT. Phd a OMe, LO ERAEL TRL TS Loe SQ (Fr Abs Ree sy) ABTMMETS, oR hee ay CROMEWHE LTH 3 2EM LORE BEI A GUNES OT. BEF CERRITO AL EE se ENZO B TeCstoen, PRE ESOS TT APRN a A GM IMEEM ES 8 THMO. SC LM MET TO Move the second finger quickly to get it prepared in advance, While playing the second finger, be sure to attach the 2HMEML TUS Mic Lowe MME TS, first finger to it AOMEKMC HL SMM, sono zomemL® 234 ENO OME CAS, Mame ES AMES MMESLCOUEL THC. Place the fourth finger accurately. ‘When you place the second finger to play this note, also put the fourth finger down by way of trial just to avoid forming the bad habit of letting it play sharp. ffe feetPoint of Practice FROG the= ‘ a stench sit 123 2 4 4 mew. OMM, Point of Practice Exercise of Changing Strings, ‘Which Corresponds with [B ‘Do not strain the right wrist. Ths is especially important for those who are liable to pull back their elbow. You must not allow the bow fo bounce and must play legato. In practising change of strings, it is essential to play slowly and repeatedly. Practise accurate fingering for the fifth. FROG Br Essie gee BIW we CBee ETEL, bE CceME bas LENUSMMOALE MTSE. SeBea tee BTL H- hCMRET. £ CB OMB, wo CORUM LEI cba eT,(é] Point of Practice = “FOAL theo Na A 3 3 tet a. 2 fhe 3 £ fe] uwarase Lame rt Teme Ti tm, Sizes. eee =; i 2 Shift the first ager Attach the second finger to the third Keep the first finger down, without raising it, Finger, keeping the first finger placed ‘on the string. Y v eS 3 i 232734 2 tfte # fi, £Ppee et, oo Scaeata eee teaests = —--—_f-] 3 Attach the second finger ‘Attach the second finger 7 to the thied finger vo the first finge. [a] gS Point of Practice PROG Practise the whole passage every day, repeating the AO SMME MIDE CE CHL OOS, ea fundamental figures until you can play them with con- fidence Lees ‘ sie xeovtem i 413 (Put the bow firmly on the A string before proceeding to the next notes.) We RETO KE32e 908 2 Join the second finger to the third finger. Prepare the first finger beforehand, int Lone RM By eee While playing the open E string, put the first Finger at ; . WHEEL Co, EnvoeinMenemmees its proper place-on itn advance ne total te | my belised sccuniaty, Sea = / ‘Always try to obtain exact pitches, aiming at sill more EARAMIW EM -eos SIMs Le AMLIS AE L ¢ te improved and refined performance. L, TEOMMaEMEM AE REESE. KOHL HEMT S. ——: Practice should always be done thoughtfully and with — MMLLE WU MELA ik@ & the greatest possible care, Mo bitte pee rtuesPoint of Practice FRO Practise each fundamental exercise twenty times every EAE 2) MAMIE Ha 0b ¢ ARYL CS day, and as you get skilful, gradually increase the speed. wawe-t gc Leni CAIRO FBS i 2 fren cert eF! This is how 1 usually study a piece of music myself, (LOUPHT SE SIZE AME DISKO TOE ty Me Daily repetition will make it seem easier and easier, ind 1 yg yg < ere te that means genuine ability is being developed. If you . " continue to practise every day even after you haveleam- CC FEC, aw khetonaMer. Ae ed to play fairly well, you will certainly gain substantial = (HATS TAT USA IEI RVI L Coe SIME, AED proficiency, which then will grow to be superior capa- pe yy acghey sth, MUI (Hs Hee LM TES, bility applicable to any piece of music. ele mnt bESHPoint of Practice While Joachim gave the above fingering to this passage, LOOM ATE AML THEM. KORBIEL the second position, as shown below, was indicated By gee pn 7a—iteny Fee z ea > eri Karl Klingler my old teaches. The merit of the latter might a ay cae e be that there is no positional unsteadiness in the firstand mii SAMO, BAO Z the second beats of the third measure. 23 OREN E ODE RE THAI. RONG pie 7a —onittles (Klingler’s fingering) 3 1 etete? af #1 pi Play the second measure J? , and study how to make = DAMN DALMIM TEP CUMIN ETT GS SEP obvious the contrast between f and P ORY LERED 6 BMMETES 7 Play accurately in pitch. nace ttieke Play slowly at first with accurate intonation, and then gradually increase speed pa SUMO MECAN Cae, LOINPoint of Practice = “F#t {1 Jj Fundamental Exercise ® 5081 1 ie ei See gfe ot et = Trees (Tp ttteeesr m he 6 1 AERIS Slowly and accurately SoM ENS SS eet 8 Practise: these intervals with accu- rate intonation To secure correct pitch, place the first finger accurately YRELIEL <2 Atsmi 1 nthe eI e 4B 21E and then play the fourth, the third, the second and the first fingers in this order. werd1———> p i Play slowly and accurately, making contrast between i> WAEHEISUS, f & POROMMEN 4. and P fal oo = dip. =e esee orese. Tomeme Do not raise the first finger In order to obtain the exact pitch, the fourth finger AREAL C2 Brome should be played while the first finger iskeptonthestring. 4g me icine ¢ 6 Learn to place the fourth finger almost in advance. V womer Exercise for changing strings4 a2 ot; 2 j a 4 2iiomecys, g—e—F Keep the first finger close — Count exactly, and play the slur with moderate bow, Here CEO, to the second finger. — 2 wo CO OM, Play slowly with accurate piteh, Zcmsswemmctese, ‘The pitches of } should be accurate TS erm, ‘Try to produce refined tone, CHC EANERME Lo CA o third fingers rapidly before playing the trill 2 2 13 FY NOWAMM—b eMC R22 BOE Fundamental Trill Exercise: Place the second and the c a ba dieses Exact Intervals = —dolce {ew to place fingers at the correct interval, and play = eae 29— ML C3 COMML, the BREN slowly at first without slurring. After you have learned to ee play the slur, there shouldn't be the least unevenness, Vee FEA MD o Tidins tA. 2 wt, ob. OFS vane Jargamente weenie TH Exercise fo Correct Interval 1, 2 fhe 218, 3 Keep the frst and second fingers close together. tee fi e/ P 3 40 crest. € stringendo ot Sea 7? aeE ate 2: Lom ems Do not lift ——____——— 1 1 - the first finger. gora- row Practise the gf chord. SVEPA THOS UOKrM 4 Hom Ss eT. Em,ell = 4,3, 20meDItE = The fourth, the third and the second fingers are close together. 1 KOWATEL oameaey @ Se = Make sure that the tone Lm esy marked with * is accurate" "g amma. 4e> cre re Keep the third finger close 10 the second finger, and the fourth finger close to the third finger for an accurate interval. rit. lungo Practise the fundamental exercises every day, especially MMHG IME HOH ARI ILL, ECA Ga LN EMT concentrating on such passages as you find difficult. 4, -,emaenctios. MMM ROME eet First try to play accurately even in the slowest tempo > CN TEAITOR, Leet wR according to your own ability at the moment, and then gradually accelerate till you get to the required speed. Pit, GMCS S TELS30 The Second Movement Adagio BIRR TH-2a n 4_—_ a Point of Practice “FM Ott 5 4 A — 3 23 “Ee 2...8 fey. T cP = 2, 30% hi — Prepare the second — land the third fingers oe i_—_. a_3 Ne 7 me SSeS espress, _ Point of Practice PRO Vas I— 3 3 ITELOH EN CT, 3—3.0189 ERLCIEIS ICME TSS ‘This is Soachim's fingering. Try to ma the 3.3 shift sing beautifully. mm gt toc omecusmm 3 —~ Qomnmnesi) Keep the first finger close tos the second finger (Place the second finger in advance.)2 Oe Samic outs, Keep the second finger close to the third finger Before playing D# make sure that the E’s on the E string and the A string are a perfect unison.Point of Practice seitiae AMERL (ES. BOM Hthe se. Play with accurate pitch. Keep the first finger close to the second finger. ik ae ud) the FIO ¥. 5p & ted | = —= 2am: OME WS. Keep the first finger close to the second Finger. BOMEMA CLS LOE M2 EMME H2 When you place the third finger, be sure to keep r 24 ple first finger down, r LOWES TEATS + SORHOEL 21h ee Learn to obtain accurate pitches in chanj ‘F— position with the first finger down. —Point of Practice “F#te4t 45 Fundamental Exercise £88™ Cadenza RFU Point of Practice FMD Oe Roi eH lay interval accurately Ado LomeM ers a DEM ote ERE Ms SM, ‘Place the fourth finger on the D string accurately,keeping the first finger om the A string. Q 1 2 2 4 38 - ie CNM RE ES. . =| 3 Lecce at — First play slowly in correct pitch. Play 5 ‘over again gradually increasing speed, 3 & s be Q a8 “i = 3 Ae v3 Son: DHA OIE IER. 3. domes oie mE Te Keep the fourth finger on the D F fe sure to place the third and the = string close to the third finger, = — fourth fingers accurately Vv #48 2 2 inca BHO Bayne Bote oes. a aes Keep the third finger close ihe sure 10 make the pitches to the second finger. the 3 fingering accurate 3 3 1 oe Sd 1, 3s GRAS, 2, Ate Lae, Simultaneous halfstep progression with both the first Whole-step ascending fingering by the second and the and the third fingers fourth fingers BAMAULE AY TON THEE, Be careful not to let the third Finger play fat leMake sure that the E tone on the A string and that of the open E string are exactly in the same pitch. Keep the second finger close to the first finger, and the fourth finger to the third finger. Keep the 3 fingers close to the } fingers for correct intervals, Practise without raising the first and the third fingers, espress. > tf 4 ays oe % 4 mia . AGMED RHEE WE TH SEI MES, LOWE BORE, IOI AOME SMe, 10 Vv 3 gz 2 12 (Acie ttt yk 1 3 Jomefomeon, meni cea, 1e30m emanas cries o< MEL CML OW CSE. Try to play the double stops f accurately and beautifully. The above fingering is Joachim’s indication. Also practise the alternative fingering given below. It will serve as a ood exercise for playing without letting the fingers slide. finger on the D string. BOMEDD LORE 18, Keep the third finger close to the first TALE OT LOTR OF, EN OMB 6 1 er MIO ERLE TM CMT, CO HUMINT SE TK, MET ORE EE MMO TH, S22 0 2 1 2 Keep the three fingers close together, with the first and the second fingers down, Phy the Ffnote on the D string accurately with the ‘third finger BAMHE DHS, 1, 2ome MA res. Dekeo Botte: £7 Bo fe IEEEMETAL BL C EMH bin ces AAEM, me Be careful to make each interval exact. ns ine — pip ee AS Practice this exercise with accurate time and pitch. Play SOMATA. HH PEGE Lc, ete ema Me Lt slowly at first according to your ability, and gradually ages ya5y0pe-tn12 deaescoos, = dd speed. Unreasonable acceleration will eause uneven- 1 speed. Unreasonable acedlertion wil LAMM, RMETE ER r,Fundamental Exercise ©4208 ve £ tf HBO RIEL OF Cabos CMR, For exercise, divide the legato slur into pairs of notes and play each small slur with interrupted bow. Practise very carefully, counting the four beats strictly, = fa Fe A IEL < until you can play the double-note trill perfectly. STM P YA MCRL ETT METS WML TBARS TOS Diligent daily practice will surely enable you to play a itwel. jeeuet tr r MPEADED SACLE Tb dO, Practise these tills, counting four beats accurately.2 The Third Movement Rondo SRE pyr 3 2 Point of Practice MOM Fundamental Exercise &*a 8 as a3 en 243 24 25 Bivrecorereinssisemrat Do not lift the first finger. Move the first finger LOWWEM SEO. WSRZ La >AM Lome accurately to the fifth position. aneunrs. a = —d BRIeEntekes(hagediee | Doss sous oaeeeeeemmees = --- Note: Be careful not to et the last note sound too loud. N “4 Vv y ‘ { y ye ry 2— > fom, CS Point of Practice PMO Fundamental Exercise eH pH 1 2 24 2 oni: 1 7ITS. ono Keep the first finger close Use the lower third of the bow. to the second finger.Eee ae ee eye ar eer gi, 2 36 conmELMane SEE — arns. Fix the second position exactly, —-————— Make sure that the pitch fs correct. Point of Practice Direct your attention to grazioso performance in prac- ising this passage, and aim at beautiful expression Consider for yourself whether the figure =f should be played like —— —— or otherwise, after actually listening to various excellent performances, ‘The above fingering is Klingler's indication, and the fol owing 4s Joachim’s. Either fingering will result in fine ‘bowing, depending on how it is executed. FROG grazioso (3/2) £PMOBMEL, RL me mre. eo ot sicmc mn MPSA DEON THE, Oe VS RHEE, COA TAT C Ha ELAMMUIt, 27 79-ORLE LOT, FERLAORSTEAMUOTH, MERE TE FOUTAE EVM ThE EMI. SOPRG eM Ce PY ER oOMe TART SMM, gracioso C84 GH E915 Start playing in the middle of the bow, and try toexecute the omament swith a swift motion. Keep in mind the indication grazioso,fp 19 es = Soe é P tusingando — Point of Practice FRO While this passage is not necessarily as difficult to play as it looks, there are very few pupils who play it beautifully and perfectly. The most important point in practice is to have sufficient drill on such passages if you are to attain the finest possible performance. Listen carefully 10 virtuosos" performances and try to realize how they achieve their exquisite niceties. However hard you may practice every day, it would bbe impossible to become skilful in a month or so. This passage will provide a great deal of study material. Fundamental Exercise ##0@ Ree NCM( KeENL OTe Lec’ ca We, LL ESR L CSCI Ala Hi tbe BF ROBBIE L, WORE RIEL THOT SPOAMCINETS SO, RELMBERELT EMT CHIR SMA DITA Y REA, = PREREL PHO RCA ROE NAM TH SEI The bowing indication at lusingando (p) is what Joachim designated. Try it, We should always appreciate and carefully study what has been recommended by Joachim, a great musician of profound and varied attainments, DRMOK LAOMLEB TH. MAT CHEE Boe Ch RVMRE SL LITE LORTE BOLDER CRDOMRT NETH. lusingando (p)4 Point of Practice = “FM#O{t Fundamental Exercise = 2509 Cakowm Seale on the G string 24 a4 1 e048 as tere SS al Point of Practice FRO Pitches are likely to become inaccurate at the shift, for Ft yer mbenr ks tyra noth example, from the third position to the second, Strict Ce, PROREM EEO BEDS THES, IE training is required to obtain exact pitches. $s CEN ESERARE CE Fundamental Exercise 25a ® 1 4 eo < » es 3213 2 1 1 2 2LLOMEDS. Keep the second and first fingers close together. Point of Practice PROGPoint of Practice Mots Pierre Rode's Chromatic Fingering. ex—v-o—F (Pierre Rode) 2 Chromatic Fin: Pierre Rode, noted for his violin concertos, was born in 1744 at Bordeaux, France and died in 1830 near ss eee yo yne : Damazan, He was a pupil of Viotti and was a professor at 15 7 eee ee SAE the Paris Conservatoire. The excellent chromatic fingering MSM TOS. Mid Viotti OB FCI TD > Ara he developed has now come to be accepted by many AF —CHEH, <) WRI 9, WOH ~ propia: Pe CLERC B, MARR L IT CH tM Ott, MES COA MEMS LING T Basically it is made up as follows: ans (Ascending) 123 2340 ere ass eee (Descending)0432 3210 EMAL LEL OCHS. Fie 0432 3210 as 2 34s 34h ° O1egS 2340 oO 128,23 4 SEAL CRIME 2 Sb Practise until you can be sure of obtaining correct pitches. 4 ‘The chromatic fingering is characterized by the clarity FPR FRHeia, fe Poste Ses MOT AG SMBAHOUTH LOE ASS, ECOMMES St AHO MMMLE ITS, WLEI TOL TELE 1h. FOMMEM SE SAH, 2 Cin feren, Fi WOT ASEM SEMIN D, WU TOMMY ML ML, MULES CPE OI f ba Point of Practice east z oF f tie & » 1 #3 ope T 1 AAs usual in the old notation, the first note of this figure, which is mot a note of the chord, is written like this: 2 Seg he tut ic reatized tke this Eee Since Mozart himself did not clearly differentiate this point in his notation, later performers seem to have interpreted this notation according to their idea of how it might have been executed in Mozart's days. Joachim, 00, indicated two alternatives; SEP caomasce, cadnabugan Oe Hts oMmMcI St, =z Ede a ah ENT AM NEO ME Sy RIMMEL CHL. CAN Bho Rene, Nas ARE Zo eos, ACPA ame BAR THSSOMEMRLT, CALS L Hes THBHTHOV HERA LET, area oom ste sen tHe. pt the ‘The notation chosen here is what has been widely adopted among performers, TY 6 ROM TOS HELEPoint of Practice PMT LI TMPONEL EOL, ZL Soe MMe benim eB Fix the posture of the left hand, and move the second and the third fingers rapidly in preparation for playing the tril dena 2 0G Play slowly at first. 4 af 2 ropes £Point of Practice PMOL SEEM + 3 aK Play intervals accurately. a2 g 12.3 3 1 2 2 <2 22 BV a) #\F8) 2 eeiette eee =k felesee SS SHS © ora LR Be POM AC CE Do not proceed to practising the cadenza before you MM LAOH have enough drill in these figures. Shs RINE FL CML, Furst practise without playing the wills, then add them ys ‘when you have gained sufficient skill. aadTyee 0 a hktin & Start bowing in the upper part of the bow. Point of Practice PMO 4 aime Wire i, Shift accurately to the fifth position giving care ‘especially to the fourth and second fingers. WL, MS Hor 2A OMe 4s 2otow, § cis 3 othe atk. Try to make the fourth and second fingers skilled, and train the third finger properly. dim. rit. a Point of EMO Fundamental Exercise \ 4 v 2 ae see sa ? a4 3 9 2 Fs iS aetfeee set Fete % i — Concenteate on gaining accurate pitches. Ay eases,Tain the first and third fingers for correct pitches, and each finger for accurate shift ll Counting accu can repeat ” ORNL ours oe Bay ely. practise this figure until you it Mivently In playing =EZEP pitches often become nase rate and the rhythm easily becomes uneven. Since the reason is insufficient practice on the D string. pupils ‘need {0 do these exercises repeatedly every day. ” FRR OOS nth), aera rs NF CH FO cu, DET Dik LORMAN OL Th BOTHnT 9°780874"B72255' SUZUKI METHOD INTERNATIONAL ISBN 0-87487-225-1 ! Ni) | : 1225 0082915612975 5 ®