Suzuki‘Violin School VIOLIN PART VOLUME | = Ls Copyright © 1978 Dr. Shinichi Suzuki Sole publisher for the entire ward excepe Japan: ‘Summy-Birchard Ine. exclusively distributed by ‘Wamer Bros. Publications foe. 15800 N.W. 48th Avenue Miami, Florida 33014 ‘All rights reserved Printed in US.A ISBN 0-87487-1441 21 20 under exclusive license by Summy-Birchard, Ine. Any duplication, adaptation or arrangement of the compositions ‘contained in thie collection requires the written consent of the Publisher. No part ofthis book may be photocopied of reproduced in any way without permission ‘Unwuthorized uses are an infringement ofthe US. Copyrights Act and are punishable by Law.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. In order to obtain more information about the Suzuki Method, please contact your country’s Suzuki Association, the International 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., cfo Warner Bros. Publications Inc,. 15800 N.W, 48th Avenue, Miami, Florida 33014.Suzuki violin method Principles of Study and Guidance Four Essential Points for Teachers and Parents 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 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. 4, Parents and teachers should strive to motivate the Child so he will enjoy practicing correctly at home. ‘Through the experience I have gained in teaching young children for over thirty years, I am thoroughly convinced that musical ability can be fully cultivated in every child if the above four points are faithfully observed. Musical ability isnot an inborn talent butan ability that ‘can be developed. Any child who is properly trained can develop musical ability just as all children develop the ability to speak their mother tongue. For the happiness of children, T hope these four essential points will be ‘carefully observed and put to continual use in the home and studio. Guidance for music reading wil begin in Vol. 4, Just as the alphabet is not taught when children first earn their ‘mother language, so music reading should not be included in violin study until children have sufficiently developed their musical sensitivity, playing skill, and ‘memory. In the Suzuki Violin School this should occur by theend of Vol. 3. Even after acquiring the ability to read music, however, the children should, as a rule, play from memory during lessons. Education for musical sensitivity Every day, children should listen to the recordings of the music they are currently studying. This listening hhelps them make rapid progress. It is the most important factor in the development of musical ability. ‘Those children who have not had enough listening will nek musical sensitivity, ‘Tonalization for beautiful tone Just as vocalization is studied in vocal music, so I have introduced tonalization into violin study as a new method of education. It has proved to be most effective, Tonalization should always be included at each lesson and should be a part of the daily practice at home. Group lessons ‘The adoption of anew kind of group lesson in which ‘more advanced and younger students play together is extremely effective. The sodents progress remarkably while enjoying the lessons. I recommend that grow lessons be held once a week or atleast twice a month, Private lessons to develop ability A child should not proceed te a new piece simply because he has learned the fingering and bowing of the Present one. His ability must be cultivated further ns he plays his piece. I would say to the child, “Now that you know the notes, we ean start very important work to develop your ability,” and then I would proceed to improve his tone, movements, and musieal sensitivity. ‘The following point is also important. When the child ‘can perform piece A satisfactorily and is given a new piece, B, he should not drop A but should practice both A and B at the sume time. Continuously reviewing pleces that he knows as new pieces are added will develop his ability to a higher degree. Mothers and children should always observe the private lessons of other children, Lessons should vary in length according to the needs of the child. Sometimes » child may have a short lesson, stop and watch another child, and then return for more instruction. Shinichi SuzukdPosture: ‘Haltung: ‘The none, Die Nave, ‘alates die ce RH the elbow, er pas * the le fot, der inke Fuse, | ina in einer = straight ‘geraden | line nie we Posture: Postura: — me ten i} | des cordes, as cucrdas, | mine ome em de ried gauche, pie iaguieno, | Fig. 1 dans une en una ligne droite linea recta Fg? BOT eG RREUM OME MMH we. Beginner's bow hold. Thumb below frog. enue de Varchet pour les debusants. Le pouce sous Ie talon Bogeahatung des Anjtagers. Den Daurven unterhelb den Frosche DManers de usar arc pars pincpirte Fl pug) Marra part peiniplarte, Fl piace BhAHicM RAIA a ES EHO. The thumb andthe bow make an oiique ag Le powce ot Cachet fren angle oblique. Der Daamen und der Bogen formen einen shadow Winkel. a ah El pulgary el srco forman un ingalo obicue,Fe 4 Heb ore ame URNS 2 Een CRANE Ra “The thumb and the mide ger fore a circle when “The basic postare isthe E-String posure. heiaing the bow. Lapesturede base esta postin sur la corde demi, Le pouce ote majeur forment un cerclequard lamain Die Grandhalurg st die E-Seiten Halas tent Parcel 1 postura sce es a ostura de a even ‘Der Daumen und der Mineifingerformen beim Halen des Bogent einen Kral Elpulgaryel dado medio forman un citcus cuando suetarel Fig. 6 RRO LUMEDC BED Correct hold of the lft hand. Position correcte de ta main gauche Korrete Haltung der linken Hand, Posicien corrected la mano igen,Exercise for Proper E-String Posture Eskic k SEL PBO BE S’exercer afin d’obtenir la bung fir die richtige E-Saiten Ejercicio para la Postura Comrecta Position correcte sur la corde Haltung. de la cuerda mi. du mi. The Estring poste i damental and MEU EME MAE, B00 ‘ ring pte i anda ERE COMERS, ZORmERURL car, ‘La postae ur te corde cm cit Dig E-Saiten atung bt arundlegend nda patra de curda mee Fnac y Fendamenele ct devratt re paratement ‘ali vil pemetten ween ‘ro ot donne Sapte featroce ‘Place bow In Figure 5, page 1. Use» short, MK yommeam, Buwene ces, Seane Flacer arches comme inigut sur la Sat dem Rogen wie in Figur 5, Sete 12, Coleg el aco como we een ln Fgun 3, Siare'3 ‘page Borner a conp tarchet Nise tach bores ate Basan pepe Save ‘our xercise for Changing Strings BOWE Svexercer pour le changement Obung fiir Wechsel der Saiten Ejercicio para Cruzar Cuerdas des cordes am, Change strings quickly here. Changer rapidement ler corde. Die Seiten hier schnell Wechseta ‘Cambie cuerdas en forms rida, aq 4 4 4Exercises for Quick Placement of Finge 3B He eT BO Stexrer pour um placement rapide des Chg fr schnle Plertnne Ejercsios par colocacin Rapid de Dedos ies. dear 3 Jey Lea Oem bd 2 2 4 ya Place fingers 1, 2, S quickly and accurately during the rests. 1.2, 90(KRo 2 = 5 CEM CES ST Pendent les silences, placer correctoment Sere de Finger 1,2, 3 schnell and zeman Cologve los dodo 1, 2.3 apidamente y oo er rapidement les dots 1, 2, eF3 ‘valved der Pauson. forma exacta duran fos siencos jaze 3 0. yz 8, 4 9: 1] Twinkle, Twinkle, Little Star Variations x? FE eR ih Dovrs-aeaemen eect et Te play 1 tap tn ww wien prams sr ech eh trol Boy anoety and unburied witha aber pause between Ear 5 Pour jouer 4 4 arréter Parchet sant appuyer aprés chaque ‘roche. Manler Varchet avee scuplesse et lentement a¥ee une ‘courte pause entre chague coup @'arche. Variation A Ene. (B.Come) tim © expen, hate den Boge se rack mc eer Toacnen Sa eve ovata hae Ble ce arom Meee ten bopoutrcon Pate Yd deg loi peor despuds e ad cocen {i ie enna da a psec an pana cence os pope wc Shinichi Suzuki aR 4 gig z get ee “Glitzre, glitere, kleiner Stern'’-Variationen “Ah, Vous Dirais-je, Maman’ variations Variaciones de ‘‘Centellea, Centellea, Pequeria Estrella"Variation B em nyo y EN EROB, GEMATH SI EG EAE, Sup the bow without presure after each noe, ‘Den Bogen nach jder Not ofne Druck anhaten ‘AntierTarchet sens oppayerepris chagwe not. engl wan eons pat dua Theme Theme Thoma Tema r ve toe rg aai 2 Lightly Row Be 5 . AD BEY vty Folk Song Moderato Sherer opuleve 3 Coie ota of Doucement l'Aviron Rudere Sanft’ _Remando Suavemente [3] Song of the Wind °c 2 Dab RAT RB Folk Song Chanson poculeire Voladed Chanson du Vent — Windgesang—_Cancign del Viento4 n Go Tell Aunt Rhody BTA TOUT aie aa Falk Some Chanson popudaire (Conch oleic Vas le Dire @ Tante Rhody Geh, eruihl es Tante Rody Ve y Dile a Tia R6di 5 O Come, Little Children v PY RPAH er ‘Chanson populare Andante Velie aca é 20 3 28 2 ° = [= = =e | (2S SS Venez, Petits Enfants thr Kinderlein kommet _Venid, Pequetios NifiosTonalization bHUf yay Tonaeation Tonfrane sconkzaion PUES EDUOSES (Mt, ‘This shouldbe taught t each lesson. ‘Sie ste n jeer Stunde gel merden, ‘Prec the openstring and stent the ound the vibradag Zanje offen Ste undiausche dom Klang = ‘der rirrenden Sa. Cecédevrlt ire enseiand@chague econ Eto debe st ensedado en ca esis, Pincerle conde libre ceouterleson de la ‘ie in code ie 9 exch tnd de conde ul ibe In cueds ran RLOdM BUSES Ce co ‘With the bow, try to play tones with the same resonance. Versuche mii dam Bogen Tome mit der hichen Heronant o1 spielen, ‘Ave Varchet, essayer de jouer det tons qui (ono ac, eat de tocar noe oon a misma ont a meme réronance. eonancia 0, igen aos eee Cee BO Lo ~ RLM TH LOREM TH ea GOR Hit Lom, FEamE Com ‘Questions teneners and parents must ask every day: en, die Leer und Bern tigich stellen miss: ‘Are the pupls ening the rclerence records home every ‘chit aghch ake Beshcigchen Schelpe? aes? ns ‘Hat sich der Ton verbeset? st ton improved? ie i ‘the Intonation correct? richie Spleen eingenommen? Has the proper plang postre been acquired? Wird der Bogen rihty genattn?” nthe bow being held correc? Preguntas que los pares y maestros debenpreguatar cada das tons que les professears et es parenisdolvent poser tous sin chichand mnos oo Got de mlowaie o “Enrcesque les élovesdecuient tous le fours la maison les equ de riences ‘que leton a eté améliord? Extce-que liatonaiion est correcte? Est-ce que la posture correcte a etd acquise? Esvce-que Parchet ex! tenu comrectement?» a3, DT AREY one Pot Soea Chanson popalare Allegro Moderato Cee omen f oy 3 3 ° 9 20 St 2a vota poco rt Chanson de Mai Mai Gesang Cancién de Mayo 7] Long Long Ago ayZ%uav7 Fa T.H. Bayly Mogerato aye ot ° Iya Tres, Tres Longtemps _Lang, Lang ist’s her ‘Hace Mucho, Mucho TiempoShinichi Suzuki i 2 a a 2 24 0 9 Perpetual Motion in A major fe 88 Bh 4 & Howee, Huene Ceoce Ce. HELE Eesarianceme, Ronee CsI. FebORNE RET Lawn cuses, this ice a the mid ofthe bow using very shor stoke Spee ee Stck mit er Mite des Bogen under Amend snes, ‘Sap the tw sro nae Papacy needs psoaiy ‘me rere Stich, Halue den Bogen nach oder Noe a Spite oe wpe ep Eetlenctam and dean bce tr Tope hse Jeuerce morcean ou mice de anche! ec un coup tts con. Taya a les el nod el eee mano ps we at, ‘Arter archet apres cheque nore Tower lenfomonte au du Detega el co despa de cade ct, Toya nano a pepo ‘it sceorer pelts pet tempo. ‘luego en forms pn genie inne Shinichi Suzuki Allegro ee es n a aga Sf Stindige Bewegung in A-Dur Mouvement perpéiuel en la majeur — Movimiento Perpetuo en la mayorVariation RR MAE BOE IED. amet A. pay 8. Apres A jouer B. Nach Aspe B.—_Despts do Ain oe 8. eHot Verfahren zur Uoung. Procedimiesto pas pice te, Variation Variation VasinciéaExercise for the 4th Finger Some Exercer le quatrime doigt. Tung fir den verten Finger. Ejericon para el cunto dodo. LORE bites BONG Ke ‘Do not ralae the Ist finger from the string. Hebe dew arren Finger von der Saite nice. ‘Ne pasteleverle premier doigtdelacorde. No levee el primer deo de a over, 4 4 o1zaasen o8 Ceeee ree i 1 Tonalization bFU et yay Tonaistion Tonfihrane Sonia fey n> te FOCRLCOU CHE GEES EMBER, hic shoul be taught teach ewon, Pupils soul! alwys sre Sie sole In jeder Sunde geet werden. Die for more beutiftland Femant foe, ‘Schule soleeniumer nach einem schoneren Ceci desral ine enssgne et répété d ite Kingendren Ton srebem hag cg Let Mees dae to dite er eto cada cin, Los : tenie wt toni plas sdamnes ében sempre esos por oben ‘eau et plas resonant tn ono mds hermowo y resonate nq ° 2 o D Major Scale H=RROF RRR Gamme de ré majeur D-Der Toaleter Escala dere mayor 2 3 9 1 zPerpetual Motion 3 in D major ee =k wm AL Diccm Mowement Perptuel en Suindige Bewegung in Movissento Perpetao en re majeur Dow remyor w 2302, Variation Re Variation Variation Vatiackio 10) Allegretto TV7vyt Shinichi Suzuki BR wtn Shinichi Suzuki eA wR — Tonalization bP eh yar Tonelsaion Tonfahrane Soniizacien tie tem ‘Te should be taught teach hesson, Sie sole i jeder Sunde gee werden (Geci devrait tre enscgné 3 chaque Eso ceria se ese ad on ca esi. con d=60 4 1. 3G Major Scale bRROe RRS Gomme da sol maicur”C-Dar Toner Eclat ol vi. "i ao, 1 @* 2 0 gS to s @: 0, ~— ee [peas Bowe Lomo Te EAB ile ka ‘lage the od foe cot tthe {Set en coin Fig del oben den iat finger. Keep the Tat finger down. erven Finger. Hale den ersten Pinger Placer le desaieme doigt pres du premior Meruntresdrict, dolgt Garder le premier doiet *Coloqu el segundo dego eres de! primer ‘ura corde edo. Mantenga el primer dedo ea it cuerda. 1 o 41 2 3 3 o 3 [12| Etude BE Shinichi Suzuki ERTROBEVUEAEGEED SS BA Suoptte bow sfereach note, Arréter arche ares choaue note. Dem Bogan nach der Net am ham, Dates aco depute cx ota Mog oo ooo 2oo4 2904 24 Variation RK Variation Variation Vissi 2B EAC II CRETE. Second tine play B following A. La deazidme fois, jouez B apres A. Lum zveitnmal, splele B nach A. La scyunds ver, toque B siguiendo A a BAllegretto J.~66 J. S. Bach7 Andantino q o : Byigcwe¢ — Domerum coup darchet court. ‘Une short sroke, Wende kus Sirche an. Use un pope con, gross 5 $2 9 Bai 4 0J.S. Bach wey omenectmic, ZOE Lote, ‘Prace the 4th finger accurately, The 2ad finger should touch the “Seize dom werien Finger genes. Der recite 1st flager. ‘Finger sole den eran linger berahrem “Pacer correciement le quatriéme dolgt *Colngue e cuanto dedo en forma exscta. El Le deustome dolg: devrcstoucher le edo debe tocar al prime dodo. premier.6 The Happy Farmer RLEBK Allegro giocoso b 3 R. Schumann ov A 8 2 20 g038 y inl SF sempre Le Gai Laboureur Frédlicher Landmann El Granjero FelizAllegre F. J. Gossec Hegretto 16 ‘be ns 1243 grt? 34342820 a8 g 3g: of lie caniabite 2tarot miemecucre, Ho Hite WE SNe, Procedure for Practice. Listen carefully to the intonation. Use 2 short stroke. lace the Bow on the string, then play, keplng the ‘bow on the string during the rest. Comments exercer Ecouter aitentivement Uiatonation. Donner. tun coup d'archet coun. Placer PareRet sur la ‘conde, puis jouer, en garden! farchet sur fa onde pendant le sence. EERE COeS 3 Verfeboen zur Ubuny Lausche axfmerksam euf die Iatoierung. Wende cinen Euren Sorchan. Sere den Bogen nf die Satay dann spe; ls den Bogen wdbrend der Pause auf der Saite, a ‘rocedimieato para prtica. scuche cuidadosamence Ia afioaci6n, Use un golpe ‘oro, Cologue el asco en I curd, eotonces toque, Tamteiendo el arco sobre lacuerca (mame) steno,