® Cello School Cello Part Volume 3Cello School Cello Part Volume 3 Revised Edition (© 1980, 1992 Dr Shinichi Suzuki Sole publisher for the entire world except Japan: Summy-Birchard Ine ‘exclusively distributed by Warner Bros. Publications 15800 N.W. 48th Avenue, Miami, Florida 33014 ‘All rights eserved Printed in U.S.A. ISBN 0-87487-483-1 ‘The Suzuki name, logo and wheel device ate trademarks of Dr. Shinichi Suzuki used under exclusive license by Summy-Birchard, Inc ‘Any dpeaion, espa ot aranemes of te compotons ‘conuid nt cobesionrequre the writen content of be Pubs Na pat of hs ook my be oocple! or rere in anyway witout pension Unto es ran niger ofthe US Copy Act and epi by le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-term programs and long-term programs. You are also encouraged to join the International Suzuki Association. FOR THE PARENT: Credentials are essential for any teacher you choose. We recommend you ask your teacher for his or her credentials, especially those relat- ing 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, P.O. Box 17310, Boulder, Colorado 80308; or Summy-Birchard Inc., c/o Wamer Bros. Publications, 15800 N.W. 48th Avenue, Miami, Florida 33014, for current Associations’ addresses. Under the guidance of Dr. Suzuki since 1978, the editing of the Suzuki Cello ‘School is a continuing cooperative effort of the Cello Committees from Talent Education Japan, the European Suzuki Association and the Suzuki Association of the Americas.Beeb e0mea CONTENTS Berceuse, F. Schubert ‘Third Position Tonalization - Moon Over the Ruined Castle, R Taki. Gavotte, J. B. Lully. Minuet, L. Boccherini Fourth Position Tonalization - Moon Over the Ruined Castle, R. Taki ws Scherzo, C. Webste Minuet in G, L. van Beethoven. Gavotte in C Minor, J. S. Bach Minuet No. 3, J. S. Bach... Humoresque, A. DvoFak.. La Cinquantaine, G. Marie. Allegro Moderato, J. 5. Bach...4 ‘The Four Main Points for Study 1. Have the children listen dail tothe records ofthe music they are studying. Ths listening helps them to make rapid progres. 2. Tonalization is inchided in each lesson and is part ofthe daily practice at home, 3. Have the children play the second, third, and fouth position with accurate changes and intonation. 4. In Vol. If attention should be paid to ends of phrases. Tonalization Each lesson begins with onslization, Tonlization i stressed inorder to improve and refine the tone. During the lesson use toth bowing allematives (down PH and up | ) for beginning each exercise. Harmonic Tonalization 44093 1| Berceuse Moderato F. Schubert3rd Position Tonalization Moon Over The Ruined Castle R. Taki Andante 1 ao ls Goo sees se 3rdpos. —-------1° P—_——_ =—— Pp At firs, practice in Ist position: later, practice in 3x position D Minor Scale Patterns Natural inz4 0 4201 taao 1240 1 249 o 4210 4210 4312| Gavotte ‘to 5 4.B. Lully 0 4 9 0 ¥ o L nl 2252 to 12 4 22 to tim Y anf con grazioso 40 a2 K L i C= = 2nd pos. — — 4 Aso > L == = 2nd pos. — 4 Cando. TL —~— mndpos, — oe JU 4th pos. — LIU Sthpos. — 4 f aiempe 2nd pos. (poco rit. =—19 i 2 42 Wal 2434 gy yt, 2, Sa2zipay ne Pov, ” C—Srdpos.— 1 0 ——— — 2ndpos, IC 4th pos. IU3rd pos. IC 7th pos. 1 Sf atempo largamente rit, —— A Lo — 2nd pos. — — 4 > Rit C= andpos. — 1 42 rit edn ?P 5, e y»o'} 4 1 eo > L —3rd pos. — 4 a 1420 1) af tempo — (Ll —3rd pos. — — 4 (124) U— —2ndpos, — = rit, e dim. PP Preliminary practice 1 ‘Uses very short bow stroke, Keep the bow on the string during the rest. 1 oo Vv Vv fotom vy BRRE Preliminary practice 2 ‘Stop bow and prepare. Ist finger ides 1 harmonic A 1 Donot release Ist finger. Slide 3d finger to E and then release, 1 242 41 3D U ~~ tthpos. SC — Fihpos. — — — J9| La Cinquantaine (Air in the olden style) G. Marie (1852-1928) a — ath pos. ~~ 1 Lath pos. —1 ith pos. JL 3rdpos. — | ‘poco rit mf an i tempo i“ v4 —~ V- 2 mt Hee te Jt Ll 4thpos 4 L — 4thpos.— — I Mend: hes gk, C= Pe Tw renpo ? im \ an 24 Ve a4 1 A tu SS Fine af allargendo f 2a volta2 sotto voce 1 4 Vo red eetees ts 3 2nd pos. J ——— pp 6 ~~ Pp. - = 4 4 3 2 1 1x2 4 Ba ce Lo Si pr La = aps 2 4 cresc. |3rd pos. ef 4 sotto voce 1 3 2 3 43 1 42 r24,01 3 = =; = ap ~~ nd vos. — 1 ix2y4 2 5 SY naa = 2ndpos— 1 erese. dips. xa4 3 se 3 ins 3 4 a 13 tf f U 3rd pos. — J as ---4 ‘erese. L2ndpos._| St D.C. al Fine2 (10] Allegro Moderato Allegro moderato | a4 2) tf ; L = 4thpos. — — JL — andpos. ~~~ 1% L 3rdpos. — a 4 o,¢ eo tahoe os si eal 41 x4 2xt 1X4 2x124 Position Etudes 3rd Position A String 1 4 D String * Practice the same onthe G and C stings.25 4th Position A String a 3s 3 1 D String Sth Position A String Practice te same on the oter strings Figure of the 4th positionMajor and Minor Scales D Major D Melodic Minor G Melodie Minor 32 C Major C Melodic Minor L3rd pos. 1 LSth pos. —28 Trill Drills Each group should be clear and even a 3 LN FNNOmet—=é‘“8k Repeat dil using variants 2 a} ete.a JS \ INN SUZUKI METHOD INTERNATIONAL “ | '00361 I 04838 6 8Suzuki Cello School PIANO ACCOMPANIEMENT VOLUME 3 Revised Edition M SS WR SS ZX © < See ey — —s © 1991, 1982 Dr. Shinichi Suzuki Sole publisher for the world excluding Japan: Summy-Birchard Inc. Exclusive print rights administered by Alfred Publishing Co., Inc. All rights reserved Printed in USA ISBN: 0-87487-484-X The Suzuki name, logo and wheel device are trademarks of Dr. Shinichi Suzuki used under exclusive license by Summy-Birchard, Inc. Any duplication, adaptation or arrangement of the compositions contained in this collection requires the writien consent of the Publisher. So part of this book may be photocopied or reproduced in any way without! permission. Umaathorized uses are ac infringemect of che US. Copynghi Act and are punishabie by law.SeJese tee CONTENTS Berceuse, F. SCHUDESE occ ccccccccccce cece cece eee EE ee PEEP EE ESE e Scere naa 5 Third Position Tonalization - Moon Over The Ruined Castle, R. Taki ................. 6 Gavotte, J.B. Lilly cocccccccccccccccccceeceeteeetee tne eeie eens e et een ne ere cE nU eS Ua SEs eSFaE ESOS epee uE rae er rages 7 Minuet, L. BOCCHErIIAL «0.0... ccc ccc cece cee necescenensnnnssnennannneeneeeeeeeeeeseeeeeneceneseeeecenecentenesaseegs 10 Fourth Position Tonalization - Moon Over The Ruined Castle, R. Taki.............. 13 Scherzo, C. Webster ..ccccccccccccccccccccccccccsesscceceseeeseeeseseeseecneneseseeeneectietiagiegeenseneenieeeineeees 14 Minuet in G, L. van Beethoven .occcccccccccccccccscsccccccestetccescseeeeceeeene eases seeeaeeeeeeeneaaeeeeeeey 17 Gavotte in C Minor, JS. Bach v..ccccccccccccecsccseensesssessececesseeeseecesensenteserensiessneneresnenaeea 19 Minuet No. 3, JS. Bach ..cccccccccccccccccccesssescceesssseesssessasesessesneeescceseeeaeeseeenanegeeessenpaeaeee ey 21 Hummoresque, A. DVOPGK .......ccccccccccscsenceteneceeeeeneteneeseneceneecneeeeseseeasenseeseeenseasseesnages 25 La Cinquantaine, G. Marie ....cccccccccccccecceeeeteertneeceneeeenseeernesssensesseaneosneerseanteeenaesenaes 29 Allegro Moderato, TS. BACH cocccccccccccccccccccsececeneccesescesenieeeseeneeeeennaneeeneneeepeseeaeeertensgees 33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 cello part 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 Assoctation 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., c/o Warner Bros. Publications Inc,. 15800 N.W. 48th Avenue, Miamt, Florida 33014. Under the guidance of Dr. Suzuki since 1978, the editing of the Suzuki Cello School is a continuing cooperative effort of the Cello Committees from Talent Education Japan, the European Suzuki Association and the Suzuki Association of the Americas.F. Schubert Berceuse Moderato 1S Tne OT | 4h | Key | TH AL il | T it NTH ! mit fi ss | A I ay it A | nn rH |" N TT we ||P ON ° a | —* a | eS LYS | IIIS (Il I a Moderato [| t—CssSsCsiszd eee eee OST «| ft Ps ee) Tl AU QA lili (iy) A UF | y » a = fl f | 1 [ | TNH?R. Taki Moon Over the Ruined Castle Andante toad oa hr St tll |) il il Ne nA A) | Si li ft “ly \ |) mi fe ors my) | AIT iH MY Un ros HH Ly. i wh | < i cM Rat h c t : is in | | a Naa | RL GR AQ cap Wr te i ‘ y La oe Hy fee att My PASS ae i le ce et elJ.B. Lully Gavotte Allegretto fa SEE aat t FG ORY \ f ( i YL Pe N | | oe! gr | 7 ih TH LT an + a oi Ny 1 H] | Nak Q I > N y tT | I) [Pe Pe } i " | mi i] | Bk i MO wt Yl r ih rT Mo { mE I) Wy W + i AT. | | i ‘it I t H Tr uy : uA 4 t. | | iv | iM a iT fil | | WD ! +H 6 >; y i a ot it a Sg 7 | | - i fT ql x & HH ; ) az mail Dir i >. I f Tl , ‘ I 4 " | el i io AN| TN ON © fyi Tee _ BNWo oa a H | 2 7 mT tL | Le m ay tl ol ul tl i mM ™ elt on i | is 1d Hy NLT HH I ify z . i : (| S. [ Li | , mes LM i: TT | 7a" /————-+ rit. CT A TCS {7 ener —| | SY Td , id Yd —— AP" || Td a. rd a i hy il ft Lo LT TT ly ‘ll TL | (| Hh iil | i ll | | Hl i | | || we | ‘TI HO io ae Al sxe BN 2 Al sxe Ghij il t I i i C ! ae Mi li) KY { t tt NM H | iN ll il | it IT IL com Nil | We ro lia [T, hy id i uF tr ei 7 I rT rH | TL | | | Cet Hl Tf He OD gh or Ye i y IMR th mi ill wi NIU Ht : Lf " | uh Mr nis | i] | ttt a iy Uy I Hh | ig TT , Hi J cis il | ! \ I lke rr . My) th I il lil eam) " 1 y It th nt rr ah iM af te Ie AL \ mT H I ott | It | [ } LO It | | ir " "| | ih i Ae Pm? EN oh 3 Ni STN ahMinuet 3 0 1 2 i) i g ff i! /ann | 3 (4 i A Hl a! | | SKI th oT | : I i | ed Hy | Le DM hi : WO TT I i Uo. it | , Ly Me yg ( | re ith Va » | . . i i ls y ll ne | KO | ad 1 ih iN IS BRS HL . | iy fa it | | t | { hi he I cen fii / TI . i We all ° ® . AM me Mel Ih bon od - a2 il ty ll : : 5 . hn eee 2 {lz t Ee WL * aS T° 2 e * a) 6S ( es OR oN SY aNr ) - Ct Sf oe ee oe De CT} Cs Cy ‘a Ye _— pa = —_———_—_— == ne [Lt i le Ta o_o jet Ss ft AS. ae alae ae ae eo aa aa po es 2s a SD ee ee ee ee FS | se er pe y= o_o_ oe _# [eye oe LULL OOP SP eee too ot =: OO eee Pfft i ee lammamemioesenneusinemnenssioteasnaninsnl Fine. Trio 21 . — —~ : lL pf a FP eamewiee ——"Saeessey = -— od penne} ___f-_ P 4 tH tay tr yp i I: 24 5 V > a a. | ee Lj, ee oe ey — o_o 7. De 7 a es ee nnd Sse ssa eee == —_ of - ee | +} .—— a —_——__*—o—f fua ———T ee. 2 eee 2" eee eee i . a ee ee eee ee ee ee Oe, ee Oo yd ;+—_f PTE hLTlLhLCUT CULE eT Ce i fl a Bi | : 2 ee ee eee eee | | LT Po = pT Pee — as a PDE a Pg gs eg12 — ie __ ie a lu wf] sf). Ty lf!) al i CN "yj Hit c LI 4 Ht ty, call fi i i | ah l Ay] th r nL Ay Mi " D.C. al Fine. TT “at UP dD. C. al Fine.13 Moon Over the Ruined Castle R. Taki Andante Andante i | q ! | ‘l : : oO nk WD) a LN iM it Ls ll Ulett I Sis nit 8 Tiles 8 | : ( ii | ml AKL IT UD IN A Ga t Ir [igs sat) ST q lh PSS sal tisk Evi Wy AL Sth i He i qa tt | qi] Tp rN Tae ae | ° re ) lI, ni “ Lf ) | ee cal te :C. Webster 4 Scherzo 14 TT i | | Wi ui My i . Hs (Us it RN \) th > LOSS ry PTS : ihe os FF I tf | i / iN Hh j ! | Ls | Wi 4 [ { | | i it it Ht My i’ 4 4 yi i fll Wi HG ‘ a i | i oD a My A | i PL Mt & TERY & //Sh tea ff il Wy | Sy nN | : lohan i HH | cM Tete TPR it | cco Hh - wn ah ih 1 HL i HH | TA | | i\ an! Th oy Th Ht ih ll IL iy cn oN 1 a || rt + H if Sot Pte i qo (lll o i - » eal Horm et ae ne Wh Ui EF at nit il vi ni oN ul ih na ll My a S| de A 2.8 te Al wo Gh esd Gh re MeN ae ge ee ai al arr! ee ete) tf a...“ ee ee my | Lt ee EE bien Nene pt La! a _eee e-em See eee | Te bene fee) | eet 4} — be ttf ——— a | | eee eT Vrs 2.) 2015 rit. e dim. Cee ee: = | eee eee | a. Semel + + ee Re =... L— ee Ee nel | cresc, o>: oS an a — eee 27 oa ATT 7A ie 44 44 Hy “IR fe || SIL cl ‘ \ i ns K . Ty | ab GRE oa He] batt Tis We ql rt TL SS 4 Ati i prt Cit TA > Tw | lh | hy Te . : - Ly yo aT Ts fi stor I TS Hh A | lil f PCr LU | TT | vy] A , nH Hh ‘ GY rR [Le oe , nM : : rf AT > 4H aL ty emt At il tr Stee ir CQ) [i \ Rg in Ss 1 | 1¥ r 7 Pee eo [eT i N rT] u C | Ht Lr + T A owls Hk i" (i: ; rol = The TR || MH tf 4, aant + | Att | ( | fh GN a Oe gn arg ne Sd eS ee CSC—idzdS Meno mosso Me, fp Ce mm ——— Meno mosso . | [yy | a es gl de ee TT 7... Gene > Ee - PSY ee ™ OU ™ , es Ce t~—S~—sSC = -+—_—————_ z= SCSYSCCSd As i en iane 53eee Tempo I 16 63 g A | % IL | “tt , tT 1 Mi L 5 | | mm OL TA Ue Pn rT aes ut il it i! iH Tt mT : } is | He oil | We iT lll cy TN AS TS TTS a | | ut I Tl Wl! a i iE Ma Wl ll Wl WW! W| oT i , ul nH HLA Hh a IS nn Tt A i] ul Hf pe Hn | | lh a Hl iT , i ay | | | Hl is HW i TT AH || 1 ! 1 us HH] i! ' 1 " r . a -e ft Tey Tl 4 pp Sas ed Ce ey] = ae o a A > 4 | Tt—‘CitisirCS Fd _ te > A | a fas. tt OO eT Sa eo eo] >) + 2 —. te Cet 73 rE Lt —{—} oy he [~ eo ee ee kd tT J r - Fae oo tay. ns ep Cpe eye eo Fae Tt \O St L_Per er eee | | a | eee | beeeteemeneney-—Dieieees | Creésc. ee a a ee le i | Li: +... pe oee lt PY rr | | Ce?—_—h ~ Minuet in G L. v. Beethoven P con grazia Allegretto—, — 18 D C. al Fine Fo TR) cate | Ih sys Hae) Hi | HA TT I Il hy UL dl Sd AR | | | | WT : | Th FP , UT yu A) a te jae A ale 1 mt NT 1H wlll iN Ah TI El dh iit | Cai) (M MT Hr iA “i * IN} ti te a | 4 | | ( ral OH gO ie tl et 4 TAP ale ne NN tall he A ( i He ® I Bs tt iT | ge PW sy cal A ea aie TIP te (7) ae Wu)? Al) UL are alk 6 ae | oe GN NL SN | INGA)— ie) Gavotte in C minor a Cm mn oO fo QO a Andante eo, jt | Pa a e-em ea 0 ee eee ee eee ee eee o) Lf ee ee, {a le fas eT ese ep oe |! Ll oO LL ge Ww lu el el Vin Do) CO eee 2 ol eg ap et geet eel r A Andante [| Ww ftp, 7 | CS oo a ico or yn”? PY CO rit P ! b [ : | » 4 >» a » [oR ra eT OOo oT ee eg egg ae ee ‘eee lf. _ bel 7 TN eg ae es ee. Bn ee 1 Pm | ee ee ee ee ee ee ee = = [eye DD, ss | | | Lr, LL Chmvr eo 2 pL LULU eT TT eee ee EE 0 oe A eS SG = 2 ee 8 TT T_T Po ie | (ir 2a es eT | a ee a ae | ie oO eee > aa eee EE a A ee eee eee fey” UY a ES GO Ls oa ES Ss a eee ee | pe egg eg OT ee |F Y as | = Syl Ye a Sy = oe ee = es _ > Le foe Tt SI A a = ST oO Cp oe 24 es a a V a 5 Pe eee Mi - Td nr ee" | hw Ds eee 2 a 2 Pe ee ee ee A JP" ee ee ee eee wy et Te ee oe Eee ii ll Let YF ed a eg ale ee ee ee ee ee P— —— Ff ————— Yr a ON fo Oe oo Oe CSS A TS A A RARE NS RAS fe [| [Fd Ck Py yee Ct» eg tt EEN F B_oOTCOONO._.-—_ es OB ee Oa a oe OE : 1 eseee —_ . Ss Vv ao Vis -> Lf es LO ee lO ee LW. UCLDt—tssOS*wM Oc TT i wei] Y,.ULMLMLULLULULUUdLULULULUOU CUCU a \ LU rs ws __—~_j| _|e@r | ti TT dtC—<“‘é‘srSC“‘(SCSTCC ey LPT Td Ld DT ee dy eee y Fo etree rer eerie lo rsh rrr a mm LC OCtCCOC‘z‘(‘RCRK(N’CCYC.. CU. ler | se PT LE Te rr ee ee ee" | i? et oo Et KT Pf eee ee ee jn —=—h Td Lepr ge gg OY ee So, j=7 OS bee — bg gh} __fae —__+_gh__ P| + Pd {pe | RS A SE ES PT We Lee Ol a a ya r Rd 34 mn - Z:.§...vnvnn.00.T_ Oo OO oT ee rer se ie |) UN. UeLULULUmeLULULULULULlLU a LLU ef a et .._m... e—| Lee) TCO | TCO aE es hLlLLLTTCUdtCi‘(CC(CrC DC Ld Ct ee ee eo sf ee ed a OT Te CC CC a {| Eerie! — SF ——_—— 17f p LL Lis ee ed es Ce ee en 0 ee 2 ee eee | fb _! | , lr Cti‘“—C HK C—*YS b a ne ee ee ee ee | tf... Ven wee eee ee ee ee eee | assem _smunfa.fah .........¢ | |] £¢ J [Egat aa™ [ if [| | - iS . & »&»8€©§©»8386h™@ Ue a rere ry ea Lr TL De — “ SS t |. 7? io be Ce rT Ci‘ i. we | Vd | cnrecterneaeed [| Pd PCC‘ fw | ofhLU.ULULUCUDrLULULLLULUDL TTF UST OT LOUD eC eT dT ldT er re tel gf . ™rrtrti‘“CCCSYC TC CL™S.tCt—s Pe te ~ f ~ my _t~m2_...] PT 5 Freer hn fell ah ee i eee 2 Oe er eee eee Pod Le ae PEO a , a. Dd ee Oe | a vt | ene erecta le a a ee ee es ee ee Ad La Pe Lee ee ee ee” | \e | fy, LC | esi rr—O—CC“‘(‘SNCN#$#SJ Te —“—i‘“‘“(“(“(‘(‘(‘(‘C;;CCC*”ds Le ky i a ss Ge rrr Oa nm rT Tf ro fered , Uf 1 CC —“‘“‘(‘(‘(‘(‘(‘(‘(‘(‘(‘(‘(‘Ci*s”r ee es ee eee r ” —— —— mf | . . | a | £f | x @# {| J es | se] |, gS lr eee ee ee ee ee rp fl JE ..//7/T ee Geen ee ’ eee 6 | ee eee ee eee ee" TL CU ie cee fT tere eer rt et Ee rf ep ee ee a = [owe 1 a Oe eee ee ee ee ee ee eee ee ee ee ee eee ell Ef} —__f fl Ya __ | ee Oe gr i | —________, © ta — ot ot Orr Tie =——_— P= Hf poco he21 inuet No. 3 M 7 J. S. Bach Allegretto con grazia Allegretto A nN 16 IIs |22 21 & 37 ae UT ui i Wh Ut IF | h\— | 31 & 47 mp dolce — ee 2 aa yo | Eee jee ee |_| *—-] alc23 MP dolce 57 1 ne ANE LTT . Ht TL a A . ty Me UE I fF Lt Clem bt Ti ET |" |S UT ‘| il in . i NAF i ._ il ‘- SE Hl is | | in} TS, ATP WG 1 vy HH tT Hh) tits ssi | | | | CII to i Vl) A it AP IL, lew ae rd 8 cH i Ll HY Ah | lets . TT . 5 Al elo GN a fll aoe A24 = oe P+ —} ~ CON grazia of _——— — pp molto rit [L's Ih i ft Py | i | hit | 3 | (WH His — 9 Ni a CO i f I (QI I i He25 8 | Humoresque Poco lento e grazioso ~ on @ Oe > —~ > Cn ~ = I L /f - [Se Te al Oo Ee ed oo oa ee al re ar rn Ee ey 4 > — — ~—~ a eo a PE Ee 7 ee el26 10 _ me) nel eee aa bho foy: eT S . | r | q a tempo P [omumemmumemme (TT V a * pF re een ie ee ULL LLC Se rit ot — — oy: fa ee eee eh a) feu ~~ on —~ — | — | won Pe oye ew | aft te [fp pe De Sse ae eee Ee ae) —, Fo — as [a rreleteiomnevananvent — {|__| fe ff Se gt gg CL tsCtsi—“‘(‘CSNOUWC#”*”*#”#”#”*;*”*#”™” |__| eee —— gu es P| PS |} +} 4 eames —| +} B a Lf Pe ee pe) ee oye ef oe a ee ee colla parteJ atempo Hi e i (sail rh | 8 Cell if 4 A aul) (Quul|| | ny ‘ |: i i all || i | ve 2 | | i | | NF Pn ‘ I , (ull) S awslll § Hl sal cM ree ie ltl Ta | r TL us S coe C ll iil TFT ii rm wh ll | || I iy iy cL Shi iE i I rH l intl Ts th | i (‘i If an {Hh TH t TH YF Arh I i Vl ay 2 “ | . , ° Ht Hl | Whe |i} & Wi = ads S I 3 8 TI ' | < & i ie it sh at “is tes a il all ae Al a Rook28 | iil ) at ccc Hy hg | he tr ia by y WE sy { : «A Us rt/ ye 4: Hy ye : |, “ | ‘i ot i | _ i is Ht | s i | y an mR) in / Ill MN MCL ys (Hun | ( ie TIN ll tn Ls i tf i | pes ‘ i} " 1 \b I HH nl | ii ( ys | | P rH 7 i S| qs 3 F r iT > i rT it i * . Tle ae | | fd Tey ey PSY aN 4129 G. Marie 9 La Cinquantaine Andantino 1 | i T | l i : a at n : I i HOO etl) (TL II i H | i i ll) LT a a | i Cu) UP HA | ills : ie UP Ig iz i A Mt ih gf or PO P poco staccato: a a tempo a tempo poco rit. / | | wu “i , | poco rit. a tempo a m7 V — 26 fey — creéesc. : m * { Ci 4 N Mh me tl | UT i. at NH MT as TI | Ty i wh ' i al a wg cml iil mm te. Ci 4 I init fh Cy l y fh ico | ee ho I s | TTT AU I Ht , lr 4 li MW) ook eo, GN TY ke |31 . aaa re | ec H == > RET ee | | a i al §) A TT NT Mt | i f 4 5 x ‘aft } i 1 ’ 4 a ; ey de. BOSH x shims [ I il a ty Mee Gl UL He! TRON ae aie i ! HN We i atl {t SH im ips | tied HE Ae Mile Fp = x ie: * sims ree IEE i> th He He, a c , | Y It Hy IL) “ile yg a | Wl t Hl rH Mi | hi [| i rT Ty asi a Paha ty \ Wy) : : f rm i ols esa (UE = WNL TMP RN) gs A ne . 5 A ut a |32 58 cresc. l | : cresc. Sy | I . f | l | it | ) t | { Lt ciel LL oi LASS NS ASA ih 4 HL | ' | | cf D.C. al Fine cresc. © SS fa 3 9 A P_4 1d a cresc. yd __— PC33 10) Allegro Moderato J. S. Bach Allegro moderato Allegro moderatoA LP My | | oy : fl ud ih cH t, i TH oe a Ti a) iS | Aly i ~ hil MA MH 9 : | st | ma! id TT wi ¢ md cH}) be | Ty || eth ke) OW tl | Hn i NI TT tu ) t i ay | Tes OR Te. ik rH ke N PMY on ge ne ae35 Ss —— at hi fn (2 2 eee St eee eee Cre rrr er Aer errr ere eS Con eon Po Td P| as TCC ee |e ate. ae rr Pot td Em re in IE i S SHS TRE jal TI : tf | | WH t ! Jal aR oo GN SY th a i | L i : N |_ig 436 r My ——, oo ee rT ae Lo U | : | l ML FT rs} PTL Ki A ieT A) ill | TT wy oN yO i) Nit a IRy tl Mi ( 4 | Th (tf Tr (t UE ial Wil ro AL HOTS UL {Bo AT TT (Ky Wt OTL . aN ng | Bina ink | Fi | On | ) Ll) tle 2 A MY on oe a el ( G : Veo all I poce rit = J oe I] poco rit. wt TT es