VIOLA PART I VOL.

VIOLA SCHOOL
Volume 1
Viola Part
 VIOLA PART I VOL. 1

VIOLA SCHOOL
Volume 1
Viola Part
Revised Edition

AMPV:1.02

© 2013, 2009, 1981 Dr. Shinichi Suzuki

Sole publisher for the entire world except Japan:
Summy-Birchard, Inc.
Exclusive print rights administered by Alfred Music Publishing Co., Inc.
All rights reserved Printed in USA

Available in the following formats: Book (0241S), Book & CD Kit (40685), CD (0543)

Book Book & CD Kit

ISBN-10: 0-87487-241-3 ISBN-10: 0-7390-9705-9
ISBN-13: 978-0-87487-241-5 ISBN-13: 978-0-7390-9705-2

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 written consent of the Publisher.
No part of this book may be photocopied or reproduced in any way without permission.
Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.
2

This transposition of the SUZUKI VIOLIN SCHOOL makes available to the

beginning viola student the carefully structured repertoire of The Suzuki Method®-
a method that teaches basic playing skills and develops listening and memorizing
ability through the playing of beautiful music.

Regardless of the age of the student, it is hoped that Dr. Suzuki’s principles
of learning by listening, training the memory, and concentrating on producing
a beautiful tone will be observed. Remember that ability develops after a
composition has been learned - in the mastering process. The practice suggestions
emphasize the need to isolate technical and musical problems, and encourage the
teacher to use all the opportunities inherent in the repertoire for orderly growth
toward mastery of the instrument.

This volume is also recommended for violinists who wish to become familiar
with the viola and reading of the alto clef. For this reason, finger numbers have
been kept to a minimum in order that reading will progress by note rather than by
finger. The teacher is urged to stress knowledge of names of first-position notes
on the viola before note reading progresses to the higher positions.

Many of the solos in this volume are written in the same keys as those in the
corresponding SUZUKI CELLO SCHOOL repertoire; also, some solos can be
played with the compositions in the SUZUKI VIOLIN SCHOOL.

Doris Preucil

IntroductIon
FOR THE STUDENT: This material is part of the worldwide Suzuki Method® of
teaching. The companion recording should be used along with this publication. A
piano accompaniment book is also available for this material.

FOR THE TEACHER: In order to be an effective Suzuki teacher, ongoing

education is encouraged. Each regional Suzuki association provides teacher
development for its membership via conferences, institutes, short-term and
long-term programs. In order to remain current, you are encouraged to become
a member of your regional Suzuki association, and, if not already included, the
International Suzuki Association.

FOR THE PARENT: Credentials are essential for any Suzuki teacher you choose.
We recommend you ask your teacher for his or her credentials, especially those
related to training in the Suzuki Method®. The Suzuki Method® experience should
foster a positive relationship among the teacher, parent and child. Choosing the
right teacher is of the utmost importance.

In order to obtain more information about the Suzuki Association in your region,
please contact:

International Suzuki Association

www.internationalsuzuki.org
 3

CONTENTS
Track
Page Numbers

1 Twinkle, Twinkle, Little Star Variations, Shinichi Suzuki.................................................. 8................ 1

2 French Folk Song, Folk Song.............................................................................................. 10................ 2

3 Lightly Row, Folk Song....................................................................................................... 11................ 3

4 Song of the Wind, Folk Song.............................................................................................. 11................ 4

5 Go Tell Aunt Rhody, Folk Song.......................................................................................... 12................ 5

6 O Come, Little Children, Folk Song.................................................................................. 12................ 6

7 May Song, Folk Song........................................................................................................... 13................ 7

8 Long, Long Ago, T. H. Bayly.............................................................................................. 14................ 8

9 Allegro, Shinichi Suzuki....................................................................................................... 15................ 9

10 Perpetual Motion, Shinichi Suzuki..................................................................................... 16.............. 10

11 Allegretto, Shinichi Suzuki.................................................................................................. 17.............. 11

12 Andantino, Shinichi Suzuki................................................................................................. 18.............. 12

13 Bohemian Folk Song, Folk Song........................................................................................ 20.............. 13

14 Etude, Shinichi Suzuki......................................................................................................... 21.............. 14

15 Minuet No. 1, J. S. Bach...................................................................................................... 22.............. 15

16 Minuet No. 2, J. S. Bach...................................................................................................... 23.............. 16

17 Minuet No. 3, J. S. Bach...................................................................................................... 24.............. 17

18 The Happy Farmer, R. Schumann...................................................................................... 25.............. 18

19 Gavotte, F. J. Gossec............................................................................................................ 26.............. 19

20 Practice Suggestions, D. Preucil........................................................................................ 27

Transcribed for viola and piano by Doris Preucil

4
Suzuki Viola 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 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.
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 is not an inborn talent but an 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, I hope these four essential points will be
carefully observed and put to continual use in the home
and studio.
Education for musical sensitivity
Every day, children should listen to the recordings of
the music they are currently studying. This listening
helps 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
lack musical sensitivity.
Tonalization for beautiful tone
Just as vocalization is studied in vocal music, so I have
introduced tonalization into viola 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 a new kind of group lesson in which
more advanced and younger students play together is
extremely effective. The students progress remarkably
while enjoying the lessons. I recommend that group
lessons be held once a week or at least twice a ·month.
Private lessons to develop ability
A child should not proceed to a new piece simply
because he has learned the fingering and bowing of the
present one. His ability must be cultivated further as he
plays his piece. I would say to the child, .. Now that you
know the notes, we can start very important work to
develop your ability," and then I would proceed to
improve his tone, movements, and musical 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 Bat the same time. Continuously reviewing
pieces 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 a child
may have a short lesson, stop and watch another child,
and then return for more instruction.
Shinichi Suzuki
 5

Stand with feet comfortably apart (approximately the distance of

shoulder span). Left foot should be slightly forward; the back
must be straight and balanced between both feet. Tum body to
the left to align neck of viola with left foot. Do not twist trunk too
far around to the left.

Tum head to the left; place the viola between chin and left
shoulder. Note the alignment of nose, strings, elbow, and left
foot. A foam-rubber pad will keep the viola from slipping and
avoid tension in the left shoulder.

Before using the bow, practice holding the viola without the
support of the left hand to assure a firm hold without gripping.

The first bow strokes to be used are the detache (smoothly

connected) and staccato (short notes separated from each
other).Careful attention to the motion, clarity of sound, and
rhythmic control of these bowings will lay a firm technical
foundation.

The beginning student should set the bow at the middle so that
the arm forms two sides of a square; the viola and bow form the
other two sides. Forearm motion should be used with a relaxed,
comfortably-hanging upper arm. A tape marking the middle of
the bow is helpful.

The A string posture is fundamental in developing a vertical

approach to bowing and should be completely mastered.

Play with a separation between notes (except for repeated 16th

notes that develop detache) when first learning the pieces in this
volume. This separation gives time to prepare the finger and bow
until quicker coordination develops. Later, the material should
be reviewed, increasing tl1e smoothness and length of stroke
where appropriate.
The basic posture is the A string posture.
Further practice suggestions will be found beginning on page 27.

Preparation is vital to all playing. Instill the habit of thinking

"mind, finger, bow, play."

Beginner's bow hold. Thumb below frog. The thumb and the bow make an oblique angle.
6 Exercises for Proper A-String Posture
The A 1trln1 posture 11fundamental and should be completely mastered.

Set middle of bow on A string .

Use a short stroke.
Keep bow on string between notes.
Sixteenth notes are detache; eighth notes are staccato.

ii . • ii . . ii . . ii . .

l 1eircrrrr , I rrrre
r, ~
. . . .
2 IBcEEEFE F EEEFE F
Exercises for Changing Strings
Change strings quickly here.
ii . . i ii . . J,
• IBirrrcrc , I caru,
ii J,

ii ii • . ii
2 IBcCE E r td r r L F L r I EEE rU :II
Exercises for Quick Placement of Fingers

• w GGrrrr ~
r , rrrrt r , • • t
(l)
1
l • • !
(O)
1
•
rrrrrt , rrrrt r , t
(l)
1
• • t
(0):
11

,...
·o· • t • •

2 lfct r r r cr t tttrn r :II

1

-
• • (2)

=If
 7

Place fingers 1, 2, 3 quickly and accurately during rests.

3 2 3 2
• • 1 • 1
• • • • 0

-
'

The D Major Scale

Cross to A string.

r, • (3) 3 • •

rrrr(j FFEFFF ICECHr rrrrr

0

2 • • 3 • •
1

,e,.r ccr:r r: tttrr r I ttttt t ff ff f f

0

3 • 2 • •
1 • • 0 •

t I rrrrr r rrrr:c r: I
• (123)

ff ff f f
IB#• ttttt
Prepare fingers 1, 2, 3 on D. t
Then cross bow to D. Do not lift bow.

3 • 2 • 1 • • 0

I EEEFE

The D Major Scale introduces the first finger-pattern. The beginning pieces
employ this pattern - the close 2-3 pattern with a half step between 2 and 3,
the interval between the other fmgers being a whole step. Develop the mental
and aural concept of adding consecutive fmgers to ascend stepwise and subtracting
consecutive fingers to descend stepwise. Associate the name of each note of the
scale with its finger. Also practice this scale with the rhythm patterns taught in
"Twinkle, Twinkle, Little Star".
8
IT]
Twinkle, Twinkle, Little Star Variations
See Practice Suggestions

To play n stop the bow without pressure after each eighth note.
Bow smoothly and unhurriedly, with a short pause between bow strokes.
Shinichi Suzuki

rrrrt t rrrrtr
• •

A c CrrrtJ ru rt t
m#• I
3 i (123) • . .
t rrrrtJ rrrrr r I FFFFt
.i(l 23) • •

1B#·Gr Lr t r FFFFE F I EEEr t t FFFFt t

Jo23>

ffl;r r cFt F FFFr t t I EEr r t t FFFr t t

r, • • • • • •
IB#• r r cr u r r r r t
9

r I rrrr c r r r c r e r
11 t(l2 3) •

r r r r r r r r r r t c r r r r tJ I 11

Listen for silence during rests.

v. i
v. .
r, v. . v.
ii . v. ii.
ii v•
. ., ii ii
•
~ l ~ ~
B =ffi#•
I!
~ ~
ij_ ij_ ij_

. • • . .,
~
• •
A/ A/ ~ 'I ~ r...t ~ 1.1 etc.
 9
9

. . . . . .
B ## # c œœ.. œœ œœ .œ. œ œ œœ. œœ œœ œœ. œœ œœ œœ. œœ œœ œœ. œœ œœ œœ. œœ œœ œœ. œœ œœ
C
C B #c œ œ œ

# .. œ œ œ.. œ œ œ.. œ œ œ.. œ œ œ.. œ œ œ.. œ œ .

œ .
B # ##
B œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ. œœ œœ œœ. œœ œœ
3
3

etc.
etc.

# # c œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
D B #
B #c œ œ œ œ œ œ
D 3 3
3 3
3 3
3 3

B # # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
3

B #
3

etc.
etc.

# œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
E B # ## cc œ œ œ œ œ œ œ œ
B
E

B ## # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ
3

B # œ œ œ œ œ œ œ œ
3

etc.
etc.

Theme
Theme
≥
Stop bow without pressure after each note.
≤≤
≥ œ̄œ̄ œ̄œ̄ -̇-̇
Stop bow without pressure after each note.

# œ̄œ̄ œ̄œ̄ œ̄œ̄ œ̄œ̄ œ̄œ̄ œ̄œ̄ œ̄œ̄ œ̄œ̄ -̇-̇

0

B # ## cc œ̄œ̄
B œ̄œ̄
0 0 3 2 1
0 3 2 1 0
0

ff
≥≥ ≤≤
B ## # œ̄œ̄ œ̄œ̄ œ̄œ̄ œ̄œ̄ œ̄œ̄ œ̄œ̄ -̇-̇ œ̄œ̄ œ̄œ̄ œ̄œ̄ œ̄œ̄ œ̄œ̄ œ̄œ̄ -̇-̇
5

B #
5

≥≥ œ̄œ̄ œ̄œ̄ œ̄œ̄ œ̄œ̄ -̇-̇ œ̄œ̄ œ̄œ̄

# œ̄œ̄ œ̄œ̄ œ̄œ̄ œ̄œ̄ -̇-̇
B # ## œ̄œ̄
B œ̄œ̄
9
9
10

m
French Folk Song
Folk Song
(Prepare 123) 3 2 2 3

9+ f f f
IB#• I t ;- t I
1

r: ;- f r·
0

mf 1
2

5 3

-IB#•r r: r
2 1 0

IF F F I r r r r·
r
9 3
0 1 2 0 1 2 0 1 2

~#·
p
F r
1
~ IF r F IF r $
2

r
13 3 3 3 0
1

r
2 1 2 1 2

tffi#•E ~
2
E IE ~
2
I r ~
2
E
mf
3 2 1 0

,~#·i
17 3
~ r
2 1
E I~ F I r F E
0 1 0

r· II
f
 11

3
Lightly Row
Folk Song

≥
Moderato

œ œ œ œ œ œ ˙
B ## C ˙ œ
[A]
œ ˙ œ œ
* 0 2 3 1 0 1 2 3 0

œ œ œ œ
B ## œ œ œ œ œ œ ˙
[A1]
œ œ œ œ
5 0 3 0
2 1 0 2 2

˙ œ ˙
B ## œ œ œ œ œ œ œ
[B]
œ œ œ œ
9 3 3 0
1 1 2 2 2

p P

œ œ œ œ
B ## œ œ œ œ œ œ ˙
[A1]
œ œ œ œ
13 0 3 0
2 1 0 2 2

4
Song of the Wind
≥ . . œ. œ. œ-
Folk Song
Allegretto

. . . .
œ .
œ œ. .
œ œ
B # # 42 œ. œ œ œ œ
1 3
1

Œ
3 0 3 0
0 1 2

F 1

. œ. œ. œ. œ ≥
# œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
3
1 1

B # Œ
5 3 0 0 3 2 1

p
1
F
≥
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
B # # œ. œ-
0

Œ
10 0 3
2 2 1 0
0

*Letters in brackets refer to practice suggestions on page 27.

12

5
Go Tell Aunt Rhody
Folk Song

≥
Moderato
,
œ œ œ œ œ
B ## c œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
2 0

( ≥œ ) œ œ œ œ œ œ œ ,
# œ œ œ œ œ œ œ œ œ ˙
B #
5 0 0 0 0

p
≥ œ œ œ œ œ
B ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
9 0
2

6
O Come, Little Children
≤ ≤
Andante Folk Song

œ œ œ œ œ œ œ
B # # 42 J œ œ œ œ œ ‰ J
0 0 0 0

F p

B ##
œ œ œ œ œ œ œ œ œ œ ‰ œ≤
5 0 0

œ œ œ œ œ≤
B ## œ œ œ œ œ œ ‰ J
9

œ œ œ œ œ œ
B ## œ œ œ œ. ..
13 0 0

f
 13

7
May Song
œ œ œ ˙ () Folk Song

≥ œ
Allegro moderato

B ## c œ . œ≤ œ œ. œ œ
4

J œ ˙ ˙
0 0

J
f
() ()
œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
B ## œ œ
4 4
5 0 0 0

F p
œ œ œ ˙ ()
œ œ œ œ. œ œ
B ## œ .
4

J œ ˙ ˙
9 0 0

J
f
14
14

8
Long, Long Ago
≥
Moderato
Moderato
œ œ œ œ ˙
T.
T.H.
H.Bayly
Bayly

# œ œ œ œ œ œ ˙ œ œ œ ˙
B #c œ œ
00 00 44
00

# œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ
B # œ œ ˙ Ó
55 00 00 44

F
≥
œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
B ##
99 00

œ œ œ œ
f 11
P 11

# ≥
œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
B # Ó
13
13 00 00 44

F
 15
15

9
Allegro
≥œ. œ.
Allegro
Allegro Shinichi
Shinichi Suzuki
Suzuki

œ. œ. œ œ œ œ œ.œ. œ.œ. œ.œ. œ.œ. œ.œ. œ.œ.

B ## c œœ œœ œœ œœ ˙˙
f
≥œ. œ.
# œ. œ. œ œ œœ œœ œ.œ. œ.œ. œ.œ. œ.œ. œ.œ. œ.œ.
#
B ##
B œœ œœ œœ œœ ˙˙
55

≥œ- œ- œ- œ- œ- œ- œ-œ- œ-œ- œ-œ- œ-œ- œ-œ- U

B ####
B œ- œ- œ-œ- -̇
99

dolce
dolce rit.
rit.

≥œ. œ.
# œ. œ. œ œ œ œœ œ. œ. œ. œ. œ. œ.
B # œ œ œ œ ˙
13
13

f
aa tempo
tempo
1616

10
10
Perpetual
PerpetualMotion
Motion
Play
Play
at at
the
the
middle
middle ofofthe
the
bow.
bow.
Use
Usea short
a shortstroke.
stroke.
Stop
Stopbow
bow after
aftereach
eachnote
note
toto
prepare
prepare
next
next
finger.
finger.
Play
Play
slowly
slowlyat at
first,
first,
then
then
gradually
gradually
increase
increase
thethe
tempo.
tempo.

Shinichi
ShinichiSuzuki
Suzuki

≥≥ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
[A]Allegro
Allegro

œœ œœ œœ œœ œœ œœ œœ
[A]

BB# #
# #cc œœ œœ
44 00 00

AA
FFstaccato
staccato

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
[B]
[B]

# #
BB # # œœ
44 44 00 00
00 00

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
[C]
[C]

BB# ## #
77
00 00

# # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
BB # # œœ
1010 44 00 44 00

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
BB# ## # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
[A]
[A]

œœ œœ œœ .. ..
1313 44 00 00 44
00 00

Variation
Variation

BB# ## #cc œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœœœ

BB

Feel
Feel
the
the
two
tworepeated
repeated
notes
notesasas
one
one
motion.
motion.
Place
Place
fingers
fingers
during
during
rests.
rests.

# # ≥≥≤ ≤ œœœœ œœœœ œœœœ œœœœ œœœœ

BB # # œœœœ‰ ‰ ‰‰ ‰‰ ‰‰ ‰‰ ‰‰ etc.
etc.
 1717

Tonalization
Tonalization
This
Thisshould
should
bebe
taught
taught
at at
each
each lesson.
lesson.
Pupils
Pupilsshould
should
always
always
strive
striveforfor
a more
a morebeautiful
beautiful
and
and
resonant
resonant
tone.
tone.

BB# #CC ˙˙ ˙˙ ˙˙ ˙˙ Œ Œ .. ..
11 ˙˙ ˙˙ ˙˙. .

BB# #CC ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ Œ Œ .. ..
22 ˙˙. .

G
GMajor
MajorScale
Scale
BB# #CC ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
˙˙ ˙˙
00

˙˙
BB# # ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ .. ..
00

˙˙

11
11
Allegretto
Allegretto
≥≥ ≤ ≤
Allegretto
Allegretto Shinichi
ShinichiSuzuki
Suzuki

# # ..
BB CC œœ œœ œœ œ.œ. œ.œ. œ̆œ̆ œ.œ. œœ œ̆œ̆ œ.œ. œ.œ. œœ œ.œ. œ.œ. œ̆œ̆ œ.œ. œ.œ. œœ œœ œ.œ. œœ œ.œ. œœ œœ""œœ œœ
00
44 00 44

. . . . flfl flfl flfl . . flfl . . . . . . . .
FF
.. ≥≥
BB# # œœ œ.œ. œ.œ. œ̆œ̆ œ.œ. œœ œ̆œ̆ œ.œ. œ.œ. œœ œ.œ. œ.œ. œ̆œ̆ œ.œ. œ.œ. œœ œ.œ. œœ ˙˙
00

Œ Œ œœ œ.œ.
55
44 00 44

flfl flfl flfl .. ..

. . . . U
. œ. œ̆œ̆ œ.œ. œœ œ̆œ̆ œ.œ. œœ œ̆œ̆ œœ œœ "" U ≥ ≥
BB# # œœ
a atempo
tempo

. . œ
00 00

œ œ
99

œ œ œ œ
. . œœ œ.œ. œœ œ.œ. . . . . flœflœ œ.œ. flœflœ . . . . œœ œœ œœ
11 11 11

flfl flfl rit.
rit. FF
..
BB# # œœ œ.œ. œ.œ. œ̆œ̆ œ.œ. œœ œ̆œ̆ œ.œ. œ.œ. œœ œ.œ. œ.œ. œ̆œ̆ œ.œ. œ.œ. œœ œ.œ. œœ ˙˙ ŒŒ
1313 00
44 00 44

flfl flfl flfl ..
18
18

12
Andantino
≥ .
Andantino Shinichi
Shinichi Suzuki
> œ œ œ. >˙-
Andantino Suzuki

#
B C œ œ œ. œ œ œ .
œ œ œ œ
œ œ œ œ œ
4
4 0
0

. . -̇
F

B # œ œ œ. œ œ œ
>
œ œ œ. œ œ œ. œ œ œ
>
55

œ œ œ
4
4 0
0

. . -̇ . -̇

# œ œ œ œ œ œ œ œ œ œ
B œ ˙ œ œ
99 4

œ œ
0 4 0
0 0

f
1
1 rit.
rit.

> . U
œ
B # œ œ œ. œ œ œ.
œ
a
a tempo
œ
tempo
œ œ œ œ œ œ
13

œ œ œ
13 4 0
0

˙
4

. . -̇ . >
F p
rit.
rit.

The Close 1–2 Pattern

œ œ Nœ œ œ œ œ œ œ œ œ œ ˙
Bc
0
0
œ œ

Bc œ œ Nœ œ œ œ œ œ œ œ œ œ œ œ ˙
 19

Twinkle, Twinkle, Little Star

(Theme in C Major)
Practice all variations in this key.
Feel the weight of the bow on the C string before playing.
Use less speed in the bow on the lower strings.
i1 0

IBIJ J J J I J J d I J J J J IJ J _g

5 0 0

IB J J J J I J J J IJ J J J IJ J J
9 0

mJ ~ J J IJ J ~ I J J J J I _J J _g II

C Major Scale
(two octaves)

/\ 0 /\

IB! r r L I F4 F r/}\J J J J I J J J II
20

Exercises for Good Intonation

(Diminished Fifths)

Perfect fifth Diminished fifth t i

~
2
=t,
JA IId# 1 J J J I r EF dk] f1lI J J rrn
01 012 ./j_
jff

~
Bohemian Folk Song
Andante Folk Song
r,

tit E E!F erI F J J

mf
I r ElF erI F J T j
r,
u r r1 1r
5

~:m-r~r ---+-r - - 1r
--+-r--+-r
---+-r---+-1 J J
9 v
I~ r F c IE F E I pr ~
..J F uIF rit.
~ J II
 21
21

14
14
Etude
Etude
Practice with the same short strokes as Perpetual Motion. Shinichi
Practice
Listen with
for the same
perfect short strokes
intonation in high as Perpetual Motion. Shinichi Suzuki
Suzuki

≥≥
Listen
and lowfor perfect intonation
positions in high
of the 2nd finger.
and low positions of the 2nd finger.

œœ. œ œœ. œœ. œ œœ. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ ..

0 0 0 1.
1.

B c
0 0 0 4

A Bc . œ œ.. œ.. . . œœ.. œ.. . œœ œœ œœ œœ œ .

4

A
0 0 0

F
0 0 0

F sempre
1 1 1 1 1 1
1 1 1 1 1 1
sempre staccato
staccato

œ œœ œœ œ œ œ œœ œœ œœ œ
œœ œœ œœ œœ œœ
2.

œ œ œ œ œ œœ œœ œœ
œœ œœ œœ œœ
5 2. 0

B œ œ œ
4 0 0 0 0

B œ
5 4 0 0 0 0
0

B œœ œœ œœ œ œ œ œ œœ œ œ œœ œ œ œœ œœ œœ œœ œ œ
8 0

B œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ
œœ œ
8 0 0

œ œ œ œ œœ œœ ˙˙
0

Variation
Variation

B cc œœ œœ œ œ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ
B
B
B œ œ œ œ etc.
etc.
22

15
Minuet No. 1
Johann Sebastian Bach

≥œ.
Allegretto

3 œ. œ. œ œ œ œ œ̄ œ. œ. ˙ œ
2
B4
1 1
1 3
3

F
œ œœ œ œœ œ œ œœ œ œœ œœ œ ( ≤) (≤)
1. 2.

œ œœ œœ œ œ ˙ œ. œ ˙ . .. ˙ . ..
55 3 3
B œ
4 4

≥œ ˙ œ œ œ œ #œ œ œ œ œ œ œ
.
910
#œ œ œ œ œ œ
B .
4
4 0
0 0
0

p F
15 œ œ œ œ œ 5# œ ˙≤ .
4

œ œ œ nœ œ œ œ œ œ œ ˙ œ œ
B
14

p
œ œ œ œ œ œ œ œ
B ˙. ˙. ..
21

œ œ œ œ œ œ
20 4
4

F 2da volta rit.

 23

16
Minuet No. 2
Johann Sebastian Bach

œ- - œ̄ œ- -
Andantino
≥ - -
œ œ - -
œ œ œ̄
B 43 œ- œ œ- œ. œ. œ- œ œ- œ. œ.
* 1

f
œ œ œ œ œ œ œ œ œ œ œ œ
2
œ ˙.
2

B
5 0

œ œ œ œ œ œ œ œ œ œ
3

Bœ œ œ. œ. œ œ œ. œ.
9

œ œ œ œ œ œ œ œ œ œ (≤ )
œ œ œ
4
B ˙. ..
13

œ.
4

œ.
3

≥ œ œ œ œ œ œ œ
B .œ œ œ œ œ œ œ
. œ. œ.
17

œ. œ.
p
21 œ
œ œ œ œ œ 5œ œ. œ œ œ . # œ. œ #œ œ œ
œ. œ
4

B
3 3 0

F
3
1

25 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ (≤ )
B œ œ œ œ
4

≥ ≥œ
6
≤ ≤ œ œ œ œ œ
Bœ ˙.
29
0

œ œ œ œ
0 0

p
œ- œ- œ̄ œ- -
1

œ̄
Bœ - -
œ -
œ -
œ œ. œ.
-
-œ œ -
œ -œ œ œ. œ.
33

f
œ œ œ œ
B œ œ œ œ œ œ œ œ œ œ ˙. ..
37

œ.
4

3
.

*Circled numbers refer to practice suggestions on page 28.

 *

( )

( )

*Circled numbers refer to practice suggestions on page 30.

 25 25

18
18
TheHappy
The HappyFarmer
Farmer
Robert
Robert Schumann
Schumann

.œ œ.œ .œ . . œ. œ œœ œœ œœ œœ .œ .
Allegro giocoso
≤j≤j ≥ ≥ . œ≤ œ≤ œ œœ œ œ œœ œœ œ œ œ œ œ œ œ ‰ ‰ ≤ j j
≤
Allegro giocoso 1 1 1 1

BBcc œ œ œ .œ J J œJ J
0 0 2 2

JJ œœ œœ œœ œœ
ff 1 1
ff
. . œ .
œ . . œ œ œ œ œ œ œ œ œ .œ . ≤ ≤ œ ≤j≤j
. . œ œ . œ œ œ œ œ œ œ œ œ œ œ
5 5

BBœ œ J J œœ JJ œœ œœ œœ œœ œœ œœ ‰ ‰ œœ
JJ
FF
9 9 >
>œ .œ . œ œ ≤ œ≤ . ≤j≤ j >œ >œ œ œ œ ≤ ≤j . . œ .
œ . . œ œ œ œ œ œ œ œ œ .œ . ≤ ≤
BB œ . œ œ œ œ œ . j œ .œ . œ
. œ œ. œ œœ
JJ œœ œœ JJ JJ
0 0

JJ
ff
œ œ œ œ œ ≤ j≤j >œ >.œ . œ œ ≤ œ≤ . ≤ j≤j >œ >œ œ œ œ ≤ j≤j
1 1 1 1

œ œ œ œ œ œ œ . œ œ œ
. .
1313

BB œœ œœ œœ œ œœ œœ ‰ ‰ œœ JJ œœ œœ œœ
0 0

FF ff
. œ. œ .œ . . . œ œ œ œ œ œ œ œ œ .œ . œ≤ œ≤ œ œ œ œ œ œ œ
œœ œœ œœ œœ œœ œœ ‰ ‰
1 1 1 1

BBœ .œ J J. œ œ œœ
1717

œœ J J
JJ
26

19
Gavotte
F. J. Gossec

œ≥. œ. œ. œ. œ. œ. œ. œ. -. œ œ̄ -.
Allegretto
j
≥œ. œ. œ. . . œ. . . -. # œj œ̄
œ œ œ œ œ
4

BC œ œ Œ œ-. Œ
F
≥. œ. œ. . . œ. .
œ -.
j œ̄ -. ≥œ
œ œ œ . # œ œ̄
œ j
œ ..
5 4

B œ œ Œ œ œ œ œ #œ œ Œ
0

< œ<

≥ . . . . . .
B œ. œ œ œ œ œ œ. œ. œ œ œ Œ œ≥. œ. œ. œ œ. œ. œ. œ. œ œ œ Œ
9 4
0

p P
≥
œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ ≥œ. . œ̄
œ œ. œ. œ. œ. . œ. œ-. -
j
œ.
œ
13 4 Fine
B Œ Œ
0

œ
F rit. p a tempo
≥- - œ- œ-
B .. œ œ œ œ œ œ œ Œ œ- œ- œ- œ- œ œ # œ œ œ œ n œ œ œ.
17 4 0 0

œ. œ. œ.
F cantabile

œ œ œ œ œ œ œ œ œ œ- ..
21

B œ œ. œ œ œ. œ. Œ
4 3

œ
0 0

. œ œ œ
p 1 3 2 1

≥œ- œ
(arco)
œ. œ. ≥œ- œ. œ. .
. Œ œœœœœ œ. œ Œ
2

B .. œ œœœ
25

œ
3

œ.
F
≤ ≤
≥ œ. œ. œ. œ.
œ- œ œ œ œ œ œ.
D.C. al Fine

Π..
29 4 4

Bœ œœœœœ
pizz.

- œ- œ œ œ œ œ
œ.
 20
Practice Suggestions
20 27
27
20 Practice Suggestions
Practice Suggestions
≥
# œ œ œ ≥œ
1

BTell# Aunt œRhody Œ ..

≥œ willœ notœ be indicated
≥œ
“Twinkle, Twinkle, Little Star” Variations Go
#
1

œ numbers in laterŒ music.. reading. 2)

Continue to stop and prepare fingers 1, 2, 3 when descend- 1) Most fingerings after this piece to
B # on finger
≥œ œ œ Asœ bow control improves, more bow can be used – start at ≥
ing until a good frame of the hand has been established. avoid relying
#
1
The use of tape on the fingerboard to mark correct finger
placement is suggested. B # œ .. further toward tip. Make certain that
the middleΠand move

œ œ
Var. B Listen for silence during rests. the bow is kept parallel to the bridge. 3) Note ABA form.
Var. C Stop bow only after eighth notes. Use small bow. 2
# O œ œ
3 3

OB # 2 Little Children ..
(1)
3 3
Vars. D and E Use small bows. Keep upper arm quiet
œ œ piece is the
Come,
but relaxed. Set bow at middle, parallel to bridge.
# O œ new technique œ
3 3

.. the up-
1) The most↑ important in this
Bup-bow# that connects each phrase, plus
(1)
(1)
3 3
Note that the first and third lines of Twinkle are the same, repeated
Hold silently

with a contrasting section in the second line.

O
2 Form œ bow beginning.
A B A. œ By setting the up-bow at the middle tape,
œ œ
↑
B ##
3 3

.. to use some of the lower half of the

(1)
3 3
the student will begin
Hold silently

French Folk Song

Use short strokes with separation between notes.↑Finger œ wholeœ bow with alternat-
bow.3 Note that the entire arm is in motion when bowing
below the œmiddle.œLater, use
#
3

# 3 and legato stroke. 2) The skips.. in this piece

Bbowing
0 1 1
Hold silently
numbers followed by lines indicate holding the fingers ing
œ œ independent
œ to develop œ
#
down. 3

.
provide the opportunity fingering.
B #
1 1

. to keep
0
1
However, it is also important to develop ability
œ
Lightly Row
œ œ œ
fingers down. Adopt this guide for fingering: a) Place only
# # before
3 3
1) Practice the bowing in measure 1 using open strings to
B bow .
1 1 1

as the next finger.falls, depending on the speed and pos-

one4finger at a time. Fingers either remain down or raise
0
achieve matching tone on both strings. Stop Review the D major scale, playing all down bows.

crossing. Use short bows. 2) Practice measure 1, placing

sible repetition of notes.
27

œœœ œœœœœœ
only the 2nd finger. 3) Listen for the difference between 1
20 œ
4 Review the D major scale, playing all down bows.
4 Review the D major scale, playing all down bows.

B # œœ# œ œ œœ
Example a.
skips of a third and the steps in the scale. 4) Note the form 27
27
0

20
AA'BA', studying the difference between parts A and A'.
Practice Suggestions
20 Review the D major scale, playing all down bows. œ œ œ œ
27

œœœœ
20 # œ œ œ œœœœ
Example a.

B # œ
4 0

Practice
Song of the Wind
Suggestions
Practice the string crossing
1

Practice Suggestions
Practice Suggestions
and bow lift in measures 3
2 3 only

œœœ œœœœœœ
3

and 4 on open strings.

#
Hand
œ œ œ
1

≥œ œ œ ≥œ B # œœ œœ
Example a.
0 2 3 only

B1 # #
1
makes a small, quick circle
œ Œ ..
3

œ œ
B ## œ
between two down-bows.
œ
## ≥œ≥œ œœ œœœ œœœ ≥œ≥œ≥œ
ŒŒ Œ .. ..
B # .
1

œ
1

œ œ
B # B ## œ œ
2 3 only
3
2

Practice holding 1st finger b) Go directly from one2 finger to another (“walking
O œ œ
œ
œ # œ œ œ œ
fingers”). Use these principles in reviewing former pieces
# B
.. #
2 while lifting and crossing the 3rd
3 3

B2 #
œ œœ œ œœ œ œœ œ Œ
(1)

≤
3 3
and in all succeeding learning.
B # # œJ
Example b.
finger from D to A string.
↑O œœœ3 œœ œ
1

OO œœœ3
3

œœœ
1 2

#
3 3

... .. œ≤ œ œ↓œ œ œ œ œ œ ↑œ œ Œ
22
B # #
(1)
3 3 3 3 3 2

B ##
(1)

B # ↑
(1) Example b.
Hold silently 3 33 1

J
1 3 2

↑↑
Hold silently Raise 1 when 3 plays, so that

Hold silently.
Hold
Holdsilently
silently it will be ready to fall on A string.
↓ ↑
œ œ œ
Exercise
œ
to1 strengthen
Example3rd
≤ œ œœ œ œœ œ œœ œ
B3 # # # œ
b.
3 3 Raise 1 when 3 plays, so that

.
B #. J Œ
0 1 1
finger. Do not place 2nd finger.
1 3 2 it will be ready to fall on A string.

# # œœœ0 œœœ1 œœœ3 œœœ .

May Song
3

B #
1 1
33

B ### .. .
0 3
↓ 1) Clap, then play
↑ the melodic rhythm of measures 1 and
B
0 1 1 1
1

1
. 2 on each note of the D Major scale. 2) Use small bows on
Raise 1 when 3 plays, so that
it will be ready to fall on A string.
dotted quarter notes. 3) Practice the Twinkle Variations on
Reviewthe Dthe 1Dscale,
Major scale, playing all down-bows.
1
4 Review major playing all down bows. G and D strings.

œ œ
4 Review the D major scale, playing all down bows.
4 Review
Example a. the D major scale, playing all down bows.
0
28

Exercises for the 4th finger

Adopt this guide for fingering: Use the 4th finger to avoid
changing to another string only for that note. In ascending
or descending passages, continue to use open strings to
check intonation and clarity of tone on fingered notes. In
instances of open string usage for musical effect or bow
crossing study, the notes will be marked "open" ( as in
Perpetual Motion).
of parts A and B, differing only in the open string notes
(either dominant or tonic). 4) On the repeat, play the
Variation. 5) Now play this piece beginning on the G
string. The G and C strings, being thicker, should be
played with a slightly heavier arm and slower stroke.
Avoid the sound of the bow slipping at the beginning of
each note.

Long, Long Ago Allegretto

Use short strokes first. Then use longer, legato strokes This piece should be played lightly, without much bow.
with good bow distribution. In measures 9-10, stop the The eighth notes will alternate from just below to just
bow and prepare 1st finger on the G string. Cross the above the middle.
string while bow is still, without raising the elbow from the

D string posture. Then hold 1st finger until 3 is played; go
directly from one finger to another.
Allegro
Use good length and fast speed of bow on quarter notes,
with whole arm motion. Keep bow on string at the pause
/";'. , then lift quickly and proceed.
Perpetual Motion
1) The finger action must anticipate the bow stroke. It is
important to hear mentally the difference between skips,
steps, and repeated notes. 2) Work to develop quick,
spring-like action in both placing and lifting fingers.
3) Form ABCA. Note the question - answer structure
J1 ti-,n ti-,
Andantlno
1) Practice with small, light strokes.
2) The forte section should be played with full bows.
The Close 1-2 Pattern
All the preceding pieces have had C# on the A string and
F# on the D string, placing the 2nd finger close to the
3rd. Look back to discover these sharps in the key
signatures. If there is no sharp in the key signature or
before the note, the note is a natural. C ~ on the A string
and F ~ on the D string are both played with the 2nd finger
low, touching 1st finger, and leaving a space between the
2nd and 3rd finger. The following pieces will use this new
finger pattern on the A and D strings.

(Minuet No. 2)
CD
!2-=1
2

a. lg-r _t Keep 1st finger down.

Place 2nd finger close to it on A string.

r,
v v
If t ~~ II
Take 3rd finger across to G string without lifting 2nd finger until
b. 3rd finger falls. Whenever possible, move directly from one finger
to another, as in walking.
2--3

c. ~,~---E~r---+-r--+-
j-+--7--+-1 -r~,---......___.r~=II
f---f'IL-r __,___!=
Start with 3rd finger only. Hold 1st finger down
and place 2nd finger close to it on A string.
1----0 Memorize these measures first. Use middle of bow with short strokes.
Stop bow between notes, setting new finger before playing.

Cross string rapidly Hold 2 W.B. L.H. W.B. L.H. W.B. U.H. Save bow.
with 2nd finger.
W.B. - whole bow U.H. - upper half L.H. - lower half
 29
Walking Finger Exercises Bars 12-13
r,
3--- 4 3

F r r 11= EF-s+---+t
C--+--1---+d--::+11:11~~-r;;...__;;~~
2--3
-+-+---+~__....

Lift 3rd finger when 4th finger falls.

Practice triplet slowly, then slur.

Feel a steady pulse. Feel triplet lead to second beat.

II ffi 3
~II 3

v v
J J
•
II

These exercises prepare the close 3-4

pattern introduced in Minuet No. 2.
slide up
r,
/\
r, 3 j! 3 4

c FtJ C F E; =II
0
•
It 1---
t =II
1---

Raise 1st finger during triplet to be ready

to fall on D string.
r,

fff rt
1,......-:-: 1

tffl ---__t_-=f =~=f=F

=II
A review of the 3 finger patterns learned.
Pattern 1 Pattern 2 Pattern 3
4 3 4 3/\4

r
2/\3 1/\2 1

~
0 0 0

tffl F r I E ~ II F E gr E ~ II F E f II
close 2-3 close 1- 2 close 3-4

Practice to achieve a smooth slur across strings.

© r, v
r,
1
......-
v 2

Jffi F :sj J
0 0 0
I F s~ 0
J
0
I r f L r r I r· II
30

(Minuet No. 3)

Achieve a clear tone with 3rd finger on each string.

(D Listen for a clear bow release before crossingstrings.
3 3 3 3.....---.....

•·1B F ft FF I F t f II
Use smaller strokes on eighth notes.
Play the two up-bow notes gently.
r,

b. tmir r r r I
Say "down slur down-up down up up"
while clapping steady pulse.

@ Go directly from 3rd to 4th finger. See exercise 3 of Minuet No. 2.

0 r,
-IIHIB~-t=
_______
r---F•---t-111finger Hold 2nd until 3rd finger falls.

Grace note.
(7\ lift and set bow during rests. Listen for a clear grace note.
\:;v - r,
ii ii 1 0

IB~-f· Iii~ , gr, '7fff II

04 1

mf To find correct finger placement, place : 1st finger

silently and hold. Touch 2nd finger to 1st finger. II
(-+)
f t 3
© Watch "low-high" 2nd finger. 2nd finger lifts as 3rd finger is placed. (Walking fingers)

IB t r t r =IIt 2 3 2
rf F II
 31

(z) First play implied :Jody with smooth singing quality.

IBi r I r· 1 r f1 1 r· II
Play melody as Bach wrote it.
Slightly emphasize the melodic notes and relax the accompanying notes.
- - - -•..............
-. .
IBi E ~ r Ic ~ r IE ~ E I ~J~ r F II

(The Happy Farmer)

Try this bowing on the C Major (two octave) Scale.

(written) (played)

CD ri v v ri

IBc H ~ ------ --~

t"i =ft5~pµ ~

0 V 3
~~ E~ ~ If ~ Set bow in middle for each upbeat.
Set third finger firmly for good tone.

Keep 1st finger down when 3rd finger crosses strinp.

Q) l 1~~3~_3_

fflcEfFcEFJllr r II
Listen to correct placement of 1st finger

© 0 ~
1B C I~
f r r r I r= I W =111F:Jr I r r r I ~=I~= ~I
B ~ touches A
2At
 32

(Gavotte)
Eighth notes should be played staccato. The bow should come to a
full stop on the quarter notes before crossing strings.
G) ~ay the grace note on the beat. JI -;
a.
le f f F; EF E; I r .t II
0

El F =II
Match clarity of open A string by pressing
firmly with 4th finger.

c.

3rd finger is low on G string and high on C string. Use full bows on
quarter notes and upper half or lower half on eighth notes (alternating bowing).
Avoid placing 2nd finger on string when skipping from 1st finger to 3rd finger.
0 1-3

mr £J F
1-------0
tp I J #${ J ~ II

0 Practice holding 2nd finger when placing 3rd finger.

2
r, ~

r 1Jflr r r
"'-3

IBr II

First practice slowly with separate bows.

lift )"2
3--~
'
Pull back 2~
2

Place 2

0 Developing facility. First practice slowly with separate bows.

a. r,
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TECHNIQUE & PRACTICE I Know a Fox with Dirty Socks: Nurtured by Love: The Classic
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