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Suzuki Method International

Sdi'VlomschoolYIOIINP\RTYOrtDInz

Copyright O 1978 Dr. Shinichi SuzukiSole publisher for the entire world except Japan:

Summy-Birchard Inc.exclusively distributed by

Warner Bros. Publications Inc.15800 N.W.48thAvenueMiami, Florida 330T4

All rights reserved Printed in U.S.A.

ISBN 0-81487-146-8

The Suzuki name, logo and wheel deviceare trademarks of Dr. Shinichi Suzuki used under

exclusive license by Summv-Birchard" Inc.

Any duplication, adaptation or arrangement of the compositionscontained 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

I] - 3 .

INTRODUCTION

FOR THE STUDENT: This material is part of the worldwide Suzuki Method ofteaching. 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 ofongoing education is required. Your national Suzuki association provides this forits membership. Teachers are encouraged to become members of their nationalSuzuki associations and maintain a teacher training scheduleo in order to remain

current, via institutes, short and long term programs. You are also encouraged tojoin 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 listingthose relating to training in the Suzuki Method. The Suzuki Method experienceshould be a positive one, where there exists a wonderful, fostering relationshipbetween child, parent and teacher. So choosing the right teacher is of the utmostimportance.

In order to obtain more information about the Suzuki Metho4 please contact your

country's Suzuki Association, the International Suzuki Association at 3-10-15 Fukashi,Matsumoto City 390, JWan, 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, Miami, Florida 33014.

Licensed by Warner Bros. Publications Inc.

our catalogueon line

r;=ii-i- . .+--=;

"te-r}&'www.carisch.com

This olbum @ 2OO2 by NUOVA CARISCH s.r. l, - MilonoAll rights reserued. No part of this book may be photocopied or reproducedin any way without permission. Unauthorized uses are punishable by law.

I

C(NTDITTSS t u d y P o i n t s f o r V o l u m e 2 . . o o . . . o o . . . . . . . o . . . o . . . . . o . . . o . . . . . . . . . 4

EfflJ Chorus from ttJudas lVlaccabaeust', G. E Hgndel . . . . . . . . o . o. . . . . ......7

l A M u s e t t e o J . S . B a c h o o . . r . . . . o . . . . . o o . . . . . o . o o . o o o o o o r . . . . r . . . . . . . 7

f _ l _ l H u n t e r s t C h o r u s , C . M . v o n W e b g r . . o o o . . . . . . , l o o . o . . . . . . . . . . . . . . . . 8

1 A l r o n g , I n n g A g o o T . H . B a y l y ' . . o o . . o o . . . . . . . . . i . . . o o o o o o o . o . o . r . . . . . 9

f . ! ! W a l t 4 J . B r a h m s . . o . o . . . . . . . r r . o o o . . . . o o . . . o . . . o o o . o o . . . . . . o . . 1 0

l - { l B o u n d e r G . E H a n d e l . o o o . . o o . . . . . . . o o . . . . . o o . . . . . . . . . . . . . . . o . . . l l

f Z J T h e f i r o G r e n a d i e r s , R . S c h u m a n n . . o . . . . . . . . . . . . . . . . . . . . . o o o . . . . 1 2

LqJ Theme f rom 56Wi tches t l )ance t ' rN . Pagan in i . . . . . . . o o . . . o . . . . o . . . . . . 13

t 2 J G a v o t t e f r o m t t l l i g n o n " r A . T h o m a s . . o o . o . . . . . o o o . o . . r . o o . . . . . . . . . 1 4

t D f - - l r - -

E q G a v o t t e , J . B . L u l l y . . . o . . o r o . o . . . . o . o o o o . . o . . . . r . o . o o . . o . . . . . ' . . 1 6

L U M i n u e t i n G L . v g n B g e t h o v g n o f . o . . . . o o o . o . . . . o . . . . . . . . ? . . . . . . . . l E

t r M i n u e t , L . B o c c h e r i n i . o . . o o o o . o . . o . . . . . . o . . . . . o . . . o o . o . . . . . . o . . l g

k :

Study Points for Volume 2

fr 2 *o+tla;-*: i i '

Points d' Etude pour le Volume 2 Studium Hinweise fiir Bund 2 Puntos de Estudio para el Vol. 2

I . f - t ' 6 t : . T t 6 r : t t&g v a - f ' t l l t l r ' r f b : t

t : J 'r < * '*6! lgt. . t f iJ '-e -t i 6 " + ntr lb' lB+t: J

t ) t t + , ' i [ {6 t t l t h ' t "

2 . | + t t { 1 ' z a > . 1 t t ) * L r ' # a t ? , ! } t t . r t g -

,p*Et : r j r . A. h . t i h t l i r t t '> t t t l . l l tL ( t r i b t i r \o

3 . 4 l f i a t L t . t : J o ( . [ L r . * f ? . r ] . L r ' * t ] . f i

L u . , ] a> l+16 t , 1 * b t L A "

1. The child should listen to the reference recordings 1. Das Kind sollte jeden Tag dic d.iesbeziigliche

every day at home to develop musical sensitivity. Rapid Schallplutten-Aufnahme daheim anhdren, um seine

progress depends on this listening. musikulische EmpJindsumkeit zu entwickeln Rascher

2.Tonalization, or the production of a beautiful tone, Fortschritt hiingt von diesem Zuhdren ab.

should be stressed in the lesson and at home. 2. Tbnftihrung oder das Heworbringen eines schdnen

3. Constant attention should be given to accurate Tbnes sollte im Unterricht und daheim besonders betont

intonation, correct posture, and the proper bow hold. werden.3. Stiin dige Aufm erks amkeit so llte der genaa en

Intonierang, korrekter Haltung und richtigerBogenftihrung gezollt werden.

1. L'enfont devrait 1couter le disque de 1. El niffo debe escuchar los discos de referenciacada

rifdrence chaque jour d Ia maison, afin de d,ivelopper dia en su casa para desarrollar sensibilidad musical. El

une sensibtlitd musicqle. Des progrds rapides progreso r6pido depende de esta audici6n.

ddpendent de cette audition. 2. Sonidizaci6n, o producci6n de un tono hermoso debe

2. La tonalisation, ou la production de beaux tons, ser enfatizada en la lecci6n y en casa.

devrait €tre travaillde pendant la legon et d la maison. 3. Una atenci6n constante debe ser prestada a una

3. Une attention constante devrait €tre donnbe afin afinaci6n exacta, postura correcta y la forma debida de

d'obtenir une intonation exacte, une posture correcte sujetar el arco.et une bonne tenue de I'archet.

Tonalization

l ' : | t ) t 4 > 3 >Tonalisation Tonfiihrung Sonidizaci6n

( ) { o l - F i i l a ) f i l t ? l i . ' : . . 7 ' v a - / - v t ' F l i f 6 t e

t : t [ i t t c h 6 " ) ( f i i v

(This exercise in G minor should be taughtin the same time the child is studyingthe Bourr6e of Hiindel.)

(Cet exercice en sol mineur devrqit €treenseignt au moment oi l'enfant Atudie laBourrde de Hcindel.)

7 - > )

(Diese Ubung in G-Moll sollte sur gleichen

Zeit gelehrt werden, wenn dus Kind Bourrde

von Hiindel studiert.)

(Este ejercicio en sol menor debe ser enseflado

al mismo tiempo que el nifro est6 estudiando la

Chamarasca de Hiindel)

t f i , ! ; . t a l f r l j ( i e ( f 6 H t , ' (

s t l t i a f . 3 a l ? 2 l s i r : t

6 *i i?.

This is the first time the lowered first finger is used. When thisfinger is placed on the stringo the third finger has the tendency topull back out of proper placement, toward the first finger. To avoidthis, try playing the following exercise silently. Keep the thirdfinger in place as the first finger moves back from Bi to Bb.

C'est la premidre fois que le premier doigt reculd est utilis6.

Quand ce doigt descend sur la corde, le troisiime doigt a unetendance de reculer aussi de sa position correcte, vers le premier

doigt. Pour |viter ceci, essayer de jour I'exercice suivante ensilence. Gqrder le troisiime doigt en place pendant que lepremier doigt recule de si\d sib.

3 o l f r b , ! h " ) + f v , r h T )

t ? I a l g t : $ t f f 3 r f

Dies ist dus erste Mal, duss der gesenkte erste Finger benutzt wird,

Wenn dieser Finger an die Suite gesetzt wird, so hat der dritte Finger

die Tendeng, von seiner korrekten Lage und nuch dem ersten Finger

zurilckzuziehen. [Im dies zu vermeiden, versuche, die folgendetibung luutlos 7,u spielen. Halte den dritten Finger un seiner Stelle,

wiihrend der erste Finger sich vun H nach B zuriickbewegL

Esta es primera vez que se usa el primer dedo bemolado' Cuando este

dedo est6 colocado en la cuerda, el tercer dedo tiene tendencia de

quitarse de la posici6n correcta, por moverse hacia el primer dedo. Para

evitar 6ste trate de ejecutar el ejercicio siguiente en silencio. Mantenga

el tercer dedo en su lugar mientras el primer dedo retorna de si ! a si b.

S r g r

I

Chorus from "Judas Maccabaeus"E rz/ '^?/J*? Xr h'P)

Maestoson

,A.trl

{ iE t :

te

p dim.V

Bitte darun denken, dass das Kindjeden Tugdie Schallplatten unhiiren soll.

Por favor recuerde que el niflo debe escucharlos discos cada dia.

G. F. Handel; 2 f ' t v

Please remember that the child should listento the recordings every day.

Surtout ne pqs oublier que l'enfant doiticouter les disques tous les jours.

Andanten r0

pastorale :z €.7 l.3 - q

cresc.

3

E q B o F.-o0I

n2^l

3 0 1

J. S. Bach

V / ; ' / ' t \t.

3I

*fn0

r

Choeur de "Judas MaccabaeLts" Chor uus "Judus Muccubueus" Coro de "Judas Macabeo"

aMuset

Musette

0 3 6 A 2

--_

Hunterst ChorusreAOAIE

C. M. v. Weberl r . - z{ -

Y V3

' t

V0

L o 3 o t

3n3

?

n

Choeur des Chasseurs Jiiger Chor Coro de los Cazadores

trLongAgootrg,

v> ?" v> ?" 7=" -T. H. Bayly

^ { - 1 , -

- - -

l-9 B

-----_

*f

n

*f,

n

n3 0 3- j

Variation (* 4 rk)Variation Variation Variacion

! oY ld 3 r i+ {l i o 3 + 1 1 o j o

3 # { t o S s z l o o r o

\J

g 3 - . e o

n3 0 3_o 2

3#i-t oJ o ?||.{ Bo3.9-3-t o e

t _ o 03-t ,_J o o l o

g B - . o o

t 0 t 2 3 0 4 33_o z

II

Il y a Trds, Trds Longtemps Lung, Lung ist's her Hace Mucho, Mucho Tiempo

10

Waltzv )v'y

p'dolce

Moderato

I

foco clesc.

poco rit.

ValsValse Wulzer

--_

Bourr6e

Allegretto

p espressiuo

( 4 )2 3 t 2 3 0

V No 3

G. F. Handel+ 2 7 ' t v

3

n3^.1.-- \

- p

( 4 )2 3 0 2

- ( 4 ) . ' ^t l iS- -0 l-+

k a

2 rf i 0 3 X-..0 (f,gj) | 2 g

l-g I oA2a ?*_g

t 0 t 23 0 r 8 O j l J .

w1-{ 3-{ o z- 3-o

1-g I o.-L 2 a ',

p espressiuo

B o I s o L Z o

!10G)

2 3 0 2

({)2 3 0 2

r

R. Schumann' / 1 - ' ? 2

r;l ' l

The Two Grenadiers-AaffilvR

t2

Z \ o

--__

Moderato

--_

I

-

0

rit.

3

n0

n3

allarg.

Die zwei Grenudiere Los Dos Granaderos

Moderato

V N

L r . l r ^ 0 I

? . ? z l z ! 0

Les Deux Grenadiers

I

l " lo'wit

rffifEr

V0

Theme from chest Dance))

T 3 ,

Andant. T___o y n2-^.-f) t 2 0

,)lfr 0 t h't)

O-.3

!}l o-.-{

N. Paganinir 9 ) f = - =

0

nl.--0

3n1-? $)l^_0 #l1i #

t O-'-.?

3_? I3_o 2

. f 3

n2

a

0I23nt

P meno ,nosso

Thdme de la "Danse des Sorcidres" Themu aus "Hexentunztt Tema de "LaDanza de las Brujas"

lI

IIIjI

IiII

IiII

i " - ' ,L

t4

Gavotte from "Mignon"

a) liif 'y I.r : = 3 Y tA. Thomas

t - - - ?

n 23 7

Allegretton P o - 9 3 4 2 3 ,^ o

2 2 - 3 |

0 0 l

Vl _ 3 2 4

( b ) t 3 Z 4

0 1 3 r , 0 ( l ) l

t 2 3 4 2 3 l" 0

({)o

t z 3 4 z 3 \ o

Gavota de "Mifl6n"Guvotte aus "Mignon"Gavotte de "Mignon"

(g)

n?

( l )

9 {( { )0

ptzz .

Entrenamiento del oido

Ubu ng fiir die voII e n dete Oktaven-Intonierung,Dem Klange der offinen G, D, undA SaitenIauschen; die Oktaven-Hdhen genuu

zu treffen versuchen.

Ejercicio parala perfecta afinaci6n de octava.Escuche la resonancia de las cuerdas al aire de sol,re, y trate de acertar los dipasones de octavaperfectamente.

Ear Traininguai,tlffi

Entrainement de I'oreille Gehiiriibung

'rti:t 2 ? - -r,fi'i|,.i):.,

G . D . Aa � l ' * l , l t t t . 2 r l ! j t , L +oU L , rS t J ( l l t l r , , ( ) ' c ' i |

r t t ? ? - ' 7 t u ( l * t l "

Exercise for perfect octave intonation.Listen to the resonance of the open G, D, andA strings, and try to match the octavepitches perfectly.

S'exercer ii obtenir une intonationd'octave parfaite.Ecouter lq rtsonqnce des cordes libres dusol, rim rb et du la, et essayer d'accorderparfaitement les diapasons d'octaves.

Cet exercice devrait €tre |ffectue tous lesjours jusqu'ii ce qu'il soit parfaitementmaitris2. Le professeur devrait I'entendreau commencement de chaaue lecon.

' / u ' l , . l t h t v , 7 > l f t ' l l L T . r r : t t : / t l r r t 6 J i t : . t

t : v t 7 > h A i j { : t J h ' t i i , t 4 6 J i t : .

This exercise should be practiced daily untit Diese Ubung sollte ttiglich gespielt werden,it is mastered. The teacher should hear this bis sie viillig behewscht wird. Der Lehrerat the beginning of each lesson. sollte dies bei Beginn jeder Stunde anhiiren.

Este ejercicio se debe practicar diariamentehasta que se domine. El maestro debe escucharesto al comienzo de cada lecci6n.

l ^ " 1

Gavotte

T6

f'fi.2 l.

AllegrettoD Vq e

J. B. Lullyt ) - ,V c )

z ?^9

\--l'

a tempo ma piil ogitato

l - .s o

o u \ t Z o

o

gfaznso

^f

( . )0

poco rit.

\--7

B A ! 3 *

3 _

3 A 1

2 , . r ^ o B

(c )0 to-P-a I r $ ? 0

3 _

2 u \ o

17

0 2 1 . 0

ritard.

r i t .

n H 4 b i ) : , n 3 f f i a # r . / : I l " F f t t E t (

Procedure for practice Comment s'exercer Verfuhren zur Ubang Procedimiento pall.aprhctica

( c )0

( o )0 l o-l o r^ o I

( c )

( c )0

( o )0 9^9

ni?z

*

i3 i?i3 ***13,11 o I

I ,

18

Allegretto

Y z

Minuet in Gt xr.7 l-

3 3

l-V3

EffiL. van Beethoven

- { - l . - .< ,

-

0

- P

2 0 2 3 2 3

( 3 )l , 2 3 l ( b ) 4 Ya'

( 3 )2 0 0

V3 3

ll2.no.c. at Finel3

|U

p con grazia

Q )2 0 3

p

( g )o 2 2 0 0 2 3 2 s o \ 1

Menuet en sol Menuett in G Minu6 en sol

--

19

Minuet/ X ! ' y l .

Moderato e graziosoV N

i ? 0

? 2

3 0 1

0 2

s 0 t 2

--.--..- at-

z + 4-.--3

L. Boccherini;t'y t t) - =

VWlo 9--n Yqn g

V1-{

qp

4

e 3{q

p;I 0

*I

nt4 30

Vkr

n2 Y4

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SUZT JKI METHOD INIERNAIIONAL

tsBN 88-507-0235-3

,lltililililtililHHilNUOVA CARISCH s.r. l .

VIA CAMPANIA, 12 - Zona Industriale Sesto Ulteriano20098 s. GruLrANo MILANESE (Ml)

UFF. CLIENTI -fel.02-98.221 .212www.carisch.com

Licensed by

SUMMY-BIRCHARD INC.DlStributed byWARNER BROS, PUBLICATIONS15800 N.W. 48th Avenue. Miami, Florida 33014A Warner Music Group Company

.-lI Alf t AOZ L-AfiWZ