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Suzuki MethodInternational

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

Summy-Birchard Inc.
exclusively distributed by Warner Bros. Publications Inc. 15800N.W.48thAvenue Miami, Florida 330T4 All rights reserved Printed in U.S.A. ISBN 0-81487-146-8

The Suzuki name, logo and wheel device are trademarks of Dr. Shinichi Suzuki used under exclusive license by Summv-Birchard" Inc.

Anyduplication, adaptation or arrangement of thecompositions
containedin this collection requires the writtenconsentof the Publisher. No part of this book may be photocopied or reproduced in any way withoutpermission. Unauthorized uses are an infringement of the U. S. Copyright Act and are punishable by Law

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No part of this book may be photocopied by law. parent and teacher. Publications Licensedby WarnerBros.Milono This CARISCH s.r. especiallylisting those relating to training in the Suzuki Method.INTRODUCTION FOR THE STUDENT: This material is part of the worldwide Suzuki Method of teaching. where there exists a wonderful. Publications Inc. We recommend you ask your teacher for his or her credentials.. Your national Suzuki associationprovides this for its membership. our catalogue on line -. fostering relationship between child. So choosing the right teacher is of the utmost importance. 1900 Folsom Inc.W. via institutes. in any way withoutpermission. 48th Inc.l.+--=. JWan.=ii-i "te-r}&' www. Matsumoto City 390.The Suzuki Associationof the Americas. a great deal of ongoing education is required. In order to obtain more information about the Suzuki Metho4 pleasecontact your country's Suzuki Association.carisch. FOR THE TEACHER.' In order to be an effective Suzuki teacher. c/o WarnerBros. olbum@2OO2 by NUOVA or reproduced All rightsreserued.com .In addition. Boulder Colorado80302or Summy-Birchard Florida 33014. FOR THE PARENT: Credentials are essentialfor any teacher that you choose. Companion recordings should be used with thesepublications.the InternationalSuzukiAssociationat 3-10-15 Fukashi.. there are piano accompaniment books that go along with this material. Teachers are encouraged to become members of their national in order to remain Suzuki associationsand maintain a teacher training scheduleo current. Miami. Avenue. short and long term programs. The Suzuki Method experience should be a positive one. r. #101. You are also encouraged to join the International Suzuki Association. uses are punishable Unauthorized .. 15800 N.

o o o o . o . . o . . o . o . . B a c h o o . .. . . . . . . g a n i n i . . . . ' . . .. o .10 o.lE t D f --lr-- M i n u e t . oo . . ooooooo . . .vonWebgr .7 t h o r u s .7 EfflJ Chorus from lA M u s e t t e o J . . . . . . o . . . . . o o .E H a n d e l . . o o . . . . L u l l y . o. . ooo . . o . oooooor. o . o . . . . . . o . . 1 6 Minuetin G L. . o o o o .. . . . ooo . . . . . . . o . . l g . .. . . . . r .. . o . . B . . . r. B a y l y ' . oo . . . o . . . o o . . . . . .. . . .. . oo . . . 4 ttJudas lVlaccabaeust'. oo .. o . . o r o . . . . . o . o o o . . . o . S c h u m a n n .. . . . . . 9 o. o . . . . H . . vgnBgethovgn of . . . . . . . . . .. . .. . oo. Walt4J. ... . .o. B o c c h e r i n i. .S . .. . . . . . o. . . . ?. . . r . o . . . . ..!! l-{l l r o n g . l o o .. . . .. . o . . . o . . . . T h o m a s. oo . o .. 1 4 t2J Gavotte Eq LU tr Gavotte J.. ooo . .. . . . . . 8 f _ l _ lH u n t e r s C 1A f. . o . .. .. . .. .. . 1 3 LqJ Themefrom f r o m t t l l i g n o n " r A .. .. . o . . . . o . . . o . . .. . . . . . .L .. i. . .. ooo . . . . . . o o .. Brahms . . . . . ooo . o o . . . . . . . o .. o . B o u n d e r G . .. . o . . .C(NTDITTS StudyPoinf to s r V o l u m2 e. . . . o.. . . . o .. . .G. .. . r . . . . r . 1 2 fZJ Thefiro GrenadierR 5 6 W i t c h e s t l ) a n c e t ' rP Na . s .. o.. . . . . . . . E Hgndel . oo.. . . .ll r r . o o . . oo . . CM . . .. . . .I n n g A g o o T . . ooo .. . . oo . .. . . o . .. oo . . .

Rapid progress depends on this listening. Das Kind sollte jeden Tag dic d. rtgt'>tttl.p*Et: r j r . ! } t t . 3. 2 I . Une attention constante devrait €tre donnbe afin d'obtenir une intonation exacte. 1 * b t L A " 1. . ou la production de beaux tons. Constant attention should be given to accurate intonation. L u . ] a > l + 1 6 t . 1. correct posture. 3. t: J'r < *'*6!lgt.ll tL(tri b ti r\o r].*f?. o producci6n de un tono hermoso debe ser enfatizadaen la lecci6n y en casa. 1. 2.ivelopper une sensibtlitd musicqle. Des progrds rapides ddpendent de cette audition. Sonidizaci6n. | + t t{ 1 ' z a > .f' tlltlr'rf b : t fiJ'-e -ti 6 " + ntrlb'lB+t: J Points d' Etude pour le Volume2 Puntos de Estudio para el Vol.h . Tbnftihrung oder das Heworbringen eines schdnen Tbnes sollte im Unterricht und daheim besonders betont werden. 2. afin de d. devrait €tre travaillde pendant la legon et d la maison.'i[{6 t t lt h't " 2 .. 3. 2.iesbeziigliche Schallplutten-Aufnahme daheim anhdren. postura correcta y la forma debida de sujetar el arco. or the production of a beautiful tone.Lr'*t]. L'enfont devrait 1couter le disque de rifdrence chaquejour d Ia maison. fi [Lr. f-t'6t:. 3.t: J o (. Una atenci6n constantedebe ser prestadaa una afinaci6n exacta. A . um seine musikulische EmpJindsumkeit zu entwickeln Rascher Fortschritt hiingt von diesem Zuhdren ab. korrekter Haltung und richtiger Bogenftihrung gezollt werden. The child should listen to the reference recordings every day at home to develop musical sensitivity. El niffo debe escucharlos discos de referenciacada dia en su casapara desarrollar sensibilidad musical. 1 t t ) * L r ' # a t ? .Tonalization. Stiin dige Aufm erksamkeit sollte der genaa en Intonierang. La tonalisation. 4lfiatLt. .-*:ii' Studium Hinweise fiir Bund 2 T t 6 r:tt&g v a . and the proper bow hold. 1. El progreso r6pido dependede esta audici6n.t t) tt + . 2. should be stressed in the lesson and at home.Study Points for Volume 2 fr 2 *o+tla.. une posture correcte et une bonne tenue de I'archet. t i h t l i r t 3.

wenn dus Kind Bourrde von Hiindel studiert.) (Diese Ubung in G-Moll sollte sur gleichen Zeit gelehrt werden. 3al?2lsir:t ( 3olfrb. toward the first finger. so hat der dritte Finger die Tendeng.. Pour |viter ceci.!. por moverse hacia el primer dedo.rhT) t?Ialgt:$tff3rf Dies ist dus erste Mal.':. von seiner korrekten Lage und nuch dem ersten Finger zurilckzuziehen.) (Cet exercice en sol mineur devrqit €tre enseignt au moment oi l'enfant Atudiela Bourrde de Hcindel. To avoid this. S r g r . die folgende tibung luutlos 7. duss der gesenkte erste Finger benutzt wird. versuche. 6 *i i?. le troisiime doigt a une tendance de reculer aussi de sa position correcte.Tonalization l':|t)t4>3> Tonalisation Tonfiihrung Sonidizaci6n (){o t:t[i l-Fiila)filt?li. C'est la premidre fois que le premier doigt reculd est utilis6. Mantenga el tercer dedo en su lugar mientras el primer dedo retorna de si ! a si b. Halte den dritten Finger un seiner Stelle. Quand ce doigt descend sur la corde. Gqrder le troisiime doigt en place pendant que le premier doigt recule de si\d sib. try playing the following exercise silently. Keep the third finger in place as the first finger moves back from Bi to Bb.!h")+fv.' stltiaf. 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. This is the first time the lowered first finger is used.7'va-/-v tt c h 6") (fii v 7->) t'Flif 6 t e (This exercisein G minor should be taught in the same time the child is studying the Bourr6e of Hiindel.uspielen. When this finger is placed on the stringo the third finger has the tendency to pull back out of proper placement. [Im dies zu vermeiden. vers le premier doigt. el tercer dedo tiene tendencia de quitarse de la posici6n correcta. Wenn dieser Finger an die Suite gesetzt wird.) (Este ejercicio en sol menor debe ser enseflado al mismo tiempo que el nifro est6 estudiando la Chamarascade Hiindel) tfi. Para evitar 6ste trate de ejecutar el ejercicio siguiente en silencio. essayer de jour I'exercice suivante en silence.. talfrlj(ie(f6Ht.

F. Bach /. n I 3 cresc. 3 0 1 E q B oI 3. Por favor recuerde que el niflo debe escuchar los discos cada dia. E rz/'^?/J*? Xr h'P) trl Maestoso {iEt: n G.'/ 't\ V t. S.2 f'tv Choeur de "Judas MaccabaeLts" Chor uus "Judus Muccubueus" Coro de "JudasMacabeo" Tug Please remember that the child should listen to the recordings every day. 3 2^l 0 3 6A2 --_ p dim.7 0 l.A.-o J. Surtout ne pqs oublier que l'enfant doit icouter les disques tous les jours. V *f n 0 Musette .Chorus from "Judas Maccabaeus" . Handel .q F. n 0 r :z €. dass das Kindjeden die Schallplatten unhiiren soll. Muset te Andante pastorale a Bitte darun denken.

v. Weber lr. M. z{ - Y V 3 ' t V 0 Lo 3 o t ? n n 3 3 Choeur des Chasseurs Jiiger Chor Coro de los Cazadores .Hunterst Chorus reAOAIE C.

_J o o l o 3_o z Il y a Trds.otrg.oo n 3 0 3.{ Bo 3. Bayly ^{1.- l-9 B *f.j t 0 t 2 3 0 4 3 t_o 0 3-t . - - - -----_ *f n Variation (* 4 rk) Variation Variation Variacion !oYld n \J 3 r i + {l i o 3+11ojo g3-. Lung ist's her Hace Mucho.9-3-t o e gB-. Mucho Tiempo I I .eo 3 0 3#{to S s z l o o r o 3_o 2 n 3#i-t oJ o ?||. Trds Longtemps Lung. LongAgo v> ?" v> ?" 7="- tr T. H.

poco rit. Valse Wulzer Vals --_ .10 Waltz v )v'y Moderato p'dolce I foco clesc.

\ n 2 r f i 0 3 X-. w (4) 2 3 0 2 1-{ 3-{ o z. ' ^ l-+ tliS. Handel +27'tv k a p espressiuo (4) 2 3 t 2 3 0 V o N 3 3 p espressiuo Bo I s o L Zo 3^. F.-.p t 0 t 2 30r8OjlJ. ({) 2 3 0 2 ..-L 2 a '.3-o - ( 4 ) .0 (f.1 .-0 1-g I o.Bourr6e Allegretto G.gj) | 2 g !10 l-g I oA2a ?*_g 2 3 0 2 G) .

Schumann '/1-'? Moderato --_ I - 2 Z \ o --__ 0 V N Moderato rit. Les Deux Grenadiers Die zwei Grenudiere Los Dos Granaderos . l ' l The Two Grenadiers -AaffilvR R.t2 r.?zlz ! 0 n n 3 0 allarg.lr^ 0I ? . 3 L r.

--0 !}l o-.nosso n 2 a t O-'-.3 r9 )f =-= 0 0 n l.T3. f 3 Thdmede la "Danse des Sorcidres" Themu aus "Hexentunztt Tema de "LaDanza de las Brujas" . Paganini 2 2-^. Theme from o'witchestDance)) rffifEr .)lfr 0t h't) V 0 l " l Andant.T___o y n ) t N.-f O-.-{ 3 n 1-? $)l^_0 #l1i # P meno .? n t 3 2 I 0 3_? 3_o I 2 .

t4 l I Gavottefrom "Mignon" r:=3Yt Allegretto I I I I j I i a) liif 'y I.^ o A. 0 (l )l t 2 3 4 2 3 l" 0 Gavottede "Mignon" Guvotteaus "Mignon" Gavota de "Mifl6n" i"-' . Thomas t---? I i I I I I n P o-9 n 2 3 7 2 2-3 | t z 3 4 z 3 \ o 0 0 l V l_3 2 4 ({) o ( b ) t 3Z 4 0 1 3 r . 3 4 2 3 .

. Ubu ng fiir die voII en dete Oktaven-Intonierung. Der Lehrer sollte dies bei Beginn jeder Stunde anhiiren. undA Saiten Iauschen. t t: v t 7 > hAij{: tJ h'ti i. Dem Klange der offinen G.lttt. Ecouter lq rtsonqnce des cordes libres du sol. et essayer d'accorder parfaitement les diapasons d'octaves. D. Le professeur devrait I'entendre au commencement de chaaue lecon..tlffi Entrainement de I'oreille Gehiiriibung Entrenamiento del oido 'rti:t 2 ? .. Aa l'*l. S'exercer ii obtenir une intonation d'octave parfaite.fi'i|. t 4 6J This exercise should be practiced daily untit it is mastered. Cet exercice devrait €tre |ffectue tous les jours jusqu'ii ce qu'il soit parfaitement maitris2. 7 > lft'llL T. El maestro debe escuchar esto al comienzo de cada lecci6n. . D. L + o U L . r St J ( l l t l r .i):. '/u'l. Ejercicio parala perfecta afinaci6n de octava. rim rb et du la.2rl!jt.lthtv. die Oktaven-Hdhen genuu zu treffen versuchen. G. The teacher should hear this at the beginning of each lesson. ( ) ' c ' i | rtt??-'7tu(l*tl" Exercise for perfect octave intonation. and A strings. rr:tt:/tlrrt6 i t:. Listen to the resonance of the open G. 0 Ear Training uai.. re. Diese Ubung sollte ttiglich gespielt werden. y trate de acertar los dipasones de octava perfectamente. bis sie viillig behewscht wird.-r. and try to match the octave pitches perfectly. Este ejercicio se debe practicar diariamente hasta que se domine. Escuchela resonanciade las cuerdasal aire de sol.(g) n ? (l) 9 { ( { ) ptzz. J i t:. D.

B.r^ 3_ o-P-a I (c) 0 t 3 r$?0 A1 3_ 2u\ o . Allegretto J...s o o ^f (. a tempo ma piil ogitato BA ! 3 * o B 2.) 0 \--l' \--7 ou \ t Z o poco rit. l-. Lully D q gfaznso V e z ?^9 V c ) t ) .T6 l^"1 Gavotte f'fi.2 l.

nH4 bi):.11 oI .n3ffia#r.17 0 2 1 ./:I l" Procedure for practice Comment s'exercer FfttEt ( Procedimiento pall.aprhctica Verfuhren zur Ubang i3 i?i3 ***13. (c) 0 (o) 0 (c) 9^9 n i?z * ri t. 0 (o) 0 l (c) 0 o-l o r^ o I ritard.

at Finel 3 -- |U Menuet en sol Menuett in G Minu6 en sol .2 3 (3) l(b)4 Ya' 2 0 2 3 2 3 (3) 2 0 0 3 V 3 ll2.. < . p con grazia 2 0 3 Q) p - 0 -P (g) o 2 2 0 0 2 3 2 s o \ 1 l.c..7 l.Effi 3 3 Y z V 3 L. van Beethoven .no.18 Allegretto Minuet in G t xr.{ .l.l .

19 Minuet Moderato e grazioso V N /X!'yl. > 1 q z I D.= V qp 4 1-{ V 0 2 - i ? 0 e 3{q p. al Fine .at- s 0t 2 ? 2 z + 4-. Yqn g Wlo 9--n L.t'y t t).C. Boccherini .--3 * I n 3 --- 0 1 V 2 kr p' 0 4 3 n t Y43 2 ^f o 8-z I --------i . I 0 --..--.

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