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Suzuki Violin Method - Vol 05

Suzuki Violin Method - Vol 05

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S ·®CViolin School

VIOLIN PART VOLUME 5

Suzuki ltIetbod International

··'Violin School

VIOLIN PART VOLUME 5

Copyright 01978 Dr. Shinichi Suzuki Sole publisher for the world except Japan:

Summy-Birchard; Inc.

All Rights Reserved Printed in U.S.A.

ISBN 0-87487-152-2

Summy-Birchard Ine. exclusively distributed by Warner Bros. Publications Inc. 15800 N.W. 48th Avenue Miami, Florida 33014

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.

FOR THE STUDENT: This material is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with these publications. In addition, 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, CO 80302 or SummyBirchard Inc., c/o Warner Bros. Publication Inc., 15800 N.W. 48th Avenue, Miami, Florida 33014, for current Associations' addresses.

CONTENTS

[II Gavotte, J.S . Bach. . . . . . . . . . . . . 6

[!] Concerto in A Minor, 2nd Movement, A. Vivaldi. 8

m Concerto in G Minor, A. Vivaldi .11

[!] Country Dance, c.u. von Weber .18

m German Dance, K.D. von Dittersdorf. .19

[!] Gigue from Sonata in D Minor, F.M. Veracini. .20

[1] Concerto for Two Violins, 1st Movement, Violin I, J.S. Bach.. .22

(No. 1 is unaccompanied)

3

Tonalization r 1- .) ~"1 ~ 3 /'

Tonalisation 4>i v " ~ :.-fii'i,IJ

Ton!iihrung

Sonidizaci6n

TonaUzatlon exercises should be practiced at each lesson. Exercise for beautiful tone and vibrato.

Les exercices de tonalisation devraient etre executes a chaque leqon.

Exercice pour obtenir un beau ton et un beau vibrato.

r

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Ir

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Ton!iihrung-Ubungen sollten in jeder Unterriehtsstuntk geUbt wertkn.

Ubung fiir schonen Ton und Vibrato.

Los ejercicios de sonidizaci6n deben ser practicados en cada lecci6n. Ejercicio para tono y vibrato hennoso.

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Exercise tor forte and piano Exercice pour forte et piano

Ubungen fiir forte und piano Ejercicios para forte y piano

1. f= (B) C')flT.ifi: (IIJC')i5; <) ~;H~ft:i -c-:i..,1' <'1: 1} < 0

2. P = ( A ) C')f:v. ti ~ :i -» l' <' I: 1} <0 trf!!. C 'fi':II:C')i.:fl::l:l:t;@';1'Q': Co

1. For rorte: Place the bow near the bridge (B) and use a whole, straight bow.

1. For piano: Place the bow away from the bridge (A) and use a whole, straight bow.

1. Pour forte: Placer l' archet pres du chevalet (B) et utlllser tout l'archet dans un coup droit.

2. Pour piano: Placer l'archet loin du chevalet (A) et utiliser tout l'archet dans un coup droit.

1. FUr forte: Den Bogen fldhe dem Steg (B) setun und einen ganun, geraden Bogenstrich gebrauchen.

2. Fiir piano: Den Bogen welter weg ..om Steg (A) setun und einen ganun, geraden Bogenstrich gebrauchen.

I. Para forte: Coloque el arco cerca del puente (B) y arquee en . una lfnea recta, en su totalidad.

2. Para piano: Coloque el areo lejos del puente (A) y cmplee el arco derecho, en su totalidad.

Bridge III Chevalet DerSteg

Puente

4

Position Etude, 4th position ~~y 3 /'. :r..T:::L-l" ~4~Y~3/'

Etude de Position. 4eme position

Lagen-EtUde. ,kTle Lage Estudio de Posicion, 4ta posicion

E String Corde du mi E·Saite Cuerda mi

1 # 2 8 #2 1 1 1 #2 e ~

f I If ~ [ I [ [r :11:#tiJ [ t I F

1~~~--~---

A String Corde du la A·Saite Cuerda la

1 1 1 ~ 2

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1 8 ! 3 # 2

r I f r r :11

----------- 1---------------

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f ~ F to I F r "r :1=81 r "r I r or E :11 r

1 1--------------

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D String Corde du re D·Saite Cuerda re

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8

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G String Corde du sol G·Saite Cuerda sol

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~~
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~ i 2 ~ B 2 ~ i 1~ 2 ~ 3

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, pEt I Eo f E nu) E If

A String Corde du la A-Saite Cuerda la

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~ ft r r I r r r =I: er r r I! r E :11 ~r 1 II

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D String Corde du re D-Saite Cuerda re

1 1. ~:I lit 2 b8 , B 2

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G String Corde du sol G-Saite Cuerda sol

* II

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Gavotte tl~ ''j l-

Gavotte I

Allegro moderato

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J. S. Bach

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Gavotte II

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8

m

Concerto in A Minor 2nd Movement

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A.Vivaldi t:. ". ;L' T-f

ppcantabile e molto sentito

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mf PP

PP misterioso

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poco animando

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cresco

II

Etude for Changing Strings #~~O)**:gdB

Etude pour Ie changement des cordes Etiilk fUr Saitenwechsel Estudio para el cruzar de cuerdas

• • '1 a tempo

i~ E '. ..... ". o • • (l r,. .... .

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9

ia[1~1;j:i!T~>:':"J: -i1-=tt:f:L. fit~>:':~.!:T/;t:-c·U<o

Try to maintain a constant tone and tempo, taking care not Versuche, einen g1eichmiissigen Ton unll Tempo

to get too fast. durch1.uhalten, gib Acht, nicht 1.U schneU 1.U werden.

Essayer de maintenir Ie ton et le tempo de maniere Trate de mantener un tono constante y un tiempo constante,

constante, en faisant attention a ne pas aller trop vite. esforzandose por no hacerlo demasiado ligero.

Position Etude, 5th Position ~~Y~/·.:L1-;l.-~ ~5~~~3/

Etude de Position, 5eme position

Lagen-EtUde, fuhfte Lage

Estudio de Posici6n, 5ta posicion

E String Corde du mi E-Saite Cuerda mi

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fit fElt E Clttir f

:11

1 II

1 1----------------

A String

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Corde du La

A. -Saite Cuerda la

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1---------------

1-----------------

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1--------------- 1 -------------------

D String

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Corde du re D-Saite Cuerda re

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10

G String Garde du sol o-sa« Cuerda sol
~ 1 1 2 8 2 1 1 1 2 8 4 8 2
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t. # 2 8 # 2 1 1'1J'! # 2 8 #! 8 # 2

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A String Garde du La A-Saite Cuerda la

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D String Garde du re D-Saite Cuerda re

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Concerto in G Minor ti~ ItlJ r ~WIJ

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4. Solo

t" L tr tim I r d IWS: It #[J I "arts I

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t~· Hqor rr H I qll I Wtrcrrc IE Lf t:lT I rrr u

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Tutti V

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Concerto en sol mineur Konzen in G-MoU Concierto en sol menor

1

P dolce

12

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played ~ joue ~ gespie/t

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18

[!]

Country Dance 7J /' ~ 1) -?"/, A

C. M. Von Weber

Danse Champetre LiindlicherTanz Danza Campestre

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1

German Dance

l_" j \\) _ rfh

,' .... , / ~ IDl K. D. Von Dittersdorf

Moderato 7 -1,.9-.7.I'")v7

'~IH ~ I r-r t I 9? I V 0 I 9 Q I rt r I

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Danse Allemande Deutscher Tanz Danza Alemana

cresco

20

[!]

Gigue from Sonata in D Minor ~ - r/ r '/ + ? .::.~1i~J 1J~ ~

Allegro Vivace

V V F.M.Veracini

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~f =l4fr HSCB 1m.¥~lnu'=lrur mrSft? I

f '-..!. stacc.

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Gigue de La Sonate en re mineur

Gigue aus Sonate in D-Moll

Giga de la Sonata en re menor

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21

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22

[I]

Concerto for Two Violins 1st Movement

1::' .I '( -1- .:r..

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Violin I

Konzen fur zwe! Geigen, Erster Satz

Concierto para Dos Violines, 1 er movimiento

Concerto pour Deux Violons, Ier mouvement

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23

24

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