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'Violin

VIOLIN PART VOLUME)



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

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

All rights reserved Printed in U. S.A.

ISBN 0-87487-144-1 21 20

INTRODUCfION

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 Colorado 80302 or Summy-Birchard Inc., c/o Warner Bros. Publications Inc,. 15800 N.W. 48th Avenue, Miami, Florida 33014.

Suzuki

violin method

Principles of Study and Guidance

Four Essential Points for Teachers and Parents

1. The child should listen 10 the reference recordings every day at bome to develop musical sensitivity. Rapid progress depends on this llsternng.

2. Tonalization, or the production of a beautiful tone, should be stressed in the lesson and at home.

3. Constant attention sbould be given to accurate Intonation, correct posture, and the proper bow hold.

4. Parents and telJChers should strive to motivate the chUd so he wiD 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 c.hUd 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 musl.cal ability just as aU children develop the ablUty to speak their mother tongue. For the happiness "f children, I hope these four essential points will be carefully observed and put to continual use in the home and studio.

Guidance for music reading wiD hegin In Vol. 4. Just as the alphabet is not taught when children first learn their mother language, so music reading should not be included in yiolin study until children have suftkiently deyeloped their musical sensitivity, playing skiD, and memory. In the SuzukI Violin School this should occur by the end of Vol. 3. Even after acquiring the ability to read music, however, tbe children should, as a rule, play from memory during lessons.

Education for musical sensitivity

Eyery day, children should listen to the recordillls of the music they are curreotly studying. This listeo.lng helps them make rapid p:rogress. It is the most important factor In the deYelopment of musical ability. Those children who have not had enough listeo.lng will lack musical sensitivity.

Tonalization for beautiful tone

Just as vDCaHzatlon is studied in vocal music, so I have introduced tonalization Into yioUn study as a new method of education. It has proved to be most eft'ectiYe. Tonalization s.hould always be included at each lesson and should be a part of tbe dally 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 fu.rther as he plays his piece. I would say to the chUd, • 'Now that you know the notes, we can start very Important work to deyelop your ability," and then I would proceed to improve his tone, movements, and musical sensUlvlty.

Tbe 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 praclice both A and B at tbe 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 10 the needs of the child. Sometimes a chUd may have a short lesson, stop and watch another child, and then return for more instruction.

Shirnchi Suzuki

Posture:

The nose,

!

the strings,

I

the elbow,

I

the lell Joot,

I

in a straight line

Posture:

t» ne::,

I

les co rdes ,

I

ie coude,

I

le pied gauche,

I

dans une ligne droite

Fig_ 2

Beginner's bow hold. Thumb below rrog.

Tenue de t'archet pour les debutants, Le pouce SOUS ie talon,

Bogenhallung des Anfiingen. Dell Daumen unlerlrolb des Frosehes,

Maneral de sujetar el area para principiante: EI pulgar bajo deltalon,

Haltung:

Die Nose,

I

die Sail.",

!

thr EUbog.",

I

thr link« Puss,

I

in einer gerallen llnie

Postura:

La nariz,

I

I as c uerdas ,

I

el code,

I

el pie i zquierdo,

I

en una linea recta

Fig. 3

The thumb and the bow make an obhque angle. Le pouce etlarchet [orment un angle oblique, Der Daumen und der Bogen [ormen einen sclrf(j'gen Winker

EI pulgar y el arco forman un angulo oblicuo.

Fig. 4

Fig. 5

The thumband the middle flnger form & circle when boldlng tbe bow.

Le pouce 1'111' majeur forment un cercle quand la main tient I' archei.

Der l)Qllm~" ,md"r Milt~lfi"gu [ormen beim Halu" d~. BOgMS einen Kreis.

EI pulgar y el dedo medio forman un cfrculo cuando sujetar el areo.

Tbe basic posture Is the E.Stdngp!lSture.

La posture de base 1'51/(1 position sur ia corde du mi. Die Grundhall""g ist dj~ E.Sailen Hall""g.

La posiura basic. es I. posture de 10 cuerda mi.

Fig. 6

Correct bold of the left hand. Position correcte de la main gauche. KorTttte Hain"" der tinken Hand. Posicion correcto de I. mano izquierda.

Exercise for Proper E-String Posture

S' exercer afin d' obtenir la position correcte sur la corde du mi.

Uhung fur die richlige E·Saiten Haltung.

Ejercicio para la Postura Correcta de Ia cuerda mi.

TIR E.strlng posture Is fundamental1lnll should be completely mastered.

La posture sur Ia corde du mi est Die E·SGiun HalIllng i.st grundhgemJ 11l1li

[ondamentale et devrait lire parfaitemelll sDUle vollig ,e",emert "'trUn.

mattrise«,

La postura de I. cuerda mi cs fundamcDtal Y debe ser dominada completamente.

Place bow MIn FIgure 5, pille 11. Use. short bow stroke.

Placer I' archet comme indiqu# slIr 10 Setu de" Bogen wk ill Fig", S, Seile 11,

figure 5, page J l.Donner un coup d'orcbet NhIr", IcIllUII Boge,."rich.

court.

Coloque el areo como se ve en 1& Figura 5, pdgina 11. Use un goJpc de arco cone.

I rrrrtj i

I r r r ret i :11

6~1l 0 0 t t
~. er r r cr r r r r I 5e err r recr :11
! Exercise for Changing Strings

S' exercer pour le changement des cordes

Uhung fUr Wechsel der Sailen

Ejercicio para Cruzar Cuerdas

Cbaa&e strlnp qukkly bere. Changer rapidemen: les cordes.

Ok StliUn hier schlleU Weehsdn. Cambie cuerdas en fonna rapida, &qui.

i:_fk ~ 0 •. ...

~·f I rrrru J

o .....

I rorrU 4

,~# c .~~ ~ ~ f) 0 e I J J J J f) 0
r r r r r 5 5r r r r :11
••
0 0 Exercises for Quick Placement of Fingers

S'exercer pour UII placement rapide des doigts,

ilbulllfllI filT schlldk FingersetZUIIg.

Ejercicios para colocacion Rapida de Dedas.

td # 0 ., ~ (1) 1 .' HO) 0 .' i r n f " HOl

~ f i rrrru 4 ,ccrer j I ,r-rrr r r.l I cerro 1 :11

r

1 ,

C j r e r

r

o

mr r r r

r

1

r r r r t t

:11

~~G 0 l(l) 1 l(2) 2 Hal 3 H21 2 l(ll 1 ,HO) 0
n 1 1 Itt I U J I' . t . 1 I~ 1 :11
U U -
Elf Place ftngen I, 2, ] quickly and accurately durll)g the rests,

Pendant les silences, placer correctement et rapidement les doigts 1, 2, e13.

Sene ~ F.'tlger J, 2, 3 schlleU und gelUlu Coloque los dedos 1, 2, 3 rapidamente y en

WliJrnnd tkr Pausetl. fonna exacta durante 1O/i silencios.

~y l(123) 3 2 1 0 ·l(123) a .2 1 0
1 I r j ca Ed J 4 I I 1 r j e r 0' t1 :11 ~~ 1(123) 3 .2 1 0
1 I r rrE e ! rrrro Ijcrrtj JJJJf) :11
! Twinkle, Twinkle, Little Star Variations

To play n stop .IM bow without pnaure .tier eacb eiplb note. Bow IIDOOIbIy ad unhurriedly, witb amort pa_ betweel) bow stroIr.n.

Pour jouer n a"lter I'archet sans appuyer apr~s chaque crocb«. Manie, l'archet avec soup/eau et ientement avec un« coune palUe entre chaque coup d'llI'chet.

UIII n %II ,piekll, IuIltc de1l' Bog'" 011", Dn«k /Well .itder Ac:1ItelllDle GIl. Streklll ebellmiis'iI UIId oil,., EUt IIIit riller kllJ'UII ,_, : ... ;'.:11111 tk1l BOlellStric:"ell,

p"", tocar n detenga el aroo sin plUionar despues de cadi corehes Use el arco en forma ligada y sin prisa, con una pausa COM entre los golpes de aroo.

Variation A

o

JJJJ£Jl

o

... --

bFEF!

r

1

:~-I!~ ~ L i ~ F

I

o .

crrro

r

,¥ 3 2 1 0
r ~j r r r rcrr U . JJJU n
er- r tJ
I . .
. ! ,~! 0 3 2
; -- r r r j je r r r irerr t£j
! ! 1

rrj~ tJ

,~ 0 t 3 2 i
• ce r r j Cj ~ j r I . rrrr t£j
I jjC - EJ
!
,¥ 0 0 i 0
JUUU f9 r rrr t t Icerr t t rrrr t t ,~ 3 2 1 0
r j em r r ti I . . JJ ! ~ ~ II
SF • r r r em U
I . . Variation B
,*#0 1"1 v 1"1 V 1"1 V 1"1 V 1"1 Y 1"1 Y
f1 h r r ~ ~ D I r t ~~ • r D
y • '1 .,. I "1 ,~ . . f) l etc •
r r ~ t1 I . . J) II
.,. y ~ tJ y ~ .,. e.IC.
II .....
etc. Variation C

,Yo mme gt btl t ut Ut wt WI

,~ t u t q r crt H" I t q tog J fa mig.

Variation D

# 0 0 t 0

'lfe J3JOJJJJ rrcrcrrr I rrErrrUurrrur I

o

,M Grrururrrrrcrr I rjjrjjjrJJJJJJJJlg~

Stop tbe bow without pressure after each note, Arreter I'archet sans appuyer apres chaque note,

Den Bogell 1UIChjttkr Note ohne Druck anlwfl,", Detenga el area sin presionar despues de cada nota.

Theme

Theme Theme Terna

n
'#i~ 0 V 0 1 ~ 3 2
J , r r . t !J
J F • I r I r r r r It .
e I r
f
,1# 0 3 2 t 0 3 2 1
t t r r I r F r IF t F r I r t r
,'I ~ 0 1 0 8 2 1 ~
j • .- I r r IT IF F r F It
'!' I I r Q II

Moderato n

"1- # 0 2

~~ ~J r r

v

~ # 0 2

~'f F r r r

r r r r

Lightly Row

3 t

I r F r

Folk Sonl ChalUon populaire VolbliU

CancitSn PolkltSrica

o t 2 3 0

IJ FmC IFF r

3 t 0 2 0 2

I r F r r I J F FF I r r r

i 2 3

I r r IT

2 2 8 0

IF F r r IF r r

3 t 0 2 0 2

IF r r r IJ r F F IF r r

II

Doucement a l'Aviron Rrukre Sanft Remando Suavemente

mf

n 3

.i~ t 3 flO

~*,jt L1 ~1 I F

-

1---

Song of the Wind

o

I r r er

Folk Song Chanson popu/aire Volblkd

3 Caneion FolkltSrica

I . t

i!':3 ~,. 0

I LJ LaJ 1Ft,

1---

n

o 3

I I ~ ~ ~

a • ~

r I t;Cl I C!

Jl

Chanson du Vent WUulgestJlIg Cancion del Viento

Go Tell Aunt Rhody

n 0 0

U 2' ~. 2

'1 e r EJ J j I r EJ -J

mf

1 0 3 2

IrrEtr

t 2 ~

r r r EJ

Folk Song ChaJlSQfI populaire Volkslied

Cancidn Folklcrica

0032 10 2~

IE Q;r r IrrErd 4J

2 3 0 1 0

IrC1FF Ire r

J

032 10 2~

I F ElF r Irrrr~

II

Vas le Dire a Tante Rhody Geh, ervinl es Tante Rody Ve y Dile a Tfa R6di

o Come, Little Children

Andante

mf

~~ f

2 0

(d-

L1

cresc.

a

r r I r

Folk Song Chanson populaire Volkslied

Cancion FolklOrica

120

elF ~F8

2 0 2 0 3
c: • I r (1 I r
j
2 0 3
I F c: J I r
3 2
I r r r I r 023

E J IE

f

I V
L1 I r ,. D II
I v
r r I r ~ ~4 I 0

Lf I J.

:11

Venez, Petits Enfants Ihr Kinderlein kommet Venid, Pequenos Nines

Tonalization

Tonallsation

Sonidizaci6n

Tbls sbould be taus ... 1 each IeuDD.

ptuek lhe OpeD sIriII& lIDdlisteD to the sound ortbe vlbradlll str'iDi.

Sie IOl/u U. jetkr 51",.. p,.lItf WInk". Zap!, dkolf"., &die and kuuclN tk'" Kt."g or I'lllriemuk" StdtI.

Ceci devrait itre enseigne d chaque le.:,on. Pincer /0 corde tibre et ecouter le son de 10 corde qui vibre.

Esto debe ser enseDado en cada leccion. Tire Ia cueda at aire y eseuche el sonido de Ia euerda vibranIC.

pizz. o

I I

II

o

I J t

o

F l



With the bow, try to play toDell with the _ ftSOOlUIClt.

V",",uelN mit de", Bog"" Tii", mit or gklelN" RrsolUlll% %II spiek".

Avec I'archet, essayer de jouer des tons qui ont la mime resonance,

COil 01 arco, traIC de· tocar tones COil 1a misma resonancia.

areo
~~ 01 I 0
4 I r r
d ti I J

J

I r

r

:,#1 J 1 2 3 2 1 0
¢ r I r r I r F IJ.
,~~ 3 2 1 0 3
0 r IT r 0
~ r I IT I r I r' -

II

i I

j II

May Song

Folk SOIIi ChQIISon PQpuJai,e VulkllId

Allegro Moderato CUlcicla Folkl6rica

~ ~ V 313 3020 to

,'r e J. ; f t I r tr fir D r J I r J

f

;,.~r ~r~r~r~r ~I ~r ~E:r~r§l~f~F~r~F~1 F~tr~r~1 .

~ ~=- p

,~1. ; F tit iF IT

f

3 0 2 0

I ro a r J

i 0

I r j ~I.

Chanson de Mai Mai Gesan, Cancion de Mayo

2da voila poco rit.

Long, Long Ago

1-n

~,~II~f$f~Q~!§r~EEI fi~o§;~~J ~~I f~€b~! ~; ~E~§I~r@o~; ~J~I:

'¥=_ ==0-

Mo~erato

'~Il J n f d IF U r

~ 1--

,\t j n f d I fUr

f 1--

T. H. Bayly

o 3 2 t

IF tr F

03212t ~

IF C!r C! l;j

-

1--

o 32t 21 ~

IFCJrC!IJ

-

II

1--

II Y a Tres, Tres Longtemps Lan" Lan, isl's he, Hace Mucho, Mucho Tiempo

~ . ~-

n f

,,, t t t t

Allegro

IjEfer t

Itt F r

I I

I ! ! I

I r r r r

t:'\

I

o

J

o

F

dolce

n a tempo

,1# t t t r

f

IjEFrr

.

r

Itt r r

II

Perpetual Motion in A major

Play this pleee .t tbe middle of tile bow using. lief')' !hort stroke. Stop tile bow after eaclI DOle. Play slow Jy .t ftrstlltd tbea lIJ1Idullly speed up tile tempo.

Jouer ce morceau au milieu de I' archet a~ec un coup trls court. A"ite, l'archet apres chaque note. Jouer lentemente au dlbut puis accelerer petit a peti: Ie tempo.

Spiele dkses SItit:t mit rler MiltI! rles BoplU lUlU,. A"welldlm,elu. g#II.t bini" Strielw,. HGlJe rIe" Bqp" _II ,fra, Nok till. Spiele ent ,.",.". 11M"'" beselWIIft"e diu T.".,,,, tdltIItiJIIlell.

Toq lie est. picl.II en el medio del 81'C(I usando un golpc muy corto, Detenga el arco despu6s de cada nota. Toque lentamente at principio y luego en fanna gladUai ap~slllC el tempo.

Allegro n

A ,*Ill Cd ff

"!f

(I) 18323 0 2 3

[rrr IrEFrr

2 I 2 S

Ef EC rei

Stiindige Bewegung in A-Dur

Mouvement perpetuel en la majeur

Movimiento Perpetuo en la mayor

(tl 3 2 2

j# 2 3 0 2 B :t 0 E ito i 03 .2 t 0

'1 e FEe Err r I Err r rEF lEE C r E j E F I

*# ~ 2 t 2 i 0 :1 03 2 i 0 20 i 3 t 2

'T = U r E U E lEE C ; r c r! I Err r F rc r I

# (41 t 2 3 (11 2 3

~ 0 2 3 0 f!:_ -- 2 0:1 3 t 2 0 2 3 0 t ~ ....

:1" . : ~ t: ~ ,._ 1= ~

!!? 7# r r IT r t;;C I r r j r F j E F I F r r r Lr ± I

(41 (4)

t- # 0 t 2 :1 2 3 2 3 0 2 3 i 0 0 :1 2 t 2 3 2 3 0 .2 3 1 o~

~ # em Eftr C11 r r r r r r f riC! Ef E r IT I r F r r EJ n :11

Variation

After A, play B. Ap"~s ,t, jouer B. Nile" A l,uk B. Despues de A 18 toqlle B.

"i.# # 0 1 2 1 2 3 ::::::::::: 2 3 0 2 3 i I!.j

B iT c ; j r ore r Uhf F Fe r L::-·.:.::-:·:-:: cr r r F f r r EEtt ;J

I

Prvc:edure for practice Comment s' exercer. Verfllknll VIr ilblUl6. Procedimiento para pnictica.

Exercise for the 4th Finger

Exercer le quatrieme doigt, UbuII, fliT Mil ,un,n Fin,tr.

Ejercicios pan el cuarto dedo.

Do DOt railt tbe 1st ftllp!' from tbe strlna. Ne pas relever Ie premier doigt de la corde,

Hebe Mn el"$t,n Fin,er 1'011 Mr Saile 1Iid/. No levante el primer dedo de la cuerda,

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

:1

1------

it # 0 i 2 3 4. 3 2 I

!# e crClEFEJ

Tonalization

Tonalisation

T o", .. brun,

Sonidiuci6n

ThIs should be fa ...... 111 ea.:h lesson. Popik should always strive for I more beautltal aDd resonant t_.

Ceci devrait etre enseigne et repett d

cha!l_ue lec;on. Les elives devraient

s'eJJorcer 'd'obtenir un Ion toujours plus

beau et plus resonant,

Su soUte in i'Mr Stu1ltk ,tkhn werden. Di6 ScltUllr $011U,. iIn""r IUlCIt ,inl", scltoM"n ultd klin"Itd,re", To,. strIben.

Eslo deberia ser ensenado en cada lecci6n. Los a1umnc. deben siempre esforzarse por obtener un lono mas hermoso y resonante,

n
,~ 0 2 0 3 0 ~ 0
$ j I IJ IT IJ rJ il J.
d
n
,~ 0 3 1 3 1 a 0
2 $ j J IF r IF J I CJ.
D Major Scale 1 :11

4 :11

Gamme de Fe majeur D-Dur Tortleiler Esca!a de re mayor
'~f 0 1 :I 3 0 1 2 8
J J I J j IJ r I r r

,~ 3 2 1 ~ 3 ~ i 0
r r I r I J J I J j :11
t Perpetual Motion in D major

Mouvement Perpelue/ en SIMr4ip BelHf,",g ill MovimieDto Pcrpecuo C,D

re mqjeur D-D", re mayor

ij 0 1 2 t 2 8 2 S 0 2 8 ~ ~ 0 t 2 1 2 B

A ,i e n J n J J) I au J J Jj jJ I JJ JJ J H a I

(I)

:2 a 0 :2 a~ 0 3:2 1 :2 1 0 1_0 8 2 1 0

,~ au J J ij J 0 I cr g cr Ej" In 3 J JJ J jig.

Variation

Variation VariGtion Varil.cidn

Allegretto

el' ,"I

nv 2 03 1 0 32 0 3 21 3 2

.~ $ n I J nJ n I J n J on I J iJ]. n I J ~ ~ /~ I

_, 0 ;> 0 ;> 0 :> 0:> ° ;> 0 0 0 0 ;> 0 0 0

"V'" • • . .. • ~ • ••

(Il CI)

203 to 3203 21 ~ 0

~\ JJiJnlJsJJiIJ lZlJiilJ i

n v o 2

IJ1I

;>0;> 0 •

::--0::'t • 0

ell (Il

~ 2 03 to 3203 21210

'1 J n J n I J n J n I J JJ J S I J l I

>- 0 ~. -:::;-- '::'t' ::-- ° 0>- 0 •

q tempo •

Andantino

~) 1

f~. · 3 a" l • l 0 0

: on. lJu IJJU

•• 0 u.

I :n~t

3 2 1 0

I £j J J

(4)

o 3 2 i

I F r F ~

032 t

I j J J W

rlt.=:==-

II

a tempo • •

mf

'd. • -

Tonalization

Totifill"''''r

Sonidizaci6n

Ceci devrait lIre enseign« a chaque lecon,

This should be lauabt at each ~n. Sk solIu In ~.r SIIIIIM rdelln wenkn.

Esto dcbe.rla ser ensenado en cada leccion.

2 8 2
1 3 r If r a f
r IF IE r
2 3 2 1 8
1 3 IT r r 3
r Ie I Ie r I J. 1 :1 , J

G Major Scale

Gamme du sol maieur G-Dw Tolfleit., Escala de sol mavor.
1 r 8 0 1 @* ~ 1 0 a ® t !J a
r Ir F r r IF r F r IF r J ~I 'PIace !be lod ftDge" close to the

1st finger. Keep !be 1st tlDger down.

'Placer Ie deux/erne doigt pres du premier doigt, Gorder le premier doigt

sur la corde,

• Setu den zweiten Fin,,,, dKht Mlltn den e'"'ltn Finler. Halte dtn .nUIl Finler Mnutlt'f.dnkkt.

'Coloquc el segundo dedo cerea del primer dedo. Manleoga el primer dedo en la euerda.

o 1

I J j

2 J

j ii

1 0

J J

a ,. I 0

I; ~ i ~ jl

Etude

Stoptbe bow aftereadl DOte. Arr~ter t' archet apres chaqu« note. De" BOI'" 11«" itdt, Note 1lll1Ialtt,., Detenga el areo desputs de cada nOla

1"'1 0 3 0 0 3 0 0 0 0 ~O 0 i 2 0 0 i

A f# (l J J J H J JJ I U rr of] J] I orJ JJ J J H I

"lfl-- 1-- 1 1 }-- 1-

(4) t 0 3 0 :I. 0 3 0 t 0 3 0 0 0 0 i

UUJjH IJjJ3JjJ3 IUUiJJJ

(I) 1

2 0 0 t 2 0 0 t (I) 2 t 2 t 0 3 0 2 0 3 2 t

Jj J 0 J J J: I E R rn r r ; r FIE rEi JJ n I Jo JJ tr cJ I

:11

Variation

VaT/ation V GriGtton Variacidn

Secoad dJDt,._y B rollowma A. La deuxieme fois, jouez B apres A. Z"", zweiU,..., IpWk B ,..,. A. La SClJIIItda Vel, toque B siguiendo A

n

B 'lo nJJJJJU j ~ 3

Minuet 1

Allegretto d.= 66 n

i~ :_ ~ .-. :I. b 3 ~ ~..---..._,,2

~'I mm r IF R J I ~rr

ntf

2 :I. 0 3 (4.) 2:1. 0 3

i# r n J -0 I ,ffin J1 I j t 0 I J

~ ~ .. .• t:JJ.~

3 ~ 2 :I. ~

I r ~EJ

:I. 0 3

IF n J

3

I rr

p

J. S. Bach

n

:I. 0

:11: r r

p V

4-

It

2 :I. 0 3

aE C!

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Donner jill coup d' arcl«!t COli". v •• IIIort 1IVVke. w,,_ bru SIN"" ...

Use un golpe cono.

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'Placer correctement Ie quatrieme doifl" 'Coloquc el cuarto dedo en forma exaeta. Et

Le deuxieme doifll devralt toucher le segundo dedo debe tocar aI primer dedo.

premier.

The Happy Farmer

Allegro giocoso R. Schumann

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piu cantabile

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--- Proeedure for Pnc:tke.

LIsten card'ully to the IntOlllltioa. V •• Ibor1l1hvke. PIKe the bow on the strIna, then play, keeplq the bow OD the string durllll the rest.

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Comment s'exercer.

Ecouter attentivement t'intonation. Donner un coup d'archer court. Placer t'arche: sur IQ corde, puis jouer, en ,ardanl I' arcbet sur /a corae penaant te aile-lice.

Proccdimiento pam pnictica.

Escuche cuidadosamente la afinaci6n. Use un golpe corto. Coloq lie el area en la cuerda, entonces toq ue, mantenie.ndo e.1 IUCO sabre la euerda

durante el silencio.

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