Suzuki - Metodo de Violin Vol I

'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.

tbe children should. so music reading should not be included in yiolin study until children have suftkiently deyeloped their musical sensitivity. Education for musical sensitivity Eyery day. Just as the alphabet is not taught when children first learn their mother language. Lessons should vary in length according 10 the needs of the child. I hope these four essential points will be carefully observed and put to continual use in the home and studio. Even after acquiring the ability to read music. B. I recommend that group lessons be held once a week or at least twice a month. Musical ability is not an inborn talent but an ability that can be developed. he should not drop A but should praclice both A and B at tbe same time. I would say to the chUd. 3.hUdIf the above four points are faithfully observed. so I have introduced tonalization Into yioUn study as a new method of education. Guidance for music reading wiDhegin In Vol. playing skiD.rther as he plays his piece. The students progress remarkably while enjoying the lessons." and then I would proceed to improve his tone. It has proved to be most eft'ectiYe. movements.lng will lack musical sensitivity. In the SuzukI Violin School this should occur by the end of Vol. Group lessons The adoption of a new kind of group lesson In which more advanced and younger students play together is extremely effective. It is the most important factor In the deYelopment of musical ability. Sometimes a chUd may have a short lesson. children should listen to the recordillls of the music they are curreotly studying.hould always be included at each lesson and should be a part of tbe dally practice at home. For the happiness "f children.lng helps them make rapid p:rogress. Shirnchi Suzuki . Tonalization s.cal ability just as aU children develop the ablUty to speak their mother tongue. Rapid progress depends on this llsternng. Those children who have not had enough listeo. 3. as a rule. Constant attention sbould be given to accurate Intonation. •'Now that you know the notes. Mothers and children should always observe the private lessons of other children. and musical sensUlvlty. however. and then return for more instruction. Through the experience I have gained in teaching young children for over thirty years. Parents and telJChers should strive to motivate the chUd so he wiD enjoy practicing correctly at home. 4. we can start very Important work to deyelop your ability. correct posture. or the production of a beautiful tone. I am thoroughly convinced that musical ability can be fully cultivated In every c. This listeo. stop and watch another child. His ability must be cultivated fu. and the proper bow hold. 2. play from memory during lessons. The child should listen 10 the reference recordings every day at bome to develop musical sensitivity. 4. Any child who Is properly trained can develop musl. Tonalization. and memory. 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. Tbe following point is also important. Continuously reviewing pieces that he knows as new pieces are added wIll develop his ability to a higher degree.Suzuki violin method Principles of Study and Guidance Four Essential Points for Teachers and Parents 1. When the child can perform piece A satisfactorily and is given a new piece. Tonalization for beautiful tone Just as vDCaHzatlonis studied in vocal music. should be stressed in the lesson and at home.

Der Daumen und der Bogen [ormen einen sclrf(j'gen Winker EI pulgar y el arco forman un angulo oblicuo.".Posture: The nose. Tenue de t'archet pour les debutants. the lell Joot. . thr link« Puss. the elbow. Le pouce etlarchet [orment un angle oblique. Fig. t» ne::. le pied gauche. Bogenhallung des Anfiingen. Thumb below rrog. thr EUbog. I I I el code. Maneral de sujetar el area para principiante: EI pulgar bajo deltalon. I I en una linea recta Fig_ 2 Beginner's bow hold. 3 The thumb and the bow make an obhque angle. La nariz. die Sail. I dans une ligne droite I el pie izquierdo. ! I I ! I I in a straight line I gerallen llnie in einer I Posture: Postura: I les co rdes . Le pouce SOUS ie talon. the strings. Dell Daumen unlerlrolb des Frosehes. Haltung: Die Nose.". Ias c uerdas . ie coude.

5 Tbe basic posture Is the E.Stdngp!lSture. Die Grundhall""g ist dj~ E. .Sailen Hall""g. Le pouce 1'111' majeur forment un cercle quand la main tient I'archei. Posicion correcto de I. es I.Fig. Fig. Position correcte de la main gauche. 6 Correct bold of the left hand. 4 The thumband the middle flnger form & circle when boldlng tbe bow. Fig. posture de 10cuerda mi. La posture de base 1'51/(1 position sur ia corde du mi. mano izquierda. BOgMS einen Kreis. Der l)Qllm~" .md"r Milt~lfi"gu [ormen beim Halu" d~. EI pulgar y el dedo medio forman un cfrculo cuando sujetar el areo. KorTttte Hain"" der tinken Hand. La posiura basic.

~·f i:_fk ~ . S. La posture sur Ia corde du mi est et devrait lire parfaitemelll Die E·SGiun HalIllng i. r 0 ! r cr 0 rrr r I 5e err r recr t t :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. J I 0 rorrU o 0 . Use un goJpc de arco cone.e".strlng posture Is fundamental1lnll should be completely mastered. &qui. Place bow MIn FIgure 5....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. Seile 11.~# c I rrrru 0 . Cambie cuerdas en fonna rapida.emert "'trUn. cuerda mi cs fundamcDtal Y debe ser dominada completamente. Ejercicio para la Postura Correcta TIR E. [ondamentale mattrise«. Placer I' archet comme indiqu# slIr 10 figure 5. NhIr". short bow stroke.Donner un coup d'orcbet court. IcIllUII Boge. La postura de I. pille 11. Setu de" Bogen wk ill Fig". Use. . I rrrrtj i Ir r r ret i :11 er 6~1l ~. Changer rapidemen: les cordes.~~ •. pdgina 11.st grundhgemJ 11l1li sDUle vollig . Coloque el areo como se ve en 1&Figura 5."rich.. page J l. 4 0 ~~ 0 ••f) r r r r e r I J J J J f) 5 5r rr r :11 ... de Ia cuerda mi.. Ok StliUn hier schlleU Weehsdn.

HO) 1 I~ 0 1 - :11 Place ftngen I. mr r r r J H21 o r rrrr t t 1 :11 n1 0 l(l) U1 1 l(2) Itt I 2 Hal 3 U I'Elf. 2. t U 2 l(ll 1 . 2.' i rn f " HOl 1 :11 r ~~G C j r er r . ~f td # i rrrru 0 . 4 ~ (1) .Exercises for Quick Placement of Fingers S'exercer pour doigts.2 Ijcrrtj 1 :11 . e13.r-rrr r r. . Ejercicios para colocacion Rapida de Dedas.. 3 rapidamente y en fonna exacta durante 1O/i ilencios. 3 schlleU und gelUlu WliJrnnd tkr Pausetl.ccrer 1 1 . placer correctement et rapidement les doigts 1. Sene ~ F.'tlger J. Pendant les silences. Coloque los dedos 1. 2. 2. ] quickly and accurately durll)g the rests.' jI HO) .2 1 0 :11 1(123) 1 ~~ I r rrE e 3 rrrro . s ~y l(123) 1 Ir 3 j ca 2 Ed J 4 I I ! ! 1 0 ·l(123) 1 r a j e r 0' t1 JJJJf) 0 .l I cerro 0 . UII placement rapide des ilbulllfllI filT schlldk FingersetZUIIg.

'. IuIltc de1l' Bog'" 011".-o Variation A i~ r :~-I!~ crrro r o . 0 ~~ .. ~L F I . er-! r tJ JJJU 2 1 1 . !! r r r irerr 2 t£j rrj~ tJ i • I ce 0 r j Cj ~ j 0 r I. p"". n n 1 JJJJ£Jl o bFEF! . Dn«k /Well .. 0 n. II . con una pausa COM entre los golpes de aroo.:11111 tk1l BOlellStric:"ell.¥ JUUU .~ t r . Twinkle.n. : . witb amort pa_ betweel) bow stroIr. To play n Pourjouer a"lter I'archet sans appuyer apr~s chaque crocb«. tocar detenga el aroo sin plUionar despues de cadi corehes Use el arco en forma ligada y sin prisa..Twinkle.~ 3 f9 r rrr t t Icerr t t rrrr t t 2 1 r j em r r SF I• r ti I r r em U JJ ! .¥ r ~jr r 3 I r rcrr U j je 3 3 2 .. EUt IIIit riller kllJ'UII .. l'archet avec soup/eau et ientement avec un« coune palUe entre chaque coup d'llI'chet.tier eacb eiplb note. Bow IIDOOIbIy ad unhurriedly._. Little Star Variations stop . . Streklll ebellmiis'iI UIId oil.itder Ac:1ItelllDleGIl. n UIII %II . . rrrr t£j i jjC ! EJ 0 - . Manie.~! r r r -.IM bow without pnaure ... 0 0 ..piekll.

Theme n Theme V Theme Terna e f J 0 J 3 .I Ir r .".'I t 3 F r Ir t r F It r 1 0 1 8 ~ '!' IT IF F r 2 ~ Q II ..IC.~ t u t q r crt q tog J fa mig. Detenga el area sin presionar despues de cada nota... 0 F • I 2 Ir 1 rr t 0 ~ Ir IF 0 3 rrr 2 .. . ~ t1 y ~ I tJ y f) . J) etc...Yo mme 0 0 Variation C gt btl t H" I t ut Ut wt WI .~ . r V t .Variation B .1# t t r r I r F r j I• .M Grrururrrrrcrr '#i~ 0 'lfe J3JOJJJJ # rrcrcrrr I rrErrrUurrrur I I rjjrjjjrJJJJJJJJlg~ Den Bogell 1UIChjttkr Note ohne Druck anlwfl.. !J 1 . II. ~~ Y I • 1"1 r l "1 D II etc • e. 1"1 v y •rr h 1"1 V 1"1 ~ ~ V '1 1"1 D I . It 2 t r . ..*#0 f1 rr . Y . Arreter I'archet sans appuyer apres chaque note... o Stop tbe bow without pressure after each note. ~ 1"1 . t 0 Variation D .

. t LaJ • 1--- 1Ft.Cl a C! Chanson du Vent WUulgestJlIg Cancion del Viento .i~ Ir o r er n I LJ I i!':3 3 . I ~ 0 ~*.Lightly Row "1.jt 1--- 3 flO L1 ~1 I F n t 3 I I ~ Jl ~ ~ o 3 r I t.# ~# v 0 ~~ r ~J 0 2 Moderato n ChalUon populaire Folk Sonl VolbliU r 3 i I rFr 3 t t IJ FmC I J F FF 0 2 0 o t 2 3 IFF Ir 2 0 CancitSn PolkltSrica r ~'f F r r r r Ir F r r 2 rr r r r Ir IF Doucement 3 r 2 t 3 IT IF F 2 rr 0 IF 2 rr 8 0 rr a l'Aviron r IJ 0 r 2 F F IF 2 rr II Rrukre Sanft Remando Suavemente Song of the Wind Folk Song Chanson popu/aire Volblkd Caneion FolkltSrica mf . ~.

~ V ~~ f IF 3 c: J 2 Ir 2 3 D v II cresc. L1 I r a r r Ir E J IE Ihr Kinderlein kommet 023 ~4 :11 r r Ir f Venez. Petits Enfants I J..r r 0032 IrrErd 10 2~ 4J J IrrEtr r Vas le Dire a Tante Rhody IrC1FF I F ElF 032 2 3 0 Ire 1 r 2~ 0 rr t EJ 2 ~ r Irrrr~ 10 II Geh. r 0 0 EJ -J 2 3 2 IE Q. 0 Venid.Go Tell Aunt Rhody '1 Folk Song Volkslied Cancidn Folklcrica ChaJlSQfI populaire U e r mf n 2' 0 EJ J j 1 I ~. ervinl es Tante Rody Ve y Dile a Tfa R6di o Come. Andante Little Children Folk Song Chanson populaire Volkslied Cancion FolklOrica mf c: (d2 0 2 • j 0 Ir (1 I r 0 2 0 3 elF L1 I r r r Ir Lf I I I 120 ~F8 . Pequenos Nines .

uelN mit de". dkolf". o •I I F o l IJ t o II or With the bow. traIC de· tocar tones COil1a misma resonancia... areo 0 ~~ 4 d 1 ti I Ir 0 r r IT 3 1 I J J Ir Ir 2 Ir 1 r IJ.. ont la mime resonance. 1 each IeuDD. essayer de jouer des tons qui ftSOOlUIClt. Pincer /0 corde tibre et ecouter le son de 10 corde qui vibre..jetkr 51". Sie IOl/u U.. str'iDi.#1 ¢ J 0 . COil 01 arco. I 0 i II :. Esto debe ser enseDado en cada leccion. V".Tonalization Tonallsation Sonidizaci6n Tbls sbould be taus . ptuek lhe OpeD sIriII& lIDdlisteD to the sound ortbe vlbradlll Ceci devrait itre enseigne d chaque le.lItf WInk".~~ r ~ r r 3 1 Ir 2 2 F I II 0 I IT r 3 r' 0 j . Zap!. Tire Ia cueda at aire y eseuche el sonido de Ia euerda vibranIC.". &die and kuuclN tk'" Kt.:.on. try to play toDell with the _ Avec I'archet. mit gklelN" RrsolUlll%%II spiek". pizz. p."g or I'lllriemuk" StdtI.. Bog"" Tii".

Bayly J 1-- IF IF o tr F 32 t ~ j I 1-- IF C!r C! l. ~- II Y a Tres. tit iF r r Allegro Moderato ~ ~ Folk SOIIi ChQIISon PQpuJai.. Mucho Tiempo ~.j 1-- 03212t - ~. ~~If~€b~! ~J~I: '¥=_ n f 1-Lan" IFCJrC!IJ Lan.'r f r tr fir r r .~E~§I~r@o~. Long Ago '~Iln f d U r . ~I~r F~tr~r~1 .. V tI 313 3020 D JI to J ~ f ~=IT p F I ro a 3 0 2 JI 0 i 0 j ~I.~1. isl's he.~II~f$f~Q~!§r~EEI ==0. . H. 2da voila poco rit. o 32t 21 ~ - II 1-Hace Mucho.e VulkllId CUlcicla Folkl6rica e J.~~J ~. f . Chanson de Mai Mai Gesan.~r~r~r~r~r~E:r~r§l~f~F~r~F~1 .May Song . fi~o§. Cancion de Mayo Long. Tres Longtemps .\t n f d fUr Mo~erato ~ T.

Nok till. Toque lentamente at principio y luego en fanna gladUai ap~slllC el tempo..... bini" Strielw. A"ite.. 11M"'" A. A"welldlm.t . HGlJerIe" Bqp" _II Spiele dkses SItit:t mit rler MiltI! rles BoplU lUlU. g#II. tdltIItiJIIlell.elu... o o I F !! r I t:'\ dolce rrrr I .". lief')' !hort stroke. beselWIIft"e diu T. t t t t IjEfer I I n f t Itt FJ I . Play slow Jy . l'archet apres chaque note. Jouer ce morceau au milieu de I'archet a~ec un coup trls court. Toq lie est. Jouer lentemente au dlbut puis accelerer petit a peti: Ie tempo.fra.". Stop tile bow after eaclI DOle.*Ill Cd ff [rrr IrEFrr 18323 0 Allegro n (I) 23 Ef EC rei 2 I 2 S "!f Stiindige Bewegung in A-Dur Mouvement perpetuel en la majeur Movimiento Perpetuo en la mayor ..1# t t t tempo na f r IjEFrr r Itt in A major rr II Perpetual Motion Play this pleee . picl.II en el medio del 81'C(I usando un golpc muy corto.t ftrstlltd tbea lIJ1Idullly speed up tile tempo.t tbe middle of tile bow using.".Allegro ... Detenga el arco despu6s de cada nota. Spiele ent .

.# ~# em Eftr C11 r r r r r r f riC! Ef E r IT I r F r r EJ n :11 23023i t23 (4) 2 3 0 ._ ~ 1= 3 ~ . Nile" A l.::-:·:-:: cr r r F f r r EEtt 0 1 2 1 2 3 ::::::::::: 2 3 0 2 3 i Prvc:edure for practice Comment s' exercer.uk B. j r ore r Uhf FFe r L::-·.j . ±I t..2 t 0 20 i 3 t 2 *# ~ 'T = U r E !!? 7# (41 02 U E lEE C .# # iT c .C .. Despues de A 18 toqlle B.t.J I .2 3 1 o~ Variation After A.:. play B. B "i. Ap"~s . 2 3 i 0 r c r! I Err r F rc r I 3 t r r IT r t. jouer B. 3 0 0t 2 :1 2 3 f!:_ : ~ t: t -- ~ I (41 r r j r F j E F I F r r r Lr 2 0:1 2 3 0 t 0 0 :1 2 (11 02 2 . Verfllknll VIr ilblUl6. Procedimiento para pnictica...'1 e j# 2 ~ :1" # FEe Err 2 t 2 3 (tl 0 2 B :t 0 r I Err :1 03 E 3 2 ito r rEF 2 i 0 2 lEE C r E j E F I i 03 . I!.

re"...un. 4 :11 D Major Scale '~f . Popik should always strive for I more beautltal aDd resonant Ceci devrait etre enseigne et repett d cha!l_ue lec. 2 $j 0 d I IJ 0 3 IT 3 IJ 1 0 ~ 0 rJ il n J. No levante el primer dedo de la cuerda. Do DOt railt tbe 1st ftllp!' from tbe strlna.n Fin. scltoM"n ..n Fin.:h lesson. 3 2 I Tonalization Tonalisation T o".. :1 1------------------------- !# it # e crClEFEJ 1------ 0 i 2 3 4. fliT Mil .~ n 0 Su soUte in i'Mr Stu1ltk . To.on.~ . UbuII. strIben. Hebe Mn el"$t.iIn""r IUlCIt inl". Eslo deberia ser ensenado en cada lecci6n. Ejercicios pan el cuarto dedo.~ r 0 Gamme de Fe majeur D-Dur Tortleiler Esca!a de re mayor J J 1 IJ Ir 1 :I j ~ t 3 IJ 0 r ~ 1 Ir IJ i 2 8 r :11 3 r 2 IJ 3 J 0 j .brun. 111 ea.tkhn werden. Di6 ScltUllr $011U. deben siempre esforzarse por obtener un lono mas hermoso y resonante.. t_. ultd klin"Itd. Los a1umnc.Exercise for the 4th Finger Exercer le quatrieme doigt. Ne pas relever Ie premier doigt de la corde.tr. Les elives devraient s'eJJorcer 'd'obtenir un Ion toujours plus beau et plus resonant. 0 1 :11 $ j J 3 1 IF r IF J a I CJ...er 1'011 Mr Saile 1Iid/.. 2 .. Sonidiuci6n ThIs should be fa .

0 Variation Variation VariGtion Varil.i n n ij 01 Mouvement Perpelue/ en re mqjeur SIMr4ip BelHf.cidn Allegretto . -:::.g ill D-D".".Perpetual Motion in D major A .D e J 2 t J J) I 3:2 1 2 8 au J J Jj jJ I JJ JJ J H a I 2S02 8~ ~ 0 t 2 12 B :2 1 0 a (I) 0 :2 a~ 0 In 3 J 1_0 8 JJ 2 1 J jig.> • 0 0 •• 0 I CI) ~\ JJiJnlJsJJiIJ 203 to 3203 lZlJiilJ 0 • 21 ~ 0 i IJ1I n o v 2 '1 ~ ::--0::'t .>0. n J on I J iJ].> • 0 IJ :> 0 . "V'" n IJ nJ n nv (Il 2 el' 03 1 0 .~ au J J ij J 0 Icr g cr Ej" :2 .-- '::'t' I J JJ J S I J ::-° 21210 0>- 0• l I • .> • 0 3203 (Il q tempo >- J 2 n J n IJ nJ n 03 ell to 0 ~."I 0 3 21 3 2 0:> .> • 0 . ° . n IJ ~ ~/~ 32 .> • 0 0 ~ 0 0 .~ $ _.. MovimieDto re mayor Pcrpecuo C.

rla ser ensenado en cada leccion. • - 2 i 032 W :f~. ~. :n~t •• 0 I £j J (4) 32 1 J 0 t IF o r 3 F ~ Ij J J rlt.· a" lJu on.r Ie Sonidizaci6n SIIIIIM rdelln wenkn. Jr 1 1 IF 3 r 2 2 If 3 8 r 2 3 IE a Ie 3 IT Ir r 2 r I J.=:=='d. ~) 3 l mf a tempo • IJJU • l0 • 0 1 II Tonalization Totifill"''''r This should be lauabt at each ~n. r . 8 f r 1 1 :1 . a chaque Esto dcbe.Andantino I u. Ceci devrait lIre enseign« Sk solIu In lecon.

0 0 Note 1lll1Ialtt. zweiU. F o rr 1 1 @* IF ~ r 1 F 1 0 r 0 a IF a ® r . jouez B apres A. t !J J ~I I 0 a 'PIace !be lod ftDge" close to the 1st finger. ~i ~ jl Etude Stoptbe bow aftereadl DOte. Keep !be 1st tlDger down. 'Coloquc el segundo dedo cerea del primer dedo.. 'Placer Ie deux/erne doigt pres du premier •Setu den zweiten Fin... 8 0 Escala de sol mavor... r FIE rEi JJ n I Jo JJ tr cJ (I) 2t t 03 1 02 0 32t I :11 Variation VaT/ation VGriGtton Variacidn Secoad dJDt.. Halte dtn . ~O Detenga el areo desputs de cada nOla 0 1"'1 0 0 (l 1-3 1 1 I orJ JJ J J H I i 2 0 0 i }-- 1i UUJjH 20 (4) t 0 0 IJjJ3JjJ3 :I. IpWk B . toque B siguiendo A j ~3 . Gorder le premier doigt sur la corde.G Major Scale r 1 r Ir Gamme du sol maieur G-Dw Tolfleit.. La SClJIIItda Vel.._y B rollowma A.. A f# "lfl--J HJ JJ I U rr of] J] JJ Arr~ter t' archet apres chaqu« note.... 0 3 0 t 0 3 0 IUUiJJJ 2 0 0 0 (I) Jj J 0 J J J: 0t 20 0t I E R rn r r . doigt. 3 0 0 3 0 De" BOI'" 11«" itdt...dnkkt. B 'lo nJJJJJU n Z"".nUIl Finler Mnutlt'f. dKht Mlltn den e'"'ltn Finler.. IJ j j 2 J ii J J I.. A. La deuxieme fois. Manleoga el primer dedo en la euerda.

. ~ Allegretto n d. . I J 2 mf tlJ :I. S. Bach ~'I mm ntf :I. ~I J.. (4) ~ IF 03 :I.~ I J 0 :11: V p rr :I.-.= 66 J. n 0 It I rr 3 4- aE C! 2 :I. r (4. -I :I.) IF :I.•j t:JJ..Minuet 1 i~:_ .ffin I 2 0 3 2:1. nJ 0 3 Ul I J..2 i# ~ r~ n J -0 . RJ 03 t b 3 I ~ ~rr ~.---. 0 3 :11 ]da volta rit. 03 I pr 2t 0 3 3 ~EJ ~2 :I. . 0 I • nUO I 3 I F 0 w9JJ 2 :I.. J1 I._.

J 0 I 3 r r r fE r 0 1 r 3 (4) --- 3 2 3 JJ9 I I 6ft • J I J. 0 2 t- D 0 0 C. w..... E em f i I r 3 2 ~ 0 ./ • 51 .W . r r r r r r t . r E r rj I r n -0 J. I ED J 4 I J. r r r 210210 2 t EE r Ir t I Eft fJ1t I r #~ I~. 301032 .__... ...- t 0 3 :11 .2 1 r I .Minuet 2 'F $ 0 Fer .' 4 J .l) 0 1"'1 J F':J ~ 3 U ... JJ.18.___.. F FFjF 'lJ' 1....2 Ir 3 1 r J ~I tf· 1 r r F r 3 !...____.._. 3 . -J 3 IJ J3J IJ.frrfEr mJ 210210 Ie t 1 r=>r #E£ r hoi t 2 0 . ._ bru SIN"" .2 0 t If 2 il=JJj 2 3 t.2 0 2 3 _<!. 2 0 3 ... _ . . 0 ... Use un golpe cono. r E cry !l\' 1---0 IF I (4) err..2 1 J... P 1 n v•• 3 IIIort 1IVVke.. JJ .. 2 oJ .. jill Donner coup d' arcl«!t COli". 01 . II: J J J J J 31 J J.

. # p r n 3 i)W t 3 2 3 r ~r ~1 f£) 3 J J 3 2 o 8 t.J ] J J J J I r o 2 3 0 1 2 '---" r 1 j 0 tel J___J . F g''''''' Do a. Hriilll'".prFill". S.. 2 30i3 2103 to .J 3 7. tV"~.nUn 'Coloquc el cuarto dedo en forma exaeta. .. i. ~ I . ttl ie F E a 3 0 j t ~ .~ the 4th ftnaer IU:curately. r :1 J7~' ·4 0 '2 r' 3 2 3 0 .. 'Placer correctement Ie quatrieme doifl" Le deuxieme doifll devralt toucher le premier.Minuet 3 J.Wlill :11 .r 3 n ~I rtfr.r sollU .. ·S~lr. . Bach (4) IF mf o El r1 I r ~ 4 I r __ 230 t 2 3 2 3210 (tEl ' f_] Un 'J WJ J J I !j.f f ~3 4 2 a rl r r I r 3 0 :1 3 2 rff r • 1• 3 I fir '2 :J! J. Et segundo dedo debe tocar aI primer dedo.Ia. Tbe lnd finaer should touch the 1st lIDaer. FiII. rr 2 t F I 3 0 ..

.1 .f Le Gai Laboureur Frohlkher Land.".~IJJjJJJPljjj f sempre Allegro giocoso V n R.nn El Granjero Feliz .The Happy Farmer '$Il~d:1t?laH:fr. Schumann 2 V 20021301 1.

mf riC 1 3~2 a ~ •. ~I J 1 1---- M ~J ~r 1 J o 0rj.'It :::t rit. ~ ~ 1( j r5 1 "i.. 12 ff r 3. 1~ EW ~ 4 1 :11 .Gavotte : ' aJ piu cantabile i..If· @s) r IJ J=~J r IF 141 3.2 loa 0 0 ~ 2 --- tUB V t r . ! i# irrr II: ~ .tJ n . I IJ ~ 3 0 Jj W !~ I tt#/441i 1 ~ **&1~~~ 4 '4 J q ====='~!j 0 0~ 0 I I ~p ....

2 n V 3 1 j 3 1 I..Bo. tIU V. then play. 3 r ~E --1! ] h Ilf 1 ~ r #0 -. LtIIuCM tUr tI. de. .. Use un golpe corto. PIKe the bow on the strIna. Proccdimiento pam pnictica. keeplq the bow OD the string durllll the rest...ndo e.Er 2-- V . V Y i- g r #i1 .Proeedure for Pnc:tke.. bus.lutU. puis jouer. Ecouter attentivement t'intonation.. Donner un coup d'archer court.'"" der StIIU. r1..'IIt1I1/tIU SIziu. V•• Ibor1l1hvke.iMll ""rull Strielttlil..:0: b rn t.J r i 3 F tr _2 a L 4.---:. W. Comment s'exercer._rb4m tI.. en . LIsten card'ully to the IntOlllltioa._. P_... ltJtollknm. r Dr 4_ f? II .~t1 * n 1 2 i- Escuche cuidadosamente la afinaci6n._nil spkk.rjtlltrtll ~IUCbllll.. S.. Placer t'arche: sur IQ corde.. mantenie.. Coloq lie el area en la cuerda.1 IUCO sabre la euerda durante el silencio.ardanl I'arcbet sur /a corae penaant te aile-lice. entonces toq ue.~ 3 2- 2- 1- J 0 j :II ** ~I . Bo"" wiillnnd .

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