·T.

'Viola School
VIOLA PART VOLUME 2

TM

Copyright 1982 by Dr. Shinichi Suzuki Sole publisher for the entire world except Japan: Summy-Birchard Inc. exclusively distributed by Warner Bros. Publications Inc. Secaucus, New Jersey, U.S.A. All rights reserved Printed in U.S.A. ISBN 0-87487-242-1 15 14 13 12 11 10 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 requtres 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.

e

MUSICAS
OSCAR ARANY LTDA. Fono: (O'~l) 2:20-7601

Av. Nilo PLcan t:l:. 155 8/718 CEP20020·1 00 Hiode Janelro/H]

Introduction
This transposition of the SUZUKI VIOLIN SCHOOL makes available to the beginning viola student the carefully structured repertoire of The Suzuki Method™ - a method that teaches basic playing skills and develops listening and memorizing ability through the playing of beautiful music. Regardless of the age of the student, it is hoped that Dr. Suzuki's principles of learning by listening, training the memory, and concentrating on producing a beautiful tone will be observed. Remember that ability develops after a composition has been learned - in the mastering process. The practice suggestions emphasize the need to isolate technical and musical problems, and encourage the teacher to use all the opportunities inherent in the repertoire for orderly growth toward mastery of the instrument. This volume is also recommended for violinists who wish to become familiar with the viola and reading of the alto clef. For this reason, finger numbers have been kept to a minimum in order that reading will progress by note rather than by finger. The teacher is urged to stress knowledge of names of first-position notes on the viola before note reading progresses to the higher positions. Many of the solos in this volume are written in the same keys as those in the corresponding SUZUKI CELLO SCHOOL repertoire; also, some solos can be played with the compositions in the SUZUKI VIOLIN SCHOOL. Doris Preucil

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, or Summy-Birchard Inc., c/o Warner Bros. Publications Inc., 265 Secaucus Road, Secaucus, New Jersey 07096, for current Associations' addresses.

CONTENTS
[!]
Chorus from "Judas Maccabaeus," G. F. Handel
J.

8 8 9 10 12 13 15 16 19 21 23 24 25

[1] Musette,

W W

S. Bach. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..

Hunters' Chorus, C. M. von Weber Long Ago, T. H. Bayly G. F. Handel "Witches' Dance," N. Paganini Waltz, J. Brahms The 1WoGrenadiers, R. Schumann from "Mignon," A. Thomas

[!] Long, [1J
1101

[!] Bourree,

[!] Theme from

[!] Gavotte,
1121 1131

lui Minuet in G, L. van Beethoven
Minuet, L. Boccherini Practice Suggestions, Doris Preucil

Gavotte, J. B. Lully

Study Points for Volume 2
l. The child should listen to the reference recordings every day at home to develop musical sensitivity. Rapid progress depends on this listening. 2. Tonalization, or the production of a beautiful tone, should be stressed in the lesson and at home. 3. Constant attention should be given to accurate intonation, correct posture, and the proper bow hold. 4. Parents and teachers should strive to motivate the child so he will enjoy practicing correctly at home.

Suggestions for Tone Production
Basic preparations for tone production have stressed: finger, bow, then play. "Stop, think, then play" should now be an established practice technique which will result in a clear sound on each note. Throughout this book, the pieces afford opportunity to develop a smoother tone and stylistic variety by increased use of the whole bow and its various parts. Four basic factors in bowing are always at work in relationship to each other: I. 2. 3. 4. the the the the speed of the bow stroke weight exerted on the bow-hair distance of the bow from the bridge (contact point) amount of hair in contact with the string

Constant attention to all four factors is necessary for proper control and variety of tone production. The lower, thicker strings are more difficult to set into vibration than the higher strings. Feel the bow engage the string before playing. Try a slower speed, with more weight, and adjust the contact point by listening carefully to the "purchase" of the tone. Extensive use of the open strings in this book is a positive measure to encourage an approach to tone production - a way of moving the bow on the string so that each tone has the clarity and purity of an open string.

Tonalization

Each lesson should begin with tonalization. Try to produce a beautiful tone. Use full bows.

IT

IT

IT

II

Exercises for the close 1 - 2 finger pattern
Play these studies on all strings. Use proportionately less bow in faster speed.

- II
4

4

4

4

F - II . . ".--- . lEt? L1c F t~ iJ
Var. I WB UH WB LH Var.2
etc.

II

E1 E1 c FEj
-

- - ".-..
WB

Var.3

etc.

II @
WB

WB

UH

LH

(Ut
LH -

"c¥ll
lower half

WB - whole bow

UH - upper half

[II
lEe
r'1

Chorus from "Judas Maccabaeus"
rz-.

CD

Maestoso r'1

0 .~ __ _~

G.F. Handel

IT
f
4"---""

~

I IT

r

I

tyFLf

o~

-___

F

r

I

ro

0

1M

@E Elf

=======0

E

1M

rr

o

a-.
\V

r'1

I

rrrr

I ~.

J

I Et

4.-.-2-

err

~-

0

mf

f I f__ IT I
I

0

niL f-=====::::::..rail.

ffijS!J=fr
r."I

I

E ff

II

[IJ

Musette

Circled numbers refer to corresponding numbers in practice suggestions.

[I]
Allegro

9

Hunters' Chorus
C.M. von Weber

:m!~ ~Ir
f

0v

CD

ift If
r
rr

r r Ir

..

r-~.

LC

~

r IftfE~;t ~
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v

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1# r
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[!]
Moderato
~

Long, Long Ago
T.H. Bayly
4

IE(~ r Ur U Ir ElF
mf
4

Ir ElF:

IE Ur
E

g

18 r =& r ell r aT Fir I~ r
f
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Variation
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ur
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p

=+ 1
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:m G ft r?r tr I N [r rJJ] I [4 U tJ V I rj IT tJ l~
0

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4-,

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9

f

p

Finger Placement Studies
Ex. 1 Practice resetting the finger firmly on each single string. Keep left elbow flexible, swinging in under the viola for the C string, and back to the left for A string notes. Practice staccato first, then legato. Set finger first, then bow, then play.

Ex. 2.

IM(! j
lEtt

] F r I r r J J I J J r r Ir r
rr
f If

J J I J J ttl
4

J J IJ

rr

J I i=6i f If

rr

J 11

Walking Finger Studies
Take care that the fingers are released with as much vitality as when they are placed.

IRe JJ@ ._.,
=me
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o

1

13.g ttft ItTIa tJaJ I JJ tJtfCll 'Iiij$J
-_;

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'-

'-

t]1J1

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etBDjj1 ._.,
~

-._;:

rn
f7\Moderato

Waltz
J. Brahms

lEi
4

~~

P dolce

b:::--E
~
4

f1 I Dr

~

ft I em
~
~

~

F

~ is __ Kt IE ~~~ I f~ ~ I fi ~ I ~.r@ I ~ =2d:= cN 5 Z *i>
p

=;

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-- =

poco rit.

[I]
Allegretto

Bourree
G.F. Handel

lHc

P espressivo

r I Q 0 EJ I r f
------==

tt I rat Ef r I Or

rJ

Tonalization

Exercises for New Finger Pattern (Pattern 4)
Finger Pattern 4 /\ ~

lB rTtfrj
o
234

1st finger is close to nut (h step higher than open string.) 3rd and 4th fingers also are close.

IS

r
3 3

r
To avoid pulling the 3rd finger out of proper position, practice the following silent exercise. Keep the 3rd finger in place as the 1st finger slides back from Eq to E~.

This is the first time the lowered 1st finger is used.

I~&~~ F

IF

~1

F

I~•F ~ r
Ear Training

3---------------

•r ~r

:11

Exercises for perfect octave intonation. Listen to the resonance of the open C, G and D strings, and try to match the octave pitches perfectly.

I~C

0

)'1

;~l .

0
L

3

I Jl'1 ~'l .

.

f

I

~J~E .
0

3

.

3

Jl'f I"

.

~'1

f

IJ~l .

~

[ZJ
I~&~ e
o
Moderato

The 'Iwo Grenadiers

J

-

1V

£

r
mf

V

IF r.;t
(.;t
r-.

n

V"--·

CD

R. Schumann

r Ir

=- --

J

r
V V

V

I

IE&~ F r #r

=- --

rib

r
V
V

r IF = ~ s I~fa C F Fj I F'
p agitato

~f I
F gg
n......---. •

J

Ir ur' ~~Ir r F'
cresco

V __

fj

r
IJ&~ r
=m# F

V

I (~'~
piu mosso

n

ur
r

r I ~ r ~ r II~I# r F r r I
rit.

V

Moderato

ErFr I~ F -==::;;==:: CD f'

V

n
0

V

o

fLI

r------~

't

r

f

~F 0

FI -

IFF

r r If

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[]]

Theme from "Witches' Dance"
v,--_ -t
0

# I~a E ~ C · -l. I a :t
mf

CD ~.

Andante

v
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=m#'

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4 f"

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3

0

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4

v
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r

o

II
gP meno mosso

F

f

Position Etudes
The student should continue practicing until he becomes skillful at these etudes. At the beginning, practice the position etudes on one string at a time. When they are mastered on one string, practice on the next string.

2nd Position

In 2tt

A string

1

rf
2 3 1 1 4

Iff
b3

~4

3

r (F r f
2 1 1

2

Iff
2

~3

2

r
1 2

II:U
1

1

1

f I~ II;tl f f Iff f :III;U r= I f r= r
1

4

b

3

2

1

1~ 3

~3

__

If

3rd Position
A string
1

IB

~7f

AI

The left thumb should keep the same relative position with the rest of the hand on both upwards and downwards shifts in these exercises. Hold the viola firmly on the shoulder, but avoid excessive "squeezing" at all times, and particularly on downward shifts.

Introduction to Positions
To familiarize the student with 2nd and 3rd positions, review the melody of Perpetual Motion by Suzuki and then transpose it upward, step by step.

E flat Major
4

Perpetual Motion
• • sim.

IB6~~e tttt(tEfI
1

rEFerrEEIcErJerEf IrEfr[rg
1 1 1 1-

4

4

I
1_

IB~~~ fEttfter
________ 1

Ir:E r C E r EEIfEtrEteE
1 1 _

Ifn C ~ Ern

I~&P~

_________

r rEF r r f r IE r r EfEee I r r r F r F f E IE r r Etf fNg
F tr

lE&p, E r; E f r r IfF E f CJ rEI E r f1 r f r r I ErE E
E Major

IT II

m#.-h: cE a cr U I crEer rEt
2nd position

etc.

F Major -

IB~£:
G Major -

E f U tCll I CEfcOft
3rd position 33 344 3 4 134

233

344

3 4 134

11 etc.

We tE r;cpu: I ErFEN ff
Also practice these exercises beginning on the G and C strings.

11 etc.

~
Allegretto

Gavotte from "Mignon"

19

~. o.
. ~..

tr Ct I l r Ft ;[1# I r
• ••

... ••
4

.(

.. ~.

0

-

A. Thomas

18 irEnE r ttl

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mf

Erftt Itt

.

1

U t at

1-;

H

00
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----~---I~ Et~tlr
3

.:::-----

..
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CD
p
• • •
II

4

CD

f
0..

0

~=s
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= ~F t

l=.

r t r t r I t ~F t F t r t r I t r t [0 t if I CJ #'
• • • • • •
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rail.

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r

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mf a tempo

1

Ebfrr t J I

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J3 ~rF r r F F r F I ~rF r Flit;
o
0 0 0 0 0 0 0 0 0 0 0

1/r"'1

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mf a tempo
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4

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car I ftFtF ft;;r
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.. . .
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r
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r"'1

Car I EbhfL f
r"'1

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0 0 0

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r Ir r

pizz,

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r
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If

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II

Twinkle, Twinkle, Little Star
(On the A String)
Note that only the first and last sections shift into 3rd position. This is the key in which the violins generally play this piece. Try rhythmic variants as before.

r"'1
~

,-~ c

JJ

002

I 3rd position

r r Ir r r
2 332
4

I Ir

r r r r Ir r
3 3 2 2

110

d Fine II
II
D.C al Fine

,.; fEr

r Ir r r

r r r Ir r r
4

",I

[!ill
Allegretto
~

Gavotte
J.B. Lully

V
0

j¥¢ F
mf

o

can grazioso

rlr
o

0

0'[ fir
0 .~.

.---...4

O'r
4

O"lr

UE 9'1
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.

lib r

¥

lit r 1 r 0' r r 1 E C! F

t

1~

t ~,

1

1Mb

F

tF~ a
II"_

.

n

F.

I ~ rj-"'_

r ~ IrurcrIEa(~FFI
• •

,,----

IR &

---_--'

r r j rI r F r r I r
121223 ~

v F
o

ritard. molto

lE& F

Ct F Of}
'

F

Er F

(J IF.· j

/I

·ct I r LJ~~r~
• 0 • ~

o

".--.

4

IE&

r Ur r

I~

r ~¥

I

r
4

/1

tt

J; k r
~

[I" ~

••

r
4

18&
IH&

j

r ~r Ir
• 0

mf

[r

r C fit

tift f r I r 9 t Fa
,..---.-. fr ~

r Ct r U lEe r r r r I !-

1'"

r:

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r

dI

lui
Allegretto

Minuet in G
L. van Beethoven

Ik± r t I f
V~

CD

:>~

tf .tf .r I f-=f.l=ef
~o

V~~.\

c.:r I
V

L: r
r».
4 0

rfrr
~
4~

I

11.

18#

r

:11

r

0v
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J

r. II: r. r & Ci
1_ 4

I~ 4-..3

F

~:!:

4

I

±::

f r erd

pp

p-===

============
ji#

t t tj

n

mf

-====f
4

1

# 1 1 # 1 J ~ La J ~

1

M ~,

D.C. al Fine

:11

25

Practice Suggestions
Circled numbers refer to corresponding numbers in the composition.

(Chorus from "Judas Maccabaeus")

CD CD CD

Check the potential sound of the first note by plucking it. To make the tone ring clearly, use finn finger pressure. When playing slurred, dotted rhythms (as in measure 1), listen for a smooth legato sound. Set fingers 3 and 4 on the D string to prepare G# and A.

(Musette)
Note that Musette has only two pulses in a measure. Distribute the bow carefully (alternating bowing). Go directly from one finger to another (walking fingers). This note sounds well as a harmonic on the G string. The practice of harmonics will prepare shifting into positions and later vibrato study.

Harmonics
Practice shifting the hand lip along the neck until it hits the shoulder of the viola. Extend the 4th finger without curving it, and touch the string tightly. Your teacher will help you discover other harmonics on your viola.

I

r

0

f

4 0

IF f I J
0 0

4 0

4 0 4 0

IT

IJ

0

r

4 0

liE

f

If f

4 0

4 0

I

IT

IT

I

rr

4 0

II

(Hunters' Chorus)

CD

Practice "lift and set" silently in the middle of the bow until the bow can be placed securely on the string without tremor. Then play the first two notes, coming otTthe string on the V bow, setting in lower half for the ~ bow, and gripping the string before playing. Place only the 3rd finger on the D string.

Practice runs ascending and descending slowly, and then twice as fast. Place only the 3rd finger on the lower string.

Practice using only hand motion to change strings, keeping arm on the level of the higher string.

@

II:

cd fd @ ffr1
:111:

@

e£if]
n

:11

t;:;\ To prepare for the accent, lift and set the bow, experimenting to find the
speeding the bow stroke. Release weight after the initial attack.

\::.J exact amount of weight to give the hair on the string. Make the accent by

CD
J
stop stop

Use full bow on and two equal short strokes on sounding alike at frog and point. •• Relax bow arm slightly to release weight after the quarter notes.

o

Use lower part of bow. Lift slightly after each up-bow.

@
:111:

f

:::>

S

f

r

:111:

p a [) a
r"'1

v

:11

As in ex. 4, speed the bow on the accent. To clarify the string crossing, practice this exercise until the quick upward motion of the hand feels comfortable.

(Long, Long Ago)
The double up-bow is like that in the Minuets of Bach. Keep bow on the string. Use small bow strokes.

1"'1

gJll:D

0 D 0:11
1"'1

Hold down the melody fmgers on the D string (in the variation) while crossing the bow to the G string.

(Waltz)
Practice a long down-bow, releasing weight and lessening the bow speed when approaching the tip.

CD

111~

U~ :111: L) a :11 B
1------

Release weight during the dotted quarter, applying new weight to the slurred eighth notes. Use faster, lighter stroke for up-bow.

Supplementary Shifting Studies
These are various shifting patterns, to be selected for practice as they appear in the student's repertoire.

2nd Position - Shifting on One Finger
The basic rule in moving the hand from one position to another is to shift on the finger last used. This is a continuation of the other basic fingering rule: go directly from one finger to another whenever possible. [

liT

r f t = f f r- r
2_2 2-2

343 ~ ~

[

II II

2nd Position - Shifting from One Finger to Another

Always shift on the finger last used. The note in parenthesis indicates the movement of the shifting finger. First practice playing this note audibly. It should not be heard as ability grows.

3rd Position
1 1 ~I

If t ff

1",---:

t Ir

~

rrr
2 2 ~2

Iff

3....--::

3

f f If

3 ~3

444

v--~

[ [f II

~~4

IE t
2

~

2

(.L)

f f-(+-L! _-1

.r-;--

2

(Bourree)
Repeat the following pattern if and p) until the bow division is controlled, and the changes are smooth. Then adjust the length of the bow strokes and the bow speed for more expressive musical phrasing and dynamics.

lower part of bow

I~ r I [

v

half bow

r

.j
middle

Start up-bow slowly and increase speed to maintain the sound.

f

FF I

/

i

r r FrFF
halfbow ~
i

I ['

II

(The Two Grenadiers)

IE

CD
stop bow connect smoothly

o o
rr
• r' I r' .0~ ,----..... ~.

After first down bow, lift and reset at frog. Hand makes small, quick circle.

Practice first:

say "stop"

Practice with full bow. Begin the bow with enough motion to avoid speeding up in the middle of the stroke.

(Witches' Dance)
quick bow

.j

I

V

~

,r

::>

V

:11

Begin at middle of bow. Use upper half.

Speed the bow on the attack, then slow the bow. Go back to middle on up-bow.

0r1

IR

fffffE
Begin slightly below middle of bow.

If
Lift and set

:11
in strict rhythm.

Play ten times. Repeat until sound is clear and brilliant. Use broad detache strokes, smoothly connected. Sustain quarter note full length.

o
1st finger low, close to nut

Watch the changing finger patterns:

1\

g~:~) I 'f}
r1

tf~r

f

Tuck 1 under 2.

Pull 1 back close to nut.

f

Tuck 2 under 3.

To develop speed on the last four measures, practice the following exercise faster than the tempo of the piece. Keep bow lightly on string during the rest. Stop, think the next notes as a group, then play.

18# tit
r1

J

E$ FI
r1

V

J

2J

It tEtrfll
l\

CUffiJ
3

3

J

II

(Gavotte from "Mignon")

CD
3/\ ~~2~

Do not change the "frame" of the hand, but reach back with the 1st finger for E~.
1

I~ l [#r ;~t rJ :111:~r

rr
3
~1

~

3

j

:11

Practice string-crossing on open strings.

The E ~ major scale shows the finger pattern for the middle section of Gavotte (finger pattern 4). Move hand back, close to nut.

After the double up-bow, continue upward motion of the arm to bring the hand to the pizzicato position. Extend 1st finger for the pizz, without changing bow hold. Try to achieve a rich, full sound on the final chords.

(Gavotte)

G)

Practice ten times.

Then play:

:11

:1
Trill practice. Drop the 2nd finger as quickly as possible. Keep 1st finger down firmly.

@

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rtf!rm :111:@ r' cir :111:
Lift 2nd finger high. Reverse rhythm. Keep 2nd finger close to string. Shifting in and out of 3rd position.

@

@

ma

1J

1M

1J

ijJ

etc.

Shift up.

Stop; pre~are 1st finger on B ~ and 2nd finger on C then play.

#;

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Exercise for I st finger extension.

Hold down 2 on A string silently while playing on D string. Compare the measures written in treble clef with the identical passage (line above) written in alto clef. As you play with increasing frequency in 3rd position it will be necessary to read treble clef.

(Minuet in G)

CD

To prepare this:

Practice:

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4

Release arm weight and reduce bow speed between notes. Practice shifting in and out of half-position carefully. Treble clef, 3rd position, and harmonic.
4 4 04
0 30 340 4

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1

18

r

10

r f± I r r r f I-r r r r I r r r CJ r II t
3 2

-IT

3

Flatten and reach 3rd' finger toward bridge.

whole-step reach

step-and-a-half reach

~! ~ 11\ r t t t t
Stop bow.

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To prepare bowing for trio, practice:

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