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(Viola School

\10J_n\ BlliT
'T()LU~IE5

Copyright © 1986 by Dr. Shinichi Suzuki Sole Publishers for the entire world except Japan: Summy-Birchard Inc. exclusively distributed by Warner Bros. Publications Inc. 15800 N.W. 48th Avenue Miami, Florida 33014 All rights reserved. Printed in U.S.A.

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

Any duplicatlon, 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.

ACI(NO'VLEDGEl\fENTS
The compositions in this volume were arranged for viola and piano by Doris Preucil. The viola parts were edited by William and Doris Preucil with the assistance of Suzuki Association of America Viola Committee members Leroy Bauer, Louita Clothier, William Foster, Virginia Schneider, and Elizabeth Stuen-Walker.

INTRODUCTION
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,]apan, 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, for current Associations' address.

CONTENTS
Tonalization, S. Suzuki................................................................... Position Etudes-5th Position, S. Suzuki............................................... Etude for Changing Strings, S. Suzuki................................................. 4 4 5 6

[!]

Sonata in G major, B. MarcelloIPreucil......................................

Largo................................................................................
Allegro........................................................................ Largo.......................................................................... Presto..........................................................................

6
6 7 8 9 10 12 14 16

[I] [I]

Country Dance, C. M. von Weber............................................. Spinning Wheel, N. Rubinstein................................................ Gigue, F. M. Veradni............................................................. Suite I in G major, J. S. Bach (unaccompanied)
Prelude " , , ., ,. ,

m

Exercises for Shaping the Left Hand, S. Suzuki

rn

,. .. 16

Courante...................................................................... Gigue..........................................................................

18 19 20 22

[!J [I]

Moto Perpetuo, C. Bohm Four French Dances,M. Marais I. II. III. IV. L'Agreable .. .. La Matelotte Le Basque............................................................. .... .. .. . . La Proven~ale........................................................

.. 22 23 24 25 26
27

Tonalization-C major and minor scales and arpeggios, S. Suzuki Shifting Studies, D. Preucil

[!]

Concerto in C minor, J. C. BachICasadesus
I. Allegro molto rna maestoso

28 28 30

II.

Adagio molto espressivo...........................................

4

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

IS ~! F
IB
11~~

IT

I

r

f

If f If t I IT
Ir

4

IT

I IT

II: F E I r f
IT

If f If f IF L SfF E :II

r
0

:II II

IS & ~! J J I r

r Ir r
4

IF

r

4

I

r

J 51

Exercise for Forte and Piano 1. For forte: Place the bow near the bridge (B) and use a whole, straight bow. 2. For piano: Place the bow away from the bridge (A) and use a whole, straight bow.

Position Etudes - 5th Position

andth,n,
A string:

r FTI
1__

'I

rrr
1 1

2

I

~

rr
2

1

:III:

1

W' E t
1

Ii:

b

4

~

r
2

:II

, II:

at
1 1 1 1

~t:
4

tf-

It

~4

Ir
2 _

:111:

TrT EUt
1 1 2
1

5

rr
1

2

:11

F: A II

1

1

*lfDCflt t

1

1

_

I i-

t

#r
_

:111:

Bet t
1132 1

tic

I

t

321

tic
_

"r

:11

fir ) II

1

The first finger should always stay down in such practice. Try stopped bows on the slurs at first. When this exercise is mastered on one string, practice on the next string. Position practice should always be done by memory. Please review Etudes for 2nd, 3rd, and 4th position in Suzuki Viola Volumes 3 and 4.

Etude for Changing Strings
Try to maintain a constant tone and tempo, taking care not to get too fast.

Bowing variants:

iStie

tLtVt[ff
V· . •

r"'1

r"'1

b) ;:;

:111:

tftvtfff
~ ~

r::
:11

6

[!]

Sonata in G major
B. Marcello

Allegro

IS"e:

,WE t F rlr Eft! fJ (It
~

iB# nD!JJ3fflJI
7

J3jJJmn

'
!~

f IrFcFcCrFOd;pl
v
~

aU JJJJjJjJI
0

IS"
10

jrcrcEcrrFrrr[cfl
i= r r F q; r j
~.--...."

U ' P ErrrFcrPI Frrrrcrrry r r
.~
3

Y

I

IS d E
f

I'E Hi E E E t E bt F J- I r!lF F ~ :11

rIr

flf&Ftt 0 flEtttl rFrFrfrf]
P f
'1

16

Isd rEFfcfrfrUfrFrFI cEcfcfrfrfrFcErFI drfcfcfO

f

Vi

V

19

19 #

rFrfrFrftfrEEfrFi rFrfrFrfrfrFrFrfl [jlIftfryrrl
• 0

ti

7

+

=-'!

p

34

f,it.

11

'U EittfA I ria f~ ========2tr
--=:::::: f

Iff

r

ElSI Urg I r II
rit.

M

tr

V

pp

8 Presto

10=1 II:#.I~ J
""

~

V

1

~4

0""--"

r $i@&

l1JjjJjjjl
4

Jjta~

4

cresco

16

IB#

f

t.g-~ ~ I]
~ :--;

3 IJ ') :IIJ
1Iff
4

rIr 11.

11 .

2

'I

~1;DrfdrDl~fll
1IfI

21

IB# Eat;
~~

IFcCFfHflCccFErcrlEI~1[Frf.fE
'1 cresco

f:~

4

1

f

VI

IS# tffttlfrUtfbrl§11fffrIU'J

Itt til

it @I

9

10

W
Allegro moderato

Spinning Wheel
N. Rubinstein

"

7

-~ ~ii ~-----

13

IS b~~

22

cresco poco a poco

11

28

31

b_

a -~~li-~ =

f

~I
dim. poco a poco
~

..

4

~

--

~

39

42

IS v~~
>
321
3212101222

'Is &~~ OEf~
48

I ftrffftrrfffl &tfffrrztFffl

>

>

2

>

>

12

[!]
Allegro vivace

Gigue
F. M. Veracini
V

18
4

&~"

10 ~

m ~~. .---- _. _ ~llifE vE" ott I@£§§@J !:IWE vE" ~~I
?
~1~' • ----~

V

r'2-.

a

V

4~

.;;;-"\

3-3 V

~

10

13

13

v
p

V

1

poco largamente

14

Exercises for Shaping the Left Hand*

CD 18 (~)fj fl f f
1 3 4 3 4

Place 1st finger as indicated. Touch first finger to neck without gripping.

rrr
4

1

II (0)

rrrr
3

4

1

3

II

(~)

:J

J

4

:J

J

II

As the pitch of the 3rd or 4th finger is the same as, or an octave from its neighboring string, produce the same pitch by listening for resonance. Do not use vibrato so that the resonance can easily be heard. Keep fingers from touching neighboring strings to allow the resonance to sound.

:111:

:n'
o
3

18 J 18 18

o~

r
4

:111:n'
I

o

3

I

rTf'
4 ~~

4

0

1ft· Ir~'
4 40

o

0

:II

EjEfF

3430 ~34040

e±JEFF
~ 404

1m;

ar
II

fefe
~~

EJ r

IffErUl'

o

Observe carefully the form of the hand and fingers.

Repeat many times. Also play this finger pattern on the D, G, and C strings. * From Suzuki Violin School Quint Etudes

15

o o

Te~t for exact pitch of the 4th finger. Also practice this starting on the D and G stnngs.

Ii» i

f1illF I rFU111 f1fJfr I fWD :11F" II
3 3 4 3 3 3 4 4 4 3

Second Position

Ii ~(! F Eft t:rl r Ur Lr :11rAIl: F Eft t:r Ir Eft Et:IIFOlll

o
®

Third Position

IS ~ p

r
3

rrF
4 3

4

A :11

On one string

IH~e
18~ f
434

r

Urn

U It ttt (PIE

rrf fflt EEf ftl

4

3

trf

EEIP fff alt

crt

0=1

r

rtf

U:II

The downward shift of the left hand will be difficult if the viola is not held properly.

16

[i]

Suite I in G major
] ohann Sebastian Bach

IStt tf!lj r rFr=rErFeMq
~~~

~4

r 1F~rrI
~

CiI au r~i~
~

i

18"

EO! (Err 8:J lEla J ~fIe U?r rffffUI E Is"iH f t 2&1 pI r b fiEr,rn ft a (u fi fP 61 18" cr E f r f r f Ff rf [[ rEI IT [ E f ,[ 51 PFr57
1

psempre

3

--

4

simile

sempre cresco

1

2

3

0

l

~

2

l

4

dim.

18

IS d i , I [}
~ ~

ISd

dffffn fi Eft! IU J .1E J ~III f~ "'~"trsErf I FrirfrPhfff I ,[Ii ~ I
(.1=100)

-zz:-;

Courante
Y

V

rJ;~
1

c=>.

sempre leggiero
~

3

3__________

----------

~

0

18~f: ¥f[@lft rSj@1

a~ EUrrEtr,il PIli
Ir

~,j

19M

JJj,JDJ3jJJ3 -----------

---------

1

jJVdJPJJp,fmtufh -----------_/

v

19

____....

.

I

Gigue

19~e I [ r r Frp I tt [ t ~ J ~ I EfT! ELL t I
V ~ 4

(J.= 96)

J

1

~

1.----_

;

~

~J!~

F
4

tr

.

f
:l

V

V

P
p
I

19H t E

~

~

r [ c r I f r! F E fie
--------."
~

~

.~.

f

r t e t I-rst f
4

20

W
Allegro

Moto Perpetno*
Carl Bohm
2 2 3

.HI

J J,a I!.i#f# Ii, ti lifr~Iffff
f
oo

lifJf I

18~EfEf IffEf

sir.n.

liftf
p
a tempo

Iff ii IrrlfatE1- f ,

* After learning this on the string (det ache), practice bouncing bow (sautillc).

poco rit.

IBD Etf/lfff,
pa
tempo

I'fff Iff/f It; ;fltI,J¥t§£

a

21

'(1# !f*lttEtltftiltlf~latfftsetl
p

-rID! ;

>

;iltM§ttltfrt ~

IffEl IEffl IWErIE!;r I p

>

>

>

IBM ht~lifffIPtftlf!Wl/f.fllifU]N
~=======jj

ilb
1[; It Iflff:

D '18=======- I{ll! Iflff d!iifl{£tl' {til' -=============
p

'fBD

t#; J fir

f t if' If £ IE i It rnSJf1ft If I til
p cresco poco
a poco3

lli~ fir! f

I!! il' li£;llilH If;#Pllflu Ifim
p cresc.
poco 3 a p oco

'isM [ff; If f fflf£iJIl]
ff
sempre al fine

£:
>.

rtittt
~

030

1'1111

'iD D i 1; 011l]

i,;IfiE

f Ii, l Ij ,A I~J~ , AD
> ~

22

[2J
Moderato

Old French Dances
I. L'Agreable

M. Marais

23

Gaiamente

II. La Provencale

24

Gaiamente

III. La Matelotte

25

IV. Le Basque

26

Tonalization
Use full bows with smooth bow and string changes. I - A string II-D " III - G " IV - C "
C major scale - 3 octaves

JR!i ~jJ
f
~ 4

(J = 60-80)

EdJ 429
0 1

CE

~

Fir Er

~

ioo
~

4 ~

1

r£+E
'--~~

reach 4 ~

3-------

!
~

ffr (rl F} BeEr I A IT] J J 14
~ ~

1

C minor scale (melodic)

C major arpeggio

II

II

III

4

It E r
C minor arpeggio

~~

1St F r @J i :II
1
~102 II III

1B&~p(:

~@)tn

ira f
II

4

I EE

=
~~

It Ezr @lJ ~ II
~ 102

27

Shifting Studies

1) Practice each exercise with the various finger combinations 2) Practice without vibrato, then with vibrato. 3) Also practice using dotted rhythm (

indicated.

nn).

4) After learning these studies on the A string, transpose to the other strings .

j ~I,q~ a n IR F Fr I f1 G If-i Q I
a)

.J.

111

1

1111

sim.

b) 1 2 2 1 c) 1 2 2 1 d) 1 2 2 1

1221 1331 1331

sim.

g [1IF~ q Ir
sim.

g-~ ~.,._,
=:E

r I II

..0..

1331 1441

sim.
14 4 1

~

a) 2

¢

Ff F? I ft rTF If1 G IFE r r Ir tt r Ir =£ r Ir == r I2 22

sim.

"

n ., r~ n r~f~

-&

II

b) 2 c) 2 d) 2

112 332 332

2 1 stm. 2332 2442

sim.
24

sim.

a) 3

~~ft

q:

t1: EEl ft Err I FE Err I ftt? Irttr Ir rifr Irttr I-II
333

sim.

.r:J

l'\

n ~ ~~,

_o_

b) 3 4 4 c) 3 2 2 d) 3 1 1

3 3 3

3443 3223 3113

sim. stm. sim.

a)

~.ft#.~:
b)
c)

4 4 d) 4

fF 01 r1 01rtt? i pIc IcfEE Ieffc Iettci
4444

sim.

/""::Ii

n

L)

n

~-e-

= II

3 2 1

34 24 14

4 4 4

3 34 224 114

stm. stm. stm.

Always shift on the finger last used.

28

[!]
1

Concerto in C minor
1. c. Bach

Allegro molto rna maestoso
V

(d::: 84)

Reconstituted and harmonized by Henri Casadesus

f

2 __

V

2

p

V.H. on string

106

,~~&yrrc@"J b
~

d

E

4~

--========== f poco

r J I J FD IJ rfr£1H'-: ell
------1 3

3:: ~
rtt.

Tempo I

8

~:J

~

Ii

30

152

molto rit.

I

[)ttfjJ

31

18 &~~

35

43

;1
52

56

61

I&~~

75

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