VIO,LA PART

'
VOL,UME,6

SuzukfCViola School
VIOLA PART VOLUME 6

Copyright © 1993 Dr. Shinichi Suzuki Sole publisher for the entire world except Japan: Summy-Birchard, Inc. exclusively distributed by Warner Bros. Publications 15800 NW 48th Avenue Miami, Florida 33014 All Rights Reserved Printed in U.S.A. ISBN 0-87487-491-2

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 contained in this collection requires the written consent No part of this book may be photocopied or reproduced in any Unauthorized uses are an infringement of the U.S. Copyright Act compositions of the Publisher. way without permission. and are punishable by Law.

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, Japan, The Suzuki Association of the Americas, 1900 Folsom, #101, Boulder, Colorado 80302, or Summy-Birchard Inc., c/o Warner Bros. Publications, 15800 NW 48th Avenue, Miami, FL 33014 for current Associations' addresses.

CONTENTS
Exercises.

IT] IT]

La

.· Folia, M. Marais. ·
..
c

···

··.
e

Allegro, G.H Fiocco Arioso, J.S. Bach Exercises Adagio. Rondo ..

QJ

·

0

Suite in G Major, J.s. Bach

o
~

..
....

.

···.· ···.· ··· ···

, ,

e

··· ···· ···· ···· ·····
·

.4

.6
.10 .12 .15 .16 .18 .18 .19

···

Adagio and Rondo in D, W.A. Mozart .

······ ····· ·····
,

Hungarian Dance No.5, J. Brahms Position Etudes. . . . . . . . . Concerto for Two Violins, J.S. Bach. Concerto in B minor, G.F. HandellCasadesus . I. II. Allegro moderato. .. Andante rna non troppo ....

· · · · · .22 · · · · · .24
.25 .29 .29

······ ······ ..······

· .35 · .36

III. Allegro molto

4

Tonalization
Tonalization exercises should be practiced at each lesson. Exercise for beautiful tone and vibrato.
I 3 2 3

S. Suzuki

liB ¢

G

r
I

~

I~

~ D

I~
2 3

g
4 4

3

2

3

4

3

I~
3

I (9

~

I~
G
2 3

~

I~
4 3 1(9

r=
1 (9

I

~

II

liB 6~~~, liB b

1

3

~
I G
I

(9

~

I~
3 2

~ D

I~
3 4

~

I~
3

~

I~
I

~

r=

1=
1

I~

II
1

~, J
,

G

~

IF
j
1 3

l=
G

I~

2

3

4

3

~

I~
4 3

~

IF
C
2 3

~

IF

~

Ie
1
1

II

C

liB b~~I, ~,

J

1

c

IF

r
2

3

I~

IT

I~

r=

IF
C

G

r
2

4

3

IF

~

I0

II

Exercises for finding exact intonation
4 4

CD

2

~

6

1

y;0

~o

3

1

IE
2

f f fin
4

10 H ILr r a Ii
4 0

f1 I r'
_
1

CD

G string - - - - - - - - - - - - - - - - - - - - - - 12 14

IIB(d,cr
G string

FIB
,

r

1#0
I

4232

C~ IJ.
_

*
*

:11

lI~j
1

3d
1 4

r
I
a

I

3d r
1----

t1 #0 Ir'
II

:11

Shifting exercises for #4

liB

1----

tJ7:

5

Exercises in Octaves

D. Preucil

CD
.1.1

3
1

4

.",. I .1....,

I
--.._

I

6J
1

4

6J
• • 1....,
lin

rrr
_"...

rrrriflrri
!

/'

I
! !

~
r
1 1

_._
1 I

J - _._
I
_j_

_._
J

~

I""

• t,
I

~I
/

J
I

r

r

_._
I 1 1

~
1

,,-

_._
1

_

"
1

J
1

___c:

- _._ - _._ -::-....

j

~

I

,..
r I!'\

I'""
I"'

J
• I"'

tJ

._ .
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1 1

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1 1 I

1

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1 1
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.,.

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,.
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[J

_
3

3I
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~

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3J
I'"".rI I

J [J J J

.

_

.In
Iltl

• ._
I I

41

r

/'

I

with this variant:

Also practice #3

liB :~

r

r r rj -1 -rr:± IT ~'r rf
I

r

ir

i

r r r(;
-:
_::"

_

Keep fingers 1 and 4 do wn when shifting

r

I

etc

6

[IJ La Folia
M. Mantis
Realized Allegro moderato and arranged by Doris Preucil

(J = 76)

1

Theme

~====-======
V AR.I - Dolce

f

(J = 76)

p

liB

P

r j'=f .1 P[ii 1r j'='rUfU!1 EfT r
cresc. ---------------------------------------------rit.

I

======-

p

7

detache
44

(2)

attacca

VAR. III Energico

d = 104)

tr

It¥" ()~[
49

0V

r
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V.

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J[

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1

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V

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f
53

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V

~V

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p
6!

II

L, F Mf'
V ~ V ~

o

13:
rit.

It~

f

8

VAR IV Espressivo

(J = 76)

9

VAR VI
A~o

(J = 100)
0

'ilBJig J j jjJJyJJlir[UnErrrrlffUf-c
p
(2 x

E
4 4

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fj

100

liB
103

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1.

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r r8frrf[~ I rrrfFfEUFfrl
0

0

4

liB E

Err

[[[F

rF~~

I f r;

r ~r

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o

cresc -------------------------------------------------------------------------------------------------------

i II cd' me Fe
v
attacca Coda

V

J=

84
2

V

1"'1

rail.

10

f' i ~g:--- I SEjOONI p _~ IIH£l~ IltFrFEtEEt[rFEd]7l cr EI
~ 1

Allegro

[}]

AllegrG)0

G.H. Fiocco

V

1~

V

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f

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g.

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0

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~

21

liB F E C r G#[ [ ~ E r::a E r f r I f#r r F F rEF f r r F r ~= ~ I

f II fctprfgc;fEf
9 O~~~f

cresco -------------------------------------------------------------------------------------------------------

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~~.

f

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liB Fcrre
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4

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rcorr
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4

fCCCrfrfl

4 0 4-4

liB

cfrfr~ ~rEHEECEL IerG f [[I F y: tfEFrcrrl
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F reU I U P bCCOFrFf I bCCC#ErFfL Sf = I
O~

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24

U

f

mf dolce
421

~q[cfF
V

[4

~~~

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bHiEi~P[(rrF
4 ~

fi3iJ_

~

r+-;

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[tEF=nfrHrrEJ
~ ~ 4 ~ ~~~~ ~ ~

,.-.._

dim. poco a poco

11ft f f rEf [
2-

1

f G c [ F ~ r F F I f c [ r ~ C F F ; r : : SF bi I
O~

cresco

if

Examples

of ornaments

written

r

ift
played

r

II

11

IIBeY
ff

29

~

~

,

Q=

jJjJjJjJIJJJJJJjJE[FfEfrfl
P
1

3

2

4

poco a poco cresco

liB

r[[rrf[fjjjJjJJJ
4

IrfFfcfFfEFFFEFrFI
4

rr-

liB FrFrFrfrCffrFcfr
33]l a tempo

>

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f!I

t

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t rf? trail tf=rf FE E[[ Ftil ~ r~l~~ I s:fMW£ij , P liB [EffEtfrOOOO I U CfWJtITt
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0

If~rrFECE[[FE11
Fine

2V

poco

7~ rit. mf
-

(to bar 39)

f

o(:.~

-

-

-

tt:4

o~

4

V

I

lifFrrHrffirrf(f
poco a poco dim ..
3 ~
44

IFllrECrrSiJ[rti[r
~

l
cresco

U40~ ~- T(:. t t 3(: (:0t~V",~l IIS#C r[FtrtJ ~ 1;( rLFrCLEf I#EtctrFHEcCErEeD Fr
t
I
47 0 33 '"' 4 ~

f

poco a poco dim.

liB rFr[r[IT
49 ~

fiU f Eh = rilE [nef
1 1 4V

4

4

4

1

4

IIHErcrrrr&Ei, PIf Itc [fEr l(far
f
Examples

c=-:

F1

of rr m rr Cj f e~- '"'
~ 4 '"'

V

4~

V

0

poco a poco cresco D.S. ~

V

al Fine

IIi}

r

written

n s~ -- 6@
played
3

of ornaments

~n if
written

ff

,PII
f

V

poco rit.

IE

c~~ crrn ~
3

II

played

12

!IJ Suite in G Major
Allemande (

J = 60 )

1.S. Bach

5

111#

rrpE illb tidQC"
~~ 2~_1rf?\

0

2

1

a @ tJ U JJ ffRl
04

=======~p

poco a poco cresco

ten.

:=:=-P

13

23

IIB~

#UWQgHi ZEJliprrEecfFrrad}1
~ 0

.l~

b,tr

r--::- ~

4

0

f~mf

liB#
27

25

[iff(r r r [ , fl f f [E I wJ r [ r r iJrJ~.1'1
I
2 ~ 2~2 3~~~

v

cresc.

f=

liS# J r
=
111#
-=-

~

4

fr rIDe
~

(Efr Itt

;----.,

mf

=====- p cresco

cry bif r;!@!
~ 0

-

ef1i[riiEiJattlbFY gf rigw gC ~I
mf
poco rit.

15

[!] Arioso

cresco

f

molto rit.

16

Chromatic Scale Exercises

liB Il 15 qJiJ qA #J
01122334

CD

J I fjJ
43322110 4 4 3 433221

sn d~J j~ II
D. Preucil
322

o
01122334

2

2

3

3

o
0

,l:
0

liB glffi
~~
J_

:gr
2

#[ f
2 3

hI
3 4

It!
4 3

19 ~@\}
3 2 2

II
o

Er
~

.J•

~L ~

~r J

II

II

II
First practice slurring one beat. Then practice with one bow for each measure.

17

Three Octave Scales and Arpeggios in D major and D minor.
Use full bows with smooth bow and string changes. D. Preucil

D major scale

3----

D major arpeggio

D minor scale (melodic)

liB k e

fJ 3 @9'ett [V
~
~

IqrtJ, W r~rf f
shift hand

~

1

~4

II
D minor arpeggio

]IR~

t@ UJ, til
1~

II

II

18

[IJ Adagio
Adagio (K 356)

and Rondo in D
W.A. Mozart / Preucil
c

J = 72
1 ~

IIH#U L"
P

3~

r IrE

r=>.

2 2 ~

~ IE r F r E C fJ lOr r t
2~~

,

espressivo

27

liB #,

3

jo

19

Rondo ( K 485 ) Allegro ( ~

W.A. Mozart / Preucil

= 132 )

mJ'

mp

17

3

f

20

29 11
I.IJ

~
-1iirfP

4

:::::,....
II!_

L
I
<,

~

-•

...,
...-I

~l

• .

101_
"It-

",

._. ..........,_'"
dim in

.1""

I

.

-

~

'"'

"I"':"

101

_.

I

r:

'"' ....
---

........

'" .
--

---------------

-----------

45

3

4

1

1

:::=::=51

~

11#'
54

r t [ r r [ f r I fA ~F F
4 4

====-

V

y-~
2

2

4

3~

r F r g I IT t1 @
~

r"'1

2

3~

mp

11#'

Or

* IF

Oint

l~~'

~2

* 1!'SlEff

~! I

21

83

111##

P

rm en! F tEftr ffa far
1
I
calando

*

I;

-

II

22

[]J Hungarian
Allegro

Dance No.5
J. Brahms

f

fieramente 4

ilBb~ [HOg] j
1

>

25

liB k:

~

¥ gj211
~

~·1i ~;~.r 1t r f r t r r r I r==1, 1j:;~.. .r . r r[
2.. •

P

leggiero

2
1

f

if

o

is 1'1
if

~

4

3

Gd5jliUCW ,! I~ f IFF
P
poco ritenuto

~I

2

23

a tempo

24

Position Etudes
Practice these exercises on all strings

S. Suzuki

The indication means that pupils should first play

,or
I 1

~

r

I

and then

The first finger should always stay down in such practice. Try stopped bows on the slurs at first.

6th Position

$~
I

A string:

1

1

~

~

€ Ir f
4132

2

~3

2

I

~

:111~

~I

g
2

~3

4

~

If

~3

2

~

~

:11

61) f Dr I r Drr :111:t~(r r
1413 1132

*

II

,
I

Also practice shifting from 2nd and 3rd fingers as shown in the following examples:
1

~
I

2

F

r ,t r r
2 ~3 2

1

I

IIf

3

r

1

r
2

It

~3

r
f
3

r

II

7th Position

r
1

2

~

rr
2 1

:111:

ar
1 2

r
2

:11

* II
Also practice shifting from 2nd, 3rd, & 4th fingers as in example above

25

[1J Concerto for Two Violins
1st movement
(Violin II arranged for Viola) J. S. Bach Vivace
I

(J = 96)
~ 0

IB~(j aa~I[rr
Tutti 0

f- ~

1#t!C

f

9

@ ~ ij[E[f[~f [fer
---3
3

ErE
1

rfr 1~hP§NOfEUF 1@lerEWI
f
-=:::::::::: :::::=~
1

4

;'3V

4

2

~232432

l2

,~ e=tt~&n Jj jqJ jj jJ J J fJ !3gr#r! cttif [ ~9r
0

I,~dO C a 01 t r I,t f#J ~ ) J 1r J ~ItdJJ J
,.......1~

-====~

f

V

101

j

i

q3UE

mf

~fFI

26

il~ * 18°;130 I~J1 yjJIaJ® f

I;
3

V rfr,bF@1
j

IE~ r [ fTc r r9 r [ ~Tc gt I'Ft f
3 4

m r F ft J~l
[r

f

4
39

f\
k

~

4-4

o.

32

2,.--.... I

-

3

2

1
0

--, 1!'IIi.
\;

7,

tJ

V

~

V

i

I~

'''''
3-

-..-...,.1 ..... .-042 4

~

..

.. ]1.

11

27

3

~~

o .

ft

54

~

28

70

11&

[ftfrrfF[J Ifl
210 1 2 ~0 ~ ~ ~

LEErErrr,
p

1

fc «. ,t fc ,J

--========

Im&J~fJJ;gj]I
0 1 20 1

J6~ j! tJ JjEqf1y C;4SjbJ#Uf!.U~1
mf
2

[!] Concerto
Allegro moderato

29

in B minor
G.F. Handel / Casadesus

(J

= 96)

I

11

IIi Err IT F r E ~ FEE r F
4 4

#

i11~
fI

iI,J

S IE F f E

4

r c F rEg;

4

m
V V

I

liB~,

18

(er c r f rITE F r f rEg fir
~ ~

-r=>.

~

2

[ f FEE IT C J ~

~

r

~Et

1

3

ptM'1
cresco

~

24

r-,

3,.--...

1© 1924 Editions Max Eschig. Reproduit avec I'autorisation
proprietaires de I'oeuvre des EDITIONS MAX ESCHIG, pour Ie monde en tier

*

't

mp

P1

30

,#~¥F f f:lt? r VW j j J j j jd b g~b r egg r f tc t1J mbn ~JJ J IJ] au J ] fD' go b k~ 1 qa~rJ 81.qD 00fJ NT n ~ ~I ,## ¥ tt FnqJdIB §4bJj ~JqJj 1;1)jp [~f r&qJJJJI
G

E

I

cresco

29

V

V

0

3

2

I

, #ft

q

q]

)18

mf

dim.

p

cresco poco

a poco

-------------------

18 ~i
33

G

F

I

!f7

-----------------------------------------------------------------------------0 I 2

~

4
0

~
37

31

49

-

I

5

allarg.
4 3 4 ~

'#B ft Jj r ~ r r bt!
mj'
60

58

a tempo

r
2

[tlgijF!tE
V
4

1.

t~

gUru §CI
V-. V

V

'#g rr [F IT ~r IT U r [jI rr g rr rr J j n r
~ 1

~

4~

I

cresco

------------------------------------------------

~
~~

II#, !f [ f F g
~

64

rD% fatUI It f r ~et it r Err ,e Ell
cresco

32

70

~ qieg,J ~,~

I:

@@ f F ~r0 r r r r

74

-------------------------------------------------------------

~

II#. g r rae r [#[ t&
IT
f
78

E Cf I at fEU

lJ r

3

11#.
80

ME

V

r
4

II~'r r r F r Err r m r j J.j J I E ~ r r G r F r E G
82

~~
p

4

V

v

I

mp
V
3

33

~

cresco -- - - - -- -- -- - - ---

~rF r~~~Ip f IIB#Wt FE r FB!J~r~rml_ _ fttU f r J err
~ 1
91

O~V

~

----------------------------------------------

~

1-

~ ,rn

3r-1

liB j.
____ am

~@irl'Jd tJ @BY ~tq?_I_@__Cl} rr f? e rJ :
_

34

104

-

IS I
v

g r;r Fe r r [ f [ r E 6 r
2 3~ 4 ~ 3 ~

I

110

, Q I hEr r = t r D.J j r j IT I
p

I~ #.
114

tr r r

Er

t r tJ.J J J J LJ I E [ [ r F r h r F L ~ F ~ j ~~I
cresco

-------------------------c------------------0 1

r-I
3

4

2

v

-------------------------------------------

~

35

II
Andante rna non troppo

(J = 60)

=

-p

rit.

===::::==-a poco

JI

8 I I

I C·
pp
cresc.

~

2

poco

36

I'."
11'-1

u-J

v

3~.

.. _ ...

41 41

~
J

~

__.-/

'+

.,

~

~.
4

o/ .. ~~t!_

1

_-

--

cresco

--------------------------------------------------------

36

Allegro molto ~

liB II 3 ,

'P
.....

(J. = 108)

III

If

J[J

j 3 m Ir

ie' [ r I F

4

~~f

JJI

'$v j 3d J J I Er r F ? F I rr r EJ Lt f-r ~ f~I

37

24

,## J zsgJ I Fe r a r I a r d] I fi J
2 0 3 2

gY

m
E

i

'#ft
32

m f1 ptJ 11rJ7rr fPc a
0 ~ 03

lV

~3

I
~

jz

Cr

I

cresco --------------------------------------------

38

rit,

========~

-

1

I;B~.* U
"f

~

lie '~-E

oj

I

j

lc [1 rJr) ~TI
I I
mp

39

iIB#'

ru tit If r--========= fC &t It r reI 1£
3

f

rc ~ I

-;-<

IIB#' J

115

0

~c f* I~
l~

V"...,

~

r-:

~~gr~

J I) J ageE! Ir~r [~g 1 ElF
-

Vr-.~"'-"

~

'-._J~

'iE #.-1.

t r ( EJ
~~

1

F ~~ E tiE

~* ~

1

I: -

I

40

a tempo
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