® Suzuki Cello School Volume 1 ello Part 1 ZY) mu \ Yj)Cello School Cello Part Volume 1 Revised EditionINTRODUCTION FOR THE STUDENT: This material is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with these publications. In addi- tion, there are piano accompaniment books that go along with this material. FOR THE TEACHER: tn order to be an effective Suzuki teacher, a great deal of ‘ongoing education is required. Your national Suzuki association provides this for hip. Teachers ave encouraged W Lecume members of Ue ational 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 Suruki Association. FOR THE PARENT: Credentials are essential for any teacher that you choose. We recommend you ack your teacher for his or her eredentials, ecpecially isting 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., co ‘Wamer Bros. Publications, 15800 N.W. 48th Avenue, Miami, FL 33014, for current Associations’ addresses. Under the guidance of Dr. Suzuki since 1978, the editing of the Suzuki Cello School isa continuing cooperative effort of the Cello Committees from Talent Education ‘Japan, the European Suzuki Association and the Suzuki Association of the Americas.CONTENTS 1] Twinkle, Twinkle, Lite Star Variations, Shinich Suzuki Lightly Row, Folk Song Song ofthe Wind, Folk Song Go Tell Aunt Rhody, Folk Song (© Come, Lite Children, Folk Song. [EI resneh Pate Song Fat Song 3 7 Hi ‘ 7 May Song, Folk Song 8] Allegro, Shinichi Suzuki 9] Perpetual Motion in D Major, Shinichi Suouki. Perpetual Motion in G Major, Shinichi Suzuki. Long, Long Ago, 7H. Bayly Allegretto, Shinichi Suzuki Andantino, Shinichi Rigadoon, 1. Purcell tude, Shinichi Suh ‘The Happy Farmer, R. Schumann Minuet iC, 8. Bach Minuet No. 2,/'. Back Maestro Pablo Casals, 1s 6 6 ” 1" 20 20 a©1979 Fritz Henle Maestro Pablo CasalsPRL HOO WALD ADORE TRB UU EF eM, EROBMEES TO. £NEHINE EE DR enibm ED at, bPU ede or, OE UR LOR OmME, A FORK RTH EA Hien saniees MIA EC, LORE, HELO, ELLOS ayaa asi, MOREL, FEO ORECEOL( LomnM Btasicenre. WLM d oad yb MOL THE SEE ES XC. EO PELE MRE: CHOSE. Mis BORE De BRAHMI Hi 89 LATE ES eenal WROTEON LO TEL. Woon BLOLOTH. ANUBIDE, UKOFE LOE ROCEAIRENL, WHPO FEE, AeERE ROWE Crs TEL TH OO EWE LSE, WR LEONEL EAT, EO PELE ORT DN eRNTAY, MITEL REET, ERE PE LOL Ab EORME, DO RREORHLE OT HAMM 89 feo TCHAD, so4noes Four Essential Points for Teachers and Parents 1, Calldren snould tsten 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 tne, should be stressed inthe 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 children so they will enjoy practicing correctly at home. ‘Through the experience I have gained in teaching young children for over thinty years, I am thoroughly convinced that musical ability can be fully cultivated in all children ifthe above four points are faithfully observed. Musical ability is nt an inborn talent but an ability that can be developed. All children who are ‘properly trained can develop musical ability just as all children develop the ability to speak their ‘mother tongue, For the happiness of children, [hope these four essential points will be carefully ‘observed and put to continual use in the home and in the studio, Shinichi Suzuki‘The Daring Posture fundamental an should be completly mastered. Exercises for Proper D-String Posture Use short bow stoke 2 Se ee Exercises for Changing Strings Exercises for Quick Placement of Fingers 1 too io Lo bm 1a93 14 10 3, 4m) 10 9_ Bie e Pla fingers 1.2.24 quietly and secre rng the reste. 4294 forse 4 ‘When playing the th ayes hep ll our Faery ow ut Ue ting,The First Position ‘The purpose of the following exercises io play the notes acurately, Press he string with ce tp of finger. D suing suing — 1) Play the Ah finger, keeping th Ist, 2nd and 3 fingers down onthe stra ‘While playing the dh finger, think and prepare for the next positon ot your Hinge, Repeat on the A sting. ') For half a year, at least, continue the practice of stopping the bow on the sng after each note to get a clear sound. noe 9 5 : 3 D Major Seale While playing the upper hal ofthe cole the Ie and the 3rd fingers should remain onthe sing. ‘When you place te id Ginger, place the 2ad down witht 1 0 “Important instructions for Practice ‘The fingering 4 requires very careful pratice. Stop the bow after you ply open A, and be sue to place ‘he ft seccod, think und fourth ingore inthe proper position on te Dating before you continaet pay.[1] Twinkle, Twinkle, Little Star Variations = opty 1] sep te tow ou pres ater ache Bow FFT] smoothly.2| French Folk Song ‘To develop the practice of tonalization “Moderate 4 A Bua 1 Folk Song ~~ ° y “Keep the Sed finger dow[4] Song of the Wind Folk Song.6| O Come, Little Children ‘Tonalization ‘This should be taught at each lesson. luck the open string an listen to the sound ofthe vibrating sting. ples 8 © 8 lay tones withthe ste resonance with the bow. ‘Question teachers and parents mus ask every dey ‘Aze the pupils listening tothe reference record at home everyday ? “His the tone improved ? Is the intonation corect? “His the proper playing posture been acquired ? Tethe bow being held eammely 9[7] May Song Folk Song, f (and time } poco rt [8] Allegro9| Perpetual Motion in D Major Play this piece atthe middle ofthe bow using very short stroke. ‘Stop the bow afer each note Play slowly at Grn nd dn gradually sped up the tempo. ‘Allegro Ais ‘Alter A, play B, HiperSe rs ? ae pe “Transpose all previous piece tothe key of G Major in preparation for "Long, Long Ago."Tonalization ‘This shouldbe taught at each lesson, Pupils should always strive fr a more beautiful and retonant one. A a * Listen for ringing sound, G Major Scale S. SuzukiLong, Long Ago TH Bayly12} Andantino Second-Finger Training (Preparatory Exercise for "Rigadoon") 1 @ @ 4 ® 4 @ ind & fourth fingers together1 See 17, second finger taining, fe preparatory neerica tne De ger.Tonalization ‘This should be mught at each leston. Jeo Variation[15] The Happy Farmer (2nd tne } poco rt(17] Minuet No. 2 2 2104 9129 7% 7 VS + ESB core paying ths piece ace cingrams and pictures on pages 22 & 23G# Exercise SS = Closed First Position2B Shift Explanation ‘Move all fingers and thumb one-half step higher. (Keep ‘thumb under 2). Extension Explanation Move 2, 3, 4 and thumb one-half step higher. (Keep thumb under 2). Bring elbow forward for extension.SUZUKI METHOD INTERNATIONAL '94979"00348™" 9 uns