Cello School Cello Part Volume 3Cello School Cello Part Volume 3 Revised Edition © 1992, 1980 Dr. Shinichi Suzuki Sole publisher for the entire world except Japan: Summy-Birchard Inc. Exclusive print rights administered by Alfred Publishing Co., Inc. All rights reserved Printed in USA ISBN 0-87487-483-1 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 somarned in this collection requires the written consent of the Publisher. “oc part of Sys hook may be photocopied or reproduced in any way withoul permission. Ligure mes et ae minimgemen of the US. Copyngtt Act 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 addi- tion, 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-term programs and long-term programs. You are also encouraged to join the International Suzuki Association. FOR THE PARENT: Credentials are essential for any teacher you choose. We recommend you ask your teacher for his or her credentials, especially those relat- ing 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, P.O. Box 17310, Boulder, Colorado 80308; or Summy-Birchard Inc., c/o Warner Bros. Publications, 15800 N.W. 48th Avenue, Miami, Florida 33014, for current Associations’ addresses. Under the guidance of Dr. Suzuki since 1978, the editing of the Suzuki Cello School is a continuing cooperative effort of the Cello Committees from Talent Education Japan, the European Suzuki Association and the Suzuki Association of the Americas.fH] bd] SB Sle a el CONTENTS Berceuse, F. SChUDETT ssssscssscssscssscsnsccssssesscsnssessvesssssssssssessscnscensssscesssessceossscsscese 4 Third Position Tonalization - Moon Over the Ruined Castle, R. TORI sessssscesvccssececssenssessscessscsssnsenscssscessecesseceseccscnececsscsssssscascscssscscsosonsonesecsees 5 Gavotte, J. B. Lully...csscscsscsscsssssssssssssessnsesssscssssseceesscsssssnsessessccssessssssessosonssesoess 6 Minuet, L. Boccherinii cssscssccssrssscsssccesccsscscvecscesscecsescncessssasscnssessccassessesensseeseanse 8 Fourth Position Tonalization - Moon Over the Ruined Castle, R. TAKi sesssossresscesescsssscncescsscnssssessecesenseeneserscascesssssscnsnsscssessessccsenssecssnssssssonsseens 9 Scherzo, C. Webster......00 seeeeseeeeesecsevcescesescescscussnsessssesssesessccscsecessccssescscsscesscese 10 Minuet in Gy, L. van Beethovensersssccccssrrssecrccesccvsvscccvessecssssccesscssssssssessessscessene 12 Gavotte in C Minor, J. S. Bach ....sccssscossssssccssscessecsscsevecesosscseascsssscnsncsnsnsonececs 14 Minuet No. 3, J. S. Bach ..sscsscsssscssscessccsssscscsscescesacscssccsssssscssssasssnecosscsesvececnes 16 Humoresque, A. Dv0FGK ..csssssscssssssscccssssccsessccecsessssssscsssscsssssassossessensessnecsosneees 18 La Cinquantaine, G. Marie ssccccssccssccssssssscssscesssssssssssconsessssssessssssnsssosscocseess 20 Allegro Moderato, J. S. Bach wrssssssssssscssscssccssssccsscescessccsccsescsssessecsecsscsassessaass 224 The Four Main Points for Study 1. Have the children listen daily to the records of the music they are studying. This kstemiggieljpstieen ~ make rapid progress. 2. Tonalization is included in each lesson and is a part of the daily practice at home. 3. Have the children play the second, third, and fourth position with accurate changes auiiaeieation. 4. In Vol. III attention should be paid to ends of phrases. Tonalization Each lesson begins with tonalization. Tonalization is stressed in order to improve and seffee@lerenee Derma the lesson use both bowing alternatives (down fF and up \ ) for beginning each exercise. CD eS | foie te FN Moderato F. Schubert3rd Position Tonalization Moon Over The Ruined Castle Andante At first. practice in Ist position: later. practice in 3rd position. D Minor Scale Patterns Natural lx 2 4 4 ax ] td | a oft +p ff 04 | @ | f pe Pim (tty tt Te eg Pe ph re Pig |Gavotte Allegretto J.B. Lully " b Lt Bee YH» 2» i | oT | fy) P? | se | eo oP ~S E . e eRe ee _——___._____ | de md ee n!)lhCLCLCOCUL CO p— ti pe _ ft fy CL SO LT WR. 2 a oo -7p |. | y a Forward Extension Open hand between Ist and 2nd fingers by moving thumb, 2nd, 3rd and 4th fingers one half-step away from the Ist finger. Keep the same shape in the moving fingers. . U if y (ds oreo wef Oe Eee pee TL ee f__#, | BeeMinuet Moderato e grazioso L. Boccherini “OE SE? Se ey ee ee eT P| bee _ joey yy FT eee 2nd pos. — — — — —- —-—-—-—-—-— 3) (4214th Position Tonalization Moon Over The Ruined Castle —-—-—--—-—-— — — — — 4thpos.-~- — ——- —--—----—-'! LL —! 4th pos. — — — —~ — — — — Ree eae Le ee L LLL E ~Sth pos.10 ri Scherzo C. Webster a —— OO | ee ee ee Te Se en, ee ee ee ee Mel eee | SCOTT TT re CE TU UP rr elU Te | | ees | tt eee |_| CE: I cn, SS Ls] | fae ee ee ee ee 2—e_ oe ee _ ee | le TT Pe nl ne lt le | | TT ee eS a rit. e dim.11 Meno mosso 1 4 -— 1 | a —— Ls a -— > he ee eee ee ee ee... —_ eee ee ee pee a el jg ff tt} [emaenet ee—T Lce pt ———— | hmlemmembiiene — \ummaalemesmlemee te et —| ———— ———_— a as —~—H i. 4th pos.— A(2 1} ON: al P| | a Tg LO 2) se ee es ee Oe pT "= 74+ | = | th ——_——————<“ LPH HK 4th pos.—- ——4 ff * Place only the 4th finger lightly on the A or D string to sound the harmonics.12 Half position Exercise Repeat each exercise on the A string. Minuet in G L. van Beethoven Allegretto 4 V b 2 | 4 (H~ = ,l> 5 = —~o v ! Ld P con grazia Lo. WH 2ndpos. _ _ _ _ J |4th pos. 3 L. 4th pos. L _ 4thpos. — -1 3rd pos. mf | Sth pos... — — — po pos pos. |4th pos. oye |S fom of eee13 dim. sostenuto “4th pos. —~ — — —— D.C. al Fine o —— At first change position slowly and accurately, —2ndpos.— ~ _ 2 te then practice with increasing speed. UL —4th pos. _4th pos. J Melodic C Minor Scale . — — 4th pos. —~ ~ a14 Natural C Minor Scale —J LL — — — 4th pos. _.— — #¢thpos. ~~ _ a in C Minor 6 Gavotte Andante J.S. Bach15 li tl il W, i i all16 Minuet No. 3 J. S. Bach Allegretto con grazia 2a volta17 2 2x1) + wu — 2nd pos. — 3 2 4 2 2x1 J ; | a 3 gy, 3 ery Wl o | | Ce a a 71 | ws 8 * gy, = en “St (| : +! |) o J 1 molto rit. con grazia dl ee a... ged Pt | i i : a i18 Humoresque Poco lento e grazioso A. Dvofak wl Pl wh el we aT rT ey Ty ey TT Pe Pees — _ Hf te et of moo PT oor | pai ft tt tt tat |e tr er ene) ened +4 + | gs ee | ttt — — iene J r lL. _— — 2ndpos. — _ . 3rdpos. — 1 rit. e dim. L 3rd pos. — f —, poco rit. 3 | 2 4 2 2x) P3434 4, 1242 0 2X P!2 g~ 1, 1 Vx oN 33 * xe 2 ee | _ a a OT A A On a a , Oe —— eed a L.3rdpos._ IL —W—WH— 2ndpos. — S™™ - - tL —4th pos. — 1 U—_JL Sthpos. — 4 f a tempo 2nd pos. poco rit. —19 1 m3 43 4 45 x 1X42 2x PA 37 rs ee eee P| | Tlie et ee |, | an ee. eee eee _. .7YW...._ eel ee ta Pl — fed gd oe — feed pL —3rdpos.—~ 1 L— —~—— 2ndpos. —=™= — — tL — 4th pos. 13rd pos. AL 7th pos. J 7 a tempo largamente it, 2 fa a. I 41 * e =i ef OT a TOLL Lh OY Te ee Pe Pa) Tia # Ore Tt et a a ae fe le 2 ee ee ee eerie —pumvenmemmimmmimmmmmmmy t/a} _{_ggf 1 _)__ Cd tf + —______1 = Oa Pa Pia? TT et Tr ef eT |g ee 4.2 rit. e dim. L. —3rd pos. — 2 142 1) mf a tempo —_—_—_— = Py pt pd Lf — ees ee | ee res (1jL. — 3rd pos. — — + (2 1 2 4) L. — —2nd pos. — — — rit. e dim. PP Preliminary practice 1 Use a very short bow stroke. Keep the bow on the string during the rest. ma V om VV °o _0> >_> 1 1 Mo Vo -F V fl a 2 ee | Bet Bat Bat Bat et ee Ht 4 rT Me] Pa Se Cr es la CU a | toad -—L tang Nat — tt Naa — Lat — Ea tt — Fp Fy Preliminary practice 2 Stop bow and prepare. 1st finger glides to harmonic A. 1 Do not release Ist finger. | Slide 3d finger to E and then release, L_ __ 4thpos. _ — I L ~~ 7thpos. ~ — — 49 | La Cinquantaine -1928) G. Marie (1852 in the olden style) r (A Andantino Loo. — 3rdpos.— ——— — 3rd pos. — — — — pp dolce LoL l _. 3rd pos. L. 4th pos. _1 a tempo Mima! ae 4th pos. —+ \4th pos. 3rd pos. — poco rit — L . 4thpos.—~ — 3rd pos. —~-—-—~—~—~~—~———— #thpos. — — — L. 4th pos I i —_————————— | —~—-——~~—---4 allargando 2a volta mf21 sotto voce cresc. —-—-—— - L. i. .. 2nd pos. L 2nd pos. 4 . o— [4 7 4 creésc, 4 I ! | om AQ 2 AQ am A 2 | NN 3 | TAY & ; | ‘ 3 = | NA Ad l J AS is 4 > L. 3rd pos. — D.C. al Fine cresc.22 10] Allegro Moderato J. S. Bach 0 | L_ 2nd pos. — | = 88 Allegro moderato rot Ji ~— 2ndpos. — — — - L. 3rd pos. — 2%) 1X423 5 eee ee T_T fF armrest —— eee eee ee eerie aang eT, eT ) a hem ——___;__ | jy ee pe ee FO Oe ed oe —— eles tt — tt es ee ee ee ii ee se™s—*=ss=—*”C=*”—e* L_ 2nd pos, J L. 3rdpos. JI L— — _ Sthpos. ~ — —~ 4 cresc. poco rit. << S24 3rd Position * Practice the same on the G and C strings. Led |__| jee eee ee eee tt ot25 4th Position Sth Position 2 NS 2 pe x 3 Yo | {i 1 | 2 Ct TT 9 3 oT ¢ L * iq = Practice the same on the other strings. Figure of the 4th positionL_ 4th pos. — L 4th pos. — 26 inor Scales ior and M aj M D Melodic Minor G Major G Melodic Minor27 ~ LL —tL 3rdpos. I A Melodic Minor28 Trill Drills Each group should be clear and even pe fe ee ee Ee ell 9/ | eeleeeed —_@/ leerleeee ©/ Lari) Slates «94 > a Os 0, | emmy Onur — 07 een Terres TTS (i Se ee A ee Th ey yt ft fh ona me es a ee — —_—_ seo PX = ey = eer 1 4 = Teiit 4839) SUZUKI METHOD INTERNATIONAL, AM I ass