‘Violin VIOLIN PART VOLUME | a CN 7 Copyright © 1978 Dr. Shinichi Suri Sole pals fo the entire world except pan: ‘Summy-Birchard Ie. exclusively ated by Bros. Publ ISBN o87487-166-1 2120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 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., cfo Warner Bros. Publications Inc,, 15800 N.W. 48th Avenue, Miami, Florida 33014,Suzuki violin method Principles of Study and Guidance Four Essential Points for Teachers and Parents . 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. ‘Through the experience Ihave guined in teaching young, children for over thirty years, Tam thoroughly ‘convinced that musical ability can be fully cultivated in every chlld Ifthe above four points are faithfully observed. “Masical ability isnot an inborn talentbut an ability that canbe developed. Any child who ls properly trained can, ‘develop musical ability just as al children develop the ‘bility to speak their mother tongue. For the happiness ‘of children, Thope these four essential points will be ‘carefully observed and put to continual use in the home and studio, Guidance for music reading wil begin in Vol. 4. Just as ‘the alphabet is not taught when children first learn thelr ‘mother Language, so music reading should not be Included in violin study until children have sufficently ‘developed their musical sensitivity, playing skill and ‘memory. In the Suzuki Vieli School this should occur bytheend of Vol. 3. Evenafter acquiring the ability to read music, however, the children should, as a rule, play from memory during lessons. Education for musical sensitivity Every day, children should listen to the recordings of the music they are currently studying. This listening helps them make rapid progress. Iti the most Important factor inthe development of musical ability. ‘Those children who have not had enough listening will nck musical sensitivity. ‘Tonalization for beautiful tone Just as vocalization i studied in vocal musi, so Ihave introduced tonalization into violin study as a new ‘method of education. It has proved tobe most effective. onalization should always be included at each lesson, land should be a part ofthe daily practice at home. Group lessons ‘The adoption of a new kind of group lesson in which more advanced and younger students play together Is extremely effective. The stidents progress remarkably ‘hile enjoying the lessons. I recommend that group lessons be held once a week or at least twice w month. Private lessons to develop ability ‘A child should not proceed to a new piece simply because he has earned the fingering and bowing of the resent one. His ability must be cultivated further as he plays his piece. I would say tothe child, “Now that you know the notes, we can start very important work to develop your ability," and then I would proceed to Improve his tone, movements, and musical sensitivity, ‘The following point is also important. When the child can perform piece A satisfactorily and is given new piece, B, he should not drop A but should practice both ‘A and B at the same time, Continuously reviewing pieces that he knows as new pleces are added will ‘develop his ability to a higher degree. “Mothers and children should always observe the private lessons of other children, Lessons should vary in length according to the needs ofthe child. Sometimes x child ‘may havea short lesson, stop and watch another child, and then return for more instructon Shinichi SuzukiPosture: the srngs, | ee fot, ina straight line Posture tes cones, te coe, Ie pied gauche dans une ligne droite Fe? Begane’s bow hold. Thumb eto foe. Tenue de Tarcht pour les débutets. Le pouce sous Bogen des Anfang. Dow Deumen utrhald serach, ‘Manes desta aco pra oncpate. Epp bao cae Haltung: der Etopen, | dene Fas, Fes andthe bow make an oblige ange. rt Farcet formen um angle Ogu ‘er eamen an der Boge Soren sien chien EE psy co fora wn dg,“Tm thar ad the mie ager form ce when ‘ling be bow Lepouce cle majcurformentuncerclequandlamain Tiel Farcht ‘Der Daumen und er Mitlingr fermen beim Halen des Bogen men re Ely yeldedo meio fommanen ciclo cuando scare (Correct hd fhe et hand Portion corecte de la main gauche. [erm Hatang der inhen Hen. Fae conecs To mane equ ‘The bake posture b the String pstare Laposturedebesees postion srl conde dm ‘De Grandbaing it de Eaten Hatang. {postr ase a poste de acer mhExercise for Proper E-String Posture Svexercer afin d’obtenir la Chung fir die richtige E-Saiten Bjercicio para la Postura Correcta ostion correcte sur la corde altung. de la cuerda mi, “The Estrng posture fname nd should be comply mastered, ‘Le ponare sr la corde du mies ig E-SatenHalung st grandegend und posts de a conn me endaneta Fondant acces Sec paretement ‘ae ii mca tien (0 ce dominascompitanest Plc ey a Pg 8, pag Ue a stort ce Face cone net eS Boge le a Fg 5S 1, Co a co va Fee Fase Spot Bonet a aap Pachter epmar peor thew pe aca Exercise for Changing Strings S‘exercer pour le changement _‘Ubung fir Wechsel der Saiten _Ejercicio para Cruzar Cuerdas des cordes Chane strings gully ere. Changer rapttoment er corde. ‘le Seton her sched Woche Canberra, ge + 4 + 4Exercises for Quick Placement of Fingers Srexercer pour un placement opie des Oungen fr sche Fngerstung, __ Epc pa cola Rid de Des, 1 41m Pace gers 1, 2,3 gully and accurately during the ret. Penden les ace, pcr comctoment Si de Finger 12,3 cel wd genoa et ot 1 2.3 ane en ‘errapuemen ier dois 2.03 thread der Pease 2 °, aaa aoe 1 % yaa 2.2 4a2s)_sTwinkle, Twinkle, Little Star Variations neh a then re er ach en tim 1) expe, hate de Boren oe Drak nach ee Bete eemharmay we deripoetoinmn Ain enh heeded oe Ee i ee re scene a ec Se il rept Eee ms prt * Wariation AVariation B nev Tye y BY Bye < Variation D Stop the bow without pressure ater cach nt De Boge nach eer Noe ohne Druck analen. ‘Arie archt san ppuver apres cheque note. Bea's ec in esos depts cd nt Theme Theme Thema TenaLightly Row Sng Moderato Chanson popuaive A G2 of Doucement 4 VAviron _Rudere Sanft’ _Remando Suavemente Chanson du Vent — Windgesang —_Cancin del VientoGo Tell Aunt Rhody Fak Sone Chanson populire Void Goo rea Vas le Dire 6 Tante Rhody Geh, eral es Tante Rody Ve y Dile a Tia R6di O Come, Little Children Eston bond Andante Cate roma x ° Venez, Petits Enfants thr Kinderlein kommet Veni, Pequetios NitiosTonatsation Tonfohrang Senta ‘This should be tug at each esa. Sst in eer Stade gece werden. Pract end etento the ound the woratng string, ‘Zapf ofee Sa and eche dm pensting rating ng. Zane te offer Sa ang (ect devrait tr ensegnt chaque econ, ‘Be debe se ened ca cic ‘ince laconde bret touter son dela “Tie cata ae xcs ond de ‘conde ga Ine iba iz, a ° RL moves ee cmescmet, ‘With the bow, ry play tones with he sme resonance. Versuch mit dem Bogen Tie it er lichen Resonant pen ‘Avec archer, essayer de jouer des ton gal ie et dete cn a ima ‘etka meme resonance 0,Allegro Moderato ancoeFoesdce Bevo 3 4g : t 2 volta poco rit. Chanson de Mai Mai Gesang Cancidn de Mayo Long, Long Ago nH 5am Moderato Ot » ° Iya Tres, Tres Longtemps Lang, Lang ist's her Hace Mucho, Mucho TiempoAllegro Perpetual Motion in A major Pay hs pce at he de ofthe bow wg very short stoke, ‘Spee dae Stick mt der Mie des opens tr Anvendang ines ‘Slope aftr eachnte Pay slowly stiatond ther pede {peed vp te tompo Jeune morceau dear necun comp scout. To ‘iis ecelerer ptt a pei le temp. ™ Allegro Suindige Bewegung in A-Dur Mouvement perpétuel en la majeur — Movimiento Perpetuo en I mayorVariation [ates A, py B.— Aprds A, jouer B, Nach A ple B. —Despas de Aa og B procedure for pratee Comment serercer. Verfahren ar Dung. Prosi pa pfs (ete pep EExercise for the 4th Finger [Exercer le quart doit. Oban fit den venen Finger. jeri pao cua dd De pot raise the It ager om the string. Hebe den ersen Finger vom er Site nic, [Nepasreleverlepremirdolgtdelacorde. No eve primer deo de cri 4 4 Tonalization Tonalation Tonfehrine Sona ‘Psshoud be tught atechhton Ppl should always wine ‘Si sole in dr Stunde geet werden. Die {lr more beef and rena foe ‘Schiesolten nme ack ea scheaeren Geel dea tre enelgnc er repeted {td tiogendeem Ton se tapi cp et Hs deat soda serenade en cada, Lon efocerdobtenir un to todos pls ‘tae: dben seg sae pr Sacace Baer pe esonan ‘fon mae eon n oz 6, D Major Scale Gare deré majeur Dar Toner sla de mayer 2 4 2 3 9, 1 2 2Perpetual Motion in D major AMowemant Pert ox Stine Beepng x Movies Pape w O2 y a3 Variation Veriton Vrain Vasaion o 4 2 12 B ete, AllegrettoAndantino a ay? vo Tonalization Tonalation Tonfthreng Semin ‘The sould be tught at each es, Si sellin jeder Stunde sleet werden. [Eeldeva ae encore 2 chagne Edo dhe se ent uc 4-60 2 3 2G Major Scale Game du sol majeur G-Dut Toler scala de sl mayer * 20 1 & Or Pac the 2nd ager coe 1 the “Sze den eaten Finger ch neben den I fage. Keep est ge own. ston Pinger Hae denen Pinger, Placer e deus doit prs du premier MTWMUTBEAER: dig Gander le promr dig *Caagu el segue dado cere det primer Seria corde (edo Manes primer doom cer os a2 o 38 o Etude ‘Stoptnebow aftereach nate, ArdierParchet apts chague note. Den Bogen nach jeder Nae an halen, Detng aco deste de ada nota Mo zo 030 eo. Zoo, to A af 1 — 28 3 1 — 1— Variation Variation Variation Vusincin Second time play B owing A. La deusime fol, owes B apres A. Zam swetenmal ple B mach A. La segunda ves tte B igen A a (ee SS BAllegretto J.~66 JS. Bach 5 8 Roos # thos ’ of 28 oteAndantino a3 13 tf SS Donner un coup darchet court ova shot stroke, Wend fare Stich ‘en pe con, . fos 0 32 2p Bro 8J.S. Bach Allegretto J.-66 pee ‘Place heh ger accurately. The 2a lage howd touch the ‘Sete den wren Fs De ee stinger. ‘Finger tole den taten Plager bershren. “Placer corectement le quatitme dei *coaga lenno deo en foo exc EL Leldeasme doh devralttucher segunda ded de tc! lpr se. premierThe Happy Farmer Allegro giocoso R. Schumann yo sag S sempre LeGai Laboureur Frohlicher Landmann £1 Granjero FelizAllegretto F. J. Gossec q 13 0 5s 2 ly cantabite 2Procedure for Practice ‘Listen careily othe tonto. se » shot troke. ‘Place the boon the string then ply, keeping the ‘hw onthe ang during the et cower axtentnemen nsoation. Donner tin coup arch cour. Placer Farchet a ‘onde pis Jove. en gardan arches Sorte Fema ester Verfaren 2 Chang, Leach exfmerhaam fe Intnirang. Wende einen hare Srich an. Sece dn Bogen nf de ‘Sate, dan sce lneden Bogen wirend ‘ter Pe caf dr Sates" Prceciminto par pct. ‘cache eidedouamet a afin, Ue we goge Saatuiowels ‘deane kee.