7 ® Cello School Cello Part Volume 3Cello School Cello Part Volume 3 Revised Edition (© 1980, 1992 Dr. Shinichi Suaukt Sole publisher for the entire world except Japan: Summy-Birchard Ine ‘exclusively distributed by ‘Warner Bros. Publications 15800 N.W, 48th Avenue, Miami, Florida 33014 All rights reserved Printed in U.S.A. ISBN 0-87487-483-1 ‘The Suzuki name, logo and wheel device are trademarks of De. Shinichi Suzuki used under exclusive license by Summy-Birchard, Inc. ‘Any dpiationetspeton or aranemes of te cmpoions cauied in is cobesionrequtes the ween consen of be obi. Na part of hs ook my be oop rece in anyway witout pemision LUsutoried ses ran ningemnt of he US. Copa Azan we paisley Ie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 Wamer 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.BEBE aue CONTENTS Berceuse, F. Schubert ‘Third Position Tonalization - Moon Over the Ruined Castle, Fourth Position Tonalization - Moon Over the Ruined Castle, R.Tal Scherzo, C. Webster. Minuet in G, L. van Beethoven... Gavotte in C Minor, J. S. Bach Minuet No. 3, J. S. Bach... Humoresque, A. DvoFék La Cinquantaine, G. Marie... Allegro Moderato, J. 5. Bac/4 The Four Main Points for Study 1. Have the children listen daily to the records of the music they are studying. Thi listening helps them to make rapid progres, 2, Tonalization is inchided in each lesson and isa part of the daily practice at home. 3. Have the children play the second third, and fourth position with accurate changes and intonation. 4. In Vol. Il attention should be paid to ends of phrases. Tonalization Each lesson begins with tonaizaion. Tonalization ia stressed inorder to improve and refine the tone. During the lesson use toth bowing alleratives (down Pl and up V ) for beginning each exercise. Harmonic Tonalization 3 43 33 ° 44 00 33 00 3 ao 0 1| Berceuse Moderato F. Schubert3rd Position Tonalization Moon Over The Ruined Castle Andante , R. Taki 1 3 = =~ ~ = 3rdpos.— - 1 4 t--+------- 3rdpos.-~ -.~----~-1° Po ———_ =——— pp At firs, practice in st postion: later practice in 3d positon. D Minor Scale Patterns inz4 0 4 ax Natural 0 4210 4210 431 340 1240 12402| Gavotte eto 5 J.B. Lally 0 4 ° ° y 0 1 nl a2 2 to 2 gp ttt ti ym Y ‘mf’ con grazioso iy oy o 4 a2. oY 2 ote A ym 4, 2 4Backward Extension sore 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 4 een 3 rae * vx? 2 4 1 1 *Moderato € grazioso me L. Boccherini VSS 1 ; vi2 — 340134 2 P —_—__ =— =_— (42t 3) (42)4th Position Tonalization \/ Moon Over The Ruined Castle L10 4| Scherzo C. Webster cresc. 4th pos. —edo UT ard pon a pl 1 4 14 4 0 st 1 L = -2nd pos. — TU Tempo 43 A ‘4th pos. — + P 3 cresc. Sb == thos. - - 4 * Place only the 4th finger lightly on the A or D string to sound the harmonics.R Half position Exercise D string 12 12 api ch no ag Minuet in G LL. van Beethoven Allegretto ; f RAIA MYA SN ; eae Pemere _ antpox 4 Lech pos Le tth pos om i J Undpos, - ----4 4 dos M9 Ya Vi Dost meet IN IN 7 a ‘espressivo 3) ath post Lath pos. — 4 3rd pos.|dth pos. a f 3 u 1 2 OS a= 4th p0s— — — — — JI = 3rdpos.— 3 Land pos. 1 Fine =—— p3 = ~halfpos.— 3 2 Vn bk 1 ~ 4nd 1 as s@ Phe i. $ tre Se @ f ~~ 2nd pos. — a p-2nd pos. — crese, Lt gl ee ve? oe ee pe tt 4 A ‘ “0 Pa ee 3 my, an Dealt nips Cal Fine ‘At fist change postion slowly and accurately. te Pi fons SS ES then practice with increasing speed. — 4th pos. — a 4th pos. 5 Melodic C Minor Scale o 1 2 o 1 3 aH Shpos. 4 2ah 0 © —4thpos14 Natural C Minor Scale 6| Gavotte in C Minor Andante JS. Bach 4 Vv Hea 2 Ot ; 40 = Puan o tier hos BG 2h 2 — nf 4 Bk . FF 2 Fd voter Mino ber ‘hos, 83 4 ai yb folixa =? —=—— af 4 4 Dg ah 2h oh Ios 1 2nd pos. — 3 ——_ f ——-21 Eu a ‘ 5 ty o 2 os, 2nd | — 4 —— Pos. 2 Pl2x, 2 Ay CRA WY Byepmie 2 oe = th pos. — ee oe 2 h 2 od EA oe 2 ¥ ath = nd pos. — ABR oe ot oe Pp 4 7 4 oO 4 4 Piapo M2 pos 2s 1 2h oo Plz of oh —— ere ———————oO ‘ ty o Hr oy SS Ut 2h vMo 4 mv16 7| Minuet No. 37 4 wy = ngs Dy 5 a3 4 o 4 2 peti 1 2 Bean 4 2B aah ‘4th pos. — . — — 3rd pos. — 4 Tempo I 5 ™P con grazia8| Humoresque A. DvoFik Poco lento e grazioso L = = 2nd pos. — = 4 => 2,14, 21 42 ey Sey by Fe! Lo = = 2ndpos. — — 4 ee ee Ges 3) Ordos. f — ‘poco rit, > Aa a sp te, oft 2 Se a ee x te, Tee ‘“ x ¢ Uirdpos. 1 —~— 2ndpos. — = — — 4th pos. — LIU Sth pos. — 4 pf atenve 2nd pos. poco rit. =—19 m4 4 A. 2 Riz, it. 34 ga xyehn x 2 x D3 oi, oh ” C—rdpos.— 1 L———— 2ndpo, a — IC 40h pas. 3rd pos. IC 7th pos. 1 SF atempo largamente = rit, —— fn a ird pos. — 1 42 rit. e dim. oP (QL = 3rd pos. — = 4 124) 2nd pos, — — — 1 Preliminary practice 1 Use very short bow stroke. Keep the bow on the string during the rest. 1 oy Ro Vo Preliminary practice 2 ‘Stop bow and prepare. Istinge lies te harmoni A 1 Donotrelease Ist finger. Slide 3d finger to E and then release, 1 #1 39| La Cinquantaine (Air in the olden style) G. Marie (1852-1928) Gh pos. — = 1 L—dthpos.—1 4th pos, JU Srd pos. — poco. a tempo 1 v4 3 Tool TU thpos 2 C— tthpos.— — J th pos 1 th pos. = — 1 a tempo P etpon == anf Mlargando SS Fine 2a volta21 1 4 A 3 > 2B 14 Vo 2nd pos. ——— pp © ~~ Pp =~ 5 4 5 2 x2 gt 2a = 13 1 ol. be eN x4 L= = Indpos. — =! “erese. tf 4 sotto voce 3 4 : i 2 > 4a: tau 0} 2 = pe zi ——— pp ~~ pos. cresc. | Lard pos. —1 ~~~ indpos.— 3 = 2nd pos. — =2 10} Allegro Moderato Allegro moderato J cr. 2) tf 5 L — 4thpos. — — IL — 2ndpos. ~--~I”% WW 3rdpos. — ° 4 o olebtosos sive 41 1x4 2xt 1k4 2811 2nd pos. — U Snips JL Sthpo. —-— crese. poco, — of24 3rd Position A String , Position Etudes * Practice the same onthe G and C sings4th Position ASwing ; 43 4 Z 3 1 Sth Position A String Practice the same on the other strings, Figure of the 4th positionMajor and Minor Scales D Major D Melodic Minor G Melodic Minor 32 C Major C Melodic Minor L3rd pos. 1 LSth pas. — A Melodic Minor i 328 Trill Drills Each group should be clear and even 3 Ben y SS OS Repeat dil using variants oiSUZUKI METHOD INTERNATIONAL 4 IM 04838 6 8