WEEK SEVEN

“GO TELL AUNT RHODY,” “O COME, LITTLE CHILDREN,” AND “MAY

WEEK EIGHT
MID-TERM EXAM AND JURY

As students progress, it is important to explain to them the difference between prepared,

block, and independent fingerings in the left hand. “Prepared” fingers are when students

first put down a finger, then put down another finger in relation to the previous finger.

For example, this is practiced in “Twinkle” when going from the open E string to the

third finger on the A string, where students “stop, place 1–2–3 on A string, roll the bow

to the E string, then play.” “Blocked” fingers are when students put down three fingers

simultaneously. “Independent” fingers occur when students use one finger alone, without

the support of the other fingers. Most of the pieces from this point on require students to

use mainly block and a few independent fingerings.  

“Go Tell Aunt Rhody”

In this piece, students are introduced to contrasting dynamics. Suzuki suggests playing

the first phrase forte with a diminuendo on the last note, the second phrase piano, and the

third phrase forte with a diminuendo and ritardando at the end.1 Zweig teaches the

dynamics as they are printed in the music: students are to continue playing forte until m.

7, for an “echo” effect. When slowing down at the end of the piece, Zweig sings with

                                                                                                               
1
Starr, Suzuki Violinist, 95.
   92  

children: “wait for me.” I suggest presenting both ways to students and allowing them to

choose what they prefer.

Form and Key

The form of “Go Tell Aunt Rhody” is ABA. The key is A major. Students continue to

practice the A-major scale with the “Twinkle” rhythms.

New and Different

1) Taking off both first and second fingers at the same time in m. 4.

2) Playing using three different note values: eighth notes, quarter notes, and half

notes.

3) New dynamic marking: piano.

4) Although students are not yet reading music, teachers should introduce the

concepts of crescendo and diminuendo as they are marked in the music.

Bow Strokes and Bow Division  

“Go Tell Aunt Rhody” is played in the upper half of the bow using a legato bow stroke.

Students should use the entire upper half of the bow for the quarter note, and a little less

bow for the eighth notes. The half note is to be played with a slower bow speed (half the

speed). Use less bow to play the piano passage.  

 
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Left-Hand Finger Placement  

Begin with both the first and second fingers on the string. In m. 3, all three fingers

should be placed before going from the E string to the A string with the third finger. The

same occurs in mm. 6 and 11 (see Ex. 18).  

Example 18. “Go Tell Aunt Rhody,” from Suzuki Violin School, Volume One, 29, mm.
3–4  

Isolation of Difficulties

Students should stop the bow before playing the last note of m. 4. Teachers must guide

students to raise the first and second fingers simultaneously. Zweig calls this motion

“finger before bow” or “FBB.”2

“O Come, Little Children”

This piece is considered by Zweig to be a “pivotal” piece in the student’s learning

process. Both Suzuki and Zweig use this piece to introduce the normal bow hold position

as well as to teach students how to play using the lower half of the bow. New terms,

dynamic markings, and rhythmic markings are also introduced.

                                                                                                               
2  Zweig, String Pedagogy.

 
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Form and Key

The form of “O Come, Little Children” is AABC. The key is A major. Students should

continue to practice the A-major scale but in three different ways: first, practice two

detachés per note using the upper half of the bow (UH, use of forearm); second, practice

two detachés per note using the lower half of the bow (LH, use of upper arm); and third,

practice two legato bows per note using the whole bow, two beats per note (WB, combine

use of forearm and upper arm). It is important to practice these bowings (UH, LH, and

WB) separately so that students are not confused about which part of the arm to use for

different parts of the bow.

Students can also practice the A-major scale starting with the whole bow,

continuing two bows in the upper half (on open A), one more whole bow, then two bows

in the lower half (on first finger B). This is the same bow division for the rhythmic

pattern of a quarter note plus two eighth notes in “O Come Little Children.”

New and Different

1) Switching the bow hold to its normal position. Zweig calls it the “grown-up”

bow position.

2) Using the whole bow during this piece.

3) Integrating the upper half, the lower half, and the whole bow resulting in more

complicated, complex bow division.

4) Introducing the “pick-up” note.

5) Introducing two up-bow strokes.

6) Independent third-finger placement in m. 14.

7) Introducing the eighth note rest.

8) Introducing the dotted quarter note in m. 16 (last note of the piece).

9) Introducing the term Andante.

Bow Strokes and Bow Division  

Throughout this piece, students should play the eighth notes alternating between the

upper or the lower half of the bow. Students are to begin the pick up note(s) with an up

bow, starting in the middle of the bow. The quarter notes are to be played with the whole

bow, with the exception of mm. 4, 8, and 12. These three quarter notes before the eighth-

note rest are to be played in the upper half, so that students can continue playing up bow

with the next pick-up note (see Ex. 19).  

Example 19. “O Come, Little Children,” from Suzuki Violin School, Volume One, 29,
mm. 3–4    

Left-Hand Finger Placement  

Students should place the first, second, and third fingers on the string before playing the

beginning pick-up note on the E string. In m. 10, students should place both the second

and third fingers down together. In m. 14, students are to place the third finger alone.

Suzuki practiced this measure in the following manner:  

1) Place the bow on the E string, then play the rhythm.  

2) Put the third finger down on the E string, then play the rhythm.  

3) Lift the third finger, and then play the rhythm.  

Isolation of Difficulties

Now that the students are holding the bow in its new (normal) position, teachers should

revisit the bow games (unicorn, windshield wiper, etc). Place the bow on the A string, in

the middle point, then tap the first finger, the second and third fingers together, then the

pinky. The thumb should serve to balance and support the other fingers, and should be

slightly bent, forming a circle (see Fig. 21).

Figure 21. Picture of a bow hold circle

Zweig uses the following three exercises when teaching students to use the whole bow:3

1) Silent Bow Placement: Place the bow silently at the frog, the middle, and the

tip (in random order). At the frog, the hand is balanced towards the pinky. In
                                                                                                               
3
Zweig, String Pedagogy.
   97  

the middle of the bow, the right hand is balanced between the first finger and

the pinky. At the tip, teachers must make sure that the back of the right hand

is relaxed and flexible.

2) Whole Bow Circles: Play whole bows beginning both at the down and up

bows, on the A and E strings. The circle happens when the bow is in the air

before being placed on the strings.

3) Bow Wanderings: Begin at the tip of the bow. Slowly travel to the frog and

then return to the tip. This exercise is to be played with the detaché stroke, or

a slow, loose tremelo stroke.

“May Song”

As students begin to study the “May Song,” Suzuki suggested that they also begin to

practice the “Twinkle” variation rhythms on the A and D strings. This is to help students

prepare for “Long, Long Ago,” which will require students to play the note E on the D

string.

Form and Key

The form of the piece is ABA (three four-measure phrases). The key is A major.

Students should continue practicing the A-major scale, dividing the bow into upper half

and lower half, and also practicing with the whole bow (see p. 93). They can also

practice using the dotted rhythm in “May Song” (see Ex. 20).
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Example 20. Practicing the A-Major Scale using the “May Song” dotted rhythm

New and Different

1) The first measure introduces the dotted quarter note plus the eighth note (ta-

dot-ti or tum-ti).

2) Introducing the A-major arpeggio.

Bow Strokes and Bow Division  

As a general rule, eighth notes are played either at the upper half or lower half of the

bow. Quarter and half notes require students to use the whole bow.    Zweig recommends

the following bow division for the mm. 1, 3, 9, and 11 (see Ex. 21):  

Example 21. “May Song,” from Suzuki Violin School, Volume One, 31, mm. 1–3

 
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In the repeat of the B section, stay in the upper half of the bow (using only the upper half

of the bow for the half note in m. 6). Explain to students that the upper half of the bow is

lighter, making it easier to play piano.  

Left-Hand Finger Placement  

1) In m. 1, place both the first and second fingers simultaneously for the C-sharp.

Keep these two fingers down until the third finger A on the E string has been

placed. It is good for students to understand the relationship (distance)

between fingers, using the previous finger(s) as a reference point for the next.  

2) In m. 2, leave the first finger down to play the third finger A on the E string.

This is similar to the finger pattern of “Song of the Wind”: the finger is to be

kept in place if returning to it in the same measure.  

3) In m. 5, block all three fingers on the note D on the A string. Keep all of the

fingers down while playing the open E string in m. 6.  

Isolation of Difficulties  

It is recommended that students do not learn to use the fourth finger until “Perpetual

Motion.” Therefore, m. 3 requires students to make a quick string change from the A to

the E string and then back (see Ex. 22).

Example 22. “May Song,” from Suzuki Violin School, Volume One, 31, m. 3
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Teachers must make sure that students make a nice sound on the open E string. I find it

helpful to have students practice the open strings without left-hand finger placements.

They can also practice the following exercise:4

1) Place the third finger on the A string and then play the rhythm.

2) Lift the third finger. Roll the bow to the E string and then play the rhythm.

3) Place the second finger on the A string. Roll the bow back to the A string and

then play the rhythm.

Students can practice the A-major arpeggio in m. 1 using the whole bow. Here are the

steps recommended by Zweig:5

1) Play the open A string, then place the first and second fingers on the A string.

2) Leave the fingers on the string while playing the open E string.

3) Place the third finger on the E string, then play that note.

Supplementary Repertoire

“Around the World” is a piece that teachers can use to help students practice going to the

frog, a technique that they learn through playing “O Come Little Children.” Students are

to place the bow on the A or E strings, and make a “circle” when retaking to the frog of

the bow. They can also play this piece with left hand pizzicato for variety and for

reinforcing previously learned left-hand techniques. A teacher’s duet and a chart for the

beginning students are presented side-by-side in Bonnie Greene’s Blue Book of Violin

Tunes (see Ex. 23).

                                                                                                               
4
Starr, Suzuki Violinist, 97.
5
Zweig, String Pedagogy.
   101  

Example 23. “Around the World,” from Greene, Blue Book of Violin Tunes, 6, mm. 9–13

Students can play the “Slow Slithers” piece from the Blue Book of Violin Tunes,

to reinforce the “bow wandering exercise.” Bonnie Greene advises teachers to count to

thirteen with their students while their bow travels from the frog to the tip. The same is

to be repeated from the tip back to the frog on a different string. Again, a teacher’s duet

(see Ex. 24) and a chart for students are provided (see Fig. 22).

Example 24. “Slow Slithers,” from Greene, Blue Book of Violin Tunes, 8, mm. 1–4

Figure 22. “Slow Slithers,” from Greene, Blue Book of Violin Tunes, 9

In the same book, the French nursery song “Frère Jacques,” also known in

English as “Brother John,” reinforces the notes, the strings, and the rhythmic patterns of
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pieces that students have learned thus far. This piece includes quarter, eighth, and half

notes in the key of A major (see Ex. 25).

Example 25. “Frere Jacques,” from Greene, Blue Book of Violin Tunes, 23, mm. 1–2

“Two Hungarian Folk Tunes” from Craig Duncan’s Solo Pieces for the Beginning

Violinist contains the same A-major arpeggio as m. 1 of “May Song.”6 Students are to

hold down both the first and second fingers in place to locate the third finger on the E

string. The third finger should be placed alone in m. 21 of this piece, using the same left-

hand finger pattern as “May Song” (see Ex. 26).

Example 26. “Two Hungarian Folk Tunes,” from Craig Duncan, Solo Pieces for the
Beginning Violinist, 3, mm. 19–21

                                                                                                               
6
Craig Duncan, Solo Pieces for the Beginning Violinist (Pacific, MO: Mel Bay Publications, 1993), 3.