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YI()TIITM
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Suzuki MethodInternational
Sdi'Vlomschool
YIOIINP\RT
YOrtDInz

Copyright O 1978 Dr. Shinichi Suzuki

Sole publisher for the entire world except Japan:
Summy-Birchard Inc.
exclusively distributed by
Warner Bros. Publications Inc.
15800N.W.48thAvenue
Miami, Florida 330T4
All rights reserved Printed in U.S.A.

ISBN 0-81487-146-8

The Suzuki name, logo and wheel device

are trademarks of Dr. Shinichi Suzuki used under
exclusive license by Summv-Birchard" Inc.

Anyduplication,
adaptation
or arrangement
of thecompositions
containedin this collectionrequiresthe writtenconsentof the Publisher.
No part of this book may be photocopiedor reproducedin any way withoutpermission.
Unauthorizeduses are an infringementof the U. S. CopyrightAct and are punishableby Law

] - 3 .
 INTRODUCTION
FOR THE STUDENT: This material is part of the worldwide Suzuki Method of
teaching. Companion recordings should be used with thesepublications.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 associationprovides this for
its membership. Teachers are encouraged to become members of their national
Suzuki associationsand maintain a teacher training scheduleoin 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 essentialfor any teacher that you choose.
We recommend you ask your teacher for his or her credentials, especiallylisting
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 Metho4 pleasecontact your
country's Suzuki Association,the InternationalSuzukiAssociationat 3-10-15 Fukashi,
Matsumoto City 390, JWan,The Suzuki Associationof the Americas, 1900 Folsom
#101, Boulder Colorado80302or Summy-BirchardInc., c/o WarnerBros.
PublicationsInc.. 15800N.W. 48th Avenue,Miami, Florida 33014.

Licensedby WarnerBros. PublicationsInc.

our catalogue
on line
r;=ii-i
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Thisolbum@2OO2
by NUOVACARISCH - Milono
s.r.l,
All rightsreserued.No part of this book may be photocopiedor reproduced
in any way withoutpermission.Unauthorizeduses are punishableby law.
 C(NTDITTS
S t u d y P o i n ft o
s r V o l u m 2e . . o o . . . o o . . . . . . . o . . . o . . . . . o . . . o . . . . . . . . . 4
ttJudas lVlaccabaeust',G. E Hgndel . . . . . . . . o . o. . . . . ......7
EfflJ Chorus from
lA M u s e t t e o J .S . B a c h o o . . r . . . . o..... oo..... o. oo. oooooor.... r. ......7

f _ l _ lH u n t e r s C
t h o r u s , CM
. . v o n W e b g r. . o o o . . . . . . , l o o . o . . . . . . . . . . . . . . . . 8

1A l r o n g ,I n n g A g o o T . H . B a y l y ' . . o o . . o o . . . . . . . . . i... ooooooo . o . o . r . . . . . 9

f.!! Walt4J. Brahms .. o.o....... r r . ooo . . . . oo . . . o . . . ooo . oo . . . . . . o..10

l-{l B o u n d e r G .E H a n d e l . ooo . . oo . . . . . . . oo . . . . . oo . . . . . . . . . . . . . . . o...ll

fZJ Thefiro GrenadierR s ,. S c h u m a n n . . o . . . . . . . . . . . . . . . . . . . . . ooo . . . . 1 2

5 6 W i t c h e s t l ) a n c e t ' rP
Na. g a n i n i . . . . . . . o o . . . o . . . . o . . . . . . 1 3
LqJ Themefrom

t 2 J G a v o t t ef r o m t t l l i g n o n " r A . T h o m a s. . o o . o . . . . . o o o . o . . r . o o . . . . . . . . . 1 4
t D f --lr--

Eq G a v o t t eJ,. B . L u l l y . . . o . . o r o . o . . . . o . o o o o . . o . . . . r . o . o o . . o . . . . . ' . . 1 6

LU M i n u e t i n G L . v g n B g e t h o v g no f . o . . . . o o o . o . . . . o . . . . . . . . ?........lE

tr M i n u e t ,L . B o c c h e r i n i. o . . o o o o . o . . o . . . . . . o . . . . . o . . . o o . o . . . . . . o . . l g
 Study Points for Volume 2

fr 2 *o+tla;-*:ii'
Points d' Etude pour le Volume2 Studium Hinweise fiir Bund 2 Puntos de Estudio para el Vol. 2

I . f-t'6t:. T t 6 r:tt&g v a - f' tlltlr'rf b : t

t: J'r < *'*6!lgt..t fiJ'-e -ti 6 " + ntrlb'lB+t: J
t) tt + ,'i[{6 t t lt h't "

2 . | + t t{ 1 ' z a > . 1 t t ) * L r ' # a t ? , ! } t t . rtg-

,p*Et: r j r . A .h . t i h t l i r t t'>tttl.ll tL(tri b ti r\o
3. 4lfiatLt.t: J o (. [Lr.*f?. r].Lr'*t]. fi
L u ., ] a > l + 1 6 t , 1 * b t L A "

1. 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.
1. Das Kind sollte jeden Tag dic d.iesbeziigliche
Schallplutten-Aufnahme daheim anhdren, um seine
musikulische EmpJindsumkeit zu entwickeln Rascher
Fortschritt hiingt von diesem Zuhdren ab.
2. Tbnftihrung oder das Heworbringen eines schdnen
Tbnes sollte im Unterricht und daheim besonders betont
werden.
3. Stiin dige Aufm erksamkeit sollte der genaa en
Intonierang, korrekter Haltung und richtiger
Bogenftihrung gezollt werden.

1. L'enfont devrait 1couter le disque de 1. El niffo debe escucharlos discos de referenciacada

rifdrence chaquejour d Ia maison, afin de d,ivelopper
une sensibtlitd musicqle. Des progrds rapides
ddpendent de cette audition.
2. La tonalisation, ou la production de beaux tons,
devrait €tre travaillde pendant la legon et d la maison.
3. Une attention constante devrait €tre donnbe afin
d'obtenir une intonation exacte, une posture correcte
et une bonne tenue de I'archet.
dia en su casapara desarrollar sensibilidad musical. El
progreso r6pido dependede esta audici6n.
2. Sonidizaci6n, o producci6n de un tono hermoso debe
ser enfatizadaen la lecci6n y en casa.
3. Una atenci6n constantedebe ser prestadaa una
afinaci6n exacta, postura correcta y la forma debida de
sujetar el arco.
 Tonalization

l':|t)t4>3>
Tonalisation Tonfiihrung Sonidizaci6n

(){o l-Fiila)filt?li.':..7'va-/-v t'Flif 6 t e

t:t[i tt c h 6") (fii v 7->)

(This exercisein G minor should be taught (Diese Ubung in G-Moll sollte sur gleichen
in the same time the child is studying Zeit gelehrt werden, wenn dus Kind Bourrde
the Bourr6e of Hiindel.) von Hiindel studiert.)

(Cet exercice en sol mineur devrqit €tre (Este ejercicio en sol menor debe ser enseflado
enseignt au moment oi l'enfant Atudiela al mismo tiempo que el nifro est6 estudiando la
Bourrde de Hcindel.) Chamarascade Hiindel)

tfi,!;. talfrlj(ie(f6Ht,' ( 3olfrb,!h")+fv,rhT)

stltiaf. 3al?2lsir:t t?Ialgt:$tff3rf

6 *i i?.

This is the first time the lowered first finger is used. When this
finger is placed on the stringo the third finger has the tendency to
pull back out of proper placement, toward the first finger. To avoid
this, try playing the following exercise silently. Keep the third
finger in place as the first finger moves back from Bi to Bb.
C'est la premidre fois que le premier doigt reculd est utilis6.
Quand ce doigt descend sur la corde, le troisiime doigt a une
tendance de reculer aussi de sa position correcte, vers le premier
doigt. Pour |viter ceci, essayer de jour I'exercice suivante en
silence. Gqrder le troisiime doigt en place pendant que le
premier doigt recule de si\d sib.
Dies ist dus erste Mal, duss der gesenkte erste Finger benutzt wird,
Wenn dieser Finger an die Suite gesetzt wird, so hat der dritte Finger
die Tendeng, von seiner korrekten Lage und nuch dem ersten Finger
zurilckzuziehen. [Im dies zu vermeiden, versuche, die folgende
tibung luutlos 7,uspielen. Halte den dritten Finger un seiner Stelle,
wiihrend der erste Finger sich vun H nach B zuriickbewegL
Esta es primera vez que se usa el primer dedo bemolado' Cuando este
dedo est6 colocado en la cuerda, el tercer dedo tiene tendencia de
quitarse de la posici6n correcta, por moverse hacia el primer dedo. Para
evitar 6ste trate de ejecutar el ejercicio siguiente en silencio. Mantenga
el tercer dedo en su lugar mientras el primer dedo retorna de si ! a si b.

S r g r
 Chorus from "Judas Maccabaeus"
,A.
trl E rz/'^?/J*? Xr h'P)
Maestoso {iEt: G. F. Handel
n ;2 f'tv

"Judas
Choeur de MaccabaeLts" Chor uus "Judus Muccubueus" Coro de "JudasMacabeo"

Please remember that the child should listen Bitte darun denken, dass das Kindjeden Tug
to the recordings every day. die Schallplatten unhiiren soll.

a
Surtout ne pqs oublier que l'enfant doit Por favor recuerde que el niflo debe escuchar
icouter les disques tous les jours. los discos cada dia.

Musette
:z €.7 J. S. Bach
Andante pastorale l. /;'/ 't\
n r q B oI 3- q F.-o
V
0 E 0 3 0 1 t.

p dim.
n V
2^l
I 3 0 3 6A2

--_
*f cresc.

n 3
0

Musette
 Hunterst Chorus
reAOAIE
C. M. v. Weber
lr. - z{ -

Y
3 V

' t

V
0

Lo 3 o t

n
n 3
3

Choeur des Chasseurs Jiiger Chor Coro de los Cazadores

 otrg, LongAgo
tr
v> ?" v> ?" 7="-
T. H. Bayly
^{- 1,-
l-9 B

- - - -----_
*f,

*f
n

Variation (* 4 rk)
Variation Variation Variacion

3 r i + {l i o 3+11ojo
!oYld g3-.eo

n 3#{to S s z l o o r o
3 0 3_o 2

\J

n
3#i-t oJ o 3.9-3-t o e gB-.oo
?||.{ Bo

n t 0 t 2
3 0 4 3
t_o 0
3-t ,_J o o l o
3 0 3- j 3_o z

Il y a Trds, Trds Longtemps Lung, Lung ist's her Hace Mucho, Mucho Tiempo

I
I
10

Waltz
v )v'y
Moderato

p'dolce
I

foco clesc.

--_
poco rit.

Valse Wulzer Vals

 Bourr6e
G. F. Handel
Allegretto +27'tv
k a V N
o 3 3

p espressiuo

(4)
2 3 t 2 3 0

p espressiuo

Bo I s o L Zo

n
3^.1 2 g
.-- \ 2 r
f i 0 3 X-..0 (f,gj) |

G)
!10 l-g I oA2a ?*_g 2 3 0 2

- p

30r8OjlJ.
t 0 t 2

w
(4)
2 3 0 2 1-{ 3-{ o z- 3-o

-
( 4 ) . ' ^
tliS- -0 l-+ 1-g I o.-L2 a ',

({)
2 3 0 2
t2 r;
l ' l
The Two Grenadiers
-AaffilvR
R. Schumann
'/1-'? 2
Moderato

--_

0
Z \ o
--__

V N

Moderato

rit.

L r.lr^ 0I

n n
3 0
? .?zlz ! 0

allarg.

Les Deux Grenadiers Die zwei Grenudiere Los Dos Granaderos

 T3,

l " l

Theme from o'witchestDance))

rffifEr
,)lfr 0t h't)
N. Paganini
Andant.T___o y V n r9 )f =-=
0 2-^.-f O-.3 0
) t 2

n
l.--0 !}l o-.-{

3
n
1-? $)l^_0 #l1i #
P meno ,nosso

n t
2 O-'-.?
a

n 3 2 3_o 2
t I 0 3_? I

. f 3

Thdmede la "Danse des Sorcidres" Themu aus "Hexentunztt Tema de "LaDanza de las Brujas"
t4
l
I
I
I

Gavottefrom "Mignon"
I
j
I
I
i
r:=3Yt a) liif 'y I. A. Thomas
I
I

Ii
t---?
Allegretto II

n 3 4 2 3 ,^ o
n 2
3 7
P o-9

2 2-3 |

t z 3 4 z 3 \ o

0 0 l

V
l_3 2 4

({)
o ( b ) t 3Z 4

0 1 3 r , 0 (l )l

t 2 3 4 2 3 l" 0

"Mignon" "Mifl6n"
Gavottede Guvotteaus "Mignon" Gavota de

i"-'
 (g)

n
?

(l) ( { ) ptzz.
9 { 0

Ear Training
uai,tlffi
Entrainement de I'oreille Gehiiriibung Entrenamiento del oido
'rti:t 2 ? - -r,fi'i|,.i):.,
G . D . A a l ' * l , l t t t . 2 r l ! j t ,L + o U L , r St J ( l l t l r , , ( ) ' c ' i |
rtt??-'7tu(l*tl"

Exercise for perfect octave intonation. Ubu ng fiir die voII en dete Oktaven-Intonierung,
Listen to the resonance of the open G, D, and Dem Klange der offinen G, D, undA Saiten
A strings, and try to match the octave Iauschen; die Oktaven-Hdhen genuu
pitches perfectly. zu treffen versuchen.

S'exercer ii obtenir une intonation Ejercicio parala perfecta afinaci6n de octava.

d'octave parfaite. Escuchela resonanciade las cuerdasal aire de sol,
Ecouter lq rtsonqnce des cordes libres du re, y trate de acertar los dipasones de octava
sol, rim rb et du la, et essayer d'accorder perfectamente.
parfaitement les diapasons d'octaves.

'/u'l,.lthtv,
7 > lft'llL T. rr:tt:/tlrrt6 J i t:. t
t: v t 7 > hAij{: tJ h'ti i, t 4 6J i t:.
This exercise should be practiced daily untit Diese Ubung sollte ttiglich gespielt werden,
it is mastered. The teacher should hear this bis sie viillig behewscht wird. Der Lehrer
at the beginning of each lesson. sollte dies bei Beginn jeder Stunde anhiiren.

Cet exercice devrait €tre |ffectue tous les Este ejercicio se debe practicar diariamente
jours jusqu'ii ce qu'il soit parfaitement hasta que se domine. El maestro debe escuchar
maitris2. Le professeur devrait I'entendre esto al comienzo de cada lecci6n.
au commencementde chaaue lecon.
T6

l^"1

Gavotte
f'fi.2 l.
Allegretto J. B. Lully
t ) - ,
D Ve V c )
q z ?^9 l-.s o o

gfaznso
^f

(.)
0

\--l'
\--7

BA ! 3 *
ou \ t Z o 2 , . r ^o B

poco rit. 3_
a tempo ma piil ogitato

(c) 3
o-P-a I 0 t r$?0 A1 2u\ o

3_
 17

0 2 1 . 0 (o) (c)
0 l 0 o-l o r^ o I

ritard.

(c)
0

(o) (c)
0 9^9

n
i?z
*

ri t.

nH4 bi):,n3ffia#r./:I l" FfttEt (

Procedure for practice Comment s'exercer Verfuhren zur Ubang Procedimiento pall.aprhctica

i3 i?i3 ***13,11
oI
18

Minuet in G
t xr.7 l- l- Effi L. van Beethoven
Allegretto
3 3 V - { - l .- . < ,
Y z 3

p con grazia
Q)
2 0 3

-P
(g)
o 2 2 0 0 2 3 2 s o \ 1

(3)
l,2 3 l(b)4 Ya'

2 0 2 3 2 3

(3)
V ll2.no.c.at Finel
2 0 0 3 3 3

--
|U
Menuet en sol Menuett in G Minu6 en sol
 19

Minuet
Moderato e grazioso
/X!'yl. L. Boccherini
;t'y t t)- =
V N
V
Wlo 9--n Yqn g
qp
V
4 1-{ 0 2

i ? 0

e 3{q s 0t 2
--.--..-
p; at-

I 0 ? 2 z + 4-.--3

*
I
p'
n V n
3 0 1 2
kr 0 4 3 t Y43 2

--- ^f --------i
q z I 8-z . > 1 D.C. al Fine
o I
 SUZTJKI METHOD INIERNAIIONAL

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