Suzuki ‘Violin School VIOLIN PART VOLUME4 (Za (Aa x @xN \ WA Yo Sy ‘ LOA N yyw OC WA yi (ec Lyn onl, Copyright © 1978 Dr. Shinichi Suzuki Sole publisher forthe entire world except Japan ‘Summy Birchard In. exclusively distributed by ‘Warmer Bros. Publications Ine 15800 N.W. 48th Avenue Miami, Florida, 33014 Al Rights Reserved Painted in U.S.A ISBN 0-87487-150-6 Biblioteca Publi r 2gp and whee! device joteca Publica de Valladolid go and wheel de Wg 10000293030 784.30 SUZ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 Assocation 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., c/o Warner Bros. Publications, 15800 NW 48th Avenue, Miat 33014 for current Associations’ addresses.CONTEN Concerto No, 2, 3rd Movement, F. Seitz Concerto No. 5, Ist Movement, F. Seitz Concerto No. 5, 3rd Movement, /, Seitz Lullaby, F. Schubert (Tonalization) Lullaby, J. Brahms (Tonalization) Concerto in A Minor, Ist Movement, 4. Vivaldi Concerto in A Minor, 3rd Movement, 4, Vivaldi Concerto for Two Violins, Ist Movement, Violin II, /.S. Bach ‘Trill Study Position Game. 10 2 14 14 15 18, au 23 24Instructions for the Study of Vol. 4 1. At the beginning of every lesson, have the student practice the tonalization and position etudes step by step to master the techniques. 2. Begin to teach vibrato when the student begins to study the Vivaldi A minor Concerto. 3. Music reading should begin with Vol. 4, although the student's age should be taken into consideration, Have the student watch the music as he reviews the pieces in Vols. 1, 2, and 3. 4. Introduce trill practice (page 23) when you decide the student is ready for this, ‘The position game (page 24) gives the student pleasure and helps him to improve his skills at the same time. Instructions pour étude du Vol. 4 1. Au debur de chaque legon vile: & ce que 'étudiant Dratiqu la tonalsation et les etude deposition. ctape par étape afin de maitrier les techniques. 2. Commences a enseigner le vibrato quand 'étudiant commence Vétude du Concerto en la minewr de Viva. 3. Lalecture dela musique devrait commencer au Vol. mais "age de Vétudiant devrait err pris en Consideration. Veillez @ ce que Vétudiant resarde la partition quand il joue les morceaux des Vol 2, et 3 4. Introduire la pratique des tiles (page 23) quand vous pensez que Vetudiant est pret pour tela 5. Le jeu des positions (page 24) donne du plaisir Uéudiant et aide & ameliorer son habileté en meme temps. Anweisungen fiir das Studium von Band 4. 1. Am Anfang jeder Unterrichsstunde soll der Schiler die Tonfuhrung-Ubungen und die Lagen-Etiden Schrit fir Schritt zur Meisterung der Technik iben 2. Vibrato kann gelehrt werden, wenn der Schiller mit dem Studium von Vivaldis A-Moll Concerto begin. 3. Notenlesen sollte mit Band 4 beginnen, obsohl des Schiders Alter bericksichtigt werden soll. Den Schiler die Noten beobachten lassen wahrend er die Sticke aus Band 1, 2 und 3 wiederholt, 4. Cbungen mit Trille-Noten werden cingefihrt, wenn der Schiler dafur beret gefunden wird. (Seite 23). 5. Das Lagen-Spiel (Seite 24) macht dem Schiller Spass lund hilft gleichzeitig seine Fertigheit zu verbessern. Instrucciones para el Estudio del Tomo 4 1. Alcomienzo de cada leecién, has que e]slumno practique Ja sonidizacion y los estudios de posicidn paso por paso para ddominar as teenieas 2. Comience aensehar vibrato cuando los lumnos comienven a estudiar el Concieno de Vivaldi en la menor 5. La lectura de misica debe empezar con el Tomo 4, sunque se debe tomar en cuenta la edad del alumno, Haga ue elalumno observe a musica cuando repas las piezas dl Tomo. 1, y los Tomos 2 y 3 4, Intoduzca la prictica de trino (pagina 23) cuando usted Sdecida que ef alumno esta listo para ello ‘5. Bl juego de posicién (pagina 24) le da al alumno placer y le ayuda a mejorar sv destreza al mismo tiempoYonalization t 2nd Position = 2K Ys 20m€ Poston ZveitePosion 240 Pasion veces. apeume Ube immer tie folgt: ‘Always practice as follows Pay thet lines below in first position, then postion Toujours pratiquer de la fagon suivante: Jouerles deus ines ci-dessous dans a premiere postion, Duis dans fa seconde postion THRs 2 A Spice die biden unteren Rethen in erster Lage und dann in ewer Lage Siempre pratique como se indica: Toque las ds lineas de, abajo en la primera posicion, luego n'a segunda posiign ff 3rd Position BIBI Yay 2€ Position Drite Position 36° Poscion BemUM Lae oP CUR, 2mMMa eee oy ron Pray the two lines below i first poston, then in third Spice die biden unteren Reihen in ester Lage, dann in position. Jouer les deus lignes ci-dessous dans a premiére position, Duis dans la trotsieme position. 2 foe ‘diner Lage ‘Toque las dos lines de abyjo en la primera posicén,Iuego cena terceraposicion A 1 2 41 8 4 zz a are Bem rik: 1. te eaee HL, EL 6 eo the vetiea. 2 brute mae, 1. Atthe begining, the student should practice the postion ciudes (pages und) on one string as time. When be has ‘mastered them on one string, he may practice them on the next string. 2, The preceding Tonalization exercises should also be Dracticed at the beginnlng of each lesson. 1, Au début, love devralt praiquer les études de position Surin seu onde taf Lora a attri cer positions survune corde, tlpeutalorssexercersurla corde fuivante 2. Les exercices de tonalisation précedents devraient ‘aussi ere pratiqués au debut de-chague lecon SH, BRA PAWL Re Lome OME MEL x we oy 1. Im Anfang slte der Scher de LagenEtiden (Sete und ewe a ein Sa sen Wen uf ener Sateehmch tae or aa der nthe Sat Shen, 2. Die suvorgehenden Tonfubrang-Ubangensollen auch ‘am Anfamg jeder Unterrchsrunde geabt werden 1 Al principio, el alumao debe pratcar los estudios de pons (neat 6y 7 en pa ened a aver Cuan fo ha dominado en ina curds, €l puede practicaros en ceria vena 2. Los ejercicis de sonidizacion precedentes debe ser bractcados tambien al comienzo e cada lec.Po: RYYar-rfsa—k Lagen-Bide, wee-Lage Bs Bude de Position, 2¢M€ position fe mer ed The student should coatioue practicing until he becomes sf at these etude. Litleve devrait continuer a s'exercer jusgu'd ce ql soit ion Etude, 2nd position ay Posicida, 240 posicion Dit B. Der Schiler sollte weiterhin ben, bis er Ferighit in ‘diesen Ubangen bekomnt. El alunno debe continuarpractcando hata que sea diesto en habe dans Texecution de ces exercices fstos estos, E-Saile —Cuerda mi E String Corde du Mi Corde du La A-Saite 238 A String 1 Corde du So! GrSaite —Cuerda xo! G String ar AaPosition Etude, 3rd position av +itfa—k 3 D String conedune sate cue 2 4 be GSate —Cuerda sok aConcerto No. 2 3rd Movement Weil 2A Hs sRR peice sateeinie or Fh Eh tere ee 5 $i ppp eres Concerto No. 2, 32™e mouvement Konzert Nr. 2, Dritter Satz Concierto Nim. 2, 3€ movimiento0 2 | Concerto No. 5 Ist Movement TH SeHH STE 1 RE Allegro moderato n a tempo . 3 — ote so bee T ima aa nas 1 F risoluio iz0 yao Concerto No.5, 1€7 mouvement Konzert Nr. 5, Erster Satz Concierto Niim. 5, 1€f movimientoy ° a n i i, fetes prays totter ee SPB Eee sod ae poe! s f= = _ (oe th tifetel Pr 2] 3 > y ys j i" : 30 sarah Bhuhuh ee ee He etn SS sa 4 m7Concerto No. 5 3rd Movement HSSHH SAR WsRN (oO yb) Allegretto regs ‘ oc Solo meno mosso V eee: Concerto No. 5, 32M€ mouvement Konzert Nr. 5, Dritter Satz Concierto Nim. 5, 3€T movimientofepaas Sage rEegp (Rte ids eee ke z — i (fret pee Seb oe fia ie pugaiiittts ee Fi en te: ney ae mye. pace Steg ss amet aa emi Hf Hpal =Tonalization bY Yay Tonalisarion —Tonfhrung ——Soniiracson F Schubert Andante nas Fo J.Brah Andante ee eae bo pane, aR, me, 7 Oo. HME EN ERD MRE E Bh ea REO TMT ‘ingrng,Dovigs and phrasings hare pu Fingers Rorgfahrag und Prasirung wurden in diesen Takis Rorgerto gretheltractoran Wekenleders buch weggclasten um dem Lehrer de ‘Spporunitytolnlcatis own cs, These plecermay aso belpracticed with vibrato Le dolgter, le maniement de Farchet tle phrase ont été Las dgitaciones, los argues y los fascos se an omitido de ‘mis addeseein dans ces berceuses, cect fin de donner au propésitoencstas Canciones de Cuna para atk alinsnctor una Drofesseur Fopportunite dexprimer ses idees unidad de india sux propias des. Estas pecas pueden ser Peronaces‘Cermorecaus pement ous dre praines paca nb coo ek Berceuse Wiegenlied Cancién de Cunalea] i) Concerto in A Minor Ist Movement WAS 4 LM SL RE A. Vivaldi ae Fttete stee soars y pS etre dole) ——= 2o10 Concerto en la mineur, 1" mouvement Konzert in A-Moll, Erster Satz Concierto en la menor, 1&f movimiento$e ee ee Bee eeppeieer hares Sek oh op! =! shes Biyatin = nee ee Sas eee Soe A Shes eyé ee te nr tag 2S outer nike a === “== - ett igete gb at (yt Pelee Pues oft “aig] Eas) Concerto in A Minor 3rd Movement eth 4 presto A. Vi a 4 os are , Bp S32stses glos a ——— y marteliato Concerto en la mineur, 3"€ mouvement Konzert in A-Moll, Dritter Satz Concierto en la menor, 3¢f movimientoqt as (Hea Re et rd etee ee bate gg ap tte meer be reget etyLG} Concerto for Two Violins Ist Movement ZIV SAAYYOROO BM BRR Wart aryy Violin I Vivace J. S.Bach f 2 ae ' é sae bigest is 4 poco dim ge to eh tas Concerto pour Deux Violons, 1€F mouvement Konzert fiir zwei Geigen, Erster Satz Concierto para Dos Violines, 1° movimientosoy Tutti - TeretetheT | be aay, clit dpe ele See eee Ds oem ea Trill Study hYLO MR io th mPosition Game Revar+ Fok Jeu de Position Lagen-Spiel Juego de Posicivin anmenncotectasd RL AE PME AMEE NH, HET IM CH PLICILE AACR HME EEE IED EL “This postion game fot only enjoyable for the student, but also helps him olearn place his hand precisely in second land third postions. This game can be sed in private oF iroup lessons. ‘The tempo should remain stendy throughout each exercise ‘The student should lower his left arm during the rest, touch ‘is left leg with his Jet hand, and then try to bring his left hhand beck up inte the correct position for the next note Ce jew de position n'est pas seulement un plist pour Péttve, mail aide aussie placer samaind une maniere precise dans la dewsitme et la troisiéme position. Ce jeu put ere pratigué lors des Tecons de groupe ou des eons arteuliéres. ‘Letempo desraitresterle méme pendant toute laduréede Petercice. L'eleve devrait abaisser son bras gauche pendant fee silences, toucher sa Jambe pauche avec sa Imain gauche, pus essayer de ramencr sa main gauche en postion correte pour la note suivante Diese Lagen-Spel macht dem Schiler nicht nur Freude, Sondern ts hilf thm auch, seine Hand genau in die zwete und rate Lage 24 bringen. Das Spiel kann im Priv oder Grappen-Untericht benuta werden ‘Das Temp solte durch jede Ubung hindurch gleichmassi {eholien werden. Der Schaler sole seinen tinken Arm Srend der Pause senken, sein linkes Bein milder linker and berthren, und dann versuchen, die linke Hand wieder nach inde richie Lage fr de nachste Note 2ubringen. Este juego de poscidn no solo es agradable para! alumno, sno ‘toe también le aya» apender a colocar su mano en forma [recs en la segunda 9 eh la tercera posicon Este uego se poede usar en lecclonesindviduas 0 Ge grupo. El tempo debe permanccer firme durante cada eerciio. El llunno debe bajar el rato 2guerdo durant e silencio, tocar Ts prema szguteta con Ia mano tnquiera, luego levania ls ‘dno tngucrda en In posicon corecta para la proxi nota 3rd Position H3tyvar 3eme Position We sry—e Play the same melody on each string. Jouer ta mime mélodie sur chague corde m2, Dritte Lage 3€F Posicién 3B. Ath venecu tit Spiele de gheiche Melodie euf jeder Sate “Toque la misma melodia en cadn cued