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nt Yiolir chool
YI()TIITM
YOrUt{E2
SuzukiMethodInternational
Sdi'Vlomschool
YIOIINPRT
YOrtDInz
Copyright O 1978 Dr. Shinichi Suzuki
Sole publisher for the entire world exceptJapan:
Su...
INTRODUCTION
FOR THE STUDENT: This material is part of the worldwide Suzuki Method of
teaching.Companion recordingsshould ...
C(NTDITTS
S t u d y P o i n t sf o r V o l u m e2 . . oo . . . oo . . . . . . . o . . . o . . . . . o . . . o . . . . . . ...
Study Pointsfor Volume2
fr 2 *o+tla;-*:ii'
Points d' Etudepour le Volume2 Studium Hinweise fiir Bund 2 Puntosde Estudio pa...
Tonalization
l ' : | t ) t 4 > 3 >
Tonalisation Tonfiihrung Sonidizaci6n
( ) { o l - F i i l a ) f i l t ? l i . ' : . . 7...
Chorusfrom "Judas Maccabaeus"
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Maestoso
n
,A.
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te
p dim.
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n
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Variation (* 4 rk)
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10
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I
foco clesc.
poco rit.
ValsValse Wulzer
--_
Bourr6e
Allegretto
p espressiuo
( 4 )
2 3 t 2 3 0
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o 3
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R. Schumann
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18
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SUZTJKI METHOD INIERNAIIONAL
tsBN 88-507-0235-3
,lltilililil
NUOVACARISCHs.r.l.
VIA CAMPANIA,12 - Zona IndustrialeSestoUlt...
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Suzuki violin method vol 02

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Suzuki volume 2

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Suzuki violin method vol 02

  1. 1. nt Yiolir chool YI()TIITM YOrUt{E2 SuzukiMethodInternational
  2. 2. Sdi'Vlomschool YIOIINPRT YOrtDInz Copyright O 1978 Dr. Shinichi Suzuki Sole publisher for the entire world exceptJapan: Summy-Birchard Inc. exclusively distributed by Warner Bros. Publications Inc. 15800N.W.48thAvenue Miami, Florida 330T4 All rights reserved Printedin U.S.A. ISBN 0-81487-146-8 The Suzuki name, logo and wheel device are trademarksof Dr. Shinichi Suzuki usedunder exclusive licenseby Summv-Birchard"Inc. Anyduplication,adaptationorarrangementofthecompositions containedin thiscollectionrequiresthe writtenconsentof the Publisher. No partof thisbookmaybe photocopiedor reproducedin anywaywithoutpermission. Unauthorizedusesarean infringementof the U. S. CopyrightAct andarepunishableby Law ] - 3 .
  3. 3. INTRODUCTION FOR THE STUDENT: This material is part of the worldwide Suzuki Method of teaching.Companion recordingsshould be usedwith 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. Teachersare encouragedto becomemembers of their national Suzuki associationsand maintain a teacher training scheduleoin order to remain current, via institutes, short and long term programs.You are also encouragedto 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 existsa wonderful, fostering relationship betweenchild, parent and teacher.So choosingthe right teacher is of the utmost importance. In order to obtain more information aboutthe Suzuki Metho4 pleasecontactyour country'sSuzukiAssociation,the InternationalSuzukiAssociationat 3-10-15Fukashi, MatsumotoCity 390, JWan,The SuzukiAssociationof theAmericas,1900Folsom #101,BoulderColorado80302or Summy-BirchardInc., c/oWarnerBros. PublicationsInc.. 15800N.W.48thAvenue,Miami, Florida 33014. Licensedby WarnerBros.PublicationsInc. our catalogue on line r;=ii-i -..+--=; "te-r}&' www.carisch.com Thisolbum@2OO2by NUOVACARISCHs.r.l,- Milono All rightsreserued.No partof this bookmay be photocopiedor reproduced in any way withoutpermission.Unauthorizedusesare punishableby law.
  4. 4. C(NTDITTS S t u d y P o i n t sf o r V o l u m e2 . . oo . . . oo . . . . . . . o . . . o . . . . . o . . . o . . . . . . . . . 4 EfflJ Chorus from ttJudas lVlaccabaeust',G. E Hgndel . . . . . . . . o. o. . . . . ......7 l A M u s e t t e o J . S . B a c h o o . . r . . . . o . . . . . o o . . . . . o . o o . o o o o o o r . . . . r . . . . . . . 7 f _ l _ lH u n t e r s tC h o r u s , C .M . v o n W e b g r. . ooo . . . . . . , l o o . o . . . . . . . . . . . . . . . . 8 1 A 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 . . . o o o o o o o . o . o . r . . . . . 9 f . ! ! W a l t 4 J . B r a h m s . . o . o . . . . . . . r r . o o o . . . . o o . . . o . . . o o o . o o . . . . . . o . . 1 0 l - { l B o u n d e r G . E H a n d e l . o o o . . o o . . . . . . . o o . . . . . o o . . . . . . . . . . . . . . . o . . . l l f Z J T h e f i r o G r e n a d i e r s ,R . S c h u m a n n. . o . . . . . . . . . . . . . . . . . . . . . ooo . . . . 1 2 LqJ Themefrom 56Witchestl)ancet'rN.Paganini ....... oo... o.... o......13 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. . oo . o . . . . . ooo . o . . r . oo . . . . . . . . . 1 4 t D f - - l r - - E q G a v o t t e ,J . B . L u l l y . . . o . . or o . o . . . . o . oooo . . o . . . . r . o . oo . . o . . . . . ' . . 1 6 L U M i n u e t i n G L . v g n B g e t h o v g nof . o . . . . ooo . o . . . . o . . . . . . . . ? . . . . . . . . l E t r M i n u e t ,L . B o c c h e r i n i. o . . oooo . o . . o . . . . . . o . . . . . o . . . oo . o . . . . . . o. . l g
  5. 5. Study Pointsfor Volume2 fr 2 *o+tla;-*:ii' Points d' Etudepour le Volume2 Studium Hinweise fiir Bund 2 Puntosde 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 -ti6 " + 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 . r t g - ,p*Et: rj r. A.h.ti htlirt t'>tttl.ll tL(tri b ti ro 3 . 4 l f i a t L t . t : J o ( . [ L r . * f ? . r ] . L r ' * t ] . f i L u., ] a>l+16 t,1* b tL A " 1. The child should listen to the reference recordings 1. Das Kind solltejeden Tagdic d.iesbeziigliche every day at home to develop musical sensitivity. Rapid Schallplutten-Aufnahme daheim anhdren, um seine progress depends on this listening. musikulische EmpJindsumkeit zu entwickeln Rascher 2.Tonalization, or the production of a beautiful tone, Fortschritt hiingt von diesemZuhdren ab. should be stressedin the lesson and at home. 2. Tbnftihrung oder das Heworbringen eines schdnen 3. Constant attention should be given to accurate Tbnessollte im Unterricht und daheim besondersbetont intonation, correct posture, and the proper bow hold. werden. 3. Stiin dige Aufm erksamkeit sollte der genaaen Intonierang, korrekter Haltung und richtiger Bogenftihrung gezollt werden. 1. L'enfont devrait 1couter le disque de 1. El niffo debeescucharlos discos de referenciacada rifdrence chaquejour d Ia maison, afin de d,ivelopper dia en su casapara desarrollar sensibilidadmusical. El une sensibtlitd musicqle.Desprogrds rapides progresor6pido dependede estaaudici6n. ddpendentde cette audition. 2. Sonidizaci6n,o producci6n de un tono hermoso debe 2. La tonalisation, ou la production de beaux tons, ser enfatizadaen la lecci6n y en casa. devrait €tre travaillde pendant la legon et d la maison. 3. Una atenci6n constantedebeserprestadaa una 3. Une attention constantedevrait €tre donnbeafin afinaci6n exacta,postura correctay la forma debida de d'obtenir une intonation exacte,uneposture correcte sujetarel arco. et une bonnetenuede I'archet.
  6. 6. Tonalization l ' : | t ) t 4 > 3 > Tonalisation Tonfiihrung Sonidizaci6n ( ) { o l - F i i l a ) f i l t ? l i . ' : . . 7 ' v a - / - v t ' F l i f 6 t e t : t [ i t t c h 6 " ) ( f i i v (This exercisein G minor should be taught in the same time the child is studying the Bourr6e of Hiindel.) (Cet exercice en sol mineur devrqit €tre enseignt au momentoi l'enfant Atudiela Bourrde de Hcindel.) 7 - > ) (Diese Ubung in G-Moll sollte sur gleichen Zeit gelehrt werden, wenn dus Kind Bourrde von Hiindel studiert.) (Este ejercicio en sol menor debe ser enseflado al mismo tiempo que el nifro est6estudiandola Chamarascade Hiindel) t f i , ! ; . t a l f r l j ( i e ( f 6 H t , ' ( s t l t i a f . 3 a l ? 2 l s i r : t 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 movesback from Bi to Bb. C'est la premidre fois que lepremier doigt reculd est utilis6. Quand ce doigt descendsur la corde, le troisiime doigt a une tendancede reculer aussi de sa position correcte, vers le premier doigt. Pour |viter ceci, essayerdejour I'exercice suivante en silence. Gqrder le troisiime doigt enplace pendant que le premier doigt recule de sid sib. 3 o l f r b , ! h " ) + f v , r h T ) t ? I a l g t : $ t f f 3 r f 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 esprimera vez que seusa el primer dedo bemolado' Cuando este dedo est6colocado en la cuerda,el tercer dedo tiene tendenciade quitarse de la posici6n correcta,por moversehacia el primer dedo.Para evitar 6stetrate 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
  7. 7. Chorusfrom "Judas Maccabaeus" E rz/'^?/J*? Xr h'P) Maestoso n ,A. trl {iEt: te p dim. V Bitte darun denken, dass das Kindjeden Tug die Schallplatten unhiiren soll. Por favor recuerdeque el niflo debe escuchar los discoscadadia. G. F. Handel ; 2 f ' t v Pleaseremember that the child should listen to the recordings every day. Surtout nepqs oublier que l'enfant doit icouter les disques tous lesjours. Andante n r 0 pastorale :z €.7 l. 3 - q cresc. 3 E q B o F.-o0I n 2^l 3 0 1 J. S. Bach V /;'/ 't t. 3I *f n 0 Choeurde "Judas MaccabaeLts" Chor uus "JudusMuccubueus" Coro de "JudasMacabeo" aMuset Musette 0 3 6 A 2 --_
  8. 8. HunterstChorus reAOAIE C. M. v. Weber lr. - z{ - Y V3 ' t V 0 L o 3 o t 3 n 3 ? n ChoeurdesChasseurs Jiiger Chor Coro de los Cazadores
  9. 9. trLongAgootrg, v> ?" v> ?" 7="- T. H. Bayly ^{- 1, - - - - l-9 B -----_ *f n *f, n n 3 0 3- j Variation (* 4 rk) Variation Variation Variacion !oYld 3ri+{l i o 3 + 1 1 o j o 3 # { t o S s z l o o r o J g 3 - . e o n 3 0 3_o 2 3#i-t oJ o ?||.{ Bo 3.9-3-t o e t _ o 0 3-t ,_J o o l o g B - . o o t 0 t 2 3 0 4 3 3_o z I I Il y a Trds,TrdsLongtemps Lung, Lung ist'sher HaceMucho, Mucho Tiempo
  10. 10. 10 Waltz v )v'y p'dolce Moderato I foco clesc. poco rit. ValsValse Wulzer --_
  11. 11. Bourr6e Allegretto p espressiuo ( 4 ) 2 3 t 2 3 0 V N o 3 G. F. Handel + 2 7 ' t v 3 n3^.1 .-- - p ( 4 ) 2 3 0 2 - ( 4 ) . ' ^ tliS- -0 l-+ k a 2 r f i 0 3 X-..0 (f,gj) | 2 g l-g I oA2a ?*_g t 0 t 2 3 0 r 8 O j l J . w 1-{ 3-{ o z- 3-o 1-g I o.-L2a ', p espressiuo Bo I s o L Z o !10 G) 2 3 0 2 ({) 2 3 0 2
  12. 12. R. Schumann ' / 1 - ' ? 2 r; l ' l The Two Grenadiers -AaffilvR t2 Z o --__ Moderato --_ I - 0 rit. 3 n0 n 3 allarg. Die zwei Grenudiere Los Dos Granaderos Moderato V N L r . l r ^ 0 I ? . ? z l z ! 0 LesDeux Grenadiers
  13. 13. l " l o'wit rffifEr V 0 Themefrom chestDance)) T 3 , Andant.T___o y n 2-^.-f ) t 2 0 ,)lfr 0t h't) O-.3 !}l o-.-{ N. Paganini r 9 ) f = - = 0 n l.--0 3 n 1-? $)l^_0 #l1i # t O-'-.? 3_? I 3_o 2 . f 3 n 2 a 0I23n t P meno ,nosso Thdmede la "Danse desSorcidres" Themuaus "Hexentunztt Temade "LaDanza de lasBrujas"
  14. 14. l I I I I j I I i I I Ii II i"-' t4 Gavottefrom "Mignon" a)liif 'y I. r : = 3 Y t A. Thomas t - - - ? n 23 7 Allegretto n P o - 9 3 4 2 3 ,^ o 2 2 - 3 | 0 0 l V l _ 3 2 4 ( b ) t 3 Z 4 0 1 3 r , 0 (l)l t 2 3 4 2 3 l" 0 ({) o t z 3 4 z 3 o Gavotade "Mifl6n" Guvotteaus "Mignon"Gavottede "Mignon"
  15. 15. (g) n ? ( l ) 9 { ( { ) 0 ptzz. Entrenamiento del oido Ubung fiir die voIIendete Oktaven-Intonierung, Dem Klange der offinen G, D, undA Saiten Iauschen; die Oktaven-Hdhen genuu zu treffen versuchen. Ejercicio parala perfectaafinaci6n de octava. Escuchela resonanciade las cuerdasal aire de sol, re, y trate de acertar los dipasonesde octava perfectamente. Ear Training uai,tlffi Entrainement de I'oreille Gehiiriibung 'rti:t 2 ? - -r,fi'i|,.i):., G. D. Aa l'*l,lttt.2rl!jt,L +oU L,rSt J ( lltlr,,()'c'i| r t t ? ? - ' 7 t u ( l * t l " Exercise for perfect octaveintonation. Listen to the resonanceof the open G, D, and A strings, and try to match the octave pitches perfectly. S'exercerii obtenir une intonation d'octaveparfaite. Ecouter lq rtsonqnce des cordes libres du sol, rim rb et du la, et essayerd'accorder parfaitement les diapasons d'octaves. Cet exercice devrait €tre |ffectue tous les jours jusqu'ii ce qu'il soitparfaitement maitris2. Le professeur devrait I'entendre au commencementde chaauelecon. ' / u ' l , . l t h t v , 7 > l f t ' l l L T . r r : t t : / t l r r t 6 J i t : . t t : v t 7 > h A i j { : t J h ' t i i , t 4 6 J 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. Esteejercicio se debepracticardiariamente hastaque se domine. El maestro debeescuchar estoal comienzode cadalecci6n.
  16. 16. l ^ " 1 Gavotte T6 f'fi.2 l. Allegretto D Vq e J. B. Lully t ) - , V c ) z ?^9 --l' a tempo ma piil ogitato l-.s o ou t Z o o gfaznso ^f (.) 0 poco rit. --7 B A ! 3 * 3_ 3 A 1 2,.r^o B (c) 0 to-P-a I r $ ? 0 3 _ 2 u o
  17. 17. 17 0 2 1 . 0 ritard. rit. n H 4 b i ) : , n 3 f f i a # r . / : I l " F f t t E t ( Procedure for practice Comments'exercer Verfuhren zur Ubang Procedimiento pall.aprhctica ( c ) 0 ( o ) 0 l o-l o r^o I (c) (c) 0 ( o ) 0 9^9 n i?z * i3 i?i3 ***13,11oI
  18. 18. 18 Allegretto Y z Minuet in G t xr.7 l- 3 3 l- V 3 Effi L. van Beethoven -{ - l.-.<, - 0 - P 2 0 2 3 2 3 ( 3 ) l , 2 3 l ( b ) 4 Ya' ( 3 ) 2 0 0 V 3 3 ll2.no.c.at Finel 3 |U p con grazia Q ) 2 0 3 p ( g ) o 2 2 0 0 2 3 2 s o 1 Menuetensol Menuett in G Minu6 en sol --
  19. 19. 19 Minuet / X ! ' y l .Moderato e grazioso V N i ? 0 ? 2 3 0 1 0 2 s0t 2 --.--..- at- z + 4-.--3 L. Boccherini ;t'y t t)- = V Wlo 9--n Yqn g V 1-{ qp 4 e3{q p; I 0 * I n t4 30 V kr n 2 Y4 p ' 23 --- ^f --------i - q z I o 8 - z I . > 1 D.C. al Fine
  20. 20. SUZTJKI METHOD INIERNAIIONAL tsBN 88-507-0235-3 ,lltilililil NUOVACARISCHs.r.l. VIA CAMPANIA,12 - Zona IndustrialeSestoUlteriano 20098s. GruLrANoMILANESE(Ml) UFF.CLIENTI-fel.02-98.221.212 www.carisch.com Licensedby SUMMY-BIRCHARDINC. DlStributedby WARNERBROS,PUBLICATIONS 15800N.W.48thAvenue. Miami,Florida33014 A WarnerMusicGroupCompany .-l I Alf t AOZ L-AfiWZ

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