Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.
nt    Yiolir chool     YI()TIITM      YOrUt{E2     Suzuki MethodInternational
SdiVlomschool                    YIOIINPRT                        YOrtDInz                    Copyright O 1978 Dr. Shinich...
INTRODUCTION                 FOR THE STUDENT: This material is part of the worldwide Suzuki Method of                 teac...
C(NTDITTS        S t u d y P o i n f o r V o l u m2 . . oo . . . oo . . . . . . . o . . . o . . . . . o . . . o . . . . . ...
Study Points for Volume 2                                                        fr 2 *o+tla;-*:iiPoints d Etude pour le V...
Tonalization                                                              l:|t)t4>3>                                      ...
Chorus from "Judas Maccabaeus"                    ,A.                     trl  E rz/^?/J*? Xr hP)          Maestoso {iEt: ...
Hunterst Chorus                reAOAIE                                                                   C. M. v. Weber   ...
otrg, LongAgo                                                        tr                                     v> ?" v> ?" 7=...
10                         Waltz                         v )vy     Moderato      pdolce        I                  foco   c...
Bourr6e                                                                                   G. F. Handel       Allegretto   ...
t2                                            r;                                              l  l                        ...
T3,                                            l " l                            Theme from owitchestDance))               ...
t4                                                                                                                  l     ...
(g)                                           n                                           ?              (l)              ...
T6                                                       l^"1                                                     Gavotte ...
17             0 2 1 . 0           (o)                           (c)                                  0      l            ...
18                                                   Minuet in G                                                  t xr.7 l...
19                                                     Minuet          Moderato e grazioso                                ...
SUZT METHOD INIERNAIIONAL                                            JKI           NUOVACARISCH      s.r.l.VIA CAMPANIA,12...
Upcoming SlideShare
Loading in …5
×

DOWNLOAD

26,601 views

Published on

Published in: Sports, Education
  • Be the first to comment

DOWNLOAD

  1. 1. nt Yiolir chool YI()TIITM YOrUt{E2 Suzuki MethodInternational
  2. 2. SdiVlomschool YIOIINPRT 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 arrangementthecompositions or of containedin this collectionrequires writtenconsentof the Publisher. the No part of this book may be photocopied reproduced any way withoutpermission. or in Unauthorized uses are an infringement the U. S. Copyright and are punishable Law of Act by ] - 3 .
  3. 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 scheduleo order to remain in 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 countrys Suzuki Association,the InternationalSuzukiAssociationat 3-10-15 Fukashi, Matsumoto City 390, JWan,The Suzuki Associationof the Americas, 1900 Folsom #101, Boulder Colorado80302or Summy-Birchard Inc., c/o WarnerBros. Publications Inc.. 15800N.W. 48th Avenue,Miami, Florida 33014.Licensedby WarnerBros. Publications Inc. our catalogue on line r;=ii-i-..+--=; "te-r}&www.carisch.comThis CARISCH - Milono olbum@2OO2 NUOVA by s.r.l,All rightsreserued. part of this book may be photocopied reproduced No orin any way withoutpermission.Unauthorized uses are punishable law. by
  4. 4. C(NTDITTS S t u d y P o i n f o r V o l u m2 . . oo . . . oo . . . . . . . o . . . o . . . . . o . . . o . . . . . . . . . 4 ts e ttJudas lVlaccabaeust,G. E Hgndel . . . . . . . . o . o. . . . . ......7EfflJ Chorus fromlA M u s e t t e o J .S . B a c h o o . . r . . . . o..... oo..... o. oo. oooooor.... r. ......7f _ l _ lH u n t e r s C h o r u s , CM . v o n W e b g r . o o o . . . . . . , l o o . o . . . . . . . . . . . . . . . . 8 t . .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 . . . . . 9f.!! Walt4J. Brahms .. o.o....... r r . ooo . . . . oo . . . o . . . ooo . oo . . . . . . o..10l-{l B o u n d e r G .E H a n d e l . ooo . . oo . . . . . . . oo . . . . . oo . . . . . . . . . . . . . . . o...llf Z J T h e f i r o G r e n a d i e r R,. S c h u m a n n . . o . . . . . . . . . . . . . . . . . . . . . s ooo . . . . 1 2 5 6 W i t c h e s t l ) a n c e t rP a g a n i n i . . . . . . . oo . . . o . . . . o . . . . . . 1 3 N.LqJ Themefromt 2 J G a v o t t er 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 f t D f --lr--Eq G a v o t t e ,. B . L u l l y . . . o . . o r o . o . . . . o . o o o o . . o . . . . r . o . o o . . o . . . . . . . 1 6 JLU M i n u e t i n G L . v g n B g e t h o v g n f . o . . . . ooo . o . . . . o . . . . . . . . o ?........lEtr 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
  5. 5. Study Points for Volume 2 fr 2 *o+tla;-*:iiPoints d Etude pour le Volume2 Studium Hinweise fiir Bund 2 Puntos de Estudio para el Vol. 2 I . f-t6t:. T t 6 r:tt&g v a - f tlltlrrf b : t t: Jr < **6!lgt..t fiJ-e -ti 6 " + ntrlblB+t: J t) tt + ,i[{6 t t lt ht " 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 ro 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 1. Das Kind sollte jeden Tag dic 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 diesem Zuhdren ab. should be stressed in the lesson and at home. 2. Tbnftihrung oder das Heworbringen eines schdnen 3. Constant attention should be given to accurate Tbnes sollte im Unterricht und daheim besonders betont intonation, correct posture, and the proper bow hold. werden. 3. Stiin dige Aufm erksamkeit sollte der genaa en Intonierang, korrekter Haltung und richtiger Bogenftihrung gezollt werden. 1. Lenfont devrait 1couter le disque de 1. El niffo debe escucharlos discos de referenciacada rifdrence chaquejour d Ia maison, afin de d,ivelopper dia en su casapara desarrollar sensibilidad musical. El une sensibtlitd musicqle. Des progrds rapides progreso r6pido dependede esta audici6n. ddpendent de 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 constantedebe ser prestadaa una 3. Une attention constante devrait €tre donnbe afin afinaci6n exacta, postura correcta y la forma debida de dobtenir une intonation exacte, une posture correcte sujetar el arco. et une bonne tenue de Iarchet.
  6. 6. Tonalization l:|t)t4>3> Tonalisation Tonfiihrung Sonidizaci6n (){o l-Fiila)filt?li.:..7va-/-v tFlif 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 lenfant 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 Dies ist dus erste Mal, duss der gesenkte erste Finger benutzt wird,finger is placed on the stringo the third finger has the tendency to Wenn dieser Finger an die Suite gesetzt wird, so hat der dritte Fingerpull back out of proper placement, toward the first finger. To avoid die Tendeng, von seiner korrekten Lage und nuch dem ersten Fingerthis, try playing the following exercise silently. Keep the third zurilckzuziehen. [Im dies zu vermeiden, versuche, die folgendefinger in place as the first finger moves back from Bi to Bb. tibung luutlos 7,uspielen. Halte den dritten Finger un seiner Stelle, wiihrend der erste Finger sich vun H nach B zuriickbewegLCest la premidre fois que le premier doigt reculd est utilis6.Quand ce doigt descend sur la corde, le troisiime doigt a une Esta es primera vez que se usa el primer dedo bemolado Cuando estetendance de reculer aussi de sa position correcte, vers le premier dedo est6 colocado en la cuerda, el tercer dedo tiene tendencia dedoigt. Pour |viter ceci, essayer de jour Iexercice suivante en quitarse de la posici6n correcta, por moverse hacia el primer dedo. Parasilence. Gqrder le troisiime doigt en place pendant que le evitar 6ste trate de ejecutar el ejercicio siguiente en silencio. Mantengapremier doigt recule de sid sib. el tercer dedo en su lugar mientras el primer dedo retorna de si ! a si b. S r g r
  7. 7. Chorus from "Judas Maccabaeus" ,A. trl E rz/^?/J*? Xr hP) Maestoso {iEt: G. F. Handel n ;2 ftv "JudasChoeur de MaccabaeLts" Chor uus "Judus Muccubueus" Coro de "JudasMacabeo"Please remember that the child should listen Bitte darun denken, dass das Kindjeden Tugto the recordings every day. die Schallplatten unhiiren soll. aSurtout ne pqs oublier que lenfant doit Por favor recuerde que el niflo debe escucharicouter les disques tous les jours. los discos cada dia. Muset te :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
  8. 8. Hunterst Chorus reAOAIE C. M. v. Weber lr. - z{ - Y V 3 t V 0 Lo 3 o t?n n 3 3Choeur des Chasseurs Jiiger Chor Coro de los Cazadores
  9. 9. 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 ists her Hace Mucho, Mucho TiempoII
  10. 10. 10 Waltz v )vy Moderato pdolce I foco clesc. --_ poco rit. Valse Wulzer Vals
  11. 11. Bourr6e G. F. Handel Allegretto +27tv 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.-L a , 2 ({) 2 3 0 2
  12. 12. t2 r; l l The Two Grenadiers -AaffilvR R. Schumann /1-? 2 Moderato --_ I - 0 Z o --__ V N Moderato rit. 3 L r.lr^ 0I n n 3 0 ? .?zlz ! 0 allarg. Les Deux Grenadiers Die zwei Grenudiere Los Dos Granaderos
  13. 13. T3, l " l Theme from owitchestDance)) rffifEr 0t ht) ,)lfr N. Paganini Andant.T___o y V n r9 )f =-= 0 2-^.-f O-.3 0 ) t 2 0 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 3Thdmede la "Danse des Sorcidres" Themu aus "Hexentunztt Tema de "LaDanza de las Brujas"
  14. 14. t4 l I I I Gavottefrom "Mignon" I j I I i r:=3Yt a) liif y I. A. Thomas I I I i t---? Allegretto I I n 3 4 2 3 ,^ o n 7 3 2 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"-
  15. 15. (g) n ? (l) ( { ) ptzz. 9 { 0 Ear Training uai,tlffi Entrainement de Ioreille Gehiiriibung Entrenamiento del oido rti:t 2 ? - -r,fii|,.i):., G . D . A a l * l , l t t t . 2 r l ! j t , + o U L , r St J ( l l t l r , , ( ) c i | L 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 SaitenA strings, and try to match the octave Iauschen; die Oktaven-Hdhen genuupitches perfectly. zu treffen versuchen.Sexercer ii obtenir une intonation Ejercicio parala perfecta afinaci6n de octava.doctave parfaite. Escuchela resonanciade las cuerdasal aire de sol,Ecouter lq rtsonqnce des cordes libres du re, y trate de acertar los dipasones de octavasol, rim rb et du la, et essayer daccorder perfectamente.parfaitement les diapasons doctaves. /ul,.lthtv, 7 > lftllL T. rr:tt:/tlrrt6 J i t:. t t: v t 7 > hAij{: tJ hti 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 Lehrerat the beginning of each lesson. sollte dies bei Beginn jeder Stunde anhiiren. Cet exercice devrait €tre |ffectue tous les Este ejercicio se debe practicar diariamentejours jusquii ce quil soit parfaitement hasta que se domine. El maestro debe escuchar maitris2. Le professeur devrait Ientendre esto al comienzo de cada lecci6n. au commencement chaaue lecon. de
  16. 16. T6 l^"1 Gavotte ffi.2 l. Allegretto J. B. Lully t ) - , D V V c ) q e z ?^9 l-.s o o gfaznso ^f (.) 0 --l --7 BA ! 3 * ou t Z o o 2,.r^ B poco rit. 3_ a tempo ma piil ogitato (c) 3 o-P-a I 0 t r$?0 A1 2u o 3_
  17. 17. 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 sexercer Verfuhren zur Ubang Procedimiento pall.aprhctica i3 i?i3 ***13,11 oI
  18. 18. 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 - 0 -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. 19. 19 Minuet Moderato e grazioso /X!yl. L. Boccherini ;ty 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
  20. 20. SUZT METHOD INIERNAIIONAL JKI NUOVACARISCH s.r.l.VIA CAMPANIA,12 - Zona Industriale Sesto Ulteriano 20098s. GruLrANoMILANESE (Ml) UFF.CLIENTI -fel.02-98.221 .212 www.carisch.com tsBN 88-507-0235-3Licensed by SUMMY-BIRCHARD DlStributedby INC. WARNER BROS, PUBLICATIONS 15800N.W.48thAvenue. Miami,Florida A Warner MusicGroup Company 33014 I ,lltilililil Alf t AOZ .-l L-AfiWZ

×