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     YI()TIITM
      YOrUt{E2




     Suzuki MethodInternational
Sdi'Vlomschool
                    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 .
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
                     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-Birchard      Inc., c/o WarnerBros.
                     Publications Inc.. 15800N.W. 48th Avenue,Miami, Florida 33014.




Licensedby WarnerBros. Publications
                                  Inc.

   our catalogue
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This              CARISCH - Milono
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All rightsreserued. part of this book may be photocopied reproduced
                  No                                     or
in any way withoutpermission.Unauthorized  uses are punishable law.
                                                             by
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. . . . . ......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 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 . . . . . 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

f 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 Themefrom

t 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
                     J

LU      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                                                                   ?........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 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. L'enfont 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
   d'obtenir une intonation exacte, une posture correcte                             sujetar el arco.
   et une bonne tenue de I'archet.
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                   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 Finger
pull back out of proper placement, toward the first finger. To avoid                 die Tendeng, von seiner korrekten Lage und nuch dem ersten Finger
this, try playing the following exercise silently. Keep the third                    zurilckzuziehen. [Im dies zu vermeiden, versuche, die folgende
finger 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 zuriickbewegL
C'est 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 este
tendance de reculer aussi de sa position correcte, vers le premier                    dedo est6 colocado en la cuerda, el tercer dedo tiene tendencia de
doigt. Pour |viter ceci, essayer de jour I'exercice suivante en                       quitarse de la posici6n correcta, por moverse hacia el primer dedo. Para
silence. Gqrder le troisiime doigt en place pendant que le                            evitar 6ste trate de ejecutar el ejercicio siguiente en silencio. Mantenga
premier 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
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.




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

                                                                           Y V
                                                                           3

                                                                           '        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.-L a ',
                                                                             2


         ({)
     2 3 0 2
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
T3,

                                            l " l

                            Theme from o'witchestDance))
                                             rffifEr 0t h't)
                                                   ,)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 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

                                                                                                                  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"-'
(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 , + 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 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 commencement chaaue lecon.
                    de
T6

                                                       l^"1

                                                     Gavotte
                                                     f'fi.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




             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



     -


         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




                                                     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
SUZT METHOD INIERNAIIONAL
                                            JKI




           NUOVACARISCH      s.r.l.
VIA CAMPANIA,12 - Zona Industriale
                                 Sesto Ulteriano
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              SUMMY-BIRCHARD
              DlStributedby
                               INC.

              WARNER BROS, PUBLICATIONS
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              A Warner MusicGroup Company
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  • 1. nt Yiolir chool YI()TIITM YOrUt{E2 Suzuki MethodInternational
  • 2. Sdi'Vlomschool 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. 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 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-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.com This CARISCH - Milono olbum@2OO2 NUOVA by s.r.l, All rightsreserued. part of this book may be photocopied reproduced No or in any way withoutpermission.Unauthorized uses are punishable law. by
  • 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. . . . . ......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 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 . . . . . 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 f 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 Themefrom t 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 J LU 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 ?........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
  • 5. 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 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. L'enfont 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 d'obtenir une intonation exacte, une posture correcte sujetar el arco. et une bonne tenue de I'archet.
  • 6. 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 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 Finger pull back out of proper placement, toward the first finger. To avoid die Tendeng, von seiner korrekten Lage und nuch dem ersten Finger this, try playing the following exercise silently. Keep the third zurilckzuziehen. [Im dies zu vermeiden, versuche, die folgende finger 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 zuriickbewegL C'est 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 este tendance de reculer aussi de sa position correcte, vers le premier dedo est6 colocado en la cuerda, el tercer dedo tiene tendencia de doigt. Pour |viter ceci, essayer de jour I'exercice suivante en quitarse de la posici6n correcta, por moverse hacia el primer dedo. Para silence. Gqrder le troisiime doigt en place pendant que le evitar 6ste trate de ejecutar el ejercicio siguiente en silencio. Mantenga premier 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. 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. 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. Hunterst Chorus reAOAIE C. M. v. Weber lr. - z{ - Y V 3 ' t V 0 Lo 3 o t ? n n 3 3 Choeur des Chasseurs Jiiger Chor Coro de los Cazadores
  • 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 ist's her Hace Mucho, Mucho Tiempo I I
  • 10. 10 Waltz v )v'y Moderato p'dolce I foco clesc. --_ poco rit. Valse Wulzer Vals
  • 11. 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.-L a ', 2 ({) 2 3 0 2
  • 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. T3, l " l Theme from o'witchestDance)) rffifEr 0t h't) ,)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 3 Thdmede la "Danse des Sorcidres" Themu aus "Hexentunztt Tema de "LaDanza de las Brujas"
  • 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. (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 , + 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 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 commencement chaaue lecon. de
  • 16. T6 l^"1 Gavotte f'fi.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 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. 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 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
  • 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 88-507-0235-3 Licensed 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