Suzuki‘ Violin School VIOLIN PART VOLUME 2 Suzuki Method InternationalSuzuki‘ Violin School VIOLIN PART VOLUME 2 (ee » ae Li) Ny Copyright © 1978 Dr. Shinichi Suzuki Sole publish ee St exclusively distributed by Warner Bros. Publications In, 18800 NW. 48th Avenue Miami, Florida 33014 Allrights reserved Printed in USA. ISBN 0.87487-146-8, The Suzuki name, logo and wheel device are trademarks of Dr, Shinichi Suzuki used under exclusive license by Summy-Birchard, Ine. Any upteaion, adaptation rent ol be compostons risinad nts coschan fe ton Lnautonzed uses ae an ningeran ofthe U.S. Copyright ct an are purenaie by Le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- n, 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 Association 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 Inc,. 15800 N.W. 48th Avenue, Miami, Florida 33014, LUcensed by Wamer Bros. Publications Inc This album © 2002 by NUOVA CARISCH s.r. - Milano A rights reserved. No par ofthis book may be photocopied o* reproduced i any way without permission, Unauthorized uses are punishable by law.CONTENTS Study Points for Volume 2........ of Chorus from “Judas Maccabaeus”, G. F Handel .....esssceeeeeeeeeeeeT Musette, J. S. Bach ... Hunters’ Chorus, C. M. von Weber . Long, Long Ago, 7. H. Bayly Waltz, J. Brahms ...... Bourrée, G. F Handel ......-+ The Two Grenadiers, R. Schumann .....+++++ Theme from “Witches? Dance”, N. Paganini «+++... Gavotte from “Mignon”, A. Thomas . Gavotte, J. B. Lully . Minuet in G, L. van Beethoven .. Minuet, L. Boccherini ..Points d Etude pour le Volume 2 Study Points for Volume 2 82 BORON! Studium Hinweise fitr Band 2 a Fetes roc rR e ne ES ate Ro breteay, SRB ES PEM eS heee, Puntos de Estudio para el Vol. 2 enuslangic s Dao RLM omm, me PRR HO TEES TH EDR U NEE 3. RM gs TELE ELE Leno mame na. 1. The child should listen to the reference recordings every day at home to develop musical sensitivity. Rapid progress depends on this listening. 2. Tonalization, or the production of a beautiful tone, ‘should be stressed inthe lesson and at home. ‘3. Constant attention should be given to accurate intonation, correct posture, and the proper bow hold. 1. Lenfan devrait écouter le disque de riference chague jour d la maison, afin de développer tine sensibilité musicale. Des progrés rapides ‘dependent de cette audition 2. La tonalisation, ou la production de beaux tons ‘devrait ére travaillée pendant la legon etd la maison. 3. Une atention constante devrait ére donnée afin ‘obteni une intonation exacte, ne posture correcte fet une bonne tenve de Vache. 1. Das Kind sollte jeden Tag die diesbezigliche ‘Schallplatien-Aufnahme daheim ankiren, um seine ‘musibalische Empfindsamket zu enewickeln. Rascher Fortschr hingt von diesem Zuhiren ab. 2. Tonfihrung oder das Hervorbringen eines schinen Tones sollte im Unterricht und daheim besonders betont werden 4. Stindige Aufmerksambeit solve der genauen Intonierung, Korrekter Haltung und richiger Bogenfahrung gecoll werden. |. El nit debe escuchar los discos de referencia cada dia en su casa para desarollarsensibilidad musica. El rogresoripido depende de esta audicion 2. Sonidizacion, o produccibn de un tone hermoso debe Ser enfatizada en la leceign y en case 3. Una atencion constante debe ser prestada a una afinacién exact, postura correcta y la forma debida de sujetar el arco.Tonalization brU thy ay Tonaisation (ose momma ss + bmaE Ene Ce ke (This exercise in G minor should be taught dn the same tine the child studing the Bourrée of Handel) (Cet ecrcce en sol miner dea ire ensegné au moment enfant tac Bourne de Hinde!) co Tonfabrane Sonidzacin nor Lena es (iese Obung in G-Moll ote sur lechen Zeit gelert werden, wenn das Kind Bourrée 0m Habel sadiers) te ceria om so menor debe ser enseado fl mismo tempo qo ln et estado ln (Chmarasca de Handel) 2 Lome siretent (Bama see tne Remar, somewecsecLomeut ts out, “This isthe first time the lnered first finger i wed. Whe this Finger placed on the string, the third finger has the tendency 10 pullback ot of proper placement toward the fst finger. To avoid this, ey plavng the following exerise silent. Keep the third Finger in plac ns the first finger moves back from Bt Bb (Ces La premlre fs que ke premier doit reculé et wis (Quand ce doit descend ser ka conde, le tosiéme dig a une tenance de rear ass de sa position corte, vers le promi ‘dig, Pour eter cect, esaver de jour Texerie santé en filence: Ganler le oslome dig en place pendant que le premier doig cule de 14 sth Dies it das ese Mal, dass der gesenbeorte Finger bem wird. ‘enn dieser Finger an die Sate geet wid 0 hat der dre Finger die Tendeng, vom seiner horreen Lage nd mach dem ersten Finger “urekcaciehen. Um dies vermeiden, versche, de flgende hung latlonc speten Hate dem driten Finger an seiner Sell, edhe dr erste Finger sich van H mach B zurekbewext sta es primera ver que seus el primer dedohemolado. Cuando este edo et colocad onl end, tenor deo ene tendeneia de ‘quits def posi coveecta, por movers hacia el primer deo. Para ‘viar Gt rt de ejecta el jcc siguiente en slenci. Mancenga ‘here de en shag mints el primer deo retorna de sia Ss 3 i1 Chorus from “Judas Maccabaeus” & WA aA YAVANT AHS Maestoso fi i= G. F. Handel iz 0 fNFN 3 o1232 a ; : oisse—a —— 2 = 4 0 rall. Choeur de “Judas Maccabaeus” Chor aus “Judas Maccabaeus” Coro de “Judas Macabeo” nea y eM TERE HE, Please remember that the child should listen ine darandenken, dass das Kind jeden Ta torte recordings every di se Schallplatten ambien sl Stout te por cube que Venfont doit Por favor recuerde gue el no debe escuchar deouter les digest es ours os dics cada, 2 Musette Andante Pastorate Satyh J.S. Bach 43 sof o2 3.4 Piet: - Hunters’ Chorus FAD AIR CM. v. Weber Allegro Bea yoo o42 Vy Se Choeur des Chasseurs Jiger Chor Coro de los Cazadores4 ’ Long, Long Ago ay7 uyvy7 Fa— Moderato iil a a 2 hee felt = mf oe re od Variation (%* i) Virtwion—Valatlen—_Variacion y V¥ so43 yn Yo ae 8224064 204035, S Mya Tres, Trés Longtemps Lang, Lang ist’s her Hace Mucho, Mucho Tiempo: [5] Waltz IVY J. Brahms 3 Moderato, 7Fprsr P dole = _ =e oe oP ‘Boco cresc. aap poco rit 2 tempo — poco rit. Valse Walzer ValsAllegretto GF Handel ¥ aa a one = — aay ANS ie et = P espressivo gosa0hg rt 2302 P espressivo w : 2302 30430420; 7] The Two Grenadiers ZAMIR R. Schumann : e< a < Moderato Pagitato Pid mosso : ° v joa e< Moderato i rier e< altarg. Les Deux Grenadiers Die zwei Grenadiere Los Dos Granaderos[8] B Theme from “Witches’ Dance” E BT RMOMII Do N. Paganini Aiea Andante! Z—~!0o 3 4 3 y ce a! e< a Theme de la “Danse des Sorciéres” Thema aus “Hexentanz” Tema de “La Danza de las Brujas”9 Gavotte from “Mignon” "l=3y, ORY A. Thomas res pi eee iw at ois 242 11 0 3 Allegretto y 2 digg PE 2 3 = Gavotte de “Mignon Gavorte aus “Mignon” Gavota de “Minn”Ear Training YO ae nnoonment de Vorite ——Gohdvung ‘Erna dt oo Ween 7 PTB C.D.AtmMEE EM: LEDUU SER Cm Cie were 7 eu CaM, Exerese for perfect ectave intonation (Chung fr die vllendete Oktaven-tnonierung Listen othe resonance of the open GD, and Dem Alange der offen G, D, und Saten A strings, an try to match the octave lauschen: de Obtaven-Iihen genas pitches pertets ‘fen versuchen. S'exercerdobtenr une intonation eres para a psfecta ana de ota ‘octave parfate Facuche lt resnancie de as cued a aie dos es ies rey tte de acer os iasones de octava acconer perfectamente parfttomon es digpesons Woctaves, 3 Sol rin cc a et exo ANGE ROMO LT. REE DEE TELE Le RZ OMIM ETHER I This exercise should be practiced daily until Diese Obung sole tglch gospel werden itiemastered The teacher should hear this bis ne wlligbeherrscht win. Der Lehrer At the beginning of cach lesen, Sole dies Bed Beinn eder Stunde anhiven. Cet execice deve tre fect tons es Este eetico se debe practicardiramente jours jugs ce guilt parfterent hasta que se domine. El macsro debe escuchar ‘mati. Le profesear dev Vententr ‘toa somicnzo de ea loin,: lio Gavotte Ay b Allegretto J.B. Lully A y vow $o4 53 seid 2 rate 29 poco rit - —— tempo ma pit agitato ozto (a) aeh3 eh 2 ato7 3 ea wo ritard, Maro ii MIME ACE, HHEEL. Procedure for practice Comment 'ececer Verfahren zur Chung Provdimient para pectics 3 asa daa oe 22433243 “20,- ll Minuet in G ARLyb b BA Allegretto L. van Beethoven y Sin er8 y v xabony = = i _Yy_,, U2 RDC at Fine] oes Shs 5] — Menuet en sol Menuet in G_— Minué en sol» 2 Minuet : AFLyh L. Boccherini Moderato e grazioso Ng is Ysaa 9 ‘i v eo 5s 4g Sess ga fb =SUZUKI METHOD INTERNATIONAL 1SBN 88-507-0235-3, UY 9M 76380" 702350" rear | Caro