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‘Violin VIOLIN PART VOLUME 1 Copyright © 1978 Dr. Shinichi Suzuki ‘Sole publisher forthe entire word excep Japan: ‘Sunimy-Birchard Ine. exclusively distributed by ‘Warmer Bros, Publications Inc. 15800 N.W. 48th Avenue Miami, Florida 33014 Allright reserved Pritedin US.A. ISBN 0.87487-1441 2120 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 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. Suzuki violin method Principles of Study and Guidance Four Essential Points for Teachers and Parents 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 in the lesson and at home, 3. Constant attention should be given to accurate Intonation, correct posture, and the proper bow hold. 4. Parents and teachers should strive to motivate the Child so he will enjoy practicing correctly at home. ‘Through the experience I have gained in teaching young children for over thirty years, Tam thoroughly ‘convinced that musical ability can be fully cultivated im every child if the above four points are {faithfully observed. Musical ability is not an inborn talent but an ability that ‘can be developed. Any child who is properly trained can develop musical ability just as all children develop the ability to speak their mother tongue. For the happiness ‘of children, I hope these four essential points will be ‘carefully observed and put to continual use in the home and studio. Guidance for music reading will begin in Vol. 4, Just as the alphabet isnot taught when children frst learn their ‘mother language, so music reading should not be included in violin study until children have sufficiently developed their musical sensitivity, playing skill, and ‘memory. In the Suzuki Violin School this should oceur by the end of Vol. 3. Evenafter acquiring the ability to read music, however, the children should, as a rule, play from memory during lessons, Education for musical sensitivity Every day, children should listen to the recordings of, ‘the music they are currently studying. This listening. helps them make rapid progress. It is the most {important factor in the development of musical ability. ‘Those children who have not had enough listening will lack musical sensitivity. Tonalization for beautiful tone ‘Just as vocalization is studied in vocal music, so Ihave introduced tonalization into violin study as a new ‘method of education. It has proved to be most effective. ‘Tonalization should always be included af each lesson and should be a part of the dally practice at home. Group lessons ‘The adoption of a new kind of group lesson in which ‘more advanced and younger students play together Is extremely effective. The students progress remarkably while enjoying the lessons. I recommend that group lessons be held once a week or at least twice a month. Private lessons to develop ability AA child should not proceed to a new piece simply ‘because he has learned the fingering and bowing of the present one. His ability must be cultivated further as he plays his piece. I would say to the child, “Now that you know the notes, we can start very important work to develop your ability,” and then I would proceed to improve his tone, movements, and musical sensitivity. ‘The following point is also important. When the child ‘can perform plece A satisfactorily and is given a new piece, B, he should not drop A but should practice both ‘A and B at the same time, Continuously reviewing, pieces that he knows as new pleces are added will develop his ability to a higher degree. ‘Mothers and children should always observe the private lessons of other children. Lessons should vary in length ‘according to the needs ofthe child. Sometimes a child may have a short lesson, stop and watch another child, and then return for more instruction. Shinichi Suzuki Posture: ‘The none, the strings, the elbow, the let fot, | ina straight line Posture: Lene, les cordes, , te conde, le Bled gauche, dans une ligne droite Fig? ‘Beginners bow hold. Thumb below fog. enue de archet pour lex debuans. Le pouce sous Boranhaang des fang. Den Doumen ntralb “Maver de setae arco para rincpane 1 pulgar bajo ‘Macca de sear rcp rncipiane pug Haltung: ie Seiten, tm er ine Fase, Bes ‘The thumb and the bow make an oblique angle. Le pouce et Farcherforment um angle oblique Der Daumen and der Bogen frmen inn chien Wake nenfer EL pala yo arco Forman an angele obo. “The thumb and the mile Finger frm a cele when “The bale posture the E-String posture, folding the bow. Laposturede base est la position sala corde dm Leper ajlemaiearformentancerlequindls main Die Gnundhalung ist die E-Sitn Halt. tien Parche La postr asin a posta de a coed ‘Der Daumen und der Mielingerformen beim Halen des men yom opens einen Bret Elpularyeldedo medi foman un crulo cuando setae ‘Correct hol of the left hand. Postion correcte de la main gauche [orebe atang der linken and. osc ceret det man iogird, Exercise for Proper E-String Posture S'exercer afin d'obtenir la Ubung fiir die richtige E-Saiten Ejercicio para la Postura Correcta Position correcte sur la corde Haltung. de la cuerda mi, ‘The E-strng posture ie fondamental and should be completely masiered. a posture sw la conde du ml ext Dig Salen Haung ist yrandlegend und La posta de I coer mies fndamcatal Fendamentle et devrat ire peuterent ‘aie nig gmeear wetaen, (te ser dominede completamente ‘matrise, Place bow as in Figure 5, page 11. Use «short Sowsdrobe Placer Lerche comme indqut surla Sete den Bogen wi in Figur 5, Sele 11, Colgate co come seve ea Figur 5, Hire 5, pope ti Donner an coup darchet Mima hares Bogenatine Plain 1 Une on ge ae aco cove. ° Exercise for Changing Strings Svexercer pour le changement —__Ubung fiir Wechsel der Saiten _Ejercicio para Cruzar Cuerdas des cordes ‘Cambie cuer en forma pda, Exercises for Quick Placement of Fingers Serer or placement apie ds_—‘hege fr hale Pert, pre i ets, sa 44a Place flager 1, 2, 3 quickly and accurately during the rests. Pendant les silences, place comrectement Sete dle Finger 1 2,3 schnell und genax Coogee 12,3 rapdaent ye ‘St rapliement tes diets 13.003 Walrond der Pawson. forma exact durant os sen ja2a 3. ° ae 2 9 129) ‘ 8 Twinkle, Twinkle, Little Star Variations Topi J sap i nn vc er ah a tm 9 etn, ae den Bn he rc ah ee idaabureayehteor pomebetreen Achaea. Se emma ab a Ean ‘ete schon den Bogen our jouer 4 aronerCarchet sane appaye apres hag Panne 1 denn! ao sia pein eps cde cachet rch nie Farce ave up een ae we Thelen ong inp cos a ee oun pause nrc chaque coup ar ips Sew. Variation A 1 2 1 ei = : . 3? . 22S = = ee Variation B myo oayvo yo oy oy y Variation C 2 ‘Stop the bow without presture after each noe. Den Bogen nach jeder Noe obme Druck anhatn ‘eter Varchet sans eppuyer apres chaque noe. Deng rsa pesona ests de a Do Theme Theme Thema Toms Lightly Row Folk Song Moderato ‘Chanson populare 3 Cees 2 7 23 Doucement &I'Aviron _Rudere Sanft __Remando Suavemente Song of the Wind Chanson due Vent Windgesang —_Cancidn del Viento Go Tell Aunt Rhody m4 Chanson populaire Velie’ cin Foca Vas le Dire 6 Tante Rhody Geh, eraihl es Tante Rody Ve y Dile a Tia R6Ai O Come, Little Children Fate Sone Chara opuare Andante Cant Fontan % 2 0 2 1 2 ° St Venez, Petits Enfants thr Kinderlein kommet —_Venid, Pequetios Nitios Tonalization Tonlistion Tonfthrung Sonic ‘This shouldbe taught at cach koa. Sie ole tn jeder Stunde gel werden. Phockibeor and Isten tothe sound ofthe : ie afene Sale und euch dem penstring rating tring, Zane ofr See Klang ito debe ser enna em end Ice Ceci devrait ere enslgnd dchague leon Pincerlacorde libre et ecouterlesonde la ‘Tila cues alae y eacoce el sonido de Conde gui vbr. la cueda vibra, 0 RLWMOvy ses comet, ‘Wh the how, try ta play tones withthe same resonance, Versuche mit dem Bogen Time mi der ‘eichen Resonant ee ipiln, ‘Avec Varchet, exsayer de jouer de tons qui (Cont ae, ented ocr tno con i ‘nla meme rsonance: roa Signe Poel Allegro Moderato Circe Pisce | a oy 3 3 0 ° ' 20 Chanson de Mai Mai Gesang Cancién de Mayo Long, Long Ago ‘T. H. Bayly Moderato os ° ily a Tres, Tres Longtemps Lang, Lang ist’s her ‘Hace Mucho, Mucho Tiempo Perpetual Motion in A major he plc ate mlde ofthebow ung avery sort roke, Spl se Sit ml der Min Bopns unter Anwendne sas Spee ateenchte Pay sowtyscinespadecy genre Suchet ie Roem Anendee ie, ipeed opie tempo, {rt enpam end dean belied Fg och ecirerecarmeedsrmveceumeam ruc, Faves penal em on ter arehet apr chague nate. Tose enemens eu deel {ic sexys deca cn Tague ere a pio put acdlrr pet & peti tempo. 9 neo ca forma pada spre eg me Allegro 7 wo of Standige Bewegung in A-Dur Mouvement perpétuel en la majeur Movimiento Perpetuo en la mayor Variation ‘Ate A, pley B. Apres A, ouer B. Nath A pile B. —Desputs de AI toe B Exercise for the 4th Finger Exercer le quariéme doigt, bung fr dem vierten Finger. Eecicion pur cua deo ‘Do ot ras the Int fnger from the tring. Hebe dem eriem Finger von der Ste nicht [Nepasreleverlepremierdolgtdelacorde, No leven el primer Seo deb cteria, a 1234324 os2sas Tonalization Tonabsation Tonfabrane Soniancion Bl shold be tug atch son, Ppl should always strive Si ole I fder Stunde gl werden. Die {for a more beau and resonant tone ‘Schiler olen immer nach cinemrohneren Ceci devrait tre enseleneerreptte tnd Kngendrem Ton sche. shag Le ven deat Eso eerie eset en cad ci Lot Setiorcer Pobenir un Yon rugous lnc. den scmpeseforsre or otenct ‘1 plus resonon. ton ms heme y resonate n ° 2 6, 2 o, 2 ° D Major Scale Gomme de rf majeur’ D-Dur Toneer Excala de r mayor 2 3 0, 1 2 a Perpetual Motion D major “Mouvement Perpétel en Suindge Benepung in Movimiento Perpewo en re majeur Dwr remyor 2202 § Variation Variation Vasiaca ete. Tonalization Tonalistion Tonfuibrung Sonidizacion ‘Ths should be taught at each lesson, Sie sole in jeder Stunde geehe werden (Ceci devrait tre enseigné d chaque Esto debra ser ented en ca esi, leon’ a 3 1 2 2 G Major Scale Gamme du sol maleur G-Dur Tonlter Escalade so mayor. o 1 & Ou os @: 0 “Place the 2nd finger close tothe ‘Sate den oven Finger dich nob den It finger. Keep the at Bnger down. ren Finger: Hae den ersten Flnger Placer le dewsitme doigt pres du premier Mrumbernedrict ddoigt Garder le premier digt ‘Coloqu el segundo deo cere el primer ‘la corde edo, Maniengs el emer dedo en ln ever a a2 4 0 2 Etude Stoptbebaw afer each ote, ArréterParchetaprés cheque note. Den Bogen nach jeder Noe am alien. Detenga el aco despus de cada note Mo so 930 ooo 2oo1 too A mf =— 1 —_ —_ a 4 Oa 2 Pt? SS t 7 208s Variation Variation Variation Vusiacia Second tine play B follwing A. Le deuxidme fos, jouer B aprés A. Zum sweenmal, spice B mach A. La segunda ver toque B sigiendo A I. S. Bach Allegretto J.-66 J. 8. Bac toe 2 8 @ nf wt 2 ol Andantino J: S. Bach 13 w Atos 3 — Donner un coup d'archet coun. ‘Use w short aroke, Wende hare Sich an ‘Use un gupe con, oo ae 245840 2 7 Minuet 3 J.S. Bach Allegretto 4-66 2 ow 2 3 sou “Place the A ger accurately. The 2nd lager should touch the ‘Sette dn welen Finger genau, Der wele 1 finger Pinger sole den ersten Pager berdhre. “Placer corectement le quatrieme doit *Cologu e cua dedo en form exact. EL ‘segundo dado debe toate pret dado Le deusiome dol devel toucher le premier The Happy Farmer Allegro giocoso rani R. Schumann 138 zogos S sen LeGai Laboureur Frihlicher Landmann El Granjero Feliz. Allegretto F. J. Gossec a 5, $434 232 a nf z lis cantabile ? 2 esigs 3 °, * 4 Oo 2 6 Procedure for Prac, Listen carefully to the Intonation. Use short roke. ‘Place the bow on the string, then pla, keeping the bow on the string Gurtag the ret. Comments exereer, Ecouter aitemivement Fintonation. Donner lov coup d-archet court. Placer archer ar la ‘corde, puis jouer, en gardant Parche sur fa ‘onde pendant te'sence