Suzuki Viola School - Volume 05

5/14/2018 Suzuki Viola School - Volume 05 - slidepdf.com

http://slidepdf.com/reader/full/suzuki-viola-school-volume-05 1/33

I.......

. ". " ".

..o a ···,. ..



.®(V io la Schoo l\10J_n\ Bl liT

'T()LU~IE5

Copyright © 1986 by Dr. Shinichi Suzuki

Sole Publishers for the entire world except Japan:

Summy-Birchard Inc.

exclusively distributed by

Warner Bros. Publications Inc.15800 N.W. 48th Avenue

Miami, Florida 33014

All rights reserved. Printed in U.S.A.

The Suzuki name, logo and wheel device

are trademarks of Dr. Shinichi Suzuki used under

exclusive license by Summy-Birchard, Inc.

Any duplicatlon, adaptation or arrangement of the compositions

contained in this collection requires the written consent of the Publisher.

No part of this book may be photocopied or reproduced in any way without permission.

Unauthorized uses are an infringement of the U.S.Copyright Act and are punishable by Law.



ACI(NO'VLEDGEl\fENTS

The compositions in this volume were arranged for viola and piano by Doris Preucil. The

viola parts were edited by William and Doris Preucil with the assistance of Suzuki Association

of America Viola Committee members Leroy Bauer, Louita Clothier, William Foster, Virginia

Schneider, and Elizabeth Stuen-Walker.

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 nationalSuzuki 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,]apan, 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,

for current Associations' address.



CONTENTSTonalization, S. Suzuki................................................................... 4

Position Etudes-5th Position, S. Suzuki............................................... 4

Etude for Changing Strings, S. Suzuki................................................. 5

[!] Sonata inGmajor, B. MarcelloIPreucil...................................... 6

L arg o ................................................................................ 6

Allegro........................................................................ 6

Largo.......................................................................... 7

Presto.......................................................................... 8

[I] Country Dance, C.M. von Weber............................................. 9

[I] Spinning Wheel,N. Rubinstein................................................ 10

m Gigue,F.M. Veradni............................................................. 12

Exercisesfor Shaping the Left Hand, S. Suzuki 14

r n Suite I in Gmajor, J. S. Bach (unaccompanied) 16

Prelude " , , ., ,. , ,. .. 16

Courante...................................................................... 18

Gigue.......................................................................... 19

[!J Moto Perpetuo, C.Bohm 20

[I] Four French Dances,M. Marais 22

I. L'Agreable .. .. . ... .. .. . . .. 22

II. La Proven~ale........................................................ 23

III. La Matelotte 24

IV. Le Basque............................................................. 25

Tonalization-C major and minor scales and

arpeggios, S. Suzuki 26

Shifting Studies,D. Preucil 27

[!] Concerto inCminor, J.C.BachICasadesus 28

I. Allegro molto rnamaestoso 28

II. Adagio molto espressivo........................................... 30



4

Tonalization

Tonalization exercises should be practiced at each lesson.

Exercise for beautiful tone and vibrato.

f If f If t4

I S ~! F I T I r I I T I T I I T r : I I

I B 11~~ I I : F E I r f If f If f I F L S f F E : I I 0 I I4

4

I S & ~! J J I r I T I r r I r r I F r I r J 51

Exercise for Forte and Piano

1. For forte: Place the bow near the bridge (B) and use a whole, straight bow.

2. For piano: Place the bow away from the bridge (A) and use a whole, straight

bow.

Position Etudes - 5th Position

a n d t h , n , r F T I1__

A string:

'I1 2

~

2 1

W ' E tb 4

~

21

r r r r Ii: rr : I I I : : I I1 1



5

4

t f -~4

I 1 1T TI I :1 1~t: 2 2 2 1

I t r r r r1a t : 1 1 1 : E U t 1 : 1 1 F : A I I

1 1

1 _

* l f D C f l t t I i - t # r

1 _

1132 321 1

: 1 1 1 : B e t t t i c I t t i c " r : 1 1 f i r ) I I1 _ 1 _

The first finger should always stay down in such practice. Try stopped bows onthe slurs at first.

When this exercise is mastered on one string, practice on the next string. Posi-

tion practice should always be done by memory.

Please review Etudes for 2nd, 3rd, and 4th position in Suzuki Viola Volumes 3

and 4.

Etude for Changing Strings

Try to maintain a constant tone and tempo, taking care not to get too fast.

Bowing variants:

r " ' 1 r " ' 1

V· . • • b) ;:; ~ ~ r::

i S t i e t L t V t [ f f : 1 1 1 : t f t v t f f f : 1 1



6

[!] Sonata in G majorB. Marcello

Allegro

~ 0

I S " e : ,W E t F rlrEft! f J (It a U JJJJjJ jJIv

i B # nD!JJ3 fflJI J3 jJJm n ' f Ir F c F c C r F O d ; p l7 • Y ~

I S " j r c r c E c r r F r r r [ c f l U ' P E r r r F c r P I F r r r r c r r r y r r I

10 ~.--...." !~.~ 3 r I r

I S d E i = r r F q ; r j I ' E H i E E E t E b t F J - I r ! l F F ~ : 1 1

flf&Ftt 0flEtttl r F r F r f r f ]f

16 V

I s d r E F f c f r f r U f r F r F I c E c f c f r f r f r F c E r F I d r f c f c fO '1 V iP f f



7

19 • t i 0 + = - ' !

1 9 # r F r f r F r f t f r E E f r F i r F r f r F r f r f r F r F r f l [jlIftfryrrlp

34

f,it.

V

11 2 tr M tr

' U EittfA Iria~ I f f r E l S IUrg I r I I= = = = = = = = - --=:::::: f ppit.



8

Presto

~ V 1 ~4 0""--" 4 4

10=1JII:#.I~ r $i@& l1JjjJjjjl J j ta~"" cresco

16 r I r 1 1 . 1 12.

I B # t . g - ~ ~ I ] 3 I J ' ) : I I J 'I ~ 1 ; D r f d r D l ~ f l lf 1 I f f 1IfI

4 1

21 ~ :--; 4 f:~

I B # E a t ; I F c C F f H f l C c c F E r c r l E I1 ~ 1 [ F r f . f E V Icresco f

~~

I S # tffttl frU tfb r l § 1 1 f ffrI U ' J I t t t i l it @ I



9



10

W Spinning WheelN. Rubinstein

Allegro moderato

"

7 -~~i~-----

13

I S b~~

22

cresco poco a poco



28

11

~ If dim. poco a poco

4

31

b _

a -~~li-~= ~

~

. . ~

- -

39

42

I S v ~ ~

321> 3212101222 > > 2 > >

' I s & ~ ~ OEf~ I ftrffftrrfffl &tfffrrztFffl

48



12

[!] Gigue

4

Allegro vivace F. M. Veracini

V V

? r ' 2 - . V 4 ~ .;;;-"\

~1~' • ----- ~ a m ~~. .----__.1 8 & ~ "~llifE v E " o t t I@£§§@J !:IWE v E " ~~I

3-3 ~1 0 ~ V

10

13



13

v

V 1p

poco largamente



14

Exercises for Shaping the Left Hand*

C D Place 1st finger as indicated. Touch first finger to neck without gripping.

1 3 4 3 4

1 8 ( ~ ) f j f l f f4

r r r1 3

I I (0) r1 3 4

r r r I I : J J : J J I I4

(~)

As the pitch of the 3rd or 4th finger is the same as, or an octave from its neigh-

boring string, produce the same pitch by listening for resonance. Do not use vi-

brato so that the resonance can easily be heard. Keep fingers from touching

neighboring strings to allow the resonance to sound.

o~

1 8 J ro 3

: 1 1 1 : n '

o 3

: 1 1 1 : : n '

~ 404

I f f E r U l '

o Observe carefully the form of the hand and fingers.

4 0

I r T f '4 0

I r ~ ' : I Io

1ft·3430 4 4 40

~34040 ~~

1 8 EjEfF Ie ± J E F F 1m; ar

~~

1 8 f e f e E J r

Repeat many times.Also play this finger

pattern on the D, G,

and C strings.

I I

* From Suzuki Violin School Quint Etudes



15

o Te~t for exact pitch of the 4th finger. Also practice this starting on the D and G

stnngs.

I i » if1illF I r F U 1 1 1 f1fJfr I fW D : 1 1F " I I

o Second Position

3 3 4 3 3 3 4 4 4 3

I i ~ (! F E ft t : r l r U r L r : 1 1r A I l : F E ft t : r Ir E ft E t : I I F O l l l

o Third Position

3 4

I S ~ p r r r F A : 1 1

® On one string 4

3 4 3

IH~e U r n U It ttt (PIE rrf fflt E E f ftl434

18~ trf EEIP fff alt c r t 0 = 1 r r tf U:I I

The downward shift of the

left hand will be difficult

if the viola is not held properly.



16

[i] Suite I in G major] ohann Sebastian Bach



~~~ ~4 ~ ~

I S t t tf!lj r r F r = r E r F e M q r 1 F ~ r r I C iI a u r ~ i ~ i

1 8 " E O ! ( E r r8:J l E l a 1 J ~ f I eE U ? r r f f f f U Ipsempre

3 -- 4

I s " i H f t 2 & 1 p I r b f i E r , r n f t a ( u f i f P 6 1simile

1 8 " c r E f r f r f F f r f [ [ r E I I T [ E f , [ 5 1 PFr 5 7sempre cresco 1 2 3 0

l ~ 2 l 4 dim.



18

Courante(.1=100) -zz:-; Y V rJ;~ c=>.

I S d i,I[} f f f f n fi E f t ! I J .1J ~IIIsempre leggiero 3

~ ~ ~ 3 _ _ _ _ _ _ _ _ _ _ - -- -- - -- - - ~ 1 0 f ~

I S d " ' ~ " t rs E r f I F r i r f r P h f f f I ,[Ii ~~,j I

Ir

1 8 ~ f : ¥ f [ @ l f t r S j @ 1

a~PIliE U r r E t r , i l



v 19

1 9 M J J j , J D J 3 j J J 3 1 j JVdJPJJp, fmtufh I- - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---_/ _ _ _ _ . . . . --.

Gigue

(J.= 96) 1.----_ ~ trV ~ 4 o· 1 ~ ; ~J!~ .

1 9 ~ e J I [ r r F r p I t t [ t ~J ~ I E f T ! E L L tI FV V

f P

~ ~ • 4~ --------." ~ .~. 4 •

1 9 H t r [ c r I f r! F E f i e f r t e t I - r s t f : l p I



20

W Moto Perpetno*Carl Bohm

Allegro 2 2 3

.HIJ J , a I!.# f # Ii, ti lifr~Iffff lifJf If

o s i r . n .

1 8 ~EfEf IffEf liftf Iff iiIrrlfatE1- f ,p a tempo

* After learning this on the string (det ache), practice bouncing bow (sautillc).poco rit.



21

I B D Etf/lfff, I'fff Iff/f It; ;fltI,J¥t§£ apa tempo

' ( 1 # !f*lttEtltftiltlf~latfftsetlp

> > > >

- r I D ! ; ;iltM§ttltfrt IffEl IEffl IWErIE!;r I~ p

I B M ht~lifffIPtftlf!Wl/f.fllifU]N i l b~=======jj

' 1 8 D {til' I{ll! Iflff d!iif l{£tl ' 1[;I t Iflff:= = = = = = = - p - = = = = = = = = = = = = =

' f B D t # ; J fir f t i f ' If £ I E i It rnSJ f1 f t IfItilpcresco poco a poco3

lli~fir! I!! il' li£;llilH If;#Pllflufimf pcresc. poco 3

a p oco

030

' i s M [ff; If f fflf£iJIl] £ : rtittt 1'1111ff sempre al fine

~> . > ~

' i D D i1; 011l],;If i E f Ii, l Ij , A I~J~A D



22

[ 2 J Old French DancesM. Marais

I. L'AgreableModerato



23

GaiamenteII. La Provencale



24

GaiamenteIII. La Matelotte



25

IV. Le Basque



26

Tonalization

Use full bows with smooth bow and string changes.

I - A string

II-D "

III - G "

IV - C "

C major scale - 3 octavesreach

4 4( J = 60-80) 0 1 ~ ~ 1 ~ ~

J R ! i ~jJ E d J 4 2 9 C E F i r E r ioo r £ + E~ 3-------

f4

!f f r (rlF} B e E r IAT ] J J 14 1~ ~ ~ ~ '--~~

C minor scale (melodic)

C major arpeggio II II III

4 1

~~ ~102

It E r 1 S t F r @ JiII

C minor arpeggio IIII III

4

1 B & ~ p ( : ~@)tn ira f~~ ~ 102

I = E E It E z r @ lJ ~ I I



27

Shifting Studies

1) Practice each exercise with the various finger combinations indicated.

2) Practice without vibrato, then with vibrato.

3) Also practice using dotted rhythm (nn).4) After learning these studies on the A string, transpose to the other strings .

. J . a) 1 1 1 1 1 1 1 1 sim. g-~ ~.,._, ..0..j~I,q ~ a n I R F F r I f 1 G I f - i Q Ig [ 1 I F ~ q Ir = :E r I II

b) 1 2 2 1 1 2 2 1 sim.

c) 1 2 2 1 1 3 3 1 1 3 3 1 sim.

d) 1 2 2 1 1 3 3 1 1 4 4 1 1 4 4 1 sim.

~ a) 2 2 2 2 sim. " n ., r~nr~f~ -&

¢ F f F ? Ift r T F I f 1 G I F E r r I r t t r I r = £ r I r = = r I - I Ib) 2 1 1 2 2 1 stm.

c) 2 3 3 2 2 3 3 2 sim.

d) 2 3 3 2 2 4 4 2 2 4 sim.

a) 3 3 3 3 sim. .r:J l'\ n~~~, _o_

~~f t q : t 1 : E E l ft E r r I F E E r r I f t t ? I rttr Ir r ifr Irttr I-IIb) 3 4 4 3 3 4 4 3 sim.c) 3 2 2 3 3 2 2 3 stm.d) 3 1 1 3 3 1 1 3 sim.

a) 4 4 4 4 sim. / " " : : I i nL) n~-e-

~.f t#.~: f F 01 r 1 01 r t t ? i p I c Ic f E E Ie f f c Ie t t c i =IIb) 4 3 3 4 4 3 3 4 stm.c) 4 2 2 4 4 2 2 4 stm.d) 4 1 1 4 4 1 1 4 stm.

Always shift on the finger last used.



28

[!] Concerto in C minor

1. c. Bach

Reconstituted and harmonized

Allegro molto rna maestoso ( d : : : 84)V

by Henri Casadesus

1

f2 __

V 2

p



V.H. on string

Tempo I 8106 ~

d4~ ------- 1 3

3:: ~ ~ :J

, ~ ~ & y r r c @ " J E r J I J FD I J r f r £ 1 H ' - : e l l ~ Ii

- - = = = = = = = = = = fpoco rtt.



30

15 2

molto rit.

[)tt fjI J



31

1 8 & ~ ~

35

43

; 1

52

56

61

I&~~

75



Documents

Suzuki Viola School - Volume 05