ch V IO IO L AR VOLUME)
Copyright 1978 1978 Dr Shin Shinic ichi hi Suzu Suzuki ki ol publ publis ishe he fo th en ir worl worl xc pt Japa Japan: n:
S u m my m y -B -B ir ir ch ch ar a r d I nc nc . excl exclus usiv ivel el dist distri ribu bute te by Warn Warner er Bros Bros Publ Public icat atio ions ns Inc. Inc. 1580 1580 .W 48th 48th venu venu iami iami Flor Florid id 3301 3301
ISB
unde unde ex lu iv
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li en
by ummy ummy-B -B rcha rchard rd
Inc. Inc.
ny dupl dupl ca ion, ion, adap adap atio atio or rran rrange geme ment nt of th ompo ompo it on onta onta ne in th co le tion tion requ requir ir th writ writ en onse onsent nt of he Publ Publis ishe her. r.
INTRODUCTION FO
TH STUD STUDEN ENT: T:
teac teac in
om anio anio
FO
TEAC TEAC ER
TH
ec
in
ho ld
ed
it thes thes
lica licati ti ns In ad i-
goin goin ed cati cati is requ requir ired ed Yo nati nati al uz ki as ci ti ro ides ides this this fo it em er hi each eacher er ar enco enco ra ed to ec em er th ir atio atio al Su uk as ci ti ns nd ai tain tain te cher cher trai trai in ed le in rder rder to remain join join th Inte Intern rnat atio iona na Suzu Suzuki ki Asso Associ ciat atio ion. n.
FO
TH PARE PARENT NT
th el ti ho ld
re enti ential al
ar
enti ential al or an teac teache he th
to tr inin inin in th Su uk et osit ositiv iv ne wh re ther ther exis exists ts
yo ch
e.
Th Suzu Suzu Meth Method od ex erie erie wo erfu erful, l, fo teri teri el ti ns ip
importance.
coun countr try' y'
Suzu Suzuki ki Asso Associ ciat atio ion, n, th Inte Intern rnat atio iona na Suzu Suzuki ki Asso Associ ciat atio io
Pu lica licati ti ns
c,
N.
th Aven Aven e, Miam Miami, i, Fl rida rida
01
at 3-10 3-10-1 -1
Fuka Fukash shi, i,
Suzuki io in
Parents 1.
hi
ducation fo musica se siti it
thod
us cu en ng ning em ke pr importan factor in th developmen of musica abilit os ha gh lack musica sensitivity
Just as vocalization is stud ed in voca music, so have uc on at viol dy method of education. ha proved to be most effective. Tona izatio should alwa be included at each lesson
ul
ve ve op us al en apid progress depend on this listening. .T na
prod
be
ns nt
ur
nton
po
he Throug
er
Grou
lesson
an nd ou ge de is extremel effective. Th students progress remarkably njoy on om
njoy prac
th experience
have gained in teaching youn
conv nced that musica abilit ca faithfull
ul
be full cu tivate
au bo of presen one. Hi abilit must be cult va ed furthe as he
observed.
Musica ab lity no an nbor talent bu an ab lity that ca be developed. An ch ld wh isproperly traine ca develo musica abilit just as al children deve op th ab lity to spea thei mother tongue or he happines
improv
hi
he ol
one, movements, an musica sensitivity. oint ou
ca an
ul bs studio
an
ut
on nu
us
Guidance fo musi readin il begi Vol.4. Just as th alphabet no augh when children firs lear thei included in violin stud unti children have sufficiently develope he musica sensitivit playin skill, an memory In he uzuk Violin choo this should occu nd 3. ve es
ut
hi
pr
bo
he om hi
du
ot
en
high
Mother an children should always observ th privat lesson of othe children essons should vary in engt cc he ne hi ve or on no
Shinichi Suzuki
Posture:
HalJung: Di Nase
~~ ft
~t
the strings,
die Sailen
th elbow,
Ikr EUbogelJ,
th I.
Ikr {inle FliSS
root,.
straight
ineiner geraden
Posture:
Postura:
line
ii:JE.
~~I'::
1d." . '
Unie
Le net;
narfz,
le
cue
cordes
el c o d e ,
le coude,
.Q
ie
elpi
uche
dans une Iigne droite
i : J ; ~'-'f
t.
I , : . t:, I.:Ii? O)t$
Izquierdo
una line rect
f: l!Ji~ '('4'#
debunuus.
1d
11L"t
It
g..
Ie talon, Bogenhaltung de Anfdngers, Dell Daumen unterhal des Prosches. de [aI60.
Fig.
Winkel.
~ + < l f ) I.: >:...
J.
l:f4":1o
Fig.
t:
~·.::.o !!
boldIn
th bow.
tlen l'archet De Daume. un de Millelfinger !Qrmtl b~i" Hallen Bogelt tinen Krei«. me
o rm a
c fr cu l
Fig.
1.r::
1 fE .
Ci"J
Correc orrekt
ol HaUu
-:J
th le
.0
I::.
ha
er li ke
Ha d.
Posicion correcto de la rnan izquierda,
- + - : ( 1 0 . .; . · :t ;> M is Uw E.striDl
circle when
qua
EI puJgar areo.
E1 Q:
c ua nd o sujetar el
posture. mi.
ie La
nmdh ll ng
ls
ie E·Sail fl Hallllng rd
E~'':
giE LIt\~ O). Ejer icio para fa Po ur
Haltung.
rr et
he E· tr ng po ture is fundamen al an should be completel mastered.
mattnsee.
ra
re
Ul
me
rt
La postura de la cuerda mi es fundamenta debe ser dominada completamente.
rd
Place bow bow stroke. Placer I' figure 5, court.
ie in Figu 5, Seite 11
'ar
Coloqu areo om ve en Figura.5 pagina 11 un golp de ar corto.
Irrrrt rrrrt
cerrr
3~~0).M S' exer er pour Ie changement de cordes
ilbung fU
:. :. Coi
ee se
er aite
Ej rcic
ra
ru ar
n~~o
Change string quickl here Change rapidement le ordes. Di Sailen hier schneU Wechsetn Cambie cuerda en form rapida aqui
JJJJJ1l
rrrrr
Irrrrr
JlJj
rrrr
rd
t~ if!Mii" Ubunge fu
doigts.
schnelle Fingersetzung.
Ejercicios para colocacion Rapida de Dedos.
rrrr rjjjC
Pendan le silences placer correctement et rapideme es do gt 1,
rrrr
SeIZe die Finger 1,2,3 schneU un gena wiihrend tie Pausen
H123)
!(123)
Coloqu lo dedo I, 2, ra idamen form exacta durant lo silencios.
!(123)
jrCrr
rrrrt!
Irrrrg
JJJJlQJ
en
Variations
1J=~
'7::: C I~ C I h 0 To play note Bo smoothly an unhurriedly, with bow strokes.
Pou jouer co te
arreter I' se en re
ha
ch co
shor paus hetwee
uyer
re ch
'a chet
rrrrr rrrrr
JJJJ
rrjrr
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!-ttP.t
"'?Iti'
I-
i-
[Ii]
'" ZI' spUlen, IuIltc de Boge Oh Druc IIGC eder Achttlnote lin. StTeiehe eben"';;'sig ulUlohne Eile ",it einer kUTUlI Pause zwischen den Bogenstrichen. Para toca
ng
pr
on
es ue
de ca
es de
reerS
ccerr
7t~~'!'7
IjGjrt:j
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l.rrrrtJj
rrrr
rcrr
rrrrtJj
jjjrt:i
JJJJ£20
"Gluzre glitzre, kleine Stern" -Variatione aria io es de
entellea
ente le
Pequeria Es rell
co ch
'Yll
,-0
i1
i1
i1
'f
'f
i1
i1
'f
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etc. etc. usw.
etc.
Ed
EI
EI tEll
g: g:
'~Il
I~~.
EEEE
EEEEEEEEl II~~.
St th Arreter l'
it ut
re sure
fter each note
De Boge nach jede Note ohne Druc anhalten Deteng el arco si presiona despue de cada nota
Theme Theme
~###
0,
Thema
Tema
F1'/~mR
Folk S o D g
Moderato
Doucement
Chanso
populair
Volkslied Cancid Folkldric
l'Aviron
Rudere Sanft
Remand
Suavemente
1"'1'/~mR
Folk S o D g
Chanso
mf
r r r r
populair
Cancion Folklorica
jf 1 -
il
1 -
ncio
ie to
Go tr
C :' (
7..1(Jill
Folk Song Chanson populair
Vol1csUed
Cancion Folkloric
'1
mf
t~ 12
Ve
I] C om e L i
Ch 7AO)fX
F1'
Folk Song Chanso populair
Andante
VolksUed Cancio
Folklorica
mf
:1
~t1
~fiti cresco
~#~#
....... enez
etit
nfan
lh Kinderlein kommet
en d,
equeno
irio
Tonalization l--tl} ~1
Pluc th open string an listen tothe soun ofthe vibratin
orde
Sonidizaci6n
Ton.!uhrung
Tonalisation
Ceci devrai etre enseigne
3~
Si sollie injede Stunde gekhrt werden ZupJ di of/ene Sail un lausch de Klan der vibrierenden Saile.
string
chaque lecpn.
Esto debe se ensenado en cada leccion. ir la ueda al aire Yescucb el sonido de la cuerda vibrante.
ui vibre.
pizzo
4#r.,
Vers ch mi de Boge Tone mil der gkiche Resonan: .u spiekn. 'a
Co el arco trat de toca tono co la mism resonancia.
areo
~J:nltlW)
~If! - c . 4 I t
~.
I' . i 1 ! J j ; <
J:
~·~~~f¥..,
-c~.
7.I'-\t
t-
~,
7.1'.
7.1' 7.1'.
i~O)~t,1J'iiEL~·1J'.
ue ti ns teachers nd parent must ever day: Ar th up li tening to th refe en re ords at ho day? Ha th tone improved Is th intonation correct? Ha th prop play ng postur been acqu re Is th bo bein held correctly? Que.stions qu
ks jours:
st disque
es professeur
es aren
de references
Est-ce-que l'intonation es correcte st re Est-ce-que l'archet es tenu correctement
doiven
ve
oser tous
Fragen di Lehrer un Elle tdgUch stelle mrissen: Horen die Schule tdgUch die tliesbe:.ugUche Schallp/olten? Ha sich de To verbessert 1s di Intonierun richtig? Wird di richtige Haltun beim Spiekn eingenommen? Wird de Boge richti gehallen Pregunta qu lo padres maestros debe pregunta cada dia: i,Esllinescucband lo alumno lo discos de referencia en su casa cada dia? i,Ha mejorado el tono i,E correcta la afinaci6n i,Ha sido adquirid la postur correcta de ejecucion? i,Se sujeta correetament el arco
[!] ~~T~~~~~~
F1''/~B
Folk S o a a
Chanso
er
,-tE!
populair
VoIbu.d C a nc io n F o lk l or ic a
tr
If
Ir
/=t~-9-
tV
,ii} II
1 -
'l
=====--
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(f7]
20
[!]
Allegro 71/'70
hinich
uzuk
Irnr crFmr .I
dolce mp
IcrErr
~ilJmb <:i(7).p~-c·. I': 1 :
in
speed up t h
'a puis accelere
e mp o
' ar c peti
1~ -C
j_
c..,
tf::.:
I!h '.>
tJ.t;;!tl'.=.
L. Ic·t(7)fI~tn.:~h-tt-C
IJ'-tt ' . > 0
tz»> I':~
at
major
'Hil;f~/J'~
litnlil..,
afte each o t
Mo on
nd he
Spkk diesesStuck mi de Mill de Bogens unte Anwendun eine gtUIZ kuru Striches HlIlle de Boge I U l C I i jeder Nou tilt. Sp"k en /angstlm un dann besc#lkunige da Temp 1IIlm4ItIk1l
du
re
al principio
pe it Ie tempo.
Shinichi Suzuki
Allegro (4.)
'!\l e( mf Stilndig Bewegung in A-Du
21
I~
t.
f~
to
re
t.
20
r:;~ ui
t.
o~
rt
---=
Variation [!J]
i#
lI~I B(/)j; -j
eerr
1:::-:_::-::::
sorr
~M(/){±n ce
s'
ZU
Ubung.
Variacion
Procedimiento
para practica,
.4mV')Mig /rir de "kl1en Finger (7
Do
rais
f o ' i " ~ ~Y
be st ft ge from he tr ng
Ne pa releve Iepr mi
doig
> : ., ' ~ ,
1 . 1 ' t,
orde
para I.
Hebe de
nt
No le an
eI
Fing
"o de Sa le nieh
1-------------------------
1--------------------------
Tonalization l-
I)
t!
3/
Tonfiihrung
Tonalisation
tit
i- '~
Sonidizacion
:.-fo'i"ilJ
~t,~.L
Si sollle injede tund ekh1 werd n. Dk SchUle sollUn imme nach eine schonere un klingenderem To streben.
ch qu le on Le leve evraient s'efforcer d'obteni un on oujour plus be et plus resona t.
alumnc, d eb e
un
= ' * ~ V ) ff r
en s ie mp r
e s o rz a
p o o b e ne r
23
=-~. re mqjeur
ill
D-DUT
~
M ov im i n t r e m ay o r
Pe pe uo
3
(I)
~
3
II~~. Variation
::i.
Variacion
JJJJ
Jj
etc.
Allegretto 1'"v
'11~
P.
,. (I
'y
l-
Sh nich
* " to//~
"> (I)
to
JiJ1uDIJSJD.IJ
nUSlj
uzuk
[!!] Andantino to:!'
H~ r-
CI)
03
!1
rit.
======->-
Tonalization r-tl) ~1 Tonalisation Thi should be taught lecon.
Totifiihrun,
Sonidizaci6n
.v·;I~:.-m. rl chaque
st deberi
If
er ensenado en ad
ecci6n
~!t.C').Rf.1J Escala de so mayor.
·SelZe de zweiten Finger dieht nebe de Finger Hall de ersten Finger heruntergedrriclct.
1s finger Keep th 1s finger down
ersten'
Piacer Ie deuxieme doig pres du premie G ar d su la or e.
2
"Coloque el segund dedo cerc de primer dedo Mantenga el primer dedo en la cuerda
3
Etude Sto the bow afte each note
Deteng el areo despue de cada nota
If 2 0
(4)
JjJJ
IfrrrJJJJ
l~jJJJJn
IJJJQJ
Variation ~~ ariation
ariation -a
Second time play
followin A.
La deuxieme fois, jouez
apre A.
Variacidn
"?-?(t-ri~~T.Qo Z"", zweiUnllUll spie"
;J
IllICit A.
La segund vez, toqu
siguiend A.
26
.::r.. ''J lAllegretto
66
:11:
~J
ff
ir
~2
(4
£JJ~
lJ
rErE
~tUf~-It*<
Do e_ lll' SIrlehe Us un golp corto.
,FEChEr j_
2
ICf+
1 -
1
-1
p~
2
1
0
3
l1li.
'U
'y
J. S. ac
(4)
~H!lr ~~JJ
#2
#2
j7~ .~
i1J
7) H:
"P acer corr ct ment Le premier.
Il)JJJ
2
3
1=
'-'"
la th 4t fing 1st finger
3
~1
iU
#2
accurate y,
iu ~:fii:lH:,
< 7 1 11 ~
he 2n finger should touc th
Ie uatrieme do gt
<7)1111':
--:J
It.Q
·Selze de lliel1enFinger geMII, De zweite Finger sollte de ersten Finger beriihren, "Coloque el cuarto dedo en form exaeta EI segund dedo debe toca aI primer dedo.
0
legr
r~
giocos
d:=l sempre
~l~.~
Le Ga Laboureu
F r oh l c he r L a nd m a n
R. Schumann :/;:1.-"7;"-
30
,~
'!jl
3)[_l3
":'"
Fine
pi
If
cantabil
11i.1; =====-..:. 0
IdUM
1 -
!}
ffi?;
~p
(.(,
@n
pisz,
IJ
0
2
0
31
f*iI'l~tn.t=iJIHf!-/J'~ IT!-Ii
Procedur
I)
Vetfahre Us
cord
atte tiveme 'ar
l'into ation. 'a 'a en nt te sile ce
zu Ubung.
Lausch aufmerlcsa au di Intonierung. Wend eine kurzen Striehan Setude Boge auldie Saite, dann spiele IIIssede Boge wiihrend er Pa se tk Saite.
sh rt stro e.
Comment s'exercer, Ec te
'H"JY: '·.I:j;\,c
Co
fo Practice
is en arefully to th into atio Plac th bow bow ri
-"J1r-io
Procedimiento para pnictica. nner
Escuch cuidadosamente la atinacion. Us un golp corto. Coloqu el areo en la cuerda entonces toque, manteniend el arco sobr la cuerda durante el silencio.
:11:
**
4......-------
1-------------------------------
be
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