suzuki viola method vol i.pdf

7/17/2019 Suzuki Viola Method Vol I.pdf

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Viola School

Volume

Viola art

@ 9 Dr. Shiniehi Suzuki

Sole publisher for the entire world exeept lapan:

Summy Birehard Ine.

exclusively distributed by

Warner Bros. Publieations

15800N.W.

8th

Avenue.Miami. Florida 33014

All rights reserved Printed in U.S.A.

ISBN 0 87487 241 3

The Suzuki name. logoand wheel deviee

are trademarksof Dr.ShiniehiSuzukiused

under exclusive lieense by Summy Birehard.Ine.

Any duplication. adaptation or arrangement of the compositions

contained in this collection requires Ihe wrinen consent of the Publisher .

No pan of this book may be photocopied

eeproduced in any way withou permission.

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

by law



FOR THE STUDENT This material is part of the worldwide Suzuki Method of teaching.

Companion recordings should be used with these publications. Inaddition, there are piano accom-

paniment books lbat go along with this material.

FOR THE TEACHER In order to be an efTective Suzuki teacher, a great deal of ongoing

ecluc:ation i. required. Your national Suzuki association provides this for its membership. Teachers

are enc:ouraged 10become members oftheir national Suzuki associations and maintain a teacher

training schedule, in order to remain current, via insti tules, short and long term programs. You are

also enc:ouraged 10join the International Suzuki Association.

FOR THE I ARENT 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

i. ofthe utmost importance.

In arder 10 o btain more infomwion about the Suzuki Method, contact your country s Suzuki

A5S0Ciation, the Int emational Suzuki Association at 3-10-15 Fultashi . Matsurnoto City 390, Japan.

The Suzuki Association of the Americas. 1900 Folsom. 101. Bou1der, Colorado 80302 or Sununy-

Birc:bard Inc., do Wamer Dros. Publ ications Inc.. 15800 N.W. 48th Avenue. Miami, Flori da 33014.

fOl currena A5S0Ciatiom addresses.

INTRO U fION

This transposition ofthe SUZUKIVIOLINSCHOOLmakes available to the

beginning viola student the carefully structured repertoire ofTbe Suzuki

Metbod@-a metbod that teaches basic playing skills and develops listening and

memorizing ability through the playing ofbeautiful music.

Regardless..ofthe age of the student, it is hoped that Dr. Suzuki s principIes of

leaming by listening, training the memory, and concentrating on producing a

beautiful tone will be observed. Rememberthat ability develops after a composi-

tion has been leamed - in the mastering process. Tbe practice suggestions empha-

size tbe need to isolate technical and musical problems, and encourage tbe

teacher to use all the opportunities inherent in the repertoire for orderly growth

toward mastery of the instrumento

Tbis volume is also recommended for violinistswho wish to become familiar

with tbe viola and reading ofthe alto cIef. For this reason, finger numbers have

been kept to a minimum inorder that reading will progressby note rather than by

finger. Tbe teacher isurged to stress knowledge of names of first-positionnotes

on the viola before note reading progresses to the higherpositions.

Many of the solos in1his volume are written in the same keys as those in th~

corresponding SUZUKICELLO SCHOOLrepertoire; also, some solos can be

played with the compositions in the SUZUKIVIOLIN SCHOOL.

oris reucil



CONTENTS

[ ] Twinkle Twinkle Little Star Variations ShinichiSuzuki . . . . . . 8

[ ]

FrenchFolkSong FolkSong. . . . . . . . . . . . . . . . .10

III LightlyRow

FolkSong

. . . . . . . . . . . . . . . . . . .11

[i] SongoftheWindFolkSong. . . . . . . . . . . . . . . . . .11

[ ]

GoTeUAuntRhody FolkSong

. . . . . . . . . . . . . . . .12

[ ] O Come LittleChildrenFolkSong . . . . . . . . . . . . . .12

l1J May Song

FolkSong

.. . . . . . . . . . . . . . . . . . . . .13

[ ]

Long LongAgo T H Bayly . . . . . . . . . . . . . . . . . .14

m AUegroShinichiSuzuki . . . . . . . . . . . . . . . . . . .15

[

PerpetualMotionShinichiSuzuki . . . . . . . . . . . . . . .16

[ ]

Allegretto

hinichiuzuki

. . . . . . . . . . . . . . . . . .17

[g] Andantino

hinichiuzuki

. . . . . . . . . . . . . . . . . .18

I ] BohemianFolkSong

FolkSong

. . . . . . . . . . . . . . . .20

~ Etude

Shinichiuzuki

. . . . . . . . . . . . . . . . . . . .21

~

MinuetNo.1

J S Bach

. . . . . . . . . . . . . . . . . . . .22

~

MinuetNo.2

J S Bach

. . . . . . . . . . . . . . . . . . .23

1 11

MinuetNo.3

J S Bach

. . . . . . . . . . . . . . . . . . . .24

I I TheHappyFarmer

R Schumann

. . . . . . . . . . . . . . .25

1 21

Gavotte

F J Gossec

. . . . . . . . . . . . . . . . . . . . .26

~ PracticeSuggestions

Preucil

. . . . . . . . . . . . . . . .27

Transcribed for viola and piano by Doris Preucil



4

uzuki Viola ethod

Principies of Study and Guidance

Four Essential Points for Teachers and

Parents

l. 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 I am thoroughly

convinced that musical ability can be fully cultivated

in every child if the above four points are

faithfully observed.

Musical ability isnot an inborn talent but an ability that

can bedeveloped. Anychild who isproperly 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.

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 ofmusical 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 so1have

introduced tonalization into viola study as a new

method ofeducation. It has proved to bemost etTective.

Tonalization should always be included at each lesson

and should be a part of the daily 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 etTective.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

A child should not proceed to a new piece simply

because he has learned the fingering and bowingof the

present one. Bis ability must becultivated further as he

plays his piece. 1would say to the child HNowthat you

know the notes we can start very important work to

develop your ability and then 1would proceed to

improve his tone movements and musical sensitivity.

The following point is also important. When the child

can perform piece 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 pieces are added will

develop his ability to a higher degree.

Mothers and children should always observe the private

lessonsof other children. Lessons should vary in length

according to the needs of the child. SometillJesa child

may have a short lesson stop and watch another child

and then return for more instruction.

Shinichi Suzuki



The basie posture is the A string posture.

Beginner s bow bold. Thumb below frog.

5

Standwith feet comfortably apart (approximatelythedistanee of

shoulder span). Left foot should be slightly forward; the baek

must be straight and balanced between both feet. Tum body to

the leftto align neck ofviola with leftfoot.Do not twist trunk too

far around to the left.

Tum head to the left; place the viola between chin and left

shoulder. Note the alignment ofnose, strings, elbow, and left

foot. A foam-rubber pad will keep the viola from slipping and

avoid tension in the left shoulder.

Before using the bow, practice holding the viola without the

support of the left hand to assure a firm hold without gripping.

The fU Stbow strokes to be used are the det ché (smoothly

connected) and st cc to (short notes separated from each

other).Careful attention to the motion, clarity of sound, and

rhythmic control of these bowings willlay a firm technical

foundation.

The beginning student should set the bow at the middle so that

the arm forms two sides of a square; the viola and bow formthe

other two sides. Forearm motion should be usedwith a relaxed,

comfortably-hanging upper armoA tape marking the middle of

the bow is helpful.

The A string posture is fundamental in developing a vertical

approach to bowing and should be completely mastered.

Play with a separation between notes (except for repeated 16th

notes that developdet ché when first leaming the pieces inthis

volume.This separation givestime toprepare the finger and bow

until quicker coordination develops. Later, the material should

be reviewed, increasing tlte smoothness and length of stroke

where appropriate.

Further practico suggestions will be found beginning on page 27.

Preparation is vital to all playing. Instill the habit of thinking

mind, finger, bow, play.

The thumb and the bow maleean oblique angle.



6

Exercises for Proper A String Posture

ne A atrlD poatun la fundamental ud abould be completely ID8Itencl

Set middle of bow on A string.

Use a short stroke.

Keep bow on string between notes.

Sixteenth notes are

detache

eighth notes are

staccato

. . . .

1

.

. . ..

2

Exercises for Changing Strings

Change strings quicldy here.

1

· · .J,

· J.

.--------.-----.

2

. . .

Exercises for Quick Placement of Fingers

. .

1

· · ~ O)

· · ~ 1)

. .

~

1

2

3

~ . 3) ~ · 2)

O

.......--.

. 1) 2)

.

1 O)

.1)

.

i



7

Place fingers 1, 2, 3 quickly and accurately during rests.

.

. . . . .

o

3

2

1

(123)

3

2

1

. . . . .

o

. . .

.

.

(1 23) 3

· ·2 . .

1

. . O

(1 23) 3

· ·2

. . 1

. .

O

. .

¡

i'

. .

The ajor Scale

Cross to A string.

r-1

O

.

. (3)3

. .

. .

3

.

.

·(123)

Preparefingers1,2,3 onD.

t

TbencrossOOwo D. Do not lift00

3

.

2

.

1

.

.

o

. .

Tbe D M~or Scale introduces the nrst fmger-pattern. Tbe beginning pieces

employ this pattern - the close 2-3 pattern with a half step between 2 and 3,

the interval between the other fmgers being a whole step. Develop the mental

and aural concept of adding consecutive fmgers to ascend stepwise and subtracting

consecutive fingers to descend stepwise. Associate the name of each note of the

scale with its finger. Also practice this scale with the rhythm patterns taught in

Twinkle, Twinlde, Uttle Star .



8

ITJ

\vinkle \vinkle Little Star Variations

See ractice Suggestions

To play

n

stop the bow without pressure after each eighth note.

Bow smootbiy and unhurried1y,with a short pause between bow strokes.

Shinichi Suzuki

. .

. .

.

.

.

11 t l 2 3)

. .

.

. .

Listen for silence during rests.

B

V i1

. .

v

.

i1 V

. .

i1

.

3 .

. .

. . .

. . . .

etc

i1

....

A

3 l 2 3) .

.

.

.

. .

. .

.

. 123)

-

.

. .

.



9

et

et

h m

Stop bow without pressure after each note

o

1

o

V

3

2

1

o

f

V



10

m

rench olk ong

3 3

.

1

2

s

3

2

1 o

9

o

1

2

o

1 2

o

1

2

3

.

1 1 1

2

13

1 2

3

1

2

3

1

2

3

o

.

2

2

2

3

1

17

o

3

2 1

o

1

o

.



W

ightly ow

11

Moderato

[A] 1 1

o

Folk Song

3

o

3

o

5

o

3

o

o

[B]

9

3

3

o

[A 1]

mp

O

3

1 O

2

O

.. ..

2

m

-

-

Song of the Wind

AUegretto

1 1

Folk Song

1 1

. 3

O

1

2

3

m

1

3

1 1

.

O

3

2

1

-

1

m

p

1 1

10

-

2

O O

3

2

1

O

- - -

,

.

i



11

liJ

Go Tell unt Rhody

Moderato

~

2

FoIk Song

o

mf

5 ~)

[ ]

O Come Little Children

v

o o o

FoIk Song

V

o

Andante

mf

o o

v

v

res

.

- - -- ---- --- --.

.

f

9

P

2

O

mf



Tonalization

TIús should be taught at each lesson.

Pluck the open string.

Usren to the sound of the vibrating string.

pizz

o

o

o

Play the tones with similar resonance with

the bow.

arco

o

.

Questions teachers and parents must ask every day:

Are the pupils IIsteninl to the reference records at home every day?

Has the tone improved?

Is the intonation correct?

Has the proper playing posture been acquired?

Is the bow being held correctly?

mi

p

9

4

O

.

.

I

da volta poco rito

13

.

i

[1]

May

ong

Folk Song

4

O

Allegromoderato

4-

.

V n

4-

4

:f=

O

f

4

OO



14

Ease 4th finger reach by moving the left

elbow more to the right.

Hold 1st finger down.

5

13

1

o O

1

Exercises for the th Finger

4 4

4 4

1

1

4 4

o

i

1

~J.[o

i1TIi

o

4

1

Moderato

n

O

1

4

4

o

i

01. 0

iTT /i

1

1

[[]

Long Long Ago

4

T. H. Bayly

o

o

o



[ J

llegro

llegro

r 1

.

.

r 1

.

.

.

. .

.

atempo

f

r Shinichi Suzuki

lO

...

N

e

j

ci

~

.c

1:

«

15

hinichi uzuki

,.,

- -

- -

.

.

. .

- - - -

1';\

B

rito

r 1

. .

....

.

.

-

. .

-

-

. .



Shinichi Suzuki

6

[ Q]

Perpetua Motion

Play at the middle of the bow

Use a short stroke

Stop bow after each note to prepare next finger

Play slowly at first; then gradually increase the tempo

o O

[C]

7

O O

[A]

4

O O

4

O O

3

.

i

ri tion

B

..

Feel the two repeated notes as one motion

Place fingers during rests

et

[A]

Allegro

4 O O

i1

_ ft

A

1

mf

[B]

4 4

O O



17

Tonalization

Tbis should be taugbt at each lesson.

Pupüs should atways strive for a more beautiful and resonant tone.

1

.

.

2

.

.

G Major Scale

o

o

I I

I I I

.

i

I

I

I

...

[ill

Allegretto

Allegretto

O

Shinichi Suzuki

r V

..

..

-

>- O

.

.

.

.

.

. .

.

-

- .

.

.

.

>- :::>

.

.

:::>

.

.

.

mf

:::>

..

O

..

:::> :::>

O

:::>

-

r 1

.

.

. - .

. .

.

.

I

I

.

.

-

.

-

I rr--

.

:::>

I

.....

I

..., >-

.

.

.

:>

O O

9

1

1

1

,...,

:> :::>

.

_ r; \ r-I

,

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.

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:> :::>

mf> :>

rito

a lempo

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>-

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:>

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. . - . . . .

.

. .

-

.

>-

I ......

I

--

:>

.

.

:>



18

[g]

Andantino

The Close 1 2 Pattern

Andantino

Shinichi Suzuki

1 1

:=>

- O

.

:=>

.

I

-

mf

.

:=>

- O

.

:=>

.

.

4

O O

fl

rito

:=>

-

O

.

/ ; 1

i

.

.

.

-

.

:=>

71ff p

a tempo

rito



19

Twinkle,Twinkle,Little Star

Theme in

e Major

Practice all variations in this key

Feel the weigbt of the bow the e string before playing

Use less speed in the bow the lower strings

O

O

O

O

e

MajorScale

two octaves

O

~

3

O

t

3 O

t

3

o

o



20

Exercises for Good Intonation

DiminishedFifths

Perfectfifth

Diminishedfifth

t

O 1 2

012

~

ohemian olk Song

Andante

,.,

Folk Song

m

s M

-

9 V

p

r to



21

onalization

s should be taught at every lesson.

~

-----

. - -- -

- .- ~

--- --~F

.

:

~

tude

Practice with the same short strokes as Perpetual Motion.

Listen for perfect intonation in high

and low positions of the 2nd finger.

Shinichi Suzuki

r I O

O

O

4

.

.

ffl

1 1

{) O O 1

O

O

O

o

O

Variation

B

et



22

~

Minuet No

Allegretto

Johann Sebastian Bach

CD

.

,

.

1~

5

04

. .

~p

20

4

.

.

.

¡

da volta rito

Bowing Patterns

CD

Play these bowing patterns on each note

of the C major (two octave) scale.

o

i1

Circled numbers refer to corresponding

numbers in the composition.

V V

~.

-

.

.

i

._L.l.

'iTWTi

o

Usten for clean string crossing. Usten for firm tone on 3rd finger.

Usten for clean string crossing.

Usten for firm tone on 3rd finger.

1-3

o

.1.'.

'i'1TI'i

.

'i

o

o

4

. .

3-

3-

While playing G, lift 2nd fmger S(\it

can be placed in low position when descending.

9

i1

4

i

0

m

14 .

\.:::./

V



~

Minuet No. 2

23

Andantino

CDi1


~

.

.

f

.......

.

..... .....

.

.

4

o

(V)

. .

i

~

. .

1

-

<V)

rcled numbers refer lo corresponding numbers in praclice suggestions.

i1

...

I I I

. .

i

I I I I I

----

P

r .

P

1

29

O

V

i1

O

V

.

p

cresc

33

-

.....-.....

í r

í

.....-.....

.

I -

I . .

f

37 4

.

i

.

3

.---/



24

[ ?J

Minuet No

~

...------.

O

V

o

CD llegretto

0

0


o

,.--.......

.

.

.

m

0

6

1

1 O

V

,-.....,

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l

I

I I

-

f

-

.

-

.

1

-

G)

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.

.

-

-

S

iJ

3

..

.

29

O

.



~

The appy armer

25

1 1

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votte



27

~

ractice uggestions

Twiolde, Twiolde, LlUle S1ar Varladool

Continue to stop andprepare fingers 1,2,3whendescend-

ing unti1a good frame of the hand has been established.

The use of tape on the fingerboard to mark correct finger

placement is suggested.

VaroB Usten for silence during rests.

VaroC Stop bow only after eighthnotes. Use sma1lbow.

VaroD Use small bows. Keep upper arm quiet but

relaxed. Set bow at middle, parallel to bridge.

Note that the first and third liDesofTwinkle are the same,

withacontrastingsectioninthesecondliDe. FormA B A.

Fnoch Folk S008

Use short strokeswithseparationbetweennotes.Finger

numbersfollowedby liDesindicateholdingthe fingers

down.

Llghdy Row

1) Practice the bowing in measure 1using open strings to

achieve matching tone on both strings. Stop bow before

crossing. Use short bows. 2) Practice measure 1, placing

oÍaly the 2nd finger. 3) Listen for the difference between

skips of a third and the steps in the scale. 4) Note the form

AA BA , studying the dift erence between parts A and A .

5008 or the Wlod

Practice the string crossing

and bow lift in measures 3

and 4 on open strings.

Hand makes a small, quick

circle between two down bows.

r-1

)

.

.

o

Practice holding 1st finger

while lifting and crossing the 3rd

rmger from D to A string.

3 3

3

.

.

Hold silendy.

Exercise to strengthen 3rd

finger. Do not place 2nd finger.¡

3 1

.

1

o

Review the D m~or Scale, playing all down bows.

00 Tell Auot Rhody

1) Most rmgeringswillnot be indicated after tbis piece to

avoid relying on rmger numbers in later music reading.

2) As bow control improves, more bow can be used-

start at the middle and move furtber toward tipoMake

certain that the bow iskept parallel tothe bridge. 3) Note

ABA formo

o Come, Llttle Chlldreo

1) The most important new technique intbis piece is the

repeated up-bow that connects each phrase, plus the up-

bow beginning. Bysetting the up-bowat the middle tape,

the student willbeginto use some of the lower half of the

bow. Note that the entire arm is inmotion when bowing

below the middle. Later, use whole bow with altemating

bowing and legato stroke. 2) The skips in tbis piece

provide the opportunity to develop independent fingering.

However, it is also important to develop ability to keep

fingers down. Adopt tbis guide for fingering: a) Place

only one finger at a time. Fingers either remain down or

raise as the next rmger falls, depending on the speed and

possible repetition of notes.

Examplea.

1

23_

30nly

2-

b) Go direct1y from one finger to another ( walking

fingers ). Use these principies in reviewingformer pieces

and in all succeeding learning.

Exampleb.

v

1

3

2

~ t

Raise I when 3 plays, so that

it will be ready lo fall on A striog.

May 5008

1) Clap, then play the melodic rhythmofmeasures 1and

20n each note ofthe D Major scale. 2) Use small bows

on dotted quarter notes. 3) Practice the Twinkle Varia-

tions on G and D strings.



28

Exerelses for the 4th nnger

Adopt this guide for fingering:Use the 4th fingerto avoid

changingto another stringonly for that note. In ascending

or descending passages, continue to use open strings to

check intonation and clarity of tone on fingerednotes. In

instances of open string usage for musical effect or bow

crossing study, the notes will be marked open (as in

Perpetual Motion).

Long, J;ong Ago

Use short strokes first. Then use longer, legato strokes

with good bow distribution. In measures 9-10, stop the

bow and prepare 1st fmger on the G string. Cross the

stringwhilebow is still,without raising the elbowfromthe

D stringposture. Then hold 1st fingeruntil 3 is played; go

directly from one finger to another.

Allegro

Use good length and fast speed of bow on quarter notes,

with whole arm motion. Keep bow onstring at the pause

/7'. ,then lift quickly and proceed.

Perpetual Modon

1) The fingeraction must anticipate the bow stroke. It is

important to hear mentally the difference between skips,

steps, and repeated notes. 2) Work to develop quick,

spring-like action in both placing and lifting fingers.

3) Form ASCA. Note the question - answer structure

(Minuet No. 2)

CD

2

a.

Keep 1st finger down.

Place 2nd fmger close to it on A string.

of parts A and B, differing only in the open string notes

(either dominant or tonic). 4) On the repeat, play the

Variation. 5) Now play this piece beginning on the G

string. The G and C strings, being thicker, should be

played with a slightly heavier arm and slower stroke.

Avoid the sound of the bow slippingat the beginning oí

each note.

Allegretto

This piece should be played lightly,without much bow.

The eighth notes will alternate from just below to just

above the middle.

Andandno

1) Practice

11 1'.,

1'., withsmall,lightstrokes.

2) The fortesectionshouldbe playedwithfullbows.

Tbe Close 1-2 Pattern

All the preceding pieces havehad C# onthe A stringand

F# on the D string, placing the 2nd finger close to the

3rd. Look back to discover these sharps in the key

signatures. If there is no sharp in the key signature or

beforethenote,thenote is a natural.C ~ ODthe A string

and F ~on the D stringare bothplayed withthe 2nd finger

low, touching 1st finger, and leaving a space between the

2nd and 3rd finger. The foUowingpieces willuse this new

fingerpattern on the A and D strings.

Take 3rd finger across to G stringwithout lifting 2nd finger until

3rd fmger falls. Whenever possible, move directly from one finger

to another, as in walking.

,---......

.

.

:

Start with 3rd fmger only. Hold 1st finger down

and place 2nd finger close to it on A string.

.

Memorize these measures first. Use middle of bow with short strokes.

Stop bow between notes, setting new finger before playing.

2

2

~ I K

Cross string rapidly

with 2nd fmger.

Hold2

2

3

.

W.B. L.H. W.B. L.H. W.B. U.H.

Savebow.

W.B.- wholebow U.H. - upperhalf L.H.-lower half

i

IJf \

b

11:J

2 3

3

c

1

O



o

Walking Finger Exercises

Bars 12-13

~

o

i

Uft 3rd fmger when 4th fmger falls.

8

o

3

2-3

Practice triplet slowly, then slur.

~ ~ ~

v v

Feel a steady pulse. Feel triplet lead to second beato

3

o

3

These exercises prepare the close 3-4

pattern introduced in Minuet No. 2.

°L8lo

ilTJi

o

1

1 1

Raise 1st finger during triplet to be ready

to faUon D string.

~

1

:-:

3

A review of the 3 fmger patterns learned.

Pattem 1

o 1

c10se 2-3

c10se 1- 2

( ;\ Practiceto achievea smoothslur acrossstrings.

~ ~ V

~ V 1

~

.

~---

~

--~.-

.--~

_ -_____=:==t= ~=~-~---

_-::=~- =t--.-

O O O O O

o

i

1

Pattern 3

3

4

O 1

c10se 3 4

o

3

29

3

o

i

s e

3

.. 3

1

2

o 1 L3



30

Minuet No. 3)

Achieve a clear tone with 3rd fingeron eacb string.

o

Usten for a clear bow release before crossing strings.

3

.

3

~ 3.-..

. .

a.

Use .smaller strokes on eighth notes.

Play the two up-bow notes gently.

~

-...

. .

v

. .

b.

Say down slur down-up down up up

whileclappingsteadypulse.

3)

Go direct1y from 3rd to 4th finger. See exercise 3 of Minuet No. 2.

Hold 2nd finger until 3rd finger falls.

Orace note.

{;\ llft and set bow during rests. Usten for a clear grace note.

~

~

~ ~ 10

.

1

+)

To find correct fmger placement, place 1st fmger

silently and boldoToucb 2nd finger to 1st fmger.

1

o

Watch low-high 2nd finger.

2nd finger lifts as 3rd finger is placed. Walking fingers)

2 3 2



31

j

First play implied melody with smooth singing quality.

4

. .

.--....

.

Play melody as Bach wrote it.

Sligbtly empbasize the melodic notes and relax the accompanying notes.

-...---...-

. .

The Happy Farmer)

Try tbisbowingon the e ~or twooctave)Scale.

written) played)

CD

v v

.

o

v

3

Set bow in middle Coreach upbeat.

Set third finger firmly Corgood tone.

o

Keep 1st finger down when 3rd finger crosses strings.

1

1

3

3

Usten to correct placement oC1st finger

: I 3:

.

i



32

l

(Gavotte)

CD

Eighth notes should be played staccato. The bow should come to a

fuIl stop on the quarter notes before crossing strings.

Play the grace note on the beato

r 'I

a.

..

..

4 .

o

b.

.

Match clarity of open A string by pressing

firmly with 4th finger.

Use short stroke. Place bow on string; then play, keeping bow on string during resto

V

~_ ~_

~

~-...

V

~

C.

.

'i

3rd rmger is low on G string and high on e string. Use fun bows on

quarter notes and upper half or lower half on eighth notes (altemating bowing).

Avoid placing 2nd finger on string when skipping from 1st rmger to 3rd finger.

(2)

1-3

1

o

o Practice holding 2nd finger when placing 3rd finger.

r I rJ

First practice slowly with separate bows.

1

3-~ 2

/' , -

Lift2 Pullback2 Place2

o Developing facility. First practice slowly with separate bows.

a. r I_

_

_ b.r I

:111:

L r ~ ~ ~ ~ ~ r Lr ~ ~ ~

f

r I

d.r I

.

.



32

l

(Gavotte)

CD

Eighth notes should be played staccato. The bow should come to a

fuIIstop on the quarter notes before crossing strings.

Play the grace note on the beato

r 'I

a.

..

..

4 .

o

b.

.

Match clarity of open A string by pressing

firmly with 4th finger.

Use short stroke. Place bow on string; then play, keeping bow on string during resto

V

~_ ~_

~

~-...

V

~

C.

.

'i

3rd rmger is low on G string and high on e string. Use fun bows on

quarter notes and upper half or lower half on eighth notes (altemating bowing).

Avoid placing 2nd finger on string when skipping from 1st rmger to 3rd finger.

(2)

1-3

1

o

o Practice holding 2nd finger when placing 3rd finger.

r 'I

rJ

First practice slowly with separate bows.

1

3-~ 2

/'

, -

ift 2 Pun back 2 Place 2

o Developing facility. First practice slowly with separate bows.

a. r 'I_ _

_ b.

'I

:111:

r ~ ~ ~ ~ ~ r r ~ ~ ~

f

r 'I

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