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Suzuki MethodInternational

Sdi'Vlomschool
YIOIINP\RT

YOrtDInz

Copyright O 1978 Dr. Shinichi Suzuki Sole publisher for the entire world except Japan:

Summy-Birchard Inc.
exclusively distributed by Warner Bros. Publications Inc. 15800N.W.48thAvenue Miami, Florida 330T4 All rights reserved Printed in U.S.A. ISBN 0-81487-146-8

The Suzuki name, logo and wheel device are trademarks of Dr. Shinichi Suzuki used under exclusive license by Summv-Birchard" Inc.

Anyduplication, adaptation or arrangement of thecompositions


containedin this collection requires the writtenconsentof the Publisher. No part of this book may be photocopied or reproduced in any way withoutpermission. Unauthorized uses are an infringement of the U. S. Copyright Act and are punishable by Law

] - 3 .

INTRODUCTION
FOR THE STUDENT: This material is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with thesepublications.In addition, 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 associationprovides this for its membership. Teachers are encouraged to become members of their national in order to remain Suzuki associationsand maintain a teacher training scheduleo current, via institutes, short and long term programs. You are also encouraged to join the International Suzuki Association. FOR THE PARENT: Credentials are essentialfor any teacher that you choose. We recommend you ask your teacher for his or her credentials, especiallylisting 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 Metho4 pleasecontact your country's Suzuki Association,the InternationalSuzukiAssociationat 3-10-15 Fukashi, Matsumoto City 390, JWan,The Suzuki Associationof the Americas, 1900 Folsom Inc., c/o WarnerBros. #101, Boulder Colorado80302or Summy-Birchard Florida 33014. Avenue, Miami, 48th Inc.. 15800 N.W. Publications

Licensedby WarnerBros. Publications Inc. our catalogue

on line
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- Milono This CARISCH s.r.l, olbum@2OO2 by NUOVA


or reproduced All rightsreserued. No part of this book may be photocopied by law. in any way withoutpermission. uses are punishable Unauthorized

C(NTDITTS
StudyPoinf to s r V o l u m2 e. . oo . . . oo . . . . . . . o . . . o . . . . . o . . . o . . . . . . . . . 4 ttJudas lVlaccabaeust',G. E Hgndel . . . . . . . . o . o. . . . . ......7 EfflJ Chorus from
lA M u s e t t e o J .S . B a c h o o . . r . . . . o..... oo..... o. oo. oooooor.... r. ......7

t h o r u s , CM . .vonWebgr . . ooo . . . . . . , l o o . o . . . . . . . . . . . . . . . . 8 f _ l _ lH u n t e r s C
1A f.!! l-{l l r o n g ,I n n g A g o o T . H . B a y l y ' . . o o . . o o . . . . . . . . . Walt4J. Brahms .. o.o....... i... ooooooo . o . o . r . . . . . 9 o..10 o...ll

r r . ooo . . . . oo . . . o . . . ooo . oo . . . . . . oo . . . . . oo . . . . . . . . . . . . . . .

B o u n d e r G .E H a n d e l . ooo . . oo . . . . . . .

s ,. S c h u m a n n . . o . . . . . . . . . . . . . . . . . . . . . ooo . . . . 1 2 fZJ Thefiro GrenadierR 5 6 W i t c h e s t l ) a n c e t ' rP Na . g a n i n i . . . . . . . oo . . . o . . . . o . . . . . . 1 3 LqJ Themefrom f r o m t t l l i g n o n " r A . T h o m a s. . o o . o . . . . . o o o . o . . r . o o . . . . . . . . . 1 4 t2J Gavotte
Eq LU tr Gavotte J,. B . L u l l y . . . o . . o r o . o . . . . o . o o o o . . o . . . . r . o . o o . . o . . . . . ' . . 1 6 Minuetin G L. vgnBgethovgn of . o . . . . ooo . o . . . . o . . . . . . . . ?........lE
t D f --lr--

M i n u e t ,L . B o c c h e r i n i. o . . o o o o . o . . o . . . . . . o . . . . . o . . . o o . o . . . . . . o . . l g

Study Points for Volume 2


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Points d' Etude pour le Volume2

Puntos de Estudio para el Vol. 2

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t: J'r < *'*6!lgt..t t) tt + ,'i[{6 t t lt h't " 2 . | + t t{ 1 ' z a > . 1 t t ) * L r ' # a t ? , ! } t t . ,p*Et: r j r . A .h . t i h t l i r t 3. 4lfiatLt.t: J o (.

rtgt'>tttl.ll tL(tri b ti r\o r].Lr'*t]. fi

[Lr.*f?.

L u ., ] a > l + 1 6 t , 1 * b t L A " 1. Das Kind sollte jeden Tag dic d.iesbeziigliche Schallplutten-Aufnahme daheim anhdren, um seine musikulische EmpJindsumkeit zu entwickeln Rascher Fortschritt hiingt von diesem Zuhdren ab. 2. Tbnftihrung oder das Heworbringen eines schdnen Tbnes sollte im Unterricht und daheim besonders betont werden. 3. Stiin dige Aufm erksamkeit sollte der genaa en Intonierang, korrekter Haltung und richtiger Bogenftihrung gezollt werden. 1. El niffo debe escucharlos discos de referenciacada dia en su casapara desarrollar sensibilidad musical. El progreso r6pido dependede esta audici6n. 2. Sonidizaci6n, o producci6n de un tono hermoso debe ser enfatizadaen la lecci6n y en casa. 3. Una atenci6n constantedebe ser prestadaa una afinaci6n exacta, postura correcta y la forma debida de sujetar el arco.

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.

1. L'enfont devrait 1couter le disque de rifdrence chaquejour d Ia maison, afin de d,ivelopper une sensibtlitd musicqle. Des progrds rapides ddpendent de cette audition. 2. La tonalisation, ou la production de beaux tons, devrait tre travaillde pendant la legon et d la maison. 3. Une attention constante devrait tre donnbe afin d'obtenir une intonation exacte, une posture correcte et une bonne tenue de I'archet.

Tonalization
l':|t)t4>3>
Tonalisation Tonfiihrung Sonidizaci6n

(){o
t:t[i

l-Fiila)filt?li.':..7'va-/-v
tt c h 6") (fii v 7->)

t'Flif

6 t e

(This exercisein G minor should be taught in the same time the child is studying the Bourr6e of Hiindel.) (Cet exercice en sol mineur devrqit tre enseignt au moment oi l'enfant Atudiela Bourrde de Hcindel.)

(Diese Ubung in G-Moll sollte sur gleichen Zeit gelehrt werden, wenn dus Kind Bourrde von Hiindel studiert.) (Este ejercicio en sol menor debe ser enseflado al mismo tiempo que el nifro est6 estudiando la Chamarascade Hiindel)

tfi,!;. talfrlj(ie(f6Ht,' stltiaf. 6 *i i?. This is the first time the lowered first finger is used. When this finger is placed on the stringo the third finger has the tendency to pull back out of proper placement, toward the first finger. To avoid this, try playing the following exercise silently. Keep the third finger in place as the first finger moves back from Bi to Bb. C'est la premidre fois que le premier doigt reculd est utilis6. Quand ce doigt descend sur la corde, le troisiime doigt a une tendance de reculer aussi de sa position correcte, vers le premier doigt. Pour |viter ceci, essayer de jour I'exercice suivante en silence. Gqrder le troisiime doigt en place pendant que le premier doigt recule de si\d sib. 3al?2lsir:t

( 3olfrb,!h")+fv,rhT) t?Ialgt:$tff3rf

Dies ist dus erste Mal, duss der gesenkte erste Finger benutzt wird, Wenn dieser Finger an die Suite gesetzt wird, so hat der dritte Finger die Tendeng, von seiner korrekten Lage und nuch dem ersten Finger zurilckzuziehen. [Im dies zu vermeiden, versuche, die folgende tibung luutlos 7,uspielen. Halte den dritten Finger un seiner Stelle, wiihrend der erste Finger sich vun H nach B zuriickbewegL Esta es primera vez que se usa el primer dedo bemolado' Cuando este dedo est6 colocado en la cuerda, el tercer dedo tiene tendencia de quitarse de la posici6n correcta, por moverse hacia el primer dedo. Para evitar 6ste trate de ejecutar el ejercicio siguiente en silencio. Mantenga el tercer dedo en su lugar mientras el primer dedo retorna de si ! a si b.

Chorus from "Judas Maccabaeus" ,A. E rz/'^?/J*? Xr h'P) trl


Maestoso {iEt:

G. F. Handel
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Choeur de

"Judas

MaccabaeLts"

Chor uus "Judus Muccubueus"

Coro de "JudasMacabeo"
Tug

Please remember that the child should listen to the recordings every day. Surtout ne pqs oublier que l'enfant doit icouter les disques tous les jours.

Muset te
Andante pastorale

Bitte darun denken, dass das Kindjeden die Schallplatten unhiiren soll.

Por favor recuerde que el niflo debe escuchar los discos cada dia.

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Musette

Hunterst Chorus reAOAIE


C. M. v. Weber
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Choeur des Chasseurs

Jiiger Chor

Coro de los Cazadores

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T. H. Bayly
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Variation Variation Variacion

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Il y a Trds, Trds Longtemps

Lung, Lung ist's her

Hace Mucho, Mucho Tiempo

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Waltz v )v'y
Moderato p'dolce I

foco

clesc.

poco rit. Valse Wulzer Vals

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Bourr6e
Allegretto
G. F. Handel
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The Two Grenadiers -AaffilvR


R. Schumann
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Moderato
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Moderato

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Les Deux Grenadiers

Die zwei Grenudiere

Los Dos Granaderos

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Theme from o'witchestDance))


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Thdmede la "Danse des Sorcidres" Themu aus "Hexentunztt Tema de "LaDanza de las Brujas"

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Gavottefrom "Mignon"
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Allegretto

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A. Thomas
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Guvotteaus "Mignon"

Gavota de

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Ear Training
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Entrainement de I'oreille Gehiiriibung Entrenamiento del oido

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Exercise for perfect octave intonation. Listen to the resonance of the open G, D, and A strings, and try to match the octave pitches perfectly. S'exercer ii obtenir une intonation d'octave parfaite. Ecouter lq rtsonqnce des cordes libres du sol, rim rb et du la, et essayer d'accorder parfaitement les diapasons d'octaves. Ubu ng fiir die voII en dete Oktaven-Intonierung, Dem Klange der offinen G, D, undA Saiten Iauschen; die Oktaven-Hdhen genuu zu treffen versuchen. Ejercicio parala perfecta afinaci6n de octava. Escuchela resonanciade las cuerdasal aire de sol, re, y trate de acertar los dipasones de octava perfectamente.

'/u'l,.lthtv,

7 > lft'llL T.

rr:tt:/tlrrt6 i t:.

J i t:.

t: v t 7 > hAij{: tJ h'ti i, t 4 6J This exercise should be practiced daily untit it is mastered. The teacher should hear this at the beginning of each lesson. Cet exercice devrait tre |ffectue tous les jours jusqu'ii ce qu'il soit parfaitement maitris2. Le professeur devrait I'entendre au commencement de chaaue lecon.

Diese Ubung sollte ttiglich gespielt werden, bis sie viillig behewscht wird. Der Lehrer sollte dies bei Beginn jeder Stunde anhiiren. Este ejercicio se debe practicar diariamente hasta que se domine. El maestro debe escuchar esto al comienzo de cada lecci6n.

T6

l^"1

Gavotte
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Allegretto
J. B. Lully

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poco rit. a tempo ma piil ogitato

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ritard.

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Procedure for practice Comment s'exercer

FfttEt

(
Procedimiento pall.aprhctica

Verfuhren zur Ubang

i3 i?i3

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18

Allegretto

Minuet in G t xr.7 l- l- Effi


3 3

V
3

L. van Beethoven - { - l .- . < ,

p con grazia 2 0 3
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2 2 0 0

3 2 s o \ 1

l,2

(3) l(b)4

Ya'

2 0 2

(3) 2 0

V
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ll2.no.c.at Finel
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Menuet en sol Menuett in G Minu6 en sol

19

Minuet
Moderato e grazioso V N

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Wlo

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D.C. al Fine

JKI METHOD INIERNAIIONAL SUZT

NUOVACARISCH s.r.l. VIA CAMPANIA,12 - Zona Industriale Sesto Ulteriano (Ml) 20098s. GruLrANoMILANESE -fel.02-98.221 .212 UFF.CLIENTI www.carisch.com Licensed by INC. SUMMY-BIRCHARD DlStributedby WARNER BROS, PUBLICATIONS 15800N.W.48thAvenue. Miami,Florida 33014 A Warner MusicGroup Company

tsBN 88-507-0235-3

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