Suzuki Viola School, Vol 1: Viola Part 9780874872415, 0874872413

Table of contents :
Contents
1. Twinkle, Twinkle, Little Star Variations, Shinichi Suzuki
2. French Folk Song, Folk Song
3. Lightly Row, Folk Song
4. Song of the Wind, Folk Song
5. Go Tell Aunt Rhody, Folk Song
6. O Come, Little Children, Folk Song
7. May Song, Folk Song
8. Long, Long Ago, T. H. Bayly
9. Allegro, Shinichi Suzuki
10. Perpetual Motion, Shinichi Suzuki
11. Allegretto, Shinichi Suzuki
12. Andantino, Shinichi Suzuki
13.Bohemian Folk Song, Folk Song
14. Etude, Shinichi Suzuki
15. Minuet No. 1, J. S. Bach
16. Minuet No. 2, J. S. Bach
17. Minuet No. 3, J. S. Bach
18. The Happy Farmer, R. Schumann
19. Gavotte, F. J. Gossec
20. Practice Suggestions, D. Preucil

Citation preview

VIOLA PART

VIOLA SCHOOL Volume 1 Viola Part

I VOL. 1

VIOLA PART

I VOL. 1

VIOLA SCHOOL Volume 1 Viola Part Revised Edition

AMPV:1.02 © 2013, 2009, 1981 Dr. Shinichi Suzuki Sole publisher for the entire world except Japan: Summy-Birchard, Inc. Exclusive print rights administered by Alfred Music Publishing Co., Inc. All rights reserved Printed in USA Available in the following formats: Book (0241S), Book & CD Kit (40685), CD (0543) Book ISBN-10: 0-87487-241-3 ISBN-13: 978-0-87487-241-5

Book & CD Kit ISBN-10: 0-7390-9705-9 ISBN-13: 978-0-7390-9705-2

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

2

This transposition of the SUZUKI VIOLIN SCHOOL makes available to the beginning viola student the carefully structured repertoire of The Suzuki Method®a method that teaches basic playing skills and develops listening and memorizing ability through the playing of beautiful music. Regardless of the age of the student, it is hoped that Dr. Suzuki’s principles of learning by listening, training the memory, and concentrating on producing a beautiful tone will be observed. Remember that ability develops after a composition has been learned - in the mastering process. The practice suggestions emphasize the need to isolate technical and musical problems, and encourage the teacher to use all the opportunities inherent in the repertoire for orderly growth toward mastery of the instrument. This volume is also recommended for violinists who wish to become familiar with the viola and reading of the alto clef. For this reason, finger numbers have been kept to a minimum in order that reading will progress by note rather than by finger. The teacher is urged to stress knowledge of names of first-position notes on the viola before note reading progresses to the higher positions. Many of the solos in this volume are written in the same keys as those in the corresponding SUZUKI CELLO SCHOOL repertoire; also, some solos can be played with the compositions in the SUZUKI VIOLIN SCHOOL. Doris Preucil

IntroductIon FOR THE STUDENT: This material is part of the worldwide Suzuki Method® of teaching. The companion recording should be used along with this publication. A piano accompaniment book is also available for this material. FOR THE TEACHER: In order to be an effective Suzuki teacher, ongoing education is encouraged. Each regional Suzuki association provides teacher development for its membership via conferences, institutes, short-term and long-term programs. In order to remain current, you are encouraged to become a member of your regional Suzuki association, and, if not already included, the International Suzuki Association. FOR THE PARENT: Credentials are essential for any Suzuki teacher you choose. We recommend you ask your teacher for his or her credentials, especially those related to training in the Suzuki Method®. The Suzuki Method® experience should foster a positive relationship among the teacher, parent and child. Choosing the right teacher is of the utmost importance. In order to obtain more information about the Suzuki Association in your region, please contact: International Suzuki Association www.internationalsuzuki.org

3

CONTENTS Page

Track Numbers

1 Twinkle, Twinkle, Little Star Variations, Shinichi Suzuki.................................................. 8................ 1 2 French Folk Song, Folk Song.............................................................................................. 10................ 2 3 Lightly Row, Folk Song....................................................................................................... 11................ 3 4 Song of the Wind, Folk Song.............................................................................................. 11................ 4 5 Go Tell Aunt Rhody, Folk Song.......................................................................................... 12................ 5 6 O Come, Little Children, Folk Song.................................................................................. 12................ 6 7 May Song, Folk Song........................................................................................................... 13................ 7 8 Long, Long Ago, T. H. Bayly.............................................................................................. 14................ 8 9 Allegro, Shinichi Suzuki....................................................................................................... 15................ 9 10 Perpetual Motion, Shinichi Suzuki..................................................................................... 16.............. 10 11 Allegretto, Shinichi Suzuki.................................................................................................. 17.............. 11 12 Andantino, Shinichi Suzuki................................................................................................. 18.............. 12 13 Bohemian Folk Song, Folk Song........................................................................................ 20.............. 13 14 Etude, Shinichi Suzuki......................................................................................................... 21.............. 14 15 Minuet No. 1, J. S. Bach...................................................................................................... 22.............. 15 16 Minuet No. 2, J. S. Bach...................................................................................................... 23.............. 16 17 Minuet No. 3, J. S. Bach...................................................................................................... 24.............. 17 18 The Happy Farmer, R. Schumann...................................................................................... 25.............. 18 19 Gavotte, F. J. Gossec............................................................................................................ 26.............. 19 20 Practice Suggestions, D. Preucil........................................................................................ 27

Transcribed for viola and piano by Doris Preucil

4

Suzuki Viola 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.

Tonalization for beautiful tone Just as vocalization is studied in vocal music, so I have introduced tonalization into viola study as a new method of education. It has proved to be most effective. Tonalization should always be included at each lesson and should be a part of the daily practice at home.

Group lessons 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 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.

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.

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 A 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 piece A satisfactorily and is given a new piece, B, he should not drop A but should practice both A and Bat 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 lessons of other children. Lessons should vary in length according to the needs of the child. Sometimes a child may have a short lesson, stop and watch another child, and then return for more instruction.

Shinichi Suzuki

5 Stand with feet comfortably apart (approximately the distance of shoulder span). Left foot should be slightly forward; the back must be straight and balanced between both feet. Tum body to the left to align neck of viola with left foot. 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 of nose, 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 first bow strokes to be used are the detache (smoothly connected) and staccato (short notes separated from each other).Careful attention to the motion, clarity of sound, and rhythmic control of these bowings will lay 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 form the other two sides. Forearm motion should be used with a relaxed, comfortably-hanging upper arm. A 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 develop detache) when first learning the pieces in this volume. This separation gives time to prepare the finger and bow until quicker coordination develops. Later, the material should be reviewed, increasing tl1e smoothness and length of stroke where appropriate. The basic posture is the A string posture.

Further practice suggestions will be found beginning on page 27. Preparation is vital to all playing. Instill the habit of thinking "mind, finger, bow, play."

Beginner's bow hold. Thumb below frog.

The thumb and the bow make an oblique angle.

Exercises for Proper A-String Posture

6

The A 1trln1 posture 11fundamental and should be completely mastered.

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.

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8

IT] Twinkle, Twinkle, Little Star Variations See Practice Suggestions

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Shinichi Suzuki

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1616

10 10 Perpetual PerpetualMotion Motion Play Play at at the the middle middle ofof the the bow. bow. Use Use a short a short stroke. stroke. Stop Stop bow bow after after each each note note toto prepare prepare next next finger. finger. Play Play slowly slowly at at first, first, then then gradually gradually increase increase the the tempo. tempo.

Shinichi ShinichiSuzuki Suzuki

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1717

Tonalization Tonalization This This should should bebe taught taught at at each each lesson. lesson. Pupils Pupils should should always always strive strive forfor a more a more beautiful beautiful and and resonant resonant tone. tone.

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Shinichi ShinichiSuzuki Suzuki

44

˘˘ ˘˘ . . ˘˘ BB# # œœ œ.œ. œ.œ. œœ œ.œ. œœ œœ œ.œ. œ.œ. œœ œ.œ. œ.œ. œœ œ.œ. œ.œ. œœ œ.œ. œœ ˙˙ .. flfl flfl flfl 55

00

44

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44

≥≥ Œ Œ œœ œ.œ. ..

UU ≥≥ ˘˘ . . œ.œ. ˘˘ . . œ.œ. ˘˘ # # . . œœ œœ œœ œœ""œœ œœ BB œœ œ.œ. œ.œ. œœ œœ œœ œ.œ. œœ œœ œœ œœ œœ œ œ .. .. . . œœ œ.œ. œœ . . . . flfl flfl FF rit. rit. flfl flfl 99

11

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11

11

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˘˘ ˘˘ . . ˘˘ BB# # œœ œ.œ. œ.œ. œœ œ.œ. œœ œœ œ.œ. œ.œ. œœ œ.œ. œ.œ. œœ œ.œ. œ.œ. œœ œ.œ. œœ ˙˙ .. flfl flfl flfl 1313

44

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44

a atempo tempo

ŒŒ

18 18

12 Andantino ≥ # B C œ œ œ. œ œ œ . F Andantino Andantino

B # œ œ œ. 55

4 4

œ # B 99

f

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B # œ œ œ. F 13 13

a a tempo tempo

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Shinichi Shinichi Suzuki Suzuki

œ œ œ. >˙-

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rit. rit.

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The Close 1–2 Pattern œ Bc

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Bc œ

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19

Twinkle, Twinkle, Little Star (Theme in C Major) Practice all variations in this key. Feel the weight of the bow on the C string before playing. Use less speed in the bow on the lower strings.

i1

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IBIJ J J J I J J d 5

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IB J J J J I J J J 9

mJ

I J J J J IJ J

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_g

II

C Major Scale (two octaves)

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r

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20

Exercises for Good Intonation (Diminished Fifths)

Perfect fifth

=t,

i

t

Diminished fifth

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2

JA IId# 1 J J J I r EF dk] f1lI J J rrn

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012

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~ Bohemian Folk Song Folk Song

Andante

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tit E E!F erI F J J mf

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E

I pr

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u r r1 1r ~ ..J

F

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J J ~

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21 21

Practice with the same short strokes as Perpetual Motion. Practice with the same short strokes Listen for perfect intonation in high as Perpetual Motion. Listen perfect intonation in high and lowfor positions of the 2nd finger. and low positions of the 2nd finger.

14 14 Etude Etude

≥≥ œœ. œ œœ. œœ. œ œœ. œœ œœ œœ œœ œœ œœ œœ B c A œœ A Bc . œ œ.. œ.. . . œœ.. œ.. . F sempre staccato staccato F sempre 2. 5 2. œœ œœ œœ œ 5 œœ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ B B œ 0 0

0 0

0 0

1 1

1 1

4 4

1 1

0 0

0 0

0 0

0 0

1 1

Shinichi Shinichi Suzuki Suzuki

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ .. œœ œœ œœ œ . 1. 1.

1 1

œœ œœ œœ 0 0

4 4

1 1

œœ œœ œœ œœ œœ œœ œœ œœ 0 0

0 0

œœ œœ œœ œ œ œ œ œœ œ œ œœ œ œ œœ œœ œœ œœ œ œ B œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ B œ œœ œ œ œ œ œœ œœ ˙˙ 8 8

0 0

0 0

Variation Variation B B

B cc œœ œœ œ œ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ B œ œ œ œ

etc. etc.

0 0

22

15 Minuet No. 1 ≥œ. 3 B4 F

Allegretto 1

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2

1 1

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Johann Sebastian Bach

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3

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1.

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B ˙. 21 20

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4 4

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œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2da volta rit. F 4 4

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( ≤) ˙ . .. ˙ .

3 œ œœ œ œœ œ œ œœ œ œœ œœ œ B œ œ œœ œœ œ œ ˙ œ. œ 55

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23

16 Minuet No. 2 - œ¯ œœ ≥ œ œB 43 œ- œ f 2 5 œ œ œ œ œ œ B Andantino * 1

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9

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B

4

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≥ . B .œ œ œ œ œ œ œ p 21 œ œ œ œ œ œ 5œ B F 25 œ œ œ œ œ œ œ B

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4

*Circled numbers refer to practice suggestions on page 28.

œœ -œ œ -œ œ œ œ œ œ . 3

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1

- œ¯ œœ œ œB œ- œ œ. œ. f 37 œ œ œ œ œ œ œ œ œ œ B 1

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2

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*Circled numbers refer to practice suggestions on page 30.

25 25

18 18 TheHappy HappyFarmer Farmer The .œ œ.œ .œ . . œ. œ œœ œœ œœ œœ .œ . J J œJ J

Allegro giocoso Allegro giocoso

≤j≤j ≥ ≥ . BBcc œ œ œ .œ ff

Robert Schumann Robert Schumann

≤ œ≤ œ≤ œ œœ œ œ œœ œœ œ œ œ œ œ œ œ ‰ ‰ ≤ j j œœ œœ œœ œœ JJ ff 5 5 œ œ œ œ œ .œ . ≤ ≤ œ . œ . ≤j≤j . œ . œ œ œ . œ œ œ . œ œ œ œ œ œ œ œ . œ œ . œ BBœ œ J J œœ œœ œœ œœ œœ œœ ‰ ‰ œœ œœ JJ JJ FF 9 9 > œ œ œ œ œ .œ . ≤ ≤ ≤j . œ . >œ .œ . œ œ ≤ œ≤ . ≤j≤ j >œ >œ œ œ œ ≤ . œ . œ œ œ . œ . œ œœ œ . j œ .œ . œ . œ œ œ . œ œ BB œ œ JJ JJ JJ œœ œœ JJ ff 1313 ≤ j≤j >œ >.œ . œ œ ≤ œ≤ . ≤ j≤j >œ >œ œ œ œ ≤ j≤j œ œ œ œ œ œ œ œ œ œ . . œ œ œ œ œ . BB œœ œœ œ œœ œœ œœ ‰ ‰ œœ œœ JJ œœ œœ FF ff 1717 . œ .œ . . . œ œ œ œ œ œ œ œ œ .œ . œ≤ œ≤ œ œ œ œ œ œ œ . œ œ . œ œœ BBœ .œ J J œœ œœ œœ œœ œœ œœ œœ ‰ ‰ J J JJ 0 0

1 1

1 1

2 2

1 1

0 0

1 1

1 1

0 0

1 1

1 1

26

19 Gavotte j ¯ œ≥. œ. œ. œ. œ. œ. œ. œ. -. œ œ -. BC œ œ Œ F Allegretto

≥œ. œ. œ. . . œ. . . -. # œj œ¯ œ œ œ œ œ œ-. Œ

4

≥. œ. œ. . . œ. . -. œ œ œ . œ œ B œ 5

4

j œ

œ¯

-. œ

Œ

4

œ œ œ œ œ Œ

≥- - œ- œB .. œ œ F cantabile 21

B œ œ. œ . p 1

œ 4

œ

≥œ- œ œ. œ œœœ B .. F 25

(arco)

≥ œ. Bœ œœœœœ 29

4

≥œ. . œ œ. œ. œ. œ. . œ. œ-. œ p a tempo

0

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4

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