Suzuki cello school vol.1

1. Suzuki Cello School

CELLO PART

VOLUME 1
Revised Edition

Suzuki Method International

2. Suzuki Cello School
CELLOPART

VOLUME I
Revised Edition

N
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so ie
EMO N
WA SUN

A

JS

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Copyright O 1982, 1991 Dr. Shinichi Suzuki
Sole publisher for entre world except Japan
Summy-Bihard In.

exclusively disibuted by
‘Warner Bros. Publications Int
15800 NW 480 Avene
Miami, Florida 33014
Attrghs reserved. Printed in USA,

Th Suh nae og nde nie
be Sa! Son weh

ademas
andere iene y Sammy Bsr, Je

3. 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 national
Suzuki 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 inthe 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 3-10-13
Fukashi, Matsumoto City 390, Japan, The Suzuki Association of the Americas,
1900 Folsom, #101, Boulder, Colorado 80302, or Summy-Birchard Inc. c/o
Warner Bros. Publications, 15800 N.W. 48th Avenue, Miami, FL 33014, for current
Associations addresses

Under the guidance of Dr. Suzuki since 1978, he editing of the Suzuki Cello School
is a continuing cooperative effort of the Cello Committees from Talent Education
Japan, the European Suzuki Association and the Suzuki Association ofthe Americas.

4. DOOONREE y

CONTENTS

‘Twinkle, Twinkle Lite Star Variations,
Sich Sauk

à Folk Song, Fol Song.
dy Row, Folk Song

Song ofthe Wind, Falk Song

(Go Tel Aunt Rhody, Folk Song

O Come, Lite Children, Folk Song

May Song Folk Song

Allegro, Shinich Sub

Perpetual Motion in D Major, Shinichi Suzuki

y

Perpetual Motion In G Major, Shinichi Susu
Long, Long Ago, TH Bo

Allegretto, Shinch Senki

Andantino, Sich Suc

Rigadoon, 4. Parcel

tude, Shinichi Suki

“The Happy Farmer, R, Schuman

aaa

Min

GS. Back
tNo.2,48. Bach

Maestro Pablo Casals

as

”
»
»

5. ‘The Desing Postres fundamental and should be completely mastered.
Exercises for Proper D-String Posture

Pacg bon aton ages. Wie ho stoke

Exercises for Changing Strings
oe
TS eee
=
ooops ,
Benni
= SS ee
ei
Exercises for Quick Placement of Fingers
0 io so 9 iw Lo
eo BEE Ss

im lan, 103 103

im 1

ner

Place fingers 2:34 quickly and accurately during the rss

TETE == HE
POP ET ES

‘When playing the Ah Finger, Le ll for Fingers down onthe sing.

6. The First Position

“The purpose ofthe following exercises sto play the nots accurately
Pret the sting wih he ip of finger

Ding Asus —

9) Play tet finger, keping be It, nd and dr gers down on he sting.
‘While playing the dh finger. think and prepare for he net positon of your finger.
Repeat onthe A sig.

o) Foral yea, at cas, continue the practice of topping the bow onthe sting afte each note to get a clear sound,

suing .
à Fi à «x 3 ¢

am AAA

D Major Scale

‘While playing the upper hal ofthe scale, the Ist andthe 3r finger shoud remain once sting.
‘When you place the ed finger, place the 2nd down with

> a E €
Ei

2 3 p 9.0 De 3 1 o
ott pr —

Important Innen or Practice
‘The fingering A requires very careflpacice. Stop he bow ae you play open A, and be sure o place
‘heist, second, (id, nd out agers in e proper positon on Ihe snag Before you continue pay

7. opty] spe bow wid pesar aer

Bow TI snooty

y

EN Twinkle, Twinkle, Little Star Variations

S.Sunki

Peeper ==

9. [2] French Folk Song

Fo develop pace tnaaton is
4 3 a. à
A 24 eee
“Y
‘ a 1 o Alis >
ES E = ==
f i
u o 13 à bio 4 ms u au
Due SS ——
Bos 9
“ - fe ¿E 1 0 y
ae Poin sa
= = +
3| Lightly Row
PR Fo Seog
1 Aa aos 3
Y
CN PER E
HE == —- =
> Reap he Id finger down
> A ss. e
VE
>
. o 0 4 1 Fur: 3
== He = 1

10. 4| Song of the Wind
sen Folk Sone
ae otero
a O |
Y

[5] Go Tell Aunt Rhody

Rasa

wage Ñ
a eae
SE —

af

ae phe et fi

HE Es
Ihre FE == =

11. [6] O Come, Little Children

Andante

et
= => Y
Tonalization

“This should be aught at euch lesson.
Pluk he ope sung and listen othe sound of the vibrating sng,

FE

Play tones wih he same resonance withthe bo.

De =

Be
fee

pe

|

Quesos teachers nd pars mus a every day
‘Ave the pis seing to Ue reference record at home every day ?
lus e tone improved?

Tete intonation once?

Haste pope playing posture been acquired?

Is De how being held comely?

12. May Song

a
7

Fotk Song

+

(2nd ime) poco rit

[3] Allegro

13. 9| Perpetual Motion in D Major

Play this piece at the mide ofthe bow using a very short stoke.
‘Stop the bow afer each note.
Play slowly tit and ten gral sped up the tempo,

‘Allegro

o PP
A Meer Fer HE ESS

S. Sunk

Procedure fr practice:

BE

“Transpose al previous pice othe key of Major in preparation fr “Lang, Long Ago"

14. Tonalization

“This should be taught at ach lesson. Pis should
Always steve fora mor beatiful and esonan oe.

As e

a +

A
a eS = =

a

“Liste for singing sound 7

G Major Scale

15. 10 Long, Long Ago

TA Bayly

+ Î
lis Billy
zi E att) R
MLB hl E
ii E
3 I z
4 wo
1 E]
€ JE “à
a) Oh

16. [12] Andantino

Second-Finger Training
(Preparatory Exercise for "Rigadoon")

, 9 4
he Se te

De}
E = ES:

16]

er
esse ee

2 Li tied & four gers Loge

17. 113 |Rigadoon
He
e 2
-
+
Hier, Ee E
he EP ji
Er Zen f =
7 +
ere + be, E o
À
y =
Ps 3 o 1 yo à
P= a Fr =

+ See P17, second finger taining for prepratoy exercise ung 2nd finger

18. Tonalization
Le “Ths hou up ac en
qa se ep ui 41 ep Ad 1 4
== == |
C Major Scale
ue Or)
pot 21 @ 1358
SSS =
gas Diet trie
Bee SS 5 ===
~ ~ A “373
[14] Etude
rer gineir pes Fi
A AAA = =
A a
spp ee bP ee HA
L====== ==: = aS
2 peeipent 28421614 Zigerios ei
ee pe er

LITE

| tet us 1

AAA

‘Variation

19. The Happy Farmer

y pros nos PUE
eg

eo —

arm 1

20. [17] Minuet No. 2

eee gost 4

EEE tor ing pis gu ad pn 2820

21. G# Exercise
7] ===
MA on DA

se == N

22. en
SE

Shift Extension
Explanation Explanation
Move al fingers and thumb one-half step higher (Keep Move 2,3, 4 and thumb one-half step higher. (Keep thumb

Ha under 2). under 2. Bring elbow Forward for extension.

23. SUZUKI METHOD INTERNATIONAL

USA

1004
QE 1 a
wd wore mala | it 111300

ISHN 0.87487-479.3