Suzuki cello school vol.2

2. Cello School

Volume 2
Cello Part
Revised Edition

3. INTRODUCTION

FOR THE STUDENT: This material i par of the worldwide Suzuki Method of
teaching. Companion recordings should be used with these publications, In ad
tion, here are plano accompaniment books that go along wit his material

FOR THE TEACHER: In order oo un effective Suzuki teacher, 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, i order to remain
eurent, via institutes, short-term programs and long-term programs. You are also
‘encouraged 1 join the International Suzuki Associaton.

FOR THE PARENT: Credentials are essential for any teacher you choose. We
recommend you atk your teacher for his or ber credential, especially those relt-
ing to taining inthe Suzuki Method. The Suzuki Method experience shoul be a
positive one, where there exists a wonderful, festering relationship among cil,
Parc, and teacher. So choosing the right teacher is oF the utmost importance.

In order to obtain more information about the Suzuki Association in your region
please cont:

International Suzuki Association USA Office
212 8, Cotonwood Dr.
‘Richardson, TX 75080

‘wovninterationalsuzuki org,

‘Under the guidance of Dr. Suzuki since 1978, the edlüng ofthe Suzuki Cello
Schoo! is a cotinung cooperative er ofthe Intemational Suzuki Association
Cello Commitee

4. CONTENTS

Long, Long Ago, 7 H. Bayly

May Time, W. A. Mozart
Minuet No. 1,4 5. Bach

Minuet No.3, 8. Bach

Chorus from “Judas Maccabacus,” G. £ Hande
Hunters’ Chorus, C. M. von Weber

Musette from English Suite No.3,.5. Bach

March in 6, Bach

Theme from “Witches Dance,” N Paganini
Tonalization - The Moon Over the Ruined Castle, R Taki
The Two Grenadiers, R. Schumann

Gavotte, F J Gossec

Bourrée, G. F Handel

6. ‘The four main points for study in Volume

1. The child should listen othe reference recordings everyday at home o develop
musical sensitivity Rapid progress depends on this listening.
Tonalizacon, othe production of a beautiful tone, shouldbe stressed in the lesson and
home
The poston etude should be practiced well before each lesson.

‘Constant attention should be given o accurate intonation, correct posture, and the
proper bow hold

Tonalization

Each lesson should begin with tonalization
‘Try to produce a beau one. Usefull ows,

‘Maintain the same volume and intensity throughout each bow stroke,

Ringing Sound Tonalization

estro

Listen foe singing sound,

7. =]

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Variation

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8. dimer

Etudes for 2nd Position

‘Closed hand positon is marked with 0.
‘Open hand position s marked with x.

ı 1x
+

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Forward and backward extension using nd position.

9. Allegretto

Er

10. Minuet No. 3

ET

11. Chorus from "Judas Maccabaeus"
G.F Handel

E=3

rot

Please remember thatthe child should sen 1 he recording every ay.

Ear Training
CC _» &
Sarees ==
3 2 r =

serie for perfect octave intonation Listen th resonance of he open CG and Daring,
and.uytomach he octave piches perfect. = se

12. = —:

12
ef ii
Be

a
3
£
Ss

=

o

“a
E

3

2

E
3
x

E

13. 7 | Musette from English Suite No. 3

Andante pastorale

14. o
a
Es
2
ES

15. Theme from "Witches' Dance"

16. Exercise for Bb

‘Ty playing the following exercise silently. Keep second finger in place asthe rt finger moves back fom Bt to BA.
aay 234

; EEE a

É==:

pf ft py

Eze:

Practice Twinkle Theme in F majo to prepare left hand for backward extension.

Tonalization

The Moon over the Ruined Castle

17. The Two Grenadiers

R. Schumann

18. Gavotte

Alleggeto

For asterisk passages, se next page. ‘DC al Fi

19. Preparation Exercises for Gossec Gavotte

Procedure for practice:
Listen careful tothe intontion,
Uses shom suck.

ace te bow on Ihe string, then play, Keeping the how on the string during the rest

finger ofthe ight hand

12| Bourrée

G.F. Handel

MP espressvo

E]

ESSE

an 04

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21. SUZUKI METHOD INTERNATIONAL.

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