Suzuki Viola School Volume 2

For those who want to learn

1. Suzuki Viola School

VIOLA PART
VOLUME 2

{ony © 1982 by De Shine Su
Sole publisher for he entre world except Japan:
Samy: Bread Ine

«exclusively disibuted by

Ar muero Paes a USA.

ISBN O-$7487-242-1
Is 14 13 12 10

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

2. Introduction
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
Icaming by listening, training the memory, and concentrating on producing a
beautiful tone will be observed. Remember that ability develops after a composi-
tion has been learned - in the mastering process. The practice suggestions empha-
size 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

FOR THE STUDENT: This material is part ofthe worldwide Suzuki Method of each
‘Companion recordings should be used with these publications. In addition, there are pi
paniment books that go along with this materi

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 ther national Suzuki associations and maintain a teacher
training schedule, in order to remain current, via institutes, short and longterm programs. You are
also encouraged t join the International Suzuki Assocation

FOR THE PARENT: Credentials are essential for any teacher that you choose. We recommend
ou ask your teacher for his or her credemial, 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
is of the utmost importance.

In order to obtain more information about the Suzuki Method, please contact your country's Suzuki
‘Associaton, the International Suzuki Association a 3-10-15 Fukashi, Matsumoto City 390, Japan,
or Summy-Birchard Inc. c/o Warner Bros. Publications Inc, 265 Secaucus Rond, Seeaucus, New
Jersey 07096, for curent Associations addresses.

3. CONTENTS

[a] Chorus from “Judas Maccabaeus,” G. F. Handel ........,.......... 8
[2] Musette, JS. Bach ........................ nacion 8
Hunters’ Chorus, C. M. von Weber ...................,............ 9
[4] Long, Long Ago, T. H. Bayly...................,.,............... 10
[5] Waltz, J. Brahms... nn ona. 12
[6] Bourrée, G. F. Handel .............................,............ 13
The Two Grenadiers, R. Schumann ................,............... 15
[8] Theme from “Witches’ Dance,” N. Paganini ........................ 16
[9] Gavotte, from “Mignon,” A. Thomas ......,....,.................. 19
Gavotte, J. B. Lully on. nn 21
m Minuet in G, L. van Beethoven ........,......,................... 23
Minuet, L. Boccherini ooo coccion nono 24

Practice Suggestions, Doris Preucil ............................... 25

4. Study Points for Volume 2

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.

4. Parents and teachers should strive to motivate the child so he wil
enjoy practicing correctly at home.

Suggestions for Tone Production

Basic preparations for tone production have stressed: finger, bow, then play,
"Stop, think, then play” should now be an established practice technique
which will result in a clear sound on each note.

‘Throughout this book, the pieces afford opportunity to develop a smoother
tone and stylistic variety by increased use of the whole bow and its various.
parts.

Four basic factors in bowing are always at work in relationship to each other:

the speed of the bow stroke

the weight exerted on the bow-

the distance of the bow from the bridge (contact point)
the amount of hair in contact with the string

Constant attention to all four factors is necessary for proper control and
variety of tone production,

“The lower, thicker strings are more difficult to set into vibration than the
higher strings. Feel the bow engage the string before playing. Try a slower
speed, with more weight, and adjust the contact point by listening carefully
10 the “purchase” of the tone,

Extensive use of the open strings in this book is a positive measure 10
‘encourage an approach to tone production — a way of moving the bow on
the string so that each tone has the clarity and purity of an open string.

7. Tonalization

Each lesson should begin with tonalization.
Try to produce a beautiful tone. Use full bows.

e

te

Exercises for the close 1 — 2 finger pattern

Play these studies on all strings,
Use proportionately less bow in faster speed.

WB UH WB LH WB UH WB LH wB

WB — whole bow UH — upper half LH — lower half

8. 1| Chorus from “Judas Maccabaeus”

Joss Os. Handel
or ©

À
n 4

i j

Za e
.

Ense ES =

Circle numbers refer to coresponding numbers in practico suggestions

9. 3| Hunters’ Chorus

ray À
3 Me
13] 6 | |
al
A
Cl
4 «il
1 Gi
e
ll
a |
ot 4
Ae
ies 4
20 |

10. TH. Bayly

y
So
<
i")
3 4
=
eb
EE
N
+ pu 1
Jk
a |
¿le
E

Variation

11. Finger Placement Studies

Ex.1 Practice resetting the finger firmly on each singe string. Keep let
elbow flexible, singing in under the viola forthe € string, and
back tothe let for À string notes,

Ex.2. Practice stacesto first, then legato, Set finger fist, then bow, then play.

Walking Finger Studies

Take care that the fingers are released with as much vitality
as when they are placed.

ses

en

Be

passe

12. poco rit.

14. Tonalization

e

ip
Tt

ae EE

Exercises for New Finger Pattern (Pattern 4)

Ist finger i clos Lo nut (4 step higher than open string.)
3rd and 4th fingers also are close.

Finger Pattern 4

— be
==

1+
t+

eS

This isthe fist time the lowered Ist finger i used,

a

‘To avoid polling the 3rd finger out of proper poston,
practice the following silent exercise, Keep the 3rd finger
in place asthe Lt finger sides back from EX 10 Eb.

pee e

Bes

Ear Training

Exercises for perfect octave intonation.
Listen 10 the resonance ofthe open C, G and D strings, and ty to
match the octave pitches perfectly.

A DEEEE 2 SUFE
ESS We BES Pe:

15. 7] The Two Grenadiers

10) R Schumann
y
Modena wa
i = vt ie 2,
Be = =

a
boa

16. 18] Theme from “Witches Dance”

Andante

On,
eS
mf
SEA aan
==
”
ÉS
E pe =
ES
f
Ss
E
=
”
Lo. 22
PB
IP P +
fle 22 £ de eo. 3 +»
== ==> == ET =:
a 7 Lary
be à ES £ =
q A an o
Be 1 > PS z
Paz 3 soon
it Fa tempo um!
no o — 2 22
ee O" > rd a ee Ft
=== — ee
E

17. Po:

ition Etudes

‘The student should continue practicing until he becomes skillful at
these etudes.

At the beginning, practice the position etudes on one string at a time. When
they are mastered on one string, practice on the next string.

2nd Position

A string
1

at

13

Li SL 2 8
re 273 3 vu Lobe
E a = 4 =
3rd Position
usé az 2 #22

‘The left thumb should keep the same relative position with the rest of the
hand on both upwards and downwards shifts in these exercises. Hold the
viola firmly on the shoulder, but avoid excessive “squeezing” at all times,
and particularly on downward shift.

18. Introduction to Positions

To familiarize the student with 2nd and 3rd positions, review the melody of
Perpetual Motion by Suzuki and then ranspose it upward, sep by step.

Perpetual Motion

E fat Major

sim 4

ete

PEZ

Also practice these exercises beginning on the G and C strings

19. [9 | Gavotte from “Mignon”

Allegretto

20. +

vale mf a tempo
Ta ir

Twinkle, Twinkle, Little Star
(On the A String)

Not hat only ie first and last sections sh into 3ed position.

“Tas is the Key in which the violins generally play this piece.
“Try shytmic variants as before,

21. Aloe, 38. Lally
noe o el
A E er
BE DR oe ey Se]
= SSS ===>

mf con grazioso

E He 2 =
Re

E SSS SS E

a tempo piu agitato

paco rie

a, ; _ 1921 pa
PSSS rin A
=: casse

22. 221312
ee.
Jr et ie —

FAT x

==

po E nam

F Lara position

24. L. Boccherni
Moderato e grazioso .
v—

25. fon

+

13] Practice Suggestions

(Circle numbers refer o corresponding numbers in the composition.

(Chorus from “Judas Maccabaeus”)

© sk de teni sound the fs ot by pig To make he one
ring clearly use fm finger pressure,

(O) ner playing shared, ded ehytms (as in measure 1), ten for «smooth
legato sound

© Seinen Han ne Dig pepe Ga A

(Musette)

© nt tnt Mate a on o psn mere
(E) Pistibute ie bow careful (alternating bowing).
watery rom ane gro aber ain te)

© ‘This note sounds well as a harmonic on the G string. The practice of
harmonics will prepare shifting into positions and Later vibrato study.

Harmonics

Practice shifting the hand up along the neck until it hits the shoulder of the
vila, Extend he 4th finger without curving it, and touch the string ugh.
‘Your teacher wil help you discover other harmonies on your viola.

thon

(Hunters’ Chorus)

Practice “li and set” silently inthe mide of the bow until the bow can be
placed securely on the string without temor. Then play the ist two notes.
coming of the string on the Y_ bow, sting in lower half for the PY bow,
and gripping the string before playing. Place only the 304 finger onthe
Diving

26. Practice rans ascending and descending slowly,
and then twice as fast, Place only the
3rd finger on the lower sting,

Practice using only hand motion to change strings,
ping arm on the level ofthe higher string.

® _ 0

Berg

To prepare for the accent, li and set the bow, experimenting 0 find the
exact amount of weight o give the har onthe string. Make Ihe accent by
speeding the bow sioke, Release weight afer the initial attack,

UH ee eee |

a :
Seg mr
en

sp stop

© vse lower par of bow. Lif slighty afer each up bow.

© ®_
Fee ee 3

“Asi ex. 4, speed the bow on the accent.
To clarify the string crossing, practice

{his exercise uni the quick upward motion
ofthe hand feels comforable

27. (Long, Long Ago)

‘The double up-bow i like that in the Minuets of Bach
Keep bow on the string. Use small bow strokes,

Hold down the melody fingers on the D string (in the variation) while
crossing the bow tothe G string

(Waltz)

long down-bow, releasing
1 and lessening the bow speed when
approaching the ip.

Rene weight during the don quar, plying
E SP] ne vino the shed eighth tes.
re Ute faster er tke for up ow

Supplementary Shifting Studies

‘These are various sing patterns, to be selected for practice as they
appear in the students repertoire,

2nd Position — Shifting on One Finger

‘The basic rule in moving the hand from one position to another i o Shift on
‘the finger last used. This is a continuation of che other basic fingering rule:
40 diecy from one finger to another whenever posible

3 a 4
ii mm 12-252 5 1
ar fetes pave e 2
mae
2 Dhs à 2 2
A 1
fie ze f fees

28. 2nd Position — Shifting from One Finger to Another

Always shi onthe inge last used. The note in parenthesis indicates the
movement ofthe shifting finger. First practice playing tis note audibly, I
should not be heard as ability grows,

A) FEN,
ade ETAPA

3rd Position

29. (Bourrée)

Repeat the following patter Y and p) untl the bow division is controlled,
and the changes are smooth. Then adjust the length ofthe bow strokes and
the bow speed for more expressive musical phrasing and dynamics,

sere sus
f % y PAN

= Fr Poe
== =; == SES

middle

Star up-bow slowly and increase speed to maintain the sound

(The Two Grenadiers)

© Aver dwn bon, nd rs Hand males sl, qu ie

© ir

Sa

Practice with ful bow. Begin the bow
with enough mation to avoid speeding up
in dhe middle ofthe stroke.

(Witches’ Dance)
Or “no
Be

Ta}

Begin at middle of bow. Speed the bow on the attack, then slow the bow.
‘Use upper hall Go back to middle on up-bow.

30. o,

zerere À Play ten times, Repeat until sound i clear and bri

=== Ue oad tae mt, my rond

Sustain quarter note ful length,
Benin slightly below Lif and set

middle of bow. in sit ehythm.

© Watch the changing finger patterns:

fas —.

fe) Saou €
= =

Tuck 1 ull back: Tock?
under 2 lose o nut under 3

To develop speed on the ls four measures, practice the following exercise
@ e rn tempo of he piece Keep Bw y on ring dag he
rest Stop, think the nex notes a a group, then play.

(Gavotte from “Mignon”)

Popes he tame” fhe nnd bt
reach back withthe Ist finger for Eb

31. 1

PON ‘The Eb major seal shows the finger pattern for
o Te een ee mm

PA Breer

© Aer te double up-bow, continue upward motion ofthe arm to bring the
and tothe pizzicato position, Extend Ist finger forthe pie without
changing bow hold. Try to achive arch, fll sound onthe final chords

(Gavotte)
© Practice ten tines. Then play
A. WY
Bi
> pet

Tal practice

Drop the Zn finger 5 quickly as posi.

Keep 1 aer down Army

Li 20d finger high Reverse rhythm. Keep
2nd finger close to sting,

© romanes

Shift up. Stop: prepare Ist finger on Bb
and 2nd finger on CH hen play

32. © | crise for st finger extension

#2 tele te Loe ie abe
ee st f—+ £

Hold down 2 on A sting silently
‘hile playing on D string

‘Compare the measures writen in ble clef withthe identical passage (ine
© _ ove) wrien in ato Get As you play with increasing frequency in 3rd
poro wil be necessary to ren bl let

(Minuet in G)

OT Price:
LES PTS
eee Teer

= E =

Release arm weight and reduce
bow speed between notes

© Prize siting and ot hal pci cra

© Tele at 38 poston, an moi.
A

pea

erp

Has
ise

Flatten and reach 3rd
= Finger toward bridge

whole step reach step-and-a-alf reach

‘To prepare bowing fo rio, practice:
Stop bow.

# ©