Suzuki viola vol 1

Metodo de Viola

1. Suzuki Viola School

VIOLA PART
VOLUME 1

us Road
‘Secaucus, New Jersey 07096-2037

ISBN 0.87487.241.3
Bun

2. FOR THE STUDENT, Vis motera spr ofthe worldwide Suzuki Method of eahing
‘Companion recordings shou be sed with hee publications. In addition, here ae piano accom
aient books ha o long wth his materia,

FOR THE TEACHER: In oder tobe un effective Suzuki teacher, a reat del of ongoing
‘ication require. Your national Suzuki association provides is fr membership Teachers
re encouraged to become members of their national Suzuki associations and maintain a eacer
"ring sched, order o remain cur, via tits, short ad long tem programs. You are
ino eneworaged a ji he Intemational Suzuk Association.

[FOR THE PARENT: Cadenas are essential for any teacher that you choos. We recommend
You ask your teacher for hi or her eredenials, specially iin those relating to tring he
Suzuki Method. The Sapa Method experience shouldbe a pote one, where thee exit a
‘wonder fostering relationship between child parent and teacher. So choosing the righ teacher
Sof the wimost importance.

In order cha more information abou the Suzuki Method please contact your country’s Suzuki
‘Association, the International Suzuki Ancien at 3-10-18 Fokashi, Matsumoto City 290 apa,
tr Samımy-Birchard In. 0 Warmer Bros Publications In, 265 Secaucus Rod, Secaucus, New
Jersey 07096, for erent Asscitons addresse.

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
leaming 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

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CONTENTS

Twinkle, Twinkle, Little Star Variations, Shinichi Suzuki . . . . . . 8
French Folk Song, Folk Song. . . . .. ............ 10
Lightly Row, Folk Song . . . 2 2 ...........,.... 1
Song of the Wind, Folk Song... . . . . ........,.. u
Go Tell Aunt Rhody, Folk Song... 2 2 22 mm. 2
O Come, Little Children, Folk Song . . . . . . . . . ...... 12
May Song, Folk Song . . ........,.......... 13
Long, Long Ago, TH. Bayly. . ................ 14
Allegro, Shinichi Suzuki 2... 15
Perpetual Motion, Shinichi Suzuki. . . . . . . 2 oo ...... 16
Allegretto, Shinichi Suzuki... . 2 . . , ........... 17
Andantino, Shinichi Suzuki . . ...... A. 18
Bohemian Folk Song, Folk Song . . ............. . 20
Etude, Shinichi Suzuki... ooo 21
Minuet No. 1,25. Bach... ............,..... 22
Minuet No. 2,J.5. Bach . . . ...... {#2 R EL SESH 23
Minuet No. 3,5. Bach... . . . 2. eee . 24
The Happy Farmer, R. Schumann... . ............ 25
Gavotte, FJ. Gossec . oo... o... ses suisse sd 26

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.

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 | 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

observed and put to continual use in the home

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 sen:

Tonalization for beautiful tone

Just as vocalization is studied in vocal music, so I have
introduced tonalization into viola study as a new
method ofeducation. 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

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 B at 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,

5. ‘The basic posture is the A string posture.

Beginners bow hold. Thumb below frog.

‘Stand with feet comfortably apart (approximately the distance of
shoulder span). Left foot should be slighty Forward: he back
‘must be rai and balanced between both feet Turn body 10
{he left to align neck of viola with le oot. Do not twist 00
far around 19 the lef.

‘Tum head othe let place the viole between chin and Ie
shoulder. Not the alignment of nose, tings, elbow, and lef
foot, A foam-rubber pad will keep the vials rom slipping and
avoid tension in the le shoulder.

Before using the bow, practice holding the viola without the
support ofthe le hand o assure a im hold without gripping.

‘The first bow stokes to be used ae Ihe detaché (smoothly
connected) and staccato (short notes separated from each
other) Careful attention to the motion, clarity of sound, and
time contol ofthese bowings will lay a fem technical
foundation,

“The beginning student should st the bow a he mide o that
the arm forms two sides of a square; the vola and bow form the
‘other two sides. Forearm motion should bo used with relaxed,
‘omforiably-hanging upper arm. A tape masking the middle of
the bow is help

‘The A string posture is Fundamental in developing a vertical
approach to bowing and should be completely mastered,

Play wih a separation between notes (except for repeated 16th
notes that develop detache) when fis learning the peces in tis
volume. This separation gives time to prepare the Ginger and bow
lun quicker coordination develops, Later, the material should
be reviewed, increasing the smoothness and length of stoke
where appropriate

Further practice suggestion wil be found beginning on age 27.

Preparation is vital to al playing. Intl the habi of thinking
“mind, finger, bow, play.”

‘The thumb and the bow make an oblique angle.

6. Exercises for Proper A-String Posture
“The À string posture I fundamental and should be completely mastered,
Set middle of bow on A sting
Use a shor stoke.

Keep Dow on sin between note,
Sixteenth notes ace detache; eighth notes are staccato,

A
1 BES

Exercises for Changing Strings
Chang sing quickly here

Exercises for Quick Placement of Fingers

AIM jo

7. Place fingers 1, 2, 3 quickly end accurately during rests

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Cross to A string.

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‘The D Major Seal introduces the frst fnger-pattern. The beginning pieces
‘employ this patter — the close 2-3 pattern with a half step between 2 end 3,

the interval between the other fingers being a whole step. Develop the mental

and ural concept of adding consecutive fingers to ascend stepwise and subtracting
consecutive fingers to descend stepwise. Associate the name of each note of the
scale with its finger. Also practice this scale with the rhyıhm pattems taught in
“Twinkle, Twinkle, Lite Star”,

8. 1
Twinkle, Twinkle, Little Star Variations

See Practice Sugentons

ro pay {3 stop te bou wit pressure ater each igh note Shinichi Suzuki
Bow soul and ae, a son pase between bow sok

peto ippo
Et SS

Pm per rt io

Listen for silence during rests,

9. RE E
c Heer ===>

Theme
Stop bow without pressure ar each not,
dy Fa i 3.5 3 A a
== = f- +
Bie =
Y

fh
I
I
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10. 2
French Folk Song

Folk Song

=
i
Ir
IM
I
Hu

11. 3

Lightly Row
m oe . Folk Song
fp A u
eee
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ser
ge adi
Bere
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4
Song of the Wind
Allegretto: Folk Song

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12. 5

Go Tell Aunt Rhody
Be
mf

pr SE
of
6
O Come, Little Children
Andante Folk Song
y ° A Y
eS Se
mf

13. Tonalization

‘This should be taught at each lesson,
Pluck the open string.
Listen tothe sound ofthe vibrating tring.

1 Reese

lay the tones with similar resonance with
te bow.

n
O_o

2 Be —: ===

DE Se

proper playing posture been acquired?
Whe bow being held corey?

7
May Song

Allegro moderato Pr Folk Song
VE + te $
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14. Exercises for the 4th Finger

Fase At finger reach by moving the ot
elbow more o the right.
Hold st finger down,

the

tr.
I
I.

8
Long, Long Ago

Moderato u , T.H. Bey
B
= = SS ee er
pS De = ===: =: 3
= en
o». 4

PER BE oe —

Perra E a=

2 +2 4
er et f fate
Be FL = CRE TE 1

15. Allegro Shinichi Suzuki
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a tempo

Dr. Shinichi Suzuki

16. 10)

Perpetual Motion

Play atthe middle ofthe bow.
Use a shot stroke.

‘Stop bow after each note to prepare next finger

Play slowly at fist; then gradually increase the tempo.

[AI Allegro
r

4

Shinichi Suzuki

Eire

See eet =|
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17. Tonalization

‘This should be taught at each asso,
Pupils should always strive for a more beautiful and resonant one.

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2 prez = =>

G Major Scale

18. 2

Andantino
‘Andantino Shinichi Suzuki
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A i as
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7 fm — => po pr
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a tempo %
The Close 1—2 Pattern

hia
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19. Twinkle, Twinkle, Little Star
(Theme in C Major)
racic al varados ia thi ey.

Feel the weight ofthe bow on the C string before playing,
Use less speed in the bow on the lower strings.

n o _
LESS a a
o Bu 7 sa
E== + A ES =
o
a 1
C Major Scale
(two octaves)
+
t t y 2
e123 eps aM
<= EE =|
++
ns
fr —— en 2 = 2 Sas
eS = SSE ps
STE A

20. Perfect ith

Exercises for Good Intonation
(Diminished Fifths)

Diminished fifth + ÿ

See

B
Bohemian Folk Song
Andante Folk Song
= TE S|

SS]

ri

21. Tonalization

‘This shouldbe taught at every lesson.

a 2 e _
Be = = =>
o—f er
14
Etude

Practice withthe same ston stokes as Perpetual Moon. E

Lise lo pere mation in gh
{dow pions ofthe 20 ng. n=,

4

ape FE RE
= = ze a

se.
=

Variation

22. Tonalization

‘This shouldbe taught at every lesson.

a 2 e _
Be = = =>
o—f er
14
Etude

Practice withthe same ston stokes as Perpetual Moon. E

Lise lo pere mation in gh
{dow pions ofthe 20 ng. n=,

4

ape FE RE
= = ze a

se.
=

Variation

23. 16
Minuet No. 2

Johann Sebastian Bach

Circle numbers sto corsespondig number in practice suggestions

24. Minuet No. 3
Allegretto Johann Sebastian Bach
On. © ¿ ES
et se er]
BEE =: + ——

E

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25. 18
The Happy Farmer

Robert Schumann

BSS eS Sa

27. 20

Practice Suggestions

‘Twinkle, Twlokle, Lite Star Variations
Continue t stop and prepare finger 1,2,3 when descend
ing until a good frame of the hand has been established
‘The use of tape on the Fingerbourd to mark corect finger
placement is suggested.

Var. B Listen fr silence during rests,

Var € Siop bow only after eighth notes. Use smallbow.
Var.D Use small bows. Keep upper arm quit but

relaxed. Se bow at middle, parallel 1 bridge

Note that the fist and third lines of Twinkle re tb same,
‘witha contrasting section inthe second ne. Form À B A.

French Folk Song.
‘Use short strokes with separation between notes. Finger
number followed by lines indicate holding the Fingers
down,

Lightly Row
1) Practice te bowingin measure 1 using open strings to
‘achieve matching tone on both suing. Stop bow before
crossing Use short bows. 2) Practice measure I, placing
‘only the 2nd finger. 3) Listen for be difference between
skips of third andthe stepsinthe scale. 4) Not the form
AAA, studying the dference between parts A and A’.

Song of the Wind Practice the string crossing
and bow lit in measures 3
and 4 on open strings.

Hand makes a smal, quick
© Circle between two down bows,
el
y)

Go Tell Aunt Rhody

1) Most fingerings wil not be indicated ae this piece to
avoid relying on ger numbers in later music reading,
2) As bow contol improves, more bow can be used —
Star atthe middle and move further toward tip. Make
‘certain thatthe bow is kept parallel tothe bridge. 3) Note
ABA form.

© Come, Little Children
1) The most important new technique inthis piece the
repeated up-bow that connects each phrase pls the up-
‘bow beginning. By setting the up-bow a the middle tape,
the student wil begin to use some of the lower half of the
‘bow. Note thatthe entre arm i in motion when bowing
below the middle. Late, use whole bow with alterating
bowing and legio stoke. 2) The skips in this piece
provide the opportunity t develop independent fingering,
“However, i i also important to develop ability to keep
fingers down. Adopt this guide for fingering: 2) Place
Only one finge a aime. Fingers ether remain down or
rais asthe next finger falls, depending onthe speed and
possible repetition of nots.

Example a

Être,
AAA

== |

Practice holding Ist Anger
‘while fing and crossing the 3ed
® Finger from D to A suing

3 3
RESTE.

1) Go direly from one finger to another (“walking
fingers”). Use these principes in reviewing former pieces
and in all succeeding learning.

Example b

sl 3 2 +
LA Be ee
ae
oe
reece |
O „ss; are où À ns.

3
22

ES

(Outer aie ein tros

May Song

1) Clap then play the melodic rhythm of measures 1 and
2 on each note of the D Major sale. 2) Use small bows
on dotted quarter notes 3) Practice the Twinkle Vai
tions on G and D stings.

28. Exereltes for the 4th Oinger
‘Adopt this guide for fingering: Use the ih finger to avoid
‘changing to anther string only fr tht note In ascending
ox descending passages continue to use open Sing 19
check intonation and clarity of tone on fingered noes. In
instances of open sing usage for musical effector bow
‘crossing study, te notes wil be marked “open” (asin
Perpetual Motion).

Long, Long Ago
Use short strokes fs, Then use longe, legato strokes
with good bow distribution. In measures 9-10, stop the
tow and prepare Ist finger on the G string. Cross the
string while bow ssl, without raising the elbow fromthe
Dosring posture. The hod Ist finger until 3 is played; o
rech from one Anger to another

Allegro
Use good length and as speed of bow on quarter noes,
‘with whole arm motion. Keep bow on sing tthe pause
‘> then it quickly and proceed.

Perpetual Motion
1) The finger action most anticipate the bow stroke It is
important o hear mentaly the difference between skip,
‘eps, and repeated notes. 2) Work to develop quick,
springlike action in both placing and Ming ages.
3) Form ABCA. Note the question — answer structure

(Minuet No. 2)

of parts A and B, differing only in the open string notes
(either dominant or tonic). 4) On the repeat, play the
‘Variation. 5) Now play this piece begining on the G
string. The G and C strings, being thicker, should be
Played with a slightly heavier arm and slower suoke.
‘Avoid the sound of the bow sipping atthe beginning of
each note

Allegretto
“This piece should be played lighly, without much bow.
‘The eighth notes wil alternate from Just below to jut
above the mile

Andaatiao
1) Practice 490177 dy wihsmallphesroken.
2) The fon section should be played wih fall bows,

‘The Close 1-2 Patera
“Allo preceding pieces have had C# onthe A string and
Pé on the D string, placing the 208 finger close 10 Ihe
rd. Look back to discover these sharps in the key
Signatures. 1 there is no sharp in the key signature or
before the not, the ote is amara. CY on he A sting
and fon he D string are both played withthe 2ndfinger
low, touching Ist ner, and leaving a space between the
2d and 3rd finger. The following pieces wil use this new
finger pattern on the A and D strings

‘Take 3rd finger across to O string without ling 2nd finger until
ed finger falls. Whenever posible, move diredy from one finger
to another, asin walking.

Start with 3d finger only. Hold Ia iger down,

==

and place 2nd iger close wit on A sing.

i

Memorize these measures fis. Use middle of bow with short srotes.

Stop bow between notes, seing new Anger befor playing

Oz 2 22 3—

Arte 243 2.983 A
on
en Er
zwar

WI. - whole bow UH. upper half LH, - lower half

29. Walking Finger Exercises

—iz só
E=

a
=
Jin 3 ger when th finger fl

‘These exercises prepare the close 3.4
pater introduced in Minuet No 2.

slide up

Raise Ist Anger during tilt tobe ready
to fal on D sing.
=

a
ao an
ns
EE
3

30. (Minuet No. 3)

‘Achieve a clear tone with 3rd finger n exch string
Or ce bw ree er cg

eS ==

====

Use smaller strokes om eighth notes
Play the two up-bow notes gealy.

=

-

sn E —_

ee = ==
‘Say “down

sur downup dom up
‘while clapping steady pulse,
Go directly from 3rd to 4th finger. See exercise 3 of Minuet No. 2,

w

===
FH

Hold 2nd finger until 3 finger falle,
Grace note.

LR and set bow during rests, Listen for a clear grace note,

To find corec finger placement, place It finger
silent and hold. Touch 2nd finger to Ist finger.

Watch “low-high” 2nd finger.

Ho Ko Ho Fo o

2nd finger lifts as 3rd finger is placed. (Walking fingers)
# 2 ee -
tir Ses =
= ~ F3 ae

31. © First play implied melody with smooth singing quality.

E 2 = ===
Pray melody as Bach wrote
Sig emphasis he melo noes nd rx te accompanying oe.
à > poe
BE ==

(The Happy Farmer)

Try hi bowing onthe C Major (two octave) Seale

(writen) (syed)

‘Set bow in middle for each upbeat.
‘Set third finger firmly for good tone.

Keep Ist finger down when 3rd finger eroses strings.

Listen to correct placement of It finger

we?

32. (Gavotte)

Eighth notes should be played staccato. The bow should come 10 4
fall stop onthe quarer notes before crossing strings.
(O Bist wae ooo he est

Match clarity of open A sting by pressing
firmly with th finger.

‘Use thor stoke, Place bow on sting then pay épi bow on sin during rs
A ya

«q se

Ara finger is low on G sting and high on C string. Use fll bows on
quarter notes and upper al or lower half on eighth notes (alternating bowing).
‘Avoid pacing 2nd finger on string when skipping from Ist finger to 3ed finger

3

Br e FU LI

——

© Practice holding 2d Anger when placing rd finger. à
n Leos?
==

SSS
O, 4
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