Método Suzuki Volume 1

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Método de estudo para violino

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Método Suzuki Volume 1

  1. 1. “Violin VIOLIN PART VOLUME l Copyright O 1978 Dr. Shirrichi Suzuki Sole publisher for the entire world except Japan: Summy-Blrclnrd Inc. exclusively distributed by Wamer Bros. Publications Inc. 15800 N. W. 48th Avenue Miami, Florida 33014 All rights reserved Primed in U. S.A. ISBN 0-87487-144-1 21 20
  2. 2. INTRODUCPION FOR THE STUDENT: This material is part of the worldwide Suzuki Method of teaching. Companion recordíngs should be used with these publications. In addi- tion, there are piano accompanirnent 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 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 Association, the Intemational Suzuki Association at 3-10-IS Fukashi, Matsumoto City 390, Japan, The Suzuki Association of the Americas, 1900 Folsom #l0l, Boulder Colorado 80302 or Summy-Birchard Inc. , c/ o Warner Bros. Publications Inc, . 15800 N. W. 48th Avenue, Miami, Florida 33014.
  3. 3. Suzuki violin method Principles of Study and Guidance Four Essential Points for Teachers and Parents l. 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 practlcing correctly at home. Through the experience l have gained in teaching young children for over thirty years, l am thoroughly eonvlnced that musical ability can be fully cultlvated ln every child if the above four points are falthfuily observed. Musical ability is not an inbom talent but an ability that can be developed. Any child who is properly tralned can develop musical ability just as all children develop the ability to speak their mother tongue. For the happiness of children, l hope these four essential points will be carefully observed and put to continua] use in the home and studio. Guidance for music reading will begin in Vol. 4. Just as the alphabet is not taught when children first leam their mother language, so music reading should not be included ln violin study until children have sufficiently developed their musical sensitivity, playing skill, and memory. ln the Suzuki Violin School this should occur by the end of Vol. 3. Even after acquiring the ability to read music, however, the children should, as a rule, play from memory during lessons. 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. lt is the most important factor ln the development of musical ability. Those children who have not had enough listening will lack musical sensitivity. Tonalization for beautiful tone Just as vocallzation is studied ln vocal music, so l have introduced tonalization into violin study as a new method of education. lt 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 eruoying 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 iingerlng and bowing of the present one. His ability must be cultlvated further as he plays his piece. l would say to the child, "Now that you know the notes, we can start very important work to develop your ability, " and then l would pmceed to improve his tone, movements, and musical sensitivity. The following point is also important. When the child can perform piece A satsfactoriiy and is given a new piece, B, he should not drop A but should practice both A and B at the same time. Continuously revlewing 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 ol' the child. Sometimes a child may have a short Iesson, stop and watch another child, and then return for more instruction. Shinichi Suzuki
  4. 4. Fig. 2 Posture: The nosc. the strlngs. the elbow. the ¡el! foot. I in a straight line Posture : Le nez. l le: verdes. l Ie mude. 1 le pird gaurht. l dans une ligne droite Beginner; bow hold. Thumb below frog. Tenue de Farche¡ pour le: debulanlx. Le pouce mu: le ralon. Bogenhallung dm , ku/ angen. Den Daumen unterlmlb de: Froscher. Mancra de sujetar cl arco para principinnte. El pulgar bajo del ulón. Halrung: Die Nau, l die Saüen, 1 der Ellbogen, l der link Fun, l in einer geraden linie Postura: La nariz. las cuerdu. el codo. el pie izquicrdo. en una línea recta The thumb and the bow make an obllque angle. Le poute e¡ Further formem un angle nblique. Der Daumen und der Hagen formen einen schnígen Winkel. El pulgar y cl arco forman un ângulo oblicuo.
  5. 5. F13. 6 1*' The thumb and the middle llnger form a clrcle when holding lhe bow. Le pauce el le majeur formem un ven/ e quand la main ! ienl Farchel. Der Dawnen und der Midemngerfornnen hein¡ Hnlten de¡ Hagen: einen Kreix. El pulga: y cl dedo medio fonmn un círculo cuando sujclarel N00. Fig. (v . w t, The bnsk posture ls the E-Strlng poaure. La pusture de boxe en la poxition : ur la tarde du mi. Die Gmndluhung ¡s! die E-Sailen llokunp L¡ postura básica es l¡ postura de ln cuenta mi. Conte! hold of the left hand. Poxilion correr/ e de lu main guurhe. Karrekle Haltung der linken Hand. Posición correclo de la manu izquicrda.
  6. 6. Exercise for Proper E-String Posture S 'exercer qfin d'obtenir la Úbungjiir die richtige E-Saiten Ejercicio para la Postura Conecta Zosition carrecte sur la corde llaltung. de la cuenda mi. u mi. The E-strh¡ postam ls mndunenul and should be completely mastered. La postar: sur lo corde du rni es! Die E-Scilen Hahn¡ ist grundlegend und L¡ poaun de l¡ cuenta m¡ es fundnmental y fondarnentole e! devroii ! tre parfaiiernenl some w071i¡ ; encima werden. debe ser dominada completamente. mamisee. PhoebowuinhgnnàpogelLunennbort bow stroke. Plocer Parchet comme indique : ur la Set: : den Eugen wie in Figur 5, Seite II, Coloque el : no como se ve en la Figura 5. figure 5, page H . Donner un coup d'archel Nlnun kar-un Bogenarrieh. página ll. Use un golpe de amo com). C011". Exercise for Changing Strings S'exercer pour le changement Úbung fir Wechsel der Saiten Ejencicio para Cruzar Cuerdas des cordes Chance string¡ quickly here. Changer ropidernen( les cordex. Die Snilen hier : :Anel Weclueln. Cambia Cuerdas en form¡ rípida. aqui.
  7. 7. Exercises for Quick Placement of Fingers ã 'exercer pour un placement rapide de: Úbungen für . rckneile Fingerretning. Ejercicioa para colocación Rápida de Dedos. oigts. Place finger: l, 2, 3 quickly and aceurately during the rats. Setze die Finger I, 2, 3 . tchnell und ¡enau Coloque los dedos 1. 2. 3 rapidamente y en wãltnnd der Paueen. forma exacta durante los siiencios. Pendanr les silences, placer correctemen¡ e¡ rapidement le: doigr: 1. 2, et 3.
  8. 8. Twinkle, 'IWinkle, Little Star Variations To phy the bow without pressure : Ile: acl Anil¡ Un u¡ rpirkn, hall: du Bop: : ohne Druck nachjtdrr nau. Bow : mamy and Inhurrhdly. with a short par: between Achnlmu an. smkkc cbcnmãui¡ ul ohne Eik nu": einer kuruu bow intel. Pau: zwicchcn dm Bogcutrícku. Pour joucr meter Parche¡ : an: appuyer apra. : cluzquc Pan tocar deu-mg¡ el amo sin presionnr después de cada eomhca croche. Mania Parchet avec : ouplnse e! lentemenl avec une Use el mo en form¡ liznd-I y sin print. con um pausa com entre los count paus: entre cheque comp further. golpes de amo. Variation A
  9. 9. Variation B Variation C Variation D Stop the bow without pressure aliar each note- Den Bogrn noch jeder Note ohne Druek anhaltcn. Arrêter Porchet : an: oppuyer oprês choque note. Detenga el amo sin ptesionar después de cada nota. Theme Theme Thema Tema
  10. 10. Lightly Row Folk Song Chamou populoíre Volkdíed Canción Folkldria Moderato n 0 í** É Doucement á l 'Aviron Rudere Soup Remando suavemente Song of the Wind Folk Song Chansan populoire CAnción Follddrica Volbliel Chanson du Ven! Windgesong Canción del Viento
  11. 11. Go Tell Aunt Rhody Folk Son¡ Chonson populaire Volkslied Canción Folklórica 0 2 0 Vas Ie Dire á Tonte Rhody Geh, cmãhl es Tanta Rody Ve y Dile a Tia Rod¡ O Come, Little Children Folk Song Chanson populaire Volkrlied Canción Folklórica Venez, Petits Enfants ! hr Kinderlein kommct Venid, Pequerios Niños
  12. 12. Tonalization Tonolísation Torqführung Sonidización Till¡ should be hugbt at nel¡ lenoon. Sie rollle lnjederstunde gelehrl wrdul. Plucktbe nmingandllatentotheaoundoltbevibratingatrlng. Zupfeâeoyenesoluundlauchede Ilan o” der ribriennden Solte. m t Ceci devrall ! tre enxeígne a choque leçon. Eno debe ser entalado en cada leoción. 'ñmlawedaalaireyeawcbeeltonidode lawerdavibrante. Pincer lo corde libre et (conter le . mn de la corda qui vibre. &Lu-dimvufà à: (Ililvtlüat. WW¡ ¡II! 50"» ¡f! W Phil' “D” 'm' u** lim* "limina- Verruelu ma». Bop¡ Tãne nd¡ der ¡Ielcheu Reaononz u¡ Jpirkn. Avec Porchet, eesoyer de jouer de: tons qu¡ Con el arco. inte de tocar tonos oon la misma ont la meme rdrononce. resonancia.
  13. 13. May Song Allegro Moderato 240 volto poco ril. Chanson de Ma¡ Ma¡ Gema¡ Canción de Mayo Long, Long Ago T. H. Bayly II y a Três, Três Longtemps Long, Long ¡sfs her Hace Mucho, Mucho Tiempo
  14. 14. Allegro Perpetual Motion in A major Play this piece It the middle olthe bow using a very short stroke. Spiele diese: Stickmüdcrblídedes Bum: unurAawndutmelnn Stopthebowanereadznotmllnydowlynlñmnndthenpadmlly : aukumuSh-icllemüalte du¡ Bagda uuhjedcrNolc u. Spiele speed up the tempo. ent Input und dana beta-Mecum da Tempo allmãldlch. Jouer ce morceau uu milleu de Further avec un coup m: courl. Toque est¡ pieu en el medio del : mo nando un golpe muy nono. Arreter Further apt): choque note. Iouer lentemenle au debut Deteng¡ el arco después de cad¡ non. Toque lentamente : I principio put: accllerer petit à petit le tempo. y luego en forma ¡india! :mesure el tempo. Stãndige Bewegung in A-Dur Mouvement perpétuel en la majeur Movimiento Perpetuo en la mayor
  15. 15. Variation After A. plny B. Apr): A, jouer B. Null A : pick B. Después de A ln toque B. Procedure for practice Comment : 'exercer. Vufduvn ur Úbnn. Procedimento por¡ prtctica.
  16. 16. Exercise for the 4th Finger Exercer Ie quatrieme doigt. Ubung [rir den riemn Finger. Ejereicios para el cumo dedo. Donotralaelhelstllngerfromtbestrlng. llebedenenunfingernndersaiunicht. Nepa. : releverlepremierdaigt de la corde. No levante el primer dedo de la cuerda. i 0 Tonalization 0123321 Tonalisation Todi/ inn¡ Sonidiución Sie solta in jeder Stand¡ gelelrn wrden. Dic Sell úIer : ollten inlnner nach nt . rcluíneran und klingenderern Ton Jaben. Esto deberla ser ensetlado en cada leccídn. los alumnc. deben siempre esforzarse porobtener un tono mas hermoso y resonante. Thla abould he taughl at each lesson. Puplk should alwaya strlve for a more heantlml and Monark tone. Ceci devmir ! tn enseigne' et repete d eh ue leqon. Ler (tem devraient fãorrer dbbtenir un ton tordour: piu: beca et piu: rlsonant. D Major Scale
  17. 17. n . m LI. Or_ Mw 13 e am D. . P. e P Mouvernent Perpétuei en Stãndlga Bangu¡ in Movimiento Perpetuo en re rnqieur D-Dur Ie mayor Variation Variation Variation Vllilciôl¡ a_rÚl--"""'í: u-: í'_ ' InÉIÇÍ-Z Allegretto
  18. 18. Andantino Tonalization ng Sonidización Toni' Tonaliration Thla aiould he taum d each leaaoa. Sie : olhe injeder Stunde geielm werden. 'Ceci devrait être enuign! à choque Esto deberla ser enseñndo en cada leocíón. eçon.
  19. 19. G Major Scale Gamrne du . toi majeur G-Dur Tonleiter Escala de sol mayor. m Mm mm w R m. ” me ã um ü e . warm @um mu. m» um . m. m n. m: : 1mm. me . w @um . ..w um . mx uma ? m3 m? ;mm Etude ãopthehowalteruchnote. Arréter Parc-het aprà: choque note. Den Roger¡ nochjeder Not: u Iialten. Detenga el arco después de cada nota Variation Variation Variation Variacidn second time play B followln¡ A- La deuxieme fais, jouez B aprér A. Iran zweiunrnul, :pick B url¡ A. LI : :ganda vez. roque B ¡iguiendo A
  20. 20. Minuet 1 J. S. Bach Allegretto J. = 66 2d" Volta rir.
  21. 21. o Mmuet 2 Andantino 3 J' S' Bad' Donner un coup d'un/ Ie! com. u. e¡¡hn¡mh_ Wcudchvvstichcu. Use un golpe com.
  22. 22. Minuet 3 J . S. Bach 'Place the 41|¡ Ilnger nccunteiy. The hd finger should touch the 'Setu- dcn vürun Flnpr pneu. Der : uniu ln finger. Finger mike den : nun Finger b: ' n. 'Placar corrtctemenl le qualriêmz daigl. 'Coloque el cunno dedo en fonm exacta. El Le deuxiàme doigl dzvrail touch" le segundo dedo debe tocar a] primer dedo. prum".
  23. 23. R. Schumann The Happy Farmer Allegro giocoso Le Gai Laboureur Frõhlichcr Landmann El Granjero Felíz
  24. 24. F. J. Gossec Gavotte Allegretto pill); canrabile
  25. 25. Pmcednre for Practice. Listennremllylothelntontlon. Une¡ shortstmke. Plncethebowonthestringnhenplnhkeeplnglhe howontlnearlngdurlngtherest. Comment fexercer. Ecourer anenlivernenl Pintonalion. Donner un coup rfarcllet court. Hacer Partner . mr la corde. pai: jouer, en garden! Parchel : ur la come pendanl le silence. Verfahren nr Úbung. Lanche arq/ rrurbanr eddie lntonlemng. Wende einen kurzen Sirlei¡ an. Sette den Bergen «uq/ die Saiu, dann splele; !em den Hagen wãhnnd der Pau: aq( der Salle. Procedimento para ptíalcn. Escuche cuidadoumenle ln nñnnción. Use un golpe sono. Coloque el emo en la cauda, emonoes toque. mamenlendo el amo sobre l¡ cuerdn dunme el nilencio.