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Suzuki cello school_vol._1_(cello_part_&_piano_accompaniment)

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Suzuki Cello

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Suzuki cello school_vol._1_(cello_part_&_piano_accompaniment)

  1. 1. Celi Part Volume 1 Revised Edition © 1991, 1982, Dr. Shinichi Suzuki Sole publisher for the world exc1uding Japan: Summy-Birchard lnc. Exclusive print rights administered by Alfred Publishing C0., lnc. A11 rights reserved Printed in USA ISBN 0-87487-479-3 The Suzuki name, logo and wheel device m trademaxks of Dr. Shinichi Suzuki used under exclusive lioense by Summy-Birchard, lnc. Aryqfimcnmwunuarnupladlficwmpmmu I îaflnfismîeaxnreqflrsm-rmnzdflxhfihfis fipu-udàîmgrîrxpsxrvîuug-q ufinpîvm Lîxxxnfixyîixlfi Cayagszmnîègm
  2. 2. INTRODUCTION FOR THE STUDENT. ‘ This materia] is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with these publications. In addi- tion, there are piano aceompaniment books that go along with this materia]. F OR 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 Intemational Suzuki Association. F OR 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 c0untry’s Suzuki Association, the Internationai Suzuki Association at 3-10-15 Fukashi, Matsumoto City 390, Japan, The Suzuki Association of the Americas, 1900 Folsom, #101, Boulder, Colorado 80302, or Summy-Birchard lnc. , c/ o Wamer Bros. Publications, 15800 N. W. 48th Avenue, Miami, FL 33014, for current Associations’ addresses. Under the guidance of Dr. Suzuki since 1978, the editing of the Suzuki Cello School is a continuing cooperative effort of the Cello Committees from Ta1entEducation Japan, the European Suzuki Association and the Suzuki Association of the Americas,
  3. 3. EIHHEEBEHE El CON TEN TS Tvvlukle, Twinkle, Little Star Variaîions, - - - - - 3 Perpetual Motion in G Major, Shinichi Suzuki. . . . 15 Shmwhl sula, “ Long, Long Ago, TÌH. Bayly . . . . . . . . . . . 16 Freud‘ Fon‘ songmolk Song" ' ' '10 [E Allegretto Shinichi Suzuki . . . . . . . . .16 Lighfly Row, Folk Song I I ' I ' . I I I I I I I 10 IE Andantind, Shinichi Suzuki. . . . 17 Song ofthe Wìnd, Folk Song. . . . . . . . . . . ll Ri adoon H Fame” . ' ‘ ' I . n Go Tell Aunt Rhody, Folk Song. . . . 11 ‘ g _ . _ ' ' ' ' o Come, Llttle Chîldren, Folk Song . . . . . . . . 12 E] Ehm’ Shtntch‘ Suzuk" ' ' ' ' ' ' ' ' ' ' ' ' v » — i » i i i a fllîlîînîîîiîìlcîfigîîzîcî. ‘Sîdîufilafiln: 1 : i Ì : Ì i i: Allegro, Shinichi Suzuki . . . . . . . . . . . . . 13 _ Perpetual Motîon in n Major, Shinichi Suzuki. . . . 14 Mmm M 2’ J'S’ Bach ' ' ' ‘ ' ' ' ' ' ' ' ' '21 °1979 Fritz Henle Maestro Pablo Casula
  4. 4. l . îgt-îàîàm E12 flàîfijm 4 omîxî fai, 1:, 1g: g, Ijtîîîilfl u : —— y" èlìflimtè L au; oT%%%%È%mtàee. %num% l: ;0m%w@%eòa#To l+ur4>a>.0:0ìLw%m%#è. fi îvîfluswrmaaffiabnannuas ma, .7FIÉRVÌBÈÈILI—2T, IELwÈFrÈ. lkîtifièîé‘. ELHÉEmàH-îiàîîiflîflèlèl in, . flbìit. +EL#îETtmL<Ln»nm ET%J5E%ÙT& uLm40mfi4>l%fiÈLTfiùò: tuio ‘C. E? ) it'll b Èàîéàîlvfîéù‘; (ÉO: t è. fili wîuht6fiÉWflfi#5moàUàW%T6I5 1:4- ‘) à 1.74., %%mX%u&: noèmemcua<. fitsn ebmamr1°%nus; ja. u&m+aLmu nTbH#%ì%L. fi#*WfEb#, h&%fl? nmflm%%t:5fK%LTwèmàWt:5m g%g%mfirfluLnmar, gm%aLuofir cn5%nTsu. mHw; <fiz: h Eò%f8Lmpbb&mtmu, ;m40mfi4 7172*‘, ÌCEWflQÈ-ÌJ: tsuf lfiìhîîbîà i 51:11?! Mia-et < L-‘èw. Four Essential Pointsfor Yèachers and Parents 1. Children 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 beautifill 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 children s0 they will enjoy practicing oorrectly at home. Through the experience I have gained in teaching young children for over thirty years, I am thoroughly convince-d that musical ability can be fully cultivated in al] children if the above four points are faithfully observed. Musical ability is not an inbom talent but an ability that can be developed. A11 children who are properly trained can develop musical abilityjust as all children develop the ability to speak their mother tongue. For the happiness 01‘ children, I hope these four essential points will be carefully observed and put to continua] use in the home and in the studio. Shinichì Suzuki
  5. 5. The D-string Postura is fundamental and should be completely masteled. Exercìses for Proper D-String Posture Use a short bow stroke. 0 — — îî—fl4JJ-Q ———î —— u- C! ICÙÉJJuflJ-îuî QTII LIlll Exercises for Changing Strings Change suing - 0 îîî-É-fl-‘Zuflî quickly han. 0 : -.4.4.4.4.—. —îî ÌIIU ( -- 1uv| U—.4.4.4.4 I—--’- î-î C1111 112-13311 -m—-'î— —-Éî 111 Exercîses for Q 'ck Placement of Fingers Placc fingers 1,2.3,4 quickly and accurately during the rests. When playing the 4th finger, keep all four fingers down on the string.
  6. 6. The First Position The purpose of the following exercises is to play the notes accurately. Press the string with the tip of finger. a) Play the 4th finger, keeping the lst, 2nd and 3rd fingers down on the string. While playing the 4th finger, think and prepare for the next position of your finger. Repeat on the A string. b) For half a year, at least, continue the practice of stopping the bow on the string after each note to get a clear sound. D Major Scale While playing the upper half of the scale, the lst and the 3rd fingers should rema. in on the string. When you place the 3rd finger, place the 2nd down with it. Important Instructionsfor Practice: The fìngering 07 requires very careful practice. Stop the bow after you play open A, and be sure to place the first, second, third, and fourth fingers in the proper position on the D string before you continue to play.
  7. 7. Twinkle, Twinkle, Little Star Variations T0 play n stop the bow without pressare after each note. Bow J j j ì smoothly. ì= = V . ———. 0 . . 1 _ - - 0 g . 1t1îîn- 7- r1ìî1 î_î — —. ._ . -
  8. 8. aîagnî——î——. îa —ì—1uî——ì——ì— ————————î— etc. f ma 11,1110
  9. 9. French Folk Song T0 develop the practice of tonalization Moderato 4 Lightly Row
  10. 10. Song of the Wind Moderato Keep the lst finger down. G0 Tell Aunt Rhody Moderato
  11. 11. E O Come, Little Children CVCSC. Tonalization This should be taught at each lesson. Pluck the open string and listen to the sound of the vibrating string. Play tones with the same resonance with the bow. Questians teachers and parent; must ask every day : Are the pupils listening to the reference record at home every day ? Has the tone improved ? Is the intonation correct ? Has the proper playing posture been acquired ? Is the bow being held correctly ?
  12. 12. May Song Folk Song S. Suzuki
  13. 13. ' D Major Perpetual Motìon 1n Play this piece at the middle of the bow using a very short stroke. Stop the bow after each note. Play slowly at first and then gradually speed up the tempo. S. Suzuki _ _ _ _ _ _ _ _ _ 3 — , , 0 îZî-îîî Variatìon After A, play B. Procedure for practice: Transpose all previous pieces to the key of G Major in preparation for "Long, Long Ago. "
  14. 14. Tonalization This should be taught at each lesson. Pupils should always strive for a more beautiful and resonant tone. G Major Scale Perpetual Motion in G Major S. Suzuki Variation fiî'i'î———z——î- îì——î'——————
  15. 15. Allegretto _= =. =. = . _._ _= flîlî—îî C’: 1111- "- 3'111-
  16. 16. Andantìno S. Suzuki meno M0550 Second-Finger Training (Preparatory Exercise for "Rigad0on") * Lift third & fourth fingers together
  17. 17. H. Purcell n n è u "‘ See P. I7, second finger training, for preparatory exercise using 2nd finger.
  18. 18. Tonalization J This should be taught a: each lesson. QY-—:2I——-——’I— LIA! îîrx—z——îx—îtx C Major Scale (Two Octaves) Etude Stop the bow after each note. S‘ Suzuki ‘ 2 ° 4 2 xxx xx: xxx ‘Tîî-î îîîîîîîx————zîî— îfiîîîî îÎuî 1C —- l‘ In. ‘ -—-1-îu1 — ——— îîî-î m-—-Ì'—îîîî —_-‘2—2 2 fl———îîîîîînî -’—' —î— î-—îz——î--— Àì 111 ‘à —11111111 — îîî îì I’- Îîîîìîî îîÎÌ îîî‘ I Zî-î 1'232 —îîîfil —--j- -È’ îî—î _È 1î—îîîì ìîîîîîî——| î! îfi— —-——— îîîîîîî
  19. 19. 20 R. Schumann The Happy Farmer J. S. Bach (2nd time) poca rit.
  20. 20. Minuet No. 2 J. S. Bach u Îî —ll—-—llj—— ——Î"—— Before playing this piece see diagrams and pictures on pages 22 & 23.
  21. 21. 22 e S l G# Exerc Closed First Posit10n
  22. 22. Shift ” i ” il Extension h Explanation Explanatìon Move all fingers and thumb one-half step higher. (Kecp Move 2, 3, 4 and thumb one-half step higher. (Keep thumb thumb undcr 2). under 2). Bring elbow forward for extension.
  23. 23. F OR THE S T UDENT: This material is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with these publications. In addi- tion, there are cello part books that go along with this material. F OR 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. F OR 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 3-10-15 Fukashi, Matsumoto City 390, Japan, The Suzuki Association of the Americas, 1900 Folsom, #101, Boulder, Colorado 80302, or Summy—Birchard lnc. , c/ o Wamer Bros. Publications, 15800 N. W. 48th Avenue, Miami, FL 33014, for current Associations’ addresses. Under the guidance of Dr. Suzuki since 1978, the editing of the Suzuki Cello School is a continuing cooperative effort of the Cello Committees from Talent Education J apan, the European Suzuki Association and the Suzuki Association of the Amerieas.
  24. 24. Cello School Piano Accompanìment Volume 1 Revised Edition © 1982, 1991 Dr. Shinichi Suzuki Sole publisher for the entire world except Japan: Summy-Birchard Inc. Exclusive print rights administered by Alfred Publishing . Inc. A1] rights reserved Pr" in USA ISBN 0-87487-480-7 The Suzuki name. logo and wheel device are trademarks of Dr. Shinichi Suzuki used under exclusive Iicense by Summy-Birchard, Inc. AL} digitiamo, adqpuuon or arrangemenr of the mmpositiom manna z: 35 : :-'_}e;1:—: u rum-x: E’: Imam zanseui of the Publishu. Npzxiànxùxzm xfixuuxrzrmàxjmm} I2) Iimommmisson. Linux-gamma mitrgzncn 3'215 Lqrgxkxnîxepxlînbèh la‘:
  25. 25. oollxxwcxluuynlw N CONTENTS Twinkle, Twinkle, Little Star Variations, Shinichi Suzuki . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. . . 2 French Folk Song, Folk Song . ... ... ... ... ... ... ... ... ... ... ... ... ... . . . 7 Lightly Row, Folk Song . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. . . 8 Song of the Wind, Folk Song . ... ... ... ... ... ... ... ... ... ... ... ... ... .. . . 9 Go Tell Aunt Rhody, Folk Song . ... ... ... ... ... ... ... ... ... ... ... . . . 10 O Come, Little Children, Folk Song . ... ... ... ... ... ... ... ... ... .. 1 l May Song, Folk Song . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... . . . 12 Allegro, Shinichi Suzuki . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. 13 Perpetual Motion, Shinichi Suzuki . ... ... ... ... ... ... ... ... ... ... . . . 14 1 L Long, Long Ago, T. H. Bayly . ... ... ... ... ... ... ... ... ... ... ... ... ... . . . 15 Allegretto, Shinichi Suzuki . ... ... ... ... ... ... ... ... ... ... ... ... ... ... . . . 16 Andantîno, Shinichi Suzuki . ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. l" Rigadoon, H. Purcell . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... . . . 18 Etude, Shinichi Suzuki . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. . . 20 The Happy Farmer, R. Schumann . ... ... ... ... ... ... ... ... ... ... . . .2] Minuet in C, J. S. Bach . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... . . .22 Minuet N0. 2,J. S. Bach . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ..23 a °l97 Frilz Hnle Maestro Pablo Casals
  26. 26. 2 Twinkle, Twinkle, Little Star Variations Variation A S. Suzuki . . - - 0 . . 4 _ _ asfiuszgnsîiflfifilîifig’: — I — î————: j— - -_uJuJn‘uIu-n. II I I--Ì""""'Î'x— I I I I I I O - - 4 . . 3 . . 1 IIIIES-IÌIÈÉ= —ÎIu= mn—u—JJJJ 70..4, 3,_| 0 0 rìîlî—în1nflnîu—zî È È É —— ' ' ' = .=. =:: === === === === '--aii-_ -. '—. ._-- -_ ___ — . ___ ——— ——x n II- z -. g| = Q___I__— g 4 x—— ———- î —'13I| xx: h "'"' I -à——-Éì: —.——-—. _- xàxÉ_— Ù. -DI—IÉÉZZZÉ= =' — -—nà—îî—îfififig- - - LG“"‘""""" ‘P! 4 Illllulaanl-nauann V o {il} F11 ——Ò'— ___ mi! !! a 5E: + P __= =:-= - L41 1 I — . —.“‘-——7 I - - l. | îìîîîîîîî—tît1îîîî— IIIÈIÉEI llaujl-‘Jlfl-‘I III
  27. 27. ' r KÎE ' ìî> I: ‘îìflìîîr Éîfilînîî-Éîuîî ‘W’ îî’ -înî-nîìfi' Lì’ III _ îlî _l ìfi’ I
  28. 28. mmir ìlîî-îufll-î-flnflxîî: îîî-î | Îì1ZîZZî-—Zîà— . m: — î1î—. î.j. fl.î. a.à ì n 1 î I J î—î—î11îî îî1îîî
  29. 29. ‘v3 Lx. II1( 111 ‘ 1lllîv1fllggg4lflîîî '1JI —11E—11E nîlfilîfifià-I-IÈ ÉÉÉÈÉ—ÈÉE I nîì 5% fi. ———îàààîàààflîfifi InîlîfifiîflîîfiîàààfixxxlîII l, LÙFFFFÉÈZÉÉ Éfil " ’ 4.111111 .7. ‘ - ' ’ lgnîzlî I II I I IIF? ‘FFFIÙEÎQQÈÈÈZZÉQ—ZÉZl&xx—É: x:I I —'I IIIIIIÈFWF! ‘ FHÈÉÈÎÉÉÈ " —. — ' 1 1 1 1 1 1 1 1 —— — Èîîîîîîîmîîî! îîîifiîîî_îîî 4î| I| ÈQÈÈÉÈÉIZ31fiîfiîflfixxxfixxxflì———fi———fl lgsalgééiJfié I I I I I I I JÎ? FP'FFF'FÉÉÈIÎÈÉWÌÈWÌÉÈÈfifilfifixàxfixx: III III}? ??
  30. 30. Theme f marcato
  31. 31. Folk Song French Folk Song Moderato
  32. 32. Folk Song Row Lightly Moderato
  33. 33. Song of the Wind Folk Song Moderato É,
  34. 34. G0 TellAunt Rhody Folk Song Moderato ÈEÈEÉ-‘E-‘ÈEÉEÈÈÉÉEÈE
  35. 35. ll E O Come, Little Children Folk Song Andante —. —2 4
  36. 36. 12 Folk Song X lfiÎlli—l—>—r—î'îîuî
  37. 37. Allegro S. Suzuki f l —>—> —>— ' n -n : ": dolce
  38. 38. I4 E Perpetual Motion S. Suzuki Allegro Q1314 40341 013134 3403410 -" —uî—îîîîîîîî—Îî_1-Î_ IÎIFI-IPII-frl-IH E . Z—> ù——> — . > V — I]IÌ(î'— — _— 2 u- -î—: — IIIIÌTJJEEIEE. ":“' — —-—-ug. —u— = Z!ÉÉ: mu—FI: .—= -—g—= — %ÉÉiIÌÉÌ—I. Z!—ÉÉ:1 ‘-""‘“‘"""" à - É —nJ-îîîZîîÎî--ÉÌ - I .1- Lîx- a7: 51*; mai mdmgs uhm xmmnauî. ) 111;: Perpvmal Mmion and ili xariarion. ‘m: r. '_- 133x111 usum 31:53.: urge-cc‘. zs 9125-; -2 sicura ermimg m: 11-0 tra-.11.
  39. 39. Long, Long Ago Moderato
  40. 40. Allegretto S. Suzuki 0 1 n v 3 0 4 1 0 3 0 4 3 1 4 ? EÉ= :%= _-'—'-î'î= ÉI"-ÎÉÉÎÉEEÈEE= — L“! . .._«. ... — . I? qnf . . . o
  41. 41. 17 S. Suzuki Andantino
  42. 42. 13 Rigadoon H. Purcell
  43. 43. "'Î'I-î—---—"'---- Ù. " - : — . -——--î1fi —I
  44. 44. 20 S. Suzuki 1 1200 0 gîèaflr ; îuîu I î . 12001 2 O 0 ariation in non: BY
  45. 45. E The Happy F armer R. Schumann Allegro Giocoso f sempre Allegro Giocoso n‘ _‘ Z ' R l III; : —=—îx: ù—— ‘I ; , EÌFIÎIEÉEI" III, ‘ I — É—I1 _ . l’ I-‘fiîîîìîlfiìîîfi ÌÎZC îI! -Z1—Z argini _. . .’Î _ . _ nlggg-îg î_. 1 4 ' I’ ' I’ — I‘ 1 K-IÎÉÈÙLIÈÌI’ l’ 101-3313411‘- ZHÈZLÎSIÙ-II- -—î-IZ-—Z ÌÎ- I ' Vfl——‘—îx v S V ezr'. !== a== ;:%5fi= =Éaai-W= === ==—=
  46. 46. E Minùet 22 J. S. Bach inC Grazioso I I I _' Iîfl——'ÌJÌ-"-î—= =—= =EflÉ
  47. 47. E Minuet N0. 2 J. S. Bach È! r '. —l. —— [In “Ì f l __- E r n. .0 Ét. r; O
  48. 48. F. î lnîlh; î È’. ‘a, . ' » x , H . . . . . i . Îî ÉK îI/ S Kî rù"”""m-i

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