Suzuki volume 2

1. nt Yiolir chool
YI()TIITM
YOrUt{E2
SuzukiMethodInternational

2. Sdi'Vlomschool
YIOIINPRT
YOrtDInz
Copyright O 1978 Dr. Shinichi Suzuki
Sole publisher for the entire world exceptJapan:
Summy-Birchard Inc.
exclusively distributed by
Warner Bros. Publications Inc.
15800N.W.48thAvenue
Miami, Florida 330T4
All rights reserved Printedin U.S.A.
ISBN 0-81487-146-8
The Suzuki name, logo and wheel device
are trademarksof Dr. Shinichi Suzuki usedunder
exclusive licenseby Summv-Birchard"Inc.
Anyduplication,adaptationorarrangementofthecompositions
containedin thiscollectionrequiresthe writtenconsentof the Publisher.
No partof thisbookmaybe photocopiedor reproducedin anywaywithoutpermission.
Unauthorizedusesarean infringementof the U. S. CopyrightAct andarepunishableby Law
] - 3 .

3. INTRODUCTION
FOR THE STUDENT: This material is part of the worldwide Suzuki Method of
teaching.Companion recordingsshould be usedwith thesepublications.In addi-
tion, there are piano accompaniment 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 associationprovides this for
its membership. Teachersare encouragedto becomemembers of their national
Suzuki associationsand maintain a teacher training scheduleoin order to remain
current, via institutes, short and long term programs.You are also encouragedto
join the International Suzuki Association.
FOR THE PARENT: Credentials are essentialfor any teacher that you choose.
We recommend you ask your teacher for his or her credentials,especiallylisting
those relating to training in the Suzuki Method. The Suzuki Method experience
should be a positive one,where there existsa wonderful, fostering relationship
betweenchild, parent and teacher.So choosingthe right teacher is of the utmost
importance.
In order to obtain more information aboutthe Suzuki Metho4 pleasecontactyour
country'sSuzukiAssociation,the InternationalSuzukiAssociationat 3-10-15Fukashi,
MatsumotoCity 390, JWan,The SuzukiAssociationof theAmericas,1900Folsom
#101,BoulderColorado80302or Summy-BirchardInc., c/oWarnerBros.
PublicationsInc.. 15800N.W.48thAvenue,Miami, Florida 33014.
Licensedby WarnerBros.PublicationsInc.
our catalogue
on line
r;=ii-i
-..+--=;
"te-r}&'
www.carisch.com
Thisolbum@2OO2by NUOVACARISCHs.r.l,- Milono
All rightsreserued.No partof this bookmay be photocopiedor reproduced
in any way withoutpermission.Unauthorizedusesare punishableby law.

4. C(NTDITTS
S t u d y P o i n t sf o r V o l u m e2 . . oo . . . oo . . . . . . . o . . . o . . . . . o . . . o . . . . . . . . . 4
EfflJ Chorus from ttJudas lVlaccabaeust',G. E Hgndel . . . . . . . . o. o. . . . . ......7
l A M u s e t t e o J . S . B a c h o o . . r . . . . o . . . . . o o . . . . . o . o o . o o o o o o r . . . . r . . . . . . . 7
f _ l _ lH u n t e r s tC h o r u s , C .M . v o n W e b g r. . ooo . . . . . . , l o o . o . . . . . . . . . . . . . . . . 8
1 A l r o n g ,I n n g A g o o T . H . B a y l y ' . . o o . . o o . . . . . . . . . i . . . o o o o o o o . o . o . r . . . . . 9
f . ! ! W a l t 4 J . B r a h m s . . o . o . . . . . . . r r . o o o . . . . o o . . . o . . . o o o . o o . . . . . . o . . 1 0
l - { l B o u n d e r G . E H a n d e l . o o o . . o o . . . . . . . o o . . . . . o o . . . . . . . . . . . . . . . o . . . l l
f Z J T h e f i r o G r e n a d i e r s ,R . S c h u m a n n. . o . . . . . . . . . . . . . . . . . . . . . ooo . . . . 1 2
LqJ Themefrom 56Witchestl)ancet'rN.Paganini ....... oo... o.... o......13
t 2 J G a v o t t ef r o m t t l l i g n o n " r A . T h o m a s. . oo . o . . . . . ooo . o . . r . oo . . . . . . . . . 1 4
t D f - - l r - -
E q G a v o t t e ,J . B . L u l l y . . . o . . or o . o . . . . o . oooo . . o . . . . r . o . oo . . o . . . . . ' . . 1 6
L U M i n u e t i n G L . v g n B g e t h o v g nof . o . . . . ooo . o . . . . o . . . . . . . . ? . . . . . . . . l E
t r M i n u e t ,L . B o c c h e r i n i. o . . oooo . o . . o . . . . . . o . . . . . o . . . oo . o . . . . . . o. . l g

5. Study Pointsfor Volume2
fr 2 *o+tla;-*:ii'
Points d' Etudepour le Volume2 Studium Hinweise fiir Bund 2 Puntosde Estudio para el Vol. 2
I . f-t'6t:. T t 6 r:tt&g v a - f' tlltlr'rf b : t
t: J'r < *'*6!lgt..t fiJ'-e -ti6 " + ntrlb'lB+t:J
t) tt + ,'i[{6 t t lt h't "
2 . | + t t{ 1 ' z a > . 1 t t ) * L r ' # a t ? , ! } t t . r t g -
,p*Et: rj r. A.h.ti htlirt t'>tttl.ll tL(tri b ti ro
3 . 4 l f i a t L t . t : J o ( . [ L r . * f ? . r ] . L r ' * t ] . f i
L u., ] a>l+16 t,1* b tL A "
1. The child should listen to the reference recordings 1. Das Kind solltejeden Tagdic d.iesbeziigliche
every day at home to develop musical sensitivity. Rapid Schallplutten-Aufnahme daheim anhdren, um seine
progress depends on this listening. musikulische EmpJindsumkeit zu entwickeln Rascher
2.Tonalization, or the production of a beautiful tone, Fortschritt hiingt von diesemZuhdren ab.
should be stressedin the lesson and at home. 2. Tbnftihrung oder das Heworbringen eines schdnen
3. Constant attention should be given to accurate Tbnessollte im Unterricht und daheim besondersbetont
intonation, correct posture, and the proper bow hold. werden.
3. Stiin dige Aufm erksamkeit sollte der genaaen
Intonierang, korrekter Haltung und richtiger
Bogenftihrung gezollt werden.
1. L'enfont devrait 1couter le disque de 1. El niffo debeescucharlos discos de referenciacada
rifdrence chaquejour d Ia maison, afin de d,ivelopper dia en su casapara desarrollar sensibilidadmusical. El
une sensibtlitd musicqle.Desprogrds rapides progresor6pido dependede estaaudici6n.
ddpendentde cette audition. 2. Sonidizaci6n,o producci6n de un tono hermoso debe
2. La tonalisation, ou la production de beaux tons, ser enfatizadaen la lecci6n y en casa.
devrait €tre travaillde pendant la legon et d la maison. 3. Una atenci6n constantedebeserprestadaa una
3. Une attention constantedevrait €tre donnbeafin afinaci6n exacta,postura correctay la forma debida de
d'obtenir une intonation exacte,uneposture correcte sujetarel arco.
et une bonnetenuede I'archet.

6. Tonalization
l ' : | t ) t 4 > 3 >
Tonalisation Tonfiihrung Sonidizaci6n
( ) { o l - F i i l a ) f i l t ? l i . ' : . . 7 ' v a - / - v t ' F l i f 6 t e
t : t [ i t t c h 6 " ) ( f i i v
(This exercisein G minor should be taught
in the same time the child is studying
the Bourr6e of Hiindel.)
(Cet exercice en sol mineur devrqit €tre
enseignt au momentoi l'enfant Atudiela
Bourrde de Hcindel.)
7 - > )
(Diese Ubung in G-Moll sollte sur gleichen
Zeit gelehrt werden, wenn dus Kind Bourrde
von Hiindel studiert.)
(Este ejercicio en sol menor debe ser enseflado
al mismo tiempo que el nifro est6estudiandola
Chamarascade Hiindel)
t f i , ! ; . t a l f r l j ( i e ( f 6 H t , ' (
s t l t i a f . 3 a l ? 2 l s i r : t
6 *i i?.
This is the first time the lowered first finger is used.When this
finger is placed on the stringo the third finger has the tendency to
pull back out of proper placement, toward the first finger. To avoid
this, try playing the following exercise silently. Keep the third
finger in place as the first finger movesback from Bi to Bb.
C'est la premidre fois que lepremier doigt reculd est utilis6.
Quand ce doigt descendsur la corde, le troisiime doigt a une
tendancede reculer aussi de sa position correcte, vers le premier
doigt. Pour |viter ceci, essayerdejour I'exercice suivante en
silence. Gqrder le troisiime doigt enplace pendant que le
premier doigt recule de sid sib.
3 o l f r b , ! h " ) + f v , r h T )
t ? I a l g t : $ t f f 3 r f
Dies ist dus erste Mal, duss der gesenkte erste Finger benutzt wird,
Wenn dieser Finger an die Suite gesetzt wird, so hat der dritte Finger
die Tendeng, von seiner korrekten Lage und nuch dem ersten Finger
zurilckzuziehen. [Im dies zu vermeiden, versuche, die folgende
tibung luutlos 7,uspielen. Halte den dritten Finger un seiner Stelle,
wiihrend der erste Finger sich vun H nach B zuriickbewegL
Esta esprimera vez que seusa el primer dedo bemolado' Cuando este
dedo est6colocado en la cuerda,el tercer dedo tiene tendenciade
quitarse de la posici6n correcta,por moversehacia el primer dedo.Para
evitar 6stetrate de ejecutar el ejercicio siguiente en silencio. Mantenga
el tercer dedo en su lugar mientras el primer dedo retorna de si ! a si b.
S r g r

7. Chorusfrom "Judas Maccabaeus"
E rz/'^?/J*? Xr h'P)
Maestoso
n
,A.
trl
{iEt:
te
p dim.
V
Bitte darun denken, dass das Kindjeden Tug
die Schallplatten unhiiren soll.
Por favor recuerdeque el niflo debe escuchar
los discoscadadia.
G. F. Handel
; 2 f ' t v
Pleaseremember that the child should listen
to the recordings every day.
Surtout nepqs oublier que l'enfant doit
icouter les disques tous lesjours.
Andante
n r
0
pastorale :z €.7 l.
3 - q
cresc.
3
E q B o F.-o0I
n
2^l
3 0 1
J. S. Bach
V
/;'/ 't
t.
3I
*f
n
0
Choeurde
"Judas
MaccabaeLts" Chor uus "JudusMuccubueus" Coro de "JudasMacabeo"
aMuset
Musette
0 3 6 A 2
--_

8. HunterstChorus
reAOAIE
C. M. v. Weber
lr. - z{ -
Y V3
' t
V
0
L o 3 o t
3
n
3
?
n
ChoeurdesChasseurs Jiiger Chor Coro de los Cazadores

9. trLongAgootrg,
v> ?" v> ?" 7="-
T. H. Bayly
^{- 1, -
- - -
l-9 B
-----_
*f
n
*f,
n
n
3 0 3- j
Variation (* 4 rk)
Variation Variation Variacion
!oYld
3ri+{l i o 3 + 1 1 o j o
3 # { t o S s z l o o r o
J
g 3 - . e o
n
3 0 3_o 2
3#i-t oJ o ?||.{ Bo
3.9-3-t o e
t _ o 0
3-t ,_J o o l o
g B - . o o
t 0 t 2
3 0 4 3
3_o z
I
I
Il y a Trds,TrdsLongtemps Lung, Lung ist'sher HaceMucho, Mucho Tiempo

10. 10
Waltz
v )v'y
p'dolce
Moderato
I
foco clesc.
poco rit.
ValsValse Wulzer
--_

11. Bourr6e
Allegretto
p espressiuo
( 4 )
2 3 t 2 3 0
V N
o 3
G. F. Handel
+ 2 7 ' t v
3
n3^.1
.--
- p
( 4 )
2 3 0 2
-
( 4 ) . ' ^
tliS- -0 l-+
k a
2 r
f i 0 3 X-..0 (f,gj) | 2 g
l-g I oA2a ?*_g
t 0 t 2
3 0 r 8 O j l J .
w
1-{ 3-{ o z- 3-o
1-g I o.-L2a ',
p espressiuo
Bo I s o L Z o
!10
G)
2 3 0 2
({)
2 3 0 2

12. R. Schumann
' / 1 - ' ? 2
r;
l ' l
The Two Grenadiers
-AaffilvR
t2
Z o
--__
Moderato
--_
I
-
0
rit.
3
n0
n
3
allarg.
Die zwei Grenudiere Los Dos Granaderos
Moderato
V N
L r . l r ^ 0 I
? . ? z l z ! 0
LesDeux Grenadiers

13. l " l
o'wit
rffifEr
V
0
Themefrom chestDance))
T 3 ,
Andant.T___o y
n
2-^.-f
) t 2 0
,)lfr 0t h't)
O-.3
!}l o-.-{
N. Paganini
r 9 ) f = - =
0
n
l.--0
3
n
1-? $)l^_0 #l1i #
t
O-'-.?
3_? I
3_o 2
. f 3
n
2
a
0I23n
t
P meno ,nosso
Thdmede la
"Danse
desSorcidres" Themuaus "Hexentunztt Temade "LaDanza
de lasBrujas"

14. l
I
I
I
I
j
I
I
i
I
I
Ii
II
i"-'
t4
Gavottefrom "Mignon"
a)liif 'y I.
r : = 3 Y t A. Thomas
t - - - ?
n 23 7
Allegretto
n P o - 9 3 4 2 3 ,^ o
2 2 - 3 |
0 0 l
V
l _ 3 2 4
( b ) t 3 Z 4
0 1 3 r , 0 (l)l
t 2 3 4 2 3 l" 0
({)
o
t z 3 4 z 3 o
Gavotade "Mifl6n"
Guvotteaus "Mignon"Gavottede
"Mignon"

15. (g)
n
?
( l )
9 {
( { )
0
ptzz.
Entrenamiento del oido
Ubung fiir die voIIendete Oktaven-Intonierung,
Dem Klange der offinen G, D, undA Saiten
Iauschen; die Oktaven-Hdhen genuu
zu treffen versuchen.
Ejercicio parala perfectaafinaci6n de octava.
Escuchela resonanciade las cuerdasal aire de sol,
re, y trate de acertar los dipasonesde octava
perfectamente.
Ear Training
uai,tlffi
Entrainement de I'oreille Gehiiriibung
'rti:t 2 ? - -r,fi'i|,.i):.,
G. D. Aa l'*l,lttt.2rl!jt,L +oU L,rSt J ( lltlr,,()'c'i|
r t t ? ? - ' 7 t u ( l * t l "
Exercise for perfect octaveintonation.
Listen to the resonanceof the open G, D, and
A strings, and try to match the octave
pitches perfectly.
S'exercerii obtenir une intonation
d'octaveparfaite.
Ecouter lq rtsonqnce des cordes libres du
sol, rim rb et du la, et essayerd'accorder
parfaitement les diapasons d'octaves.
Cet exercice devrait €tre |ffectue tous les
jours jusqu'ii ce qu'il soitparfaitement
maitris2. Le professeur devrait I'entendre
au commencementde chaauelecon.
' / u ' l , . l t h t v ,
7 > l f t ' l l L T . r r : t t : / t l r r t 6 J i t : . t
t : v t 7 > h A i j { : t J h ' t i i , t 4 6 J i t : .
This exercise should be practiced daily untit Diese Ubung sollte ttiglich gespielt werden,
it is mastered. The teacher should hear this bis sie viillig behewscht wird. Der Lehrer
at the beginning of each lesson. sollte dies bei Beginn jeder Stunde anhiiren.
Esteejercicio se debepracticardiariamente
hastaque se domine. El maestro debeescuchar
estoal comienzode cadalecci6n.

16. l ^ " 1
Gavotte
T6
f'fi.2 l.
Allegretto
D Vq e
J. B. Lully
t ) - ,
V c )
z ?^9
--l'
a tempo ma piil ogitato
l-.s o
ou t Z o
o
gfaznso
^f
(.)
0
poco rit.
--7
B A ! 3 *
3_
3 A 1
2,.r^o B
(c)
0 to-P-a I r $ ? 0
3 _
2 u o

17. 17
0 2 1 . 0
ritard.
rit.
n H 4 b i ) : , n 3 f f i a # r . / : I l " F f t t E t (
Procedure for practice Comments'exercer Verfuhren zur Ubang Procedimiento pall.aprhctica
( c )
0
( o )
0 l o-l o r^o I
(c)
(c)
0
( o )
0 9^9
n
i?z
*
i3 i?i3 ***13,11oI

18. 18
Allegretto
Y z
Minuet in G
t xr.7 l-
3 3
l-
V
3
Effi L. van Beethoven
-{ - l.-.<,
-
0
- P
2 0 2 3 2 3
( 3 )
l , 2 3 l ( b ) 4 Ya'
( 3 )
2 0 0
V
3 3
ll2.no.c.at Finel
3
|U
p con grazia
Q )
2 0 3
p
( g )
o 2 2 0 0 2 3 2 s o 1
Menuetensol Menuett in G Minu6 en sol
--

19. 19
Minuet
/ X ! ' y l .Moderato e grazioso
V N
i ? 0
? 2
3 0 1
0 2
s0t 2
--.--..-
at-
z + 4-.--3
L. Boccherini
;t'y t t)- =
V
Wlo 9--n Yqn g
V
1-{
qp
4
e3{q
p;
I 0
*
I
n
t4 30
V
kr
n
2
Y4
p '
23
--- ^f --------i
-
q z I o 8 - z I . > 1 D.C. al Fine

20. SUZTJKI METHOD INIERNAIIONAL
tsBN 88-507-0235-3
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