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VIOLIN PART
VOLLME l

 

Copyright O 1978 Dr.  Shirrichi Suzuki
Sole publisher for the entire world except Japan: 
S...
lNTRODUCľlON

FOR THE STUDENT:  This material is part of the worldwide Suzuki Method of
teaching.  Companion recordings sh...
Suzuki
violin method

Principles of Study and Guidance

Four Essential Points for Teachers and
Parents

l.  The child shou...
Posture: 
The nooo. 
the strlngs, 
the elbow. 

the le! ! [od, 

l

in a
straight
line

Posture: 
Le nez. 

le:  rordex. 
...
Fu.  6

 

'De thumb nnd the middle ñnger form I clrcle when
holding the how. 

Le pouce elle mąjeurformenl un cercle quan...
Exercise for Proper E-Stríng Posture

S 'exercer ąfin d'obtenir la Č/ bungjiir die richtige E-Saiten Ejercicio para la Pos...
Exercises for Quick Placement of Fingers

Seven-er pour un placemenl rapid:  des ľlbungen für . rcłmelle ľlngersetmng.  Ej...
'Iwinkle,  Twinkle,  Little Star
Variations

'llo play  the bow wltbwt pressure : ne:  each eldlth Urn  ua rpielen,  halle...
Variation B

 

Variation C

 

Variation D

 

Stop the bow without pressure mer ml:  note- Dea Bogen nach jeder Nm ohne ...
Lightly Row

Folk Song
Chanson papuluíre
Volkdíed

Cancián Folkldria

Moderato
n
0
í**
š

 

Doucement á I 'Aviron Rudere ...
Go Tell Aunt Rhody

luire
Cancićn Folklćricn
0

       

Folk Song
Chanson pupu
Volkslícd

0 2

 

Vas le Dire á Tante Rho...
Tonalization

Tonulísutíon Ton/ ührung Sonidincićn
This should be hugbt It nel:  Ieneon.  Sie tome lnjederstunde gelehrl w...
May Song

Allegro Moderato

   

240 voita poco ril. 

Chanson de Mai Man' Gesang Cancidn de Mayo

Long,  Long Ago

T.  H....
Allegro

 

Perpetual Motion
in A major

Play this pice:  I!  the middle olthe how using a very short stroke.  Spíclc diem...
Variation

After A,  plny B.  Aprè:  otjouer B.  Nad:  A : plete B.  Despućs de A h loque B. 

 

Procedure for practice C...
Exercise for the 4th Finger

Exercer le quatrième doígl.  Uhan;  [ir den ritmu Finger.  Ejercicios pan el cumo dedo. 

Don...
Perpetual Motion
in D major

Mouvement ľerpćluzl en Stindłge levega;  in Mollimiellľü PHPHW CI'
rć mąjeur D-Dur ľe 'MW'

 ...
Andantino

 

Tonalization

n:  Sonidiucićn

Taąf'

Tonalixalíon

This Iiould he laugh!  d each lenon.  Sie : ow:  injeder...
G Major Scale

Gamma du sol maieur G-Dur Tonka« Escnh de sol mlvot. 

 

'Selu den : when Finger nick:  noben den
asan Fin...
Minuet 1

I.  S.  Bach

Allegretto J. = 66

24" volm rit.
o
Mmuet 2

Andantino z J' S' Bach

Donner un coup larcllel calm. 
u. .gmgmoh_ Wcndahuusüíchcan. 

Use un golpe cono.
Minuet 3

J.  S.  Bach

'Place the 4th nagel' necunteły.  The hd Inger should touch the 'Selu den vhrun Finger uuu.  Der :...
R.  Schumann

The Happy Farmer
Allegro giocoso

Le Gai Laboureur Fröhlícher Landmann El Granjero Felíz
F.  J.  Gossec

Gavotte

   

Allegretto
plini?  cantabile
Procedure for Practice. 

Llslennrehnllylothelntomtlon.  Ure:  shortstmke. 
Plneethebowonthestríngnhenpląhkeepłnglhe
howon...
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Suzuki violin method vol 01

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Suzuki violin method vol 01

  1. 1. mlin VIOLIN PART VOLLME l Copyright O 1978 Dr. Shirrichi Suzuki Sole publisher for the entire world except Japan: Summy-Birchnrd lnc. exclusively distributed by Warner Bros. Publications lnc. 15800 N. W. 48th Avenue Miami, Florida 33014 All rights reserved Printed in U. S.A ISBN 0-87487-144-1 21 20
  2. 2. lNTRODUCľlON FOR THE STUDENT: This material is part of the worldwide Suzuki Method of teaching. Companion recordings 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 programa. 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 3-10-15 Fukashi, Matsumoto City 390, Japan, The Suzuki Association of the Americas, 1900 Folsom #101, Boulder Colorado 80302 or Summy-Birchard lnc. , 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.TonaIintion, 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. Parent. : and teachers should strive to motlvate the child so he will enjoy practlcing eorrectly at home. Through the experience l have gained in teachlng young children for over thirty years, l am thoroughly eonvlnced that musical ability can be fully cultivated in every child if the above four points are faithfully 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 happlness of children, l hope these four essential points will be carefully observed and put to contlnual 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 in violin study until children have sufficiently developed their musical sensitivity, playing skill, and memory. in 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 in the development of musical ability. Those children who have not had enough listening will lack musical sensitivity. Tonalization for beautiful tone Just as vocalization is studied in vocal music, so l have introduced tonalization into violin study as s new method of education. lt has proved to be most effective. Tonaliration 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 enioylng the lessons. l 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 tlngerlng 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 proceed to improve his tone, movements, and musical sensltlvity. The following point is also important. When the child can perform plece A satsfactorily 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 pleces are added will develop his ability to a higher rlegree. 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 Iesson, stop and watch another child, and then return for more Instruction. Shinichi Suzuki
  4. 4. Posture: The nooo. the strlngs, the elbow. the le! ! [od, l in a straight line Posture: Le nez. le: rordex. l le coude. l I: pied gauchz, l dans une Iigne droite Halmng: Die Nm, l die Seiten, l dar Ellbogui, l der linke Fun, l in einer geraden líníe Postura: L: ruríz. las cucrdns, el codo. el pic iząuierdo. en una linea : ecta Fig. 2 Beginners bow bold. Thumb below nog. Tenu: d: l 'archzl pour le. : débulanłx. I. : pauc: sou. : I: lalon . Bagenhallung da AIJángus. Dea Datumu uuterhalb d: : Fran-hex. Mnnen de sujetar cl mo pan principinntc. El pulgar bajo del ulćn. The thumh and the bow make III obllque muc. Le pour: :I ľarchel farmenl un angle obliqut. Der Daumeu und der Bogu: forme: : : inu: sthrígeu Winkcl. EI pulgar y el arco fonnan un ángulo oblicuo.
  5. 5. Fu. 6 'De thumb nnd the middle ñnger form I clrcle when holding the how. Le pouce elle mąjeurformenl un cercle quand la main tíenl ľałchel. Der Daunun miller Míuemngerfornen beim Hall« da Bogu: einen Kreís. El pulgar y el dedo medio fonmn un clmalo cuando sujeturel HG). Fig. 5 The hude ponure is the E-Strlng podale. La poslure de base es! la posilion sur la carde du mi. Die Grundkakung ist die E-Sáten Iłałłung. L: postu: : hisicn es la poslu: : de le amd: mi. Correcl hold of the left hand. ľosiłíon correcle de la main gaurhe. Korrebe Haltung der linken Hand. Posicićn corrcclo de la mano izquicrdn.
  6. 6. Exercise for Proper E-Stríng Posture S 'exercer ąfin d'obtenir la Č/ bungjiir die richtige E-Saiten Ejercicio para la Postura Correcta Zosition correcte sur la corde Haltung. de la cueida mi. u mi. 'ľhe E-strhg poeture ls mndunental end should he completely mutered. La posrure sur la corde du mi est Die E-Sailen Human; i: : grundlegend und Le poanta de le cuerda mi ee fundnmental y fondamentale et devraii are parfailernent some nillig : encima werden. dobe ter dominnde oompleummte. mamisee. ľheeliowulnľlgureąpegelLunenehort bow stroke. Place! ľarchet comme indiquć : ur la Setze den Bagen wie in ľigur 5, Seite II, Coloque el smo como se ve en la Figure 5, figure 5, page Il . Donner un coup Jarc-het Ninun kur-un Dogenmieła. pagina ll. Use un golpe de uno cono. ľülłľl. Exercise for Changing Strings S'exercer pour le changement übung fir Wechsel der Saüen Ejencicio para Cruzar Cuerdas des cordes Chuce string: quickly here. Changer rapidemeni les cordex. Die Saíten liter . Iełineü Wecluelil. Cambie cuexdu en forme rípide. equi.
  7. 7. Exercises for Quick Placement of Fingers Seven-er pour un placemenl rapid: des ľlbungen für . rcłmelle ľlngersetmng. Ejercicios para eolocacićn Rápida de Dedos. oígłs. Place [Inger: l, 2, 3 quickly and necuntely during the tests. Pendaru les silences. placer correclement Seme die ľlruger I, 2, 3 u-Inull und genu Coloqlłe los dedos l. 2. 3 ripidlmenle y en el rapidemeut le. : doigts I. 2. el 3. wáhnud der Pausen. forma exact: durame Ios silencios.
  8. 8. 'Iwinkle, Twinkle, Little Star Variations 'llo play the bow wltbwt pressure : ne: each eldlth Urn ua rpielen, halle den Evgen ohne Druck nachjeder note. Dow nam nnd unhuniedly. with n Ihort pune between Aełuelnou an. Smlehe cbennuiui: und ohnr Bile : ni: einer kur-un bow stroka. Pau zwíuhen den Dopnuriehen. Pan tour detengn el smo sin presionar despnnćs de cada oorchea leruernenl avec une Use el uco en forma ligada y : in prite. con um pausa com em: : los golpes de smo. Pour jouer arrłter ľarchel : an: appuyer upre: chaque croche. Manler ' arrhel avec : ouplesse el coune pauu enlre chaque coup further. Variation A
  9. 9. Variation B Variation C Variation D Stop the bow without pressure mer ml: note- Dea Bogen nach jeder Nm ohne Druck unhulłen. Arrèter ľurchet sun: appuyer upre: chuque nate. Dctenga el mo sin ptesionar despućs de cada nota. Theme Theme Thema Tema
  10. 10. Lightly Row Folk Song Chanson papuluíre Volkdíed Cancián Folkldria Moderato n 0 í** š Doucement á I 'Aviron Rudere sam Remando Suavemente Song of the Wind Folk Song Chanson populuire Cmcidn Folkldrica Volblíed Chanson du Ven: Windgesung Cancićn del Viento
  11. 11. Go Tell Aunt Rhody luire Cancićn Folklćricn 0 Folk Song Chanson pupu Volkslícd 0 2 Vas le Dire á Tante Rhody Geh, emíhl es Tan: : Rudy Ve y Dile a Tia Rodi O O O Come, Little Children Folk Song Chanson populuire Volkslíed Cancián Folkláricu Venez, Petits Enfanrs Ihr Kinderlein kommet Venid, Pequeños Nirios
  12. 12. Tonalization Tonulísutíon Ton/ ührung Sonidincićn This should be hugbt It nel: Ieneon. Sie tome lnjederstunde gelehrl werden. Pluckthe nstrlngnndllstentotheeoundoľtbevlbrntlngntrlng. Zupfedieojľenesuíuundlumłrede Klan o” der ribríennden Suite. m l Ceci devruil łtre enxeígnl d chaque ieąon. Buto dobe : et enmlade en ccd: Ieocidn. 'ñxelucuedaalníreyeąwdreelsonídode lawerdevibnnte. Píncer lu card: libre et ćcourer le : on de iu coni: qui vibre. ñLn-Głrzmuvfè ž: (Ilłlwtvíhuł. “mi |1|! 50V» '17 W Phil' “D” *mi u" 'Im "Will"- Vereuelu ndłdern Bogu Töno mit der [Ieichen Ruonunz ut Jpíekn. Avec ľarthet, essuyer de jauer de: ton: qui Con el uno. Int: de tour tonos wn h mhm: ont lu mćrne rlsonance. rtsonmciu.
  13. 13. May Song Allegro Moderato 240 voita poco ril. Chanson de Mai Man' Gesang Cancidn de Mayo Long, Long Ago T. H. Bayly II y a Très, Très Longtemps Lang, Lang ist*: her Hace Mucho, Mucho Tiempo
  14. 14. Allegro Perpetual Motion in A major Play this pice: I! the middle olthe how using a very short stroke. Spíclc diem Stíckmítdcrbłidedes Bager: : unurAawndungclnu StopthehowanzreadInoCmHnydowIynlñmIndthenp-Idualły : aukumuSa-ícłlcnłłalłc den Bogu nuhjedcrNou u. Splet: speed up the tempo. crt! [upam und dam besa-Mamin da Tampa allnáłałlcła. Jouer c: morceau uu milim d: ľarchet avec un coup : M: courl. Toque est: pieu en el media del smo unndo un gołpe muy cono. Arrćm ľarchet aprłs chaque nate. Iouer lentemenl: au dłbut Detengn el smo despućs de end: nou. Toqu: lenumence II ptincipio pal: accllćrer peti! è peli: le rampo. y luego en forma giadínl Imenu: : el tempo. Stándíge Bewegung in A-Dur Mouvement perpétuel en la mąjeur Movimíento Perpetuo en la mayor
  15. 15. Variation After A, plny B. Aprè: otjouer B. Nad: A : plete B. Despućs de A h loque B. Procedure for practice Comment s'exen'zr. Vcdahnn zur l-Ibnng. Procedimiento pan prtctica.
  16. 16. Exercise for the 4th Finger Exercer le quatrième doígl. Uhan; [ir den ritmu Finger. Ejercicios pan el cumo dedo. Donotnlselhelstłlngerftomtbestrlng. llebedcncnunľinprvondersaíunłcłał. Nepa. : releverlepremierdalgt de la corde. No levnnle el primer doda de h cuerda. l 0 Tonalization 0123321 Tonalísarion Taovñhrung Sonidiucion Sie Jolla in jeder Stand: gelelm wrden. Die Sell : Her : alim: immer nach m . Icłuíneren und klíngendercm Tan dubu. Esło deberln ser enseñado en end: Ieccidn. los nlumnc. deben sicmpn esforzaxse porobcener un cono mis hermoso y resoname. Thin should he hugh a! each Iesson. Puplk should nlwnye strlve for n more mmm nnd ruonnnt tone. Cecí devmil (tn enseigne' el repa! d eh ue Ieąon. Le: ćlève: devmíenr . ľgorrer uľobrenir un ton : alabut: pluJ beau et plu: rłsonanl. D Major Scale
  17. 17. Perpetual Motion in D major Mouvement ľerpćluzl en Stindłge levega; in Mollimiellľü PHPHW CI' rć mąjeur D-Dur ľe 'MW' Variation Varialion Allegretto
  18. 18. Andantino Tonalization n: Sonidiucićn Taąf' Tonalixalíon This Iiould he laugh! d each lenon. Sie : ow: injeder Smude geklm werden. 'Cen' devruir are enseigne è chaque Eslo dehería ser enseñndo en code Ieocidn. eçon.
  19. 19. G Major Scale Gamma du sol maieur G-Dur Tonka« Escnh de sol mlvot. 'Selu den : when Finger nick: noben den asan Finger. Hala don : men Finger ' h. 'Coloque el segundo dedo cem del primer dedo. Mamenga el primer dedo en l: cuerda. 'Placa le deuxíème dvig! près du premier 'u 't' dolgi. Garda le premier daígr sur la corde. Etude m A M a. . . u z M o m w. . m u a m. m u m2:: a m m w m m m w m. .m v. m M m. . W M. V M. . . .m m m m u . A. m m m n m w mr m
  20. 20. Minuet 1 I. S. Bach Allegretto J. = 66 24" volm rit.
  21. 21. o Mmuet 2 Andantino z J' S' Bach Donner un coup larcllel calm. u. .gmgmoh_ Wcndahuusüíchcan. Use un golpe cono.
  22. 22. Minuet 3 J. S. Bach 'Place the 4th nagel' necunteły. The hd Inger should touch the 'Selu den vhrun Finger uuu. Der : mia In flnger. Finger poll: : den : nan Finger b: ' n. 'Placa carrzctemenl le qualrieme daigr. 'Coloque el cunno dedo en forma enaa. E! Le deuxíème dvigi dzvrail toucher le segundo doda debe tocu n] primer dedo. pľtłłllľľ.
  23. 23. R. Schumann The Happy Farmer Allegro giocoso Le Gai Laboureur Fröhlícher Landmann El Granjero Felíz
  24. 24. F. J. Gossec Gavotte Allegretto plini? cantabile
  25. 25. Procedure for Practice. Llslennrehnllylothelntomtlon. Ure: shortstmke. Plneethebowonthestríngnhenpląhkeepłnglhe howontlneetrlngdurlngtherest. Comment s'exercer. Ecauter atlenlivemenl ľintonalion. Donner un coup din-che! courl. ľlacer ľamher . mr la corde, puis jauer, en gardanr ľarchel : ur la carde pendan! le Slltłlľt. Vełfahnn : III übung. Lauecłu aąlmerłearn aąfdie lntonłentng. Wende einen kamn Srrlclr an. Set: : den Bazen aąfdle Suite, dann eplele; lase den Bagen vikend der Padu auf der Selu. Procedimíento para priden. Eseuche cuidndourmnle la nñrueićn. Use un golpe cono. Coloque el Iwo en In cuerda, enlonoes Ioque. manleniendo el smo sobne l: cuerda dunnte el rilencio.

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