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nt Yiolir chool YI()TIITM YOrUt{E 2 Suzuki Method International Sdi'Vlomschool YIOIINP\RT YOrtDInz Copyright O 1978 Dr. Shinichi Suzuki Sole publisher for the entire world except Japan: Summy-Birchard Inc. exclusively distributed by Warner Bros. Publications Inc. 15800 N.W.48thAvenue Miami, Florida 330T4 All rights reserved Printed in U.S.A. ISBN 0-81487-146-8 The Suzuki name, logo and wheel device are trademarks of Dr. Shinichi Suzuki used under exclusive license by Summv-Birchard" Inc. Any duplication, adaptation or arrangement of the compositions contained in this collection requires the written consent of the Publisher. No part of this book may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U. S. Copyright Act and are punishable by Law I ] - 3 . INTRODUCTION 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 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 association provides this for its membership. Teachers are encouraged to become members of their national Suzuki associations and maintain a teacher training scheduleo 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 Metho4 please contact your country's Suzuki Association, the International Suzuki Association at 3-10-15 Fukashi, Matsumoto City 390, JWan, The Suzuki Association of the Americas, 1900 Folsom #101, Boulder Colorado 80302 or Summy-Birchard Inc., c/o Warner Bros. Publications Inc.. 15800 N.W. 48th Avenue, Miami, Florida 33014. Licensed by Warner Bros. Publications Inc. our catalogue on line r;=ii-i - . .+--=; "te-r}&' www.carisch.com This olbum @ 2OO2 by NUOVA CARISCH s.r. l, - Milono All rights reserued. No part of this book may be photocopied or reproduced in any way without permission. Unauthorized uses are punishable by law. I C(NTDITTS S t u d y P o i n t s f o r V o l u m e 2 . . o o . . . o o . . . . . . . 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 _ l H u n t e r s t C h o r u s , C . M . v o n W e b g r . . o o o . . . . . . , 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 . . . . . . . . . . . . . . . . . . . . . o o o . . . . 1 2 LqJ Theme f rom 56Wi tches t l )ance t ' rN . Pagan in i . . . . . . . o o . . . o . . . . o . . . . . . 13 t 2 J G a v o t t e f r o m t t l l i g n o n " r A . T h o m a s . . o o . o . . . . . o o o . o . . r . o o . . . . . . . . . 1 4 t D f - - l r - - E q G a v o t t e , J . B . L u l l y . . . o . . o r o . o . . . . o . o o o o . . o . . . . r . o . o o . . 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 n o f . o . . . . o o o . o . . . . o . . . . . . . . ? . . . . . . . . l E t r M i n u e t , L . B o c c h e r i n i . o . . o o o o . o . . o . . . . . . o . . . . . o . . . o o . o . . . . . . o . . l g k : Study Points for Volume 2 fr 2 *o+tla;-*: i i ' Points d' Etude pour le Volume 2 Studium Hinweise fiir Bund 2 Puntos de Estudio para el Vol. 2 I . f - t ' 6 t : . T t 6 r : t t&g v a - f ' t l l t l r ' r f b : t t : J 'r < * '*6! lgt. . t f iJ '-e -t i 6 " + ntr lb' lB+t: J t ) t t + , ' i [ {6 t t l t h ' t " 2 . | + t t { 1 ' z a > . 1 t t ) * L r ' # a t ? , ! } t t . r t g - ,p*Et : r j r . A. h . t i h t l i r t t '> t t t l . l l tL ( t r i b t i r \o 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 t L A " 1. The child should listen to the reference recordings 1. Das Kind sollte jeden Tag dic 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 diesem Zuhdren ab. should be stressed in the lesson and at home. 2. Tbnftihrung oder das Heworbringen eines schdnen 3. Constant attention should be given to accurate Tbnes sollte im Unterricht und daheim besonders betont intonation, correct posture, and the proper bow hold. werden. 3. Stiin dige Aufm erks amkeit so llte der genaa en Intonierang, korrekter Haltung und richtiger Bogenftihrung gezollt werden. 1. L'enfont devrait 1couter le disque de 1. El niffo debe escuchar los discos de referenciacada rifdrence chaque jour d Ia maison, afin de d,ivelopper dia en su casa para desarrollar sensibilidad musical. El une sensibtlitd musicqle. Des progrds rapides progreso r6pido depende de esta audici6n. ddpendent de cette audition. 2. Sonidizaci6n, o producci6n de un tono hermoso debe 2. La tonalisation, ou la production de beaux tons, ser enfatizada en la lecci6n y en casa. devrait €tre travaillde pendant la legon et d la maison. 3. Una atenci6n constante debe ser prestada a una 3. Une attention constante devrait €tre donnbe afin afinaci6n exacta, postura correcta y la forma debida de d'obtenir une intonation exacte, une posture correcte sujetar el arco. et une bonne tenue de I'archet. 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 exercise in 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 moment oi l'enfant Atudie la 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 est6 estudiando la Chamarasca de 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 moves back from Bi to Bb. C'est la premidre fois que le premier doigt reculd est utilis6. Quand ce doigt descend sur la corde, le troisiime doigt a une tendance de reculer aussi de sa position correcte, vers le premier doigt. Pour |viter ceci,essayer de jour I'exercice suivante en silence. Gqrder le troisiime doigt en place pendant que le premier doigt recule de si\d 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,u spielen. Halte den dritten Finger un seiner Stelle, wiihrend der erste Finger sich vun H nach B zuriickbewegL Esta es primera vez que se usa el primer dedo bemolado' Cuando este dedo est6 colocado en la cuerda, el tercer dedo tiene tendencia de quitarse de la posici6n correcta, por moverse hacia el primer dedo. Para evitar 6ste trate 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 I Chorus from "Judas Maccabaeus" E rz/ '^?/J*? Xr h'P) Maestoso n ,A. trl { iE t : te p dim. V Bitte darun denken, dass das Kindjeden Tug die Schallplatten unhiiren soll. Por favor recuerde que el niflo debe escuchar los discos cada dia. G. F. Handel ; 2 f ' t v Please remember that the child should listen to the recordings every day. Surtout ne pqs oublier que l'enfant doit icouter les disques tous les jours. 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 r Choeur de "Judas MaccabaeLts" Chor uus "Judus Muccubueus" Coro de "Judas Macabeo" a Muset Musette 0 3 6 A 2 --_ Hunterst Chorus reAOAIE C. M. v. Weber l r . - z{ - Y V3 ' t V 0 L o 3 o t 3 n 3 ? n Choeur des Chasseurs Jiiger Chor Coro de los Cazadores tr LongAgootrg, 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 ! oY ld 3 r i+ {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, Trds Longtemps Lung, Lung ist's her Hace Mucho, Mucho Tiempo 10 Waltz v )v'y p'dolce Moderato I foco clesc. poco rit. ValsValse Wulzer --_ Bourr6e Allegretto p espressiuo ( 4 ) 2 3 t 2 3 0 V N o 3 G. F. Handel + 2 7 ' t v 3 n 3^.1.-- \ - p ( 4 ) 2 3 0 2 - ( 4 ) . ' ^ t l iS- -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.-L 2 a ', p espressiuo B o I s o L Z o !10 G) 2 3 0 2 ({) 2 3 0 2 r R. Schumann ' / 1 - ' ? 2 r; l ' l The Two Grenadiers-AaffilvR t2 Z \ o --__ Moderato --_ I - 0 rit. 3 n 0 n 3 allarg. Die zwei Grenudiere Los Dos Granaderos Moderato V N L r . l r ^ 0 I ? . ? z l z ! 0 Les Deux Grenadiers I l " l o'wit rffifEr V 0 Theme from chest Dance)) T 3 , Andant. T___o y n 2-^.-f ) t 2 0 ,)lfr 0 t 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 0I2 3nt P meno ,nosso Thdme de la "Danse des Sorcidres" Themu aus "Hexentunztt Tema de "LaDanza de las Brujas" l I I I I j I I i I I I i I I i " - ' ,L t4 Gavotte from "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 Gavota de "Mifl6n"Guvotte aus "Mignon"Gavotte de "Mignon" (g) n ? ( l ) 9 { ( { ) 0 ptzz . Entrenamiento del oido Ubu ng fiir die voII e n dete Oktaven-Intonierung, Dem Klange der offinen G, D, undA Saiten Iauschen; die Oktaven-Hdhen genuu zu treffen versuchen. Ejercicio parala perfecta afinaci6n de octava. Escuche la resonancia de las cuerdas al aire de sol, re, y trate de acertar los dipasones de octava perfectamente. Ear Training uai,tlffi Entrainement de I'oreille Gehiiriibung 'rti:t 2 ? - -r,fi'i|,.i):., G . D . Aa � l ' * l , l t t t . 2 r l ! j t , L +oU L , rS t J ( l l t l r , , ( ) ' c ' i | r t t ? ? - ' 7 t u ( l * t l " Exercise for perfect octave intonation. Listen to the resonance of the open G, D, and A strings, and try to match the octave pitches perfectly. S'exercer ii obtenir une intonation d'octave parfaite. Ecouter lq rtsonqnce des cordes libres du sol, rim rb et du la, et essayer d'accorder parfaitement les diapasons d'octaves. Cet exercice devrait €tre |ffectue tous les jours jusqu'ii ce qu'il soit parfaitement maitris2. Le professeur devrait I'entendre au commencement de chaaue lecon. ' / 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. Este ejercicio se debe practicar diariamente hasta que se domine. El maestro debe escuchar esto al comienzo de cada lecci6n. 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 o u \ 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 0 2 1 . 0 ritard. r i t . n H 4 b i ) : , n 3 f f i a # r . / : I l " F f t t E t ( Procedure for practice Comment s'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 ***13,11 o I I , 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 Menuet en sol Menuett in G Minu6 en sol -- 19 Minuet / X ! ' y l . Moderato e grazioso V N i ? 0 ? 2 3 0 1 0 2 s 0 t 2 --.--..- at- z + 4-.--3 L. Boccherini ;t'y t t) - = VWlo 9--n Yqn g V 1-{ qp 4 e 3{q p; I 0 * I n t4 30 V kr n 2 Y4 p ' 23 --- ^f --------i - n- q z I o 8 - z I . > 1 D.C. al Fine SUZT JKI METHOD INIERNAIIONAL tsBN 88-507-0235-3 ,lltililililtililHHil NUOVA CARISCH s.r. l . VIA CAMPANIA, 12 - Zona Industriale Sesto Ulteriano 20098 s. GruLrANo MILANESE (Ml) UFF. CLIENTI -fel.02-98.221 .212 www.carisch.com Licensed by SUMMY-BIRCHARD INC. DlStributed by WARNER BROS, PUBLICATIONS 15800 N.W. 48th Avenue. Miami, Florida 33014 A Warner Music Group Company .-l I Alf t AOZ L-AfiWZ
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