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Suzuki R Viola School Volume 3 Viola Part Revised Edition 1999, 1983 Dr. Shinichi Suzuki Sole publisher for the entire world except Japan: Summy-Birchard Inc. exclusively distributed by Warner Bros. Publications 15800 N.W. 48th Avenue, Miami, Florida 33014 All rights reserved Printed in U.S.A. ISBN 0-87487-243-X The Suzuki name, logo and wheel device are trademarks of Dr. Shinichi Suzuki used under exclusive license by Summy-Birchard, Inc. Any duplication, adaptation or arrangement of the compositions contained in this collection requires the written consent of the Publisher.INTRODUCTION This transposition of the SUZUKI VIOLIN SCHOOL makes available to the viola student the carefully structured repertoire of The Suzuki Method™ - a method that teaches basic playing skills and develops listening and memorizing ability through the playing of beautiful music. Regardless of the age of the student, it is hoped that Dr. Suzuki's principles of learning by listening, training the memory, and concentrating on producing a beautiful tone will be observed. Remember that ability develops after a composition has been learned - in the mastering process. The practice suggestions emphasize the need to isolate technical and musical problems, and encourage the teacher to use all the opportunities inherent in the repertoire for orderly growth toward mastery of the instrument. Doris Preucil STUDY POINTS FOR VOLUME 3 1. Have the children listen daily to the recordings of the music they are currently studying. This listening helps them make rapid progress. 2. Tonalization should always be included at each lesson and should be a part of the daily practice at home. 3. Constant attention should be given to accurate intonation. 4. In Volume 3, particular emphasis should be placed on the study of phrasing. Children should learn to end each phrase pianissimo. SUGGESTIONS FOR TONE PRODUCTION It is best to hold the bow with the right corner of the thumb tip placed opposite the middle and ring fingers. The power of the thumb pressing at this location is an important factor in tone production. The student should always play with the bow held firmly that the tip of the bow remains steady. A superior tone depends on this bow hold.CONTENTS 1 Gavotte, P. Martini 6 Minuet, J. S. Bach 8 2 3 Gavotte in G Minor, J. S. Bach 10 Humoresque, A. Dvorák 12 4 5 Gavotte, J. Becker 14 6 Minuet, K. 439B, W. A. Mozart, arr. D. Preucil 17 7 Gavotte (from Orchestral Suite No. 3), J. S. Bach 18 8 Bourrée, J. S. Bach 20 9 Practice Suggestions, Doris Preucil 22 Transcribed for Viola and Piano by Doris Preucil4 Tonalization Each lesson should begin with tonalization. Tonalization should be stressed constantly in order to improve and refine the tone. At the lesson use both bowing alternatives and V for beginning each exercise. d = 60 4 1. 2. S. C. Foster 4 3. 4 0 05 Exercises for Changing Strings These exercises should be taught at each lesson, and practiced very slowly at first. Increase the speed as the child's ability develops. As the speed increases, the bow strokes should become shorter. 1. 4 0 2. 0 3. 1 V 4. 5. V V 6. 36 1 Gavotte Allegro moderato P. Martini A V V B V 5 0 mp 10 0 p mf A 15 sf p dolce C V 20 25 3 4 0 1 2 0 A 4 30 4 mf V 35 D V 40A 45 mp 50 mf E 55 sf V 60 0 mf A V 64 mf F 69 74 4 cresc. poco A 79 rit. a tempo 84 f rall. mf2 Minuet J.S. Bach Allegretto 0 0 mf con grazia 1 piu 17 rinf. 22 4 3 p 3 0 o 4 rinf. 39 44 0 0 4 49 0 dolce 55 dolce 61 rinf. 67 p 0 74 2 2 mf pp molto rit. Tempo I 81 p con grazia 86 91 0 mp calando p rit.3 Gavotte in G Minor J.S. Bach Allegretto A V 0 0 4 0 4 mf V V V 0 4 4 mf p V 4 8 mf V V V 12 4 4 mf B V V 16 1 V 20 1 mf A V 24 mf V V 28 mf11 C V 32 V 4 4 3 (2) (1) (2) (0) mf V 36 V 4 4 4 4 0 1 (2) (1) (2) (0) (2) (1) (1) (2) (2) (1) (2) (3) (1) (2) mf p A V 40 0 4 (2) p mf 44 4 4 mf poco rit. Observe the crescendos and diminuendos by controlling the varying bow speeds (slower bow stroke at the indication p, and faster stroke at f). Practice finishing each phrase beautifully, pianissimo, using a short and soft stroke. Tonalization G minor (melodic) scale Try to make all the tones have the resonance of the open strings. Note that the 6th and 7th tones are each raised one half-step in the ascending scale, but appear as in the key signature in the descending scale.12 4 Humoresque Poco lento e grazioso A. Dvorák frog 4 4 p leggiero frog 4 4 4 5 p rit. 1 4 9 0 3 2 3 mf 2 43 4 13 0 3 2 3 2 rit. 4 17 tempo 3 21 4 4 2 1 rit. e dim. 4 25 f a tempo poco rit.13 3 4 2 poco rit. 2 4 33 f a tempo 37 2 largamente rit. 4 4 41 p a tempo 0 3 frog 4 4 3 45 2 pp rit. e dim. 1 0 4 49 0 5 3 2 3 2 pp meno mosso p a tempo 1 2 53 0 3 3 2 rit. e dim. ppp Preliminary Practice Set bow at middle. Use a very short bow stroke. Keep the bow on the string during the rest. V V V V14 5 Gavotte Jean Becke 0 V V Allegro moderato V V V V 0 0 4 0 5 V V 2 2 123 2 9 30 V 2 2 13 4 V 0 V 0 4 17 p V V 0 V 0 21 1 2 mf 0 0 V 0 0 mf 0 0 29 3315 4 1 o 42 0 0 0 mf 0 0 1 V 0 50 0 4 0 p V 54 V 0 0 V 58 2 2 V 3 0 V V 62 2 2 2 1 2 4 0 V 0 66 0 0 0 p V V 70 V 0 poco rit.16 C Major Scale in Thirds 0 4 4 0 4 0 4 4 4 C Major Triad Exercise 4 2 3 0 0 4 5 4 0 6 7 0 0 8 In every bar except bar 7, the first and third notes are a perfect fifth apart, and can be fingered directly across from the other. In bar 7, they create a diminished fifth, with the second finger one-half step lower on the higher string. The diminished fifth occurs in every key between the 7th and 4th tones of the scale. Chromatic Scales Slide the finger without moving the hand. 3 3 4 4 1 2 2 3 0 2 2 3 3 4 1 1 2 2 3 3 4 3 3 2 2 0 0 2 2 3 3 4 4 3 3 2 2 0 2 317 6 Minuet in D W. A. Mozart, K. 439 B D. Preucil Allegretto 4 4 4 mf mp 4 13 17 2 Fine rit. last time Trio 21 3 mp 25 mp 29 V 4 D.C. senza rep. 33 V mp18 7 Gavotte Gavotte I (from Orchestral Suite No. 3) J.S. Bac Allegro 2 2 4 2 2 4 2 1 8 4 1 mf 11 2 2 2 4 15 4 4 3 3 2 2 19 p 23 Fine19 Gavotte II 4 p p 4 4 4 0 3 f marc. 4 f 16 4 2 cresc. 21 1 cresc. V V 25 4 0 2 p 4 D.C. Gavotte I 2920 8 Bourrée Allegro J.S. Bach 2 3 2 2 mf 5 cresc. mf 9 4 4 13 cresc. mf 2 2 17 21 4 1 25 Fine mf dolce 2921 33 mf 0 37 1 41 V V o p V D.C. al Fine 19 0 p rill Exercise: Play with a strong tone. Use a short bow stroke. V V 0 3 3 3 3 1 Chord Exercises: Play with the same resonant sound as that produced when uning. In practicing chords, the forefinger should be lifted off the bow. The low should be held and controlled principally by the 3rd and 4th fingers.22 Practice Suggestions (Gavotte by Martini) 1. Bowing: Place bow slightly above middle and use entire arm for the repeated up-bows. Remember to use good bow distribution. Quick long bows can be used in loud passages. Use slower and lighter strokes for phrase endings. 2. Fingering: Review the C minor tonalization and the three finger patterns below. 0 4 0 4 0 4 1 2 1 2 Practice pulling 1st finger back without the hand in this exercise which prepares measure 28. Try it two ways: both holding and picking up the 2nd finger. 3. Memory: The sections of Gavotte have been designated in the music by the use of letters. Note that a varying section always alternates with the A section. Compare B with D, and C with E, to see how they differ. Practice each section separately until independently secure. (Minuet) 1. Please refer to practice suggestions in Suzuki Viola Volume 1, Minuet No. 3, for the C major portion 2. At measure 50, note change of key to C minor. Review this finger pattern, keeping 1st and 2nd fingers spread when using 3rd and 4th fingers. Try to keep space open all the way to the base of the fingers. check pitch 3 4 1 1 3 4 4 1 0 1 2 3 3 0 0 0 023 3. C melodic minor scale: Note that the 6th and 7th tones are each raised in the ascending scale, but appear as in the key signature in the descending scale. 0 0 0 0 4 0 0 0 (Gavotte in G minor) 1. Section B is fingered in second position. Shifting exercises are found in Suzuki Viola Volume 2. Try this game: drop arm during rests, and replace finger precisely in tune. See example below 1 1 1 1 2. The alternate fingering in 3rd position is advised in section C. In measures 36 and 38, shift up to 3rd position on 1st finger. Always shift on finger last used. V V measure 36 1 1 2 1 1 2 V 1 V 1 1 2 1 1 2 1 measure 38(Minuet in D) 0 0 0 4 4 4 0 4 4 Match the pitches carefully. 4 4 4 4 4 4 4 Avoid curling 4th finger. (Gavotte from Orchestral Suite No. 3) 1) Practice holding fingers down as indicated by connecting lines. 2) Use alternating bowings. Exercises are for practice in both holding and lifting fingers. Try to avoid curling 4th finger when placing 3r finger. Repeat each measure several times. 4 4 4 4 4 4 4 4 4 3 4 3 4 0 2 2 2 (Bourrée) 4 2 0 0 0 0 When shifting from an open string feel the distance of the shift in the hand (between thumb and first finger). 1st pos. 2nd pos. 1st pos. L 4 4 4 4 0 1st 2nd 1st 2nd