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CONTENTS
Concerto in D Major.
W.A. ozart 5
Andante cantabile -12
Rondeau .IS
Jlegm
5
Points of Practice 20
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Wolfgang Amadeus Mozart
Joachim
Suzuki
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F f f
-
f
+ a P
1 a m
I
I 1 1 1
,
28
u
Pma con srrono
48
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ddi t rt tr
espl
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Andante cantabile
J,
5
6 3 )
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ndante grazioso i = c a .
63
olo
llegro
ma
non troppo J.-ca. 100
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o
llegro ma non troppo
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ndante grazioso ==a 60
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llegro
ma
non troppo
R
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Allegro
nl
non troppo
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he
First
Movement
llegro
oint
of
ractice
*Ba,.lI:;tT
Shape the left hand properly (see of the Third Move-
& P m i E L ~tff3i:&,%.. 3 n 1 t m ' I L k n ) i C W P .
ment), and use the bow
a
little distance from the frog,
@ Q V crm4)mP ~ , E . ~ L T ~ $ Q ~ Q L ~ . ( B ~ ~ * BP I )
always keeping the right elbow moving correctly.
It is important to obtain beautiful sound not only in the
f ~ , t : 2 3 t : ~t z + n ~ ~ - >~ $ X Q W R + <
contrasting and parts but also in bringing ou t the
;IIW. 1 5 k h ' k W J ~ . P f : P 1 9 h $ P L c t~ @ l : + b
theme. B h'.JZ- .
I would like to suegest.to those who cannot play a trill
correctly, that if the first finger is held down uncon-
~ L n j
C P Q1.~Ant:63i:+Ln42if e11ZLT~
sciowly, the seco nd and third fingers will not move
;r
j S h ' 7 h . n j : 21:
1
n a e t v i f : r P C 1 L ~
quickly enough. It is out of the question to try to play
& n l t ,
2 .
3 n a n t h C 9 i : ~ : b t t 8 ,
1
L T 9 1 m
a trill with the first fmger futed finnly on the string. For
the purpose of practice, raise the first finger and then
~ 9 S d ( P i ? : P P T t I JL 9 W : i t L T C C C Z l ' c b .
place the second and third fingers on the string before
:zrt w(it;li-
i n a e C l l t ~ ~ 2 , m * 9 R ,
t
1)
itarting to play the trill.
This
practice is also very effec-
~ ~ 9 4 i . L
I : ~ R W Q L T A T
t : s c b .
2 m 6 * b g
tive for a trill starting with the second finger.
$ * t f & & T C : n i b g l t h b Q
I- II
Y L 9 9
b 6b.A
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- -
Point
of
Practice
f l
mi
I t
In the beginning, practice at about half speed.
Q+JJrtl$< ~ . T i % % h ' . f . # W e 1 3 k h 5 2 t
Prepare the fingers and immediately raise
the first finger.
Somew hat advanced pupils, beginning t o play up to
% L % M L T + & 4 ) T i * T * l t k h 6 3 +
4
spee
are likely to fluctuate in tempo and in pitch. This
hmk.6 .2 L
T
tA.(ht+ hakh(61:f i
T 6
2
means tha t there has been insufficient' practice and still
t . ~ i i ' l h ' ' ? ; i F ~ s % r l f i ' ) + t t ~ Z2 T f . 2 ~ 9 2 3 4 ) :
more careful study is necessary.
% ~ X ~ - T C C L ~ ~ ~ S I )? Z # P ' /T ~ &T f t ~ A .
Point
of
Practice
'$PI
0
f
k
Start bowing with the upper part of the bow.
.
13o,.I:AGTSrll5 13
I:
55 5
The fingering given above the score is Joachinls indi-
-i'i:f34).1:1:ddL?: 9h.~.ri 7 L ~ ~ J LL m t ,
cation, and the fingering below is that based on my
own practice. Whichever fingering is adopted must be
Ji m-F-mfi9fi~~~li$Lfi'ifiA7L~&fi~'h~~~Tf~
practiced carefully.
Shifting Exercises for Second and Third Positions.
) j p ; t t ~ ~ f ~ . f i ~ t C
L'+J.
. P . 5
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ointof ractice
Even if pupils have learned the notes, they should
remember that, without good tone and rhythm they
cannot claim to be able to play. With this in mind, they
should listen carefully to all aspects of virtuosos per-
formanes.
The sixteenth notes should be played evenly and with
beautiful tone. Most pupils are inclined to play to o fast.
_IC
*Haft:-fi
.gR&c--Gart J:
r
ti
7 t , Q~nsr~t t~f#&- - rs .
~ > . * & ' L - J & ~ ' )Tbbtibbi kIiLfZ5lrlttrb~4,f:tr
b h i 2 tr %,F .nT l tQ &t i b~ , CnZ)r ebb73
te1.1
i c t
h B ~ i R ~ % b f ) b t l l ~ L 7 M
.LZ.s!*'h6
~ n t : ~ 6 1 t ? i . % Q i E L < .6'r)A%Ffii%L(*L
sqa 2 ~~.LZ.=T--F.
i 1
nh~ ; t ~ ; t + ( fii~1:wb\
- C ~ ~ L - # - .
Raise the first finger.
2mj&<61;tk+79-
b b i f : d h I :
1 m % % # L TW ( 2 2 . 2zFmffJ9EL
f
' t k .
%(;tQ&<\:.- * n T j l G l ~ # ~ a ~
For the purpose o f vibrato, play this note with the first finger raised. Shape the
left hand cor rectly. The left hand fingers shou ld be placed on the string like
this: rather than like this: ++,=
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3 e ~ v ~ r 7 3
t J
1bnY111QiELr~f> ; t c t t ~ k & .
Try
to play vibrato and trill beautifully at the correct tempo.
Keep the tem po steady.
I
PRnTntScln.ixr ~nstk
T 6b)krlh-rb
b .
The fingering shown below the notes is based on my own practice.
m 2 B F f i m Y i ; t c h c B -b ~ T f i L t ~ 4 h h t % ~ ~ . i7 ih~rbT35r t t4
NMPb
2 G n 1 m)Fr9RS
i i x t
I
Many pupils play these p ai n of notes to o fast to keep the tem po steady.
Learn to play them without haste.
Do not raise the fint finger off the G-string.
Point of Practice YHm4l:'h
change of strings with beautiful
. I , I I J ~
ractice for smooth ~ m . t - . % e @ ~ . , r 5
tone and good ~ntonationb i using the upper third of
2 +4S%m4??Rst &fRmMW V
2
L
L .
the bow.
, hsT
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P
oint of ractice Yt i OfkZ
r I:~II,
b l J ) b Q L T # d i B L # I P
Practice without the trill at first.
Continue to practice until both the ascending and f i t
7'47
t ~ f Z b
.g,st~c
W l t 6 3 T ~ I I # ~ ~ P B a ,
descending notes are performed accurately. Keep the I t ~ssif,+ ,.
descending notes steady.
4 . 3 n 4 t 3 n ~ a ~ t ~ h ~ t t n a 5
I:-#-&:
t .
Learn to get th e exact interval between
the f ourt h and third fingers.
d;l r
# B e + & ,
Before practicing, silently
prepare the
second
and third fingers.
Practice the following
Fine performance can never be expected unless constant
t
t
t 1
hljq
6
c
.
B
tl:
I:
g~l#di
Q
jn
training is continued every day for at least a month. t
r
neb, i I*
it
Do not forget that virtuosos' brilliant performances are
t
9 , ~ t ~ - r r i r r b r r c . ,
the result of many years' persevering efforts.
c ~ ~ n % f i ~ : k ~ ~ & t ~ ~ c ~ & ~
Pattern of Practice.
Place the second and third fingers together on the string
without using the bow, and test the pitch of each note.
If all pitches are found to be accurate in five successive
trials, correct intonation can be expected. Then try to
. .
.
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After th e above practice proceed to t he following exer-
cise.
Continue to practice until you achieve exact pitches
instantaneously with the first.second and third fingers.1n
moving the fingers concentrate o n th e second finger
and fix the first finger according to the position of the
second finger.
oint of ractice
Make the aim of practice here to fix the second position
steadily to change strings accurately and to produce
refined sound in the passages.
L l k a L ? 2 M W ? ? @ ? A a L i :H W ? ? L i t ~ & a t~ 1 L
T
L
, 2 ,
3
a m W M : L L t T
5
U
a
a lt
am e L Bz
3 2
:* 7
(
5
r
L
3 alk-tS
2 * t c i . 3
. a t iS & 1 P 8 ~ P L , ' r. i Z k k ? 6 3 a L I H ,
t; m=8 as lt
€ I M r : A - b ~ \ :
eh
Try to play the fourths accurately.
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ointo ractice %R':fl: k
xercise for
Bowinm.
Practice the notes exactly as they are printed to attai n
S G n
fi 1
c ~ 7 : a : i ~ H
L f .k. L3 , r
perfect accuracy in playing each note so that the whole
m~ a
passage is executed correctly however often it may be
repeated.
Ractice without the trill at first.
=
%+I]
I
I b t i
L T i E L (S# r t6
d
r
~ n 3 n e n # i m r 5 ~ f i +t i t ~ h r t , ~ r n a h . i , .D ~ S ~ L \ ~ : U ~ P ~ I I :mtz.t.iriliii-4-6
MBgqTQ Z n 3 1 1 ~ h r T 3 f i ~ i ' I - b h r T 3 6 % - - $ t : A 6 v
J
Train the third finger to be prepared the moment D is played. This practice is the
first step in playing trills.
Exercise for Accurate T empo.
+r
Pupils are apt to hurry and accordingly find difficulty
- f ia rz. i i ;t : ls rr i+< t i ~ ) + - f < . +mf:. :d*:~\7+5
in playing. It would be easier by far to play strictly at
. T ~ . L ~ 6 ; t :9 9 t~r f r i 6 h .1 -5 # 3 +~ ~ c \ . i
the correct tempo.
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Point o Practice
* ;u:rn.fI:
to the third finaer -
Point
o
Practice
Rndamentd xercise
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= m \ I ~ ~ . - m s ) ) ~ f i ( z i f i - z i f i ~ f . T f i ~ L b ~ . 2 .
\ J
Q ) 2 m % m c h
t MBQi: 3 ~
m % m b ~ ~ + t t b ~ + L z i l t n r r b ~ r t & ) . L o
t m r : n r : r i : k m M W + t t n ) . t .
It is rather difficult to go into this trill. Sufficient practice is necessary to prepare the
second and third fingers for the trill, immed iately after playing with the second
finger. The following exercise is recommended for this purpose:
r k nm 1 Play slowly in the beginning.
.
oint of ractice ~ Q l f l : f i
.- t i , % ( m i & , T S 3 + g & . F m ; % S
h
It is important to be able to play this exercise comctly.
Do not proceed to the trill exercise before beautiful
sound is achieved in every position.
Practical advice for this exercise:
Imperfect trills after a position change are often due to
two causes: the hand doesn t shift positions quickly
enough; and the left hand is not shaped properly when
the position change is made. Relatively easy exercises
such as the above example would be helpful in attaining
brilliant and beautiful expression.
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Cadenza
Point
of
Practice
$F' a>iI:fi
hdnmenta l
Exercise
4
Pay special attention to the shape of the left hand and
i
a
Z i b i t ~ r :& :T ~ f f % ,Bmff$i :& ,& . M
fingers at the position shift. See . of the Third
)
Movement
.)
Exercise for the Fourth Finger and Shape of the Left
m j g m f f ~ m ~ ~ ~ ~ o
P ) t 5 g a t )
Hand. The first finger should be raised.)
,m ~ ~ ) ) ~ T R L ~ : . : ~ D ~ ' M J S ~ I : V V ~ ~ T ~ @ ~
5
I - L , .tm5??4?sll&';Am,$FZW
l t Lbl.
The second finger should place D where the open string resonates so that the sound
continues until the next note is played.
u del tcatamottte
To make the intervals accurate, practice slowly at first,
3 ~ i . 9 3 ~tif:hr:ri t h r t x 3 - Z t
omitting the slurs.
1)taRwta-
t .
Try to produce beautiful legato sound with accurate
I- t
k
L
3 F L & ' +
d -j I
~ntervais.
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6%% L s8 s
d: i r:/11 5.
Make the tones vibrate beautifully.
;&< v s h ~ % c m T ,# bh .i: ** m7 >
S T $ * < h r T 3 & d : i&, ..
Be careful about the tempo, which is
likely to get too fast, and try to play
smoothly in tempo.
t..,).M
93t
6
--
enough
practice
the
first finger
close
Fix
to the second finger.
note
D
accurately.
S L
< a - j ' ~ i i : ~
Play beautifully as if
singing.
b l i- l: *l+ 6 < i Z 0
Learn to play legato.
b
b t
Keep the third finger close
to the second finger.
-
W R r i S L ~ ~ t f m ~ ' 5
*
MW .
to balance the beautiful
s of the double stop.
It is necessary to acquire, through training, the tech-
l ~ 2 5 ~
h . & % 5 % 2 > 3 i -m & ;l er i f bf f i t - s
nique and security for shifting quickly from the first
t f i r . g . . ~ ~ t ., ~ + ~ ~ M L ~ ~ I + $ Z , Z - m t e m 5 ~
position to the fifth position. Shape the left hand
correctly
in
the fifth position. See [Bl of the Third
2 9 3 i m & + m ~ ~ % ~ ~ < b d : i l : ~ ( % 3 * S e ~ P
Movement.)
)
In changing positions, make sure to place the first finger
=m;f :y >
i f s f h m t 3
1
m ~ ~ ~ ~ m ~ r : ~ ~ ~
close to
where
the
second finger
was
placed.
h a t '
ha+
b
d:
I:
t ~ l i k
;E
C
z
This applies to both ascending and descending figures.
T t
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t f ' i : B h h G C -- l ;f5T&fi j l : lm%h(2m&l:Tb>
T b l b h - k ' < h * & R K & .
Ascending: Before ascending from B to
C
make sure
that the first finger is close to the second finger.
b-f? - ~ F ~ ~ C 9 b ,
T ) ? l I G7#% hrTblTbb hs
a
Descending: When descending to t make sure that
the second finger is close to the first finger.
Practice the fourth accurately.
Fix the intonation of the fourth accurat;ly.
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I E m j . I L . ~ . Z ; % ~ M I Y m f i +
T I ? ? :
m
Jll? o
Exercise for Correct Placement of Fingers
without Raising the First Finger
m . t Z l : m . t k e 7 1 t
Keep the second finger close to the first finger
Practice the following with the left hand shaped correctly
I ? - m t f ? + f i ~ (
L
+ m & ~ ~ S t l l O d i ? ? .
I L I I I L I I I
lij
li IZ
Fifth Fifth
Fifth
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44:
#-'L?:43%mtS L k
j
11 12
Do not raise the finger.
Fifth
/I.\
Fifth
(Ets(y(litr& 3 4 3 - 2
mt3+'>lj&)
(%Keep the second finger close to the third finger.)
.-
I
;& ;M;;r;; & j ! # &
-
b ' ' t . l l rl
I - o
Continue practice until intervals
are accurate.
L 6 4 + 7
5
k
36:
t
play
accurately
and
beautifullv.
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hdnmen ta l xercise
3 3 2
Fundamental xercise
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-
-
The Second Movement
Andante Cantabile
Point of Practice
0 3
miI:
h
G
XiFmfimYshO~(tLT 1:k.jLT1fi.fC]1:j5ia(
i i h
[ i 6
Curve the third finger and place it almost at a right angle
n to the string.
Stu dy and improve the shape of the left hand. See
E
L J..mY?m6JfRt
?~EC4iZi
,.(* 3;&*[Bi%.% )
of the Third Movement.)
Point of Practice
n
.
~l
li.tmlNm &'K % ( Ti&UJl: V ( < 3 T T 0
means that must
be
played ~mrnediately fter
sf
sforzando; especially with force).
The degree of
6
should be determined acc ord~ ng o the character of the passage.
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oint
o ractice
Play this passage as expressively as you can. Compare
your performance with those of virtuosos and study
their tempo s well as their beautiful sound and vibrato.
One of the surest ways to improve is to study excellent
performances, comparing them with your own perfor-
mance in four aspects: tempo, tone, pitch and vibrato.
By constantly s tudy ing virtuosos recordings, comp aring
them with your own performance in these four points,
you will come to realize after what careful study they
attained their accuracy and beauty. I expect pupils t o
understand step by step their execution, such as han-
dling of the bow, speed of bowing and action of the
right elbow.
= o , 2 7 9 - 7 o , p
9 i E L t u .
Play this two-octave
interval accurately.
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e
1 1 4
oint of ractice +FBa>ii:; i
.
a - A - D - E
( 2 m t k t : 3 m f i g ~ 1 + )
Strings: D-A-D-E Keep the third finger close to
the second finger.),.
. : ' ; i Z 9 E R l :
t
r : . : n r - I w
Exercise fo r Correct Intervals.
oint of ractice
ii:
Note:
1 )
Pupils are apt to press the bow too firmly on
the string when they play the notes in higher positions
on the string. Enough care must be taken so that the
bow is used on the string in the same way as if tuningon
the open string. Many pupils usually prod uce excellen t
sound in tuning, and they should apply the same control
of the bow and sound to all the notes they play.
Note:
2)
Left hand fingers should be rounded on
the fingerboard, almos t at a right angle to the string.
he relation of the string and the finger should be
rather than
,
and in higher positions the
angle must be .
t
areful about the shape of the left nand while prac-
t i o n g See of the Third Movement.)
h : T - m f F 3 r : t
L U Z R ~
t O E 3 ~ ~ ~
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a ema
7 7?Y
Point of Practice
. ? :
(Keep the first and the third fingers
n
close to the second and fourth fingers.)
4 t B i
r
r~iluif~:&:.F nff~
% M+.5.
When the fingers are placed for
T i . 5 l l M 8 t 5.
these notes, also try to improve
the shape of the left hand.
Learn to place the finger
properly for this note.
T-3 . 5 r : l+M E78f i z r :Lc i~25
I ~
Continue to practice till you can play well.
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1 g
& Fit .5
Practice repeatedly.
(Fixing of the first finger.f& C ismade easier by ke ep
nf i . ?c t
-j
ing the third finger on the string.)
+ J . A Y J ~ L
$ $ + f ~ l L ~ > l j c ~ ~ ~j .
Do not press down on the string.
1 :
T. .nfhnrf3+1I . :L
L
+
f y L - > i t ?
L > ; : ' . + ; l \ - t p / . .
Form the correct shape of the
left hand fingers, and try to
produce beautiful sound with-
b . .
but pressing down on the string.
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2 , 3, 4 m% ell l f i~ ,t-3 ~? 6,,km1, 2 .
3m%irt rnL.
Join the se cond, third an d fou rth fingers
one after the other. Do the same with
,,
the first, second and third fingers in the
'
following figure.
z m 1 m+EeIMs c i ~ >
1 m % e & s c i L . = t
L
r
6 UllHhr,'.PS.
75
t?2h?f$%ii';t.
It is necessary to learn
This can be played
not to raise the first
I
effectively by not
*
finger.
raising the first finger.
b75.k t I, 1~75.r;$k&6H#
% - t 6
Start the trill softly.
t I J ! ~ % 5 1 ~ \ 7 7 - t r i t 3 R 5 5 k S L c i6.T j C 3 f d S ~ . r ; l i d f,b t D m g e s r ~ > r . :
3 7 t
f.Ii;,kmI ~ : % ~ ~ ; L T L T L ~ - ~
If the trill is begun w ith a big sound and str ong accen t, the note D will sound weak w hen
it is played. Joachim's indication is as follows:
73 -
F m $ $ .3 f iL t zm L - j r : L L t n
The chord should be played like this:
LmsB'r f t7 L - > z ; k m \ I , lLr:&,@, Z f i L 3 7 k
m%*< rT0
Be car eful ab out the c resce ndo in the trill. Thi s is also
Joachim's indication.
r ~ s t z
Keep the same position.
oint
o ractice
fl l: j
m D n
n%nt3
9 emsr - .
Place the first finger accu-
rately on the D string.
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The Third Movement
Point
o
Practice
~2 c'lfl:%
This solo part must be studied very carefully with beau-
2 m / ~ n b L ; 3 r i ,
% L 75~7 zktij iVtQ-t-L;3i:dHR
tiful and cheer ful expression in mind. Start playing
5m+*hr : ' )
L & &
t i r t n i u t i & ~ ; . ~ . . ~ ' G S Y C I ~
wit
the middle part of the bow.
n a f L L>t , f? .50
Play eac h o f these notes lightly and try t o express the
1 7 7 - m B Q S L W tRti bTSYC.
7
1
contrast between the delicate legato and staccato.
t i b f l - 1 1 7 X tQ , l j# L ~ \ ~ ~ . . / * - t t m ~ i
-4-L 5 : L - t i i L L % o
Staccato in Allegro ma non trop poan d stacca to in Andante
7
1. / 1 ../ *m t P n
*
t t
grazioso are so different in cha racte r that they must be
T i T i t 7 7 . 7 d - * / m t ? ~ ? X P . . / j l - t . I i . t
made clearly contrasted in tone color.
m . ~ ~ ~ i a ; i g i 4 ti-r..;y&c y ~ : ~ & f ~ ~ ~ : , r f c r : t ~ r u t i
6 0
F ; n - F h r : ')
a - ~ , ~ ~ S I i
Adequate practice is necessary.
2 h a 0
Start playing with the lower third of the bow.
Practice this eighth not e with short bowing using the
:ma ' I ~ ~ , ~ ) ~ ~ ; I I J
< .
~ 1;n l t19 t~## i4 , :~
6 ? k j : ~ :
middle part of thp bou
e ;
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t t : l i % 7 - % ~ l t b 0
or with a slur.
oint of ractice
Note: When the first finger is shifted from the third
&;&: m nc3%3
,%v
a i h . b a X 5
ttv
-/ i-/
position t o the fifth pay atte ntio n to the shape of the
f
FmJf3l:i$.&
L
t
s
l o /~ . f i f ic f i i [ :n l ~
left hand. If the angle of the little finger to the finger-
t . t ~ ? k , m ~ +mJf31:~--,:
board is not Like this:
+
but like this:
\--.
it means
L - ~ ~ J ? ; . T I ~ C
that the correct position is not secured yet.
A wrong shape of the left hand will prevent the fingers
? . ~ m j f j h ~ . ~ ~ ~ ~ ~ i ,
t.?
L
1: @1t
fim$b3h:,*:(.
from moving freely. Training of the left hand for the
O ~ X f~iTmjfSnt&ik:Ikd TP;
.
t :tt .
correct shape should e considered of prime importance.
is
C - , T L d i h I i : k
will also play the following part too fast. Learn to play
n
t =
L ;s
ti L ~ L
T
';r(
( t
i 1 - -,
JE
L
at the correct tempo.
L % ? i t : T $ ( M e:
~ L S L > ~
hose
who play this figure faster than the correct tempo
= t i h c ~ F . L ~ ~ ? i X t l $ s i ( .
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oint
of
ractice
Notice that f
is
indicated for the first two measures
and* leggier0 for the following two measures. Training
is especially necessary here. Although the indication is
staccato for both pain o f measures, should be played
loudly with long bowing while P must be played with
short bowing almost like spiccato. In other words, for
P there is more elasticity of the bow with short bow-
ing, and in the case of f the bowing should be more like
legato. The indication
fp
means that f should imme-
diately be followed by P thus amounting to a kind of
accent.
.a:
%iJn.t.ns,tx L ~ t .
3
tr im
2
+rnh(/ t
.tn:t;n2/1~BTih fpleegiero
e<
h ; , h s < )
+t$,~:h(
L
T h
t
tt
n A d l t
t l:Llidh(4Z,
i a t t .
Id
t x .Y
n -
b
t C f n U $ ~ t i ; r l ~
A
3
7 h . 6 b A f 9 :hL
< r . r n
m t & ~ ? l $ ~ ; r l ~ 9 t l . d
- b 1:;Br.t 2383
f j l : t & .
7 3
) '; llJt l.d h ' 7
3 m 8 f i 9 t r t c ~ - , h a c ~ .
f n t 3 1 t . t t ~ t C t r t c t
k T b :;Be\ t
C S 8 3
t i t
to p l t f
m t
C h t
P
t S t tL I t I ) -Fi.n
P
7 >
b
h'$d
tL
h l S
tt
Only the first D and F are played immediately
12 L h n D , F S r:1$9f
T ~ . ~ T .
kt,.;,+ ~p I L
followed by
P
Then the succeeding figure, which ry ,,,T;Q i
A
y, t t
;,
../
descends gradually, should be p layed decrescendo. Read
6 .
<
R B ~ / J . & T T H T
?:2rb0
the score as groups of four measures.
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< ',SrC*:iF.Bt,;t:u> 3 ; Im)ywg+a.
slowly and learn to attain
n
a w n t e
1
posit ion,
: z f a - ~ t & l i ~ k m ti : S ~ ~ T ' C t r . t
rbiltSi~;aL T & . & .
Joachim gave an alternative indication hen.
This
p rt
may
be
played
s
follow:
After accurate placement of fingen is attained, then play
xRi: slh i: tr -,
t t .
M+JJI :~P~
it
w ith j2 , at first and try to make the leggiero smooth.
l ggi roTS
L r\&Imff?YY a L T ( t r
..
Note: Carefully read the note at
b
and pay attention
g ;t:s T 4 7 m ~ I b ~ ~ i : [ B 1 m S I b ~ Y t l i ~
to the shape of the left hand.
TS8aMi:CE,&.+ b
I :
..
Practice this melody on the D string correctly.
D 3 i 2 k a = m S ~ b l / 7 4 - e S f f f i E L ( B ( M M
Pay special attention to the position of the left hand
t ,, +.
and t o the shap e of the fingen. Don t start t o play
before you have learned to fix the left hand firmly
k 9 a l Z 9 , jmtr%i:?+i:&a L. ;t:S
3
;.mfS@bT
after the position shift.
k . + h ' ~ ~ h . ' ) S t
6 r : ' ; rh~ t i r~ t
i: L T
tz
b > e
- trlliiaa,g.at,
t 3 t .
Training is especially necessary for the following part:
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oint
f
ractice
The note
G
pressed by th e third finger is likely to be
played too high in pitch.
Try
to get accurate pitches.
Start playing with the upper end of the bow.
This bowing is indicated by Joachim but here
1
give my
own bowing for reference because find his indication
c uses
me some difficulty.
Vfimfl:
j
3 m R ~ 4 w ~ & G m ; ' ? 7 ! l ~ 4 ~ (t ) + 3 - 6~7 ! l ~ ; , i . l : ,G~ ,
ar: J
i ;m%m
f j tM; l lp I:d,&.
i~ m i
rt~.
T fir,
~ ~
&.FX
r
; ; I
J : ~ , , r ,
T :
dZLY t ; 3
L .
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Point of Practice
iEFPI 1 IS t
Learn to play accurately.
El#mM? +mL~
% L L > -rHi?lmz
j
J L ~ & S 2
Continue practice until you attain the speed at which
you can play the trill to your satisfaction.
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ointof ractice '% oil:fi
Learn to place the first finger accurately without raising
2
m # r - P t P i 1 : T - 1 m f i f . .t 1 ' 6 R 1 : I Ii
6MH.
the second finger.
: m # % Q @ i b L i l : l m f i f . ~ ~ { # 6 f
Prepare the first finger for this note.
:kI: ZO')JfS% Wlt
6
1:T 6J l l i J i ~~ . & . Co
Then learn to play this figure.
: m ; t : ~ > s i n k C ~ ~ ; ~ - ~ I F . L ~ ~ R S ~ , . ~ L ~ .# f i
I t
im#1#1mh1m,? 3 1 : { 5 : ~ t 6 .
In this position with the correc t shape of th e left hand
in mind place the thu mb at the sh oulder of the body
of the violin.
L : I . > @ , &
r
t i
:$ jf~ jl:
fkf4;rf1 ;::
;I
ihFr:$t+i(M;v+
L
:s
1 1 .
Pupils must acquire enough skill for the above points
before proceeding tc prac tke so that they may play
well both musically and tecnn~cally.
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cresc
Point
of ractice I:h
z -rril& %mZIYfi~.lZ1zgCrttO k k C l bn f l l l J
Training for changing strings is necessary tor . i s part. If
excessively long bowing is used. beautiful sound cannot e
t C ' b t k r b h f i c t i : t - t t X L . i & & f i ' h ' . t < Q L ) + t b t
expected
and
speed c a n h e attained. A different bowing
r t
is en bclow-for au dy changing strings. This ~ O W
t g e m u n f I em <,,. b
l i
I
m y
e adequate for expressing the melody effectively.
crcsc (8
cresc
(8 4