Violin Suzuki Volume 10

7/25/2019 Violin Suzuki Volume 10

http://slidepdf.com/reader/full/violin-suzuki-volume-10 1/45

CONTENTS

Concerto in D Major.

W.A. ozart 5

Andante cantabile -12

Rondeau .IS

Jlegm

5

Points of Practice 20



Wolfgang Amadeus Mozart

Joachim

Suzuki



F f f

-

f

+ a P

1 a m

I

I 1 1 1

,

28

u

Pma con srrono

48



ddi t rt tr

espl



Andante cantabile

J,

5

6 3 )



ndante grazioso i = c a .

63

olo

llegro

ma

non troppo J.-ca. 100



o

llegro ma non troppo



ndante grazioso ==a 60



llegro

ma

non troppo

R



Allegro

nl

non troppo



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



- -

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



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: ++,=



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



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

. .

.



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.



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.



Point o Practice

* ;u:rn.fI:

to the third finaer -

Point

o

Practice

Rndamentd xercise



= 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.



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.



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



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.



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



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.



hdnmen ta l xercise

3 3 2

Fundamental xercise



-

-

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.



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.



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 ~ ~ ~



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.



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.



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.

http://slidepdf.com/reader/full/hr,'.PS

http://slidepdf.com/reader/full/hr,'.PS



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 ;

http://slidepdf.com/reader/full/violin-suzuki-volume-10?~?XP../jl-t.Ii

http://slidepdf.com/reader/full/violin-suzuki-volume-10?~?XP../jl-t.Ii



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 ( .



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.



< ',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:

http://slidepdf.com/reader/full/-#trlliiaa,g.at

http://slidepdf.com/reader/full/-#trlliiaa,g.at



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 .



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.



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.



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

Violin Suzuki Volume 10

Documents

Transcript of Violin Suzuki Volume 10