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• The Suzuki Method® of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Dr. Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that.

A TEACHER’S GUIDE TO SUZUKI BOOK ONE (from Lightly Row)

CONTENTS

• Repertoire
• Sample Practice Assignment (Long, Long Ago)

INTRODUCTION

A Teacher’s Guide to Book One begins with Lightly Row.

• Please see StringPedagogy.com VOLUME ONE: Starting the Beginning Violinist for the teaching of repertoire through the Twinkle Variations
• For the first lessons, review the Pre-Twinkle Check List

In the Teacher’s Guide to Book One, the format for discussing how to teach each piece is:

WHAT’S NEW AND DIFFERENT (Isolation of Difficulties)

MASTERING THE NEW AND DIFFERENT (Practicing the Difficulties)

HOW TO PRACTICE (Bow Strokes, Bow Division and Use of the Fingers)

THE FORM

This guide can be used as a checklist for technical, musical and theoretical concepts the student will accomplish while studying each piece within Book One. The Teacher’s Guide will help organize a student’s course of study and select the appropriate starting point to review tasks that have not yet been mastered. Since each student has a unique combination of strengths and weaknesses, all tasks may not be mastered by the end of each piece. When the teacher feels the student is not ready to continue to the next piece, supplementary repertoire can and should be added. Check Repertoire List. Even when the student moves on to the next piece, work continues on the previous piece until it is mastered. This Teacher’s Guide is indeed a guide, not a mandate. It outlines the technical and musical goals of this stage of violin playing with a suggested sequence.

A companion to A TEACHER’S GUIDE TO SUZUKI BOOK ONE, is a Check List which organizes the material by topic. (In my first year of teaching, working with Nancy Kredel and the Paul Rolland approach, I remember checking daily Paul Rolland’s Prelude to String Playing to make sure that I was covering all the important points.) I hope you find it helpful to take a look at the Check List before starting Book One, during the teaching of the book, and after the completion of the book.

We have summarized the journey through Book One with a list of PIVOTAL MOMENTS. These are significant technical and musical milestones that can be applied to different methods and repertoire at this stage.

This information and approach is in place at the Indiana University String Academy.

THE INDIANA UNIVERSITY STRING ACADEMY PROGRAM

(For a more complete description of the Indiana University String Academy, click here to access the String Academy home page.)

At this stage, beginning students in the String Academy participate in three weekly lessons. These are a half-hour private lesson given by the major teacher, a one hour group lesson, and a “helper lesson”. The “helper lesson” is a private lesson given by a university student taking a string pedagogy class. The university student observes the other two lessons of the beginning student.

For group lesson information click here.

In the beginning, the responsibility of practicing lies in the hands of the parents. Parents attend all the private and group lessons and practice daily with their children.

PIVOTAL MOMENTS in Book One (In approximate order of first appearance)

• Setting the non-judgmental learning environment
• Shaping the left and right hands
• Practicing with repetitions
• Developing scales (Twinkle, O’ Come Little Children, Etude)
• Developing independent fingers
  • Independent 3rd finger (Starting with Song of the Wind)
  • Low 2nd finger and only 3rd finger - G Major Scale, Etude and the Minuets
• Expanding the bow and changing to the “grown-up” bow position (O’ Come Little Children)
• Introducing the 4th finger (Perpetual Motion)
• Music Reading: From finger numbers to pitch names and note reading at Perpetual Motion. (Kodaly rhythms have been learned in the first group lessons.)
• New keys: D Major (Perpetual Motion) and G Major (Etude)
• Leap in musical complexity with the Minuets - More variety of motive, phrase and form
• Slurs (The Minuets)
• Vibrato beginnings (Minuet II)

REPERTOIRE IN SUZUKI BOOK ONE

The following repertoire is taught by rote until Allegretto. At this time, students will have rudimentary reading skills in place. Students are encouraged to listen to the Suzuki pieces daily (tapes or CD’s), and will also be hearing the repertoire in group classes and concerts.

It is helpful to teach all the pieces by phrase. Some students may only be able to handle one phrase a week; others can incorporate the entire work. Be sensitive to the student’s ability, yet always ask for the maximum. The repertoire is presented with many specific tasks that with clear explanation and practice can be mastered. Be patient and allow the student to accomplish one task at a time.

- Lightly Row -

WHAT’S NEW AND DIFFERENT

• Placement of the 1st finger and high 2nd finger on the A string while playing the open E string with a clear tone
• Terms: Moderato

MASTERING THE NEW AND DIFFERENT

Help the student to place the 1st and 2nd fingers on the A string. The teacher can play the bow while the student concentrates on the left hand position.

HOW TO PRACTICE

• Start with 1st and 2nd fingers down (B and C#) on the A string, making a bridge over the E string. Leave these fingers down while playing the open E. As a general rule, leave the fingers down if returning to them within the same position.
• Lightly Row is to be played in the UH of the bow, with a legato stroke, using the forearm. The same amount of bow will be used for the quarter notes as the half notes. If necessary, make the student aware of the different bow speeds. (This should not be too difficult since this task has already been accomplished in the Twinkle Theme.)
• Review the A Major Scale with the Twinkle Variation rhythms.

THE FORM

ABCB

- Song of the Wind -

WHAT’S NEW AND DIFFERENT

• Independence of the 3rd finger
• 3rd finger hopping from the A string over to the E string
• UH down bow circles
• Discuss the repeat sign (Even though the student is playing without the music, repeating the song will be discussed.)

MASTERING THE NEW AND DIFFERENT

• Flying pizzicato done with the right hand index finger, gently plucking all strings over the finger board’s high dot and then circling around.
• Half down bow circles from the middle to tip on the A and E strings - quick circles following through with the arm.
• Left arm swing: Left pinky pizzicato over the high dot -- G, D, A, E. This gives the left elbow flexibility in changing its position from string to string. Remember the elbow levels are changing from the ball and socket joint.
• Isolate M.3. (Ask the student to repeat this 25 times a day.) The third finger jumps from the A to the E string while leaving the first finger down on the E string. This is a PIVOTAL MOMENT in the development of independent fingers.

Note: If the 3rd finger is placed simultaneously on both the A and E strings as a perfect fifth, the wrist can become distorted. Eventually, the student will place the finger on both strings for a P5, but for now, the “jump” is a better solution.

HOW TO PRACTICE

• Review the A Major Scale with the Twinkle Variation rhythms
• Song of the Wind is played in the UH of the bow using the forearm
• Fingers: Block the three fingers when descending in M.7 and M.11

THE FORM

ABB’

- Go Tell Aunt Rhody -

WHAT’S NEW AND DIFFERENT

• Taking 1st and 2nd fingers off together in M.4
• Discuss dynamics – Playing piano (P) in the second half of the B phrase

MASTERING THE NEW AND DIFFERENT

• Isolate M.4. Stop before the last A in M.4 and raise the 1st and 2nd fingers together. Repeat 10 times every day.

HOW TO PRACTICE

• Go Tell Aunt Rhody is played in the UH with a beautiful singing tone and clear intonation
• Use a full half bow for the quarter notes, and a little less bow for the eighth notes
• Use less bow to play the piano passage of the B phrase, staying in the UH
• Review the A Major Scale with the Twinkle Variation rhythms
• Fingers: Begin with 1st and 2nd fingers on the A string. When descending in M.3, block the three fingers.

THE FORM

ABB’A

- O Come Little Children -
A PIVOTAL MOMENT

WHAT’S NEW AND DIFFERENT

• New bow position – Changing to the “grown-up” bow position
• Using the whole bow
• Bow division of W (whole) H (half) H (half)
• Beginning a piece with an up bow (pick-up) for the first time
• Completely independent 3rd finger on the E string
• First eighth note rest
• First dotted quarter note (last note of piece)
• Discuss dynamics – crescendo and decrescendo
• Term - Andante

MASTERING THE NEW AND DIFFERENT

• New bow position – In the beginning, the thumb is placed on the underside of the frog opposite the longest finger. Now, the thumb is placed between the frog and the wrapping opposite the longest finger. Ideally, the thumb will be placed on the octagonal side of the stick closer to the body. (See picture) The thumb must remain relaxed and flexible for evermore. (The key words here are relaxed and flexible. Since the thumb is a finger that biologically is used to grab, it is now faced with the life-long prospect of simply helping to balance and support the other fingers on the bow. To develop this state of physical being, takes constant awareness for many years.) Check that the longest finger is opposite the thumb and forms a slightly rounded circle. Tap the 1st finger on the bow, the two middle fingers and the little finger allowing the fingers to find their own most natural position.

• Whole Bow Exercises:
• Silent Bow Placements at the frog, middle and tip. Make sure the back of the right hand is loose when the bow is at the tip. In the middle, the right hand is balanced between the first finger and little finger. At the frog, the hand is balanced towards the pinky. Tap the fingers at each position making sure the hand stays soft and relaxed.
• Practice Whole Bow Circles beginning down bow and up bow on the A and the E strings
• Bow Wanderings - Begin at the tip of the bow and play with relaxed detache bows. Make your way to the frog and then return to the tip. The fingers remain relaxed. The forearm will be used on the up bow until it can go no further, and then the upper arm will kick in bringing the bow to the frog. (See the TRAIN STORY)
• Practice WHH bows on the open A and E strings with singing tones
• Silent String Crossings: roll the bow over all four stings by rotating the right arm from the ball and socket joint

• Place the left pinky at the tip of the bow, wave hello with the right arm while maintaining a good balance with the right hand bow position. This helps to develop a relaxed bow arm.

HOW TO PRACTICE

• Begin in the middle of the bow. Then, use a whole bow for the quarter notes and half a bow for the eighth notes except for the quarter note at the end of each phrase. For these notes return only to the middle of the bow. Make sure to leave the bow on the string during the rests to be ready for the next pick-up.

• In the last phrase (M.14), place only the 3rd finger on the E string

• Up bow circle off at the end of the piece

A Major Scale

• Two detaches per note in the UH
• Two detaches per note in the LH
• Every note once for two beats using the WB
• Legato WHH on each note using the quarter note, two eighth note rhythm

Bow divisions are all common sense and good logic.

THE FORM

AABC

- May Song -

WHAT’S NEW AND DIFFERENT

• The first dotted rhythm (dotted quarter note and eighth note – ta-dot-ti)
• A Major Arpeggio

MASTERING THE NEW AND DIFFERENT

• To practice the one octave A Major arpeggio use the whole bows. Play the open A, then place the 1st and 2nd fingers on the A string. Leave them down while playing the open E string and then place the 3rd finger on the E string.
• Practice M.1 on the open A string. Use a whole bow for the dotted quarter note, a half bow for the eighth note, a half bow for the next quarter note and a whole bow for the last quarter note returning to the frog.
• Stay aware of the bow division and different bow speeds for the same note value.

HOW TO PRACTICE

• Bow Division
  • Practice the first measure as described above. Use a WB on the quarter and half notes, and half bows on the eighth notes.
  • In the B phrase, use less bow when repeating in P.
• Placement of Fingers
  • M.1, place the 1st and 2nd fingers down together for the C#. Keep the two fingers down while playing the open E and until you have played the 3rd finger on the E string.
  • M.2, leave the 1st finger down as you play only the 3rd finger because you are returning to the 1st finger.
  • M.3, block all three fingers on the A string and release the 3rd finger as you play the open E
  • M.5, block the three fingers and leave the 2nd finger down because you return to it in M.6
• Review the A Major Scale (See O Come Little Children)

THE FORM

ABBA

- Long, Long Ago -

WHAT’S NEW AND DIFFERENT

• First note on the D string

MASTERING THE NEW AND DIFFERENT

• Isolate the two measures with the new note (1st finger on the D string) and repeat 10 times/day (M. 9-10)
• Keep the 1st finger on the D string while you play the 3rd finger on the A string (M.9-10) After you have played the D in M.10, hop your 1st and 2nd fingers to the A string.

HOW TO PRACTICE

• Review the WHH bowing pattern on the open D, A and E strings
• Bow division of WHH throughout the piece

Review the A Major Scale:

• Two detaches per note in the UH
• Two detaches per note in the LH
• Every note once for two beats using the WB
• Legato WHH on each note using the quarter note, two eighth note rhythm

THE FORM

ABCB

TEACHING TIPS

• It is helpful for the student to have three levels of pieces concurrently in the pipe-line. Practicing and performing a piece below the present level gives the student a sense of confidence and well-being. (This can consist of a review piece(s).) A piece at the current level keeps the musical and technical growth intact. To keep the student challenged and modest, present a piece with new difficulties.
• Divide the weekly lesson into three categories: etudes (measures isolated), repertoire, and group pieces. At different times the emphasis will shift depending on what the priorities are, i.e., solo recital, group concert, attention to technique, etc.

SAMPLE PRACTICE ASSIGNMENT for daily practice on arrival at Long, Long Ago might include:

• A Major Scale
• Two detaches per note in the UH
• Two detaches per note in the LH
• Every note once for two beats using the WB
• Legato WHH on each note using the quarter note, two eighth note rhythm
• Twinkle Variation rhythms
• Isolating the difficulties in Long, Long Ago (10x’s/day)
• Playing Long, Long Ago (5x’s/day)
• May Song (3x’s/day)
• Alternating every other day reviewing the earlier Book One Pieces (1x/day)
• Group repertoire
• Remember that practicing is a matter of repetition, not a specific amount of time.
  

- Allegro -

WHAT’S NEW AND DIFFERENT

• Fermata
• Ritard
• Dolce
• A tempo
• Allegro
• Learning to lead the pianist after a fermata

MASTERING THE NEW AND DIFFERENT

• Learn the new musical terms by drilling at the lesson and at home
• Show the student how to lead the pianist after the fermata with a lift and play

HOW TO PRACTICE

Allegro combines all the bow strokes learned up to this point:

• Martele
• Detache
• Legato

The A phrases are played in the UH with the martele (quarter notes) and detache stokes (eighth notes). The B section is played with a WB legato stroke.

It might be necessary to review taking the second and third fingers off simultaneously in M.2, and taking the 1st and 2nd fingers off together in M.4. Isolate these measures. (This skill was introduced in Go Tell Aunt Rhody)

THE FORM

AABA

- Perpetual Motion in A Major -
Another PIVOTAL MOMENT

WHAT’S NEW AND DIFFERENT

• Introducing the 4th finger
• More complex memorization
• Coordination between the right and left hands with faster note values: Finger Before Bow (FBB)
• Time to begin note reading

MASTERING THE NEW AND DIFFERENT

• To introduce the fourth finger, practice a 'Broken Record' with a detache stroke in the UH on the open A and E strings

4th Finger Broken Record

• Review the set-up of the left hand. It is helpful to check that the left hand is balanced back from the 3rd and 4th fingers. This is the most elusive left hand problem to define, yet not difficult to fix.

HOW TO PRACTICE

• Martele in the UH placing the Finger Before Bow (FBB)
• Detache playing every note two times in the UH (double troubles)
• Detache playing every note two times in the LH detache, slowly
• Triplet detaches in the UH
• Placement of Fingers: In M.5, 6, 7, block all three fingers
• Review the A Major Scale

THE FORM

AA’BB’CCAA’

- Perpetual Motion in D Major -

WHAT’S NEW AND DIFFERENT

A new key and new string - D MAJOR and D String

MASTERING THE NEW AND DIFFERENT

Practice a D Major One Octave Scale the following ways:

• The Twinkle Variation rhythms
• Two detaches per note in the UH
• Two detaches per note in the LH
• Every note once for two beats using the WB

Practice the 4th finger Broken Record on the D string

HOW TO PRACTICE

• Martele in the UH placing the Finger Before Bow (FBB)
• Detache playing every note two times in the UH (double troubles)
• Detache playing every note two times in the LH detache
• Triplet detaches in the UH

Time to begin NOTE READING

Follow this sequence of tasks and good music reading abilities are assured. Begin these drills at Perpetual Motion and continue through the completion of Book One. The student should master each task before going on to the next. This is not difficult to accomplish IF (and this is the important point) practiced daily.

Rhythmic reading begins in the first Group Class and the following has been learned:

• What is a staff, measure, bar line, time signature, treble clef, bass clef, note values with the Kodaly syllables

Group Lessons Video Clip (Coming Soon!)

Learning how to read pitch names:

• Learn the names of the notes under the fingers on the A string by answering the question, 'What are the names of the notes under the first, second, third fingers?' Also, have the student play a note and say the name. (For example, “What note is second finger on the A string?” The student will say, “C#.”)
• Continue the above process with the names of the notes under the fingers on the E string, D string and then G string. (One string per week makes good sense.)
• Make flash cards for the A string notes. Flash the card to the student who says the name of the note and then plays it on the violin. Explain that notes live on spaces or lines, and when the notes go up, the pitch goes up.
• Make flash cards for the E, D and G strings. (Again, one string per week.)
• Return to Twinkle in Suzuki Book One and begin writing out the names of the notes. Continue this note identification for all the pieces up through the latest piece.
• Prepare note drilling pages or use the Avsharian Notespeller* if more drilling is necessary.

This process may take two months, but is well worth the careful effort.

Rhythmic Trainingby Robert Starer is an excellent book for elementary to advanced students for rhythm reading skills.

From this point, new pieces are learned with the music but are always memorized.

- Allegretto -

(A note: Andantino can be taught before Allegretto. Rhythmically, Andantino is easier to grasp for many students.)

WHAT’S NEW AND DIFFERENT

• Key of D major
• Awareness of articulation with the bowing pattern WHH. The WB (quarter notes) will be played with a martele stroke, and the half bows (eighth notes) with detache.
• First G string note
• Continuing development of the fourth finger
• Terms: cesura, accent, Allegretto

MASTERING THE NEW AND DIFFERENT

• Practice WHH bow pattern on open strings
• D Major One Octave Scale
• Two detaches per note in the UH
• Two detaches per note in the LH
• Every note once for two beats using the WB
• WHH (Articulation: Whole Bow will be played with a martele stroke and the half bows with detache)
• Isolate the D to G string notes in M.9, and repeat 15 times/day (The first finger hops from the D to the G string. This is easy to do since this task was mastered in Long, Long Ago.)

HOW TO PRACTICE

• The 8th notes will be played with a half bow using the detache stroke. The quarter notes will be played WB using the martele stroke. (Note: The WB martele is not a short fast bow, but a WB with a ringing articulation.)

THE FORM

AA’BA’

- Andantino -

Andantino is taught in the same manner as Allegretto

WHAT’S NEW AND DIFFERENT

• Terms: Andantino

- Etude -
Another PIVOTAL MOMENT- A Big One

WHAT’S NEW AND DIFFERENT

• The key of G Major - Introduction of the low 2nd finger with C natural on the A string, and G natural on the E string.
• Memorization is more complex. (However, mastering Etude makes the Minuets easier.)

MASTERING THE NEW AND DIFFERENT

G Major Two Octave Scale with the first use of low 2nd finger

• The development of independent fingers begins with Song of the Wind. Upon arriving at Etude, the 3rd finger is placed by itself in a descending passage when it is followed by a low 2nd finger. When descending with the high 2nd finger, continue to place all three fingers. (“High second finger on the low two strings and low second finger on the high two strings.”)

Note: The reason for proceeding in this manner is that the student is habitually used to placing the 2nd finger next to the 3rd finger. Placing only 3rd finger will be a reminder that the low 2nd finger follows.

Suzuki Harp Method Book 1

• Broken record with the high and low 2nd finger.

Broken Record with High and Low 2nd Finger

• Begin practicing the Two Octave G Major Scale by practicing all the previous bowing patterns:
  • Two detaches per note in the UH
  • Two detaches per note in the LH
  • Every note once for two beats using the WB
  • WHH (Articulation: Whole Bow will be played with a martele stroke and the half bows with detache)
  • Twinkle Variation bowings
• New Bow Division Pattern for the Two Octave G Major Scale:
  Note: The term 'stopped bow' is also used to indicate the martelé stroke.
  • Two stops (martelés) per bow. Do the same thing with 3, 4, 5, 6, 7, 8 and 15 stops per bow as the student develops. (Begin by introducing 2, 3 and 4 stops/bow. Each lesson, add a few more notes to the bow.)
  • When comfortable with the bow division, play the scale with slurs using 2, 3, 4, 5, 6, 7, 8 and 15 notes/bow. This is an essential tool for learning and reinforcing bow division. Precise bow division must be emphasized. Don’t hesitate to leave the middle marker on the bow. This can stay put for many months if not years.

HOW TO PRACTICE

• Divide Etude into phrases to help organize the memory. If problems exist, try the following:
  • Bracket each phrase in a different color.
  • Copy the music and cut the music into its phrases. Paste each phrase on the wall in a different place. The student will have to walk from one phrase to the next which gives a spatial sense of memory.
• Martele in the UH with Finger Before Bow (FBB)
• Detache in the UH with every note two times (the old Double Troubles)
• Detache every note two times at the frog
• Detache triplets in the UH
• Placement of Fingers
  • M.1, begin with 1st finger and leave down until the 3rd finger G has been placed on the D string
  • M.2, leave 1st finger down, place the 3rd finger (without the 2nd)
  • M 4, leave the 2nd finger down, find the 4th finger and then place the 3rd finger
  • M.8-14, remember to place only the 3rd finger when descending with a low 2nd finger. Still block the fingers when descending with the high 2nd finger.
• Continue flash card drilling and writing the names of the notes in the music

THE FORM

Suzuki Piano Method Book 1

AABA’

- THE MINUETS -

Learning the Minuets is a significant accomplishment for the budding young violinist. These are the first pieces by a great composer and the first of the dance forms encountered by the student. Previous repertoire has been based on consistent rhythmic and melodic patterns. With the Minuets, the student is introduced to a greater variety of musical motives and phrases. And now, a whole new set of tasks is waiting to be solved. A worthy goal when possible, is to perform all three Minuets in a recital. This is a major achievement for the student.

- Minuet I -

WHAT’S NEW AND DIFFERENT

• 3/4 meter
• Slurs
• New bow divisions (Down up up)
• Concept of strong and weak beats
• First dotted half note
• Review repeat sign
• Expanded fourth finger independence
• The use of high and low second finger
• Term: Minuet

Suzuki Harp Book 1 Pdf

MASTERING THE NEW AND DIFFERENT

• Slur studies

Slur Studies

• Using the WB, practice down up up with martele bowing on the A string (M.1)
• Practice down up up with a Two Octave G Major Scale
• G Major Scale (See Etude)
• Review the 4th finger broken record on the G, D, A, and E strings

4th Finger Broken Record

• High and Low Second Finger Broken Record

Broken Record with High and Low 2nd Finger

HOW TO PRACTICE

• Bow Division
  • M.1, play W-half-half
  • M.2, play W-half-half-W
  • M.5, play WB on the quarter notes and ½ bows on the 8th notes
  • The above pattern remains throughout
• Placement of Fingers – General Rules
  • Place only 3rd finger when followed by a low 2nd finger
  • Leave the old finger down to find the new finger for secure intonation
  • Leave the finger down if returning to it within the same position
• Placement of Fingers – Minuet I
  • M.1, begin with 3rd and 1st fingers down
  • M.2, leave 1st finger down on the 8th note B to more easily find the G
  • M.3, play only the 3rd finger, descending with a low 2nd finger
  • M.5, leave the last 3rd finger down to find the next 4th finger (E)
  • Patterns remain the same throughout

THE FORM

A://BC

- Minuet II -

WHAT’S NEW AND DIFFERENT

• Triplet figure
• First legato slur
• High and low 3rd finger
• Consecutive string crossings and skipping a string
• G Major Arpeggio
• If the left hand is soft and relaxed, the teacher can begin to wiggle the student’s left hand fingers for vibrato see Vibrato Link

MASTERING THE NEW AND DIFFERENT

• Explain triplets
• Isolate the triplets in M.15-16 and M.23-24, first with stopped bows and then slurs. The student can say, 'Strawberry ice cream cone' (or they may like chocolate better) to help remember the rhythm.
• Use the 'broken record' exercise to practice the D#

Broken Record with the High and Low 2nd and 3rd Fingers

• Practice the first measure with martele bows in the UH with finger before bow (FBB), and stopping the bow on the new string.

• The G major arpeggio is played using whole bows with a beautiful, singing tone. ('The singing whole bow') Play open G, then place 1st and 2nd fingers on the G string, leave them down and play the open D string. Place the 3rd finger on the D string, leave this 3rd finger down to find the 1st finger on the A string, play the 3rd finger on the A string, leave 1st finger down to find the 2nd finger on the E string.
  G Major Arpeggio

• Vibrato beginnings: At this point, the student may be ready to have the teacher wiggle the left hand fingers. This can begin if the student’s hand is well-shaped, soft and flexible. If this is not the case, wait patiently. It takes years to develop a beautiful vibrato but it can all begin around this time. (Vibrato Link)

HOW TO PRACTICE

The first measure should be practiced with martele in the UH, stopping the bow on the new string. Also practice M.1 with finger before bow (FBB). The first measure will be performed with a detache bow in the UH.

Suzuki Harp Book 1

• Bow Division
  • M.1, play in the UH using the detache stroke
  • M.2, stay in the UH
  • M.4, arrive at the frog on the second V bow
  • M.5, play W- W- half-half
  • M.8, save the bow on the dotted half note, arriving to the middle
  • M.23, use the WB on the triplets, and ½ bow on each V bow quarter note
  • M.25, use the WB on the quarter notes, ½ bow on the 8th notes
• Placement of Fingers – General Rules:
  • Place only 3rd finger when followed by a low 2nd finger
  • Leave the old finger down to find the new finger for secure intonation
  • Leave the finger down if returning to it within the same position. (At this time, the student is not shifting, but this rule is in development.)
• Placement of Fingers – Minuet II
  • M.1, begin with 3rd and 1st fingers down
  • M.2, place only the 3rd finger on the D string
  • M.5, leave the 2nd finger down to find the 3rd finger in M.6
  • M.6-7, 2nd finger hops from the G to the C (the P5th)
  • M.12-13, leave the 3rd finger down to find the 4th finger in M.17
  • M.17, begin with only 3rd finger
• Review the Two Octave G Major Scale

THE FORM

AA’:||BCDA’

- Minuet III -

WHAT’S NEW AND DIFFERENT

• Finger independence - the continuing development
• First 8th note slurs with string crossings
• Concentric Circles: This would be a good time to introduce concentric circles which reinforce free motions and give the student control to begin and end at any point in the bow.

MASTERING THE NEW AND DIFFERENT

• Isolate M.17 (first measure of the B section) and create a 'broken record' exercise. Begin with the first, second and fourth finger down.

Minuet Three Studies

• Practice the slurs with stopped bows
• Concentric Circles - Begin with a WB down bow circle. With each consecutive circle, begin and end closer to the middle until you have arrived at a very tiny circle in the middle. Up bows are done in a similar manner. (This is the Russian doll concept of placing the smaller doll within the larger doll.)

HOW TO PRACTICE

• Bow Division
  • M.1, use the WB on the quarter notes and the two slurred 8th notes
  • M.2, use the WB on the quarter note, and half bows on each quarter note V bow (M.2)
  • Same pattern remains throughout
• Placement of Fingers
  • M.1, place only 3rd finger on the A string, jump over to the D string for the P5
  • M 2-3, leave the 3rd finger down to find the 4th finger
  • M.6, block the three fingers in the descending passage (still blocking with the descending high 2)
  • M.17, place the 2nd and 4th fingers
• Review the G Major Scale and Arpeggio

THE FORM

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• Position of Feet
• Relationship of the head, neck and back
• Suppleness and flexibility in the left hand
• Tapping fingers on bow
• Not squeezing or pressing up on the thumb of the bow hand
• Statue of Liberty
• Tapping left hand over the high dot
• Whole Bow Down and Up Bow Circles
• Concentric Circles
• Silent Bow Placements
• Bow Wanderings

NOTE: At this point, Fiddle Magic by Sally O’Reilly can be introduced. These are helpful finger exercises in an array of colors and figures. The exercises can also serve as reading exercises and pave the way for the Wohlfhart Etudes, Op. 45 which are coming up in Book Two.

- The Happy Farmer -

WHAT’S NEW AND DIFFERENT

• A dotted-quarter note hooked to an eighth note. This is the first dotted quarter note since May Song, and can be practiced on the open strings. Catch (articulate) the eighth note with the bow.
• First pick-ups since O’ Come Little Children
• First “Z” bowings (Link to Volume Two)
• Term: Allegro giocoso

MASTERING THE NEW AND DIFFERENT

• Practice the dotted rhythm on the A string and then with the G Major Two Octave Scale. Articulate the eighth note with the bow which will give a ringing tone to the dotted quarter. This begins the development of the Viotti Stroke.

Happy Farmer Bowing Study

HOW TO PRACTICE

• Bow Division
  • Begin in the middle of the bow and go to the frog
  • M.1, use the WB, leaving 1/3 of the bow for the 8th note
  • M 2, stay in the LH for the 8th notes, use a WB on the dotted-quarter note, and then stay in the UH for the 8th notes in M.3
  • M.4, the first “Z” bowing. On the second beat which is an up bow, return to the frog, and on the 3rd beat which is a down bow, stop in the middle. The student is ready for the next pick-up.
• Placement of Fingers
  • M.1, place only the 3rd finger. Keep 1st finger down while playing the D and the next G
• Review the G Major Scale and Arpeggio
• Awareness of phrase endings for memorization
• Vibrato wiggles

THE FORM

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- Gossec Gavotte -

The Gossec Gavotte is generally taught after Bourree in Book Two at the Indiana University String Academy. The difficulties in the Gavotte are more easily accomplished at this point.

WHAT’S NEW AND DIFFERENT

• Grace notes (first appoggiatura)
• Crossing two strings
• 16th notes with slurs
• High second finger and low second finger in a 16th note passage
• Terms: Da Capo al Fine, Gavotte
• First pizzicato

MASTERING THE NEW AND DIFFERENT

• Isolate M.2 with the string crossing and grace note. Stop the bow on the new string and prepare the finger.
• Isolate all of the 16th notes. Practice with separate bows, stopped bows and then slurs. Repetitions are the key to success.
• Isolate M.20 with high and low second finger. Place the 2nd finger with the 3rd finger and take the high second finger (C#) off the string after it has been played. Leave the 1st finger down throughout. Practice with separate bows, stopped bows and then slurs. (The exercizes in the Suzuki Book are helpful.)
• Isolate pizzicato

HOW TO PRACTICE

• Bow Division
  • M.1, play in the UH of the bow with the martele stroke
  • M.2, stay in the UH, but a generous UH
  • M.7, use a WB on the quarter notes, ½ bow on the 8th notes
  • M.17, use the WB
  • M.18, use the WB on the first beat, UH for the 2nd and 3rd beats
  • M.19, use the WB
  • M 20, use the generous LH
  • M.25, use the WB on the 1st beat, and generous UH for the remaining quarter notes
  • M 27, place the bow again at the frog
  • M.31-32, play to the frog on the two V bows before the pizzicato
• Placement of Fingers
  • M.1, begin with only the 3rd finger
  • M.2, only the 3rd finger on the D string
  • M.7, 4th finger on the C# on the G string
  • M.13, only 4th finger (descending with a low 2nd finger)
  • M.18, leave the 3rd finger down because returning to it
  • M 20, see Mastering the New and Different
• Review the G Major Scale and Arpeggio

THE FORM

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D.C. al Fine