Suzuki Cello School Cello Part Volume 1Suzuki Cello School Cello Part Volume 1 Revised EditionINTRODUCTION FOR THE STUDENT: This material is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with these publications. In addi- tion, there are piano accompaniment books that go along with this material. FOR THE TEACHER: in order tobe an effective Suzuki teacher, a great deal of ing edueaton is required. Your national Suzuki association provides this for ip. Teachers ste encouraged to become niemibers of hei national Snauki associations and maintain a teacher traning schedule, inorder to remain Current, via institutes, short and long term programs. You are also encouraged 10 join the Intemational Suruki Association. FOR THE PARENT: Credentials arc essential for any teacher that you choose. ‘We recommend you ask your teacher for his oF her oreiemils especialy listing tose relating to raining inthe Suzuki Method, The Suzuki Method experience shouldbe a postive one, where there exists a wonderful, fostering relationship ‘between child, parent and teacher. So choosing the right teacher is ofthe utmost importance. In order to obtain more information about the Suzuki Method, please contact your country’s Suzuki Association, the International Suzuki Association at 3-10-15 Fokashi, Matsumoto City 390, Japan, The Suzuki Association of the Americas, 1900 Folsom, #101, Boulder, Colorado 80302, of Summy-Birchard Ine., c/o ‘Wamer Bros. Publications, 15800 N.W. 48th Avenue, Miami, FL 33014, for current Associations” adkresses. Under the guidance of Dr. Suzuki since 1978, the editing ofthe Suzuki Cello Schoo! is continuing cooperative effort of the Cello Commitiees from Talent Education Japan, the European Suzuki Association and the Suzuki Association of the Americas.es] ees ses CONTENT: “Tinkle, Twinkle, Lite Star Variations, Shinichi Suzuki Prench Poll Song, Folk Song Lightly Row, Fok Song Song ofthe Wind, Folk Sone Go Tet Aunt Rhody, Folk Song (© Come, Lite Children, Fell Song May Song, Folt Song Allegro, Shinichi Saco Perpetual Motion in D Major, Shinich Swcut Perpetual Motion in G Major, Shinich Susu Long, Long. Ago, PH. Bayly Allegretto, Shinichi Surat Ande ino, Shinto Saou, Rigadoon, 4, Prcelt ‘The Happy Parmer, &.Schamonn fm CIS Bach Minuet No.2,/S. Bach Maestmm Pablo Casals 6 16 ” 8 24©1979 Fritz Henle Maestro Pablo CasalsRe RROnE CRB EMH Lo FaMne Jo THRORMEML Ese, ENIDE are ao SPU et ood, ON RLOR ORME, BRORME RUT NES HHenncunags WR ARE Lem ELMAR RATE a ES MLB, FEL ORMECE OL Lome Bharscunres. Whodoodtsy bemmeL CHES okie MO PERC IROHOE NOS EE, Bi WEED E SR AONE it BO LMT ESD Eenales BRO MEEEENOMMEOCEE’, weOR Suntoct. tubs; e, WATE bm ACLUABERL, BHO LLM AeEhe fniwllRe Cae TERL TO BM EWE ESE WRLAOM CHE LEAT, EMFELEUMT GN ORITAN, musics HEAT. Ede (eb PLAbEanek, Pho RCO See PARE > ISH bub co nae, acne Four Essential Poinas for Teachers and Parents |, Children snouwid listen to the reference recordings every day at home to develop musical sensitivity. Rapid progress depends on this listening, 2, Tanalization, or the production of a beautiful one, should be stressed in the lesson and at home. 3. Constant attention shouldbe given to accurate intonation, corest posture, and the proper bow hold. 4, Parents and teackers should strive to motivate children so. they will arjay practicing correctly at home. ‘Through the experience I have gained in teaching young children for over thirty years, I am thoroughly convinced that musical ability ean be fully cultivated in all chikirenifthe above four points are faithfully observed. Musical ability is mot an inborn talenc bu: an ability that can be developed. All children who are ‘properly trained can develop musical ability just as all children develop the ability to speak their ‘mother tongue. For the happiness of children, Lhope these four essential points will be carefully ‘observed and put to continual use in the home and in the studio. Shinichi Suzuki“The Dseing Posture is fundamental and should be corpltely mastered, Exercises for Proper D-String Posture Use asta bow toe. Exercises for Changing Strings on Sabie 5 o Exercises for Quick Placement of Fingers ot 1 @ 9 io 4 io o 4m lay? ig 1 3, im) i @ 9 Place fingers 12..4qulety snd acrurtly Arig themes haz faasarg 3 1 o When playing the As ager konpa fan Gag Ue at he weing‘The First Position ‘The purpose ofthe following oxreises ist pay he nok scewately. rest ihe sng withthe tip of finger D Suing 1) Play thet inger, keeping the 1st, 2ad and 3 finger down onthe stag. ‘Wile playing te $i Pager ine tna pepe eee ext pono ot yout ing, Repeat onthe A sing >) Forkulf year, at least continue the practice of sopping the bow on the slag afer each note o get cles sound, asi ete ov ip L 2 D Major Scale ‘We playing toe appar half the soled st and he Dod ing sce wera c the su ‘Whee you place the rd frger, place te Pn down witht Les -- 3 pat i 3 .43 a. == <= ft Ef F + xportorterasions for Price “The fingering © 4 requis very cerefl practice. to the bow afr you play cpen A. and be reo place ‘he isco td, ad four ingrs nthe prope peatcr 9 the Laing lore yu contest play4] Twinkle, Twinkle, Little Star Variations ‘Toptay [7] opm bow witout presnire afer exch nove. non PP) scotty.fpteateterrrerers,[2] French Folk Song ‘Todeyelop the pensive of tonlzetion Madero lye 6 v > Keep ie ance down+ Song of the Wind Fate Song 5 v "exp ie Iafinger down, Folk Song[6] O Come, Little Children ie —— Tonalization “Tis shouldbe taught at enh eon. lack the open string and Tinto the sound of the vibrating ting Ply tones withthe ame rescrance with he bo. (Questions teachers and parents mas ask every dey ‘Ave the pupils istening to the reference recond at home every dy ? Has the fone improved ? [the imoraion cores ? Hi he proper paying postare been soquied ? be bom bela hell coreesly 7[7] May Song Falk Song9| Perpetual Motion in D Major Play this piece tthe mide of the hour using x very short sre. Siup the bow afer each rote. Pi slowly it fist ad then gradoally speed up the tere. Abcaro A Aig ra ‘After A, ply B, Procedure for practice: ‘Transpose all previcus pieces tothe hey of G Major in preparation for ‘Long, Long Ago: 8 SuakiTonalization ‘This shoold be taghe at cack lesson. Puls should luayssrve for amore beasifl and resonant woreLong, Long Ago = & g 5[12] Andantino Second-Finger Training (Preparatory Exercise for "Rigadoon") ® © o. @ 4. © * Lif tied & fours gers wyether4 See P17, second Roger inning. for perpen exerci ning Del Boge15| The Happy Farmer Allee loco gen[17] Minuet No. 2G# Exercise| ye: the aft | 5 | Ae ay se wy 4 ath Shift Explanation “Move all fingers and thumb one-half step higher. (Keep ‘thumb under 2), Extension Explanation Move 2 3, 4 and thumb one-half step higher. (Keep thumb under 2). Bring elbow forward for extension.sai et yn no. =) SUZUKI METHOD INTERNATIONAL $698 SII, =