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A TEACHER’S GUIDE TO SUZUKI BOOK TWO

CONTENTS


Introduction

A student’s success in learning the pieces in Suzuki Book Two is dependent on the foundation set in Book One. If you find weaknesses in your student’s foundation as you head into Book Two, it is wise to keep reviewing the specific repertoire in Book One that can help to solve the problems.  Also, consult the Book One Check List to make sure the major principles of that stage have been absorbed.  If supplemental repertoire is needed, consult the Repertoire List for additional pieces at the Book One level.  Kids love fiddle tunes, and they are a great solution for releasing the forearm in the upper half of the bow and for developing fast fingers.

One more thought:  It is beneficial to keep the Book One Minuets in the “fingers” with occasional performances as the student studies Book Two.  They are the Tchaikovsky Concerto of the Book One repertoire. It takes comparable concentration and focus for a younger student to perform these three pieces as an advanced student playing the Tchaikovsky.  They also have the musical substance conducive to continual refinement.

The Book Two Teacher’s Guide is presented in the same format as Book One:

WHAT’S NEW AND DIFFERENT

MASTERING THE NEW AND DIFFERENT

HOW TO PRACTICE  - Bow Strokes, Bow Division and Finger Placement

THE FORM

 

What you will find as you begin teaching Book Two is the tasks listed under WHAT’S NEW AND DIFFERENT come in two categories.  Some are new tasks, but most are expanding and refining previously introduced techniques.  Within reason, these many small steps of acquiring technique and building a foundation are highlighted in this section. This makes it not completely new, but still new enough. Once you have identified the “new and different”, the next step is to MASTER THE NEW task(s).  Because technical difficulties can be isolated, mastering the new and different can be organized into simple tasks that can be solved with relaxed repetitions.  Students early on become confident with this process as they experience the success of specific repetition to accomplish a task.  HOW TO PRACTICE gives tips on what bow strokes to use, bow division, and finger placement. Understanding THE FORM of a piece from the beginning levels sets the stage for understanding the architecture of music as students develop into mature musicians.  Because students learn the basic structure of a piece, they always know where they are, and thus the memorization process is organized.

At this stage, the overriding goal is developing the bow arm and left hand. The Teacher’s Guide to Book Two is set-up to clarify the process. Proceeding with attention to these details lays the groundwork for a solid foundation.  These are the tools that give young violinists the freedom with which to express themselves.  Have FUN!!

PIVOTAL MOMENTS in Book Two (organized by topic)

- Chorus from “Judas Maccabaeus” -

WHAT’S NEW AND DIFFERENT

MASTERING THE NEW AND DIFFERENT

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

HOW TO PRACTICE

Video
Clip Title:

Two Octave G Major Scale

Description:

This format for the two octave scale is introduced at Etude

Channel:

227

Duration:
5'43"

 

THE FORM

ABA

- Musette -

WHAT’S (still) NEW AND DIFFERENT

MASTERING THE NEW AND DIFFERENT

HOW TO PRACTICE

THE FORM

ABCA’

- Hunters’ Chorus -

WHAT’S NEW AND DIFFERENT

MASTERING THE NEW AND DIFFERENT

HOW TO PRACTICE

THE FORM

AA’BB’ transition CC’

- Long, Long Ago -

WHAT’S NEW AND DIFFERENT

MASTERING THE NEW AND DIFFERENT

HOW TO PRACTICE

THE FORM

ABCB

- Waltz -

(At the Indiana University String Academy, Waltz is taught after the Gavotte from Mignon.  The difficulties are more easily mastered at this point.)

WHAT’S NEW AND DIFFERENT

MASTERING THE NEW AND DIFFERENT

Note:  If the 3rd finger is placed simultaneously on both strings, it can cause a distorted wrist position.  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

Placement of Fingers: 

THE FORM

AA’BB’

TIME TO INTRODUCE ETUDES!!
(Pivotal MOMENT)

At this juncture, the Wohlfahrt Etudes, Op. 45 are presented to the student.  Up to this point, the student’s practice has consisted of scales (and their myriad variations), new repertoire, review repertoire, group pieces, and finger exercises (Fiddle Magic by Sally O’Reilly).  With the introduction of formal etudes, the practice diet is complete. It will now and for many years to come, include scales, etudes, repertoire, review repertoire and group pieces.  Wohlfahrt Etudes challenge many students because they require good reading skills and are not learned from a recording. In the beginning, students may perceive etudes as somewhat dry.  (Teachers have to be very inventive to counter these assumptions.) With the first etude, assign a few lines to be prepared in one week and in subsequent weeks add the remaining lines.  Ask the student to write in the names of the notes to ensure that note reading skills are accurate and reliable.

These first etudes are taught using the same approach and process introduced in StringPedagogy.com Volume Two with Kreutzer Etude #2.  The etudes are used to address the following bowing issues:  bow division, bowing variations, and bow strokes; and the following left hand issues: awareness of left hand position, intonation, independent aural skills; and then lastly, the coordination between the two hands. For example, the first Wohlfahrt Etude is taught with detache in the UH, LH, with 4 marteles/bow, 2 marteles/bow, and then with the following bowing variations:

Wohlfhart Bowing Variations

Since this is the first piece in C major, observe the shape of the left hand. Check that the 1st and 2nd fingers are balanced back from the 3rd and 4th fingers.  Be aware to relax each finger after it has played.

Basically, all the subsequent 8th and 16th note etudes are taught in this manner.  As the student develops, more complex variations can be added.  Consult Etude #2 in the Galamian Edition (International) of Kreutzer Etudes for extensive variations.

The first etude may take a young student many weeks to learn, but the payoff will come as the student progresses through Wohlfhart, and then will apply the same principles to the next set of etudes.  As the student works through these etudes, continue to be specific as to how the bow is divided and to how the fingers will be placed.

(See the Repertoire List for a suggested sequence of etudes.)

- Bourree -

WHAT’S NEW AND DIFFERENT

MASTERING THE NEW AND DIFFERENT

HOW TO PRACTICE

THE FORM

AABB

SHIFTING NOTE

Remember that in the first lessons students are sliding on their Magic “X’s” along the neck of the violin setting up shifting motions from the beginning.  During the course of Book Two, additional preliminary shifting exercises can be practiced.  These can include long silent shifts and fingerboard promenades with taps and swings.

VIBRATO NOTE

During the course of Book Two, preliminary vibrato exercises can be practiced.  Tapping exercises have been introduced from Lesson One and continued throughout the book.  At this point the most valuable exercise is, The Teacher Wiggling the Student’s Fingers. Additional exercises can include Peg Knockers and Mountains and Plains.

Video
Clip Title:

Vibrato Exercises at the Suzuki Book Two Level

Description:

Preliminary vibrato exercises

Channel:

256

Duration:
4'03"

 

- Two Grenadiers -

WHAT’S NEW AND DIFFERENT

Broken Record with High and Low 1st Finger

MASTERING THE NEW AND DIFFERENT

THE VIOTTI STROKE

The Viotti stroke includes a variety of hooked and separate bowings that incorporate two notes in rhythmic ratios of 3:1 or 2:1 etc.

Using Mr. Gingold’s explanation and description, I define the Viotti stroke as a stroke rather than a set of bowings. The principle of the Viotti stroke is energy and release, that is, to work on the short note; this will yield a released tone on the long note. This understanding of tension and release is fundamental to beautiful violin playing. If one always plays with tension, the tone is tight. On the contrary, if one plays only with released motions, the tone is flaccid. The combination of tension and release gives breath to the music creating natural phrasing. The underlying principles of this stroke are first introduced in Happy Farmer (Suzuki Book I) in the form of the hooked bowing (dotted quarter-eighth) where the eighth note is articulated.

Begin with Viotti strokes using the whole bow, then at the tip of the bow beginning up bow, and finally at the frog beginning down bow. 

Whole Bow

HOW TO PRACTICE

THE FORM

AA’BC// AA’BA’

- Theme from Witches’ Dance -

WHAT’S (still) NEW AND DIFFERENT

MASTERING THE NEW AND DIFFERENT

Broken Record with High and Low 4th Finger

Broken Record with High and Low 1st Finger

HOW TO PRACTICE

THE FORM

AA’BCA’’

- Gavotte from Mignon -

WHAT’S (still) NEW AND DIFFERENT

MASTERING THE NEW AND DIFFERENT

The Beginning Trill

The Augmented 2nd

Two augmented seconds placed together equal a TRI-TONE which is my favorite interval. (The augmented second is my second favorite interval.)  In the first years of study, every time a student plays an augmented second or tri-tone, it is identified.  The recognition of an augmented second and especially the tri-tone is a key to playing in tune.  Since there are no perfect fifths in a diminished chord the same finger is never in the same place on the consecutive string.  This means that if the same finger is used across the strings, it needs to know if it will be a half step higher or lower.  If the tri-tone is played with two different fingers, they will be placed close together.

The Highs and Lows of 1st Finger

HOW TO PRACTICE

THE FORM

AA’BB’A’
B-Flat Section: CC’AA’’
Coda: D

- Gavotte (Lully) -

WHAT’S (still) NEW AND DIFFERENT

MASTERING THE NEW AND DIFFERENT

More Trills

Lully Gavotte Study and Extensions

HOW TO PRACTICE

THE FORM

- Minuet in G -

WHAT’S (still) NEW AND DIFFERENT

MASTERING THE NEW AND DIFFERENT

The Highs and Lows of 1st Finger

HOW TO PRACTICE

THE FORM

Minuet-Trio Form is  ABA
Minuet: AB
Trio: AB

- Minuet (Boccherini) -

WHAT’S (still) NEW AND DIFFERENT

MASTERING THE NEW AND DIFFERENT

Turns

HOW TO PRACTICE

THE FORM

Minuet-Trio (ABA)
Minuet: AB
Trio: AB

SUPPLEMENTAL REPERTOIRE

No method or sequence of repertoire is complete by itself.  During the course of teaching Suzuki Books One and Two, pieces from Books One and Two of New Tunes for Strings (Stanley Fletcher) are introduced as groups pieces and/or solo pieces.  In addition, simple fiddle tunes, Robert Pracht’s Album of Easy Pieces, Op. 12, and the materials of Bonnie Greene are taught.  Refer to Repertoire List

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