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)
- New Keys and Scales:
- Minor keys
- Two Grenadiers – D Minor
- Gavotte (Lully) – A Minor
- B-Flat Major (Gavotte by Thomas)
- Additional Bow Strokes
- Introducing the Use of Etudes (Bourree)
- Trills (Gavotte by Thomas and Gavotte by Lully)
- Syncopation (Minuet by Boccherini)
- Left Hand Techniques
- Chorus from “Judas Maccabaeus” -
WHAT’S NEW AND DIFFERENT
- Legato and singing tone with the whole bow
- Legato slur with dotted quarter note/eighth note rhythm
- Legato slur with four notes
- New combinations of note values - quarter, eighth, dotted-quarter note
- Use of 4th and high 3rd finger consecutively - E/D# on the A string (M.13)
- Terms: Maestoso, rallentando
MASTERING THE NEW AND DIFFERENT
- M.13, isolate the E (4th finger) and D# (high 3rd finger), by placing first the 4th finger and then the 3rd finger right next to it on the A string. After many repetitions using a WB on each note, place both fingers simultaneously.
- M.13, isolate the four slurred notes. Practice with separate bows in the UH, stopped bows using the WB, and then slurs using the WB
- Broken record – D to D#
Broken Record with the High and Low 2nd and 3rd Fingers
HOW TO PRACTICE
- G Major Two Octave Scale
- 2, 3, 4, 5, 6, 7, 8 and 15 stops per bow (martelés) per bow. Practicing with stopped bows 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 months/years.
- 2, 3, 4, 5, 6, 7, 8 and 15 notes slurred/bow
- The G Major Arpeggio as introduced in Minuet II
- Whole bows with a beautiful, singing tone ("The singing whole bow")
- Whole bow circles (down and up) on all four strings
- Concentric down bow and up bow circles – Begin circling with a whole bow and gradually use less bow at both ends of the bow
- Isolate notes under the slurs and practice with separate bows, stopped bows, and then slurs
- Chorus is to be played using the whole bow except for the separate quarter notes which will be played with half bows
- Make smooth circles at the end of phrases when needing to begin again on a down bow
- Begin the new down bows with “Touch and Go”. Place the bow on the string with flexible fingers, and then begin to play simultaneously with the touch.
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Clip Title:
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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
- Bow division - various combinations of bowings including four notes slurred
- Review of the WHH bowing pattern
- 3rd finger independence
- First time finger pattern with the interval of the perfect 4th (last measures)
- Dynamic contrasts
- Terms: Andante pastorale
MASTERING THE NEW AND DIFFERENT
HOW TO PRACTICE
- Review the D Major One Octave Scale with stopped bows and slurs
- Review the D Major One Octave Scale with WHH bow pattern
- Review the D Major One Octave Scale with whole bows holding each note for two beats
- Be aware of how the fingers are places, i.e. blocked or independently (Remember that if you are descending with a low 2nd finger, place only the 3rd finger. If you are descending with the high 2nd finger, block the three fingers.) In the D Major Scale all descending fingers are blocked.
THE FORM
ABCA’
- Hunters’ Chorus -
WHAT’S NEW AND DIFFERENT
- 16th note slurs
- 8th note pick-ups
- High and low 2nd finger
- Bow division in the LH
- Use only third finger for the G (third finger) on the D string (M.1)
- Attention to memory. Not all 8th notes are hooked.
- Terms: first and second endings
MASTERING THE NEW AND DIFFERENT
- Practice the Two Octave G Major Two Octave Scale in the LH of the bow playing every note two times, then three times with the detache stroke
- Review the Two Octave G Major Scale with stops and slurs
- Practice M.25-27, slowly in the LH of the bow, keeping the bow on the string
HOW TO PRACTICE
- Isolate the 16th notes and practice with stopped bows and then slurs
- Use the WB for the 16th note slurs and quarter notes. Use ½ bow for separate 8th notes
- Remember which 8th notes are slurred together and which are separate
- M.8, go only to the middle on the first note, and from the middle to the frog on the pick-up
THE FORM
AA’BB’ transition CC’
- Long, Long Ago -
WHAT’S NEW AND DIFFERENT
- Theme and variation concept
- New bowing - two notes slurred on WB down bow, two stopped bows on WB up bow (This is not entirely new since scales are being practiced with stopped bows. This is an introduction to up and down bow staccato.)
- String crossings with slurs
- Bringing out the melody while playing the accompaniment
MASTERING THE NEW AND DIFFERENT
- Practice the quarter note and two 8th notes on open strings: Down Up Up, using the WB. The two up bows will be stopped bows.
HOW TO PRACTICE
- The Theme is practiced with the same bow divisions as in Long, Long Ago in Book One: WB on the quarter notes and half notes, and half bow on the eighth notes
- Begin practicing the Variation slowly using the WB on the down bow and two stopped (martele) up-bows
- Listen for a ringing tone on the two up bow marteles
- Leave the fingers down on the A string if you are returning to them, especially as you play the open D string.
- M.1, place only the 3rd finger on the G in both the Theme and Variation
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
- Legato slurs
- Bow speed: slower down-bow for the dotted-quarter notes tied to an eighth note (that is, two beats), followed by faster up-bow for the two eighth notes (that is, one beat)
- Grace notes
- Emphasize dynamics, crescendo and diminuendo with use of bow division
- First pianissimo
- Leaving of the 1st finger down if returning to it, even while playing other notes on a different string. (M.1, 2, 3, 4, etc.)
- Emphasis on 3rd finger independence (M.1) and jumping over strings for the P5 (M.4)
MASTERING THE NEW AND DIFFERENT
- Practice the P5 with the 3rd finger jumping from the D to the A strings (M.4).
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
- G Major Two Octave Scale with stopped bows, slurs and legato WB (two beats/note)
- Feel the pulse and keep the rhythm steady by sustaining the dotted quarter note full value.
- Use the WB staying aware that the down bows are two beats and the up bow is one beat. (It helps to think of saving bow on the two beat down bows.)
- Study how the left hand fingers are becoming more independent
- Understanding the form will organize the memory
Placement of Fingers:
- M.1, begin with the 1st and 3rd fingers down
- M.4, leave the 1st finger down, play the G, and then jump over the string to play the D
- M.15, block the three fingers on the A string
- M.42-43, leave the 3rd finger down because you are returning to it
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
- Sequencing of note patterns
- Longer phrases with extended 8th note patterns
- Bow division and bow speed in new combinations
- First quarter-note pickup
MASTERING THE NEW AND DIFFERENT
- Isolate measures 17-20. The D# in M.19 may be difficult to play in tune. Review the D# Broken Record. (Link)
- Be aware of beginning the consecutive 8th note passage on A (M.4) in the A Section, and then on the F# (M.28) in the B Section.
HOW TO PRACTICE
- Review the Two Octave G Major Scale
- Emphasize dynamics. In the crescendo, gradually use more bow and conversely in the diminuendo, gradually use less bow.
- Bow Division
- Begin in the middle and continue up bow to the frog
- M.1, use a WB on the first slur, a WB for the 3rd beat, and stay in the LH for the separate 8th notes
- M.2, use a WB for the 1st beat and 2nd beat, and stay in the LH for the 8th notes
- M.3, use a WB for the 1st and 2nd beats, and stay in the LH for the 8th notes
- M.4, use a WB for the slur and return only to the middle on the 4th beat
- M.5-6, stay in the UH using a detache bow
- M.7, return to the frog on the 3rd and 4th beats, dividing the bow equally
- The bowing pattern remains the same throughout
- Placement of Fingers
- Begin with only 3rd finger
- M.1, place only 3rd finger on the last note
- M.3, place only 3rd finger because you are descending with a low 2nd finger
- M.4, leave the 1st finger down as you find the 3rd finger
- M.16, only 3rd finger on the last note
- M.18, leave 2nd finger down as you place the 4th finger
- M.19, place only high 3rd finger for the D#
- M.20, place only 3rd finger on the last beat because you are descending with the low 2nd finger
- M.23, again place only 3rd finger on the A string, but block the three fingers for the last note because your are playing the high 2nd finger pattern
- M.32, place only 3rd finger
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.
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Clip Title:
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Vibrato Exercises at the Suzuki Book Two Level |
Description: |
Preliminary vibrato exercises |
Channel: |
256 |
Duration: |
4'03" |
- Two Grenadiers -
WHAT’S NEW AND DIFFERENT
- New key - D Minor
- First flats - explain flats and how the natural sign cancels a flat
- First use of low 1st finger (B-flat on the A string, F-natural on the E string), to be practiced with broken records
Broken Record with High and Low 1st Finger
- Low 2nd finger on the D string (F-natural).
- New Rhythm - Viotti Stroke - dotted-eighth hooked to a sixteenth note. (M.3)
- Hooking same two notes in one bow (M.11)
- First consecutive retake of a down bow within a measure with a quick bow circle (M.14).
- Terms: Agitato, piu mosso, moderato, allargando.
MASTERING THE NEW AND DIFFERENT
- Practice the Viotti Stroke with the WB on open A, D and E strings
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 |
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- Practice a broken record on the A and E strings with 1st finger and low 1st finger. Check that the left hand is well balanced back from the 3rd and 4th fingers and that the 1st finger plays the B-flat and F-natural by extending back. (See ISERT #4)
- Practice quick, but rhythmic down bow circles in the LH of the bow, beginning at the frog on the D and A strings.
- Isolate the unusual rhythmic pattern in M.19 (with pick-up)-22 which can be practiced with the words, “If I could play this passage here well, then I would not have to practice.”
- D Minor One Octave Scale with stopped bows and slurs
HOW TO PRACTICE
- Bow Division
- M.2-9, use the WB for each note
- M.10, play the first beat in the LH, circle quickly for the 2nd beat
- M.11, use the WB for the dotted quarter tied to the eighth note, use the UH for the 3rd beat 8th notes, and return to the frog on the 4th beat
- M.24, use a WB on the dotted quarter note, a half bow on the 8th note, a half bow on the 3rd beat, and again a WB on the 4th beat
- Placement of Fingers
- M.3, place only the 3rd finger on the D
- M.5, block the fingers descending
- M.11, keep the hand well balanced and extend back for the 1st finger B-flat. This passage is easily played out of tune if the arm moves back towards the scroll to play the B-flat
- M.23, play only the 3rd finger
- M.24, play only the 3rd finger
- M. 35, jump over the strings for the P5
- Last note, play only the 3rd finger
THE FORM
AA’BC// AA’BA’
- Theme from Witches’ Dance -
WHAT’S (still) NEW AND DIFFERENT
- Viotti stroke, isolate on open strings using the WB
- Continue practicing how to consistently catch (articulate) the 16th note
- Arpeggios (this is the arpeggio piece of Book Two)
- High 3rd finger followed by the 4th finger (M.3-4)
- First use of low 4th finger (B-flat) on the E string
- First lengthy triplet passages
- More flexible use of F# and F-natural on the E string
- Terms: Meno mosso
MASTERING THE NEW AND DIFFERENT
- Continue practicing the Viotti Stroke on the open strings using the whole bow. Stay aware that the articulation (working) on the little note gives you the longer note for nothing.
- Practice an A Major Two Octave Scale playing each note 3 times (triplets) in the UH of the bow using the forearm
- Isolate (G F# E D# E) as a broken record (M.3-4)
- Practice the following broken record for the low 4th finger
Broken Record with High and Low 4th Finger
- Practice the following broken record from F# to F-natural on the E string
Broken Record with High and Low 1st Finger
HOW TO PRACTICE
- Two Octave A Major Scale
- 2, 3, 4, 5, 6, 7, 8 and 15 stops/bow (martelés)
- 2, 3, 4, 5, 6, 7, 8 and 15 notes slurred/bow
- Every note 3 times with detache in the UH and LH of the bow
- Awareness of the release of the forearm in the UH of the bow
- Isolate each arpeggio and identify the key
- Leave the finger down if returning to it
- Play the arpeggios in the UH of the bow with the detache stroke
- Isolate M.25-29 Begin practicing slowly with a steady pulse. Over time, allow the tempo to get faster.
- M.25, play only 3rd finger
- M.26, leave first finger down as you play the c and then leave the 2nd finger down to find the B-flat in M.2
- Bow Division
- Use the WB for the dotted eighth-sixteenth notes
- M.2, play the first 8th note with a short/fast WB
- Use the UH of the bow on all quarter notes before each triplet passages (M.6)
- Play all the triplets in the UH of the bow, using the forearm
- M.25-31, use the UH of the bow for the P
- M.31, use the WB, observe the fermata
- M.32, “lift and play”
- Placement of Fingers
- M.3, place only the 3rd finger on the D#
- M.7, leave the 2nd finger down because you are returning to it
- M.15, leave the 2nd finger down on the F#, and only 3rd finger on the A string
- M.21, leave the 1st finger down on the B (on the A string) to help find the octave higher B
- M.38, block the 1st, 2nd, and 3rd fingers as you descend the D Major Scale
THE FORM
AA’BCA’’
- Gavotte from Mignon -
WHAT’S (still) NEW AND DIFFERENT
- First extended sixteenth-note passages
- Measured trills
- New note value - 32nd notes
- New key – B-flat Major
- Pizzicato section
- First double and triple stops
- Augmented seconds (M.23)
- Focus on flexible use of high and low 1st finger (M.24-27)
MASTERING THE NEW AND DIFFERENT
The Beginning Trill
- Isolate pizzicato measures (M.70-71)
- Place left hand fingers before plucking
- Broken record with augmented seconds
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.
- Broken record with 1st finger and low 1st finger
The Highs and Lows of 1st Finger
HOW TO PRACTICE
- B-Flat Major Scale
- 2, 3, 4, 5, 6, 7, 8 and 15 stops/bow (martelés)
- 2, 3, 4, 5, 6, 7, 8 and 15 notes slurred/bow
- Bow Division
- M.1-4, 8th notes are played martele in the UH of the bow
- M.4, after the circle, play the 8th notes in the LH of the bow. Follow this pattern throughout.
- M.2, save the bow on first quarter note, play another down bow beginning with a small articulation on the first 16th note
- M.4, circle at the end of the first phrase
- M.35, play the second beat 8th notes in the LH of the bow
- M.36, use a WB on the first quarter note, use a WB on the up bow slur and stay in the LH until M.40
- M.37, play the second beat in the LH of the bow, keeping the bow on the string
- M.43, stay in the UH for the 16th notes
- M.68-69, return to the frog on the last up bow
- Placement of Fingers
- M.1-17: By now the finger patterns have been set and the fingers will fall into place.
- M.8, play 4th finger
- M.22, leave the 1st finger down during the second beat
- M.23, leave the 1st finger down during the second beat
- M.24-25, leave the 3rd finger down
- M.35-46, isolate the B-Flat Major section
- M.36, leave the 1st finger down
THE FORM
AA’BB’A’
B-Flat Section: CC’AA’’
Coda: D
- Gavotte (Lully) -
WHAT’S (still) NEW AND DIFFERENT
- New key - A Minor
- New rhythm - dotted-quarter-note slurred to two sixteenth notes (M.10)
- First impulse trill
- First tri-tone (M.7)
- Augmented second between the 1st and 2nd fingers on the E string
- 4th finger extension
- Terms: Grazioso, poco rit., a tempo ma piu agitato
MASTERING THE NEW AND DIFFERENT
- A Minor Melodic Two Octave Scale
- 2, 3, 4, 5, 6, 7, 8 and 15 stops/bow (martelés)
- 2, 3, 4, 5, 6, 7, 8 and 15 notes slurred/bow
- Isolate new rhythm in M.8-12
- Isolate difficult finger pattern: M.6-8
- First tri-tone, open string to high 3rd finger
- Measured trill exercises
More Trills
- Broken record with augmented 2nd and 4th finger extensions
Lully Gavotte Study and Extensions
HOW TO PRACTICE
- A Minor Melodic Two Octave Scale (same as above)
- Bow Division
- Quarter notes are to be played with a martele stroke, 8th notes with detache
- M1.,use UH of the bow from the beginning. Use ½ bow on each V bow in M.1, then the WB on the quarter notes in M. 2 and ½ bow for the 8th notes
- M.8, begin in the LH and use a ½ bow for the quarter notes and the WB for the slurred notes
- M.11, use little bow at the tip for the 16th notes that begin up bow
- M.21-32, stay in the UH using the detache stroke for the 8th note passage
- Placement of Fingers - By now, the pattern of placing only 3rd finger when descending with low 2, keeping the finger down if returning to it, and blocking 1st, 2nd, and 3rd fingers should be consistent.
- M.7, leave the 1st finger down to find the 2nd finger, play only 3rd finger on the G#
- M.8, let the 3rd finger jump over the string for the P5
- M.11, only 3rd finger on the C-natural
- M.22, leave 3rd finger down to find the extension 4th finger and until you return to it
- M.23, only 3rd finger on the A string when descending with the low 2nd finger
- M.24, only 3rd finger because you are descending with low 2nd finger
THE FORM
- The larger form is ABA with the Da Capo written out
- The A section can be divided as follows: AA’BCA’’
- The B section can be divided as follows: AA’
- Minuet in G -
WHAT’S (still) NEW AND DIFFERENT
- Consecutively slurred dotted-eighth and sixteenth rhythms
- Bow division - one beat up-bow, three beats down-bow (fast, slow) – legato (M. 1 with pick-up)
- New bow stroke - Up-Bow Staccato over three and four notes (Trio)
- Slur one beat down-bow, two beats with up-bow staccato (M.19)
- One-and-a-half beats slurred down-bow, one-and-a-half beats Up-Bow Staccato (M.27)
- First use of half-position
- 1st finger extension, backwards: B to A# and returning to B on the A string
- Form: Minuet and Trio - ABA
- Terms: Minuet, trio, fine, D.C. al Fine, con grazia, espressivo
MASTERING THE NEW AND DIFFERENT
- Broken record with high 1st finger and low 1st finger making sure that the low 1st finger is extended back. Remember to keep the fingers balanced from the 3rd and 4th fingers.
The Highs and Lows of 1st Finger
- Isolate the measures 1-6
- Staccato preparation
- On open strings, practice two stopped bows per bow, then three and four. Play up bow and down bow. (This will not be difficult since the student has been diligently practicing scales with stopped bows.)
- Practice the Trio section beginning down bow; all the staccatos will be down bow
- Practice the Trio section as printed
HOW TO PRACTICE
- Bow Division - MINUET
- Begin in the middle of the bow and play to the frog
- M.1, use a WB
- M 2, use 2/3 of the bow, saving enough bow for the 3rd beat.
- M.3, use a WB for the half note and a little more than a ½ bow for the 3rd beat. This is an introduction to a “Z” bowing. Do not go all the way to the tip for the first beat of the 4th measure in order to be close to the middle for the 3rd beat. Follow this same pattern throughout the Minuet section.
- TRIO
- Use a WB on both the down bows and the up bows. Practice beginning down bow, resulting in down bow staccatos. This will better prepare the up bow staccatos.
THE FORM
Minuet-Trio Form is ABA
Minuet: AB
Trio: AB
- Minuet (Boccherini) -
WHAT’S (still) NEW AND DIFFERENT
- New rhythm: syncopation (M.1)
- First quarter-note trill with a nachschlag (M.7)
- First time violin accompanies the piano (M.29)
- Octaves (M.29)
- Rapid scale passages (M.22-23)
- Terms: Moderato e grazioso
MASTERING THE NEW AND DIFFERENT
- Practice the syncopated rhythm of M.1 on open strings
- Isolate the trill and nachschlag and practice with measured notes
Turns
- Isolate the octaves (M.30)
- Isolate the scale passages, practicing in the UH (M.22-23)
HOW TO PRACTICE
- A Major Two Octave Scale with stopped bows and slurs
- Bow Division for the Minuet
- Begin in the middle and arrive at the frog at M.1
- M.1-4, use the WB when practicing. In performance it will naturally be played with a little less bow.
- M.5, stay in the UH for the separate 8th notes and the 3rd beats
- M.7, use a WB on the 3rd beat to arrive back at the frog
- Keep the same pattern for M.9-20
- Bow Division for the Trio
- M.21-28, remain in the UH using the martele stroke on the 8th notes
- M.30-36, remain in the LH using the martele stroke on the 8th notes
- M.37 to the end, return to the UH as in M. 21-28
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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