Сузуки метод. Книга 2 за обучение по цигулка.

1. nt Yiolir chool
YI()TIITM
YOrUt{E 2
Suzuki Method International

2. Sdi'Vlomschool
YIOIINPRT
YOrtDInz
Copyright O 1978 Dr. Shinichi Suzuki
Sole publisher for the entire world except Japan:
Summy-Birchard Inc.
exclusively distributed by
Warner Bros. Publications Inc.
15800 N.W.48thAvenue
Miami, Florida 330T4
All rights reserved Printed in U.S.A.
ISBN 0-81487-146-8
The Suzuki name, logo and wheel device
are trademarks of Dr. Shinichi Suzuki used under
exclusive license by Summv-Birchard" Inc.
Anyd uplicatioand, aptatioonr arrangemeonft t hec ompositions
containedi n this collectionr equirest he writtenc onsento f the Publisher.
No part of this book may be photocopiedo r reproducedin any way withoutp ermission.
Unauthorizedu sesa re an infringemenot f the U. S. CopyrighAt ct and are punishableb y Law
I
] - 3 .

3. 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 to be an effective Suzuki teacher, a great deal of
ongoing education is required. Your national Suzuki association provides this for
its membership. Teachers are encouraged to become members of their national
Suzuki associationsa nd maintain a teacher training scheduleoin order to remain
current, via institutes, short and long term programs. You are also encouraged to
join the International Suzuki Association.
FOR THE PARENT: Credentials are essential for any teacher that you choose.
We recommend you ask your teacher for his or her credentials, especially listing
those relating to training in the Suzuki Method. The Suzuki Method experience
should be a positive one, where there exists a wonderful, fostering relationship
between child, parent and teacher. So choosing the right teacher is of the utmost
importance.
In order to obtain more information about the Suzuki Metho4 please contact your
country's Suzuki Association, the International Suzuki Association at 3-10-15 Fukashi,
Matsumoto City 390, JWan, The Suzuki Association of the Americas, 1900 Folsom
#101, Boulder Colorado8 0302o r Summy-BirchardIn c., c/o WarnerB ros.
PublicationsI nc.. 15800N .W. 48th Avenue,M iami, Florida 33014.
Licensedb y WarnerB ros.P ublicationsIn c.
our catalogue
on line
r;=ii-i
-..+--=;
"te-r}&'
www.carisch.com
Thiso lbum@ 2 OOb2y NUOVAC ARISCsH. r.l-, Milono
All rightsr eseruedN. o part of this book may be photocopiedo r reproduced
in any way withoutp ermissionU. nauthorizedu ses are punishableb y law.
I

4. C(NTDITTS
S t u d y P o i n ft os r V o l u m2e. . oo . . . oo . . . . . . . o . . . o . . . . . o . . . o . . . . . . . . . 4
EfflJ Chorus from ttJudas lVlaccabaeust', G. E Hgndel . . . . . . . . o . o. . . . . ......7
l A M u s e t t e o J . S . B a c h o o . . r . . . . o . . . . . o o . . . . . o . o o . o o o o o o r . . . . r . . . . . . . 7
f _ l _ lH u n t e r sCt h o r u s , CM. . v o nWe b g r. . oo o . . . . . . , l o o . o . . . . . . . . . . . . . . . . 8
1A l r o n g , I n n g A g o o T . H. B a y l y ' . . o o . . o o . . . . . . . . . i . . . o o o o o o o . o . o . r . . . . . 9
f . ! ! W a l t 4 J . B r a h m s . . o . o . . . . . . . r r . o o o . . . . o o . . . o . . . o o o . o o . . . . . . o . . 1 0
l - { l B o u n d e r G . E H a n d e l . o o o . . o o . . . . . . . o o . . . . . o o . . . . . . . . . . . . . . . o . . . l l
f Z J T h e f i r o Gr e n a d i e r sR,. S c h uma n n. . o . . . . . . . . . . . . . . . . . . . . . oo o . . . . 1 2
LqJ Theme f rom 56Wi t ches t l )ancet ' rPNa. ganini . . . . . . . oo . . . o. . . . o. . . . . .13
t 2 J Ga v o t t ef r omt t l l i g n o n " rA. T h oma s. . oo . o . . . . . oo o . o . . r . oo . . . . . . . . . 1 4
t D f - - l r - -
E q G a v o t t eJ,. B . L u l l y . . . o . . or o . o . . . . o . o o o o . . o . . . . r . o . o o . . o . . . . . ' . . 1 6
L U M i n u e t i n G L . v g n B g e t h o v g no f . o . . . . oo o . o . . . . o . . . . . . . . ? . . . . . . . . l E
t r M i n u e t , L . B o c c h e r i n i . o . . o o o o . o . . o . . . . . . o . . . . . o . . . o o . o . . . . . . o . . l g
k :

5. Study Points for Volume 2
fr 2 *o+tla;-*:ii'
Points d' Etude pour le Volume 2 Studium Hinweise fiir Bund 2 Puntos de Estudio para el Vol. 2
I . f - t ' 6 t : . T t 6 r:tt&g v a - f' t l l t l r ' r f b : t
t: J'r < *'*6!lgt..t fiJ'-e -ti 6 " + ntrlb'lB+t: J
t) tt + ,'i[{6 t t lt h't "
2 . | + t t { 1 ' z a >. 1t t ) * L r ' # a t ? , ! } t t . r t g -
,p*Et: rj r. A. h.ti htlirt t ' > t t t l . l l tL(tri b ti ro
3. 4 l f i a t L t . t : J o (. [ L r . * f ? . r ] . L r ' * t ] . f i
L u. , ] a>l+16 t,1* b tL A "
1. The child should listen to the reference recordings 1. Das Kind sollte jeden Tag dic d.iesbeziigliche
every day at home to develop musical sensitivity. Rapid Schallplutten-Aufnahme daheim anhdren, um seine
progress depends on this listening. musikulische EmpJindsumkeit zu entwickeln Rascher
2.Tonalization, or the production of a beautiful tone, Fortschritt hiingt von diesem Zuhdren ab.
should be stressed in the lesson and at home. 2. Tbnftihrung oder das Heworbringen eines schdnen
3. Constant attention should be given to accurate Tbnes sollte im Unterricht und daheim besonders betont
intonation, correct posture, and the proper bow hold. werden.
3. Stiin dige Aufm erks amkeit so llte der genaa en
Intonierang, korrekter Haltung und richtiger
Bogenftihrung gezollt werden.
1. L'enfont devrait 1couter le disque de 1. El niffo debe escuchar los discos de referenciacada
rifdrence chaque jour d Ia maison, afin de d,ivelopper dia en su casa para desarrollar sensibilidad musical. El
une sensibtlitd musicqle. Des progrds rapides progreso r6pido depende de esta audici6n.
ddpendent de cette audition. 2. Sonidizaci6n, o producci6n de un tono hermoso debe
2. La tonalisation, ou la production de beaux tons, ser enfatizada en la lecci6n y en casa.
devrait €tre travaillde pendant la legon et d la maison. 3. Una atenci6n constante debe ser prestada a una
3. Une attention constante devrait €tre donnbe afin afinaci6n exacta, postura correcta y la forma debida de
d'obtenir une intonation exacte, une posture correcte sujetar el arco.
et une bonne tenue de I'archet.

6. Tonalization
l ' : | t ) t 4 > 3 >
Tonalisation Tonfiihrung Sonidizaci6n
(){o l - F i i l a ) f i l t ? l i . ' : . . 7 ' v a - / - v t ' F l i f 6 t e
t : t [ i t t c h 6 " ) ( f i i v
(This exercise in G minor should be taught
in the same time the child is studying
the Bourr6e of Hiindel.)
(Cet exercice en sol mineur devrqit €tre
enseignt au moment oi l'enfant Atudie la
Bourrde de Hcindel.)
7 - > )
(Diese Ubung in G-Moll sollte sur gleichen
Zeit gelehrt werden, wenn dus Kind Bourrde
von Hiindel studiert.)
(Este ejercicio en sol menor debe ser enseflado
al mismo tiempo que el nifro est6 estudiando la
Chamarasca de Hiindel)
t f i , ! ; . t a l f r l j ( i e ( f 6 H t , ' (
s t l t i a f . 3 a l ? 2 l s i r : t
6 *i i?.
This is the first time the lowered first finger is used. When this
finger is placed on the stringo the third finger has the tendency to
pull back out of proper placement, toward the first finger. To avoid
this, try playing the following exercise silently. Keep the third
finger in place as the first finger moves back from Bi to Bb.
C'est la premidre fois que le premier doigt reculd est utilis6.
Quand ce doigt descend sur la corde, le troisiime doigt a une
tendance de reculer aussi de sa position correcte, vers le premier
doigt. Pour |viter ceci, essayer de jour I'exercice suivante en
silence. Gqrder le troisiime doigt en place pendant que le
premier doigt recule de sid sib.
3 o l f r b , ! h " ) + f v , r h T )
t ? I a l g t : $ t f f 3 r f
Dies ist dus erste Mal, duss der gesenkte erste Finger benutzt wird,
Wenn dieser Finger an die Suite gesetzt wird, so hat der dritte Finger
die Tendeng, von seiner korrekten Lage und nuch dem ersten Finger
zurilckzuziehen. [Im dies zu vermeiden, versuche, die folgende
tibung luutlos 7,u spielen. Halte den dritten Finger un seiner Stelle,
wiihrend der erste Finger sich vun H nach B zuriickbewegL
Esta es primera vez que se usa el primer dedo bemolado' Cuando este
dedo est6 colocado en la cuerda, el tercer dedo tiene tendencia de
quitarse de la posici6n correcta, por moverse hacia el primer dedo. Para
evitar 6ste trate de ejecutar el ejercicio siguiente en silencio. Mantenga
el tercer dedo en su lugar mientras el primer dedo retorna de si ! a si b.
S r g r
I

7. Chorus from "Judas Maccabaeus"
E rz/'^?/J*? Xr h'P)
Maestoso
n
,A.
trl
{ i E t :
te
Bitte darun denken, dass das Kindjeden Tug
die Schallplatten unhiiren soll.
Por favor recuerde que el niflo debe escuchar
los discos cada dia.
E q B oI 0 F.-o
p dim.
V
G. F. Handel
;2 f ' t v
Please remember that the child should listen
to the recordings every day.
Surtout ne pqs oublier que l'enfant doit
icouter les disques tous les jours.
Andante
n r
0
pastorale :z €.7 l.
3 - q
cresc.
3
n
2^l
3 0 1
J. S. Bach
V / ; ' / ' t
t.
I 3
*f
n0
r
Choeur de "Judas MaccabaeLts" Chor uus "Judus Muccubueus" Coro de "Judas Macabeo"
a Muset
Musette
0 3 6A2
--_

8. Hunterst Chorus
reAOAIE
C. M. v. Weber
lr. - z{ -
Y V 3
' t
V0
L o 3 o t
3
n3
?
n
Choeur des Chasseurs Jiiger Chor Coro de los Cazadores

9. tr
otrg,LongAgo
v> ?" v> ?" 7="-
T. H. Bayly
^{- 1, -
- - -
l-9 B
-----_
*f
n
*f,
!oYld 3ri+{l i o 3 + 1 1 o j o
n
Variation (* 4 rk)
Variation Variation Variacion
n
3 0 3- j
3 # { t o S s z l o o r o
J
g 3 - . e o
n
3 0 3_o 2
3#i-t oJ o ?||.{ Bo
3.9-3-t o e
t_o 0
3-t ,_J o o l o
g B - . o o
t 0 t 2 3 0 4 3
3_o z
II
Il y a Trds, Trds Longtemps Lung, Lung ist's her Hace Mucho, Mucho Tiempo

10. 10
Waltz
v )v'y
Moderato
p'dolce
I
foco clesc.
poco rit.
Valse Wulzer Vals
--_

11. Bourr6e
Allegretto
p espressiuo
( 4 )
2 3 t 2 3 0
V N
o 3
G. F. Handel
+ 2 7 ' t v
3
n
.3--^ .1
- p
( 4 )
2 3 0 2
- ( 4 ) . ' ^
tliS- -0 l-+
k a
p espressiuo
B o I s o L Z o
2 r
f i 0 3 X-..0 (f,gj) | 2 g
l-g I oA2a ?*_g
t 0 t 2
3 0 r 8 O j l J .
w
1-{ 3-{ o z- 3-o
1-g I o.-L2 a ',
!10
G)
2 3 0 2
({)
2 3 0 2
r

12. R. Schumann
' / 1 - ' ? 2
r;
l ' l
The T-wAoa fGfirlveRnadiers
t2
Z o
--__
Moderato
--_
I
-
0
rit.
3
n0
n3
allarg.
Die zwei Grenudiere Los Dos Granaderos
Moderato
V N
L r . l r ^ 0 I
? . ? z l z ! 0
Les Deux Grenadiers
I

13. l " l o'wit
rffifEr
Theme from chest Dance))
V0
T 3 ,
,)lfr 0 t h't)
Andant. T___o y n
2-^.-f
O-.3
) t 2 0
!}l o-.-{
N. Paganini
r9 )f =-=
0
n
l.--0
3
n
1-? $)l^_0 #l1i #
P meno ,nosso
t O-'-.?
3_? I
3_o 2
n2
a
2 I 0 3 nt
. f 3
Thdme de la "Danse des Sorcidres" Themu aus "Hexentunztt Tema de "LaDanza de las Brujas"

14. lI
III
j
II
iIIIiII
i"-' ,L
t4
Gavotte from "Mignon"
r : = 3 Y t a) liif 'y I. A. Thomas
t - - - ?
n 2 3 7
Allegretto
n P o - 9 3 4 2 3 ,^ o
2 2 - 3 |
0 0 l
V
l_3 2 4
( b ) t 3 Z 4
0 1 3 r , 0 ( l ) l
t 2 3 4 2 3 l" 0
({)
o
t z 3 4 z 3 o
Gavotted e "Mignon" Guvottea us "Mignon" Gavota de "Mifl6n"

15. (g)
n
?
( l )
9 {
( { )
0
ptzz.
Entrenamiento del oido
Ear Training
uai,tlffi
Entrainement de I'oreille Gehiiriibung
'rti:t 2 ? - -r,fi'i|,.i):.,
G. D. Aa l ' * l , l t t t .2r l ! j tL, +oU L, rSt J ( l l t l r , , ( ) ' c ' i |
r t t ? ? - ' 7 t u ( l * t l "
Ubu ng fiir die voII e n dete Oktaven-Intonierung,
Dem Klange der offinen G, D, undA Saiten
Iauschen; die Oktaven-Hdhen genuu
zu treffen versuchen.
Ejercicio parala perfecta afinaci6n de octava.
Escuche la resonancia de las cuerdas al aire de sol,
re, y trate de acertar los dipasones de octava
perfectamente.
Exercise for perfect octave intonation.
Listen to the resonance of the open G, D, and
A strings, and try to match the octave
pitches perfectly.
S'exercer ii obtenir une intonation
d'octave parfaite.
Ecouter lq rtsonqnce des cordes libres du
sol, rim rb et du la, et essayer d'accorder
parfaitement les diapasons d'octaves.
' / u ' l , . l t h t v , 7 > l f t ' l l L T. r r : t t : / t l r r t 6 J i t : . t
t : v t 7 > h A i j { : tJ h ' t i i , t 4 6J i t : .
This exercise should be practiced daily untit Diese Ubung sollte ttiglich gespielt werden,
it is mastered. The teacher should hear this bis sie viillig behewscht wird. Der Lehrer
at the beginning of each lesson. sollte dies bei Beginn jeder Stunde anhiiren.
Cet exercice devrait €tre |ffectue tous les
jours jusqu'ii ce qu'il soit parfaitement
maitris2. Le professeur devrait I'entendre
au commencemendt e chaaue lecon.
Este ejercicio se debe practicar diariamente
hasta que se domine. El maestro debe escuchar
esto al comienzo de cada lecci6n.

16. l ^ " 1
Gavotte
T6
f'fi.2 l.
Allegretto
Dq Ve
J. B. Lully
V c ) t ) - ,
z ?^9
--l'
a tempo ma piil ogitato
l-.s o
o utZ o
o
gfaznso ^f
( . )
0
poco rit.
--7
B A ! 3 *
3_
3 A 1
2, . r ^o B
(c)
o-P-a I 0 t r $ ? 0
3_
2u o

17. 17
0 2 1 . 0
( o )
0 l o-l o r^ o I
ritard.
( c )
0
r i t .
nH4 b i ) : , n 3 f f i a # r . / : I l " F f t t E t (
Procedure for practice Comment s'exercer Verfuhren zur Ubang Procedimiento pall.aprhctica
( c )
( c )
0
( o )
0 9^9
n
i?z
*
i3 i?i3 ***13o, 1I 1
I ,

18. 18
Allegretto
Y z
Minuet in G
t xr.7 l-
l-
3 3
V3
Effi
L. van Beethoven
-{ - l. - . < ,
-
0
-P
2 0 2 3 2 3
( 3 )
l , 2 3 l ( b ) 4 Ya'
( 3 )
2 0 0
V
3 3
ll2.no.c. at Finel
3
|U
p con grazia
Q )
2 0 3
p
( g )
o 2 2 0 0 2 3 2 s o 1
Menuet en sol Menuett in G Minu6 en sol
--

19. 19
Minuet
/ X ! ' y l .
Moderato e grazioso
V N
i ? 0
? 2
3 0 1
0 2
s 0 t 2
--.--..-
at-z
+ 4-.--3
L. Boccherini
;t'y t t) - =
V Wlo 9--n Yqn g
V
1-{
qp
4
e 3{q
p;
I 0
*I
nt
0 4 3
V
kr
n2
Y4
p '
3 2
--- ^f --------i
-
n-q
z I o 8 - z I . > 1 D.C. al Fine

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