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Suzuki - Viola school part 2

Suzuki - Viola school part 2 . You can download the PDF sheet music Suzuki - school for viola ч.2 on this page. This transposition of the SUZUKI VIOLIN SCHOOL makes available to the beginning viola student the carefully structured repertoire of The Suzuki Method™ - a method that teaches basic playing skills and develops listening and memorizing ability through the playing of beautiful music.

Regardless of the age of the student, it is hoped that Dr. Suzuki's principles of learning by listening, training the memory, and concentrating on producing a beautiful tone will be observed. Remember that ability develops after a composition has been learned - in the mastering process. The practice suggestions emphasize the need to isolate technical and musical problems, and encourage the teacher to use all the opportunities inherent in the repertoire for orderly growth toward mastery of the instrument.

This volume is also recommended for violinists who wish to become familiar with the viola and reading of the alto clef. For this reason, finger numbers have been kept to a minimum in order that reading will progress by note rather than by finger. The teacher is urged to stress knowledge of names of first-position notes on the viola before note reading progresses to the higher positions.

Many of the solos in this volume are written in the same keys as those in the corresponding SUZUKI CELLO SCHOOL repertoire; also, some solos can be played with the compositions in the SUZUKI VIOLIN SCHOOL.

Doris Preucil

FOR THE STUDENT: This material is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with these publications. In addition, 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 associations and maintain a teacher training schedule, in 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.

To view the first page of Suzuki - school for viola ч.2 click the music sheet image.
PDF format sheet music

Viola part: 32 pages. 1161 K

Piano part: Missed

Viola part - First page Piano part - First page
Download PDF (14.99 €)
Study Points for Volume 2

1.  The child should listen to the reference recordings every day at home to develop musical sensitivity. Rapid progress depends on this listening.

2.  Tonalization, or the production of a beautiful tone, should be stressed in the lesson and at home.

3.  Constant attention should be given to accurate intonation, correct posture, and the proper bow hold.

4.  Parents and teachers should strive to motivate the child so he will enjoy practicing correctly at home.

Suggestions for Tone Production

Basic preparations for tone production have stressed: finger, bow, then play. "Stop, think, then play" should now be an established practice technique which will result in a clear sound on each note.

Throughout this book, the pieces afford opportunity to develop a smoother tone and stylistic variety by increased use of the whole bow and its various parts.

Four basic factors in bowing are always at work in relationship to each other:

1.  the speed of the bow stroke

2.  the weight exerted on the bow-hair

3.  the distance of the bow from the bridge (contact point)

4.  the amount of hair in contact with the string

Constant attention to all four factors is necessary for proper control and variety of tone production.

The lower, thicker strings are more difficult to set into vibration than the higher strings. Feel the bow engage the string before playing. Try a slower speed, with more weight, and adjust the contact point by listening carefully to the "purchase" of the tone.

Extensive use of the open strings in this book is a positive measure to encourage an approach to tone production — a way of moving the bow on the string so that each tone has the clarity and purity of an open string.

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