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Teach viola with the popular Suzuki Violin School. The Suzuki Method(R) of Talent Education is based on Shinichi Suzuki's view that every child is born with.
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This title is available in SmartMusic. Fantasie for Viola and Orchestra J. Concerto in B-flat Minor A.

Suzuki Viola School Method Book and CD, Volume 8

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Thank you for posting a review! We value your input. At this point, the student is probably exposed to a lot of repertoire that is not contained in the Suzuki books. The student may be a member of a youth or school orchestra program or responsible for preparing special repertoire or ensembles for school assignments or regional contests. The student may be a member of a church or other ensemble outside of school or be asked to perform as a soloist at community events. The student is therefore learning a lot of music that is not contained in the Suzuki books. Book 6 is one of my favorite books because I use it to teach a full development of tone as a right hand skill, and it is a chance for the student to develop ease in playing in various positions within a phrase as part of the left hand skills.

The pieces present many varied bowings within each piece, and the repertoire becomes complex in its demands for memory and advanced musical forms.

Suzuki viola school. Volume 8. Viola part (Musical score, ) []

Book 7 really advances students to another level by the middle of the book and the big Bach A minor concerto. Suzuki set up the concerto learning by inserting the Handel Sonata No. In addition, the concerto draws increased focus and concentration from the student in terms of memory and structure.

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The rest of the book provides the student with additional opportunities to learn alternatives to the Bach bowing of movement 1. The last Corelli piece is an excellent pinkie development tool. Book 8 develops the students' facility to trill and ornament. There are even more complex musical forms for the student to exercise memory and concentration skills, and there are ever increasing string crossings and double stop opportunities. I enjoy using book 8 repertoire pieces in an advanced discussion of musicality and phrasing. By advanced discussion, I mean the kind of discussion I would have with a performance major at the university or conservatory level.

This is very advanced repertoire, and by this point in a student's musical education, they are well versed in advanced musical concepts of phrasing and execution, so I go to that place in our discussions, no matter the student's age. I lump books 9 and 10 together in my mind because they are the end of the Suzuki line and I sometimes think that we can teach these books interchangeably, although I do them in order.

Suzuki method

Mozart is as important to me as a teacher and performer as Bach is. The music in these two books is quite advanced in terms of right and left hand skills, phrasing, musicality, and musical forms. We can study these pieces over and over and still come up with new ideas, new fingerings, and new expressions. I use these books to enthuse my students with the excitement that comes from true music making on a professional level.

These books represent creativity at its highest level. Every student is unique. Every student presents with unique learning issues and individual ideas. Every time I teach these pieces, I learn something new about the student and about myself and my approach to music. Although many people may think that the Suzuki Method is the only way to create true artists, I will have to point out that the research I have read seems to indicate that the number of "professional" or "concert artists" that come from the Suzuki Method seems to equal that which comes from the more traditional approach.

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In other words, the same number of students go on to become professional musicians on some level, no matter what their origin or learning. He also made it clear that the goal of such musical education was to raise generations of children with "noble hearts" as opposed to creating famous musical prodigies. The central belief of Suzuki, based on his language acquisition theories, is that all people can and will learn from their environment.

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The essential components of his method spring from the desire to create the "right environment" for learning music he believed that this positive environment would also help to foster excellent character in every student. The method discourages competitive attitudes between players, and advocates collaboration and mutual encouragement for those of every ability and level.

However, this does not mean the elimination of auditions or evaluations of student performances. The parent of the young student is expected to supervise instrument practice every day, instead of leaving the child to practice alone between lessons, and to attend and take notes at every lesson so they can coach the student effectively. This element of the method is so prominent that a newspaper article once dubbed it "The Mom-Centric Method.

Although Suzuki was a violinist, the method he founded is not a "school of violin playing" like the French or the Russian schools of playing whose students can be identified by the set of techniques they use to play the violin. However, some of the technical concepts Suzuki taught his own students, such as the development of "tonalization", were so essential to his way of teaching that they have been carried over into the entire method. Other non-instrument specific techniques are used to implement the basic elements of the philosophy in each discipline.

If it is true that "everything in music is preparation" Gerhart Zimmermann , then the genius of Suzuki is truly expressed in the scope and sequencing of the music The core Suzuki literature is published on audio recordings and in sheet music books for each instrument, and Suzuki teachers supplement the repertoire common to each instrument as needed, particularly in the area of teaching reading. One of the innovations of the Suzuki method was to make quality recordings of the beginners' pieces widely available, performed by professional musicians. Many traditional non-Suzuki trained music teachers also use the Suzuki repertoire, often to supplement their curriculum , and they adapt the music to their own philosophies of teaching.

Another innovation of Suzuki was to deliberately leave out the large amount of technical instructions and exercises found in many beginners' music books of his day. He favored a focus on melodic song -playing over technical exercises, and asked teachers to allow students to make music from the beginning, helping to motivate young children with short, attractive songs which can themselves be used as technique building exercises.

Each song in the common repertoire is carefully chosen to introduce some new or higher level of technique than the previous selection.


Suzuki teaching uses a common core repertoire for students of the same instrument worldwide, and although it focuses on Western European "classical" music, it emphasizes that this music can be a bridge across cultural and language barriers: Suzuki created a series of rhythmic variations on the theme "Twinkle, Twinkle, Little Star", using rhythms from more advanced literature in units small enough for a beginner to grasp quickly.

Although these variations were created for violin, most of the instruments use them as a starting point for their repertoire.

Bach Bourree - #8 from Suzuki Viola Book 3

The violin method was compiled and edited by Suzuki. Books 4—10 continue the graded selection by incorporating 'standard' or 'traditional' student violin solos by Seitz , Vivaldi , Bach , Veracini , Corelli , Dittersdorf , Rameau , Handel , Mozart , Fiocco , and others. The Suzuki violin repertoire is currently in the process of being revised by the International Suzuki Association, and as part of the revision process, each regional Suzuki Association provides a recommended list of supplemental repertoire appropriate for students in books More recent recordings of volumes 1—4 by William Preucil, Jr.

Recordings for books 5—8 have been made by Koji Toyoda , although many of the pieces can be found separately on other artist's albums. There are no official recordings of books 9 and 10 but these books, simply being Mozart's A major and D major violin concertos, have readily available recordings by various violinists. Completing the 10 volumes is not the end of the Suzuki journey, as many Suzuki violin teachers traditionally continue with the Bruch and Mendelssohn concertos, along with pieces from other composers such as Paradis , Mozart , and Kreisler. The viola repertoire is in nine volumes, compiled and edited by Doris Preucil.

Like the violin repertoire, much of the viola repertoire is drawn from the Baroque period. The first 3 volumes have been arranged or transposed almost directly from the first 3 violin volumes, and the rest differ significantly as they delve into standard viola literature.

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The viola books introduce shifting and work in higher positions earlier than the violin volumes, in anticipation of viola students being asked to play in ensembles sooner in their studies than violinists, and needing these skills to better handle orchestral or chamber music parts Preucil, Books 1—4 have been recorded on two albums by William Preucil , and the rest are available in separate albums. The cello repertoire is in ten volumes, with some early pieces arranged from the early violin volumes, and the first distinct piece the second being "French Folk Song".

Tsuyoshi Tsutsumi performs volumes 1 through 4. Volumes 4—10 contain works by: The piano repertoire is composed of seven volumes. The first book begins with Variations on "Twinkle, Twinkle, Little Star" as with the violin books and continues with many folk songs and contemporary songs. As one progresses to the second book, there are pieces written by romantic, classical and baroque composers, such as Robert Schumann, Ludwig van Beethoven and Johann Sebastian Bach.

The third book is early intermediate level with several sonatinas and beginning with Sonatina in C Major, Op. The fourth book includes Sonata in G Major, Op.