The Suzuki Violin Book 1 imparts essential musical concepts and techniques needed for students to advance in playing the violin. In this article, I will explain the main pedagogical takeaways for each piece in Suzuki Violin Volume 1. It gives students an opportunity to develop what they have learned in previous pieces and systematically introduces something new with each piece.
The previous article describes how the Pre-Twinkles students can learn the foundational basic skills of the violin. Before starting the Suzuki Violin Book 1, students should remember that they should have already learned the Pre-Twinkle pieces.
You can purchase the official recordings of Hilary Hahn’s Suzuki Violin Method Volume 1 here. You can also purchase the sheet music for Suzuki’s method here.
I’ve compiled what I believe to be the main teaching points in each piece in Suzuki Violin Book 1.
10. Allegretto
Staccato is the Allegretto of bow articulation. The rhythm of Twinkle is a variation of the same rhythm as this piece. The Suzuki method follows the principles of teaching a new concept through an already-learned concept. Long ago, the string D was introduced in the same way as the new string is introduced, with the first finger hopping.
12. Etude
Students must now use their 1st or 3rd finger when referencing the placement of the 2nd finger. If a student is using tape on their finger, I will perform a ceremonial removal of the tape on their 2nd finger. If a student is using tape on their finger, I will perform a ceremonial removal of the tape on their 2nd finger. So, students must learn how to use their 2nd finger on the low E string and A string to produce G-natural and C-natural notes. This is taught in the book as the first piece in the key of G major, called Etude.
In addition, another purpose of helping students get comfortable playing in all parts of the bow is to offer extra practice time with Etude. Usually, students find the section near the frog the most challenging when it comes to maintaining a proper bow hold. I use colored tapes to divide the bow into four equal sections. Since the melody of Etude can be tricky to memorize, I spend extra time with students to help them play the entire piece.
1. Twinkle Variations and Theme
Students should become familiar with the terms used to identify and learn the sounds produced by articulations. In the piece “Theme and Variations Twinkle,” there are two types of bow articulations: detaché and staccato. Teaching students these variations is a crucial aspect of learning the violin. Additionally, each variation in “Twinkle” applies new rhythmic concepts to the melody, giving students the opportunity to further develop their learning. Pre-Twinkles helped establish students’ bow technique, left hand frame, hand posture, and further gave students the opportunity to develop these skills.
5 Twinkle Variations
The opening of the Bach double concerto is derived from this rhythmic pattern. The 8th notes are staccato, while the 16th notes are detaché in this rhythm. A Variation Twinkle is a combination of bowing and detaché.
Once it “clicks”, it will always remember, but the changes in bow direction can be challenging for young students. Moreover, every set of notes switches between starting with a down bow and then an up bow. In my opinion, Twinkle Variation B is the most difficult variation because of the 8th rest.
Similar to Variation A, Variation C is a blend of staccato eighth notes and detached sixteenth notes.
The C Variation has both short and long notes, whereas the D Variation consists of notes that are all the same length, 6. This similarity can be confusing for students. To clarify this to my students, I explain that each bow in Twinkle has 6 notes and follows the D Variation for some notes and the C Variation for others.
Students should perform the 8 identical 16th notes of Twinkle Variation E with a detached bowing.
Twinkle Theme
The students can also help understand the rhythm of the Twinkle Theme by singing the traditional lyrics. Instead of a long note, each phrase ends with a stroke-up or stroke-down, and some students may need an explanation for that. However, when the melody of the piece and the familiar lyrics are picked up, some students easily reach the Twinkle Theme. It is a time for celebration.
Prior to progressing to other musical compositions, it is crucial for students to be able to perform Twinkles with proper body alignment, pitch accuracy, musical quality, and hand placement. If students feel the need to review their fundamental skills related to body posture, holding the bow, and positioning the left hand, they are welcome to revisit Twinkles at any point throughout Book 1.
13. Minuet I
Dr. Suzuki, the musical education pioneer, said, “I begin the child’s music education with this minuet by Bach. The piece provides an opportunity for students to learn the need to change finger placement from C-sharp to C-natural using the fourth finger for descending scales. Additionally, there is a key change from D Major to G Major in this piece, which will challenge the students. By now, students should be comfortable playing two consecutive up-bows in the Little Come O children’s song. The Minuet starts with a bow pattern of up-up-down.”
The student should not interrupt the piano part and should not retake the bow so early, but instead, they should make space to cut the long notes slightly short at the ends of phrases. I encourage my students to count out the full value of the dotted half notes and half notes loudly. One difficulty point for students in this piece is the precise rhythm, which must be performed with an accompanist.
7. Long, Long Ago
Students will need to learn that they need to adjust their right elbow level to play this on a clean tone. The D string is introduced by the D string. The D string is introduced in a “hopping” way from the first finger on string A to string D. This is the first song in Suzuki Book 1.
The second and third lines of the composition feature a single bow retake. The tune of this musical piece is performed using a fluid detaché bow stroke and primarily consists of straightforward, consecutive movements for the left hand.
11. Andantino
Teachers can creatively explore the principles of ritardando and fermata in a musically sophisticated manner, while also discussing the techniques used to execute these concepts. To ensure accurate execution, it is recommended to use the 4th finger when playing the descending scale at the conclusion of the C section. In order to maintain consistency, students should employ long bow strokes throughout the C section, ensuring that each note is held for its full duration. In the A and B sections, there should be a subtle pause between each set of three notes, allowing for bow articulation. However, when playing Andantino, a detaché bow stroke should be used, providing a contrast to the staccato style of Allegretto. Andantino shares the rhythmic pattern of “Twinkle Variation C” with Allegretto and exhibits a similar structure.
3. Song of the Wind
It is important for students to learn how to “hop” their third finger from the A string to the E string, rather than squishing it down or rolling their hand frame, in order to play the Wind Song In with a short staccato bow stroke. The finger pattern F#-D-A-F# in the third measure is an excellent left-hand exercise.
Instead of crashing, a landing will enable a gentle and almost silent descent after retaking the bow beneath the point of equilibrium. With their bow held between their fingers, students can attempt to balance it, while teachers demonstrate where the bow’s balance point is located. Prior to playing the next note, the bow should be raised in a circular motion and come to rest below the balance point between two consecutive downward strokes. Additionally, the technique of bow retakes is used to teach the Song of the Wind.
17. Gavotte
I was surprised to observe many controversies surrounding the teaching of Gossec’s Gavotte at a Suzuki institute, while other violin faculty members were also teaching alongside. Some teachers insist that Book 1 does not belong in Suzuki because of its length and difficulty, and sometimes it is not taught at all in the program. However, after students complete Book 2, sometimes the directors will teach it, as it is required for students to learn the piece and perform it in recitals before graduating.
Until the student has finished this piece, we may experience a delay, as other students may not be fully prepared emotionally or technically. Some students are ready for the challenge by the time they reach the end of Book 1. I teach the optional Gavotte Gossec to families on a case-by-case basis, informing them that it is an optional piece.
The execution of pizzicato at the end of the page will require some practice and explanation. I believe the trickiest challenges in the Gavotte include crossing a string, particularly the slurred 16th notes. I have seen double up-bows as early as in the Grace notes of Minuet II. Many of the previous pieces have already introduced the technical tricky aspects of the Gavotte.
In order to use it as a performance piece, educators must ensure that students possess the endurance to complete the entire composition because of its lengthy duration. At this juncture, “musical guides” present an excellent chance for students to acquire knowledge, which encompasses a D.C. Al fine. Additionally, this composition provides other advantages.
5. O Come, Little Children
Each phrase in a pattern for bowing will be half-half-half-whole-half-half-whole-half-half-half-half. Therefore, this way will start and end each phrase in the middle of the bow. The last quarter note of each phrase is also a half bow. Notes that use only half bows are eighth notes, and notes that take up a full bow are quarter notes. Students will start the bow in the middle of the bow for the first up bow in the middle of the bow. The focus of the bow distribution will be on Little Children, Come, O In.
Before the performance, many students may need to practice bowing the open E string multiple times. Another reason to make sure to use only half bows for these notes is that each phrase in this piece starts and ends with an up bow, introducing another new technique.
16. Happy Farmer
The main focus of Farmer Happy is the distribution of the technical bow. Each phrase in the 8th note pick-up should start in the middle of the bow. The double up-bows and down-bows should be divided equally in half of the bow. Play the consecutive 8th notes in three measures in the lower half of the bow. I have labeled the form of this piece as A1, B, A1, A, B, which has been helpful for my more analytical students. In section B, notice that the eighth note and dotted quarter note are slurred rather than staccato. Students should be aware of a slight change in notes between section A1 and section A.
4. Go Tell Aunt Rhody
On the violin, accurately executing the tempo can be recognized more swiftly the more the student pays attention to the composition. To internalize the tempo of the composition, students should incorporate lyrics if beneficial and sing along with the recording. Consistently listening to a recording should assist students in grasping the tempo of eighth notes and quarter notes. Some students encounter difficulties with the tempo in this composition. The bowing technique should become detached (smooth and seamless) as the student memorizes the notes, but when initially learning the notes, it is acceptable to practice the composition with some intervals between the notes. The difficulty of this composition lies in the right hand – the bow hand. Mainly gradual motion for the left hand is present in this composition.
14. Minuet II
After the upward strokes, certain students will have the opportunity to explore a slight elevation of the bow. Despite the temptation to use more bow on the connected downward strokes that consist of quarter notes, it is advised to remain in the lower portion of the bow during measures 29 and 30. It is important for students to preserve bow for the connected groups of three notes, known as triplets, so as to avoid running out of bow for the third note of the triplet. In Minuet I, we encounter the previously observed pattern of downward-upward-upward strokes, in which students can utilize a distribution of bowing that consists of using the whole bow for the first half and the upper half for the latter half. For the initial six eighth notes, I instruct my students to employ small bows in the lower half. Planning the distribution of bow strokes is of utmost importance in Minuet II. Students will familiarize themselves with the placement of the third finger in a high position (producing a D-sharp on the A string) as well as eighth-note triplets in this piece. Additionally, this piece introduces several new techniques and musical concepts. The lengthy Minuet II serves as a challenge to students’ endurance.
9. Perpetual Motion
To develop coordination and strength in their pinky finger, students should practice finger exercises on page 32. In preparation for playing Perpetual Motion, students must learn how to use their fourth finger on their left hand for the first time.
Students should perform perpetual motion with short and detached bow strokes. The form of the piece is ABCA. For additional practice of this piece, students can learn the doubles variation, although I do not recommend performing it in a recital.
8. Allegro
Students ought to acknowledge that specific sequence of tones from “Go Tell Aunt Rhody” as the finger arrangement of 1-0-1-2-0 should not be as arduous. By employing practice methods like employing varied rhythms from Twinkle for each note, students should gradually rehearse this finger arrangement. For learners who are still honing their coordination, the repeating finger pattern of 1-2-3-1 can present a difficulty in Allegro.
If students will be performing Allegro in a recital, teachers may discuss how the accompanist should gracefully cue after the fermata in the third line. Students should also note that there are retakes between each line. In order to demonstrate how longer quarter notes are compared to eighth notes, I will use the simple lyrics “walk-ing, walk-ing, running running walk-ing” for this piece’s rhythm, note by note. In addition, some students will need help with hand-left coordination.
6. May Song
The class is divided into Team Song May and Team Twinkle, and this class group works well together. The teacher and students can see how they line up and at the same time, Twinkle and Song May can play a simple duet. The students might notice that the melody of Song May is just an embellished version. Teachers can add fun lyrics to help the students remember the rhythm of the first measure. In this piece, the new concept taught is the dotted quarter note and eighth note rhythm.
15. Minuet III
Students will need to prepare their bows for the new phrase by creating an exercise that involves quickly lifting their first finger before preparing to bow. Teachers may discuss the grace note ornamentation in measure 8 and the need for students to be aware of the motion of their elbow as they change strings. There are many instances of string crossings and slurs in this piece! In addition, the bowing pattern of up-up-down, seen in the previous two Minuets, returns multiple times in Minuet III. It is useful for students to know the repeating pattern of bowing and the rhythm throughout this piece.
In Minuet I, similar to the following section, there is a modulation to D Major and the composition commences in G Major.
2. Lightly Row
Teachers may introduce the first two measures of Row Lightly by incorporating an arpeggiated finger pattern from C to E, assisting students in becoming familiar with it. Eventually, students should be able to perform this piece with a detaché bowing technique. However, at the beginning, they will need to pause between the next note and the notes in between.
Teachers can differentiate the first and second line by playing them separately and quizzing the students. As both lines begin with the same two notes, students will also need to determine which line is which.
On the third line, students should determine the number of occurrences of Bs and Cs.
Students should be able to recognize arpeggios and scales by identifying the phrases that contain lightly played notes. Teachers can ask them to point out this characteristic.
Looking to go deeper with Suzuki Violin Book 1?
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