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Minuet boccherini how to#

Whole bows with a beautiful, singing tone ("The singing whole bow").

The G Major Arpeggio as introduced in Minuet II.

Don’t hesitate to leave the middle marker on the bow. Practicing with stopped bows is an essential tool for learning and reinforcing bow division. Practice with separate bows in the UH, stopped bows using the WB, and then slurs using the WBīroken Record with the High and Low 2nd and 3rd Fingers After many repetitions using a WB on each note, place both fingers simultaneously.

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.

Use of 4th and high 3rd finger consecutively - E/D# on the A string (M.13).

New combinations of note values - quarter, eighth, dotted-quarter note.

Legato slur with dotted quarter note/eighth note rhythm.

Legato and singing tone with the whole bow.

Vibrato beginnings (a continuation from Book One).

Preliminary shifting exercises (a continuation from Book One).

Trills ( Gavotte by Thomas and Gavotte by Lully).

Introducing the Use of Etudes ( Bourree).

Up and Down Bow Staccato ( Long, Long Ago and Minuet in G).

Viotti Bow Stroke ( Two Grenadiers and Witches’ Dance).

PIVOTAL MOMENTS in Book Two (organized by topic) These are the tools that give young violinists the freedom with which to express themselves. Proceeding with attention to these details lays the groundwork for a solid foundation. The Teacher’s Guide to Book Two is set-up to clarify the process. Because students learn the basic structure of a piece, they always know where they are, and thus the memorization process is organized.Īt this stage, the overriding goal is developing the bow arm and left hand. 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.

Minuet boccherini how to#

HOW TO PRACTICE gives tips on what bow strokes to use, bow division, and finger placement. Students early on become confident with this process as they experience the success of specific repetition to accomplish a task. Because technical difficulties can be isolated, mastering the new and different can be organized into simple tasks that can be solved with relaxed repetitions. Once you have identified the “new and different”, the next step is to MASTER THE NEW task(s). This makes it not completely new, but still new enough.

Within reason, these many small steps of acquiring technique and building a foundation are highlighted in this section. Some are new tasks, but most are expanding and refining previously introduced techniques. What you will find as you begin teaching Book Two is the tasks listed under WHAT’S NEW AND DIFFERENT come in two categories. HOW TO PRACTICE - Bow Strokes, Bow Division and Finger Placement The Book Two Teacher’s Guide is presented in the same format as Book One: They also have the musical substance conducive to continual refinement. It takes comparable concentration and focus for a younger student to perform these three pieces as an advanced student playing the Tchaikovsky. They are the Tchaikovsky Concerto of the Book One repertoire. One more thought: It is beneficial to keep the Book One Minuets in the “fingers” with occasional performances as the student studies Book Two. 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. If supplemental repertoire is needed, consult the Repertoire List for additional pieces at the Book One level.

Also, consult the Book One Check List to make sure the major principles of that stage have been absorbed.

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. A student’s success in learning the pieces in Suzuki Book Two is dependent on the foundation set in Book One.