Suzuki Viola Book 3 Pdf

Suzuki Viola Book 3 Pdf

LINK - https://cinurl.com/2tpVj9

These two cute \"witches\" (Kara, violin and Kaela, viola) sure do make Martha's arrangement of Witches Dance \"come to life!\" Their mom, Jennifer Sova, did an amazing job coaching them! I love the costumes, dancing and the spooky venue - plus, they play very well, too!

This is an awesome resource for the violist that has violin students -- now you can play duos with your violin students on your viola! Also great for viola/violin siblings and friends that desire to play fun, familiar pieces at ANY level of difficulty.

This course requires a minimum of 28 hours of class time and 15 hours of teaching observations to be completed outside of class, as well as written and playing assignments. It is strongly recommended that participants memorize the pieces in the Suzuki Violin Book 1 repertoire book, and purchase or download reference recordings of the pieces prior to the beginning of the course. 100% attendance is required for registration of any SAA courses.

For violinists and violists who have completed Every Child Can! and Unit 1, as well as those who have previously taken Unit 2 and would like to revisit the material from a fresh perspective. Be sure to consult the Suzuki Association of the Americas website for training pre-requisites, including membership, audition requirements and other necessities. This book class includes the new Book 2 requirement of the Teaching Strategies course - a mini practicum where each participate will provide two 6-10 minute teaching videos to be examined during the course. Book 2 topics for study include further development of the ear, parent education and it's role in a Suzuki studio, reading skills, development of the full use of the bow, musicianship, learning styles, tone development, articulation, as well as group classes, review, and listening, as well as the teaching points for each piece in the Suzuki Violin Book 2 and Suzuki Viola Book 2.

This course, with the required Teaching Strategies component requires a minimum of 25 hours of class time which will include some practical teaching experience, observation and feedback. 8 hours of observations are required as well as written and playing assignments. It is strongly recommended that participants memorize the pieces in the Suzuki Violin (or Viola) Book 2 repertoire book, and purchase or download reference recordings of the pieces prior to the beginning of the course. 100% attendance is required for registration of any SAA courses.

This course requires a minimum of 15 hours of class time which will include some practical teaching experience, observation and feedback. 8 hours of observations are required as well as written and playing assignments. It is strongly recommended that participants memorize the pieces in the Suzuki Violin (or Viola) Book 3 repertoire book, and purchase or download reference recordings of the pieces prior to the beginning of the course. 100% attendance is required for registration of any SAA courses.

This course requires a minimum of 15 hours of class time which will include some practical teaching experience, observation and feedback. 10 hours of observations are required as well as written and playing assignments. It is strongly recommended that participants memorize the pieces in the Suzuki Violin Book 4 repertoire book, and purchase or download reference recordings of the pieces prior to the beginning of the course. 100% attendance is required for registration of any SAA courses.

This course requires a minimum of 15 hours of class time which will include some practical teaching experience, observation and feedback. 10 hours of observations are required as well as written and playing assignments. It is strongly recommended that participants memorize the pieces in the Suzuki Violin Book 5 repertoire book, and purchase or download reference recordings of the pieces prior to the beginning of the course. 100% attendance is required for registration of any SAA courses.

They know that at this juncture, I'm the orchestra. I reach for my duet books, and we take a ride together through their nearly-polished or recital-ready piece. Playing duet accompaniment provides opportunities that words can not: namely, communication through simultaneous music-making. Duet-accompanying also gives context to a student's efforts and allows me to support their music-making in a very literal way. It's a little different than accompanying at the piano, too, because I can model articulations, bowings and dynamics specific to the violin. (Also, I'm a much better violinist than I am pianist!)

Lately, the duets I grab are arrangements by violinist Martha Yasuda, an Atlanta-based teacher and arranger who has written more than 100 books of arrangements, including a set of violin duet arrangements of all the pieces in Suzuki Books 1-8.

Many of Martha's duets, such as the Handel Sonatas, La Folia and more, were simply impossible for me to find in duet form, before finding Martha's arrangements. She's also arranged duets for popular non-Suzuki pieces such as Meditation from Thais, plus books of Christmas melodies, hymns, American songs, wedding music and a raft of cello-violin duets and transcriptions for viola.

I have now been teaching for over 30 years. My program has changed a lot over the years and I have a mixture of different students, some more on a set Suzuki track and others more on a traditional course of study. Bottom line, love is the key ingredient, no matter what book or method you are using.

Martha: My first arrangements were done in 2002, and they were actually double-stop arrangements, books entitled Christmas Melodies, Double Stop Solos and Duets for Violin, Volume I and Volume II.

A few weeks later, as I pondered, I realized that music had, to my knowledge, never been written out this way, using duets and double stops. I knew then that I had been given a nugget to share with students and teachers alike, since double stops are so challenging to play and also to teach. William Starr and William Preucil were both on board with this novel concept concerning double stop learning, and they both wrote forewords for the violin books and transcribed viola books, respectively.

Martha: I simply woke up one morning with a random thought, wondering if duets could be written for all the pieces in Suzuki books 1-8. I almost dismissed the idea, since it was rather massive to contemplate, but decided instead to actually try and write out a few duos and see where it went. I never dreamed that, five years later, my books would be licensed by the International Suzuki Association.

I view the duo books as stepping stones to playing with piano accompaniment, and that's how I use them myself. As a student is approaching readiness in a particular piece, I generally play the duo first with the student. Once we polish the duo, I then go over to the piano and play the accompaniment with them next. It is a very different experience to play a piece without piano vs. with piano. Generally, spots that were pretty secure frequently start falling apart because of the distraction of the added notes in the piano that have to somehow fit together with the violin.

Martha: Well, I think my duos are a little busier than most, and I try to have the two parts really moving in a similar fashion, with a similar number of notes. I think this helps students, to have the teacher moving in sync with them, generally thirds or sixths apart, and I also try to line up bowings as often as I can, too, so that students can see the teacher bowing just like them. I think writers of duets for young students have been cautious, not wanting to give the second player too much to do, frequently just quarter notes and half notes, in an effort to somehow feature the student more. Although the intention is good, I think that, musically, that approach is not as interesting for the student and does not create as much of a harmonic framework that students will recognize when they eventually play with piano accompaniment. I am actually coming out with a Second Edition for my duo books which will allow the piano parts to be played along with the duo parts. It has been a lot of additional work for me to completely merge the harmony parts, but I believe students and teachers will greatly enjoy the fruit of my labor in their group classes and recitals.

There are lots of duets out there for two violins. Many Suzuki teachers enjoy the three volumes of duets by Marianne Rygner, Fun For Two Violins. I did not know about her duos until I had maybe written about three-fourths of my books. At first I was in a panic, once I heard that she had written many of the same duos as me, thinking that we may have duplicated our writing. I was relieved, once I looked hers over, that our styles were quite different and that she chose only selected pieces from Suzuki books.

Growing up, I thoroughly enjoyed playing the Samuel Applebaum Beautiful Music for Two Violins. There are countless other duo books that I have also enjoyed by Mazas, Pleyel and the wonderful Telemann Canonic duos, to name a few. I absolutely loved playing duos with my high school teacher, Rudy Hazucha. His luscious tone and musicality inspired me greatly as a musician.

To my knowledge, I am unaware of any other duos available for the Handel Sonatas or the Meditation from \"Thais.\" I also think that, quite possibly, my seven volumes of duos for violin and cello might be the largest collection of well-known classical pieces for these two instruments available today, covering all levels of difficulty, from the novice to the advanced. I am also excited to let you know that I have just been awarded additional licensing from the International Suzuki Association for (1) La Folia for Two Violins, Violin/Viola or Violin/Cello. (2) six additional new books involving the viola and (3) duos for five pieces written by Dr. Suzuki in book 1 (Allegro, Perpetual Motion, Allegretto, Andantino and Etude). This brings my grand total to 19 books lic