El Mtodo Suzuki

Mtodo Educativo Nuevo y Eficaz

Sonidzacin

Atravs de la experiencia que he ganado efectuando

~x perimentos en la ensefuuua de nios pequeos, por m.s de
treinta aflos. he llegado a la conclusin de que la habilidad
musical no es un talento innato. sino una habilidad que puede
ser desatrollada. Cualquier nio, con el entrenamiento
lldecuado. puede desatrollar habilidad musical, de la misma
fonna en que todos los nii'los del mundo han desarrollado la
habilidad de hablar su lengua materna. Los nios aprenden
los matices de su lengua natal a trav~s de una audicin
repetida. y el nsmo proceso se debe seguir en el desarrollo
de un odo para la msica. Cada dfa los nios deben escuchar
los discos de la msica que est.n estudiando o van a estudiar.
Esta audicin les ayuda a efectuar un progreso rpido. Los
nios comenzarll.n a esmerarse en ejecutar tan bien como el
anistaen el disco. De esta fonnael nio se convertir en una
persona con un buen sentido musical. Esto es el
eniJ'Cnamicnto ms importante de la habilidad musical.

l p~labra

Puntos Importantes en la Ensei\anza

l . Para Conseguir que a los Ninos les Guste Practicar
Cuil es la mejor forma de hacer que un alumno goce de
aprender y practicar? Este es el problema principal para el
maetro y Jos padres. el de motivar a los ni\os correctamente

de tal ll')()do que a l le gusta practicar en fonna apropiada en

tratar con este tpico conjuntos,
oonsiderando y examinando cada caso para ayuda.r al nillo a.
g<lll' 111$ lecciones y a practicar. Deben ser atentivas a Jos
sentimientos del niilo. Fonar al niilo cada da, dicindole:
cPriaica, pdctica, prictica.- es el peor mtodo de
educacin y slo hace que el nil\o odie practicar.

casa. Ellos deben

2. La Importancia de Escuchar los Discos

Quaodo, adems de la prctica diaria en casa, el alumno
eacucha el disco de la peu que est aprendiendo, cada dfa,
tan a menudo como sea posible , el progreso seri ripldo . Seis
das por semana de prctica y audicin en casa serio ms
decisivos en determinar la velocidad de avance del nio que
una o doA lecclcmes por ~emana .

3. La Instruccin para Leer la Msica

El alumno debe siempre tocar sin msica en las lecciones.
Este es el (actor ms importante en mejorar la memoria del
alumno. Tambi~o aceler su progreso.

La instrucc.in en la lectura de msica se debe administnr de

acuerdo a la edad del nifto y su capacidad. Es muy impo!Wlte
para el niAo aprender bien a leer msica, pero si se forz.a al
oillo a leer msica al comienzo de su estudjo y siempre
practica con mOsica, l se sentir durante la ejecucin
bastante incmodo tocando de memoria y de esta fonna no
teri capaz de mostrar todo su 6ltito.

SOnidiucin,. es una nueva palabra acuft.ada

para aplicarse al entrenamiento de violn como un
eqwvalente a la vocaliucin en el entrenamiento vocal. La
sonidi7-acit'm ha producido resultados maravillosos en la
educacin de violn. Debera ~er Igualmente eficaz en el
entrenamiento de piano y toda educacin insuumental.

La sonidizacio es la instruccin que se le da al alumno, a

medida que aprende cada nueva pieza de msica, para
ayudarle a producir un bello tono y usar una expresin
musical significativa. Debemos entrenar al alumno para q~~e
desatrolle un ofdo musical que sea capaz de reconocer un
tono hennoso. Se debe en sellarle entonces como producir el
bello tono y la hermosa expresin musical de los artisw dd
pasado y del presente.

La lectura de msica debe ser ensellada solamente cuando la

sensibilidad musical del ruflo, su destreza de ejecucin, y su
memoria hayan sido suficie.ntemente entrenadas. No se debe
olvidar que se aprende a leer msica para poder toC3r sin
usarla. AW! despus de que los niAos han adquirido la
habilidad de leer msica, ellos toca.o de memoria en todas tu
lecciones. por lo general.
4 . El Mttodo Educativo para Deu.rroUar la Habilidad
Cuando un alumno llega al estado en que puede toear una
pieu sin un error en las now o en la digitacin, se ha llegado
al tiempo de cultivar au maesiJa de maca. Yo le Dira al
JI\o Ahora t esw listo. Podemos comenzar UD trabajo
muy importante para de$U'I'Oilar tu habiUdad y enroocea,.
procedera ensellarle un tono hennoso, un bello fraseo y
sensibilidad musical. La calidad de la ejecucin del alumno
depende en gran parte de la constante atencin del maestro a.
estos importantes puntos musicales.

El siguiente punto es muy importante. Olando el nil'lo puede

tocar la pieza A en fonna satisfactoria y se le da una nueva.
pieu 8 . el oo debe dejar A sino debe practicar A y B, ambu
al mismo tiempo. Este procedimiento debe continuar a
medida que se agregan nuevas piezaa. El debe repasar
siempre las piezas que el conoce bien para desarrollar au
habilidad a un grado m!s alto.

S. Lecciones Privadas
Las madrea y los niftos deben siempre observar la.s lecdooes
individuas de otros ni.Aos. sta ea una motivacin areg&da.
Cuando el nil'lo etcucha msica bien ejecutada por 011"0&
oio5, el querri ser capu de tocar de tal manera, y su <leteo
de practicar creceri.
Lu lecciones deben variar en longitud de acuerdo a la
niAo. Se debe tener eo cuenta el lapeo de
atencin del nil'lo. S puede concentrar slo por un cono
tiempo, es mejor acortar el tiempo de la leccia. Eo un dSa la
leccin puede ser de solamente ciJIOO mnutot, y otra vez
puede ser de IJ'Cinta minutos.

nece5dad del

Al adquirir una nueva habilidad, la aptitud crece con el bbito

diario. Al aprender su lengua materna. el niJio comienza a
leer slo despu$ de que l puede hablar. Este mismo ~odo
se debe seguir eo msica..

Guitar School

Volume 1

Guitar Part
Revised Edition

O 1991, 1999 Dr. SHINICHI SUZUKl

Sote Publisher for !he World excluding Japan: SUMMY-BIRCHARD INC.

Exclusive Print Rights Administered by ALFRED PUBLISHING CO., INC.
All Rights Reserved

ISBN 0-87487-388-6
The Suzuki name, logo and wheel device
are trademarks of Dr. Shinichi Suzuki used
under exclusive license by Summy-Birchard, Jnc.
My dupllcation, adaptatlon or arrangement of the composltions
contained In this collectlon requires the written consent of the Publisher.
No part of thls book may be photocoped or reproduced in any w:ty without permission.
Unauthorned uses are an lnfringement of the U.S. Copyright Act and are punlshable by law.

INTRODUCTION
Summy-Birchard Inc. is proud to be able to present this material for you.
The development of this work is the result of an ongoing study and has been compiled, tested and revised many times over the course of severa! years. This, however, will continue to be an ongoing process. Interested individuals should get in
touch with the publisher at the indicated address.

POR 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 guitar 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 oftheir national
Suzuki associations and maintain a teacher training schedule, in order to rema in
current, via institutes, short and long term programs. You are al so 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 ofthe utmost
importance.
In order to obtain more information about the Suzuki Method, please contact your
country's Suzuki Association, the International Suzuki Association at 3-10-15
Fukashi, Matsumoto City 390, Japan, the Suzuki Association of the Americas, 1900
Folsom, #101, Boulder, Colorado 80302, or Surnmy-Birchard Inc., c/o Warner Bros.
Publications Inc., 15800 N.W. 48th Avenue, Miami, Florida 33014, for current
Associations' addresses.

CONTENTS
Introduction .................................................................... 2
Principies of Study and Guidance ............................................................................4
Basic Technique ............................ 6

rn

Twinkle, Twinkle, Little Star Variations and Theme, S. Suzuki...... 1O

[JJ

Lightly Row, Folk Song ...... 12

Go Tell Aunt Rhody, Folk Song ........................... 12

[]

Song of the Wind, F olk Song ........................ 13

[1]
[]

May Song, Folk Song ........................ 13

[f]

Perpetua) Motion, S. Suzuki ......................................................................... 15

00

Rigadoon, H. Purce/1 ................................ 16

[!]

Are You Sleeping, Brother John? Folk Song .............................................. 17

M]

French Folk Song, Folk Song ....................................................................... 19

[!!]
[g]

Tanz, J. Fhrman ......... :........................................... 20

With Steady Hands, F. wngay .................................. 21

M]

Meadow Minuet, F. wngay ......................................... 22

Allegretto, M. Giuliani .............................................. 14

Tanz, J. C. Bach ......................... 20

Suzuki Guitar Method

Principies of Study and Guidance
Four Essential Points for Teachers and Parents
l. The child should listen to reference recordings every day at home to develop
musical sensitivity. Rapid progress depends on thls listening.

!
p

2. Tonalization, or the production of beautiful tone, should be stressed in the

lesson and at home.
3. Constant attention should be given to correct posture and proper hand
posi ti oning.
4. Parents and teachers should strive to motvate the child so he will enjoy
practicing correctly at home.
Through his experience in teaching young children for over thirty years, Dr.
Suzuki has become thoroughly convinced that musical ability can be fully
cultivated in every child if the above four points are faithfully observed.
Musical ablity is not an inbom talent but ari ability that can be developed. Any
child who is properly trained can develop musical ability, just as all children
develop the ability to speak: their mother tongue. To insure the happy, effective
progress of students, the four essential points listed above should be carefully
observed and put to continua! use in the home and studio.
Just as the .alphabet is not taught when children first learn their mother language,
so music reading should not be included in the study of the guitar until children
have sufficiently developed their musical sensitivity, playing skill, and memory.
Even after acquiring the ability toread music, however, the children should, as a
rule, play from memory during lessons.

Education for Musical Sensitivity

Every day, children should listen to the recordings of the music they are currently
studying. Ths listening helps them make rapid progress. lt is the most important
factor in the development of musical ability. Those children who have not had
enough listening willlack musical sensitivity.
Tonalization for Beautiful Tone
J ust as vocalization is studied in vocal music, tonalization on the guitar is
introduced as an essential element of study. Tonalization should always be
included at each lesson and should be a part of the daily practice at borne.
Group Lessons
The group lesson is an extremely effective instructional and motivational tool.
The students progress remarkably while enjoying these lessons. Dr. Suzuki
recommends that group lessons be held once a week or at least twice a month.
Prvate Lessons to Develop Ability
A child should not proceed to a new piece simply because he ha~ leamed the
fingering or notes of the present one. His ability must be cultivated further as he
plays h1s piece. It should be said to the child, "Now that you know the notes, we
can start the very important work of developing your ability, " and then
procedures may be made to improve bis tone, movements, and musical ability.
The repertoire found in these volumes )Jas been carefully chosen to provide an
enjoyable path towards techfiical proficiency. lt is important that when a child can
perform piece A satisfactorily and is given a new piece, B, he should not drop A
but should practice both A and B at the same time. By continuously reviewing
and refining pieces that he knows, as new pieces are added, he will develop his
ability to a higher degree.
Parents ano children should always observe the prvate lessons of other children.
Lessons should vary in length according to the needs of the child. Sometimes a
child may have a short lesson, stop and watch another child, and then retum for
more instruction.

Basic Technique
The establishment of an attentive but relaxed body position is extremely
important. A comfortable but firm chair should be used. The student's particular
body dimensions will determine the proper height of the footstool and chair. The
student should sit on the front edge of the chair with the left foot elevated and the
right foot placed securely on the floor. The left, lower leg should remain vertical.
The shoulders should remain down and relaxed with the torso straight and
balanced but not rigid. The waist of the guitar rests on the left leg with the right
arm draped gently at the lower bout.

Fig. l. The guitar contacts the body

at four points:
l.
2.
3.
4.

The left leg.

The center of the chest.
The inner right upper leg.
The right forearm near the elbow.

The Right Arm and Hand

Attention should be paid to the positioning and movements of the upper ann, shoulder,
elbow and forearm before emphasis is given to the hands and fingers. The hand should
remain a natural extension of the right ann. lt should ha ve a roundness (fingers curved)
lwith the thumb slightly forward of the fingers.
-~~'

Fig. 2. Correct Right Ann Position with

the foreann resting on the lower bout.

Fig. 3. Preparation for the G string

rest stroke.

Exercises for Changing Strings

Place ann and hand as in Fig. 2. Change strings quickly.
All finger combinations (im, mi, ia, ai, ma, a m) should eventually be used.

No. 1

'j

m change

1 Jo J J J i J

etc ....

play

j f

r tJ

~1
E~ F
o
No.2

mi

rrr

change etc ....

No.3

No.4

r r

The Left Arm and Hand

A symmetrical, balanced left hand position should be established. The palm of the
left hand should be parallel to the lower edge of the fingerboard. The wrist should
remain straight or gently arched. The arm and hand should be relaxed with little
pressure from the thumb when depressing strings with the fingertips.

Fig. 4. The left hand thumb should be flat

and favoring the left side of the hand. The
wrist should remain essentially straight.

Fig. S. The correct Ieft hand pos1tton is

balanced, with the palm essentially parallel
to the neck of the instrument. The third
finger is on the B string.

10

[!]
Twinkle, Twinkle, Little Star Variations
S. Suzuki
Yariation A

i!+'~

t J t~ J J ~ eerq r 1f tSH=t

F ,~

eer e- m

~=r r r~~~ttTTr--
o

~==e=et t4t r~=+t:?a

r s= 4dA~
o
3

VF-rr=r4=-~#E'~=Iffi-~~~

ll

Yaration B

Variation C

e:detc.

11
Variation D
-"'
i
<

' ll

,
J J J J J ; E E r r r r r-r r r r r r
m
3

,
1

FE

etc,

Variation E

'

;m;m;m;m

J J JJ J J J J j

j j j j j j j FFFEFFEEj j j
1

rj j j j

1 etc.

Theme

Tonalization in G #1
Be sure to altemate the right hand fingers.
No. l

&rrrH r ttt:Fulrpru HJJB 1..

3

No. 2

'

1r

r r

lo

11

12

[1]
Lightly Row

Jf
~

5j f

Folk Song

Moderato

r r r Ir

r r r r Ir

J- J- -J

r r r Ir- J

r r r Ir

"'
o
1

r r. Ir r r r Ir r r
1

J J J
IJo

1
=-

1J J r r 1r r r

J J

13

$r

J~tt

.-J

r r r 'r r r

11

Go Tell Aunt Rhody

Folk Song

Moderato

t: F =e" i=&IJ"4
m

fO

E ~ F 1pF B F F 1F g

'p f
r-=1
r-=1
~ r ;o J J 1 J J ;n

r rr r r

J JJ J ;

11

13

@]
Song of the Wind

'j

Folk Song

Moderato
m

i j' J e
fo
o
2

Ir
3

'jL! E!- IF
p

le

lt J
o

t !

1r

le r tJ IEJ EJ f3 El 1

f3

lcg E! f3

(J

IJ

f3

=11

May Song
Folk Song

Allegro moderato

'j

J.o

~
o

IF

'M F

F 1F 0

t b

r r

tJ

r . E: f

v r J J

.,

~ 1r r r r r lJ
1

Jo 44d
J22fj

r ~

1J

:11

14

Tonalization in G #2
No. 1

-$JIJJJJJ a Jswsm lrrrru mrmru 1

.. o

3~ ~ .!

li-t erre

r EEEEr r u:r
o

,.

rr r errcr

$*hhEEL ~ EEEEE CibtLirr E EEELE

$~ Er Er u r r r r uafJ:O s m J ; J J ~

J "11

No. 2

[]
Allegretto
4

17

$* r
3

M. Giuliani

f/1
1

1r
3

r r

1r
3

J
2

J.o

=11

15

Preliminary Exercise
Pos. 11

~ u !l ~

w w 1~ J J 3 1J J J J 1Jo

[l]
Perpetua! Motion

* n;

S. Suzuki

Allegro

~ 11

mi

mi

2 r r tt 1r G!t:tr r rFJ-il ; J r r r r 1r r EF.F;J J~ 1

tu r ur r trrlkf u u rrEF;q::furiE ur n Bl
S

42

4200

$1 ;J 3J J r a r1Er+f Lr rt 1J 3J J r r r r1t FrJ LE r~ 1

13

tu iJ n g

U' 1r: EEn r EE1H

n r E r r1!@f=t-: P. J lll

Variation

....
i

m i

m i

~ *!l J 3J)

m i

j GC

rd g;g E E E~'"

16

Rigadoon
H. Pureen

17

[2J
Are You Sleeping, Brother John?
Folk Song/Round

11

11

J J #}J J J J 1J J

13

;j

'*D

J J IJ J

J J J:===d

J J J J J J 1J J J J J J J
o
o
o
1

41

11

14

'

~#

J J J J J J
o

J J

J JJ

ti

J J==:g

Preliminary Thumb Stroke Exercise

Rest the fingers on the G string,
The Thumb touches the lndex Finger aftereach stroke.

'

!l

d d. d g J J J
1

J J J J J JJ J J
1

11

18

Tonalizations in D Major

No. 1

II

&n e J
0(4)

No. 2

No. 3

J J
4

r r r Ir r
3

IJ

J J

11

Il

Il

Review these considerations regularly:

The responsibility of motivating the child belongs to the parent
and the teacher.
Listening to the recordings is essential to rapid progress and the
development of musical sensitivity.
""'
Correct
posture, and proper arm, hand and finger placement
should receive constant attention.

Tonalization, or the production of beautiful tone, should always

be stressed.

19

Preliminary Exercises for the Fingers and the Thumb

l. ~e sure to keep the rght hand steady.
2. Use alternate fingers wth the thumb, ( p p, m p m p, i p m p. m p i p. etc .... )
'/;;.

[!QJ
French Folk Song
Folk Song
II

20

WJ
Tanz
J. Fhrman

II
i

*r
*n

r 1r

~ZJ

1r

11

$lt r

r r
1

IF

~.

1r

1 ~-

~
Tanz

J.C. Bach

II

-t## !
4t)

m
f)

.;;t;;J.

r r

2f 1f
4

r r

j J

13

e;! C

r-

F J

r r 1r

Jd

=11

21

[!l]
With Steady Hands

Tonalizations in A Major
No. 1

II

r r r

IF
o

r r
1

3.

,r

r r

r r r

No. 2

Remember:

Each piece should be thoroughly mastered before moving to the next.

Review leamed pieces on a regular basis.

11

22

[!]
Meadow Minuet

'
*U# ~
,.\'

~#

,,

11

r r

*U# f
12

F. Longay

II
m

'

-':~ Moderato

~
1

--

--

--

r r
..

r r

r r

--

.=if
r r
r r

f=

--

f =4
r r
O\

f
~

--

r r
1

--

r r
--

--

~-

--

r r
~- ~

r r
r r

--

r
VII

'& u#t f-
-_~_:__
- i=--r~.
~--

,.

uf----.---------~..~_
=

~--

m
11.

ll.

r r
4:1 1985 Fr.mk

Long~y

:-~j

----~-~

r r

1~

. 1;

Used by Permission

r r

11

Guitar School
Guitar Accolllpaniinent
Volume 1
Revised Edition

2000, 1991 Dr. Shinichi Suzuki

Sole publisher for the entire world except Japan:
Summy-Birchard lnc.
exclusively distributed by
Warner Bros. Publications
15800 N.W. 48th Avenue, Miami, Florida 33014
All rights reserved Printed in U.S.A.

ISBN 0-87487-389-4
The Suzuki name, logo and wheel device
are trademarks of Dr. Shinichi Suzuki used
under exclusive license by Summy-Birchard, lnc.
Any duplication, adaptation or arrangement of tbe compositions
contalned in this collection requires tbe wriuen consent of tbe Publisher.
No part of this book may be photocopied or reproduced n any way without permisson.
Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.

INTRODUCl'ION
Summy-Birchard Inc. is proud to be able to present this material to you.
The development of this work is the result of an ongoing study and has been compiled,
tested and revised many times over the course of several years. This, however, will continue to be an ongoing process. Interested individuals should get in touch with the publisher at the indicated address.

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
guitar student part 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, shortterm programs and Iong-term programs. You are also encouraged to join the
International Suzuki Association.
FOR THE PARENT: Credentials are essential for any teacher you choose. We recommend you ask your teacher for his or her credentials, especial! y 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.

In order to obtain more information about the Suzuki Method, please contact your country's Suzuki Association; the International Suzuki Association at 3-10-15 Fukashi,
Matsumoto City 390, Japan; The Suzuki Association of the Americas, P.O. Box 17310,
Boulder, Colorado 80308; or Swnmy-Birchard Inc., c/o Warner Bros. Publications, 15800
N.W. 48th Avenue, Miarni, Florida 33014, for current Associations' addresses.

CONTENTS
lntroduction... ........ ............. .................. ..... .............. .......... ............ ....... ..... .. .............. 2
Principies of Study and Guidance ........................................................................... ..4

ITJ

Twinkle, Twinkle, l.ittle Star-Variations and Theme, S. Suzuki ................6

Jjghtly Row, F olk Song .................................................................................. 12

[K}

Go Tell Aunt Rhody, F olk Song ..................................................................... 13

[]

Song of the Wind, F olk Song ......................................................................... 14

rn

May Song, Folk Song .................................................................................... 15

Allegretto, M. Giuliani .................................................................................. 16

[1J

Perpetual Motion, S. Suzuki......................................................................... 17

00

Rigadoon, H. Purcell ........."........................................................................... 18

@]

Are You Sleeping, Brother John?, Folk Song ............................................ 20

[!QJ

French Folk Song, Folk Song ...................................................................... 22

[!!]

Tanz, G. Fhrman ............. ...... ...... ......... .......... ..... .... ............ ...... ... ... .. .......... 24

Tanz, J. C. Bach .. ......... .... .. .... .... .. ..... ... ... ... ... .. ....... .. ... .... ...... .. ... .. ... .. ... ..... .... . 25

*Meadow Minuet, F Longay....................................................................... 26

lHJ

With Steady Hands, F Longay.................................................................... 28

*~eadow Minuet and With Steady Hands are reversed to facilitate

page turns.

Suzuki Guitar Method

Principies of Study and Guidance
Four Essential Points for Teachers and Parents
l. The child should listen to reference recordings every day at borne to develop
musical sensitivity. Rapid progress depends on this listening.

2. Tonalization, or the production of beautiful tone, should be stressed in the

lesson and at borne.
3. Constant attenton should be given to correct posture and proper hand
positioning.
4. Parents and teachers should strive to motvate the child so he will enjoy
practicing correctly at borne.
Through his experience in teaching young chldren for over thirty years, Dr.
Suzuki has becorne thoroughly convinced that musical ability can be fully
cultivated in every child if the above four points are faithfully observed.
Musical ability is not an inborn talent but (ln ability that can be developed. Any
child who is properly trained can develop musical ability, just as all children
develop the ability to speak their rnother tongue. To insure the happy, effective
progress of students, the four essential points listed above should be carefully
observed and put to continua! use in the borne and studio.
Just as the alphabet is not taught when children first learn their rnother language,
so music reading should not be included in the study of the guitar until children
have sufflCiently developed their musical sensitivity, playing skill, and memory.
Even after acquiring the ability toread music, however, the children should, as a
rule, play from rnernory during_ lessons.

Education for Musical Sensitivity

Every day, children should 'listen to the recordings of the music they are currently
studying. Tiris listening helps them make rapid progress. It is the most important
factor in the development of musical ability. Those children who have not had
enough listening willlack musical sensitivity.
Tonalization for Beautifl Tone
Justas vocalization is studied in vocal music, tonalization on the guitar is
introduced asan essential element of study. Tonalization should always be
included at each lesson and should be a part of the daily practice at borne.
Group Lessons
The group lesson is an extremely effective instructional and motivational tool.
The students progress remarkably while enjoying these lessons. Dr. Suzuki
recommends that group lessons be held once a week or at least twice a month.
Prvate Lessons to Develop Ability
A child should not proceed to a new piece simply because he has learned the
fmgering or notes of the present one. His ability must be cultivated further as he
plays h1s piece. It should be said to the child, "Now that you know the notes, we
can start the very important work of developing your ability, "and then
procedures may be made to improve bis tone, movements, and musical ability.
The repertoire found in these volumes has been carefully chosen to provide an
enjoyable path towards technical proficiency. It is important that when a child can
perform piece A satisfactorily and is given a new piece, B, he should not drop A
but should practice both A and B at the same time. By continuously reviewing
and refming pieces that he knows, as new pieces are added, he will develop bis
ability to a higher degree.
Parents and children should always observe the prvate lessons of other children.
Lessons should vary in length according to the needs of the child. Sometimes a
child may have a short lesson, stop and watch another child, and then retum for
more instruction.

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Guitar School
Guitar Accompaniment
Volume 1
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Guitar School
Guitar Accompaniment
Volume 1
Revised Edition

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INTRODUCTION
SummyBirc:hard tnc. is proud ro be- able to present this material to you.

The development o( thi.s wo:rk is tbe result of ao ongoing srudy and has been compiled,
tested aod revisod maoy tlmes over tbe course of several year5. This, boweve.r, will continue to be an oogoing process. lotetested individuals s.hould gct in toucb with tbe publisbet at the indieatod address.

POR THB STUDENT: Th.is material is part of tbe worldwtde Suut.i Mecbod of teaching. Companion recordings shouJd be used witb tbc$e pubUc:ations. In addition. thcre are
guitar srudcnt pan books that go along with this material

FOR THE TEACHER: In ordc:r to be an effective Suz.uki teacber, a great dcal of oogo..
ing education is required. Your nationa.J Suzuk:i assoclation provides lhis for its membership. Teachecs are encouraged to bctome member:s of tbeir national Suz.uki assoc.latioru
and maintain a teacher training schedule. in order to remain cunenl, via institutes, sbonterm. programs and long-tum progr.uns. You are aLso encouraged to join the
lnttmational Suzuki Association.

FOR THE PARENT: Credenrials are csscotiaJ for any teacber you cboose. We recommend you ask your teacher for bis or hcr cTedentiaJs, espec.ially t))o$e. relatin to r.rai.nina
in lb.e Sutuki Method.. 'nle Suzuki Metbod expcrience shooJd be a positive one., where
tbere ex.ists a wonderful, fosteriog relationship between child, parent aod teachcr. So

cboosing the right tea::be.r is of the utmost impon.ance.

In order lO obcain more infonnation about tbe Suzuk.i Mecbod. please C.OI'l.laCI your coun
tty's Suzuki Assoclalioo~ tbc tnu:mati.onal S~i Assoc-iatioo aaJ.. lQ..IS Fukashi.
Mmumow City 390, Japan; The Suzuki Asrodatton of the A.mericas, P.O. Box 17310,

Boolder. Colorado 80308: or Summy-Birchald Inc., c/o Warner Bros. Publicabons. 15800
N.W. 48ch Avenue. Miami. Aorida 33014, for curreoJ Assocat.i.ons' addresses.

Copyrighted material

CONTENTS
lntroduction................ ................................................................................................. 2
Principies or Study and Guidance .................................................................. ........... 4

IIJ

Twlnkle, Twlnkle, Lltlle Star- Variations and Tbeme, S. Su:uld ................ 6

(1]

Ligbtly Row, Folk Song ............................................................ ........ .................. 12

1]}

Go Tell Auot Rbody, Folk Song ...................... .................................... .............. 13

(!}

Song of the Wind, Folk Song ............................................................................. 14

rn

May Song, Folk Song .................................................................................... 15

[!j

Allegreuo, M. Gulian .................................................................................. 16

(1)

Perpetual Motion, S. Suzulci ........................................................................... 17

!!J
IIJ

Rigadoon, H. Pu.rce/1 .................................................................................... 18

Are You Sleeplng, Brother J obo?, Folk Song ............................................ 20

@1

French Folk Song, Folk Song ...................................................................... 22

I!!J

Tanz, G. Fiihmtan ......................................................................................... 24

gJ

Tanz, J. C. Bach ..... ........................................................................................ 25

1!;!1

Meadow Mlnuet, F. Longay ....................................................................... 26

Witb Sttady H.a.ods, F. L.ongo.y ...... ........... ......................... ............................ 28

Meadow Minuet and With Steady Hands are rcve.rsed to facilitatc

page tums.

Copyrighted material

Suzuki Guitar Method

Principies of Study and Guidance
Four EssenUal Polnts for T eaebers and Parents
l. 1be child should listen to referente recordings every day at home lo develop

musical sensitivity. Rapid progress depends on this listening.

2. Tonalization. or tbe production of beautfultone, should be stressed in tbe
lesson and at bome.
3. Constan! anention should be given to corree! posture and proper hand

positioning.
4. Parents and teachers should strive 10 motvate the child so he wiU enjoy
practicing correclly al borne.
lbrougb bis experience in teaching young children for over lbirty years, Dr.
Suzulci has become lborougbly convinced that musical ability can be fully
cultivated in every ehild i the above four points are faithfully observed.
Musical ability is not an inbom talent but an ability tbat can be developed. Any
chi.l d wbo is properly trained can develop musical abilily, justas all children
develop the ability 10 speak tbeir m01her 1ongue. To insure the happy, effective
progress of students, tbe four essential points listed above should be carefuUy
observed and pul 10 continua! use in the home and studio.
Just as lbe alphabet is not 1augbt when children ftrst leam their motber languag.,,
so music reading should nOI be included in th" study of the guitar until children
havo sufficiently developed their musical sensitivity, playing skill, and memory.
Even after acquiring the ability to read music, however, the children should. as a
rule, play from memory during lessons.

Copyrighled material

Educ:atlon ror Musical Sensitivily

Bvery day, cbildreo should listen ro !he rccordings of !he music !hey are cunendy
studying. lbis Iistening helps !hem make rapid progress. Ir is !be most imponant
factor in !he development of musical ability. Those cbildreo who have no! had
enough listening wiU lack musical sensitivity.

Tooallzatlon ror Beautlflil Tone

Just as vocalization is studied in vocal music, tonalization on the guitar is
introduced asan essential elemenr of srudy. Tonalization should always be
included al each lesson and should be a pan of the daily practice at borne.

Group Us!ons
The group lessoo is an extremely effective instructional and motivational tool.
The studeots progress remarkably wbile eojoying !bese lessoos. Dr. Suzulti
recommeods tbat group Jessoos be beld once a week or atleasr twice a mon!IL

Privare Lessons to Develop Abillty

A cbild should not proceed ro a new piece simply because he ha leamed the
fingering or notes of !he present one. His ability mus! be cultivated further as he
plays tus piece. Ir should be said ro !he child, "Now that you know !he notes, we
can start !he very imponanr work of developing your ability, " and then
procedurcs may be madero improve bis tone, movemems, and musical ability.

The repertoire found in these volumes has been care tully chosen ro provide an
enjoyable pa!h rowards technical proficiency. Ir is importan! !bar when a cbild can
perform piece A satisfactorily and is given a new piece, B, he should no! drop A
but should practico botb A and B al !he same time. By continuously reviewing
and refming pieces tbat he knows, as new pieces are added, he will develop bis
abiliry to a higher degree.
Parents and cbildren should always observe rhe private lessons of o!her child.ren.
Lessons should vary in length according ro !he needs of !he child. Sometimos a
child may have a shon lesson, stop and warcb another cbild, and !hen rerum for
more instruction.

Copyrighted material

[!]

VariationA

Twinkle, 1\vinkle, Little Star-Variations

andTheme
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13

Go Tell Aunt Rhody

folk. Song
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Song of tbe Wind
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Are You Sleeping, Brother John?
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With Steady Hands

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QUITAR PART 1 VOL. 2

TAR SCHOOL

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Guitar School

Guitar Part
Volume 2

CONTENTS
[)

Long, Long Ago, T. H. Ba\/v............................................................................3

(I)
[l)

AUegro, S. Su<J<ki ..............................................................................................4

Andante, M. Carcassi .......................................................................................6

(i]

Andante ftom Sonata No. 17. N. Paganini .....................................................7

(!]

Allegretto, M. Giuliani ......................................................................................8

(1]

Corrente1 N. Paganini .......................................................................................9

(!]

Andantino, M. Can:assi .................................................................................. 1O

(!J

Allegrotto, F. Carulli ....................................................................................... 11

!!m

Waltt, B. Calatayud ........................................................................................ 12

A Toye, Ananymous .......................................................................................... .5

Accompanirnent tor \Valtz, B. Calatarud .....................................................1.4

Thl: s.u.uki llame..loo and whcd ~Y\'

are radtmark.t or 1){. Shinichi Suwti ul<
ulllkf uclu$1-ye lln~ b7 SuiMiy-BittMrCI.lne.
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INTRODUCTION
FOR THE S TUDENT: Ths mouerial is pan of the w<~rl dwicle Suz.uki Mcthod of
ttaching. Companion recOfdings shoold be u~cd with these pubi.Jcations. In addi
tion. tbe:re are guitar accompaniment boob that go along with this matcriat

FOR TllE TEACHER: In order to be an cffec:tive Suz.uki teacber, a grc.at deal of

ongoing cducation is required. Your n.adonal Suzuki assoc.iadon providts this for
its mcmbcl'5hip. Teachell are eooouraged to become memben of tbeir national
Suzuki associations and maintain a teachcr tra.ining schedule, in order ro remain
current, via institutes, shorH e.rm programJ> and long-te.rm propms. You are also

eaeou.raged 10 join tbe lntemationa.l Su.tuk.i Assoc-iation.

FOR THE PARE.NT: Crcdentials are essential for any ceacbcr you cboosc. We

recom.mend you ask your teaeher for bis or her credentials, especially those relat
ing to trajnJng in Che Suwkl Med.OO. 'The Suwki Mc.~hod experience should be a
positi\e ooe, where there e.xists a wondcrful. fosteri.ng n:lationship t>etween chiJd,
parent and teacbcr. So choos.in the right teachu ls of tbe utmost impon.ance-.
I.n ceder to obtain mote infonnalion about tbe Suzuki Mer.hod, please coataet your

country's Suzuk.i Associaticn; lhe lnlematicnal SUWk.i Associaticn at 3 10..15

Futashi, Matsumo(o City 390, Japan; be Suzuk:i Association o( the Americas.,
P.O. Box 17310. Bouldu. CoiO<ado 80308: or Summy-Birebard lnc., clo Wamer
Bros. Publicattons.. l5800 N.W. 4$th Avenue. Mi.arn.i. Aoda J3014, fcr curren!
Associations addresse$..

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ANO SUPPLEMENTAL
PUBLICATIONS

SOLOS ANO ENSEM8LES

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Guitar School

Guitar Part
Volume 3

O 1999 Dr. Sblnlchl Sultti

Sle publiilkt lr d!C,'Url\l(~tludin(l. ~!)(In! So.nlnyBirthri lne.
bci!Jllive pinl righb adl!liniJ~r by Alfm:l Pubfuhing Cu., lnc-.
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INTRODUCTION
FOR THE STVDENT: Th.is material is part of lhe worldwide Sutuk.i Method of
teacbing. Companion reoordings shooW be-used with lbese- publicatioos. In addi
tion, thcre are guitar accompaniment boob that go along with this material.

FOR THE TEACHER: In order to be an effecthc Suz;ulti tcacher. a great dcal of

ongoing oducation is required. Your national SuzuiO ac;sociation pro\ides this (or
its mem.benhip. Ttachenl are eneounged to bccoroe memberS of their rwional
Suzuki as:sociations and maintain a teacher uaining schedule. in order to remain
current, via instirutes, sbonten:n prograoos aod long-te111) programs. You are also
encou.raged to join the lotema.tiooal Suzuki Associatioo.
FOR THE PA.RENT: Crcdentials are essentiaJ for any teacher you choose. We

recommend you ask. your teacher for bis or ber eredeotials, espee-ially those rellU
lng to t.raining in tbe Suzuki Method. 1be Su:wki Metbod experie~e should be a
positi\'e one-. whcre thcre exists a wonderful, fostering n:latiooship between child,
part.nt and leacber. So choosing the right lt.aeher is of lhe ulrnOSt imponance.
In order to obcain rnore informatioo about the Suz.uki Metbod. please contact y<lur
count:ry's Suzukj Association; tbe lntemational Su:ruki Assoc:iation at 310.15
Fu.kash. Mousumoc.o Chy 390. Ja.pa.o; The SuUJki Assoeiatioa <lf che Amerleas,

P.O. Bolt 11310, B<lulder, Colorado 80308: or Su.mmy-Birehafd loe., c/o Wamer
Bros. PubUcaUons.. IS800 N. W. 48th Avenue. Miatni. Aorida 330L4. for current
Associ.ations addres:ses.

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Copyrighted material

CONTENTS
[IJ

N()nesuch, Anonymcus ...................................................................................... 6

GretDSleeves, Anonymo u.s .................................................................................. 7

Pac:kington's Poon~ Anonynwus .................................................... ...................8

[!)

Gblribizm, N. Paganini ............................................. ..........................................9

III
III

WaJtz rrom Sonara No. 9, N. Poganini .......................................................... lO

IIl

Calliope (L<s...n 61), J. Sogreros................................................................... 13

[!]
[!]

Etude, F. Carulli ......................................................................................... ...... 14

Varlatioos on Arietta, J. KU/fner ................................................................... 16

lill

Cdeste y Blanco, H. A_wzlo ............................................................ ,................ 19

Andantino, F. Corulli ...................................................................................... l l

Etude, N. Cos1e .................................................................................................. 15

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Guitar School

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Volume 4

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Sok publistw:. for thc:: ~~o"Orlo:l o:dudittg Japan; SumtnyUltthard ltle.
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INTRODUCTION
FOR THE STUDBNT: This material is part of che worldwide Su.wk_i Method of
te:aching. Companion recordings sbould be u~ witb chesc publ_icatiOII$. In add.i
tion, thc:re are guitar accompani_ment books that go along with this material.
FOR THE TEACHER: In order to be an effec:tive Suzuki te:acber. a grea~ deal of
ongolog edueation is required. Your nattonal Suzuki assoeiaton provfdes ths for
its member$hip. Teachers are eocouraged to become mcmbers of tht-ir nalionaJ

SU7.Uk.i assoc:iations and maintai_o a tc:acher training schedule-, in order to remaio

currem. via instiurtes, sborHenn progr.uns and long.tc:nn progr.uns. You are also

e.oc:ouraged 10 joio che lntematiooal Sutuki Associati<m.

POR THE P~ Oedentials are essentiaJ for any teacbu you choose. We
recommend you ask your teacher for his or ht.r credenti.:ll$, especiaUy those relat
ing to uainin in the Suzuk.i Metbod. The Suzuki Mdhod uptrience $hOUkl be a
positive one. wbere thete exists a wonderful, fostering relationship bctwecn cbild,
parent and teacber. So thoosing the rigbt teachcr is of the utmost importance-.

lo ordu to obtain more inforroatioa abc:M tbe Suzuki Metbod. pkase cootact your
counczy's Suzuki Associatioo; lbe-lntem:uional Su:wki Asslxiatjon at 3 10..1 S
Futa.sbi, Matsumoto City 390, Japan; The Suz.uki Assoc.iation of the Americas.,
P.O. Box 17310, Boulder. Colorado 80308; or Summy-Birchard lnc.. c/o Wamer
Bros. Publications, 1S800 N.W. 48th A,enue, Mi.3rn.i. Aoda 33014, for current
AS&OCiatioos addresses.

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CONTENTS
(I}

Siciliana. M. CarciJSsi ...............

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Allrgro, M. Giuliani ..........................................................................................6

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L<aon, F. Sor ....................................................................................................8

Etud.e, F. Sor ...................................................................................................-.Ul

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Waltz,M~issonnitr .......................................................................................... l2

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Waltz Alltgro, M. CAt<4SJi ............................................................................. l4

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QUITAR PART

lVOL 5

Volume 5
Guitar Part

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GUITAR SCHOOL
Volume 5
Cuitar Part

O 2003 l>f, Sllinlelll S10.1Jd

Sok publishtl' for tbt entire. ~~o'Or\d Uetp( lapan:
So.lmn:ty-8irchri lnt.
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JNTRODUCTION
f"OR THI;: STUDENT: This material is p.;'lrt of thc Y.."'rldwide S1.1zuki Mcthod~ of
h. aching. The companion recording should be uscd along with this publication.

FOR TIIE TEACIIER: In order to be an etfecti..'t Suzuki te;,\Cher. ongoing

is cncovra,gcd. Each rcgion~l Suzuki associatioo provides tc.:~chcr
de\clopment for its membership via <.-onferences, inscilutcs, short-ttrm and
long-tcm1 programs. In ordcr to n::main currc01. you are cncour.:agcd to bccome
a member of your regional Suzuki association, and if not t~lready inc1udcd the
lntcmational Suzuki A!')S()Ciation.
OOuc;u i<~n

FOR TliE PARENT: Crodentials are essentiol fOI" any Suzuki teacher you choose.

Wc rccommcnd )'OU ask your tcnchcr for his or hcr credcntials. cspeci:.llly those
reJated 10 troining in the Suzuki Method. The Suzuki Mtlhod., expericoce shoukl
fostcr a positive rclationsb.ip :unonll tbc tc.achcr, parent and ch.Jd. Ch~ing thc
righ1 tcachet is of ut.mOSI impor~ance.
To obtaln more infonnation about the Suzukl Associruion in your n.-gion, plea.se
contact:

lntcmati<mal Suzuki Associatioo

www.intcmatiomdsu::ruki.org

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CONTENTS
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La Volta, Allbn. ................................................................................................. 6

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Ptfara L.uisa: Mazurka, J. Segreras ..................................................................8

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Mlnuett o-Ailegro, Op. 22, F. Sor................................................... ................ lO

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Gavottel, J. S. Boch .......................................................................................13

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Vak Espao~ J. Ftrrtr .....................................................................................5

Gavotto ll, J. S. Bach ...................................................................................... l4

Al.legro viva, Op. 111, Part 2, M. Giuliani ...................: ............................. l9

We h.ave made a sincere ar.d extensive effon to identify and c.ontaC1 the righful owners of
one ofthe seleetions oontained in this edtion. If you believe you have a leg.itimate claim
to tbe work eontained buein. please contact us at )'Out e.arliest opportunity.

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