Re: Suzuki Viola Book 1 Piano Accompaniment Pdf 126
Zee Badoni
Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Viola School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki viola teacher to develop their potential as a musician and as a person. This Suzuki piano accompaniment book is integral for Suzuki viola lessons.
Teach viola with the popular Suzuki Violin School. The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the "mother-tongue" approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Viola School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki viola teacher to develop their potential as a musician and as a person. This Suzuki piano accompaniment book, Volume 8, is integral for Suzuki viola lessons.
Have I given enough reasons yet? I was originally very reluctant to try them because there are six books for the first year, costing a total of $84. But having taught for six years now, and after using these books for just two, I am so excited to see what wonderful violinists I'm able to produce--violinists who love to play and sound good. The road ahead looks bright, too. Third and fourth year books have shifting, position work, scales and etudes, quality repertoire (Bach, Beethoven, Mozart, Schubert, Brahms, Bartok, etc.), folk tunes and fiddling, and lots of great sounding duets and piano accompaniment, so the teacher gets to play a lot, too (my favorite part).
George Hunter was born in 1918 in Columbus, Ohio. He studied piano, cello, and trumpet in high school, and graduated from Indiana University. He was accepted to study piano in Paris with Nadia Boulanger, but the war intervened and he spent five years in the army, serving as a band leader in Georgia. After the war, he went to Yale to study composition with Paul Hindemith and received his Masters Degree in 1947. He joined the University of Illinois faculty in 1948, where he taught music theory, composition, counterpoint, harpsichord and early music performance. Hunter probably began playing viols and recorders at Yale, though it is not clear whether he played the viola d'amore. Hindemith ran a Collegium Musicum at Yale, which might have influenced George Hunter to form the first Collegium Musicum at the University of Illinois in 1951. In 1963 he received a grant from the Ford Foundation to travel to Holland for year to study early choral music, and when he returned he founded the University of Illinois Concert Choir, which he conducted until his retirement in 1982. He passed away on March 26, 2011.
The clarinet part is especially well written and idiomatic for the instrument, with sustained notes in the clarion register to accent beautiful tone, passages of running sixteenth notes, and the wide skips that can sound so effortless on the clarinet. In addition, the full range of both the clarinet and piano are used. The piano part is a more active participant in this sonata than in many of Hervig's other works with piano accompaniment.
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