More cellos is always fun!
Announcing the updated edition of the “Cello Orchestral Companion to the Suzuki Violin School – Book 2”
In schools using the Suzuki Method it is usual to perform music taken from the children’s repertoire books with the orchestra. The main problem with this approach is that, being violinists usually many more than their cellist fellows, these last ones have to add to their normal weekly practice also the study of the accompaniments of the pieces for violin. This can drain a lot of time from the cello teacher’s weekly lesson’s already limited time.
This edition aims to solve this problem by providing already made parts for accompanying all of the pieces presented in the Suzuki Violin School — Volume 2, ready to use with fingerings, bowings and other editorial marks.
Printing the whole score in recto-verso will give you a ready to play book with page turns already set up. The solo violin part is not shown in this publication. The teacher or the orchestra wishing to perform this is required to own a legal copy of the Suzuki Violin School — Volume 2.
This edition comes with a full score and four cello parts.
Specific Marks
A few symbols have been employed that may not be familiar with every cellist.
- For bow division I have chosen to use the German system, where ‘G.’ suggests using the whole bow, ‘OH.’ the upper half of it, ‘UH.’ the lower half, ‘Fr.’ the lower third, ‘M.’ the middle third, and ‘Sp.’ the upper third.
- When suggesting to use the lower or upper two thirds of the bow, I have used a fraction with either “1•2” or “2•3” as numerator and “3” as denominator.
- To suggest the quantity of bow to use when not clear from the context, I have employed what my teacher, Marcio Carneiro, used with me: a double-headed arrow pointing outward when wanting to suggest using a lot of bow, and pointing inward when suggesting the use of a compact bow.
- A vertical arrow pointing up next to a fingering digit will suggest to quickly lift the finger after the note has been played.
- Two vertical lines crossed by a single horizontal line suggests placing the finger shown previously flat on two strings. When this has to be prepared in advance, an equal sign (=) is added after the finger digit.
- A lowercase character ‘i’ next to finger n° 1 indicates a backward extension of that finger.
- An uppercase character ‘A’ next to finger n° 4 indicates the need to shift the whole hand forward of a half-step, while remaining in closed position. This is used mostly in descending scales in 1st position.
- An ‘x’ character before finger n° 2 or 4 warns of the need for an extended position between fingers 1 & 2 (mostly) or 3 & 4 (more rarely).
- An exclamation mark following any digit is used to show that the affected finger should go back to its natural place in the current position.
E.g.: after playing an F-sharp with a 2 in extended first position, seeing ‘3!’ means restoring the compact disposition of the fingers. - A long dash before a digit means that the same finger, being in use from before, should slide to the next note, e.g.: ‘—1’.
You can find the score here.
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