Student Handbook
PARTNERS & SPONSORS
These individuals and organizations support SSOM in its efforts to educate future generations of musicians.
Many Thanks!
Bismarck-Mandan Symphony Orchestra – Partner
Corporate Sponsors
Dakota West Arts Council
Graphics Services
Ressler-Suburu
Gelato D’Italia
Joy’s Hallmark Stores – Kirkwood & Gateway Malls
Mystical Decorators
Cumulus Broadcasting
Platinum Photography
Wal-Mart
Individual Sponsors
1/2 Note
Ron & Mary Alice Began
Cheryl Liebler & Rodney Irwin
1/4 Note
Robert & Julie Hart
David & Amanda Mack
Vanessa & Tim Lorentzen
Joe & Christy Vadnais
1/8 Note
Susan & Scott Neumann
Patrick & Elizabeth Ward
Dave & Pat McGeary
Voskuil Violins
Jennifer Haaland
Clark & Mary Bormann
Linda & William Charbonneau
CLASS SCHEDULE & FEES
Individual Lessons – arranged privately with teacher
Group Lessons – all group classes are on Mondays
Pre-Twinkle Master Class (by teacher invitation only) 5:00-5:30
Pre-Twinkle Group – Monday – 5:30 to 6:00
Book 1 & 2 – Monday – 6:00 to 6:45
Book 3 & 4 – Monday – 6:30 to 7:15
Con Brio – Monday -
Class Fee – 65.00 per semester (includes registration fee)
Early Childhood Education Classes
Class Fee: $95 per 10-week session and $15.00 annual registration fee
Baby Class – 0 to 3 years old
Thursdays – 9:00 a.m. - Session I -Sept. 11 through Nov. 13
Session II -Dec. 4 through Feb. 19
(No class December 22 and 29)
Session III -March 12 through May 14
Saturdays – 9:30 a.m. - Session I -Sept. 13 through Nov. 15
Session II -Dec. 6 through Feb. 21
Session III -March 14 through May 16
Toddler Class – 3 to 5 years old
Mondays – 1:00 p.m. – Session I -Sept. 8 through Nov. 10
Session II – Dec. 1 through Feb. 16
Session III – March 9 through May 11
Prenatal Listening Classes
Class Fee: $15.00 individual/couple - three-hour class
September - Tues. 9/9 – 5:30P – 8:30P, Sat. 9/13 – 9:00A – Noon
October - Thurs. 10/9 – 5:30P – 8:30P, Sat. 10/18 – 9:00A – Noon
November -Tues. 11/4 -5:30P – 8:30P, Sat. 11/15 – 9:00A – Noon
PREFACE TO “NURTURED BY LOVE” BY SHINICHI SUZUKI
Talent is no accident of birth.
In today’s society a good many people seem to have the idea that if one is born without talent, there is nothing one can do about it, and they simply resign themselves to what they consider to be their “fate.” Consequently they got through life without ever knowing life’s true joy. That is man’s greatest tragedy.
Man is born with natural ability. A newborn child adjusts to his environment in order to live and various abilities are acquired in the process. My thirty years’ experience has proved over and over again that this is true. Many children grow up in an environment that stunts and damages them, and it is assumed that they are born that way, and they themselves believe it too. But they are all wrong.
An undesirable, disagreeable adult is one who was brought up wrong. A person unable to do good work is one brought up in that way. I believe that most readers will agree with what I have said. So-called fate, of course, one cannot deny. We can do nothing about our being born into this world, nor about our having to die sooner or later.
Good or bad, however, once born we have to live with ourselves until the day we die. There arises then, the inevitable question of how to live. If our ability was not developed for us, we have to develop it ourselves. Instead of being defeated by misfortune, we have to make something good of our lives. There is no need to give up in discouragement; it is possible for every person to improve himself.
That is why I wrote this book.
In it I tell how to develop a person’s aptitude, how a mediocre child was turned into a noble human being and an excellent musician. Using examples, I explain how to change a person lacking in ability into a talented one, a mediocre person into an exceptional one. Questions are answered as to how the reader may relate this to himself Theory is dispensed with and the emphasis is on how to put all this into practice. I relate happy examples and episodes from the fruitage of teaching violin the Talent Education way.
One living tree brings forth buds. On each part of the branches bloom lovely flowers. It is the splendid course of nature. Man, I believe, should live his life as mother nature performs, and bring forth fruits.
What is man’s ultimate direction in life? It is to look for love, truth, virtue, and beauty. That goes for you, for me, for everyone. If this book can be of help, even a little, I cannot say how happy it will make me.
THE SUZUKI APPROACH
The Suzuki approach to teaching music is based on the natural way in which children learn to speak their native language. For this reason it is often called the “Mother Tongue” method. Dr. Shinichi Suzuki founded the method in Japan soon after World War II. Children enrolled in this program learn to play the violin, viola, cello or piano by listening to and imitating tape recordings and their teacher. Children start lessons as early as 3 1/2 to 4 years old. Note-reading is started after competency in posture, intonation, and tone production has been achieved.
The emphasis on listening and memorization is the main difference between the Suzuki approach and the traditional approach to teaching music. A child could not learn to speak his native language without listening to the example set by his parents, and so a Suzuki student cannot learn to play his instrument without listening daily to the recordings. Listening to Suzuki recordings helps the student’s memory; serves as an example of musical tone and phrasing, and can motivate the student to work harder. Please listen to your recordings on a daily basis. Dr. Suzuki says that a child’s progress is directly proportional to the amount of listening done. Also, as students progress through the Suzuki books, they gain a repertoire of memorized pieces they carry with them forever.
Highlights of Dr. Suzuki’s philosophy:
* The ability to play musical instruments is not inherited
* All children have talent
* All children are respected as unique human beings
* All children are capable of developing musical ability as readily as language
* Music is best learned if it is modeled after the way we learn our language:
Listen first, imitate second, read third
* Break learning down into small manageable steps and celebrate the successes
* Ability develops early
* Environment nurtures growth
* Children learn from one another (group lessons are a cornerstone of Suzuki strings
instruction)
* Success breeds success
* Parental involvement is critical (parents attend lessons and become the teacher at home)
* Encouragement is essential
* Imitation of superior example accelerates learning (thus, lots of listening)
* The potential of every child is unlimited.
* Through a non-pressured music learning environment, a child learns discipline, develops an appreciation of beauty, and gains a sense of purpose that is valuable even if the child does not pursue music education long term.
SUZUKI SCHOOL OF MUSIC HISTORY
The Suzuki School of Music, founded in Bismarck in 1986, has a rich history of providing music education to students and their families, making Suzuki method training available to area music teachers, and working in partnership with area organizations to bring unique cultural opportunities to the people of Bismarck-Mandan.
The heart and soul of SSOM is providing instruction in the Suzuki method to area students. The Suzuki method of talent education was developed in Japan by Shinichi Suzuki over 60 years ago and is based on teaching music as you would learn a spoken language – through early, daily exposure and positive encouragement. Group play-ins and parental involvement are integral components of the method.
Some of SSOM’s milestones include:
· 1986 – SSOM offers its first summer music camp
· 1988 – SSOM hosts workshop with Carol Dallinger, Director of the University of Evansville Suzuki Talent Education Institute in Evansville, IN.
· 1989 – Former SSOM director, Nancy Jackson, attended the 9th International Suzuki Teacher’s Conference in Japan.
· 1989 – Bismarck hosted Shinichi Suzuki’s Talent Education Tour at the Belle Mehus City Auditorium at which ten Japanese Suzuki musicians performed in two concerts.
· 1992 – SSOM hosted James Stern, a violinist, and Audrey Andrist, a pianist, both nationally known performers educated at Julliard, for a performance at the Belle Mehus Auditorium.
· 1997 – Early Childhood Education (ECE) program is launched for the first time in North Dakota by Sarah Jensen.
· 2001 – SSOM students performed Pa’s Fiddle Tunes, an historical fiddle presentation based on the music of Laura Ingals Wilder’s time, at the North Dakota Heritage Center. The Capital City Cloggers performed a couple dances during the program as well. The program was produced by SSOM teachers Vanessa Lorentzen and Susan Neumann.
· 2003 – SSOM participates in Dakota West Arts Council’s Live Art is Motion at Kirkwood Mall. SSOM continues to participate annually in this event.
· 2005 – SSOM moves into the Frances Leach High Prairie Arts and Science Complex, a city property managed by the Bismarck Parks and Recreation Department. SSOM is one of five arts and science organizations located in the complex. The mission of FLHPASC is to bring together, in a collaborative effort, a variety of arts and science groups to inspire lifelong learning and discovery.
· 2006 – SSOM teacher, Vanessa Lorentzen, re-launches Early Childhood Education (ECE) Program, a Suzuki method-inspired program for babies and toddlers. North Dakota is one of only 11 states in the country to offer the ECE program.
· 2007 – SSOM together with the Dakota West Arts Council (DWAC) produced an arTView television program featuring Cheryl Liebler, board president, and instructor, Vanessa Lorentzen, discussing SSOM and the benefits of the Suzuki method. The program airs periodically on the community access television station in Bismarck.
· 2007 – SSOM receives DWAC grant to launch the Suzuki Prenatal Listening Class.
· 2008 – SSOM hosts children’s hour at Urban Harvest.
· 2009 – SSOM to offer regional Suzuki summer music camp in Bismarck.
Organizations with which SSOM has partnered over the years include the Bismarck Mandan Orchestral Association (the Symphony), the Dakota West Arts Council, the Frances Leach High Prairie Arts and Science Complex, Capital City Cloggers and Urban Harvest.
BOARD OF DIRECTORS
The School is guided by a Board of Directors comprised of the Director of Suzuki School of Music, Suzuki parents, and community members. Board members are elected at the annual meeting in August of each year and members serve for a two-year term. There is no limit to the number of terms that may be served.
No special training is required for board membership. A willingness to serve and a belief in the importance of music in our children’s lives, along with an ability to commit to a working partnership with others for a greater cause, opens the door for all parents to participate in board membership.
STAFF
The Board of Directors is responsible for approval of teachers joining Suzuki School of Music and any staff that would be hired. Teachers at the Suzuki School of Music are registered with the Suzuki Association of the Americas.
VOLUNTEERS
SSOM is parent-supported. Each family makes an effort to volunteer their time and talents throughout the year to contribute to a well-run, innovative and exciting music school. A Volunteer Sign-Up Sheet is included with registration at the beginning of each school year to allow parents to choose an area that matches their expertise and talent. Volunteers are critical to providing the best music experience for our students.
Many granting institutions require a listing of in-kind donations, i.e. time, talent and other donations. Your volunteer hours help SSOM’s grant-writing efforts and are greatly appreciated.
To keep track of donations there are Volunteer Time Forms included in the registration packet. These can be turned in at the end of a project or on a monthly basis. More forms are available at the SSOM office at High Prairie.
REGISTRATION
Registration is held at the annual meeting in August of each year. Students may also register with their individual teacher prior to or at the time lessons begin. Early registration is encouraged as it allows teachers time to plan their schedule and allows parents to arrange a lesson time most convenient for them. A school registration fee is payable to SSOM at the time of registration.
TUITION
Suzuki School of Music teachers are associates of the School rather than employees. This allows them the greatest freedom to conduct their studios, and their time, to their and their students’ best advantage. Tuition is arranged between the student and the teacher and the teacher is paid directly by the student.
Some teachers spread the cost of lessons over the nine-month school year to make each month’s tuition the same. Other teachers charge each month differently depending on the number of lessons. These arrangements are handled between the teacher and the student. Tuition is due on the 1st of each month or payable by semester or year.
If there is ever a problem beyond the means of the teacher and the student to solve, the Director of SSOM may be called upon to resolve the issue. If the problem persists, the President of the Board may be called upon.
ATTENDANCE
All students and parents are expected to attend all individual lessons and all students are expected to participate in performances and other activities scheduled.
Students who are unable to attend a scheduled lesson must notify the teacher in advance of the cancellation unless extraordinary circumstances prevent prior notification. Each student is allowed two make-up lessons each year. These make-up lessons will be scheduled during December and May and are arranged between the student and teacher. Teachers are not obligated to make up more than two student-caused missed lessons. Lessons missed because of teacher unavailability will be made up by the teacher. There is no make-up lesson or fee reduction if a student misses a group class.
ADULT STUDENT POLICY
Students of ALL ages are welcome at Suzuki School of Music. Adult students are not required but are encouraged to participate in group lessons and performances.
100 Days Program
The 100 Days award program began in 2002 and has been a roaring success. Teachers and parents have been surprised and delighted at the dedication of our students to achieving the goal of practicing 100 days in a row and beyond. SSOM students have received awards for 1600, 1700 and even 1800 days of practice.
This program is beneficial, particularly for young students, in encouraging them to pick up their instrument every day, building a life-long habit of practice. By filling in a daily chart to keep track of their progress, children can see concrete results of their hard work, and watch how quickly the days add up to get to 100. This is wonderful motivation and helpful for those days when settling down to practice takes effort on everyone’s part.
Practicing every day brings about the kind of success that you want from your music program. It is this time investment that will make the most of your financial investment.
It’s a simple program. Play every day. Also, going to concerts, playing for friends and family, attending recitals, all count as a music day. If a child is ill, listening to the Suzuki CDs can count as a music day, as well as music games. Otherwise, just play every day. Your teacher has 100 day charts you can use to keep track of your progress, or you can make your own. For younger kids, putting a sticker on the chart when they’re finished is part of the fun.
After playing 100 days, the student receives an award. After playing the first 100 days, they receive a bronze trophy; 200 days, a silver trophy; and 300 days, a gold trophy. Certificates are given for each 100 days after 300. The trophies and certificates are awarded at recitals and play-ins, giving our students recognition of a job well done.
To play for 100 days in a row is a big accomplishment. The additional benefit of continued and sometimes rapid progress in playing ability may not be noticed by the student, but is abundantly apparent to teachers and parents.
GUIDELINES FOR LESSONS AND PRACTICE
Lesson Guidelines
- Book 1, 2 and 3 - 30-minute lesson per week
- Books 4 and 5 - 45-minute lesson per week
- Books 6 and above – 1-hour lesson per week
Practice Guidelines
· Listen to the Suzuki CD for your book every day.
- 4-5 year olds – 15-20 minutes a day
- Kindergarten thru 2nd grade – 20-30 minutes a day
(This time can be split into two or more sessions each day)
- 3rd thru 6th grade – 30-45 minutes a day
- 7th grade and above – 45-60 minutes a day
Weekly strings group lessons are an integral part of Suzuki training.
Strings playing is a group activity. Group lessons is where students ready themselves for group performances, work on intonation, rhythm, theory, and learn the joy of making music with others. Group lessons are weekly for all strings players. See Class Schedule for group lesson times.
LISTENING
The Suzuki method is based on the Mother Tongue approach. We listened to
our language as babies and modeled our speech after what we heard. It is the same with music. By listening to the Suzuki songs over and over, as we listened to our language, they become familiar to us. This familiarity allows students to learn to play the songs easily because they already know them.
Think of all the jingles our children know by hearing them repeatedly. And remember all the songs you know by heart from hearing them on the radio. Students remember the pieces they listen to. Suzuki kids learn their pieces more easily and more quickly the more they listen to them.
GUIDELINES FOR PARENTS
1. Take an active part in your child’s musical education.
2. Assist the School in its activities and functions.
3. A Suzuki parent attends each lesson, especially with a young student. All parents are welcome at any lesson. Attentive posture and note taking is highly encouraged. By treating lessons as important, you set an example for your child.
4. Be a spectator and cheerleader.
5. Keep idle talk to a minimum at lessons. Questions are encouraged.
6. Please voice concerns about your child to your teacher privately.
7. Be a home coach. A student needs to have a supervised practice time with the home coach, on a daily basis, and in an environment which is free of outside distractions and is pleasant. This can be while you’re fixing dinner or folding clothes, etc. (Lesson notes are invaluable to home practice) If you struggle with this aspect of the Suzuki Method, talk to other parents. There are parent mentors who would be happy to listen and give encouragement, drawing on years of experience. Also, a good place for help in this area is www.parentnewsletter.com.
8. Encourage your child to play “in house” recitals for family and friends.
9. Read Nurtured by Love by Dr. Shinichi Suzuki. This will give you a deeper understanding of the reasoning behind your child’s music instruction.
10. Help your child stay organized and arrive at lessons ready to work. A music bag for books, notebooks, shoulder rests, foot rests, etc., is very helpful. Help your child remember to bring all their supplies to their lesson. (Part of being ready to work is to have fingernails cut short. A good hand position requires it.)
11. Direct all your questions to your child’s teacher first. If more information is needed, contact the Director of SSOM, then the President of the Board of SSOM.
PERFORMANCES
Suzuki School of Music strives to provide many performance opportunities to enhance to students’ learning experience, while also being of service to the community. Performances benefit the students by developing poise and confidence onstage. Performing with a group allows our students to develop these skills in a nurturing and “safe” environment, and to have some fun and receive recognition for their hard work.
SSOM holds two recitals each year, the Holiday Recital in December and the Solo Recital in March or April. The students also perform at nursing homes on three or more occasions during the school year, at Winter Wonderland in January, Live Art in Motion in February, Holiday Home Walk in December, Theo Art School’s Palette of Gardens in July, Urban Harvest in the summer, and other special events during the year.
PLAY-INS
Play-Ins are all-school jam sessions. They are modeled after Institute play-ins and are a chance for students to play with and hear other students at all levels, as well as hear their teachers perform. There are two play-ins each semester, held on the last Monday of a month. Recognition of 100 Day Practice achievements and other accomplishments is done at this time. Family and friends are welcome and encouraged to come and cheer on their favorite students. Refreshments are provided by volunteer parents.
COMMUNITY CONCERTS AND RECITALS
It is very important for students to attend, as a spectator, many recitals and performances. Attending student recitals and book recitals can be inspirations for both the student and the parents. This is especially true of book recitals, where everyone can celebrate the dedication and achievements of the performer and their parents. Attending performances of others in the community is enriching, broadening and fun. We are fortunate to have in our area a wealth of music performances, from classical to blue grass. This is a small listing of what is available or where to find more information.
· Bismarck-Mandan Symphony – www.bisman.com/symphony 258-8345
· Bismarck State College Performing Arts – www.bismarckstate.edu 224-5444
· U of Mary Department of Music – www.umary.edu - 255-7500
· Central Dakota Children’s Choir – www.aboutcdcc.org
222-0702
· Dakota West Arts Council – www.dakotawest.org – 222-6640
· Sleepy Hollow Productions – www.shst.org – 258-6343
· Northern Plains Ballet – 530-0986, 530-9372 (Box Office)
· Bismarck-Mandan Civic Chorus – 355-4458
· Blues Festival in August at Sleepy Hollow
SCHOOL RECITALS
Winter: All school Holiday Recital held in December
Spring: All school Solo Recital held in March or April
Book Recitals are scheduled as needed and are announced in the newsletter and on the school website-suzukischoolofmusic.com.
Book (Graduation) Recitals:
a. All pieces in the book must be memorized. Although all pieces may not necessarily be performed on the recital, all pieces will be polished and memorized at the time of the recital
b. Generally, a student will be at least mid-way through the
next book
c. Attached list represents the minimum number of pieces to be performed
d. Parents of graduating students are responsible for the receptions at Book Recitals
e. Accompanists for students in Books I-III will be provided
by the School
f. The School will provide accompanists for students in Book IV and above if possible. If suitable accompanists are unavailable through the School, the School will pay up to $40 toward an accompanist’s fee. Any amount over $40 is the responsibility of the student or the student’s family
Receptions are held after all School recitals and programs. It has been the custom for each family to bring 1 to 2 dozen cookies or bars to each event.
DRESS CODE FOR COMMUNITY PERFORMANCES
Girls: Black skirt or pants, white blouse, black tights/hose and black dress shoes
Boys: Black pants, white shirt, black socks, black dress shoes
Holiday Concert: Students may wear special holiday outfits
Informal performances: May wear jeans
INSTRUMENT MAINTENANCE
Whether you own or rent your instrument, you need to keep it in good repair. Part of the discipline of learning music is respecting the instruments. Keeping them in good repair is showing that respect. All string students are asked to keep a spare set of strings in their case at all times. Strings can break at any time, and often do so before a concert, recital or lesson. Having a spare set of strings is part of the responsibility of playing a stringed instrument.
· Eckroth, local music store, has violin accessories and rental program, 1655 North Grandview Lane, Bismarck, 223-6707
· J.W. Pepper has Suzuki books and tapes, 1655 North Grandview Lane, St. 105, 221-9115
· Voskuil Violins, private shop, has instruments and accessories, a rental program and does repairs. 1002 N. 8th Street, Bismarck, 222-3777
TREASURE ANN SCHNEIDER MEMORIAL SCHOLARSHIP FUND
In March of 2001, Treasure Ann Schneider performed the Suzuki theme song,”Twinkle,” at her first and only recital. Treasure Ann passed away on February 14, 2002, of heart disease. The Memorial Fund was created at that time to honor the memory of a brave six-year-old little girl who touched the hearts of many at SSOM. In her name, other Suzuki students, and teachers, can have financial help with the cost of attending Summer Institutes to carry on the joy of making music that Treasure Ann had such a short time to enjoy.
For information on scholarships or to make a donation, contact Susan Neumann, Director, 224-1484
FRIENDS OF SUZUKI
Friends of Suzuki is the fundraising outreach of Suzuki School of Music. Donations and grants are sought as a way of funding special projects, as well as operating expenses and teacher training. As a 501(c)3 non-profit corporation, all donations and grants are tax deductible.
VIOLIN BOOK RECITAL PIECES
Book I 1. Graduation piece – Gavotte (Gossec)
Choose one piece from each of the three categories:
2. Minuet I, II or III (Bach)
3. Allegro; Perpetual Motion; Allegretto (Suzuki)
4. Piece of your choice from Book I
Book II 1. Graduation piece – Minuet (Boccherini)
Choose one piece from each of the three categories:
2. Two Grenadiers (Schumann); Witches Dance (Paganini)
3. Gavotte from “Mignon” (Thomas); Gavotte (Lully);
Minuet in G (Beethoven)
4. Piece of your choice from Book II
Book III 1. Graduation piece – Bourree (Bach)
Choose one piece from each of the two categories:
2. Humoresque (Dvorak); Gavotte in D Major (Bach)
3. Piece of your choice from Book III
Book IV 1. Graduation piece – Concerto in A Minor, 1st Movement
(Vivaldi)
Choose one piece from each of the two categories:
2. Concerto No. 2, 3rd Movement; No. 5, 1st Movement or
3rd Movement (Seitz
3. Piece of your choice from Book IV
Book V 1. Graduation piece – Concerto in G Minor, 1st movement (Vivaldi)
Choose one piece from each of the two categories:
2. Concerto in A Minor, 2nd Movement (Vivaldi);
Concerto in G Minor, 2nd Movement (Vivaldi)
3. Piece or movement of your choice from Book V
Book VI 1. Graduation piece – La Folia (Corelli)
Choose one piece from each of the two categories: 2. Any movement from a Handel Sonata
3. Piece or movement of your choice from Book VI
Book VII 1. Graduation piece – Concerto in A Minor, 1st Movement (Bach)
Choose one piece from each of the two categories:
2. Minuet (Mozart); Courante (Bach); Allegro (Corelli)
3. Piece or movement of your choice from Book VII
Book VIII 1. Graduation piece – Sonata, 2nd Movement (Veracini)
Choose one piece from each of the two categories:
2. One movement of the Eccles Sonata
3. Piece or movement of your choice from Book VIII
Book IX 1. Graduation piece – Mozart Concerto #5, A Major, 1st Movement
Book X 1. 1. Graduation piece – Mozart Concerto #4, D Major, 1st Movement
VIOLA BOOK RECITAL PIECES
Book I 1. Graduation piece – Minuet II (Bach)
Choose one piece from each of the three categories:
2. Minuet II or III (Bach); Gavotte (Gossec)
3. Allegro; Perpetual Motion; Bohemian Folk Song
4. Piece of your choice from Book I
Book II 1. Graduation piece – Minuet in G (Beethoven)
Choose one piece from each of the three categories:
2. Two Grenadiers (Schumann); Witches Dance (Paganini)
3. Gavotte from “Mignon” (Thomas); Gavotte (Lully);
Minuet (Boccherini)
4. Piece of your choice from Book II
Book III 1. Graduation piece – Nina (Pergolise)
Choose one piece from each of the two categories:
2. Humoresque (Dvorak); Gavotte in G Major (Bach); Bourree (Bach)
3. Piece of your choice from Book III
Book IV 1. Graduation piece – Concerto in G Major, 2nd Movement
(Telemann)
Choose one piece from each of the two categories:
2. Concerto No. 5, 1st Movement (Seitz); Concerto in D
Minor, 1st Movement
(Vivaldi)
3. Piece of your choice from Book IV
Book V 1. Graduation piece – Suite I in G Major, Courante & Gigue
(Bach)
Choose one piece from each of the three categories:
2. Moto Perpetuo (Bohm); Old French Dance IV, Le Basque
(Marais)
3. Piece or movement of your choice from Book V
Book VI 1. Graduation piece – La Folia (Marais)
Choose one piece from each of the two categories: 2. Adagio and Rondo in D (Mozart) or Hungarian Dance #5
(Brahms)
3. Piece or movement of your choice from Book VI
CELLO BOOK RECITAL PIECES
Book I 1. Graduation piece – Minuet II (Bach)
Choose one piece from each of the three categories:
2. Etude (Suzuki; Minuet in C (Bach)
3. Allegro; Perpetual Motion; Rigadoon (Purcell)
4. Piece of your choice from Book I
Book II 1. Graduation piece – Bourree (Handel)
Choose one piece from each of the three categories:
2. Two Grenadiers (Schumann); Witches Dance (Paganini)
3. Minuet I or III (Bach); Chorus from Judas Maccabeus (Handel)
4. Piece of your choice from Book II
Book III 1. Graduation piece – Allegro Moderato (Bach)
Choose one piece from each of the two categories:
2. Gavotte in C Minor (Bach); Humoresque (Dvorak)
3. Piece of your choice from Book III
Book IV 1. Graduation piece – Minuet I & II for Unaccompanied Cello(Bach)
Choose one piece from each of the two categories:
2. A movement of Sonata by Breval
3. Piece of your choice from Book IV
Book V 1. Graduation piece – Sonata No. 5 in E Minor, 1st and 2nd
Movement
Choose one piece from each of the two categories:
2. Danse Rustique (Squire); Concerto No. 4, 3rd Movement
(Golterman)
3. Piece or movement of your choice from Book V
Book VI 1. Graduation piece – Concerto No. 2 in D Major, Rondo (Breval)
Choose one piece from each of the two categories: 2. The Swan (Saint-Saens)
3. Piece or movement of your choice from Book VI
Book VII 1. Graduation piece – Concerto Allegro Appassionato (Saint Saens)
Choose one piece from each of the two categories:
2. Bourree I and II (Bach); Gavotte in D Major (Popper; or Courante (Bach)
3. Grave (Corelli) or Sarabande (Bach)
Book VIII 1. Graduation piece – Sonata in G Major, 1st Movement
(Sammartini)
Choose one piece from each of the two categories:
2. Suite #1 in G Major, 1st Movement (Bach); or Elegie (Faure)
3. Piece or movement of your choice from Book VIII
Book IX 1. Graduation piece – Mozart Concerto in C Major, 1st Movement
(Haydn)
Book X . 1. Graduation piece – Concerto in B Flat Major, 1st Movement
(Boccherini)
PIANO BOOK RECITAL PIECES
Book I 1. Graduation piece – Musette (Anon)
Choose one piece from each of the three categories:
2. Allegretto II (Czerny; Litlte Playmates (Chwatal)
3. Long, Long Ago (Bayly); French Children’s Song; Christmas Day Secrets (Dutton)
4. Piece of your choice from Book I
Book II 1. Graduation piece – Minuet II (Bach)
Choose one piece from each of the three categories:
2. Cradle Song (von Weber); Melody (Schumann)
3. Ariette (Mozart); Sonatina, 1st or 2nd Movement (Beethoven)
4. Piece of your choice from Book II
Book III 1. Graduation piece – Sonatina, Op. 36, #3, Spiritoso (Clementi)
Choose one piece from each of the three categories:
2. Sonatina, Op. 36, #1, Andanati (Clementi); Ecossaise
(Beethoven)
3. Wild Rider (Schumann); Sonata, Op 55, #1, either movement (Kahlau)
4. Piece of your choice from Book III
Book IV 1. Graduation piece – Two Minuets and Gigue from Partita in B Flat
(Bach)
Choose one piece from each of the two categories:
2. Sonata, Op. 49, #2, Allegro Ma Non Troppo (Beethoven)
3. Piece of your choice from Book IV
Book V 1. Graduation piece – Sonata No. 48, Allegro Con Brio (Haydn)
Choose one piece from each of the two categories:
2. Invention #1 (Bach); Prelude (Bach)
3. Piece or movement of your choice from Book V
Book VI 1. Graduation piece – Choose one complete sonata by Mozart:
K 330 or K 454
Choose one piece from each of the two categories: 2. Little Prelude (Bach); Sonata “Pastorale” (Scarlatti)
3. Piece or movement of your choice from Book VI
Book VII 1. Graduation piece – Sonata K 331, (Mozart)
Choose one piece from each of the two categories:
2. Prelude from Suite #14 in G Major, Allegro (Handel) or The
Harmonious Blacksmith (Handel)
3. Piece of your choice from Book VII
