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Integrating by Black Composers: ​ Volume 1 into The Suzuki Method for ​ Violin Teachers and Students

Scores to be Integrated: Music by Black Composers Violin Volume 1 Beginner to Elementary Level Rachel Barton Pine Foundation1 ​

Scores for Comparative Analysis: Suzuki Violin School Violin Part Volumes 1-102 ​

by Ava Gehlen-Williams and Dr. Sarah Pizzichemi

Created in February, 2021

While the authors of this repertoire analysis are trained in the Suzuki Method and members of the Suzuki Association of the Americas, this document is the sole work of the authors and is not currently endorsed by or affiliated with the Suzuki Association of the Americas, Music by Black Composers, Ludwig Masters ​ ​ ​ ​ ​ Publications, or the Rachel Barton Pine Foundation. ​ ​ ​

1Barton Pine, Rachel, et. al, Music by Black Composers Violin Volume 1: Beginner to Elementary Level, ​ ​ (Jacksonville: Ludwig Masters Publications, 2018). 2Suzuki, Shinichi, Suzuki Violin School Volumes 1-10, International Edition, (USA: Summy-Birchard, Inc, ​ ​ 2018).

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About the Authors

Ava Gehlen-Williams

Ava is a violin teacher trained in the Suzuki method based in Seattle, Washington and has maintained a private studio of violin students since 2014. Ava is an alumna and teaching assistant at the Pizzichemi Violin Studio and is currently a teaching artist at Yale University working with students attending New Haven public schools. She currently studies music at Yale University and regularly performs in solo, chamber, and orchestral genres. She has had leadership roles in many , including serving as concertmaster at the Chloé Trevor Music Academy and with the Cascade Youth Symphony Orchestras. She has also performed with the Seattle Collaborative , Yale Symphony Orchestra, Academy Chamber Orchestra and WMEA All-State Orchestra. She has served as concertmaster of the Edmonds-Woodway Philharmonic orchestra and performed as soloist twice as part of the Masterworks concerto competition. Ava’s primary teachers include Dr. Sarah Pizzichemi, Kyung Yu, and Margaret Pressley. Ava performs on a 2010 David van Zandt violin.

Contact: [email protected]

(last updated: February 2021)

Dr. Sarah Pizzichemi

Dr. Sarah Pizzichemi has distinguished herself as a versatile artist with international performances as a soloist, chamber, and orchestral musician. Sarah’s touring in the United States and Canada have included performances at the Kennedy Center, the Aspen Music Festival, the Kitchener-Waterloo Chamber Music Society in Canada, Bass Hall in Austin, Texas, and Benaroya Hall in Seattle, Washington. Abroad, she has performed at the Casalmaggiore Music Festival in Casalmaggiore, Italy, Xi’an Jiaotong University in Xi’an, China, and Zhejiang University City College in Hangzhou, China. Recent collaborators in performance include world-class musicians such as the Miró Quartet, the Chiara , and Marcy Stonikas. Sarah is the concertmaster of the Saratoga Orchestra, member of the League of American Orchestras, and was co-concertmaster of Seattle Collaborative Orchestra from 2015-2019, a mentorship orchestra focused on diversity in classical music and winner of the American Prize in 2018. She was a member of the Lincoln Symphony Orchestra first violin section while earning her doctorate degree. Sarah is also co-concertmaster of the Pacific Northwest Conducting Institute during the summer.

Sarah is a founding member and first violinist of the Skyros Quartet. Skyros released Introspective Odyssey in 2015, the debut album for the quartet with Parma Recording’s

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Navona Label, to great acclaim. Gaplegate Classical-Modern Review exclaimed: “To hear all three of these works so well done is a rare treat. The Skyros Quartet makes more of the music than some others have done. They take to each piece with a ravishing, articulate, sonically appealing approach that has passion more than sentiment, fully coherent phrasing and a sort of introspective reading that is true to the album’s title.” During 2020, its tenth anniversary year, Skyros Quartet launched its non-profit organization, Constellation Creatives.

Making her solo violin debut with the Seattle Symphony at the age of sixteen in 2004, Sarah went on to receive a Bachelor of Music in Violin Performance with honors from the University of Texas at Austin Sarah and Ernest Butler School of Music, and she continued her Master of Music in Chamber Music Performance at UT. Sarah earned her Doctor of Musical Arts degree from the University of Nebraska-Lincoln as part of the graduate string quartet-in-residence. Her dissertation, Virtuoso Violinist Maud Powell: Enduring Champion for American Women in Professional Music, adds to research literature in the field of women in professional art music. Sarah’s main teachers and mentors include Brian Lewis, Sandy Yamamoto, Hyeyung Yoon, the Miró Quartet, the Chiara String Quartet, Sylvia Rosenberg, James Dunham, Earl Carlyss, Joan Tower, and the Penderecki, Muir, American, Takács, Pacifica, and Jupiter String Quartets.

A passionate educator, Sarah has maintained her award winning Pizzichemi Violin Studio, and has had violin students continuously since 2001. She was on the teaching faculty as Instructor of Violin at Union College in Lincoln, Nebraska. Sarah worked as a Graduate Teaching Assistant in theory, chamber music, teaching artistry and outreach while at UNL. She taught for the UT String Project, and also for the Chamber Music in Public Schools program in Austin, Texas. Sarah is also a co-artistic director for Chamber Music Guild (CMG), a non-profit organization with six educational programs in the Seattle area. She co-created and developed the curriculum for ECCHO (Emerald City Chamber Music Organization) an in-school chamber music program through CMG. Sarah is an artistic director and coach for the CMG chamber music camp Tuned In! Summer Student Festival. She is a co-producer, content creator, and host of the chamber music educational podcast The Counterpoint Club. Sarah received training from the Suzuki Association of the Americas for Suzuki Violin and Viola, as well as Early Childhood Education, and has nine years of extensive training in traditional pedagogy.

Sarah performs on a late nineteenth century Emil Max Penzel bow, 2005 bow by Paul Martin Siefried, and a 1778 Ægidius Klotz violin.

Contact: [email protected]

(last updated: February 2021)

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A Word from the Authors

This document serves as a teaching resource that we made as a personal project for use in our private studios. Included are suggested additions to the core repertoire of beginning violin students, a graded repertoire sequence of the pieces in Music by Black ​ Composers: Violin Volume 1, as well as an outline of the teaching points and ​ placement into the Suzuki Method for each piece.

As we work toward a more diverse and inclusive society that celebrates people of many races, genders, sexual orientations, backgrounds and histories, it is vital that students encounter music that is representative of this diversity as part of their core repertoire. We are proposing nine pieces spanning Suzuki books one through three to incorporate into beginning violin students’ core repertoires, as well as a list of especially recommended pieces for group classes from Music by Black Composers: ​ Violin Volume 1. ​

We are hoping other Suzuki teachers will find this information valuable and consider incorporating these pieces into their core pedagogical repertoire for beginning violin students. Our difficulty assessments and placement of where each piece fits within the Suzuki repertoire is our best estimate based directly on the skill progression presented in the Suzuki books, as well as our experience teaching these pieces in our own studios. We encourage teachers to adapt this guide as needed for their studios and goals for each student.

This document is free to share, modify, and reuse with credits given to the authors. This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-sa/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.

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Songs to Incorporate into the Core Repertoire for all Violin Students: Music ​ ​ by Black Composers: Violin Volume 1 from the Rachel Barton Pine Foundation

Solo Repertoire Group Classes

1. Feeling the Pulse, 2014 4. No. 15, 1770

16. Theme from Sonata No. 4 for Two 6. La Puertorriqueña: Reverie (The Puerto , ca.1780s Rican Woman), 1896

4. Minuet No. 15, 1770 8. Mele Sue (I am Young), 1986

9. Dutchess of Devonshire’s Reel, 1779 11. Marianne’s Reel, 1770

14. La Despedida (The Farewell), 1800s 13. Mele Ekpom (I Do See It), 1986

7. Just So in the North, 1767 16. Theme from Sonata No. 4 for Two Violins, ca.1780s

17. Balada, 1884

19. Canción de Cuna Del Niño Negro (Lullaby for a Black Child), 1937

21. The Entertainer, A Ragtime Two-Step, 1902

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Graded Repertoire in Order of Difficulty (Violin 1 Parts): Music by Black ​ Composers: Violin Volume 1 from the Rachel Barton Pine Foundation ​

Order of Name ( * = core repertoire) Suzuki Placement Page Difficulty Number

1 2. Les Contes des Fées (Fairytales), 1767 Book 1: Between Perpetual Motion + 13 Allegretto

2 1. *Feeling the Pulse, 2014 Book 1: Between Andantino + Etude 11 ​ ​ 3 3. Le Vieux Garçon (The Old Boy), 1767 Book 1: Between Etude + Minuet No.1 14

4 16. *Theme from Sonata No. 4 for Two Book 1: Between Minuet No. 3 + Happy 45 ​ ​ Violins, ca.1780s Farmer

5 4. *Minuet No. 15, 1770 Book 1: Between Happy Farmer + 15 ​ ​ Gossec Gavotte

6 9. *Dutchess of Devonshire’s Reel, 1779 Book 2: Between Chorus from Judas 29 ​ ​ ​ Maccabaeus and Musette ​ 7 6. La Puertorriqueña: Reverie (The Puerto Book 2: Between Musette + Hunter’s 21 Rican Woman), 1896 Chorus

8 5. Iya Ni Wura Iyebiye (Mother is a Book 2: Between Waltz + Bourrée 19 Priceless Jewel), 2001

9 10. The Boy with the Axles in His Hands, Book 2: Between Bourrée + The Two 31 1866 Grenadiers

10 11. Marianne’s Reel, 1770 Book 2: Between Bourrée + The Two 32 Grenadiers

11 15. Had I Never Never Known Thee, 1858 Book 2: Between The Two Grenadiers + 43 Witches’ Dance

12 14. *La Despedida (The Farewell), 1800s Book 2: Between Witches’ Dance + 41 ​ ​ Gavotte from Mignon ​ 13 7. *Just So in the North, 1767 Book 2: Between Gavotte from Mignon + 22 ​ ​ ​ ​ Lully Gavotte

14 17. *Balada, 1884 Book 2: Between Lully Gavotte + 47 ​ ​ Beethoven Minuet

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Order of Song Name ( * = core repertoire) Suzuki Placement Page Difficulty Number

15 12. The Birthday Party Waltz, 1883 Book 2: Between Beethoven Minuet + 34 Boccherini Minuet

16 8. Mele Sue (I am Young), 1986 Book 2: Between Beethoven Minuet + 25 Boccherini Minuet

17 13. Mele Ekpom (I Do See It), 1986 Book 3: Between Martini Gavotte + Bach 38 Minuet

18 18. Tuxedo, 1895 Book 3: Between Martini Gavotte + Bach 52 Minuet

19 19.*Canción de Cuna Del Niño Negro Book 3: Between Bach Minuet + Bach 56 ​ ​ (Lullaby for a Black Child), 1937 Gavotte in G Minor

20 20. Grande Polka des Chasseurs à Pied Book 3: Between Becker Gavotte + Bach 60 de la Louisiane (Louisiana Infantrymen’s Gavotte in D Major Grand Polka), 1860

21 21. *The Entertainer, A Ragtime Book 3: Between Bach Gavotte in D 66 ​ ​ Two-Step, 1902 Major + Bach Bourrée

22 22. Chocolate Drops A Cake Walk, 1902 Book 3: Between Bach Gavotte in D 70 Major + Bach Bourrée

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Repertoire Analysis: Music by Black Composers: Violin Volume 1 ​ from the Rachel Barton Pine Foundation

Song Name Skills Suzuki Placement ( * = core repertoire) ( * = highly recommended for group class learning)

1. *Feeling the Pulse, 2014 Violin 1 Violin 1 LH: Independent fingers (esp. 4th finger), Book 1: Between Andantino + Composer: one low 2 on the A string Etude Juwon Ogungbe (b. 1961, England/Nigeria) RH: String crossings Violin 2 Violin Parts: page 11 Other: Syncopation in 6/8 meter with part, Late Book 3+ Piano Part: page 2 “Right now I’m feeling the pulse!” new (m. 21) Key: D Major Group Class Great for mixed level group Form: ABA’ Violin 2 class LH: Accidentals Arranged and edited by Rachel Barton Pine RH: Hooked bow

Other: Syncopated , implied 3/4 within 6/8 meter

2. Les Contes des Fées Violin 1 Violin 1 (Fairytales), 1767 LH: Independent fingers, arpeggios Book 1: Between Perpetual Motion + Allegretto Composer: RH: One slur in m. 3, string crossings Ignatius Sancho Ideal for students with (1729-1780, Guinea/New Other: N/A consistent listening habits Granada/England) outside lessons

Violin Parts: page 13 Violin 2 Piano Part: page 3 LH: 4th finger, high 3rd finger on G string Violin 2 Late Book 1+ Key: D Major RH: slurred eighth notes

Form: A(A)B(B) Other: N/A Group Class Both parts can be played by Edited by Rachel Barton students in late Book 1 Pine through Book 2

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Song Name Skills Suzuki Placement ( * = core repertoire) ( * = highly recommended for group class learning)

3. Le Vieux Garçon (The Violin 1 Violin 1 Old Boy), 1767 LH: Independent fingers, alternating high and Book 1: Between Etude + low 2, hopping 3rd finger in m.9, one prepared Minuet No. 1 Composer: 4th finger Ignatius Sancho Ideal for students with (1729-1780, Guinea/New RH: String crossings consistent listening habits Granada/England) outside lessons Other: 6/8 meter Violin Parts: page 14 Piano Part: page 4 Violin 2 Violin 2 Mid Book 1+ Key: D Major LH: D and G string usage, independent 4th finger Form: A(A)B(B)C(C) Group Class RH: D and G string posture Both parts can be played by Edited by Rachel Barton students in mid Book 1 Pine Other: 6/8 meter through Book 2

4. *Minuet No. 15, 1770 Violin 1 Violin 1 LH: Independent 4th finger Book 1: Between Happy Composer: Farmer + Gossec Gavotte Ignatius Sancho RH: Hooked and slurred bows (1729-1780, Guinea/New Granada/England) Other: Upbow pickup in 3/4 meter, dynamic Violin 2 contrasts Book 2+ Violin Parts: page 15 Piano Part: page 5 Violin 2 *Group Class Key: D Major LH: Eighth note runs, octave hand frame Great for Book 3+ sight between 1st and 4th finger reading practice, could split Form: AA’(AA’)BA’’(BA’’) group between Violin 1 and RH: Hooked and slurred bows Violin 2 parts and swap Edited by Rachel Barton Pine Other: Dynamic contrasts

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Song Name Skills Suzuki Placement ( * = core repertoire) ( * = highly recommended for group class learning)

5. Iya Ni Wura Iyebiye Violin 1 Violin 1 (Mother is a Priceless LH: Consecutive 4th finger and open string (m. Book 2: Between Waltz + Jewel), 2001 15) Bourrée

Composer: RH: Ties, dotted rhythms Godwin Sadoh Violin 2 (b. 1965, Nigeria/USA) Other: Syncopated rhythm, Upbow pickup Book 4+

Violin Parts: page 19 Piano Part: page 7 Violin 2 Group Class LH: Double stops in thirds Appropriate for Book 2+ Key: D Major mixed level class, RH: N/A Vocalizing/tapping syncopated Form: AABA + tag (modified rhythms 2nd half of A) Other: Syncopated rhythms, playing off of down beat rests Arranged and edited by Rachel Barton Pine

6. La Puertorriqueña: Violin 1 Violin 1 Reverie (The Puerto Rican LH: 4th finger Book 2: Between Musette + Woman), 1896 Hunter’s Chorus RH: slurs, legato bows Composer: Sister Marie Ideal for students with ​ Seraphine Gotay Other: 6/8 meter, fermata, piano espressivo consistent listening habits (1865-1932, Puerto marking outside lessons Rico/Louisiana)

Violin Parts: page 21 Violin 2 Violin 2 Piano Part: page 8 LH: Ostinato finger patterns Book 5+

Key: G Major RH: Ostinato slurred string crossings, 3 and 4 note chords *Group Class Form: AA’A’’A’ Book 3 in-class learning (A’’ = mix of A’ + A) Other: Introduction + ostinato ground bass accompaniment Arranged and edited by Rachel Barton Pine

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Song Name Skills Suzuki Placement ( * = core repertoire) ( * = highly recommended for group class learning)

7. *Just So in the North, Violin 1 Violin 1 1767 LH: 4th finger Book 2: Between Gavotte from Mignon + Lully Gavotte ​ ​ Composer: RH: Crossing non-adjacent strings Ignatius Sancho (1729-1780, Guinea/New Other: N/A Violin 2 Granada/England) Late Book 1+

Violin Parts: page 22 Violin 2 Piano Part: page 10 LH: High 3rd finger Group Class Book 2+, Great introduction to Key: G Major RH: G and D string posture 2nd violin parts

Form: AA’(AA’)BA’’(BA’’) Other: N/A

Edited by Rachel Barton Pine

8. Mele Sue (I am Young), Violin 1 Violin 1 1986 LH: 4th finger Book 2: Between Beethoven Minuet + Boccherini Minuet Composer: Kenneth Kafui RH: N/A ​ (b. 1951, Ghana) Other: Implied 3/4 within 6/8 rhythm, Violin 2 Violin Parts: page 25 syncopated rhythms Late Book 2 Piano Parts: page 11

Key: D Major Violin 2 *Group Class LH: 4th finger, high 3rd finger on G string Book 3 in-class learning, Violin Form: AB(AB)CD(CD) parts are equal difficulty, RH: N/A vocalizing/tapping rhythms Arranged and edited by Rachel Barton Pine Other: Implied 3/4 within 6/8 rhythm, syncopated rhythms

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Song Name Skills Suzuki Placement ( * = core repertoire) ( * = highly recommended for group class learning)

9. *Dutchess of Violin 1 Violin 1 Devonshire’s Reel, 1779 LH: Hopping 3rd finger Book 2: Between Chorus from Judas Maccabaeus and ​ Composer: RH: 4-note sixteenth note slurs, slow bow from Musette Ignatius Sancho Happy Farmer (m. 3) (1729-1780, Guinea/New Granada/England) Other: Echo phrases Violin 2 Book 2+ Violin Parts: page 29 Piano Part: page 12 Violin 2 LH: 4th finger Group Class Key: G Major Great for in-class learning RH: G and D string posture, 4 slurred sixteenth Book 3+ Form: A(A)B(B)C(C) notes, hooked bows

Edited by Rachel Barton Other: N/A Pine

10. The Boy with the Axles Violin 1 Violin 1 in His Hands, 1866 LH: 4th finger Book 2: Between Bourrée + The Two Grenadiers Composer: Thomas Greene RH: Dotted sixteenth rhythms, hooked bows ​ “Blind Tom” Wiggins (1849-1908, USA) Other: Dynamic contrasts Violin 2 Mid Book 1 Violin Parts: page 31 Piano Part: page 13 Violin 2 LH: Hopping 3rd finger (m. 12) Group Class Key: G Major Could teach Violin 2 part by RH: G and D string posture ear, play with teacher on Violin Form: AA’BA’ 1 part Other: Dynamic contrasts Arranged and edited by Rachel Barton Pine

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Song Name Skills Suzuki Placement ( * = core repertoire) ( * = highly recommended for group class learning)

11. Marianne’s Reel, 1770 Violin 1 Violin 1 LH: 4th finger Book 2: Between Bourrée + Composer: The Two Grenadiers, after The Ignatius Sancho RH: Dotted sixteenth rhythms, hooked bows Boy with the Axles in His (1729-1780, Guinea/New Hands Granada/England) Other: N/A

Violin Parts: page 32 Violin 2 Piano Part: page 14 Violin 2 Book 1: Between Allegretto + LH: 4th finger Andantino Key: G Major RH: D and G string posture Form: A(A)B(B) *Group Class Other: Introduction to bass line (Vln 2) Mixed late Book 1 (Vln 2) + Edited by Rachel Barton mid-late Book 2 (Vln 1) Pine

12. The Birthday Party Violin 1 Violin 1 Waltz, 1883 LH: 4th finger Book 2: Between Beethoven Minuet + Boccherini Minuet Composer: Horace Weston RH: Triplets and Dotted Figures with slur ​ (1825-1890, USA) patterns, Violin 2 Violin Parts: page 34 Other: Tied quarter note and eighth notes Book 4+ Piano Part: page 16

Key: A Major/D Major Violin 2 Group Class LH: Double stops Dancing a waltz, switching Form: A(A)B(B)C(C)A parts RH: Hooked bows Arranged by Rachel Barton Pine and David Bontemps, Other: N/A Edited by Rachel Barton Pine

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Song Name Skills Suzuki Placement ( * = core repertoire) ( * = highly recommended for group class learning)

13. Mele Ekpom (I Do See Violin 1 Violin 1 It), 1986 LH: N/A Book 3: Between Martini Gavotte + Bach Minuet Composer: Kenneth Kafui RH: N/A ​ (b. 1951, Ghana) Other: Syncopated rhythms, Implied 6/8, Violin 2 Violin Parts: page 38 Breath marks Book 3+ Piano Part: page 18

Key: C Major *Group Class Violin 2 Great for in-class learning, Form: LH: N/A focus on rhythms, rotate the ​ ​ ABA’(ABA’)CD(CD)ABA’’ leader for breath marks RH: N/A Arranged and edited by Rachel Barton Pine Other: Syncopated rhythms, Implied 6/8, Breath marks

14.*La Despedida (The Violin 1 Violin 1 Farewell), 1800s LH: Hopping 1st finger under slur Book 2: Between Witches’ Dance + Gavotte from Mignon ​ Composer: RH: Varied slurs, hooked bow (into down bow Felipe Gutiérrez y pick-up) Espinosa Violin 2 (1825-1899, Puerto Rico) Other: Great for working on vibrato Book 3+ development Violin Parts: page 41 Group Class Piano Part: page 19 Recommended for a mixed Violin 2 level group Key: a minor LH: Accidentals

Form: AB RH: N/A

Arranged and edited by Other: N/A Rachel Barton Pine

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Song Name Skills Suzuki Placement ( * = core repertoire) ( * = highly recommended for group class learning)

15. Had I Never Never Violin 1 Violin 1 Known Thee, 1858 LH: Possible vibrato on 2nd and 3rd fingers on Book 2: Between The Two the half notes Grenadiers + Witches’ Dance Composer: Thomas J. Martin RH: N/A (19th century, New Orleans) Violin 2 Other: Sequential 4th finger to open string for Book 6+ Violin Parts: page 43 color Piano Part: page 20 Group Class Key: D Major Violin 2 Recommended for a group LH: Blocked fifths class with large gap in levels; Form: AA’BB’ Violin 2 part can work on RH: Slurred string crossing pattern ostinato nuanced string crossing Arranged and edited by ostinato patterns Rachel Barton Pine Other: N/A

16. *Theme from Sonata Violin 1 Violin 1 No. 4 for Two Violins, LH: High 3/low 4 on D string Book 1: Between Minuet No. 3 ca.1780s + Happy Farmer RH: Preview of bow division and dotted rhythm Composer: Joseph in Happy Farmer, switch between staccato and ​ Bologne, Chevalier de legato bows Violin 2 Saint-Georges Book 2+ (1745-1799, Other: N/A Guadeloupe/France) *Group Class Violin Parts: page 45 Violin 2 Great for Book 2/3 class, Piano Part: page 21 LH: N/A switch off sight-reading Violin 2 part Key: G Major RH: Crosses two non-adjacent strings (m. 14)

Form: AA’(AA’)BA’’(BA’’) Other: N/A

Edited by Rachel Barton Pine

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Song Name Skills Suzuki Placement ( * = core repertoire) ( * = highly recommended for group class learning)

17. *Balada, 1884 Violin 1 Violin 1 LH: Sliding to low 1st finger from regular 1st Book 2: Between Lully Composer: Francisca finger Gavotte + Beethoven Minuet ​ “Chiquinha” Gonzaga (1847-1935, Brazil) RH: Mixed slurs, hooked bows, separate bows Violin 2 Violin Parts: page 47 Other: 6/8, two consecutive fermatas Book 4+ Piano Part: page 23

Key: G Major Violin 2 Group Class LH: N/A Recommended for Book 4+ Form: ABC group class in-class learning RH: Slurred baseline for Violin 2 part Arranged and edited by Rachel Barton Pine Other: N/A

18. Tuxedo, 1895 Violin 1 Violin 1 LH: Optional 3rd position Book 3: Between Martini Composer: Gavotte + Bach Minuet Clarence Cameron White RH: 4 note chords (1880-1960, USA) Other: Wide dynamic range Violin 2 Violin Parts: page 52 Advanced; Books 8-10+ Piano Part: page 24 Violin 2 Key: G Major/D Major LH: Challenging double stops with shifting, Group Class three and four note chords Appropriate for mixed level Form: ABC intermediate and advanced RH: Double stops, three and four note chords groups if prepared in advance Violin 2 arranged by Rachel Barton Pine Other: Wide dynamic range

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Song Name Skills Suzuki Placement ( * = core repertoire) ( * = highly recommended for group class learning)

19. *Canción de Cuna Del Violin 1 Violin 1 Niño Negro (Lullaby for a LH: 4th finger, Vibrato Book 3: Between Bach Minuet Black Child), 1937 + Bach Gavotte in G Minor RH: Syncopation review, Color, Articulation Composer: variety Amadeo Roldán y Gardes Violin 2 (1900-1939, France/Cuba) Other: Lyricism, Score interpretation Book 8-10+

Violin Parts: page 56 Piano Part: page 28 Violin 2 Group Class LH: Blocked fifths Appropriate for mixed level Key: Afro-Cuban Mode (blank intermediate and advanced key signature-no accidentals) RH: Almost entirely syncopated slurred string groups if prepared in advance crossings Form: ABA’ + tag (B material) Other: Tritone, very few down beats Arranged and edited by Rachel Barton Pine

20. Grande Polka des Violin 1 Violin 1 Chasseurs à Pied de la LH: E Major, 1st to 4th finger octave hand Book 3: Between Becker Louisiane (Louisiana frame Gavotte + Bach Gavotte in D Infantrymen’s Grand Polka), Major 1860 RH: Rhythmic patterns

Composer: Other: Great for students who love Hunter’s Violin 2 Basile Jean Barès Chorus or The Two Grenadiers Advanced; Book 8-10+ (1846-1902, New Orleans)

Violin Parts: page 60 Violin 2 Group Class Piano Parts: page 30, 33 LH: Copious challenging double stops with Appropriate for mixed level shifting in A and E Major intermediate and advanced Key: A Major/E Major groups if prepared in advance RH: Double stops Form: A + transition 1 (m. 9) BB’ + transition 2 (m. 39) Other: N/A C + transition 3 (m. 49) D

Arranged and edited by Rachel Barton Pine

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Song Name Skills Suzuki Placement ( * = core repertoire) ( * = highly recommended for group class learning)

21. *The Entertainer, A Violin 1 Violin 1 Ragtime Two-Step, 1902 LH: Chromaticism Book 3: Between Bach Gavotte in D Major + Bach Bourrée Composer: Scott Joplin RH: Flexible wrist for ragtime rhythms ​ (1867-1917, USA) Other: Ragtime style, varied tie lengths, Violin 2 Violin Parts: page 66 fragmentation in the form Advanced; Book 8-10+ Piano Part: page 36

Key: C Major Violin 2 Group Class LH: Copious challenging double stops with Appropriate for mixed level Form: Intro + AA’A + shifting intermediate and advanced tag(AA’A+tag) BB’B’’+ tag groups if prepared in advance (BB’B’’+ tag) AA’A + tag RH: Double stops

Arranged and edited by Other: Ragtime style Rachel Barton Pine

22. Chocolate Drops A Violin 1 Violin 1 Cake Walk, 1902 LH: Chromaticism Book 3: Between Bach Gavotte in D Major + Bach Bourrée Composer: Will Marion RH: Syncopated rhythms ​ Cook (1869-1944, USA) Other: Great for students who love The Violin 2 Entertainer Late Book 2+ Violin Parts: page 70 Piano Part: page 39 Violin 2 Group Class Key: B flat Major LH: Chromaticism Recommended for in-class learning Book 4+ Form: Intro + RH: N/A AA’AA’BB’BB’’AA’ Other: N/A Arranged and edited by Rachel Barton Pine

This document is free to share, modify, and reuse with credits given to the authors. This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit http://creativecommons.org/ licenses/by-sa/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.