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The Bach Bourrée (Suzuki 3 cliché?)
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Gordon Shumway
London, England

September 20, 2019 - 3:16 am
Member Since: August 1, 2016
Forum Posts: 2287
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All the pdfs of Suzuki 3 online are photographed from the same copy which has the original bowings tippexed out and new ones put in.

I'm wondering if it's worth buying a good cello score and making my own transcriptions, assuming I can't find a pdf online. I've got one paper copy, but it's transcribed for guitar, so no bowings.

I've got the IMSLP original of the bourrée, which is a bit spartan, and possibly mis-copied by the copyists, and I'm wondering if it will be sufficient or if I should find a modern edition. What do you think? Otoh, a modern edition will be someone's interpretation of "IMSLP", and we should be confident enough to do our own interpreting.

It's also possible that the entire cello opus is OTT for violin and that working on little bits of the IMSLP material at a time should be more than enough for a violinist.

For example, something that irks me about the BWV1007 prelude is how even the best cellists in the world seem to accelerate during bars and sections, and I don't like that. I'd like to attempt it as an exercise in playing rigidly to tempo (although I'm almost never averse to a little bit of rubato)


September 20, 2019 - 8:24 am
Member Since: December 26, 2018
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@Gordon Shumway 

I am not as educated in reading music and musical terms as you are, but I think I know what you are talking about.

My teacher does not like the fingering in Suzuki. He does not like the progression of songs in the series, either. He uses sheet music that covers the next logical step in my progress, sometimes a Suzuki song, sometimes an Essential Elements for Cello, sometimes from somewhere else.

When he uses a Suzuki, he says he does not like the fingering marked for at least two sections all the time. We then remark it with pencil, never ink.

I make a copy of his lesson mark up to make his marks permanent and I can put whatever marks I need on it. I can erase mine later if they are wrong or I no longer need a reminder and it is clutter on the sheet music. I always have the book to go back to for a copy without his markings.

If I know ahead of time what piece he is going to do, and I have it, I make a copy unmarked so that I can always start from scratch. After the first lesson, I make a copy with his mark ups, to make them permanent.

I think that if you can find a piece of music without someone else’s fingerings and interpretation notes, you are much better off. At least for me, more clutter than I need is a hindrance.

We are starting Tenor Clef on my cello next week. I know what song we will be doing because he asked me to figure out what notes they are and put them over the notes, plus I have a scale in Tenor Clef to do. I am enjoying it, by the way. I also found the piece played by Cellopedia. It is, without doubt, the most beautiful piece I have heard in a lesson so far.  But I do need the notes above right now. Later, I hope to be able to use the uncluttered clean copy. Then I can also play around and make my own interpretation notes.

That said, my instructor told me not to try to play it because the fingering will not be the same as the Suzuki book has done and he does not want a bad fingering habit ingrained in my mind, he knows me well!

So, if I was you, I would find a copy as clean as you can. I would think that even a Suzuki copy, unmarked would be better than what you found online.

I hope I got the gist of your post, you were asking about finding a clean copy as opposed to using a copy with someone else’s fingering and interpretations marked all over it?

Again, I am not anywhere near at the level of pretty much anyone here because I do lack music theory.

The Bumblebee Flies!

September 20, 2019 - 8:45 am
Member Since: December 26, 2018
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By the way, I am playing BWV, Minuets from Suite in G major right now. 

I had to start at the end of Minuet I, and work my way to the beginning. I have not gotten very far. This has more fingering movement than I have had in other pieces.

I have not even attempted Minuet II yet. Well, I site read played it. Pretty difficult for me. But, I have found since taking lessons with my current instructor, unless I challenge myself, I remain stagnant.

I do not see a lot of fingering marked by the Suzuki people in Minuet I. It is not a very cluttered piece. Minuet II has quite a bit of “suggested” fingering noted. Makes it a bit cluttered.

The Bumblebee Flies!

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