| Pitfall | Symptom | The Fix | | :--- | :--- | :--- | | | Bow bounces and scratches on the lowest string. | Move the bow closer to the bridge. Put more arm weight (not pressure) into the string. | | Third Position Fear | Student freezes or uses the wrong finger when shifting. | Use "ghost shifting" (slide finger without bowing) for a week. | | Ignoring Rests | Rushing through quarter rests or half rests. | Conduct the piece with your hand. Count out loud. The rest is music, too. | | Weak Pinky (Right Hand) | Bow hold collapses at the frog. | Practice "pinky push-ups" on the bow during TV commercial breaks. |
This piece introduces the student to minor tonalities and more chromatic fingerings. It is playful yet technically demanding, requiring clean shifts and clear articulation.
While Book 1 focuses on basic posture, bow control, and initial finger patterns, Book 2 demands refined execution of more complex mechanics:
If you practice the same way you did for Book 1, you will struggle. Here is the Book 2 Practice Formula (15 minutes daily): suzuki book 2 viola
Doris Preucil’s editing ensures that the specific needs of the viola are met. Unlike the violin version, the viola part requires a greater awareness of the C-string clearance and the wider finger spacing required for the instrument's larger size. Book 2 is where the student truly begins to sound like a violist, rather than a violinist playing a different clef.
This is the first piece in the book that feels distinctly "Romantic." It requires a lilt—a specific rubato feel where the first beat of the 3/4 measure is stressed.
On the viola, playing in higher positions creates a sweeter, less nasal tone. It also allows you to play faster passages without awkward string crossings. | Pitfall | Symptom | The Fix |
Would you like a or a list of review pieces from Book 1 to pair with each Book 2 piece?
Unlike violins, which often carry the melody, the viola is the heart of the orchestra—the tenor voice. In , Dr. Shinichi Suzuki’s philosophy of "Talent Education" shifts focus from mere note-reading to musical expression .
For any violist following the Suzuki Method, the transition from to Suzuki Book 2 Viola represents a significant rite of passage. Book 1 is often characterized by the "Twinkle" variations, folk songs, and the foundational mechanics of holding the instrument and producing a tone. It is the "learning to walk" phase. | | Third Position Fear | Student freezes
For pieces that hint at 3rd position (e.g., Witches’ Dance ), practice the shift alone. Don’t guess.
You are ready for when you can: