| Whether 'tis nobler in the mind, to suffer The | | | | which a skill can be developed. A successful Suzuki |
| slings and arrows of outrageous boredom; Or to | | | | student will be a good performer early if he |
| take arms against a sea of Twinkles, And by | | | | doesn't burn out playing and hearing Twinkle over |
| opposing end them? When Shinichi Suzuki | | | | and over. If there is a good student-parent |
| introduced his method of instructing students in | | | | dynamic this can also be a really successful |
| the art of playing the violin it was somewhat | | | | method, and an even stronger bond can develop. |
| controversial. | | | | But at times the intensity of the parent-student |
| It was, he said, a more natural way of learning. | | | | involvement can become a bit overwhelming. |
| The idea was to learn to play the violin the same | | | | The traditional approach emphasizes the |
| way that a person would learn to speak their | | | | development of a skill, and through the acquisition |
| native language, the so-called "mother tongue | | | | of that skill the realization that practice and |
| approach" to music education. | | | | dedication usually leads to success. Parental |
| Suzuki also explored an area which became | | | | involvement is not usually nearly so intense in the |
| known as "talent education." The word "saino" in | | | | actual instruction and practice, and the student is |
| Japanese can be translated ability or talent. But it | | | | much more likely to play recognizable works |
| can also be used to mean the development of an | | | | earlier since he is actually taught notes sooner. |
| ability or personal trait, such as one's character. | | | | The Solution? |
| As such, Talent Education came to refer to the | | | | Integrate the best of both methods and then |
| development of skill, knowledge and character. A | | | | throw in a little fiddle! An integrated system of |
| seemingly well-rounded approach. | | | | listening, observing, performing and having fun |
| Suzuki developed a repertoire and a curriculum, | | | | seems to me the best approach. |
| and teachers from all over the world visited his | | | | There is no doubt that listening to the works to |
| institute in Matsumoto, Japan to learn his | | | | be performed is beneficial. There is no doubt that |
| techniques. The method spread from the violin to | | | | repetition can be tremendously important in skill |
| other instruments including piano, cello, guitar and | | | | acquisition. There is no doubt that music theory |
| harp. There are more than 8,000 teachers | | | | introduced early becomes a strong foundation on |
| worldwide who endorse his methods and follow | | | | which a student can build an amateur (or even |
| his curriculae. More than 250,000 students study | | | | professional) music career. And there is no doubt |
| music by the Suzuki method. | | | | that students learn from seeing and interacting |
| The question becomes, "Is the Suzuki method | | | | with other students. |
| right for you and your student?" | | | | What we need is a single system integrating the |
| A Quick Comparison of Traditonal violin study vs. | | | | whole world of violin into a happy amalgam. |
| Suzuki. | | | | Why not start with a Suzuki approach in which |
| Suzuki | | | | the parents are introduced to the instrument and |
| * The Suzuki method of study emphasizes parent | | | | understand the instructor and her expectations at |
| involvement and parent-student interaction. | | | | the start? Allow parents to observe lessons and |
| Parents take several classes prior to the start of | | | | encourage them to participate in practices at |
| their student's studies and are encouraged to | | | | home! Teach the parents the games that Suzuki |
| participate in the student's lessons once they have | | | | students play with their bows and let them play |
| begun. Parents are also the primary means of | | | | along the same way they would in a Suzuki studio! |
| motivating the student to practice and of making | | | | But at the same time, why not let the students |
| sure that the student follows the instructions once | | | | start working on note recognition at the same |
| the lesson is complete and the student has | | | | time they learn technique? When we show them |
| returned home. This means that the parent will, at | | | | the violin's A-string, show them the note on the |
| least at the beginning, be actively involved in | | | | staff! When we show them the D-string, show |
| every single practice session. * The Suzuki | | | | them the notation, too. Why not use the flash |
| method emphasizes both active and passive | | | | card or "big book" approach that is used in our |
| learning. Before a student ever touches a violin he | | | | schools and hold up a picture of a rest symbol |
| is exposed to the music he will play in the form | | | | when we want them to be quiet? Let the student |
| of recordings. | | | | see as well as hear what they are doing. It |
| These recordings are repeated over and over | | | | seems to me that this is really implementing |
| until they are completely "internalized" by the | | | | Shenichi Suzuki's message. Just as we don't |
| student. In doing this it is believed that the | | | | expect our children to communicate only verbally |
| student will have a tremendous advantage in | | | | and we show them how we use written language |
| learning to play the music that he has already | | | | early on, we should let the student see what they |
| heard . . . in some instances hundreds of times. | | | | are playing, not just hear it. In the same way that |
| And for quite some time the only thing that the | | | | our four-year old daughter used to "write" stories |
| student will play is "Twinkle, Twinkle Little Star." * | | | | by scribbling lines on a page, she could have |
| The Suzuki method encourages students to learn | | | | "composed" songs by drawing on a staff. And |
| by following the example of other students and | | | | think of how powerful it would have been if she |
| by interacting with them on a regular basis. | | | | had learned to play and read individual notes and |
| Individual instruction takes place one-on-one with | | | | had "discovered" that she could read or write the |
| the teacher or in a "small group." This is where | | | | melody herself! |
| the student actually receives hands-on instruction | | | | Regarding fiddle, a child who picks up the fiddle |
| by the teacher. But periodically the Suzuki student | | | | doesn't particularly care about if he is holding the |
| will attend "group lessons." At these group lessons | | | | fiddle correctly. He doesn't care if he can read the |
| the student interacts with other students from his | | | | notes on the staff. All he wants to do is play |
| teacher's studio. They play together. They study | | | | something that sounds good and have fun. He is |
| together. And hopefully they progress together. | | | | highly motivated, and is thrilled when he finds out |
| In any case, when other students are present | | | | that he can producing something that makes him |
| students who are not actively being instructed are | | | | smile, although those others may really want to |
| urged to sit and observe what is happening. * | | | | plug their ears. We need our young students to |
| Individual lessons frequently concentrate on a | | | | be excited about picking the instrument up! We |
| single "teaching point." Progress is made one step | | | | need our young students reluctant to put the |
| at a time in one area at a time. At least early in | | | | instrument down. We need our students to truly |
| the learning process more emphasis is placed on | | | | experience success on their instrument very soon |
| the student's posture, technique and tone | | | | after they first touch the instrument! |
| production than on playing recognizable tunes. In | | | | And let's integrate listening in a realistic way! Why |
| fact, many Suzuki students don't even start their | | | | not let the students hear the music they will play, |
| violin careers with a violin, they use a box on | | | | but also introduce them to the local symphony |
| which they can bow so that they learn proper | | | | orchestra or bluegrass group so that they don't |
| position first. * Music reading is not emphasized | | | | think that violins only exist on CD's. And speaking |
| until the student has mastered basic performance | | | | of CD's, develop a library of a recordings that |
| skills on the instrument itself. | | | | feature the violin in various settings. The Suzuki |
| Traditional | | | | CD's are fine if that is all you are playing, but |
| * In traditional instruction there is usually no active | | | | what about Sarah Chang's recording of Sarasate's |
| involvement of a student's parents other than | | | | Concert Fantasy on Carmen when she was just |
| observing practices. While parents are often | | | | nine years old, and Stephane Grappelli's Jazz in |
| encouraged to attend lessons, the majority of | | | | Paris album so that there is some jazz violin in the |
| instruction usually takes place outside the parent's | | | | house, and maybe even an album by the |
| presence. The parent is requested to monitor a | | | | all-woman string quartet Bond. |
| student's practice (or at least the amount of time | | | | We need to find a way to motivate students to |
| practiced), but are usually not a part of the | | | | want to learn more about the violin. Maybe a daily |
| practice itself. * Instruction is often only | | | | visit to will help! Maybe a T-Shirt they can wear or |
| one-on-one with the instructor. Unless the | | | | some other visual cue in their room will do the |
| instructor is part of a school district program, or | | | | trick! |
| has taken the initiative to form some sort of | | | | We can see that the theme parks, the children's |
| ensemble group the student does not usually | | | | television networks, the toy companies and the |
| interact with other students at his skill level. If | | | | fast food restaurants realize that the key to |
| ensembles do exist, they are usually focused on | | | | influencing your child's decisions is a multi-sensory |
| performing works together as opposed to Suzuki | | | | approach. We should be just a wise as they are in |
| group lessons that may be focused on developing | | | | our approach to our children. |
| a technique together. * Listening to music that will | | | | The Bottom Line |
| be played may be encouraged, but it is not usually | | | | Either the Suzuki or Traditional method can |
| an integral (or even integrated) part of the | | | | produce competent violinists. If parent-student |
| program. * Emphasis is placed on reading music | | | | interaction in what can be a frustrating situation is |
| very early. See the note, learn the note, play the | | | | good - by all means consider Suzuki. But if intense |
| note is quite common. after several weeks of | | | | child-parent interaction frequently leads to tears in |
| instructionSeveral weeks in the student can | | | | either party, the traditional approach is probably |
| already recognize the written notes that he will | | | | better. And in either case, make sure that the |
| play. | | | | relationship between child, parent and teacher is a |
| My Evaluation: A Pox on Both Their Houses! | | | | good one. Three individuals tugging in different |
| Both Traditional and Suzuki methods have | | | | directions never make good progress. Finally, have |
| strengths and weaknesses. | | | | fun with the violin. After all, we don't say that I |
| Suzuki emphasizes teaching a philosophy through | | | | "work" the violin . . . the verb we use is "play. |