Suzuki Violin School, Volume 1 International Edition (The Suzuki Method)

Product Information

The parent of the young student is expected to supervise instrument practice every day, instead of leaving the child to practice alone between lessons, and to attend and take notes at every lesson so they can coach the student effectively. This element of the method is so prominent that a newspaper article once dubbed it "The Mom-Centric Method." [3] Technique [ edit ] Trumpet was added to the International Suzuki Association's list of Suzuki Method instruments in 2011. The application of Suzuki's teaching philosophy to the trumpet is currently being researched in Sweden; the first Trumpet teacher training course to be offered by the European Suzuki Association in 2013. (Suzuki Teacher Training for Trumpet, 2013). The harp repertoire is in five volumes. These books are suitable for learning to read and play music on the pedal harp or the lever harp (folk harp, Irish/Celtic harp, etc. that preferably has 30 or more strings). Most of the music is arrangements of either folk music or classical music. Students of the lever harp will find some of the pieces in the later books to have challenging lever changes. This series ultimately leads to more in-depth study of the pedal harp and its repertoire and teaches more of a classical style technique. Those pursuing traditional Celtic music can use this as a foundation, however, the traditional style of teaching focuses on relying on the ear rather than on the written note. Repertoire for volume six is selected, though the music is not published in a single book. [4] Voice [ edit ] The application of Suzuki's teaching philosophy to the mandolin is currently being researched in Italy by Amelia Saracco.

The method discourages competitive attitudes between players, and advocates collaboration and mutual encouragement for those of every ability and level. However, this does not mean the elimination of auditions or evaluations of student performances. (This statement does not contradict the statement: "Deliberate avoidance of musical aptitude tests or auditions to begin music study. ", because it is saying all can start learning. Some will progress faster than others and this could be measured later with auditions.)

Instructions

The pipe organ repertoire was compiled and edited by Gunilla Rönnberg and Lars Hagström beginning in 1998. Currently Volumes 1-8 have been published (Alfred Publishing, 2019). As of 2011, an active Suzuki-training organ scheme is under way in the Australian city of Newcastle.

The core Suzuki literature is published on audio recordings and in sheet music books for each instrument, and Suzuki teachers supplement the repertoire common to each instrument as needed, particularly in the area of teaching reading. One of the innovations of the Suzuki method was to make quality recordings of the beginners' pieces widely available, performed by professional musicians. Many traditional (non-Suzuki trained) music teachers also use the Suzuki repertoire, often to supplement their curriculum, and they adapt the music to their own philosophies of teaching. Meyer, Constance (2003-09-07). The Mom-centric method. LA Times, 7 September 2003. Retrieved from http://articles.latimes.com/2003/sep/07/entertainment/ca-meyer7. Barber, Barbara (Autumn, 1991). "Traditional & Suzuki Teaching: A Comparison". American String Teacher. Suzuki, Shinichi. Nurtured By Love: A New Approach to Talent Education. Warner bros. Publication, Miami, Florida, 1968 Nurtured by Love: The life and work of Shinichi Suzuki [Video Documentary]. Produced by The Cleveland Institute of Music. Telos Productions, Inc.Bradley, Jane (Spring 2005). "When to Twinkle – Are Children Ever Too Young?". American Suzuki Journal Vol. 33, #3, p53. Eventually, the center of the Suzuki movement in education was established as the Talent Education Research Institute (TERI) in Matsumoto. TERI hosts thousands of people each year—students, parents, teachers, (and teacher trainees). Other organizations have sprung up all over the world to help oversee the movement and train teachers. These include the Asia Suzuki Association, the Suzuki Association of the Americas, the European Suzuki Association (which is currently assisting in the beginnings of the Suzuki movement in Africa), and the Pan-Pacific Suzuki Association.(International Suzuki Association, 2016).

A "modified" Suzuki philosophy curriculum has been developed to apply Suzuki teaching to heterogeneous instrumental music classes & string orchestras in schools.

Course Content

The cello repertoire is in ten volumes, with some early pieces arranged from the early violin volumes, and the first distinct piece (the second) being "French Folk Song". Tsuyoshi Tsutsumi performs volumes 1 through 4. Volumes 4-10 contain works by: Vivaldi, Saint-Saëns, Popper, Breval, Goltermann, Squire, Bach, Paradis, Eccles, Fauré, van Goens, Sammartini, Haydn, and Boccherini. The classical guitar repertoire was compiled through a collaborative process involving teachers from the United States, Europe and Australia, and edited by Frank Longay. The nine volumes begin with Twinkle Variations and many folk songs, and adds pieces originally written for the lute in the Renaissance, and spanning all musical time periods, including pieces by Sanz, Vivaldi, Bach, Carcassi, Giuliani, Sor, Tarrega, Albéniz, Mudarra, and Yocoh's Sakura Variations. Music in book one is performed by Frank Longay and Bill Kossler, with books two through four recorded by Seth Himmelhoch, Andrew LaFrenier, and Louis Brown. George Sakellariou has recorded books five, six and seven and William Kanengiser recorded books 8 and 9, with the exception of Recuerdos de la Alhambra in book 9, which was recorded by Scott Tennant. Using sound recordings is another technique common to all the musical instruments taught in the Suzuki method. Thibeault's (2018) history of Suzuki's mediated pedagogy presents Suzuki as a technological innovator who created new ways of learning from sound recordings. Pre-recorded music is used to help students learn notes, phrasing, dynamics, rhythm, and beautiful tone quality by ear. Suzuki pointed out that great artists (such as Mozart) were surrounded with excellent performances from birth, and that the advent of recording technology made this aspect of their environment possible to achieve for large numbers of "ordinary" people whose parents were not themselves great musicians & music teachers like Mozart's father was. So-called "traditional" (that is, not Suzuki trained) music educators have used this technique since the earliest days of recording technology; the difference in the Suzuki method is the scale on which Suzuki systematically insisted on daily listening in the home, from before birth if possible, and his focus on using recordings of beginner's repertoire alongside recordings of advanced repertoire. Kreitman, Edward. Teaching from the Balance Point: A Guide for Suzuki Teachers, Parents, and Students. Western Springs School of Talent Education Publications, Western Springs, IL, 1998. The central belief of Suzuki, based on his language acquisition theories, is that all people can (and will) learn from their environment. The essential components of his method spring from the desire to create the "right environment" for learning music (he believed that this positive environment would also help to foster excellent character in every student). These components include:

While Pre-Twinkles helped students establish their posture, left-hand frame, and bow technique, the Twinkle variations give students an opportunity to further develop these skills. In each variation, the student applies new rhythmic concepts to the Twinkle melody. These variations also teach students that repetition is a crucial aspect of learning the violin. There are two types of bow articulations in the Twinkle Variations and Theme: staccato and detaché. Students should become familiar with those terms and learn to identify the sounds of the articulations by ear. 5 Twinkle VariationsAzzi, A (2006). "Leonor Michaelis and Music: Transcript of a Conversation with Kunio Yagi in 1986". IUBMB Life. 58 (5–6): 378. doi: 10.1080/15216540600702230. PMID 16754335. S2CID 2802395. The voice repertoire is in five Levels. Developed in Finland since 1986, the vocal repertoire of the Suzuki method has spread to over 20 countries including The United States, Australia, Europe, Asia and New Zealand. Teacher training courses are scheduled yearly in Europe, US and Australia. This is intended to raise technical and musical ability. Review pieces, along with "preview" parts of music a student is yet to learn, are often used in place of the more traditional etude books. Traditional etudes and technical studies are not used in the beginning stages, which focus almost exclusively on a set of performance pieces. Suzuki Violin Book 1 imparts the essential techniques and musical concepts needed to prepare students for more advanced violin playing. In this article, I’ll explain my main pedagogical takeaways for each piece in Suzuki Violin Volume 1. Each piece systematically introduces something new and gives students an opportunity to develop what they learned in previous pieces.