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