#What is the suzuki method how to

I would also argue that by memorizing their music quickly through lots of listening, students are freed up to be more musically expressive. In addition to the reference CD for their current book, Suzuki teachers encourage their students to listen to other recordings of the same piece, or other pieces by the same composer. Students are not вЂњcorruptedвЂќ by listening to recordings any more than they would be by attending a concert. I think that claim misrepresents the nature of listening. Suzuki students learn their early music by listening daily to the reference recording which has caused some to claim that the students are just parroting and canвЂ™t make their own musical decisions. There is no вЂњone true wayвЂќ to teach Suzuki lessons. The great thing about the Suzuki community is that we all bring our unique experience and knowledge, which we share actively with one another. In addition to the Suzuki Method Books, practically all Suzuki teachers use supplemental materials for technique, reading, or ensemble. Some violin teachers donвЂ™t teach shifting until Book 4 while others start teaching shifting in Book 2. I know teachers who teach the first Twinkle variations at the upper half of the bow and other teachers who teach it at the balance point. IвЂ™ve met Suzuki teachers who use elements of Kodaly, Dalcroze, or the Alexander Technique in their teaching. Suzuki teachers have the flexibility to apply the method based on their own personality and pedagogy, and according to the needs of each child. The Suzuki Method is a teaching philosophy with instrument-specific curricula and a general philosophyВ which includes learning by ear, the idea that every child can learn to play at a high level, and parental involvement at home. SuzukiВ Teachers All Have to вЂњToe the LineвЂќ and Teach the Same Way Furthermore, by delaying note reading until the student has acquired a certain level of technical skill and ear training, the Suzuki student is able to focus their whole attention on note reading when they do start playing from written music. I do think that comprehensive music literacy and ear training is an area that could be further explored in Suzuki education (and frankly in other methods as well), but the teaching of note reading is addressed by the majority of teachers at a level on par with traditional teachers. Music Mind Games, I Can Read Music, Quick Steps to Note Reading, Fingerboard Geography and many more! Current Suzuki teachers do teach note reading and several Suzuki strings teachers have themselves created excellent books and resources to teach note reading such as: SuzukiвЂ™s suggestion to delay note reading until Book 4 was taken too seriously, applied even with older beginners who would be developmentally ready to learn to read music much earlier. I have heard from some more experienced teachers that in the early implementation of the Suzuki Method in the U.S., note readings skills were sometimes neglected. I would like to address some common misconceptions about the method that I have heard over the years, both from teachers and parents, and share my own experience with the method. Like a game of telephone, misinformation tends to spread unless corrected by a reliable source. Plenty of scales, etudes, and technique books, etc., are included as their skills continue to grow.Prior to taking teacher training courses, my impressions of the Suzuki Method were mostly based on vague statements from other people who may or may not have had any knowledge of Suzuki teaching. Suzuki always quoted вЂњOnly practice on the days that you eat.вЂќ Standard Suzuki repertoire is the music core and other styles are added to fit the student. Diligent and daily practice is a must, even if some days are very short on the practice time. Repetition and review - once is NEVER enough. I am constantly recommending music for them to check out. I want them to listen to, not only their Suzuki music CD, but also to live music, YouTube, or CDвЂ™s from the library. Listening, listening, listening - they need to know the music inside and out. There is always something that is good about their playing or interpretation, and it needs to be reinforced. Positive and encouraging words are my goal.

#What is the suzuki method how to

How do I incorporate these ideas in my studio? I never stop learning how to teach! I study each student to ascertain how they learn best, and what is the next tiny step forward for them.