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The technique is simple and involves repeated, concentrated listening of current and upcoming pieces. This concentrated listening is thought to facilitate internalization of new pieces.
I implemented this system in my household with the help of several wifi radios. When a new piece is started, I update their playlist by deleting the old working piece and adding the next preview piece; this update takes less than a minute of my time.
I can use an iPad to modify their playlists and to turn off their radios once I suspect they are asleep. This system is working reasonably well for us. I add review pieces as needed e. As a side note, I have to argue that this works better for my cellist than for my guitarist. Both are in book 2, but I believe that the difficulty of guitar book 2 far exceeds that of cello book 2.
This is my opinion. I should say that I am not a musician although I self-taught classical guitar before I had kids. My cellist can more or less play new songs from listening alone he needs assistance with shifting, bowing, and form but this is not so straightforward for guitar.
Our progress with guitar has been very slow despite daily practice and listening. My guitarist has been studying for three years longer than my cellist. Try to remember that the goal is not to breeze through the pieces as quickly as possible. This is difficult for me to remember sometimes. I think with the benefit of hindsight, I would have enrolled my child in a Kodaly class and not started an instrument until now she is 6, she has been playing 3 years.
I know that some teachers have the child observe lessons for a year or two and I think that is ideal.
Merietta Oviatt said: Nov 1, Violin, Suzuki in the Schools, Cello, Viola Stevens Point, WI posts Celia, I just want to share that I have had students who have been in book 1 for years while others are breezing through, but by the time that same book 1 child gets to book four—they explode and move like the wind!
Thibeault's 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.
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.
This lowers the age at which people are developmentally ready to begin studying an instrument. Scaled down instrument sizes are used for children studying stringed instruments. Height adjustable chairs, benches, and footrests are used for piano, guitar, cello, and string bass. Although fractional sized student violins were available when Suzuki began to teach, the success and popularity of his idea that pre-school aged children could also learn to play prompted violinmakers to scale violins down to even smaller sizes than before.
Suzuki Institutes were established to encourage a musical community, train teachers, and provide a place where master teachers' ideas can be spread to the whole community of Suzuki students, teachers and parents. In the US, they often last for a week or two and include daily masterclasses ; repertoire group classes; teacher training courses; concerts; discussion sessions; seminars; and various 'enrichment' classes in different musical styles, instruments, or non-musical usually arts, crafts, or dancing activities.
As at any music festival, participants must pay registration and tuition fees to the institute they are attending. Each national Suzuki association handles registration for teacher training, and policies differ from country to country.
A common repertoire for all students of an instrument was established. This body of music allows each student to participate in group classes, helps foster local and international musical community and camaraderie, and provides motivation for students to learn new music while keeping the 'old' pieces they have learned in top form. This is in direct contrast to music education outside of the method, in which teachers tailor the repertoire to the current need and level of the individual student.
Repertoire[ edit ] If it is true that "everything in music is preparation" Gerhart Zimmermann , then the genius of Suzuki is truly expressed in the scope and sequencing of the music 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.
Another innovation of Suzuki was to deliberately leave out the large amount of technical instructions and exercises found in many beginners' music books of his day.
He favored a focus on melodic song -playing over technical exercises, and asked teachers to allow students to make music from the beginning, helping to motivate young children with short, attractive songs which can themselves be used as technique building exercises. Each song in the common repertoire is carefully chosen to introduce some new or higher level of technique than the previous selection.
Suzuki teaching uses a common core repertoire for students of the same instrument worldwide, and although it focuses on Western European "classical" music, it emphasizes that this music can be a bridge across cultural and language barriers: one does not have to share the ethnic or national origin of the composers in order to learn or share the music.
Suzuki created a series of rhythmic variations on the theme "Twinkle, Twinkle, Little Star", using rhythms from more advanced literature in units small enough for a beginner to grasp quickly. Although these variations were created for violin, most of the instruments use them as a starting point for their repertoire.
Violin[ edit ] The violin method was compiled and edited by Suzuki.
Books 4—10 continue the graded selection by incorporating 'standard' or 'traditional' student violin solos by Seitz , Vivaldi , Bach , Veracini , Corelli , Dittersdorf , Rameau , Handel , Mozart , Fiocco , and others. The Suzuki violin repertoire is currently in the process of being revised by the International Suzuki Association, and as part of the revision process, each regional Suzuki Association provides a recommended list of supplemental repertoire appropriate for students in books More recent recordings of volumes 1—4 by William Preucil, Jr.
Recordings for books 5—8 have been made by Koji Toyoda , although many of the pieces can be found separately on other artist's albums.
There are no official recordings of books 9 and 10 but these books, simply being Mozart's A major and D major violin concertos, have readily available recordings by various violinists. Completing the 10 volumes is not the end of the Suzuki journey, as many Suzuki violin teachers traditionally continue with the Bruch and Mendelssohn concertos, along with pieces from other composers such as Paradis , Mozart , and Kreisler.
Viola[ edit ] The viola repertoire is in nine volumes, compiled and edited by Doris Preucil. Like the violin repertoire, much of the viola repertoire is drawn from the Baroque period. The first 3 volumes have been arranged or transposed almost directly from the first 3 violin volumes, and the rest differ significantly as they delve into standard viola literature.
The viola books introduce shifting and work in higher positions earlier than the violin volumes, in anticipation of viola students being asked to play in ensembles sooner in their studies than violinists, and needing these skills to better handle orchestral or chamber music parts Preucil, Books 1—4 have been recorded on two albums by William Preucil , and the rest are available in separate albums.
Cello[ edit ] 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. Piano[ edit ] The piano repertoire is composed of seven volumes. The first book begins with Variations on "Twinkle, Twinkle, Little Star" as with the violin books and continues with many folk songs and contemporary songs.
As one progresses to the second book, there are pieces written by romantic, classical and baroque composers, such as Robert Schumann, Ludwig van Beethoven and Johann Sebastian Bach.
The third book is early intermediate level with several sonatinas and beginning with Sonatina in C Major, Op.
The fourth book includes Sonata in G Major, Op. The sixth book begins with the Sonata in C Major, K. Mozart, and the seventh book begins with the Piano Sonata No.
There are also many minuets in the second book. Revised versions of the piano books have now been published. Many pieces from the original books remain; some have been shifted to another volume.
Bass[ edit ] Currently there are five printed volumes in the double bass series, with the first three volumes also available on recordings. Nine volumes are planned and being compiled and edited by Dr. Volume 1 and 2 contain arrangements of the traditional Suzuki violin pieces mixed in with some new arrangements of other pieces. Flute[ edit ] The flute repertoire is compiled and edited by Toshio Takahashi. Also included are concerti by Mozart , Cimarosa , Ibert and Quantz.
Recorder[ edit ] There are eight volumes of recorder repertoire for both soprano and alto recorder. The recorder repertoire shares some early repertoire with other instruments, such as "Twinkle Twinkle Little Star", several Bach Minuets, etc. Later books delve into more complex Renaissance and Baroque music, including instruction in intense Baroque ornamentation along with 17th-century Dutch and Italian articulation techniques.
Guitar[ edit ] The classical guitar repertoire was compiled through a collaborative process involving teachers from the United States, Europe and Australia, and edited by Frank Longay.