interesting about what is suzuki - british suzuki all... · dr shinichi suzuki (1898-1998) was a...

8 Piano Professional January 2007

Dr Shinichi Suzuki (1898-1998) was a violinist, an educator, aphilosopher, and a humanitarian. He saw an opportunity toenrich the lives of children through music. His approach toteaching combines oriental philosophy with a repertoire ofEuropean folk songs and classical pieces, as well as asprinkling of common sense.

Suzuki himself taught the violin, and was actively doing soat his Institute at Matsumoto in Japan until his mid-nineties.The approach is still associated with the violin, although it isnow used successfully by teachers of piano, viola, cello,double bass, guitar, flute, recorder, singing, organ and harp.He called his method the Mother Tongue approach. Notinghow rapidly children learn to speak their own language –through constant exposure, imitation, repetition and parentalpraise – he realised the same approach could be used forlearning music. He reasoned that every child has the abilityto make music if given the appropriate training and learningenvironment. Making music need not be the preserve of afew precocious individuals.

His best known account of how he devised and refined theapproach, and some of the results achieved by his pupils, isto be found in his book Nurtured by Love, first published in1969. In it he explains his belief that musical talent is notinherited or inborn, but has to be learned and developed.The book also reveals something of his oriental philosophy,which is concerned with educating the whole person throughdeveloping their musical ability: A person with a fine and pureheart will find happiness.

To us in the West, the most memorable image associatedwith Suzuki may be that of several hundred children massedon a stage playingthe folk song,Twinkle, Twinkle,Little Star. This tune,and variations on it,is the first that allpupils learn. Suchimages cause usmixed emotions. Wemay be filled with admiration for the extraordinary co-ordination between pupils of varying ages and abilities. Butat the same time we are suspicious of the regimentationinvolved and wonder whether it encourages the flight of theindividual spirit that music has the power to release.

Ten key principles of the Suzuki approach

Despite its apparent contradictions, the Suzuki approach hasevolved into an effective system of teaching which, while ithas much in common with conventional teaching, also has anumber of key differences. These include the young age atwhich pupils start, the observation of other pupils’ lessons,parental involvement, extensive listening to music, learningfrom demonstration, step-by-step mastery of each technique,use of a common repertoire, playing from memory, reviewingold pieces, and group work to complement individuallessons.

Ten key principles of the Suzuki approach

Young start Step-by-step masteryObservation Common repertoire

Parental involvement MemoryListening Review

Demonstration Group work

Suzuki showed that it was not only desirable, but also quitepractical, to teach pupils from an early age – three or four.Before receiving tuition, children attend other pupils’ lessonsfor several months and see for themselves how they areconducted. Children learn from their peers. They love toemulate what they see other children do. This observing –which in practice means colouring or drawing quietly in the

room rather than being expected towatch intently – continues until theirteens. Teachers plan lessons so pupilsobserve children who are a little olderand a little more advanced and hear thepieces that lie just ahead of them. Thepupil being taught, meanwhile,becomes used to concentrating onplaying despite distractions, and loses

– or rather never develops – that sense of embarrassment orself-consciousness playing in front of others.

Suzuki showed how beneficial it is to involve one of theparents, typically the mother. Parents need not be musicians.Carefully, parents are taught how to help their children at

What is interesting about Suzuki ?

by Jenny Macmillan

Noting how rapidly children learn tospeak their own language, Suzukirealised the same approach could

be used for learning music

January 2007 Piano Professional 9

home. Parents attend lessons and make detailed notesabout what needs to be practised, and how, so each step isthoroughly mastered. They are taught to give plenty ofencouragement while supervising daily practices. In this way,pupils are well prepared for each lesson, so lessons arespent refining and polishing the performance rather thancorrecting notes and rhythms. Parents are also expected tohelp their children listen to music in general and to the piecesbeing learned in particular. So from the earliest possible age,children are exposed to the sounds of music – the languageof music. With these sounds in their heads, it becomeseasier for them to play musically at their instrument.

A good relaxed posture for all instruments is emphasised.Young piano pupils, for example, use a footstool to improvetheir balance, rather than just dangling their legs from thepiano stool. Pupils begin and end each lesson by bowing totheir teacher, as a mark of respect. This also helps ensurepupils are giving their full attention when they start theirlesson. Individual instrumental lessons are supported bygroup classes for pupils of similar ages and abilities, whichare used to teach general musicianship, including earlyreading skills. As with learning a language, very young pupilslearn by listening and from demonstration, not by playingfrom printed music. When they can play fluently, producing abeautiful sound with a goodtechnique, they learn to readmusic, in the same way thatchildren learn first to speakand then to read their ownlanguage.

For any one instrument,all pupils learn a commonrepertoire, carefully selected by Suzuki and his colleagues todevelop particular techniques, which takes them to grade 8and beyond. Starting with the theme and variations based onTwinkle, Twinkle, Little Star, they progress through various folksongs, minuets and sonatinas, to major works by the greatclassical composers including, for the piano, Bach’s ItalianConcerto and sonatas by Haydn, Mozart and Beethoven.Most teachers also introduce supplementary pieces,according to the needs of each student. Long beforereaching the end of the repertoire, pupils are no longerlearning by demonstration but from the music. However, theycontinue to play pieces from memory. This enables them toconcentrate on the performance of the music, rather than onplaying a sequence of printed notes. Children have littledifficulty doing this and it means they are able to play musicanywhere and at any time. Pupils retain many of their oldpieces and build up their own repertoire, continually returningto them to refine them as they themselves mature musically.

For parents observing children who are more advancedthan their own, it is inspiring to see how playing qualityprogresses and how quickly pupils move through therepertoire. Because progress is so easily visible, becausepreparing pieces for group lessons and termly concertsmotivates them to practise, and because the repertoireprovides its own milestones, Suzuki pupils are generally notentered for the traditional graded examinations, althoughmany teachers will do so if it seems appropriate. Indeed,most pupils wish to take grade 8 when they complete therepertoire. Along the way, pupils graduate at various levelsthrough the Suzuki repertoire, performing solo and ensemble

items at graduation concerts. Other performing opportunitiesrange from informal “lucky dip” perfomances in grouplessons; casual gatherings of two or three Suzuki families atwhich each child plays one or two prepared pieces followedby a tea party; termly concerts arranged by the teacher,perhaps in liaison with another teacher of the same or anotherinstrument; through to national Suzuki concerts at venuessuch as Symphony Hall, Birmingham, and the Royal FestivalHall. Children are encouraged to support each other,fostering an attitude of generosity and co-operation.

The wider viewSuzuki started developing his ideas when teaching youngchildren to play the violin immediately after the second worldwar. In the late fifties, his ideas were introduced to the USA.By the early seventies, Suzuki teaching had spread toAustralia, New Zealand and Asia and, in Europe, to Belgium,Denmark, England and Ireland. Interestingly enough, theBritish Suzuki Institute was established in the same year thatEPTA was founded: 1978. Suzuki teacher training courses inEngland were held at Benslow in Hitchin, initially for violin, withthe first piano course in 1982. Currently 20 Europeancountries have established Suzuki associations, withsignificant numbers of teachers in Denmark, Iceland, Sweden,

Poland, Italy and Germany.Numbers are growing inFinland, Spain, Holland andBelgium. Now, thousands ofparents and teachers in over40 countries worldwidenurture loving human beingsthrough the Suzuki approach

to education.Suzuki’s aim was to develop the whole child. He felt a

need to help every child find the joy that comes throughmusic-making. He didn’t wish to turn all his students intoprofessional musicians, but to unlock each child’s potentialand to develop their sensitivity as human beings bydeveloping their musical ability.

Suzuki’s approach to instrumental teaching has a circle ofadherents who are deeply committed both to his teachingmethods and to his underlying philosophy of education. Asknowledge and understanding of the approach and itsadvantages become more widespread, as more teachers trainand apply the principles, and as musicians who learned thisway begin teaching and performing, there is little doubt that itwill move beyond this limited circle and have an even largerimpact than it has had to date. Many of Suzuki’s principlesdeserve to become mainstream. Meanwhile, any parentfortunate enough to have a child learning by this approach isalmost certain to be rewarded by seeing the child makeextraordinary progress, gain in confidence and self-esteemand, in the words of Suzuki himself, become a person with afine and pure heart who finds happiness.

Further information about the British Suzuki Institute isgiven on www.britishsuzuki.com �

� Jenny Macmillan is a Suzuki piano teacher in Cambridge,and a BSI instructor, with an MA in Psychology for Musicians.She gives lecture/demonstrations nationwide on ideas forpiano teaching and for group lessons. Her articles on a rangeof topics appear on www.jennymacmillan.co.uk.

The British Suzuki Institute wasestablished in the same year that

EPTA was founded: 1978

�

1 How did you getinvolved with theSuzuki approach?My husband worked forthe Bank of England and,as his wife, I wasoccasionally allowed toaccompany him on histravels to the Far East.Whilst he was workingwith the Bank of Japan, Iwas taken to see aSuzuki concert in Tokyo.At this stage I was aconventional piano

teacher and I’d never seen anything like it in my life –confident, competent and happy children aged four to sixdemonstrating a mastery of skills. When I returned toLondon, I hunted in the hope of finding Suzuki piano teachingin Britain – but there was nothing. However, a pupil of minewas in touch with Felicity Lipman, a very fine Suzuki violinteacher in London. I went to observe Felicity teach and wasso impressed that I applied for, and was granted, a ChurchillFellowship. This enabled me to go to Japan for three monthsto observe this approach to music education. I came back toLondon and, standing on a pavement in Golders Green,Felicity and I decided to establish a British Suzuki Institute.

2 Suzuki said that ability can be developed by training.However, it’s not unusual to hear a (conventional)teacher or parent blame a child’s shortcomings on theirlack of musical ability or their character.Dr Suzuki believed that talent has to be developed; what achild becomes depends on how that child is educated. Heobserved how children assimilate the intricacies of their ownlanguage and his theory was that many other skills andknowledge could be learned if presented in the same way –through observation, imitation and repetition. We’ll takeanyone – there’s no audition, except to talk to the parent andexplain that it’s going to be hard work!

Nature versus nurtureCarol Woods, contributing in the September 2006 issueof Piano Professional to the contentious nature versusnurture debate, revealed that opposing views exist inresearch literature as to whether musical ability is innateor learned. In essence, however, her article encouragesreaders of PP to consider the potential of all pupils, notmerely the very small number [of pupils] … geneticallyset up with an unusually generous number of neuralconnections [for whom] musical thinking will happennaturally (Harris, 2001 cited in Woods) since there isevidence to suggest that a musically rich environmentmay help to shape and promote musical ability (Woods).Is it possible that we dub some pupils “unmusical”simply because we make learning an instrument difficult(Chappell) in the first place?

Thompson and Lehmann (cited in Williamon, 2005)have observed how differences between individuals’sight reading and improvising abilities are often ascribedto variations in innate disposition. The authors proceed todescribe this apathetic view as regrettable since researchfindings, spanning 25 years, clearly indicate that bothsight reading and improvising are amenable toenhancement through structured training. IndeedStephen Baron, writing about the Colourkeys approach,refers to how children often feel at ease with theconcepts of improvisation.

Harris (2001, cited in Woods) leads us to consider ourresponsibility as teachers: nature must be supported bynurture … effective teaching can help to cause the pupilto make the necessary mental connections andrelationships to help bring about the development of truemusical thinking. SM

3 Are there parents who are not suited to the Suzukiapproach?Where parents are sceptical, I get them to observe lessons

Controversialaspects of the

Suzuki approachSharon Mark interviews Anne Turner aboutintroducing Suzuki piano to Britain and considerssome controversial aspects of Suzuki philosophy inthe light of recent articles in Piano Professional

Sharon Mark


Dr Suzuki and Anne Turner in 1990


for several weeks. Then they begin to see what’s in it. Theysee that hard work produces excellent results. And they seethat it is not necessary for parents to be musical. Non-Suzukiteachers are often horrified at the idea of parents sitting in onlessons. Generally criticism about the Suzuki approachcomes from non-Suzuki teachers who don’t come and watch.

Parental involvementCarol Woods refers to the important role that parentsplay in shaping their children’s musical behaviour.However, the question of exactly how to get (often busy)parents involved is an issue which causes uncertainty inthe profession. The issue (seemingly) becomes stickierstill when we decide to introduce a different focus(Anderson) such as encouraging exploration at thekeyboard which is usually dismissed as “messingaround” (Anderson) despite the heuristic value of thiskind of learning.

Elza Lusher considered the demands of today’s result-centred society … [and having to] adapt to the demandsof parents. However the problem is that, if we hold ourpupils accountable only for results and achievements, itis very difficult to teach the whole child. Sally

Chappell’s musings included the following question: Do we formalise all our pupils’ musical experiences toomuch?’ As piano teachers in the UK, how can weconvince parents (and pupils) that it’s real learning –discovery, exploration and curiosity – that matters most?

Indeed, research findings peppered throughout theSeptember issue of PP suggest that real learning standsa chance if we challenge conventional learning practices,such as the way in which notation tends to dominate theentire learning process (Anderson). Being able toprovide reasons which support our chosen teachingapproach and bringing parents in on the process iscentral. As much as our role is to facilitate musicallearning for children, we also need to consider ourresponsibility in educating parents. SM

4 The concept of mentoring is now considered anessential element of CPD. If PP readers are interestedin observing a Suzuki piano teacher, how can they goabout it?Details of Suzuki teachers are on the BSI websitewww.britishsuzuki.com and Suzuki teachers should be happyto have other teachers observe their lessons.

5 How do Suzuki piano teachers structure learning?Initially, for several months at least, pupils listen to music –recordings of the music they will learn in the early stages, andplenty of other good music. They will observe other youngchildren’s lessons for several months. Once the languageand sound of music is in their ears, they commence their ownlessons. From the first lesson they are taught to listen for agood sound; they are taught posture and technique – how toproduce that sound – which is then combined with the musicso that they’re putting those good sounds into context. Oncetechnique is well developed, reading skills are practisedregularly and considerable emphasis is placed on ensembleplaying by overlapping pupils’ lessons and in group lessons.Individual lessons are supported by group lessons, continued

observation of other pupils’ lessons, and listening at home toa wide variety of music.

6 Group teaching is a key area for scepticism amongstconventional teachers. Why is this a vital aspect ofSuzuki teaching?It’s important to realise that group teaching is not instead ofindividual lessons, but an added dimension with potential forlearning that the one-to-one experience does not offer. Thereis such a considerable role to be played by social factors onchildren’s developing musicality. Apart from the fact thatchildren love meeting other children and much enjoy makingmusic together, group lessons provide wonderfulopportunities for cross learning and developing conceptualunderstanding through group musical activities.

Group aspectSally Chappell suggests that greater considerationshould be given to the importance and influence ofcommunal music-making. Her collated findings onmusic education systems in South Africa, Hungary andCuba report that music-making opportunities in groupcontext is an important factor in musical development …aids enjoyment, motivation and can give young beginnersan understanding of what makes learning an instrumentso great. Meanwhile Stephen Baron observes that, inshared lesson situations, children can accessconsiderable gains in musicianship without any loss ofprogress. SM

7 Many children appear to drop instrumental learningas they make the transition from primary to secondaryeducation. Is this an issue with Suzuki pupils?The fact that deep and lasting friendships are made in theteacher’s own group and at parties after pupils’ concerts andworkshops is significant. Because the family is involved,music-making becomes a way of life for the children. SoSuzuki pupils don’t find music lessons lonely. When theybecome competent musicians, having developed their skillsthrough their own hard work, they get much pleasure fromtheir music-making. Indeed, we all enjoy doing what we aregood at. For these reasons, few tend to drop out.

8 Does competition become a problem with the‘community’ nature of Suzuki teaching?When people asked Dr Suzuki what he was, what he stoodfor, he replied: first I’m a humanitarian, second I’m aneducator, and third I’m a musician. We’re not just teachingour pupils how to play an instrument but rather a diverserange of life-skills. Hard work leads children to acquire thediscipline to improve progressively, and this feeds through toother subjects. Developing interaction between the pupils isseen as integral to the process of learning – instead ofcompetitiveness we emphasise co-operation.

9 Suzuki children learn to play before learning to readmusic. Are they hindered by delaying learning to read?All children learn to speak their language before reading andwriting; they observe, they imitate, and they repeat. Byfocusing on the sound before introducing the symbol, throughdemonstration, imitation and repetition, children can develop

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aural perception and memory. By the time children startreading, they have a firm grasp of keyboard geography whichmeans that notation is associated with where the note is – notmerely the letter name. This, along with the fact that pupilscan hear an aural representation of the notation before theyplay, has enormous significance where sight reading skills areconcerned. The process is musical rather than mechanical.

Sound before symbolSue Anderson, revisiting the concept of ‘sound beforesymbol’, suggests that instrumental teachers’ approachto the learning process tends to be dominated bynotation right from the first lesson despite a growing bodyof evidence [which indicates] … that students thrivemusically in all ways when playing by ear precedeslearning with notation.

Somehow I think that Anderson hits the nail on the headwhen she refers to instrumental teachers’ great anxietyand fear when faced with the challenge of how to goabout teaching beginner instrumentalists without the aidof a tutor book. It’s true to say that we tend to teach aswe ourselves have been taught.

Personally speaking, when I tried to defend my argumentfor introducing beginner pianists to notation from the firstlesson, after being introduced to the concept of ‘soundbefore symbol’, my reasoning crumbled and I started to

recognise the scope for messages to get scrambled (Anderson). Exploring the concept of how to teach thesound before the symbol has been scary, yet incrediblyexciting and ultimately rewarding, influenc[ing] students’enjoyment, motivation and musicianship (Chappell).

SM

ReferencesAnderson, S. (2006) Teaching Strategies 2: ‘Sound before Symbol’ Revisited:An Alternative Approach, Piano Professional, Autumn 2006: pp22-25.Baron, S. (2006) Pre-Instrumental Training 3: Colourkeys, Piano Professional,Autumn 2006: pp8-10.Chappell, S. (2006) Making Musicians: Lessons from Abroad, PianoProfessional, Autumn 2006: pp16-18.Lusher, E. (2006) Teaching Strategies 1: Teaching the Piano to Very YoungChildren, Piano Professional, Autumn 2006: pp21-22.Williamon, A. (2005) Musical Excellence: Strategies and Techniques to EnhancePerformance (Oxford University Press).Woods, C. (2206) Does ‘Natural Talent’ Exist? Part 1, Piano Professional,Autumn 2006: pp31-32.

� Sharon Mark, Regional Organiser for EPTA Banbridge,works as a Music Educator in Northern Ireland. As the basisof her MA (Mtpp) research degree with Reading University,she is currently investigating the relationship between choiceand children’s interaction with musical activities.


Until very recently, the Suzukiapproach to learning aninstrument has been availableonly in private teachingpractices, but rarely inschools. Having been developed in Japan in the mid-twentieth century, originally on violin, the method is based onevery child having one individual lesson and one grouplesson every week, with the parent present at all times. Thisintensive learning process is obviously expensive, and verydifferent from what many schools can afford to offer theirpupils. As music teaching in schools has moved closertowards whole class learning, many parents are lookingelsewhere for a more individual approach for their child’smusical education. The move towards whole classinstrumental teaching, which is undoubtedly very successfulfor some children, but fails to engage or truly educate manyothers, is what made me think about starting an initiative toset up Suzuki practices within primary schools.

Many parents I had spoken to were already being chargedfor instrumental lessons, and yet did not have any say in thevariable standards of teaching that were being offered. Other

parents were getting grouplessons offered to theirchildren for free, but felt thatthey would rather pay for anapproach they knew to be

more effective and stimulating for their child. And again andagain, I heard from schools that peripatetic teachers were notstaying in their jobs for very long, or were apt to disappear ontour for long periods, or were generally just not veryinterested in the teaching they were doing. Of course this isnot the case for every peripatetic music teacher – far from it –but it is sadly the case in many of the schools with which Ihave had contact.

SuSISo in December 2004, I decided to set up the Suzuki inSchools Initiative, affectionately known as SuSI. Workingfrom the premise that only two small compromises on theSuzuki approach were needed to make Suzuki a viablemethod for working within schools, I set about contactingschools to offer them a Suzuki programme on violin, viola,cello or piano. Our necessary compromises were that we

Suzuki inschoolsby Kate O’Connor

We currently have ten Suzukiprogrammes in primary schools

in London

Kate O’Connor


must offer Suzuki to allchildren in the school, even iftheir parents could not attendthe lessons, and that inorder to make it lessexpensive, the childrenlearning string instrumentsshould be able to learn inpairs. I had consultedmany experienced stringteachers, and most of themfelt it was perfectly possible,particularly in the earlyyears of tuition, to teach apair of children together aseffectively as teaching themsingly. In fact, some evenfelt that this could be sucha benefit in terms ofmotivation that they werealready teaching pairswithin their privatepractices. As we wereoffering Suzuki only toprimary schools, the children would not become tooadvanced to learn in this way while in our care.

A much more tricky subject was that of parentalinvolvement, and it remains our biggest challenge. I trulybelieve that to deny children whose parents are in full timework the opportunity to learn in a Suzuki way is untenablewithin a school environment. Equal access must be at theforefront of our minds, and so the compromise that has beenput in place is that children over the age of six can learnwithout a parent’s presence in the lessons, and childrenunder six must either have a parent there, or wait until theyturn six. So our Suzuki teachers working within the Suzuki inSchools Initiative teach individuals and pairs, some withparents present, some without, starting children at any agefrom three to eleven. Apart from these differences, theSuzuki programmes in our schools are identical to thoseprivate practices that you find anywhere in the country. Wecurrently have ten Suzuki programmes up and running inprimary schools in London, and more schools are expressingtheir interest every week.

The benefits of working within a school environment canbe enormous. As a teacher, I very much appreciate workingwithin a team, and having a clear management structure, witha headteacher or music co-ordinator that I can turn to if Ihave a problem. It’s great to work within a community ofeducators, where inspiration often comes over cups of tea inthe staffroom at break time. Being on the staff of a schoolgains you access to fundraising for events, and often meansyou can teach kids on free school meals without chargingthem, as the schools are funded to support these families.Percussion instruments and keyboards are usually availablefor your group lessons, and you can access video andrecording equipment free of charge. It also means you canteach Suzuki without needing to have your studio at home!A few of our schools are now offering Suzuki programmes onboth violin and cello, which means those privileged teachersget to work not only with class teachers, but also with Suzukicolleagues. This is the way we hope more of our schools willgo.

For the children, thebenefits are also numerous.They are already in a space

they associate with learningand education, and as aresult are generally morefocused and ready for theirlesson than a child whohas just got out of a car oroff a bus. They have theirlessons during the schoolday, so are not exhaustedby having to do a wholeschool day and then havetheir instrumental lessonafter school. When aSuzuki programme is setup within a school, themotivation factor is veryhigh right from thebeginning – the kids seetheir friends doing theirlessons, practising theirpieces, performing their

solos, and so on, and this automatically inspires them to dothe same. Children starting in a Suzuki programme that isalready established have the additional motivation of seeingthe more advanced children and thinking “I want to play likethat!”.

The benefits of working within aschool environment can be

enormous

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Children who learn together at school may already knoweach other, but because any group starting together will havea wider age range than that of one class, they also get tomake friends with children they do not already know. It isvery touching to see youngchildren become friends witholder children, as hashappened in all my groups.Most schools have some sortof orchestra, so in addition totheir individual and group lessons, students can accessorchestral experiences without having to travel or pay extra.And of course, within a school there are so manyopportunities to perform! Assemblies, talent shows, schoolconcerts, parents’ evenings, summer fetes and winter fairs allprovide us with an opportunity to get the kids used toperformance – whether busking at the school fete, orperforming Twinkle, Twinkle, Little Star in assembly.

Now and the futureSuSI is still very young! Our longest-running schoolprogramme, which I set up independently of the initiative, butwhich became the flagship for our official schoolprogrammes, has been running for only four years. The mostadvanced children there, at Lauriston School in Hackney,passed their grade 3 exams last summer, and are rapidlyapproaching Suzuki book four. Already the school isfantastically impressed with their achievements, and some ofthe children there still have three years left at primary school.

I can’t wait to see the headteacher’s face when they performin assembly in three years’ time – Vivaldi concerti, here wecome!

And where do we hope to go from here? The BritishSuzuki Institute’s missionstatement says that it aims tomake Suzuki ‘the method ofchoice in Great Britain’. SuSIcovers only London at themoment, and I am working

towards making Suzuki the method of choice for Londonprimary schools. Eventually, there is no reason why SuSIshould not go national, and even international. I would like tothink that in twenty years’ time, any child in the UK couldaccess Suzuki lessons should they wish to. I learned by theSuzuki approach as a child, and I really believe it is anamazing thing to offer as part of a child’s education. I hopeto make this extraordinary experience available to every child.

Please do not hesitate to contact me if you are interestedin being involved with SuSI, whether as a teacher or a parent,or on behalf of a school you are involved with.

My contact details are [email protected], mobile 07946 474 320. �

� Kate O’Connor is the founder and director of the Suzuki inSchools Initiative, based in London. She teaches Suzuki violinin two state primary schools, and one state secondary school.Additionally, she works as a freelance player with orchestrasand bands in and around London.

�

It is touching to see young childrenbecome friends with older children


What is music reading?Music reading is recognising a writtensymbol, recalling a sound and reproducing it.We must see a rhythm, hear and feel it; see amelody, hear it; see a tonality, “feel” itkinesthetically; and see a harmony, hear and“feel” it. Knowing the theory is important, butthat knowledge in itself is not going toproduce an excellent music reader. There hasto be a direct link between the symbols on thepage and the ear, and between the ear andthe instrument; the student must see, hear inthe inner ear, understand, and then play.

In order for the student to see the writtensymbol and connect it with a sound, thestudent must first have the sound in the ear.Therefore the first step in music reading mustbe to hear the music and let all the musicalelements of rhythm, melody, harmony andform be absorbed in an unconscious manner,so that these same elements may later beidentified in a conscious way. Teaching musicreading through the ear is the basis of thephilosophies of Kodály, Orff, Dalcroze, Suzukiand Gordon.

Suzuki students’ preparation for music reading

Suzuki students start their studies with a period of intensehearing and absorbing the repertoire they will play. Asparents play the repertoire recordings, children’s hearing isunconscious, in the same way as children unconsciouslyabsorb their language before talking. Once the music hasbeen internalised, Suzuki students start to find the repertoireon their instrument, at first imitating their teacher and laterletting their ears guide their fingers to find the notes. In thisway children develop the important direct connection of earto instrument. They hear and find the melody, rhythm andharmony. With the ear-finger connection in place, the next

Music readingin the Suzuki style

by Caroline FraserMusic must not be approached from its intellectual, rational side,

nor should it be conveyed to the children as a system of algebraic symbols, or as thesecret writing of language with which they have no connection. The way should be

paved for direct intuition. Zoltán Kodály, 1964

�

The importance of music readingIt is essential that all our students become excellent musicreaders. The ability to read music fluently will be a key factorin their enjoyment of music-making as amateurs orprofessionals. As pianists, music reading takes on a specialdimension. How often are pianists asked at the last minute,“Can you accompany this”? Many soloists or chamber musicplayers have only one line of music, while pianists have tosight read a much more complicated score. In addition,pianists are called upon to recreate a full orchestra whenaccompanying a concerto soloist. The secret of success inboth these scenarios lies in the performer having internalisedthe appropriate musical style: by that I mean that the essenceof the style has become a part of the performer’s very being.


step is to show the child the written symbol for the soundsalready in the ear, and thus the symbol-ear-finger connectionis complete.

Once simple musical elements have been absorbed andperformed repeatedly by the student, we can graduallyintroduce the student to these same concepts in the writtenscore. We can skilfully separate the elements and presentthem in a carefully thought out sequence, thereby creating asmooth transition into music reading by using first the familiarSuzuki repertoire. Detailed examples of how to implementthis are found in my articles on music reading on my website:www.carolinefraser.no.

Robert Schumann said that a good musician can see thescore and hear the music; hear the music and see (imagine)the score and guess in a new piece and know in a familiarpiece what is coming. Children who have been trained toread by ear, by having being “bathed” in the musical stylecan achieve this level of musicianship.

A natural approachThis is a natural approach to music reading in which childrenlearn to read music in the same way they have learned toread their language. In language, children hear and thenspeak. They are exposed to written symbols and later they

will learn to read, being introduced first to familiar vocabulary.Children who hear their language, and then read, have a

tremendous advantage over those who try to read alanguage they have never heard. In English we know how topronounce “tough, though, through, bough, cough”because that is the way it sounds, although the spellingpatterns are the same. “I am on the bus” but not “on thecar”; “I’m at home” but not “at shop” because that is how wehear it in our inner ear.

The Suzuki approach should produce excellent musicreaders. This is learning-based teaching: teaching musicreading as naturally as children learn to read their language.

Teach music in such a way that it is not a torture but a joy for the pupil.

Instill a thirst for finer music in him, a thirst that will last a lifetime.

Zoltán Kodály

� Caroline Fraser was born in Scotland and now lives inPeru. She started teaching using the Suzuki approach in1974 in California, pioneering Suzuki in Peru in 1981 and Chilein 1988. She was a lecturer in music theory at Holy NamesUniversity and directed the Suzuki Teacher Training Institutethere. She is President of the Suzuki Association of Peru.

Since studying Kodály methodology for a masters degree,Caroline has been researching how to integrate the Kodályand Suzuki approaches in relation to music reading. Shefrequently offers teacher workshops on music reading.Email: [email protected]

The student must see, hear in theinner ear, understand, and then play

�

Caroline Fraser and Alessandra

Children learn to read music in thesame way they have learned to read

their language

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If you walk into a Suzuki workshop at any time you areinstantly surrounded by the sounds of children singing,practising, playing in groups and performing in concerts.For young pianists coming to a workshop for the first time it isexciting to hear older children playing so well. There may beviolins, violas, cellos, orchestras and choirs. Just for thosefew days they experience what it must be like to go to aspecialist music school withall the stimulation of so manymusicians living and workingtogether. During the coursethey will have daily pianolessons in a smallmasterclass, together with a variety of other classes such asmusicianship, singing, movement, and ensemble. There willbe concerts every day, often for faculty as well as students,and everyone will have an opportunity to perform.

At a workshop, all the teaching is in groups. But unlike‘group method’ teaching, where all the basic skills of theinstrument are taught, Suzuki group classes are an extensionof the work done in individual lessons. We know how wellchildren learn when they are having fun, and how much theycan learn from each other. The social interaction isparticularly valuable for piano pupils who may not normallymeet and play with other musicians like them. The purposeis for children to enjoy playing and learning together, to getused to performing in an informal setting, and to be inspiredand motivated to work hard and to raise their standards.

Typical musicianship classes at a Suzuki workshop willinclude work on theory andreading as well as a gooddeal of ensemble playing.The common repertoire is anexcellent teaching resource.Whatever stage the pupilshave reached, the teacher can dip into earlier pieces todemonstrate. So theory is taught from a starting point ofwhat the children already know from their own listening andplaying.

A workshop can be as short as half a day or as long as aweek. Some are small and intimate, others have severalhundred students. If children are lucky enough to attend aresidential course they may have opportunities for handbellringing, sport, art and drama alongside their musical

activities. Some courses provide time off to enable familiesto go to the beach. There are new friends to be made and allthe fun of boarding school without the exams.

Of course, since it is a Suzuki workshop, the youngerchildren will be accompanied by their parents. It isfundamental to the Suzuki approach that parents are verymuch involved in the musical development of their children.

They are expected to take aclose interest so they can behelpful and encouraging.But parents sometimes needinspiration too. No-one cansay that practising with

children is always easy and it can be useful to have inputfrom other parents and teachers.

Invariably children and parents come away from aworkshop refreshed and full of new enthusiasm. The childrenhave obviously progressed after their intensive work, andtheir parents are more relaxed having had a chance to sharestories and problems with others over a glass of wine in thebar. For teachers, it has been a welcome opportunity to meetcolleagues and share ideas; for new teachers in training, theworkshop has provided a wide range of lessons forobservation. It has been a time for social and musicalinteraction for everyone, and a time for widening horizons.

At the top of the scale are the huge internationalworkshops, such as in Turin last Easter, where teachers,parents and children from all over the world gather to playtogether and to celebrate their achievements. How wonderful

it is to be able to participatein such a gathering where,with no special preparation,children can learn and makemusic together from Day Onesimply because of the way

they have been taught. What better demonstration of DrSuzuki’s vision of a world in which people, brought up to lovemusic, live together in peace and harmony!

Most Suzuki workshops are open to observers. Anyoneinterested should visit the BSI website atwww.britishsuzuki.com.

� Lavinia Ferguson studied music at Bristol University andhas been teaching Suzuki piano in Bristol since 1984.

Children learn well when they are having fun

A time for social and musicalinteraction

Getting together at workshopsby Lavinia Ferguson

Lavinia Ferguson


Group lessons are crucial to Suzuki philosophy.They support and develop the work covered inweekly individual lessons. Groups offeropportunities for developing musicianshipthrough ensemble playing and informalperformances. Children’s enthusiasm andenjoyment usually shine out in group situations,leading to increased motivation to practise athome. Children and parents appreciate thesocial aspect of group lessons – in my teachingstudio group lessons are called Piano Club.

With orchestral instruments, it is possible toplay in large groups – in unison or in parts.Much fun can be had and useful performing,ensemble and musicianship skills can bedeveloped through games for co-ordination,listening, reading and performance. The use ofpiano in groups is not quite so obvious. MostSuzuki piano teachers have two pianos, so theycan put two (or even three) children at eachinstrument playing in unison, one hand each, or duets and trios (doubled up – six hands at each piano!). I have an extra keyboard I can bring into my music room forgroups, providing yet further opportunities for ensemble work.However, we also play many games away from the piano.

Suzuki groups can vary in size from four or five children upto twenty or more. And group lessons may be held weekly,or monthly, or however it suits the teacher and pupils. Thereis much overlap in the function of musical activities I use ingroup lessons. However, for clarity, I shall divide games intofour sections: to develop co-ordination, ear training, visualreading skills and performance/ensemble skills. For thisarticle I have selected games which can be used equally wellby non-Suzuki teachers.

Co-ordination gamesThese are especially useful and necessary with very youngchildren to help them learn basics such as right and left,finger numbers, hand shape, independence of fingermovement, and feeling the music with their bodies. Withteenage pupils we may warm up with exercises of theswinging arms and rolling shoulders variety. I have also triedteaching pupils to juggle – to develop their co-ordination, butalso to develop their peripheral vision which is importantwhen sight-reading.

Co-ordination games include:� Simon Says, eg “Simon says put your right hand on your

nose” or “Put your left hand on your tummy” (don’t do it!).� All put hands behind back. “Bring out left hand with finger

3 waving.”

� All sing Twinkle (or another folk song) with actions: as yousing the first line “Twinkle, twinkle, little star”, touch feet,feet, head, head, arms in air, head; continue withshoulders, waist, knees, feet, etc.

Ear training gamesThe first of these games is from Caroline Fraser who hasmany wonderful ideas for teaching.� All sing a familiar, simple song. Then sing it again,

clapping hands together for the short notes (crotchets)and tapping hands on shoulders for the long notes(minims). Then do the actions again, this time hearing thesong in head, but not singing out loud. Next time, half thegroup clap the crotchets and the other half tap theminims, again everyone singing silently in their heads.

� Teacher (or child) do actions as in previous game – othershave to guess which song is being performed (another ofCaroline’s fascinating games which the children love!).

� Dynamics game – all crouch down and whisper“pianissimo”, slightly sit up and say “piano”, rise more andsay “mezzo piano” a little louder, start to stand up and say“mezzo forte”, stand fully and shout “forte”, stretch armshigh in air and yell “fortissimo”. Then vice versa – fromfortissimo down to pianissimo.

� Tempo game – all walk very slowly round room saying“adagio” four times, speed up walk a little saying“andante” four times, ditto “moderato”, “allegro” and finallyrun around saying “presto”.

Ideas forGrouplessonsby Jenny Macmillan

Dynamics game


� Twinkle dance – each child is assigned the rhythm of aTwinkle variation. Teacher plays variation rhythm on adrum (or other instrument). When pupils hear the rhythmof their variation they must quickly stand up and dance totheir variation and quickly sit down when the rhythmchanges to a different variation.

With older pupils we discuss and identify intervals, chords,cadences, time signatures, key signatures, circle of 5ths,forms, periods, and so on. We also share ideas aboutpractising.

Specific activities with slightly older children (eg age 8+):� Canons – all look at score of a short (eg 4 bar) canon. All

sight sing it together. Sing it again, each child working outsuitable fingering by miming it on knee meanwhile. Sing incanon. Take turns to play melody from memory atinstrument. All play melody in unison. Play in canon.

� Continuous scales – children line up at two pianos. Onechild plays C major scale two octaves with metronome setto, for instance, 100. Child at other piano plays G major.Another child at first piano plays D major, and so on roundcircle of 5ths.

Visual reading skillsI have many sets of flash cards, some purchased from musicshops (eg Chester, Kodaly, Hal Leonard), others I make upmyself as the need arises (eg Italian terms used in Suzuki book1). We have games for identifying note values, and others forpitches.� One Minute Club – to become

a member of my One MinuteClub (which is rewarded withthe child’s name on a poster inmy music room and acertificate to take home – tosay nothing of the cheers andjubilation from the other members of my Piano Club andtheir parents), children must name in random order fromflash cards all the notes on the treble and bass staves (fromlow G in the bass clef to high G in the treble clef) in 60seconds (holding the stopwatch to time it is a popular job!).Each child’s short term goal is to beat their own previousbest time.

� Telephone game – each child is given two rhythm cardseach with, for example, a four beat rhythm such as crotchet,crotchet, two quavers, crotchet. These cards are laid on thefloor in front of each child. Teacher claps a rhythm(telephones the child) and the child replies by clapping therhythm back and turning the card over.

� Another game is to lay out four of the above rhythm cardsand all together clap the four bar rhythm. Teacher then turnsone card face down, and all clap the four bars again, thistime one bar from memory. Then teacher turns another cardover, and all clap it again. Ditto until the whole four barrhythm is clapped from memory.

� Follow the score – each child has a copy of the same pieceof music. One child plays piece at piano, others have tofollow score (parents and teacher help). Or teacher plays atpiano and stops every so often, and children have to point toplace in score when music stops.

� Score questions – each child has a copy of the same pieceof music. Teacher plays piece and then asks children

questions such as:Can you find a B?What is the name of the first note in the right hand in bar 2?Where can you see this rhythm (teacher claps it)?What does “rit” mean?

� Joint reading – two children sight read a piece, one handeach; or four children at two pianos – two play right handand two left hand; or double up for a duet – two children ateach piano; or a trio – three children at each piano.

Performance/ensemble skills� Six children sit at two keyboards and play a simple piece, eg

Twinkle, in unison.� One child at each of two keyboards – one plays left hand of

a familiar piece, other plays right hand.� As above, but children swap hands every four bars, or every

two bars, or every one bar.� Football game – children line up behind each other at two

pianos. One plays bar 1 of a piece, child at other pianoplays bar 2, new child at first piano plays bar 3, etc.

� Two children, a piano each – one plays all forte sections of afamiliar piece, other plays all piano sections (and when notplaying each gets up and walks round stool!).

� Children prepare duets and trios (doubled up at two pianos),or accompany a child on another instrument.

Group lessons are also an ideal opportunity for children topractise performing in an informal atmosphere.� Lucky dip – each child has box of pieces of paper with

names of all the pieces in their repertoire. Each child picks apiece of paper and performs thatpiece. Other children may begiven specific areas to checkmeanwhile, eg posture ofperformer, hand position, soundquality, balance between hands,dynamics, etc. Everyone must

first say something positive about the performance, and canthen make a suggestion for improvement.

� Mini-concert – everyone practises performing their piece fora forthcoming concert.

ConclusionCarefully led group sessions can develop pupils’ confidence,giving them opportunities to get to know each other and towork together. Even if children find the practising tough, theyusually love their group lessons. Their enthusiasm is infectious– parents and children alike are greatly motivated by workingand socialising together. It helps parents to see what otherpupils of a similar age and standard are doing, and it inspireschildren to feel they are members of an active and excitinggroup.

One of my 11 year old pupils, who has also had experienceof non-Suzuki music lessons, recently said to her mother:

I WISH other kids could come to just ONE Suzuki lesson orworkshop or something. Then they’d SEE how great it isthat we all know each other’s stuff and can do thingstogether! It’s SO much better!

More ideas for group lessons are given on my website:www.jennymacmillan.co.uk and particularly in the chapter ongroup lessons in my Notebook:www.jennymacmillan/Notebook.pdf. �

Even if children find thepractising tough, they usually

love their group lessons


In the course of teaching, over a period of nearly 30 years, Ihave had the privilege of close contact with two children whohad very severe learning disabilities. In both cases musicbecame, probably, the most important thing in their lives.

The first child was Nick Shaw. He was born completelyblind. His parents heard that I was a Suzuki teacher living intheir neighbourhood and asked me to teach their older child,then aged four. Nick was at every lesson, in his carry cot.The book 1 piano recording became for him what a favouriteteddy might be for another child. He heard it incessantly, andby the age of 11 months he was playing every tune in book 1with his right thumb. What was amazing was that he playedfluently and musically. This was the beginning of his musicaldevelopment. [For continuation of Nick’s musicaldevelopment, see next article: Ed]

Nicola Beattie, the second child, was born with Down’sSyndrome. She started learning the piano with StephenPower, a Suzuki teacher then living near Peterborough, whenshe was nine. By that time she had had three months ofobservation and had listened to her book 1 recordingmorning and evening. She had also heard classical music ofall sorts since birth and her mother noted that when she wasa baby music always stopped her crying.

With Stephen she spent awhole year mastering the Twinklevariations and another yearlearning all the tunes in book 1with her right hand. Stephen’searly emphasis on balance (verydifficult for her) and good tone has stood her in good steadever since.

By the time I met her, at a Suzuki workshop, she couldplay all of book 1 hands together and she took enormousdelight in this achievement. To me she seemed to be ashining example of Suzuki teaching and Dr Suzuki’sphilosophy that every child can succeed given the rightenvironment. She spent much more time than most childrenlistening to her recordings, she proceeded at her own pacewith constant help and encouragement from her mother, andimproved her playing by repeating all the pieces she knewover and over again. She loved, and still loves, performing.

I have been teaching her for about 12 years and it hasbeen a most rewarding experience. Music is for her a meansof communicating in a way that spoken language is not. She

has a remarkable feeling for nuance and phrasing – thethings that are so difficult to teach but seem to be absorbedby osmosis. We have struggled with technique and withrhythm but she has slowly and surely progressed andrecently performed the slow movement of Mozart’s Sonata

K545 in a public concert,bringing tears to the eyes ofmany in the audience.

None of this could have beenachieved without her mother,who insisted on regular and

disciplined practice, repeating what was done in the lessonand following my instructions. She and Nicola took delight ineach step mastered, constantly reviewed earlier pieces andsteadily moved on at Nicola’s pace.

Her ability to play the piano, her enjoyment of performingand her pleasure in the friendships she has formed within the“Suzuki family” have been a central part of her life and that ofher parents. �

� Caroline Gowers studied piano and organ at the RoyalCollege of Music. In 1979 she embarked on the BSI trainingcourse and followed this with three months in Japan at theTalent Education Institute. For some years she directed thepiano teacher training course in London. She continues to beinvolved in teacher training and to teach privately at home.

Every child can succeed given the right environment

Girl with Down’ssyndromeby Caroline Gowers

Nicola Beattie and Caroline Gowers

Working with children with

special needs

Autistic and blind boyby Carey Beth HockettOne of the most stimulating and enriching experiences of myteaching career has been working with a blind and autisticmusical savant called Nick Shaw. Nick was able to playcontrapuntal passages on the piano as soon as he couldreach the keyboard. I met him when he was about four andtaught him the cello from the age of five to 18.

When I was first asked to teach Nick, I explained that I hadno special training for workingwith blind or autistic children.However, I have alwaysbelieved that every child is anindividual with ‘special needs’and that our success as teachers depends on our ability torecognise and respond to those needs. We adhered to themain principles of the Suzuki approach with Nick:� he ‘observed’ the lessons of another child for several

months before he started learning himself;� he learned by listening (of course!);� his parents were actively involved, not only as facilitators

of the home practice sessions, but also in helping me findways to explain things to him;

� Nick had regular individualand group lessons andattended many courses.

My individual lessons withNick usually had two mainsections. In the WORKsection I chose specificteaching points designed tohelp Nick to think and act inan organised, pre-definedand consistent way. Thesepoints included cellisticissues such as bowings,fingerings, articulation,dynamics and posture. Inour early years, many pointswould be reinforced by averbal instruction or atouching reminder. In lateryears, we came to rely veryheavily on the minidiscrecorder. Nick was not ableto operate the machine byhimself, but if we recorded

the right kinds of instructions, he could have a little moreindependence by either listening to or playing along with oneor more tracks.

In the PLAY section of the lesson we did just that – playedold pieces, played new pieces, improvised on one cello ortwo cellos or with one of us playing cello and the otherplaying piano. Once, when Nick was about 14 we came to

the PLAY section of his lessonand I asked him to go to thepiano to accompany me. Hefound his way there withpleasure while I proposed that

we play Fauré’s Elégie. The first of the great C minor churchbell chords chimed out before he had even sat down on thebench. Somehow we arrived at the end of the piece and Iasked Nick whether he had heard it many times. He said hehad heard it once.

The most exciting aspect of working with Nick is theunabashed enthusiasm he shows when hearing and makingmusic. We invited him to present a short solo concert atour summer school last year and when he finished he stood

up and told the audiencethat it was the BEST concerthe had ever given and thathe planned to give one nextyear too! Thank you, Nick,for reminding us that it is agreat privilege to be amusician. �

� After graduating from theEastman School of Music,Carey Beth Hockett wasprincipal cellist of theCayuga Chamber Orchestrain Ithaca, New York for 12years. For the past 18 yearsshe has lived in Londonwhere she teaches for theLondon Suzuki Group and inthe Junior Department of theRoyal Academy of Music.She has given numerousworkshops for teachers andchildren across Europe andAmerica.

Every child is an individual with‘special needs’

Carey Beth Hockett

Nick Shaw



Apart from the notion that a “well-rounded education” shouldinclude some music, we had no grand plan for our children.Yet, at ages ten and 12, both children are serious about theirmusic, play two instruments each, have a wonderful repertoireof pieces – all played from memory – and play with friends inquartets and trios!

What’s more, although my husband and I both achievedonly the first few grades on the piano, and cannot play anyother instrument, we help our kids daily with their practice,and this is key to their learning. We help with sight reading,scales, technical exercises, new pieces, repertoire – not juston the piano, but on the violin and cello too, yet we’ve neverplayed a stringed instrument!

It is because of the Suzuki approach that these things arehappening. We have been involved with Suzuki for over fiveyears now, and consider it to be among the most importantdecisions we have made – yet we tried hard to avoid it when itwas recommended to us!

When we first moved from Australia to England in 2000, welooked for a piano teacher for our five-year-old daughterAlyssa, who had enjoyed some group keyboard classes inMelbourne. Consistently wewere told to wait until she wasseven, that only a “Suzukiteacher” would take on such ayoung child. We weredisappointed because Alyssahad learned a lot during her keyboard lessons, and wewanted to maintain the momentum. The “Suzuki” suggestionsounded like some kind of sect, so we continued to searchfor a mainstream teacher. However, after months of dead-ends, we decided to take a closer look.

After observing some other students’ lessons, we sawimmediately that here was a wonderful opportunity. Theenvironment was family-friendly, full of people (parents,siblings, other families), yet calm, with a structured approachto learning. The lesson was not limited to the teacher andchild – the parent took notes, the teacher made sure that bothchild and parent understood each lesson point, andoccasionally she would involve other observers. Teacherexpectation seemed to be high, but within reach. All pieces,even elementary ones, were developed to a high musicallevel, and were expected to be held at about that level formonths afterwards. Weak areas were gently revised until (andafter!) the child mastered them. Support seemed to be total.We learned that parents were expected to work at home dailywith the children, and to communicate with the teacher ifthere were difficulties. Parents were expected to provide a“rich, musical environment” – to play recordings, attendconcerts, and encourage performance wherever possible,and the teacher would advise and recommend. Childrenwere happy, confident and produced pleasing sounds.Parents were superlatively positive.

We took the plunge, and started our lessons.

Immediately we had to make some changes – weupgraded our piano, we introduced routine practice times(otherwise kids and even parents! would balk); we woke upearlier so that practice was finished almost before anyonenoticed; we learned ways to motivate the children to work ontiny details. And little by little, the children progressed. A newpiece one week would soon become a “repertoire piece”;these would mature and develop a level of excellence, untilone day all the pieces in the first book were musically matureenough to be played as a recital, from memory. This wasastonishing, but was also the Suzuki norm!

Over time we attended recitals of all seven books. Everyone of these concerts was like a gift: the musical quality washigh, the events celebrated everyone’s efforts and familieswere rightly proud of their achievements. Early books gavecomfort, later books were inspirational. The sense of thecontinuum was pervasive – although later books seemedimpossible, we could see that we were inching our way alongthe path, as were other families, and so, perhaps, we toomight one day reach these higher books. Several of thechildren have since completed all the Suzuki repertoire, and

some have carried on totertiary musical studies – welove to hear of their exploits.

The decision to studysecond instruments cameabout a year after the children

started piano. Alyssa asked to learn violin at school, and shewas followed a year or so later by Linden commencing cello.By now we knew of children who studied two (even three!)instruments. Despite our total ignorance of stringedinstruments, we felt confident that we could help the childrenby applying the same general concepts from piano. Eachweek we would review the teacher’s notes, and each day wewould work on the details. Both children progressed quiterapidly.

Eventually we decided to switch to Suzuki violin and celloteachers, because of the clear direction, the familiar process,the constant sense of achievement, and the communitysupport.

And now our Suzuki approach is so familiar to us that weapply it to other areas. Linden is studying Chinese – hepractises daily, and maintains his “repertoire” of characters.The children know that, to achieve excellence in anything,they need incremental steps, revision, support, and a long-term view. And also, they have found that poor performancehas been almost directly related to less effort or less support.

This knowledge alone makes the Suzuki processinvaluable, but as I write I can hear Alyssa playing the firstmovement of a Haydn piano sonata. It is gorgeous. OnSunday, with Alyssa playing violin and Linden playing cello,they will rehearse in a trio for a mini-concert to celebrate myfamily’s visit from Australia. How lucky we are to be a “Suzuki family”! �

by Amanda Wauchope (mother)

We tried hard to avoid Suzuki when it was recommended to us

Notes from a Suzuki family –


(mother and daughter)–by Alyssa Ralph (daughter)

Amanda Wauchope and Alyssa Ralph

Hi! I’m Alyssa, I’m 12 years old, andI learn both the piano and violin bythe Suzuki approach. I beganSuzuki piano shortly after my familymoved from Australia when I wassix. My brother started a few months later, and even myparents had some lessons!

One day, after I had been learning piano for about a year, Iasked if I could learn the violin – my school was offering

lessons. My parents agreed. I progressed fast because ofall the things I’d learned with piano, and by year four, I was atthe same level as the year sixes. I had 15 minute lessonseach week, and I practised 15 to 30 minutes a day with myMum helping me as much as she could.

I did grades 1 to 3, but by year five I started to get boredbecause I only ever worked on my three exam pieces. Mymotivation and exam results slowly dropped. My Mum and Idecided that I could stop violin at the end of the year, butgradually I realised that I didn’t want to stop – I was quitegood at it, and playing was fun. That was when my Mumsuggested that we could switch to Suzuki violin.

I felt sorry for the kids at school. Most quit by the end ofyear six. They didn’t seem to know how to practise, and theirMums didn’t know how to help them. A ten minute practiceon the morning of their lesson was not enough! Also, theteacher wanted us to be positive and enthusiastic but sherarely gave out praise. I think fewer children would have quitif they had been proud of their achievements.

For about two years now I’ve been doing two Suzukiinstruments. Although I practise for a total of an hour and ahalf each day, I love everything about it – playing frommemory, having loads of repertoire, having good one hourlessons, and playing in masses of concerts. I love attendingworkshops, having lots of Suzuki friends, playing together forfun, being able to read new music, and feeling that it’s one

big family group. But most of all, Ilove the fact that, in Suzuki,practising becomes “what you do”,like eating or sleeping; you just“have” to do it. I do find, though,

that sometimes my whole week is taken up by homework,music and dancing (I do a lot of dancing).

I want to do grade 8 (and maybe more!) in bothinstruments. I’ve no idea where all this music will lead, but Istart the drums next term – I can’t wait! �

I love the feeling that it’s one big family group


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Notes from a SuzukiparentIsabel is seven years old and is in her fourth term of Suzukipiano lessons. I have two teenagers who play variousinstruments, but this is our first experience of Suzuki lessons.On meeting our teacher it immediately became clear that Iwas being asked for a different kind of involvement in Isabel’slearning. One aspect of this was that I would need to havepiano lessons to experience the Suzuki approach first hand.

I eagerly anticipated my first piano lesson. Our teacher isvery good at putting her pupils at ease, yet I still found myselfbecoming tense as I sat down at the piano. When playing forthe teacher (or for a parent) one feels exposed. I realisedthat the way to keep the satisfaction coming is to definesuccess in small, achievable goals. For example could Ikeep a relaxed hand for one phrase of Twinkle?

There were frustrations.Does the following scenarioring any bells? After workingdiligently on a piece with yourchild all week they achievetheir practice goals at home,only to fall apart in the lesson. This became a familiarpattern, only now I was the child! When the same thinghappens to Isabel, I can sympathise with her disappointment.

When Isabel learns a new piece, she already has thenotes in her head from listening to recordings. This meansthat the first time she plays a piece at a lesson, she knows itwell enough to allow her teacher to focus on finer points oftechnique and expression. While Isabel is learning to play apiece hands separately, she can play the left hand while Iplay the right hand or vice versa. When she puts both handstogether she already has a good idea of how they fit.

The same approach works well with duets. Isabel enjoys itwhen I mess about with the tempo and put in wrong notes(sometimes deliberately), emulating the worst that might

happen when two childrenplay together. She hasbecome very good at stayingwith me, however much I maulmy part. This game is even

funnier the other way round, and Isabel often succeeds inlosing me completely.

I have a genuine admiration for what Isabel achieves onthe piano because I know how difficult it can be. Iunderstand what Isabel is aiming for with each piece, andthis means we can celebrate her micro-achievementstogether. This all sounds very positive – but of course thereare times when one or other of us ends up getting cross orsulking.

While writing this I asked Isabel if she wanted to sayanything about our practices. She kindly said she wouldn’tmention that I’m not quite as good a pianist as she is! Herprintable comment was: Playing with Mum is fun. It wouldtake a lot longer if I had to work everything out by myself. �

by Debbie Collison

I have a genuine admiration forwhat Isabel achieves on the piano

Debbie Collison and Isabel

Communicatemore effectively

with your students!Use the new

Practice Notebookresearched and designed

by teachers withstudent-centred teaching

in mind.A5 size, spiral-bound,40 lesson pages, extra

features.Available from

Liz Gibson 0141-423 [email protected]

The British Suzuki Institute is responsible for conducting Suzuki teacher training as part of the European Suzuki Associationsystem. The part-time, long-term courses have five levels of training each requiring attendance at an average of 18 days

during the year. Trainees usually take a year to complete each level and start teaching children within the first year oftraining. The BSI teacher training is the only internationally recognised training course for Suzuki teachers in Great Britain.


The Suzuki approach is fundamentally differentfrom most styles of music teaching. It is aninstrumental method that places great emphasison aural development, with an early start,listening, memorisation, performance and reviewof previously learnt material as the foundationon which to develop children’s musical andtechnical ability. Suzuki teachers undertakespecialised training in how to facilitate veryyoung children’s music learning in a positive,natural and nurturing way and become highlyskilled at developing musical concepts throughself discovery, review and repetition.

Historically, many piano teachers taught theway they were taught. While this can work for some children,for many young beginners their teacher’s inexperience of achild’s “natural learning” often results in failure to succeed.The systematic approach to technical and musicaldevelopment in Suzuki education ensures that, at everystage, children can master thepieces that they have beenassigned, without failure.

Teacher training courseshelp teachers discover anddevelop their potential tomake every child successful and provide the foundationsrequired to work effectively with three and four year oldchildren through to advanced levels. Working with pre-schoolchildren requires a good understanding of child developmentand an awareness of motivational games and activities whichencourage and promoteappropriate learningbehaviour. Careful attention totechnique and posture fromthe beginning is also crucialfor setting foundations forfuture success. The study of child development, psychologyand approaches to education help trainees gain a broadknowledge of what to expect when working with children of allages and levels.

On the training courses, trainees learn how to introduceand reinforce teaching points effectively while buildingstrategies and methods to overcome and correct technical,

physical and musical problems. The British course includestopics such as Suzuki philosophy and methodology,pedagogy, performance and memorisation, technique andtone production, aural and theory training, child developmentand psychology, observation of teaching, supervised practice

teaching, group teaching andapproaches to music readingand parent education.

There is a collegiateatmosphere on the Britishteacher training course, with a

non-competitive and supportive environment where teacherswork together, sharing their ideas and experience. Suzukiteachers rarely work in isolation and frequently combine forstudent concerts, group lessons and workshops. Followingtraining, graduate teachers have established large and

successful studios and asthe teacher’s diploma isan internationalqualification, there aremany opportunities toteach at workshops and

summer schools throughout Britain, Europe and worldwide.The demand for trained Suzuki teachers is so high that theassociation is unable to supply teachers for the thousands ofenquiries received each year. �

� Grant Mead has been a Suzuki teacher for 26 years and isDirector of Piano for the British Suzuki Institute.

Many piano teachers teach the way they were taught

Opportunities to teach at workshopsand summer schools worldwide

Suzuki piano teacher training inBritainby Grant Mead

Suzuki piano teacher trainers and trainees


In 2003, having been out of piano teaching for 17 years, Idecided to return to teaching and, on the recommendation ofa friend from college days, contacted the British SuzukiInstitute to undertake what Ithought of at the time as a“refresher course”. Nearly fouryears later, I’m still studying!

My only previous awarenessof Suzuki’s approach was a documentary in the seventies,showing hundreds of young violinists in a football stadium,playing the Twinkle variations through to a concerto. It wasvery moving, but I dismissed it as irrelevant to me as apianist.

From the BSI website I discovered that I had to prepare aMozart sonata movement plus a piece of my own choice foraudition. There was also some recommended reading andan instruction to have memorised the first repertoire bookbefore the first course, which I dutifully did. It seemed quite alot of preparation for a “refresher”. Thus commenced apersonal journey which has been one of the most rewardingexperiences of my life.

That first course was totally puzzling – emphasising a verydifferent technique from that learnt years ago. There was astrong focus on variations on Twinkle, Twinkle, Little Star, andon listening to the tone. It seemed very intense, and it was!

It is the most comprehensive piano teacher trainingprogramme I have come across, encompassing an in-depthstudy of piano technique, how to teach it to very youngstudents, incorporating Suzuki’s personal philosophy intoone’s approach to teaching, understanding childdevelopment in those crucial years, educating parents andlearning how to include them in the child’s learning process.We observe the teaching of experienced Suzuki teachers andteach children under the supervision of a teacher trainer. Wealso practise teaching one another and teaching ourteachers.

Suzuki believed that every child can learn to play, not justthose with a special talent, and that, with the right approach,every child would develop the required ability to reach a highlevel of achievement. My experience to date has proved himcorrect every time.

An interesting discovery has been that what Suzukideveloped was not a “method”, but a set of principles oflearning, which can be applied to anything. I am also a hornplayer and there is, as yet, no Suzuki brass. So I haveembarked, with the help of some willing children and parents,

on the process of developing an approach for brass “in thestyle of” Suzuki.

Furthermore, I have noticed, particularly in the last twoyears, that everything I do as ateacher is now rooted inSuzuki’s philosophy. Myexperience of teaching in thisway has given me a new joy in

working with children and realised for me the concept ofteaching being a Work of Heart. �

� Gill Gordon studied at the Guildhall School 1969-1973 withBridget Wild (Arrau’s teaching representative in the UK).

One of the most rewardingexperiences of my life

Training as a Suzuki teacherby Gill Gordon

Gill Gordon

British Suzuki Institute

The Suzuki MethodExcellence in instrumental teachingThe BSI teacher training programme offers structured part-time courses in theSuzuki instrumental method on six instruments, including piano, leading tothe Certificate and Diploma of the European Suzuki Association.

• Over 500 scores, CDs, midi discs and teaching aids available.

• Scholarships for teacher training.

• Full membership service – access to summer workshops, courses,membership magazine, discounted materials and other benefits.

• Worldwide Suzuki network promoting the highest standards ininstrumental playing.

Tel: 020 7471 [email protected]

British Suzuki Institute, Kensington Charity Centre, 4th Floor, Charles House,375 Kensington High Street, London W14 8QH

Introductory weekendcourse for pianoteacher training:10/11 February 2007Contact the BSI office fora registration form ora copy of our teacher trainingprospectus

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