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Reprinted from Teaching from the Balance Point by Edward Kreitman (ordering information)
It is my good fortune to have had the opportunity to work with the pioneers of the SuzukiTM Method in this country. Their collective expertise, combined with the shared experience of my generation's teachers, has generated a wealth of information that is handed down to you in this guide. Some of the ideas presented in this book are mine, but most are not. My goal is to take what is known and make it clearer and easier to understand. For all who seek clarity, whether you are an experienced teacher looking for fresh ideas or a new parent taking your first steps on the path, this guide is for you. I have titled this work Teaching from the Balance Point because I believe that balance is central to both playing the violin and teaching. Therefore, a book about teaching the violin requires the word balance in the title. You will notice that at times the word balance will pertain to physical balance regarding posture and the position of the body, violin, or bow. At other times, the word balance will refer to finding the right combination of positive reinforcement versus constructive criticism. This guide does not address the history of the SuzukiTM Method. For those who want to know the whole story of Dr. Suzuki and his work, we have the film Nurtured by Love available on videotape. It tells an incredible story of a Japanese man who studied Western music in Germany, then returned to a war-torn country and wanted to give something back to the children of Japan and the rest of the world. Suzuki truly believed that if every child in the world were handed a musical instrument and taught to make art instead of war, we would one day live in a world of peace. Suzuki's goal was never to create musical prodigies, but to help all children to develop their potential to have "a beautiful heart." I recommend viewing this video to all parents and students of the SuzukiTM Method. In my training course for beginning teachers, one of the assignments is to write a dialogue between the teacher and a prospective parent. This five-minute phone conversation requires the teacher to explain as succinctly as possible what the SuzukiTM Method is about. In preparation for that assignment, we spend considerable time discussing all of the things that the method is and is not. I would like to share some of those thoughts with you here. I think of the SuzukiTM Method as having three main areas:
The Philosophy:
The most important message is simply this: All Children Have Talent. We can support that statement with these ideas:
The Curriculum: The curriculum of the SuzukiTM Method is slightly different for each of the instruments studied.
Suzuki teachers use a number of techniques that make the method a unique approach to teaching instrumental music. These technical concepts are specific teaching ideas that flow from the philosophy of the method. We want to capitalize on the child's ability to absorb sounds in the early developmental years before age six, so formal instruction may begin as early as age three. If we begin lessons this early, then clearly we must invite the aid of a parent as an assistant teacher to help guide the child in practice at home. This strong partnership of parent, teacher, and child is often referred to as the Suzuki triangle. Since the method is based on the mother tongue approach to learning, the use of reference recordings is essential to the progress of all students. Daily listening to recordings of the pieces to be studied helps the child to learn the melodies and to hear how good violin tone sounds. Listening also aids in developing accurate pitch and rhythmic pulse. One of the most important techniques employed by Suzuki teachers is that of learning to play the instrument by ear. This approach allows the child and parent to focus on how they are playing rather than on what they are playing. In other words, the goal of a Suzuki student is to focus on how well you can do something rather than on what you are able to do. Group classes are designed to allow children to share their music with others, while we reinforce important skills introduced at the private lesson. Another function of the group experience is to learn how to play together. The social benefits of group classes are a tremendous aid in the motivation to practice at home. As we return to the idea of learning by the mother tongue approach, remember that a child does not discard the first words learned but continues to use them over and over as new words are added to the vocabulary. Suzuki students keep the original pieces learned in their repertoire, reviewing them daily to perfect those skills, which are then used again and again in the subsequent pieces. Each of the topics summarized here will be discussed in greater detail in the following chapters. You will want to keep these basic ideas in mind as you progress through the rest of the material. Suzuki philosophy:
Suzuki curriculum:
Suzuki technical concepts:
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Welcome to the world of Suzuki. Whether you are a Suzuki parent, teacher, or student or a music educator who is interested in knowing more about how to help your beginning students get a better start at the violin, this book will help you. It is not a textbook, and it is not the teacher's manual for the Suzuki Method. It is a guide for parents and teachers that draws on the experience of my involvement in the SuzukiTM Method for over twenty years. One of the cornerstones of the SuzukiTM philosophy has always been a willingness to share information between teachers and parents. We encourage and support one another, we applaud each others' efforts, and we make suggestions for improvement based on our collective experience in the field.
At times the balance will be obvious, at other times elusive, and sometimes almost mystical; however, balance is always there, underlying every aspect of teaching and playing. As you read this manual, look for the balance point or the allusion to it in every chapter, and you will find your way to deeper understanding.
Much can be said about the philosophy of the SuzukiTM Method; in fact, volumes have been written. But here we need to express the basic tenets in clear and simple terms, so that one who is just coming to the method can understand what makes the SuzukiTM Method different from other forms of education, specifically other methods of music instruction. I want the parents of my students to understand this method in words and ideas they can express to their neighbor over the back fence, or between quarters at the soccer game.
Each instrument has a well-considered anthology of musical pieces that spans several volumes of music. All instruments begin with Twinkle, Twinkle, Little Star and end with a major concerto from the classical music period. 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 in his carefully planned method. Suzuki gave much thought to the introduction and subsequent repetition of each technique to be studied. The brilliance of the method is that all of this technique is disguised in musical selections that are charming, compelling, interesting, delightful, and attractive to children and their families. Much of the motivation for learning comes from the desire to learn new pieces in the repertoire.
Playing by ear frees the eyes to observe fingers and bow arm. This observant approach helps us to evaluate how we are doing, rather than having eyes glued to a page of music telling us what to play next. Several factors will determine the readiness of a student to begin the important skill of reading music. Among these are the age of the child, years of study, performance level, and interest in reading music. Lessons are taught individually to allow each student to learn at his or her own pace. Technical skills are broken down into the smallest possible steps so that information is introduced in a way that is understood by both parent and child. Suzuki teachers employ the concept of one-point teaching. We will focus on only one technique at a time, temporarily overlooking others so that we do not overwhelm the child with instructions about several different things at once.