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Suzuki Violin in the 21st Century

The Suzuki method first located the america within the late 1960s, and it is official organization, the Suzuki Association with the Americas, was formed in 1972. As it existed rolling around in its early years, its proponents belief that all children could learn to play the violin if started when young, knowning that the training process occurs through two primary mechanisms. The foremost is imitation, primarily imitation in the teacher. Second is group learning, made up of group lessons and group performances. The suzuki books were assembled for two primary reasons. First, to offer a structured program of components of increasing difficulty to work with with every student over many years of their development; and second, to facilitate group learning keeping everybody "on the identical page" and able to take part in the same pieces together. - Classical Music

Suzuki Programs have been extremely valuable towards the classical music community since they start children young, with the point if they are best capable of learn (between ages 3 and 7), and also, since they have generated enough interest to continuously attract new generations of scholars to playing violin (and other stringed imstruments). The Suzuki brand is now almost a household name, and thus an extremely marketable title to get a violin teacher to hold.

But: The Suzuki books are certainly not, by themselves, "the suzuki method." And, use of these books in instruction, even exclusive use, doesn't constitute Suzuki Method. The books are only a method to a stop. And they also were were written originally to get played by the teacher and imitated through the student with no student ever actually understanding how to read music by himself.

Without the group component, the Suzuki books have lost most of their capability to excite today's students. The majority of the "songs" are from the baroque period, and are written usually by such eighteenth century composers as Vivaldi, Bach, and Corelli. The feel of delight I often see on his or her faces when I tell students they're able to play something different is quite telling.

I really do frequently use pieces out from the Suzuki books, specifically for beginners, (Book 1 is very useful). But when of their faces that this music will not be reaching them, I make other suggestions or permit them to make their unique (befitting their level) selections.

Suzuki intended the books brimming with items of increasing difficulty to be an essentially complete span of instruction. However, I think from the value of scales, etudes, and exercises as increasing numbers of focused approaches to develop technique. Obviously musicianship, musicality, and appreciation for music arises from, (what else!) playing music. And, in my opinion, the music must inspire the student. We are producing my very own violin books series, which starts off with 40 songs in 1st position arranged in increasing order of difficulty, that kids may have learned. Included are The Banana Boat Song (Day-o), Simple Gifts, Amazing Grace, You are My Sunshine, Kum-baya, Along with Spaghetti, and Wheels about the Bus go Round and Round.

However, for young students who wish to take part in competitions, or even in the best community student orchestras, as well as some day attend conservatory, it's important, eventually, introducing works in the standard violin repertoire. Several of which aren't in those Suzuki books!

For me, I began playing violin because my mother started up the television some day while i was 3 years old and was greeted by 100 tiny suzuki students playing twinkle twinkle little star together. The next day she brought me to MacPhail Center to the Arts in downtown Minneapolis and enrolled me of their suzuki program. My teacher was Mark Bjork, who was then a President of the Suzuki Association with the Americas. It was a good beginning, i wouldn't normally hesitate to recommend participation in the full suzuki program. - Classical Music
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