The Suzuki Method: Every Child Can Learn

More than fifty years ago, Japanese violinist Shinichi Suzuki realized the implications of the fact that children the world over learn to speak their native language with ease. He began to apply the basic principles of language acquisition to the learning of music, and called his method the mother-tongue approach. The ideas of parent responsibility, loving encouragement, constant repetition, etc., are some of the special features of the Suzuki approach.

Parent Involvement
As when a child learns to talk, parents are involved in the musical learning of their child. They attend lessons with the child and serve as “home teachers” during the week. One parent often learns to play before the child, so that s/he understands what the child is expected to do. Parents work with the teacher to create an enjoyable learning environment.

Early Beginning
The early years are crucial for developing mental processes and muscle coordination. Listening to music should begin at birth; formal training may begin at age three or four, but it is never too late to begin.

Listening
Children learn words after hearing them spoken hundreds of times by others. Listening to music every day is important, especially listening to pieces in the Suzuki repertoire so the child knows them immediately.

Repetition
Constant repetition is essential in learning to play an instrument. Children do not learn a word or piece of music and then discard it. They add it to their vocabulary or repertoire, gradually using it in new and more sophisticated ways.

Encouragement
As with language, the child’s effort to learn an instrument should be met with sincere praise and encouragement. Each child learns at his/her own rate, building on small steps so that each one can be mastered. Children are also encouraged to support each other’s efforts, fostering an attitude of generosity and cooperation.

Learning with Other Children
In addition to private lessons, children participate in regular group lessons and performance at which they learn from and are motivated by each other. Graded Repertoire Children do not practice exercises to learn to talk, but use language for its natural purpose of communication and self-expression. Pieces in the Suzuki repertoire are designed to present technical problems to be learned in the context of the music rather than through dry technical exercises.

Delayed Reading
Children learn to read after their ability to talk has been well established. in the same way, children should develop basic technical competence on their instruments before being taught to read music.

NOTE: The only difference between the International and Revised Editions is the Foreword. The piece selection, markings, notes, etc. are identical.

Title: String Orchestra Accompaniments to Solos from Suzuki Violin School, Volumes 1 and 2
Instrument: Violin
Difficulty: Beginner (1-2)
Format: Supplemental Materials
Performer:
Additional Information: Comprised of pieces from Volumes 1 and 2 of the Suzuki Violin School. Includes bass part for orchestra accompaniment to violin solos.

Titles: Gavotte (P. Martini) * Minuet, BWV Ahn. II 114/Anh. III 183, Anh. II 115 (J.S. Bach) * Gavotte in G Minor, Gavotte en Rondeau, from Suite in G Minor for Klavier, BWV 822 (J.S. Bach) * Humoresque, Op. 101, No. 7 for Piano (A. Dvorák) * Gavotte (J. Becker) * Minuet, K. 439B (W.A. Mozart/Preucil) * Gavotte from Orchestral Suite No. 3, from Overture in D Major, BWV 1068 (J.S. Bach) * Bourrée from Suite III in C Major for Violoncello, BWV 1009 (J.S. Bach) * Practice Suggestions (Doris Preucil).

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If you are not satisfied with this item for any reason you may return it for a full refund within 30 days of purchase Unless the music received is defective or has been shipped in error all returned music will be subject to a restocking fee of $2.00 per title

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The Suzuki Legacy

Shinichi Suzuki was a violinist, educator, philosopher and humanitarian. Born in 1898, he studied violin in Japan for some years before going to Germany in the 1920s for further study. After the end of World War II, Dr. Suzuki devoted his life to the development of the method he calls Talent Education.

Suzuki based his approach on the belief that “Musical ability is not an inborn talent but an ability which can be developed. Any child who is properly trained can develop musical ability, just as all children develop the ability to speak their mother tongue. The potential of every child is unlimited.”

Dr. Suzuki’s goal was not simply to develop professional musicians, but to nurture loving human beings and help develop each child’s character through the study of music.