What is the Suzuki Method?

Defining the Suzuki Method is no easy task. Aside from the mechanics of how the method addresses teaching musical instruments in a much different way from traditional teaching, the fundamental elements that make the Suzuki Method the experience that it is relies on much more than a very well formulated system. Therefore, to begin to discuss how this method works, or what this method is, we have to discuss both sides separately and together.

            The first thing that parents ask is ‘how does it work?’. The Suzuki Method is based on the way that children learn their mother tongue language.  As Dr. Suzuki says in his book ‘Nurtured by Love’, all Japanese children can speak fluent Japanese by the age of 6 – something that older children and adults who try to learn the language struggle to do. This natural application of learning is applied to the instrument – and although the method works at any age, it is most effective with young children, age 3+. There are no requirements or tests to pass to start with the Suzuki Method - which Dr. Suzuki describes to be ‘Talent Education’. There is the idea that ‘talent’ is not something rare and found randomly in different people, and that some people have it and others don’t, but instead that every child has the same ability to achieve the same high results, given the right opportunities and nurturing. Unlike more traditional methods of teaching, the focus is on how to play the violin before reading and writing is involved with the process, just as we wouldn’t give a child pen and paper until they had been talking with ease for some time, allowing the pupil to be really comfortable and familiar with the instrument before learning to read and write music. Alongside the 10 books of repertoire that Dr. Suzuki organised, and even wrote pieces to fill in the ‘gaps’ of technique that needed to be learned in the right order, there are CDs of performances of these books which must be listened to so that the music is internalised.

Listening is a fundamental part of this process, as Dr. Suzuki’s time model is that you listen a year ahead a book ahead. This internalisation of the music helps the pupil to understand what they are aiming for – much like as babies we copy the sounds that we hear around us. There is emphasis in the Suzuki Method when playing to try to replicate the CD as closely as possible with regards to timing and phrasing, although there is never any danger that a pupil will sound ‘too much’ like the recordings as everyone has their own sound. This makes learning the repertoire much easier as they will recognise the tunes much earlier than just sight-reading, and helps to avoid memorising problems. For younger or less advanced pupils who have not started reading yet, listening will be the basis of learning the tunes and remembering them.

            After explaining the ‘bare bones’ of the method, the most important aspect of the method that parents must understand is their role in the process. Although they should ensure that regular practice and listening is occurring between lessons, the approach that should be taken during practice sessions is extremely important. The adulation that comes naturally to a parent the first time their child walks or talks should be emulated when they achieve something in their violin playing. Just as a parent would not (hopefully) scold their one year old for not talking yet, so the pupil should not feel put upon or their confidence undermined if they have worked hard but not achieved their goal. Dr. Suzuki’s book ‘Nurtured by Love’ has, in my opinion, the most appropriate title a book could have. I love this title as it defines a large part of what the Suzuki Method is all about. At all times should the process of learning the violin be based on love and support, not fear of failure. I would also advise the parent not to rush learning the basics, and that steady practice and a solid grip on the key elements (posture, bow hold, rhythm etc) is much more important to learn and takes much more time than to rush all these stages to get to pieces and more advanced work. The bow is moved 738 in all the twinkle variations and theme if they are played continuously – which means that whatever bow hold or posture they have will be implemented fairly quickly, and problems very hard to undo. A settled bow hold and posture will be imprinted if the pupil is encouraged to take the time to get these right.

            I also want to explain that the role of group lessons are also extremely important, and that they are not only lessons but opportunities for motivation and further development. Working along side other children of similar ages and stages is extremely motivational, as the pupil can relate to others who have the same hobby, and possibly see pupils of higher standards who will motivate them to copy good habits and behaviour. Group lessons provide the chance to learn team working skills (such as playing and listening together as a group) and are another opportunity to enjoy playing the violin whilst learning solid key skills. I would explain to a parent how important it is that their child attends every group lesson possible.

            I encourage my pupils strongly to attend as many Suzuki Courses as possible, such as Bryanston and Dunfield, as these are also extremely motivational. Not only is there an intensity on working solely on their instrument for anywhere from a few days to a week can bring amazing results for a child’s playing abilities, and seeing how much improvement can be made in these few days can boost motivation for both parent and pupil enormously. I would also explain how working with other teachers on these courses gives the pupil an extra boost, with a different perspective to reach the same goals. The added bonus of the pupil being able to watch peers who are not only further along in the books but also older and more mature playing instrumentalists can inspire and motivate children even more.

            I have learnt with the Suzuki method all my life and not only did the method teach and encourage me wonderfully in all the ways described above, it also strengthened my family bonds. Working closely with my mother, who was the ‘Suzuki Parent’ in the family, every day on the violin has helped to forge our wonderfully strong relationship, and improved on the way that we communicate. Whilst my father was not very involved during my sister’s and my early years of playing instruments through the Suzuki Method, when we started to attend music courses and my father was needed to come along he started to understand more about the method and about music. In just the first year of accompanying us on courses he was much more involved with our music and therefore much more involved with the whole family, as music was always a very large part of our lives. The atmosphere and attitude of the Suzuki music courses we have attended have always been fairly relaxed, with a huge sense of community and extended family, and I feel very strongly that because of this inclusiveness we as a family have been able to bond more closely.

            The Graduation Ceremonies that take place are a wonderful example of the mentality that is behind the Suzuki Method, as everyone comes together to play the pieces that they have accomplished, with the more advanced pupils joining the beginners. This is again very motivational, as everyone has a goal to reach so that they can participate in the concert. Younger pupils have a chance to listen to and see the songs that they hear played on the CDs of Suzuki Repertoire being played by older students and can see that it is achievable, and also to want to be able to participate to that level.

            The Suzuki Method to me will always embody this sense of community and family that surrounds it. Because of the way in which it is taught – nurturing by love – this is natural for all those involved, with encouragement and praise always readily available. My musical education on the violin has definitely been a team effort, starting first with my mother and my primary teachers, and being bolstered by the teachers I have worked with on these music courses, and the support and love of the whole Suzuki family that I feel I am part of. A particularly strong example of this is how older students readily help younger students on Bryanston every year, to learn and practice their parts. This support and care that is fed from peers that you look up to is extremely effective, and adds another layer of nurturing to the already endless list of willing hands to assist you reach your goals.

            To conclude, the Suzuki Method is a method of instrumental teaching that is aimed at young children which follows a set of well formulated instructions. However, it is the mentality that goes hand in hand with the steps that really makes this method the amazing experience that it is. There is so much love involved with this method that it is impossible for this to translate into everything about playing the instrument – the support and encouragement that is weaved into every single detail of this method gives the pupil a confident and uplifting experience that can last for a lifetime.