Remember, before starting Suzuki Violin Book 1, students should have already learned Pre-Twinkle Pieces. My previous article describes how Pre-Twinkles help students learn the basic foundational violin skills.
While Pre-Twinkles helped students establish their posture, left-hand frame, and bow technique, the Twinkle variations give students an opportunity to further develop these skills. In each variation, the student applies new rhythmic concepts to the Twinkle melody. These variations also teach students that repetition is a crucial aspect of learning the violin. There are two types of bow articulations in the Twinkle Variations and Theme: staccato and detach. Students should become familiar with those terms and learn to identify the sounds of the articulations by ear.
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While teaching alongside other violin faculty at a Suzuki institute, I was surprised to observe many controversies surrounding Gavotte by Gossec. Some teachers insist that it does not belong in Suzuki Book 1 due to its difficulty and length. Sometimes, they will teach it after the student completes Book 2, and sometimes it is not taught at all. In fact, my program director banned it from student recitals for many years. On the other hand, other teachers require their students to learn the piece and perform it in recitals before graduating from Book 1.
If you are interested in violin lessons, please send me a message to set up a consultation. I have found joy in teaching online lessons to beginner and intermediate adult violin students from around the world. I typically teach adult students the Suzuki curriculum and integrate other supplemental material as needed.
The Suzuki Method was conceived in the mid-20th century by Shinichi Suzuki, a Japanese violin salesman. Suzuki noticed that children pick up their native language quickly, whereas adults consider even dialects "difficult" to learn but are spoken with ease by children at age five or six. He reasoned that if children have the skill to acquire their native language, they might have the ability to become proficient on a musical instrument. Suzuki decided to develop a teaching method after a conversation with Leonor Michaelis, who was Professor of Biochemistry at the University of Nagoya.[1]
Suzuki pioneered the idea that a preschool age children could learn to play the violin if the learning steps were small enough and the instrument was scaled down to fit their body. He modeled his method, which he called "Talent Education" (, sain kyiku), after his theories of natural language acquisition. Suzuki believed that every child, if properly taught, was capable of a high level of musical achievement. He also made it clear that the goal of such musical education was to raise generations of children with "noble hearts"[2] as opposed to creating famous musical prodigies.
Although Suzuki was a violinist, the method he founded is not a "school of violin playing" whose students can be identified by the set of techniques they use to play the violin. However, some of the technical concepts Suzuki taught his own students, such as the development of "tonalization," were so essential to his way of teaching that they have been carried over into the entire method. Other non-instrument specific techniques are used to implement the basic elements of the philosophy in each discipline.
The most recent audio recordings are Books 1-3 recorded by Hilary Hahn and released in 2020. Audio recordings for books 1-4 are also available in separate albums by artists such as David Nadien, David Cerone, Yukari Tate and Shin'ichi Suzuki. Recordings of volumes 1-4 by William Preucil, Jr. were released in 2007, along with revised versions of the first 4 books. Recordings for books 5-8 have been made by Koji Toyoda, although many of the pieces can be found separately on other artists' albums. In 2008 Takako Nishizaki made a complete set of recordings of Books 1-8 for Naxos Records. There are no official recordings of books 9 and 10 but these books, simply being Mozart's A major and D major violin concertos, have readily available recordings by various violinists. Completing the 10 volumes is not the end of the Suzuki journey, as many Suzuki violin teachers traditionally continue with the Bruch and Mendelssohn concertos, along with pieces from other composers such as Paradis,Mozart, and Kreisler.
The viola repertoire is in nine volumes, compiled and edited by Doris Preucil. Like the violin repertoire, much of the viola repertoire is drawn from the Baroque period. The first 3 volumes have been arranged (or transposed) almost directly from the first 3 violin volumes, and the rest differ significantly as they delve into standard viola literature. The viola books introduce shifting and work in higher positions earlier than the violin volumes, in anticipation of viola students being asked to play in ensembles sooner in their studies than violinists, and needing these skills to better handle orchestral or chamber music parts (Preucil, 1985). Viola volumes 4-8 include works by Telemann, Casadesus, Bach, Mendelssohn, Vivaldi, Leclair, Hummel, and Bruch. Books 1-4 have been recorded on two albums by William Preucil, and the rest are available in separate albums.
The cello repertoire is in ten volumes, with some early pieces arranged from the early violin volumes, and the first distinct piece (the second) being "French Folk Song". Tsuyoshi Tsutsumi performs volumes 1 through 4. Volumes 4-10 contain works by: Vivaldi, Saint-Sans, Popper, Breval, Goltermann, Squire, Bach, Paradis, Eccles, Faur, van Goens, Sammartini, Haydn, and Boccherini.
Currently there are five printed volumes in the double bass series, with the first three volumes also available on recordings. Nine volumes are planned and being compiled and edited by Dr. S Daniel Swaim (SAA, Chair), Virginia Dixon (SAA), Michael Fanelli (SAA), Domenick Fiore (SAA), and Eugene Rebeck (SAA). Volume 1 and 2 contain arrangements of the traditional Suzuki violin pieces mixed in with some new arrangements of other pieces. Volume 3 contains some new transcriptions of jazz, Gaelic, and folk songs; plus works by Handel, Gossec, Beethoven, Bach, Webster, Saint-Sans, and Dvok. Famous pieces include: "The Elephant" from Carnival of the Animals by Saint-Sans, Ode to Joy by Beethoven, and "Largo" from the New World Symphony by Dvok.
In the late 19th century, Japan's borders were opened to trade with the outside world, and in particular to the importation of Western Culture. As a result of this, Suzuki's father, who owned a company which had manufactured the Shamisen, began to manufacture violins instead. In his youth, Shin'ichi Suzuki chanced to hear a phonograph recording of Franz Schubert's Ave Maria, as played on violin by Mischa Elman. Gripped by the beauty of the music, he immediately picked up a violin from his father's factory and began to teach himself to play the instrument "by ear". His father felt that instrumental performance was beneath his son's social status, and refused to allow him to study the instrument. At age 17, he began to teach himself by ear, since no formal training was allowed to him. Eventually he convinced his father to allow him to study with a violin teacher in Tokyo. (Suzuki, Nurtured by Love)
At age 22, Suzuki travelled to Germany to find a violin teacher to continue his studies. While there, he studied privately with Karl Klingler, but did not receive any formal degree past his high school diploma. He met and became friends with Albert Einstein, who encouraged him in learning classical music. He also met, courted, and married his wife, Waltraud. (Suzuki, Nurtured by Love)
In 1945, Suzuki began his Talent Education movement in Matsumoto, Japan shortly after the end of World War II. Raising children with "noble hearts" (inspired by great music and diligent study) was one of his primary goals; he believed that people raised and "nurtured by love" in his method would grow up to achieve better things than war. One of his students during this post-1945 period was violinist Hidetaro Suzuki, no relation, who later became a veteran of international violin competitions (Tchaikovsky, Queen Elizabeth, Montreal International) and then the longtime concertmaster of the Indianapolis Symphony Orchestra. (Hermann, 1981)
July 1, 2013 at 10:05 PMĀ I completed the Suzuki violin school with a registered suzuki teacher and in an active suzuki program through book 8 and then I learned Mendelshon's violin concerto and did a "graduation" recital for the suzuki method. I would say that yes, i completed the suzuki violin school but honestly I did not learn the Mozart's until college.
I'd venture though, as a non-Suzuki teacher myself, that one doesn't really "complete" the Suzuki Method. Rather, it is a philosophy of learning music starting in childhood, and you do what you will with the philosophy. I only went through the third book myself before I moved into "traditional" lessons, but my first teacher Lori Franke taught me really wonderful things about music and playing the violin that I strive to communicate to my own students today. When I hear her current students at her Suzuki Academy play, I'm always thrilled with their tone quality, ensemble unity, and expression, from the oldest ones in high school to the little ones who aren't even in school yet.
July 2, 2013 at 05:13 PMĀ As a teacher, with training in all the books, I definitely do a lot of off-roading after about Book 6-7, just according to the students' emerging needs (perhaps to focus on a certain technique like spiccato or cultivating a better vibrato, etc.) and interests (tango music, jazz, more Romantic music, etc.). I think students of the violin should study the Mozart Concerti, but they may not be ready for them quite "in sequence."
July 3, 2013 at 08:36 PMĀ Did you hear about the Suzuki violin student who died and went to Hell. After a long period of arduous practice he finished book ten, at which point the devil congratulated him and gave him book 11, which he completed and was given book 12, and so on.... 2351a5e196
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