The Suzuki Method first came to the United States in the late 1960s, and its official organization, the Suzuki Association of the Americas, was formed in 1972. As it existed in its early years, its proponents believed that all children could learn to play. the violin if it starts at an early age, and that the learning process occurs through two main mechanisms. The first is imitation, mainly the imitation of the master. The second is group learning, which consists of group lessons and group performances. The Suzuki books were put together for two main reasons. First, to offer a structured program of pieces of increasing difficulty to be used with each student for many years of their development; and second, to facilitate group learning by keeping everyone “on the same page” and able to play the same pieces together.

The Suzuki programs have been extremely valuable to the classical music community because they initiate young children, at the time when they are most capable of learning (ages 3-7), and because they have generated enough interest to continually attract to new generations of students. play the violin (and other stringed instruments). The Suzuki brand has become almost a household name and therefore a very marketable title for a violin teacher.

But: The Suzuki books are not, by themselves, “the Suzuki method”. And the use of these books in instruction, even exclusive use, does not constitute the Suzuki Method. Books are simply a means to an end. And they were originally written to be played by the teacher and imitated by the student without the student actually learning to read music on his own.

Without the group component, Suzuki’s books have lost much of their ability to excite today’s students. Most of the “songs” are from the Baroque period and are largely written by 18th century composers such as Vivaldi, Bach and Corelli. The look of joy that I so often see on their faces when I tell students they can play something else is very revealing.

I frequently use parts from Suzuki’s books, especially for beginners (Book 1 is particularly helpful). But when I see on their faces that the music isn’t reaching them, I make other suggestions or allow them to make their own selections (appropriate for their level).

Suzuki intended the books filled with pieces of increasing difficulty to be an essentially complete course of instruction. However, he believes in the value of scales, studies, and exercises as more focused ways of developing technique. Of course, musicianship, musicianship, and a love of music come (what else!) from playing music. And, in my opinion, music should inspire the student. I am producing my own series of violin books, beginning with 40 songs in 1st position arranged in order of increasing difficulty, which children already know. Included are The Banana Boat Song (Day-o), Simple Gifts, Amazing Grace, You are My Sunshine, Kum-baya, On Top of Spaghetti, and Wheels on the Bus go Round and Round.

However, for students who want to participate in competitions, or in the best student orchestras in the community, or even attend the conservatory one day, it is necessary, eventually, to introduce works from the standard violin repertoire. Most of which are not in those Suzuki books!

As for me, I started playing the violin because my mother turned on the TV one day when I was 3 years old and was greeted by 100 little Suzuki students playing Twinkle Twinkle Little Star together. The next day she took me to the MacPhail Center for the Arts in downtown Minneapolis and signed me up for her Suzuki program. My teacher was Mark Bjork, who at the time was the president of the Suzuki Association of the Americas. It was an excellent start and I would not hesitate to recommend participation in a full Suzuki programme.