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Suzuki Violin School, Volume 1 International Edition (The Suzuki Method)

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The core Suzuki literature is published on audio recordings and in sheet music books for each instrument, and Suzuki teachers supplement the repertoire common to each instrument as needed, particularly in the area of teaching reading. One of the innovations of the Suzuki method was to make quality recordings of the beginners' pieces widely available, performed by professional musicians. Many traditional (non-Suzuki trained) music teachers also use the Suzuki repertoire, often to supplement their curriculum, and they adapt the music to their own philosophies of teaching. Frequent public performance makes performing feel like a natural and enjoyable part of being a musician. The classical guitar repertoire was compiled through a collaborative process involving teachers from the United States, Europe and Australia, and edited by Frank Longay. The nine volumes begin with Twinkle Variations and many folk songs, and adds pieces originally written for the lute in the Renaissance, and spanning all musical time periods, including pieces by Sanz, Vivaldi, Bach, Carcassi, Giuliani, Sor, Tarrega, Albéniz, Mudarra, and Yocoh's Sakura Variations. Music in book one is performed by Frank Longay and Bill Kossler, with books two through four recorded by Seth Himmelhoch, Andrew LaFrenier, and Louis Brown. George Sakellariou has recorded books five, six and seven and William Kanengiser recorded books 8 and 9, with the exception of Recuerdos de la Alhambra in book 9, which was recorded by Scott Tennant. 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.

Kelly, Birte (2002). International Suzuki Association: Regional Suzuki Associations. Retrieved February 21, 2007. Eventually, the center of the Suzuki movement in education was established as the Talent Education Research Institute (TERI) in Matsumoto. TERI hosts thousands of people each year—students, parents, teachers, (and teacher trainees). Other organizations have sprung up all over the world to help oversee the movement and train teachers. These include the Asia Suzuki Association, the Suzuki Association of the Americas, the European Suzuki Association (which is currently assisting in the beginnings of the Suzuki movement in Africa), and the Pan-Pacific Suzuki Association.(International Suzuki Association, 2016).Rather than focusing on a specific instrument, at the stage of early childhood education (ECE), a Suzuki Early Childhood Education (SECE) curriculum for (pre-instrumental) ECE was developed within the Suzuki philosophy by Dorothy & Sharon Jones (SAA), Jeong Cheol Wong (ASA), Emma O'Keefe (PPSA), Anke van der Bijl (ESA), and Yasuyo Matsui (TERI). The SECE curriculum is designed for ages 0–3 and uses singing, nursery rhymes, percussion, audio recordings, and whole body movements in a group setting where children and their adult caregivers participate side by side. The Japanese based SECE curriculum is different from the English-based SECE curriculum. The English-based curriculum is currently being adapted for use in other languages. The parent of the young student is expected to supervise instrument practice every day, instead of leaving the child to practice alone between lessons, and to attend and take notes at every lesson so they can coach the student effectively. This element of the method is so prominent that a newspaper article once dubbed it "The Mom-Centric Method." [3] Technique [ edit ] 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.

Suzuki Violin Book 1 imparts the essential techniques and musical concepts needed to prepare students for more advanced violin playing. In this article, I’ll explain my main pedagogical takeaways for each piece in Suzuki Violin Volume 1. Each piece systematically introduces something new and gives students an opportunity to develop what they learned in previous pieces.Campell, Don. The Mozart Effect for Children. Harper Collins Publishers, Inc., New York, NY, 2000, ISBN 0-380-97782-6 The focus on memorization continues even after a student begins to use sheet music to learn new pieces. The voice repertoire is in five Levels. Developed in Finland since 1986, the vocal repertoire of the Suzuki method has spread to over 20 countries including The United States, Australia, Europe, Asia and New Zealand. Teacher training courses are scheduled yearly in Europe, US and Australia. A "modified" Suzuki philosophy curriculum has been developed to apply Suzuki teaching to heterogeneous instrumental music classes & string orchestras in schools. This is intended to raise technical and musical ability. Review pieces, along with "preview" parts of music a student is yet to learn, are often used in place of the more traditional etude books. Traditional etudes and technical studies are not used in the beginning stages, which focus almost exclusively on a set of performance pieces.

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