What is the Suzuki Method?

The Suzuki Method was developed by Dr. Shinichi Suzuki of Japan in the mid-1900s. Since its development, it has become one of the most popular musical teaching philosophies and curriculum in the world. Suzuki founded the method after he observed young children and the fact that all children around the world learn to speak a regional dialect when they are very young. He concluded that this exceptional ability to speak fluently at such a young age is because of the environment in which the child is surrounded. He observed that all children listen to the voices of their mother from the time they are in the womb. This constant emersion in dialogue allows a child to copy what he hears at an early age. Dr. Suzuki took this method- which he named the mother-tongue approach- and applied it to music. He believed that all young children, whose ears are constantly absorbing every sound around them, can learn a musical instrument as long as their environment permits them to do so.

Creating the environment that permits easy learning for young children involves several different components. These components include the following: Parent Involvement, Daily Listening, and Reviewing Repertoire.

The philosophy of the Suzuki Method is centered around the belief that every child can learn a musical instrument. Dr. Suzuki’s goal in creating the Suzuki method was to create a noble soul and a pure heart. Ideally, each Suzuki teacher strives to create not only exceptional talent, but a beautiful character in her students as well. This is achieved through a nurturing and loving environment.

To learn more about Dr. Shinichi Suzuki and the Suzuki Method, please read “Nurtured by Love”

Parent Involvement

Given that the Suzuki Method focuses on teaching younger children the art of playing a musical instrument, parental involvement is essential to making the method a success. Parents are required to come to every lesson and take notes on what the teacher does with their child. The teacher will guide and instruct the parent on what the student needs to do at home in their daily practice time. Then, at home, the parent is responsible to take on the role of the teacher and practice with their child every day. A student should never practice unsupervised until much later in his musical development.

Daily Listening

The Suzuki Method centers around the “mother-tongue” approach developed by Dr. Suzuki. This method suggests that since an infant can learn a fluent language by listening to and mimicking the voice of his mother, then every child should be able to learn the language of a musical instrument, simply by listening and repeating what they hear. Thus, listening is an essential component to this method. Students are required to listen to their pieces for at least one hour every day. This listening can be done in the car on the way to school, on the stereo during daily chores, through an I-Pod, or as background music as they spend time with the family. The more a student listens to and absorbs his pieces, the faster he will progress in his practicing and lessons.

Reviewing Repertoire

Perhaps the most integral part in learning to speak is that the young child is constantly hearing his parent repeat the native tongue. The same holds true for learning a musical instrument. After learning a piece, it is essential that a student reviews that piece every day. A common misconception is that a student should review repertoire just so that he can remember his former pieces. While this is beneficial, it is not the main purpose of review. Review is essential because it helps the student to develop skill. During review of a well-rehearsed piece, a student can stop worrying about the notes and start focusing on his posture, technique, and musicality. The greatest progress in becoming an accomplished musician is achieved while playing review pieces.

Studio Policies

1- When studying under the Suzuki Method, regular practicing and listening go hand in hand. Neither is effective without the other. Students are required to diligently practice and listen 6 days a week. A student under ten should be practicing with a parent every day. The following practice guidelines apply as a general rule:

Book 1: 30 minutes a day
Book 2-3: 45 minutes a day
Book 4 and up: One hour plus per day

Students should listen to their pieces a minimum of 1 hour per day. Beginner students should be listening to all of book 1. Students in book 2 and above should listen to their current piece and two pieces beyond. Put your CD on repeat and listen to your pieces in the car on the way to school, on the stereo during daily chores, through an I-Pod, or as background music as you spend time with the family. I cannot emphasize listening enough- progress is greatly enhanced when you listen devoutly.

2- Review songs should fill two-thirds of your practice time. These are the pieces that build the students’ technique and should not be skipped if short on practice time.

3- Please come to lessons on time. Siblings are allowed to come to lessons if they come with something to do and can sit quietly through the entire lesson.

4- Please pay on the 1st lesson of the month. A late fee of $10.00 will be charged after the 10th of each month. Because both you and I have busy schedules, I do not give credit for missed lessons. I will only give make-ups when I have to miss a lesson or when my schedule permits. Unless there is an emergency, you must give a 24 hour notice that a lesson will be missed in order to qualify for a make-up lesson.

Pricing

My current monthly rates are:

30 minute lessons (Suzuki books 1-2): $80.00
45 minute lessons (Suzuki books 3 and above): $120.00

Please pay at the first lesson of every month. A late fee of $10.00 will be charged after the 10th of each month.

About Me

Robin grew up with a strong love and appreciation for music. This love was instilled in her home growing up, which included a mother who taught Suzuki violin and four older siblings who each play a string instrument. She started violin at the age of three with Ramona Stirling using the Suzuki Method. Robin performed with the accomplished Utah performing group the “Rocky Mountain Strings” and traveled with them to various places around the country and world, including Poland and the Czech Republic, where she helped introduce the Suzuki method to various teachers and students. Robin continued studying the violin through high school with Jack Ashton, a current member of the Utah Symphony, and performed with the “Young Artist Chamber Players” performing group.

Upon entering college, Robin continued her education in music, studying with Ted Ashton and performing with the Brigham Young University-Idaho Symphony Orchestra, Sinfonietta, Chamber Orchestra, and the Baroque Ensemble. She had the privilege of being concert master of both the Symphony Orchestra and the Sinfonietta. She received a Bachelor of Musical Arts with an emphasis in Pedagogy from BYU-Idaho, graduating in the top 5% of her class, magna cum laude.

Robin is a member of the "Suzuki Association of the Americas" and has received specialized training in teaching beginning Suzuki violin students.

Robin now resides with her husband and daughter in Hockessin, Delaware, where her husband is working at a law firm in Wilmington and she is doing what she loves, being a mother and teaching the violin.