Begin as early as possible
1. Do you take 3-year-old students? Why or why not?
It depends on the student and what they can
handle. I think it is great to start a music education
early. Three year olds enjoy the ear training, body
movement, and instrument playing and depending on
their personal abilities they move fast or slow.
I will
take 3 year old girls only after they have come to observe a
lesson. After I have spoken to the child and the parent I will make an
individual choice to take her. Boys I will only take at 4 or 4 ½.
Yes.
Because I believe in the Suzuki philosophy that every child
can learn.
Yes,
particularly if they are a younger sibling to a current Suzuki family. It
will only work if the parent and the child is ready to learn, siblings have
observed many home practices and attended lessons,
so they know what to expect.
Yes. I
feel that, as long as a child is able to pay attention for even a minute or
two, he or she is ready to begin learning how a private lesson works and
getting interested in music and the violin.
Yes. It is a great time to begin
establishing raport and cooperation on an informal
basis. Most of my 3 year old students ar ounger siblings. I just
2.
If yes, how long of a lesson do you schedule for a 3-year-old?
The lessons will be about 15 min. depending on
the student.
Children will get 30 minutes with active
parental involvement.
Depends on their attention span. I start off with 15 min lessons. I
integrate between music theory, music in motion (from what I have learned at
teacher training camp), listening skills activities with the basic bow and
violin
hold skills till they are strong enough to do the "rabbit" ta-ka, ta-ka, ta-ka.
Typically
only 15 minutes until the child's attention and focus can be increased.
Usually the first several lessons are just the parent alone.
I
schedule a regular, 30-minute lesson for a 3-year-old. I trade off between
teaching the parent, the child, listening to the Suzuki CD, and other things
during the lesson. I don’t spend 30 minutes straight with the child.
With new
parents I prefer to have the parent take my parent class when the child is 3
and do the informal things like finger pops, hand shaking, and arm “scrubbing”
the rhythms, and especially LOTS of listening while the parent practices
“Twinkles”. I emphasize very strongly not pushing the young ones. I encourage
them both to attend a part of our weekly “string-a-longs” (group lessons) and
observe those as well as private lessons. When the parent feels the child is
ready for “lessons”, I schedule 15 minutes! I help the parent realize that if
we get 4-5 minutes of good cooperation, that that is a good lesson. I encourage the parent to continue working
themselves and use the rest of the lesson with the parent- gradually increasing
the child’s time.
3. What are your
favorite techniques for gaining a young student’s
cooperation?
Singing and Smiling. Expression in the way you
talk and always doing something. Prizes!
I always speak with them at their eye level. I
also stay very animated in
my voice and face.
Again, depends on
the attention span of the student. For a young student (3-5 yrs) I move
quickly and have a variety of things to do during the lesson, for an older
student (6 and up) I spend more time on
musicality, theory and technique.
Respect and humor. If
you admire the child and his accomplishments he will be eager to
cooperate. Do the unexpected, think "outside the box" and
change the activity if you lose their focus. Keep the spirit of
learning alive and fun.
Each
week, I give each of my students a practice sheet. During their lesson, I make
a mark on top of the sheet for each time they do something nicely that I ask
them to do. At the end of the lesson, we total up the number of marks and they
get to pick that many stickers for themselves from my sticker collection.
Creativity!
and spending time really getting to know the
child. I find out what they like (trains, kittens, Barbies)
and name the rhythms related to that. Put stickers they like on the bow- have
them help decide things. If they are 3, they get to do whatever 2 times
(helicopter land on E string 3 times). My turn, your turn usually works. Also
“help me do” ….” Now I’ll help you”.
4. If a child isn’t cooperating, do you generally end the lesson,
or use the
time to teach the parent?
Not unless the child is sick. I would try
changing the
topic or yes, talking to the parent. I have heard of a
technique that I might try… the teacher turns on
classical music and the child hides/sits underneath a
sheet and spends time just listening to the music.
Haven’t tried that yet. This is used more if the child
is tired and not feeling well or is too tired to
cooperate.
I will try game techniques such as bringing out
a wooden puzzle (6 pieces
approx) and try and complete the lesson before going to the parent only. If
the child cooperates and does a small skill correctly they can turn over one
piece of the puzzle until it is complete. If one or two games are still just
too much I will have the child “help” as a co-teacher to help the parent
with the skills.
I learn from each lesson I teach on how to help each individual
child. I use a basic lesson outline but for each student it may turn out
different depending on what they need. If they aren't paying attention, I
try something new at their next lesson to see if that catches their attention.
Both,
but usually one can change activities and bring them back. If it happens
often the lesson time may be bad, too late in the afternoon. May need to think
about snacks, too much sugar?
With the
very little ones, I will move on without making a big fuss to teaching the
parent or taking care of any “administrative” stuff. Sometimes the child will
be ready to cooperate after a few minutes, but if not, I will then end the
lesson.
Move
in small steps
5. What are your favorite “repetition” ideas for helping students
master a
“preview” or “tricky” section of a piece?
This depends on the age of the
student. If they are older my favorite is playing the
tricky part forwards and backwards. Taking whatever
technique necessary to accomplish the section and use
it in different ways. The older students can compose
their own exercise and they love this.
For the younger students I will draw a house on
paper and put 6 stepping
stones to a destination drawing at the top of the page (mall- ice rink).
When a repeated pattern is played correctly the child moves a playing piece
(plastic teddy bears, nail polish bottle, etc) up 1 stepping stone – If a
repetition is not correct, they must move the playing piece back 1 space.
(Play in lesson and at home – must complete the journey).
Older children, I put a pile of coins in the middle of the table. When the
tricky repeated part is played correctly I move a coin into the student’s
pile – incorrectly, the coin goes into a pile fore me! (I let them keep the
pennies).
Review
pieces work well, tonalization exercises, work in
small units before moving on in the piece.
Rolling
dice, I have many different kinds of dice and the kids enjoy rolling
them. The dice tells you how many
times to practice,
not mom or the teacher. Kids need to understand why they need to repeat
things, I tell them to play it over and over again until it is easy. Ask
them if it is easy yet, if not, they should play it some more.
For really frustrating spots, all ages-“ 5
times perfect in a row” game. 5 little stickers or 5 M$M’s
or a little mini eraser on left side of stand.Game
doesn’t start until they can play their spot (they know that and work very hard
to get it). I always ask if they promise not to cry if they get to 4 and then
miss. They always laugh and no one has ever cried! If they get it correct, they
move one to right side; if get 3 or 4 and then make a mistake, they ALL go back
to the left side and we start again til 5 times
perfect in a row. I remind them speed is not an issue and it really encourages
focus and carefulness. Thye get the counters (of
choose one if I use erasers). I encourage parents to find a healthy snack, cut
in 5 pieces, to use at home.
We also see how many times we can play a short, tricky spot
in 1 minute- I play with, at a carefully playable tempo. Mom counts- we
play-mostly to show them how easy it is. Sometimes we do it 10 times and mom
times to see how long it takes us. Then we decide how long or how many times at
home.
Little charts or sticker things for younger students helps
them see their progress. Christmas, I may cut out a green tree and each time
they do 5x or 10x, put on a little “ball” (any round
sticker). Draw a gum ball machine, put “gum ball” (again, little round sticker)
each time they repeat each spot 10X.
Have the child draw a tree trunk, they they
draw cherries, peaches, or whatever they like for every 10x or 20x they
practice their tricky spot (if 2 tricky spots, a leaf for one 10x, fruit for
the other). Do this several weeks with different spots. If they are in to
trains, filling a boxcar is fun.
Even just getting to ring a special bell when their
repetitions are completed can be a motivator.
6.
Do you have a list of “Twinkle” skills you give parents to help them
recognize how much learning takes place in this early stage? If so, please
attach.
I explain and include the parent in all
Pre-Twinkle and Twinkle skills.
Ex: I will start first with a lollipop drum and say the Twinkle Patterns
(child repeats, parent listens); we then let the child play the drum – then
parent – I then have a contest for a small prize for the team of
parent/child to repeat or guess what rhythm I am playing on the drum. I will
then “draw” the pattern on the child’s back – then the parent “draws” on
child – child “draws” on parent. Over the course of two lessons we will then
hear Twinkles on my violin and then the piano. We also have a “foot chart”
game. I break it down to “stop” “Zip” “step”. I have the child run around
the room after I have asked him what his favorite zoo animal is, or colors,
or garm animal. I will ask him to do “stop” and “zip”
only when he hears his
chilce called out as I list other animals – lion – I
say tiger, deer,
elephant…lion he then runs to the poster board. I make it a point the change
the instructions each time so hi is forced to pay
attention.
We then go through the steps for putting the violin under the chin from
bowing position. We sing a song about the parts of the violin and bow. At
all times the poarent learns how it should look by
having them do it. Then I
have the parent go through the stip with the child as
I satch and correct.
Parent
involvement
I
have them read "Ability from Age Zero" and watch the life story of
Dr. Suzuki (I just forgot the name of the video...sorry) Parent
involvement: I refer to the book.
7. What up-front parent training do
you provide? Describe in detail.
I ask them to take notes during
the lesson of assignments for both the student and
themselves. The parents are physically involved in the
lesson and the student knows that I want the parent to
be involved at home. The first lesson in mostly for
the parent to talk about their involvement: at home,
group lessons, private lessons, listening all the time
to the cd and other music.
I have them visit
the suzukiassociation.org website and our VSSA website. I let the parents
know that it is a family commitment. Meaning that the parents need to be
behind the child in what they do. That means attend
VSSA, recitals, my personal recitals, be prepared to go to a Suzuki summer
camp, take at least 6 lessons in the Summer and make a
year commitment.
Several
lessons to discuss philosophy and basic violin skills (bow hold, posture etc..). Otherwise training happens in the lessons.
I provide
one free “mock lesson” before a parent signs up for lessons. I try to be as
candid as possible about the Suzuki method and all the parent involvement that
goes into it. I also go over my studio policy with them and have a mini-lesson
with the child.
Parents
are required to take a 5-6 week parent class which is great fun for everyone
and gives them so much more empathy for their children. I explain that it is a
“crash course” and that children will take weeks to do what we do in one
lesson. A longer course would be better,but
even this much has made such a difference in parental commitment to good
positions! It has provided me with an opportunity to get to know the parents
better and establish a working relationship with them before the child begins.
First,
parents attend an “Information Meeting”- Explanation of the Suzuki Philosophy-
covering in detail the 9 points of this questionnaire- emphasizing the role of
the parent and the amount of involvement expected- at end I ask if they are
willing to make this kind of commitment and are still interested! This meeting
is free, both parents are encouraged to attend, and usually do. I find out if
they can access a violin or if I have to hunt around (we use ¾ or full) easiest
in summer when high schoolers have their extra, cheap
violins (they leave at school so don’t have good ones at school) at home. We
choose a time for classes.
Week1:
Introduce bow hold, using old bow without hair if not everyone with violins
yet. Stress importance of doing things right, right from the
start. After I individually set each ones hand, and have them hold it
and try to get it again, I have them do partners, each help each other- to help
them become parent teachers and fun camaraderie. We learn the first rhythm,
sometimes 2 or 3 if they have been listening. Shake hands,
and then with bow. I explain and illustrate “open up the elbow” and ask
them to practice that with their rhythms and a good bow hold for their “homework”.I also introduce left hand finger pops. Stress
importance of listening.
Week 2:
Review bow hold, making corrections; and rhythms. Introduce violin posture:
rest 1,2,3- I place each one several times. I
generally have them on the E string with a couple of rhythms emphasizing the
importance of “stop”, prepare in between and why. We talk about and illustrate
tone “on and off the road”, elbow, weight, speed. At each clas
I talk about the importance of listening, cooperation, not competition, importance
of repetition and mastery of skills.
Week 3:
String crossing to A during “stop, prepare”. Partners touch hand to fo to A, touch elbow A to E,etc. Do see saws E-G and back, watching elbow and
hand. On A string, learn finger placement ( I’m a
little monkey) finger ready then bow goes.
Week 4:
Review all aspects. Play and correct. Partner teacher
helpers. Introduce order of twinkle, Emphasis on stop, prepare, wrist
straight and finger placement. Var. A,
sometimes only do first section, keep practicing Monkey Song.
Week 5:
Talk about studio policies and review the 9 aspects briefly. Play first section
of Twinkle. Show second section. Play whole piece. Do first section with other
rhythms, introduce Var. B on A and E.
Week 6:
Play all Twinkles, working with individuals if having difficulties. If can,
teach Theme. Answer questions. Parents bring their violin and play theme and
one variation at child’s first lesson if necessary to assure they understand.
At
lessons thenceforth I will make sure parents fully understand and try out new
things with my violin.
8.
Do you have a “studio policy” or agreement you are willing to share?
Please attach.
9. Do you have a basic private lesson format you follow? Describe
a typical
private lesson in detail.
Younger children will warm up with assigned
Twinkle pattern; new piece
passages, review piece, note reading. Lesson ends with
awarding practice
tickets – if 30 tickets are reached the student receives a prize (also have
100 day practice medals and awards). Older students warm up: scales and
color exercises, review, new piece sections, note reading. When Twinkles are
completed a Twinkle Trophy is awarded.
Greeting and tuning; Warm-up which can be scales or a review song;
sightreading and theory; working piece and associated
techniques; and/or polishing piece; more review if time allows.
1. Greet,
say something nice about the student (“oh, I like your dress”, etc) 2. Tune,
talk about the week 3.) say-and-play scale (say the note, then play it on rhythm from
variation A) 4.) review concentrating on one or two related technique problems
(keep your wrist straight or scroll up, etc) 5.)
new song 6.)preview for next
song
Tune. Twinkle (with technique of the
week they’ve been working on) or scales. Usually 2 review
pieces with emphasis on position, focus, or other technique or musicalaity. Hear what new things they were assigned
last week.Work on that and add new as appropriate.
See how the piece just prvious is improving.Music
Reading (if doing it). Often they play a piece with the next student before
leaving.
Listening
10.
Do you have a standard listening expectation/schedule to follow?
Daily and lots of it.
Listen every chance you get! But also
have one time each day they always get at least 20 minutes. I often tell
parents exactly what they ought to be listening to,
sometimes help them figure out when they can work it in!
11. What do you do to promote daily listening?
I like the students to keep a practice journal
that is mostly for them and I explain how to keep it but also for me so that I
can see how they are progressing. If they have any questions for me they write
them down so they don’t forget. They are assigned to write down what they
played for focused practice and not what they
play for fun and how much time was spent for each, listening is also included
and talked about.
Listen
to the cd every day.
Ask
every lesson.
I include
listening on the practice chart that they must fill out each week.
Keep talking about its importance and why
Post-pone note reading
12. While it is individual for each student, how do you
determine when to
introduce reading?
I introduce it slowly and separately from their
playing pieces as
soon as they are reading in school.
I never post-pone note reading The minute my
student can have perfect
posture and go from A to E string cleanly I begin note reading. I use Sight
Reading Skills Vol. 1 by Suzannne Schreck
(Young Musicians is the only place
I have found it 800-826-8648). It follows beautifully with Book 1. A to E
with quarter notes followed by different rhythm patterns. A C# E is then
introduced so the student learns to hold down 2 while crossing to E just in
time for Lightly Row. We do not read out of the Suzuki Book itself until
much later. I give “tickets” for playing and practice and perfect note
reading (you must give tickets sparingly!). I will have the child play a
line and I will “guess” which one it is. I’ll give extra tickets by playing
a line incorrectly and having them show me what was “wacky” and how to play
it right.
Post-pone
note reading: yes, but by perpetual motion i
introduce notes.
I
start reading after the child is comfortable with basic violin skills.
Usually around age 6 and somewhere in book 2.
I
introduce it in sneaky little ways almost from the beginning- I don’t call it
note reading. In general, though, I start doing note reading from a book around
the first few songs in book 2.
If I can (meaning if the child is not older and about to go
into an orchestra situation), I wait until their position is well established-
especially bowing on the road and fingers usually in tune. It’s great if I can
get all the way through Suzuki Book 1 first.
13. What reading books do you use in private lessons and why?
The Suzuki Reading book and also “I Can Read
Music”. It is easy to understand.
Reading specific notes in Bk 1 if they
are beginners.
Sightreading skills by Joanne Martin. I like the format and it is a good confidence
builder. After two volumes of Martin, followed with Doflein volumes 1, 2, 3, and 5. After that
they are usually in anorchestra situation and are
comfortable readers at any level.
I use the
JoAn Martin “I Can Read Music” book for its big,
easy-to-read notes and its very gradual introduction of new notes and rhythms.
For more advanced students, I use books called “Accuracy in Rhythm” and “Speed
Reading”. I can’t think of the authors’ names.
I usually use “I Can Read Book One”. Near the end I may use
something lie “String Builder Book 1 “ and then “I Can
Read Book 2”. Even younger children can go slowly through I Can Read since it
separates pitch and rhythm. They love it, since they are successful. I like
Book 2 because everything is duets and it begins to prepare them for orchestra.
14.
Do you provide extra motivators to encourage note reading? Describe in
detail.
I will play games like: the Car Wash, flash
cards, Question and Answer, and Spelling Your Name Game.
The Car
Wash game involves drawing on a chalkboard or dry erase board. The
teacher draws the outline of a car and then fills the car in with musical
symbols. The student gets to erase
“wash” off the symbols he/she knows. Question and Answer is just simply asking
what note is where on the
staff and having them imagine the staff in their
heads. This way I know they can picture what it looks
like without the help of the music. Example: what is the name of the note in
the second space of the staff?
Always going from bottom up. The Spelling Your Name
Game is not official. I made it up on my own. The
children take their full name and use all the letters in their name that are
included in the musical
alphabet and they write the notes in on the staff where ever they want to and
play their name on their
violins. This is fun and they can have their own song. It is a two-measure
creation. I will help them if they
are too young.
Motivation
is to learn new songs, fiddle tunes are fun things to
learn by reading.
Music Reading Games Classes in the summer (doesn’t work out
the rest of the year in my particular situation) – for students who have had
little or no actual reading yet, or who need some extra motivation. Based mostly on Music Mind Games book. Twice a week for 5 or
6 weeks; they really seem to retain a lot and it’s a great way to give students
a positive attitude about reading.Tho’ I don’t use
the actual games during the year, I relate the concepts as we work in Book 1 of
I Can Read at their lessons.
15.
What are your favorite reading class ideas/activities? Describe in
detail.
Music mind games. Follow repertoire
sequence, review is essential.
Duets
and trios, advanced students like to read interesting styles of music, jazz, rhumbas etc...Like Michael McClean's
arrangements.
I like
“spelling” races- 2 kids come up to the chalkboard, I give them a word (i.e.,
CABBAGE), and they must “spell” it in notes on the staff.
Music Mind Games book has hundreds of great games!
16.
Do you celebrate a student’s “graduation” from each book in a certain
way? Describe.
Favorite Ice
Cream and we have Sundays the second half of the
Lesson.
Families
celebrate in different ways, sometimes by a shared recital with another book
graduate at their home. We do certificates and a celebration ceremony at
the Spring grand concert.
Yes- we organanize a recital and a
little reception or party afterwards. The
whole studio is more than encouraged to attend.
aS THEY ARE FINISHING THE LAST
PIECE OF A BOOK, i BEGIN HEARING EACH PIECE IN THE BOOK “FOR GRADUATION”. i USE
TABLE OF CONTENTS- PUT A STAR AND DATE NEXT TO EACH PIECE STILL POLISHED. iF
THEY MISS A BOwING, STRETCH 3, OR SOMETHING, I pencil in what needs additional
review and hear it the next week. They seem to keep the whole book reviewed pretty well, knowing
this will be happening.When every piece is starred,
they get a nice certificate and a little statue of an angel, clown, etc.
playing the violin (dollar tree specials- I stock up on whenever I spot them).
One student asked about his “trophy”! Some parents take a photo of them
receiving it.
17. How do you promote review? I
assign them review
pieces and we play those pieces for review/warm up
part of their lesson.
Yes,
I have a review piece schedule.
By
doing review in the lesson, that is the only way. It is amazing to start
with Twinkle and "play up" to the working song in the warm up part of
the lesson. If they can't get through everything they don't get to work
on the working song that lesson.
I always
tell my students that review should be 80% of their practice each day- that’s
when the real advance in technique takes place.
Book graduation helps promote review of one book. I think
our big annual concert (a fund raiser to benefit our local orchestra) really
helps, too. The list of pieces goes out right after Hristamas
for the April concert. They know I will check off each piece by 2 weeks before
concert! Also weekly group class promotes review. In lessons I I pick ANY previous piece to hear after warm-up or
sometimes FOR warm-up- a continual reminder that they should be reviewing. I
remind regularly about what is reasonable review at their level.
Enjoyable learning environment
18. What are your favorite suggestions for helping parents
to make
practicing fun?
I just suggest having
the parents practice for only a few minutes at a time
and allow the child to have time to play. The child
can also dance to the music while doing their
listening; the parent can dance with the child too.
I have many at home games for parents to
play/practice with. I don’t
give the parent a bunch of games all at once – use 1 at a time until the
child tires of it, usually about 3 weeks to a month. You can often go until
the next “I don’t want to practice” ordeal! One game using poster board or
just paper, draw a curvy road with several sections, label start and finish
and then fill in other sections. Make sure to break up your game spaces with
fun things as well as very specific skills you need accomplished for the
week (Ex. foot chart game, clap Var. B, take a bow, play var. D, note read
line 2, kiss mom, what twinkle is this?). Add scales major and minor for
more advanced as well as review pieces for young and older. They use a
playing piece such as nail polish bottle and dice. Another game is to get a
hat or bowl and on teeny pieces of folded paper write the needed items as
the game above. As soon as all are done correctly the “game” practice is
done.
For
young kids 3yrs old, charts and stickers.
Do
it everyday, and it becomes a habit. Enjoy
listening sometimes, you don't always have to comment.
I suggest
going to the dollar store and getting a few “end of week” prizes- when their
child has a good practice week, they get a little prize. I also have copies of
a drawing of 50 faces- each time the child does a repetition of something (a
piece or part of it, or an exercise), they get to color in a face. This works
great with the little ones.
19.
How do you make private lessons enjoyable for your students?
I try to always stay positive. I try not to
use the word You in the lesson or be very critical
sounding.
Group lessons,
lesson observation: theory games integrated with pieces, technique and review
Group lessons, lesson observation. Celebrate musical expression.
I try to
find what works for each student. Some like to chose
the order their lesson goes in, some want stickers… All of them want to be
praised.
Put assignments in Easter eggs, hide, kids
find and do. One has a tiny treat. Parents general
attitude- keep it light, a sense of humor and creativity. Help parents be
creative!
Girls seem to like to line up stuffed animals for a concert
(practice session).
Trade roles- parent is student and switch. Play “FIX ME”
exaggerate poor intonation, not low enough 2, or slippery bow
Early stages- partner playing- Mom bows and gives their hand
a ride (they hold bow with good bow hold) or Mom fingers, student bows the
string she says to play beginning of Twinkle,etc
Being truly interested in them as
a person. Enthusiatic over each step (teaching in small steps) so
they feel successful. Help parents “lighten up”.
Relate to student’s interests, When explaining a technique, like sports, drama,
taek wondo, ballet,etc. Dramatize the dynamics
or style- have them waltz with me, desceibe the
period of music, costumes worn for a Minuet, make up words about their pets (or
other interest) for a tricky rhythm or even a whole section.
Group lessons, lesson
observation
20.
What are your favorite group lesson ideas/activities? Describe in
detail.
I like to
get the kids in a circle and do rhythm activities. Each kid must clap “Arizona
Cactus” in turn and on the beat. Then we write on the chalkboard the notation
of “Arizona Cactus”. We put in rests and other rythms.
Then we try playing it, and on different strings. Another favorite is putting hershey’s kisses on their violins-
if they keep their violins up throughout an entire piece, the kiss stays on and
they can have it. If it slips off, they can still have it or there will be
tears. Also, the Perpetual Motion circle- each student plays one note of
Perpetual Motion in time. If you play the wrong note or miss the beat, you sit
down.
I always
have several book levels in one group class (small town- only 2 teachers), so I
always look for ways to keep older ones motivated. Here’s a few:
Friendly
Twinkle- partners -shake hands on every open string(encourages
good solid hold on shoulder)
Half of group (older ones) plays all eighth notes
while other half the song (Happy Farmer, opening of Waltz, etc)
Var. B Twinkle:- Minuet 2 & up play last eighth
note of rhythm pizz. all the way through-- less
advanced just play regular- Great for prep for Gossec
pizz at end getting to pizz
and back
Slurred staccato Perpetual, or spiccato.
Etude with Long Ago Var. Bowing
‘Where am I Playing it?” Twinkle or Perpetual- jump
to different parts of bow
Send 1 student outside the door- ONLY that students
plays when we get to the piano section of Long Ago, etc. Then we play it again
with the whole group sounding like 1 violin in that spot.
Older ones still like “what’s Wrong
with my position? I make some of them very hard to find.
Play with the weirdest foot position you can think of
(short song), then with perfect balance.
21. What activities in the group lessons you teach do you use to
encourage
parent participation in classes beyond the Pre-Twinkle level? Describe in
detail.
Mostly ask to listen for dynamics and rate
group, occasionally . Parent volunteers to be “wrist
inspectors” or ‘thumb inspectors’. When we play Twinkles with stop prepare,
parents do (clap,clap,
or snap, snap) or say(boo, boo at Halloween , ho, ho at Christmas, hop,
hop at Easter, etc) something during the pause.
22. How do you encourage older/advanced students to continue
participating
in group lessons?
We
formed a touring ensemble for book 6 and up aged 10 and up students. There are
20 of them, and we work on supplementary literature and Suzuki litereature to prepare a "show" of 60 minutes of
music. Take it on the
road either in local concerts or travel. This year we went to
I have
them be a “teacher’s assistant”- it gives them something more to do, plus it
really helps me.
Plan performances. Encourage
learning duets giving them pride in being more advanced and making the
group sound terrific. Let them know how much they contribute..
Play Bach Double almost every week at the end. Do challenging bowings with the
simpler pieces. Have them lead pieces -especially rounds- all those little
faces watching them like hawks makes them feel very important!! Share parents’
comments (usually from younger student’s parents) about how
much their children look up to the more advanced ones.
23. Do you plan back-to-back lessons and if so, how do you
encourage parents
to come early/stay late?
Yes. They just do.
yes,
I try to end on time. I state in my studio rules to be on time.
Our
groups happen at the same time.
Scheduling
is a challenge, however whenever possible I especially like to put advanced
students back-to-back and do music reading with duets .
If they come early they get to use a few minutes of the previous lesson’s
time!!(That encourages parents!) I often ask if the student can stay and
hear how Susie is improving on such and such. To be punctual (a necessity in my
studio) I encourage everyone to come early, get ready, and then listen.
Fostering friendship and support of others makes
it more likely they will get in some observation. Especially near recitals I
ask them to stay and be an audience, or come early.
Foster cooperation rather than competition between students?
24. How do you promote cooperation between students and parents in
your
studio? I involve the parent in
the lesson from the beginning so the student is used
to the involvement. Also asking the student if it’s ok
for the parent to do whatever I am asking.
We do not
ever participate in competitions, and formed the tour group so the advanced
students would be on the same team. No point in competing with a team
mate.
I have a
“cooperation” section on my practice charts- one for the parents, one for the
kids.
Starting from the first day of parent class, I speak often and encourage the
idea that everyone is different, and effort is more important than achievement
and to rejoice with students at every small step
mastered and praise their persistence., not just the final accomplishment.
Truly feeling good about themselves, they won’t need to be so into competition.
I have all parents read Susan Kempter’s article about
the competitive paradigm. Also getting to know the other children helps.
When I do hear competitive types of statements, we talk about it.
My Studio Policy:
Policy and Procedure for Lessons
The following is a list of
guidelines meant to help you and your child understand what is expected of you,
as well as explain how I like to conduct lessons in order to get the most
productivity and enjoyment out of them. Thanks in advance for taking the time
to read this, and please feel free to ask me any questions you may have.
Lessons
Since parent participation is an
integral part of the Suzuki Method, please don’t drop your child off for a
lesson if you can’t be there (unless otherwise directed by teacher). I
will write a practice sheet for your child each week, but it is important that
you understand exactly how everything is to be practiced. I will often ask you
to participate during the lesson.
Parents, please ask about young siblings
before bringing them to a lesson. This time is meant to be for the
child who is taking the lesson, and siblings are very often a distraction.
Cell phones should be turned off or on silent
during a lesson.
Parents are asked not
to talk to their child during a lesson as they would at home (i.e.,
“straighten that wrist!” or, “remember, we just practiced this yesterday!”)
Although tempting and even automatic sometimes, this seems to take away from
the level of focus between the student and myself that I am trying to build in
the lesson.
Group Class
Group class will take place each
week and is integral to your child’s musical experience. We will learn how to
play with other violinists, how to read notes, play fun pieces inside and
outside the repertoire, and play games. Please don’t skip group class any more than
you would your private lesson. Please stay and watch the group lesson
just as you would a private lesson.
Home Practice
Another tenet of the Suzuki method
is that the parent always helps the child during practice at home.
Parents should not be doing anything else at the same time that his child is
practicing. He or she should take an active role in the lesson, making sure
that everything on the practice sheet is covered each day. Taking one day off
per week is acceptable, even though Dr.Suzuki always
said “Practice only on the days you eat”. Often it is helpful to practice at
the same time every day to establish a routine and minimize argument. Weekly or
daily little treats for good practice are also a help.
Beginners
Depending on how young your child
is, and depending on how they learn, it can take anywhere from a week to more
than a year to learn “Twinkle, Twinkle Little Star”. Never fear, though. The
better it is learned in the beginning, the easier other pieces will be to learn
in the future. This is the first piece, and the hardest, considering that
everything is new. Posture, tone, and notes must be in place (or nearly there)
before we move on.
Listening
You can’t listen to the tape or CD for your
book level enough. Listen during
breakfast, lunch, dinner, car rides, homework, and/ or sleep. The more you
listen, the faster you learn. Nobody likes to be stuck on the same song for
longer than necessary.
Recitals
Upon finishing each book in the
Suzuki repertoire, your child will give a recital. This can take place at your
home, place of worship, wherever. We will also give a studio recital every
three to four months. As these events are big accomplishments, we want to make
them as celebratory as possible. Parents may be asked to bring refreshments,
small gifts, etc. Recital attire is usually something I would describe as “your
Sunday’s / Saturday’s best”.
Behavior
In general, behavior isn’t a problem
during private lessons. Students must treat their violins well. Also, they must
treat their parents well, if only in my presence. Those who talk without
respect to ANYONE will receive a stern talking-to.
Hygiene
Please make sure that your child has
clean
hands and shortly-clipped, clean nails (just a little bit above the
quick. While I know this is a hassle, there is no way around it when you play
the violin).
Attendance
Attendance is required in order to
make progress. Because I think that it is nearly impossible to make any real
progress or be proud of how one is playing without attending lessons and group
regularly, I may dismiss you from the program if you miss more than four lessons
or two group classes during a semester. Of course, I will take special
circumstances into consideration.
Make-Up Lesson Policy
In planning the schedule, special
care has been taken to avoid scheduling during holidays. Care has also been
taken to schedule a mutually convenient lesson time with each of my students.
One time is reserved during the week that is yours and only yours, which is the
unique nature of private study. If you miss a lesson, you are still
responsible for payment for that lesson. I will generally try to
make up missed lessons where illness or emergencies are concerned (or most
anything else, for that matter), but because of my own full schedule I can make
no guarantees. However, if I should
miss a lesson for any reason, I will either make it up or refund you for the
amount of the lesson. I try to run my studio just like almost any other
extra-curricular activity: you pay for a semester, a month, or some other
division of time, and you are responsible for your own attendance.
Payment
I ask that my students pay for their
lessons a month at a time. However, I make exceptions whenever requested, no
questions asked.
Agreement of Policy and Procedure
I hereby acknowledge that I have
read the exciting Policy and Procedure
for Lessons and that I will adhere to its content.
Please return this signed sheet in
order to complete the registration process.
Parent/ Guardian Name (Print) Name of Student (Print)
Parent/ Guardian Signature
Date
Is
there anything else you do that you think other Suzuki teachers would
like to read about?