Suzuki Questions and Answers

	What if your child is already taking lessons on another instrument?
	Taking lessons on another instrument is always an enhancement to your child’s musical education. One instrument will compliment the other. This is particularly true if the child is taking a chord-based instrument (piano, organ or guitar) and now is starting a melodic instrument (violin or a wind instrument). The listening involved in taking the violin will help your child to be able to hear and remember (i.e. memorize) while the chordal based instrument will help your child understand music theory and how music is put together harmonically. Since the Suzuki method has a group lesson component, learning to play with other people (ensemble training) is a skill that is not acquired in private lessons alone because the student is usually playing solo or with her teacher. Another advantage to these Suzuki lessons is that everyone in the class will be participating. The encouragement of the group will inspire everyone to want to do their best and practice regularly. Because we will be offering 3 sessions per week during school, the amount of practice time required at home would not be a lot. We hope, however, that your child will want to practice at home, and will be encouraged to do so.

	Why are we starting this program in Upper Elementary—not Lower Elementary?
	There are several reasons actually. By age 9 or 10, children are able to progress more rapidly than at an earlier age. This creates a learning environment of ease and success. A piece of music that may take months to learn at age 6 can be learned in weeks at this age level. There is also less of a need for the parent to be involved and supervise every practice session.

	Can the child choose another instrument?
	This year, we will be offering violin to 4th and 5th years, and piano to 6th years.

	Where will the lessons be held?
	Lessons will be held in the Music/Enrichment Room in the Elementary building.

	Is the Suzuki program optional?
	No. Every Upper Elementary student participates in this program.  Learning to play an instrument is absolutely the best way to learn to read music, and we feel that this program can be an integral and essential part of Montessori education for our children.

	Why was the decision made to begin a Suzuki program at FMSA?
	The faculty and administration make all curriculum decisions for the school. Research on Suzuki was done over three years assessing its appropriateness and compatibility with Montessori. Suzuki was found to be the most compatible in approach and philosophy to Montessori.

	Suzuki Violin at FMSA
	Our Suzuki Violin Program is now into its sixth year at FMSA. What started as a pilot program has become a vital part of the Upper Elementary Curriculum. We researched instrumental programs for over three years before deciding on Suzuki, and not only found it to be the best instrumental approach for children of any age, but also found it to be extremely compatible with Montessori education and philosophy. As a result, the benefits to the students and community has been wonderful. The Suzuki method was chosen because it emphasizes learning music aurally as opposed to reading music right away as does the Montessori approach to music in the Primary program. Suzuki is a logical next step to the experiences in Primary and the social element of music in the Lower Elementary. The Suzuki listening technique helps the child to continue to develop the aural part of the brain. From the beginning, the child listens to CD's of the music she is practicing and learns to listen to her own playing. This is the same natural way a child learns her native language, so it is a very natural, effortless and fun way of learning music and learning to play an instrument. We realize that not all students aspire to be string musicians however, the benefits surpass merely playing well. Since Suzuki teaches a student to listen to her playing, it helps her to develop her musicianship and concentration to a greater level. Many music students learn to read music and play their instruments, but never learn to listen to what they are playing or how it sounds.  Because of the emphasis on listening to one’s playing, our Suzuki students play musically, with a good tone and intonation. Americans are an extremely visually-oriented society. Since the advent of TV, we have not fully used the listening part of the brain, and so it has not been developed it to its full potential. Fully developing this part of our children’s brains will help them to develop listening skills which will benefit them in other areas of the classroom, and in life. This listening skill is particularly valuable in listening for lecture content, learning another language, and in math and spelling, because one needs to be able to hear the word correctly before she can spell it. It is also an incredible method for teaching multi-tasking, because one has to think about, and do so many things simultaneously in order to play an instrument well. The self-discipline developed from a daily practice habit and learning how to break a task down into small parts are skills that will be learned and applied to many aspects of a student’s later life. Learning to play instruments in a group is a social activity that is very important for children at this age. It also develops ensemble skills not possible in traditional private lessons. Students must not only listen to themselves, but to everyone else in the group, and learn to hear whether they are playing together, and in tune or not. In private lessons, students rarely get a chance to perform in a group and therefore do not learn to play rhythmically and accurately with the necessary precision. As some students may be taking other music lessons, it is important to note that playing other instruments supports the proficiency with the primary instrument. Learning a string instrument also develops the ear in a way that playing any other instrument does not. For instance, when one plays a “G” on a piano, flute or guitar, he will get a “G”. But on the violin, viola, cello or bass, the student must listen to make sure he is playing the note in tune. He has to actually hear the pitch, and then make the pitch by placing the finger in the exact place on the fingerboard. While Suzuki may be the most natural means of learning music, the practice is not always viewed as “fun.” Mel Levine, in his book, Ready or Not, Here Life Comes, explains well the pitfalls of a child’s expectations that everything be “fun” and encourages parents to teach children how to work, just as schools show children how to learn. Levine explains the three phases in music and explains that an added benefit of music practice is the experience of diligence; the applications of which, later in life, are far reaching. There are suggestions to be offered by the Suzuki instructors on ways to adjust your child’s practice along with other key information to support your student in this endeavor. Parents are integral to students success in this program.

	How to Help your Child at his Lesson
	You will be attending the lessons regularly. Teach your child to watch lessons in progression if he must wait his turn. The best way to do this is to watch the lessons yourself. This indicates to your child that something important is going on and also gives him a role for good behavior. Use the same routines and sequences of events that you observe at the lesson when you practice at home. Use the same language and do the same exercises that the teacher uses. The teacher is watching for signs that the material has become easy and natural for the child before advancing to the next steps in his learning. During the lesson avoid talking to your child or giving expressions of praise or disapproval unless the teacher indicates directly to you that it is appropriate at that particular time. A child may be forgetful at his lesson, or do poorly in that which he did well at home. Do not become alarmed or interfere by exclaiming or offering advice. The child is in a relatively unfamiliar situation, and by “helping” you will only postpone the day when the relationship between teacher and child is an easy and natural one. The child’s attention should be on his lesson and his work with the teacher. Help him focus by not intruding. If you have your child’s best interest at heart, let him make mistakes. The lesson is a learning process, and he is learning through his errors. He is also learning that it is quite all right to take a chance, and that a mistake is not the end of the world. Most students learn to smile along with their teacher when a mistake sneaks in! If a child makes many mistakes in his lesson, do not scold him, either then or later, but resolve to practice more and better with him before the next lesson. Good practice is the cure for bad lessons. Bring your lesson notebook and the music to every lesson and write down the important points as the teacher presents them. Add words of your own if they are needed to clarify the teacher’s language. You may bring a video recorder to record the lessons. If you don’t know or don’t understand something about the lesson, the material, or the way to practice at home, ASK! Do so as you sense the lessons is drawing to a close, not after your child is dismissed and the next lessons is scheduled to begin. Leave that needlework, magazine, book and letter writing at home! You have a crucial role to play in your child’s success, so pay attention. You may also be asked to participate in the lesson. Brothers and sisters are welcome to attend lessons IF they are young enough or mature enough not to require much attention from the parent. When babies no longer sleep or listen quietly, or when an older child keeps approaching the parent for one reason or another, a hired sitter may be called for. When watching other children, either in their lesson or during group class, resist the temptation to make comparisons with your child.  Such comparisons can be unfair to all concerned, especially since you know very little about the background of the others. Children are sensitive to even the most offhand comment that might indicate they could be, or should be, doing better than they are. Enjoy the lesson. Appreciate interaction between the teacher and your child. Notice that the teacher smiles often and elicits cooperation by recognizing achievement. © Loraine Fink, 1996

	How to Help your Child at Home
	Practice regularly – everyday, seven days a week—no matter how many other demands present themselves. Play the artist’s recordings of the music being learned. Do this casually, several times a day, without concern whether the children are listening attentively. The age of your child will be a major factor in your approach to practice. If your child is a preschooler, keep the elements of a game in high priority, since learning takes place best when an activity is fun. Let your child have some say about the schedule for daily practice. Make a chart showing the times that you have both agreed to, and post it as a reminder. Be enthusiastic yourself about practice. Find an interesting practice routine that will cover the tasks to be done. List the assignments for the week and decide in what order they will be practiced. This can be done by using a prepared chart, by drawing lottery cards, or by some other system. Know (ask your teacher) what is reasonable to expect. Children learn at different rates, but excessive demands (or leniency) as a regular diet will create tensions and disinterest. Actively involve your child in determining specifically what is to be learned how to go about it. Do not tell him what the teacher said—ask him. Learn how to work in very small steps—one note, two notes, a measure. Connect one small step to another and rejoice in the progress. Motivate your child by making a chart which shows his progress. Be creative. Learning the notes, fingerings and other technicalities is the beginning of study for a musical piece. Only through mastery will it contribute to the building of permanent skills. As you advance in the repertoire, spend more and more time reviewing and improving the pieces learned. Never begin work on a new piece unless your teacher has suggested or approved it. Be generous with encouraging remarks even though a good effort may not have produced successful results. Praise or criticism should be directed toward your child’s efforts, not his character. Avoid verbalizing irritation, and reward your child with love and appreciation. Precious moments between parent and child for making music and working together should not have to be shared with a younger sibling. Make special arrangements, if necessary. Tape a practice session occasionally. The child hears himself; you hear yourself. You both are sure to get some objective feedback. Sense when a practice session is over. It is more important to return to the instrument with joy and enthusiasm tomorrow than to force a few extra minutes today. Once or twice a week, give a home concert for the parent who does not usually supervise the practice sessions. Including bowing and applause.