A Suzuki Teacher Training Journal: Day Two
Most SHAR employees are players in addition to being luthiers, salespeople, purchasers, or web developers. So when one of our senior customer care specialists asked to attend the Phoenix Phest Grande Suzuki Teacher Training Workshop, we said, "Sure! But can you also blog about it?" Not only has Alexandra Ostroff sent us dispatches from her training workshops, she's generously shared her reflections on the Suzuki Method, allowing us to witness the discoveries and challenges of this week-long session at Phoenix Phest Grande.
August 4, 2013: Suzuki Violin Unit 1 Teacher Training
Yesterday, I’d resolved to memorize Suzuki Book 1 as quickly as possible. With that goal in mind, I spent the morning car ride listening through Suzuki CD Volume 1 as an attempt to refresh the material – it was a rather lucky coincidence that the car ride was just the right length to make it through the disc! My extra listening seemed to make a difference when we played the pieces in our group sessions today. Although I still can’t make it all the way through every piece, I did not need to pull out my music for reference. When our Teacher Trainer had us answering questions while we were playing, I realized how much more work there was to be done with memorization and internalization of the music. The reality of leading a group class is that you need to be able to play while giving instruction – something that is not possible without having the repertoire internalized entirely.
Last night, one of the reading assignments was Teaching From the Balance Point by Edward Kreitman. It is a wonderful guide for parents, teachers and students that highlights some of the skills that a Suzuki teacher will be teaching their student and explains them in a fashion that anyone can understand. The highlight of this book for me was the chapter entitled Rote Versus Note. This was eye-opening to me in that with the appropriate skills in place a child can work out how to play a piece on his own. When the teacher instills in their student the knowledge of their instrument’s geography and the skill of being able to verbalize and understand if a note is the same, higher, lower or a skip away from the one preceding it, the child can organically work out how to play a piece. This also requires a great deal of listening by the student (which I’ve already mentioned is leading me to success in my memorization goal for the week).
With the addition of a great deal of lecture on the appropriate posture and bow-hold set-up and the outlines to the first lessons that a “Pre-Twinkler” will experience, the puzzle pieces of the Suzuki Method are coming together for me. This process, when done correctly, and with excellence in mind, organically produces a mastery of a truly perplexing instrument.