• SHAR Blog
  • SHAR Blog
  • SHAR Blog

Summer Suzuki Institutes Are Just Around the Corner

Posted by Joseph Chapman on May 2, 2013 12:20:00 PM

I have plenty to regret from my high school days, but strangely enough one of my biggest regrets isn't one of the usual suspects: a train-wreck romance, a misguided teenage prank, or an angst-ridden poem I stupidly shared with friends. No, it's summer camp. Or, rather, not going to summer camp.

In North Carolina, right before spring and allergy season cloud what little sense a teenager has, high school teachers notify their best and brightest sophomores that they've been accepted to a month-long academic and arts program called Governer's School. (The nomination and selection process goes on behind the scenes, and starts in September.)

When I received my letter of acceptance for the Governer's School English Program that March, at first I was giddy. Someone noticed me! But when I saw that I'd be away from my friends for a whole month, I made, objectively speaking, a bad decision. Why would I want to go to school for a whole month during the summer? My teachers and guidance counselors were confused when I declined, but the decision made perfect sense to me.

That is, it did until late in the summer when I hung out with a friend who actually went. He described the comraderie, the fancy labs (he went for science), art studios, and the palpable dedication and creativity. My high school self still scoffed at his description, but I secretly wished I had gone. And as I've gotten older and taught at some wonderful summer institutes (like the Young Writers Workshop at the University of Virgina), my regret has grown. These summer institutes -- where testing and the hazards of typical school days disappear -- are havens for young creative minds.

All of this is to say that you should check out the Suzuki Summer Institutes schedule posted here. The Suzuki Method is meant to be a community effort (like language!), and I can't think of a better place to have that happen than a supportive, immersive summer institute. As Alexandra Ostroff, a Suzuki Teacher-in-Training at SHAR told me, "Taking a week to spend immersed in music is well worth the time and money. As a child seeing the wide ranges of players at camp help inspire me to practice harder and become a better player." One's creative endeavors, especially as a child or adolescent, aren't easy to maintain. But the right support structure, even if it's only for a week or two, can nourish an aspiring artist throughout the year.

For more on the Suzuki Method and summer institutes, check out Suzuki instructor Lucy Lewis's series of blogs here

Read More

Topics: Suzuki, Violin, Beginner Violin

Inching Through Twinkle Variations with Nonpareils

Posted by Joseph Chapman on Oct 25, 2012 10:15:00 AM

Our latest blog is from Nerissa Nields, a Suzuki mom of two and folk singer in the band The Nields. Nerissa confronts an important question in this post: How do family dynamics show up in her son's Suzuki lessons? Her response is refreshingly honest: while she expresses a lot of frustration with her son Johnny, she ultimately recognizes and respects his current limits.

Johnny has had four violin lessons and one group class. It’s so strange to see how different two children can be. After years of telling friends that my kids were more alike than not, as violinists at least they show their proclivities. Lila’s bow-hold was right-on from the start; Johnny grabs his fat marker in his fist and doesn’t comprehend that one does not wield it like a sword. We are supposed to be clapping out each of the six Twinkle variations to our new teacher’s words, but Johnny wilts after one-half of one, where Lila dashed ahead, graduating from her Twinkles in less than nine months. I take his fists in my two hands and tap them together for claps, but he says, “Dis gives me a stomach ache.” And more painfully, “Dis is my body and I get to do what I want!” Who can argue with that?

In Paul Tough’s new bestseller How Children Succeed (which I am supposed to be reading but haven’t started yet, but I did listen to half the This American Life piece about it) he argues that the skills most necessary to teach kids are self-control, to learn to focus attention, and to delay gratification. The exercises our teacher gives us are all about these skills. We start with a bow in which Johnny says, “Good morning” or “Good afternoon” or “Good evening,” depending on what time it is. We listen to the Suzuki Slow Twinkle CD and clap along, as I said above, and we listen to the Twinkles up to speed while he sways back and forth, his feet in playing position and his box violin on his shoulder. Then we do “Up Like a Rocket” with his pen-cum-bow and his bunny bow-hold. He wants to make up his own lyrics, but his teacher insists on hers. Delay gratification. He wants to make his pen go horizontally for “back and forth like a choo choo train,” but his teacher makes him keep it vertical. Self control. He ends each practice with “Thank you for the wonderful lesson,” and a bow. Nothing to complain about that. It’s teaching him good manners.

So why is this all so hard for me? Because he doesn’t always want to do any of it, and I feel foolish, frustrated, helpless, and most of all like a Tiger mom. A failed Tiger mom at that. We set up his foot chart (a 20″ cardboard with construction paper cut outs of his feet positions) and it can take 20 minutes for him to get in rest position and bow. Before he can do this, he has to fall on the floor a few times, balance on one foot and go, “Whoa! whoa!” and wave his arms around, ask for a drink, decide he has to pee, take off his shirt, roll up his pants legs, look out the window to see if Gulliver the Cat has come over, look out the window to see if his dad has biked home yet, set up his favorite cars to watch the practice, go get his ducky to watch the practice, count the marbles in his marble jar and then fall on the floor crying and insisting he hates violin and never wants to play again.

And we haven’t even picked up the actual violin.

Lila’s teacher Emily Greene says that whatever you are dealing with in terms of family dynamics will come out in the violin practice. As an author, and a teacher of writing, I notice that whatever is hard for me in life is hard for me on the page, and so it goes with my students. If a student doesn’t know herself, it is hard for her main character to be known. If a student is impatient and in a hurry, her scenes will skim by. If a student is fluent in the language of emotion but slow to take action, her scenes will be rich studies of humanity but lacking plot. And if a person cares more about being liked and well-thought of by teachers and other authority figures (but not little boys) and is the tiniest bit afraid of confrontation, violin practice sessions can turn into the Clash of the Titans.

Today I wised up. I looked at what we were being asked to do. Johnny can’t make it through even one Twinkle, either in the swaying exercise or the clapping one. Our teacher doesn’t know this because I haven’t told her. Instead I have brought her practice sheets covered with stickers (and let’s be truthful: the stickers are for me, not Johnny. I am the one who puts them on and gets a big hit from seeing them taking over the yellow lines of the paper.) But I will go in on Thursday and tell her we need to slow down, even though progress seems snail’s-paced to me as it is. And this morning, I got down a shaker of nonpareils which I used to bribe him to do each item on our practice sheet. I had Johnny bow, do one Twinkle variation for swaying, one for clapping and his up like a rocket. It all took five minutes. I hugged him and praised him and he bowed deeply. “Sank you for a wonderful lesson,” he murmured.

Read More

Topics: Suzuki, Violin, Beginner Violin, Teaching

Suzuki from a Pop Musician’s Perspective

Posted by Guest Blogger on Oct 19, 2012 10:39:00 AM

Our latest blog is from Nerissa Nields, a Suzuki mom of two and folk singer in the band The Nields. Nerissa discusses the importance of process in the Suzuki method: her kids' teacher, Emily Greene, considers the violin almost a "by-product" of the method.  

My niece, with her band, has recorded her first single, which she wrote, sings lead on and plays bass on. It’s a rocking song called “Speak Up!” and my kids just got their mitts on a CD of it.

"Speak up, stand up/Don’t let anyone tell you what to do… " sings my 6-year-old daughter, along to her beloved cousin’s vocal. Her little brother mimes playing the descending bass line on air guitar. We’ve listened to the song four times in a row. I am blown away by the confidence, the mastery, the reedy sweetness of the eleven-year-old voice. And, to make matters even more delightful, the song is about music itself, and the deliciousness of coming into one’s identity as a young musician:

"In music there are no lines to cross/In your own song you are always the boss."

Ah, the freedom of the pop musician. Tom and I just came from a Suzuki parent class, a two-hour affair held for all parents of Suzuki kids of all instruments. I felt tearful – in a good way – by the end of it. Other parents shared their reasons for taking on what is the equivalent of a college class (and we’re talking about just the parents’ role here!):

- "It gives my son confidence and something he can be proud of."
- "It teaches my daughter that if you practice something, you will get better."
- "If I am there to guide them, it keeps them from laying down the wrong neural pathways."
- "This is an opportunity to give my child the ability to master something."
- "She whistles the themes of the music all day long!"

Interestingly, none of the parents said, "Because I want my child to be the next Joshua Bell." Everyone present was more interested in process than product. In fact, the teacher (Emily Greene) even referred to playing the violin as a by-product of the method. The real fruits are compassion, frustration tolerance, self-control, appreciation of beauty, self-esteem and a closer parent-child relationship.

Even though I, like my niece, have relished the freedom I have had as a folk/pop/rock musician to be the "boss" of my own songs and my own music practice, I am all for Suzuki, especially the fruits listed above. And the above are the reasons I show up day after day to the practice sheet our teacher makes, and insist Lila pick up her fiddle and play her repetitions of "Allegro" and "Witches’ Dance," even when she responds by becoming boneless and falling onto the floor.

We parents also went around and shared what is hardest for us about Suzuki. Most said the conflicts arising around practice. I added that for me the biggest fear is the thought that plays in my head when Lila doesn’t want to practice and I am making her: I am destroying her love for music! And: how will she become the boss of her own musicality? (Most specifically, will she have the courage to compose?)

Why do I have these thoughts? Because sometimes I hear from other rock musicians that they were forced to take music lessons when they were kids and they hated "that classical sh*t."(Of course, they went on to become professional drummers… ) Or because my father said he hated having to practice his cello growing up (of course he plays guitar now, all the time, whenever he can get his hands on it, and no one makes him… ). Or that my daughter herself says, "I’m sick of practicing!" (But if I tell her she can quit, she immediately goes running for her instrument.)

Music is hard. There’s no getting around the fact that in order to play half decently one has to put in some hours. And most musicians have some kind of internal struggle with practicing. (Some don’t. My friend Pete Kennedy told me he still practices 3-5 hours a day, and I can’t imagine he "makes" himself do this. His guitar seems like an appendage of himself.) But anything worth having a lifelong relationship with takes time and perseverance and has hard spots. Somehow we (I) get the idea that music should be all pleasure. Nothing is all pleasure. Everything that matters in life takes work: getting to see a great view from the top of a mountain. Having an incredible relationship with another person. Writing a beautiful poem. Painting a picture. Creating a garden from a patch of weeds. 

At the outset of lessons, neither parent nor child counted on the struggles that can often come between them during practices. First lessons often start after children have seen other children performing – or perhaps playing games in group class. The parent-child duo takes up an instrument with beautiful images of working together happily to produce delightful sounds. There’s usually a honeymoon period, but before long, parents begin to realize that the work of practicing resembles gardening with your bare hands more than arranging fresh flowers in a vase. (And don’t be fooled: even the parents who appear that have practices as graceful as an ikebana also run into a thorn now and then.)

An important truth from gardeners can help parents who practice with theirchildren: you can’t tug on a play to make it grow. You have to trust the process. But there’s nothing wrong with fertilizing, watering, and generally caring for a plant. That’s what gardeners do. Parents need to do it as well. In the process of tending beautiful flowers and nutritious vegetables, gardeners also encounter weeds. And pests. They also get some dirt under their fingers. In their own way, so will parents. (from “Building Violin Skills,” Ed Sprunger)

This beautiful quotation from the Suzuki teacher, violinist and psychotherapist Ed Sprunger hit me where I lived yesterday when Emily read this to us. As a writer and a teacher of writing, I realized the universality of this thought. You can’t tug on your writing, either. You can’t tug on your relationship. You are not the creator, and as a certain president recently said, no one is really self-made. We all need each other.

You have to leave space for the serendipitous, like your 11-year-old-budding-rock-star niece lighting a fire under your 4-year-old pre-Twinkler. For as soon as he’d finished listening to his cousin’s single (5 times in a row), Johnny, who just had his first lesson last Thursday, grabbed his tiny 1/16th size violin and started playing her pop song’s rhythm on the E string. We waited until the next day to inform him that, as a pre-Twinkler, he can’t actually touch the violin yet (this produces tears, but it also builds a powerful desire). So now, the violin’s hanging on the wall, next to his sister’s; under my guitar.

Read More

Topics: Suzuki, Violin, Beginner Violin, Teaching

Suzuki Teacher Training at Stevens Point: Part 3

Posted by Guest Blogger on Sep 27, 2012 10:52:00 AM

We're grateful to have Lucy Lewis, a trained Suzuki teacher and doctoral student in musical arts at the University of Iowa, share a series of blogs about her experiences at American Suzuki Institute at the University of Wisconsin-Stevens Point. Every summer, the Suzuki Institute hosts a teacher training session at Stevens Point, and this summer Ms. Lewis was one of the teachers-in-training. This entry is Ms. Lewis's third and last about her training at Stevens Point, and we'll certainly miss having such a thoughtful and wise voice as Ms. Lewis's on our blog. Ms. Lewis shares quite a few insights from her teacher training, but we were particularly drawn to this gem: if we have a sincere love for our students and our goal as teachers is to develop their character and musicianship, we also need to tend to ourselves by "recharging and reconnecting with colleagues." Simply put, we can give more to our students when we persist in our lifelong development as teachers. please leave a comment below thanking Lucy for her blogs or send her an email at lucy-lewis@uiowa.edu

Read More

Topics: Suzuki, Violin, Beginner Violin, Teaching, Stevens Point

Notes from a Suzuki Mom: Strengthening Family Bonds Through Music

Posted by Joseph Chapman on Sep 14, 2012 1:37:00 PM

We've had some great discussions on our blog about the value of a music degree, the difficulties of earning a living as a string player, and the importance of early music education. But what we haven't talked about is how much playing music can bring families together. Nerissa Nields of the folk band The Nields writes this on her blog: "There really is nothing like music to strengthen family bonds." She's reflecting on time spent with her parents, her sisters, her children and her niece, an evening in a mountain cabin when all three generations played and sang together, talked to each other with and through music. We're not sure there's a better argument out there for music education.      

Last night, Katryna and I played a show for the Williamsburg elementary school – a sort of pre-opening end-of-the-summer hurrah. Because of the rain, the event was held indoors and families spread their blankets out on the floor of the gym to have their picnics. But within minutes, Katryna was teaching everyone "A Ram Sam Sam," and the room was full of big arm movements and waving. Hard to eat pizza that way. A little later, the sixth graders had bounded down from their seats in the stands and were front and center dancing to "Going To Boston." I kept thinking, "What an easy way to make people happy – just add music and dancing."

It’s been a very musical summer. We started off at Kripalu the week of July 4th and led a Family Music Camp there, complete with drum crafting, harmony singing, a trip to Tanglewood to see and hear James Taylor, and a performance at the conclusion, complete with a (Suzuki) string section and ukulele Orff. A few weeks later, we took our four kids to Falcon Ridge where they reprised their guest appearance with Guitarchestra (and violins) and joined us on "Mango Walk" – including the grandparents.

Most recently, we spent time with our sister and her kids and our parents in the Adirondacks. One night we put on a play for our father in honor of his turning 70; the kids made up most of it (it was a sort of hybrid of Harry Potter – the hero was Granddaddydore – and our own family mountain climbing lore). And we three sisters sang him a song with new words to "The Unicorn Song" (a feat taught to us by our dad and written about extensively in our book All Together Singing in the Kitchen). Later that week, we pulled out guitars and violins and Loogs and sang together: "Red River Valley," "Sweet Baby James."

There really is nothing like music to strengthen family bonds. I know we say this all the time – in fact it’s our mission in life to live this truth and teach it to others – but sitting there in our shared house in the mountains, playing guitar across from my niece, whispering the chord changes to her so she could follow along, and having that long, never-ending musical conversation, I was so grateful for every music class I have taken, every time I really listened to a record album, every scale I played on guitar or piano.

Read More

Topics: Suzuki, Beginner Violin, Guitar

Suzuki Teacher Training at Stevens Point: Part 2

Posted by Joseph Chapman on Aug 13, 2012 3:35:00 PM

We're grateful to have Lucy Lewis, a trained Suzuki teacher and doctoral student in musical arts at the University of Iowa, share a series of blogs about her experiences at American Suzuki Institute at the University of Wisconsin-Stevens Point. Every summer, the Suzuki Institute hosts a teacher training session at Stevens Point, and this summer Ms. Lewis is one of the teachers-in-training.This entry is Ms. Lewis's second dispatch from Stevens Point and, though it's hard to believe, it's even richer than her first. In this entry, Ms. Lewis shares her admiration for two master teachers at Stevens Point and describes their successful approaches to instruction. It's truly amazing to observe a master teacher at work; what's even more amazing, however, is to observe a developing master teacher – Ms. Lewis – learn her craft.   

Since the last time I wrote I have completed the Suzuki teacher training for Violin Book 8 with Carol Dallinger (Oramay Cluthe Eades Distinguished Professor of Music at the University of Evansville and founder of the University of Evansville Suzuki Program), and I am currently in the midst of doing the training for Violin Book 5 with Nancy Lokken (Director of the Augsburg College Suzuki Program). Both of these ladies are incredible people and masterful teachers, and it has been a privilege to train with them. However, before I detail some of the things I have learned, I would like to share with you some thoughts of wisdom that were passed on to all the teacher trainees in our orientation meeting.

Read More

Topics: Suzuki, Violin, Beginner Violin, Education, Stevens Point

Suzuki Teacher Training at Stevens Point: Part 1

Posted by Joseph Chapman on Aug 7, 2012 4:14:00 PM

We're grateful to have Lucy Lewis, a trained Suzuki teacher and doctoral student in musical arts at the University of Iowa, share a series of blogs about her experiences at American Suzuki Institute at the University of Wisconsin-Stevens Point. Every summer, the Suzuki Institute hosts a teacher training session at Stevens Point and this summer Ms. Lewis is one of the teachers-in-training. In her first entry, a reflection before she begins the training (to be followed by two more blog entries, one during and one after), Ms. Lewis explains her love of Dr. Suzuki's method and her high expectations for the training. Ms. Lewis admires Dr. Suzuki's commitment to every child's musical development and hopes that by observing the master teachers at Stevens Point she'll become a better teacher herself. By the end of the blog, Ms. Lewis confirms that she sees the Suzuki method not only as musical training but as "life training." 

As I am writing this blog, I am currently en-route to the American Suzuki Institute at the University of Wisconsin-Stevens Point (with eager anticipation!) to do Suzuki violin teacher training for Volumes 5 & 8 of Dr. Suzuki’s “Mother Tongue” method. This summer will mark the fourth year in a row that I have been attending the American Suzuki Institute to do Suzuki violin teacher training and I have grown to look forward to these two weeks out of my summer more than anything else. “Why?” you might ask.

First, let me share with you a bit of the history of this particular institute. This institute was founded in 1971 by the late Marjery Aber, who was one of the first to study with Dr. Suzuki in Japan. This is the first institute that Dr. Suzuki visited in the United States and under Ms. Aber’s leadership (and currently that of Pat D’Ercole’s), it has since become a flagship model for other institutes that have spread across the nation.

Every summer world-class faculty, along with students, siblings, parents and teacher trainers gather together to play, teach, grow and learn from each other in this little town affectionately known as “The Point.” The atmosphere is charged with positive vibes and I firmly believe that one would have to go a long ways to find a happier group of people than “Suzuki-ers.”

Read More

Topics: Suzuki, Violin, Beginner Violin, Teaching, Stevens Point

Learning to Jam: The O'Connor and Suzuki Methods

Posted by Joseph Chapman on Jun 29, 2012 4:48:00 PM

I've been thinking a lot lately about Mark O'Connor's blog articles, especially his most recent ones "The American Violin" and "Suzuki Has Gone Fiddlin'." The comments section of Mr. O'Connor's blog, especially the "Suzuki Has Gone Fiddlin'" article, show just how much disagreement there is in the American classical community on our preferred teaching methods.

Plenty of folks swear by The Suzuki Method, which was revolutionary when it took hold in the United States through John D. Kendall in the 1950s and '60s. At its core, The Suzuki Method believes that music education functions a lot like early language acquisition: if you create a vibrant musical community through teachers, recordings, concerts, and peers, then there's no reason your child can't learn to play the violin. Or, that learning the violin is as easy as learning to speak and read. (Which is still pretty hard sometimes. More picture books, Dad!)

So why do we need to change anything? Why does O'Connor want to rethink the way we teach our kids to play the violin?

While appreciative of The Suzuki Method's faith in each child's musical ability, Mr. O'Connor wants more. His O'Connor Method focuses on traditional American music like blues, folk, jazz, and spirituals; by making these genres the focus of his method, O'Connor opens the door to imrovisation and thus to individual creativity. (You simply can't learn to play jazz without learning to jam.)

That said, the more articles I read by O'Connor, and the more I examine his method books, the more I'm convinced that he wants just one thing to happen for his students: for them to find their voice. One of my favorite poets, Seamus Heaney, has written on the difference between "craft" and "technique," and I think it's relevant here if only to freshen to conversation about the Suzuki and O'Connor methods. For Heaney, discovering your "technique" is pretty much what most of us would call "finding your voice":

I think technique is different from craft. Craft is what you can learn from other verse. Craft is the skill of making … It can be deployed without reference to the feelings or the self. It knows how to keep up a capable verbal athletic display; it can be content to be vox et praeterra nihil—all voice and nothing else—but not voice as in ‘finding a voice.’ Learning the craft is learning to turn the windlass at the well of poetry. Usually you begin by dropping the bucket halfway down the shaft and winding up a taking of air. You are miming the real thing until one day the chain draws unexpectedly tight and you have dipped into waters that will continue to entice you back. You’ll have broken the skin on the pool of yourself. ("Feeling Into Words," pgs. 20-21)

Craft looks a lot like technique, but we certainly know technique when we see it. You get goosebumps when you witness technique; you feel like you're hearing something no one has ever heard before. Or, as Emily Dickinson said, you feel like the top of your head has been blown off. And when you learn technqiue, you're finding your voice, which can be as distinct as the way you walk, speak, or dance.

O'Connor's deep fear is that we're teaching children craft but not technique. We're teaching capable musical displays but not equipping our students with the true creative potential of technique. (It's a heavy moment in your artistic life, when you've broken the skin of yourself and you're no longer pulling up air, but it's one that is worth the wait.)

There have been plenty of counter stories, though, from Suzuki graduates about how their violin teacher included American genres and encouraged creativity. They narrate a more complex Suzuki Method, a hybrid method. On his blog, O'Connor recognizes the potential of a more hybrid Suzuki Method but worries about the lack of real commitment to creativity in this approach and the dangers of a hodgepode approach to musical education. He's put serious thought into the progression of his method and it's distressing, I think, to contemplate a buffet approach. Fair enough.

In the end, I'm not sure anyone can tell you which method is right for your child. But I do believe techique is necessary to any serious creative endeavor. If you want your child to write American music, then your child needs to find his or her American voice. That begs the question, however, if creativity and finding a voice are always what we want from art. Those things can be frightening in a way that performance isn't.   

Read More

Topics: Suzuki, Violin, Beginner Violin, Violin Method, Mark O'Connor, String Community

Notes from a Suzuki Mom: Alignment Enlightenment

Posted by Guest Blogger on Jun 26, 2012 12:56:00 PM

I'm in awe of Nerissa Nields's latest post for our music blog. It's perhaps a cliche these days among teachers and parents to say – however true it may be – something like "My students (or daughter) actually teaches me." Nerissa certainly borrows that approach, but her entry doesn't stop there. She goes on to talk about music, yoga, and her daughter's violin lessons as practices where chasing perfection only distracts the practitioner. In the end, Nerissa's approach is both terrifying and peaceful: it suggests that if there is a goal to our dearest pursuits, it's not conventional success but the humility that comes from struggle.   

Each week, our violin teacher gives us a practice plan, a sheet with a grid on it with the days
of the week horizontally across the top and various items listed vertically on the left hand side of the page.


At the top of every sheet, as you can see, is something Suzuki teachers call Main Focus. One week the focus might be on the bow hold; another week it could be getting the hand and wrist aligned. Recently we were focusing on intonation (getting the notes in tune, which is no small feat when there are no frets, sez this guitar player–and made me realize how like singing violin playing is since one needs to rely on one’s ear for pitch.) This week the Practice Point is about getting the fingers to stand up, so that the tips touch the string and are not flat like pancakes.

We practice to make it easy, says our teacher Emily Greene. And we make it easy by doing alittle every day, not forcing perfection (which is the enemy of the people, as the great Anne Lamott is fond of saying) but nodding at improvement. OK, wildly applauding improvement. With a six-year-old, it’s pretty stunning how quickly the brain absorbs the teaching, and how, when guided gently, the playing grows and improves. On the other hand, a phrase learned with a wrong bowing and not corrected is fairly difficult to unlearn. We tend to have the same “sticky” passages everyone else has, but if we learn them right the first time and go slowly to learn them, we pass by these obstacles with ease. If I let her play them over and over, knowing vaguely there’s something wrong but not having the energy to get off my seat and check the video (yes, I video the teacher playing the piece correctly during the lesson), then Lila will have to do many repetitions later on to get it right.

Read More

Topics: Suzuki, Violin, Beginner Violin, Parents, Education

Shinichi Suzuki – The Man and the Violin Method

Posted by Alberta Barnes on Jun 1, 2012 7:00:00 AM

Read More

Topics: Suzuki, Violin, Beginner Violin, Parents, Education, Practice

Subscribe to Email Updates

Posts by Topic

see all