VOLUME 29, N0. 1, SPRING 2018 1 “The Mission of the Suzuki Association of Ontario is to promote and support the Suzuki Method of learning by nurturing excellence in education” MEMBER PROFILE SEE PAGE 20 SEE PAGE 3 FOR FULL TABLE OF CONTENTS NEWSLETTER SUZUKI ASSOCIATION OF ONTARIO Letter from the Chair Spring has arrived, March Break is over, and warm, sunny weather is sure to be on the way! While reading this newsletter you may find yourself dreaming of summer even though spring has barely started–there is information about many summer camps and institutes for students and parents, as well as teacher development courses all over Canada. There is training available for Bass, Guitar, Flute, Trumpet, Piano, Viola, Cello, Violin, and Suzuki Early Childhood Education! There seems to be a camp or workshop available for students almost every week of the summer. While you are planning ahead, please put the dates for our next SAO Conference into your calendar. The 2019 Conference will be held in Etobicoke on November 10 - 11. The Suzuki Association of the America’s fantastic program Parents-as-Partners Online is live now, and will be active through October 15. The SAA Biennial Conference will be held in Minneapolis from May 24 - 28. The theme this year is “A Collaborating Community.” This is my second spring newsletter as chair, and I am so pleased with the wonderful content that we are able to share with you. Thank you to everyone that sent in contributions for this newsletter. Last spring, we introduced the ‘Hive-Mind’ feature, created by SAO Vice-Chair Lenni Jabour. Have a look at the Hive-Mind in this issue (p 13). You will find three thoughtful answers to the question from the winter, as well as an intriguing new question. We would love to hear your thoughts! Jeremy Viinalass has written an article that considers whether a positive mindset can help a student find pleasure in practicing (p 15). Gail Lange asks ‘What is the connection between learning by ear and reading?’ (p 16). Deborah Henderson reviews the book ‘The Perfect Wrong Note’ (p 16). If you need some inspiration, read the article sent in by Suzuki parent Sylvia Chan (p 19). After reading of her children’s success at their workshop masterclasses, I found myself wishing we had a masterclass session today! In this newsletter you will also find an original piece of music. Prelude in e minor by ten-year-old Parker Turnbull can be found on page 18. Would you like to join our board? We are in need of a new Secretary. See page 15 for more details. ◆Carmen Evans AREA REPORTS SEE PAGES 8-11 ETOBICOKE CONFERENCE SAVE THE DATE: NOVEMBER 10 -11
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VOLUME 29, N0. 1, SPRING 2018 www.suzukiontario.org
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“The Mission of the Suzuki Association of Ontario is to promote and support the Suzuki Method of learning by nurturing excellence in education”
MEMBER PROFILE SEE PAGE 20
SEE PAGE 3 FOR FULL TABLE OF CONTENTS
NEWSLETTERSUZUKI ASSOCIATION OF ONTARIO
Letter from the Chair Spring has arrived, March Break is over, and warm, sunny weather is sure to be on the way! While reading this newsletter you may find yourself dreaming of summer even though spring has barely started–there is information about many summer camps and institutes for students and parents, as well as teacher development courses all over Canada. There is training available for Bass, Guitar, Flute, Trumpet, Piano, Viola, Cello, Violin, and Suzuki Early Childhood Education! There seems to be a camp or workshop available for students almost every week of the summer. While you are planning ahead, please put the dates for our next SAO Conference into your calendar. The 2019 Conference will be held in Etobicoke on November 10 - 11.The Suzuki Association of the America’s fantastic program Parents-as-Partners Online is live now, and will be active through October 15. The SAA Biennial Conference will be held in Minneapolis from May 24 - 28. The theme this year is “A Collaborating Community.”This is my second spring newsletter as chair, and I am so pleased with the wonderful content that we are able to share with you. Thank you to everyone that sent in contributions for this newsletter. Last spring, we introduced the ‘Hive-Mind’ feature, created by SAO Vice-Chair Lenni Jabour. Have a look at the Hive-Mind in this issue (p 13). You will find three thoughtful answers to the question from the winter, as well as an intriguing new question. We would love to hear your thoughts! Jeremy Viinalass has written an article that considers whether a positive mindset can help a student find pleasure in practicing (p 15). Gail Lange asks ‘What is the connection between learning by ear and reading?’ (p 16). Deborah Henderson reviews the book ‘The Perfect Wrong Note’ (p 16). If you need some inspiration, read the article sent in by Suzuki parent Sylvia Chan (p 19). After reading of her children’s success at their workshop masterclasses, I found myself wishing we had a masterclass session today! In this newsletter you will also find an original piece of music. Prelude in e minor by ten-year-old Parker Turnbull can be found on page 18.Would you like to join our board? We are in need of a new Secretary. See page 15 for more details. ◆Carmen Evans
905 East Area: Laurie Mitchell p:905-623-3118 e: [email protected] North Area: VACANT 905 West Area:Pierre and Susan Gagnonp: 905-844-8718 e: [email protected]
SAO NEWSLETTERConsulting Editor: Carmen EvansArticles/Notices Send to the Editor: Lenni Jabour [email protected] Director: Carmen Evans, [email protected] Send to: [email protected] Cardigan St.Guelph ON N1H 3Z7DEADLINE for next edition:June 5, 2018500 word limit
The SAO Hive Mind 13 ........................................................................................................................
SAO Board Member Opportunity! 15 ..................................................................................................
Practicing… Mind Over Matter? 15 .....................................................................................................
What Is The Connection Between Learning By Ear And Reading? 16 ...............................................
Book Review: The Perfect Wrong Note by William Westney 16 ................................................................................
SAO Scholarships – Teacher Development Report 17 ........................................................................
Bursting With Talent! A Piano Student’s Composition 18 .................................................................
Ottawa Suzuki Strings Teacher Training Workshop and Masterclass…She Did It! 19 ......................
The SAO New Member Feature:Windsor Johnson 20...........................................................................................................................
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SAO Scholarships Reminder: Please note the deadline for application for a SAO Teacher Development Scholarships is May 31, 2018. Details and the application may be found on our website, www.suzukiontario.org
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Job Listings SUZUKI FULL AND PART TIME VIOLIN/VIOLA TEACHERS NEEDED. WEST END TORONTO. BEGINNING SEPTEMBER 2018 Description: Celebrating 35 years of musical excellence, Etobicoke Suzuki Music is a not-for- profit program located in the multicultural and vibrant city of Toronto. Under the leadership of an SAA teacher trainer who studied in Japan, the present faculty of 8 instrumental teachers work with 110 violin, viola, and cello students from pre-twinkle through Bk 10. This strong program is growing and in need of new full and part time violin and viola teachers. Suzuki Early Childhood Education, and extensive enrichment programs are a part of our curriculum. There are many free- lance playing opportunities in the city and surrounding communities. Duties: Private and group lessons for beginning, intermediate, and advanced students. Possible chamber music coaching. Potential opportunities for leadership in artistic management. There are many free-lance playing opportunities in the city and surrounding communities. Qualifications: Bachelors or Masters in Music and SAA training through book 6 registered. Minimum 5 years Suzuki teaching. We are looking for team players with a passion for working with children, a desire to continue lifelong learning, exceptional maturity and an ability to communicate effectively. Canadian citizenship preferred. Salary: Possibility of substantial hours. Please contact for details. Interviews: January to March 2018. Contact: Please send resume and cover letter via email to:Margot Jewell ESM Co-director, Viol in coordinator, SAA teacher trainer Email : [email protected]: 416-407-1935Website: http://etobicokesuzukimusic.caEtobicoke Suzuki Music, c/o 516 The Kingsway, Toronto ON M9A 3W6
SUZUKI PIANO TEACHER POSITION – GUELPH SCHOOL OF MUSICDescription: Established in 1997, The Guelph School of Music is seeking a contract Suzuki piano teacher to start with 2-3 teaching days with the opportunity for expansion. Duties begin September 2018. We are looking for applicants with a passion for teaching young children and a commitment to furthering their Suzuki training.Duties: The teacher will teach private lessons during the school year. The teacher will also teach performance classes held once per term (fall, winter, spring) and attend our winter and spring recitals. Teachers are required to attend Faculty Meetings held 3 times per year. Qualifications: 1. Bachelor’s degree in music and/or Associate Diploma from an accredited conservatory such as Royal Conservatory of Music or Conservatory Canada. 2. ECC and Suzuki Book One Suzuki training.Remuneration: Compensation is commensurate with training and experience. (Range of $40-$45 per hour for teaching duties.) Teachers receive additional remuneration for meetings, recitals and performance classes.
VOLUME 29, N0. 1, SPRING 2018 www.suzukiontario.org
SUZUKI VIOLIN TEACHING POSITION Description: Located in north part of Toronto, this non-profit co-operative school has been in existence for over 25 years. School has around 200 students. For more information about our school, please visit our web site at www.northyork-suzuki.com.
Requirements: University Music Degree SAA accredited training, minimum comp. ECC & Book 1 Commitment to further training
Duties: Teach private and group lessons. Must be available to teach Saturdays Minimum estimated 15 hours weekly private lessons
with great opportunity for more.
Contact: North York Suzuki School of Music 15 Lesmill Rd. Unit 6 North York, Ont. M3B 2T3 (416) 222-5315 email: [email protected]
SEEKING AWESOME FULL-TIME SUZUKI VIOLIN TEACHER Position Name: Full-Time Suzuki Violin TeacherLocation: Western Hong Kong Island, Hong Kong, SAR, ChinaDescription: The Hong Kong Suzuki Music Institute (HKSMI) opened its doors in 2015 in an up-and-coming area of Hong Kong Island. To read about our program please see our website at www.hksuzukimusic.com and our FB page HK Suzuki Music Institute.
Duties: Basic teaching duties will consist of a maximum of twenty-seven contact teaching hours per week, as well as special events during the regular school year. This teaching may include, but is not limited to: master classes, private lessons, group classes, parent seminars, ensembles, musicianship classes, parent groups/lectures, and assisting with early childhood and/or other classes. See http://hksuzukimusic.com/index.php/careers/ for information.Qualifications: Bachelor of Music degree in Violin; All books up to and including book 4 registered with SAA or other international Suzuki Association, 3 years Suzuki teaching experience. English fluency in speaking, reading and writing as the language of instruction is English. Special consideration for those with a second instrument. We are seeking an enthusiastic and flexible teacher who loves working closely with parents and young children.Salary: Full Salary Commensurate with experience; medical benefits; work visa. Contract starts August 15, 2018.Contact: Kindly contact [email protected] for more information and/or send your CV, links for your teaching videos (preferably Pre-Twinkle/Book 1 and a group class), contact information for three references and a cover letter detailing your teaching philosophy.
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Institut Suzuki Montréal • ECC!
July 21, 2018 Catherine Walker• Violin Unit 1
July 22 - 29, 2018 Elayne Ras• Violin Unit 4
July 21 - 25, 2018 Margot Jewell• Violin Unit 5
July 25 - 29, 2018 Margot Jewell• Cello Unit 1
July 22 - 29, 2018 Catherine Walker• Cello Unit 5
July 21 - 25, 2018 Susan Gagnon• Cello Unit 6
July 25 - 29, 2018 Susan Gagnon• Piano Unit 7
July 21 - 25, 2018 Gail Lange• Piano Practicum
July 25 - 29, 2018 Gail Lange
Southwestern Ontario Suzuki Institute • ECC!
August 11, 2018 Gail Lange• Piano Unit 1
August 12 - 19, 2018 Gail Lange• Bass Unit 2
August 12 - 17, 2018 Virginia Dixon• Cello Unit 2
August 12 - 17, 2018 Catherine Walker
• Cello Unit 3 August 12 - 17, 2018 Susan Gagnon• Viola Revisiting Unit 1
August 12 - 17, 2018 Julia Hardie• Violin Unit 1
August 12 - 19, 2018 Margot Jewell• Violin Unit 2
August 12 - 17, 2018 Joanne Melvin• Violin Unit 3
August 12 - 17, 2018 Paule Barsalou• Violin Unit 6
August 12 - 17, 2018 Karen-Michele Kimmett• Violin: Beyond the Suzuki Repertoire
August 18 - 19, 2018 Brian Lewis
For complete information about teacher development courses offered throughout Canada and the US this year, please go to:https://suzukiassociation.org/events/institutes/
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Area Reports 416 AREA REPORT MNjcc Suzuki Program (Gretchen Paxson):All of our teachers were featured in the “MNjcc Suzuki Program Faculty Showcase Concert” held on February 27, 2018 in the MNjcc’s Al Green Theatre. It was inspiring for the students to hear and watch their teachers perform, and equally thrilling for teachers! Our advanced-level students collaborated with teachers onstage for a performance of the Bach Double Violin Concerto. Excellent feedback from our wonderful Suzuki families and the MNjcc community has inspired us to run the event again in 2019.
Looking ahead, the MNjcc’s 9th Annual Suzuki Summer Music and Arts Camp will take place from July 9-13 2018, 9AM -4PM. We are excited to welcome guest teachers Elena Spanu (violin), and Melissa Allen (art) and look forward to working with new and returning Suzuki violin, viola, cello and piano students (and their parents) from across the Toronto area.
The Toronto School for Strings (Mary and Julian Fisher):The Toronto School for Strings and Piano Summer Music and Arts Day Camp will take place July 23-27, 2018 9AM-4PM at The Linden School (10 Rosehill Avenue, Toronto). Our camp offers an enriched , friendly experience for campers ages 4-12 including instrumental classes (Suzuki viola, viola, cello) fiddling, piano, guitar, Orchestra, Chamber Music, Art, Orff, African Drumming, Music Literacy, Theory and Musical Theatre. All faculty are top-notch and experienced in their speciality.
The Toronto Suzuki Studio (Elena Spanu):We are looking forwards to some exciting concerts and collaborations coming up in the spring and summer 2018. On April 29, we will be performing in the Atrium of the Toronto Western Hospital. This concert with feature our group classes, ensembles, parent orchestra and improvisation class. We also look forward to a collaborative concert with violin/violist Janice LaMarre. Students will perform with works as Copland's Rodeo, Bach Double Violin Concerto and Vivaldi’s Spring, in addition to favourites from Suzuki Violin Volumes 1 and 2. Students will also get the opportunity to watch a performance of Schubert Arpeggione and Beethoven Handel Variations WoO45. This program includes a parent talk by Nena LaMarre which will take place before the concert. We are very excited about this collaboration!
We are also looking forwards to our summer camp, which takes place on Lake Nipissing in a facility called Camp Noronto. Children participate in daily groups classes, master classes, choir, ensemble and improvisation classes as well as arts and crafts, swimming, free play and last but not least, campfire and roasted marshmallows! It runs from August 26-31, 2018. All students are welcome. ◆Elena Spanu, 416 Area Representative
VOLUME 29, N0. 1, SPRING 2018 www.suzukiontario.org
519 AREA REPORT Suzuki String School of Guelph launches provisional long-term teacher training program (Paule Barsalou):The Suzuki String School of Guelph is happy to announce that it will offer a two-year program in Suzuki pedagogy, starting with violin teacher training in the Fall of 2018. This will take advantage of the expertise of SSSG’s three teacher trainers: Paule Barsalou and Elayne Ras (violin), David Evenchick (cello). Year 1 will cover Units 1-4. Year 2 will cover Units 5-8 and include a Practicum course, in which participants will teach beginners, guided by a Teacher Trainer, in the SSSG Start-up Program in an under-served neighbourhood of Guelph. We are currently in discussions with Wilfrid Laurier University about offering school credits for taking the course.Celebrating 45 years!The Suzuki String School of Guelph will be celebrating its 45th anniversary with a Spring Concert on April 29 2018, 3PM, at Guelph’s River Run Centre (35 Woolwich Street). The concert will feature current and alumni students. Our school was founded in 1972 by violin teachers Daphne Hughes and Hazel Comer and Suzuki parent-at-the-time Gail Lange under the auspices of the Philharmonic Children of Hamilton. In 1973, Hazel, Daphne, Gail and also Bill Hughes structured the program as its own non-profit organization, founding the Suzuki String School of Guelph (SSSG). From our humble beginnings of two teachers and 20 students, we have now grown to 180 students ages three to eighteen who study violin, viola and cello from beginner to university audition-level, with eight skilled Suzuki teachers. Suzuki bass will be added to our curriculum in the Fall of 2018, and we have currently launched an already-thriving Suzuki Early Childhood Education program. Our classes take place at the Guelph Youth Music Centre, a non-profit charitable organization which originated as an SSSG project. Our mission is to promote the healthy growth and character development of children through the study, practice and performance of music, to build a musical connection between the child, the parent, the teacher and the community; and to promote the Dr. Suzuki’s vision that every child can participate and flourish through a musical community.◆Andrea Cook, 519 Area Representative
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613 EAST AREA REPORT On February 18 2018, Laura Nerenberg gave Creative Ability Development (CAD) workshops to students and teachers from the Montreal Suzuki Community. Two groups of string students (late Book 1-Book2 and Book 3-Book 4) as well as a group of string and piano teachers got to enjoy creating music together in a fun and collaborative setting. Teachers also got an opportunity to improvise themselves, as well as received tips on incorporating improvisation into their teaching. A huge thank you to Ellen Kogut and the generous Montreal area Suzuki community for such a warm welcome!
On February 24 2018, Laura Nerenberg taught masterclasses and group classes for a workshop hosted by Ottawa Suzuki Strings. The students were wonderful and receptive to all the new ideas presented and lots of laughter accompanied the learning. Included in the day of learning was an inspiring and down-to-earth parent talk by Etobicoke-based Suzuki Violin teacher-trainer, Margot Jewell. Margot was in Ottawa to offer a week-long Violin Book 1 teacher-training course and this workshop was part of the culminating week-end of the course. Teachers attending included university students, a teacher from Tennessee as well as professional violinists from the Ottawa area.Following an annual Christmas performance at the Ottawa Hospital Rehabilitation Centre, the Rideau Falls Violins, along with their teacher, Laura Nerenberg, have been asked to return for a more formal, evening performance in the late Spring. Details are being ironed out.
The SAO has featured many a wonderful improvisational workshop at our conferences. Are you a teacher who would like to know how you can integrate improvisation into your daily teaching? Do you wish to deepen your own well of creativity as a teacher and musician? For the first time, there will be a Creative Ability Development Conference, being held in the Chicago area, from April 5-8, 2018 for teachers and April 6-8, 2018 for students. Events for teachers and students at all levels of improvising are planned for this weekend conference. Laura Nerenberg will be attending along with two of her students.The Hammond Suzuki Studio:We’ve enjoyed a busy winter season! This February, everyone participated in the 2018 Practice Olympics: our challenge was to practice like Olympic athletes! Everyone received their Olympic medals at our group class ensemble concert on March 3, 2018. The program also featured repertoire linked through the theme of Song & Dance, with a presentation in collaboration with Camille Saint-Saens’ The Swan - featuring our very own ballerina! On May 13, 2018, we will be hosting the Magisterra Soloists from London Ontario for a concerto play-along, dinner and recital. This event promises to be an incredible opportunity for some young musicians to play their Seitz & Vivaldi concerti with an orchestra, as well as the Concerto for Two Violins in D Minor. After dinner, the Magisterra Soloists will present an evening recital of chamber music. The event is open to all Ottawa area violinists in Book 4 and above. Registration is required, space is limited. For inquiries and registration, please contact Debbie Hammond.◆Laura Nerenberg, 613 East Area Representative
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Laura Nerenberg leading the CAD workshop in Montreal
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905 EAST AREA REPORT Lots of great players coming along in 905 East! While our group is still small, we are so proud of our teachers and students. I hope that you will enjoy Deborah Henderson’s excellent book review, which is also in this newsletter.On February 25, 2018 Deborah and Laurie’s students were featured in the La Jeunesse Youth Orchestra concert. A fantastic concert, all around. Enjoy these pics of our youngsters playing the Seitz Concerto.This was followed by four advanced students performing Vivaldi Concerto in F for 4 Violins. We are busy planning our fourth year of Durham Music Camp: July 2-6. For the past 3 years, it has been a wonderful week for our students – lessons every day, orchestra, music and movement for little ones and many more fun electives. We hope that students outside of our area will consider our day camp.Other busy studios in our area include Svetla Dybenko (cello and guitar), Mary Burke (piano) and Jane Plewman (violin).We all had beautiful Christmas concerts in country settings.◆Laurie Mitchell, 905 East Area Representative
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Seitz Concerto
Laurie's student Christmas Concert in the historic Orono Town Hall
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SAO Conference 2018, Etobicoke Save the date! November 10, 11 2018
Nurturing the Suzuki Triangle with Edmund Sprunger
The conference co-ordinating committee (Margot Jewell, Amanda Lee, Rachel Gauntlett, and Tricia Balmer) has been working hard on planning this special event! We are happy to announce that the conference will be held at the Lakeshore Campus of Humber College in Etobicoke Ontario (west end of Toronto). A lovely location by the lake, this college is easily accessible by car from the Gardiner Expressway, QEW and highway 427 or by TTC.
Students are welcome to participate in a workshop day on November 10 to work with outstanding Ontario
teachers. Parents will also enjoy a parent talk with acclaimed Suzuki pedagogue, Ed Sprunger, the author of
“Helping Parents Practice” who will share his unique perspective as a psychotherapist and musician.
Join your colleagues November 11, to be inspired by our outstanding keynote speaker, Ed Sprunger from St Louis MO. A graduate of the Talent Education Institute in Matsumoto, Japan, Ed also has a BA in music from Goshen College, as well as MSW from the University of Michigan, and extensive training at the St. Louis Psychoanalytic Institute. Ed is a registered SAA teacher trainer and has given many helpful and inspiring talks to parents and teachers at SAA conferences and on Parents as Partners Online. In addition to his teaching, he is also a psychotherapist in private practice, and the author of two books. Ed will be joined by other outstanding break out speakers who will be announced shortly. Encourage your students and colleagues to join you for a special weekend in Toronto! For more information contact [email protected] ◆ Margot Jewell
VOLUME 29, N0. 1, SPRING 2018 www.suzukiontario.org
The SAO Hive Mind
Every newsletter, a question will be posed to be answered by our excellent Suzuki community (trainers, teachers, parents, students), finding inspiration in our shared ideas around success fu l ou tcomes in a l l k i nds o f circumstances related to music education.
This newsletter’s question to be answered for next time:
Yay you are starting a new student! How do you prepare their parents for instrument lessons in your Suzuki studio?
Please send your answers to [email protected] before June 5, 2018, and it will be printed in the next newsletter. We’re all in this together - please do chime in!
The question from the last newsletter:
What is your favourite music-reading method, and why do you use it over any others? Please indicate your instrument!
Answers: I use several books from Adventures in Violinland by Shirley Givens. I lend them to the students because they can read through them quickly. They are fun with big print, cute songs and a clear progression of skills. For rhythm reading I use The Rhythm Train by Dana DeeAnn Bowen. The rhythms have animal names and pictures and the children love this and progress quickly.◆ Louise Bellhouse
Learning how to read music is what I would call a “tip of the iceberg” symbology of all the wonderful, tactile, aural and pattern awareness that the Suzuki method builds upon from the earliest ages on up, and at all times to tune our teaching to the needs, age and readiness of the child. If the young student, through games, challenges and immersion actively builds their musical awareness and physical abilities, then learning to read will be a gift and not a burden. Finally we must always keep the most fundamental parts of learning well-honed: never just look at the notes!!!◆ Elizabeth Fraser
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HIVE MIND continued My favourite note reading books with which to start a student are: the I Can Read Music Volumes One and Two. From there I often use a variety of choices, mostly Samuel Applebaum’s varied compilations - Duets for Strings, Chamber Music for Two String Instruments, and/or Beautiful Music for Two String Instruments. The variety and progression of pieces, and the keys in which they are arranged in these books, is inspiring for most students. I have also encouraged some students to work in the Bartok Duos Volumes One and Two, and for students who enjoy fiddling I have used Edward Huws-Jone’s and Barrage fiddling books.◆ Gretchen Paxson-Abberger
VOLUME 29, N0. 1, SPRING 2018 www.suzukiontario.org
SAO Board Member Opportunity!
Practicing… Mind Over Matter? Years ago, when my father-in-law worked at the University of Toronto, he played squash at the athletic centre and would routinely beat his opponents. This, despite the fact the he was older than they were and had had the cartilage removed from his left knee! I discovered years later that when he decided to start playing squash, he got a few books on the game from the library and carefully studied the technique and strategy of the sport. He knew he wouldn’t win playing harder so he knew he’d have to play smarter! His “mind over matter” approach worked.This past year, I’ve been thinking more about the state of mind with which kids enter into their practice. There are so many imposing distractions and competition to their musical pursuit: homework, extra-curricular activities, sports, social events, social media, electronics of all types… some of these take priority and even preference over practice.During a recent post-recital lesson, I asked my ten-year-old student if he enjoyed his hockey practices even though they weren’t playing a game. He acknowledged that he did. We talked about it for a while and he realized that he enjoyed practices, in part, because he knew he was getting better and better and would be more successful in future games. I asked him if he thought he could choose to have the same idea toward his violin practice; to clearly tell himself that his repetitions and practice goals could actually be fun because he could see and hear himself getting better and better. I thought it was a long shot but a few weeks later he gave me a little written report…“So before the recital I was practicing Minuet 1 and concentrating on it. After the recital, I needed to practise Minuet 3. And because I was so on Minuet 1, I wasn’t really used to Minuet 3. So this morning, when I practiced, I thought to myself that would have fun playing so that I would be good at it. So I was thinking that I could really be good because when you have fun when you do stuff, you know you can do it so you just do it! So when I thought about having fun in my practice it really worked.”I don’t know if this will work for every child every time, but it appears that some students can respond to the challenge of choosing “mind over matter” when it comes to practice. This clever student offered the challenge and encouragement to look at his practice in a different way…and it seems to be working quite well. Meanwhile I hope I don’t meet him on a squash court one day… ◆Jeremy Viinalass
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The SAO is looking for its next Secretary. This is a wonderful opportunity to contribute to your Suzuki community and add “Board Member” to your profile.This is a three-year Board and Executive position, with voting privileges. The Secretary is responsible for accurate record-taking at all Board and Executive meetings, plus the AGM, and as well keeps an archive of the past minutes of the SAO. He/she will:• Attend all Board and Executive meetings• Read the minutes at meetings• Take accurate notes during the meetings, and circulate a final copy of the proof-read minutes• Generate a “to do” list from the minutes, and send it out along with the meeting
minutes• Undertake any correspondence which is deemed necessary by the Chair.• Be part of Board committees as needed.• Work to promote and support the ideals and vision of the SAO, and to contribute to a vibrant
community in Ontario dedicated to the life and work of Dr. Suzuki. To make a nomination, please contact Carmen Evans: [email protected]
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What Is The Connection Between Learning By Ear And Reading? Learning by ear is one of the key features of the Suzuki Method that likely appeals to many aspiring Suzuki teachers. Alongside the advantages of learning aurally, we also know it is essential to be able to read music.Because of pressure from the music world, our Suzuki-inspired motivation to follow the Mother Tongue approach is often sidetracked. There is an anxiety to “get the student reading” - which in the music world, means reading from the score. Do Suzuki teachers see clearly that learning by ear is a stepping stone to learning to read?Dr. Suzuki was not the only musician to advocate the idea of the Mother Tongue method: so did Professor Edwin Gordon. As a result of his research, it was clear to Gordon that listening and learning by ear should precede learning to read.The student who is learning Suzuki Piano Book 1 by ear is playing what is already in his head. He has heard Twinkle A, for example, on recordings or live performances - so the rhythm and pitch are internalized. When he subsequently learns to play all the repertoire in Piano Book 1, his ear has prepared him to be able to execute the melodic patterns that are repeated at different pitches, as in the first four bars of Lightly Row, and in the left hand an Alberti bass. He has heard legato articulation in Go Tell Aunt Rhody - or staccato then legato in Allegro. What is significant is that these melodies and rhythms are part of him. Even one hundred years ago, Harriet Ayer Seymour said that music is in the mind and that students needed to be taught first to “think” music2.Suzuki group classes give us an opportunity to enhance this inward process. The teacher can plan activities to allow students to sing the melodies they are hearing; they can move or clap the rhythms. Finally, the teacher can let the child see the way the melodic and rhythmic patterns look. When he looks at the notation, he can hear the melody and the rhythm in his ear. “Rather than learning to read, students are reading to learn” 1 are the words of Edwin Gordon.This is an ongoing and complex process happening with our students: learning by ear is the first step in learning to read. However, when that reading book is opened, the onus is on us teachers to ensure that reading studies be a part of every lesson.1. article: “Beyond the Keyboard”, Edwin Gordon; Clavier Companion, (January, February, 2016), pp. 11-152. How to Think Music. Harriet Ayer Seymour, G. Schirmer, New York, 1915, p. 13◆Gail Lange
Book Review: The Perfect Wrong Note by William Westney For Suzuki teachers, The Perfect Wrong Note might be one of those reaffirming reads that simply re-frames what we already know (or what we think we know) about how to practice - and how not to teach. However, it also presents some excellent observations about the dynamics of teaching and learning.I find myself teaching more adults these days, and it usually takes some delicate work to unravel the preconceptions which older learners bring to the process of learning to play a musical instrument. “Adventurous amateurs”, as Westney calls them, often carry a huge burden of guilt, fear, and tension from past experiences with music lessons. As a student who never received much instruction about “how to practice” in my own formative years, I am usually drawn toward any sort of advice in this department. Westney offers a number of examples of “careless” vs. “honest” mistakes, along with insights, theories and approaches to practicing mindfully and attentively.
VOLUME 29, N0. 1, SPRING 2018 www.suzukiontario.org
THE PERFECT WRONG continued In the early chapters of this book, Westney examines the “strangely addictive” relationship between music teachers and students. I see it in my studio: with my adults, there are perennial apologies about how they “haven’t practiced enough” (read as: “I’m embarrassed and I don’t think I have lived up to what I think your expectations are”). With the youngest children, I sometimes wonder if they are practicing to please their parent (or me!). I also frequently see it in the “good students” - the ones who practice faithfully, pay attention to all the details…. and then wait for me (or their mother) to give them the stamp of approval and to tell them what to do next. Westney expresses concern for all of these students, who clearly no longer trust their own innate musical abilities, and have lost touch with their early childhood’s personal response to music making. Success does breed success, but in my experience, it can also lead to perfectionism, which usually has some unfortunate life consequences. The free-spirited vitality and delight of the young child are “magical” qualities which we Suzuki teachers, are frequently privileged to witness. Yet, how many children lose their integrative responses to music after even one year of lessons? Westney’s book is quite critical of traditional teaching, which he blames for the typical student “ego” response - that is, a self-consciousness that supplants the intuitive joy of self-expression with self-criticism, guilt, and fear of not being “good enough”. Our challenge, as teachers, is to nurture that “gusto” of childhood, so that when mistakes inevitably arise, they can be embraced as “juicy” learning opportunities, rather than being casually or shamefully suppressed.William Westney is a pianist and pedagogue who now lives in Texas. He attributes much of his teaching philosophy to his early childhood experiences with Dalcroze classes, and to the work of Eloise Ristad, author of “A Soprano on Her Head”. Westney later developed his own workshop series titled the “Un-Master Class”. ◆Deborah Henderson
SAO Scholarships – Teacher Development Report Predominantly a performer, I have started teaching more recently and I thought what better way to learn new teaching skills than to go back to the root of my own violin journey which began in Japan with the Suzuki method. Taking the Every Child Can course was supported by the SAO.From taking this course, I now have more confidence with teaching my students, due to acquiring new ways of approaching lessons. The class was interesting, interactive and easy to understand due to the structure from the beginning to the end.I’ve re-evaluated my teaching style and remodelled it with the language analogy and the Mother Tongue method. I’ve begun to focus on parental involvement in lessons, and for the first time since my adolescence, I was able to reflect back on how much of my successes were from my mother’s guidance. I emphasize to my students to surround themselves with music through recordings and concerts, focusing on practicing with repetitions on parts requiring extra attention, and on celebrations of all level of achievements whether it is tackling one difficulty or learning a whole new piece.◆Yegee Lee
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Bursting With Talent! A Piano Student’s Composition My dear student Parker Turnbull has been studying Suzuki Piano with me since age six. Now nearing the end of Piano Book 2, Parker’s musical inspiration has led to prolific composing alongside her piano studies. Please enjoy her Prelude in E Minor, and her answers to my questions, below… ◆Lenni Jabour
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Ottawa Suzuki Strings Teacher Training Workshop and Masterclass…She Did It! She did it! The 3rd Seitz in Suzuki Violin Book 4 is a challenge for my son, but Margot Jewell was able to break it down so simply. Within ten minutes, the notes of the most difficult parts sounded clear and clean. Amazing!Up next was my quiet young daughter who feels challenged to play in front of others. Margot, with her soft-spoken voice and gentle manner, was able to provide the support she needed to play in front of the entire group. She knew exactly what my daughter needed. She did it! Amazing!What a great opportunity it was for my children to experience a masterclass with Margot Jewell.◆ Sylvia Chan, Suzuki Parent from Ottawa
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The SAO New Member Feature:Windsor Johnson
Windsor Johnson grew up in Peterborough, NH and started playing the piano at age nine. As a young teenage, Windsor chose to commit his lift to music. He found a master pianist and teacher near his home in NH, maestro Vladimir Odinokikh. Within one year of studies with Mr. Odinokikh, Windsor was ready to perform and all-Chopin recital in his home town to enthusiastic and supportive reception.Mr. Johnson found a love for teaching in his later teenage years. He attended the Suzuki Music Festival at Queens University in Kingston ON in 2004 and 2005, and was fortunate to be trained
in Suzuki pedagogy by Carole Bigler and Valerie Lloyd Watts. Windsor received his undergraduate and masters degrees in Piano performance/pedagogy from The Hartt School in Hartford CT under maestro Luiz de Moura Castro. Windsor was on the Suzuki piano faculty at the Community Division of the Hartt School between 2008-2016 where he also coaches chamber music and fulfilled annual adjudications of the school’s piano students. During his time at Hartt, Windsor did his Suzuki Piano training with Mary Craig Powell.Windsor has performed solo and chamber music recitals all along the eastern seaboard and has been a keyboardist/piano player for several pop/rock/funk/jazz bands throughout New England. Windsor is passionate about composition and improvisation and he he enjoys teaching these areas of study in addition to his Suzuki and traditional lessons. Mr. Johnson currently lives in Toronto and is on faculty at the Toronto School for Strings and Piano and the Paul Hahn Piano store. Both schools a re l oca ted i n t he Roseda le neighbourhood of Toronto.
