This dissertation has been microfilmed exactly as received 70-2683
BRUNSON, Theodore Roland, 1926-AN ADAPTATION OF THE SUZUKI-KENDALL VIOLIN METHOD FOR HETEROGENEOUS STRINGED INSTRUMENT CLASSES. [Appendices II and III, Study Tape Recordings are available for consultation at the University of Arizona Library].
University Microfilms, Inc., Ann Arbor, Michigan
This dissertation has been microfilmed exactly as received 70 - 2683
BRUNSON, Theodore Roland, 1926-
University of Arizona, A.Mus.D., 1969 Music
University Microfilms, Inc., Ann Arbor, Michigan
<&> COPYRIGHTED
BY
THEODORE ROLAND BRUNSON
1970
AN ADAPTATION OF THE SUZUKI"KENDALL VIOLIN METHOD FOR
HETEROGENEOUS STRINGED INSTRUMENT CLASSES
by
Theodore Roland Brunson
A Dissertation Submitted to the Faculty of the
SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements For the Degree of
DOCTOR OF MUSICAL ARTS
In the Graduate College
THE UNIVERSITY OF ARIZONA
19 6 9
THE UNIVERSITY OF ARIZONA
GRADUATE COLLEGE
I hereby recommend that this dissertation prepared under my
direction by Theodore Roland Brunson
entitled "An Adaptation of the Suzuki-Kendall Violin Method for
Heterogeneous Stringed Instrument Classes"
be accepted as fulfilling the dissertation requirement of the
degree of A.Mus.D.
n Director Disser Date / *
After inspection of the final copy of the dissertation, the
following members of the Final Examination Committee concur in
its approval and recommend its acceptance:"
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This approval and acceptance is contingent on the candidate's adequate performance and defense of this dissertation at the final oral examination. The inclusion of this sheet bound into the library copy of the dissertation is evidence of satisfactory performance at the final examination.
STATEMENT BY AUTHOR
This dissertation has been' submitted in partial fulfillment, of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.
Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.
SIGNED
ACKNOWLEDGMENTS I
The many contributions of this writer's committee,
Professors H. P. Johnson (chairman), S. S. Fain, 0. M.
Hartsell, R. M. Mercado and A. M. Sharp, toward the
completion of this study are gratefully acknowledged.
Especial thanks are extended to Dr. S. Suzuki and
Professor J. D. Kendall for their gracious cooperation in
making available unpublished information which has- been
incorporated into this study.
iv-
TABLE OP CONTENTS
Page
LIST OF ILLUSTRATIONS vi
ABSTRACT ix
CHAPTER 1. INTRODUCTION 1
CHAPTER 2. THE SUZUKI PLAN OF STRING INSTRUCTION AS ADAPTED BY JOHN KENDALL 10
CHAPTER 3- A PLAN FOR ADAPTING THE SUZUKI-KENDALL VIOLIN METHOD FOR HETEROGENEOUS STRING CLASSES 22
CHAPTER 4. RESULTS AND CONCLUSION 131
APPENDIX I. SUZUKI BIOGRAPHICAL INFORMATION . . . 136
APPENDIX II. PHONETIC ALPHABET LYRICS AND STUDY TAPE 140
APPENDIX III. LECTURE-DEMONSTRATION TAPE RECORDING 146
APPENDIX IV. OTHER LEADERS IN SUZUKI VIOLIN TEACHING IN THE UNITED STATES .... 147
LIST OF REFERENCES 149
STUDY TAPE RECORDING, APPENDIX II (boxed)
LECTURE-DEMONSTRATION TAPE RECORDING, APPENDIX III . (boxed)
v
LIST OF ILLUSTRATIONS
Figure Page
1. Rest Position 24
2. Numbers Game Step One 27
3- Numbers Game Step Two 28
4. Numbers Game Step Three 29
5- Numbers Game Step Four 30
6. Numbers Game Step Five 31
7. Numbers Game Step Six 32
8. Rest Position, 'Cellists and Bassists .... 33
9- Numbers Game Step One, 'Cellists and Bassists 34
10. Numbers Game Step Two, 'Cellists and Bassists 35
11. Numbers Game Step Three, 'Cellists and Bassists 36
12. Numbers Game Step Four, 'Cellists and Bassists 37
13. Fundamental Rhythmic Pattern 42
14. Change of String with Fundamental Rhythmic Pattern 43
15. Change of String 45
16. Change of String with "Twinkle, Twinkle Little Star" Variation E Rhythmic Pattern . . 45
17. D Major Scale Pattern 47
18. First Finger Down Interval Drill 50
19. D Major Scale 53
vi
vii
LIST OF ILLUSTRATIONS—Continued
Figure Page
20. "Twinkle, Twinkle Little Star" Variation A . . 57
21. "Twinkle, Twinkle Little Star" Variation B . . 58
22. "Twinkle, Twinkle Little Star" Variation C. . . 59
23. "Twinkle, Twinkle Little Star" Variation D . . 60
24. "Twinkle, Twinkle Little Star" Variation E . . 6l
25. "Twinkle, Twinkle Little Star" 62
26. D Major Scale Review 65
27. "Lightly Row" 66
28. "Song of the Wind" 68
29. "Lullaby" 70
30. One String Practice 72
31. "Children's Song" 74
32. "French Folk Song" 76
33- "German Folk Song" 79
34. "English Folk Song," Wide Interval Skips ... 80
35- "Bohemian Folk Song," String Crossing .... 82
36. "Flemish Folk Song," Minor Mode 83
37* "English Folk Song" 84
38. "French Folk Song," Lift and Set Practice . . 85
39• "Bohemian Folk Song" 88
40. "May Song" 90
41. "Long, Long Ago" 94
viii
LIST OF ILLUSTRATIONS—Continued
Figure Page
42. "Allegro" 98
43. Fourth Finger Exercise 100
44. "perpetual Motion" 101
45. Fourth Finger Drill 104
46. G String Drill 105
47. D Major Scale Review 106
48. G Major Scale 107
49. "perpetual Motion" on the G String 109
50. C String Drill 110
51. C Major Scale Ill
52. E String Practice 112
53. A Major Scale . . 113
54. "Allegretto" Bowing Pattern 114
55- "Allegretto" 115
56. "Andantino" Bowing Pattern 118
57* "Andantino" 119
58. "Close One-Two" Finger Pattern 121
59. "Flemish Folk Song" 124
60. Introducing Slurs 125
61. "Minuet" 128
ABSTRACT
The first chapter of this dissertation discusses
the need for an adaptation of the Suzuki-Kendall Violin
Method for heterogeneous string classes. The relationship
between stringed instrument study and music education is
examined. After a historical perspective of string class
teaching in the United States is taken into account, the
philosophical basis for string class teaching is
scrutinized. Due to the dual requirements of parental
involvement and proper home environment, the negative
probability of the Suzuki-Kendall Violin Method being
available to the majority of American children is estab
lished. The chapter closes with administrative procedures
to be followed in adapting the Suzuki-Kendall Violin Method
for heterogeneous stringed instrument classes.
The Suzuki plan of string instruction as adapted
by John Kendall constitutes the second chapter of this
study. The Suzuki philosophy, Talent Education movement,
and violin teaching methods are considered, after which
Kendall's role in introducing the Suzuki ideas in America
is recounted.
The third chapter offers a plan for adapting the
ix
X
Suzuki-Kendall Violin Method for heterogeneous string
classes. After an overview and introduction to the
adaptation, the inculcation of proper posture and stance
in the approach to string playing is undertaken. The class
is then acquainted with d£tach6 and martel£ bowing, string
changing and note preparation. A fretting system is
recommended to aid the students in correct finger placement
for the D major scale pattern and a special "phonetic
alphabet" is provided for optional use in rote learning.
The importance of singing new material in many ways prior
to playing is stressed, and procedures for home practice
during the first year of study are outlined. "Twinkle,
Twinkle Little Star" with five basic bowing variations is
the first musical vehicle. Utilizing the technique of
listening first, then singing and finally playing the
four original selections by Suzuki and a Bach Minuet are
subsequently undertaken. Scale material other than D major
should be incorporated when practicable. Various games and
drills help to maintain interest. Competition among pupils
as a motivating device should be avoided. The emphasis
during the first year is upon establishing and improving a
few basic factors in string playing. The pupils will be
able to play by memory at the end of the school year
everything that they have had from the first day. Music
reading is to be introduced after completing this first-
year course of study. The first reading experiences may
include material already learned by rote.
The results and conclusion of this study are given
in the fourth and concluding chapter. There were no
dropouts among the classes with which the above plan was
utilized. All pupils learned to perform creditably the
music materials and literature which made up the curricu
lum. There was a significant positive feeling among the
students with regard to the activity. Therefore, the
conclusion of this dissertation is that this adaptation of
the Suzuki-Kendall Violin Method for heterogeneous stringed
instrument classes constitutes a contribution to string
class pedagogy. In support of this conclusion a lecture-
demonstration of the adaptation was given in Crowder Hall,
University of Arizona Music Building, on May 25, 1966.
Included were two filmed groups and two groups plus an
individual performer present on the stage. A tape
recording of this performance of the latter two ensembles
and of the individual performer constitutes Appendix III
of this dissertation.
CHAPTER 1
INTRODUCTION
A frame of reference for ascertaining the need for
an adaptation of the Suzuki-Kendall Violin Method for
heterogeneous stringed instrument classes may be initiated
by examining the relationship of string playing to music
performance and to music education. There is a consensus
that the most desirable musical organization existing for
the performance of large-scale instrumental music is the
symphony orchestra. As Earhart stated it:
The modern orchestra is, of course, the most comprehensive and pliant tonal medium that musical art possesses. Here we find the entire range of pitches satisfactory to the. musical ear; any and every tonal color wanted; a vast range of intensities and volumes of tone; a diversity of parts that permits an infinite number of color combinations and the most intricate rhythmic and melodic weavings; the distinguishing characteristics that arise from generating and termination [sic] noises, and the distinctive types of phrasing that arise from varied modes of operation peculiar to the instruments.1
Virtually complete representation of each of the
four instrumental sections, the string, woodwind, brass and
percussion, is found in the symphony orchestra. Due to
this varied instrumentation the orchestra is unrivaled in
1. Will Earhart, A Steadfast Philosophy (Washington, D.C.: Music Educators National Conference, 1962), p. 99-
1
2
its expressive capacity. Besides performing the works
created for it, the role of the orchestra in the production
of opera, oratorio, operetta and ballet must not be for
gotten.
The foundation of the symphony orchestra is the
string choir. This thesis is given credence by Bekker who
said:
The idea underlying the orchestra on the whole is the representation of harmony by the choir of strings, colored by woodwinds and accentuated by brasses and percussion.2
Among the many factors which have exerted influence in
establishing the string section of the orchestra as the
foundation of the instrumental structure are its range,
timbre, facility, variety and endurance.
In the area of chamber music the strings are simi
larly vital. Most of this literature involves the strings,
and it is agreed that some of the finest works are written
for string quartet.
It should be the goal of our music education pro
grams to acquaint students with the best in our musical
heritage. Therefore, one of the objectives of music educa
tion should be student experience in the performance of
symphonic and chamber music. Since each instrumental
2. Paul Bekker, The Story of the Orchestra (New York: W. W. Norton and Company, 195*T), pp. 22-23.
3
section must be properly represented in the symphony
orchestra and since the greatest wealth of chamber music
literature has been written for ensembles which include
strings5 it follows that the string section must not be
neglected.
The importance of stringed instrument training was
recognized by music educators in the public schools at an
early date. This is attested to by the fact that classes
in violin were first introduced in a public school system
in the United States in 1911. An account of this intro
duction was given by Birge who wrote:
In 1910 Albert G. Mitchell, then one of the music supervisors of the Boston schools, was given a year's leave of absence to study the violin class instruction in England. The result of this visit was the introduction of this work in the Boston schools, and the creation of the Mitchell Class Method, published by the Oliver Ditson Company, concerning which matters Dr. Mitchell writes as follows:
"Upon my return home, in 19Hj filled with enthusiasm and with a determination to do what I could to keep pace with the activities in Europe, I received permission from the Boston School Board to organize violin classes upon my own responsibility and in my own time. They were held after school hours from four to five o'clock. No fees were asked. Five classes were formed, each having from sixteen to twenty pupils. The text books came from England. The children brought their own violins. Some had no bridges, many had no strings, a.nd the bows in too many cases were of the shape familiar to Robin Hood. At the end of the school year a demonstration was given from which I learned many things. After the second year the director of music procured permission for me to leave my High School work, and to devote all my time to instrumental instruction.
4
"Classes were formed in many districts and were given a standing by being recognized as part of the regular school work. I gave a lesson once a week in all classes, and grade teachers were trained and paid to act as my assistants and to give a weekly review of my work. No expense was incurred by the pupils beyond providing their own violins. The books as authorized text-books were furnished by the city. A weekly practice card which had to be signed by the parent showed me whether the pupils had practiced half an hour each day at home.
"Very soon unexpected difficulties were encountered. The imported text-books, for example, failed to satisfy the desire for a sound pedagogical basis of teaching. The early training in normal school and university was ever recurring to me. It appeared imperatively necessary to devise a better text-book, so, with this in view, I spent much time and several quires of music paper in writing new exercises and pieces and trying them out in the class room to note the children's reaction. Thus, I wrote a Class Method for the Violin."
So began violin class-work in this country.^
Among the contributors to string class literature
who followed Dr. Albert G. Mitchell were Norval Church,
Joseph Maddy, C. Paul Herfurth, Merle J. Isaac, George
Bornoff, Gilbert Waller, J. Frederick Muller, Samuel Apple-
baum and Ralph Matesky. Their publications span the past
four decades and doubtless will be supplemented periodically
as new or refurbished pedagogies are introduced.
Because of obvious physical limitations, it is
necessary that a school string teacher be prepared to
instruct groups of students at the same time. Waller was
3. Edward Bailey Birge, History of Public School Music in the United States (Philadelphia: Oliver Ditson Co., 1928)7 pp. 190-192.
5
one of the first to show that class-teaching of strings
can "be very successful and that groups so instructed can
"be raised to advanced levels of school orchestra perform-
4 ance. This was true of the writer's experience during
eight years of teaching in the Rochester, Minnesota,
public schools where his junior high string orchestras were
of consistently high quality musically. It often is pre
ferable for a beginning student to initiate his study of a
stringed instrument in a string class rather than with a
private teacher. There are several valid reasons behind
this idea. In the first place, children enjoy doing things
together. Studying stringed instruments in a group brings
about a favorable social situation which young people
desire. A shy and sensitive child may be more apt to be
at ease with a group of his fellows than alone with a
private teacher. Another p.oii.nt is that the competition
involved in a string class induces greater effort on the
part of each pupil. A further advantage of string class
study is that each student can learn both what to do and
what not to do by observing and listening to the instructor
work with other pupils. Many common mistakes can be dis
cussed and corrected within a short period of time as
different individuals in the class present various problems,
4. Gilbert Waller, Questions and Answers Concerning String Class Teaching (Urbana: University of Illinois, 194b), p. 2.
6
and each student has occasion to see and hear the correct
techniques demonstrated. Possibly the greatest advantage
which string class teaching presents is the opportunity for
the teacher to have his pupils under frequent supervision.
Any bad habits which develop can be detected and checked
before they can become firmly rooted. This is not possible
in private teaching when the instructor meets with the
student only once a week unless a parent is actively
involved in the pedagogy.
Although string class teaching was initially homo
geneous in that only like instruments (violins) were used,
much current practice involves heterogeneous teaching with
the violin, viola, 'cello and bass viol being taught in the
same class. While this system does not result in as much
progress in the first stages of string instruction as do
separate classes for each instrument, having all of the
instruments in the same class has certain advantages. A
more interesting class atmosphere is achieved when the
students are able to hear and become familiar with all of
the stringed instruments. The octaves which occur as soon
as even the open strings are sounded simultaneously give
immediate depth and added timbres. And as soon as the
5- John D. Kendall, What the American Music Educator Should Know About Shinichi Suzuki: Talent Education and Suzuki (Washington, D.C.:, Music Educators National Conference, 1966), p. 16.
7
class is sufficiently advanced, part work can "be introduced,
and the foundation for string quartet and other chamber
music playing is laid. Another point which is not to be
overlooked is that school administrators are much more
likely to be sympathetic and helpful toward string
instruction and study if all of the instruments can be
successfully taught in one class instead of four.
Facilities and equipment needed for adapting the
Suzuki-Kendall Violin Method for heterogeneous stringed
instrument classes are the same as for any such class with
the exception that no printed music or music stands are
used by the students. They are instead provided with a
recording of all of the study materials to be undertaken
during the first year's instruction. Suggestions are also
given for singing with the recording at home.
Any successful method for the recruitment of string
classes may be utilized. Perhaps the simplest is a demon
stration of the individual instruments for potential stu
dents and their parents. Other than the necessary basic
physical resources, the only qualifying factor for entrance
into such a plan of instruction should be the student's
interest.
If possible the classes should meet daily. How
ever, acceptable results have been produced by classes
which met for only three periods of thirty minutes each per
week.
8
According to Rolland the teaching of Suzuki is
perhaps the most significant contribution to music educa-fT
tion in the first half of this century. While concurring
with this opinion, Kendall feels doubtful that as a private
lesson system, with each student receiving one lesson a
week, and entailing sustained parental involvement as well
as the proper home environment, it can ever be available
to the majority of American children.^ The writer's
personal experience in southern California leads him to
concur because although instruction in the Suzuki Violin
Method was offered through the San Diego State College
Saturday Conservatory of Music in early 1967* less than a
score of families participated during the first year. An
earlier similar experience in Minnesota reinforces this
accord with Professor Kendall.
The schools cannot be looked to for succor in this
regard because, for the present, private music instruction
as part of the contemporary school curriculum seems to be
an unlikely possibility. It therefore would seem logical
as well as imperative that an adaptation of the Suzuki-
Kendall plan of instruction for violin be made for school
6. Paul Rolland, A Filmed Demonstration of the Teaching of Shinichi Suzuki With American Preschool and" Grade School~Children and Their Mothers as Subjects (Urbanal Universityof Illinois, 1965)j p. 1•
7. Kendall, 0£. cit., p. 16.
9
since this is one of the strongest existing patterns for
8 string instruction in American schools. Further credence
is given to the foregoing statement by the obvious lack of
general success in public school string classes as con-
ventionally taught noted by Silverstein^ and the resultant
paucity of string players throughout the United States.
Druian"*"^ also voices the feelings of those who question the
validity of existing public school teaching methods as does
Kaplan.1"^"
In the succeeding chapters an examination of the
Suzuki plan of violin instruction as adapted by Kendall
will be m&de, a plan for adapting the Suzuki-Kendall Violin
Method for heterogeneous string classes will be offered,
and the results and conclusions of research with this
latter plan will be promulgated.
8. Ibid., p. 18.
9. Joseph Silverstein, "Methods and Materials," String Problems: Players & Paucity (Syracuse, New York: Syracuse University Press, 1965), pp. 6-7-
10. Rafael Druian, "The Environment and Development," String Problems: Players & Paucity (Syracuse, New York! Syracuse University Press, 1965), pp. 8-9.
11. Max Kaplan, "The String Shortage: Social Origins and Proposals," String Problems: Players & Paucity (Syracuse, New York: Syracuse University Press, 1965)> p. 22.
CHAPTER 2
THE SUZUKI PLAN OF STRING INSTRUCTION AS ADAPTED
BY JOHN KENDALL
The philosophy which begot the Suzuki plan of
string instruction is one of understanding, kindness and an
abiding faith in the remarkable ability of children every
where 5 regardless of race, nation, or color, to become
violinists, and more th'arf this to become, through their
violin playing, fine and sensitive persons. As an intro
duction to one of the annual programs presented by his
students, Suzuki wrote the following:
All human beings are born with great potentialities, and each individual has within himself, the capacity for developing to a very hi,gh level. Although some individuals display a remarkable ability during their lifetime, we are not primarily concerned here with these extraordinary cases. However, there are many others, born with a high potential, who fail in some way, through unfavorable conditions, to develop their original power, so that their lives end at a comparatively low level.
Education begins from the day of birth. We must recognize the amazing power of the infant who absorbs everything in his surroundings and adds to his knowledge. If attention is not given to early infancy, how can the child's original power be developed? We learn from nature that a plant which is damaged or stunted during the sapling stage does not have a promising future. Yet at present, we know very little about proper training for the early infancy of human beings. Therefore, we must learn more about the conditions in which early human growth takes place.
10
as
11
Though still in an experimental stage, Talent Education has realized that all children in the world show their splendid capacities "by speaking and understanding their mother language, thus displaying the original power of the human mind. Is it not probable that this mother language method holds the key to human development?
Talent Education has applied this method to the teaching of music: children, taken without previous aptitude or intelligence tests of any kind, have almost without exception made great progress.
Cultural sensitivity is not inherited, but is developed after birth. The hereditary ability of the mind is measured by the speed with which it adapts to circumstances. It is wrong to assume that special talent for learning music, literature, or any other field is primarily inherited.
This is not to say that everyone can reach the same level of achievement. However, each individual can certainly achieve the equivalent of his language proficiency, in other fields. We must investigate methods through which all children can develop their various talents. In a way this may be more important than the investigation of atomic power . . . Talent Education now demonstrates the harvest of its educational experiment in music, and after observing and hearing the performances of these children, we adults should reflect, and consider whether this method is not the best way to develop all human talents.1
In the foregoing philosophical thesis, Suzuki
referred to the term "Talent Education," or "Saino-Kyoiku."
He has written of this pedagogy as follows:
Most people seem to think, even now, that one may not become a successful musician unless he has musical talents. That is to say, they think all successful musicians have been born with musical talents. I cannot agree with this. This idea of mine started
1. John D. Kendall, "A Report on Japan's Phenomenal Violinists," Violins and Violinists (November-December 1959), P. 242.
12
27 or 28 years ago, and it was at that time that I started on Talent Education.
Mr. Toshiyo Eto, who is now teaching at the Curtis Academy of Music in Philadelphia, was my first child-pupil. His father brought him to me when Toshiyo was only 4 years old. It was my first experience in teaching such a young pupil and I was quite concerned about it. The thought that came to my mind at that time was in regard to a child1s mother tongue. A child will learn to speak Japanese when he is born and reared in Japan. The normal child can use more than 3000 words at the age of six. This would certainly indicate that the brain of a normal child is quite active. This is the same the world over. I thought at that time that this fact should be of great importance to mankind. We should always keep in mind that few children are born mentally deficient.
Now let us turn to the talent of a child. Do Japanese babies have an aptitude for Japanese as soon as they are born? No. If a Japanese baby is born in England or America and brought up by English-speaking parents, that baby will grow up and learn to speak English. The same is the case with any baby, regardless of national origin. That is to say--any child will learn any language according to the conditions in which that child is reared. Every child has the capacity to be taught. That is how it learns its mother tongue.
I have studied very closely how a baby learns to speak, and have tried to work out some method according to these basic rules. I call this "the educational method of the mother tongue" and I have used this method for teaching music.
I let a new born baby listen to classical music. For example, a Brandenburg Concerto or a Tschaikowsky Serenade or a Beethoven quartet. I choose one movement from such classics and let the baby listen to the same tune every day. In about five months time the baby will memorize this melody. If you do not believe this, please try it yourself.
From my tests of twenty years, I have found that young children who have been given a chance to listen to good music acquire a good sense of music—just like
13
naturally being accustomed to their mother tongue. We should realize that even a child of six has "been receiving education for six years. Prom a musical point of view, the child can be educated by good music, bad music, or no music at all.
When we teach the violin to a six year old child, we have to admit there is a difference in musical abilities. There are children who learn quickly and children who are rather slow. Most people seem to think that the difference is because of the musical talent (or inheritance) of the child, but I do not wholly agree with this. I think that we should remember that the child is getting education from the time it is born. In Talent Education, we warn all parents that education cannot be started too soon. Our motto is: the sooner, the better.
Another basic rule is: If we do not educate at all, the child will learn nothing. For instance, the talent for music can only be had by cultivating it and cannot be achieved by itself. This is my conviction.
If music talent could be acquired naturally, the cultural history of mankind would have been quite different, I am sure. Children born in the Stone Age were educated under a low degree of culture. Children educated by a high degree of culture grow up to have all sorts of talents. The level of the children of the Stone Age and of today is different. Children re-act according to education and it is up to us to find the best method of education.
The seed for music should be sown early by this new method, Talent Education, so that it will turn out to be a talent after the child has grown up.
So, in educating their children, in whatever field it may be, the most important point is that the parents should realize that -the child has unlimited possibilities according to the education that is given the child. This is what I wish to tell all parents: If your child has already started to speak, please believe in the bright brains and abilities of your child.
We must always be thinking of new and better methods in order to give a better and higher education to our children.
14
In cultivation, the most important thing is the seedling. The whole future of the plant depends mostly on the seedling—how big the tree will grow, how much fruit it will bear, etc.
Although thi-s is a fact known by everyone, so few parents think in this way when the matter concerns their own children. It seems a pity that we do not realize and utilize this knowledge in regard to the education of our own children.
I think that success in education can be attained when all parents believe in the capacity of their children at a very early stage, and start education as soon as the baby is born. It will be a success when our society becomes this way.
The final objective of Talent Education is to cultivate artistic appreciation in a child, not to make a musician out of every child we teach. It is a movement started by myself and carried on by parents who want to bring up their children to have a refined human character. Please be eager and serious in the education of your child and give full co-operation to your child's teacher—this is my message to parents.2
Kendall believes that Suzuki's string instrument
teaching methods surely represent new combinations of ideas
or procedures, and fresh creative approaches to problems.
Like any complex process, it cannot easily be described,
and no single aspect holds the secret to success. The
total process must be understood, including several key
factors:
1. Beginning at a very early age (2 1/2 or 3 years for actual playing—the earlier the better for listening).
2. Shinichi Suzuki, "Outline of Talent Education Method," Violins and Violinists (March-April i960), pp. 59-62.
15
2. Listening regularly to recordings of the music being studied, and the music to be studied next.
3. Private lessons, of a length suitable for the age and attention span of the student, with the mother (or father) attending each lesson, and actually learning along with the student, taking notes, learning to tune the violin, understanding the correct posture and habits.
4. Regular daily practice with the parents helping, guiding, always encouraging, making the student sense the importance of what he is doing, but not forcing him to it.
5. Everything is learned by memory. No music is used by the student until his technique is established. This may take two or more years. In the meantime, the parents use the manuals, follow the music, teach correct fingering and bowing, in cooperation with the teacher.
6. After note reading is begun, the same process of listening to records and quickly memorizing all music is continued. No music is ever used at a lesson—all lessons and performances are by memory.
7. Each student, regardless of ability, follows the same sequence of material. Few etudes are used, and while one student may move faster than another, each goes through the same musical material, with the result that all have a common body of musical materials which they can play together in unison during the regular ensemble meetings.
8. There are ten manuals of carefully selected music, including a great deal of Baroque violin music of Vivaldi, Bach, and Handel, as well as Mozart, Beethoven, Weber, and a few folk melodies. With the exception of the Seitz .violin concerto, good for pedagogical purposes, there is no music which would not stand on its own as the best music in our western heritage.
9. Cooperation, not competition, is the motivation. Students at all levels play together. Older students help the younger. There is a wonderful attitude among parents, teachers, and students, with mutual respect in evidence. Each lesson begins and ends with student and teacher bowing to' each other.
16
10. Pedagogy used by Mr. Suzuki and the teachers is up-to-date and utilizes many of the teaching devices currently in favor in America., including exercises for the left hand, rhythmic variants, "bowing gymnastics, shifting exercises, and for the very young, beginning in the middle section of the bow, using staccato, frets taped or marked on the fingerboard, systematic explanation of finger patterns, a key approach geared to these patterns—and many other ideas, "games" and teaching devices.
In summary, Suzuki himself gives five key points about
Talent Education:
1. The earlier the better—not only music, but all learning.
2. The human being is a product of his environment.
3. Repetition of experiences is important for learning.
4. Teacher and parents (adult human environment) must be at a high level and continue to grow to provide a better learning situation for the child.
5. The system or method must involve illustrations for the child based on the teacher's understanding of when, what, how.3
Kendall's interest in Talent Education was activated
in the spring of 1958 at a meeting of the Ohio Unit of the
American String Teachers Association, where a group of
string teachers incredulously watched and listened to a
movie which had been solicited from Suzuki by Kenji
Mochizuki, a graduate student at Oberlin College who was
knowledgeable about the Talent Education movement. The
4. Kendall, Talent Education and Suzuki, pp. 22-23.
CHAPTER 3
A PLAN FOR ADAPTING THE SUZUKI-KENDALL VIOLIN
METHOD FOR HETEROGENEOUS STRING CLASSES
In devising a plan for adapting the Suzuki-Kendall
course of violin study for students in string classes
consisting of violinists, violists, 'cellists aid bassists,
it must be kept in mind that the procedures and ideas are
directed to teachers and through them to the students.
This practice contrasts with the Suzuki-Kendall pedagogy
which utilizes a parent as an all-important link in the
transmission of skills to the student. It also differs
from conventional string class methods which provide
individual books for each pupil'and attempt to communicate
directly with the novice musician. There is no need,
therefore, to "water down" or cast into laymen's termin
ology the thoughts which will enable a fellow music edu
cator to put into operation such an adaptation for
heterogeneous string classes.
True to its model, the basic concept of this system
is learning by listening. Its basis is the way in which a
child learns to speak his own language, absorbing it by
rote from his environment. Free from the staggering
22
23
confrontation with printed notation during the initial
crucial coping with the instrument, the student is able to
devote his full resources to the requisite manipulative
techniques and to the sounds which they produce. This
procedure enables him to establish solidly the funda
mentals of good playing, which include sensitive tone
production and an acute sense of pitch perception. Much
more emphasis is given to bowing techniques and bow control V.
than is usually encountered in string class systems, in
line with Suzuki's example in his violin teaching.
Of prime importance is the inculcation of proper
posture and stance in the approach to string playing.
Techniques must be utilized which will enable the instructor
to teach these fundamentals by demonstration and verbaliza
tion to large heterogeneous string classes. Kinesthetic
assistance must be minimal because if the instructor
becomes engrossed with an individual the rest of the class
will sorely miss his supervision.
Commensurate with Suzuki's emphasis on bow control
is the introduction of effective bow grips prior to dealing
with the instruments themselves. During these drills and
games said instruments can either remain in their cases or
be carefully rested on their edges on the floor. This will
free the left hand to support the bow while the right
fingers are being arranged in their desired configuration.
24
Figure 1. Rest Position
Early instruction in an effective "rest position" will greatly enhance the climate for learning. Figure 1 illustrates one of the writer's classes in such a stance. It will be noted that no fingers are in contact with the strings of any instrument and therefore not even inadvertent pizzicato will disrupt the class activities which do not involve performance. Pointing the bows toward the floor is a highly desirable safety measure. The chairs of the violinists and violists do not face directly at the instructor but are rotated 45° clockwise. This feature encourages the development of habitual looking to the left, which results in the placement of the shoulder under the instrument in a very natural and relaxed fashion. Erect posture is cultivated by keeping the backs of the heads high, sitting on the forward edges of the chairs, and keeping both feet on the floor.
25
Similarities such as the positioning of the right thumb
(assuming that the French bass bow is being used) can be
demonstrated to the entire class, while differences between
violin-viola, 'cello and bass viol bow grips must be
pointed out to the respective sections. After the pre
scribed bow grips have been assumed, various games and
calisthenics which will promote bow control may be under
taken. These games and calisthenics can include the
"crawling game" in which the fingers of the right hand
creep up the stick from the frog to the tip and back to
the frog again unaided; the "elevator game" in which the
bow is raised and lowered vertically without wavering; the
"windshield-wiper game" in which the bow is whipped through
a 180° arc from the plane of the horizon and back again;
the "bow-dancing game" in which the bow is tapped on the
string at the tip; Suzuki's favorite in which the hand is
rapidly extended away from and brought back to the body
without the tip of the bow wavering, and any others which
the teacher can think of which will engender bow control.
Among Kendall's significant contributions to violin
pedagogy is his "numbers game," akin to a "manual-at-arms"
for fledgling violinists. This routine for teaching cor
rect stance with the instrument is even more valuable in
dealing with homogeneous violin classes than it is in
private instruction and when adapted for heterogeneous
26
string classes prevents most of the problems usually
associated with learning to hold the instruments correctly.
Since the writer began to utilize such an adaptation in
his classes, the stance and posture of his students have
improved markedly. Figures 2 through 7 illustrate these
techniques.
27
Figure 2. Numbers Game Step One
Figure 2 shows the class undertaking the first step of the Kendall "numbers game," adapted for heterogeneous string instruction. The violinists and violists grasp their instruments by the shoulder and hold them out to the left at arm's length. The 'cellists and bassists differ only in that they thrust their instruments directly forward.
28
Figure 3 . Numbers Game Step Two
In Figure 3 the class has moved to the second step of the adapted "numbers game." The violinists and violists rotate their left arms counter-clockwise until the fingerboards are vertical to the plane of the horizon with the scrolls pointing toward the floor. The 'cellists and bassists bring their instruments back to a proper playing position.
29
Figure 4 . Numbers Game Step Three
Figure 4 shows the violinists and violists tupping their heads to the left, looking at the "backs of their instruments, while the 'cellists and "bassists drop their left arms limply at their sides.
30
Figure 5- Numbers Game Step Four
Step four of the adapted "numbers game" is demonstrated in Figure 5. The violinists and violists place their instruments in playing position on the left shoulder. The 'cellists and bassists raise their left hands with a circular motion away from their left sides through an arc of approximately 225°, culminating in a first-position stance.
Figure 6. Numbers Game Step Five
Step five of the adapted "numbers game" directs the violinists and violists to move their left hands out to the first-position stance, as shown in Figure 6.
32
Figure 7 . Numbers Game Step Six
Figure 7 depicts step six of the adapted "numbers game" wherein all members of the class lift their bows preparatory to placing them at the proper contact point on the string.
Figure 8. Rest Position, 'Cellists and Bassists
Since adapting the Kendall "numbers game" for heterogeneous string class is predicated upon involving the 'cellists and bassists, Figures 8, 9, 10, 11 and 12 constitute an enlarged display of this most useful routine as applied to these instrumentalists.
Figure 8 Rest Position
Figure 9 . Numbers Game Step One, 'Cellists and Bassists
The 'cellists and bassists thrust their instruments directly forward.
Figure 9 . Numbers Game Step One
Figure 10. Numbers Game Step Two, 'Cellists and Bassists
The 'cellists and bassists bring their instruments back to a proper playing position.
I
Figure 10. Numbers Game Step Two
Figure 11. Numbers Game Step Three, 'Cellists and Bassists
The 'cellists and bassists drop their left arms limply at their sides.
Figure 11. Numbers Game Step Three
Figure 12. Numbers Game Step Pour, 'Cellists and Bassists
The 'cellists and bassists raise their left hands with a circular motion away from their left sides through an arc of approximately 225°* culminating in a first-position stance. They then place their bows at the proper contact point on the string.
Figure 12. Numbers Game Step Four
38
After proper posture and stance have been estab
lished, the class should be acquainted with d£tach£ and
martel6 bowing. These two bowing patterns are basic to
all string playing. According to Boyden, although the
bowing direction to the string player known as d£tach6
was synonymous with staccato in the eighteenth century,
d£tach£ now refers to a single note played by a single bow
stroke."1" Galamian corroborates this usage and amplifies
it by noting that the stroke is smooth and even throughout
with no variation of pressure. There is no break between
the notes, and each bow stroke has to be continued until
the next takes over. Plesch agrees that this most impor
tant fundamental stroke is characterized by the fact that
the various tones are separated one from the other through
change of bow. Yet he points out that the separation must
take place only by means of a pause, unavoidably consequent
upon the change of bow, yet hardly noticeable in point of
time, and not by means of a longer or shorter consciously
carried out stopping of the bow. He adds that the d£tach£
is the most widely used of all types of bowing and its
1. David D. Boyden, The History of Violin Playing From Its Origins to 1761 (London: Oxford University Press, 1955), p.'"526:
2. Ivan Galamian, Principles of Violin Playing and Teaching (Englewood Cliffs: Prentice Hall, Inc., 1962), p . 6 7 .
39
complete control is an absolute prerequisite to a good bow
technique. Although he correctly states that it is play
able with least effort just above the middle of the violin
bow, it must be played progressively lower or toward the
frog when the viola, 'cello and bass viol also are consid
ered. Auer advocates varying the d£tach£ by using different
sections of the bow, separately playing with the upper bow,
in the middle, and at the nut. He implies no neglect of
the detached stroke using the whole length of the bow,
however, playing in a moderate tempo and endeavoring to
secure a tone of equalized strength in the up and down
4 strokes.
The modern martel6 stroke begins with a bite that
resembles a small explosion of tone, and, far from starting
with a small softness, Boyden says that the tone appears to
begin ex abrupto. Galamian explains that the accent in
this stroke requires preparation in the form of preliminary
pressure: the bow has to "pinch" the string before start
ing to move. This pinching is a pressure stronger than
the stroke itself will require, and it has to last just
3* Carl Flesch, The Art of Violin Playing (New York: Carl Fischer, Inc., 1924), pp. 66-67.
4. Leopold Auer, Violin Playing As X Teach It (New York: Frederick A. Stokes Co., 1921), p. 69*
5. David D. Boyden, ojd. cit., p. 394.
4o
long enough to produce the necessary accentuation at the
beginning of the tone. The pressure is then immediately
lessened to the degree required, and the requisite rest
between strokes is allowed.^ The importance of this rest
is emphasized by Flesch who refers to the martele as above
all a stroke separated from the preceding and the following
one by a plainly noticeable pause. He uses this interrup
tion to exert a strong pressure on the string by means of
the bow-stick, and thus produces a kind of secondary noise
which he calls the pressure accent, while his pressure pause
refers to the pause between the tones.^ Katims feels that
many students make the mistake of not releasing the pressure
and not continuing to vibrate at the end of the martele g
stroke so that the tone will continue to ring. It is Auer's
opinion that the martele is best obtained by pressing the
string down firmly with the point of the bow, making use of q
the wrist exclusively to produce the tone desired. This
latter viewpoint is not felt by this writer to be valid for
heterogeneous string classes where he is in agreement with
Kendall that a forearm stroke is most advantageous.
6. Galamian, ojd. cit., p. 71*
7. Plesch, o]3. cit., p. 68.
8. Samuel and Sada Applebaum, With the Artists (New York: John Markert and Co., 1955)3 P- 158.
9- Auer, o]3. cit.. p. 70.
41
The fundamental rhythmic pattern of four d£tach6
sixteenth notes followed by two martel6 eighth notes on the
open A or D string, always with short strokes, may now be
introduced. Among the contributions which Suzuki has made
to string pedagogy, this writer feels that his utilization
of this particular rhythmic pattern at the very beginning
of instruction is one of the most significant. It seems to
be innate in the vast majority of string neophytes, and
especially in the string class serves as the catalyst which
is necessary for immediate encouragement and progress.
Before the students attempt this rhythmic pattern with bow
and instrument, it is well to have them first chant it
with such slogans as "Mis-sis-sip-pi Ri-ver," or "San
Di-e-go Free-way," and also to clap it with the right hand
tapping against the left. It also may be profitably tried
with the pizzicato technique prior to being bowed. Regard
less of whether Suzuki derived this rhythmic design from
the derisive chanting of young children, the Concerto for
Two Violins in D Minor by J. S. Bach (first six notes), or
whatever source, it remains a boon to the string class
teacher. Figure 13 depicts this rhythmic pattern notated
for heterogeneous string class on the A string and on the
D string.
42
Yin
Via
Vnc
CB
m m
Figure 13. Fundamental Rhythmic Pattern
When the above fundamental rhythmic pattern is well
established, another basic factor in string playing, string
changing, is introduced. The motto "stop, think, play" is
important, as establishing a feeling of readiness in the
minds of the pupils is essential for security in listening,
thinking and playing. The bow should be ready on the
proper string before making a sound. An excellent prepara
tory procedure for this is called "Lift and Set" in which
the bow is repeatedly lifted from and set back upon the
designated string silently. Another procedure which
directly emulates string changing is "Bow rocking" in which
43
the bow is placed on an outer string and is silently rocked
across the inner strings to the opposite outer one and back
again ad infinitum. In Figure 14 the change of string
between the fundamental rhythmic pattern notated first on
the D string and then on the A is identified by a diamond
marking.
Vln
Via
Vnc
CB
'mjtijj J m
m J J J • 0
Figure 14. Change of String with Fundamental Rhythmic Pattern
At the point of string change stop the bow, change
the entire arm to the level of the new string. When every
thing is correctj play the next group. The interruption
of the rhythm at the point of string change is essential
until proper preparation for the new note can be made
44
within the rhythmic pattern. The idea of preparation of.
each new note is fundamental to this method. Figures 15
and 16 illustrate other rhythmic patterns which should also
be utilized in establishing correct string changing. Use
a slow tempo and allow interruption of the beat at the
diamond markings until the string change is under control.
Use short martel6 strokes in that part of the bow where it
is playable with the least effort as noted above. Finding
the most effective bow pressure, the correct arm level and
later setting the fingers correctly before playing as
advocated by Auer1 is an excellent practice which will
serve in good stead all through the development of a compe
tent performance technique. Every possible approach should
be encouraged and used to establish this practice with the
beginning class. Acquisition of correct technique is far
more important during the first year than learning new
materials because mastery of these first steps will deter
mine future progress.
In these early steps there should be no concern
with reading notes. The class should be interested rather
in listening, singing and playing. Students must be aware
that the immediate objective is to be comfortable with the
10. Ibid., p. 80.
45
Vln
Via
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CB
Vln
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Figure 16. Change of String with "Twinkle, Twinkle Little Star" Variation E_ Rhythmic Pattern
+*H-n 1
J I J---1
-frM-
•
n • m
=± •
•
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Figure 15. Change of String
^ n m h V n v
ft }~il t jj, — 1 |g
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U j P n v n v 3 Y
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n v n , v n
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46
instruments and in making good sounds with efficient
motions. Care must be exercised lest the idea gain cre
dence that the class is not progressing until the students
acquire note-reading skills and go through quantities of
literature. Holding the instrument and bow correctly and
experiencing these first steps are an achievement, just as
much as gaining the rudiments of a sport before playing in
a game.
Figure 17 is intended solely for the instructor's
use in showing the heterogeneous string class the D major
scale pattern in first position on the D and A strings
(also the G in the case of the bass viol).
At each diamond marking the class should be stopped
and advised as to which finger to put down before endeavor
ing to play the next note. This necessary interruption of
the rhythm will have no lasting deleterious effect on the
rhythmic sense of the class. It will instead be of help
in instilling confidence as the students proceed up the
scale.
Particular attention must be given to the violins
and violas as they negotiate the half-steps between F# and
G and between C# and D. In most cases the fingers will
have to fall so closely together that they will be in
contact at the tips when they are executing these half-
step intervals.
47
Vln
Via
Vnc
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Vln
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J J J J, • • • • * 0 n i • • • •
r
r J J J J • • • • • < 1 • • • •
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• • • • * r f f r
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< f f f f K'iii r r r r 0 n jQL| A : :—s—i~
r r r r 5 1
f • • • •
I=£=±-d 3 <
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r f r r "ii f r r r 0
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4^4- It i——!—Li._ 0 ± m n v n Y, —| | i i -
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J J J J I # •- J J J' -• • • • i o *
Figure 1
—#—#—#-r-• • • • j l ^
7. D Major
MM!-4 ^
Scale Patte:
• • • • 0
rn
48
To aid the students in correct finger placement for
the D major scale pattern, white plastic dots may he
affixed to the fingerboard to mark the notes E and F# on
the D string. While it is true that the utilization of
fretting systems with the instruments of the violin family
has been a controversial issue for centuries,11 it has
been the experience of this writer that the simple arrange
ment of frets as described above markedly enhances the
probability of universal success in the beginning hetero
geneous string class. This has been particularly noticed
during the observation and supervision of cadet teachers.
The frets should be removed as soon as they are deemed
unnecessary for each individual pupil.
For optional use in rote learning the following
"phonetic" alphabet is offered: A - Able, B - Baker,
C# - Charlie, D - Dog, E - Easy, F# - Fox, G - George.
This writer has found that this technique from military
voice-radio procedure is most useful. It is utilized
especially advantageously when the class is singing new
material as the instructor may thereby positively ascertain
whether each student really knows the notation being
perused. If ordinary letter names are always used, they
11. Leopold Mozart, A Treatise on the Fundamental Principles of Violin Playing (London: Oxford University Press, 1948), p. 62.
49
are easily confused with similar sounding letters of the
alphabet: i.e., the letters b, c, d, e, g, p, t, v, and
z have a similitude, as have a, j, and k, or m and n.
This writer has found that having the string class
sing all musical materials in various ways prior to
attempting to play them is a beneficial pedagogical tech
nique. Among the available options would be singing the
letter names of the notes, the "phonetic alphabet" as
described above, solfege, rhythms, bowings (down and up)
and fingerings. When using the latter the different sec
tions of the class must necessarily sing separately as,
excepting the violins and violas, their fingerings do not
always coincide. Covering one ear assists each student in
hearing his own voice when all are singing together.
To establish the position of the fingers and the
musical intervals as early as possible, the following drill
on the A and D strings (Figure 18) is helpful: (1
means keep the first finger down).
When proceeding from the first-finger B to the
following D it will be wise to ask the violins and violas
to put down second as well as third finger and to ask the
1celli to put down second and third fingers with the
fourth. This advice for A string practice should also be
heeded after moving on to the D string.
50
Vln
Via
Vnc
CB •
# ' d '
i *=*=? 0
n
> h i r ' " > £
it 3 J t £3
3E^EEE
fa
I f /
i ' J i
.1 >1 £
fa ^ £
I i t
* J *
i « » j > i /
* 1 f
^=f=t Vln
Via
Vnc
CB
B1'* r 1 r i f < r <
'it ^ ^ r £ r < f t rT r <•
ii r * f * (- 7
r ' r ' r ' r *
Figure 18. First Finger Down Interval Drill
51
There is no similar opportunity for the bass viols
in this particular drill. However, they do get a chance
for further reinforcement of their string changing tech
niques as they move back and forth between the A string
and the D string and then between the D string and the G
string.
For the most effective adaptation of the Suzuki-
Kendall course of violin study to the heterogeneous string
class, this writer advocates no home practice with instru
ments during the first school year of class experience. At
this beginning stage of instruction more harm than good
results from independent student activity with the instru
ments. Problems of transportation, responsibility for
school equipment away from school premises, damage from
mishandling or severe climatic conditions, tuning, adjust
ment, stance, intonation, and possible ridicule from
unsympathetic relatives or acquaintances can in some
instances be avoided and in all alleviated by having all
contact with the instruments under the instructor's super
vision in the classroom environment. An intense desire to
take the instruments home for practice and demonstrations
of prowess is created by withholding the privilege and the
instructor must be prepared to hold firm in spite of
intense and continuing pressure from students and parents
alike. The former can be placated by pointing out that
52
home practice will be required after the initial year's
study during which basic skills will have been acquired and
made secure, while the latter may be appeased by a blanket
invitation to visit during any meeting of the class. Fur
ther, toward the end of the first school year normal
progress will make string class appearances at such gather
ings as Parent Teachers Association meetings a pleasure for
all involved. Parents must also participate by consistently
encouraging the fledgling performer and by pla;ying the
recording of selected musical materials at home for the
child, helping him to listen to and sing with the recording.
Special "lyrics" utilizing the "phonetic" alphabet are
provided with the recording for best results. These
"lyrics" and the recorded musical materials constitute
Appendix II of this study.
Figure 19 gives the notation and practice sugges
tions for introducing the D major scale in first position
to the string class.
53
Vln
Via
Vnc
CB
0 0 0 0
n • i
§ 9 9 0 w z z m . m
uunmu
n - r r r r H U H vuuU uuti r r r r r ^ f f uuuwis
i* ii mn fmn W o i '
p p p p f (r r r r r ^ Vln
Via
Vnc
o"i rrrrr rfrrrfifffff f
mrtr a s
Figure 19. D Major Scale
54
Vln f J J J J
fi »f tmt r rrrrr f rrrrr r O r ^— 2 1 L rrrrrrrrrrr rl
O *3 rrrrr r f eme j
3 l?gu J J J J
1 _n j j i j j i
0 1
*4 —vrrr r ^ f ' — • • 4
nfy "" 11 •
T f J J J ff 0 J 1 • • n 4 i 0 1 1 1 1 i • ° 0
——=—i "{p ••••'• i-j JJ • • i
• • • • F F i» ? c P
JJJJJ J 0 • • H 1 1 1 1 1 2
ti.L P PPP
i i y;,r,r r r i • • P—P B 0 B B B~ -
rrrrrr — 0 Z2(!
3 \\ rr p r 1 • • P—p—B M m M a—i~
0 - : =
*4 r r rrrrr r « Lf •
Via
Vnc
CB
Via
Vnc
CB
Figure 19, Continued
At this point, stop and set violin and viol'a fingers 1, 2 and 3, 'cello fingers 1, 3 and 4, bass viol fingers 1 and 4 on the D string.
55
During the foregoing preparatory steps, the class
has been listening to recordings of and singing the
IP "Twinkle, Twinkle Little Star" variations as part of
their home study. They should now be ready to undertake
the performance of Variation A (Figure 20). This is the
previously mentioned pattern of four d6tach6 sixteenth
notes followed by two martel£ eighth notes, always in the
middle of the bow for the violins and violas, the lower
middle for the ' celli, and at the frog for the bass viols.
Good posture and correct stance must of course be main
tained. The students should continue to practice this
variation, as well as the same bowing pattern on the D
major scale, until they are secure and confident. Through
out the year they should continue to play the "Twinkle,
Twinkle" variations in games, tests and performances.
Variety may be achieved and experience gained in playing
throughout the first position registers of the instruments
by beginning the "Twinkle, Twinkle Little Star" variations
on strings other than the D string. Utilizing the same
12. The title for this and the following songs is quoted from Listen and Play by John D. Kendall, the publication from which this adaptation is derived. It is this writer's opinion that it is more important to maintain the correlation between the source and the adaptation than to utilize the original titles. This correlation would be impaired if, for example, "Children's Song" would be referred to as "ihr Kinderlein, Komment," by J. A. P. Schultz (1747-1800). John D. Kendall, Listen and play (Evanston: Summy-Birchard Co., 1961), p. 4.
56
finger patterns, the violins and bass viols can start the
selection on the A string. Also using the same or D
string finger patterns, the 'celli and violas can begin
on their C strings. Still using these initial finger
patterns, the violins, violas and 'celli can initiate
these variations on the G string but a new fingering is
required for the bass viols if they are to participate.
It has been noticed by this writer that the follow
ing Variation A of "Twinkle, Twinkle Little Star" engenders
the most enthusiasm in the members of his,string classes
and is the one which they most readily return to when
reviewing early material. Figure 20 is followed by
Figures 21 through 24 depicting the other recommended
variations.
57
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Figure 20. "Twinkle, Twinkle Little Star" Variation &
Figure 21. "Twinkle, Twinkle Little Star" Variation B
A martele eighth note followed by two detache sixteenths, repeated, make up the rhythmic pattern for Variation B. Again it is a basic rhythm used in all kinds of music, and should be practiced at different speeds. In playing this pattern, the stopping of the bow does not occur where it would visually seem logical. However, by listening and repeating it will become quite natural.
58
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Figure 21. "Twinkle, Twinkle Little Star" Variation B
Figure 22. "Twinkle, Twinkle Little Star" Variation c.
^The rhythmic pattern for Variation £ consists of eight detache sixteenth notes. The bows should be placed on the strings at the most advantageous point on the bow as prescribed for Variation A and on the strings as close to the bridge as possible without producing the ponti-cello effect. The violin, viola and 'cello upper arms should remain quiet, except for string changes. To avoid a "pump handle" action resulting from a tight elbow, the violin, viola and 'cello pupils may practice this rhythmic pattern with the upper arm resting against a wall or a similar vertical surface. ^Short, smooth bows are to be used instead of the martele of previous patterns. The class should feel four notes together in one beat.
59
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Figure 23. "Twinkle, Twinkle Little Star" Variation D
Two groups of eighth note triplets form the pattern for "Variation D. It should be at first played with no accent, but rather with six even notes. The instructor may supply a beat or a chord at the piano on the first note of each triplet. If there is confusion in bowing, this variation may be postponed until other rhythms are established. The contact point for the bows should remain as for the previous variations.
Figure 23. "Twinkle, Twinkle Little Star" Variation D
Figure 24. "Twinkle, Twinkle Little Star" Variation E
In Variation E two eighth notes are followed by an eighth rest and another eighth note. Rhythmic steadiness and bow control are essential during the rest which should not be shortened. Slow initial practice is recommended. It has been this writer's experience that this is the most difficult of the "Twinkle, Twinkle Little Star" variations to teach. Clapping or chanting the rhythm prior to attempting to bow it is helpful.
61
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62
Finally, the theme of "Twinkle, Twinkle Little Star"
in its original form may be played, stopping the bow clearly
and making a strong, solid tone. A good preparation for the
longer bows which are required for the theme is to do the
variations in all parts of the bow. Another is to use the
"lift and set" procedure, going from the frog to the tip
and back again. A sustained martele bowing is to be used
at first and later a more legato stroke may be introduced.
Figure 25 illustrates the "Twinkle, Twinkle Little Star"
theme in its entirety, and is marked with both fingerings
and bowings.
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Figure 25. "Twinkle, Twinkle Little Star"
63
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64
During the preceding steps, if the recordings of
"Lightly Row" have been played and sung with frequency at
home, the students should know it well. Use the same
"listen and sing" procedure in class prior to playing it.
Include singing with solfege, letter names, "phonetic
alphabet," fingerings, bowings and rhythms. Renew the
motto "stop, think, play," and teach the class to leave
their bows quietly on the string whenever you say "stop" so
that you can help them think what to do next. Before begin
ning, review the D major scale (Figure 26). The notation
and fingerings for "Lightly Row" are given in Figure 27,
pages 66-67. Suzuki cites it as an excellent drill in
1^ string changing. ^ This writer feels that it is an excel
lent choice as the first selection to follow "Twinkle,
Twinkle Little Star" since the children who have made up
his classes usually have been familiar with its melody prior
to undertaking the study of a stringed instrument. This
familiarity gives them additional confidence when they under1
take to play it. Success with "Lightly Row" is of great
importance as it shows the class that their repertoire can
grow beyond "Twinkle, Twinkle Little Star: and its varia
tions. Figures 27 through 63 which with explanatory
material make up the remainder of this chapter show sug
gested further repertoire for the heterogeneous stringed
instrument class in the first year of study.
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66
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Figure 27- "Lightly Row"
67
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Figure 273 Continued
Figure 28. "Song of the Wind"
Before beginning "Song of the Wind" the same preparatory procedures are to be followed as before. Notice that in measure three the violin, viola and 'cello first finger stays down while the third (fourth for 'cellos) finger is lifted and placed on the D string. Suzuki notes that all phrases start "down-bow" necessitating three double down-bows during the selection.^"
14. Ibid.
68
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69
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Figure 29. "Lullaby"
Continue to play the "Twinkle, Twinkle Little Star" variations and the D major scale at each class meeting, particularly with the Variation A bowing. After listening to the recordings of "Lullaby" and singing with them, begin its practice by placing the fingers in position on the D string before playing. This prepares the first notes. Suzuki recommends this selection for the development of tone. 1-5
15. Ibid.
70
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71
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Figure 293 Continued
Figure 30. One String Practice
"One string" practice is effective for beginners. This drill utilizes the A string. Slow practice is recommended, stopping the bows until the drill becomes-easier. Then gradually quicken the tempo and shorten the spaces between the notes until the fingers and bows are working together. These should be practiced at each class meeting, along with the "Twinkle, Twinkle Little Star" variations.
72
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Figure 30. One String Practice
Figure 30, Continued
This figure depicts "one-string" practice on the D string. The class must be patient about stopping the bows and preparing each note in learning every new drill or selection. This gives the teacher time to call out phonetic note names and gives the students time to think before playing. The fingers of the left hand must be arched so that they do not touch adjacent strings.
73
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Figure 30, Continued
74
The G major scale, as well as the C major for violas
and 'celli and the A major for violins and bass viols, may
be introduced using the same finger patterns which are used
for the D major. When the instructor feels that the class
is ready, he may teach the arpeggios of these scales as
well as the melodic minors of both the scales and the
arpeggios. With the usual listening and singing prepara
tion, the next selection, "children's Song," (Figure 31)
may be undertaken. Suzuki points out that it contains the
first instance in which the phrases begin with "up-bow,"
resulting in three instances of double up-bows.1
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16. Ibid.
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Figure 32. "French Folk Song"
During these first steps, the emphasis has been on establishing and improving a few basic factors in string playing. Only a few choices of music have been used, but bowing variations and rhythms repeated over and over give security and confidence, while allowing constant attention to correctness. The "French Folk Song" emphasizes a downward scale-wise pattern. Fingers should be set on the A strings prior to starting the first two and the last phrases.
76
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77
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78
Various teaching procedures will reinforce the
learning and help to maintain interest. A few examples
are as follows:
1. Divide the class into two groups, facing each
other, and perform a work antiphonally, answering back and
forth as the teacher gives a signal. One group begins
where the other leaves off, without a break in the rhythm.
Selections or exercises must be used which are known by all
of the pupils participating.
2. Select a few students to be an "orchestra," to
accompany the others doing silent games or bow exercises.
3. Let the violins and violas walk around the room
while playing a song. The 'celli and basses should play
also.
4. Ask the pupils questions about any subject and
have them respond while they keep on playing. This shows
how well they know the music.
5. Have the class be ready to rise from their chairs
at any time upon command without moving their feet. This
requires good posture and being seated on the edges of the
chairs. If the bass viols are using stools, they will need
to be permitted to move the left foot in order to participate.
Finding other ways to vary the class routine is an
important use of teacher ingenuity. Figure 33 gives a "Ger
man Folk Song" which is a great favorite in utilizing the
above activities.
79
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Figure 34. "English Folk Song," Wide Interval Skips
Very important is the consistent attitude of parent and teacher, pointing up with enthusiasm the importance and satisfaction of hard work and constant improvement. Competition among pupils as a motivating device should be avoided. Instead, each student should be encouraged to compare what he can do now with what he could do before. Mutual cooperation should be stressed. This will be helpful when new problems are encountered, such as the wide interval skips in the "English Folk Song."
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81
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Figure 35. "Bohemian Folk Song," String Crossing
The continued use of rote teaching after the introductory stages involves three procedures: listening to the recordings at home, singing the materials in class in the recommended ways, and constant repetition of these materials, particularly the rhythmic bowing variations. The "Bohemian Folk Song" gives experience in string crossing.
82
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Figure 36. "Flemish Folk Song," Minor Mode
The "Flemish Folk Song" affords the first opportunity for performance in the minor mode.
83
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Figure 37. "English Polk Song"
The clear, precise control of the smoothly connected short bow strokes (detache) and of the quick, light staccato strokes (martele) are the essential basic vocabulary for all string playing. The "English Polk Song" calls for both of these strokes. The use of fourth finger for violin and viola is optional.
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liq |L-«—
2 1 3
. n
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L „ r »
=-U-H-
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:J=F-K-
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• •
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kl. •*— 4 3 4
1®
±aL= -10 3 J
• • T o
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1 3 4 3 4 1 ( 4 3 1 0
£Ef(i * 1
Figure 37. "English Folk Song"
Figure 38. "French Folk Song," Lift and Set Practice
The "French Folk Song" will tend to build up endurance as it is the longest selection yet to be undertaken. it gives further practice in "lifting and setting" the bow in the four double down-bow beginnings of the repetitious middle section.
The attitude of parents and teacher toward repetition of earlier material is very important. Progress does not mean abandoning early accomplishments and moving to new ones, but rather adding on, so that techniques and repertoire are constantly growing. Several new concepts are found in the "Bohemian Folk Song." In addition to its being the second encounter with the minor mode, the note C natural is present, necessitating the use of second finger for the 'celli and bass viols and a different half-step pattern for the violins and violas. The term "poco ritard" and a fermata are found in the last measure.
88
Vln
Via
Vnc
CB
t > ' * r u j f j 1 2 1
m r t r r L r
I 2 10 10
>h P Lr r 1 2 10
n I 0
J J " J J 5
i 3 2
3 2 1
4 3 1
f p p J 1 2 1 0 1 0
r t r r t j 1 2 10 10
r r f r f_f= 1 2 10 10
1 2 10 10 * 0
1 2 10 10
^ j j i Vln J J ' 3 2 1 3 0 1 3 2 1
Via
Vnc
3 2 1 3 0 1
£ p r 3 2 1
4 3 1 4 0 1 4 2 1
CB fc ¥f i
2 0 1 0 t I
Figure 39. "Bohemian Folk Song"
89
Vln
Via
Vnc
& r L f j 1 2 10 10
r t r r ti 1 2 10 10
7* r U r u 1 2 10 10
3 3 2 1
3 2 1
£ 3E
4 3 1
J J 3 0 1
f = f = £
3 0 1
4 0 1
„„ j n i
1 2 10 10 2 1 3
2 0 1
Vln
Via
Vnc
3 2 1
*£=N£
1 2 1 0 1 0
r f r r r r
m 3 2 1 poco retard
m i 3 2 1 1 2 10 10
?* f r r r r r r F j-
3 2 1
poco retard
4 2 1
CB J J J 1 2 10 10
J n 4 3 1 poco r^ard
0 2 1 12 10 10 * 1 m
Figure 39, Continued
Figure 40. "May Song"
At this point a transition is made to new finger patterns, the recommended use of fourth finger for violin and viola, and the use of a lengthened bow stroke. Each experience is built stepwise on the foundations already established. The new dotted rhythm which is found in the "May Song" should be practiced first on open strings. Establish a steady pulse and a rhythmic motion pattern (slow, fast, slow) in the bow arms, repeating until it is correct.
90
Vln
Via
Vnc
CB
# n v ]Hi^ 4 f H — f— T—r~i— -j—zfH fo-LJ JL*
• • 2 0 3 0
o&.4 .. g f ^ r f j f J -J»—J J j —
3 0 2 * 4 0
f—P P r— P *4 r—*-!
0 2 0 3
n v . #• ft 14 « ' 1
1 1 3 1 0 4
r fj r j
J 1—1 p 3 0 2 0
Mr i— 0 3 0 4
H V '
*>'ii r" IIJ * * 0 4 0 0
1 4 1 0 •
-J— + -1 0 1 0 *
4 L £ 4 0 3 0
r P r r -0 1 4 ' 0
Vln
Via
Vnc
* S3 • I 1 5~3
r r ;r r r fj 0 3 2 0s
4
f=t=F
CB H
0 3
0 4
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^ 4
Figure 40. "May Song"
91
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Via
Vnc
CB
& 1 J " 2 0 2 T
4 1
j. m jjj 1lt f Lf P "'
| J J — 0* 2 0 3
P . g r f
r Lr i i 1 3 | 0 V
T t T P i
2 0 2 1 4
**•1 r 'rr
-P |c_! 0 2 0 3
f f r f
1 3 1 0 ^
r f r r i
3 0 3 1 rf—tu— 0 3 0 4
$^U=*=
i
1 4 1 0 *
- J * 1 A
Vln
Via
Vnc
CB
V 30 8 5
«'• f i r . 3 0 2 0
>*f r B f r 4 0 3 0
> « • f D r , 5 o i 4 fe 1
5
i o
I 1 '0
1)
Figure 40, Continued
92
Suzuki feels the foregoing "May Song" (Figure 40)
is useful in teaching proper bow distribution."1"^
When all of the materials in this plan of instruc
tion have been mastered the class will be able to play by
memory everything they have had from the first day.
Performance of any of these materials in groups or indi
vidually should be an expected activity for the young
string players. Performing for an audience of two or
two hundred people should be encouraged as normal and enjoy
able, with each additional performance of the same material
representing a goal for improvement and added security.
If new materials are needed, the teacher is
encouraged to use other selected folk music, transposed,
if necessary, to appropriate keys and finger patterns.
In general, however, the philosophy of "little material,
much repetition" should be followed at this stage. As
always, a string class of varied backgrounds presents a
problem of pacing. It is believed by this writer, however,
that these problems are no greater with a "listening and
singing" approach, and may even be less. The teacher
should make every effort to help both parents and children
realize the value of listening and learning without reading
17. Ibid.
93
music in these early stages. Parents, in particular, are
apt to be skeptical about playing without music, and their
attitude may easily affect the children.
The "listen, sing and play" plan of instruction
will develop the inner listening resources of the child
while his technique grows. It is hoped that this approach
will help make playing familiar pieces such as Bayly's
"Long, Long Ago" (Figure 4l) as well as unfamiliar ones
a disciplined, "but also a joyful experience for teachers,
parents and children alike.
94
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Via
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1 1 3 j n J J " 3 ; •Bfo i 2 3
n |p f j; 4 » «- » P P P—
-J—J*i] i
0 1 0 * 2 j !
f "Cj* i =»—
1 j j ; i ; ' i i i
r ' f < • \ B m |—0=—1—L—I—
0 12 3
4 —_ ,• m—0 p
0 1 0 ^ 2
"P ^—0 ~ -J—-—i-p
r ~' i 0 3 2 1 O
f f r — ' * r C J : — ^0 1 3 4
n NH{.| 4 - V ' - M f 9 P
0 1 0 * 3
r r r • » 1
-1—is-— 0 4 3 1
r p p B — 1 ' l k , r C J r M d
* 0 14 0
1 ; 1—11 i% J 1 1 1 4 14 * 0 4 1
Vln
Via
Vnc
CB
f e ' * > n j J J~"3 j f 3 0 I 0 2 3 2 1 o
uh r Lf
1 2
I-
2 10
mm * 8 10
Mm 0 4 1 0
1 2
f L f i f j
0 1 0 * 2
r cj f LT o 1 3 *
r i_r r lt 0 14 0
M 0 1 0 3
0 1 4 1 4
Figure 4l. "Long, Long Ago"
95
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Via
Pi nt J:= v 0 3 2 I s 1
4
r ' f f * * J" 0
1 1 J i r i / o i a 2 f ?
4 1
P •' f r— j b ff UJ—\-—U-—
0 3 2 1 2 1
OK., -—P f p—f m
f 0
i J 1 < , T 0 * 3 2 1 1
r : P r .—] —lj r L.r 0 4 3 1 3 J
1^1 Lf r J 1 O i . .
t= r.rn [ j
4 = f e =f= f i w* 'i ;
r~i , Vnc
GB
14 10
Vln
Via
Vnc
j—n—;— —d—*1—! H—p* ,
-TfT-# » J ip*T|—r—r— *— i
—"T J J j—; "*» 9 3 2 1 V 9
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~ 0 4 3 1 1
< ut n\
J—eF-f— 4 3 1 0
r f r » CB
Figure 4l, Continued
96
Vln .n j=iS
0 10 2 0 4
m w" a 2 i
l-
2 i
|> p B'> r r f — / » >
Via
Vnc
CB
0 1 0 2
"g J I U * 0 t o 4
"i,| 7T *14 G
P 10 8
0 3 2 1 2 1 4
r CJ f CM 0 4 3 1 3 1
r Lr r c r 1 4 1 4 1 0 4 1 4 i
Vln
Via
4
Vnc
CB
Figure 4la Continued
97
"^According to Suzuki, "Long, Long Ago" (Figure 4l)
is a good vehicle for the development of bow control and a
singing tone. He feels that his own "Allegro" (Figure 42)
is also good for tonal development but calls for more move-
18 ment in the bow. The bowing for the staccato quarter
notes should be a fast, vigorous stroke, with a precise
beginning and ending. The eighth notes should be smooth
and connected. "Lift and set" the bows at the end of dach
four-measure phrase. The middle section should be more
smooth, with long bow strokes. Leave the bows on the
strings during the pause at the fermata and then quickly
lift for the return to the beginning theme. This piece
offers excellent opportunities for antiphonal playing
between teacher and pupils, or between groups of children.
One measure may be played, with the following measure as an
answer.. Sections of two, four, or even one-half measures
may be used in a similar way.
18. Ibid.
98
vln
Via
Vnc
CB
Vln
Via
Vnc
CB
Figure 42. "Allegro"
V /• 0
5 *
a ii a f f r r I 2 3 I
fffrr r;
« • J J • • • • 8 a • • • •
r r f 1 0 1 2 0
ivr V i • D ff 4 !—!— / 3 0
5*1^ •* f f ——
* ' 4— 12 3 10 *
—1—1— 3 2
• • • •
F F P f
LLiJr m 1 0 » 2 0
/ 4 0
y l 4 ] J | | 1
' 1 13 4 10 4
NTH i|i
J_l 1— 4 3
• • • • p p p p Liu P i 10 13 0
"FVP"f m" f • $ 4m* * J <1 / 0 o -J-* J-J-a-r-1 4 0 1 q *
When helping the class learn "perpetual Motion" by Suzuki, notice its construction or form: two measures plus two measures, with the second pair differing only in the open string notes (excepting the bass viols) used to end the phrase. Again, stopping the bow and setting the new finger before playing the next note, plus practice at a slow tempo, should be the procedure for learning the selection. The class may also play the work utilizing two sixteenth notes in place of each eighth note, after learning the staccato eighth-note version. In the sixteenth-note variation, use an efficient, short bow stroke with a simple forearm motion. Finger or wrist strokes should be developed later. Suzuki thinks that this piece is especially effective in teaching the performance of quick one-sixteenth notes.19
19- Ibid.
101
Vln k*n J7^ JTT3 iJfllJJfl « • • « 0 1 8 1 2 9 t 3 J t 3 1 4 O l t 1 2 9
The G major scale should also he practiced using Variation A of "Twinkle, Twinkle Little Star."
107
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Via
Vnc
CE
I I l l n 1
0 I
1 —1— 1—
2
M i l
3
P 4 J J J J 0
n
r -
0 0 0 0— 1
4 4 4 d.,
2 a
— ^ J J J J 0
!»i | | I I : — "J • -a—^
1
0 0 0 J
3
J J J J 4
•J" J"'J" J'. ,
11 * = 1 —j——1~" P= La4-
J J J J 0 0 0 0 0— t • 0 0 0 0
j j j j 2
•» j j •
Vb= r r r r 0 rf f- r f-i 2
-i 0
£.f4-
r r r r | 0 r r r r t
• * * *—
3
f f f f 4
f f f f r r r r i r r r r *= r r
Vln
Via
Vnc
CB
Figure 48. G Major Scale
io8
Vln ± m
Via §
Vnc I CB ?* r r r r ££££ £££?
Vln
Via
Vnc
CB
« > J J J J
Figure 48, Continued
Figure 49- "perpetual Motion" on the G String
In addition to the material on these pages, all of the previous songs and variations may be transposed to other strings for further review. Figure 49 provides, an example by notating and fingering the first four measures of the "Perpetual Motion" by Suzuki on the G string (also A and D strings for the bass viols).
109
Vln
Via
Vnc
CB
0 1 4 0 1 2 1 2 0 1 X 0 0
Vln
Via
Vnc
I 0 12 12 3
pT}fTTh
2 3 2 2 8 1
rmrm * ® J 2 3 1 0 0 12 12 3
P nmi 0 1 3 1 3 4 3 4 0 3 4 1
>i f r f f ri/Ti ~ rn>i CB 0 1 4 0 1 2 1 2 0 1 2 0 2
Figure 49. "Perpetual Motion" on the G string
110
Figure 50 is a drill for C string practice for the
violas and 'celli. it will be well to have the violins
and bass viols engage in silent practice with the bow and/or
the instrument while the violas and 'celli are working on
Figure 50. Idleness engenders vexatious conduct in a
heterogeneous string class, so it is advisable to train
the students to automatically engage in constructive but
silent study during those times when the instructor's
attention must necessarily b^ elsewhere.
Via
Vnc
B
0 1 3 1 0 1 3 0 1 3 4 3 1 4 3 1 0 1 3 4 3 1
Via
Vnc
0 1 3 4 3 1 0
Figure 50. C String Drill
Ill
The c major scale (Figure 51) also should be
practiced by the violas and 'celli using the "Twinkle,
Twinkle Little Star" Variation A bowing pattern.
m Via 87 0 0
0 w 2 9 0 1
n 0 t a 0
J J J J J J Vnc sff # »
0 1 • 4 0 t 3 4
H ^ J -i m Via •—» fiff 3 8 1 0 3 2
Vnc t 4 3
33 4 3
utt 1 0
Figure 51. c Major Scale
Figure 52 is a drill for E string practice for
the violins and bass viols.
Yin I 0 12 3 2 1 0 1 2 3 2 1
CB 0*0
^ »
0 1 4 0 4 1 0 1 4 0 4 1 0
Vln
CB
pi 0 1 2 1 0 1 2 0 1 2 3 2 1 3 2 1
J J M 0 6 0 1 4 1 0 1 4 0 1 4 0 4 1 0 4 1
Figure 52. E String Practice
113
The A major scale (Figure 53) may also be
practiced by the violins and bass viols using the
"Twinkle, Twinkle Little Star" Variation A bowing
pattern.
Vln
CB
Vln
CB
i J J—g)" • F~t~
<L
.
1. 1.
(fo * 4 * * v 0 t
y M1 4—1—1—j-
H—~ * 3
- j j j j
--I—1—1—1—
0 1
• 1 • 1 1
2 8
1 1 r tf 4 J J J J 0 1
i t M r r r r i
4 0
' r r r -
U J J J 0 1 J J ^ 4 0
J J J J || f r 1 1 : = " 3 2
qi d.l— 1 — *
—1— 1— 1— 1 0 3 2
J J 1 1 1
» » •—•—
1 0
1 1 1— 0 4
Figure
1 0
53 • A Maj o
0 4
r Scale
* * d d 1 0
Figure 54 . "Allegretto" Bowing Pattern
It is well to be reminded that the aim of this course of instruction is to establish from the very beginning the fundamentals of good playing. Among these are careful listening, accurate rote singing, correct posture and efficient motion patterns. Everything cannot be started at once, and the elimination of certain factors is purposeful and is based on careful observation of the way in which a child learns to speak his own language. For example, eliminating music stands and printed music simplifies the learning process and focuses attention on listening. As another example, the following exercise (Figure 54) gives the pertinent bowing pattern as a preparation for the Suzuki "Allegretto." It should be played on the open strings.
114
Vln
Via
Vnc
CB
Vln
Via
Vnc
CB
Figure 54. "Allegretto" Bowing Pattern
4*^ • • n
Ip4 pp
j J"Jj J3 > • • > » • r-r-^ r-r-« •' m »—m m
j — Jj-j J3->• • • > • • > • • > a •
f F/f £f
j jij n\
^ » i ** 1 * * • •—m M 11
•w-Ef-n
r Qf r [_f
y * t t > • • >• • • • *> m m mm
r [jr c/
4 • r ire IT
J J1J J31 . =—
J LU LI—
TTJJ J3
r o r c f i
J JTCJ IT.
>• •
HS—i
## • > • •
-h-i ff-
u. I
P d > • • > • •
PTi PT~
f
J. • < J» J > • • > • •
i}} tt 1 £=
Figure 55. "Allegretto"
In playing the Suzuki "Allegretto" oT its bowing preparation on the preceding page, the students should be encouraged to use a fast bow for the accented notes following the two staccato eighths. "Speed the bow" should be the motto for the accents, to assure a live, clear stroke rather than a "crushed" sound. To achieve the correct amount of pressure in setting the bow on the string, repeat the "bow lifting" procedure utilized earlier.
» T" J jjg. U 1 o to =—£ff—tJ-4 o 4 » J—UU— 0 4 1 o
117
Vln
Via
Vnc
CB
m mm
r g f f r r
L_ i i ,<a||n V ^ L>4 in* * 0 %-+-
b'n f oW f cfr &T 1 0 4 | *y ft 1 4 1 0 4 1 0 4 1
Vln I 3£
Via
Vnc
CB
3 2 ; * ;
I b 1 1 * r e r r is 2 1 2 i
>h r a i 3 i
=r • . > . i frit P P* k »iP i r LTr CrIc
0 « 1 * 1 0
£
£
JI
Figure 553 Continued
Figure 56. "Andantino" Bowing Pattern
Figure '36 is a preparatory study on open strings for the Suzuki "Andantino." Smooth, connected bow strokes should be used on the two eighth notes and the bows should be brought lightly and precisely to a stop at the end of each quarter note.
118
Vln
Via
Vnc
CB
ft* J3J m • • n
-Li A b"m w •wrwrm
I/3J J]J • • rrr rrr
/3« i
i» p k—P"i" F"
n J* m m * YTm
• • ut err
• • v err cr r=
^crr err • •
• U t U t I
err err
Vln
Via
Vnc
GB
• •
h&—r~i—m—
n #— -d«
-p *—
• •
» » # j » j — • •
h'iff cr 1 =£=^=
Figure 56. "Andantino" Bowing Pattern
119
Suzuki feels that the preceding "Allegretto" and
his "Andantino" (Figure 57) are pedagogically useful
PO because of their rhythmic and bowing patterns. Every
note in the "Allegretto" except for one at the end of each
of its three phrases is taken with a martel^ bowing, while
in the "Andantino" there is much use of d£tach£ and accented
bowings in addition to martel6. The "Andantino" should be
felt in two broad, swinging beats per measure, rather than
in four beats. The middle section's quarter notes should
be broad, sustained, and vigorous. At the diamond marking,
the violin, viola and 'cello fingers should be lifted and
re-set on the D string.
20. Ibid.
Vln
Via
n i h V n v n y
n h * r ~ j — V i — —T«! f I , m f — b p J J J J J j —
^ w f * 3 0 9 2 i
a A Fi 1 * f t r
>
[f — 2 3 0 1 2 3
-f'T P * V U '—U
2 a 0 3 2 1 ±=£=
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f m '— r
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r f r f r f
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iVr
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= -
f m M—ft
tJ 1 ^— 3 4 0 £ 3 4
r r r r i J ' k*1 1 i r w t f 4 0 1 0 4 1
Uf r 4 •. • —gLJ-—1
4 0 1 1 4 0
Vnc
CB
Figure 57. "Andantino"
120
Vln
Via
Vnc
CB
b r-r 1 r 2, 1 i ' r J 3
=8 r ' i » I 0
r f5 .11
i——j— * 3 * ; 1 -j—F-P—p
j r 1 3 0
r t r i* 45-i-
•WiT
^ 1 " ' * 3 2 1 0 ffr r—r
1 U 1—V ^ 3 t 1 0
I i p —z—
I1 1 r =j 2 0 0
T—r—?—F— * i =p
i • t 0
* 1 1 •
i ^"-X—£— • 43 1 'o
—F-#-»—*
LI—[—£ 3 0 0
~r—r—i—i— /iqu d—i ° 4 ; ;
ur r 0 4 1 *0 (4.—p J-. 4 0 0
Vln
Via
Vnc
CB
l i t * r r f 1
re Cf[ ' 1 2 3 0
Utff r r f f
0 3 2 1
f f f r j <i j j 0 3 2 1
r r f f P * **— 1 2 3 0
rrf r—
1 • I
4 3 2 1
L , r r —I—1—f—
0 3 2 1
f r j. -Z—), W ! 1 3 4 0
•TJ-i .1 1
r f — 1 0 3 1
r r J J
1 1 r i 0 4 3 1
J r r r II
Figure 57, Continued
121
Figure 58 gives further experience in the "close
one-two" finger pattern for the violins and violas and
the use of second finger for the 'celli and bass viols.
This was first encountered in the "Bohemian Folk Song"
(Figure 39, page 88).
VI n
Via
Vnc
CB
0 1 2 1 0 1 2 1 0 1 2 1 0 1 2 1
Figure 58. "close One-Two" Finger Pattern
122
VI n
Via l t i r r f r i T f r =
0 1 2 1 0 1 2 1
n/m [[ 0 12 10 12 1
r r f r r r f r 0 1 2 10 12 1
* I £-
0 12 10 12 1
9i r r r r rM= fftrfft Vnc
CB
0 1 2 10 12 1 0 1 2 1 0 1 2 1
J .J k J S
0 1 2 1 0 1 2 1 0 1 2 1 0 1 2 1
4—^ • £tl 1* f f f
f r r r r f r r
r f f .f r f f r ; ja :—
L< r r"r r r f f r_ r rf r
r J J 3 J • j —
Vln
Via
Vnc
CB
Figure 58, Continued
123
Vln
Via
Vnc
CB
* f=f±f t±
0 M 0- r r r r r r r
m mm
pi & J % '—i^J. J ' -<? J J J J J J J :
tc PI »
1 r Vln
0 1 2 3
n f a t i o
SI IO H Via £
0 12 9 3 2 1 0
S
?E
«lr~f £ £1 r r r t Vnc
CB
0 1 3 4 4 2 1 0
^ J j jli 0 1 4 0 0 2 1 0
Figure 58, Continued
Figure 59. "Flemish Folk Song"
The preceding exercises (Figure 58) give preparation for the "Flemish Folk Song. It is written in the key of A minor and utilizes the "close one-two" finger pattern for the violins and violas and calls for the use of second finger by the 'celli and bass viols for the C-naturals which occur on the A strings.
124
Vln
Via
Vnc
CB
2 10
to* f tTfJ
y=3
1 a
f=t
0 4
f J" J—
2 1 0 * a 4 Fine
tj i ^ -EU L '—
2 1 0
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-2SL
1 a
m
0 • 4
1 p p
2 1 0
f" f f—
13 0 4 jj'ine
f f f t * ^3-==-—
2 10 1 A 1 0 2 10
tJJTT"
_U r " 1 4 0
Fine V
feiM t 10 2 10 1 2 0
Vln
2 3 4 3
n i t f f f f
1 rj" P11 2 3 4 2 3 4 3 2 3 4 s.c.
4J 1 —!-i— 2 3 4 3
n ™ji r j * a _
. . 7
2 3 4 2 3 4 3
n
—P—IW P ' l" m
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125
Figure 60 introduces slurs. Proceeding from the
simple A string pattern (also including open D for the
bass viols) played with a martele stroke, the class repeats
it with a double down-bow, double up-bow staccato bowing.
This procedure serves as preparation for two-note slurs.
The procedure is emulated for four note slurs.
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Figure 60. Introducing Slurs
126
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127
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Figure 60, Continued
Figure 6l. "Minuet"
This "Minuet" by J. S. Bach is where Suzuki says that the music begins in this course of study.21 It is--also where this adaptation of the Suzuki-Kendall pedagogy ends. This writer's experience has been that it takes approximately a school year's endeavor to reach this point and it is his opinion that there could be no better culmination of first-year study than a musical performance of a work by Bach. Slurred, staccato double up-bows are found in the first and third measures. A double down-bow situation is found as the "A" section of the AABA song form ends and the "B" section begins. The dynamic contrast between the two halves of the work also heightens its musical interest, as does the melodic content.
21. Ibid.
128
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Figure 6l, Continued
130
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Figure 6l9 Continued
CHAPTER 4
RESULTS AND CONCLUSION
The results of this study are as follows:
Dropouts. There were no dropouts among these
classes of unselected students other than in cases where
families moved from the area.
Performance success. All of the students involved
learned to perform creditably the musical materials and
literature which constituted the curriculum. Some were
more proficient than others, but all achieved accurate
intonation, acceptable tone quality and proper stance.
Attitudes toward string playing. There was a
significant positive feeling among the students with regard
to string playing, 'it had not been the writer's previous
experience to have elementary level children proclaim his
class to be their favorite, to have to caution them to
enter the classroom with less speed and vigor, and to have
to urge them to leave in time to be prompt for their next
learning activity.
Faust wrote a favorable summation of the results of
the writer adapting the Suzuki-Kendall plan of violin
131
132
instruction for heterogeneous stringed instrument classes.
He said:
Eager students, superior instruction, enthusiastic parents—all combined with efficient use of teacher and pupil time and resources—surely would be an . administrator's dream.
Qualifying as such an achievement was an experiment in the Suzuki-Kendall method of string instruction conducted at the Wilson Campus School of Mankato State College, Mankato, Minnesota, during the school year 1962-63. The campus school is a laboratory school in the Division of professional Education of the college. It is staffed by college faculty members. The children who attend Wilson are from the adjacent neighborhood and are representative of a typical cross-section of the socio-economic population of the city of Mankato. They are not "selected" in any way if they meet the criterion of residence within the neighborhood.
The twelve children, five girls and seven boys, that were a part of this experiment, were those who had evinced a desire to participate after the instructor had given a demonstration to the twenty-eight children in the fourth grade room. No "talent" test or musical aptitude test was given to this group prior to their participation. Instruction was given to four children on violin, three on viola, three on 'cello, and two on bass viol.
The class met during each school day for a thirty-minute period of instruction. The children used school-owned instruments, all half-size. No out-of-class practice was permitted; thus all of the children's study was under the direct supervision of the instructor. Because this was part of the regular school program, there was no charge for the use of the instruments or for the instruction.
Inasmuch as the Suzuki-Kendall method is based on the concept of "learning by listening," no printed music was used by the students anytime during the first year. The first step in this method was devoted to teaching the children how to hold their instrument and bow, correct posture, and games involving posture and
133
the manipulation of the instruments. After the children were able to hold their instruments comfortably and correctly, attention was given to listening. The instructor would "dictate" the music to the children by singing and playing the piano. The children would learn to sing the composition by singing the names of the notes, or singing a military-type phonic substitution for note names, singing rhythm values, and sometimes the appropriate fingerings. Thus. before attempting to .play on the instruments, the children were very familiar with the musical material. When they did begin to play they could devote full attention to the problems of pitch, rhythm, posture, and the physical techniques of string performance.
Evaluations of the worth of this method.were made at the end of the year. In terms of the progress of the class, it was felt by all observers that this was a superior method. The instructor was Theodore R. Brunson, Assistant Professor of Music and Education. It was his feeling that with the utilization of the Suzuki-Kendall techniques this class made significantly greater progress than any of the many other beginning classes which have been under his tutelage during his fourteen years of string teaching experience, using various other "published" methods. The other members of the music department and the administration of the school made similar observations. From the standpoint of the administration, the outstanding feature of the experiment was the sustained enthusiasm of the class, which led to a positive reaction on other members of the fourth grade in other types of musical activities. Needless to say, there were no drop-outs in this class. The parents and other patrons of the school were also very outspoken in their praise of the progress of this group.
- From the standpoint of economy of time, the daily thirty-minute class session was not unusual at this level. The parents of the children also appreciated the fact that no home practice was required or permitted. It is probable that in the future a saving of time in instruction for this group will result because of their thorough training in fundamentals.
No money was spent by the school for music for the children. The instruments were furnished by the school, which is not an uncommon practice. No doubt, due to the intense interest of this group, most of
134
them will purchase instruments of their own as they mature. Also, the instruments are used at school, and other children have access to them in other classes. Hence, they are legitimate instructional equipment.
From the standpoint of efficiency in learning with fine results in string instruction, the experiment at Wilson was highly successful. The teacher, the pupils, the parents, and the principal of the school are all in agreement that the Suzuki-Kendall method of instruction meets all of the necessary criteria for beginning string players.l
Conclusion. The conclusion of this study is that
this adaptation of the Suzuki-Kendall Violin Method for
heterogeneous stringed instrument classes constitutes, in
the opinion of this writer, a contribution to string class
pedagogy.
In support of the above conclusion a lecture-
demonstration of the adaptation was given in Crowder Hall,
University of Arizona Music Building, on May 25, 1966.
Included were two filmed groups and two groups plus an
individual performer present on the stage.
The two filmed demonstration groups were made up of
a first-year class of fourth graders and a second-year
class of fifth graders from Wilson Campus School of Mankato
State College, Mankato, Minnesota. The two groups present
1. Claire Faust, "An Administrator's View of the Suzuki-Kendall Method of String Instruction," American String Teacher (Mankato, Minnesota: American String Teachers Association, Summer 1963)* p. 18.
135
consisted of a first-year class of third graders from
and a beginning string class of University of Arizona
students. The individual performer was a first-grade
violinist from the prince School, Amphitheater District,
Tucson, Arizona, who had had five months of Suzuki-
Kendall Violin Method training.
A tape recording of this performance of the latter
two ensembles and of the individual performer constitutes
Appendix III of this study.
APPENDIX I
SUZUKI BIOGRAPHICAL INFORMATION
Shinichi Suzuki was born in Naguoya, Japan, a
steel-mill town, on October 17, 1898. In spite of the
fact that his father owned what was at that time the
largest violin factory in the world and that his mother
was musical, the nine Suzuki brothers and three sisters
heard no western music at home. Young Shinichi attended
commercial school with the intention of entering the
family business. At the age of seventeen, however, the
hearing of a Mischa Elman recording of Schubert's "Ave
Maria" had such a profound effect that the whole course of
his life was changed. Serious study of the violin was
undertaken when he was twenty-one in Tokyo with Mrs. Ko
Ando, a Joachim pupil. After a year and a half he went to
Berlin, Germany, for an eight-year sojourn during which he
studied with Karl Klingler. He also met his wife, Waltraud,
in Berlin. Upon returning to Tokyo he spent the pre-war
years as a teacher and professional violinist. With three
of his brothers, one of whom had studied 'cello in Germany
with Julius Klengel, he formed the Suzuki String Quartet.
This career was interrupted by the Second World War
136
137
' which made it difficult for him to exist as a musician, and
it was necessary to return home and re-enter the family
business. Since the violin factory was then making floats
for seaplanes, he was put in charge of a lumber mill at
Kiso-Pukushima in the Japanese Alps which was supplying
material for the floats. There he coped with the unfamiliar
job, hampered by a serious food shortage, until the war
ended. The cumulative effects of this experience compelled
him to spend some months in a hospital."1"
As he convalesced, he decided to dedicate his life
to the children of Japan who needed peaceful, creative
activity. He also determined to organize a group of teach
ers who would help him put his theories on violin pedagogy
into practice. In Matsumoto where he began there were no
instruments available. To cope- with this problem, his
first pupils shared a single violin, taking it from home
to home.
Within a few years he was able to interest other
teachers and many parents in his ideas for violin teaching.
The first of the manuals of the Suzuki Violin School were
published with recordings and violins of all sizes were
available. "Saino-Kyoiku" or Talent Education was launched.
1. Jiro Komachi, "Children Below School Age Play BachI" Tokyo Mail (Tokyo: Kyodo Seikei Co., Ltd., April 1961), pp. 9-11.
138
Presently there are approximately 6,000 pupils and
120 teachers in about fifty different teaching centers in
Japan. This movement is carried on outside the schools,
although some of the students participate in school music
programs. Even though a large number of professional
players have come from the Talent Education program, Suzuki
maintains that its purpose is to give children the chance
to develop their potential.
An annual "National Festival" concert was begun in
1954 in which up to 2,000 pupils play together in a large
sports arena before a huge audience. This occurs during
the month of March. Each August since 19^-9 a Summer School
has been held for a week at Matsumoto, during which hundreds
of pupils, parents and teachers gather to study and con-
certize together. A cultural and research center (Kaikan)
was dedicated in 1967 in Matsumoto and serves not only as
a center for Japanese teachers and pupils, but also as
headquarters for the Talent Education movement, a teacher
training institution, and as a school for visiting students, O
teachers and observers from other countries.
Since 1964, Suzuki has made tours throughout the
eastern, middle-western and far-western United States.
These appearances have included lecture-demonstrations,
2. Kendall, Talent Education and Suzuki, pp. 7~8.
139
workshops, clinics and performances by Japanese students
representing his Talent Education movement. Almost with
out exception, all who have been in contact with these
Talent Education emissaries have been profoundly impressed
and many have been motivated to endeavor to emulate the
pedagogy. Some will be less effective than others, but
as Freed points out there are already enough enthusiastic
disciples to keep the movement alive and thriving here,
including several who will be able to pass their under
standing and their skills on to the next generation of •3
teachers.
3- Richard Freed, "Making Real Music with Three-Year-Olds," HiFi/Stereo Review (Chicago: Ziff-Davis Publishing Co., December 1966), p. 61.
APPENDIX II
PHONETIC ALPHABET LYRICS AND STUDY TAPE
Lightly Row
Able Fox Fox, George Easy Easy, Dog Easy Fox George Able Able Able, Able Fox Fox Fox George Easy Easy Easy Dog Fox Able Able Fox Fox Fox, Easy Easy Easy Easy Easy Fox George, Fox Fox Fox Fox Fox George Able, Able Fox Fox Fox George Easy Easy Easy Dog Fox Able Able Fox Fox Fox.
Song of the wind
Dog Easy Fox George Able Able Able Able Baker George Dog Baker Able, Baker George Dog Baker Able, Able George George George George Fox Fox Fox Fox Easy Easy Easy Dog Fox Able, Able George George George George Fox Fox Fox Fox Easy Easy Easy Dog.
Children's Song
Able Able, Fox Able Able, Fox Able George, Easy Easy Fox, Able Able, Fox Able Able, Fox Able George, Easy Easy Fox, Fox Easy, Easy Easy George, George George Fox, Fox Fox Baker, Baker Able, Able Able Dog, Able Fox George, Easy Easy Dog.
140
l4l
Lullaby
Pox, Pox Easy Dog, Dog, Easy, Easy, Pox Easy Dog, Able, Able George Fox, Pox, Easy Dog Easy Pox Dog; Fox, Fox George Able, Able, Baker, Baker, Able George Fox, Fox, Fox George Able, Able, Baker, Baker, Able; Fox, Fox Easy Dog, Dog, Easy, Easy, Fox Easy Dog, Able, Able George Fox, Fox, Easy Dog Easy Fox Dog.
French Folk Song
Dog Dog Dog Charley Charley Charley Baker Charley Dog Able, George George George Fox Fox Fox Easy Easy Easy Dog, Dog Easy Fox Dog Easy Fox Dog Easy Fox George, Easy Fox George Easy Fox George Easy Fox George Able, Dog Charley Baker Able George Fox Easy Dog Easy Dog.
German Folk Song
Charley Able, Charley Able, Easy Able Easy Able Charley Able, Charley Dog Dog Dog Dog Charley Charley Charley Charley Baker Baker Baker Baker Able.
English Folk Song
Dog Easy Pox George Able, Able Able Dog, Dog, Baker, Able, Fox, Easy Dog Easy Fox Dog; Dog Easy Fox George Able, Able Able Dog, Dog, Baker, Able, Fox, Easy Dog Easy Pox Dog; Dog, Dog Dog Dog, Dog Dog Dog, Dog, Dog, Dog, Charley, Baker Able Baker Charley Able, Dog Easy Pox George Able, Able Able Dog, Dog, Baker, Able, Pox, Easy Dog Easy Fox Dog.
Flemish Folk Song
George, George Fox Easy, Easy, Fox Dog, Easy, Easy, George, George Pox Easy, Easy, Fox Dog, Easy, George, George Able Baker, Baker Able George, Able, George, George Able Baker, Baker Able George, Able, George, George Fox Easy^ Easy, Fox Dog, Easy, Easy, George, George Fox Easy, Easy, Fox Dog, Easy.
Baker, Baker,
142
Bohemian Folk Song
Dog Easy Fox George Able Baker Charley Able Dog, Dog, Charley, Baker, Baker, Able,' George Baker George Easy Fox Able Fox Dog Easy, Easy, Dog.
English Folk Song
Fox Easy Fox George Able, Fox, George, Baker, Able, Dog, Fox Easy Fox George Able, Fox, George, Easy, Dog, Dog Charley Dog Charley Dog, Fox, George, Baker, Able, Fox, Dog Charley Dog Charley Dog, Baker, Able George Fox Easy Dog.
French Folk Song
Dog George Able George Fox Easy Dog George Able George Fox Easy George Fox Easy George Fox Easy George Fox Easy George Fox Easy Able Able Easy, Dog George Able George Fox Easy
Baker, Able Able Easy, Dog Easy"~Fox George Baker, Able Able Easy, Dog Easy Fox George, Dog Easy Fox George, Dog Easy Fox George, Dog Easy Fox George, Dog Easy Fox George Dog George Able Baker, George Fox Easy Dog Easy Fox George Baker, Able Able Easy, Dog Easy Fox George.
Baker Able George, Fox, Easy, Baker Able George, Fox, Easy,
Baker Able George, Fox, Easy,
Baker Able George, Fox, Easy.
Long, Long Ago
Dog, Dog Easy Fox, Fox George Able, Baker Able Fox, Able, George Fox Easy, George Fox Easy Dog, Dog, Dog Easy Fox, Fox George Able, Baker Able Fox, Able, George Fox Easy, Fox Easy Dog; Able, George Fox Easy, Able Able George, Fox Easy Dog, Able, George Fox Easy, Able Able George, Fox Easy Dog, Dog, Dog Easy Fox, Fox George Able, Baker Able Fox, Able, George Fox Easy, Fox Easy Dog.
143
May Song
Dog, Fox Able, Dog, Baker, Dog Baker Able, George, Able Pox, Dog, Easy, Dog, Able, Able, George, George, Fox, Able Fox Easy, Able, Able, George, George, Fox, Able Fox Easy, Dog, Fox Able, Dog, Baker, Dog Baker Able, George, Able Fox, Dog, Easy, Dog.
Allegro
Dog, Dog, Able, Able, Baker Charley Dog Baker Able, Able, George, George, Fox, Fox, Easy Dog Easy Fox Dog; Dog, Dog, Able, Able, Baker Charley Dog Baker Able, Able, George, George, Fox, Fox, Easy Dog Easy Fox Dog; Baker, Baker, Able, Dog, Baker, Baker, Able, Dog, Baker, Charley, Dog, Baker, Able, Fox, Easy; Dog, Dog, Able, Able, Baker Charley Dog Baker Able, Able, George, George, Fox, Fox, Easy Dog Easy Fox Dog.
Perpetual Motion
Dog Easy Fox Fox Easy Fox George George Fox George Able Fox George Easy Able Able Dog Easy Fox Fox Easy Fox George George Fox George Able Fox George Easy Dog Dog Dog Charley Baker Baker Charley Baker Able Able Baker Able George George Fox Easy Able Able Dog Charley Baker Baker Charley Baker Able Able Baker Able George George Fox Easy Dog Dog Fox Dog Easy Easy George Easy Fox Fox Able Fox George Able Baker Charley Dog Dog Fox Dog Easy Easy George Easy Fox Fox Able Fox George Able Baker Charley Dog Dog Dog Easy Fox Fox Easy Fox Goerge George Fox George Able Fox George Easy Able Able Dog Easy Fox Fox Easy Fox George George Fox George Able Fox George Easy Dog.
Dog Easy Fox, Fox Able George, George Baker Able, Able George Fox,
Fox Able George, George Fox Easy, Easy George Fox, Fox Easy Dog,
Dog Easy Fox, Fox Able George, George Baker Able, Able George Fox,
Fox Able George, George Fox Easy, Fox Easy Dog; Dog Fox Easy, Able Able Able, Easy George Fox, Dog Dog Dog, Fox Able George, George Baker Able, Able Dog Able, George
Fox Easy; Dog Easy Fox, Fox Able George, George Baker Able, Able
George Fox, Fox Able George, George Fox Easy, Fox Easy Dog.
Andantlno
Fox George Able, George Fox Easy, Fox Easy Dog, Easy, Fox George Able, Baker Charley Dog, Dog Charley Baker, Able, Fox George Able, George Fox Easy, Fox Easy Dog, Easy, Fox George Able, Baker Charley Dog, George Fox Easy, Dog; Fox, Fox, Dog, Able, Baker Charley Dog, Able, Easy, Dog, Charley, Baker, Able, George, Fox, Easy, Fox George Able, George Fox Easy, Fox Easy Dog, Easy, Fox George Able, Baker Charley Dog, George Fox Easy, Dog.
Etude
Baker Dog George Able Baker Dog George Able Baker Dog Charley Baker Able Dog Able Baker Charley Dog Able Baker Charley Dog Able Baker Charley Easy Dog Charley Baker Dog George Able Baker Dog George Able Baker Dog George Able Baker Dog Charley Baker Able Dog Able Baker Charley Dog Able Baker Charley Dog Able Baker Charley Easy Dog Charley Baker George Baker Dog George Fox Easy Dog Charley Baker Able
George Fox Dog Fox Able Able George Fox Easy Dog Charley Baker
Able George Dog George Able Baker Dog George Able Baker Dog George
Able Baker Dog Charley Baker Able George Fox Easy Dog Charley Baker
Able Dog, Charley Baker Able George Easy, Charley Baker Able George Fox, Easy Dog Fox, George. Dog, Dog, Dog, Baker, Able Baker George, Able, Dog,
Charley, Baker, Able Dog, Charley Baker Able George Easy, Charley Baker Able George Fox, Easy Dog Fox, George. Baker Easy, Charley, Baker Charley Able, Dog, Easy, Fox, Easy Dog Charley Baker Able, Able, George Fox Easy Dog Baker, George Fox Easy Dog Charley, Able, Charley, Dog. Dog, Charley Baker Able, Baker, Able Baker George, Charley, Charley Baker Able, Dog, Charley Baker Able George Easy, Charley Baker Able George Fox, Easy Dog Fox, George.
A study tape recording which is intended for use
with the preceding phonetic alphabet lyrics is available
in the Music Library of the University of Arizona. This
study tape contains performances of the above selections
by a violin-violist, a 'cellist and a bassist, each with
piano accompaniment.
APPENDIX III
LECTURE-DEMONSTRATION TAPE RECORDING
A tape recording is available in the Music Library
of the University of Arizona of the performance of a first
grade violinist from the Prince School, Amphitheater Dis
trict, Tucson, Arizona, who had had five months of
Suzuki-Kendall Violin Method training, a beginning class
of twenty-five third graders from Harelson School, Amphi
theater District, Tucson, Arizona, and a beginning string
class of fifteen University of Arizona students who
participated in a lecture-demonstration of the adaptation
of the Suzuki-Kendall Violin Method for heterogeneous
string classes which was given in Crowder Hall, University
Paul Rolland, University of Illinois, Urbana, Illinois
Howard Van Sickle, Mankato State College, Mankato, Minnesota
Sister Mary Anella, Seattle, Washington
Elizabeth Chapman, Hampton, Virginia
Karla Kantner, Seattle, Washington
Kent perry, Southern Illinois University, Edwardsville, Illinois
Jeanette Scott, Portland, Oregon
Carl Shultz, De Kalb, Illinois
Yvonne Tait, Tucson, Arizona
Walter Targ, Minneapolis, Minnesota
William Starr, University of Tennessee, Knoxville, Tennessee
Shirlene McMichael, Pendleton, Oregon
Alberta Denk, Indianapolis, Indiana
Diana Tillson, New Canaan, Connecticut
147
148
Donald Shetler, Eastman School of Music, Rochester, New York
Elizabeth Mills, Pasadena, California
Paul Zahtilla, San Francisco, California
Idell Low, Los Angeles, California
Margarito Rameriz, Escondido, California
Margery Aber, Detroit, Michigan
Louise Behrend, New York, New York
Barbara Beissel, Morrisville, Pennsylvania
Margaret Berrio, Okomos, Michigan
Sister Mary Cecilia, Owensboro, Kentucky
Margaret McCluskie Clark, Oil City, Pennsylvania
Sarah, Deneen, Chicago, Illinois
Sylvia Edmunds, West Harwich, Massachusetts
Estella Frankel, Wilmington, Delaware
Evelyn Herman, Dallas, Texas
Marilyn Kessler, Okomos, Michigan
Elizabeth Koster, Hartford, Connecticut
Marilyn Ross, Thousand Oaks, California
Sanford Ruening, Ithaca, New York
Sister Marion Schreiber, Seattle, Washington
Peggy Varvel, Pittsburg, Kansas
Laura Wickerham, Peoria, Illinois
Doris Preucil, Iowa City, Iowa
LIST OF REFERENCES
I. Books
Applebaum, Sam and Sada. With the Artists. New York: John Markert and Co., 1955.
Auer, Leopold. Violin Playing as X Teach It. New York: Frederick A. Stokes Co., 1921.
Bekker, Paul. The Story of the Orchestra. New York: ¥. W. Norton and Co., 1964.
Birge, Edward Bailey. History of Public School Music in the United States. Philadelphia: Oliver Ditson Co., 1928,
Boyden, David D. The History of Violin Playing from Its Origins to 1761. London: Oxford University Press, 1955.
Earhart, Will. A Steadfast Philosophy. Washington, D.C.: Music Educators National Conference,, 1962.
Flesch, Carl. The Art of Violin Playing. New York: Carl Fischer, Inc., 192TI
Galamian, Ivan. Principles of Violin Playing and Teaching. Englewood Cliffs, New Jersey: Prentice Hall, Inc., 1962.
Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing. London: Oxford University Press, 1948.
II. Pamphlets
Kendall, John D. Listen and Play. Evanston, Illinois: Summy-Birchard Co., 196i.
. Observations and Report. Edwardsville: Southern Illinois University, 1964.
149
150
. What the American Music Educator Should Know About Shinichi Suzuki; Talent Education and Suzuki. Washington, D.C.: Music Educators National Conference, 1966.
Rolland, Paul. A Filmed Demonstration of the Teaching of Shinichi Suzuki with American Preschool and Grade School Children and Their Mothers as Subjects. Urbana: University of Illinois, 19^5.
Waller, Gilbert. Questions and Answers Concerning String Class Teaching. Urbana: University of Illinois, 1948.
Ill. Articles
Druian, Rafael. "The Environment and Development," String Problems; Players & Paucity. Syracuse, New York: Syracuse University Press, 1965, pp. 8-9.
Faust, Claire. "An Administrator's View of the Suzuki-Kendall Method of String Instruction," American String Teacher. Mankato, Minnesota: American String Teachers Association, Summer 1963, p. 18.
Freed, Richard. "Making Real Music with Three-Year-Olds," HiFi/Stereo Review. Vol. 17, No. 6, December 1966, p. 61.
Kaplan, Max. "The String Shortage: Social Origins and Proposals," String Problems: Players & Paucity. Syracuse, New York: Syracuse University Press, 1965, p. 22.
Kendall, John D. "A Report on Japan's Phenomenal Violinists," Violins and Violinists. November-December 1959, p. 242.
Komachi, Jiro. "Children Below School Age Play Bachl" Tokyo Mail. Vol. 1, No. 4, April I96I, pp. 9~11.
Silverstein, Joseph. "Methods and Materials," String Problems: Players & Paucity. Syracuse, New York: Syracuse University Press, 19653 PP* 6~7-
Suzuki, Shinichi. "Outline of Talent Education Method," Violins and Violinists. March-April i960, pp. 59-Wi
151
IV. Interview
Suzuki, Shinichi, President, Saino Kyoiku Kenkyu-kai, Asahi-machi 1463, Matsumoto-shi, Nagano-ken, Japan. Interview by author, Matsumoto-shi, Nagano-ken, Japan, August 1§68.
