Suzuki Guitar School, Vol 1: Guitar Part, Book
Martial Salleh
The Suzuki Method was originally developed by Dr. Shinichi Suzuki in the second half of the 20th century, first applying the concepts to the violin, and later to other instruments: viola, cello, bass, piano, flute and guitar. Today, the Suzuki method is a world-wide approach based on principles that Suzuki put into practice; namely that all children have unlimited potential to learn based upon what is in their environment.
The idea seems obvious, but the implications and details are far reaching. After spending eight years in Germany, where he studied violin with Karl Klingler of the Klinger Quartet, Shinichi Suzuki came into contact with notable musicians and thinkers in Berlin at that time, such as Dr. Albert Einstein, and heard many concerts by Busoni, Richard Strauss, Arthur Schnabel and the Berlin Philharmonic conducted by Furtwangler. Upon returning to Japan and experiencing the devastation that occurred during World War II, he realized that the world needed culture, and that music and the principles it teaches could save the world from such devastation.
Group Classes: Many critical music and social skills are developed in group class, including playing repertoire, performance practice, teamwork, socialization, following, and later, music theory, reading skills and ensembles. Group Classes are an essential part of any Suzuki program, reinforcing previous skills, and becoming flexible musicians.
The essential concept of legato in music, the production of beautiful, sustained melodies, is the one thing that guitars seem to be built to ignore; it takes considerable skill and determination to create a well-shaped, singing line on the guitar.
Playing in a group setting improves ability to follow a varied pulse, balance melody and accompaniment, watch a conductor or leader, refine musical skills such as timing, phrasing, reading,and responsibility. Violinists begin playing in orchestras in school and community groups before or soon after they begin lessons. They develop the ability to respond to a conductor, get socially involved with other children who are into music. Guitarists deserve the same wonderful experiences.
Because there was no possibility of direct Suzuki instruction in guitar, Frank began Suzuki instruction in cello, with Barbara Wampner, and violin with Shannon Murphy, in his home state of California. Bill traveled to Japan with his wife and 2 year old son, Adam, to work with Dr. Suzuki and with Toshio Takahashi, author of the Suzuki Flute Method. Lisa took the first drafts of Book 1 to show Dr. Suzuki during a visit to Japan. Dr. Suzuki was very interested in the establishing the guitar, and thought it could be very helpful in the countries of South America, where piano and violin were less available. It is through this kind of encouraging environment from the Suzuki violin teachers that shaped the early beginnings of Suzuki Guitar throughout the world.
Some guitarists became interested in applying the Suzuki concepts to the guitar when they had young children of their own. In Italy, Elio Galvagno began using Suzuki concepts, teaching his daughter Francesca, and going through many different versions of Book 1. He then began teaching several students in the house of a family, with encouragement from Anthony and Lee Robert Mosca, who had studied violin with Dr. Suzuki in Japan. There was much excitement and later a school was opened in Saluzzo, Italy. In Germany, Michael Koeppe began with his son. Later, Harald Soderberg in Sweden became involved through seeing the violin students of his wife, Ulla Brit. All of these teachers were put in touch with each other by Suzuki Associations in Europe, America and Japan, and shared their ideas to build a community of excellent teaching. There are now four teacher trainers in Europe.
Increasing awareness of the need for improved student guitars and recent developments in the availability of these instruments bring the hope that sometime in the future we may see a system of quality guitar rental programs similar to those so common now for bowed string instruments, further raising the bar, while providing accessibility for families of different income levels.
I was very humbled when Frank subsequently asked me to record the Repertoire CD for Books 8 and 9. This fun (yet challenging) project was made all the more enjoyable by being able to work closely with him on many small details of the music and the Suzuki tradition. Frank was always patient, gentle and unassuming in his role as producer, while at the same time clear and forthcoming with his opinions about the integrity of the project. He was never dogmatic or rigid, but encouraged me to explore my own interpretations, including allowing me to add some ornamentation in the Baroque works. I am very pleased with how the project came out, and it will always remind me of precious time spent with a good friend.
I have had the opportunity to work with Suzuki guitar students throughout the country over the past decade, and have been highly impressed with the results of the method. Teaching anything to children involves a particular set of skills, and this is the greatest strength of Suzuki teachers, thanks to the extensive training they receive. Their ability to understand the problems and relate it to the child in an age appropriate manner is simply fantastic.
Since 1986, the number of SAA registered Guitar Teacher Trainers has grown from two to six; all are active throughout the US, as well as other parts of the world, in offering Suzuki training for those guitarists who sense the promise inherent in all young children and who feel the need to make a difference in how the guitar can be represented in the future.
Many teachers who have taken Suzuki training feel that, by starting students at a young age, they are making a valuable and lasting contribution to the development of the classical guitar by raising the general level of playing and awareness.
The first step in Suzuki training, for any instrument, is to take an introductory course called Every Child Can! This course gives participants a background in the Suzuki philosophy and method and may be offered by Suzuki trainers only. It is a six hour class that is often taught in one day, in various locations nationally throughout the year. The Suzuki Association of the Americas (SAA) website, www.suzukiassociation.org , keeps a list of course offerings on their Events menu.
Mychal Gendron is a registered teacher trainer in guitar. He maintains an active Suzuki guitar studio at the Rhode Island Philharmonic Music School and teaches at Suzuki institutes and workshops throughout the country. He has been a regular presenter at SAA conferences and was guitar coordinator in 2008 and 201
MaryLou Roberts teaches Suzuki Guitar and is Coordinator of the Ann Arbor Suzuki Institute. As a Suzuki Teacher Trainer in Guitar, she helps establish programs throughout the Americas and in Europe. She served for 4 years on the SAA Board of Directors, and is currently the ISA guitar committee chair, and a Board member of the Guitar Foundation of America. BM Guitar Performance, Wisconsin Conservatory of Music, MM Cleveland Institute of Music, Pi Kappa Lambda and Valedictorian.
7fc3f7cf58