This blog post is the third in a four part series discussing the benefits of Suzuki piano. Part one examined the importance of music training and the role it plays in brain development and part two gave a brief biography of Shinichi Suzuki. Today I will provide an overview of the Suzuki piano method.  The overall philosophy of Suzuki instruction embraces an early immersion in instrument study without exposure to note-reading.

The traditional Suzuki method was conceived in the mid-20th century by Shinichi Suzuki, a Japanese violinist who desired to bring beauty to the lives of children in his country after the devastation of World War II.   Originally the Suzuki method applied only to violin instruction. It has since moved to encompass many other instruments.  These include:  violin, viola, cello, piano, bass, flute, recorder, guitar, harp, voice, organ, mandolin, and trumpet.  We will focus on piano.

One of the main techniques of learning with the Suzuki method is having the students listen to recordings of their music to the point of saturation. The child listens to pieces he is playing and basically copies the melody, tempo, phrasing, etc.  Internationally renowned recording artist Seizo Azuma began his piano study in Japan with the Suzuki Piano School method.  Mr. Azuma is the recording artist for the Suzuki Piano School New International Edition. As an assistant professor, he currently teaches younger pianists at Tokyo National University of Fine Arts and Music.

Tonalization is a term coined by Suzuki, and is deliberately similar to the word “vocalization” (as it is used by singers when they talk about warming up their voices). Tonalization is defined as the student’s ability to produce and recognize a beautiful, ringing tone quality on their instrument. While initially developed for violin education, the tonalization technique has been applied to other instruments such as the piano. Suzuki believed that a student must learn tonalization in order to properly reproduce and perform music (Lavie, Karen, New Zealand Suzuki Journal, 2005).

Parent participation is vital in the success of a child learning with the Suzuki method.  The mom or dad are required to be in the lessons so they can provide a solid support system at home.  If a child forget what he/she has learned in the lesson, a parent then becomes a home teacher and guides their child.  In my studio, children never read the book even though it has finger numbers written in.  I always tell them that they are “cheating” themselves by doing so.  If they have forgotten what I taught in their lesson, the first step I tell my students is to listen to the recording.  If that is unsuccessful, ask the parent for help.

A positive environment is what Suzuki believed would help to foster character in students.  He often spoke of the ability of all children to learn things well, especially in the right environment, and of developing the heart and building the character of music students through their music education.

“Teaching music is not my main purpose. I want to make good citizens, noble human beings. If a child hears fine music from the day of his birth, and learns to play it himself, he develops sensitivity, discipline and endurance. He gets beautiful heart.”  

Shinichi Suzuki

Many people fault the Suzuki method, claiming note-reading is too far delayed.  They believe that if a child relied on copying the teacher or parent during his formative years of study, there was no particular motivation to read music.  This is a valid point.  Because of that, I sway a bit from the purest and teach reading slowly to my students so they are not at a disadvantage.   Depending on the student, I typically do an 80/20 split during lessons of Suzuki/reading and find that most transition to note reading without any problems later in their music training.