November 17, 2013
Good Shepherd Methodist Church
750 West Lucas Road
Lucas, TX, 75002
We are getting together to celebrate making music, Suzuki style. Let’s come and be part of the Suzuki music community by learning and playing music together.
Our goal is to foster a community of learning, love, appreciation and respect for music, and to promote early childhood intellectual, cultural and character development through the teaching philosophy of Talent Education.
We provide Suzuki violin lessons to children and adults, starting at three years old.
With the Suzuki Method, your child can successfully learn to play the violin beautifully by listening, imitating, and repeating sounds, just as we learn to talk.
In order to do this, we create a partnership between the teacher, parent, and child, inspiring a fine musical ear, self-confidence, and a lifelong love of music.
We have a great commitment to the Suzuki Method philosophy, quality of instruction, and the highest standards of professionalism, with more than fifteen years of teaching experience and proven success in music performance and training young children.
With the Suzuki Method violin program, children learn violin through both individual and group lessons.
Each child receives a weekly individual lesson and a group lesson, concert, recital, or other group activity every month.
Parents receive all the necessary guidance tools to help your child with daily home practicing, as well as to provide for the Suzuki music listening assignments.
No previous music or teaching experience is necessary.
In addition to individual and group violin lessons, students take music reading and theory lessons as part of their weekly instruction.
This comprehensive approach assures that students not only play the violin beautifully, but that students also learn to read, write, and understand music notation and how music works.
The Suzuki music curriculum gives students a well-rounded music education that goes beyond the “typical” weekly private lesson.
Our curriculum has taken many of our former students to the heights of music performance. It is designed to take our music students to the highest levels of musical excellence.
To learn more about Lessons, please click here.
The teacher, student, and parent meet each week for an individually-focused lesson -one child at a time. While one, two or three children may be present at the same lesson, the teacher’s violin instruction is focused on one child while the other children and parents observe quietly, learning from the instruction.
The length of the lessons may vary depending of the number, age and skill level of the children in the lesson, being from 30 to 90 minutes. Listening skills, posture, rhythm, and tone are developed. At home, the parent works with the child on daily violin practice and listening throughout the week.
During a child’s first semester of Suzuki violin lessons, lessons #1 – 3 may be dedicated mainly to instruct the parent to develop a rudimentary understanding of the violin. The child observes and participates in those lessons. After that introductory stage, the child becomes the main focus of the lessons.
Essential to the Suzuki Method are weekly group lessons, where students listen to one another play, interact musically, work on violin technique, play musical games, learn theory skills, and learn loco-motor skills. Group lessons are part of the school year’s regular instruction. Other activities such as concerts, recitals, and workshops are also part of the program.
Music Theory Lessons
Music Theory lessons allow children to read and write music notation, to understand how music works and to hear and read is merely a means to an end – music students should be able to use their music theory skills to play their instrument in a more informed manner and to compose their own music.
Because of developmental differences in young children, Suzuki violin teachers recommend that children begin studying between the ages of two-and-a-half and six years old. Admission into the program may require a short meeting between the parent, child, and teacher to determine whether the program is what you and your child need. Additionally, parents receive training on the Suzuki philosophy and approach. Contact us to request more information.
How to Begin
Most Suzuki teachers recommend that parents and children observe several Suzuki lessons before registering. Parents take a course covering the basics of the Suzuki philosophy and principles of helping the child with daily practice. It is recommended that children younger than 4 attend at least a semester of early music education classes.
For further details on how to attend violin lessons and details describing the Suzuki Violin program, go to our contact page.
By Rigo Murillo
I just came across an October 2010 Scientific American article, in which neuroscientists examined the benefits of learning and practicing music. They found a direct correlation of music learning to the enhancement of general learning ability. Another confirmation of the fact that music makes people smarter.
The researchers found that “assiduous instrument training from an early age can help the brain to process sounds better, making it easier to stay focused when absorbing other subjects, from literature to tensor calculus.” They also discovered that music lessons improves memory and concentration throughout one’s life and boosts the ability to multitask, work in disruptive environments and learning other languages.
This information comes handy at a time when many schools and education administrators are deciding to cut music and arts programs as a first resource. A report mentioned in the article found that, for example, the number of students enrolled in music programs in California dropped 50% from 1999 to 2004.
It seems that it is time for the scientists to educate the educators… just saying. What do you think?
May 20, 2013 — Turns out, that old “practice makes perfect” adage may be overblown. New research led by Michigan State University’s Zach Hambrick finds that a copious amount of practice is not enough to explain why people differ in level of skill in two widely studied activities, chess and music.
In other words, it takes more than hard work to become an expert. Hambrick, writing in the research journal Intelligence, said natural talent and other factors likely play a role in mastering a complicated activity.
“Practice is indeed important to reach an elite level of performance, but this paper makes an overwhelming case that it isn’t enough,” said Hambrick, associate professor of psychology.
The debate over why and how people become experts has existed for more than a century. Many theorists argue that thousands of hours of focused, deliberate practice is sufficient to achieve elite status.
“The evidence is quite clear,” he writes, “that some people do reach an elite level of performance without copious practice, while other people fail to do so despite copious practice.”
Hambrick and colleagues analyzed 14 studies of chess players and musicians, looking specifically at how practice was related to differences in performance. Practice, they found, accounted for only about one-third of the differences in skill in both music and chess.
So what made up the rest of the difference?
Based on existing research, Hambrick said it could be explained by factors such as intelligence or innate ability, and the age at which people start the particular activity. A previous study of Hambrick’s suggested that working memory capacity — which is closely related to general intelligence — may sometimes be the deciding factor between being good and great.
While the conclusion that practice may not make perfect runs counter to the popular view that just about anyone can achieve greatness if they work hard enough, Hambrick said there is a “silver lining” to the research.
“If people are given an accurate assessment of their abilities and the likelihood of achieving certain goals given those abilities,” he said, “they may gravitate toward domains in which they have a realistic chance of becoming an expert through deliberate practice.”
Hambrick’s co-authors are Erik Altmann from MSU; Frederick Oswald from Rice University; Elizabeth Meinz from Southern Illinois University; Fernand Gobet from Brunel University in the United Kingdom; and Guillermo Campitelli from Edith Cowan University in Australia.
The above story is based on materials provided by Michigan State University. Journal Reference: David Z. Hambrick, Frederick L. Oswald, Erik M. Altmann, Elizabeth J. Meinz, Fernand Gobet, Guillermo Campitelli. Deliberate practice: Is that all it takes to become an expert? Intelligence, 2013; DOI: 10.1016/j.intell.2013.04.001
This is the Suzuki Association of the Americas suggested supplementary list for violin students. This list does NOT impede any teacher from using their personal favorites, nor a teacher trainer from presenting a more comprehensive list for each book or distributing their own list. This list is meant as a guideline.
Elgar Salut d’Amor/Faure Apres un Reve
Kreisler Rondino/Song of India/Tempo di Minuetto
Dancla Air Varie Op. 89/Dvorak Sonatina/Schubert Sonatine
Bach Concerto for Two Violins 2nd mvt. (both parts in score)
Potstock Souvenir de Sarasate/Severn Polish Dance
Bartok Duets Book 1/Kabalevsky Album Pieces/Persichetti Masques
Bach-Gounod Ave Maria/Faure Berceuse/Massenet Meditation from Thais
Kreisler Gluck Melodie/Schoen Rosmarin/Sicilienne & Rigaudon
Accolay Concerto/Haydn G Major Concerto 1st mvt./Nardini Concerto/Mozart Sonata E minor K304
Monti Czardas/Schubert L’Abeille/Wieniawski Obertass Mazurka
Bartok Sonatina/Gardner From the Cane Break/Shostakovich Duets
Paradis Sicilienne/Svendsen Romance/ Tchaikovsky Canzonetta/Wieniawsky Romance (Con. No. 2)
Kreisler Praeludium & Allegro/Syncopation/Variations on a Theme by Corelli
DeBeriot Concerto No.9/Scene de Ballet/Mozart G Major Concerto/Viotti Concerto No.23/Beethoven “Spring” Sonata 1st mvt./Mozart Sonata in G Major K301
Bach Concerto for Two Violins 3rd mvt. (both parts in score)
Brahms Hungarian Dances/Novacek Perpetual Motion/Ten Have Allegro Brilliante/Wieniawski Legende
Bartok Roumanian Folk Dances/Bolling Suite for Violin and Jazz Piano—Romance & Gavotte/Copland Hoedown
Telemann Fantasy No. 1, 7 and 10
Bach G Minor Sonata, Presto/D Minor Partita, Allamanda/E Major Partita, Bourree & Gigue
How does the Suzuki Talent Education Method differ from other methods of teaching music to children?
Though music teachers have often used some of the elements of the Suzuki Talent Education Method, Dr. Suzuki formulated them in a cohesive approach to teaching music to children. The Love Nurtured Music Program uses this approach exclusively.
Some basic differences are:
The Suzuki Triangle:
The teacher is responsible for:
Parent is responsible for being the child’s assistant and helping with daily practice which includes:
Child is responsible for being a child, which means:
The child will learn from whatever is put in his environment. Most children enjoy learning music by ear if given the opportunity and proper surroundings. Gradually children learn to assume responsibility for their work as they mature, but it takes time and cannot be rushed. Children become responsible, cooperative, and disciplined, not because parents tell them they should, but rather because they see their parents behaving this way and follow their example.
If you are already aware of all the academic benefits that Suzuki violin lessons will bring to your child’s life and know how the Suzuki Method works, congratulations! You are one of the many happy parents who experience the joy of nurturing your child’s efforts and wants him/her to succeed in music, academics, social life, and beyond. Here is how to get started:
Dig into some practice tips from other experienced parents of music students like yours. These are ways they have found that help during the “dreaded practice time” each day.
Praise the child
Make it fun
The problem with review is NOT that students don’t want to do it. It is that it’s difficult to do it consistently throughout the Suzuki repertoire.
“Bucket” Review Technique:
Write all the pieces’ names on separate pieces of paper (or better yet, ping-pong balls), put them in a “bucket”. Everyday, have your violinist draw a few pieces of paper (or ping-pong balls) one at a time, reviewing each one, then, put the ones played in a second bucket.
When you’re through, change buckets and go through them again. When your child learns a new piece, add a new paper or ball with its name to the bucket. You can also include all of the pieces in the current book, and have your child LISTEN to it when it comes in the drawing.
This is the easiest way to “hit” all of the pieces before the “favorites” get played more, letting the others get relegated.
Because of our high-quality instructional program and un-compromised commitment to excellence, we have families from all over the metroplex coming to take violin lessons at our program. Don't sacrifice excellent Suzuki music education!
These are some areas where our Suzuki music families drive from: