Perpetual Motion: How I Teach It

In a previous post, I discussed the two pinkie finger pattern previews that I introduce when I begin to teach Perpetual Motion. To read more about these previews, click here.

Usually the student will figure out the first few notes of the song, but in some cases, I may need to introduce these first few notes: A – B – C# - C#

The song is full of patterns and provides ample opportunities for discussion about patterns in the context of ear training. For example, the first four notes of the song are then repeated in the same pattern, but the notes start one note higher in pitch.

After the student has figured out the first eight notes, then we add the first of the pinkie previews (C#-D-E with pinkie-C# or 2-3-4-2 finger pattern on the A string).

Then we add the last four notes of the phrase, which end with the open E string:

So now the student can play the first two measures:

All that is left to learn is to repeat the same phrase again with the same notes but change the last two notes to the open A string:

At this point, I tell the student that they know half of the song, because the first phrase and the last phrase are the same. I send the student home with the assignment of playing the first phrase of the song along with a continuation of the previous assignment of the pinkie previews.

Often the student will return to the next lesson and present me with the second phrase of the song already figured out, especially if the practice parent has diligently played a recording of the song every day since the previous lesson. If not, then I work with the student to figure out the second phrase. I use the same teaching technique of talking about patterns. Note that the first three groups of four notes in the second phrase are the same pattern but each successive group starts a note lower than the previous group:

We talk about the two different endings, with the first ending on the E string and the second finishing on the A string.

The student may go home with the assignment of two phrases of the song now. This depends on the student. I make a judgment call as to whether the student is ready to move on or whether the student needs to solidify things over the coming week before adding even more new stuff.

Sometimes students figure out some of the notes of the third part on their own, but if not and the student is ready to learn the third part, I begin by introducing the first four notes.

We talk about how these four notes are different from the first four notes. For example, the first notes of the song proceed in stepwise fashion. The first four notes of part three proceed with a backwards skip first and then stepwise.

Then we talk about patterns again, and I show the student how the next four notes follow a similar pattern as the first four notes, but starting one note higher.

 Since my student has practiced the pinkie previews for a few lessons now, it takes just a minute to add the second pinkie preview part to the song, and the student adds the rest.

I usually need to remind my students that the two measures that begin part three need to be repeated a second time. I find that students consistently attempt a short cut and skip the repeated two measures. Students also forget to play the fourth part, which is just a repetition of the first part. I have to be vigilant to step in and prevent the student from jumping right into the variation without playing the fourth part.

At this point, the student can play the main part of the Perpetual Motion song. We continue to work on our staccato bows and check that our pinkie previews are still working properly. There are six pinkies in Perpetual Motion in the manner that I finger the song, so we play the penny game. I lay out six pennies and check to see if the student can earn a penny for each pinkie that the student finds correctly.

Later Problems (or just later)

This song provides opportunities to practice so many other skills to be introduced in the later Suzuki repertoire. Here are just a few examples:

• We transpose the song into Bb in book two to prepare for Gavotte from Mignon ((book 2, #9).

• We use the song in group classes to strengthen our ensemble skills:
• We form a line down the middle of the room with chairs, then we weave around the chairs from one side of the room to the other in “follow the leader” fashion. When on one side of the room, the students play the main song. When on the other side, the students play the variation.
• We play “start and stop” game. While playing, I stop periodically to see if I can “catch” anyone who is not paying attention.
• We play “radio” game. While playing, I will turn the imaginary radio button to the “off” position. The students stop playing but keep the song going in their heads. Then I turn the volume “on” again. If everyone kept the tempo in their heads, then we will all be playing again in the same place.
• We play “pass it along” game. I play a few notes, perhaps four, and then the next student plays the next four, and so on until we have gone around the room and played the song. We play variations on this game until the students are ultimately able to play just one note of the song at a time. I teach the students how to silently play along with their fingers so that they keep their place while other students are playing.
• We use the songs with more advanced students to work on more advanced technical skills.
• We use our Bb transposition fingering for Perpetual Motion and learn how to play in higher positions. For more information about how I use this idea to teach higher positions, click here:

• We insert an open E string in between the notes of the song and use our pinkie to finger the written E in the song. We use this new Perpetual Motion to practice our string crossing skills, especially for playing in early book 4, such as the Seitz Concerto no. 5, first movement (Seitz 2). We practice these string crossings with and without slurs.

• We learn how to increase the number of notes we can play in an up bow staccato. Here is an example where we have increased the number of up bows to 15 in one bow:

Perpetual Motion is full of gems for teaching many skills and for group class activities. In addition, I use the song to teach finger and bow coordination. I will save this discussion for another post.

Next stop: Perpetual Motion variation!

May Song

From a teacher's point of view, "May Song" may seem like a "dessert" song (see more about "dessert" songs). Students seem to learn this song quickly, and teachers find it easy to teach. The song is in ABA form like the Twinkle Variations. In fact, the song closely follows the same finger patterns of the Twinkle Variations and can be played simultaneously with the Twinkle Theme as a duet.

Left Hand Skills

• Little is new for the left hand. Combined with "O Come Little Children," Dr. Suzuki uses these two songs to outline an ascending and descending A major arpeggio.

• The song uses the same close 2-3 finger pattern as previous songs.

• The song uses the "super glue" spatial pattern between first and third fingers on the E string, similar to that found in "Song of the Wind."

Right Hand Skills

• The song introduces a dotted rhythmic pattern that involves various string crossings.

How I Teach the Song

• If you have not read my earlier post about teaching rhythmic units, you might find it helpful to start there. In that earlier post, I used May Song as an example, and the examples I included in the earlier post follow exactly how I teach the song. (click here for rhythmic unit blog post). Here I will briefly outline my teaching steps, but the actual teaching points I use are contained in the earlier post.

• Although I usually advocate beginning with left hand skills first in general, in the case of this song, I also introduce a right hand skill on open strings as part of a continuing ear training program. I play a "call and response" game with the student, where I play a series of open strings in a rhythmic pattern and ask the student to imitate what I played back to me.

• I use the opening dotted rhythmic figure: dotted quarter note, eighth note, and two quarter notes:

• I ask the student to use the above rhythm but play the following open strings: A - A - E - E. Note that this sequence of open strings matches the string crossing in measure one above.

• I ask the student to use the rhythm again but play a different sequence of open strings: A - E - A - A. This sequence matches the string crossings in measure 3 below.

• With this right hand and listening skills game, I now have the student practicing the song's string crossings without also having the confusion of the notes at the same time.

• I introduce the first four notes of the song: A - C# - E - high A and ask the student to play these four notes several times until the student is easy with the combination. I help the student master the rhythmic units, as described in my earlier post.

• The student usually figures out the next few notes by themselves.

• I make sure that the student holds down the index finger (use "superglue" to hold the finger in place on the E string).

• I ask the student to "toe tap" the 3rd finger while the index finger stays super glued in place on F#.

• The student and I work through the next pattern of notes.

• After the student has mastered the first line of the song, we work on the middle part. This part resembles the B part of Twinkle Theme, except for an altered rhythm that inserts an extra E string.

Later Problems (or just later)

• Although the rhythmic issue of the dotted quarter note and eighth note shows up right away, I am listing the problem here. What happens is that the student will play the song without the appropriate dotted rhythm, even though the student is conscientious about a listening program. Here is how I address this problem, and I would introduce this exercise whether or not the student has a rhythmic problem, because it is a great coordination exercise and leads to a later skill of using the human body as a human metronome.

• I teach the student how to "step" to the song, i.e., to march (or step) to the beats of the song and to play the song at the same time.

• I work on the first measure. I may have to break down the measure into teeny baby steps until the student "gets it." For example, stepping at the same time the student plays the first note may be all the baby step the student can grasp in the beginning. Then we add one note or one foot at a time until the first measure is done. Sometimes a student may take the assignment home to work on. Students do not seem to take longer than one week to figure it out.

• Once the student figures out the first measure, marching to the rest of the song seems to fall into place.

• This marching to the beat of the song is a great way to teach a student how to feel the rhythm with the body. It is also a useful tool for those passages when a student might "rush" the tempo. In the case of Perpetual Motion (book 1), it is even funnier if the teacher asks the students to "walk" on their knees in time to the notes. This is a hilarious group class activity, although adults do not enjoy it (hard floors and bony knees do not mix!). The kids look like penguins.

• The superglue finger comes loose in measure 2 and needs a spot more glue to hold it in place on the F#.

• The bowing and string crossings get a little messy.

• Students can play May Song simultaneously with Twinkle Theme as a duet, which is a great ensemble skill builder in beginning group classes.

I really like May Song, and my students do also. It is a bright, cheerful little thing. In the old books, there was a repeat sign so that the performer would play the entire song through twice. I am sorry that the revised edition took out the repeat. We really like playing May Song.

Happy Teaching!