The Nightmare Teachers Have

I could tell the minute a student entered the studio that school had ended. Many students plopped onto the couch and sat there motionless for a few minutes before the parent or I had to remind them to open up the violin cases and get the instruments ready to play. Others seemed to move in slow motion as they performed the get-ready tasks with lethargy and low energy. And then there were the lessons with glazed eyes, listless playing, and lack of focus and attention.

Yes, summer has arrived, I thought.

I have written several articles in the past about the Summer Daze problem, as I like to call it. And I suppose that I will write many more articles about this issue in the future.

What is "summer daze"? It is a student (and quite possibly a parent) who has lost focus and energy about music lessons. It is a student and parent who have stopped practicing, coming to lessons, or listening to the repertoire to be studied. It is a student and parent who have decided consciously or unconsciously to take a break and rest.

It is every teacher's nightmare.

Rather than completely stop the road to progress, I recommend that students and parents rearrange things in the home so that the ability development journey continues. I want to remind my readers that the Suzuki journey is more than just a method to learn how to play a musical instrument. It is a philosophy that teaches life skills, raises children with noble hearts, and improves family relationships. It is important that this philosophy continue even during periods of vacation.

It is alright to alter schedules and routines during vacation times, and I highly recommend this. A few minutes' attention to the ways that a family can arrange lessons, practices, and musical activities will inspire refreshing changes and renew enthusiasm.

Here are a few of my recommendations to avoid the summer daze:

• Look through your calendar and schedule as many lessons as your schedule and your teacher's schedule will allow. It is okay to have more than one lesson in a week. The teacher can focus one lesson on one aspect of technique and use the other lesson to work on something new or fun. Perhaps your teacher can suggest some additional music to learn, such as fiddle music or popular songs from current movies.
• Think about your day and how you can arrange your schedule so that you arrange suitable moments for daily practice.
• Think about times during the week when you can arrange a special concert. Your child would love to perform for others, and this would be a wonderful reason to do some practice during the week to prepare for the event, even if the event is a phone call to grandma.
• Perhaps you can arrange a special music play date with some of your child's other music friends. I recall a trio of young students who regularly arranged sleepovers that involved the violin.
• Look through the local concerts and plan to attend several concerts in the park. Our local symphony offers several possibilities. It offers special art and music park events every Wednesday morning throughout the summer, and each week features a different section of the symphony (strings, woodwinds, brass, percussion). The symphony sections each present monthly concerts in the park, and families can bring lawn chairs and pets to the concerts. The big summer event is the July 4 concert with the 1812 overture.
• Plan your vacation with your child's instrument in mind. Children can carry their instruments onto airplanes. I have camped out with my instrument and practiced under pine trees beside lakes. One time a railroad train blew right past me as I played. I had no idea that I was 30 feet from a railway line. That was interesting!
• If you are unable to take the instrument, then plan to maintain a listening program for the child so that the child remembers the pieces he or she is learning or has already learned.
• Make plans for your child to attend a Suzuki Institute or other music camp. Some of my fondest summer music experiences were my summer camps. I went to strings camps, and later as a teacher, I attended Suzuki Institutes with some of my students. We had a lot of fun! The parents who came along learned a lot as well.
• Plan special summer events. This summer might be a great time to arrange a summer Olympics for the violin. Set a few dates for special Olympic trials and races, and have the child start preparing for those events. Then arrange to make medals and certificates for each event that the child participates in.
• Listen to the Teach Suzuki Podcast episode: 100 Things to do in the Summer and try a few suggestions.

Summer time can be a fun time for music. I hope you find ways to add music into your summer fun.

Happy Summer Practicing!

----- Paula -----

© 2017 by Paula E. Bird

My Child Refuses to Practice | Guest Post by Beth Ringel

Playful Learning

The following is a guest post from Beth Ringel, current President of the Greater Austin Suzuki Association.

In his book, Nurtured by Love, Dr. Suzuki wrote:

 "My child refuses to practice at home." Quite a few mothers bring this complaint to me. That is because they fail to understand that their children's motivation in learning the violin stems from the sense that the violin is fun, and that they, too, want to have fun. "I'm paying tuition every month, to have the training turned into playing? That's just . . ." -- that is how the adults feel. In other words, calculation enters into education, and that calculation dominates the process. The failure rate is very high in those cases. Start the child off with the pleasure of having fun, and steer her in the right direction by taking advantage of the pleasure of having fun -- no matter what the area, this is where early education must start.

The moment we rigidly convince ourselves, "Education is what we're after," we warp a child's development. 

-- Shinichi Suzuki, Nurtured by Love

As we are gear up (wind down?) for the summer, take a moment with me to stop and think about how we approach our children’s musical practices. Specifically, I want to talk about play. The action of making music on an instrument is referred to as “playing.” What I’d like to examine is whether we are doing our best to bring this verb to life. As you can see from Dr. Suzuki's quote above, he clearly sees “playing” an instrument as fun and enjoyable, not just an action that applies to making an instrument produce sound. As I’m sure most parents do, sometimes I feel myself turning into the skeptical parent in Dr. Suzuki’s example, feeling as if there should be more work involved in the process. After all, isn’t that what I experienced growing up? (Of course, if I recall correctly, that experience led me to quit piano after one year at age eight, so perhaps that’s not the best path to go down.)

We know from our own personal experiences as well as observing our children that they (and we!) learn best when there is enjoyment in what we are doing -- when playing. What play looks like for each child may differ, but there are similarities we can outline. In fact, I have been questioning several of my students over the past month about what they think play is, and here are some of their answers:

• Playing isn’t always fun, but you feel good afterwards (as in a soccer game in 100-degree heat).

• Playing involves movement (maybe that’s why singers don’t “play” their instruments).

• I asked several of them if they thought playing involves choice, and without exception they said sometimes but not always. One particularly astute fifteen-year-old said that playing exists on a spectrum, encompassing free, unstructured play on one side and structured play on the other.

• Playing feels a certain way.

I’d like to address how play can be connected to practice using a couple of theorist/educator examples. First of all, the physician/educator Maria Montessori (1870-1952) famously said, “play is the child’s work,” (not “work is the child’s play!”). Do we approach practice as work that masquerades as play (I’m thinking of external rewards and games that actually distract from the focus)? Or do we approach practice as play, where work can be done as a natural byproduct? I think this is an important distinction to make, especially when working with the youngest of children.

Think of movement that young children want to do. They are primed for action. If we think of practice as a space to play or to move (in the context of playing the instrument), we will accomplish much more than if we think of it as a chore or the job of the child. At the very least, we will have strengthened our relationship with our child through the process, instead of weakening it, which to me is an important measure of success.

Montessori also emphasized play/learning as containing intrinsic rewards. This is where the work comes in. The act of learning in itself is its reward, not externally-placed goals or physical rewards. The question is, how do we encourage motivation to learn in our children without external rewards? Well, let’s go back to the basics as per Suzuki: listening to the recording (a lot!) and playing with other children. These happen to overlap with Montessori, in that a Montessori environment is set up to encourage the child's natural curiosity (i.e., wanting to learn how to play the songs because the children hear them all the time), as well as children learning from other children. Sports are tremendously successful in this aspect: most involve a team. Music is no different. Without the team, it’s just not as much fun. The relationships are extremely important in maintaining motivation over the years.

Russian psychiatrist Lev Vygotsky (1896-1934) defined play only as being sociodramatic, that is, make believe. Vygotsky’s play included the creation of imaginary situations and roleplay, guided by rules (either created by the “play”-er or demonstrated by a teacher). A key concept in Vygostkian theory is the zone of proximal development. This concept refers to the point of development where a child wants to learn something but is unable to do it without some assistance, either from a teacher or (even better) a peer. These specific situations, knowledge, and roles are influenced by a child’s social context; thus a child raised in Norway will exhibit different play and learn different content than one raised in Africa, each according to his surroundings. Sound familiar? Suzuki, of course, often expressed his amazement that a child will master his mother tongue, no matter the difficulty of the language, simply from being immersed in it and relating to it in a natural way.

Two Brothers Play Together

Applications of Vygotsky’s play ideas are not as obvious in musical instrument study, but we can draw two important connections. First, when we examine the idea of roleplay, where do we think children are getting these roles from? Other, more advanced, children, of course. Older children are the model. That’s how a child can imagine himself progressing. The child must have a way of picturing what is possible. That’s one reason you see hotbeds of high level of ability: children are surrounded by examples of high-quality, and "talent" begets "talent."

Second, part of the joy of making music is embodying its spirit and communicating this to an audience. I am as guilty as anyone else for failing to prioritize the communication and make-believe/emotional aspect of music (the ‘play’) and focusing instead on technique (the ‘work’). Our adult brains want to focus on the how instead of the why. When a child builds a train track, he or she does not usually think about the cognitive skills the child is developing. The child enjoys the tactile sensation of linking the tracks and running the train over them and imagines that the child is the engineer who guides the train on an adventure -- even more so when mom, or dad, or sibling comes down to the child's level and joins in on the child's play.

When a child plays an instrument, how much fun it could be to pretend to be someone else or an animal, or to explore different emotions. That’s part of why Dr. Suzuki said that music develops a beautiful heart -- we are practicing emotions to communicate with other people, as well as to receive them. Much like with spoken language, the purpose of music is communication. The technique is there to serve this purpose; that’s what we address in Vygotsky’s zone of proximal development. We have to get in the zone first to create the desire to develop better ability, and that’s where play comes in.

I’d like to leave you with a few questions to ask about your practices:

• What space are you giving you and your child to let play happen during practice, or are you trying to educate?

• What goal are you working towards? The how of playing or the why?

• What environment are you structuring to support you and your child (e.g., listening and group attendance)?

• What are you doing in your practice sessions to strengthen (or weaken) your relationship?

These are some heavy questions, and they are not meant for you to judge yourself harshly. I know as much as anyone else that being a parent gives many opportunities for self-doubt, self-criticism, and guilt. I am a Suzuki parent as well as a Suzuki teacher, and I experience all of these doubts firsthand, every day. My hope is that if I keep working on myself, I can help support my son’s learning in the most productive and enjoyable way possible and also continue to forgive myself when I fall short of these expectations.

Beth Ringel and Her Family

To conclude, I’d like to challenge you to have a conversation with your child about what the child thinks play is and how it relates to playing an instrument. I’m always impressed and surprised by what children have to say about this, and children are always delighted to be asked!

Yours in play,

Beth Ringel

Suzuki Early Childhood Education and Cello Teacher
Mother of a Suzuki pianist and Suzuki ECE’r

The Twinkle Project by Paula E. Bird

A resource that guides teachers and parents of violin students
from the beginning steps through the Twinkle Variations.

10 Rules for Success for Suzuki Parents

Everyone likes to follow a prescription for success. The message is so promising: follow this 10-step plan and success will be yours.

In truth, there are simple steps that Suzuki parents can follow that will lead to successful practices in the Suzuki home. Here is a list of my ten favorite rules for success:

Arm in Cast Bow Practice

Practice Every Day! Teachers like to quote Dr. Suzuki: "You don't have to practice every day, only on the days that you eat." This advice takes care of the issue of illness. Even if students have an injury, they can still practice with some accommodation. Practicing every day keeps the memory alive, the muscles warm, and the motivation inspired. I have a student at the university who has practiced every day since she was five years old, even when she was in the hospital.

Listen Every Day! This rule seems so simple to me that I am surprised to discover a parent who forgets to do it. The magic of daily listening is incredible. Learning seems effortless. What parent does not want that?

Attend Lessons. When students and parents attend lessons regularly, there is little opportunity to pick up bad habits or overlook incorrectly learned material. Go to lessons, even if you or your child may not be feeling 100%. If you must miss a lesson, send a video recording of the child playing through the lesson material. I have counseled many students in this manner when we were unable to see each other in person due to illness. I could identify immediately any incorrect habits or other practice issues before the student had gone too far down the learning path.

Attend Group Classes. Children love to learn with other children. When parents complain to me that they are having a hard time at home trying to motivate their children to practice, I ask whether the parents and students come to group class. Group classes are fun and great motivators for home practice. The smart parent will use group classes as a way to encourage, inspire, and motivate the student to practice at home. Group classes are also a great way for teachers to address one point to a large group all at once. If parents miss group classes, parents may miss out on important announcements or that terrific, fun activity that can only happen in a group setting.

Take Notes at Lessons. Parents can mold home practices much easier if they have information available to them from the lesson. The best way to do this is for the parents to take notes at the lesson. If the teacher has to do this, then the teacher is taking up teaching time to do it. Also, the teacher may be rushed for time or unable to remember all that occurred during the lesson, so the teacher may not be as thorough at noting what needs to be practiced based on what occurred at the lesson as the parent would be. Taking notes is as simple as just writing a narrative of what occurred at the lesson. Write these notes as bullet points. Parents will be surprised to discover how much information will be revealed through the simple act of taking notes at lessons.

Take Notes at Institutes, Workshops, and Group Classes. Yes, you can take notes in other settings besides lessons, and parents will gather much useful information. Why wait until your child has a sagging left hand or crooked bow, when you can see that useful information in another child's lesson or in a group class? Start a parent notebook today. You will treasure this notebook later as a collection of memories of your child's Suzuki journey.

Learn About the Suzuki Method. Read one of Dr. Suzuki's books:

                    

(These are affiliate links, which mean that they are no additional cost to you, but if you use these links, then I will receive a small benefit for the work of writing the blog. You are never under any obligation to purchase anything, but if you do, please consider using these links or the links provided in my resources store.)

I think we all should educate ourselves as much as we can about the Suzuki Method and Dr. Suzuki's work concerning talent education so that we can share his message with confidence and knowledge. We are ambassadors to the world about this fabulous journey.

Mentor A New Parent. If you are a seasoned parent in the Suzuki world, pass on that knowledge to another parent who may be new to the studio or the Suzuki method. When we teach, we learn twice, as my blog states at the top of the page. Share your knowledge with another parent. Be a mentor for someone and accept the advice and assistance of a parent who has blazed the trail before you.

Practice With Your Child. I am dismayed to witness the large number of parents who seem almost eager to pass up the opportunity to spend time with their children in lessons, group classes, and practices. Rather than sit close and observe what the child learns, these parents drift away to another room and a different activity. Even if the child has matured enough to practice independently, the parent can still maintain a close connection with the work the child does in practices. Listen to the child play, involve the student in conversations about the learning and the practice work, and most of all, stay connected. Show interest. Be interested. Children grow up too fast. Capture as many moments and memories of this time as you can today before this time passes by. Put your phone away and watch your child amaze you.

Make the Suzuki Journey a Part of Your Entire Life. Suzuki music lessons are not something to be turned on and off once a day during practices or once a week at lessons and group classes. The Suzuki method is a philosophy for life and learning. Look for ways to use the knowledge of Dr. Suzuki in other aspects of your life, such as structuring a home environment of chores, service, learning, and cooperation as a family with others in the work place, at school, or in the community. Spread the word about the wealth and beauty of the method through your actions as a parent and family within your larger world and community.

I guarantee that if Suzuki parents were to follow these 10 basic rules for success, their children would have smiling faces and happy practices!

Happy Practicing!

----- Paula -----

© 2016 by Paula E. Bird

Handbooks for the Studio!

Years ago, I made several wise purchasing decisions for my studio, and I am so glad that I did! I have found incredible uses for my binding machine and my laminating machine.

I finished making new student handbooks for my studio. As you can see from the photo, these are very colorful handbooks. I used my old Ibico binding machine, 1/4" plastic binding combs (black and white), and fabulous neon-colored cardstock covers that had a different color on each side. My students loved the new books, not only for the colorful pages and covers, but also because of the fabulous handbook pages contained within the practice workbooks! My students were actually happy to return to this record keeping system. One student who had never used a handbook before (I am the first private lesson teacher she has ever had), immediately understood the value of such a handbook to help her organize her practice time and to build consistency (bright young middle school student!).

Student Handbooks

If you are interested in the handbook page template that I use, email me your request, and I'm happy to provide you with a link to it.

Here is where I got the fabulous colored covers:

And here is another one from Astrobright:

Here is a simple laminating machine. I use mine to make checklists, signs for the studio, and simple review charts or game boards. Once something is laminated, I can use a dry erase marker, which is easily wiped off later. Students enjoy using these special charts.

My favorite studio machine tool is my binding machine. I cannot find my brand anymore; guess it is old now. There are several models on the market now, and here is a less expensive model. I used 1/4 inch binding combs for the handbooks.

And for the 1/4 inch binding comb: click here.

I hope you have as much fun with these handbooks as I did. My students love them!

Happy Practicing!

----- Paula -----

© 2016 by Paula E. Bird

This page references affiliate links, which will help to support the time it takes me to write articles for the blog, research information, and write and produce the Teach Suzuki podcasts. You are never under any obligation to buy anything or to use these particular links. If you are in the market for any of the items I have listed, please consider supporting my work with the affiliate links I have provided. There is no additional cost to you, but I will receive a small benefit if you do use the links.

Getting Ready for the Fall Semester

About this time, folks are planning the fall semester and getting ready for school to go back in session. Here are a few tools to help you:

Podcast Episodes

Get Ready for the Fall: This podcast episode is devoted to helping parents (and teachers) plan for a successful start to the fall semester.

How to Teach Your Child (Practice): This podcast episode discusses how to practice with your child and offers the tools to help practices be more successful.

How to Take Notes at the Music Lesson: This podcast episode explains how to take notes at the child's music lesson and offers reasons why parents will want to do this.

How Parents Can Help at Lessons: This podcast episode lists 8 ways that parents can help their children at music lessons. I talk about some of the silent messages that parents may unknowingly give to their children, and I talk about the importance of enthusiasm to help motivate children to want to practice and learn how to play a musical instrument.

Top 10 Things a Suzuki Parent Should Know: This podcast episode lists my favorite top 10 things that I think Suzuki parents should know. I believe that these 10 things are the foundation steps to have a successful music education journey.

Are You Listening?: This podcast episode talks about the importance of listening to impact how fast a child may progress in learning how to play a musical instrument. Sometimes a slight tweak in the listening program at home will have an enormous impact on the child's progress. This episode relates several interesting research and personal stories that illustrate the tremendous power of listening.

The 6 Suzuki Philosophy Points: This podcast episode sets out the 6 fundamental philosophy points to the Suzuki Method and discusses why it is important for parents to believe these points. This is an episode that parents and teachers may find helpful to review often.

Blog Articles

How to Recover from a Practice Break: Everyone takes a break now and then. The trick is getting back on track. Here are some useful ideas.

Back to School Checklist: A checklist that will help parents get back on track and get ready for the new school year.

How to Add More Music to Your Day: It is important to do a lot of listening in order to make good progress in learning how to play a musical instrument. Here are some suggestions for adding more music listening to your day.

Listening Magic: Another good article about listening. This one shows the power of the listening program and relates a personal story of one of my students and how he made extra listening work for him.

Music Listening Resource List: This article lists several excellent resources to help add more listening to the child's environment.

The Weekend Plan: Here is a suggestion for those tough weekends when it is difficult to schedule practice sessions.

Squeezing Practice Time into a Busy Family Schedule: Sue Hunt wrote this article, and the information is always valuable for busy families.

Resolutions for Suzuki Parents: Another post that offers valuable information that is pertinent all the time.

How to Get Started After a Break: A short article that offers quick, helpful advice about starting up a practice routine after a break.

These are just a few of the numerous podcast episodes and blog articles posted. I hope that everyone's new school year and fall semester start off with good energy, enthusiasm, and motivation! This is going to be a terrific year!

Until next time,

Happy Practicing!

----- Paula -----

© 2016 by Paula E. Bird