When one learns the Suzuki method, does one learn the Russian or Franco-Belgian style of playing?
The bow-hold is more akin to the Franco-Belgian one.
Franco-Belgian. Adrian, your comments are interesting because when I learned by this method in 1967 one was expected to learn to hold the right upper arm stationary by practicing with the upper arm against the wall. And it was stressed that the thumb was to be thought of as a fulcrum. So you're saying the very fundamentals have changed since then. My teacher was Marilyn Kesler, who was in the first group instructed in the method by John Kendall. We used the Listen and Play books.
Ann, I notice a big difference between American and European "Suzuki" bowing. My teacher trainers and examiners in France and from Britain in the 80s had all trained with Suzuki in Japan in the 70s, perhaps later than John Kendall.
Adrian, Thank you, this is very interesting because "everybody" seems to think "Suzuki style" is uniform.
Well, there is some uniformity by design. Isn't there a picture of the bow hold in Book 1?
I never had the modern Suzuki books but the Listen and Play series had numerous photographs of everything from posture to instrument hold to bow hold to adjusting instrument tilt. The first lesson was on holding the instrument, using the 4 step process of holding the instrument vertically, rotating it 180 degrees, bringing it to the neck and then moving the head down. Everything was very structured in extreme detail. And it worked. No drop outs from our class that I remember.
I'm actually appalled by the situation that Adrian describes. Though the Suzuki method was never intended to send children to Juilliard, it was intended to teach music in such as way as it could help produce cooperative citizens.
What's this about a cult lol? Cooperative citizens? Someone please clue me in here. I found traces of the meaning behind this online, but I would rather hear it from the point of view of Ann and Adrian.
Mike, Snarkiness and rudeness will get you nowhere. Perhaps I could have said it better than to use a phrase that you find triggering but you have to do some thinking about how the method came out of the situation in post-war Japan. If you read his books you will realize his method is about child rearing and not about being a top musician. Until you read his books you will not understand.
I think you've interpreted my post incorrectly.
I thought the Suzuki Method was more of a philisophy combined with the books, and that technique (like the bow hold) could vary from teacher to teacher. But, I'm not a Suzuki teacher so I don't know. I was a Suzuki student and was taught the franco-belgian style along with my fellow students, but not not sure if that was what all Suzuki teachers at the time were doing.
When I was a kid, most (but not all) Suzuki teachers treated the bow arm quite prescriptively, with a low, German-style arm.
I see are two complementary aspects of the Suzuki method:
For me the 'Suzuki method' is a nice set of progressive repertoire. It just needs a teacher who understand their student.... ;)
Sharing our understanding is great too..