The Suzuki method was originally called the "mother-tongue method" because its was based on how children learn their home, or native, language. Children listen and repeat back sounds, then words, then more words, and, eventually, they're stringing their own thoughts together into sentences and stories. When learning to speak, parents and family are patient and they encourage the little one for their efforts, however imperfect, and repetition is exciting. This learning is sequential and old vocabulary is not tossed out, but kept and built upon.

Learning to play a musical instrument - or really learning anything else - can be done the same way. Listening both passively and intentionally, making slow and steady progress with seemingly simple skills, retaining basic skills and pieces then building upon them, and encouraging repetition are all part of how we learn to play violin or viola.

​Another essential aspect of learning is the environment in which we work and learn. Parents, teachers, and other mentors must establish helpful routines and repertoire, practice spaces, and, most importantly, an atmosphere of loving encouragement. Suzuki wrote a book called Nurtured By Love in which he discusses how this impacts a learner. I recommend anyone interested read it - and you don't need to be a musician to understand the contents.

At the beginning of most of the Suzuki repertoire books, there is a foreword or preface containing some of Shinichi Suzuki's pedagogical ideas. I encourage anyone using the book to read that part and take his advice to heart.

An inspiring concept at the core of the Suzuki Method is this quote from him: "Beautiful tone, beautiful heart." Suzuki didn't set out to create a line of child prodigies, but he did want to help those who studied to become better people through their musical journey.

Years ago, I realized that most string musicians don't breathe well. Wind and brass players and singers all deliberately do so - they have to in order to make any music. String players, on the other hand, tend to either hold their breath or breathe just enough to not pass out.

I work with all of my students on breathing because of the many benefits they gain. Here are some:

• Breathing provides oxygen to the brain so the musician can focus better and think through any performance problem-solving they need to do.
• Breathing provides oxygen to the muscles, which can then relax. Relaxed muscles simply work better than tense ones. This will make pretty much any technique easier to accomplish.
• Breathing relaxes the player, which especially helps with any performance anxiety, or "nerves."
• A breath can be used to help with rhythm, especially in counting rests appropriately.
• A breath is often used to cue other players in an ensemble, for example an accompanist or other members of a quartet. This technique is incredibly useful in having an ensemble start and stay together.
• A player that is breathing well will, indeed, sound better.

These reasons for learning to breathe while playing a string instrument are my favorite and they ought to encourage any string student to apply the following ideas.

• Breathe before you start to play.
• Take the opportunity to breathe on almost any rest in your music.
• If there are no obvious places in your music to breathe, find a longer note, an open string note, or a good up bow note (it's easier to breathe in on an up bow and out on a down bow - try it and you'll see what I mean) and plan to breathe there.
  
• Write the reminder "breathe" in your music in planned places.
• Practice intentionally breathing while you work through learning your piece and then evaluate how you physically feel.

Because performances are when students need to breathe the most, mainly to help them focus and to calm performance nerves, I highly recommend breathing very intentionally before playing. Here is one method that helps with stress. While doing this, focus on counting, how your breath feels, and relaxing your entire body. You can do this for as many repetitions and counts as needed.

• Slowly inhale, counting one. Pause. Slowly exhale, counting two.
• Slowly inhale, counting two. Pause. Slowly exhale, counting three.
• Slowly inhale, counting three. Pause. Slowly exhale, counting four.
• Slowly inhale, counting four. Pause. Slowly exhale, counting five.
• Slowly inhale, counting five. Pause. Slowly exhale, counting six.
• Slowly inhale, counting six. Pause. Slowly exhale, counting seven.
• Slowly inhale, counting seven. Pause. Slowly exhale, counting eight.

Happy breathing everyone!

I ask my students to write down a lot, including what they're supposed to practice between lessons and all about that practicing. Why? What's the point?

The reasons for writing down assignments are:

• to help the student remember what they're supposed to work on 
• to clarify that assignment (Consider, if you can't write down what it is simply, then you probably don't understand it.)

The reasons for recording what you practice during the week are:

• to help students become accountable for their own progress and preparation
• to give me - the teacher - an understanding of their practice habits and how much time they typically need to develop a certain skill or learn a piece or etude

When a student is required to report their efforts, they usually progress more effectively than if they are not. Therefore, to help my students continually progress at a steady rate, I ask them to do a bit of writing. So, it is not for me, but for them.

I know I've already written some of these thoughts in another post, but, maybe if I say it again or a little differently, it will be useful to you. Here are a few things you can do to help your practice time become effective rather than just time spent. 

Tip 1: Just start. This may be the hardest part for many because it takes discipline to do something you know will require more than passive attention. Get your instrument out of its case, get your music on the stand, and tune. Your self-discipline will deepen and thank you. 

Tip 2: Have goals and focus on them. You are practicing for a reason and that is to improve. There are elements in your music that will challenge your current abilities and that is a good thing. Find those things, make a plan to work on them, and then get to it. Don't let yourself get distracted. Turn off or silence any devices that may take your attention for those precious minutes of practice. Be in the room alone, so you won't feel the need to perform only the things you're already good at.

Tip 3: Work slowly. Play the difficult things at a slow tempo, or at least a comfortable one, so that you can accomplish the correct technique. If you practice something wrong fast that's the technique your muscles will remember and perform; but if you take the time to train yourself to play it right slowly, then all you'll need to do is gradually add the speed and you'll sound fabulous.

Tip 4: Be consistent. Practicing for shorter periods more frequently will help solidify your skill much better than a "marathon" practice session ever could. Find a regular time each day to work on your playing. If your schedule is irregular or kinda crazy, you will have to schedule practice time in with everything else. Remember, people always make time for something that is important to them.

Here's a short video on the topic. Enjoy!

Your instrument is your musical voice, so take care of it. Preventing problems with your violin or viola can also save you time and money. This is a list of some ways you can care for your instrument.

• NEVER leave your instrument in the car! Do not put it in the trunk. If the wood gets too hot it can warp; if it gets too cold it can crack.
• When you are not playing, put it back in the case.
• Loosen the bow when storing it in the case.
• Try not to store it by a window or a door because the temperature can effect intonation.
• Using a lint-free cloth, clean the rosin dust off of your strings and instrument after playing.
• Use a cleaner or polish that is specifically for violins and violas.
• Loosen your bow before putting it away.
• Do not try to move the bridge yourself unless you have experience doing so.
• Do not play your instrument outside in extreme heat or inclement weather.
• Do not put anything inside your instrument. This will not only effect sound, but also damage it.
• Do not store loose objects in the case with your instrument.
• Do not hang your instrument on a stand.
• Do not use your bow as a sword and do not strike it on your stand.
• Wash your hands before playing to keep the neck of your instrument clean. If the neck becomes dirty, gently clean it with a damp (water only), lint-free cloth.
• If you remove any finger tapes or they come off and your fingerboard is sticky, use a damp (water only), lint-free cloth to clean it.
• Over time your bow hair can become brittle or lose the ability to grip the strings. It will then need to be replaced.
• When your strings are worn out they will need to be replaced. Different brands will vary the tone of your instrument, so a little research will go a long way. Be sure to purchase the correct length for your instrument. Have someone with experience change your strings.
• With rosin you generally get what you pay for. The kind you get should say it is for your instrument and depends on personal preference.

As always, if you have any questions about the care of your instrument, please ask!

There are so many ways to practice, but often so little time to do it. Here is one practical approach to practicing.

• Make sure you have a time and place set aside to practice, preferably free from distractions (i.e. pets, other siblings, food, tv or other electronic devices, etc.). If you don't have a plan to actually do the work, it won't happen. Consistent practice yields better results than marathon sessions (practicing in one big clump) ever will.
• Use a timer or watch the clock a little to divide your practice time. If you practice consistently, you really won't need to practice absolutely everything in every practice session. Break up your time logically. For example, if you have 30 minutes to practice, spend 5 minutes on scales, 5 minutes on exercises and etudes, and 20 minutes on your repertoire (piece or pieces you're working on). By working this way, you warm up your fingers and ears with your scales, chip away at the etude that is helping you develop or hone a certain technique, and then you get plenty of time to work on your piece(s). 
• Set goals for what you would like to accomplish in your practice session. For example, you have 16 new measures to learn in your piece. You could break that up into four sets of four measures that you can focus on separately for four days and then you can put them all together in week's remaining days.
• Look at your new music in terms of layers. Instead of trying to get the notes, rhythm, bowings, dynamics, phrasing, articulation, and all your posture and bow hold concerns correct all at once, separate them into layers. First get the notes, then, when you feel comfortable with that, play the notes slowly with a metronome to make sure you're getting the rhythm right. After that layer, add the bowings and then keep adding all the other elements in a logical order. You may find that simplifying like this will improve your accuracy and give you an opportunity to find more ways to be expressive.
• Write down in your notebook what you worked on and for how long each day. This will help you become more accountable to me as your teacher and to yourself

There are so many other things you could consider as you look to improve your practicing and, therefore, your practicing. On the "Student Center" page on this website you can find a list with additional ideas.

One of the most important skills to develop is that of learning to tune, especially your open strings because they are the foundation for all the other notes to be in tune. When I teach this skill I guess I do it the "hard way" because it is the best in the long run. I use my tuner to produce the desired pitch - the note I'm tuning to - and adjust my string to match it. By doing it this way, I force my ears to listen to whether I am too low, too high, or just right. Sometimes it is hard to tell which way to adjust the string, but, if I sing or hum the note, it becomes more clear. When you learn to tune by listening instead of just having a tuner tell you which way and how far you are off, you strengthen your ability to tell if and when other notes you are playing are in or out of tune too. 
Eventually, string players are expected to tune their instruments "by 5ths". When you do this you only receive one pitch - A - by which you tune that string and then you tune D by listening to the quality of the interval (space/distance between notes). Your D string will be in tune when the A and D together form a perfect 5th. You then tune the rest of your strings the same way, as all the strings that neighbor each other are a 5th apart.
Learning to tune by listening takes time and practice, but it pays off for both the performer and their audience! 
A good process to use in tuning would be:
1. Listen to the note for a moment.
2. Hum or sing the note to internalize it.
3. Tune the string, continuing to listen so you can match the pitch correctly.

Remember, when using the fine tuners, turning them "clockwise" will make the pitch go up (or more sharp) and turning them "counter-clockwise" will make the pitch go down (or more flat). When using the pegs, turning the upwards or toward the scroll will make the pitch go up and turning them down or toward the fingerboard will make the pitch go down.

Balanced players are better players. Simple, but so true. A player that develops a comfortable stance and playing position will find it much easier to focus on all the other musical aspects of playing. Learning to hold your instrument will take time and concentrated effort. There are some practical elements of position that I spend a great deal of time on in lessons. Most of my students will recognize them quickly. 

• Open left wrist
• Bend right thumb
• Curve right pinky
• Hold down/hover left fingers over fingerboard
• Sit at the edge of the chair, when seated
• Keep feet flat on the floor 
• Feet should be about shoulder width apart and, when standing, the left foot can be pointed outward if it is more comfortable for the performer
• Bring left elbow under the instrument more to give fingers additional room to move and be curved
• Curve left fingers, instead of allowing them to straighten out or become stiff
• Relax neck, tilted slightly toward your instrument, while holding your instrument under your chin
• Use the most comfortable shoulder rest that will allow you to hold your instrument with your chin instead of your left hand
• Open and close your right elbow to keep your bow in the correct place
• Sit or stand up straight

Charles Jay Stein, in The Alexander Technique for Musicians wrote, "Whether standing or sitting, the violinist does not need to lock a single muscle in the body. Power and support do not come from a held position. They come from a balanced skeleton that is constantly re-balanced by muscles in flow. The skeleton supports the musculature instead of the muscles locking to support the skeleton."

Developing correct playing posture will help musicians prevent injury and allow them to move fluidly while making beautiful music. My best advice is to be patient and persistent as you work to make changes and become a delightfully balanced player.

Recently, I have placed a renewed emphasis on scales and arpeggios. Students often have no clue why scales are so important in their musical studies. I'd like to, just briefly, outline a few reasons why scales and arpeggios are so awesome.

• They help you work on your intonation. By hearing the same basic pattern in each of the major and minor scales, you can teach your ears and fingers to find the correct pitches.
• They give you the opportunity to become better acquainted with your fingerboard - with different positions and places to play the same notes.
• They provide a sweet opportunity to learn and practice shifting.
• They give you a fabulous chance to practice coordinating your left hand and right hand movements, especially when you combine your scales with various bowing and rhythmic patterns.
• They provide a chance to practice a simple pattern of notes at various speeds, playing at both slow and quick tempos.
• They, well, show up in many pieces, from solo works to orchestral parts. If you already know the scale or arpeggio, you can sight read the music better and will probably need less time to learn that part of the piece.
• They strengthen your hands and fingers and are great for warming up.
• They are also used in some auditions, so regularly working on them will keep you prepared.
• They give you an introduction to various aspects of music theory, like key signatures.
• They give you a chance to practice your memorization skills.

These are just a few reasons why practicing scales and arpeggios is so essential. Each student should be working on their scales each day; in fact, it is usually one of the best things with which to start a practice session. If you find that practicing your scales becomes boring, then give yourself a challenge by working up the tempo with a metronome, playing your scale with a new fingering, or playing it with a new bowing or rhythmic pattern. There are so many things you can do with scales, so have fun with them!

A metronome is one of the best tools a musician can own. When used correctly, it has the potential to help you improve several aspects of your playing. I know the incessant beeping or ticking can be terribly annoying, but, in the end, it is such a wonderfully helpful thing. I often refer to metronomes as "slave drivers" because they are unrelenting, steady, and require you to keep the beat and tempo. I also call them a "best friend" because they can help you improve if they're used regularly. 

One of my favorite ways to use a metronome is to set it at a slow, comfortable tempo for whatever music I'm working on. When I can hit the notes and rhythm consistently, I begin incrementally notching up the speed until I reach the tempo needed to perform the piece. This is like stepping up a staircase. It's difficult to jump a whole flight of stairs, but if you take it one stair at a time, then it's easy to reach your goal.

Another exercise you can practice often is to turn on the metronome and then clap different rhythms. For example, you can set the metronome to represent a quarter note = 60 and clap one quarter note per beat, then clap it as eighth notes, sixteenth notes, or challenge yourself with more other beat patterns like triplets, quintuplets, sextuplets, or septuplets. To give yourself an even stronger challenge, alternate rhythms from one beat to the next! 

One of the most helpful things a metronome does for a musician is help them to develop their own sense of internal rhythm. When you practice consistently with a metronome you can learn to internalize a steady beat for any music you learn. There are more ways to use a metronome in your practice and you're free to experiment with them. A free online metronome can be found at https://www.metronomeonline.com.