If you are thinking about introducing your child to the world of music, Suzuki talent education opens doors to beautiful music, a better relationship with your children, good citizenship, and hopefully a way of making the world a little better.
When I was a teenager, I learned the Prelude and Fugue in C# from Bach’s Well Tempered Clavier. It’s a brisk, joyful work, though the fugue is incredibly tricky because of the key. As usual, I flew through it at breakneck speed heedless of my teacher’s pleas to take in all the details. Flash forward decades and the pandemic finds me sitting at the keyboard relearning a lot of these works from my youth. It has been fascinating rediscovering overlooked details, considering…
One of the challenges of working with a piece is that you accumulate markings on the music. Sometimes a lot of markings. Like a piece that my child has been working on for a while:
In our home practice, we’re always looking for novel ways to make it interesting. A newly-discovered app “Dice by PCalc” fits the bill.
The process is the reward. What kind of nonsense is that?
Where we live, everyone is under stay-at-home orders - a prudent measure to slow the spread of a highly contageous virus. Children haven’t attended school for weeks. Concerts, recitals and festivals have all been canceled. The immediate future is uncertain.
Suzuki said to only practice on the days you eat. It must have been his wry way to say: “Practice every day.” That is sound advice; and in reality, there is so much progress to be made by practicing every day. But life intervenes. We’ve been practicing for many many days now. But twice during that stretch, my daughter had to practice without an instrument because it was simply not safe to bring her instrument into the back-country where she was on a school trip.
When someone asks me - what’s the most important part of Suzuki talent education? I always answer the same way.
As kids begin playing longer and more complex works, opportunities to perform with orchestra emerge. When my daughter had such an opportunity last year, it was a chance for us to reflect on how we prepared and what we learned from the experience. What follows is a description of what we experienced along with lessons that we learned in the form of 10 tips for a great performance with orchestra. (Feel free to jump to the tips!)
In Part I of our series on deliberate practice, we introduced the concept. In Part II we began to apply the idea of mental representations as a key component of expert performance and one of the goals of deliberate practice.