Someone published a piece in the American Suzuki Journal nearly 22 years ago entitled “20 Memos from your Child” (ASJ 21:4, August 1993.) These are thoughts that I need to remind myself of as we approach practice.
Over the years, I’ve collected quite a few things in my practice kit - my bag of tricks that we use during practice. It’s quite a diverse collection of objects, some more useful that others. Let’s unpack it and see what’s in there:
Listening to the reference recordings of the repertoire is a core element of the Suzuki method of talent education. And it’s a core determinant of progress because listening consistently means having a more clearly defined aural target in mind as you approach a piece. Teachers tell me that it is easy to discern a student who listens regularly because they have a seemingly more innate understanding of the pieces they are working on.
As a youngster, no one really taught me how to practice. I was admonished to practice but never showed how to practice. With the pressure of time, concert preparations, and general busyness, I’ve come to develop my own techniques. Last summer, for example, I gave a performance of one of the Beethoven piano trios; and I went so far as cataloguing all of the tricky spots that needed special attention and developing a spreadsheet of those spots and the current tempo markings. This was…