For more about Suzuki Guitar, see The Suzuki Guitar Experience, an overview of the Suzuki philosophy and a history of the development of the Suzuki Method for classical guitar.

And don’t forget to check the Suzuki Guitar page, your one-stop place for Suzuki Guitar news and upcoming events.

Angela walks confidentially to center stage, wearing her best concert clothes, carrying her prized guitar with her right hand low on the neck and close to her side. She responds to the audience’s applause with a smile and a deep bow before sitting on an adjustable stool and propping her left foot on a footrest. Almost without pause, and without a trace of anxiety or self-consciousness, Angela begins to play “A Toye,” an anonymous Renaissance lute piece with an engaging melody and a simple, but effective supporting bass line. The tone she produces is focused and beautiful, she plays with expression and mature phrasing, including a masterful ritardando at the end of the piece. The audience response is immediate and enthusiastic; Angela stands, beaming, and takes another bow before skipping off stage. Angela is seven years old—she has been playing the guitar since age three.

Angela is not so unusual—she is one of a growing number of children throughout the United States who learn to play the guitar through the Suzuki Method, the marvelous early childhood approach to teaching music that focuses on ear-training, developing good instrumental technique and producing a beautiful tone before introducing the complexities of music reading. What if young guitarists grew up with a solid technical framework from the beginning, without excess tension, using nails to produce tone, all with the support of a group of peers, parents and a network of teachers? What if those students and parents attended guitar concerts, played in masterclasses and listened to numerous recordings of guitarists. What if there were guitarists who grew up playing in ensembles, accompanied violins, flutes, cellos, and felt at ease and confident on stage? This is the idea behind the Suzuki Guitar Experience.

History of the Suzuki Method

The Suzuki Method was originally developed by Dr. Shinichi Suzuki in the second half of the 20th century, first applying the concepts to the violin, and later to other instruments: viola, cello, bass, piano, flute and guitar. Today, the Suzuki method is a world-wide approach based on principles that Suzuki put into practice; namely that all children have unlimited potential to learn based upon what is in their environment.

The idea seems obvious, but the implications and details are far reaching. After spending eight years in Germany, where he studied violin with Karl Klingler of the Klinger Quartet, Shinichi Suzuki came into contact with notable musicians and thinkers in Berlin at that time, such as Dr. Albert Einstein, and heard many concerts by Busoni, Richard Strauss, Arthur Schnabel and the Berlin Philharmonic conducted by Furtwangler. Upon returning to Japan and experiencing the devastation that occurred during World War II, he realized that the world needed culture, and that music and the principles it teaches could save the world from such devastation.

He noticed the ease with which German children spoke German, and Japanese children fluently spoke Japanese, including fine details of inflection and accent. He concluded that learning language was a high level skill, a blueprint that could be used as a broad model for all learning-most importantly; that talent is not inborn, but is developed by the environment in which the child is born and raised. This auditory learning happens at a very early age, and even the slightest kinds of dialects can be detected, laying the groundwork for all later learning. This learning model became known as the “Mother Tongue” or “Talent Education” approach.

Suzuki was captivated by children—he wanted to learn from them and become like them. He noted:

• They have no thought of self-deception.
• They trust people and do not doubt at all.
• They know only how to love and know not how to hate.
• They love justice and scrupulously keep the rules.
• They seek joy, live cheerfully, and are full of life.

Elio Galvagno, Suzuki Guitar teacher trainer from Italy, suggests, “Suzuki continually reminds us from his concrete experience that to love and to educate are synonymous. His encounter with every student reinforced that authentic love and educative passion can’t not be separated. To educate means ever more to create an experience worth sharing, to involve self esteem, attitudes of calmness and optimism, feeling good about achievements, and expecting to do well.”

Core Elements of the Suzuki Approach

All children have the potential to learn at a high level, given the right environment. This is achieved by:

Parent Involvement: Parents learn about Suzuki philosophy, practical application of the method to the guitar such as home-teaching strategies, fundamental guitar skills so they can be effective models for their children, and a positive approach to learning. Parent education classes take place before the children’s lessons begin. Children get to know the instructor, watch their parents learn, absorb the sounds, and observe other children playing in group classes, which develops motivation, observation skills, and listening.

Individual Lessons: Beginning lessons introduce relaxation and proper body use, gross and fine motor skills, developing focus, and creating beautiful tone. Parents attend the lessons with their children, to take notes and participate in activities as directed by the teacher. There is a three sided model of cooperation between parent, teacher and child, each working together as a team, known as the “Suzuki Triangle”.

Group Classes: Many critical music and social skills are developed in group class, including playing repertoire, performance practice, teamwork, socialization, following, and later, music theory, reading skills and ensembles. Group Classes are an essential part of any Suzuki program, reinforcing previous skills, and becoming flexible musicians.

Children learn best in a cooperative learning environment, just as the title of Dr. Suzuki’s book “Nurtured by Love” states. Parents learn how to be positive in giving correction, using specific praise to give accurate positive feedback when practicing their child. Teachers guide the parent in details of the home environment and every aspect of playing. Many times it is the finer details that will make playing easier, so attention to details becomes a way of working. The child absorbs this in a natural, unhurried way, at the pace determined by the child.

Suzuki Guitar

Guitar is the ultimate “ear” instrument, and seems to lend itself quite naturally to the Suzuki approach. Think about some of the peculiarities of our instrument:

• Everything about the guitar is counter-intuitive, even backwards. For example, up in pitch is physically down and vice-verse, from the fretboard perspective as well as the player’s view of the strings.

• The essential concept of legato in music, the production of beautiful, sustained melodies, is the one thing that guitars seem to be built to ignore; it takes considerable skill and determination to create a well-shaped, singing line on the guitar.

• It is not possible to produce a beautiful sound on a guitar string by plucking—the player must learn to push and release the string, contrary to the “popular” idea of guitar playing.

It is much easier to master the technical complexities of the guitar if the student is able to focus on physical comfort, good posture, beautiful tone and musical expression without the distraction of decoding visual symbols. Listeners are impressed by the excellent tone and intonation produced by Suzuki trained violinists, when compared with those students who learn visually—young guitarists can develop the same sensitivity to these critical areas of music production.

Playing in a group setting improves ability to follow a varied pulse, balance melody and accompaniment, watch a conductor or leader, refine musical skills such as timing, phrasing, reading,and responsibility. Violinists begin playing in orchestras in school and community groups before or soon after they begin lessons. They develop the ability to respond to a conductor, get socially involved with other children who are into music. Guitarists deserve the same wonderful experiences.

Developing Music Literacy

There is a misconception that Suzuki students do not learn to read music, but they certainly do—it is, rather, a question of sequencing, based on the model of how children learn to read words. Children learn to speak before they learn to read. As with written language, visual musical symbols are taught on the instrument after mastery of the beginning steps of playing are established. This very natural, logical approach to developing music literacy may be contrasted with a traditional reading method this way:

Reading Music: Non-Suzuki Method

• See symbol representing sound
• Memorize symbol/meaning
• Play it
• Hear final result

Reading Music: Suzuki Method

• Hear role model/recording
• Play
• Memorize naturally
• See symbol representing sound

Once the beginning level elements of note reading have been introduced, the following criteria for music reading material should be observed:

• Use symbols representing familiar melodic and rhythmic elements, i.e., those that have been played frequently and mastered
• Gradually introduce other new elements
• Provide repetition of concepts
• Include previous concepts with new ones
• Remain in one key for an extended period to develop comfort and expertise

For Suzuki teachers, literacy development begins with students’ first lessons—not by learning music from a score, but by participating in activities that introduce and focus on visual symbols in an interactive group setting. If Suzuki-trained guitar students begin at age 3-5, then they are certainly proficient readers by their early teens, the age that many other students might begin formal guitar study.

History of Suzuki Guitar Development

North and South America

Frank Longay and William Kossler co-founded Suzuki guitar in the US. In 1985, Frank and Bill—both coincidentally married to Suzuki violin teachers, Lisa Longay and Lauren Kossler—began applying the Suzuki method to classical guitar instruction. Their initial work began separately, on opposite coasts of the country, and they were soon put in touch with one another through the assistance of the Suzuki Association of the Americas.

Because there was no possibility of direct Suzuki instruction in guitar, Frank began Suzuki instruction in cello, with Barbara Wampner, and violin with Shannon Murphy, in his home state of California. Bill traveled to Japan with his wife and 2 year old son, Adam, to work with Dr. Suzuki and with Toshio Takahashi, author of the Suzuki Flute Method. Lisa took the first drafts of Book 1 to show Dr. Suzuki during a visit to Japan. Dr. Suzuki was very interested in the establishing the guitar, and thought it could be very helpful in the countries of South America, where piano and violin were less available. It is through this kind of encouraging environment from the Suzuki violin teachers that shaped the early beginnings of Suzuki Guitar throughout the world.

In 1986, at a meeting facilitated by the SAA, Bill and Frank, along with guitar instructor Cesar Benevidas from Peru, formed the first SAA International Guitar Committee, with the full support of Dr. Suzuki, who was attending the SAA Conference where the meeting took place. At the SAA Biennial Conference in 1990, Dr. Suzuki attended a performance of Suzuki Guitar students of Frank Longay, and was pleased with the results. The guitar committee grew to include European guitarists Elio Galvagno of Italy, Philippe Francaise of France and Michael Köppe of Germany, and work on the early drafts of the Suzuki Guitar books began. Frank describes the committee’s early ‘meetings’: “We talked countless hours on the phone, going over the volumes, arrangements and fingerings. One phone call lasted eight hours!”

A US Suzuki Guitar Committee was later formed, consisting of Bill Kossler, Frank Longay, Seth Himmelhoch, Andy LaFreniere, Simon Salz and Erin Johnson. Frank and Bill worked tirelessly, traveling the country to train interested guitar teachers and representing the Americas internationally, while working to develop the student repertoire for guitar according to Dr. Suzuki’s principles.

Suzuki Guitar books Volume 1 and 2 were published in 1991, and the vetting process critical to any thorough and thoughtful instruction method produced the final Suzuki Guitar Volume 9 in 2007. Guitar teachers from all over the world contributed their ideas for the gradual progression of simple folk songs to advanced classical guitar repertoire. From there it was used with hundreds of students, researched for effectiveness, reviewed, re-fingered, re-worked, re-edited, and finally published. There are currently nine volumes in the Suzuki Guitar Method, beginning with variations on “Twinkle, Twinkle Little Star” and ending with the Sor Variations on a Theme of Mozart and Albeniz Austurias, encompassing music throughout 5 centuries in a highly organized progression. There are currently six teacher trainers. The final recordings of Books 8 and 9 have been released, with performance by William Kannengeiser, completing over 20 years of collaboration.

Europe

Some guitarists became interested in applying the Suzuki concepts to the guitar when they had young children of their own. In Italy, Elio Galvagno began using Suzuki concepts, teaching his daughter Francesca, and going through many different versions of Book 1. He then began teaching several students in the house of a family, with encouragement from Anthony and Lee Robert Mosca, who had studied violin with Dr. Suzuki in Japan. There was much excitement and later a school was opened in Saluzzo, Italy. In Germany, Michael Koeppe began with his son. Later, Harald Soderberg in Sweden became involved through seeing the violin students of his wife, Ulla Brit. All of these teachers were put in touch with each other by Suzuki Associations in Europe, America and Japan, and shared their ideas to build a community of excellent teaching. There are now four teacher trainers in Europe.

Australia

Zeah Riordan, a guitarist in Melbourne, Australia, read “Nurtured by Love,” Dr. Suzuki’s seminal text, as an undergraduate. While she was deeply effected by his vision, she explains that, “Many other music education experiences would influence me”, before Suzuki became a permanent part of her life in music, including the educational approaches of Carl Orff and Zoltan Kodaly.

It was her participation, as a tutor in Orff-Schulwerk Music Enrichment Classes, at a Melbourne Suzuki Summer School that brought the pioneering Suzuki Guitar work of Frank Longay and Bill Kossler to her attention. In 1992, through her efforts, the Melbourne branch of the Suzuki Music Association made plans to launch guitar as a new Suzuki instrument, and in 1993 four Australian guitar teachers participated in Suzuki training with International Teacher Trainer Frank Longay. Zeah Riordan, teacher trainer, writes, “The Melbourne Suzuki Association actively supported the launch of guitar and initially subsidized teacher development. From the outset, guitar was welcomed and accepted as part of the Suzuki family.”

The Search for Student Instruments

Unlike violins and cellos, no network of quality guitars in appropriate sizes for young students existed in the 1980s or early 1990s, so teachers were obliged to settle for flawed instruments or, as Zeah Riordan described, to be creative. “In the early years obtaining instruments was the biggest challenge. I used to have baritone ukuleles converted so that I could start the four-year-olds. We also used 48cm guitars from the Czech Republic which were notorious for the bridges detaching and the necks bowing.”

While we still face many challenges in our quest to provide our students with the best possible instruments, in our to efforts educate parents about the importance of investing in better quality guitars and in our appeals to luthiers to build them, things are looking up. It is possible now to find properly sized instruments for children as young as age 3 or 4—not just a “one-size-fits-all” children’s guitar. Guitars made for children are now better quality, with the right depth, body and neck shape needed for good posture. Solid top instruments are available distributed by individuals like Ruben Flores and hand-crafted instruments of the finest quality by Kenny Hill and other excellent luthiers.

Increasing awareness of the need for improved student guitars and recent developments in the availability of these instruments bring the hope that sometime in the future we may see a system of quality guitar rental programs similar to those so common now for bowed string instruments, further raising the bar, while providing accessibility for families of different income levels.

Suzuki Guitar Today

As Suzuki guitar programs in the United States have grown, the visibility of our student performers has increased, spreading from isolated areas of Suzuki activity to the larger classical guitar community. Some of the finest and most active US classical guitar performers have had positive interactions with Suzuki guitar instructors and their students—here is what they have to say:

William Kanengiser:

Although I received my musical training outside the Suzuki tradition, a number of my students and colleagues have been transformed by this powerful method, and I have great respect for its philosophy and effectiveness. Because of this, it was an honor for me to be invited by my friend Frank Longay to perform and teach at the 2008 Suzuki Guitar Teacher’s Conference in San Jose. I really enjoyed this event organized by Frank, and I fondly remember the time I got to spend with him and his dedicated team.

I was very humbled when Frank subsequently asked me to record the Repertoire CD for Books 8 and 9. This fun (yet challenging) project was made all the more enjoyable by being able to work closely with him on many small details of the music and the Suzuki tradition. Frank was always patient, gentle and unassuming in his role as producer, while at the same time clear and forthcoming with his opinions about the integrity of the project. He was never dogmatic or rigid, but encouraged me to explore my own interpretations, including allowing me to add some ornamentation in the Baroque works. I am very pleased with how the project came out, and it will always remind me of precious time spent with a good friend.

Martha Masters:

I have had the opportunity to work with Suzuki guitar students throughout the country over the past decade, and have been highly impressed with the results of the method. Teaching anything to children involves a particular set of skills, and this is the greatest strength of Suzuki teachers, thanks to the extensive training they receive. Their ability to understand the problems and relate it to the child in an age appropriate manner is simply fantastic.

The curriculum is very well thought out, which is important for anyone learning an instrument, avoiding gaps in knowledge, avoiding moving too fast, etc. The students I have seen all have a firm grasp of the fundamentals. Some simply enjoy the guitar and play competently for their own enjoyment; and others take that strong foundation and become true virtuosos, of which I’ve seen a good number.

There is a stereo-type that Suzuki students aren’t good readers. In my experience, this is not the case. In the students I’ve worked with who have Suzuki backgrounds, their reading levels vary as would any guitar students, they do not fall below the norm. However, there is a greater development of listening skills, and I feel also a greater willingness to repeat phrases, work on details, etc. I sense a greater work ethic that has developed in most of these students, which is impressive.

Benjamin Verdery, Yale School of Music:

In general, I’ve been really impressed with the Suzuki (guitar) students in the following ways: they are always very prepared, they play through the piece very well and with a positive attitude. They seem to have no problem performing which says a lot about their training. I love all the group playing they do and feel this should be encouraged. Like many I’m sure, I have thoughts about what the future of the teaching could include. It should be as forward looking as possible and make the joy of music making a priority.

Parents also enjoy the process:

“One of the amazing aspects of Suzuki training is that it approaches the student as a musician. From the very first day our teacher treated my children with tremendous respect. Because of this, my children can share their music and talk with others about it. The work of Suzuki has also infused my children’s view of themselves as learners. In no other place in their lives have they so consistently seen that if they work at a task methodically and with care, if they pay attention to their performance and learning that they can perfect and polish anything.”
—Simona Goldin, Phd. Post Doctoral Fellow, School of Education, University of Michigan

“My wife and my two children took Suzuki violin from ages 3 to 12. They are now 20 and 22. It was an invaluable experience for the both of them. At the summit of their Suzuki studies they were able to play the first movement of the Bach d minor double violin concerto (brother and sister) together from memory in a concert hall in front of an audience of two hundred plus people. As a parent and musician that alone was an experience I won’t forget.”
—Benjamin Verdery

Since 1986, the number of SAA registered Guitar Teacher Trainers has grown from two to six; all are active throughout the US, as well as other parts of the world, in offering Suzuki training for those guitarists who sense the promise inherent in all young children and who feel the need to make a difference in how the guitar can be represented in the future.

We have developed a network—growing but never large enough—of individuals who put Dr. Suzuki’s principals of love and support at the forefront of our work. This includes the children we teach, the families we work with and the colleagues we reach out to in order to give, and receive, advice and support—it is an extraordinary community. Sadly, Frank Longay, one of the founders of Suzuki guitar and a leader in its development, passed away on January 19, 2011. Frank’s legacy of tireless work and dedication to the highest ideals of artistic excellence and humanity inspires us all as we continue to build a community of individuals devoted to the principles of the Suzuki method.

Taking Suzuki Teacher Training

Suzuki teacher training, or professional development, is where the many aspects of teaching are explored in the same kind of nurturing environment that students will later benefit from. It is hands on learning with a more experienced teacher, and really helps with ideas on the “how” part of teaching children. The attention is on teaching children lifelong skills through music.

• Many teachers who have taken Suzuki training attest that they have found the answers to their questions about how to teach logically, effectively and intuitively.

• Many teachers who have taken Suzuki training feel that, by starting students at a young age, they are making a valuable and lasting contribution to the development of the classical guitar by raising the general level of playing and awareness.

• Suzuki training provides teachers with a supportive world-wide community of like-minded individuals who are intensively interested in the learning process and who care deeply about the development of all children’s ability.

• Suzuki training provides teachers with the opportunity for musical and personal growth through “lifelong learning”—a system of levels logically structured from simple folk songs to standard concert repertoire that can enhance both teaching and playing ability.

• Because the Suzuki method is all about the children and their parents, it is possible to build a vibrant network of committed families over time that will enrich and grow a strong studio program.

The first step in Suzuki training, for any instrument, is to take an introductory course called Every Child Can! This course gives participants a background in the Suzuki philosophy and method and may be offered by Suzuki trainers only. It is a six hour class that is often taught in one day, in various locations nationally throughout the year. The Suzuki Association of the Americas (SAA) website, www.suzukiassociation.org , keeps a list of course offerings on their Events menu.

After completing Every Child Can! and passing a video playing audition, Suzuki Guitar Book 1 may be taken and registered through the SAA. It is a graduate level pedagogy course, full of details on how to get started, how to present good technique in small steps, pre-note reading skills, and numerous insights into working with children and parents. Many new Suzuki teachers report that despite their bachelor or masters degrees, they had better results, with students continuing for longer periods of time, becoming life long enthusiasts for the guitar when they began using the Suzuki approach in it’s fullest form.

The Future of Suzuki Guitar

Our principal future need can be summed up in one word—more. More students, more teachers, more commitment, more activity, more real understanding of what the Suzuki Method is all about and how beneficial it can be for children, for the guitar, for music and for people everywhere.We hope to attract skilled players who have a commitment to teaching excellence, a desire to affect the lives of young students in a positive way and a need to make the world we live in a better place.

Not Present: Mychal Gendron

Agenda Items

1. Mychal—Video Vote

Mychal suggests that the committee to approve, by vote, the GFA article as a companion piece to the video David has been working on. This would be for distribution electronically or in hard copies to interested parties.

David and Seth concur that it contains much valuable information and once it is pared down—as more of a blurb than an article—it will be useful as a boilerplate to go along with the DVD.

2. David—Lack of application for performers for the Showcase Concert at the Conference in Minneapolis

All instruments have experienced a very low number of video applications, so the deadline is extended. Guitar still needs a younger advanced student. As young and as advanced as possible.

An additional enticement is that they would be able to play in the guitar orchestra too. This ensemble will also include all teachers who register for the Conference. MaryLou shares that there have been 9 or 10 applications for the Orchestra/Master Class, which is a good number.

3. David—DVD release

Everyone who has seen the latest version is pleased with it. The issues of final permission and the release forms are the main items still pending.

The immediate plan is to place it on the SAA website. All of us can be thinking of people we would like to contact and ways we would like to share it, including Social Networking sites.

4. Marylou—Should the GFA article Mychal and MaryLou wrote be published in the Journal for history as well as info?

Pam Brasch asked whether we thought it should be published in the Journal for history as well as info. The idea of publishing in the Journal is to set straight some misconceptions and to elaborate on the history because a few years back there was an article in which some misinformation got published.

5. Andrea—Valuable Supplemental Material to the DVD in addition to the recent Soundboard Article.

On our last call while discussing the topic of material that would accompany the DVD when it is finished, two of us mentioned having our own supplemental material that we use. This could be a topic all of us would have something to share about concerning what we use. Joe says if the primary location of the DVD is on the SAA site, then the links are already there. There is no more definitive information to add. Being there gives the DVD a lot of credibility. Pam Brasch said she was excited about it and that it would be on the home page for a while. Joe doesn’t think it needs anything else then. Everyone agrees.

The SAA Conference weekend is May 24-28 this year, and there are lots of informative talks, inspiring speeches, and invigorating guitar sessions that are planned.

The SAA hosts this so we all have an excuse to go to events in a nice place, talk about teaching, building studios, Bach, technique, tons of things—and you are invited to join us live.

The cost of the conference is reasonable, and if you share a room either 2, 3 or 4 ways, it can be very affordable. In addition to some really nice restaurants, there are reasonable choices like Chipotle, or a two story Target if you need something. From the airport there is usually a shuttle, or you can take the public transit which is really inexpensive.

I find every time I go, I get so much in the way of inspiration that makes my teaching come alive, and that creates better attendance, happy parents and happier students. It’s a wonderful event that keeps me on track, and my teaching growing.

Let’s meet up at the conference, and let me or Kevin know if you have any questions!

• Learn more about the conference

• Complete list of sessions & events

• Register now

• Hotel reservations

MaryLou Roberts: marylou@arborguitar.org
Kevin Hart: lcg@wyoming.com
Conference Guitar Coordinators

Plans are well underway for the SAA 15th Biennial Conference, May 24-28, 2012, in Minneapolis, Minnesota. Mark your calendar! Don’t miss our 40th anniversary!

SAA Conferences are sentinel events for teachers, parents, and students. Expect enlightening sessions on Suzuki philosophy and pedagogy in general and for each instrument. Learn to run your studio and work with parents. Become adept in new technologies. Enjoy special topics of Bach and outreach. Share and learn from colleagues. Listen to master classes, performing ensembles, the 40th anniversary Kaleidoscope Concert, Suzuki Youth Orchestras, and professional artists. Connect with the Suzuki community. See old friends, and meet new ones.

The location of the conference at the downtown Hilton Minneapolis is central to the city’s myriad offerings. Just steps from the hotel is Orchestra Hall, home of the Minnesota Orchestra and venue for the Kaleidoscope Concert. A short walk will take you to the Walker Art Center and Minneapolis Sculpture Garden, and the Guthrie Theater. Navigate downtown Minneapolis on foot to shops and restaurants. Nicollet Mall, the cultural and commercial heart of the city, is one block from the Hilton and features everything from world-class cuisine to comfortable coffee shops. For those who would like to explore the Minneapolis metro area, use the affordable, handy light-rail system. Make your way to the Mississippi National River and Recreational Area, or the fully-urban Grand Rounds Scenic Byway, one of only two of its kind in the nation—all in close proximity to parks and open spaces. Minneapolis has something to offer everyone. We hope to see you there!

Special Guests

The 2012 Conference Team is excited to announce very special guest performers for the 15th Biennial Conference, 40 and Forward: the trio Time for Three.

Time for Three has roots in classical music, but explores myriad styles in a unique fusion of sounds. Their first music video, “Stronger,” debuted online in October 2011, bringing a positive anti-bullying message to thousands of viewers.

Time for Three filming “Stronger”

The groundbreaking, category-shattering trio Time for Three transcends traditional classification, with elements of classical, country western, gypsy and jazz idioms forming a blend all its own. The members—Zach DePue, violin; Nick Kendall, violin; and Ranaan Meyer, double bass—carry a passion for improvisation, composing and arranging, all prime elements of the ensemble’s playing.

What started as a trio of musicians who played together for fun while students at Philadelphia’s Curtis Institute for Music evolved into Time for Three, or Tf3 for short—a charismatic ensemble with a reputation for limitless enthusiasm and no musical boundaries. Violinists Zachary DePue and Nicolas Kendall first discovered their mutual love of fiddling in the country western and bluegrass styles. Then bassist Ranaan Meyer introduced them to his deep roots in jazz and improvisation. After considerable experimentation, the three officially formed Tf3 and for the first few years enjoyed a close affiliation with, and were presented in performances by Astral Artists.

The ensemble gained instant attention in July 2003, during a lightning-induced power failure at Philadelphia’s Mann Center for the Performing Arts. While technicians attempted to restore onstage lighting, Ranaan and Zach, who were both performing as members of The Philadelphia Orchestra, obliged with an impromptu jam session that included works as far afield from the originally scheduled symphony as “Jerusalem’s Ridge,” “Ragtime Annie,” and “The Orange Blossom Special.” The crowd went wild.

To date, the group has performed hundreds of engagements as diverse as its music: from featured guest soloists on the Philadelphia Orchestra’s subscription series to Club Yoshi’s in San Francisco; from residencies at the Kennedy Center to Christoph Eschenbach’s birthday concert at the Schleswig-Holstein Festival in Germany; and from the Windpower Expo to the Boston Pops. Their jam-packed 2011- 2012 season will feature their Carnegie Hall debut, a residency at Princeton University, appearances with the Boston Pops and their first tour of South America.

Tf3 sets itself apart not only with its varied repertoire performed with astonishing technical acuity, but also through its approach. Its high-energy performances are free of conventional practices, drawing instead from the members’ differing musical backgrounds. The trio also performs its own arrangements of traditional repertoire and Ranaan Meyer provides original compositions to complement the trio’s offerings.

In 2009, Time for Three embarked on an ambitious three-year residency with the Indianapolis Symphony Orchestra, a groundbreaking project among American orchestras where the artists not only get involved at the community level, but also curate the wildly successful “Happy Hour” series of concerts with the orchestra throughout the season. The project has generated tremendous excitement and has greatly increased the orchestra’s profile, especially among the younger demographic, and made them household names in Indianapolis.

In January 2010, TF3 released its first commercial CD, Three Fervent Travelers, on the E1 label. It was an instant success, debuting in the top ten on Billboard, Amazon and iTunes, and remaining in the top ten on the Billboard Crossover Charts for more than ten months. This followed the group’s first two self-produced CDs, Time for Three and We Just Burned This For You!, which sold more than 20,000 copies.

The ensemble has embarked on a major commissioning program to expand its unique repertoire for symphony orchestras. The first project was Concerto 4-3, written by Pulitzer-Prize winning composer Jennifer Higdon. The work was premiered in six performances by Tf3 with The Philadelphia Orchestra and Christoph Eschenbach in January 2008 and has been performed dozens of times since to great acclaim. 2010 saw the premiere of Travels in Time for Three by Chris Brubeck, co-commissioned by the Boston Pops, the Youngstown Symphony, and eight other orchestras. The next work in the series will be by William Bolcom, commissioned by the Indianapolis Symphony, for a premiere in 2013.

In addition to its demanding performing schedule, the trio is committed to reaching younger audiences and has participated in a number of educational residencies and outreach concerts including annual visits to Paul Newman’s Hole In The Wall Gang Camp for children with terminal illnesses; weeklong residencies at the Kennedy Center in Washington DC; Carnegie Hall’s Family Concerts; and countless jam sessions and impromptu music-making with students, anywhere from university classes to pizza parties and coffee houses. “The guys” want to share their infectious love of music with everyone.

Time for Three has been seen and heard frequently on various television and radio broadcasts throughout the country, including numerous times on Public Television and NPR, and was featured in a documentary film about Philadelphia’s Rittenhouse Square directed by Robert Downey, Sr. The group recorded the soundtrack to the History Channel’s production The Spanish-American War.

Zach DePue comes from a musical family: he also performs and records with the DePue Brothers Band, and his father is a composer and professor emeritus of music composition at Bowling Green State University in Ohio. Born in Bowling Green, Zach graduated in 2002 from the Curtis Institute of Music, where he studied with renowned violinists Ida Kavafian and Jaime Laredo. He was the recipient of a merit-based full-tuition scholarship and held the Institute’s David H. Springman Memorial Fellowship.

Prior to entering Curtis, Mr. DePue attended the Cleveland Institute of Music. He made his solo debut with the Toledo Symphony Orchestra in 1994 and performed as soloist with the World Youth Symphony Orchestra in 1995. Mr. DePue has performed at the Isaac Stern Music Workshop; the Angel Fire, La Jolla and Sarasota music festivals; and at the Chautauqua Institution and Interlochen Arts Academy. In September 2007, he was appointed Concertmaster of the Indianapolis Symphony Orchestra.

Nick Kendall studied at the Curtis Institute with the internationally renowned violinist Victor Danchenko. He maintains a strong interest in other musical instruments and genres and is an enthusiastic teacher who utilizes elements from both classical and non-traditional repertoires in his popular workshops.

Recent highlights of his career include performances with Israel’s Jerusalem Symphony under conductor James Judd; an acclaimed Philadelphia recital debut under the auspices of Astral Artistic Services; a quartet performance at Carnegie Hall; performances as a member of the Astral Trio at both the Los Angeles Chamber Music Festival and at the Kimmel Center’s Verizon Hall; and a guest artist appearance on tour with the Metamorphosen Chamber Orchestra. Nick debuted with the National Symphony Orchestra and the Saint Louis Symphony Orchestra as the winner of their Young Artists competitions. He has since performed in the concert halls of Anchorage, Chapel Hill, Chicago, Cleveland, Indianapolis, Louisville, San Francisco and Tokyo. In addition to his extensive recording and performance activities as a member of Tf3, Nick is also a member of both the East Coast Chamber Orchestra (ECCO) and the Dryden String Quartet.

Ranaan Meyer began his musical studies at the piano at age four and, when he was big enough to hold it, took up the double bass at eleven. He attended the Manhattan School of Music and graduated from Curtis in 2003. Beyond regular appearances with ensembles such as the Minnesota Orchestra, Baltimore Symphony and The Philadelphia Orchestra, Mr. Meyer is increasingly in demand as a composer, creating unique new works for Tf3 as well as for other ensembles and for solo bass. Most recently, Ranaan completed a commission, “My Zayda” (for violin, piano and double bass), for the Kingston Chamber Music Festival in Rhode Island. Other recently completed commissions include a solo double bass piece for Network for New Music, a double bass and harp duet, a set of pieces for Astral Artistic Services, and a Tf3 composition for the City of Pittsburgh and the Pittsburgh Symphony, “Of Time and Three Rivers.” All commissions have been expedited through the American Composers Forum.

Ranaan is also an accomplished jazz musician who has performed with Jane Monheight, Victor Lewis, Jason Moran, Mark O’Connor, Ari Hoenig, Duane Eubanks, Mickey Roker and many others. At age nineteen, Ranaan produced, directed and performed in the very first Washington Township Jazz Festival that was also broadcast live on Philadelphia’s WRTI. An avid teacher, Ranaan has held adjunct Double Bass professorships at both Princeton University and the University of Delaware. He spent several summers teaching alongside Hal Robinson, Principal Bass of The Philadelphia Orchestra, at the Strings International Music Festival in Bryn Mawr, Pennsylvania. He has also taught at the Intermountain Suzuki String Institute in Sandy, Utah, and at Mark O’Connor’s String Camp in San Diego, California.

Ranaan is the founder of a new program called Project Interactive (PI), whose purpose is to culturally connect communities’ artistic possibilities. He is also committed to expanding the double bass repertoire and will compose eight new works for the instrument by May 2008. In the summer of 2008, he launched a double bass camp along with Eric Larson (of the Houston Symphony) and Hal Robinson.

For more information, see their website at www.tf3.com.

Photo by Bill Richert

William McGlaughlin

Master of Ceremonies, Kaleidoscope Concert, Bill McGlaughlin

For millions of music fans, the intimate voice of Bill McGlaughlin signals another adventure into the heart of music-making. Whether he’s chatting with one of the great string quartets, hosting an intermission at the Met or seated at the piano with a Beethoven score, Bill’s insight and magnanimous charm are a cornerstone of classical broadcasting.

William McGlaughlin took his first piano lessons at fourteen. “Happily, I understood immediately what a wonderful thing I’d stumbled into. I can remember thinking as I walked away from my second piano lesson — ‘Well, that’s it. I’ll be a musician.’ Of course, I had no idea what that decision meant exactly.’”

Over the years, McGlaughlin was to discover that ‘being a musician’ could embrace a great many paths. He has served as an educator, as a performer—a trombonist with the Philadelphia Orchestra and Pittsburgh Symphony—and as a conductor, most recently as Music Director of the Kansas City Symphony.

McGlaughlin has also been active in broadcasting, serving as host of the popular public radio program St. Paul Sunday since its inception in 1980. In 1996 the program received the highest honor in broadcasting, the George Foster Peabody Award. He has been the host of the nationally syndicated program Exploring Music since its debut in 2003.

In 1997 McGlaughlin made a public debut as a composer. His works include Three Dreams and a Question: Choral Songs on E. E. Cummings, Aaron’s Horizons, Walt Whitman’s Dream, for large chorus and orchestra, Angelus, Three Pieces for Wind Trio, Echoes, for horn trio, Three by Six for chamber ensemble, The Bells of St. Ferdinand, and Remembering Icarus.

Clinicians

William Starr

Keynote Address, William Starr—“SAA is 40! Visiting the Past-Vitalizing the Future”

William Starr is an internationally recognized Suzuki pedagogue and a founder of the Suzuki Association of the Americas. He has appeared at workshops and conferences throughout the world, as teacher, conductor, soloist, and lecturer, and is founder of numerous Suzuki programs and pedagogy programs throughout the United States. Mr. Starr was a faculty member of the University of Tennessee Department of Music for many years, serving as chair from 1977-1982. During this time, he was first violinist with the University String Quartet and concertmaster of the Knoxville Symphony. He has also served as an adjunct professor of music at the University of Colorado–Boulder. He is author and co-author of numerous books, including Perceiving Music, a college theory text, and many Suzuki-related texts, including The Suzuki Violinist and, with his wife, Constance, To Learn with Love. From his experience as a university symphony conductor, Mr. Starr has first-hand knowledge of the relationship between the understanding of music theory and the reading skills of many young violinists. Passionate about teaching theory and music reading to children, he has published a series of reading books that incorporate what he calls “usable” theory. Mr. Starr is currently a faculty member of Boulder Suzuki Strings, which he has worked with since its inception in 1982.

Laurel Trainor

Keynote Address, Eleventh International Research Symposium on Talent Education, Laurel Trainor—“Neural Plasticity and the Effects of Musical Experience on the Brain”

Dr. Laurel Trainor is a professor in the Department of Psychology, Neuroscience and Behaviour at McMaster University, a research scientist at the Rotman Research Institute at Baycrest Hospital, Toronto, and the director of the McMaster Institute for Music and the Mind. She has published more than one hundred research articles and book chapters on the neuroscience of auditory development and the perception of music in journals including Science, Nature, Journal of Neuroscience, Signal Processing and Psychological Science. She is a fellow of the Association for Psychological Science, and an Innovator of Distinction. She holds major grants from the Canadian Foundation for Innovation, The Canadian Institutes of Health Research, the Natural Science and Engineering Research Council of Canada, the Social Science Research Council of Canada and the Grammy Foundation. She has given invited keynote addresses at many major academic conferences and her research has a high media profile. Laurel is the founding director of the McMaster Institute for Music and the Mind, a multidisciplinary group of researchers whose mandate is to promote the scientific study of music, to promote music education, and to engage the community. This group recently received a $6 million grant from the Canada Foundation for Innovation and partners to build cutting edge laboratories to study music performance and performer-audience interactions. Laurel also has a bachelor of music performance from the University of Toronto, likes playing chamber music, and is currently principal flute of Symphony Hamilton.

Suzuki Early Childhood Education

We are looking forward to an exciting program of events at the upcoming 2012 SAA Conference. Among our esteemed speakers will be William Starr, who will be presenting along with Dorothy Jones never before seen video footage of Dr. Suzuki reflecting on his views on Early Childhood Education.

Dr. Laurel Trainor along with SAA member David Gerry will be presenting their research which is now complete on the Suzuki Early Childhood Education (SECE) classes.

Leena Crothers (piano teacher trainer), Ed Sprunger (violin teacher trainer), Sharon Jones (SECE teacher trainer), and Mary Lou Cobb (President of the Connecticut Montessori Association) will be among some of the many clinicians. These sessions look to be informative, inspiring and fun. We hope to see all SECE teachers there!

For those of you who have been curious about Suzuki Early Childhood Education and how it relates to all instrumental studios please join us! We look forward to seeing teachers and parents alike.

—Lynn McCall, Coordinator, and Wan Tsai Chen, Assistant Coordinator, Suzuki Early Childhood Education

Suzuki in the Schools

Suzuki in the Schools will offer a variety of sessions at the 2012 Conference that demonstrate how the Suzuki philosophy has influenced the lives of children through the efforts of teachers who are dedicated to connecting with families in private or public school programs.

We will feature a performance by Parker Elementary Performing Strings: a group of students, teachers, and parents from Parker Magnet School in the Houston Independent School District. Approximately fifty students in second through fifth grades will perform a concert highlighting the result of more than thirty-five years of talent education in a diverse community. In addition, teachers and parents will discuss how the program has evolved and is continuing to evolve in order to meet the shifting demands of the district, state, parents, and community. The Parker program is committed to achieving academic and musical goals through the Suzuki philosophy of providing a nurturing environment for the parent and the child, and we’re excited to see them perform and speak with parents and teachers during this enlightening session.

Other sessions will feature programs that range from elementary school to university settings, including: a comparison of public school programs and private studio programs with regard to expectations of excellence; better ways to provide parent education and communication in the public school setting; a demonstration of how a private and public school partnership has collaborated to benefit the underserved in an urban area; and a look at how a university program introduces music education majors to the ideas and philosophy of Dr. Suzuki.

We are looking forward to continuing the discussion of the role of school-based programs in the SAA and discussing how we can better meet the needs of the teachers and families in these programs as we move into the future.

—Patricia Purcell, Coordinator, and Loren Abramson, Assistant Coordinator, Suzuki in the Schools

Ann Schein

Piano, Ann Schein

From the moment I learned in 2008 that I would hold the position of Piano Coordinator during the 2012 Conference, my thoughts were of Ann Schein. To us pianists, she does not need an introduction—she is simply one of the greatest contemporary pianists today. She is also one of the most sought after teachers of our time; she combines her incredible pianistic skills, expertise, knowledge and love of music with a love of teaching.

However, what makes Ann Schein so wonderful in my eyes is her love of Chopin. Those who know me a little know of my slight obsession with Chopin. In 1980-81, Ms. Schein gave six concerts of the major Chopin repertoire in Lincoln Center’s Alice Tully Hall, and she has been long-honored for her performances and recordings of Chopin. Her expertise does not stop here, however. Ms. Schein’s recordings and performances range from Bach to Copland to contemporary music written especially for her.

She is spending her 2011/2012 season teaching many master classes and celebrating the birthdays of Robert Schumann, Frederic Chopin and Franz Liszt by performing works by these composers in venues all across America from Boston to California. I am thrilled that she will make her stop in Minneapolis in May 2012.

—Malgosia Lis, Piano Coordinator

About Ann Schein, the Washington Post has written “Thank heaven for Ann Schein … what a relief it is to hear a pianist who, with no muss or fuss, simply reaches right into the heart of whatever she is playing—and creates music so powerful you cannot tear yourself away.”

From her first recordings for Kapp Records, and her highly acclaimed Carnegie Hall recital debut as an artist on the Sol Hurok roster, Ann Schein’s amazing career has earned her high praise in major American and European cities and in more than fifty countries around the world.

She has performed with conductors including George Szell, James Levine, Seiji Ozawa, James dePreist, David Zinman, Stanislaw Skrowacewski, and Sir Colin Davis, and with major orchestras including the New York Philharmonic, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Baltimore Symphony, the Washington National Symphony, the London Philharmonic, the London Symphony, and the BBC Symphony Orchestra. She has performed at the White House during the Kennedy administration.

In 1980-81, Ann Schein extended the legacy of her teachers, Mieczyslaw Munz, Arthur Rubinstein, and Dame Myra Hess performing six concerts of the major Chopin repertoire in Lincoln Center’s Alice Tully Hall throughout an entire season to outstanding reviews and sold-out houses, the first Chopin cycle presented in New York in thirty-five years.

With the great soprano Jessye Norman, she has appeared in cities across the United States, as well as a tour in Brazil. The artists are featured in songs of Alban Berg on the Sony Classical label.

She is one of an exclusive roster of pianists chosen to present piano recitals in new venues in American cities and communities under the auspices of the Adams Foundation Piano Recital Series. The series has already sponsored 103 recitals in 25 communities in 19 states.

From 1980 to 2000, she was on the piano faculty of the Peabody Conservatory in Baltimore. She has been an artist-faculty member of the Aspen Music Festival and School since 1984. Her performance of the Rachmaninoff 3rd Concerto during the 2006 season with conductor Joseph Silverstein was one of the most recent of over 100 performances of this work she has given since the beginning of her career. She was chosen to hold the Victoria and Ronald Simms Chair, awarded to a member of the Aspen piano faculty for two years, for the summers of 2006 and 2007, extended to 2008 in special recognition of her teaching prominence.

Her recent recordings include an album of solo Schumann works on Ivory Classics, featuring the Arabeske, the Humoreske, and the Davidsbündlertänze. An all-Chopin CD on MSR Classics includes the 24 Preludes, Opus 28, and the 3rd Sonata in b minor, Opus 58. In December, 2008, honoring the one hundreth birthday of Elliott Carter, MSR Classics released her recording of American works, including Elliott Carter’s 1945-46 Piano Sonata, the Copland Piano Variations, the Copland Sonata for Violin and Piano with Earl Carlyss, violinist. A new work by John Patitucci, “Lakes,” written for her, is also featured.

She has received many distinguished honors for her Chopin performances and recordings. The Marston label has included her Nouvelle Etude in A-flat Major recorded for Kapp Records in 1958 in their special collection of outstanding Chopin performances, entitled “A Century of Romantic Chopin,” and chosen by Gregor Benko and Ward Marston where her biography reads, “Ann Schein was trained in her native United States, where she studied with both Mieczyslaw Munz and Arthur Rubinstein. Her first recordings, made when she was 18 and 19, established her as one of the premiere Chopin pianists of our time.”

Renata Pereira

Recorder, Renata Pereira

With her youthful energy and outstanding skills in interpreting Baroque music, Ms. Pereira has a dynamic rapport with students and audiences alike. We are delighted to welcome her as a clinician for the 2012 Conference.

—Mary Halverson Waldo, Recorder Co-Coordinator

Brazilian Renata Pereira holds a master’s degree from the University of Sao Paulo, and a bachelor’s degree in re-corder from the Parana School of Music and Fine Arts. She received awards in several contests highlighting the Furnas Musical Generation Program in 2004. A member of several chamber music groups which have recorded CDs, including the recorder quartets Compassolivre and, currently, Quintessentia, she toured with the latter throughout Europe in 2009. In Brazil, Ms. Pereira teaches Suzuki Method recorder in schools, at festivals, and in masters classes, and is working toward developing her PhD on the Suite Sonates of the French Baroque virtuoso flutist and recorder player/ treatise writer, Jacques Hotteterre, “Le Romain.”

Nicholas Walker

Bass, Nicholas Walker

Versatile. Accomplished jazz performer. Chamber musician. Professor. Composer. Soloist. These are just some of the hats Nicholas Walker wears. If that is not enough, he has a great personality and is a kid magnet! Attend a workshop or festival and the kids follow him around. Nicholas Walker has a versatile, creative and fresh approach to the double bass. We are thrilled to have Nicholas wearing his Suzuki hat at the 2012 Conference as a soloist, master clinician and presenter.

—Nicole Castleberry, Bass Coordinator

Nicholas Walker is a musical omnivore, a musician who brings a broad range of training and experience to the double bass—classical and jazz, modern and baroque, solo recitals, chamber ensembles, and orchestral work. His enthusiasm and aptitude transcend arbitrary musical boundaries.

Walker studied bass with Paul Ellison, François Rabbath, and Joe Carver; he earned his DMA in early music at Stony Brook University with the viola da gamba. Walker toured for two years with saxophone legend Illinois Jacquet, among many other rewarding collaborations in jazz. He has been featured on a dozen CDs, three as a leader. His composition EADG for Solo Bass won the International Society of Bassists (ISB) composition prize in 1997, and he has performed his two double bass concertos, Pop Song for Double Bass and String Orchestra and A Grease Fantasy, at a number of venues, most recently at the ISB convention in San Francisco.

Walker is an associate professor of music at Ithaca College and leads a rewarding career as a freelance musician, composer, and educator. Walker has played with the Handel & Haydn Society Orchestra in Boston and the St. Petersburg Chamber Philharmonic in Russia. In December he premiered a new double bass concerto by Dana Wilson with the Ithaca College Symphony Orchestra. Recently he performed at the International Double Bass Festival in Berlin, and at the Kaleidoskop festival in Michaelstein, Germany. Walker lives in Ithaca with his wife, Katherine, and their two daughters.

Karen Gottlieb

Harp, Karen Gottlieb

We are excited to have Karen Gottlieb as our guest clinician for the conference weekend. Her positive approach with students, her motivating style and her ability to imbue students with joy and a desire to learn and practice will be a wonderful asset to Suzuki harpists and teachers.

—Jill Whitman, Harp Coordinator

Karen Gottlieb grew up in a wonderfully artistic and musical family, her mother as one of the first female architects to work closely with Frank Lloyd Wright, and her father as violist and student and friend of Hindemith as well as a conductor and ethnomusicologist. Karen is a superb teacher and performer, having served for twenty years as principal harpist with the California Symphony, and currently as second harpist with the San Francisco Symphony. She is an advocate of contemporary music as harpist with the San Francisco Contemporary Music Players, performs with the San Francisco Girls Chorus, as well as the popular San Francisco Symphony’s “Adventures in Music” ensembles. Karen holds a bachelor of music from the University of Washington, and a masters in performance from Cleveland Institute of Music. She teaches privately and at San Francisco State University and Mills College. Karen is also a certified harp technician for Lyon and Healy Harps, so we are looking forward to plumbing her knowledge and expertise in harp repair and maintenance. In addition, Karen has an energetic teaching style, acquainting students with the intimate details and nuances of the pieces they are studying, giving them a great excitement for the music, a confidence musically and technically, and much encouragement.

Julie Albers

Cello, Julie Albers

American cellist Julie Albers is recognized for her superlative artistry, her charismatic and radiant performing style and her intense musicianship. She was born in 1980 to a musical family in Longmont, Colorado. Julie began violin studies with her mother, Ellie Albers, at the age of two, switching to cello at four. Julie was submerged in the Suzuki philosophy while growing up in her home and while attending many Suzuki summer institutes where both of her parents taught. Now she is a young artist, and it is a pleasure to welcome Julie as our cello clinician at the 2012 SAA Conference.

—Marilyn George, Cello Coordinator

Julie Albers made her major orchestral debut with the Cleveland Orchestra in 1998, and there-after has performed in recital and with orchestras in the US, Europe, Korea, Taiwan and New Zealand. In North America, Miss Albers has performed with many important orchestras and ensembles. Her 2009-2010 engagements include performances with the Florida Orchestra, and the Utah, Vancouver, San Diego, Edmonton, Memphis, Syracuse, West Virginia, Santa Rosa, Brevard and Fairfax Symphony Orchestras. She also performs in recital at the University of Wyoming, Laramie.

In addition to solo performances, Miss Albers regularly participates in chamber music festivals around the world. 2009 marked the end of a two year residency with the Chamber Music Society of Lincoln Center Three. She is currently active with the Albers String Trio and the cello quartet CELLO. Miss Albers is also a Distinguished Artist of the McDuffie Center for Strings at Mercer University.

October 2005 marked the release of Miss Albers’ debut album on the Artek label. This disc includes works by Rachmaninoff, Beethoven, Schumann, Massenet, and Piatagorsky. Julie Albers performs on a N.F. Vuillaume cello made in 1872 and makes her home in New York City with her husband, Bourbon, and their dog, Dozer.

Connie Sheu

Guitar, Connie Sheu

We have known Connie Sheu without realizing it: she is the little girl pictured in the beginning of Suzuki Guitar Book One; she studied for an extended period with Frank Longay. My favorite story is one told by Seth Himmelhoch: while he was observing Frank’s teaching, a seven-year-old girl came in for the lesson. Frank had her warm up, then asked her what piece she would like to play. She replied, “Canarios.” Seth was blown away by the idea that someone this young could play Canarios and play it so well. It began to make us all think about children really being unlimited in their potential. Connie also loves Bach, so we hope to benefit from her ideas.

—Kevin S. Hart, Assistant Guitar Coordinator

Past performances and teaching engagements have taken Connie Sheu from Carnegie Hall’s Weill Recital Hall to Florida, Oklahoma, Moldova, Italy, Hungary, and throughout California. She released her solo album Waking or Sleeping in 2008, of which Classical Guitar Magazine wrote, “Her debut recording displays, without a doubt, her talents as a concert artist.”

Connie received a Diploma of Study under scholarship at the Accademia Musicale Chigiana with Oscar Ghiglia in Siena, Italy, and has been a prize winner in numerous competitions, including the American String Teacher’s Association National Competition, San Jose Young Artist Competition, and the Donald Miller Guitar Concerto Competition. She performs extensively as both a soloist and as a member of Duo Solaris with guitarist Scott Wolf.

She holds degrees in US history and music from Columbia University and the Juilliard School, earned a doctor of musical arts at the University of Southern California under William Kanengiser and Pepe Romero. Her former teachers include Sharon Isbin, Antigoni Goni, Sharon Wayne, Marc Teicholz, and Frank Longay. Connie serves as Director of Communications for the Guitar Foundation of America and is a faculty member at the Pasadena Conservatory of Music.

Brian Lewis

Chamber Music, Brian Lewis

This year at the chamber music sessions, we are delighted to be featuring Brian Lewis, a versatile performer and teacher with strong Suzuki roots. During the 2010–2011 academic year, he worked closely with students in the graduate program at the Yale School of Music, teaching a very successful course in community engagement that helps musicians develop skills as educators and communicators. Lewis’ own exciting violin performances are an example of that communication with an audience. We are looking forward to him sharing this passion with the young artists participating in the chamber music sessions.

—Jessica Meyer and Carlynn Savot, Chamber Music Co-Coordinators

Brian Lewis is not only an acclaimed violinist, but is also widely recognized as a leader in music education. Guided by the practiced hand and beautiful heart of his mother, Alice Joy Lewis, Brian was bathed in a ripe Suzuki environment as a child and even studied with Dr. Suzuki in Japan. At the conference, Brian will speak to us about audience and community engagement, and he will work with students in violin and chamber master classes. He will also exhibit his virtuosity as he performs for us on the Clinicians Concert. Brian is currently very active as a performing artist and is professor of violin at the University of Texas.

Katie Lansdale

Violin, Katie Lansdale and Brian Lewis

Have we got some exciting clinicians lined up for your educational and entertainment delight on the violin front! Not one but two multitalented and world-renowned artists will grace our podium and stage. Both were introduced to the violin using the Suzuki Method and have gone on to have stellar careers as teachers and performers.

“Performance should be fused with music education, and I try to show how music study is relevant to other disciplines.” —Brian Lewis

—Sue Baer, Violin Coordinator

Katie Lansdale is lauded for her wide interests and repertoire. As a keynote speaker and performer, Katie will join the conference to share her particular expertise and passion for the music of Bach.

Katie frequently performs the complete Bach unaccompanied Sonatas and Partitas in concert and has recorded them on Cyberphunx Music label. The winner of the Scholsspresis Prize for solo Bach at the Salzburg Mozarteum, Katie will share insights and perform movements from this landmark violin literature. Additionally, Katie will conduct a student violin master class dedicated to performances of the solo Bach literature. Katie is a professor of violin at the Hartt School of Music. She performs regularly as soloist and chamber musician in the Lions Gate Trio. Katie is parent to two young Suzuki violinists!

Kirsten Docter

Viola, Kirsten Docter

As viola master class clinician for the conference, Kirsten Docter is coming home to both Minneapolis and the Suzuki method, which she studied as a child. Participants in her class are sure to enjoy her warm personality and benefit from her musicality and deep knowledge of the instrument. We are very pleased she will be joining us for the weekend.

—Janse Vincent, Viola Coordinator

Kirsten Docter is a member of the Naumburg Chamber Music Award-winning Cavani String Quartet. She was the first prize winner of the Primrose International and American String Teachers Association Viola Competitions. As a member of the Cavani Quartet, Ms. Docter performs regularly in major series and festivals throughout North America and Europe. Appearances include the Carnegie Hall Centennial Series in New York, the Corcoran Gallery of Art and Kennedy Center in Washington, DC, and Festival de L’Epau in France. The Quartet records for the Azica Records label.

Docter has collaborated with Itzhak Perlman, Robert Mann, Donald Weilerstein, Franklin Cohen, Warren Jones and Stephanie Blythe. A member of the viola and chamber music faculties at the Cleveland Institute of Music, she also runs the string chamber music program at the Oberlin Conservatory of Music. Docter has performed and taught at numerous summer festivals including Interlochen Arts Camp, Madeline Island Music Festival, Kneisel Hall, Yale Summer School of Music and Art at Norfolk, Yellow Barn Music School and Festival, the Mimir Festival and Perlman Music Program.

She was a featured artist at the 36th International Viola Congress in Phoenix, AZ and served on the jury of the 13th Primrose International Viola Competition. Major teachers include Karen Tuttle, Jeffery Irvine and Lynne Ramsey.

Docter studied Suzuki violin with Nancy Ohnstad and Mark Bjork in Minneapolis and and Tove Detreköly in Copenhagen, Denmark. She resides in Cleveland, OH, with her husband, Paul Cox, and their two sons, Sebastian and Benjamin, both Suzuki cello students.

Jeanne Baxtresser

Flute, Jeanne Baxtresser

When I think about my experience as a student of Jeanne Baxtresser, what immediately comes to mind is her wonderful capacity to adjust her teaching style to the individual needs of each student. Understanding the person rather than just the flute player is essential to her teaching, and the connection between teacher and student is remarkably strong. Ms. Baxtresser’s vision for her students begins from the ground up, with personal artistry blossoming from a foundation of established fundamentals. Teaching more than just specifics of flute playing, she addresses all types of challenges musicians face in the professional world. Whether it is the mental processes in the practice room or tactics for public speaking, Ms. Baxtresser prepares her students to be well-rounded musicians. She is truly an inspiring and motivating mentor.

—Rebecca Swain, current student of Jeanne Baxstresser at Carnegie-Mellon

Jeanne Baxtresser has held principal positions with three major orchestras, culminating in her fifteen-year tenure as Solo Flutist of the New York Philharmonic. Making her heralded debut with the Minnesota Orchestra at age fourteen, Ms. Baxtresser began her professional career as Principal Flutist of the Montreal Symphony immediately following her graduation from The Juilliard School, where she studied with Julius Baker. She was subsequently appointed Principal Flute of the Toronto Symphony before being invited by Music Director Zubin Mehta to join the New York Philharmonic. Ms. Baxtresser appeared as soloist with the New York Philharmonic on more than fifty occasions, and has been featured as a soloist across North America and Europe.

Recipient of the National Flute Association’s Lifetime Achievement Award for significant, lasting contributions to the flute world, Ms. Baxtresser was also awarded the National Medal of Arts from the Interlochen Center for the Arts and serves as a member of the Honorary Board of the Suzuki Association of the Americas. She is recognized internationally as a leading recording artist, author, and lecturer.

In great demand as a teacher, many of Ms. Baxtresser’s students occupy principal and section positions in major orchestras throughout the United States, Canada, Europe, and Asia. While in New York, Ms. Baxtresser served on the faculties of The Juilliard School and the Manhattan School of Music. In 1998, she was appointed the Vira I. Heinz Professor of Flute at Carnegie Mellon University in Pittsburgh, where she has attracted many outstanding flute students from around the world. Ms. Baxtresser was also named University Professor, Carnegie Mellon University’s most distinguished professorial position awarded to those individuals who have achieved exceptional international recognition.

Ms. Baxtresser’s exceptional career as a recitalist, concerto soloist, and chamber musician has produced numerous recordings, including New York Legends—Jeanne Baxtresser (Cala), Jeanne Baxtresser—A Collection of My Favorites (MSR Classics), and Chamber Music for Flute (Cala), featuring her performances with principal players of the New York Philharmonic. She has recorded many of the major symphonic works with the New York Philharmonic under Leonard Bernstein, Zubin Mehta and Kurt Masur.

Emmett Drake

SYOA 1, Emmett Drake

Combining energy, excitement, and a high level of musicianship, Emmett Drake is sure to win the hearts of the lucky participants who will perform under his baton in SYOA 1. Emmett already has a long list of fans comprised of the students in Connecticut and New York that have been fortunate enough to work with him. They look forward to his sense of humor and whimsical-yet-structured nature during rehearsals that encourages them to work as a team to bring their music making to the highest level.

Emmett Drake began his musical journey as a Suzuki student on Long Island, New York. As a composition major at The Hartt School, he studied violin with SAA Teacher Trainer Linda Fiore. After Linda asked him to compose a piece for one of the Suzuki orchestras, Emmett became captivated instantly while rehearsing the students for their concert, subsequently assuming the position of conductor and music director of Suzuki orchestras at The Hartt School, a post that he has held for the past three years. Emmett’s musical ambitions are diverse and have led him to fill his life working with groups as varied as a capella choral ensembles, high school drama departments, YMCA-sponsored summer musicals, and middle school orchestras, while remaining an active composer.

—Teri Einfeldt, Suzuki Department Chair, The Hartt School Community Division

Kirsten Marshall

SYOA 2, Kirsten Marshall

SYOA 2 is in great hands once again!

As you will discover by reading Kirsten Marshall’s biography, SYOA 2 is very fortunate to be lead by an energetic and dynamic powerhouse of a conductor, scholar, performer and composer with a background steeped in Suzuki tradition. Students will be drawn to her infectious energy while being lead through fun and challenging repertoire. SYOA has often been a life-changing experience for participants, and it is sure to be once again with Ms. Marshall at the podium. You will not want to miss this inspiring concert!

—Jim Van Reeth, SYOA 2 Coordinator

For more than fifteen years, Kirsten Marshall has inspired students across the Americas with her boundless enthusiasm and passion for making great music. Ms. Marshall is Director of Orchestral Programs and a violin instructor at Ithaca Talent Education in Ithaca, New York. In addition, Ms. Marshall is a part time lecturer in violin performance at Ithaca College. During the summer months, she is widely sought after as a conductor and clinician for her commitment to artistic excellence and dynamic ability to engage students.

Ms. Marshall received bachelor and master of music degrees from the Cleveland Institute of Music (CIM) with majors in violin performance and Suzuki Pedagogy. Ms. Marshall also holds a bachelor of science degree in music education from Case Western Reserve University, with an emphasis in strings. Her conducting studies were with David Einfeldt (Hartt School of Music, Connecticut), Carl Topilow and Louis Lane (CIM). She is a member of Pi Kappa Lambda, the National Music Honor Society.

In 1998, Ms. Marshall conducted the Suzuki Youth Orchestra of the Americas. In 2008 and 2010, she conducted the faculty orchestra for piano soloist at the Suzuki Association of the Americas conference. An avid supporter of contemporary music, Ms. Marshall conducted and produced two premiere string orchestra pieces that appeared on the 2002 recording Bach to the Future. She is an active performer in the Ithaca area and holds the David and Leslie Sagan Chair in the Cayuga Chamber Orchestra, Ithaca’s professional ensemble. In 2003, she co-commissioned and premiered a sonata for violin and piano by Robert Paterson. Her love of contemporary music is further demonstrated through her own original compositions for string orchestras.

Sasha Garver

Flute Performing Ensemble, Sasha Garver

The Flute Performing Ensemble will once again be conducted by Dr. Sasha Garver.

Dr. Sasha Garver is chair of the music program at Northern New Mexico College in Espanola, NM, where she teaches flute, voice, aural skills and music theory. Sasha maintains a Suzuki studio in Santa Fe. She has been a soprano soloist with the Santa Fe Symphony. Sasha performed for two years as second flute/solo piccolo of the Macau Orchestra, SAR China. While in Asia, Sasha studied with Mr. Takahashi and helped to form the Suzuki Association of Hong Kong and Macau. Sasha holds her DMA from CU-Boulder and has her MM from The University of Cincinnati. She received two Bachelor of Music degrees in flute and voice from CU-Boulder. Sasha is a columnist for Flute Focus International Flute Magazine (NZ), and has contributed to the American Suzuki Journal. Sasha has given lectures on topics ranging from pedagogy, Suzuki and performance practice at the Suzuki World Conference, the National Flute Convention and the Suzuki Association of the America’s International Conference. Certified in Suzuki Flute Books 1-8, Practicum, and Orff-Schulwerk level 1, Sasha has been faculty at Regis University, Colorado Christian University, Desert Suzuki Institute, Santa Fe Suzuki Institute, Rocky Mountain Center for Musical Arts, the University of Cincinnati College-Conservatory of Music Preparatory Department, and the 2009 Suzuki World Conference in Melbourne, Australia.

SAA Conference Video Updates

Dave reports that the video is not done yet, we are also waiting for the SAA office to send him some transcripts of the interviews. Dave can send us material from the video for us to screen. He has seen footage taken so far and it’s good.

Recording of Books 8-9: Progress Report

All the recording and editing is done but there are still a few details to deal with. Both William Kanengiser and Scott Tennant are involved in the project. Frank states he will lobby hard to get the CD project through and get it released soon.

RH fingerings ideas from Harald Soderberg

Harald Soderberg from Europe has written to Mary Lou and he wants to know what the view of the SAA committee is concerning the printed right hand fingerings. Should we expect complete fidelity to printed fingerings? What is our sense of the need to follow them exactly? How does this fit into the ESA teacher exams where they have to teach in front of a panel?

Seth says there are two sides to the issue: Are the fingerings good in themselves? And how much do teachers need to adhere to book? Mychal asks do we want the fingerings to express principles of pedagogy, or do we want teachers to just follow directions? Seth mentions the pamphlet Frank hands out at Teacher Training workshops which contains the updated right hand fingerings for Book 1. Frank says the purpose of the new fingerings is to help the kids have good habits of fingering and further he says the way he does it, the advanced kids do indeed have great habits. Mary Lou says ESA is really just looking for a way to compare standards with us as a help in setting up their teacher training process. Frank will write up a response to Harald and send it to us for our suggestions before sending it on to Harald.

Audition Requirements for Teacher Trainee Candidates

This discussion concerned several difficulties that arose recently in training situations. It seems that unqualified candidates are arriving at teacher training workshops with the trainer having to deal one or more of the following situations: trainees enrolled who were not classical guitarists, or who have very limited training on the guitar, trainees not playing rest stroke, and some who had never used nails. Several highly qualified trainees stated that they thought the Suzuki training should be at a higher level of classical guitar technique. The Committee discussed several ways to let prospective trainees know more of the expectations involved with taking training. We will follow up this topic in the next Conference Call.

It is with the deepest sadness that we announce the passing of Frank Longay on Wednesday, January 19.

Frank was a founding member and chairman of both the Guitar Committee of the International Suzuki Association and the Guitar Committee for the Suzuki Association of the Americas. Frank took a leadership role in developing a graded repertoire for the guitar through Suzuki methodology and, as a registered Teacher Trainer, he worked tirelessly to pass along his knowledge and experience to guitar instructors in the U.S. and around the world.

Frank’s efforts distinguished him as an internationally recognized music educator. He performed and conducted teacher development courses and children’s workshops on numerous occasions in Australia, several countries in South America and Europe and across the United States. His students have won prestigious awards including the Bay Area Unicef Concerts and the Junior Bach Festivals. He was featured in articles in Suzuki World, the American Suzuki Journal, Soundboard (the journal for the Guitar Foundation of America) and in an interview for Acoustic Guitar Magazine.

For his dedication to the development of Suzuki Guitar School™ and the creation of the Longay Conservatory of Guitar, Frank was honored as a 2006 recipient of the distinguished Creating Learning Community award presented by the Suzuki Association of the Americas.

More information will be posted when available.

SAA Teacher Trainer syllabus (voting to adopt)

1. Seth mentions: the section for Unit Three needs the inclusion of the phrase “arpeggios using A finger”.

2. Also, in unit 5, clarify “chord spacing”: instead write as in the Aaron Shearer book: “two and three note chords on non sequential strings.”

3. Dave mentions: vibrato is not included in any Unit. He says that violin teachers do it at different times, so he is not saying where it should go, just that the syllabus needs to include it so it won’t be skipped.

4. Several committee members say they teach it in Book 1 and the consensus is that it should be included in Unit 1.

5. It should be put in after “Left hand: form and finger placement, balanced alignment” and listed as a separate bullet point.

6. All committee members present vote in favor of the syllabus. Frank will look at it soon.

7. Joe asks is our committee decision binding on the teacher trainers?

8. Bill says it’s more of a set of guidelines.

9. Andrea and Mary Lou say it is important to teach all the topics in each unit so the training is complete, but the approach is up to the teacher trainer.

10. Bill points out that everything is driven by the repertoire.

11. Mary Lou points out the feature in the syllabus of the different books the trainees need to read for each unit. Other committee members like this feature, too.

12. In the ESA teacher training, Harald Soderberg asks for extreme fidelity to printed fingerings, Mary Lou wants to know what our opinion is. ESA trainees need to play for him the printed fingerings in order to pass their Units.

13. Bill and Dave think it is not practical to do this. Dave says understanding why a fingering is being used is more important than following fingerings slavishly.

14. Andrew says the Suzuki piano books have alternate fingerings already.

15. Some committee members like the idea of including alternate versions of tricky passages, both easier and harder versions.

16. A discussion of alternate versions of difficult passages will be added to the next call agenda.

17. Frank says he is fine with the syllabus that was adopted.

Revision of the Repertoire

18. Mary Lou asks now that the nine volumes are published, when do we start revising them?

19. Frank says we should first discuss how we will proceed with the process.

20. It is agreed to put an item in the next agenda to discuss the process of revising the books.

21. Dave mentions that Pam Brasch at SAA has money to get the committee together so that revisions could be done face to face.

22. Frank says we should remember that revision of the repertoire is an ISA issue, and we only suggest things.

23. Bill mentions the idea of Book 10. We need to add that discussion to next call as well.

It is my pleasure to share with you the work of William Kossler in bringing the experience of his Matsumoto Training to Suzuki Guitar in the Americas. Suzuki Teachers place high priority on Dr. Suzuki’s Philosophy. Those who worked with Dr. Suzuki in Japan offer us much as role models with a first-hand perspective. Among guitarists, our only member who graduated from the Talent Education Institute of Matsumoto is Bill Kossler. His experience brings us many unique viewpoints and continues to have a major impact within our Guitar community.

Bill is a modest, unassuming person. He does not self-promote and sincerely puts the best interest of others first. Every recommendation letter noted this. Sean Behrens referred to his “purely selfless generosity.” Michele Horner stated, “It’s never about him.” Joseph Pecoraro said, “He has many times gone out on a limb to assist his students …working to get them enrolled at North Carolina School of the Arts, even if this would mean losing them as a student.” This ethic energizes our larger community to follow his model.

As a Trainer, Bill values the growth of Suzuki Guitar by thoroughly equipping his trainees—even if it takes years. He desires to serve “struggling Institutes” as he calls them, where he builds community guitar programs at the grass-roots level.

In 2008, Professor Koji Toyoda invited Bill to return to Japan where there is still no program in Suzuki Guitar. Through a concert and two workshops, Bill helped raise awareness of the method.

Bill and his wife Lauren, a Suzuki violinist, raised their three sons, Adam, Sam and John, in the Suzuki Method. When Prof. Thomas Patterson (University of Arizona) auditioned Adam, he was very impressed and stated, “You could not ask for stronger evidence that Suzuki is an effective method. Look at the results!”

Bill Kossler builds the Suzuki guitar community not just by having a large, impressive program, but by building people. He began with his own sons. Beyond the scope of his family, he works for his students and their parents. He puts hours of effort towards his local community and has the vision to begin a Charter School there. He is devoted to Institute work and the teachers who train with him. His reward is truly to see others blossom successfully, to develop their full potential and then to share, in turn, with their communities. I personally witnessed his support and caring when I completed my Teacher Trainer Internship with Bill.

From Joanne Bath, Violin Teacher Trainer, Greenville, NC:

Bill Kossler has made a remarkable contribution to the formation and growth of the Suzuki approach in guitar. I am impressed by the way Bill has quietly, gently and intelligently spread the word about the possibilities of Suzuki guitar study and teaching. Bill is one of the reasons that North Carolina has become such a strong Suzuki state. Those of us from North Carolina congratulate him and thank him for giving so much to our state!

From Kathleen Tyree, Institute Director, who was unable to be present:

Bill has taught at least 25 years in New Orleans Summer Camps and Guitar Workshops for the GNO Suzuki Forum. He has worked with me to get a credible Suzuki guitar program going here. Matthew Hayes, my former violin student who changed to classical guitar, will be a graduating senior in guitar performance next year at Loyola University. Bill encouraged him in this, giving him the confidence that his guitar skills qualified him for the college of music.

From a parent in Bill’s program:

I am so appreciative for everything Bill has done for my children and this community. The Suzuki guitar experience is so much a part of our lives and helped to shape my sons into the people they are today. Without Bill we would not have had that, and I am so thankful for him and the Kossler family.
–Amy S. Oakley, Winston Salem, North Carolina

Other Guitar sessions include:

• Alexander Technique for Suzuki Guitar Teachers (Chris Mincer)
• Making the Most of Suzuki Guitar Accompaniments (Seth Himmelhoch)
• How to Structure a Reading Development Curriculum (William Kossler)
• Great Ideas for Guitar Group Class (Brent Weaver, Daniel Srugo, and Kevin Hart)
• Teaching Rest Stroke and Relaxation (MaryLou Roberts)
• Rasgeados and Alzapuas and Golpes, Olé! (Eric Schroeder)
• Developing Reading Skills for the Young Suzuki Student (David Madsen)
• A general session with Guitar participation: Family Affair: Teaching your Own Child (Concert & Round Table Discussion) Moderated by Andrea Cannon

We hope you will join us in Minneapolis and partake in what promises to be a most exciting Gathering of Guitarists!

–Andrea Cannon, Guitar Coordinator

Trainers Report from the Boston Conference

Mychal says it was great, and the other committee members who attended agree. Mychal mentions that meeting Mr. Toyoda was a particular pleasure. Dave says it was great and inspiring. Mary Lou mentions that the sense of Japanese philosophy and culture coming from the Japanese teachers was very affecting. Just the bow itself had deep meaning, and the respect it engendered spread through the rest of the things going on there.

The guitar trainers at the conference got a lot done on the new Guitar Teacher Trainer Syllabus, with attention to each book in turn. A higher playing level will be required for trainees at each higher level of teacher training. The syllabus is now being finalized and email exchanges are being made to get this done. The syllabus in intended as an ISA syllabus, not just SAA. One suggestion being considered is to have different books to be read for each training level, for example, Nurtured by Love for Book 1, and Ability Development From Age Zero for Book 2.

Progress on the Book 8 and 9 Recordings

Frank says that he has been sending in edit requests. The committee expresses its thanks to Frank for the work he is doing on the recordings.

Argentina/South American Developments

Mary Lou reports that many more trainees in South America are now joining the SAA.

Mary Hofer
Voice
Stevens Point, WI

Joseph Pecoraro
Guitar
Winston-Salem, NC

James Hutchins
Violin
Silver Spring, MD

These Trainer Candidates completed the final steps in the approval process following the ISA Teacher Trainer Conference in Boston last month. We look forward to their service in this new and important capacity.

Last summer, focus groups at summer Institutes were asked to submit questions for a panel of “Suzuki Experts” to answer. This is the fifth installment.

How can we maintain the joy of playing guitar without weighing the student down with technique?

The better technique a student has, the more joy in making music she will experience. When a child has good technique, he can play expressively and musically without any restraint from the fingers, in the same way children use their voices. When technique is carefully presented and fully developed a child will not be weighed down, but will be free to develop their ability to the fullest. Creating a fun environment is important and we should remember Dr. Suzuki’s words, “Without hurry, without rest.”

Are there ways to familiarize students with the composers of the guitar repertoire to make the pieces more accessible?

Your teacher should be able to help with information about the composers. There are several books about the history of the classical guitar and composers. My favorite is Grunfeld’s Art and Times of the Guitar. It is out of print, but still can be found. It is worth it just for the painting of several guitarists “discussing” the nails or no nails issue.

I just Googled Mauro Giuliani and came up with the wikipedia article on him. There is a cool picture of him with an earring and an Elvis look to his hair. The Internet can be a great resource!

Is there a resource for technique tips? How do you help your kid differentiate between free stroke and rest stroke? At what point beyond learning notes and rhythms do students need to learn how to play soft/loud or slower/faster for each song’s taste (develop musicality?)

A Suzuki teacher should be able to answer any questions you have about technique and should be asked first, as he is the most knowledgeable about your child’s technical status. In the broadest sense, free strokes break up chords and are played across strings, and rest strokes are scalar and have consecutive notes on the same string. There is a great grey area in between, and I don’t generally teach children the same way for their free stroke development.

I feel that Twinkle is where students should begin to develop musically. As Dr. Suzuki taught, the point when a student can play all the notes correctly is the point where the student can work on the music.

— Expert of the Week, David Madsen

See more Ask the Experts columns.

• Bass: SYOA 1, SYOA 2, Bass Choir
• Flute: Masterclass, Performing Ensemble
• Guitar: Masterclass, Non-Preformed Chamber
• Recorder: Masterclass, Recorder Consort, Non-Preformed Chamber

Applications are being accepted until November 30.

See the student participation criteria and online student application.

• Bass: SYOA 1, SYOA 2, Bass Choir
• Flute: Masterclass, Performing Ensemble
• Guitar: Masterclass, Non-Preformed Chamber
• Recorder: Masterclass, Recorder Consort, Non-Preformed Chamber
• Piano: Concerto performance (due December 15)

Applications are being accepted until November 30.

See the student participation criteria and online student application.

Frank Longay, Andy Lafrienere, Seth Himmelhoch, Mary Lou Roberts, Andrea Cannon

New Teacher Trainer

Congratulations again to Joe Pecoraro who is now a Teacher Trainer.

Progress on Recordings of Volumes 8 and 9

Frank Longay traveled to Los Angeles to supervise the recordings of Volume 8 and 9 at Penguin Recording. Bill Kanengiser was easy and cooperative to work with and was receptive to ideas. It was great to work with such an artist. Editing is now in place and an ETA of the finished product is expected by the first of the year.

Guitar Foundation of America Convention by Andrea

Andrea felt proud that Suzuki guitar was well represented at this event. She gave a talk on Suzuki Method at the ensemble showcase and really put in a plug for Suzuki Method. GFA education people said that we’re now on the map and we’ve set a high bar for future youth ensembles! Yossi Kohrman and Henry Johnston placed first and second in the Youth competition. Congratulations to Andrea and Andy for this wonderful achievement by their students! The next conference will have a focus on youth orchestras. The GFA will try to keep costs down so kids can come.

SAA Conference 2010 update

Pre-formed or ad hoc ensembles can register to participate at the Conference. There are (top ten) tracks for presentations with a focus on pedagogy topics. The top ten works like Dave Letterman, with areas listed on the web site.

Colombia report from Mary Lou

Mary Lou did teacher training at Javieriana U. in Bogota. There were nine trainees there. There is a teacher there who is also a chemist and guitar builder. He has a nice prototype of a ukulele sized guitar there.

New Source for Guitars

Frank recently mentioned on the listserv guitars made by Tom Malapanis of Anchorage Alaska. Frank’s student Ayoush is playing one. They have great sound and great tone and Frank is very excited about them. Frank says we need to push harder to get families to buy quality instruments. Compared to other instruments such as violin, we are still spending less for each guitar.

Mychal raises the point that its different for violin etc. because they do long term rentals with the small instruments, and then make the big push with the full sized instrument. Mary Lou mentioned that she starts with small guitars that are not as good, but makes a push for better and better instruments as time goes by. Frank and Andy point out that families can invest in a guitar and sell it to recoup the money and buy a bigger one.

Bass: Paul Sharpe, Nicole Castleberry
Cello: Gilda Barston, Amy Barston
Flute: Bart Feller, Sara Traficante
Guitar: William Kossler, Adam Kossler
Harp: Elinor Niemisto, Angela Dastrup Willis
Piano: Doris Koppelman, Hikari Nakamura
Recorder: Patrick O’Malley
Viola: William Preucil Sr., Matthew Dane
Violin: Thomas Wermuth, Allegra Wermuth, Scott Conklin

SYOA Conductors: Marilyn Kesler, Winifred Crock
Special Guests: Bad Boyz of Bass Quartet

See Clinician bios >>

Welcome to the Guitar Committee new members Mary Lou Roberts and Mychal Gendron!

Agenda

1. The SAA Virtual Retreat online during April
2. Suzuki Guitar at GFA
3. Continuation of the printed newsletter
4. South American progress report on Argentina, Chile, Columbia, Paraguay, and Peru, Mexico
5. Suzuki Guitar in Brazil
6. Suzuki Guitar in Japan
7. Additional miscellaneous topics

Discussion

1. The SAA Virtual Retreat online during April

   Andrea offered the following information concerning the Retreat:

   • the deadline for registration has been extended to March 25th.
   • you are supposed to prepare 3 questions to pose to the online forum.
   • information is available online and in Journal . It continues April 4th to 30th. We are all encouraged to join to show support for the effort.
   • David is to do a talk. The details have not been finalized.

2. Suzuki Guitar at GFA in Ithaca

   • Andy has a student who is competing, as does Scott Gossage and Julia Miller. Adam Kossler and Chas. Pheiffer are competing as well.
   • On Saturday June 20th Andrea’s group is to play in a showcase concert for which they had to win a competitive audition. They will play a Casellacci piece, Rak Rumba, Take the A Train, and some Bach Inventions.
   • Andrea will also do a presentation on how they prepared for the performance.
   • Andrea says next year’s GFA is in Austin, TX. The dates are 6/22/10-6/27/10.

3. Continuation of the printed newsletter

   • The Committee is thinking it’s a bit obsolete to do a print newsletter. Maybe a nice pdf for downloading would be better.
   • It is also suggested that we send a yearly email newsletter.

4. South American progress report on Argentina, Chile, Columbia, Paraguay, and Peru, Mexico

   • Frank is doing work in Mexico, Mary Lou in other countries. Mary Lou reports that in Lima, teachers were from Argentina, Chile, Columbia, Paraguay, and Peru. It was a good year, and the training brought up especially the issues of changing fingerings, and properly sized guitars.
   • Mary Lou suggests that we provide an exhortation to trainees to try to keep to the fingerings in the books, so as to preserve the pedagogical content of the material. If changes are suggested, we need to consider how it will affect the student’s long term learning.
   • The Committee agrees with Mary Lou’s suggestion, with the understanding that we need to also be always open to the ideas of others, and to considering other options to the existing fingerings.
   • The Committee agrees that in regard to fingerings we must balance two objectives: we should encourage trainees to be creative in responding to their students needs in relation to fingerings, and we need to also communicate the fact that that the existing fingerings are well thought out and have relevance to other upcoming repertoire in the books.
   • In South America, trainees must play all the pieces from a given book in order to get credit for training in that book. Some took the course and will send a DVD of their playing later to get the credit. Nine trainees took Book 8, five took the Practicum.
   • For the Practicum, the lessons on the videos were in Spanish.
   • There was a also especially good communication and sharing of ideas from the advanced trainees down to the Book 1 class.
   • Mary Lou saw an Improvement in the number of children with small guitars. Both parents and teachers came away motivated to make sure that the children did not continue to play improperly sized guitars
   • Mary Lou is sending notes for translation to the children concerning observation and polishing points.
   • A teacher named Carlos Alberto Cardena was contacted about starting a listserv in South America.
   • Frank stated that insistence on high standards and on basics is important for the trainers who go to South America.
   • Frank says he observed many of the same things in Mexico.
   • Mary Lou suggests using CDs of more advanced programs to help show what is possible when kids are well equipped and properly taught.

5. Suzuki Guitar in Brazil

   • Elio Galvagno from Italy recently asked Bill if we had any contacts in Brazil.
   • Mary Lou says the Brazilian government has sponsored Suzuki violin and it’s so big that unfortunately all the work is group class. There are no guitar teachers coming from Brazil to the festivals in Lima.

6. Suzuki Guitar in Japan

   • Frank will be meeting K. Toyoda on his next trip to Australia.
   • Mary Lou asks can Frank ask Toyoda about Suzuki guitar in Japan? Bill mentions that there is not much interest in it there.
   • Frank met a Japanese fellow who is reporting from Japan who is interested in Suzuki guitar in Japan.
   • Frank asks what about the father of K. Yamashita? Does he teach young kids? Also there is the Nibori School which is widespread in Japan. The committee agrees that we wish to know more.

7. Additional miscellaneous topics

   • Bill says there is one more institute in Alaska that needs to be added to the Institute list, and that he is going up there.
   • Bill Kanengiser is contracted to do the CDs for books 8 and 9. It’s just logistics now and it will be done soon.
   • There was discussion concerning the writing of articles for the SAA Journal. The members of the Committee will share the responsibility for making sure the guitar has a constant presence in the Journal. Other members of the Suzuki Guitar Community are encouraged to write articles also.