Any Tips for Book 4?


Deena said: Sep 29, 2011
 9 posts

My son is still in Book 3, but he only has two more songs to learn before making the transition to Book 4. We do two lessons a week, one mostly for theory and skills development. In one lesson we are working on sight reading, theory, shifting, and vibrato. In his other lesson he mostly focuses on the actual repertoire building and more peformance elements (sorry don’t know what to really call it). Up to this point our experience has been positive and he has been making steady progress. My son spent two years in Book 1 and then he completed books 2 and 3 in about a year. I want to make sure we’re as prepared as possible.

I looked through and found a previous post from a parent that was very helpful and I plan on buying the Kerstin Wartberg book mentioned on that strand. Are there any overall tips for making Book 4 more successful? Are there good/better practice habits that are especially helpful or essential for success? Are there any particular bad habits in the area of technique or posture that really hurt students across the board at this level? We still practice together, and I don’t plan on him going to practicing on his own any time soon.

Any advice would be greatly appreciated.

Ruth Brons said: Oct 4, 2011
Ruth Brons
Suzuki Association Member
Violin, Viola
Livingston, NJ
148 posts

As in the previous books: listening, review and attention to technique will continue to serve your son well as he enjoys playing his first concertos.

Best Wishes,

said: Oct 4, 2011
 12 posts

Lots of listening. Lots of patience. The pieces are huge compared to the earlier books and it’s easy to get stuck in one—my daughter got a shoulder injury followed closely by a broken finger and it meant she was in the first half of book four for a long time as her practice was limited. Not helped by the fact that she loathed the second and third Seitz pieces after being on the first one for ever so she wasn’t enthusiastic about what practice she was doing.

But by the time she had mastered all the techniques involved in the first part of the book, the last two pieces were covered very quickly (and she sprained a finger a second time so she spent a month doing nothing but bowing exercises—don’t let violinists play netball!).

Doing some non-Suzuki shorter contrasting pieces where achievement was more obvious helped her confidence—she was doing auditions where she needed some contrasting fast and slow pieces and book four is a bit light on on slow pieces so we had to go out of syllabus to find some anyway.

She’s now well into book 5 and that seems so straightforward after the big lumps of stuff in book 4.

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