SUZUKI PIANO PROGRAM PARENT HANDBOOK

20032004

FIVE MOTTOES OF SUZUKI TALENT EDUCATION

The Earlier Period The Better Environment The Better Teaching Method The More Training The Superior Instruction

VISION OF THE SUZUKI ASSOCIATION OF THE AMERICAS The Suzuki Association of the Americas aspires to improve the quality of life in the Americas through Suzuki Education. We seek to create a learning community which embraces excellence and nurtures the human spirit.

SUZUKI PIANO PROGRAM FACULTY VISION STATEMENT We are members of a community guided by the heartfelt Suzuki Philosophy and Method, which provides excellence in teaching, leadership and collaboration in a dynamic environment. We enrich, explore, develop, inspire and empower people to realize the better world through a common language of music.

TABLE OF CONTENTS

The Suzuki Philosophy ................................................................................... 2 History of the Suzuki Method ........................................................................ 3 The Suzuki Approach ..................................................................................... 4 Structure of the Suzuki Piano Program .......................................................... 5 Words for the Songs in Volume I .................................................................... 7 Repertoire List .............................................................................................. 10 Recommended Reading ................................................................................ 11 Good Piano Posture ...................................................................................... 13 Seating Equipment ........................................................................................ 14 The Piano ...................................................................................................... 15 Suzuki Association of the Americas ............................................................. 16 International Overview ...............................................................................IBC

THE SUZUKI PHILOSOPHY

Dr. Shinichi Suzuki, a Japanese violinist and teacher, studied how children learn throughout his life. Encouraged by their ability to assimilate the Mother Tongue, he saw a great opportunity to enrich childrens lives through music. His primary goal was always to teach young people more than how to play musical instruments. He championed the unique contribution music can make in the total learning process. The Suzuki approach deals with much more than teaching a child how to play an instrument. It seeks to develop the whole child, to help unfold the childs natural learning potential and become a good and happy person. The purpose of Suzuki training is not to create professional musicians, but to help every child to nd the joy that comes through music-making. Through the Suzuki growing process, children thrive in a total environment of support. Suzuki students develop condence and self-esteem, determination to try difcult things, self-discipline and concentration. As well they acquire a lasting enjoyment of music, and the sensitivity and skill for making music.

Our Life
Our life is worth living only if we love one another and comfort one another. I searched for the meaning of art in music, and it was through music that I found my work and my purpose in life. Once art to me was something far off, unfathomable and unattainable But I discovered that the real essence of art was not something high up and far off. It was right inside my ordinary daily self. The very way one greets people and expresses oneself is art. If a musician wants to become a ne artist, he must rst become a ne person. If he does this, his worth will appear. It will appear in everything he does, even in what he writes. Art is not in some far off place. A work of art is the expression of a persons whole personality, sensibility and ability. Dr. Shinichi Suzuki, Nurtured by Love

HISTORY OF THE SUZUKI METHOD

Dr. Shinichi Suzuki
Dr. Shinichi Suzuki (October 17, 1898 - January 26, 1998) was the son of Japans rst violin manufacturer. Suzuki worked in the violin factory as a child, before he began study of the violin at age seventeen. In 1920 Suzuki embarked on a world tour with his friend Marquis Tokugawa. They travelled extensively throughout Europe before Dr. Suzuki nally settled in Berlin. Suzuki moved in a circle of exceptional people, among them Dr. Albert Einstein, who became a good friend. The musical culture in Berlin during the 1920s was exceptionally rich. Suzuki went to concerts, listened to Kreisler and many other wonderful soloists with the outstanding conductors of the Berlin Philharmonic Orchestra Furtwangler and Bruno Walter. He continued his violin studies with the renowned German violinist Karl Klinger. After ve years of close association Suzuki married Waltraud Prange and the two of them returned to Japan in 1928. In Japan, Suzuki and his brothers formed a string quartet that toured extensively. Suzuki taught at the Imperial School of Music and the Kunitachi Conservatory in Tokyo and began exploring the potential of the Mother Tongue Theory. World War II dealt a heavy blow to the Japanese, so that by 1945 the conditions in Tokyo were seriously devastated. Dr. Suzuki moved to Matsumoto, the city gateway to the Japanese Alps, located three hours by train from Tokyo. There he founded the Talent Education Institute and continued the development of the Mother Tongue A pproach. Over the next 30 years Suzuki carefully assembled the repertoire of the Suzuki Violin Method. Other violin teachers studied with Dr. Suzuki and began to teach throughout Japan. The tremendous success of the Suzuki Method became well known outside Japan, and interested teachers came to Matsumoto to study and observe Dr. Suzuki rst hand. Gradually the Talent Education program expanded to include cello, viola, ute, piano, string bass, recorder, guitar, harp and voice.

The Suzuki Piano Method

During the 1950s Shizuko Suzuki (the wife of Dr. Suzukis brother) and Haruko Kataoka began to apply the Mother Tongue Approach to the piano. They were both accomplished pianists who acted as accompanists at the Talent Education Institute. With Dr. Suzukis guidance, the two women developed the repertoire that would become the Suzuki Piano Method. They included the Twinkle Variations, which Dr. Suzuki had designed for the Violin Method, folk songs and other elementary pieces for Volume One. Volumes Two to Seven contain standard works from the piano repertoire, from the Minuets of J.S. Bach to the Piano Sonatas of Wolfgang Mozart. After many years of research and experimentation the Suzuki Piano books were published in 1972. A major re-editing and re-recording of the Suzuki Piano repertoire was done by the SAA Piano Committee from 1988-90. In response to the demand for Suzuki Piano Teacher Training, Dr. Haruko Kataoka rst came to teach at Stevens Point, Wisconsin in 1972, and thereafter visited the U.S. and Canada regularly. Dr. Kataokas research in teaching beginners, tone development, technique and Suzuki Piano pedagogy is unequalled. Her contribution to the Suzuki Piano Method forms the basis for Suzuki Piano teaching around the world. Merlin B. Thompson was the rst Canadian pianist to study at the Matsumoto Talent Education Institute with Dr. Suzuki and Dr. Kataoka. He graduated from the Suzuki Teacher Training Program in 1986 after three years of intense study, research and performance.

THE SUZUKI APPROACH

The Suzuki approach, based on the Mother Tongue Method, differs from traditional methods of teaching instrumental music. Because the students begin instruction at a very early age, parent participation is essential. Some of the basic principles and ingredients of the Suzuki approach are: 1. Develop the Home Environment. Daily listening to recordings of the Suzuki repertoire, as well as good music in general, is the nucleus of the Suzuki approach. A musical home environment develops musical sensitivity in the student. The more the student listens to his/her CDs and tapes, the more quickly he/she learns. This approach derives from the way all normal children learn to speak their native language. Begin as Early as Possible. Dr. Suzuki recommends that ability development begin at birth. Formal training with an instrument may be started at age 3. Move in Small Steps. This allows the student to master the material with a total sense of success, thereby building condence and enthusiasm for learning. Each child progresses at his/her own pace. Mother or Father Attends All Lessons and works with the student at home. The parent is the childs most inuential helper providing constant encouragement and motivation. The parent ensures daily listening to the repertoire. The parent learns the fundamentals of playing the instrument in order to facilitate the home practice; the parent acquires basic music reading skills as they apply to the piano. Create an Enjoyable Learning Environment in lessons and home practice. This allows much of the childs motivation to come from enthusiasm for learning and desire to please. With praise and positive reinforcement from teacher and parent, the student continues to advance in an atmosphere of enjoyment and understanding.When working with children Dr. Suzuki says we must come down to their physical limitations and up to their sense of wonder and awe. Group Lessons, in addition to private lessons, and observation of other students lessons are valuable aids to motivation. The child learns from advanced students, peers and the teacher. Children love to do what they see other children do. Foster an Attitude of Cooperation , not competition, among students of supportiveness for each others accomplishments. Begin Music Reading when the childs aural and instrumental skills are well established, just as we teach children to read a language only after they speak. This enables the main focus of the teachers and students attention to be on tonalization; beautiful tone and musical phrasing then become a basic part of the students earliest training. Follow the Suzuki Repertoire Sequence. Each piece is a building block for the students careful development. Equally important is the strong motivation this standardized repertoire provides; students want to play what they hear other students play. Constant repetition of the old pieces in a students repertoire is the secret of the performance ability of Suzuki students.

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STRUCTURE OF THE CONSERVATORY SUZUKI PIANO PROGRAM

The seven volumes of Suzuki Piano repertoire consist of standard works from traditional folk songs to Classical piano sonatinas and sonatas to advanced Romantic repertoire. The study of reading music begins after the completion of Suzuki Piano Volume 1. The Suzuki Piano Method is not simply a beginners method. The repertoire study is designed to take students from the very elementary stage to the most advanced levels of piano playing. 1. 2. Studio Lessons. Students and participating parents attend weekly lessons. Students are grouped according to age and level to facilitate observation of each others lessons. Group Lessons. Group lessons are scheduled throughout the year. The classes vary in format to reect the level of the students. These lessons are a tremendous motivational tool for students allowing them to enjoy music with other students of the same level while establishing strong social bonds. Group lessons for beginning students use games to develop performance skills and musical familiarity. Elementary students continue to develop reading skills in addition to performance skills. Junior and Senior students explore theory concepts and ensemble playing. Book Certificates and Graduation Tapes. Students receive a Certificate of Achievement upon successfully completing each book of repertoire. Following the Japanese system of Graduation Tapes, a Suzuki Piano instructor outside the MRC Program listens to the students tape recording of the required repertoire as follows: Elementary level Junior level Intermediate level Senior level Bach Minuet 2 Clementi Sonatina opus 36 no.3 Bach Minuets 1, 2 & Gigue Mozart Piano Sonata K331

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Students receive a taped verbal response from the instructor and a diploma of Japanese calligraphy. 4. Recitals. Public recitals are held during the fall and spring terms. Informal get-togethers, home concerts and in-studio concerts are held throughout the year. Sharing music with peers, family, friends and neighbours increases the students self-condence. As well, students experience the joy that comes with playing before others. Non-Competitive Fall Festival. This event is held in October and offers all students in the program an opportunity to perform for adjudication. Students from all levels may perform in a variety of classes. Winter Workshop. Guest Suzuki Piano clinicians give master classes for students and sessions for parents. This mid-year event is an excellent motivational opportunity for all participants. Calgary Suzuki Piano Institute. Every summer Mount Royal College is lled with Suzuki Piano teachers, students and their parents for a week of sharing music and having fun. 5

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Teachers attend a 5-day workshop. Students and parents attend a 4-day workshop which includes master class, group class, movement class, concerts, and lectures. For families who want the maximum value from their Suzuki experience, the Summer Institute is the most effective motivational tool that exists. 8. Mount Royal Suzuki Piano Parents Association. This organization meets frequently during the year to provide support for parents of students in the program. MRSPPA sponsors the Non-competitive Fall Festival and Winter Workshop. All parents are members and participate actively in the fundraising program. Kiwanis Music Festival. Although this is not an ofcial part of the Suzuki program, students are encouraged to take part in the classes. The Festival provides another chance for performance outside the program and an opportunity to be heard and adjudicated by a non-Suzuki musician.

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10. Royal Conservatory of Music examinations. Students who have completed all seven levels of Suzuki Piano repertoire may prepare for upper level RCM examinations.

First for the love of the child, Next, for the love of teaching the child. Next for the love of the music taught to the child. But always, the child comes rst.
Dr. Shinichi Suzuki

WORDS FOR THE SONGS IN VOLUME I

Twinkle A
Mississippi Hot Dog Peanut Butter Sandwich Pepperoni Pizza

Lightly Row
Lightly row, lightly row, Up the piano we will go. Not too fast and not too slow, Not too high and not too low. 1 2 3 4 5 step up, 1 2 3 4 5 step up, Not too fast and not too slow and Not too high and not too low. Lightly row, quick and slow. Up the river we will go. Manitoba, Manitoba, Thats the place to go go go. On our piano we will play, Eating hot dogs all the day. Manitoba, Manitoba, Thats the place to go go go.

Twinkle B
Short Long Short Ice Cream Cone I Love You

Twinkle C
Run Mommy, Run Daddy Popsicle, popsicle

Twinkle, Twinkle Little Star

Twinkle, twinkle little star, How I wonder what you are. Up above the world so high, Like a diamond in the sky, Twinkle, twinkle little star, How I wonder what you are.

Cuckoo
Cuckoo, cuckoo, sweet little birdie, Cuckoo, cuckoo, singing for me. We like to hear you and to be near you. Cuckoo, cuckoo, spring time is near. Cuckoo, cuckoo sings from the tree top. Cuckoo, cuckoo sings from the tree. High in the tree top, singing so sweetly, Cuckoo, cuckoo sings from the tree. Cuckoo, cuckoo high in the tree. Whats the tale theyre telling of thee? Stealing a nests a bad thing to do, Cuckoo, cuckoo shame upon you.

Honey Bee
Honey bee, better not sting me. Sting my father, sting my mother, Sting my sister, sting my brother, Honey bee, better not sting me. Zum, Zum, Zum, I can hear you hum. Little bee when I am near you, If you sing then I can hear you. Zum, Zum, Zum, I can hear you hum. Buzz, buzz, buzz. Busy little bee. All day long you gather honey Dressed in jacket striped so funny. Buzz, buzz, buzz. Busy little bee.

French Childrens Song

French childrens song, A song they sing in Paris. French childrens song, A song they sing in France. If I were French, I would sing in the daytime; If I were French, I would sing in the night. French childrens song, A song they sing in Paris. French childrens song, A song they sing in France. French children sing a very different language, They sing bonjour instead of just hello. They live in France and they like to eat frogs legs, They live in France and they like to eat snails. French children sing a very different language, They sing bonjour instead of just hello.

Clair de Lune
Au clair de la lune Mon ami Pierrot. Prte-moi ta plume Pour crire un mot. Ma chandelle est morte Je nai plus de feu. Ouvre-moi ta porte Pour lamour de Dieu. Sweetly sings the donkey At the break of day. If you do not feed him This is what hell say: Hee haw hee haw hee haw Please give me some hay. Sweetly sings the donkey At the break of day. Silver is the moonlight on the frosty snow. At your door Im knocking, my good friend Pierrot. I would write a letter if youll lend a pen. Your re burns so brightly, pray may I come in?

London Bridge
London Bridge is falling down, Falling down, falling down. London Bridge is falling down, My fair lady.

Mary Had A Little Lamb

Mary had a little lamb, Little lamb, little lamb. Mary had a little lamb, Fleece was as white as snow.

Long Long Ago

Tell me the tales that to me were so dear, Long, long ago; long, long ago. Sing me the songs I delighted to hear Long, long ago, long ago. Now you are come, all my grief is removed. Let me forget that so long I have roved. Let me believe that you love as you loved Long, long ago, long ago.

Go Tell Aunt Rhody

Go tell Aunt Rhody, go tell Rhody, Go tell Aunt Rhody Old grey goose is dead. Once she was saving, she was saving, Once she was saving for a bed. Go tell Aunt Rhody, go tell Rhody, Go tell Aunt Rhody Old grey goose is dead. Go tell Aunt Rhody, I like ice cream cones. Go tell Aunt Rhody, I would like one now. Strawberry, chocolate, mint and tigers tail, Butter pecan, vanilla, too. Go tell Aunt Rhody, I like ice cream cones. Go tell Aunt Rhody, I would like one now. 8

Little Playmates
I like candy, I like candy, I like jelly, and I like jam. I like candy, I like candy, I like jelly and I like gum. See you later alligator After a while crocodile. I like candy, I like candy, I like jelly and I like gum. Running up the stairway, running down the stairway Through the hallway and around the kitchen. Running up the stairway, running down the stairway Running faster than we did before. Up to the treehouse where youll never nd us. Down to the cellar where youll never nd us. Running up the stairway, running down the stairway Through the hallway and around the kitchen.

Goodbye to Winter
Winter, adieu. Winter, adieu. You may no longer stay, Summer is on its way. Winter, adieu. Winter adieu. Adieu. Adieu, dieu, dieu, dieu. Sayonara. Sayonara. Now as our class lesson ends, We say good-bye to our friends. Sayonara. Sayonara. Good-bye. Good-bye to our friends.

Allegretto 2
Alligators snipping, snapping, chasing, Try to get a great big bite. Alligators snipping, snapping, chasing, Hope he never catches me tonight. Look out everybody, here he comes; Look out every body, watch your bums. Alligators snipping, snapping, chasing, Hope he never catches anyone in sight.

Chant Arabe
I am thirsty and hot; I am thirsty and hot; I am thirsty and hot; I am thirsty and hot. I sure would like some lemonade; Mother may I? Honey, yes you may. I sure would like some lemonade; Will you get some for me now? Just wait a minute. I sure like lemonade; I sure like lemonade; I sure like lemonade, when Im thirsty and hot.

Christmas Day Secrets

Oh! Look! See what Santa left us! There are lots of stockings beside the re. Come! Look! See the piles of presents Everywhere around underneath the tree. Feel this round one, I can shake the big one, Here is one thats soft and squishy! What is in them? I cant wait to nd out. Let us go and see! Come! Quick! Dont you waste a minute. Everyone is waiting around the tree. Oh! Good! I dont have to wait now I can see what Santa has brought for me!

Allegretto 1
Rumbly tummy, rumbly tummy, I am hungry mommy. Rumbly tummy, rumbly tummy, I want pizza for lunch today. Pizza smells so good when it cooks; Pizza tastes as good as it looks; Rumbly tummy, rumbly tummy, I want pizza for supper as well.

Allegro
Head, head, ears, ears, Shoulders, shoulders, nose, nose, Waist, waist, knees, knees, Ankles, ankles, toes. Stand up slowly, stand on tip-toes, Reach your arms and touch the sky Head, head, ears, ears, Shoulders, shoulders, nose, nose, Waist, waist, knees, knees. Ankles, ankles, toes. 9

REPERTOIRE LIST
Volume 1
Twinkle, Twinkle, Little Star Variations Honey Bee Lightly Row Cuckoo French Childrens Song London Bridge Mary Had a Little Lamb Go Tell Aunt Rhody Clair de Lune Long, Long Ago Little Playmates Chant Arabe Allegretto 1 Good-bye to Winter Allegretto 2 Christmas Day Secrets Allegro Musette Suzuki Folk Song Folk Song Folk Song Folk Song Folk Song Folk Song Folk Song Lully Bayly Chwatal Anonymous Czerny Folk Song Czerny Dutton Suzuki Anonymous

Volume 3
Sonatina op. 36 no. 1 Sonatina op. 55 no. 1 Theme Wild Rider Ecossaise Sonatina op. 36 no. 1 (Spiritoso) Clementi Kuhlau Beethoven Schumann Beethoven Clementi

Volume 4
Rondo Minuet 1 Minuet 3 Musette Sonata op. 49 no. 2 Gavotte Minuets 1, 2 from Partita in B at Gigue from Partita in B at Mozart Mozart Mozart Bach Beethoven Bach Bach Bach

Volume 5 Volume 2
Ecossaise A Short Story The Happy Farmer Minuet 1 Minuet 2 Minuet 3 Minuet Cradle Song Minuet Arietta Melody Sonatina in G major Musette Minuet Hummel Lichner Schumann Bach Bach Bach Bach Weber Mozart Mozart Schumann Beethoven Bach Bach Arabesque & Limpid Stream Sonatina in F major Old French Song Prelude Sonata in C Siciliano & First Loss Little Prelude Le Coucou Sonata K545 Burgmuller Beethoven Tchaikovsky Bach Haydn Schumann Bach Daquin Mozart

Volumes 6 & 7
Sonata K330 Sonata Pastorale Sonata K331 The Harmonious Blacksmith Menuet op. 14 Mozart Scarlatti Mozart Handel Paderewski

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RECOMMENDED READING
Suzuki Philosophy
Suzuki, Shinichi Suzuki, Shinichi Suzuki, Shinichi Suzuki, Shinichi Ability Development from Age Zero (MT1 S92 A2 1981) Nurtured by Love (MT1 S92 1969) Talent Education for Young Children Where Love is Deep

Suzuki Method
Grilli, Susan Hermann, Evelyn Honda, Masaaki Honda, Masaaki Ibuka, Masaru Kataoka, Haruko Kataoka, Haruko Kataoka, Haruko Kempter, Susan Koppelman, Doris Landers, Ray Mills, Elizabeth Slone, Kay Starr, Wm. & Constance Timmerman, Craig Wickes, Linda Preschool in the Suzuki Spirit (MT761 G74 1987) Shinichi Suzuki: The Man and His Philosophy Shinichi Suzuki: Man of Love Suzuki Changed My Life Kindergarten is Too Late My Thoughts on Piano Technique (MT222 K37 M9 1980) Sensibility and Education Thoughts on the Suzuki Piano School (MT6 K3 T6 1985) Between Parent and Teacher Introduction to Suzuki Piano The Talent Education School of Shinichi Suzuki: An Analysis In the Suzuki Style: A Manual for Raising Musical Consciousness in Children Theyre Rarely Too Young And Never Too Old to Twinkle To Learn with Love (MT1 S694 1983) Journey Down the Kreisler Highway The Genius of Simplicity

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RECOMMENDED READING
Practicing
Morris, Carroll Parkinson, N. Marie Richards, C. A Suzuki Parents Diary Mommy Can We Practice Now? How to Teach Your Child to Practice Without Resorting to Violence (MT1 B52 H6 1985)

Parenting
Briggs, Dorothy C. Cline, Foster & Fay, Jim Cline, Foster & Fay, Jim Colorosa, Barbara Doman, Glenn Seligman, Martin E.P. Your Childs Self Esteem (HQ 769 B677 1975) Parenting with Love and Logic Parenting Teens with Love and Logic Kids are Worth It How to Multiply Your Babys Intelligence The Optimistic Child

Performance
Gallwey, Timothy W. & Green, Barry Schneidermann, Barbara The Inner Game of Music (ML850 G73 1986) Condent Music Performance

Brain Gym
Dennison, Paul Dennison, Paul Dennison, Paul Dennison, Paul Brain Gym Switching On A Guide to Edu-Kinesthetics Personalized Whole Brain Integration Edu-K for Kids

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GOOD PIANO POSTURE

Suzuki Piano students study their instrument with adjustable seating (bench or chair) and adjustable foot stools arranged to meet the physical needs of the child. If the child is seated properly at all stages of growth, the development of good posture and body balance ensures ease in the production of beautiful tone.

For the beginning student (between three and ve years of age) the following principles apply: 1. Good seating at the piano begins with the lower back rm and upright. The head is erect while the shoulders and arms are loose and relaxed. 2. The height of the adjustable bench or chair (see Seating Equipment) is such that the forearm extends from the body to the keyboard at a level parallel to the oor. Pay particular attention so that the elbows are not lower or higher than the keyboard. 3. At the elbow, the arm bends to form a right angle (90 degrees). 4. At this early age the childs legs will not reach the oor. A simple foot stool (see Seating Equipment) is used to support the childs feet. 5. The ideal distance between the chair and the piano allows for freedom of movement. When the chair is too close, the body gets in the way of the elbows. If the chair is too far away, the torso bends too far forward, impairing the correct posture.

When the legs are sufciently long to reach the oor, the following principles apply: 1. The weight of the upper body is supported by the feet, lower back and pelvis. The torso bends towards the piano, the head is held erect while the shoulders and arms are loose and relaxed. 2. The height of the chair allows the forearm to extend from the body to the keyboard at a level parellel to the oor. 3. At the elbow, the arm bends to form an angle slightly greater than 90 degrees. 4. The feet are placed securely on the oor: the right foot placed forward toward the pedals and the left foot placed midway between the pedals and the chair. 5. The ideal distance between the chair and the piano is maintained to allow for freedom of movement. 13

SEATING EQUIPMENT
Adjustable Bench/Chair
Adjustable benches and chairs are available through most piano/keyboard stores. Do not place pillows, cushions, books, or other devices on the piano bench in order to achieve the proper seating height as this inevitably results in poor posture and poor study habits. As an alternative to placing objects on the bench, place the entire bench on a secure platform of boards or inside a suitable frame which will provide adequate seating height.

Foot Stools
Foot stools may be made at home. The following styles and dimensions are recommended:

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Box-style foot stools (Model #1) A nonadjustable box-style foot stool can be easily constructed of wood. The minimum surface area should be nine by fteen inches. The height of the foot stool should be sufcient to provide solid support for the students feet.
Box-Style Foot Stool (Model #1)

Shelf-style foot stools (Model #2) An adjustable shelf-style foot stool will accomodate students of different sizes. The moveable shelf adjustment provides a range of foot stool heights as necessary.
Shelf-Style Foot Stool (Model #2)

High quality adjustable benches and foot stools are available through: Concert Master Piano Accessories 400 Pfeffer Avenue Elbow, Saskatchewan S0H 1J0 Fax: 306-854-2335 Phone: 306-854-2333 E-mail: concert.master@sk.sympatico.ca 14

THE PIANO

Music Stand Fallboard Keybed

Pedals

Care For The Piano KEYBOARD

1. Keep the piano clean and free of dust. Wash your hands before playing. Keep food and drink away from the instrument. A clean piano makes a ne sound. 2. Every make or style of piano, regardless of its use or location should be tuned a minimum of twice a Daverage E F G Aof B year. Pianos that receive moreC than amounts use should receive more frequent, regular tuning. Voicing may be required to control the way the string vibrates to create the pianos tone quality. Regulation will make sure that the piano action works correctly and uniformly. 3. The temperature in the piano room should be kept consistent. Excessive variations in temperature should be avoided at all times. 4. Relative humidity should be kept as constant as possible. Air that is too dry or too moist is hard on pianos as well as humans. 5. If your home is well insulated, it is permissible to place the piano along an outside wall. Allow a fourto six-inch air space between the piano back and the wall. This will keep a constant temperature on both sides of the soundboard and also prevent a mufed tone. 6. Locate the piano away from ducts that feed either hot or cold air into a room. This also applies to hot water radiators and radiant-heat installations. 7. Keep the piano out of direct drafts from any source. 8. Try to locate the piano away from the direct rays of the sun. Direct sunlight will cause the piano nish to deteriorate before its time. It will also have a negative effect on tunings and various mechanical parts. 15

SUZUKI ASSOCIATION OF THE AMERICAS

The Suzuki Association of the Americas (SAA) is a coalition of teachers, parents, educators, and others who are interested in making music education available to all children. The SAA provides programs and services to members throughout North and South America. With the International Suzuki Association (ISA) and other national associations, the SAA promotes and supports the spread of Dr. Suzukis Talent Education approach throughout the world. TEACHER DEVELOPMENT PROGRAM. Opportunities for structured training in the Suzuki philosophy and approach. The SAA has approved training available from registered Teacher Trainers in violin, viola, cello, bass, piano, ute, recorder, guitar and harp. SCHOLARSHIP PROGRAM. Scholarships available to assist teachers attending SAA approved short-term training at week-long summer institutes and long-term training programs at colleges and universities. AMERICAN SUZUKI JOURNAL. Quarterly publication with stimulating ideas and information for teachers, parents and others. Includes regular columns with specic ideas for teaching particular instruments and for parenting in the Suzuki context. REGISTRY PROGRAM. Registration of SAA-approved training courses completed by active members. TEACHER REFERRAL. Service for parents and programs seeking teachers. CONFERENCES/RETREATS. Meetings featuring master classes, inspiring programs and opportunities for teachers and parents to share ideas. Special sessions for institute directors and leaders of state and regional associations. SUMMER STUDENT WORKSHOPS. Approved summer classes at institutes across the country. Opportunities for students and families to participate in Suzuki classes and enrichment courses that motivate and inspire. RESOURCE MATERIALS . Access to library of audio and video tapes, research information, etc. Suzuki Association of the Americas, Inc. P.O. Box 17310 Boulder, CO 80308 Phone (303) 444-0948 Fax (303) 444-0984 Email: suzuki@rmi.net

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PIANO GRAND STAFF

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For more information, contact: The Mount Royal College Conservatory 4825 Mount Royal Gate SW Calgary, Alberta, Canada T3E 6K6 Telephone: (403) 440-6821 Fax: (403) 440-6594 or visit our website at: www.mtroyal.ca/conservatory The Mount Royal College Conservatory 2003