Practicing
Requirements: A minimum of 30 minutes practice/6 days per week is expected (7 days per week is where real progress takes place). Please understand that 30 minutes is where we begin, and that as the parent, you will need to monitor this in the early years. With advancement in literature and maturity, each student will be asked to increase practice time. Please refer to the graph below for more information.
A 100’s Chart may be assigned to a student which will promote the practice of review and repetition of one or more pieces in the Suzuki Literature.
Listening to the book volume recordings is essential in the Suzuki approach and the student’s ear training development. It is expected to listen to the Suzuki recordings (review, current and preview pieces and/or volumes) every day. This will assist the learning process faster as the student continues to work through the book volumes and beyond. Students will have a listening jar in which beads are tallied based on the days the student listens to the recordings. The top 3 listeners receive an end of semester reward. Recordings are available with book volume purchases, iTunes or other related media sources.
1. Establishing a Daily Practice Habit
Consistency builds mastery. Practicing daily—even in short bursts—is more effective than long, inconsistent sessions.
Recommended Minimum Practice Time (based on lesson length):
30-minute lesson: 20–30 minutes a day
45-minute lesson: 30–45 minutes a day
60-minute lesson: 45–60+ minutes a day
Tips for consistency:
Practice at the same time each day (before dinner, after school, etc.)
Set up a dedicated practice space with a music stand, pencil, mirror, and device for recordings/listening
Use a calendar, checklist, or practice journal to track progress
2. Session Flow: A Structured Practice Outline
A well-organized session helps build efficiency and focus.
Suggested Structure:
Tune First – Instruments must be tuned before the session. Parents should assist with tuning until the student is trained to do so.
Warm-Up (5–10 min) – Bowing exercises, finger taps, open strings, scales/arpeggios, and posture check.
Review Material (10–15 min) – Solidify earlier repertoire. Each review piece must sound concert-ready.
Current Piece Focus (15–20 min) – Work on new piece in small sections. Prioritize rhythm, intonation, and coordination.
Fun Wrap-Up (5–10 min) – End with something the student enjoys playing to build confidence.
3. Practice Tools and Techniques
a. Looping Sections
Isolate small chunks (1–2 measures)
Play 5x slowly, then 5x faster
Add dynamics, bowings, articulation gradually
b. Shadow Bowing & Air Practice
Practice bow motion without the instrument to build fluidity
Clap or tap rhythms for tricky passages
c. Silent Practice
Practice finger patterns without sound to develop left-hand accuracy
Hum or sing the piece for internalization
d. Mirror & Video Work
Use a mirror to check bow direction, posture, hand shape
Video practice sessions once per week to self-assess and reflect
e. Practice Games (especially for younger students):
“Penny Game”: Move a penny for each good repetition until all are moved
“Dice Roll”: Roll to determine how many repetitions of a passage
“Musical Challenges”: Set mini-goals each day (e.g., smoothest bow change, best staccato)
4. Listening Requirements
Listening is required for all Suzuki and Vance method students. Passive and active listening should be part of daily routine.
Listening strategies:
Listen during car rides, meals, or before bed
Sing along with recordings
Mimic tone and rhythm
Listen to multiple versions (same piece by different artists)
5. Mental and Physical Awareness
Posture and Setup:
Students should maintain proper instrument and bow hold
Shoulders must be relaxed, spine aligned, hands curved but soft
Use video/teacher notes to reset at the beginning of each session
Mental Focus:
Practice in a distraction-free space (no phones or other screens)
Avoid multitasking; set a timer for focus blocks
6. Parental Role in Practice
For younger or less independent students, parents are essential practice partners.
Parent responsibilities include:
Attending lessons and taking notes
Guiding home practice sessions (until the student becomes independent)
Helping maintain listening routine
Reinforcing studio expectations and goal-setting
When students practice alone.
They must take notes
They must be ready to discuss weekly progress and challenges
Accountability for growth shifts to the student
7. Creative and Musical Practice
Not all practice should be mechanical. Expressive and creative time fuels musicality.
Try the following once a week:
Improvise a piece using review notes
Play the piece using different dynamics
Write a story or draw a picture inspired by the music
Play for a stuffed animal audience or a family member
8. Practice Motivation and Mindset
The goal isn’t to be perfect, but to improve steadily and joyfully.
Strategies to stay motivated:
Celebrate small wins
Keep recordings to compare progress
Set weekly goals
Praise effort over results
9. What Does “Ready for Lesson” Mean?
A student is considered lesson-ready when:
The instrument is tuned
All assigned sections have been practiced
Listening has been completed
All required memory work is secure
The student can verbalize what they practiced and what was challenging