Updated 29 September 2025

The Suzuki approach was developed by Dr Shinichi Suzuki (1898-1998), a Japanese violin teacher and philosopher. Originally it was developed for learning the violin and later applied to learning the piano, viola, cello, double bass, flute, harp, singing, and classical guitar.

Key points about the Suzuki music learning philosophy

Every child (and adult) can learn piano

Some people describe themselves as “musical” or “not musical”. However, according to Shinichi Suzuki, being “musical”, or the ability to play music, is not inborn but developed. This means that every child (and adult), except those with severe disabilities, can develop the ability to play the piano after enough listening and enough practice. Each person will develop piano skills at their own pace, so it is best not to compare one person’s progress with another’s.

The Suzuki approach is based on the mother-tongue method

When a young child learns their mother language, the child learns to listen and understand first, then learns to speak, and learns to read and write later. The Suzuki approach involves students listening to the music first to create a model in their memory. Then they learn to coordinate both hands on the piano. Only when the basic piano playing skills are established do they learn to read music.

Just like children learn to speak their mother tongue by listening to real conversation, Suzuki students learn real piano pieces from the outset that are carefully selected to build skills. Some pieces are challenging and some pieces help the student to practise skills already learnt. In contrast, the traditional approach to learning the piano involves students learning to read music from the outset, starting with simple exercises and then moving on to simplified pieces.

Listening is very important

The more students listen to the Suzuki pieces the quicker they will learn to play these pieces.  It’s recommended that each student listens to a recording of their current Suzuki book/volume every day, six days per week. The recording of Suzuki Volume 1 takes about 18 minutes.

It’s fine to listen to the recording in the background, for example, in the car, during meals, or while doing other things at home.

It is also helpful, and more interesting, to listen ahead to the recording of the next books. It’s also important for students to listen regularly to recordings of other classical music by respected performers.

Repetition

The Suzuki approach allows students to develop piano playing ability through the mastery of small steps and by frequently practising the skills they have learnt. During the lessons the teacher gives the student specific things to practise during the week until they can do these naturally and fluently. It’s important that the student practises piano every day, ideally around the same time, so practice time becomes a normal part of their daily routine.

Each lesson will include the student playing pieces they already know, to help the student to play with better skill and with a more beautiful sound. It is recommended that the student practises all the pieces they know during the week, while paying attention to the specific goals the teacher gave during the lesson.

The Suzuki Triangle

The Suzuki approach relies on a partnership between the teacher, the student, and the parent as the home teacher, based on trust as well as clear and free communication.

The parent’s role is to attend all the student’s lessons, as well as group classes and other Suzuki events with their child. The parent is strongly encouraged to take notes and supervise the student’s daily practice, checking that the student follows the teacher’s instructions given during the lessons. The parent does not need to be a trained musician to be an effective home teacher. However, the parent is in a better position to help their child practise if they can play the first few pieces before their child learns them.

The parent needs to create a supportive environment in which the student can grow as a musician and as a person. The Suzuki approach emphasises the development of a beautiful heart and sensitivity towards others. A supportive environment means encouraging the student, refraining from criticism and scolding, and praising the student for specific efforts rather than giving general praise to the student as a person.

Environment and Community

The Suzuki approach includes immersing a student into a community of musicians in which they can be inspired by those who are older or more advanced.

Suzuki students learn the same core repertoire of pieces, so they can play together at Suzuki events. It is also recommended that parents take their children to live music performances.

Children learn by imitating others and are moulded by the environment they are exposed to. Before starting lessons it is recommended that a student observes other students’ lessons first, sometimes for a few weeks.

How are Suzuki piano lessons different from traditional piano lessons?

• Immediate success: Suzuki students experience success from the outset and develop confidence as they master each step. This approach is accessible to students of all ages.

• Specialist training: Suzuki teachers receive specialist training and ongoing professional development to teach the Suzuki pieces and the required skills step-by-step.

• Immediate feedback: Usually Suzuki lessons involve two instruments. The teacher uses the second instrument to demonstrate skills for the student to copy on their instrument. The teacher also spends much of the lesson playing along with the student to give immediate feedback on each note. By listening and following the teacher, the student also learns to play fluently at a consistent speed (tempo) and with nuanced musical expression. The traditional approach usually involves only one piano with the teacher giving mostly verbal feedback.

• Memorisation: Students learn to play all pieces from memory from the outset.

• Review: A part of each lesson is spent on pieces the student has learnt before to help the student retain these pieces and to refine skills. During each week students are expected to practise all the pieces they have learnt to date.

• Books: There are seven Suzuki piano books / volumes, increasing in difficulty. After learning all of Book 1 the student has the opportunity to perform these pieces to an audience. After learning each subsequent book a student can submit a recording of a specified piece for (optional) graduation. After completing all the Suzuki books, students have the option of sitting a Diploma-level piano exam, such as ATCL, AMusA or ABRSM.

• Playing before reading: Usually piano students learn to read music after they have learnt to play all the Suzuki Book 1 pieces. Delaying reading enables students to learn to play by ear and means that it is easier to learn to play with both hands and easier to learn to read. The traditional approach involves reading from the outset, while also learning to coordinate the hands and fingers, which most students find challenging. The Suzuki approach does not include a specific method for teaching reading. My students read music with ease and confidence because I use a unique reading method.

• Cooperation instead of competition: The Suzuki approach fosters a culture of cooperation and community. Students are encouraged to observe each other’s lessons. Sometimes  lessons overlap to allow students to play pieces together. Students are also expected to attend group lessons during which they learn listening and writing skills and develop their ability to play together and in front of an audience. Piano group lessons are usually scheduled on Sunday afternoons.

• Community: Suzuki piano students are part of an international community, all learning the same pieces. Students whose families are members of the NZSI can attend workshops, masterclasses, camps and other Suzuki events around New Zealand or overseas.

What are the costs involved?

• Lessons: Usually young students start with a 20-minute lesson per week, which is later extended to 30-minutes or longer. Students are also expected to attend group lessons, usually 8 per year. Usually fees need to be paid in advance at the start of each term. The cost depends on the number and length of lessons and the location. Before starting lessons a student needs to observe other students’ lessons first at no charge.

• Piano: Each student needs daily access to an acoustic piano in good order (with all its keys working). Pianos are available in the Waikato from Kevin’s Pianos or Shearer’s Music Works or New Zealand Rockshop. It’s recommended to visit their premises, because most of their pianos are not listed on their websites. Do ask about their hire-to-buy options and payment plans. If buying a second-hand piano from a private individual, please check that all the keys work and that the piano is not too old to be tuned. Before buying it, try it first to check that you like its sound.

• Tuning: It’s important that the piano is kept in tune. An acoustic piano usually needs to be tuned every two years or so, costing about $160–200 each time. A recommended tuner is available via Kevin’s Pianos.

• Piano stool: The student needs access to a stable piano stool on four wooden legs at a comfortable height for them. Adjustable piano stools are best. Here’s an example from Dick Smith. Adjustable stools may also be available from Shearer’s Music Works or New Zealand Rockshop.

• Footstool: The student needs to have their feet flat on the floor or on a stable surface, with their knees at about 90 degrees. An adjustable footstool is best and available from a local carpenter for about $100.

• Membership: Each family is encouraged to join the New Zealand Suzuki Institute (NZSI). There is an annual fee per family, plus additional fees to attend some Suzuki events.