Produced and moderated by the Suzuki Music Academy, the SUZUKI PIANO TEACHERS FORUM is the first international online forum designed expressly for the Suzuki Piano teaching professional. Essential aspects of the specialized field of Suzuki Piano method teaching are the subjects for the Forum.
 

"SUZUKI PIANO TEACHERS FORUM" No. 1 -  When to Introduce Left hand

QUESTION:

There are those who say that the development of the right hand should be established before beginning work with the left hand. When should the left hand be introduced in Suzuki piano study? After all of the Twinkle Variations can be played? After the 1st part of Book I can be played? All of Book I?

RESPONSE:

The notion that the right hand should be developed first and separately at the piano is the prevailing thinking among Suzuki Piano teachers. It is generally recognized that beginning study using the "two-hands-at-once" approach to piano study is more likely to cause confusion, tension, poor technical development, and other unintended results. Some of the best of traditional teachers concur and advocate practice of hands separately, well into the most advanced study.

Here are good reasons for developing the right hand, before beginning work with the left hand:

• The right hand is predominant in producing the melodies of pieces. In that way, the right hand can be said to "drive" the left hand.

• The designation of one hand to be dominant and the exclusive focus of study enables highly efficient study. Focusing on one hand permits more thorough practice and leads to better development of pianistic skills.

• The well-trained right hand will "inform" the left hand. More precisely, the child has been through the process that has led to ability of the right hand to play the melodies of Twinkle Variations and all, or a portion, of Book I. Accordingly, the left hand will play, one or two octaves lower but otherwise identical parts to Twinkle Variations and the first pieces in Book I. Students will master left hand only parts with "ready go" commands, and then as part of practice, while reproducing the sound of the recording. If both hands are then mastered with "ready go" commands, students are ready to play with the recordings.

This issue may not seem significant to those not involved with training students to play classical piano music, but successful study and Suzuki Method depend on an understanding of the importance of mastery of the early steps in the process.
 

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