Suzuki Voice Teacher Training

The Suzuki Voice SAA Teacher Training Program

Suzuki Voice SAA Teacher Training

Basic Teacher Technical Requirements

All SAA Teacher Development Programs are designed as in-depth pedagogical studies for professional musicians. To qualify as a Participant in the courses, you must submit and pass an audition.

The SAA Voice audition and eligibility requirements function within the SAA region in lieu of the ‘examination recital’ system in other regions. Teachers transferring from other regions with an ‘examination system’ training program may be required to re-audition for SAA teacher training. Each case is individually addressed and evaluated. Inquiries can be made to any SAA Voice Teacher Trainer.

There is no ‘Auditor’ status permitted for any SAA Voice Units; only full Participant status is permitted. Participant status means that eligibility and audition requirements must be met before study can commence.

Basic Course Outline

SAA Teacher Development Programs are structured in ‘Units’, each Unit covering a prescribed syllabus of study common to all teacher training offered within the SAA region. The syllabus for each SAA Voice ‘Unit’ is designed to closely inter-relate to the equivalent level of study in other regions in the world providing a general uniformity of training content among all Suzuki Voice teachers in the world.

SAA Voice ‘Units’ generally correlate to the pedagogical progression of repertoire as defined by the Suzuki Voice ‘core repertoire’ trajectory (see Core Repertoire Overview below). Units 1, 2 and 3 explicitly cover teaching techniques and repertoire directly correlated to the first three volumes of study. Units 4 and above cover teaching techniques applicable to each successive pedagogical step of study as well as careful in-depth study of pertinent selections from the international common repertoire pool.

Voice Units 1, 2 and 3 must be taken in sequence and must be completed before continuing forward in training.

Unit Syllabus Content Overview

All SAA Teacher Development Programs prescribe and include: an observation element and a lecture/discussion element. Beyond Unit 1 an applied teaching element is also included.

Topics generally included in SAA Voice Unit training include: Suzuki Philosophy, applied Suzuki Method, principle Teaching Points, Child Development, and pertinent Vocal Pedagogy.

Suzuki Voice Teacher Training availability in the SAA

To inquire about teacher training availability, please contact any SAA Voice Teacher Trainer.
For additional questions contact any SAA Voice Teacher Trainer for current news regarding Teacher Training opportunities within the SAA region or to invite a Suzuki Voice TT to offer training in your location.
The SAA officially recognizes training registered through other International Suzuki Association regions. Please contact any SAA Voice Teacher Trainer for details.

Suzuki Voice Teacher Trainers in the SAA

Mary Hofer, TT SAA (Stevens-Point, WI, USA)
Amelia Seyssel, TT SAA (Poughkeepsie, NY, USA); ESA Diploma & Member

Suzuki Voice Repertoire and Volumes

Suzuki Voice has been specially designed to teach vocal technique in a progressive manner beginning at a young age. Suzuki Voice originated in Finland in 1986 from an original design by the program’s Founder, Dr. Päivi Kukkämaki. Trained teachers now exist in ESA, PPSA, SAA, and TERI.

Teacher training for each region is organized according to the format and standards of that particular region. The Suzuki Voice program is unified across all regions through a common pool of repertoire. As was Dr. Suzuki’s dream, students from around the world are able to perform together and create an international community.

Three volumes of Suzuki Voice books are completed and awaiting publication. Repertoire beyond Volume 3 is under annual development and review.

Note: Until publications are available for purchase Suzuki Voice Volume materials are available only to accepted Suzuki Voice teachers-in-training and accredited Suzuki Voice Teachers and their students.

Suzuki Method repertoire is designed to function as ‘core repertoire’, with ‘additional repertoire’ able to be added to the learning process according to each student’s circumstances.

‘Core repertoire’ is that repertoire which is considered essential for the student to learn in order to build and grow the vocal instrument, build vocal technique, and develop musicianship.

‘Additional repertoire’ may be assigned throughout the learning process appropriate to the individual child’s growing technical ability and motivational needs.

Core Repertoire Overview

Suzuki Voice Volume One

(This Volume has been published and is available for purchase.)

The Volume is divided into two parts: 1) Songs for Children, and 2) Songs for Parents.
“Songs for Children” means: technical development repertoire.
“Songs for Parents” means: enrichment, technical reinforcement, and group activity repertoire.
Pedagogical trajectory includes a focus on preliminary development of basic vocal technique, beginning development of musicianship fundamentals, beginning textual challenges, and beginning development of memorization skills.
Maximum vocal range of any song in the ‘technical development repertoire’ is a 9th.
Text is expected to be sung in the native language of the country in which the child is being taught. (English, Spanish & Finnish languages are included in the Volume; other languages are under review).

Suzuki Voice Volume Two

(This Volume has been fully approved by the ISA Voice Committee as well as the ISA Board and is undergoing active review and processing by the Committee prior to formal publication.)

The Volume is divided into two parts: 1) Songs for Children, and 2) Songs for Parents.
“Songs for Children” means: technical development repertoire.
“Songs for Parents” means: enrichment, technical reinforcement, and group activity repertoire.
Pedagogical trajectory includes a focus on continuing development of basic vocal technique, continuing development of musicianship fundamentals, increased textual challenges, and continuing development of memorization skills.
Maximum vocal range of any song in the ‘technical development repertoire’ is an 11th.
Part-singing is introduced.
Text is expected to be sung primarily in the native language of the country in which the child is being taught. However German and French are also formally introduced in this volume. Teachers are encouraged to expand also to other languages available in Volume Two, as well as to revisit Volume One songs in other languages. (English, Spanish, & Finnish are included for all songs in Volume Two, with other languages under review; German & French are included for certain songs for study by all students).

Suzuki Voice Volume Three