Katrina Pezzimenti
My Experience as a Suzuki Voice Teacher and
What It Means to Me
by Katrina Pezzimenti B.Mus. (Melb), Assoc. Dip. A. Opera (VCA),
ESA and PPSA Suzuki Voice Teacher Trainer
My introduction to Suzuki Voice
As I completed Level Five Advanced accrediation in Suzuki Voice, I ponder the
events which led to my becoming a Suzuki Voice teacher and head of Suzuki Voice
in Australia. I was an enthusiastic singing teacher and a member of the Opera
Australia Melbourne Chorus when I met Dr. Päivi Kukkamäki,
the founder of Suzuki Voice. Since that time I have been to Finland three
times for European Suzuki accreditation, taught students from before birth
to early teens and organized Suzuki Voice teacher training in Australia.
Meeting Dr. Päivi Kukkamäki
I first decided to go to the Pan Pacific Suzuki Conference in Brisbane in
January, 1997 at the suggestion of my Suzuki colleague, Carolyn Coxhead and
the insistence of my husband that I should see if this method of teaching
suited me. I had long held an interest in Suzuki philosophy and while
studying voice at university in 1986, I completed part of the Suzuki Piano
teaching course. My skills were far greater in singing so the piano teaching
was set aside. By 1997, I was teaching singing and performing regularly.
I was also a Suzuki parent with my son Lee (aged nearly five) learning piano.
At the conference, I observed Päivi's enrichment singing classes and loved
what I saw. She was teaching children much younger than I had ever taught.
She sang naturally and without effort at class after class. I sang for her and
she asked me to come to Finland. Since then it has been a most interesting
experience with many highlights.
My Suzuki Philosophy
Dr Suzuki's idea of creating the right environment to enhance learning has
always struck me as ingenious. It develops the whole being rather than simply
studying an instrument and begins an appreciation of classical music which lasts
a lifetime. The Suzuki 'mother tongue method' of learning music by listening,
imitation and repetition is perfectly suited to the singer who has always learnt
by ear. With Suzuki Voice I found a way to encourage good vocal habits earlier
and a natural approach to vocal expression creating freer voices with less
tension. Most singing teachers are used to the seventeen-year-old students
beginning formal training with preconceived ideas of singing and a body often
filled with tension due to their own efforts to sing. Perhaps this doesn't
happen as much in instrumental teaching because it is necessary to have the
instrument before learning. The voice is with us already and allowing it to be
relaxed with free natural tone is an opportunity many teachers never encounter.
Starting students younger allows an introduction to classical singing to both
the child and the family. Most children encounter popular music constantly but
the classical voice is seen as 'funny'. Some students never hear any classical
music until a teacher suggests they have a good voice and perhaps they should
do some exams! It can be an uphill battle starting late as many of the subtle
understandings of the classical voice can be missed. The classical singing
student is often well behind students of other instruments, lacking formal
music skills: reading, theory knowledge, music styles. Lessons are devoted to
creating the right sound and this doesn't allow time to learn the basic skills
of music. Also the need for technique "catch-up" doesn't encourage performance
practice as most students feel they are not yet good enough to perform.
Positive performance experience at an early age is invaluable in gaining
confidence to sing in front of people and learn the skills of entertaining.
Teaching the Suzuki Way
After my first meeting with Päivi, I went home to teach my daughter
(then 2) and a group of her friends so I could learn how to teach Suzuki Voice
through experience. I sent many videos of my teaching to Päivi for feedback
and guidance and she was eager for me to go to Finland for more individual
training and examinations. I was one of the first teachers to be examined so I
had added requirements. I had to make sure the Book 2 and 3 texts were
translated into singable English and I had to record my own Suzuki Book 1,
2 and 3 tapes for students to listen to. My teaching style changed and all my
students benefited - even my traditional students. I learnt to describe what I
wanted less and model singing more. I began to expect more and therefore was
given more from my students. The love of singing was contagious and the rewards
were obvious. I created more performance opportunities for all my students and
requested single item concerts from one student to the next. The harmony and
respect between students grew and their motivation was enhanced. I became more
precise with sections I asked to be practised and encouraged parents to take
more interest in the home routine.
My Travels
In 1999, following a Suzuki Pan Pacific conference in Adelaide, I went to
Finland for a month leaving my two children (aged only 3 and 7) at home with
their Dad while I pursued Suzuki accreditation. It was a very busy time and I
could not have done it had I not gone alone. Despite thinking I would be
observing, I taught all of Päivi's students from about the fourth day and
some of these students I taught in my examinations. Päivi gave me feedback
and I adjusted my teaching accordingly. This was invaluable because I had only
seen Päivi teach a few Suzuki students - mainly enrichment classes. I took
voice lessons with Mette Heikkinen and learnt many new skills to assist me to be
a good example to my students. One of the most beneficial aspects of teaching
the Finnish students (particularly in Book 1 and 2) was the need to limit verbal
explanation in lessons. This was necessary due to the language barrier
(the parents understood English but translating back and forth was time
consuming) and I was forced to model everything far more than I had previously.
One amusing situation occurred when a child even copied me scratching my head in
thought...I didn't do that again!
Each level examination consisted of teaching one group lesson and one individual
lesson plus a recital in front of a panel of three European Suzuki teacher
trainers. All recitals have been accompanied by piano except Level 3 which uses
a five-piece instrumental ensemble. At that time I was the first person in the
world to do the Level 3 teaching exam.
My second trip involved less emotional upheaval although much more organization
as I took my new baby, Lucinda, and my mum with me. I spent only two weeks that
time and taught and trained for the Level 4 teaching examination and recital.
The performance requirement for teachers is an important part of Suzuki training
because of the need to be a model for the student. In contrast to traditional
teaching circles, the teacher's performance and teaching skills are continually
maintained and nurtured along with the students.
The Joy of Singing
What I have always enjoyed about the Suzuki philosophy is the nurturing of the
family unit through teaching music. A love of singing is developed and the whole
family can join in even if only one child is learning. Many students who started
with me in those first classes are still learning and some are my advanced
students in Level 4. Together we have had many singing highlights and strong
friendships have been formed. One highlight was the 2001 Autumn Suzuki School
in Melbourne (just before my second trip) when 15 of my 22 students including
two babies (aged five months) attended classes with Päivi.
This was the first time Suzuki students had been taught at a major conference
in Australia. It gave the teachers-in-training valuable observation time.
Teacher training and exams were also held prior to the conference and three new
teachers were accredited to Level One - two from Australia and one from New
Zealand.
Another exciting event for my students was our concert in December 2002 at which
all students participated in a singing play "The Red Flowers". Costumes and
direction in this fun event showed them what singing performance is all about.
All the families enjoyed the production and some of the children may never have
been involved in this type of activity if they had not been introduced to Suzuki
Voice at such a young age.
My students have performed many times now - at individual Book recitals including
Book 3 chamber orchestra concerts, graduations of Levels, Suzuki graduation concerts,
many Suzuki Music Concerts and Carols by Candlelight. In my studio we also have
singing days when we sing songs devoted to a theme such as 'animals at the farm',
'a day at the park', 'Springtime' and 'Italian Day'. Of the various concerts the
children still recall their favourite at Dallas Brookes Hall in 1998 when they were
all so little and sang "Twinkle" in Japanese and English in honour of Dr Suzuki's
birthday. Unlike traditional students, they have had many performance experiences.
They have confidence in themselves and understand their own voices which will be useful
for the rest of their lives. Increased confidence in public speaking has been a
noticeable result for my Suzuki Voice students in addition to musical achievement.
2003 I attended the Western Australian Suzuki Spring Festival organized by the
WA Assistant teacher trainer, Laura Bernay. Dr. Päivi Kukkamäki had
been invited to teach and train teachers including four newly accepted
teachers-in-training. It was an exciting event and the first time all five
levels of Voice were being taught at an Australian Suzuki workshop. An advanced
stream of masterclasses was run for the Level 4 and 5 students from Finland and
WA. I was involved with teacher training and teaching. Seventeen-year-old
Finnish singer, Markus Karvinen performed with orchestra in the Gala Concert
and, following his Perth experience, Markus came to Melbourne to have lessons
with me. During his five weeks' stay in Melbourne he performed at the Robert
Blackwood Concert Hall at Monash University in our Graduation Concert, sang some
art songs and Finnish pieces with me for a local church musical evening and per
formed with my student, Thamizan Tucker, in her second Level 4 recital. It was
a great experience for my students to hear Markus and my own children accepted
him as one of the family.
A student/teacher workshop in Melbourne in association with the Autumn School
was held in 2005. This involved lessons for children from around Australia as
well as observation opportunities for teachers-in-training. It also provided
teacher training and teaching examinations.
Teacher Training and the future of Suzuki Voice
I am ESA and PPSA Suzuki Voice Teacher Trainer and head the Teacher Training
here in Australia. I am very grateful to those who helped me move Suzuki Voice
forward here and to all those teachers and families who support and encourage me
in my personal pursuits. I am happy to say Australian teachers no longer have to
travel to Finland to gain accreditation. Our course structure is kept the same
as in Europe and teachers throughout Australia use video and assessment tasks to
complete training. Australia has a large number of Suzuki Voice teachers and
teachers-in-training. Our participation together with ESA (European Suzuki
Association) and SAA (Suzuki Association of the Americas) was an important
factor in Voice being officially accepted by the International Suzuki Association
as a Suzuki instrument October 2003.
I anticipate many new and exciting events for my students and their families and
look forward to the challenge of passing on Dr Suzuki's philosophy to voice
teachers and singers around the world.
* * * * * * * * * * * * * * * * * * * * * * *
Katrina Pezzimenti completed ESA Suzuki Voice Teacher’s Level 5 teaching
accreditation and performed her final recital at Martinus Concert Hall,
Vantaa Finland on May 15th, 2004. She also recorded Volume 1 Voice in English
while she was in Finland.
Katrina Pezzimenti has been appointed as an ESA Suzuki Voice Teacher Trainer
October 2006.
