Introduction

In this paper, three methods or approaches to violin pedagogy will be compared and

assessed for their effectiveness in enabling students to understand, acquire and

develop the fundamental physical, aural and notation skills requisite for violin

playing. The three methods that will be compared are the Doflein Method, The Colour

String Method and The Suzuki Method. The comparison will look at the progression

of skills from beginner stage, set out in the method. This includes both left hand and

the right hand, the introduction and explanation of skills and techniques as well as the

layout and format of the printed material.

The development of the method book has evolved significantly over time. Method

books are products of their time and reflect the creator’s philosophical knowledge of

pedagogical practice as well as the social and technological context in which they

were devised and written. The method book is a tool for teachers that can be used in a

variety of ways and contexts. Currently it is common to see teachers using a variety

of activities from multiple methods. While this may be a product of the teacher’s own

preferred method and philosophy, or a desire to select material to adapt to a student’s

individual needs, it might also be argued that no one method perfectly meets the

pedagogical needs of either teacher or student.

The method books have also changed in appearance to match changes in technology

and publishing costs as well as the expectations of students. There is a marked

difference in appearance between older and newer method books, with features such

as illustrations and the use of CD’s, the use of colour making modern tutor books

more visually appealing.

Doflein Method

The Doflein Method, the Violinists Progress, Volume 1 The beginning

Created and developed by German pedagogues Erich and Elma Doflein, this method

spans five books and is “ a course of violin instruction combined with music theory

and practice in duet playing”. The preface of the book provides an insight into the

philosophical reasoning behind the pedagogical processes of the method. This

includes developing a good tone, aural skills, and correct intonation across the

instrument’s range as well as notation skills.

Written with the intention of development through duet playing, between the student

and teacher, meaning that the Doflein method’s design is most apt to individual

teaching. This duet approach is a relational form of tuition, establishing a master-pupil

relationship between teacher and student. This allows the teacher to model correct

posture and technique, guide intonation and observe and correct the student’s

performance. The student hears and imitates the correct pitch and the quality of the

teacher’s tone. They also gain confidence from the ensemble experience.

The establishment of correct technique is evidently a foundation of the Doflein

Method. The progression of the method is fast paced. By exercise number eight the

student is playing, A major with intervals. This would suggest that each exercise

requires repeated practice to be mastered.

The format of the Doflein method has extensive technical explanations for the

exercises and the correct way to execute them. The exercises are printed close

together and its visual representation lacks appeal. There is no colour in the printing

and the use of foreign text next to each exercise in the layout does not entice the child.

Working in chapters, the method begins “Music with Five Notes” and progresses

adding a note each chapter. The elements of rhythm and pitch are not introduced as a

separate skill that needs to be developed but integrated into the exercises. It is clear

that the emphasis is on the establishment of a solid foundation in technique. The first

few exercises in the method focus heavily on the use of the bow. Exercise 1, as shown

below, is establishing the use of half bow and whole bow.

The Doflein method places a great emphasis on finger position. The pitches are

introduced through scales rather then intervals. The reasoning behind this is that the

first five scale notes on the string in 1st position follow the same finger pattern. One

example is given to introduce the first five notes on the D string and the next

introduces it on the A string as shown below.

While many method books, such as the Suzuki Method, use open strings for an

extensive period to introduce and consolidate bowing, and then gradually introducing

new notes, the Doflein method’s first page introduces the five note scale on the D

string and then the A.

Colour Strings

Geza Szilvay studied violin pedagogy at the Budapest Music Academy. The

principles of the colour string method are intrinsically connected with Zoltan

Kodaly’s teaching and philosophy. Created originally for private students the method

has developed over time and now suits both individual and group teaching. The

philosophy 1“aims to create an environment in which singing, playing games and

instruments live side by side”. While the Doflein method begins by establishing

technique on the instrument and an understanding of notation, the 2Colour Strings

1 http://kodaly.hu/zoltan_kodaly/kodaly_concept

2 https://www.youtube.com/watch?v=K-rMoyRC_Jo

method begins by laying a foundation in musical skills such as singing, to develop a

good ear. The approach is one of inductive learning, where specific elements are

introduced first and then combined in a larger exercise that allows the student to see

how the elements combine to create an effective musical performance.

While the Doflein method focuses heavily on technique, the Colour Strings begins

away from the violin. It is clear the Colour Strings method recognises that there are

many elements and essential skills that are required to play an instrument, that don’t

actually require the holding or playing of an instrument to be established. In this

method, the children are doing numerous activities, which maintains their interest and

focus, while teaching these essential skills. Clapping games for rhythm and movement

games to music all create a well-rounded, musical child. However, critics may argue

that time away from the instrument means less establishment of proper technique.

Despite this, Colour Strings as a method and philosophy is a positive way to develop

a young child’s musical interest.

Szilvay says that the method’s significant use of colour, to create a visual association

with notation, rather than traditional notation, accelerates the process of learning

pieces by offering an alternative to the form of traditional notation used in a method

such as Doflein. 3“Sight connects the learning with the brain … knowledge that is

achieved through more than one sense is deeper and more long lasting”.

The Colour Strings Method book contains very little by way of instruction or

explanation. This method makes little sense unless the correct training has been

3 https://www.youtube.com/watch?v=qb-ufWDqB3c&spfreload=10

undertaken. The Colour Strings method is a philosophical approach to pedagogy. The

use of the activities in this method are embedded in the education system in countries

such as Finland, Hungary and England.

Compared with the Doflein method, the Colour String book entices children with its

pictures and visual association with notation, which enables children to more easily

establish a connection at the beginning between the fingers and the colours.

Suzuki Method

While many western teachers use the Suzuki method books, the Suzuki method is a

philosophical understanding and implementation of Sinchi Suzuki’s philosophy. At

the heart of the Suzuki method is the establishment of the triangle Teacher, Student

and Parent. This reflects the approach of many Asian cultures, however in modern

Western societies, it is difficult for parents to commit to the time required to attend

lessons and supervise practice, thus one of the fundamental aspects of the technique is

lost.

Suzuki Method Book 1 begins with an emphasis on rhythm and bow movement,

which begins with exercises on the E string and progresses to all strings. From there

the exercises move to string crossing and then finger placement. This method is based

on developing the ear but observing the teacher is also an important aspect of tuition.

The Suzuki method focuses on “tone production” or “tonalisation”. The use of open

strings at the beginning allows for the student to create and develop their tone. The

Suzuki method has been criticized for not including music reading into the method.

Suzuki students learn the fingers, before the notation and much of it is established by

ear.

The emphasis is on establishing technique through the repertoire. By allowing the

child to play complete musical examples, the student feels positive about their

progress while technique is still being established. Unlike the Doflein, the Suzuki

method progresses at a good pace for a child. The concepts are not overwhelming and

are integrated into the pieces in such a way as to allow repetition. It is expected that

the child will listen to the CD given with recordings of the pieces to establish vital ear

training and recognition outside the lessons.

The repertoire in the Suzuki method book is comprised of arrangements of pieces as

well as pieces written specifically for the books. The layout of the books is simplistic

but as the emphasis is on aural learning rather than notation, this is not a significant

factor.

Each of the three methods adopts a different approach to violin pedagogy. All three

emphasise the importance of developing aural ability but two combine this with music

notation skills from the beginning, while Suzuki introduces this much later. Of the

three, the Colour Strings method is the most visually attractive and most heavily

caters to all three VAK principles. While each method has its benefits and

characteristics, the Suzuki and Colour strings method as a philosophical approach to

pedagogy has a greater focus on the methodology. While a method book can be used

to guide a teacher and student, a methodology gives a greater emphasis on the way it

is taught and implemented. With many method books such as the Doflein the

pedagogical practice and implementation of the exercises are heavily influenced on

the teacher’s choices and creative ability. In contrast the colour strings method book,

ABC for strings, makes little to no sense without the proper understanding of the

pedagogical practice involved. In this way the Colour Strings method is limiting as

without the training required it cannot be used. The Suzuki method is unique in this

way, as many teachers could purchase the books and teach the content in their own

specific way however this would not demonstrate an understanding of the pedagogical

practice of Suzuki. There is a strong difference between using the Suzuki books and

learning through the Suzuki methodology and pedagogical practice. In this way the

implementation of the technical elements such as, when the bow is introduced can

often be the choice of the teacher rather then the choice of the method book. While

some methods have a specific way of introducing the bow, such as the Doflein

method with the use of the left hand, others are less specific about the implementation

of the bow and the progression at which this should happen. It relies heavily on the

teachers discretion and analysis of the specific student. Some method books begin

with pizzicato and then progress to the use of the bow while others begin with the use

of the bow such as the Doflein and Suzuki method. The methods technical

understanding of both the left and right hand and it’s implementation differ greatly

and the development of both simultaneously like in the Suzuki and Doflein while

others separate the two significantly. Whether this is a reflection on a pedagogical

understanding or the understanding of children, it is important to recognize that

students would benefit from developing both at the same time, however this could

hinder the child’s ability to develop a solid foundation in both techniques. In this way

the incorporation of musical development with the instrument and away from the

instrument i.e in the Colour String methodology allows the child to remain interested.

The activities are significantly helped by their implementation in a group situation and

thus the positive benefits of group teaching are shown. The layout of the books and

the way they interest the child plays an instrumental role in their enjoyment. The

Suzuki method incorporates the use of the CD but in a significantly different way to

many modern methods, where the CD provides a source of enjoyment. The Suzuki

CD’s are used as an establishment of Tonalization and ear training. The choice of

repertoire in each method differs greatly. The pieces in the Colour Strings are native

folk tunes of Hungary however they are less well known in Western Society. The

choice of repertoire significantly contributes to the child’s ability to understand and

enjoy the music. The Colour Strings emphasis is on learning through song thus the

children learn the pieces before they play them. The Suzuki method’s repertoire is

widely known as it is changed and has coined the term “A Suzuki piece” over time.

The music is popular in the classical music world and many famous tunes such as

twinkle twinkle and lightly row are used, however many students would not know

these before they begin. While it is important for student to learn new music, it is

important to recognize that their enjoyment of it can largely depend on whether they

understand and know it. The use of repetition as a key reinforcement advice is lost

significantly in the Doflein method, however the Suzuki method’s use of repetition is

quite boring. The way the Colour Strings method repeats the concepts and skills in a

different way rather then the actual exercise allows for the establishment of more then

one neural pathway to be established thus the understanding is greater.

All three methodologies lay a solid foundation for a beginner to develop technically

and musically. No one method goes without it’s flaws and this has been evidenced. It

is impossible for a method or a methodology to accommodate for all learning types

and much of this relies on the teacher’s implementation of the method and

philosophical choices. While method books and methodologies provide a great

foundation and understanding of pedagogical practice the teacher has the

responsibility to analyse and implement, change and adapt their understanding and

implementation of pedagogical practices to cater for the abilities of students.

References

Kodály Concept. (2016). Kodaly.hu. Retrieved 11 May 2016, from

http://kodaly.hu/zoltan_kodaly/kodaly_concept

Story of the colour strings method and international minifiddlers, (2015). Geza

Szilvay, . Retrieved 10 May 2016 from https://www.youtube.com/watch?v=qb-

ufWDqB3c&spfreload=10

Summary of the Int Minifiddlers Colourstrings Lesson 19/A !st Year, May 8 2015.

Geza Szilvay, Retrieved 10 May 2016 from https://www.youtube.com/watch?v=K-

rMoyRC_Jo

http://www.fennicagehrman.fi/fileadmin/tiedostot/highlights/HL_18_Colourstrings.pd