Enrichment Courses

2023 Enrichment Courses for Teachers 

Supplementary Repertoire for Cello Group classes

July 2-7, 2023
Group Class Techniques for Cellists, with a special emphasis on supplementary repertoire.

Carey Beth Hockett, Registered Suzuki Teacher Trainer, Suzuki Association of the Americas                                                                          

This course will explore a variety of strategies for teaching engaging and effective group classes, incorporating an array of supplementary repertoire that has been successfully used in a variety of group settings in the past. Participants who have trained through Book 4 will have the opportunity to present teaching segments to children’s classes.

Prerequisite: All books covered in the overview course.

Course options:

Enrichment class: 10 hours of teachers’ seminar

Supplementary class: 10 hours of teachers’ seminar, 10 hours of observation with opportunity to present teaching segments, 5 hours of recap of children’s classes

Alternative Methods for Cello - Chops, Improv, and Pizzicato

July 2 - 4, 2023

Avi Friedlander, Registered Suzuki Teacher Trainer, Suzuki Association of the Americas                                                   

Rock and Pop music are a part of every child's world in everything from movies to watching the Disney channel.  In this intro to Chops, Improv, and Pizzicato course, Avi Friedlander will explore the joys of Rock Music and variety of jazz styles in his methods of teaching chops and grooves along with advanced jazz pizzicato and the basics of improvisation. This course comes with two of Mr. Friedlander's books (Chopping Around and Pizzing Around) along with material to help support improvisation from the ground up. No prior experience is needed before taking this course, just a cello and a desire to learn and have fun.


Anatomy for String Players: How Your Body                                 

July 5 - 7, 2023

Works to Play an Instrument

Pam Devenport, Registered Suzuki Teacher Trainer, Suzuki Association of the Americas

As with all movement, great arm motion is a result of many joints, muscles, ligaments, and tendons, all working in congruence to produce the most varied and specific choices in sound. The balance and ratio of use between these many parts changes depending on what part of the instrument you are playing on, yet all parts of the body remain involved.

After the hips, and postural alignment, the first consideration is in the Gleno - humeral joint, or the shoulder ball and socket joint. This joint is supported by many muscles in the front and back of the body, but the alignment of the joint is reliant on the rotator cuff muscles (there are 4). If the head of the humerus is centered, and not forward, back or up in the socket (mis-alignment), the rotation for motion is pretty easy. There are ways to teach shoulder alignment very early in teaching that may insure ease of motion, and more important, self repair, once learned.

Regardless of what body part is more responsible at any point on the instrument, they all have to work together, fluidly, without glitch. There are diagnostic things to know that give clues for steps to the releasing and balancing. Aligning this information on a student is a break down process, and can start general alignment posture, hips whether seated or standing, upper back and shoulder study, and then move towards the fingertips. Initially, noticing what is movement is currently possible for the student is the start of the road to balance and motion ease.