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 creators 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 teachers own
preferred method and philosophy, or a desire to select material to adapt to a students
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 CDs, 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
instruments range as well as notation skills.

Written with the intention of development through duet playing, between the student
and teacher, meaning that the Doflein methods 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 students
performance. The student hears and imitates the correct pitch and the quality of the
teachers 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 methods 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 Kodalys teaching
and philosophy. Created originally for private students the method has developed over
time and now suits both individual and group teaching. The philosophy 1aims to
create an environment in which singing, playing games and instruments live side by
1 http://kodaly.hu/zoltan_kodaly/kodaly_concept

side. While the Doflein method begins by establishing technique on the instrument
and an understanding of notation, the 2Colour Strings 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 dont
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 childs musical interest.

Szilvay says that the methods 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. 3Sight connects the learning with the brain knowledge that is
achieved through more than one sense is deeper and more long lasting.
2 https://www.youtube.com/watch?v=K-rMoyRC_Jo
3 https://www.youtube.com/watch?v=qb-ufWDqB3c&spfreload=10

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
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 Suzukis 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 teachers 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 its 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 childs 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
CDs 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 childs 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 methods 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 methods 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 its 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 teachers 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
Kodly 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=qbufWDqB3c&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=KrMoyRC_Jo
http://www.fennicagehrman.fi/fileadmin/tiedostot/highlights/HL_18_Colourstrings.pd