Suzuki Method for Trumpet and other Brass

[JayKosta]

I recently read an article about the Suzuki Method being used to teach brass playing to young players, and wondered how it addresses 'embouchure concerns'. The article is in the Feb 2023 International Horn Society journal, but not public access - members only.

From another source, I found this info -

"We always start by forming an easy posture and natural breathing habits. I like to “coax” the lip vibration to start, using simple blowing exercises rather than “forcing” a lip “buzz” to happen. A common hurdles for many beginners is getting over the idea of “trying too hard,” which only creates tension and back pressure when blowing into the instrument. Beginner students often hit tones that are in between proper pitches on the instrument, so finding the “resonating” spots of each pitch can be a challenge. Because this can all take time—to simply get a centered and beautiful note on the trumpet—it is a challenge to keep students musically engaged in the meantime."
here -
https://www.trumpetjourney.com/2016/12/17/suzuki-trumpet-part-ii-an-interview-with-natalie-dejong/

I've also seen mention of the use of the Jo-Ral Short Cut device as part of the process to teach and develop embouchure.

I wonder to what extent this method for teaching embouchure is 'catching on'. It seems similar to aspects of the Adam approach, and perhaps it is being used by teachers of other methods as well.

Anyone with personal experience with Suzuki for Brass?
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Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'.

[kehaulani]

Yes, Vermeer. Anyway . .

Wow, makes me want to rush to Canada and get in on this. She seems to really know her stuff and to be musically qualified. I would love to bring it to children.

I don't disagree with your quotes except I think there's a missing step and that is, before going for that resonant pitch wherever it is, the student should hear the pitch in his/her inner ear. And to that point, I would recommend a sight-singing regime concurrent with this.

I am not a Suzuki expert but as a composer, I wrote a couple of commissioned pieces for a young Suzuki string program and learned their method to make my compositions compatible with their pedagogy. So I know a little bit about the original system.

While I find the Suzuki program useful, the original string program develops skill for a method of tone production completely different than that required for a brass instrument. So, I would be careful not to overlook this.
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