I’m going to propose a way to teach the first Suzuki violin lesson of a student’s life, but it is not the only way to teach it. And in 10 years, my ideal first lesson will probably be drastically different.

What is important is how much thought and consideration goes into every aspect of the lesson because it is such an important one.

THE IMPORTANCE OF THE FIRST LESSON

Every lesson after the first lesson is a remedial lesson.

Advanced skills are built on the foundation of fundamental skills, which is why in the Suzuki Method we put so much emphasis on mastery from the very beginning.

Everything about your student’s experience on the first day is a learning experience. From the way they put their shoes by the door, to the energy of the studio when they walk in, to the way you deliver their lesson assignments sets expectations for years to come.

If your student is a sibling or has already observed several lessons they will have an idea of what they are walking in to, but nothing is like the experience of doing the lesson themselves.

SETTING UP ‘NORMAL’

Think about it this way:
If your student walks in the first day and you instruct them to put their shoes right by the door, they will do so. They understand that to be the norm. The next week you instruct them to put their shoes on a shelf by the stairs, and rather than taking that to be the norm they now think of shoes by stairs as different. Or, even worse, they are convinced there is no normal.

If you ultimately want them to put their shoes by the door, set that expectation on the very first day. If you don’t really care where they put their shoes — pick a spot anyway.

The cost overtime of setting up normals and then defining new normals is huge over the course of this student’s 15 years of work with you. The more often you can build a direct connection between the norm and automatic action the better.

FIRST DAY CONSIDERATIONS

A checklist of expectations to clarify with yourself before the student comes to the first lesson…
1. Where does the family park?
2. How do they get to your studio?
3. Should they wait in the hall or knock/come in?
4. What do you want to be called?
5. Where does the parent sit? Where does the case go?
6. Are electronics permitted?
7. Is food/drink permitted?
8. Are siblings permitted?
9. What energetic state do you want to be in before you start?
10. Which handful of activities are you going to do with the child?
11. Are you involving music?
12. Are you involving energetic activities?
13. Are you involving thoughtful, focused activities?
14. How will you signify to the student the lesson is over?
15. What will the student do while you speak to the parent?
16. How are you communicating the practice assignment for the week?
17. If in writing, do you have a symbolic system the student can be engaged with?
18. Does the parent understand how to modify your work with the student to their work with the student?
19. Does the parent know how you will check in on the practice assignment next week?
20. What are the avenues of communication the parent and student have with you?

MY FIRST DAY PLAN

Before the day of the lesson I send parents a copy of my studio expectations and require both parents and students to observe a few of my other lessons, preferably pre-twinkle ones.

Just as we emphasize steeping oneself in the Suzuki recordings so they teach notes/rhythms/bowing/articulation/timing/tone rather than the sheet music or the teacher, I emphasize observation rather than a set rules as a means to learn lesson etiquette and set expectations.

On the first day I ask parents to bring the student, a ‘violin bag,’ and a notebook– nothing else. I provide the rest of the materials they need and embed the costs in monthly tuition. This eases the work load for the parent and feels like a gift from me to the family. I am also able to control the rate at which students get their hands on new materials.

Before the family comes in I clear the space — leaving, washing my hands, returning. Centering myself on my teacher’s chair and clearing my mind (emptying it of the prior student, administrative work, or any other misc. thoughts). More on this in a future post.

We’ve already met many times, but I aim to use the student’s and parent’s name within the first sentence I say and remind them of how to refer to me.

The parent immediately settles into their chair (because that is where they observed other parents sitting), and I instruct the student to come over to my chair. I tell them we are starting the lesson.

Activities:
1. Draw a foot chart (on a folder I provide)
2. Learn rest position feet
3. Do a music swaying game
4. Learn play position feet
5. Learn how to build a bow hold on a dowel bow
6. Play PGTW (plucking on my open E string)
7. Learn to bow

After we finish the activities I have a basket of children’s books the student may read while I talk to the parent about my expectations for their practice and what I will see next week when they come into the lesson.

Practice for the week:
1. Start lesson with a bow
2. Sing a song while standing in play position
3. Build 5 bow holds
4. Finish the lesson with a bow

Outside of practice:
1. Listen to the recording
2. Decorate foot chart
3. Observe a private lesson and a group class

After we’ve finished our discussion the student helps us pack up their new foot chart and dowel bow into their violin bow and they say goodbye.

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As I mentioned this is only my way of teaching the first lesson. And it’s only my way for teaching the lesson right now. I am sure it will morph over time, but I hope the thoughtfulness I’ve put into crafting this lesson can help any teacher develop their own first lesson procedures.