Amelia Seyssel - Music Studio

Amelia Seyssel Studio TEACHER TRAINING Events

Voice UNIT 3 is classified as "Core Coursework" and will be offered Online in the month of November-December 2021
For details: send inquiry to Amelia Seyssel: suzukivoiceusa(a)
To enroll in the course: send request including name and SAA ID# to Amelia Seyssel: suzukivoiceusa(a)
Enrollment Deadline: October 9, 2021
Minimum enrollment: 3 // Maximum enrollment: 10

  • SAA official course listing (including dates and a schedule of lecture hours) Link
  • Cost (payment in US dollars): USA & CANADA: $520 // LATIN AMERICA: $320
    Participants will be INVOICED through PayPal when: 1) minimum enrollment requirement has been met; and 2) participant pre-requisites are officially cleared by SAA
    To reserve your space in the class (pending Invoice): enroll in the course by contacting Amelia Seyssel: suzukivoiceusa(a)
  • Primary Language is English. Submit request for interpreter no later than September 20, 2021.
    Note: Translation for Observations require that participants accommodate the Translator's schedule.
  • Additional details here (click for pdf document)
Mary Hofer / American Suzuki Institute TEACHER TRAINING Events


SAA Voice Unit Courses are now available in Online format. This is presumed to be the case until the Covid-19 pandemic is sufficiently under control. However, that situation is subject to change at any time.
For available Units and other coursework in Voice, check the SAA Website Events listing for Voice at this link OR inquire of your Teacher Trainer.

Become a Suzuki Teacher...

Explore what it means to be a Suzuki Teacher by actively investing in your potential to teach the whole person ~ physical, social, emotional and cognitive ~ through developing a student's love for music-making and technical achievement.

A Suzuki Teacher...

  • Is actively invested in the 'whole person': physical, social, emotional and cognitive
  • Plans each lesson according to the unique needs of the individual student
  • Is attentive to each individual's unique development capacity as it changes through time: cognitive, emotional, and behavioral
  • Actively works with the parent to find the optimal path towards learning

Suzuki Teacher Training results in a Suzuki Teacher who is...

  • Trained in child and adolescent development -- both physical and behavioral
  • Trained to teach technical elements of the instrument tailored to the unique developmental capacity of the individual student through time
  • Trained to foster and grow the student's appreciation and sense of musical beauty
  • Trained to develop a positive sense of the student's own self-identity while fostering respect for others
  • Trained to created an environment where children feel safe and valued
  • Trained to combine an attitude of high expectations with a corresponding appreciation for each person's own pace and style of learning

Both Suzuki Voice Teacher Training and Suzuki Voice Teacher Workshops are offered on a regular basis within the Suzuki Association of the Americas (SAA). Some of these activities are offered online.

To locate current Suzuki Voice Teacher Workshops or to inquire about Suzuki Voice Teacher Training, contact any SAA Voice Teacher Trainer.

Current SAA Voice Teacher Trainers are:

  • Amelia Seyssel, TT SAA (Poughkeepsie, NY, USA); ESA Diploma & Member
    • Contact: suzukivoiceusa(a)
  • Mary Hofer, TT SAA (Stevens-Point, WI, USA)
    • Contact: mhofer(a)

All SAA Teacher Training Programs prescribe and include: an observation element and a lecture/discussion element. Beyond Unit 1 an applied teaching element is also included. Topics generally included in SAA Voice Unit training include: Suzuki Philosophy, applied Suzuki Method, principle Teaching Points, Child Development, and pertinent Vocal Pedagogy.

All SAA Teacher Training Programs are designed as in-depth pedagogical studies for professional musicians. To qualify as a Participant in the courses, you must submit and pass an audition.

SAA Teacher Development Programs are structured in 'Units', each Unit covering a prescribed instrument-specific syllabus of study common to all SAA-Region teacher training for that instrument. The syllabus for each SAA Voice 'Unit' is designed to closely inter-relate to the equivalent level of study in other regions in the world providing a general uniformity of training content among all Suzuki Voice teachers in the world.

SAA Voice 'Units' generally correlate to the pedagogical progression of repertoire as defined by the Suzuki Voice 'core repertoire' trajectory. Units 1, 2 and 3 explicitly cover teaching techniques and repertoire directly correlated to the first three volumes of study. Units 4 and above cover teaching techniques applicable to each successive pedagogical step of study as well as careful in-depth study of pertinent selections from the international common repertoire pool.

A summary of the Suzuki Voice repertoire and pedagogical trajectory can be found at the SAA web-site: (Scroll down to sub-heading: Suzuki Voice Repertoire and Volumes.)

ARTICLE: Suzuki Voice: Historical Synopsis from the Beginning to 2010
First published by author Amelia Seyssel on 22 September 2017

Opening Paragraphs:

The Suzuki Voice Program officially began in 1986. Its founding within the Suzuki community was the direct result of conversations between Dr. and Mrs. Suzuki (Japan) and Dr. Päivi KukkamVki (Finland) before, during and after Dr. Kukkamäki's extended visit to Matsumoto in the Fall of 1986. Both Dr. and Mrs. Suzuki continued their approval of the program and its development from 1986 until their deaths in 1998 (Dr. Suzuki) and 2000 (Waltraud Suzuki).

The Suzukis' involvement took the form of continual and persistent correspondence, reviews and recommendations, and various personal meetings with Dr. Kukkamäki throughout the many years from 1986 forward. From the beginning, the program was named 'Laulusuzuki' or 'Laulusuzukimenetelmä'. This was translated into English first as 'Suzuki Singing', then 'Singing in the Suzuki Style' and finally its present and official designation of 'Suzuki Voice'.

For the complete article, visit the ESA Article (link).

Regional (SAA/ESA) Suzuki Voice Teacher Training Programs:
a Broad Comparative Analysis
(Eff. May 2020)

The following broad outline is an attempt to clarify the administrative and organizational differences among the Suzuki Voice training programs in current operation throughout the world. However, interested Teachers should be aware that, however differently the material might appear to be covered, the same pedagogical content is covered and the same end-goal is intended by both Regional Associations.

The SAA Region (America, North & South):

  1. SAA Suzuki Voice Teacher Training is organized by 'UNIT', with each 'UNIT' relating to a published (or intended) Volume of core student repertoire.
    Current estimate of SAA total UNITS in Voice is 8-9 UNITS. [Actual number is under development.]
    Other supplemental, officially recognized and creditable, teacher development courses are offered in the SAA, but not required.
    Beyond the basic required UNIT coursework, the SAA teacher-in-training has flexibility in designing their own Suzuki teacher development program to meet their individual needs and aspirations.
    Compare to ESA

  2. A qualifying resumé and audition is required in the SAA before teacher training may commence; acceptance qualifies the teacher-in-training to acquire SAA UNITs 1 through 3. A subsequent audition at a higher level is required for access to more advanced UNITS. A Comprehensive audition at the highest level possible is also an option prior to UNIT 1 at the teacher's choice.
    The SAA 'audition' requirement is designed to guarantee that each teacher participant has a certain level of professional competency in regard to technical skills in their instrument prior to enrolling in coursework.
    Compare to ESA

  3. The first three SAA UNITS are required to be taken in sequence; beyond that, UNITS may be taken out of sequence.
    This protocol is designed with the geographical size of the SAA-Region in mind and combines the guarantee of a well-grounded foundation with an element of scheduling flexibility for the teacher-in-training.
    Compare to ESA

  4. The 'hours' pertinent to each SAA UNIT are defined as "minimum hours" by the SAA, with individual Teacher Trainers given flexibility to require more than the minimum number of hours as they deem necessary.
    The term 'hours' in the SAA refers to 'class-time' hours: that is, the actual time required for the teacher-in-training to be in live interaction with the Teacher Trainer, whether singly or in a class environment. This use of the word 'hours' does not include any additional (outside class-hours) assignments or work that the Teacher Trainer requires for course completion.
    Official registration of the coursework is permitted when all required 'hours' are completed and all assigned coursework is completed to the Teacher Trainer's satisfaction.
    Compare to ESA

  5. A certain minimum number of lecture/instruction hours is required for each UNIT in the SAA.
    Compare to ESA

  6. A certain minimum number of hours dedicated to 'guided observation of student lessons' is required for each UNIT in the SAA.
    Compare to ESA

  7. A certain amount of written work is required for each UNIT in the SAA.
    Compare to ESA

  8. Effective 2021, an experiential instrument-specific applied teaching component called 'Strategies' (or 'Estrategías) is able to be offered either as a 'stand-alone' course or as a course to to be taken concurrently with individual UNITs in the SAA. Prerequisite is SAA registered coursework: ECC! or Filosofía, and UNIT 1. 'Strategies' (or 'Estrategías) will, eventually, be required coursework in the SAA. This component includes active participation as well as sample video of each participant's own teaching to share with the Teacher Trainer and fellow participants for constructive discussion.
    This coursework content is equivalent in nature and purpose to the ESA 'Teaching in Practice' component.
    Compare to ESA

  9. Unlike other instruments in the SAA, Suzuki Voice memorization requirements are common and standard throughout the entire region (North & South America): memorization of applicable repertoire as specified in the SAA Voice Syllabus for each UNIT is pre-requisite to participation in UNITs 1 through 4. Beyond UNIT 4, a "high level of fluency" in the repertoire is required, with actual memorization considered optimal and recommended.
    SAA teacher memorization requirements are focus solely on pertinent and specific student repertoire for that UNIT. That is, all required memorized repertoire is identical to repertoire contained in the volumes (or lists) of core repertoire that students are intended to learn.
    SAA memorization is in all cases considered 'pre-requisite' to the respective UNIT course. The SAA TT is also required to 'check' the memorization at some point during the UNIT coursework.
    Compare to ESA

  10. In the SAA, the teacher participant is expected to have a certain level of professional-level skills in their own instrument background before beginning coursework (refer to #2, resumé and audition requirements). Continued study and development of the teacher's own proficiency during SAA teacher training development is expected and highly recommended throughout all UNITs. Such professional development activity is considered to be each individual participant's responsibility. Therefore, there is no specific coursework category within the SAA UNIT training paradigm to reflect this continuing professional education recommendation. Successively higher audition requirements guarantee that the participant has adequate vocal training for successively higher Units of training.
    Compare to ESA

  11. Coursework in the SAA is expected to be completed according to the specifications of the situation in which the course is offered, and in all cases is expected to be completed in less than one calendar year (usually less).
    The same Teacher Trainer teaches all coursework in the SAA. The teacher-in-training may be exposed to other Suzuki teachers during required 'observation' hours, but the coursework hours themselves are, with few exceptions, under the direct supervision of the one Teacher Trainer authorized to teach the course.
    The most frequent way in which coursework is offered in the SAA is through the Summer Institute setting; and this is indeed the most affordable option. However other venues and arrangements are allowed throughout the Fall, Winter & Spring months.
    Other than possible assigned written work and any 'pre-requisite' requirements, all coursework is experienced 'in-situ'--i.e. long-distance coursework to fulfill basic 'class-hour' obligations is not normally permitted in the SAA.
    Compare to ESA

  12. [For this comparison, an 'audit situation' is defined as: participating in official teacher training coursework without the ability to either register or certify the work.]
    In the SAA, in order to officially 'register' coursework, the prospective teacher must first submit and pass an audition specific to that instrument. The initial audition material is designed to be at a level that proves the teacher's competency in their instrument to a level at or above the level of repertoire covered through the first three Units of training, after which the teacher must re-audition at a much higher level of competency. Without a qualifying and accepted audition on record, the teacher may only take coursework on an 'audit' basis'. Should a teacher 'audit' a course and later wish to officially register the course, the teacher is required to re-take the course (fully) after submitting and passing the pertinent audition.
    Unique to Suzuki Voice (unlike other instruments in the SAA), at this time no 'audit' status is permitted: all Suzuki Voice coursework must be 'registered' work (essentially requiring that all teachers-in-training pass the qualifying resumé & audition prior to study). This is at least partly due to the fact that the initial three volumes (and Units) for study are not yet fully published and, therefore, present copyright complications.
    Compare to ESA

  13. Cost of SAA training is determined by the individual Teacher Trainer or the individual venue host (e.g. an Institute sponsoring the course).
    Determination of cost is usually based on finding an amount that appropriately balances 1- adequate funding of the venue and Teacher Trainer hours with 2- an affordable and reasonable cost for participants. This approach takes into account the widely diverse financial situations that may occur within the varied geographical locations within the SAA Region. The fixed amount is generally expected to be the same for any teacher participating in the course however, depending on the circumstances, diverse scholarship situations may also apply for certain participants.
    The total cost is usually a fixed amount charged in advance of the actual in-person training event. As this is the SAA norm for published fees, any exceptions to this are expected to be announced to participants in advance of beginning training.
    SAA Teacher Training core coursework is always posted on the official SAA web-site well in advance of the course and includes the full-payment amount.
    Compare to ESA
The ESA Region (Europe, Middle East and Africa):

  1. ESA Suzuki Voice Teacher Training is divided into 5 consecutive 'LEVELS' (irregardless of the number of published, or intended 'books' or volumes of student repertoire).
    Although the first three 'LEVELS' cover repertoire by 'Book' (LEVEL 1=Book 1, etc), the later LEVELS (4 & 5) each cover repertoire consistent with multiple books (or book equivalents) per LEVEL.
    ESA LEVEL training is designed to be comprehensive and all-inclusive; there is no formally accredited coursework outside of the LEVEL system.
    Compare to SAA

  2. A qualifying resumé and minimal audition is required in the ESA before teacher training may commence, and continuance for each subsequent LEVEL is re-assessed by means of recurring Examinations at the end of each LEVEL.
    These examinations include a 'performance' aspect equivalent in purpose to SAA's pre-requisite audition system.
    Compare to SAA

  3. All ESA LEVELS are expected to be taken in sequence only.
    Compare to SAA

  4. The 'hours' pertinent to each ESA LEVEL function similarly to a 'credit-hour' system and does not necessarily indicate actual hours spent in live interaction with the Teacher Trainer.
    Some required ESA hours reflect actual time spent with the Teacher Trainer. However, other required hours reflect a way of recording 'work accomplished' by the teacher-in-training (i.e. credit-hours) and are often more indicative of the time required by the Teacher Trainer to review the required material.
    No formal credit for ESA coursework is received until: 1) all 'credit-hours' pertinent to the LEVEL are completed, and 2) the teacher-in-training has passed a formal LEVEL Examination adjudicated by (at minimum) 3 ESA Suzuki Voice Teacher Trainers.
    Regardless of the number of 'credit-hours' completed, no official record with the ESA accrues until and unless the pertinent Examination is passed, even if this takes years to accomplish.
    Compare to SAA

  5. A certain minimum number of lecture/instruction hours is required at each LEVEL in the ESA.
    Compare to SAA

  6. A certain minimum number of 'observation' hours is required at each LEVEL in the ESA.
    A portion of those observation hours is usually assigned to the observation of student lessons, while other observation hours are possible to be assigned to more general topics requiring attendance at concerts, recitals, and Conferences or Workshops.
    Compare to SAA

  7. A certain amount of written work is required at each LEVEL in the ESA.
    Compare to SAA

  8. Most ESA LEVELS include a 'Teaching in Practice' element within the total LEVEL required credit-hours.
    This activity is equivalent in nature and purpose to the SAA 'Strategies' (or 'Estrategías) component.
    Compare to SAA

  9. Memorization of repertoire is required for all ESA LEVELS. Credit-hours are assigned for completion of this work, with proof of memorization also required.
    ESA memorization requirements are not entirely identical to the pertinent repertoire required of students for that LEVEL (i.e. identical to the repertoire contained in the volumes of core repertoire that students are required to learn at that Level).
    ESA teacher memorization requirements are of two types: 1-pertinent student repertoire for that LEVEL; and, 2-repertoire proving the teacher's own instrumental competency and specifically aimed at preparing the participant to pass the performance aspect of the ESA Examination.
    Compare to SAA

  10. In the ESA paradigm, the professional technical level of each teacher-in-training is a concern that is met with by including personal instrumental technical training within the coursework structure itself.
    A certain number of private lessons, called 'repertoire lessons', are required for each ESA LEVEL. These 'repertoire lessons' are required to be fulfilled only through an approved ESA Suzuki Voice Teacher Trainer.
    Their purpose is to guarantee that the teacher-in-training is increasing in personal technical competency throughout the ESA training process.
    These required lessons are most explicitly designed to guarantee that the teacher-in-training is able to: 1-perform the pertinent student repertoire with technical adequacy; and, 2-perform the teacher's Exam Recital repertoire with technical adequacy.
    Compare to SAA

  11. Coursework in the ESA is expected to be completed over the course of one to two years (but can take longer) with ongoing contact with the supervising Teacher Trainer expected throughout all phases of the training program.
    Although ESA coursework is expected to be under the general direction of the same supervising Teacher Trainer throughout all portions of the curriculum, in practice, the supervising Teacher Trainer is permitted to assign some parts of the coursework to be taught by other qualified ESA Suzuki Voice Teacher Trainers so that the teacher-in-training may experience instruction from more than one Teacher Trainer during the course of any one LEVEL of training.
    Some parts of the training (especially some parts of the 'Teaching in Practice' element) are allowed to be fulfilled via 'long-distance' communications.
    Compare to SAA

  12. For this comparison, an 'audit situation' is defined as: taking and participating in official teacher training coursework without the ability to either register or certify the work.]
    The ESA does not officially allow an 'audit' status and a true 'audit' possibility does not fully exist in the system. However, because the ESA Exam System paradigm proves teacher competency 'after the fact', it does allow the teacher to be taking many hours of coursework prior to proving competency at the particular level of study. In a situation where the teacher does not complete the ensuing Examination for that Level of study, that coursework would meet the characteristics of an 'audit situation' as defined for this comparison. It should be noted that ESA does not allow the teacher to progress to the next Level in the system unless the Examination has been completed and passed.
    In the ESA Suzuki Voice program, an initial audition of very basic competency must be passed prior to beginning coursework at the lowest level. The Exam Recital for that Level requires an additional level of competency pertinent to that Level of study.
    Compare to SAA

  13. Cost of ESA training is determined by the individual Teacher Trainer responsible for conducting the course.
    Determination of the cost is based on the hourly wage due to the Teacher Trainer and therefore, directly relates to the actual hours of work that the Teacher Trainer incurs during the course over many months, but is limited by the number of pre-determined 'required hours' as specified in the ESA Voice Syllabus. Since certain training hours are designed to be a one-on-one experience with the Teacher Trainer and other training hours are possible to be group experiences shared by 2 or more participants, the ultimate amount charged any one participant can vary depending on each specific training experience; that is, shared experience situations are also shared cost situations.
    Hence, total cost of the course is not necessarily fixed in advance, but is instead payable on an ongoing rolling basis as training hours are incurred over the several months of the course. The individual Teacher Trainer may give an overall estimate of the cost of the course, but deviations from that estimate may occur depending on circumstances as the course moves forward.
    Examiner Fees for Teacher Trainers adjudicating the required ESA Level Examination are specifically overseen by the ESA but are, again, able to be shared among the number of participants taking the examination at any one time.
    Compare to SAA