Why the Twinkle Variations?

All the Suzuki students begin with learning the Twinkle Variatins.  I decided to teach the Twinkle Variations to my new transfer students, even classical piano students, as a means of learning natural tone and good tecnic. It's something fun to do especially with the chordal accompaniment. Then we can all speak the same language when it comes to rhythm patterns, clap back etc and they be part of the "100 Twinkle Variations" club along with the other kids.


I've noticed that the Twinkle Variations have a very complicated written rhythm that would require advanced reading skills. However, if I child simply listens to the music on CD or played live, he can easily replicate the rhythm by clapping or playing on the piano (or violin as originally intended). This fact truly fascinates me! But what I would really like to know is, why there is no direct link with the other melodies or rhythm similarities with the repertoire in BOOK 1 or any book actually.  Perhaps this is related to the violin bowing technique as the Suzuki Method was originally intendted. Regardless the master teacher did mention two underlying reasons for the Twinkle Variations:

1) To practise moving fingers
2) To develop a beautiful tone

There are many factors that may affect how to produce a beautiful tone.
Physical body and posture - begin with the feet resting comfortably on a solid surface, back strong.
Think Ready, Play.

VARIATION 1
Clap: Mississippi Hot-dog, Pepperoni Pizza, Bunny Bunny Hop Hop
Then Play this Variation 1 with the thumb.

Move on to the other fingers one at a time. The student may actually play this rhythm all over the piano, from the highest C down to the lowest tone and back up again. I am at this stage with my young son right now; as long as he plays the rhythm correctly with the nice hand formation I am happy. Soon though, I hope that he would understand to apply this in the five finger C position and then the Twinkle 1 Variation.

VARIATION 2
Say the words "I love you" or "I hug you" to really hug that warm tone. It is a wonderful rhythm though probably the most difficult of the three.
1) At the introduction, you could talk about long notes; play and hold on, tell me when the tone is gone -game.
2) Play short-long. There is roll involved with the long tone.
If there is a correction to be made, exagerate the correction
3) Tempo, keep it fast and quick (further reading on the journal article about the dangers of playing too slow)

VARIATION 3
Say Hamburger, Cheese burger, Grand papa, Grand mama.
I noticed that the accompaniment that goes with Variation 3 is chordal; each grouping is repeated twice for a total of two beats of time.