Give your child a strong foundation in their violin, viola or cello studies by enrolling them in one of many sequential Suzuki Method classes and lessons. Your child will build their skills in instrument techniques, notation and rhythm, performance and practice etiquette, while forming social bonds in age-appropriate settings.
All Suzuki Students study with faculty who have received certification by the Suzuki Association of the Americas.
Suzuki Packages Classes & Private Lessons
Group Classes & Private Lessons are together an essential component of the Suzuki Method. Suzuki Packages include both classes & lessons and are provided at a discounted rate.
> Call 414-276-5760 to register for your Suzuki Package (includes Group Classes & Private Lessons).
Suzuki Package Pricing
Includes 15 Private Lessons · 15 Group Classes · Monthly Parent Group Classes · All Performances
30 minute lesson package · $699
45 minute lesson package · $929
60 minute lesson package · $1,169
*Children 10 & Under must enroll in Suzuki Package
Sat, Feb 3 – May 20* · 9:00-9:55 AM
Anna Rasmussen · 15 weeks · McIntosh|Goodrich
Wed, Jan 31 – May 20* · 5:00-5:55 PM
Anna Rasmussen · 15 weeks · Audubon Court
Book 1 Violin/Viola
Sat, Feb 3 – May 20* · 9:00-9:55 AM
Natalie Stawarski · 15 weeks · McIntosh|Goodrich
Wed, Jan 31 – May 20* · 5:00-5:55 PM
Gretchen Grube Rebar · 15 weeks · Audubon Court
Book 2 Violin/Viola
Sat, Feb 3 – May 20* · 10:00-10:55 AM
Natalie Stawarski · 15 weeks · McIntosh|Goodrich
Books 2-4 Violin/Viola
Wed, Jan 31 – May 20* · 10:00-10:55 PM
Gretchen Grube · 15 weeks · Audubon Court
Book 3 Violin/Viola
Sat, Feb 3 – May 20* · 10:00-10:55 PM
Gretchen Grube Rebar · 15 weeks · McIntosh|Goodrich
Sat, Feb 3 – May 20* · 10:00 AM-10:55 AM
April Dannelly-Schenck · 15 weeks · McIntosh|Goodrich
Wed, Jan 31 – May 20* · 5:00-5:55 PM
Charlie Rasmussen · 15 weeks · Audubon Court
Sat, Jan 31 – May 20* · 5:00-5:55 PM
Emily Stodola · 15 weeks · Wilson Center
* The final group class of the semester will be the May 20 String Extravaganza.
Suzuki Parent Group Classes
Spring | This free, monthly group class for parents of Suzuki students will focus on parent discussions, playing, note reading, and more! Bring your own instrument, if you have one.
Mon, Feb 5 – May 7 · 7:30-8:25 PM
Charlie Rasmussen · 4 weeks · McIntosh|Goodrich
First Monday of Each Month
Wed, Feb 7 – May 2 · 8:00-8:55 PM
Gretchen Grube Rebar · 4 weeks · Audubon Court
First Wednesday of Each Month
In addition to classes and lessons, the Suzuki program provides performance opportunities that train performance technique and etiquette. Recent locations include:
Milwaukee Art Museum · Milwaukee Brewers · Milwaukee Bucks · Saint John’s on the Lake
Spring 2018 Performance Schedule
Milwaukee Public Library (Cellos Only) | Feb 3 at 2:00 PM
Marquette University Women’s Basketball vs. Georgetown | Feb 18 at 2:00pm
Harley Davidson Museum ™ | Apr 8 at 2:00pm
String Extravaganza | May 20 at 4:00pm
Suzuki at the Conservatory
Our Suzuki programs teach using the philosophical principles and music education methods developed by Dr. Shinichi Suzuki. We nurture, motivate, and inspire students, parents, and teachers to incorporate these principles into their lives. At the heart of the Suzuki philosophy is the idea that everyone has talent and can become a successful, sensitive, and caring person through the study of music in the Suzuki method.
The method treats music education in the same way that people learn to speak their native language; through listening, imitation, and repetition in a positive, nurturing learning environment. The emphasis is on musical and personal growth through individual and group instruction which develops technique, musicianship, and kind hearts.
The Suzuki Method
More than 50 years ago, Suzuki recognized the ease with which children learn their native language and began to apply the basic principles of language acquisition to the learning of music. He called his method the Mother-Tongue Approach. The ideas of parent responsibility, loving environment, listening, repetition, and motivation are some of the special features of the Suzuki approach.
Parent Involvement: When a child learns to talk, it is the parents who function as teachers. Parents have an important role as “home teachers” in learning an instrument, too. In the beginning, one parent also learns to play, to better understand the process. The parent attends the child’s lessons and the two practice daily at home.
Early Beginning: The early years are crucial for developing mental processes and muscle coordination. Listening to music should begin at birth; formal training may begin at age three or four. Recent scientific studies stress the importance of early music study in brain development.
Listening: Children learn words after hearing them spoken hundreds of times. Listening to music every day is important, especially listening to the pieces in the Suzuki repertoire so the child know them intimately.
Repetition: Constant repetition is essential in learning to play an instrument. Children do not learn a word or a piece of music and then discard it. They add it to their vocabulary or repertoire, gradually using it in new and more sophisticated ways.
Encouragement: As with language, the child’s efforts to learn an instrument should be met with sincere praise and encouragement. Each child learns at his/her own rate, building on small steps so that each one can be mastered. This creates an environment of enjoyment for child, parent, and teacher.
Learning with Other Children: In addition to private lessons, children participate in regular group lessons and performances at which they learn from and are motivated by each other.
Suzuki Repertoire: Children do not practice exercises to learn to talk, but use language for its natural purpose of communication and self-expression. Pieces in the Suzuki repertoire are designed to present one of two new technical problems to be learned in the context of the music rather than through dry technical exercises.
Delayed Reading: Children are taught to read after their ability to talk has been well established. In the same way, children should develop basic technical competence on their instruments before being taught to read music. When music reading is introduced, it is pursued systematically at each lesson.
Older Students or transfers from other methods: Students of any age can benefit from Suzuki’s ideals of natural technique, tone development, and musicianship. The Wisconsin Conservatory of Music welcomes students who transfer from non-Suzuki backgrounds during any stage of advancement.
Suzuki program currently available in:
Call 414-276-5760 to find out more.
Course of Study
Music lessons in violin, viola, and cello are available for children ages 3 and up.
Suzuki Instruction requires students to participate in private and group lessons each week. All students begin with a classical foundation in the Suzuki repertoire enhanced by master classes, supplemental repertoire, workshops, group and solo performing opportunities, and special events.
The course of study for instrumental lessons consists of both private and group classes. The private class takes place once a week for 30, 45 or 60 minutes and provides the heart of the instruction. Parents attend these lessons so they are able to practice with their child at home.
The group class takes place once a week for 60 minutes, including both repertoire and musicianship studies, and provides a social setting for musical pursuits. Children gain a peer group, develop ensemble skills, begin note reading and theory instruction, and perform informally for each other in preparation for the student solo recitals. Parents attend these classes as well to offer support and assist their child.
Easter Island Monkey
Machu Picchu Mountain
Star Spangled Banner (Violin 1 and Viola)
Star Spangled Banner (Violin 2)
Jingle Bells, Line A (Violin & Viola)
Jingle Bells, Line B (Violin & Viola)
Jingle Bells (Cello)
Chanukah, Chanukah, Line A (Violin & Viola)
Chanukah, Chanukah, Line B (Violin & Viola)
Chanukah, Chaunkah (Cello)
Bring a Torch, Jeanette Isabella, Line A (Violin & Viola)
Bring a Torch, Jeanette Isabella, Line B (Violin & Viola)
Bring a Torch, Jeanette Isabella (Cello)
Deck the Halls, Line A (Violin & Viola)
Deck the Halls, Line B (Violin & Viola)
Deck the Halls (Cello)
Pat a Pan (Violin & Viola)
Monkey Song (Cello)
DAD Song (Cello)
Open String Song
Cello Ant Song
Up Like a Rocket (Cello)
I Love My Cello
Mississippi Stop Stop Bread Song (Cello)
Mississippi Stop Stop Cheese Song (Cello)
Bowing Rhythms (Cello)
Flower Song (Cello)
Gretchen Grube Rebar
Chair — String Department, Violin
Gretchen Grube Rebar holds a B.M. in Violin Performance with Suzuki Pedagogy from University of Wisconsin-Stevens Point (UWSP). She recently completed her M.M. in Violin Performance with Suzuki Pedagogy from Southern Illinois University Edwardsville (SIUE). Ms. Gretchen received her Suzuki Early Childhood Education (SECE) training from Sharon Jones, developer of the SECE curriculum.
Ms. Gretchen was involved in the Very Young Composers Project of Stevens Point, Wisconsin. This program teaches music composition to 4th and 5th grade students. Ms. Gretchen also enjoys playing with her cat, scrapbooking, and eating ice cream!
Cello, Suzuki, General Music
April Dannelly-Schenck is a private cello teacher and performer who moved to the Milwaukee area from St. Louis, MO. Mrs. Dannelly-Schenck has been teaching cello since 2006, and recently completed her training through Book 5 of the Suzuki method. While living in St. Louis, she taught private instruction in cello at Lindenwood University, and private cello lessons from her home and at the Community Music School of Webster Groves. As a teacher, April believes that her mission is to help every student create joy through music, both in their own life as well as the lives of their family and community.
April has always been an active chamber musician and orchestral performer. She is currently the assistant principal cellist in the Menomonee Falls Symphony, and a regular substitute cellist with the Wisconsin Philharmonic, Festival City Symphony, and Illinois Symphony Orchestra. In St. Louis, April served as the principal cellist in the St. Louis Civic Orchestra, and as a section cellist of the Peoria Symphony Orchestra. Being drawn to string quartet music, she was a member of the Dorian Quartet, with whom she performed in the Oberlin Honors Recital in 2006. The following year the quartet was selected to showcase the Oberlin Conservatory in a recital at the Kennedy Center in Washington, DC. The Dorian Quartet was honored to be chosen as semi-finalists in the Plowman Chamber Competition, and also received Honorable Mention in the Ohio String Teacher’s Association Chamber Competition.
Having a passion for both music performance and music academia, Mrs. Dannelly-Schenck received a Bachelor’s degree in cello performance with a music theory minor from the Oberlin Conservatory of Music, and then went on to complete Master’s degrees in cello performance (MM) and in music theory (MA) from UW-Madison. Throughout her three years at UW, she taught Aural Skills and Theory as a teaching assistant for the freshman music theory course. She taught upper level Music Theory during her years as a professor at Lindenwood University.
WCM faculty member since 2005. Violinist Tatiana Migliaccio was born in the Ukraine and graduated from the Musical College of Ternopil. She later completed study at the Lviv Conservatory with degrees in Master of Chamber Music Performance and Pedagogy. Tatiana began her music career playing in the Lviv Symphony and toured with the orchestra to Poland, Russia, Germany, Bulgaria, and Estonia. After coming to the United States in 1994 and initially settling in Illinois, she became a member of numerous orchestras, including the Rockford Symphony, Milwaukee Ballet and the University of Chicago Orchestras. She also taught Suzuki violin at the Rockford College Music Academy. In 2005 Tatiana became a member of the Wisconsin Conservatory of Music faculty, successively teaching violin, music theory and chamber music to WCM students. Along with her teaching, Tatiana currently plays in the Wisconsin Philharmonic, Green Bay, Kenosha and Festival City Symphony Orchestras. Her musical career was inspired by her wonderful teachers Alexander Tatarinzev, Eleanor Stanlis and Mr. Mark Zinger.
Violin, Suzuki, Early Childhood
Anna Rasmussen is an active chamber and orchestral musician and has been a Suzuki teacher since 2007. She has played with several orchestras in Connecticut, North Carolina, and Texas, including Norwalk Symphony Orchestra, Western Piedmont Symphony, Raleigh Symphony Orchestra, Fayetteville Symphony Orchestra, and Waco Symphony Orchestra. Ms. Rasmussen loves the collaboration of chamber music. She was the first violinist in the Spiritoso Quartet, has played in several chamber ensembles with other faculty members of the Neighborhood Music School in New Haven, CT, and regularly performs with her husband, Charlie. She has recorded tracks for Paul Bogaev, and, as a member of the Spiritoso Quartet, she premiered a string quartet by Elise Grant in 2015.
Ms. Rasmussen received her Master’s in Violin Performance at the University of North Carolina at Greensboro and holds a Bachelor’s degree in Music Education from Baylor University. Her violin teachers include Fabian Lopez, Eka Gogichashvili, and Julia Hardie. She has done Suzuki Teacher Training with Julia Hardie, Mark Mutter, and long-term training with Allen Lieb at the School for Strings in New York City. She has taught at Suzuki, traditional, and El Sistema-inspired schools in Wisconsin, Connecticut, North Carolina, and Texas.
Cello, Suzuki, General Music
Charlie Rasmussen enjoys an active career as both a modern and Baroque cellist and as a teacher at the Wisconsin Conservatory of Music. Mr. Rasmussen was previously on faculty at the Talent Education Suzuki School in Norwalk, CT where he taught private and group cello lessons, musicianship classes, and coached chamber ensembles. Mr. Rasmussen strives to help his students develop a lifelong passion for music and cello playing.
Mr. Rasmussen holds a Masters of Music in Cello Performance from the University of North Carolina, Greensboro (UNCG), where he was a graduate assistant and studied with Dr. Alexander Ezerman. He also received a Post-Baccalaureate Certificate in Music Theory from UNCG. Before his studies at UNCG, Mr. Rasmussen graduated magna cum laude with a Bachelor of the Arts degree in music from Luther College where he studied with Dr. Eric Kutz. Mr. Rasmussen studied the Suzuki Method with Carol Tarr at the University of Denver, and he is trained to teach Books 1-10 through the Suzuki Association of the Americas.
Mr. Rasmussen performed as cellist in the Spiritoso Quartet from 2015-2016 and the Immer String Quartet while he was a student at UNCG. As an orchestral musician, Mr. Rasmussen has served as a principal cellist of the Danville Symphony Orchestra (VA), University of North Carolina Symphony Orchestra, and the Luther College Philharmonia. He has also performed with the Fayetteville and Norwalk Symphonies. An advocate of new music, Mr. Rasmussen performed in the premiere of Alejandro Rutty’s Cantabile Hop at the 2012 North Carolina Music Teacher’s Association in Chapel Hill and premiered a string quartet by Elise Grant in 2015. He has recorded for Grammy Award-winning Broadway and film composer Paul Bogaev.
As a Baroque cellist, Mr. Rasmussen has appeared at the Boston Early Music Festival with the New York Continuo Collective and with American Bach Soloists where he participated in the Academy program. Mr. Rasmussen has soloed with Greensboro Early Music and presented solo recitals through the Seabury Academy of the Arts in Norwalk, CT. He attended Phoebe Carrai’s Baroque Cello Bootcamp and the Magnolia Institute where he studied with Brent Wissick. He currently performs in the Vitali Ensemble with Baroque Guitarist Meredith Connie.
Violin and Viola, Suzuki, General Music
Natalie Stawarski is from Downers Grove, Illinois where she began playing violin at the age of 9 through her elementary school music program. She has gained a Bachelor of Music from Millikin University, where she studied under Georgia Hornbacker, and then went to study with Dr. Sarah Gentry at Illinois State university while pursuing a master’s degree. Natalie furthered her education by going to Southern Illinois University Edwardsville where she became trained in Suzuki up to book 8 under Vera McCoy Sulentic, and continued studying violin under Dr. Lenora Anop. Natalie has participated and performed in various classical, bluegrass, and free improv ensembles, as well as doing work within the recording studio at Millikin University. Natalie has also performed at the International Chamber Music Festival in Kyustendil, Bulgaria.
Viola and Violin, Suzuki, General Music
Mrs. Stodola started as a Suzuki violin instructor in Lubbock, Texas in 2002 after receiving short-term training at the American Suzuki Institute from Nancy Lokken. Inspired to learn more, Mrs. Stodola received a MME with an emphasis in Suzuki violin from the University of Wisconsin-Steven Point. During her time in Stevens Point she worked with Professor Pat D'Ercole, and was awarded the Margery Aber Talent Education Scholarship for two consecutive years. After completing her degree, she pursued Sonata Repertoire training with Tom Wermuth, and Suzuki Early Childhood Education with ECE pioneer, Dorothy Jones.
Mrs. Stodola has taught Suzuki violin in Milwaukee since 2005. She has taught independently and on the faculties of North Shore Suzuki Strings and Barcel Suzuki String Academy. Most recently, she joined the Conservatory Suzuki faculty in August of 2014. Mrs. Stodola has been a clinician at workshops throughout Wisconsin, and served as interim faculty for the Aber Suzuki Center at the University of Wisconsin-Stevens Point. She maintains involvement with the Suzuki Association of Wisconsin where in 2010, she served as organizational chairperson for their biennial workshop.
Mrs. Stodola holds a MM in violin performance from Texas Tech University studying under John Gilbert, and a BM in violin performance from the University of Minnesota studying with Sally O'Reilly. She also studied with Jerome Franke of the Milwaukee Symphony and Klara Fenyo-Bahcall, professor of violin at UW-Oshkosh. An avid performer, she served as concertmaster of the Green Bay Civic Symphony from 2007-2011, and is now currently a member of the Wisconsin Philharmonic