Suzuki past book one is basically mulling things over and over, not letting you explore possibilities out there. You need to supplement with a lot of other things especially if technique is your focus: scales, exercises, etudes, larger pieces. Your teacher is probably a product of the same system, so you might eventually need to face a challenge. Where are you located?
I live on Long Island, new York.
Even though I am way too old to be a professional, my goal is to still be up there in skill eventually. So yes, I would very much like to focus on technique and etudes and learn pretty much everything there is to learn about the violin.
I do not know which method my teacher is trained in, but she comes from Japan and is very familiar with Suzuki.
I wasn't sure if it was me, or the books that were problematic. Now I am leaning toward the book. I have Wohlfahrt's 60 studies, Op 45 - Book 1 as well as a book that was based on Flesch's scales. It's scales and arpeggios in 1, 2 and 3 octaves. Maybe if I showed them to my teacher, she would incorporate it into exercises that I do at home.
Too old to be a professional musician? Have you seen how old some professional musicians are? :p I assume you mean 'too old to start playing professionally', which is also not true! My dad basically became a professional musician after retiring from his (non-musical) career. (True, he'd been playing on and off the whole time, but my point remains.) If playing professionally is something that interests you, go for it.
Otherwise, I agree with what the other commenters said. I went through book 6 of Suzuki, but by the time I was in book 3, my teacher was giving me supplemental work. Scales, etudes, easier concertos, etc. That was also about the time I started playing in a junior youth orchestra, so I had that music to work on too; you could ask your instructor for some orchestral excerpts to try. I would definitely talk with your teacher about this. It is never too early to start on the scales and etudes. I wish my first teacher had pushed it more, but she was more interested in churning out kids who could screech out notes on stringed instruments than musicians.
I think my ultimate goal is to play in a community orchestra. There is one around and they take musicians of all levels, but I'm pregnant so I'm putting that on hold for a bit, because infants are work. I want to do really, really well. I am sure a lot of adults are satisfied with just learning whatever gets thrown their way, but not me. I want to be a great musician.
Did you like the Suzuki books? So far, they're not bad, but there's not a lot of exercises in book two. There's really not much happening in the first half except maybe some intro to double stops and then at the end of the book, there's an intro to third position.
I'll talk to my teacher. I have a book based on Flesch's scales and it's arpeggios and scales in one, two, and three octaves. And I have Wohlfarht's 60 studies, op 45 - book 1. I also did get Flesch's Urstudien as a previous commented recommended. I want to work on my left hand and try to get more dexterous.
Community orchestras are fun! Once I get my violin fixed I'm going to see if I can get back in the local one. I do best when I have a group to play in, that's how I encourage myself to play better.
I liked the Suzuki books, in that they're a good guide to work from, but they definitely aren't the be-all, end-all. And, at least the editions I have, they edited some of the concerto movements, so learning the unedited versions later was interesting, and frankly a bit aggravating because I had to unlearn things. (And now, I'm like really? You're editing Vivaldi? 8| why)
I have the old Suzuki books as well as the new ones. It's interesting to compare the two. For one, there's really no exercises at all in the older editions, and pretty much every note is labeled.
I do think the biggest issue with Suzuki is that it doesn't start off with learning how to read music. Then again, most children are 3,4 and 5 when they start out on the violin. There's also some issues with Suzuki leaving things out. Gavotte at the end of book one has a bunch of 16th notes that come out of nowhere. There is no preparation for the song, and no exercises.