The most common criticisms of the Suzuki method from more traditional music teachers are that group playing, extensive listening to and copying of recordings, and early focus on memorization lead to:

* Compromised sight reading skills
* A tendency towards rote learning and 'robotic' group performance at the expense of individual musicianship (although a high degree of early technical ability is thereby produced)

Many Suzuki teachers have addressed these concerns by introducing sight reading exercises earlier and more often than was practiced when the method was first introduced in the West. Some also defend their emphasis on unity of musical expression in group performance by pointing out that this is a necessary skill "just like...in the string section of any professional symphony", and add that although group performance plays an important motivating and ensemble role, and is a highly visible part of the Suzuki method, solo expression can also be encouraged, and individually tailored lessons are at the heart of the method (Barber, 1991).

Criticism has also sprung up from within the Suzuki movement:

* Students may progress too rapidly and find themselves studying repertoire for which they are not yet emotionally prepared [vague].
* Baroque music is emphasized in the Suzuki violin literature to the detriment of other styles and periods. Some of this literature includes note errors and 19th-century editorial changes that are not in keeping with historically informed practice.
* "Older students can become overly dependent" on the support structure of recordings, parental note-taking and tutoring at home, and teaching styles appropriate for younger students (Barber, 1991).
* Very young students, such as those aged 3-5, are often not ready for formal instruction, and too much emphasis on practicing hard at this age may be counterproductive (American Suzuki Journal, 2005).