Review of the “Bow Right” product
A few weeks ago, I purchased a product called the “Bow Right for Violin.” As both a private and public string teacher, I have always been frustrated trying to get my students to play with a straight bow stroke that is parallel to the bridge. I have been pleasantly surprised by this product. It basically attaches to the sides of the violin (or smaller sized viola) and creates a lane that students have to bow within. For some of my students, we do a few warm-ups with it on and for other students, I have them use it for the entire lesson. Many of my students have commented that it really helps them feel what their arm should be doing on long bow strokes. I love this product and plan to use it in the fall for students in my orchestra class who are struggling.
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Note Reading and Flash Cards
Because note reading is largely about memorization, students need their own set of flashcards by the second or third lesson (for the D and A strings). Although note reading while playing should not be introduced at this point, students should review note-reading flashcards on a regular basis to prepare them for this task later. It is important that students practice not only saying the note name, but also the finger number. Even students who can already read music will benefit from this practice. In a group setting, I make a class set of flashcards on cardstock and we play games with the cards.
Under the “Downloads for Group Teachers” section, you will find printable flashcards to use for all 4 stringed instruments.
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Tapes vs. No Tapes
There has long been a controversy in the string world on whether teachers should put finger tapes on beginning students’ instruments. In a perfect world, where students are regularly taught music from a young age and can hear whether a note is out of tune, finger tapes may not be necessary. However, students often begin learning a string instrument with little or no musical ear training. As a general rule, I always put finger tapes on so that students can learn where to put their fingers. Students are told that these tapes are temporary and will not be replaced when they fall off. For violin and viola students, I typically only put on a first and third finger tape because the second finger position changes fairly early on. These students must learn that second finger is paired either with first or third finger.
It took me years to find the best tape to use for fingering tapes. Music stores often sell tapes that are an appropriate width, but it is really expensive. I’ve found that the best thing to use is thin auto detailing tape from an auto parts store (such as Auto Zone). It is inexpensive and it comes in a variety of colors (my students love the silver tape).
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Introducing Rhythm
Once students have a clear understanding of beat (see previous post), they are ready to learn basic rhythms. In a group setting, teachers will encounter varying levels of rhythm comprehension among students. I typically begin my discussion by saying something like “Some of you may already know how to read these rhythms, but hang in there while we introduce this to the rest of the class.” Often students who think that they understand rhythms find that they learn something from this discussion.
I start off by drawing four hearts on the board horizontally. I ask the class what they think these hearts represent. Having just discussed beat, they usually can figure out that they represent beat. Next, I draw bar lines on either side of the 4 hearts and say that we’ll call this grouping of beats a “measure.” Next, I draw a straight line (vertically) under each heart. I ask students to clap with me and students intuitively clap quarter notes. Next I’ll replace a line under one of the beats with two lines, breaking the beat in half (creating eighth notes). Then, I have students clap this rhythm with me. We do all combinations of quarter and eighth notes. Next, I’ll erase the lines under the beats and put a line under beat 1 and add a horizontal line extending through beat 2 (indicating a half note). I ask students how they think they would clap this new rhythm and usually students figure out that they have to hold the first note for two beats. This is all that we do the first day. The next class, I add note heads and introduce the names of the notes. I point out that a quarter note takes up 1/4 of the measure (or 1 beat), so that’s why it’s called a quarter note. Often students who have previous musical experience have simply memorized the names and values of notes and have no idea where the names come from.
After several days of using the “heart” diagram, I hand out a basic counting worksheet where students can begin clapping and counting very simple rhythms and playing them on an open string. Another fun activity is to have students make their own heart board and do rhythmic dictation (I use toothpicks for the quarter and eighth notes).
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Teaching beat and rhythm
As a classroom or private string teacher, you will encounter students with varying levels of comprehension of beat and rhythm. Even students with a significant amount of musical training (perhaps on the piano or other instrument) may not accurately understand the difference between beat and rhythm.
I usually begin a discussion on beat and rhythm by asking students what beat means in music. I’ve gotten a wide variety of answers and I’ve found that most students are confused about the differences between beat and rhythm. Eventually, I try to bring students to the conclusion that beat is like a heartbeat or pulse (relating it to their body) in a piece of music. It is constant and unchanging. I always ask the students if they’ve ever see someone dancing who can’t find the beat. (If I’m feeling brave I might even offer a demonstration!) Next, I play several pieces of music (classical to pop) and have students identify the beat. Students who have had little musical exposure will need more practice with this than other students.
After we’ve established a clear definition of beat, I ask students for a definition of rhythm. If students struggle to come up with an answer, I use a familiar tune to demonstrate the difference between beat and rhythm. I pick a song (such as “Jingle Bells”) and have them clap the beat with me. Then we clap the rhythm. Afterwards, I point out that there was a difference between the two exercises. We conclude that while beat is constant and unchanging, rhythm is constantly changing and is made up of notes with different lengths.
After this discussion on beat and rhythm, students are ready to be introduced to some basic rhythms (eighth, quarter and half notes). The procedure for doing this will be discussed in my next post.
Thanks for reading! Good luck with your teaching!
Topics: Classroom Teachers, Private Teachers, Basic Skills | 1 Comment »
An article everyone should read
I recently read an article that was printed in the Washington Post about a “social experiment” set up in New York’s subway. The author of the article had the idea to place a professional musician in the subway station and see how many people stopped to listen. Well, he not only got a professional musician- he actually got Joshua Bell (one of the most famous violinist of our time) to play for just under an hour in the subway station. He conferred with Leonard Slatkin (conductor of the National Symphony Orchestra) who said that Joshua Bell (playing on his Stradivarius violin by the way) would attract such a crowd that there would be problems with crowd control.
Well, I won’t tell you what happened. You’ll have to read the article to find out. Here’s the link:
http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html
Enjoy
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Getting Started
Many new string teachers (often with much expertise in their instrument), find it overwhelming to teach a brand new student. This guide to teaching strings can help teachers organize all of the skills that need to be taught so that nothing is left out. All of these skills should be taught before the method book is used. This day-by-day sequence will work for teaching in a private one-on-one setting or in a classroom setting. In a private setting, students will be able to accomplish much more than in the group setting, so you may complete all five days in less than five lessons. Be really flexible to the needs and interest level of your students.
Day 1:
*Tune instruments and put finger tapes on (In a group setting, try to collect the instruments ahead of time and do this to save time the first class. Also, in a group setting try to have help doing this as it can be very time consuming!)
Note: For finger tapes, I use thin auto detailing tape from an auto parts store. They’re the perfect width and come off fairly easily.
*Teach the parts of the instrument and care of instrument while putting tapes on.
*Teach banjo position and have students pluck the open strings by “parroting” you. For example, pluck open A four times and have students repeat, saying/singing the note name.
*Teach the musical alphabet.
I like to have the students sing the musical alphabet to the ABC Song tune. Just keep repeating ABCDEFG over and over instead of going on to “HIJK…” Young students always get a kick out of this!
*Teach the song “Open String Blues” (See First String Tunes handout or String Explorer Method book page 3). Use the CD included in the String Explorer method book to make the song more interesting. Or you can create an accompaniment using a 12 bar blues in D major.
*Teach students how to play the note “E” by rote.
Day 2:
*Review all of Day 1 information
*Teach the bow hold using a straw.
This prevents students from having tension in their bow hold because the straw will collapse if there is tension.
*Do some bow exercises using the straw. Be sure to have students watch for a curved thumb.
*Have students complete an instrument parts worksheet.
*Introduce the piano keyboard and staff. (Brief overview) Point out the correlation between notes going up on the staff or up on the keyboard and adding fingers to an open string.
*Teach the note F# on the D string (2nd finger for violin/viola, 3rd for cellos and 4th for basses).
*Teach Hot Cross Buns and Mary Had a Little Lamb by rote or using the First String Tunes Handout.
*Hand out flashcards for the A and D strings. Have students label them (or have this done ahead of time to avoid confusion) and assign them to cut them out.
Note: I like to have students cut out the flashcards and put them in a ziplock bag and staple them to the inside of their method book. Students who accomplish this by the 3rd class receive a small reward.
Day 3:
*Review all previous skills/information.
*Parrot all notes on the D and A strings.
*Teach the bow hold using the bow at the balance point. Holding the bow at the balance point initially allows students to hold the bow with no weight pulling on it. Move to the frog within a few classes.
*Bow exercises using the bow (rather than the straw).
*Play games with flashcards.
*Teach all songs from the First String Tunes handout.
Day 4:
*Review all previous skills/information.
*Introduce beat and rhythm.
*Have students read open strings on staff
*Begin bowing on the instrument. Have students parrot quarter notes using short bow strokes.
*Introduce basic rhythm patterns (using quarter and eighth notes) by rote.
*Bow songs on First String Tunes page (if students are ready)
*Add more bow exercises.
*Introduce solfege singing with hand signs.
Day 5:
*Review all previous skills/information.
*Move students from the balance point to the frog. Review all bow exercises.
*Introduce bowing lanes (“Freeway Analogy”).
*Have students sing simple, familiar tunes using solfege.
*Begin using the method book.
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