Two years ago, my boyfriend took me to see the Seattle Symphony perform Vivaldi's Four Seasons for my birthday. I still rave about it. It was an amazing experience that was inspirational, motivating, captivating . . . you get the idea. Part of the reason it was so cool was because as a violinist, I've played most of the violin parts in it. Solo parts, first violin parts, second violin parts, for all three movements of all four pieces. So it was like getting a lesson or master class.
Watching other people perform can be a great learning experience. You can see and hear different ways of playing and performing, see different techniques in action, and experience someone else's interpretation of a piece. So when you go home afterward, you can try some of these and see how you like them for your playing.
Attending performances is also very motivating. After seeing the Seattle Symphony, I went home with renewed motivation to practice. Two months later, I even managed to get myself a lesson with a local professional violinist in the hopes of auditioning for a professional orchestra. Talk about inspiration! I still draw on my experience at that performance to give myself a motivational boost when I'm feeling uninspired.
The more performances you experience, the more experiences you have to draw on for your own playing. In college, I got to see the Juliard String Quartet perform. I called home to my violin teachers, excitedly telling them about how those old men jumped out of their seats! They were pretty tickled, considering they'd spent my high school years yelling at my orchestra to move together. That was the first time I had been able to really see it in action, and man did it work!
So as you can see, attending a performance can also reinforce something you've been trying to learn in a lesson or orchestra rehearsal. It's the little details, that all added up, make a really fine performance. Being able to see and experience this live is priceless.
I encourage everyone to attend as many performances as they can. We are blessed to live in such a musically active area, and have tons of performance options. I have listed websites of the groups I know about to get you started in your search for your next performance, but I'd also like to invite you to try a free performance. I play with Tacoma Community College's Symphony Orchestra, and would love to see you in the audience! Performances are usually Wednesday evenings at 7:30pm.
Seattle Symphony
Tacoma Symphony Orchestra
Auburn Symphony Orchestra
Northwest Sinfonietta
Rainier Symphony
Federal Way Symphony
Seattle Baroque Orchestra
Orchestra Seattle Chamber Singers (orchestra with choral group)
Olympia Symphony Orchestra
Northwest Symphony Orchestra
Tacoma Philharmonic
Bellevue Philharmonic
Tacoma Youth Symphony Association
Tacoma Opera
Happy Playing!
Wednesday, December 29, 2010
Sunday, December 12, 2010
Travel Tips
Going to Grandma's house for the holidays? Are you taking your instrument? You know she'd love to hear you play. Well, here's some travel tips to make sure your instrument has as enjoyable a trip as you do.
If you're traveling by bus, train, or car, you only need to do the following:
1) Pack your instrument carefully. Your case should be able to withstand the weight of other bags and boxes on top of it, but you don't want your instrument to be knocked around. So place it in a secure location, where it won't get jostled so much.
2) Pack your instrument so it's accessible. Leaving an instrument in the car is not a good idea. So you want it to be easily accessible, so you can take it out if you stop at a hotel for the night. Don't put it on the bottom if you'll be stopping overnight without completely unpacking the car.
3) Keep track of your instrument at all times. This sounds like a no-brainer, but instruments are expensive and it bears repeating. Don't leave your instrument unattended. If traveling by bus or train, insist it goes with you, rather than the rest of your luggage.
4) Keep track of the weather. As I discussed in my last post, the weather can have adverse effects on your instrument. So try to keep it as stable as you can. Don't leave it in the cold, and make sure you have something to control the humidity inside your case. If you're traveling somewhere that has a dry winter from the Pacific NW, your instrument won't be happy in the drier environment.
5) As soon as possible, take your instrument out and inspect it. Check your bridge; it should be almost straight up and down. Look for cracks or open seams. If you're not sure what to look for, ask your teacher before you go. Finally, tune your instrument if you can. It may take a couple days for your instrument to adjust to the new environment, and during that time it will require frequent tuning.
If you're traveling by plane, you'll need to do all of the above, as well as:
6) Before boarding the plane, take your instrument out and look it over. Then tune each string down about a quarter step. If you loosen the strings too much, your bridge and soundpost could fall over. So just about a quarter step; if you're not sure how to do this, make sure you ask your teacher.
7) Insist that your instrument is a carry-on bag. Don't let them put it in as checked baggage. This may mean that it's your only carry-on, but it's necessary. Your instrument may not survive if you put it in checked baggage, despite your best precautions.
You know how your ears pop when you fly? That's because the pressure is changing, which is why you have to loosen your strings before you board. And you're in the pressure-controlled cabin; the change is much, much worse in the baggage cabin.
8) In between flights, take your instrument out and check it over. Check your bridge and soundpost, look for cracks and open seams, and check the tuning. It should still be about a quarter step flat.
9) After you arrive at your destination, take your instrument out again and recheck it. Now is the time to retune it, too. It may take a couple days for your instrument to adjust, so tune before each time you play, even if you wouldn't ordinarily. Also look over your instrument daily for your entire trip. You want to make sure seams or old cracks don't open up.
Don't let this list scare you out of taking your instrument with you. Grandma and Grandpa would really love to hear you play, and the precautions when traveling are really not much more than your daily precautions with your instrument. So pack along some fun music you can play for your family, and enjoy your trip!
Happy Playing!
If you're traveling by bus, train, or car, you only need to do the following:
1) Pack your instrument carefully. Your case should be able to withstand the weight of other bags and boxes on top of it, but you don't want your instrument to be knocked around. So place it in a secure location, where it won't get jostled so much.
2) Pack your instrument so it's accessible. Leaving an instrument in the car is not a good idea. So you want it to be easily accessible, so you can take it out if you stop at a hotel for the night. Don't put it on the bottom if you'll be stopping overnight without completely unpacking the car.
3) Keep track of your instrument at all times. This sounds like a no-brainer, but instruments are expensive and it bears repeating. Don't leave your instrument unattended. If traveling by bus or train, insist it goes with you, rather than the rest of your luggage.
4) Keep track of the weather. As I discussed in my last post, the weather can have adverse effects on your instrument. So try to keep it as stable as you can. Don't leave it in the cold, and make sure you have something to control the humidity inside your case. If you're traveling somewhere that has a dry winter from the Pacific NW, your instrument won't be happy in the drier environment.
5) As soon as possible, take your instrument out and inspect it. Check your bridge; it should be almost straight up and down. Look for cracks or open seams. If you're not sure what to look for, ask your teacher before you go. Finally, tune your instrument if you can. It may take a couple days for your instrument to adjust to the new environment, and during that time it will require frequent tuning.
If you're traveling by plane, you'll need to do all of the above, as well as:
6) Before boarding the plane, take your instrument out and look it over. Then tune each string down about a quarter step. If you loosen the strings too much, your bridge and soundpost could fall over. So just about a quarter step; if you're not sure how to do this, make sure you ask your teacher.
7) Insist that your instrument is a carry-on bag. Don't let them put it in as checked baggage. This may mean that it's your only carry-on, but it's necessary. Your instrument may not survive if you put it in checked baggage, despite your best precautions.
You know how your ears pop when you fly? That's because the pressure is changing, which is why you have to loosen your strings before you board. And you're in the pressure-controlled cabin; the change is much, much worse in the baggage cabin.
8) In between flights, take your instrument out and check it over. Check your bridge and soundpost, look for cracks and open seams, and check the tuning. It should still be about a quarter step flat.
9) After you arrive at your destination, take your instrument out again and recheck it. Now is the time to retune it, too. It may take a couple days for your instrument to adjust, so tune before each time you play, even if you wouldn't ordinarily. Also look over your instrument daily for your entire trip. You want to make sure seams or old cracks don't open up.
Don't let this list scare you out of taking your instrument with you. Grandma and Grandpa would really love to hear you play, and the precautions when traveling are really not much more than your daily precautions with your instrument. So pack along some fun music you can play for your family, and enjoy your trip!
Happy Playing!
Thursday, December 2, 2010
Weatherizing Your Instrument
Weatherize an instrument? You bet. Your instrument isn't just a box with a few strings, it's a living being. Okay, maybe not that dramatic, but the weather does affect it. Your instrument is made of wood. Wood responds to changes in humidity, temperature, and even air pressure. This is why your instrument will usually go out of tune every time the weather changes.
Here in the Pacific Northwest, we're blessed. We have mild winters, we're relatively humid year round, and even our summers aren't that hot. Perfect stringed instrument climate. However, there are some precautions you should take.
1) Most important is daily maintenance. Every day, before you start playing, check your instrument over. Check the bridge. Does it seem to be in the correct spot? If you look at your instrument from the side, your bridge should lean back ever so slightly. If it's leaning one way or another dramatically, contact your teacher or your luthier ASAP! It can break, but needs to be adjusted by someone who knows what they're doing.
Check for cracks or open seams. Is your fingerboard securely glued on? Not only does the wood respond to changes in weather, the glue does too.
Does your instrument look right? By checking it every day, you'll get used to what is normal and what's not. Then you'll be able to bring any problems to your luthier before they're big problems.
2) Humidity. If you are going to be moving your instrument around a lot, it might be worth it to get a humidity regulator for your case. They're available at most stringed instrument supply stores.
3) Temperature. NEVER leave your instrument in the car! Not only does the chance of theft skyrocket (and most companies don't insure instruments in your car), but changes in temperature can severely damage your instrument. Try to keep it relatively stable, around 60-70F (what most humans are comfortable in) is usually great.
Like I said, winter care for our instruments is pretty easy here in the NW. But a little preventive care can go a long way to extending the life of your instrument. Stay tuned next time for travel tips!
Happy Playing!
Here in the Pacific Northwest, we're blessed. We have mild winters, we're relatively humid year round, and even our summers aren't that hot. Perfect stringed instrument climate. However, there are some precautions you should take.
1) Most important is daily maintenance. Every day, before you start playing, check your instrument over. Check the bridge. Does it seem to be in the correct spot? If you look at your instrument from the side, your bridge should lean back ever so slightly. If it's leaning one way or another dramatically, contact your teacher or your luthier ASAP! It can break, but needs to be adjusted by someone who knows what they're doing.
Check for cracks or open seams. Is your fingerboard securely glued on? Not only does the wood respond to changes in weather, the glue does too.
Does your instrument look right? By checking it every day, you'll get used to what is normal and what's not. Then you'll be able to bring any problems to your luthier before they're big problems.
2) Humidity. If you are going to be moving your instrument around a lot, it might be worth it to get a humidity regulator for your case. They're available at most stringed instrument supply stores.
3) Temperature. NEVER leave your instrument in the car! Not only does the chance of theft skyrocket (and most companies don't insure instruments in your car), but changes in temperature can severely damage your instrument. Try to keep it relatively stable, around 60-70F (what most humans are comfortable in) is usually great.
Like I said, winter care for our instruments is pretty easy here in the NW. But a little preventive care can go a long way to extending the life of your instrument. Stay tuned next time for travel tips!
Happy Playing!
Thursday, November 11, 2010
Why I Teach Music . . . Part 2
So, last time I wrote about why I teach. Today's question is:
Why Music? (in no particular order)
1) Music is good for the soul. Stress relief 101.
2) Music is a great escape. When I play, I focus on the music. The rest of the world disappears, and it's just me, my instrument, and the music. I don't have to worry about bills, homework, deadlines, relationship problems, working, what to have for dinner. Sure, the problems are still there for me when I'm done, but I've had some time away from them. And music sure beats drugs!!
3) Music is a powerful communication tool. It can make you cry, laugh, dance, or snort as you try to do all three. Tapping into this communication ability makes it easier to tap into others, so you become a better communicator overall.
4) Music is great for the brain. Music helps us learn how to learn. I know how I can memorize music, so I know how to memorize other things, including grocery lists.
5) Anger management. I have one song I play when I'm angry, and no, it doesn't sound great, but I put all that angry energy into it, and when it's done, I'm better. Possibly still upset, but rational.
6) Playing with others. Playing in a group is perhaps my greatest joy in music. Coming together with other people, to create something wonderful for others to hear - that's special.
So, if you put these two posts together (why I teach, and why music), you begin to see. Being able to help someone achieve what I have with music, and find the joy in it that I have, well, that's really cool. So, go make my day and play some music!
Happy Playing!
Why Music? (in no particular order)
1) Music is good for the soul. Stress relief 101.
2) Music is a great escape. When I play, I focus on the music. The rest of the world disappears, and it's just me, my instrument, and the music. I don't have to worry about bills, homework, deadlines, relationship problems, working, what to have for dinner. Sure, the problems are still there for me when I'm done, but I've had some time away from them. And music sure beats drugs!!
3) Music is a powerful communication tool. It can make you cry, laugh, dance, or snort as you try to do all three. Tapping into this communication ability makes it easier to tap into others, so you become a better communicator overall.
4) Music is great for the brain. Music helps us learn how to learn. I know how I can memorize music, so I know how to memorize other things, including grocery lists.
5) Anger management. I have one song I play when I'm angry, and no, it doesn't sound great, but I put all that angry energy into it, and when it's done, I'm better. Possibly still upset, but rational.
6) Playing with others. Playing in a group is perhaps my greatest joy in music. Coming together with other people, to create something wonderful for others to hear - that's special.
So, if you put these two posts together (why I teach, and why music), you begin to see. Being able to help someone achieve what I have with music, and find the joy in it that I have, well, that's really cool. So, go make my day and play some music!
Happy Playing!
Thursday, November 4, 2010
Why I Teach Music . . .
You know, I grew up knowing for certain I wanted to work with animals. I spent nearly 10 years of my life preparing to be a zookeeper. And now what do I do? Teach private string lessons!! So, why stick with it?
There's really two parts to this question: Why Teach? and Why Music?
Why Teach? (no particular order):
1) Teaching something, no matter what it is, is a GREAT way to better learn it yourself. You have to come up with different ways of showing, telling, etc, because no two people are the same, so you end up knowing 20+ different ways of doing everything you're teaching!
2) It's great for my mind. I know that as long as I keep teaching, my mind will remain sharp until I die. That's a good thought.
3) It's great for my students! Every time you learn something, that's another connection that's been made in your brain. Connections are good things. So whether you're debating whether to learn to cross-stitch, the next level in math, a new game, or music, the question should really be: why not? Go for it!
4) I adore my students. Some people ask me why I don't have kids of my own. In a way, I do - 30 of them! I just don't have to be 100% responsible for them all the time. But I still get to take joy in their growth, both as musicians and as people, share their sorrows, delight in their successes, revel in their joys. I can honestly say that I love every single student of mine.
5) It's hard to beat that "ah hah!" moment. Helping someone come to greater understanding is immensely rewarding. At the end of the day, I know that I've made a difference. No, I don't reach hundreds of students. But I get to personally interact with and get to know each of my students, and personally help them become better musicians and people.
6) Who wouldn't want to buy a bunch of toys and prizes and be able to give them away when their students pass books or do something really amazing? I get to have fun shopping, guilt-free!
As I said, these were in no particular order. I'm sure there's more (gee, I'm still thinking of more to add), but these are the biggies. I'll talk about why I'm involved with music in the next post.
Happy Playing!
There's really two parts to this question: Why Teach? and Why Music?
Why Teach? (no particular order):
1) Teaching something, no matter what it is, is a GREAT way to better learn it yourself. You have to come up with different ways of showing, telling, etc, because no two people are the same, so you end up knowing 20+ different ways of doing everything you're teaching!
2) It's great for my mind. I know that as long as I keep teaching, my mind will remain sharp until I die. That's a good thought.
3) It's great for my students! Every time you learn something, that's another connection that's been made in your brain. Connections are good things. So whether you're debating whether to learn to cross-stitch, the next level in math, a new game, or music, the question should really be: why not? Go for it!
4) I adore my students. Some people ask me why I don't have kids of my own. In a way, I do - 30 of them! I just don't have to be 100% responsible for them all the time. But I still get to take joy in their growth, both as musicians and as people, share their sorrows, delight in their successes, revel in their joys. I can honestly say that I love every single student of mine.
5) It's hard to beat that "ah hah!" moment. Helping someone come to greater understanding is immensely rewarding. At the end of the day, I know that I've made a difference. No, I don't reach hundreds of students. But I get to personally interact with and get to know each of my students, and personally help them become better musicians and people.
6) Who wouldn't want to buy a bunch of toys and prizes and be able to give them away when their students pass books or do something really amazing? I get to have fun shopping, guilt-free!
As I said, these were in no particular order. I'm sure there's more (gee, I'm still thinking of more to add), but these are the biggies. I'll talk about why I'm involved with music in the next post.
Happy Playing!
Tuesday, October 26, 2010
Daily Instrument Care
About once a year you need to take your instrument in for regular maintenance. But what can you do, every day, at home?
1) Practice smart, safe instrument handling. This is especially important for young children. Parents, don't let your 6 year old son swing his instrument around; regularly remind him he's supposed to be in rest position if he's not playing.
2) Do you have pets? Don't leave them unsupervised with your instrument! While your cat may enjoy the feel of your instrument under her claws, I can guarantee you your instrument doesn't! If in doubt, take the extra moment and pack your instrument up.
3) When you're done playing: make sure you wipe the rosin off your instrument. Rosin isn't good for your varnish, so make sure you wipe it off. You can use any clean, dry terry cloth.
4) If you're playing outside, don't let your instrument get wet. Water also isn't good for your instrument.
5) While it may be pretty afterward, resist the temptation to polish your instrument. Many polishes are less than stellar quality, and a poor polish job can cause more harm than good. This is something best left to your luthier.
6) As soon as your teacher teaches you how to, practice tuning your instrument every day, making sure to follow your teacher's directions. Keeping your instrument in tune not only makes it easier to play well, it also keeps your instrument happier.
7) Ask your teacher to show you how to regularly check for cracks and open seams. While fixing them requires a luthier, anyone can find them, and fixing them sooner is often cheaper and easier, as well as less stressful on the instrument, then fixing them later.
Remember, prevention is always cheaper than a trip to your luthier for a major problem! So keep your eye on your instrument, and you'll both be happier for it.
Happy Playing!
1) Practice smart, safe instrument handling. This is especially important for young children. Parents, don't let your 6 year old son swing his instrument around; regularly remind him he's supposed to be in rest position if he's not playing.
2) Do you have pets? Don't leave them unsupervised with your instrument! While your cat may enjoy the feel of your instrument under her claws, I can guarantee you your instrument doesn't! If in doubt, take the extra moment and pack your instrument up.
3) When you're done playing: make sure you wipe the rosin off your instrument. Rosin isn't good for your varnish, so make sure you wipe it off. You can use any clean, dry terry cloth.
4) If you're playing outside, don't let your instrument get wet. Water also isn't good for your instrument.
5) While it may be pretty afterward, resist the temptation to polish your instrument. Many polishes are less than stellar quality, and a poor polish job can cause more harm than good. This is something best left to your luthier.
6) As soon as your teacher teaches you how to, practice tuning your instrument every day, making sure to follow your teacher's directions. Keeping your instrument in tune not only makes it easier to play well, it also keeps your instrument happier.
7) Ask your teacher to show you how to regularly check for cracks and open seams. While fixing them requires a luthier, anyone can find them, and fixing them sooner is often cheaper and easier, as well as less stressful on the instrument, then fixing them later.
Remember, prevention is always cheaper than a trip to your luthier for a major problem! So keep your eye on your instrument, and you'll both be happier for it.
Happy Playing!
Monday, October 18, 2010
Bow Care
In addition to your regular maintenance you need to take your instrument into a luthier (string repair person) to have done, there's certain things you should be doing every day. This first post is about your bow; next, we'll look at your instrument.
1) When you first get your bow out, but before you tighten it, take a moment to examine it. Look down the stick to check for warping, and carefully examine the head and stick for cracks. Hairline cracks can develop in a bow, especially if it's dropped, and then cause the bow to snap at inopportune times. Repairs are also easier and cheaper if the damage is caught early.
2) When you tighten your bow for playing, don't over-tighten it. The stick of your bow should NEVER be straight. If it is, it is too tight, for any kind of playing. Be nice to your bow and play with it looser than you think you should. Then, when you're playing, if your stick touches your strings, you know you need to tighten it a bit more.
3) When you're done playing, but before you loosen it, wipe the rosin off the stick. Rosin isn't good for varnish, and there's varnish on the wood part of our bows. So occasionally wipe the rosin off, and your bow will stay in better condition longer.
4) Loosen your bow after EVERY time you play. Do you know why? If you don't, your stick will start to warp, or the wood will bend in a bad way. You should never loosen it so much that the screw comes out, but the hair should be able to touch the stick. Keeping your bow tight will also cause your hair to stretch faster, which means it'll need a rehair sooner.
Keeping your bow tight all the time can also increase the chances of your bow breaking or otherwise being damaged while in the case. Your bow is under a lot of tension when tight, and even in your case, if your case gets knocked about, your bow could be damaged. Loosening your bow after playing helps minimize these risks.
Getting in the habit of just a few daily routines can help save you hundreds in repairs later.
Happy Playing!
1) When you first get your bow out, but before you tighten it, take a moment to examine it. Look down the stick to check for warping, and carefully examine the head and stick for cracks. Hairline cracks can develop in a bow, especially if it's dropped, and then cause the bow to snap at inopportune times. Repairs are also easier and cheaper if the damage is caught early.
2) When you tighten your bow for playing, don't over-tighten it. The stick of your bow should NEVER be straight. If it is, it is too tight, for any kind of playing. Be nice to your bow and play with it looser than you think you should. Then, when you're playing, if your stick touches your strings, you know you need to tighten it a bit more.
3) When you're done playing, but before you loosen it, wipe the rosin off the stick. Rosin isn't good for varnish, and there's varnish on the wood part of our bows. So occasionally wipe the rosin off, and your bow will stay in better condition longer.
4) Loosen your bow after EVERY time you play. Do you know why? If you don't, your stick will start to warp, or the wood will bend in a bad way. You should never loosen it so much that the screw comes out, but the hair should be able to touch the stick. Keeping your bow tight will also cause your hair to stretch faster, which means it'll need a rehair sooner.
Keeping your bow tight all the time can also increase the chances of your bow breaking or otherwise being damaged while in the case. Your bow is under a lot of tension when tight, and even in your case, if your case gets knocked about, your bow could be damaged. Loosening your bow after playing helps minimize these risks.
Getting in the habit of just a few daily routines can help save you hundreds in repairs later.
Happy Playing!
Thursday, October 14, 2010
Student Surveys
Last week, I did something new. I handed out student surveys, and I have to admit, I was quite nervous. But reading through them this evening, I really enjoyed it. Thanks to everyone that filled them out!
I handed out 16 student surveys, but only got 7 back. I really appreciate the input I did get; however, by not filling out your survey you're missing out on a vital part of your lessons. These are to help me be a better teacher for you, and allow me to see what my students like and dislike about their lessons. The goal is to make lessons more enjoyable for my students.
When creating the student surveys, I asked students not to put their names on them. I wanted the surveys to be anonymous, and I have to say, it worked. I couldn't tell whose was whose.
Even with only seven surveys returned, I noticed a few trends. A few students commented that we never talked about anything other than violin or music, or got to know each other. I have to admit, this is definitely a weak point of mine, and one I've worked long and hard to rectify - though obviously my work isn't done yet. I'm naturally not a very social person. But if there is something you want to talk about, I love listening. You may not realize it, but I care about each of my students as individuals, and want to be here for you.
Most of my students enjoy it when I play with them. I try to have a balance of playing with my students, so they can see and hear how it's supposed to be played, but also let them play by themselves. So if you notice that I'm not playing with you as much, it's because I want you to become comfortable playing by yourself. It also makes it easier for me to hear you.
There are many facets to music, and I saw that several students did not enjoy exercises and etudes as much as the pieces. I hope you know that all those exercises I make you do (scales, double stops, shifting, sight reading, etc) help you to become a better musician. I personally hate them too - I don't know anyone who doesn't. But they're good for us, like vitamins and broccoli. They help us focus on different aspects of our playing, so that when we encounter the same thing in our music, it's easier.
Another big facet to music is the social aspect. Not just socializing with me, but also with your fellow students and the other families in the studio. This is one reason I love teaching out of my studio - it gives my students a chance to see and hear the students before and after them. When students come early (notice how I encourage everyone to come in when they get here?), it also gives the student whose lesson it is a chance to perform, of a sort. We all play music for ourselves, but hopefully also for others, and that is what performing is about. So when the next student comes in at the end of your lesson, think of it as a chance to perform and get over some nerves.
Do you know why I make you memorize music? Mostly, because it helps develop your brain. If you can memorize music, then it will be easier for you to memorize other things, too. Like spelling words, names and dates for history, or the carbon cycle. Or even your grocery list. It's also just a good skill to have - have you ever seen a soloist perform with music? I haven't.
Overall, the student surveys were a huge success. I plan to revise them, and hand out new ones in a few months. They helped me see lessons through my students' eyes, and that's a good thing.
Is there something I can do to make your lessons better? Even if you didn't get a chance to fill in your survey, I hope you feel comfortable talking to me about it during your lesson. One of my favorite things about being a teacher is that I am constantly learning new things, and changing the way I do things. So please, let me know!
Happy Playing!
I handed out 16 student surveys, but only got 7 back. I really appreciate the input I did get; however, by not filling out your survey you're missing out on a vital part of your lessons. These are to help me be a better teacher for you, and allow me to see what my students like and dislike about their lessons. The goal is to make lessons more enjoyable for my students.
When creating the student surveys, I asked students not to put their names on them. I wanted the surveys to be anonymous, and I have to say, it worked. I couldn't tell whose was whose.
Even with only seven surveys returned, I noticed a few trends. A few students commented that we never talked about anything other than violin or music, or got to know each other. I have to admit, this is definitely a weak point of mine, and one I've worked long and hard to rectify - though obviously my work isn't done yet. I'm naturally not a very social person. But if there is something you want to talk about, I love listening. You may not realize it, but I care about each of my students as individuals, and want to be here for you.
Most of my students enjoy it when I play with them. I try to have a balance of playing with my students, so they can see and hear how it's supposed to be played, but also let them play by themselves. So if you notice that I'm not playing with you as much, it's because I want you to become comfortable playing by yourself. It also makes it easier for me to hear you.
There are many facets to music, and I saw that several students did not enjoy exercises and etudes as much as the pieces. I hope you know that all those exercises I make you do (scales, double stops, shifting, sight reading, etc) help you to become a better musician. I personally hate them too - I don't know anyone who doesn't. But they're good for us, like vitamins and broccoli. They help us focus on different aspects of our playing, so that when we encounter the same thing in our music, it's easier.
Another big facet to music is the social aspect. Not just socializing with me, but also with your fellow students and the other families in the studio. This is one reason I love teaching out of my studio - it gives my students a chance to see and hear the students before and after them. When students come early (notice how I encourage everyone to come in when they get here?), it also gives the student whose lesson it is a chance to perform, of a sort. We all play music for ourselves, but hopefully also for others, and that is what performing is about. So when the next student comes in at the end of your lesson, think of it as a chance to perform and get over some nerves.
Do you know why I make you memorize music? Mostly, because it helps develop your brain. If you can memorize music, then it will be easier for you to memorize other things, too. Like spelling words, names and dates for history, or the carbon cycle. Or even your grocery list. It's also just a good skill to have - have you ever seen a soloist perform with music? I haven't.
Overall, the student surveys were a huge success. I plan to revise them, and hand out new ones in a few months. They helped me see lessons through my students' eyes, and that's a good thing.
Is there something I can do to make your lessons better? Even if you didn't get a chance to fill in your survey, I hope you feel comfortable talking to me about it during your lesson. One of my favorite things about being a teacher is that I am constantly learning new things, and changing the way I do things. So please, let me know!
Happy Playing!
Thursday, October 7, 2010
How to Get Your Parents to Buy You a Better Instrument
You've been playing your instrument for five years now. Your teacher keeps saying you need a better one, and you're frustrated on your own. You don't like the way it sounds, responds, or feels. But your parents don't seem to understand that you really do need a new instrument. What to do?
First of all, practice your butt off. You need to show your parents that you're really serious about this. How do you expect them to believe you're serious if you only pick up your instrument a couple times a week? And I'm talking serious practice, and make sure you do it when they can hear you. Practice in different rooms of the house, so if they don't notice you in your bedroom, maybe they'll notice you in the living room.
Show you're committed to it by raising your own funds. Save your allowance, see if you can get some kind of a job, even mowing lawns or weeding. Ask your friends for help to throw a car wash. Hold a garage sale. Put up a lemonade stand. Take your instrument downtown and play on a street corner. (You may need a license for one or all of these. Do try to do things legally.)
Get your teacher to talk to your parents. Coming from a kid, "I need a new violin" doesn't usually have as much weight as your teacher discussing with your parents the advantages of a new instrument.
Ask your parents to take you to at least try out some different instruments. If they can hear the difference in sound as you play different instruments, that might be the deal-breaker.
Finally, talk to your parents about what a new instrument for you will do for them. Point out that college scholarships can be won on a nicer instrument, while you may not have a chance on your current one. Mention career possibilities; even if you don't want to play music professionally, you might just end up down that road.
If your parents still don't see the light, and you've done all the above, keep raising your own funds. You will eventually have enough on your own. And while you're at it, ask your teacher to keep his or her eyes and ears out for a bargain. They do come along occasionally.
Good luck, and happy playing!
First of all, practice your butt off. You need to show your parents that you're really serious about this. How do you expect them to believe you're serious if you only pick up your instrument a couple times a week? And I'm talking serious practice, and make sure you do it when they can hear you. Practice in different rooms of the house, so if they don't notice you in your bedroom, maybe they'll notice you in the living room.
Show you're committed to it by raising your own funds. Save your allowance, see if you can get some kind of a job, even mowing lawns or weeding. Ask your friends for help to throw a car wash. Hold a garage sale. Put up a lemonade stand. Take your instrument downtown and play on a street corner. (You may need a license for one or all of these. Do try to do things legally.)
Get your teacher to talk to your parents. Coming from a kid, "I need a new violin" doesn't usually have as much weight as your teacher discussing with your parents the advantages of a new instrument.
Ask your parents to take you to at least try out some different instruments. If they can hear the difference in sound as you play different instruments, that might be the deal-breaker.
Finally, talk to your parents about what a new instrument for you will do for them. Point out that college scholarships can be won on a nicer instrument, while you may not have a chance on your current one. Mention career possibilities; even if you don't want to play music professionally, you might just end up down that road.
If your parents still don't see the light, and you've done all the above, keep raising your own funds. You will eventually have enough on your own. And while you're at it, ask your teacher to keep his or her eyes and ears out for a bargain. They do come along occasionally.
Good luck, and happy playing!
Wednesday, September 29, 2010
What Makes a Good Orchestra Experience?
I've played in a fair number of groups over the years. Some were really awesome and motivated me to practice, increased my love of my instrument and music, and taught me a lot. Others were not so awesome and were more frustrating, making me want to walk away and never return. What were the differences?
A lot has to do with how the orchestra is run. Sure, it can be fun to be social and chat a lot, but I was trained by a couple of professional musicians who expected their students to act professionally too. So to me, a rehearsal should get down to business and rehearse. There's still time before and after rehearsal, and during any breaks, for socializing.
The conductor makes a big difference. A conductor who can constructively critique the group's playing, and pinpoint what needs to be corrected, is essential. Anything else is just a waste of time, because why else are you rehearsing?
What is the conductor's attitude? Does he or she show up early to answer questions and start rehearsal on time, or do they waltz in 15 minutes late and expect you to wait for them? Respect works both ways, so the conductor should respect the musicians and what they are contributing.
A lot has to do with the musicians themselves. Not just their playing ability, although it can be very pleasurable to be able to sight read through a major symphony with a modicum of competence. But what are the attitudes of the players? Do they respect each other and their conductor? Do they show up on time, with their parts prepared? Did they come to socialize, to have fun, to learn, to make music? Sure, this is all a part of orchestra, but finding a group that is in line with your own attitude can make or break the difference.
Finally, assess the overall feel of the group. Is this somewhere your contributions are valued? Do you go home feeling energized or drained? If one group leaves you feeling frustrated, don't despair! There are lots of community, student, and professional groups out there, so go try a different one.
A good place to start your search is on the Community Band and Orchestra Links page. You can also ask your private teacher, your school teacher, or even music stores about groups in your area.
Happy Playing!
A lot has to do with how the orchestra is run. Sure, it can be fun to be social and chat a lot, but I was trained by a couple of professional musicians who expected their students to act professionally too. So to me, a rehearsal should get down to business and rehearse. There's still time before and after rehearsal, and during any breaks, for socializing.
The conductor makes a big difference. A conductor who can constructively critique the group's playing, and pinpoint what needs to be corrected, is essential. Anything else is just a waste of time, because why else are you rehearsing?
What is the conductor's attitude? Does he or she show up early to answer questions and start rehearsal on time, or do they waltz in 15 minutes late and expect you to wait for them? Respect works both ways, so the conductor should respect the musicians and what they are contributing.
A lot has to do with the musicians themselves. Not just their playing ability, although it can be very pleasurable to be able to sight read through a major symphony with a modicum of competence. But what are the attitudes of the players? Do they respect each other and their conductor? Do they show up on time, with their parts prepared? Did they come to socialize, to have fun, to learn, to make music? Sure, this is all a part of orchestra, but finding a group that is in line with your own attitude can make or break the difference.
Finally, assess the overall feel of the group. Is this somewhere your contributions are valued? Do you go home feeling energized or drained? If one group leaves you feeling frustrated, don't despair! There are lots of community, student, and professional groups out there, so go try a different one.
A good place to start your search is on the Community Band and Orchestra Links page. You can also ask your private teacher, your school teacher, or even music stores about groups in your area.
Happy Playing!
Thursday, September 23, 2010
Sight Reading Tips
Here's some really great sight reading tips from STRINGS. But the most important one is to practice sight reading every day! Yup, that's right, sight reading needs practicing too, and the more you sight read, the better you'll do. Happy Practicing!
Saturday, September 11, 2010
Practice Tip #3 - The Four Practice Steps
Last time, I discussed the need to do more than just play through your piece during your practice sessions. The need to take your piece apart, perfect each piece individually, then put it back together. Well, how do we do that?
Several ways. One of which is the Four Practice Steps.
The first thing you need to do is divide up the part you're perfecting. Take it a measure, or even just a couple of beats, at a time.
1) Stopped Eighth Notes
Play the little itty bitty section you have (4-8 notes maximum) as all stopped eighth notes. The point of this first practice step is to get the notes figured out. Bowings don't matter, neither do rhythms. And certainly dynamics and other musical ideas aren't in play here. Just the notes. Place each note accurately, precisely, and perfectly. If you play a wrong note, now's the time to fix it. Mark your part as needed. You'll need to do this step a few times until you know where all the notes are. Use a piano to check your intonation if you need to.
2) Hiccups
Set the first note of your itty bitty section. Check your finger, check your bow. Then play that first note, twice. Very quickly. The rhythm should sound like the word, "hiccup". Again, bowings and rhythms that are marked in the piece don't matter. We're still after solidifying those notes. Then, once you've played your first hiccup, stop. Set your next note. Check your fingers, check your bow. Then play another hiccup. Keep going like this until you reach the end of your itty bitty section. This is supposed to be slow going - you're perfecting notes here! So make sure you stop in between each note so you can check the next one. You should never be playing any wrong notes here. Repeat this step a few times, until you don't have to stop for as long, BUT YOUR INTONATION IS STILL PERFECT. That's important. Never practice incorrect notes.
3) Doubles
This step is just like the hiccups, without any stops. Start slow, and each time you repeat this step go a bit faster. You should be playing this step very fast, PERFECTLY, before you go on.
4) Stopped Slurs
NOW is where bowings and rhythms finally start to matter. Play the bowings as marked, but instead of playing any smooth slurs, all slurs that are written in your part should be stopped. Yes, this means you actually stop the bow. This step is very important. It makes our body stop so our brain has time to direct the muscles to do the correct bowing. It also allows our brain and muscles to figure out how much bow to give each note. If you only have one note per bow, it's not hard. Go up to two notes per bow, not that difficult either. But what if you have eight, or sixteen, notes per bow? This is where stopped slurs come in very handy to quickly learn how to distribute our bow. This step should also be repeated, with the same passage, several times.
NOW you get to play it as written. If you followed the steps correctly, you should easily be able to play the passage correctly, as written, with correct bowings and intonation. Assign yourself a small section to learn each day, and you'll be amazed at how quickly you learn your piece! Once you have a few very small sections mastered, try going through the four practice steps with longer sections. This should not take as many repetitions, as you've already learned it. You're just putting it together now.
The four practice steps are just one method of learning difficult passages. More ideas to come soon!
Happy Practicing!
Several ways. One of which is the Four Practice Steps.
The first thing you need to do is divide up the part you're perfecting. Take it a measure, or even just a couple of beats, at a time.
1) Stopped Eighth Notes
Play the little itty bitty section you have (4-8 notes maximum) as all stopped eighth notes. The point of this first practice step is to get the notes figured out. Bowings don't matter, neither do rhythms. And certainly dynamics and other musical ideas aren't in play here. Just the notes. Place each note accurately, precisely, and perfectly. If you play a wrong note, now's the time to fix it. Mark your part as needed. You'll need to do this step a few times until you know where all the notes are. Use a piano to check your intonation if you need to.
2) Hiccups
Set the first note of your itty bitty section. Check your finger, check your bow. Then play that first note, twice. Very quickly. The rhythm should sound like the word, "hiccup". Again, bowings and rhythms that are marked in the piece don't matter. We're still after solidifying those notes. Then, once you've played your first hiccup, stop. Set your next note. Check your fingers, check your bow. Then play another hiccup. Keep going like this until you reach the end of your itty bitty section. This is supposed to be slow going - you're perfecting notes here! So make sure you stop in between each note so you can check the next one. You should never be playing any wrong notes here. Repeat this step a few times, until you don't have to stop for as long, BUT YOUR INTONATION IS STILL PERFECT. That's important. Never practice incorrect notes.
3) Doubles
This step is just like the hiccups, without any stops. Start slow, and each time you repeat this step go a bit faster. You should be playing this step very fast, PERFECTLY, before you go on.
4) Stopped Slurs
NOW is where bowings and rhythms finally start to matter. Play the bowings as marked, but instead of playing any smooth slurs, all slurs that are written in your part should be stopped. Yes, this means you actually stop the bow. This step is very important. It makes our body stop so our brain has time to direct the muscles to do the correct bowing. It also allows our brain and muscles to figure out how much bow to give each note. If you only have one note per bow, it's not hard. Go up to two notes per bow, not that difficult either. But what if you have eight, or sixteen, notes per bow? This is where stopped slurs come in very handy to quickly learn how to distribute our bow. This step should also be repeated, with the same passage, several times.
NOW you get to play it as written. If you followed the steps correctly, you should easily be able to play the passage correctly, as written, with correct bowings and intonation. Assign yourself a small section to learn each day, and you'll be amazed at how quickly you learn your piece! Once you have a few very small sections mastered, try going through the four practice steps with longer sections. This should not take as many repetitions, as you've already learned it. You're just putting it together now.
The four practice steps are just one method of learning difficult passages. More ideas to come soon!
Happy Practicing!
Saturday, August 28, 2010
Practice Tip #2
Don't just play through your piece.
What was that? You thought you were supposed to? Well, yes, you are supposed to play through your piece, and that's great. But that's not the ONLY part of practicing. You also need to actually practice.
What is practice? It's all the boring stuff that you really don't want to have to do at your lesson, or that you don't want everyone else to hear. It's going through your piece, measure by measure, and painstakingly taking it part. Perfecting notes. Then rhythms. Then bowings. Then starting to put them back together again. Measure by measure.
One good tool to use during this time is your metronome. Oh, you hate yours too? Yeah, me too. They're annoying. But GREAT little tools. Use yours. You'll thank me later. And guess what? Every time you use it, it gets easier. That's right.
As a matter of fact, every time you practice, it gets easier. As you get the hang of taking pieces apart and putting them back together, it gets easier. It also gets easier to learn a new piece when you're a better sight reader. If you can read through a piece, for the first time ever, and get 50% of everything perfect, that's only 50% left you have to learn. Well, if you can read it through and get 90% perfect, you only have to learn 10%! And that's a good thing.
So remember, when you are learning a new piece, before you play it through, take it apart, then put it back together. When you are reviewing an old piece, play it through, take apart the bits you need to relearn, put it back together, then play it through again.
Until next time. Happy Practicing!
What was that? You thought you were supposed to? Well, yes, you are supposed to play through your piece, and that's great. But that's not the ONLY part of practicing. You also need to actually practice.
What is practice? It's all the boring stuff that you really don't want to have to do at your lesson, or that you don't want everyone else to hear. It's going through your piece, measure by measure, and painstakingly taking it part. Perfecting notes. Then rhythms. Then bowings. Then starting to put them back together again. Measure by measure.
One good tool to use during this time is your metronome. Oh, you hate yours too? Yeah, me too. They're annoying. But GREAT little tools. Use yours. You'll thank me later. And guess what? Every time you use it, it gets easier. That's right.
As a matter of fact, every time you practice, it gets easier. As you get the hang of taking pieces apart and putting them back together, it gets easier. It also gets easier to learn a new piece when you're a better sight reader. If you can read through a piece, for the first time ever, and get 50% of everything perfect, that's only 50% left you have to learn. Well, if you can read it through and get 90% perfect, you only have to learn 10%! And that's a good thing.
So remember, when you are learning a new piece, before you play it through, take it apart, then put it back together. When you are reviewing an old piece, play it through, take apart the bits you need to relearn, put it back together, then play it through again.
Until next time. Happy Practicing!
Monday, August 23, 2010
Instrument Maintenance
Do you know what maintenance tasks to perform when on your stringed
instrument? Check out this Back-to-School Checklist to find out!
instrument? Check out this Back-to-School Checklist
Thursday, August 19, 2010
Spring Recital 2010
All the students lined up for photos after our spring recital. Great job everyone!
Wednesday, August 18, 2010
Beethoven
Recently, I was asked the questions: "How could Beethoven compose such beautiful pieces, like the Moonlight Sonata, and be deaf? How would he know what the composition sounded like?"
Let's first establish, that Beethoven was a genius. In my opinion, all composers are/were. I couldn't compose anything worth listening to.
Next, let's look at a timeline:
Born December 1770
1778 - gave his first recital
1779 - started studying composition
1783 - published his first compositions
1796 - started to lose his hearing
1801 - Moonlight Sonata completed
1804-1808 - Beethoven's 5th Symphony written
1806 - Violin Concerto in D Major completed
1812 - Beethoven could still hear speech and music normally
1814 - Beethoven almost completely deaf
1824 - 9th Symphony completed
1827 - death
That is just a very abbreviated bit of a timeline, but it illustrates that Beethoven had been playing and composing long before he even started to go deaf. Furthermore, whatever caused his deafness was not sudden; it took him almost 20 years to completely lose his hearing.
Any composer gets his or her musical ideas from somewhere. I imagine, not being a composer myself, they come to them in their heads, much like I am writing this sentence now. If Beethoven was hearing melodies in his head, and had already been playing piano, violin, and viola for several years, and even been composing for several years, it's not stretching the imagination too far to say he could probably translate what he heard in his head onto paper, so someone else could recreate it.
The only step Beethoven was missing (in his later years, after he'd gone completely deaf), was listening to that recreation, and verifying it matched what he heard in his head. Had he been a new composer, this most likely would have been a great obstacle. But he had been composing for several years, so he could probably reliably reproduce what he wanted to.
A further point is that most of Beethoven's compositions were from earlier in his life, when he could still hear. Later in his life, he had several family and health issues, several dry periods in which he did not compose, and really did not have the same output he had in his earlier years.
So really, Beethoven's reputation of being "the deaf composer" might be almost a misnomer. Yes, he did go deaf later in life, but most of his compositions were written while he could still hear.
Happy Playing!
Let's first establish, that Beethoven was a genius. In my opinion, all composers are/were. I couldn't compose anything worth listening to.
Next, let's look at a timeline:
Born December 1770
1778 - gave his first recital
1779 - started studying composition
1783 - published his first compositions
1796 - started to lose his hearing
1801 - Moonlight Sonata completed
1804-1808 - Beethoven's 5th Symphony written
1806 - Violin Concerto in D Major completed
1812 - Beethoven could still hear speech and music normally
1814 - Beethoven almost completely deaf
1824 - 9th Symphony completed
1827 - death
That is just a very abbreviated bit of a timeline, but it illustrates that Beethoven had been playing and composing long before he even started to go deaf. Furthermore, whatever caused his deafness was not sudden; it took him almost 20 years to completely lose his hearing.
Any composer gets his or her musical ideas from somewhere. I imagine, not being a composer myself, they come to them in their heads, much like I am writing this sentence now. If Beethoven was hearing melodies in his head, and had already been playing piano, violin, and viola for several years, and even been composing for several years, it's not stretching the imagination too far to say he could probably translate what he heard in his head onto paper, so someone else could recreate it.
The only step Beethoven was missing (in his later years, after he'd gone completely deaf), was listening to that recreation, and verifying it matched what he heard in his head. Had he been a new composer, this most likely would have been a great obstacle. But he had been composing for several years, so he could probably reliably reproduce what he wanted to.
A further point is that most of Beethoven's compositions were from earlier in his life, when he could still hear. Later in his life, he had several family and health issues, several dry periods in which he did not compose, and really did not have the same output he had in his earlier years.
So really, Beethoven's reputation of being "the deaf composer" might be almost a misnomer. Yes, he did go deaf later in life, but most of his compositions were written while he could still hear.
Happy Playing!
Monday, August 16, 2010
Cello Vibrato
Last week we discussed how to develop and use vibrato for the violin and viola. But cello is a very different instrument, and has a different kind of movement for vibrato.
To start, you do what I call the "robot wave". Your left arm is out to your side, parallel to the ground, with your elbow bent at 90 degrees (also parallel to the floor). Then "wave" your arm; your lower arm should be moving up and down. Your shoulder should be pivoting in the socket. Do this for a couple minutes a day, for a few weeks, until the motion is VERY familiar.
Next, start bending your elbow, so that your hand slowly moves closer to the position it would be in to play your cello. Some students will need to go very slowly (~inch/day), others could go faster. But if you get confused about the motion, go back to the beginning. The whole time, your shoulder should be pivoting in the socket.
The next step is to start rotating your wrist until it is in position for playing. Again, feel free to go slowly, even go back to the beginning. And again, your shoulder should be pivoting in its socket.
Next, you need your instrument. Start from the very beginning, now with your instrument, all the way back at the robot wave. Start bending your elbow, then rotate your wrist. Go as slowly as you need to, and your shoulder is still the pivot joint.
All right, once you're comfortable with all this, now it's time to let your hand slide on the cello. Place your middle finger on your cello, in between the D and G strings, and slide up and down. Remember, this is the same motion as before, with the shoulder pivoting in the socket.
Next, plant your finger, but continue the motion. Your lower arm should be rotating up and down, but the motion still comes from your shoulder.
Finally, start from the very beginning again, but this time add your bow. While your left arm is moving, bow on the open C string. Slowly go through all the steps until your finger is planted. When you're comfortable, it's time to start bowing on the string your finger is on.
Try this exercise with each finger on each string. Each time you complete the exercise, it will get easier, until it is second nature. Start adding vibrato to simple pieces, and there you go!
Remember, however, that you first need a nice tone before adding vibrato. You can start the exercises before you're consistently sounding good, but keep working on that tone.
Happy Playing! Next week: All about Beethoven!
To start, you do what I call the "robot wave". Your left arm is out to your side, parallel to the ground, with your elbow bent at 90 degrees (also parallel to the floor). Then "wave" your arm; your lower arm should be moving up and down. Your shoulder should be pivoting in the socket. Do this for a couple minutes a day, for a few weeks, until the motion is VERY familiar.
Next, start bending your elbow, so that your hand slowly moves closer to the position it would be in to play your cello. Some students will need to go very slowly (~inch/day), others could go faster. But if you get confused about the motion, go back to the beginning. The whole time, your shoulder should be pivoting in the socket.
The next step is to start rotating your wrist until it is in position for playing. Again, feel free to go slowly, even go back to the beginning. And again, your shoulder should be pivoting in its socket.
Next, you need your instrument. Start from the very beginning, now with your instrument, all the way back at the robot wave. Start bending your elbow, then rotate your wrist. Go as slowly as you need to, and your shoulder is still the pivot joint.
All right, once you're comfortable with all this, now it's time to let your hand slide on the cello. Place your middle finger on your cello, in between the D and G strings, and slide up and down. Remember, this is the same motion as before, with the shoulder pivoting in the socket.
Next, plant your finger, but continue the motion. Your lower arm should be rotating up and down, but the motion still comes from your shoulder.
Finally, start from the very beginning again, but this time add your bow. While your left arm is moving, bow on the open C string. Slowly go through all the steps until your finger is planted. When you're comfortable, it's time to start bowing on the string your finger is on.
Try this exercise with each finger on each string. Each time you complete the exercise, it will get easier, until it is second nature. Start adding vibrato to simple pieces, and there you go!
Remember, however, that you first need a nice tone before adding vibrato. You can start the exercises before you're consistently sounding good, but keep working on that tone.
Happy Playing! Next week: All about Beethoven!
Monday, August 9, 2010
Violin and Viola Vibrato
Vibrato - a true distinction of an excellent violinist. The nemesis of many students, vibrato, once mastered, can add that special something to an otherwise perfected performance, and mean the difference between a competent and an exemplary player. According to Alfred's Pocket Dictionary of Music, vibrato is "a rapid fluctuation of pitch slightly above or below the main pitch." (pg 93) But how to create that fluctuation?
On the violin and viola, there are three kinds of vibrato. Finger vibrato, wrist vibrato, and elbow vibrato. Each are used, alone or in combination, in different types of music. When the music is fast, mostly finger vibrato is used. When the music is slow and melodic, often a combination, with lots of wrist and elbow vibrato, is used.
The first step, even before you start practicing your vibrato, is ensuring that the rest of the performance is mastered. Perfect intonation and posture are a must, as well as excellent bow control. Start with an excellent tone before you begin practicing vibrato, and before adding vibrato to a piece, first master the notes, rhythms, and bowings. Then you are ready to add vibrato.
To begin practicing finger vibrato, place your third finger on the A string, creating a D. Make sure your intonation and posture are correct, and that you have an excellent tone. Once you have accomplished these, you're ready to start. With violin and viola, our vibrato always starts on the main note (in this case, the D), and rocks backward. Almost a half step when you're first beginning. To begin, use quarter notes, starting with your third finger on the D, then rocking it back slightly to make a C#, then back to normal for a D, then back to the C#, then back to the D. Continue this practice, no more than a few minutes a day, until it comes easily. Then you can move up to eighth notes, then sixteenth notes.
At the same time you are practicing your finger vibrato, it is time to start practicing wrist vibrato. Find two empty film canisters or pill containers, and fill 1/2-3/4 full with rice. The reason you need two, is that most people are right handed, so it will be easier for their right hand to get the motion, but it will then teach the left hand. Hold one shaker in each hand, and have your hands up like you are holding two violins. Then rock your hand BACK, like you're waving. The idea is to create a smooth ssshhhhhh sound with the film canisters, not shh, shh, shh . . .
The most important thing to remember in all of this is to remain relaxed. The more a student tenses up during vibrato practice, the harder it will become. So start practicing your vibrato well before you need it to create a tension-free environment. If you feel like you HAVE to do it, you'll just end with a tense vibration of the hand, which is not at all like vibrato. And remember, your playing must already be beautiful.
See you next week to talk about cello vibrato! Happy Playing!
On the violin and viola, there are three kinds of vibrato. Finger vibrato, wrist vibrato, and elbow vibrato. Each are used, alone or in combination, in different types of music. When the music is fast, mostly finger vibrato is used. When the music is slow and melodic, often a combination, with lots of wrist and elbow vibrato, is used.
The first step, even before you start practicing your vibrato, is ensuring that the rest of the performance is mastered. Perfect intonation and posture are a must, as well as excellent bow control. Start with an excellent tone before you begin practicing vibrato, and before adding vibrato to a piece, first master the notes, rhythms, and bowings. Then you are ready to add vibrato.
To begin practicing finger vibrato, place your third finger on the A string, creating a D. Make sure your intonation and posture are correct, and that you have an excellent tone. Once you have accomplished these, you're ready to start. With violin and viola, our vibrato always starts on the main note (in this case, the D), and rocks backward. Almost a half step when you're first beginning. To begin, use quarter notes, starting with your third finger on the D, then rocking it back slightly to make a C#, then back to normal for a D, then back to the C#, then back to the D. Continue this practice, no more than a few minutes a day, until it comes easily. Then you can move up to eighth notes, then sixteenth notes.
At the same time you are practicing your finger vibrato, it is time to start practicing wrist vibrato. Find two empty film canisters or pill containers, and fill 1/2-3/4 full with rice. The reason you need two, is that most people are right handed, so it will be easier for their right hand to get the motion, but it will then teach the left hand. Hold one shaker in each hand, and have your hands up like you are holding two violins. Then rock your hand BACK, like you're waving. The idea is to create a smooth ssshhhhhh sound with the film canisters, not shh, shh, shh . . .
The most important thing to remember in all of this is to remain relaxed. The more a student tenses up during vibrato practice, the harder it will become. So start practicing your vibrato well before you need it to create a tension-free environment. If you feel like you HAVE to do it, you'll just end with a tense vibration of the hand, which is not at all like vibrato. And remember, your playing must already be beautiful.
"Vibrato is like makeup. You cannot take an ugly girl and make her beautiful with makeup, similarly, you cannot take ugly notes and make them beautiful with vibrato. Vibrato, like makeup, emphasizes the natural beauties already present." -Alfred Csammer
See you next week to talk about cello vibrato! Happy Playing!
Monday, August 2, 2010
Buying an Instrument
In my last post, I had my article, "To Rent or To Buy?" and we discussed the pros and cons of renting versus buying. In the latest violin lesson newsletter, I discussed things to look for in an instrument to purchase. But, where to buy?
If you've been renting, hopefully you're renting from a shop that has a rent to own program. If this is the case, then you should have some credit built up with them, and they can be your first stop. When you go in to purchase an instrument, go in with a clear idea of your budget. Find out how much credit you have, so you know how expensive of an instrument you can buy. Finally, ask to see all instruments within your budget.
If the shop does not have several instruments for you to choose from, ask them if they can have any shipped there from other stores. It's worth the extra wait. You want to be able to choose your favorite among several instruments.
If you haven't been renting, there are several other places to check out. I really like David T Stone Violins. They're very helpful and knowledgeable. When I first went in and told him I was just thinking about buying a new bow (I wasn't ready at that point), David taught me so much I felt like I was in school again! Someone who's that willing to invest time into my education, when I'm not even ready to buy yet, is definitely a good one to return to. And I'm very happy with the bow that I did end up buying from him.
I recently bought a viola and cello, both relatively cheaply but they're pretty nice instruments. And while I generally say an emphatic "No!" to buying online, that's where I got these instruments. I went to ebay, to the kkmusicstore, and got a good deal. Make sure you get one of their top instruments to get your money's worth. The thing with buying online, however, is you can't try it out, so make sure there's a return policy.
Those are my recent experiences with buying instruments. There's tons of places to buy from. You can get some really good deals buying a used instrument from an individual, but they won't have several for you to try, and odds are they'll have cheap instruments. You may pay more buying from a shop, but you're also paying for their expertise as they should be able to help you find an instrument that works for you. And best of all, you'll be able to try several. Even if you don't plan to buy from a shop, you should go in and try their instruments so you can have a feel for what you like.
Happy Playing!!
If you've been renting, hopefully you're renting from a shop that has a rent to own program. If this is the case, then you should have some credit built up with them, and they can be your first stop. When you go in to purchase an instrument, go in with a clear idea of your budget. Find out how much credit you have, so you know how expensive of an instrument you can buy. Finally, ask to see all instruments within your budget.
If the shop does not have several instruments for you to choose from, ask them if they can have any shipped there from other stores. It's worth the extra wait. You want to be able to choose your favorite among several instruments.
If you haven't been renting, there are several other places to check out. I really like David T Stone Violins. They're very helpful and knowledgeable. When I first went in and told him I was just thinking about buying a new bow (I wasn't ready at that point), David taught me so much I felt like I was in school again! Someone who's that willing to invest time into my education, when I'm not even ready to buy yet, is definitely a good one to return to. And I'm very happy with the bow that I did end up buying from him.
I recently bought a viola and cello, both relatively cheaply but they're pretty nice instruments. And while I generally say an emphatic "No!" to buying online, that's where I got these instruments. I went to ebay, to the kkmusicstore, and got a good deal. Make sure you get one of their top instruments to get your money's worth. The thing with buying online, however, is you can't try it out, so make sure there's a return policy.
Those are my recent experiences with buying instruments. There's tons of places to buy from. You can get some really good deals buying a used instrument from an individual, but they won't have several for you to try, and odds are they'll have cheap instruments. You may pay more buying from a shop, but you're also paying for their expertise as they should be able to help you find an instrument that works for you. And best of all, you'll be able to try several. Even if you don't plan to buy from a shop, you should go in and try their instruments so you can have a feel for what you like.
Happy Playing!!
Monday, July 26, 2010
To Rent or to Buy
Many students ask this question when they are first starting out, and continue to ask it throughout their playing. The answer is simple, yet different for every student.
When renting an instrument, you pay a monthly fee for use of an instrument. Included in your use, however, is care of the instrument. If you break a string, need your bow rehaired, drop your instrument and break your bridge, or even run it over with your car, the dealer will usually repair or replace the instrument for free.
Renting is especially sensible for young students who are constantly growing. If you buy an instrument, you have to buy a new instrument, and sell your old one, every time your student outgrows their instrument, which can be frequently. If you rent, all that is needed is a quick trip into the dealer, who will size the student, and switch your instrument for one of an appropriate size. Sometimes, this will cause a monthly fee to change, but not by more than a couple dollars.
If you are a beginner, there is no real need for a very expensive violin until you gain more experience. However, after a few months to a couple years, a better instrument will be needed. If you are renting, this exchange is easy. You visit the dealer, tell them you want a better violin, and they may let you try a couple to make sure you like the one you end up with, then they do the exchange of instruments. Again, your monthly fee may be affected, but not by much. If you own your instrument and decide to upgrade, you have to buy a new instrument, and sell your old one.
The final benefit of renting comes when it is time to buy an instrument. Most dealers will allow part or all of the monthly rent you have paid to go toward purchasing a new (or used) instrument from them. And this could be the instrument you're renting, or one of a higher quality. So you're not just "throwing money away" when you are renting.
All that being said, owning your own instrument has its perks, too, especially for the advanced player. If allows you to get repairs done where you want them, you can choose the strings that are put on the instrument, and once you have paid off the instrument, you have only maintenance to pay for.
I recommend my beginners to start by renting an instrument, and after a little while to buy an instrument of a better quality. When buying an instrument, you should always play it to make sure you like it. It's going to be your instrument, and only you can decide if you'll actually enjoy playing it. This is why I recommend beginners to start with renting, but the decision is yours to make.
When renting an instrument, you pay a monthly fee for use of an instrument. Included in your use, however, is care of the instrument. If you break a string, need your bow rehaired, drop your instrument and break your bridge, or even run it over with your car, the dealer will usually repair or replace the instrument for free.
Renting is especially sensible for young students who are constantly growing. If you buy an instrument, you have to buy a new instrument, and sell your old one, every time your student outgrows their instrument, which can be frequently. If you rent, all that is needed is a quick trip into the dealer, who will size the student, and switch your instrument for one of an appropriate size. Sometimes, this will cause a monthly fee to change, but not by more than a couple dollars.
If you are a beginner, there is no real need for a very expensive violin until you gain more experience. However, after a few months to a couple years, a better instrument will be needed. If you are renting, this exchange is easy. You visit the dealer, tell them you want a better violin, and they may let you try a couple to make sure you like the one you end up with, then they do the exchange of instruments. Again, your monthly fee may be affected, but not by much. If you own your instrument and decide to upgrade, you have to buy a new instrument, and sell your old one.
The final benefit of renting comes when it is time to buy an instrument. Most dealers will allow part or all of the monthly rent you have paid to go toward purchasing a new (or used) instrument from them. And this could be the instrument you're renting, or one of a higher quality. So you're not just "throwing money away" when you are renting.
All that being said, owning your own instrument has its perks, too, especially for the advanced player. If allows you to get repairs done where you want them, you can choose the strings that are put on the instrument, and once you have paid off the instrument, you have only maintenance to pay for.
I recommend my beginners to start by renting an instrument, and after a little while to buy an instrument of a better quality. When buying an instrument, you should always play it to make sure you like it. It's going to be your instrument, and only you can decide if you'll actually enjoy playing it. This is why I recommend beginners to start with renting, but the decision is yours to make.
Friday, July 23, 2010
A New Tip from Strings
I subscribe to Strings, which is an AWESOME magazine about stringed instruments, how to play them, buy them, repair them, and more. In fact, I'm still working on reading the first issue I got, and I have another after that to read! However, with my subscription, I get regular emails from them, and sometimes they have some really good information in them.
Here is a link to a nice article on orchestra etiquette. While I've been playing in orchestras for years, rehearsal etiquette is rather automatic for me. So to all of you who have not had years of orchestra experience, here's some tips.
In addition to what the article says, I'd like to mention a few more points:
1) Hats and sunglasses off during rehearsal. It's not only rude and disrespectful, but it doesn't let the conductor see your eyes, which he or she needs occasionally.
2) Always arrive at least 15 minutes early. This gives you the opportunity to get your instrument and music out, set up your stand, make sure you have a pencil ready, get tuned, and start warming up. You can use the time before rehearsal starts to work on a tricky passage here or there, which is that much less practicing you have to do at home.
3) Plan to attend EVERY rehearsal. Every member of an orchestra, no matter what their part or seat, is vital for the entire group. Nothing is worse then having to rehearse passages several times over the course of several weeks because not everyone shows up. So show respect to your conductor, your fellow musicians, and most importantly to yourself, and attend every rehearsal.
Now that you know some basic orchestra etiquette, it's time to start thinking about what orchestra you'd like to play in! The Tacoma Youth Symphony Association has auditions in August, with rehearsals starting in September. The Plateau Community Orchestra (in Enumclaw) will be starting again in the Fall, as will our own studio orchestra, the South Hill Chamber Orchestra.
Happy Playing!
Here is a link to a nice article on orchestra etiquette. While I've been playing in orchestras for years, rehearsal etiquette is rather automatic for me. So to all of you who have not had years of orchestra experience, here's some tips.
In addition to what the article says, I'd like to mention a few more points:
1) Hats and sunglasses off during rehearsal. It's not only rude and disrespectful, but it doesn't let the conductor see your eyes, which he or she needs occasionally.
2) Always arrive at least 15 minutes early. This gives you the opportunity to get your instrument and music out, set up your stand, make sure you have a pencil ready, get tuned, and start warming up. You can use the time before rehearsal starts to work on a tricky passage here or there, which is that much less practicing you have to do at home.
3) Plan to attend EVERY rehearsal. Every member of an orchestra, no matter what their part or seat, is vital for the entire group. Nothing is worse then having to rehearse passages several times over the course of several weeks because not everyone shows up. So show respect to your conductor, your fellow musicians, and most importantly to yourself, and attend every rehearsal.
Now that you know some basic orchestra etiquette, it's time to start thinking about what orchestra you'd like to play in! The Tacoma Youth Symphony Association has auditions in August, with rehearsals starting in September. The Plateau Community Orchestra (in Enumclaw) will be starting again in the Fall, as will our own studio orchestra, the South Hill Chamber Orchestra.
Happy Playing!
Wednesday, July 21, 2010
A Startling Discovery
Today I had an unexpected break, and I've been needing to pick up a theory book for a student. So I headed over to Ted Brown Music to kill some time and pick up the book. I also love looking around music stores - there's some great ideas, great feel of the place, and who doesn't love music?
However, I received a bit of a shock when I walked in. The Ted Brown store in Tacoma has had a Pepper's Music in the back of their store. I have to admit, I love Pepper's. I can browse their music for hours - they're as good as a book store. I love looking around their orchestra music section for new ideas for the South Hill Chamber Orchestra, browsing the violin/viola/cello music, both fun music and different method books, and looking at different quartet music. Music stores are great fun, and I can spend as many hours in them as I can in a book store.
So imagine my shock when I walked in to Ted Brown, and found no Pepper's! I talked to an employee, and they said that on Saturday Pepper's moved to a location in Kent. Rest assured, though, the Tacoma Ted Brown is starting to get music, and they're getting more every day.
Enjoy!
Ashley
However, I received a bit of a shock when I walked in. The Ted Brown store in Tacoma has had a Pepper's Music in the back of their store. I have to admit, I love Pepper's. I can browse their music for hours - they're as good as a book store. I love looking around their orchestra music section for new ideas for the South Hill Chamber Orchestra, browsing the violin/viola/cello music, both fun music and different method books, and looking at different quartet music. Music stores are great fun, and I can spend as many hours in them as I can in a book store.
So imagine my shock when I walked in to Ted Brown, and found no Pepper's! I talked to an employee, and they said that on Saturday Pepper's moved to a location in Kent. Rest assured, though, the Tacoma Ted Brown is starting to get music, and they're getting more every day.
Enjoy!
Ashley
Thursday, July 15, 2010
Alternate String Instruments
I started playing violin when I was 7, and violin was always my instrument. I started playing a wind instrument in middle school because my school didn't offer an orchestra, but that was always a side thing. When people asked me what musical instrument I played, the answer was always "violin". I never had any interest in anything else.
Now that I'm teaching, I've had requests to teach viola. I warned them that I was really a violinist, but the two instruments were similar enough that I should be able to teach them something. And WOW, what a COOL instrument! Totally undervalued. The first time I ever played a viola, it was to tune my first viola student's instrument. And that C string can VIBRATE! I could feel the instrument vibrating under my chin! I've tried to do that with my violin, and there's just no comparison.
So now, a few viola students later, I have finally bought my very first viola. And I have to say, I'm enjoying it immensely. Some of my old favorites on violin are even cooler on viola. Such a deep, rich sound, and so much sound! I can produce a lot more volume on my brand new viola than I can on my old, very nice violin.
I've recently gotten several requests for cello lessons. I sadly informed them that I had never played the cello, and really didn't know the first thing about it. Did I know of any cello teachers? I looked. Everywhere. And made a startling discovery: I can't find a single cello teacher in the Puyallup area. I've even looked into bringing in another teacher into the studio specifically to teach the cello, but there is not one to be found.
So, I bought a cello. Watched a bunch of online videos, including one very helpful one for violin players converting. Bought the Suzuki books and tapes, and started to realize, hey, this is great! This big instrument (which, I have to admit, is a HUGE pain to lug around!) seems a bit more intuitive to learn than the violin, and has a really nice sound.
The moral of the story: if you haven't ever tried another instrument, maybe you should. You might be surprised at what you discover - a whole world of possibilities.
Happy Playing!
Now that I'm teaching, I've had requests to teach viola. I warned them that I was really a violinist, but the two instruments were similar enough that I should be able to teach them something. And WOW, what a COOL instrument! Totally undervalued. The first time I ever played a viola, it was to tune my first viola student's instrument. And that C string can VIBRATE! I could feel the instrument vibrating under my chin! I've tried to do that with my violin, and there's just no comparison.
So now, a few viola students later, I have finally bought my very first viola. And I have to say, I'm enjoying it immensely. Some of my old favorites on violin are even cooler on viola. Such a deep, rich sound, and so much sound! I can produce a lot more volume on my brand new viola than I can on my old, very nice violin.
I've recently gotten several requests for cello lessons. I sadly informed them that I had never played the cello, and really didn't know the first thing about it. Did I know of any cello teachers? I looked. Everywhere. And made a startling discovery: I can't find a single cello teacher in the Puyallup area. I've even looked into bringing in another teacher into the studio specifically to teach the cello, but there is not one to be found.
So, I bought a cello. Watched a bunch of online videos, including one very helpful one for violin players converting. Bought the Suzuki books and tapes, and started to realize, hey, this is great! This big instrument (which, I have to admit, is a HUGE pain to lug around!) seems a bit more intuitive to learn than the violin, and has a really nice sound.
The moral of the story: if you haven't ever tried another instrument, maybe you should. You might be surprised at what you discover - a whole world of possibilities.
Happy Playing!
Saturday, July 10, 2010
Practice Tip #1: The hardest part about practicing . . .
. . . is getting out your instrument! For most people, once they have their instrument out, practicing is easy. It's getting that instrument out. So set aside a time that works for you, that you will play every day. Maybe it's before or after dinner, immediately after you get home from school, first thing in the morning. If you have chores you have to do daily, maybe play after you're done with your chores. But this is a great daily habit to build!
Once you get your instrument out, reward yourself for it. Play something fun, that you enjoy playing, before working on the hard stuff. Not only is it a good warm up for you, but it will make it easier to get your instrument out the next day. Then, buckle down to the hard stuff. Scales, etudes, shifting and double stop exercises, and sight reading are often the hardest to get done because they challenge our brain and our patience. Next, pick apart the hard parts of your current solo and orchestra pieces.
Finally, reward yourself for getting all the hard stuff done by having fun! Play through your solo or orchestra parts, review old pieces that are easy and fun to play, and most importantly, play music you enjoy. That's why we all play music - for fun. All the hard stuff we work on makes us better players, which in turn makes music more enjoyable for us, but in the end, it's about enjoying your music. So whatever kind of music you like best, make sure to play some of that on a regular basis.
Happy Practicing!
Once you get your instrument out, reward yourself for it. Play something fun, that you enjoy playing, before working on the hard stuff. Not only is it a good warm up for you, but it will make it easier to get your instrument out the next day. Then, buckle down to the hard stuff. Scales, etudes, shifting and double stop exercises, and sight reading are often the hardest to get done because they challenge our brain and our patience. Next, pick apart the hard parts of your current solo and orchestra pieces.
Finally, reward yourself for getting all the hard stuff done by having fun! Play through your solo or orchestra parts, review old pieces that are easy and fun to play, and most importantly, play music you enjoy. That's why we all play music - for fun. All the hard stuff we work on makes us better players, which in turn makes music more enjoyable for us, but in the end, it's about enjoying your music. So whatever kind of music you like best, make sure to play some of that on a regular basis.
Happy Practicing!
Thursday, July 8, 2010
Summer Concerts
While there generally aren't many classical concerts during the summer season, there are some. Tacoma Community College's Symphony Orchestra performs every year in the beginning of August. This years' performance will be Saturday, August 7th at 11am. The plans are to hold it outside on campus, but last year it was so hot we played in the auditorium. But in any case, it's a great opportunity to see a FREE (yes, I said FREE), great symphony orchestra perform some classics. Bring your family, even your young children, a picnic lunch, and enjoy Tchaikovsky's 2nd Symphony this year.
In addition, there's TONS of outdoor festivals, often complete with a wide variety of music. Take advantage of these opportunities! Go, hear and see some great music, and let it inspire you in your own music-making.
In addition, there's TONS of outdoor festivals, often complete with a wide variety of music. Take advantage of these opportunities! Go, hear and see some great music, and let it inspire you in your own music-making.
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