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!
Saturday, August 28, 2010
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!!
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