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!
Tuesday, October 26, 2010
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!
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