Videos showing bow hold and left hand for beginners
January 1, 2010 at 1:58 pm | Posted in Bow Hold, Bow Stroke, Videos | Leave a commentUseful Internet sites for Beginners from The String Pedagogy Notebook
Click on the links below to view descriptions and sample videos of the technique described. You will need a high speed internet connection to load the videos in a reasonable amount of time. If you don’t have quicktime, download it for free.
RIGHT HAND
Bow Hold with a pencil (Quicktime video)
-Stay relaxed, natural and curved!
Pencil Bow Hold
Forming the Bow hold at the frog (Silent Quicktime video)
-Also try this technique with a vertical bow, sliding the thumb down to the frog gently.
Forming the Bow Hold
Longer, Narrated Video of forming the bowhold. (Takes a few minutes to load)
-Pay special attention to the first half, then try it yourself near a mirror.
Narrated Video of forming the Bow Hold
LEFT HAND
Strumming and Tapping Exercises
-make sure you remain “relaxed in the shape”
Strum and Tap
Three Points of Contact
-CONTACT, not 3 Points of Squeezing! Tap the thumb, and make sure it is relaxed. Tap the fingers in a vertical motion from the base joint. Gently slide the whole hand up and down the neck to ensure the index finger is not pressing against the neck.
3 Points of Contact
The Science of Tapping your Foot
November 9, 2009 at 5:41 am | Posted in Musicianship, Practicing, Private Lessons | 1 CommentTags: expression, metronome, tapping
Recently through YouTube and some musical newsgroup posts, I have noticed an alarming disregard for the value of practicing with a metronome. One such post said something to the effect of “tapping your foot is much better than using a mechanical source.” Another gave a very opinionated view that if one practices with a metronome, then they are disregarding the most important aspect of music: expression.
This blog is to help my students and any others who might be interested in refining their skills a s a musician. That being said, I fell that these posts about the “detriment” of using a metronome are quite alarming. Metronome practice, much like tuner practice, is an essential and beneficial process in which the musician refines their perception against something reliable and constant.
The first comment, that foot-tapping gives a better or “more human” source or that it is an “alternate method” is very misleading. Yes, after years of practice with a metronome, and in playing with groups, foot-tapping can offer a creative way to facilitate better rhythmic coordination and accuracy. However, it is simply that, a coordination exercise. It does not provide comparative synchronization practice needed to solidify the internal clock response necessary for group playing.
After mastering the basics with the metronome: pitch, tone, intonation, rhythm, dynamics and articulations, the student should then use the metronome as a calibration device against which to create expressive manipulations of the beat without sacrificing the groove of the piece. As an advanced player, you must be able to express contour, direction, phrasing, ritardando and accelerando within the confines of the groove to effectively captivate your audience.
How to Practice …
September 30, 2009 at 8:50 pm | Posted in Practicing | Leave a commentTags: intervals, methods, practice, scales, solos
by Paula Verdicchio Ailshie
Are you playing through your scales etudes, solos, orchestral repertoire and methods, or are you practicing? The difference is setting a goal. Advanced players can be just as guilty as beginners of the “playing syndrome.” You know, getting through material, but not necessarily intently improving in every aspect of playing possible. Practicing shouldn’t be “vain repetitions” either. Playing a scale, excerpt or solo ten times doesn’t mean you’ve practiced.
Below I’ve listed some examples of goals you can go through during your weekly practice. I am using the scale as a model, but these goals are applicable to methods, techniques, solos, excerpts, etudes and repertoire as well. You have an entire week, seven practice sessions before your next lesson, and that is a lot of time to reach a lot of specific goals! And, if it takes longer than a week, you still have a tangible measure of success to feel proud of!
BEGINNER GOALS
Practice to solidify reading the notes.
Say notes aloud as you play to reinforce reading.
Focus on the pattern of whole and half steps; memorize them.
Focus on the finger patterns and positions, and memorize them.
Sing using Do-Re-Mi-Fa-Sol-La-Ti-Do
Sing using note names.
Sing in intervals. Do-Re, Do-Mi, Do-Fa, etc.
Practice to achieve dexterity in the left hand.
Use proper form, don’t let the wrist or hand tense up.
Practice in a mirror and watch the left hand for minimal motion and efficiency.
Practice in a mirror, making sure the bow stays perpendicular to the strings.
Get a clean attack, round full tone and smooth bow change every time.
Keep a proper bow hold: relaxed and pliable with a relaxed wrist.
Keep the bow placement in the sounding point.
Play using full bows from frog to tip with an even bow speed.
Practice Do- Re-Mi-Fa-Sol finger exercise in 1st position, then in all other positions
Practice tonic arpeggios.
Play small excerpts of songs you know by ear.
INTERMEDIATE GOALS
Play legato at all tempos.
Play staccato at all tempos.
Practice non vibrato for intonation
Practice vibrato for expression
Use a drone on the tonic, tuning each interval of the scale slowly to “Do”
Use a tuner to adjust each note until you can go from note to note without adjustment.
Use a metronome on the strong beats. Use a metronome on the weak beats.
Use a metronome as the pulse of the meter.
Use a metronome as the subdivision of the meter.
Use a variety of rhythmic patterns with effective bow distribution.
Use a variety of slur combination in groups of 2, 3, 4 and more.
Combine rhythms and slurs after you have practiced each separately.
Practice tonic arpeggios in major and minor.
Practice all possible chord arpeggios in the given key.
Practice simple melodies in the key of the scale, in the easiest position possible.
Play an entire song by ear from a recording. Start with 8 bar segments.
Play a convincing solo over a given set of chord changes.
ADVANCED GOALS
Identify spell and play all modes.
Play collè, martelè and spiccato and richchet.
Use a variety of slur combination in groups of 4, 5, 6, 7, 8, 9 10, 11, 12 and more.
Play in 2, 3, 4, 5, 6, 7 and 8 note groupings.
Play scale and modes in ascending intervals. (Up, Up)
Play scale and modes in descending intervals. (Down, down)
Combine interval directions. (Up down; Down, up)
Play one octave on each one string only.
Play scale two octaves in 2nd, 3rd, 4th, 5th and 6th position.
Play the scale using only 1st finger. Play the scale using only 2nd finger.
Play the scale using only 3rd finger. Play the scale using only 4th finger.
Play the scale 2 octaves on one string.
Practice intervals and arpeggios on one string only.
Practice intervals and arpeggios with one finger only.
Practice arpeggio sequence in all keys and all positions possible.
Transpose melodies in the key of the scale to alternate positions and strings.
Transcribe by ear, first to your instrument, then into notation.
Play an improvised solo that outlines the chord changes without accompaniment.
Practice Chord progressions and their variants in multiple 2 and 3 note voicings.
Use Ears, Eyes, Mind, Body and Voice in every practice session.
Employ aural learning and ear-training. Use visualization. Use intellectual clues and knowledge base to play smarter and to be thorough. Focus on kinesthetic awareness and tactile details. Sing everything!
Notes are the alphabet; scales, intervals and arpeggios are your vocabulary
If you had just learned the alphabet of a foreign language, you wouldn’t yet be able to write a novel. Why do we assume as music students that in knowing only a few scales, we can play a symphony? Get cracking on your fundamentals, so that you can play, hear and compose at the level you are capable of. Otherwise, it’s like trying to read Hemmingway in Kindergarten.
One Scale a Week; Some Scales a Day
The scale of the week should be practiced everyday that week, and should be in depth and memorized. The scale or scales of the day should be a logical rotation through all known keys. For those who have not yet learned all keys, the daily rotation can include working through these new scales for the first time. Learn one octave all keys first, then 2, then 3 etc.
Memorization
Although you may be able to READ something very well that is not memorized, you are not PLAYING it. You are READING. Have you ever been to a theatrical production where people read from the script? Me neither. That would be preposterous. Guess what? You never see rockers using music. They take the time to have their music down, so that they can have fun doing it, and interact with people in the audience. If it isn’t memorized, that means it hasn’t yet been practiced to the point of assimilation. Simply put, you don’t really know it. Correct repetitions will get you there, as long as you are making sure to engage all of the senses possible in playing.
© 2008 by Paula Verdicchio Ailshie and Duo Music Studio
Posture
September 22, 2008 at 9:09 pm | Posted in Posture | Leave a commentPOSTURE
The key to great posture is balance. When forming your posture, do not go to the extreme. A rigid militant stance isn’t any better than a slumped one. Good posture is a perfect balance of the weight centered over the spine. It is so very important that several methods have been developed to train musicians and others in the art of healthy playing and posture.
Breathing is an important part of playing that may be easily forgotten. Breathe as you would with any exercise; breathing helps tremendously with posture and relaxation.
Remember, each person’s body differs. Instead of trying to emulate a visual image of the correct posture, address the points below kinesthetically. In other words, learn how a good posture feels. Don’t be afraid to move as you play. Movement releases tension. Free movement, rather than a statue-like stance, not only helps you to relax, it will enable a more expressive performance.
1. The weight is balanced over the feet. (Don’t lean on the toes, insteps, heels or balls of the feet!)
2. The head is balanced over the spine. (Don’t let head fall forward, back or tilt to either side!)
3. The spine is NOT twisted to the side.
4. Shoulders should be as squared as the body allows, BUT must also remain relaxed.
Here are some links to QuickTime video to help you with posture, provided by
violinmasterclass.com:
Straight Bow Geometry: Triangle, Square, Triangle
Use these demonstrations as a guide.
Video Credits: Violin Master Class is underwritten by the Dorothy Richard Starling Foundation in support of the teaching and performance of the classical violin. The Starling Project Foundation, Inc., the host of violinmasterclass.com, is a not-for-profit 501(c)(3) organization. Access to this site is free of charge.
Improvisation: Without Preparation?
March 3, 2008 at 7:07 pm | Posted in Improvisation | 2 CommentsString Improvisation: No Preparation Necessary?
By Paula Verdicchio Ailshie
As a teacher, I often hear jarring definitions to simple musical terms. What shocks me the most is that some of them actually come from musicians! Recently, after one of these enlightening class period of college level jazz history and appreciation, I took the time to actually look up the definitions of improvisation, an art form I aspire to master, in a college dictionary. The same rancid and incorrect definition curled under my scrunched nose like a million freshman footlockers. “No preparation? Then what,” I muttered to myself, “have I been doing 6 hours or more a day?”
I would like to offer an alternative to an incomplete definition, in hopes that music educators, including myself, will endeavor to correct this common misconception, attesting instead to the validity of a distinctly American100 year old musical art form.
My personal definition of Improvisation:
An instantaneously composed melodic line, usually based on a given set of chord changes or modes, influenced by historical precedence, in which a performer communicates an idea or ideas musically using both the intuitive emotional connection of the right brain and a mastered musical vocabulary of the left brain simultaneously to introduce, develop, climax and bring to fruition an artistic statement.
A skilled improviser combines artistic expressiveness with a cultural sensitivity, social awareness and a disciplined regimen of focused, meaningful, goal-oriented practice.
Contrary to the traditional musical definitions, e.g. extemporization or impromtu, consistent professional level jazz improvisation demands not only a wealth of aesthetic and historical perspective, but extensive preparation. For some, this art can be nearly completely internalized by immersion in active listening and the replication of that listening using their voice and their instrument, but for most, a theoretical and analytical study are necessary at some level for permanent retention and an in-depth understanding. Obviously, this acquired knowledge must be put into not only the memory, but the subconscious in order to serve any practical use to the realistic improvising performer.
Wouldn’t it be fun and giggles if to improv truly meant making something up “on the fly” with no preparation! That would make any beginning musician a candidate for a jazz combo. But, how much more it thrills an advanced or professional performer to so truly know the music inside and out that they instantaneously compose beautiful and even complex melodies by using the farthest depths of their sub-conscious to communicate aesthetically to an audience they have presumably never met!
Yes, anyone can improvise, to a degree. But few can say they earn a living as a full-time, professional improvising musician. Perhaps the goal of this prestigious title appeals to the ethos of so many students and professionals because they know they may be so honored work a lifetime towards the same goal and, in the meantime, live, love and evolve with the only truly American art-form in all of music history.
Transposing Melodies by String or Finger
January 15, 2008 at 9:14 pm | Posted in Musicianship, Practicing, Private Lessons | Leave a commentTags: transposing, transposition, viola, violin
The start to playing in all keys is simply to play in a few keys! Take a simple melody that you know very well…Mary Had a Little Lamb, or Twinkle Twinkle.
How do you transpose it to other keys?
The easiest way is by finger (rote). It requires very little adjustment on your part. Just start on a different string, but use the same fingering. As you get better at it, start identifying the key signature and the interval of the starting note.
For example, Twinkle starting on the A string starts on DO, which is the note “A,”, and is in the key of A, which has three sharps, F#, C#, and G#.
Twinkle starting on the D string starts on DO, which is the note “D,” and is in the key of D, which has two sharps, F# and C#.
Twinkle starting on the G string starts on DO, which is the note “G,” and is in the key of G, which has one sharps, F#.
Twinkle starting on the C string starts on DO, which is the note “C,” and is in the key of C, which has no sharps or flats.
Once you can do this with Little Lamb and Twinkle, Try “Bingo,” “Amazing Grace,” “Star Spangled Banner” and Brahms “Lullaby. In our next article, we’ll discuss transposing by playing on a different starting finger… 
Philosophy of Teaching
January 1, 2008 at 9:01 pm | Posted in Philosophy | Leave a commentTags: Philosophy
My motivation to teach music stems from a great passion for working with young people, and an equal fervor for music. Enthusiastic about stimulating personal growth as well artistic intelligence through the arts, I am dedicated to opening student, teacher and faculty awareness by fostering musical development through performance.
An innovative music instruction, my teaching style exhorts the aspiring young musician to gain versatility in more than one genre and to play efficiently by ear. Ideas for creative chamber music programs and methods for jazz repertoire and improvisation rooted in experience makes me well-rounded private teacher. As an avid performer and skilled musician, I am able to lead by example, and provide practical musical advice for students who hope to continue in the field during and after secondary education.
I encourage my students to be “real musicians” not just “music students.”
Shifting: Preparatory Exercises
September 26, 2007 at 4:17 pm | Posted in Uncategorized | Leave a commentTags: pedagogy, shifting
[Preparatory Shifting Exercises]
compiled by Paula Verdicchio Ailshie
[Key to Shifting: Stay Relaxed. Breathe.]
1. Shifting Exercises by Paul Rolland
“The shuttle” -using good form and motion, the student silently and lightly glides the finger or fingers a top the string without pressure, from 1st to middle to high position.
“String polishing”- same as the shuttle, but with range that is more limited. This can be done in “shotgun” position too, making it fun.
“Arm Swinging”- preparatory exercise teaching the muscles to relax and prepare a shift to the middle and high positions. Fingers remain on the string, lightly, and body remains flexible.
“The Octave Game by Paul Rolland”
a. student plays the harmonic with 4th finger
b. student alternates open strings and their octaves with harmonic
2. Beginning shifting principles by William Starr
“Sequence of movements”
a. mental anticipation- aural image of destination
b. release the weight, lightly resting the finger on the string
c. quick departure
d. smooth shift with even speed
e. returning weight once shift is complete.
Starr stresses to use all the sensory information possible- great for kinesthetic learning.
3. Preparatory Studies in the Third, Second and Half positions
by Henry Whistler
Uses the common technique of playing in 1st, then repeating it in another position. Since it focuses on one position the student becomes comfortable more quickly than with many positions at once. Use singing to outline finger patterns in both positions. Make sure you know the note names, the solfege and the finger patterns in both positions.
4. Playing familiar scales, and then melodies in multiple positions. This is also called the “Slot Exercise.” The advanced student should also combine several key signatures. Make sure to identify all notes in the palate, the range of the melody and which position you are in by playing the full range scale as a preparation. Use the cycle of fifths to get around to all keys.
a.) play the same melody in different positions, utilizing the same fingering “fretting”
b.) play the same melody in different positions, staying in the same key “dexterity”
c.) play the same melody in any position, any key or any combination of the two.
Did you know that practice can make “perfect” or “imperfect?”
August 26, 2007 at 2:38 pm | Posted in Uncategorized | Leave a commentTags: pedagogy, Practicing
Take time to practice slowly so that you can carefully put together all the elements of motion and music together correctly! Don’t sacrifice facility because you are feeling impatient to play more quickly! The slower and bigger the motion, the more the dramatic the impact will be on the brain.
Each time you act, you forge a neural pathway in your brain. It literally paves an electric path for impulses to travel on. Let’s say the first time you play a section in your piece, you play it correctly. You have established a “correct” neural path. Next, you play it incorrectly. That forges an “incorrect” neural path. The third time you play, the impulses in your brain are forced to choose between two equal paths!
The more you “choose the right path,” the more times you jump in that same neural direction, the bigger the path becomes. Think of it as making a new road in a new city. The first time you play something, it starts out as a barely recognizable path, in the middle of a field. Then you play it 10-20 more times. The path through the field becomes a dirt lane, easy to see, and easier to navigate. The more you repeat it, the bigger and better it becomes. When you’re ready for performance, it’s like a monorail on a superhighway, built just for you! You can play the music effortlessly, and sit back and enjoy the ride. You don’t have to plod through the big field anymore, or get dusty on the dirt road.
Hopefully, you are not someone who doesn’t pay attention to how or what they are playing. Forging paths all over the brain as a result of haphazard practice creates bedlam because of the barrage of choices! If you choose to practice this way, unfortunately, later you will have to practice much longer and much more carefully, to reestablish the correct neural pathway. It’s much simpler to practice correctly and carefully from the start. Use scientific information to your advantage when practicing!
How to Practice Scales…and other music too!
July 17, 2007 at 5:29 pm | Posted in Uncategorized | Leave a commentTags: practice, Practicing, scale, teacher
When you look at a scale, in most scale books, it doesn’t look like much. In fact, even if you are a beginner, you can play the scale and arpeggio you are working on fairly quickly. So what is it that you should practice? As you know, just playing the scale isn’t practicing. If you’re an advanced student you might be thinking, “The Flesch Scale Book is much more in depth, and takes a lot of time to practice.” Yes, Flesch is a great tool, and to do all the sets and reps does take time. My point is, are you playing through your scale method, or are you practicing?
The difference is setting a goal. Advanced players can be just as guilty as beginners of the “playing syndrome.” You know, getting through material, but not necessarily intently improving as many areas as possible. Practicing shouldn’t be “vain repetitions” either. Playing a scale, excerpt or solo ten times doesn’t mean you’ve practiced.
Below I’ve listed some examples of goals you can go through during your weekly practice. I am using the scale as a model, but these goals are applicable to excerpts, etudes and repertoire as well. You have an entire week, seven practice sessions before your next lesson, and that is a lot of time to reach a lot of specific goals! And, if it takes longer than a week, you still have a tangible measure of success to feel proud of!
This is by no mans comprehensive. Stay tuned to the blog, I am sure I will be expanding this sometime in the future. Happy Practicing!
Practice this scale to solidify reading the notes. (Advanced players should read in various positions)
Say the notes aloud as you play to reinforce reading.
Focus on the pattern of whole and half steps; memorize them.
Focus on the finger patterns and positions, and memorize them.
Sing the scale using Do-Re-Mi-Fa-Sol-La-Ti-Do
Sing the scale using note names.
Sing the scale in intervals. Do-Re, Do-Mi, Do-Fa, etc.
Practice this scale to achieve dexterity in the left hand.
Use proper form, don’t let the wrist or hand tense up.
Practice in a mirror and watch the left hand for minimal motion and efficiency.
Practice in a mirror, making sure the bow stays perpendicular to the strings.
Get a clean attack, round full tone and smooth bow change every time.
Keep a proper bow hold: relaxed and pliable with a relaxed wrist.
Keep the bow placement in the sounding point.
Play using full bows from frog to tip with an even bow speed.
Play legato at all tempos. Play staccato at all tempos.
Play collè, martelè and spiccato.
Use a variety of rhythmic patterns with effective bow distribution.
Use a variety of slur combination in groups of 2, 3, 4, 5, 6, 7, 8 and more.
Combine rhythms and slurs after you have practiced each separately.
Play in ascending intervals. (Up, Up)
Play in descending intervals. (Down, down)
Combine interval directions. (Up down; Down, up)
Memorize all the above.
Use Ears, Eyes, Mind, Body and Voice in every practice session.
Employ aural learning and ear-training. Use visualization. Use intellectual clues and knowledge base to play smarter and to be thorough. Focus on kinesthetic awareness and tactile details. Sing everything!
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