GreenE strings
An Eclectic Pedagogy
The instructional approach for very young children which is recommended incorporates the rich insights of the Suzuki approach, along with a broad mix of the time-proven successful traditions. The beginning levels of study, especially for the very young students (below the age of 8) uses primarily the concepts found in the Suzuki approach along with solid traditional training. As the student learns the feel of the instrument and bow and is making a good sound, reading is introduced with a variety of materials: folk, fiddle, jazz, and classical. Repertoire is chosen for various reasons: technical development, motivation, and musical expression. My particular pedagogical choice is a synthesis of the following world-recognized leaders in the development of teaching and playing skills for string instruments:Sinichi Suzuki: Master teacher of very young children in Japan. During World War II he formulated an effective approach for teaching children as young as 3, using a combination of private lessons and a group experience. The sequenced repertoire in his collection are favorites with many teachers, Suzuki-style and traditional, because of the successful sequencing and appeal of his choices. In this country, the Suzuki approach has been mostly rote and more appropriate for very young children. Children who start their playing career with the listening and memorization that is developed in the Suzuki experience develop focus, ear skills, and memory at an unbelievably high level. This approach is especially appealing in combination with traditional teaching which includes reading music and many musical styles.Paul Rolland: Formerly a teacher of string teachers at Illinois University. Well known for his work with developing a more natural and comfortable physical approach to playing string instruments. His work is a great complement to the Suzuki approach, adding a strong emphasis on the comfortable and loose physical approach to the instrument. George Bornoff: Formerly of Boston, a master teacher of teachers. Famous for his exhaustive analysis, categorizing, and sequencing of basic violin skills. He also was a champion of teaching, along with the standard concertos, a quantity of the many shorter romantic pieces. This gives the student the rewards of a more frequent completion of a piece, along with developing the wonderful expressive quality that is a strength of string instruments.Mimi Zweig: A tenured professor of violin and viola performance at the University of Indiana, Bloomington. She is well-known for her skills with teaching teachers of violin and viola. She has achieved an international reputation for her work which is based partially on the work of both Suzuki and Rolland, and Janos Starker, formerly professor of cello at IU. She has taught many young students to reach the very highest professional playing levels with her approach to developing both the technical and musical basics. Among her most famous students is Joshua Bell, currently a most successful and well-known concert violinist. By the the age of 12, many of her students are playing what only Paganini could execute in his day--too difficult for the other violinists at that time in history! Zweig has a particularly gifted insight into the many levels of skill-building that brings success, starting from the beginning. Her teaching is on display on her website, at <stringpedagogy.com> Marvin Rabin: former professor at UW-Madison. He is considered to be the founding father of the youth symphony movement, worldwide. His work which spanned almost 60 years has inspired and/or trained several generations of the string teachers throughout this country and abroad. He was a true intellectual and an insightful, profoundly caring and inspiring teacher of teachers. His own work included in-depth study with all of the above-mentioned teachers, with a focus on developing higher level string-teaching skills in the public schools setting.The Alexander Technique: An approach to music-making in a natural, physically comfortable way. The practitioners of this technique work with the prevention of physical tension and pain, so common to string players, even children. The recent focus on Alexander’s work has freed many musicians to make music when physical injury might have ended their playing.
The following information outlines the specific factors from these approaches which have come together to create an eclectic focus:Sinichi Suzuki:Ear development, rote beginningRepetition of sequenced repertoire to develop fluency, memory and musicalityMuch memory workMaterial presented in small enough steps to insure successParental involvement required for young childrenPrivate and group sessions for the studentsPaul RollandBasic shapes and motions of string playingGeorge BornoffUse of rote drills to teach hand frame, fingerboard geography, shifting, and bow strokesMimi Zweig Presenting from the first lesson the full range of motions (a gestalt approach)Solidifying the basics during the first weeks “Suzuki Book 1 sets up the student for Paganini.”Sequence of repertoireEmphasis on comfortable, natural posture, shapes and motions (Drawn from Paul Rolland and the Alexander Technique)Basic traditional pedagogy to quickly build technique and musicianshipHigh expectations for ear training, good intonation, over-all technique, and musicality from the very beginningMarvin RabinDeep convictions regarding the value of string education - real music-making and the development of the individualDeep sense of relevance of musical expression for all cultures and agesDeep conviction of the necessity for solid teaching skills and a high level of musicianshipThe Alexander Technique/FeldenkreisThe comfortable, natural proper use of the body
Ear Training and Theory are introduced at the beginning levels and sequenced to correlate with the current repertoire of the student.
Ensemble experience is necessary for the development of skills, technical and musical. The groups are the source of the motivation that keeps students involved over a period of time. Rarely will a student sustain the desire to practice and play without the social and musical support of a group.
Role of Parents: For student under 9 years of age, the presence of a parent at the lessons is necessary for the success of the student. This parent must in turn be the home practice coach. The role of the teacher includes training the parent to work with the specific tasks that are assigned each week. The parent must track the practice routine which was assigned and become a partner with the teacher in finding ways to insure success for the child, working in a climate that is nonjudgmental. There needs to be ongoing opportunities to have parents talk with each other and with the teacher.
Listening to the assigned pieces on the tape or CD supports the learning process. The student needs to hear the recording repeatedly, thus learning the sound of the music quite quickly. Thus the teacher’s task is simply to help them find a way to play it on the instrument. On a good day, the teacher does not have to teach the piece, simply the techniques to play it, along with the important skills regarding how to practice for success. This process lasts until the student has gradually moved from learning only by listening to successfully reading the music without having heard it. It will forever be helpful to hear the piece being learned. Focus of pedagogical approach:Strong emphasis on correct physical set-up from the beginningGenerous use of many musical stylesThe development of improvisationMany ensemble materialsSole use of letter names (rather than numbers) for the fingers on the instrument, as well as on the page. This provides a very quick transition to actual music reading music. Programs with multiple staff will choose teachers based on uniformity of approach: in the technical training, the basic philosophy of the program and relationships with both children and their parents. Each teacher in the program will have developed a professional level of playing skills and will have successfully completed a training and an apprentice program.
IN SUMMARY:Basic PrinciplesLearning to play can provide a lifetime of rich experiences with music-making.All children can be successful.All children can play – well. Expectation levels must be high.All children can play in tune, from the beginning.The process must be infused with joy. The student must enjoy the process, not just anticipate the distant reward. (Such as orchestra)Hand shapes and motions must be taught at the beginning to insure quick success with an increasingly difficult repertoire.Children are to be given the utmost respect, and taught with endless patience, in a non-judgmental way.Rote learning develops a high level of focus and memory.Reading must be introduced early to avoid later barriers. If violin study becomes an emotional burden at home, please talk with the teacher. The endeavor should bring at least nine parts joy to one part frustration. If this is not true, the issues need to be addressed by the student, parent, and the teacher. We must find a way to have the student feel successful, at least most of the time! Over time, the music itself, the social support and the musical expression of ensemble experiences, and the awareness of technical growth will build confidence and joy. At that point, we can simply enjoy nurturing in the student a wonderful fire of passion for a lifetime of music-making.
Bonnie Greene, October 2017
The following information outlines the specific factors from these approaches which have come together to create an eclectic focus:Sinichi Suzuki:Ear development, rote beginningRepetition of sequenced repertoire to develop fluency, memory and musicalityMuch memory workMaterial presented in small enough steps to insure successParental involvement required for young childrenPrivate and group sessions for the studentsPaul RollandBasic shapes and motions of string playingGeorge BornoffUse of rote drills to teach hand frame, fingerboard geography, shifting, and bow strokesMimi Zweig Presenting from the first lesson the full range of motions (a gestalt approach)Solidifying the basics during the first weeks “Suzuki Book 1 sets up the student for Paganini.”Sequence of repertoireEmphasis on comfortable, natural posture, shapes and motions (Drawn from Paul Rolland and the Alexander Technique)Basic traditional pedagogy to quickly build technique and musicianshipHigh expectations for ear training, good intonation, over-all technique, and musicality from the very beginningMarvin RabinDeep convictions regarding the value of string education - real music-making and the development of the individualDeep sense of relevance of musical expression for all cultures and agesDeep conviction of the necessity for solid teaching skills and a high level of musicianshipThe Alexander Technique/FeldenkreisThe comfortable, natural proper use of the body
Ear Training and Theory are introduced at the beginning levels and sequenced to correlate with the current repertoire of the student.
Ensemble experience is necessary for the development of skills, technical and musical. The groups are the source of the motivation that keeps students involved over a period of time. Rarely will a student sustain the desire to practice and play without the social and musical support of a group.
Role of Parents: For student under 9 years of age, the presence of a parent at the lessons is necessary for the success of the student. This parent must in turn be the home practice coach. The role of the teacher includes training the parent to work with the specific tasks that are assigned each week. The parent must track the practice routine which was assigned and become a partner with the teacher in finding ways to insure success for the child, working in a climate that is nonjudgmental. There needs to be ongoing opportunities to have parents talk with each other and with the teacher.
Listening to the assigned pieces on the tape or CD supports the learning process. The student needs to hear the recording repeatedly, thus learning the sound of the music quite quickly. Thus the teacher’s task is simply to help them find a way to play it on the instrument. On a good day, the teacher does not have to teach the piece, simply the techniques to play it, along with the important skills regarding how to practice for success. This process lasts until the student has gradually moved from learning only by listening to successfully reading the music without having heard it. It will forever be helpful to hear the piece being learned. Focus of pedagogical approach:Strong emphasis on correct physical set-up from the beginningGenerous use of many musical stylesThe development of improvisationMany ensemble materialsSole use of letter names (rather than numbers) for the fingers on the instrument, as well as on the page. This provides a very quick transition to actual music reading music. Programs with multiple staff will choose teachers based on uniformity of approach: in the technical training, the basic philosophy of the program and relationships with both children and their parents. Each teacher in the program will have developed a professional level of playing skills and will have successfully completed a training and an apprentice program.
IN SUMMARY:Basic PrinciplesLearning to play can provide a lifetime of rich experiences with music-making.All children can be successful.All children can play – well. Expectation levels must be high.All children can play in tune, from the beginning.The process must be infused with joy. The student must enjoy the process, not just anticipate the distant reward. (Such as orchestra)Hand shapes and motions must be taught at the beginning to insure quick success with an increasingly difficult repertoire.Children are to be given the utmost respect, and taught with endless patience, in a non-judgmental way.Rote learning develops a high level of focus and memory.Reading must be introduced early to avoid later barriers. If violin study becomes an emotional burden at home, please talk with the teacher. The endeavor should bring at least nine parts joy to one part frustration. If this is not true, the issues need to be addressed by the student, parent, and the teacher. We must find a way to have the student feel successful, at least most of the time! Over time, the music itself, the social support and the musical expression of ensemble experiences, and the awareness of technical growth will build confidence and joy. At that point, we can simply enjoy nurturing in the student a wonderful fire of passion for a lifetime of music-making.
Bonnie Greene, October 2017