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violin teacher tips with violin teacher and professional violinist sue aston
Description
Violin teaching tips tuition and playing the violin in Cornwall with violin teacher and composer Sue Aston.
The majority of violin pupils, and indeed adults, find the prospect of learning scales on the violin a chore.
I too found this to be the case, although once I had got to grips with a new scale, I would quite happily gaze through a window while repeating the same scale over and over again. This trance like state was relaxing, and I think it helped keep my nerves under control in an exam when it was time to do scales!
There are various methods of actually learning a new scale or arpeggio. One can look at the music to start with in order to learn the key signature, and to work out the relative major or minor keys, which relate to it. This is the more academic approach, and although thorough, is unlikely to fire up any enthusiasm in the pupil.
Another method is the physical approach, where the closeness or space between the fingers is observed in order to feel the tones and semitones when they occur. Pupils often find it easier to relate to, and the fingering of the scale or arpeggio can be written down with a bracket over the fingers that make a semitone. All scales should initially be practised slowly without slurs, ensuring that awkward sections are split up and practised in detail ...
The majority of violin pupils, and indeed adults, find the prospect of learning scales on the violin a chore.
I too found this to be the case, although once I had got to grips with a new scale, I would quite happily gaze through a window while repeating the same scale over and over again. This trance like state was relaxing, and I think it helped keep my nerves under control in an exam when it was time to do scales!
There are various methods of actually learning a new scale or arpeggio. One can look at the music to start with in order to learn the key signature, and to work out the relative major or minor keys, which relate to it. This is the more academic approach, and although thorough, is unlikely to fire up any enthusiasm in the pupil.
Another method is the physical approach, where the closeness or space between the fingers is observed in order to feel the tones and semitones when they occur. Pupils often find it easier to relate to, and the fingering of the scale or arpeggio can be written down with a bracket over the fingers that make a semitone. All scales should initially be practised slowly without slurs, ensuring that awkward sections are split up and practised in detail ...
Date
Sep 17, 2006
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15886
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I was given the choice to learn the violin when I was around 8, but unfortunately my parents could only afford once-a-week group lessons with an old drunk who was associated in the 1950's with the public school system in the Bronx. Believe it or not, although I stuck with it for two years this man never taught the seven children in his class how to hold the violin in the way proper for classical music -- instead we held them like Appalachian fiddlers! One Christmas my father gave me a factory-made violin he got from the Sears catalog for $25. I was so proud, but when I showed it to my teacher he said, "I told your father not to buy a cheap piece of cheesebox like this!" and almost threw it on the ground with disgust. Neither my playing -- nor my violin, it seems -- ever pleased this man ...
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Violin and fiddle compared for similarities and differences.
This question comparing violin and fiddle is the all-time winner of FAQ's for me.
When people hear my answer about the difference between the violin and the fiddle,
they usually say, "That's what I thought."
Itzhak Perlman refers to his strad as a "fiddle." And concert violinists sometimes
refer to their colleagues as "fiddlers." But, this is just a loose way of speaking ...
This question comparing violin and fiddle is the all-time winner of FAQ's for me.
When people hear my answer about the difference between the violin and the fiddle,
they usually say, "That's what I thought."
Itzhak Perlman refers to his strad as a "fiddle." And concert violinists sometimes
refer to their colleagues as "fiddlers." But, this is just a loose way of speaking ...
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