How to Use or Play the Violin - Term Paper Example

Lecturer Pedagogy I Introduction There are diverse skills required for adequate understanding of how to use or play the violin musical instrument. The violin teachers should effectively understand the most appropriate skills to concentrate on, in the initial learning weeks for the beginners. The skills should be acquired correctly from the initial stages, and through continuous succession, so as to initiate the habit of fast progress. One progress in the skills levels should be adequately perfected, before proceeding to the next skill level. These are the significant issues that the students, teachers and parents must understand. These issues are effectively addressed by experience. Knowing how to impart knowledge on the complex skills hierarchy requires enough time. Also, unlearning the inappropriately acquired skills entails hard work (Pam 13).1 The ideal way of learning how to play the violin entails basically building every new skill on the basis of the already acquired competencies. Continuous repair and corrections generally occurs, and it is normal in the learning processes. The playing skills and competencies are very dynamic; they are periodically improved or reviewed to enhance learning as the musical competency matures. Learning how to use the violin musical instrument is an adventurous process, instead of the destination (Miles 217).2 Experienced teachers, after watching the lesson or stage performance, concentrate on the skills issues that require improvements. The major expertise characteristics of the teachers involve the capabilities of being able to know the imperfections, challenges, and problems. The teachers are also required to effectively communicate to the learners and their parents, the corrections and solutions for skill practice weaknesses. II Teaching Younger Beginner A. Individual lessons Violin teachers who handle children understand that both hands must be active during the initial lesson. If this is not realized, the idle hand develops tension through the active hand. a young learner concentrates effectively on a single thing at a particular time. The initial music lesson should focus on the violin hold using the hands. The teacher should demonstrate to the child learner how to bow hold and musically move, to ensure that the child performs it unconsciously. Significant attention is based on violin hold during the initial stages, because of the unnatural holding positions. The demanding duty or task entails making the unnatural position very comfortable and natural. The pedagogues who handle the beginner music lessons should illustrate and appropriate action for ensuring basic hold lessons (Hortense 65).3 The violin hold of the child must be determined through the right hand. If the child knows that the head of the violin is adequately heavy to hold through the weight of the instrument with minimal chin pressure, the instructor can direct the left hand of the child upon fingerboard, in the third and fourth positions. The teacher should motivate the learner in plucking strings through the left hand pizzicato. Using the four fingers that are on top of the four strings, learners can be shown how to play open strings. The pointing or the first finger plays or plucks G string, the second long finger plucks D string, the A string is plucked by the third or ring finger, and finally the E string is plucked using the fourth or pinkie finger (Robin 2).4 B. Group Lessons The group lessons are very significant in learning violin by the children. The parents, teachers and students, interact together socially and also musically. The violin issues addressed in the group lessons entail; repertoire, music theory, techniques, and the ensemble competencies. The group lessons need the attendance of all stakeholders, child learner, lesson instructor, and parents or guardians (Stephano 126).5 Families are encouraged to attend the group picnics and also group play-ins. the learning studio shows the venue that enhances the working relationship involving the teachers, parents and the learners. The young beginners in the violin classes achieve the most effective learning progress within the group learning environment. The effectiveness is generally achieved by watching, participating, and hearing, what other learners in the group are doing or engaged in (Paul 1).6 The learners get adequate opportunity of emulating the fast or relatively effective learners. This enables the children learners to quickly analyze and respond towards the environment and the motivation and energy of the other class members (Samuel 79).7 The violin learners in the group setting can effectively understand or acquire skills in one hour, which take longer durations to acquire in singe learner lessons. The best group lesson is conducted on weekly basis. This ensures the continuity of the objectives, and improvement of the social connections. The group lessons possess an integrated mix of competencies. This enables the players with insufficient skills, learn from the more advanced learners. The group lessons involve several teachers and also parents, as the audience (David 163).8 Thus, the young learners get the opportunity and confidence of performing before the audience. III Teaching Older Beginner A. Individual Lessons The private lessons for the adult beginners comprises; playing posture, violin holding, bow holding, playing techniques, and also the ensemble playing. The individual class is interesting, informative and enjoyable. The lessons increase the personal interaction between the teacher and the student; this ensures effective acquisition of the playing skills because the teacher focuses on only one learner. The lessons are thus directed at ensuring methodological skill acquisition. The individual lessons aim at imparting critical reading, playing and performing skills through the violin. The individual must have a violin that is utilized in class lessons and also at home during private practice. On registration for the private violin lesson, each learner is provided with a free violin. The possession of the violin enables the learner to practice playing at home during free time (Templeton 72).9 Two weeks prior to the end of any introductory course, the students are given the chance of extending the tuition at the institution. The continuation or improvers course is arranged to the individual learner based on the teacher availability. The individual lesson is also flexible enough, because it can be integrated with other learning categories like the group lessons at different times. The individual lessons aims at introducing a challenging musical instrument to the learner, in a environment that is friendly and entertaining (Diana 251).10 The student is expected to exercise patience and helpfulness in the learning lessons. The lessons enable the adult learners to learn how to play the violin, and at the same time enhance privacy of learning process, and also enhance the interaction of the single student with the teacher B. Group Lessons The group lessons for the adult beginners are exciting, affordable, and fun. The adult learners find an appropriate venue for socializing and also meeting new individuals. Being part of the group motivate the learners to continue practicing the violin techniques. The group violin lessons encompasses; bow and violin holding, playing posture, scale, and entertaining music. Each lesson in the group violin class is formulated to continuously, effectively and methodologically enhance the skills of the learners. Majority of the violin training centers have websites that enables the adult learners to access useful training information like; sound clips, pictures, demonstrations, and general information on the violin playing issues. The students regularly participate in the scheduled recitals which take place in the course of the year. The lessons are very basic and utilize simple notation. The technique enables concentration on only playing the violin (Mozart 93).11 The classes are conducted weekly, and each lesson takes duration of one hour. The class is small to enhance the interaction between the learners and the teachers. Each class has a maximum of 10 learners. The classes address stance, instrument and bow holding, normal rhythm and bowing, five songs, and fingering. The initial song used in the first lesson has five variations. In the group lesson, the students are requested to rent or purchase the violins and related instruments. Violin instruments are easily available for rent or purchase, at the music stores. The group learning lessons are fun, and the teachers strive to maintain high standards of professionalism and integrity. IV Teaching Methods A. Suzuki Method The Suzuki approach entails music teaching method that was initiated by Shinichi Suzuki (1898–1998), who was a Japanese violinist during the 20th century. The language acquisition concept of Suzuki, illustrates that individuals are adequately able to learn based on their environment. The main aspect of this learning approach entails developing the appropriate environment needed for learning music and musical equipments. The positive environment during music training enables the development of appropriate character among the learners. Suzuki applied the approach in violin through the variations on the music Twinkle Twinkle Little Star. The variation ended with the duo Mozart concertos. Presently, the repertoire is undergoing revision, which is being conducted through International Suzuki Association. Suzuki developed several music techniques. Tonalization was a phrase initiated by Suzuki. Tonalization involves the ability of the learner to generate and identify a beautiful tone quality when playing the violin musical instrument. A student should effectively learn tonalization, so as to effectively generate and play music. The Suzuki method also applies the sound recording techniques. Pre-recorded musical tones are applied in assisting the learners to understand the rhythm, notes and music quality through the year (Galamian 17).12 B. Sassmannshaus method The Sassmannshaus music method is very unique. The music learning technique applies big print texts and notes, and also very colorful representations that are appropriate for the preschool and also the school young learners. A lot of emphasis is placed on note reading during the initial lesson. This encourages learning of ensemble playing early enough during the training period. Songs and scales are applied in diverse positions that are easily learnt during the initial playing year. This ensures that the learners are not confined only to the first playing position. The advanced violin skills like shifting and diverse bow strokes are initiated in learning through basic forms. The learning approach is suitable for both group learner and individual lessons. Sassmannshaus initiated the original violin approach in Germany in 1976. For approximately three decades the Sassmannshaus tradition is a common name for effectiveness in the beginner violin learning, in the German communicating part of the world. Approximately 500,000 young learners understood how to play violin, through the Sassmannshaus method (Fischer 105).13 The widely popular Sassmannshaus method equipped the diverse European musicians the performance basics. The learning approach is presently applied in majority of the English speaking nations (Carl 58).14 C. Mazas Method The mazas method was developed by the French music composer, pedagogue, violinist, and conductor, Mazas (1782-1894). The maza music compositions are favorable to both young violin and viola learners. The Melodious and Progressive Studies is a significant pedagogic for the children learners of the violin, and it is preferred by majority of the violin teachers (Milsom 139).15 V Conclusion There are certain basic techniques required for proper violin playing. The bow should be adequately tightened. The bow hair is tightened through turning in a clockwise direction the end screws. Rosin the bow is the second step. The rosin is rubbed vigorously against the bow hair length. The aim of this process is to transfer the sticky rosin dust. The violin must then be tuned to the levels G, D, A, and finally E. The bow should be gripped. The action begins through placing the middle area of the index finger upon the grip. The violin is held in a sitting or standing position, with the back being straight. The instrument is picked through the neck using the left hand, and the butt is placed on the neck. The hand position should be perfect and comfortable. The hand should be on the upper part of the neck. It should support the violin, and the scroll should point away from the player or learner. The final step entails playing the string. The bow is pulled along the string, in a straight and parallel direction to the bridge. a sound will thus be realized. Annotated Bibliography Applebaum, Samuel. (2007). String Builder, Book 3: Teachers Manual. New York: Alfred Publishing, p. 7. Applebaum explains the processes involved in developing a simple violin. The author also illustrates that learning groups are the most effective in enhancing the skills of young learners, due to easy sharing of knowledge. http://www.violinist.com/discussion/response.cfm?ID=10753 Belluck, Pam. (2014). “A Strad? Violinists Can’t Tell". New York Times, p. 12-13. The author illustrates the skills of playing the violin. These skills are acquired through learning or training. The training sessions are conducted by highly trained instructors, who ensure that the learning process is rewarding and enjoyable. http://www.nytimes.com/2014/04/08/science/a-strad-violinists-cant-tell.html David, Milsom. (2013). Grove Music Online. London: Oxford University Press, p. 139. David illustrates that the Grove entertainment company values violin music. The most favorable category is the one that is favored by both young and old learners, performers and audience. The author also illustrates the viola music that is almost similar to the violin. http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=2&ved=0CCUQFjAB&url=http%3A%2F%2Fresults.ref.ac.uk%2FDownloadFile%2FImpactCaseStudy%2Fpdf%3FcaseStudyId%3D6416&ei=vnEMVf3kGovroATtn4LoBw&usg=AFQjCNHp-2yTMM5wV_oIEyYeSP2jdnoqNw&sig2=-HKS5uGHQa-uho4MWPTGDQ&bvm=bv.89060397,d.cGU Deverich, Robin. (2011). "Historical Background of the Violin". ViolinOnline.com, p. 2. Deverich explains the historical processes involved in using the violin. Special focus is placed on the hand technique for playing the violin, for both young and older beginners. Each finger has a specified role, in holding and playing the instrument. http://www.violinonline.com/historicalbackgroundoftheviolin.htm Flesch, Carl. (2007). The Art of Violin Playing. Anne-Sophie Mutter. Carl Fischer, p. 58. Flesch analyzes the most suitable approaches of learning and playing the violin. Sassmannshaus approach is the most suitable; this is due o its high appealing level internationally in both German and English speaking nations. http://www.violinist.com/discussion/response.cfm?id=12023 Hoffman, Miles. (2007). The NPR Classical Music Companion: Terms and Concepts from A to Z. NY: Houghton Mifflin Harcourt, p. 217. Hoffman explains the adventurous approaches of learning how to use the violin. The learning process analyses the environment related to violin usage. The process begins through expressing learning interest and acquiring the violin, to actual performance. http://brightmusic.org/musician/miles-hoffman-viola Ivan, Galamian. (2013). Principles of Violin Playing and Teaching. NY: Dover Publications, p. 17. Ivan describes the Suzuki approach of learning and playing the violin. The author illustrates that for effective learning to take place, and enabling and appropriate environment must exist for both the learner and the teacher. http://www.violinist.com/discussion/response.cfm?ID=24673 Laird, Paul. (2007). "Carleen Maley Hutchins Work With Saunders". Violin Society of America, p. 1. Laird explains the most effective ways that the young children use to learn and play the violin musical instrument. The children participate in learning groups, hence they observe how the most skilled learner play the instrument. http://orgs.usd.edu/nmm/Archives/NewViolinFamily/HutchinsChecklist.html Leopold, Mozart. (2013). A Treatise on the Fundamental Principles of Violin Playing. London: Oxford University Press, p. 93. The author illustrates basic issues involved in playing the violin and also in learning how to play it. The learning process entails following the instruction of the teacher, by the learners. http://www.brainpickings.org/2013/05/28/the-genius-in-all-of-us-mozart-david-shenk/ Panum, Hortense. (2009). "The stringed instruments of the Middle Ages, their evolution and development". London : William Reeves, p. 65. Panum explains how children can learn how to use the stringed instrument, violin. One key learning characteristic for the young learner involves the most appropriate approach for holding the instrument. The holding position should be very comfortable. http://antiques.gift/stringed-instruments-of-the-middle-ages_2236947.html Pio, Stefano. (2012). Viol and Lute Makers of Venice 1490 -1630. Venice, Italy: Venice Research, p. 126. Pio explains the processes entailed in developing the most basic violin. The author also illustrates the key approaches of learning how to play the musical instrument, especially among the young players. http://www.krattenmacher.com/dynasite.cfm?dsmid=11370&dspaid=56020 Schoenbaum, David. (2012). The Violin: A Social History of the Worlds Most Versatile Instrument. New York: W.W. Norton & Company, p. 163. The author explains the violin is best learnt by the children in musical groups. The groups have several stakeholders who encourage the young learners to excel. Teachers and parents are part of the stakeholders, who motivate the learners. http://books.wwnorton.com/books/The-Violin/ Simon, Fischer. (2013). The Violin Lesson A manual for teaching and self-teaching the violin, London: Edition Peters, p. 105. Simon explains that Sassmannshaus learning approach is most suitable for the young beginners. The teachers utilize appealing techniques such as attractive letters, sweet sound, attractive coloring, and appealing learning environment. http://www.violinist.com/blog/laurie/20137/14811/ Templeton, David. (2013). “Fresh Prince: Joshua Bell on composition, hyperviolins, and the future.” Strings magazine, p. 72. Templeton explains the interested violin learners can perform better by acquiring their own musical instruments. The violins can either be bought or rented by the music stores. Acquisition enhances violin practice. http://www.allthingsstrings.com/News/Interviews-Profiles/Joshua-Bell-on-Composition-Hyperviolins Young, Diana. (2007). “A Methodology for Investigation of Bowed String Performance Through Measurement of Violin Bowing Technique.” PhD Thesis. M.I.T, p. 251. Young explains that individual and group lessons can be integrated or combined for the adult learners. Individual lessons increase interactions between the leaner and the instructor. Group lessons improve the practical aspect of learning. http://dspace.mit.edu/handle/1721.1/38637 Read More