Basic String Technique

BasiAc Pr aSctictarl Giunideg To STtrineg Icnsthrucntion ique by Anne Marie Patterson Contents Introduction ...... 3 Chapter 1 - Get Ready ...... 5 Preparing your handbook; Additional handbook material; Materials for the first day; Additional materials for the first few weeks Chapter 2 - The First Day Of Class ...... 9 Establish routine, explain the handbook, expectations and rules; Unpacking instruments; Introducing instrument parts; Parts of the bow Chapter 3 - Basic Instrument Position ...... 13 Set up the set-up!; Violin and Viola rest position; Cello position; Bass position; Cello and Bass activities; Violin and Viola playing position; Getting comfortable; Posture Chapter 4 - Pizzicato And Rote Songs ...... 20 Pizzicato; Identify open strings; Rote songs for open string pizzicato Chapter 5 - Avoiding Tension ...... 23 Cellists and Bassists; Sliding on Magic X for Violinists and Violist players; Take your time Chapter 6 - Placing Fingers On Strings ...... 26 Finger tapes; Preparing to place fingers on strings; Placing fingers on strings for Violin and Viola; Placing fingers on strings for Cello and Bass; Smiley faces Chapter 7 - Pizzicato Fingered Notes ...... 32 D Scale; Down the D scale; Block vs. independent fingering; Intonation; Tuning fork fun; 4th finger on Violin and Viola Chapter 8 - Note Reading And Assessment ...... 35 Avoiding confusion; Flashcards; Note reading classwork; Playing pizzicato open strings from the book; Combining note reading with left hand; Eye tracking; Addressing individual problems; Note reading assessment; Playing quizzes; Practice logs Chapter 9 - Bow Hold ...... 40 Bow hold on pencils and straws; Bow hold methods; Pencil hold games; Transition to bows; Bow hold steps; Bow games; Modifications for bows Chapter 10 - Bowing ...... 49 Bow motion; Tightening the bow; Rosin; Bow on open strings; Bowing aids; Rote practice with the bow; Tone; License to bow; Note reading and bowing open strings; Putting it all together; Bow lifts Chapter 11 - Advanced Bow Techniques ...... 57 Long, straight bows with good technique; Ties, slurs and hooked bows Chapter 12 - New Challenges ...... 62 G string notes; Fourth finger on Violin and Viola; “Low 2”; What does “natural” mean?; Accidentals are no accident; “Natural” is not “normal”; Seated position for Violins and Violas Chapter 13 - Practical Advice For String Teachers ...... 67 Tuning in the classroom; Pacing; Demonstrating; Motivation; Record rehearsal; Concerts; Seating Appendix Instrument sizing ...... 70 How to tell a Violin from a Viola ...... 71 How to tell bows apart ...... 71 How to tune string instruments ...... 72 Instrument setup - bridges, pegs, sound posts, etc...... 72 Tips for improving position and technique ...... 75 Tips for fixing bow holds ...... 78 Position tips for any instrument ...... 79 Position basics for Violin and Viola ...... 80 Position basics for Cello ...... 82 Position basics for Bass ...... 84 References ...... 86 About the author ...... 88

Project Manager & Editor: Mendy Varga Cover Design: Karen Pacelli

20945 80 • APPENDIX

Position basics for Violin and Viola

Instrument level with the floor û This is the most important habit to establish correctly. If ü this position is incorrect, all of the following habits will probably be incorrect also. The instrument should rest on the shoulder level with the floor, not pointing down at the ground. The weight of the head balances the instrument. Make sure the end button is pointing into the neck, it should not be visible. A sponge is helpful for support, but often a shoulder pad is even better. There should be space between the elbow and the side. Incorrect Correct

Straight left wrist û A common mistake is to allow the left wrist to bend upward, ü supporting the instrument. The left hand should hang from the fingerboard with a straight line from the elbow to the knuckles. The thumb should point at the ceiling. Avoid bending the wrist back too far. This causes tension and makes it difficult to reach the fingerboard.

Incorrect Correct

Keep head straight û Beginners will often tip their heads to the right to look ü straight down the fingerboard, but this causes stiffness and tension. Place the jaw in the chinrest and allow the weight of the head to rest on the instrument. The head and neck should be in line with the spine, or leaning slightly to the left. Try to keep the head straight and neutral.

Incorrect Correct

Square fingers on the fingerboard û The left hand should contact the fingerboard at the base of ü the first finger, just above the base joint. If this contact point is too high, the student will be playing on the nails, and if it is too low, the fingers will be too flat. The fingers should be square with the fingerboard with the knuckles making right angles. The fingertips should be centered on the string with the nails facing the student’s nose, not the ceiling. Don’t squeeze, use just enough weight to stop the string. Practice tapping the fingers. Incorrect Correct

20945 NOTE: The original purchaser of this book has permission to reproduce this page. This permission is limited to one school only, and any other use is strictly prohibited. APPENDIX • 81

Straight bow û The student’s first instinct may be to pull the bow sideways ü from the shoulder, but this causes crooked bow and scratchy tone. Keep the upper arm still and let the elbow open and close. The bow should be parallel to the bridge and perpen - dicular to the strings. The stick should be tilted out toward the scroll. To keep the bow straight in the upper half, stretch the arm out, forward. Try drawing the bow toward the right edge of the music stand.

Incorrect Correct

Fingers around the bow The bow should not be pinched with the fingertips, but held û with the fingers around the frog. The ring finger should ü cover the dot, or center of the frog. The pinky finger should be curved, placed on its tip, pointing straight down at the stick. The thumb should also be curved out, placed on its tip pointing straight up at the stick next to the frog. Almost let go so the hand can be soft and loose, and the base knuckles nearly flat.

Incorrect Correct

Elbow level with bow û The elbow should usually be level with the frog of the bow. ü This allows the bow hand to pronate correctly (roll toward index finger) and the elbow to open and close. As the bow raises or lowers to change strings, the elbow raises or lowers with it. The shoulder should be relaxed and loose. The upper arm should stay still when playing in the middle part of the bow. Move the bow by opening and closing the elbow.

Incorrect Correct

A few words about position It takes a long time to learn to play the violin or viola with good position, but it is worth the effort. Without good position, the student will reach a point where they can no longer improve, no matter how hard they practice. Good technique leads to a beautiful sound, ease of playing, and a future where the sky’s the limit!

20945 NOTE: The original purchaser of this book has permission to reproduce this page. This permission is limited to one school only, and any other use is strictly prohibited.