Yes, You Can!

Survival Guide for Teaching Strings

Contenido

Forword....................................................................................4 - Introduction............................................................................5 - Chapter 1: What you already know: - Fundamentals of learning are the same..........................7 - Chapter 2: What You Already Know - The Importance of Fundamentals and Technique......12 - A short note about learning:........................................12 - Basic Tone Production: Acoustics..............................12 - The Harmonic Series - Notated....................................15 - Chapter 3: Fundamentals of Tone Production - The Role of the Right Arm/Bowing Mechanism.........17 - Comparison of Tone Production Principles of - Winds - Voice - and Strings.......................................17 - Bowing Lanes (aka - Bowing Channels).....................21 - Exercise for Bow Placement .......................................22 - The Interaction Between Weight - Angle - Speed - - and Placement .........................................................23 - Creating Sound: The initiation of the pitch - - the sustaining of the pitch and the release - of the pitch................................................................24 - Fundamentals of Tone Production: The Role of the - Left Arm/Fingering Mechanism............................24 - Body/Kinesthetic Motion: You CanÂt Fight Physics - - Newton Said So. .......................................................25 - NewtonÂs Laws of Motion ............................................25 - Understanding the physiology of the hand...............27 - Three Simple Bowing Exercises for Learning How to - Control Weight - Angle - Speed - and Placement....30 - Construction of the Bow and Why It Matters...........31 - French Bow vs. German Bow for Double-Bass.........33 - Articulation and bowing technique............................34 - Executing the articulation............................................36 - From Articulation to Bowing Techniques.................36 - How do I know which bowing style to use?..............40 - Exercises for Bowing Styles - - and Why They Must Be Practiced Separately.......40 - And - just to keep it interestingÂstring crossing!.....41 - Why does all of this matter?........................................41 - Rhythm and Bowing.....................................................42 - Bowing Markings..........................................................42 - The Fourteen Basic Principles of Bow-Direction.....43 - Additional resources already at your disposal..........44 - Chapter 4: Fundamentals of Tone Production: - The Role of the Left-Arm Mechanism..........................45 - The Importance of Relaxation and Balance...............45 - Understanding Fingerboard Geography....................47 - Forward or shifting extensions....................................51 - Shifting...........................................................................52 - Types of Shifts................................................................55 - Shifting and Aural Skills...............................................55 - Vibrato............................................................................55 - Performing with vibrato...............................................56 - Answering the question about why certain keys are - better than others.....................................................56 - A final thought on technique......................................57 - Chapter 5:Developing Aural Skills.....................................58 - The supremacy of aural skills......................................58 - Using Tonal Patterns to Enhance Aural Skills...........59 - Using Folk Songs to Enhance Aural Skills.................60 - Effective ÂEar TunesÂ for String Ensembles - including - both simple and more complex tunes....................61 - Other resources for aural skills training....................62 - Tuning the Orchestra....................................................62 - Preparatory Sequence #1 (single pitch approach) ...64 - Preparatory Sequence #2 (double stop approach) ...64 - Importance of the Tuning Pyramid............................65 - Chapter 6: What you Need to Know About Conducting - a Band/Choir vs. Conducting an Orchestra: - Rehearsal Planning - Score Analysis - and - Building the Ensemble....................................................68 - The Development of Master - Teacher-Conductors................................................68 - Characteristics of Outstanding - Teacher-Conductors................................................70 - Applying Instructional Delivery to the - Teacher-Conductor..................................................73 - Developing Effective Rehearsal Routines..................75 - What the best teachers do in the classroom - and studio..................................................................75 - Fostering Artistry and Passion in the - String Ensemble........................................................77 - Planning to be an Effective Teacher............................78 - Rehearsal PreparationÂPreparing the Score............79 - Moving from the Analysis to the Rehearsal..............92 - Rehearsal Planning Â Structuring the Rehearsal - and Planning for Success.........................................92 - Rehearsal TechniquesÂPredictive Success - - |Preventive Maintenance.........................................98 - Rehearsal TechniquesÂSolving Musical Issues........98 - Rehearsal TechniquesÂSolving Technical Issues.....100 - Special Notes on Adaptations for - Middle School Ensembles.....................................101 - Teaching Techniques - Principles of - Learning - and Instructional Delivery..................101 - Models of Effective Middle-School Level - Instructional Delivery............................................101 - Effective Middle School Teacher Behaviors - - Rehearsal Planning and Techniques....................102 - The Use of a Chamber Music Program to - Teach Ensemble Skills............................................103 - Chapter 7: Organizing the String Program.....................111 - When to begin instruction........................................111 - How to schedule instruction.....................................111 - Expect that you will teach heterogeneous - string groups. .........................................................112 - Recruitment and Retention will continue to - be key issues............................................................112 - The value of community and school mentor - programs..................................................................113 - Choosing the right method book.............................113 - What do I teach at the beginning?............................113 - The String Ensemble vs. the Full Orchestra............114 - Ensemble leadership...................................................114 - Orchestral Seating.......................................................115 - Tuning the orchestra...................................................116 - Chapter 8: Equipment and Materials...............................117 - Choosing an instrument............................................117 - Choosing a bow...........................................................118 - Instrument sizes..........................................................118 - Essential Equipment for String Players....................119 - Developing your orchestral library...........................124 - Educational Arrangements or Authentic Music?...125 - Chapter 9: Professional Resources...................................129 - Professional Associations...........................................129 - Other Professional Development Opportunities....129 - Publishers of Educational Orchestral Music...........128 - Bibliography........................................................................129