Generally I figure out where to stand in relationship to the piano seconds before I actually perform. I want to be able to see the pianist’s fingers out of the corner of my eye and I want to be sure the pianist can see my scroll and bow so that I can lead entrances.
Category: Practice
At group class this Sunday, students will have a chance to rehearse their pieces with piano accompaniment by Sadie Brightman. We will also practice performance etiquette for performers as well as performer-audience members, and share techniques and strategies for making performing fun and stress-free! All students, including those who normally abstain from group are encouraged
An arpeggio is the notes in a chord played in a sequence, one after the other instead of simultaneously. Arpeggios are usually introduced in Suzuki Book One starting with the key of A major, then D major, and then G major. In Suzuki Book Two, students are introduced to D Minor, B Flat Major, and A
A week of music camp can often be like a full 6 months of practice in terms of developing technique and musicianship. I encourage families to consider a week of music camp! Below are some options: June 21-August 15 Point Counter Point, Brandon, VT: Sessions for ages 11-18 (http://pointcp.com/point-counterpoint/) June 22-26 Vermont Youth Orchestra Day Camp:
This result of our extra long, cold, dry, winter is that violin strings have become more out of tune between practices than usual. The more tuning that occurs on violins, the more likely that buzzing sounds will start to occur. The buzz usually originates around the fine tuners on the violin tailpiece. To identify where the buzz
My son’s violin teacher, Francine Hamberlin drew a graph that looks a bit like this at our last lesson to illustrate how practice influences the development of a violinist’s skills. My own teaching practice confirm her findings. If a student does not practice or only practices once, skill actually may decrease during a week. It
Students and parents often struggle with how to structure practice time. Occasionally a student will come to a lesson and tell me that they don’t know what to do when they practice. In general it helps to have one or two intentions for technique development in mind for practice. Here are several examples: knees and hips over
As a music teacher and a person constantly interested in improving and reevaluating my own practice technique I find the Simon Fischer columns in The Strad magazine and his books indispensable and inspirational. I found his mind map for practice on his web site today and feel even more jazzed about Mr. Fisher’s ideas:
This machine is of course completely awesome. But a word of warning to you professional violinists out there: Use Caution!!! Last week’s temperatures left me not exactly wanting to venture much outside for exercise, so off I went to the gym for a few little workouts. I had heard tell that these machines are very
Many students in an effort to control the bow grip the bow with the fingers all strongly curving around the top of the bow or balancing on the finger tips on top of the bow. This creates tension in the wrist which prohibits fluid bowing and the condition where to make a sound, the pointer
Emily Sunderman 