Soo-Been Lee - Wieniawski - Variations on an Original Theme Op 15

Practice Strategies for Minuet No. 1 in Suzuki Book 1

     You are a 3/4 of the way through the book and are now going to embark on the 3 Minuets of J.S. Bach! You are now playing Bach, this a good step up! Bach wrote these minuets originally for his wife to play on the harpsichord. Here are some tips to get started:
   
Structure. The piece is organized in two main sections, but we can think of the song in 3 parts (more why below). Here’s how they are played: part 1 mezzo forte (line 1-2), part 2 piano then mezzo forte (line 3-4), part 3 piano then mezzo forte (line 5-6).

New Skills. 
1. Hook Bows. This bow stroke is also called portato and is played down-down or up-up. You will recognize this in the music where there is a curved line over two notes and dots above them in measures 1 and 3. The best way to work your hook bow for now it to play with a smooth bow and stopping between the two notes. Another way of saying this is don't play hook bows with crunches and squeezing, since it will not give you a good tone.
2. Low-High Two. In the previous piece, Etude, low 2 on A and E string was introduced. But now, in part 1 and 3 we have low 2 on the A string and high 2 in part 2. This is why I break the piece up in three parts, so that it is easier to remember where the high 2 is played.
3. Artistry. Since the Minuet is a dance in 3/4 time, once the song is flowing we can emphasize the first note of every measure with more bow. The emphasis of the first beat in a Minuet is a way to make it more professional and expressive. 

Strategies:
1. Warm-up with the bow exercises, now with an emphasis on hook bows.
2. Play the finger concerto with low 2 and high 2. Play on every string once with low 2 then with high 2 and that will make it easier to switch between them. 
3. Play through the piece with all low 2s then bring the high 2 back in part 2. You can also do it the other way, play everything high 2 and then add the low 2s where they belong. 
4. Play along with the Youtube video above and other recordings.
5. Be creative with your playing this week, add hook bows to all the songs you know.

What do you think? Do you have any tips? Any questions, suggestions or concerns? Let me hear from you. 

Practice Tips for Go Tell Aunt Rhody, Suzuki Book 1

Believe it or not, but you are 1/4th through the book, a few more songs and you are half way! I have posted some tips in a previous post (check them out), but there's more! Here are some more strategies to Go Tell Aunt Rhody:

• Playing Position: Prepare the playing position before starting the song, remember that these few seconds of preparation will make it so much easier to play the piece.
• Structure: The order is part 1 (first line) mf, part 2, part 2 piano (second line), part 1 mf (third line)
• New Skills: 
• rhythms - you now have a mix of quarter, eighth, and half notes in the song.
• dynamics - for the first time in the book you switch from mf (medium strong) to p (softly), so after you get comfortable with the notes and rhythms you can add this interesting aspect to the song. 

• Strategies:  
• Warm-up with the bow exercises, now with an emphasis on playing one string mf, the next p and so forth.
• After you listen to the song one time and follow the notes, say the notes in rhythm as best as you can (parents this is a good opportunity to sing along with your child).
• Learn part 2 first so that you can start trying out the dynamics.
• Play along with the Youtube video above.
• Add mf and p to the songs you already know.
• Perform a Quarter-Book Recital for family and friends.

      Parents and students alike are looking for getting everything right as quick as possible all the time. Take the time to focus on the progress that was made, point it out to yourself or parents make sure to point it out to your child. We all need encouragement, give it to yourself and to others throughout the week it will make a difference in your practicing and others aspects of your life.

Posture Tips for the Violin, Cello, Piano

"We are conditioned to think that making music is a license for using our bodies in strange and uncomfortable ways, and for holding these posture for hours, days, and years on end.  We don't like to question or change our habits, for fear of losing our artistic powers. But these strenuous postures do not serve the best interests of either ourselves or the music. Good posture allows the limbs and breathing muscles to be free and flexible. . . 

In an effort to sit or stand up straight, some musicians go to an extreme and arch their backs, throwing their shoulders back. This posture over-tightens the lower back, making it an ineffective source of support and putting constant strain on a few muscles. 

In a more natural spinal alignment, the muscles in the torso don't have to work hard. The bones, together with the connective tissue, take on the load of the body and support you against the force of gravity."

                                                    ~The Art of Practicing by Madeline Bruser

     As a teacher and performer I never want to stop learning. Reading great books on practicing and other areas of music has been very rewarding and enjoyable. I figure if I study Science, Math, Literature, History, and even how to fix things, then why not learn for teachers and professionals in my field? You know what I mean?

I think I know some things about posture and its importance, but Bruser has definitely helped. I want the best posture possible because that is how the body is empowered to perform well, but as Bruser points out we need to be careful that we are not counterproductive. This is a point on which the Suzuki method agrees, since the emphasis is on learning things well in small steps so that they become effortless.

As you work on your posture, make sure your body is comfortable and that tension is released whenever you feel it. One way to work on posture plus comfort in the body is to stop playing for a few seconds when you feel too much tension somewhere. Stretch the tense area and massage it, then play that part of the piece again. Another way to practice staying relaxed is to play something you know well with your eyes closed. As you are singing or playing the piece, start noticing your head, relax it, then go down to your neck, relax your neck. Keep going down the body relaxing each part so that your whole body is tense-free. It takes time and concentration, but the pay-off is great!

What have you been learning about posture? What has helped you to keep a good posture and stay relaxed?

Pre-Twinkle Violin Camp August 25-29

Are you wondering if the violin is the way to go or if your child is ready to take some music lessons? Start right away with hands on playing by learning the parts of the violin, holding the violin, basic rhythms and songs, all through games. This class is good for students that just started or that have never played. This is why we are calling it the Pre-Twinkle Violin Camp, because it is for those that have never played and are interested, and because we will be using some of the Suzuki principles.

You will have a chance to make some friends, learn about composers and play in a concert at the end of the week. Parents are welcome to be involved in the class and learn right along with their child. This is a great way to get ready for private lessons in the fall!

Pre-Twinkle Violin Camp - One Week
All Ages
Dates: August 25-29, 
Time: 6-7:30pm
Cost: $95
Instructor: Mircea Ionescu

Where: Oldham County Schools Arts Center

Address: 7105 Floydsburg Rd, Crestwood, KY 40014

REGISTER HERE  or call (502) 241-6018

Performance Reflections: Duet for Violin and Guitar by Burgmuller

          I recently performed a duet with a friend, Derek Harris, at our Spring Student Recital. This is a Nocturne by Johann Friedrich Burgmuller that he originally wrote for cello and guitar. As you can see I am playing the violin and he is playing the guitar.

         One thing I noticed as I was playing the piece with my friend Derek is how helpful it is to warm-up and to play through the piece before performing it in front of the audience. By just taking a few minutes to get my hands and fingers warmed-up I was able to enjoy the piece a lot more. It wasn't always so, there were many times that I just got to a concert or recital on time (or even late!) and I was not able to enjoy myself very much because I was not playing my best.

         Instead of getting your recital on time, make sure to get there early enough to warm-up by doing scales and other exercises that you know and then play through your piece at a medium tempo. Remember, take your time because you will be nervous and want to rush. Set yourself up to do your best, it is much more enjoyable!

          What are some things or routines that you go through to get warmed-up to perform?

The Summer Practice Challenge!

     Every summer, my students are encouraged to go for The Summer Practice Challenge. Why? I started it a few summers ago because I thought it would be a fun way for students to get a prize and it would encourage them to avoid being lazy with their instrument. Being lazy in the summer time is very tempting with no school, hot weather and other fun activities that they are doing. But The Summer Practice Challenge has been a success, more and more parents are telling me how it's motivating their children.

How does it work? The student needs to be able to play everything I give them on their practice chart 20 days in a row. If they do not skip a day and get 20 days they get their prize, or they may go for 40 days to get a bigger prize, or if they get 40 days, they can go for 60 days for the biggest prize!

The Good news: 1. the prize is something the student likes, 2. the student may start the challenge any time they want before the 1st day of school, and 3. they may re-start the challenge as many times as they want. As you can see the point is to motivate the student to keep trying.

The Benefits:
1. Motivates students to practice (they want to push for the prize).
2. Challenges the student's and the parent’s integrity to be honest (will they cheat?).
3. Teaches the student consistency and discipline to practice even when you do not feel like it.
4. It teaches students to set goals and have fun at the same time. 
5. The student will learn to take responsibility to complete his or her goal.
6. Parents will not have to push their child very hard to practice.

        In the end it is the attitude of the teacher and the parent that will influence the student on how to approach The Summer Practice Challenge.  Parents, out of good intentions, have pushed their child so hard that the student shuts down and they do not want to do the challenge.  I encourage teachers and parents, to make this optional to their students as it will "put the ball in their court." You might be surprised what happens when you give them the responsibility. Let the challenge begin!

Musette: Suzuki Violin Book 2 - Tips and Focus Points

     So you are now getting comfortable playing with the whole bow Chorus from Judas Maccabaeus and now we are ready for the next step: Musette by J.S. Bach. Here are some tips and focus points:

• Check the key signature: 2 sharps (F# and C#), which means 2nd and 3rd finger touch on A and D string; 1st and 2nd finger touch on the E string.
• Play at the tip of the bow as many notes as possible.
• Bring out the sudden changes in dynamics. Make a distinct difference between p, mf, f by the amount of bow you use.
• Take a small breath when you see the commas in the music.
• The last note in the piece you can play as a harmonic on the D string.
• One way to practice the 4-note slurs is to make them into hook bow, so that it is easier to distribute he amount of bow per note.
• Play scales and pieces from book 1 at the tip to make it easier playing at the tip.

Feel free to ask questions, suggestions and concerns. And if you want more help, try a free online lesson!

Summer Lessons, the Best Time to Start or Keep On

          

        Summer is here and many of us are going on vacation or are right now on vacation!  This does not mean that you have to go without lessons for the entire summer. I know that some of you are thinking whether or not to do them. Short answer: Do It!

If you are looking for a teacher or just want to try something out, take 2 free online lessons with me! And for those of you in the Louisville area, I teach at the Oldham County Arts Center and the University of Louisville Community Music Program. I teach the violin, viola, cello and piano. We can do Suzuki, fiddle, bluegrass, classical and/or church music. Send me an email at: privatelessonmatters@gmail.com for more info.

For those of you who have a teacher, here is what I recommend you keep in mind as you think it over:

1. Some teachers will be able to have lessons earlier in the day since there is no school, so just ask.

2. A few lessons will help keep students going so that they don't fall behind.  Students that do not take any summer lessons forget some of what they have learned. So guess what happens when Fall rolls around? The parents and student get frustrated when things have to be relearned.

3. Some children think they are done with music lessons, so by taking just a few lessons you can avoid misunderstandings.
4. If you take lessons in the summer you will have a spot for sure in the Fall with your teacher. 

5. Summer lessons are a great way to keep your child sharp and moving forward. What I have noticed, is that students have a harder time staying motivated to practice without the weekly lessons

6. Good opportunity to prepare for orchestra auditions.

7. Most importantly, quality time with your favorite teacher.