Well, this happens every now and then. Students go to violin lesson, or piano, or any other instrumental lessons, without preparing for it. That is, they have not been practicing at all for the past week, or longer. Yet they go to lesson anyway. Most of the time, these are children who go for lessons because parents say so. Meaning, they have no choice.
Well, actually they do have choices. Perhaps the most known choice would be, to practice before going for lesson.
Anyway, what can the teachers do, if the students were not prepared? I used to just think, to let them practice during lesson. If there is no improvement (due to lack of practice), there would not be progress, and it would prove difficult to learn any new skill, or material, or just another new piece.
Is there other alternatives? I should have given this a little more thought. Maybe I will just spend the lesson time to practice, not the expected prepared piece, but exercises for basic skills. It is no substitute for regular everyday practice, but at least the lesson would not be a total waste. I wonder who else is reading this blog, and if any would care to comment.
Friday, August 1, 2008
Tuesday, July 22, 2008
Tips on buying violin
Oh I almost forgot. I have already put up a few posts on my website with tips on what to look out for when buying a violin, be it a new or an old one. Do drop by my website, at The Violin House to take a look. I am also experimenting around with other rather less generic names, so if you have any suggestion, please drop me a line! Thanks!
Monday, July 7, 2008
How to keep the interests going
Just discussed with a parent about student losing interest in violin. I took some time to think about it. Well, interests come and go. The younger the child, the more fleeting the interest. We can see that for young children to have a sustained interest in certain activity, they are either naturally born with it (i.e. "hard-wired" that way), or the interest developed through constant exposure. Some would include constant exposure even during pregancy time.
Learning a musical instrument takes more than interest, and more than talent. They amount to only about 10%. The other 90% are hardwork. Oops! It's too hard. So we need motivation to go along. Unfortunately, motivation is short-lived. So how do we get the "hard work" done?
For one thing, we can keep motivation coming. This can come from teacher, parent, and constant exposure.
As a violin teacher, I only see my student once a week, at most twice. Parents generally would not fork out astronomical fee to hire a violin teacher every day of the week. Oh they would do that for subjects like Maths, Science, etc. at the drop of a hat, but violin? Not unless they wish their child to be a world-standard virtuoso.
So here is the catch. The parents have to make 6/7 of the motivation, with the teacher doing 1/7. Well, maybe 3/7 of the motivation, the other 3/7 would be to listen to really nice violin music, orchestra music, and take part in musical activities, like orchestra rehearsal, mix around with other violin students, compare and contrast notes, etc.
That way, the 90% hard work would not feel so hard. And it can develop the strength of determination, the will to overcome challenges, and be a better person to face the challenges of life in general.
Learning a musical instrument takes more than interest, and more than talent. They amount to only about 10%. The other 90% are hardwork. Oops! It's too hard. So we need motivation to go along. Unfortunately, motivation is short-lived. So how do we get the "hard work" done?
For one thing, we can keep motivation coming. This can come from teacher, parent, and constant exposure.
As a violin teacher, I only see my student once a week, at most twice. Parents generally would not fork out astronomical fee to hire a violin teacher every day of the week. Oh they would do that for subjects like Maths, Science, etc. at the drop of a hat, but violin? Not unless they wish their child to be a world-standard virtuoso.
So here is the catch. The parents have to make 6/7 of the motivation, with the teacher doing 1/7. Well, maybe 3/7 of the motivation, the other 3/7 would be to listen to really nice violin music, orchestra music, and take part in musical activities, like orchestra rehearsal, mix around with other violin students, compare and contrast notes, etc.
That way, the 90% hard work would not feel so hard. And it can develop the strength of determination, the will to overcome challenges, and be a better person to face the challenges of life in general.
Thursday, July 3, 2008
The Use Of Metronome
The metronome, perhaps the most useful invention for musicians, or anywone aspiring to be one... including the drummers, especially!
I remain constantly surprised by students who do not use the metronome. I tried to make fun of it, or make it sound very serious, or be angry and yelled, etc. but to no avail. They just do not use metronome. I would love to know of anyone who can inspire students to vigilantly use metronome everyday until such time that they have develop a quartz clock ticking inside their heads (or hearts). (just joking)
One of the most ridiculous excuse for not using the metronome is ... "I am trying to learn the notes". This excuse is used by fresh beginners, all the way to post-grade-8 students. The end result is skewed rhythm, sometimes as much as 80% of the new piece that they are attempting, though most commonly some 30% to 50%.
A second most common excuse is... "it is too fast". Well, duh... the metronome can be set to a slower speed.
The truth is, there is absolute no reason not to use the metronome from day 1 of learning a new piece. Sure, there are always tricky bits and pockets of the music, from beginner to advanced levels. Sure, we all need to just work out the notes, setting aside rhythms, just focusing on the notes. But that should not last more than approximately 10 minutes. Once the basic notes, finger movements, etc. are grasp, rhythm kicks in. That means setting metronome to a very slow speed to get those tricky bits on-time, then going faster, until such speed that matches the rest of the piece (just starting to learn, or otherwise).
If you cannot get the notes in 10 to 15 minutes, try taking a break (fatigue), or just dropping the piece (not up to standard yet).
That is my advice: use metronome from Day One. Or have a quartz clock implanted somewhere. (hehe)
I remain constantly surprised by students who do not use the metronome. I tried to make fun of it, or make it sound very serious, or be angry and yelled, etc. but to no avail. They just do not use metronome. I would love to know of anyone who can inspire students to vigilantly use metronome everyday until such time that they have develop a quartz clock ticking inside their heads (or hearts). (just joking)
One of the most ridiculous excuse for not using the metronome is ... "I am trying to learn the notes". This excuse is used by fresh beginners, all the way to post-grade-8 students. The end result is skewed rhythm, sometimes as much as 80% of the new piece that they are attempting, though most commonly some 30% to 50%.
A second most common excuse is... "it is too fast". Well, duh... the metronome can be set to a slower speed.
The truth is, there is absolute no reason not to use the metronome from day 1 of learning a new piece. Sure, there are always tricky bits and pockets of the music, from beginner to advanced levels. Sure, we all need to just work out the notes, setting aside rhythms, just focusing on the notes. But that should not last more than approximately 10 minutes. Once the basic notes, finger movements, etc. are grasp, rhythm kicks in. That means setting metronome to a very slow speed to get those tricky bits on-time, then going faster, until such speed that matches the rest of the piece (just starting to learn, or otherwise).
If you cannot get the notes in 10 to 15 minutes, try taking a break (fatigue), or just dropping the piece (not up to standard yet).
That is my advice: use metronome from Day One. Or have a quartz clock implanted somewhere. (hehe)
Monday, June 30, 2008
Rachmaninoff Piano Concerto
I just came across it the other day on eMusic the recordings of Rachmaninoff Piano Concerto No.2. Well, I used to play it when I was working in the orchestra. It was one of the more popular concertos being performed. I enjoyed playing each time, with a different soloist, brings new inspiration of the piece, even though much of the time I was busy playing my own part, the music was not focused on the piano solo alone.
No.2 is almost like speaking to the subconscious, the deep melody.
For No.3, it is the hollow melody at the opening that gets me. A very simple melody, without much supporting harmony, hollow, and haunting, at the same time. Like nostalgia, like catching something that is fleeting and vague, good but no longer available, sweet and sad at the same time. I find myself listening to these 2 great pieces over and over again.
No.2 is almost like speaking to the subconscious, the deep melody.
For No.3, it is the hollow melody at the opening that gets me. A very simple melody, without much supporting harmony, hollow, and haunting, at the same time. Like nostalgia, like catching something that is fleeting and vague, good but no longer available, sweet and sad at the same time. I find myself listening to these 2 great pieces over and over again.
Saturday, June 28, 2008
How to practice thirds
How do you learn to play thirds, as in double stops? Nobody really say anything about the "how". My teacher would just point to the scale book and say "practice, memorize, and play on the stage next week". Sure, we all need to practice. It would help to have a little more detailed steps, or strategy.
Here is mine. Do feel free to share yours in comments.
1. Identify the semitone from 1 pair of 3rds to the next. Mark it out on the music.
2. Feel the semitone in your fingers (touching fingertips).
3. Listen to the intonation, adjust if necessary (especially the whole tone movement, where fingertips are not touching).
Repeat the action again until the movement is fluid and accurate.
Double stop scales for ABRSM and Trinity exams, the 3rds at least, are printed in slurred pairs. So I suggest students to practice each pair until the movement is accurate and confident, before moving on to the next.
Repeating the whole process... that is called "practice". It takes time, and for students, this is a new skill requiring repetitions to gain familiarity. My "strategy" works for me. Anyone may find other strategy works, too. Always experiment around to find your best way to learn.
Here is mine. Do feel free to share yours in comments.
1. Identify the semitone from 1 pair of 3rds to the next. Mark it out on the music.
2. Feel the semitone in your fingers (touching fingertips).
3. Listen to the intonation, adjust if necessary (especially the whole tone movement, where fingertips are not touching).
Repeat the action again until the movement is fluid and accurate.
Double stop scales for ABRSM and Trinity exams, the 3rds at least, are printed in slurred pairs. So I suggest students to practice each pair until the movement is accurate and confident, before moving on to the next.
Repeating the whole process... that is called "practice". It takes time, and for students, this is a new skill requiring repetitions to gain familiarity. My "strategy" works for me. Anyone may find other strategy works, too. Always experiment around to find your best way to learn.
Thursday, June 26, 2008
Listen to music
Recently a violin student told me that she does not like listening to music. I was very surprised by that. For someone to be interested in music enough to pick up violin and piano, and taken exams through to grade 6 and higher, to say that she does not like to listen to music, just play whatever she is learning.
It is like saying that a writer does not like reading. And I do no mean just "reading novels", but reading anything, including magazines and newspapers. Can a writer just pull everything from the "ether", from the "spirit", to write beautifully? How does the writer learn all the words, idioms, phrases, etc. without reading? Can a musician learn anything without listening to music? Just by listening to the teachers twice a week (one violin, one piano teacher)?
I do not about other writers, but I read a lot, even though I may not be reading high literature stuff. For music, I listen to a larger variety, too, though I prefer the Classical, Romantic, and Nationalistic music, and I also prefer orchestra music, for the rich and diverse tone qualities.
Even more so -- if I need to perform a particular piece of music, I listen to it all the time, and listen to different people's renditions.
So here is my advice to all music students -- listen to music, and not just those that you are currently learning (e.g. exam music). The more advanced your level of playing, the more variety of music you should listen to. Just like we sometimes re-read some books (novels included), we "re-listen" to some music, too, especially when it was performed live, because every performance brings to life what was originally written notes (dead). Even "re-listening" to recorded music could bring new inspirations, new discoveries. Even world famous violinists say that they attend others' performances, too, though they are no doubt very busy with their own already.
It is like saying that a writer does not like reading. And I do no mean just "reading novels", but reading anything, including magazines and newspapers. Can a writer just pull everything from the "ether", from the "spirit", to write beautifully? How does the writer learn all the words, idioms, phrases, etc. without reading? Can a musician learn anything without listening to music? Just by listening to the teachers twice a week (one violin, one piano teacher)?
I do not about other writers, but I read a lot, even though I may not be reading high literature stuff. For music, I listen to a larger variety, too, though I prefer the Classical, Romantic, and Nationalistic music, and I also prefer orchestra music, for the rich and diverse tone qualities.
Even more so -- if I need to perform a particular piece of music, I listen to it all the time, and listen to different people's renditions.
So here is my advice to all music students -- listen to music, and not just those that you are currently learning (e.g. exam music). The more advanced your level of playing, the more variety of music you should listen to. Just like we sometimes re-read some books (novels included), we "re-listen" to some music, too, especially when it was performed live, because every performance brings to life what was originally written notes (dead). Even "re-listening" to recorded music could bring new inspirations, new discoveries. Even world famous violinists say that they attend others' performances, too, though they are no doubt very busy with their own already.
Subscribe to:
Posts (Atom)
Here is another place for more music download!
Click Here!