StringPedagogy VOLUME TWO
INTRODUCTION
FINDING THE FLOW
ESTABLISHING A HEALTHY FOUNDATION
for
VIOLINISTS and VIOLISTS
Physical freedom
is the road to musical freedom.
How
do string students move smoothly through the stages from the elementary
to the artist levels of playing? Teachers need a clear vision of the
beginning, the middle, and the end of the process and the journey. The immense span between the beginning and the
end goal of artistry is difficult to chart. The sequence of knowledge,
skill, and musical growth is mind-boggling. However,
we can understand and start with the essentials of a healthy foundation. Then
we can work on how to nurture, build, and establish that foundation.
This is the subject of Volume Two.
A
systematic but flexible approach was developed over many years of teaching.
This approach to the fundamentals of violin playing can be applied to
students of all ages and levels. While the basics of this system have
been in place at the
Indiana
University
String
Academy
since the 1970’s, the flexibility of the approach incorporates
the refreshing and rejuvenating art of teaching every student in their
unique situation. I do this through a systematic study of scales and
etudes coupled with appropriate repertoire. This kind of efficient and
organized approach is often useful when students change teachers and
are moving to the next level of playing.
It
has been my continuing vision to share this information with my fellow
teachers. Teachers’ workshops began in 1978, evolving
into the two week Retreat
for the Professional Violinist and Violist. The power and resources
of technology have created a wonderful new way to make this information
easily accessible worldwide.
Why
call this approach “Finding the Flow” rather than the traditional
terms such as “building a solid foundation”? First, finding implies that we are releasing what
is inside the student already, finding the student’s natural movement.
Second, flow incorporates
not only natural balance and a dynamic, flexible posture, but it also
captures the wonderful flow of performance where mind, body and artistic
spirit must be fully integrated and free to be in the moment. Physical freedom leads to mental freedom,
which allows the player to engage in the flow of performance.
I
hope that this Volume will become a valuable asset for teachers, students,
and parents during the journey towards healthy string playing. It will
also give performers an opportunity to assess their playing and to continue
to nurture their flow.
What
do we need to find the flow?
Topic I: Getting
Ready to Move
Topic II: Moving Right Along
-
Acquiring a vocabulary of bow strokes
-
Understanding the expressive power of the bow (bow division)
-
Understanding concepts of shifting
-
Releasing the vibrato impulse
If
we can understand and apply these principles, our ability to express
ourselves musically is greatly enhanced by improved beauty of tone,
secure intonation and ease of playing.
It is
clear that the principles of balance, posture, and movement in Topic
I are essential to playing; they are life long principles and
must become part of our daily awareness. It also supplements the information
on set-up found in Volume One. Topic II deals with the bowing, finger dexterity,
knowledge of the fingerboard, in other words, virtually all aspects
of the technique of violin playing. The principles and knowledge contained
in Topic II are also part of our daily awareness and central to our
playing. Technical facility allows us to release our expressiveness.
Topic
II, Moving Right Along, is organized into five STAGES.
These stages represent steps in assessing and establishing a healthy
foundation of violin playing, not a technical level per se. Thus, these
stages are applicable to all technical levels of violin playing. So,
while the current presentation concentrates on the Kreutzer etude level,
the underlying principles can be taught or reviewed at every phase of
playing by using etude, scale, and repertoire materials suitable to
the technical level of the student. For example, Wolfhart etudes could be
used instead of Kreutzer, one octave scales or open string work could
be used instead of three octave scales. Use music that works for your
student.
Each
stage is a coordinated set of tasks that have been divided into the
following CATEGORIES:
-
Kreutzer
Etudes Scales
-
Shifting
Materials
-
Finger
Dexterity
-
Repertoire
-
Vibrato
There
is no specific time table for each stage, but sufficient attention should
be given to each stage in order to absorb the material. Students may
progress more rapidly through some of the categories in each stage.
They are free to continue to the next stage in that category. For example,
a student may be ready to start scales in Stage Two while still mastering
the bowing variations in Kreutzer #2 in Stage One.
The
way the information is presented
here is typical of the systematic
review taken with an incoming Collége performance major. In this version, because it is a review, repertoire
is not introduced until Stage Three.
Hidden
in Topic II are some of the most important teaching tasks, such as intonation
and interpretation. These tasks receive constant attention during lessons;
attention to such fundamentals is assumed in this website.
Growing
a healthy foundation is like the growth of a strong tree. Without a
secure root system, the tree will be blown away in the first storm.
In the storms of performance pressures and stresses, a healthy foundation
will give performers the ability to overcome all obstacles. The teacher’s
job is to guide the student in the building of a solid technical and
musical foundation; it is the student’s responsibility to keep
the foundation intact. Musicians can easily lose sight of the basic
principles of playing as repertoire becomes more complex and life as
an adult becomes more involved. But we must always remember the basic
principles of violin playing, remaining aware and finding the flow.
Even when faced with the most complicated problems, these principles
allow us to find simple solutions.
Good
luck and enjoy your journey through this website!
Best
wishes,
Mimi
Zweig
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