STAGE
THREE REPERTOIRE
It is now
time to incorporate the principles learned in the previous lessons into
music. The choice of appropriate repertoire depends on the level
of the student. At this point, I recommend choosing a Baroque or
Baroque-style piece that is slightly below the technical level of the
student. Choosing a piece well within the technical level gives the
student confidence while incorporating the changes that have been worked
on in the first two stages. In addition, the Baroque style emphasizes
the bow strokes that have been focused on in the first two stages.
Possible
choices:
- Concerto
in E Major – Vivaldi
- Spring
from the Four Seasons – Vivaldi
- Concerto
in A Minor or E Major – Bach
- Melodie
– Gluck-Kreisler
- Sicilienne
and Rigaudon – Kreisler
- Sonata
in D Major - Leclair
You can also
consult the Repertoire List for additional pieces.
In learning
new repertoire, it is useful to identify the vital technical and musical
issues. This approach begins with the first lessons. Both teachers
and students benefit from becoming aware of the teaching/learning process.
Bowing, fingering, form, and isolation of difficulties are a regular part
of learning repertoire.
- Bow
strokes and bow division: Awareness of the bow strokes
and bow division to be used in each piece. Stylistic considerations
of bowing.
- Use
of the Fingers: Awareness of how the fingers will move.
- Which
fingers stay down, when to lift fingers
- Shifting
issues
- Vibrato
- Choice
of fingerings – musical interpretation
- Form,
Expression, Music: Awareness of form is the first step
to understanding music. Knowledge of the overall form puts the musical
details in context. All the indications of musical expression from
actual markings such as dynamics, tempo markings, retards to phrasing
delineate the form of the music. These musical concepts cohere
to create the musical ideas. Each musical idea then becomes a part
of the total musical expression.
- Practice
and Isolation of Difficulties: Identify, isolate and practice
the technical difficulties. Remember “all musical difficulties
occur between two notes”. It
is our obligation to figure out the two notes. At every level of
violin playing, practicing is a matter of both discernment and informed
repetition.
This is a good time to review the non-judgmental approach that creates the safe teaching/learning environment.
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