Volz 1

Reflections on Big Questions 2

Topic 2a, Roles of curricula and repertoire, aural skills and reading
1. What is the function of curriculum in the teaching process? What pieces are more helpful or
less helpful to teach certain skills? What must we keep in mind when selecting repertoire? Why
is learning repertoire helpful? How can we make our students sound great and enjoy repertoire?
How do we get students to be actively engaged in their listening and reading?
2. There are many teaching resources that have different sequences of learning techniques. Some
are focused on playing in pairs such as Adventures in Music Reading by William Star which
encourage two students collaborating or even a student with a teacher. To engage a students
reading skills it might be helpful to look at The Well Tempered Violin by Michael McLean which
is based off of Bachs famous book in multiple keys. It is so important to play something in
every key during the students lesson experience just so they gain exposure. The Associated
Board of the Royal Schools of Music is a system similar to NYSSMA that has a wide variety of
repertoire to study from different periods which creates a well-rounded violinist.
3. There is an ongoing list of method books and sets that each take different approaches to violin
playing. There was one book that was really interesting to me called Take the Stage by Hilary
Burgoyne which had violin melodies that were so simple, yet they sounded amazing because of
the complex accompaniment. These melodies combined with the accompaniment could give my
potential students such an amazing first performance experience that they will want to continue
with their playing. If I have an older learner I might go for The Doflein Method which is for adult
learners and is in 5 volumes. This series has a variety of composers from the early 20th century
such as Hindemith, Orff, and Bartok.
2b, Learning fingerboard geography and shifting
1. What is fingerboard geography and why is it important? How can I engage my students in
learning fingerboard geography? What motions are necessary for shifting? What parts of my
body move when I shift?

Volz 2

2. A helpful handout for learning fingerboard geography is the aptly titled Hersh document
Fingerboard Geography and Scales. Escalators and Elevators are good exercises on each
string to go over each chromatic note on the fingerboard. A helpful method book that goes over
scale fingerings, fingerboard geography and especially ear training and reading is Jump Right In:
The Instrumental Series (for strings).
3. In my coaching sessions I have used the Escalators and Elevators go review fingerboard
geography. My student was unfamiliar with the term fingerboard geography and I would
imagine that future students will probably be unfamiliar especially if they have never had lessons
before. I really liked the emphasis on aural skills in the Jump Right In method book. The book
emphasized singing and rhythm trains students to be skilled readers. I will need to invest in this
series as it is available for viola, cello, and bass as well as violin.
2c, Developing vibrato, double stops, and chords
1. How do we come to understand the vibrato motion? What parts of the arm are involved in
vibrato? What are some ways to teach arm and hand vibrato? How can we keep the right hand
loose during double stops and chords?
2. In Violin Teaching class we discussed some approaches to thinking about vibrato. Arm and
hand vibrato involve the entire arm, there is a slight swinging motion involved as well. For arm
and hand vibrato it is helpful to think of a focal point in the center of the hand which moves
towards and away from the face. The Verdehr master class discussed hand shape during double
stops. Keeping an octave hand shape while moving through different chords is helpful for
intonation as well as relaxing the hand.
3. Thinking of a focal point in the center of the hand has aided my hand vibrato tremendously
which was nice because it is not my primary vibration method. Verderhs ideas have improved
my intonation in double stops as well, particularly in the Bach Gavotte en Rondeau I am
currently working on.
2d, Procedures for developing tone and strokes
1. What aspects of playing contribute to good tone? How might the body be involved in
producing a good tone? What might we consider about the right hand when attempting different

Volz 3

strokes? How can different strokes affect the tone of the instrument? How is spiccato or off the
string strokes approached? How is a seamless legato sound produced? How can we achieve a
smooth bow change? How does the bow factor into dynamics? How does the contact point and
bow speed affect tone?
2. The Science and Psychology of Music Performance by Richard Parncutt and Gary E.
McPherson says that bow speed and pressure affect good tone production in many ways. The
correct bow speed and pressure must create enough vibration to produce a steady note and a clear
tone. If the strings vibration is disrupted in any way, by means of the bow or other means, then
the tone will not sound clear. In Basics by Fischer, there are many ideas about the spiccato
stroke. Fischer writes to let the student experience the sensation of the bow naturally bouncing
and gradually add horizontal motion to control the stroke in rhythm, being very careful not to
tense up the right hand or arm.
3. I spoke a lot about bow speed and pressure to my string students in order to explain tone
production. I emphasized that the correct bow speed and pressure are needed to keep the
vibration of the string going. A tone that is not clear always has to do with the bow stroke. I
worked a lot with spiccato last semester and found that although my right hand was loose I was
unable to control my spiccato as much as I would have liked. I found that a natural swinging
motion in the right shoulder aided my spiccato in feeling natural yet controlled at the same time.
2e, Developing velocity
1. How does finger velocity affect the vibration of the string? How might we increase finger
velocity? What fingers might be weaker in terms of velocity? How can finger velocity help in
our repertoire?
2. Fischers Basics recommends a few constant things about finger velocity. One being to
practice fast passages slowly and to make the fingers as late and as quick as possible so they will
have to travel quicker. It is also useful to lift the fingers as high as possible so they have to travel
a further distance in a short amount of time. With regards to the pinky, it is important to move
from the base joint and not from the hand and to ensure that there is no strain at any point during
fourth finger velocity exercises.

Volz 4

3. We have explored the alignment of the pinky with the ulna in class and how its alignment is
necessary for the proper movement of the tendons. This plays very strongly into fourth finger
velocity because if the fourth finger is not properly aligned, finger velocity exercises can be
potentially harmful and uncomfortable. Personally, I had trouble increasing my fourth fingers
velocity without involving the hand, particularly on trills but it was just a matter of practicing by
keeping my pinky high and strengthening it. It was a very awkward process and I will have to
treat it with care with my future students.
2f, Finding the moment --- sequencing, reviewing, motivating
1. How can we as teachers encourage personal discovery? How to we motivate our students to
practice outside of the lesson? How do we motivate our students to be engaged in their lesson?
How many sequences can one create for the violin? Is one better than another? Are they different
depending on learner? How do we foster a lifelong attitude of learning?
2. Motivating a student in lesson could be done through words of encouragement from the
teachers side or through giving the student choice. Giving a student the choice in how the lesson
goes or letting the play a piece they have been wanting to play can encourage a student to go
above and beyond in their own personal research and discoveries.
3. Looking back on my own experiences, I felt the most motivated when I had something to
work towards or when I had choice in what I was going to work on. When I have a predisposed
affinity for a particular piece, I will want to work on it and look forward to it throughout the day.
If my teacher assigned pieces that I did not like so much I would be less tempted and excited to
work on them.