18
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Goals of Violin Teaching
By ROBERT GERLE
(Reprinted from The Oklahoma School
Music News)
Violin teaching, in addition to develop-
ing good violinists, has to achieve the
following goals: (1)· Develop good
musicians; (2) As part of a general edu-
cation, it has to contribute to the prog-
ress and development of the individual.
What makes a good musician? A good
musician must have a well trained ear,
whether he has absolute pitch or not;
has to recognize any chord, function,
and the place of any note in any chord.
A good musician has to have a solid
sense of rhythm, has to be able to
analyze various musical forms, to recog-
nize the melodic and harmonic structure
of the composition. He has to have ade-
quate knowledge of music history and of
the characteristics of different stvles. He
must sight-read well and have 'a broad
knowledge of music literature.
Particularly important for the violinist
is the ability to recognize the various
intervals and to sight-read well. In play-
ing a stringed instrument, the obligation
of creating the notes ourselves makes it
an absolute necessitv to be able to hear
the next note in the inner ear before
actually playing it. This happens in very
AMERICAN STRING TEACHER
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much the same way as one reads a book.
One does not need to speak aloud in
order to understand words; they are
heard in the inner ear. Musically, this
faculty has to be developed, otherwise
the mind trails after the fingers, which
have neither brain nor ear. This, un-
fortunately, is very often the case, which
for one thing explains, why good in-
tonation is so rare. In a smooth, secure
and even performance (and especially
when playing hy memory) the imagery
of the next pitch-before actually playing
it-is one half of the battle won.
The other equally important factor is,
to imagine and feel the physical charac-
teristics of the next note, before actually
playing it. This procedure is called
"anticipation." On this are based almost
all of our daily motions. If we had to
learn how to eat right now, we would
have difficulty finding our mouth. But
having learned it a long time ago, we feel
the distance and subconsciously "antici-
pate" it at the moment we take the fork
in hand and find the right place most
of the time without difficulty. In playing
music, at the beginning, playing move-
ments should be very slow, or at least
simple, and should be administered with
a great amount of repetition and con-
centration. Before playing any note one
should have a clear and complete image
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of it. This includes the pitch, the time
value, the strength, the fingering, the
position, and the bowing. These charac-
teristics, although the player has to ac-
count for them separately at the begin-
ning, will form a complete unit, since
they are really inseparable. Later on, in-
stead of going from one note to the other.
one is able to imagine groups of several
notes, phrases and rhythmic patterns.
Here it should be emphasized that
anticipation does not mean that during
a performance one should divide one's
attention, for this would be damaging to
the performance. But by the division of
one's attention during, practicing (by
hearing the next note or group of notes
in the mind to be readv when their turn
comes), one can gradually develop
subconscious mastery of the technique.
This in turn permits the performer to
concentrate on the musical part of the
composition during the performance.
having made the mechanical part of it
automatic. The advantages of such an
approach are invaluable, since it will
minimize the possibility of memory
trouble, nervousness, stage-fright, etc.
Personal experience leads to the observa-
tion that in public, nervousness is usually
caused by inadequate familiarity with
the selection being performed. Nervous-
ness can be minimized by real knowledge

=========-c=
The Boone, Iowa High School Symphony Orchestra. Konrad Scholl, Conductor. was honored to play
for the MENC Conference last April in Milwaukee. The program included Andalucia Suite by
Lecuona, Serenade in E-f1at by SuI<, Symphony D Minor, 1st Mvmt. by C. Franck.
of the composition, criterion of which
is the ability to play through a composi-
tion in one's mind without hesitation, in
tempo, imagining all the characteristics
and without touching the instrument.
The mechanical problems thus worked
out, let us turn to musical interpretation.
Here enter such considerations as style,
character, tempi, dynamics, and the
aspects of form, melody and harmony.
One who understands the formal, melod-
ic and harmonic structure of a composi-
tion, can follow the composer in his
intimate way of creation. A performing
artist has to be able to identify himself
with the composer in the particular
mood and feeling of the composition in
order to reproduce truly. The composer's
choice of certain keys, harmonies, forms,
modulations, means of orchestration and
the knowledge of his style-characteristics
are indispensable datas for understand-
ing the work. This way we can back-
track into the composer's thoughts and
find out why he wrote a specific note or
dynamic sign on a specific place. In
searching for these reasons, one must
use his imagination. A composition. has
to mean something to the performer, if
he wants to deliver this meaning to the
audience. This meaning could take defi-
nite forms by the invention of a program-
story. Whether this corresponds exactly
with what the composer may have had
in mind or not, is not the important
thing for in most cases this cannot be
verified. But the fact that one can follow
a self-imagined picture through the
particular work, will make a performance
much more convincing. To develop this
abilitv, one would have to have a verv
broad field of interest: general cultur~,
knowledge of the other arts, and apti-
tude for enjoying little things, to get
excitement out of everyday happenings;
an insatiable curiosity, love of nature,
interest in other people, etc. These all
lead us to aspects of general education.
These broader objectives can be ad-
vanced a great deal by training young
people to think for tbemselves. They
have to learn the basic principles of
music and violin playing, but they
should he encouraged to add their own
ideas. For instance, the student should
be directed toward tIl(-' identification of
AMERICAN STRING TEACHER
the tempo, and the style and character
of a composition, even at the expense of
the wrong conclusion on his part. When
this happens it is the teacher's duty to
correct him and tell the reasons why he
was wrong. After all, teaching should
lead to independence that would permit
eventual self-development. This, of
course, does not mean, that a student
should wean away completely from
supervision; such a time may never
come.
In order to achieve progress, one has
to have a practice-plan. The amount of
practice needed varies according to
talent, level of advancement, and degree
of concentration. The general pattern of
practicing should be as follows: (1)
General technique; (2) Etudes, difficult
passages of pieces as exercises; (3) The
work, or works, one is preparing; (4)
Repeat known pieces, play with piano
and chambermusic.
It is obvious, that the amount of time
spent on each of these items will change
according to thc factors mentioned above.
Students who are in the process of cor-
recting faulty habits will spend much
more time on technique that those who
are preparing a recital. The first ones
will probably not get to item four, while
the others will spend most of the time
on it. Taking an average period of four
hours of practicing, a well balanced
practice time should consist of one and
one-half hours of technique and etudes
combined with one and one-half hours
of the current new work and one hour
of playing with piano, playing for one's
own enjoyment. Under technique, must
be included scales, intonation, vibrato
and shifting exercises, development of
the bow arm, and tone production.
Etudes are a logical continuation of
these, with appreciation of the musical
elements therein. The learning of a new
piece should begin without the instru-
ment, because this way one is not
hampered by the limitations, possibilities
or mannerisms of om playing. One must
form an ideal picture of the work and
then eventually try to bring his per-
formance up to that level; the performer
must not let his ideal compromise with
what he can do presently. A study of
the score will help in finding the right
19
-New
THE JUNIOR
St'ling CkOi'l
Old Favorites Flexibly Arranged
for Young Players
by
FRANCIS FINDLAY
This unique "short-course" for young
players has been prepared to give im-
petus to string playing. The material has
been chosen to elicit the interest of begin-
ners and other students whose technical
and physical equipment is still in a forma-
tive stage.
Thus, the twenty pieces comprising
The Junior String Choir are mostly per-
ennial favorites, melodically attractive.
To accommodate whatever group of play-
ers the instructor mav be able to assem-
ble the arrangements'are extremely flexi-
ble. They call for violin, viola (or tenor
viol), violoncello (bass viol), with con-
trabass ad lib. The "tenor viol" is in fact
a viola, fingered and bowed as if it were
a 'cello. (It may be fitted with a 'cello-
like end pin, if desired.) The bass viol
part may be played on a 'cello re-tuned
as a contrabass hut sounding an octave
higher. Other adjustments in the use of
stringed instruments are suggested to the
end that various combinations are prac-
tical and productive of a full ensemble.
The Junior String Choir also supplies
excellent easy material for conventional
string quartet or full string orchestra, and
in the latter case the contrabass is recom-
mended. Score $2.00; separate parts
each, $0.60.
Send for score on approval
'i!t£if»J
& CO.
phrasing, howings, and even fingerings
(all this without the instrument); after
some experience in this direction, it will
be found that very little will have to be
changed when the instrument is taken
in hand. Now the actual practice of the
piece begins. There will be passages that
will be more difficult than others. These
must be taken separately. In any suc-
cessful solution of these problems it is
essential to define clearlv: what is diffi-
cult, whv is it so, what should be im-
proved, and how. The old Latin advice,
"divide et imperu" (divide and rule), is
pertinent here.
A conccr-t vi oli ni st , ::\Jr. (;('rk i s on the faculty
uf llll: l·Hi . . \-I ....l l ) vf n{.1.dllllll;,. :\UIIH;tII~ Okla.
20
How to Hit
These Pages...
If you have a
good ...
ARTICLE
PICTURE
IDEA
QUESTION
.. send it to:
American String Teacher
606 S. Mathews St.
Urbana, Ill.
FOR YOUR ATTENTION
(Continued from Page 17)
Childish Pranks
bv Robert Schumann, arr. Applebaum.
Lively 1st pos, piece. Good techl.lic
builder for grade 2-3 student. Mills
Music Co. Price: SOc.
Suite
bv Ernest Kanitz. Four short move-
merits for musically advanced players.
Not too difficult technically. Associated
Music Publishers, Inc. Price: $3.00.
Two Sonatas, F, G Major
bv Antonio Vivaldi. Fine works of
i~termediate difficulty. Optional cello
part. Associated Music Publishers
(Schott, Antiqua.)
Shatakl.
bv Alan Hochaness. Unusual work III
o;iental style. Piano part in single
line. Advanced. Southern Music Pub-
lishing Co. Price: $1.50.
"Masterworks for the Young Violinist"
Arr. Applebaum and Steinel: (G.
Schirmer). An excellent collection of
little known 12 short numbers by
Haydn, Schubert, Handel, Beethoven,
etc. First and third position finger-
ings given. Highly recommended.
Price: $1.25.
VIOLA
Introducing the Positions . , .
Vol. 1. Third and half positions. By
Harceu S. Whistler. A useful book.
Rubal;k, Inc. Price: $1.25.
Suite Hebraique for Viola (or Violin) and Piano
bv Ernest Bloch. Rhapsodic, proces-
sional, Affirmation. Fine music, diffi-
cult. G. Schirmer. Price: $1.50.
Concerto in G major .
bv Telemann. A delightful short cbs-
sic presumed to be the first viola
cOl'lCerto. 'ViII prove to be a "must"
for all violists. Intermediate to ad-
vanced. International Music Co.
Concerto Op. 3
bv Rol/a, edited by Sydney Beck. An
e~cellent work. Plenty of satisfying
bowing and tonal problems for the
advanced intermediate player. Melocl-
ic and appealing to listener as well
as player.
AMERICAN STRING TEACHER
Milwaukee
The "Silver Strings," junior music club
of the Milwaukee Unit-high school di-
vision-kept all the strings tuned and
singing during the summer while their
senior Unit members "went off to school,"
for example:
Sr. M. Imelda, O.S.F., Chairman, de-
monstrated the Violin Readiness Pro-
gram at the summer workshop at Naz-
areth College, Rochester, N. Y.
Judith May Schwabe, Luciann Wien-
eke and Patricia Wojcik attended the
AST A Conference in Interlochen, Mich.
On September 24, the Unit had its
sixth birthday. During the coming year
it wiII conduct a Fifth String Festival,
the date to be determined later, and
wiII attend the national music educators'
conventions in Chicago and Milwaukee.
Texas
Mrs, Louise Dicken Conway, Coordi-
nator of Elementary Instrumental Music
at Amarillo, reports that four full time
string teachers ill the elementary schools
have a husv time with the 900 pupils en-
rolled in elementary string classes and
orchestras.
========
CELLO
Valses Nobles et Sentimentales
by Schubert, arr. Luigi Silva. Enter-
taining recital piece of medium length.
Advanced technic. Hicordi. Price:
$2.00.
. "Notturno for viola and piano"
by Beethoven-Reck. An excellent re-
vision of this suite of six movements.
Various types of bowings, diatonic
hut requiring advanced fingering
facility. Highly recommended. G.
Schirmer. Price: $L50.
Thirteen Studies for Solo Cello
by Cuerrini-Siloa. Artist grade. Ricordi.
Price: $1.50.
Toccata E Canzona
by Della Ciaia, arr. Silva. Effective
pre-classical composition. Advanced.
Ricordi. Price: $2.00.
24 Caprices for Cello Solo
Papunini-Silca. Ricordi. Price: $3.50.
The First Colorado All-State High School Orchestra of 170 players. Standing: Prof. I-:orace. J.ones.
Head of Strings, Colorado U.; John T. Roberts, director of youth orchestra; Dr. Eugene Hilliqess,
Coordinator.
~~~-~~-~~-~~-~~-
! 1)0 It Now!
In spite of the best intentions,
one can easily forget, or put off
such trivial matters as paying mem-
bership dues. Please remember
that the sum total .of such be-
haviors may cause serious difficul-
tie"s in running the affairs of the
Association. Membership fees are
promptly turned back to our mem-
bers in the form of various services.
These services have to be curtailed
if revenues fall short. Dues for the
1953-54 school year are overdue
now. If you wish to maintain your
membership in ASTA and have not
sent in your renewal dues, please
do so at once. The next issue of
this magazine will be sent only to
members in good standing. Dues
should be sent to Frank W. Hill,
Treasurer, Iowa State Teachers
College, Cedar Falls, Iowa. Active,
Associate dues: $3.00. Student:
$1.50. DO IT NOW, LEST YOU
FORGET!
-~
Wisconsin
At the Kenosha meeting, in conjunc-
tion with the Wisconsin Music Teachers
Association, April 27-28, the following
officers were elected to serve AST A for
the coming year:
President-Joseph Liska, High School,
Wisconsin Rapids.
Vice-President-Don Radmer, Central
High School, Sheboygan.
Secretary-Anthony Bacich, Senior
High School, Appleton.
Treasurer-Mrs. Reuben Tower, 7618
Third Ave., Kenosha.