Intermediate-Advanced Level

The chapter provides several exercises that aim to refine left-hand technique in the intermediate-advanced levels of string playing. These techniques include building better pitch accuracy, tuning double stops, executing trills, producing both natural and false harmonics, shifting, perfecting vibrato, and performing glissando. Right-hand bowing techniques that develop phrasing as well as various sound colors and advanced bowing styles are discussed. The author explains how incorporating western music history and theory concepts in rehearsals help students gain a deeper understanding about a piece’s purpose, musical form, harmonic structure, and rhythmic principles so that students can convey a powerful and emotional performance.

Left-Hand Injuries in Guitarists

Guitarists are susceptible to multiple injuries directly related to faulty left-hand technique: carpal tunnel syndrome, lateral epicondylitis, median epicondylitis, neuropathy of the ulnar nerve, supinator syndrome, osteoarthritis and capsulitis of the first carpometacarpal and digital neuritis. A literature review shows that the causes of these injuries are all related to excessive flexion or extension of the wrist, exaggerated bending of the elbow, prolonged periods of maximal supination of the wrist and large amounts of tensioned positions. The article analyzes guitar left-hand technique and proposes technical and postural approaches that address these causes and theoretically decrease the risk of playing-related injuries.

Effects of Finger Markers and Harmonic Context on Performance of Beginning String Students

This study is an investigation of the effects of finger placement markers (FPMs) and I harmonic context on the left-hand technique, intonation performance skills, and overall musical performance skills of sixth-grade beginning string students. Central to this study was the question of how a tactile/visual reference and an aural reference influence the development of string intonation performance skills. Subjects were assigned to research conditions in a 2 ? 2 factorial design (FPMs by harmonic context). Students received 90 minutes of weekly, heterogeneous-group instruction from the same teacher and used researcher-prepared audio home practice tapes to accentuate their class experience. Subjects with FPMs played significantly more in tune than those who did not have FPMs. Students whose instruction and practice were accompanied by harmonic background demonstrated a higher degree of overall musical performance ability. Differences were significant even after adjusting for musical aptitude. There were no differences in left-hand technique. Results of this study endorse the theoretical and practical support for the use of these teaching techniques in beginning string instruction.