Intermediate-Advanced Level—Part 2

The chapter provides several rehearsal concepts that develop stronger rhythmic precision and phrasing concepts within the intermediate-advanced orchestra. Rhythmic precision depends the students’ ability to cognitively interpret and intrinsically feel the rhythmic notation correctly, as well as the students’ ability to maneuver the bow in such a way that the articulation is rhythmically precise. The author discusses ensemble development activities designed to promote better intrinsic pulse, hand-eye coordination with the bow, leadership, listening, and left- and right-hand coordination. In addition, the chapter discusses how beautiful phrasing is developed by listening, singing, using imagery, identifying harmonic structure, and incorporating body movement.

The Bow

This chapter discusses how beginning bow balance exercises allow the mastery of the three fundamental bowings: martelé, détaché, and legato. Other related bowings that serve as an extension of these three fundamental bowings are provided as well. Preparation of the bow, the students’ path to earning their bows by demonstrating proper physical alignment and instrument posture, and games and beginning rote pieces that build strong bilateral playing motion are explained. Several activities are explored on how to develop pitch accuracy with the bow. In addition, the chapter discusses common bowing errors and offers solutions: how to maintain rhythmic precision, create a rich tone quality, and keep right-hand fingers loose and flexible.

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.

Rehearsal

The chapter discusses the characteristics of effective orchestra rehearsing that involve instructing students how to feel, hear, and see concepts so that efficient and purposeful practice can successfully occur. The process of designing motivating rehearsal environments, classroom structure, and skill sets is examined. Several rehearsal strategies are analyzed and demonstrated via score samples and videos that help students to develop better intonation, rhythmic alignment, tone quality, finger coordination, and consistency. The chapter explains that the director has the responsibility of ensuring that rehearsals inspire and develop musicianship among the students. Finally, the author demonstrates how a director’s deeper-level questioning can assist students in overcoming performance obstacles without director guidance.

Assessment

The chapter describes why orchestra students must understand the “what,” “how,” and “why” involved with assessment procedures in order to attain musical success. Examples of how differentiation, which allows every student to receive valuable feedback from the director about strengths and areas for improvement, applies to orchestra assessment are provided. The author discusses how a director can determine when and if assessment is necessary and whether it will prove rewarding, informative, and valid, as it must for students to attain an independent functioning level of lifelong musicianship. Informal and formal orchestra assessment procedures are described in detail. Sample grading rubrics are provided as well.

The First Lessons—Part 2

This chapter provides several tension-free exercises that help string players develop a beautiful tone quality as a result from developing proper physical posture and instrument position. Included are catchphrases that also help students readily remember how to physically align the body and maintain proper instrument position. Beginning pieces that incorporate left-hand pizzicato as well as first position fingering are introduced and explained. The chapter provides pedagogical discussion on how to implement beginning music theory concepts (form, music symbols, note names) to beginner-level repertoire. Finally, twenty detailed lesson plans are provided that demonstrate the author’s “main idea” teaching concepts, rehearsal environment, and structure for the first year orchestra.

The First Lessons—Part 1

Topics regarding preparation for the first year orchestra class are addressed that include finding the proper instrument sizing, attaching fingerboard markings, obtaining instrument supplies, selecting method books, and utilizing practice planners that guide students on how to practice correctly. The author discusses how to incorporate parental involvement in the beginning orchestra and give the students the chance to perform publicly for their parents and the parents to witness their children’s progress. Finally, the chapter discusses the importance of including aural training in the lessons and the value of incorporating music theory. Classroom activities for developing both skills and encouraging individual and class participation are included.

Philosophical Assumptions

The pedagogical ideas of Mimi Zweig, Paul Rolland, and Shinichi Suzuki are provided and explained how they can be applied into a string classroom setting. The chapter discusses the purpose of learning a string instrument, why string education matters, creating an “end goal” for orchestra students, establishing a “healthy foundation” for music learning, developing musicianship, facilitating musical success, treating students as artists, and defining classroom goals. The author’s personal mantras, based on his general philosophy of teaching and playing, provide a personal example of how guiding teaching principles apply to everyday string teaching, and enrich the learning experience for both teachers and students.