Correct me if I'm wrong. Does it really take that long to learn the violin? Or is it because it's the method where Ms Low is still trying to make it a fun way to teach the 5 children.Or because I'm simply impatient.
45mins x 3 lessons and they're still on the :
1) Twinkle Twinkle Little Star - singing AAAA AA EEEE EE......only last lesson, plucked one string whenever they sing the letters A & E.
2) Slowly learning which hand is for holding violin / bow. Fingering for 3, 2, 1 on left hand (violin hand).
3) How to do a "rabbit" (bow hand) and slowly progressing to really holding the bow
4) Rest position to bringing the violin to the neck; posture & hold the violin without the hand.
Must admit I'm so proud of Athena, she do very well in all her lessons (and I'm so afraid she can't cope).. only sometimes she complains she's tired. When all the other children are standing, she wants to lean on me. Wondering if it's the wrong timing. But then again, her YJC is at 8.15pm - isn't that even much later?
Okay, I do get questions from friends "what exactly is Suzuki method", honestly speaking I've heard so much but only knew it means teaching in a 'montessori' method. So here is the correct answer :
*********************************************************************************
SUZUKI VIOLIN VS TRADITIONAL VIOLIN
A Suzuki Violin Teacher's View
by Richard Coff
The Suzuki violin method has come to dominate the way violin is taught in America and throughout much of the world. Mention the Suzuki violin method to music educators, and you will get a variety of responses: "Suzuki violin study produces child geniuses ... Suzuki violin method produces mindless imitators ... Suzuki violin method is the most natural approach to learning the violin ... Suzuki violin study is introduced to children when they are too young to begin study ... With the Suzuki violin method, any child can learn to play violin beautifully ... Suzuki violin students never learn to read." The list goes on. There certainly is no shortage of opinions!
How to make sense of the claims and counter-claims in the Suzuki violin versus traditional violin debate? It's easy to see how music educators and parents could be confused by the many mixed messages. Examination and comparison can help to clarify the issues raised.
VARIABLES THAT AFFECT THE DISCUSSION
A difficulty with comparing Suzuki violin and traditional violin study arises from the fact that in practice, if not in theory, there are different versions of Suzuki violin study. There is even less standardization in generic traditional violin study. Add to this that it is common for teachers to mix elements of Suzuki violin method with the traditional approach, and matters are further complicated.
It is not the intention here to present a detailed in-depth analysis of the variability found within "Suzuki violin" and "traditional violin" schools. Perhaps this would be a good subject for another article. Instead, descriptions and comparisons of some key features of these approaches are outlined to clarify points raised in the "Suzuki violin versus traditional violin" debate. It is hoped that this will help educators and parents to better evaluate the various approaches, practitioners, and claims concerning the different approaches to violin study.
WHEN TO BEGIN FORMAL STUDY
Suzuki Violin method practitioners advocate starting formal violin training by age two or three. The so-called, "Talent Education Movement," created and developed by Suzuki and his colleagues, was based on the notion that the earliest years of a child's life is the best time to begin training children to play violin. While the Suzuki violin method is uniquely suited for training the youngest children, it has proven to be effective in training students of any age.
Traditional violin teachers are rarely willing or qualified to teach the very youngest students. Beginning in the six to ten year old age range is favored by most, if not all, traditional violin teachers.
THE ROLE OF PASSIVE LISTENING AND ABOUT READING MUSIC
Suzuki violin study emphasizes passive modes of learning - watching and listening. Before engaging in formal study, Suzuki violin students are exposed to recordings of the first and subsequent pieces they will play, as well as recordings of great performances from the general classical repertory. This continues when students begin formal study and as they progress. Recordings are played as "background music", for hours each day and at low volume levels. Here, the thinking is that exposure to recordings is similar to the effect of immersion that naturally occurs in the process of primary language acquisition. Successful study is enhanced by prolonged repeated exposure. Suzuki violin students develop an internal model of the music to be studied. They memorize the music and internalize the nuances of pitch, tone, timing, articulation, and dynamics demonstrated in recorded performances.
Suzuki Violin method also uses language acquisition as a model for teaching students to read music. Just as one would never teach young children to read before they have learned to speak, Suzuki violin teachers defer reading until there is a technical mastery of basic skills for playing and musical memory has been developed sufficiently. As a result, students learn to express music with ease and fluency. Suzuki teaches that students can more readily develop technical mastery if the student's attention is not divided by learning to simultaneously read and play.
Traditional violin study favors a type of training that virtually ignores passive learning approaches. While students may be encouraged to listen to recordings of the more advanced repertory played by concert artists or symphony orchestras, beginning students are generally not given the opportunity to listen to recordings of the beginning pieces that they are or will be studying.
Traditional violin teachers often justify the avoidance of making use of recordings of the pieces the beginner plays, suggesting that students will become dependent on learning by rote at the expense of developing the ability to read music, and that learning by rote leads to mechanical imitation. Instead, traditional teachers have students read pieces note by note, when learning and playing pieces.
MASTERCLASS/GROUP LESSONS VS. ONE-ON-ONE LESSONS
Suzuki violin incorporates the passive mode in class. Before Suzuki violin students ever receive the violin, they observe others who are doing what they will eventually do. Even after receiving and working with the violin, they continue to observe others in the masterclass setting and group lessons.
Suzuki violin classroom structure enables students to work alongside with peers who share a common repertory, musical skills, and aspirations. Social interaction and the opportunity to play as a group are important features that make lessons a productive and satisfying. Cooperation is fostered. Great care is taken to avoid competition and its negative effects.
Traditional violin teachers use a classroom structure based on the one-on-one lesson model, using a "hands-on" approach that offers little or no opportunity for observing the lessons of others. Typically, children are given a violin without much, if any, preparatory observation. In this environment, the teacher conveys points by playing musical samples or use verbal explanations.
Traditional violin lessons are modeled on an environment of isolation. When students do interact, competition between individual students is often used as a means to motivate them. Cooperative learning techniques are neglected or ignored. With the one-on-one model, students don't get much opportunity to study and play music with peers.
THE PARENT'S ROLE
Suzuki violin study is "parent intensive". The parent and the teacher become true partners. Parents attend all lessons and attentively note the teacher's instructions. Parents' attendance at class enables them to work closely and skillfully with their children at home. They assume the role of "home- teachers". Parent involvement gives the Suzuki violin student a substantial advantage.
Suzuki violin study requires so much parent involvement that many might feel that the time and dedication needed is excessive. While Suzuki violin study demands a great deal from parents, the payoff is big. Students achieve greater success with the skillful assistance and participation of parents, and the shared activity is an opportunity rather than a burden.
Traditional violin study typically has the parent play a marginal role in their children's training, reminding (or admonishing) them to practice. They may attend or deliver the student to the occasional recital.
Traditional violin lessons are usually conducted without the parent's presence in class. Parents are rarely trained or encouraged to work closely with students at home. Although many parents may feel that this is convenient, by excluding the parent, a student lacks the advantage that a parent's help can bring, and both miss the shared experience that is made possible through Suzuki violin study.
TECHNIQUE
Suzuki violin pedagogy imparts technical skills needed to play the violin in a way that has similarities with the approach used in traditional Asian martial arts. There is meticulous attention to form, detail, and movement. Suzuki formulated a highly original violin technique that is radical and remarkably efficient. He has disseminated these ideas to teachers and students in the form of "teaching points" - specific descriptions, each dealing with a single aspect of technique and recommended exercises for its mastery. In the process of renovating violin study, Suzuki dramatically improved the way the violin is technically mastered.
Traditional violin pedagogy is far from standardized in its approach to violin technique. Some traditional teachers focus on "musical" aspects of playing and are vague or not concerned with form, position, and movement. Others teach laborious, elaborate, and inefficient ways of playing, using standard scales and the traditional etudes. On the whole, technical training in traditional violin pedagogy has been a clumsy affair. Many students with the potential to become fine violinists have been discouraged by the "trial by ordeal" nature of technical study taught in the traditional way.
********************************************************************************
Today's lesson is rather interesting, coz' I've always wanted to know where to press on each string to get a different pitch. In guitars there are frets, the fingerboard on violins are plain. And I got my answers today.
The song : Twinkle Twinkle Little Star goes like this
AAAA AA EEEE EE (E1)1111 11[F#] EEEE EE
(A3)3333 33[D] (A2)2222 22[C#] (A1)1111 11[B] AAAA AA
EEEE EE (A3)3333 33[D] (A2)2222 22[C#] (A1)1111 11[B]
EEEE EE (A3)3333 33[D] (A2)2222 22[C#] (A1)1111 11[B]
AAAA AA EEEE EE (E1)1111 11[F#] EEEE EE
(A3)3333 33[D] (A2)2222 22[C#] (A1)1111 11[B] AAAA AA
To help the children, Ms Low put 3 stickers on their fingerboard. And taught them A1, A2, A3, E1, E2, E3.
And then she told us to take note of the A1, A2 etc.. for the song.
Soon, it became what you read in the ()brackets above. I need to be ahead of Athena's progression, so that I can "know more than her" and influence her to play better coz' she will know I'll drill her in her revisions at home. I'm trying to figure out the music notes on what she taught =s to. It is shown in green
Ahem... infact, I've been cheating on my hubby - I am beginning to fall in love with the violin now. Strange, I used to hate the instrument coz' it makes non-soothing sounds (no offence please) but now I am beginning to love the sound. I want to learn more and perhaps try to play? Maybe it's possible, coz' I did figure how to play the guitar by myself. Play in her 1/10 violin? Haha!
I guess I'm just too excited.. and asked Ms Low a stupid question, how you'd figure out the 1, 2, 3 is the A1/2/3 or E1/2/3 string for that matter? Thank goodness only 2 strings are taught at that moment. Perhaps I was still thinking in the traditional theory method, then she said "we'll come to reading notes later" which didn't sound friendly. So, now the question is :- should a child learn the violin first before the actual traditional music lesson starts or vv (eg. in Athena's case on her YJC)?
I felt very awkward everytime hearing the out-of-tune violin when we do her practice at home.And have been tempted to tune her violin at home. Once bitten twice shy, long time ago I kapo want to help my sister tune her acoustic guitar when I wanted to play a song and......*snap* my sister had to re-string her guitar all thanks to me. Mind you, it's not those cheap nylon strings she had to buy. I want to tune but fear that U gotta re-string dunno how many times. It's not the fear of me paying extra money to re-string, but it's just the fear of having the string snap at me. It's just like I have this fear of balloons bursting at me but I still want to try to twist balloons for Athena, and everytime I do so I squim my eyes and in the end - the ballons either don't look like the animals they should be or I am in shock when it bursts on me. Most times.. they bursts.
Then I asked Ms Low how she'd know whether to tune from the pegs or fine tuners. She said (again in a non-friendly manner) "parents better don't tune the violin yourself." She could have said it in a tactful manner really!
Anyway, I googled search and found this :
I have been playing the violin for 4 years.Go to this website and click on the letter of each string, play the same string on your violin.If you violin sounds a little lower or higher than the pitch use you fine tuners (The 4 little metal knobs above the chin rest), if your violin sounds higher than the pitch, twist the strings fine tuner to the left, if it sounds lower than the pitch, twist the strings fine tuner to the right.If your violin is really out of tune you will need to use the pegs.Go to this website.http://www.get-tuned.com/violin_tuner.php
I dunno if I will attempt to tune her violin for her or still have that fear in me
45mins x 3 lessons and they're still on the :
1) Twinkle Twinkle Little Star - singing AAAA AA EEEE EE......only last lesson, plucked one string whenever they sing the letters A & E.
2) Slowly learning which hand is for holding violin / bow. Fingering for 3, 2, 1 on left hand (violin hand).
3) How to do a "rabbit" (bow hand) and slowly progressing to really holding the bow
4) Rest position to bringing the violin to the neck; posture & hold the violin without the hand.
Must admit I'm so proud of Athena, she do very well in all her lessons (and I'm so afraid she can't cope).. only sometimes she complains she's tired. When all the other children are standing, she wants to lean on me. Wondering if it's the wrong timing. But then again, her YJC is at 8.15pm - isn't that even much later?
Okay, I do get questions from friends "what exactly is Suzuki method", honestly speaking I've heard so much but only knew it means teaching in a 'montessori' method. So here is the correct answer :
*********************************************************************************
SUZUKI VIOLIN VS TRADITIONAL VIOLIN
A Suzuki Violin Teacher's View
by Richard Coff
The Suzuki violin method has come to dominate the way violin is taught in America and throughout much of the world. Mention the Suzuki violin method to music educators, and you will get a variety of responses: "Suzuki violin study produces child geniuses ... Suzuki violin method produces mindless imitators ... Suzuki violin method is the most natural approach to learning the violin ... Suzuki violin study is introduced to children when they are too young to begin study ... With the Suzuki violin method, any child can learn to play violin beautifully ... Suzuki violin students never learn to read." The list goes on. There certainly is no shortage of opinions!
How to make sense of the claims and counter-claims in the Suzuki violin versus traditional violin debate? It's easy to see how music educators and parents could be confused by the many mixed messages. Examination and comparison can help to clarify the issues raised.
VARIABLES THAT AFFECT THE DISCUSSION
A difficulty with comparing Suzuki violin and traditional violin study arises from the fact that in practice, if not in theory, there are different versions of Suzuki violin study. There is even less standardization in generic traditional violin study. Add to this that it is common for teachers to mix elements of Suzuki violin method with the traditional approach, and matters are further complicated.
It is not the intention here to present a detailed in-depth analysis of the variability found within "Suzuki violin" and "traditional violin" schools. Perhaps this would be a good subject for another article. Instead, descriptions and comparisons of some key features of these approaches are outlined to clarify points raised in the "Suzuki violin versus traditional violin" debate. It is hoped that this will help educators and parents to better evaluate the various approaches, practitioners, and claims concerning the different approaches to violin study.
WHEN TO BEGIN FORMAL STUDY
Suzuki Violin method practitioners advocate starting formal violin training by age two or three. The so-called, "Talent Education Movement," created and developed by Suzuki and his colleagues, was based on the notion that the earliest years of a child's life is the best time to begin training children to play violin. While the Suzuki violin method is uniquely suited for training the youngest children, it has proven to be effective in training students of any age.
Traditional violin teachers are rarely willing or qualified to teach the very youngest students. Beginning in the six to ten year old age range is favored by most, if not all, traditional violin teachers.
THE ROLE OF PASSIVE LISTENING AND ABOUT READING MUSIC
Suzuki violin study emphasizes passive modes of learning - watching and listening. Before engaging in formal study, Suzuki violin students are exposed to recordings of the first and subsequent pieces they will play, as well as recordings of great performances from the general classical repertory. This continues when students begin formal study and as they progress. Recordings are played as "background music", for hours each day and at low volume levels. Here, the thinking is that exposure to recordings is similar to the effect of immersion that naturally occurs in the process of primary language acquisition. Successful study is enhanced by prolonged repeated exposure. Suzuki violin students develop an internal model of the music to be studied. They memorize the music and internalize the nuances of pitch, tone, timing, articulation, and dynamics demonstrated in recorded performances.
Suzuki Violin method also uses language acquisition as a model for teaching students to read music. Just as one would never teach young children to read before they have learned to speak, Suzuki violin teachers defer reading until there is a technical mastery of basic skills for playing and musical memory has been developed sufficiently. As a result, students learn to express music with ease and fluency. Suzuki teaches that students can more readily develop technical mastery if the student's attention is not divided by learning to simultaneously read and play.
Traditional violin study favors a type of training that virtually ignores passive learning approaches. While students may be encouraged to listen to recordings of the more advanced repertory played by concert artists or symphony orchestras, beginning students are generally not given the opportunity to listen to recordings of the beginning pieces that they are or will be studying.
Traditional violin teachers often justify the avoidance of making use of recordings of the pieces the beginner plays, suggesting that students will become dependent on learning by rote at the expense of developing the ability to read music, and that learning by rote leads to mechanical imitation. Instead, traditional teachers have students read pieces note by note, when learning and playing pieces.
MASTERCLASS/GROUP LESSONS VS. ONE-ON-ONE LESSONS
Suzuki violin incorporates the passive mode in class. Before Suzuki violin students ever receive the violin, they observe others who are doing what they will eventually do. Even after receiving and working with the violin, they continue to observe others in the masterclass setting and group lessons.
Suzuki violin classroom structure enables students to work alongside with peers who share a common repertory, musical skills, and aspirations. Social interaction and the opportunity to play as a group are important features that make lessons a productive and satisfying. Cooperation is fostered. Great care is taken to avoid competition and its negative effects.
Traditional violin teachers use a classroom structure based on the one-on-one lesson model, using a "hands-on" approach that offers little or no opportunity for observing the lessons of others. Typically, children are given a violin without much, if any, preparatory observation. In this environment, the teacher conveys points by playing musical samples or use verbal explanations.
Traditional violin lessons are modeled on an environment of isolation. When students do interact, competition between individual students is often used as a means to motivate them. Cooperative learning techniques are neglected or ignored. With the one-on-one model, students don't get much opportunity to study and play music with peers.
THE PARENT'S ROLE
Suzuki violin study is "parent intensive". The parent and the teacher become true partners. Parents attend all lessons and attentively note the teacher's instructions. Parents' attendance at class enables them to work closely and skillfully with their children at home. They assume the role of "home- teachers". Parent involvement gives the Suzuki violin student a substantial advantage.
Suzuki violin study requires so much parent involvement that many might feel that the time and dedication needed is excessive. While Suzuki violin study demands a great deal from parents, the payoff is big. Students achieve greater success with the skillful assistance and participation of parents, and the shared activity is an opportunity rather than a burden.
Traditional violin study typically has the parent play a marginal role in their children's training, reminding (or admonishing) them to practice. They may attend or deliver the student to the occasional recital.
Traditional violin lessons are usually conducted without the parent's presence in class. Parents are rarely trained or encouraged to work closely with students at home. Although many parents may feel that this is convenient, by excluding the parent, a student lacks the advantage that a parent's help can bring, and both miss the shared experience that is made possible through Suzuki violin study.
TECHNIQUE
Suzuki violin pedagogy imparts technical skills needed to play the violin in a way that has similarities with the approach used in traditional Asian martial arts. There is meticulous attention to form, detail, and movement. Suzuki formulated a highly original violin technique that is radical and remarkably efficient. He has disseminated these ideas to teachers and students in the form of "teaching points" - specific descriptions, each dealing with a single aspect of technique and recommended exercises for its mastery. In the process of renovating violin study, Suzuki dramatically improved the way the violin is technically mastered.
Traditional violin pedagogy is far from standardized in its approach to violin technique. Some traditional teachers focus on "musical" aspects of playing and are vague or not concerned with form, position, and movement. Others teach laborious, elaborate, and inefficient ways of playing, using standard scales and the traditional etudes. On the whole, technical training in traditional violin pedagogy has been a clumsy affair. Many students with the potential to become fine violinists have been discouraged by the "trial by ordeal" nature of technical study taught in the traditional way.
********************************************************************************
Today's lesson is rather interesting, coz' I've always wanted to know where to press on each string to get a different pitch. In guitars there are frets, the fingerboard on violins are plain. And I got my answers today.
The song : Twinkle Twinkle Little Star goes like this
AAAA AA EEEE EE (E1)1111 11[F#] EEEE EE
(A3)3333 33[D] (A2)2222 22[C#] (A1)1111 11[B] AAAA AA
EEEE EE (A3)3333 33[D] (A2)2222 22[C#] (A1)1111 11[B]
EEEE EE (A3)3333 33[D] (A2)2222 22[C#] (A1)1111 11[B]
AAAA AA EEEE EE (E1)1111 11[F#] EEEE EE
(A3)3333 33[D] (A2)2222 22[C#] (A1)1111 11[B] AAAA AA
To help the children, Ms Low put 3 stickers on their fingerboard. And taught them A1, A2, A3, E1, E2, E3.
And then she told us to take note of the A1, A2 etc.. for the song.
Soon, it became what you read in the ()brackets above. I need to be ahead of Athena's progression, so that I can "know more than her" and influence her to play better coz' she will know I'll drill her in her revisions at home. I'm trying to figure out the music notes on what she taught =s to. It is shown in green
Ahem... infact, I've been cheating on my hubby - I am beginning to fall in love with the violin now. Strange, I used to hate the instrument coz' it makes non-soothing sounds (no offence please) but now I am beginning to love the sound. I want to learn more and perhaps try to play? Maybe it's possible, coz' I did figure how to play the guitar by myself. Play in her 1/10 violin? Haha!
I guess I'm just too excited.. and asked Ms Low a stupid question, how you'd figure out the 1, 2, 3 is the A1/2/3 or E1/2/3 string for that matter? Thank goodness only 2 strings are taught at that moment. Perhaps I was still thinking in the traditional theory method, then she said "we'll come to reading notes later" which didn't sound friendly. So, now the question is :- should a child learn the violin first before the actual traditional music lesson starts or vv (eg. in Athena's case on her YJC)?
I felt very awkward everytime hearing the out-of-tune violin when we do her practice at home.And have been tempted to tune her violin at home. Once bitten twice shy, long time ago I kapo want to help my sister tune her acoustic guitar when I wanted to play a song and......*snap* my sister had to re-string her guitar all thanks to me. Mind you, it's not those cheap nylon strings she had to buy. I want to tune but fear that U gotta re-string dunno how many times. It's not the fear of me paying extra money to re-string, but it's just the fear of having the string snap at me. It's just like I have this fear of balloons bursting at me but I still want to try to twist balloons for Athena, and everytime I do so I squim my eyes and in the end - the ballons either don't look like the animals they should be or I am in shock when it bursts on me. Most times.. they bursts.
Then I asked Ms Low how she'd know whether to tune from the pegs or fine tuners. She said (again in a non-friendly manner) "parents better don't tune the violin yourself." She could have said it in a tactful manner really!
Anyway, I googled search and found this :
I have been playing the violin for 4 years.Go to this website and click on the letter of each string, play the same string on your violin.If you violin sounds a little lower or higher than the pitch use you fine tuners (The 4 little metal knobs above the chin rest), if your violin sounds higher than the pitch, twist the strings fine tuner to the left, if it sounds lower than the pitch, twist the strings fine tuner to the right.If your violin is really out of tune you will need to use the pegs.Go to this website.http://www.get-tuned.com/violin_tuner.php
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