Yes, You Can!

Survival Guide for Teaching Strings

Text by Stephen Benham
Edited by Doris Gazda
Performing Ensemble: String Orchestra
Item Number: TXT13
Number of Pages: 132+Cover
Publisher: Carl Fischer Music
Print Status: In Print

$45.00
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Quick Overview

Yes, You Can! is a practical guide for teaching the essential techniques of orchestral string instruments. Especially useful if you are coming into teaching strings from another discipline, such as band or choir. The guide carefully describes techniques and compares them to knowledge you already have so that you will feel confident in presenting these concepts to students. If you are already a string specialist, you will find this an indispensable resource guide that presents the pedagogical techniques of teaching string instruments in a concise, eary to understand format.
TXT13

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Additional Information

Editor Gazda, Doris

Details

Forword....................................................................................4
Introduction............................................................................5
Chapter 1: What you already know:
Fundamentals of learning are the same..........................7
Chapter 2: What You Already Know
The Importance of Fundamentals and Technique......12
A short note about learning:........................................12
Basic Tone Production: Acoustics..............................12
The Harmonic Series, Notated....................................15
Chapter 3: Fundamentals of Tone Production
The Role of the Right Arm/Bowing Mechanism.........17
Comparison of Tone Production Principles of
Winds, Voice, and Strings.......................................17
Bowing Lanes (aka, Bowing Channels).....................21
Exercise for Bow Placement .......................................22
The Interaction Between Weight, Angle, Speed,
and Placement .........................................................23
Creating Sound: The initiation of the pitch,
the sustaining of the pitch and the release
of the pitch................................................................24
Fundamentals of Tone Production: The Role of the
Left Arm/Fingering Mechanism............................24
Body/Kinesthetic Motion: You Can't Fight Physics,
Newton Said So. .......................................................25
Newton's Laws of Motion ............................................25
Understanding the physiology of the hand...............27
Three Simple Bowing Exercises for Learning How to
Control Weight, Angle, Speed, and Placement....30
Construction of the Bow and Why It Matters...........31
French Bow vs. German Bow for Double-Bass.........33
Articulation and bowing technique............................34
Executing the articulation............................................36
From Articulation to Bowing Techniques.................36
How do I know which bowing style to use?..............40
Exercises for Bowing Styles,
and Why They Must Be Practiced Separately.......40
And, just to keep it interesting...string crossing!.....41
Why does all of this matter?........................................41
Rhythm and Bowing.....................................................42
Bowing Markings..........................................................42
The Fourteen Basic Principles of Bow-Direction.....43
Additional resources already at your disposal..........44
Chapter 4: Fundamentals of Tone Production:
The Role of the Left-Arm Mechanism..........................45
The Importance of Relaxation and Balance...............45
Understanding Fingerboard Geography....................47
Forward or shifting extensions....................................51
Shifting...........................................................................52
Types of Shifts................................................................55
Shifting and Aural Skills...............................................55
Vibrato............................................................................55
Performing with vibrato...............................................56
Answering the question about why certain keys are
better than others.....................................................56
A final thought on technique......................................57
Chapter 5:Developing Aural Skills.....................................58
The supremacy of aural skills......................................58
Using Tonal Patterns to Enhance Aural Skills...........59
Using Folk Songs to Enhance Aural Skills.................60
Effective "Ear Tunes" for String Ensembles, including
both simple and more complex tunes....................61
Other resources for aural skills training....................62
Tuning the Orchestra....................................................62
Preparatory Sequence #1 (single pitch approach) ...64
Preparatory Sequence #2 (double stop approach) ...64
Importance of the Tuning Pyramid............................65
Chapter 6: What you Need to Know About Conducting
a Band/Choir vs. Conducting an Orchestra:
Rehearsal Planning, Score Analysis, and
Building the Ensemble....................................................68
The Development of Master
Teacher-Conductors................................................68
Characteristics of Outstanding
Teacher-Conductors................................................70
Applying Instructional Delivery to the
Teacher-Conductor..................................................73
Developing Effective Rehearsal Routines..................75
What the best teachers do in the classroom
and studio..................................................................75
Fostering Artistry and Passion in the
String Ensemble........................................................77
Planning to be an Effective Teacher............................78
Rehearsal Preparation - Preparing the Score............79
Moving from the Analysis to the Rehearsal..............92
Rehearsal Planning - Structuring the Rehearsal
and Planning for Success.........................................92
Rehearsal Techniques - Predictive Success,
|Preventive Maintenance.........................................98
Rehearsal Techniques - Solving Musical Issues........98
Rehearsal Techniques - Solving Technical Issues.....100
Special Notes on Adaptations for
Middle School Ensembles.....................................101
Teaching Techniques, Principles of
Learning, and Instructional Delivery..................101
Models of Effective Middle-School Level
Instructional Delivery............................................101
Effective Middle School Teacher Behaviors,
Rehearsal Planning and Techniques....................102
The Use of a Chamber Music Program to
Teach Ensemble Skills............................................103
Chapter 7: Organizing the String Program.....................111
When to begin instruction........................................111
How to schedule instruction.....................................111
Expect that you will teach heterogeneous
string groups. .........................................................112
Recruitment and Retention will continue to
be key issues............................................................112
The value of community and school mentor
programs..................................................................113
Choosing the right method book.............................113
What do I teach at the beginning?............................113
The String Ensemble vs. the Full Orchestra............114
Ensemble leadership...................................................114
Orchestral Seating.......................................................115
Tuning the orchestra...................................................116
Chapter 8: Equipment and Materials...............................117
Choosing an instrument............................................117
Choosing a bow...........................................................118
Instrument sizes..........................................................118
Essential Equipment for String Players....................119
Developing your orchestral library...........................124
Educational Arrangements or Authentic Music?...125
Chapter 9: Professional Resources...................................129
Professional Associations...........................................129
Other Professional Development Opportunities....129
Publishers of Educational Orchestral Music...........128
Bibliography........................................................................129