Preparing for Etude

I wrote an earlier article about teaching Etude, but in my current timeline of discussing Suzuki Violin Volume One, this is the place where I would introduce an article about Etude. In the previous article I did not discuss those things that I would introduce to a student in order to prepare for Etude, so I will discuss these items now.

First of all, I discuss the meaning of Etude with my students. "Etude" is a French word meaning "exercise" or "study." I discuss with my student that there are many "etudes" in the violin repertoire, and that these pieces are generally shorter in length and designed to teach particular skills. These skills may include a rhythmic unit, a new finger pattern, or a particular bowing variation. Generally etudes focus on one bowing variation or rhythmic pattern, which makes etudes useful for learning a particular skill because they direct the student's focus to a smaller area of technique or skill set. In this case, Dr. Suzuki's Etude will teach a new finger pattern, focus on strengthening the student's ability to make string crossings, and teach the student how to articulate notes well on an up bow (beginnings of notes). Most of the string crossings occur on an up bow to a lower string.

In addition to the student's regular listening program, I urge parents to play the Etude recording an extra number of times. Etude can confuse both parent and student aurally, so more listening helps. I also have a copy of the song laid out phrase by phrase. I made the copy by cutting and pasting the song into its four phrase components and lining up the phrases underneath each other. In this manner the parent can view the song phrases in comparison and easily see the different endings or contrasting parts of the song.

Here are a few things I might introduce to a student as preparation for learning Etude:

• G major scale, 1 octave: this scale is played with the G string as the starting note and uses the Twinkle Variations finger pattern on both the D and G strings. Sometimes we play the scale using one of the various Twinkle variations.

• G & D String Songs: We transpose as many of the songs that the student has learned onto the lower strings, if possible. Most of the book 1 songs can be transposed down a string. There are some that do not work. For example, Allegretto is impossible to transpose to the G string since it already contains a note on the G string, although Allegretto is a good song to work on because it requires the student to play on both the G and D strings. The other earlier songs in book 1 usually work well for transposition to a lower string. If we join forces with viola or cello students, our ability to play on a lower string will mean that we can play together with these other instruments.

• G Major Scale, 2 Octaves: This two-octave scale introduces a new finger pattern. The student builds on the one octave G major scale and adds another octave set of notes up to the E string with a different finger pattern.

• The teaching point here is that the student will learn a different finger pattern on the A and E strings.

• The two octave G major scale requires one set of finger patterns on the G and D strings and another set of finger patterns on the A and E string.

Additional Teaching Points: Once we learn the scale, we can add additional teaching points.

• 30 Second Scale: This is a game I play to encourage students to practice the two-octave G scale. I set the timer for 30 seconds, and then we count the number of times the student can play the scale  during the 30 seconds. The record is five for students of the Etude book 1 level (I do not show off my or any of my more advanced students' abilities to break that record). We only count the scale if a student plays it correctly -- the appropriate finger patterns and all of the scale notes.

• Fourth Finger Descending: Once a student has strengthened the ability to play the two-octave G scale, I introduce the pinkie fingering on the scale's descent. I stress the importance of leaving the index finger down in place while the student swings the left elbow under the finger board and sets the pinkie in place.

• Bowing Variations: Here are a few possible variations for the G scale. There are many other possibilities, and all of these ideas are excellent points in a group class lesson plan:
• slur two notes
• slur four notes
• 2 hooked staccato bows (up-up, down-down)
• 4 hooked staccato bows (up-up-up-up, down-down-down-down)
• combination of slurred and hooked bows (slur, up-up, slur, up-up)
• combination of slurred and separate bows (slur, up-down, slur, down-up) 
• Scale Patterns: We practice a little extra on the different combinations of scale patterns found within the G scale. This can be a fun thing to add to a group lesson plan. Here are a few examples:

• Broken Thirds Scale: I teach the G scale as a series of "broken thirds." I find that when a student learns how to play a scale in broken thirds that much of the battle of learning how to "feel a key" is won. I happened on this discovery one day while helping a student to learn the Bb finger pattern in the middle section of Gavotte from "Mignon," which is the 9th song in violin volume 2. Just on a lark, I taught the student how to play the Bb scale in broken thirds, and I found out that when the student finally learned this skill, that she also really, really learned how to feel the Bb key. Since that day, I have tried to remember to teach my students how to play all their scales in broken thirds. Here is the G scale in broken thirds:

• New Etude of Finger Patterns: We create our own "etude" by practicing a series of finger patterns that we developed based on note and finger patterns found within Etude. I use ideas that I learned from my personal study of Ševčik exercises to develop these exercises (here is the link to see my previous blog post about the Ševčik connection). We repeat these little fingering fragments several times:

And finally, the Suzuki violin revised volume one provides a full page of finger exercises just prior to the Etude song. These exercises are designed to strengthen the student's use of the pinkie.

Much of the Etude preparation work not only helps to pave the road for good teaching of Etude, but it also prepares the road for the songs that succeed Etude. As with all of the songs in the Suzuki repertoire, each song is connected and related to all the other songs in some way, whether great or small. The fun of teaching lies in the discovery of these connections and relations. With every student, I uncover new teaching points and therefore continue to grow as a teacher.

For my previous post about Etude, click here. Let me know of your ideas concerning how to teach Etude and how to prepare a student for Etude's teaching points.

Happy Etude-ing!

Allegretto: The Dragon

One of my favorite songs in Suzuki Violin Volume One is Allegretto, written by Dr. Suzuki. Allegretto was not always my favorite; oh no, we had a difficult relationship together for quite awhile. Over time and as I became more and more familiar with the song and the various difficult skill bits for students, I came to understand and appreciate the song's complexity and how to teach the song to students.

Whenever students tell me that they do not like a song they are about to learn or have just started learning, I usually tell the students that their reactions to the song tell me that they will probably come to love the song, and that the song will become one of their favorites after a time. Students usually come back to me with similar reports after spending some time learning the song. Students may announce their dislike of Allegretto to me but later find that they enjoy playing the song quite a bit. Allegretto was one such song for me as well. The song may be a dragon to learn, but we can come to appreciate and enjoy the beauty of the dragon as well, and when we spend time in close proximity to it, we will become accustomed to the heat as well.

Why is the song so difficult for students? There are several culprits:

• two new "fat" strings to play on
• a new note on the "fattest" string
• a pinkie on a lower string
• a new pinkie fingering combination
• fingers that skip in thirds rather than walk in steps
• an awkward bow accent.

How is that for starters? Here are a few of my goals at this point in order to ease the student's learning pathway.

Play on Lower Strings

I start the Allegretto learning process while we are still a few songs away from beginning Allegretto. By this point I have encouraged the student to play previous repertoire on lower strings. For example, instead of playing Twinkle theme on the E and A strings, now the student will play Twinkle theme on the A and D strings, or the D and G strings. We continue in this manner, adding songs on different strings until the student can play any song on a different string.

We learned the A major one octave scale earlier in volume one, so now we add the D scale. The finger patterns are the same. For fun, we often add the lower octave of the G scale as well. This prepares the student for the longer two octave G scale that will introduce the finger patterns of Etude.

Both of these activities are great items for group classes as well as individual lessons and home practice.

Awaken the Pinkie

I have introduced the left pinkie several times by now. When I teach a pre-twinkle student, I introduce a left hand plucking exercise that involves the pinkie (to read more about the left hand plucking exercise, click here). So my youngest beginner has experienced the use of the pinkie since the early days. We may need to revisit this exercise at this point. I also have the student play six pinkie places in Perpetual Motion. In the revised volume one, there are additional pinkie fingering suggestions in the early songs of the book, although I prefer to wait to teach these additional fingerings until later because I want my students to learn about string crossings and building tone through the use of the resonant open strings for a time.

Train the Ears

Since Lightly Row, I have worked to strengthen the student's ability to recognize several basic ear training skills, not only in lessons, but also in group classes. I often make up new songs on the spot in group classes so that we can practice our ear training skills:

• Walking Fingers: These are scale-like passages where the notes ascend or descend by step. Students have a great deal of difficulty with the concept of ascending and descending pitch when it involves a string crossing. Some students "get it" but many do not without extra guidance from me.

• Skipping Fingers (aka "doorbells" or "cuckoos"): These are passages that contain interval skips of a third, such as the opening notes of Lightly Row or O Come Little Children.

• Patterns: These can be passages of rhythmic or melodic patterns. For example, the opening notes of the first two measures of Lightly Row are melodic and rhythmic patterns. Measures 7, 8, and 9 of Song of the Wind are melodic patterns.

Allegretto will involve all of the above, which is why students are sometimes so confused when they first learn it. For example, the first three notes are walking fingers, but then there is an ascending skip and a step backwards, and it involves a pinkie too! Then the rhythmic and melodic pattern is repeated but a step higher, and then we reverse the walking fingers down. Why, it is no small wonder to me that many teachers and parents come up with nonsensical words to make the process easier to remember. Sometimes I just want to tear my hair out! I cannot imagine what a parent must go through at home as they watch the child struggle to puzzle out what they hear on the recording with what the child can match on the instrument.

The best advice I can give parents is to make sure to play the recording a lot at home. I mean a lot! When a parent saturates the child's environment with Allegretto, the child will learn the song much quicker.

Stimulate the Rhythmic Pulse

Allegretto has a great rhythmic pulse: tah-tah-DUM, tah-tah-DUM, etc., which propels forward melodically, similar to our natural physical rhythm. At first, the student has to focus attention most on the melodic elements of the song, and so the rhythm may suffer while the student masters the finger patterns and notes. For more information about useful ways to teach rhythmic chunks, click here. For another practice tip idea that focuses on the work of Ševčík and how it can be applied to Allegretto, click here.

While a student learns Allegretto, I may focus on karate punching practice in group class. My students seem to enjoy my mixture of martial arts with music (we have a martial arts studio next door, and I have studied Kim Soo Karate). We stand in "horse stance" or ready stance and practice throwing karate punches, first with the right hand and then the left in time to the accents of Allegretto (on the quarter notes). Not only do we get a physical workout, we get a rhythmic lesson as well!

Stay tuned for an in-depth look at how I analyze and approach Allegretto specifically.

Intonation, part III: can you spell Ševčík?

I've been talking to several of my colleagues about how they address intonation issues with their students. Most of the answers or suggestions I have received have to do with giving the student feedback "after the fact." This is indeed a useful way to alert a student to the fact that intonation is less than stellar, but I would like to focus my efforts and this discussion on how to teach a student to learn for themselves what is correct intonation. I want to introduce my students to ways that they can identify intonation for themselves without having to resort to external feedback exclusively. Although I realize that we all decide "externally" what intonation is correct by using our ears to evaluate the produced sound, what I'm referring to by external is another person providing the feedback. I'd like my students to learn how to play in tune by whatever means are available without having to resort to another person. Why? Because if my students only learn correct intonation when I am there to provide them with immediate feedback, then that means my students are probably only learning how to play in tune one day a week at their lesson. This is not the ideal situation in my opinion.

I've talked about some ways to hear and see tone, which generally leads to a student's seeing and hearing what correct intonation is. I would like to focus on some ways to hear and feel correct intonation on the fingerboard, and I'm going to suggest that the student use a tuner for the purpose of this exercise. Yes, I realize that the intonation discussion is much more complex than just using a tuner and focusing on tempered tuning. That is certainly a worthwhile discussion for another day. As a violinist, I realize that a C# and a Db may be located in slightly different places on the violin fingerboard depending on the context of the melody I am playing. I also recognize that I must adjust my pitches to accommodate the piano's tempered tuning if I am playing with a pianist. When I play with the Artisan Quartet, I need to make other types of adjustments depending on what role my part plays in the overall harmonic structure. In the beginning, however, when I'm working to help a student learn how to do this alone, I find a tuner to be a good starting point.

I have my own series of finger patterns, and I am saving that discussion for a future set of blog posts. So for right now, I'll use the Ševčík, op. 1, book 1 exercises:

Ševčík, op. 1, book 1, #1 (initial 3 measures)

Taking the first measure, I ask the student to play the first pitch until the tuner shows that the pitch is in tune. Then I ask the student to move on to the next pitch and tune it, and so forth until the notes in the measure are in tune. I ask the student to do this a few times until the student is accurate. Then we stop focusing on the tuner and increase the tempo while playing the notes with separate bows:

·    quarter notes: play the measure 2 times

·    eighth notes: play the measure 4 times

·    sixteenth notes: play the measure 8 times

Then I ask the student to focus back on the tuner and play the initial four notes once more to see if the correct tuning has remained in place. I ask the student to work through three-measure segments of the Sevcik and follow the above pattern. After the student completes a portion of the page, we return to the beginning of the exercise, but the student slurs the increased tempo notes.

It amazes me how quickly students learn to hear the correct intonation, even if it is tempered tuning. The tuner also helps the student to produce a more even tone quality with the bow, as every little uneven bow speed or weight will alter the pitch in some way. Even my youngest students can learn to tune their instrument with a tuner and simultaneously learn to control their bow speed and weight. I enjoy watching my students work through the first set of Ševčík exercises and make their own discoveries about pitch accuracy. The students realize fairly quickly what the "in tune" note requires that was missing when the tuner registered the pitch as "out of tune."

If a student combines these exercises with the exercises in my earlier intonation blog posts, the student will make considerable improvement in the area of intonation.