Banana Peels, Jumping Horses, and Lint Picking

As a teacher I enjoy how there are different "seasons" for the skills that we learn and sharpen in our Suzuki repertoire. Today I wanted to write about three of my favorites: banana peels, jumping horses, and lint picking.

Banana Peels

I like the banana peel analogy for several reasons. First, most folks are familiar with what happens when someone steps on a banana peel. I think every child who has seen a cartoon or two has probably run across this phenomenon: step on a banana peel, and whoopsies! Slip and fall! Now I like to talk about Alfred Hitchcock, the master of cinematic suspense, and it is also fun because many of my little students have not yet watched any of Hitchcock's classic films. This will be an adventure for them at a later time, as it was for me when I was younger. For now though, students can understand the difference between a surprise and suspense.

Surprise is quick and sudden. Suspense is longer and involves a lot of anticipation. Surprise is when someone suddenly slips on a banana peel. Suspense, the way that Hitchcock would have shown it, is a man walking quickly down the street, a banana peel shown to the audience as lying in wait, back to the man striding quickly, cutaway to the banana peel, and so forth. The observers know what is going on but the actor does not. The audience leans forward trying to silently convey to the actor what lies ahead in his path, but of course, the actor is oblivious. That is suspense.

We use the banana peel suspense and surprise story to address the fermate in "Allegro" and "Andantino" in Suzuki violin book 1. We create stories and decide whether to portray suspense or surprise, and then we alter our playing accordingly to tell that part of the story. In the case of these two songs, my students usually opt to do a sudden stop ("surprise!") and then a short pause ("suspense!).

My favorite "banana peel" place is in the "Gavotte" from "Mignon" in Suzuki violin volume 2. There is a middle portion of the song that challenges our students to learn how to play correctly and in tune in the key of Bb (measures 35-46). Interspersed throughout these measures are some opportunities for students to imitate banana peel slips and surprises. Because the music continues without any stops or waits, these banana peels are surprises to imitate in the music.

During the rests in measures 35 and 39, the students lift up their bows in a follow through motion to imitate a "slip and fall" because of stepping on a banana peel. In measures 37-38 and 41-42, the bowing is articulated with dots and slurs, and here my students practice putting in lots of banana peel slips and falls:

Measures 35-43

Jumping Horses

The jumping horses place I refer to is in measures 25-26 and 29-30 in "Hunters' Chorus" by C. M. v Weber in Suzuki Violin book 2:

Jumping Horses

Here my students and I try to imitate horses jumping over a fence. We lift our bows after playing each staccato A string. This exercise and the way that my students and I practice it will help us later to execute lifts in the Seitz concertos and in Veracini's "Gigue" in book 5. For now, we have fun jumping our horses "over the fence."

Lint Picking

For the lint picking exercise, I am working to strengthen my students' abilities to play collé. This is a very useful bowing skill and adds a lot of character to the bowing articulation when we use it. We can use this bowing in many different songs, from the pickup notes of Martini's "Gavotte" in book 3 to Bach's unaccompanied Gavotte II and Veracini's "Gigue"  in book 5.

First we work to make sure that the fingers can properly execute "finger motion," which is a drawing into the hand of the pinkie and ring fingers. Many students think of finger motion as some sort of rolling of the bow stick within the thumb and fingers, but I prefer that the thumb be mostly inactive in this exercise (other than bending more). We often start with a pencil, which is lighter, and help to shape and guide the bow hand fingers to draw into the hand with the pencil. Here is a short video to illustrate the finger motion with a pencil:

Later as the student gets more comfortable with this exercise, we will graduate to trying it with the bow itself, holding the bow upright to lessen the pull of gravity and to lighten the feel of the bow within the bow hand. Here I am showing how to use the motion with the bow:

When we transfer this finger motion ability to use on the violin, we pretend that there is some lint stuck to the strings. We use our finger motion to draw the bow toward the lint as if we were trying to brush it off. Here I am showing how to brush lint off the violin with a flick of the finger motion:

I hope you enjoy the Banana Peels, Jumping Horses, and Lint Picking ideas that we use in our studio! Please leave me a comment and let me know your favorite games and ideas for these spots in the Suzuki songs or these bow skills.

Until next time,

Happy Practicing!

----- Paula -----

© 2016 by Paula E. Bird

Allegro

Allegro is another dessert song and a popular favorite. Made memorable in the movie, "Music of the Heart," which starred Meryl Streep and Aidan Quinn (for more information about the movie, click here), the song was composed by Dr. Suzuki and is usually included on every student recital. Here is a brief summary of the skills and opportunities presented by this song:

The notes of Allegro

Left Hand Skills

• The song is in A major and uses the same close 2-3 finger pattern as the Twinkle Variations.

• The song provides additional exercise work between the first and third fingers.

• The song introduces the popping second finger in measures 2, 6, 11, and 14.

• The song teaches the student to keep the left hand upright in correct position while playing on the E string.

• The song challenges the student to coordinate between the left and right hands in measures 2, 6, and 14.

Right Hand Skills

• Each part of the song begins with a down bow. Since each phrase also ends on a down bow, the student must use the "circle bow" skill first introduced in Song of the Wind. Note that the student has worked hard until now on various bowing direction skills:

• The student learned how to start with a down bow in the Twinkle variations.

• The student learned how to do down bow circles in Song of the Wind.

• The student learned how to use an up bow to begin a new phrase after ending on an up bow in O Come Little Children.

• Now the student "relearns" how to do down bow circles.

• The song challenges the student to use the right and left hands together with an emphasis on "bow-driven" movement in measures 2, 6, and 14.

• The song uses staccato notes, which I gradually lengthen over time as the child progresses in technique until the student can execute a full bow martelé.

• The song contrasts the staccato/martelé bowing with legato bowing in the third phrase.

Other Teaching Points

• The song is in A-A-B-A form.

• The song introduces some music vocabulary in Italian:

• There is a fermata after the last note in phrase three.

• There is a ritard and an a tempo.

• The song title Allegro invites a discussion about tempos and how they are designated. For example, allegro is the Italian word for cheerful or happy. When I ask a student how fast or slow a person might walk when they were feeling cheerful or happy, the student usually tells me that the person would walk quickly. Then I explain that we use this word to indicate that we want a fast or brisk tempo, something lively and cheerful.

• The song provides a great opportunity for students to learn leadership skills in an ensemble setting. I use the song to teach how to start an ensemble, how to lead a ritard, and how to begin anew in tempo after a ritard and fermata.

How I Teach the Song

• I teach the popping finger in measure 2:

• The student sets the F# on the E string and super glues the finger in place for the next few notes.

• The student plays the second finger G#.

• The student plays the third finger high A while popping off the second finger at the same time.

•  The student plays F#.

• The student plays two E strings.

• We repeat the popping finger segment several times.

• This is a good "500 club" spot, so we start keeping trace on a special chart.

• Some practice partners will roll their eyes at the suggestion of doing another 500 club spot so close on the heels of the jumping fingers 500 club spot in Song of the Wind, but the students usually like this if I offer up a good prize as an incentive. Usually a certificate is enough. I offer to let the child take home the certificate or to allow me to hang it up on the studio wall for everyone to see. So far, all my 500 club students have opted to let me hang the certificate on the studio wall.

• Parents: please remember that your enthusiasm (or lack thereof) will set the tone for your practice sessions with your child. Why not head in the more positive direction?
• We work on coordinating the left and right hands together. The popping finger spot is actually driven by the bow movement, although most students slow the bow down to accommodate the finger speed, which is ponderous initially. I play a game here with students to help them to learn how to focus on the "bow-driven" aspect of the fingering place.

• I ask the student to play "hot dog, hot dog, Mississippi hot dog" on the E string.
• Then I ask the student to play the popping finger place.
• We repeat this alternation of open E string rhythm with the fingering until the student finally can play the Allegro fingering in the correct tempo.

• The student usually figures out much of the song on their own once I give them a starting note. In most cases, the student has figured out the starting note for him- or herself.

• The song includes the finger tangle spot from Aunt Rhody. For more information about the finger tangle, read the post here.

• The song is rather repetitious, with the first, second, and fourth phrases being the same in general.

• The third phrase includes the popping finger section but in an augmented form (for the nonmusician, augmented form means that the passage is slowed down in rhythm; in this case the rhythm is slowed down by half).

• I introduce the fermata and ritard once the student has figured out the third phrase notes.

Group Class Ideas

• I use the song to teach ensemble skills. The down bow circles at the beginning of each phrase are great places to wait and see if students are paying attention to the leader.

• At the fermata, I ask my students to freeze and not "move a muscle." Then as the leader slowly prepares the next down bow, the students copy that slow motion and get ready for the final phrase.

• I used to threaten to charge someone $500 if they moved at the "freeze point." I had one parent who was playing guitar forget to wait, but that was an easy exemption, since the "freeze" command only applied to students.

• Then one recital, a mom came forward to take a picture of her son as he played. He was on the end of the front row, and she closed in for a great close-up shot. Unfortunately, she snapped the flash at the "freeze point," and the flash startled the poor little kid into jumping right ahead into the last phrase. I could not charge the child for the parent's silly error.

• And now, folks, perhaps you understand why your local symphony and ballet announce that there are to be NO PICTURES during a performance. It can be dangerous if you flash at a dancer, and it is very distracting to a musician to have a blinding light shone into the eyes while playing. Turn off the flash!

Problems Later (or just later)

• The popping finger stops popping off.

• The student forgets the down bow circles.

• The superglue finger needs more glue to keep it in place.

• Students forget the ritard or the fermata.

• The bowing gets pretty messy as the student works to increase the bow length.

• Sometimes the student forgets the staccato or martelé bowing and plays everything legato.

• The student forgets to set up the a tempo after the fermata in a way that will lead other students to join in the ensemble.

We love to play Allegro. Students are very eager to learn this catchy tune. I use the song to end group recitals.

Happy Teaching!

Quick Practice Tip: Releasing Tension in the Shoulder

The shoulder is a magnet for tension, especially as the student matures in age. Just about all of my older students or adults exhibit shoulder tension. Shoulder tension must be an adult person's most favorite way to "hold it in." I know that this was the case for me. I still work at it, and I have developed a few tricks to help me set my playing posture in a relaxed way.

Try these three simulations or games away from the violin:

• When driving your car, rest your hands on the steering wheel at the 10 and 2 o'clock positions (please make sure that you are still paying attention to the road!). While you are driving, notice how light your hands feel on the wheel. Now, let your shoulders relax and your arms hang down. If you do this exercise correctly, you will notice that your hands begin to feel fairly heavy and hang from the steering wheel almost enough to pull the wheel down. Your shoulders are now completely relaxed.

• When you are standing in church, rest your hands on the pew back in front of you. Or if you grocery shop instead, rest your hands on the handle of the shopping cart. Notice how light your hands feel on the pew back or shopping cart handle. Now let your shoulders relax and your arms rest downward. If you do this exercise correctly, you will notice that your hands begin to feel fairly heavy and hang from the pew or shopping cart handle quite strongly. Your shoulders are now completely relaxed.

• Spaghetti Arms Game: You will need a partner for this game. Have your partner make fists in both hands and hold up the thumbs like joysticks. You grab onto the "joysticks." Your partner will then swing your arms around wildly, trying to take you for a wild amusement park ride and shake you off. Your goal is to stay connected to the joystick but to allow your partner to flail your arms around wherever your partner wants to go. If you are completely relaxed with "spaghetti arms" and still hanging onto the "joysticks," then your shoulders are completely relaxed. Note that this game is the most similar simulation to that of playing the violin. The joystick is your bow hold, which must be turned on. Your relaxed arms are how your shoulder should be: aware, relaxed, and going wherever it is led.

Try these two simulations with the violin:

• Submarine Air Lock Game: Pretend you are on a submarine, but you need to explore outside the vessel. Go into the air lock chamber. Turn on the mechanism that lets the air out of the chamber. Now you are ready to go outside the vessel. Relate this to the violin.

• Set your bow on the string at the frog. Now, release the air from your shoulder.

• "Set, Sink" are the two commands I use.

• Flat Tire Game: Set your bow on the string at the frog. Now release the air from your tire (shoulder) so that it goes flat.

Carry this to the next level in review work or group class activities:

• Play "Song of the Wind" (violin book 1) and stop after every down bow circle. Recite "Set, Sink" before playing the next note. Make sure your bow hold is impeccable.

• Play "Allegro" (violin book 1) and add  "Set, Sink" after every down bow circle.

• Play "Perpetual Motion" (violin book 1) with a down bow circle after every note. "Set, sink."

• Play "Etude" with a down bow circle after every note. "Set, sink."

• Play "Chorus" (violin book 2) and add "Set, Sink" after every down bow circle.

• Play "The Two Grenadiers" (violin book 2) and note the three down bow circle places. Are you setting and sinking at those places?

• In violin book 4 and the Seitz concertos, there are several opportunities to set and sink the shoulder when placing down bows at the start of new sections. Play these concertos and ask the student to find places where the "set, sink" idea will be effective.

When I first realized how much tension I had allowed to creep into my shoulder while playing my violin, I also found many opportunities to address the issue. I used my teaching in the studio to allow me to practice the exercises I have outlined above. I also found opportunities in symphony rehearsals and concerts to remind myself to "set, sink" before playing The only adjustment I had to make was to get ready to play in symphony a little earlier than usual to allow myself enough time to actually "set, sink." To this day, I still remind myself to "set, sink" after every down bow circle or after I have set my bow on the string.

I also practice this exercise while driving, singing hymns in church, or grocery shopping.