Lessons

Technical:

I have developed a multi-level system consisting of scales, etudes, and selections from Suzuki and the Royal Academy of Music programs along with works from composers of the baroque to the 20th century.

Students have different learning styles, which I strive to discover so that I can teach more effectively. I use demonstration and imitation as much as possible, which is normally faster than many verbal instructions.

I stress learning in very small increments. The brain learns one thing at a time, and I teach one thing at a time. I encourage each student to find their own voice and musical expression little by little.

In addition to private lessons, I collaborate with a pianist to help students develop an understanding of harmony and musicality and the ability to perform in public. My goal is not only to give the best possible technical instruction, but also to inspire students to become life-long lovers of music. I strongly encourage my students to play in local orchestras and chamber groups, which I am happy to set up for them.

(Please see “Technical Skills for Violinists” below for more specifics about technique, and contact me for more information about the specifics of my system.)

Psychological:

My goal is to provide an emotionally supportive environment that helps each student draw out what is in his or her soul. From many years of teaching, I have learned a good deal about human psychology and how to challenge students and encourage them at the same time.

I am keenly aware of students’ feelings during lessons. I am constantly looking for new ways to retain their interest and motivate them to practice in a goal-oriented fashion. Studio classes, recitals, and youth orchestras are not just motivational for practice, but also provide opportunities to experience music with peers in a positive social setting.

In cultures around the world, music historically has been participatory rather than performance oriented. Music is a gift for everyone. People got together to sing and play music because it is and was a balm to their brains and bodies, a fact that scientists have only recently corroborated.

Today we live in a competitive world, and often music turns into a competition, meaning only the super talented should participate. My observation is that students make faster progress on the violin when they take a bit more relaxed social approach than a highly competitive one.

Spiritual:

Philosophers, scientists, composers, and musicians have grappled with the question: why does music exist and what is its purpose? You will hear violin teachers say that music is a “calling.” These are questions for music students and parents to discuss, as the answers will significantly influence the direction one takes and the amount of time one invests in practicing an instrument on a daily basis.

Here’s what two of the world’s greatest composers thought:

The aim and final end of all music should be none other than the glory of God and the refreshment of the soul.

— J. S. Bach

The vibrations on the air are the breath of God speaking to man’s soul. Music is the language of God. We musicians are as close to God as man can be. We hear his voice, we read his lips, we give birth to the children of God, who sing his praise.

— L. V. Beethoven

Technical Skills for Violinists

(From the Eastman School of Music)

Level One Skills:

Establish good posture and physical coordination.
Develop basic skills for correct pitch placement.
The use of first position with different fingering patterns on each string.
Bowing patterns on open strings, with simple rhythms, clear bow division, proper arm motion for detached strokes (detaché), bowing in various lanes to produce a clear sound (sounding point), string crossings with single bows.
Bow hand exercises to create flexibility.
Pizzicato, collé, and martelé may be introduced.

Level Two Skills:

Easy double stops in first position (open strings).
Basic vibrato motion.
Simple harmonics.
Simple shifting technique from first position to third position.
Varied rhythmic patterns in scales, etudes and solos.
Longer bow strokes.
String crossings with detaché, collé, martelé, staccato and slurs.

Level Three Skills:

Able to shift and play in the first three positions with ease.
Begin the use of fourth and fifth position.
Vibrato: good coordination of arm, wrist and fingers.
Dynamics, good tone quality and musical expression.
Ability to bow on the sounding point with good bow direction.
Posture and body motions well balanced.

Level Four Skills:

Correct, basic posture.
Balanced bow arm and fluid use of fingers, wrist, elbow.
Deliberate bow-division and sounding point.
Observance of printed dynamics.
Reliable shifting and intonation up to fifth position.
Vibrato with continuity.
3-octave scales with 7-arpeggio sequences for chosen major and minor scales with correct fingering (introduced).
2-octave scales in double-stops (introduced).
Repertoire which utilizes primarily first through fifth positions, including extensions and half position.
Repertoire using distinct legato, martelé, staccato and spiccato.
Understanding of articulation markings and musical terminology printed in repertoire.
Interaction with accompanist.

Level Five Skills:

Correct, basic posture.
Balanced bow arm and fluid use of fingers, wrist, elbow.
Deliberate bow-division and sounding point.
Observance of printed dynamics and performance with individual, artistic expression.
Vibrato with continuity.
3-octave scales with 7-arpeggio sequences in keys with up to 3-sharps or flats with fine intonation.
2-octave scales in double-stops in keys with up to 3-sharps or flats with fine intonation.
Repertoire which utilizes all seven positions, primarily in sequential or “violinistic” manner. Some use of complex left-hand techniques, such as double-stops and single harmonics.
Repertoire which explores all major, minor keys and simple modality.
Repertoire using legato, martelé, staccato, spiccato, as well as complex bow techniques, such as ricochet passages and up-bow spiccato.
Understanding of articulation markings and musical terminology printed in repertoire.
Interaction and collaboration with accompanist.

Level Six Skills:

Core Technical Requirements.
Correct, basic posture.
3-octave scales with 7-arpeggio sequences in keys with up to 3 sharps or flats with fine intonation.
2-octave scales in double-stops with up to 3 sharps or flats with fine intonation.
Reliable core skills, including: variety of distinct bow strokes, observance of dynamics, accurate shifting/double-stops and varied vibrato.
Artistic performances with sensitive, variable expression.
Understanding of musical structure and all musical markings.
Basic understanding of appropriate stylistic techniques (introduced), such as Baroque bow division, Classical transparency, Romantic portamento and varied vibrato.
Repertoire which demands facility in all positions. Use of complex left-hand techniques, such as three/four-note chords, harmonics, glissandi and left-hand pizzicato.
Repertoire which may explore any major/minor key, atonal and/or modal harmony.
Sensitive, responsive collaboration with pianist.

Benefits of Music Education

Early musical training helps develop brain areas involved in language and reasoning. It is thought that brain development continues for many years after birth. Recent studies have clearly indicated that musical training physically develops the part of the left side of the brain known to be involved with processing language, and can actually wire the brain’s circuits in specific ways. Linking familiar songs to new information can also help imprint information on young minds.
There is also a causal link between music and spatial intelligence (the ability to perceive the world accurately and to form mental pictures of things). This kind of intelligence, by which one can visualize various elements that should go together, is critical to the sort of thinking necessary for everything from solving advanced mathematics problems to being able to pack a book-bag with everything that will be needed for the day.
Students of the arts learn to think creatively and to solve problems by imagining various solutions, rejecting outdated rules and assumptions. Questions about the arts do not have only one right answer.
Recent studies show that students who study the arts are more successful on standardized tests such as the SAT. They also achieve higher grades in high school.
A study of the arts provides children with an internal glimpse of other cultures and teaches them to be empathetic towards the people of these cultures. This development of compassion and empathy, as opposed to development of greed and a “me first” attitude, provides a bridge across cultural chasms that leads to respect of other races at an early age.
Students of music learn craftsmanship as they study how details are put together painstakingly and what constitutes good, as opposed to mediocre, work. These standards, when applied to a student’s own work, demand a new level of excellence and require students to stretch their inner resources.
In music, a mistake is a mistake; the instrument is in tune or not, the notes are well played or not, the entrance is made or not. It is only by much hard work that a successful performance is possible. Through music study, students learn the value of sustained effort to achieve excellence and the concrete rewards of hard work.
Music study enhances teamwork skills and discipline. In order for an orchestra to sound good, all players must work together harmoniously towards a single goal, the performance, and must commit to learning music, attending rehearsals, and practicing.
Music provides children with a means of self-expression. Now that there is relative security in the basics of existence, the challenge is to make life meaningful and to reach for a higher stage of development. Everyone needs to be in touch at some time in his life with his core, with what he is and what he feels. Self-esteem is a by-product of this self-expression.
Music study develops skills that are necessary in the workplace. It focuses on “doing,” as opposed to observing, and teaches students how to perform, literally, anywhere in the world. Employers are looking for multi-dimensional workers with the sort of flexible and supple intellects that music education helps to create as described above. In the music classroom, students can also learn to better communicate and cooperate with one another.
Music performance teaches young people to conquer fear and to take risks. A little anxiety is a good thing, and something that will occur often in life. Dealing with it early and often makes it less of a problem later. Risk-taking is essential if a child is to fully develop his or her potential. Music contributes to mental health and can help prevent risky behavior such as teenage drug abuse, which often leads to institutionalization in a teen rehab.
An arts education exposes children to the incomparable.

Source: Children’s Music Workshop, Carolyn Phillips