Wednesday, February 11, 2015
This American Life: Batman
If you have an hour, or even just a few minutes here and there, listen to this episode of This American Life!
This episode has a lot of applications to learning, including the expectations we set for our children and for ourselves, grit and mindsets. Featured is psychologist, Dr. Carol Dweck and you can read more about her work here. Plus, it's such an inspirational story!
Monday, February 9, 2015
Reading Music, part 1 - When do you start reading music?
I thought I'd break down reading music into a couple of different parts. It's a meaty subject so one post is waaaaay too much information.
First, in this series of note-reading, is a discussion of when students begin reading music. It is one of the most frequently asked questions so I thought I'd address it before delving into the mechanics of reading music.
Reminder: this happens at different ages and stages for every student. There is no prescribed age, piece or magical calendar date when we start reading. I look for a number of things before I believe music reading is appropriate to add to a student's repertoire of skills.
First off, we delay reading because that's also how we learn language. We don't start reading words when we began speaking - it happens much later, often many years later. Children become quite fluent in their language before reading is introduced. Learning to read music is exactly the same process. Musical skills, playing beautifully and playing in tune must happen before music reading is begun.
Before introducing music reading I look for these things:
1. Posture, posture, posture
I cannot stress enough how important it is to first and foremost have secure, solid and correct posture. Music reading requires adding an additional skill on top of everything a student already knows, which also requires focused attention. One cannot focus on cello hand position, intonation, bow hold, bow control AND reading music off the page. It's just too much! Posture has to be absolutely solid before adding a new skill. Just like building a house, you can't build on shaky foundation or else everything will fall down.
2. Confidence and ease of playing
Similar to posture, all the skills related to playing the cello must be easy, comfortable and confident. Again, adding too much will result in too many things going on which leads to frustration. If any one aspect is not near automatic, it becomes infinitely more difficult to add an additional and complicated layer. Music reading inherently takes attention away from everything else so that means everything else has to be fluent and easy in order to dedicate brain power to reading. All the previous skills have to be comfy, easy, solid and secure.
3. Knowledge of fingerboard geography
Fingerboard geography refers to the names of the pitches and where they live on the instrument. This must be learned and ingrained before reading music. Students need to be able to identify the notes by name on the instrument as well as locate any given pitch. For example, can they name the notes in Twinkle? Can they find F# on the D string? What is the name of the note underneath the 4th finger on the A string?
To further complicate things, unlike the piano, a single note may live in more than one spot. For example, the pitch of our open D string can also be played on the G AND the C strings. Having the beginning stages of a cognitive map of the fingerboard is absolutely essential to understanding this especially when we start moving the hand around the instrument. We build on this cognitive map as we learn more pitches but a foundation must be there first.
Students must know the names of the notes and where they live on the instrument before attempting to read. It's like trying to identify a color you've never seen before or trying to read and understand the word 'car' when you don't know what that object is. There must be prior knowledge of the 'language' (i.e. names of the notes and where they live) before attaching a symbol to that language.
Then, students must be able to identify the written note symbol on the page by the name of the note, not the finger number. This is critical but not difficult. It's very much like recognizing letters of the alphabet. However, all too often do students learn to 'read' music by following finger numbers. It's not a bad way to start but it becomes a problem when 4 on D (the note G) is indicated to be played with a 2nd finger. In other words, when the hand is no longer in one position on the neck and the hand starts moving around and shifting to different positions. I avoid this approach all together and try to rely on finger numbers a little as humanly possible.
Keep in mind, the finger numbers all throughout the Suzuki books are for you, the parent, not the child.
4. Understands reading concept
Reading music is not unlike reading words. It's essentially the exact same concept just a different 'language', if you will, with a different set of symbols. Understanding the basic concept of reading words is necessary because the two skills are so alike. Then students can apply the same concept and understanding to reading the symbols of music.
5. Solid concept of intonation
Students need to have a solid concept of sound, intonation and pitch. Without this, notes are near meaningless. 3rd finger is not F# if it's not on the correct spot on the fingerboard and F# is not F# unless the right pitch, the right frequency, produced by putting the finger in the correct place. It's either F# or it's not. Much like the color 'red' is not 'red' unless light waves form the correct wavelength. This aspect of playing has to be solid and understood, though it's not necessarily explicitly explained.
String instruments are challenging in that we can't just hit a key and F# is perfectly in tune. There's unfortunately a lot of wiggle room in terms of where the finger can go. This is where the concept of intonation and what's 'in tune' is so important. Even though students are in no way expected to understand or know about harmony, music theory and the physics of sound, they can still learn to hear when a pitch is too low or too high relative to other pitches.
There are a lot of skills involved in reading music plus a lot of dots of information that need to be connected in order for all this knowledge to be readily accessible, usable and applicable.
Students need to be able to take in a lot of information, translate it to meaningful knowledge and use that knowledge to produce sound. This means juggling, sorting through and interpreting a lot of information. For example, the page will be a note on the staff and a finger number, which students need to figure out what that pitch is and where it lives on the instrument. Also, students will have a sound concept in mind of what that pitch should sound like, much like singing a tune in your head (read about audiation for more about this). Then there's a physical skill attached to make the sound happen that involves placing the indicated finger down in the right spot, on the right string and hearing whether or not that is the correct pitch. Whew.
All these bits and pieces of information need to be weaved together in order for music reading to become fluent. If one aspect of music reading is weak, it can impact the skill as a whole.
This takes time. Lots of time. It's totally okay if it's slow going at first especially because there is so much new information and it just takes time and practice to sink in. I don't expect this to make sense or 'click' the first time it's explained because it just won't. But rest assured, it will sink it and it will make sense. This goes for many musical concepts, by the way.
One more reassuring note, I typically start music reading about halfway through Suzuki Book 1, when students reach Perpetual Motion. By this point, students have typically achieved all of the above things, whether they know it or not. Most of these things are built into my curriculum and sequence of teaching. So even though I don't explicitly say it, we are preparing for music reading all the time! And it all begins with posture. :)
First, in this series of note-reading, is a discussion of when students begin reading music. It is one of the most frequently asked questions so I thought I'd address it before delving into the mechanics of reading music.
Reminder: this happens at different ages and stages for every student. There is no prescribed age, piece or magical calendar date when we start reading. I look for a number of things before I believe music reading is appropriate to add to a student's repertoire of skills.
First off, we delay reading because that's also how we learn language. We don't start reading words when we began speaking - it happens much later, often many years later. Children become quite fluent in their language before reading is introduced. Learning to read music is exactly the same process. Musical skills, playing beautifully and playing in tune must happen before music reading is begun.
Before introducing music reading I look for these things:
1. Posture, posture, posture
I cannot stress enough how important it is to first and foremost have secure, solid and correct posture. Music reading requires adding an additional skill on top of everything a student already knows, which also requires focused attention. One cannot focus on cello hand position, intonation, bow hold, bow control AND reading music off the page. It's just too much! Posture has to be absolutely solid before adding a new skill. Just like building a house, you can't build on shaky foundation or else everything will fall down.
2. Confidence and ease of playing
Similar to posture, all the skills related to playing the cello must be easy, comfortable and confident. Again, adding too much will result in too many things going on which leads to frustration. If any one aspect is not near automatic, it becomes infinitely more difficult to add an additional and complicated layer. Music reading inherently takes attention away from everything else so that means everything else has to be fluent and easy in order to dedicate brain power to reading. All the previous skills have to be comfy, easy, solid and secure.
3. Knowledge of fingerboard geography
Fingerboard geography refers to the names of the pitches and where they live on the instrument. This must be learned and ingrained before reading music. Students need to be able to identify the notes by name on the instrument as well as locate any given pitch. For example, can they name the notes in Twinkle? Can they find F# on the D string? What is the name of the note underneath the 4th finger on the A string?
To further complicate things, unlike the piano, a single note may live in more than one spot. For example, the pitch of our open D string can also be played on the G AND the C strings. Having the beginning stages of a cognitive map of the fingerboard is absolutely essential to understanding this especially when we start moving the hand around the instrument. We build on this cognitive map as we learn more pitches but a foundation must be there first.
Students must know the names of the notes and where they live on the instrument before attempting to read. It's like trying to identify a color you've never seen before or trying to read and understand the word 'car' when you don't know what that object is. There must be prior knowledge of the 'language' (i.e. names of the notes and where they live) before attaching a symbol to that language.
Then, students must be able to identify the written note symbol on the page by the name of the note, not the finger number. This is critical but not difficult. It's very much like recognizing letters of the alphabet. However, all too often do students learn to 'read' music by following finger numbers. It's not a bad way to start but it becomes a problem when 4 on D (the note G) is indicated to be played with a 2nd finger. In other words, when the hand is no longer in one position on the neck and the hand starts moving around and shifting to different positions. I avoid this approach all together and try to rely on finger numbers a little as humanly possible.
Keep in mind, the finger numbers all throughout the Suzuki books are for you, the parent, not the child.
4. Understands reading concept
Reading music is not unlike reading words. It's essentially the exact same concept just a different 'language', if you will, with a different set of symbols. Understanding the basic concept of reading words is necessary because the two skills are so alike. Then students can apply the same concept and understanding to reading the symbols of music.
5. Solid concept of intonation
Students need to have a solid concept of sound, intonation and pitch. Without this, notes are near meaningless. 3rd finger is not F# if it's not on the correct spot on the fingerboard and F# is not F# unless the right pitch, the right frequency, produced by putting the finger in the correct place. It's either F# or it's not. Much like the color 'red' is not 'red' unless light waves form the correct wavelength. This aspect of playing has to be solid and understood, though it's not necessarily explicitly explained.
String instruments are challenging in that we can't just hit a key and F# is perfectly in tune. There's unfortunately a lot of wiggle room in terms of where the finger can go. This is where the concept of intonation and what's 'in tune' is so important. Even though students are in no way expected to understand or know about harmony, music theory and the physics of sound, they can still learn to hear when a pitch is too low or too high relative to other pitches.
***
There are a lot of skills involved in reading music plus a lot of dots of information that need to be connected in order for all this knowledge to be readily accessible, usable and applicable.
Students need to be able to take in a lot of information, translate it to meaningful knowledge and use that knowledge to produce sound. This means juggling, sorting through and interpreting a lot of information. For example, the page will be a note on the staff and a finger number, which students need to figure out what that pitch is and where it lives on the instrument. Also, students will have a sound concept in mind of what that pitch should sound like, much like singing a tune in your head (read about audiation for more about this). Then there's a physical skill attached to make the sound happen that involves placing the indicated finger down in the right spot, on the right string and hearing whether or not that is the correct pitch. Whew.
All these bits and pieces of information need to be weaved together in order for music reading to become fluent. If one aspect of music reading is weak, it can impact the skill as a whole.
This takes time. Lots of time. It's totally okay if it's slow going at first especially because there is so much new information and it just takes time and practice to sink in. I don't expect this to make sense or 'click' the first time it's explained because it just won't. But rest assured, it will sink it and it will make sense. This goes for many musical concepts, by the way.
One more reassuring note, I typically start music reading about halfway through Suzuki Book 1, when students reach Perpetual Motion. By this point, students have typically achieved all of the above things, whether they know it or not. Most of these things are built into my curriculum and sequence of teaching. So even though I don't explicitly say it, we are preparing for music reading all the time! And it all begins with posture. :)
Monday, February 2, 2015
Learn how to speak Italian! (so you can follow the directions in the book)
In addition to learning how to read music, students also get to learn some fun and very important Italian words! Traditionally in music, instructions for the speed (tempo), bow style, dynamics (loudness/softness), etc., are in Italian. Some composers later on use French and German, depending on their nationality, but for the most part, Italian instructions are used. And for the entire Suzuki Book 1, Italian is used.
Below is a list of commonly used Italian words as well as symbols broken up by the type of instruction they give. This is by no means a comprehensive list - there are as many symbols and terms to fill up an entire encyclopedia of music (these exist) but this will cover you through Book 1.
Tempo (speed)
- Allegro - fast, lively, 'perky'
- Allegro giocoso - fast and playful
- Allegro moderato - moderately fast
- Allegretto - fairly brisk tempo but slower than Allegro
- Andante - walking speed
- Andantino - slightly slower than Andante
- Grazioso - gracefully
- Moderato - moderately; moderate speed
Dynamics (how loud or soft)
- forte (f) - loud; 'strong'
- piano (p) - soft
- mezzoforte (mf) - medium loud
- mezzopiano (mp) - medium soft
- cresc./crescendo/ < - gradually get louder
- dim./diminuendo/ > - gradually get softer
- decresc./decrescendo/ > - gradually get softer
- meno mosso - much less
Bow Articulation Marks (what kind of sound does it make)
- legato - smoothly; French Folk Song
- staccato - short, crisp; marked with a dot above the note; Song of the Wind
- tenuto - to hold; marked with a dash above the note; Allegretto
- marcato - strongly articulated; marked with a > or ^;
- related to martelé, or an attack with the bow that is forceful and then released; think Rigadoon.
- detaché - connected, on the string; back and forth bow; long bow Twinkle
Other Directions
- pizzicato or pizz. - pluck with the finger
- arco - use the bow
- rit./ritardando - slow down
- poco rit. - slow down a lot
- dolce - sweetly
- a tempo - return to the original speed
- sempre - always
Commonly Used Symbols
Wikipedia has a great glossary of terms & symbols for any additional terms or symbols you may need going forward.
Monday, January 26, 2015
Cello & Bow Care
Now that you have your instrument, how on earth do you take care of the thing?! Below are some guidelines to follow and helpful hints for caring for the instrument.
First, just as a reminder, here are two images with the parts of the cello & the bow.
***
How to Unpack & Pack the Cello
First, just as a reminder, here are two images with the parts of the cello & the bow.
***
Cello & Bow Care Guidelines
Cello & Bow Care Guidelines
- General Guidelines
- When removing the instrument from the case, remove the bow first. Then, always put the bow in the soft case after the instrument when packing up. The bow is fragile and the case is very flimsy. Trying to get the instrument out of the case with the bow still inside can result in a broken bow. (see below for directions)
- After playing, use a clean, soft cloth (I use an old t-shirt) to remove rosin from the strings, instrument and bow stick. Do not use any furniture cleaners, oils or alcohol on the instrument.
- Place the instrument and bow in its case or in its stand after playing. Don't leave it on the floor! It usually gets knocked over by a sibling, dog, parent, the cellist...Investing in a cello stand is a great idea. It keeps the instrument off the floor but still readily accessible by the student. Most cellists (myself included) are deterred from practicing by just having to get the instrument out of the case. The stand eliminates this annoying task!
- Do not put anything in the case with instrument except what was meant to go there. There is at least one pocket on the case. Put all accessories in the pocket. Or carry a separate bag with all your cello accessories.
- No one but the string student should handle the instrument, including brothers, sisters, and/or friends.
- Hold the instrument only how your teacher has instructed. Never hold the instrument by anything except the neck.
- As a rule, the strings and bow hairs do need to be replaced. This likely won't be something you will run into frequently as students tend to change instrument often but it's a good thing to know.
- Bow Rules
- Loosen the bow hair, but not so much as to allow the hair to touch the stick or for the individual hairs to separately hang loose. Never try to take the bow apart. You may have seen me do this in the lesson but do not replicate it.
- Never, ever, EVER touch the hair of the bow, nor allow anything except rosin to come into contact with it. Do not attempt to clean it. The horsehair is intended to be coarse and the rosin makes the hair extra sticky so it can grip the strings. Oils and dirt from our skin counteracts the stickiness of the rosin and weakens the coarseness of the hair. Rehairing the bow can be expensive and you'll have to do this if you touch the bow hairs a lot.
- Never use the bow or instrument for anything other than practicing or playing. Never hit the bow on anything. It is not a sword! Also, watch where your child is swinging that bow...there have been a few close calls. No one wants a bow in their eye.
- The bow hairs get stretched out from repeated tightening and loosening and needs to be replaced from time to time. Also they get pretty gross with all the rosin caked on. The bow needs to be re-haired about once a year and, in Austin, runs around $60.
- Cello Rules
- Never bump or jar the instrument sharply, even while it is in its case. Bumping the instrument against another object may damage the wood, cause the bridge to slide out of alignment or cause the sound post inside to fall down.
- If the bridge moves, don't touch it! Have your teacher or the rental shop fix it for you. Often times, moving or removing the bridge will result in the soundpost falling down. Not a huge deal but something your instrument shop will have to fix.
- the soundpost is a dowel stick inside the instrument that is help in place by the pressure of the front and back of the instrument. It's not glued in, just merely held in place by wedging it in. If pressure from the instrument is suddenly released, like the bridge falling off, the soundpost will also fall down.
- I can fix a moved or fallen down bridge but I cannot fix a fallen soundpost.
- Bridges (like soundposts) are not glued in place, but are held in place by the pressure of the strings, which allows them to be replaced and adjusted as needed. If the bridge pops off, don't glue it back on! Also, wait for your teacher or the instrument shop to fix this. It has to be in a particular spot and place on the instrument a particular way. It's possible to put it on backwards.
- Do not allow the instrument to get too hot or too cold. NEVER leave an instrument in your car, especially the trunk. Excess heat and humidity can cause varnish to melt, even in the winter. Extremely cold temperatures can cause wood to shrink, and the accompanying dryness may possibly cause cracks or separate of pieces to develop. Do not leave the instrument near an air conditioner or a fireplace. Think about it this way: if you are uncomfortable (too hot or too cold), the instrument is, too. Any extremes are terrible for the instrument and cause all sorts of havoc.
- If an accident occurs or a string breaks, take it to the shop where the instrument was rented or purchased for repair. Never attempt to repair the instrument yourself.
- Unless your teacher has showed you how, never turn the pegs. Improper turning
- Strings get old and when that happens, they go false and are difficult to tune, don't hold being tuned or simply sound off. They then need to be replaced. How often? Probably once a year. A set, depending on the brand, runs anywhere from $50 - $100. Consult your teacher before purchasing new strings.
***
Please help your child to be careful and gentle with the instrument and bow as a rule. Accidents, bumps and drops happen but don't make this a habit. Establish early on that it is not a toy but rather a fragile and pricey instrument that needs to be cared for regularly.
***
How to Unpack & Pack the Cello
Unpacking the Cello
Packing the Cello
Rest Position (on the floor)
In rest position, the cello is placed to the left of the chair, bridge facing out towards the left and endpin forward. When placing the cello on the floor, gently and quietly move the cello with the left hand securely around the neck and the right hand holding the rib edge/C bout.
While it seems like there are a lot of DON'Ts for the instrument I have one word of reassurance. The little cellos are pretty durable. I'm not inviting you or your child to man-handle the instrument but a bump here or there won't be a devastating blow. Even when the cello gets kicked over or dropped - yes, this happens, a lot - it's okay. The instrument will likely go out of tune but that's typically the worst of it. However, repeated drops, bangs and bumps will result in cracks or open seams (which are very expensive fixes) but the occasional and accidental bump won't harm the instrument long-term.
- Lay cello case on back, on the floor
- Remove bow
- Unzip cello case
- While holding the neck of the cello, lift the front of the case and gently pull the cello out
- Set cello on side
- Adjust the endpin length
Packing the Cello
- Push the endpin back inside the cello and secure the screw.
- Place the scroll inside the case first, then slide the rest of the body inside.
- Zip case
- Loosen bow.
- Place bow inside case.
Rest Position (on the floor)
In rest position, the cello is placed to the left of the chair, bridge facing out towards the left and endpin forward. When placing the cello on the floor, gently and quietly move the cello with the left hand securely around the neck and the right hand holding the rib edge/C bout.
***
While it seems like there are a lot of DON'Ts for the instrument I have one word of reassurance. The little cellos are pretty durable. I'm not inviting you or your child to man-handle the instrument but a bump here or there won't be a devastating blow. Even when the cello gets kicked over or dropped - yes, this happens, a lot - it's okay. The instrument will likely go out of tune but that's typically the worst of it. However, repeated drops, bangs and bumps will result in cracks or open seams (which are very expensive fixes) but the occasional and accidental bump won't harm the instrument long-term.
Monday, January 19, 2015
Cellos & Supplies for the Lessons
Though this is intended for families new to playing an instrument, many current families will find this information about cellos, renting/buying and supplies very helpful.
Where can I get a cello?
There are two different ways to go about this: securing an instrument from a local shop or renting from a national retailer. Below is a list of local Austin shops that rent instruments and sells accessories as well as two national retailers that also rent instruments nationwide. Most rental programs are very similar, if not the same - you pay a monthly rental fee that may or may not include insurance (optional, usually, though I recommend it). A portion of the money you pay for that rental goes toward the eventual purchase of an instrument. Buying a cello is great but I recommend waiting until either your child isn't growing so swiftly (i.e. needs a new cello size every 6-12 months) or your child has reached the full-size cello. You are buying an instrument so you want to make sure your child will use if for a longer duration of time or else you'll have a small cello on your hands that no one can play.
Austin Instrument Rental Shops
Blackerby Violin Shop on W. Anderson
Violins Etc. on Burnet & 2222
Craig's Violins in Lakeway
Westbank Strings in South Austin on Manchaca
National Rental Shops
William Harris Lee is not a local retailer but rents instruments online and will ship the instrument to you. Initially, the cost may be more expensive due to shipping, but the monthly rental fee is comparable to local shops and the instruments are high quality student instruments.
Johnson Strings also has a very similar rental program to WHL.
You may find other national shops that rent, I'm just familiar with WHL's rental instruments - I had a number of students in Atlanta rent instruments from the shop in addition to current students in Austin having a great experience with WHL's instruments.
What kind of supplies do I need?
Other Supplies Needed
Endpin strap - I highly recommend/require this rockstop/endpin strap. It attaches to the chair and doesn't slide on the floor, maintains the correct length so there's no guessing where it goes on the floor in front of the chair
Suzuki Book 1 - Your child won't need this as much as you will at the beginning for reference. I prefer the physical copy to take notes in, plus you'll have it when your child does need it. But if you prefer a digital copy, you can get the Suzuki Book 1 Digital Download on iTunes for iBooks.
Suzuki Volume 1 & 2 Recordings - digital downloads: YAY!!!
Chair/Stepstool - this is a tricky and detailed one. First, here's how to determine if a chair is a good cello chair height:
Chair Sizing
Sit your child on the edge of the chair - the edge is important. Do the feet completely touch the floor comfortably? The feet must be completely flat and comfortable on the floor, with no straining or reaching to touch. With the child's torso tall (think a tall tummy, rather than straight back), are the thighs at approximately a 100-110 degree angle? Are the knees lower than the hips? We do not want a 90 degree angle with the torso and thighs - this is terrible for the back and posture. A too-short chair will create this 90 degree angle while a too-tall chair creates an angle larger than 110 degrees. We need one that's just right. :)
Below are two photos, with thanks to my dear friend Kelsey, demonstrating a good seated cello posture.
I prefer a chair without a back - chairs with backs tend to encourage sliding into the back of the chair and cellists need to sit on the edge - but I'm not terribly picky about back/no back. It must have a leg the endpin strap can attach to. Some of the chairs and step-stools I've seen don't work well with the strap and we've had to jerry-rig it to make it work. But in general, if it works, it works! It really depends on what you are comfortable with carrying around and what works best for you and your child. Some prefer a more portable option, others favor the adjustable feature. Below is a list of a few options recommended by parents with some pros and cons to each. Keep in mind, your child will grow no matter what so these chairs aren't permanent by any means.
Drum stool
pros: adjustable, somewhat compact-able/foldable tripod legs, great for endpin strap, cushioned seat;
cons: not lightweight, little more pricey ($35-40)
Folding step stool
pros: foldable, lightweight, easy to carry around, inexpensive (about $10);
cons: not adjustable, strap is sometimes difficult to attach to the leg;
IKEA children's chairs
pros: you probably already have one (or more) around the house, generally lightweight, great for endpin strap attachment;
cons: not adjustable, folding and kind of a pain to carry around
IKEA stool - I have this in my studio right now
pros: great for older students, lightweight;
cons: not adjustable unless you cut the legs shorter (it's been done!)
Shower chairs - yes, this is what you think it is.
pros: adjustable, lightweight, can come in many colors, strap attaches easily;
cons: clunky to carry around, can be hard to find in stores but readily available online.
Any one of these are great options - it just depends on your preference, what your child is comfortable on and what you are okay with carrying around. The chair thing is a pain but it's not a permanent situation. At least it's not a harp!
Where can I get a cello?
There are two different ways to go about this: securing an instrument from a local shop or renting from a national retailer. Below is a list of local Austin shops that rent instruments and sells accessories as well as two national retailers that also rent instruments nationwide. Most rental programs are very similar, if not the same - you pay a monthly rental fee that may or may not include insurance (optional, usually, though I recommend it). A portion of the money you pay for that rental goes toward the eventual purchase of an instrument. Buying a cello is great but I recommend waiting until either your child isn't growing so swiftly (i.e. needs a new cello size every 6-12 months) or your child has reached the full-size cello. You are buying an instrument so you want to make sure your child will use if for a longer duration of time or else you'll have a small cello on your hands that no one can play.
Austin Instrument Rental Shops
Blackerby Violin Shop on W. Anderson
Violins Etc. on Burnet & 2222
Craig's Violins in Lakeway
Westbank Strings in South Austin on Manchaca
National Rental Shops
William Harris Lee is not a local retailer but rents instruments online and will ship the instrument to you. Initially, the cost may be more expensive due to shipping, but the monthly rental fee is comparable to local shops and the instruments are high quality student instruments.
Johnson Strings also has a very similar rental program to WHL.
You may find other national shops that rent, I'm just familiar with WHL's rental instruments - I had a number of students in Atlanta rent instruments from the shop in addition to current students in Austin having a great experience with WHL's instruments.
What kind of supplies do I need?
Other Supplies Needed
Endpin strap - I highly recommend/require this rockstop/endpin strap. It attaches to the chair and doesn't slide on the floor, maintains the correct length so there's no guessing where it goes on the floor in front of the chair
Suzuki Book 1 - Your child won't need this as much as you will at the beginning for reference. I prefer the physical copy to take notes in, plus you'll have it when your child does need it. But if you prefer a digital copy, you can get the Suzuki Book 1 Digital Download on iTunes for iBooks.
Suzuki Volume 1 & 2 Recordings - digital downloads: YAY!!!
Chair/Stepstool - this is a tricky and detailed one. First, here's how to determine if a chair is a good cello chair height:
Chair Sizing
Sit your child on the edge of the chair - the edge is important. Do the feet completely touch the floor comfortably? The feet must be completely flat and comfortable on the floor, with no straining or reaching to touch. With the child's torso tall (think a tall tummy, rather than straight back), are the thighs at approximately a 100-110 degree angle? Are the knees lower than the hips? We do not want a 90 degree angle with the torso and thighs - this is terrible for the back and posture. A too-short chair will create this 90 degree angle while a too-tall chair creates an angle larger than 110 degrees. We need one that's just right. :)
Below are two photos, with thanks to my dear friend Kelsey, demonstrating a good seated cello posture.
I prefer a chair without a back - chairs with backs tend to encourage sliding into the back of the chair and cellists need to sit on the edge - but I'm not terribly picky about back/no back. It must have a leg the endpin strap can attach to. Some of the chairs and step-stools I've seen don't work well with the strap and we've had to jerry-rig it to make it work. But in general, if it works, it works! It really depends on what you are comfortable with carrying around and what works best for you and your child. Some prefer a more portable option, others favor the adjustable feature. Below is a list of a few options recommended by parents with some pros and cons to each. Keep in mind, your child will grow no matter what so these chairs aren't permanent by any means.
Drum stool
pros: adjustable, somewhat compact-able/foldable tripod legs, great for endpin strap, cushioned seat;
cons: not lightweight, little more pricey ($35-40)
Folding step stool
pros: foldable, lightweight, easy to carry around, inexpensive (about $10);
cons: not adjustable, strap is sometimes difficult to attach to the leg;
IKEA children's chairs
pros: you probably already have one (or more) around the house, generally lightweight, great for endpin strap attachment;
cons: not adjustable, folding and kind of a pain to carry around
IKEA stool - I have this in my studio right now
pros: great for older students, lightweight;
cons: not adjustable unless you cut the legs shorter (it's been done!)
Shower chairs - yes, this is what you think it is.
pros: adjustable, lightweight, can come in many colors, strap attaches easily;
cons: clunky to carry around, can be hard to find in stores but readily available online.
Any one of these are great options - it just depends on your preference, what your child is comfortable on and what you are okay with carrying around. The chair thing is a pain but it's not a permanent situation. At least it's not a harp!
Monday, January 12, 2015
Thoughts on Practicing
As we settle into the new year, I have some thoughts and strategies on practice. After the break, I know everyone, including myself, needs some motivation to get back into a regular routine. I'll be returning to a lot of these topics later in and exploring them in more depth but here's a start.
I've noticed a theme lately in my teaching and my thinking - I'm stressing practice, practice techniques and strategies more in the lessons. At the start of November, I feel like we've all settled into a practicing groove and now may be a good time to address ways to make practicing easier, more efficient and more productive.
"Only practice on the days that you eat" - Shinichi Suzuki
Your child will feel the difference in their playing and you will notice a difference in their ability with daily practice. I even notice this in myself - in my 100 Days of Practice last year, I noticed a HUGE change in my ability and overall ease of playing. And it just felt good. Daily practice also helps improve memory and the ability to learn new things at a quicker pace.
Practicing regularly also leads to motivation to practice even more. Again, as I got into the practicing 'groove' during my 100 Days, I was increasingly motivated to keep going. I even kept going after I achieved my 100 Days. If you are feeling unmotivated, the best cure is to just start somewhere and practice, even if just for a little bit. Also, stick to a regular practice time and do it every day for two weeks - this will end so many of the arguments and establish the habit of daily practice.
Routine - find one that works
This may take some time but find a routine that works. Every student/parent duo is different and try different times of the day - in the morning, before dinner, right after school, etc. I've had students have a lot of success practicing in the morning before school but others were more successful with a practice that take place later in the evening just before bath-time and bed. Everyone is a little different so take some time to experiment with your practice schedule. Also, no need to limit it to one long practice a day. I know a number of students who practice for 10-15 minutes a couple of times a day.
Practice to make it easier, rather than perfect
This requires many, many correct repetitions. In other words, don't play it wrong 7 times and then right just once. It's just been practiced and learned wrong! One correct repetition does not wipe out 7 incorrect ones.
Practice slowly for accuracy and skill building
Playing a new thing fast usually just results in messing up over and over again. Which leads to the above problem. Instead, practice slowly and never make a mistake. This helps ensure the skill is learned correctly the first time. Also, though this seems tedious, it's far less tedious than trying to relearn a skill that was learned incorrectly the first time.
Have a goal determined from the beginning
I always have a goal in mind for the lessons though I don't always explicitly say it. Practice should be structured this way, too. And write it down! At first, writing down your child's (and your) goals for the practice will greatly help focus the practice. It also shows you and your child exactly what needs to be accomplished - there is no guessing, arguing, stalling or having to make a decision - and then you can check each item off the list. But involve your child in the planning process - let them make choices over what to do first or next. Over time, this super structured practice plan can diminish but for many, many years I wrote down my practice plan daily in a notebook to help structure my practice. At any level, having a game plan will also help make good use of your time. It will make the practice more efficient, especially when you can recycle the same plan with subtle changes. Also determine upfront how much time to spend on one task - and then use a timer! This gives both you and your child a clear idea of where the endpoint is. There is light at the end of the practice tunnel!
Strategies
Break it down: don't always start at the beginning - isolate the problem and tackle it first. Starting at the beginning often just wastes time. Start with the 'meat' of the practice first. Take a small section, even a few notes, and repeat it many times, like, a zillion times.
Rhythms: use rhythms to deeply learn a challenging passage (older students know about this). Even using the Twinkle rhythms to work on tricky notes helps correctly learn a skill.
Muddle through it: “Learning is most significant when students discover for themselves rather than simply being told what to do” -Cornelia Watkins. Allow your child to struggle a little bit. I know it's hard to watch without intervening but we learn much more deeply when we have to discover things on our own. This also leads to more independent learners.
Review! Don't forget about review pieces. The skills in the Suzuki repertoire are scaffolded so everything that was previously learned is built on later, upgraded and made more challenging. When reviewing an old piece, ask your child to think about something specific so it is not mindless repetition of an old song. For example, if your child is working on fixing some bow hold issues, have them play Twinkle and really focus on the bow. The left hand will practically play itself and the additional focus on the bow with reinforce bow hold maintenance.
Listening is magic: Without it, learning a new piece is like recognizing a color you've never seen. Dr. Suzuki recommended 5 hours of listening each day. Car, living room, kitchen, bedroom - listening is the parent's responsibility and is also for their benefit. I recommend at least listening twice as long as you practice.
I've noticed a theme lately in my teaching and my thinking - I'm stressing practice, practice techniques and strategies more in the lessons. At the start of November, I feel like we've all settled into a practicing groove and now may be a good time to address ways to make practicing easier, more efficient and more productive.
"Only practice on the days that you eat" - Shinichi Suzuki
Your child will feel the difference in their playing and you will notice a difference in their ability with daily practice. I even notice this in myself - in my 100 Days of Practice last year, I noticed a HUGE change in my ability and overall ease of playing. And it just felt good. Daily practice also helps improve memory and the ability to learn new things at a quicker pace.
Practicing regularly also leads to motivation to practice even more. Again, as I got into the practicing 'groove' during my 100 Days, I was increasingly motivated to keep going. I even kept going after I achieved my 100 Days. If you are feeling unmotivated, the best cure is to just start somewhere and practice, even if just for a little bit. Also, stick to a regular practice time and do it every day for two weeks - this will end so many of the arguments and establish the habit of daily practice.
Routine - find one that works
This may take some time but find a routine that works. Every student/parent duo is different and try different times of the day - in the morning, before dinner, right after school, etc. I've had students have a lot of success practicing in the morning before school but others were more successful with a practice that take place later in the evening just before bath-time and bed. Everyone is a little different so take some time to experiment with your practice schedule. Also, no need to limit it to one long practice a day. I know a number of students who practice for 10-15 minutes a couple of times a day.
Practice to make it easier, rather than perfect
This requires many, many correct repetitions. In other words, don't play it wrong 7 times and then right just once. It's just been practiced and learned wrong! One correct repetition does not wipe out 7 incorrect ones.
Practice slowly for accuracy and skill building
Playing a new thing fast usually just results in messing up over and over again. Which leads to the above problem. Instead, practice slowly and never make a mistake. This helps ensure the skill is learned correctly the first time. Also, though this seems tedious, it's far less tedious than trying to relearn a skill that was learned incorrectly the first time.
Have a goal determined from the beginning
I always have a goal in mind for the lessons though I don't always explicitly say it. Practice should be structured this way, too. And write it down! At first, writing down your child's (and your) goals for the practice will greatly help focus the practice. It also shows you and your child exactly what needs to be accomplished - there is no guessing, arguing, stalling or having to make a decision - and then you can check each item off the list. But involve your child in the planning process - let them make choices over what to do first or next. Over time, this super structured practice plan can diminish but for many, many years I wrote down my practice plan daily in a notebook to help structure my practice. At any level, having a game plan will also help make good use of your time. It will make the practice more efficient, especially when you can recycle the same plan with subtle changes. Also determine upfront how much time to spend on one task - and then use a timer! This gives both you and your child a clear idea of where the endpoint is. There is light at the end of the practice tunnel!
Strategies
Break it down: don't always start at the beginning - isolate the problem and tackle it first. Starting at the beginning often just wastes time. Start with the 'meat' of the practice first. Take a small section, even a few notes, and repeat it many times, like, a zillion times.
Rhythms: use rhythms to deeply learn a challenging passage (older students know about this). Even using the Twinkle rhythms to work on tricky notes helps correctly learn a skill.
Muddle through it: “Learning is most significant when students discover for themselves rather than simply being told what to do” -Cornelia Watkins. Allow your child to struggle a little bit. I know it's hard to watch without intervening but we learn much more deeply when we have to discover things on our own. This also leads to more independent learners.
Review! Don't forget about review pieces. The skills in the Suzuki repertoire are scaffolded so everything that was previously learned is built on later, upgraded and made more challenging. When reviewing an old piece, ask your child to think about something specific so it is not mindless repetition of an old song. For example, if your child is working on fixing some bow hold issues, have them play Twinkle and really focus on the bow. The left hand will practically play itself and the additional focus on the bow with reinforce bow hold maintenance.
Listening is magic: Without it, learning a new piece is like recognizing a color you've never seen. Dr. Suzuki recommended 5 hours of listening each day. Car, living room, kitchen, bedroom - listening is the parent's responsibility and is also for their benefit. I recommend at least listening twice as long as you practice.
Monday, January 5, 2015
Summer Suzuki Institutes
(or as one clever student years ago called it, Suzuki Institutions :/ )
A few weeks ago, as we are settling down for a few weeks of relaxation and rest, the Suzuki Association of Americas (SAA) sent out a list of all the week-long Suzuki Institutes spanning North America occurring from late May through mid August. (The events in Latin America are not included but for those who may be interested, those events typically happen in January through March and the SAA also has a current list.) Just when we think we can relax for a moment, something else to start thinking about and planning pops up!
I briefly discussed Suzuki Institutes, and more specifically the Greater Austin Suzuki Association Institute, in a previous post but wanted to elaborate a little bit more on the topic as it relates to all Suzuki Institutes.
What is it? Essentially, a Suzuki Institute is a week-long, summer Suzuki 'camp' or program for students of all ages and abilities. However, it's not just for students. Just as parents are pivotal in the success of the Suzuki Method, parents are also equally important and equally involved in a child's participation at a Suzuki Institute. Parent involvement is a must - which means accompanying your child through a day of Suzuki activities, including group class, masterclass-style lessons (more on that later), technique or repertoire classes and recitals. However, knowing that parents are part of this process, Institutes often offer parent programs, such as parent lectures, book clubs. Plus, they offer the inherent social aspect (y'all know how big I am on social interaction) - there are many other parents at the Institute, all with the commonality of Suzuki, that you have an opportunity to interact with daily and share your experiences with during the course of the week. In addition, if you are a repeat offender and return to the same institute yearly, you begin running into the same families, who are often from different cities, states or even countries, that you get to catch up with and again, share your experiences, successes and failures not only from the past week but from the past year.
Protect what you've worked SO hard on!
Teacher Development
Specific Institutes We Austinites are very fortunate to have a Suzuki Institute in our own city, many thanks to my colleagues, tireless and eternally devoted teachers, who make it happen. It's a fantastic opportunity for students and parents of every level. Greater Austin Suzuki Association Institute (GASA), not unlike other Suzuki Institutes taking place across the continent, is a week-long, summer Suzuki 'camp' for students of all ages and ability. While this particular institute is conveniently located in Austin, there are many, many across the country and globe every summer. If you are looking to make a family vacation out of it, there are many options. The Chicago Suzuki Institute is an AWESOME institute for cello students - there are students of all ages and abilities, from pre-Twinkle past Book 10. Similarly, the National Cello Institute in Claremont, California features classes and activities for students of all ages (adults, too!) and abilities, including those waaaaay past Book 10. The ability to go to a Suzuki institute and see the wide spectrum of ability levels displayed right in front of you and your child is a powerful motivator. Others include, Hawaii, Colorado, Canada, Latin America, etc. I know many families (including myself) how've made vacations out of attending a Suzuki Institute. The first time I attended the Chicago Suzuki Institute, I had a BLAST - it's always over the Fourth of July and while there is a celebration on campus at the Institute as well as in nearby Evanston, I headed to Navy Pier and Millennium Park in downtown Chicago to watch the festivities with my relatives who live in Chicago. That's another way to do it - work it around visiting and staying with family. That also helps cut down on the hotel/institute accommodations.
When is this happening?Why do I bring this up now, in January, when some of these programs don't start until July or even August? Registration for some of the earlier institutes has already opened and the early bird tuition is pretty reasonable. After that, it tends to jump up, especially if you are looking at an out-of-state institute and need accommodations. Just like many summer camps, now is the time to be thinking about your child's possible participation in a Suzuki Institute this summer.
For 2015, the Austin Suzuki Institute will be held on July 28 through August 1. Tuition for the programs starts at $450 (for early bird registration). Each institute is it's own independent 'business' that is approved by the SAA, so you'll need to check each individual institute for program rates and accommodations.
A few weeks ago, as we are settling down for a few weeks of relaxation and rest, the Suzuki Association of Americas (SAA) sent out a list of all the week-long Suzuki Institutes spanning North America occurring from late May through mid August. (The events in Latin America are not included but for those who may be interested, those events typically happen in January through March and the SAA also has a current list.) Just when we think we can relax for a moment, something else to start thinking about and planning pops up!
I briefly discussed Suzuki Institutes, and more specifically the Greater Austin Suzuki Association Institute, in a previous post but wanted to elaborate a little bit more on the topic as it relates to all Suzuki Institutes.
What is it? Essentially, a Suzuki Institute is a week-long, summer Suzuki 'camp' or program for students of all ages and abilities. However, it's not just for students. Just as parents are pivotal in the success of the Suzuki Method, parents are also equally important and equally involved in a child's participation at a Suzuki Institute. Parent involvement is a must - which means accompanying your child through a day of Suzuki activities, including group class, masterclass-style lessons (more on that later), technique or repertoire classes and recitals. However, knowing that parents are part of this process, Institutes often offer parent programs, such as parent lectures, book clubs. Plus, they offer the inherent social aspect (y'all know how big I am on social interaction) - there are many other parents at the Institute, all with the commonality of Suzuki, that you have an opportunity to interact with daily and share your experiences with during the course of the week. In addition, if you are a repeat offender and return to the same institute yearly, you begin running into the same families, who are often from different cities, states or even countries, that you get to catch up with and again, share your experiences, successes and failures not only from the past week but from the past year.
Ultimately, Institutes provides the opportunity for students and parents (and teachers!) to further their understanding of the philosophy and teachings of Dr. Shinichi Suzuki. It allows parents to see the success of the Suzuki approach on a much larger scale and to enhance the skills they need to help their children learn. Suzuki Institutes began with Dr. Suzuki himself in Japan and was imported to the United States in 1971. The American Suzuki Institute at the University of Wisconsin at Stevens Point is the oldest Suzuki summer institute outside of Japan and continues to carry on the tradition year after year.
Students participate (depending on their level, give or take) approximately 15 hours of instruction in one given week, instead of the minimum of half an hour that typically occurs during the school year. During those 15 hours, students and parents participate through a daily class schedule that includes a masterclass, a technique/musicianship class and a repertoire class. While your child is learning cello in all three of these, the focus is slightly different for each. In addition to these classes, most institutes offer 'electives' or enrichment classes, a class designed to give students, especially younger ones, some downtime from the intense learning environment. Plus there's always time to go run around outside and get some pent up energy out before the next class.
A masterclass is an individual lesson (though shorter in length than your regular lesson) that is observed by other students, parents and teachers. Typically there are 3-4 students in a masterclass, each getting a daily lesson of about 15-20 minutes. Also, the lesson tends to have a theme or a point that is refined throughout the week, such a focus on the bow hold, or upgrading tone.
The technique/musicianship class is a slightly larger group class of students with similar abilities all working on specific skills needed to play pieces. Teachers delve more deeply into specific techniques related to the bow and left hand or specific musical skills.
Repertoire classes are group classes including all the students (big kids, too, if it's a smaller institute) intended to polish pieces and practice playing together for the final group concert.
Why should I put myself through this? Because it's AMAZING!
Yes, it's intense. Yes, it's a long day. Yes, it's a long week. Yes, it's a lot of cello/music/Suzuki/time with your child(ren). Yes, it means you have to participate, too, which means a week off your normal schedule. But it's soooooo worth it and ends up being such a rewarding experience for both parent and child. I personally think it's such a cool thing to witness what a child can do during one intense week - a lot can happen in such a short period of time!
Different approaches
In addition, students get an opportunity to work with teachers that are not their weekly lesson/group teachers. Experiencing a new teacher, learning new insights or perhaps hearing the same thing approached a different way is another fantastic learning experience for students and parents. Maybe the way I communicate an idea doesn't resonate with a student, but the way another teacher explains it does. Great!!! The Suzuki method is great in that students all learn the same repertoire so not only can students from all across the world play the same pieces together but teachers from all across the world can instruct students on a deep and highly skillful level. Plus, I'm not even touching the subject of social learning situations where students learn a ridiculous, insane amount from watching others have a lesson in masterclasses or participate in group class.
Different approaches
In addition, students get an opportunity to work with teachers that are not their weekly lesson/group teachers. Experiencing a new teacher, learning new insights or perhaps hearing the same thing approached a different way is another fantastic learning experience for students and parents. Maybe the way I communicate an idea doesn't resonate with a student, but the way another teacher explains it does. Great!!! The Suzuki method is great in that students all learn the same repertoire so not only can students from all across the world play the same pieces together but teachers from all across the world can instruct students on a deep and highly skillful level. Plus, I'm not even touching the subject of social learning situations where students learn a ridiculous, insane amount from watching others have a lesson in masterclasses or participate in group class.
Protect what you've worked SO hard on!
I'll reserve the bulk of this discussion for a later post but it also helps protect students against the summer 'brain-drain' when organized and frequent learning opportunities almost suddenly come to a halt. Students who don't continue to practice, refine and use their skills will lose them. The saying 'use it or lose it' really does apply in our case, especially since cello learning is a highly physical skill combined with critical thinking and the need for cognitive engagement.
Teacher Development
While the Institutes are seemingly focused on the student classes, there is also the teacher development side going on simultaneously. I won't elaborate too much as its not really relevant information for your child but I do want to make you aware that Suzuki Institutes are also training grounds for Suzuki teachers. While students are participating in their classes, teachers are also engaged in intense learning environments up to 15 days long, playing and dissecting the Suzuki repertoire, learning how to teach it and the Suzuki philosophy to others and observing master teachers work with younger students. The same teachers that are working with your students are also conducting the teacher training courses so not only do Institute teachers know how to teach your child, they also know how to teach professional musicians how to teach your child. These teachers are truly master teachers, training not only little cellists on how to be musicians but also teaching professional cellists how to be thoughtful, skillful and engaging teachers. It's an awesome cycle and community, these institutes.
Specific Institutes We Austinites are very fortunate to have a Suzuki Institute in our own city, many thanks to my colleagues, tireless and eternally devoted teachers, who make it happen. It's a fantastic opportunity for students and parents of every level. Greater Austin Suzuki Association Institute (GASA), not unlike other Suzuki Institutes taking place across the continent, is a week-long, summer Suzuki 'camp' for students of all ages and ability. While this particular institute is conveniently located in Austin, there are many, many across the country and globe every summer. If you are looking to make a family vacation out of it, there are many options. The Chicago Suzuki Institute is an AWESOME institute for cello students - there are students of all ages and abilities, from pre-Twinkle past Book 10. Similarly, the National Cello Institute in Claremont, California features classes and activities for students of all ages (adults, too!) and abilities, including those waaaaay past Book 10. The ability to go to a Suzuki institute and see the wide spectrum of ability levels displayed right in front of you and your child is a powerful motivator. Others include, Hawaii, Colorado, Canada, Latin America, etc. I know many families (including myself) how've made vacations out of attending a Suzuki Institute. The first time I attended the Chicago Suzuki Institute, I had a BLAST - it's always over the Fourth of July and while there is a celebration on campus at the Institute as well as in nearby Evanston, I headed to Navy Pier and Millennium Park in downtown Chicago to watch the festivities with my relatives who live in Chicago. That's another way to do it - work it around visiting and staying with family. That also helps cut down on the hotel/institute accommodations.
When is this happening?Why do I bring this up now, in January, when some of these programs don't start until July or even August? Registration for some of the earlier institutes has already opened and the early bird tuition is pretty reasonable. After that, it tends to jump up, especially if you are looking at an out-of-state institute and need accommodations. Just like many summer camps, now is the time to be thinking about your child's possible participation in a Suzuki Institute this summer.
For 2015, the Austin Suzuki Institute will be held on July 28 through August 1. Tuition for the programs starts at $450 (for early bird registration). Each institute is it's own independent 'business' that is approved by the SAA, so you'll need to check each individual institute for program rates and accommodations.
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