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E-grāmata: String Methods for Beginners [Taylor & Francis e-book]

  • Formāts: 244 pages, 4 Tables, black and white; 96 Line drawings, black and white; 99 Halftones, black and white; 199 Illustrations, black and white
  • Izdošanas datums: 07-Apr-2020
  • Izdevniecība: Routledge
  • ISBN-13: 9780429276347
Citas grāmatas par šo tēmu:
  • Taylor & Francis e-book
  • Cena: 155,64 €*
  • * this price gives unlimited concurrent access for unlimited time
  • Standarta cena: 222,34 €
  • Ietaupiet 30%
  • Formāts: 244 pages, 4 Tables, black and white; 96 Line drawings, black and white; 99 Halftones, black and white; 199 Illustrations, black and white
  • Izdošanas datums: 07-Apr-2020
  • Izdevniecība: Routledge
  • ISBN-13: 9780429276347
Citas grāmatas par šo tēmu:

String Methods for Beginners is designed for students to receive the essential playing and teaching skills on all orchestral string instruments. The goal of this textbook is to be truly methodical in its approach, and to assist the instructor, completely eliminating the need to do additional research, or reorganization in preparation to teach this class. Students will gain the basic knowledge and experience to teach bowed stringed instruments in public schools. String Methods for Beginners covers the necessary topics to learn and teach the violin, viola, cello, and string bass. It explores the fundamentals of those instruments and teaching considerations, utilizing a heterogeneous approach.

As the primary resource to any college- and university-level String Techniques, String Methods, or Instrumental Methods class, this course book fits into a standard semester, comprised of 25 lessons, which correspond with two hourly classes per week for the term. It provides the instructor with the tools to teach a classroom of non-majors or string education majors, or a mixed classroom of both.

FEATURES

  • Offers a blueprint for a semester long string methods course.
  • For beginning students, and also comprehensive for more in-depth study or for reference.
  • Logical, step-by-step "recipe-like" approach.

 

List of Illustrations
x
Preface xv
Acknowledgements xvii
Lesson 1
1(14)
Introduction
1(1)
Address to Non-Majors
2(1)
Address to Majors
2(1)
Some Qualities of an Accomplished String Teacher
3(1)
Fundamentals of String Instruments
3(1)
Building Practice Skills
3(1)
Course Outline
4(1)
Course Requirements
4(1)
Parts of String Instruments
5(1)
External Features
5(4)
Internal Parts
9(1)
Parts of the Bow
10(1)
Motions of the Bow
11(2)
Course Timeline for Bow Application
13(1)
Items to Receive a Quote, and if Necessary, Purchase
13(2)
Lesson 2
15(31)
Theory: Instrument Overview and Care
15(2)
Heterogeneous String Classroom Setup
17(1)
Instrument Assignment
18(5)
A Review of Parts of String Instruments
23(2)
Applied: Posture and Instrument Hold
25(1)
Posture and Instrument Positioning
25(4)
Left Hand and Left Arm Shape
29(2)
Five Steps to Instrument Posture
31(3)
Proper Right-Arm Positioning for Pizzicato
34(3)
Preparatory Bow Exercises
37(4)
German Bow Hold Exercise
41(5)
Lesson 3
46(16)
Applied: Review of Five Steps to Instrument Posture and Left-Hand Position
46(1)
Tuning
47(1)
Scholastic Ensemble Tuning Sequence
47(1)
How to Tune
47(2)
"Pendulum" Exercise
49(1)
Preparatory Bow Exercises (Continued)
50(1)
Theory: A Brief History of the String Instruments
51(3)
Emergence of the Modern Violin: the Brescian and Cremonese Schools
54(3)
The Current State of Violin Making
57(1)
Hand-made vs. Factory-made Instruments
58(1)
Tone Production
58(4)
Lesson 4
62(12)
Applied: Review of Five Steps to Instrument Posture and Left-Hand Position (Continued)
62(1)
Tune
62(1)
"Pendulum" Exercise (Continued)
62(1)
Preparatory Bow Exercises (Continued)
63(3)
Finger Patterns
66(3)
Tightening the Bow and Rosining
69(1)
The Bow Hold and Arco Playing
69(5)
Lesson 5
74(13)
Preparatory Bow Exercises (Continued)
74(1)
The Bow Hold and Arco Playing
75(1)
Theory: A Brief History of the Bow
75(3)
Tuning Strategies
78(3)
Upper Strings
81(1)
Low Strings
81(1)
Natural-Harmonic Tuning with First through Third Partials
82(1)
Cello
82(1)
Double Bass
83(1)
Upper Strings
84(1)
Low Strings
85(1)
Some Idiosyncrasies of Pegs
85(2)
Lesson 6
87(8)
Applied: Arco Tuning
87(1)
Guided Practice: Bow Exercises
88(1)
Accessories
89(1)
Shoulder Rest
89(1)
Chinrest
90(1)
Fine Tuner or String Adjuster
91(1)
Tailgut
91(1)
Mute
92(1)
Rosin
92(1)
Wolf Tone Suppressors
92(1)
Endpins
93(1)
Endpin Anchors and Stops
93(1)
Bridges
93(1)
Peg Compound
94(1)
Lesson 7
95(5)
Applied: Arco Tuning
95(1)
Bow Exercises
95(1)
Arco Playing
96(1)
String Ensemble Playing Traditions
97(3)
Lesson 8
100(5)
Videotaping of First Playing Test
100(5)
Lesson 9
105(8)
Guided Practice: A Bow Placement Exercise
105(1)
Bow Management and String Crossings
106(1)
Selection and Maintenance of String Instruments, Bows, and Strings
106(1)
Bow Rehairing Frequency
107(1)
Rosining and Maintenance of Bow Hair
107(1)
String Maintenance and Replacement Frequency
108(1)
String Replacement
108(1)
Peg Maintenance
109(1)
Chinrest Tightening
109(1)
Bridge Care
110(1)
Bow Selection and Care
111(1)
Humidifiers
111(1)
Endpin Rods
112(1)
Planing a Fingerboard
112(1)
Sound Post Adjustment
112(1)
Lesson 10
113(4)
Conducting Strings: Error Detection and Rehearsal Techniques
113(2)
Incorporating Good Teaching Habits in Strings: the Teaching Cycle
115(1)
Musical Rehearsal Planning Parallels with the Teaching Cycle
116(1)
Lesson 11
117(11)
Colli Bowing Exercise
117(4)
Adjustment of Colli for the Low Strings
121(1)
Exercises on the Instrument
121(2)
Classroom and String Orchestra Setup
123(5)
Lesson 12
128(10)
Left-Hand Techniques
128(7)
Performance Practices Specific to Orchestra
135(3)
Lesson 13
138(9)
Principal Schools of Bow: German, Franco-Belgian, and Russian; French vs. German Bass Bow Holds
138(1)
Bow Strokes and Expressions
139(8)
Lesson 14
147(9)
Common Technical Problems and Their Remedies
147(6)
Common Faults Associated with Vibrato
153(3)
Lesson 15
156(5)
Videotaping of Second Playing Test
156(5)
Lesson 16
161(19)
Studio Teaching
161(5)
Teaching the Violin
166(3)
Teaching the Viola
169(3)
Teaching the Cello
172(4)
Teaching the Bass
176(4)
Lesson 17
180(6)
Pedagogical Understanding of String Teaching
180(2)
Moving Students between Instruments
182(2)
Preparation of Secondary-School String Program Observation
184(2)
Lesson 18
186(4)
A Presentation and a Discussion on the Secondary-School String Program Visit
186(1)
Legato Playing, and Its Exercises
186(4)
Lesson 19
190(6)
Shifting, Vibrato, and Trill Exercises
190(6)
Lesson 20
196(5)
Videotaping of Third Playing Test
196(5)
Lesson 21
201(7)
Extended Left-Hand and Bow Techniques
201(4)
A Discussion on Heterogeneous String Class Method Books
205(1)
Method Books
205(1)
Technical Books
206(1)
A Repertoire Book
206(2)
Lesson 22
208(7)
Selection of Repertoire: A Discussion on Graded Orchestra Repertoire
208(2)
How to Avoid the Dreaded Over-Programming
210(1)
Spiccato Exercises
211(4)
Lesson 23
215(3)
A Brief Discussion on First Year of Teaching and Contest Preparation
215(1)
Writing a Lesson Plan for Individual and Classroom Teaching
216(2)
Lesson 24
218(5)
Videotaping of Fourth Playing Test
218(5)
Lesson 25
223(6)
Videotaping of Individual Lesson and Classroom Teaching
223(14)
Conclusion 229(2)
Appendix A 231(1)
Instrument Sizing Chart 231(2)
Appendix B 233(1)
One and Two Octave Scales in D Major, G Major, and C Major for a String Ensemble 233
Bibliography 237(2)
Index 239
Selim Giray is Director of Orchestral Studies at the University of Mississippi.