Introduction in Learning the Violin

Introduction to Learning the Violin
made by: Randell Dan F. De Vera

TOPICS
STRATEGIES




OBJECTIVES

Parts of the Violin
Print a picture of the violin and bow parts then give
The students must easily identify

that to the students for them to memorize. Select
not only the parts of the violin

some important parts and explain their functions.
but also the parts of the bow.


In short, describe them.


Touch each part and the students will tell its name

or if possible, its function/s also.

Holding the Bow
Print again a picture showing the proper holding of
They should always see to it that
Properly
the bow and have them imitate it. Also explain to
their bow holding is correct with

them that the index finger (pointing finger) is posi-
the shape of the fingers.

tioned far from the other fingers for a purpose of

giving emphasis, strength, stress and staccato sound

to a tone.

Bowing Straight
elevator challenge – students will position their bows Simply, the students must have

vertically and start to lift it slowly, maintaining its up- learned to bow straight.

right position, preventing it from going sideways;

called an “elevator challenge” because students must

compare the bow to an elevator safely and slowly

going up and taking care of the passengers not to fall;

they must have the feeling of having a goal to prevent

the bow from going leftward of rightward. In turn,

they will develop the movement of the hand wherein

it bends flexibly with the wrist. This exercise could be

changed with putting an eraser on the student’s hand

and preventing it from falling just to get the real fee-

ling of the hand in proper bowing.


Have the students face a mirror one by one to see if


he/she bows straight. Correct posture and the place-

ment of the fingers while playing. The bow should

form a “T” or a “cross” with the string and the violin

itself. Maintain these positions until the turn of the

next student. Remember that the student must also

correct his/her bow by himself/herself, not just by

teacher. The teacher is only a guide, not controller.

of the force.


Any song can be used to be played while the student

is bowing in front of the mirror. Use whole bows.

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Bowing Exercises
1. “spider finger” – fingers climb like a spider upto the Student’s left fingers should be

tip of the bow and goes down to the frog; this
very relaxed and flexible while

exercise is done repeatedly; proper bow hold
bowing especially if notes in a

should be always remembered, applied and main- piece are all fast.

tained while doing this.


2. “flying bow” – the violinist lifts his/her bow upto

the highest point his/her arm can reach, making

the bow go very far away from the violin body;

this exercise is made for the students to discover

the widest range of their arms in bowing.

* Also do this in down bow.


3. “frog, middle and tip pinch” – the violinist plays an

eighth note separately each on the frog, middle

and tip of the bow.



Let them practice bowing with staccatos.


Also, practice bowing sixteenth notes. The technique

in playing fast doesn’t rely on fast movement of the

arm. It would be very intensely tiring for the player.

The only secret is flexibility of the hand with the wrist.

That’s the only thing. At first, it would be difficult. But

continuous practice of doing it would surely make the

hand very relaxed as if playing fast notes is just like

a normal execution without the need to exert great

force. It can be compared to the action of the hand

while knocking the door where only the hand moves.


Correct Posture in
Have the students sit on a chair with a back rest. The Students must know how to
Playing the Violin
back of the body should not lean on the chair’s back
properly execute these. They

rest. Instead, buttocks should be positioned almost
must always apply the positions

near the front edge of the chair. In rest position, the everytime – when listening to

bow and the violin is held by the left hand on the left the teacher, playing whether

knee while seated. In playing position, the left knee seated or standing or in any

should be a half step away from the right foot while violin event – concerts, group

facing left side obliquely.



and individual lessons.



Now, have the students stand and apply these. In
They must also feel comfortable

rest position, while the violin is held by right hand
enough with the violin on the

wrist on its rig under the armpit, the bow is held by
shoulder. So, shoulder rest is

right hand fingers down to the floor. The left and the recommended to prevent aching

right feet are 45 degrees apart. In playing position,
shoulder.

it is half step forward facing oblique left direction.


In putting the violin on the shoulder, these must be

followed:



While the violin is secured under the armpit, the left

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hand will get it from its neck or from the upper bout.



Then, put it on the shoulder. The left hand forming



the shape of its fingers on the upper bout. Last, trans-



fer left hand to the fingerboard or the neck, not losing



its appearance.





The violin should rest very comfortable and relaxed



on the shoulder as if without the left hand holding the



neck, it wouldn’t fall. The violin weight should be



supported by the left shoulder, not by the left hand.



The left hand is used only for intonations, tones and



fingerings, not in carrying the neck. The scroll should



also be leveled with the eyes of the player.

Playing in Tune
Explain to the students that in order to prevent being Students must be able to learn



out of tune is to think first of the note in mind before this very important lesson. They



singing it or expressing it through playing in a musical will not be that good in playing



instrument.





any instrument if they do not










know how to correct their own



First think is to ask the students if they know how to
pitch. This lesson should be well-



identify whether a tone is of tune or not. Even if the
taught by the teacher.



answers are positive or negative, I’m sure this would



be effective. The teacher will sing a tone or play it on



piano or in any instrument except the violin, then they



must find that tone on the strings and play that. This



would be very successful if the teacher is also skilled



in doing this.






Another strategy is this. The teacher will play a song



then the students will identify if that is of tune or “out



of tune.”




In case students still have the hard time being in tune,



play an octave or a scale. They must be familiar with



sound and pitch of each note. Everytime they do this,



they must repeat the tone in mind to likely memorize



it.



Give them an assignment to find the tones of “Jesus

Loves Me” on the violin. Correct pitches should be

strictly followed.

Tuning the Violin
In adjusting the pitch of the violin, put the thumb and Students must be familiar with

the middle finger on the peg that needs to be turned. the pitch of each string of the

The index finger is on the screw to encourage force
violin for them to have the ease

tightening the peg into the peg box, preventing the
in adjusting its pitch. If possible,

peg from being loose and removed from the peg box. they should know how to tune








their own violins.

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Putting String on the
Just insert the uncovered tip of the string inside the
Students should have learned
Violin
small hole of the peg and the covered tip inside the
how to put their own string to

holes near the adjusters. Rotate the peg until string their violins. But if it seems that

tightens. Remember to avoid the strings in the peg
they will likely break the violin

box from crossing each other because it will affect
doing it or they do not know

the sound when the violin is played. Be careful in
how do it carefully, the teacher

putting the strings.
should rather be the one to do


it.

Starting to Learn the
At first, challenge the students to find the do-re-mi-
Ability to recognize notes quickly
Violin with Reading
fa-so-la-ti-do syllables on any string of the violin. Do
and to play it right away from
Notes
not tell them what strings are; they must discover
the moment the note is seen on

the notes themselves.



staff of piece should be deve-








loped enough.

After they discovered the tones, play the notes one

by one, saying its so-fa syllable, numbered string on

the violin and its chord name on the piano (A, B, C, D,

E, F and G). Then follow the next activity.


Give them a copy of the different scales labeled with

proper sharps and flat signs on the notes needed to

put with it. It is so that students will remember what

notes are to be played with sharps or flats. Even if it’s

already indicated in the key signature the sharp, flat,

and natural notes, students may have the tendency

to not mind that and just play the note they want to.

So it’s advised to still put beside the note a sharp or

a flat sign.


Later, let the students memorize the violin fingerings

and their equivalent notes in the piano. Then, have a

game in which the teacher draws a note on a paper

then the students will identify its so-fa syllable, num-

bered string on the violin and the chord name. The

student who got it right will have a score. If drawing

on a paper is a waste of time and effort, you can just

play it on the violin.


Now, try to get just an easy piece for the students to

play. It is only an exercise of their reading capacity.

Continue to do it every lesson until they got to be

fast in reading notes. The teacher should have pre-

pared many pieces for them to play.


If they have got fast in reading, you can finish this in-

troduction teaching and start on the Suzuki Violin

School Method book One. Guide them until they

grow up. Still correct every thing – posture, fingers,

bow hold, etc.. until they become used to it.

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