String Methodology

IRMT Workshops, Auckland, Hamilton, Wellington, Christchurch,

Dunedin

Goetz Richter, Sydney Conservatorium

[email protected]
Structure of the workshop

What is a teaching methodology for string players?

The elements of methodology:

(1) conceptual foundations (principles): (a) the art itself
performance;
(2) the context of learning social, educational, specifics
pathways (methods, strategies, etc..
(3) The nuts and bolts of string teaching: The technical
elements supporting performance, artistic, cognitive, emotional,
social elements. The performance teacher develops the person
in her entirety

Discusssion
What is a methodology?

A way of progress -> pathway (methodos) of which we give an

explicit account. (logos). Something we can give an account of -
> Is this useful? Yes, as it assists our reflection. Reflection furthers
creativity if properly applied.
Methodology can be individualised, flexible methodology not a
set of rules, recipes of application. Many methods -> foundation
in human development (Howard Gardner)
Methodology describes paths as possibilities in some way
unknown. Must be unknown to provide learning with the creative
dimensions. Teachers need balance of conviction (action) and
doubt (reflection)
Learning: open, dynamic activity. Autonomous. Methodology
needs to recognise this and leave options for exploration
(creative)
Useful: allows us to bundle experience, to contextualise our
approaches and relate them to other fields (physiology,
psychology, cognitive sciences, sports science, etc)
Conceptual foundations
(principles)
String Playing is
Public: requirements to build resilience, self-sufficiency,
autonomy
Creative, performative: future directed, no unpacking of
ready-made solutions, limited use of automatisms and
automatic responses, ability to think on the go. Thinking-in-
action. Important to consider anticipation (relationship to
sport)
Technique is movement based: important implications for a
dynamic technical development (static concepts, positions,
views of limited view)
Learning in context

Depending on contexts methods, strategies, approaches

to develop string playing will vary

Individual context: circumstances, aspirations, motivations.

Individual possibilities. (eg. Available time, emphasis of the
activity, etc)
Educational context: how does musical performance
learning contribute to the educational opportunity? Central,
peripheral, etc? -> teacher can position this in a limited way.
Social context: Is musical performance a way to enhance
social competency, engagement -> individual vs. ensemble
performance.
Developing method: didactic
thinking and knowledge
Teaching and learning involve knowledge and practice. But: Know that ... Vs. ...
Know how
Being able to do does not mean we know what we do... Knowing does not
mean we can do...
Why do we need to know? In order to establish reflective practice.
Reflective practice may not be desirable for all levels of development
(presupposes levels of conceptual understanding, mental organisation and
autonomous direction)
Autonomous learning requires reflective practice.
However: Knowledge is only a part of a string teachers requirement: teachers
need to think and act didactically, ie. they need to effect what students
do, not merely what they know.
Principle of didactic thinking, action: The thinking, action itself is validated by
the behaviour and practice of the learner.
Teachers transform observation, knowledge into particular, didactic strategies
and actions to facilitate and promote learning and development
Ways of playing What is
technique?
Two ways of looking at technique:
(1) technique as toolbox of tricks -> knack (instrumental)
(2) technique as condition -> fitness (conditional)

Techn: originally art (of doing (praxis) or making (poeisis)) What are the
opportunities and limitation of the separation of means and ends?
Fleschs pedagogical paradigm: The three targets of perfection:
intonation, rhythm, sound quality -> teachers responsibility is to assist in
mistake removal (Fehlerbeseitigung) -> work-focussed pedagogy.
What is a mistake? How do we remove it?
Technique as performative skill -> relativity to purpose; technique is fused
to intent.

Good technique is good because it is not noticed

Developing skills:
Description and Discovery of
Technique
Verification and perception of doing can occur in some or all relevant
sense modalities: Aural, visual, kinesthetic (proprioception)
Ordinarily Theoretical descriptions of technique tend to be focussed on
visual concepts. Accordingly, didactic instruction tends to be
focussed on aural and visual correction -> this may not be effective as
the students access may be primarily kinaesthetic and needs to be
directed towards anticipation.
Howard Gardners concept of multiple intelligences -> teaching needs to
find didactic access to students way of making sense of the world.
(skills are modes of being in-/ making sense of the world)
Teachers require a Phenomenology of technique: translate descriptions
across different sense modalities in a practical sense (multiple modes
of directions)
Descriptions of what occurs versus descriptions of what needs to be
intended, imagined, etc. -> performance an intentional art (mistake
description enforces mistake -> principles of creativity) -> multiple
directions to attention with student discovering content
Developing skills:
(therapeutic practice..)
What teachers do
Scaffolding:
Structuring progressions from simple to complex ->
simplification
Ordering tasks
Removing obstacles/ mistakes/ hindrances -> frustration
control
Developing autonomous learning: Positive conceptions;
resilience and (critical) verification of success
Contextualising technical development (means)
Foundation of string
performance: Movement
Movement is the basis for performance
Free or balanced movement -> concentration on active and passive
aspects (balance)
Movement is felt - kinesthesia
Rhythmic dimension of movement
Intentional vs. reflexive/ automatic movement -> [ Wittgenstein: Let
us not forget this: When I raise my arm, my arm goes up. And the
problem arises: what is left over if I subtract the fact that my arm
goes up from the fact that I raise my arm? (Are the kinesthetic
sensations the willing?)]
Movement is correlated to intention and anticipation (rhythm) ->
often improvement to movement is achieved through
improvements in anticipation.
Movement has rhythmic phases... Anticipation, actuality, recovery...
Muscles

Dualistic
Require recovery
Relay it is possible to inhibit muscular effort. It is not
possible to consciously and directly recruit particular
muscles in our body -> physical action relies on
indirect procedures.
Do muscles have memory?
Mind

Mind in the machine concept (Ryle)

Mind extends in- and through body for performers.
Perception determined by use of body -> imagination
Content of imagination -> metaphorical nature of
imagination
How attention works
The plasticity of the brain
Kinaesthetic/ somatic
knowledge and experience

Alexander Technique: The use of self; Focus on Primary

Control (Head), inhibition; Relearn corrupted
kinesthesia
Feldenkrais: Awareness through movement; observing our
body, movement and building/ changing use.
Focussed on Pelvis (Center) of body
Dalcroze: Eurhythmia musicality through movement,
rhythm
First foundation of
movement: Rhythm
Ear training alone will not make a child love and
appreciate music; the most potent element in music
and the nearest related to life, is rhythmic movement
(E. J. Dalcroze)

Rhythm fundamental to music, playing, performance.

Rhythmic training is somatic... Theoretical understanding
of rhythm is of limited use
Somatic conceptualisation of rhythm through body
contact (NB:-> ethical issues)
The second foundation of
Movement balance defines
structure
Structural/static balance: starting/ recovery point of
movement -> ex. Bow placement exercises
Balance of movement in time. -> creates structural
balance and stability
Attention to balance is attention to effort reduction,
unlocking joints and inhibiting excessive effort.
String playing as Performance & Play:
Anticipation and Recovery -> the balance
between imagination and perception

Didactic Implications of performance:

Learning processes of movement in stages: Rests and
rhythm organises mental correlation and physical
recovery. Feeling for rest and rhythm embedded in
imagination.
Direct access to imagination and anticipation in practice
-> mental practice.
Relaxation exercises to calibrate body use. Practice and
teaching uses deliberate Use of anticipation and
recovery
Functionality
and Artistic Playing
Focus on expression (appropriate experiential world) ->
metaphorical imagination
Technical functionality provides sability of pitch, rhythm,
tempo, etc
Technical fluidity and refinement. -> learning balance ->
the need to cover new repertoire, course material.
(boredom stress)
Balance of structure vs. play
Considering Development
overall
Consolidated development of
- Technical skills
- Artistic Projection, individuality
- Musical/ semantic/ formal understanding
- Attention and Memory
- Resilience (...in public performance)
- Listening and collaboration
- Literacy
- Motivation... happy...
Six Principles of Movement and
the development of technique
(summary)
1. Technique is skillful it is the effortless and essentially inconspicuous connection of musical
imagination with actual playing.
2. The activity of musical performance requires the ability to play and listen. Playing requires
openess to spontaneity, anticipation and a ready ability to work with musical imagination
and intuition. Listening requires clear imagination, perception, and anticipation. Playing
and listening depend on freedom and ease/ leisure of movement.
3. The common basis of music and technical skill is rhythm. It determines correlation, freedom
of movement, musical form
4. The focus of technical development requires attention. Attention is paid. This means: only
active attention can constitute playing and performance. Distraction, anxiety and
frustration diffuse and undermine attention.
5. Accomplished technique is leisured. Attention to technique is active attention to leisure of
movement. The promotion or manipulation of active movement itself is insufficient to
establish technique. Effective attention to technical development includes active
attention to passive movement or balance to establish leisured movement. Effortful , stiff
or un-leisured movement sets limits to development. Leisured movement can be
developed.
6. The students practice is informed by feeling and attention in accordance with these
principles. Teaching facilitates such learning and practice in a didactic manner and with
consistent affirmation.
Instrumental Foundations:
Posture and the position of the
instrument
Mobility definition: posture is a balanced/dynamic stability which is
open to (intentional) change at any time. (Dynamic Posture)
Body and instrument form a dialogical relationship- the body and its
movement integrate the instrument. Bilateral movement.
The relationship of the instrument to the body is relative to the
proportions of that body (shoulder width, arm length, etc)
Movements (can) corrupt(s) posture (through reaction, automatism,
effortful movement);
Automated and reflexive movement which is corrupted affects
balance -> focus on balance can restore natural flow of
movement
The two contact points: right (mediated through bow); left:
immediate
Practical Exercises

Posture Exercises: Pendulum Swings, Stretches. Residual

tension reduce mobility and perception
Sitting Posture Ex.: Jack-in-the-box
Becoming aware of energy distribution in body and
release of residual tension (balance board,
diaphragmatic breathing exercises)
Instrument Placement: (Violin): Statue of Liberty
Instrument positioning

Dynamic positioning: All instrument positioning is balanced

positioning... It is subject to change and change of this
position must become a factor in the students
relationship with the instrument.
Shoulder-rest and chin rest (violin, viola) -> practical
implications: teachers need equipment ready-to-hand in
lessons.
Freedom in neck, jaw, head -> occlusion of left shoulder in
violinists.
Spike, stool (cello, bass) -> stool/ chair height needs thought.
Spike length needs to be verifiable by student at home.
Instrument elevation (violin), angle; instrumental height,
angle (cello).
The left hand

Principles of balance: thumb and fingers

The concept of positions (gridiron- Campagnoli);
Galamians frame. The limitations of Galamians
frame concept. The dynamic requirements of a left
hand conception.
Left hand mobility: balancing joints. Working on active
release of balancing joints. -> the principle of passive
movement in the left hand.
Rhythmic action of the left hand -> timing and correlation
Left Hand technical themes: Independence and Double
Stopping, Shifting, Vibrato
Establishing Foundations of
Left Hand technique
(Violins):
Statue of liberty (violin position)
Handshake releasing shoulder/back tension
Magic X (Zweig)
Early exercises: tapping, pizzicato (tuning!)
Balancing hand position -> is there such a thing as hand
position -> the finger contact point -> the manifold
descriptions of left hand action
Principle of left-before-right (correlation). Anticipation
and mental practice.
Setting up left Hand

Principles of movement: Balanced system (thumb vs

fingers). Active vs passive.
Hand contact points touch contact (hand, fingers)
(Zweig. Magic X)
Introduction of all fingers ?
Arches: Physiology of fingers/ hands; springs, relay of
effort, recovery of impulses (cyclic concept of physical
action); the importance of rhythmic practice (physical
co-ordination)
Mechanical vs. dynamic principles
Connection between imagination and hand ->
reactive vs creative. Psycho-Physical issues
Technical Topics

Shifting: Indirect procedures vs manipulation -> balance

and release; when do we introduce shifting?
Vibrato: the three types, Rivardes Vibrato Exercise; when
do we introduce vibrato?
Left hand action and independence (bass joint exercises
- > Fleschs basic studies)
Working on the fourth finger ....from the start
Didactic Considerations: the
burden of intonation
The context dependency of intonation-> harmonic vs.
melodic intonation
Intonation, rhythmic movement and balance ->
intonation is a secondary phenomenon (underlying
primary phenomena include... Correlation, rhythmic
movement, balance, etc)
The creative intentionality of performance: intonation is a
result of clarity of conception (listening), ease of
movement (balance), resilience (concentration) and
alacrity (hearing).
Foundations of right Hand
Development
Bow and Bow-Hold.
The absurdity of the concept of the bow hold
The role of the hand as a hinge -> Galamians principles
of bow hand rotation
Finger contacts and the development of the bow hand
through balance and rhythm
Set up right hand

Concept of bow hand, Galamian: five rotational

direction. Finger placement. (Metaphorical models ->
Givens)
Bow hand feel vs. mechanical determination
Bow hand as hinge transmission of arm movements/
body energy to strings -> Thumb?
Set up of right hand related to arm and arm movements
Different properties/ feel of bow hand in different strokes
Practical Exercises to
develop bow hand flexibility
Balance hand action: sea-saw, windscreen-wipers,
knuckle-push-ups, finger-stroke
Developing bow hand balance in relation to body
balance: bow placement and bow stroke exercises,
unlocking exercises
Active versus passive movements in bowing technique
Development of Sound and
Strokes
Contact of bow with string: Concept of Contact Point
(Trendelenburg, Flesch)
Dependency of Contact point on Length of string, speed
of bow, pressure on string.
Inclination of bow (roule)
Development of sound (Tartini, French School -> Sons files;
Flesch -> Portato; Suzuki -> tonalisation exercises);
Development of Contact Point understanding, feel and
variation.
Development of bow speed/ distribution
 Strokes

Classification of Strokes according to methodic introduction

On
Detache
Legato
Mixed (even and uneven bow distribution)
Staccato/ articulated strokes -> Martele, Hooked, Viotti, Slurred
Martele, Portato
Off
Spiccato
Sautille
Rebound: Ricochet
Off string staccato
Mixed
Stroke, Left Hand Co-
ordination, artistic playing
Strokes, Sound and sound development ultimately
dependent on bilateral co-ordination -> not sufficient to
concentrate on properties of strokes, consider methods of
bilateral co-ordination
Development of rhythmic co-ordination part of
development of strokes and sound
Method: Separation of left/ right. Rhythmic methods to
introduce/ consolidate strokes.
Dynamic, rhythmic variety to fully establish skill
 Bibliography.. On thinking, learning &
teaching
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