violinist & educator

Teaching group violin classes have always left me unsatisfied and wondering what could I have done better or more of.  Since this is my first experience teaching young kids at the Atrium School, I am overwhelmed at how fast time flies and how much more “stuff” we have to learn by the end of the day.

Yesterday’s lesson was exciting for the most part: the kids get to play notes with their fingers!  In preparation for this important milestone, and based on how little Miranda starting learning her left hand, we used a poem about blackbirds to help organize our fingers.  It’s essential in the beginning to draw numbers on the digits (1, 2, and 3) on the knuckle nearest the fingernail to make the connection visually and physically.  Now we introduce the poem and model the movements:

Three little blackbirds flying to a tree   [wiggle fingers in air]
swing that branch and pop down “3″   [pull left elbow in, third finger touches thumb]
touch “2″, pop off “3″   [second finger touches thumb and release third finger]
touch “1″, pop off “2″
pop off “1″
fly away and come back soon.  [wiggle fingers in air]

After many repetitions (and the words get stuck into their brains), transfer the learned tactile movements to a bouncy ball, the shoulder of the violin, and finally to the neck where the tapes are.  It’s important to emphasize the left hand posture for each of the three locations–relaxed, pliable and strong curved fingers.

The left hand position at the neck can also be taught using the same “tree” analogy.  Since the left arm/elbow is the swinging branch, the left hand serves as a “hanging nest” that is open, not cupping the neck of the violin which many young students have fault with.  Where do we put our left hands on the neck?  Use the STRAIGHT left thumb as a guide and place it next to finger tape #1 which corresponds to blackbird #1, tape #2 = 2nd finger, etc.  Make sure the thumb is not sticking up above the fingerboard because a “tunnel” is needed for the nest (spacing underneath the neck).  I’m sure this is much too detailed and analytical for some, but I think the analogy is good for those who have trouble visualizing how to hold the violin at the neck.

When placing fingers on the strings, it reminds me of “tight-rope walking” or seeing actual birds resting on electric wires over the roadways.  But unlike those birds sitting in random spots on the wires (or seemingly so), the fingers on the strings have certain resting spots… the tapes!  In my private lessons, I generally only use tapes for the first and third fingers because in many early levelpieces, the second finger is that one that moves around the most: sometimes “best buddies” with third finger and sometimes with first finger.  Geez, #2 really gets along with everybody!  Anyways, back to group classes, the kids need all three tapes and should know that #2 and 3 are best buddies… for now.

This holiday vacation has blessed me in more ways than one, but more importantly, I would like to focus on the musical aspect of this trip.  I had the rare opportunity to perform with the Honolulu Symphony in their final benefit concert.  Read this NY Times article for the disheartening outcome after many years of financial struggle the orchestra has undergone.  I have to admit that even though I was excited to perform with the musicians, I was nervous and skeptical about what I would bring to the table.  The first rehearsal was the morning after we arrived late Monday night.  That was a little tough to deal with since our flight wore me out immensely.  I have also never played Beethoven 9 before and I’ve only played Prokofiev’s Romeo and Juliet once prior to this.  In any case, I went to rehearsal pretty apprehensively.

The first rehearsal seemed to last forever, in my opinion.  The guest conductor for this concert is JoAnn Falletta, resident conductor of the Buffalo Philharmonic, who had very efficient rehearsal technique, but had a unique conducting style that took me a couple rehearsals to get used to.  I noticed instantly that she likes to conduct ahead of the beat in very quick gestures that somehow delineates that shape of phrases, a style that is very appropriate for Beethoven, especially the Ninth.  The pressure of randomly sitting in was lessened when I found my seat in the back of the second violin section, but that also has its disadvantages–the large distance from the conductor increases the risk of lagging behind the rest of the section, waiting for the “passing” game of bowings, directions, etc. from the principal, and others.  Fortunately, it was a good seat to be in to observe the players in front of me and learn the “language of communication” between the members of the orchestra.  Speaking of members, I had a very peculiar stand partner who ended up missing most of the rehearsals (because of her non-musical career).  So the only times I saw her were the first rehearsal and the concert!  It was the weirdest experience to play next to her because I immediately sensed her awful attitude and lack of congeniality.  I mean, she would make small talk but all without eye contact and facial expression.  It was like talking to a plain wall, which is not very fun.  After some discussion with several other members, I learned that she has had an unfortunate past with music and all I can say is, never be bitter and never live with regrets.   She did, however for her sake, apologize to me during intermission for her stinky attitude, but I really hope I never have to deal with this person again.  Did I say “never”?  You betcha.

The next couple of rehearsals went well and I was beginning to soak in the sounds and little quirks of the orchestra.  Prokofiev sounded really good, but Beethoven still lacked the precision and flexibility it needed to be dramatic.  Falletta kept telling us to play lighter and have direction in our phrasing.  Yes, I completely agree.   I just hope my arm doesn’t fall off in the Scherzo.

One could feel the energy and all the hype for this concert because the Blaisdell lanai was covered with people with more an than hour left before the show.  Pretty good turnout so far, I have to say…  While I was warming up backstage, I made some mental comparisons of various pre-concert moments like for example, to Indian Hill or New Bedford Symphony.  Just the enormous amount of free space backstage and the somewhat private warm-up rooms gave Blaisdell a few extra points above the other venues.  I also have to say that the seats for the orchestra members are excellent!  Brand: Wenger.

Right before the concert started, there were great speeches given by various people including Ms. JoAnn Falletta (Buffalo Symphony).  I am truly grateful that she was able to step up and give her time to make this concert happen.  Without her patience and energy, would we really deserve to have 5 standing ovations?  That’s right… the concert went superbly and I’m glad I was a part of this significant event.  Hopefully the donations will trickle in and be put to good use; we shall see within the next year or so.

with Ira Wong (percussionist) for HSO benefit Concert