Karlina Ivane. Written submission for DipABRSM Principles of Instrumental/Vocal Teaching (Singing). 2.02.2018
Précis
In this paper I will discuss the essential role the motivation has in the beginning years of violin learning and six main strategies that I use in my teaching to foster it. These approaches are (1) teacher’s awareness of the general aim of instrumental lessons, (2) ensemble playing in instrumental lessons right from the beginning, (3) improvisation, (4) having goal in sight (performances, challenges, competitions, graded exams), (5) choice of appropriate repertoire, and (6) praising and encouragement from teacher. These strategies, which I use in my tutoring, are influenced by many teaching methods, but mainly by that of Russian violinist and pedagogue Stepan Miltonyan (1939-2017). I will also describe several practical examples of how I apply these strategies in my teaching.
The beginning of violin learning is very difficult for both the child[1] and the teacher. The child has to overcome challenging technical issues, but the teacher carries the responsibility of making the child’s first years of learning an experience as positive as possible. Carl Flesch (1873–1944) in the introduction of ‘The Art of Violin Playing’ admits that teaching beginners represent an art in its own right[i]. Russian violin pedagogue Stepan Miltonyan (1939–2015) confesses that notwithstanding his life-long teaching experience he still feels nervous before encountering every new student, as there are never two identical personalities, and the responsibility that the teacher has is enormous[ii].
There are various factors, which may define the successful learning in the beginning years. The most important aspect is having the right motivation:
“Motivation is an integral part of learning that assists students to acquire the range of behaviours that will provide them with the best chance of reaching their full potential” [iii].
Harris and Crozier in ‘The Music Teacher’s Companion’ are presenting three layers of motivation: (1) the desire to learn to play an instrument; (2) the desire to learn to play an instrument very much, and (3) the desire to learn the instrument because…[iv] Finding the ways to foster the 2nd and the 3rd layers of motivation is the responsibility of the teacher. I will describe six main strategies, which I use in my teaching. My teaching approach has been influenced by different methods, but mainly from that of Stepan Miltonyan [2].
I. The teacher’s awareness of the general goal of instrumental lessons
The main thing the teacher needs to be able to motivate his students, is to be aware what the instrumental lessons are for. Miltonyan stresses that the main aim of lessons in the beginning stages is not to teach to play the instrument, but to raise and foster unique personalities, growing members of our society[v]. Berlyanchik [3] warns to be careful with too much technique in the beginning, because it could soon result in the loss of the main motivation – the interest in music [vi]. American violinist Nadja Salerno-Sonnenberg is stressing that music is about having fun:
“The kind of music teacher any beginner should have is someone who isn’t too strict, who smiles and makes jokes and tells you you’re good. You need someone who makes learning the instrument fun because that’s really what music is truly about” [vii].
It should be clear for the teacher that not every child is supposed to become a professional musician, but the task of raising the next music lovers should not be taken less seriously. Violinist Yehudi Menuhin explains:
“…no art, and no achievement in society can flourish unless it is based on thousands of people who are dedicated amateurs” [viii].
When I meet my new student in our first lesson, I usually explain, that from now on we are going to explore and learn to communicate in one of the human languages – music! I then demonstrate the child that he is already able to understand this language, showing him it with my violin. For example, I play some short improvised melodies in major or minor keys, asking the kid to guess, what feelings I was just expressing – sad or happy? Almost in all the cases the child will guess correctly. I also play the excerpt from Vivaldi’s ‘Storm’ and ask the child, whether he could guess what kind of weather I am “playing” now. In most cases after these guessing games the child is assured that he is indeed already familiar with this “language”.
II. Ensemble playing
“Ensemble playing is a decisive factor in maintaining motivation and enthusiasm” [ix].
Russian violin pedagogue Eduard Pudovochkin believes that ensemble is the only way the children should first enter the world of music[x]. Miltonyan, whose method is based on teaching children in groups of 3–5, explains that in the beginning one can experience the beauty of music on violin only in ensemble [xi]. He also adds that playing together is just natural, considering that long time ago music served as a non-verbal communication between humans, which helped them to survive[xii]. By the way this could be also supported by the view of Stephen Mithen in his book ‘The Singing Neanderthal: The Origins of Music, Language, Mind and Body’ where the author suggests that music as a form of communication came before the language[xiii].
I introduce elements of ensemble playing right in the first lesson. For example, I let us imagine that we are an orchestra, while plucking open strings together with the child, his parents or siblings, accompanied by backing track for the ‘Swing and Strum’ [4]. Or we play little duets, where I improvise short melodies, but the child is plucking or bowing on open strings. We improvise, changing tempos and moods. I also include one or more ensemble pieces in my students’ concerts, where beginners can already enjoy playing together with more advanced players. For example, they can join in ‘Patrick’ s reel’[5] playing open D and stopped E throughout the piece.
III. Improvisation and composition
The great way to motivate beginning students is to let them improvise or compose their own pieces. Miltonyan believes that improvising should be introduced even before learning pieces composed by others [6] [xiv].
In my teaching I have experienced that children are excited to have a task to create their own music. It could be done straight in the first lesson, asking, for example, to create songs for every string. It could be a “Song of Grandad” on G, “Song of Little Mice” on E etc. I usually add some improvised accompaniment on violin or piano.
Improvising could also be successfully used to overcome some technical difficulties. For example, when playing with the fourth finger is introduced for the first time, the child can create his own exercise. Usually he will be prompt to repeat self-created exercise many times.
Improvisations could also be incorporated in well-known ensemble pieces. I encourage the children to create their improvisations on blues scale in the final of ‘City lights’[7], while others are playing tremolo drone on A.
III. The goal in sight
“Pupils will often work best when there is a goal in sight.” [xv]
The essential factor for the motivation is to have some, be it small or big, goal in sight. The desire to learn a favourite song, to be able to play in ensemble with a friend, etc. The teacher have to help setting the goals, if they are missing.
Performances
Pedagogue Pyotr Stolyarsky (1871–1944), whose students included many famous violinists, such as David Oistrakh, as the most important part for development of students mastery considered possibility to perform often[xvi]. According to Ivan Galamian (1903–1983) the performance is also the integral part of practicing pieces [8] [xvii].
Performances usually are very motivating goals for students. As every student is different, it is important to provide possibility for different kinds of performances. I organise non-public Studio concerts and public performances[9]. There are always students who prefer one kind over the other. I introduce my students to performing as early as possible. Right after the first months of learning the violin I organise “Festival of the First Violin Sounds”[10]. In these events beginners are often playing “See-saw” song[11][xviii] pizzicato or with bow in ensemble. These events are also very inspiring for beginners, as they can often listen to more advanced students.
Challenges
My students love and are always looking forward for the “Challenge of Royal Scales”, where they perform scales from corresponding ABRSM syllabus grades[12]. Students particularly are enjoying the possibility to evaluate their peers’ performances, applying ABRSM marking criteria.
Graded exams and competitions
My students are usually impressed of how much they have learnt through the preparation for ABRSM graded exams. All of them afterwards have expressed the desire to prepare for the next grade!
Some students are very motivated to prepare for a competition. However, the teacher should be very careful to choose an appropriate one for the beginner. It might be very nice to prepare for the ensemble-music competition.
IV. Repertoire
“Why don’t we spend more time on music that everyone can play – and enjoy?” [xix]
The teacher should care about choosing the right repertoire. The child has to be able to enjoy the piece of music he is learning. It has to be not too difficult, and at the same time, has to present new challenges. There should be no limitations of music genres. The child has the right to learn his favourite pop-song, even if teacher has other taste.
VI.Praise and encouragement
It is important for the teacher to never forget to praise every small step a student is making! Even when student is failing, the teacher has to explain that he has simply found “yet another way how not to do it” [xx].
[1] In this paper I mostly refer to children aged 6 to 11, because older beginners are usually coming to violin lessons with clear and strong motivation.
[2] Мильтонян С.O. “Педагогика гармоничного развития музыканта” (2003, Tвeрь). [Miltoyan, S.O. ‘Pedagogy of the harmonious development of a musician: a new humanistic paradigm’]
[3] Берлянчик М. “Основы воспитания начинающего скрипача” (2000, Лань). [Berlyanchik, M. ‘Principles of beginner violinist’s education’]
[4] From the ‘Fiddle Time Starters’
[5] From the ‘Fiddle Time Joggers’
[6] Miltonyan explains that improvising is the most natural way of making music with the longest history, because it was the first approach to music creation. Interpretation, in contrast, is only 250 years old.
[7] From ‘Fiddle Time Joggers’
[8] First part is building-time, second part is interpreting-time, third part is performing time
[9] In church, for example
[10] I borrowed the idea from Pudovochkin
[11] From Mimi Zweig’s ‘String Pedagogy’
[12] Scales from ABRSM Grade 1 are very accessible for beginners
[i] Flesch 1924, p. 7
[ii] Miltonyan (Мильтонян) 2003, pp. 17-18
[iii] O’Neill and McPerson 2002; quoted in Mill 2007, p. 15
[iv] Harris 2000, p. 28
[v] Miltonyan (Мильтонян) 2003, p. 20
[vi] Berlyanchik (Берлянчик) 2000, p. 62
[vii] Salerno 1989, p.6
[viii] Menuhin 1976, p. 138
[ix] Mills 2007: 182
[x] Pudovochkin (Пудовочкин) 2005, p. 55
[xi] Miltonyan (Мильтонян) 2003, p. 56
[xii] Miltonyan (Мильтонян) 2003, p. 24
[xiii] Mithen 2006
[xiv] Miltonyan (Мильтонян) 2003: pp. 26-30
[xv] Harris 2000, pp. 29, 30
[xvi] Jerish (Ериш) 2006
[xvii] Fischer 2015, p. 328
[xviii] Zweig
[xix] Mille 2007, p. 110
[xx] Fischer 2013, p. 333
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