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Kreitman, Edward Teaching from the Balance Point
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| | Publishers Item ID | | | Metzler Item ID: | BKKRE | | Price: | $24.95 | |
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| Table Of Contents | INTRODUCTION -WHAT IS THE SLIzUIKI METHOD, ANYWAY? 1
The Philosophy
The Curriculum
Technical Concepts
ONE -- PRIORITY TEACH ING 7
Teaching Balanced Posture of the Body, Including Violinand Bow Hold
Teaching Balanced Tone Production or "Tonalization"
Teaching Perfect Intonation
Teaching Skills for Developing Artistic Musicianship in Performance
Teaching Notes and Bowings to New Pieces
TWO -- ROTE VERSUS NOTE 13
Note versus Rote: Unlocking the Mystery of Playing by Ear
Step One: Can You Tell the Difference between Two
Notes That Are the Same and Two Notes That Are Different?
Step Two: When They Are Different, Can You Describe
the Second Pitch as Higher or Lower than the First?
Step Three: Understand the Inherent Logic of Your Instrument
Step Four: Know How the Piece You Are Trying to Play Is Supposed to Sound
Step Five: Think of the Song in Terms of Direction of Pitch
Step Six: Allow the Freedom to Use Trial and Error to Choose the Notes
THREE -- POSTURE 25
Posture of the Violin
Shoulder Pads
Chin Rests
A Word about Habits
Posture of the Left Hand
Posture of the Bow
FOUR -- TONALIZATION 39
The Left-Hand Technique in Tonalization
The Bow's Technique in Tonalization
Incorporating Tonalization into the Playing
The Primary Point of Resistance
FIVE -- INTONATION 47
Basic Terminology
Learning How to Listen
A Dual System
Absolute Pitch
Relative Pitch
The Truth of the Matter
SIX -- SKILLS FOR DEVELOPING MUSICIANSHIP 55
Developing the Beginning Bow Arm
Bow-Directed Playing
Developing Musical Direction in the Playing
Bow Distributions
Improving Listening Skills
Parts of the Sound
Clean String Crossings
Three General Rules for Making Music
Use of Vibrato
Intentional Becomes Intuitive
SEVEN -- LISTENING 67
Passive Listening
Cultivate Your Listening Vision
Multiple Copies of the Reference Recording
Listening Equipment
The BIG EAR Contest
Learn the Names of the Pieces
Best Time of Day to Listen
Active Listening
EIGHT -- THE REALITY OF PRACTICE 75
Comprehension
Cooperation
Constructive Repetition
NINE -- REVIEW 81
Story 1: The Interview
Story 2: The Mother with an Agenda
Story 3: The Model Student
The Point
The Value of Review
How to Do It
Ways to Make Review More Interesting
Starting a Review Program
TEN -- POSITIONS AND SHIFTING 91
Positions
Shifting
ELEVEN -- VIBRATO 103
Vibrato Comes from a Point of Relaxation, not Tension
What is Vibrato?
Three Types of Vibrato
Three Aspects of Vibrato
Developing the Form
Preparatory Exercises for the Left Hand
Developing the Oscillation
Checking the Form for Tension
Development of Speed
Incorporating Vibrato in the Playing
TWELVE -- SUMMARY 113
Vision versus Expectation
People, Places, and Times
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