Left-hand skills are the ones generally covered in method books, so it’s likely you are already teaching most if not all of these skills in your classes. Still, left-hand technique covers a lot of ground, so it’s good to take
You’ve taught all the stuff, done all the exercises, and used all the tools. You are pretty darn sure that your students know what it means to be in tune and how to play it, but your groups still can’t
Once students can accurately and consistently match pitch on their instruments, it’s time to start teaching them to tune intervals. This is where things get tricky! Matching pitch is pretty straightforward, even when matching different octaves. Tuning intervals and chords,
When I ask my students how they should practice intonation, almost everyone mentions using a tuner. When I talk to teachers about using tuners, however, I get responses across the whole spectrum. Some teachers advocate every student having a tuner
My master’s project was all about teaching intonation to beginning string players, and as part of that I read a lot of books and interviewed a lot of teachers about their best practices. Over and over I heard the same
The second violins missed the D sharp again. It seems like every time you hit that note, it’s out of tune. You go to the piano and play the note for them. They play it back, still out of tune.
Any intonation training needs to start with pitch matching. Until students can match unison pitches, they’ll never be able to tune their instruments, let alone play in tune as an ensemble. Pitch matching should be one of the first things
We’ve all experienced it. You’ve felt the frustration that comes when the violas missed the C sharp yet again, even though you’ve gone over it at least a dozen times. You’ve cringed through those elementary or middle school concerts –