Guide Strictly Strings - Piano Accompaniment, Book 2: A Comprehensive String Method

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String Builder - Cello, Viola, Violin from 6. Yamaha Band Student: Clarinet 7. Thumb Position for Cello Twenty - Four virtuoso Etudes by Benjamin Sher Scale System from Alfred's Piano Prep Course from 7. Alfred's Basic Piano Library Courses from 8.

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Nursery Songs At The Piano 4. Fundamentals of Piano Theory from 5. Kjos Piano Repertoire: Series from 5. Older Beginner Piano :Lesson 9. Older Beginner Piano Library: Theory 5. The ABCs of Viola from 8. The ABCs of Bass from 9. The ABCs of Cello ABC's of Violin All For Strings: Viola 7. All For Strings: Violin 7. All For Strings: Cello 7.


Theme from Violin Concerto. Theme from Symphony No 7. The Jolly Sailor. Morning Has Broken. Academic Festival Chorale. Pierrots Double Door Stops. Theme from Lt Kije. St Anthonys Chorale. When the Saints Go Marching In. Russian Sailors Dance. Tchaikovsky Festival.

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Brandenburg Concerto 3. Violin TwoOctave Scales and Arpeggios. Jasmine Flower. Chop Sticks. I picked it off the shelf after I'd gone to higher grades and used it as a reference once in a while, and used some of the exercises to strengthen weak points. It has a serious look, explanations, checklists: an 'adult look'. For me personally the fact that there were more studies and less predictable and well known tunes would have been an advantage. I played mostly by ear, conceived music in a "solfege" style, and it was all too easy to zero in on where the sound was located on a string rather than building a sense of the relationship of fingers hand shape etc.

That part is just me, though. Edited addition : I'm not responding to Suzuki because I wasn't taught that way or used their books.

I do think it is helpful for adult beginners to understand that their brains probably will learn faster than their muscles will. If the beginner is middle-aged, good upper-body strength and flexibility are important, for a violist, at least. I just acquired a book, Stretching for Strings, that looks interesting.

I also agree that it is important for a lot of the music to be unfamiliar; I have met some amateurs who can only play a few intensely familiar pieces, which limits the satisfaction and fun in a chamber group. Hope this helps! After that, is introduction of 1st and 2nd fingers on D string: E, F still pizz.

Next-3rd finger, whole step and half step. Next-the same on A string, music alphabet and D-Major scale. Now students pluck the short pieces.

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Pace is not slow but not very fast. I think, if we work with student ones in a week, all I wrote about takes not more than a month. What I don't like: I never start from D string, but from A string On A we have the more natural left hand position and not too high right elbow, what can be cause of future lifting of right shoulder. About repertoire: there are famous examples of folk songs, classical tunes, symphonic themes which will be useful in the future. And there are lots of opportunities to play in ensemble.

Also, students can use Play-Along Accompaniments. Some of my adult beginners have enjoyed A Tune A Day - particularly since my editions are very old and look rather serious! I really like the two or three books I use for beginners I remember after two months of the likes of "Kitty Kat Jumps Up and Down" with the piano teacher whose idea of a lesson was to cook supper during part of it, I brought out my grandmother's Clementi Sonata and played through it from beginning to end. She changed books in a hurry. Unfortunately she was an extremely lazy teacher.

Years later I dug out one of those serious books and found what I was looking for, "Teacher - before beginning these studies make certain your student has a thorough grounding in the following scales and chords. Good teachers - give yourselves a pat on the back and a heaping serving of prune ice cream.

After a few lessons, my teacher asked if I would mind starting back at book one of the Suzuki Method. We went through it very quickly, but I sure learned a lot.

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I wish the rcm method I took had taught me some of those basics. She already knows how to read music, and would probably be frustrated at the relatively slower progress on violin than her mastery of piano leads her to expect? I'm going on Monday to a local shop to look over method books, but wanted some leads and opinions.

I don't think they are immature because the choice of music is interesting they even do Bartok in the very earliest stages and they give the student the chance to create small compositions. I really liked the books.