Arpeggione Course: Amelia aged 14

Thank you to JARGAR and JDCMF for giving me the bursary that enabled me to go on the
Arpeggione course at Easter. I am incredibly grateful as it was really beneficial for my viola
playing.
I had an amazing time when I was there and especially loved the small chamber music groups as
well as the concerts which were given to us by different teachers. In my chamber music group
we played Berceuse by Frank Bridge (arranged for 5 violas) and it was a really lovely piece. I
learnt a lot about how to communicate in the group so that the music sounds like one person and
that it is so important to listen to everyone so you know where the melody is and what dynamic
you should be playing at. There is a change in tempo in the piece and we spent some time
working on making sure we are all aware of that change and are following the person leading it.
This really helped me and the group to combine our individual parts into one piece of music.

I also did a master class which really helped me improve one of the pieces I am learning, There
were lots of chords in this piece and we worked on my bow hold to make it easier to play and the
sound nicer. We also did a jazz piece (which is something I haven't really done before). We
learnt how to improvise and what notes we should use. I found that really fun and interesting.

Overall Arpeggione was an amazing experience and I loved working on my viola and chamber
music skills. I felt that I learnt a lot and improved by the end of the course.
Thank you very much
Amelia (14)

 

Arpeggione Viola Course 2018: Uilleac Whelan

Once again I’d like to thank ESTA and Jargar for enabling this experience to take place. The teaching placement allowed me to learn a huge amount, and I hope that future young teachers get to share the same invaluable experience as me.

Arpeggione is a wonderful umbrella of courses that teaches viola playing from all angles. The approach is simple but important, giving the instrument and the unique character of the viola the special attention it deserves. Thanks to ESTA’s Nannie Jamieson Nutshell Fund Bursary and the generous sponsorship of Jargar strings I was able to attend this April’s Intermediate course as a junior teacher, an experience that has been invaluable to me at the point in my career where I’m transitioning from being a student to a working musician.

On the course students aged 8-15 enjoyed the complementary mixture of playing in chamber groups, playing in a viola orchestra, and also engaging in daily masterclasses where the focus is brought to their solo playing. Beyond this range of perspectives for the young viola players, the success of Arpeggione is down to the exceptional team of viola players who run the course. With years of high level playing and expertise between them, they team teach with rare insight and every element of the course was pulled off with great teaching skill and a characteristic humorous touch. It was wonderful to learn from not just what they teach, but also the manner they went about their teaching.

During the week most of my attention was devoted to coaching the chamber groups. There was a great variety of music - with arrangements including Fauré for six violas and some Corelli for viola quartet amongst others - and I found myself approaching different concepts with each of the groups. For example, with the Fauré, the group was averaging around 14 years old and at their level it seemed most useful to talk about beginning to develop good ensemble intonation through understanding the harmony at work, and about deciding who has the leading line so to hone the balance. With the younger groups we discussed how to go about listening to others whilst playing and how to approach rhythms that pose a challenge (putting the instrument down I’ve found is always helpful!). The responsibility of being left to work with these groups on my own was wonderful. I got to try things out for size and see what was effective or not according to the ages and individuals.

In the evenings, I would talk to the other teachers about how my coaching had gone and it was here that I found I really benefitted. I’ve found it’s rare in the day-to-day world of teaching that you really get the time to talk with others about your philosophies and obstacles in teaching, yet in these conversations I found a group of teachers who were interested themselves in thinking about these things and who cared about finding the right way to go about educating people in music. They shared many great kernels of advice with me in these conversations. Beyond the music we talked about the best way to interact with children and teenagers in terms of how to make things effective and fun, but also topics regarding safety, appropriateness, and child protection. We discussed when to indulge the process and when to take a more no-nonsense approach, how to pace sessions and how to work with the child with the 2 second concentration span. Almost without exception the teachers at Arpeggione had stimulating answers to my questions. On several occasions I was also able to observe some of their teaching and it was, of course, very interesting to see their ideas put into practice.

 

ESTA Summer School 2018: Michelle Kelly

Michelle Kelly ESTA Summer School Report 2018

While teaching this year I have had occasion to mull over a number of issues in my pupils’ playing. Looking for help in this direction I was fortunate to be awarded a bursary from the ESTA Nannie Jamieson Nutshell Fund, sponsored by Jargar, and so was able to attend the Summer School in Chichester. As well as addressing specific elements of string tuition it is wonderfully energising to mix with fellow string teachers, swap ideas, concerns and repertoire, offer support, and occasionally find time to play together.

I shall take away so many ideas from this week. Here are just a few- I was wondering how I could incorporate my beginners’ love of playing together with focused learning. Sarah Crookes and Helen Dromey encouraged us to rethink our distrust of large group learning by listing everything a child would gain from playing together. We were then given oodles of practical ways of tackling musical concepts at beginner level, with equal emphasis on enjoyment, learning and pride in their achievements.

Through Dalcroze (moving to music) they showed how the concepts of pulse, crotchets, quavers, rests, could be felt in the body, and then replicated on the violin. The concept of distinct bars and then phrase lengths can be learnt through walking for the first bar and resting on each alternate bar. Large-movement conducting activities can be used for 3/4 and 4/4 meters in both violin and singing classes, along with other Kodaly activities (children’s singing games)

I particularly loved the idea of using Avo Pärt Spiegel Im Spiegel for follow-my-leader games, encouraging pulse and watching the conductor all in one. Four children place themselves in a diamond formation, the front child invents a movement on the first beat- the others follow either in turn on each beat or all together on the third beat. This happens for four bars, then the whole group turns 90 degrees, a new leader is at the front and the game is repeated.

Louis Pantillon’s general philosophy of learning, his research into teachers from the past and his practical detailed analysis of technical issues were enlightening. Having looked into violin pedagogy from 17th century up to the present day- we were privileged to play from a number of early tutor books. All had very useful duets of various standards to be found on ISMLP- great for ensemble work, playing in different keys, for GCSE requirements, listening and tuning. He mentioned Paul Rolland in the States, and Geza Silvay (Colourstrings), both of whom encouraged good Left Hand position by plucking with the little finger high on the G string. Moving the body in opposite direction of the bow stroke to discourage locked muscles.
Geza believed in reading from the very beginning- even if it is non-music symbols- as pupils then equate deciphering code with moving the bow to produce a sound. We then discussed the opposite approach taken by Suzuki.

Louis’ pupils write their own practise notes each week, having drawn and annotated a picture of their violin in the first lesson. They are even required to copy out the ‘music’ they will be practising - simply symbols in the first few lessons, but eventually proper notes on the stave. Louis noted that we sometimes ‘tell’ pupils rather than lead them to work things out for themselves.
He suggests asking them leading questions- so they feel they have discovered their own solution. I took notes throughout- but even then missed odd bits- however we were well supported by Sheila Holdsworth who sent us transcripts of each session after the course. The course was both enjoyable and useful.

National Strings Chamber Music Course: Daniel aged 11

Before:

Thank you Jargar for funding me to go on the National Strings Chamber Music Course. I am looking forward to taking part in all the activities that will be on offer. I am hoping that being on this course will help me work better with others. I will also like to learn more challenging violin fingering positions and play like a professional. Daniel (11)

 

And after:

Thank you Jargar and JDCMF for sponsoring me to go on the National Strings Chamber course. I
learnt and experienced so much in the four days I was on the course. During the course I played as part of a quartet and performed a piece called pizz-a-tango. I also played as part of a quintet and we performed a piece called Canon in D by Johann Pachelbel. I played a part in the chamber orchestra and played Evening At The Disco at the end of course concert. All of this improved my chamber music playing. This is because I am now able to play better as part of a group because I have learnt to listen to others and be mindful not to play too loud or play any other person's part.
I was also able to work on my solo pieces including a piece from George F Handel called Sonata in F major which I played in the end of course concert. I also worked on a piece called Chiquilin De Bachin by Astor Piazzolla.
The teachers on the course were brilliant. They taught me so many skills such as learning how to do the vibrato which has added a new flare to my style of playing. They also taught me how to tune my violin in the correct way. I have improved in my playing in general. Now I can count the beats in every note I play because when I play with others it helps me count correctly.
Doing so many lessons in one day undeniably paid off when I played my solo piece and chamber music in small groups at the concert because I didn’t make as many mistakes as when I arrived on the course.
Thank you very much again.
Daniel (10)

Young Grittleton: Hiya aged 11

I would like to sincerely thank JARGAR and JDCMF for granting me this bursary and giving me the chance to go to Young Grittleton 2018. I am going  as a viola player and I want to improve on my chamber music skills. I went last year and I appreciated it very much. It certainly helped with my playing and sight-reading, as well as getting me used to the Alto Clef. All the coaches were really helpful and the pastoral care was superb! I made a lot of new friends, as well as sharing a dorm with one of my old ones. I am absolutely looking forward to the course, especially as it's residential! I can't wait!
Thanks again. Hiya (aged 11)