Summer School 2019: Emma Collingham

Emma Collingham ESTA SS Report 2019

 

I am very privileged to have received a Nannie Jamieson Nutshell Bursary, in order to attend the ESTA summer school this year as part of the PGCert course. Many thanks to Stentor who acted as my sponsor.

During the course, we took part in various activities, discussions, and classes. The day started with a gentle yoga session to awaken the body and prepare for the day. In the morning sessions, we looked at the Rolland method, watching short clips on how he taught, then discussing how the violin methods can be transferred to lower strings, and experimenting with these methods. Joanne Erwin took us for these sessions in which we discussed teaching methods for complete beginners – how to hold the instrument, introduction of first notes, bow hold, even the importance of chair height (cellists) and seating position, to ensure all pupils are taught correctly from the start. Joanne demonstrated various activities which are great to get pupils sitting comfortably with their cellos, starting with a hug of the instrument, followed by swinging both arms with natural weight, completely relaxed and then circling the arms and strumming all the strings in both directions at the same time. This is great to loosen up the muscles and avoid unnecessary tension. It creates a nice big wild sound which kids love and respond to really well. Something else we looked at for complete beginners which I wouldn’t have thought to do previously, was alternating left and right hand pizz - it made it very fun and enjoyable! We also discussed and tried out playing various harmonics, and call and response with these for complete beginners, to show them that you can find notes easily all the way up the fingerboard, and that it’s easy to improvise.

One particularly simple but brilliant thing I took away from these classes was, in order to help a pupil learn which bow direction is an up and which is a down, point the tip of the bow up in the air, then when you go up, it’s a up bow, and when you go down it’s a down bow - so simple, but makes so much more sense than “push” and “pull”!

We also shared our own ways of teaching, so it was great to hear all the different ways in which people put information across to pupils.

Within the PGCert sessions, we looked at how we teach different techniques of various levels in difficulty, and how we could improve the delivery of information to pupils. We demonstrated our teaching to each other, and were given suggestions as to what may make it easier for the pupil to take in the information we were giving them, plus different ways for them to practise particular techniques.

Being the only cellist on the PGCert course this year, I was used as a guinea pig for the violin teachers to demonstrate how to teach vibrato to a pupil. I feel I could actually learn to do vibrato the ‘wrong way round’ now! I had the fun of teaching Richard Crozier how to do vibrato on the cello, which he managed to perform quite beautifully!

I particularly enjoyed taking part in a Dalcroze session with Sarah Crooks, which used movement of the body to illustrate sounds and create short improvisations, and will be introducing this into my lessons.

The evening concerts were a wonderful way to finish the day, to appreciate an eclectic assortment of musical styles, as well as socialising with teachers and mentors after the performances. There was a very friendly and inclusive atmosphere throughout the course, making it a very enjoyable, and educating experience.

Summer School 2019: Helen Macfarlane

 

ESTA SS Report 2019

Helen Macfarlane

 

I was lucky enough to receive a Nannie Jamieson Nutshell Bursary sponsored by Stentor which enabled me to attend the ESTA Summer School on 14th, 15th and 16th August 2019. The programme was extensive with a set of speakers who shared an impressive range of experience, knowledge and skills.

I took lots away from every session but found the workshops run by Joanne May on the Rolland approach to teaching violin technique basics particularly useful and enjoyable. I have found over the years that one thing which can put students off when learning the violin is the complexity of the technique in the early stages; the sheer number of things to think about. When attempting to support students to develop a good technique, I have always called upon the methods used by my own teachers over the years, and on the materials and writings of Sheila Nelson and Simon Fischer as well as the odd titbit I have picked up from colleagues and friends. Many of the challenges we all come across in supporting students to establish a secure technical foundation were highlighted by Joanne as she presented ideas, activities and games to help with each area. All of these ideas were appropriate and appealing for the young beginner and could easily be adapted for an older beginner and they were presented with humour and a general joie de vivre which was infectious. Joanne encouraged us all to try out the activities on our instruments during the workshops which helped to deepen our understanding and to prompt some very useful discussions. I particularly appreciated the fact that much of the learning from Joanne’s sessions could be put into practice in our lessons straight away.

Another session which stood out for me was Dr Sarah Upjohn’s workshop entitled ‘Preventing Injuries in Young Musicians’. She managed to condense a huge amount of information and to convey it in an accessible way with wit and humour. She also really hammered home just how important our role is as teachers in supporting students to develop habits which avoid injury. I have since been far more mindful of the way I sit (pinning those ten pound notes to the chair!) and more importantly, I have felt far better able to spot potential postural & movement problems in my students and to advise them based on the knowledge I have from Sarah.

I’d like to thank Stentor for enabling me to attend the ESTA Summer School; it gave me the chance to reflect on my practice and to learn a huge amount both from the distinguished tutors and from the talented delegates who attended the course. I thoroughly enjoyed the experience and the learning I have taken away from it has already begun to benefit the students I teach.

 

Summer School 2019: Emma Collingham

Emma Collingham ESTA SS Report 2019

 

I am very privileged to have received a Nannie Jamieson Nutshell Bursary, in order to attend the ESTA summer school this year as part of the PGCert course. Many thanks to Stentor who acted as my sponsor.

 

During the course, we took part in various activities, discussions, and classes. The day started with a gentle yoga session to awaken the body and prepare for the day. In the morning sessions, we looked at the Rolland method, watching short clips on how he taught, then discussing how the violin methods can be transferred to lower strings, and experimenting with these methods. Joanne Erwin took us for these sessions in which we discussed teaching methods for complete beginners – how to hold the instrument, introduction of first notes, bow hold, even the importance of chair height (cellists) and seating position, to ensure all pupils are taught correctly from the start. Joanne demonstrated various activities which are great to get pupils sitting comfortably with their cellos, starting with a hug of the instrument, followed by swinging both arms with natural weight, completely relaxed and then circling the arms and strumming all the strings in both directions at the same time. This is great to loosen up the muscles and avoid unnecessary tension. It creates a nice big wild sound which kids love and respond to really well. Something else we looked at for complete beginners which I wouldn’t have thought to do previously, was alternating left and right hand pizz - it made it very fun and enjoyable! We also discussed and tried out playing various harmonics, and call and response with these for complete beginners, to show them that you can find notes easily all the way up the fingerboard, and that it’s easy to improvise.

One particularly simple but brilliant thing I took away from these classes was, in order to help a pupil learn which bow direction is an up and which is a down, point the tip of the bow up in the air, then when you go up, it’s a up bow, and when you go down it’s a down bow - so simple, but makes so much more sense than “push” and “pull”!

We also shared our own ways of teaching, so it was great to hear all the different ways in which people put information across to pupils.

Within the PGCert sessions, we looked at how we teach different techniques of various levels in difficulty, and how we could improve the delivery of information to pupils. We demonstrated our teaching to each other, and were given suggestions as to what may make it easier for the pupil to take in the information we were giving them, plus different ways for them to practise particular techniques.

Being the only cellist on the PGCert course this year, I was used as a guinea pig for the violin teachers to demonstrate how to teach vibrato to a pupil. I feel I could actually learn to do vibrato the ‘wrong way round’ now! I had the fun of teaching Richard Crozier how to do vibrato on the cello, which he managed to perform quite beautifully!

I particularly enjoyed taking part in a Dalcroze session with Sarah Crooks, which used movement of the body to illustrate sounds and create short improvisations, and will be introducing this into my lessons.

The evening concerts were a wonderful way to finish the day, to appreciate an eclectic assortment of musical styles, as well as socialising with teachers and mentors after the performances. There was a very friendly and inclusive atmosphere throughout the course, making it a very enjoyable, and educating experience.

ESTA Summer School 2018: Sharon Griffiths

Sharon Griffiths ESTA Summer School 2018

I am very grateful to the ESTA Nannie Jamieson Nutshell Fund Bursary sponsored by Stentor for enabling me to attend the ESTA summer school.

This was my first time attending the whole summer school – last year I was one of the first cohort of PG Cert students which meant that I could attend a few of the sessions but my attentions were elsewhere. It was wonderful to be part of the whole course this year and to partake in so many varied sessions.
I loved starting each day with an Alexander technique class. It was incredible starting to connect with my body and I felt so much better each time I left the chapel. I have started trying to change the way I sit, stand and move and I will
share this awareness with my pupils.
I picked up lots of useful ideas through the week, many of which I will try in my lessons. It was interesting to hear speakers addressing different topics but still giving the same advice, such as using lots of left hand pizzicato in the early stages to establish a good left hand shape. I shall be doing that!
The Upper Strings Pedagogy sessions were inspiring and full of valuable tips. I can see myself asking a beginner to write out a simple open string tune using coloured dashes of different lengths to represent each note in a simple manner. Louis had some new ideas for bow hold and flexibility games to play with beginners. He was also kind enough to present an additional session on harmonics and resonance during our lunch break, after I’d asked him for further explanation.
One of my highlights was Aleksey Igudesman’s Dancing Violin workshop. This was brilliant fun. It was extremely tricky to try to dance the Latin and Celtic tunes whilst playing our instruments! While I am unlikely to try to recreate the exact moves from that session, I feel enthused to incorporate much more movement into my lessons.
There was so much more that excited me over the week; being introduced to the Vamoosh books with their backing tracks, considering how to prevent injuries, how to incorporate technology into my lessons and the fascinating (and slightly impromptu) introduction to cello teaching for upper strings teachers.

The evening concerts were a total treat and I loved each and every one of them. Finally, I must thank all of the ESTA team for the massive effort put in to create everything involved with the summer school. Thank you and I hope to
see you again next year.

ESTA Summer School 2018: Carrie Taylor

Carrie Taylor ESTA SS Report 2018

With thanks to the ESTA Nannie Jamieson Nutshell Fund Bursary sponsored by Stentor.

Three days after the end of the ESTA Summer School, I began my new job as Upper Strings Music Instructor at a large secondary school and associated primaries in an area of high social deprivation. Making the transition from English classroom teaching to instrumental instruction has been made a good deal more manageable by several sessions at the Summer School, including the Vamoosh session with Thomas Gregory, Upper String Pedagogy with Louis Pantillon, and Anna Dryer-Beers’s Trinity College London input.

Raising attainment in the context of deprivation is high on the political agenda in Scotland, and the Vamoosh series is the ideal vehicle for this. It allows pupils to demonstrate progress over a relatively short period of time, is accessible to all, and the lessons modelled by Thomas Gregory accurately reflected pupils’ experience of learning in the classroom today. The session was high energy, interactive, and engaging. I am currently using Vamoosh with several of my Primary pupils, all of whom appear to love it.

Louis Pantillon’s Upper String Pedagogy sessions were inspiring for their warmth and humanity as well as the real insight they provided into the workings of the violin. I now feel more comfortable and confident in setting up complete
beginners, and have a greater understanding of their journey to acquiring a basic technique. The advice to continually relate all learning back to music itself resonated deeply with me. I learned a lot about vibrato in particular, which I am currently trying to apply (with varying degrees of success) to my own playing. Consequently, I now firmly believe that there really is no better way to improve your own playing than through teaching.

Finally, having no previous knowledge or experience of the Trinity College exam board, I was mightily impressed by the way in which the emphasis is on helping pupils to achieve their best by allowing them to play to their strengths, for rewarding them for what they can do, rather than penalising them for what they cannot yet demonstrate securely. I already have four exam pupils, all of whom will sit Trinity for the very reason that it allows for personalisation and choice, whilst still encouraging the development of all round musicians.

On a personal level, Alexander Technique sessions with Rosamund Hoskins were highly invigorating, and the evening concert of Mendelssohn’s D minor Piano Trio reminded me of the difference between loving and being in love with the violin.