Mainari Method - Suzuki Checklist Series - Book 1: Prerequisites

Hello!  Welcome to the first installment of the Mainari Method!  I will be writing out my criteria for passing each of the Suzuki Book 1 for Violin & Viola pieces in an easy to follow format.  Before you start Suzuki, however, here are some prerequisites:

1. Purchase or rent a quality instrument set from a local luthier or string shop.  Do not go to a major guitar or music center that also happens to sell violin, viola, cello, etc.  If you're going to pursue violin or viola seriously, you need a real instrument.  These instruments don't have to cost thousands of dollars, they will likely only be a few hundred dollars for the case, violin, bow, and perhaps rosin and cleaning cloth included in a set ready for you. Renting a quality instrument can cost as little as $20 - $30 per month, and will likely include a type of insurance, which I always recommend for growing youngsters, or adults who aren't sure a string instrument is for them.
2. Learn about your instrument, the names of its parts, and how they all work together.  Also decide if you want to use a shoulder rest or sponge as part of your setup, and ensure your chinrest is the proper fit.  I check the setup at every free introductory lesson I give, and can give recommendations for alterations if needed.  The parts of the instrument are included in most method books, including Suzuki Book 1, with some omissions that I fill in.  It is important to memorize the parts of the violin so we're all on the same page, especially the names of the strings.
3. Acquire a basic understanding of rudimentary music theory.  I teach everything required via my own method, and each teacher will have their own way of doing this.  I used to teach it alongside the first Suzuki tunes, but have found that it is faster and more effective in the long run to introduce these elements alongside proper technique prior to beginning any actual songs.  Here's a list of what you should know:  clef, staff, bar lines, time signature, key signature, musical alphabet forwards and backwards, open string notes, 1st finger notes, 2nd finger notes, 3rd finger notes, half and whole steps, major scale pattern.
4. Foundation level technique for holding the violin, pizzicato, and bow hold.  Our technique grows with us as we advance in our playing, but every beginner should have the proper foundation in good technique to generate good playing habits from the very beginning.  Learning technique in a rush to play the first tune as soon as possible is detrimental to the learning process in the long run and results in faster burnout.

Hilary Hahn and the Los Angeles Philharmonic -- In which I met Hilary Hahn!

Hilary Hahn, Violinist

So, this happened!

Tasha & Hilary Hahn at Walt Disney Concert Hall
Los Angeles, California
Hilary's Program:  Vieuxtemps Concerto No. 4
Encore:  Bach E Major Partita's Giga
Saturday, December 12, 2015 - 8:00pm

And I can't believe I had the courage to do it!  I've seen Itzhak Perlman perform live, Anne Sophie Mutter, Midori, and several other wonderful professional performers and not once did I ever have the nerve to ask for their autograph, let alone get a photo.  I'm so glad I did this time, and based on this wonderful experience, hope to again in future.

Hilary autographs the insert of Tasha's new CD
of Hahn's Mozart & Vieuxtemps Concertos.
They chatted about Tasha also being a violinist, local teacher,
and having taught a wide age range of students.

Needless to say, her performance was outstanding.  Here's a YouTube of her performing it posted a month ago.  She's even more clear, pure, and virtuosic in person than in any of her recordings or YouTubes.  In college, both as an undergrad and graduate student, I studied all of her performances religiously.  I adore her technique (my teacher can tell you I've been jealous of her 4th finger vibrato for years), her sound, her presence, and many of her interpretations are my favorite -- especially Lark Ascending.  I set social media abuzz with our photos, and thanked her profusely for this amazing opportunity.  It was my first time hearing her play live, and I hear it's her last concert as she takes maternity leave for her baby girl, Zelda, born in August (just like me!) earlier this year.

The LA Philharmonic did not disappoint, either.  They played a newer piece I didn't recognize to open the concert, with a woman conductor (a former fellow of Dudamel's) at the podium!  You can see the program and her bio here.  The concert ended with a brilliantly tight performance of Tchaikovsky's 4th Symphony.

Mirga Gražinytė-Tyla conductor

If you're friends with me on Instagram (I'm GreytShotPhotography, but only accept requests from people I know), you'll have also seen this hilarious photo:

The photographer, Tasha's husband, Richard, said, "Now a silly one!"
This was the result.

Thanks for reading.  Let me know what you think of Hilary Hahn in the comments.  What are your favorite performances of hers?  Have you ever seen her live?  Share photos, if you have them!  She seems incredibly open to public fans, and I so appreciate her generosity with her precious time.

Effective Practicing

I have a TON of ways to practice for myself.  I literally could not possibly list all my tricks of the trade. I did my best to put this into a handout form, but I constantly look back and think, "Wow, I left out so much!" Here comes a blog post about how to practice effectively.

A lot of this seems really obvious to me, and probably to you, but sometimes it's the obvious things that get overlooked for their profound value.  Perhaps you'll think of ways to adapt what I've said better to your style.. That's completely OK!  I encourage individuality.  Whatever works -- is my motto.

• Start with a goal.  Could be technical, musical, whatever.  Pick something, and don't stop until you've mastered it.  Note:  please choose a realistic goal for yourself!  Example:  set a timer for 3 minutes.  Choose a goal you feel you could master within that 3-minute timeframe.  Go!  Did you?  Yes?  Great!  Choose another goal.  Didn't quite make it?  Go another 3 minutes.  Keep repeating until you get it, but next time, try for something a little simpler.
• Having trouble with measure 5 until measure 37?  Just work that spot.  Please don't waste time playing the entire piece if you know where you tend to flounder.  As a reward for your hard work, you can play-through the piece after the practice session.  We tend to focus on playing the parts we know well -- it's immensely satisfying to hear ourselves make beautiful music.  Try not to play those sections exclusively, and definitely not a majority of the practice session, either.
• Make a schedule, and try to stick to it, but be flexible.  If you have a deadline, make a chart outlining little mini-deadlines of what sections should be mastered by what date to make it on time for the final deadline.  Some things may go easier than expected, so you may finish early.  Others may be much more difficult than you imagined, so allow some breathing room.
• PRACTICE AWAY FROM THE INSTRUMENT FIRST.  I find it incredible that beginning students feel they can look at a piece and start to play it right away.  This is a separate skill entirely.  We must first analyze the piece for its notes, rhythms, bowings, dynamics, and tempo prior to asking our bodies to execute all these elements correctly.  If the brain is working very hard just to read the notes, our hands won't have enough brain power to make the music on the instrument.
• METRONOMES ARE REQUIRED!  I will always practice with a metronome when I'm learning a new piece.  Always and forever.  You can never outgrow the use of a metronome.  To err is to be human -- we can't avoid taking liberties with the tempo unknowingly.  A metronome will keep you honest while you perfect rhythms and work a piece up to performance tempo.
• Perfection is elusive.  A student may hear me play and think, "Wow, that was awesome!" but inside, I'm cringing at something.  I always do.  As we improve, so do our ears, and so do our standards.  Perfection may be a goal, but not a realistic one.  Be proud of progress, and focus more on that.
• Dynamics are what make or break a mature performance, don't exclude them, and try not to leave them until the end of learning a piece!  Yes, they are like the icing on the cake.  However, learning them in the early stages allow them to become as habitualized as everything else.  I highly recommend practicing this way.

Ideal Parental Involvement in Private Lessons, Featured Artist - Lindsey Stirling

Photo of violinist, Lindsey Stirling, from Cardinal Playlists.

Parents play a very influential role in the success or failure of their child's musical career -- whatever that may be.  I've frequently avoided bringing this up with parents because I don't want to be pushy.  However, I've had some parents ask me recently, "Just how much should I be involved with my child's private lessons?"  So, I've decided it's a fitting first topic for the blog, as parents need to get started right from the very beginning of a private lesson arrangement, and it's often parents who first come to me for lessons for their children.

I feel very strongly that parental support is needed, regardless of the child's age, for a very long time.  Your child is always your child, so it is always your responsibility to be supportive of your child's endeavors and studies in music.  I feel it is crucial that parents help their child remember to practice every day.  It shouldn't be a chore, just a helpful reminder to fit in those 30 minutes today.

When I was growing up, I would frequently just forget to practice.  My mom would remind me gently, and I would happily toddle off to play for an hour.  It wasn't that I didn't want to practice, it wasn't even that I disliked practicing in the slightest; I simply had other things on my mind, and had forgotten it was an option to occupy my time.

However, not everyone is like me, and not everyone likes to practice.  Or, if they do like practicing, they don't like it as much as some other activities they would rather do.  Parents, I suggest you employ the Premack Principle in these cases.  The Premack Principle goes something like this, "If you practice your violin for a really good half-hour, I'll take you to the pool when you finish."  Basically, your son/daughter has to do what you want them to do in order to do what they would like to do.  What tends to happen is, after enough repetitions, the activity you want your child to do becomes just as enjoyable as the activity your son/daughter wanted to do!  Feel free to apply elsewhere as needed. ;-)

When I got really busy, I often had days I would come home from school, change, immediately go to some activity (ballet or horseback riding comes to mind), doing homework in the car on the way to and from said activity.  By the time I got home from such physically and psychologically exhausting work, I was NOT in the mood to practice.  However, I could unwind while eating dinner then watching a TV show, and practice on the commercials.  One-hour of TV usually results in about 15-20 minutes of practice.  Point is, multitask whenever possible to conserve time and energy.

Parents generally run into the most difficulty when their child blatantly refuses to practice because they, "HATE IT!!!!"  They don't really hate it 99% of the time.  They're just overloaded with worries of life, and can't fit violin into it.  Addressing other life problems, or reconsidering more effective and thus enjoyable practice techniques will help to rekindle a love of the instrument and the work that goes into learning it.

One request I have of parents is to please remind your son/daughter to read their lesson notes before every practice session.  I leave very detailed instructions what they need to work on for every element of their regimen in their notebooks.  It is, therefore, essential to bring their notebook to every lesson.

Now, I am all for teaching responsibility.  Give your son/daughter 21 straight days of gentle reminders to get in the groove, and see if they can carry on without your reminders.  It takes about 21 days to establish a habit.  When the practice habit is formed, they will actually miss practicing if it is left out of their schedule that day.  Hopefully, they will be able to take the initiative most of the time from there with only occasional reminders.

Practicing for me was a huge stress reliever.  I would even practice if I stayed home sick.  I spent many a days with a sore throat playing my violin.  It helped take my mind off the pain, and gave me something to do besides lying in front of the TV or reading a book.  I encourage my students to view practicing as an outlet for their need to be creative, individualistic, and independent.  If you can help to convey it this way at home, that will help tremendously.

Finally, it is my job to give a good lesson, and I give every lesson with every student my all.  But the other six days of the week, you have to be the spark for them at home.  Maybe then, they'll grow up to be like Lindsey Stirling...