At least two Alpert Studio students will be attending a summer Suzuki institute this summer. Here are some tips to assist your institute experiences.

Tips for the home teacher:

Explain to the student and parent that the purpose of a master class is not to learn new pieces.

Define and help student prepare a polished piece to play for the private lesson/master class. Often a good guideline is a piece four pieces behind the one on which they are currently working. The home teacher should designate this piece before the student leaves for the institute, and the piece must be in the Suzuki repertoire (even for advanced students).

Students should be expected to practice daily for the master class (and other classes, as well) during the Institute. Parents should take careful notes. The home teacher should be given a copy of the notes after the institute for their own reference.

The student may be asked to do something differently at the Institute—this is a good thing!

Make sure the students arrive with proper equipment:

CD and player or iPod to listen to their piece. Suzuki Books.
Piano Accompaniment, especially for any additional piece outside of the Suzuki repertoire. Metronome and Tuner. Rosin. A properly prepared instrument. Put on new strings, consider getting the bow rehaired before the institute. Check over your equipment!

Let students know beforehand whether they are ready for a new instrument or not. Often, vendors will attract students to upgrades that they are not quite ready for.

Let them know whether to accept instrument setup advice from the institute teacher.

Give the student questions to ask the institute teacher, when appropriate, concerning ongoing issues (such as posture, vibrato, set-up, etc).

Be content with ensemble placements. Remember that this is not the most important part of the Institute, and the chamber repertoire will require additional practice time.
Create an institute checklist to ensure that you have everything you need for a productive and fun week!

Can you imagine a violin program that meets the needs of a 3 year old and at the same time professional performing artists?

A revolutionary new program is being used across the country and will soon find its way across the globe. It was conceived by a master teacher who was trained at Peabody Conservatory (and has studied with violin giants Henryk Szeryng, Charles Libove and Eudice Shapiro). Educator, performing and recording artist Mark Casillas has created the Fiddlesticks Violin Education Course, designed to take a violinist from toddler to performing artist.

Drawing upon elements as diverse as Dounis and Kreutzer to the more modern Suzuki Method, the Fiddlesticks course provides a solid foundation for beginning string players and a potent workout for advanced players alike. Foothill Suzuki Strings is proud to offer this program to students in the Inland Empire area of Southern California and beyond.

Patented Fiddlesticks Violin easily develops correct technique and posture

Learning how to hold a violin and bow in correct form and with freedom from tension is often the greatest obstacle to a beginning student. The Fiddlesticks system uniquely solves this problem with its patented “training” violin, which has been utilized by students as young as 2 years.

FSS will offer Fiddlesticks sessions for ages 3 and above in Rancho Cucamonga and La Verne, CA beginning in Sept. 2009. To receive an announcement of exact class times and locations, please visit our registration page.

Have you ever tried to play a cello outdoors in freezing weather? Playing a string instrument is challenging under any circumstance, but a quartet of America’s concert artists rose to the challenge. The performers braved the elements, actually playing their instruments, though they were playing along with their own prerecorded version of the piece.

Performing Air and Simple Gifts, a new composition by John Williams, were cellist Yo-Yo Ma, clarinetist Anthony McGill, pianist Gabriela Montero and the inimitable Itzhak Perlman on violin. This beautiful new composition truly set the tone for the event.

What’s it like to be a featured performer at one of the most historically significant moments in our nation’s history? Yo-Yo’s face pretty much said it all. When the music finally broke into that famous Shaker melody and the theme was passed to the cello, he was positively beaming. Catch the video on YouTube

When accomplished 15 year old violinist Brian Zhang signed up to play for Mimi Zweig, he was probably thinking of Mozart, Bach or Barber. Little did he know he’d soon be taking a 90 minute journey through the A major scale! Ms. Zweig, noted violinist, pedagogue, educator and mentor to many world class musicians (including violin/celeb Joshua Bell) has a way of turning complex problems into simple solutions.

“There’s a Zen to playing scales,” says Zweig, “that can calm even a teenage student who just had a fight with her mother.” Within the scale routine, and its dozens of variant bowings and rhythms, can be found the technical basis for almost any element of violin playing. And today for Brian, the simple act of remembering to play an open D string instead of using his 4th finger, provided a challenge almost as great as the Sarasate showpiece he performed just hours earlier.

Be it playing first base for the Yankees or playing Brahms, the greatest performers and athletes always focus on the fundamentals. The slight over tilting of a head, a bit of tightness in the shoulder joint, a posture that looks a little closed at times: these are among the dozens of subtle elements that never escape Zweig’s eye. She seems to have a certain ESP that brings the most relevant issue into focus within just a few notes of a scale. It’s a pleasure and inspiration for teachers everywhere to see her in action.

So remember, students: If you’d like to get to Carnegie Hall, or even if you just need to polish up your next Suzuki recital, the fastest way might just be playing your scales!

Every summer, string teachers from across the country (myself included) make a pilgrimage to Milwaukee. They’re here to observe what is arguably one of the finest models of string education in the world. For teachers, it’s a four day intense program of immersion simply entitled Teaching the Violin to Children.

The String Academy of Wisconsin, founded in 1990 by well known pedagogue Mimi Zweig, takes its roots from the teaching philosophies of Shinichi Suzuki and Paul Rolland. These two violin luminaries were certainly some of the most influential violin educators of the 20th century. Currently Executive Director Darcy Drexler, along with Zweig form the core faculty of the Workshop. For violin teachers, it’s a rare opportunity to draw upon years of experience distilled by some of the most effective violin teachers in the world.

For me, a trip like this is great fun. Every day is non-stop violin: lecture, demonstration and recitals. It’s inspiring and motivating, exhausting and at the same time exhilarating. For my students: it means.. well they’ll be finding out soon enough

Click HERE to Register

Foothill Suzuki strings is pleased to offer a new group class: Violin in your Family: an introduction to Suzuki instruction. Presented by conservatory trained, professional performing musicians, this 8 week class is designed to let your family experience the world of Suzuki instruction first hand, and enables you to decide if long term private instruction is a good fit for you and your child.

During this class your child will:
• Be properly fitted with a good, working instrument
• Learn to correctly hold the bow and violin
• Establish a habit of proper playing posture
• Create a foundation for a lifetime of healthy playing
• Have fun while at the same time learn music fundamentals!

In addition, parents will learn:
• How to encourage and motivate their children
• The unique benefits of the Suzuki Method
• Sure fire ways to make private lessons truly successful

Violin in the Family: a Suzuki Introduction
Thursdays at 5:00 – 5:50 p.m. from June 5 – July 24
Classes will be held in Claremont, CA
Tuition: $95 for orientation plus 7 week program

Register Early: Class size is strictly limited to only 9 families.

Registration
To participate, please fill out our online Registration Form. Directions to our Week 1 parent orientation (children need not attend) will be sent to you via e-mail or US Mail. Parents will be responsible to provide a properly sized instrument for their child by the third class. All details will be covered during orientation.

At the conclusion of the Week 1 orientation, tuition (non-refundable) and our official FSS application form must be submitted. Please fill it out in advance, to save time during the orientation.

For additional information: E-Mail Bill Alpert, FSS Group Coordinator

Today, Edwardo and family came together to comfort his wife. Laying in a hospital bed, she was connected to oxygen and faced the end of her life. From their darkened room Edwardo heard strains of violin music floating down the hallway into the open doorway. It so happened he heard me playing selections of music for my mother, as I frequently do when visiting her convalescent home.

And so, a still very handsome 80 year old man appeared at our doorway. He shyly asked if they could listen for a while. Edwardo knew his music, and recognized everything I played, from Bach to Schubert. At one point he recited the Spanish version poem of Schubert’s lovely Serenade, while I played the melody.

It wasn’t long before I found myself down the hall, playing for Edwardo, his wife and company. The request: Monti’s Csardas, the very same piece the young married couple remembered from their honeymoon, more half a century ago. The proprietor of that Mexico City restaurant played it that night for the newly married couple. I had the honor and privilege of recreating that moment, as Edwardo cradled his very weak wife’s head in his arms, as he once again affirmed his love. There wasn’t a dry eye in the room, including mine. It was a tender moment I’ll never forget.

Such is the joy and magic of music. It transcends borders and crosses generations unabated. It’s truly a gift of the spirit and the highest expression of humanity.

Just a quick last minute reminder that our Spring final concert is almost upon us! Here’s the schedule for the remainder of the term,

April 10 no classes, (Spring Break)
April 17 regular class
April 24 regular class including dress rehearsal

Saturday April 26, 4:00 PM final concert, and reception
Note: performers: please arrive between 3:30 and 3:45 for tune up and line up.
Concert Dress: White on top, black on the bottom. Shirt and tie for boys.

Please bring a food or drink item for our reception; sign up sheets will be available on April 17 and 24.

Performer’s Practice List: (all rep music must be played from memory!)

Book 1 and 2 Rep Classes
Twinkle Variations (also adult beginners)
Long Long Ago (also adult beginners)
Allegro
Perpetual Motion
Minuet 1
Handel Chorus
Long Long Ago and variation (book 2)

Martini Gavotte
Dvorak Humoresque
Seitz Concerto #2, mvt 3

Early Ensemble Class
Trio in G
Mozart Alleluia

Advanced Ensemble Class
Bohm
Schubert

Performers MUST attend the 4/24 rehearsal to participate in the final concert

Thanks to all for an enjoyable and rewarding Spring session; we’re proud of your progress!

Your FSS faculty

The challenge in music like this, indeed when learning anything new, is making it effortless. To that end, it appears that Milstein is barely working during this highly technical selection. Indeed, in this case it is the economy of motion and simplicity in approach that makes lets the music shine.

Playing a string instrument (or any instrument) is frequently about working less, removing tension and preparing the music to a cellular level. When applied diligently, this philosophy can bring about stunning results, as I’m sure you’ll appreciate if you’ll invest three minutes and watch the video. Enjoy!

Downtown Albuquerque, NM
I’d be remiss if I let too much time pass without thanking my FSS students for allowing me the time to visit the recent American String Teachers Association conference in Albuquerque. I made the trip along with my dear friend and orchestra colleague, cellist Kyle Champion. Also making the trip were something like 2000 string teachers and students from across the USA and beyond, including fellow FSS instructor Wendy Waggener, and Redlands Symphony harpist Mary Dropkin.

New Mexico was beautiful and sunny; the workshops and concerts were inspirational as was the camaraderie and spirt surrounding the event. Certainly string teachers are a diverse group, yet within that group one can find a spirit of generosity and dedication to a common purpose.

Of special note: a recital by violinist Joshua Bell and pianist Jeremy Denk. I heard Josh Bell play a the Mendelssohn Concerto with the LA Phil a couple of years ago; it was indeed an impressive concert. But this recital, which included works by Tartini, Prokofiev, Schumann and Saint-Saéns was even more so. Bell and Denk donated their time to ASTA, and were equally generous with the playing. I can’t remember any musician with as much celebrity as Bell putting so much energy into an evening of music, from first note to last. This while the duo needed to pack up and catch a red eye back to the east coast the very same evening. The music was transcendent; one could have heard a pin drop during the quiet moments in the packed full Kiva Auditorium.

Bell made many an ASTA attendant beam when he thanked the organization from the stage. His big break came after winning an ASTA competition in Minneapolis. A year later he was playing with the Philadelphia Orchestra. Another surprise from the stage: Bell dedicated his encore: March from the Love of Three Oranges, to “his idol” Jascha Heifetz, who penned the venerable Prokofiev arrangement. To me it was a surprise comment from a young player whose extroverted approach seems so different than that of Mr. Heifetz.

Another notable concert: that of the Shanghai Quartet. This virtuostic and innovative group didn’t draw the the big crowds of Bell’s recital. Too bad for those who missed another spectacular evening of all out, take-a-lot-of-chances music making. Perhaps string quartets have an undeserved reputation for being a bit cerebral. Certainly that wouldn’t apply to this group of four young musicians, now resident at Montclair State University in New Jersey. Check out a recording of violinist Yi-Wen Jiang’s quartet arrangements of traditional Chinese folk songs; they are gorgeous and ravishing, expertly written.

Dozens of musicians, artists and educators presented workshops. Mark O’Connor talked about (and demonstrated!) his “New American Classical Music.” My own idol, violinist Darol Anger, led several sessions on jazz and alternative styles. He’s every bit the musical genius that Josh Bell is, in his own unique way. Somehow he manages to touch the deepest part of me, every time I hear him play, even if it’s just a simple old fiddle tune. And there were the youth honor orchestras and ensembles; it’s impressive to see these kids playing so well and excelling in their lives. Kudos!

As my friend Kyle pointed out, a recurring theme for me was attending sessions that focussed on Yoga, Alexander Technique, acting exercises, singing, shoulder injuries and custom fitted chin rests. More and more, I’m realizing the skills of using the body properly, releasing tension and being “in the moment” are vitally important to me and my students. Students: you’ll be hearing more about this in the studio soon!

So again, thanks to all my students, as well as my very first teacher violin teacher Marjorie Marth, who covered my Suzuki group classes while I was gone, and of course to the dedicated folks at ASTA, who put on one of the best conferences ever!