Logo

Recommended Technique Curriculum by Heidi Castleman

The following post is by Heidi Castleman.

This is a more detailed version of the curriculum given in the earlier post, “Job Description for a Viola Student“.

 

(K = Kreutzer, T = Tartini, Art of Bowing)

Left Hand Faculty

  • Sevcik, Op 1, Pt 1
  • Ondricek,Emanuel:Superior Finger Exercises for Violin
  • Mazas I, 13-15, 19
  • Mazas II, 54-56
  • K#9, #23
  • K#15-22 (trills)
  • LH Pizz (Sevcik, Op 1/4,#19)
Shifting
  • Shifting warm-ups:
  • Same finger, 1st-7th
  • Substitution shifting
  • One string 2 8va arpeggios
  • Basic Shifting  see Catherine Consiglio Scale and Shifting Book (Wichita State University)
  • Sevcik, Opus 8
  • Flesch one string
  • Dounis (Artist’s Technique of Violin Playing, published for viola): double shifts and long shifts
  • Mazas I, 20
  • K#1,#11
  • Rode #11                  
Scales
  • One position scales and One position broken 3rds
  • Castleman / Koob – The Tonal Application of Finger Patterns to Viola Scale Technique (Amazon)
  • Melissa Matson – One position finger pattern scales (mmmviola@rochester.rr.com)
  • 3 8va Major, 3 8va Melodic minor and 3 8va Harmonic minor
  • Catherine Consiglio Scale and Shifting Book (Wichita State University) and
  • Ellen Rose, Extreme Viola (SMU)
  • Chromatic              
Arpeggios
  • One position arpeggios  Ellen Rose, Extreme Viola (SMU)
  • 3 8va arpeggios  Catherine Consiglio Scale and Shifting Book (Wichita State University
  • K#12

Scale Routines

  • Slurred @50
  • Slurred @60
  • Slurred and separate
  • detache
  • spiccato
  • sautille
Double Stops
  • double stops    Ellen Rose, Extreme Viola (SMU)
  • Sevcik, Opus 9
  • Double stops in Basic Shifting format
  • Kourgov     Vamos “Exercises for the Violin in Various Combinations of Double-Stops  Carl Fischer Music
  • K #24/25/32-42
  • Rode #19, #20, #23
  • Flesch

Sevcik, Opus 1, part 4:

  •    8vas #3, #2, #1
  •    3rds #7
  •    6ths #11
  •    arpeggios #13-16
  •    LH pizz +ds #20
  •    harmonics #21
Long Tones
  • Sevcik, Op 2, bk 1, #4 16bts@60
Chords
  • Sevcik, Opus 3, #39, #40
  • Sevcik, op 1, pt 4, #17, #18
Detache (middle, frog, tip)
  • Sevcik, Op 2, bk 1:  #6, Var1 (mm.78,92,116)  and #6 also half note = 60-140
  • Dounis   Artist’s Technique of Violin Playing, (published for viola)
  • Mazas I, 4-6,
  • K#2,#5,#8,#10,#26
  • Rode [2 4 6 8 9 10 18 22 24]
  • Ries Perpetual motion
  • Paganini Perpetual motion
  • Novacek  Perpetual motion
Mixed Bowings
  • on scales: 3+1, 1+3
  • Mazas I, 16-17
  • Mazas II, 43-44,48-53

Sevcik. Opus 2, bk 1 (use mm and bow distribution)

  •    #3,var 7,8,9
  •    #4, var 40, 41
  •    #6, var 22,23
  •    #7 var 3, 4, 28, 29, 37 (mm.52, 60,68)
  •    #15 var 21, 22, 23 (mm52, 64)

Staccato Class Strokes

colle, martele

  • Sevcik, Op2, bk1, #5
  • T#7 29 39 45 49 50
  • Mazas I, 2, 3, 10-12
  • Mazas II, 33-34, 37
  • K#6, #7
  • Rode #5, #7, #17, 21

staccato         

  • Mazas II, 47
  • K#4
  • T#45, #46
Off-the-string Strokes
  • Sevcik Opus 3     (selected)
  • Mazas I, 28-29
  • Mazas II, 45-46
  • T#11
String Crossings
  • Ysaye      Exercises and Scales (for violin: Schott)
  • Casorti   The Techniques of Bowing. Op.50  (for violin)
  • Mazas I, 21-22
  • Mazas I, 32, 39, 42,
  • K#13,#14,#27-30
  • Rode #3, #12
  • 1 position broken 3rds
Bow Expression

Suggested methods for practicing the elements that vary sound (weight, speed and contact point) are:

@60 = a beat/ use 4 beats per bow/ use whole bows

  • Isolate the specified element and vary only it,
  • Produce musically useful sound
  • Switches to the opposite should be immediate
  • Weight: Heavy/Light (change weights from shoulder blade) arrange  beats in different patterns of heavy and light, always 4 beats/bow
  • Contact Point: Away/Close (change using upper arm and fingers) first do one set of away from bridge and near bridge/bow, then 2, 3, 4, 6, 12
  • Bow Speed: Speed/No Speed – one set of speed/no speed/bow; then 2 sets, 3, 4, etc.
  • T#16, #21, #23
  • K#5, T#3
  • Rode introductions #1, #4 #6 , #9, #14, #19

Bel canto Playing

  • Mazas I,#1,7,8,18,27
  • Mazas II, #31, 35

Sight Singing

  • Intervals
  • Arpeggios
  • Chromatic scales
  • Whole tone scale
  • Lars Edlund, Modus Novus (atonal sight-singing)
Sight-Reading
Rhythm: Accuracy
Rhythm Practice Methods: Interpretation
  • Counting Aloud
  • Conducting
  • Walking the Large Beats
  • Playing Freely
Vibrato
  • Fingertip
  • Wrist
  • Arm
  • Ability to vary

Difficult Keys

  • Rode [11 12 13 14 15 16]
Fingerboard Knowledge
  • Gavinies [not 1 3 15 24]

High Positions

  • 1 position scales & 3rds, arp, 5th through 9th positions
  • reading in Op 8 staying within 5th through 9th positions
  • Sevcik, Op 1, bk2
Body Balance
  • Alignment
  • Breathing

 


Comments RSS Both comments and pings are currently closed.

Comments are closed.