Karel Butz is an author for Oxford University Press. His text Achieving Musical Success in the String Classroom is available for purchase.
ORDER YOUR COPY:
Oxford University Press
Barnes & Noble
Amazon
JW Pepper
Books-A-Million
IndieBound
Prices are $38.95(USD) paperback and $108.00(USD) hardcover. E-book format is also available.
Achieving Musical Success in the String Classroom describes the author’s pragmatic pedagogical approach toward developing complete musicianship in beginning through advanced-level string players by incorporating the ideas of Mimi Zweig, Paul Rolland, and Shinichi Suzuki. The author’s philosophical assumptions are explained regarding the structure and purpose of string teaching contributing to a high level of musical artistry among students. Introductory through advanced string concepts relating to instrument set-up, posture, left- and right-hand development, music theory, aural skills, assessment procedures, imagery in playing, the development of individual practice and ensemble skills, and effective rehearsal strategies are explained in a sequential approach that benefit the classroom teacher and student. In addition, several score examples, sample lesson plans, grading rubrics, as well as videos of the author demonstrating his pedagogical ideas and techniques with musicians, are included.
Review:
“A wonderfully accessible book: conversational in style, offering clear, applicable teaching strategies lodged firmly within the pedagogical canon and reflecting the latest research and best practices. With its emphasis on individual student development as a foundation for ensemble development, the book lays out a sequential approach, from the most basic building blocks to advanced musical concepts. Butz reminds the reader that technical growth should be viewed through the lens of music itself and ‘the euphoric effect of music [should be our] chief motivating factor’ as the end goal is lifelong musicianship of our students. Bravo!” — Kasia Bugaj, Florida State University
CONTENTS
Chapter One | Philosophical Assumptions
Zweig, Rolland, and Suzuki Pedagogical Concepts
What is the Purpose of Learning a String Instrument?
Why String Education Matters
The “End Goal” for Students
Establishing a “Healthy Foundation” for Music Learning
Musicianship
Facilitating Success
Parental and Administrative Support
Treating Students as Artists
Personal Mantras
Chapter Two | The First Lessons: Preparation; Parental Involvement; Aural Skills; Rhythmic Training; Written Theory
Preparation
Instrument Sizing
Fingerboard Markings
Preparing the Bow
Instrument Supplies
Method Book Selection
First Year Orchestra Practice Planners
Parental Involvement
Demonstration “Informance”
Aural Skills
“Sunflower”
The Musical Alphabet
Interval Training
Ear Training Worksheets
Rhythmic Training
Marching and Clapping to the Beat
Imitating Rhythmic Patterns
Associating Visual Images with a Rhythmic Pulse
Composing Rhythms
Associating Body Movement with Rhythmic Pulse
Associating Body Movement with Subdivision
Rhythm Flashcards
Rhythmic Dictation
“Clap on beat _____.”
Written Theory
Understanding the Function of the Music Staff
Drawing the Clef
Time Signature
Musical Math
“Up-Down-Same” Note Patterns
Note Identification
Chapter Three | The First Lessons: Tension Free Playing; Posture and Instrument Set-up; Left Hand Pizzicato; Application of Music Theory to Performance; Introductory Lesson Plans
Tension Free Playing
“IU”
Skipping and Clapping
Arm and Neck Stretch
Forearm Stretch
Spaghetti Noodle Arm
Bucket of Water
Jell-O Fingers
1-2-3, Jump!
Sit and Stand
Establishing Proper Posture and Instrument Set-up
Violin and Viola Posture
Cello Posture
Double Bass Posture
“Catch-Phrases” for Maintaining Proper Playing Position
The First Sounds: Left Hand Pizzicato
Swingstrum
“Ant Song”
“D-A-D Song”
Maintaining Correct Left-Hand Position and Finger Patterns
Left-Hand Finger Placement
Left-Hand Thumb Placement
Building a Strong Fourth Finger
Building the Tetrachord
Application of Music Theory to Performance
Identifying Intervals on the Fingerboard
Music Form
“Rehearsal Detective”: Identifying Music Symbols
Music Reading
First Year Orchestra Sample Beginning Lesson Plans
Chapter Four | The Bow
Preparing for the Bow
Establishing Proper Bow Balance
Earning the Bow
Beginning Bow Balance Games
Shadow-Bowing
Applying the Bow to the String
Overcoming Right Hand Tension
Three Foundational Bow Strokes: Martelé, Détaché, and Legato
Teaching Martelé
Teaching Détaché
Teaching Legato
Bowing Analogies
First Pieces Incorporating the Foundational Bow Strokes
“D-A-D Song”
“See-Saw”
“One-Up/One-Down”
“See the Little Monkey”
Rhythmic Patterns Utilizing Martelé, Détaché, and Legato
Applying the Bow to Music Reading
Developing Pitch Accuracy with the Bow
Finger Before Bow (“FBB”)
Singing
Modeling
“I play, you play”
Practice: Isolate the Problems
Individual and Small Group Instruction
Listen with Closed Eyes
Beyond the Three Fundamental Bowings
Bowings That Extend from Martelé
Bowings That Extend from Détaché
Bowings That Extend from Legato
Common Bowing Problems and Solutions
Chapter Five | Rehearsal
Characteristics of an Efficient Rehearsal
Rehearsal: Feel, Hear, See
Rehearsal Design: Environment, Structure, Skill Set
Structuring Student Behavioral Expectations and Responsibilities
Structuring Effective Rehearsal Routine
Process for Developing a Skill Set
Rehearsal: Motivating, Inspiring, and Developing?
Strategies for Efficient Rehearsals
Isolate the Difficulty
Practice “Turtle Speed”
Remove the Dynamics
Establishing Accurate Pitch
“Do You Love Your Sound?”
Isolate Right Arm Motion and Open String Practice
Shadow Bow and Silent Finger
“Spell a Word”
“Metronome-ing”
Morse Code
Inward, then Outward
Practice Ugly!
Four Pillars of Practice
Deeper Level Questioning
Chapter Six | Assessment
Why Assess?
The “What”
The “How”
The “Why”
Differentiation
Differentiation at the Beginner Level
Differentiation at the Intermediate and Advanced Levels
Assessment Non-Negotiables
Macro Before Micro Concepts
Informal Assessment
Ensemble Within the Ensemble
Color-Coded Cards
Show of Hands
“Would You Like Another Try?”
Teacher/Student “Recital”
Hands-On Adjustment
Popcorn
Formal Assessment
Formal Performance Rubric
Anonymous Recorded Tests
Ensemble Tests
Audio Visual Tests
“100/80/60”
Self-Graded Tests
100% Mastery
Summative Assessment
Retest Procedures
Chapter Seven | Intermediate – Advanced Level: Refining Left Hand and Bowing Technique; Music History and Theory
Refining Left Hand Technique
Morse Code
Morse Code with the Scale
Chunking with Morse Code
Double Stops: “Separate/Separate/Together”
Trills
Harmonics
Natural Harmonics
False Harmonics
Shifting
Preparatory Shifting Exercises
“Changing Tone”
Shifting and “Blocking”
Half-Step and Whole-Step Shifts
Isolate the Shift
Expressive Shifting
Continuous Vibrato While Shifting
Retaining Pitch Accuracy
Introductory Vibrato Exercises
Vibrato Exercises with the Bow
Glissando
Refining Bowing Technique
Prosody
Tenuto
Louré and Portato
Accents
Ricochet
Z-bowing
Sul tasto and Flautando
Ponticello
Col legno
Détaché
Sautillé
Spiccato
Viotti
Music History and Theory
Incorporating Music History into the Rehearsal
Interval Relationships
Harmonic Structure
Rhythmic Principles
“Hashing”
Open String Practice
Chapter Eight | Intermediate – Advanced Level: Ensemble Development with Rhythm and Phrasing
Establishing Rhythmic Precision
Associating Words with Rhythm
Clap on the Rest
“Clount” = Clap and Count
Clap and Snap
Tennis Ball Exercise
Signal a Number
Breathing
Stop the Trill
Drop the Dot/Drop the Tie
Stop and Reset
Pulse the Beat
Remove the Dynamics
Popcorn Seating
Reverse Seating
Circular Seating
“Metronoming”
Pizzicato versus Arco
Ensembles
Singing the Melody
Score Study
“S/S/S”: Separate/Stopped/Slurred
Chunking and Chaining
Isolating Awkward Fingering Patterns
Memorization and Closed Eyes
“Play on beat _____.”
Subdivision
Remove the Fingerings
Bow Uniformity
Eye Contact
Leading
Rehearse Like Sections
Phrasing
Audio/Visual Recordings
Punctuation
Phrase Endings
Inner Voice Lines
Lyrics
The “Wave”
Musical Form and Phrase Architecture
“Paint the Sound”
Bow Distribution
Singing
Conductor’s Gestures
Word Bank
Body Movement
Imagery to Establish Character
Karel Butz 