String Class FINGERBOARD GEOGRAPHY
an intonation, note-reading, theory, shifting system
By Barbara Barber
Published by Preludio Music distributed through Alfred Publishing Company ©2008
Reviewed by Vince Corozine and
Cheryl Ciano Havens, Director of Westchester/Putnam Youth Symphony
This colorful book, with its large notes and vivid multi-colored graphics, is appealing for young string players. It is designed to help string players learn how to master the many hand positions necessary to successfully play their instrument.
The author gives fourteen “Principles of Fingerboard Geography.” These are general guides for string players and are tastefully presented in this 35-page book.
The verbal directions at the beginning of each section are a bit confusing, but the exercises are very straightforward and easy to incorporate into a string class situation. These exercises can be used for any combination of instrument-this is a real bonus feature.
The author encourages the use of block fingering. It is important for beginning students to learn to “feel” these finger patterns before removing fingers from the fingerboard.
The color-coding in this book is well ordered. It helps teach the player the various tonalities encountered and the hand positions necessary to play each tonality in tune. This is difficult to do on a stringed instrument. These color-coded charts are a helpful visual aid to assist the students in retaining this information.
Part I jumps right into dealing with the differences of High 1st finger position and Low 1st finger position—a common intonation problem made by young string players.
Part 2 is a valuable way to introduce the Four Basic Finger Patterns. It is also an effective way to introduce string crossings and double stops using these patterns. Part 2 highlights a color-coded diagram for each instrument (violin, viola, cello, and bass) next to the exercises in this section.
Part 3 explores ways to incorporate intervals and other exercises into a string class or orchestra rehearsal. There are helpful charts showing the different intervals, the distance between intervals and the name of the interval. Again, string crossing exercises as well as valuable shifting exercises—gets the student to shift to upper positions early into the playing experience.
I recommend this book as a valuable teaching tool for string players. The author has many books available that represent an exciting variety of styles for violin and viola players. These books are graded from elementary to advanced levels. I urge you to give these books your consideration.
Vince Corozine Music , Author of "Arranging Music for the Real World" by Mel Bay Publications
Web: www.vincecorozine.com
e-mail: vince@vincecorozine.com
(845) 208-3381
10 Veschi Lane North
Mahopac, NY 10541
an intonation, note-reading, theory, shifting system
By Barbara Barber
Published by Preludio Music distributed through Alfred Publishing Company ©2008
Reviewed by Vince Corozine and
Cheryl Ciano Havens, Director of Westchester/Putnam Youth Symphony
This colorful book, with its large notes and vivid multi-colored graphics, is appealing for young string players. It is designed to help string players learn how to master the many hand positions necessary to successfully play their instrument.
The author gives fourteen “Principles of Fingerboard Geography.” These are general guides for string players and are tastefully presented in this 35-page book.
The verbal directions at the beginning of each section are a bit confusing, but the exercises are very straightforward and easy to incorporate into a string class situation. These exercises can be used for any combination of instrument-this is a real bonus feature.
The author encourages the use of block fingering. It is important for beginning students to learn to “feel” these finger patterns before removing fingers from the fingerboard.
The color-coding in this book is well ordered. It helps teach the player the various tonalities encountered and the hand positions necessary to play each tonality in tune. This is difficult to do on a stringed instrument. These color-coded charts are a helpful visual aid to assist the students in retaining this information.
Part I jumps right into dealing with the differences of High 1st finger position and Low 1st finger position—a common intonation problem made by young string players.
Part 2 is a valuable way to introduce the Four Basic Finger Patterns. It is also an effective way to introduce string crossings and double stops using these patterns. Part 2 highlights a color-coded diagram for each instrument (violin, viola, cello, and bass) next to the exercises in this section.
Part 3 explores ways to incorporate intervals and other exercises into a string class or orchestra rehearsal. There are helpful charts showing the different intervals, the distance between intervals and the name of the interval. Again, string crossing exercises as well as valuable shifting exercises—gets the student to shift to upper positions early into the playing experience.
I recommend this book as a valuable teaching tool for string players. The author has many books available that represent an exciting variety of styles for violin and viola players. These books are graded from elementary to advanced levels. I urge you to give these books your consideration.
Vince Corozine Music , Author of "Arranging Music for the Real World" by Mel Bay Publications
Web: www.vincecorozine.com
e-mail: vince@vincecorozine.com
(845) 208-3381
10 Veschi Lane North
Mahopac, NY 10541
