Week 1: reading notes, basic rhythms (half, quarter, eighth, whole notes). They learned the notes  pretty quickly, but had trouble processing the concept of rhythm (when I asked to clap twice as fast, they just clapped really fast, not two claps per beat. I explained how many notes per beat they should clap, but most of them only learned by imitating my clapping pattern, not by reading the notes.)

Week 2: I should go over basic rhythms again and try to reemphasize the concept, and review notes. I also need to go over rests again, and introduce time signature. I am working on making a printout that covers each lesson's basic information in a simple format using noteflight and ms paint.


I started teaching on Wednesday and continued Friday. I helped with recommendations for a Bach string quartet (Aria), specifically with the violin 1 and violin 2 parts regarding intonation, dynamics, and rhythm. I gained a student through Wesley Rankin (lessons on Monday) and am helping lead their music club. The time I spent in orchestra helped me get into the mindset of identifying problems. Although I saw a lot that could be improved, the challenge was limiting it to things that could be quickly improved because of the upcoming competition date.


Followed up with Wesley Rankin community center. In the meantime, found resources on music education to build on a comprehensive curriculum using, This blog discusses the use of technology in music
Music theory curriculum:


Teaching the left hand:
Focus on the contact points: on the right side, hold the neck right above the base knuckle joint of first finger. On the left side, hold by the pad of the thumb. Thumb should be relaxed and straight, there should be a U-shape under the neck between thumb and first finger, there should be no squeezing. Wrist should be straight, fingers always curved. The challenge is in placement; learning the correct placement of the notes without markers takes time. Intonation is tricky because there is no visible marking of where to press. I could have students sing the scale on each string using a tuner, then have them match the note on the violin. Students should place all fingers down at once to secure the position.

Imagery helps in performance anxiety: A way to prevent memory slips and redirect focus onto music is to create a story or imagery that is associated with the piece. Noa Kageyama's blog has articles th…

12/13 and 12/15

Continued correspondence with Wesley-Rankin Community Center (they have an after school music program, which I am able to volunteer in and teach violin/piano.)

Worked on final paper:
key notes for right hand bow technique from Ivan Galamian, one of the most prominent teachers of the 20th century:
-demonstrate fluid bowing motion without holding the bow, using only forearm and relaxing the wrist
common problems: stiff 4th finger, aversion of lower half of the bow, stiff arm and abrupt bow changes, low elbow
- "Ivan Galamian describes his bow hold by placing the tip of the thumb both on the stick and the frog opposite to the middle finger forming a circle. The index finger is positioned at a minimal distance from the middle finger and touches the bow at a point between the nail and middle joint (closer to the middle joint). The middle finger contacts the stick at the nail joint and the ring finger is positi…


Contacted Wesley-Rankin Community center, inquired about their after-school music programs. I researched various teaching methods that would be synergistic with kids and compiled a list of things needed to happen in preparation. (violin sizing, learning how to read music notes and rhythm, inspiration, convincing them to keep playing, etc.) The teaching methods used by violinmasterclass are good for instilling a proper foundation in beginning musicians. The hardest part would probably be getting kids to listen to me without nagging.


Absent all day at state robotics competition.