2 new exercise books for violin and viola
the latest publications and new developments for you as teachers are listed below. Everything we present here can be used across all methods (that is our claim). Feel free to send us your questions and suggestions at any time: info@ema-Musik.eu.
Angelika S. Schepke, Erdmute Maria Hohage
Linking basic coordination and rhythm directly with playing technique
It is very important to me to combine the learning of rhythm and the development of coordination directly with the development of the technique of the left hand, i.e. to do both at the same time. For this purpose, I have taken the playing technique "left-hand pizzicato" as a basis and systematically worked it out as a practice technique.
It is characterised by fine, precise plucking with the fingers of the left hand on the basis of rhythms, for example. This makes it possible to directly connect the basic coordination and rhythm learning of the left fingers with the playing technique. The other main points of the practicing technique can be taken directly from the short video. The booklet is designed in such a way that it can be worked through flexibly as a technique booklet from front to back or also according to individual focal points.
Learning arm vibrato
Vibrato learning and teaching unfortunately still remains a big issue, for practitioners and teachers alike. I wanted to supplement the frequently addressed questions, challenges and "coincidences" with concrete solutions and have developed and put together a collection of 39 practice ideas with 90 variations that enable the learning and further development of arm vibrato at all proficiency levels. The booklet includes
- both preparatory exercises that do not yet require a conscious reference to the subject of "vibrato",
- as well as directly introductory exercises and
- those which an experienced player can do daily in order to be able to shape his vibrato more and more consciously.
The main focus besides a proper execution of the movements is to improve the independence between right and left as a basis for a conscious shaping of the vibrato (speed, timbre, etc.). This leads to a very good approache to improve
- to improve the "vibrating through" or
- to combine vibrating with position changes.
I have also incorporated how (vibrato) practice can be made meaningful by involving the whole body.
Created shortly before Corona
The fingerboard attachment we developed (ResoundingFingerboard) is used in both booklets (optional).
We originally discovered its potential when vibrating (everything suddenly became so incredibly light), but it then very quickly turned out that it can do much more. Fortunately, it is also well accepted by young people. With it, they then learn from the beginning through their own experience an optimal balance between stability and flexibility in the finger attachment and in the finger pressure, which, according to my observation, almost without exception manifests itself in "less pressure" and a better "letting go". The resulting "side effects" are all beneficial: e.g. relaxation directly during playing, faster fingers and much more.