![]() School orchestra string sections typically represent a range of student abilities, complicating the process of instruction. ![]() Not all of the students are ready for the upper octave. Here are some common hurdles, as well as ways in which you can overcome these hurdles with your students.ġ. Sound Innovations: Sound Development for Advanced String Orchestra,īob Phillips and I identified several everyday hurdles to teaching 3-octave scales in heterogeneous string classes. An experienced high school string teacher once remarked to me, “A lot of the kids, you know, kind of get stuck in the upper half playing light and fuzzy.” Similarly, a studio teacher shared that she encourages students to “hear below the ‘string veneer sound’ in a pitch,” adding: “When they hear below the surface of the overall pitch, tone and intonation greatly improve.” In the scale layout for Too often in school ensembles, each ascending shift seems to shrink the bow into ever decreasing lengths until the student has only the upper third of the stick left. For the right hand and bow arm, the process of playing in upper positions necessitates that students manipulate the variables of sound-bow lanes, weight, and speed-to produce a clear tone quality. Teaching the upper octave of a 3-octave scale and arpeggio routine to a heterogeneous string class can benefit string students in developing a focused tone and lead to improved intonation in all registers.
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