Concepts for Orchestra

The following concepts are related to the orchestra ensemble. Each concepts is related to the performance of an orchestral instrument within the ensemble. Concepts are presented in a reception method rather than having students discover concepts on their own.

1.    Intonation – the concept of playing in tune within the ensemble

a.       Students develop the concept of intonation over the course of their orchestral instruction. Early efforts in proper intonation begin with correct posture and a close listening to their sound. Most beginners are too cognitively invested in the physical action of playing to hear if they are in tune. To that end, I give students finger tapes as visual and kinesthetic aids. Their concept of intonation has more to do with being “on the tape” than actually hearing pitch. Entering their second year of playing, students begin to tune their own instruments to a drone pitch. This activity starts their close listening and develops the concept of intonation as least in regards to open strings being in tune with a drone. As students continue their instruction drone pitches are further used to tune chords as well as individual notes. A “bottom up” concept of tuning the ensemble is added to the intonation “tree.” Students spend time tuning individual chords and warmup activities with finger patterns use repetition to give students time to tune. Entering their later years of instruction, students begin to understand the intonation of intervals like 5ths and 3rds. They also begin to consider the vibration of the instrument that occurs during a well intonated note.

2.    Bowing

a.       Students begin their understanding of bowing with simple up and down strokes. Symbols for bow directions are learned and the execution of correct bowings is taught directly. As students mature, they add different bowing concepts liked a “hooked” bow and a variety of on an off the string bow strokes. Warmup activates and lesson books reinforce bowing. Heading into high school, students begin to consider the strengths and weaknesses of up and down strokes. Students experiment with different directions and utilize different parts of the bow for musical reasons. Once in high school, students are included in bowing decisions and consider the reasons for a particular bowing. Tricky passages are tried with several bowing possibilities and students collaborate to decide on the “best” solution.

3.    Tone

a.       Students begin their instruction simply trying to get sound on their instrument. I remind students to not use too much pressure on the bow and to avoid squeezing their bow hold which hinders good tone. Much like proper intonation, good posture is an important part of good tone. Throughout instruction, students are given listening examples of good tone on their instrument. An aural model is important for students to know good tone. Listening helps students form criterial attributes and generalize about good tone on their instruments. Mechanical factors like rosin and a straight bow are taught in the second and third year of instruction and reviewed throughout their learning. Warmup activities involving slow bows and a focus on tone also aid in the development of this important concept.

44.     Posture

a.       As noted above, posture is important for a number of other concepts and should be well established for students to have success in orchestra. Beginners are given a very specific list of criteria for correct posture. Visual aids like pictures and demonstrations by the teacher help students develop their understanding of correct posture. Students are verbally reminded and sometimes physically adjusted to develop posture. As students get older, they are taught about the importance of tension. Tension in any part has an adverse effect on tone and can cause pain in the player. Students are encouraged to consider tension and move while they are playing (a gentle sway) to ensure a lack of tension. Video performances by professionals help students develop a mental image of both tone and posture. Students cannot adequately consider these concepts without having an “ideal” that they might strive towards.