We're grateful to have Lucy Lewis, a trained Suzuki teacher and doctoral student in musical arts at the University of Iowa, share a series of blogs about her experiences at American Suzuki Institute at the University of Wisconsin-Stevens Point. Every summer, the Suzuki Institute hosts a teacher training session at Stevens Point, and this summer Ms. Lewis is one of the teachers-in-training.This entry is Ms. Lewis's second dispatch from Stevens Point and, though it's hard to believe, it's even richer than her first. In this entry, Ms. Lewis shares her admiration for two master teachers at Stevens Point and describes their successful approaches to instruction. It's truly amazing to observe a master teacher at work; what's even more amazing, however, is to observe a developing master teacher – Ms. Lewis – learn her craft.   

Since the last time I wrote I have completed the Suzuki teacher training for Violin Book 8 with Carol Dallinger (Oramay Cluthe Eades Distinguished Professor of Music at the University of Evansville and founder of the University of Evansville Suzuki Program), and I am currently in the midst of doing the training for Violin Book 5 with Nancy Lokken (Director of the Augsburg College Suzuki Program). Both of these ladies are incredible people and masterful teachers, and it has been a privilege to train with them. However, before I detail some of the things I have learned, I would like to share with you some thoughts of wisdom that were passed on to all the teacher trainees in our orientation meeting.

On the eve of starting our first week of teacher training, Pat D’Ercole (Director of the Aber Suzuki Center at the University of Wisconsin-Stevens Point) held a meeting which all the teacher trainees were required to attend. In this meeting she discussed the benefits of doing Suzuki teacher training and encouraged us all to approach our classes and observations with an open mind, no matter our background or current mindset about teaching. She acknowledged that we might see some things that would challenge our beliefs, but cautioned us to be willing to try things before making a judgment call. Evidently, John Kendall once told Waltraud Suzuki (the wife of Dr. Shinichi Suzuki), that he was not sure whether American mothers would be willing to do all that this method required and she replied to him in a heavy German accent – “Why don’t you try it first and then say something!” I for one, am grateful that he took her advice.

Paula Leshkevich has been a member of SHAR’s Educational Sales Department for over four years. Having taught in both private and public schools, she understands many of the challenges facing instrumental music teachers today and works to help teachers spend more time teaching and less time with common frustrations. In her free time, Paula enjoys writing, travelling, and kayaking.This is her first blog entry for the SHAR site.

The first strains of “Twinkle”. A prize-winning bow grip. Ear-to-ear smiles on the first note. The anticipation of a concert. A new class of beginners picking up string instruments for the very first time.

As a new school year approaches, teachers have so many exciting moments to look forward to. Enthusiasm for helping students unlock their musical potential is strong and anticipation of the coming class sessions is mounting. The promise of a fresh start with a new school year is one of the joys that both teachers and students look forward to across the country.

Students file into the room. The bell rings. Bows are tightened. Music is put out on stands. Pencils are ready. Students hold their instruments patiently as you go around the room checking for tuning accuracy. Molly’s pegs keep slipping. Zach’s fine tuner snapped off. Sarah’s bridge is crooked. David’s strings are too high to press down.

Teachers often tell us that much of their teaching time is taken up fixing problems of V.S.O.s (Violin Shaped Objects). Unfortunately, the problems that come up with inferior instruments or problematic set-ups frustrate not only the teacher, but the students who deserve high-quality, functioning instruments to properly learn the basics of string playing. Many teachers can attest that students who experience frequent or serious instruments problems are far less likely to continue in orchestra.

We invite you to share your experiences with V.S.O.s in the classroom.

We're grateful to have Lucy Lewis, a trained Suzuki teacher and doctoral student in musical arts at the University of Iowa, share a series of blogs about her experiences at American Suzuki Institute at the University of Wisconsin-Stevens Point. Every summer, the Suzuki Institute hosts a teacher training session at Stevens Point and this summer Ms. Lewis is one of the teachers-in-training. In her first entry, a reflection before she begins the training (to be followed by two more blog entries, one during and one after), Ms. Lewis explains her love of Dr. Suzuki's method and her high expectations for the training. Ms. Lewis admires Dr. Suzuki's commitment to every child's musical development and hopes that by observing the master teachers at Stevens Point she'll become a better teacher herself. By the end of the blog, Ms. Lewis confirms that she sees the Suzuki method not only as musical training but as "life training." 

As I am writing this blog, I am currently en-route to the American Suzuki Institute at the University of Wisconsin-Stevens Point (with eager anticipation!) to do Suzuki violin teacher training for Volumes 5 & 8 of Dr. Suzuki’s “Mother Tongue” method. This summer will mark the fourth year in a row that I have been attending the American Suzuki Institute to do Suzuki violin teacher training and I have grown to look forward to these two weeks out of my summer more than anything else. “Why?” you might ask.

First, let me share with you a bit of the history of this particular institute. This institute was founded in 1971 by the late Marjery Aber, who was one of the first to study with Dr. Suzuki in Japan. This is the first institute that Dr. Suzuki visited in the United States and under Ms. Aber’s leadership (and currently that of Pat D’Ercole’s), it has since become a flagship model for other institutes that have spread across the nation.

Every summer world-class faculty, along with students, siblings, parents and teacher trainers gather together to play, teach, grow and learn from each other in this little town affectionately known as “The Point.” The atmosphere is charged with positive vibes and I firmly believe that one would have to go a long ways to find a happier group of people than “Suzuki-ers.”

We're very pleased at SHAR to share our first guest blog from the talented violinist and educator Christian Howes. Although a classically-trained musician, Mr. Howes made a name for himself in the New York jazz scene in the '90s, playing with renowned musicians such as trumpeter Randy Brecker, pianist D.D. Jackson, Bill Evans’ Soulgrass, crossover pioneers Spyro Gyra and the legendary guitarist-inventor Les Paul. In addition, Mr. Howes is a former associate professor at the Berklee College of Music and was the founder of the Creative Strings Workshop in 2003. It's fair to say that all these passions – classical music, jazz and rock, and teaching – show up in Mr. Howes's fascinating blog article. The article asks an essential and important question for music today: Is it possible to bridge the cultures of rock and jazz with the culture of classical music education? And if so, how can classical musicians harness the creative energies of rock and jazz?   

We tend to ascribe values to ourselves which don't necessarily coincide with how we spend our time. For example, even if I really wanted to, I couldn't call myself "athletic" if I only exercised once every other week. It wouldn't matter how much I think, deep down inside, that I'm athletic.

In May of this year, we shared an article with our email subscribers titled "The Value of Music Degree." The article argued that a music degree, while it may not lead directly to a job, is still worth earning because of how much it can enrich one's life. The response was overwhelming: many musicians disagreed with the article and felt that their degree sent them out into a tough economy with few practical skills; others could not imagine their lives without their music degree, or without music at the center of their lives, no matter how tough it is to make a living as a musician. One of our readers, Susan Speicer, agreed to share her experience as a recent grad of Washington State University's School of Music. Even though Susan hasn't landed a symphony job (yet!), she's doing fine: she teaches and works at violin shop; she serves as an administrator for a youth symphony; she coaches and makes violin jewelry; and she writes a music blog. What we love about Susan, besides her obvious dedication to music, is her willingness to try out the different niches of a career in music, whether that's teaching, business, administration, or playing.   

Over the years I have purchased sheet music, borrowed violin sheet music from the library, and given away scores upon scores (pun intended) of other pieces of violin sheet music. But of all the pieces that have been given and taken away, I have found that the following five books will stay with me.


5. The Fritz Kreisler Collection, Volume I (1937 105)

We were overjoyed to read this guest blog from Melinda Rice, a violinist and teacher for the Youth Orchestra Los Angeles Program at EXPO (which is a partnership between the LA Philharmonic, Harmony Project, and the LA Department of Recreation and Parks) and Harmony Project. Not only does Ms. Rice's entry convey her passion for music and teaching, it makes a compelling case for learning American music through the O'Connor Orchestra Method. When Venezuelan musicians visit the LA Philharmonic and honor the musical traditions of their homeland, Ms. Rice realizes that through the O'Connor Orchestra Method she is teaching her American students their own native musical language.    


I want to tell you about something wonderful that is happening with children who want to play a stringed instrument. If you are a string teacher who works with group classes and orchestras, like I am, then I think you’ll want to know about this. If you are a private teacher, like I am, then I think you’ll want to know about this. If you love classical music, and long to internalize theory more, then I think you’ll want to know about this. If you are an adult learner who always wanted to play the violin/viola/cello, then I think you’ll want to know about this.

It was two-and-a-half years ago that I was introduced to Mark O’Connor and to his method for teaching string playing through the classics of American music. The method seemed simple and logical – foundational instruction in string playing using songs from the rich American heritage of old time tunes, negro spirituals, jazz, mariachi, and songs from composers from Europe inspired by America. Simple and logical is exactly what I strive for in teaching, and I was inspired to start using the method right away. It has only been two and a half years, but I want to share what I have learned as I taught foundational skills through the American music tradition.

I started off working with two beginning violin classes of about ten students each, and each of these students received a Level 1 book and CD. We met bi-weekly. The kids really liked learning the violin, and many of them started coming to both classes. Most of them got to class early, stayed in the building late, or played music with each other outside in the courtyard after their group class was done. These students are part of an orchestra program, and when they started orchestra, the skill of reading translated into reading skills in orchestra. The skill of adjusting pitches in class while listening to accompaniment translated into adjusting in orchestra. Before rehearsal, I often saw a few of them jamming on either an orchestra tune, or jamming on a tune from the Mark O’Connor method books. Even now, when many of them have moved to other group teachers (this is part of the structure of our program), I still hear them playing improvisations on tunes like Boogie Woogie in between orchestra rehearsals.

As an American, I appreciate that this method begins with a song first sung and played by African Americans who were slaves in this country as recently as 150 years ago. Not only is Boil ’em Cabbage Down a terrific song and a piece of our history, sharing it with students communicates a message of transcending circumstances, and living with our history. I also appreciate that the method continues with pieces from across the genres of music developed in America – from old time tunes and bluegrass to negro spirituals to boogie woogie to jazz to American composers like Joplin and Europeans like Dvorak writing with the influence of America. The music that this method draws on is a unique American heritage, a blend of styles that come from the convergence of African, European, and Native American tradition in one place, communicating with one another in the language of music. I have been richly rewarded with a more colorful and nuanced understanding of the country I live in as I teach from the O’Connor books, and my students get excited to find out that some of the people who signed the Declaration of Independence were playing tunes that they are now learning.

This past semester, I lead a beginning string orchestra in playing Mark O’Connor’s arrangement of Boil ’em Cabbage Down from his orchestra series that corresponds with the method books. Students worked on their parts in group classes, and came together to play in orchestra. We talked about structure, melody and harmony, and root notes in I, IV and V chords through this one piece – the arrangement made it easy for the students to demonstrate these concepts within their parts.

The students are also building foundational skills in creativity. They practice improvisational soloing in class, and they get to make simple and small choices about dynamics, rhythm, and pitch. In parts of the American tradition (and in fact in many traditions around the world), a piece of music can be arranged authentically in different ways, depending on how the musicians want to communicate the music, including factors like the instrumentation available. This is reflected for the students as we listen, practice, and talk about the piece in different ways.

At the site in Los Angeles where I work with these young musicians, we have been given the gift of inspiration and aspiration by the LA Philharmonic’s conductor Gustavo Dudamel and by Venezuela’s El Sistema. Our students hold memories of and treasure the mentors who join us from the Phil, and our visitors from Venezuela. As a teacher, I am inspired by the joy and vivacity and virtuosity of our visitors from Venezuela. When our orchestra plays arrangements of a Beethoven symphony and of Gerardo Matos Rodriguez’s La Cumparcita, we are exploring different musical languages together, striving to understand what each is communicating. Our own musical experiences are our preparation for understanding these languages. When two violinists learning fundamentals pick up their violins and arrange the classic Oh! Susanna as a duet, choosing the number of repeats, who will play the melody when, and who will play the chords when, they demonstrate tools for engaging with structure and harmony that can develop their love of music from around the world, from many times in the history of the world. At the same time, they are following in the steps of other musicians who have honored the musical traditions of their homeland, just as we have witnessed in the Venezuelan youths who visit and perform around the world.

I am taking a moment away from working with the young musicians who are my students to write this because I want to share what I have witnessed. I am grateful for the tools for training that I have been given from so many generous musicians, and especially from Mark O’Connor. I am sharing this because it has been truly wonderful in my teaching and musical practice, and when something is wonderful, it is important to share.

Wedding season is underway! Do you have the sheet music you need for all of your upcoming wedding performances?

For advancing players, or established players who want to try something different, there's a lot to consider when upgrading your set of strings: Where do you typically perform? Do you want a string set suited for solos or ensembles? Which string set will draw the most out of your particular playing style and instrument? This graph will help you navigate (almost) everything you should consider!

Projection: Next to each string set there's a graphic that indicates that set's level of projection. The levels of projection range from "Mild" to "Aggressive."

Smooth/Textured: The X axis (horizontal) depicts the continuum between smooth and textured string sets. Textured sets are complex sounding with many colors and rich, resonating overtones. Smooth sets are very clear and focused. The tone is clean and straight. 

Direct/Subtle: The Y axis (vertical) depicts the continuum between direct and subtle string sets. A direct string set has a brilliant, distinct tone designed for soloists to cut through piano or orchestral textures. A subtle set doesn't overpower. They blend well and often have a dark undertone.

Click on any string set to check availabilites and prices, but you should aslo feel free to call our string experts for extra guidance!   

For most of us “classically trained” violinists, the thought of installing a pickup is confusing, frightening, and weird. The good news is that it isn’t as complicated as it seems and we have a variety of options to suit your individual needs!

If you are trying to play your instrument in a venue where everyone else is amped, miked, and generally just LOUD, then you will probably want to get a pickup for your instrument. Trying to play into a microphone or a condenser mike can work for you on occasion, but if you consistently find yourself being buried beneath electric guitars or drum sets then you’ll need some help. Besides, a pickup can help produce a better and more natural sound than a microphone will.

Essentially, a pickup is a small device that attaches to your instrument in the bridge area which converts physical vibrations into a digital signal. You can plug the pickup into an amp, and BAM – now you’re loud. It’s pretty simple! So, if you think you need a pickup, the next step is to determine your needs. Here are some things to consider: