The Invincible Violinist Parents Guide to Violin and Violin Lessons

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Parent’s Guide tothe ViolinA Practical Guide to Violin Lessonspresented by InvincibleViolinist.com

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The InvincibleViolinist.comParent’s Guide to the Violin and Lessonsby Bill Alpert

Dedicated to my parents who shared a deep and

abiding love for music and inspired the same in me .

You are free to share this book with anyone, but please do not alter or extract it inany way without written permission. For information visit:

http://InvincibleViolinist.com or e-mail: [email protected]


http://invincibleviolinist.com/


mailto:[email protected]






Preface

The Real Key to Mastering the Violin (or any other life project)

When your family begins a violin journey, the excitement and

interest level will always be high. Just like a marriage, this initial

excitement won’t necessarily sustain a long term healthy rela-

tionship.

As Tiger Mom has notoriously pointed out, children left to their

own devices won’t want to work. There’s much truth to that

statement. If you’re picturing violin as a fun or recreational activ-

ity, think again. The real fun of violin (or any musical instrument)

comes with continued growth and mastery. It can bring joy and

fulllment to your life, and enhance it beyond description.















What Every Parent Faces

Expect challenges from the very start. As a violin parent, your role is

that of ceaseless benevolent dictator. Your mission is to guide your

child’s practice to an always positive outcome. To help her learn

that she “can” conquer the challenges, to keep him always inspired

and motivated. And to simply show up and work, day after day.

Your kids don’t need a lame pep talk to get them to practice. They

don’t need false praise when they produce mediocre work. Instead,

they need a practice strategy that automatically produces the mo-

tivation to continue and grow. They need an appropriate level of

challenge, and the tools to meet the challenge.














Mind Games

The most important tool for a child (and for any Invincible Violin-

ist) is a healthy internal dialog. That of course, extends far beyondthe practice room.

When posed with an inevitable problem, seven year old John,

might think (or even verbalize) “this is beyond me.” As a result, his

practice routine will consistent of an unbearably dull sequence of

“let’s try it agains” until boredom shuts him down completely. Hehas metaphorically left the room and shut o the lights. Comple-

tion of this project was led in the “someday” or “never” category.

Let’s wind the clock back a few years. Erase any undesirable pam-

pering, spoiling and indulgence. Replace it with a healthy sense of

independence and self ecacy.

















Now John’s internal dialog is more like: “my family and teacher

gave me this age appropriate task, and so they expect me to com-

plete it.” And before long, the “impossibly” dicult becomes theeveryday.

John doesn’t yet have the ability to practice independently, but

his “I can” belief system stimulates a vastly higher quality of work

along with a generous dose of motivation and inspiration. The

process becomes fully enjoyable for everyone involved.

So many kids left at music lessons are like ship passengers strand-

ed on a life raft. Without propulsion, they will oat aimlessly at

sea. But the minority of kids fortunate enough to have good teach-

ing, appropriate family support and a self-empowered mindset

will excel. Those are the kids we call “talented” but rarely, if ever,is native talent the real driver of their success.

















Your Part of the Deal

You are the unsung hero of your child’s success. You keep her on-course and inspired. You

provide the proper resources and environment. You show up for practice too. You train her to be

independent and resourceful. Music is a part of that.

Practice Tool Kit

The Invincible Violinist program is rooted in three very basic, but frequently overlooked prin-

ciples:

1. Clearly dened objectives for practice

2. A systematic success-based practice strategy3. Visualization/Imaging and Repetition

This tool kit will provide a sound foundation and springboard for your child’s success.

Best Wishes Upon Your Violin Journey!

--Bill Alpert

http://invincibleviolinist.com



















Chapter 1Common Myths





6 Common Myths about Learning the Violin

Is what you’ve heard true? Your questions answered by a profes-

sional violinist and violin teacher.

Myth #1: Violin is a dicult instrument

False. If taught (and learned) correctly, the violin can be played

with ease. Watch a great violinist, and you’ll be amazed by the

eortless movements he/she makes while playing. On the other

hand, watch a poorly taught student and you’ll see clumsy move-

ments, grimaces and tension throughout the body.













Whether you want

to play ddle,

classical, jazz or

rock, the violin

can do it! Great

violinists cover every known mu-

sical genre.

Myth #2: The violin is best learned at a very young age

False. Mostly false. I’ve seen a few students make a good

start at the age of 3 1/2 or 4, but they’re in the minority.

Learning the violin is a highly structured activity that re-

quires a certain amount of focus and physical stamina. More

often than not, you’ll be ne at 5 years and up, providedthere is good instruction and family support.

Keep in mind that kids under 11 need to practice with a par-

ent, not independently. Plan your schedule accordingly.





















Buying a violin

online can be a

risky business. An

instrument that

looks great can be

unplayable whenit arrives. Look for

a referral.

Myth #3: Buying a violin is expensive

False. A well built, pleasing and playable instrument can be

purchased for a reasonable price, in the range of $400-500.

Still, to the untrained eye, most violins look about equal,

so it’s easy to be duped into buying junk if you don’t know

how and where to shop.


















Reputable dealers

allow you to “test

drive” an instru-

ment and bow for

a week or two.

Take advantage of this to get your

violin checked out

locally.

Myth #4: My son/daughter can use grandpa’s old violin

Maybe. Or maybe not. A violin must be properly sized to its

owner. Custom tted accessories need to be added. It’s easy

to get fouled up with this. Even if everything ts and is well

built, most instruments from the attic will need to be ad-

justed by a violin shop so they can be properly played andtuned.




















Violin practice

for kids should be

treated just like

school work: do-

ing your home-

work is not op- tional!

Myth #5: I’ll know if violin is a good t for my child if we

just “try it for a month.”

False. This is pretty much the equivalent of saying “Let’s

put Johnny in rst grade and see if he likes it.” Almost

certainly the “fun” will be over after the rst few lessons.

Kids don’t see the value or the responsibility ahead.

Your child can and will succeed with violin. It’s your job as a parent to make it so. Your duty to provide the inspiration,

tools and attitude of success.

It’s serious business. Drop any fantasy of thinking you can

leave the kids at violin while you run errands or read a

book.

























A Violin Journey

requires a patient

guide to help the

student navigate

the many hazards

along the path.This speeds the

trip and makes

each milestone a

pleasure!

Myth #6: I don’t really need lessons; I just want to learn to

play a few songs or to “ddle.”

False. You’ll need expert help with tting the instrument and

accessories, holding the violin and bow properly and produc-

ing a decent tone. Don’t expect the clerk at your local music

store to help you with this while he’s busy selling trumpet

mutes and sheet music.

Nor is it reasonable to expect you’ll be able to learn the

basics by watching YouTube videos. I’ve heard of a few “self-

taught” violinists, but personally have never met one, in a

lifetime of playing and teaching.


























Chapter 2Where to Buy a Violin andHow to Find a Good One






Wait, don’t buy:

That violin simply

may not work!

Finding the Right Violin

“My son just got a new violin for his birthday and now

we want to get lessons!”

Ouch! I’ve heard a version of that story from enthusiastic

parents hundreds of times over many years. More oftenthen not I’m faced with having to break the bad news.

That violin just simply isn’t going to work.

Sometimes it’s the wrong size. Yes, violins come in a

multitude of sizes. An inch or two can be a huge issue for

a young violinist.
















Often factory made violins are of poor quality; many are

virtually unplayable.

But for many parents the biggest surprise of all is this:

A four or ve year old won’t need a violin at all for her

rst lesson. And likely won’t for weeks, possibly even

months.

Some of the best violin teachers spend weeks building

up to that special moment, when your child receives his

rst real instrument. Up until then, he’s been gaining

skills, and and increasing strength. A home made card-

board “violin” and inexpensive wooden bow are fre-

quently used for this purpose.

Some of the best

violin teachers

spend weeks

building up to that

special moment…





















OK, I’ll conceed that it’s possible to begin on a real in-

strument from day one. But depending on age and avariety of variables that can be a huge mistake that ulti-

mately ends your family’s violin journey before it even

begins.

Q: So, where should you buy a violin, and how can

you nd a good one?A: Don’t! And you probably won’t!

My best advice: Don’t buy a violin without qualied

help. And I don’t mean the teenage clerk at the music

store in the mall who also sells trumpets and clarinets.



















Same holds true for violins bought mail order or over

the internet. Buyer beware! If nothing else, make sureyou are purchasing from an established reputable violin

merchant who oers a trial or return privledge.

One of the best reasons for working with a great violin

teacher is that you’ll have a guide who can help you nd

the perfect instrument at the perfect time. That’s wortha lot. And more often than not, that can mean the dier-

ence between failure and success.

The right instru-

ment can make the

dierence between

failure and success

















Chapter 3Top Ten Questions ParentsAsk About Violin and Lessons






Wait, don’t buy:

That violin simply

may not work!

1. Is my child old enough to start violin?

Somewhere between four and eight years is the best

time to begin a violin journey. That’s a wide range, and

your child will t in based upon a number of factors

such as the child’s maturity, motor control, available

family time and most of all: your level of patience. Be-

yond these factors Invincible Violinist parents can use

a simple test in the appendix of this book to determine

musical readiness.

2. Suzuki or Traditional?

This question can be the source of much confusion, but

here’s what you really need to know. Suzuki instruc-




















tion is very traditional in approach. So don’t worry that

your student will be missing out on any aspect of violintechnique. Plus, Suzuki comes with many other ben-

ets, not the least of which the ability to get up on your

feet and build stage condence at an early age. On the

other hand, this choice in itself won’t make or break your

results. Instead focus on nding a great teacher that you

are comfortable working with, and doing the best possi-ble work with that person. Suzuki teachers are often very

experienced in starting young violinists from scratch. It’s

a key factor to look for in your search for a teacher.

3. Should I consider piano lessons instead?

Some of the best

violin teachers

spend weeks

building up to that

special moment…




















Absolutely. Especially if your child is very young, or

physically small in build. For most children piano mightis a bit easier at the very beginning. But before long,

the rigors of the keyboard can meet or exceed those of

the violin. Whether you choose piano or violin, nding

a great teacher and doing great work with that teacher

are really more important to success than the choice of

instrument.

4. How much does a good violin cost?

The $100 violin and bow outt you nd on the internet

will likely be unplayable. These instruments can be a ma-

jor source of frustration to students and teachers alike.

Expect to pay several times that amount. Alternatively
















you can rent a good quality instrument from a local vio-

lin shop.

5. How much do lessons cost? Should I consider group

lessons?

Private studio lessons can be a great value; they of -

fer you an individualized course of instruction that willspeed up progress and enjoyment on the instrument. You

can expect to pay $100 a month and up for weekly les-

sons, largely depending on the skills and level of instruc-

tion you are seeking.

Group lessons can oer a lower price, however you’ll

often receive a lower quality of instruction and certainly

Private lessons

may be a more

cost eective way

of gaining skills on

the violin.





















much less individual attention. Unfortunately, group

classes are often led by teachers with very limited expe-rience on the violin. This can lead to bad playing habits

which are almost impossible to surmount.

There are a very few excellent group or school programs,

generally led by credentialed experienced string teach-

ers of an exceptional level. If you’re lucky enough to nd

such a program in your community, certainly take advan-

tage of it! Please note some excellent group programs

are intended only as a supplement to private lessons.

There’s no substitute for private instruction in a great

studio, if you are serious about your violin journey.

Some excellent

group programs

are intended only

as a supplement

to private lessons,

not a substitute.





















6. I found a violin. What is its value?

That violin you found at a garage sale or in your attic

may have some monetary value, but the chances arevery slim. 99.9% of such nds are cheap factory made

instruments in an unplayable condition. Often the cost to

x them up exceeds their resale value. If you know that

you own a quality student or professional level instru-

ment, the best way to determine its value is to have it

appraised. There’s generally a cost associated with suchan appraisal, though a local violin shop may oer you a

general indication of value as a courtesy.

7. Will my old violin be OK for my son/daughter?

This depends on three main factors: the quality of the

instrument, it’s current actual condition and its size. All

The right instru-

ment can make the

dierence between

failure and success





















three of these factors must be considered. A poorly built

instrument that looks brand new may be completelyunplayable. Any violin of the wrong size can end a violin

journey before it even begins.

Invincible Violinists know that the challenges of the

journey require a correctly sized violin in a fully playablecondition. This is one of the most important things your

teacher will help you with.

8. How can I nd a good violin teacher?

If you’re truly serious about your family’s violin journey,

A poorly built

instrument that

looks brand new

may be completely

unplayable.



















there will be a perfect teacher for your family. A success-

ful search should begin with respect for the teacher’sdevotion to the art of teaching. Show that you value your

prospective teacher’s time and accomplishments in your

conversation. Do your homework (you are doing it now!)

and ask intelligent questions.

A great teacher will want to know that you’re going to

fully support the student and follow the prescribed course

of study closely. Yes, that teacher has the right and re-

sponsibility to “audition” your family just as you are

evaluating his/her tness for your needs. You must earn

the respect of your prospective teacher to secure a spot

in the busy studio of a top teacher.

Your prospective

violin teacher is auditioning you!





















Certainly don’t open the conversation with that all too

common (and irritating) opening: “how much do youcharge?”

Begin your search by seeking a teacher that has a dedi-

cated studio in place, and spends much of his/her time

with students that are similar to your family. Invincible

Violinist is creating a growing list of such teachers, and

you are welcome to [contact us] for a possible referral in

your area. We also welcome inquiries from teachers as

well.

9. Do I need to replace the strings on my violin?

Yes, strings require replacement. and likely they’ll need

to be replaced before they break. Old strings lack tonal

Never open the

conversation witha prospective

teacher by ask-

ing this question.

Never!






















quality. Worse than that, they can make your pitch inac-

curate.

When you change strings, consider a bit of experimenta-

tion. The best sounding strings for your instrument might

only be discovered by trying dierent brands. Also, keep

in mind that you can mix strings of dierent brands as

needed. Change them when needed, not necessarily all

at once.

It’s important to learn how to properly install and main-

tain strings. This can prolong their playing life to a great

extent.

10. Do I ever need to replace the hair of my violin bow?















Bow hair is denitely a maintenance item. Its life can

range from a few months to a couple of years dependingon how much use it gets.

Try to keep your ngers from contacting the hair of the

bow; oils from your skin can stain it and reduce its life.

Use a quality bow rosin to maintain the tone quality your

bow produces, but don’t overuse it. If your violin and

case looks like it’s been hit by a snowstorm, you’re likely

rosining too much or too frequently.

Some cheap “kit” bows may need hair prematurely.

You’ll likely be told that the cost of re-hairing exceeds

the actual value of the bow. In this case it would make

sense to invest a decent quality bow.

“Kit” bows are

cheap add-ins typically bundled

with low priced

violins





















A good bow is just as important to your playing success

as the violin itself. There are many issues related to bowand hair maintenance. Let your teacher be your guide in

this regard.

A quality bow is

equally important as the quality of

the violin itself.











Chapter 4Taking the STRESS Outof Music Practice






Music Practice Minus the Complaints, Arguments and

Stress

How is it possible to create a stress free, 100% com-

plaint free practice environment for your children?

Short answer: it isn’t! At least not for the majority of

students. That said, it’s possible to create a healthy

relationship between your child and her music practiceactivities.

For time eternal, kids have complained about everything

from brushing their teeth to picking up their room. Still,

it’s simple to minimize the complaining while at the

same time maximizing the results by setting up the prac-















tice correctly. Being an eective practice guide is one of

the most important jobs of both the teacher and parentof an Invincible Violinist. It’s a bit of a team eort.

Just to be clear, this article is about structured music les-

sons, with a dedicated teacher and family. This is a long

term project that requires sustained eort.

It’s not something you can tuck between soccer practice,dance class and homework, when you can “get around to

it.”

How to Screw Up Lessons Before You Even Get Started

Tell your kids (or even just think to yourself) something

like “Let’s give violin a try, and see how Suzy likes it.” It’s

The innocent com-

ment that canscrew up your

kids’ music lessons

before they even

start!





















an approach that will more times than not end in failure.

Instead, approach music instruction just like you would

an academic subject like English, math or Social Stud-

ies. Or even showing up for soccer practice. Your kids

shouldn’t have an option to opt-out. Period.

Once Lessons Have Started

You can nd a million creative ideas to motivate kids to

practice. Everything from gold stickers, practice charts

and a profuse amount of encouragement. But the real

truth is this: the best practice motivation comes from

within.

Kids get excited about their practice when they feelthey’re making progress and growing their skills.

Nagging is not an

eective motiva - tor for getting kids

to practice their

music. In fact, it’s a

symptom of a larg-er problem in your

practice strategy.

























Make sure your kids have a positive practice experience

and success will build upon itself eortlessly.

With that in mind, here’s the short list for problem free

practice:

1. Have specic goals for each musical selection

2. Include criteria for completion. Example: You’re done

with this song when you can…

3. Work eciently and develop eective practice tactics

over time

Invincible Violinists use a practice sheet specically

designed to enhance these steps. They take careful notes

(parents can help with this) so that important details are

Make sure your

kids have a positive practice expe-

rience and success

will build upon

itself eortlessly.

























clear and memorable even days later.

Simply learn how to practice and everything else be-

comes easy.

Learn to practice well. Make it a second nature to break

down tough problems a dozen dierent ways into eas-

ily digestible bite size pieces. It’s a skill that carries into

every aspect of life.

Great practice

skills carry over into many unex-

pected areas of

life. It’s only one of

the many benets of music study.



















Chapter 5What you MUST know aboutViolin Lessons






Violin ReligionThree Things Every Violin Parent Must Know

aka: The Three Commandments of Violin!

To me, violin is a form of religion. As you know, every

religion has its commandments!

In the course of a lesson I’ll often encounter those every-

day oenses, a note out of tune or a rhythm mis-played.

But then again, there are the mortal sins, those thatcannot be recovered from! If you indulge in these sins

for too long, you’ll crash and burn, usually sooner rather

than later.

Grip the bow like a club, and you can possibly get

through Twinkle, Twinkle Little Star or Lightly Row. But to


















play past Volume 1 of the Suzuki Violin School, requires

a good amount of nesse in your right hand.By the same token, a tight and awkwardly placed left

hand is equally limiting. It’s a a problem more common

that you might imagine in new violinists. Before long it

becomes painful for both the player as well as the lis-

tener!

I’m often called upon to x these problems, seen fre-

quently in self-taught beginners and even a few players

who have had group or private lessons. It’s almost im-

possible to make progress, once the poor playing habit is

established. Because these are mortal sins, recovery is

rare.

Recovery from

mortal sins is rare in the world of vio-

lin!






















It’s not a matter of musical style. There are only a certain

range of physical postures and actions that will allowyou to get past the basics.

Here’s the truth: Turn o the sound, freeze frame, and

Mozart’s Concerto #5 looks exactly the same as The

Devil Went Down to Georgia. There’s good technique,

and then there’s all the rest.

“But wait,” you say! “Don’t dierent people have dif -

ferent physiques and unique ways of approaching the

violin?” Of course this is true; still, there is a given range

of physical actions that will produce the result of a good

tone, accurate pitch and avoidance of injury to the play-

er.

Turn o the sound,

freeze frame, and Mozart’s Concerto

#5 looks exactly

the same as The

Devil Went Downto Georgia
























The Holy Trinity of Violin is cannot be violated:

You must play without tension. Only the minimum

amount of force can be used

You must hold the bow and instrument (posture) in a

way that compliments your everyday movements. In

other words: playing is natural.

You must produce a great tone quality. In practice that

means you must be able to hear and adjust based on the

results you are getting at any given moment.

The Church of the Violin doesn’t leave much room for in-

dividual interpretation. The gospel has been set forth by

many who came before. Today we play much the same as

There is a gospel

of technique and little room for in-

terpretation.























they did in Beethoven’s time.

This is why violin can be a challenge for some: You’ve gotto learn hold the instrument lightly, and move with natu-

ral actions. You’ve got to play Lightly Row with the same

technique that supports Mozart, Bach and Beethoven.

It’s simple, and the Invincible Violinist program breaks it

down into great detail.

It’s about starting with the end in mind. That’s how to

learn the violin, and for that matter to teach it. Invincible

Violinists have all the tools in place to make the dream

of playing the violin a reality.

Great teachers can

nd and nurture the seeds of an ac-

complished, exper

musician in your

child from the verybeginning.





















Chapter 6Appendix: Is Your ChildReady for Violin Lessons?






Not all children

are ready for structured violin

lessons.

The Invincible Violinist Musical Readiness Test

Is your child ready for violin?A simple, 4 step evaluation.

This test is not intended to be conclusive, but only to

be used as a general guide. Many young students who

haven’t yet developed the physical stamina needed for

violin will do ne with piano lessons. Some studentswho are still developing their rhythm and pitch skills will

be better suited for preparatory programs that include

singing, clapping and motor skill development. Check

InvincibleViolinist.com for a Twinkle Practice Angel pre-

paratory resource list.




















It’s a huge (and all too common) mistake to place your

child in a structured music lesson program before he/sheis ready. When the time is right, both progress and enjoy-

ment are greater for student and family alike.

The Test

1. Physical Robustness

Have your child extend her arms and hands fully in frontof her body. Can she support a loaf of bread placed in

her hands for any length of time? Place a full marga-

rine box on her left collar bone. Can she support and

maintain it in this position only with her chin and/or jaw

bone? Try for 30-60 seconds.

Don’t do this!

Embark upon lessons too soon and

you can end your

child’s inborn love

for music for a life

time.



2. Ability to Focus

The “focus game” is one of the favorites in the Invin-cible Violin studio. Ask your child to focus on a colorful

xed object while you “buzz” a make-believe funny bee

around his head. He wins the game if you are unable to

distract him from is visual focus for 30 seconds.

A more general test: Is your child able to focus her at-tention on a particular task for at least 5 minutes without

being distracted by internal or external stimuli? That’s a

skill she’ll need to benet from structured violin lessons.

3. Tempo and Rhythm Awareness

Can your child repeat rhythms? For example if you vigor-ously clap the rhythm of “Happy Birthday to You” can he

Without some abil

ity to focus, violinlessons can be-

come an expensive

form of babysit-

ting.



repeat it accurately and with similar vigor?

Can your child separate the concepts of tempo and

rhythm? She should be able to march in time while sing-

ing and clapping “London Bridge is Falling Down.” If

correct, the clapping will be twice as fast as the marching

steps.

4. Pitch Awareness

Can your child accurately duplicate the pitches of a simple

song?

Ask you child to sing along with a familiar song such as

“Twinkle Twinkle Little Star” If you have a keyboard, use

middle C as the starting note.

cont.

Common sense

dictates that you must be able to

clap a simple

rhythm before

you could play the

same rhythm with

a bow



When singing a new song, does you child easily follow the

contour of the melody, even if the pitches aren’t 100% ac-

curate?

5. Taking Direction

Will Your Child Consistently Take Direction from a Teacher?

To be ready for structured music lessons, your child must

be willing to follow directions and exhibit appropriate

behavior while in the presence of an adult from outside his

family. This is especially critical for students of age six and

below.

Great teachers can

nd and nurture the seeds of an ac-

complished, exper

musician in your

child from the very

beginning.



Ideally, your child should be able to pass all ve parts

of this evaluation.

Doing so, will make your violin journey more rewarding

and enjoyable. Even if you child isn’t quite ready for

structured music lessons today, there’s much you can

do to prepare her.

Explore a musical enrichment program in your com-

munity. Attend concerts as a family. Sing, clap and

bring music to the center of your family’s activities.

The rewards will be many for your budding Invincible

Violinist!



The InvincibleViolinist.com

Parent’s Guide to the Violin and Lessonsby Bill Alpert

Receive our free e-course at

http://InvincibleViolinist.com/free -guide/

You are free to share this book with anyone, but please do not alter or extract it in

any way without written permission. For information visit:

http://InvincibleViolinist.com or e-mail: [email protected]


http://invincibleviolinist.com/free





http://invincibleviolinist.com/free




Whatever your musical aspirations, be sure tolearn the basics correctly! Doing so will take youanywhere you want to go on your Violin Journey

Safe Travels!

Bill Alpert, Founder

InvincibleViolinist.com










Documents

The Invincible Violinist Parents Guide to Violin and Violin Lessons