2006 Edition 2 (Issue 144) - Sasmt-savmo.org.za

This is a beginners’ tutor,
and I can truly say it is the
most enjoyable tutor for
violin that has ever come
into my hands! The copy
which I have for review is a Flemish edition, which makes
it very easy to understand as Flemish is so close to Afrikaans.
It is also published in Dutch, English, German and
French. (The ISBN number of the English edition is 90-
431-2439-70). A separate piano accompaniment book is
available (ISBN 90-431-2373-0), also including a CD of
performances on a grand piano.
The tutor includes, amongst other valuable material,
suggestions and exercises for learning to play pizzicato,
the two first finger patterns, fluent bowing, change
of strings, basic scales, harmonics, and simple double
stops. There is much emphasis on the development of
good intonation, aided by ‘echo’ exercises. Many of the
exercises have two tracks on the CD: the first providing
the melody, and the second only accompaniment.
Understanding of the instructions is supported by the
clever use of witty illustrations. A fairly unique feature
for a beginner’s book is the inclusion of some improvisation
exercises. I tried these with most of my pupils, and
was quite amazed to see how many of them battled
with this activity!
The general rate of progress is tuned to the development
of most young pupils. Open strings are used
up to track 29 on the first CD, so that by this stage the
pupil should have a good grasp of rhythm, including
crotchets, quavers, and their rests. When the first finger
is used there are listening exercises to make the pupil
very aware of the sound. The same method is followed
South African Music Teacher |144 | November 2006
r e v i e w s ~ r e s e n s i e s
Meuris, W., Van Elst, J., Van Rompaey, G. 2005. Speel Viool! Vioolmetode 1.
Heerenveen: de Haske (ISBN 90-431-2326-9) http://www.dehaske.com
Estelle Stauffer
with the other fingers. The progressive introduction
of rhythms and new notes is very logically planned.
Note values in Book 1 include semiquavers and dotted
crotchets, as well as compound duple time. I tried the
exercises with pupils who had progressed far beyond
the scope of this book, and yet they found the exercises
most enjoyable, and sometimes not even very easy!
They all loved playing from this book, and were eager
to know when Book 2 would be available. So I asked,
and the compilers replied that the Dutch edition will be
available as from November. The other language editions
will follow soon after.
The rhythm clapping exercises are very useful, especially
now that most South African primary schools no
longer have class music as part of the curriculum. Most
of our individual lessons are not long enough to include
all these extras, but in Speel Viool they are a natural part
of the process.
Useful information about the construction of the
violin, as well as the lives of a few famous violinists is
included. At the back of the book is a crossword puzzle
which acts as a little ‘test’ to see whether the information
in the book was remembered.
I will definitely use this book if I have new beginners,
as I find it superior to the other books which I have used
thus far. From the same publishers two other books,
Famous Songs and Classical Pieces will appear later in the
year. These can be used concurrently with the tutor.
Estelle Stauffer taught violin at an extra-mural music centre.
Since retiring she has been teaching privately at her home in
Klerksdorp. She has been a member of the standing committee of
the SASMT for the past four years.
Murray, P. 2001. Essential Bass Technique. 2nd edition. Milwaukee, WI: Hal
Leonard Corporation. ISBN 0-634-03267-4
http://www.halleonard.com http://thermidormusic.com
Marc Duby
The Canadian bassist Peter Murray deals with the elements of technique for players of
the bass guitar, in this short (48 pages) but comprehensive introduction to the ergonomics
of musicianship on this instrument. Illustrated with a wealth of photographs, which
provide practical examples of what he regards as good and bad technique, Murray systematically
examines such topics as practising, posture, correct left and right hand positions,
string muting, shifting between positions, and a range of ‘micro-elements’ of playing
ergonomics that have bearing on factors like tone production and physical endurance.
Murray’s approach is practical, explaining the reasons why he classifies some techniques as useful or otherwise,
and his over-arching concern throughout the discussion is to encourage players to reflect critically on the wasted