Vol 2

How to Teach Long, Long Ago in G major

A.H. Bayly’s Long, Long Ago gets a new life in Volume 2 in a different key – G major, plus an interesting variation to teach an important new technique – upbow staccato bowing. It continues Volume 2’s theme of refining and consolidating the skill of playing in G major, one of the violin’s most common and important keys.

Shakespeare’s Globe Theatre

Shakespeare appears later…

Chorus from Judas Maccabaeus was Suzuki’s favourite tone study piece. He taught us the valuable habit of spending time at the start of a lesson or practice session to work on tone before all else. Virtually every one of his lessons began with this piece. He told us that he used a tonalization arpeggio exercise for this purpose for many years, but eventually recognised that students found it rather boring. So he changed over to Chorus.

Needless to say, several years of Chorus had the same effect. I use other Volume 2 pieces for tonalization and Long, Long Ago in particular. It has the added advantage of refining staccato tone as well as legato.

(Click here for Long, Long Ago in Volume 1.)

A Few Finer Points…

Having studied Long, Long Ago in Volume 1, students learn the G major melody in minutes, providing a good opportunity to look at some finer points. One is to check the intonation of the opening G visually as well as by listening. When G is exactly in tune, they can see the open G vibrate while playing the stopped note and find the precise point for maximum effect.

As with the Volume 1 version, crotchets (¼ notes) and minims (½ notes) are played with whole bows with smooth legato strokes, connecting the melody within the phrases.

B or Not B, that is the question. (Thanks and apologies to Shakespeare.)

Long, Long Ago in G major is a convenient stage to talk with students and parents about the small differences between the same notes in different keys – where they have different functions.

The note B (1st finger on A string) is played slightly sharper in G major than the B in some other keys – such as A major – due to its position in the key and scale. Without getting too technical, explain how it is a defining note in the major scale.

You can show the difference between the two Bs with the following exercise. First, make sure the violin is perfectly tuned!

• To find the B to use in the key of G major, play it together with a open E string, adjusting 1st finger until you hear the pure sound of a perfect 4th interval.

• For the ‘other’ B, first find the B as above. Without moving 1st finger, now try playing it with the open D string. Surprise! The major 6th interval sounds off – it is slightly too wide. Now flatten this B a little until it makes a sweet harmony with the D string. This B sounds better for keys such as A and D major.

The Variation

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Gavotte by Lully

This Gavotte was originally attributed to *Jean-Baptiste Lully, the French composer of Italian birth who worked in the court of Louis XIV, le Roi-Soleil (the Sun King). It’s tempting to joke that Lully was instrumental in the take up of the small conductor’s baton, owing to the manner of his demise. He died from gangrene after wounding himself in the foot with a long conducting staff during a performance of his Te Deum. Ouch!

Versailles Palace Gate

The Gavotte is the first piece in the Suzuki violin repertoire set wholly in a minor key – A minor. It requires some new techniques, such as an extended 4th finger – and features the thrill of our first real trill.

Main Study Points

The opening two notes are played with vigorous bow strokes that allow A and E strings to resonate freely. To create resonance on the first note (A), cross immediately to E at the end of the stroke. The effect is easier to achieve on the second note (E) by lifting the bow off after the stroke, allowing it to ring out before playing the following E.

The dotted rhythms and slurs in the 3rd phrase take a little more work to memorize because of the rhythms, even if students are familiar with the recording. In contrast with the opening melody, it is played with more legato.

The time signature is alla breve – two minim (1/2 note) beats in the bar. Subdivide to 1 & 2 & for counting the crotchets (¼ notes).

Counting beats and subdivisions is a useful way of determining how long to hold notes of different durations, but it can become unnecessarily complicated.

Teaching Beat and Rhythm

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Chorus from Judas Maccabaeus

1685 was a particularly good year for music. As well as Handel, two other great composers came into the world – J.S. Bach and Scarlatti. George Frideric Handel earned the nickname of the ‘English Bach’ after moving to London permanently in 1712 and producing a galaxy of eternal masterpieces, including Messiah.

Chorus is, well, the chorus, See, the Conqu’ring Hero Comes! from Handel’s oratorio, Judas Maccabaeus. Oratorios are concert pieces for orchestra, choir and soloists – like operas without theatre, dramatic interplay and sets. The full ensemble of soprano, alto, tenor and bass with orchestra perform this famous chorus in a grand majestic style. There’s a fine performance here on Youtube. When teaching students about tone and projection, I like to imagine it sung by a Pavarotti-type tenor. (I have fun trying to sing it for them, but I suspect they have fun too, watching me making a fool of myself.) Read More →

The Two Grenadiers – A French Drama

A well-loved solo piece in the Suzuki repertoire, Schumann’s Two Grenadiers contains some of La Marseillaise, the rousing French national anthem. When it comes to great food and national anthems, you have to admit France leads the field. (Then there’s the world’s most beautiful cities, but we’ll go there another time.)

Within the dramatic setting of this music, young violinists will discover the emotional appeal of dotted rhythms and two new notes for 1st finger – F♮ and B♭ – along the way.

Main Study Points

Sound vs Position. There’s an important intonation principle to consider when learning the new notes, F♮ and B♭. Read More →