![]() ![]() ![]() When the student reaches a particular level give them three choices to listen to. Jeff Bradetich: Establish a list of repertoire that teaches music and technique at various different levels. The correct choice of repertoire is essential for the technical development of a violinist, and even more so in helping them become a fully rounded musician. ![]() If the aim is to develop specific aspects of the student’s playing, the teacher should select the repertoire with the same precision as a good doctor prescribing medicine for a patient. In the case of preparation for a competition, a solo performance with orchestra or a recital, repertoire should be chosen to be of maximum interest and effect for the audience in question, and should play to the student’s strengths. This should be done gradually, with great tact, and without the fear of switching back to undemanding works if the desired level is lost.īoris Kuschnir: It is important to establish the purpose for which repertoire is being allocated. After that, the teacher should increase the level of difficulty of the student’s repertoire, always maintaining that quality. It’s possible first on a simple piece or study, or perhaps an easy group of notes. This is not at all obvious or easy, and the process can take time. How do you determine what repertoire is best for a student? Erika Burns, Seattle, USīruno Giuranna: At a certain point in their studies, students should be brought to understand, hear and feel what it means to ‘play really well’. ![]()
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