小提琴演奏能力的好壞取決於第一個老師,大部分音樂班或音樂系的老師在接到新生的時候,最常碰到的問題是「學生的基礎不好」。每每要花至少三個月到一年不等的時間重新調整基礎;而學生們每換一次老師,姿勢就要重新改一次,這對師生而言都是非常挫折的一件事。
 
最糟的是花了很多時間調整,還不一定就可以把毛病根治,問題多半是出在一開始學琴的時候
 
 
 
如果剛開始學的時候基礎沒打好,姿勢沒有確實地要求、養成了一些不好的演奏習慣,那麼這些壞毛病就會根深蒂固融入學生的演奏方式(僵硬的姿勢和緊繃的動作是最常見的「疾病」)。
 
這些長時間累積的習慣性動作,就像慢性病一樣難以根治。以我自己的所聞所見,有許多學生和演奏家就是因此無法更上層樓,許多有天份的人也因此無法成為優秀的演奏家。
 
所以,不管我們學琴的動機為何,都不應該輕視提琴啟蒙教育的重要性
 
錯誤觀念一:一般人總覺得孩子剛開始的時候只是要試試看,看看孩子有沒有興趣、有沒有天份,所以老師不用找太好的,先隨便找個音樂老師上上看,如果確定要好好學,到時候再找好一點的老師就好了。
 
錯誤觀念二:為什麼別人學了三個禮拜就可以開始學一些簡單的曲子,而我們家這一隻學了兩個月還在搞姿勢?
 
錯誤觀念三:上課的時候老師負責就好了,在家時孩子自己練就可以,我很忙,沒時間陪他上課練琴。
 
其實打基礎這件事實在是生活、學習、工作中最不可或缺的一環。即使我們學琴只是一個嗜好,也應該要重視基礎。
 
 
打好基礎之後,即使是演奏簡單的小曲子,也可以發出悅耳動聽的音色;沒有好的基礎,就只能製造出如「動物遭到蹂躪所發出的慘叫聲」一般的噪音,一點也達不到「怡情養性」、「培養氣質」的效果了。
 
好的基礎,可以讓喜愛音樂的人在提琴的演奏上滿足自己心靈的需求,也可以讓有天分、有志從事音樂演奏的人有機會大放異彩。
 
不論學琴的動機是為了培養嗜好還是培養演奏家,在打基礎的時期要求標準是沒有「專業」與「業餘」之分的。
 
「學生及家長的全心投入」、「專業有經驗而且認真的老師」這兩件事是塑造「好的開始」的絕對要素。在學琴的一開始,家長就應該抱持著「既然要學就好好學,不要讓孩子學成半調子」的心態,並且引導孩子、灌輸孩子相同的觀念。
 

 
在開始學琴的前半年,就應該常常全家一起去聽音樂會,在家也要常常放音樂,先讓音樂成為全家生活的一部分。這樣小孩子才會把學琴當作是一件和實際生活有相關聯的事情,不會一開始就產生懷疑(我為什麼要學這個?)和排斥。
 
在開始上課之後,家長應該要求和孩子一起上課,如此不但能了解師生上課的實際情形,對孩子的學習狀況完全掌握,同時也可以在孩子平常練習時從旁協助,以增進練琴的效率;忙碌的家長不如把「陪孩子練小提琴」當作是難得親子共同從事的家庭活動。為孩子打造一個有利於音樂學習的環境,對學琴及促進親子關係都有好處。
 
有很多教琴的老師都沒有強調「陪練」這件事的重要性。提琴家族(大、中、小提琴及低音大提琴)的演奏動作很複雜,兩手要同時進行獨立且完全不對稱的動作,必須依靠極為細膩的肌肉協調度,這個特點是所有其他樂器所沒有的,也因此墊高了學提琴的難度。
 
要能夠掌握這些動作,對任何人來說都是困難的,唯一的辦法是靠無數次的反复練習,就像練投籃一樣。任何一個看似簡單的動作都必須有標準的姿勢、放鬆靈活的關節與肌肉、以及精準無誤的運行軌跡,在練習的過程中只要有任何一個小環節沒有確實做好,就很可能養成一輩子都改不了的壞習慣。
 
一般學生在練習的時候常常沒有辦法同時兼顧這麼多「注意事項」,如果練習時旁邊能有個人幫忙注意、時時提醒他遺漏的部分,這樣就可以大幅減少「越練越錯」的機會。
 
最理想可以執行「陪練」任務的人莫過於家長了,但是切記陪練的目的是「幫助」孩子解決問題、提高練琴效率,而非「監督」小朋友是否有認真練習。我一直希望可以培養幾個助教,提供家長陪練的服務,免得學生一個禮拜後來上課時「面目全非」,甚至「倒退歸零」!
 

 
接觸小提琴教學這一行已經超過二十五年,發現教初學者教得好的老師實在是少之又少,再加上一般人對這一方面的認知有限,以致於二三十年過後小提琴基礎好的學生仍然是可遇而不可求。我實在無法告訴大家要如何去找好的「初學者專家」,但是我可以告訴各位,有以下條件的老師初學者(注意,我是指完全不會拉琴的人,而不是已經上過課的「初級者」)應該極力避免:
 
一、沒有經驗和基礎不好的老師
 
很多音樂系的學生都有在教小提琴,但這並不表示他們有能力應付初學者,尤其是小孩子,因為音樂係並沒有訓練小提琴老師的課程。音樂系的學生重心仍在學校課業,除非他們很早就開始教琴,而且已經有能力開學生髮表會,這表示他已經累積了相當的教學經驗。
 
還有許多音樂老師,並非音樂系主修小提琴的學歷,雖然我並不否認其中也許多認真教學的老師,但是如果連音樂系的學生都不見得有很好的基礎,就更別說非音樂系學歷的老師了。
 
二、天才型的演奏家
 
教學必須仰賴對於學習過程的深入了解。天份極高的演奏家以其獨特的學習方式達成他人難以比擬的成就,但是沒有經歷過嘔心瀝血、絞盡腦汁解決問題的階段,自己的學習經驗完全無法應用在教學上,他們常常無法了解學生「為什麼連這麼簡單的動作都不會」。如果他們沒有在教學法上進修,當然也不指望他們能當一個稱職的「初學者專家」。
 
三、很忙的老師
 
初學小提琴的學生需要老師非常仔細地指導,老師上課時一定要很仔細、很有耐心,有時候甚至應該撥出時間幫學生多上幾堂課或幫忙陪練。如果一個老師有太多其他的學生或太多外務,一定會消耗掉很多精力,上課的品質也大打折扣,舉例來說,像我這種每年演出三四十次、又兼八個學校的人就不適合教初學者,雖然我對大家的基礎很有意見,卻撥不出時間來自己做,真是一大諷刺!
 

 
我最反對為了省錢而隨隨便便找不合適的老師學琴。不要夢想學小提琴可以像學口琴、玩管樂隊一樣,輕輕鬆松兩三個禮拜就可以弄出一首歌來。要省錢就不要學琴,要學琴就正正經經地拜個好老師、嚴格的老師,規規矩矩、紮紮實實、按部就班地學。即使是個便宜的老師,一堂課少不了要花個三四百,花了時間和金錢卻學不到真正的功夫,那不如把這些成本拿去玩其他的東西吧。
 
最後我要強調一個很重要的觀念 – 學樂器絕對不能急。一定要先把基礎紮穩。每個學生的學習能力不一樣,大家應該按照自己的能力來定進度,大部分的人在初學的階段都比較慢,基礎姿勢確立之後就可以開始學許多小曲子,只要是基礎打得很紮實的學生,在學習進階技巧時的適應期一定比較短。
 
家長切忌和其他人比進度、比程度。把眼光放遠一點,「爭一世,不爭一時」
 
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English version
 
The quality of violin performance depends on the first teacher. When most teachers of music classes or music departments receive new students, the most common problem is "the students' foundation is not good". It often takes at least three months to a year to readjust the foundation; and every time students change teachers, they have to change their postures again, which is very frustrating for teachers and students.
 
The worst thing is that it takes a lot of time to adjust, and it may not be possible to cure the problem. Most of the problem is when learning the piano at the beginning.
 
 
 
If the foundation is not well laid at the beginning of learning, the posture is not really required, and some bad playing habits are developed, then these bad habits will be deeply ingrained into the students' playing style (stiff posture and tight movements are the most difficult common "diseases").
 
These habitual actions accumulated over a long period of time are as intractable as chronic diseases. From what I have heard and seen, there are many students and performers who cannot go higher because of this, and many talented people cannot become good performers because of this.
 
Therefore, no matter what our motivation for learning the violin is, we should not underestimate the importance of violin enlightenment education.
 
Misconception 1: Most people always think that children just have to try when they first start to see if they are interested and talented, so the teacher doesn’t need to look for a good one. Study hard, and then find a better teacher.
 
Misconception 2: Why can someone else learn some simple tunes after three weeks of learning, while the one in my family is still doing poses after two months of learning?
 
Misconception 3: When the teacher is in charge in class, it’s fine. When the child is at home, he can practice by himself. I’m very busy and I don’t have time to accompany him in class to practice the piano.
 

In fact, laying the foundation is the most indispensable part of life, study and work. Even if learning the piano is just a hobby, we should pay attention to the basics.
 
After laying the foundation, even playing simple little tunes can produce pleasant tones; without a good foundation, you can only make noises like "the screams of animals being ravaged", which is not at all. It can't achieve the effect of "emotional cultivation" and "cultivation of temperament".
 
A good foundation can allow those who love music to meet their spiritual needs in the performance of the violin, and also allow those who are talented and aspiring to play music to have the opportunity to shine.
 
Regardless of whether the motivation for learning the piano is to cultivate a hobby or to cultivate a performer, there is no distinction between "professional" and "amateur" in the requirements of the basic period.
 
"The wholehearted commitment of students and parents" and "professional, experienced and conscientious teachers" are the absolute elements for a "good start". From the very beginning of learning the piano, parents should hold the mentality of "since they want to learn, they should study hard, and don't let their children learn half-tone", and guide and instill the same concept in their children.
 

 
In the first half year of learning piano, the whole family should often go to concerts together, and play music at home often, so that music should become a part of the family's life first. In this way, children will regard piano learning as a matter related to real life, and will not have doubts (why should I learn this?) and rejection from the beginning.
 
After starting the class, parents should ask to take the class together with their children, so that they can not only understand the actual situation of teachers and students in class, and fully grasp the children's learning situation, but also can assist the children in their usual practice, so as to improve the efficiency of piano practice. ; Busy parents might as well consider "playing the violin with their children" as a rare family activity that parents and children can engage in together. Creating an environment conducive to music learning for children is beneficial to learning the piano and promoting parent-child relationships.
 
There are many piano teachers who do not emphasize the importance of "sparring". The playing movements of the violin family (big, medium, violin and double bass) are very complex. The two hands must perform independent and completely asymmetric movements at the same time, and must rely on extremely delicate muscle coordination. This feature is not found in all other instruments. Therefore, the difficulty of learning the violin is heightened.
 
It is difficult for anyone to master these movements, and the only way is to rely on repeated practice countless times, just like practicing shooting. Any seemingly simple action must have a standard posture, relaxed and flexible joints and muscles, and an accurate running trajectory. As long as any small part is not done well during the practice process, it is likely to develop for a lifetime. A bad habit that can't be changed.
 
Ordinary students are often unable to take into account so many "notes" at the same time when practicing. If someone can help him pay attention during practice and remind him of the missing parts from time to time, it can greatly reduce the chance of "more and more mistakes".
 
The most ideal person who can perform the task of "sparring" is parents, but remember that the purpose of sparring is to "help" children to solve problems and improve the efficiency of piano practice, not to "supervise" whether children are practicing seriously. I have always hoped that I could train a few teaching assistants to provide parents with coaching services, so that students would not be "unrecognizable" or even "regressed to zero" in class a week later!
 

 
I have been in the field of violin teaching for more than 25 years, and I found that there are very few teachers who teach beginners well. In addition, the general people have limited understanding of this aspect, so that after 20 to 30 years, the basic knowledge of violin Good students are still elusive. I really can't tell you how to find a good "beginner expert", but I can tell you that a teacher who has the following conditions is a beginner (note that I mean someone who can't play the piano at all, not someone who has already taken a class "beginners") should strongly avoid:
 
1. Teachers with no experience and poor foundation
 
Many music students are teaching the violin, but that doesn't mean they are capable of handling beginners, especially young children, because the music department doesn't have a course for violin teachers. Students in the music department still focus on schoolwork unless they start teaching piano very early and are already capable of giving student presentations, which means that he has accumulated considerable teaching experience.
 
There are also many music teachers who are not majoring in violin in the music department. Although I do not deny that there are many teachers who teach seriously, if even the students of the music department do not have a good foundation, let alone non-music A teacher with a degree.
 
The talented performer
 
Teaching must rely on a deep understanding of the learning process. Talented performers have achieved unparalleled achievements with their unique learning methods, but they have never experienced the stage of painstaking efforts and racking their brains to solve problems. Their learning experience cannot be applied to teaching at all, and they often fail to understand students "Why can't you do something so simple?" If they are not advanced in pedagogy, they are certainly not expected to be competent "beginner experts".
 
3. Busy teacher
 
Beginner violin students need very careful guidance from teachers. Teachers must be very careful and patient in class. Sometimes they should even set aside time to help students take a few more lessons or help with sparring. If a teacher has too many other students or too many foreign affairs, it will definitely consume a lot of energy and the quality of the class will be greatly reduced. For example, a person like me who performs thirty or forty times a year and also has eight schools It's not suitable for teaching beginners, although I have a lot of opinions on everyone's basics, but I can't find the time to do it myself, what a great irony!
 

 
I am most opposed to randomly finding an inappropriate teacher to learn piano in order to save money. Don't dream that learning the violin can be like learning the harmonica and playing the wind band, and you can easily make a song in two or three weeks. If you want to save money, don't learn the piano. If you want to learn the piano, you must respect a good teacher, a strict teacher, and learn in a disciplined, solid, and step-by-step manner. Even if it is a cheap teacher, it will cost three or four hundred for a class, and it takes time and money to learn real kung fu. It is better to use these costs to play other things.
 
Finally, I want to emphasize a very important concept – learning an instrument must not be rushed. Be sure to lay the foundation first. Each student's learning ability is different. Everyone should set the progress according to their own ability. Most of them are slow in the beginner stage. After the basic posture is established, they can start to learn many small pieces, as long as the foundation is solid. of students, the adaptation period must be relatively short when learning advanced skills.
 
Parents should not compare the progress and the degree with others. Look a little farther, "Striving for a lifetime, not a moment."
 
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