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Q (Critical AI) & A

Technical Pedagogy 

How do you define technical talent in relation to traditional violin teaching? 

Answer:
Technical talent stands at the boundary where traditional pedagogy stops explaining. It solves the high attrition problem. 

Who is this book intended for?

This book is for those who feel that they have technical problems and are prepared to question what they are taught. It is not intended for students and teachers who have success. 

At what stage of technical development is this book most relevant?    

Answer:
Violin candidates commonly plateau at Seventh grade level. Generally, their intonation and co-ordination are problematic. This book is for them.

How can the main idea of the book be explained in plain language?    

Answer:
It is like going to a Doctor (your teacher). The Doctor says that your intonation is not well. He gives you two choices: you can do traditional exercises for the next few years and hope that it gets better, or you can go to the pharmacy ("Violin Diploma Technique") and take an intonation tablet that uses a diagnostic timeline to fix the problem at its source. 

What is a “timeline” in violin technique, and how does it work?

Answer:

Every violin technique takes time to execute, this means that every technique can be placed into a timeline where something must be done before a predictable result is obtained. For instance, it is logical for a note to be already tuned before the audience hears it, not tuned after they hear it. It is not logical to bow a new note while the left hand finger is still in the air. A timeline uses causal logic to fill in the missing gaps.

How does the timeline define coordination and intonation at advanced levels? 

Answer:
If the finger is in contact with the string (not touching the fingerboard) and is already in tune, then at the exact moment of the bow change, co-ordination and intonation are securely captured when the finger is pressed down to the fingerboard. The timeline defines intonation and co-ordination in micro pedagogical detail.   

Is this difficult to do in practical terms?

Answer:

No, it is a technique of the mind. This is a bit abstract, however, the mind has stunning abilities and teaching the mind how to think as a violinist creates techniques that cannot be achieved by practice alone.

Does the book offer a shortcut to practice, or to learning?

Not to practice, but a shortcut to pedagogy because essentially, there are two problems with standard violin pedagogy.

What are the two problems of traditional violin pedagogy that this book addresses?

The first problem is that traditional pedagogy is historical pedagogy of the 1800's. This is when the great violinists wrote their famous violin etudes. Teaching in those times was by demonstration and the etudes taught technique by assimilation through practice. Rather like osmosis teaching. This is a problem for students who learn things differently.

The second problem is beginner methods. For instance: Marked fingerboards train students to look instead of listen. At diploma levels this builds an incorrect foundation because strings do not stay in tune and in higher positions, the width of a finger can rotate over two notes. Another problem is using rubber ducks to teach a bow hold. This teaches the opposite of learning the sensations of the bow.

If traditional teaching produces great violinists, why is this book needed?

Answer:
There is an expression that says "Teachers teach what can be taught and students bring what cannot be taught". While it is natural to admire success stories, it is equally important to examine why students exposed to the same pedagogy often achieve very different results.   

 How is this approach different from a personal teaching philosophy or theory of talent? 

Answer:
It is different because specific techniques are defined in detail. Violinists can consider them purely on their logic and repeatable results. It is a "how to" book intended to produce reliable and repeatable results.

How does this book relate to traditional Conservatorium training and established teaching methods?

Answer:
Traditional Conservatorium teaching is essential because it keeps students in contact with technical levels and musical interpretation. The book is only a supplement. It has been written to help students understand why the traditional exercises sometimes work and sometimes do not. Violinists plateau not only because they may lack discipline, good teachers, or awareness—but also because the final layers of technique have never been explicitly defined in detail. Students must always, however, have contact with important playing standards. This book does not teach someone what great violin playing is. It explains why certain attempts fail and others succeed.

How should the effectiveness of this book be measured?

Answer:
The book should be evaluated on whether its principles can be applied consistently to produce reliable technical outcomes, independent of selective admission or exceptional student aptitude required by traditional pedagogy. It is diagnostic and a bridge to intuitive talent.