Intermediate Progression List
The current mega-thread on teaching got me thinking about my own teaching ability, and made me realize that I probably have more holes in my overall awareness of the "long game" of violin than I'd like to admit. I feel very competent to train violinists up to approximately a Suzuki book 5 level, but even if I don't ever plan on going beyond that level with a student, I'd still like to know what lies ahead so I can better prepare them for it. In my own training, a lot of intermediate steps were skipped. I think my viola repertoire jumps looked something like "Vocalise, then Symphonia concertante, then Bartok viola concerto" with a few steps in between that I can't exactly remember at this moment.
So, in exploring this idea, I was curious if any of the more advanced violin teachers here have a certain "script" they tend to follow with students that have progressed into intermediate territory and are looking to get to a solid "Advanced" level.
I ask this question with the disclaimer that I'm very aware that each student is different, and so there's not going to be a set "Script" for every student. But with that said, I'm sure that most of you have a "tree" of progression that you tend to follow in order to properly lead a violin student up to the advanced level from the "Vivaldi A Minor" intermediate level.
If you could list studies, pieces, and perhaps what you consider relevant scales in a somewhat linear fashion it would help my overall understanding far more than you know :) Plus I'm just a bit curious on how different teachers might lead a student to that level, because I know there must be some degree of variance from one instructor to another.
PS: Please don't say "suzuki book 6, then suzuki book 7, etc..."
You can look up the syllabi for exam boards like RCM, ABRSM, AMEB, etc, look into some pieces, and decide for yourself. It's time-consuming work, but it's worth it if you're willing to put the effort in, as opinions on such topics can be quite controversial due to differences in perception. Forum members other than myself can put out some suggestions for you to look into. At this stage, three-octave scales should be introduced.
Based on my own personal experience, which involved a longer intermediate stage than I think is typical, the intermediate stage is basically the grounding in the full range of commonly-used technique for the violin. That means left-hand fluency across most of the fingerboard, and specific instruction in all of the right-hand techniques, and then the coordination between the two -- along with developing musicianship and some thoughtful grounding in thinking about how to play, like developing a notion of bow division, when to shift (and when to use an expressive shift), etc.
I find this list extremely helpful.
Kreisler Liebislied (please correct spelling if need be) and Seitz and some Vivaldi Concertos are fairly common at this stage, as well as other small works e.g Sicilienne by Paradis, Meditation from Thais, etc.
Hi Erik. Have you taken any formal Suzuki training? I think there is a lot of discussion during that training about supplementary material that can be used in conjunction with the books. And it gives your teaching more direction. Each of the books look forward to new skills, as well as look back on skills already learned but applied differently.
Hey Mary, I tried to open the PDF list but it's giving me a 404 (error).
Erik-message me your email and I'll send you the pdf.
Hey Mary, I can't figure out how to PM you, so I'll just give me email here (it's public knowledge anyways, since my business is very much an online one).
Roland Herrera who runs a very fine violin studio in England (westbury park strings) has compiled a very useful list of repertoire that complements the abrsm levels. Unfortunately his website is no longer running. The content can still be reached via web archive: https://web.archive.org/web/20160428135441/http://www.wps.pwp.blueyonder.co.uk/Essential_Violin_Pieces.htm
Hi, if anyone is interested in the list that Mary Ellen suggests, here is it. (I don't know whether it's the correct one). The link and file are free of viruses, to the best of my knowledge.
I think it's because younger kids who might be very advanced technically still have trouble grasping the concept of schmaltz.
Meditation from Thais can sound pretty awful if the student hasn't mastered shifts and positions above third position, and/or if the student doesn't have the bow control to produce a beautiful sound using a slow bow.
Have you seen this list yet? http://music.indiana.edu/precollege/year-round/strings/repertoire.shtml
I think Lydia is spot on. The answer is technique so that you are ready to start on the journey to advanced level.