Strategic Strings
with Emily Williams

Introduction

Often we think of musicality as being something only applicable to intermediate or advanced students. We treat it as if it's an extended technique; something that only students who have reached a certain level are able to execute. Perhaps we even approach musicality in this way for ourselves. We may begin to learn a new piece and seek to conquer the notes and rhythms and then once we're comfortable with those we consider what we want to "do" with the music; the phrasing and the interpretation that we think will best suit the piece we're performing. It is not unusual therefore that this is the kind of order we also present to our students.

I'd like to challenge this view and present an alternative perspective that invites musicality to be part of playing at every level and applicable to all stages of learning. I would even go so far as to submit that musicality is a necessity at every level of musicianship, not merely an ornament, and that without it a core concept of learning is being ignored to the detriment of our students.

While that idea may theoretically appeal to many, I believe it can also be a daunting concept. With most private teachers only having 30 minutes a week with their beginning students the question may already be hovering in the air; "how can I possibly add anything more to what I'm teaching? I already feel like there is too much to teach and not enough time!" This is a fair and honest question, to which I would respond that I believe adding musicality to our way of teaching does not have to take more time, but instead requires a re-organization of our time and teaching techniques, perhaps even more importantly a shift in our minds about how musicality applies to the basic concepts, on which most teachers already instruct their students.

I therefore, invite you to explore the depths of musicality with me as I lay out a systematic approach to teaching musicality that transcends the traditional place it holds as an advanced concept. I will show you how it is not only a basic quality of music, but the foundation of music and must, in an integral pedagogy method, be included at every level and stage of learning.

Musicality as Fundamental

Why do we play music? What does music offer that can't be experienced anywhere else?

The cliché that music is the "universal language" has merit, but it begs the question; "what is it about music that speaks universally?" Is it the notes on a page? Is it the technical execution of those notes? Is it rhythm? Is it the presence of wave vibrations through the air? If we execute notes and rhythms with perfect technique is that the essence of music as a universal language?

I believe we would all say "no" to that. It's of course more. It's the ability of music to say things and express things when words fail. It's the ability of music to touch our emotions and stir feelings inside of us that were latent or unaffected before we heard a specific tune. It's the ability that music has to move us, connect us and express the collective feelings of humanity that make it a universal language. I would argue that it's the "musicality" of music that allows all this, and more, to happen.

If musicality is such a fundamental factor in music performing its function it doesn't make sense to relegate it to only those musicians who fall into the category of "advanced". I believe that if musicality were included in teaching pedagogy from the very first lessons students would receive more joy out of their music studies. In addition, students would more easily understand and execute technique because technique is only there to serve musicality. Musicality, expression and the ability to communicate in a medium other than language is the reason we play music!

Musicality as a Foundation

If musicality is fundamentally why we play music and what makes music, music, then musicality must, by necessity, be foundational in our teaching. This is easy to say, but harder to do. We must know at each and every level what comprises musicality and what aspects are appropriate for each level. Not only that, but we must, as teachers, understand how to best communicate the concepts of musicality to our students in ways that lead them to become independent and whole musicians, able to correctly interpret and execute music of all eras and styles for themselves.

I believe there are many ways to understand, describe and organize the core components of musicality. What I will be teaching you is my way of understanding and teaching musicality. I want to make it clear up front that this is not the only way one could effectively organize the foundational elements of musicality. Since I have never seen anyone else even attempt to suggest a systematic method or approach for teaching musicality at all levels I believe that there is a great need for this type of work if we are going to most effectively instruct our students in the art of music. Also, based on my own research it seems that teachers realize there is a deficit in this area and desire some answers.

My passion for this concept comes from not having musicality as a foundation to my own musical studies. This deficit was one I had to overcome with the help of patient and dedicated teachers, and one which I built on myself. Now as a teacher I endeavor to teach musicality to my own students. My approach is not a method, but a way of understanding musicality and its components in a way that makes it foundational to string pedagogy at every level. I hope you find it easily applicable, inspirational and effective with your own students.

An Overview of Musicality for All Levels

I have divided the core concepts of musicality up into three large areas: Tone, Phrasing and Affect.

Tone

Tone encompasses the quality of the sound being produced, which can vary from light and airy to edgy and harsh.

Phrasing

Phrasing is our interpretation, what we decide to "do" with the music. It includes tempo, dynamics and form.

Affect

Affects are things we add to notes or that enhance the presentation of a note in some way: articulation, vibrato, trills, fingering, bowing, shifting, etc. Some of these may be dictated by the music and some may be of our own choosing.

I will be taking you on a journey from the very beginning lessons to the most advanced playing levels to show you what is appropriate to teach students at every level in each of these three areas. I have divided up a student's journey from a complete beginner to advanced player into five groups (I: Complete Beginners, II: Experienced Beginners, III: Early Intermediate, IV: Late Inermediate and V: Advanced).

In addition to the "what" of teaching I will also be tackling the "how" of teaching. The "hows" of teaching fall into two large categories; explanation and imitation. I will show you how to use both effectively.

Lastly, we'll be looking at the two big avenues of expression: visual and aural, and how these apply at every level.