Introduction

The development of the method book has evolved significantly over

time. Method books are products of a time and reflect the creators
philosophical knowledge of pedagogical practice. The method book
is a tool for teachers that can be implemented in a myriad of ways.
Currently it is common to see a variety of activities from multiple
methods adopted by teachers. Whether this is reflective of the
teachers own method and philosophy or a reflection on methods
lacking in certain areas is one of debate. The government initiated
study into musics role in the development of children showed that
synaptogenesis, the process in which synapses connect to neurons
in the brain increased in the practice of music due to its emphasis
on repetition. Through creating this automated skill, children who
learned music were better able to learn language and higher levels
of auditory retention were shown. The cultural and social influences
that have shaped the millennial child has meant that teaching styles
have had to adapt to the modern child. Schools are implementing
programs and activities that place a greater emphasis on catering
for different types of learners and their specific needs. With greater
understanding of the connection between the way we teach and the
success of children, and the benefits of certain teaching activities,
method books have had the ability to evolve over time and reflect
this knowledge that has been acquired about children and the way
they learn. The implementation of method books or a method of
teaching has a large influence on the effectiveness. When looking at
older methods, an educated generalization that they lack visual
appeal can be made. Unsupported by research the VAK learning
styles, Visual, Auditory and Kinesthetic is a popularly theory adopted
by teachers to make informed choices about the way kids are
taught. All 3 modalities are required to learn however, it is common
for one to be dominant, and it can vary depending on the activity. All
3 elements play an instrumental in violin pedagogy. Some method
books focus specifically on certain styles more and thus can

beneficially cater for certain students with a clearly dominant

learning style. High road and low road transfers in the brain develop
automated skills versus perceptive learning which allows these skills
to be used and processed. As musicians it is important to develop
high road transfers as this accounts largely for musicality.

Doflein Method
The three methods that will be compared are the Doflein Method,
The colour string method and Encore for Strings. Defining a
beginner as someone who has never played the violin before and is
approaching it for the first time, this comparison will look at the
progression of the book, its implementation of the left hand and the
right hand, the way it is set out and the break down of the skills.

The Doflein Method, the Violinists Progress, Volume 1 The beginning

Created and developed by German pedagogues Erich and Elma
Doflein, this method spans 5 books and is a course of violin
instruction combined with music theory and practice in duet
playing The preface of the book gives great insight into the
philosophical reasoning behind the pedagogical processes of the
method. This allows the teacher greater insight and ability to
implement the method. The pieces have been acquired from various

sources inclusive of Mozart and Bartok to lesser well known. In this

way the Doflein method paved the way for the construction of the
more modern method books where pedagogues tend to create a
majority of their own materials, for example Natalie and Keith Sharp
in Encore for Strings. The first volume of a violin school must
present the beginner with the problems whose solution will enable
him to acquire stage by stage the basis of a good sound manner
playinghe must be given the opportunity of training his ear and
developing a sure sense for musical sound, of becoming gradually
acquainted with the compass of the instrument, learning to
translate the musical symbols into motions of playing and learning
the notes, time signatures and keys and finally developing a firm
understanding of the processes and combinations which make up
music. Written with the intention of development through duet
playing, the Doflein methods design is most apt to individual
teaching.
Skills
Establishing the left hand
before the right the Doflein
method begins students in first

position on the D string. Chapter 1Music with five notes goes

through a variety of activities and techniques in a fast paced
manner. A large emphasis throughout the preface is given to
teaching correct left hand position and bow hold, however the
exercises that begin the book tend not to aid the establishment of
this. The first exercise is a short bowing exercise on the string and
the next shows the value of the notes.

While other methods introduce rhythm separate from the

instrument with clapping games and associations with different
things, the Doflein method does not separate this skill and establish
it in this manner. As seen in the above photo the set out of this book
would be quite daunting for a young beginner. The explanations for
each exercise are written on the book. While some methods choose
to have a separate teacher and student book, this method does not
and thus the explanations of the activities remains close to the
exercises.
It is not good to take up the bow in any old way and then change
and improve the position of the fingers until it is held in the correct

position.It is better to try and hold it correctly at the outset The

Doflein method has a specific way of introducing the bow. This
involves beginning with the bow being held in the left hand with the
hair facing upwards. The right palm is held flat outwards
supernated. The thumb is the last finger to be introduced on the
bow. The left hand places the bow onto the right fingers. The
thought process behind this being that the fingers will be in a
natural curved state and this feeling will aid the student in allowing
them to place the fingers correctly without the weight of the bow.
The theory of this has positive benefits as it is allowing the child to
develop the bow without the weight however this simplistic
explanation does not entirely allow for the room for error that exists
when the bow is introduced.

Commencing with only the major keys as it is most aided by the

open strings, the Doflein method begins its students in 1st position.
The reasoning behind this is that the first 5 notes on the string in 1st
position follow the same finger pattern. At the beginning only 5
notes on each string are introduced allowing for a firm foundation to

be built. Each piece is played only on one string enabling the left
hand to be uncomplicated by the right specifically in relation to
string crossings. The fourth finger is introduced straight away to
create the correct hand shape. By bringing the fourth finger onto the
string bent it encourages the student to maintain a round hand
shape. The D and the A string are the first introduced not only
because they are the easiest to create a good hand shape on but
most importantly because they are at comfortable singing pitch
allowing the teacher to incorporate singing which develops ear
training into lessons.

The doflein method focuses largely on the development of

musicality, bow speed and good technique. What is most notable
about this book in comparison to more modern method books is that
it has extensive tehcnical explanations as to the reasons why
certain activities have been chosen and how to execute them.
However, this is not enjoyable for the child. It becomes technical to
the point that it is difficult to see how the child could enjoy the
activities. When taught in a certain manner the Doflein method is a
well established book for beginner technique however its

progression is too fast and it lacks the repetition required to ingrain

habits and create automated skill. The Doflein method is a reflection
on the time and place in which it was established. It is important to
recognize our understanding of millennial children and the way in
which they have changed the way we teach.

Colour Strings
Geza Szilvay studied violin pedagogy at the Budapest Music
Academy. The principles of the colour string method are intrinsically
connected with Zoltan Kodalys teaching and philosophy. Created
originally for private students the method has developed over time
and can be implemented both with individual and group teaching
however it is most effective in a group. The philosophy aims to
create an environment in which singing, playing games and
instruments live side by side. The musical activities are introduced
first through activities such as singing and movement . Induction.
The establishment of a good ear is at the foundation of the colour
strings method. The visual association with notation rather then

traditional notation speeds the process of learning pieces without

the hindrance of the inability to read the notes. Szilvay said of the
choice of colour association Sight connects the learning with the
brain.knowledge that is achieved through more than one sense
is deeper and more long lasting The approach of using multiple
facets to learn a skill such as learning a the melody of a piece by ear
and singing it before playing it allows the child to establish a
connection between two areas and allows the child to be able to
correct themself while they are learning. The colour strings method
book has very little instruction inside on how tot each it. In this way
the colour strings can be a hinderance to teachers. Rather then
being a self explanatory book that can be taught in a myriad of
ways the Colour strings method is a philosophical way of looking at
pedagogy and a choice that a teacher needs to make. This method
makes little sense unless the correct training has been undertaken.
While many of the ideas and skills used in the book can be adopted,
in order for the student to benefit, the method must be used in the
correct way.

While the Doflein method begins by establishing technique on the

instrument the colour strings method begins by laying a foundation
in musical skills such as singing, to develop a good ear. The Doflein
method is much easier for a pedagogue to integrate into teaching,
and there is a clear technical foundation shown, however visually
the colour string entices children with its pictures and visual
association with notation children find it much easier to establish a
connection with the fingers and the colours early on. It is clear the
colour strings understand that there are many elements and vital
skills that are required to play an instrument that dont actually
require an instrument to be established. In this way the children are
doing numerous activities which maintains their interest and focus.
Clapping games for rhythm and movement games to music all
create a well rounded musical child, however critics may argue that
time away from the instrument means less establishment of proper
technique. While the Doflein focuses heavily on technical elements
the colour strings begins away from the violin. While both methods
have proven to have positive results, the Colour Strings as a method
and philosophy is a positive way to develop a childs musical
interest and ability in a more enjoyable way. If the layout of the

Doflein were different, perhaps a teacher and a student book made,

its benefits would be more likely seen. If implemented in a certain
way, if the teacher broke down the skills that are in the Doflein book
there are many great things that could be taken away from this,
however, until this is done it is not a particularly good book for the
modern child.

Developed by Natalie and Keith Sharp the Encore for Strings method
is a visually appealing method that integrates the use of a CD a very
modern method. Having witnessed the creator implement this
method it is again a situation whether the teacher has a repsonbility
to implement the book in a certain way. While not being a method
as such the encore for string books are a series that explores
musicality.

Teaching of shifting through harmonics

Skills
Order of
Pitches

Musical
Examples
Layout and
appearance
Group or
Individual
teaching