The second edition is extensively expanded in its graded lists of studies and solos, in its encyclopedic catalog of viola literature in print, and (perhaps most important) in its treatment of the musical and pedagogical aspects of teaching the viola. A work already unique has been augmented in all its major aspects. The excerpts that follow are from reviews of the out-of-print first edition.
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Book Description
Editorial Reviews
Review
“This fine book…contains literature for viola, musical aspects of teaching, pedagogic aspects of teaching, and viola music in print. The list of works is extensive…Highly recommended for violists of whatever degree of proficiency. I think the work is outstanding.”—Louis Kievman, President, American String Teachers Association
“At long last the area of string pedagogy has been enriched by the observations of one of the most dedicated and analytical viola teachers in the country. Barrett’s publication…is a valuable source for the musician who wishes a one-volume reference tool containing not only traditional and contemporary listings of literature for the viola but also pedagogical and musical aspects of viola teaching….In a lucid and cogent style, the author discusses and offers solutions for such practical issues as workable learning sequences connected with lesson planning, efficient organization of student practice time, avoidance of poor practice habits, transference from violin to viola, and left- and right-hand technique….Professor Barrett’s book, the result of many years of successful teaching, is a rare contribution, filling what hitherto has been a void in the realm of viola teaching.”—American String Teacher
“This book is a gem.”—Canadian Music Educator’s Association Newsletter
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Most Helpful Customer Reviews
15 of 17 people found the following review helpful:
5.0 out of 5 stars
Every violist should own this book.,
By Heather Montgomery (WA USA) - See all my reviews
This review is from: The Viola: Complete Guide for Teachers and Students (Paperback)
This book is an excellent resource for any violist, but teachers will find it especially useful. It covers nearly everything you need to know about the viola and how to teach it, from repertory lists and goals for each grade level, to music terms and practice techniques.
8 of 9 people found the following review helpful:
5.0 out of 5 stars
Outstanding Resource!!!,
By Art Haule "violinstudent" (Flower Mound, TX) - See all my reviews
This review is from: The Viola: Complete Guide for Teachers and Students (Paperback)
I am a violinist, but picked up this book looking for tips on technique and practice. This book is as helpful and relevant for a violinist as it is for my Brothers of the Bow of the Alto persuasion. Well-written and amply illustrated, this is a must read for serious viola students and a strong recommendation for violinists as well. It covers everything from how to hold the instrument to bowing technique to reading music and even (to my horror) transferring from violin to viola! If you are a strings teacher and haven't read this book I urge you to look it over. I don't believe you'll be disappointed...I sure wasn't!
5 of 6 people found the following review helpful:
2.0 out of 5 stars
More pedagogy than guide,
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This review is from: The Viola: Complete Guide for Teachers and Students (Paperback)
Another book with a misleading title, this one is a rather academic review or summary of "best" approaches to teaching the physical aspects of playing the viola (or violin). Whether the "best" approaches are in fact being presented is open to question. Certainly, the physiology of playing the violin or viola is an important subject; but more and more my observation tells me that actual superior players of these instruments in our string ensembles are getting away from "classical" instrument-holds and moving toward the fiddle-player's tendency to "play" with the instrument in a forward position. That is what I have seen in the past few weeks from Midori and other well-known players. I cannot recommend this book to a beginning player of violin or viola. The intended audience is more for would-be teachers of the instrument; so it is all the more important perhaps to sound a cautionary note. There are many questions about the ergonomics of playing the viola (or violin) that need to be addressed, including even the reintroduction of the cello-style playing position. What the "majority" of teachers of these instruments are recommending to their students, or at least what is endorsed in this book, could push many young players to unergonomic and physically harmful techniques. Because this aspect of playing the viola, the ergonomics, is not directly addressed, all the recommendations as to development of technique are slanted toward a rather rigid style of play, one that is contradicted by the early historical illustrations we have of string players and by "folk" practice. This book should be approached with caution.
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