tonebase for teachers - How to get started.
Most of the tonebase team members are music educators, so it's only natural that a big focus for us is to serve the teaching community with our tutorials as much as possible.
We strive to provide resources that you can use in the studio and classroom. Whether it be as a reference point for both traditional and not so traditional repertoire, showing your students multiple perspectives on the same topics from the world's top pedagogues, or even just finding workbooks with helpful exercises printed for your students, we hope that you find something that will be a helpful supplement for your teaching!
Here are a few of the resources teachers on tonebase are using!
Classroom classics
- Estudios Sencillos (Rene Izquierdo) by Brouwer
- Sor & Carcassi Etudes,
Intermediate and advanced pieces for your students
- BWV 999 taught by Isaac Bustos
- Un Sueño en la Floresta taught by Gohar Vardanyan
- Joropo by Merlin, also taught by Isaac Bustos
- Villa Lobos Choro No.1 By the Cuban Virtuoso Ali Arango (for your advanced Students)
Foundational tutorials
- 120 RH studies of Mauro Giuliani, by Joseph Palmer
- Nail Care by Bahar Ossareh and
- Basic Right Hand relaxation by GFA Winner Vladimir Gorbahc
We hope you find tonebase to be a helpful resource for your teaching!
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Just to add a personal note, I use a lot of the principles found in Thomas Viloteau's lesson on right hand technique when I teach beginners (and in my own practice).
The way he uses a single hand position and allows the student to 'rest' their i & m fingers on the thumb almost guarantees that you wont get any twangy plucks from your students! I can always get a great sound from any student in less than 5 minutes using the concepts from this vid.
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I’m a school music teacher. I compose and arrange many pieces for my 70 students (piano and guitar) as I have a wide range of abilities and interests. The number 1 most important thing to focus on with my students is fundamentals. Students must learn some basic music theory as well as musical history and anthropology. From there they begin working on technique which is typically very poor to begin. I try to help them understand how to organize their practice time and preparation for public performance.
