American String Teacher February 2016 | Volume 66 | Number 1

ll Guitar Forum: GarageBand Tutorial for Guitar Instructors ll The Modern Harpist: Plays Well with Others ll Want to Learn More About Fiddle Styles, Jazz Strings and Rock?

plus: 2016 ASTA National Conference Preview

Join us for friendship and fun in Tampa, Florida at the 2016 National Conference!

Part 2 (of a 3-part series) – Auditions Navigating the college audition and admissions process is often fraught with anxiety for music students and their parents. by Hillary Herndon

Now You See It, Now You Don’t: Participatory 28 Stratification in Public School Orchestras String music education in the United States is traditionally plagued by low student enrollment and high attrition rates. Exacerbating the crisis is a fundamental paradigm, which at best accepts inequality of opportunity, and at worst encourages it. by Angela Ammerman

Guitar Forum: GarageBand Tutorial for Guitar Instructors 32 Contemporary guitar instructors can find musical assistance from their computers that will function well whether teaching privately or in a classroom. by Bill Purse

The Modern Harpist: Plays Well with Others 36 Today’s harpists must be well-rounded and acquire proficiency in many areas of performing. by Gretchen Van Hoesen

Want to Learn More About Fiddle Styles, Jazz Strings and Rock? Eclectic styles music in its many forms is taught at music camps throughout the USA and Canada during 40 the summer. It’s not too early to begin planning to learn a new style of music to teach your students. by Renata Bratt and contributors: Jason Anick, Edgar Gabriel, Sheronna McMahon, and Duane Padilla

www.astaweb.com | 5 American String Teacher Contents February 2016 | Volume 66 | Number 1

Columns Special Inspirations 44 American String Teacher (AST) Editorial 8 by Monika Schulz, CAE, CEO Committee

50 2016 Summer Workshops/Camps/Conferences Message from the President 12 by Stephen Benham 53 2016 National Conference

Studio Teaching Tips 76 A Session with Paul Rolland by Susan S. Starrett Mission Statement To enrich lives through the joy of teaching and playing stringed instruments. K-12 Teaching Tips • Professional development and 76 So You Want to Commission a Work for Your research Orchestra, Now What? • Our future and the next generation • Building community by Cheryl Cooley • Advocacy and outreach • Sustainability

American String Teacher (ISSN: 0003-1313) is published quarterly by the American String Teachers Association (ASTA). 4155 Departments Chain Bridge Road, Fairfax, VA 22030. Periodicals postage paid at Fairfax, VA Association News and additional mailing offices.American String Teacher (AST) is available exclusively 18 Award and grant announcements, new publications, to ASTA members; the annual subscription and other association-related information price is included in membership dues ($111). POSTMASTER: Send address changes to: American String Teacher, 4155 Chain Reviews Bridge Rd., Fairfax, VA 22030. 68 Of books, music, and software POLICY: As the primary means of professional communication of ASTA, the Ameri- can String Teacher represents and reflects the mission of the association. It is not the intention of AST to promote or endorse any particular person or commercial prod- uct. The ideas and opinions expressed are those of the writers and not necessarily Every Issue those of ASTA or AST. ASTA reserves the right to refuse advertising for any reason. 62 Membership Application No article or editorial matter in AST may be photocopied or reprinted without Volunteer Leadership Directory written permission from ASTA. Visit www. 64 copyright.com for more information. Advertisers’ Index 79 POSTMASTER: Send address changes to American String Teacher Journal, 4155 Chain Bridge Rd., Fairfax, VA 22030. © 2016 by American String Teachers Association.

6 | American String Teacher | May 2015 www.astaweb.com | 7 ASTA Board of Directors

by Monika Schulz, CAE, CEO President • Stephen Benham Inspirations Duquesne University Mary Pappert School of Music 600 Forbes Ave., Pittsburgh, PA 15282 [email protected] A Time for Reinvention President-Elect • Brenda Brenner 3713 Devonshire Ct. Bloomington, IN 47408 [email protected] I had the great privilege recently to celebrate some holiday cheer with a Past President • Bob Phillips group of ASTA members. The conversations focused on getting to know 17175 Burkshire Dr. each other, and sharing personal experiences with ASTA. What I Grand Haven, MI 49417 consistently heard was, ASTA is an incredible community with [email protected] individual diverse stories, needs and experiences, encompassed in the Secretary • Kristen Pellegrino love of string music. 4231 Woodbridge Way San Antonio, TX 78257-5010 As I thought about these conversations, I was reminded about what [email protected] bound this community together 70 years ago at its inception. ASTA’s Member-at-Large • Lynne Denig story began in February of 1946 at the national meeting of the Music 4900 Bexley Lane, Fairfax, VA 22032 Teachers National Association, where a group of music teachers laid the groundwork for a [email protected] new national string organization. The general goals of this founding group were: Member-at-Large • Joseph Conyers 1420 Locust St., #26G, Philadelphia, PA 19102 • Improvement of string pedagogy; [email protected]

• To make known the meaning, function, and value of individual and group experience Member-at-Large • David Wallace with the music of stringed instruments; 79B Grew Ave., Roslindale, MA 02131 • Development of professional relationships with other groups; [email protected] • Assistance toward manufacture and repair of stringed instruments; Member-at-Large • Margaret Berg • Opportunities for children in our schools to hear good string playing; 9777 Jellison St. Broomfield, CO 80021-4269 • Cooperation with college and university string departments in the development of [email protected] their teacher-training curricula; and String Industry Council President • Chris Rohrecker • Modernization of string materials. 8 Vernon Valley Road, E. Northport, NY 11731 [email protected] Fast forward 70 years, the ASTA community today is a professional membership organization of close to 9,500 members representing string educators and performers from Publications Chair • Judy Palac Michigan State University, 203 Music Practice Building K-12, private studio, performers, and students to the collegiate level. As the community 345 W. Circle Drive, East Lansing, MI 48824 grew and needs changed, the 2014 ASTA Board of Directors recognized and implemented a [email protected] way forward through adoption of a strategic framework with a mission of enriching people’s Chief Executive Officer •Monika Schulz lives through the joy of teaching and playing string instruments. It is centered on five ASTA National Office 4155 Chain Bridge Rd., Fairfax, VA 22030 overarching goals: [email protected] • Professional development and research American String Teacher • Our future and the next generation Critical Articles Editor • Mary Wagner Reviews Editor • Marg Schmidt • Building community Design and Layout • Sky Henderson • Advocacy and outreach

• Sustainability • Correspondence Subscriptions, change of address (send mailing label), individual issues, billing, membership, and Today, ASTA finds itself in a time of reinvention.Where is ASTA’s future? ASTA has other business matters should be directed to the ASTA National Office, 4155 Chain Bridge Rd., Fairfax, VA core services; it has a member base; it has a strategic plan; but the community and profession 22030; tel. 703-279-2113; FAX 703-279-2114; Email: are changing and for ASTA to remain relevant, the question becomes—What does our [email protected]. • Advertising Deadlines are: August issue—June 5; community today need and value? Therefore, ASTA is evolving. It is time to focus and invest November issue—September 5; February in technology, to distinguish what members want and value, to identify and provide relevant issue—December 5; May issue—March 5. Inquiries should be directed to Steve Wafalosky, LaRich & and helpful content, to cultivate the member experience where ASTA is the resource you can Associates, 512 East Washington Street, Chagrin Falls, OH 44022, T: 440-247-1060, F: 440-247-1068 depend on and to build engagement of ASTA members and the community. Email: [email protected]. We are looking forward to another great national conference—a time to build • Editorial AST welcomes letters and articles from its community, learn and refuel your passion. For those of you joining ASTA in Tampa for the readers. Query letters are preferred over unsolicited manuscripts. For a copy of the AST Author Guidelines, 2016 National Conference, we want to know what you value and what you are looking for. visit www.astaweb.com. Inquiries and articles should be We will have plenty of opportunities for you to provide feedback to us. For those of you submitted to [email protected]. • Reviews Review materials should be sent to Marg who can’t join us in Tampa, let us hear your voice. Schmidt, School of Music, ASU, 40 Gammage Parkway, Thank ouy for your dedication to our ASTA community and for your passion and joy PO Box 870405, Tempe, AZ 85287-0405. Requests to become a reviewer should be addressed to Marg in teaching and playing stringed instruments. Schmidt, tel. 480-965-8277; Email: [email protected].

• Submission Deadlines For material to be considered for publication in the Departments and Association News sections (including Letters to the Editor), it must be received by: February issue—November 11; May issue—February 11; August issue—May 11; November issue—August 11. Monika Schulz, CAE, CEO

8 | American String Teacher | February 2016 www.astaweb.com | 9 AST Editorial Committee Jane Aten Janine Riveire Phillip Baldwin Joel Schut Betty Gottlieb Sherry Sinift Rebecca Hunter Skip Taylor Mary Perkinson Anne Witt David Pope AST Forum Editors Eclectic Styles Forum, Renata Bratt Cello Forum, Theodore Buchholz Guitar Forum, Scott Cmiel Chamber Music Forum, Ross Harbaugh Viola Forum, Christopher Luther Violin Forum, Kenneth Sarch Bass Forum, Jack Unzicker Harp Forum, Gretchen Van Hoesen ASTA National Office

4155 Chain Bridge Road Fairfax, VA 22030 Phone: 703-279-2113 Fax: 703-279-2114 www.astaweb.com

Monika Schulz, Chief Executive Officer [email protected] ext. 13

Beth Danner-Knight, Deputy Director [email protected] ext. 11

Deanna Tompkins, Director of Meetings and Events [email protected] ext. 22

Gabi Sandoz, Director of Finance [email protected] ext. 15

Deb Bissen, Foundation and Advocacy Coordinator [email protected] ext. 26

Sky Henderson, Manager of Graphic Design/Webmaster [email protected] ext. 10

Libby Dietrich, Manager of Volunteer and Chapter Programs [email protected] ext. 20

Gloria Warwick, Office Manager [email protected] ext. 23

Amanda Bernhardt, Membership/State Services Manager [email protected] ext. 21

Gina Armstrong, Membership Coordinator [email protected] ext. 14

10 | American String Teacher | February 2016 www.astaweb.com | 11 From the President by Stephen Benham

My thermometer said 8 degrees above zero this morning. Brrrr. I grew up in Minnesota where that temperature is still considered balmy and you get labeled as a wimp for complaining unless the wind chill is at least –25. (And then, my stoic relatives will only say something like, ‘oh, it’s bit chilly out there today … might need a coat’.) In any case, after living away from Minnesota for more than 20 years, a cold morning like this is exactly when my thoughts turn to something warmer . . . and in this case, it was Tampa 2016! It’s hard to believe that by the time this journal arrives on your doorstep and you are reading through this column (which I know is the first place you always start), the ASTA conference will be just a few days away! If you haven’t registered yet, be sure to do so, as our conference is one of the greatest strings-only musical events you’ll ever see! ASTA Board Meeting Notes The ASTA board met in Washington, D.C. in early January for its biennial in-person work session. This is the time when we have a chance to review operations from the previous year, and begin the planning process for fiscal year 2017. As always, this is an excellent opportunity for us to take stock of our organization, make any necessary course corrections, and ensure that our organization is on the right track for long-term health and success. I’m pleased to report the following things to you: • We received reports from all of our various task forces and committees, and continue to be impressed by all that our member volunteers are doing to help advance ASTA’s mission. • Our Executive Committee met with Jenny Herrara, of Rubino & Associates, the firm that ASTA has engaged to conduct our annual audit. I am pleased to share that the auditor reports that our operations reflect the highest standards and that our bookkeeping and accounting practices are professional, accurate, and detailed. • The Executive Committee also met with Greg Wells, Financial Advisor and Managing Director– Investments at Wells Fargo in Potomac, Maryland. We reviewed our investment policies and made some changes in investment strategies to reflect current budgetary priorities. We are grateful for Greg’s wise and excellent counsel, as his advice has greatly strengthened ASTA’s financial position in recent years. • We spent two days in strategic planning sessions with Jon Hockman, from the d3 Group, developing a strategic plan for the next three years. This was an opportunity for us to reflect on the 2014 strategic plan and further refine our focus and priorities for the coming years. It is a primary responsibility of any board to provide strong, strategic leadership to the association and we take this task very seriously. We look forward to sharing more about that plan with you in the coming months. In addition, we made some important decisions about our programs: • Investment in ASTA’s infrastructure—as many of you have mentioned to me, the ASTA website is an area that requires great attention. And, as many of you know, making changes to a website requires a substantial amount of back-end work, as we look at the software and hardware that we currently have and what we actually need to meet our member’s demands. The board has authorized release of funds to substantially upgrade our technology. This will take several months, but we anticipate that you’ll begin to see marked improvements later this year. • We need to build stronger ties and improve the communication between state chapters and the national office. We believe that a primary responsibility of the national office is to serve and assist our state chapters in their work and to provide strong support for volunteer leadership. We’ve recently reinstituted the monthly state leader’s newsletter and have additional plans in place. We look forward to talking with our state chapter leaders in more depth about this at the national conference in March. Together, we can build a stronger organization, one that meets the needs of our members across the spectrum. Thank you for your continued enthusiasm for ASTA and your support of our shared mission!

With kind regards and best wishes,

Stephen Benham [email protected]

ASTA Kudos to Janine Riveire CodaBows for America Award Thanks to Tom Tatton, California Applications Due April 1 ASTA President, for nominating and bringing to our attention our Every year, CodaBow International, Ltd., donates full-size February Kudos award winner— DIAMOND NX Codabows to deserving schools and studios. Janine Riveire, Professor of Music at Violin, viola, and cello bows are awarded. In 2015, bows were California State Polytechnic awarded to strings students at the following three programs: University, Pomona, where she chairs • Maine South High School, Park Ridge, Illinois, received the music education program and four violin bows. serves as a liaison to the teacher- • Northern Kentucky University Music Preparatory credentialing program. Department, Highland Heights, Kentucky, received two Tatton writes, “She has violin bows, one viola bow and two cello bows. served California ASTA for a number • Blair School of Music (at Vanderbilt University), of years and continues to go the extra Nashville, Tennessee, received two viola bows. mile contributing to CalASTA in a variety of substantive and unique ways as well as to our profession ASTA is grateful to Jeff Van Fossen and CodaBow as a whole.” Currently President of ASTA Los Angeles, Riveire, International for their generous support of this program! “leads that section with vision, professionalism, enthusiasm and Applications are accepted from ASTA members on behalf of certain expertise. This is a section of CalASTA that includes nine schools or studios that outline the particular worthiness, promise, counties, has somewhat more than 16 million in population, and is and need of their program. Please visit www.astaweb.com for approximately the size of the state of New York.” more information on how you can add your school or program “Janine Riveire,” he continues, “is the quintessential ASTA to this list of awardees and to download an application. The next member—she is a professional string bass player in the Los postmark deadline for this outreach program is April 1, 2016. Angeles area, teaches at a prestigious university, has public school string teaching background, is trained in Rolland, Kodály and ASTA member Holly Katŏ Havas pedagogy, is a member of the appropriate professional Attar from Northern organizations: NAfME/CMEA, ISB, and ASTA, and she throws Kentucky University her expertise and enthusiasm into providing opportunities for writes, “These twin sisters others through the auspices of ASTA! She is an extraordinary in the Northern Kentucky leader—we are very lucky to have her . . .” University (NKU) String An ASTA member since before her college graduation, Project have been using Riveire has found her membership valuable in connecting to the Coda bows you so job opportunities, and in developing expertise to utilize in her generously sent. They love teaching throughout her career. On receiving this award, she said, them! Both of them said that they sound so much better “Being part of ASTA has connected me to so many interesting playing with these bows, and they feel like it's easier to and passionate people. In a state with so many music generalists, play. And, it makes them want to practice more . . . yay! getting to talk shop with other strings specialists is not always an Their mom commented that the sound is much better, too. easy thing, so ASTA gatherings are precious—whether at national Thank you so much for the bows. They are making a huge conferences or at local meet-and-greet functions or local board impact in the NKU String Project!” meetings. I’m constantly inspired by the dedication of my ASTA colleagues, and hope I live up to their examples. This recognition tells me I’m on the right track. Thank you.” Congratulations to the George We love receiving your nominations for upcoming Kudos awards! Do Bornoff Memorial Scholarship you know someone worthy of recognition? Take a few minutes to share Winners the story of an outstanding ASTA member who’s making a difference, or even nominate yourself! Send nominations to Deb Bissen, The George Bornoff Memorial Scholarship, sponsored by the Foun- foundation and advocacy coordinator, at [email protected]. dation for the Advancement of String Education (FASE) in conjunc- tion with ASTA, congratulates this year’s winners of $800 each to attend the 2016 ASTA National Conference in Tampa, Florida: • Lauren Gruber, Richmond, Indiana • Lindsay Reisler, Glen Burnie, Maryland • Lindsay Schwartz. Fargo, North Dakota

18 | American String Teacher | February 2016 Awardees will be recognized by Stephen Benham, ASTA Now an eighth grader at Oakland School for the Arts, president, at the Opening Ceremony on Thursday, March 3. (when his family relocated due to financial concerns, he was A special thanks to the conference committee for their work forced to switch schools), Rigpa says, “my greatest passion in evaluating applications and successfully promoting this is music and composing. I have composed for full orchestra, scholarship. ensembles and also for piano and I have been lucky to have had some of my pieces played by professionals. In the future, I want to write music scores.” He adds that Three Outstanding Young “receiving this instrument would give me an opportunity to go back to lessons with my teacher (Lisa Grodin).” We’re Musicians Receive Potter’s Violin excited to follow the progress of this promising young Instrument Awards! musician, and thankful that Potter’s Violin’s generosity can be of benefit in Rigpa’s musical education! ASTA is excited to announce the latest winners of new • Phoenix Swartz, age 11, cello, York, Pennsylvania instruments, generously provided by Dalton Potter, owner of ASTA member Rebecca Duane recommended her fifth Potter’s Violins in Bethesda, Maryland, for the October 2015 grade student, Phoenix Swartz, for this program based round of the instrument awards for students in need. These on, “a maturity and initiative beyond that of many of her three outstanding young musicians all benefitted from the peers.” A student at Kreutz Creek Elementary School in recommendations of their ASTA member teachers. Our three Hellam, Pennsylvania, Phoenix, “regularly asks for extra most recent award winners include: help, self-identifying the areas that she struggles with. She • McKenna McClellan, age 17, violin, Glencoe, Alabama follows classroom procedures and directions diligently, ASTA member Michael Gagliardo describes McKenna becoming a visual role model for her peers. She is an asset McClellan as “perhaps the most dedicated and determined to her elementary orchestra, as she plays strongly and violinist and member of the Etowah Youth Symphony confidently. She is always kind to others, and I often catch Orchestra.” He goes on to say, “It’s a big statement, but her helping a beginning cellist during our large group there’s a lot to back it up. Music is McKenna’s thing—it is rehearsals,” according to Duane. her world, her sanctuary, her escape, and her passion. In a In addition to participating in orchestra, Phoenix is time when high school students struggle to fit in and find also active in her school’s choral programs, but doesn’t their niche, McKenna has found hers—playing the violin.” participate in any additional after school activities because A junior at Glencoe High School, McKenna also of her family’s financial constraints. In her application, plays other instruments, including the guitar, piano, and Phoenix writes, “a new cello will allow me to continue to saxophone, and serves as the saxophone section leader in play as the one that the school has been providing for me her high school’s Marching/Concert Band. Her future plans has become too small. I love being in chorus as well as include studying music in college and graduate school, in orchestra and playing the cello as it allows me to learn the hopes of “travelling the world and inspiring people with skills of singing, reading music, and the proper way to hold my music . . . .” As she says she reminds herself, “work hard the bow to play pretty music with my favorite instrument.” now and your dreams and goals will be in your reach.” We are happy that this gift from Potter’s will allow Phoenix McKenna’s dedication and hard work sets her apart, and to continue her musical studies, and progress towards her we hope this new violin helps makes things a bit easier. goal of someday playing professionally. Congratulations McKenna! Congratulations to these three exceptional winners, • Rigpa Palacios, age 14, violin, Oakland, California and thanks, as always, to Potter’s Violins for their generosity “An inquisitive mind, an insatiable in supporting this program. Special thanks to Dan Levitov, urge to perform, a broad expressive Maryland ASTA past president, who once again led the selection palate, a nimble physique, an incredible committee, assisted by fellow chapter members Paul Scimonelli, ability to integrate information, an and Matt Tifford. The next application deadline for this aptitude for diverse musical styles of all program is April 1, 2016. Please see the ASTA homepage for kinds—these only begin to describe more information on how one of your outstanding students in Rigpa Palacios, a student I have had the need can apply. privilege to teach since he was a bright- eyed fourth grader at the Crowden School and the Crowden Music Center in Berkeley,” writes ASTA member Lisa Get Ready to Bid at the ASTA Grodin in Rigpa’s recommendation for this program. “Even as a beginning violinist,” she adds, “he began to stand out Silent Auction in Tampa from the students who learned empirically. Rigpa had his You can expect some incredible items and state basket packages own ‘voice’ from the very start, and he seemed to ‘breathe’ at the upcoming Silent Auction in Tampa, Florida. This year, you the music in a way that immediately engaged and touched will find items that uniquely represent the host city, too. And, we an audience. With hands so small that he played a quarter won’t let you down on the variety of merchandise that appeals to sized violin, he somehow managed to also play a mean all musicians! The auction’s location will again be in the strings- boogie woogie piano, belting out songs that he had only exhibit hall alongside vendors, where maximum viewing by composed.” attendees is guaranteed. Bidding begins Thursday, March 3 at 5

www.astaweb.com | 19 Association News

p.m. when the exhibit hall opens and will close on Friday at 5:45 p.m. The winning bids will immediately be announced. You must Congratulations from ASTA & be present to win. All proceeds go toward ASTA community Potter's Violins! outreach efforts. If you have any questions or want to donate, please contact Deb Bissen, Foundation & Advocacy Coordinator, “The Potter’s Violin Instrument at [email protected]. We’d love to add you to our list of donors! Award is actually the ASTA ASTA appreciates the generosity of the following companies program that drew me to and individuals for donating to this event as of January 20. becoming a member of the Association. What an incredible opportunity—a chance for Florida ASTA young, devoted, hard-working musicians to earn the right to North Carolina ASTA perform on first-class instruments. For the members of the EYO Michigan ASTA (Etowah Youth Orchestras) who have received this honor, it is a Missouri ASTA true ‘game-changer.’ We have watched these young musicians New York ASTA move on beyond the EYO to become the future of string Louisville Convention & Visitors Bureau education in our country, and we know that our most recent Pittsburgh Convention & Visitors Bureau recipients are headed down this path as well. The Potter’s Violin Bärenreiter Instrument Awards program is one of the best opportunities D’Addario & Co. available for young musicians, and the members of the EYO and I Douglas Moore are thankful to all who make it possible!” Mike Gagliardo, Music Handbook for Cello Students Director & Conductor for Etowah Youth Orchestras Lauren Bernofsky The next application deadline for the Potter's Violins pro- Mike Block Music, The Block Strap gram is April 1, 2016. For more information, visit astaweb.com. Private Music Studio Guidebooks Steven Rosenhaus Soundwaves Recording Things 4 Strings LLC Violin Shop of Old Carmel Wingert-Jones Publications Wood Violins Volunteer for ASTA Thank you to the hundreds of ASTA members who volunteer every year to serve on committees, task forces, and program initiatives or who provide leadership at the state and college chapter levels—we couldn’t do it without you! When you volunteer, in any capacity, you make connections with the ASTA community and share in our mission of enriching lives through the joy of teaching and playing stringed instruments. We invite you to share your leadership qualities by getting involved. Simply go to the ASTA website to view a complete list of committees along with mission statements. There is also a downloadable form to complete and return. Whatever interest you may have, there is certain to be a spot that fits your skills or passion. Positions will be filled as openings become available.

20 | American String Teacher | February 2016 ASTA Publications Distributed Exclusively by Alfred Music Publishing

Lucien Capet and Don’t Miss These Bestsellers! Superior Bowing Technique $24.99 String Research Journal Vol. V ASTA String Curriculum Lucien Capet was born in $49.95 $49.99 Paris in 1873 and became The String Research Journal This K-12 concise string a renowned violinist in the (SRJ) is the official juried string program curriculum is the first Capet Quartet. He was a research publication of ASTA. It of its kind. It is easy to use, student of Maurin and the is also the world's only journal and more than 200 specific pure tradition of French devoted to string playing learning tasks make this violin technique through research. The SRJ is published curriculum comprehensive. Baillot. He was invited to bi-annually. ASTA members Based on the outstanding teach chamber music at also have the option of viewing contributions of many earlier the Paris Conservatory and during his years there, a PDF of the most current SRJ authors, educators, and he published Superior Bowing Technique. This issue in the members-only section of astaweb.com. researchers, this curriculum contains useful and practical information for string book answers the subjects that many have been Editors: John M. Geringer and David W. Sogin teachers from every level of experience. Now wanting to learn about, including: the most available in e-version through iTunes! complete biography of Capet, a comparison with Baillot's pedagogy, and a comparison with the ASTA String Curriculum now Authors: Stephen J. Benham, Mary L. bowing techniques of Galamian and Fischer. Wagner, Jane Linn Aten, Judith P. Evans, available for download on Denese Odegaard, Julie Lyonn Lieberman Author: Kelley Johnson iTunes for $39.99! Books Classroom & Orchestra Lucien Capet and Superior Bowing Technique, History & Orchestral Bowings and Routines Comparison by Elizabeth A.H. Green $21.99 by Kelley M. Johnson $24.99 Teaching Stringed Instruments in Classes Pedagogy by Elizabeth A.H. Green $29.99 Violin Resource Basic Principles of Violin Playing by Paul Rolland $14.99 Dictionary of Bowing and Pizzicato Terms ed. Joel Berman, Barbara G. Jackson, Kenneth Sarch $21.99 A Violinist’s Guide for Exquisite Intonation by Barry Ross, second ed. $24.99 Miscellaneous Viola Alternative Styles In the Classroom DVD $19.99 Playing and Teaching the Viola ed. Greg Barnes $49.99 Research String Research Journal, Compendiums Volume I, 2010 $24.95 String Syllabus Volume Two for Harp and Guitar String Research Journal, ed. David Littrell $19.99 Volume II, 2011 $24.95 String Syllabus Volume One, 2009 Edition for String Research Journal, Violin, Viola, Cello, Bass, & Ensembles; Volume III, 2012 $24.95 Alt. Styles now included! String Research Journal, ed. David Littrell $39.99 Volume IV, 2014 $24.95 String Research Journal, Ready to buy? Volume V, 2015 $24.95 ASTA members! Place your order The Bach Chaconne for Solo Violin at alfred.com/ASTA. ed. Jon F. Eiche $19.99

www.astaweb.com | 21 Association News ASTA Welcomes New and Renewing Members

The following list reflects individuals and organizations who joined or renewed their association membership between October 1, 2015 and December 31, 2015. Welcome to ASTA—or thank you for renewing your membership!

Individual Sherry Cadow, CA Emily Dunn, FL Susan Hallinan, AK Kari Caldwell, OK Garret Durie, CO Barbara Hamilton, CO Deirdre Abbott, WI Anna Callner, HI Philip Edelman, KS Rachel Han, NY Mark Adair, MO Jenniffer Campbell, NC Jeffrey Ehrinpreis, MI Haukur Hannesson, Sweden Anna Aguiar, OH Rachel Campbell, GA Amy Eichers, MN Lyra Harada, NY Angella Ahn, MT Evan Cano, FL Jessica Elkhatib, NY Bradley Hartney, WI Robb Aistrup, MA Stephen Cantrero, NE Diana Elledge, CA Shannon Haselton, NY Allen Alexander, IL Josephine Cappelletti, TN Rodger Ellsworth, NH Haley Heer, CO Isaac Allen, CA Martha Carapetyan, TX BJ Engrav, IL Anna Hennessy, VA Terice Allen, FL Cameron Carson, FL Maxwell Essler, FL Benjamin Henson, IL Marielisa Alvarez, MA Caroline Castleton, MD Ashley Etzkorn, IN Kyla Herbert, MO Mariesther Alvarez, MA Andrew Caswell, NY Thomas Eustaquio, NY John Hermanson, CO Jenna Ames, NC Leah Celebi, MI Michelle Ewer, CO Maria Hernandez, CO George Amorim, TX Alin Cernaianu, IL Scott Faircloth, NC Alex Ho, WA Brock Amoroso, PA Michael Certalic, MT Caroline Farmer, TN Katelyn Hoag, MI Joanna Amphayvong, AZ Diana Chang, CA Linda Finegan, NY Joy Holz, CO Elizabeth Anderson, NY Candace Chappell, MI Sara Finley, VA Brian Hong, MA Brett Andrews, CO Jessica Chen, CO Gale Fiszman, OR Gráinne Hope, Ireland Lorraine Anton, PA Sarah Chicoine, CO Micah Fleming, UT Tyler Hopkins, MI Priscilla Arasaki, CO Gregory Childress, VA Jose Flores, TX Vincent Houser, CA Whitney Armantrout, UT Young Choi, MA Cody Floyd, PA Spencer Howe, UT Jennifer Arnold, NC Hyun Chung, CA Sean Flynn, OR Jane Kathryn Hucks, SC Dmitri Ascarrunz, CO Heather Church, MA Quinton Folks, VA Michelle Hudson, KY Elizabeth Aureden, MA Rachel Clemens, NE James Forry, VA Sarah Huesman, FL Sinae Baek, TN Joshua Cleveland, FL Angie Foster, CO Julie Huggler, MI Andre Baines, VA Kynan Clymore, GA David Fowler, NE Taylor Humphrey, OH Cheyenne Baisch, PA Natalie Colbert, GA Benjamin Freiert, MD Royston Hunget, CO Christy Baisinger, WA Emmett Collins, NY Tawny Friend, NC Rebecca Huong, GA Andrew Baker, Australia Sandy Collins, MN Justin Fulfer, TX Callie Hutchison, AZ Eric Baker, OH Ian Connolly, GA Logan Funderburk, CO Andrew Huynh, OR Nensi Bakiu, MI Simone Coonrod, NY Thomas Furlough, AL Lydia Hynson, CO Alex Barna, NY John Cooper, GA Jacques Gadway, FL Eileen Iams, MT Robert Barnes, FL Elly Cope, MA Eric Gaenslen, CA Yusef Ibrahim, WV Elizabeth Barnes, MN Nathaniel Copeland, PA Nabile Garcia, TX Suzanne Ignaszak, WI Maureen Barry, IL Kimberly Cordon, TX Michael Garcia, NY Edwin Iparraguirre, CA Patricia Baser, GA Gabrielle Cox, UT Xavier Garcia, TX Ryan Jacobsen, CO Amanda Bauman, FL Andrea Coyle, CO Heather Garner, OH Patricia Jancova, FL Katelin Benini, VT Emily Crump, KY Joshua Garver, MA Kristine Janes, OR Dana Berman, NY Anna Cullnane, TX Angelique Rowell, MN Jilaine Jarvis, IN Miranda Bernard, IN David Curtman, MO Anastasiya Gavrilovich, OR Hunter Jeske, WI Jessica Billings-White, MA Elya Danalis, MA Samantha George, FL Taylor Jewell, KY Elizabeth Bishop, MO Jean De Vere, MN Christine Gero, WA Gail Johansen, AK David Bjella, FL Melinda Deal, AK Adam Girts, NY Krystin Johnson, SC Kay Black, WI Jacquelyn DeBella, MD Andreas Gomez, TX Matthew Johnson, SC Amanda Blagg, VA Alex Ratta, NY Jasmine Gomez, TX Dawn Johnson, MD Jesse Blasbalg, NY Rebecca Deluna, TX Amanda Goodwin, VA Austin Johnson, SC Paul Boese, ND Miriam Dennis, MN Tara Goozee, NY Kailey Johnson, TX Helen Bogda, IL Fiona Deyoung, MD Joan Gordon, CA Darby Jones, GA Andrew Bonci, KS Giuseppe DiGiuseppe, KY Carmen Granger, NC Andrew Jones, SC Ellen Boyer, MI Christopher Dixon, VA Nanette Grant, FL Pauline Josey, Canada Joseph Bradley, MO Carson Dixon, SC Joshua Greiner, CO Sandra Justice, MN Alison Brady, GA Christopher Dorsey, AZ Benoit Grey, CA Alice Kanack, NY Jackson Brischler, GA Karen Dow, NY Emily Grondin, NH Zuri Kargbo, CO Bridgette Brooks, NY Peter Downey, MA Daryl Grout, NY Karin Kelleher, MD Natalie Brown, IA Ashley Driscoll, WV Blakely Grunenberg, NY Kathie Kelley, CO Maya Brown-Hughston, NC Mary Dropkin, CA Sarah Guarrine, FL Emily Kelly, PA Alex Bruno, NY Kathryn Drydyk, KY Taylor Gwin, KS Kathleen Kemp, NY Graciela Burroughs, IA Nina Dryer, NY Jaymee Haefner, TX Alexander Kerr, IN Hannah Bush, VA Rebecca Duane, PA Monica Hahn, MN Shauna Keyes, OR Matthew Busse, CA Lara Dudack, OH Bryan Hall, AK Kevin Kim, CA

22 | American String Teacher | February 2016 Joshua Kimball, MN Sarah Miller, PA Justin Rawlings, GA Tee Tong Tang, AZ Mathew King, PA Wesley Miller, KY Scott Rawls, NC Jeffrey Tedford, PA Susan Kirchhausen, MA Valdine Mishkin, OR Jacob Reedy, FL Nathan Therrien, NH Sarah Klevorn, FL Michael Moellman, MO Harumi Rhodes, CO Angela Thomas, IN Sarah Klicker, PA Catherine Moilanen, MI Barbara Rhyneer, MI Daniel Thomas, MI Mike Klucker, PA Tyler Monell, KY Edward Richards, NV Lionel Thomas, OR Catherine Kolb, WI Sundas Moni, TX Oliver Richards, TX Joesph Thompson, MD Kathy Kowalewski, NJ Courtney Moore, WV Katelyn Richardson, TX Carolyn Tobia, NV Karen Kozak, MN Jane Morale, NY Michelle Richardson, TX Michael Tomasulo, NJ Johanna Kroesen, CA Maria Morales, TX Savana Ricker, MO Timothy Torres, FL Keith Kroesen, CA Sarah Morrison, FL Aron Rider, VA Ronald Totora, LA Otto Kuehrmann, PA Richard Mousseau, FL Rhonda Rider, MA An Tran, NE Emileigh Kukuvka, MA Lisa Muci-Eckhoff, KS Megan Riley, RI Alicia Tremmel, OH Catherine Kuna, IL Bailee Mulholland, CO Erick Rios, NE Anna Trevino, TX Scott Kuntz, PA Katherine Murdock, MD Emma Ripp, PA Jenna Trunk, MA Blake Kuroiwa, OR Fiona Murray, NY David Risdon, MN Bryan Tyler, NY Nancy Kurr, WI Violet Muser, IL David Robinson III, GA Seth Uricheck, CT Steven Kurr, WI Gabriella Myers, TX John Roe, FL Shahrazad Vakharia, CA Chris Kusek, KS Essilevi Nadal, FL Alex Rogers, NE Angel Valchinov, MA Brad Lambrecht, MN Michelle Nagy, MO Kirstin Rohrbach, IL Jose Valencia, IN Nicole Langford, MI Milica Nelson, TN Jennifer Roig-Francoli, OH Ruth Vano, KS Valerie Lawrence, MD Valerie Nelson, OR Kathryn Rolf, OK Raymond Evers, FL Devon Lawson, PA Abriel Newberry, KY Sarah Rosemann, NV Jessica Marra, MI Katherine LeSesne, IN Katherine Ng, NJ Marie Rossot, IL Emily Vaughn, KY James Ledbetter, OH Esther Nistor, FL Laura Rubinstein-Salzedo, CA Gabriel Vazquez-Leon, TX Shi-Pong Lee, UT Christine Nixon, SC Joni Rudak, TX Paul Walcott, CO Andrew Levin, SC Andrea Nobles, KY Chris Ruiz, CO Leah Waldvogel, NE Nicholas Lewis, FL Brianna Noe, KY Kourtney Ryan, WI Kelley Wallace, IN Ching-Yi Lin, KY Kevin Nordstrom, OH Megan Sadlon, CT Ching-Hsuan Wang, CO Michael Linert, CO Andrew Nowicki, IN Krystal Saenz, GA Darya Ward, KY Jeffrey Lipscomb, WV Eileen O'Driscoll, NJ Jessie Salas, CO Ellen Ways, FL Kayla Lisa, FL Michael O'Gieblyn, IN Danielle Santoro, NY Darlene Wedington-Clark, AZ Shelley Livingston, NC Lydia Oates, CO Lauren Saunders, NC Laurel Wells, WA Shannon Lockwood, FL Kyung-Nam Oh, MA Nathaniel Savage, RI Jason West, MO Brittany Lohman, TX Jeffrey Ohmart, VA Camille Schiess, TX Brooks Whitehouse, NC Marian Lombardi-Sanphy, PA Anna Olson, MN Haley Schilla, PA Finn Wilder, OH Madeline Long, NE Janet Orenstein, NC Courtney Schisler, KY Candida Wiley, IN Emily Longnecker, IN Robin Osgood, FL Kayla Scholl, IA Susan Wilkes, NH Katelynn Lowe, SC Ava Pacheco, CO Daniel Schumacher, TX Gary Wilkes, TN Nurkit Lucksom, NY Dawn Pakkebier, IL David Schurger, IN Scott Wilkins, VA Leanne Lugo, NV Carmen Kolesch, MS Barbara Scott, IL Kevin Williams, GA Kelsey Lynch, SC Christopher Parker, FL Julie Scull, IN Heather Willoughby, TX Suzanne Lyons, IN Margaret Parkins, CA William Selle, NC Miranda Wilson, ID Mercedes Lysaker, IN Allison Parks, FL Spencer Sharp, OH Sarah Wilson, KY Megan Maddaleno, MO Ryan Parry, NY Arminda Sharpe, IN Armond Wimberly, OH Clifford Madsen, FL Jesse Parsons-Hall, OH Daniel Shaver, HI Abby Witt, KY Philip Maffa, MA Nicola Payne, MA Rachel Sherrod, AL Richard Worcester, AZ Anida Margariti, MI Laura Payne, IN Kevin Shue, NY Cathy Worcester, AZ Greg Marget, MN Vikki Payne, MT Austin Shults, MO Chris Worswick, WA Mikaela Marget, WI Amber Peck, KY Melanie Sigel, NE Vonette Yanaginuma, CA Larisa Marian, VA Julia Perez, TX Danielle Simandl, MI Mineo Yasutake, IL Anthony Mariano, TX Sarah Persin, PA Jacqueline Skara, IN YeRim Yoo, MI Christopher Marra, MI Diane Persons, PA Gillian Smith, Canada Ashley Yoon, NS Stephen Martin, NY Sheri Peterson, MN Rachel Smith, TX Airi Yoshioka, MD Kevin Martin, MN Loretta Peterson, KY George Smith, CA Mariko Yuen, HI Jayde Martin, NY Kelsey Philbrick, NC Devin Smith, KY Sarah Yun, IL Nathan Martin, NC Laura Pinfield, FL Leilah Smith, IN Kari Zamora, TX Jennifer Martinez, TX Glenn Pinfield, FL Philip Smyth, WI Anna Zeshonsky, PA Pam Mason, Canada Kyle Pitcher, MI Eric Solberg, MN Jasmine Zhang, NJ Christopher Mattaliano, MA Diane Plouffe, RI Scott Soukup, AZ Russell Matthews, MI Jennifer Pons, GA Sophia Sprunger, PA Institutional Jeremy McCoy, NJ Nayiri Poochikian, MD Miriam Stern, FL Ruben McFarlane, NY Hannah Potts, MD Susie Stevens, NH Georgia State University, School of Piper McInall, FL Carissa Powers, GA Melissa Stewart, PA Music Bryce Melaragno, CO Deborah Price, OH Linnea Stolze, OH Melissa Melendez, TX Michael Priller, IL Nathaniel Strick, CT Kristen Melon, CO Gregory Pritchard, GA Sarah Struebing, IL Marissa Mergler, NY Thomas Pritchard, RI Susan Suh, CA Marion Messino, IL Carolyn Quinn, OH Jung Suh, VA Barbara Miller, MO Kamneev Rai, IL Juno Suk, NJ Lisa Miller, NJ Kelly Ralston, VA Susan Sullivan, WI Anna Miller, PA Ashley Ramirez, IL Jack Sumrall, FL Parnelle Miller, IL Hugo Ramirez, TX Amber Svetik, FL

www.astaweb.com | 23 Music Degrees - Everything You Need to Know from Application to Graduation Part Two (of a three-part series) – Auditions

by Hillary Herndon

Navigating the college audition and admissions process is often and lyricism. Contrasting movements of a concerto and fraught with anxiety for music students and their parents. The unaccompanied Bach are very often successful works to present. decisions and preparation involved can seem overwhelming and For some instruments (e.g., double bass) orchestral excerpts families often find it difficult to find answers to their questions. can be a valuable part of an audition. Also, if a student has a Whenever there are “question and answer” sessions with faculty uniquely individual aspect to his or her performance (eclectic at music events, the most common questions are regarding the playing or perhaps a self-composed work), it can be valuable in admissions process. demonstrating all the assets and musical personality of the student. This article is the second in a three-part series to provide —Sidney King insights into music degrees for string students and their families. In the first segment, the application process was examined. This Choose works that really show you at your best and best represent installment will explore auditions—how to prepare, what to do in the level that you are playing at. If you are not studying a an audition, and common mistakes to avoid. The final segment school’s required repertoire, contact the major professor (or have will offer advice on how to make the most of college once your teacher contact them) to see if you might be able to make admitted and enrolled. substitutions; usually you can. What you should definitely NOT Notable string teachers from a variety of institutions and do is try to play repertoire that you are not ready to play. This will specialties have contributed their advice to this series. The impress no one. teachers represented include pre-college teachers who regularly —Christine Rutledge prepare students for college auditions, as well as collegiate string teachers from multiple institutions. Please visit astaweb.com for Play what you know best, not what is newest. Many times students the complete questionnaire used in writing this article and full think they should “show off” their newest repertoire, which is often responses from each participating teacher. Contributors include: still “marinating.” Older rep has had a chance to settle and come Kathryn Dey, Viola Instructor, South Carolina Governor’s back with more depth and understanding. In addition, too often, School for the Arts and Humanities; James Dunham, Professor students arrive with works that are simply beyond their limits. of Viola, Shepherd School of Music, Rice University; Natasha Sadly, in this case, it is the teachers that I fault for giving students Farny, Associate Professor of Cello, SUNY Fredonia; Lin He, inappropriate repertoire for their current abilities. Associate Professor of Violin, Louisiana State University; Sidney —James Dunham King, Assistant Professor of Double Bass, University of Louisville; Christine Rutledge, Professor of Viola, University of Iowa; Audition Preparation Tips Nicolette Solomon, Executive Director, Suzuki Institute of Thorough preparation is required for successful auditions. It is Dallas; James VanDemark, Professor of Double Bass, Eastman best to begin learning the repertoire early so that there is plenty School of Music. of time for slow, consistent practice using critical listening skills. This article is by no means exhaustive, and readers are Speak with your teacher about how to be the most efficient strongly encouraged to ask questions of their private teachers and in your practice time. Make sure to practice performing and to reach out for advice from professionals in their specialty of auditioning as well—you will feel more comfortable in your interest. college auditions if you’ve been through the experience before. There are many wonderful books on these topics, including Audition Repertoire Practice for Artistic Success by Burton Kaplan, The Musician’s Way Once a student has finalized which schools they will audition by Gerald Klickstein, and Performance Success by Don Greene. It for, the audition preparation begins. Look up the audition is recommended that students read these books well in advance requirements on each school’s website and speak with your private of their auditions so as to implement the strategies in the teacher about what pieces would best show your individual preparation plan. strengths at an audition. We are athletes in our own way, and like athletes, we must train I feel that audition material should be selected that will gradually and well. The goal is to arrive with our personal best best demonstrate who the student is as a player and most ready to demonstrate. Personal pacing is so important, so know accurately show the level of musicianship attained. Typically, yourself. Plan preparation so that at the time of the audition, you the repertoire should demonstrate a diversity of style (baroque, are at the “top of the arc” in its performance! classical, romantic, etc.) and should show elements of technique —James Dunham

24 | American String Teacher | February 2016 Practice! Perform your audition repertoire as often as you can. will talk with the student to ask questions about goals, previous Record yourself and then listen while following a score. Make sure experience, etc. This also gives an opportunity for the student to that intonation, rhythm, and tone quality are as strong as they communicate character and personality. I am particularly struck can possibly be. Don’t play a tempo that is too fast for you, even by a student who has already contacted me and gotten familiar if it is slower than you think it should be. Don’t overplay—keep with me and what my studio chemistry is about; someone who is your tone quality clean and clear. Be aware of style. very focused on a goal and determined to take advantage of the —Christine Rutledge resources at hand to get there. —Sidney King Try to use the weekly private lesson as a performance opportunity, and a few weeks before the audition, take time to play the Come in well prepared, dressed respectfully, with conviction and repertoire for a few people. Focusing on a daily goal (intonation, self-confidence! Be prepared to introduce yourself and to meet the shifting, rhythm, etc.) can be helpful. committee members. Have your music in good condition and in —Lin He an order where you can find each work without fumbling. Most people I know allow you to start with your choice, but then might Start building up performance programs from a few years before ask for pieces in a different order. If it’s a new/unfamiliar piece, application and perform at every opportunity—retirement homes, bring a copy for the committee. Not required, but a nice touch! concerts, and even small and larger competitions. I think a musical point of view is invaluable. A fine technique is, —Nicolette Solomon of course, very important, but I have heard many very “correct” players who really don’t offer a musical concept. In tune and in Obviously practice thoughtfully and frequently so everything time is not the point. (Don’t get me wrong, good intonation and is in a great place for the big events! Plan ahead so that rhythm are vital, but not the only things, by far!) Also, if the the auditions themselves are not the first time you present student has taken a lesson with me, I am very interested in their your program. Use competitions when possible to test drive willingness to hear suggestions, and their ability to understand your repertoire—ideally in the early fall. I also recommend and apply concepts. performance candidates take an introductory lesson with their top —James Dunham choice teacher in the fall and work on their audition repertoire together. At the end of this lesson, students should ask the teacher Common Audition Mistakes what improvements they would like to see at the audition. There are several common mistakes students make in auditions. —Kathryn Dey Nicolette Solomon warns students to stay focused no matter what distractions may occur in the audition room. The Students should ensure that they have carefully prepared ALL of audition panel will often have a file that contains the student’s the required material. It’s astonishing to see students who think transcript, recommendation letters, and writing samples. In they can play half the required material [at an audition]. I order to view this pertinent information, the faculty will need recommend that students, with their private teacher, tape a mock to pass it amongst themselves or have quiet discussions to share audition before the actual audition to hear (and see) what might information on the student. They will need to take notes on happen. each student auditioning—this could be by writing on a paper —James VanDemark comment form or by typing a digital version. It is important to stay focused and engaged through these distractions. Realize that How to Impress at the Audition these “noises” will be occurring from the faculty for every student Consider the audition as an interview; the faculty want to hear and are not a reflection on your playing. Consider having several how you play and determine if you will be a good fit at their mock auditions prior to your college auditions where your family school and for an individual studio. Playing with a good sound, or friends try to distract you. quality intonation, and musicality are important, but faculty Professor Farny recommends that students remain open to members also are looking for students who present themselves in new ideas and avoid becoming defensive in an audition. Make eye a professional manner, are organized, have a good attitude, are contact with the faculty and have confidence—don’t assume that respectful, and have a desire to learn. No teacher wants to sign up the faculty will not like what they hear. for four years with a student who will be disrespectful, believes Kathryn Dey describes the most common mistake students they already know everything, or shows signs that they will have make at auditions as “being obsessed with performance perfection difficulty navigating a college environment. in order to impress a committee. I think that most quality studio The audition also is an opportunity for students to interact teachers are looking for open learners—not perfect performing with the faculty and ask their own questions. Asking thoughtful robots. Students should share their musical gifts with the questions about the program (especially if the answers aren’t committee, and also show they are good and interesting human readily found on the school’s website) demonstrates self-assurance, beings who will contribute to the studio and school environment inquisitiveness, and a serious interest in the program. These are positively. Students should do this in a way that feels natural to qualities schools are looking for in their students, so speak up! them.”

I am impressed with a student’s poise in the audition situation. Final Thoughts on Auditions This is always evident in the musical presentation and the general Below are some tips from our contributors to keep in mind before carriage of the student on stage. Often, audition committees an audition.

www.astaweb.com | 25 Be physically healthy when you get to college auditions, as the stress is the great unknown. Play your whole audition rep for as many people possible before the big day. Listen to many recordings of your pieces so you do not get bogged down by your own thoughts. —Nicolette Solomon

Think of the audition as a performance, not a selection/ elimination process. Part of the audition preparation should include formal performances of the repertoire so the student can tap into performing vibes when standing under fluorescent lights in a far-away city with strangers sitting at a table writing. Auditions rarely feel like performances, however, they will probably NEVER feel like a concert if you don’t ever play it that way. —Kathryn Dey

At the audition, give yourself ample time to arrive at the site and be early enough to warm up. Do not be in a hurry to start the selections. —Lin He

Tour the school, meet current students, and always ask them many questions! I like to tell prospective students that I will tell them what I want them to know. The current students will tell applicants what they want to know! —James Dunham

The best college auditions are the result of years of careful practice and performance experience. Start taking private lessons early. Professor Natasha Farny recommends starting private lessons by ninth grade at the latest. Learn how to practice well, and strive to improve both technically and musically. Look for performance opportunities in your community that allow you to become more comfortable in a solo performance. When the time comes to prepare specific repertoire for your college audition, make sure to find the best audition repertoire for you with your teacher. Don’t feel pressured to play a more difficult piece than your teacher recommends—it is better to play an easier repertoire well than a difficult repertoire poorly. Practice the audition experience by setting up mock auditions with gentle distractions. Practice starting and stopping your repertoire—it is not likely you will be able to play all of your repertoire in an audition. The committee might ask you to start at the development of a movement, or skip to the cadenza in your concerto. Stay calm, be pleasant and confident. If you make a mistake, forget about it and move on. Ask questions of your committee to show you are interested in their school. Finally, try to relax and demonstrate what you love about playing music!

Hillary Herndon is associate professor at the University of Tennessee and is founder of the annual Viola Celebration. She is on the faculties of the Viola Winter Intensive and the Montecito Interna- tional Summer Music Festival.

26 | American String Teacher | February 2016 www.astaweb.com | 27 Now You See It, Now You Don’t: Participatory Stratification in Public School Orchestras by Angela Ammerman

String music education in the United States is traditionally 2008 study revealed the greatest constraints for low SES families plagued by low student enrollment and high attrition rates included time and money (Davies, et al. 2008). Frustrations were (Gillespie and Hamman 1997; Solly 2002). Exacerbating the expressed by one participant regarding single-parenthood and crisis is a fundamental paradigm, which at best accepts inequality the inadvertent deprivation of social and “extra” activities that of opportunity, and at worst encourages it. Accordingly, solutions were much more difficult for her child because of their situation. to low student enrollment in string education must address the The priority in many low-SES households becomes survival issue of inequality within and among music programs. I will and necessity leaving little to no financial resources leftover for suggest that musical segregation by socioeconomic status (SES) anything else (Miksza, 2007). exists within public school orchestra programs. This dilemma The monetary expenses rapidly add up to what may feel like leads one to question whether or not music really is for everyone an exorbitant amount, particularly to a family struggling with (Phillips 2003; Bates 2012). day-to-day finances (Bates 2012). Although opportunities do Despite the wealth of research regarding SES and musical exist to provide aid to students from low-SES backgrounds, the participation, there still exists issues within our public schools opportunities are not created equal, and are often not enough regarding equal opportunities for the financially deficient. Every for a student to keep up with other students (Ester and Turner, step of the musical path is more difficult for students from a 2009). It is not unlikely that the low-SES student is the child low-SES background and the disparity between classes increases of a single mother living with multiple children, off of one at every new stage of student development (Stearns and Glenie income, in a small apartment, living paycheck to paycheck. The 2010; Eitle and Eitle 2002; McNeal 1998; Mickza 2007). low-SES student may lack transportation to events and may A study on American music programs across public schools have a lesser degree of parental guidance and presence, thus suggested SES to be a strong predictor for the presence of a making participation in both social and after school rehearsals string program (Albert 2006). This study found that within the and performances exponentially harder on the entire family United States, only 4 percent of school districts catering to low (Albert 2006). The music teacher may need to provide practice SES communities even offered a strings program. This would space within the school in order for the student to practice. The suggest that a child from a low SES school district with the desire combination of parental absence (not by choice, but necessity), to learn how to play a string instrument would have to either be and lack of participation in the necessary social and musical enrolled in one of the rare low SES schools with a string program events may lead to greater risk of social isolation if the student or would have to find an instrument, lessons, and perhaps even even enrolls in orchestra (Davies, et al. 2008). an ensemble independently. This is no small task for a young student, especially one with limited resources. While things may Recruiting have changed in the past ten years, research suggests that there The initial recruiting concert cannot be underestimated as it is still limited music participation from low-SES students (Elpus represents an invitation into a new environment and social and Abril 2011; Bates 2012). group. If the desire is to provide an equal opportunity to learn a string instrument to the entire grade, then the educator must A Day in the Life address the common concerns of all students, particularly those In order to fully understand the family dynamics of a student in of the low-SES student. Without addressing the specific concerns a low-SES environment, we may need to investigate what daily of low-SES students, we may inadvertently be contributing to life might be like for a student in this situation. First, consider greater socioeconomic segregation. the inequality of the American public school system in which Information. Essential pieces of information regarding the the average per student disparity between high-SES and low-SES recruiting concert include: school districts is $1,348 (Carey 2004). This thirteen-hundred- • Instrument procurement (Does the school provide dollar deficit would likely mean significantly fewer resources made instruments for students or must they procure them on available to the student (Carey 2004). Scarcity of resources might their own?) affect teacher-student ratio, availability of electives and activities, • Enrollment fees and accessibility to technology. As a result, low SES communities • Financial support might experience low participation rates, poorer test scores, and • Necessary accessories (rosin, bow, case, books, music stand, higher student dropout rates (Carey 2004). etc.) In addition to the inequality found within the public school • Transportation system, low-SES students often experience additional barriers due to a lack of domestic resources, including transportation These considerations are of paramount importance for students and money, as well as an increase in familial responsibilities as young as fourth graders and must be addressed in order for (providing care for younger siblings while parents work). A the students even to consider enrolling. The recruiting concert

28 | American String Teacher | February 2016 also should take on a slightly different look within a low-SES high-SES and low-SES communities is so striking that Kozol environment as compared to a high-SES environment. refers to it as “segregation” (1991, 2). Constraints on the parent(s) which may include time, money, transportation, and practice Recruiting Strategies. Recruiting strategies specific to low- space may play a large role in decisions whether or not to SES students include instrument petting zoos, kinesthetic continue to play a string instrument. activities, and familiar musical selections that are relevant The nitedU States is not alone in experiencing high attrition to this audience. Instrument petting zoos allow students to rates in school instrumental music programs according to experience the delight of playing even if it is just one single recent research (Albert 2006). In a 2011 Australian study of note on a string instrument. Kinesthetic activities might instrumental dropouts, the number of students who remained include mini dramas in which audience members physically in a musical ensemble through year 12 measured between four participate in a musical story and are given the opportunity to percent and six percent of the entire student population (Ng play an imaginary instrument. This act of play can work toward and Hartwig 2011). Results suggested that the decision-making the development of a musical social identity (Sutherland 2008). processes of a high school instrumentalist and family might be Familiarity of the pieces within your recruiting concert also influenced by a number of factors including but not limited to may play an important role in a student’s decision making self-efficacy, student and family valuation of the subject matter, process. A familiar song may signal acceptance of a student’s and personal interest including social identity. culture within your program. If all of the pieces within a recruiting concert are foreign and confusing to the audiences, Social Identity Theory.Social Identity Theory “assumes that the students may not feel welcome to join. one part of the self-concept is defined by our belonging to social Scheduling. Research suggests that students from lower SES groups . . . people categorize themselves and others as belonging communities score significantly lower on standardized tests to different social groups and evaluate these categorizations” and may be discouraged from missing any core classes lest (Trepte 2006). In order to retain students, particularly students their grades or test scores suffer (Brooks, Gunn and Duncan from low-SES backgrounds, we must encourage and build up 1997; U.S. Department of Education, National Center for their social identity around musical participation. Because low- Education Statistics 2007; Ford 2011). A disparity within SES students are already at a greater risk for feeling isolated and standardized testing and GPA already exists between social excluded, it is crucial that the music teacher work toward a more classes, but it is also evident in the availability of classes and child-centered social identity which includes music participation even scheduling flexibility (Ford 2011). If low SES schools have in order to increase student retention (Davies, et al. 2008). fewer electives and resources, then scheduling conflicts may be more challenging to resolve. We must become advocates for our Private Lessons. Once a student has discovered a social identity students and work with the guidance counselors and classroom within the orchestra program, he or she may develop a greater teachers to create a schedule that is appropriate for each need for private lessons in order to remain competitive with other student. We must think outside of the box so that our students musicians (Woody 2004). Research tells us that musicians who are given the best opportunities to succeed. are more successful not only have supportive and actively engaged parents, but also are involved in lessons from as early as age six or School Instrument Dilemma. Many school systems own a seven (Woody 2004). Bates (2012, 34) also noted the immense large quantity of instruments, but the quality is that required of barriers for low-SES students as compared with other students, a beginning musician rather than an advanced musician trying “the markers for success in music education—participation in to practice advanced techniques. This disparity between school select ensembles, first-chair placements, leading roles, high scores instruments and high quality instruments only contributes at festival—will be reserved for middle-class and affluent students to the inequality within music education programs. A 2008 . . . .” The selection of a private teacher is paramount if a student study suggested that students with school instruments (SI wishes to excel in music. The initial private teacher can have long- participants) did not display as much enjoyment from playing term consequences in terms of student motivation for practice their instrument as students who owned a personal instrument and even continued participation. “Exceptional musicians (Ester and Turner 2009). Additionally, student valuation tend to remember their first teacher as being friendly, relaxed, of instrumental participation as well as long-term musical and encouraging. Researchers have found that this ‘warmth participation was effected by instrument ownership (Ester and dimension’ of the first teacher tends to be missing from the Turner 2009). “It is reasonable to observe that SI participants accounts of people who ultimately withdraw from music lessons” are unsure about their future ability to participate because (Woody 2004, 18). While it is unlikely that we will be able to they do not own an instrument” (Ester and Turner 2009, 66). secure private teachers for all of our low-SES students, we must Even if the school lends a student an instrument from fourth keep in mind the importance of warmth and encouragement in grade to twelfth grade, the student will still have to return the our own lessons. instrument upon graduation. Now you get an instrument, now you don’t. Conclusion The disparity between low and high SES musicians has Retention been cited in study after study and yet, across the country, music While it is difficult to get the low-SES student even to begin programs are still lacking the funding and materials to close this to play an instrument, it is even more challenging to prevent achievement gap. This is what the progression from elementary to attrition (Bates 2012). SES has been a strong predictor of high school might look like for a low-SES musician: retention in musical ensembles and the disparity between the

www.astaweb.com | 29 1. Teacher recruits me into Orchestra. on the Attitudes and Achievement of Low-Income Music Students.” Contributions to Music Education 36 (1): 53–71. 2. Teacher provides an instrument during the school year, Fairfax County Public Schools. 2012. “Elementary School Membership by Ethnicity, books, bow, music stand. Race and Gender September.” http://www.fcps.edu/it/studentreporting/documents/ EthnicRpt12.pdf 3. Teacher lets me practice at school because practicing Fitzpatrick, Kate R. 2006. “The Effect of Instrumental Music Participation and at home might upset the neighbors in my apartment Socioeconomic Status on Ohio Fourth-, Sixth-, and Ninth-Grade Proficiency Test complex. Performance.” Journal of Research in Music Education 54 (1): 73–84. Ford, Ferin. 2011. The Effect of Family Poverty on Children’s Academic Achievement: Parental 4. I have to find a friend to drive me to extra rehearsals, Discussion and Neighborhood Poverty as Mediating Variables. New Jersey: Camden concerts, and practice sessions. Rutgers, The State University of New Jersey. Gillespie, R. and D. Hamman. 1996. “The Results Are In!: A Survey on the Status of 5. My mom watches my concerts from the video that the Orchestra Instruction in the Public Schools. American String Teacher 47 (4): 45-49. other parents took because she has to work. Kerri, James Nwannukwu. 1980. “Review.” Urban Anthropology 9 (4): 409–13. Kinney, Daryl. 2008. “Selected Demographic Variables, School Music Participation, and 6. I decide to continue in orchestra and I have developed Achievement Test Scores of Urban Middle School Students.” Journal of Research in Music friends and relationships with the musicians and the Education 56 (2): 145–61. http://www.jstor.org/stable/40343721. teacher, but I always feel behind. Kozol, J. 1991. Savage Inequalities New York, NY: Crown. McCarthy, James. 1980. “Individualized Instruction, Student Achievement, and Dropout 7. Each summer I have to give back my instrument only to in an Urban Elementary Instrumental Music Program.” Journal of Research in Music get a different one the next year. Education 28 (1): 59–69. McNeal, Ralph B. 1998. High School Extracurricular Activities: Closed Structures and 8. In high school, I never ever get the full points for tone Stratifying Patterns of Participation.” The Journal of Educational Research,91(3), 183- quality on my auditions. They say it is because my 191. Miksza, Peter. 2007. “Music Participation and Socioeconomic Status as Correlates of Change: instrument is not very good. A Longitudinal Analysis of Academic Achievement.” Bulletin of the Council for Research 9. I often cannot afford to do the extra activities like District in Music Education April (172): 41–58. Orchestra or Regional Orchestra unless someone else pays Mullen, Ann. 2014. “Gender, Social Background, and the Choice of College Major in a Liberal Arts Context.” Gender & Society 28 (2): 289–312. for them. Ng, Chi-hung Clarence, and Kay Hartwig. 2011. “Teachers’ Perceptions of Declining 10. I love music and want to pursue it as a career. Participation in School Music.” Research Studies in Music Education 33 (2): 123–42. Nierman, Glenn E., and Michael H. Veak. 1997. “Effect of Selected Recruiting Strategies 11. It is graduation time and my teacher must take away my on Beginning Instrumentalists’ Participation Decisions.” Journal of Research in Music instrument. Education 45 (3): 380–89. Phillips, Scott L. (2003). Contributing factors to music attitude in sixth-, seventh-, and eigth- While there are strategies and solutions that can be used now grade students. Unpublished doctoral dissertation, University of Iowa, Iowa City. Sarsour, Khaled, Margaret Sheridan, Douglas Jutte, Amani Nuru-Jeter, Stephen Hinshaw, and to encourage low-SES students to join and continue to participate W. Thomas Boyce. 2011. “Family Socioeconomic Status and Child Executive Functions: in string orchestra (school-provided transportation, school The Roles of Language, Home Environment, and Single Parenthood.” Journal of the International Neuropsychological Society 17 (01): 120–32. instrument loaners, after school practice space, etc.), there still Solly, B. J. .1986. A Study of Attrition from the Instrumental Music Program in Moving Between exists greater need for more equality within music education. Grade Levels in Cherry Hill, New Jersey (Educat.D.). Pennsylvania: Temple University, Further research is needed regarding the inequality of United States. Stearns, E. and E. Glennie. 2010. “Opportunities to participate: Extracurricular activities’ opportunities such as instrument scholarships, youth symphony distribution across and academic correlates in high schools.” Social Science Research 39(2): scholarships, and the inclusion of “tone quality” on auditions. 296–309. Stryker, S. 2000. “1: Identity Competition: Key to Differential Social Movement Additional research also is needed on motivation methods and Participation?” In Self, Identity, and Social Movements edited by S. Stryker, T. J. Owens, alternative paths to musical success for low-SES students. This and R. W. White, 21-40. Minneapolis: University of Minnesota Press. Sutherland, M. 2008. Advertising and the mind of the consumer: What works, what doesn’t, and paper serves as evidence for the need for reform in our public why (Revised ed.). Crows Nest, NSW.: Allen & Unwin. school music programs and for greater research regarding Trepte, S. 2006. “Social Identity Theory.” In Jennings Bryant and Peter Vorderer (Eds.), the inequality of opportunities for students from a low-SES Psychology of Entertainment, 255-271. New York and London: Routledge. U.S. Department of Education, National Center for Education Statistics. 2007. Early background. Childhood Longitudinal Study, Birth Cohort (ECLS-B) 9-Month - 2-Year Residential Zip Code Restricted-Use Data File. (NCES 2008-038). Washington, DC: Author. Woody, Robert H. 2004. “The Motivations of Exceptional Musicians.” Music Educators References Journal 90 (3): 17–21. Albert, Daniel J. 2006. “Socioeconomic Status and Instrumental Music: What Does the Yun Dai, David and Robin Schader. 2001. “Parent’s Reasons and Motivations for Supporting Research Say About the Relationship and Its Implications?” Update - Applications of Their Child’s Music Training.” Roeper Review 24 (1): 23. Research in Music Education 25 (1): 39-45. Bates, V. C. 2012. “Social Class and School Music.” Music Educators Journal 98 (4): 33–37. Angela Ammerman, orchestra director at Annandale Blau, Judith R., Peter M. Blau, and Reid M. Golden. 1985. “Social Inequality and High School in Fairfax County Public Schools, the Arts.” American Journal of Sociology 91 (2): 309–331. http://www.jstor.org/ stable/2779761. earned her bachelor of music education degree Brooks-Gunn, Jeanne & Greg Duncan. 1997. “The effects of poverty on children. Children from the University of Cincinnati, College-Conserva- and Poverty.” The Future of Children 7 (2): 55-71. tory of Music (CCM); and her masters of music Carey, Kevin. 2004. “The Funding Gap 2004.” http://www.edlawcenter.org/oldsite/ education from Boston University. Ammerman is ELCPublic/AbbottvBurke/Resources/History_FundingGap2004.pdf Costa-Giomi, Eugenia. 2008. “Characteristics of Elementary Music Programs in Urban currently working on her Ph.D. in music education at Schools: What Money Can Buy.” Bulletin of the Council for Research in Music Education George Mason University. Her experiences in K-12 July (177): 19–28. general music and orchestra have molded her Davidson, Jane, Michael Howe, Derek Moore, and John Sloboda. 1996. “The Role of Parental Influences in the Development of Musical Performance.” British Journal of Developmental recruiting and retention styles and have contributed to her reputation Psychology 14 (4): 399–412. as a program builder. Although she has only taught for eight years, she Davies, B., E. Davis, K. Cook, and E. Waters. 2008. “Getting the Complete Picture: has managed to more than double the orchestra program at every Combining Parental and Child Data to Identify the Barriers to Social Inclusion for school she has worked for within three years. Having taught in Ohio, Children Living in Low Socio-Economic Areas.” Child: Care, Health and Development 34 (2): 214–22. North Carolina, and Northern Virginia, she has a wide range of Eitle, T. and D. Eitle. 2002. “Race, Cultural Capital, and the Educational Effects of experiences and insight. Ammerman has been awarded the Beginning Participation in Sports.” Sociology of Education 4 (1): 123-146. Teacher of the Year, the Claes Nobel Educator of Distinction award Elpus, K., & Abril, C. R. 2011. “High School Music Ensemble Students in the United States: A Demographic Profile.” Journal of Research in Music Education 59(2): 128–145. and has been featured as a clinician and guest conductor. Ester, Don, and Kristin Turner. 2009. “The Impact of a School Loaner-Instrument Program

30 | American String Teacher | February 2016 www.astaweb.com | 31 Guitar Forum: GarageBand Tutorial for Guitar Instructors

by Bill Purse

Contemporary guitar instructors can find musical assistance Getting Started—Changing the Speed of Your Audio File from their computers that will function well whether This potent approach has many powerful applications from teaching privately or in a classroom. The Apple software finding the appropriate performance speed for an exercise or application GarageBand and an editing tool available in it song example provided in a guitar method or CD track, to called “Flex” function well for guitar instructors. With flex making it easy to transcribe a song’s chord progression/licks/ you can change the speed of a song, riff, or musical example riffs/lyrics. without changing the pitch. Let’s begin the tutorial. If you already have an mp3, The following is a GarageBand tutorial that will wav, or aif file on your computer or hard drive, it is easy to walk you through how to upload an audio file, choose a get started simply by dragging this file into the workspace track, and use flex to edit it. This article is focused on the area of GarageBand. computer version of GarageBand. I intend to write one for the iPhone and iPad version in the near future. • Open GarageBand and (1) Create a New Project > select, (2) Empty Document >, and (3) Choose as Terminology shown in figure 1. Before we begin, below is some important terminology which may or may not be familiar to you. Digital audio has several formats that can be used with GarageBand for bringing outside audio into the application. These files have a special dot 3 tag at the end of their file names that defines them and determines how GarageBand will handle them when imported. Both Microsoft Windows and Apple platforms have no problem reading and writing any of the three popular audio file formats described below. • mp3. The acronym MPEG stands for Moving Picture Experts Group and was set up by the International Standards Organization in 1988 to set standards for Figure 1. Screen capture showing how to get started in compression and transmission of audio and video GarageBand. files. It is a file that is compressed, therefore, some of the purportedly non-critical audio data is removed • The following screen will appear, see figure 2. from these files making them smaller in size than the • Now you need to insert a CD to import a track into two following formats. Mp3 files are very popular iTunes or drag an audio file (mp3, aif, or wav from and the data that is removed still leaves the remaining your desktop) into the “workspace,” as shown in audio very listenable. figure 2, either from your computer or hard drive. • aif. Technically aif is a shortened version of AIFF which stands for Audio Interchange File Format. The aif is an audio format designed specifically to store audio data. It was developed by Apple and is associated with Apple software. These files usually

Guitar Forum contain the same dynamics and fidelity as popular manufactured CDs. • wav. Waveform Audio File Format was developed by Microsoft and IBM for storing digital audio information. Wav files usually contain the same dynamics and fidelity as popular manufactured CDs. Another important term is “Share.” Share is a GarageBand main menu term and is short for “File Figure 2. Screen capture of GarageBand workspace. Sharing.” It is a way to save the audio portion of a GarageBand session to your computer’s hard drive so you • Insert your CD disk into your disk drive and when can make an audio CD or upload your file to the Internet iTunes brings up the import window select the track or tracks using the little box with a check before the

32 | American String Teacher | February 2016 Guitar Forum track name. Choose the one you wish to import, then click the “Import CD” button as shown in figure 3.

Figure 6. Screen capture of the Media window.

Figure 3. Screen capture showing how to import audio into GarageBand.

• This will bring the Import Settings window for the selected track into iTunes as an mp3, aif, or wav file depending on which encoder pop-up menu command you select as shown in figure 4.

Figure 7. Screen capture showing how to drag audio into the workspace.

• Once the appropriate track is in GarageBand you will Figure 4. Screen capture showing Import Settings and the Pop-up see the waveforms and be able to use a process called Menu. “Warping” to evenly add space between the digital waveforms to slow the music down without changing the • Any standard audio format file shown in figure 4 easily pitch. Your GarageBand window should now look like can be brought into GarageBand for tempo modification figure 8. without changing the pitch. • Return to GarageBand and click the “Media Selection” icon as shown in figure 5 to bring an imported audio track into the GarageBand application from iTunes.

Figure 5. Screen capture showing GarageBand media selection. Figure 8. Screen capture of GarageBand window with waveforms. • The audio in iTunes will then appear at the bottom of the “Media” window (see fig. 6) where you can select it, play it, • Double click the audio in the workspace to see the “Track” or pause it. Drag the audio into the workspace to insert it window where you can edit the audio. Figure 9 shows the into a new audio track in GarageBand (see fig. 7). components of the track window. Note where the “Flex” button is located in the upper left of this new window.

www.astaweb.com | 33 Figure 9. Screen capture of the components of the track Figure 12. Screen capture of cycling audio. window. Now it is time to get your classroom or individual • When you click on the “Flex” button it turns purple audio ready to integrate into your music teaching space and analyzes the wave form by placing new lines and music technology skill set. Keep in mind that you can called “Flex Markers” into the entire audio file, as “Share” the flexed audio to play for the class or keep it in shown in figure 10. The flex markers slice the audio GarageBand (see figures 13 and 14), and modify the tempo by the transients in the audio, which usually will while the student(s) play along as needed. correspond with the beats in the song. This technique can be used to stretch a portion of the sound to fix inaccurate timings, but we are going to leave them alone and use the beats per minute (BPM) slider to modify the tempo of the entire waveform.

Figure 13. Screen capture of GarageBand Share tool.

Figure 10. Screen capture of the flex markers in GarageBand.

• Go back to the top of the GarageBand screen and drag the BPM tempo box to a new BPM and hit the space bar or play button to playback your audio at a new tempo without changing the pitch (see fig. 11).

Figure 14. Screen capture of saving and exporting in GarageBand. Figure 11. Screen capture showing how to modify playback speed using BPM. I hope you found this tutorial useful and are now able to upload a file, select tracks, and begin editing in • The final step is to use the “Cycle Button” to select a

Guitar Forum GarageBand. Happy flexing! region of audio that will play (over and over) at the new tempo you have set. This is very helpful when Bill Purse handles a wide variety of transcribing music, chords, lyrics, or a signature riff. musical styles from jazz to classical to Note where the “Cycle Button” is located and the rock to contemporary and pop. He yellow area in the timeline that shows which area of used his original computerized digital the audio will be cycled. This area can be modified by backing tracks that create his own dragging the cycle itself to a new location or dragging unique “One Man Orchestra” either end to expand or contract the cycled area. approach to live performance. He is a distinguished musician who has successfully conquered music Study figure 12 to see a cycling area in action. from both the artist and technological perspective, and pioneers the meeting of the two in performance and the recording studio. www.billpurse.com.

34 | American String Teacher | February 2016 Missouri ASTA Honors Teachers

Combined, they have nearly 30 years of teaching experience. elementary string teachers and it was very humbling to find out I Their passion is music. "Music brings people together. It is a had been selected." common thread between all people. It evokes emotion and brings Gutowski is being honored with the Distinguished Service beauty to all peoples' lives," said music teacher Laura Holzen. Award for his work designing and implementing the all-state "I believe the arts, orchestra specifically, help make our next audition process. "While I don't believe that individual accolades generation into more loving, well-rounded people," said teacher are extremely necessary," he explained, "I do enjoy being Joe Gutowski. "Music is innate in our culture, and my goal is to acknowledged by my peers. I believe that anything I can do to help cultivate a love for the arts and that culture in our students." make our jobs as teachers more efficient and easier, ultimately Both are now being honored by the Missouri Chapter of affects those who matter the most: our students." the American String Teachers Association for their hard work Both will be presented the awards at the Missouri Music and dedication. Educators Conference this January. Holzen is receiving the Missouri String Teacher Elementary Educator Award – an award given to only one person each year ASTA State Chapters are invited to share chapter news with your national that exhibits exemplary work at the elementary level. "I was office. Please add us to your newsletter distribution lists: [email protected], actually quite shocked," she said. "I know so many fantastic and [email protected].

www.astaweb.com | 35 The Modern Harpist: Plays Well with Others

by Gretchen Van Hoesen

Today’s harpists must be well-rounded and acquire the doors can open to bigger and better ensembles. They proficiency in many areas of performing. In order to can move from small duos and trios to youth orchestras become a serious professional harpist and/or teacher one and eventually to community, regional, and professional must be able to generate work and perform all different orchestras. types of music including opera, ballet, orchestra, small chamber ensembles, and solo recitals, as well as background Rhythmic Training music at parties, weddings, and funerals. The ability to do Harp teachers should instruct students on how to develop all of these things is challenging and requires different kinds excellent rhythm, which can then be applied to all areas of of expertise, but it can be immensely rewarding and lead playing the harp, including in small and large ensembles. to an interesting, varied, and fulfilling career as a harpist. Exercises that target rhythm such as Robert Starer’s book Unfortunately, learning opportunities are limited for “Rhythmic Training,” computer theory apps designed harpists but there are things we can do as string teachers to for teaching rhythm, the metronome, and developing help students who want to pursue the harp. the habit of internal subdividing and an acute awareness of the necessity to “feel” internal rhythm and count the Ensemble Playing—Essential, Even for the Youngest smallest pulse divisions can all help develop better rhythm. Harpists With consistent work and training students can learn Compared with other orchestral and band instrumentalists, basic conducting patterns and the practice of learning to there is a huge void in ensemble experience for young conduct, which also can contribute to improved ensemble harpists. Elementary school string students have lots of capabilities. Even students with less innate rhythm can be opportunities to play in their school orchestras. There are taught to develop excellent stable rhythm. school instruments available as well as repertoire designed for young string players. Strings (and woodwind and brass Playing with the Conductor players) often have years of orchestral or band experience Students need to learn how to use their peripheral vision to by the time they finish high school. This is generally not the watch the conductor, yet still be able to look back and forth case for young harpists. from the strings to the music. It is essential that harpists Most schools (elementary, middle, and high schools) position themselves carefully in the orchestra so that there don't own good lever or pedal harps. Students have limited is a clear sight line directly to the conductor. The harp exposure to the harp and they have little or no opportunity music stand should be directly below the sight line to the to play in an ensemble. If young harpists are fortunate conductor’s face and hands. enough to have a harp at home, they often cannot bring One of the most beneficial activities for a harp it back and forth to school every day. This is a big hurdle student is having lots of practice following beat patterns to overcome, but it is not insurmountable. Successful and experience in subtly slowing down or speeding up by fundraising campaigns can be organized and local school adjusting to a conductor. This can be accomplished by music departments can be encouraged to pool their budgets the harp teacher conducting in the lesson and insisting for the purchase of good student pedal or lever harps. on students bending their rhythm to what they see from Harp students must have instruments for their practice, the conducting. Communication between the harpist and should play regularly in their school, youth, or community conductor is essential, and this should be practiced before orchestras, and study weekly in private or group lessons. the real rehearsal takes place in an ensemble. Harpists must By the time harp students start college it is late to begin know the music so well that only a glance at the page allows

Harp Forum to learn the necessary skills to play in an orchestra. Many them more visual contact with the conductor. Harpists also college freshman harpists simply have never followed a can be taught how to trust their fingers to feel the distance conductor nor have they had experience with any chamber between intervals so that they do not have to look at the music such as a duo, trio, or slightly larger ensemble. This is harp at all times. In lessons you can hide the harp strings by not the fault of the student, and quick and careful work can placing a large piece of cardboard between the harp strings fix the situation. and the face of the student, forcing the student to play Even the youngest harpists can start in some sort of without looking at the strings. What a freeing experience it ensemble in addition to their lessons. Ensemble experiences is to build self-trust in order to play the harp without having in duos or trios can be so much fun socially for young to look at the strings! students, they don't even realize how many musical skills The million-dollar question that often presents a they are learning! They are able to listen in a new way and challenge for harpists is do they play with what they see respond to subtle musical language while having fun. As from a conductor or do they play with what they hear from students gain technical, rhythmic, and ensemble strengths the other musicians in the orchestra? The answer is “Yes,

36 | American String Teacher | February 2016 Harp Forum to both.” Knowing when to follow your eyes or ears comes with lots of practice, knowledge of the music, and experience of when Suggested Orchestral Repertoire Using Harp to lead and when to follow. Conductors want a harpist who can [for youth orchestras or advanced high school orchestras] lead with stable rhythm but also one who can shift immediately to the role of accompanying. The change from being able to lead (** least difficult repertoire for players with two or three years of study) and then follow is sometimes quick, and it is essential to being a successful harpist in an ensemble. This is the beauty and challenge Bernstein - Candide Overture, West Side Story of being a good orchestral player. Acquiring flexible intuitive **Bizet - L’Arlesienne Suites, Carmen Suite rhythm that can be passed from one instrument to another can be **Borodin - Polovetsian Dances learned and practiced in small ensembles and then applied to larger Britten - Soirée Musicales ensembles. For instance, learning the harp part to Debussy’s “Trio Chabrier - Espagña for Flute, Viola, and Harp” and working out the subtle trading Copland - Billy the Kid, Appalachian Spring back and forth of melodies or chordal passages with changeable Debussy - Petite Suite, Nocturnes, Danse, Children’s Corner rubato tempos can all lead to better flexibility in the orchestra; or Debussy - Afternoon of a Faun learning the harp part to Charles Rochester Young’s movement DeFalla - Three Cornered Hat “Flight” from “The Song of the Lark” for flute and harp for stable Delibes - Coppelia Ballet Music rhythm with changing meters is important. Dittersdorf - Concerto for Harp,(full set and arr. for harp w/ string quartet) Chamber Music Dvorak - Carneval Overture, Scherzo Capriccioso The more that music students can be involved in chamber music, Elgar - Il Sospiri (harp and strings) the better. Beginning to learn duos for flute and harp, violin Enesco - Roumanian Rhapsodies and harp, or even string quartet and harp is a fantastic way to **Fauré - Pelleas and Melisande, Dolly Suite learn ensemble skills. Performing in harp duos and small harp Gershwin - Porgy and Bess ensembles can be an excellent way to teach students how to start Glazounov - Raymonda Variations and stop together, make simple ritardardondo’s together, and then Gliere - The Red Poppy eventually follow a conductor. Griffes - The White Peacock, Pleasure Dome of Kubla Khan There are countless harp duos for harpists to rehearse, study, Grofe - Grand Canyon Suite and perform in addition to solo harp repertoire. Listed below are Hanson - Merry Mount Suite, Symphony No. 2 just a few examples of useful harp ensemble pieces. Herbert - Favorites Humperdinck - Hansel and Gretel Dream Pantomime Beginner Level Harp Duo or Harp Ensemble Repertoire Khachaturian - Spartacus Ballet Suite • “Tryptic Dance” by Carlos Salzedo Korngold - Sea Hawk, Captain Blood, and other overtures • “Les Pins de Charlannes” by Henriette Renié Liszt - Les Preludes, Hungarian Rhapsodies No. 1 and 2 • “Valse” by Karl Carlson Mahler - Symphony 5 (Adagietto–only harp and strings) • “Dancing Lambs” by Marcel Grandjany **Mascagni - Intermezzo from Cavalleria Rusticana Prokofiev -Romeo and Juliet Suites Intermediate Level Harp Duo or Harp Ensemble Repertoire Ravel - Menuet Antique, Mother Goose Suite • Clair de Lune” by Claude Debussy, arr. Escosa Respighi - The Birds, Fountains of Rome, Pines of Rome • “Better Than One” by Gary Schocker Respighi - Trittico Botticelli • “Mischief” by Stephanie Curcio Riegger - Dance Rhythms • “Sarabande and Allegro” by G. F. Handel, arr. Booth Rimsky - Korsakov - Capriccio Espagnole, Le Coq D’Or Rimsky - Korsakov - Russian Easter Overture Advanced Level Harp Duo Repertoire **Saint-Saens - Danse Macabre • “Raga” by Caroline Lizotte **Satie - Gymnopedies • “Parvis” by Bernard Andres **Salzedo - Tango (arr. for harp and str.) • “Prelude, Fugue, Variation” by César Franck Schoenberg - Notturno (harp and str.) • “Sonatine” by Michel Damase Smetana - The Moldau Stravinsky - Berceuse and Finale from Firebird Chamber pieces for harp and miscellaneous instruments can Tchaikovsky - Capriccio Italienne, Francesca da Rimini be introduced to young harpists. A few are listed below. Tchaikovsky - Pas de Deux from the Nutcracker, Swan Lake Suite Beginner Level Chamber Works Including Harp Tchaikovsky - Waltz of the Flowers from the Nutcracker • “Believe Me if All Those Endearing Young Charms” by Tchaikovsky - Sleeping Beauty Schlomovitz/Traditional for flute and harp or violin and Vaughan Williams - Greensleeves, Wasps Overture harp **Vivaldi - Harp Concerto, am (harp and str.)arr. K.B. Moore • “Ave Maria” by Bach/Gounod for violin or voice and harp **Vivaldi - Harp Concerto, CM (harp and str.)arr. K.B. Moore • “Sicilienne” by Maria Theresia-Paradis for violin and Wagner - Prelude and Love Death from Tristan and Isolde keyboard (harp) Wagner - Overtures - Die Meistersinger, Flying Dutchman • “Greensleeves Variations” by Fleury for flute and harp Weber - Invitation to the Dance

www.astaweb.com | 37 • “Andante Cantabile” from “Serenade No. 10” by and set the stage for limitless growth. These kinds of musical Vincent Persichetti for flute and harp experiences can be unforgettable and will stay with students forever. Intermediate Level Chamber Works Including Harp Studying and performing chamber music and playing • “The Garden of Adonis” by Alan Hovhaness for flute in orchestra have been some of the most rewarding of my and harp musical experiences. One way that I can thank the excellent • “Entr’acte” by Jacques Ibert for flute or violin and teachers who guided me throughout my formative musical harp years is to pass on their advice and their musical direction. • “Zerbina” by Bernard Andres for violin and harp In my own teaching I attempt to relay the most helpful • “Novellette Op. 102, #1” by Sibelius for violin and and meaningful ideas from my former professors along piano (harp) with what I have learned as a teacher and performer. I hope • “Siciliano” from “Sonata No. 2 in Eb Major” by J.S. this article inspires you and provides ideas on how to lead Bach for flute and harp students into a fulfilling career as a harpist.

Advanced Level Chamber Works Including Harp Gretchen Van Hoesen has been Principal • “Trio for Violin, Cello, and Harp” by Henriette Renié Harpist of the Pittsburgh Symphony Orchestra • “Duo for flute, (violin), and harp” by Adrian since 1977 and has appeared as soloist with the orchestra on subscription concerts and on Schaposhnikov tour under conductors André Previn, Lorin • “Trio for Flute, Viola, and Harp” by Claude Debussy Maazel, James Conlon, Zdnek Macal, Sergiu • “Concert a Cinq” by Joseph Jongen for flute, violin, Comissiona, Pinchas Zukerman, and Manfred viola, cello, harp Honeck. Van Hoesen has concertized all over • “Serenade No. 10” by Vincent Persichetti for flute the world and was selected to perform in the Super World and harp Orchestra in Japan, an ensemble made up of key musicians from • “Trio” by Harald Genzmer for flute, viola and harp around the globe. Van Hoesen is a faculty member of Carnegie • “The Song of the Lark” for flute and harp by Charles Mellon and Duquesne universities and also maintains a private Rochester Young teaching studio at her home in Pittsburgh.

Orchestra Playing Is for Harpists of All Levels Another obstacle in harp music education is the lack of playable harp parts for young beginner orchestral harpists. One simply cannot start with big parts in Strauss, Wagner, or Ravel harp orchestral works. Young harpists need to play simpler music and build up to those big parts. At the elementary, middle, and high school levels, conductors should encourage harpists to play, even if it must be a keyboard part. Good teachers, dedicated music directors, and conductors can create harp parts when there aren't any. Writing out an orchestral part for young harpists is easier today with the available music writing programs, such as Finale and Sibelius. Harpists can learn to play in their own school orchestras, participate in their own high school or middle school musicals plus other area

Harp Forum school musicals, and they may begin to play in their youth or community orchestras and in regional, state, and national youth orchestras. The art of ensemble playing can be a life changing experience for a young harpist. Given the opportunity and with good training, students can begin to develop certain areas of the brain, learn group problem solving, increase social skills,

38 | American String Teacher | February 2016 www.astaweb.com | 39 Want to Learn More About Fiddle Styles, Jazz Strings and Rock? by Renata Bratt and contributors: Jason Anick, Edgar Gabriel, Sheronna McMahon, and Duane Padilla

Eclectic styles music in its many forms is taught at music hornpipes and faster reels. Like Scottish music, Irish tunes camps throughout the USA and Canada during the are usually played in sets (often starting with a slow air and summer. It’s not too early to begin planning to learn a new getting steadily faster, progressing into medium tempo), style of music to teach your students. Many camps begin reels or jigs into very fast reels. Martin Hayes is a master registration now; some fill up by the end of March. The of this style. Irish fiddle music is heavily ornamented and following is a short description of styles along with some includes slides as well as turns and triplet bows. tips for classroom teaching as you think about which style Canadian styles include Cape Breton, Québécois and you may want to learn. Métis as well as Old Time. Maritime and Cape Breton Keep your eyes out for ASTA summer workshop music derive from Scottish music and include dance styles listings in American String Teacher and on the website such as the strathspey, reels, and the 6/8 jig. Cape Breton astaweb.com. music is characterized by a heavy feel on the main beats, often accompanied by a kind of stride piano playing with Fiddle Styles a bit of a rag feel. The late Buddy MacMaster and now his In its many sources from Irish, English, Scottish, niece, superstar Natalie MacMaster, have many albums in Canadian, and African traditions, American fiddle this style. Kimberly Fraser and Andrea Beaton are younger music has, over the course of the past 300 years, become players carrying on the tradition. characterized as an indigenous musical style in the United Quebec fiddle derives from French-speaking musicians States and is one that continues to thrive today. The study interacting with Anglo-Celtic fiddle traditions. This style of American fiddle music overlaps with studies in cultural also features “crooked” tunes—where one beat is dropped diversity, ethnomusicology, and American history. or added in a section. The rhythm is driven by the seated Some characteristics common to American fiddling styles fiddle players’ stamping feet—a dance style that is often include accents, slurs, double stops, and embellishments. accompanied by guitar or accordion. André Brunet is a Traditional fiddle tunes usually consist of dance music champion Québécois fiddler. including hoedowns, reels, jigs, and hornpipes. Other Métis fiddle playing originated with First Nation common types of dance music for fiddle include the polka, peoples combining both the French and Scottish settlers’ waltz, rag, and the schottische. music with their own. This style is also commonly Fiddling may be further categorized by different styles, accompanied by the fiddler’s feet and often includes such as Appalachian, Bluegrass, Canadian, Celtic, Cajun, crooked tunes. John Arcand is a master Métis fiddler. Jazz, Rock, Old Time and Western Swing. Quite a bit of The southernmost part of American fiddle, Mexican our fiddling heritage derives from Celtic music. Celtic fiddle, has quite diverse styles. The fiddle is usually fiddling includes Scottish and Irish traditional music. responsible for carrying the melody in most regions of Profuse ornamentation and rhythmic accents characterize Mexico. Most of the music is not written in musical both styles, though they are not always the same ornaments. notation, and as with many folk styles, pieces are rarely Celtic fiddle music is mainly dance music, though some played the same way from one time to the next. Swing slow tunes, airs, are certainly part of the style. fiddler Paul Anastasio has transcribed many Mexican tunes. Scottish tunes are placed into sets of three or four tunes Fiddlers who are really serious about honing their

Eclectic Styles Forum —often from slow to fast, but also dance sets, using all reels skills often attend fiddle contests. These contests are the or all jigs and so on. Scottish dances include the strathspey best training ground available for goal-oriented fiddle (found only in Scottish music), reels, and the 6/8 jig. Much players. Contest tunes are quite regimented. Some of the Scottish music has been collected and published since the most common are: “Sally Goodin,” “Dusty Miller,” “Grey seventeenth century, but the style itself is not found in Eagle,” “Limerock,” “Tom and Jerry,” “Leather Britches,” printed pages. “Tennessee Waggoner,” “Brilliancy,” “Cattle in the Cane,” U.S. National Champion winner Jeremy Kittel “Say Old Man,” and “Durang’s Hornpipe.” The granddaddy composes new music in Scottish style as does Bonnie of American Fiddle contests is the National Oldtime Rideout, Hanneke Cassel and Scottish fiddler Alasdair Fiddlers’ Contest and Festival, which takes place in Weiser, Fraser who performs with Scottish-style cellist Natalie Haas. Idaho. There are fiddle workshops each day and you can Cellists, violists and bassists—be sure to look for camps observe contest fiddling. and institutes friendly to your instrument. Cajun fiddle music has ties to historical renchF and Irish Fiddling includes 6/8 jigs, 9/8 slip-jigs, slower African peoples and the songs are often sung in French.

40 | American String Teacher | February 2016 Eclectic Styles Forum Like jazz, its roots lie in Louisiana and New Orleans. The Some sub-genres that are considered “swing” include ragtime, rhythmic drive of this music incorporates aspects of early blues hot jazz, and gypsy jazz. Early jazz string players such as Stuff and jazz. Cajun ensembles often include a second fiddle part Smith, Stephane Grappelli, and Joe Venuti helped to define the playing lower notes than the melody and supplying the rhythmic role of the violin in jazz as a lead instrument, similar in function pulse. Cajun fiddler Michael Doucet, founder of the band, Beau to a trumpet or a saxophone. Soleil, is a leading Cajun fiddler. As a lead instrument, a violin or viola can do several things: Old Time and Appalachian style fiddling often uses Celtic- 1. “Play the head.” After a short four to eight measure based tunes, which have been rhythmically transformed through introduction, a lead instrument or singer usually plays the interaction with African styles in the American South. One melody through one cycle of the form of the song. This is tune will be performed many times before the end of the tune. referred to as “playing the head”. Much of the repertoire Much of the variation comes in the form of bowed syncopation. of the swing jazz era draws from songs from show tunes Younger Old Time fiddlers include Brittany Haas and Matt and other popular material generally referred to as “The Brown. Bruce Molsky almost single handedly reinvigorated this Great American Song Book”. In their original form, style, which is now very popular. many of these tunes were not conceived as “swing jazz” New England style fiddling is based on the East Coast and consequently their original rhythmic structure is very maritime style, integrating Canadian as well as Celtic styles into similar to classical music. When “playing the head,” swing music for contra-dances, and square dancing. Social dancing is musicians aggressively embellish the original melody with popular throughout the American fiddle world. Fiddlers Lissa syncopated rhythms and melodic ornaments to create Schneckenburger and Randy Miller are fine New England style what is commonly known as the “swing feel”. In the spirit musicians. of improvisation, these rhythmic embellishments and Bluegrass fiddling is a style of music invented by Bill Monroe melodic ornaments are often different from performance integrating American/Celtic tunes, hymn tunes and original to performance. music with African syncopation and virtuoso soloing. Often, 2. “Take a solo.” After an initial performer has “played the Bluegrass solos are pre-composed, but some are also improvised. head”, musicians are then encouraged to “take a solo.” Kenny Baker and Vassar Clements were legendary bluegrass Players take turns improvising variations based on the fiddlers. Bluegrass fiddler Richard Greene performed with Bill form and harmonic structure of the original tune. With Monroe, invented the percussive bow “chop” and toured with the experienced performers, these variations can be quite seminal rock fusion band, Seatrain. elaborate. It is not uncommon for great performers to take It is easy to start adding fiddling in the classroom by using a 16-measure song and expand it into a series of 20 or the Fiddlers Philharmonic and Basic Fiddlers Philharmonic books more variations. Improvisers use both a deep knowledge by Dabczynski and Phillips. Students enjoy the format of these of harmonic theory as well as a large vocabulary of books as they can choose to play the accompaniment part, the pre-learned musical phrases called riffs to generate these basic solo, or the intricate advanced solo that usually sounds variations. like an improvisation. Chord symbols are included, so guitar or mandolin players who do not read notes yet can play along To create a stylistically correct “swing feel” when playing the head, in the ensemble. The Barn Dance Fiddle Tunes for Two series by or taking a solo, it is helpful to keep several points in mind. Greenblatt and Seay also offer accompaniment, tune and chord • In swing jazz in 4/4 meter, the strong beats are beats 2 and symbols for all stringed instruments. 4 (This is the opposite of classical music where most of the Learning written solos that sound improvised gives students emphasis is on beats 1 and 3). As a practice exercise, try ideas for their own improvisations. The students may challenge playing a simple song such as “Twinkle Twinkle Little Star” themselves with the difficult solos or try their own improvisations with a metronome beating only on beats 2 and 4. You will over chord progressions. The whole class can be involved with discover that even without any other rhythmic or melodic improvised accompaniment if some of the students are providing ornamentation, the music will start to take on a swing drones or simple offbeat background rhythms. The series of feel. When swing jazz musicians use a metronome, it is orchestra books by fiddle champion Mark O’Connor can be used invariably marking beat 2 and 4. in the mixed string classroom for formal learning. To facilitate the • In swing jazz, the eighth notes are one of the primary informal learning approach in the orchestra classroom, students building blocks used to create melodic ornaments and could volunteer to improvise a phrase of a tune and have the class improvisations. When playing 2 or more consecutive eighth imitate and add their own variations. notes, they are often performed as a series of alternating Jazz fiddling is based on improvising solos within the jazz long and short notes similar to (but not exactly) the feel of repertoire. Other characteristics of jazz fiddling include strong a “quarter note—eighth note triplet” in 12/8 meter. accents on beats two and four, eighth notes that may swing; • When playing long eighth note patterns, try to start bowing slides, ornamenting important notes; vibrato that is used to them on the offbeat with a two-note tie and an accent. This emphasize important notes and has varying speeds and widths, fundamental swing eight note bowing is very similar to and short riff patterns, or rhythmic motifs, that are played to the overlapping bowing used in the beginning of Dvorak’s accompany the solo line. Christian Howes is a master jazz fiddler. Humoresque. Swing Jazz Violin • Use vibrato as an ornament and not as part of the basic “Swing jazz” is an umbrella term that refers to a collection of sound. Be in control of your vibrato and only use it at the styles of American music popular from around 1900 to 1950. end of phrases or on longer notes, never on eighth notes.

www.astaweb.com | 41 • Be relaxed with your bow hand. A lot of the swing of the melody, the player must feel the strong beats, feel comes from subtle motion in your wrist and and syncopate accordingly. Also, if there are words to fingers. When the tempos get faster, the eighth notes a given melody it is best to memorize the words and tend to be played more “straight” and the swing feel emulate those rhythms. comes more from the subtle finger motion. • Lead solos and fills. Here the role is clearly defined, the string player is taking the place of the lead guitar. Traditionally when not playing the melody or The string player can be Jimi Hendrix or Eddie Van improvising a solo, the violinist would sit out of the music Halen. Often, classical players are perfect for this role, making and rest. These days, modern swing jazz violinists because lead guitar players are considered virtuosos and are experimenting with ways to contribute to the rhythm classical players are trained to be virtuosos. However section: we are not always trained to be improvisers and that • Cellists, and to a lesser extent, violas depending on is essential to soloing in some rock styles. Luckily, the instrumentation of the particular ensemble, could chord changes are much simpler in rock than in jazz play a pizzicato bass line usually played by an upright or bluegrass. In rock you can usually use just one scale bass. or mode for a rock solo, where jazz often requires • Violinists can be seen strumming their instruments several. Rock is closer to classical music than jazz in more like a guitar in a manner inspired by famous several aspects; the heavier the rock, the less it swings rhythm guitar player Freddie Green. He was known and metal music is the closest rock to classical music. for playing simple 2 or 3 note chords as quarter notes Also, as in classical music, the strong beat is often on 1 on each beat of the measure. This “4 on the floor” and 3. It is important to note that some of the greatest style of strumming is especially useful when there is living classical soloists such as Rachel Barton Pine, no drum set keeping time. Nigel Kennedy and David Garrett are rocking out • Modern improvising violinists like Darol Anger and stages with their amazing technique; similar to the way Casey Driessen have been developing and expanding Paganini did with the music of his day. Barton Pine’s the percussive bluegrass bow technique called “the podcasts are great resources and several are dedicated to Chop” to recreate the familiar sound profile of the Rock playing (www.rachelbartonpine.com). high hat, snare and bass drum using only string All rock players should be well versed in the blues. The instruments. Anger’s Turtle Island String Quartet was blues scale should be learned in any key that you are playing one of the first groups to successfully integrate this in. The key of E is most common in rock. The E blues scale technique in the jazz setting. is: E G A Bb B D. An easy way to remember the blues scale While there were some jazz violinists in the early days is to learn the minor pentatonic (this scale is essential to of jazz, strings were overshadowed by trumpet, saxophone, rock) which is the 1 3 4 5 7 degrees of the minor scale or and other horn instruments in jazz history. Currently there E G A B D in E. To make it a blues scale add the flat 5 Bb is a renaissance of string swing jazz. In addition to the in E. Another scale that is predominant in rock solos is the players mentioned, be sure to listen to some of the current Dorian Mode. It is the minor scale with a raised 6th, so in practitioners of swing jazz such as Tim Kliphuis, Florin E it is E F# G A B C# D. To change the feel of a solo often Niculescu, Ben Powell, Aaron Weinstein and Jason Anick. guitar soloists will alternate from blues to Dorian. Even if the tune is a major blues with Dominant 7th chords these Rock Violin minor scales can be used, because they create tension by The stringed instrument has no traditional role in rock clashing minor scales over major harmony. Of course major (except for string lines and pads), so it is up to the individual and minor scales are often used in rock and the Mixolydian player or leader/arranger/producer of the music to decide mode. Keep in mind that most rock guitarists never think what role the string player will play. Often, the music is not of these scales when improvising and the best way to learn notated so it is up to the player to compose/improvise their rock is the way they did, from hours of improvising along

Eclectic Styles Forum own part in whatever role they play. The great thing about with records and copying other rock and blues guitarists this is that it leaves the field wide open to endless possibilities. ‘licks’. A lick is a musical phrase improvised or worked Violinist Mark Wood and cellist Mike Block have been out ahead of time to use in an improvised solo. It is good visionary leaders in rock string playing and education. to have many licks at your disposal when improvising. Strings can play many roles in rock including the Arpeggiating the chords is another good way to create licks. following: Another important way to learn rock is by jamming with other musicians. You don’t need a whole band to do • Melody. Strings are the closest instrument to the this and you can get together with a friend who knows a few human voice, so it is only natural that the stringed chords on the guitar or piano and improvise over the chord instrument is great for vocal lines. It is a very useful changes. There are also some very useful published materials skill to be able to play (read) a rock or pop melody. to learn rock such as Electrify Your Strings by Mark Wood, Most rock melodies when written out have a great deal Rockin’ Out With Blues Fiddle by Julie Lyonn Lieberman and of 16th note syncopations. If the player reads these Edgar Gabriel’s String Groove materials. Some great rock rhythms exactly they will not have the swing or feel

42 | American String Teacher | February 2016 Eclectic Styles Forum violin soloists to are: Jerry Goodman, Sugarcane Harris, Mark The electric instrument also opens up more possibilities for Wood, Papa John Creech, David Ragsdale, Bobby Yang, Ann rhythms and sound effects. Adding effect and pedals like a Wah Marie Calhoun, and Alex DePue (with Steve Vai) and Jean Luc Wah pedal can create a vocal filtering for percussive rhythm much Ponty plays possibly the greatest rock violin solo on Frank Zappa’s as a guitar would do, as in the 1970’s Issac Hayes theme for the 50/50. On cello, Aaron “Von Cello” Minsky has rocked out for movie Shaft. With delay, chorus, overdrive and other effects the years and has published lots of great rock for cello. possibilities are limitless for the electric violin. Joe Denizon has a great book Plugging In which explores many possibilities for Rhythm Riffs, and Harmonies. the electric violin. The loop pedal is a very useful tool, where A riff is similar to a lick except that it is repeated often and used as one string player can play all of these roles simultaneously. a supporting rhythm or melody. Riffs usually are worked out and not improvised, however they were created out of improvisation Renata Bratt (Fiddle) chairs the ASTA Eclectic Style and groove with the bass and drums. Many rock songs are based Committee and teaches cello and string orchestra in on riffs. Guitarists Jimmy Page and Keith Richards are two of the Santa Cruz, California. greatest riff masters that created some of the most iconic songs in rock. It is a given that the player should understand the chords and arpeggiating the chords can create great riffs. String players that have created their own unique sound with their recognizable riffs are Robbie Steinhardt from Kansas and Boyd Tinsley from Contributors: the Dave Matthews Band. The Finnish cello group Apocalyptica Jason Anick (Jazz) is on the faculty at the Berklee School of Music. has mastered the metal string genre with their cello riffs. Violinists Sheronna K McMahon (Fiddle) is the Orchestra Director at Mitchell In- such as Lindsey Stirling and Cait Lin have done a great job of termediate School, Conroe Independent School District, Conroe, Texas. combining rock riffs and harmonies over melodies and dance/rock rhythms. Lindsey Stirling’s publications are excellent for students Duane Padilla (Jazz) is on the Violin Faculty at the Punahou Music School and performs with Hot Club of Hulaville and the Hawaii Sym- to learn rock, they are very well written and fun to play. phony.

String Lines and Pads Edgar Gabriel is on the music faculties of Harper College and Elmhurst This is the only role that is an industry standard for strings. College in the Chicago area. He can be heard with his band StringFu- If the part is written out then it is a reading session that most sion and is the creator of the “String Groove” improvisation method. classical players can do. However if the player is to compose or improvise their own part, then they are an arranger and must use their knowledge of music to enhance the music. An easy way to write string pads is to find a common note, or notes close to each other to hold through the chord progression. For instance, for the chords A- G F, you can play C B C. Often strings are used as an afterthought in rock to sweeten up things, but sometimes they are an integral part or even the ‘hook’ in rock tunes such as Coldplay’s Bittersweet Symphony.

Bass Cellists are very fortunate that they can also play the role of bass player if needed. This is especially useful in string ensembles without bass. Violins and viola can also play this role with the aid of an octave effect to lower the pitch by an octave or two.

Percussion, Rhythm and Sound Effects String instruments can perform many effects. One of these is what I call ‘Rock Vibrato’, where the acoustic bowed instrument can produce distortion and a whammy bar effect. Type “Rock Vibrato” into YouTube for a tutorial video from Edgar Gabriel’s String Groove App. A great source to learn bow techniques and rhythms performed on acoustic instruments is Darol Anger’s video Chops and Grooves. (Google “Darol Anger Video Chops and Grooves.”)

www.astaweb.com | 43 Committee Spotlight

The American String Teacher (AST) Editorial Committee members’ primary responsibility is to ensure that the quality of articles in AST is relevant and worthy of publication for our diverse audience of members. They suggest specific topics and authors for feature and forum articles based on current issues and latest trends in the profession. In addition, they informally solicit input from colleagues and relay feedback to Mary Wagner, critical articles editor, and the ASTA National Executive Board.

Editorial Committee BettyAnne Gottlieb BettyAnne Gottlieb is assistant professor of Jane Aten music education (Strings) at the University of Jane Linn Aten holds a B.S. in music Cincinnati, College-Conservatory of Music. education from Abilene Christian College and She teaches courses mainly focused on string an M.M. from University of Texas at Austin, pedagogy, teacher preparation, and technology where she taught in the String Project. Aten integration for music educators. Her research taught music theory and string pedagogy at interests include democratic learning Abilene Christian College. She also taught in environments, healthy musicianship, new Albuquerque, New Mexico public schools, music teacher induction, and the nature and where she played in the Albuquerque meaning of music for beginning instrumentalists. Gottlieb's Symphony and was co-director of its youth current research and pedagogical activities include forming and symphony. Later, she worked for the Dallas Independent School directing the Cincinnati New Horizons Orchestra—a program District, where she led the development of a highly acclaimed that provides beginning and intermediate string instruction to inner-city string program. MENC recognized it as an exemplary adults in a group setting. Gottlieb has presented her research at program in urban education. At the time of her retirement, Aten regional, national, and international conferences such as the was an elementary school principal. She has held many American String Teachers Association National Conference, memberships in leading professional associations including Biennial Colloquium for Teachers of Instrumental Music ASTA. Most recently, Aten served as a mentor in ASTA’s Methods, Symposium for Music Teacher Education, and Increasing Access to Strings project and participated in the Narrative Inquiries in Music Education, as well as a number of development of the National Curriculum. She was also the editor state music education conferences. She has taught in the public for ASTA’s String Teaching in America: Strategies for a Diverse schools and university-affiliated music programs in Ohio, Society. She currently maintains an active private studio and plays Pennsylvania, Michigan, and Arkansas, and serves regularly as a in the Texas Winds string trio. guest clinician and adjudicator for regional, district and state string festivals. Gottlieb is Suzuki trained, performs regularly in Phillip Baldwin regional orchestras and spends portions of her summers teaching Philip Baldwin is the director of string studies at Blue Lake Suzuki Camp, Interlochen, and for the CCM and professor of violin and orchestra at Preparatory Department. Whitworth University in Spokane, Washington. He is active as a concerto soloist, Rebecca Hunter recitalist, and serves as concertmaster and Music educator and violinist, Rebecca Hunter associate conductor of the Coeur d’Alene served on the University of South Carolina Symphony and the artistic director and School of Music string faculty from 2010- conductor of the Spokane Youth Symphony. 2015, where she taught applied violin and He earned a D.M.A. in violin performance at violin pedagogy. She recently relocated to Ann The Ohio State University and was awarded the Distinguished Arbor, Michigan, where she is presently Dissertation Award for his work on the violin sonatas of William building a private studio, performing in Bolcom. His distinguished teachers include Rafael Druian, regional orchestras, and leading sectionals and Raphael Hillyer, Yuri Mazurkevich, Andrew Jennings, Alan workshops at various private and public Bodman and Michael Davis. Baldwin attended the Conductor’s schools. Hunter has taught at numerous music camps, festivals, Institute of South Carolina as a fellowship recipient where he Suzuki workshops and institutes, adjudicated festivals and worked with Paul Vermel, Kate Tamarkin, and Donald Portnoy. competitions, and led master classes across the U.S. and abroad. He has also trained with Wayne Toews at the Saito International She has also presented at state and national level conferences. Conducting School. Presently a trainee, Hunter is presenting her qualifying "What Every Musician Needs to Know About the Body" course December 2015 to become a licensed Andover Educator.

44 | American String Teacher | February 2016 Mary Perkinson Janine Riveire An award-winning artist and educator, Janine Riveire began playing contrabass in the Perkinson began her violin studies at age five Texas public schools. She earned her B.M. at in the Philadelphia public schools. She the University of North Texas in 1983. After performs with the Omaha Symphony, moving to California in 1987, Riveire earned Wisconsin Chamber Orchestra, Madison her M.A. in music with honors at California Bach Musicians, Wisconsin Baroque State University Northridge, and her D.M.A. Ensemble, Omaha Chamber Music Society, at the University of Southern California in and has toured internationally with the 1997 in music education. In over 30 years of musical The King and I. She has performed teaching she has taught strings and general on both modern and baroque instruments for Wisconsin Public music in public and private K-12 schools, as well as at the college Radio’s Live from the Chazen series. As the recipient of a level. Riveire is a professor of music at Cal Poly Pomona (CPP), university grant, she will travel to Indonesia in May 2016 to leading the music education option, and coordinating department premiere works by Indonesian composers. In 2009 Perkinson assessment activities. She leads the string area and directs the founded Sound Health, an award-winning program that brings orchestras. The CPP music department encourages campus-wide live music to hospitals. Most recently, she received a grant from participation in its ensembles. Her primary research interest is in the Nebraska Arts Council to support Partners in Performance, a beginner class pedagogy. Riveire enjoys playing with community program she co-founded that brings faculty from the University groups and in chamber groups with her students and intends to of Nebraska-Omaha, the Omaha Area Youth Orchestra (OAYO), keep playing as long as she can still carry the bass! Currently and area high schools together to promote mentorship and president of the greater LA section of the California ASTA leadership among string students. Perkinson graduated magna chapter, Riveire has been a proud member of both ASTA and cum laude from Boston University; received a performance NAfME since 1983. In 2012 she received the CMEA John Swain diploma from Boston Conservatory; and completed the MM, Collegiate Educator award in recognition of her work at CPP. She K-12 Music Certification, and DMA at UW-Madison. Perkinson is a frequent presenter at CASMEC and ASTA national has held K-12 and collegiate positions and is currently conferences, and loves working with school groups. coordinator of string studies at the University of Nebraska at Omaha. Joel Schut Joel Schut is active as a violinist, conductor, David Pope and educator. He currently serves as director David A. Pope is Director of Orchestras at of orchestras at Okemos High School and Elyria High School and Northwood Middle performs with the Flint and Lansing School near Cleveland, Ohio. In addition, he Symphony Orchestras. With a strong belief in serves as the conductor of the Camerata music’s ability to promote citizen cultural Orchestra at Case Western Reserve University diplomacy, he served as an American Music and teaches string pedagogy courses for Ambassador on 2010 and 2014 Cultures in VanderCook College of Music. Pope is also a Harmony projects in Tunisia, conductor and senior conductor and co-director of Florida violin faculty for the 2012 and 2014 Campamento Sinfónico State University’s Summer String Orchestra Juvenil de Honduras, guest faculty at the Afghanistan National Camp. As an active adjudicator and clinician, he has conducted Institute of Music in summer 2013, and artist faculty at the 2015 numerous all-state orchestras, regional honor orchestras, and Myanmar Music Festival. Schut is a graduate of the YOA served as a guest clinician for various orchestra programs Orchestra of the Americas Global Leaders Fellowship Program, throughout the United States. Previously, Pope taught orchestra at connecting innovators in youth orchestra education throughout Manatee High School (Florida) and in the Maryville City Schools the Americas and continues as a program mentor. In addition to (Tennessee.) He also served as the associate conductor of the his commitment to classroom education, he maintains an active Sarasota Youth Orchestras, the executive director of the guest conducting, teaching, and performing schedule. He holds Tallahassee Youth Orchestras, and on the orchestral librarian staffs degrees in Orchestral Conducting from the University of at the Aspen Summer Music Festival and Spoleto Music Festival Colorado-Boulder under the direction of Gary Lewis and Violin USA. Pope received the Distinguished Music Educator Award Performance and Music Education from the University of (2015) from the Yale Symposium for Music in Schools and was Michigan, where he was awarded the Albert A. Stanley Medal, the the recipient of the Outstanding Young Music Educator Award school's highest honor. (2009) for the state of Tennessee.

www.astaweb.com | 45 Committee Spotlight

Sherry Sinift Anne Witt Sherry Sinift is currently an academic Anne C. Witt teaches music education classes, professional lecturer at the University of string pedagogy and string literature at the Wyoming (UW) Department of Music, University of Alabama. She also teaches string specializing in violin and violin pedagogy. classes for adults and private cello lessons. Her Sinift is a devoted violin and viola teacher and degrees were earned at the University of a strong advocate for string education for Alabama and the University of Texas at pre-college students as well. She is currently Austin. She taught middle school and high founder and director of the String Academy of school strings/orchestra in Austin for 15 years Wyoming and a supervising teacher for the and played cello in the Austin Symphony; she UW String Project. The two programs serve more than 100 was also director of the University of Texas String Project. Witt young string players in southeast Wyoming. The UW String has served as President of the Texas Orchestra Directors Project has additionally provided teacher training to UW Association, President of the Alabama ASTA chapter, and students, many of whom have graduated and are impacting string National President of ASTA. Witt has presented educational education in the state and region. Former String Academy sessions in many states, at all ASTA national conventions and at students have gone on to study at major music schools and have the Midwest Clinic. She is a frequent guest conductor for all state integrated music into their lives as professionals or as passionate and regional orchestras. She is author of A Rhythm a Week, used by school band and orchestra classes and private students amateurs. As a violinist Ms. Sinift has served as concertmaster of nationwide. She organized a community initiative to start a the Fox Valley Symphony, the Milwaukee Opera Company, the program in Tuscaloosa; Strings in Schools is now celebrating its Milwaukee Civic Symphony and the Skylight Opera Company. first successful ten years. In 2014, she served as an adjudicator for Her extensive chamber music experience includes performances the ASTA National Orchestra Festival. Witt continues to play with the Summit Chamber Players on the UW Faculty Recital cello professionally in a quartet called “Four Strings Attached.” Series as well as many regional concert series; a tour of Spain, appearances on Wisconsin Public Radio’s “Sunday Afternoon Live Forum Editors from the Elvehjem”, and performances for Young Audiences Inc. as first violinist of the Hawthorne Quartet, plus performances Renata Bratt, Eclectic Styles Forum with the Starting and Stalling Orchestra and the Red Cedar Cellist Renata Bratt’s arrangements and books Chamber Players. are published by Mel Bay, Alfred and Strings. She chairs ASTA’s Eclectic Styles Committee. Skip Taylor She is the Kuumbwa Jazz Artist in the Clinton (Skip) Taylor is an associate professor Schools, teaches cello and beginning string of music in string education. Prior to his orchestra in Santa Cruz, California and is a Yamaha Certified Educator. She has taught appointment at the University of Georgia classical styles, jazz improvisation and fiddling (UGA), he taught middle school and high throughout the United States as well as in school orchestra in the Charlotte Australia, Canada and New Zealand. Bratt has played back-up Mecklenburg Schools and the Forsyth County with luminaries such as Darol Anger, Liz Carroll, Jimmy Page and Schools in North Carolina. He was the Robert Plant, Lyle Lovett, and Dionne Warwick. Rolling Stone conductor and director of the Winston-Salem dubbed her an "ace performer" for her work with alternative Youth Symphony from 1997-2001, and was rocker Cindy Lee Berryhill's Garage Orchestra. She tours with the founding conductor and director of the Greensboro Cindy Lee Berryhill (rock), Mountain Time (eclectic string Symphony Junior Strings from 2000-2001. At UGA, he teaches quartet) and Reel of Seven (Scottish Dance Band). She received secondary instrumental music education courses and string her Ph.D. in Music from University of California San Diego and methods, supervises student teachers, conducts the University is a former president of the Suzuki Music Association of Philharmonia, and serves as director of the UGA Summer Camps California. renatabratt.com Program. Taylor has contributed articles to The Journal of String Research, Teaching Music Through Performance in Orchestra, The Theodore Buchholz, Cello Forum Instrumentalist, and Georgia Music News. His compositions and Theodore Buchholz is the cello professor and arrangements for string orchestra and percussion ensemble are head of strings at the University of Arizona. distributed by C. Alan Publications, Greensboro, North Carolina. Described by newspaper critics as a “Virtuosic An active clinician and adjudicator throughout the southeast, cellist,” he debuted in New York’s Merkin Taylor has conducted numerous all-state and all-county Hall, and this season he will perform as orchestras. He is a member of ASTA, NSOA, NAfME, GMEA, recitalist and chamber musician in Alice Tully and Phi Mu Alpha. Hall at Lincoln Center, Tokyo, Idaho,

46 | American String Teacher | February 2016 Massachusetts, Montana, Utah, Vermont, and as a faculty and Toledo Symphonies, among many others, and appears collaborative artist. Buchholz studied at the San Francisco nationally in recital each year. In the pop world, he has appeared Conservatory of Music and the Manhattan School of Music. His on recordings with Michael Jackson and Busta Rhymes. His recent research is focused on historical cello treatises, and he teaching experience includes stints at Harvard University, edited the technique book Exercises and Etudes for Elegance of University of Michigan, and Interlochen, with master classes at Sound and Form in Cello Playing. He currently serves as president Yale and Brown Universities. Harbaugh presents workshops in of the American String Teachers Association of Arizona and is the ensemble communication, Tai Chi for Cello, and gives cello director of the Tucson Cello Congress. During the summers workshops throughout the country at such venues as the seventh Buchholz teaches and performs at the Killington Music Festival. American Cello Congress Tempe and the ASTA National Convention this year. He has authored numerous articles for Scott Cmiel, Guitar Forum American String Teacher, The Strad, and appears regularly on Scott Cmiel is coordinator of the guitar National Public Radio. department at the San Francisco Conservatory of Music Pre-College and director of the Christopher Luther, Viola Forum guitar department at the Ruth Asawa San (Photo unavailable) Violist, violinist, conductor, arranger, and Francisco School of the Arts. His students devoted pedagogue, Christopher Luther has established himself have won many national and international as a uniquely gifted performer and teacher through his diverse awards including the American String musical background and uncanny ability to reach and inspire Teachers Association National Soloist youth. In addition to teaching viola, chamber music, and string Competition Grand Prize, the Guitar pedagogy at the University of Northern Colorado, Luther added Foundation of America International Youth Competition Award alternative styles to the curriculum, making it one of few schools and the Christopher Parkening International Young Guitarists in the nation to offer such program diversity. As a performer, Award. Scott Cmiel is recipient of the inaugural California Luther has been a featured soloist on National Public Radio, American String Teachers Association Schoenfeld Artist/Teacher and KUSC, along with televised performances on PBS. Notable Award and his teaching has been praised by some of the guitar chamber collaborations include the Miro String Quartet and world’s most outstanding artists from Sergio Assad and Manuel Joseph Silverstein. As a master class clinician, Luther recently Barrueco to Benjamin Verdery and Andrew York. In the words of visited Peabody Conservatory, Temple University, University of international touring artist Antigoni Goni, "It takes a great deal Delaware, and Colorado State University. He is in demand as an to be a successful mentor of talented young musicians. In all-state conductor as he is able to teach, perform, and connect addition to providing first-class technical and musical instruction, classical and folk traditions to all ensemble sizes. Recent all-state a mentor must nurture, inspire, guide, support and in addition engagements include Colorado, Alaska, and Wyoming. Luther is must be a students biggest cheerleader and first concert promoter. artist-faculty at the Montecito International Music Festival, and People like this are rare and in my tours around the world I have Pepperdine University’s summer music program in Heidelberg, had the privilege of meeting only a few. My favorite is San Germany. Luther is the co-founder and co-director of Rocky Francisco's Scott Cmiel!" Mountain Fiddle Camp, now entering its 18th season.

Ross Harbaugh, Chamber Music Forum Kenneth Sarch, Violin Forum Kenneth Sarch enjoys a distinguished career Ross Harbaugh is professor of cello at the and an international reputation as violinist, University of Miami, and cellist of the conductor, and master teacher. He is a Bergonzi String Quartet. His distinguished graduate of the Juilliard School studying with teachers include Janos Starker and Leonard Dorothy DeLay and Ivan Galamian, received Rose in the United States and Andre Navarra the Artist Diploma from New England at the Paris Conservatory, and chamber music Conservatory, and the D.M.A. from Boston study with the Juilliard Quartet. As a University, where he served eight years as founding member of the New World Quartet assistant to Roman Totenberg on the faculty. he won the Naumburg Prize, a Prix du Disque, and recorded 20 His conducting career began with his appointment as associate records and CD’s for Vox, MCI Classic and IMP Masters, CRI, conductor of the Greater Boston Youth Symphony Orchestra. He Centaur, Fleur de Son, and Musical Heritage labels. Performing was invited seven times by the U.S. Information Agency through throughout Europe and the United States, he has appeared in the Arts America Program to teach, conduct and perform in concerts at The Kennedy Center, Alice Tully Hall, and Wigmore Venezuela, Panama, Israel, Jordan, and Brazil. In addition, Sarch Hall in London, and has concertized with such artists as Leonard was awarded two Fulbright grants to the University in Belo Rose, Bill Preucil, Richard Goode, Jeffrey Kahane, Raphael Horizonte, Brazil as visiting professor and to begin a symphony Hillyer, Joel Krosnick, Jerome Rose, Gil Kalish, and the Guarneri orchestra in Santa Cruz, Bolivia. Sarch is professor emeritus at Quartet. He has soloed with the Atlanta Symphony, Cincinnati Mansfield University in Pennsylvania. He played in the American

www.astaweb.com | 47 Symphony under Leopold Stokowski, the Hartford Symphony under Arthur Winograd, and the Berkshire Tanglewood Orchestra under conductors such as Leonard Bernstein, Seiji Ozawa, Erich Leinsdorf and Michael Tilson Thomas. He served as concertmaster of the Williamsport Symphony for 14 years and currently serves as concertmaster of the Bloomsburg Symphony. Kenneth Sarch was awarded the 2003 Citation of Excellence in Music Education from the Pennsylvania Music Educators Association. Ken served as president of the Pennsylvania- Delaware String Teachers Association continuing as editor of the PADESTA Newsletter and served as project chair and editor of the ASTA Violin Forum publication and co-author of the ASTA Dictionary of Bowing and Pizzicato Terms. His compositions for string orchestra are published by Kjos Music and Ludwig Masters. Sarch served as National String Program Chair and the first National Chamber Music Competition Chair for Music Teachers National Association.

Jack Unzicker, Bass Forum Jack Unzicker was raised in Juneau, Alaska. He is currently assistant professor of double bass at the University of Texas at Arlington, Artist Faculty at the Texas Chamber Music Institute, and principal double bassist of the Dallas Chamber Symphony and Plano Symphony Orchestra. He is a frequent performer and presenter at the International Society of Bassists, American String Teachers Association, and Texas Music Educators Association conventions and has been featured in articles on playing and teaching the double bass in The Strad and Strings magazine. Unzicker studied Double Bass Performance, Orchestral Conducting, and Jazz Studies at the University of North Texas and Western Washington University.

Gretchen Van Hoesen, Harp Forum Gretchen Van Hoesen, inaugural Harp Forum Editor of the American String Teacher, is a long time professor of harp at both Carnegie Mellon University and Duquesne University and maintains an active private studio. In addition to playing Principal Harp in the Pittsburgh Symphony Orchestra, she has served on the faculty of the Aspen Music Festival and the National Youth Orchestra of the USA, has been a regular adjudicator of numerous National American Harp Society Competitions, and is a coach for the Pittsburgh Youth Symphony and Three Rivers Young Peoples’ Orchestras. She has presented harp master classes all over the world, and her former students hold prestigious teaching posts and Principal Harp positions in numerous professional orchestras. Gretchen Van Hoesen has been a past president of the Pittsburgh chapter of the American Harp Society.

48 | American String Teacher | February 2016 www.astaweb.com | 49 2016 Summer Workshops/Camps/Conferences

Rocky Ridge Music Festival String Educators Workshop May 28-September 5 June 23-25 3970 Broadway St., Ste. 201E University of Michigan School of Music, Theater, & Dance Boulder, CO 80304-1163 Ann Arbor, Michigan 48109-2085 Phone: 970-586-4031 Contact: Robin Myrick Email: [email protected] Email: [email protected] Website: www. rockyridge.org Website: music.umich.edu/adultprograms Faculty: Phone: 734-936-2660 Violin - Danielle Lewis Fax: 734-647-0140 Violin - Allyson Fleck Faculty: Violin - Julia Beebe Michael Hopkins, conference director, University of Michigan Fiddle - Max Wolpert Kirk Moss - University of Northwestern Viola - Allyson Fleck Rebecca Hunter, DMA - Violinist, Educator Viola - Julia Beebe Katri Ervamaa - University of Michigan Cello - Katarina Majcen Maggie Hasspacher - University of Michigan Double Bass - Conner Hollingsworth See ad on page 74. Electric Bass - Conner Hollingsworth Guitar - Pat Bianculli (starting summer 2016) See ad on page 48. Killington Music Festival June 25-July 29 Lamont School of Music Summer PO Box 386 Academy Rutland, VT 05702 Phone: 802-773-4003 June 19 – July 3 Email: [email protected] University of Denver, Robert & Judi Newman Center for the Website: kmfest.org Performing Arts Faculty: 2344 E. Iliff Avenue Violin: Anat Malkin Almani, Daniel Andai, Elena Chernova- Denver, CO 80208 Davis, Ross Debardelaben, Evelyn Estava, Dawn Johnson, Joel Pagan, David Rubinstein, Sergiu Schwartz, John Vaida Contact: Mary Beth Barteau Shaffer, Academy Director Viola: Jesus Alfonzo, Anat Malkin Almani, Ross Email: [email protected] Debardelaben, Dawn Johnson, Joel Pagan, David Rubinstein Website: www.du.edu/lamont/summeracademy Cello: Theodore Buchholz, Cara Colon, Emilio Colon, Phone: 303-871-6400 or 763-443-1558 Emmanuel Feldman, Ron Lowry, Andrew Mar String Faculty & Guest Artists: Linda Wang, Mark Rush, Jerilyn Jorgensen, Basil Vendryes, Doublebass: Timothy Cobb, Pascale Delache Feldman Margaret Miller, Matthew Zalkind, Katharine Knight, Alice Yoo, Piano: Michael Bukhman Brandon McLean, AnnMarie Liss, Christopher O’Riley See ad on page 73.

Summer Strings and String Elm City Chamber Fest Orchestra Day Camp June 26-July 9 June 19th- July 9th 60 Connolly Parkway, Bldg 11B-Suite 108 June 19th-25th (orchestra only) Hamden, CT 06514 Phone: 203-297-6091 University of North Carolina School of the Arts (UNCSA) Email: [email protected] 1533 S Main St. Website: elmcitychamberfest.org Winston-Salem, NC 27127 Faculty: Contact: Natalie Parker, Summer Music Programs Director Fiona Murray, violin Email: [email protected] Ralph Allen, violin/viola & conductor Phone: 336-770-3260 An-Lin Bardin, cello Website: www.uncsa.edu/summer/music-summer-intensives Yoni Avi Battat, viola & music theory Faculty: Lisa DeAngelis, Alexander Technique Janet Orenstein, Ida Bieler, Kevin Lawrence- violin Tom Hudson, cello Sheila Browne - viola Jeanyi Kim, violin Brooks Whitehouse - cello Brian Krinke, violin Paul Sharpe - bass Lydia Leizman, viola & conductor Christopher James Lees - conductor

50 | American String Teacher | February 2016 Alexander Mandl, violin & conductor Wong Isabella Mensz, viola Cello: Emmanuelle Beulieu-Bergeron, Adrian Fung, Susan Rebecca Patterson, cello Gagnon, Rachel Mercer, Paul Widner Jill Pellett-Levine, violin & viola Bass: Douglas Rooks Ken Rescsanski, double bass See ad on page 38. Jody Rowitsch, viola Cookie Segelstein, viola/violin & klezmer Soojung Sharp, piano Cellospeak's Adult Summer See ad on page 35. Workshops (Skill-Builder Workshop) July 24 - 30 Vancouver Symphony Orchestral Institute at Whistler Ensemble Workshop June 26-July 5 July 31 - Aug. 6 Institute in Whistler, BC, Canada Bryn Mawr College 500-833 Seymour St. 101 N. Merion St. Vancouver, BC, Canada V6B0G4 Bryn Mawr, PA 19010 Contact: Christin Reardon MacLellan Phone: 703-354-7305 Phone: 604-684-9100 ext 245 Email: [email protected] Email: [email protected] Website: cellospeak.org Website: www.vsoinstitute.ca Home address: P.O. Box 32037, Washington, DC 20007 Faculty: Faculty: Bramwell Tovey, Music Director of VSO & Whistler Institute Ratio of students (at all levels of ability) to faculty is four to Orchestra one. Faculty trained at top-level conservatories, including, Nicholas Wright, Assistant Concertmaster VSO Curtis, Eastman, Indiana, Cleveland Institute of Music. Emilie Grimes, viola, VSO Olivia Blander, cello, VSO Dylan Palmer, principal bass, VSO Birch Bay String Teachers’ See ad on page 31. Workshop (58th year) August 1 - 5 Camp Encore/Coda Washington-ASTA Ferndale, Washington Sessions begin June 29 and run through July 24 Contact: Chip Schooler/Krissy Snyder 32 Grassmere Road Phone: 360-943-2317 Brookline, MA 02467 Email: [email protected] Phone: 617-325-1541 Website: birchbaystringteachers.com Email: [email protected] Faculty: Website: www.encore-coda.com/ Christopher Selby - guest clinician Faculty: Chris Bianco - conducting masterclass Electric Bass - Ethan O’Reilly Ruth Boden - cello Guitar - Noah Berman, John Johnstone, Nils Weinhold Joe Dyvig - string bass Chamber Orchestra - Chris Ramaekers Svend Ronning - violin Philharmonia - Diego Gabete, Ben Grabell, Joyce Grabell Ian Edlund - reading orchestras Senior Orchestra - Chris Ramaekers Chip Schooler - workshop director Cello - Luke Krafka, Alexis Lee String Bass - Ben Grabell, Ethan O’Reilly Viola - Joyce Grabell, Peter Neubert Violin - Jane Cromwell, Diego Gabete See ad on page 49.

Music at Port Milford July 10-August 7 Music at Port Milford c/o Hill 288 Washington Ave. Pleasantville, NY 10570 Phone: 914-439-5039 Email: [email protected] Website: mpmcamp.org Faculty: Violin: Marie Berard, Catherine Cosbey, Amanda Goodburn, Rohan Gregory, Rachel Handman, Csaba Koczo, Elissa Lee, Valerie Li, Kelly Parkins-Lindstrom Viola: Carolyn Blackwell, Angela Rudden, Sharon Wei, Eric

www.astaweb.com | 51 An 'Ecosystem' of Music Resources by Heather A. Davis

Professional musician Joseph Conyers and transform peoples’ lives,” Conyers says. “Project 440 is using academic Martin Ihrig share a passion for music as a tool of healing.” music. For Conyers, this transformation happens not just when Conyers is the assistant principal students are performing, but when they’re learning life skills. bass at the Philadelphia Orchestra and the Project 440 fosters college and career preparedness in students, newly named music director of the All- getting them to think about things such as the college that may be City Orchestra. right for them and career paths of musicians. They also learn how Ihrig is a music-lover, practice to create a resume and set up a website. And finally, students go associate professor at Penn’s Graduate into their communities, instruments in hand, to share their love School of Education (GSE), and adjunct of music with other young people. associate professor at the Wharton School. “It’s all about starting conversations and dialogue and really ASTA Board Member The two have connected through showing that the art belongs to the community,” Conyers says, Joseph Conyers Project 440, an initiative co-founded by “and we as artists are challenged with making sure the world Conyers in 2006 that fosters a love of music and community knows what we do.” engagement in its young participants. Conyers sees music education as critical to the development In Project 440, classical music is a community-building tool. of young people. The nonprofit provides industry-specific mentoring and training “What we do allows kids to imagine at the highest level,” programs for young musicians. Conyers says. “Art is there whenever the world is chaotic. [We want] Recently, Project 440 was tasked with managing the All-City to make them so excited that they want to share it with others.” Orchestra, a competitive music ensemble open to all students in © Copyright 2015 Penn Current, University of Pennsylvania Office of Philadelphia. University Communications. Originally published on November 19, 2015. To provide these services is no simple task—especially since financial resources are limited. The only way to achieve the goal as big as music education, says Ihrig, is if organizations coordinate efforts. “It’s very important in the future to think about ecosystems of partners,” Ihrig says. “We have the [school] district, we have the Orchestra, we have the Curtis Institute, we have Settlement Music School—many different partners—and in challenging times, where money is very scarce, how can we all come together to help students?” To that end, Ihrig is working to bring the school district, the Philadelphia Orchestra, GSE, and Project 440 together around the goal of music education. Ihrig, who is also the academic director of GSE’s master’s degree in education entrepreneurship, studies entrepreneurship and innovation, including how organizations can map out assets to achieve success. “I really sit in the intersection of business with my appointment at Wharton, and education with my appointment at Philadelphia Orchestra All-City Orchestra GSE,” says Ihrig, who is “looking at what are the needs of all the different constituents, the different stakeholders, and what kinds For another example of a program reaching out to under- of things they can leverage, and bring to the table to improve served communities through string music education, check music education.” out ASTA’s MusicScores! Pre-K Literacy/Violin Program To make an initiative like this work, Ihrig says the first step is preconference at the 2016 ASTA National Conference simple: Get everyone in the same room. in Tampa. This two-day preconference features “Music- “You have to find lots of passionate people, and it might look Scores!” an innovative Pre-K violin program operating like this is a challenge, but I’ve met so many people who have those within Head Start centers in Collier County, Florida. Learn passions for education and the kids that it’s actually not that difficult how the program is helping close the school readiness gap between children from low income and affluent communi- once they have a plan [for] people to come together,” Ihrig says. ties, providing over 400 Head Start children with violin Conyers, Project 440’s executive director, says Ihrig’s expertise instruction this school year! See astaweb.com for more is helpful as they seek to expand the services offered by the small information, or check out the conference section of this nonprofit. journal beginning on the next page. “I feel the power of music is undeniable and can actually

52 | American String Teacher | February 2016 The only conference dedicated to string teaching and playing

2016 ASTA National Conference

March 2–5, 2016 Tampa Convention Center Tampa, Florida

www.astaweb.com | 53 March 2-5, 2016 Tampa Convention Center Tampa, Florida

I’m Going! Why?

• Answers to pressing teaching challenges • Refresh my teaching toolbox with new ideas and repertoire • Experience the latest technology advancements and strings products • Build my career—I am not missing out on valuable training and education that will enhance my career • Collaborate with my community

Come see for yourself what the ASTA conference is really about. String players are such enthusiastic individuals, when together in one place the energy is incredible. Just imagine… music coming from session rooms, enthusiastic attendees ready to learn, presenters who passionately share their knowledge and experiences, concerts that are inspiring and entertaining... mix everything together and you have the ASTA National Conference—an experience you don’t want to miss.

54 | American String Teacher | February 2016 Conference-at-a-Glance

Wednesday, March 2

10:00 am–7:00 pm Registration Open (Sponsored by D'Addario & Co.) 12:00 pm–5:00 pm Mini-learning Academies (separate fee applies) 5:30 pm–6:00 pm First-time Attendee Welcome Reception 6:00 pm–7:30 pm Town Hall/Annual Meeting followed by dessert reception 8:00 pm–9:30 pm Florida State University Concert

Thursday, March 3 7:30 am–3:30 pm Registration Open (Sponsored by D’Addario & Co.) 8:00 am–9:30 am Opening/Keynote—What’s Right with Music Education (Alfred Publishing) 10:00 am–7:00 pm National Orchestra Festival Events 9:45 am–5:00 pm Educational Sessions 5:00 pm–7:00 pm Grand Opening of Exhibits and Reception (Huntington T. Block) 5:00 pm–7:00 pm Silent Auction Opens 8:00 D'Addario Reception

Friday, March 4 7:00 am–8:00 am Sunrise Sessions 7:30 am–3:30 pm Registration Open (Sponsored by D’Addario & Co.) 8:15 am–5:15 pm Educational Sessions 8:00 am–6:00 pm National Orchestra Festival Events 10:00 am–6:30 pm Exhibit Hall Open/Silent Auction Open 11:30 am–12:15 pm Coffee Break with Exhibitors 5:30 pm–6:30 pm Attendee Reception in Exhibit Hall 5:45 pm Silent Auction Closes/Winning Bids Announced 8:00 pm–10:00 pm Jeremy Kittel Concert (buy your ticket) 10:00 pm–11:00 pm Jam Session (open to all—join in)

Saturday, March 5 7:00 am–8:00 am Sunrise Sessions 8:00 am–11:00 am Registration Open (Sponsored by D’Addario & Co.) 8:00 am–5:00 pm Educational Sessions 9:00 am–2:00 pm National Orchestra Festival Events 10:00 am–2:45 pm Exhibit Hall Open 10:00 am–2:45 pm College Fair 10:00 am–12:00 pm Best Practice Poster Sessions 10:30 am–11:30 am Coffee Break with Exhibitors 1:45 pm–2:45 pm Dessert Reception in Exhibit Hall (Stringletter Publishing) 4:00 pm–5:30 pm National Orchestra Festival Winner's Recital Conference Concludes

www.astaweb.com | 55 National Orchestra Festival®

The National Orchestra Festival® (NOF) will bring together orchestras from around the country to Tampa for an unparalleled opportunity to receive placement, ratings, and comments from leading clinicians and adjudicators. All groups receive educational feedback from adjudicators. Each group also receives a clinic directly after its performance from one of our clinicians.

Who will be named Grand Champion for the 2016 National Orchestra Festival? Come and listen to these talented groups compete for the title (admittance is free)! The Grand Champion orchestra performs a winner’s concert at the end of the conference on Saturday at 4:00 p.m.

Performing Groups:

Bothell High School Chamber Orchestra University High School Chamber Orchestra Bothell, WA Irvine, CA

Stringendo's Chaconne McEachern High School Chamber Poughkeepsie, NY Orchestra Powder Springs, GA Olathe East High School Orchestra Olathe, KS Sierra Vista High School Orchestra Las Vegas, NV Cane Bay Chamber Orchestra Century High School Chamber Orchestra Summerville, SC Bismarck, ND Bentonville High School Chamber Orchestra West Shore Jr/Sr High School Chamber Guilford High School Symphony Orchestra Bentonville, AR Orchestra Guilford, CT Melbourne, FL Woodson High School Advanced Orchestra Denver School of the Arts Sinfonia Fairfax, VA Legacy High School Symphonic Orchestra Denver, CO Broomfield, CO North Cobb High School Chamber Northern Cincinnati Youth Senior Orchestra Ballard High School Chamber Orchestra Orchestra Kennesaw, GA Seattle, WA Mason, OH Charleston School of the Arts Symphony Stringendo's Vivace Orchestra Poughkeepsie, NY North Charleston, SC

Dickerson Middle School 8th Grade Pacific Symphony Santiago Strings Sinfonia Santa Ana, CA Marietta, GA

Master Classes

Come benefit from the comments these Collegiate Level Classes teachers share while working with top Violin: Charles Castleman, University of Miami quality students to hone and fine tune Viola: Helen Callus, University of California, Santa Barbara Cello: Paul Katz, New England Conservatory their performance of selected repertoire. Bass: Lawrence Hurst, Indiana University

Pre-College Level Classes Multi-Level Master Class Violin: Mimi Zweig, Indiana University Guitar: Bruce Holzman, Florida State University Viola: Victoria Chiang, Peabody Conservatory of Music Harp: Gretchen Van Hoesen, Pittsburgh Symphony Orchestra Cello: Greg Sauer, Florida State University Chamber Music: Members of the Bergonzi Quartet Bass: Brian Powell, University of Miami Eclectic Styles: Jeremy Kittel, performer

56 | American String Teacher | February 2016 Music Industry Showcase Sessions

These company sponsored educational sessions showcase the latest in string music, publications and technology. Developing the Left Hand at The Care and Feeding of the Presenting Expressive all Levels: Shifting and Vibrato Intermediate String Player Sight-Reading for Orchestra Made Easy Presenter: Charles Laux and David Eccles Presenters: Kathleen DeBerry Brungard, Presenter: Bob Phillips; Jim Palmer Sponsored by: Hal Leonard Company Michael Alexander, Sandra Dackow, Sponsored by: Alfred Music Gerald Anderson Incorporating Latin Styles in Sponsored by: Tempo Press Inspire and Teach with Literature the String Orchestra and Studio from Carl Fischer Music Presenter: Bob Phillips Incentivizing Practice for the Presenters: Doris Gazda, Strings Editor Sponsored by: Highland Etling Millennial Generation Presenter: Sharon Kuhn and Larry Clark, Editor in Chief Discover the Best Music for Your Sponsored by: Carl Fischer Music, Inc. Sponsored by: Stringo by Pre-Twinkle Spring Concert: A New Music Violin Lessons A Journey Through Reading Session from J.W. Pepper STRINGPEDAGOGY.COM—An Presenter: Todd Parrish Sourcing the Right Material Innovative Teaching Tool Sponsored by: J.W. Pepper & Son Can Help Young Students Take Ownership of Their Learning Presenter: Mimi Zweig Old Becoming New: Little Sponsored by: Connolly Music Company, Presenter: Thomas Gregory Thomastik-Infeld Known “Gems” of the String Sponsored by: Vamoosh Music Orchestra Repertoire History of Violin Making: Methods Presenter: Sandra Dackow Entertaining, Engaging and from the Golden Age to the Present Sponsored by: Luck’s Music Library Informative Music by and for Presenter: Devin Shea String Players Sponsored by: Eastman Strings Rhythmic Projections, 123 Play Presenter: Jeremy Cohen and Andres Vera and much more! Sponsored by: ViolinJazz Publishing The Road to Artistry—Developing Presenter: Lynne Latham a Mature Sound with your Sponsored by: LudwigMasters Music Unleash Your Student’s Musicality With the Powerful New “ZORRO” Intermediate Strings String Orchestra for Your School Presenter: Debbie Lyle Bow Stroke! Sponsored by: Foundation for the Program—The O’Connor Method Presenter: Eden Vaning-Rosen Advancement of String Education (FASE) Presenter: Mark O’Connor Sponsored by: Ebaru, the Violin, Viola, Sponsored by: O’Connor Method Cello and Bass Book Company Double Your “Success” in the ViolinPractice.com—Supporting Beginning String Classroom! Presenters: Gail V. Barnes, Brian Balmages, Students, Teachers and Parents Carrie Lane Gruselle, Michael Trowbridge Presenters: Rebecca Henry Sponsored by: The FJH Music Company and Phyllis Freeman Sponsored by: The Potter Violin Company

Keynote Speaker: Scott Lang “What’s Right with Music Education” For more than a decade, Scott Lang has been educating and entertaining audiences of all ages. As a nationally known leadership trainer, he annually conducts more than 120 workshops and works with many of our country’s best educational groups, including ASTA, for our new recruitment effort Be Part of the Orchestra. Lang is a well-known author with over 10 publications to his credit including: Seriously?!, Leader of the Band, Leadership Success, Leadership Travel Guide, Leadership Survival Guide and the highly successful Be Part of the Band series, which now includes Be Part of the Orchestra with ASTA and other partners. www.scottlang.net

www.astaweb.com | 57 For complete session descriptions and to register, visit www.astaweb.com Mini Learning Academies (A Conference Add-On—$75 for ASTA Members)

Tuesday/Wednesday (March 2-3) Mini Learning Academy MusicScores! Pre-K Literacy/Violin Program readiness gap between children from low income and affluent Join us for a pre-conference featuring “MusicScores!” an communities. The program has been in existence in one site innovative Pre-K violin program operating within Head Start for eight years and recently expanded to several other Collier centers in Collier County, Florida. This program’s philosophy, County Head Start centers. In the 2015-16 school year over 400 curriculum and lesson structure will be shared, and participants Head Start children will receive violin instruction. will visit pre-K Head Start violin classes, meeting the teachers Visit www.astaweb.com for complete information, schedule, and support groups that have helped establish the program. and to register. Register for this event by January 5 to ensure Learn how “MusicScores” is helping close the school participation!

Wednesday, March 3 Mini Learning Academies—12:00-5:00 pm

2020 Vision: Strengthening String Teaching, Mentorship, Preparing to be an ASTA Mentor Opportunities, and Culture Preparing to be an ASTA Mentor will bring together experienced The National String Project Consortium (NSPC) is a coalition of string teachers from across the country to learn about String Project sites across the nation dedicated to cultivating mentoring early career string/orchestra teachers. Topics to new generations of highly qualified string educators and be addressed include: the teacher development continuum; ensuring a vibrant, secure culture of string-music education mentoring styles; and communication strategies. This hands- opportunities for youth and adults across the nation. Whether on workshop will engage participants in video observation and you are actively engaged in a String Project, interested in role-play to facilitate mentor development. starting one, or simply want to learn to be a better string Moderators: Colleen Conway, University of Michigan; Margaret educator and advocate, you’re invited to attend! This interactive Berg, University of Colorado; Bob Phillips, ASTA Past President session centers on the NSPC’s new strategic plan, 2020 Vision, and will feature topics relevant to all string educators such as Improvisation; It’s Not Just for Jazz! Learn to Teach teacher effectiveness and preparation, advocacy, program Melody, Harmony and Accompaniment by Listening, sustainability, administrative tools, and more. While this Imitating and Improvising (using any style of music) session will be centered on best practices in String Projects, it on String Instruments. No prior improv experience necessary is relevant and open to all educators, administrators, college If you teach middle school, high school or college, teach at a students, and enthusiasts that would like to be motivated, private studio or are a student teacher of violin, viola, cello, bass guided, and trained to better ensure a dynamic landscape of or guitar; this session is for you. Tampa area string students string-music education in our nation. will be our guinea pigs (along with ourselves!) for this exciting Moderator: Amy Gillingham, Northern Kentucky University afternoon session of hands-on learning. Three renowned string teachers will teach improvisation and composition from a non- An Integrated Approach to String Teaching jazz perspective. Eclectic Electro-Acoustic Violist/Composer A group of affiliated teachers from Indiana University Jacobs Martha Mooke will introduce empowerment and teaching School of Music, Peabody Institute of Johns Hopkins methods using ensemble and peer-to-peer partnering games University, Northwest Strings at Northwestern University, the and exercises. Cellist Mike Block (member of Yo-Yo Ma’s Silk String Academy of Wyoming, the University of Wyoming, the Road Ensemble and Director of Mike Block String Camp) will String Academy of Wisconsin at the University of Wisconsin- explore playing and learning by ear through modern pop songs. Milwaukee, and Maryland Talent Education will present an Violinist and composer Andy Reiner will teach tune creation, effective, eclectic and evolving approach to string teaching. exploring the compositional side of traditional music by Drawing from an approach developed by Mimi Zweig which dissecting fiddle tunes. incorporates the pedagogy of Shinichi Suzuki, Paul Rolland, Presenters: Martha Mooke, eclectic electro-acoustic violist/ Tadeusz Wronski, Ivan Galamian and others, presenters composer; Mike Block, Yo-Yo Ma Silk Road Ensemble; Andy will address various topics including developing a personal Reiner, violinist and composer teaching philosophy; providing a healthy beginning; introducing music reading, shifting and vibrato; supplementing the Suzuki repertoire; developing musicianship through integration of technical and musical skills, providing ensemble and solo performance opportunities; and incorporating the approach into a group setting such as the public school string class. Presenters: Sherry Sinift; Mimi Zweig; Rebecca Henry; James Przygocki; Stacia Spencer; Darcy Drexler; Phyllis Freeman Sponsored by: William Harris Lee

58 | American String Teacher | February 2016 Build Your Community

Concerts and Networking Events Attend one or all of these onsite opportunities to meet your colleagues and enjoy the music!

New Attendee Reception Jeremy Kittel Concert First time attending an ASTA conference? This is a great Performing with Kittel in his band will be the inventive cellist place to meet new people and to learn more information Nathaniel Smith, acclaimed mandolinist Joshua Pinkham, about the conference. and Canadian guitarist Quinn Bachand—an evening you surely won’t forget! Town Hall/Annual Meeting and Dessert Reception Kittel is an American fiddler, violinist, and composer. Fluent in Florida State University Symphony Orchestra multiple musical genres, his original music draws from traditional After mingling with friends and enjoying some sweet treats, we roots, jazz, Celtic, Classical, electronic, and more. In addition to his invite you to relax with beautiful music by the prestigious Florida own projects, he has composed and arranged for such artists as State University Symphony Orchestra, under the direction of Abigail Washburn, Aoife O’Donovan, My Morning Jacket, Yo-Yo Ma Alexander Jimenez. and the Silk Road Ensemble, Camera Obscura, Jars of Clay, Laura Opening Ceremony Veirs, and the Grammy-winning Turtle Island Quartet (of which he The Tampa Metropolitan Youth Orchestra, directed by Dr. was a member for five years). He has also recorded and performed William Wiedrich will be showcasing their talents as a with artists such as Edgar Meyer, Chris Thile, Mark O’Connor, Mike premier youth orchestra! Sponsored by Alfred Publishing Marshall, and Bela Fleck. Jeremykittel.com Grand Opening of the Exhibit Hall with Reception Jam Session The Real Vocal String Quartet will open up the Join your friends for some great impromptu music-making fun! hall with beautiful music. Walk around and meet This jam session usually goes past an hour and long into the night, the exhibitors while enjoying some treats. This is so feel free to join in at any time. a great networking opportunity. The Silent Auction National Orchestra Festival Grand Prize Winners’ Concert will also kickoff during this time. Come check out all the great items Top off three days of educational sessions with a fantastic concert and make your bid! Sponsored by Huntington T. Block featuring the best of the best! The National Orchestra Festival (NOF) event features both the Grand Prize winner of the Public School and the winner of the Private School/Youth Orchestra division for the closing, grand finale, conference concert. Let’s unite as teachers, professionals, and parents to acknowledge hard work and talent by attending this concert performed by some of our country’s best youth orchestras!

www.astaweb.com | 59 For complete session descriptions and to register, visit www.astaweb.com General Information

Make Your Hotel Reservations Early Funding Ideas to Attend the ASTA There are a limited number of rooms available at the discounted Conference: rate and the rate may sell out prior to the cut-off date, so make • Apply for any Professional Development or PTSA Grants to help reservations now! with registration and travel costs. Hotel room rates are subject to applicable state & local taxes • Contact your School Booster Organization—often there are (currently 12%) in effect at the time of check out. continuing education funds available. Tampa Marriott Waterside Hotel & Marina • Book travel arrangements early and search for best fares. Talk to 700 South Florida Avenue-Tampa, Florida 33602 other local teachers and plan to travel together. Shared travel and Single/Double: $169 lodging can really help. Triple/Quad: $189 • Contact your ASTA state or student chapter to see if there are Call 1-813-221-4900 or 888-268-1616 any scholarships or grants available. Aloft Tampa Downtown 100 West Kennedy Boulevard Tampa, FL 33602 Call: 877-GO-ALOFT Single/Double rate is: $189 "This conference is like coming Triple/Quad: $204 home every year to the Make sure you mention you are with ASTA. biggest family picnic on earth. I don’t ever want to miss one." -Darol Anger

60 | American String Teacher | February 2016 Registration Form 2016 ASTA National Conference March 2–5, 2016 Tampa, Florida

Member ID #______q Check here if first-time attendee. Come join us in Tampa! Totals Name______Conference Rates Early Bird Registration: Pre-Registration: On-Site Registration: Address 1______postmarked on or before Dec. 15 postmarked Dec. 16-Feb. 1 postmarked after Feb. 1 Address 2______ASTA Member Rates City, State, Zip, Country______$315 $395 $475 ______Nonmember Rates Join today and save! $430 $510 $590 Phone______FAX______Student Member Rates Email______$119 $199 $279 Primary Profession (circle one): Student Nonmember Rates Join today and save! K-12 University Private Studio Performer $225 $300 $375 Student String Industry Member One-Day Rate: $225 Indicate which day (circle one): Years Teaching (approx)______Nonmember One-Day Rate: $345 Th F S Primary Instrument______Optional Conference Activities Will you be (circle one): DRIVING FLYING Mini Learning Academies (Choose only one.) March 2, 12 p.m. to 5 p.m. Don't forget to make your hotel reservations! $75 – Members; $99 – Nonmembers Visit astaweb.com for more information. q 2020 Vision (NSPC) q Integrated Apr. to Str. Tchng. q Improvisation q q Payment Information Prep. to be ASTA Mentor MusicScores q Check (made payable to ASTA) Check #______Note: Registrations with funds Evening Concerts from outside the U.S. must be drawn on a U.S. bank. q FSU/Symphony Orch. free x______Qty. q Purchase order #______(copy of purchase order must be attached; Wednesday, March 2 Purchase orders must be paid by February 1 or balance collected at conference.) q VISA q MasterCard q American Express q Jeremy Kittel $20 x_____ Qty. Card #______Friday, March 4 = $____ Exp. Date______Documentation of Professional Development Cardholder Name______q One-Time Enrollment Fee $25 q Certificate of Professional Development (includes hours) $10 Signature______Certificate of Participation* Cancellation Policy Certificate of Conference Participation $10 x ___ = $_____ All cancellation requests must be received in writing by February 12, 2016. Name on Certificate:______No refunds will be given on requests after this date. NO EXCEPTIONS. There is a * Does not contain hours of professional development. See above for option. $75 cancellation fee. Refunds will not be processed until after the conference. Special Donation – For Outreach Photographs of You: Registration and attendance at, or participation in the ASTA National Conference and its events and activities constitutes an agreement to ASTA’s use and distribution (both now and in the future) of the q Yes, I want to support and grow youth string and orchestra $50 individual’s image, likeness, or voice in photographs, videotapes, electronic reproductions, and audiotapes of programs. My $50 helps! such events and activities for promotional purposes. ASTA Membership (Join or Renew Now!) Register online at www.astaweb.com Join or renew your membership when registering for the conference and take the Or fax or mail form to: ASTA discounted member rate on registration fees. Memberships must be current prior to the conference for member rates to apply. 4155 Chain Bridge Rd q Professional $111 q Dual $154 Fairfax, VA 22030 q Full-Time Student $55 q Senior (age 62 or over) $81 FAX 703-279-2114 (copy of ID required) For questions, call 703-279-2113 ext. 14 Total Registration Fees______www.astaweb.com | 61 ASTA Membership Application 2015-2016

Use this application to join ASTA or apply online at www.astaweb.com.

Personal Information  New Member  Renewing Member Dues Auto-Renewal Program o Yes! I want to enroll in the automatic Name______dues renewal program. I understand I may cancel participation in this Address______program at any time.

City, State, Zip, Country______Dues Installment Plan ______o Yes! Please enroll me in the Dues Installment Plan based on my Email______preferences below. For more information on installment plan Home Phone______Work Phone ______payment options, please visit astaweb.com, or call 703-279-2113. Cell______Date of Birth______Note: Members taking advantage Graduation Date (students only)______School Name (students only)______of this option also will be enrolled in the Auto-Renewal Program. Job Title______Prof. Affiliation______.Annually .Quarterly Primary Musical Focus  Classical  Non-Classical .Semi-Annually .Monthly

Membership Category Check only one. Dues paid annually. Rates current through June 30, 2016. Voting Online  Professional...... $111  Senior (age 62 or over)...... $81 I give my consent to participate in electronic voting and receive election  Full-time Student*...... $55  Dual**...... $154 materials via email. *proof of full-time undergraduate student status required **please complete second form for other Dual member Yes  No  Please exclude me from:  Online Membership Directory  Mailing Labels  ASTA Email Announcements  All Mailings String Research Journal o Yes, I would like to receive a printed Preferred method of contact:  Email  Fax  Mail  None copy of the String Research Journal at SRJ Do you participate or use the ASTACAP program ?  Yes  No $24.95 per issue. The is printed once per year.

Profession Instrument Totals/Payment Primary Secondary Primary Secondary Membership Dues $ ______Check only one primary profession. Check only one primary instrument. Foreign Postage Check any secondaries that apply. Check any secondaries that apply. ($5 Canada, $10 all others) $ ______Membership Lapel Pin, $7 $ ______ Higher Education   Violin  Membership Certificate, $10 $ ______ K-12 levels   Viola  ASTA Contribution $ ______ High School  String Research Journal  Cello   Middle/Jr. High School  Subscription ($24.95) $ ______ Double Bass   Elementary School  GRAND TOTAL $ ______ Guitar   School (Multilevel)   Harp  Payment Information  Private Studio  o  Brass  Check payable to ASTA  Performer  Check No. ______ Piano  o o o  Conductor  Visa MC AMEX  Percussion   Retired  Card No.______ Woodwind   Music Administrator  Exp. Date______ String Enthusiast  Signature______ Student 

To avoid delay in processing your application, please complete all sections of this form. Dues are nontransferable and nonrefundable. There is a $27 charge for all items returned from the bank. Submit applications to ASTA Membership Department, 4155 Chain Bridge Rd. • Fairfax, VA 22030, 703-279-2113, Fax 703-279-2114

62 | American String Teacher | February 2016 ASTA Student Chapters

Please note that all college/university chapters must submit renewal applications by November 1 every year to remain active for the following academic year. Required forms may be found under “Student Chapters” at www.astaweb.com. Appalachian State University/ llinois State University University of Missouri at Kansas University of Texas at San Hayes President: Abigail Dreher City Antonio President: Chandler Fadero [email protected] President: Savana Ricker President: Alejandro [email protected] Advisor: Katherine Lewis [email protected] Padro-Fuentes a.fuentes526723@ Advisor: Nancy E. Bargerstock [email protected] Advisor: Frank Diaz gmail.com [email protected] [email protected] Advisor: Dr. Stephanie Westney Indiana University [email protected] Augustana College President: Mallory Alekna UNCG/Gate City President: Elizabeth Kupar [email protected] President: Patrick Hoffman West Virginia University [email protected] Advisor: Brenda Brenner [email protected] President: Courtney Moore Advisor: Janina Ehrlich [email protected] Advisor: Scott Rawls [email protected] [email protected] [email protected] Advisor: Andrea Houde James Madison University [email protected] Ball State University President: Shannon Prouty University of Arizona President: Arminda Sharpe [email protected] President: Rex Colin Mitchell Western Kentucky University [email protected] Advisor: Robert McCashin [email protected] President: Landon Case Advisor: Lindsay Fulcher [email protected] Advisor: Theodore Buchholz [email protected] [email protected] [email protected] Advisor: Dr. Ching-Yi Lin Kennesaw State University [email protected] Christopher Newport University President: David Metrio University of Central Missouri President: Sara Maria Finley [email protected] President: Matthew A. Chang Western Michigan University [email protected] Advisor: Charles Laux [email protected] President: Kyle Pitcher Advisor: Kimberly Ankney [email protected] Advisor: John Rutland [email protected] [email protected] [email protected] Advisor: Bruce Uchimura Mansfield University [email protected] Colorado State University President: Elaine Torres University of Colorado at Boulder President: Lydia Oates [email protected] President: Emma Carpenter Westminster College [email protected] Advisor: Jeffrey Jacobse [email protected] President: Madisen Fischer Advisor: Leslie Stewart [email protected] Advisor: Margaret Berg [email protected] [email protected] [email protected] Advisor: Melinda Crawford Perttu Nazareth College of Rochester [email protected] Concordia College President: Evealise Boughton University of Georgia President: Ross Baumgardner [email protected] President: Hope Ladewig Wichita State University [email protected] Advisor: Nancy Strelau [email protected] President: Hannah Gabel Advisor: Jane Linde Capistran [email protected] Advisor: Skip Taylor [email protected] [email protected] [email protected] Advisor: Catherine Consiglio Northern Kentucky University [email protected] Crane School of Music at SUNY President: Brittany Camden University of Illinois at Urbana- President: Michael Hahn [email protected] Champaign [email protected] Advisor: Amy Gillingham gillinghaa1@ President: Katherine E. Kozinski Advisor: Jennifer Kessler nku.edu [email protected] [email protected] Advisor: Dr. Louis Bergonzi Pennsylvania State University [email protected] California State University at San President: Geneva Rowader Bernardino [email protected] University of Michigan President: Janine Leslie Advisor: Robert D. Gardne President: Sarah Cornett [email protected] [email protected] [email protected] Advisor: Dr. Lucy Lewis Advisor: Michael Hopkins [email protected] Stetson University [email protected] President: Caitlin Brown Eastern Michigan University [email protected] University of Nebraska at Lincoln President: Taylor Paige Humphrey Advisor: David Bjella President: Adella Hotchkiss [email protected] [email protected] [email protected] Advisor: Kevin Miller Advisor: David Neely [email protected] Temple University [email protected] President: Amanda Roth Florida Gulf Coast University [email protected] University of Nebraska at Omaha President: Emily Dunn Advisor: Jeffrey Solow President: Danny Sabra [email protected] [email protected] [email protected] Advisor: Kyle Szabo Advisor: Dr. Mary Perkinson [email protected] Texas State University [email protected] President: Regan Henrick Florida State University [email protected] University of North Texas President: Ann Marie Abraham Advisor: Ames Asbell/ Rebecca Tast President: Emmanuel Coraza [email protected] [email protected] [email protected] Advisor: Kasia Bugaj Advisor: Elizabeth Chappell [email protected] The Ohio State University [email protected] President: Emily DeVincent Grand Valley State University [email protected] University of Northern Colorado President: Hannah Huizenga Advisor: Robert Gillespie President: Chaeli Ferguson [email protected] [email protected] [email protected] Advisor: Henry Duitman Advisor: Christopher Luther [email protected] Towson University [email protected] President: Kirsten Fitzsimmons Hofstra University [email protected] University of South Carolina President: Kailyn Tropeano Advisor: Dr. Jeff Howard President: Olivia Morris [email protected] [email protected] [email protected] Advisor: Adam Glaser Advisor: William Terwilliger [email protected] [email protected]

www.astaweb.com | 63 Volunteer Leadership Directory State Presidents Alaska Louisiana New York Bryan Hall, [email protected], Fairbanks, Michelle Wilkinson-Nelson, mwn6861@aol. Edie Shillitoe, [email protected], AK com, Prairieville, LA Fayetteville, NY

Alabama Massachusetts Ohio Caroline Nordlund, [email protected], Deanna Leedy, [email protected], Trista Emmons, [email protected], Hoover, AL Saugus, MA Cincinnati, OH

Arkansas Maryland Oklahoma Dan Mays, [email protected], Fort Smith, Matthew Tifford, [email protected], North Peter Markes, peter.markes@edmondschools. AR Bethesda, MD net, Oklahoma City, OK

Arizona Maine Oregon Theodore Buchholz, theodorebuchholz@ Andria Bacon, [email protected], Jennifer Arnold, [email protected], hotmail.com, Tucson, AZ Bangor, ME Portland, OR

California Michigan Rhode Island Thomas Tatton, [email protected], Morro Timothy Staudacher, [email protected], Susan Curzio, [email protected], Coventry, Bay, CA Muskegon, MI RI

Colorado Minnesota South Carolina Nancy Allwein, [email protected], Elizabeth Ericksen, [email protected], Stacy Wiley, [email protected], Inman, Centennial, CO North Oaks, MN SC

Connecticut Missouri South Dakota Nola Campbell, [email protected], Ann Geiler, [email protected], Leah Bogue, [email protected], Sioux Granby, CT Dardenne Prairie, MO Falls, SD

Florida Montana Tennessee Brian Powell, [email protected], Miami, Kimberly Lorengo, klorengo@ Emily Crane, [email protected], FL anacondaschools.org, Anaconda, MT Clarksville, TN

Georgia North Carolina Texas Jennifer Floyd, [email protected], Rebecca MacLeod, [email protected], John Burton, [email protected], Arlington, TX Atlanta, GA Greensboro, NC Utah Hawaii North Dakota Eric Hansen, [email protected], Provo, UT Chad Uyehara, [email protected], Suzanne Larson, [email protected]. Honolulu, HI nd.us, West Fargo, ND Virginia Donovan Stokes, donovan@donovanstokes. Iowa Nebraska com, Winchester, VA Michelle Mentz, [email protected], Dubuque, Nissa De La Torre, [email protected], IA Lincoln, NE Washington Brian Steves, [email protected], Idaho New Hampshire Mukilteo, WA Kevin Howard, [email protected], Sally Wituszynski, [email protected], Twin Falls, ID Somersworth, NH Wisconsin Laura Burns, [email protected], Oregon, Illinois Pennsylvania/Delaware WI Jason Heath, [email protected], Joseph Brennan, [email protected], Evanston, IL Hainesport, NJ West Virginia Justin Jones, [email protected], Indiana New Jersey Moundsville, WV John Rihani, [email protected], Fishers, IN Mary Maliszewski, betsy.maliszewski@gmail. com, Chatham, NJ Wyoming Kansas Ronald Ryan, [email protected], Eric Crawford, [email protected], New Mexico Laramie, WY Wichita, KS Suzanne Shelton, [email protected], Albuquerque, NM Kentucky Christina Givan, christina.givan@jefferson. Nevada kyschools.us, Louisville, KY Kenneth Baker, [email protected], Reno, NV

64 | American String Teacher | February 2016 Advocacy Committee K–12 Committee Research Committee ASTA Past Presidents Bob Phillips, Chair, MI Sarah Black, Chair, GA Rebecca MacLeod, Chair, NC Bob Phillips — 2012-2014 [email protected] [email protected] [email protected] Kirk Moss — 2010-2012 Joe Gutowski, MO Michael Alexander, TX Jeffrey Solow — 2008-2010 ASTACAP Committee Soo Han, IN Elaine Colprit, OH Mary Wagner — 2006-2008 Kelley Johnson, Chair, WA Melissa Schoonover, IL John Geringer, FL [email protected] Board Liaison: Judy Palac, MI Don Hamann, AZ ASTA with NSOA Past Mira Frisch, NC Staff Liaison: Deb Bissen Board Liaison: Kristen Pellegrino, TX Presidents Hillary Herndon, TN Robert Gillespie — 2004-2006 Volkan Orhan, IA Membership Committee State Leadership Committee David Littrell — 2002-2004 Elizabeth Blakeslee, VA Julie Ellis, Chair, OH Colleen Tan, Chair, IN Robert Jesselson — 2000-2002 [email protected] Louis Bergonzi — 1998-2000 Renata Bratt, CA Board Liaison: Brenda Brenner, MI Ann Geiler, MO Lya Stern, MD/DC Associate Liaison: Amanda Bernhardt Jody Harmon, MA Maura Brown, IL ASTA Past Presidents Edward H. Adelson — 1996-1998 Gregg Goodhart, CA Heather Lofdahl, NC String Industry Council Jacquelyn Dillon-Krass — 1994-1996 Jeffrey Howard, MD Ryan Silvestri, SC Committee Anne Witt — 1992-1994 Board Liaison: David Wallace, MA Chris Rohrecker, Chair, NY Board Liaison: Stephen Benham, PA Robert Culver — 1990-1992 Associate Liaison: Beth Knight [email protected] Associate Liaison: Libby Dietrich Gerald Doan — 1988-1990 Associate Liaison: Beth Knight National Conference Anne Mischakoff — 1986-1988 Collegiate Committee Committee Gerald Fischbach — 1984-1986 Martin Norgaard, Chair, GA String Research Editorial Mary Wagner, Chair, VA, [email protected] Lucas Drew — 1982-1984 [email protected] Board Amy Marr, Vice Chair, MI LeRoy Bauer — 1980-1982 Charlene Dell, Vice Chair, OK David Sogin, Co-editor, KY Sarah Black, GA Phyllis Young — 1978-1980 [email protected] [email protected] Sharan Leventhal, MA Jerry Kupchynsky — 1976-1978 Karin Hendricks, IN John Geringer, Co-editor, FL Martin Norgaard, GA Richard Sieber — 1974-1976 Rebecca Roesler, TX [email protected] Robert Oppelt — 1972-1974 Renata Bratt, CA Rebecca MacLeod, NC Ralph Matesky — 1970-1972 Board Liaison: Judy Palac, MI Colleen Tan, IN Associate Liaison: Deb Bissen Margaret Berg, CO Harry Lantz — 1968-1970 Board Liaison: Stephen Benham, PA Margaret Schmidt, AZ Howard Van Sickle — 1966-1968 Associate Liaison: Deanna Tompkins Curriculum and Pedagogy Laurie Scott, TX Paul Rolland — 1964-1966 Robert Klotman — 1962-1964 Committee National Orchestra Festival Gail Barnes, SC Gerald Doty — 1958-1962 Judy Palac, Chair, MI, [email protected] Committee Joshua Russell, CT Frank Hill — 1954-1958 Sarah Black, GA Kirk Moss, Chair, MN Brett Smith, WA Ernest Harris — 1952-1954 Martin Norgaard, GA [email protected] Board Liaison: Judy Palac, MI Sharan Leventhal, MA Rex Underwood — 1950-1952 Board Liaison: Stephen Benham, PA Duane Haskell — 1947-1950 Renata Bratt, CA Associate Liaison: Libby Dietrich Student Committee Rebecca MacLeod, NC Adriana Ransom, Chair, IL NSOA Past Presidents David Sogin, KY National Solo Competition [email protected] Doris Gazda — 1997-1998 Committee Board Liaison: Judy Palac, MI Board Liaison: Margaret Berg, CO Peter A. Miller — 1995-1997 Jeffrey Solow, Chair, PA Associate Liaison: Gina Armstrong Robert J. Greenwood — 1993-1995 [email protected] Eclectic Strings Committee Arlene G. Witte — 1991-1993 with Roundtable Board Liaison: Brenda Brenner, IN Studio Teacher Committee Pamela Tellejohn (Hayes) — 1989-1991 Renata Bratt, Chair, CA Associate Liaison: Libby Dietrich Sharan Leventhal, Chair, MA Robert S. Frost — 1987-1989 [email protected] [email protected] Jerry N. Kupchynsky — 1985-1987 Nominations Committee Beth Fortune, WA Jody Harmon, MA James H. Godfrey — 1984-1985 Bob Phillips, Chair, MI Edgar Gabriel, IL Anna Cromwell, IL G. Jean Smith — 1983-1984 [email protected] Duane Padilla, HI Mimi Butler, NJ C. Gary Iams — 1981-1983 Sheronna McMahon, TX James H. Godfrey — 1979-1981 Publications Editorial Board Liaison: Lynne Denig, VA John R. Bright — 1977-1979 Board Liaison: Bob Phillips, MI Committee Associate Liaison: Beth Knight Robert A. Ritsema — 1975-1977 Associate Liaison: Libby Dietrich Judy Palac, Chair, MI, [email protected] Lois Hobbs — 1973-1975 Josh Russell, Vice-Chair, CT James H. Godfrey — 1971-1973 Executive Committee Elaine Colprit, OH Stephen Benham, President, PA Malvin N. Artley — 1969-1971 Lynne Denig, VA H. Wayne Pyle — 1967-1969 Bob Phillips, MI John Fetter, NY Brenda Brenner, IN Orville “Cy” Dally — 1963-1967 Robert Gardner, PA Forest A. Etling 1961-1963 Associate Liaison: Monika Schulz Beth Gilbert, AZ Traugott Rohner, Founder 1958-1961

www.astaweb.com | 65 66 | American String Teacher | February 2016 www.astaweb.com | 67 Reviews

Class Methods white, and blue, with light blue approach. A fourth unique and lesson plans, while also shading for new concepts, and element is that students learn providing goals, access to MEASURES OF SUCCESS FOR straightforward informative both single notes and chords reproducible enrichment and STRING ORCHESTRA, Book 1. diagrams and illustrations. K.B. from the start. Chords are enhancement pages, expansion Gail V. Barnes, Brian Bal- carefully chosen (not always suggestions, performance mages, Carrie Lane Grueselle, SOUND INNOVATIONS FOR the case in other methods) advice, assessment tools, and Michael Trowbridge. FJH, GUITAR, A Revolutionary and incorporated in a way clear guidance as to reasonable expected progress. J.K. 2014, student books $8.50, Method for Individual or Class. that doesn’t overwhelm pno $12.50, score $34.95. Aaron Stang & Bill Purse. novices. The authors even take advantage of the handy ability String Orchestra This welcome addition to the Alfred, Book 1, 2012 $12.99, to slide chord shapes up and string method book arena is Book 2, 2015 $14.99. down the fretboard to make BACH TO ROCK (Gr. 3.5, opt particularly notable in several Two long-time educators new chords. Utilizing that rhythm section). Mark Wood. areas:from the perspective compiled these volumes; technique, students can play a LudwigMasters, 2007, $90. of administrators, it clearly their combined experience is chord progression with very This high-energy selection reflects the National Standards evident in every page. Many little trouble and incorporate for Music Education and pays tribute to Bach by elements make this method it into fun exercises and songs. incorporating baroque-style is correlated with ASTA’s unique. First, it includes online Book 2 continues where Book curriculum guidelines. The themes in a contemporary rock resources such as lesson plans 1 leaves off, and includes setting. Duple versus triple pedagogically minded will be for teachers, suggestions more advanced classical thrilled with the emphasis rhythms are found throughout. for expansion, assessment technique and finger-style First violins must shift from on fundamental concepts, sheets, direct access to the genres while also delving such as the pedagogical ideas first to second position and authors, and mp3 and DVD into barre chords, slurs, rock back a number of times – a of Paul Rolland and others. demonstrations and digital riffs, advanced picking, and Most importantly, it engages perfect way to practice second backing tracks, allowing aural skills exercises. The position! Students need to and appeals to a broad range students to slow down the complete method has a clear, of students, including those play in the right part of the recordings without changing well thought-out, and logical bow and listen carefully to beyond elementary age. The pitch. Second, the material progression of material and method presents a systematic each other to play cleanly focuses on what the authors offers a wide variety of styles and precisely. Although progression of plucking (letter call “real world guitar skills.” and techniques to engage notation leading to labeled in C, flats are scattered The two volumes incorporate students throughout. The throughout. All sections have note heads, and eventually a variety of styles, including layout (packed pages with traditional notation) and interesting parts; first violin classical, blues, rock, swing, lots of written explanations) is the most challenging. The bow preparation exercises and more. Students learn is best suited for adults and prior to combining the bow optional rock rhythm section to play with a pick, but also high school, but can also be is highly recommended and the instrument. The with their fingers in the basic used with students as early as music selections—including for optimal effect—a great classical style. The authors middle school. The variety of concert closer. K.H. folk music from North and teach many available guitar styles and techniques make South America, China, and notation systems, including this an excellent option for CALL ME MAYBE (Gr. 3.5, pno, Europe, simplified works standard notation throughout classroom instruction. J.K. by classical composers, both books so students learn drum set). Carly Rae Jep- and several compositions sen, Joshua Ramsay, & Tavish to read notes and rhythms, SOUND INNOVATIONS FOR by Brian Balmages—is not with guitar tablature and chord Crowe, arr. Larry Moore. replicated in other methods. GUITAR TEACHER EDITION, Hal Leonard, 2011, $45. charts consistently provided BOOK 2. Aaron Stang & Bill Throughout, music and to aid comprehension. When Moore’s arrangement of this composer facts are linked given the option, most Purse. Alfred, 2015, $19.99. hit is sure to provide fun for with scientific discoveries students will immediately A must for those teaching the students and also teachable and world events of the same go to tab instead of pushing Sound Innovations Guitar Method, moments. Written in G, no time period. The method also themselves to read standard this teacher’s edition provides a accidentals or shifting are rigorously integrates music notation. The authors certainly tremendous amount of helpful required. Basses repeat a theory, composition, critical foresaw this, omitting tablature information for instructors. It four-bar bass line for the listening exercises, playing in many examples, forcing is to be used as a companion entire piece, great for electric by ear, and even conducting students to read. Third, to Sound Innovations Book 2, bass. As with many pop tunes, fundamentals. Student books the strings are taught in a although a sizable review of rhythm provides most of the include a brief history of the unique order. Opposite many Book 1 material is provided. challenge. Most syncopations instrument, instrument care methods, students learn the (A teacher’s edition to Book are repetitive. Firsts, violas, and accessories, and back notes on the sixth string first 1 is also available.) Stang and and celli all have sections of matter with pertinent scales, (in first position only) and Purse purposefully present challenging soli rhythms. Divisi arpeggios, a fingering chart, then ascend to the first string. the material in a way that are marked; celli have some and an index of included Despite the inherent difficulty allows non-guitarists such open string double stops. The composers, world music, and in reading ledger lines, the as school band directors or piece begins by layering in the music terms. Also impressive exercises and songs are so well classroom music instructors parts, creating a natural build is that, despite the amount done that they are attainable, to provide proper guitar in sound. The coda ends with and variety of content, the fun to play, and make a strong instruction. Book 2 contains a dramatic build and accent book retains an uncluttered argument for adopting that 36 complete one-week units on the last note. Moments and pleasant layout: black,

68 | American String Teacher | February 2016 of silence in the strings the cellos and play the full FOGGY MOUNTAIN a piece in Ben’s honor. The require drum set to fill those melody. Several crescendos BREAKDOWN (Gr. 3-4, opt piece begins reflectively; as breaks. Sure to be a student- offer excellent teaching pno, perc). Earl Scruggs, the “Metal” section takes and crowd-pleaser. L.J.F. opportunities, with written arr. Larry Moore. Hal over, much in the style of dynamics every few bars Leonard, 2014, $50. Apocalyptica, the young man’s CELTIC CANON (Gr. 3, from piano to forte; the final personality comes to the section simply has “cresc.” This classic tune is a great forefront—fun, boisterous, pno). Johann Pachelbel, arr. introduction to the world of Chrystal Plohman. High- so students can apply that and completely unique. The knowledge. A very nice middle bluegrass, and will hopefully 4/4 C minor melody stays land/Etling, 2014, $55. section, with firsts playing inspire students to listen to mostly in upper strings, while This clever twist on the the melody arco and cello the recording of Scruggs lower strings have interesting Pachelbel Canon transitions plucking an accompaniment, performing this irresistible harmonies and rhythms that into Tam Lyn, a well-known provides nice contrast as well work. Moore’s arrangement drive the piece. Rhythms Irish reel. Three violin parts as opportunities to discuss gives the upper strings most include sixteenth notes and are required; violas have their balance and blend. L.J.F. of the fun most of the time, triplets. Divisi first violins own line. The canon starts with the lower strings sharing shift to ninth position, while as expected in D, with violas, the tune occasionally. The lower firsts and all seconds go EXPRESSIONS (Gr. 1, pno). slides imitate the innovative cellos and basses playing the Bill Calhoun. Pembroke/ only to third. Optional second eight-bar bass line while firsts banjo licks that have made Carl Fischer, 2013, $48. position makes viola passage begin the canon, followed Scruggs the style of choice work easier. Celli divide, with by seconds and thirds. The Finally, an easy selection that for bluegrass banjo players bass and top cello going to F canon goes upbeat when the is lyrical and beautiful! In everywhere. Basses play above middle C. Balmages has tempo switches to lively. Here, G, Expressions is a perfect pizzicato throughout, caught the metal spirit, with all strings enter following the piece to help students sure to get everyone’s cellos imitating distorted guitar piano four-bar introduction. reinforce and expand their toes a’tappin’. D.G. timbres, while upper strings Cellos continue with the vibrato, phrasings, dynamics, soar over pulsating rhythms. D-major canon bass line in bow control, and lyrical, FOREST INCANTATIONS (Gr. This piece proves that guitars half notes, while basses double thoughtful playing. While 4, solo vn). Alan Lee Silva, and drums are not required with dotted-quarter-eighth technically not challenging, Carl Fischer, 2013, $55. to rock heavy metal! N.C. the musicality required to rhythms. Violins and violas This exciting, rhythmic piece play the fiddle tune, including play this chorale-like piece is well beyond that of most is perfect for intermediate THE RED LION. (Gr. 1+). grace notes, sixteenths, some high school ensembles. The Jeremy Woolstenhulme. thirty-second notes, and beginning students. Non- chord tones add movement overall structure is fast- Kjos, 2014, $48. slurred notes over the barline. slow-fast. The first E minor The key changes to D minor and intensity. A great lyrical If you are looking for a selection for a middle school section is characterized by beginning orchestra piece at m. 61 and to A minor at marcato, accents, and a driving m. 81, as more instruments program to develop vibrato that reinforces low second and musical maturity. K.H. sixteenth-note pattern in the finger, look no further. This join the fiddling. Here, cellos lower strings. The central and basses play more varied great selection also teaches section features a lovely, lyrical bow lifts. Cello and bass are rhythms. The fast-paced reel FIREWORK: RECORDED violin solo. The fast section drives to the end. Adding a BY KATY PERRY (Gr. 2+, rhythmically almost identical, returns, reminiscent of the while violins and violas act new sound to an old favorite, pno, perc). Words, music opening, with some variation. this very lively, exhilarating by Mikkel Eriksen, Tor Erick as a rhythmic unit. An added First violins go to fifth treble-clef viola part, written piece will surely be a hit with Hermansen, Esther Dean, position, while seconds need students and audience! G.P. for violin, can help balance Katy Perry, & Sandy Wil- only third. The lower string the sections, as all violins play helm, arr. Robert Longfield. parts, while not high, would ECOSSAISE IN G (Gr. 1+, together. Rhythms include Hal Leonard, 2010, $40. benefit from more artistic opt piano). Ludwig van half, quarter, and paired fingerings. Bowing styles eighth notes and equivalent Beethoven, arr. Frank J. Hal- My students fell in love with this arrangement the first time include marcato, staccato, rests. This short accessible ferty. Kendor, 2014, $42. they read it. In D, it starts with and legato. Dynamics range selection is a great addition The ecossaise is a Scottish a viola-cello introduction. from very soft to very loud. to Grade 1 literature. K.H. dance, and this lively setting Then unison first and second Each section is featured in captures the spirit quite nicely. violins take over the main both melodic and counter- melodic passages. I.K. THE SILVER CANOE (Gr. The quick tempo, cut time, melody, later splitting into 1+). Lorie Gruneisen. syncopations, B-flat accidentals parts. Playable entirely in first Kendor, 2013, $42. for violins, and changes from position, violins have some LYRIC METAL (Gr. 5). Brian pizzicato to arco are closer Balmages. FJH, 2013, $55. This great tune is perfect syncopated rhythms. Students for the more experienced to Gr. 2 skills. Syncopation are likely familiar with the The inspiration for this happens repeatedly in different unique work was Benjamin beginning orchestra. In melody, making the rhythmic ABA form, the main theme instruments and in ensemble challenges easier to grasp. The Albro, a young cello student tutti. Basses have part of the in Pennsylvania who passed in A minor begins with easy bass part is vital. If your detached notes in first violins, melody but rest when it goes students are anything like mine, away in a tragic accident. He to eighth notes, perhaps to loved both heavy metal and over eighth-note pizzicato they will work hard to master accompaniment. Basses join avoid muddiness; advanced this popular selection. K.H. Balmages’ music, so Balmages basses could easily double was commissioned to write the firsts, and eventually,

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all sections play the theme. to play is the use of what C-string notes add interest to quarter- and eighth-note swung The A-major middle section seem to be patterns—pitch, second and viola parts. A.H. triplets. The violin solo is features sustained notes and bow stroke, rhythm—which rather free in tempo and offers ties over the bar line. Firsts actually change regularly; Full Orchestra opportunity for improvisation. enter with a legato melody. students must be alert not to This would make a wonderful Students learn to play an make a misstep. The piece BEYOND THE FOREST (from closer for a concert, leaving accent on a tied sustained alternates between G major The Hobbit: The Desolation the audience tapping their toes note, down-bow crescendo, and D minor with a number of Smaug) (Gr. 3.5). Howard and singing for the remainder and four-note slurs. The of short chromatic sections Shore, arr. Patrick Roszell. of their evening! J.A.S. A-minor theme returns, with a (the peril of boat racing). Belwin/Alfred, 2013, $73. slight variation in the melodic Firsts, celli, and basses shift MAN OF STEEL (Gr. 3.5). rhythm. The orchestra builds to third position; fingerings Scored for double winds (only one oboe), full brass, Hans Zimmer arr. Ralph Ford. to fortissimo and ends together are suggested in all parts for Belwin/Alfred, 2013, $80. pizzicato. Your students will shifts and chromatic sections. percussion, timpani and leave class singing! G. P. Enjoyable for audience and strings, this great choice This 10-minute selection performers alike. L.J.F. for an advanced school or matches the new “reboot” community orchestra portrays of the Superman franchise: TAKE THE “A” TRAIN (Gr. 3). dwarf Kili and elf Tauriel’s darker than John Williams’ Billy Strayhorn, arr. Victor UN DEDITO (Gr. 1, clave, love affair, in the second of score and the sunnier palette Lopez. Alfred, 2014, $53. shaker). Thom Sharp. Lud- the Hobbit movies. (Purists of the late ’70s and early ’80s. Enjoy one of the masterpieces wigMasters, 2014, $48. may note Tauriel’s absence With helpful doubling and of jazz in this dynamic This Latin style energetic from Tolkien’s novel). Largely pulsing rhythmic writing in arrangement! This tune D-major selection sounds in D minor, it has an energetic strings, this arrangement is provides plenty of opportunity more complex than it actually central section, with a quiet not technically difficult, with to teach swing eighths, with is. All sections get to play the introduction and conclusion. two exceptions: horns need a terrific walking bass line catchy melody—chances are Aside from omitting the voice endurance for some prominent for your basses. The first five you will be singing and dancing and transposing for facility, held notes at the end (no measures alternate between to it the rest of the day. All it matches the soundtrack. It higher than concert D), and 4/4 and 3/4, but then it stays parts use only open strings and provides opportunities to work occasional string crossing in 4/4 for the duration of the first finger—the challenging on balance (particularly brass figures in the bass section may piece, though it should have element is the rhythm, which held chords) and musically challenge some players. With a two feel. Some chromatic includes half, quarter, and shaping Shore’s modal cross-cueing, the synthesizer passages, syncopation, and eighth notes and rests. A few melodies. First violins play as can be omitted, but using it grace notes make this piece a dotted-half notes are scattered high as fifth position, seconds enhances the performance. bit tricky, but very much worth throughout, with off-beat up to third, and violas in first; This arrangement work wells the effort—students will really eighth notes. Both violin parts fingerings are given. R.B. for a good high school or enjoy playing it. Firsts shift have a few slurs in the short community orchestra. Its to high C, cellos to high G, lyrical section. The clave and THE EAGLES ON TOUR (Gr. introduction (“Look to the and basses to D, with seconds egg shakers can easily be 3.5). arr. Patrick Rozell. Stars”) and coda (“What Are and violas remaining in first played by orchestra students. A Belwin/Alfred, 2014, $73. You Going to Do When You position. Optional piano/ fun tune and a great addition Are Not Saving the World”) keyboard and drum set parts to the repertoire. K.H. So many wonderful things in are in C; the piece modulates enhance the performance. this arrangement! Covering into A minor for “DNA,” My students—especially three immensely popular 1970s where it stays for most of WE ARE YOUNG (Recorded hits, it features solos in brass, the basses—absolutely by “Fun”) (Gr. 2.5, pno, the next seven minutes. R.B. loved this piece. N.C. clarinets and first violins. drum set). Music, words “Heartache Tonight” begins Nate Russ, Jeff Bhasker, the set in C, “Desperado” Violin TOY BOAT REGATTA (Gr. Andrew Dost, & Jack An- transitions to D, ending in 3). David Bobrowitz. Lud- THE G. SCHIRMER VIOLIN tonoff, arr. Michael Story. G for “Hotel California.” ANTHOLOGY: 24 WORKS wigMasters, 2014, $50. In “Heartache Tonight,” Belwin/Alfred, 2014, $50. FROM THE 20TH AND 21ST This depiction of a toy boat This excellent arrangement Rozell includes an optional race has it all: the boats are off finger snap on beats 2 and CENTURIES (vn, pno). G. for middle school students Schirmer, 2015, $24.99. to a nice start, then turbulence, is in C major. The chorus 4 for those not performing, perhaps even fowl play, and repeats three times so while trombones perform Anyone looking for an all the boats come barreling students can master low twos. their swinging soli. “Hotel introduction to twentieth- and into the finish line. The most The melody is exclusively California” adds djembe and twenty-first-century violin challenging technical aspects in first violins except four conga drums to the drum set. repertoire should explore are the bowings and counting. measures for cellos. Firsts First violins have some second, this book. I chuckled at In cut time with rests of must master F-natural on third, and fourth position, the subtitle, “A Variety of various lengths peppered the E string and avoid open with an occasional visit to fifth Approachable Music for the throughout, counting becomes E in certain sections. Cellos in some divisi parts; E- and Advanced Player”—anything challenging. Maintaining will put their slurs to good B-flats appear in most parts. is approachable if you are the tempo facilitates a light use playing their flowing Violins and winds have some advanced enough. But the spiccato stroke. Part of parts; basses sometimes fast sextuplet and septuplet more I perused the book, the what makes this piece fun double cellos. Low twos and runs, and most parts have more I appreciated Schirmer’s

70 | American String Teacher | February 2016 apt description. The anthology staccato.” The slow F-major Allegro, Largo, and Allegro and conquering technical focuses on the least demanding middle section contains some movements. The opening challenges, all while playing movements and works by of Wieniawski’s most lyrical C-major Allegro is typical of with great musical feeling. L.J.F. contemporary composers, themes. Double stops and Vivaldi. Then triplets in A and the short length makes trills conclude this irresistible minor propel the hauntingly THREE PIECES from Romeo them more conquerable. The work. Jascha Heifetz’s former beautiful Largo forward. and Juliet (vn, pno). Sergei pieces require comfort with student, the editor Granat, The closing Allegro in C has Prokofiev, arr. D. Grjunes. chromaticism and unusual provides a new critical edition a syncopated 4/4 melody Sikorski/Hal Leonard, €16. rhythmic and melodic that he studied from the alternating with sixteenth vocabularies. For some pieces, master. This ürtext edition notes, up and down the scale. Grjunes wonderfully preserves those are the main challenges. is based on the composer’s This sonata does not go above the original flavor of each Recordings of most pieces manuscript and the first first position, and could be of these selections from are available, aiding violinists printed edition (Schott 1875). played by intermediate-level Prokofiev’s op. 64 ballet. The in overcoming the challenge If you do not have this piece students. The second sonata, violin part derives from the of the unfamiliar musical in your collection, this is the in D, opens with an Allegro, first violin orchestral score language. But Schirmer’s edition to go for. If you do, it with sixteenth-note open with minor alteration. The description applies to more will be helpful to compare with Ds, followed by this pattern highly virtuosic “Montagues than just technique. The pieces the ones you have. Enjoy the on A, and on the high D. A and Capulets” offers a strong are also approachable and can journey of learning all the right dotted-eighth-sixteenth note contrast with the muted be appreciated by violinists and left hand gymnastics. L.H. repeating pulse creates melodic violin in “The Dance of the and audiences who are not movement in the 12/8 Largo. Young Girls,” which vividly accustomed to contemporary SOLO TIME FOR VIOLIN, The closing Allegro returns captures the lyrical, gentle and elegant girls’ steps. Last in this compositions. When avant- BOOK 1 (vn, pno). Kathy & to the repeated note pattern garde composers are included, of the first movement, and transcription is the famous David Blackwell. Oxford Uni- “Dance of the Masks”—it has their less adventuresome versity Press, 2015, $18.50. ends with a flourish. This compositions are used. George sonata does not go above third everything: character, runs, Antheil’s Sonatina was written The CD for these sixteen position, a great recital piece left-hand pizzicato, double after his compositions went very fun solos offers both for an intermediate violinist. stops, ricochet. You cannot sit a more romantic direction. piano accompaniment and Both continuo parts are fairly still with this dance movement! Henry Cowell’s Ballad draws the solo with accompaniment. simple, with an occasional I recommend these delicious on an Irish song. Charles Ives’ These solos, listed as grade G-sharp or D-sharp. Figured gems to every violinist, Children’s Day at the Camp 3-4, are mostly one-page bass is provided; keyboard teacher, and student. L.H. Meeting demonstrates his use compositions arranged from chords are not written of quotation and multiple Bach, Telemann, Haydn, out. These two lovely little Viola melodies without including and Mozart, mixed with gems are great additions polytonality and atonality. Of original compositions by the to violin repertoire! G.P. ELEGIE, op. 30 (Gr. 6). Henry the other pieces, who can help Blackwells. Key signatures Vieuxtemps, ed. Peter Jost; but enjoy Samuel Barber’s include B-flat, F, G, C, D, and TANGO IN BLUE (med). va ed. Tabea Zimmermann; A major and D and A minor. lyricism in his Canzone or Lili José Serebrier. PeerMusic/ pno fingered Klaus Schilde. Boulanger’s Impressionism in The solos are nicely arranged; G. Henle, 2014, $17.95. all include fingerings (some Alfred, 2014, $9.95. her Nocturne? One only has to This ürtext edition is based on hear Samuel Gardner’s From in third position), bowings, This was originally a and challenging rhythms. For symphonic work; it received Vieuxtemps’ 1854 version. the Canebrake to understand Opening with a sustained why it was repeated twice at this excellent variety of solos, such positive response that the CD accompaniment is Serebrier wrote several F-minor melody, it gradually its first performance. The moves (after a short cadenza) only question that plagues me a great practicing aid. P.R. versions, including this one for violin and piano. This to A-flat major, a respite from is which of the twenty-four the melancholy theme. Elegie pieces to perform first. T.W. SONATAS FOR VIOLIN AND intriguing tango is very accessible for a strong high returns to F minor, with a BASSO CONTINUO, RV 815, bravura-style coda and a large 816. Antonio Vivaldi, ed. school violinist. Key signatures POLONAISE BRILLANTE No. vary from two flats to two flourish. Students need to read 2, Op. 21 (vn, pno). Hen- Michael Talbot. Ricordi/Hal sharps, with primarily minor treble clef and play in higher ryk Wieniawski, ed. Endré Leonard, 2012, $22.95. tonality. Several sections positions on the A string. Two Granat. Lauren Keiser/Hal These sonatas were discovered require fourth and fifth viola parts are included, one Leonard, 2014, $14.95. in a volume acquired by the position but the majority of the original and one suggesting edited bowings and fingerings; Wieniawski, celebrated Handel Foundation in London the piece can be played in first in 1994. Although most of the or third. No fingerings are teachers should check the virtuoso violinist and fingerings for practicality. composer, completed this manuscript was Handel’s, these suggested; however bowings, two sonatas were amongst stylistic elements, and tempo Elegie is a fiery dramatic Polonaise in 1869 at the piece, evoking the passion zenith of his career. This the previously unknown fluctuations are clearly marked. Vivaldi works. Mordents and This piece also provides and spirit of the Romantic virtuoso piece showcases era. As an addition to viola the bowings that Wieniawski trills are carefully edited, and opportunities to practice au va literature, it is a winner! G.P. perfected; playing many fast, all questions of authenticity talon, sul G, and 8 , as well short, accented notes on one are noted in the critical as the passion required of bow is called “Wieniawski commentary in the score. a tango, a wonderful piece VIOLA CONCERTO IN G MA- The first sonata (RV 815) has for learning tango style JOR (Gr. 4). George Phillipp

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Telemann, ed. Phillip Schmidt. Kalliwoda). Level 8 includes Kummer was a cellist, oboist in six hours on 21 January, G. Henle, 2014, $24.95. works by Dancla, Stamitz, and music teacher who also premiered later that evening This Telemann concerto is Joachim, Glazunov, and composed on occasion. His with Boult conducting and a staple of viola repertoire, Telemann, among others. most known compositions the composer as soloist. beloved by just about every Each book includes two were his virtuoso cello pieces, Originally for solo viola and student of the viola. This CDs; one has the piano and chamber music for amateur strings, Trauermusik is one of ürtext edition sheds new light viola, and the other has just musicians, and pedagogical Hindemith’s most popular on the piece. Presumably the piano part, so the violist works. As was fashionable and moving scores. In four written during Telemann’s can play along for maximum at the time, Kummer made short movements, the work years as municipal music fun. The viola parts include arrangements of popular features quotations from two director in Frankfurt, the four helpful fingerings, and a few arias and songs, including of Hindemith’s works—Der movements, except for the clef changes. The piano part’s these Schubert-Lieder. They Schwanendreher and Mathis der E-minor Andante, are all in G table of contents is help, but were primarily intended to be Maler—concluding with the and structured as ritornellos. it would be useful also to list performed in private homes chorale Vor deinan Thron Tret Largo is in 3/2, and the slurs the CD track numbers for for personal pleasure. This ich hiermit, known in England should be played with full each piece in the viola part. collection rarely has the cellist as the Old 100th (All Creatures bow and sonorous quality of The CDs are high quality. shifting above fourth position that on Earth do dwell). sound. Unlike many modern However, in Level 6, the solo except in Des Müllers Blumen, Trauermusik offers limited editions, Allegro, in common violist on the CD does not which ends in treble clef technical challenges, but time, has few slurs. In addition, play the printed harmonics and requires thumb position. requires beauty of tone and the viola solo does not play for the Bach Arioso, and These beautiful songs work eloquence of phrasing. Music with the orchestra tuttis. The adds some notes not in the for cello, but I agree with layout and printing are of 4/4 Andante is one of the score for Mozerlich’s Gypsy Kummer that they would only Schott’s usual high standard. most hauntingly beautiful Pavan. The repeats are not be suitable for private concerts, Breuer’s arrangement is movements for viola. The always taken in Level 7, and because they appear to be exemplary—a valuable addition viola part has fewer slurs than in Level 8, the suggested cuts written in easily accessible to the limited repertoire customary, and the soloist are taken in the Hoffmeister keys for amateur cellists, not for cello and organ. P.C. must compose a cadenza. The and Schmitt Concertos, with necessarily in the best register Presto, in common time, is a few inconvenient page for the piece. Kummer did Guitar closest to modern editions, turns. These little details in no not venture too far from with a bright tempo and way detract from the fun of Schubert’s original ideas DOUZE DIVERTISSEMENS Op. repeats. No dynamics are exploring these wonderfully except to add introductory or 6. François de Fossa, ed. Luis marked in any movements. varied pieces. D.G. closing material or to make Briso de Montiano & Montan- Two viola parts are included: small variations in repeats ya Ophee. Editions Orphée/ the original ürtext, and another VIOLA ORCHESTRAL EX- for variety. These charming Carl Fischer, 2014, $9.95. works are excellent options edited with fingerings and CERPTS. ed. Katharine Classical guitar teachers, bowings by Kai Kopp. This Rapoport & Capella Sher- for your students looking for that lyrical solo and performers, and students in version of the concerto is wood. RCMDP/Frederick search of quality infrequently- simply eye opening, with ensemble piece to show off Harris, 2013, $29.95. their gorgeous tone. A.C. played repertoire will be an authentic approach to Many of these viola excerpts excited by this offering from teaching this majestic and are on orchestral audition Editions Orphée. Fossa popular piece of music. G. P. TRAUERMUSIK for violon- (1775 - 1869) was a French lists, helping prepare the cello and organ (1936). developing violist for real Catalan guitarist/composer VIOLA LEVEL 6 REPERTOIRE, life opportunities. Students Paul Hindemith, arr. Heri- whose music shares an va/pno/CD $37.95. VIOLA will experience orchestral bert Breuer. Schott/Hal affinity with his better-known LEVEL 7 REPERTOIRE, va/ works by Grieg, Beethoven Leonard, 2013, $13.99. Spanish contemporaries, pno/CD $39.95. VIOLA Mozart, Tchaikovsky, Bartok, In January 1936, Paul Fernando Sor and Dionisio LEVEL 8 REPERTOIRE, va/ Smetena, and more. Fingering Hindemith traveled to Aguado. Douze Divertissemens pno/CD $40.95. RCMDP/ suggestions are included. The England to present the were recently discovered in a library in Toledo, Spain; Frederick Harris, 2013. bottom of the pages includes British premiere of his viola the date of the composition, concerto, Der Schwanendreher, this marks their first modern These delightfully varied and the date and location with Adrian Boult and the publication. Essentially a collections come from of the first performance. BBC Symphony Orchestra. collection of triple-meter a comprehensive series The editors suggest the However, on 20 January, King waltz, minuet, and slow developed by the Canadian difficulty is Level 7-10. D.G. George V died, leading to the movement character pieces, Royal Conservatory Music cancellation of the concert. these works are reminiscent Development Program Cello In its place, Boult and BBC of the musical style found (RCMDP). Level 6 includes music producer Edward Clark in Sor’s minuets. Technically, works by Telemann, Dancla, SCHUBERT-LIEDER, 25 Tran- asked Hindemith to participate the writing is idiomatic and Beethoven, and Bridge. Level 7 scriptions for Violoncello and in a live radio broadcast, as suitable for upper intermediate includes some standard pieces a tribute to the king. Unable to advanced students and by well-known composers Piano, op. 117b, Vol. 2. ed. Wolfgang Birtel, arr, Fried- to decide on an appropriate professionals, utilizing barre (Seitz, Vivaldi, Bach) as well chords and shifts to tenth rich August Kummer. Schott/ work, Hindemith composed as works by lesser-known Trauermusik (Mourning Music) position, with the barres composers (Cerha, Bridge, Hal Leonard, 2014, $24.99.

72 | American String Teacher | February 2016 occasionally sustained for one exist in the world of guitar Chamber Music Bach and Handel. This work or two measures. Musically pedagogy, and it is easy to lose has three movements. The quite charming and soundly track of them all. With this BACH MINUETS IN C MA- first homophonic Adagio composed, these works contain publication, Snitzler reminds JOR (Gr. 1.5). J.S. Bach, arr. movement is fifteen measures. enough melodic and harmonic us that Segovia, one of the Percy Hall. Great Works/ The second movement, inventiveness to engage most important guitarists to Ludwig, 2006, $10. Allegro ma non troppo, is performer and audience ever live, published a set of These two well-known nineteen measures and in alike. Frequent scordatura his own slur studies. In case Bach minuets are very a marcato style. The last enhances harmonic interest those originals have migrated effectively arranged for two movement of twenty-six by facilitating less-common to the bottom of our stacks trio configurations: three measures is marked Allegro keys such as F major and G of music, this new edition violas or two violas and cello. con spirito. These last two minor. While multi-voiced brings Segovia’s slur studies Both 64-measure minuets movements are contrapuntal dialogue exists, the musical back into focus. Snitzler are marked Allegretto, con and imitative, requiring textures tend to be mostly provides the original exercises grazia. The melody remains independent rhythm reading. homophonic with a balanced as well as his own useful and in Viola 1, but Viola 2 and 3 Third position is required of blend of homorhythm, needed advice on the technical (or cello) have very interesting the first violin, while second arpeggios, pedals, and scales of aspect of executing slurs—the harmonies. All parts stay in violin stays in first, and cello single notes, thirds, and sixths. original had practically no first position. Bowings include moves only into second. All Ophee has retained Fossa’s explanations. He adds one detaché, legato, staccato, and parts get the melody at least abundant left hand fingerings. new exercise not originally tenuto. Since many students once. Dynamics range from The informative brief preface included, a permutation of will recognize these minuets piano to fortissimo, and rhythms allows one to dig into the one of Segovia’s. Trills and from the Suzuki books, they range from sixteenth to half music right away; the engraving chromatic octaves are also can be very successfully notes, with one set of passing is beautiful. Anyone searching discussed in much better detail performed by young chamber thirty-second notes and for fresh nineteenth-century than the original. Snitzler also ensembles—a good way some trills. Bowings include repertoire to teach or perform provides historical background to help students develop detaché, legato, staccato, need search no further. L.E. and some good storytelling independent playing. N.C. and marcato. This work can about the great Spanish master be a great way to introduce SLUR EXERCISES, TRILLS, and some of his well-known TRIO SONATA IN G MAJOR chamber music to advanced AND CHROMATIC OC- students like Sophocles Papas. (Gr. 3). Dietrich Becker, arr. middle school and high For those who already have school string students! N.C. TAVES. Segovia, arr. Larry Percy Hall. Great Works/Lud- Snitzler. Columbia/Hal Segovia’s original publication, this makes a nice addendum. wig, 2006, score/parts $10. Leonard, 2014, $9.99. Intermediate to advanced Becker is a lesser-known Hundreds if not thousands guitarists would benefit seventeenth-century composer, of variations on slur exercises from these exercises. J.K. coming 62 years before

www.astaweb.com | 73 74 | American String Teacher | February 2016 Reviewers Reuben Blundell (R.B.) serves as Double Concerto in Kankakee. She performs with Greenblatt & works at Rutgers and Concordia Assistant Professor and Director She maintains an active Seay, with the Greenblatt String Universities. of Strings at Hunter College, private teaching studio in the Trio, and is Co-Concertmaster where he is also Music Director Champaign-Urbana area. of the Hastings Symphony in Gene Pohl (G.P.) is director of of the Hunter Symphony. In New Hastings, Nebraska. Deborah orchestras at Gunston Middle York Dr. Blundell also conducts Paul Christopher (P.C.) is is a proud member of ASTA, School and Wakefield High the Riverside Orchestra and Associate Professor of Music the American Nyckelharpa School in Arlington, VA. She the Chelsea Symphony, and in Theory and Low Strings at Association, and the American holds degrees in Music Education Pennsylvania, the Lansdowne Northwestern State University Recorder Society. from Ithaca College and Music Symphony Orchestra. in Natchitoches, Louisiana. He Performance from Boston has appeared as soloist with Lin He (L.H.), Associate University. She is an active Kasia Bugaj (K.B.), violist, is orchestras in Colorado, Indiana, Professor of Violin at Louisiana freelance violist, and performs Assistant Professor of String Louisiana, Missouri, Tennessee, State University, made recent with two local symphonies in the Music Education at The Florida Texas, and Panamá, and has concerto appearances with the Washington, D.C. area. State University, where she performed guest artist recitals Rapides Symphony and the Lake teaches string techniques in Arkansas, Florida, Indiana, Charles Symphony. He serves Pamela Rheaume (P.R.) has and methods courses. Prior to Kansas, Louisiana, Nebraska, as Associate Concertmaster of taught elementary and junior her appointment at FSU she New Mexico, Tennessee, Texas, the Baton Rouge Symphony, and high orchestra in the Chandler, established several curricular Costa Rica, Honduras, and will make his Carnegie debut on AZ, Unified School District for elementary string programs in South Korea. He has presented November 22, 2014. 22 years. She has a BA in Music the state of Indiana and was and performed at conferences Education from Augustana on the faculty of the Indiana in Alabama, Louisiana, New Kristin Herkstroeter (K.H.) College, and her Masters in University String Academy. Mexico, North Carolina and teaches 1 to 12 grade strings Secondary Education and Her research interests include Ohio. His articles have appeared and is music department chair Leadership certification from string pedagogy, working with in the Jacques Offenbach Society at Viewpoint School in the Northern Arizona University. underserved populations, and Newsletter, Strings, American greater Los Angeles area. She music teacher education. String Teacher and Bass World. is a violinist/violist with a Ph.D. Jeannine A. Sturm (J.A.S.) in Music Education from Florida holds a Ph.D. in Music Education Nola Campbell (N.C.) is the Luther Enloe (L.E.) is Instructor State University. from The University of Arizona Director of Orchestras at of Guitar at Georgia State in Tucson where she served as Glastonbury High School, University and an Artist Affiliate Allison Hogue (A.H.) is currently the director of the UA String teaching 150 strings students at Emory University. He serves as in her eleventh year of teaching Project for three years. She is and 25 guitar students each day. the Guitar Chair for the Georgia orchestra in the Scottsdale an itinerant orchestra director She performs on either violin Music Educators Association Unified School District. She has (grades 4-12) in Berkeley or viola with the New Britain and as a board member for her degrees from the University County, West Virginia. She Symphony Orchestra, and other the ASTA Guitar-in-the-Schools of Arizona and University of holds degrees from Adelphi orchestras and string ensembles Taskforce. Additionally, he is Michigan and her primary University, Long Island University, in the greater Hartford, CT active as a recitalist, adjudicator, instrument is violin. and Hofstra University and an area. She is also an active music and clinician, appearing at Advanced Certificate in Higher education clinician, lecturer, festivals and venues across the Jay Kacherski (J.K.) is a Education Administration from studio teacher, and orchestra United States. visiting lecturer in music theory Stony Brook University. conductor. at McNeese State University Lindsay J. Fulcher (L.J.F.) is a in Louisiana and a contributing Theresa Wilkinson (T.W.) is a Amy Catron (A.C.) is assistant visiting professor of string music editor for Soundboard magazine. private teacher in Eau Claire, professor of cello at Millikin education at Ball State University He holds degrees from the Wisconsin. She performs with University where she teaches and is ABD in the Ph.D. in Music Eastman School of Music, Florida the Chippewa Valley Symphony cello, pedagogy, lower string Education degree program at Southern College, and the Orchestra and is co-founder of methods and chamber music. Pennsylvania State University. University of Texas at Austin. He Western Wisconsin Chamber She is the principal cellist of Previously she was a high school is an active soloist and chamber Music. Sinfonia da Camera and cellist orchestra director in Burlington, musician with performances with the Arcadia Chamber NC and has taught privately for throughout the U.S. and Mexico. Players, the Overtones Ensemble, over ten years. and is active as a cellist in the Ingrid Kovacs (I.K.) is active central Illinois area. This year Deborah Greenblatt (D.G.) in ASTA, MENC, and ISME. she is acting principal cellist of gives lessons, workshops, and She completed her doctorate the Illinois Symphony and will be fiddle camps in an old 1925 in music education at Boston featured as soloist in the Brahms schoolhouse in rural Nebraska. University in 2010. She currently

www.astaweb.com | 75 Studio Teaching Tips by Susan S. Starrett A Session with Paul Rolland

I accepted the invitation to write this article for the American them work in “opposition”—starting with weight on the right String Teachers Association (ASTA) out of a deep sense of foot or back foot with hands together, shifting weight on down devotion to the Master himself, Paul Rolland. He was on the bow to front foot and hands apart. The opposite motion is used original committee that founded ASTA and was the first editor for up bows. This is a balanced approach to bowing. Watch a of the ASTA magazine. As a private violin student of his during major symphony orchestra and they all move in opposition, just the early years of ASTA, I had tremendous admiration for his as we walk—arms swing in opposition to each other so we are devotion and commitment to improve string teaching in America. balanced. This freedom of motion, with no static body parts, It was a time when many public school orchestra directors were allowed Rolland’s students to play with ease and produce a trained as band or choral musicians and then thrust into teaching “ringing and focused” tone quality. orchestra with little knowledge of strings. Most private teachers Weekly lessons with Rolland are worth sharing and consisted had little or no concern for the public school string programs. of three basic elements, but often in unique and creative Rolland was the exception! He cared so deeply that he did variations which I try to describe below: years of scientific research and wrote his method book Teaching 1. Scales, Arpeggios, 3rds, 6ths, Finger Drills, Shifting Drills, of Action in String Playing. It was partially edited for publisher Vibrato Drills Boosey & Hawkes by my former student, Sheila Crump Johnson, 2. Etudes of Wohlfahrt, Kayser, Mazas, Don’t Op. 38 (duet) when she studied with Rolland at the University of Illinois during and 37, Martinu Rhythmic Studies, Sevcik Op. 2, 3 and 8, his string research grant years. Kreutzer, Rode, and Gavines I find it eryv interesting when well-known teachers mention 3. Solo repertoire they were students of Rolland’s and proponents of his freedom of motion ideas. It’s a compliment to them and Rolland that they His dexterity finger drills and shifting drills were creative and attended his seminars. The best “education” in his teaching is challenged with metronomic discipline: “The sky is the limit on found on his films/videos. tempo!” Born in 1911 in Budapest, Hungary, Rolland emigrated to Finger Dexterity Drills the United States. I was taken to Rolland’s studio as an eighth • 4 quarter notes (slurred or single) starting with 1 slow grader by my first violin teacher, J. Elmer Szepessy of Peoria, metronome tempo in 4/4—repeat Illinois, who shared Rolland’s Hungarian heritage. There I • Slurred—a down bow for 1st 4 quarters and up bow for flourished under Rolland’s teaching throughout high school repeat and college. He addressed me as “Suso,” and challenged me to • 8 8th notes at same tempo—repeat a practice regime that allowed me to excel at an early age. He • 16 16th at same tempo—repeat never sacrificed scales, arpeggios, technical drills, or etudes in any lesson in favor of literature. He was outstanding in providing Finger patterns varied: 1-23-4; 1- 2-34; 12-3- 4; 1-2-3-4. the technique needed for solo repertoire before teaching a piece Metronome tempo increased as proficiency was accomplished.

requiring such skills. He was not, as I label it, “a contest teacher,” A sampling of his “finger-twisters” as my students call them: who jumped from one major concerto to another, ignoring the (They love to compete with the metronome on these.) tremendous material in sonatas and other great literature. He first built a solid foundation. He combined a lesson of working on 1-2-3-4 1-2-4-3 1-3-2-4 1-3-4-2 1-4-3-2 1-4-2-3 major works with diverse pieces that took a shorter learning time, 2-1-3-4 2-1-4-3 2-3-1-4 2-3-4-1 2-4-3-1 2-4-1-3 such as Kreisler, Elgar, Veracini, Hubay, and the great sonatas of 3-2-1-4 3-2-4-1 3-1-2-4 3-1-4-2 3-4-1-2 3-4-2-1 Handel, Schubert, Mozart, Beethoven, Franck and others. It was 4-2-3-1 4-2-1-3 4-3-2-1 4-3-1-2 4-1-3-2 4-1-2-3 a very comprehensive study. Today I am grateful for the breadth of literature I have to offer students. Many entering my studio are Other Drills Using These Combinations surprised by the diversity of literature as they bring with them a • Vibrato Drills - Used in 3 or 4 numbers of above chart— rd very limited knowledge of repertoire. in 3 position or best against a wall, to relieve all thumb Ease of movement and action during playing was always tension. Example: We begin by using “vibrato eggs”— incorporated in any piece, scale, or etude with Rolland. He plastic eggs also known as Easter eggs, filled with stones or studied the anatomical make-up of the human body and seeds. Don’t drop or the stones will scatter all over! Most discovered the most “natural” movement in playing. He sought music stores have these as rhythm tools. They allow student a balance of the body with students assuming a stance with feet to get feel of forward—toward nose—and back toward about shoulder width in an “L-shape” position. He simply had scroll movement. They too will hear the forward and backward rhythm of the stones. I assign one or all of these

76 | American String Teacher | February 2016 weekly, repeating 10x each. importance of bow speed and vibrato variety for phrasing or Holding L wrist with R hand – do rhythms: 1-rest-rest; contrasting styles. He worked tirelessly to fit bowing and fingering 1-2-rest-rest; 1-2-3-rest-rest-rest; 1-2-3-4-rest-rest-rest. This to the phrase, “Plan your strategy ahead!” He understood that develops the feel of a relaxed hand vibrato and will lead one day, maybe even after college, students would be doing their to softer fingers on string and softer knuckles needed for own bowings and fingerings, but he was a great believer in giving varying vibrato speed. a student strong guidance in phrasing. Students then would learn With bow—try slurring in 3rd position to minimize how to develop and shape phrases. I personally feel that too many thumb tension: (A proper chin rest and shoulder rest are college teachers assume that students are ready to do all fingering vital to eliminate L hand tension. Chin rest should have a and bowings on their own and that to give them an unmarked slight rise toward neck, so when pulling chin in, in good piece of music teaches them best. I strongly disagree! Far too posture, this action aided by chin rest will hold the violin. many college students I have heard, have no idea how to bow or Shoulder rest should be placed so that highest part is out phrase their literature, while I am positive their teachers do know over L shoulder for added support.) and could nurture them before turning them loose. Slur 1-2, 2-1 (keeping motion continuous) Similarly, I do not understand a middle school string student 2-3, 3-2 or high school student being assigned a piece of music with no 3-4, 4-3 bowings/fingerings noted. An orchestra sounds best when all Add 1-2-3, 3-2-1 (keeping motion continuous) string sections bow phrases basically alike and use “like strings” 2-3-4, 4-3-2 for matching tone color, considering phrasing and the strengths Then use other combinations such as: of their equipment. That’s a valuable lesson that can be taught. 2-1-3, 3-1-2; 3-1-4, 4-1-3 etc. This is why I give fingerings and bowings for most major works.

I would expect a college graduate to be able to do these tasks after • Shifting Patterns - Also were used with these above patterns: he/she has been taught. Early college study still is a time when In one position, then I think it is very important to give guidance and “be a parrot,” as Begin in 1 position and shift to another position for at this point students are most interested and more importantly, same finger pattern most capable of grasping these concepts. Begin in 1st position with 1 / shift up to 2nd or 3rd Rolland’s first violin camp for Illinois Summer Youth Music position etc. for 2-3-4 was a model of teaching techniques and validation of resulting Shifting drills, were done on all strings daily improvement. As I progressed through my teaching career, 1st finger in st1 position /an octave for 2-3-4 the most amazing feat I have ever seen, was to observe camp 1st finger in st1 position /an octave or 5th with 1st finger - students on opening day and observe the dramatic technical return to 1st position for 2-3-4 transformation from stiff, awkward bow arms into smooth and Lastly, playing 1 octave scale slurring, on 1 string with flowing anatomical motions within one day. 1st finger – then only nd2 finger My advice to all my students is, whether it is a drill, etude or • Basic Shifts: I to IV, I to V, I to VI, I to VII and I to VIII solo, “You must practice in short sections with 8-10-20, or as a Slur these combos and repeat up to 10 per finger, per former student of mine said—100 repeats to master hard passages string—daily. This way they will understand the role of L first.” There is no other substitute or fast track to success. That is thumb in locating positions. true for private students and working with student orchestras. Positions 3 and 4 are the same thumb position on The greatest part of having worked with Rolland was the solid side of neck of instrument with 4th being up to body of foundation he gave me and each student who studied with him. I instrument. wish you great results as you enjoy working with your students. It Fifth position —L thumb must be under neck. is hard work, but rewarding. I hope some of what I learned from Higher positions a small hand will need to slide L Rolland and shared here will be of value to you as you teach. thumb around onto rib of instrument to reach top notes— maintaining curved 3rd and 4th fingers. Susan S. Starrett, has been a high school orchestra They erew then practiced 2nd position to each higher director and private violin/viola teacher since position, etc. Then creative slurs of position shifts: I– graduating with honors from the University of Illinois. She received her BS in violin and music education. A III–V; V–III–I; I–V–III–I; or I–VIII–V–III–I, etc. violin student of J. Elmer Szepessy, she was taken as By the time we hit Sevcik op. 8, we were “ready!” All an eighth grader to study with Paul Rolland at the shifts were done with the Leftelbow preparing or prepared university. Eighth grade through college, a student of for next new position. Example: upward shift – L elbow famed pedagogue Paul Rolland, Starrett also swings to R; downward shift – L elbow swings to L – studied with Roman Totenberg. She studied viola Before the shifting motion takes place. with NIU and Avalon String Quartet violist Anthony Devroye. Today her Fingers executed the shifts as though they were light private studio is equally divided between violinists and violists. She was enough to be “harmonics.” R hand can have weight. founder/conductor of the Fox Valley Youth Symphony in 1972. She does national seminars on string pedagogy and serves as adjudicator When I entered the ranks of teacher Rolland admonished of the Paul Rolland Violin Competition. Starrett is president of the Fox me, “Suso! Be a parrot! Show the students the sound or the Valley Arts Hall of Fame. The Starrett Violin Chair at the University of shifting motion or phrasing and they will reproduce it.” He Illinois was endowed by former student Sheila C. Johnson. placed great importance on the fact that every note should be “a thing of beauty.” He made students very conscious of the

www.astaweb.com | 77 K-12 Teaching Tips by Cheryl Cooley So You Want to Commission a Work for Your Orchestra, Now What?

It was my next-to-last year of teaching and I was thinking about the students prior to the public performance and perform what kind of legacy I wanted to leave. I decided to commission with them during the World Premiere. It was also decided a piece that all my high school orchestras could play together to make Mock available to other members of the Centreville (about 125 players), but there were several questions to be Music Department, as well as teachers and students from other answered: Who do I get to write the piece? Where do I find schools in the Fairfax County Public Schools system. Mock someone to write a piece that is grade-level appropriate? How do would also create a web log (blog) where the students could ask I pay for it? How long will the composer need to write this piece? him questions about the creation of the composition, playing Will the composer come to the premiere? music, touring, where his inspirations come from, etc.—an The answers all came in an unlikely place. The following is inside view to life as a professional musician and composer. from the introduction in the concert program and it summarizes how I was able to find and commission someone for my legacy The Nuts and Bolts—Making It Grade-Level Appropriate project: I gave Mock the particulars of my different groups and samples of what music they were playing—everything from Grades The concept for this evening’s program was born almost IV-VI according to the Virginia Band and Orchestra Association a year ago when Cheryl Cooley, Orchestra Director at (VBODA) Manual. We discussed approximately how long the Centreville High School, attended a performance by work should be. vocalist Maura O’Connell at The Birchmere, in Alexandria, Virginia. O’Connell was accompanied that evening by Financing multi-instrumentalist, John Mock. During the course of My biggest obstacle was the financing. I had done some the performance, O’Connell mentioned that Mock was an investigating and found the average fee ran from a few thousand accomplished composer and had released an album entitled The to tens of thousands of dollars. I was going to need some serious Day At Sea, which included several pieces he had written for help so I turned to the Virginia Commission for the Arts grant guitar and string orchestra. programs. Fortunately, the organization was giving a workshop After the program, Cooley had the opportunity to speak on grant writing around this time, so I went and received a lot of with Mock, and during that conversation she asked him if valuable information. he accepted commissions, to which he replied he did and, in I ended up applying for an Artist in Education Residency fact, he had completed several commissions for the Nashville Grant, which allows the artist to work with students a minimum Symphony Orchestra. After purchasing and listening to Mock’s of three full school days. I asked for $10,000 (why not shoot for CD, The Day At Sea, Cooley was quite taken by the lush, yet the moon) and was awarded approximately half. That left my simple beauty of Mock’s compositions and what had begun as Orchestra Board to raise between $4,000 and $5,000. I have been genial conversation between musicians, became a serious desire extremely lucky to have fabulous parents who were very dedicated to have Mock compose an original piece for the Centreville to the orchestra program. They raised the money by selling ads Orchestra Program. in the program and going to local businesses and asking for After a great deal of web browsing and emails, Cooley donations. They also set up Orchestra Parents’ United Support contacted Jeffrey James, Mock’s agent in New York, and began (OPUS) with different levels of contribution: Conductor’s Circle a lengthy dialogue about what was necessary to make her idea ($200+), Gold Level, ($150) Silver Level ($100), and Bronze a reality. The logistics of putting all the pieces together were Level ($50). We set up pre-sale concert tickets and, of course, sold challenging, since James resides in New York and Mock is tickets at the door. My principal also was very supportive, loaning based in Nashville (and Cooley in Virginia). All that aside, the us the balance of what was needed. wheels were put into motion through phone calls and emails and a timetable was established that fit Mock’s recording, studio Timetable and touring schedules, and the school year at Centreville High As stated in the program, this was a fairly lengthy process. I first School. spoke with Mock in August 2006. Mock, James, and I emailed It was agreed by Cooley, Mock, and James that, for this back and forth for several months working out the details. I wrote to be an educational experience, as well as the opportunity and submitted the grant in March 2007 and the concert took to perform the World Premiere of a piece written expressly place on November 1, 2007. for them, the students would be given an unprecedented insight into the creative process by having Mock work with

78 | American String Teacher | February 2016 The Week of the Event Needless to say, after almost a year of working on this, Advertiser's Index I was psyched when the concert week came! Mock American Viola Society...... 35 spent four days working with the orchestras. We had a very detailed schedule for each day—rehearsals during Brevard Music Center...... 9 their orchestra class time and combining the groups in Brobst Violin Shop ...... 9 rehearsals after school. He also conducted a workshop Camp Encore Coda...... 49 for any interested orchestra directors in the county and Charles Liu Violins...... 15 my music department colleagues. In addition, he did a Claire Givens Violins...... 14 workshop for all of our music department students on what it’s like being a professional performing musician CodaBow International ...... and composer. Connolly Music (Thomastik-Infeld)...... 1 His agent went above and beyond the call of duty Eastman School of Music...... 26 and set up a blog where the students could write and ask Elm City Chamberfest ...... 35 Mock questions before he came to work with them. Flavia Zappa Medlin...... 20 Most of Mock’s music is inspired by Irish influences, maybe from his many travels to Ireland with Maura Forrest T. Jones...... 27 O’Connell. The piece he wrote for my high school Foundation for the Advancement of String Education...... 13 students was for string orchestra, guitar, and tin whistle. Frustrated Accompanist...... 31 The piece Crossing the Western Ocean is based on the Green Mountain Chamber Music Festival...... 31 many Irish people who left their homeland and traveled Ifshin Violins...... inside back cover across the sea to America during The Great Irish Potato Famine. We even had a cross-discipline lesson with the Killington Music Festival ...... 73 Social Studies teacher on the potato famine. The whole Knilling String Instruments ...... 2 event was made even more special by Mock performing Luis & Clark, Inc...... 3 with us at the World Premiere! It was such an exciting Mark O'Connor Musik International...... 66 time working with such a consummate, professional Mona Lisa Sound, Inc...... 16 musician, a kind and generous man. I hope you will consider having a work written for Music at Port Milford...... 38 your school program, county, or regional orchestras. Omaha Conservatory of Music...... 74 It was a fabulous experience and Mock and I have Pirastro...... 4 remained friends ever since. You can check him out and Reynard Burns...... 10 hear samples of his music at johnmock.com. Rocky Mountain Summer Conservatory...... 43 Cheryl Cooley taught in the Fairfax Rocky Ridge Music Center...... 48 County School System for 30 years Rolland String Research Associates...... 14 before retiring in 2009. In that time, she taught at the elementary, middle school, Seman Violins...... 16 high school and college levels. Her most SHAR Music...... back cover recent school was Centreville High Starker Foundation...... 3 School, where she founded the Orchestra Program where it grew from Stern Sound (AcoustaGrip)...... 80 22 to 140 students, and was its director Super-Sensitive Musical String Company...... 9 for 20 years. Cooley holds a bachelors degree in music Suzuki Association...... 31 education and therapy from the Conservatory of Music, part of the University of Missouri at Kansas City (UMKC), and Texas Christian University...... 14 earned her master’ degree in conducting from George The Midwest Clinic...... 17 Mason University, under Maestro Anthony Maiello. She is a The Ohio State University...... 39 member of NAfME and American String Teachers Association (ASTA), and has served as president of the Virginia Chapter The Potter Violin Company...... 7 of ASTA. Cooley has been guest conductor, and adjudicator The Royal Conservatory...... 11 for many festivals, competitions and auditions throughout the The University of Memphis (Rudi Schedit School of Music)..... 10 state. Cooley and her husband, a graphic designer, live in southern Fairfax County. They have two grown children and Things4Strings...... 20 three grandchildren. Both Cooley and her husband are University of Miami, Frost School Of Music...... passionate amateur photographers. University of Michigan, School of Music...... 74 University of Missouri-Kansas City...... 16 Vancouver Symphony Orchestra...... 31 Yamaha Corporation of America...... inside front cover

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