Habits of a Successful STRING ORCHESTRA

The Secret is the Right Hand

Using Fundamentals Time to Improve Your Orchestra’s Tone, Articulation, Intonation, Rhythm and Reading Ability

Christopher R. Selby

In this Session, Attendees will learn: • Strategies for developing better tone and articulation performance skills • How to teach well-blended ensemble tone and its relationship to group intonation • Exercises for teaching rhythmic bowings • Strategies for teaching rhythmic literacy

GIA Publications, Inc. Chicago Which hand tends to get the most attention, and why? Students (and teachers) tend to focus on the left hand because that is the hand that controls ! The Notes—including the wrong notes that they try to avoid ! The Intonation—including fixing those out of tune notes ! AKA: The more obvious musical components that tend to be important to kids.

Do teachers focus too much on the left hand? What does the right hand control? ! Tone, timbre, articulation, style, dynamics, phrasing, and most of the elements related to rhythm. ! While robotic left hand precision is nice, the right hand controls the most expressive elements in our music—the qualities that make music more human.

PART 1: Tone and Articulation Tone! The most forgotten part of string education. The musical component that ! Is the quality we love most about our instruments. ! Is connected to intonation, rhythm, articulation and dynamics. ! Is not mentioned once in the new national standards.

Why we forget to teach tone In addition to being controlled by the wrong hand, Tone is not visibly depicted in notation. We use our scores to help us figure out what to teach: notes, rhythms, bowings, dynamics, even tempo markings and musical words. But we forget what we cannot see.

Breaking Tone Into Its Parts ! Reviewing and Improving the Bow Hand ! Teaching Tone and Articulation Performance Skills ! Developing Ensemble Tone and its relationship to intonation

2 STEP 1. Reviewing and Improving the Bow Hand—Every day is bow hand day. 1. Rest Position. Let the bow rest in the hand with the hair up. Guide students to check the curvature and placement of their thumb and fingers. 2. “Go Fishing” to feel the weight of the bow in a relaxed and fluid right hand. 3. Practice taking the bow to the string without the pinky. This technique is especially important for students with pinky problems. Golden Rule: The bow is held up by the string, and it is held down by the bow hand.

STEP 2. Teach students all of the important “tone terms.” ! Quality instrument, strings, and bow with clean hair that has a good coat of rosin ! All parts of the bow: balance point, upper and lower half, frog and tip ! Triangle of tone production: Bow speed, weight and contact point (where on the string between the bridge and fingerboard.) ! Bow angle and rotationI Tone and Articulation

STEP 3. Use Open Strings toOpen teach basicString tone Exercisesproduction.

Even Tone - Frog to Tip 7‹ÓˆÑ>Ñ{>å’iÈÈÑL åш ’`]Ñ°’>çÑӈiÑ °i›ÑÈÓŋ›€Ñå‹Óˆ ÞÓÑV ޛӋ›€Ñ Åёii°‹›€ÑӋ–iËÑ°>çÑ>ÓÓi›Ó‹ ›ÑÓ ÑӈiÑL åÂÈÑ contact point, angle, weight, and speed.

Teacher Tips: The purpose of this exercise is to study the following basic bowing components without thinking about fingers or counting. UÑ Bow Hold: A “flawless” bow hold has no visible problems or unnecessary tension; 1. finger placement is correct; thumb and pinky are curved; knuckles are fluid. Vln. 4 U ≥ ≤ ≥ ≤ UÑ Contact Point: The bow is correctly placed on the string between the bridge and & 4 fingerboard w UÑ Bow Angle: The bow is perpendicular to the string and the stick is directly over Vla. 4 U ≥ ≤ ≥ ≤ B 4 w the hair or rotated slightly toward the scroll of the instrument. UÑ Bow Placement: The correct part of the bow for producing the desired articu- Vc. ? 4 U ≥ ≤ ≥ ≤ lation —frog, balance point, middle, tip—is over the string. 4 w UÑ Bow weight and bow speed are balanced and produce an excellent tone that U Bass ? 4 w ≥ ≤ ≥ ≤ projects well. 4 STUDENT PAGE 1

Even Bow Distribution

Teacher Tips: 3 UÑ -ÓÞ`i›ÓÈÑ>ÅiÑÓ Ñ°Å>VӋViÑÞȋ›€ÑӈiÑi›Ó‹ÅiÑL åÑå‹ÓˆÑ>ÑV ›ÈÓ>›ÓÑL åÑÈ°ii`µÑ åÑ>›€’iÈÑȈ ޒ`ÑLiÑ°iÅ°i›`‹Vޒ>ÅÑÓ Ñ the string. UÑ ‹€Ñ‹›Ñ– ÅiÑ>ÓÑӈiÑӋ°Ñ>›`ђiÈÈÑ>ÓÑӈiÑwÅ €ÑÓ ÑV –°i›È>ÓiÑw ÅÑӈiÑL åÂÈÑÓi›`i›VçÑÓ ÑLiђ‹€ˆÓÑ>ÓÑӈiÑӋ°µÑ UÑ äiÑӈiÑL åÑV’ ÈiÅÑÓ ÑӈiÑLŋ`€iÑåˆi›Ñ`‹€€‹›€Ñ‹›Ñ– Åi]Ñ>›`ÑV’ ÈiÅÑÓ ÑӈiÑx›€iÅÑL >Å`Ñåˆi›Ñ`‹€€‹›€Ñ‹›Ñ’iÈȵ

STUDENT PAGE 1

2a. Frog Tip 2b. Frog Tip Vln. 4 ≥ ≤ 4 ≥ ≤ & 4 . . & 4 . . w w œ œ œ œ œ œ œ œ Frog Tip -Frog - - - - Tip - - - ≥ ≤ Vla. 4 . . 4 ≥ ≤ B 4 . w w . B 4 . œ œ œ œ œ œ œ œ . Frog Tip -Frog - - - - Tip - - - ≥ ≤ ≥ ≤ Vc. ? 4 . . ? 4 . . 4 . w w . 4 . œ œ œ œ œ œ œ œ . - - - - -Tip - - - Frog Tip Frog ≥ ≤ Bass 4 w≥ w≤ 4 œ- œ- œ- œ- œ- œ- œ- œ- ? 4 . . ? 4 . . I Tone and Articulation 1

I Tone and Articulation Open String Exercises

Even Tone - Frog to Tip 1. With a flawless bow hold, play the open string without counting or keeping 4 U Ӌ–iËÑ°>çÑ>ÓÓi›Ó‹ ›ÑÓ ÑӈiÑL åÂÈÑV ›Ó>VÓÑ° ‹›Ó]Ñ>›€’i]Ñåi‹€ˆÓ]Ñ>›`ÑÈ°ii`µ & 4 w Even Bow Distribution 2a. Frog Tip 2b. Frog Tip & 4 . . & 4 . . I2c. TonewFrog and Articulation wTip 2d. -œ œ- œ- œ- -œ œ- œ- œ- 1 & 4 . . & 4 . . w wI Tone and Articulationœ œ œ œ œ œ œ œ 2e. 2f. ------4 Open String4 Exercises & 4 . . & 4 . . w w œ œ œ œ œ œ œ œ Even Tone - Frog to Tip - - - - 1.- - - - GrabWith anda flawless Release bow hold, play the open string without counting or keeping 4 U Ӌ–iËÑ°>çÑ>ÓÓi›Ó‹ ›ÑÓ ÑӈiÑL åÂÈÑV ›Ó>VÓÑ° ‹›Ó]Ñ>›€’i]Ñåi‹€ˆÓ]Ñ>›`ÑÈ°ii`µ & 4 Grab the string with the hair of the bow to begin each note with a crisp attack. w Even3a. Bow Distribution 3b. 3c. 2a. Frog Tip 2b. Frog Tip 4 . . 4 . . 4 . . & 4 . œ- Œ œ- Œ . & 4 . œ. œ. œ. œ. œ. œ. œ. œ. . & 4 . œ. œ. œ- œ. œ. œ- . 4 . . 4 . . & 4 . 3d. . & 4 . . 2c. wFrog wTip 2d. -œ œ- œ- œ- -œ œ- œ- œ- 4 . . & 4 . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . & 4 . . & 4 . . w w -œ œ- œ- œ- -œ œ- œ- œ- Crossings 2e. Strings 2f. 4a. Frog Tip 4b. 4c. 4 . . 4 . . & 4 . . & 4 . . & 4 . w . w & 4 . œ œ œ œ œ. &œ 4 œ. œ œ œ œœ œ œ œ œœ œœ œ . œ œ œ œ - - -œ œ- œ -œ -œ œ- œ -œ Middle Bow Grab4d. and Release 4e. TeacherGrab the stringTips with the hair of the bow to begin each note with a crisp attack. & 4 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . & 4 . œ œ œ œ œ œ œ œ . 3a.• œStudentsœ œ œ areœ toœ practiceœ œ 3b.œ usingœ œ theœ entireœ œ œbowœ with a constant3c.œ œ bowœ œ speed.œ œ Bowœ œ angles should be perpendicular4f. to the string. •4 . Digœ Œin moreœ Œ at .the tip and4 less. œ œ at œtheœ frogœ œ to œcompensateœ . for4 the. œ bow'sœ œ tendencyœ œ œ . & 4 to- be light- at the tip. 4&.4 œ. œ. . œ . œ. .œ . œ. œ œ . & 4 . . - . . - & 4 . œ œ œ œ œ œ œ œ . • Move3d. the bow closer to the bridge when digging in more, and closer to the finger board when digging in less. 4 . . & 4 . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . Bowing Variations Here are a number of tools and strategies we use to efficiently and effectively teach tone,Crossings articulation, Strings and rhythm combinations. We use the following sequence most often: 4a. Frog Tip 4b. 4c. 1. Select a rhythm or bowing that the students need to learn or review, possibly & 4 . from the menu .of options& 4 . below,œ œ or makeœ œup. your& 4own.. œ œ œ œ œ œ œ œ . 2. Establish a tempo from aœ concertœ pieceœ œ with the rhythmsœ œtheœ studentsœ œ areœ œ œ Middle Bow 24d. playing. Habits of4e. a Successful String Musician - Violin 3. Use the introduction to model the rhythms or articulations students are to learn. 4 4 & 4.4 . Studentsœ œ œ playœ œ theœ Themeœ œ œimmediatelyœ œ œ œ afterœ œ theœ . teacher,& 4 .demonstratingœ œ œ œ œ theœ œ œ . rhythmœ œ œ orœ articulationœ œ œ œ justœBowing modeledœ œ œ œby Variations œtheœ teacherœ or studentœ œ leader.œ œ œ œ œ œ 4f. Perform5. Practice the theme with using and one without of the rhythm the classroom or articulations metronome. from the variations below. 4 . . Introduction (teacher) & 4 . œThemeœ (student)œ œ œ œ œ œ . 4 œ œ œ œ œ œ œ œ 4 4 # # 4 œ . œ œ œ œ œ œ œ œ œ . & 4 œ œ œ œ œ œ œ . œ œ œ œ œ œ œ . w

Basic Bow Strokes

5a. 5b. 5c. 5d. Middle to upper half 3 3 3 3 # # 4 ! ! @ @ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5e. 5f. 5g. 5h. Keep thumband pinky curved. U.H. L.H. , , ## 4 ‰ j ‰ j & 4 œ œ œ -œ œ. œ. œ œ œ -œ œ. œ. œ œ œ œ œ. œ œ. œ œ œ -œ œ 5j. - . . -5k. . . . 5m. . - 5n. ## 4 & 4 œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ. œ. . . œ œ œ œ œ œ œ œ œ œ œ œ -œ œ œ œ œ - 4

Full Bow Exercises

6a. 6b. 6c. 6d. Frog Tip Frog Tip ## 4 j & 4 j . -œ œ- œ- œ- œ- œ- œ- œ- œ. -œ œ -œ œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- grand martelé f f f 6e. Frog Tip Frog Tip 6f. 6g. up-bow staccato Tip Frog ## 4 j ‰ j ‰ j ‰ j ‰ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > ------> ------...... - ...... f

Dotted Rhythms and Hooked Bows 7a. 7b. 7c. Tip Frog Tip Frog ## 4 ## 4 r ## 4 & 4 . & 4 r .. & 4 . œ œ. œ œ œ œ œ.. -œ œ -œ œ- œ. . œ. œ- œ. œ. 7d. f 7e. # # # 4 # 4 . & 4 œ. œ œ œ œ. œ œ œ & 4 œ. œ œ. œ œ. . œ. œ. œ. 7f...... 7g. . . . . ## 4 ## 4 & 4 . œ. œ œ. œ & 4 œ œ œ œ œ. . œ- œ. œ- . - . - œ œ œ œ 2 Habits of a Successful String Musician - Violin

I Tone and Articulation Bowing Variations 3 Perform the theme using one of the rhythm or articulations from the variations below. Syncopated Patterns Introduction (teacher) Theme (student) 4 4 8a. 8b. 4 # 4 œ œ œ & # 4 œ #œ# 4œ j j. j j œ œ œ #œ# 4 ‰ j œ‰ œ œj œ . œ œ œ & 4 œ œ œœ œœ œ & 4 œ œ œ œ w 8c. œ. œ. œ . . 8d. œ. œ. . . # # Basic Bow& Strokes# 4 & # 4 œ. œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 5a. 5b. 5c. 5d. Middle to upper half 3 3 3 3 # Spiccato# 4 Exercises ! ! @ @ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5e.*iÅw ŖÑӈiÑÈ°‹VV>Ó ÑÈÓÅ ‘iÑ>ÓÑ5f.ӈiÑL>’>›ViÑ° ‹›ÓËёii°5g.ÑӈiÑӈޖLÑ>›`Ñ°‹›‘çÑVÞÅäi`5h. Ñ>›`KeepÑӈi thumbandё›ÞV‘’iÈ pinky curved.ÑÈ wÓÑ U.H. L.H. and fluid. , , ## 4 ‰ j ‰ j &9a. 4 œ œ œ -œ œ. œ. œ œ9b.œ -œ œ. œ. œ œ œ œ œ. œ œ.9c.œ œ œ -œ œ 5j. - . . -5k. . . . 5m. . - 5n. # , , , , # , , , , # , , , , # 4 # 4 ‰ j ‰ j ‰ j ‰ j # 4 Œ Œ &## 44 œ œ & 4 œ œ & 4 œ œ & 4 œ. œ. œ. œ œœ. œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ. œ. . œ . œ œ œ œ 9d. œœ œœ œ. œ. . . œ œ9e.œ œ œ œ œ œ œ œ œ œ 9f. -œ œ œ œ œ - , , , , , # 4 # 4 # 4 & # 4 Œ Œ & # 4 ‰ ‰ & # 4 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. Full9g. Bow Exercises 9h. 9j. 3 3 3 3 3 3 6a. 6b. 6c. 6d. # 4Frog Tip # 4 Frog Tip # 4 & # 4 & # 4 & # 4 # 4 -œ œ. œ. -œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. -œ œ. œ. œ. -œ œ. œ. œ. &9k.# 4 9m.j j 9n. riccochet œ œ œ œ œ- œ- œ- œ- œ. œ œ. -œ œ œ œ œ œ œ œ œ œ- œ- œ- œ- œ- œ- œ- œ- - - - - - , - - - -, - - - - f ##grand4 martelé f #f# 4 ## 4 6e.& 4Frog Tip Frog Tip &6f. 4 6g.& up-bow4 staccato -œ œ. œ. œ. œ. -œ œ. œ. œ. œ. Tip œ- œ. œ. œ. œ- Frog œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ## 4 j ‰ j ‰ j ‰ j ‰ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > ------> ------...... - ...... Triple Patterns f 10a. 10b. Dotted Rhythms and Hooked Bows ## 12 j j j ## 12 7a. & 8 j 7b.œ œ œ œ & 8 7c. œ œ œ œ œ œ Tip œ Frogœ œ œ Tip Frog œ- œ. œ. œ- œ. œ. - . . - . . # 10c. # 10d. # & # 4 & # 4 r r & # 4 œ œ#. œ œ œ. œ œ.. œ œ.. -œ# œ œ. œ œ- j œ. . œ. # 12 ‰ ‰ ‰ ‰ - # 12 j - j . j. œ 7d. & 8 œ œ œ œ f &7e. 8 œ œ œ œ œ œ œ 10e.# 4 10f.# 4 & # 4 & # 4 œ. œ # 12œ. œ œ œ œ. . œ. œ. œ. # 12 œ. œ œ. . œ. œ. . œ. . . 7f. # . . . . 7g.# . . . & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 8 œ. œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ 10g. 10h. ## 4 ## 4 & 4 , œ. , œ œ. ,œ œ. œ, & 4 œ œ œ œ œ œ ## 12œ. . œ- . - . - . - ## 12œ œ & 8 œ œ œ œ œ œ œ œ œ œ & 8 . œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. . œ. œ. œ. œ. œ...... Things to Remember • Model how students are to sound • Assess student performance. Look for correct bow hold, direction, part of the bow, good weight and speed to project well, and correct articulation

4 Habits of a Successful String Musician - Violin Slurring Variations can be used to teach slurs and detaché (including sautillé) • Use a metronome: Start with a slow tempo and gradually increase speed. • Use more weight on the slurs, and more bowSlurs on separate notes.

11a. 11b. 4 4 6 4 Habits of a Successful String Musician - Violin4 # 4 . . # 4 . . 19.& Tetrachord4 . Etudeœ œ œ œ œ œ œ . & 4 . œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Tuning11c. Notes (Dorianœ Tetrachord) Etude w 11d. œ 4 w 4 4 4 4 4 4 # 4U . U U U . # 4 . . & 124 . . œœ. œ œ. œ œ œœœ œ . œ & 4 . œ œ œ. œ œ œ œ . & 8 œ. #œœ. œœœ œ œ #œœœœœœ œ œ œ œ œ œ#œ œ œ œ œ œœ œ œœ œœ œ œ w. œ œ œ œ 11e. œ w 11f. œ w 4 4 After learning the Etude with the Dorian4 tetrachord above, play it with one of the other tetrachords below.4 Velocity# 4 Etude for Bow Management # 4 Tetrachords:. œ . . œ . While& we4 use the velocityœ œ œ œ etudeœ œ œprimarilyœ for developing& left 4hand speed,œ itœ hasœ œ alsoœ œ œ œ Major œ œ œ Dorian œ œ œPhrygian Lydian œ œ œ Major (half pos.) œ œ œ been11g. a goodœ tool for teaching students to managew their 11h.bow speed.œ Students must pay w attention to contact point, bow weight and speed to produce a good tone from the first & #œ #œ œ & #œ nœ œ & nœ œ œ & œ œ œ & œ œ bœ note #œto4 the. last. œ œ. #bœ4 . bœ . & 4 . œ œ œ œ œ . & 4 . œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 20. Velocityœ Etudeœ œ w œ œ œ w Perform as written first, and then perform with the different finger patterns (#2. F and #3. E ) shown below. n f 4 & 4 œ #œ œ œ#œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Finger Pattern #1 #2 #3

& #œ & Nœ & œ œ œ œ œ œ bœ 5 Velocity Etude Variations A. B. C. D. E. F. G. H.

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ I. J. K. L. M. N.

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ O. œ P. œ Q. œ R.œ œ œ œ œ

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

21. Trills The trills on beats 2 and 4 are performed the same way. Ÿ Ÿ b 4 & 4 œ. œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ Ÿ Ÿ & b œ. #œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ œ. œ œ œ œ œ œ œNœ œ œ. œ œ. œ œ Ÿ Ÿ b œ . Ó & . œ œ. œ œ œ. œ œ. œ œ VI Chorales 119

193. Chorale #2: Hydrofol

STUDENT PAGE 40 q = 88 4 4 ≤ 1 3 . ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ ˙ œ œ œ œ ˙ . & 4 . . J . . ˙ œ œ œ ˙ œ œ Vln. 4 - - œ - - œ œ 4 2 ≥ ≥ ≤ 3 . Œ j Œ Œ . & 4 . œ œ œ. œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙. . ˙ œ œ œ ˙ œ œ 4 4 - - œ - - œ ≤ ≤ œ Vla. 3 . ˙ œ œ . - - B 4 . ˙ œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙ œ ˙. . ˙- œ- ˙ œ œ œ œ œ œ œ Vc. œ œ œ œ œ ≤ ? 3 . ˙ ˙ œ œ œ œ œ œ œ ˙ œ œ ˙ . ˙. ˙. 4 œ . ˙ œ- œ œ œ Bass œ œ œ œ ≤ ? 43 . ˙ ˙ œ œ œ œ œ œ œ ˙ ˙. . ˙. ˙. œ Give students exercises and opportunitiesœ to˙ learnœ how to ˙finelyœ- tune œtheirœ fingers 13 ≥ 4 4 1 œ œ ˙ œ œ œ Tuning Canons, Chords and Choralesœ œ œ teachœ œ œ œstudentsœ œ œ œ œ to listen, blend,œ ˙ andœ ˙finely. tune Vln. & ˙ œ œ œ œ œ œ œ the26 notes- and- chords in each˙. key. For overall balance,Habits ofthe a Successful lower instruments 4String Musician should - Violin be ≥4 4 4 louder2 than the upper instruments,œ œ œandœ. no one shouldœ play soœ loudly that they cannot blend& and finely tune their notesœ withœ theœ œplayers˙ œ aroundœ œ œ œ them.œ œ Theœ œtuning˙ canon is a ˙ œ œ œ œ œ œ œ œ J œ œ ˙. good way- -to begin class; as a warm up,D students Major can focus on performing with good Vla. ≥ œ ˙ pitchB and good tone˙ ˙ œ ˙ f œ œ œ œ ˙ ˙- œ- ˙ œ œ ˙. ˙ œ œ ˙ œ ˙. ≥ . Vc. œ- ˙ œ- ˙. ˙ œ ˙ œ œ œ œ œ ˙ 120. ?Tuning˙ œ Canon 121.œ Tuningœ Chords œ œ œ 1. ˙ 2. 3. 4. ˙ œ œ ˙. U U Uw Bass ˙. ˙≥ . U ˙. ˙ ≤ ˙ U œ U U U ˙U œ w w w b?b ˙4 œ ˙ œ . w bœb 4 œ ˙. w œ wœ œ w ˙. & b b b 4 ˙ œ- . & b b b 4 w w w w 128 Habits of a Successful String Musician - Conductor

STUDENT PAGE 42 122. Scales and Arpeggios - One Octave (200. Chorale194. #9:Chorale In the Bleak #3: Midwinter Pavane - continued) from Capriol Suite STUDENT PAGE 40 25 q = 88 b b 4 œ ˙ œ œœ œ œ b b 4 œ 1b b œ. œ œ œ œ˙ œ œœ œ œ. œ œ b ˙b œ œœ œ œ &1 b 4 œ œ œ 1 - œ œ wœ œ J & b ˙4 œ . œœw & bbb 2œ. J œ ˙ œ- œ œ œ œ œ ˙ . w. ˙ œ œ œ J . w Vln. & 4 ˙ œ #œ œ œ œ #˙ nœ œ œ œ #œ ˙ TwoVln. Octaves ˙ 4 22 ˙ œ bœ ˙ œ-1Nœ œ œ œ -2 ˙ œ bbb 2 . ˙ œ- ˙ œ œ wœ œ. . œœ. œ Jœ œœ ˙ ˙ œ w. b&&b 44 . ˙ œ œ œ œ œ˙ œ œœœœ œ œ ˙ . . ˙ œ œ œ œ œ˙ œ ˙ œ œ œ œ œ ˙ . b b œ œ - 1 œ œ œ & b 4 œ œ œ III I œ œ œ Vla.Vla. œ w b 2. . œ ˙ œ- œ-œ ˙ . Three. ˙ Octavesœ œ œ ˙ œ . E B bb œ . ˙ œœ œ œ˙ œ ˙ œœ œ œ . . œ œ œ ˙ ˙D˙ nœ˙ w. 1 & 4 J œ -1 œ œ œ w œ. J G œ ˙ 1 œ œ œAœ œ -1 2 1 -1 œ Vc. œ œ ˙ œ œ œ œ œ Vc. b?Bb b42œ. . œ œ œœ œ ˙ œ œ œ œ œœ .œ. œ bœœb.œ 4œ œ ˙ ˙ œ œ œ œœœ˙ œ œ w. & b b bbb44 . J œ III˙ ˙ ˙Iœ œ œœ˙ ˙œ . .& b b b J4 œ ˙œ œœœ ˙ V . œ ˙œ œ œ œ œ - - œ w œIII œ œ œ ˙ Bass 4 x4 -4 -4˙ -3 œ A Bass ˙œ œ œ 3 œ. œœ œ D G w ? b2œ. . œ -1œ œ ˙ œ œ œ -3 . . œ œ 4 ˙ ˙ ˙ œ œ 4 . B bb 4 . -1J œ ˙ ˙ œ˙œ œ œ˙ w ˙ . .œ J œ ˙ œ 4 œ˙ ˙ ˙ . 2 œ œ œ œ œ - -œ œ œ œ œ œ œ œ œ œ bb b œ œ œ œ œ œ œ & b b VII IX VI III œ œ œ œ 201. Chorale #10: Chorale from Emperor Concerto, w D x4 -4 A D G 2 A 3 E 3 3 1 2 2 4 1 -1 Movt.2 -1 2œ 1 œ 3 1 4 2 Adagio un poco mosso œ œ œ œ b 1 œ œ œ œ b bb 4 œ œ œ q = 42 œ œ & b 4 œ3 1 V1 VIII III œ œIII ≤ ≤ w 1 # ## 4 ≤ ≥ ≤ œ œ. & # # 4 œ œ œ œ œ œ œ œ œ Vln. ˙ œ œ œ œ ˙ œ ˙ p 1 4 2 2 # # ≤ ≤ ≥ ≤ ≤ 123. Dominant& # ## 4 Arpeggio j 3 ˙ œ œ œ ˙ œ2 œ œ œ œ œ ˙ œ œ œ. œ- p 1 œ - - b b 4 œ œ œ œ Vla.& b b b #4# ≤œ œ œ œ œ œ œ œ œ≤ œ ≥œ œ œ≤ œ œ œ≥œ ≤œ œ œ B # # 4œ1 œ #œ nœ œ œ œ œ j œI# 4 ˙ œ œ œ œ ˙ œ œ ˙ œ œ œœ. œœ œ p - - - ≤ Vc. ? # # 4 œ œ œ. œ ˙ ≤ j # ## 4 ˙ œ œ œ nœ œ œ aœ œ œ. œ p J œ œ - 124. Thirds - Lower Octave Bass ≤ 1 ≤ # œ œ. ˙ 1 j ? ## # 4 ˙ œ œ œ œ œ nœ œ œ aœ œ. œ b # J œ œ œ œ - b bb 4 p œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 6 b 4 œ 1 œ œ œ 1 œ œ œ œ œ œ 2 œ œ œ œ œ 1 Upper Octave# # ≤ œ . -2 ≥ # # œ œ -2 Œ œ -2 Œ œ œ œ œ œ œ Œ & 1# œ œ œ œ ‹œ œ œ œ -2 œ1 œ Vln. cresc.œ œ œ œ œ œ œ dim. 6 œ œ œ œ œ œ œ œ œ œf œ œ œ œ œ œ p bb b œ œ œ œ œ œ œ &2 b b # # ≤ III V III ≥ I # ## j Œ Œ œ Œ & œ œ œ œ œ œ œ œ œ œ œ œ . - cresc. œ œ œ œ œ dim. - - f p Vla. # ≤ ≥ B ## # j Œ Œ œ œ œ Œ # œ œ œ. œ cresc. œ œ œ œ œ dim.œ - - - œ œ œ œ f p Vc. # ≤ j œ œ œ ≥ œ ? ## # œ. œ œ œ Œ Œ œ œ œ œ Œ # œ œ - cresc. œ dim. œ œ f p Bass ? # # ≤ j œ œ ≥ # # œ. œ œ œ Œ œ Œ œ œ œ œ œ Œ # œ œ - cresc. œ dim. œ œ f p VII Rhythm Charts in a Musical Context 45

B. Ties, Dotted Quarter Notes, and Eighth Rests

208a. and b. j j j j j j j j j j j 42 œ œ œ œ œ ‰ œ ‰ œ ‰ ‰ œ œ œ ‰ œ ‰ œ œ ‰ ‰ œ ‰ œ Œ ‰ œ œ ‰ œ # œ œ œ 2 œ œ œ œ ‰ œ ‰ ‰ ‰ J œ ‰ œ ‰ œ œ ‰ ‰ œ ‰ œ Œ ‰ œ j ‰ & 4 œ J J J J J J J J J œ œ

209a. and b. j j j j j 43 œ œ ‰ œ œ ‰ œ œ œ œ ‰ œ ‰ œ ‰ œ # j 3 œ œ ‰ œ œ ‰ œ œ œ œ ‰ j ‰ œ ‰ œ & 4 J J œ J 210a. and b. 54 Habits of a Successful String Musician - Violin j j 42 œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ VIII Sight-Reading by Level # 2 œ œ œ œ & 4 ‰ J œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ A. Quarter Notes and Rests; Eighth Notes J

211a.260. and b.Teaching Rhythmic Literacy and Sight Reading # #3 2 Œ œ Œ œ œ Œ œ Œj œ j The& goal4 4 œof teachingœ œ œ rhythmœ œœ œ œis œto developœ œ œ independentœ œ œ œ œ stringœ œ musiciansŒ ‰ œ œ who‰ canœ decipher, recall and perform written rhythms without the help of a teacher. We need to # œ be careful# 3 œ howœ œweœ respondœ œ œ to the mostœ œ frequentlyœ œ œ œ askedœ questionœ œ Œ in‰ musicœ œ education:‰ j & #4 Œ œ Œ œ œ Œ Œ Œ Œ J œ “How& does this go?”œ If we areœ not careful, teachersœ can unintentionallyœ createœ œstudentsœ that become rhythmically dependent upon the teacher or other players. 212a.261. and b. All rhythm# 42 has twoœ components:j j the pulse and thej rhythmjœ thatœj œ goesj j overj thej pulse.j The teacher& 4 4mustœœ œœ œdevelopœ œ œ œ œ bothœ. œŒ œcomponents. Œœ œœœ œ œœ forœœœ aœ studentœ œœ. œ toœ.œ properlyœ œ œœ understandœ œŒ œ œœ œœ andœŒ œ œ œ perform rhythms. Pulse should always be taught and established first; students need to # j j learn262. that4 thereœ canœ œ be a pulseœ. œ withoutœ œ œ œa œrhythm,œ œ œ butœ there œisœ noœ suchœ œ thingœ œ asœ œgoodœ œ & 4 œ œ œ œ. œ J J . J œ. J J J J J œ rhythmVII Rhythm without Charts a pu inlse. a Musical Context 47 & 42 Œ œ Œ 213a. and b. œ œ œ œ œ œ œ œ œ œ D. Intermediateœ Triple Meter œ œ 263. j j j j j 4 œ œ œ œ. œ œ œ. ‰ œ. œ œ œ œ œ. œ. œ œ œ. œ œ œ œ œ 220a. and4 œb. œ œ œ œ b 2 Œ œ œ œ Œ œ œ œ œ œ &# 4 œ. œ j j œ œ œ 438 œ œœœ œ œ. œ œ. œ‰ ‰œ. œ œœ œ. œ œ. œ œ‰ œ. ‰ œœ œœ ‰ œ & 4 J J œ œ J œ J œ œ œ 264. # 3 œ œ. œ œ œ For& additional8 œ practiceœ with ties, dotted quarter notes‰ and eighth rest patterns,œ goœ to Part VIII‰ Sight ‰Readingœ Exercisesœ ‰ 270–2œ 83. ## 3 Œ J Œ œ Œ Œ & 4 œ œ œ œ œ œ œ œ œ œ œ 221a. and b. VIII Sight-Reading by Level 57 # #6 Œ j Œ Œ j Œ Œj j j j & 8 œ œœœ œœœ œ œ œ œœ. œ œ œœ œ œ ‰ œœ œ œ œœ œ œ œ œ œ C. Syncopation . 265.# œ œ œ j 6 œ œ œ œ œ œ. œ œ œ œ ‰ œ œ j œ œ œ œ 284.& 8 J J œ J J œ 3 œ œ œ  œ œ œ œ œ œ œ œ œ œ jœ œ œ œ œ . Additional222a.# and2 Sight œb. Readingœ Exercisesj œ œ œ œjœ j œ œ œ & 4 œ œ œ œ œ œ œ œ. œ œ œ œ œ J œ. 266. j J j 285. 68 œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ ‰ œ ‰ œ œ ‰ œ ‰ ‰ œ œ ‰ œ œ. # > . b 3 œ œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ œ. œ œ œ Œ &b# 624 œœ j œj œ œœ .œ . œ ‰ œ. œ. œ œ j œ œ œj œœ œ && 84 œœ œ>œ‰ >J œ œ ‰ œ œ ‰ œ ‰j œ j‰ ‰ œœ œ ‰ œJ œ‰ ‰#œ œ. ‰ œ œ. F œp œ œ œ œ. œ œ fœ p 286.267. 223a. and b. œ ## 24 . œ. œ œ œj œ œ œ œ. . j . j && 4 œœ œœœŒ œ œ œœ œœ œ œjœœ Œ Œœ jŒ ‰ ŒJ Œ j Œœ j œœj œ Œœ. jœ 64 . J . œ œ œ . 8Fœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ fœ œ œ œ œ œ œP œ 287. # 6 j j j j j &# #8 œ j œ œ œ œ œ œ j œ œ œj. Œ œ œœ œ œœœ œ # 2œ. œ œ œ œ œ œ œ œ œœ œ ‰ œœ œ œ œ œ œœ J œ œ œ. & 4 J J J J 288.224a. and b. j j j œ. j j 3 9 j œ œ . œ œ œ œ œ œ œ œ œ œ .œ œ œ œ j œ œ œ. & 4 œ8. œœœ œ œ œœœ œ ‰ Jœ œ œ ‰ œœœ Œœ ‰‰ J œ œ Œ ‰ œJœ J œœ œ œœ œœ Jœ œJ œ 7 # 289. 9 œ œ œ œ œ œ œ œ œ ‰ œ ‰ œ j Œ. ‰ œ œ j j œ & 8 J . J œ œ œ œ œ œ œ. # # j j j œ. œ œ œ & # 43 œ. œ œ œ œ œ. œ ‰ œ œ œ œ œ J ‰ J œ œ œ œ œ œ œ 225a. and b. J J œ œ œ J J 290. j j j j 12 œ œ œ œ œ œ œ œ. œ œ ‰ ‰ œ œ Œ. œ œ . ‰ œ œ ‰ œ œ. œ œ Œ. œ. 8 œ Ÿ b 3 . œ œ œ œ œ j œ œ œ œ œ œ j œ œ œ œ œ œ œ & b# 4 œ œœœ œ œ œ J œ J œ œ œ. œ Œ 12 œ œJ œ œ œ œ. œ œ ‰ ‰ œ Œ. œ œ ‰ œ œ ‰ œ œ. œ JjŒ. & 8F J J p J . f œ œ. 291. Moderato For additional practice with intermediate triple meter patterns, go to Part VIII Sight Reading Exercises 298–308. b 3 j œ œ j j & b 4 œ œ œ J œ œ œ œ œ ‰ j j j œ œ œ œ œ œ ‰ j ‰ j‰ œ . J œ œ œ œ œ œ œ œ œ œ œ. œ œ œ 292. # # # 3 œ œ œ œ œ. ‰ œ œ œ œ œ. œ Œ ‰ œ j œ œ œ œ œ. œ & 4 œ. J J J J œ œ œ œ œ J œ J J œ 293. 3 # j j j œ . . œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ & 4 œ œ . œ. œ. J J J œ. . F Getting Started 1. Establish and model the tempo and counting style students are to use during the rhythmic example. Students are to count the pulse (not the rhythm of the music) out loud. After they demonstrate their ability to keep a steady pulse counting, they can begin performing the rhythm of the music with their bow hand while continuing to count out loud. Count using the smallest denomination used in the music; for example: a. If the example is mostly quarters and half notes, count quarter notes (1, 2, 3, 4.) b. If the example has dotted quarters and eighth-notes, count the pulse and division (1 & 2 & 3 & 4 &) c. Dotted eighths and sixteenth-notes: 1 e & a, 2 e & a, 3 e & a, 4 e & a 2. While counting out loud, students perform the rhythm exercises with their bow. a. Air bow first. Students can get a preliminary feel of the rhythm as they count the pulse out loud. Longer notes should be bowed with a slow, sustained motion. The Teacher can check to make sure students are counting and watch the bows to assess who is struggling most. b. After students demonstrate success with air bowing, have them count and bow the rhythm on an open string. Watch students closely to make sure they continue counting as they play; the students who don’t count will not know when to come in after long notes and rests. c. When they are ready, have students look at the line with the pitches. Remind them to look at the key signature, and have them mentally practice (silently air bowing and putting fingers on the string) before the class plays together. This important step gives the non-readers with good ears a chance to practice reading without having the opportunity to listen to the person next to them. d. Instruct students to perform the notes and rhythms on the second line with their bows. If they seem to need it, students may take the intermediate step of counting and playing pizzicato before playing the notes arco.

Counting Out Loud To genuinely understand a rhythm pattern, students must perform the rhythm while simultaneously keeping a consistent pulse somewhere else in their body. The biggest benefit to this strategy is that students are counting while they perform through long or dotted notes and rests, which is the most important time to count. Students will find it easier to “count in their head” (and they will beg their teachers to let them do this) because in truth, they temporarily stop counting during the toughest rhythms; instead, they should count out loud, especially when the rhythms are difficult.

Modeling is encouraged, but avoid teaching rhythm through repetition. Hammering a rhythm over and over may clean up rhythmic inaccuracies, but the students are only learning to copy the teacher, and not learning to count and independently perform the rhythm. Each time a rhythm or exercise is repeated, the students with good ears and poor reading ability have less need to read. So, avoid repetition, and remember that the best time to teach rhythmic literacy is every time students are learning new exercises or music.

8

Take Students Through a Series of Rhythm Exercises that are sequenced in increasing difficulty. Also, practice musical sight reading exercises that gradually challenge students to play harder rhythms, in more advanced keys, and in higher positions and alternate clefs. A. Quarter Notes and Rests; Eighth Notes B. Ties, Dotted Quarters, and Eighth Rests C. Syncopation D. Intermediate Triple Meter E. Triplets F. Simple Sixteenth Notes G. Dotted Eighth Notes and Sixteenth Rests H. Cut Time J. Advanced Triple Meter K. Irregular Meter

Final Thoughts

1. Make Time—fundamentals time—for teaching technique to your upper level students. a. Fundamentals Time (50%) b. Concert Music Rehearsal (50%)

2. Determine the skills that students at each level should have, and plan how you will go about teaching them these skills. a. Determine the skills for each level of orchestra you teach. b. Organize these skills into units. i. Left Hand Unit: Finger Patterns, Shifting, Upper Positions ii. Tone and Articulation: Bow hand, basic tone projection, spiccato, etc iii. Scales and Arpeggios iv. Theory and Creativity v. Concert Music 3. Create a Long Range plan that identifies the skills that will be addressed in each quarter.

9 Notes

10 Notes

Dr. Christopher Selby is the author of Habits of a Successful Orchestra Director, and co-author of the Habits of a Successful String Musician series, a collection string method books for middle and upper level orchestras published by GIA. He is an active clinician and conductor, and he has presented sessions at the Midwest Clinic, the 2016 NAfME National Conference, four American String Teacher Association (ASTA) National Conferences, and numerous state conferences across America. He currently directs the high school orchestras at the School of the Arts in Charleston, SC, where he led the school’s Symphony Orchestra to win the 2016 ASTA National Orchestra Festival’s top award of Grand Champion in the competitive public school division.

Dr. Selby earned his music education degree from the Hartt School of Music in Connecticut, and Masters and Doctorate of Musical Arts degrees in Orchestral Conducting from the University of South Carolina. Before taking his current job at the Charleston School of the Arts, Dr. Selby taught orchestra in traditional elementary, middle and high schools for eighteen years. He was the Orchestra Coordinator in Richland School District Two from 2001 to 2012, where he taught high school and supervised the district’s orchestra curriculum and instruction.

Dr. Selby guest conducts at Regional and All-State Orchestras, and he currently serves on the Council for Orchestral Education in the National Association for Music Education (NAfME). From 2012-2014, he was the Chair of the ASTA Committee on School Orchestras and Strings. Dr. Selby was the Executive Board President of the South Carolina Music Educators Association (SCMEA) from 2011-2013, and he is currently serving a second term as the President of the state’s Orchestra Division. He was named the SC ASTA Orchestra Teacher of the Year in 2009, and has written articles for NAfME and in ASTA’s American String Teacher.

11 Habits of a Successful String Musician A Comprehensive Curriculum for Use During Fundamentals Time Christopher Selby • Scott Rush • Rich Moon Habits of a Successful String Musician is a field-tested, vital, and - most important - musical collection of almost 400 sequenced exercises for building fundamentals. Perfect to use with the entire string orchestra or solo player at virtually any skill level, this series contains carefully sequenced warm-ups, sight-reading etudes, rhythm vocabulary studies, chorales, tuning canons, and much more. In one place, this series collects everything an aspiring player needs to build fundamental musicianship skills and then be able to transfer those skills directly into the performance of great literature. • Creates a method for teaching scales, arpeggios and thirds that simultaneously accommodates students of different ability levels. • Organizes tone, rhythm and articulation patterns into a flexible and sequential series. • Creates finger pattern and velocity studies that address the most common problems encountered by intermediate orchestra students. • Provides beginning through advanced shifting exercises for students of every level. • Creates exercises for learning alternate clefs and higher positions. • Provides chorales for the development of intonation, tone quality, blend and musicianship. • Presents rhythm charts in a new format that allows transfer from timing and rhythm to pitches in a musical context. • Provides audition sight-reading in a classroom “full ensemble” format that is well planned in scope and sequence. There are over 130 sight-reading examples in this book. • Promotes the idea G-8624 Violin, G-8625 Viola, G-8626 Cello, G-8627 Bass: Each Student Book just $9 .95 G-8628 Strings Full Score and Conductor’s Edition, $34.95

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A Comprehensive orChestrA CurriCulum 3. Shifting and Upper Positions for YeArs 3, 4 And BeYond 4. Scales, Arpeggios and Thirds w 5. Chorales—14 musical gems ranging in difficulty from Grade 2 to 4 Christopher Selby 6. Rhythm Vocabulary-- Scott Rush 7. Sight Reading

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