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Intended Primarily for Use by Instrumental Music Development TE 499 811 056 052 Teaching Strings. :LE Bureau of ;TITUTION New York StateEducation Dept., Albany. Secondary CurriculumDevelopment. 3 DATE 71 PE 55p. 4ILABLE FROM New York State ERICService, Room 468 EBA0 State Education Department,Albany, New York 12224(free microfiche copies) RS PRICE MF-$0.65 HC-$3.29 SCRIPTORS *Annotated Bibliographies;*Bibliographies; *Instructional Materials;*Musical Instruments; *Music Education STRACT Intended primarily for useby instrumental music guide achers who do not have amajor concentrationin strings, this ovides pertinent basic resources,materials, teaching--learnino overall guide toachievement levels at pectation, and a gen,Pral presented of Choosing rious stages ofdevelopment. Discussions are e Proper MethodBook, Teaching andLearning (beginning, Ltermediate, and advancedlevels for violin,viola, cello, and Materials for Teachers (anannotated bibliography), Lss), Resource Instruments (a td Instructional Materialsfor Teaching String .bliography). (CK) ED056052 TheBileao;o Univeriity4theu StileseIweleve of New York 1opmenV 'THESTATE-EDUCATIONNew York DEPARTMENT12224 TEACHING STRINGS U.S. LIEPARYMENT OF HEALTH. EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO- DUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIG- INATING IT. POINTS OF VIEW OR OPIN- IONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDU- CATION POSITION OR POLICY. -PERMISSION TO REPRODUCE THIS COPYRIGHTED MATERIAL HAS BEEN GRANTED BY STATe C-1210-1,IN- iIT TO FRIC AND ORGANIZATIONS OPERATING URDU AGREEMENTS WITH THE U.S. OFFICE OF EDUCATION. FURTHER REPRO4UCTION OUTSIDE THE ERIC SYSTEM REQUIRES PERMISSION OF THE COPYRIGHT OWNER." The University of the State of New York/The StateEducation Department Bukeau of Secondary Curriculum Development/Albany,1971 2 THE UNIVERSITY OF THESTATE OF NEW YORK Regents of the University (with yearswhen terms expire) 1984 JOSEPH W. MCGOVERN, A.B.,LL.B., L.H.D., LL.D., D.C.L., Chancellor New York 1985 EVERETT J. PENNY, B.C.S.,D.C.S., ViceChancellor White Plains 1978 ALEXANDER J. ALLAN, JR., LL.D.,Litt.D. Troy 1973 CEARLES W. MILLARD, Ja., A.B.,LL.D., L.H.D. Buffalo 1972 CARL H. PFORZHEIMER, JR., A.I3.,M.B.A., D.C.S., H.H.D.Purchase 1975 EDWARD M M. WARBURG, B.S.,L.H.D. New York 1977 JOSEPH T. KING, LL.B. Queens 1974 JOSEPH C. INDELICATO, M.D. Brooklyn 1976 Mns. HELEN B. POWER, A.B.,Litt.D., L.H.D., LL.D. - Rochester 1979 FRANCIS W. MCGINLEY, B.S.,LL.B., LL.D. Glens Falls 1980 MAX J. RTJBIN, LL.B., L.H.D. New York Litt.D. Hastings 1986 KENNETH B. CLARK, A.B., M.S., Ph.D., on Hudson 1982 STEPHEN K. BAILEY, A.B., B.A.,M.A.. Ph.D., LL.D. - - Syracuse 1983 HAROLD E. NEWCOMB, B.A. Owego 1981 THEODORE M. BLACK, A.B., Litt.D. Sands Point President of the University and Commissionerof Education EWALD B. NYQUIST Executive Deputy Commissioner of Education GORDON M. AMBACH Deputy Commissioner for Elementary,Secondary, and Continuing Education THOMAS D. SHELDON Associate Commissioner for InstructionalServices PHILIP B. LANGWORTHY Assistant Commissioner for InstructionalServices (General Education) BERNARD F. HAAKE Director, Division of School Supervision H. GEORGE MURPHY Chief, Bureau of S:icondary CurriculumDevelopment GORDON E. VAN HOOFT Director, Division of the Humanitiesand the Arta VIVIENNE N. ANDERSON Chief, Bureau of Music Education A. THEODORE TELLSTROM FORFWORD Teaching Strings is primarily intended for useby instrumental music teachers who do ric_q have a major concentrationin strings.In many cases instrumental teachers areexpected to teach both band and orchestral instruments with only a personalspecialization on a single instrument. It is the purpose of this guide toprovide the instrumental generalist, and also assist the specialist withpertinent basic resources, materials, teaching-learning expectation, and ageneral overall guide to achievement levels at various stagesof development. A. Theodore Tellstrom, Chief, Bureau ofMusic Education, initiated the project and served as adviser throughoutthe preparation of this publication. John A. Quatraro, associate inmusic education, had responsibility for the project on behalf of the Bureau.The manuscript was written by Howard L.Koch, then instructor of 0011,7' Bay Shore High School, now retired.J. Edw- inat or of strings instruction, Colonie Central SchoolDistrict, edited the final.. manuscript. Assistance in compiling thebib!iography was provi,,i by '_he following: violin, Harry Alshin, ScarsdalePublic Schools; viola, Homer Garretson, S lte University College,Fredonia; cello, Seymour Benstock, Hofstra Universi7y; bass, the lateFred Zimmerman, New York Philharmonic Orchestra.Musical illustrations were prepared by Richard Laffin, a 3tudent at BethlehemCentral School. Eugene J. CunninglIam and Charles J.Trupia, associates in music education, reviewed be manuscript.Richard G. Decker, associate in secondary curriculum, coordinated theproject and prepared the copy for reproduction. GORDON E. VAN HOOFT Chief,,Bureau of Secondary Curriculum Development H. GEORGE MI.3y Director, Division f School Supervision CONTENTS PAGE iii FOREWORD I. INTRODUCTION 1 Selection, Care, and Repair of theString Family 2 The Bow 5 Tuning Procedures 6 8 :NOOSINGTHE PROPER METHOD BOOK III. TEACHING AND LEARNING 10 Beginning Level: Violin and Viola 1! Beginning Level: Cello and Bass 14 Intermediate Level: Violin and Viola 15 Intermediate Level: Cello and Bass 22 Advanced Level: Violin and Viola 23 Advanced Level: Cello and Bass 25 IV. RESOURCE MATERIALS FOR TEACHERS 27 Books and Pamphlets: String Pedagogyand References . 27 Books and Pamphlets: Care, Repair,and Construction of String Instruments 30 Films and Filmstrips on Care, Repair,and Construction 30 Films on String Pedagogy 31 Records on String Pedagogy 34 V. IWTRUCTIONAL MATERIALS FORTEACHING STRING INSTRUMENTS 35 Violin Music Texts (Instruction Books) 35 Supplementary Materials (Exercises andStudies)... 36 Books and Guides (For Teachers andAdvanced Pupils) 37 CONTENTS (Con.) PAGE Viola 38 Music Texts (InstructionBooks) ... 40 Supplementary Materials(Exercises and Studies) Books and Guides (ForTeachers and Advanced 41 Pupils) Cello Music Texts (InstructionBooks) .. 43 Supplementary Materials(Exercises and Studies). Books and Guides (ForTeachers and Advanced 46 Pupils) Bass 46 Music Texts (InstructionBooks) .. 47 Supplementary Materials(Exercises and Studies). Books and Guides (ForTeachers and Advanced 49 Pupils) vi I.Introduction The origin of string instruments islost in the niist ofantiquity. We have records of a crude stringinstrument played with abow from as far back as 5,000 years ago.This was the ravanastron,an early Arabic instrument. The moreimmediate predecessorsof the modern string 'family were the Englishcrwth, the Arabiafl rebah,the viola de gamba, the vielle, and theorganistrum.The earliestrecords of the violin as we know it today appearbetween 1S00 arid1550. Several craftsmen were given the creditfor the creati00 of theviolin in its %sent shape.Probably all made somecontribOtion to its evolution. istory gives the following menthe credit for bnilding the first modern violin: Gaspar Duffopruggar, aBavarian who became aFrench citizen Salo whose an d. worked inFrance from 1515 to 1530;Ga5paro Pa surname wasBertolotti, born in Salo in 154001 died in l3rescia in 1609, who is also given muchcredit as is Maggini ofOrescia, 1540 1632. The violin was brought toperfection hY the famous Amati from ca. 1520 family. The founder, AndreaAmati, lived in Crelliona to ca. 1578. AntonioStradivarius, a pupil of NieoloArtiati, Cremona, ca. 1640-1737,and another great master,GhOeppe Guarneri, Cre- mona, 1698-1744,left a legacy of superb stringinstrnments which are the treasured prizes of our greatartists and c ollectorsof today. The astonishing fact about the violin isthat no one haybeen able to improve on the essentialdesign created by these masters,This is an amazing truth in the face of our modernimprovements Old studies in thefield of acoustics and engineering. Today we are experiencing arenaissance o ftring playing in terms of public interest and numbersof students. The importanceof having orchestras in our schools isbecoming more and morefully realized. Furthermore, one of U e greatestattractions in studying astring instru- Some of the ment is the opportunityto participate in chamber music. best creative efforts of our great composersarefound in their writing for small ensembles. Theresponsibility of our schoolsshould be to maintain a balanced music program,including %tringinstruction by qualified teachers.Many colleges nowmaintain string quartets in residence. These groups bring towhole comtramities the pleasures and rewards to be found inchamber music. [1] The opportunity for participation on astring instrument as both an avocation and a vocation is foundfar more frequently todaythan at any time in the past.The American SymphonyLeague lists approxi- mately 2,000 adult communityand professional symphonyorchestras of today is in the United States.The modern symphony orchestra capable of a great range of musicalexpression, offering the gamutof instrument is tonal colors and flexibility.The nucleus of this mighty the string choir, numberingtwo-thirds of the entireensemble. To ensure the future of theseorchestras and small ensembles,serious attention is being given toimproving the quality of stringinstructional procedures. Strings, played asthey are with a bow, presentinstruc- tional problems which differ fromthose encountered in teachingother instruments. There is perhaps a greatercomplexity
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