Dear Orchestra Members and Families

2011-2012 String Orchestra Handbook

Eagle Ridge String Orchestra Miss Erin Ambrose, Director

Dear Orchestra Members and Families,

Welcome to the 2011-2012 season of the Eagle Ridge Orchestra! As the new Orchestra Director at Eagle Ridge, I’d like to introduce myself!

I am originally from the Pittsburgh, PA area, yet spent most of my school life in Scottsdale, Arizona. I am new to Northern Virginia, and am looking forward to all of the exciting opportunities this area has to offer.

I have a Bachelor’s Degree in Music Education from The Pennsylvania State University (go Nittany Lions!) in University Park, PA. While at school, I took part in both Symphony and Chamber orchestras, and the PSU Viola Ensemble. Throughout my student teaching and long-term teaching, I have had experience with both elementary and high school levels.

The Arts are thriving at Eagle Ridge Middle School and I am thrilled to be a member of this department. I can be reached at school at (571) 252-2140, and my e-mail address is [email protected] . Please don’t hesitate to contact me whenever I can be of help.

I am looking forward to a great musical year at Eagle Ridge and am glad that you will all be a part of it!

Sincerely,

Erin Ambrose Welcome to Eagle Ridge Orchestra 2011-2012 A few things you need to know about this year’s Orchestra…

Items Needed in Class: 1) Instrument 2) Music Folder 3) Pencil 4) Book of own choosing

It is essential to come to class prepared. You are expected to come prepared to each class and on time with an instrument, music/folder, and a pencil.

Grading As Orchestra is a Performing Arts class, grades will weigh more heavily on performance-based assignments. The following is a breakdown of percentages for grades:

Performance Evaluations - 50% Written Evaluations – 30% Music History Assignments – 20%

Written and performance-based skills will be assessed on a regular basis. If any student receives a 75% or lower on any graded assignment, they are required to re-take this assignment. This can only be done one time per assignment. If the student has to do the re-take, they must schedule it with the teacher either before school, after school, or on the student’s own time (i.e. lunch or SOAR) if this complies with the teacher’s schedule. A re- teaching session of the material will be covered before the student re-takes the assignment.

Please note that practice charts are still to be completed, but will not receive a grade. More about this will be discussed in class.

If you need to use the restroom before starting class, you’d better hurry! Rehearsal begins right after the bell, and you will be marked tardy if you are not in the classroom.

Concert Schedule

**Please note there are both rehearsals and concerts listed below. Unless stated, the after-school rehearsals are on days that the activity bus runs**

1 st SEMESTER (QUARTERS 1 AND 2):

8 th Grade Monday, January 9 - After School Rehearsal, 3:30-4:20pm

Wednesday, January 11 – Dress Rehearsal (including 8th grade chorus/Cantare), 3:30- 5:30pm **Please Note: Parents must arrange for transportation. Car-pooling is highly suggested**

Thursday, January 12 – Orchestra and Cantare Combined Concert, 7pm

7 th Grade Monday, December 12 - After School Rehearsal, 3:30-4:20pm

Wednesday, December 14 –Dress Rehearsal, 3:30-4:20pm

Thursday, December 15 – 6th and 7th Grade Concert, 7pm 6 th Grade Monday, December 5 – After School Rehearsal, 3:30-4:20pm

Wednesday, December 14 – Dress Rehearsal, 3:30-4:20pm

Thursday, December 15 – 6th and 7th Grade Concert, 7pm

2 nd SEMESTER (QUARTERS 3 AND 4):

8 th Grade Wednesday, February 29 – Orchestra/Band Pre-Assessment Concert, 7pm

Friday, March 9th OR Saturday, March 10 – District Orchestra Assessment, Time – TBA

Thursday, May 3 - After School Rehearsal, 3:30-4:20pm

Monday, May 7 - After School Rehearsal, 3:30-4:20pm (including band members of full orchestra)

Wednesday, May 9 – Full Orchestra Concert, 7pm

Saturday, May 19 – Hershey Park Festival, All Day

7 th Grade Thursday, May 10 – After School Rehearsal, 3:30-4:20pm

Monday, May 14 – After School Rehearsal, 3:30-4:20pm

Wednesday, May 16 - 6th and 7th Grade Concert, 7pm

6 th Grade Thursday, May 10 – After School Rehearsal, 3:30-4:20pm Monday, May 14 – After School Rehearsal, 3:30-4:20pm

Wednesday, May 16 - 6th and 7th Grade Concert, 7pm

** All Students/Parents: Please make note that our 2nd Annual Fine Arts Night is tentatively going to take place on Tuesday, March 20 at 7pm. The groups performed will be determined, and more info will be sent home at a later date**

Concert Attire Starting this year, the 8th grade orchestra will wear the following: Eagle Ridge polo shirts, black dress slacks, and black shoes (no sneakers). The shirts will be available for purchase at the beginning of the school year by the music department.

6th and 7th grades – Concert dress is as follows: - White blouse (for ladies) and white dress shirt (for men) - Black dress pants (no jeans!) or long, black skirts (for ladies – nothing above the knee!) - Black dress shoes - Black socks (for men – no white socks!)

Please plan for the appropriate clothing now! Please remember that proper attire at a concert is part of being in a performing group and is required as part of your performance points.

Please put all of this information in a safe place where you can use it for reference any time. Performance dates should be placed on all personal calendars at home. Parents/guardians, please check periodically with your students to find out if there have been any updates or changes to the calendar. Again, I’m looking forward to making great music this year! I believe that music feeds our souls. Come hungry!

2011-2012 Eagle Ridge Orchestra Student Contract Please sign and return to Miss Ambrose.

I have read the previous information and understand what will be expected of me as a valued member of the Eagle Ridge Orchestra.

By signing below, I am committing to the following: -I will attend and participate in class regularly. -I will practice my orchestra music on a regular basis so that I know my parts. -I will attend each performance on our schedule. -I will do my very best to be a valuable member of the Eagle Ridge Orchestra!

It also indicates that: -I have seen the calendar and shared it with my parent/guardian. -My parents are aware of the attire required for concerts. -I understand the Orchestra grading policy. -I understand what will be expected of me in Orchestra.

Student signature Parent/Guardian Signature

Parent Email

After silence, that which comes nearest to expressing the inexpressible is music. - Aldous Huxley

THESE ARE THE THINGS YOU CAN DO

PROTECTION: Always keep your instrument and bow in it's case or bag when it’s not in use. Make sure the bow hair has been loosened before putting the bow to the proper protective compartment.

TEMPERATURE: Never expose the instrument to direct sunlight or sudden changes in temperature or humidity. When not in use, store in a place with moderate humidity, away from radiators or hot air vents. Never leave an instrument in a car in extremely hot or cold weather.

HUMIDITY:

Stringed instruments need at least 50% relative humidity to maintain their adjustments and integrity. Use a DAMPIT to insure that sudden changes in humidity don’t crack your instrument or cause it to go out of adjustment. The DAMPIT should be remoistened daily whenever the heat is on in your house and especially during the winter months. Case-mounted humidifiers are not a substitute for a DAMPIT. Additionally, we recommend the use of steam vaporizers in the music room for added protection during the dry season.

CLEANING: Rosin dust should be removed immediately after each playing. Use a Potter’s microfiber cleaning cloth to wipe down the strings and the body of your instrument after every playing session. Periodic polishing with Potter’s Violin Polish will help maintain the luster. DO NOT USE ALCOHOL. It is a solvent and can damage the varnish.

THE BOW: A fresh hank of bow hair can be expected to last for just 120 playing hours.This means your bow should be rehaired once every six months if you play 1/2 an hour a day, five days a week. Loosen the bow when not in use.Keep polish and fingers away from the bow hair. THE BRIDGE: The feet of the bridge should always be aligned with the inner notches cut in the F holes. It must be kept in a perpendicular position. Tuning the strings tends to pull it forward. Check its position frequently. If neglected, the bridge may warp, even break. If it requires adjusting, grasp the bridge at both upper corners with the thumb and first fingers of each hand while holding the instrument firmly braced. Then gently move the top of the bridge to a perpendicular position. Or, ask your instructor to do it for you.

STRINGS: Even the finest instrument cannot sound its best with old or poor quality strings. Strings will usually go bad (6 months) long before they ever break. Look for changes in the appearance of the surface of the string. By regularly examining the windings for changes in texture and color you soon learn the signs that your old strings are becoming lifeless, false and dull. Check your Potter’s maintenance and warranty brochure to be sure you replace your strings with the same type that is currently on your instrument so that you don’t jeopardize the soundpost adjustment. Put new strings on one at a time. Guard against the bridge being pulled forward while tuning new strings up to pitch.Avoid using Super Sensitive or other bottom- priced steel strings if you have a better quality instrument.

STRING TUNERS: If your tuner has a lever under the tailpiece, guard against the lever touching the top of the instrument. This can seriously bruise the wood. To reduce the depression of the lever, merely turn the tuner screw to the LEFT (counter clockwise).Then raise the pitch with the peg. If you wish to use more than one fine tuner, consider having us install a Whitner tailpiece with the built-in tuners for ease of tuning and changing strings.

CHINREST: If the chinrest is loose or touching the tailpiece, it may produce a buzzing sound. Insert a chinrest key into the small hole in each chinrest bracket barrel and turn clockwise to tighten just enough so that the chinrest is firmly secured. Take care not to push the key out the opposite side of the barrel so that it scratches your instrument as you are adjusting it.

PEGS: Even normal tuning will cause both the peg and the peg hole to wear smooth. This causes slipping. To give the peg more grip apply ordinary Lava brand soap (dry) against the peg shafts where they have become polished and shiny. When pegs become seriously worn see your repairman.

Maintenance of the Violin, Viola, Cello or Bass THINGS TO BE DONE ONLY BY YOUR REPAIRMAN

FINGERBOARD: Don’t let grooves develop under the strings. Grooves prohibit free vibration of the strings. Be sure the board has a sufficient concave dip. See your repairman. He will also check the groves in the nut. They might be worn too deep.

SUMMER/WINTER BRIDGE: In warm weather the top of the instrument swells upward. This raises the bridge and lifts the strings too high above the fingerboard for comfortable playing. A lower bridge is required. In cold weather the top is at its lowest level. Then a higher bridge is required. Otherwise the strings will be too close to the fingerboard to permit free vibration. See your repairman.

SOUNDPOST: If the post was fitted during cold weather, it may be too short for summer used when the top rises. Conversely, if it was fitted in warm weather, it may be too long for winter use when the top subsides. Unless the post fits properly, the tone will be disturbed. If it falls, or moves, loosen the string tension slightly and ask your teacher or repairman to reposition it.

OPEN EDGES: Check your instrument regularly to note whether the top or back has become unglued from the ribs at any point. If so, do not neglect this; see your repairman.

CRACKS: Check periodically for cracks that may develop, especially during cold, dry weather. Keep all polishes away from open cracks. Have your string repairman glue the cracks as soon as possible.

Recommended String Websites

Music Supplies: 1) http://www.sharmusic.com/ - best for sheet music. Also good for other supplies and accessories. 2) http://www.swstrings.com/ - Usually has many good deals on strings (remember – when buying strings, you save money if you buy the complete set!)

Violin: 1) http://www.theviolinsite.com/ 2) http://www.violinist.com/

Viola: 1) http://www.viola.com/

Cello: 1) http://www.cello.org/heaven/links.htm 2) http://www.cello.org/ Bass: 1) http://www.gollihurmusic.com/links.cfm

Local Music Repair/Rental Shops

1) Day Violins – strictly for string instruments 12780 Turberville Lane Herndon, VA 20171-2214 (703) 391-9444 2) Potter Violin Shop – strictly for strings 4706 Highland Avenue Bethesda, MD 20814-3612 (301) 652-7070 3) Melodee Music 46077 Lake Center Plaza Sterling, VA 20165 (703) 450-4667 4) Music and Arts 46900 Cedar Lakes Plaza Ste 160 Sterling, VA 20164-8677 (703)444-3700 Practice Tips

Practice Makes Perfect—or Does It?

by Dr. Robin Kay Deverich

Why is it so hard to improve on your instrument, even though you know you've practiced? Unfortunately, the adage "practice makes perfect" isn’t always true. Instead, improper practice often leads to poor results, not perfect playing. Why? Many of us simply don't know how to practice productively. The following overview of the fundamentals of practicing will provide you with useful ways you can create your own productive practice sessions.

1. Practice Time When is your "prime time"? If you feel freshest in the morning, early morning practice may be for you. If you feel your energy peak in the afternoon or at night, practice then. Do you tire easily when you practice? Divide your practice time into two segments instead of having one long practice session. Whatever time you do choose, be consistent and try to practice at the same time five or six days a week.

2. Location When you practice, find a quiet room where you won't be disturbed. Turn off the TV, put away your ipod or CD player, and let your voicemail or the answering machine answer all calls.

3. Music Accessories Before timing every nanosecond of your practice time, gather together all of the practice materials you'll need. Music, a pencil to note difficult passages and fingerings, and a music stand are basic necessities. If you do practice sitting down (some teachers prefer that you stand while practicing), make sure you use a chair that isn't too soft, or it will be difficult to use proper playing position.

4. Physical Needs Before you even begin to practice, drink some water, have some fruit or a healthy snack to rev up your blood sugar level, and change into something comfortable. If you prepare yourself physically before you start to practice, you'll find you can concentrate easily, and you won't be quite so tempted to interrupt your practicing for kitchen or bathroom breaks. Playing a musical instrument is not a passive experience. You need physical strength and energy to practice with proper playing position. If you practice while you're tired, you may run the risk of slipping into poor playing habits.

5. Length of Practice Session How long you practice every day is irrelevant. How much you accomplish when you practice is what counts. It's great to follow a scheduled practice time, but if your daily practice ritual consists of playing straight through pieces over and over while you daydream, you might be better off not practicing at all. It's easy to reinforce mistakes when you don't concentrate while playing or when you practice without purpose or focus. Strive for quality practice, not quantity mediocre results.

6. Productive Practice Sessions Structured practice sessions are the key to productive practicing. The following suggestions will help you progress, instead of regress, when you practice.

7. Warm-up Each practice session should begin by limbering up and strengthening your fingers through scales, exercises, arpeggios, or trills.

8. Practice with Purpose Have one or more focused goals each time you practice. At the beginning of practice sessions, ask yourself, "What do I want to accomplish today? Do I want to polish a piece? Slowly learn part of a new piece, play with heightened musicality, or fix some problem spots?" As you practice, your focus may change as you continue to analyze your playing with questions such as: "Am I playing in tune? Is the rhythm correct? What parts of the piece need work?"

9. Problem-solving One of the most effective ways to make a piece sound better is to pinpoint the difficult passages in the piece and then work on one small section at a time. Don’t reinforce mistakes by repeating them. Identify what the problem is, then determine how you will fix it. Play the notes of a problem spot very slowly, one note at a time, until you are playing with the proper rhythm, fingering, and notes. Once it sounds correct, play that small section over and over, gradually picking up speed until that segment of music is up to tempo. It's always simpler to begin at a slow tempo and increase your speed rather than go back and correct new errors. 10. Problem spot tips At times, it may be useful to record yourself (audio or video) to pinpoint problem spots. If you’re having difficulty with a fast passage, it often helps to play a small section first very slowly, then experiment with rhythmic variations. For example, if the small section you’ve identified as a problem spot contains four measures of sixteenth notes, instead of playing them all at the same tempo, try: long-short-long- short-long-short-long. Then, reverse the sequence and play the passage: short-long- short-long-short-long-short. Another practice technique for fast passages is to to quickly repeat each note two, three or four times (e.g. d-d-d-d-a-a-a-a-c-c-c-c— almost as if you were playing a bowed tremolo on the same note).

11. Musicality Are you expressing yourself through your music, or are you mechanically repeating notes from a printed page? Musicality, the ability to interpret a piece with feeling, is what distinguishes the performance of a fine musician from that of an automated, boring performer. Need ideas? First, try following printed directions such as dynamics, style of playing, and the tempo or speed at which the music should be played. You can gain additional interpretive insight by listening to recordings of the same piece played by different performers and by researching the history of the composer or the era in which the music was composed. Then, experiment! Try different phrasing or explore variations in tone production, style, and intensity. Memorizing a piece also may assist you in achieving freedom of expression. Once you know a piece so well that you are "free" from the music, you may find it easier to interpret music on your own.

12. Fun time At the end of each practice session, it's always fun to sit back, relax, and enjoy playing straight through the piece. The progress made during "problem spot" practicing can be reinforced, and you’ll feel a sense of accomplishment hearing changes you’ve made in the full context of the piece.

Listening is an important part of Orchestra. I have included a list of string artists to get yourself and your parents started in listening to orchestral and string music. Not all of these artists perform classical music. String instruments are very diverse, and players of string instruments perform a multitude of styles and genres of music. I would encourage you to look for some of these musicians in local music stores or internet music stores (itun. etc),or by searching on the web to hear them play. Remember that by going to youtube.com you may be able to see some of these artists perform on the internet for free! String Listening Guide Classical Listening: Violinists: Itzak Perlman, Joshua Bell, Hilary Hahn, Anne Sophie Mutter, Gil Shaham, Isaac Stern, Jascha Heifetz, Fritz Kreisler Violists: William Primrose, Pinchas Zukerman (also plays violin), Lionel Tertis, Kim Kashkashian Cellists: Yo-Yo Ma, Rostropovich, Gary Hoffman, Jacqueline Dupre, Matt Haimovitz, Pablo Casals, Pierre Fournier, Julian Lloyd Weber Bassists: Edgar Meyer, Franz Simandl Orchestras: New York Philharmonic, Philadelphia Symphony Orchestra, Boston Symphony Orchestra, Vienna Philharmonic, Chicago Symphony Orchestra, Berlin Philharmonic, London Philharmonic, National Symphony, Baltimore Symphony, LA Philharmonic, Pittsburgh Symphony Notable Conductors: Leonard Bernstein, Herbert Von Karajan, Bruno Walter, Sir George Solti, Leonard Slatkin, James Levine, Pierre Boulez

Other Genres: *Note there are many genres including: Bluegrass, Blues, Old Time Fiddling, Cajun Fiddling, Jazz, Irish Fiddling, Western Swing, Scottish Fiddling, Rock, ect. Some artists play many of these different styles and are hard to classify. Regina Carter -jazz violinist Turtle Island String Quartet -jazz Mark O’Connor -bluegrass/jazz violinist Todd Mark Rubenstein -string quartet tributes to: Coldplay, Weezer, Led Zepplin, Radiohead, ect. Mark Wood -rock string music using electric instruments, previously part of the Trans Siberian Orchestra Hampton Rock String Quartet – performs many arrangements of groups such as: The Beatles, Led Zeppelin, Jimi Hendrix, The Rolling Stones, and many more! Great group to listen to! Apocalyptica-cello quartet which plays instrumental versions of Metallica’s music Edgar Meyer- bass player who plays all kinds of genres Rashad Eggleston-cello fiddle player plays in the band Crooked Still and many others Liz Carroll-Irish Fiddler Bruce Molsky-old time fiddler Darol Anger- Jazz violinist Nuttin But Stringz- Hip hop/rap string artists Natalie Haas-cello fiddler (often plays with Mark O’Connor) Mairead Nesbitt – celtic violinist of Celtic Woman Esperanza Spalding – jazz bassist (and winner of 2011 Grammy Award for Best New Artist)

6th Grade Student Information Name:

Home Phone Number:

Home Address:

Parent(s) Names: (**If you live with one parent, please * that parent)

Instrument: Years played:

Do you take private lessons? Yes No Private teacher’s name:

Do you play any other instruments? If so, please list:

What kind of music are you looking forward to playing?:

List one thing you would like to learn this year in Orchestra:

Other groups/activities involved in: 7th Grade Student Information

Home Phone Number:

Home Address:

Private lessons? Yes No Private teacher name:

From Orchestra last year, list one of your favorite pieces of music that you played, and one of your least favorite:

What was your favorite memory in Orchestra last year?:

List one thing you would like to learn this year in Orchestra:

Other groups/activities involved in: 8th Grade Student Information

Home Phone Number:

Home Address:

Private lessons? Yes No Private teacher name:

From Orchestra last year, list one of your favorite pieces of music that you played, and one of your least favorite:

What was your favorite memory in Orchestra last year?:

List one thing you would like to learn this year in Orchestra: Other groups/activities involved in: