Teen Strings Don’T Miss Your Opportunity to Submit Your Application to Be Selected We Hope You Enjoy the Latest Issue of Teen As the 2009 Outstanding Student Chapter

String Association American www.astaweb.com Teachers EACHER T PLUS: String Industry Council Directory Successful Guidelines for Orchestra Auditions Career Plans of The Projected String Music Educators Middle SchoolChallenging the Orchestra Musician

3 58 | Number 2008 | Volume August TRING ISSUE! BACK-TO-SCHOOL S

MERICAN A

August 2008 3

SAVE THE DATES!

2009 ASTA National Conference March 19-21, 2009 Atlanta, GA * Exhibits * National Orchestra Festival * National Solo Competition * Alternative Styles Awards

2010 ASTA National Conference February 17-20, 2010 Santa Clara, CA * Exhibits * National Orchestra Festival * National High School Honors Orchestra

2 | American String Teacher | August 2008

AMERICAN STRING TEACHER CONTENTS August 2008 | Volume 58 | Number 3

Features and Forums

Using a Practice Diary to Promote Self-Regulated Instrumental 34 Practice As a studio violin teacher, I spend a lot of time teaching my students how to practice striving to follow in the footsteps of Ivan Galamian. by Susan J. Kim

Challenging the Middle School Orchestra Musician 38 We want to challenge our students—but, to do what? What kinds of experiences make a lasting impact on a young person, and how can we help our students develop a feeling of ownership that leads to a commitment to music? by Gail V. Barnes

Mastering the Unknown: Guidelines for Successful Orchestra 42 Auditions Orchestra auditions and recitals require differing methods of preparation. Read about the most important difference between auditions and recitals. by Garrett Fischbach

The Projected Career Plans of String Music Educators: Implications 46 for the Profession Where do string teachers go when they leave the profession, and what are the implications on the profession as a whole? by Joshua Russell

Master Class 64 There Are No Secrets—Thoughts on a Career in Music An Interview with Violinist David Nadien David Nadien’s name is known to many young violinists as “the man who recorded those great Suzuki CDs.” His afﬁ liation with Dr. Suzuki was just a small part of his stellar career. by Elaine Fine

www.astaweb.com | 5 AMERICAN STRING TEACHER CONTENTS August 2008 | Volume 58 | Number 3 Columns Special Inspirations Sections 10 by Donna Sizemore Hale 30 ASTA Award Winners Member2Member 52 Discovering Strings and 32 Strings and Volunteering: A Winning Combination Orchestra by Robert Gillespie 56 2009 ASTA National Conference Preview Teaching Tips 72 2008 String Industry Council 86 Check Sheet for the Beginning String Class Directory by Nancy Kredel

Mission Statement The American String Teachers Association promotes excellence in string and orchestra teaching and playing. ASTA pursues its mission through: • an open sharing of ideas; • benefi ts, services, and activities responsive to the needs of all members; Departments • development of strong state leadership and chapters; • enhancing the image and visibility of string teaching and study; • advocacy for string education; and Association News • an inclusive community of string teachers 14 Message from the President, award and grant and players. announcements, new publications, and other American String Teacher (ISSN: 0003-1313) association-related information is published quarterly by the American String Teachers Association (ASTA). American String About the cover: Teacher (AST) is available exclusively to Showcase ASTA members; the annual subscription price The latest news from members of the String is included in membership dues ($99). Known 88 offi ce of publication is: American String Industry Council Teachers Association, 4153 Chain Bridge Rd., Fairfax, VA 22030. Periodicals postage paid at Fairfax, Virginia 22030 and additional Notes mailing offi ces. News of people, places, and events of interest to 90 POLICY: As the primary means of profes- string teachers and players sional communication of ASTA, the American String Teacher represents and refl ects the mission of the association. It is not the Reviews intention of AST to promote or endorse any 100 Of books, music, software, and videos particular person or commercial product. The ideas and opinions expressed are those of Rebecca Edmondson’s the writers and not necessarily those of ASTA students await their or AST. ASTA reserves the right to refuse advertising for any reason. No article or chance to hold and editorial matter in AST may be photocopied explore a stringed or reprinted without written permission from Every Issue ASTA. Visit www.copyright.com for more instrument in a information. Discovering Strings 94 ASTA Publications Library and Orchestra session POSTMASTER: Send address changes to Membership Application in Bar Harbor, Maine. 96 American String Teacher Journal, 4153 Chain Leadership Directory Bridge Rd., Fairfax, VA 22030. © 2008 by 98 American String Teachers Association. 106 Advertisers Index

ASTA Board of Directors President • Jeffrey Solow Getting the Word Out 7914 Park Ave. Elkins Park, PA 19027-2629 In Your Neck of the Woods [email protected] President-Elect • Kirk Moss With the school year looming ahead, this is a great time to focus on how 1218 18th Street S Moorehead, MN 56560-3127 you can promote string education at the grassroots level. Th e sluggish [email protected]

economy is having a profound impact on many people and professions. Past President • Mary Wagner We continue to hear stories of music programs being curtailed and even 5833 Burke Cove Landing Rd. #204 Burke, VA 22015 eliminated as school districts struggle to balance their budgets. [email protected] Now is the time for you to lay groundwork to solidify your string Secretary • Judy W. Bossuat program’s importance in the curriculum. Here are some simple but 2913 Hempstead Way, Stockton, CA 95207 important steps that you can take to ensure your program’s success. [email protected] Member-at-Large • Beth Gilbert 1928 E Calle De Caballos, Tempe, AZ 85284-2507 • Learn who the decision makers are in your district and begin to [email protected] cultivate them. Invite them to concerts. Attend school board and other Member-at-Large • Lynn Harrell community meetings to promote strings. It is too late to begin nurturing 1615 Hermann Drive Unit 1208, Houston, TX 77004 these relationships once your program is put on the chopping block. [email protected] • Engage your students’ parents in promoting strings in your community. Member-at-Large • Kristin Turner Orchestra programs with a strong booster component are generally more 1708 N Morrison Rd., Muncie, IN 47304 [email protected] respected and recognized within their communities. Member-at-Large • Mark Wood • Get to know the media contacts in your area. School boards love positive PO Box 2074, Port Washington, NY 11050-0500 publicity. Send them invitations to your concerts as well as success stories [email protected]

from your orchestra. Publications Chair • Marilyn Seelman • Become an active and engaged member in your state chapter. 2075 Briarwillow Dr., Atlanta, GA 30345-3501 Participation at the state level will provide you with a solid network of [email protected] colleagues that can help you and your program become stronger. String Industry Council President • Neil Lilien Meisel Stringed Instruments • Take care of and nurture yourself. As busy teachers, we often neglect 32 Commerce St., P.O. Box 90, Springfi eld, NJ 07081 our own professional development and growth. Make your professional [email protected] development a priority and your students will reap the rewards. Th e Executive Director • Donna Sizemore Hale ASTA National Offi ce ASTA National Conference off ers you more than 175 string-related 4153 Chain Bridge Rd., Fairfax, VA 22030 sessions and workshops. Plan now to attend. [email protected] American String Teacher On the national level, ASTA provides a number of resources that are Editor • Mary Jane Dye designed to help you promote strings. Many of you have seen the special Interim Articles Editor • Mary Wagner customizable PowerPoint on our website and the advocacy video. Th ese Reviews Editor • Marg Schmidt Design and Layout • Sky Henderson tools were created to help you advance strings at the grassroots level. Advertising Representative • Steve DiLauro Just recently, ASTA began partnering with “Wunderkind Little Amadeus,” a new television series designed to introduce children and their parents to • Correspondence Subscriptions, change of classical music. Th is show will begin airing this fall on public television address (send mailing label), individual issues, billing, membership, and other business matters stations. For more information go to www.little-amadeus.com should be directed to the ASTA National Offi ce, 4153 Chain Bridge Rd., Fairfax, VA 22030; tel. We also welcome your suggestions at the national level for programs 703-279-2113; FAX 703-279-2114; Email: and projects to pursue in the advocacy realm. You can email me at [email protected]. [email protected] or the Advocacy Committee Chair, Mary Wagner at • Advertising Deadlines are: August issue—June 5; November issue—September 5; February [email protected] issue—December 5; May issue—March 5. Inqui- ries should be directed to ASTA National Offi ce, 4153 Chain Bridge Rd., Fairfax, VA 22030; tel. 703-279-2113; FAX 703-279-2114; Email: [email protected]. • Editorial AST welcomes letters and articles from its readers. Query letters are preferred over unsolicited manuscripts. For a copy of the AST Au- thor Guidelines, visit www.astaweb.com. Inquiries and articles should be submitted to ASTarticles@ astaweb.com. • Reviews Review materials should be sent to Marg Schmidt, School of Music, ASU, 40 Gammage Parkway, PO Box 870405, Tempe, AZ 85287- 0405. Requests to become a reviewer should be addressed to Marg 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 10; May issue—February 10; August issue—May 10; November issue—August 10.

10 | American String Teacher | August 2008 www.astaweb.com | 11 AST Editorial Committee

Gregory Barnes Sharan Leventhal Columbia, South Carolina Boston, Massachusetts

Sean Beavers Greg Sarchet Huntington, West Virginia Chicago, Illinois

Margaret Berg Laurie Scott Boulder, Colorado Austin, Texas

Chelcy Bowles David Starkweather Madison, Wisconsin Athens, Georgia

William Dick Benjamin Whitcomb Austin, Texas Fort Atkinson, Wisconsin

Emanuel Garcia, M.D. Members of the ASTA Boulcott, Lower Hutt, National Executive Board New Zealand AST Forum Editors Violin Forum, James Przygocki Viola Forum, Helen Callus Cello Forum, Benjamin Whitcomb Bass Forum, Michael Fanelli Guitar Forum, Jonathan Leathwood Harp Forum, Saul Davis-Zlatkovsky ASTA National Ofﬁ ce 4153 Chain Bridge Road • Fairfax, VA 22030 Phone: 703/279-2113 • Fax: 703/279-2114 www.astaweb.com

Donna Sizemore Hale, Executive Director [email protected] ext. 13

Beth Danner-Knight, Deputy Director, Conferences and Member Services [email protected] ext. 11

Jody McNamara, Deputy Director, Finance and Administration [email protected] ext. 15

Deanna Tompkins, Director of Meetings and Events [email protected] ext. 24

Mary Jane Dye, Director of Communications [email protected] ext. 12

John Golden, Development and Advocacy Manager [email protected] ext. 26

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

Kari Hahn, Director of Membership [email protected] ext. 14

Libby Dietrich, Meetings and Events Manager [email protected] ext. 28

Erin Gallagher, Membership and Conference Coordinator [email protected] ext. 16

12 | American String Teacher | August 2008 www.astaweb.com | 13 from the president

The Education of an ASTA President ASTA has come a long way! At our beginning in 1947 we were essentially a mom-and-pop offi ce-in-the- basement association with approximately 100 members. Th e board consisted of fi ve offi cers plus representatives from each of ASTA’s six geographical regions (corresponding to MENC’s six regions). Dues were $2 for active and associate members (of which 50 cents was returned to each member’s regional unit), $10 for contributing members and $1 for student members. Although we have grown and evolved into a multifaceted organization of 11,500-plus members, we are still served by a dedicated board and offi cers plus many enthusiastic and tireless volunteers. And, of course, we now have professional management from our executive director and a highly skilled and effi cient staff of associates who administer ASTA’s more than 45 programs from our national offi ce near Washington D.C. As I step into my new role as ASTA’s 29th president I am challenged to live up to the superb leadership models set by my predecessors. I am also highly conscious of the complex task of helping guide our organization through these diffi cult economic times. Before I became a board member and an offi cer, I, like many of our members, did not truly understand ASTA’s overall picture. Th e last few years have been a very educational experience for me. For example, it is easy for each of us as individual members of our specifi c state chapters to see those programs that are near and dear to our hearts as deserving of special attention and consideration. But I have learned that ASTA’s programs all work in conjunction with each other, not in isolation, and the board strives not only to make the right choices for every program but for ASTA as an association. Th is overarching organizational view, together with our country’s current engagement in its presidential electoral process, leads me to compare ASTA to America’s federal system. In Congress, the representatives from each state speak up for their state’s individual interest but the federal government and the Executive Branch should make decisions based on the interests of the nation as a whole. Additionally, while no one likes to pay taxes, everyone wants the government to perform the services and provide the programs that benefi t all of us — and, of course, those things cost money. Th is, too, is the same with ASTA. Regarding money, another thing that I have learned from being on the board is that ASTA runs a very tight ship. We do our utmost to contain administrative expenses and keep dues and conference fees to a minimum. But it still takes money to run ASTA and as we all know from our daily lives, expenses go up every year. We have expanded the staff in order to run our expanded activities and services but an expanded staff means additional salaries and employee benefi ts—very necessary if we are to remain competitive with other nonprofi t organizations of our size in the Washington area. (And to accomplish our advocacy mission, something that our members have identifi ed as a high priority for ASTA, our national offi ce must remain near D.C.) Our administrative overhead, such as rent and utilities, are all aff ected by infl ation. Rising gas prices have an eff ect on all of our supplies and postal rates have just risen again, increasing our mailing costs. I know that many members question our dues structure and program fees. As a member of the Executive Committee that oversees our fi nances I have learned how and why such decisions are made and that they are necessary to ensure the overall success of our programs and the survival of ASTA. Very few of our programs (only fi ve!) generate income. Most of our activities and services cost us money and some, such as the National Solo Competition, the Alt Styles Awards and NHSHO, run substantial defi cits. (Many members do not understand that nonprofi ts are allowed to earn money; if we did not, many of our membership benefi ts would have to be discontinued.) While the fees for our conferences and events such as NOF certainly are not low, they are comparable to other national events of their kind. Th e global view of ASTA has taught me that that program fees not only must cover their immediate running costs— facilities, accommodations and food, fees and expenses for adjudicators and clinicians, etc.—but also ASTA’s staff salaries and administrative overhead or there would be no future events. Almost every decision we make has complex ramifi cations. For example, lowering our student dues was responsive to the desires of our membership and will, hopefully, be good for the organization in the long run, but it costs us money in the short term and comes at a time when the economy has dealt us several unexpected knocks. Th e unfortunate fate of the IAJE has provided us with a powerful cautionary tale. In order to weather unexpected economic crises and avoid a similar doom, organizations such as ours should have operating expenses for two years. Although ASTA has been putting money aside each year to build a contingency fund, at present we have probably only enough to cover six months. As members and supporters of ASTA we should all feel proud that we have a stable and well-managed association. You can rest assured that the offi cers, board and staff associates are all working to the very best of our abilities to see that we remain strong and vibrant.

14 | American String Teacher | August 2008

Association News ASTA Announces Winners Of 2008 Merle J. Isaac Composition Contest

ASTA is proud to announce the winners for the 2008 Merle J. Division remains string orchestra. Initiated in 1959, this contest Isaac Composition Contest. Th e winner in the Junior Division is held annually to encourage the composition, publication, and is 17-year-old Kevin Hartnett of Lee’s Summit, Missouri for performance of quality music for school orchestra programs. “Indignation.” In the Senior Division, the winner is Susan Day Please check the ASTA website for complete contest details at of Littleton, Colorado for “Shores of Ireland.” http://www.astaweb.com/ (click on the “Competitions” link.) Harnett began composing music in the eighth grade, and he was the 2007 ﬁ rst place winner in the Senior Fine Art Division of the University of Missouri’s creating Kevin Hartnett original music project. He also won the 2008 Student Composition Talent Search sponsored by MENC. “Indignation” is a piece that is meant to convey a sense of anger and frustration. Its fast paced tempo and driving rhythms capture the emotions of the listener and performer alike. Day received her music degrees from Ithaca College and Columbia University. She has taught orchestra at all grade levels for more than 28 years. In 2000, she Susan Day received the Colorado ASTA Teacher of the Year award. She was also the winner of the 2006 Texas Orchestra Directors Composition Contest. In 2008, she was inducted into the Colo- rado Music Educators’ Association hall of fame. Th e “Shores of Ireland” was written to provide an easily accessible piece that students can enjoy in 6/8 time. It captures the feel of Ireland with its lush melodies and pleasing harmonies. ASTA thanks Robert McCashin, chair- man of the committee, from James Madison University in Harrisonburg, Virginia for all his time and eﬀ ort ensuring the success of this contest. Th e 2009 Merle J. Isaac Com- position Contest deadline is January 15. Additionally, please remember that the Senior Division is open to both full and string orchestra compositions. Th e Junior

16 | American String Teacher | August 2008 Outstanding Student Enjoy Your Complimentary Chapters Wanted! Copy of Teen Strings Don’t miss your opportunity to submit your application to be selected We hope you enjoy the latest issue of Teen as the 2009 Outstanding Student Chapter. Th e award will be pre- Strings, which accompanied this issue of sented at the 2009 ASTA National Conference in Atlanta, Georgia. AST. Teen Strings, the magazine for the next Applications are due no later than December 1, 2008. Please visit the generation of violin, viola, cello, bass, and student chapter section at www.astaweb.com for more details. fi ddle players, is brought to you by String Letter Publishing, the publisher of Strings magazine. Geared toward younger string Potter’s Violins Instrument players, Teen Strings is all about the benefi ts of string playing and the creative, social, Award Winners intellectual, and professional opportunities string playing opens up for young people. ASTA is pleased to announce that three young musicians were Teen Strings has proven to be a great tool to help teachers inspire awarded instruments by Th e Potter Violin Company, based in their students. With Teen Strings, you too can give young players a Bethesda, Maryland. Twice a year, Potter’s Violins donates three voice of their own as it refl ects their musical activities, aspirations, instruments to deserving young musicians who demonstrate and dreams. To subscribe to Teen Strings or to share copies with your particular need and talent. Th e recipients of instruments for the students, call 1-800-827-6837 or go to teenstrings.com. 2008 April round of the Potter’s Violin Instrument Awards are: • Ariel C.D. Manning of Atlanta, Georgia – violin • Heather Mueller of Chippewa Falls, Wisconsin – violin CodaBow Awards • Kenneth L. Trotter of Friendsville, Tennessee – violin Every year, CodaBow International, Ltd., donates approximately For more information on the award, or to download an ap- $5,000 worth of full-size CodaBow Aspire bows to deserving schools plication, please visit www.astaweb.com. Th e postmark deadline and studios. Violin, viola, and cello bows are awarded. Applications for the October 2008 awards is October 1. are accepted from ASTA members on behalf of schools or studios that outline the particular worthiness, promise, and need of their program. ASTA is pleased to announce that bows were awarded to: John Golden Joins ASTA • Eastview Middle School - Bartlett, Illinois (Jennifer Gontarek) National Staff • Grants Pass School District #7 - Grants Pass, Oregon John Golden, development and advocacy (Krista DeBolt) manager, joined ASTA in April 2008. Golden Please visit www.astaweb.com for more information on the received a B.A. degree in English literature award or to download an application. Th e next postmark deadline from Saint Michael’s College in Vermont. He for this outreach program is April 1, 2009. began his career in the nonprofi t association/ human service arena in 1992. He worked with at-risk youth in both inner city and rural areas of New York and Massachusetts prior to ASTA Pushes Congressional returning to Vermont where he was involved John Golden in alumni work for his alma mater, and Associates Program responsible for the day-to-day operations of a homeless shelter. After relocating to northern Virginia in 2004, Golden worked for Th is past July, ASTA sent out more than 200 faxes to members of another homeless services organization. He later joined Ronald the Congressional Arts Caucus and the Senate Cultural Caucus to McDonald House. He dedicates his personal time to local commu- encourage membership in ASTA’s free Congressional Associates nity theater and volunteer activities such as Greyhound Rescue and Program. Th e one-page fax was designed to draw the attention the American Legion Post 177. of democrats and republicans alike and used famous quotes by former presidents on music and the arts. One of the biggest advantages for joinning this free program is a gratis listing on ASTA Certifi cate Program ASTA’s webpage with a picture, bio, and personal quote on why music is important in today’s society and for future generations. Changes Its Name “It will be interesting to see if this grassroots eff ort garners any response,” says Donna Hale, ASTA executive director. “As many Th e national board of directors voted to change the name of the Certifi cate Program for Strings (CPS) to the ASTA Certifi cate of you already know, getting information through the mailroom Advancement Program or ASTACAP, informally. Th is change on Capitol Hill is diffi cult since 911.” took eff ect July 1, 2008. State chapters should continue to use any current supplies that they have on hand and request new supplies as needed. For more information on the ASTACAP program, please visit www.astaweb.com.

www.astaweb.com | 17 ASTA Welcomes New Members Th e following list reﬂ ects individuals and organizations who joined the association between April 1 and June 30, 2008. Welcome to ASTA!

Individual Annette Cleary Jonathan Holtfreter Debbie McDonald Miya Saito-Beckman Tricia Wilburn Members Jennifer Coalson Grainne Hope Thomas McDonald Nelda Sanker Christine Williams Samuel Cogburn David Horger Carol McNeely David Sariti Kelley Williams Elizabeth Adams Barbara Corbato Jane Horswill David Mei Janet Sawyer Thomas Wood Sonia Aki Paul Cortese Beth Hough Mark Mendelsohn Amy Schuetz Elizabeth Wright Elora Alden Susan Drew Coson Linda Howard Deborah Meyer Danette Schuh Ching Fang Wu Jamie Allen Drew Cryer Ellen Howerton Patrick Miller Sherrill Shaffer Yu-Hua Wu Yessenia Amaya Amanda Cushman Lawrence Huang Jennifer Miyahira Barry Shapiro Albert Wu Levon Ambartsumian Eric Dahlgren Thomas Huntington Bonnie Mohr Thomas Shaw Allison Wyatt Paran Amirinazari Andrea Dawson Austin Huntington Olivia Mok Julie Slama Makiko Yamauchi Tony Andre Rickie Denton Joy Indrelie Santiago Morales Leonora Sleeter Clara Yang Christiane Grant Donnellan Jeff Jacobsen Jonathan Mott Carol Smith Jennifer Yopp Appenheimer- Alexandra Dreyfuss Stephen Johnson Riana Muller LaDonna Smith Susan Young Vaida Joyce Dubach Lynn Anne Johnson- Sachi Murasugi Linda Smith Cooper Beth Yue Nicola Aversa Rachyl Duffy Lange Mikylah McTeer Holly Smith Talton Kellen Zakula Mindy Ball Sara Duval Rochelle Jones Antonia Nelson Robin Soden Lori Zimmermann Patricia Balster Thomas Echols Elizabeth Jones Jessica Nickel Kevin Song Donna Zitzelberger Fran Bard Arthur Edelson Er-Gene Kahng Monica Noon Jann Sparks Erin Zurbuchen Karin Barg Megan Edinger Michaela Keating Elizabeth O’Brien Matthew Spieker Jordan Bayorgeon Stuart Eisen Tascha Keettel Tara Ogden-Skouson Michael Sporre Jennifer Bearup Thomas Elliott Megan Kenny Karl Olson Anthony Springer Michelle Beauchesne Institutional Kelly Evans Derin Kenny Robert O’Reilly Jenete St. Clair Members Katharina Becker Thea Farhadian Phillip Kent Lisa Ornstein Craig Stanton Melissa Belgen Kelly Farrell Alexander Kerr Michael Oshiver Kathleen Starr Texas Tech University Monte Belknap Elizabeth Feetham Jolene Kessler Merietta Oviatt Kristina Stingle School of Music Sarah Belt Laura Felton Christopher Kneisel Marie Parker Jennifer Sullivan Pittsburg State Ramiro Benavides Elizabeth Feola William Koehler Cicely Parnas Sharon Taylor University Megan Benjafi eld Sarah Fertig Wang Brian Koenig Susan Pascale Stacey Thompson University of New Alyson Berger Charles Fidler Haley Krajewski Dori Pavel Judith Thompson Hampshire Ligon Bert Rosamond Finley Charles Kreitzer David Peek Kathleen Thomson UCLA Music Christine Beverson Garrett Fischbach Misha Kuchuk Stephen Phalp Pauline Thomson Department Stacey Binder Michael Fizzell Arthur LaBrant Emily Pierce- Inge Throckmorton The Community Music Henry Birge-Lee Aisling Foley Fredell Lack Heuschele Michael Tinus School of the Bonnie Black Wesley Follett Kristin Landis Brian Powell Richard Todd Piedmont Michael Blostein Julie Gage Diana Lanpher Karie Prescott Buffy Tolstedt University of Miami Reuben Blundell Dianna Gallacher Enrique Lasansky Neil Puzon Scott Tran Frost School of Anabel Blythe Annabelle Gardiner Travis Laughlin Erin Quinton Robert Trent Music Elizabeth Bond Tiffany Ge Kendra Law Michael Rado Erica Trocino Christine Bonds Eric Geier Dylan Lawless Elizabeth Reardon Olivia Tsui Laura Bosela Jay Gilbertson Erin Lawson Tommy Reddicks Myra Valdez Jeanne Bourgeois James Giles Kimberly Le Ariel Redfi eld Celia Valerio David Bowes Brenna Gillette Eric Le Van Maile Reeves Elizabeth Van Rebeca Boyd Diana Gilliland Michelle Leavitt Kevin Reidy Benthuysen Cammie Brennan Bridget Glynn Gaye LeBlanc Robin Reimer Dorian Vandenberg- Matthew Briere Sarah Gold Jean Lenoir Caroline Reiner- Rodes Candace Brower Emma Goldberg Betty Lin Williams Ligia Vascan Lora Brown Sidney Goldstein Robert Lipsett Stephen Reinfranck Gilbert Velez Laurie Bruckner Anissa Gonenn Agnes Litfi n David Renter Nicole Vettraino Matthew Bryan Susan Goudreau Shelley Livingston Jennifer Rhodes Erika Vipond Ashley Burkhardt Benjamin Greene Burke Lokey Julie Ribchinsky Leykin Vitaly Tinder Burris Marjory Grusky Janet Lyman Karen Ritscher Christina Voto Nancy Butcher Terence Guerrero Emily Lyons Valerie Ritter Jui-Chao Wang Helen Callus Janet Guy-Klickman Jason Majewski Sarah Roark Jessica Warren Arlette Cardenes Jordan Han Zachary Mansell Brittany Robson Christine Watts Janice Carlson Alice Hanel Kevin Marcinko Joseph Rodgers Metta Watts Javan Carson Michael Hanf Nathan Mark William Roehrs Shirley Weaver Elizabeth Chang Johanna Hartman Andriana Markano Laurie Rominger Christina Wedberg Tiffany Chang Thomas Hartman Stephen Marr Sharon Rondeau Jane Weigel Lucy Chapman Naomi Hasan Gerry Marsh Svend Ronning Andrew Weihrauch Jamie Chapman Tara Hayes Natasha Matveeva Michael Ronstadt Rebecca Wenham Stephanie Charlton Tamir Hendelman Michael May Dennis Root Thomas Wermuth Sarah Chelgren Jeraldine Herbison Dana McComb Jay Rubottom Lukasvincenty Harry Chiang Hillary Herndon Miles McConnell Sarah Russell Whaley-Mayda Jennifer Chieffalo Randen Heywood Jan McCosh Crystal Sabik Chad Whalley Jennifer Chin Curtis Hiyane Shannon McCue Kiarra Saito- Rita Whitaker-Haun Jules Christeson Ashley Holbrook Colleen McCullough Beckman Sarah Whitehouse

18 | American String Teacher | August 2008 www.astaweb.com | 19 Sponsored by Yamaha Ceelebratinglebrating Allternativeternative Sttringsrings Corporation of America What are the Alternative Styles Awards? The event seeks to identify, celebrate, and encourage young practitioners of alternative string styles, such as (but not limited to) all folk music traditions, jazz, fusion, and rock music. Eligibility ASTA members or students whose primary teacher is an ASTA member, who are players of violin, viola, cello, and bass (upright) are invited to apply. To be selected as a winner, the performer must be able to perform at the 2009 ASTA National Conference in Atlanta and meet the age requirements on the entry form. First place winners from 2005 and 2007 are not eligible unless they have moved to a new age division. Application Materials Each participant must submit: These selections must include examples of: • Completed application • Contrasting tempi • Proof of age (acceptable forms: birth certifi cate, school ID, etc.) • Artistry and musicianship • A non-refundable entry fee of $75 (U.S. Dollars) made payable to ASTA • Improvisation, as appropriate, within the style • A VHS videotape or a DVD recording, no longer than 15 minutes of performance, • Originality, and which must contain three contrasting selections within the chosen alternative style. • Dynamic stylistic “groove” Applicants are encouraged to submit supporting materials that may enhance the application, such as programs, reviews, announcements, awards, etc. Notes * Please note there are no event chaperones. Minors should be accompanied by a responsible adult. * Bass players must include at least one example of bowed solo playing. * Students who have been accepted to be part of the Alternative Styles Awards program may not also be a participant in a National Orchestra Festi- val group, the National High School Honors Orchestra, or the fi nals of the National Solo Competition in the same national conference year. This participation restriction is due to overlapping event schedules which will cause disruption to the overall experience for all participants of each program. Students may apply for more than one event, but must accept only one if offered multiple event opportunities within the same conference year. * It is permissible for applicants to enter in more than one style. Applicants who choose to do so should be sure that the three selections on the audition recording are not only contrasting in terms of tempi, artistry, and musicianship, but that the multiple styles are also represented. All audition recordings must contain no more than three selections. Submissions will not be returned. All materials must be sent in one package postmarked by October 1, 2008 to: ASTA Alternative Styles Awards 4153 Chain Bridge Road Fairfax, VA 22030 Judging/Awards Within each age division, there will be a maximum of four winners. One winner will be chosen from each of the following four categories: improvisation, the best “groove,” musicianship, and recognition of established traditions within the chosen style(s). If the judges deem that no one has exemplifi ed a certain category within an age division, then that prize will not be awarded. The winners will be chosen based on their ability to best represent their chosen style(s). A panel of judges with recognized expertise in the individual stylistic tradition of the applicant will adjudicate each set of materials. From these applications, the winners will be selected and invited to perform at the 2009 ASTA National Conference in Atlanta, Georgia. Performances will take place March 18-21, 2009. Only those applicants able to perform in Atlanta will be eligible to win. A maximum of four cash awards are possible within each age division. Each award in the Senior Division will be $1,000; each award in the Junior Division will be $750; and each award in the Elementary Division will be $500. Elementary prize money sponsored by Alfred Publishing Company. Conference Performances Winners will perform at least once for 10 to 15 minutes. There will also be master class settings for winners to work with master teachers in their genre. Other performance and study opportunities will also be possible. In addition, fi nal participants will be invited and encouraged to participate in all aspects of the conference. A schedule of conference participation will be provided. Winners will be responsible for paying all travel, meals, and hotel costs associated with performing at the conference. Deadlines • All application materials must be postmarked no later than October 1, 2008. • Winners will be determined and notifi ed by December 1, 2008. • Winners will perform at the ASTA National Conference in Atlanta, Georgia, March 18-21, 2009. Questions Questions and concerns may be addressed by contacting Matt Turner at [email protected], or Libby Dietrich at ASTA’s National Offi ce at 703-279-2113 x28 or [email protected].

20 | American String Teacher | August 2008 American String Teachers Association Application Celebrating Alternative Strings: Deadline The Biennial Alternative Styles Awards October 1, 2008 March 18-21, 2009 • Atlanta, Georgia Personal Information Please print clearly or type. Name ______Teacher’s Name ______ASTA member ID of applicant or teacher ______Instrument ______Alternative Style(s)/Genre(s) ______Age as of March 18, 2009 ______Birthdate ______(Please attach proof of birthdate: copy of birth certiﬁ cate, driver’s license, etc.)

Senior Division (ages 19–25) born on or after March 18, 1984, and before March 18, 1990. Junior Division (ages 14–18) born on or after March 18, 1989, and before March 18, 1995. Elementary Division (through age 13) born on or before March 18, 1996.

Permanent Home Address ______City, State, Zip ______Country ______Home Phone ______Email ______

College or Temporary Address (optional) ______City, State, Zip ______Country ______Home Phone ______Email ______

Honors/Awards (not mandatory, attach additional paper if necessary) ______

Recorded Selections (title and composer) submitted on VHS or DVD: 1. ______2. ______3. ______Applicants are encouraged to attach any additional supporting materials that may enhance the application.

Membership Become an ASTA student member today for only $30. (This is additional to the $75 entrance fee.)

Completed entry form, recording, supporting materials, and $75 entry fee (check payable to ASTA) must be postmarked by October 1, 2008, and mailed as a single package to: ASTA Alternative Styles Awards 4153 Chain Bridge Road Fairfax, VA 22030

I understand that I must adhere to all criteria published with this application to be eligible to participate. Applicant’s Signature ______Date ______Parent or Guardian’s Signature ______Date ______(needed if applicant is younger than 18 years of age) Sponsored by: 22 | American String Teacher | August 2008 www.astaweb.com | 23 National Solo Competition Information Finals held March 18- 21, 2009 in Atlanta, Georgia at the Florence Kopleff Recital Hall Co-Sponsored by Georgia State University

What is the National Solo Competition? The National Solo Competition is open to ASTA members or students of a current ASTA member with instrument categories of Violin, Viola, Cello, Double Bass, Harp and Guitar. Participants must fi rst compete at the state level. For entry into the semi-fi nal round, each state competition chair submits to the national chair applications, fees and recordings of contestants from his/her state who have been selected by either a live state competition or a recorded screening evaluation. You may fi nd your state solo competition chair contact information at www.astaweb.com. Eligibility * Participants must be ASTA members or a student of a current professional ASTA member. Proof of membership is required. * There are two levels, the Junior Division and the Senior Division. The Junior Division is open to musicians under the age of 19 as of March 18, 2009 (born on or after March 18, 1990). The Senior Division is open to musicians 19-25 as of March 18, 2009 (born on or after March 18, 1984 and before March 18, 1990). * A copy of an offi cial document proving the entrant’s birth date (e.g. birth certifi cate, passport, license etc.) MUST be submitted with the application. * For the state competition, participants may enter in their state of residency or the state in which they are studying. Under no circumstances will a participant be allowed to enter more than one state’s competition. * Previous Winners: All eligible previous entrants may enter the competition again, including previous National Finalists and Second Prize winners. Previous Grand Prize and First Prize winners in the Junior Division may not compete again in that division; however, they may enter the Senior Division if they will have attained their 19th birthday by March 18, 2009. Previous Grand Prize and First Prize winners in the Senior Division are not eligible to compete further. * Participants must participate in their state solo competition to enter into the National Solo Competition. Any applicants sent directly to the National Offi ce will be disqualifi ed. Application Materials: * 2 copies of the entry form with proof of birth date (birth certifi cate, license etc.) * Non-refundable entrance fee of $75 USD made payable to ASTA * CD or cassette recording of national repertoire requirements Submit the above to your state competition chair by their deadline for consideration. Check with your state chapter for this date. Notes: * Students who have been accepted to be part of the National Solo Competition fi nals may not also be a participant in a National Orchestra Festival group, the National High School Honors Orchestra, or participate in the Alternative Styles Awards in the same national conference year. This participation restriction is due to overlapping event schedules which will cause disruption to the overall experience for all participants of each program. Students may apply for more than one event, but must accept only one if offered multiple event opportunities within the same conference year. * Please note there are no event chaperones provided by ASTA. Minors should be accompanied by a responsible adult. Prizes: Prizes will be awarded to the 1st place winner in each instrument for both the Senior and Junior division. The judges are not obligated to award a prize for any division or instrument they feel is not worthy. Judges will select one individual as the grand prize winner. That winner will be granted a performance opportunity with the Atlanta Symphony Orchestra. ** ** If the judges deem that no one has exemplifi ed a grand prize performance, then that prize will not be awarded. For more information contact your State Competition Chair (list found at www.astaweb.com) or: Libby Dietrich at ASTA’s National Offi ce ([email protected]) or 703-279-2113 x28 or Laura Kobayashi, 2009 National Solo Competition Chair ([email protected] or [email protected].) ASTA thanks Georgia State University for their support and co-sponsorship of the National Solo Competition Finals! 24 | American String Teacher | August 2008 National Solo Competition Entry Form March 18-21, 2009 in Atlanta, Georgia

Name ______Address ______City, State, Zip ______Phone ______Fax ______Email ______Instrument______Age ______Birth date______Division Are you a member of ASTA? ̆ Junior ̆yes ̆ Senior ̆no ASTA ID number______Is your teacher a member of ASTA? Which state competition did you enter? ̆yes: ASTA ID Number______̆no ̆not sure: Teacher’s name______Repertoire (on recording) ______

Competition Prizes, Signiﬁ cant Concerts, Festivals, and Honors (5 lines maximum): ______Students, please return the following components to your state chairperson by their deadline, or Nov. 1, whichever is earlier. For list of state chairs, visit www.astaweb.com.

I have read and understand the Solo Competition Guidelines and Responsibilities. I understand that I am responsible for all costs associated with advancing to the ASTA National Finals in Atlanta, GA (including travel, lodging, meals etc.). I understand that I will be provided an accompanist or will notify the National Ofﬁ ce that I am securing my own. I understand that if I am selected by the national committee to participate in the ﬁ nals of the National Solo Competition at the national conference, I may not participate in the Alternative Styles Awards program or be part of a participating National Orchestra Festival group due to overlapping schedules that disrupt the overall experience of all participants.

Applicant Signature ______Date ______

Parent/Guardian Signature (required for Junior Division Applicants) ______

State Chairs, please return the following components for each entrant postmarked by November 15, 2008. • 2 copies of entry form with proof of birth date (birth certiﬁ cate, license, etc.). • Non-refundable entry fee of $75 USD made payable to ASTA. • CD or cassette recording of national repertoire requirements

Return to: ASTA/2009 National Solo Competition • 4153 Chain Bridge Road • Fairfax, Virginia 22030 Tel: 703-279-2113, ext. 28 • Email: [email protected]

www.astaweb.com | 25 26 | American String Teacher | August 2008 www.astaweb.com | 27 E lizabeth A.H. Green S chool E ducator A ward ASTA Committee on School Orchestra and Strings

The Elizabeth A.H. Green School Educator Award is presented annually to a school string teacher with a current and distinguished career in a school orchestral setting.

ASTA members making nominations should complete and submit this form to the ASTA National Ofﬁ ce with a postmark no later than November 1, 2008.

Late forms will not be accepted.

1. Th e selection committee will photocopy all materials submitted, so it is important that all information be typewritten or printed legibly. 2. Nominee must currently be active in teaching strings or orchestra in a regularly scheduled school setting. 3. Nominee must have a minumum of 15 years of successful school string/orchestra teaching experience. 4. Nominee’s program must be for school-aged children through the 12th grade. 5. Nominator and nominee must be current ASTA members. 6. Note: Nominations will be kept on ﬁ le for three years. Nominees not selected this year will automatially be included in the next two years of applications.

Nominee Nominee Name ______Title______Address______City______State______Zip______Phone______Email______Current position______Years in position______Years in profession______Name of school district: ______Location of school district (urban, rural, or suburban): ______Grade level(s) currently teaching (HS, MS/JH, Elementary, and/or Pre-K): ______Number of schools where currently teaching: ______

Nominator Th e selection committee’s initial assessment of the nominee will be based upon a narrative provided by the nominator. Th e narrative must address all of the following issues in the order listed: the nominee’s impact on students; the nominee’s impact on the musical development in his/her school, community, and state; the nominee’s pursuit of his/her own professional development: a listing of past teaching awards and other awards; and a listing of nominee’s service to the profession through state and national leadership activities. Note: Be sure to use detailed examples in each section of the narrative to provide the selection committee with a complete description of the nominee’s qualiﬁ cations.

Nominator Name ______Title______Address______City______State______Zip______Phone______Email______

References Please obtain and submit with this application at least 2 letters of recommendation for the nominee. Th e selection committee will narrow the applicant pool (using the narrative provided by the nominator). Upon arriving at the semiﬁ nal list, the committee will contact three references that will need to be able to speak of the abilities of the nominee. Th ese references must include an administrator, a teacher/colleague, and a student or parent.

Please submit application to: Elizabeth A.H. Green Award • American String Teachers Association • 4153 Chain Bridge Road • Fairfax, Virginia 22030

28 | American String Teacher | August 2008 www.astaweb.com | 29 wards and Citations This impressive list of ASTA award winners emphasizes that our organization is the leading string education and performance association. A ASTA congratulates our many award winners, who have been inﬂ uential in the lives of thousands of string students, teachers, and players.

Artist Teacher Award Distinguished Service Elizabeth A.H. Green School National String Project Alice Schoenfeld 2008 Award Educator Award Award Eleonore Schoenfeld (Posthumous) Victor Sazer 2008 Susan Ellington 2008 Laurie Scott, The University of 2008 Richard D. Colburn (Posthumous) Mary Lou Jones 2007 Texas at Austin 2008 Lynn Harrell 2007 2005 Jan Garverick 2006 Margaret Schmidt, Arizona Helen Kwalwasser 2006 Roland and Almita Vamos 1997 Coral White 2005 State University 2005 Lawrence Hurst 2005 Eleonore Schoenfeld 1996 Leyla Sanyer 2004 Donald McInnes 2004 Felix Galimir 1995 Jan Davis 2003 Outstanding ASTA Chapter Paul Katz 2003 Louise Behrend 1994 Michael Alexander 2002 Award Winners Heidi Castleman 2002 Abram Loft 1993 Joanne Donnellan 2001 Robert Mann 2000 Grant Beglarian 1992 Ida Steadman 2000 2008 Fritz Magg (Posthumous) 1998 Robert Mann 1991 Pamela Tellejohn Hayes 1998 Best Newsletter, Virginia Franco Gulli 1997 Alexander Schneider 1990 E. Daniel Long 1997 Best Website, Tennessee Gary Karr 1996 Henri Temianka 1989 Wayne Roederer 1996 Membership Recruitment, George Neikrug 1995 Milton Katims 1988 Ian Edlund 1995 New Mexico Karen Tuttle 1994 Robert Klotman 1987 Linda Lydiard 1994 Most Improved State Chapter, Nathan Gordon 1993 Herbert Axelrod 1986 William Dick 1994 Connecticut Warren Benﬁ eld 1992 Margaret Farish 1985 Bruce Fowler 1993 Most Outstanding Chapter, Illinois Alice Chalifoux 1991 Phyllis Young 1984 Edward Ashton 1992 State Chapter Leader, Andrea Jascha Brodsky 1990 Louis Krasner 1983 Dale Kempter 1991 Meyers, Colorado Orlando Cole 1990 Clifford Cook 1982 Marilyn Kessler 1990 Harvey Shapiro 1989 John Celentano 1981 2007 Janos Starker 1988 T.J. Frederick Muller 1980 Isaac Stern International Best Newsletter, Minnesota Zara Nelsova 1987 John Kendall 1979 Award Best Website, Virginia Jascha Heifetz (Emeritus) 1986 Ralph Matesky 1978 Itzhak Perlman 2008 Membership Recruitment, William Lincer 1986 Margaret Rowell 1977 François Rabbath 2006 New Mexico Efrem Zimbalist (Emeritus) 1985 Elizabeth A.H. Green 1976 Janos Starker 2005 Most Improved Chapter, Leonard Sorkin 1985 Marvin Rabin 1975 Mstislav Rostropovich 2002 New Mexico Eudice Shapiro 1984 George Bornoff 1974 Kato Havas 1992 Most Outstanding Chapter, Aldo Parisot 1983 Paul Rolland 1973 Henryk Szeryng New Jersey Bernard Greenhouse 1982 American Symphony (Posthumous) 1989 State Chapter Leader, New Jersey Roman Totenberg 1981 Orchestra League 1972 Nathan Milstein 1987 Sharon Holmes (posthumously) Oscar Shumsky 1980 Fine Arts Quartet 1971 Ilona Feher 1986 Lillian Fuchs 1979 Merle Isaac 1970 Edward Melkus 1985 2006 Raya Garbousova 1978 Heinrich Roth 1969 Nannie Jamieson 1984 Best Newsletter, New Jersey Paul Doktor 1977 National Federation of Max Rostal 1984 Best Website, Colorado Rafael Bronstein 1976 Music Clubs 1968 Shinichi Suzuki 1964 Membership Recruitment, Kansas Dorothy DeLay 1975 Congress of Strings, Most Outstanding Chapter, Yehudi Menuhin 1974 American Federation of Traugott Rohner Leadership Minnesota David Walter 1973 Musicians 1967 in the Music Industry Award Most Improved Chapters, Gabor Rejto 1972 Bell Telephone Company 1966 Dalton Potter Georgia and Oklahoma Joseph Fuchs 1971 American Airlines 1965 The Potter Violin Company 2008 State Chapter Leader, South Dakota William Primrose 1970 Joseph Maddy 1964 Charles Avsharian David Elder (posthumously) Gregor Piatigorsky 1969 Jack Benny 1963 Shar Products Company 2006 Joseph Gingold 1968 Norman Pickering 2005 Samuel Applebaum 1967 Merle J. Isaac Lifetime J. D’Addario 2003 Best Newsletter, Minnesota Ivan Galamian 1966 Achievement Award Jim Strouse Best Website, Colorado Pablo Casals 1965 Pamela Tellejohn Hayes 1997 Stanton’s Sheet Music 2001 Membership Recruitment, Hans Letz 1964 Jacquelyn Dillon-Krass 1996 Alabama Isaac Stern 1963 Dorothy A. Straub 1995 Traugott Rohner Service to Most Outstanding Chapter, Hans Hess 1962 Jerry N. Kupchynsky 1994 NSOA Award California Samuel Gardner 1961 Merle J. Isaac 1993 Edna L. Hansen 1997 Most Improved Chapters, Louis Persinger 1960 Nancy Watling 1996 Alabama and Virginia Joesph Szigeti 1959 Paul Rolland Lifetime James H. Godfrey 1995 State Chapter Leader, Texas Achievement Award Kathlene Goodrich Arts Advocacy Award Louise Behrend 2007 Marvin J. Rabin Community David E. Kelley 2008 Elsa Hilger Ezerman 2005 Service Award Outstanding ASTA Student Sen. Edward M. Kennedy 2007 John Kendall 2003 Mary Drane West 2006 Chapter Award Phyllis Young 2002 Bonnie Greene 2004 University of South Carolina Arts Philanthropist of the Marvin Rabin 2001 Roberta Guaspari 2003 2008 Year Award Jacquelyn Dillon-Kraus 2000 Montclair State University 2007 Kay Logan 2008 Pennsylvania State University Sheila C. Johnson 2007 2006 Michigan State University 2005 Eastern Michigan University 2003

30 | American String Teacher | August 2008 Citations for Leadership 2004 1996 1985 and Merit Lynne Aspnes Judy Evans James Ceasar Renata Bratt Robert Klotman Cleveland Foundation 2008 Andy Dabczynski Anne Witt Coleman Chamber Society Albuquerque Youth Symphony Gerald Klickstein Louis Kievman Richard Anshutz Julie Lyonn Lieberman 1995 Gene Morlan Joshua Bell Kirk Moss Dorothy A. Straub Amy Fear-Bishop Martin Norgaard 1984 Judy Bossuat Deborah Perkins 1994 LeRoy Bauer Lynne Denig Bob Phillips Edward Adelson Warren Benﬁ eld Jeremy Denk Mary Alice Rich-Wittrig Jody Atwood Marla Mutschler Robert Gillespie Louise Rossi Robert Culver Louis Potter Donald Hamann Jeffrey Solow Doris Gazda Marvin Rabin Joanne May Edmung Sprunger Lawrence Hurst William Starr Denese Odegaard Carol Tarr Robert Klotman Francis Tursi Jung-Ho Pak Leslie Webster Oscar Zimmerman Shanghai Quartet Leslie Wimsatt 1993 1983 Lya Stern Mimi Zweig Ross Capshaw Nancy Cluck Leslie Webster Gordon Epperson 2003 Edward Krolick Siegfried Palm 2007 Renata Bratt 1992 Connie Aiken Stanley Chepaitis Louise Behrend 1982 Renata Bratt Andrew Dabczynski Gerald Doan Patrick Burrougs Michael Carrera Robert Gardner Joe Kirschner Tanya Carey Marilyn Daggett Matt Glaser Jerry Cadek Lucktenberg Nannie Jamieson Michael Gagliardo Mary Lou Jones Kevin Miller John Kendall Robert Gardner Carol Liddle Irene Sharp Zenzo Matsumoto Midori Goto Julie Lyonn Lieberman Eduard Melkus Karen Higdon Kirk Moss 1991 Elizabeth Morgan Tanya Kalmonovitch Anne Sheldon Robert Hladky Max Rostal Martin Norgaard Mary Wagner Scott Schwab Phyllis Young Jim Palmer Shi-Hwa Wang Pam Phillips Leslie Webster 1990 1981 Bonnie Rideout Ronda Cole Margaret Farish Daryl Silberman 2002 J. Kimball Harriman Art Hill Tracy Silverman Michael Alexander Daniel Heifetz Richard Maag David Smith Louis Bergonzi Linda Lydiard Raymond Stuhl Kristin Turner Jeff Bradetich Anne Mischakoff Larry Zgonc Matt Turner Tanya Carey Margaret Pardee Turtle Island String Quartet Pamela Tellejohn Hayes Aaron Shearer 1980 David Wallace Judy Palac George Vance Neva Greenwood Cornelia Watkins Laura Reed Markwood Holmes Carol Smith 1989 A. Kunrad Kvam 2006 Jeffrey Solow Fredell Lack Stanley Chepaitis Harry Lantz 1979 Janet Farrar-Royce 2001 A. Clyde Roller Robert C. Marince David Littrell Michael Alexander Shirley Trepel Mehli Mehta Katharine Mason Michael Allen Frederick Neumann Kirk Moss 1988 1978 Denese Odegaard 2000 Gerald Fischbach Phillip Gordon James Palmer Edward Adelson Richard Kapuscinski C. Paul Herfurth Kansas City Symphony Robert Cowden David Walter Bob Phillips Doris Gadza Anne Witt 1977 Vicki Richards Lawrence Hurst John Celentano Daryl Silberman Mary Lou Jones 1987 Mary Sexton Jeffrey Solow Dotty Kuhn Carleen Hutchins John Zurﬂ uh, Sr. Kristin Turner Laura Reed Milton Preves Mary Wagner Lya Stern 1974 Mary Wagner 1986 Vera Barstow 2005 Margery Aber Joan Boney Geri Arnold 1998 Joachim Chassman G. Jean Smith Karen Becker Susan Kempter Abraham Chavez Priscilla Smith Renata Bratt William Magers Lucas Drew Phyllis Young Andrew Dabczynski Phyllis Dunn Gerald Doan 1997 Murray Grodner 1965 Robert Greenwood Evelyn Elsing Richard Maag Marjorie Keller Julie Lyonn Lieberman Margaret Motter Joseph Knitzer Steve Muise Mary Wagner Lucie Landen Bob Phillips Ralph Matesky Daryl Silberman Gabor Rejto Mary Wagner

www.astaweb.com | 31 Member2Member by Robert Gillespie Strings and Volunteering: A Winning Combination

String teachers are passionate about their profession. We give, give, give, work, work, work, defend, defend, defend. In short, we care, care, care! I challenge you to combine that deep love and commitment to strings with volunteering in your local communities. We get the importance of strings and volunteering. We freely volunteer much of our personal time with our students. Who has ever gotten paid for everything that we do for them? No one! How about taking some of that devotion and sharing it with our communities through volunteering as string instrument professionals? Benefi ts of Volunteering with Strings Let’s briefl y look at the benefi ts of community volunteering: • Enriches the lives of others beyond our classrooms or private studios, • Helps us get beyond ourselves –allows us to focus on others, • Allows us to realize how blessed and fortunate we are, • Gives us practical ways to help others – we may not be able to fi x someone’s car or repair their house, but we do have the skills to bless them through strings, • Helps us become more aware of others – not just our students, family, and friends, • Helps us learn to give – not hard for us, we already give, give, give to our students, • Helps relieve stress by focusing on others in need – the Volunteering is an important part of community service. eff ects of volunteering are actually healthy! • Helps us to personally grow and sometimes gets us beyond • Incorporate volunteering into your string teaching curricu- our comfort zones, lum and make it a topic of discussion, research, and action • Models good citizenship for our students when they see us that involves string instruments. volunteer, and • Ask your students and their parents to suggest string • Helps us to keep balance in our lives – have you ever volunteer activities. Th ey may have suggestions you would found yourself so deeply committed to your profession never have considered. April is National Volunteer month. that you forget there are other important values in life and Pay special attention to volunteering with strings during people who need us? this time.

Okay I Get It! How Do I Do It? Opportunities Are Everywhere! Now that we have had a chance to refl ect, what are some Now let’s look at some volunteer activities with strings that in- ways to combine our life with strings and volunteering? Th e volve performing. Free volunteer performances may be given at: following are some suggestions to help us get started. Th ey are • Nonpartisan political events, divided into activities that focus on teaching and performing. • Hospitals (See sidebar about the MusicCare Program at Let’s look fi rst at those involving teaching: the James Cancer Hospital and Richard J. Solove Research • Give free private lessons to a student that is not able to pay Institute in Columbus, Ohio), for them. People have provided lessons for us. Consider • Senior citizen centers and retirement communities, returning the favor by giving free lessons to a student who • Day care centers, latch key programs, Boys and Girls Clubs cannot aff ord them. of America events, • Organize opportunities for your older students to tutor stu- • Prisons, dents who cannot aff ord to take private lessons like their peers • Churches and synagogues and other faith-based organizations, • Teach in community inner city programs where those who • Civic association meetings like the Kiwanis and Chamber typically do not get a chance to learn to play would have of Commerce, that opportunity thanks to you volunteering. • PTA meetings, • Organize a New Horizons orchestra for senior citizens. • Youth organization meetings, e.g. Girls Scouts, Brownies, • Volunteer to introduce string instruments to kindergarten and Boy Scouts, and young elementary students using the ASTA Discover- • Events or activities associated with other community vol- ing Strings and Orchestra program. Take advantage of the unteer associations like Volunteers of America. (Ask these coloring book and DVD. (See side bar about the ASTA organizations for suggestions for volunteer activities where Discovering Strings and Orchestra Program). you can incorporate strings), and • Help students combine strings with their school civic and • Events that involve your students performing as volunteers. club volunteer activities.

32 | American String Teacher | August 2008 How to Get Started Getting started with any new activity is tough. Th e following are some guidelines to help us begin volunteering with strings: 1. Be practical and start small. Choose one activity that you can comfortably fi t in your life. Begin with one activity for one hour per month. Try it for a few months and then add more if it works. 2. Do not make a major life or schedule change to get the activity to work. At fi rst, choose something that can comfortably fi t in your life without having to make a lot of changes. 3. Just try something. You may not be sure if the volunteer activity is the best one for you. Test it out a few times and see if it feels right. If it does not, try a diff erent activity. Keep going until you fi nd the one or two that fi t you well. 4. Do not be a perfectionist (Just like me!) and worry too much about being able to perform the activity. Just try it out and see if it works. Th ose in charge can’t lower your salary if you are volunteering for free! Choose an activity that is comfortable and relatively safe for who you so that it is easier to get started. 5. Refl ect on how volunteers have aff ected your life and then consider how to add strings to that experience. Have you ever volunteered at a nursing home? Bring your string instrument and play for everyone. It will brighten everyone’s day, and yours too, in a unique way that only you as a string player can do! 6. Remember that volunteering is not about you – it is about others. Do not volunteer because who want or expect to get appreciated. Let’s be frank. Teachers need to be in charge of their classes and private lessons. We are used to leading and controlling circumstances and people. We are good at it, and we need to be so we can successfully teach. In our fi eld, we are accustomed to applause and appreciation. However, volunteering is not about being in charge or being appreciated. Volunteering focuses on helping and blessing others. Volunteering is about service and serving others, not rewards and applause for us. Someone may recognize our eff orts or say thank you, but not often. Th at is okay. Volunteers are servants.

Th e Charge We have one of the grandest professions. We get to teach and support others through the world of string instruments and music. In the course of our work we can touch many people’s lives. We have the power to bless those around us with music that will move them, brighten their day, and enrich their lives. Strings in our hands are powerful. I challenge you to consider touching others by using your professional string skills as volunteers. I challenge you to use your teaching and playing to touch people beyond your classrooms, private studios, and concert halls. Refl ect on how incomplete your life would be without strings. Have you ever tried or been forced not to play or teach for a time? It is diffi cult, you miss it, and you have to return. Use that longing and gift to share with others through volunteering. Touch others with strings in the same way you have been touched. Combining strings and volunteering is a win-win: You will be blessed and so will those you touch. JamesCare for Life MusicCare Program Located at Ohio State University, the James Cancer Hospital and Richard J. Solove Research Institute is one of the leading cancer hospital and research centers in the country. Th e JamesCare for Life MusicCare Program was developed to enhance the quality of care for patients. Th e goal of the MusicCare Program is to surround patients in a soothing, calming atmosphere before, during, and after their treatment or surgery. Patients may experience live or recorded music. All of the live music is performed by volunteer performing musicians who dedicate over hundreds of hours playing in patient rooms or out in hospital waiting areas each year. One of the volunteers, Judy Mollenhauer, harpist, of the Columbus (OH) Symphony, states: “Having played the harp professionally for many years and as principal harpist for the Columbus Symphony, Jude Mollenhauer plays bed side to an appreciative patient. I know the joy that music has in general, and the harp in particular, can bring to people in any state of health. Having joined the MusicCare program in January 2001, I have had the opportunity to experience some very touching positive responses from the patients when I play the harp in their rooms, as well as from the staff when I play in the general area near the nursing station. One patient wished me much beauty, as I had made her day so beautiful. Another time was when I got off the elevator with my harp; a staff member just looked, smiled, and gave a long sigh of joy.” Th e James MusicCare program is free of charge to all patients at the James. It is funded by private donation and grant support.

Dr. Robert Gillespie, professor of music, is responsible for string teacher training at The Ohio State University. He has served on the ASTA national board for six years, most recently as immediate past president (May 2008). He is a frequent guest conductor of All-State, Region, and festival orchestras throughout the country and Europe. He has presented string teacher sessions, workshops, and conducted concerts at national and state music educator conferences in 44 states and Canada and Europe.

www.astaweb.com | 33 Using a Practice Diary to Promote Self-Regulated Instrumental Practice by Susan J. Kim

“Practice is everything.” Th is is often misquoted as “Practice makes perfect.” Periander (ca. 625-585BC)

s a studio violin teacher, I spend a lot of time teaching my students how to practice striving to follow in the footsteps of the prominent violin pedagogue Ivan Galamian who once stated, “[ThA e teacher] has to impress on his students that practice has to be a continuation of the lesson, that it is nothing but a process of self-instruction in which, in the absence of the teacher, the student has to act as the teacher’s deputy, assigning himself defi nite tasks and supervising his work.” (Galamian, 1964, p. 62) Still, I ask myself, “Are my students eff ectively practicing on their own?” Th is question led me to the Self-Regulated Learning Th eory, a social-cognitive perspective on how students acquire skills that are necessary to take control over their own learning (Bandura, 1991). Th is theory was formulated by Albert Bandura in 1986, and since then, it has become an important perspective among education academic circles. Only in the recent decade has it become the basis for a growing body of research in music education. Th is educational paradigm is viewed as an open-ended cyclical activity that occurs in three phases: forethought, performance/volitional control, and self-refl ection (Zimmerman, 1998). Th e forethought phase includes the thought processes, self-effi cacy, and self-motivation that pre- cede eff orts to learn. Th e performance/volitional control phase refers to the processes that occur during learning that aff ect a student’s concentration and performance. Finally, self-refl ection is the student’s reaction and subsequent response to the completed learning experience. (McPher- son & Zimmerman 2002, Zimmerman, 1998). Based on this theory, I recently conducted a study on how college string majors self-regulated their learning during practice sessions. In order to better understand this learning process, the students used a semi-structured practice diary. Th e research results revealed that the students found the diary: • Provided a structure to plan out their practice sessions, • Made them become more metacognitive about how they practiced, • Aided them so that they practiced more effi ciently, and • Helped achieve goals within the four-week period of the study.

34 | American String Teacher | August 2008 Th e practice diary can also be used as a practical tool for studio music teachers to examine their students’ daily practice behaviors. To promote self-regulated learning in students at various ages, the following three self-teaching phases should be used (Jorgensen, 2004): • Planning and preparation of practice, • Execution of practice, and • Observation and evaluation of practice .

Th e Semi-Structured Practice Diary Phase I: Planning and Preparation Th e questions in the fi rst phase of the practice diary should be answered before the student starts practicing. 1. Make a list of exercises and repertoire and the time you want to allot for each item on the list. Th e fi rst item provides a framework so that a student can plan out the practice session. Th e students found that making a list of all the things they wanted to practice helped them plan out their practice sessions and manage their time better. Th e checklist also served as a record of all the things they had practiced. 2. What are my goals for this practice session? Th is question asks the student to intentionally think about the purpose of his practice session, so that he is less likely to practice mindlessly. Th e students found that writing down practice session goals provided the structure needed to achieve them. It also helped them stay focused and ultimately achieve long-term goals during the four-week period of the study. 3. What are some practice strategies that I am going to use to accomplish my goals? Once the student sets his goals, he has to think about how to achieve them by coming up with diff erent practice strategies. Th e students reported using a wide range of technical and cognitive strategies. A few examples of the technical practice strategies they used are: practicing diff erent groups and rhythms to improve motor skills, playing double-stops to improve intonation, and repeating notes to help them play eff ortlessly. To think more analytically, they used cognitive strategies, such as isolating problem spots and dissecting them into parts, identifying recurring patterns, and thinking about the music in phrases and sections. Keeping a daily record of the practice strategies that were used allowed the students to see which strategies were eff ective.

Phase II. Execution of Practice Th e questions in the second phase should be answered after the practice session. 1. How did I instruct myself when I came across a problem? In order to carry out the fi rst phase of the self-regulated learning cycle, the student needs to instruct himself. My study found that students self-instructed to solve problems, monitor playing, implement and adjust practice strategies when a certain practice strategy was not working well. Th is question also reminded students to teach themselves just like a respected teacher would have instructed them. 2. How did I analyze the music during this practice session? Research has found that analytical study of a score prior to physical practice is a cognitive-analysis strategy that is used more by professional musicians (Hallam, 1995). Th e students that participated in the study found that analyzing the music not only helped them be more mindful of the diff erent parts of the composition, but it also helped them memorize the music, hear the harmony better, and play more musically. But the younger students did not analyze the music as much as the older students because they did not receive the same amount of formal music theory instruction. Still, this question reminded them to analyze the music to the best of their knowledge, and it helped them organize their thoughts and play more musically. Studio teachers can help younger students better understand the composition of the music by demonstrating simple analytic techniques, such as identifying the form of the piece, noticing certain recurring patterns, and identifying harmonic patterns. 3. How did I construct an aural or visual image of the piece? Constructing an internal image of the music is a strategy that is also used more by professional musicians (Miklaszewski, 1989). Students who created an aural and visual image of the piece had a clearer idea of the piece before they played, and so, they practiced more eff ectively. Teachers can help their students use this strategy by asking them to describe the sound in colors or paint a picture in their head. Th e student can also be asked to sing the music out loud to help create an aural image of the piece. 4. How did I monitor myself? How did I think about the music? How did I listen to myself? How did I watch myself? Self-monitoring is an essential part of practicing because playing a musical instrument requires a combination of aural, cognitive, motor, and decision-making skills. Th ese questions remind students to monitor their playing by listening, thinking, and watching themselves. Students should be encouraged to use practice tools, such as a metronome, a mirror, or video-recorder to help monitor as well as to give themselves immediate feedback on a daily basis.

Phase III. Observation and Evaluation of Practice Th e questions in the third phase should be answered after second phase questions. 1. How did I sound? Th e student ought to think like a medical doctor by diagnosing strengths and weaknesses in order to prescribe solutions to problems, so practice can be more eﬀ ective. Th is phase of the self-regulated learning cycle is crucial to knowing how to

www.astaweb.com | 35 continue practicing. Th e student needs to refl ect upon how he practiced, and how he sounded in order to fi gure out his next plan. Students in the study found the semi-practice diary a helpful tool to articulate what they heard and refl ect on their practice session. Th ey also found it to be a concrete way to keep track of their progress. 2. What are some problems that I encountered during this practice session? How am I going to go to fi x them? Practicing becomes more eff ective once you identify the problem and only then can you solve it by coming up with possible solutions. Th is question reminds the student to identify problems on a regular basis. However, the teacher may need to challenge the student to probe deeper to help get to the root of the problem. Th is question served as a reminder to not only identify problems, but also to think through their problems. By articulating them on a daily basis, the students developed better critical thinking skills and problem-solving skills. 3. Did I accomplish the goals that I set at the beginning of the practice session? Which ones? Practicing becomes more rewarding when a student sees the fruits of his labor. Th e students in this study felt a sense of progress when they were able to reach the goals they had set at the beginning of the practice session. Th ey also learned what kind of goals were reachable within a practice session. Ultimately, setting specifi c short-term goals helped them reach longer-term goals during the period of the study. In addition, they became more motivated to practice as they accomplished smaller goals on a daily basis. 4. How did I play musically? When a student overly focuses on the technical aspects of playing, musical expression can be compromised. Th is was the case with some of the students involved with the study. Th ey struggled with balancing technical work with musical expression. However, this question served as a reminder to play musically during their practice sessions. As a result, the students enjoyed practicing more because they did not get into the mindset of only thinking about the technical aspects of playing. Teachers can encourage their students to think and play more musically by asking them to write a story that would go along with the music or by asking them to describe the music in colors or emotions. 5. What is my next plan of action? Th e last question of the semi-structured practice diary should help the student plan and prepare for the next practice session. Th is question directs the student back to the fi rst phase of the self-regulated learning cycle.

Summary Most students self-regulate their learning to some degree; still, all students can benefi t by learning how to practice more effi ciently. Th e student can use the practice diary as a tool to remind himself of some of the important elements of eff ective practicing. Th e practice diary is also a way for a student to keep a record of progress over the week or even a month. Th e students found the diary useful in making them more aware of how they learned during their practice sessions. Th ey were also able to achieve their goals during the four-week period of the study, and they became more confi dent in the way they practiced on their own. Teachers can use the semi-structured diary to examine their students’ practice habits and diagnose persistent problems. With the diary, they can assist their students to develop more effi cient practice habits. Th e practice diary can also serve as a catalyst for discussion and exploration of better practice strategies and practice habits between the student and teacher, as well as for the students in the same music studio.

Instructions Th e semi-practice diary’s forms can be copied for each day of the week and put in a binder for each student. Younger students might need more help using the semi-structured diary. Teachers might consider going over the questions with each student and give examples of various practice strategies or good practice behaviors. Studio teachers may tailor the practice diary to the needs of each student as long as the integrity of the self-regulated learning cycle is preserved.

References Bandura, A. (1991). Self-regulation of motivation through anticipatory and self-reactive mechanism. In R.A. Dienstbier (Ed.), Nebraska Symposium on Motivation: Vol. 38. Perspectives on motivation (pp. 69-164). Lincoln: University of Nebraska Press. Galamian, I. (1964). Principles of Violin Playing and Teaching. London: Faber & Faber. Hallam, S. (1995). Professional musicians’ approaches to the learning and interpretation of music. Psychology of Music, 23(2), 111-128. Jorgensen, H. (2004). Strategies for individual practice. In Williamon, A. (Ed.), Musical Excellence: Strategies and Techniques to Enhance Performance. (pp. 85-103). N.Y.: Oxford University Press, Inc. McPherson, G.E. & Zimmerman, B.J. (2002). Self-regulation of musical learning. R. Colwell & C. Richardson (Eds.), Th e New Handbook of Research on Music Teaching and Learning (pp. 327-347). New York: Oxford University Press. Miklaszewski, K. (1989). A case study of a pianist preparing a musical performance. Psychology of Music, 17, 95-109. Zimmerman, B.J. (1998). Developing self-fulﬁ lling cycles of academic regulation: An analysis of exemplary instructional models. In D.H. Schunk & B.J. Zimmerman (Eds.), Self-regulated learning: From teaching to self-reﬂ ective practice (pp. 1-19). New York: Guilford Press.

Susan J. Kim, violinist, recipient of the Charles Petschek Award and Michael Cohen Scholarship, studied with Sally Thomas and Joel Smirnoff, receiving her B.M. and M.M. at the Juilliard School. She went on to receive a doctor of education degree from Teachers College Columbia University and is currently on the Preparatory Division faculty at Mannes College of Music. Kim has performed across the United States, Canada, Germany, Japan, and Korea as a soloist, an orchestral player, and a chamber musician.

36 | American String Teacher | August 2008 www.astaweb.com | 37 Challenging the Middle School Orchestra Musician

By Gail V. Barnes

We want to challenge our students—but, to do what? Play faster? Higher? Louder? Idealistically, we believe that if we help them to have rewarding musical experiences, they will always want music in their lives. What kinds of experiences make a lasting impact on a young person? What are some of the tools we can use to help our students develop a feeling of ownership in their program, ensuring their commitment to music, now and in the future? Th e answer to these questions may rest in some common issues deﬁ ned by the 65 string and orchestra teachers who took part in the validation process for an Orchestra Performance Rating Scale (OPRS), (Smith and Barnes, 2007). Each of these individuals viewed and rated three of 65 orchestra performances using a list of statements that are commonly used to describe school orchestra performances. Th e results were calculated and went through further validation to synthesize this list to 25 items (see box on following page.)

38 | American String Teacher | August 2008 25 Common Ratings Statements the larger objective. the back of the chair and have the soles Ensemble Another aspect of both feet fl at on the ground. Teachers Players watch conductor. may be learning to may also want to take a closer look at their Ensemble plays together. speak in terms of orchestra room chairs. Do the students Chordal accompaniments are together. “we.” As an example have a fi ghting chance of sitting up Players show evidence of listening to one another. rather than “I want straight in bucket chairs or even worse… Attacks are clearly defi ned. to hear. . .,” or “Play metal folding chairs? One possible way to Overall texture is clear. it this way for me...,” get musician’s chairs is to ask parents to Left hand focus on “What we donate one in honor of their child. Add Cadence points are in tune. want to do.” Th is can a small brass plaque on the back, with the Vibrato speed and width contribute to artistic impact. be done by simply child’s name imprinted serving as a lasting Chromatic alterations are in tune. giving two choices legacy to their time in your group. Lowered fi ngerings are in tune. and then asking Raised fi ngerings are in tune. the students to vote Challenge Th ree: Rhythm Position for one. It is bet- Rhythm issues can frequently seem Players demonstrate correct instrument position. ter to progress from abstract to a child instead of something Players demonstrate correct left hand position. broad to more subtle they can internalize. If we want dotted Players demonstrate correct right hand positions. choices or perhaps rhythms to be accurate and precise and Players demonstrate lengthened and balanced posture. even open-ended all notes to be sustained for the notated Players demonstrate uniform bow placement. ones. Th is may lead value, how do we bring those concepts to Rhythm to the feeling of los- our students? Sometimes children become Dotted rhythms are accurate and precise. ing a bit of control confused about where to start counting. Notes are sustained for the full notated value. over the class, but if Here’s an idea…Th ey all have measuring Players demonstrate control of bow speed. the students begin to cups or tape measures at home, and they Tempo understand how they know those particular devices start with Tempi are fast enough. can infl uence shaping zero—so, when they count to three for Tempi are appropriate to style of composition. the piece, they may a dotted half note, they stop when they Presentation pay more attention get to three, just as with a measuring cup, Ensemble has a uniform appearance. and take greater pride they don’t want to overfl ow. Just because Ensemble has a professional appearance. in their work. Th is you explain that music starts on one and Bow will infl uence their the need to hold the beat to beat four may Players use enough bow speed. sense of ownership seem obvious to us, but not so much to Players use suffi cient bow weight. and integrating music the average 11 or 12 year old. into their lives. What about developing an internal Young children will frequently at- pulse? While being able to move to music Th ese items, along with a positive struc- tribute success to eff ort, but middle school is a preliminary step either with the body ture for the orchestra rehearsal, may be students have more of an understand- or by foot tapping, we also want our used to provide focus and direction for ing of the diff erence between eff ort and students to able to internalize the beat. both teacher and students. ability than younger children. We need Robert Culver, professor of music educa- to increase their attributions to eff ort. If tion at the University of Michigan, chal- Challenge One: Goal Setting they are encouraged to try harder and not lenges students with the following: a) First, Sometimes, the six to eight weeks we have accept mediocrity, there is some evidence clap or snap a consistent pattern of quarter to prepare our students for a performance they will read this as an ability cue and notes b) stop after a time and ask the seems light years away. We can focus our that they are capable of higher achieve- students to clap together after a specifi c eff orts by prioritizing: position, rhythm, ment. Children are not easily fooled and number of beats after you stop the pattern intonation, tone, ensemble, and presentation may infer lack of ability from an excess (call that beat one). Th e students will see (stylistic elements). While it may not always of sympathy (Asmus, 1985; Austin & if they can audiate the beat without exter- be feasible or even desirable to keep these as Vispoel, 1992; Schmidt, 1995). nally displaying it. discrete categories, it is one way of creating shorter-term goals so that students will focus. Challenge Two: Position Challenge Four: Intonation Each rehearsal needs to be structured Every orchestra member must have a Accurate intonation is a lifelong quest with specifi c goals that will be meaning- lengthened and balanced position. Middle- for most string musicians. For middle ful. One method of doing this comes from school students are sometimes growing school string players, it may help to teach Christopher Selby, an orchestra director at such a rapid pace that, all of a sudden, concepts in polarities: teach good intona- in Richland School District 2 (Colum- those good habits we thought were in- tion by modeling accurate intervals and bia, SC): Stage 1—fi rst introduction to grained seem to disappear. Middle-school then comparing them to out-of-tune the piece; Stage 2—working through the children seem to be trying to hide and curl intervals; having second violins and violas structural elements and Stage 3—polish- into themselves. Th ey must be continually manipulate the third of the chord to be ing the piece for performance. Th ese three but gently reminded to sit up away from either minor or major; model an out-of- stages create smaller goals on the way to

www.astaweb.com | 39 tune leading tone and the resulting lack an unintentional accent and is not very Doppler eff ect (articulation coming in of tension. Sometimes intonation may be musical. Make students aware of this issue waves rather than at a single moment) that clouded by less than accurate rhythmic and teach them to lighten the bow weight, can sometimes occur in young orchestras. alignment. Another contributing factor is and bring the bow closer to the fi nger- Optimally, the orchestra should have the less-than-eff ective playing position (there board on the shorter note. Th is helps the same blend from any angle of the listener. are many specifi c examples that you could overall expressivity of the sound. Altering cite), and a lack of understanding of fi nger the bowing to hooked bows can also work! Challenge Seven: Tempo patterns. Th ere are several systems for the Middle school students should also Tempi need to be fast enough or slow latter, the most common being the Bornoff be challenged to avoid open A and E enough. Th at may seem obvious but fi ngering system. Sometimes string and strings. Using a fourth fi nger (or second does not always happen by concert time. orchestra teachers isolate the issue to two or third position for the cello) can create Bill Jones, from the University of Iowa, notes or even one note, circulating around new intonation issues but those can be believes the fi rst reading must be at the the group and having each student play, adjusted. Once students make the left-arm correct tempo, no matter how many notes note-by-note. Th is can be ineffi cient, adjustments that make the fourth fi nger get dropped. Th e students then get a sense because it is actually easier for students to feasible, they will enjoy the more pleasant of their ultimate goal. In Stephen Covey hear pitches in context, three to four notes sound of the fi ngered pitch. Th e violin and terms, we need to begin with the “End at a time, as in i.e. D-E-F#-G rather than viola left hand (and elbows) may only be in Mind.” Middle school students have just the F#. Another suggestion for this age set properly when the fourth fi nger is used a frequent tendency to rush the tempo. group is to have them experiment with res- correctly and consistently. Th ere are a couple of strategies for work- onance: Students play a fast down bow on ing with this problem. First, describe the an open D or G and “whip” the bow off Challenge Six: Ensemble performance as the telling of a story. If the string and listen for the “ring.” Th en, Th e most heavily weighted item in the one talks too fast or hurries to the end, the the teacher can model an in-tune and OPRS was “players watch conductor.” story isn’t as enjoyable. Second, try using out-of-tune fi ngered note of her choice, Developing an internal pulse can go a long a loud metronome such as the McAdams bowed the same way and demonstrate that way toward keeping the group together, tuner-metronome or a Dr. Beat connected in-tune notes will have resonance also. but the orchestra will never be able to play to an amplifi er to serve as a unifying force expressively or feel the potential power of in the school orchestra. When students Challenge Five: Tone the music without watching the conduc- start rushing, make the beat fi ve or 10 Th e bow presents a unique challenge to tor. One trick is to have the students degrees slower. If they continue to rush, young string players and is aff ected by all hold or release a note while watching us decrease it fi ve or 10 degrees more. Th ey the preceding elements: position, rhythm, during scale exercises. Th is trick forces the fi nd this maddening, but it does have the and intonation. Use of the bow and students to watch but that can fl y out the eff ect of making them pay more attention pitch are mutually dependent because an window once we get absorbed rehearsing to keeping a steady pulse. unfocused bow stroke can make the pitch pieces. Th is is evident in performances, sound muddy. Conversely, out-of-tune both adjudicated and otherwise, when the Challenge Eight: Presentation pitches will never have a resonant sound. students are burrowed into their music and As with sports, suiting up appropriately Sometimes we can become so focused on we may only see the tops of their heads. for an activity helps the young player performances that we may forget to look at Perhaps another approach is develop- recognize that he or she is getting ready to bow holds to be sure they’re still bending ing their musical sensitivity through their do something important. Not all middle the (fi rst) right thumb joint. If this is the listening skills. If students practice in school orchestras have adequate resources case, students are handicapped by playing quartets, they may begin to have a greater to purchase concert dress for every child. with crooked bows and almost always pri- understanding of the importance of their If this is the case, explore fundraising marily, in the upper half of the bow with a section’s musical line. Not all middle options to purchase concert attire, thus drooping right elbow. Try capturing middle school orchestra facilities are fortunate gaining uniformity. To make another com- school students’ imaginations by describing enough to have practice rooms, so another parison to sports, it also helps the group the palette of tone colors that are available option is dividing the students into small feel like a team. to them. If they can control bow speed and groups and have them scattered around Variety in the aural experience of the weight, draw the bow parallel to the bridge, the room. Each player will have both an listener is also important, and it is easier control the distance from the fi ngerboard individual and a group responsibility. than ever to fi nd varied literature. Students to the bridge, they can vary their sound, It can also be valuable to vary the love rhythmically driven pieces. Th ey are leading to a more exciting sound. Make seating within the traditional set-up. Th is keen on pieces written in a modal or mi- sure they understand that sometimes requires work on the part of the director, nor tonality and also enjoy novelty pieces. the bow is too light, so we must make it shaking things up and getting the students Students also need expressive pieces that heavier with right arm weight. Sometimes out of their comfort zones. One system can initially be a tougher sell. Th ese will it is too heavy, and we must make it lighter may be to rotate one stand forward each help students really develop their sound, with a lifting eff ect that incorporates the week (second stand moves to fi rst, fi rst control their pitch, watch the conduc- right arm and thumb. stand rotates to back, etc). Many directors tor, and pay attention to their role within Middle school students may fre- may wish to have their more confi dent the school orchestra. Meeting all of these quently yank at the bow during certain players lead the section for performances, challenges is not easy, but all add up to a rhythmic fi gures, e.g. dotted half note, but it may be worthwhile to consider hav- quality teaching and learning and experi- followed by a quarter note, dotted quarter, ing a strong player/anchor in the rear of ence for both student and teacher. followed by an eighth note. Th is leads to the section. Th is can help with the mini-

40 | American String Teacher | August 2008 References Asmus, E. P. 1985 Sixth grader’s achievement motivation: Th eir views of success and failure in music. Bulletin of the Council for Research in Music Education, 85:1-13. Austin, J. R. & Vispoel, W. P. 1992 Motivation after failure in school music performance classes: Th e facilitative eﬀ ects of strategy attributions. Bulletin for the Council of Research in Music Education, 111: 1-13. Boardman, E. 1989 Dimensions of musical thinking. Lanham, Maryland: Rowman & Littleﬁ eld Education Schmidt C. P. 1995 Attributions of success, grade level, and gender as factors in choral students’ perceptions of teacher feedback. Journal of Research in Music Education: 43:313-329 Smith, B & Barnes, G. (2007)Validation of an orchestra performance rating scale. Journal of Research in Music Education, 55:268-280.

Gail Barnes is associate professor of string teacher education, director of the USC String Project and area coordinator of music education at the University of South Carolina. She edited Applying Research to String Teaching and Playing for the American String Teachers Association and has developed an online community for string and orchestra teachers, presenting best practices in string and orchestra teaching through video in an online forum.

www.astaweb.com | 41 astering the Unknown: MGuidelines for Successful Orchestra Auditions

by Garrett Fischbach

Orchestra auditions and recitals require diff ering methods of preparation. Th e following scenario is familiar to many people who have auditioned for an orchestra and illustrates the most important diff erence between auditions and recitals: the absence in auditions of the acclimation period which is usually built into a recital. You have prepared all year for an important recital. Th e repertoire is demanding but you have programmed an opening number that you feel comfortable with. During the recital, the fi rst few bars are a bit rough as you acclimate yourself to the stage, the surroundings, and the acoustics. You make one rather embarrass- ing mistake, but after a few minutes you feel relaxed and you are playing at your best level. Th e recital is a huge success, and no one remembers the little slip at the beginning. You have an orchestra audition coming up. You’ve practiced meticulously six hours a day for three months, and you feel ready. You arrive at the hall at 8 a.m. on the audition day to be assigned a time, and are assigned to play between 10 and 11a.m. Th ey show you to a cold room with 47 others, and tell you that 10 minutes prior to your audition time you will be given your own room. Meanwhile, you are allowed to practice in this holding tank, but you can’t hear yourself, and you feel self-conscious with your competitors watching and listening, so you decide to roam the hallways. You hear the person who has just been given a private practice room and is about to go out on stage. He seems to be playing the Strauss excerpt faster than you do. Did you practice the wrong tempo? Th e audition starts to run behind schedule. Five and a half hours later, you are brought to your private room and are told that you will be instructed what to play when you get out on stage. You fi nally get out there, it’s strange, you feel uncomfortable, and they ask you to play a light spiccato excerpt fi rst (you are accustomed to starting with your concerto). You start to play and you feel out of control. Th e acoustic of the hall is much drier than you expected, and you feel like you can’t make a good sound. Somehow you stumble through the 45 seconds of spiccato. Th en they ask you to play the Strauss excerpt. You try to play it much faster than you are accustomed to, and it goes badly. Now one more excerpt, but you make a few mistakes because you are still thinking about the Strauss. Some- one from behind the screen says, “Th ank you very much.” It’s over. You were on stage for three and a half minutes. Needless to say, you didn’t get the job (and by the way, neither did the person who played the Strauss so fast).

42 | American String Teacher | August 2008 Th at story sounds pretty grim, but the good news is that you Must I Know the Score? can still win an audition under those circumstances. What follows You will have an advantage if you know what else is happening in is advice on mastering the skill of playing your best even in the the score. Th at doesn’t mean that you must memorize every part most disorienting of circumstances, as well as answers to many in the orchestra, and although it is always useful to see a score, if frequently asked questions regarding preparing for and taking access to a particular score is diffi cult, you can still do without it. orchestra auditions. Usually careful listening to a few standard recordings will tell you the important points: who has the melody, what other aspects Th e Importance of the “Mock Audition” of rhythm, articulation, and voicing are present in the score that A large part of your preparation must be devoted to putting your- might aff ect the way you play your part, and especially, what self into unfavorable circumstances by playing practice auditions. traditional unmarked rubato or tempo changes exist. You will have to use your imagination to come up with ideas that will best challenge you. You can call one professional colleague, Why Are Th ere So Many Spiccato Excerpts? and ask him to gather one or two others, but not tell you who Many audition repertoire lists consist largely of excerpts de- they are. Show up at his house and have them sit in an adjacent signed to test your bow control. Even the best soloists don’t need room to keep their identity unknown. Have your colleague perfectly even spiccato because they need not match exactly with choose three excerpts for you to play straight through with only an entire section. As soloist it is okay to stand out a bit. A slight fi ve minutes of warm up time. Play the excerpts, and you’re done. irregularity in a section player’s spiccato will sound like sloppy en- Th e point is for you to practice the act of giving your best in those semble, not artistic personality. Diff erent techniques are required fi rst few minutes, with no second chances, and no time to settle for diff erent types of spiccato. Many people consider the most in. Do this as many times as possible during the weeks leading up diffi cult to be the slow spiccato excerpts where each note is con- to the audition date, and vary the circumstances so that there is trolled individually, rather than very fast spiccato which requires some new factor that you must deal with each time. By the time only an easy back and forth motion of the wrist. For the slower you get to the audition, the feeling of being “on” in the fi rst few spiccato strokes, a fi rmer bow hold is required. It is helpful to fo- minutes under strange circumstances will be routine for you. cus on the fi rm contact of the fourth fi nger with the bow, and to pay attention to the up-bows. Also, practice ON the string until How Should I Practice? you reach the actual performance tempo. Most of these spiccato From the start, program yourself for the best possible rhythm strokes are best thought of as well articulated “on” strokes - the and intonation. You don’t need to take any shortcuts, because stick moves up and down, but the hair scarcely leaves the string. you will allow yourself ample time to learn the music carefully. Th ere is one method of practicing you use to prepare for tomor- Must I Do Th eir Bowings or Tempo Markings? row morning’s rehearsal, for which you just today received the Occasionally an orchestra will send their own parts for a particu- music. Quite another type of practicing is used to prepare for an lar excerpt. If there are bowings marked, you should familiarize audition: you start weeks or months in advance, never pushing yourself with them and be prepared to play them, but if you feel yourself to play more material than you can manage, or at a faster you sound much better with your own bowings, it is better to use than comfortable tempo. If you isolate a small enough passage, those. It is usually not diffi cult to determine a standard tempo and play it slowly, you are almost guaranteed to succeed in the range; listen to several recordings to get a general idea of tempo. practice room every time you play that passage. If you play up to In the last stages of an audition, candidates are often asked to tempo before you are ready, you will practice making mistakes. repeat excerpts with diff erent tempos, dynamics, articulations, etc. Repetition at gradually increasing tempos cultivates success from Th e better prepared you are, the more fl exible you will be. Profes- the beginning and will increase your chances of getting it right sional orchestras require great fl exibility and the ability to make that one time that counts: at the audition. Do not change tempos quick changes due to limited rehearsal time. If you are a fi nalist, during a play through of a passage while you are practicing - this they want to test your fl exibility. will build habits of unsteady rhythm. In other words, don’t speed up in your practice for half a bar just because that half bar is easy. How Can I Be Expressive Yet Sound Like a Good Section Keep a continuous tempo. Use the metronome often - even for Player? slower lyrical passages. Many committee members will be on the Notes at ends of passages should be short and neat, especially other side of the screen silently tapping and subdividing to check when there is a dot over the note. Attacks with the bow should your rhythm. If you are practicing a fast passage at a slow tempo, always be from very close to the string and not high up in the air. don’t vibrate excessively or use too much bow. Try to approximate Th e former is a style more suited to matching with the sound of a the same physical motion that you will use at a fast tempo, and section. Vibrato should be expressive, but not such that it would then you will be more nimble when you actually play fast. stand out in a section. You may be as eccentric/passionate/rhap- sodic as you wish in the concerto. Th e excerpts must still be as ex- Should I Play for Orchestra Members Prior to the Audition? pressive as possible, but played with a symmetry that can easily be Coaching with someone in the orchestra can be useful for obtain- followed, and automatically agreed upon by an entire orchestra. ing general advice from an experienced professional, but that When each player pushes/pulls the rhythm or dynamic in diff er- same advice can sometimes be obtained from an individual in a ent places; you end up with ragged edges and ensemble problems. diff erent orchestra as well. In most cases, it is not worth the cost An audition committee knows this, and they will respond well to of a special trip across the country or ocean to play for someone, a player whose expression is compelling, but not unpredictable or especially if the fi nals will be held behind a screen. If there is no too individualistic in the excerpts. screen in the fi nals, then obviously psychological factors can come into play among the committee members, and if you have previ- Must I Learn the Musical Style of the Orchestra that I Am ously formed a positive relationship with one or more of them, it Auditioning For? may help you. Still, there are no guarantees, and most likely the Some orchestras are known for having a unique style, and often person who plays the best at the audition will win. hire local students who have studied for years with members of

www.astaweb.com | 43 the orchestra and played as substitutes in the orchestra. Many In Conclusion observers criticize this practice, but an orchestra must function Winning an orchestra audition requires a specifi c set of skills. Th e as many individuals working toward a common goal, so it often audition process can be awkward and full of unpleasant surprises doesn’t hurt if there is a uniformity of approach. If you know but with the right kind of conscious preparation, the outcome is no that the orchestra is famous for this type of selection, you will longer left to chance, and the player is empowered with the tools for undoubtedly increase your chances by studying with a member of success. the section or with the section leader. Having said that, it is true in most cases, the person who wins the job is the one who plays Garrett Fischbach is a currently tenured member of the best for the audition, even if no one in the orchestra has ever the Metropolitan Opera Orchestra in New York City, heard of that person. and a former member of the San Francisco Symphony, and the National Symphony Orchestra in Should I Play Double Stops? Washington, D.C. He holds a bachelor of music When auditioning, your fi rst consideration should be to sound degree with high honors from Boston University your best. To that end, you will take each case individually and where he studied violin with George Neikrug and decide on bowings, fi ngerings, double stops, etc. Generally, one is Yuri Mazurkevich, and a master of music degree not expected to play double stops in an audition or in an orches- from Northern Illinois University where he studied tra performance. On the other hand, one is rarely frowned upon violin with Shmuel Ashkenasi. He is an avid teacher, and has given for playing double stops in the orchestra. In an audition however, master classes at the Central Conservatory of Music in Beijing, China, you don’t score any points for successfully playing double stops, the Shanghai Conservatory of Music, and the Mannes College for simply because it is not a skill that will be required. In the audi- Music. He has enjoyed close exposure to a broad range of pedagogi- tion, play them only if they are easy and only if they add to the cal methods, from early training with his father whose infl uences fullness of your tone, especially with open strings. If the part is included Paul Rolland, to fi ve subsequent teachers who were themselves marked ‘divisi’ then the answer is obviously “no.” pupils of Gingold, Galamian, Dounis, Oistrakh, and Zimbalist.

Is My Instrument Good Enough? Is It Loud Enough? Th e most important condition is that you are comfortable. It’s best not to borrow that great Strad two days before the audition - you might not feel accustomed to it. When the passage is marked fortissimo, think about the fullness of your tone rather than the penetrating quality. When you are alone on stage, your sound won’t be covered up by other sections of the orchestra, so there is no reason to play as though you are ﬁ ghting to be heard. Beauti- ful tone and most of all good playing, will win in the end.

Must I Count Out the Rests During An Audition? If it is a few beats or a bar and a half, you should count them and begin playing again at exactly the right time. In these cases your ability to accurately count the rests without rushing or dragging shows good rhythm. If there are 10 and a half bars, then just count out one and a half and go on, unless you are instructed otherwise.

What Should I Wear? If the whole audition is behind a screen, you won’t be out of place in your most comfortable jeans and tee-shirt. You want to feel good when you play. Bring an extra layer in case the practice room is cold, or in case you feel cold before going on stage. If any part of the audition is without a screen, you should look neat and presentable. Th e committee members may not even be aware of how much this aﬀ ects their impression. More formal business attire is recommended in this case.

Who Is Listening to the Audition? Each orchestra has slightly diﬀ erent audition procedures. In most American orchestra auditions, you are playing for six or more players, sometimes selected from a broad range of instruments. Remember that each player gets only one vote and will have their own tastes and opinions. Th is is regardless of the particular sound or style of the orchestra. In most cases, the audition committee is not allowed to discuss a candidate’s performance during the audition process or voting. Voting is usually done by secret ballot. Sometimes the conductor has the ﬁ nal say and can even veto a unanimous committee vote. But sometimes, the conductor has only one vote, just like all other committee members.

44 | American String Teacher | August 2008 www.astaweb.com | 45 by Joshua Russell

In a 1996 article in the American String Teacher, James Kjelland were polled about their future career plans for the following year asked an important question: “Where have all the string teach- as well as in the next ﬁ ve years. Of the nearly 3,000 members of ers gone?” In the article, Kjelland stated, “Th e shortage of string ASTA teaching in a K-12 school, 304 string teachers responded. teachers is a major topic of concern today, and the long-term solution would be to recruit more string education majors to our Career Plans colleges” (Kjelland, 1996, p. 91). Th is solution has been echoed All too often, researchers investigating the career plans of teachers by other researchers examining the string teacher shortage in treat career decisions as binary in nature. Th at is to say, regardless K-12 schools (Gillespie & Hamman, 2002; Smith, 1997). Th ere of where a teacher goes, if they leave their current position, they has been little focus, however, on where string teachers go when are counted among teacher attrition (Stinebrickner, 2002). String they leave the profession, and what implications this migration teachers may be leaving K-12 positions, but may remain active in and attrition may have on the profession as a whole. Th erefore, a the profession as a whole. A more nuanced look into the career possible follow-up question to the one posed by Kjelland may be: decision of string educators is needed. In this study, string teach- Where do all the string music teachers plan to go? ers were asked where they planned to go after leaving their K-12 In a recent survey of ASTA members who identiﬁ ed their pri- teaching position. Th ese responses are summarized in Table 1. mary occupation as teaching in the K-12 schools, string teachers

46 | American String Teacher | August 2008 Table 1. One Year and Five Year Career Plans

Year One Year Five Career Plan Frequency Valid Percent Frequency Valid Percent Remain a music teacher at the same 250 83.3 154 51.7 school Remain a music teacher in a different 8 2.7 17 5.7 school in the same district Remain a music teacher in a different 10 3.3 25 8.4 district Leave music temporarily for family, 4 1.3 10 3.4 health, or personal reasons Leave music teaching temporarily for 6 2.0 4 1.3 educational or professional reasons Leave music teaching to become an 0 0.0 5 1.7 education administrator Leave music teaching in a K-12 school to 4 1.3 10 3.4 teach music privately Leave music teaching in a K-12 school to 0 0.0 0 0.0 teach music in a community organization Leave music teaching in a K-12 school to 1 0.3 5 1.7 teach music in a college or university Take early retirement 4 1.3 10 3.4 Retire 10 3.3 50 16.8 Leave music teaching completely and 3 1.0 8 2.7 permanently for reasons other than retirement Total 300 100.0 298 100.0

Th e greatest proportion of string teachers, at both year one and year fi ve, planned to remain a music teacher in the same school. No participants planned to become school administrators or community music school instructors within a year, or community music school instructors within fi ve years. Th e number of teachers planning to retire is over 10 percent greater for year fi ve than year one. Th ere are also sizeable year one versus year fi ve diff erences in the proportion of teachers planning to remain a music teacher in a diff erent school in the same district or in a diff erent district; proportions for all other career decisions diff ered less than 3 percent from year one to year fi ve. Based on career plan responses, participants were placed into one of three groups (stayer, mover, leaver). Stayers are those who planned to remain a music teacher at the same school where they currently work. Movers are those who planned to remain a music teacher but in a diff erent school in the same district or in a diff erent district, leave teaching temporarily for family, health, or personal reasons, leave music teaching temporarily for educational or professional reasons, leave music teaching to become an education administrator, leave music teaching in a K-12 school to teach music privately, leave music teaching in a K-12 school to teach music in a community organization, or leave music teaching in a K-12 school to teach music at a college or university. Leavers are those who planned to take early retirement, retire, or leave music teaching completely and permanently for reasons other than retirement. Frequencies and percentages for these classifi cation groups are shown in Table 2.

Table 2. Descriptive Results for Stayers, Movers, and Leavers

Group Year One Year Five Frequency Valid Percent Frequency Valid Percent Stayer 250 83.3 154 51.7 Mover 33 11.0 76 25.5 Leaver 17 5.7 68 22.8 Total 300 100.0 298 100.0

Comparisons to National Data Direct statistical comparison of string teacher career decision data from the current investigation with national data for music/ arts teachers or all K-12 teachers is not possible. It is possible, however, to make logical, descriptive comparisons. In Figure 1, string

www.astaweb.com | 47 teacher career decision percentages for year one and year ﬁ ve are presented alongside actual career decision data for all K-12 teachers as compiled by the National Center for Educational Statistics (NCES) (Marvel, Lyter, Peltola, Strizek, & Morton, 2007). Th e proportion of string teachers classiﬁ ed as stayers, movers, or leavers for year one (based on projected career decisions) is almost identical to the NCES proportions for all teachers (based on actual career decisions).

Figure 1. Percentage of Teacher Stayers, Movers, and Leavers: String Teacher Data and National Data for All K-12 Teachers

100 80 60 40 20 0 04-05 National Data String Teacher (Year 1) String Teacher (Year 5) Stayers Movers Leavers

In Figure 2, string teacher career decision percentages for year one and year fi ve are presented alongside NCES data for all music/arts teachers. Once again, the proportion of string teachers classifi ed as stayers, movers, or leavers for year one (based on projected career decisions) is almost identical to the NCES proportions for all music/arts teachers (based on actual career decisions). Collectively, these fi ndings provide support for the validity of projected career decision data.

Figure 2. Percentage of Teacher Stayers, Movers, and Leavers: String Teacher Data and National Data for Music/Arts Teachers

100 80 60 40 20 0 04-05 National Data String Teacher (Year 1) String Teacher (Year 5) Stayers Movers Leavers

Th e Teacher Follow-up Survey (TFS) includes a range of additional data about teachers, including their age, gender, years of teaching experience, minority student population, school level, school setting, and teacher ethnicity. Table 3 presents demographic results for stayers, movers, and leavers, as compiled by the TFS, alongside string teacher demographics for these same career decision categories. Overall, data patterns are very similar; cell proportions for all teachers and string teachers (year one) are typically within ﬁ ve percent. Compared to all K-12 teachers, early-to-mid career string teachers (4-6 years of experience) appear more inclined to migrate to other positions in education (25 percent, as opposed to 9.4 percent for all teachers) than to leave teaching altogether (1.7 percent as opposed to 7.9 percent for all teachers). Similarly, a greater proportion of non-Caucasian string teachers plan to stay in their current positions, rather than move to a diﬀ erent job or leave teaching.

48 | American String Teacher | August 2008 Table 3. Cross Tabulations for Career Decisions and Demographics

Factor 04-05 National Data* Year 1 Projections Year 5 Projections Stayers Movers Leavers Stayers Movers Leavers Stayers Movers Leavers Age

<30 76.3 14.7 9.0 80.7 15.4 3.8 36.5 57.5 5.8

30-39 84.2 9.0 6.8 79.1 20.9 0.0 59.5 38.1 2.4 40-49 87.6 7.1 5.3 89.0 11.0 0.0 79.4 15.9 4.7 50+ 83.7 4.5 11.8 83.1 6.6 10.3 42.6 14.0 43.4

Gender Male 83.9 8.3 7.7 82.3 12.4 6.3 60.3 23.1 16.6 Female 83.4 8.1 8.6 83.9 11.1 5.0 49.1 26.4 24.5

Teaching Experience 1-3 yrs. 77.1 14.8 8.1 82.6 13.0 4.4 52.2 39.1 8.7 4-9 yrs. 82.7 9.4 7.9 73.3 25.0 1.7 36.7 58.3 5.0 10-19 yrs. 88.2 6.3 5.5 91.5 7.0 1.5 70.0 15.7 14.3 20+ yrs. 84.9 3.9 11.2 83.8 7.0 9.2 49.6 14.2 36.2

Minority Students <10% 86.4 5.6 8.1 82.1 12.8 5.1 51.3 25.6 23.1 10-34% 85.5 7.8 6.7 87.5 9.4 3.1 48.4 21.9 29.7 35% 80.6 9.9 9.5 84.5 8.2 7.3 55.6 25.9 18.5

School Level Elementary 82.8 8.8 8.5 83.1 9.2 7.7 53.1 29.7 17.2 Secondary 84.6 6.8 8.6 83.0 11.7 5.3 52.0 22.8 25.2 Combined 85.9 7.8 6.3 86.2 10.3 3.5 50.8 43.2 21.0

School Setting Urban 79.8 10.3 9.9 84.5 8.5 7.0 54.3 21.4 24.3 Suburban 84.8 7.3 7.9 83.9 10.9 5.2 51.3 26.2 22.5 Rural 85.0 7.3 7.7 83.3 13.3 3.3 53.3 26.7 20.0

Teacher Ethnicity White 83.9 7.9 8.2 82.7 11.4 5.9 51.1 26.7 22.2 Black 79.3 9.7 11.0 100.0 0.0 0.0 20.0 0.0 80.0 Hispanic 80.6 10.1 9.3 100.0 0.0 0.0 50.0 25.0 25.0 Asian/Paciﬁ c 81.8 7.9 10.3 83.3 16.7 0.0 75.0 16.7 8.3 Islander Amer. Indian 93.1 5.0 1.9 100.0 0.0 0.0 100.0 0.0 0.0 * Data from the 2003-04 TFS Survey conducted by NCES.

Implications Although not leaving the music education endeavor completely, string teachers who elect to migrate within the fi eld will create a defi ciency at the school organizational level (Ingersoll, 2002). Schools that string teachers leave must fi nd a qualifi ed individual to replace the outgoing teacher, which will become increasingly diffi cult unless the number of students entering string education programs increases (Gillespie & Hamann, 2002). Positions may be staff ed by individuals not highly qualifi ed to teach strings or the position may not be fi lled at all, leading to the elimination of the program or an additional stress to remaining music faculty (possibly leading to their migration or attrition).

www.astaweb.com | 49 Many migrators leave their positions viduals who lack public school experi- string pedagogy as well as in management only temporarily for either personal or ence or who are otherwise unequipped to of such community programs. If trained professional reasons. Although this migra- be eff ectual as a string music education music educators do not intend on taking tion may cause an organization stress, it professor, thus deterring more students such positions, string performers and does not necessarily negatively impact the from becoming string music educators and pedagogues will most likely staff them. profession as a whole. String teachers may producing unprepared students. Although the percentage of string be leaving to pursue a graduate degree or Several researchers in general educa- teachers planning to remain in the profes- some other form of professional develop- tion and music education have indicated sion was relatively high, the importance ment (Poutiatine, 2005). Such professional that the relationship with and support of teacher turnover and attrition should development could enhance their teaching received from administrators is para- not be overlooked. National data suggest skills and might, in the long term, advance mount in the retention of music educators that the demand for teachers continues to the profession. Th ose temporarily leaving (Bloland & Selby, 1980; Cotten, 2003; increase due to student enrollments, immi- for personal or familial reasons may return Krueger, 2000). If few music educators gration, class size reduction initiatives, and to the profession with a greater apprecia- become school administrators, percep- teacher retirements. Moreover, the rate of tion or sense of renewal based on their tion and communication challenges that the teacher workforce growth began to de- time away from teaching. characteristically impede string orches- cline in the late 1990s (Gerald & Hussar, Given the private training experiences tra programs are likely to persist. String 1998). As a consequence, a greater num- of many string musicians, it is not surpris- teachers may face continuing diffi culties in ber of schools with teaching openings are ing that many wish to teach privately communicating the intricate and nuanced having diffi culty fi nding highly qualifi ed themselves. Th e fl exible schedules, rela- diff erences between what transpires in a candidates to fi ll their positions (Ingersoll, tively high pay, and lack of K-12 teaching traditional classroom and in a music class- 2002). Th is threat is more pronounced in stress can draw many string players to room. As more music educators become the specialized fi eld of string music educa- this role. Th e participants who indicated educational administrators, communication. In the 2000-2001 school year, 43 a desire to become a private instructor, tion between school administrations and percent of school districts with orchestra however, could still be involved in the string teachers and string program advo- programs had string teacher positions left string music education enterprise by teach- cates may improve. If few music educators unfi lled (Gillespie & Hamann, 2002). ing lessons to students involved in school enter into this endeavor, the music educa- As claimed by previous researchers programs, off ering clinics and workshops tion profession may miss out on some its (Gillespie & Hamman, 2002), retire- for students and teachers, and performing most eff ective advocates. ment continues to be a major factor in with student ensembles. No participants in the current study the string teacher shortage. More inter- One of the more disturbing fi ndings indicated plans to teach in a community estingly, however, participants with less was how few participants indicated a desire organization. It could be that the small teaching experience were more likely to to teach in higher education, become an salaries and large work loads often associ- migrate away from their current position. administrator, or teach in a community ated with such positions leads most string Th e high incidence of migration among organization. Although it may be diffi cult music teachers to continue in their K-12 early career string teachers in this study to identify an optimum level of overall position or to fi nd a more lucrative position may refl ect a certain reality – namely, that string teacher migration, some migration outside of classroom teaching. Th is fi nding fi rst jobs seldom match novice teachers’ is required for the health of the profession. has a potentially alarming implication. expectations and skills. Researchers have If experienced and well trained string Previous researchers have found that access found that teaching experience is related music educators do not migrate from K-12 to string music instruction in public schools to teacher retention and that teachers with classroom teaching to other education is limited (Smith, 1997); only 16 percent little teaching experience are more likely to related endeavors, an important resource of school districts in the United States off er migrate or leave their position (Beaudin, (experienced string educators) is not be- string music education instruction. Due to 1993; Bempah, 1991; Brownell, Sindelar, ing distributed throughout the multiple this limited access to string instruction, the Bishop, Langley, & Seonjin, 2002; Th eo- dimensions of string music education. role of community string and orchestra or- bald, 1990). Teachout (2004) identifi ed several ganizations becomes even more important. When string teachers leave positions, barriers, such as fi nancial considerations Although students may take private lessons, it is not uncommon for a band director and limitations on time that may dissuade without community organizations, students or other music educator outside of string music educators from pursuing a doctoral in areas where access to string instruction music education to replace the string degree and then teaching in higher educa- in the schools does not exist will miss the teacher, if the individual is replaced at tion. Additionally, teaching in higher opportunity to participate in an ensemble. all. In a recent survey of string teachers, education may present challenges for those If such organizations do not exist or Gillespie and Hamman (2002) found that who do complete a terminal degree (e.g., are operated by individuals untrained in only 80 percent of individuals teaching gaining employment, meeting publication string pedagogy and music education, stu- strings in public schools were string play- expectations, earning tenure). Given the dents may not receive the best instruction ers (this number decreases to 62 percent small number of string music educators possible. Th is fi nding has some implica- when considering new hires) and only planning on entering higher education, tions for institutions of higher educa- 59 percent indicated that their teaching string music education undergraduates tion. String performance undergraduates assignments were completely in strings. As may fi nd themselves instructed by indi- should be given improved instruction in Ingersoll (2002) states, “one of the pivotal

50 | American String Teacher | August 2008 causes of low school performance is the inability to adequately staff classrooms with qualifi ed teachers” (p. 26). Accordingly, string programs should be staff ed with teachers adequately trained in music in general as well as string education specifi cally. Th e limited supply of qualifi ed string music educators can also threaten the very existence of string programs. When string teachers leave the profession and/or migrate within the profession, as refl ected in the study participants’ fi ve year plans, deliberate ef- forts are needed to rally parental, administrative, and student support for the program and ensure that the program will continue under the guidance of a highly qualifi ed string music educator.

References Bempah, E.O. (1991). An Econometric Analysis of Teacher Mobility. Dissertation Abstracts International, 52(06), 1953. Beaudin, B.Q. (1993). Teachers Who Interrupt Th eir Careers: Characteristics of Th ose Who Return to the Classroom. Educational Evaluation and Policy Analysis, 15(1), 51-64. Bloland, P.A., & Selby, T.J. (1980). Factors Associated with Career Change Among Secondary School Teachers: A Review of the Literature. Educational Research Quarterly, 5(3), 13-24. Brownell, M.T., Sindelar, P.T., Bishop, A.G., Langley, L.K., & Seonjin, S. (2002). Special Education Teacher Supply and Teacher Quality: Th e Problems, Th e Solutions. Focus on Exceptional Children, 35(2), 1-16. Cotten, V. (2003). Elementary Teacher Attrition and Factors of Organizational Climate. Dis- sertation Abstracts International, 64(06), 1954. Gerald, D., & Hussar, W. (1998). Projections of Education Statistics to 2008. Washington, DC: National Center for Education Statistics. Gillespie, R., & Hamann, D.L. (2002). Wanted: 5000 Future String Teachers. American String Teacher, 52(1), 72-78. Ingersoll, R.M. (2002). Th e Teacher Shortage: A Case of Wrong Diagnosis and Wrong Pre- scription. NASSP Bulletin, 88(631), 16-31. Kjelland, J. (1996). My Turn: Where Have All the Teachers Gone? Bringing the Ecosystem Into Balance. American String Teacher, 46(2), 91-92. Krueger, P.J. (2000). Beginning music teachers: Will they leave the profession? Update: Ap- plications of Research in Music Education. 19(1), 22-26. Marvel, J., Lyter, D.M., Peltola, P., Strizek, G.A., & Morton, B.A. (2006). Teacher Attri- tion and Mobility: Results From the 2004-2005 Teacher Follow-up Survey (NCES 2007-307). U.S. Department of Education, National Center for Education Statistics. Washington DC: U.S. Government Printing Oﬃ ce. Poutiatine, M. (2005). Selected summary of the research on the courage to teach program and the process of teacher formation. Unpublished Paper, Gonzaga University. Smith, C.M. (1997). String Education: Th e Stepchild of American Music Education. Ameri- can String Teacher, 47(4), 37-42. Stinebrickner, T.R. (2002). An Analysis of Occupational Change and Departure from the Labor Force: Evidence of the Reasons Th at Teachers Leave. Journal of Human Resources, 37(1), 192-216. Teachout, D.J. (2004). Incentives and Barriers for Potential Music Teacher Education Doc- toral Students. Journal of Research in Music Education, 52(3), 234-247. Th eobald, N. (1990). An Examination of the Inﬂ uence of Personal, Professional, and School District Characteristics on Public School Teacher Retention. Economics of Education Review, 9(3), 241-250.

Joshua A. Russell is an assistant professor of music education at the University of Arkansas in Fayetteville. He received his Ph.D. from the University of Colorado at Boulder, an M.M at Northwestern University, and bachelor degrees in music education and composition from Shepherd University in West Virginia. At the University of Arkansas, Russell teaches graduate and undergraduate courses in music education and string pedagogy. His research interests include education policy, string education, and cognitive and psycho-social development in the teaching and learning of music. His research has been published in several music education journals.

www.astaweb.com | 51 Plucks the Right Notes with Children While Encouraging Volunteerism

Mission accomplished! Discovering Strings and Orchestra (DSAO) has succeeded in its ﬁ rst year to encourage young students to participate in string and orchestra programs in their schools and communities. Children from all regions are “discovering” the joy of strings and showing interest in pursuing lessons either privately or through school Quilt from “Quilt in a Day” by Eleanor Burns. programs. “We fully expect its second year to garner even more enthusiasm and open up even more opportunities for the program,” says Donna Hale, ASTA executive director. “We continue to appreciate the support that NAMM has given us for this program as we could not have done it without them. Now our challenge is to continue to grow the program.” NAMM graciously funded DSAO in June 2007. Th e program partners with youth groups and focuses on students in grades one through three with volunteer string clinicians introducing them to the world of strings. Th ere are ﬁ ve sessions to select from: Introduction to Strings, Strings and Academics, Group Lesson, Field Trips, and Advocacy. Th e

52 | American String Teacher | August 2008 program is designed to be fl exible and can nated the DSAO program for two Brownie be done in just one session or extended troops and used university and community for several weeks. Many clinicians have clinicians. She wanted to include the entire successfully combined sessions to allow more fi ve sessions so she planned the program topics during a fi xed allotment of time. (Th is to last the entire school year. Session one is especially true with Brownie troops that began with electric and early string instru- meet after school for just an hour.) Prepared ments, with adults and children from the lesson plans and program details can be academy performing and helping with found at astaweb.com. Adding interest and the instrument petting zoo. Th ere is not a fun to the program are several free items repair shop in Hays so Drabkin improvised including a DVD, coloring and activity and invited cellist Ben Morris-Cline from book, a completion certifi cate, and a patch. the FHSU Music Department to give a Due to DSAO’s fl exibility, every program creative presentation covering many of the can have its own look and feel. Additionally, things in the repair shop session. Drabkin this fl exibility has allowed certain components used her own ingenuity to make the ses- of the program to reach further than originally sions “fi t” when the required criteria were Student volunteers provide assistance and serve as anticipated. Young Audiences of Virginia is not available. role models. now using the coloring and activity book as a part of their Project Music program reaching Matching Performers to Groups Learning for Life more than 4,000 children in the Tidewater Paul Hoff man, executive director of the Doctoral viola student Sally Barton pre- area for the period of October 2007 through New Hampshire Philharmonic, registered sented sessions for Florida’s Steinhatchee June 2008. Th ey plan to continue using as a performer for DSAO and requested School third graders through a Learning the activity and coloring book indefi nitely. help in fi nding youth groups for his ticket for Life program. Barton and cellist Hristo “Th is is a signifi cant achievement in bringing donations. Charlene LeDoux, interim Ivanov borrowed instruments from String- continued name recognition to ASTA and New Hampshire state president, volun- fest (Kyle Dunn, Luthier) and transported our DSAO program,” says Hale. Th e activity teered to pilot projects and was matched them 60 miles from Tallahassee to Stein- book was also featured at a book fair in with two troops who were able to arrange hatchee so that each child handled at least Washington D.C. at the Hyde Leadership session times together. LeDoux chose to two instruments and had time to ask many Public Charter School. More than 250 books use a small size cello in her petting zoo and questions. For session one, a homeschooler were given away to second and third graders. played her full size one while the girls sang (the same age as the participants) joined along. Th e troop leaders followed up the them and played the violin; Barton and session by hosting an instrument dem- Ivanov performed viola-cello duets for onstration by Th e Sounding Post String session fi ve. “We are sure that going the Shop in Hooksett. A nice complement to extra miles for the instruments truly made this DSAO program was the fact that the a diff erence for the kids,” says Wagner. director and public relations manager of the Girl Scouts Council for that area took After School Programs a keen interest in the project. According to An after school program in Solomon, Clark, “Th ey felt DSAO off ered youth arts Kansas took advantage of sessions one, opportunities which were not otherwise three, and fi ve. To personalize the pro- available in their area.” gram, an ensemble of teachers and string students from a nearby middle school in Troops Look for Good Programs that Off er Junction City gave them a private concert. Educational Benefi ts Note: Junction City/Ft. Riley schools were Working with a newly-formed Utah Brown- in their second year of introducing a strings ie troop in Bountiful, Michael Palumbo of curriculum. Weber State University included not one, Kimberly Chiesa, president of the but two shop fi eld trips taken to Peter Prier ASTA/New Jersey college student chapter Violins and Th e Violin Making School of at Montclair State University, is debuting America. He combined parts of session one, the fi rst New Jersey program and the fi rst Th e fi rst DSAO program was launched at Ft. two, and three and supplied tickets to We- ASTA college chapter pilot with her mem- Hays State University’s Western String Academy. ber State University’s Orchestra Concert. bers and student advisor Dr. Paul Hostet- Encore Year Mary Wagner, ASTA past president, ter. (Th is student chapter was recipient Th e generous grant from NAMM allowed used three string assistants from Lake of the national ASTA 2007 Outstanding ASTA to hire a project consultant, Dr. Braddock Secondary School in Burke, Student Chapter award.) Th ey incorpo- Anne Clark for the fi rst year. As DSAO Virginia for her DSAO project with a local rated session one in May to a special strings enters its second year, prospective volunteer Brownie troop. Donna Hale, ASTA execu- outreach to 50 elementary school children clinicians can rely on a community network tive director, coordinated the program that at the St. Patrick and All Assumption of adults who value strings and have exper- was condensed to one session. To add yet School in Jersey City, New Jersey and are tise to share in getting a program started. another component to the program, Wag- planning an after school DSAO program Below are some proven ideas and sugges- ner had one of her assistants talk about for the fall of 2008. tions on how to implement DSAO in your playing sports and pursuing the violin area for specifi c targeted groups. while in high school. Her message was that Summer Program you can do both but time management In Jackson, Mississippi, private string stu- Brownies was important. Note: Brownie troop sign dio teacher Kate Morgan planned a sum- Volunteer as a Coordinator up fl yers are available from ASTA and can mer DSAO session for public school chil- Cathy Drabkin, Fort Hays State University’s be tailored to meet your needs. Please email dren who participate in an independent (FHSU) Western Strings Academy, coordi- [email protected] for fl yers. after school program at the Neighborhood

www.astaweb.com | 53 do plucking with instruments loaned Due to the success of her fi rst project, she by Lafayette Music of Lafayette, plans to off er another one this fall. Colorado. In Bar Harbor, Maine, Rebecca Martha Clark, New Mexico clini- Edmondson teaches orchestra and general cian, conductor of the Clark Recital music at Conners Emerson School on an Orchestra, and member of the Assai island where there are also four other mu- String Quartet presented session sic teachers. She used diff erent sessions of one, three times to three diff erent DSAO with her grade one, two, and three third grade music classes in Sunset music classes. Her students took a walking Elementary School in Carlsbad, fi eld trip to Song of the Sea for a 30- New Mexico. Th is was followed by a minute instrument demonstration where combined concert for session fi ve of instruments are made. Since all her second the orchestra and quartet. Of note, graders already study violin, their petting students in the school have no string zoo showed them other string instruments. A young girl delights in holding a stringed instrument for the classes. Two unusual features of this Th ey colored in the activity booklet right fi rst time. project were that the petting zoo in- in class at the end of session one. Edmond- cluded a Celtic harp demonstration by son chose to integrate sessions of DSAO Christian Center where she teaches. Dur- Elizabeth Pappas, and small size string right into her music class curriculum, and ing the center’s summer program, Morgan instruments were used. At this time, Clark used a bass for the science academic lesson gave DSAO sessions to children that she hopes to off er DSAO to more Carlsbad extension after the initial lesson plan with will work with in the 2008-09 school year. schools and create a summer string camp violin. She created and videotaped her own for all fi ve sessions. American history lesson plan using open Music Classes in Regular and Unique Elizabeth Hankins, Ohio ASTA state string accompaniment and a dance to the Public Schools president, was able to set up a late spring song “Shoo-Fly, Don’t Bother Me” (in the Wonderful collaborations happen when project for 75 kindergartners at Harrison public domain) and students created and string clinicians work with school music Elementary School in Lakewood, Ohio. colored quilt patterns, coordinating with teachers on DSAO projects. Th is was the She chose this school because the teachers the song. Some creative ways she was able case with seven state pilot projects last were former string players and the princi- to publicize her project included postings spring. Th e school’s general music teacher pal had a daughter in the orchestra. Th e on her school website, mass e-mailings assists in planning, publicizing, and in Lakewood High School String Quartet done by Maine ASTA, and the Bangor some cases conducting fi eld trips or sessions played in the school for session fi ve, and Symphony Orchestra notifi ed the Maine when the string clinician is not available. she videotaped it for broadcasting over the Arts Commission and off ered to present a In Milwaukee, Wisconsin Fran Richman, school’s TV access channel. teachers’ workshop during a professional executive director of the Milwaukee Youth ASTA board member, Beth Gilbert of day for other music teachers. She also Symphony Orchestra, located a Marquette Tempe, Arizona, used her sixth grade string suggested having a state teacher workshop University graduate student and private students to present the petting zoo for about integrating strings with the aca- strings teacher Anna Toshach to be a part of third graders at Edison Elementary School demic curriculum to Margaret Hopkins, DSAO. Toshach presented DSAO to fi rst- in Mesa, and also arranged their fi eld trip secretary of Maine ASTA. graders at Congress Year Round School, an to an elementary orchestra concert. Th e possibilities of “Discovering extended day K-8 school in the Milwaukee Lisa Robertson, music professor at Strings and Orchestra” are endless, and public school system. Th is system prides Eastern Oregon University, began session this summary only begins to reveal how itself on using many nontraditional ap- one at the end of the school year with Carla creative our string teachers are in work- proaches to achieve excellence. Toshach of- Arnold’s grades K-5 in Central Elementary ing in local situations to share the joy of fered a one day session combining sessions School in La Grande, Oregon, and plans to strings with others. ASTA awaits your call one and the science lesson from session two. continue sessions the following school year to start planning your own “Discovering She also helped Tasha Little, music special- with other co-clinicians. Strings and Orchestra” project soon! For ist, with planning fi eld trips to Korinthian Judy Bossuat of the University of Cali- more information, contact Mary Jane Dye Violins Shop (Korinthia Klein, Luthier) fornia, Sacramento, and a long-time ASTA at [email protected]. and the Milwaukee Symphony Orchestra. leader on the national level and current Th e same type of collaboration happened in board secretary, assigned her cellist graduate ASTA sincerely thanks Dr. Anne Clark for her Colorado between Dr. William Hinkie (Th e student Timothy Stanleyto to off er DSAO hard work and dedication to DSAO. New Millennium Conservatory for Strings to Robla School in Sacramento. Accord- and artist faculty, Th e Interlochen Center ing to Bossuat, he capably handled the for the Arts) and music teacher Tommy media contacts and releases too. Reddicks of Flagstaff Academy Charter School in Longmont. Reddicks had started Public School Music Teacher Projects an after school orchestra program in 2007- Two projects in DSAO’s fi rst year had the 08, but wanted to use DSAO to recruit benefi t of the clinician and school music more third graders for the fall of 2008. For teacher being one and the same person. session two the children conducted using Vinny Lee teaches orchestra and elemen- straws while violinist Jennifer John of New tary music in Eastmont School district in Millennium played music. Th en Hinkie Washington. With the goal of recruiting and John demonstrated diff erent subdivi- for her orchestra classes, she off ered four sions of the pulse using word associations sessions with third and fourth graders (huckleberry, apple, pie, chocolate) fol- who elected to take the project at Kenroy lowed by collaborative group work identify- Elementary School in East Wenatchee. ing rhythms and time signatures. In session She used fi ve of her own beginning string three students were put into small groups to students to play during the fi rst session. Th e young children enjoyed learning from older youth volunteers. 54 | American String Teacher | August 2008 www.astaweb.com | 55 ASTA National Conference 2009 March 18-21, 2009 Atlanta, Georgia

Each year the ASTA national conference grows just a little bit bigger with more information to share with attendees. Join your colleagues for another phenomenal conference this coming March. Th is event will be packed with sessions that will interest and excite just about everyone in the string world – from classical and alternative styles performers to K-12, private studio, and university teachers, as well as students at all levels. Th e ASTA conference is the premier place to enhance your skills and knowledge of string related topics – not to mention a terriﬁ c opportunity to network, reminisce with old friends, and, of course, meet some new ones.

We know you’ll ﬁ nd the sessions at the conference to be informative as well as entertaining. Topics will include traditional pedagogy, issues for school string and orchestra teachers, injury prevention, classical and nontraditional performance, university-level training for future string players and educators, and alternative styles techniques, to name just a few. Th e top-notch pre- senters are well respected in the ﬁ eld and possess a wealth of information to pass along to you. View all sessions on the website under the conference/national conference section.

In addition to the education sessions, there will be: • Pre-Conference Sessions on March 18, • Grand Opening Ceremony to begin the conference, • Energizing keynote address by Miles Hoff man, • Multilevel master classes for every instrument, • Exhibit Hall dedicated to the string industry and string-related items, • Exciting social events for all attendees, • Invited performing groups, • Juried Poster Sessions, • Music Industry Showcases, • National Orchestra Festival competition and master classes, • Finals of the National Solo Competition and the Alternative Styles Awards, • Outstanding Th ursday evening performance by Darol Anger’s Republic of Strings, and • Th e culminating event of the conference: “Gala Benefi t Evening” which includes the Silent Auction and the fi nal concert performed by Zuill Bailey and youth orchestra.

56 | American String Teacher | August 2008 56 | American String Teacher | August 2008 Conference Sponsors as of June 30, 2008

Alfred Publishing Company, Inc. Hal Leonard Corporation

Claire Givens Violins, Inc. Merz-Huber Company

Clemens Violins, Violas, Violoncellos Shar Products Company

CodaBow International Ltd. StringWorks

Connolly & Co., Inc. Yamaha Corporation of America

Electric Violin Shop

Confi rmed Master Class Clinicians Confi rmed Exhibitors as of June 30, 2008 Pre-College Level Alfred Publishing Company, Inc. Cello: Robert Jesselson Barenreiter Viola: Kathryn Steely BEE-IN Tuner, Inc. BowStopper Enterprises Violin: Helen Kwalwasser Carl Fischer Music, LLC Bass: TBD Carl Fischer Music – ABCs of Strings Collegiate Level Claire Givens Violins, Inc. Cello: Hans Jorgen Jensen Clemens Violins, Violas, Violoncellos Viola: Karen Ritscher CodaBow International Ltd. Connolly & Co., Inc. Violin: Brian Lewis Electric Violin Shop Bass: Milton Masciadri Th e Enterprising Rabbit Multilevel FJH Music Co., Inc. Viola: William Preucil, Sr. Frederick Harris Music Co. Guitar: Gerald Klickstein Frisch and Denig Custom-fi tted Chinrests G. Schirmer, Inc. Harp: Robbin Gordon-Cartier Hal Leonard Corporation Chamber Music: Norman Fischer G. Henle USA, Inc. Alternative Styles: Tracy Silverman Huthmaker Violins Music Industry Showcases Il Gladio Alfred Publishing Company, Inc. JazzBows Music, Inc. Barenreiter Luck’s Music Library Connolly & Co., Inc. Mark O’Connor Fiddle Camp & Strings Conf. Frederick Harris Music Company Mel Bay Publications FJH Music Company Merz-Huber Company Frisch and Denig Custom-fi tted Chinrests Mona Lisa Sound, Inc. Neil A. Kjos Music Company G. Schirmer Northeastern Music Publications Hal Leonard Corporation Sam Ash Music Corporation Il Gladio Shar Products Company Mel Bay Publications Southwest Strings Neil A. Kjos Music Company Strings Magazine Northeastern Music Publications Strings Music and More, LLC Shar Products Company StringWorks Strings Music & More, LLC. Super-Sensitive Musical String Co. Tempo Press Tempo Press Yamaha Corporation of America Yamaha Corporation of America www.astaweb.com | 57 www.astaweb.com | 57 Pre-Conference Sessions & Events Wednesday, March 18 Pre-Conference Sessions (12:00 – 5:00 pm) Adjuducation 101 Pre-Conference Sessions & Events Alternative Styles Body Maintenance Wednesday, March 18 Conducting K-12Pre-Conference (a STEP program requirement) Sessions 12:00 p.m. – 5:00 p.m. Private StudioFull session descriptions available on website. State Leadership Training Workshop (invitation only) Solo Adjuducation 101 K-12 (a STEP program requirement) Alternative Styles Advocating for Strings: An Interactive Discussion ForumPrivate 7:30-9:00 Studio pm Join your Body colleagues Maintenance for this stimulating and interactiveState discussion. Leadership All conferenceTraining Workshop attendees (invitationare encouraged only) to attend and participate. There will be advocates Conducting leading the discussion, and an open mic for attendees to ask questions and share their own experiences. Complimentary copies of the “Advocating for Strings” DVD will be available. Advocating for Strings: An Interactive Discussion Forum 7:30 p.m. – 9:00 p.m. CollegiateJoin your Members colleagues Meet for & thisGreet stimulating and 9:00interactive – 11:00 discussion. pm All conference attendees are encouraged to attend and partici- Firstpate. time Th attending ere will abe national advocates ASTA leading conference the discussion, or just want and to meet an open other mic conference for attendees attendees to ask like questions yourself? Then,and share come theirto th isown pre-conference experiences. meet and greet where you can talk with other students. You just might meet a new friend or two to pal around the conference with. Complimentary copies of the “Advocating for Strings” DVD will be available.

EducationalCollegiate Sessions Members Thursday Meet– Saturday & Greet 9:00 p.m. – 11:00 p.m. PleaseFirst visit time the attending 2009 National a national Conference ASTA conference section of or the just ASTA want web to meetfor session other titles,conference description attendees and speakers.like yourself? Sessions Th en, will come be catorgorizedto this pre-confer- on theence website meet right and now greet by where topical you tracks: can talk Alternative with other Styles, students. Chamber You Music,just might General/Crossover, meet a new friend K-12, or twoPrivate to pal Studio, around University the conferenc and Masterclasses.e with. Once the committee has set the schedule this summer/early fall sessions will also be listed by date and time.

Juried Research Posters (Submission Deadline:Educational October 3, 2008) Sessions This poster session is open to papers involvingThursday any aspect – Saturday,of string playing March and teaching, 19 includingthrough those 21 that are philosophical, theoretical, or historicalPlease invisit nature, the 2009as well National as reports Conference that are qualitative section of andthe quantitativeASTA web forin design. session We titles, are description accepting submission and speakers. of studie Sessionss being will conducted be catorgo- by rizedundergraduate on the website students, right graduate now by students,topical tracks: university Alternative faculty, and Styles, practicing Chamber teachers Music, in publicGeneral/Crossover, or private school. K-12, Submissi Privateon Studio,procedures: Univer- All submissionssity and Mastermust meet Classes. the Code Once of theEthics committee published hasin the set Journal the schedule of Research this summer/early in Music Education fall sessions and should will not also have be listed been bypubli dateshed an priord time. to the conference. Papers presented at other conferences will be considered for poster presentation if the audience was substantially different (e.g., a state meeting or a university symposium). A statement specifying particulars of presentation must be included with the submission. You must be a memberJuried of Researchthe American String Posters Teachers Association (at time of submission and presentation). (Submission If accepted, Deadline: the primary orOctober a listed co-researcher 3, 2008) mustTh register is poster for session and attend is open the to conference papers involving to present any the aspect poster. of Presentersstring playing will beand expected teaching, to including bring 40 copiesthose thatof their are abstphilosophicaract and fil, ve theo- copies of retical,the completed or historical report in to nature, the session. as well as reports that are qualitative and quantitative in design. We are accepting submission of studies Thebeing online conducted submission byprocess undergraduate will be available students, to acceptgraduate your students, research university poster proposal faculty, until and October practicing 3, 2008.teachers All inapplicants public or m privateust be current school. membersSubmission of ASTA procedures: at the time All of submissions application andmust also meet at thethe timeCode of of conference. Ethics published in the Journal of Research in Music Education and To shouldsubmit a not proposal have been for the published juried research prior to poster the conference. please visit Papers the link presented from our websiteat other or: conferences http://precis.preciscentral.com will be considered for/User/UserLogin. poster presenta- asp?EventID=e56954b4tion if the audience was substantially diff erent (e.g., a state meeting or a university symposium). A statement specifying particulars of presentation must be included with the submission. You must be a member of the American String Teachers Association (at time of Eveningsubmission Performances and presentation). If accepted, the primary or a listed co-researcher must register for and attend the conference to present Darolthe Anger’sposter. RepublicPresenters of will Strings be expected to bring 40 copies of their abstract and Thursday, fi ve copies March of 19 the completed report to the session. Showcase Th e onlinePerformance submission of Alternative process Styleswill be available to accept your Friday, research March poster 20 proposal until October 3, 2008. All applicants must Award be Winnerscurrent members of ASTA at the time of application and also at the time of conference. To submit a proposal for the juried Galaresearch Benefi tposter, Evening please featuring visit our website and click on the Conferences link on the left side of the page. Silent Auction, then Zuill Bailey and youth orchestra Saturday, March 21 Evening Performances SilentDarol Auction Anger’s Republic of Strings ...... Th ursday, March 19 TheShowcase Silent Auction Performance will kick off of theAlternative Gala Bene Stylesfi t Evening Award on Winners Saturday, ...... March 21, 2009, in Atlanta. Please join us to bid...... Friday, on a variety of Marchfabulous 20 donations,Gala Benefi including t Evening instruments, featuring bows Silent and accessories, Auction, then travel Zuill packages, Bailey stateand youthbaskets, orchestra and much ...... Saturday, more! All proceeds will benefi t the educational March 21 programs and activities of the National Foundation to Promote String Teaching and Playing. Visit the ASTA website to view auction items and a listingSilent of our Auction generous donors. To make a donation, contact John Golden at [email protected] or complete the donation form online. Th e Silent Auction will begin the Gala Benefi t Evening on Saturday, March 21, in Atlanta. Please join us to bid Theon Gala a variety Evening, of silentfabulous auction donations, and performance, including is instruments, sponsored by bows Connolly and &accessories, Co., Inc. (Sky travel – please packages, include state their baskets, logo) and much more! All proceeds will benefi t the educational programs and activities of the National Foundation to Promote String Teaching and Playing. Visit the ASTA website to view auction items and a listing of our generous donors. To make a donation, contact John Golden at [email protected] or complete the donation form online. Th e Gala Evening, silent auction, and performance is sponsored by Connolly & Co., Inc.

58 | American String Teacher | August 2008 58 | American String Teacher | August 2008 National Orchestra Festival® Th e National Orchestra Festival brings together orchestras from around the country to a single location in order to provide an unparalleled opportunity to receive placement, ratings, and comments from leading clinicians and adjudicators in the industry. Th e festival encompasses Youth Orchestras, Middle School Orchestras and High School Orchestras in their choice of Competition, Rating, and or Comments categories. Competitive groups will receive rating and comments as part of their competition status. Performances of the orchestras are open to all conference attendees. For a complete list of selected orchestras participating in the 2009 festival, visit the conference section of the website at www.astaweb.com beginning in early October.

Finals of the 15th Biennial National Solo Competition Th e National Solo Competition allows individual musicians to showcase their talents. Applicants are selected by their state for a fi nal round of national judging, which occurs at the ASTA National Conference. Finals of the competition will be held March 19-20, 2009 in Atlanta at Georgia State University, just a few blocks away from the conference hotel. Th e competition is open to ASTA student members or current students of ASTA members. Instrumental categories are violin, viola, cello, bass, guitar and harp. For a complete list of competition guidelines, repertoire, and state level contacts please visit the competition section of the ASTA website. Contestants must compete at the state level, and the state chair must submit the application for the semi-fi nal round. Any applications sent directly to the national offi ce will automatically be disqualifi ed from the competition. Th ank you to Georgia State University for their generous sponsorship of this event and the use of their superb facilities for the competition.

Alternative Styles Awards: Celebrating Alternative Strings Th e Alternative Styles Awards oﬀ er the chance to award strings students of non-classical styles. Th is biennial event seeks to identify, celebrate, and encourage young practitioners of alternative string styles such as (but not limited to) all folk music traditions, jazz, fusion, and rock music. Award winners are chosen prior to the national conference, but they perform – and receive their awards – at the winner’s concert during the conference, much to the delight of the ASTA members in the audience. For a complete list of divisions, prizes, eligibility and other competition information plus the application form to enter can be found on the ASTA website. Deadline for application is October 1, 2008. Th e event is generously sponsored by Yamaha Corporation of America and Alfred Publishing Company.

Professional Development Opportunities at the National Conference String Teacher Enrichment Program (STEP) ASTA off ers members a professional development program! STEP is a 45 hour comprehensive professional development program in topics specifi c to string teaching. Th is program is to be completed within the timeframe of two conferences over a four year period. STEP is open to any string teacher interested in learning vital topics in string education, non-string playing teachers such as band directors who are now teaching strings, and private lesson instructors now teaching adjunct in schools. STEP fi lls in gaps in coursework, introduces new concepts in education, and reinforces knowledge areas. Once you have completed the program, a STEP certifi cate will be awarded and notifi cation will be made to supervisors or administrators specifi ed on the application that a certifi cate in this program has been received. You may also elect to receive two college credits during this program issued by ASTA’s university partner, Shenandoah University. To participate in this program you will need to pay conference registration fees, including the pre-conference session, one-time ASTA enrollment fee of $25*, and if elected, the cost of credit off ered through Shenandoah University. * If you have previously enrolled in ASTA’s Professional Development program and paid the $25 fee, you need not pay the fee a second time. To become a member of the STEP program, simply check off the String Teacher Enrichment Program box on the registration form, register for the conference and the K-12 pre-conference workshop, and if appropriate, the one-time enrollment fee box. Additional materials will be sent to you about the program. You may also visit the ASTA website for complete program details.

College Credit Available from Shenandoah University Shenandoah University will off er undergraduate and graduate credit in conjunction with the American String Teachers Association’s National Conference. To receive credit, you must complete Shenandoah’s registration information form indicating course number and credit level and complete all required assignments. Th ese are available to view on ASTA’s website and you will receive these upon checking the box on the ASTA conference registration form. Tuition cost for 1 credit is $197, plus a $20 special student application fee for all fi rst time Shenandoah University students. Th ese fees are paid directly to Shenandoah. Note: Th is program is administered strictly by Shenandoah University and off ered to ASTA conference attendees as a member service. Exact requirements and fees are determined and executed solely by the university and are paid directly to them.

www.astaweb.com | 59 www.astaweb.com | 59 Today forRegister 2008 Rates - We’ll See You In Professional Development Opportunities (con’t) Atlanta! Professional Development Documentation Program & Certifi cate Participation in this program means ASTA creates and maintains a permanent and ongoing record of your professional development hours, as long as you are a member of the program and the association. Th is program diff ers from the String Teacher Enrichment Program (STEP) as it does not have set topical criteria or specifi ed number of clock hours to meet.

Certifi cate of Participation ASTA still off ers a certifi cate of participation to those members desiring documentation of attendance at the conference for school administrators/districts requiring evidence of attendance or just to have as a remembrance of participation at the conference. Th is certifi cate does not include professional development hours. To get the best rates, register today! Early Bird rates are the same as last year!

Plan now to join us at the conference. Use the registration form on page 55 or visit the conference section of the ASTA website at www.astaweb.com for additional information and ways to register.

Early-bird registration deadline is December 10, 2008! All registered by December 10 are entered into a drawing for a DIAMOND SX Bow, generously donated by CodaBow International. Get the best rates available and a chance to win a bow!

Hotel Accommodations Reservation Deadline: March 2, 2009 ASTA has secured preferred rate room block at the Atlanta Marriott Marquis Hotel. Please contact the hotel by calling 404-521-0000 or toll free at 888-855-5701 by the cut-oﬀ date of March 2, 2009 to secure your reservations – be sure to mention you are with ASTA in order to receive the special room rates below. We are anticipating that the ASTA room block will sell out before the cut-oﬀ date. Reserve early to ensure space availability.

MARTA Train Fly into Hartsﬁ eld International Airport and get to the hotel without stepping outside! Take the MARTA train from the airport stop to Peachtree Center Station. Th e hotel is connected to the station. Th e fare is just $1.75 each way! (Approximately a 20-minute train ride.) Visit www.itsmarta.com for more details.

Single $150++/night Double/Triple/Quad $155++/night Reservations 888/855-5701 or 404/521-0000 Atlanta Marriott Marquis Hotel 265 Peachtree Center Ave. Atlanta, Georgia 30303

60 | American String Teacher | August 2008 60 | American String Teacher | August 2008 DecemberRegister 10 andby 2009 2009 ASTA National Conference $ Registration Form AVE MONEY! March 19-21, 2009 National Conference Atlanta, Georgia • Atlanta Marriott Marquis Hotel

Fax or email form to: Name ______Member ID # ______ASTA Address 1 ______4153 Chain Bridge Rd. Address 2 ______Fairfax, VA 22030 FAX 703/279-2114 City, State, Zip, Country ______Or register online: Phone ______FAX ______www.astaweb.com For questions, call: Email ______703/279-2113, ext. 16 Primary Profession (circle one): K-12 University Private Studio Performer

Early-bird rates Check here if fi rst-time same as last attendee. year! ConferenceConference Rates DocumentationDocumentation of of Professional Professional Development Development Early-Bird Registration: Pre-Registration: On-Site Registration: One-Time Enrollment Fee $25 postmarked on or before Dec. 10 postmarked Dec. 11 – Feb. 4 postmarked after Feb. 4 Certifi cate of Professional Development $10 ASTA Member Rates String Teacher Enrichment Program (STEP) $224 $282 $308 College Credit from Shenandoah University (these fees are paid directly to Non-Member Rates Join today and save! university, not ASTA; check box to receive more information/participate) $378 $436 $462 Certificate of Participation Certifi cate of Conference Participation $10 x _____ = $______Student Member Rates Name on Certifi cate: ______$97 $135 $189 * Does not contain hours of professional development. Student Non-Member Rates Join today and save! ConferenceConference Badge Badge Information Information $199 $241 $292 Please print your name and professional affi liation as you wish it to appear on your Member One-Day Rate: $159 Indicate which day (circle one): badge (e.g., John Doe, University of Maryland, or Jane Doe, City High School, or Jane Doe, Private Studio Teacher). Non-Member One-Day Rate: $199 Th F S Nickname ______OptionalOptional Conference Activities Activities Place of Employment ______Pre-Conference Workshops (Choose only one.) March 18, 12 p.m. to 5 p.m. $59 – Members; $79 – Non-Members ASTAASTA Membership (Join (Join or orRenew Renew Now!) Now!) SAVE $$ Alternative Styles State Leadership (invitation only) Body Maintenance State Chapter______Join or renew your membership when registering for the conference and take the Conducting I am the (circle one): discounted member rate on registration fees. Memberships must be current prior to the conference for member rates to apply. K-12 President President-Elect other (list) ______ Private Studio Professional $99 Solo Adjudication 101 Full-Time Student (copy of ID required) $30 Evening Concerts Dual $138 Darol Anger’s Republic of Strings – Thursday, March 19 $20 ____ Qty. Senior (age 62 or over) $70 Gala Benefi t Evening – Saturday, March 21 $40 ____ Qty. (Gala includes Silent Auction and the Zuill Bailey performance) Total Registration Fees:______

Payment Information Check (made payable to ASTA) Check # ______Note: Registrations with funds from outside the U.S. must be drawn on a U.S. bank. Purchase Order # ______(copy must be attached; must be fully paid 45 days before conference or balance collected at conference.) VISA MasterCard (Sorry, we do not accept American Express or Discover.) Card # ______Exp. Date______Cardholder Name ______Signature ______Cancellation Policy All cancellation requests must be received in writing by February 4, 2009. No refunds will be given on requests after this date. NO EXCEPTIONS. There is a $75 cancellation fee. Refunds will not be processed until after the conference.

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 individual’s image, likeness or voice in photographs, videotapes, electronic reproductions, and audiotapes of such events and activities for promotional purposes. www.astaweb.com | 61 62 | American String Teacher | August 2008 www.astaweb.com | 63 Master Class by Elaine Fine There Are No Secrets—Thoughts on a Career in Music; an Interview with Violinist David Nadien avid Nadien’s name is known to many young violinists as “the man who recorded those great Suzuki CDs.” His affi liation with Dr. Suzuki, though, was but a small part of his stellar solo and orchestral career that spanned more than six decades. DElaine Fine, a professional musician and long-time ASTA member, was fortunate to have been able to sit down with Nadien earlier this year to discuss his background, career, and thoughts on the music profession. She writes, “David Nadien had his career during a fantastic time, and he was the best fi ddle player around. He got where he did by practicing and by playing really well all the time. However, the musical world has changed. Anyone who has tried to ‘make a go’ of music as a freelancer knows how diffi cult it is to make a living, no matter how well he or she plays. Nadien, being a sensitive human being, is acutely aware of the musical prospects for people who are just starting out or are interested in going into music as a profession. It is Nadien’s absolute honesty that has made him the player and the man he is.”

Biography Nadien was born in Brooklyn, New York in 1926. He studied in New York and in Lucca, Italy with Adolfo Betti, the leader of the Flonzaley String Quartet. He made his Town Hall debut at 13, and played his ﬁ rst concerto with the New York Philharmonic when he was 14. Nadien continued his studies with Ivan Galamian, until he was drafted into the Army. After getting training in various ﬁ elds of artillery, he was asked to join the Army Services Orchestra as its concertmaster, and in 1946, after the war was over, Nadien was given the Leventritt Award by Arturo Toscanini. A frequent soloist with the New York Philharmonic, he became the orchestra’s concertmaster in 1966, where he was a frequent soloist and remained until 1970. After leaving the Philharmonic, Nadien continued to be very active as a studio musician in New York through the 1990s. In addition to his work with the New York Philharmonic, Nadien has soloed with the St. Louis Symphony, the National Orchestra Association, the Montreal Symphony, the Quebec Philharmonic, the Washington Symphony, and the Omaha Symphony. Cembal d’Amour (www.cembaldamour.com) has issued four DVDs that feature Nadien as soloist. Some selections on the recordings are reissues of out-of-print LP recordings from the 1960s, and some are recordings from concert performances. Th e CD that features concert performances of the Tchaikovsky and Glazunov concertos, and Ravel’s Tzigane and Havanaise by Saint-Saëns, includes a bonus 68-minute DVD interview that has a minute or so of David Nadien playing a bit of Kreisler.

Musical Infl uences body! Don’t be ashamed of it. Yes. Th e good ones know how diffi cult it Are there any secrets about great violin play- I barely learned anything at all tech- is, and are appreciative of anyone who is ing that you can share? nically or physically from him, but what capable. Absolutely. I know that when I I did enjoy with him was the music. He hear somebody who plays extremely well, Th ere are no secrets. If there were, there had such a wonderful sense of phrasing I take my hat off to them. I know how would be so many people able to do it! and shaping of a piece; that was what I diffi cult it is to do. enjoyed about working with him. You Could you tell me about studying with Constan- know, he himself said that gifted people Did you ever study with Fritz Kreisler? tine Dounis? I have heard stories about people and talented people play, for the most not wanting to be seen in his waiting room. part, correctly--they do not need to ana- No, never. But I was a great admirer of his. lyze what they are doing. He’s the fi rst to You could come in from an entrance recognize that talent will survive overall. I love your audible shifts, particularly when from a balcony or you could come in Dounis was quite independent fi nan- you play Kreisler. You don’t hear an actual through the front door. Sometimes cially and he didn’t need to teach if he slide, but you hear something: it’s as if the people who felt embarrassed, people didn’t want to. I think he was married to shifted-to note carries harmonic material perhaps of some stature didn’t want to be a rather wealthy woman. He loved mu- from wherever it came from. seen by other people in the same fi eld, so sic, and he would go out of his way for Dounis would usher someone in through some people. I remember that he came Th at’s called good shifting! You know the the front door, and the previous student to a recital that I played at a high school master of that was Fritz Kreisler. Kreisler would be ushered out the balcony door in the Bronx (a friend of mine drove had the most beautiful changes of posi- and exit to a diff erent elevator. He did him there). He would go out of his way tion. Th at was my idea of how a violin that to keep them happy, and he used to for somebody that he cared about, but should sound: Fritz Kreisler. laugh about it. Sometimes well-known he would not move a fi nger for people artists would ask him questions, and he who had “attitudes” that involved ego I love his pieces. I get the impression that he wouldn’t want to deal with them because and false expectations. wrote those thinking, “If I have to practice of their attitude. Often they would want technique, let me at least make it musical,” to study on their terms and not want I have been lucky to have known a lot of and it works to practice his pieces with the anybody to know. I think that’s very great musicians, and among the great musi- idea of getting all the position changes and phony myself: If you’re going to study cians I have known, humility seems to be a string crossings. with somebody, then study with some- unifying trait.

64 | American String Teacher | August 2008 I was brought up on all those pieces of people don’t have sensitive ears. It takes you love to do, if you can aff ord it. I am Kreisler’s. One of my fi rst teachers gave an appreciative ear to enjoy something disappointed by what I see happening. me nothing but Kreisler pieces, and that is sensitive. It’s not just a one-way I feel badly for young people today, and that was so much nicer than any of the thing. Some say a good thing is self-evi- deserving ones too, who cannot make a exercise books. dent, but sometimes, it’s not. Perhaps go of it in the music world. I was most there will be a rejuvenation, but I don’t fortunate because I hit the fi eld when it And they accomplish pretty much the same know, and I don’t see it happening soon. was booming, and now seems it is at its thing. lowest point. Freelancing, Th en and Now Yes, except you get to play them with I know that you did a lot of studio playing in Th oughts on the Teaching Profession feeling. Kreisler was a wonderful com- New York. Many of these young people go into teaching, poser, and the pieces are lovely--they’re but some of the people are not good teachers. charming. And of course another great Th ose were the days when there was a What would you say the qualities of a good left hand for shifting and getting around good deal of studio work. I was fortu- teacher are? the violin was Heifetz. He’s another nate. I was in the heart of the best times master. Th ere were so many fi ne violin- when there was a lot of live work: radio, Well, not to disturb a good thing is the ists of the past. studio, jingles. If it weren’t for that I fi rst thing. You should not start med- wouldn’t have the pension that I am dling with things that you think are Th oughts about Playing Violin able to enjoy today. It’s because of all going to help and won’t, and might get Every single note you play seems to be fi lled the work that I did in the 60s, 70s, 80s, in the way of somebody’s natural ability. with life. It is as if you care about every and 90s. Th at sort of activity does not Often if you just kind of guide, rather single note. exist anymore. Th e fi eld has dried up. than interfere, it is a better thing. But Being a musician is a tough way some people need very defi nite help if Well, I do. I do care about every single to make a living. It all boils down to they play incorrectly. Th ere is such a note, and I endeavor to, no doubt about money, I’m afraid. Everybody’s trying to thing as playing incorrectly. it. You can’t play sort of fl ippantly and save it and make it, and automation has meaninglessly. It has to mean something. taken the place of human endeavor, and Oh, I know it well! You have to be talking when you play. that’s about it. Th ere’s bad posture, poor bow strokes, When you teach do you help students to How do you advise college-age students who not knowing how to hold the bow natu- cultivate this kind of playing? want to go into the profession? It’s very dif- rally, how to hold the violin naturally… ferent from the way it was when you were Th ere are certain basics, but once they Th is is a diffi cult subject to talk about growing up. know those things, give them musical because usually you can see if a person is guidance, and hope that something will trying to do it, perhaps not succeeding, Th ere’s little work in the fi eld now for spring from that. Often what has to but you feel them trying to play with performers. Th e need for live musicians happen has to come from what is inside feeling. Th en you can help, because there in the United States has almost dried up, the student. You can’t force feed it. is usually something standing in the way with the exception of large orchestras that you can help them overcome. But and the Met, and the existence of a few Would you say that a person who would go with people who don’t feel anything at large groups like that. Th e Broadway into teaching should be intuitive? all—they are just playing notes—I don’t shows use very few live musicians. It’s know if they can be helped. hard for a fi ddle player to get a job in a Well, a teacher should be intelligent, musical on Broadway now because they and be careful not to harm anything. If Yet they play. only use four to six violins, and one or I had my choice of studying with some- two violas, and maybe one or two cellos. one who didn’t play well but taught, Th ey play, sure, because they can physi- Th ey used to have large sections. Th at or someone who played very well and cally move fi ngers and arms, and rosin the doesn’t exist anymore. For the most part didn’t teach, I’d rather study with the bow, and take the violin out of the case, people don’t notice anyway. If you turn person who played very well because at but that’s about it. Nothing is happen- the television set on, most of the back- least you can see a model there. You can ing. Th at is not artistry. Just like there are ground music is synthesizers, and most hear what a vibrato should sound like, people who can run and walk, but they people don’t care or know the diff erence. and what it should look like. Somebody are not marathoners. I’m afraid that there I would tell a college student the who’s all mouth and no action, I don’t are ungifted people for certain things who truth. I would say, “look, there isn’t think I would like that. A good teacher might be very gifted in other directions. much out there unless you can get, should be able to play very well and perhaps, a job at a university teaching, show how something should sound. I hope that when people hear your playing which is not easy to come by, or pass they will recognize substance. an audition for one of the orchestras in the country, which is also hard to do. I It takes a sensitive ear to do that. Many would look at music as something that

www.astaweb.com | 65 Master Class by Elaine Fine

So somebody who is preparing to go into teaching should be able to basically “put their money where their mouth is.”

Yes!

Performance Practice/Musical Approach How do you feel about playing Baroque music without vibrato?

A lot of people play it as if Baroque music shouldn’t be played with any feeling. It should be played with a lot of feeling. Vibrato has a great deal to do with feeling. Everything is combined: the vibrato, the bow, how you shape a piece. It’s “multi-complicated.”

When you were working as a studio musician did you approach commercial music diﬀ erently from the way you would approach “serious” music?

Not at all. I always made it sound the best that I could make it sound, but often the style of it might have to be diﬀ erent. I would always try to make it sound well. For example once I was asked to do some hillbilly stuﬀ , but I tried to make it sound like “good hillbilly,” not “bad hillbilly.”

So you are saying that whatever you are playing, you do at your very best?

Absolutely. If I can’t get any pleasure out of what I’m doing musically, I’ve failed. I have to enjoy it myself. I want to like what I’m doing while I’m doing it.

If live commercial music ever comes back, do you think that would be a goal for commercial players, for musicians to have as much integrity with whatever they are trying to play?

Yes. It’s not like the old saying, “it’s good enough for jazz!”

Elaine Fine is a violinist, violist, and composer who lives in east central Illinois. In addition to freelancing and teaching, she is on the review- ing staff of the American Record Guide and has more than 60 compositions published by the Seesaw Music Corporation.

66 | American String Teacher | August 2008 www.astaweb.com | 67 Inspire Young Musicians; Order Honey Bee’s Song Now is an appropriate time to order Honey Bee’s Song, written by Cynthia Swiss and colorfully illustrated by Judy Leyshon. It is a children’s story about a little girl named Karen who busily practices her violin in a lovely garden ﬁ lled with lavender bushes, butterﬂ ies, and bees. Of course, one of the bees is special and becomes her friend. She composes a piece of music for all of her new bee “friends” called “Honey Bee’s Song.” Read how music in the garden was a perfect expression of joy and friendship for Karen and the bees. Order this book now for your beginning students taking lessons this fall. It is sure to delight them. Avail- able online at astaweb.com for just $10.

Administration 25,220 Foundation 48,900 Governance 0 Grants 30,000 Member Services 1,912,507 Publications 68,100 Total $ 2,084,727

Expenses

Administration 369,131 Foundation 88,624 Governance 83,678 Grants 30,283 Member Services 1,460,348 Publications 46,571

Total $2,078,635

www.astaweb.com | 71 String Industry Council 22008008 Membership Directory (current members as of June 30, 2008) On the following pages you will fi nd the annual printed String Industry Council directory. Please note that signifi cant changes were made in its organization and presentation in an eff ort to better assist you in fi nding the products and services you need on a daily basis. Th e full directory listing for each company, including the full description and all categories and more, is still available on our website at http:// www.astaweb.com. Click on the Member Resources link on the left, then click on the Searchable Directories link on the left as well. You may search by company, product, business location, and more. Th e website gives you the description of the company, and complete contact information including live links to email and websites.

Anytime you are in need of products and services, use these pages or visit the online directory, please support the companies that are actively supporting you! Many listings also include special discounts for ASTA members – just ask!

ACCESSORIES (ACC) Mach One Shoulder Rest 819-684-3886 www.machonerest.com Alter’s Violin Shop Meisel Stringed Instruments 816-468-7757 www.altersviolinshop.com 800-634-7356 www.meiselmusic.com Ashokan Fiddle & Dance Camps Mercury String Shop 845-246-2121 www.ashokan.org 804-553-7995 www.mercurystringshop.com Bob Beerman’s Bass Violin Shop Pasewicz String Instruments, Inc. 336-272-2877 www.bassviolinshop.com 919-858-0429 www.tristrings.com Brobst Violin Shop The Potter Violin Company 703-256-0566 www.brobstviolins.com 800-317-9452 www.pottersviolins.com Concord International Group Sam Ash Music Corporation 847-836-8688 www.concordgroup.com 888-615-5904 www.samashmusic.com D’Addario & Co., Inc. Super-Sensitive Musical String Co. 631-439-3333 www.daddariobowed.com 941-371-0016 www.supersensitive.com Fegley’s Violin Shop The Violin Case 610-779-0665 www.fegleyviolin.com 425-829-4945 www.violingifts.com Fein Stringed Instruments Yamaha Corporation 651-228-0783 www.feinviolins.com 714-522-9011 www.yamaha.com/strings George Robinson Violins ASSOCIATIONS (A) 806-792-9752 www.robinsonviolins.com Huthmaker Violins Heart of Chamber Music Institute 800-572-1019 www.huthmakerviolins.com 617-232-1135 www.heartofchambermusic.net Johnson String Instrument Indianapolis Symphony Orchestra 617-964-0954 www.johnsonstring.com 317-231-6785 www.indianapolissymphony.org Kenneth Warren & Son, Inc. The Midwest Clinic 312-427-7475 http://kennethwarrenandson.com 847-424-4163 www.midwestclinic.org Last Resort Music Publishing, Inc. Starling Project Foundation 818-956-0088 www.lastresortmusic.com 513-421-4404 www.starling.org

72 | American String Teacher | August 2008 BOWS (BOWS) George Robinson Violins 806-792-9752 www.robinsonviolins.com A. Cavallo Violins Glasser Bows, Inc. 402-827-9270 www.acavalloviolins.com 718-994-1613 www.glasserbows.com Alter’s Violin Shop Gliga Violins USA 816-468-7757 www.altersviolinshop.com 626-578-0442 www.violinslover.com Antonio Violins Guarneri House 800-846-5270 www.antonioviolin.com 616-451-4960 www.guarnerihouse.com Beckmann Violin Shop House of Note 913-831-1119 www.kkbeckmannviolins.com 952-929-0026 www.houseofnote.com Bob Beerman’s Bass Violin Shop Huthmaker Violins 336-272-2877 www.bassviolinshop.com 800-572-1019 www.huthmakerviolins.com Brobst Violin Shop Ifshin Violins 703-256-0566 www.brobstviolins.com 510-843-5466 www.ifshinviolins.com Casa Del Sol Jim Clinton Violins 317-257-9923 www.casadelsolviolins.com 864-322-2622 www.jcviolins.com Charles W. Liu Fine Violins John Montgomery, Inc. 801-255-9636 www.ﬁ nestringinstruments.com 919-821-4459 www.montgomeryviolins.com Claire Givens Violins, Inc. Johnson String Instrument 612-375-0708 www.givensviolins.com 617-964-0954 www.johnsonstring.com CodaBow International Ltd. JonPaul Bows 507-454-1509 www.codabow.com 801-266-0443 www.jonpaulbows.com Conrad String Instruments, LLC. Kelin Violin Shop 732-469-4544 www.conradstrings.com 972-964-8666 www.kelinviolin.com David Gage String Instrument Repair Ken Altman Bowmaker 212-274-1322 www.davidgage.com 503-873-7420 www.altmanbows.com Eastman Strings Lemur Music 800-624-0270 www.eastmanstrings.com 949-493-8323 www.lemurmusic.com Electric Violin Shop Lisle Violin Shop 919-806-3311 www.electricviolinshop.com 800-545-4753 www.violins.com Fegley’s Violin Shop Meisel Stringed Instruments 610-779-0665 www.fegleyviolin.com 800-634-7356 www.meiselmusic.com Fein Stringed Instruments Menchey Music Service, Inc. 651-228-0783 www.feinviolins.com 717-637-2185 www.mencheymusic.com Ferguson Violin Shop Mercury String Shop 208-356-0231 www.fergusonviolinshop.com 804-553-7995 www.mercurystringshop.com Foster’s Violin Shop Metzler Violin Shop 714-639-4480 www.fostersviolinshop.com 818-246-0278 www.metzlerviolins.com Fritz Reuter & Sons Inc. Nordenholz Distributing Co. 847-677-7255 www.fritz-reuter.com 800-272-7170 www.nordenholz.com

www.astaweb.com | 73 220080 0 8 String Industry Council Directory Oliver Musica USA, Inc. Charles W. Liu Fine Violins 714-632-5959 www.olivermusic.com 801-255-9636 www.fi nestringinstruments.com Pasewicz String Instruments, Inc. CodaBow International Ltd. 919-858-0429 www.tristrings.com 507-454-1509 www.codabow.com Peter Prier & Sons Violins Conn-Selmer, Inc. 801-364-3651 www.prierviolins.com 574-522-1678 www.conn-selmer.com The Potter Violin Company Connolly & Co., Inc. 800-317-9452 www.pottersviolins.com 631-757-0110 www.connollyandco.com Psarianos Violins, Ltd. CSC Products Co., Ltd. 248-689-8424 www.psarianosviolins.com 888-600-8559 www.samuelshen.com Reuning & Son Violins D’Addario & Co., Inc. 617-262-1300 www.reuning.com 631-439-3333 www.daddariobowed.com R.L. Ray Violin Shop LLC. Dogal SNC 360-570-1085 www.rlrayviolinshop.com +39 041 5388281 www.dogalstrings.it Robertson & Sons Violin Shop, Inc. Don’t Fret Enterprises 505-889-2999 www.robertsonviolins.com 505-292-9614 [email protected] Roy G. Quade Bowmaker Eastman Strings 403-277-9373 www.quadebows.com 800-624-0270 www.eastmanstrings.com The Enterprising Rabbit Rufi no Violins 866-876-3123 www.enterprisingrabbit.com 917-930-4153 www.rufi noviolins.com G. Edward Lutherie, Inc. Southwest Strings 612-781-5799 www.gelbass.com 520-624-9390 www.swstrings.com Gemeinhardt Co., Inc. The String House 219-295-5280 www.gemeinhart.com 585-442-9272 www.thestringhouse.com Gibson Musical Instruments Violin Outlet 615-871-4500 www.gibson.com 702-733-3028 www.violinoutlet.com Gliga Violins USA William Moennig & Son Ltd. 626-578-0442 www.violinslover.com 215-567-4198 www.moennig.com Happynex Williamson Music Company 401-569-6510 www.happynex.com 972-633-8203 www.williamsonmusicco.com Howard Core Company Yamaha Corporation 800-633-2302 www.howardcore.com 714-522-9011 www.yamaha.com/strings Il Gladio INSTRUMENT & ACCESSORY +88 6982253177 www.il-gladio.it MANUFACTURER/WHOLESALER (IAMW) Instrumental Distribution 734-480-2280 www.instrumentaldistribution.com A. Cavallo Violins Jim Clinton Violins 402-827-9270 www.acavalloviolins.com 864-322-2622 www.jcviolins.com Ashokan Fiddle & Dance Camps Johnson String Instrument 845-246-2121 www.ashokan.org 617-964-0954 www.johnsonstring.com BEE-IN Tuner, Inc. Kaman Music Corporation 516-798-5555 www.BeeInTuner.com 860-509-8888 www.kamanmusic.com

74 | American String Teacher | August 2008 Knilling String Instruments THOMASTIK-INFELD 314-727-4512 www.knilling.com +43 15451262 www.thomastik-infeld.com Kun Shoulder Rest, Inc. United-Workshops 613-232-1861 www.kunrest.com 888-895-7477 www.united-workshops.com Lemur Music Universal Music 949-493-8323 www.lemurmusic.com 310-537-0938 www.univiolin.com Meisel Stringed Instruments Xeros Music Enterprises 800-634-7356 www.meiselmusic.com 972-234-5414 xerosmusic.com Nordenholz Distributing Co. Yamaha Corporation 800-272-7170 www.nordenholz.com 714-522-9011 www.yamaha.com/strings

Notes & Strings LLC INSTRUMENT, ACCESSORY & 719-251-1341 www.notesnstrings.com MUSIC SALES (IAMS) Oliver Musica USA, Inc. 714-632-5959 www.olivermusic.com A. Cavallo Violins 402-827-9270 www.acavalloviolins.com OnBoard Research Corporation 214-239-4005 www.tuners.com Anti-Fatigue Practice Mat 574-232-5434 www.musicmat.net Otto Musica 215-636-0585 www.ottomusica.com Antonio Violins 800-846-5270 www.antonioviolin.com Peter Prier & Sons Violins 801-364-3651 www.prierviolins.com Beckmann Violin Shop 913-831-1119 www.kkbeckmannviolins.com Peterson Electro-Musical Products, Inc. 708-388-3311 www.petersontuners.com Casa Del Sol 317-257-9923 www.casadelsolviolins.com Pirastro GmbH Charles W. Liu Fine Violins +49 69-840090-0 www.pirastro.com 801-255-9636 www.fi nestringinstruments.com Psarianos Violins, Ltd. Claire Givens Violins, Inc. 248-689-8424 www.psarianosviolins.com 612-375-0708 www.givensviolins.com R.L. Ray Violin Shop LLC. Concord International Group 360-570-1085 www.rlrayviolinshop.com 847-836-8688 www.concordgroup.com Shar Products Company Conrad String Instruments, LLC. 734-665-3978 www.sharmusic.com 732-469-4544 www.conradstrings.com Snow Stringed Instruments, Inc. CSC Products Co., Ltd. 718-353-7402 www.snowviolin.com 888-600-8559 www.samuelshen.com Sofi a Violins David Gage String Instrument Repair 317-264-0444 www.sofi a-violins.com 212-274-1322 www.davidgage.com Southwest Strings David Kaemmer’s Fiddle Tune of the Month 520-624-9390 www.swstrings.com 520-220-1166 www.dkmusicstudio.com Super-Sensitive Musical String Co. Don’t Fret Enterprises 941-371-0016 www.supersensitive.com 505-292-9614 [email protected] Superscope Technologies, Inc. Electric Violin Shop 630-820-4800 www.superscopetechnologies.com 919-806-3311 www.electricviolinshop.com

www.astaweb.com | 75 220080 0 8 String Industry Council Directory The Enterprising Rabbit Oliver Musica USA, Inc. 866-876-3123 www.enterprisingrabbit.com 714-632-5959 www.olivermusic.com Ferguson Violin Shop Pasewicz String Instruments, Inc. 208-356-0231 www.fergusonviolinshop.com 919-858-0429 www.tristrings.com Fritz Reuter & Sons Inc. Peter Prier & Sons Violins 847-677-7255 www.fritz-reuter.com 801-364-3651 www.prierviolins.com Gliga Violins USA Peter Zaret & Sons Violins, Inc. 626-578-0442 www.violinslover.com 888-846-5462 www.zaretandsonsviolins.com Guarneri House PlayMyPiece, LLC. 616-451-4960 www.guarnerihouse.com 585-461-9421 www.playmypiece.com House of Note The Potter Violin Company 952-929-0026 www.houseofnote.com 800-317-9452 www.pottersviolins.com Ifshin Violins Psarianos Violins, Ltd. 510-843-5466 www.ifshinviolins.com 248-689-8424 www.psarianosviolins.com Il Gladio R.L. Ray Violin Shop LLC. +88 6982253177 www.il-gladio.it 360-570-1085 www.rlrayviolinshop.com Jim Clinton Violins Rolland String Research Associates 864-322-2622 www.jcviolins.com 480-969-9744 www.myspace.com/peterdocrolland John Montgomery, Inc. Sam Ash Music Corporation 919-821-4459 www.montgomeryviolins.com 888-615-5904 www.samashmusic.com Johnson String Instrument Shar Products Company 617-964-0954 www.johnsonstring.com 734-665-3978 www.sharmusic.com KC Strings, Inc. Southwest Strings 913-677-0400 www.kcstrings.com 520-624-9390 www.swstrings.com Kelin Violin Shop Strings Music and More LLC. 972-964-8666 www.kelinviolin.com 480-200-4025 stringsmusicandmore.com Lemur Music Strings101.com 949-493-8323 www.lemurmusic.com 626-961-4936 strings101.com Lisle Violin Shop Tata Classical LLC 800-545-4753 www.violins.com 734-604-1373 www.tataclassical.com Meisel Stringed Instruments Violin Outlet 800-634-7356 www.meiselmusic.com 702-733-3028 www.violinoutlet.com Menchey Music Service, Inc. William Moennig & Son Ltd. 717-637-2185 www.mencheymusic.com 215-567-4198 www.moennig.com Metzler Violin Shop Williamson Music Company 818-246-0278 www.metzlerviolins.com 972-633-8203 www.williamsonmusicco.com Music & Arts Center Wood Violins 301-620-2053 www.musicarts.com 516-767-6677 www.woodviolins.com Notes & Strings LLC 719-251-1341 www.notesnstrings.com

76 | American String Teacher | August 2008 INSTRUMENT MAKER/DEALER (IMD) Gemeinhardt Co., Inc. 219-295-5280 www.gemeinhart.com A. Cavallo Violins George Robinson Violins 402-827-9270 www.acavalloviolins.com 806-792-9752 www.robinsonviolins.com Alter’s Violin Shop Gibson Musical Instruments 816-468-7757 www.altersviolinshop.com 615-871-4500 www.gibson.com Anne Cole Violinmaker Gliga Violins USA 505-294-3709 www.annecoleviolinmaker.com 626-578-0442 www.violinslover.com Beckmann Violin Shop House of Note 913-831-1119 www.kkbeckmannviolins.com 952-929-0026 www.houseofnote.com Bob Beerman’s Bass Violin Shop Huthmaker Violins 336-272-2877 www.bassviolinshop.com 800-572-1019 www.huthmakerviolins.com Brobst Violin Shop Ifshin Violins 703-256-0566 www.brobstviolins.com 510-843-5466 www.ifshinviolins.com Casa Del Sol Jansma Fine String Instruments 317-257-9923 www.casadelsolviolins.com 231-924-0657 www.jansma.com Charles W. Liu Fine Violins Jiang Violins 801-255-9636 www.ﬁ nestringinstruments.com +86 10 5210 7389 www.jiangviolins.com Claire Givens Violins, Inc. Jim Clinton Violins 612-375-0708 www.givensviolins.com 864-322-2622 www.jcviolins.com Clemens Violins, Violas, Violoncellos John Montgomery, Inc. 314-727-4787 www.clemensviolins.com 919-821-4459 www.montgomeryviolins.com Conrad String Instruments, LLC. Johnson String Instrument 732-469-4544 www.conradstrings.com 617-964-0954 www.johnsonstring.com CSC Products Co., Ltd. Jonathan Cooper Violinmaker 888-600-8559 www.samuelshen.com 207-893-1866 www.jcooperviolinmaker.com Electric Violin Shop KC Strings, Inc. 919-806-3311 www.electricviolinshop.com 913-677-0400 www.kcstrings.com Fegley’s Violin Shop Kelin Violin Shop 610-779-0665 www.fegleyviolin.com 972-964-8666 www.kelinviolin.com Fein Stringed Instruments Kenneth Warren & Son, Inc. 651-228-0783 www.feinviolins.com 312-427-7475 http://kennethwarrenandson.com Ferguson Violin Shop Lemur Music 208-356-0231 www.fergusonviolinshop.com 949-493-8323 www.lemurmusic.com Foster’s Violin Shop Lisle Violin Shop 714-639-4480 www.fostersviolinshop.com 800-545-4753 www.violins.com Fritz Reuter & Sons Inc. Lyon & Healy Harps 847-677-7255 www.fritz-reuter.com 312-786-1881 www.lyonhealy.com G. Edward Lutherie, Inc. Maison Bernard 612-781-5799 www.gelbass.com +32 2 514-18-71 www.maison-bernard.com

www.astaweb.com | 77 220080 0 8 String Industry Council Directory Menchey Music Service, Inc. William Moennig & Son Ltd. 717-637-2185 www.mencheymusic.com 215-567-4198 www.moennig.com Mercury String Shop Williamson Music Company 804-553-7995 www.mercurystringshop.com 972-633-8203 www.williamsonmusicco.com Metzler Violin Shop Wm. Rees Instruments, LLC. 818-246-0278 www.metzlerviolins.com 812-438-3032 www.reesharps.com Oliver Musica USA, Inc. Wood Violins 714-632-5959 www.olivermusic.com 516-767-6677 www.woodviolins.com Pasewicz String Instruments, Inc. INSTRUMENT RENTAL (IRE) 919-858-0429 www.tristrings.com Peter Prier & Sons Violins A. Cavallo Violins 801-364-3651 www.prierviolins.com 402-827-9270 www.acavalloviolins.com The Potter Violin Company Antonio Violins 800-317-9452 www.pottersviolins.com 800-846-5270 www.antonioviolin.com Psarianos Violins, Ltd. Bob Beerman’s Bass Violin Shop 248-689-8424 www.psarianosviolins.com 336-272-2877 www.bassviolinshop.com Rapkievian Fine Violins Brobst Violin Shop 301-519-2021 www.fi neviolinsbydavid.com 703-256-0566 www.brobstviolins.com Reuning & Son Violins Casa Del Sol 617-262-1300 www.reuning.com 317-257-9923 www.casadelsolviolins.com R.L. Ray Violin Shop LLC. Charles W. Liu Fine Violins 360-570-1085 www.rlrayviolinshop.com 801-255-9636 www.fi nestringinstruments.com Robertson & Sons Violin Shop, Inc. Conrad String Instruments, LLC. 505-889-2999 www.robertsonviolins.com 732-469-4544 www.conradstrings.com Rufi no Violins Fein Stringed Instruments 917-930-4153 www.rufi noviolins.com 651-228-0783 www.feinviolins.com Sofi a Violins Ferguson Violin Shop 317-264-0444 www.sofi a-violins.com 208-356-0231 www.fergusonviolinshop.com Southwest Strings Foster’s Violin Shop 520-624-9390 www.swstrings.com 714-639-4480 www.fostersviolinshop.com Steven M. Tinling Violinmaker Fritz Reuter & Sons Inc. 951-780-1274 [email protected] 847-677-7255 www.fritz-reuter.com StringWorks George Robinson Violins 920-830-0928 www.stringworks.com 806-792-9752 www.robinsonviolins.com The Violin Shop House of Note 615-662-1570 www.theviolinshop.net 952-929-0026 www.houseofnote.com Universal Music Huthmaker Violins 310-537-0938 www.univiolin.com 800-572-1019 www.huthmakerviolins.com W & W Musical Instrument Co./ Jim Clinton Violins Venus Harps 864-322-2622 www.jcviolins.com 847-818-0578 www.venusharps.com

78 | American String Teacher | August 2008 Johnson String Instrument INSTRUMENT REPAIR (IR) 617-964-0954 www.johnsonstring.com Kelin Violin Shop A. Cavallo Violins 972-964-8666 www.kelinviolin.com 402-827-9270 www.acavalloviolins.com Alter’s Violin Shop Lisle Violin Shop 816-468-7757 www.altersviolinshop.com 800-545-4753 www.violins.com Menchey Music Service, Inc. Antonio Violins 717-637-2185 www.mencheymusic.com 800-846-5270 www.antonioviolin.com Mercury String Shop Beckmann Violin Shop 804-553-7995 www.mercurystringshop.com 913-831-1119 www.kkbeckmannviolins.com Metzler Violin Shop Bob Beerman’s Bass Violin Shop 818-246-0278 www.metzlerviolins.com 336-272-2877 www.bassviolinshop.com Music & Arts Center Brobst Violin Shop 301-620-2053 www.musicarts.com 703-256-0566 www.brobstviolins.com Pasewicz String Instruments, Inc. Casa Del Sol 919-858-0429 www.tristrings.com 317-257-9923 www.casadelsolviolins.com Peter Zaret & Sons Violins, Inc. Charles W. Liu Fine Violins 888-846-5462 www.zaretandsonsviolins.com 801-255-9636 www.fi nestringinstruments.com The Potter Violin Company Claire Givens Violins, Inc. 800-317-9452 www.pottersviolins.com 612-375-0708 www.givensviolins.com Psarianos Violins, Ltd. Clemens Violins, Violas, Violoncellos 248-689-8424 www.psarianosviolins.com 314-727-4787 www.clemensviolins.com R.L. Ray Violin Shop LLC. CSC Products Co., Ltd. 360-570-1085 www.rlrayviolinshop.com 888-600-8559 www.samuelshen.com Rolland String Research Associates David Gage String Instrument Repair 480-969-9744 www.myspace.com/peterdocrolland 212-274-1322 www.davidgage.com Rufi no Violins Electric Violin Shop 917-930-4153 www.rufi noviolins.com 919-806-3311 www.electricviolinshop.com Shar Products Company Fegley’s Violin Shop 734-665-3978 www.sharmusic.com 610-779-0665 www.fegleyviolin.com Southwest Strings Fein Stringed Instruments 520-624-9390 www.swstrings.com 651-228-0783 www.feinviolins.com The String House Ferguson Violin Shop 585-442-9272 www.thestringhouse.com 208-356-0231 www.fergusonviolinshop.com Violin Outlet Foster’s Violin Shop 702-733-3028 www.violinoutlet.com 714-639-4480 www.fostersviolinshop.com Williamson Music Company Fritz Reuter & Sons Inc. 972-633-8203 www.williamsonmusicco.com 847-677-7255 www.fritz-reuter.com G. Edward Lutherie, Inc. 612-781-5799 www.gelbass.com

www.astaweb.com | 79 220080 0 8 String Industry Council Directory George Robinson Violins Reuning & Son Violins 806-792-9752 www.robinsonviolins.com 617-262-1300 www.reuning.com House of Note R.L. Ray Violin Shop LLC. 952-929-0026 www.houseofnote.com 360-570-1085 www.rlrayviolinshop.com Huthmaker Violins Robertson & Sons Violin Shop, Inc. 800-572-1019 www.huthmakerviolins.com 505-889-2999 www.robertsonviolins.com Ifshin Violins The String House 510-843-5466 www.ifshinviolins.com 585-442-9272 www.thestringhouse.com Jansma Fine String Instruments The Violin Shop 231-924-0657 www.jansma.com 615-662-1570 www.theviolinshop.net Jim Clinton Violins Violin Outlet 864-322-2622 www.jcviolins.com 702-733-3028 www.violinoutlet.com John Montgomery, Inc. William Moennig & Son Ltd. 919-821-4459 www.montgomeryviolins.com 215-567-4198 www.moennig.com Johnson String Instrument Williamson Music Company 617-964-0954 www.johnsonstring.com 972-633-8203 www.williamsonmusicco.com KC Strings, Inc. MUSIC FESTIVAL (MF) 913-677-0400 www.kcstrings.com Kelin Violin Shop 972-964-8666 www.kelinviolin.com ACIS/Encore Tours 617-450-5660 www.encoretours.com Kenneth Warren & Son, Inc. 312-427-7475 http://kennethwarrenandson.com Ashokan Fiddle & Dance Camps 845-246-2121 www.ashokan.org Lisle Violin Shop 800-545-4753 www.violins.com Charles W. Liu Fine Violins 801-255-9636 www.ﬁ nestringinstruments.com Maison Bernard +32 2 514-18-71 www.maison-bernard.com Festival-Institute at Round Top 979-249-3129 www.festivalhill.org Menchey Music Service, Inc. 717-637-2185 www.mencheymusic.com Johansen International Competition 301-946-9531 www.fmmc.org Mercury String Shop 804-553-7995 www.mercurystringshop.com Music Celebrations International 480-894-3330 www.musiccelebrations.com Metzler Violin Shop 818-246-0278 www.metzlerviolins.com Music Dreaming, Inc. 828-350-0916 www.violinmastery.com Music & Arts Center 301-620-2053 www.musicarts.com Orchestra America 317-636-2263 www.musicforall.org Pasewicz String Instruments, Inc. 919-858-0429 www.tristrings.com Symerge 585-313-4319 www.symerge.org Peter Prier & Sons Violins 801-364-3651 www.prierviolins.com Travel Adventures 810-664-1777 www.traveladventures.com The Potter Violin Company 800-317-9452 www.pottersviolins.com Vanguard Tour Service, Inc. 708-895-0060 www.vanguardtours.com Psarianos Violins, Ltd. 248-689-8424 www.psarianosviolins.com

80 | American String Teacher | August 2008 MUSIC PUBLISHER/DISTRIBUTOR Heiden Music Publications (MPD) 503-587-2201 heidenmusic.com Innovative Learning Designs, LLC. Alfred Publishing Co., Inc. 800-232-6332 www.musicreading.com 818-891-5999 www.alfred.com Jazzbows Music Inc. Ashokan Fiddle & Dance Camps 718-881-8158 www.jazzbows.com 845-246-2121 www.ashokan.org Jim Clinton Violins Barenreiter 864-322-2622 www.jcviolins.com +49 561 3105 173 www.baerenreiter.com Kendor Music, Inc. Boosey & Hawkes 716-492-1254 www.kendormusic.com 414-774-3630 www.halleonard.com Last Resort Music Publishing, Inc. C. Alan Publications 818-956-0088 www.lastresortmusic.com 336-272-3920 www.c-alanpublications.com Latham Music, a Lorenz Co. C.F. Peters Corporation 800-444-1144 www.latham-music.com 718-416-7800 www.cfpeters-ny.com Lemur Music Carl Fischer Music 949-493-8323 www.lemurmusic.com 212-777-0900 www.carlﬁ scher.com The Lorenz Corporation Col Legno Music 937-228-6118 www.lorenz.com 651-487-1980 www.collegno-music.com Luck’s Music Library David Kaemmer’s Fiddle Tune of the Month 248-583-1820 www.lucksmucic.com 520-220-1166 www.dkmusicstudio.com Lyra House Music Publications E&E Cello Music, LLC. 248-855-2135 www.iteachguitar.com 785-354-0765 www.eecellomusic.com Mel Bay Publications E.F. Kalmus/Ludwig Masters Publications, Inc. 636-257-3970 www.melbay.com 718-268-8906 www.kalmus-music.com Mewzkl Publications The Enterprising Rabbit 410-841-6288 www.mewzkl.com 866-876-3123 www.enterprisingrabbit.com Mona Lisa Sound, Inc. Family String Method 877-263-5691 www.monalisasound.com 413-624-3976 www.familystringmethod.com Mountain Crest Music FJH Music Co., Inc. 845-226-1142 www.mountaincrestmusic.com 954-382-6061 www.fjhmusic.com Mozart Music Frank Rodgers Music 832-566-0405 www.mozartm.com 757-420-7671 [email protected] MSB Publishing Co. Frederick Harris Music Co. 703-561-0189 members.aol/msbpubco 905-501-1595 www.frederickharrismusic.com Music Mart, Inc. G. Schirmer, Inc. 505-889-9777 www.musicmart.com 414-774-3630 www.halleonard.com Neil A. Kjos Music Company GIA Publications, Inc. 858-270-9800 www.kjos.com 708-496-3800 www.giamusic.com NJR Music Enterprises Hal Leonard Corporation 952-974-5047 http://members.aol.com/njmuse 414-774-3630 www.halleonard.com

www.astaweb.com | 81 220080 0 8 String Industry Council Directory Northeastern Music Publications, Inc. Jazzbows Music Inc. 610-942-2370 www.nemusicpub.com 718-881-8158 www.jazzbows.com Northfi eld Press Johnson String Instrument 716-634-6884 www.northfi eldpress.com 617-964-0954 www.johnsonstring.com The Potter Violin Company Last Resort Music Publishing, Inc. 800-317-9452 www.pottersviolins.com 818-956-0088 www.lastresortmusic.com Robertson & Sons Violin Shop, Inc. Latham Music, a Lorenz Co. 505-889-2999 www.robertsonviolins.com 800-444-1144 www.latham-music.com Rolland String Research Associates Luck’s Music Library 480-969-9744 www.myspace.com/peterdocrolland 248-583-1820 www.lucksmucic.com Shar Products Company Metzler Violin Shop 734-665-3978 www.sharmusic.com 818-246-0278 www.metzlerviolins.com SMHD Publications Mona Lisa Sound, Inc. 303-773-3185 www.smhdmusic.com 877-263-5691 www.monalisasound.com Southwest Strings MSB Publishing Co. 520-624-9390 www.swstrings.com 703-561-0189 members.aol/msbpubco Strings Music and More LLC. Music Mart, Inc. 480-200-4025 stringsmusicandmore.com 505-889-9777 www.musicmart.com SYNKROS Navarro River Music 585-244-4962 www.synkrosmusic.org 707-937-3342 www.navarrorivermusic.com Tempo Press PlayMyPiece, LLC. 248-588-0808 www.tempopress.com 585-461-9421 www.playmypiece.com Twofold Media The Potter Violin Company +613 9878 0716 www.twofold.com.au 800-317-9452 www.pottersviolins.com Wilfi n Music Southwest Strings +61 7 3341 8086 www.wilfi nmusic.com.au 520-624-9390 www.swstrings.com Wingert-Jones Publications Stanton’s Sheet Music, Inc. 816-765-6200 www.wjpublications.com 614-224-4257 www.stantons.com SHEET MUSIC (SM) Tempo Press 248-588-0808 www.tempopress.com Brobst Violin Shop 703-256-0566 www.brobstviolins.com Wilfi n Music +61 7 3341 8086 www.wilfi nmusic.com.au C.F. Peters Corporation 718-416-7800 www.cfpeters-ny.com Williamson Music Company E.F. Kalmus/Ludwig Masters Publications, Inc. OTHER PUBLISHER (OP) 718-268-8906 www.kalmus-music.com George Robinson Violins Alfred Publishing Co., Inc. 806-792-9752 www.robinsonviolins.com 818-891-5999 www.alfred.com Heiden Music Publications Claire Givens Violins, Inc. 503-587-2201 heidenmusic.com 612-375-0708 www.givensviolins.com JW Pepper & Son, Inc. David Kaemmer’s Fiddle Tune of the Month 610-648-0500 www.jwpepper.com 520-220-1166 www.dkmusicstudio.com

82 | American String Teacher | August 2008 Innovative Learning Designs, LLC. Navarro River Music 800-232-6332 www.musicreading.com 707-937-3342 www.navarrorivermusic.com Jazzbows Music Inc. NS Design 718-881-8158 www.jazzbows.com 207-563-7705 www.nedsteinberger.com Music Dreaming, Inc. RCI Software Riden Consulting Inc. 828-350-0916 www.violinmastery.com 480-968-0407 www.riden.com Navarro River Music Robertson & Sons Violin Shop, Inc. 707-937-3342 www.navarrorivermusic.com 505-889-2999 www.robertsonviolins.com Notes & Strings LLC Rolland String Research Associates 719-251-1341 www.notesnstrings.com 480-969-9744 www.myspace.com/peterdocrolland PlayMyPiece, LLC. Soundwaves Recording 585-461-9421 www.playmypiece.com 419-433-4918 www.soundwaves.com Rolland String Research Associates Strings Music and More LLC. 480-969-9744 www.myspace.com/peterdocrolland 480-200-4025 stringsmusicandmore.com OTHER (O) SYNKROS 585-244-4962 www.synkrosmusic.org ACIS/Encore Tours Telarc Records 617-450-5660 www.encoretours.com 216-464-2313 www.concordmusicgroup.com Alter’s Violin Shop Travel Adventures 816-468-7757 www.altersviolinshop.com 810-664-1777 www.traveladventures.com Charles W. Liu Fine Violins Vanguard Tour Service, Inc. 801-255-9636 www.ﬁ nestringinstruments.com 708-895-0060 www.vanguardtours.com Creative Imperatives The Violin Case 201-947-3923 www.creativeimperatives.com 425-829-4945 www.violingifts.com D’Addario & Co., Inc. Wireless for Strings 631-439-3333 www.daddariobowed.com 650-343-6444 www.wirelessforstrings.com DSP Financial 800-433-8369 Electric Violin Shop 919-806-3311 www.electricviolinshop.com The Enterprising Rabbit 866-876-3123 www.enterprisingrabbit.com Fegley’s Violin Shop “The Teaching of in String Playing” 610-779-0665 www.fegleyviolin.com Indianapolis Symphony Paul Rolland’s legendary film series Orchestra video set $295 (USA/VHS postpaid) PAL/overseas add S&H A monumental series of timeless value!!! 317-231-6785 Every string teacher should own a set. www.indianapolissymphony.org The series of 21 topics by one of the pre-eminent string pedagogues of our time effectively demonstrates all phases of string playing essential to establishing good playing form. It is a wonderful teaching Merz-Huber Company tool for classroom, private studio, & individual student use. Endorsed by 610-544-2323 www.merzhuber.com Yehudi Menuhin, Eduard Melkus, Marvin Rabin, Max Rostal and others. Paul Rolland (1911-1978) is a leader in string education. Send PO a/o check or money order payable to: Mona Lisa Sound, Inc. His innovative string teaching Rolland String Research Associates 877-263-5691 method is acclaimed 1616 West Mountain View, Mesa, AZ 85201 worldwide for its effectiveness. www.monalisasound.com (480) 969-9744; e-mail: [email protected]

www.astaweb.com | 83 84 | American String Teacher | August 2008 www.astaweb.com | 85 Teaching Tips by Nancy Kredel Check Sheet for Beginning String Class

(First class through learning to hold the violin and viola) Class______Beginning Date ______Ending Date ______Purpose of this Check Sheet: To begin the string classes in an effi cient manner and employ the right strategies for students to master the skill of properly holding the instrument. Each student will show mastery of skills that are marked with an asterisk* and will require a checkout that can be done individually or in a small group. Th e teacher should not go on to new skills until these essential skills are learned. For an elementary school 45-minute string class, it is expected that this checksheet will take about two classes to fi nish. How to Use Th is Check Sheet: Follow each step of the checksheet in order, making sure the class understands each item and can do the drill before going on to the next step. When the class can do an item, initial and date the corresponding line. Do not skip around on the checksheet. Th e items have been arranged in a specifi c order to build the necessary skills. SECTION ONE — GETTING THE CLASS STARTED Th e children are seated and wearing nametags. Th eir instruments are on their laps. You have put big red dots on each instrument about halfway up on the fi ngerboard. (You can get the dots at an offi ce supply store.) Address the class with the following talking points. 1. Th e fi rst thing we are going to do is learn the parts of the instrument and get to be friends with our violin or viola. Hold your instrument on your lap with the strings facing you. Watch and follow me. (Touch the scroll.) Touch the top of your instrument and say, “scroll.” (Wait for them to do it.) Now touch the pegs and say, “pegs.” Th e pegs are used to tune the instrument, but I do not want you to turn them because it is easy to break a string by accident. Go through six to eight parts and make sure they are following directions and answering as a group. 2. BRIEFLY go over instrument care. If you did not already do it, go over basic class rules. 3. Teach the names of the strings — violins fi rst. Do this any way you like. A suggested way is to have all the violin players fi nd their thinnest string and pluck it one time saying “E.” Find their next string, pluck it once and say “A,” etc. Th en do the same process with violas and cellos. Th e strings are still facing the students. Write the names of the strings on the board. *4. Choose one child and have him copy you. Listen carefully. I am going to pluck each string and say its name. Be sure to name the strings. Do this slowly so that anyone who is confused can pick it up: (pluck), “E,” (pluck), “A,” (pluck), “D,” (pluck), and “G.” Th en have Suzy do it. If she gets it right, say, “Th at is 100% correct. Great! If not, demonstrate it again and have her repeat it until it is correct. *5. Repeat the same process until you are sure that every child has it correct. To be effi cient, you can do a whole row at a time. When you are satisfi ed say, “Great, we now have it 100 percent!” Let the class know that each skill must be correctly learned before a new skill is introduced. SECTION TWO — HOT CROSS BUNS HARMONY 6. Hot Cross Buns harmony. Put your instrument under your right arm with the strings out like a guitar. Aim the scroll up near the ceiling a little bit. Wiggle your right thumb. Find your D string and pluck it several times. Pluck near the end of the fi ngerboard. Check that they all have the D. If any instruments are way out of tune, tune them while the student is still plucking. Do the same for the A. Choose one child and ask them to copy you. Pluck D A D. Once he has it, ask the class to copy you too. If there is one extra quick child, challenge them to listen and try the whole song: D A D - D A D - D D A A D A D - Write it on the board. *7. Drill the song until they all have it. At fi rst, test a few that seem to have it. Once a small group can do it correctly, the chances are good that the next group can do it too because they have been listening. Drill in this way until the whole class has achieved 100 percent. I like to play piano with them, playing a D chord and an A chord. You can play the melody in the right hand and the D A D harmony in the left hand if you want, perhaps after they have all passed the test. (Th ey might get confused when the melody goes into faster notes on the second line.)

86 | American String Teacher | August 2008 Optional: Some classes will only get this far during the fi rst class. Do not worry if this happens. Tell them the fi rst class or so we do not get to cover a lot. Suggest to them that they practice everything we just went over 10 times a day. When you are ready, have students put the instruments away and latch the case before picking it up. Optional: During the fi rst or second class, take pictures of half or a third of the class at a time. Ask their permission fi rst. Tell them the purpose is to help you learn their names. Get the pictures developed and write their names on the back. Study the faces and names whenever you get a chance in order to learn them quickly. SECTION THREE — STATUE OF LIBERTY AND INSTRUMENT UNDER CHIN 8. Get sponges and Kun shoulder rests on instruments. Teach students how to put Kun shoulder rests on, demonstrating fi rst and then helping as needed. Put sponges on for them. If there is time, check each student using a sponge with the instrument under their chin to see if it fi ts. 9. Statue of Liberty Game. As you face the class, stand to the right of the child on the right end of the row as you face them, so all the students will be looking slightly to the left at you. Demonstrate the whole game, then take them through it step-by-step. If there is a student who has already played some, have them come up in front of the class and be the leader. Stand with instrument under your arm with the strings facing out. Th is is called rest position. Aim the scroll up toward the ceiling a little. Put your feet together and make a “V” with your toes; “V” for violin or “V” for viola. Move one foot sideways so your feet are under your shoulders. Rock back-and-forth. Hold your left hand up high. With your left hand, cover up your dot so no one knows it is there. Put your thumb on the top of the neck and the fi ngers underneath. Hold up your instrument like the Statue of Liberty holds her torch. Hold it in the same path your left foot points in. Put your weight on the foot under the violin or viola (left foot). Stand tall. Look at the back of the instrument and let’s count to 10. (Do it.) Lift your chin. Help with your other hand and put your instrument on your shoulder. Let your jaw hold it a little snug and fl oat your left hand fi ngers over the big red dot. Pretend your fi ngers are an umbrella and don’t let the rain get on your dot. With your left pinky, strum the strings over the dot. Curl up your pinky and see if you can pluck just your D string. (Do it.) Pluck your A string. (Do it.) Put your instrument under your right arm in rest position and listen to this: (In playing position under your chin, you pluck the whole song, D A D, with your left pinky over the dot.) At fi rst this is a little tricky, but you can do it if you practice it a lot. When the whole class can pluck D A D with their pinky perfectly, we will be ready to use the bow! 10. Give them the paper for the Statue of Liberty Game and suggest they drill it at home 10 times a day. Th e checkout (item. 11) should be done in the next class, after a drill.

* 11. Statue of Liberty Checkout. Have one row at a time do this game… up to plucking the D string with the pinky. When the whole row does it correctly, with the instrument on the shoulder, tell them, “Th at is correct. Great!” Test the other rows the same way, correcting any student who needs help. When they are ready, test the whole group. Th e class only passes when all students do it correctly without help. * 12. Do Statue of Liberty and pluck D A D (whole song) with the pinky over the big red dot. Th is will take some home practice to master. Test them as in #11. When all of the students are doing it correctly, say “Congratula- tions! You have mastered the position of the instrument. Now we are ready to use the bow!” PROVISIONAL: If there are one or two that lag behind on this skill and you want to go on, tell them to take the test next time ﬁ rst thing. If they will promise to master it at home, you will let the class start the bow. Tell them if they do it 10 times a day, they will be able to do it easily the next time. Do your best to make sure they master the skill as soon as possible. If anyone was absent, be sure to catch them up with the rest of the class.

Nancy Kredel is an elementary string teacher in Fairfax County, Virginia. She is a former student of Paul Rolland with more than 30 years of teaching experience. She chose the most basic teaching strategies to get the students to hold the instrument and bow properly and play short strokes. The check sheet format ensures mastery of these skills before using a method book or teaching left-hand tunes by rote. Each year she revised and improved her teaching strategies and those included in the check sheets have proved to be the most successful in a group setting. A complete set of check sheets can be downloaded from the Virginia ASTA website at www. vastaweb.org. Included is a set of bass check sheets written by Matthew Baldwin. Permission is granted to copy all the material.

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Alfred Distributes Violin Bow Th e songs included in the book and performed on the accompanying CD (sold separately) are: Technique for DVD-ROM 1. Gavotte, P. Martini Violin Bow Technique, a new multimedia 2. Minuet, J. S. Bach DVD-ROM by Fintan Murphy, shows you 3. Gavotte in G, J. S. Bach how you can develop and improve your 4. Humoresque, A. Dvorák bowing skills. More than 150 video clips in 5. Gavotte, J. Becker 11 chapters cover all the major bowstrokes, 6. Gavotte in D, J. S. Bach complete with the steps needed to develop 7. Bourrée, J. S. Bach artistic and advanced bowing. Violin Bow Technique is a wonderful fusion in-depth Alfred currently has over 45,000 active print, DVD, soft- research into bowing technique with state-of- ware, general MIDI, audio CD and enhanced CD titles in the-art multimedia software. circulation throughout the world. Titles represent a full range of Lessons include: musical tastes and styles, including the works of George and Ira • Bowhold Gershwin, Duke Ellington, Henry Mancini, Led Zeppelin, the • Hand & Finger Action Eagles, Madonna, Green Day, and hundreds more. In addition to • Bowstrokes its own titles, Alfred distributes works from the National Guitar • String Crossing Workshop, the Dover Music catalog, and Faber Music. Contact • Chords Marina Terteryan at 818/891-5999, ext. 149 for more informa- • Bow Speed tion about these new releases. • Friction or Pressure • Point of Contact Presenting the BEE IN TUNER • Planning & Practice Th e new standard in string instru- • Warm-Ups ment tuning, BEE IN TUNER is a • Th e Lesson Environment unique new product technology designed for violin, viola and guitar. Additional resources include a bibliography of all conducted Th e patented BEE IN TUNER is an research, tuning notes, and printable text and scores for practice. entirely automatic, frequency Th is product can be used by players and teachers of violin and responsive, mechanical tuning viola at all levels. Alfred will be distributing this product interna- device. Th e BEE IN TUNER is tionally, with the exception of Australia and New Zealand (where extremely easy and fun to use and it is the fastest, most effi cient way it is distributed by Encore Music). to tune string instruments. Th is versatile tuning wand uses micro- processor and motor control technology for its intuitive operation and is ergonomically designed to fi t the hand. A backlit screen Suzuki® Violin School Volume 3 clearly reads out your instrument, string, and selected tuning. Revised Edition Violin and Viola Alfred is also pleased to release the third Th e BEE IN TUNER uses specially designed fi ne tuners which volume of the internationally renowned allow the tuner wand to interface and adjust the string tension Suzuki® Violin School. It contains the automatically by listening (with the pickup) to the pitch of each fundamental lessons and practice pieces of string. It is the most effi cient way to tune a large number of the Suzuki® school with the following student instruments .Th is will cut tuning time by 75%.It allows enhanced features: students to be in control of string tuning with “No hands on the friction tuning pegs”. Th is new technology standard is useful to students and teachers in rehearsal, class and at home. • Additional exercises, some from Dr. Suzuki, plus additional insight and Guitar/Hornet suggestions for teachers, Th e BEE IN TUNER for guitar uses a similar wand design but • New editing of pieces, including bowings and fi ngerings, has a specially designed head which will adapt to any shaped • New engravings in a 9” x 12” format, guitar tuning machine. Designed for beginners or advanced musi- • 16 additional pages, cians, the wand contains the standard plus fi ve alternate tunings. • Glossary of terms in English, French, German and Th e tuning wand can be used on any six string electric or acoustic Spanish, guitar (with pickup).Th e Hornet model contains new features de- • Musical notation guide, signed specifi cally for advanced musicians and guitar technicians. • Fingerboard position, and For more information, contact BEE IN TUNER, P.O. Box 136, Massapequa Park, NY.11762 or www.Beeintuner.com. • New photos. Phone or fax inquiries at (516) 798-5555.

88 | American String Teacher | August 2008 The Violin Case Announces concentration or perfor- Winners of Annual mance. By contributing to the comfort of students, International Strings Art Meisel’s adjustable shoulder Competition rest makes them more likely to continue in music. Twelve winning artworks featuring bowed stringed instruments Th e V-809 Adjustable have been selected in the Annual International Strings Art Com- Shoulder Rest for violins petition sponsored by Th e Violin Case, LLC. Th e art will be fea- and violas has a list price of tured in the 2009 Celebrate the Strings Calendar to be published $24.95. For more informa- in August 2008 and are displayed online at www.theviolincase@ tion contact Meisel Stringed yahoo.com. Th e calendar is available to high school orchestras Instruments at 1/800 and string groups at wholesale for fundraising. MEISEL M (634-7356). In addition to the calendar, Th e Violin Case, LLC oﬀ ers a Fax: 1- 973 379-5020. Email [email protected] Website: www.meiselmusic.com full line of violin-theme gifts and collectibles for string players, (Showcase continued on page 93) teachers, and students. Owned and operated by Julie Tebbs, the Seattle based company is the web’s only source for unique violin gifts. Visit them today at www. theviolincase.com. For more information, contact Julie Tebbs at (425) 829-4945.

New V-809 Adjustable Shoulder Rest From Meisel “Grows” With Students It used to be that as a student grew and moved up to a larger violin, parents would have to buy a new shoulder rest. Not anymore; the V-809, an innovative new shoulder rest from Meisel Stringed Instruments, is adjustable so it “grows” right along with the student. Th anks to the V-809’s adjustable feature, students can continue to use the same shoulder rest as they move up from fractional violins to a full-size model. Th is spares parents the expense of buying a new shoulder rest with each instrument, something that is sure to be appreciated during these economic times. Th e V-809 can be adjusted to ﬁ t any violin from a 1/8 model to a full-sized instrument, as well as 11-inch to 14-inch violas. Th e unique design of the V-809 makes the adjustment process simple and convenient. Weighing only two ounces, the ergo- nomic V-809 is comfortable and unobtru- sive, so it will not interfere with a student’s

www.astaweb.com | 89 Notes

Dr. Marianne Murray Perkins (1954-2008)

Greatly esteemed and greatly loved colleague and teacher, Marianne Murray Perkins succumbed to cancer on July 10, 2008. We will miss her unique perspective, her tireless work, her honest commentary and her insight. Marianne studied directly with Dr. Shinichi Suzuki at the Talent Education Institute in Matsu- moto, Japan, graduating as a Suzuki Method teacher in 1985. She studied the New Approach with Kato Havas in England and the pedagogy of Paul Rolland at the University of Maryland. She acquired a special Dr. Marianne Murray Perkins understanding of the pedagogies of the three most important string pedagogues of the twentieth century and she had built a reputation for her comprehensive interpretation of string playing technique. She attained her Bachelor’s degree in Music Education at Temple University in1976, her Master’s degree in Education at the University of Pennsylvania in 1982, and in1993 she completed a Doctor of Musical Arts degree in Music Education at Catholic University, Washington DC. Her doctoral dissertation, “A Comparison of Violin Playing Techniques: Kato Havas, Paul Rolland, and Shinichi Suzuki” was published by ASTA in1995 and turned out to be one of their best sellers for more than ten years. It is used widely in music schools across the country. At the time of her death, she was working on her second book on string pedagogy with her close colleague and friend, Lynne Denig. Marianne was a frequent contributor to string teaching journals and newsletters, and the recipient of numerous awards and citations for her teaching and contributions to string education. She gave presentations on string pedagogy at the ASTA national conference for the past three years and has been an invited speaker to numerous other conferences, most recently at the University of Alcala, Madrid, Spain. Marianne’s teaching career extended from directing school orchestra programs in Fairfax County to university programs in Saudi Arabia and Japan. For the past twenty years, she built an extensive private studio in Oak Hill, where she focused on violin technique. In her three terms on VASTA’s board, she served as Secretary and web site chair and as editor of the VASTA newsletter, Th e Fingerboard, which she re-launched three years ago. Th e VASTA web site that she created was awarded best website by ASTA in 2007. Marianne is survived by her husband, Graham, and sons, Christian and David. Memorial gifts to ASTA may be made in Marianne’s name through the “support ASTA” page of their web site at http://www.astaweb.com.

90 | American String Teacher | August 2008 Oklahoma Chapter Continues Moss Receives Outstanding to Grow Achievement Award Th e Oklahoma chapter of ASTA is proud to announce their new Kirk Moss, ASTA president-elect, received a offi cers: 2008 Alumni Outstanding Achievement • President - Douglas Droste, Award from the University of Florida • Vice President/President-Elect - Laura Talbott, (Gainesville) College of Fine Arts. Each year, • Secretary - Susan Diekman, faculty members from within the college • Treasurer - Dawn Th railkill, select three honorees based upon signifi cant • Newsletter Editor - Dorothy Hayes, and career accomplishments. Moss holds a Ph.D. • Members-at-Large - Mary Snider (historian), Kent Graber in music education, conducting emphasis, and Donna Brox. from the University of Florida. According to Droste, “Our goal is to continue to grow our He accepted the award and spoke at the college’s Spring chapter and help create activities that will keep string playing Commencement, held on May 3rd. His address to the 800 thriving in Oklahoma.” attendees underscored the infl uence of teachers in the lives of Several new workshops for ASTA members and their students each graduate. He stated, “As we step toward new goals, we carry have recently been created. Th e inaugural OK-ASTA String forward the legacy of those who taught us.” Teacher Day took place at Oklahoma State University this past June, in coordination with Horizons Chamber Music Camp and OK Bass Bash. Current ASTA members were invited to the OSU Rachel Barton Pine Violin campus for a day-long workshop that included: participation in Residency at Morehead State a chamber ensemble with other ASTA colleagues (with coaching from OSU faculty), refresher course/lesson on each instrument University (instruments provided), materials to help build a chamber music Acclaimed violinist Rachel Barton Pine will conduct a three-day program,and a session on instrument repair and maintenance. An residency at Morehead State University on November 13-15. informal performance was held at the conclusion of the day. More Pine is one of the world’s leading violinists and has soloed with information can be found at music.okstate.edu. the Chicago, Philadelphia, Atlanta, St. Louis, Dallas, Montréal, Other new events include the OK-ASTA All-State Etude/Excerpt Vienna, New Zealand, and Budapest Orchestras. She made her Workshop on December 2, 2008 at Oklahoma State University. Participating high school students will receive an opportunity to solo debut at age seven and has worked with famous conduc- perform a mock audition on their All-State repertoire, and receive tors - Zubin Mehta, Erich Leinsdorf, Placido Domingo, and immediate critique and feedback from area university string studio Charles Dutoit to name a few. Her instrument is one of the most professors. Specifi c details will be released in the early fall. important in the world, the “ex-Soldat” violin made in 1742 by Th e OK-ASTA Quartet Competition will be revived with a Guarneri del Gesu. new format- all entries will be a recorded submission. Th e win- She has appeared at festivals in Marlboro, Ravinia, Salzburg ning quartet will be awarded $200 and an opportunity to perform and Montreal and has enjoyed high profi le collaborations, includ- for the chapter at our annual meeting at the OMEA State Music ing pairings with the rock band Kansas, pianists Daniel Baren- Convention. Th e due date will be January 16, 2009, and details boim, Christopher O’Riley and Christoph Eschenbach, baritone will also be released in the early fall. William Warfi eld, and violinist/fi ddler Mark O’Connor. “We are excited about the future of our chapter and string Th is three-day residency at Morehead State University playing in Oklahoma!” says Droste. (MSU) will have Pine sharing her music and educational talents with musicians of all ages and audiences in Kentucky. During this residency she will present workshops, lectures, master classes, and will perform as a solo artist and with an orchestra of high school and college musicians participating in MSU’s Fourth Annual Tri-State Honor Orchestras. On November 15, she will present a performance of her recital program and perform with the High School Tri-State Honor Orchestra. All components of the residency will be open to the general public. For more information visit www.moreheadstate.edu/music or call (606) 783-2198 or email [email protected]. “At the Heart of Chamber Music” DVD Wins Two Awards “At the Heart of Chamber Music” is a fi rst-of-its-kind, 35-minute Offi cers for the Oklahoma Chapter of ASTA met last DVD that has won two awards for excellence and will be aired on May. Pictured left-to-right are: Douglas Droste, Laura PBS in the fall. According to Gillian Rogell, creator of the DVD Talbott, George Speed, Mary Snider, Dorothy Hayes, and music educator, “Educators fi nd that it helps their students and Dawn Th railkill. engage with classical music because it de-mystifi es the language of

www.astaweb.com | 91 Notes

classical music and provides a window into what musicians experience as they create music.” Rogell and the Jupiter Quartet coach three chamber groups, with commentary by the world-renowned cellist, Paul Katz. Students explore what the music is “saying” and how musicians make this happen. Bonus features include a performance of the ﬁ rst movement of the Brahms Sextet in G major, and an extended conversation with Paul Katz. Gillian Rogell, violist, teaches at New England Conservatory Preparatory School and is the chair of the Chamber Music Depart- ment at the School of Continuing Education. She is the director of the Heart of Chamber Music Institute and has been a member of ASTA since 2004. For more information go to www.musicalchemy.net.

ASTA Members Invited to Submit Articles for American String Teacher Journal

The award-winning American String Teacher journal provides an extraordinary beneﬁ t to its members. ASTA members are encouraged to submit articles on a broad range of pedagogical and performance topics. As is the rule with most professional journals, submission of an article does not guarantee publication, but the articles editor is most willing to work with prospective authors in order to maintain the highest standards.

Author guidelines may be found on our website, www.astaweb. com. Articles may be submitted for consideration as feature articles, forum (instrument-speciﬁ c) articles, My Turn, Teaching Tips, or Member2Member articles.

Please make an initial inquiry with article idea or send a completed article via e-mail to Mary Wagner, interim articles editor, at [email protected].

92 | American String Teacher | August 2008 (Showcase continued from page 89) D’ADDARIO ANNOUNCES POWER CAN RELEASE OF ZYEX COMPOSITE VIOLIN BE YOURS! STRINGS With Peter Zaret’s patented bass bar D’Addario is pleased to announce an improved version of the popular Zyex violin strings, utilizing a new confi gura- As reviewed in the May 2003 issue of tion of the composite Zyex synthetic Strad Magazine and the March 2004 core material. Zyex is a new generation issue of Strings Magazine, Dr. Zaret’s of synthetic material, tremendous for amazing bass bar releases the power, professional players. Zyex strings are depth, and brilliance of stringed instru- versatile, and are excellent for a variety of ments while allowing for an easier musical styles, from classical to modern response. The bass bar can be retrofitted or jazz to country. into existing instruments. Th e advanced core confi guration allows musicians to have an even greater Fine selection of violins, violas ability to control the fi ner nuances of their and cellos in all price ranges with and tone. Th e strings also remain stable in tun- without the new bass bar. ing—even under extreme climate condi- tions and have the fastest break in time of Exceptional sounding smaller size instruments any synthetic string on the market. Zyex for young string players strings maintain a warm, rich tone quality. “D’Addario is always striving to • 25 Years Experience craft the highest quality strings for its • Exceptional Quality customers,” says David Luce, D’Addario • Satisfaction Guaranteed bowed product manager. “Th e Zyex • Personalized Service by Peter Zaret, Graduate Composite Violin Strings represent a of Juilliard, Doctor of Musical Arts signifi cant advancement in string tech- • Expert Repairs nology and are proof of our dedication to • National Rental/Purchase Program the needs of the professional violinist.” • Orders Shipped Promptly Anywhere in US Zyex Composite Violin Strings are available for immediate shipment. For more information For more information about Zyex please visit our website at Composite Violin Strings, please visit www.zaretandsonsviolins.com www.daddariobowed.com. PETER ZARET & SONS VIOLINS, INC. Kendor Music to 1-888-VIOLIN2 (846-5462) Premier: Holiday 5767 Mayfield Rd., Cleveland, OH 44124 Strings email: [email protected] Th is grade 1-2 collection, arranged by Robert S. Frost, contains 11 familiar holiday songs from divergent ethnic groups, each arranged in two performance formats: duet and string orchestra. Th ese formats provide directors with versatility and variety in meeting the performance needs of beginning level string orchestras. In the duet arrangements each instrument has the melody line and a harmony (duet) line. In the string orchestra arrangements each instrument has two parts that follow standard instrumentation, allowing for various instrument combinations between upper and lower strings. Th e optional piano book includes both duet and string orchestra accompaniments that will strengthen the confi dence and sound of ensembles of any size. Titles include “Up On Th e Housetop”; “We Wish You A Merry Christmas”; “Silent Night”; “O Come, All Ye Faithful” (Adeste Fideles); “Joy To Th e World”; “Go Tell It On Th e Mountain”; “God Rest Ye Merry Gentlemen”; “Ding! Dong! Merrily On High”; “La Piñata”; “Ma’oz Tzur” (Rock Of Ages) and “S’Vivon.” Full Score #7961, $11.95 Viola T.C. #7964, $6.95 Violin #7962, $6.95 Cello/Bass #7965, $6.95 Viola #7963, $6.95 Piano (opt.) #7966, $7.95 Kendor Music is a publisher of educational music for jazz ensemble, concert band, string orchestra, textbooks and instrumental solos and ensembles since 1954. Distributor of both the Doug Beach Music (U.S.A.) and the Advance Music (Germany) catalogs. www.kendormusic.com

www.astaweb.com | 93 ASTA Publications

Pricing Guide: Improvise! by Jody Harmon, includes CD Compendiums $25.95 M $33.75 NM M= Member NM=Nonmember String Syllabus Volume One, 2003 Jazz Improvisation Made Easy by Jody Edition for Violin, Viola, Cello, Bass, New Books Harmon and John Blake, includes CD and Ensembles ed. Gregory Hurley $25.95 M $33.75 NM $24.95 M $32.45 NM Honey Bee’s Song Available for violin, viola, and cello. by Cynthia Swiss String Syllabus Volume Two for Harp Specify which of the three JIME! books and Guitar ed. David Littrell $9.95 M $12.95 NM you want on the order form. $19.95 M $25.95 NM Pedagogy Manual of Orchestral Bowing Music Medicine General by Charles Gigante Sforzando! Music Medicine for String The Teaching of Action in String $21.95 M $28.55 NM Players ed. Anne Mischakoff Heiles Playing by Paul Rolland $8.75 M $11.40 NM $37.50 M $48.75 NM Orchestral Bowings and Routines by Elizabeth A.H. Green Stretching for Strings by Jack Winberg, Violin M.D., and Merle F. Salus, M.S.T. Basic Principles of Violin Playing $16.50 M $21.45 NM by Paul Rolland $19.95 M $25.95 NM $10.50 M $13.65 NM The School Symphony Orchestra Miscellaneous Experience: A Guide to Establishing a A Comparison of Violin Playing Advocating for Strings DVD Full Orchestra in the Schools free M, $9.95 NM Techniques: Kato Havas, Paul Rolland, ed. Pamela Tellejohn Hayes and Shinichi Suzuki by Marianne $13.95 M $15.95 NM Alternative Styles In the Classroom DVD Murray Perkins $20.00 M, $26.00 NM $31.95 M $41.55 NM String Teaching in America: Strategies Discovering Strings and Orchestra DVD The Violin Guide by Stefan Krayk for a Diverse Society ed. Jane Aten (program-specifi c, please visit $10.00 M $13.00 NM $17.95 M $22.95 NM www.astaweb.com for more details) A Violinist’s Guide for Exquisite Teaching Stringed Instruments in Ultimate Strings, Vol. 1: Alternative Styles CD Intonation by Barry Ross, second ed. Classes by Elizabeth A.H. Green $9.95 each (M and NM price same) $19.95 M $25.95 NM $21.75 M $28.30 NM Ultimate Strings, Vol. 2: Viola Resource Classical Virtuosity CD Playing and Teaching the Viola $9.95 each (M and NM price same) ed. Greg Barnes Basic String Maintenance: A Teacher’s $43.95 M $56.95 NM Guide by Harold Turbyfi ll Cello Drones CD $17.95 M $22.95 NM $10.00 M $12.00 NM A Violist’s Guide for Exquisite Award Certifi cates Intonation by Barry Ross Dictionary of Bowing and Pizzicato $19.95 M $25.95 NM $12.95 M $14.95 NM (per pack) Terms ed. Joel Berman, Each pack includes 25 certifi cates. Barbara G. Jackson, Kenneth Sarch Cello Please specify which award you want: The Art of Cello Teaching $16.50 M $21.45 NM Achievement Award, Spirit Award, Director by Gordon Epperson Research Award, Student Leadership Award, Most Improved $11.95 M $15.95 NM Director’s Awards Pack Applying Research to the Teaching and $27.95 M $32.95 NM Cellist’s Guide to the Core Technique Playing of Stringed Instruments Contains 10 of each certifi cate. by G. Jean Smith ed. Gail V. Barnes $14.50 M $18.85 NM $32.95 M $42.85 NM Director’s PLATINUM Awards Pack Classroom & Orchestra $54.95 M $59.95 NM The Bach Chaconne for Solo Violin Contains 25 of each certifi cate. Getting It Right from the Start ed. ed. Jon F. Eiche Kathlene Goodrich and Mary Wagner, $12.95 M $16.85 NM ASTA Pin* ASTA Keychain* second ed. $7.00 each $4.75 each $19.95 M and NM The Ten Beethoven Sonatas by Joseph Szigeti I ♥ Strings Bumper Stickers* A Harp in the School: A Guide for $4.00 M $5.20 NM $12.00 per pack of 10 School Ensemble Directors and Harpists CareersInStringTeaching.Com ed. Chelcy Bowles Bumper Stickers (Free, min. order pack of $17.95 M $22.95 NM 25, but please add shipping/handling fee of $2.50 per pack on these stickers only) *Shipping is only included on individual purchase of bumper stickers, keychains, and/or membership pins. If ordering books or CDs along with either of these, you MUST add shipping according to the chart on order form.

94 | American String Teacher | August 2008 Publications Order Form Order online at www.astaweb.com. Item # Title Price Quantity Total ______

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Membership applications should be returned to: ASTA Membership Department 4153 Chain Bridge Road; Fairfax, VA 22030 Or use your credit card to join online at www.astaweb.com. 96 | American String Teacher | August 2008 If your chapter is not listed, it is considered inactive. To receive a registration packet for re-establishing a student chapter, please contact the National ofﬁ ce at 703/279-2113 or send email to Kari Hahn at [email protected]. ASTA Student Chapters

Augustana College Kelly Helmich, President, [email protected] Kansas State University University of Arizona Janina Ehrlich, Advisor Laura Bradshaw, Cora Cooper, Advisor Toru Tagawa, President, [email protected] [email protected] [email protected] Donald Hamann, Advisor, [email protected] Luvliga Srtangar Chapter Department of Music PO Box 210004 639 38th Street 109 McCain Auditorium 1017 N. Olive Rd. Rock Island, IL 61201-2210 Manhattan, KS 66506-4700 Music Bldg. Rm 109 Tucson, AZ 85721-0004 Baldwin-Wallace College Mansfi eld University Adam P. Cordle, President, [email protected] Stephanie Swart, President, University of Nebraska - Lincoln Julian Ross, Advisor [email protected]fi eld.edu Muriel Huckins, [email protected] [email protected] Kenneth Sarch, Advisor David Neely, Advisor, [email protected] 275 Eastland Rd. ksarch@mansfi eld.edu 120 Westbrook Music Bldg, UNL Berea, OH 44017 Butler Music Center 106 Lincoln, NE 68588 Mansfi eld, PA 16933 Ball State University University of North Carolina at Greensboro Christine Jones, President, [email protected] Michigan State University Annalisa Chang, President, [email protected] Kristin Turner, Advisor Caitlin Mihalko, President, [email protected] Rebecca MacLeod, Advisor, [email protected] [email protected] Judy Palac, Advisor, [email protected] Gate City ASTA 2000 University Avenue 102 Music Practice Building PO Box 26167, School of Music Muncie, IN 47306-0001 East Lansing, MI 48824 Greensboro, NC 27402 Central Washington University Minnesota State University - Moorhead University of Northern Colorado Carrie Rehkopf Michel, Advisor, [email protected] Haley Rydell, President, [email protected] Joe Miller, President, [email protected] 400 E University Way Kirk Moss, Advisor, [email protected] Juliet White-Smith, Advisor, [email protected] Ellensburg, WA 98926-7502 1104 Seventh Avenue South 501 20th Street Moorhead, MN 56563-0001 Greeley, CO 80639 Concordia College Kelly Aus, President, [email protected] Northwestern University University of South Carolina Jane Linde Capistran, Advisor Lindsay Klecka, [email protected] Stacy Wiley, President, [email protected] [email protected] James Kjelland, Advisor, [email protected] William Terwilliger, Advisor, [email protected] 901 8th St. South 60 Arts Circle Dr. 234 Russell House, SG 189 Moorhead, MN 56560 Regenstein Hall, Rm. 202A Columbia, SC 29208 Evanston, IL 60208 Converse College University of Tennessee Michele Tate, President, [email protected] Ohio University Katie Middleton, President, [email protected] Sarah Johnson, Advisor Morissa R. Freiberg, President, [email protected] Wesley Baldwin, Advisor, [email protected] [email protected] Marjorie Bagley, Advisor, [email protected] UT School of Music 580 East Main Street 440 Robert Glidden Hall Knoxville, TN 37996 Spartanburg, SC 29302-1931 Athens, OH 45701 University of Texas - San Antonio Duquesne University Old Dominion University Matthew Bernard and Darryl Tolliver, Co-presidents Alexis Kitchen, [email protected] Jessica Metcalf, President, [email protected] [email protected] or [email protected] Stephen Benham, Advisor, [email protected] Lucy Manning, Advisor, [email protected] Jennifer L. Cahill Clark, Advisor 600 Forbes Avenue Diehn FPA [email protected] Pittsburgh, PA 15219-3016 4810 Elkhorn Ave. One UTSA Circle Norfolk, VA 23529 San Antonio, TX 78249 East Carolina University Kathryn York, President, [email protected] Pennsylvania State University University of Wisconsin - Whitewater Greg Hurley, Advisor, [email protected] Matthew Haydt, President, [email protected] Nicole James, [email protected] Fletcher Music Center, 307 B Robert D. Gardner, Advisor, [email protected] Benjamin Whitcomb, Advisor, [email protected] Greenville, NC 27858 231 Music Building I 800 W Main St. University Park, PA 16802-1901 Center of the Arts, Room 2038 Florida State University Whitewater, WI 53190-1705 Julia Castor, President, [email protected] Sacramento State University Michael Allen, Advisor, [email protected] Emily Wolfram, President, [email protected] VanderCook College of Music College of Music Judy Weigert-Bossuat, Advisor, Fabian Lopez, President, fl [email protected] Tallahassee, FL 32306 [email protected] Racheli Galay-Altman, Advisor, 6000 J Street [email protected] Grand Valley State University Sacramento, CA 95819 3140 S. Federal Street Amanda Thoms, President, [email protected] Chicago, IL 60616 John Blakemore, Advisor, [email protected] SUNY Potsdam 1300 Performing Arts Center Shawn DePalma, President, [email protected] West Virginia University Music Department Sarah Hersh, Advisor, [email protected] Elyse Brandt, President, [email protected] 1 Campus Drive 44 Pierre Port Avenue Mikylah Myers McTeer, Advisor, Allendale, MI 49401-9403 Potsdam, NY 13676-2200 [email protected] Division of Music Indiana University of Pennsylvania Tennessee Tech PO Box 6111 Liesel Dorrow, President, [email protected] Michael Neal, President, [email protected] Morgantown, WV 26506-6111 Linda Jenkins, Advisor, [email protected] Dan Allcott, Advisor, [email protected] 103 Cogswell Hall Department of Music and Art Western Michigan University Indiana, PA 15705 Tennessee Tech Box 5045 Emily Kenney, President, [email protected] Cookeville, TN 38505 Bruce Uchimura, Advisor, [email protected] James Madison University 1903 W Michigan Ave. Alex Lacquement, President, [email protected] School of Music Robert McCashin, Advisor, [email protected] Kalamazoo, MI 49008-5200 JMU School of Music Harrisonburg, VA 22807 ASTA K–12 Student Chapters Chamber Music Connection James River High School West Chester University Emily Butterfi eld, ebutterfi [email protected] Beth Almore, [email protected] Jamie Chimchirian, President [email protected] 977 Pennsylvania Avenue 3700 James River Rd Sylvia Ahramjian, Advisor [email protected] Columbus, OH 43201-3334 Midlothian, VA 23113 Swope Hall West Chester, PA 19383 Chancellor High School McEachern High School Michelle Sweeten, [email protected] Dr. Tim Mooney, [email protected] 6300 Harrison Road 2400 New Macland Road Fredericksburg, VA 22407-6363 Powder Springs, GA 30127 Etowah Youth Orchestras North Allegheny Senior High School Michael Gagliardo, [email protected] Sarah Lavelle, [email protected] 501 Broad Street 10375 Perry Highway Gadsdenm, AL 35901-3719 Wexford, PA 15090

www.astaweb.com | 97 Volunteer Leadership Directory State Presidents As with the National Board, the following state chapter presidents have been elected to serve a two-year term (2008–2010).

Alaska: Ida Pearson; w (907) 543-0642; PO Box Massachusetts: Kenneth C Culver; h (978) 692-5560 Ohio: Elizabeth A. Hankins; h (216) 529-4051 3087, Bethel, AK, 99559; [email protected] x2134; w (978) 392-5992; 241 Concord Rd., x3; w (216) 534-4121; 12963 Emerson Ave., Westford, MA, 01886-4203; [email protected] Cleveland, OH, 44107-2809; elizabeth. Alabama: Dr. Daniel Hornstein; h (256) 428-8150 [email protected] x192; w (256) 776-4768, 101 Jodie Dr., Huntsville, Maryland: Doree Huneven; h (703) 582-7493; AL, 35811-9690; [email protected] w (301) 589-9396; 1609 Ladd Street, Silver Oklahoma: Douglas Droste; h (405) 744-8984; w Spring, MD, 20902-3520; [email protected] (405) 385-0603; 5207 W. 3rd Place, Stillwater, Arkansas: Patricia J Cox; h (501) 279-4479; w OK, 74074-6726; [email protected] (501) 268-2302; Harding University, Box 10767, Maine: Mary Eckstein; w (207) 642-4368; 5 Searcy, AR, 72149-0001; [email protected] School St., Standish, ME, 04084-5413; Oregon: Marshall Tuttle; h (503) 491-7010; w [email protected] (503) 618-8655; Mt Hood Community College, Arizona: Janice McDivitt; w (520) 742-3110; 26000 SE Stark St, Gresham, OR, 97030-3300; 6633 N Montrose Dr., Tucson, AZ, 85741-3122; Michigan: Mark Kotchenruther; w (616) 974- [email protected] [email protected] 9018; 2948 Oakwood Dr SE, Grand Rapids, MI, 49506-4236; [email protected] Pennsylvania: Dr. Stephen J Benham; h (412) California: Manon Robertshaw; w (562) 924- 396-1887; w (724) 554-7676; 390 Jubilee Dr., 6019; 6475 East PCH PMB#165, Long Beach, Minnesota: Sarah Chelgren; h (763) 504-8688; Bridgeville, PA, 15017-1171; [email protected] CA, 90803; [email protected] w (612) 310-6407; 15645 E 25th Pl N, Unit E, Plymouth, MN, 55447; [email protected] Rhode Island: Pamela Ursillo; h (401) 270-8010; Colorado: Donald Emmons; h (303) 347-7736; w w (401) 368-9121; 135 Gansett Avenue, (303) 906-3912; 10417 S Hollyhock Ct., Highlands Missouri: Patience Fleer; h (636) 938-2400 x2232; w Cranston, RI, 02910; [email protected] Ranch, CO, 80129; [email protected] (636) 239-7394; 2312 Southbend Dr., Washington, MO, 63090; ﬂ [email protected] South Carolina: Kathleen S. Robinson; h (864) 355- Connecticut: Dr. Nola Campbell; h (860) 768-4127; 1400; w (864) 232-0175; 300 Bright Water Ln., w (860) 392-8080; 12 Green Meadow Dr., Granby, Mississippi: Stephanie Maisel; h (601) 941-0687; Greenville, SC, 29609-6004; [email protected] CT, 06035-2429; [email protected] w (601) 605-1805; 201 Lisa Circle, Madison, MS, 39110-9292; [email protected] South Dakota: Kim Evander; h (605) 665 2073; Florida: Nancy Beebe; h (561) 882-3872; w (561) w (507) 319-5174; 700 W. Riverside Drive, 659-6828; 615 Upland Rd., West Palm Beach, Montana: Jenanne B. Solberg; h (406) 862-8650; w Yankton, SD, 57078; [email protected] FL, 33401-7849; [email protected] (406) 862-3921; 148 Mallard Loop, Whiteﬁ sh, MT, 59937-8457; [email protected] Tennessee: Francis E. Elliott; w (931) 528-1276; Georgia: James Palmer; h (770) 521-7600; w (770) 799 West Oak Dr #B-5, Cookeville, TN, 38501- 528-5992; 2041 Signal Ridge Chase, Kennesaw, North Carolina: Susan Wallace; h (919) 760-8703; 3795; [email protected] GA, 30152-3265; [email protected] w (919) 782-6216; 6810 Fairpoint Ct., Raleigh, NC, 27613-3612; [email protected] Texas: Dr. Eugene Dowdy; h (210) 458-4354; w Hawaii: Daniel Padilla; h (203) 496-3677; w (210) 493-8684; 4603 Tex Woods Street, San (808) 566-6659; 2268 Hikino St., Honolulu; HI, North Dakota: Kari Moen; h (701) 240-9993; w Antonio, TX, 78249-1844; 96821; [email protected] (701) 852-8971; 202 22nd St NW, Minot; ND, [email protected] 58703-2961; [email protected] Iowa: Dr. Julia K. Bullard; h (319) 273-3074; w Utah: Andrew H Dabczynski; h (801) 422-2317; (641)920-7021; 703 W Main St., Steamboat Nebraska: Ruth Meints; h (402) 250-9287; w w (801) 226-0714; 4374 Imperial Way, Provo, Rock, IA, 50672-1006; [email protected] (402) 614-5106; 9279 Adams St., Omaha, NE, UT, 84604; [email protected] 68127-4026; [email protected] Idaho: Erika Schulte; h (208) 282-4626; w (208) Virginia: Gary Frisch; h (703) 533-5883; w (703) 478-1526; 1135 East Benton St., Pocatello, ID, New Hampshire: Charlene Mary Ledoux; w (603) 533-3887; 3008 Westcott St.; Falls Church, VA, 83201-4843; [email protected] 878-9169; 784 Campbell Mill Rd., Mason, NH, 22042-1925; [email protected] 03048-4901; [email protected] Illinois: Peter Rosheger; h (847) 784-6699; w (847) Vermont: Michael Hopkins; h (802) 656-7767; 831-0764; 611 Barberry Rd., Highland Park, IL, New Jersey: Frances Elizabeth Rowell; w (201) w (802) 864-2483; 36 Arbor Road, South Burl- 60035-4429; [email protected] 759-4680; 8700 Boulevard East #2H, North ington, VT, 05403-5748; [email protected] Bergen, NJ, 07047; [email protected] Indiana: Elisabeth S. Ohly-Davis; h (317) 259-5428 Washington: Carol Pederson; h (509) 354-6035; x806; w (765) 748-7810; 2189 Glebe Street, New Mexico: Kimberly Fredenburgh; h (505) 277- w (509) 838-5240; 1111 W 20th Ave., Spo- Carmel, IN, 46032-7294; [email protected] 8534; w (505) 877-7230; 4362 Aspen Ave NE, kane, WA, 99203; [email protected] us Albuquerque, NM, 87110-5743; [email protected] Kansas: Bruce Boyd; h (620) 665-4575; w (620) Wisconsin: David Topolovec; h (414) 773-3164; 665-3610; 401 W 6th #2, Hutchinson, KS, Nevada: Charles Cushinery; h (702) 799-5800 w (262) 513-9047; 3026 Rolling Ridge Dr., 67501-1324; [email protected] 4063; w (702) 876-8768; 5826 W. Viking Rd., Las Waukesha, WI, 53188-1354; Vegas, NV, 89103-2336; [email protected] [email protected] Kentucky: Joanna Binford; h (859) 338-9630; 3500 Merrick Ct., Apt. 214, Lexington, KY, 40502; New York: Jackie Darvill; h (315) 341-2800; w West Virginia: Ian A Jessee; w (304) 550-3078; [email protected] (315) 343-5422; 267 W 7th St., Oswego, NY, 7 Forest Drive, Charleston, WV, 25302-2906; 13126-3843; [email protected] [email protected] Louisiana: Michael Buckles; h (337) 475-5034; w (337)-562-2815; 413 West Claude St., Lake Charles, Wyoming: Sherry Sinift; w (307) 745-8662; 157 LA, 70605-3405; [email protected] Corthell Road, Laramie, WY, 82070-4825; [email protected]

98 | American String Teacher | August 2008 Alternative Styles Task Force Council of Past Presidents Student Chapters Committee Robert Gardner, Chair, [email protected] Robert Gillespie, Chair, [email protected] Kari Hahn, Staff Associate Renata Bratt Andrew H. Dabczynski Solo Competition ASTA with NSOA Past Presidents Steven Muise Laura Kobayashi, Chair, [email protected] Robert Gillespie 2004-2006 Jed Fritzemeier Libby Dietrich, Staff Associate David Littrell 2002-2004 Beth Danner-Knight, Staff Associate Robert Jesselson 2000-2002 Curriculum Committee Louis Bergonzi 1998-2000 2009 National Orchestra Festival Stephen Benham, Chair, [email protected] Committee Jane Aten ASTA Past Presidents Kathleen D. Brungard, Chair, [email protected] Judy Evans Mary Wagner 2006-2008 Libby Dietrich, Staff Associate Denise Odegaard Edward H. Adelson 1996-1998 Mary Wagner Jacquelyn Dillon-Krass 1994-1996 2009 National Conference Planning Anne Witt 1992-1994 Committee National Foundation to Promote String Robert Culver 1990-1992 Karen Higdon, Chair, [email protected] Teaching and Playing Committees: Gerald Doan 1988-1990 Susan DuBois Anne Mischakoff 1986-1988 Ruth Kurtis CodaBows for America Community Gerald Fischbach 1984-1986 Bill Scott Outreach Program Committee Lucas Drew 1982-1984 Deanna Tompkins, Staff Associate LeRoy Bauer 1980-1982 Merle J. Isaac Composition Contest Phyllis Young 1978-1980 2009 Alternative Styles Conference Committee Jerry Kupchynsky 1976-1978 Planning Committee Richard Sieber 1974-1976 Randy Sabien, Chair, ﬁ [email protected] Potter’s Violins Instrument Awards Robert Oppelt 1972-1974 Darol Anger Committee Ralph Matesky 1970-1972 Sheldon Fisher Harry Lantz 1968-1970 Dayle Quigley Special Project Grants Committee Howard Van Sickle 1966-1968 Beth Danner-Knight, Staff Associate Kirk Moss, Chair, [email protected] Paul Rolland 1964-1966 Nancy Bargerstock Robert Klotman 1962-1964 2009 Alternative Styles Awards Barbara F. Eads Gerald Doty 1958-1962 Committee Frank Hill 1954-1958 Matt Turner, Chair, [email protected] Outreach Grants Committee Ernest Harris 1952-1954 Lesa Terry Beth Gilbert, Chair, [email protected] Rex Underwood 1950-1952 Tanya Kalmnanovitch John Golden, Staff Associate Duane Haskell 1947-1950 Crystal Plohman Andy Carlson Development Committee NSOA Past Presidents Libby Dietrich, Staff Associate Doris Gazda 1997-1998 Instrument Speciﬁ cations Brochure Peter A. Miller 1995-1997 Advocacy Committee Jacquelyn Dillon-Krass, Chair, [email protected] Robert J. Greenwood 1993-1995 Mary Wagner, Chair, [email protected] Sharon Anderson Arlene G. Witte 1991-1993 John Benham Judy Evans Pamela Tellejohn (Hayes) 1989-1991 Donna Sizemore Hale Neil Lillien Robert S. Frost 1987-1989 John Golden, Staff Associate Jerry N. Kupchynsky 1985-1987 New Music Reading Folders James H. Godfrey 1984-1985 Collegiate String Education Roundtable Kari Hahn, Coordinator G. Jean Smith 1983-1984 Jane Palmquist, Chair, [email protected] [email protected] C. Gary Iams 1981-1983 James H. Godfrey 1979-1981 Committee on School Orchestras and Research Committee John R. Bright 1977-1979 Strings (CSOS) Robert A. Ritsema 1975-1977 Ruth Kurtis, Chair, [email protected] String Industry Council Executive Lois Hobbs 1973-1975 Committee James H. Godfrey 1971-1973 Committee on Studio Instruction (COSI) Neil Lilien, President, Meisel Stringed Instruments, Malvin N. Artley 1969-1971 Susan DuBois, Chair, [email protected] [email protected] H. Wayne Pyle 1967-1969 Brian Lewis David Luce, Secretary, J.D’Addario & Company, Inc. Orville “Cy” Dally 1963-1967 Thomas Landschoot Donna Sizemore Hale, ASTA Executive Director Forest A. Etling 1961-1963 Leslie Webster Jeffrey Solow, ASTA President Traugott Rohner, Founder 1958-1961 Jeff Bradetich Kirk Moss, ASTA President-Elect Beth Danner-Knight, Staff Associate

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String Class Method and evaluations are provided counter melody and close rocking, tipping and rolling in the teacher’s manual. harmony sections in this over in the lake. It is very well NEW DIRECTIONS FOR The teacher’s manual is a lovely piece. Based on the written and is a good way STRINGS, BOOK I. Joanne Er- 535-page spiral bound book chord changes to Autumn to introduce young players win, Kathleen Horvath, Robert with many extras, including Leaves, this composition is to uneven and changing D. McCashin, Brenda Mitchell, worksheets, evaluations, and easy for beginning improvisers meters. The piano part is an to solo in a familiar key (E important part of the piece, Supplemental Ensemble Music organizational information useful for the new teacher or minor/G major) as well as fun but it could be performed by Elliot Del Borgo & Soon for the seasoned veteran. You for advanced players. P.Z. without it because most Hee Newbold. FJH Music get more than just a method parts are doubled. I highly Company, 2007, teacher’s book, as performable works BRING A TORCH (Med. recommend it. Hopefully the manual $39.95, pno accomp. for your ensemble and solos Easy-Med., opt. pno). other three movements will be published also. J.K.H. $14.95, student books $8.95. arranged specifi cally for each Arr. Roy Phillippe. Carl New Directions For Strings is an instrument are included. The Fischer, 2007, $45. three full-length performable I GOT RHYTHM (Gr. 3.5, innovative and comprehensive Here is a warm and richly pieces are outstanding. Elliot approach to teaching strings, scored setting of this popular rhythm section). George Del Borgo’s piece will help containing everything Christmas carol that will Gershwin, arr. Bert Li- your beginning ensemble necessary to teach a beginning greatly enrich seasonal gon. Alfred, $60. achieve a full, strong sound strings class. Produced by a programming. Roy Phillippe Ligon has combined tight while learning their First team of co-authors, the book has employed a broad palette four-horn writing with Concert Piece in D major; was piloted for one year in of harmonic and instrumental string-specifi c techniques, two by Soon Hee Newbold, classrooms across the country colors to craft a memorable resulting in a lively and varied a Scottish tune in G major by 12 string music educators holiday selection. This arrangement of this classic and a rock-style piece with who provided feedback on arrangement, scored in a for jazz string ensemble. syncopated rhythms in E the original draft. It was then lush but fl owing way, takes Opening with solo drumset minor, are also included. The revised and refi ned many times the simple tune in directions and percussive “chop” patterns piano accompaniment for the and evolved as a magnifi cent that are truly unexpected. in the strings, Ligon goes entire method has outstanding resource. String music The melody moves through on to exploit a variety of pianistic accompaniments, educators will appreciate several keys, F, D, and G string colors and techniques well-written in the style of the innovative aspects of major, each one adding its including pizzicato, “sul each piece. Clearly, much this method. Each student own color to the tune. And tasto,” jazz bowing patterns attention was given to writing book includes two CD’s of there even seems to be a well- and articulation. Dynamic the piano accompaniments and accompaniments for home hidden reference to “Away in contrasts, soli as well as close moreover to developing the practice. Instructors have a a Manger”. First violins and harmony sections and other entire method. New Directions choice of two bass books. One cellos require third position. references all contribute to the For Strings is timely, utilizes starts students in fi rst position, A moderate tempo, numerous fun of this arrangement. The current technology, is aligned as other string method books slurred passages, and a few improvisation section includes with the National Standards, generally do. The other starts dynamic changes mean this a different sample solo in and takes a fresh, innovative, students in fourth position could be put together without each of the four string parts, and comprehensive (“D” position), like some of too much effort, yet produce incorporating jazz vocabulary approach to string music the well-known studio bass a nice full sound. N.C. and phrasing, over the original methods. There are advantages education. What a wonderful Bb rhythm chord changes. addition to beginning string to both approaches, and the CARDBOARD REGATTA from Written-out background lines authors have left the choice music education. P.S. Crystal Lake Suite (grade 1+). can be used behind any soloist. to each teacher. Although This chart is an excellent Robert Frost. Kjos, 2006, $40. teachers may be required to String Orchestra vehicle for introducing rethink the way they start bass This is a movement from rhythm changes to strings, BOSSA VERDE (Gr. 3, students, it is worth the effort a four-movement work or a nice ride for more to examine the “D” position rhythm section). Bert Li- commissioned by the advanced improvisers. P.Z. book and perhaps to give it gon. Alfred, $60. McHenry County, Illinois, a try. New Directions uses a Already a popular Youth Orchestras. It is all in fi rst position, and in C major MEXICAN MOSAIC (Gr. comprehensive approach and arrangement among jazz string 1+, opt. perc., pno). Barry is aligned with the National ensembles and teachers, this with a few accidentals. The Standards for Arts Education. is newly published by Alfred opening is in 5/8. Another Amass. Mewzkl Publica- Opportunities are provided for string orchestra (8-8-4-4-) section is in 6/8, while tions, 2007, $35. for students to read and and bass, piano, and drums. another alternates from 2/4 This is a catchy 4/4 write music, sing, improvise, Suggested solos in all four to 6/8 every other measure composition and would be practice ear training skills, and string parts have been added, or so. The tempo is moderate perfect for a concert around learn about music history. with chord symbols. Ligon with one ritardando and one Cinco de Mayo. With sections Students complete written has provided meticulous jazz accelerando. The cello part in C and G major, it would activities in their books. bowings and articulations, has rolled three-note chords be a fun way to work on Reproducible worksheets simple background lines in several places. The piece is low and high second fi ngers. behind solos, contrasting supposed to represent boats The violin and viola parts are

100 | American String Teacher | August 2008 rhythmically the same and for all players. Extended Violin coded; red for bowings, black mostly in thirds, giving the fi nger passages are in all for fi ngerings, and green piece a mariachi fl avor. Much parts, but not diffi cult. The CONCERTO IN D MAJOR for stylistic instructions of the second and viola parts scalar sixteenth-note runs FOR VIOLIN AND ORCHES- (articulation, bow distribution, is on the G string. Cello and pose no problem. Dynamics TRA, OP. 77 (vln/pno). phrasing, technical suggestions). bass double, but in different are well marked, with two Johannes Brahms; ed. Clive Friend is a former leader of octaves to avoid shifting energetic fortepianos to really Brown. Bärenreiter-Verlag, the London Philharmonic where he worked closely for the bass. Except for the get the momentum going. 2006, score $37.95, pno more lyrical middle section, This is a great piece to play with Haitink, Barenboim, the cellos and basses pluck a and learn the classics. N.C. reduction (by the composer) Solti and Giulini. In 1975 he fun rhythmic ostinato that $19.95, critical commen- became concertmaster of the drives the piece and will keep STOMPIN’ ON THE HOUSE- tary (English) $19.95. New York Philharmonic them on their toes. The piece TOP (Gr. 1+, opt. pno, No scholarly critical edition and worked with Bernstein, of this work has previously Boulez, and Mehta. On ends with everyone playing sleighbells). John Capone- a pizzicato rendition of the been published; therefore the returning to London, he fi rst section. The percussion gro. Kendor, 2007, $42. many, sometimes confl icting, became leader of the BBC and piano are optional (and Notable meters: 3/4, 4/4, sources have never been Symphony and professor of not in the score), but guiro, and 2/4, keys: G and D (so evaluated for a critical violin at the Royal College of maracas, cowbell, bongos/ C# and C-naturals), fi rst performing edition. In this Music. From these and other conga certainly make the fi nger D-sharp in viola part, new edition not only Brahms’ associations he brings a wealth piece more festive. Mewzkl high 3 for viola and second autograph score, solo part, and of fi rst-hand knowledge to has a website with a full audio violin, foot stomping and autograph piano reduction, the repertoire. For instance, version of the piece and a shuffl ing, some pizzicato but also his personal copy of as concertmaster of the New view of the fi rst page of the This is a welcome addition the fi rst edition score and fi rst York Philharmonic, he score. Check it out. S.P.W. to the holiday literature. It edition orchestral parts have performed the entire Mahler features a medley of “Up all been consulted. Brown’s literature working from the on the Housetop”, “Jingle RONDO FROM HORN edition offers insights into the composer’s personal markings Bells” and “We Wish You a CONCERTO K. 417 (Gr. genesis of the composition and bowings. This book is Merry Christmas” in a fun and the working relationship an indispensable resource, 3.5). W.A. Mozart, arr. arrangement. The students between Brahms and Joachim. especially for young players Gerald R. Doan. Great will enjoy working on the It includes an informative learning the repertoire who Works/Ludwig, 2007, $48. foot stomping and shuffl ing, article on period performance have not had the opportunity As with so much of Mozart’s which often happens as part practice with regard to vibrato, to perform these works work, the fi nale of this horn of the melodic line and could bowing articulation, tempo, in an orchestra. G.H. concerto transfers naturally to be a fun challenge for some rhythm, and rubato. Both the other instrumentations. This students. Violas have one full score and piano reduction PLAYING THE VIOLIN: AN IL- arrangement maintains all D-sharp, and the violas and are cross-referenced with the LUSTRATED GUIDE. Mark Rush. seconds have one measure of the excitement of the original critical commentary, which Routledge, 2006, $29.99. and treats the students like high three C-sharps. Since the outlines the discrepancies The fi rst four of eight true musicians, a great piece key changes for each piece, between sources. Included is chapters of this beautifully to challenge your players up the students have to go back a separate brochure with not and bountifully illustrated a notch to the next level. The and forth between C-sharp only the familiar Joachim book are devoted to the solo horn passages have been and C-natural. Although there cadenza, but also those by fundamentals of posture divided among violins and are a lot of meter changes, Carl Halir, Leopold Auer, (without the instrument) and cellos. Stylistically, the work the quarter note and tempo Hugo Heermann, and set-up, holding the violin is quite typical of Mozart’s remain constant. The sleigh Ferruccio Busoni. G.H. (shoulder rest, yes or no), music for strings but should bells are a true percussion positioning the left hand be played with vigor to part (the student will have to THE ORCHESTRAL VIOLIN- and arm, and holding the capture the essence of the count!) and, as the publisher IST, BOOK 1. Rodney Friend. bow. Rush draws on Dounis original horn lines. Lilting suggests, add sparkle to the principles and exercises and 6/8 rhythms will require piece. The optional piano Boosey & Hawkes/Hal material from Ivan Galamian, performers to explore the part can be used for both Leonard, 2006, $38.95. Dorothy Delay, and Simon lower portions of their bows, rehearsal and performance. This collection in two volumes Fischer. There are wonderful and provide a great chance to Caponegro has again given includes excerpts from 53 photos illustrating how to teach the jig bowing of two us a new piece that can be a of the orchestral works choose and fi t a shoulder rest slurred notes and one up bow. great teaching tool, fun and most frequently required and clear instructions about The original key of E-fl at the hit of the concert. S.P.W. on auditions. Unlike other what a shoulder rest should has been raised to F to make books that crowd the excerpts and should not do. In addition the work more accessible on the page this book has a there are observations about to younger players. There clean, open look about it. the fundamental differences are many second position This helps make the music involved in playing without passages for the fi rst violins, seem less intimidating. All a shoulder rest. There is and third position passages editorial additions are color

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a similar list of chinrest This compositional style SONATA IN B MINOR Cello qualifi cations, but no photos. likely coincides with the (vn solo). Franz Liszt, FANTASIESTÜCKE, op. 73 (vc). The remaining chapters discuss presence of Johann Paul von trans. Noam Sivan. Carl Robert Schumann, rev. ed Ernst putting right and left hands Westhoff (1656-1705) whose Fischer, 2007, $19.95. together, posture (with the own works require similar Liszt’s Sonata in B Minor, Herttrich, vc bowings/fi nger- instrument), more on bowing technical prowess. Wollny’s a masterpiece of piano ings Reiner Ginzel, pno fi nger- (smooth bow changes, string informative preface provides literature, is offered here for ings Hans-Martin Theobold. G. crossings, playing successfully comments on the sources, the fi rst time in a version for Henle Verlag, 2006, $15.95. at the frog), vibrato, and notes on Meniker’s realization solo violin. This transcription Beethoven can be considered tips on practicing. Over 200 of the fi gured bass, an ürtext of a large-scale sonata in one the fi rst modern composer in pictures vividly amplify the violin part, and a performing movement exploits numerous the sense that he supported text, which is designed to edition with fi ngerings, instrumental possibilities in himself largely by selling be accessible to students, bowings and helpful order to create a distinctive compositions to publishers parents, studio teachers, and comments on performance sound palette, including instead of being a resident those who teach in the public practice by Manze. G.H. melodic independence of court musician. As paying the four strings, wide-range schools. This book would be royalties to composers was polyphony, unusual use of particularly valuable to school SONATAS FOR VIOLIN AND not yet the practice, it is orchestra directors who are HARPSICHORD: Band I BWV harmonics, and a pizzicato fugue. All instructions not surprising that sales not string players and need 1014-1016, Band II BWV potential became an important practical information about are clearly marked, with 1017-1019 (vn/pno). Johann excellent fi ngerings and phrase consideration for composers string playing presented in a such as Brahms, Dvorak, clear, concise format. G.H. Sebastian Bach; ed. Karl markings. Page turns in the part are not convenient. Many and Schumann in their Schleifer/Kurt Stieler. C. F. Pe- negotiations with publishers. ters, 1958, $25 each with CD. technical challenges of violin SONATAS IN G MAJOR, E playing have to be overcome To this end Schumann began MINOR; FUGUE IN G MINOR This appears to be a reissue in studying this sonata. The offering his piano-paired- FOR VIOLIN AND BASSO of an older edition with the task, therefore, is to clarify with-a-single-instrument addition of a play-along CD CONTINUO BWV 1021, the musical meaning of each compositions with multiple of the continuo realizations. performance options. Thus 1023, 1026 (vn/pno). Johann passage, giving shape to the The pitch is at modern melody while still allowing the Adagio und Allegro, op. Sebastian Bach, ed. Peter A-440 level. A click track the harmonies to intertwine. 70 for horn and the clarinet Wollny, comments Andrew precedes each movement It would be helpful for the Fantasiestücke, op. 73 (both Manze, continuo realization where the performers begin performer to consult the piano from 1849—Schumann’s most Zvi Meniker, Bärenreiter- together. The tempos are version regarding thematic productive year in his own Verlag, 2005, $13.95. moderate and the performance structure, chromatic harmony, estimation) were designated and voicing; however, this ‘violin/cello ad libitum’ while This new edition reevaluates straightforward. A forward source should not be the only the Drei Romanzen for oboe, the sonatas, BWV 1021 and by Karl Schleifer is in German, but not translated. guide to interpretation, since op. 94 and the cello set of Fünf 1023, on the basis of newly- the violin version must retain The fi ngerings are somewhat Stücke im Volkston, op. 102 unearthed sources. The Fugue, its own unique character. old-fashioned and don’t had ad libitum violin parts. BWV 1026, long viewed as Israeli-born transcriptionist (Schumann even transcribed spurious, appears here for refl ect the infl uence of recent Sivan currently lives in scholarship with regard to his cello concerto for the great the fi rst time in a scholarly- New York City, is on the violinist Joseph Joachim!) It Baroque performance practice. critical edition authenticating faculty at Mannes College, is not known who actually There is studious avoidance of Bach’s authorship. It contains and is a C.V. Starr doctoral made the string versions few of the elements of Bach’s open strings, and “smoothing fellow at the Julliard School. of the chamber works, but mature style, but this may out” of the natural down- This transcription displays Schumann clearly authorized be due to a 1709 encounter bow stresses with hooked remarkable imagination, with them; in his informative with the Dresden virtuoso bowings. The edition does novel use of half-positions, Preface, Herttrich mentions intricate broken chords, and Johann Georg Pisendel, which not include an ürtext part, an 1852 diary entry in the employment of Bartók- may also have given rise to so it is not possible to tell which Schumann praises the Sonata in E Minor, BWV whether bowings are original like pizzicati in a most fantastic fugue passage. Some violinist Ferdinand David’s 1023. The only surviving or editorial. The CDs might splendid performance of the be valuable for young students interesting requests made of manuscript copy of this the performer during this Fantasiestücke with Clara. sonata, residing in the Saxon who have never played pizzicato section can be very Henle’s excellent new cello State and University Library with harpsichord, but the liberating. This piece is a version (I assume that the in Dresden, was evidently violin parts would require daring challenge; even those new Preface and Comments is prepared at Pisendel’s request considerable alteration of who do not choose to feature what they mean by “Revised for the music collection of the fi ngerings and bowings it in concert performance Edition”) of the Fantasiestücke Dresden court. The Fugue by the teacher, as well as will benefi t from mastering is based on the composer’s deserves special attention consultation of a critical its intricacies in private. personal copy of the fi rst for its remarkable length edition to sort out what is As often found in Liszt’s edition with emendations by and the level of virtuosity Bach and what is not. G.H. pieces, this work glorifi es Schumann. The concluding demanded of the player. Paganini’s soul. N.C. editorial comments refl ect

102 | American String Teacher | August 2008 cello and violin sources as Mark Summer’s Julie-O is are most welcome. Though they are achievable by an well as those for the original Cheney’s arrangement, not other Abel sonatas have been advanced high school student clarinet version. Hettrich the original, and the solo transcribed and published and attractive enough for a notes that Schumann part to Elgar’s Salut d’Amour for bass, this sonata, K. 144, professional recital. Although substantially revised the has a few unexpected octave has not. This charming short the works were already original autograph version. displacements. Each volume three-movement piece gives available—Turetzky’s editions A particularly interesting has a separately-purchased bassists a rare opportunity of nos. 1-6 (pub. Marx), change was Schumann’s double CD: the fi rst with to explore a style between Neidlinger’s nos. 7-12 (pub. addition of the fi nal chord Cheney and pianist David the high baroque of Bach Ludwin), and Turetzky’s of the second movement; Dunford performing the and Handel and the early nos. 1-12 (pub. Recital without it the music fl ows works in a very satisfactory classical style of Dittersdorf, Music), along with versions without pause into the third fashion, the second of the that of Empfi ndsamerstil. The with piano accompaniment movement. Hettrich also accompaniment alone (in melodic style is vigorous and edited by Oscar Zimmerman notes that the slurring in tempo). Cheney’s solo quite varied, including many and Malaric—this edition is the string versions seems to performance of Julie-O rhythms and articulations. valuable for its transparency refl ect bowing rather than is lively, rhythmic and The range spans just over of editing and clarity of phrasing so it is useful that the technically well-executed, two octaves from low G to presentation: one sees a text piano part retains the original and in general her lyric a harmonic A. Though Abel that is very close to what clarinet/piano score. J.S. musicianship and pleasing was the last great historic Dragonetti wrote and can tone are a fi ne example to gamba virtuoso, the piece largely verify, in the editorial SOLOS FOR YOUNG students. Cheney also includes was apparently written for notes, changes that were CELLISTS, Vols. 5. 6. background information and amateurs (according to the made. A comparison with Carey Cheney. Summy- translations of terminology New Grove) and calls more a copy of the manuscript and titles, emphasizing the (courtesy of Robert Nairn) Birchard, 2007, books, for musical imagination kind of information that than for technical fi reworks. shows that Glöckler did the CDs each $13.95. students need to perform Drew’s editorial decisions can meticulous work that has Cheney continues her series meaningfully. Invaluable be verifi ed and potentially become his hallmark. This with the fi fth and sixth to teacher and student alike modifi ed, since the piano part edition continues the major installments of repertoire are the practice suggestions is a reprint of Bärenreiter’s contribution that Glöckler and collections for student cellists. for developing the less- Hortus Musicus edition. Henle are making to classic Primarily a supplement to than-standard techniques The collected works, edited double bass repertoire. A.K. the Suzuki material, the needed to perform Julie-O. by Walter Knape, could pieces are technically more Unfortunately, Cheney is provide additional insights Guitar challenging than the Suzuki not consistent with these into articulation. A.K. volumes of the same number, offerings, as some of the BERKLEE JAZZ GUI- but they do offer enriching pieces have literally pages ZWÖLF WALZER für Kontra- TAR CHORD DICTION- and important literature. of introduction, while bass solo. Domenico Drag- ARY. Rick Peckham. Each piece has been selected others have no supplemental onetti, ed. Tobias Glöckler. Berklee Press, $9.95. for variety of styles and information whatsoever. composers, mixing standards Henle, 2007, $13.95. Peckham’s Dictionary Perhaps Cheney could fi ll in explores standard jazz with those that really deserve the blanks for future printings These waltzes, composed to be played more, including around 1840, appear to be voicings in a compact easy- that will be needed: at the to-use format. The book is Frank Bridge’s lovely price, these useful collections the only original music for Meditation. Canadian cellist unaccompanied double bass divided into two parts: part and well-played recordings one presents chord voicings Claude Kennesen’s keyboard are hard to beat. C.W. before the twentieth century realization of the Boccherini brought works such as those (forms), while part two gives Sonata in C Major G. 4 is by Scontrino, Moulaert, and diatonic exercises. In the featured prominently in Double Bass Hindemith. Arguably, no fi rst two chapters, Peckham chooses four voicings for each Volume 6, which also includes SONATA IN G MAJOR works for unaccompanied chord type. I found some of a two-cello version. It should for Cello or Double Bass bass of equal musical merit appeared until Maconchy’s my favorites omitted, but in be noted, however, that some and Piano. Karl Friedrich of the arrangements are not Four Improvisations (1954). general the ones presented what a traditional teacher Abel, ed. Lucas Drew. St. Dragonetti’s Waltzes are “sound” and are useful. might expect when “cherry- Francis, 2007, $9.95. therefore of prime historical Chapters 3 to 5 give guide tone picking” from the repertoire. Drew, past president of importance. They also have chords (root-third-seventh), For instance, in Volume 5, ASTA, is devoting his the pedagogical advantages triads over bass notes, and the realization of Couperin’s retirement to enhancing of brevity compared to inversions (for the fi rst six Pièces en Concert is by the bass repertoire through Dragonetti’s concerti and, types). One of the strengths David Dunford, not the more publication of older out-of- with the exception of waltz of book is that the same forms familiar one by Paul Bazelaire, print material, much of which 11, never rise beyond a twelfth are used throughout, so once a and Schumann’s Adagio and has been sorely missed, as above the open G string. student learns minor seventh Allegro, has been transposed well as new compositions and With their rhythmic drive voicings for instance, these to F from the original A-fl at. transcriptions, many of which and intricacies of bowing, shapes are repeated in later

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chapters such as guide tone provide a virtual laboratory alike. All players receive a his publisher’s request, Reger (chapter three) and inversions for gaining experience for turn at melodic patterns and arranged the Serenade’s fl ute (chapter fi ve). the diatonic engagements of this sort. I fun devices. The rhythms are part for violin, making a exercises in part two are useful believe that the publication perfect for advanced string few small changes to more as they present the forms of could be more effective with students and offer challenges practically write technical and Part One in a scalar context several additions. There is no in a variety of styles: tango, timbral elements. Therefore, using major, harmonic and discussion of chord voicing ragtime, and jazz. Slides or there are actually four parts melodic minor, and the major methods commonly used glissandi into notated pitches for op. 141a, with the fl ute and minor bebop scales. In by guitarists in this style. and tremolo are indicated. and its companion violin Although it is to be expected contrast to chord dictionaries The parts can be used part almost identical. This that the guitar parts are containing an endless array of interchangeably so that violins ürtext edition has critical not the focal point of the possible voicings, Peckham’s can play with violas; piano comments in English in arrangements, it would be presents common forms accompaniment duplicates the back, with explanation nice to have a separate mix on using contiguous strings and the ideas in the duet parts and of the sources, notes on the CD, or a way to modify the edition, and measures roots on the 6th-4th strings. can complete or add stability the balance/panning, where marked where changes and/or This no-nonsense approach to any combination. Divisi you could more clearly hear further explanations are implies a methodology that, sections in some duets fi ll out the guitarist’s articulation. needed. As with all Henle once absorbed through study the sound when more than However, I feel that it is two students are involved. The ürtext editions the pages are of the text, can be applied a helpful addition to the titles are “Chromatic Tango,” beautifully laid out on quality to any harmonic structure. resources available for teachers “Soft Shoe,” “Hoedown,” paper, with convenient page This text, paired with the at the high school or collegiate “April Rag,” “Hopak,” and turns. Measure numbers are Mel Bay Rhythm Guitar level who wish to expose “Mellow Moment.” Studio marked. I can hardly wait Chord System, would offer the students to this style. M.C. to play these myself! N.C. intermediate jazz guitarist a teachers, here’s your chance powerful tool for mastering to add enjoyment to sight TRIO NO. 2 IN C MAJOR, jazz chord voicings. M.Z. Harp reading pieces for your OP. 87 FOR VIOLIN, CELLO STROLLING THROUGH THE advanced students. P.C. AND PIANO. Johannes SWING FAVORITES–BIG STRINGS (4 lever or pedal SERENADES OP. 77a AND Brahms, ed. June DeForest. BAND PLAY-ALONG, harps). Frank Voltz. Chiera 141a FOR FLUTE (VIO- International Music Company, Vol. 1. Hal-Leonard, Music www.frankvoltz.com, LIN), VIOLIN AND VIOLA. 2007, score/parts $39. book/CD $14.95. 2008, score/parts $12. No less an authority than Max Reger. G. Henle Ver- In the summer of 1880, Voltz’s fi rst ensemble Brahms sketched two piano the great Jim Hall has stated arrangement is based on his lag, 2006, $46.95. that, “if the tree of jazz were These serenades leave the trios. The second of these, the delightful solo publication, C major, was completed in pruned down far enough, and the ensemble is quite impression of works of a we’d be left just with Freddie consciously classical style. In 1882, during a summer spent pleasant as well. The 11- at Bad Ischl. Though Brahms Green strumming away and page bound score is easy to a letter of June 5, 1904 to his making you feel like playing publishers, Reger stated, “It was extremely critical of his read. The two-and-a-half own music, this composition and smiling.” I feel that too page individual parts range is absolutely clear to me what often the jazz guitar student is lacking from our music gave him every satisfaction. in diffi culty from beginner The principal theme of the spends a disproportionate to intermediate. Written in today: a Mozart! – To be amount of study/practice perfectly frank: the fi rst fruits fi rst movement Allegro is G major, lever and pedal stated by violin and cello time developing the ability changes are clearly marked. of this realization . . . are the to play “lead” guitar without op. 77a Serenade for fl ute, in octaves, with the piano Part one has 11 lever changes contributing chiefl y to the developing a great sense of and part four has only two. violin and viola, and the op. pulse in a swing context. 77b Trio for violin, viola and second subject group, followed Each part gets to play either by the development of this Opportunities for learning glisses or harmonics or both. violoncello” (Max Reger: Briefe this fundamental skill have an die Verleger Lauterbach & material, marked animato A few helpful fi ngerings are to maintain its momentum largely dissipated with the included in this exceptional Kuhn, i, ed. Susanne Popp, disappearance of performance Bonn, 1993, p. 324). The and espressivo to signify addition to the harp ensemble the lyricism of the melodic opportunities for big bands. repertoire. D.G.V. relaxed, even cheery nature of Chord chart reading is a these works is accompanied line. The second movement requisite skill for pit orchestral by a lightness of construction, Andante consists of a theme in playing as well. This Chamber Music clear formal design and easily A minor and fi ve variations. publication has chord charts comprehended harmonic The following C minor PLAYING WITH STYLE. Scherzo has a more relaxed to a variety of jazz standards (2 vn, 2 va, str. quartet, progressions, and clearly seeks and an accompanying comparison with Beethoven’s contrasting trio section in the performance CD with a or orch). Joanne Martin. Serenade op. 25 for the same tonic major. The original key quality professional band. The Summy-Birchard/Alfred, instrumentation. Reger was and mode is fully restored guitar arrangements largely 2006, parts each $5.95. aware from the outset that the in the opening of the fi nal consist of chords symbols Here’s a fi nd that you won’t instrumental forces required Allegro giocoso, where, as so in slash notation with some want to miss: duets that for op. 77a (in D major) would often in this work, violin and written rhythmic kicks, and entertain players and audience not always be available. At cello initially support each

104 | American String Teacher | August 2008 other in octaves. In sonata such prominent musicians, broadly about strings and Reviewers form, a variety of thematic educators, philosophers, and string playing as a form material suggests the contrasts child development experts of self-guided professional Nola Campbell (N.C.) is assis- as Elizabeth A.H. Green inherent in a rondo. The development. However, tant professor of music educa- entire trio is reminiscent of and Fred Rogers. Although my classroom and teaching Hungarian Gypsy music. the advice and many of the lacked the idea that students tion/strings at the Hartt School DeForest’s fi ngerings and teaching examples are based might have benefi ted from for the University of Hartford in bowings are nicely presented. on or drawn from the Suzuki the same sort of shot in the Connecticut, and director of the Page turns for the strings are Violin Method, the general arm. Happily, this recently Hartt String Project. She performs convenient, and all measures principles of practice set forth published book fulfi lls that on either violin or viola with the are numbered. N.C. can be applied to the study purpose. Directed toward New Britain Symphony Orchestra, of any instrument. Much of a teenage audience, this and many other orchestras in the what is included will provide accessible handbook features Books greater Hartford area, and is valuable insights to both well-written, concise articles HELPING PARENTS PRACTICE, teachers and parents. G.H. on topics ranging from bow an active music education clini- IDEAS FOR MAKING IT EASI- maintenance to audition cian, lecturer, studio teacher, and ER, Vol. 1. Edmund Sprunger. SIXTY MUSIC QUIZZES tips. Furthermore, a section orchestra conductor. Yes Publishing, 2005, $20. FOR THEORY AND READ- devoted to adolescent wellness Sprunger’s insightful ING. Jay Althouse. Al- shows that thoughtful and Michael Carenbauer (M.C.) is observations are drawn fred, 2007. $24.95. comprehensive consideration professor of guitar and director from his many years of Intended as a companion to underscored the design of this of guitar studies at the University experience as a Suzuki Althouse’s Ready to Read book. The most remarkable of Arkansas at Little Rock. He is teacher, teacher trainer, Music (Alfred, 2003), this aspect of Succeed as a String clinician, and psychotherapist. volume includes reproducible Player is that popular musics the recipient of numerous awards His book is organized one-page quizzes suitable are featured alongside music of for performance, teaching and in fi ve interconnected for assessing music theory the Western classical tradition composition and has recently re- “neighborhoods”: Decoding, skills that MENC associates in complete compatibility. leased a CD of works for guitar, Practice Basics, Musicianship, with grades 5-8 (see www. This may be analogous to how string quartet and the Chinese Rhythm, and Appendix: menc.org). Owning a single teenage musicians actually zheng entitled Music for Guitar Games. Each chapter copy brings permission to experience the world of and Strings. (neighborhood) is divided into make copies for one school/ music. The rich possibilities sections (blocks). The table organization. The units of electronics and strings are of contents bears a strong within the book include included and balanced with Vincent Cee (V.C.) is currently a resemblance to a subway map. staff/notes/rests, rhythm, an effective presentation of doctoral student in music educa- The “staples of practice,” such note names, key signatures, the traditional. One could tion at the University of Mas- as how to make it pleasant musical symbols and terms, read this book from cover to sachusetts, Amherst. He taught and productive are available time signatures, keyboard cover or just move from topic strings for fi ve years in the Mesa in every chapter, but each identifi cation, and musical to topic. Part of the book Public Schools in Mesa, Arizona “neighborhood” also has puzzles (unscramble words, features articles written by its own unique offerings. word search, crosswords). famous players (Hillary Hahn and continues to spend part of Most sections have cross- Specifi c material begins with and Joshua Bell), and other his summer in Fairbanks, Alaska references making it possible writing a whole note in an parts highlight up-and-coming teaching bass and jazz at the to “hop around the book assigned space and ends with younger players. It is fi tting University of Alaska, Fairbanks as your needs and interests such skills as determining that the teens get the last word Summer Music Academy. dictate.” It can be used as a time signatures for the music in the concluding articles, reference book, a textbook, examples provided, including as every part of the book Patricia Cox (P.C.) is associate or as a “daily dose” applying 5/8. The number of quizzes is carefully aimed toward one or two new sections to professor of music at Harding within each unit ranges from adolescent string musicians. each day’s practice session. two (keyboard identifi cation) Considering the breadth of University in Searcy, Arkansas, Practice Basics has creative to 12 (note names). The topics and the outstanding where she teaches strings and suggestions to help children format of questions is nicely layout and organization, it coaches the university string quar- focus, help parents give clear varied between quizzes, and is reasonable to conclude directions, and guidance for vocabulary is appropriate. tet. She directs the White County that this book ought to be a “choosing your battles.” The The physical format is Youth Orchestra and the Searcy staple in any studio, strings musicianship chapter focuses appropriately inviting. A.K. String Quartet. on helping the child fi nd their classroom, and personal or own voice. The chapter on public library. Perhaps this SUCCEED AS A STRING book will encourage teachers Winifred Crock (W.C.) is the or- rhythm has some very useful PLAYER! TEEN STRINGS chestra director at Parkway Cen- ideas on early introduction to formulate their own of the metronome in non- SHOWS YOU HOW. Ed. Me- classroom libraries while tral High School in Chesterfi eld, threatening ways. Throughout gan Westberg. String Letter drawing on all of the resources Missouri and maintains a private the book are inspiring Publishing, 2007. $16.95. Teen Strings provides. V.C. violin studio. She is an active string and thought-provoking As a public school string clinician, lecturer and conductor. marginal quotations from teacher, I would often read

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106 | American String Teacher | August 2008

108 | American String Teacher | August 2008

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