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AMERICAN STRING TEACHER CONTENTS May 2006 | Volume 56 | Number 2 Features and Forums

Exploring Musical Fiction for the String 38 Player and Teacher Sitting down with a good book can be a welcome retreat from the mental and physical fatigue of teaching and performing, and it can also be a source for continued musical growth for KQNOPQ@AJPO=J@BKNKQNOAHRAO EBSA?DKKOAIQOE?=Hł?PEKJ by Kellie Brown

Regional Outreach Tours for Your School 42 Orchestras: Instilling a Sense of Servant- hood, Pride, and Musicianship Regardless of the size or the venue, the chance to bring orchestral music to schools and students that have never had =JKN?DAOPN=LANBKNI?=J>AKJAKB=PA=?DAN†OCNA=PAOPFKUO This article provides helpful material, based on the author’s ATLANEAJ?A BKN@ENA?PKNOSEODEJCPKQJ@ANP=GA=PKQN by Brian Cole

Singing Strings: National Content Standard 46 No. 1 in the School Orchestra Rehearsal National Conference Highlights: 64 This informative article considers published teaching strate- .DQVDV&LW\6QDSVKRWV gies and research studies related to singing in instrumental (from top to bottom) National Orchestra music education and suggests ways in which these resources Festival participants take the stage; ASTA may be used to enhance beginning and advancing levels of staff and board members get into char- acter for the exhibit hall grand opening; KN?DAOPN=EJOPNQ?PEKJ students have fun with the Wizard of Oz by H. Christian Bernhard exhibit hall theme.

Rally the Troops 51 Music education advocates mobilize to ensure that no arts are HABP>ADEJ@&JPDEO=NPE?HA SDE?DłNOP=LLA=NA@EJSymphony magazine last year, the author explains how orchestras can CAPEJRKHRA@KJPDAHK?=HHARAH by Karin Brookes

Violin Forum: A Lesson from Viotti 58 &J OARAN=H S=UO  $EKR=JJE =PPEOP= 3EKPPE D=O @N=I=PE?=HHU EJŃQAJ?A@PDAS=UEJSDE?DSALH=UPDAREKHEJPDNKQCDPDA example he set with his playing, his compositions, and through About the Cover “Homage to a Great Violist,” an original paint- DEO PA=?DEJC L=OOA@ KJ PDNKQCD DEO OPQ@AJPO =J@ BKHHKSANO ing by Emanuel Vardi, is featured on the cover by John A. Thomson RI $67$·V ODWHVW EHQHÀW &' Ultimate Strings, Volume 2: Classical Virtuosity (see page 20). Licensed courtesy Emanuel Vardi.

www.astaweb.com | 5 AMERICAN STRING TEACHER CONTENTS May 2006 | Volume 56 | Number 2 Columns Special Sections Inspirations  AHA>N=PEJCHPANJ=PERA 10 As the school year comes to a close, our emphasis shifts Strings: The Alternative from the classroom to the more relaxed atmosphere of Styles Awards OQIIAN1DEOMQEAPANLANEK@EO=JE@A=HPEIAPKBK?QOKJ advocacy and creating a plan for building community sup-  +=PEKJ=H KJBANAJ?A LKNPBKNUKQNIQOE?LNKCN=I Highlights

Member2Member  0QIIAN KJBANAJ?AOġ 34 Wood More 2006 Previews by Dudley Laufman

Joan’s Retirement Poem 83 ASTA National Solo by Joan Hemmerich Lunsford KILAPEPEKJ

Teaching Tips Mission Statement 62 1DA6AHHKS0DAAP LDKNEOIOBKN AHHEOPO The American String Teachers Association promotes excellence in string and orchestra by David Littrell teaching and playing. ASTA pursues its mis- sion through: ‡ DQRSHQVKDULQJRILGHDV My Turn ‡ EHQHÀWVVHUYLFHVDQGDFWLYLWLHVUHVSRQVLYH 92 -ANBKNIEJC =?D†O0KHK AHHK0QEPAO to the needs of all members; by Jeffrey Solow ‡ GHYHORSPHQWRIVWURQJVWDWHOHDGHUVKLS and chapters; ‡ HQKDQFLQJWKHLPDJHDQGYLVLELOLW\RIVWULQJ teaching and study; ‡ DGYRFDF\IRUVWULQJHGXFDWLRQDQG Departments ‡ DQLQFOXVLYHFRPPXQLW\RIVWULQJWHDFKHUV and players. Association News Message from the President, award and grant announce- American String Teacher (ISSN: 0003-1313) 14 is published quarterly by the American String ments, new publications, and other association-related in- Teachers Association (ASTA). American String formation Teacher (AST) is available exclusively to ASTA members; the annual subscription price is included in membership dues ($89). Known Notes RIÀFHRISXEOLFDWLRQLV$PHULFDQ6WULQJ 80 7HDFKHUV$VVRFLDWLRQ&KDLQ%ULGJH5G News of people, places, and events of interest to string Fairfax, VA 22030. Periodicals postage paid teachers and players at Fairfax, Virginia 22030 and additional PDLOLQJRIÀFHV

Showcase 32/,&<$VWKHSULPDU\PHDQVRISURIHVVLRQDO 82 The latest news from members of the String communication of ASTA, the American String TeacherUHSUHVHQWVDQGUHÁHFWVWKHPLVVLRQRI &J@QOPNU KQJ?EH the association. It is not the intention of AST to promote or endorse any particular person or commercial product. The ideas and opinions Reviews expressed are those of the writers and not 86 Of books, music, software, and videos necessarily those of ASTA or AST. ASTA reserves the right to refuse advertising for any reason. No article or editorial matter in AST may be photocopied or reprinted without written permission from ASTA. Visit www. In Every Issue copyright.com for more information.

73 Advertisers Index 32670$67(56HQGDGGUHVVFKDQJHVWR American String Teacher-RXUQDO&KDLQ 74 Membership Application %ULGJH5G)DLUID[9$‹E\ 78 ASTA Publications Library American String Teachers Association. 84 Leadership Directory

6 | American String Teacher | May 2006

Inspirations E\'RQQD6L]HPRUH+DOH $67$([HFXWLYH2IÀFHUV President‡5REHUW*LOOHVSLH School of Music, The Ohio State University :HLJHO+DOO&ROOHJH5G As graduation approaches and another school year comes to a &ROXPEXV2+ close, our emphasis shifts from the classroom to the more relaxed [email protected] President-Elect ‡0DU\:DJQHU atmosphere of summer. Many students and teachers take part in &RYH/DQGLQJ5G summer music camps and festivals. Educators also spend time %XUNH9$ 0V&HOOR#FR[QHW planning for the coming school year. Past President‡'DYLG/LWWUHOO This quieter period is also an ideal time to focus on advocacy &HGDU&UHHN5G Manhattan, KS 66502 and creating a plan for building community support for your music [email protected]

program. One of the best resources for advocacy is SupportMusic.com. Secretary‡0LFKDHO3DOXPER SupportMusic is a national public service program of the Music 5463 S. 125 E. Ogden, UT 84405-6959 Education Coalition. The time to create and nurture support for your [email protected] own music program is before you receive a call from the school board Member-at-Large‡0LGRUL*RWR :WK6W1HZ

make the fatal mistake of only utilizing advocacy when they are in Member-at-Large‡:LOOLDP/D5XH-RQHV trouble. In too many cases, this is simply too late. The University of Iowa, School of Music ,RZD&LW\,$ The time to build support for your own program is when things [email protected] are going well, the students participating in strings are increasing, and Member-at-Large‡.DWKDULQH .LS 0DVRQ :H[IRUG5G%RXOGHU&2 you have a cadre of committed and supportive parents to lead the way. [email protected]

I have heard so many teachers say that they are too busy teaching to Member-at-Large‡-HIIUH\6RORZ spend time on community relations, partnership building, and music 7914 Park Ave. Elkins Park, PA 19027-2629 advocacy. I suggest that building community support is just as vital 6RORZ&HOOR#DROFRP as time spent in the classroom teaching. There are many resources Publications Chair‡%DUEDUD)(DGV 5XVWLF*DWH5G available to help you. LaPorte, TX 77571-3997 Just this year, National School Board Association President Joan [email protected] Schmidt wrote a very compelling article, “Music Advocacy: Dancing String Industry Council President‡-RKQ5HHG Mona Lisa Sound, Inc. with the School Board,” which appeared in School Board News. She 7ZR0DULQHUV&RYH(GJHZDWHU1- talks about six basic steps that any music educator can take to help -05HHG#QMUUFRP Executive Director‡'RQQD6L]HPRUH+DOH position the arts as a key component of any school curriculum. Her $67$1DWLRQDO2IÀFH article focused on important matters, such as advocating not only &KDLQ%ULGJH5G)DLUID[9$ [email protected] at the local level, where implementation occurs, but also at the state level, where funding is controlled. Schmidt talked about seizing American String Teacher Editor‡7DPL2·%ULHQ opportunities to place your program at the forefront of your own Articles Editor ‡.ULVWLQ0RUWHQVRQ community, such as when new research is released or when compelling Reviews Editor‡0DUJ6FKPLGW Design and Layout ‡6WHSKDQLH/HZLV human interest stories evolve. Survival is not the goal. The real prize is Production‡&RUSRUDWH3UHVV long-term stability and growth. Advertising Representative‡6WHYH'L/DXUR ‡ Correspondence Subscriptions, change of address Imagine a school where children only learned to read, write, (send mailing label), individual issues, billing, add, and subtract. Such a place would rob our children of the joys membership, and other business matters should be GLUHFWHGWRWKH$67$1DWLRQDO2IÀFH&KDLQ of wonder and discovery that music and art provide. Of course, it is %ULGJH5G)DLUID[9$WHO important to have accountability in our schools. We certainly want FAX 703-279-2114; Email: [email protected]. ‡ $GYHUWLVLQJ'HDGOLQHVare: August issue—June 5; our schools to prepare children for the future workforce and to make a November issue—September 5; February living in our competitive society. However, it is equally important that LVVXH³'HFHPEHU0D\LVVXH³0DUFK,QTXLULHV VKRXOGEHGLUHFWHGWR$67$1DWLRQDO2IÀFH we show them how to live. To learn more about what you can do, be &KDLQ%ULGJH5G)DLUID[9$ tel. 703-279-2113; FAX 703-279-2114; sure to read the Karin Brookes article “Rally the Troops” in this issue Email: [email protected].

of AST—and visit the advocacy page at www.astaweb.com. ‡ (GLWRULDOAST welcomes letters and articles from its Make this the year that you do your part to make a difference. readers. Query letters are preferred over unsolicited manuscripts. For a copy of the AST Author Guidelines, visit www.astaweb.com. Inquiries and articles should be submitted to [email protected].

‡ 5HYLHZV5HYLHZPDWHULDOVVKRXOGEHVHQWWR0DUJ Schmidt, School of Music, ASU, 40 Gammage 3DUNZD\32%R[7HPSH$= 5HTXHVWVWREHFRPHDUHYLHZHUVKRXOGEHDGGUHVVHG to Marg Schmidt, tel. 480-965-8277; Email: [email protected].

‡ 6XEPLVVLRQ'HDGOLQHVFor material to be considered IRUSXEOLFDWLRQLQWKH'HSDUWPHQWVDQG$VVRFLDWLRQ 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 | May 2006 Dogal Strings Ad Pick up pg11 20180 AST Editorial Committee

Gregory Barnes Sharan Leventhal &ROXPELD6RXWK&DUROLQD %RZOLQJ*UHHQ2KLR

Sean Beavers Greg Sarchet Huntington, West Virginia &KLFDJR,OOLQRLV

Margaret Berg Laurie Scott %RXOGHU&RORUDGR Austin, Texas

Chelcy Bowles Benjamin Whitcomb Madison, Wisconsin Fort Atkinson, Wisconsin

William Dick Members of the ASTA Austin, Texas National Executive Board

Emanuel Garcia, M.D. %RXOFRWW/RZHU+XWW 1HZ=HDODQG

AST Forum Editors Violin Forum-DPHV3U]\JRFNL Viola Forum+HOHQ&DOOXV Cello Forum%HQMDPLQ:KLWFRPE Bass Forum, Michael Fanelli Guitar Forum, Jonathan Leathwood Harp Forum6DXO'DYLV=ODWNRYVN\

$67$1DWLRQDO2IÀFH &KDLQ%ULGJH5RDG‡)DLUID[9$ 7HO‡)D[ Web: www.astaweb.com

Donna Sizemore Hale, Executive Director [email protected]

Elizabeth Bookwalter, Development Manager OL]#DVWDZHEFRP

Christina Champ, State Chapter Liaison [email protected]

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

Leslie Koo, Membership and Marketing Manager [email protected]

Stephanie Lewis, Manager of Publications and Graphic Design/ Webmaster [email protected]

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

Bridget Murphy, Meetings and Events Manager [email protected]

Tami O’Brien, Director of Communications and Development [email protected]

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

-HQQLIHU:HOOPDQ2IÀFH0DQDJHU0HPEHUVKLS&RRUGLQDWRU [email protected]

from the president ASTA Always on the Move: Serving Now and Shaping the Future!

The mission of our association is to lead string instruction in America. The key is leading. We can lead the present by serving the needs of our members, their students, peers, and audiences, and lead the future, not by reacting to it, but by shaping it. This is a lofty mission, but worthy of our great profession. So, what has ASTA been doing to meet its mission the last few years?

Conferences We have established our own independent ASTA conference, offered on an annual basis. What an undertaking! Did you experience the 2006 conference? What an incredible collection of almost 200 clinic sessions, concerts, award presentations, and parties! Wow! Our conferences continue to get better and better as we grow, mature, and learn. See some snapshots of the conference in this issue of AST, and get those dates for the 2007 and 2008 conferences on your calendars now. You will not want to miss them!

Vision We have adopted the official priorities for the association, stated in our Advancing Strings in America document from the 2004 Summit. We have started to carry out the direction of the Summit in many ways. For example, a Professional Development plan has been established to record the efforts of our teaching licensed members for their documentation. Also, we have created our first-ever national Development Campaign. Through this campaign, the long-range financial goals of the association have been identified, and plans to achieve them have been established. One of the goals is for ASTA to own its own building, so the day- to-day operations of the association can be maintained without paying monthly rent. In January, the national board established a building fund. We are on our way! The beginnings of financial reserves have also been set aside, so that when future needs of our profession are identified, we will have funding available to meet them. We have created a national standing Advocacy Committee to lead the charge to protect and defend the string teaching profession. A software program, Capwiz, has been purchased so that all of us may contact those in political power over our profession. Also, a paper summarizing string education values and facts has been written that will be used for a national advocacy campaign for strings in America. We have joined other professional associations to lead the dialogue on the effects of the No Child Left Behind Act on our string classes and school orchestra programs. We have added a special advocacy section to our website with resources we can all use with just a few clicks. We created a program and campaign, funded by an NEA grant, to interest high school and middle school students in the school string teaching profession: Imagine a Career with Strings Attached! The program includes a publication containing strategies teachers may use in their classrooms to attract their students to teaching, along with a colorful poster and a website designed for students: careersinstringteaching.com. Have your students check out the website and consider trying the strategies. We need your students for the future of ASTA and string teaching! We have also updated our association bylaws and had the opportunity to re-examine our mission, purpose, and organizational structure. This has been a very healthy process and better prepares us for the future.

Administration We have gradually enlarged our national staff to help meet our leadership mission. Great ideas are worthwhile, but if we do not have the resources to carry them out, we cannot move forward as a profession. For the first time ever, we have a financial officer, a staff member to assist our state units, an in-house staff member to handle our book production and sales, and someone to assist in our development efforts. These are huge steps forward for our association. However, please remember that despite our progress, we are still understaffed, so patience and kindness are appreciated as we continue to grow as a professional association.

For the Students We have also established the annual National Orchestra Festival (NOF) as a part of our annual outreach to students throughout the country. At the 2005 and 2006 conferences, we have had more than 1,000 students participate in the festival, representing the fabulous teaching of our members. To hear the NOF performances, observe the clinics, and feel the excitement about making music with young people gives us all hope and renewed resolve to work for our profession.

14 | American String Teacher | May 2006 Farewell With this, I say farewell as your president. It has been an honor and a privilege to serve you and to be with you in the trenches. At times, it can be tough in the trenches, but it leads to the joys and forward movement of our profession.

I look forward to the great presidency of Mary Wagner and her valuable board. As a board-driven association, I know they will represent us well, serving us today and leading us to the future.

With much love and respect for all of you,

Bob Gillespie

www.astaweb.com | 15

Association News New Faces at AST Over the last few months, AST has made quite a few changes. We continually strive to improve the quality of the journal, and the following people are helping us to do just that.

Articles Editor Kristin Mortenson is associate concertmaster of the Topeka Symphony. She teaches music theory at Kansas State University, and taught on the violin faculty of Blue Lake Fine Arts Camp in Michigan from 1986 to 2004. She also serves as assistant editor for the International Trumpet Guild Journal. Kristin grew up in San Antonio, Texas, and attended the University of Texas as a violin student of Leonard Posner. She received B.M. and M.M. degrees from Louisiana State University, VWXG\LQJZLWK6DOO\2·5HLOO\6KHKDVEHHQDÀUVWYLROLQLVWLQWKH$XVWLQ%DWRQ5RXJH:LFKLWDDQG'HV0RLQHV6\PSKRQLHV  .ULVWLQKDVSHUIRUPHGLQFRQFHUWZLWKHQWHUWDLQHUV'LRQQH:DUZLFN5D\&KDUOHV%RE+RSH0DUYLQ+DPOLVFK5HG6NHOWRQ 'RF6HYHULQVHQ5LFK/LWWOH-RH:LOOLDPVDQG6KLUOH\-RQHV6KHDOVRSHUIRUPHGZLWKWKH7RSHND6\PSKRQ\6WULQJ4XDUWHWIRU )LUVW/DG\/DXUD%XVKLQ-DQXDU\0RUWHQVRQLVDOLIHPHPEHURI6LJPD$OSKD,RWDDQGLVOLVWHGLQWho’s Who in America,Q her free time, she enjoys running and has completed the 2003 Chicago Marathon, as well as a number of shorter distance races. Welcome, Kristin!

Editorial Committee The volunteer members of the AST Editorial Committee (EC) play a key role in the journal’s peer review process, providing expert commentary on prospective articles before they are accepted for publication. The following individuals are new to the EC, and we thank them for their service.

Gregory Barnes has been a member of the viola section of the Atlanta, Richmond, and Virginia Symphony and Opera 2UFKHVWUDVDQG ZDV SULQFLSDO YLROD LQ WZR WRXULQJ RUFKHVWUDV LQ ,WDO\$V D FRQGXFWRUKH OHG WKH9LUJLQLD 6\PSKRQ\

Sean BeaversVHUYHVDVDVVLVWDQWSURIHVVRURIJXLWDUDQGPXVLFWKHRU\DW0DUVKDOO8QLYHUVLW\LQ+XQWLQJWRQ:HVW9LUJLQLD ZKHUHKHGLUHFWVWKH0DUVKDOO8QLYHUVLW\*XLWDU(QVHPEOH+HLVDFWLYHDVDJXLWDUVRORLVWDQGFKDPEHUSHUIRUPHU+HDOVR WHDFKHVJXLWDUSULYDWHO\DQGRIIHUVZRUNVKRSVIRUJXLWDUWHDFKHUV+HKDVSHUIRUPHGDQGWDXJKWPDVWHUFODVVHVLQERWK1RUWK and South America.

Margaret Berg, associate professor of music education at the University of Colorado, received her B.S. in music education IURP&DVH:HVWHUQ5HVHUYH8QLYHUVLW\KHU%0LQYLROLQIURPWKH&OHYHODQG,QVWLWXWHRI0XVLFKHU0(GIURPWKH8QLYHUVLW\ RI&LQFLQQDWLDQGKHU3K'IURP1RUWKZHVWHUQ8QLYHUVLW\3UHYLRXVO\VKHZDVRQWKHIDFXOW\DW%DOO6WDWH8QLYHUVLW\DQGWDXJKW in the Cincinnati Public Schools. She currently serves on the editorial board of the Journal of String Research and is president of Colorado ASTA. Berg has published articles in the Bulletin of the Council for Research in Music Education, Music Education Research, Psychology of Music, Journal of Music Teacher Education, Music Educators Journal, and American String Teacher, as well as contributed to various books, including Teaching Music Through Performance in Orchestra (volumes 1 and 2) and Applying Research to Teaching and Playing Stringed Instruments.

Chelcy Bowles is associate professor of music and director of continuing education in music and the Madison Early Music Festival at the University of Wisconsin–Madison, and has taught music and music education at the elementary, secondary, XQLYHUVLW\DQG FRQWLQXLQJ DGXOW OHYHOV+HU UHVHDUFK KDV EHHQ SUHVHQWHG DW PDMRU SURIHVVLRQDO FRQIHUHQFHVDQG KHU ZRUN has been published in American String Teacher, Journal of Research in Music Education, Journal of Music Teacher Education, Update: Applications of Research in Music Education, and Southeastern Journal of Music Education. She has performed as principal harpist with symphony, opera, and ballet orchestras, and has taught harp studios at the University of Wisconsin–Madison and the University RI$UNDQVDVDVZHOODVKDUSFODVVHVIRUVWULQJWHDFKHUVDQGFRQGXFWRUVDWWKH1DWLRQDO6WULQJ:RUNVKRS

WilliamW DickZDVWKHUHFLSLHQWRIWKH$67$0XVLF(GXFDWRURIWKH

18 | American String Teacher | May 2006 Emanuel E. Garcia, M.D., served as psychiatric FRQVXOWDQWWRWKH&XUWLV,QVWLWXWHRI0XVLFLQ3KLODGHOSKLD from 1998 until 2005. There, he helped to develop programs in health education and injury prevention. +H KDV ZULWWHQ SV\FKRORJLFDO LQYHVWLJDWLRQV RI 0DKOHU 5DFKPDQLQRII6FULDELQDQGPRVWUHFHQWO\'HOLXVDQGLV DOVRDSXEOLVKHGSRHW+HFXUUHQWO\PDNHVKLVKRPHLQ Letter from the Editor 1HZ=HDODQG don’t normally include a letter from the editor in Gramercy Trio violinist Sharan Leventhal has AST; however, as this is the last issue of the journal premiered more than one hundred compositions and FDQEHKHDUGRQWKHIROORZLQJUHFRUGLQJODEHOV1HZSRUW with ASTA Past President David Littrell serving &ODVVLF *UDPHUF\ 1HZ:RUOG .HSOHU4XDUWHW *0 as interim articles editor, I felt compelled to write DQG&DWDO\VW 0DULPROLQ DQG1RUWKHDVWHUQ6KHWHDFKHV Ia few words in an attempt to thank him for all he has DWWKH%RVWRQ&RQVHUYDWRU\DQGWKH,QWHUORFKHQ$UWV done for this association—and for me, personally. &DPSDQGLVDVWULQJFRDFKIRUWKH$VLDQGermany, generous contributions to the association. I could extol $XVWULD+XQJDU\DQG *UHDW %ULWDLQ IRU SHUIRUPDQFHV his talents as musician, educator, and leader in general; master classes, and archival research for the Vienna his willingness to help in whatever capacity is needed; :DOW](QVHPEOH+HLVDPHPEHURIWKH/\ULF2SHUD and his ability to pay attention to detail without losing of Chicago and, for more than 10 years, has served on WKHIDFXOWLHVRI1RUWKZHVWHUQ8QLYHUVLW\1RUWKHDVWHUQ sight of the big picture. All of these virtues—and many ,OOLQRLV8QLYHUVLW\DQG1RUWKHUQ,OOLQRLV8QLYHUVLW\ more—describe David Littrell. He is a class act—unpre- tentious, honest, friendly, hard-working, and completely Laurie Scott is assistant professor of music and approachable. His intelligence, integrity, and quiet human learning at the University of Texas at Austin. strength have reminded me of the kind of person I as- Additionally, she serves as the director of the University pire to be. And to top it all off, he’s one of the funniest of Texas String Project. She holds a master’s degree in DSSOLHG YLROLQ IURP WKH 8QLYHUVLW\ RI 1HEUDVND DQG D people I’ve ever met. bachelor’s degree in music education from the State 8QLYHUVLW\RI1HZ

www.astaweb.com | 19 Association News

ASTA is pleased to announce that several new All plans are insurance plans are now available to our members. underwritten by Hartford Life and ‡ /RQJ7HUP'LVDELOLW\ Accident Insurance ‡ $FFLGHQWDQG6LFNQHVV'LVDELOLW\ &RPSDQ\)RU ‡ *XDUDQWHHG$FFHSWDQFH$FFLGHQW2QO\ more information 'LVDELOLW\ and to enroll in ‡ %XVLQHVV2YHUKHDG([SHQVH one of the new ‡ &RPSUHKHQVLYH$FFLGHQW&RYHUDJH insurance plans, please contact ‡ )LYH

Ultimate Strings, Volume 2: Classical Virtuosity CD Now Available! ASTA is pleased to announce the release of Ultimate Strings, Volume 2: Classical Virtuosity, VJGUGEQPFDGPGſV%&KPCUGTKGUQHVJTGG6JG%&HGCVWTGUOCP[QH[QWTHCXQTKVGENCUUKECN UQNQKUVUKPENWFKPIXKQNKPKUVU,QUJWC$GNN/KFQTKCPF4CEJGN$CTVQP2KPGEGNNKUVU,GHHTG[5QNQY CPF,CPQU5VCTMGTXKQNKUV'OCPWGN8CTFKJCTRKUV.[PPG#URPGUIWKVCTKUV)GTCNF-NKEMUVGKP CPFFQWDNGDCUUKUV)CT[-CTT

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#NNRTQEGGFUYKNNDGPGſVVJGNational Foundation to Promote String Teaching and Playing.

0HPEHUVKLS&RVWVWR5HÁHFW$QQXDO 5DWHRI,QÁDWLRQ As many of you learned at the ASTA business meet- ing during the national conference in Kansas City, the Deadline October 1 for Potter’s Violins ASTA National Board recently has passed a motion to Instrument Awards raise membership dues annually by at least the rate of inflation in order to remain financially sound. In accor- Twice a year, the Potter Violin Company of dance, as July 1 begins our new fiscal year, the rates will Bethesda, Maryland, donates three Rudolf increase to the following amounts, which reflect the 3.5 Doetsch instruments—violins, violas, or cel- percent inflation rate. los—to students in need. Instruments may be awarded in any size, as requested by the student. Details and Professional: $93 application materials are available online at www. Senior: $66 astaweb.com/foundation.htm. Dual: $130 Student: $42 High School Chapter: $62 Library Subscription: $78 Library Subscription (Advertising Agency): $70 Institutional: $285 String Industry Council: $166, $233, $321 20 | American String Teacher | May 2006

Association News

National Board Election Results

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Amended Bylaws Passed ,QDGGLWLRQWRRIÀFHUHOHFWLRQVWKHUHFHQWEDOORWLQFOXGHGDYRWHWRaccept the amended bylaws, which, among other things, PHDQVWKDWWKHRIÀFLDOOHJDOQDPHRIRXUDVVRFLDWLRQLV$PHULFDQ6WULQJ7HDFKHUV$VVRFLDWLRQ $67$ DQGQRORQJHULQFOXGHV the phrase “WITH1DWLRQDO6FKRRO2UFKHVWUD$VVRFLDWLRQµ

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&RQUDG6WULQJ,QVWUXPHQWV 1RUWKÀHOG3UHVV )HDWXUHG3URGXFWV%REHORFN&DVHV Featured Product: “Montuno” Sheet Music

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22 | American String Teacher | May 2006

Association News Chapter News Several ASTA chapters were recognized with awards at the 2006 national conference, held in Kansas City, Missouri, in March. Congratulations, and keep up the good work!

Outstanding Chapter Award: Minnesota Chapter Outstanding Student Chapter: Pennsylvania State University Most Improved Chapter Award: Georgia and Oklahoma Chapters State Chapter Leader Award: David Elder, South Dakota Chapter (posthumous) Best Newsletter Award: New Jersey Chapter Membership Recruitment Award: Kansas Chapter Best Website Award: Colorado Chapter 1 2 3 4 5 6 7 8 PHOTOS: 1) ASTA President-Elect Mary Wagner presents the “Outstanding Chapter Award” to Lorie Hippen (left), president-elect of the Minnesota Chapter. 2) State Chapter Liaison Christina Champ presents the “Outstanding Student Chapter Award” to Robert Gardner, advisor to the Pennsylvania State University Chapter. 3) Mary Wagner (left) presents the “Most Improved Chapter Award” to Charlene Dell, president of the Oklahoma Chapter. 4) Marilyn Seelman (right), Georgia Chapter president, receives Georgia’s “Most Improved Chapter Award” from Mary Wagner. 5) Gary Fridley (right) accepts David Elder’s “State Chapter Leader Award” from Mary Wagner. 6) Lori Lindshield McKinney (left), president of the Kansas Chapter, receives the “Membership Recruitment Award” from Mary Wagner. 7) Nick Rzonsa (left) of New Jersey accepts the “Best Newsletter Award” from Mary Wagner. 8) Andrea Meyers (right) president-elect of the Colorado chapter, accepts the “Best Website Award.”

$SSOLFDWLRQV1RZ$FFHSWHGIRU²6SHFLDO3URMHFW*UDQWV ASTA Special Project Grants are designed to provide financial assistance to projects planned at the state level. Funding is available for new projects that will advance the ASTA mission and increase the strength, visibility, and activities of your state chapter. Only one project per state will be funded.

Grants of up to $850 are awarded to finance projects or events that are new to a state and are scheduled to take place between July 1, 2006, and June 30, 2007. Guidelines for applying for a Special Project Grant include the following: t
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The postmark deadline to apply for Special Project Grants is June 1, 2006. Applications are available at www.astaweb.com/foundation.htm under “Awards and Grants.”

24 | American String Teacher | May 2006 ASTA Welcomes New Members The following list reflects individuals and organizations who joined the association during the first quarter of 2006, between January 1 and March 31. Welcome to ASTA! Individual Members %UXFH&ROOLQVZRUWK Sarah Hansell 5LFKDUG/LQQ Andrei Pricope Kimberly Anne Syvertsen .DWKU\Q&RPPDQGHU Laurien Nicole Hansen Audrey A. Lipsey 1LFKRODV-RKQ3URV]NRZ &DHODQ7DOERW 'RXJ$FNHUVRQ 9LUJLQLD$&RQH James I.A. Hao &DWK\/RJDQ Andrea Puente Ilkka Talvi Alexander Travis Adams &DWK\6&RQOH\ Patricia Harrell %XUNH/RNH\ Katie Quann Nobuaki Tanaka /RUHWWD&DVWRU$GNLQV 'DYLG(&RQOH\ .DWKU\Q+DUW5HLOO\ Patricia Long Anna M. Quirk -RQ7HQ%URHN Julia Alvarado /XNH5&RRN &OD\WRQ+DVORS 'LDQH)/RRPLV Paul Quoot Allen Tentschert 'RXJODV:$QGHUVRQ 1DWKDQ-DPHV&RRN Iris F. Haynes &DWKLH/RZPLOOHU $QJHOD5DFFXJOLD Nola Matthews Thole Matthew Michael Anderson 7DQ\D0&RXWXUH Svetla Kalcheva Hays 'U5D\PRQG/RZWKHU 0LFKDHO5DPVWHU &KULVWLQH0LFKHOH7KRPDV 'DULDQ$QGUHDV 3DWULFLD-&R[ Stephanie Hellekson Maggie Lubinski 'DYLG3KLOLS5HHVPDQ Katie Thome 'DZQ.$QJXV (YHO\Q6&UDIW Luther L. Henderson III Shelley Lucht 0DWWKHZ5D\PRQG5HLFKHUW Julia M. Toews Jason Ankerbrand 0HOLQGD+&UDZIRUG &DUOD+HQVRQ Sallie Lupis 3DWULFN5HLG%LQLRQ $VKOH\/DQF]7RPDQ 'DSKQH$UEL]X /DXUD$QQ&UDZIRUG6PLWK Erik Aaron Herndon 5\DQ0DFN .DWKU\Q5HLPOHU 5RVHPDU\(OOHQ7RSDU Vasile Ardeleanu 'HERUDK&URVVHU 5R[DQQH+LGDOJR &KULVWLQD0DF.HQ]LH .DW\5HLQHU Thomas P. Toscano 0DWWKHZ$UGL]]RQH /RZHOO/&U\VWDO Anna-Marie Hladik April Maddy *DEULHO5HPLOODUG Sidney Townsend &DVVLGLH$UPVWURQJ 6KDXQGUD&XODWWD %ULDQ+RGJHV &HFLO\.D\0DKDQ 6DUDK5KRGHV Jon Traines &DURO$UQROG 0DKORQ'DUOLQJWRQ Liliann Hodgins Gregory Marget $QDVWDVLD5LFFL 1DQF\7ULHU0HW]JHU Esra Atalay 'DQLHO/DZUHQFH'DXOW Laura Lee Hoecker Michael Margulis 0HJDQ5LFKDUGV %HOLQGD7URWW %DPEL%DEFRFN)LVFKHU $QJHOD0'DYLV Annette Holba $OHF'0DULDQL -HDQQLQH05LFKDUGVRQ &DURO\Q$7XUQHU -RQL:DONHU%DF]HZVNL 7\VRQ'DYLV EmmaLee Holmes-Hicks 6WHSKHQ&0DURWWR 3DXO)5LHPDQ Paul Unger -HQQLIHU%DNHU 0HJDQ'HFNHU Sharon Homeyer =RH+DUXPL0DUWLQ'RLNH 1RDK5RDRII Francois A. Valadie 1HVULQH,%DOEHLVL (LOHHQ'HLVV 0DWW+RPPH] -HQQLIHU50DUYLQ 0DU\/RX5REHUWV Adele Valovich 0DU\%DOGZLQ &DWKDULQH$'HOXFD Haruka Horiuchi Michael Matsuno 7LJHU5RELVRQ *HRUJH9DQ&DPS *DLO%DUEHU /DXUD'HPLQJ Maria Hoyos Kay Mayer /DXULH,OOLRQV5RGULJXH] Nicole Van Haren 0DUN%DUQDUG 0HJDQ+ROO\'HSSD Lawrence Huang Sheronna L Mc Mahon %HYHUO\$5RKOI .ULVWLQ9DQ=DQW $PDQGD,UHQH%DUWRV $OH[DQGUD6'H5RVD =DFKDU\+XH\ 0DU\EHWK0F&DUULFN /HDK5RWKH Jaya Varma -RKDQQ+%DVW $VLD'RLNH Nancy J. Hunt 0DULO\Q0F'RQDOG 'RPLQLTXH5R\HP *LOEHUW9HOH] -HVVLFD/HH%DXEOLW] )UDQFHV'XII\ Leah Jacobson Emily McKee Lumi Janet Sakakura Linda Vik $OLVRQ(%D]DOD &KULVWLQH'XQEDU Susan E. Jacobson Lauren McWhirter Kristin Sambolin %ULWWDQ\9LROD -HQQLIHU%HDUXS 7KRPDV'DYLG'XQFDQ Julia Kay Jamieson %HQHGLFWR0HGLQD Shelley Satonin 5HEHFFD-HDQ:DGH -HIIUH\%HOO -LOO'XUUDQW /DXUHQ(OL]DEHWK-DQRVFR 0(OL]DEHWK0HLVLQJHU Ken V. Sawyer Adrienne Alice Wager )UDQN-%HOOLQR Eric Edberg &KULV-RKQV Joey Menninga Scott M. Schilling %UHWW$GDP:DJQHU 0LFKHOOH%HQQHWW 'RQQD7(GZDUGV Amanda Johnson Anitra A. Mercer Martha F. Schleifer %LQJ:DQJ /HDK%HUJPDQ Paul V. Ellison Amy K. Johnson &KULVWRSKHU0H\HU 5HEHFFD6XH6FKORQHJHU Jennifer Watkins .ODUD%HUNRYLFK Jessica Embry -HQQLIHU5RVH-RKQVRQ Adam Michlin %HWKDQ\06FKRHII Jacob Webb 5DFKHO%LHUNDQ Laura Epstein Stephanie L. Johnson &RQVWDQFH.0LOQHU *HUDO\Q6FKXOW] (OL]DEHWK:HEVWHU &KULVWLQH6%LUQH\ Wendy Erdman-Surlea (OL]DEHWK-RQHV Justin Monday Alex Scott &KHOVH\:HLJHO .DWLH(OL]DEHWK%ODQNHQVKLS Marco Escobar 5HEHFFD-RQHV Svetlana Mondrusov 5D\6F]HVQLDN Fletcher Whipp (OL]DEHWK

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“The Teaching of in String Playing”

Paul Rolland’s legendary film series video set $295 (USA/VHS postpaid) PAL/overseas add S&H A monumental series of timeless value!!! Every string teacher should own a set. 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 tool for classroom, private studio, & individual student use. Endorsed by 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: His innovative string teaching Rolland String Research Associates method is acclaimed 1616 West Mountain View, Mesa, AZ 85201 worldwide for its effectiveness. (480) 969-9744; e-mail: [email protected]

www.astaweb.com | 33 Member2Member

Wood This is the log There is the tree that comes from a tree that secretes its sap that is felled to the ground which then becomes rosin that is hauled to the mill to rub on the bow and sawed into boards which then grabs the strings that makes the fiddle making them vibrate with music that makes the music that comes from the wood that makes feet thump the floor that is made of wood This is the hand that draws the bow This is the sheep across the strings who gives of her wool that sing of maple and spruce and this is the fleece and these are the fingers that lines the case that press the strings where lies the fiddle against the ebony that is made of wood for a night of dancing And this selfsame sheep has the guts that cross the bridge And all the time to bring out music the feet are tapping that lies in the wood feet are thumping all the time these feet are thumping Here is the horse on the floor that is made of wood who has the tail that provides the hair that spans the bow 'XGOH\/DXIPDQOLYHVZLWKKLVZLIH-DFTXHOLQHLQWKHZRRGVRI&DQ- that touches the gut WHUEXU\1HZ+DPSVKLUH7KH\HDUQWKHLUPRQH\SOD\LQJÀGGOHVIRU that makes the music old-time New England square dances and peddling poetry from their that comes from the wood Wind in the Timothy Press.

-RDQ·V5HWLUHPHQW3RHP I’ve gotten a star sticker in my hair How many times have I heard these tunes A splinter in my finger, And am still somehow okay! A bow up my nose, But I will miss the feeling of accomplishment And a thumb tack on my teacher chair At the end of another concert, Which poked me in the derrière. The looks of gratitude from moms and dads, Yes, I’m really a teacher now— And the many, many lassies and lads! Fully certified and technologically proficient . . . I feel I’ve touched many a life as a teacher But 30 years of it is more than sufficient . . . A feeling which cannot be beat I’ve done my duty for the kids, you see, Teaching children is the best profession of all One boy said, “You’re retiring? How sad!!” It was a trying, but wonderful feat!!! But I replied, “Not for me!!!” I won’t miss the expression “I forgot my violin!” “I don’t like to practice; it hurts my finger skin . . . ” -RDQ+HPPHULFK/XQVIRUGUHFHLYHGKHU%0(GIURPWKH+DUUW6FKRRO No, I won’t miss figuring out grades for yet another quarter, RI0XVLFRIWKH8QLYHUVLW\RI+DUWIRUGDQGKHU00(GIURP&DWKROLF For hundreds of kids—the parents’ sons and daughters. 8QLYHUVLW\RI$PHULFDLQ:DVKLQJWRQ'&6KHWDXJKWVWULQJRUFKHVWUD LQWKH)DLUID[&RXQW\ 9LUJLQLD 3XEOLF6FKRROVIRU\HDUV JUDGHV 4 through 12) and received the Outstanding Music Educator Award Going back to 1972, IRU²IURPWKH:DVKLQJWRQ'&0HWURSROLWDQ$UHD&RXQ- I remember ditto machines with purple ink FLOIRU([FHOOHQFHLQ0XVLF(GXFDWLRQDQGIURPWKH:DVKLQJWRQ'& Cranking off letters which sure did stink! Area Alumni Association of Phi Mu Alpha Sinfonia. Tooling around the county in my unairconditioned Saab— Six schools, twice a week, what a job!! Twinkle, Twinkle Little Star, Jingle All the Way!

34 | American String Teacher | May 2006 www.astaweb.com | 35 Announcing the Third Biennial Celebrating Alternative Strings: The Alternative Styles Awards +HOGLQFRQMXQFWLRQZLWKWKH$67$1DWLRQDO&RQIHUHQFH March 8–10, 2007 'HWURLW0LFKLJDQ Sponsored by Yamaha 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, MD]]IXVLRQDQGURFNPXVLF

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. 7REHVHOHFWHGDVDZLQQHUWKHSHUIRUPHUPXVWEHDEOHWRSHUIRUPDWWKH$67$1DWLRQDO&RQIHUHQFHLQ'HWURLWDQGPHHWWKHDJHUHTXLUHPHQWV on the entry form. First place winners from 2003 and 2005 are not eligible unless they have moved to a new age division.

Previous ASTA conference Alternative Styles performers, clinicians, and judges include: 0DUN2·&RQQRU5HJLQD&DUWHU'DURO$QJHU0DWW7XUQHU0DUN:RRG%RQQLH5LGHRXW&U\VWDO3ORKPDQ3DXO$QDVWDVLR/L]&DUUROO&KULVWLDQ+RZHV &DUO5DKNRQHQ6WDQOH\&KHSDLWLV/HDQQH'DUOLQJ.DWULQD:UHHGH5HQDWD%UDWW-HUHP\&RKHQ0DWW*ODVHU%ULDQ7RUII7UDF\6LOYHUPDQ%RE3KLOOLSV -HVXV)ORULGR-XOLH/\RQQ/LHEHUPDQ0DUWKD0RRNH'DQLHO6HLGHQEHUJ/HVD7HUU\5LFKDUG*UHHQH'DU\O6LOEHUPDQDQGPDQ\RWKHUV

)HDWXUHG3HUIRUPHUVIRUWKH$67$*DOD%HQHÀW&RQFHUW7KH7XUWOH,VODQG6WULQJ4XDUWHW Many additional performers and clinicians to be announced. Please visit www.astaweb.com regularly for updates.

Application Materials These selections must include examples of: Each participant must submit: ‡ &RQWUDVWLQJWHPSL ‡ &RPSOHWHGHQWU\IRUP ‡ $UWLVWU\DQGPXVLFLDQVKLS ‡ 3URRIRIDJH ‡ ,PSURYLVDWLRQDVDSSURSULDWHZLWKLQWKHVW\OH ‡ $QRQUHIXQGDEOHHQWU\IHHRI 86' PDGHSD\DEOH ‡ 2ULJLQDOLW\ to ASTA ‡ '\QDPLFVW\OLVWLF´JURRYHµ ‡ $9+6RU'9'UHFRUGLQJQRORQJHUWKDQPLQXWHVRIKLVKHU performance, which must contain three contrasting selections within Applicants are encouraged to submit supporting materials that may the chosen alternative style enhance the application, such as programs, reviews, announcements, awards, etc.

Notes %DVVSOD\HUVPXVWLQFOXGHDWOHDVWRQHH[DPSOHRIERZHGVRORSOD\LQJ * 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.

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, WKHEHVW´JURRYHµPXVLFLDQVKLSDQGUHFRJQLWLRQRIHVWDEOLVKHGWUDGLWLRQVZLWKLQWKHFKRVHQVW\OH V ,IWKHMXGJHVGHHPWKDWQRRQHKDVH[HPSOLÀHGD FHUWDLQFDWHJRU\ZLWKLQDQDJHGLYLVLRQWKHQWKDWSUL]HZLOOQRWEHDZDUGHG7KHZLQQHUVZLOOEHFKRVHQEDVHGRQWKHLUDELOLW\WREHVWUHSUHVHQWWKHLU FKRVHQVW\OH V $SDQHORIMXGJHVZLWKUHFRJQL]HGH[SHUWLVHLQWKHLQGLYLGXDOVW\OLVWLFWUDGLWLRQRIWKHDSSOLFDQWZLOODGMXGLFDWHHDFKVHWRIPDWHULDOV)URP WKHVHDSSOLFDWLRQVWKHZLQQHUVZLOOEHVHOHFWHGDQGLQYLWHGWRSHUIRUPDWWKH$67$1DWLRQDO&RQIHUHQFHLQ'HWURLW0LFKLJDQ3HUIRUPDQFHVZLOO WDNHSODFH0DUFK²2QO\WKRVHDSSOLFDQWVDEOHWRSHUIRUPLQ'HWURLWZLOOEHHOLJLEOHWRZLQ)RXUFDVKDZDUGVDUHSRVVLEOHZLWKLQHDFKDJH GLYLVLRQ(DFKDZDUGLQWKH6HQLRU'LYLVLRQZLOOEHHDFKDZDUGLQWKH-XQLRU'LYLVLRQZLOOEHDQGHDFKDZDUGLQWKH(OHPHQWDU\'LYLVLRQ will be $500.

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. 2WKHUSHUIRUPDQFHDQGVWXG\RSSRUWXQLWLHVZLOODOVREHSRVVLEOH,QDGGLWLRQÀQDOSDUWLFLSDQWVZLOOEHLQYLWHGDQGHQFRXUDJHGWRSDUWLFLSDWHLQDOO 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 ‡ $OODSSOLFDWLRQPDWHULDOVPXVWEHSRVWPDUNHGQRODWHUWKDQPLGQLJKWOctober 1, 2006. ‡ :LQQHUVZLOOEHGHWHUPLQHGDQGQRWLÀHGE\December 1, 2006. ‡ :LQQHUVZLOOSHUIRUPDWWKH$67$1DWLRQDO&RQIHUHQFHLQ'HWURLW0LFKLJDQMarch 8–10, 2007.

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36 | American String Teacher | May 2006 American String Teachers Association Celebrating Alternative Strings: Application The Biennial Alternative Styles Awards Deadline 0DUFK²‡'HWURLW0LFKLJDQ October 1, 2006

Personal Information Please print clearly or type. Name ______7HDFKHU·V1DPHBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB $67$PHPEHU,'RIDSSOLFDQWRUWHDFKHUBBBBBBBBBBBBBBBB_ ,QVWUXPHQWBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB$OWHUQDWLYH6W\OH V *HQUH V BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB___ Birthdate ______(Please attach proof of birthdate: copy of birth certiÀ cate, driver’s license, etc.)

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Permanent Home Address ______&LW\6WDWH=LSBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB &RXQWU\BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB +RPH3KRQHBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB (PDLOBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB

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Honors/Awards QRWPDQGDWRU\DWWDFKDGGLWLRQDOSDSHULIQHFHVVDU\ ______

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

Additional Options ‰ %HFRPHDQ$67$VWXGHQWPHPEHUWRGD\IRURQO\* 7KLVLVDGGLWLRQDOWRWKHHQWUDQFHIHH ‰ 7XUWOH,VODQG6WULQJ4XDUWHWFRQFHUWWLFNHWIRU

Completed entry form, recording, supporting materials, and $40 entry fee (check payable to ASTA) must be postmarked by October 1, 2006, and mailed as a single package to: ASTA Alternative Styles Awards ATTN: Martin Norgaard 4153 Chain Bridge Road Fairfax, VA 22030

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* Effective July 1, the student membership rate will increase to $42. Exploring Musical Fiction

itting down with a good book can be a welcome retreat from the mental and physical fatigue of teaching and performing, and it can also be a source for continued musical growth for our students and for ourselves, if we choose musical fiction. Books in which the main characters are musicians or whose plots take place in a musical setting, for example, an opera house, have been an interest of Smine for many years and began when I discovered a historical fiction series about a violinist living in Nazi Germany. Thrilled with combining my two lifelong passions, music and reading, I began to scour new and used bookstores—and, eventually, online retailers—for more musical fiction. I was amazed at the number and diversity of works available. I also became interested in how to use these books in my teaching, specifically as a means for emphasizing to students the value of reading in music education.

Music and Literature The prolific existence of musical fiction should be no great surprise to students of music history. Music and literature have had a long and prosperous relationship. The Greek playwrights were known for combining music with their dramas, and since that time, every musical style period has had examples of that relationship, from early Baroque operas through such 20th century masterpieces as the Lincoln Portrait. One of the greatest collaborations of music and literature took place in the Romantic period, a time when such themes as nationalism, the diabolical, and social injustice found their way into musical works by such composers as Berlioz and Mussorgsky, and into fiction by Edgar Allen Poe and Charles Dickens. It was predominately in the 20th century, however, when authors began to produce what has become known as musical fiction. Today, musical fiction can be found in a variety of literary genres and reading levels, including mystery, science fiction, fantasy, horror, romance, and historical fiction. It also encompasses a diversity of musical genres and styles, from rock to classical, and features instruments from the tuba to the viola.

Using Musical Fiction in Teaching Fortunately for string players and teachers, the world of string music and string performers is one of the favorite subjects of musical fiction, and there are many creative ways to use these books with your students, such as: t
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Selecting Musical Fiction With such a variety of musical fiction available, it is not difficult to find something to satisfy all reading interests and ages if you know where to look, but as with all writing, there is the excellent, the mediocre, and the downright bad. As you search for quality musical fiction, look for well-known authors and publishers, and ask for recommendations from a local librarian. Also, read plot summaries and reviews posted by an online retailer, such as Amazon.com; these will help you get a sense of not only whether the storyline will interest you, but also of the author’s expertise in music and, specifically, in strings. We have all seen movies in which an instrument such as the violin is played in such an ungainly manner that we wonder whether the director consulted a music specialist at all. The same thing can happen in musical fiction. If the instrument or music is not treated in a knowledgeable and realistic way, it can be distracting and frustrating for the string connoisseur.

38 | American String Teacher | May 2006 for the String Player

and Teacherby Kellie Brown

Selected Reading List of String Fiction Deverell, Catherine. Stradivari’s Singing Violin. Illustrated by The following lists are a great starting place for exploring musical Andrea Shine. Minneapolis: Carolrhoda Books, 1992. fiction. In addition to being sorted by age group, each selection is (Violin) labeled according to the instrument featured in the book. For the Doucet, Sharon Arms. Fiddle Fever. New York: Clarion Books, adult reading list, the literary genre is also included. 2000. (Violin/Fiddle) French, Simon. Where in the World. Atlanta: Peachtree The wonderful world of musical fiction is waiting on the shelves Publishers, 2003. (Violin) of bookstores and libraries. So enjoy the hunt—and happy Gallaz, Christophe. The Wolf Who Loved Music. Translated by reading! Mary Logue. Illustrated by Marshall Arisman. Mankato, Minn.: Creative Editions, 1999. (Violin) Young Givens, Steven J. The Violin Lesson and the Cross Street Band. New Books for Readers Canaan, Conn.: New Canaan Publishing, 2002. (Violin) Adams, Ruth Joyce. Fidelia. New York: Lothrop, Lee & Shepard, Hambrick, Sharon. The Year of Abi Crim. Greenville, S.C.: 1970. (Violin) Journey Books, 2000. (Violin) Aiken, Joan. The Whispering Mountain. New York: Dell, 1971. Isele, Elizabeth. Pooks. Illustrated by Chris L. Demarest. New (Harp) York: Lippincott, 1983. (Cello) Arnold, Caroline. Music Lessons for Alex. Illustrated by Richard Keith, Margaret. The Violin Recital. Illustrated by Albin Zotigh. Hewett. New York: Clarion Books, 1985. (Violin) Little Rock, Ark.: Noteworthy Books, 2004. Atene, Ann. The Golden Guitar. Boston: Little, Brown & Co., Lebentritt, Julia, and Richard Ploetz. The Kooken. Illustrated by 1967. (Guitar) Clement Oubrerie. New York: Holt, 1992. (Cello) Black, Charles C. The Royal Nap. Illustrated by James Stevenson. Levinson, Nancy Smiler. Sweet Notes, Sour Notes. Illustrated by New York: Viking Press, 1995. (Guitar) Beth Peck. New York: Dutton, 1993. (Violin) Bond, Nancy. A String in the Harp. Illustrated by Allen Davis. MacLachlan, Patricia. The Facts and Fictions of Minna Pratt. New New York: Atheneum, 1976. (Harp) York: Harper & Row, 1988. (Cello, Viola) Brett, Jan. Berlioz the Bear. New York: Putnam, 1991. (Bass) McPhail, David. Mole Music. New York: Holt, 1999. (Violin) Campbell, Will D. Chester and Chun Ling. Illustrated by Jim Namioka, Lensey. Yang the Youngest and His Terrible Ear. Hsieh. Nashville: Abingdon Press, 1989. (Guitar, Violin) Illustrated by Kees De Kiefte. Boston: Joy Street Books, Caseley, Judith. Ada Potato. New York: Greenwillow Books, 1992. (Violin) 1989. (Violin) Oppenheim, Shulamith Levey. Trio for Grandpapa. Illustrated by Clement, Claude. Voice of the Wood. Translated by Lenny Hort. Gioia Fiammenghi. New York: Crowell, 1974. (Cello, Viola, Illustrated by Frederic Clement. New York: Dial Books, Violin) 1989. (Cello) Rocklin, Joanne. Discovering Martha. New York: Macmillan, Curtis, Calvin. Bat Boy and His Violin. Illustrated by E.B. Lewis. 1991. (Guitar) New York: Simon & Schuster Books for Young Readers, Root, Phyllis. Rosie’s Fiddle. Illustrated by Kevin O’Malley. New 1998. (Violin) York: Lothrop, Lee & Shepard, 1997. (Violin/Fiddle) Cutler, Jane. The Cello of Mr. O.Illustrated by Greg Couch. New Sorel, Edward, and Cheryl Carlesimo. The Saturday Kid. New York: Dutton Children’s Books, 1999. (Cello) York: M.K. McElderry Books, 1999. (Violin) Davol, Marguerite W. The Heart of the Wood. Illustrated by Sheila Wibberley, Leonard. Guarneri: Story of a Genius. New York: Hamanaka. New York: Simon & Schuster Books for Young Farrar, Straus, Giroux, 1974. (Violin) Readers, 1992. (Violin) Wilson, Budge. A Fiddle for Angus. Illustrated by Susan Tooke. De Angeli, Marguerite. Fiddlestrings. Garden City, N.Y.: Plattsburgh, N.Y.: Tundra Books of Northern New York, Doubleday, 1974. (Violin) 2001. (Violin/Fiddle) De Cosmos, Andrea. Harp Song. Illustrated by Mavis Andrews. Vancouver: Beach Holme, 1993. (Harp) www.astaweb.com | 39 Books for Young Adult Readers Hackett, Joyce. Disturbance of the Inner Ear. New York: Carroll & Graf, 2002. (Cello; Historical) Alexander, Lloyd. The Marvelous Misadventures of Sebastian. New Harrod-Eagles, Cynthia. Orchestrated Death. New York: Scribner, York: Dutton, 1970. (Violin) 1991. (Violin; Murder Mystery) Brooks, Bruce. Midnight Hour Encores. New York: Harper & Hershey, John. Antonietta. New York: Knopf, 1991. (Violin; Row, 1986. (Cello) Historical) Charnas, Suzy McKee. The Bronze King. Boston: Houghton Jolley, Elizabeth. Milk and Honey. New York: Persea Books, 1986. Mifflin, 1985. (Violin) (Cello; Thriller) Chetwin, Grace. Out of the Dark World. New York: Lothrop, Lee Joss, Morag. Funeral Music. London: Hodder & Stoughton, & Shepard, 1985. (Violin) 1998. (Cello; Murder Mystery) Feuer, Elizabeth. Paper Doll. New York: Farrar, Straus, Giroux, Keenan, Brian. Turlough. London: Cape, 2000. (Harp; 1990. (Violin) Historical) Frank, Lucy. Will You Be My Brussels Sprout? New York: Holiday Kopec, Helen. Notes from the Pit. Atlanta: No Strings Publishing, House, 1996. (Cello) 2003. (Cello; General Fiction) Hall, Randall L. A Shawl and a Violin. West Valley City, Utah: Lackey, Mercedes. Lark and the Wren. Riverdale, N.Y.: Baen, Bookcraft, 1997. (Violin) 1991. (Violin/Fiddle; Fantasy) Ingold, Jeanette. Mountain Solo. Orlando, Fla.: Harcourt, 2003. Ladew, Donald P. Stradivarius: A Novel. New York: Carroll & (Violin) Graf, 1995. (Violin; Historical) Keillor, Garrison, and Jenny Lind Nilsson. The Sandy Bottom Lebrecht, Norman. The Song of Names. New York: Anchor Orchestra. New York: Hyperion Books for Children, 1996. Books, 2004. (Violin; Historical) (Cello, Violin) Machlis, Joseph. Allegro. New York: Norton, 1997. (Violin; McGuigan, Mary Ann. Cloud Dancer. New York: Scribner, 1994. General Fiction) (Guitar) Maxwell, Evan. Season of the Swan. New York: HarperCollins, Riordan, James. The Cello. New York: Oxford University Press, 1997. (Violin; General Fiction) 2003. (Cello) Milofsky, David. Playing from Memory. New York: Simon & Rosenberg, Liz. Heart and Soul. San Diego: Harcourt Brace Schuster, 1980. (Viola; General Fiction) Jovanovich, 1996. (Cello) Quinton, Ann. The Ragusa Theme. London: Piatkus, 1986. Sherman, Eileen Bluestone. The Violin Players. Philadelphia: (Violin; Murder Mystery) Jewish Publication Society, 1998. (Violin) Robbins, David L. The End of War.New York: Bantam, 2000. Tamar, Erika. Blues for Silk Garcia. New York: Crown Publishers, (Cello; Historical) 1983. (Guitar) Salzman, Mark. The Soloist. New York: Random House, 1994. Wolff, Virginia Euwer. The Mozart Season. New York: Holt, (Cello; General Fiction) 1991. (Violin) Seth, Vikram. An Equal Music. New York: Broadway Books, Zalben, Jane Breskin. Unfinished Dreams. New York: Simon & 1999. (Violin; General Fiction) Schuster Books for Young Readers, 1996. (Violin) Shaham, Nathan. The Rosendorf Quartet. Translated by Dalva Bilu. New York: Grove Weidenfeld, 1991. (Cello, Viola, Books for Adult Readers Violin; Historical) Soares, Jo. A Samba for Sherlock. New York: Pantheon Books, Adamson, Lydia. A Cat with a Fiddle. New York: Signet, 1993. 1997. (Violin; Murder Mystery) (Violin; Murder Mystery) Sousa, John Philip. The Fifth String. Indianapolis: The Bowen- Alexander, Lynne. Resonating Bodies. New York: Atheneum, Merrill Co., 1902. (Violin; Romance) 1989. (Viola; Historical) Taylor-Hall, Mary Ann. Come and Go, Molly Snow. New York: Banks, Iain M. Canal Dreams. Garden City, N.Y.: Doubleday, Norton, 1995. (Violin/Fiddle; General Fiction) 1991. (Cello; Espionage Thriller) Thoene, Bodie. Vienna Prelude. Minneapolis: Bethany House, Blechta, Rick. Lark Ascending. Scarsdale, N.Y.: Castlefield Press, 1989. (Violin; Historical) 1993. (Violin; Murder Mystery) Weber, Janice. Frost the Fiddler. New York: St. Martin’s Press, Carroll, Steven. The Love Song of Lucy McBride. London: Allen & 1992. (Violin; Espionage Thriller) Unwin, 1998. (Cello; Romance) Wilcox, James. North Gladiola. New York: Harper, 1987. (Cello, De Lint, Charles. The Little Country. New York: Morrow, 1991. Viola, Violin; General Fiction) (Violin; Fantasy) Edgerton, Clyde. Killer Diller: A Novel. Chapel Hill, N.C.: Algonquin, 1991. (Guitar; General Fiction) 6LQFH.HOOLH'XEHO%URZQKDVEHHQDPXVLF Frommer, Sara Hoskinson. Murder in C Major. New York: St. IDFXOW\ PHPEHU DW 0LOOLJDQ &ROOHJH ZKHUH VKH Martin’s Press, 1986. (Viola; Murder Mystery) VHUYHVDVFKDLURIWKH0XVLF'HSDUWPHQWDQGGLUHF- George, Elizabeth. A Traitor to Memory. New York: Bantam, WRURIWKHVWULQJVSURJUDPDQGWKH0LOOLJDQ&ROOHJH 2001. (Violin; General Fiction) Orchestra. She is a frequent performer and conduc- tor and serves as the assistant concertmaster for the Graham, Janice. Firebird. New York: Putnam, 1998. (Violin; Symphony of the Mountains. In addition, she has Romance) published many compositions, articles, and book re- Gur, Batya. Murder Duet. Translated by Dalva Bilu. New York: YLHZV,QKHUÀUVWERRNAn Annotated Bibliography of Musical HarperCollins, 1999. (Cello; Murder Mystery) Fiction, was published by Edwin Mellen Press.

40 | American String Teacher | May 2006 www.astaweb.com | 41 Regional Outreach Tours for Your School Orchestras:

by Brian Cole

The Beginnings As a high school sophomore in rural southwest Minnesota, I remember the December day that our school orchestra left early one morning and performed at three small, rural, non-orchestra districts. We played holiday music, demonstrated the members of the orchestra family, and invited one or two of the students in the schools we were visiting to come up and conduct our final number. As easy and inexpensive as that day was, it will always remain one of my favorite memories of our high school orchestra. Years later, as a public school teacher in northern Minnesota, it occurred to me that in the northern third of Minnesota, there were only seven districts that had orchestra programs and nearly one hundred that did not. I thought of the thousands of school children who might never have the opportunity to hear a live orchestra and made a covenant with myself to do all I could to bring music to districts without orchestras. In the winter of 1998, as our sixth grade orchestra was preparing to take part in a festival, I called a few districts on our way to see whether we could play a free concert for them. The principals that I spoke with told me that their tudentss had never been exposed to orchestras; they welcomed our visit. Since that February day in 1998, our Moorhead sixth, seventh, and eighth grade orchestras have played more than 40 concerts for nearly 15,000 students in communities all across Minnesota. We have played for large urban schools with populations approaching a thousand and small schools with only 58 students in grades K–12. We have played in schools with beautiful auditoriums and schools with gyms so small we have stood to be sure there was room for the audience. Regardless of the size or the venue, the chance to bring orchestral music to schools and students that had never had an orchestra perform has been one of my teaching life’s greatest joys.

Putting the Plan into Action Our regional tours have greatly evolved over the years. Initially, they only occurred when we were going out of town to play at festivals or conferences. Now, each grade at our middle school takes a day—or sometimes two, if it falls on a vacation day—to go on tour. The following paragraphs provide helpful material, based on my experience, for directors wishing to undertake a tour. First, choose a day for the tour—preferably springtime, as it gives your orchestra a chance to build up enough repertoire. Because your tour may become your culminating event for the year, you may prefer to tour toward the end of the year. Choose the date at least three months in advance to give your students adequate preparation. In Moorhead, we now give our parents the tour dates before the students leave for summer so that parents can make vacation or travel plans. Check with your district for the statewide testing days to avoid schedule conflicts. Not only should your orchestra students not miss testing days, but the schools where you perform will not be able to accept your offer because they are administering tests. Your state may hold separate testing days for elementary and middle level students. Second, decide on the area where you want to take your students. My colleague Doug Neill and I usually sit down with a map and talk about what area we would like to use as our home base. If possible, have the orchestra travel to the area the night before and spend the night at a fun motel with a water park or other activity center. This serves two purposes: the children have fun, and you can get an early start on concerts the next morning. Once the home base has been established, begin calling the area principals to tell them of your mission and that the event is free. We have been told by several principals that they often have to pay several hundred dollars for lyceums or programs like this. After you have established contact, begin plotting the daily schedule. Two concerts in the morning and one in the afternoon are usually sufficient. We have given as many as five in a day, but that is too taxing on the students. Third, send information home to students. I believe a flaw that many orchestra teachers have is lack of planning and organization. Parents and administration want to be informed. A month before the tour, send a contract home stating the itinerary and cost. Ask for parent chaperones—one parent for every 10 students is ideal. Both student and parent should sign a statement or informal contract stating that the child understands the code of ethics and behavior expected during the tour. Our fee in Minnesota for the tour is usually between $60 and $70 if it is an overnight, and $25 if it is a day trip. I used to feel guilty about asking for money for tours, so I would write grants, solicit business donations, or have our booster group cover transportation. I finally decided I was spending too much time away from my mission, which is making music with kids; therefore, I started charging a fee of $25. That covered the school bus and the noon meal. The kids came back, told their folksow h

42 | American String Teacher | May 2006 Instilling a Sense of Servanthood, Pride, and

much fun it was, and the parents have never once questioned such as “Fiddles on Fire,” “Blue Grass Bingo,” or “Simple Square any fee that we impose. If you don’t place a value on your Dance”; 5) a piece from a “dead guy,” such as Mozart, Bach, or event, whether a concert or a trip, then your students and their Beethoven. parents won’t place a value on your program. We always say Make your concert as memorable as possible. Some that scholarships are available, and we usually have one or two suggestions include having the basses hold their instruments students who do apply and receive that assistance. above their heads, placing a cello on a student’s head so she In addition to the contract that we send out one month in can feel the whole instrument vibrate when you pluck a string, advance that has a due date three weeks before we leave, we also pulling out an end pin and placing it on a student’s dental work pass out a packing list two weeks out, and an assignment so he can experience the metal on metal sensation, unscrewing make-up sheet one week out. It is really important that your a bow so they can see the individual horse hair while explaining orchestra students complete or obtain their assignments ahead to them about the “microscopic bumps” that stick out and grab of time. It sends a message not only to the students that their the string, bringing a 1/16 size violin, or buying a $25 pink classwork outside of your orchestra room is important, but violin on eBay. What motivates me when choosing repertoire more significantly sends a message to the classroom teachers and choosing the words I say during the concerts is knowing that that you are being sensitive to their curriculum. Students are one week after you have played a concert at a school, very few of not permitted to board the bus unless they have returned their the students are going to remember the exact piece you played assignment sheet. for them, but they are going to remember how the concert Finally, we leave on tour. In the days leading up to the tour, made them feel. That may very well shape their impressions of it is important to give your students a sense of history in regard orchestral music for the rest of their life. to touring. Show them where your orchestras have gone in the A regional tour is the year’s highlight for our Moorhead past and various memories that you have. I often show them students. Mr. Neill and I are still hearing stories from the recent pictures of Toscanini’s NBC Symphony getting on the train tour, receiving questions about where we are going next year, and in New York to go on its cross country tour, or the Minnesota wondering whether we can play music from Star Wars again. In Orchestra packing for its most recent tour abroad. Let them the past few years, our students have played at state and national know that they are continuing a long line of musical tradition— conventions, including the first ASTA National Conference at sharing their musical gifts with other people. Ohio State University, at Orchestra Hall in Minneapolis, and to standing-room-only crowds for our home concerts. Without Choosing Repertoire doubt, however, it is the state tour that they are most proud of. Choosing repertoire for the tour is very important. Keep in mind In our orchestra room, we have a large banner hanging above that you are playing for young students who may never have the entrance that states a three-word mantra for our orchestra heard orchestral music. I try to program pieces lasting no longer students: Serve, Honor, and Love. It is our hope and belief that than three or four minutes. Every piece must have a purpose: by taking these students on tour, we are instilling these three 1) a piece that uses pizzicato and cool effects—Mr. Neill loves words into their lives. to play “Rosin Eating Zombies”; 2) a piece that you can play by adding layers of instruments—for example, “Here is what it %ULDQ &ROH LV LQ KLV WK \HDU RI WHDFKLQJ LQ WKH sounds like with just the basses, and now with the violas, and Moorhead (Minnesota) Public Schools. His orchestras now with the cellos added; 3) two pieces that they will recognize, have appeared at state and national conventions, such as “Pirates of the Caribbean,” the William Tell Overture, LQFOXGLQJ WKH 0LGZHVW %DQG DQG 2UFKHVWUD &OLQLF or some Disney tune; 4) a piece that you can have young DQGWKH$67$1DWLRQDO&RQIHUHQFH$IUHTXHQWFOLQL- children conduct—usually a finale or any fiddle tune works, FLDQDQGSUHVHQWHU&ROHKDVVSRNHQDWPRUHWKDQ state and national conferences.

www.astaweb.com | 43 44 | American String Teacher | May 2006

Singing Strings:

by H. Christian Bernhard

hen addressing the National Standards for Music Education, string teachers often overlook the first content standard, “singing, alone and with others, a varied repertoire of music,” assuming that they and their students are exempt from any type of singing activity.1 They mistakenly consider singing as a teaching technique intended solely for their colleagues who direct choral ensembles or teach general music classes, or assume that they must search for a piece ofW orchestral literature that includes choral accompaniment. Instead of using singing as an aid to teach musical skills and knowledge related to string performance, emphasis is directed exclusively toward the development of technique and association of fingerings with notation.2 The purpose of this article is to consider published teaching strategies and research studies related to singing in instrumental music education and to suggest ways in which these resources may be used to enhance beginning and advancing levels of orchestra instruction. Beginning string classes can offer particularly fertile ground for using singing as a teaching aid. Many students come to first-year orchestra rehearsals with substantial singing experience but are never required to vocalize by teachers who advocate a “fingerboard- pushing” pedagogy. Authors of teaching strategies related to the National Standards recommend that singing be used to promote proper phrasing, dynamics, and musical expression among beginning instrumentalists.3 Furthermore, researchers have found that singing activities, particularly when related to tonal understanding, may improve beginning instrumentalists’ melodic abilities. Charles Elliott investigated the effects of vocalization on the sense of pitch of beginning instrumental students.4 Following a full school year of daily instruction, he found that students who sang method book exercises on a neutral syllable prior to instrumental performance demonstrated significantly greater gains in sense of pitch than students who did not. Specifically, students who sang were better able to discriminate between two aural pitches, memorize short tonal melodies, convert aurally perceived sounds into musical notation, and convert musical notation into aural sounds. Carol MacKnight investigated the effects of solfège and tonal pattern training on the sight-reading achievement and aural-visual discrimination of beginning instrumentalists.5 She found that introducing pitches using tonal patterns, as presented in a researcher- designed method book, was more effective than “finger-symbol” associations, as presented in a traditional method book. In a similar study, Patricia Grutzmacher examined the effects of solfège and tonal pattern training on the sight reading achievement and aural recognition of beginning instrumentalists.6 She discovered that using aural and printed tonal patterns with harmonization and singing was more effective than instruction based exclusively on traditional method book notation. These two studies suggest that traditional method book instruction may not be sufficient to successfully develop the aural-visual musicianship of young instrumentalists. Nevertheless, even when using a standard method book without tonal patterns, aural activities related to singing and solfège can foster ear playing and sight reading skills that are so crucial to the development of independent musicianship.7 Using a familiar method book melody, such as “Merrily We Roll Along,”8 sing the tune to students on a neutral syllable and ask them to repeat before viewing the related notation. After students are comfortable singing the three-pitch melody, introduce the concept of resting tone and add movable Do solfège syllables. Allowing students to experience sounds prior to notation will afford them an opportunity to develop correct intonation and tone quality, as well as instrumental technique. Students should also have opportunities to experiment aurally with the three pitches by improvising and composing original works. While this aural process should occur first, introduction of notation should not be delayed considerably. By teaching sight-reading as a natural extension of familiar aural melodies, students will resist the temptation to rely on notation and associated instrumental fingerings as an alternative to correct aural development.

46 | American String Teacher | May 2006 National Content Standard No. 1 in the School Orchestra Rehearsal

Singing can also be an effective pedagogical technique in one-, two-, and three-part excerpts of ensemble literature. for advancing string performers, particularly if students have Sheldon found that subjects from the experimental group scored experienced singing as a regular component of general music significantly higher than those from the control group with classes and beginning orchestra instruction. While further regard to overall error detection, and suggested that contextual research is needed to clarify the effects of singing on the musical sight-singing using movable Do solfège syllables may enhance the achievement of high school instrumentalists, Deborah Sheldon development of error detection skills. examined the effects of contextual sight-singing training on Sheldon’s research suggests that, instead of occurring as the error detection abilities of instrumental music education an isolated and unrelated event, singing should be used on a majors.9 Subjects for her study were 30 undergraduate consistent basis within the context of traditional instrumental students enrolled in an instrumental methods course at a large literature. Furthermore, authors of teaching strategies have Midwestern university. All subjects received identical training, stated that high school instrumentalists should be able to sing with the exception that students from the experimental group music written in four parts to improve traditional rehearsal participated in an additional 50 minutes of sight-singing per challenges, including accurate pitches and rhythms; intonation week, throughout an 11-week period. These extra sessions and tone quality; articulation, bowing, and precision; phrasing focused on sight-singing excerpts of ensemble literature using and musicality; dynamic contrast; as well as balance and blend.10 movable Do solfège syllables and hand signals. Following the Pitches and rhythms can be learned prior to instrumental treatment period, all subjects were tested for responses to errors performance by sight-singing excerpts of selected literature.

Figure 1. Implementing Standard No. 1, Beginning String Ensembles (Grades 5–8)

Achievement Standard11 Implementation 1a. Students sing accurately and with good breath control throughout Allow students to sing tonal patterns and excerpts from method their singing ranges, alone and in small and large ensembles. book literature to aid development of aural-visual skills, as well as instrumental tone quality and intonation. 1b. Students sing with expression and technical accuracy a repertoire While the emphasis of rehearsals should remain on instrumental RIYRFDOOLWHUDWXUHZLWKDOHYHORIGLIÀFXOW\RIRQDVFDOHRIWR performance, singing can be used to encourage transfer from including some songs performed from memory. previously learned song literature to orchestral contexts. 1c. Students sing music representing diverse genres and cultures, with Texts of vocal literature can provide rich opportunities for historical expression appropriate for the work being performed. DQGFXOWXUDOVWXG\&RQVLGHURULJLQDOZRUGVRUGHYHORSQHZWH[WV to convey meaning and expression in instrumental performance repertoire. 1d. Students sing music written in two and three parts. Allow students to sing two and three part excerpts of orchestra literature without the added challenge of instrumental transpositions to develop initial score reading skills while improving ensemble balance and blend.

www.astaweb.com | 47 Figure 2. Implementing Standard No. 1, Advancing String Ensembles (Grades 9–12)

Achievement Standard11 Implementation DG6WXGHQWVVLQJZLWKH[SUHVVLRQDQGWHFKQLFDODFFXUDF\DODUJH While the emphasis of rehearsals should remain on instrumental DQGYDULHGUHSHUWRLUHRIYRFDOOLWHUDWXUHZLWKDOHYHORIGLIÀFXOW\ performance, singing can be applied to excerpts of orchestra RIRQDVFDOHRIWRLQFOXGLQJVRPHVRQJVSHUIRUPHGIURP OLWHUDWXUHWRLPSURYHSLWFKUK\WKPDUWLFXODWLRQERZLQJSKUDVLQJDQG memory. dynamic contrast. 1b. Students sing music written in four parts, with and without Allow students to sing excerpts from four or more parts to improve accompaniment. score reading skills while addressing ensemble balance and blend.

1e. Students sing music written in more than four parts. 1c. Students demonstrate well-developed ensemble skills. 'LYLGHVWXGHQWVLQWRKHWHURJHQHRXVJURXSLQJVZLWKPHPEHUVRIRWKHU sections of an orchestra and sing excerpts of performance literature to 1f. Students sing in small ensembles with one student on a part. GHYHORSLQVWUXPHQWDOLQGHSHQGHQFHDQGFRQÀGHQFH

Singing can be particularly effective in teaching students to curricular scope and sequence among all members of a school’s internalize pitches instead of relying on fingerboard guesswork. music faculty. Current and aspiring string music teachers can Singing pitches and rhythms with choral-style notation can also gain experiences with proper singing techniques and additional aid score reading instruction without overwhelming students teaching strategies by attending pre-conference and in-service with full orchestral scores. workshops and by reading literature related to vocal pedagogy. Internalizing pitches prior to string instrument performance While instrumental performance should remain the focus of will enhance intonation and tone quality by encouraging classroom instruction, exploring the benefits of singing will likely students to develop a solid aural goal. Additionally, sight-singing enhance performance skills and encourage students to develop with notation for multiple parts can enable students to consider acute levels of musicianship to last a lifetime. instrumental intonation within the context of a given key or cadential sequence. For example, tuning the pitch “E” as the &KULVWLDQ%HUQKDUGLVDQDVVLVWDQWSURIHVVRURIPXVLFHGX- tonic of E major will be much different than tuning the pitch as FDWLRQDWWKH6WDWH8QLYHUVLW\RI1HZ

48 | American String Teacher | May 2006 www.astaweb.com | 49 50 | American String Teacher | May 2006 RALLY THE

/WUKE education CFXQECVGU TROOPSBY KARIN BROOKES OQDKNK\G A mere 2,500 or so years ago, music was an exalted part of the school curriculum—right to ensure up there with gymnastics. Both were considered essential to a full education, and no less an authority than Plato said so. But no longer. Music education has slipped to the periphery that no in many schools, and has all but disappeared in others. Since the 1970s, when thousands of music programs disappeared virtually overnight from public schools nationwide, many arts are communities have seen some restoration of school music education. But that progress has come piecemeal. There is little consistency from one district to another, from one state to left another, and from one year to another. A district that funds music relatively generously one year may cut it severely the next. Orchestras have responded to the fluctuations with DGJKPF expanded education programs. But even as their offerings have grown by more than tenfold in the last 25 years, it has become obvious that orchestras and other music groups cannot This article originally appeared in the replace whole curricula; their programs are most effective when pursued in tandem with -XO\²$XJXVWLVVXHRI6<03+21< an ongoing course of music instruction run by the local school district. Today, as more WKHRIÀFLDOPDJD]LQHRIWKH$PHULFDQ orchestras undergo long-term and strategic planning, concern over the fragile state of music Symphony Orchestra League, and is education is growing. Its implications for the present and future health of orchestras have reprinted here with permission. sent a new priority from the wings to center stage: education advocacy.

www.astaweb.com | 51 Why should orchestras take on this makers about the orchestra and its responsibility? As Charlotte Symphony mission. Mark Slavkin, vice president Advocacy Education Director Susan Miville says, for education at the Los Angeles Music “I want art for art’s sake, but without kids Center, says that orchestras now have to in the hall, everything is lost.” Children, see school boards as an audience for their whether or not they receive grounding in advocacy. Resources music at school, eventually grow up to be It’s a new concept to many. Most community citizens and leaders; and the orchestras have activated themselves local orchestra will quickly cease to be a around a crisis at the NEA- or state- Online Toolkits point of civic pride if a dwindling sector funding level. But they need to of the community appreciates its efforts. understand, Slavkin says, that their American Symphony Orchestra League Audience motivation research school-based education programs Music Education Advocacy Tools 2006 includes conducted by the American Symphony effectively make them partners in a links to virtually every useful resource. www.symphony.org/govaff/what/090204 Orchestra League in 2001 found that school district that is governed by an advocacy_tools.shtml the average concertgoer had significant elected school board. However small experience with music before age that district (and New Jersey alone has Music Education Coalition fourteen, and that 75 percent of the more than 600 districts), public influence SupportMusic is a step-by-step guide to current audience had an opportunity can make a huge difference in what is education advocacy and includes mechanisms to help you track your progress. Concern over the fragile state of music education has sent a www.supportmusic.com new priority from the wings to center stage: education advocacy. Arts Education Partnership &OHDQDQGFOHDUO\RUJDQL]HGVRXUFHRIPXVLF to study an instrument—even if it was education research and reports—and more just a few months on the trombone in helpful links! sixth grade. Unlike reading, playing www.aep-arts.org soccer, or eating fine food, an interest in classical music seems to go into a long period of latency in early adulthood, Understanding State and Local before emerging once again after years of Education Funding breadwinning and child-rearing. But this generally happens only if the spark was No Subject Left Behind: A Guide to Arts kindled during the school-age years. Education Opportunities in the 2001 NCLB Act And the payoffs aren’t immediate, (2004) either; the National Endowment for the www.symphony.org/govaff/what/090204 Arts 2002 Survey of Public Participation advocacy_tools.shtml in the Arts found that the average age of classical concertgoers has held steady in Education Commission of the States the mid-50s for many years. The logical provided in those schools. So advocacy www.ecs.org hypothesis that more music teachers in for music education also means taking 2004–2005 State Arts Education the schools will produce more people in the orchestra’s message to the general PolicyDatabase the concert hall, unfortunately, would public—your potential audience—and www.aep-arts.org/policysearch/searchengine/ require decades of research to prove. asking them to advocate on your behalf. Without decades to wait, orchestras have Orchestras can’t get off the hook here, National Assembly of State Arts Agencies little choice but to advocate. because advocacy in the local community $UWVDQG/HDUQLQJ5HVRXUFHVIRU6WDWH/HDGHUV is what changes music education funding www.nasaa-arts.org/nasaanews/index_anl.htm Demanding Accountability and priorities. Exactly what is music education Consider the climate in which Kennedy Center Community Audit advocacy? It’s educating all the orchestras find themselves advocating Learn how to audit the state of arts education constituents of your orchestra— for the importance of music instruction: in your local school district musicians, staff, board, volunteers, Even where school music programs have www.kennedy-center.org/education/kcaaen/ audience—about policies or legislation come roaring back since the budget cuts specialinitiatives/ComAudit01Sept.pdf that may negatively impact their children of yore—in cities like New York, Dallas, and the orchestra. It’s informing local, and Los Angeles—music classes no state, and national decision makers about longer resemble those of 30 years ago, the importance of music education. It just as the curriculum for social studies also involves educating local policy

52 | American String Teacher | May 2006 looks quite different. Our nation has Music for All Foundation, showed that grown increasingly diverse, and classical reductions in music education programs music represents just one slice of the in California have been disproportionate huge musical and cultural pie available to when compared to all other subjects. students today. Classical music is no longer NCLB comes up for reconsideration prominent in mass media, as it was when in 2007. In the meantime, there’s still Leonard Bernstein enchanted so many a “golden opportunity” for individual television viewers or when Beverly Sills was states in the No Child Left Behind enough of a household name to credibly Act, according to Heather Watts, the host The Tonight Show. Many of today’s American Symphony Orchestra League’s corporate and media moguls have little director of government affairs and background in music and the arts; they, education advocacy. By including the as children, lost out when the swinging arts as a core subject, NCLB gives states budget axe sliced through arts programs in the freedom to alter their accountability public schools, just around the time Sills structure to mandate an arts education was on TV. curriculum. In fact, virtually every state There’s a brand-new concern, too. has introduced its own set of standards All schools, including the suburban school that demonstrate what students districts that managed to avoid many of should know and be able to do in the the cuts that hit urban districts and were arts; examples include Texas Essential able to develop excellent music programs, Knowledge and Skills, introduced in are now likely to be affected by an Act 1999, and The Visual and Performing of Congress that is changing the face of Arts Framework and Standards for arts public education across the fifty states. education adopted by the California The “No Child Left Behind Act” (NCLB) Department of Education in 2001. was passed by Congress in 2001 and Around half the states mandate the use dictates national policy for elementary and of standards, to be implemented at the secondary schools. Because the Act is the district level; the remainder make them basis for most federal funding to schools, voluntary. To date, only a handful of its potential impact is huge. NCLB’s states have incorporated them into their definition of core academic subjects accountability systems. includes the arts—but does not mandate How to influence the others in standardized testing in areas other than the same direction? You guessed it: literacy, math, and science. “Advocacy,” says Watts. Therein lies the problem for music education and, by extension, for orchestras. Art of Persuasion In March of this year, the Center on Watts is a co-author of No Subject Education Policy released what is probably Left Behind, a resource guide for the most comprehensive national study on education advocates that is the the impact of NCLB to date. One of the result of a collaborative effort among four key challenges identified by the 49 several national arts and education states and 314 school districts in the study organizations. One of them, the Arts was a narrowing of the curriculum in Education Partnership, has been helping order to increase the amount of mandatory to steer local, state, and federal policy time spent on reading and math. In New around to arts education. It’s a national Jersey’s Bayonne School District, for forum representing more than 100 example, the number and availability of art educational, philanthropic, business, and music programs has been cut back and arts, and government entities.* By field trips put on hold for many months. facilitating a dialogue at the national Academic Atrophy, a report released in 2004 level and identifying best practices in by the Council on Basic Education, shows arts education reform, it represents a significant decreases in instructional time wonderful, if elevated, model for the for the arts, especially in schools serving kind of grassroots advocacy coalition that, primarily minorities. And The Sound of according to Watts, holds the greatest Silence, a 2004 statistical review from the promise for improving music education

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community engagement. “They come to us with concerns about music at their own children’s schools,” she says. “They speak at school board meetings.” A lack of arts education, she adds, is “frustrating to those of them who graduated from area schools.”

3. Start an advocacy coalition now. Partner with other arts organizations, local funders, arts agencies, and, most important, school districts. You need have in common only one thing: that you want better music education in your schools. Where to begin? Almost all orchestras are already involved to some extent in their communities. So use the relationships you already have to build a coalition. Existing program partnerships provide a great Impact of the Arts on Learning (1999) pages, and peruse these ten pointers for basis for advocacy, because they cement summarizes seven major studies that launching your own music education relationships, extend your network, and provide evidence of enhanced learning advocacy effort: show results that you can use in persuading and achievement when students are 1. Recognize that the most effective policy makers. involved in a variety of arts experiences. education advocacy is local, not See “On the Front Lines,” page 56, Critical Links (2002) discusses 61 national. While national service organ- for examples of advocacy partnerships different research projects in the arts, izations like the American Symphony in New York and Dallas, both involving including fifteen in music. (Both reports Orchestra League can make waves in orchestras from the beginning. Although are available at www.aep-arts.org.) Washington, education is a local issue, these are large urban environments, Some of the most heartening not a global one. education advocacy is just as important in support to education advocacy comes Advocacy is about local politics. Your smaller communities, if not more so. Their from what AEP Director Dick Deasy school board was elected by people like orchestras may have some of the strongest calls “that unexpected voice”: Arkansas you and the members of your audience. local connections, and comparatively Governor Mike Huckabee, a conservative As elected officials, they should want to greater influence on school district policy Republican, who gave arts education a hear from their very own community than orchestras in large cities. huge boost when he made it the platform citizens—including their orchestra—and for his two-year term as chairman of the they won’t change education policy 4. Recognize that the orchestra is only Education Commission of the States, based on outside recommendations. Use part of the puzzle. Discipline-based which aims to improve state policy in League resources and advice to build your factions break down advocacy efforts very all areas of education. Huckabee is the case—and then go make it. quickly. Policy makers and the general policy group’s 40th chair (his term began public are less likely than arts insiders to see in July 2004), but the first to propose arts 2. Engage your musicians, staff, and the differences among music, art, drama, education as the focus. He’s already set an board in your education advocacy and dance. What does make a difference is example in Arkansas by revising state law efforts. Advocacy should be an integral when arts educators and arts presenters— to ensure that elementary schools offer a part of the organization, not a machine including orchestras—work together. So minimum of 40 minutes’ instruction in you crank up only when there is a keep it cordial and convivial. Be sensitive music and another 40 minutes of visual funding crunch. The members of the to the needs of others in your coalition, art each week—to every student. orchestra family are also, presumably, especially the schools.

54 | American String Teacher | May 2006 5. Make new friends. Get to know your The National Assessment of policy makers. Really get to know them, Educational Progress Arts Report Card, including their personal interests. You which assesses the arts knowledge might be surprised to find enthusiasms and skills of eighth graders, was last that haven’t been tapped for advocacy. undertaken in 1997 and the next is That superintendent that you saw as a not due until 2008. The most recent bureaucrat may sing with great gusto in a information on the provision of music community chorus. The chairman of the teachers in schools is the 1999-2000 school board, who may seem distant and report, Arts Education in the Public unapproachable, may have played the Elementary and Secondary Schools, by the piano since kindergarten. Find out. Then National Center for Education Statistics work from that knowledge. (www.nces.ed.gov). The American Symphony Orchestra League has been 6. Use online resources. SupportMusic. advocating for another report of this com is one of several web resources kind, so that orchestras can have some available to advocates. (See “Advocacy comparative data. Resources,” page xx.) It simplifies the advocacy process by helping the user 9. When there is a crisis, seize the to build a customized case for music moment. Jumpstart your network and education, step by step—starting with get advocacy moving. And don’t be afraid the suggestion that you “Set up a small to use technology to make your case. and enthusiastic team, and ask each team When the California State Arts Council member to develop a network of helpers.” was slated for elimination two years ago, Check the Government Affairs pages arts advocates immediately set up a web of the American Symphony Orchestra site allowing concerned citizens to e-mail League’s web site often (www.symphony. messages and letters directly to their org/govaff/what/index.shtml). You’ll find representatives in the state legislature, as regular alerts and news on legislation well as the pertinent committee chairman, affecting orchestras and arts funding, as ranking members, and the governor. well as a section on Music Education Concerned arts groups, including the Advocacy. Los Angeles Philharmonic, forwarded the site’s URL to their databases of 7. Use current research to build your supporters. The strategy was quick and case. Research that demonstrates the effective. Although its budget was slashed, positive influence of the arts on academic the Arts Council was saved. performance can get you the ear of a policymaker, even if the point you want 10. Hang in there. All successful to make about the benefits of music is coalitions need a period of incubation. much more complex. Get a foot in the Longevity and consistency of leadership door with facts gleaned from the online will make a big difference. Most and published literature. (See “Advocacy successful coalitions include members of Resources,” page xx.) a decade’s standing or more. Above all, don’t become discouraged or apathetic if 8. Advocate for better data on student you’re not successful the first time around. participation in music. Although there And when you do meet with success, is research to support your case that don’t become complacent! Keep on music education improves learning in making that case. general, there is little information about how much music education is provided After many years as a writer and editor in locally, statewide, or nationally. These WKH8QLWHG6WDWHV.DULQ%URRNHVQRZOLYHVLQ facts will help you establish a baseline Glasgow, Scotland. At the time of this article’s for improvement. So encourage your ÀUVWSXEOLFDWLRQVKHZDVHGLWRURITempo, a school board to provide accurate student SXEOLFDWLRQRI:57,LQ3KLODGHOSKLD participation data for music courses at individual schools and at the district level.

Orchestras may be most effective in music education advocacy when they work in collaboration with school teachers, parents, and other arts groups. www.astaweb.com | 55 On the Front Education advocacy is a complicated and continuous job that DGVYGGPGFWECVQTUCPF FGRCTVOGPVUCVVJGOCLQT works best when orchestras join with educators and other arts EWNVWTCNQTICPK\CVKQPU EWNVWTCNQTICPK\CVKQPUYQWNF groups to accomplish their aims, as these stories from New York /WUKEVGCEJGTUVJG[ RTQITCOVJGKTTGRGTVQKTGŒHQT City and Dallas demonstrate. They tell of success and frustration, TGECNNHGNVPGTXQWUVJCV GFWECVKQPGXGPVUő6JCV a tremendous commitment of goodwill and resources, and a sense VJGKTRQUKVKQPUYQWNFDG JCUPŏVTGCNN[JCRRGPGF of community connection that pays intangible dividends. WUWTRGFD[OGODGTUQHVJG 2TQITCOOKPIUVKNNUGGOUVQ EWNVWTCNEQOOWPKV[ōYJQ DGKPFGRGPFGPVŒ KPVWTPFKFPŏVTGCNK\GVJCV  6JGOC[QTCNGNGEVKQPKP őWUWCNN[KPUQOGNQECNEQHHGG OCP[OWUKEVGCEJGTUYGTG 0QXGODGTRTGUGPVU NewYork: UJQRŒUJGUC[U6JG[JCF VJGOUGNXGURTCEVKEKPI CPWPMPQYPHQTVJG Blueprint for Learning HQWTCKOUVQUVTGPIVJGP OWUKEKCPU5JCPMOCP $NWGRTKPVŏUHWVWTGUKPEGPGY JGTUGNHUC[UUJGJCFC CFOKPKUVTCVKQPUECPDTKPI CUV5GRVGODGT CTVURTQITCOUVQVCNM őFGITGGVWTPCTQWPFŒKP UJKHVUKPGFWECVKQPCNRTKQTKVKGU COKFITGCVHCPHCTG VQGCEJQVJGTTGIWNCTN[ JGTRTGXKQWUN[LWFIOGPVCN /QTGQXGTPQPGQHVJGVGP 0GY;QTM%KV[ŏU VQRCTVPGTYKVJUEJQQNU . CPFVQDGCFXQECVGUHQT CVVKVWFGVQYCTFEWNVWTCN TGIKQPCNCTVUUWRGTXKUQTUKP &GRCTVOGPVQH'FWECVKQP QTICPK\CVKQPU 0GY;QTM%KV[KUCOWUKE CPPQWPEGFCPGYOWUKE the restoration of arts  6JG$NWGRTKPVŏUſTUV URGEKCNKUV$WVőVJKUKUQWTDGUV CPFCTVEWTTKEWNWOHQTVJG GFWECVKQP6JG[RQUKVKQPGF [GCTQHKORNGOGPVCVKQP UJQVŒUC[U5JCPMOCPYJQ FKUVTKEVŏUOKNNKQPUVWFGPVU VJGOUGNXGUHTQOVJG 5JCPMOCPCFOKVUJCU KUPQYCOWUKEGFWECVKQP KPITCFGU-VJTQWIJ+V beginning as friends of TGXGCNGFUQOGYGCMPGUUGU RTQHGUUQTCV0GY;QTM YCUCRTQWFOQOGPVHQTVJG VJG$QCTFQH'FWECVKQP schools, cultural institutions, YQTMKPICUCFXQECVGUCPF ő6GCEJGTUCTGUNQYVQWUG 7PKXGTUKV[5JGRNCPUVQ teachers, and teaching CUCNNKGU1XGTVJG[GCTU EQOOWPKV[CPFEWNVWTCN KPVTQFWEGVJG$NWGRTKPVVQ TGUQWTEGUCPFVQOCMG colleagues at other state CTVKUVUVJCVJCFEQNNGEVKXGN[ VJG4QWPFVCDNGYQTMGF EWNVWTCNEQPPGEVKQPUŒUJG CPFRTKXCVGVGCEJGTVTCKPKPI FGUKIPGFVJGEWTTKEWNWO EQPUKUVGPVN[VQKORTQXGCTVU UC[UCPFEQPXGTUGN[ KPUVKVWVKQPUCPFUVTQPIN[ QXGTVJGRTGXKQWU[GCT GFWECVKQP+VUOGODGTU EWNVWTCNKPUVKVWVKQPUCTGPŏV DGNKGXGUVJCVVJGQPN[YC[  6JG$NWGRTKPVHQT YGTGFGVGTOKPGFPQVVQ RC[KPIGPQWIJCVVGPVKQP HQTYCTFKUVJTQWIJITCUUTQQVU 6GCEJKPICPF.GCTPKPIKP CNKGPCVGCP[QPG to the needs of teachers, CFXQECE[%CDCPKUUPQY VJG#TVUCUKVKUMPQYPKU  6JG$NWGRTKPVKUVJG CEEQTFKPIVQ%CDCPKUUő+ OWUKECPKOCVGWTHQT6JG VJGEQPETGVGGODQFKOGPV WNVKOCVGHTWKVQHVJQUG JCFCFTGCOVJCV=VJG 2JKNCFGNRJKC1TEJGUVTC QHUKZVGGP[GCTUQHCTVU GHHQTVU+PKVVJGCTVUCTG $NWGRTKPV?YQWNFDGIKPVQ CITGGUő6JGOQTGVJKUKU RCTVPGTUJKRKP0GY;QTM IKXGPKORQTVCPEGUGEQPF KPƀWGPEGVJGYC[GFWECVKQP FQPGCVVJGITCUUTQQVUNGXGN %KV[$CEMKPYJGP QPN[VQOCVJCPFNKVGTCE[ VJGOQTGFKHſEWNVKVKUVQWPFQŒ /C[QT#DG$GCOGXKTVWCNN[ CEEQTFKPIVQ0CPE[ GNKOKPCVGFVJGDWFIGVHQT 5JCPMOCPCPF6JQOCU arts education in public %CDCPKUUYJQFKTGEVGF schools, he created a VJGETGCVKQPQHVJGOWUKE XCEWWOVJCVUGGOGF EWTTKEWNWO6JGKTEQOOKVVGG KORQUUKDNGVQſNN;GVOQTG in the spirit of the Arts VJCPCTVUQTICPK\CVKQPU 4QWPFVCDNGEQORTKUGF VJCVJCFUGTXGFRWDNKE GSWCNTGRTGUGPVCVKQPHTQO UEJQQNUNCTIGN[CUőXGPFQTUŒ the schools and the cultural QHCTVUGFWECVKQPRTQITCOU EQOOWPKV[ 5JCPMOCP ECOGVQIGVJGTCPFETGCVGF YCUOWUKEUWRGTXKUQTCVVJG CHQTWOVJCVUVKNNGZKUVU 0GY;QTM%KV[&GRCTVOGPV VQFC[VJG#TVUKP'FWECVKQP QH'FWECVKQPCPF%CDCPKUU 4QWPFVCDNG YCU-CJPŏUUWEEGUUQTCU  #EEQTFKPIVQ#OGTKECP director of education for the 5[ORJQP[1TEJGUVTC 0GY;QTM2JKNJCTOQPKE Photo: Chris Lee .GCIWG8KEG2TGUKFGPV $QVJJCXGUKPEGOQXGFQP 2QNN[-CJPYJQYCUCEQ VQQVJGTRQUKVKQPU HQWPFGTQHVJG4QWPFVCDNG  *CXKPIYQTMGFENQUGN[ KVYCUQTKIKPCNN[CITQWRQH VQIGVJGTUKPEG passionate arts practitioners 5JCPMOCPCPF%CDCPKUU CPFCFXQECVGUNKVGTCNN[ used their relationship New York’s Arts in Education Roundtable worked consistently sitting around a table, CUCOQFGNKPCFFTGUUKPI to improve arts education. The Blueprint is the ultimate fruit JGCFQPVJGFKUEQPPGEV of those efforts.

56 | American String Teacher | May 2006 COLLABORATIONS MOVE ARTS Lines EDUCATION ADVOCACY FORWARD. argued against the Courtesy: Dallas Symphony Orchestra Dallas: GNKOKPCVKQPQHCTVUVGCEJGTU Partners for Access KPGNGOGPVCT[UEJQQNU G#PP$KPHQTFFKTGEVQT ő6JQUGVGCEJGTUEQPUKFGTGF of education for the VJGEQPUQTVKWOCURKXQVCNVQ &CNNCU5[ORJQP[ VJGKTWNVKOCVGUWEEGUUŒUJG . UC[U JCUDGGPCFXQECVKPIHQT better arts education for  +VYCUUVTCVGIKERNCPPKPI CVNGCUVVJGUKZVGGP[GCTU D[VJGEKV[ŏUEWNVWTCN UJGŏUDGGPYKVJVJG&51 EQOOKUUKQPVJCVRTQORVGF 5JGTGECNNUCVKOGKP&CNNCU VJGHQTOCNK\CVKQPQH&CNNCU YJGPőGCEJGNGOGPVCT[ #TVU2CTVPGTUKP# school had the choice of an UVWF[EQOOKUUKQPGFCURCTV CTVQTOWUKEVGCEJGTŒōCPF QHVJGRTQEGUUTGXGCNGFVJCV VJCVYCUCDQWVCUHCTCUKV őQPN[RGTEGPVQHEJKNFTGP YGPV CPFVJQUGOQUVN[HTQOVJG  6QFC[CRWDNKE OQTGCHƀWGPVCTGCUYGTG RTKXCVGRCTVPGTUJKRECNNGF RCTVKEKRCVKPIŒKPEKV[HWPFGF ArtsPartners’ support means that every teacher who walks into &CNNCU#TVU2CTVPGTU arts education, according Meyerson Symphony Center has embedded the day’s Dallas URGPFUDGVYGGPCPF VQ)KUGNNG#PVQPKVJGP HQTGXGT[QPGQHVJG ;QWPI#WFKGPEGUŏGZGEWVKXG Symphony youth concert into the class curriculum. RNWUGNGOGPVCT[ FKTGEVQT$QVJVJGEWNVWTCN UVWFGPVUKPVJG&CNNCU EQOOKUUKQPGTUCPFVJG +PFGRGPFGPV5EJQQN&KUVTKEV 5EJQQN&KUVTKEVUCYVJG E[ENG#[QWVJEQPEGTVNCUV  #PVQPKPQYFKTGEVU VJGVYGNHVJNCTIGUVKPVJG KPGSWKV[CUWPCEEGRVCDNGō HCNNKPENWFGFOWUKEHTQO $KI6JQWIJVCPWODTGNNC different nations that helped PCVKQP'XGT[UEJQQNKPVJG őGNKVKUOHQTEJKNFTGPŒCU QTICPK\CVKQPVJCV settle Texas, including FKUVTKEVTGEGKXGUCEEGUU #PVQPKRWVUKV5VTKXKPI EQQTFKPCVGU#TVU2CTVPGTU VQRTQITCOUQHCP[QH HQTGSWKV[DGECOGVJG (TCPEGVJG%\GEJ4GRWDNKE ;QWPI#WFKGPEGUQH EWNVWTCNRCTVPGTUQHYJKEJ RCTVPGTUJKRŏURTKOCT[IQCN /GZKEQ)GTOCP[CPF 0QTVJ6GZCUCPFſXG VJG&51KUQPG6GCEJGTU UJGTGECNNUő9JCVYQWNFKV 5RCKPCUYGNNCU0CVKXG QVJGTKPKVKCVKXGU$GHQTG ECPEJQQUGHTQOCPQPNKPG VCMGVQGPUWTGVJCVGXGT[MKF #OGTKECPCPF#HTKECP #TVU2CTVPGTUYCUHQTOGF database of offerings JCFCEEGUU!Œ #OGTKECPOWUKECPFYCU UJGUC[UVJGGFWECVKQP and plan their curricula  (WPFUHQT#TVU2CTVPGTU PCTTCVGFD[COQFGTP FGRCTVOGPVUQHCTVU incarnation of Stephen CEEQTFKPIN[ő9GŏXGEQOGC EQOGRTKOCTKN[HTQOVJG ITQWRUőYGTGCNNOCTMGVKPI NQPIYC[Œ$KPHQTFUC[U 5EJQQN&KUVTKEVVJGEWNVWTCN (#WUVKPVJGőHCVJGTŒQH =UGRCTCVGN[?UQKVYCU  &CNNCU#TVU2CTVPGTU EQOOKUUKQPCPFQVJGT 6GZCU ő+UPŏVJGFGCF[GV!Œ EQPHWUKPICPFEQORNKECVGF QYGUKVUGZKUVGPEGVQ public entities, and are CUMGFQPG[QWPICWFKGPEG VQVJGVGCEJGTU1WTXCNWG UWUVCKPGFCPFEQQRGTCVKXG OCVEJGFD[RTKXCVGFQPQTU OGODGT YCUOCTIKPCNK\GFŒ$KPHQTF CFXQECE[HQTCTVUGFWECVKQP 6JG[CTGFKUVTKDWVGFCOQPI  #TVU2CTVPGTHWPFUIQ OGCPYJKNGUVTGUUGUVJG #EQPUQTVKWOKPXQNXKPI VJGEKV[ŏURWDNKEUEJQQNUHQT VQVJGNGCFVGCEJGTUYJQ XCNWGQHPGVYQTMKPIYKVJ VJG5EJQQN&KUVTKEVVJG RTQHGUUKQPCNFGXGNQROGPV CTGRCTVPGTUKPVJGRTQITCO QVJGTCTVUITQWRUő+VŏUVJG and the partnership 1HſEGQH%WNVWTCN#HHCKTU QHVGCEJGTUVKEMGVUCPF UGTGPFKRKV[QHYQTMKPI ;QWPI#WFKGPEGUQH0QTVJ participation in arts RTQXKFGURTQHGUUKQPCN VQIGVJGT9GŏXGGPTKEJGF 6GZCUCPFFQ\GPUQHNQECN GFWECVKQPRTQITCOUTWPD[ FGXGNQROGPVTGUQWTEG QWTQYPEWNVWTG9GŏXGCNN needs, and leadership CTVUQTICPK\CVKQPU&CNNCU VJGEWNVWTCNRCTVPGTU VCMGPCNQVDCEMVQQWTQYP #TVU2CTVPGTUITGYHTQO  (QTVJG&CNNCU VTCKPKPI5VWFGPVUIGVCTVU QTICPK\CVKQPUŒ KPHQTOCNOGGVKPIUKPVJG 5[ORJQP[#TVU2CTVPGTUŏ CEEGUUCPFCDTQCFGTOQTG GCTN[UCPFOQTRJGF UWRRQTVOGCPUVJCVGXGT[ OGCPKPIHWNYC[VQCDUQTD –Karin Brookes into a consolidated VGCEJGTYJQYCNMUKPVQ EQTGEWTTKEWNWONGUUQPU Teachers get support in EQOOWPKECVKQPEJCPPGN /G[GTUQP5[ORJQP[ COQPIVJGEKV[ŏUCTVU %GPVGTJCUGODGFFGFVJG RTQXKFKPIVJCVDTQCFGT ITQWRU$KPHQTFTGECNNU FC[ŏU&CNNCU5[ORJQP[ GZRGTKGPEG#PFCTVUITQWRU CUEJQQNDQCTFOGGVKPI [QWVJEQPEGTVKPVQVJGENCUU NKMGVJG&51IGVMKFUKPVJG YJGPOGODGTUQH&CNNCU EWTTKEWNWOCURCTVQHC JCNNNGCTPKPICDQWVOWUKE #TVU2CTVPGTUſNNGFVJTGG VJTGGQTHQWTYGGMNGUUQP TQYUCUVJGKTURQMGURGTUQP www.astaweb.com | 57 A Lesson from

Viottiby John A. Thomson

he year 2005 marked the 250th anniversary of the birth of one of the world’s greatest violinists, Giovanni Battista Viotti (1755–1824). Today, if you mention the name of Viotti, many violinists find you have evoked unpleasant childhood memories—memories similar to those of having to take unpleasant-tasting medicine that is, nonetheless, good for you! Nowadays, Viotti’s music is, unfortunately, used mainly Tfor teaching purposes, and we have become accustomed to associating his music with the defects of the student performers. The successful performance of his music requires the exact qualities that Viotti’s contemporaries found so engaging in his own performances: beautiful tone production, accurate intonation, and musical imagination—the very qualities most students are only just developing at the time they are assigned his works! Yet in several ways, Viotti has dramatically influenced the way in which we play the violin through the example he set with his playing, his compositions, and through his teaching passed on through his students and followers. It is also interesting to learn that Viotti even started work on a treatise concerning violin playing. Had he been able to complete it, it would have undoubtedly provided us with much greater insight into the man who has been called the “Father of Modern Violin Playing.” Viotti’s name is also linked with the emergence of a newer tonal ideal illustrated by his favoring Stradivari violins and Tourte bows. Many of our modern bow strokes are associated with the development of the Tourte bow and the bowing style employed by Viotti. These bowing techniques often have French names détaché,( martelé, sautillé) because these strokes were named by Viotti’s Parisian disciples. We can gather from the accounts of Viotti’s time that he was most highly regarded as a performer, composer, teacher, and as a gentle human being. The attitude of Viotti’s acquaintances and disciples amounted to actual reverence. When the Paris Conservatoire was established in 1795, one of its stated aims was to preserve the style of Viotti’s playing. Indeed, Carl Flesch writing of his studies at the Paris Conservatoire in the 1890s regarded this continued reverence of the older professors for Viotti’s music

Violin Forum and performing style, combined with their lack of openness to newer trends, as a trait holding the French school back at this time. Viotti composed 29 concertos that enjoyed tremendous popularity at the time of composition and well into the 19th century. One can read of Brahms’s great enthusiasm for the Concerto No. 22 in A Minor, a piece performed by many of great virtuosi until the middle of the 20th century. Mozart was so taken with Viotti’s Concerto No. 16 in E Minor that he planned a performance of it at one of his subscription concerts in Vienna around 1786. Although this projected performance never materialized, Mozart did compose additional parts for trumpet and timpani (now catalogued as K. 470a). Surely he would not have done this had he Viotti’s music was immensely popular during his considered the music unworthy. lifetime. Pictured is a piano arrangement of his Violin Concerto No. 23, signed by Viotti in 1810.

58 | American String Teacher | May 2006 Violin Forum The influence of the technical innovations found in Yet another direct quotation appears in the second movement Viotti’s concertos may be seen in the great music of his time, of Paganini’s Sonata No. 4, Opus 3 in A Minor, which uses the notably the Beethoven Violin Concerto. His final concerto, opening theme of the finale to Viotti’s Concerto No. 25. That he No. 29 in E Minor, shows several features that surely was clearly impressed by the orchestra of the Paris Conservatoire influenced the compositional form of Mendelssohn’s concerto. is evident from a quote in a letter dated April 28, 1831: “Only in Besides the key of E minor, the second movement (just as in Paris did I find the best orchestra in Europe—one that presented Mendelssohn’s concerto) is in C major and is connected to my music in the way I imagined it should sound—an orchestra the finale by a brief connecting recitative-like section. It is that knew how to accompany me perfectly.” This letter was very likely that Mendelssohn was familiar with this concerto, addressed to the conductor of the orchestra, Francois Antoine as his friend and the dedicatee of his concerto, the violinist Habeneck (1781–1849). Habeneck had been a violin student of Ferdinand David, played this final concerto of Viotti. Baillot and was very much a follower of Viotti’s musical values. Viotti made his sensational debut in Paris in 1782, where Around 1840 Habeneck published a treatise: Méthode he resided happily for 10 years, performing, composing, and théorique et pratique de violon. Before the 19th century, there gathering around him an admiring group of students and had not been many such works, but several valuable treatises disciples. He also gained the patronage of many aristocratic appeared around this time by such violinists as Spohr, Mazas, figures, and it was probably because of this patronage that and Baillot. In Habeneck’s Méthode, there are many references Viotti thought it wise to leave Paris and reestablish himself in indicating his admiration and reverence for Viotti, but most London in 1792 following the French Revolution. touching is the inclusion in facsimile of Viotti’s attempt at a The influence Viotti exerted during his Paris years was treatise. Evidently Viotti’s followers had urged him to write enormous. Looking at this, one can view Paris as a Garden a treatise. Viotti had mentioned the work to Baillot during of Eden, where the creation of the modern world of violin their final meeting in 1823, but he was to abandon writing playing was taking place. Certainly, this was the beginning after completing only four pages. One suspects that after of the modern French school of playing, and considering the beginning work on this treatise, the aging master realized it influence of Viotti’s students and followers, it was arguably was simply beyond his powers. It is likely he did not have a the beginning of all modern schools of violin playing. One of literary background, and his use of French suggests he was Viotti’s students was Pierre Rode, who, along with Rodolphe not completely comfortable with the language. The fact that Kreutzer and Pierre Baillot, became a professor at the Paris Habeneck included the treatise in facsimile indicates the Conservatoire. While it is not recorded that Kreutzer and reverential attitude toward Viotti that is born out by so many Baillot took many lessons with Viotti, they both spent much charming anecdotes. Evidently, the manuscript of Viotti was time with him, playing under his direction, and absorbing his esteemed as a precious relic from the master himself. style. The touching respect and, indeed, the love they all felt Today, Viotti’s treatise is little known, and I have been for Viotti are most evident in their writings and compositions. unable to find a complete English translation of the work. I Viotti’s style was quickly promoted throughout all of have tried to approximate the style of Viotti’s language. Some Europe through his students and compositions. Rode spent sentences are a little awkward, but this is how they appear in the years 1804 through 1808 attached to the Czar’s court in his original French. One must remember that this is merely Saint Petersburg. When Rode left Russia, his countryman a fragment. Viotti refers to sections of the treatise that were Charles Phillipe Lafont, who was a student of Kreutzer, took never written, and the layout and order of the sections had not his place and remained from 1808 until 1815. The violinist been established. The treatise is not particularly valuable as a André Robberechts (1797–1860) studied with Viotti and comprehensive pedagogical work, but it is a fascinating glimpse Baillot before returning to Brussels, where he taught and of Viotti the teacher, and of his priorities in the teaching of laid the foundations for the Belgian school of playing. Viotti beginners. Teachers will be gratified to know that he obviously lived in Germany between 1798 and 1801, where one of considered the teaching of beginners to be a serious and his students was Wilhelm Friedrich Pixis (1786–1842), a important art that not every violinist is competent to undertake. brilliant violinist from Mannheim who was to go on to teach His recommendation to practice long, sustained bow strokes is at the Prague Conservatoire when it opened in 1811, and something advanced artists still use to improve bowing. There is a help to establish the Bohemian school of playing. Ludwig legend that Viotti could hold a single stroke for 15 minutes. This Spohr (1784–1859) regretted that he was unable to study is surely unbelievable, but the fact that his bowing could inspire with Viotti, but modeled his own style on that of Rode and such a legend tells of a remarkable technique. And every advocate maintained that there was no greater repertoire for cultivating of scales will love his sentence: “I will only add, that I who have good technique and fine taste than the concertos of Viotti. hardly ever practiced a passage have never ceased practicing scales Even Paganini, who must have represented a vastly in order to make my playing the least disagreeable possible; and different approach to playing, clearly held his compatriot in that if I could arrive at the point of playing the perfect scale, as high esteem, as he occasionally performed Viotti’s music. His perfect as I envisage it, I would believe myself to be the greatest Second Concerto in B Minor, La Campanella, contains what violinist in the world.” Surely this sentence reveals not only must be a salute to Viotti with two clear thematic quotes from the extent to which the maestro valued scales, but also gives us Viotti’s Concerto No. 24 in the same key. The second themes something of a taste of the modest charm that so enchanted his of the first movements in both works are strikingly similar, acquaintances. and the openings to the second movements are identical.

www.astaweb.com | 59 Translation of Viotti’s Treatise Viotti’s by John A. Thomson

o do well, I ought to make myself appear learned, and give a long dissertation on the probable and improbable concerning the time when the violin was invented, saying we owe this marvelous instrument to the romantic Sappho or Apollo himself. Some learned people would deign to read my work, but what purpose would all this serve? Firstly, good people, because the books that I have read have not helped me Tlearn, and secondly, that certitude would be rather pointless for my aim. We have the instrument, we do our best, it enchants sometimes, although often it sets our nerves on edge what more do we need? What does it matter whether it is to a woman or to a man, to one person or to several, that we owe our gratitude?

My Views on the Method of Teaching and Learning Violin Playing In my opinion, the best age to begin violin playing is seven. Earlier, the faculties are not sufficiently developed, and the result can only be these so-called prodigies, who die almost as soon as they appear. Later the muscles acquire a degree of strength that would be harmful to the suppleness and delicacy of movement, so I set the age at seven for starting this important study, and this is how I believe it should be taken up.

1. After the student has learned the theoretical principles well, which I believe have been sufficiently discussed in the first section, and after he has gained a clear idea of notation—pitch and time values, he can pick up the violin. I will not dwell upon how to handle the instrument or the bow here. These two subjects will be thoroughly discussed in two separate chapters, which the reader should find satisfactory. 2. Before beginning the scale, the teacher should train the student to put the bow in the middle between the bridge and the fingerboard, and to draw it down and up its entire length on all four open strings. First on one string, then another, never on two at a time, and always slowly. Care should be taken that each bow stroke should be lifted off the string. This should be continued until the student’s arm begins to loosen up and gets used to this sort of movement, which should take place after a few lessons, more or less depending on the natural ability. After completing this exercise, we move to the scale, which for the reasons to be stated should be G and not C.1 3. The teacher and student should play this scale together, two, three, four times, more or less, until the pupil understands it well enough. After this the teacher lets him play it alone, in order: 1) not to confuse his still untrained ear, as two sounds at once are almost never in tune at this first stage; 2) to assist him to sustain and draw his bow steadily on the strings and point out to him the graduation of pressure required; and 3) finally, to guide his fingers to the correct place. 4. After a few lessons, the teacher can play with the student again, making sure however never to play the slightest embellishment, or the smallest ornament, because then you can say goodbye to accuracy, intonation, and goodbye to success! In addition he should observe that the bowing is done according to the rules (see No. 2), that the hand and fingers are in the correct place (see . . . )2 and finally that the student doesn’t acquire any faults. It would also be good at these earliest stages if the latter never practices alone, and that he be allowed this favor only when the teacher is certain that he will practice systematically and attentively. 5. For a good student this simple scale should probably be studied for a week3 or two, especially if one continues to combine it with that of theoretical principles. What do we give him to do after this? I should like him to be given short exercises that are easier than the scale, so that, not being obliged to concentrate on the notes, he can increasingly

Violin Forum master the handling of the instrument, and of accuracy. These exercises must be short, made up of similar notes, in the same pattern, moving stepwise with very few leaps. Each bar is made up of an even number of notes, so that we always begin with the bow at the frog, and finally it will be plain, as in the following example: (Translator’s note: The example is missing, but the first exercises inSchradieck’s School of Violin Technics, Volume 1, is probably similar to what Viotti had in mind. From the next sentence, it seems likely that Viotti would have written each note as a quarter note.) 6. After the preceding, the teacher should write more exercises in the same key, including in them some eighth notes and then some dotted notes, thus increasing the difficultylittle by little, yet without ever abandoning the scale at each lesson, which must always be the touchstone of intonation and the main study. And consequently the key of G must not be left until the intonation is perfect. There is no hurry: three, four months if necessary, the scales in the other keys will only proceed faster.

60 | American String Teacher | May 2006 Violin Forum

Everyone knows that certain teachers, owing to being It should be mentioned nevertheless, that the exercise that in too much of a hurry, have allowed faults that are never consolidates the most and does the most good is the practicing corrected to set in which it has never been possible to of extremely long and sustained notes. It is this last exercise eradicate—and that is why I condemn those who think that sometimes drives me crazy. that any mediocre musician will be suitable as a teacher of All this must seem almost impossible to a complete beginners. beginner; as the simple task of holding the instrument, placing the fingers, and drawing the bow must make him think of the On Scales labors of Hercules! . . . Therefore, it is only to those people who How much there is to say about this first step! . . . It is already have some experience that I address my remarks in this demanding, and tiring, but it brings success. article. Everyone knows that the scale is a natural series of sounds, In beginning to learn any instrument, the principle objective ascending or descending. But not everyone, perhaps, has must be accuracy, or to put it more precisely, intonation. The sufficiently reflected upon how difficult they are to perform scale that most easily helps to reach this goal, that will hold and what benefits they afford if, in spite of the accompanying the student’s attention and settle his fingers, at the same time tediousness, they are studied regularly. giving him the least amount of trouble, is that which must be It is the scale that creates good intonation, a beautiful chosen in the first lessons, and it is the G scale on the violin tone quality that gives the voice or the fingers suppleness that that fulfils this purpose better than any other. It does so better strengthens the bow on the string that accustoms the nerves or than the C scale, as many believe. This is why: In G, the first the organs to thousands of movements, to an infinite number and third fingers are kept at the same distance (from one of inflections and nuances. Finally it is the scale that sets our another) to play the notes on the all four strings; whereas in unsteady steps on the pathway to a professional career that sets C, the first finger must be moved backwards on the E-string to our minds at rest, gradually gives us confidence, and takes us play F-natural. Moreover, in G, once the fingers are arranged surely on our way past great difficulties. on the fourth string, they are kept at the same distance (from There is no need for me to say anything more to make one another) to play the notes on the third string. Next, with it clear how important I believe them to be. I will only add, a simple movement of the second finger, repositioned on the that I who have hardly ever practiced a passage have never A-string, the fingers stay the same on the E-string also. In this ceased practicing scales in order to make my playing the least way the one changes the order or grouping only once, instead disagreeable possible; and that if I could arrive at the point of twice as with C scale, as can be seen in Figure 1. of playing the perfect scale, as perfect as I envisage it, I would believe myself to be the greatest violinist in the world. There are different ways of practicing scales. John Thomson teaches violin and viola at the Uni- YHUVLW\RI6RXWK'DNRWDDQGLVWKHPXVLFGLUHFWRU RIWKH6LRX[(PSLUH pealing cantabile” and described his playing as “a rare treat.” 3. Starting piano, crescendo and diminuendo < > 4. A scale in the same key but practiced in all possible Notes 1 Viotti uses the past tense. Considering what he later writes, the future tense seems positions. more appropriate. He refers to the scales as “sol” and “ut”—it later becomes 5. In half steps, or semitones, observing the same preceding evident that he means G major and C major. 2 It seems likely that Viotti intended to refer at this point to another section con- inflections. cerning the left hand that, unfortunately, was never written. 6. With a trill on every note, same inflections. 3 This word is illegible in Viotti’s manuscript. Possibly, he meant “week,” but any 7. Finally, practice all scales in different keys, in different period of time, e.g., “day,” “month,” could be what he intended. positions, and in varying speeds, slow and fast.

Figure 1

www.astaweb.com | 61 Teaching Tips E\'DYLG/LWWUHOO 7KH

The following is reprinted with permission Slow is good. Practice new, difficult Printed bowings and fingerings are from the Minnesota ASTA state chapter material slowly enough to have a high the law until 1) your teacher provides newsletter. Minor revisions have been made success rate. Your muscles need “time to alternatives, or 2) you are advanced by the author since its original publication. think.” Stumbling because of a fast tempo enough to make these decisions. simply reinforces your mistakes; you’ll Following fingerings and bowings is part According to a legend among my students, learn how to play poorly very well! Slow of your training and is essential when you I wrote this list of ideas at midnight in Down and Live! (Highway Department play in an orchestra or chamber music the depths of my lair. Forthwith, each slogan) Speeding up to a tempo is the ensemble. There is certainly more than student received a copy on yellow paper relatively easy part. Playing the correct one way to finger and bow any passage, to help him or her retain key principles of notes, fingerings, rhythms, and bowings but using an expert’s suggestions helps you cello playing and intelligent practice. The at a slow tempo is imperative in the to learn the logic behind fingering and students and I fondly (!) refer to this list beginning stages. Play only as fast as you bowing. as “the yellow sheet.” Eventually, they can can (are able to!). easily recount what this ray of sunshine A pencil is your friend in the practice in their lives tells them about specific A metronome is good. Increase the tempo room. Mark fingerings and bowings as technical problems or practice habits they one notch at a time to learn to play a needed. should follow. I hope that the aphorisms passage, going from a slow tempo to a below are but a small portion of my tempo. Fingerboard geography: 1) “Where is knowledge base, but these concise sayings Texas? Where is Kansas?” = Where is first are the ones I use most frequently. Stop. Think. Play. Get it right the first position? Where is third position with Many of the ideas I have used time. the hand in extension? Play the notes in routinely in my cello teaching come from one position, lower your left arm down teachers with whom I never studied on The chickens have come home to roost. to your side, and then raise your arm a regular basis. I derived many of these If you don’t learn the correct notes, and land in the target position. Land on ideas from Phyllis Young at the University fingerings, rhythms, and bowings at a slow the fingerboard with the proper finger of Texas at Austin String Project and tempo in the early stages of practicing spacing, including landing in a closed or from reading her books. A wealth of a piece or étude, your problems will open (extended) position. This procedure knowledge came from Margaret Rowell continue and will especially haunt you helps you understand intellectually and and Irene Sharp, teachers at a weeklong during a performance. physically (kinesthetically) the location of seminar at the University of North the two positions, including finger spacing Carolina–Greensboro in 1983; from Rick Go from the known to the unknown. and closed/extended hand posture, before Mooney during my Suzuki training; and When you have trouble playing or hearing and after a shift. 2) “How do you travel from numerous articles in American String notes in any position (usually thumb or from Texas to Kansas?” After you have Teacher and the Suzuki Journal. When fifth through seventh positions), play the intellectually and physically determined we teach, we inevitably bring our own pitches or series of pitches in first or fourth the hand positions before and after a teaching style and personality into the positions only (the “known”), where shift, then you practice the shift from one studio. I can no longer make a distinction you know how to locate them. Transfer group of notes to the next group without between what I learned from the sources the series of pitches you hear to the lowering the arm. mentioned above and which of these ideas “unknown” higher positions. are my own. Grapefruit hand. Porcupine under the The text after the aphorism Cello playing is just one note after left arm. The left hand holds a grapefruit in boldface is a brief explanation found another. Any piece is really a long series of for good finger spacing. The left arm and on the yellow sheet to jog the student’s pairs of notes linked together in a chain. elbow should not sag. memory during home practice. Usually, If the chain is broken—incorrect pitch, one explanation will suffice for a student rhythm, etc., between the pairs or other On the C string, your finger is a living to understand these principles, but small groups of notes—the section or piece C-clamp. The fingers sink into the “foam remembering to put them into action is doesn’t hold together. rubber fingerboard” on all four strings, but another story. These ideas are parceled out it’s more difficult on the thicker G and C over time as they become appropriate to strings. You need to put in extra effort to the age and readiness of the student. hold down the G and C strings, especially

62 | American String Teacher | May 2006 with forte triple and quadruple stops, so |: Low High High Low :| Good for any Bow track—no gutter balls; stay in your that the pitches are discernible and the problematic shift, no matter how narrow lane; narrow mountain path = a direct tone quality is acceptable. or wide the interval. Repeat the shift result of a bow that is at a right angle between the two pitches many times with to the string. A bow at a right angle has a Pay attention to both thumbs: various bowings and rhythms. much better chance of staying in the same t
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track when your eyes are closed. levels (2,5,7,9). Play the passage When shifting, don’t be a jerk. Shift as at level 3, now at 8, now at 6, Don’t practice stopping. Stopping every slowly as possible, but still be on time. etc. What do you need to alter time you make a mistake, even for a with your bow and right arm to moment, is a bad habit. Of course, you Freeze frame. Hit the Pause button produce these changes? need to stop and fix mistakes, but you also between shifts in fast runs, think, and then need to practice without allowing yourself hit Play. There is no such thing as being “a little the luxury of stopping. Stopping is a habit out of tune.” You must hit the bull’s- that creeps up on you until you no longer Half-note system. New, difficult eye. Being “a little out of tune” and “a lot realize that you’re doing it. It is annoying passage—eliminate printed rhythm and out of tune” is the same thing. Especially to the listener, who is usually the teacher! bowings but never fingerings. Get the when you shift and extend, you must series of pitches and their fingerboard practice hitting the center of the pitch(es). Strength through flexibility. An airplane locations firmly in your ear and muscles. It’s a bad habit to wiggle and slide the wing and a tree branch are designed to Then add the bowings and rhythms. Five- finger around to find the pitch—and very bend, yet they are strong. Our joints and note window. Play notes 1–5, 2–6, 3–7, annoying to the listener. limbs will have strength only if they are etc., in a difficult passage with correct bow loose and flexible, not if they are stiff from direction. Add-a-note. Play first note, Right arm—truck test, dogleg, armchair. cramped muscles and postures. notes 1–2, notes 1–2–3, etc., and continue Basic posture at the frog on the D string: throughout the difficult passage. A toy truck travels on a flat highway Piano ≠ puny. (your forearm) and then curves and goes “Windows”—the portion to practice downhill at your wrist. A dogleg (bend) can be any length. (Similar to five-note is formed at the wrist. When you sit in 'DYLG /LWWUHOO SDVW SUHVL- window.) The window can be any size as an armchair, your hand hangs naturally dent of ASTA, is a Universi- W\ 'LVWLQJXLVKHG 3URIHVVRU to number of notes/measures/lines. Move from the wrist and the fingers are spaced at Kansas State University, “window” to next difficult section. (I fold in a relaxed manner. This is also the where he teaches cello and a paper in half and cut a rectangular hole basic position of your hand in relation to double bass, as well as con- to demonstrate. After using the cut-out the wrist and your finger spacing when ducts the orchestra. He ed- window once, the student simply imagines holding the bow. ited the two volumes of a window of varying sizes.) ASTA’s 1997 String Sylla- Left arm and hand—elephant “ploppy” bus and currently is compiling and editing Vol- a. b. fingers cling to the fingerboard; play on ume 3 of Teaching Music through Performance fingertips with curved fingers in order in Orchestra for GIA Publications. c. to play fast. Fingers that feel as heavy as an elephant, caused by the back and arm pulling back, provide the weight needed to hold down the strings on a cello and bass. a. window that is two notes wide This feeling is desirable especially when for practicing a shift using vibrato. Collapsed joints are like b. window that is perhaps a half- a collapsed arch: the weight is lost, and measure or a complete measure you can’t play fast passages with speed or c. window that is perhaps a half- clarity. line, complete line, or several lines in length

www.astaweb.com | 63 2006 National Conference Exhibitors

$67$ZLVKHVWRUHFRJQL]HDQGWKDQNWKHIROORZLQJRUJDQL]DWLRQVIRUH[KLELWLQJDWWKH$67$1DWLRQDO Conference, held March 8 through 11 in Kansas City, Missouri. Each one of you played a key role in the success of the event, and we appreciate your support!

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The 2006 ASTA national conference was even better than expected! Almost two thousand ASTA members and string enthusiasts met in Kansas City to enjoy the many facets of the conference, including nearly 200 informative sessions, the National Orchestra Festival, a variety of outstanding performances, and much more! The sold-out exhibit hall was also a fun focal point, giving members the chance to experience the music industry’s latest and greatest products and services.

As always, the conference offered a perfect setting to bring together ASTA’s diverse membership—to learn about and appreciate the many different facets of string education and performance, as well as to help shape the future of the as- sociation. From Peter Boonshaft’s keynote speech at the Opening Ceremony to the Gala Benefit Concert featuring Mark O’Connor and the Appalachia Waltz Trio, the 2006 national conference was packed with educational opportunities and fun! Many thanks to all who attended. We hope to see you in Detroit next year! Fo k Road llow the Yellow Bric Nicholas Villalobos, the 18-year-old winner of the ASTA/Auday-Giormenti Double Bass Competition (immediate left), treats attendees to a solo performance on his new Auday- Giormenti Viennese model double bass during the Opening Ceremony. Special thanks go to competition sponsor Auday-Giormenti, as well as the Super-Sensitive Musical String Company for providing the instrument’s strings.

Dalton Potter

Bob Gillespie

Peter Boonshaft

Opening Ceremony

www.astaweb.com | 65 A “yellow brick road” led to the sold-out ASTA exhibit hall, which featured the latest offerings and product favorites from members of the String Industry Council, institutional members, and other valued exhibitors—plus a Wizard of Oz theme! The exhibit hall grand opening and reception was sponsored by Merz-Huber Company, while Hal Leonard Corporation sponsored a coffee break and String Letter Publishing/Strings Magazine sponsored a dessert break. Exhibit rence has Hall “This confe truly change

The first-ever ASTA Follies provided an opportunity for ASTA members to demonstrate their hidden talents!

66 | American String Teacher | May 2006 ed my life—and love of strings!” AwardA WinnersWinnners (right,(riright,ght, from top to bottom) MarvinMararvinvinn J.J Rabin CommuCommuniCommunitynity ServiceSe Award: Mary Drane West, MiMinneapolis,inneapolis,nneapo MinnMinnesoMinnesota SponsoSponsoredonsoreddb by HHal LLeonard Corporation Isaac SternS International Award: François Rabbath, Paris, France Sponsored by J. D’Addario & Company, Inc Traugott Rohner Leadership in the Music Industry Award: Charles Avsharian, Shar Products Company, Ann Arbor, Michigan Artist-Teacher Award: Helen Kwalwasser, Philadelphia, Pennsylvania Sponsored by Kay H. Logan Elizabeth A.H. Green School Educator Award: Jan Garverick, San Antonio, Texas Sponsored by Hal Leonard Corporation CodaBow Drawing: Carrie Ann Carlson, New Carlisle, Indiana Sponsored by CodaBow International, Ltd. wwww.astaweb.comww.astaweb.com | 67 Sessions and Receptions

At the heart of the conference were nearly 200 sessions, which were presented by leading string pedagogues and performers and which offered the opportunity to share ideas and network with peers. A wide variety of panel discussions, workshops, and performances ensured that there was something for everyone. In addition, attendees enjoyed elegant evening receptions hosted by IAJE and ASTA’s National Foundation to Promote String Teaching and Playing.

“This was my first ASTA conference, and many of my career questions have been answered.

Performances Kansas City Symphony Conference attendees were treated to a number of outstanding performanc- es in Kansas City. Featured performers included the Kansas City Sympho- ny, under the direction of Timothy Hankewich, as well as Mark O’Connor and his Appalachia Waltz Trio, with guest violinist Rachel Barton Pine and the Kansas University Symphony Orchestra, under the direction of Nicholas UlUl- janov. In addition, several invited student groups gave memorable performances, including the Ferguson-Florissant Honors Orchestra from Hazelwood, Missouri, under the direction of Jan Davis; the Norman North High School Symphonic Orchestra from Norman, Oklahoma, under the direction of Brenda Wagner; the Strawberry Hill Fiddlers from Poughkeepsie, New York, under the direction of Emily Schaad and Carole Schaad; and the Shawnee Mission East High School Symphony Orchestra from Kansas City, Kansas, under the direction of Jonathan Lane.

Appalachia Waltz Trio Rachel Barton Pine

“This was my first conference, and it was AWESOME!”

68 | American String Teacher | May 2006 National Orchestra Festival ® The third annual National Orchestra Festival (NOF) was a huge success. The NOF featured 17 ensembles from middle/junior high schools, high schools, and youth orchestras from all over the country. The young musicians had a great time getting to know each other and exploring area sites. Highlights included participation in master classes and an awards dinner and dance.

Competitive orchestras were separated into three divisions: Middle School Orchestra, Youth Orchestra, and High School String Orchestra. Several groups also performed to receive ratings and comments from adjudicators Gerald Doan, Gerald Fischbach, and Carol Smith. They were adjudicated based on technique, tone quality, intonation, rhythm, and interpretation. The Grand Champi- ons were chosen by adjudicators from the first place winners of these categories. Groups also received a one-on-one clinic with one of ASTA’s clinicians: Joanne Erwin or Mark Russell Smith. Sponsored by Yamaha Corporation of America

I feel my confidence as a conductor, teacher, and musician has grown further.”

Special thanks to the Shar Products Company for donating the concert music stands and to Alfred Publishing for sponsoring the master class clinicians. South Carolina Governor’s School for the Arts Concertato String Orchestra

National Orchestra Festival Grand Champions South Carolina Governor’s School for the Arts Concertato String Orchestra Greenville, South Carolina Kathryn Dey, Director

First Place New World Chamber Orchestra New World Chamber Orchestra Indianapolis, Indiana Susan Kitterman, Director

Other winners by division were: Middle School Orchestra 1st place, Tenafly Middle School, Tenafly, N.J.; 2nd place, Horace Mann Middle School, Charleston, W.Va.; 3rd place, John Lux Middle School, Lincoln, Nebr. Youth Orchestra 1st place, New World Chamber Orchestra, Indianapolis, Ind. High School String Orchestra 1st place, Norcross Philharmonic Orchestra, Norcross, Ga.; 2nd place [tie], Brain- erd Chamber Orchestra, Brainerd, Minn., and Centerville High School Symphonic Orchestra, Dayton, Ohio Resident Art School 1st place, South Carolina Governors School for the Arts Concertato String Orchestra, Greenville, S.C.

Follow the Yellow Brick Road

www.astaweb.com | 69 Silent Auction More than 175 items were donated to ASTA’s third Silent Auction to benefit the National Foundation to Promote String Teaching and Playing, part of the conference’s Gala Benefit Evening, which also included the Saturday concert with Mark O’Connor, the Appalachia Waltz Trio, Rachel Barton Pine, and the Kansas University Symphony Or- chestra. Auction attendees bid on fabulous items that were generously donated by individuals, state chapters, String Industry Council members, and other friends of ASTA. Thanks to the generosity of both the bidders and the donors, ASTA raised thousands of dollars to support the programs, grants, and outreach initiatives of the Foundation. Auction items included everything from musical instruments and accessories to gift and goody baskets to weeklong stays at vacation properties.

“I’m hooked! I’ll be back!!!”

70 | Americaner cac n String Teacher | May 2006 “Best conference I have been to . . . ” Sponsors Special thanks go to our conference sponsors, who played a huge role in the success of the event. We appreciate your support!

Silver Sponsors Merz-Huber Company The Potter Violin Company Shar Products Company Yamaha Corporation of America

Bronze Sponsors Alfred Publishing Company, Inc. Clemens Violins, Violas, & Violoncellos, Inc. Connolly & Company Hal Leonard Corporation Howard Core Company, LLC International Society of Bassists J. D’Addario & Company, Inc. Lyon & Healy Harps String Letter Publishing/Strings Magazine William Harris Lee & Company, Inc.

Session Sponsors Iowa Chapter of ASTA Virginia Chapter of ASTA Weber State University

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74 | American String Teacher | May 2006 $67$6WXGHQW&KDSWHUV

Abilene Christian and Hardin Simmons Universities: Advisor James Madison University: President – Megan Miller; Advisor University of Evansville–Paul Rolland Memorial Chapter: – Tido Janssen; 1301 Grand Ave, Abilene, TX 79605-4226; – Robert McCashin; School of Music, Harrisonburg, VA 22807; Co-Presidents – Angela Paolettie and Amy Lawson; Advisor Email: [email protected]. Email: [email protected] or [email protected]. – Carol Dallinger; Music Dept, 1800 Lincoln Ave, Evansville, IN Appalachian State University: President – Amanda Roberts; Kansas State University: President – Bridget Butkievich; Advisor – 47722; Email: [email protected], [email protected], or Advisor – Nancy E. Bargerstock; 813 Rivers St, Boone, NC 28608; Cora Cooper; Dept of Music, 109 McCain Auditorium, Manhattan, [email protected]. Email: [email protected]. KS 66506. Email: [email protected] or [email protected]. University of Illinois at Urbana-Champaign: President – Brandon Augustana College: President – Jennifer O’Donnell; Advisor Lebanon Valley College: Advisor – Hannes Dietrich; Dept of Correa; Advisor – Jack Ranney; UIUC School of Music, 2134 Music – Janina Ehrlich; Euvliga Stangar Chapter, 639 38th St, Rock Music, Annville, PA 17005. Bldg, 1114 W Nevada St, Urbana, IL 61801; Island, IL 61201; Email: [email protected] or 0DQVÀHOG8QLYHUVLW\President – Christina Attanasio; Advisor Email: [email protected] or [email protected]. [email protected]. ².HQQHWK6DUFK0DQVÀHOG8QLYHUVLW\%XWOHU0XVLF&HQWHU University of Kansas: President – Myra Valdez; Advisor Baldwin-Wallace Conservatory: President – Michael Winer; 0DQVÀHOG3$(PDLONVDUFK#PDQVÀHOGHGX – Laurence Rice; Murphy Hall, Room 448, 1530 Naismith Dr, Advisor – Julian Ross; 275 Eastland Rd, Berea, OH 44017; Michigan State University: President – Jennifer Coalson; Advisor Lawrence, KS 66045; Email: [email protected] or [email protected]. Email: [email protected] or [email protected]. – Judy Palac; School of Music, Room 102, East Lansing, MI 48824; University of Louisville: Advisor – Katherine Lloyd; School of Ball State University: President – Colleen Ryan Patrick; Advisor Email: [email protected] or [email protected]. Music, Belknap Campus, Louisville, KY 40292. – Kristin Turner; 2000 University Ave, Muncie, IN 47306; Minnesota State University, Moorhead: President – Katelin Stanek; University of Maryland: Advisor – Bret Smith; 2110 Clarice Smith Email: [email protected] or [email protected]. Advisor – Kirk Moss; 1104 Seventh Ave South, Moorhead, MN Performing Arts Ctr, College Park, MD 20742-1620. Baylor University: Advisor – Julia Hardie; School of Music, 56563; Email: [email protected] or [email protected]. University of Michigan: President - Diane Strasser; Advisor Waco, TX 76798. Minot State University: Advisor – Jon Rumney; Music Division, – Robert Culver; School of Music, 1100 Baits Dr, Ann Arbor, MI Boise State University: President – Stephanie Beebe; Advisor 500 University Ave W, Minot, ND 58707. 48109; Email: [email protected] or [email protected]. – Craig Purdy; Dept of Music, 1910 University Dr, Boise, ID 83725; New Jersey City University: Advisor – Louis Kosma; Liberty University of Missouri–Columbia: Advisor – John McLeod; School Email: [email protected] or [email protected]. Chapter, Jersey City, NJ 07305; Email: [email protected]. of Music, 138 Fine Arts, Columbia, MO 65211; Brigham Young University: President – Sara Witbeck; Advisor Northern Illinois University: President – Paula Colletti; Advisor Email: [email protected]. – Andrew Dabczynski; School of Music, HFAC – E550, Provo, UT – Ann Montzka-Smelser; School of Music, DeKalb, IL 60115; University of Nebraska–Lincoln: President – Muriel Huckins; 84602; Email: [email protected] or Email: [email protected] or [email protected]. Advisor – David Neely; 120 Westbrook Music Bldg, UNL, Lincoln, [email protected]. Northwestern State University of Louisiana: Advisor – Darilyn NE 68588-0100; Email: [email protected]. Brooklyn College: Advisor – Jane Palmquist; Conservatory of Manring; Creative & Performing Arts Ctr, Fine Arts Bldg, Room University of North Carolina at Greensboro: Advisor – Scott Music, 2900 Bedford Ave, Brooklyn, NY 11210. 110, Natchitoches, LA 71497. Rawls; Gate City ASTA with NSOA, PO Box 26167, School of Central Michigan University: President – Jennifer Watkins; Northwestern University: President – Tristan Arnold; Advisor Music, Greensboro, NC 27402-6167; Email: [email protected]. Advisor – James Fiste; School of Music, 162 Music Bldg, Mt – James Kjelland; 60 Arts Circle Dr, Evanston, IL 60208; Email: University of Northern Iowa–Bruce Eilers Memorial Chapter: 3OHDVDQW0,(PDLOÀVWHMD#FPLFKHGXRU [email protected] or President – Rebekah Cannon; Advisor – Julia Trahan; UNI School [email protected]. [email protected]. of Music–Russell Hall, Cedar Falls, IA 50614-0246; Email: Central Washington University: President – David Drassal; The Ohio State University: Advisor – Laurel Butler; School of [email protected] or [email protected]. Advisor – Carrie Rehkopf Michel; Dept of Music, 400 E University Music, 110 Weigel Hall, 1866 College Rd, Columbus, OH 43210; University of Oklahoma: Advisor – Gregory Sauer; 500 West Way, Ellensburg, WA 98926; Email: [email protected] or Email: [email protected]. Boyd, Norman, OK 73019; Email: [email protected]. [email protected]. Ohio University: President – Morissa Freiberg; Advisor – Marjorie University of South Carolina: Advisor – William Terwilliger; The College of New Jersey: President – Craig Stanton; Bagley; Music Dept, Robert Glidden Hall, Athens, OH 45701; School of Music, 813 Assembly St, Columbia, SC 29208; Advisor – Philip Tate; Music Dept, Ewing, NJ 08628; Email: [email protected] or [email protected]. Email: [email protected]. Email: [email protected]. Old Dominion University: President – Jennifer Collins; Advisor University of Texas at Austin: President – Tammy Lin; Advisor Concordia College: President – Brittany Okins; Advisor – Jane – Leslie Stewart; Dept of Music, Diehn Ctr, Norfolk, VA 23529; – Laurie Scott; School of Music, University Station E3100, Austin, TX Linde Capistran; Dept of Music, 901 8th Street South, Moorhead, Email: [email protected]. 78712-1208; Email: [email protected] or MN 56562; Email: [email protected] or Olupemi String School: President – Olupemi Oludare; Advisor [email protected]. [email protected]. – Theophilus Oilang; 11 Modupe St off Pela-Agorn, Shomolu, University of Wisconsin–Eau Claire: Advisor – Nobuyoshi Duquesne University: Advisor – Stephen Benham; 600 Forbes Lagos 01234; Email: [email protected] or Seattle, WA 98119-1997; Demske; Advisor – Steven Bjella; UWSP Music Dept, Nelson Hall, Email: [email protected] or [email protected]. Email: [email protected]. 1209 Fremont St, Stevens Point, WI 54481; Eastman School of Music: Advisor – Louis Bergonzi; University of Southern Missouri State University: President – Suzannah Dolan; Email: [email protected] or [email protected]. Rochester, Eastman School of Music, 26 Gibbs St, Rochester, NY $GYLVRU²'DYLG+D\HV61DWLRQDO6SULQJÀHOG02 University of Wisconsin–Whitewater: President – Megan Rhea; 14604; Email: [email protected]. Email: [email protected] or [email protected]. Advisor – Carmen Wiest; 800 W Main St, Whitewater, WI 53190; Florida State University: President – Rebecca Bowman; Advisor SUNY College of Fredonia: President – Patricia Kay Grasso; Email: [email protected]. – Michael Allen; School of Music, Tallahassee, FL 32308; Advisor – Harry Jacobson; School of Music, Mason Hall, Fredonia, Vander Cook College of Music: President – Vanessa Nettle; Email: [email protected] or [email protected]. NY 14063; Email: [email protected] or Advisor – Charles Emmons, Jr.; 195 N Harbor Dr #1908, George Mason University–Patriot Chapter: President – Rachel [email protected]. Chicago, IL 60601; Email: [email protected]. Cohen; Advisor – F. Wayne Taylor; 4400 University Dr, MS 3E3, SUNY Potsdam–The Crane School of Music: President – Desiree Weber State University: President – Daniel Sanchez; Advisor Fairfax, VA 22030; Email: [email protected] or Burke; Advisor – Sarah Hersh; 44 Pierrepont Ave, Potsdam, NY – Shi-Hwa Wang; Dept of Performing Arts, 1905 University [email protected]. 13676. Circle, Ogden, UT 84408-1905; Email: [email protected] or The Hartt School–University of Hartford: President – Katie Towson University: Advisor – Cecylia Barczyk; Music Dept, 8000 [email protected]. Frampton; Advisors – Kathlene Goodrich and Katie Lansdale; York Rd, Towson, MD 21252-0001. West Virginia University: President – Alyson Ciufo; Advisor %ORRPÀHOG$YH:HVW+DUWIRUG&7 University of Arizona: President – Lindsey Robb; Advisor –Laura Kobayashi; 682-B Killarney Dr #1, Morgantown, WV Email: [email protected] or [email protected]. – Donald Hamann; PO Box 210004, Tucson, AZ 85721; Email: 26505; Email: [email protected]. Hope College: President – Sara Bolkema; Nykerk Hall of Music, [email protected] or [email protected]. Western Michigan University: President – Leslie Ziegler; Advisor 127 E 12th St, Holland, MI 49423; University of Colorado: Advisor – Margaret Berg; College of – Annette Montgomery; 1903 W Michigan Ave, School of Music, Email: [email protected] or [email protected]. Music, 301 UCB, Boulder, CO 80309. Kalamazoo, MI 49008; Email: [email protected]. Ithaca College: President – Jennifer Stepien; Advisor – Debra University of Connecticut: President – Amanda LaManna; Advisor William Jewell College: Advisor – Lawrence Brandolino; Pillsbury Moree; James Whalen Ctr for Music, #2321, Ithaca, NY 14850; – Peter Sacco; 103 Colonial Rd, Madison, CT 06443; Email: peter. Music Ctr, 500 College Hall, Liberty, MO 64068; Email: [email protected] or [email protected]. [email protected]. Email: [email protected]. Jacksonville State University: President – Melissa Reaves; Advisor University of Delaware: President – Heather Daniels; Advisor – Michael Gagliardo; 700 Pelham Rd North, Jacksonville, AL – Xiang Gao; Dept of Music, Amy DuPont Music Bldg, Newark, DE 36265; Email: [email protected] or 19716; Email: [email protected] or [email protected]. [email protected].

$67$.²6WXGHQW&KDSWHUV Adlai E. Stevenson High School:$GYLVRU²&ODUN&KDIIHH Cortland Junior–Senior High:$GYLVRU²-XOLH&DUU9DOOH\YLHZ McEachern High School: Advisor – Tim Mooney; 2400 New 6WHYHQVRQ'U/LQFROQVKLUH,/(PDLOFFKDIIHH#GLVWULFW 'U&RUWODQG1<(PDLOMDFDUU#FRUWODQGVFKRROVRUJ 0DFODQG5G3RZGHU6SULQJV*$ k12.il.us. Etowah Youth Orchestras: Advisor – Michael Gagliardo; :HEZZZJHRFLWLHVFRPPFHDUFKHUQRUFKHVWUD Chamber Music Connection:$GYLVRU²(PLO\%XWWHUÀHOG %URDG6W*DGVGHQ$/(PDLOPLNHJDJOLDUGR# Ridgewood High School: Advisor – Francesca P. Kubian; 627 E 6LQVEXU\'U1&ROXPEXV2+(PDLOHEXWWHUÀHOG# culturalarts.org. 5LGJHZRRG$YH5LGJHZRRG1- core.com. Herricks High School:$GYLVRU²$QLVVD*RQHQQ6KHOWHU5RFN Rush Henrietta Senior High School: Advisor – Nancy Guilfoyle; Chatham High School:$GYLVRU²5RQD/DQGULJDQ 5G1HZ+\GH3DUN1< /HKLJK6WDWLRQ5G+HQULHWWD1< /DID\HWWH$YH&KDWKDP1-(PDLO James River High School:$GYLVRU²%HWK$OPRUH-DPHV Email: [email protected]. [email protected]. 5LYHU5G0LGORWKLDQ9$(PDLOEHWKBDOPRUH#FFSVQHWQHW Wellwood Middle School:&R$GYLVRUV²&DUORV0HQGH]-UDQG Commack High School:&R$GYLVRUV²0UV'RZ)ULLDDQG)UDQN $P\&LUPR60DQOLXV6W)D\HWWHYLOOH1<(PDLO +DQVHQ6FKRODU/Q&RPPDFN1< FPHQGH]#IPFQ\ULFRUJRUFPHQGH]#WZFQ\UUFRP

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www.astaweb.com | 75 5WOOGT%QPHGTGPEGU

In2006 addition to the many summer conferences and workshops listed in the February issue of American String Teacher, the following conferences are available. For a comprehensive listing of summer events, visit www.astaweb.com. ASU String Teachers Workshop A Symposium on the Lifework of National String Workshop ASU Fiddling Workshop Marvin Rabin July 22–27 June 18–21 July 20–22 University of Wisconsin–Madison Arizona State University School of University of Wisconsin–Madison Madison, Wisconsin Music Madison, Wisconsin &RQWDFW&KHOF\%RZOHV Tempe, Arizona &RQWDFW&KHOF\%RZOHV National String Workshop &RQWDFW0DUJDUHW6FKPLGW National String Workshop /RZHOO&HQWHU/DQJGRQ6WUHHW ASU School of Music /RZHOO&HQWHU/DQJGRQ6WUHHW Madison, WI 53703 32%R[ Madison, WI 53703 Phone: 608-265-5629 7HPSH$= Phone: 608-265-5629 FAX: 608-262-1694 Phone: 480-965-8277 FAX: 608-262-1694 Email: [email protected] FAX: 480-965-2659 Email: [email protected] :HEVLWHZZZGFVZLVFHGXPXVLFQVZ Email: [email protected] :HEVLWHZZZGFVZLVFHGXPXVLFQVZ Faculty Website: Panelists and Presenters Violin: Sharan Leventhal, Judy Palac, +HUEHUJHU&ROOHJH$W/DUJHDVXHGX Keynote: Gerald Fischbach, Gary Karr Laurie Scott Faculty

76 | American String Teacher | May 2006 Upper Midwest String and Chamber Music Con- ference July 23–28 Minnesota State University, Mankato Mankatao, Minnesota &RQWDFW+DUU\'XQVFRPEH 3HUIRUPLQJ$UWV&HQWHU068 Mankato, MN 56001 Phone: 507-389-1924 FAX: 507-389-2922 Email: [email protected] :HEVLWHZZZPQVXHGXPXVLF Faculty -HQQLIHU$UFR&RQGXFWLQJ+DUU\'XQVFRPEH&HOOR DQG&KDPEHU0XVLF)DLWK)DUU&HOORDQG&KDP- EHU0XVLF6DUDK+HUVK9LROLQDQG&KDPEHU 0XVLF0DU\+RUR]DQLHFNL9LROLQDQG&KDPEHU 0XVLF*HUDUG-RQHV&RQGXFWLQJ0DUN.DXVFK 'RXEOH%DVV9LRODGD*DPEDDQG&KDPEHU 0XVLF6KHOGRQ0H\HU'LUHFWRURI5HFUHDWLRQ .DUHQ0RRQ&KDPEHU0XVLF&RRUGLQDWRU.DWK- HULQH:ROIH9LROLQ9LRODDQG&KDPEHU0XVLF

www.astaweb.com | 77 Publications Order Form Pedagogy Manual of Orchestral Bowing Research E\&KDUOHV*LJDQWH>6@ GENERAL $21.95 member, $28.55 non-member Applying Research to the Teaching and The Teaching of Action in String Playing Playing of Stringed Instruments E\3DXO5ROODQG>6@ Orchestral Bowings and Routines HG*DLO9%DUQHV>6@ $37.50 member, $48.75 non-member E\(OL]DEHWK$+*UHHQ>6@ $32.95 member, $42.85 non-member $16.50 member, $21.45 non-member VIOLIN The Bach Chaconne for Solo Violin Basic Principles of Violin Playing The School Symphony Orchestra HG-RQ)(LFKH>6@ E\3DXO5ROODQG>6@ Experience: A Guide to Establishing $12.95 member, $16.85 non-member $10.50 member, $13.65 non-member a Full Orchestra in the Schools HG3DPHOD7HOOHMRKQ+D\HV>6@ The Ten Beethoven Sonatas A Comparison of Violin Playing Tech- $13.95 member, $15.95 non-member E\-RVHSK6]LJHWL>6@ niques: Kato Havas, Paul Rolland, and $4.00 member, $5.20 non-member Shinichi Suzuki Teaching Stringed Instruments E\0DULDQQH0XUUD\3HUNLQV>6@ in Classes Compendiums $31.95 member, $41.55 non-member E\(OL]DEHWK$+*UHHQ>6@ $21.75 member, $28.30 non-member String Syllabus Volume One, A Violinist’s Guide for Exquisite 2003 Edition for Violin, Viola, Cello, Intonation Improvise! Bass, and Ensembles E\%DUU\5RVVVHFRQGHGLWLRQ>6@ E\-RG\+DUPRQLQFOXGHV&' HG*UHJRU\+XUOH\>6@ $19.95 member, $25.95 non-member $25.95 member, $33.75 non-member $24.95 member, $32.45 non-member $YDLODEOHIRUYLROLQ>6@YLROD The Violin Guide >6@DQGFHOOR>6@ String Syllabus Volume Two for Harp E\6WHIDQ.UD\N>6@ and Guitar $10.00 member, $13.00 non-member Jazz Improvisation Made Easy HG'DYLG/LWWUHOO>6@ E\-RG\+DUPRQDQG-RKQ%ODNH $19.95 member, $25.95 non-member VIOLA LQFOXGHV&' A Violist’s Guide for Exquisite $25.95 member, $33.75 non-member Music Medicine Intonation $YDLODEOHIRUYLROLQ>6@YLROD Sforzando! Music Medicine for E\%DUU\5RVV>6@ >6@DQGFHOOR>6@ String Players $19.95 member, $25.95 non-member HG$QQH0LVFKDNRII+HLOHV>6@ Private Studio $8.75 member, $11.40 non-member Playing and Teaching the Viola HG*UHJRU\%DUQHV>6@ The Complete Guide to Running a Stretching for Strings $43.95 member, $56.95 non-member Private Music Studio E\0LPL%XWOHU>6@ E\-DFN:LQEHUJ0'DQG0HUOH) 6DOXV067>6@ CELLO $29.95 member, $38.95 non-member $19.95 member, $25.95 non-member Cellist’s Guide to the Core Technique E\*-HDQ6PLWK>6@ The Complete Guide to Making More $14.50 member, $18.85 non-member Money in the Private Music Studio Miscellaneous E\0LPL%XWOHU>6@ Ultimate Strings, Volume 1: $29.95 member, $38.95 non-member The Art of Cello Teaching Alternative Styles (various artists) E\*RUGRQ(SSHUVRQ>6@ Ultimate Strings, Volume 2: $11.95 member, $15.95 non-member Resource Classical Virtuosity HDFK&' Classroom and Basic String Maintenance: A Teacher’s Guide Orchestra E\+DUROG7XUE\ÀOO>6@ $ZDUG&HUWLÀFDWHV $17.95 member, $22.95 non-member $12.95 member, $14.95 non-member Getting It Right from the Start: A Guide (per pack of 25) to Beginning and Enriching a Successful Dictionary of Bowing and Please specify which award you want String Orchestra Program Pizzicato Terms when ordering. ed. Kathlene Goodrich and Mary Wag- HG-RHO%HUPDQ%DUEDUD*-DFNVRQ Achievement Award, Director Award, QHUVHFRQGHGLWLRQ>6@ .HQQHWK6DUFK>6@ Most Improved, Spirit Award, Student $19.95 $16.50 member, $21.45 non-member Leadership Award

78 | American String Teacher | May 2006 Order online at www.astaweb.com.

Miscellaneous (cont.) ASTA Membership Pin Cello Drones CD $7.00 each *Shipping included in price. $10.00 member, $12.00 non-member Director’s Awards Pack $27.95 member, $32.95 non-member ASTA Keychain *Shipping is only included on individual &RQWDLQVRIHDFKDZDUGFHUWLÀFDWH $4.75 each *Shipping included in price. purchase of keychain and/or membership pin. If ordering books along with either Director’s PLATINUM Awards Pack of these, you MUST add shipping accord- $54.95 member, $59.95 non-member I Strings Bumper Sticker (10 pack) Ɔ ing to the chart below. &RQWDLQVRIHDFKDZDUGFHUWLÀFDWH $12.00 each *Shipping included in price.

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www.astaweb.com | 79 Notes

Events and Competitions The Carlos Prieto International Cello Competition is open to all cellists age 34 or younger at the time of the competition. In collaboration with MENC, MTNA, Complete details, including application forms and requirements, ASTA, Smart Music, and Alfred Music, can be found at www.conservatoriodelasrosas.edu.mx or by the International Association for Jazz Education sending a request to [email protected]. (IAJE) will produce two Teacher Training Institutes mx. The deadline for application is July 28. (TTI) this June. The TTI features a two-and-a-half-day, track- based format in which participants attend up to three content- In Memoriam specific sessions and two general sessions each day. Each TTI contains an instrumental track geared for band directors, a vocal Longtime ASTA member Robert track aimed at choral directors, and a general music track for Gerle, 81, a concert violinist elementary music teachers. In efforts to broaden the reach of jazz acclaimed for his technique who also education, each TTI features one specialized track, such as strings, had a long career as conductor and piano, or technology, to meet the specific needs of the host teacher, died October 29, 2005, at location. Aside from the track sessions, all participants attend the his home in Hyattsville, Maryland. general sessions, which cover such areas of universal interest as He had Parkinson’s disease. improvisation and jazz history. Because many educators teach After training in Hungary, multiple grade levels or ensemble types, participants are Gerle was warmly received for encouraged to “track hop” by attending whichever sessions they his diverse and expertly handled feel will meet their specific needs. What makes the TTI unique repertoire at concert engagements however, is its focus. Aimed at educators with minimal exposure from New York to London in the or background in jazz, the goal is to provide information and late 1950s and early 1960s. New York Times classical music critic techniques that are accessible and applicable to the classroom or Harold C. Schonberg admired his 1958 concert at New York’s private lesson setting. The atmosphere is one of collegiality and Town Hall on a program ranging from Bach to Stravinsky: “As a sharing, where jazz learning is made “user friendly.” There is a violinist pure and simple, Mr. Gerle has all the answers. He had sincere desire to equip those who are interested with a newfound some of the steadiest bow arms this listener has heard, and his understanding of jazz and basic tools to share this music through intonation is flawless.” education. In 1970, Gerle and concert pianist Marilyn Neeley, his wife, The 2006 TTI String Track will take place June 15 through recorded the complete Beethoven violin and piano sonatas for the 17 in Park City, Utah, and will feature clinician and ASTA Westminster label. They shared an Emmy Award for the video member Martin Norgaard. Tentative sessions include: 1) Beginn- presentation of the recording. ing Improvisation: Rhythm, Articulation, Bowing, and Easy Scale After holding teaching assignments at the Peabody Institute Improvising; 2) “How Was My Solo?”—Methods for Evaluating in Baltimore and the Mannes College of Music in New York, Improvisation; 3) The Essence of Jazz—Improvising on Chord Gerle accepted an offer in 1972 to start the orchestra program Changes; 4) Borrowing from the Greats; 5) How to Turn Your at the University of Maryland Baltimore County (UMBC). He Orchestra into a Jazz String Big Band; and 6) Integrating Jazz spent two decades at UMBC while also teaching at Catholic into the String Program: Practical Issues and Concerns. University in Washington, D.C., conducting the Friday Morning For more information regarding the TTI, visit www.iaje.org Music Club Orchestra, and serving as musical director of the or call 785-776-8744. Washington Sinfonia. Gerle was born April 1, 1924, to Hungarian parents in The Mexican Council for Culture and Arts and the government Abbazia, Italy, which is now Opatija, Croatia. He was raised in of the state of Michoacan, through the Conservatorio de las Budapest, where he was a graduate of the Franz Liszt Academy Rosas, announce the fifth Carlos Prieto International Cello of Music and studied at the National Conservatory of Music. In Competition, to be held August 24 through 29 in the city of 1942, he won the Hubay Prize for violin performance. Morelia, Michoacan, Mexico. The competition is organized every He spent much of World War II in a labor camp in three years with the purpose of stimulating cello activity and Budapest, but toward the end of the war, with the Soviet attracting the world’s attention toward the cello in Ibero-America advance, he escaped and hid in a crawl space for weeks at a music (Latin America, Spain, and Portugal). The singularity of this professor’s apartment. In January 1945, Soviet soldiers found competition is to promote the enrichment of the cello repertoire him and 26 other Hungarian Jews in the apartment. They took and to attract the attention of cellists to Ibero-American them before a firing squad as suspected snipers. As Gerle walked compositions by including works freely chosen by contestants to his death with his instrument in hand, the Russian in charge from such repertoire, plus a required work now being composed ordered him to play a piece by Tchaikovsky. When he finished the for the competition by an important Mexican composer, in selection, the officer was convinced that he was a musician and addition to the standard cello repertoire. not a sniper and let all the men go.

80 | American String Teacher | May 2006 Gerle’s latest book, an autobiography titled Playing It by Heart: Wonderful Things Can Happen Any Day (2005), tells of the above encounter, as well as other exciting adventures in his life and musical studies. It is also a tribute to the Hungarian school of violin playing. He also wrote two books on violin technique, The Art of Practising the Violin (1983) and The Art of Bowing Practice (1991).

Everett Gates, longtime ASTA member and professor emeritus of music education at the Eastman School of Music, died March 6. Gates graduated from Eastman with a bachelor’s degree and performer’s certificate in 1948. He returned to his alma mater as professor of music education in 1958 and was promoted to chair of the department eight years later. Throughout his distinguished tenure, Gates served on several important Eastman and University of Rochester committees, and earned an Alumni Award for Excellence in Teaching in 1968. Before his appointment to the Eastman faculty, Gates was a member of the Rochester Philharmonic Orchestra from 1937 to 1948. For the next 10 years, he was principal violist and assistant conductor of the Oklahoma City Symphony and a member of the faculty of Oklahoma City University. He also had many compositions published by Boosey & Hawkes throughout his career. After his retirement in 1979, Gates remained in close contact with many of his former students and continued to be an active member of Rochester’s music scene.

People The Cleveland Institute of Music (CIM) has appointed ASTA member Jeff Bradetich to its double bass faculty beginning in the 2006–2007 academic year. He will serve as visiting professor at CIM and will remain in his full-time position at the University of North Texas, where he has directed the double bass program since 1994. Bradetich was a member of the Lyric Opera of Chicago Orchestra for four seasons. He has given more than a thousand master classes worldwide and has transcribed more than a hundred solo works for the double bass. Bradetich served as executive director of the International Society of Bassists from 1982 to 1990 and edited that organization’s magazine for nine years. He earned bachelor’s and master’s degrees in double bass from Northwestern University and received further training with Gary Karr and other leading bass pedagogues.

www.astaweb.com | 81 Showcase

Instruments and Accessories Viola players stepping up from their first student instrument will find extraordinary value in the H.P. Hoyer viola outfit from Meisel Stringed Instruments has added the highly compact Glaesel. This rich, full-sounding instrument (model VA036EC) and accurate MCT-7L to its popular line of digital tuners. The is fully carved by a master luthier and features highly flamed ultra-slim MCT-7L chromatic tuner works by picking up an maple back and ribs supporting a fine seasoned spruce top. High- instrument’s physical vibrations rather than the audible sound quality ebony trim is featured throughout, and the corpus it creates. That way, tuning is not affected by ambient noise, no is finished in a carefully applied oil varnish. matter how loud or distracting your The instrument is fully shop-adjusted at the surroundings may be. Glaesel shop in Cleveland, Ohio, with Thomastik A convenient clip-on feature lets Dominant perlon core strings. The outfit musicians securely attach the tiny includes a Brazilwood bow and a unique MCT-7L to any instrument—even a oval case with cover and music pocket. piano—so you don’t have to place it on Suggested retail is $2,725. a flat surface or worry about accidentally Glaesel string instruments are knocking it to the floor. available from Conn-Selmer, Inc., With an incredibly wide tuning the largest manufacturer of band and range, the MCT-7L can be used to orchestral instruments and accessories tweak the intonation of almost any in the United States. Conn-Selmer is a musical instrument—from the highest subsidiary of Steinway Musical Instruments, Inc. For more notes on a piccolo to the lowest string information, visit www.conn-selmer.com. on a double bass—with ease and precision. In addition, the non- volatile memory keeps all settings. Connolly & Co., the exclusive U.S. importer of Thomastik- The MCT-7L includes a user-friendly back light that makes Infeld products, is pleased to announced that Thomastik-Infeld the unit’s LCD readout clearly visible in all types of lighting has created a new vision for viola: Vision Viola strings. These situations. It carries a very affordable suggested retail price of well-balanced strings are designed to bring brilliance and warmth $48.95. to your viola while providing key benefits already known to Also from Meisel comes the lightweight and affordable violinists using Vision strings. The strings have been tested fiberglass 101B Cello Case. Designed to withstand all traveling extensively by violists throughout the United States—and the conditions, the 101B is made of rugged and durable fiberglass. Its feedback was influential in the final design of each string in the hard outer shell protects the cello against scratches, scrapes, and set. dents, while its seven draw-bolts guarantee a tight seal to make The sound of the Vision Viola string is bright and the case completely weather-resistant. powerful. Players who have tried the new strings have noted Aside from providing exterior protection, the 101B Cello their “immediate response,” “unparalleled tuning stability,” and Case features a thickly padded, plush interior and a suspended “excellent string-to-string balance.” Vision Viola strings can support system that maintains the instrument stabilize in as few as 10 minutes and last longer than most similar in place. synthetic core strings. The list price of the Vision Viola set is Lightweight and versatile, the 101B makes $132.30. For more information, visit www.connollyandco.com. the perfect companion for student cellists. It weighs just under 15 pounds and is equipped with wheels to make transport easier. The two straps and outer rings make the case equally convenient to carry on the back or over the shoulder, and three well- placed handles make it easy to lift, too. The 101B Cello Case comes with two bow holders and a removable accessory bag. It can accommodate cellos in three sizes: 4/4, 3/4, and 1/2. Its suggested retail price is $399. For more details on the MCT-7L tuner and the 101B Cello Case, visit www.meiselmusic. com or call 1-800-634-7356.

82 | American String Teacher | May 2006 The ASTA National Solo Competition March 7–10, 2007 Detroit, Michigan

The National Solo Competition will occur March 7 through 10, 2007, in conjunction with the ASTA National Conference in Detroit. The competition is open to ASTA members or current students of ASTA members. Instrumental categories are Violin, Viola, Cello, Double Bass, Classical Guitar, and Harp. Prizes for winners of the National Solo Competition will be announced in the August 2006 issue of American String Teacher (AST) and online at www.astaweb.com.

Eligibility Dates to Remember There are two levels: the Junior Division and the Senior Division. Fall 2005:6RPHVWDWHVKROGFRPSHWLWLRQVLQWKH´RII\HDUµ&KHFN 7KH-XQLRU'LYLVLRQLVRSHQWRPXVLFLDQVXQGHUWKHDJHRIDVRI with your local chapter to see if your state is holding a solo 0DUFK ERUQDIWHU0DUFK 7KH6HQLRU'LYLVLRQ competition. Participants in 2005 and 2006 state solo competitions is open to musicians ages 19 to 25 as of March 10, 2007 (born on are eligible for the 2007 national competition. or after March 10, 1981, and before March 11, 1987). Fall 2006:6WDWHOHYHOFRPSHWLWLRQV&KHFNZLWK\RXUORFDO All eligible previous entrants may enter the competition again, ASTA chapter to see if your state is holding a solo competition. LQFOXGLQJSUHYLRXVQDWLRQDOÀQDOLVWVDQGVHFRQGSUL]HZLQQHUV Participants in 2005 and 2006 state solo competitions are eligible 3UHYLRXVJUDQGSUL]HDQGÀUVWSUL]HZLQQHUVLQWKH-XQLRU'LYLVLRQ for the 2007 national competition. may not compete again in that division; however, they may enter November 16, 2006:'HDGOLQHIRUDOOVWDWHFRPSHWLWLRQVWREH WKH6HQLRU'LYLVLRQLIWKH\ZLOOKDYHDWWDLQHGWKHLUWKELUWKGD\E\ completed. 0DUFK3UHYLRXVJUDQGSUL]HDQGÀUVWSUL]HZLQQHUVLQ WKH6HQLRU'LYLVLRQDUHQRWHOLJLEOHWRFRPSHWHIXUWKHU December 1, 2006: State chairpersons submit applications for QDWLRQDOFRPSHWLWLRQWRWKHQDWLRQDORIÀFHSRVWPDUNHGE\WKLV How to Apply at the State Level: date. 7RDSSO\PXVLFLDQVPXVWÀUVWFRPSHWHLQWKHLUVWDWHOHYHO February 1, 2007: )LQDOLVWVZLOOEHVHOHFWHGDQGQRWLÀHGE\WKLV competitions. Participants may enter in their state of residency date. RUWKHVWDWHLQZKLFKWKH\DUHVWXG\LQJ6HPLÀQDOLVWVZLOOVXEPLW March 7–10, 2007: Finalists compete at the ASTA National DQDSSOLFDWLRQDQGUHFRUGLQJWRWKH$67$QDWLRQDORIÀFHWKURXJK the state competition chair. A national committee judges all semi- &RQIHUHQFHLQ'HWURLW ÀQDOLVWHQWULHVDQGVHOHFWVDSSOLFDQWVWREH´ÀQDOLVWVµZKRZLOO March 7, 2007: -XQLRU'LYLVLRQUHKHDUVDOSHULRG compete and perform at the national conference. March 8, 2007: -XQLRU'LYLVLRQFRPSHWLWLRQDQG6HQLRU'LYLVLRQ rehearsal period* If you are selected by your state for the national competition, you must meet the following requirements: March 9–10, 2007: 6HQLRU'LYLVLRQFRPSHWLWLRQ 1. &RPSOHWHDQDWLRQDOFRPSHWLWLRQDSSOLFDWLRQ IRXQGLQWKH March 10, 2007: :LQQHUV·5HFLWDO August AST or online at www.astaweb.com). 6FKHGXOHVXEMHFWWRFKDQJH$OO1DWLRQDO6ROR&RPSHWLWLRQHYHQWV 2. 6XEPLWWKHDSSOLFDWLRQIHHRI&KHFNVVKRXOGEHPDGH will take place March 7–10, 2007. payable to ASTA. 3. Make a recording of the national competition repertoire Any inquiries or questions should be addressed to your state (found online at www.astaweb.com). competition chair (list found at www.astaweb.com) or to: 4. Send all of the above items to your state competition chair no later than November 16, 2006WREHYHULÀHGDQGVHQWRQWR WKH$67$QDWLRQDORIÀFH6WDWHFRPSHWLWLRQFKDLUVZLOOIRUZDUG $67$1DWLRQDO2IÀFH&RQWDFW Canadian Contact: DOODSSOLFDWLRQVWRWKHQDWLRQDORIÀFHE\'HFHPEHU %ULGJHW0XUSK\ Simon Fryer 703-279-2113, ext. 24 FR3HQGHUHFNL6WULQJ4XDUWHW 7KH QDWLRQDO VHPLÀQDOV DUH UHFRUGLQJV RQO\ (QWUDQWV PXVW EH [email protected] Faculty of Music recommended by the state competition chair. Applications MUST Wilfrid Laurier University LQFOXGHD1DWLRQDO6ROR&RPSHWLWLRQ2IÀFLDO(QWU\)RUP IRXQGLQWKH National Solo Competition 75 University Avenue West August AST journal and on the ASTA website at www.astweb.com), Chair/U.S. Contact: :DWHUORR211/& SURRIRIGDWHRIELUWKVWXGHQWDQGRUWHDFKHU$67$PHPEHUVKLS 0LFKDHO&DUUHUD &$1$'$ ,'QXPEHUDQGWKH1DWLRQDOHQWUDQFHIHH$OOFKHFNVVKRXOGEH [email protected] tel 519-884-1970, ext. 3325 made payable to ASTA. fax 519-747-9129

)LQDOLVWVZLOOEHVHOHFWHGDQGQRWLÀHGE\)HEUXDU\ For a list of state competition information and contacts, as 1DWLRQDOÀQDOVRFFXUDWWKH$67$1DWLRQDO&RQIHUHQFHLQ well as national competition guidelines, repertoire, and past 'HWURLW$OOÀQDOLVWVPXVWEHSUHVHQWWREHHOLJLEOH national competition winners, visit www.astaweb.com.

www.astaweb.com.astaweb.com | 83 Volunteer Leadership Directory

State Presidents $VZLWKWKH1DWLRQDO%RDUGWKHIROORZLQJVWDWHFKDSWHUSUHVLGHQWVKDYHEHHQHOHFWHGWRVHUYHDWZR\HDUWHUP ² 

Alabama:0LFKDHO*DJOLDUGR7KH&HQWHUIRU Maryland:$QQH0DULH3DWWHUVRQ5RFN Rhode Island:.ULVWHQ3HOOHJULQR6FHQLF'U &XOWXUDO$UWV%URDG6W*DGVGHQ$/ %HDXW\&W:DOGRUI0'K   :HVW:DUZLFN5,K   35901; h (256) 494-2999; w (256) 543-2787 374-6845; [email protected]. w (401) 734-3300 x252; [email protected]. x32; [email protected]. Massachusetts:&KULVWRSKHU0HPROL+ROLGD\ South Carolina:$QGUHZ/HYLQ'HSWRI3HUIRUP- Alaska: Michele Jeglum; 1119 Kodiak St, 5G:D\ODQG0$K   LQJ$UWV%URRNV&HQWHU&OHPVRQ8QLYHUVLW\ Fairbanks, AK 99709-4835; [email protected]. &OHPVRQ6&K   h (907) 479-9221; w (907) 456-1119; Michigan:9DOHULH3DOPLHUL)RUHVW%D\&W w (864) 656-3043; [email protected]. [email protected]. Wixom, MI 48393; h (248) 668-9945; South Dakota: Tammy Schnittgrund; 330 44th Arizona:'RQDOG+DPDQQ16XPPHUVHW w (248) 956-4592; [email protected]. 6W'5DSLG&LW\6'K   /RRS7XFVRQ$= Minnesota: &RQQLH$LNHQ+ROO\ZRRG&W 8714; w (605) 394-4033; h (520) 290-8544; w (520) 621-3231; Falcon Heights, MN 55108-2130; [email protected]. GKDPDQQ#XDUL]RQDHGX h (651) 644-8318; w (651) 636-3656 x2856; Tennessee:-HQQLIHU9DQ7RO*XOIZRRG5G Arkansas:/LQGD+VX6)$&'HSWRI0XVLF [email protected]. Knoxville, TN 37923; h (865) 690-4937; 8QLYHUVLW\RI&HQWUDO$UNDQVDV&RQZD\$5 Mississippi:6XVDQ/DQGU\3DUNHU'U&OLQ- w (865) 425-9540; [email protected]. 72034; h (501) 450-7379; w (501) 450- ton, MS 39056; h (601) 924-6866; Texas:.DWK\)LVKEXUQ

84 | American String Teacher | May 2006 2007 National Conference Alternative National Foundation to Promote String Student Chapters Styles Committee Teaching and Playing Committees Marjorie Bagley, Chair, [email protected] Brandon Correa Renata Bratt, Chair, [email protected] Auday-Giormenti Double Bass Competition Michael Palumbo Robert Gardner Katharine (Kip) Mason, Chair, [email protected] Beth Danner-Knight, Staff Associate Tanya Kalmanovitch Brian Knott Daryl Silberman William LaRue Jones David Wallace Andrew Palmer ASTA Past Presidents Beth Danner-Knight, Staff Associate David Littrell 2002-2004 CodaBows for America Community Outreach Program Robert Jesselson 2000-2002 2007 National Conference Planning Anne Guevara, Chair, [email protected] Louis Bergonzi 1998-2000 John Reed Edward H. Adelson 1996-1998 Committee Jeff Van Fossen Jacquelyn Dillon-Krass 1994-1996 3DP3KLOOLSVSKLOOLSVÀGGOHUV#DROFRP Anne Witt 1992-1994 Karen Higdon Merle J. Isaac Composition Contest Robert Culver 1990-1992 Kristin Turner James Nacy, Chair, [email protected] Gerald Doan 1988-1990 Cornelia Watkins Anne Mischakoff 1986-1988 Deanna Tompkins, Staff Associate National High School Honors Orchestra Gerald Fischbach 1984-1986 Brian Cole, Chair, [email protected] Lucas Drew 1982-1984 2007 National Orchestra Festival® Gwen Armwood LeRoy Bauer 1980-1982 Clark Sheldon Phyllis Young 1978-1980 Committee Bridget Murphy, Staff Associate Jery Kupchynsky 1976-1978 James Palmer, Chair, [email protected] Richard Sieber 1974-1976 Mary Wagner National Solo Competition Robert Oppelt 1972-1974 Bridget Murphy, Staff Associate Michael Carrera, Chair, [email protected] Ralph Matesky 1970-1972 Harry Lantz 1968-1970 National Development Committee Potter’s Violins Instrument Outreach Initiative Howard Van Sickle 1966-1968 Leslie Wimsatt, Chair, [email protected] Michael Harbaugh, Chair Paul Rolland 1964-1966 Barbara Eads [email protected] Robert Klotman 1962-1964 David Neubert Gerald Doty 1958-1962 Terri Neubert Frank Hill 1954-1958 &HUWLÀFDWH3URJUDP Ernest Harris 1952-1954 Mimi Butler, Chair, [email protected] Special Projects Grants Rex Underwood 1950-1952 Lynne Denig Mary Wagner, Chair, [email protected] Duane Haskell 1947-1950 Lya Stern Nathan Davis Leslie Webster Martha Barnhill NSOA Past Presidents Doris Gazda 1997-1998 Urban Outreach Grants Collegiate String Education Roundtable Peter A. Miller 1995-1997 Gail Barnes, Chair, [email protected] Darcy Drexler, Chair, [email protected] Robert J. Greenwood 1993-1995 'XIÀH$GHOVRQ Arlene G. Witte 1991-1993 Sherry Sinift Committee on School Orchestras and Pamela Tellejohn (Hayes) 1989-1991 Strings (CSOS) Robert S. Frost 1987-1989 Denese Odegaard, Chair, [email protected] New Music Reading Folders Jerry N. Kupchynsky 1985-1987 Jan Garverick Amy Fear-Bishop, Coordinator James H. Godfrey 1984-1985 Jim Palmer [email protected] G. Jean Smith 1983-1984 Karen Person C. Gary Iams 1981-1983 Professional Development Committee James H. Godfrey 1979-1981 John R. Bright 1977-1979 Irene Guerrero, Chair, [email protected] Committee on Studio Instruction (COSI) Robert A. Ritsema 1975-1977 Nancy Cross Jeffrey Solow, Chair, [email protected] Lois Hobbs 1973-1975 Sondra Mosley Lynne Beiler James H. Godfrey 1971-1973 Jeff Bradetich Malvin N. Artley 1969-1971 Victoria Chiang Research Committee H. Wayne Pyle 1967-1969 Ronda Cole Elaine Colprit, Chair, [email protected] Orville “Cy” Dally 1963-1967 Michael Newman Jane Palmquist Forest A. Etling 1961-1963 David Sogin Traugott Rohner, Founder 1958-1961 Council of Past Presidents Louis Bergonzi, Chair, [email protected] String Industry Council Executive Committee John Reed, President Mona Lisa Sound, Inc. Neil Lilien, President-Elect Meisel Stringed Instruments David Luce, Secretary J. D’Addario & Company, Inc. Bob Gillespie Donna Hale Mary Wagner Beth Danner-Knight, Staff Associate

www.astaweb.com | 85 Reviews

String Orchestra scored with both melody even eighth notes, which help There are very few dynamics and harmony parts, allowing keep the rhythmic integrity and indicated in the arrangement, $&+5,670$66<03+21< you a variety of ways to aid the students in rhythmic perhaps to be left to the *U (OOLRW'HO%RUJR perform the work depending accuracy. The modality is minor, discretion of the ensemble FJH Music, 2005, $45. on your needs. R.L.C. but peaceful repose, rather than director. Of minor note, A Christmas Symphony includes sadness, comes to my mind. The perhaps to be changed in future “Angels We Have Heard on *22'.,1*:(1&(6/$6 orchestra has the opportunity to editions, Salzedo’s name has High,” “Hark! the Herald Angels *U $UU(OOLRW'HO%RUJR explore long, beautiful phrases been omitted from the harp Sing,” “God Rest Ye Merry, FJH Music, 2004, $35. that lead to musical maturity. and piano reduction, and the Gentlemen,” and “O Come, Del Borgo again provides string Newbold offers young players a double bass part is published All Ye Faithful.” The piece teachers with playable material work with musical integrity— as “DB.” Boren’s Tango is one starts in D, but is mostly in G, for performance with this fairly always a fine target. R.L.C. of several arrangements of with both high and low second straightforward arrangement of popular intermediate repertoire fingers. Second violin and viola an old English Christmas tune for young players that are parts double, as do cello and Chamber Orchestra for beginning string orchestra. gaining popularity and can bass (except for one measure), a TANGO (harp, chamber Here we find standard string be quite satisfying to perform nice feature for this level. Bass scoring with rehearsal piano RUFKHVWUD &DUORV6DO]HGR and hear. This version has includes high C-natural and included. Viola doubles second RUFKHVWUDDUU0XUUD\%R- been recorded by Elizabeth D. The melody mostly features violin, while cellos and basses UHQ/\RQ +HDO\3XEOL- Hainen, principal harp of first violins and sometimes the double each other to provide cations, 2004, full score, the Philadelphia Orchestra, cello/bass. This would be a great an interesting bass line. A SLDQRKDUSDFFRPSDQG for Egan Records. A.Y. piece to work on extending repeated section in the middle orchestra parts, $25. and controlling the bow. Most of the piece provides the open Originally from Salzedo’s Suite of it is to be played with broad Violin fifth harmonic structures of Eight Dances for solo harp, bows or in cantabile style, for the upper voices that are Boren has arranged the well- 781(6)25),''/( with some hooked bowings, characteristic of Del Borgo’s known Tango for harp, flute, 75$',7,21$/2/'7,0( a wide range of dynamics writings, while cellos and basses oboe, B-flat clarinet, bassoon, %/8(*5$66$1'&(/7,& (mp to ff) and a few dotted- play the melody in augmentation percussion (finger cymbal, SOLOS (vn). Mark Ge- quarter–eighth patterns. S.P.W. for a few measures. A brief tambourine), and string OLVRQ0HO%D\ fugal-like setting follows for orchestra. Just more than two ERRNWKUHH&'V (Gr. 2). Keith *2%/,1)($67 eight measures and the section is minutes in length, Tango can be This is part of a series, with Sharp. FJH Music, 2005, $40. repeated. Quarter notes and half a rewarding work to perform for separate books available for Sharp, from Australia, brings notes are used throughout, with a young harpist (or harpists) and bass, banjo, mandolin, and interesting, flexible, and highly two measures of repeated eighth a student orchestra, and offers guitar. While most of the tunes playable musical works for notes leading to a fortissimo invaluable experience toward are for intermediate to expert young string orchestras. This ending. This is a good piece for a developing the young harpist’s players, there are three tunes work can be played either on winter holiday concert. Directors musicianship. There is very little in the appendix for beginners. or off the string, depending on should be mindful of a printer’s repertoire at the intermediate The organization is useful, with the group’s technical ability and mistake (wrong fingering) in level for solo harp with an tunes arranged in alphabetical chosen tempo. Scored simply, measure 4 of the score, second ensemble. By arranging well- order, then numbered as to there are no complex rhythms. violin and viola parts. M.D. known solo repertoire for harp difficulty (1 being easiest, The A minor tonality offers a with chamber orchestra, Boren 2 intermediate, and 3 more dark and resonant sound. This /()52,''(/·+,9(5 (The has expanded the possibilities difficult). Three accompaniment is an excellent piece to teach &ROGRIWKH:LQWHU  *U so a student harpist may be CDs are included, recorded at accents, dynamic contrast, 2). Soon Hee Newbold. featured with an ensemble performance speed, with tempo and various bowings. The with repertoire that is well markings and suggestions for driving ostinati with accents FJH Music, 2005, $40. A graceful melody that flows written yet not overwhelming. practice found in the preface. on weak beats give energy for Please note that the solo harp Fiddle tracks have many both audience and performers. over a simple pizzicato figure gives this beautiful piece an part is not included, and that ornamental nuances that are not Tambourine and tom-tom there are details in Salzedo’s notated, but can be learned by add to the flavor but are not impressionistic atmosphere. The arpeggiated piano part original version that are not listening to the recordings. All mandatory. The scoring is included in this arrangement, accompaniments are performed flexible with optional violin complements the string texture, completing the quiet mood. such as the change of Salzedo’s by professionals (champions parts that offer a counter melody expressive marks to tenutos included!) and are clean, and some third position work Students are required to perform slurs and smooth bow changes. and the omission of Salzedo’s uncluttered, and pleasant to for more advanced students; performance note that the hear. Progressions are written optional third violin doubles The rhythms are simple. Dotted quarters are reinforced with sixteenth notes in the bass above the tunes—and again in viola. Cello/bass parts are rhythm should be quite short. the appendix as simple letters

86 | American String Teacher | May 2006 without notation. Several sight-reading, improvisation, style. Massey has included useful This fascinating examination helpful chord charts and fiddle rhythm, and intonation in a performance advice, fingerings of discrepancies between fingerboard chord diagrams are fun and challenging way. In and bowings, and a complete Mendelssohn’s autograph score included. The appendix includes addition, violin teachers can description of how to execute and the first published edition a suggested listening list of reinforce the importance of Venuti’s famous “four string leads us to rethink some of modern fiddlers, and a short classical studies by referring to bowing technique.” Just as the conventional bowings and explanation of using triads to Ponty’s own background: in important, Massey indicates the articulations we have become play “rhythm” on fiddle. A brief 1960, he graduated from the chords that Romano is playing accustomed to, but that may not explanation of fiddle contests Paris Conservatory with the (often the exact voicings) as actually best serve Mendelssohn’s includes a list of the book’s institution’s highest award. M.N. well as the guitar’s single-line intentions. I highly recommend tunes in the typical contest accompaniments. Although this edition to anyone categories: Hoedown, Waltz, JOE VENUTI—µ1(9(5%(- the arrangements follow a seeking a fresh approach and Tune of Choice. This would )25(1(9(5$*$,1µ vn, predictable form—a cadenza- to an old favorite. G.H. be a good addition to your gtr). Trans. Aidan Massey, like introduction, a rubato fiddle music library, particularly HG5LFKDUG1LOHV5RPDQR exploration of the melody 9,2/,1&21&(572,1 if you are seeking chordal -RH9HQXWLZLWK7RQ\5R- followed by a fast “hot” chorus, *0,12523 YQ accompaniments. M.A.G. PDQRJXLWDU0HO%D\ and ending with another SQR 0D[%UXFK+HQOH ERRN&' cadenza—the music itself is Ürtext, 2003, $26.95. -($1/8&3217<&2//(&- Anyone interested in jazz anything but predictable. A This is another beautiful 7,21/($'6+((76)25 violin or jazz history should version of “Summertime,” as Henle edition with valuable &20326,7,216 YQ  own this book. British violinist Massey points out, involves historical commentary on the Hal Leonard, $14.95. Massey has carefully transcribed flamenco, Rimsky-Korsakov, evolution of the work, and This collection provides a door seven solos by Venuti from an and wandering off into an A a detailed explanation of the into the rich world of jazz-fusion impromptu 1954 duo recording minor invention. Venuti and sources. The version we know violin that will delight and with guitarist Joe Romano. Romano’s joyful collaboration and love does not represent inspire any adventurous teenage Included is a CD of the original is a tremendous legacy to all this concerto’s 1866 premiere. violinist. The compositions were album, plus an additional track musicians, everywhere. P.Z. It was thoroughly revised after selected from the full 30-year with Romano’s reminiscences its initial “outing” with the span of Ponty’s pioneering of the 40 years he played with 9,2/,1&21&(572,1( help of Joseph Joachim, who violin jazz-fusion recordings. Venuti (including the story 0,12523 YQSQR  later played a similar role in Six compositions are available about nailing the drummer’s )HOL[0HQGHOVVRKQ%DUWKROG\ the final revision of Brahms’s on The Very Best of Jean-Luc shoe to the floor). Venuti, a Henle Ürtext, 2003, $30.95. concerto. It was Joachim who Ponty, and I found all the others, brilliant improviser and one This edition is of significant suggested the elision of the first except one, in online music of the first great jazz violinists, interest because, while it is not two movements, among other delivery services, such as iTunes became famous in the 1920s a pure ürtext, the fingerings and significant changes in the solo and Rhapsody. Following and through his performances bowings are from the renowned part. The revised version received playing along with the classic with the equally innovative violinist and pedagogue Igor its “premiere” in 1868, with tracks is thrilling. The notation guitarist Eddie Lang. Their duo Ozim, a particularly refined Joachim as soloist, and embarked is accurate and easy to read, recordings are highly regarded and elegant player. There is also upon a “quite fabulous career.” though only the recording as “classics of chamber jazz.” the beautiful printing quality The editor chose not to use will reveal what instrument After Lang’s untimely death in and readability that we have bowings and fingerings from plays what part. Most high 1933, Venuti did not record come to expect from Henle. sources for the solo part, but school level violinists will be again in the violin-guitar format Moreover, the piano reduction provides a completely new set able to play and improvise to until after 1937, when he began is prefaced by a detailed account of markings by Kurt Guntner. the recordings following the playing with Romano. As a sign of the genesis and development However, markings deemed notation in the book. Many of of his regard, Venuti gave Lang’s of the concerto, including necessary by the editor that do the tunes’ chord progressions Gibson L5 guitar to Romano, information from Mendelssohn’s not appear in the sources are are easy to improvise over, such who plays it on this recording. correspondence with his in parentheses. It would have as the vamp in Bowing Bowing, The transcriptions and recording “consultant” Ferdinand David, been interesting to see Joachim’s where one scale can be used illuminate Venuti’s spectacular who premiered the work and bowings and fingerings. There on all chords. Many lessons technique and musical made numerous suggestions and is a blank page between the can be derived from playing inventiveness at the height of revisions, mainly concerning first and second movements and studying Ponty’s music. his playing. Although the book articulation, fingerings, and to facilitate page turns, which Students will be excited to is geared toward classically bowings. The piano reduction is most helpful during the discover the prominent role of trained violinists at an advanced includes a detailed list of learning process. G.H. the violin in the development level, there is a great deal sources, an evaluation of those of jazz-fusion. Playing with here for anyone interested in sources, and Igor Ozim’s article the recordings will teach understanding Venuti’s unique “Mendelssohn or David?”

www.astaweb.com | 87 Reviews

Assorted pieces for cello and PDQQ+RUWXV0XVLFXV of the cello were most likely instruction (the beat remains piano. Arr. and ed. Wer- %lUHQUHLWHU½ intended for home use. Today, the same throughout all metric ner Thomas-Mifune. Edition This exemplary ürtext/critical aside from baroque specialists, alterations), and in one spot, it .XQ]HOPDQQ&)3HWHUV edition presents all Gabrielli’s few professional performers is unclear whether a glissando (,1%$<(5,15,2:(,66- surviving chamber music for will likely choose to program coming out of a separately %,(56$0%$ cello: seven Ricercares for solo them. However, creativity and bowed run is to continue If you are searching for a fun and cello, a Canon for two cellos, the right context could expand the bowed sixteenths or slide flashy encore or showpiece, this and two Sonatas for cello and the Sonatas’ performance smoothly up to the concluding is the piece for you, full of dance continuo (G major, in two possibilities. As the editor notes, e´´. However, the 10-minute rhythms and syncopations. I versions, and A major). In her “Players in Gabrielli’s day were piece is expressive, moody, and recommend this to your more Introduction (in German and granted maximum license in the evocative and would go over advanced students, since thumb English), the editor provides choice of continuo instruments well for the right audience. J.S. position and treble clef reading historical setting, a brief . . . Today’s performers, too, are required. It is less than biography of the composer, are warmly encouraged to FANTASIA (vc, pno). Sam- three minutes long and would description of the sources, and make timbral experiments with XHO=\PDQ0HULRQ0X- make a delightful addition an explanation of her editorial harpsichord, organ, theorbo, VLF3UHVVHU to a Latin cello program. practice, concluding with a baroque guitar, cello, and other Mexican-born Zyman teaches There is also a string quartet Critical Commentary. Besides instruments in a very wide at his alma mater, the Juilliard arrangement of the piece. the solo cello part, the edition range of combinations.” J.S. School. I became acquainted contains a realized keyboard with his Fantasia when one :2'.$:$/=(5(GX- score for the sonatas, an 'e3/25$7,21. Annick of my students performed it ard Lalo. 2002, $11.95. unrealized basso continuo score &KDUWUHX[(GLWLRQV+HQU\ from a private copy she had This is another fun and accessible for a second cello, and a separate Lemoine, 2003, $14.95. obtained from its dedicatee, the little ditty from Thomas-Mifune. part for the Canon. There are French composer Chartreux distinguished Mexican cellist It is a graceful and humorous no fingerings, and editorial has written many solo piano, Carlos Prieto. I am delighted piece, occasionally using additions are in brackets. An chamber, vocal, and orchestral to see it published. Fantasia treble clef, thirds, and sixths. appendix in the solo part has works to complement her begins and concludes with Lento I encourage you to imbibe scordatura versions of Ricercares teaching activity, including sections that frame a central in this pleasurable morsel. 6 and 7 and the G major jazzy ensemble and piano pieces Allegro con brio, somewhat Sonata (C-G-d-g—like Bach’s intended for young players. reminiscent of Hindemith &(//2%5$6,/ 5th Suite—seems to have been Déploration comes from the in its rhythmic energy and This collection of Brasilian Gabrielli’s preferred tuning). The more serious and somber side drive. Of only moderate tunes includes three pieces Ricercares are perfect precursors of her creative world. Written technical difficulty, Fantasia’s by Villa-Lobos, as well as a to studying the Bach Suites: for the prize-winning young harmonic language is accessibly beautiful “Sweet Sleeping less challenging technically, cellist Christian-Pierre Lamarca traditional, and its length is a Song” by Lorenzo Fernandez they provide an introduction to to be premiered at a festival in very programmable seven and a and contemplative “Ponteio early baroque style with genuine Bourgogne, it is mostly slow, half minutes. I recommend this Nr. 7” by Carmargo Mozart musical worth. Single-movement free, and declamatory with a effective and appealing work. J.S. Guanieri. All the pieces are works ranging in length from somewhat jazzy, ostinato-like very lyrical, with the exception two to six pages, they keep to the middle section that provides -8'$,&&21&(5768,7( YF  of the energetic, rollicking “A neck positions (Ricercar 6 has variety. While there are no Aaron Minsky. Oxford Uni- Canoa Virou” (The Capsized some tenor clef with harmonic rhythmic difficulties, much of versity Press, 2004, $10.95. Canoe). Many of the pieces use A being the highest note), are the writing is quite high (ranging Probably best known for his Ten treble clef, and the rhythms are mostly in eighth and sixteenth up to d´´´), and some passages American Cello Etudes, Minsky very syncopated, with many notes, and avoid complicated will require a bit of time to has another musical offering ties, and subdivisions between keys. The Canon and the Sonatas figure out good fingerings. The for the cello world in this suite. sixteenths and triplets. The are of a similar technical level music is conveniently laid out Clearly inspired by spiritual music is clearly printed and the (for the keyboard, as well). In the with rests allowing for page pieces by Ernest Bloch, this arrangements are very good. I works intended for scordatura turns, so memorization is not piece is in three movements. recommend this collection to tuning, the more awkward a necessity. Most American The first, “The Entrance of all those looking to add some double-stops (when played in players would probably wish the Bride and Groom,” begins spice to their repertoire. A.C.F. normal tuning) could easily for the inclusion of a short in a moderate dance feel but be eliminated, and Hoffmann Composer’s Note and some accelerates into a wild hora. It 7+(&203/(7(:25.6)25 provides guidance along these performance directions. I had to is meant to portray a traditional lines in her Performance &(//2 YFSQRYF,, 'RPHQL- research the meaning of the title Jewish wedding. “Spiritually, Suggestions at the end of the FR*DEULHOOLHG%HWWLQD+RII- (lamentation in the fashion of the bride and groom united solo part. These works that figure an ancient Greek threnody) as are symbolic of the unification so significantly in the history well as Chartreux’s initial French of God and mankind, so the

88 | American String Teacher | May 2006 dancing is almost a form of American composer Dorff’s that it is accessible for player Recently discovered, this prayer, demonstrating the hope works have been performed and audience alike (don’t collection of Celtic tunes is that one day God and man will by many of America’s most expect melodies, however). a welcome treat to add to be as one.” It is classical Jewish distinguished orchestras, While not precisely easy, the Chenette’s book, Progressive music at its best, and Minsky has including those of Philadelphia, four movements—1. Grandly Solos for the Harp. The 11 tunes created a lively, wonderful piece Baltimore, Detroit, Minnesota, majestical, 2. played With pluck, in each volume are from the with this movement alone. The and Indianapolis. In his 3. muscular: Energetic, 4. a little Gow Collection and O’Carolan second movement, Variations introductory notes, the taste of Night music (acronym selections. Placings and on “Adon Olam”, is a set of six composer explains that this for Gwen)—generally confine fingerings are clearly marked and variations to one of the most bittersweet work was inspired themselves to the lower registers quite excellent. Keys include C, famous sung prayers in Jewish by a PBS documentary about and avoid complicated rhythms. F, G, and B-flat major, and G liturgy. The words of the prayer Soviet Jews emigrating to New The direction “turn quietly” and C minor. Carolan’s Quarrel speak of God as the creator, York in the 1890s. Composed in at the single point requiring is the most challenging, with the eternal Awesome one, King 1987 and revised in 1990, Dorff a page-turn in the middle of a melody that features almost of the Universe, and God of changed its original title, Hebrew a movement indicates that continuous sixteenth notes. The all mankind. This movement Elegy, to the current, more memorization is not mandatory. longest tune is two pages, lever can’t help but have roots in universal one after a cellist friend The greatest technical challenges changes are clearly marked, and Bruch’s Kol Nidrei and Bloch’s dying of AIDS incorporated it are rapid pizzicati in the second there are also a few grace notes. Prayer, but the variation form into his own funeral. Beautiful movement, barriolage bowing in Chord symbols are not included. really makes this movement and poignant, Peaceful Journey, the third and, in the atmospheric These books are excellent for work as part of a concert piece. “a lyrical poetic plaint without fourth movement, the many an early intermediate player, as The final movement is titled much cellist flash,” lasts artificial harmonics—some well as for the gig book. D.G.V. “Sound the Shofar.” Indeed, the about eight minutes. J.S. with glissandi—and a few high cellist imitates the ascending notes (F´´, F-sharp´) that need &21&(5767h&.)25+$53 fifth of the ram’s horn call in 621$7$,1'0,125 to be picked out of the air. $1'25&+(675$23 the beginning. The ram’s horn YFSQR *OLQNDHG'PL- Gwen Krosnick told me how it (harp, string quartet). Ga- is played during Jewish High WU\

www.astaweb.com | 89 Reviews dynamics and some additional rhythms add color. Bruner’s 5$*7,0(*8,7$5 Arr. CDs notes to fill out harmonies) when arrangements lie comfortably Allan Jaffe. Hal Leon- (51g'2+1É1<,&21- referring to a Kalmus reprint in the hand and are pleasant for ard, 2004, $19.95. &(57,12)25+$53 (1980) of the Hamelle edition playing and listening. D.G.V. This set of 14 works includes - (n.d.) of the orchestral score. In fully notated arrangements with $1'&+$0%(525&+(6 future editions, it would be good 675$,*+7)5207+( tablature, and a CD recording 75$23%ULGJH5H- to have more information on the +$5392/6  by the arranger performed on a cords., 2004, $16.99. full score provided, for example, lever harps). &RPSRVHG steel string guitar. Biographical Sarah Cutler performs the Concertino for Harp and whether these particular errata DUU%DUEUD%DLOH\%UDGOH\ information and performance Chamber Orchestra by Ernö von are performance practices that HG0LPL0F1HHO0F%UDG suggestions are included, as Dohnanyi, with the American have been codified. Overall, Publishing, beebeebee@ well. The primary technical Symphony Orchestra, conducted the reduction is laid out clearly erols.com, 2005, each $15. challenges include extensive with careful attention to page barring and maintaining the by Leon Botstein. This is The arrangements are very an authentic performance, turns in the individual string accessible to intermediate clarity of the bass part. This parts and with reference to the collection is a good value for capturing vividly the piece’s players. Helpful fingerings are ever-changing moods. Cutler’s solo harp part as published by provided, and lever changes anyone interested in exploring J. Hamelle & Cie. Please note this rich musical heritage. M.C. tone is by turns voluptuous, are clearly indicated. Volume silken, soaring, scintillating, that the solo harp part published 1 includes an original tune is not included and must be and dynamic. This is the finest by Bailey Bradley, samplers Chamber Music recording of any harp concerto purchased separately. Hopefully, from four Bach inventions, 0,&+(//(*5$1'$/%80 I have ever heard, except for more audiences and performers the traditional Lakes of )25675,1*48$57(7 Ed Druzinsky’s recording of will be exposed to this gem in Pontchartrain, a Clementi the harp’s repertoire through 0LFKHO/HJUDQGDUU%HUW Ravel’s Introduction and Allegro sonatina, and Shaker Tune/ with the Chicago Symphony Litterell’s meticulous efforts. This EnRoulant (solo version or Ligon. Latham Music, 2005, version has been recorded by parts $21.95, score $8.95. Orchestra under Jean Martinon. harp trio). Volume 2 includes The harp is in a true relationship Elizabeth Hainen, principal harp two sonatinas (Beethoven Legrand, who began writing of the Philadelphia Orchestra, film scores in the 1950s, is also with the orchestra, leading with and Attwood), Three Baroque melody, passion, and color. for Egan Records. A.Y. Dances (Anna Magdalena), well known as a singer, jazz and classical pianist, songwriter, and An outstanding piece in our American hymns Chester and sometimes frustrating repertoire, 0,'6800(50($'2: Slane/Nettleton, and Huron conductor, and his compositions OHYHUKDUS 3DPHOD%UXQHU have become pop and jazz Concertino is sweeping, lyrical, Carol (solo or three harps). Both and romantic in style, yet Afghan Press, 2004, $20. volumes include solo and duet standards. Ligon, who writes Bruner’s new collection interesting parts for everyone, modern in conception and use arrangements of She’s Like the of the harp. Continuous in form, of original tunes provides Swallow/I’se the Bye. D.G.V. has taken seven of Legrand’s three arrangements of each most beloved songs and created with its three interconnected a set of beautiful arrangements movements, it does not always composition. The most advanced Guitar is for 36 string harp, second is for string quartet. The first two feature strong melody, or any of for a harp of 26 or 27 strings, 3,21((568,7($0(5,- pieces, “The Windmills of Your the other trappings of romantic and the simplest one is for &$1&/$66,&6)2562/2 Mind” (in G) and “How Do concerti. It does feature unique lap harp (although any of the *8,7$5, VOL. 1. Arr. James You Keep the Music Playing” passagework, sweeping arpeggios of dramatic and melodic three could be played on 36 (GZDUGV0HO%D\ (in E-flat) are well within the character, rhythmically charged string harp and the lap harp This publication offers a set reach of intermediate players allegro, idiomatic effects, and arrangements could certainly of 10 arrangements of works (few syncopated rhythms, all largeness of scale within its be played on a 26- or 27-string such as “Beautiful Dreamer,” in first position). Most of the modest scope of length (15 harp). The three individual “The Water is Wide,” and other arrangements (“A Piece minutes) and instrumentation. arrangements can be combined “Jeanie with the Light Brown of Sky,” “What Are You Doing In many ways, this makes for harp ensemble. In these Hair.” I personally liked the the Rest of Your Life,” “Little the Concertino an ideal harp dozen descriptive tunes (e.g., arrangements, but I was bogged Boy Lost,” “The Way He Makes concerto. It is playable by a Dragonfly Waltz, Forest Stroll), down by obvious and numerous Me Feel,” “You Must Believe very advanced college-level lever changes and helpful errors in fingering, especially in in Spring,” and “The Summer student and fosters clarity, fingerings are clearly marked the first medley. The enclosed Knows”) include frequent expression, and singing tone. (it would be easy to add pedal CD was unplayable on the two key and meter changes, more It is rhythmically challenging changes, if needed). Keys used systems I tried. However, if challenging rhythms, and up and needs nimble facility include C, F, G, and D major, as one is willing to get past these to sixth position, so they are but rich tone in large chords. well as E and D minor. Chord problems, the arrangements better suited for advanced and This recording will make symbols are provided (thank are musical and would be well professional players. All will it much easier to learn the you). Rolled chords, glisses, suited for performance in an enjoy the gorgeous harmonies piece, as hearing the orchestral grace notes, and syncopated acoustic café environment. M.C. and rhythmic surprises so characteristic of Ligon’s arrangements for strings. P.Z. 90 | American String Teacher | May 2006 accompaniment makes it easier Piatigorsky Concerts), but most to recommend this book—not Koussevitsky, Leonard Bernstein, to conceive. (Editor’s Note: This of his career was spent gigging the least being Coletta’s terrific Herbert von Karajan, Hermann CD also features Sextet in C as a commercial musician to playing on the CD, most of Scherchen, Jan Kubelik, George Major, Op. 37, and Six Pieces support his real love—teaching. which is from live performances Enesco, Jacques Thibaud, Carl for Piano, Op. 41.) S.D.Z. Goldman, Coletta’s friend and (including the complete Bartok Flesch, Gregor Piatigorsky, student, explains that “the Concerto). Coletta’s anecdotes Robert Shaw, Dame Eva Turner, Books book was taken from hours and comments are fascinating, Lotte Lenya, and many others. of taped interviews . . . and and remembrances by violinist His studies at the Franz Liszt '$1*(5286+$5021,(6 pretty much reads as if you Elmar Oliviera, violist Jesse Academy of Music are described 7+(0(02,52)+$52/' are having a conversation with Levine, cellists Gabriel Morales in detail, as is his association &2/(77$. Martin Goldman. [him].” This strength also proves and Avron Coleman, and many with fellow student cellist Janos 0DUWLQ*ROGPDQ%RRNVXUJH to be the book’s weakness, as New York musical personalities Starker. Gerle compares life  &'LQFOXGHG  Coletta’s recollections jump add additional perspectives to a sight-reading test where I continually search for from one subject to another to Coletta’s life and the East “one has to keep going without autobiographies of musicians and back and forth in time. Coast professional world. One stopping or looking back to who were successful professionals Self-publishing would have been important caution to potential dwell on a mistake.” His own but not major historical figures. more successful had Goldman buyers and readers: if Dangerous life was filled with suspense as Born in the Bronx in 1917 into both hired a professional editor Harmonies were a movie, it a result of World War II and an Italian immigrant family, and had a knowledgeable would be R-rated for language living under communism. Coletta seemed headed downhill musician proofread (in spite of and sexual content. J.S. He takes his reader with him toward juvenile delinquency Coletta’s approval of the text). into the inner workings of when his kindergarten teacher’s Misspelled names abound: 3/$<,1*,7%<+($57 the schools where he worked gift of her own child-sized violin Fracton and Fructon (Fred :21'(5)8/7+,1*6 (University of Oklahoma, and lessons changed his life. He Fradkin); Dipasquale (Joe De &$1+$33(1$1<'$<. Peabody, Catholic University, switched to viola while playing Pasquale); Czell (George Szell); 5REHUW*HUOH;OLEULV&RU- Mannes College of Music, and with the Bridgeport Symphony Symon (Szymon Goldberg); poration, 2005, $22.50. UMBC in Maryland). Insights during the depression, won Carl Flesh (Flesch); Isadore This autobiography of the are given into the teachings of a place in Stokowski’s All Baker (Isidore Cohen merged remarkable Hungarian violinist the great Hungarian teachers in American Youth Symphony, with Israel Baker); Theronen and teacher Robert Gerle traces the art of violin playing, as well then—after aborted studies (Theremin). Coletta’s slips also his life from his 1924 birth in as the life of a traveling concert at Juilliard—played with the remain uncorrected: “bass-bar Abbazia, Italy, to his eventual artist and the violin world of New York Philharmonic and crack in the back” (soundpost death in Maryland in 2005. It performing, auditioning, and the NBC Symphony under crack); Casals performing scales is an incredible journey filled being a student. Gerle wrote two Toscanini. Coletta also toured in a Brahms Quintet (Sextet); with adventure and music. other books worth noting for all as a soloist, played in the Casals his failure to recall the names Gerle had the privilege of violinists, The Art of Practising Festival Orchestra, toured with of violinist Pina Carmirelli and knowing and working with such the Violin and The Art of Bowing the American String Quartet, pianist Vladimir de Pachman. musical giants as Zoltan Kodály, Practice. Playing it by Heart is a and played other chamber Finally, the relevance of the title Ernst von Dohnanyi, Aaron very warm book, written from music (including the Heifetz- eludes me! But there is much Copland, Samuel Barber, Serge the soul of this great teacher, conductor, and violinist. P.M.H. Reviewers 0LFKDHO&DUHQEDXHU 0& LVSURIHVVRURIJXLWDUDQGGLUHFWRURI Georgia Hornbacker (G.H.) is associate professor of violin at Mil- Susan P. Wilson (S.P.W.), a graduate of Indiana University, was a *XLWDU6WXGLHVDWWKH8QLYHUVLW\RI$UNDQVDVDW/LWWOH5RFN+HLVWKH OLNLQ8QLYHUVLW\LQ'HFDWXU,OOLQRLVDVVRFLDWHFRQFHUWPDVWHURIWKH violist in the New Jersey Symphony and then, for many years, in the recipient of numerous awards for performance, teaching, and com- ,OOLQRLV6\PSKRQ\&KDPEHU2UFKHVWUDVDQGYLROLQLVWRIWKH.LUNODQG 3KRHQL[6\PSKRQ\2UFKHVWUD6KHFXUUHQWO\WHDFKHVÀIWKDQGVL[WK SRVLWLRQDQGKDVUHFHQWO\UHOHDVHGD&'RIZRUNVIRUJXLWDUVWULQJ Trio. She maintains a private studio in her home and, in 2001, was JUDGHVWULQJVDWWKUHHHOHPHQWDU\VFKRROVLQWKH*LOEHUW $UL]RQD  TXDUWHWDQGWKH&KLQHVH]KHQJWLWOHGMusic for Guitar and Strings. named Outstanding Studio Teacher by Illinois ASTA. 8QLÀHG6FKRRO'LVWULFW

5LFKDUG/&KHOSND 5/& WHDFKHVHOHPHQWDU\VWULQJVDQGLVWKH Priscilla Howard (P.M.H.) is an instrumental music teacher, with $QQ

www.astaweb.com | 91 My Turn by Jeffrey Solow 3HUIRUPLQJ%DFK·V6ROR&HOOR6XLWHV

oday’s cellists face demands different probably wrote the cello suites in 1720 as a held his bow underhand. (Where is that Tfrom those of the past. Players used companion set to the Sonatas and Partitas time machine?) to specialize: it was acceptable to perform for violin. Bach’s original manuscript has So the real debate centers on question only a certain kind of music or to play disappeared, although that of his lute ver- three: how should we play the suites in our only one’s own compositions and arrange- sion of the fifth suite (c. 1737) survives. own time? My own view is that, performed ments. The modern cellist is expected to Four 18th century copies exist, but from on a modern cello, the suites must be play everything—an increasingly daunting exactly what exemplars, no one knows: considered to be transcriptions, similar to assignment as the repertoire grows—and Johann Peter Kellner (1726); Anna Mag- harpsichord music played on a modern to interpret each composition in its appro- dalena Bach (c. 1730); anonymous, also piano—a singularly ineffective exercise if priate style—a concept that hardly existed known as “Westphal” (after 1750); and the pianist merely imitates a harpsichord. before the 20th century. anonymous (c. 1790). From these sources, And regarding bowing and slurs, many In Bach’s Suites for Solo Cello, bow- musicological and forensic research cou- 18th century bowings, however the bow ing and articulation (both slurs and pled with logical analysis and reflection, was held, don’t work with a modern bow non-slurs) form the essence of style and allow us to reconstruct a reasonably ac- on a modern cello. are, consequently, the most contentious curate text, but without Bach’s manuscript, I am not advocating disregarding interpretive elements. Indeed, controversy we cannot know for sure. Again, we need historical research or ignoring the informa- over the choice of bowings, and hence that time machine! (Since an urtext edi- tion that we can gain from studying the over what is deemed “appropriate style,” tion—meaning “original text”—requires original sources that we have: the choice at times approaches religious warfare. the existence of the composer’s manuscript of bowings can shape the character of an Hard-line devotees of authenticity decry or other reliable sources, in the absence of entire movement. But I have difficulty modern-style performances as misunder- Bach’s holograph and given the question- believing that J.S. Bach, the great im- standing Bach’s musical rhetoric, while able provenance of the copies, no edition proviser and virtuoso performer, would adamant modernists accuse authentic per- can properly be called urtext.) expect cellists to follow slavishly his every formers of sacrificing music on the altar of Returning to my second question, as slur (or non-slur)—let alone hypothetical style. No wonder that some cello teachers I alluded to above, textual issues may also slurs played on an instrument substantially advise their students to avoid playing solo be performance issues and vice versa. Not different than that for which he composed Bach in competitive situations if at all pos- only would we like to know precisely over the suites. The music is the important sible—however you play it, you are bound which notes Bach placed his slurs, but we thing. Bach’s own transcription of the fifth to offend someone. What is a cellist to do? also need to know how strictly he intended suite for the lute, an instrument played Here is how I see it. they be followed. Unfortunately, we aren’t without a bow, proves this point. Although they intertwine to a certain sure of either, so even if there were no Ultimately, any interpretation of the extent, I identify three questions that vex doubt about the articulations that Bach Bach Suites will not succeed or fail because today’s interpreters of the suites: 1) What wrote, how he intended them to be played of a cellist’s choice of edition, ornaments, is the accurate text? 2) How were they would remain unresolved. (The currently style, or bowings. played in Bach’s time? 3) How should they popular notion that the bow must change Character, energy, tempo, rhythm, be performed now on a modern cello? direction with every written slur is odd phrasing, timing, and flow—these are the (Playing them on a baroque cello affects and limiting. What a bowing sounds like is critical elements of a performance. Musi- this question only slightly, and the first significant, not what it looks like.) cality should prevail over ideology. two not at all.) Complicating this issue still further, it First, let me briefly address ques- is very possible—even likely—that cellists &HOOLVW -HIIUH\ 6RORZ PDLQWDLQV tion two. No matter how much was in Bach’s day and locale played with an a busy schedule traveling written during the 18th century about underhand gamba-like bow-grip. If so, throughout the United States performance style or how many scholarly this would give many of today’s overhand DQG &DQDGD (XURSH /DWLQ studies and opinions have been presented baroque-bowing ideas limited relevance. America, and the Orient as re- since, words are not sounds. There are no Virtually all musicologists and baroque citalist, soloist, chamber musi- recordings, so unless someone invents a cellists seem to ignore the fact that Bernard cian, and teacher. He has been guest artist at time machine, we will never know how the Christian Linike, the cellist for whom many national and international chamber mu- suites were played in Bach’s time. Bach probably wrote the suites, was born sic festivals and has toured as a member of Now for question one: the text— in 1673. Given the evidence of cellists 7KH$PDGHXV7ULR&XUUHQWO\KHLVSURIHVVRURI cello and chair of Instrumental Studies at Tem- notes, rhythms, articulations—is the pictured in paintings from the period, I SOH8QLYHUVLW\·V(VWKHU%R\HU&ROOHJHRI0XVLF starting point for all interpretations of would say that a nearly 50-year-old Ger- DQG 'DQFH LQ 3KLODGHOSKLD 2Q 0D\  KH the suites. To review the situation, Bach man cellist would almost certainly have begins his two-year term as president-elect of ASTA. 92 | American String Teacher | May 2006