www.astaweb.com American String Teachers Association Teachers American String EACHER plus... String Industry Council Directory The Use of Tartini Tones Tones The Use of Tartini in Teaching Basics: Music Room Battles Budget the InstrumentSet-up: Fitting When All Bodies to the Body, Are Different T TRING S August 2007 | Volume 57 | Number 3 57 | Number 2007 | Volume August Back to School Issue: MERICAN A

AUGUST 2007 3

AMERICAN STRING TEACHER CONTENTS August 2007 | Volume 57 | Number 3 Features and Forums

The Use of Tartini Tones in Teaching What are all of those weird noises that appear and disappear when you play double stops? 32 If you’ve never heard them, you might want to close your eyes and stop reading immediately. But for those of you already familiar with TTs, you might not realize the exciting teaching tool you have in your grasp, and how it can inspire a deeper understanding of intonation, tone color, and bow control. by Fritz Gearhart

Music Room Basics: Budget Battles 36 Did you know that some of your students are going to stay in school and continue their educa- tion because of a single teacher or a single class? The unfortunate truth is that some students are barely hanging on by a single thread and are almost “looking for” any excuse to quit. Especially in high school, kids are facing serious challenges today that are tremendously stressful. by L. Dalton Potter

Set-up: Fitting the Instrument to the Body, When All Bodies Are Different! 38 One prevalent issue among private and public school string teachers is setting up violin and viola students with a good shoulder rest/chin rest combination. There are many products on WKHPDUNHWDQGPRVWWHDFKHUVZRXOGDJUHHQRVLQJOHSURGXFWÀWVDOOVWXGHQWV:KDWFDQD teacher do if he has limited time to get a classroom full of kids set-up well? by Liz Dinwiddie

Cello Forum: 66 Order of Importance: A Cellist’s Perspective $FHOORLVDEHDXWLIXOH[SHQVLYHJORULÀHGQRLVHPDNHUWKDWFDQLIWKHSOD\HULVVNLOOHGDQG motivated to do so, give expressive sounds to music. Its range and timbre more closely paral- OHOVWKDWRIWKHKXPDQYRLFHWKDQGRHVDQ\RWKHUDUWLÀFLDOO\FRQVWUXFWHGLQVWUXPHQW by Edward Laut

Viola Forum: Viola Music by Women Composers In recent years there has been a tremendous interest in learning more about music by women 68 composers. Many works that were thought to have been by male composers are now believed to have been composed by women. by Carolyn Waters Broe

www.astaweb.com | 5 AMERICAN STRING TEACHER CONTENTS August 2007 | Volume 57 | Number 3 Columns Special 10 Inspirations by Donna Sizemore Hale Sections 24 Member2Member 18 ASTA Award Winners In the Beginning: In Tune 42 2008 Conference Preview by Sondra Simmons 52 2007 String Industry A Priceless Lesson Council Directory by John Jarboe 92 Special Rostropovich Tribute 80 Teaching Tips Eight Tips for the Traveling Teacher’s Survival by Jennifer Kessler Mission Statement The American String Teachers Association 104 My Turn promotes excellence in string and orchestra Improvisation in the Classroom: teaching and playing. ASTA pursues its mis- Watering the Seeds sion through: ‡ DQRSHQVKDULQJRILGHDV by Matt Turner ‡ EHQHÀWVVHUYLFHVDQGDFWLYLWLHVUHVSRQVLYH WRWKHQHHGVRIDOOPHPEHUV ‡ GHYHORSPHQWRIVWURQJVWDWHOHDGHUVKLS DQGFKDSWHUV Departments ‡ HQKDQFLQJWKHLPDJHDQGYLVLELOLW\RIVWULQJ WHDFKLQJDQGVWXG\ ‡ DGYRFDF\IRUVWULQJHGXFDWLRQDQG 14 Association News ‡ DQLQFOXVLYHFRPPXQLW\RIVWULQJWHDFKHUV Message from the President, award and grant and players. announcements, new publications, and other American String Teacher (ISSN: 0003-1313) association-related information is published quarterly by the American String Teachers Association (ASTA). American String Teacher (AST) is available exclusively to ASTA Notes PHPEHUVWKHDQQXDOVXEVFULSWLRQSULFHLV 84 included in membership dues ($96). Known News of people, places, and events of interest to RIÀFHRISXEOLFDWLRQLV$PHULFDQ6WULQJ string teachers and players Teachers Association, 4153 Chain Bridge Rd., Fairfax, VA 22030. Periodicals postage paid at Fairfax, Virginia 22030 and additional 90 Showcase PDLOLQJRIÀFHV The latest news from members of the String POLICY: As the primary means of profes- Industry Council sional communication of ASTA, the American String TeacherUHSUHVHQWVDQGUHÁHFWVWKHPLV- sion of the association. It is not the intention 96 Reviews of AST to promote or endorse any particular Of books, music, software, and videos person or commercial product. The ideas and opinions expressed are those of the writers and not necessarily those of ASTA or AST. ASTA reserves the right to refuse advertising for any reason. No article or editorial matter Every Issue in AST may be photocopied or reprinted without written permission from ASTA. Visit www.copyright.com for more information.

86 ASTA Publications Library POSTMASTER: Send address changes to 88 Membership Application American String Teacher Journal, 4153 Chain Leadership Directory Bridge Rd., Fairfax, VA 22030. © 2007 by 94 American String Teachers Association. 103 Advertisers Index

6 | American String Teacher | August 2007

Inspirations by Donna Sizemore Hale

ASTA Board of Directors 3UHVLGHQW‡ Mary Wagner 5833 Cove Landing Rd., #204 Burke, VA 22015 [email protected]

President-Elect ‡-HIIUH\6RORZ ASTA Adds New Services! 7914 Park Ave. Elkins Park, PA 19027-2629 [email protected]

Past President ‡5REHUW*LOOHVSLH It is hard to believe that summer is almost over, and a new school year is School of Music, Ohio State University just beyond the horizon. Before we know it, your studio will be alive with 110 Weigel Hall, 1866 College Rd. Columbus, OH 43010 the sounds of students practicing. Many of you will be busy recruiting [email protected]

for the school orchestra. And industry members will be busy outfitting Secretary ‡'HQHVH2GHJDDUG students with instruments, bows, and accessories. 3033 38 1/2 Ave. S, Fargo, ND 58104 [email protected]

Member-at-Large ‡-XG\:%RVVXDW In September, ASTA will also launch our annual fundraising campaign, 2913 Hempstead Way, Stockton, CA “$50 for 50 New Programs.” As most of you know, the organization has [email protected] experienced tremendous growth and change during the past few years, Member-at-Large ‡%HWK*LOEHUW 1928 E Calle De Caballos, Tempe, AZ 85284-2507 adding a variety of new programs and member services. Both the String [email protected] Teacher Enrichment Program (STEP) and Certificate Program for Strings Member-at-Large ‡.ULVWLQ7XUQHU (CPS) programs will be officially launched this year providing avenues for 1708 N Morrison Rd., Muncie, IN 47304 professional development and growth for teachers and students. You can [email protected] read about both programs in this issue of AST. We choose the theme of Publications Chair ‡%DUEDUD)(DGV 9509 Rustic Gate Rd., La Porte, TX 77571-3997 “$50 for 50 New Programs” to draw attention to the number of school [email protected]

systems without string and orchestra programs. We are asking each String Industry Council President ‡1HLO/LOLHQ member to donate $50 as a symbolic gesture towards starting one new Meisel Stringed Instruments &RPPHUFH6W32%R[6SULQJÀHOG1- program in each state. We hope you will consider donating to the annual [email protected]

campaign. Last year we raised the most money ever thanks to your gen- Executive Director ‡'RQQD6L]HPRUH+DOH erosity and support. Donors will again be invited to a special reception at $67$1DWLRQDO2IÀFH 4153 Chain Bridge Rd., Fairfax, VA 22030 the conference to say thank you. [email protected]

American String Teacher A number of you have also asked how you might support the organiza- Editor‡0DU\-DQH'\H tion through your own estate planning. Later this year, we will unveil a Articles Editor ‡.ULVWLQ0RUWHQVRQ planned giving program that will provide a step-by-step guide on how Reviews Editor ‡0DUJ6FKPLGW Design and Layout ‡6N\+HQGHUVRQ you can support string education through bequests and other forms of Production ‡&RUSRUDWH3UHVV giving. Look for information on the website later this year. Advertising Representative‡6WHYH'L/DXUR ‡ Correspondence Subscriptions, change of address (send mailing label), individual issues, Speaking of websites, we are in the middle of a complete overhaul of the billing, membership, and other business matters VKRXOGEHGLUHFWHGWRWKH$67$1DWLRQDO2IÀFH ASTA website to make it more user friendly and easier to navigate. The &KDLQ%ULGJH5G)DLUID[9$WHO )$;(PDLO new website will be launched along with the new school year. With nearly [email protected]. 50 programs, it is hard to organize a site that reflects the organization’s ‡ $GYHUWLVLQJ'HDGOLQHVare: August issue—June 1RYHPEHULVVXH³6HSWHPEHU)HEUXDU\ complexity in a simple and effective manner. We are working with a LVVXH³'HFHPEHU0D\LVVXH³0DUFK,QTXL- ULHVVKRXOGEHGLUHFWHGWR$67$1DWLRQDO2IÀFH team of professionals who specialize in this area. Our goal is to create and &KDLQ%ULGJH5G)DLUID[9$ WHO)$; maintain an attractive and interactive site that reflects the tremendous Email: [email protected]. potential of our association. Your input and suggestions in this process are ‡ (GLWRULDOAST welcomes letters and articles from its readers. Query letters are preferred over welcomed. unsolicited manuscripts. For a copy of the AST Au- thor Guidelines, visit www.astaweb.com. Inquiries and articles should be submitted to ASTarticles@ As you prepare for the new academic year, don’t forget to mark you astaweb.com. ‡ 5HYLHZVReview materials should be sent to Marg calendars for the 2008 ASTA National Conference in New Mexico. The Schmidt, School of Music, ASU, 40 Gammage Parkway, PO Box 870405, Tempe, AZ 85287- line-up of pre-conference workshops, string sessions, world-class perfor- 0405. Requests to become a reviewer should be DGGUHVVHGWR0DUJ6FKPLGWWHO mances, and an exciting Exhibit Hall is the best ever. We hope to see Email: [email protected]. you there! ‡ 6XEPLVVLRQ'HDGOLQHVFor material to be considered for publication in the Departments and Association News sections (including Letters to the Editor), it must be received by: February issue—No- YHPEHU0D\LVVXH³)HEUXDU\$XJXVW LVVXH³0D\1RYHPEHULVVXH³$XJXVW

10 | American String Teacher | August 2007

AST Editorial Committee

Gregory Barnes Sharan Leventhal Columbia, South Carolina Bowling Green, Ohio

Sean Beavers Greg Sarchet Huntington, West Virginia Chicago, Illinois

Margaret Berg Laurie Scott Boulder, Colorado Austin, Texas

Chelcy Bowles David Starkweather Madison, Wisconsin Athens, Georgia

William Dick Benjamin Whitcomb Austin, Texas Fort Atkinson, Wisconsin

Emanuel Garcia, M.D. Members of the ASTA Boulcott, Lower Hutt, National Executive Board New Zealand AST Forum Editors Violin Forum, James Przygocki Viola Forum, Helen Callus Cello Forum, Benjamin Whitcomb Bass Forum, Michael Fanelli Guitar Forum, Jonathan Leathwood Harp Forum, Saul Davis-Zlatkovsky $67$1DWLRQDO2IÀFH &KDLQ%ULGJH5RDG‡)DLUID[9$ 3KRQH‡)D[ www.astaweb.com

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

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

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

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

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

Elizabeth Bookwalter, Development Manager [email protected] ext. 26

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

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

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

Bridget Murphy, Membership and Conference Coordinator [email protected] ext. 16

(ULQ*DOODJKHU2IÀFH0DQDJHU$GYRFDF\$VVLVWDQW [email protected] ext. 25

12 | American String Teacher | August 2007

from the president

Looking Ahead to 2007-2008! Our back-to-school issue is packed full of ideas and new products to help you begin your new school year. It seems that most of us start something “new” in August and September every year… whether it is a new school year, new students in the studio, a new class of university students, or a new symphony season. So, like you, ASTA is adding some new programs and products.

F Hopefully by the time you read this, ASTA’s redesigned website will be up and running or close to comple- tion. The website gets an extraordinary number of hits every month and was due for redesign. It will now be user-friendly and include a search component. Check it out at astaweb.com. F Alternative Styles in the Classroom, a DVD produced by ASTA and made possible through a grant from NAMM, is now available. Julie Lyonn Lieberman, a leading alternative styles clinician, performer, and ASTA member, produced this valuable DVD. Aaron Dworkin, ASTA member, narrates this introduction to alterna- tive styles that includes musical styles, filmed footage from the Detroit national conference, clips from many leading artist performers, as well as, information on how to include alternative styles in your program. F An advocacy DVD designed to promote string education is also being produced. The Advocacy Committee and Donna Hale have been hard at work on this DVD which will be released in early fall. F While the November journal is the “official” conference issue, many of you need to immediately begin the process of getting your leave approved. So to entice you to begin the process, here is the evening concert line-up. Wednesday night our featured performers will be the local Albuquerque Youth Symphony. Thursday night’s entertainment will Joshua Bell and Jeremy Denk in recital. On Friday, the 2008 National High School Honors Orchestra will provide a stellar concert. The Saturday gala will include the Silent Auction fundraising event, and the Shanghai Quartet’s performance will be the finale to the conference. The keynote speaker will be Dr. Tim Lautzenheiser, and we have planned more than 150 sessions. Plan now to attend this extraordinary conference. F The String Teacher Enrichment Program (STEP) will debut at the 2008 conference. School teachers can work towards a STEP certificate by attending two conferences (within a four-year span) and following a track of sessions that will include conducting, secondary instrument technique, assessment, and a variety of classroom pedagogy choices. When the STEP program is completed, a letter will be sent to the teacher’s school administrators. Watch for more detailed information on this program. Shenandoah University will be offering college credit to conference participants. F Careersinstringteaching.com. This is a terrific website that, in my opinion, is under utilized. Please encour- age your students to visit this site! As a reminder of this resource, bumper stickers are now available. You can display the bumper stickers in your classroom and use as a handout to students. Bumper stickers are being distributed in lots of 25 for just $2.50 per pack. Visit the ASTA website to get complete information. F The Certificate Program for Strings (CPS) program is now available on the website. Visit it today to get your handbook and test information. F The Urban Outreach Grant program has been modified. Grants are now available for an urban or rural program. One $2,000 grant will be available each year and will be renewable for $1,000 the following year. Check astaweb.com for details. F Merle J. Isaac Composition Contest deadlines have been changed to an earlier date of January 15. Addi- tionally, the Senior Division is now open to both full and string orchestra compositions. The Junior Division remains string orchestra composition. Check the website for complete contest details. F The Merle J. Isaac winners for 2007 in the Junior Division are Will Myers of Chapel Hill, North Caro- lina for Serenade for Strings in e minor, Andantino Con Moto. In the Senior Division, William Harbison of Boone, North Carolina is the winner for Kallanta. Thank you to Chairman Robert McCashin of James Madison University and also to Laura Thomas and the Charlottesville High School Orchestra in Virginia for serving as the reading orchestra. So as you can see, the ASTA Board, office, and volunteers have been working to roll out these additions. I too am in a new role this year – as a retired schoolteacher. While I know I will miss the classroom, I will continue teaching privately and working to enhance our profession. Best wishes for a successful year.

14 | American String Teacher | August 2007 www.astaweb.com | 15 Association News

Potter’s Violins Instrument Attention Student Award Winners Chapters!

ASTA is pleased to announce that three young Don’t miss your opportunity to submit your application to be musicians were awarded instruments by The selected as the 2008 Outstanding ASTA Student Chapter. The Potter Violin Company, based in Bethesda, award will be presented at the 2008 ASTA National Conference Maryland. Twice a year, Potter’s Violins donates in Albuquerque, New Mexico. Applications are due no later than three instruments to deserving young musicians December 1, 2007. Please visit the student chapter section at who demonstrate particular need and talent. The www.astaweb.com for more details. recipients of instruments for the 2007 April round Michael Dzuricky of the Potter’s Violin Instrument Awards are: with his new cello from Potter’s Violins. CodaBows for America Francisco Diaz, Cello, Houston, Tex. Michael Dzuricky, Erie, Pa. Awards Anna Garcia, Viola, Orlando, Fla. Every year, CodaBow International, Ltd., donates approximately For more information on the award, or to download an $5,000 worth of full-size CodaBow Aspire bows to deserving application, please visit www.astaweb.com. The postmark deadline schools and studios. Violin, viola, and cello bows are awarded. for the October 2007 awards is October 1. Applications are accepted from ASTA members on behalf of schools or studios that outline the particular worthiness, promise, and need of their program. ASTA is pleased to announce that Enjoy Your Complimentary bows were awarded to: Copy of Teen Strings Northwoods Strings, (Dayle Quigley) Hayward, Wisc. Janice M. Cook, Private Teacher, Worthington, Ohio We hope you enjoy the latest issue of Teen Strings, which accompanied this issue of AST. Teen Strings is brought to you Please visit www.astaweb.com for more information on the award by String Letter Publishing, the publisher of Strings magazine. or to download an application. The next postmark deadline for Geared toward younger string players, Teen Strings is all about this outreach program is April 1, 2008. the benefits of string playing and the creative, social, intellectual, and professional opportunities string playing opens up for young people. Teen Strings also features many rising young string stars Shop And Support the frfromom all over ttoday’so musical map, and includes enengaginggaging puzzles, contests, and quizzes, plus National Foundation advice oon how parents can best participate in their cchild’s musical development. Visit any of the prominent retailers in our affiliate shopping program and a portion of the sale will be donated to the National To ssubscribe to Teen Strings or to share Foundation. Participating companies include Amazon.com, cocopiesp with your students, call 1/800- Sephora, Audubon Strings, Macy’s, Apple, Target, and many more! 8827-68372 or click on the Teen Strings Visit http://www.astaweb.com/shop.htm for a complete list of llink at www.stringsmagazine.com. our partners. Don’t forget, the National Foundation only gets a percentage if you access the retailer’s website from ASTA’s website, so bookmark this page and let the shopping begin! Please note that no additional costs are incurred by you for using the affiliate shop- ping program on our website. It is a win, win for ASTA and you!

16 | American String Teacher | August 2007 Current Heart Strings Promotions

Featured Until August 21, 2007

Seven String Industry Council members are participating in the current “Heart Strings” cause marketing initiative: Huthmaker Violins, The En- terprising Rabbit, Shar Products Company, StringWorks, Tata Classical, Gliga Violins USA, and Strings Music and More. These companies are offering exclusive discounts to ASTA members and consumers and donating a percentage of their sales to the National Foundation ot Promote String Teaching and Playing through August 21, 2007. Please check out the “Heart Strings” promotions on our website and support the companies that support ASTA. For more informa- tion, visit http://www.astaweb.com/council/CauseMarket/CauseMarketing.htm.

Membership Statistics ASTA Announces 2008 Do you know how many people are involved with Budget ASTA today? Here’s a breakdown of our membership (as of June 30, 2007)

Professional Members 6,818 Senior Members 1,337 Dual Members 257 Student Members 1,713 Life Members 257 $ String Industry Council Members 183 Institutional Members 70 Library/Subscriptions 413 High School Chapters 10 Student Chapters 83 Staff Members 11 $ Seeking Nominations for ASTA’s Member of the Month We need your help in selecting ASTA’s Member of the Month winners. This program focuses on an individual ASTA member whose hard work and dedication in supporting the association has made an impact on ASTA’s programs and activities. Support may be in the form of a financial donation, volunteerism, outstanding leadership in an ASTA-supported program, or conducting outreach on behalf of strings in schools. Previous winners include Muriel Bodley, Irene Guerriero, Marianne Perkins, Lynn Peters, and Lya Stern. Don’t be shy. You can even nominate yourself! Nominations should include member name, contact information, and a brief description of why you think this member deserves recognition. Nominations can be sent to Libby Dietrich, meetings and events manager, at libby@ astaweb.com, or mail nominations to ASTA at 4153 Chain Bridge Road, Fairfax, VA 22303. Mark Your Calendar!

October 1, 2007 Potter’s Violin Instrument Awards December 15, 2007 Elizabeth A.H. Green applications due applications due January 15, 2008 Merle J. Isaac applications due December 1, 2007 Outstanding Student Chapter Award February 27– 2008 ASTA National Conference, applications due March 1, 2008 Albuquerque, N. Mex.

www.astaweb.com | 17 wards and Citations This impressive list of ASTA award winners emphasizes that our organization is the leading string education and performance association. A $67$FRQJUDWXODWHVRXUPDQ\DZDUGZLQQHUVZKRKDYHEHHQLQÁXHQWLDOLQWKHOLYHVRIWKRXVDQGVRIVWULQJVWXGHQWVWHDFKHUVDQGSOD\HUV

Artist Teacher Award Louis Krasner 1983 Nannie Jamieson 1984 Citations for Leadership Clifford Cook 1982 Max Rostal 1984 John Celentano 1981 Shinichi Suzuki 1964 and Merit Lynn Harrell 2007 T.J. Frederick Muller 1980 Helen Kwalwasser 2006 2007 John Kendall 1979 Lawrence Hurst 2005 Connie Aiken Ralph Matesky 1978 Traugott Rohner Leadership Donald McInnes 2004 Renata Bratt Margaret Rowell 1977 in the Music Industry Award Paul Katz 2003 Michael Carrera Elizabeth A.H. Green 1976 Heidi Castleman 2002 Marilyn Daggett Marvin Rabin 1975 Charles Avsharian Robert Mann 2000 Michael Gagliardo George Bornoff 1974 Shar Products Company 2006 Fritz Magg (Posthumous) 1998 Robert Gardner Paul Rolland 1973 Norman Pickering Franco Gulli 1997 Midori Goto American Symphony J. D’Addario 2003 Gary Karr 1996 Karen Higdon Orchestra League 1972 Jim Strouse George Neikrug 1995 Tanya Kalmonovitch Fine Arts Quartet 1971 Stanton’s Sheet Music 2001 Karen Tuttle 1994 Martin Norgaard Merle Isaac 1970 Nathan Gordon 1993 Jim Palmer Heinrich Roth 1969 9CTTGP$GPſGNF  Traugott Rohner Service to Pam Phillips National Federation of Alice Chalifoux 1991 Bonnie Rideout Music Clubs 1968 NSOA Award Jascha Brodsky 1990 Daryl Silberman Congress of Strings, Tracy Silverman Orlando Cole 1990 Edna L. Hansen 1997 American Federation of David Smith Harvey Shapiro 1989 Nancy Watling 1996 Musicians 1967 Kristin Turner Janos Starker 1988 James H. Godfrey 1995 Bell Telephone Company 1966 Turtle Island String Quartet Zara Nelsova 1987 American Airlines 1965 David Wallace Jascha Heifetz (Emeritus) 1986 Joseph Maddy 1964 Marvin J. Rabin Community Cornelia Watkins William Lincer 1986 Jack Benny 1963 Service Award Efrem Zimbalist (Emeritus) 1985 2006 Leonard Sorkin 1985 Merle J. Isaac Lifetime Mary Drane West 2006 Stanley Chepaitis Eudice Shapiro 1984 Janet Farrar-Royce Aldo Parisot 1983 Achievement Award Bonnie Greene 2004 Roberta Guaspari 2003 Katharine Mason Bernard Greenhouse 1982 Kirk Moss Roman Totenberg 1981 Pamela Tellejohn Hayes 1997 Denese Odegaard Oscar Shumsky 1980 Jacquelyn Dillon-Krass 1996 Robert Jesselson String James Palmer Lillian Fuchs 1979 Dorothy A. Straub 1995 Project Award Bob Phillips Raya Garbousova 1978 Jerry N. Kupchynsky 1994 Vicki Richards Paul Doktor 1977 Merle J. Isaac 1993 Margaret Schmidt, Arizona Daryl Silberman Rafael Bronstein 1976 State University 2005 Jeffrey Solow Dorothy DeLay 1975 Kristin Turner Yehudi Menuhin 1974 Paul Rolland Lifetime Mary Wagner David Walter 1973 Achievement Award Outstanding ASTA Chapter Gabor Rejto 1972 Award Winners 2005 Joseph Fuchs 1971 Louise Behrend 2007 Geri Arnold William Primrose 1970 Elsa Hilger Ezerman 2005 2007 Karen Becker Gregor Piatigorsky 1969 John Kendall 2003 Best Newsletter Minnesota Renata Bratt Joseph Gingold 1968 Phyllis Young 2002 Best Website Virginia Andrew Dabczynski Samuel Applebaum 1967 Marvin Rabin 2001 Membership Recruitment New Mexico Gerald Doan Ivan Galamian 1966 Jacquelyn Dillon-Kraus 2000 Most Improved Chapter New Mexico Robert Greenwood Pablo Casals 1965 Most Outstanding Chapter New Jersey Julie Lyonn Lieberman Hans Letz 1964 State Chapter Leader Steve Muise Isaac Stern 1963 Elizabeth A.H. Green School Sharon Holmes (posthumously) Bob Phillips Hans Hess 1962 Educator Award Daryl Silberman Samuel Gardner 1961 2006 Mary Wagner Louis Persinger 1960 Mary Lou Jones 2007 Best Newsletter New Jersey Joesph Szigeti 1959 Jan Garverick 2006 Best Website Colorado 2004 Coral White 2005 Membership Recruitment Kansas Lynne Aspnes Leyla Sanyer 2004 Most Outstanding Chapter Minnesota Renata Bratt Arts Advocacy Award Jan Davis 2003 Most Improved Chapters Georgia and Andy Dabczynski Michael Alexander 2002 Oklahoma Gerald Klickstein Sen. Edward Kennedy 2007 Joanne Donnellan 2001 State Chapter Leader Julie Lyonn Lieberman Ida Steadman 2000 David Elder (posthumously) Kirk Moss Arts Philanthropist of the Pamela Tellejohn Hayes 1998 Martin Norgaard E. Daniel Long 1997 2005 Deborah Perkins Bob Phillips Year Award Wayne Roederer 1996 Best Newsletter Minnesota Mary Alice Rich-Wittrig Ian Edlund 1995 Best Website Colorado Louise Rossi Sheila C. Johnson 2007 Linda Lydiard 1994 Membership Recruitment Alabama Jeffrey Solow William Dick 1994 Most Outstanding Chapter California Edmung Sprunger Bruce Fowler 1993 Most Improved Chapters Alabama and Distinguished Service Carol Tarr Virginia Edward Ashton 1992 Leslie Webster Award State Chapter Leader Dale Kempter 1991 Leslie Wimsatt Marilyn Kessler 1990 Kathlene Goodrich Richard D. Colburn Mimi Zweig (Posthumous) 2005 Roland and Almita Vamos 1997 Outstanding Student 2003 Eleonore Schoenfeld 1996 Isaac Stern International Chapter Award Renata Bratt Felix Galimir 1995 Stanley Chepaitis Louise Behrend 1994 Award Montclair State University 2007 Andrew Dabczynski Abram Loft 1993 Pennsylvania State Robert Gardner Grant Beglarian 1992 François Rabbath 2006 University 2006 Matt Glaser Robert Mann 1991 Janos Starker 2005 Michigan State University 2005 Mary Lou Jones Carol Liddle Alexander Schneider 1990 Mstislav Rostropovich 2002 Eastern Michigan University 2003 Henri Temianka 1989 Kato Havas 1992 Julie Lyonn Lieberman Milton Katims 1988 Henryk Szeryng Kirk Moss Robert Klotman 1987 (Posthumous) 1989 Anne Sheldon Mary Wagner Herbert Axelrod 1986 Nathan Milstein 1987 Shi-Hwa Wang Margaret Farish 1985 Ilona Feher 1986 Leslie Webster Phyllis Young 1984 Edward Melkus 1985

18 | American String Teacher | August 2007 2002 1987 Michael Alexander Carleen Hutchins ASTA Announces Winners Louis Bergonzi Milton Preves Jeff Bradetich Tanya Carey 1986 of 2007 Merle J. Isaac Pamela Tellejohn Hayes Margery Aber Judy Palac Joachim Chassman Laura Reed Abraham Chavez Composition Contest Carol Smith Lucas Drew Jeffrey Solow Phyllis Dunn Murray Grodner ASTA is proud to announce the winners 2001 Richard Maag Michael Alexander for the 2007 Merle J. Isaac Composition Michael Allen 1985 Contest. The winner in the Junior Division James Ceasar 2000 Cleveland Foundation is Will Myers of Chapel Hill, North Carolina Edward Adelson Coleman Chamber Society for Serenade for Strings in e minor, Andantino Robert Cowden Louis Kievman Doris Gadza Gene Morlan Con Moto. In the Senior Division, the win- Lawrence Hurst Mary Lou Jones 1984 ner is William Harbinson of Boone, North Dotty Kuhn LeRoy Bauer Carolina for Kallanta. ASTA would like to Laura Reed 9CTTGP$GPſGNF Lya Stern Marla Mutschler thank Chairman Robert McCashin of James William Harbinson Mary Wagner Louis Potter is the Senior Division Madison University in Harrisonburg, Virginia Marvin Rabin winner for Kallanta. 1998 William Starr and also Laura Thomas and the Charlottesville Susan Kempter Francis Tursi William Magers Oscar Zimmerman High School Orchestra for serving as the reading orchestra.

1997 1983 Evelyn Elsing Nancy Cluck William Harbinson is the Dean of the Hayes School of Music at Margaret Motter Edward Krolick Appalachia State University in Boone, North Carolina. Kallalanta, Mary Wagner Siegfried Palm an overture for symphonic orchestra, was composed in honor of 1996 1982 Mariam Cannon Hayes, the patroness of the Hayes School of Mu- Judy Evans Patrick Burrougs Robert Klotman Tanya Carey sic at Appalachian State University. The composition opens with a Anne Witt Nannie Jamieson John Kendall descending-third motive that is found in various forms throughout 1995 Zenzo Matsumoto the work. Following the quiet introduction, a transition leads to a Dorothy A. Straub Eduard Melkus Elizabeth Morgan lively, rhythmic section. An expressive, lyrical passage expands the 1994 Max Rostal theme from the introduction. The faster tempo returns for a sec- Edward Adelson Phyllis Young Jody Atwood tion that develops the rhythmic theme. A varied restatement of the Robert Culver 1981 lyrical theme leads to a coda that recalls the opening measures and Doris Gazda Margaret Farish Lawrence Hurst Art Hill brings the work to a quiet conclusion. Robert Klotman Richard Maag Raymond Stuhl 1993 Larry Zgonc Important note: The Merle J. Isaac Composition Contest deadlines Ross Capshaw Gordon Epperson 1980 have been changed to an earlier date of January 15. Additionally, Neva Greenwood the Senior Division is now open to both full and string orchestra. 1992 Markwood Holmes Louise Behrend A. Kunrad Kvam The Junior Division remains string orchestra. Initiated in 1959, this Gerald Doan Joe Kirschner 1979 contest is held annually to encourage the composition, publication, Jerry Cadek Lucktenberg Robert C. Marince and performance of quality music for school orchestra programs. Kevin Miller Mehli Mehta Irene Sharp Frederick Neumann Please check the ASTA website for complete contest details at http://www.astaweb.com/competitions/MerleIsaac.htm. 1991 1978 Robert Hladky Phillip Gordon Scott Schwab C. Paul Herfurth

1990 1977 Ronda Cole John Celentano J. Kimball Harriman Mary Sexton Daniel Heifetz ,QJPFredell Lack Harry Lantz 1965 A. Clyde Roller Marjorie Keller Shirley Trepel Joseph Knitzer Lucie Landen 1988 Ralph Matesky Gerald Fischbach Gabor Rejto Richard Kapuscinski David Walter Anne Witt

www.astaweb.com | 19 Association News Call for Papers ASTA’s Certificate Program

American String Teachers Association for Strings National Conference Albuquerque, New Mexico February 27 – March 1, 2008

The American String Teachers Association will sponsor a research poster session at its national conference in Albuquerque, New Mexico on Friday, February 29, 2008. We are accepting submis- sions of studies being conducted by undergraduate students, graduate students, university faculty, and practicing teachers in public or private schools. This poster session is open to papers in- volving any aspect of string playing and teaching, including those that are philosophical, theoretical, or historical in nature, as well as reports that are qualitative or quantitative in design.

Deadline for submissions: October 1, 2007.

Submission procedures: All submissions should not have been The Certificate Program for Strings (CPS) seeks to establish published prior to the conference, and must meet the Code of definite goals and awards for students of all levels through non- Ethics published in the Journal of Research in Music Education competitive examinations. Students are judged on technical and (also available at www.menc.org). Papers presented at other con- musical preparedness at specific levels (Foundation Level- Level ferences will be considered for poster presentation if the audience 10) by an examiner of musical and pedagogical stature. A certifi- was substantially different (e.g., a state meeting or a university cate of achievement is awarded for each level successfully com- symposium). A statement specifying particulars of presentation pleted. Complete handbook, repertoire and scales available on the must be included with the submission. website for download at http://www.astaweb.com/cps.htm.

Only electronic submissions will be considered. Submit one file containing the full copy of your report, including an abstract not to exceed 250 words, with no title page. In the body of the email, please include the following information: (a) author or authors’ name(s), (b) current position(s) and institutional affiliation(s), (c) mailing address, telephone number, and email address (submitter only), (d) the report’s title, (e) the abstract, and (f) specifications of prior presentation. Send the file as an attachment in Word Document (.doc) or Portable Document (.pdf) format.

Send submissions to Michael Allen at [email protected] and also [email protected]. Please use these email addresses for all correspondence. Hardcopy submissions will not be accepted.

Submitters will be notified electronically on or before November 1, 2007.

You must be a member of the association (at time of submission and presentation). If accepted, the primary or a listed co-research- er must register for and attend the conference to present the post- er. Presenters will be expected to bring 40 copies of their abstract and five copies of the completed report to the session. Informa- tion about the 2008 ASTA National Conference and membership in the association can be found at www.astaweb.com.

20 | American String Teacher | August 2007 ASTA Welcomes New Members The following list reflects individuals and organizations who joined the association between April 1 and June 30. Welcome to ASTA!

Individual Shaundra Culatta Mindy Hunke Janie O’Brien Mutsuko I. Tatman Members Susan Curzio Bethany C. Hurst Marla Okner Carol R. Taylor Mario Abril Heather De Pree Laura E. Ingalls Sarah E. Oliver Mark Taylor Teressa Adams Ariel Francisco Dechosa Katherine Jeannotte Karl E. Olson Donald Thacker Linda Anderson Rachel Diefenbacher Mary E. Jewell Rona Palmer Julie Theriault Elizabeth Angilette Allyn Donath Arian Johnson Vladimir Panteleev Christian Thomas Samuel Araya Nicholas Donutelle Karrell J. Johnson Cassie Park Catherine Towns Miller Jolene Armstrong Steven Dunning Alyssa Jordan Emily Parker Kerry Travers Stephanie Baer Meribeth Dunstone Sarah Kapps Lucy D. Parker Jessie M. Vallejo William Bailey Glynn Eastham Jacob Karesh Jessica Parsons Helen Ann Vanek- Carli Bates Jessica Ekstrom Kenward B. Karow Myra Patterson Bigelow Karen Bates-Crouch Sumer Embry Emily Kasiske Abby Pavliscsak Igor Veligan Francie Beard Persis Ensor Eva Kaufman Brent Pearson Christina Von Duyke Arlene Bennett Elaine Fine Zoe Keating Agnes Perroud Michele Walther Gael Berberick Catherine Mary Aisling Foley Elisabeth Kern-Roos Nancy Petrucelli Wasserman Karen Biedrzycki Catherine Forbes Eun Kim Cindy H Petty Aaron Bielish Elizabeth Byrd Webster Theresa Frew-Onyett Takashi Kiyoizumi Erin Ponto Darlene Wedington- Robin Bloomberg Erin Gaherty Rebekah Klein Ken Rapini Clark Alexander L. Boehm Ingrid Elizabeth Shalisa Kline Sara Resnick Jeanne Wernly Amanda Bohenek Capparelli Gerling Bryan James Kolk Catherine Roberts Sarah E. West Andrew Book Peter Giorgio Nancy Kredel *HRII5RKOÀQJ Minor Wetzel Peter J. Brachman Benjamin Gitter Munikantha Hareendra Linda Rose Joann Whang John Brackbill Beth B. Glasgow Kulasinghe Tim Sadow James D. White Augustus Brathwaite Bridget Glynn Lynn F. Ledbetter Richard Savino Lisa Dawn White Owen George Brown, Jr. Sam Goh Sarah Lemmons Barbara M. Schaefer Lucile Angell White Marija Bubanj Sarah Gold Kirby Leong Deneen Schaudier Hiroko Wiancko Jana Burton Linette Gordon Erica Lessie Nicole T. Schwartzberg Klara Wojtkowska Margory Buschur Janice Goyette Zoe Kohen Ley Shu-Yi Scott Kathryn Woodby Jeanne S. Caldwell Rosalind M. Gratz Nate Lienhard Christopher R. Selby Donald B. Wright Sarah Nicole Calhoun $UGDWK*ULIÀQ Marie Lo Virginia Shackleton Kevin Callaghan Brian K. Gum Richard Lohmann Linda Shapanka Edward M. Caner Greg Hamilton Mary Lucchi Institutional/String Deena Shapiro Industry Council Leslie A. Capozzoli Allison Hammer Nina Lutz Judith Basch Shapiro Members Annemarie Carlson Sally B. Hammond Aydyn Mailov Sarah Silver Gerald Carlyss Emma Hancock Kypros Markou Aaron Grady Sloan ARCUS USA Margaret Carpenter Angela Harvey Dean Marshall Jerilyn Snider Concord International Ted Chamberlain Donald R. Heard Ruth Marshall Barbara Sonies Group, Inc. Ohio Northern University Sarah Chan Donna Hebert Lucinda Marvin Anthony Springer Point Loma Nazarene Wei Tsun Chang Emily Hengeveld Margaret H. McHugh Connie Heim Stambaugh Emily Chen Greg Hershberger Marion McInturff University Candice Stamguts Rolland String Research In Young Cho David Hiett Krista McLauchlan Larry Steen Associates Rebecca Christopherson Michael L. Hining Sheronna L McMahon Marina Stefanovsky Southern Methodist Candice Coh William Hinkie, III John C. Merrill JoAnn Strickland University David C. Cole Lars Hoefs Rebecca Meyer Yu-Chien Sun String Project Los Julia Cory Rachel Hofmann Daniel M. Meyers Vicki B. Swedish Angeles University of Texas at Jessica Cox Anne B. Holets Svetlana Mondrusov Ryan Sweeney Arlington Jennifer Creadick Ashley Holmberg Kathryn Morgan Meghan Sylvester Ramona Creanga Paul Hostetter Patricia A. Neely Akemi Takayama Duncan Crooks Henry Hultquist Nancy Nelson Barbara B. Tamburro

www.astaweb.com | 21 ASTA Members Invited to Submit Articles for American String Teacher Journal The award-winningAmerican String Teacher (AST) journal pro- vides an extraordinary benefit to its members. ASTA members are encouraged to submit articles on a broad range of pedagogical and performance topics. As is the rule with most professional journals, submission of an article does not guarantee publication, but the articles editor is most willing to work with prospective authors in order to maintain the highest standards.

The journal will be focusing on a number of “themes” over the next several issues. Currently planned or in discussion are: Back to School, National Conference, Advocacy, Mentoring, The Future of String Education, Chamber Music, and Private Studio Teaching. As articles are received, future themes will be planned.

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

Member2Member

In the Beginning: In Tune by Sondra Simmons

Learning to tune a string instrument is a process that students to put their hands on the machine heads and show should start with the first lesson. The practice of elementary them how to raise and lower the pitches. Cello students find string students standing in line waiting for the teacher to take the manipulation more awkward because they have to put the each instrument from the student, tune it, hand it back, and bow on the stand before they reach down to turn the tuners. take the next instrument from the next student delays the Small students may not be able to reach far enough, in which beginning of the instructional period. It also plants the notion case, I continue to turn the screws for them. By the end of that there is an important part of playing a string instrument the second year, most students can turn their tuners with very that is beyond the ability of the student. little help, and I only occasionally have to tell them “higher” or After I show my beginners rest position and pizzicato “lower.” playing position, each lesson begins with students engaged In a string ensemble rehearsal, I give my A to the first in tuning their own instruments. I pluck the A string on my student, and she adjusts her pitch and keeps playing as I go instrument, four quarter notes, then have them pluck the same around the group. I encourage students to use increasingly pattern on their instrument. I ask them if the pitch is the longer and smoother bow strokes, trying for the clearest tone same or different. At first, some students cannot discriminate possible. I can correct right hand formations with a touch same or different, or higher or lower. I tell them which way as the student or I adjust the tuner. All the aimless pluck- the pitch needs to go, and explain how the fine tuners work; ing, bowing, chat, and other extraneous noises are eliminated right-tight, left-loose, as with any screw. I further explain that as students focus on the pitches of their instruments. This tightening the screw raises the pitch and loosening it low- method also helps to establish a life-long habit of attentiveness ers the pitch. With the student still holding his or her own during tuning. instrument, I play the other strings and match the pitches. If Understanding the mechanics of each instrument, build- the instrument is far out of tune, I turn the pegs while the ing skill in pitch discrimination, learning to manipulate tuners, student holds the instrument. This procedure has the students and practicing attentiveness are all skills that should be taught engaged in learning from the beginning of the lesson, and they and practiced from the first elementary lesson. If they are, are learning what “in tune” means. It also establishes that the middle school orchestra will see students well on the way to instrument belongs to the student, and all aspects of its care independent, accurate tuning. and use are the student’s privilege and responsibility. As students progress to using their bows, I follow a similar Sondra Eisenbise Simmons began study of the violin procedure for tuning, playing quarter notes back and forth in the public schools of Garden City, Kansas with and asking the student if the pitch matches or not; if not, is Loren Crawford. She graduated from Elizabeth- it higher or lower? It takes many tries and misses for students town College (Pennsylvania) with a degree in music education. She earned a master of music degree to perceive which way the pitch needs to go before it matches. from the University of Maryland. Her emphasis was Not only are students refining their pitch perception, but in music education, specializing in violin studies with they are getting practice with bow control. As bowing skill GeraldGldFihbh Fischbach. Simmons taught instrumental music is the Lower increases, I play half notes, then whole notes for the tuning Dauphin School District in Pennsylvania, retiring in 2006. Throughout pitch. After the first student’s instrument is tuned, I have each the years of her teaching career, Sondra was inspired and refreshed student pass the pitch to the next student until all instruments by ASTA-sponsored string teacher events at the University of Wis- have been tuned. This keeps every student on task and avoids consin-Madison, Ohio State University, University of Michigan-Ann opportunities for getting into trouble while waiting for a turn Arbor, and Villanova University. Simmons performs with the Hershey to have his or her instrument tuned. For most of the first year, Symphony Orchestra under the direction of Dr. Sandra Dackow. I turn the tuners and ask the student which way the pitch needs to go. In the second year of study, I show students how to reach around under the instrument and manipulate the fine tuners on violins and violas. I suggest that they stand over a bed or sofa for the first try, in case the rather complicated contor- tions cause them to drop their instrument. I instruct bass

24 | American String Teacher | August 2007 A Priceless Lesson by John Jarboe Whose bow is this, I am not sure. Rebecca, Kim, or Joe? I may receive a call tonight From a parent in a plight Asking if perhaps I might Have a missing bow?

But no one calls, and so, to bed. I may hear this tomorrow: “I’m sorry, it just slipped my mind! I guess we left the bow behind. I think I know where we can find A bow that we can borrow…”

Tomorrow comes, but still no word. And then, another day Passes by without a call. Do they miss that bow at all? Should I email one and all Or let Fate have its way?

A week goes by and, one by one, The students come and go. Rebecca, Bill, and Catherine, Kelly, Mike, Shantae, and Lynn, All with practice sheets filled in, And none without a bow.

My final student comes and now The guessing game is through. She opens up her bowless case Then stares in quiet, deep disgrace As I say to a helpless face: “Does this belong to you?”

John Jarboe was born in Par- sons, Kansas and began violin lessons from his mother at the age of three. He studied with Markwood Holmes, Merton Shatzkin, and Paul Carlson at Pittsburg State University in Pittsburg, Kansas, and with Henri Temianka at California State College in Long Beach. Jar- boe received the bachelor of music education and master of music degrees from PSU. He has served as instructor of string music/orchestra at public schools in Missouri, Kansas, and Ar- kansas, and is a published Nashville songwriter and former violinist with the Nashville Sympho- ny and Arkansas Symphony Orchestra. Jarboe is conductor of the Preparatory Orchestra in the Arkansas Youth Orchestra program, violist with The Jarboe String Quartet, and serves as the Music Specialist/Program Advisor with the Arkansas Department of Education.

www.astaweb.com | 25

The Use of “Tartini Tones”

in Teaching

by Fritz Gearhart What are all of those weird noises and grunts that appear and disappear when you play double stops? If you’ve never heard them, you might want to close your eyes and stop reading immediately. To discover the world of Tartini Tones (TTs) is to open a Pandora’s box that will never be closed again. But for those of you already familiar with TTs, you might not realize the exciting teaching tool you have in your grasp and how it can inspire a deeper understanding of intonation, tone color, and bow control.

What are they? When two tones are sounded simultaneously, additional tones are sometimes “produced” which we can hear and identify as separate pitches. Most people are not aware of these pitches, per se, and hear these sounds as merely the richness or character of different double stops. These tones do fol- low certain laws or rules and theoretical sources describe exactly which double stops produce which TTs (see Hindemith’s Craft of Musical Composition as one source). The physical explanation for these phenomena is complicated, and has recently been the source of some controversy. The tones were “discovered” and documented independently by organist Georg Andreas Sorge (1703-1778) and vio- linist Giuseppe Tartini (1692-1770) in 1740 and 1754, respectively. Later in the 1800s, the scientist Hermann von Helmholtz continued the exploration and study of these sounds and postulated this additional tone is produced by the interaction of two sound waves and heard at the difference between their two frequencies. This explanation has been largely accepted until recently, as modern scientific research suggests these tones represent nonlinear “interference” within the human ear and are not nec- essarily physical in origin. Throughout the years, the study surrounding these sounds has included the nomenclature of difference tones, resultant tones, subjective tones, summation tones, beat tones, and interference beats, all with slight variations in meaning based on the way in which these sounds were

32 | American String Teacher | August 2007 believed to be produced. See Example #3 below for a diagram Hindemith used in his No matter what these tones are called and whether they exist book to illustrate the TTs you can hear “resulting” from all of the in the air or in our perception, they do exist in our experience. double stops within one octave. It is Hindemith’s assertion that One does not need to understand them in order to put them to each TT spawns yet another TT (increasingly more and more good use. Describe them in any way that suits you… as a buzz, a indistinct) – hence the label 1st order and 2nd order in this il- rattle, or a ghost tone, but discover for yourself what they can do lustration. This is his explanation why you can hear multiple TTs in teaching and playing the violin. on some double stops. Hearing Them Yourself (Example 3) The difficulty of hearing TTs is one of perception. We often perceive only the most obvious portion of the complex sounds we hear. TTs escape our awareness because they are embedded within the tone of our double stops and are hard to distinguish at first. I suggest this analogy: when you see the color green in printed material, you are not aware, unless you look very closely, that the color is made up of tiny blue and yellow dots. It is precisely this kind of detailed perception one needs to hear TTs. Benefits from “Tartini Tone” Study In general, the higher double stops on our instruments have If you can hear TTs while performing double stops, then you louder TTs, so we begin with an example on the top two strings have achieved the first benefit already. of the violin. In Example #1 below, you will see a diamond used Benefit 1: Hearing TTs promotes deep listening. to illustrate the pitch of a TT you can hear when you play the When students can finally hear TTs on different double double stop illustrated. In general, sixths are an excellent interval stops, they begin to develop a stronger and more refined ear. to introduce these sounds, followed by thirds. Pointing out these TTs only increases the student’s perception of (Example 1) sound, leading to greater ear-training skills. On a single pitch, students will find it easier to hear, for example, the ring of the open string, or the subtle changes in tone color as they move the finger sharp or flat. In addition, awareness of TTs promotes excellent bow con- trol. In this aspect they are self-correcting. In order to hear TTs at all, you must play with a specific bow weight, speed, and place- When I introduce TTs to students, I start by having them ment combination, and maintain that “recipe” throughout the play the double stop in Example #1. I save time by manipulating bow stroke. their fingers into the correct spot (while they move the bow). I Benefit 2: Playing double stops with the goal of maintaining the then sing the TT to the student to help him hear it. (Important TT is a great way to develop sensitivity to the “recipe” of bow note: The student must already have good control of the bow, and weight, speed, and placement (WS&P). the skill to maintain consistent speed and weight on both strings, I suggest using Sevcik Op. 9 or a similar exercise in this to produce these tones.) To find these tones yourself, I suggest manner (Example 4): instruct the student to play each bar several this approach: play the first double stop in Example #1 and then times while focusing on maintaining the TT throughout the up- begin sliding the lower finger very slowly from C to C# (see bow at approximately quarter=60. Have the student repeat each Example #2). As you do this, you can hear the movement of the bar being sensitive to any faulty WS&P that obscures the TT dur- TT in the opposite direction your finger is moving (from F to E). ing the up-bow. Be sure to play several successful up-bows in a As you move the pitch sharp, the TT is moving flat, and the TT is row before moving on to the next bar. From this type of practice, neither of the pitches you are playing — making it easier to hear. students learn how to adjust the WS&P recipe to bring out the I find this one of the best examples to assist someone who has TT clearly. I caution students against the stop-correct-continue difficulty hearing these sounds. (Actually, there are additional TTs approach in practice. I use this analogy: if you want to ride a bike, that you can hear while playing this double stop, but for now, I you have to keep pedaling to maintain balance and stay upright. suggest focusing only on the F-E motion.) Important note: Make You cannot practice riding a bike if you are not in motion. For us, sure you draw the bow with consistent weight and speed. In gen- it is the bow that must always stay in motion. One of the com- eral, a bow speed of quarter=60 is a good speed to use, or slightly mon problems I encounter is the student’s slowing the bow speed faster for less advanced students. Once you can hear the TT in to “look” at the problem. The bow could be the problem, and the this example, you will begin to hear them everywhere. Voila! You students must keep the WS&P recipe consistent, or they cannot have now entered the TT zone of no return. hear the TT clearly enough to adjust the left hand correctly. (Example 2) (Example 4)

Benefit 3: Mastering TTs leads to a better understanding of tone on single pitches.

www.astaweb.com | 33 This intense work with TTs leads to the production of a bet- from your instrument. They will soon be asking you for a lesson! ter tone in general because one learns the relationship between the Good luck. I wish you and your students an exciting intona- recipe of WS&P and the intonation in the left hand. This trans- tion journey through the exploration of Tartini Tones. lates directly to the performing of single pitches and the beauty of tone. If you push too hard (weight) with the bow, you squash the (A big thanks to a former student, Leif Kalstrom, violinist, and TT. The same is true of the tone on a single pitch, but on a much now physics major at UC Berkeley, who helped me revise this more subtle level. paragraph to correctly and accurately articulate the science behind Benefit 4: Hearing TTs deepens understanding of intonation and Tartini Tones.) its subtle complexity. For the faint at heart: prepare yourselves for what follows. Fritz Gearhart is professor of violin and Here is where the can of worms gets opened and will not shut. chamber music at the University of I have not told you the complete story. In order to get that beauti- Oregon School of Music where he also performs as a member of the Oregon ful ringing TT on a major sixth, the top note is slightly flat. In Quartet. He holds a master’s degree Example 5, you will discover this uncomfortable truth — if you and a bachelor’s degree in music from play a C that fits well to your ear, and subsequently match the the Eastman School of Music where he A carefully to your C (producing a TT), the resulting A will be studied with Donald Weilerstein. Earlier slightly flat to the open string. Here is where you begin to appre- studies at the Hartt School included work with Charles Treger and members of the Emerson Quartet. Gearhart has performed in major halls ciate the subtle manipulation you must use constantly to achieve around the country, including Alice Tully Hall, Carnegie Recital Hall, the ringing double stops at all times. When this situation comes up in 92nd Street Y, as well as the Terrace Theater at the Kennedy Center. a lesson, I instruct students to make a choice. Students can freely Nine compact discs featuring Gearhart have been released since 1992 choose the pitch of either the A or the C as they would like to on various labels including Koch, Centaur and Albany. He has recently hear them, but in order to get the TT to sound, they must adjust published Rhythm Sessions for Strings, an album of music designed to help students improve their rhythm skills (Ludwig Publishing). A dedicated their second pitch. I find this a great way to introduce students music educator, Gearhart has taught at the university level since 1989, to a rigorous ear training discipline that requires a high degree of including his previous appointments at East Carolina University and discernment from their ears as well as from their technique. At Indiana University at South Bend. Gearhart has been a featured clinician this point, having mastered the technique necessary to produce at music conventions and and has presented master classes at many these tones, a student can now choose not to follow the dictates music schools including Texas Christian University, Boise State University, of the TT — not all professional players exploit this intonation Ithaca College, the Interlochen Academy of Arts, Eastman School of Music, and the Hartt School, among others. Gearhart has also appeared style. However, it is clear that one can derive great benefit from as a guest conductor of several string festivals around the country. the study and manipulation of these tones.

(Example 5)

(Example 6)

As one final illustration, take the opening of the Adagio from Bach’s G minor Sonata for Solo Violin (Example 6). To play the first G minor chord in this piece guided by TTs, you first achieve a TT between open D and B-flat. Once this is achieved, you will then need to match the top G to your B-flat to achieve another TT. For some, the resulting G seems too low for comfort, for oth- ers, just right. And the TT — an E-flat — doesn’t belong in a G minor chord. Be reminded most cannot hear the E-flat, only you can, but the damage is done. You will never look at intonation the same way again. You have expanded your hearing and sensitivity to tone and intonation. Your audience might not notice the subtle intonation differences you have strived to perfect, but they will certainly marvel at the beauty and purity of the tone you produce

34 | American String Teacher | August 2007 www.astaweb.com | 35 MUSIC Room Basics: Budget

Battlesby L. Dalton Potter

Did you know that some of your students are going to stay in school and continue their education because of a single teacher or a single class? The unfortunate truth is that some students are barely hanging on by a single thread and are almost “looking for” any excuse to quit. Especially in high school, kids are facing serious challenges today that are tremendously stressful. Many of these are situations unrelated to their academic careers and can easily derail promising achievers before they even start. It is not at all uncommon for students to look at music class as a refuge or safe haven from the rest of their day. If you accept and recognize this fact, you should also realize that you have an obliga- tion to make your music program the very best it can be. This may mean accepting that you have to have skills in other areas besides music in order to achieve that excellence. As a musician, your interest in “playing the game” or doing “busywork” unrelated to music may be nonexistent. But in order to be the hero who stands in the gap, the one who keeps kids from quitting, you are going to have to grow a little yourself, and meet some of your own challenges. It is absolutely imperative that you know how to fight for your budget. If you are a timid or nice person, so much the better. When administrators see you baring your fangs in defense of your program, it will make an even bigger impression! This is especially true for new teachers or new applicants for a band/orchestra director position. Make it your business to inspect all of the school’s instruments for maintenance problems before you go for your interview. If you see an accumulation of unplayable or poorly repaired instruments, you absolutely must go into your interview with your sword drawn and ready to do battle. It’s a common chain of circumstances: the quality of your music program is related to the quality and maintenance level of your instruments. Your importance to the school will be largely determined by the public profile of your students’ performances. If the school orchestra is a laughing stock because they sound horrible, you look bad, and your students look bad. It may even become more difficult to move on to a school with a good program because your reputation will have already been “set in stone.” My ad- vice for you is to be prepared to walk away from a job offer if you sense for one second that the administrator who is in charge of your budget is soft on the idea of funding BOTH the maintenance and also the procurement parts of your program. Otherwise, I can guarantee you are destined to fail from the first moment you walk in on your very first day. Administrators tend to understand budgeting for this year’s purchases. They prefer to put off until “next year” expenditures which are less tangible and for which they can not easily take credit: “Look at the new (bleachers, uniforms, blacktop, signs, desks, you name it....)” isn’t Ms. Worthy doing a great job with our budget? Nobody is going to say, “Don’t the cellos sound great this year with their new strings and bow hair?” You are going to need to have at least two people on your side; the administrator who controls your budget and, hopefully, the accountant for your school. The administration person comes first. This is the person who you have to convince that your program’s needs

36 | American String Teacher | August 2007 are neither frivolous nor discretionary. You have to do this in such a convincing manner that they feel comfortable going to bat for you with their boss. You have to provide them with hard figures and well-reasoned proposals to back up their decisions to fund oury program the way it needs to be funded. You help them with their needs and thus enable them to return the favor. Also, you should understand that if the program has a history of being under funded, you might not be able to change things overnight. You may have to be patient while money is “found” in the budget to help you. This brings us to the second person on your list. Make it a point to be friends with the school accountant. Help him understand the needs of your program and why it is so important that you not be first on the list for cuts when things get tight. If you’re lucky, he will be the person who, in a pinch, can find money in obscure budget categories that’s not being used, and help you out if there are unexpected expenses (Johnny trips on the double bass and knocks it into three cellos, for instance). Hint: When you manage to succeed and pull together a good performance, give the credit to someone else. It will always come back to you if you acknowledge all the folks who helped you make your program a success. It’s almost as though you’re being selfish by being so generous with sharing the credit. By the way, do it at the beginning of the concert - not everybody stays all the way to the end for the finale and encore (sorry). Here are some guidelines for budgeting your maintenance expenses for stringed instruments. Remember this is only the bare mini- mum for upkeep and does not include major repairs.

t
Violins annually need new strings and bows must be rehaired, at an average cost of $100 per instrument. Shoulder rests and cases can lose parts and should be figured in as well. Adding $100 to your budget for every five instruments per year will help to cover these unexpected losses. Replacing warped or damaged bridges on instruments at a rate of once every three years at a cost of $50 each occurrence is being conservative with your funds. For a string program with just 10 instruments in it, your annual “bare- bones budget” is $1,450. That’s assuming you are starting with instruments in perfect condition and that nothing else happens! Warping or wearing of fingerboards, breaking strings, cracking due to an uncontrolled environment in storage, or a student damaging or breaking an instrument or bow is not accounted for here. A budget of $200 per instrument per year might cover you for average maintenance plus minor regular repairs for violins. This is far less than most parents spend on their privately owned instruments in a year. t
For violas, the expenses are generally the same as for violins. You should add $30 extra per instrument, however, as the strings cost a bit more. t
Cellos have similar expenses as violins and violas except that cello strings cost about $100/set and bridges are $75 to $95 each. Figure on $300 per year for just basic maintenance. t
Bass expenses are close to those of cellos but you should plan on spending about $50 more per instrument. Bass strings can last up to two years but every other repair for a bass is labor intensive and requires transportation and is therefore more costly. Plan on $350 per year. This article is designed to assist you in keeping costs over and above those listed here to a minimum by allowing you to avoid costly repairs through prevention and regular maintenance. Also, you will be able to perform some basic repair procedures yourself, thereby allowing you to preserve precious resources for other needs (there is always something!). By the time you’re finished, rovidedp that you have equipped yourself with the proper tools and supplies, you can save your program thousands of dollars in repair costs and preserve some of the existing investment in instruments that right now are lying around unusable and without a student behind them. Now, remember those kids we were talking about at the beginning? It’s your job not just to teach them about music—notes, composers, etc.—but also to show them by your example what it means to establish standards for yourself. They are watching you for clues about life as well as music. For them, you fight for your program to be exemplary in its ability to share the experience of playing music. For them, you demand a reasonable budget for maintenance and decent instruments, sheet music, and supplies. For them, you stay up late making up parts and arrange- ments that they can play. For them, you travel to All-State and worry and encourage and worry some more. For you, you get to sit back and watch kids you never thought would ever get anywhere, because they just had everything going against them, stand up for applause; and you secretly think to yourself: “Maybe, just maybe, they’ll be back next year.”

L. Dalton Potter is the president of The Potter Violin Co. in Bethesda, Maryland. He has been building and repairing string instruments since 1976. Potter has written and spoken extensively on the importance of quality instruments in early strings education and is the author of Kitchen Table Violin Repairs, an emergency manual for string players and teachers.

www.astaweb.com | 37 Set-up: Fitting the Instrument to the Body, When All Bodies Are Different! by Liz Dinwiddie

One prevalent issue among private and public school string teachers is setting up violin and viola students with a good shoulder rest/chin rest combination. There are many products on the market, and most teachers would agree, no single product fits all students. Inevitably there are students whose necks are too long, jaws are too wide or narrow, or shoulders are broader than their classmates. What can a teacher do if he has limited time to get a classroom full of kids set-up well? The classification of body shapes can help teachers to consistently pick the best shoulder rest by looking at students’ body types. Although knowledge of bones and muscles would be helpful for teachers, a basic knowledge of the three extreme body types is more helpful for a quick glance at the initial set-up. The types are endomorphic, ectomorphic and mesomorphic. Teachers who have an awareness of the features of these different body types can use this knowledge to establish a comfortable set-up for their students regardless of the body type. Knowing the three body types can provide students with a comfortable set-up at the beginning of their violin experience and may help eliminate years of trial and error for the student. There are many possible combinations of body shapes and chin rest/shoulder rest combinations. In an article such as this, all possibilities cannot be exhausted; instead, a basic overview of shoulder rest options for some general body types is given.

Three Basic Body Types Somatology is the study of physical anthropology, which catego- rizes the human physique. In the 1940s, William Sheldon studied the outward body shapes of more than 4,000 college-aged men. He found there were three major body types which he designated: endo- morph, mesomorph, and ectomorph. These categories can be very help- ful for violin/viola teachers: in particular, the descriptions for the shoulders, jaw, and neck shapes. An endomorph has a soft roundness to the body. The extreme endomorph has a short neck, spherical face, and rounded shoulders. A meso- morph has a square, hard body, like that of a pro football player. The extreme mesomorph has broad shoulders, a long muscular neck, and a prominent square jaw. The final category is an ectomorph which is a linear, lean body, like as a marathon runner’s physique. The ectomorph has droopy shoulders, a long neck without much musculature, and a small head with a pointy jaw. In Sheldon’s study of 4,000 men, he did not find one man without traits of two or more of these extremes. For string teachers this means all of your students will be a combination of two of Shelton’s physique descriptions. For example you may have a student with broad shoulders (mesomorphic feature) with a pointy chin (ectomorph feature). This combination of shapes would require a different set-up than a student with a long muscular neck (mesomorph feature) and droopy shoulders (ectomorph feature). There can be many combinations, each requiring a different shoulder rest.

How Does Knowledge of Body Types Help String Players? Once a teacher can recognize the shapes of the students, the body shape information can easily be applied to set-up. To prevent tightening the muscles and injuring the player, the space between the collarbone and jaw needs to be filled. The body of the instrument will fill most of the space, and the addition of an appropriately-sized shoulder rest/chin rest combination will fill in the rest. Filling in the space allows the neck muscles to be in a relaxed state. There is also a possibility that the player may not need a shoulder rest. If the player’s neck is short enough, and the instrument/chin rest combination tall enough, then the space is already filled. In 2004, I completed a small study of four different musicians to find out which shoulder rest, out of a possible six, would work best for their body type. The shoulder rests used were:

38 | American String Teacher | August 2007 Zaret molded foam, Wolf, Resonans, Kun, Viva, and Bon Musica. The latter four rests are all adjust- Figure 1 able platform rests which can be used to varying heights. The molded foam is flat on one side and Bon Musica shoulder rest, model 1 has a concave curve on the other. Each of these rests has strong and weak features in its design un- related to body shape. After consulting with area string teachers and music stores, these six shoulder rests were picked because of they are the most frequently used and all are readily available.

The Shoulder Rest Study All of the study’s participants were musicians, although none play violin or viola regularly. They were chosen to model because they had taken lessons at some point in their career and had a basic knowledge of holding the instrument. Most violinists’ and violists’ bodies have adjusted to years of playing. For example, often the left side neck muscles are shorter than the right side neck muscles. These participants did not have any of these tendencies from years of playing and were therefore similar to beginning students. The players kept track of which shoulder rest felt the most comfortable. I kept track of information by taking photographs of each set-up. As Sheldon did in his study, I took a photo from the front, side, and back to analyze how the body reacted to each set-up. To help focus the Figure 2 study just on shoulder rests, only a Hill chin rest was used. I chose it because of its relatively flat cup Bon Musica shoulder rest, model 2 depth and overall size. In all cases, the set-up in which the body had no visible muscle tension was also the shoulder rest the participants picked for themselves. In the study, two participants had similar body types with a six-inch height difference. They both had generally ectomorphic features with broad (mesomorphic) shoulders. Even with a signifi- cant difference in height, they both picked the Bon Musica as the most comfortable shoulder rest choice (see Figures 1 and 2). This was a little surprising, but showed that despite a height difference the same shoulder rest was needed. The Bon Musica has a very bendable platform, which can be shaped over the shoulder. This “hook” feature helped stabilize the shoulder rest on the players’ broad shoulders. The participant with the most muscular neck (mesomorphic) had the best set-up with the Viva rest (see Figure 3). The best option for an ectomorph with endomorphic shoulders, such as the fourth model, was the Wolf shoulder rest (see Figure 4). Possibilities for a bad set-up include tense neck muscles (see Figure 5). In this photo, one can see the strap-like muscles of the neck protruding on the left side. Another undesirable set-up occurs when the shoulder rest is too big for the body (see Figure 6). Unlike the other pictures of models with the Bon Musica, this model’s shoulders are not broad enough to use the rest. To highlight the importance of checking a set-up from the side (see Figure 7). This participant’s shoulder is com- ing up and forward, and you can see his jaw gripping onto the violin. Naturally, one shoulder rest Figure 3 option will not be ideal for all body types. The key to a comfortable set-up is to understand the Viva shoulder rest, model 3 features of the body in front of you so their particular needs can be addressed.

Strategies When Setting Up a Group of Kids… Although working with a group of beginners provides some challenges, it is possible to use information about body types to select the best shoulder rest and help prevent muscle tension. Many teachers feel uncomfortable asking a beginning student to buy a $40 shoulder rest immedi- ately. Perhaps the student will dislike playing in a short time, or that amount of money is simply too expensive for the family. If these are concerns, simply fill the space with the appropriate amount of spongy material. Before I set-up my students, I have them stand in front of me and go through the following routine: t

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www.astaweb.com | 39 Figure 5 pronounced jaw. Other players prefer to have a chinrest which is flat for their jaw to rest on. Tense muscles - front view t
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Verification To help verify a set-up, there are a few simple questions to ask yourself. Did you check the front, back, and side views? Often we forget to check the side and back of our students when they are holding the instrument. Is there any obvious tension? Is the student complain- ing of fatigue? If students are using unnecessary muscles, they will likely wear out faster. Can their head move freely while in playing position? Is their nose parallel to the floor? Is the corner of their jaw perpendicular to the floor? If their nose is pointing up, there might be too much filler between their collarbone and jaw. If the nose is pointing down, more space should be filled. Similar adjustments apply if the jaw is not perpendicular to the floor.

Conclusion There are many options for filling in the space between the shoulder and jaw, ranging Figure 6 from soft craft sponges from the dollar store to hand carved shoulder rests. Each body will Tense muscles - back view need something slightly different but with a little ingenuity you should be able to find the ap- propriate set-up for each of your students. A focus on the jaw, neck, and shoulder shapes will help you determine how much space needs to be filled. The more awareness you have of the three extreme body shapes, the easier it is to find a shoulder rest that will make playing more comfortable for your students.

Thanks to the models: Beth Rosbach, Erika Selk, Heather Plattenberger, and Carey Harwood.

Liz Dinwiddie is a studio teacher and freelance violist in Boulder, Colorado. She currently teaches violin and viola at the Boulder Arts Academy, Blossom Preschool, and maintains a private studio at her home. Dinwiddie is a member of the Greeley Philharmonic and freelances in the Boulder area. She received her bachelor of music in viola performance from Boston University and her master of music in viola performance and pedagogy from the University of Colorado. Figure 7 Tense muscles - side view

40 | American String Teacher | August 2007

2008 ASTA National Conference February 27-March 1, 2008 Albuquerque, New Mexico

Join your colleagues for another phenomenal year at the 2008 ASTA National Conference. The three- day event will be jam packed with sessions that will interest and excite just about everyone in the string world — from classical and alternative styles performers to K-12, private studio, and university teachers, as well as students at all levels. The ASTA conference is the premier place to enhance your skills and knowledge of string related topics – not to mention a terrific opportunity to network, meet with old friends and cultivate some new ones.

We know you’ll find the sessions at the conference to be informative as well as entertaining. Topics will include traditional pedagogy, issues for school string and orchestra teachers, injury prevention, classical and nontraditional performance, university-level training of future string players and educators, and alternative styles techniques, to name just a few. The top-notch presenters are all well respected in the field and possess a wealth of information to pass along to you.

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and the concluding concert performed by Shanghai Quartet) Keynote Speaker Tim Lautzenheiser is a well-known name in the music education world as a teacher, clinician, author, composer, consultant, adjudicator, and, above all, a trusted friend to anyone interested in working with young people in developing a desire for excellence. This opening keynote address will focus on the compel- ling impact the study of music has on our students. As an art form, it serves as the gateway to unlimited possibilities of the creative mind; as a learning discipline, the study of music builds a solid foundation of positive growth and development for ALL. Tim Lautzenheiser will More detailed information about Tim Lautzenheiser can be found at www.at- be the keynote speaker at the ASTA National titudeconcepts.com Conference.

Confirmed Master Class Clinicians Pre-College Level Collegiate Level Multilevel Bass: Jeff Bradetich Bass: Diana Gannett Guitar: Martha Masters Cello: Antonio Lysy Cello: Thomas Landschoot Harp: Carrol McLauglin Viola: Nancy Buck Viola: Pamela Ryan Violin: Katherine McLin Violin: Danwen Jiang

42 | American String Teacher | August 2007 Music Industry Showcases (as of June 2007) Alfred Publishing Company, Inc. Northeastern Music Publications Boosey & Hawkes Shar Products Company Carl Fischer Music LLC. SmartMusic & Finale Connolly & Co., Inc. Strings Music & More, LLC. The FJH Music Company Tempo Press Frisch and Denig Custom-fitted Chinrests Twofold Media Hal Leonard Corporation Yamaha Corporation of America Neil A. Kjos Music Company

Pre-Conference Sessions Comprehensive Teaching for the Studio This session will offer practical ways that studio teachers can incorporate elements of theory (including harmonic analysis, musi- cal terminology, tonal centers, and form), music history (historical contexts, composers, genre, stylistic periods, and performance practice), and affective/emotional/societal contexts for music performance into their instrumental teaching – as well as have creative ways for students to demonstrate their understanding of these topics. The session will demonstrate how teaching comprehensively enhances students’ ability to think independently, and perform meaningfully. Clinicians: TBA

Every Child Can!© (ECC) * Every Child Can!© (ECC) is an introduction to Dr. Suzuki’s philosophy and its application to Suzuki education. For parents, teachers, prospective teachers and others, this course provides a thought-provoking andddh inspiring indepth look at the Suzuki approach to teaching and learning. For teachers, ECC serves as the first course in the Suzuki Association ofthe Americas’ Teacher Development Program. In addition to exploring the elements of the Suzuki approach and its far-reaching goals, it includes an introduction to learning styles, history of the development of Suzuki education, the role of parents, the importance of Suzuki pedagogical training, and an overview of the SAA’s role in supporting teachers and parents. A fast-paced, engaging and inspiring program, ECC includes video materials and SAA-developed courseware, and provides each participant with useful refer- ence materials (manuals) for later study. Clinician: Judy Weigert Bossuat, Suzuki Assoc. of the Americas certified teacher trainer * Note: this pre-conference has an additional required $30 materials fee. Participation is limited to 30 people so register early.

Conducting Techniques for School Orchestra Conductors Participants will have a fantastic opportunity to receive feedback on their conducting in an analytical, yet supportive and collegial atmosphere. Feedback will be from colleagues as well as coaching and feedback from a panel of professional conductors/teachers of conducting. Each participant will conduct a lab string orchestra on a movement of his/her choice from Mozart’s Eine Kleine Nacht- musik or Holst’s St. Paul Suite. Demonstrations of different approaches to conducting which yield different results will also provide the basis for discussion and comparison. Participants will be videotaped for further home review. (Workshop organizers will provide blank tapes for purchase or bring your own). Each participant will have the opportunity to review his/her video tape privately with one of the clinicians immediately following his/her time on the podium. Teachers should bring a baton and scores. Clinician: Sandra Dackow, Hershey Symphony Festival Strings

www.astaweb.com | 43 Pre-Conference Sessions (continued) Basic String Maintenance: A Teacher’s Guide This will be a five-hour PowerPoint “hands on” presentation that will give private and public school string teachers helpful maintenance techniques so their students’ instruments can be kept out of the repair shop. Some of the many areas covered are: preventing warped bridges; installing strings; string height; soundpost placement; peg problems; cleaning instruments and bows; bow and hair problems. Participants are encouraged to bring their own instruments and bows for examination purposes only. Some instruments will also be provided. Clinician: Harold Turbyfill, String and Horn Shop

Alternative Styles Basic Improvising in a Group Setting - Basic Blues - Reading and Understanding Chord Changes - Getting the Right Feel - Interpreting a Lead Sheet- Group psychology for success. Clinicians: Stanley Chepaitis, Indiana University of Pennsylvania, and Katherine Mason, Boulder Valley School District Accompaniment Techniques in Group and Solo Playing in Various Styles Clinicians: Renata Bratt, performer and Jody Harmon, private studio teacher Ornamentation and Interpretation in Celtic and other Fiddle Styles Clinicians: Renata Bratt, performer Hands on open jam session, have fun trying out all the ideas and concepts Clinicians: Alternative Styles Committee members

Teaching Playing Skills in the String Class: Are Your Students Surviving or Thriving? (K-12) This high-energy, hands-on, pre-conference session will provide realistic examples of heterogeneous class- room instruction and pedagogy. Gain elementary, middle, and high school group strategies that keep stu- dents motivated as they develop and extend technique. Plan to participate with an instrument in your hand, and view the clinicians working with a student demo group. Recharge your passion for teaching strings. Clinicians: Robert Gillespie, The Ohio State University; Kirk Moss, Minnesota State University Moorhead; and Mary Lou Jones, Liberty Public Schools, Mo. and 2007 ASTA Elizabeth A.H. Green School Educator Award Winner

State Leadership Training Workshop (invitation only) State presidents and presidents-elect will join together from around the country for an informative and critical half-day training and networking session. This workshop will arm you with the tools to effectively lead your state chapter, give you the opportunity to form relationships with nearby state chapter officers, and hear the challenges and successes of running a state chapter unit. Areat g place to gather ideas for your state chapter, big or smail, active or not so active. State Chapter Awards for Membership Recruitment, Best Newsletter, Most Improved Chapter, Outstanding Chapter, State Chapter Leaders, and Best Website will be presented. Educational Sessions Please visit the 2008 Conference section of the ASTA website for session titles, description and speakers. Sessions will be catorgorized on the website by topical tracks: Alternative Styles, Chamber Music, General, K-12, Private Studio, University and Master Classes. Evening Performances Albuquerque Youth Symphony ...... Wednesday, February 27 Joshua Bell and Jeremy Denk ...... Thursday, February 28 National High School Honors Orchestra ...... Friday, February 29 Gala Benefit Evening featuring Silent Auction and Shanghai Quartet ...... Saturday, March 1 Silent Auction The Silent Auction will kick off the Gala Benefit Evening on Saturday, March 1, 2008, in Albuquerque, New Mexico. Please join us to bid on a variety of fabulous donations, including instruments, bows and accessories, travel packages, state baskets, and much more! All proceeds will benefit the educational programs and activities of the National Foundation to Promote String Teaching and Playing. Visit the ASTA website to view auction items and a listing of our generous donors. To make a donation, contact Liz at [email protected] or complete the donation form online. The Gala Benefit Evening, Silent Auction, and Shanghai Quartet performance are sponsored by Connolly & Co., Inc.

44 | American String Teacher | August 2007 Conference Sponsors Confirmed Exhibitors (as of June 30, 2007) (as of June 2007)

Claire Givens Violins, Inc. Alfred Publishing Company, Inc. ARCUS USA Boosey & Hawkes Brigham Young University Clemens Violins, Violas, Violoncellos Carl Fischer Music Claire Givens Violins Clemens Violins, Violas & Violoncellos CodaBow International, Ltd. Connolly & Company D’Addario & Co., Inc. CodaBow International Ltd. Electric Violin Shop The Enterprising Rabbit Finale & SmartMusic FJH Music Company Frisch and Denig Custom-fitted Violin and Viola Chinrests Connolly & Co., Inc. G. Edward Lutherie, Inc. Hal Leonard Corporation G. Henle USA JulieLyonn.com KC Strings Inc. D’Addario Kelin Violin Shop Last Resort Music Publishing Latham Music, a Lorenz Company Luck’s Music Library Merz-Huber Company Merz-Huber Company Mona Lisa Sound Music Mart NAMM Neil A. Kjos Music Company Northeastern Music Publications, Inc. Shar Products Company The Potter Violin Company Shan Jiang Violins Shar Products Company StringWorks Snow Stringed Instruments Southwest Strings StringWorks, Inc. The Potter Violin Company Strings Music and More Tempo Press Twofold Media United Workshops Corp. Wood Violins Yamaha Corporation of America Yamaha Corporation

www.astaweb.com | 45 National Orchestra Festival® The National Orchestra Festival®, to be held at ASTA’s 2008 National Conference, February 27 through March 1 in Albuquerque, New Mexico, is a celebration of music as ASTA brings together national and international youth, middle school, and high school orchestras for competitive and noncompetitive performances. The National Orchestra Festival is sponsored by Yamaha Corporation.

Competitive groups will receive ratings and comments as part of their competition status. The orchestra deemed, “Grand Champion” will perform a winners concert on Friday, February 29. This not-to-be-missed performance is open to all attendees and is well attended.

We are happy to announce the list of accepted orchestras for 2008. (Pending Confirmations of Attendance.) Century High School Orchestra, Bismarck, N. Dak., director Jeremy Overbeck Coronado High School String Orchestra, El Paso, Tex., director Ida Steadman Coronado High School Symphony Orchestra, El Paso, Tex., director Ida Steadman Ferris Chamber Orchestra, Spokane, Wash., director Carol Pederson Grosse Pointe Symphony Orchestra, Grosse Pointe Farms, Mich., director James Gross Harrison Chamber Orchestra, Kennesaw, Ga., director Steven Parkman Harrison Concert Orchestra, Kennesaw, Ga., director Steven Parkman Hershey Symphony Festival Strings, Mechanicsburg, Pa., director Sandra Dackow Iowa City West High School Symphony String Orchestra, Iowa City, Iowa, director Wayne Thelander Junior Guitar Orchestra, Belgrade, Serbia, directors Vesna Cvetkovic and Dragan Petrovic Kodiak Youth Orchestra, Kodiak, Alaska, director Constance Jensen Las Flores Middle School Orchestra, Las Flores, Calif., director Steve Benefield Las Vegas Academy Philharmonic, Las Vegas, Nev., director Karl Reinarz Las Vegas Academy Symphony, Las Vegas, Nev., director Karl Reinarz Little Strings of Bajich, Novid Sad, Serbia, director Csaba Zima Los Alamos Middle School Orchestra, Los Alamos, N. Mex., director Cheryl Smith-Ecke Milton High School Chamber Orchestra, Alpharetta, Ga., director Richard Bomba Punahou Symphony Orchestra Strings, Honolulu, Hawaii, directors Craig Young and Jonas Carlson Rocky Mountain High School Chamber Orchestra, Fort Collins, Colo., director Beth Wells San Domenico Orchestra da Camera, San Anselmo, Calif., director George Thomson Springville High School Philharmonic Orchestra, Springville, Utah, director Samuel Tsugawa Valley Chamber Orchestra, West Des Moines, Iowa, director Philip Peters National High School Honors Orchestra The National High School Honors Orchestra (NHSHO) is a performing group of approximately 120 competitively selected high school musicians from orchestras around the country. These talented young musicians will assemble in Albuquerque for three days of rehearsals under the direction of an internationally renowned conductor. These students will give a showcase performance of professional orchestral literature Friday evening at the conference under the direction of Jung-Ho Pak. Students participating in the NHSHO are inspired and encouraged to carry that excellence back to their own schools and on to a musical future. Don’t miss this fabulous performance Friday, February 29 at the Kiva Auditorium in Albuquerque! Visit ASTA’s website in mid-October for a list of students participating in the orchestra!

Jung-Ho Pak, conductor Jung-Ho Pak is the new artistic director and conductor of the San Diego Chamber Orchestra and music director of the New Haven Symphony Orchestra. Described by the New York Times as a conductor who “radiates enthusi- asm,” the Los Angeles Times as “a real grabber,” and twice by the San Diego Union-Tribune as one of the most “impactful people to watch,” Pak has developed a reputation as a visionary and influential leader. He is also currently in his seventh season as music director of the New Haven Symphony Orchestra, one of the largest orchestras in the New England region. To view Pak’s complete impressive biographical information please visit the ASTA website.

Professional Development Opportunities at the National Conference String Teacher Enrichment Program (STEP) NEW for 2008! ASTA offers members a new professional development program! STEP is a 45-hour comprehensive professional development program in topics specific to string teaching. This program is to be completed within the timeframe of two conferences during aour f

46 | American String Teacher | August 2007 year period. STEP is open to any string teacher interested in learning vital topics in string education, nonstring playing teachers such as band directors who are now teaching strings, and private lesson instructors now teaching adjunct in schools. STEP fillsin gaps in coursework, introduces new concepts in education, and reinforces knowledge areas. Once you have completed the program, a STEP certificate will be awarded and notification will be made to supervisors or administrators specified on the application ttha a certificate in this program has been received. You may also elect to receive college credits during this program issued by ASTA’s university partner, Shenandoah University. To participate in this program you will need to pay conference registration fees, including the pre-conference session, one-time ASTA enrollment fee of $25*, and if elected, the cost of credit offered through Shenandoah University. * If you have previously enrolled in ASTA’s Professional Development program and paid the $25 fee, you need not pay the fee a second time. To become a member of the STEP program, simply check off the String Teacher Enrichment Program box on the registration form, register for the conference and the K-12 pre-conference workshop, and if appropriate, the one-time enrollment fee box. Ad- ditional materials will be sent to you about the program. You may also visit the ASTA website for complete program details.

College Credit Available from Shenandoah University (visit ASTA’s website for more details!) Shenandoah University will offer undergraduate and graduate credit in conjunction with ASTA’s national conference. To receive credit, you must complete Shenandoah’s registration form indicating course number and credit level and complete all required assignments. These are available to view on ASTA’s website. You will also receive these papers upon checking the box on the ASTA conference registration form. Tuition cost for one credit is $186, plus a $20 special student application fee for all first-time Shenandoah University students. These fees are paid directly to Shenandoah. Note: This program is administered strictly by Shenandoah University and offered to ASTA conference attendees as a member service. Exact requirements and fees are determined and executed solely by the university and are paid directly to them.

Professional Development Documentation Program Participation in this program means ASTA creates and maintains a permanent and ongoing record of your professional development hours, as long as you are a member of the program and the association. This program differs from the String Teacher Enrichment Program (STEP) as it does not have set topical criteria or a specified number of clock hours to meet. Certificates issued under this program contain professional development hours.

Certification of Participation ASTA still offers a certificate of participation to those members desiring documentation of attendance at the conference for school administrators/districts requiring evidence of attendance or just to have as a remembrance of participation at the conference. This certificate does not include professional development hours. Register by December 1, 2007 for Best Rates! Plan now to join us at the conference. Use the registration form on page 48 or visit the conference section of the ASTA website at www.astaweb.com for additional information and registration avenues.

Early-Bird Registration is December 1, 2007! All registered by December 1 are entered into a drawing for a conservatory bow with Snakewood Frog, generously donated by CodaBow International.

Hotel Accommodations Reservation Deadline February 6, 2008 ASTA has secured preferred rate room blocks at the Hyatt Regency Albuquerque Hotel. Please contact the hotel by calling 505/842-1234 or toll free at 800/233-1234 by the cut-off date of February 6, 2008 to secure your reservations – be sure to mention you are with ASTA in order to receive the special room rates. We are anticipating that the ASTA room block will sell out before the cut-off date so you will want to reserve early to ensure space availability. Single/Double $129++/night Triple/Quad $149++/night Hyatt Regency Albuquerque Hotel at the Albuquerque Convention Center February 6 330 Tijeras NW Deadline! Albuquerque, NM 87102 Direct line: 505/842-1234

*Participants of the NOF are being housed at the Marriott Pyramid North Hotel.

www.astaweb.com | 47 DecemberRegister 1 and by 2008 2008 ASTA National Conference Registration Form save money! February 28 - March 1, 2008 National Conference Albuquerque, New Mexico

Fax or email form to: Name ______ASTA 4153 Chain Bridge Rd. Member ID # ______Fairfax, VA 22030 Address 1 ______FAX 703/279-2114 Address 2 ______Or register online: www.astaweb.com City, State, Zip, Country ______For questions, call: Phone ______FAX ______703/279-2113, ext. 16 Email ______Primary Profession:______

ConferenceConference Rates Rates DocumentationDocumentation ofof ProfessionalProfessional DevelopmentDevelopment Early-Bird Registration: Pre-Registration: On-Site Registration: ‰ One-Time Enrollment Fee $25 postmarked on or before Dec. 1 postmarked Dec. 2 – Jan. 25 postmarked after Jan. 25 ‰&HUWLÀFDWHRI3URIHVVLRQDO'HYHORSPHQW   ASTA Member Rates ‰ String Teacher Enrichment Program (STEP) (check box to receive more $224 $274 $299 information/participate) Non-Member Rates - Join Today and Save $$ (See Section 4) ‰ College Credit from Shenandoah University (these fees are paid directly to university, not ASTA; check box to receive more information/participate) $378 $428 $458 Student Member Rates &HUWLÀFDWHRI3DUWLFLSDWLRQ&HUWLÀFDWHRI3DUWLFLSDWLRQ $97 $132 $184 ‰ &HUWLÀFDWHRI&RQIHUHQFH3DUWLFLSDWLRQ$10 x _____ = $______1DPHRQ&HUWLÀFDWH ______Student Non-Member Rates - Join Today and Save $$ (See Section 4) * Does not contain hours of professional development. $199 $234 $284 Member One-Day Rate: $159 Indicate which day (circle one): ConferenceConference BadgeBadge InformationInformation Non-Member One-Day Rate: $199 Th F S 3OHDVHSULQW\RXUQDPHDQGSURIHVVLRQDODIÀOLDWLRQDV\RXZLVKLWWRDSSHDURQ\RXU badge (e.g., John Doe, University of Maryland, or Jane Doe, City High School, or Jane Doe, Private Studio Teacher). OptionalOptional Conference Conference Activities Activities Nickname ______Pre-Conference Workshops (Choose only one.) Wednesday, February 27, 12 p.m. to 5 p.m. $59 – Members; $79 – Non-Members Place of Employment ______‰ Alternative Styles ‰ State Leadership (invitation only) Primary Instrument ______‰ Conducting State Chapter______‰ K-12 I am the (circle one): ASTAASTA MembershipMembership (Join(Join oror RenewRenew Now!)Now!) ‰ Private Studio President President-Elect other (list) ______Join or renew your membership when registering for the conference and take the ‰ Repair/Maintenance discounted member rate on registration fees. Memberships must be current prior ‰ Suzuki Teacher Training* to the conference for member rates to apply. * This pre-con requires an additional fee of $30 for materials ‰ Professional $96 Evening Concerts ‰ Full-Time Student (copy of ID required) $44 ‰ Joshua Bell and Jeremy Denk – Thursday, February 28 $20 ____ Qty. ‰*DOD%HQHÀW(YHQLQJ²6DWXUGD\0DUFK   ____ Qty. ‰ Dual $134 (Gala includes Silent Auction and the Shanghai Quartet) ‰ Senior (age 62 or over) $68

‰ Yes, I also want to donate $_____ to ASTA’s Total Registration Fees:______National Foundation.

Payment Information ‰ Check (made payable to ASTA) Check # ______Note: Registrations with funds from outside the U.S. must be drawn on a U.S. bank. ‰ Purchase Order # ______FRS\PXVWEHDWWDFKHGPXVWEHIXOO\SDLGGD\VEHIRUHFRQIHUHQFHRUEDODQFHFROOHFWHGDWFRQIHUHQFH ‰ VISA ‰ MasterCard (Sorry, we do not accept American Express or Discover.) Card # ______Exp. Date______Cardholder Name ______Signature ______Cancellation Policy All cancellation requests must be received in writing by January 25, 2008. No refunds will be given on requests after this date. NO EXCEPTIONS. There is a $75 cancellation fee. Refunds will not be processed until after the conference. American String Teachers Association

48 | American String Teacher | August 2007 New! Offered at the 2008 National Conference: STRING TEACHER ENRICHMENT PROGRAM The String Teacher Enrichment Program (STEP) is a 45-hour comprehensive professional development program featuring topics specific to string teaching. STEP is open to all string teachers interested in expanding their knowledge base on vital topics in string education, nonstring playing teachers such as band directors who are now teaching strings, and private lesson instructors now teaching in adjunct positions in schools.

STEP fills in gaps in coursework, introduces new concepts in education, and reinforces knowledge. Sample of covered areas include: t
Recruiting t
Pedagogy t
Improvisation t
Composition t
Listening and Evaluation t
Rehearsal Techniques t
Assessment Writing t
Alternative Styles t
Technology t
Retention t
Conducting t
Classroom Management RIGOR t
Attendees submit the STEP log of all ses- sions, rehearsals, or concerts attended. t
Attendees must obtain a signature from the presider (preferably) or presenter of the session, rehearsal, or concert. t
Attendees submit a reflective assessment paragraph about each session, rehearsal, or concert attended regarding the ap- plication of the information presented/ observed to their teaching setting/future teaching setting. t
Within a month after the conference, attendees submit a COST OF PROGRAM (You Must Be an ASTA Member) reflection on how the conference will/has changed their per- t
Conference Registration Fee ception/teaching in their classroom. Documentation will include a before and after lesson plan and proof of imple- t
Pre-Conference Registration Fee mentation (attendees can send in a video of instruction). t
$25 for the ASTA office to document the requirements of the program* COMPLETION OF PROGRAM t
Optional--The cost of college credit hours through t
A STEP certificate will be awarded upon completion of the Shenandoah University (the university requires a one- 45-hour program within a four-year time span time $20 fee for being a first-time Shenandoah University t
Possibility of two college credits, if taken for credit. student). * If you have already enrolled in ASTA’s Profes- t
Notification to supervisors or administrators specified on sional Development program and paid the $25 fee, you the application that a certificate in this program has been need not pay it again. received To enroll in the STEP program, please see the conference section of this journal, page 42, or the information is available on our website. For additional questions about the program, contact Kari Hahn at [email protected] or 703/279-2113 ext. 14.

www.astaweb.com | 49

String Industry Council 2007Membership DirectoryString Industry Council Membership Directory

2Q WKH IROORZLQJ SDJHV \RX ZLOO ¿QG WKH DQQXDO customers with the highest quality string products 2007;QWECPſPFVJGHQNNQYKPIV[RGUQH printed String Industry Council directory. Since its and services. products and services, as well as creation in 1997, the Council has grown to more many others, within this directory: In addition to the recognition members receive than 150 members. The following directory can by being part of the Council, some companies provide you with a variety of products and services Auction Services choose to increase their visibility with members Bows that will help you with your daily teaching and per- of ASTA through a variety of avenues, includ- Festivals and Workshops forming needs. Instrument, Accessory Manufac- ing sponsoring activities at national conferences, turer & Wholesaler Any time you are in need of products and services, sponsoring awards, providing instruments and ac- Instrument, Accessory & Music you can refer to this directory or take a moment to cessories for the Instrument and Bow Outreach Sales view the website at www.astaweb.com. Program, assisting ASTA chapters with activi- Instrument Maker/Dealer ties and donating prizes and services to the Silent Instrument Rentals What is the String Industry Council? Instrument Repair Auction and much more. All of these initiatives Magazine/Book Publisher The Council is a division of ASTA that works in work to support the National Foundation to Pro- Music Education partnership with teachers and performers to support mote String Teaching and Playing, which in turn Music Publishers string education in America. Council members in- works to support programs and individuals in need. Music Tours clude suppliers, distributors, retailers, manufactur- Symphonies & Orchestras ers, and other organizations committed to provid- ing teachers, students, parents, performers, and all Support those who support you!

String Industry President: Secretary: Council Executive Neil Lilien, Meisel Stringed Instruments David Luce, J. D’Addario & Company, Inc. Committee

Category Legend: A=AssociationsACC=AccessoriesBOWS=BowsIAMS=Instrument and Accessory Manufacturer/Wholesaler IMD IR=Instrument Repair IRE=Instrument Rentals Membership Directory  ,QVWUXPHQW0DNHU'HDOHU   2007 MF=Music FestivalMPD=Music Publisher/DistributorO=OtherOP=Other PublisherSM=Sheet Music A & G Central Music Alfred Publishing Co., Inc. Ken Altman Bowmaker ARCUS USA Robert Christie, General Mgr. Customer Service 109 Rock St. Sean Kimball 323 East 11 Mile Rd. P.O Box 10003 Silverton, OR 97381-1816 221 Pine St., Ste. 408 Madison Heights, MI 48071-3625 Van Nuys, CA 91410-0003 Phone: (503) 873-7420 Florence, MA 01062-1255 Phone: (248) 541-6843 Phone: (818) 891-5999 Email: [email protected] Phone: (413) 586-1800 Fax: (248) 541-5208 Fax: (818) 830-6249 Web: www.altmanbows.com Fax: (413) 585-8902 Email: [email protected] Email: [email protected] Category: BOWS Email: [email protected] Web: www.schoolmusiconline.com Web: www.alfred.com Description: Finely crafted handmade Web: www.ARCUS-USA.com Category: IRE,IR,IMD,IAMS Category: MPD,OP bows for violin, viola, cello and bass. Category: BOWS Description: A & G Central Music Description: Publisher of the Strictly Description: ARCUS USA is the North provides the highest quality string Strings method and works for Anti-Fatigue Practice Mat American distributor for ARCUS Bows. instrument rentals and sales for concert and string orchestra by Bob Carolyn Plummer beginning and intermediate students. Phillips, Robert W. Smith, Harry 1413 East Monroe St. Artisan Strings 9GJCXGSWCNKſGFUVCHHYJQYQTMU Alshin, Dave Black, Elliot Del Borgo, South Bend, IN 46615-1005 Gerardo Discepolo, President hard to ensure that your student is Doris Gazda, Carrie Lane Grusell, Phone: (574) 232-5434 PO Box 788 getting the proper instrument at the Mark Hellem, Ralph Hultgren, Fax: (574) 232-2834 Elkhart, IN 46515-0788 best price. Vernon Leidig, Richard Meyer, Email: [email protected] Phone: (574) 970-9468 John O’Reilly, Edmund Siennicki, Web: www.musicmat.net Email: [email protected] ACIS/Encore Tours and Mark Williams. Also publishes Category: IAMS Web: www.gemstonemusical.com Kimberly Martin the popular Fiddlers Philharmonic Description: Musician’s help for Category: BOWS,IAMW 343 Congress St. Series by Andrew Dabczynski and easing knee, foot, or lower back pain. Description: Manufacturer of a full Boston, MA 02210-1213 Bob Phillips, as well as Orchestra Practice or teach long periods of time line of orchestral instruments & Phone: (617) 236-2051 Expressions. Also, we are the while standing in comfort on a unique accessories. Fax: (617) 450-5614 exclusive distributor of the Suzuki therapeutic mat. Email: [email protected] Method outside of Japan. Web: www.encoretours.com Antonio Violins Category: O Alter’s Violin Shop Michael Schear Description: Tour operator offering Carolyn S. Alter, Owner 7605 Production Dr. domestic and international performing 6508 N Oak, Ste. 105 Cincinnati, OH 45237-3208 tours for all types of ensembles. We Gladstone, MO 64118-3361 Phone: (800) 846-5270 customize your tour and handle all Phone: (816) 468-7757 Fax: (513) 679-7746 details. Email: [email protected] Email: [email protected] Web: altersviolinshop.com Web: www.antonioviolin.com Category: ACC,BOWS,IMD,IR,O Category: IRE,IAMS,BOWS,IR Description: Founded in 1990, we Description: Rentals and sales of specialize in the sale and repair student to professional stringed of violin family instruments and instruments. Full line of accessories. bows. We stock a wide variety of accessories and cases. We think you YKNNſPFQWTRTKEKPIKUEQORGVKVKXGCPF our ethical standards are high.

52 | American String Teacher | August 2007 Category Legend: A=AssociationsACC=AccessoriesBOWS=BowsIAMS=Instrument and Accessory Manufacturer/WholesalerIMD ,QVWUXPHQW0DNHU'HDOHU IR=Instrument RepairIRE=Instrument RentalsMF=Music FestivalMPD=Music Publisher/DistributorO=OtherOP=Other PublisherSM=Sheet Music

Ashokan Fiddle & Dance Camps BEE-IN Tuner, Inc. Brobst Violin Shop Carl Fischer LLC Jay Ungar Lynn M. Milano Gerald D. Brobst, President Loe Kufta, Marketing Assoc. PO Box 49 PO Box 136 5584 General Washington Dr. 65 Bleecker St. Saugerties, NY 12477 Massapequa Park, NY 11762-0136 Alexandria, VA 22312-2465 New York, NY 10012-2420 Phone: (845) 246-2121 Phone: (516) 804-0672 Phone: (703) 256-0566 Phone: (212) 777-0900 x221 Fax: (845) 246-9121 Fax: (516) 804-0672 Fax: (703) 354-3954 Fax: (212) 477-6996 Email: [email protected] 'OCKNQHſEG"CUJQMCPQTI Email: [email protected] 'OCKN.QG-"ECTNſUEJGTEQO Web: www.brobstviolins.com Web: www.ashokan.org Web: www.beeintuner.com 9GDYYYECTNſUEJGTEQO Category:IMD,ACC,BOWS,IRE,IR,SM Category: IAMW,MPD,ACC Category: IAMW Category: MPD Description: Brobst Violin Shop offers Description: Jay Ungar & Molly Description: A self-tuning device Description: Carl Fischer has a growing a large collection of professional Mason achieved international acclaim which consists of an AC/DC string instruments and bows, shop-adjusted CPFFKXGTUKſGFECVCNQIQHOWUKECN when their performance of Ungar’s tuning wand with backlit LCD screen student instruments, rentals, repairs, products, now expanded to include composition, “Ashokan Farewell,” readout of both instrument and bow rehairing, accessories and 7,000 DVDs and compact discs, as well as its became the musical hallmark of the string. Tuning wands are developed titles of string music. Phone and mail traditional print product music lines. Grammy Award winning soundtrack for the Violin/Viola plus both an orders are a specialty. Instruments for Ken Burns’ “The Civil War” on electric or acoustic guitar with pic and bows are shipped on approval. Charles W. Liu Fine Violins/ PBS. The piece was inspired by Ungar up. The Violin/Viola wand includes 2 Spectacular photos shown on our Stradivarius International Violin & Mason’s Ashokan Fiddle & Dance batteries, a wall adaptor, 4 specially web site. Competition Workshops in New York’s Catskill FGUKIPGFſPGVWTPGTUQTCVCKNRKGEG Check out our ad on page 8. Charles W. Liu, President Mountains, where they and a host YKVJDWKNVKPſPGVWPGTUFGUKIPGFVQ 7450 South State St. of master teachers offer instruction interface with the BIT wand. The C. A. Götz Jr. GmbH Midvale, UT 84047-2014 KPſFFNKPIFCPEKPICPFTGNCVGFCTVU Guitar tuning wand will automatically Klaus Götz Phone: (801) 255-9636 each summer. Ashokan.org is a link tune to the standing tuning plus 5 Landwuester Strasse 17 08258 Fax: (801) 255-3965 VJGYQTMUJQRUCPFCUQWTEGQHſFFNG alternate tunings. The BIT interfaces WERNITZGRUEN GERMANY Email: recordings and sheet music. with the guitar tuning pegs. A new Phone: +49-37422-5880 XKQNKPU"ſPGUVTKPIKPUVTWOGPVUEQO BIT Guitar Hornet is available for Fax: +49-37422-45633 9GDYYYſPGUVTKPIKPUVTWOGPVUEQO Email: [email protected] Bärenreiter Guitar technicians and advanced Category: BOWS,MF,IRE,IR,IMD,IA Web: www.gotzviolins.de Petra Woodfull-Harris, Sales Mgr. players. This tuner will rapidly course MS,IAMW Category: IMD,BOWS,ACC Heinrich- Schuetz- Allee 35-37 D- 34131 CPFſPGVWPGIWKVCT Description: For over 100 years, Description: Violin shop with Kassel GERMANY the focus of our business is string instruments from student level to Phone: 01149 561 3105 173 Bob Beerman’s Bass Violin Shop instruments, bows for instruments, rare Italian, French, German, and Fax: 01149 561 3105 310 Bob Beerman, Owner plucked instruments, tools for contemporary makers. Will produce, instrument makers, repair-tools, Email: 517 Prescott St., Ste. A host, and fund the Stradivarius tone wood, and accessories. Please [email protected] Greensboro, NC 27401-6211 take notice of our new products and International Violin Competition. Web: www.baerenreiter.com Phone: (336) 272-2877 services. For example, our Götz Category: MPD Fax: (336) 272-2870 Ebony Titanium Chinrest. Contact us CICA Violin Description: Publishers of new Email: [email protected] for more information, we are happy to Thomas Chun-yu Chen, President answer any questions you may have scholarly editions, Urtext performing Web: www.bassviolinshop.com 665 S Highland St. about our products and services. editions in all vocal & instrumental Category: ACC,BOWS,IMD,IRE,IR Memphis, TN 38111-4355 areas including solo string music, Description: Bob Beerman’s Bass Phone: (901) 219-3931 C. Alan Publications, LLC chamber music and orchestral music. Violin Shop offers quality string Fax: (901) 323-9223 Cort Mcclaren Email: [email protected] basses and bass repairs, as well PO Box 29323 Web: www.cicaviolin.com Beckmann Violin Shop, Inc. as bass bows, covers and other Greensboro, NC 27429-9323 Kenneth K. Beckmann, President accessories. The only shop of its Phone: (336) 272-3920 Category: A,BOWS,MF,IRE,IR,IMD,IA 5600 Johnson Dr. kind in North Carolina, we pride Fax: (336) 272-3988 MS,IAMW,SM,MPD Mission, KS 66202-3323 ourselves on helping our customer Email: [email protected] Description: CICA Violin provides high Phone: (913) 831-1119 ſPFLWUVVJGTKIJVKPUVTWOGPVYKVJLWUV Web: www.c-alanpublications.com quality stringed instruments including Email: [email protected] the right set-up. Category: MPD UOCNNUK\GſPGJCPFOCFGKPUVTWOGPVU Web: www.beckmannviolins.com Description: Music Publisher: We focus on music education, we Category: IAMS,IMD,BOWS,IR Boosey & Hawkes orchestra, band, percussion, chamber provide our special instruments, Description: Having been in business 7777 W. Bluemound Rd. music, solos; recordings. shoulder rests, and special strings to in the Kansas City area for more Milwaukee, WI 53213-3439 help our talent education. VJCPſHVGGP[GCTUVJG$GEMOCPP Phone: (414) 774-3630 C.F. Peters Corporation Violin Shop has earned a national Fax: (414) 774-3259 Frank Billack, Dir. of Sales/VP Clemens Violins, Violas & Violoncellos reputation as a shop of the highest Email: [email protected] 70-30 80th St. Robert Clemens quality and integrity. We are a full Web: www.halleonard.com Glendale, NY 11385-7714 6353 Clayton Rd. service violin shop, taking great Category: MPD Phone: (718) 416-7800 Saint Louis, MO 63117-1808 pride in catering to all levels of Description: Boosey & Hawkes Fax: (718) 416-7805 Phone: (314) 727-4787 string players, from students to is one of the world’s the largest Email: [email protected] Fax: (314) 727-4787 professionals. Violinmaker Ken classical music publishers, with a Web: www.cfpeters-ny.com Email: [email protected] Beckmann has won numerous rich and distinguished catalogue Category: MPD Web: www.clemensviolins.com awards at the VSA International of 20th century composers as Description: Since 1800, C.F. Category: IMD,IR Violinmaking Competitions. Stravinsky, Bartók, Copland, Britten, 2GVGTUJCURWDNKUJGFVJGſPGUVKP Description: Clemens Violins L.C. 2TQMQſGX5VTCWUUCPF4CEJOCPKPQHH contemporary and classical music. has been serving professional Hal Leonard has been exclusive Because of its reputation for quality, performers since 1987, specializing in distributor of Boosey & Hawkes for Peters is the edition of choice for the making and restoration of violins, North America and other parts of the teachers, students, and performers violas, cellos, and viols. Performers world since 2004. New Boosey & throughout the world. C.F. Peters throughout eight countries and on four Hawkes publications are developed Corporation in New York is the North continents have enjoyed an enriched at Hal Leonard, including the American agent for the following musical experience through expertise recently released Boosey Hawkes publishers: ABRSM(Associated and services found at Clemens Violins Violin Anthology, Boosey & Hawkes Board of the Royal Schools of Music), L.C. Robert Clemens is a master Viola Anthology, Boosey & Hawkes Play-It (accompaniment CDs), violin maker whose instruments are Cello Anthology, Stravinsky Violin Forberg, Heinrichshofen, Hinrichsen, recognized as a benchmark of modern Collection, Copland Violin Collection, P. Jurgenson, Kneusslin, Edition lutherie. Julia Clemens has expertise Appalachian Spring Suite for Violin Kunzelmann, Musicland, Muzyka, in restoration, and her repair skills and Piano, and other publications. MusicPartner (accompaniment have garnered an extensive list of CDs), Robert Lienau, Samfundet, clients. She has repaired the Mara Wollenweber, and Musikverlag Stradivari cello dated 1711 and the Zimmermann. Chanot Stradivari violin dated 1681.

www.astaweb.com | 53 String Industry Council 2007Membership Directory Cliff Colnot Music, Inc. Concord International Group, Inc. Conrad String Instruments LLC Cremona in Seoul Cliff Colnot, President Cindie Zhou Joseph Conrad, Luthier 3F, Youngwoo B/D, 817-22 Yoksam 600 N McClurg Ct. 2380 Vantage Dr. 15A North Rd. 1-dong Chicago, IL 60611-3044 Elgin, IL 60124-7801 Warren, NJ 07059 Gangnam-gu, Seoul, 135-931 Phone: (312) 573-2215 Phone: 847-836-8688 Phone: (732) 469-4544 KOREA Fax: (312) 573-2218 Fax: (847) 836-8288 Email: [email protected] Phone: 822-552-7520 Email: [email protected] Email: [email protected] Web: www.conradstrings.com Fax: 822-552-7511 Category: SM Web: www.concordgroup.com Category: BOWS,IAMS,IMD,IRE Email: [email protected] Description: Classical masterworks Category: IAMS, ACC Description: Conrad String Web: www.cremonainseoul.com originally for voice or piano arranged Description: Concord International Instruments has a full online Violin Category: IAMW, ACC, by Dr. Cliff Colnot and edited by Tom is a manufacturer and distributor Shop as well as a rental program. Description: If we call those old Hall for string orchestra. Cliff Colnot of orchestra string instruments ,QUGRJ%QPTCFDWKNFUſPGXKQNKPU masterpiece instruments by Amati, is principal conductor of the Chicago and related accessories, including violas, and cellos for the professional 5VTCFKXCTKCPF)WCTPGTKŎVJGſTUV Symphony Orchestra’s contemporary Christopher Bass & Cello, to the student or anyone looking for a generation of the masterpiece MusicNOW series, principal conductor Christopher Violin. Eminence high quality hand made instrument. instruments,’ we can call the string of the Civic Orchestra of Chicago, and Upright Bass, Alta Electric Violin, instruments made by Maestro Andrea conductor of the DePaul Symphony Concord Cases and Concord Consortium Violinmakers “Antonio Bang ‘the second generation of Orchestra. He has written and accessories. With its extensive Stradivari” Cremona the masterpiece instruments,’ as arranged music for classical and knowledge and background on Pzza Stradivari No. 1 26100 the level of their sound quality is RQRWNCTCTVKUVUCPFHQTſNOVGNGXKUKQP string instruments, Christopher CREMONA ITALY comparable only with the one of the and radio. Violinist Tom Hall, a instruments have achieved high Phone: +39-0372-463503 Renaissance masters’. The objective member of the Chicago Symphony quality in structure, craftsmanship, Fax: +39-0372-464490 of our management and vision is to Orchestra from 1970 to 2006, is sound and appearance. Many Email: [email protected] make more people enjoy the result conductor of the DePaul Chamber schools and professional players Web: www.cremonaviolins.com of the maestro’s lifelong research Orchestra. have used Christopher instruments Category: IMD,MPD,A and development. Our products in their orchestra program and daily Description: CONSORTIUM include Andrea violin, viola and cello; CodaBow International Ltd. performance. VIOLINMAKERS “Antonio Stradivari” customized instruments on special Jeff Van Fossen, President CREMONA is an association of request; ready-made and customized 876 E Third St. Conn-Selmer, Inc. more than 60 violinmakers working bows and bridges; ready-made Winona, MN 55987-4651 John Fulton, Dir. String Inst. Sales in Cremona (Italy), the city of the and customized rosin; instrument Phone: (507) 454-1509 PO Box 310 great masters of the past: Stradivari, restoration and instrument upgrade. Fax: (507) 454-0400 Elkhart, IN 46515-0310 Amati and Guarneri. In order to Email: [email protected] Phone: (574) 522-1675 safeguard violinmakers’ work, CSC Products Co. Ltd. Web: www.codabow.com Fax: (574) 295-5405 the Consortium has created, in John Sprague, Sales Mgr Category: IAMW,BOWS Email: [email protected] collaboration with the Chamber of 52 N Main St. Description: CodaBow International has Web: www.conn-selmer.com Commerce of Cremona and the Fairport, NY 14450 united the time-honored bowmaking Category: IAMW Craft Associations, the CREMONA Phone: (888) 600-8559 traditions with the science of today’s Description: Manufacturer and Liuteria trademark that guarantees Fax: (585) 377-0842 advanced materials to create the premier distributor of Scherl & Roth, Glaesel, VJCVVJGEGTVKſGFKPUVTWOGPVKU Email: [email protected] family of performance bows. CodaBows and Wm. Lewis and Son stringed handmade by a Cremonese Web: www.samuelshen.com offers a wide selection of bow models instruments and accessories. professional master violinmaker. The Category: IAMS,IAMW,IMD,IR serving players at every level and Check out our ad on page 3. Consortium is located in the central Description: Distributors of Samuel every instrument. Available worldwide, Piazza Stradivari, where Cremonese Shen stringed instruments, cases, CodaBows popular models include: Connolly & Co. Inc. instruments with the CREMONA and accessories. Classic, Diamond, Conservatory, and Jake Connolly, President LIUTERIA trademark may be played Revelation. 8 Vernon Valley Rd. and bought. The showroom, open D’Addario & Co., Inc. Check out our ad on page 73. East Northport, NY 11731-1429 throughout the year, presents a David Luce, Bowed Strings Brand Mgr. Phone: (631) 757-0110 wide range of bowed instruments, PO Box 290 Col Legno Music Fax: (631) 757-0021 accessories, gadgets and specialized Farmingdale, NY 11735-0290 Mark Hellem Email: [email protected] publications. Phone: (631) 439-3300 1088 Chatsworth St. North Web: www.connollyandco.com, www. Fax: (631) 439-3333 Saint Paul, MN 55103-1006 km-america.com, www.nordenholz.com Creative Imperatives Email: [email protected] Phone: (651) 487-1980 Category: IAMW Steven Swank Web: www.daddariobowed.com Email: [email protected] Description: Connolly & Co. has 141 Chestnut Category: IAMW,ACC,O Web: www.collegno-music.com DGGPCNGCFKPI75FKUVTKDWVQTQHſPG Leonia, NJ 07605-1227 Description: D’Addario & Company, Category: MPD musical merchandise since 1970. Phone: (201) 947-3923 +PEOCPWHCEVWTGUſPGKPUVTWOGPV Description: Col Legno Music As a partner with Thomastik-Infeld, Email: stevenswank@ strings and accessories, serving the publishes string orchestra we exclusively import, market and creativeimperatives.com needs of professional performers and arrangements and original distribute their highly acclaimed Web: www.creativeimperatives.com student musicians alike. Our products compositions that are appropriate for line of strings and accessories for Category: O include Helicore, Zyex, Pro- Arte, use by school and adult performers. bowed and fretted instruments. Description: Music images/ Prelude, Kaplan Golden Spiral, Fiddle, We feature arrangements of lesser As a partner with Konig & Meyer, notecards, posters, photo prints and and Kaplan Solutions strings, as well known classical works, as well as folk we exclusively import, market and commissioned artwork as Kaplan Artcraft, Planet Waves, tunes from various ethnic cultures. FKUVTKDWVGVJGYQTNFŏUſPGUVSWCNKV[ and Kaplan Solutions accessories. music, instrument, microphone, and Proud of our family tradition and our speaker stands, along with related commitment to research into new accessories. In addition, we also technologies, D’Addario has been import and distribute products for crafting musical instrument strings in bowed instruments from a range the U.S. since 1905. of highly respected foreign and Check out our ad on page 25 domestic manufacturers.

54 | American String Teacher | August 2007 Category Legend: A=AssociationsACC=AccessoriesBOWS=BowsIAMS=Instrument and Accessory Manufacturer/WholesalerIMD ,QVWUXPHQW0DNHU'HDOHU IR=Instrument RepairIRE=Instrument RentalsMF=Music FestivalMPD=Music Publisher/DistributorO=OtherOP=Other PublisherSM=Sheet Music

Dogal SNC E & E Cello Music, LLC The Enterprising Rabbit Fegley’s Violin Shop Andrea Lavelli Erinn Renyer, Mgr. Joan Harrison, CEO Marjorie Fegley, Owner Cannaregio 6124, PO Box 318- 30100 114 NW Elmwood Ave. 15 Fairfax Ave. 400 W 37th St. Venice ITALY Topeka, KS 66606-1203 Ottawa, ON K1Y 0T3 CANADA Reading, PA 19606-2936 Phone: +39 041 5388281 Phone: (785) 354-0765 Phone: (866) 876-3123 Phone: (610) 779-0665 Fax: +39 041 935499 Fax: (785) 354-0765 Fax: (613)729-7663 Email: [email protected] Email: [email protected] Email: [email protected] Email: [email protected] Web: www.fegleyviolin.com Web: www.dogalstrings.it Web: www.eecellomusic.com Web: www.enterprisingrabbit.com Category: ACC,BOWS,IMD,IR,O Category: IAMW Category: MPD Category: IAMS,IAMW,MPD,O Description: Fegley’s Violin Shop Description: With traditional gut Description: Cello music for novice, &GUETKRVKQP*QOGQHſFFNGHTKGPFU sells, repairs, and restores stringed strings as a point of reference, intermediate and advanced players in shoulder rests, Cellobrations series, instruments and bows. We’ve been Dogal’s objective was to obtain a solo, duet and ensemble settings. plus unique games and handcrafted in the business for over 35 years and brilliant, powerful sound without giftware for music lovers. Secure have clientele throughout the United metallic overtones. The steel core E.F. Kalmus LC/Masters Music online ordering available for retail and States and Canada. We serve all our of each string was covered with a Publications, Inc. wholesale. customers with honesty, integrity and series of windings, the last of which Steven L. Rosenhaus, Promotion Dir. prompt personal service. - a breakthrough at the time - was 6403 West Rogers Circle Fame Events Check out our ad on page 25. ƀCVUGEVKQPGFVJGTGD[QHHGTKPI Boca Raton, FL 33487-2716 Joel Biggs, President a smooth surface to the touch. Phone: (718) 268-8906 7255 E. Hampton, Ste. 127 Fein Stringed Instruments The resulting interaction with the Fax: (561) 241-6347 Mesa, AZ 85209-3313 Andy Fein bowhair gave a sweet, quality sound Email: [email protected] Phone: (800) 289-6441 1850 Grand Ave. with considerable volume. It was Web: www.kalmus-music.com Fax: (480) 654-2553 Saint Paul, MN 55105-1403 November 1952, and the Dogal Category: MPD,SM Email: [email protected] Phone: (651) 228-0783 “Linea Verde” (green line) was Description: E.F. Kalmus has the Web: www.fameevents.com Fax: (651) 228-7055 KPVTQFWEGFVQVJGOCTMGVVJGſTUV world’s largest catalog of orchestral Category: MF Email: [email protected] of what would become a series of music, with over 8,000 titles. Masters Description: Fame Events is the Web: www.feinviolins.com four. With the natural evolution of the Music publishes works for orchestra, nation’s premiere provider of tours, Category: IMD,BOWS,IR,IRE,ACC available materials, the “Linea Rossa” string orchestra, chamber music for festivals, workshops and competitions Description: Dealers and makers of (red line) and the “Linea Blu” (blue strings, as well as works for individual HQT#OGTKECŏUſPGUVQTEJGUVTCUDCPFU ſPGXKQNKPUXKQNCUEGNNQUDQYUCPF line), also known as the “Concert instruments and other ensembles. jazz bands, and choirs. Including such wood music stands. Line”, followed thereafter. In 1990, The Masters Music catalog features events as the National Orchestra Cup Dogal Corde Armoniche introduced the ConcertMasters series for school in both Branson, MO and at Lincoln Ferguson Violin Shop its synthetic gut range, made with and community orchestras, updating Center in New York City. Richard Ferguson, President CRCTVKEWNCTOWNVKſDGTEQTGUKOKNCT instrumentation while remaining 72 N 1st E to Perlon and external windings of faithful to the original sources. Family String Method Rexburg, ID 83440-1534 aluminum and pure silver. Even David Tasgal Phone: (208) 356-0231 though over 40 years have passed Eastman Strings 2 Old County Rd. Fax: (208) 356-7073 since the founding of the company, Saul Friedgood, Vice President Colrain, MA 01340 Email: [email protected] most of the production process is 22525 Gateway Center Dr. Phone: (413) 624-3976 Web: www.fergusonviolinshop.com still done by hand, with minimal Clarksburg, MD 20871 Email: [email protected] Category: tolerances over the full length of each Phone: (240) 686-2050 Web: www.familystringmethod.com BOWS,MF,IRE,IR,IMD,IAMS string, as only the masterful hands of Fax: (240) 686-2058 Category: MPD Description: Ferguson Violins is a skilled string makers can produce. Email: [email protected] Description: Family String Method, violin shop that sells beginning to Check out our ad on page 11. Web: www.eastmanstrings.com an innovative approach featuring a professional quality string instruments. Category: IAMW,BOWS gentle sequence of original pieces in 9GCNUQYQTMYKVJKPUVTWOGPVCHſNKCVGU Don’t Fret Enterprises Description: Eastman Strings is conventional and alternative styles that represent Ferguson Violin shop all Dr. Phillip Coonce widely recognized as a leading with performance CD. over the county. 1127 Gretta St., NE OCMGTCPFFKUVTKDWVQTQHſPGUVTKPIGF Check out our ad on page 15. Albuquerque, NM 87112-5553 instruments and bows. The wide Fatrock Ink Phone: (505) 292-9614 variety of instruments available from PO Box 492225 Festival-Institute At Round Top Fax: (505) 296-0478 Eastman Strings includes Chinese, Los Angeles, CA 90049-8225 Alain Declert, Program Dir. Email: [email protected] German, and Eastern European lines. Fax: (310) 472-2911 PO Box 89 Category: IAMW,IAMS All are distinguished by their quality Email: [email protected] Round Top, TX 78954-0089 Description: Don’t Fret Enterprises materials and expert craftsmanship. Web: www.fatrockink.com Phone: (979) 249-3129 is a designer, manufacturer and Check out our ad inside the front cover. Category: MPD Fax: (979) 249-5078 distributor of music education Description: Founded in 1994 by Email: [email protected] products, including the Don’t Fret Electric Violin Shop Marcia Dickstein, harpist of the Web: www.festivalhill.org Finger position markers for stringed Blaise Kielar Debussy Trio, Fatrock Ink offers Category: MF instruments. 5314 NC Highway 55, Ste. 102 a specialty catalogue focusing on Description: The International Festival Durham, NC 27713-7814 the repertoire areas of solo harp, Institute provides training to talented DSP Financial Phone: (919) 806-3311 chamber music with harp, music for young musicians, enabling them David Pozzi Fax: (919) 806-2099 harp and string students, as well as to bridge the gap between their 9 East Stow Rd., Ste. A Email: [email protected] other instrumental works by 20th and academic work and the professional Marlton, NJ 08053-3159 Web: www.electricviolinshop.com 21st Century composers. Highlights world during a six-week summer Phone: (800) 433-8369 Category: BOWS,IMD,IR KPENWFGYQTMUD[CYCTFYKPPKPIſNO festival. Students are usually 19-25 Fax: (856) 751-4871 Description: Electric Violin Shop composers, international competition years old and study with some of Email: [email protected] helps simplify choosing how to winners, scholarly editions by Marcia VJGſPGUVQTEJGUVTCNRNC[GTUCPF Category: O DGJGCTFKPCPCORNKſGFUGVVKPI Dickstein, an ever-enlarging list of conductors in the world. Description: DSP Financial has We retail quality electric violins, arrangements for harp solo with partnered with ASTA to provide its electric violas, electric cellos and elementary sting orchestra, and members with Life, Disability, and electric upright basses by a variety Diana Steiner’s Violin Classics and Dental insurance needs. of makers from around the world. String Orchestra Classics series for #NUQEJQQUGHTQOCORNKſGTU students. Website services currently pickups and electronic effects include sample pages of printed that allow a traditional or electric music and selected sound samples player to explore the range of tone of CDs and MP3, sheet music from warmly acoustic to absolutely downloads. wild! And- Mac and PC computer Check out our ad on page 71. interfaces for home recording. Check out our ad on page 9.

www.astaweb.com | 55 String Industry Council 2007Membership Directory

FJH Music Co., Inc. Frank M. Rodgers Music David Gage String Instrument Repair Gliga Violins, USA- The Violin Place, Inc. Frank J. Hackinson, President/CEO Frank Rodgers Sam Finlay Cristian Gliga 2525 Davie Rd., Ste. 360 917 Rivercrest Way 36 Walker St. 1250 E Walnut St., Ste. 150 Fort Lauderdale, FL 33317-7424 Chesapeake, VA 23325-2939 New York, NY 10013-3514 Pasadena, CA 91106-5125 Phone: (954) 382-6061 Phone: (757) 420-7671 Phone: (212) 274-1322 Phone: (626) 578-0442 Fax: (954) 382-3073 Email: [email protected] Fax: (212) 274-9634 Fax: (626) 578-0525 Email: [email protected] Category: MPD Email: [email protected] Email: [email protected] Web: www.fjhmusic.com Description: My company provides Web: www.davidgage.com Web: www.violinslover.com Category: MPD fun and easy pieces for the Category: IAMS,BOWS,IR Category: BOWS,IAMS,IAMW,IMD Description: FJH is proud to beginning string orchestra that not Description: Designer and Description: Gliga Violins, USA announce the release of New only entertain, but educate as well. manufacturer of The Realist™ - Violins lover, selling Maestro Gliga Directions™ for StringsVJGſTUV Every beginning orchestra student, transducer for string bass, violin and Stringed Instruments * Professional method ever written by a team of regardless of playing ability, needs cello. Designer and manufacturer of ‘GAMA’ Stringed Instruments * pedagogues representing each of to experience success as a means The Gage Case™ for string bass and Workshop ‘GEMS 1’ Stringed the four stringed instruments. New of motivating him/her to continue in cello. Designer and distributor of the Instruments * Advanced Student Directions™ for Strings pays special the program and to want to improve Czech-ease, Acoustic Road Bass. ‘GEMS 2’ Stringed Instruments * attention to the equal integration his/her playing skills. The pieces I School ‘GENIAL 1-Oil’ and ‘GENIAL of all the instruments, utilizing a RWDNKUJCTGURGEKſECNN[FGUKIPGFKP Claire Givens Violins, Inc. 2-Nitro’ Stringed Instruments. tetrachord-based approach to support such a way that every student in the Claire Givens, President 1004 the left hand, with a pedagogical beginning orchestra will experience Marquette Ave Ste 205 Minneapolis, Guarneri House development of the right hand. success and will want to continue MN 55403-2471 Paula Reiley Included are performance pieces playing a string instrument for a long Phone: (612) 375-0708 221 John St., NE by renowned composers Soon Hee time to come. Fax: (612) 375-0096 Grand Rapids, MI 49503-3237 Newbold and Elliot Del Borgo. FJH is Email: [email protected] Phone: (616) 451-4960 enjoying a rapidly growing admiration Frederick Harris Music Co. Web: www.givensviolins.com Fax: (616) 451-9556 as a quality publisher of music for Terri Anne Moses or Christine Sharp Category: IAMS,IMD,BOWS,IR,OP Email: [email protected] string orchestra. Our catalog offers Unit 1, 5865 McLaughlin Rd. Description: Givens Violins has been Web: guarnerihouse.com the latest in exciting orchestra Mississauga, ON L5R 1B8 CANADA serving the needs of string players Category: IAMS, BOWS locally and nationally for 30 years, music, covering all grade levels and Phone: (905) 501-1595 Description: The Guarneri House UGNNKPIſPGXKQNKPUXKQNCUEGNNQDQYU programming needs. Each publication Fax: (905) 501-0929 collection consists of instruments and accessories. Our workshop is has been carefully edited by Soon Email: and bows suitable for the beginning staffed by professionally trained Hee Newbold, ensuring that each [email protected] student to the seasoned professional violin makers who have specialized work will help develop proper bow Web: www.fredrickharrismusic.com through the consummate concert in restoration. Our partnership Category: MPD technique and control. Free catalogs with Dipper Restorations provides CTVKUVCUYGNNCUHQTEQNNGEVQTUQHſPG with full-length CD’s are mailed Description: Established in 1904, the additional resources for historical rare instruments and bows. Guarneri seasonally to orchestra directors Frederick Harris Music catalog of instruments and historical research. House has a fully equipped, on-site nationwide. Visit us at our website to print music encompasses educational Check out our ad on page 45. repair and restoration workshop. Our view our entire catalog and hear full- materials for violin, piano, voice, experts have won awards as makers length recordings. guitar and musicianship. Publications GIA Publications, Inc. of handcrafted instruments and bows. are of the highest quality, designed Alec Harris, President (TQOEJQQUKPICſTUVKPUVTWOGPV Foster’s Violin Shop VQUWKVVJGURGEKſEPGGFUQHUVWFKQ 7404 South Mason Ave. for your child to commissioning a Roger Foster, Owner teachers and their students. Chicago, IL 60638-6230 handcrafted professional instrument 224 S. Olive St. Phone: (708) 496-3800 or bow for orchestral and concert use, Orange, CA 92866-1922 Fritz Reuter & Sons Inc. Fax: (708) 496-3828 Guarneri House provides courteous Phone: (714) 639-4480 Fritz Reuter Email: [email protected], and knowledgeable service for your Fax: (714) 639-0209 3917 W Touhy Ave. [email protected] every musical need. Email: [email protected] Lincolnwood, IL 60712-1027 Web: www.giamusic.com Web: www.FostersViolinShop.com Phone: (847) 677-7255 Category: MP Hal Leonard Corporation Category: BOWS,IMD,IR,IRE Fax: (847) 677-7256 Description: GIA stands for quality Bruce Bush, Sales & Mktg., Mgr., Description: Roger Foster is a Email: [email protected] music and music education Ed. Music violin and bow maker whose years Web: www.fritz-reuter.com resources! Publishers of music with 7777 West Bluemound Rd. of training and experience have Category: IRE,IAMS,IMD,BOWS,IR the musician in mind. Milwaukee, WI 53213-3439 been acquired internationally. Description: Chicagoland’s oldest Phone: (414) 774-3630 His instruments have been heard establishment of professional violin Gibson Musical Instruments Fax: (414) 774-3259 in concert at such well-known makers and dealers, as well as a Henry E. Juszkiewicz Email: [email protected] performing arts centers as New winner of two gold medals for tone at 309 Plus Park Blvd. Web: www.halleonard.com York’s Carnegie Hall. Every the 1982 International Competition Nashville, TN 37217 Category: MPD instrument in our showroom must sponsored by the Violin Society of Phone: (615) 871-4500 Description: Hal Leonard meet the high standards established America. Co-founder of the American Fax: (615) 884-9405 Corporation publishes a wide range more than 20 years ago. Each Federation of Violin and Bow Makers Email: [email protected] of instructional and performance instrument is judged for materials and and a member of the International Web: www.gibson.com material including Essential Elements ETCHVUOCPUJKRCPFQWTEQPſFGPEG Appraisers Association. Category: IAMW,IMD for Strings, music for all levels of full VJCV[QWYKNNſPF[GCTUQHGPLQ[OGPV Description: Manufacturer and and string orchestra, and professional Products include: violins and cellos, G. Edward Lutherie, Inc. distributor of musical instruments. editions including John Williams plus bows. Visit our website for Gary E. Bartig, President/Designer/ Signature Editions, Symphony current products and specials. Luthier Glasser Bows, Inc. Pops series, and the G. Schirmer 1620 Central Ave., N.E., Ste. 232 Andrew Glasser Library. Companies that Hal Leonard Minneapolis, MN 55413-1583 4330 Bullard Ave. distributes are E.G.G. Schirmer, Phone: (612) 781-5799 Bronx, NY 10466-1308 Boosey & Hawkes and Schott. Email: [email protected] Phone: (718) 994-1613 Check out our ad on page 78. Web: www.gelbass.com Fax: (718) 324-1918 Category: IAMW,IMD,IR Email: [email protected] Description: Maker/designer of the Web: www.glasserbows.com Eminence Portable Upright Bass, and Category: BOWS the Dahlia violin family. Description: The worlds largest maker of bows for stringed instruments. Fiberglass, composite, graphite and DTCKFGFECTDQPſDGTDQYUHQTXKQNKP viola, cello and bass in all sizes.

56 | American String Teacher | August 2007 Category Legend: A=AssociationsACC=AccessoriesBOWS=BowsIAMS=Instrument and Accessory Manufacturer/WholesalerIMD ,QVWUXPHQW0DNHU'HDOHU IR=Instrument RepairIRE=Instrument RentalsMF=Music FestivalMPD=Music Publisher/DistributorO=OtherOP=Other PublisherSM=Sheet Music

Heiden Music Publications Howard Core Company, LLC. Innovative Learning Designs, LLC Jansma Fine String Instruments Charles Heiden, Proprietor Alex Weidner, Managing Partner Barclay U. Stuart Rebecca Jansma 4642 19th Ct. 99 Symphony Way PO Box 356 3060 Ramshorn Dr. Salem, OR 97302-2201 Anniston, AL 36205 Mercer Island, WA 98040-0356 Fremont, MI 49412-7713 Phone: (503) 587-7265 Phone: (256) 238-9966 Phone: (800) 232-6332 Phone: (231) 924-0657 Email: [email protected] Fax: (256) 238-8467 Fax: (206) 232-9513 Fax: (231) 924-6881 Web: heidenmusic.com Email: [email protected] Email: [email protected] Email: [email protected] Category: MPD,SM Web: www.howardcore.com Web: www.musicreading.com Web: www.jansma.com Description: Performance and Category: IAMW Category: MPD,OP Category: IMD,IR instructional material for school Description: Howard Core Company Description: Publisher/Sole Distributor Description: Tim Jansma has been strings and the private studio. is a family owned musical wholesale “Music Reading & Theory Skills,” making and restoring instruments Music for string orchestra, chamber company that distributes classical acclaimed Orchestra, Band, Choir for over 30 years, using traditions music, violin and viola music. Ten stringed instruments and accessories 4-level curriculum series, a sequential passed down to him from his years parodies of Maza “Etudes speciales” to retailers across the country. We learning program developed by of working in the Philadelphia shop op. 36, each in two versions, for RTQXKFGſPGUVWFGPVCPFRTQHGUUKQPCN string teacher, Carolyn Francis, of William Moening and Sons, and string orchestra and for a duetting instruments at affordable prices, sharing 40 years experience. This also at the violin making school in second violin with optional cello. friendly customer service and comprehensive “Music Language” Cremona, Italy. Jansma instruments Middle- baroque dance music by customized set-ups. It is an honor to “personal tutor” was written for are played professionally the world G.M. Bomoncini. On-line catalog or be a member of the String Industry performance students to maximize over. The Jansma Violin Shop also by request. Council and help further musical rehearsal time, includes alto, treble, offers a selection of hand-made education. and bass clefs. Guaranteed to: imported instruments, which are G. Henle USA, Inc. speed learning, dramatically improve refurbished and set-up using the Heidi Steeno Huthmaker Violins sight-reading and performance, same methods used on his own 7777 West Bluemound Rd. Dixie Huthmaker, Owner individualize instruction for beginning instruments. These shop instruments Milwaukee, WI 53213-3439 3140 Main St. to advanced students, measure emulate the sound and response of Phone: (414) 774-3630 Duluth, GA 30096-3220 music growth, meet Music Standards. a genuine Jansma, available in many Fax: (414) 774-3259 Phone: (800) 572-1019 Call 800-232-6332 for FREE price ranges. We also carry a nice Email: [email protected] Fax: (770) 622-9017 brochure with sample lessons & tests. selection of bows. Web: www.halleonard.com 'OCKNſFFNGHQNM"CQNEQO Special “Educator Discounts,” extra Category: MPD Web: www.huthmakerviolins.com special “All-District Discounts” for Jazzbows Music Inc. Description: Henle URTEXT Category: BOWS,IAMW,IR,IRE,IMD entire school district. Gayle Dixon, President & CEO Editions Description: URTEXT Description: We are a family- owned, PO Box 690102 editions for practical use of the full service violin shop located in Instrumental Distribution, LLC Bronx, NY 10469-0764 periods of the 18th to the 20th #VNCPVC)GQTIKC1WTUJQRQHHGTUſPG Rick Dapprich, Principal Phone: (718) 881-8158 centuries. The compositions are violins, violas, ‘celli, string basses 2410 Hickman Rd. Fax: (718) 881-8158 for piano, strings, winds, chamber and their bows; string instrument Ann Arbor, MI 48105-9372 Email: [email protected] groups, voice and orchestra. Henle rentals; bow restoration and repair; Phone: (734) 480-2280 Web: www.jazzbows.com is synonymous with the highest instrument restoration and repair. Fax: (734) 527-6546 Category: MPD,OP,SM standards of music publishing. Since Email: sales@ Description: We are professional its founding in 1948, they have Ifshin Violins instrumentaldistribution.com string players and composers who rapidly established themselves as Richard Ward Web: have performed with legendary a standard of quality throughout the 1633 University Ave. www.instrumentaldistribution.com giants of jazz. Our library of original world. Henle Musicological Editions Berkeley, CA 94703-1424 Category: IAMW jazz string compositions and - Henle Publishers also produces Phone: (510) 843-5466 Description: Wholesale distributor of arrangements by Akua Dixon has the following musicological series: Fax: (510) 540-6928 ſPGXKQNKPUXKQNCUEGNNQUDCUUGUCPF been performed worldwide. Coming Complete Editions from Beethoven, Email: [email protected] accessories for the educational market. soon-- our unique methods and Brahms, Haydn, RISM Series Web: www.ifshinviolins.com teaching materials have been proven B, various Books, Periodicals, Category: IAMS,IMD,BOWS,IR J. W. PEPPER & SON, INC. in the classroom. Jazzbows has Facsimiles and Thematic Catalogs! Description: Over the last twenty- PO Box 850 exciting new music for every string four years, Ifshin Violins has grown Valley Forge, PA 19482-0850 ensemble, from elementary through House of Note to become one of the largest and Phone: (610) 648-0500 professional. Ed Volker, Owner most respected violin shops in the Fax: (610) 993-0563 Check out our ad on page 20. 7210 Minnetonka Blvd. US, providing musicians with the Email: [email protected] St. Louis Park, MN 55426-3210 ſPGUVKPUVTKPIKPUVTWOGPVUDQYU Web: www.jwpepper.com Jiang Violins Phone: (952) 929-0026 accessories, repairs and restorations. Category: SM Shan Jiang Fax: (952) 929-6778 We are especially proud of our own Description: Worldwide leading Shi Ji Xing Cheng 80-1-202 Email: [email protected] Jay Haide violins, violas, cellos and supplier of all printed and sheet music Yang Zhuang Nan Li BEIJING Web: www.houseofnote.com basses. to schools, churches, and individuals 101101 Category: BOWS,IAMS,IMD,IR,IRE Check out our ad inside the back throughout the world. Contact is P.R. OF CHINA Description: House of Note sells, cover. made daily via the phone, fax, mail, Phone: +86-10-5210-7389 repairs and rents violins, violas and Internet and in person. Fax: +86-10-5210-7389 cellos and their bows. Large inventory Indianapolis Symphony Orchestra Email: [email protected] of cases and accessories. Also Carol Baker, Dir. of Education Web: www.jiangviolins.com makers of violins, violas and cellos. 32 East Washington St., Ste. 600 Category: IMD Indianapolis, IN 46204-3585 Description: Award winner Shan Phone: (317) 231-6785 Jiang’s violin studio is probably the Fax: (317) 262-1159 ſPGUVXKQNKPUJQRKP%JKPC.QECVGF Email: cbaker@ in Beijing, with two generation’s IndianapolisSymphony.org endeavor to the art of violin making, Web: www.IndianapolisSymphony. we present you top quality violins org in excellent value. Whether you Category: A,O are an advanced student or a Description: As one of America’s professional player, your expectations leading orchestras, our mission in a violin’s tone and workmanship is: To advance the enjoyment and will be exceeded in these superb appreciation of symphonic music instruments. through performances at the highest artistic level and innovative programs that challenge, educate, enrich, and entertain.

www.astaweb.com | 57 String Industry Council 2007Membership Directory John Montgomery, Inc. Kaman Music Corporation Kun Shoulder Rest, Inc. Lisle Violin Shop John Montgomery Rosemary Small, Educational Prods Marina Kun Mark Lisle, Owner 509 Hillsborough St. Mgr. 200 MacLaren St. 2450 Bissonnet Raleigh, NC 27603-1729 PO Box 507 Ottawa, ON K2P 0L6 CANADA Houston, TX 77005-1422 Phone: (919) 821-4459 $NQQOſGNF%6 Phone: (613) 232-1861 Phone: (800) 545-4753 Fax: (919) 821-1072 Phone: (860) 509-8888 Fax: (613) 232-9771 Fax: (713) 526-3224 Email: [email protected] Fax: (860) 509-8891 Email: [email protected] Email: [email protected] Web: www.montgomeryviolins.com Email: [email protected] Web: www.kunrest.com Web: www.violins.com Category: IAMS,IMD,BOWS,IR Web: www.KamanMusic.com, www. Category: IAMW Category: IAMS,IMD,BOWS,IR,IRE Description: Violin, Viola & Cello BeckerInstruments.com Description: Manufacturers of Description: Lisle Violin Shop specialists, makers, dealers & Category: IAMW shoulder rests for violin & viola. We - A specialty shop for violin, viola, restorers carrying a complete Description: Musical instrument cello, bass, bows, and accessories. inventory of instruments, bows, JCXGſXGOQFGNUVQEJQQUGHTQOVJG manufacturer and distributor Original, the Super, the Collapsible, We are violin makers, repairers, accessories and sheet music. offering lines including Becker, restorers, teachers, and professional Members of the American Federation the Bravo (made from wood) and the Hans Schuster, Academy, Suzuki players providing the best products of Violin & Bow Makers and the VSA. 8QEG CECTDQPſDTGTGUV 1WTTGUVU and Englehart bowed instruments; come in viola size, 4/4 violin down to for teachers, players, parents, Ovation, Takamine, and Hamer and students. We concentrate Johnson String Instrument 1/16th size violin. The Bravo comes Guitars, and a full line of accessories. QPRTGRCTKPIſPGRTQHGUUKQPCNN[ Carol and Roger Johnson in viola and 4/4 violin size only and Check out our ad on page 8. adjusted stringed instrument at low 11 John St. the Voce in 4/4 violin size only. prices for purchase or rental. Newton Center, MA 02459-2347 Kendor Music Inc. Phone: (617) 964-0954/ (800) 359-9351 Last Resort Music Publishing, Inc. 21 Grove St., Box 278 The Lorenz Corporation Fax: (617) 527-2684 Jan Kelley, President Delevan, NY 14042-0278 PO Box 802, 501 E Third St. Email: [email protected] 820 Thompson, Ste. 14 Phone: (716) 492-1254 Dayton, OH 45401-0802 Web: www.Johnsonstring.com Glendale, CA 91201-2047 Fax: (716) 492-5124 Phone: (937) 228-6118 Category: IAMW,IRE,IAMS,IMD,BOW Phone: (818) 956-0088 Email: [email protected] Fax: (937) 223-2042 S,IR,ACC,SM Fax: (818) 956-1521 Web: www.kendormusic.com Email: [email protected] Description: Full range of services, Email: [email protected] Category: MPD Web: www.lorenz.com including antique and new Web: www.lastresortmusic.com Description: Publishing quality string Category: MPD instruments, bows, sheet music, Category: MPD,SM,ACC orchestra music since 1954! Our Description: The Lorenz Corporation strings, accessories, rentals and Description: Last Resort Music catalog currently features grade is the umbrella company for nine repairs. Suzuki resource center. Call Publishing, Inc. specializes in 1-4 originals and arrangements music divisions and three exclusive 800-359-9351 or visit us at www. arrangements for solos and by Elliot Del Borgo, Robert Frost, distributors that publish both sacred johnsonstring.com to request a free ensembles with interchangeable parts John Caponegro, Frank Halferty, and secular band, choral, string, catalog and sheet music catalog. in almost any combination for almost Mitchell Bender, Red McLeod, handbell , keyboard and general On-line shopping. Second location on any instrument. Most of the titles James Christensen, Lennie Niehaus, music publications. Educational Cape Cod. published are well-known favorites Deborah Baker Monday, Shirl Jae divisions; Heritage Music Press and Check out our ad on page 28. - the music that people love to hear at Atwell and more. In 2002, Kendor weddings, parties, church services or Latham Music publish collections, premiered a new series “Jazz solos, ensembles and arrangements Jonathan Cooper Violinmaker concerts. For professionals, amateurs Classics For String Orchestra” for string players of all ability levels. 61 Middlejam Rd. or students. Gorham, ME 04038-2465 featuring jazz standards arranged Luck’s Music Library Phone: (207) 893-1866 especially for string orchestras with Latham Music, a Lorenz Company Dr. Robert K. Reed, Sales Mgr. Email: [email protected] optional rhythm section parts, and 501 East Third St., Box 802 32300 Edward, Box 71397 Web: www.jcooperviolinmaker.com an optional written or improvised Dayton, OH 45401 Madison Heights, MI 48071-0397 Category: IMD solo section. Visit our website at Phone: (800) 444-1144 Description: Jonathan combines www.kendormusic.com to listen to Fax: (937) 223-2042 Phone: (248) 583-1820 proven instrument models from full recordings, search the complete Email: [email protected] Fax: (248) 583-1114 the Italian tradition and a deep catalog, and much more. Free Web: www.latham-music.com Email: [email protected] understanding of what modern players catalog and demo CD’s available on Category: MPD Web: www.lucksmusic.com desire for sound and playability. request. Description: Publisher of sheet music Category: MPD His work is highly sought after by for strings, solos to string orchestra, Description: Luck’s Music Library is performers and educators at all levels. Knilling String Instruments beginner to professional levels, a leader in orchestral sheet music, Lang Shen, Product Mgr. including alternative styles (jazz, stocking over 14,000 titles of the JonPaul Bows 1400 Ferguson Ave. ſFFNKPIEGNVKE  standard orchestral literature, over Martin Prier, Marketing Dir. Saint Louis, MO 63133 5,500 educational pieces for full and 436 W. White Pine Dr. Phone: (314) 727-4512 Lemur Music string orchestra, and solo ensemble Salt Lake City, UT 84123-4635 Fax: (314) 727-8929 Richard Mamola literature for strings. Luck’s offers Phone: (801) 266-0443 Email: [email protected] PO Box 1137 the highest quality reprints and Fax: (801) 266-3123 Web: www.knilling.com San Juan Capistrano, CA 92693 represents close to 100 different Email: [email protected] Category: IAMW Phone: (949) 493-8323 publishers. Web: www.jonpaulbows.com Description: Provider of exceptional Fax: (949) 493-8565 Category: BOWS string instruments, accessories, Email: [email protected] Ludwig Music Publishing Co. &GUETKRVKQP6JGſPGUVECTDQP programs and training materials, Web: www.lemurmusic.com Chris Donze, President composite bows. See, feel, and hear dedicated to the support of string Category: 1044 Vivian Dr. the difference. educators and their students. IAMS,BOWS,MPD,IAMW,IMD Grafton, OH 44044-1250 Established in 1922, Knilling Description: Everything for the Phone: (440) 926-1100 K.C. Strings Inc. continues to adhere to professional double bassist! Professional Fax: (440) 926-2882 Anton Krutz, Co-owner standards for instrument and musicians, teachers and students, Email: [email protected] 5842 Merriam Dr. adjustment quality, regardless of serious hobbyists and enthusiastic Web: www.ludwigmusic.com Merriam, KS 66203-2526 level. Included in our extensive range COCVGWTUECPCNNſPFVJGDGUV Category: MPD Phone: (913) 677-0400 of accessories are Perfection Pegs, quality instruments, strings, bows, Description: For 86 years a Fax: (913) 677-4506 Viva Shoulder Rests, P&H Bows, and replacement parts, music and CDs. A distinguished publisher of Email: [email protected] Jade Professional Rosin. trained staff is knowledgeable in the educational and program music for Web: www.kcstrings.com Check out our ad on page 31. entire product line and is available band, orchestra and ensembles; Category: IMD,IR,IAMS to offer assistance. New products catalogues, samples and recordings Description: K.C. Strings is a full and instruments along with the old are available on request. Noted service violin shop. We specialize standbys! writers for strings included Paul W. in the making and restoration of Whear, Gerald Doan, Percy Hall, Fritz violins, viola, cellos, and basses. Gearhart, Edmund Siennicki, Andrew International reputation for our work. Balent, Francis Grant and others.

58 | American String Teacher | August 2007 Category Legend: A=AssociationsACC=AccessoriesBOWS=BowsIAMS=Instrument and Accessory Manufacturer/WholesalerIMD ,QVWUXPHQW0DNHU'HDOHU IR=Instrument RepairIRE=Instrument RentalsMF=Music FestivalMPD=Music Publisher/DistributorO=OtherOP=Other PublisherSM=Sheet Music

Lyra House Music Publications Mel Bay Publications, Inc. Mewzkl Publications Mozart Music Mary Jo Disler, Owner #4 Industrial Dr. Barry Amass Dr. David W. Kerr 6930 West Dartmoor Rd. 2CEKſE/1 40 Old South River Rd. 1038 Placer St. 9GUV$NQQOſGNF/+ Phone: (636) 257-3970 Edgewater, MD 21037-1210 Butte, MT 59701-2844 Phone: (248) 855-2135 Fax: (636) 257-5062 Phone: (410) 841-6288 Phone: (832) 566-0405 Fax: (248) 855-2135 Email: [email protected] Fax: (410) 841-6288 Email: [email protected] Email: [email protected] Web: www.melbay.com Email: [email protected] Web: www.mozartm.com Web: www.iteachGuitar.com Category: MPD Web: www.mewzkl.com Category: MPD Category: MPD Description: Publisher of innovative Category: MPD Description: Music publishing Description: Guitar print and web instructional and performance material. Description: “New Things For School company specializing in unarranged, publisher. Classic guitar sheet music Check out our ad on page 35. Strings!” Mewzkl Publications features unabridged music by great & beginner text Guitar QuickStart™. new and original music for school composers especially suitable for FREE syllabus, teaching guides, Merano Musical Instruments string orchestra. Their catalog contains young orchestras. worksheets, book list, review copy, and Rose Li, President a wide variety of styles appropriate order info at www.iteachGuitar.com. 10423 Valley BL. Unit G for students at all ability levels; MSB Publishing Co. El Monte, CA 91731-2460 elementary through high school. Mitchell Bender, President Mach One Shoulder Rest Phone: (626) 575-5126 Sample scores and audio clips can PO Box 221934 Peter Mach Fax: (626) 575-5127 be found on their website. Music is Chantilly, VA 20153-1934 309 Eardley Rd. Email: [email protected] available through Luck’s Music Library Phone: (703) 561-0189 Gatineau, Quebec J9H 5C9 CANADA Web: www.merano.us and J.W. Pepper. A full performance Fax: (703) 561-0686 Phone: (819) 684-3886 Category: BOWS,IMD,IAMS,IAMW sample CD is now available. Email: [email protected] Fax: (819) 684-3886 Description: Merano Musical Web: members.aol/msbpubco Email: [email protected] Instruments is an import and export The Midwest Clinic Category: MP, SM Web: www.machonerest.com co. And also do wholesale and 828 Davis, Ste. 100 Description: We publish string Category: ACC retail carrying more than 12 lines Evanston, IL 60201-4423 orchestra works grade 1 through Description: Peter Mach, Luthier, of musical instruments at different Phone: (847) 424-4163 grade 5. grades. They are suitable for the OCMGTQHſPGXKQNKPUXKQNCUEGNNK Fax: (847) 424-5185 students and professional. basses and designer of the Mach One Email: [email protected] Music & Arts Center Check out our ad on page 35. Shoulder Rest. After graduating at Web: www.midwestclinic.org Emily Reagan, VP of Marketing the Violin Making School in Cremona Category: O 4626 Wedgewood Blvd. Mercury String Shop, Ltd. in 1980, established his violin shop Description: Held each December Frederick, MD 21703-7159 Brooks Bozman near Ottawa. Besides working on in Chicago, the Midwest Clinic is Phone: (301) 620-2053 1227 Bellevue Ave. instruments he makes the patented an international instrumental music Fax: (301) 662-7753 Richmond, VA 23227-4001 Mach One Rest. Hand carved out of Email: [email protected] Phone: (866) 553-7995/ (804) 553-7995 education conference that includes maple, the rest features an ergonomic Web: www.musicarts.com Email: [email protected] more than 30 concerts, 75 clinics, S shape that hugs the shoulder. The Category: IAMS,IR,IRE Web: www.mercurystringshop.com and 350 exhibit displays. The newly economic version is made out of Description: Now that American Category: ACC,BOWS,IMD,IRE,IR expanded string program offers more plastic, it is ideal for students since Music Group has joined forces with Description: Mercury String Shop, orchestra concerts and string clinics on the body and attaching feet are very Music & Arts Center, under the parent Ltd. serves enthusiasts, students, Tuesday, Wednesday, and Thursday. strong. Some players have noticed company of Guitar Center, we’re that the wooden rest actually improves performers, and teachers by providing Mona Lisa Sound, Inc. excited to be able to bring you a the sound of their instrument. quality product and services as a full service shop. General manager John Reed, President bigger and better selection of products Two Mariners Cove and services. We offer everything MakeMusic, Inc. Brooks Bozman provides instrument Edgewater, NJ 07020-1288 musical for students, parents and Bonnie Anderson sales, rental, repair and bow rehair. Phone: (877) 263-5691 educators, including instruments, 7615 Golden Triangle Dr. Violin builder John Larrimore provides Fax: (201) 696-3946 sheet music, accessories, lessons and Eden Prairie, MN 55344-3733 full restoration, instrument building Email: [email protected] instrument rentals for school bands Phone: (952) 937-9611 and appraisals. Web: www.MonaLisaSound.com and orchestras. Plus, we have a huge Fax: (952) 937-9720 Merz-Huber Company Category: MPD,O,SM network of educational representatives 'OCKNſPCNGUCNGU"OCMGOWUKEEQO Description: Led Zeppelin, Stones, serving school music programs. Soon Web: www.makemusic.com William Calter the Beatles, Hendrix and more for we’ll be offering resources like online Category: O 630 Fairview Rd. strings! Publishers of original rock shopping, rentals online, and other Description: MakeMusic Swarthmore, PA 19081-2334 string quartets by best-selling, website features. manufactures the world’s leading Phone: (610) 544-2323 Julliard-trained, Grammy-nominated notation software family: Finale, Fax: (610) 544-8286 Music Celebrations International Allegro, PrintMusic, and Finale Email: musical_instruments@ The Hampton (Rock) String Quartet. John P. Wiscombe NotePad, each designed for the merzhuber.com Each arrangement comes as a 1440 South Priest Dr., Ste. 102 needs of music writers - from Web: www.merzhuber.com score plus four parts, is meticulously Tempe, AZ 85281-6954 elementary beginners to professional Category: O notated and has original cover art. Phone: (480) 894-3330 composers. We also offer Description: Musical instrument Cello quartets and double bass Fax: (480) 894-5137 SmartMusic, the complete music insurance brokers for members scores and parts available for many practice system for woodwinds, of ASTA. ASTA members receive titles as well as medium (8,8,5,5 Email: [email protected] brass, strings, and voice. special discounted rates. and 4) and large (10, 10, 8, 8 and Web: www.musiccelebrations.com Check out our ad on page 75. 6) ensemble sets. Put some fun and Category: MF Meisel Stringed Instruments variety in your curriculum with songs Description: MCI is a professional Neil Lilien Metzler Violin Shop, Inc like “Stairway to Heaven,” “Dust in the concert tour organizer for orchestras 32 Commerce St., Box 90 Barbara Don, Sheet Music Wind,” “Sweet Dreams are Made of featuring domestic and world-wide 5RTKPIſGNF0, 604 S Central Ave. This” and “Bohemian Rhapsody.” destinations. Complete cost-effective Phone: (800) 634-7356 Glendale, CA 91204-2009 Check out our ad on page 35. travel arrangements compliment Fax: (800) 362-5020 Phone: (818) 246-0278 emphasis on concert detail including Email: [email protected] Fax: (818) 246-8697 venues, publicity, exchanges with Web: www.meiselmusic.com Email: [email protected] local performers, shared concerts, Category: BOWS,IAMW,IAMS,ACC Web: www.metzlerviolins.com masterclasses, etc. Category BOWS,IAMS,IMD,IR,IRE,SM Description: Meisel distributes three Description: Metzler Violins is a full distinct lines of violin family instruments: service violin shop specializing in the Meisel, Mittenwald and Mozart covering sale, repair, rental, and appraisal of student level through advanced step- bowed string instruments. The shop up. Exclusively distributes a range of has an extensive selection of sheet high quality, rugged violin/viola, cello music for bowed string instruments and bass stands. which can be purchased online. Check out our ad on page 9.

www.astaweb.com | 59 String Industry Council 2007Membership Directory Music Dreaming, Inc. Nagyvary Violins Dr. NJR Music Enterprises Notes & Strings LLC. /Music Flash Clayton Haslop, President Joseph Nagyvary Nick Raspa Cards 411 Charlotte St. 3968 Cody Dr. 16520 N Manor Rd. Deborah Spiegel or Karen Day Asheville, NC 28801-1418 College Station, TX 77845 Eden Prairie, MN 55346 301 N. Main St., Ste. 102 Phone: (828) 350-0916 Phone: (979) 690-6440 Phone: (952) 974-5047 Pueblo, CO 81003-3298 Fax: (828) 350-0817 Email: nagyvary@nagyvaryviolins. Fax: (952) 974-5051 Phone: (719) 251-1341/(800) 587-3056 Email: [email protected] com Email: [email protected] Fax: (413) 683-1947 Web: www.violinmastery.com Web: www.nagyvaryviolins.com Web: http://members.aol.com/njrmuse Email: [email protected] Category: MF,OP Category: IMD,IAMW Category: MPD Web: www.notesnstrings.com Description: Highly effective Description: New violins, violas and Description: NJR Music Enterprises Category: IAMS,IAMW,OP instructional DVD courses and cellos are made by reproducing provides top quality original music, Description: Notes & Strings note masterclasses for intermediate to the material authenticity of the old transcriptions & arrangements TGCFKPICPFſPIGTKPIƀCUJECTFUJCXG advanced students and teachers Cremona instruments; their quality is for orchestral ensembles ranging been popular with string teachers, focusing on technical fundamentals, established by computer analysis. from small chamber groups to full students, and parents for over 20 repertoire, and practice techniques. orchestras. years. Designed by a Suzuki violin Clayton Haslop coached privately National Youth Orchestra Foundation teacher to help students successfully for three years with Nathan Milstein. Charles Childress Nordenholz Distributing Co. learn the names of the notes on the He has served as concertmaster 2901 Ellsworth Rd. 8 Vernon Valley Rd. staff, the names of the notes they are for numerous professional Nortonville, KS 66060-5019 East Northport, NY 11731-1429 playing on their instrument (instead of orchestras, founded three nationally Phone: (913) 833-4598 Phone: (800) 272-7170 ſPIGTPWODGTU CPFVQEQTTGNCVGVJG recognized ensembles and been the Fax: (954) 212-2411 Fax: (631) 757-0021 RTKPVGFPQVGYKVJVJGſPIGTRNCEGOGPV concertmaster for dozens of major Email: [email protected] Email: [email protected] on their instrument. Used in back to motion pictures. Web: www.TNYOF.org Web: www.nordenholz.com school packets, in student backpacks Check out our ad on page 32. Category: O Category: IAMW,BOWS or cases, and in teacher studios, our Description: We provide grants and Description: For 75 years, we have DTKIJVEQNQTEQFGFƀCUJECTFUJGNR Music Mart, Inc. funding for new school orchestra serviced the string community students learn on their own volition in Joe Keith programs, primarily in rural areas, as a wholesaler and importer of a fun way. 3301 Carlisle Blvd., NE where such programs have never strings and accessories for bowed Albuquerque, NM 87110-1650 existed before. instruments. The brands we Oliver Musica USA, Inc. Phone: (505) 889-9777 represent include Thomastik-Infeld, Oliver Liu Fax: (505) 889-9070 Navarro River Music Pirastro, Corelli, Larsen, Jargar, Prim, 1045 Armando St., Ste. F Email: [email protected] PO Box 366 and D’Addario. We also carry a full Anaheim, CA 92806-2608 Web: www.musicmart.com Mendocino, CA 95460-0366 line of accessories, including bows, Phone: (714) 632-5959 Category: MPD, SM Phone: (707) 937-3342 UJQWNFGTTGUVUTQUKPCPFſPGſVVKPIU Fax: (714) 632-5900 Description: Music Mart is one of the Fax: (707) 895-3906 Email: [email protected] Nation’s Leading dealers featuring 'OCKNRK\\KECVQ"RCEKſEPGV Northeastern Music Publications Web: www.olivermusic.com the south western United States best Web: www.NavarroRiverMusic.com Randy Navarre, President Category: BOWS,IMD,IAMS,IAMW selection of sheet music and music Category: O,OP,SM 1583 Horseshoe Pike, Ste. 3 Description: Oliver Music is a books for all instruments, music Description: Purchase the “Cello Glenmoore, PA 19343-1099 wholesale distributor with a complete software, elementary music education Drones for Tuning and Improvisation” Phone: (610) 942-2370 NKPGQHſPGUVTKPIKPUVTWOGPVUCPF and large groups! Print music CD at NavarroRiverMusic.com, as Fax: (610) 942-0660 accessories, dedicated to supplying specialists since 1951. well as the music of cellist/composer, Email: [email protected] and serving the needs of violin Marcia Sloane. Navarro River Music Web: www.nemusicpub.com dealers throughout the United States. Musician’s Friend Inc. also runs summer and winter string Category: MPD In 2007, we began premiering the 4004 Technology Drive camps in northern California for kids Description: Why is the music of EVEREST Shoulder rest line of South Bend, IN 46628-9745 and beginning/intermediate adult Northeastern Music Publications products, featuring a shoulder rest Phone: 800-391-8762 players. very popular with band and orchestra that promises ergonomic comfort in a Fax: 801 501-9552 directors? Because the founder virtually unbreakable design. Watch Web: www.musiciansfriend.com Neil A. Kjos Music Company of the company is a band director for more information about the 2nd Category: MPD,SM,ACC David Paul, Dir. Ed. Events and teacher of 24 years. When you generation of EVEREST shoulder Description: Our company’s one 4382 Jutland Dr. review our features and scores, you rest products in the upcoming month. major premise: to give musicians San Diego, CA 92117-3642 will see many items that will improve the best prices and selection, Phone: (858) 270-9800 x6740 your band or orchestra and aid your OnBoard Research Corporation along with superior service to help Fax: (858) 270-3507 teaching. Mark Wilson musicians achieve their goals in Email: [email protected], email@ 1321 Valwood Pkwy., Ste. 440 music. Currently, we offer over kjos.com 0QTVJſGNF2TGUU Carrollton, TX 75006-6882 36,000 products in its mail order Web: www.kjos.com William Rich, President Phone: (214) 239-4005 catalogs and on its website. Products Category: MPD 63 Tristan Lane Fax: (214) 239-4006 offered include guitars, basses, Description: Publisher of educational Williamsville, NY 14221-4438 Email: [email protected] keyboards, percussion, amps, as well music/methods for strings, orchestra, Phone: (716) 634-6884 Web: www.tuners.com as recording, mixing, lighting, and guitar, band, piano and choir. Fax: (716) 634-2581 Category: IAMW DJ gear. Hundreds of new products Publications include: All for Strings, Email: [email protected] Description: Manufacturer of the are added monthly as the company Artistry in Strings, Bach and Before 9GDYYYPQTVJſGNFRTGUUEQO Centerpitch Universal Intonation continues to broaden and deepen its for Strings, Mariachi Mastery, Rounds Category: MPD Tool for bowed stringed instruments. offerings. Musician’s Friend still offers and Canons, Strings Extraordinaire!, Description: A music publisher Centerpitch works on vibrations, so money-back satisfaction and price as well as assorted literature by specializing in music for the school it works well in noisy environments guarantees on every purchase and award winning composers including orchestra at all levels, music for such as rehearsal halls and practice RTKFGUKVUGNHQPJCXKPICVQRƀKIJVUVCHH Bishop, Frost, Gazda, Hofeldt, chorus and orchestra and for the rooms, displaying a pitch reference of customer service people who live Monday, Mosier and more. double bass. at all times. and breathe the products they sell. Check out our ad on page 75. Musician’s Friend is more than just catalogs and Web sites - we’re about leading the industry with an award- winning commitment to quality, value, and service!

60 | American String Teacher | August 2007 Category Legend: A=AssociationsACC=AccessoriesBOWS=BowsIAMS=Instrument and Accessory Manufacturer/WholesalerIMD ,QVWUXPHQW0DNHU'HDOHU IR=Instrument RepairIRE=Instrument RentalsMF=Music FestivalMPD=Music Publisher/DistributorO=OtherOP=Other PublisherSM=Sheet Music

Orchestra America- a div. of Music Peter Zaret & Sons Violins, Inc. Psarianos Violins George Robinson Violins for All Peter Zaret, President Peter Psarianos Brian Gum, President Debbie Laferty Asbill, Dir. of /C[ſGNF4F 79 E Maple Rd. 3602 Slide Rd., No. B-11 Marketing /C[ſGNF*GKIJVU1* Troy, MI 48083-2713 Lubbock, TX 79414-2532 39 W. Jackson Pl., Ste. 150 Phone: (888) 846-5462 Phone: (248) 689-8424 Phone: (806) 792-9752/800-851-5778 Indianapolis, IN 46225-1010 Fax: (440) 461-1855 Fax: (248) 689-6162 Fax: (806) 792-4120 Phone: (317) 636-2263 Email: [email protected] Email: [email protected] Email: [email protected] Fax: (317) 524-6200 Web: www.zaretandsonsviolins.com Web: www.psarianosviolins.com Web: www.robinsonviolins.com Email: [email protected] Category: IRE,IAMS Category: IAMW,IRE,IAMS,IMD,B Category: Web: www.musicforall.org Description: Retail violins, violas, OWS,IR BOWS,IMD,IRE,IR,SM,ACC Category: MF,O cellos, basses and bows for all level Description: Since its origin in 1976 Description: “West Texas’ Only Full- Description: Orchestra America is a players, at very reasonable prices. as a small repair shop, Psarianos has Service Violin Shop” division of Music for All, a 501(c)3 Dr. Zaret is a graduate of Julliard expanded its services to include violin PQPRTQſVQTICPK\CVKQPCPFQPGQHVJG and was concertmaster of the sales, accessories and case catalog, Rolland String Research Associates NCTIGUVCPFOQUVKPƀWGPVKCNPCVKQPCN Norfollk Symphony. He has invented music and video library, rent-to-own Peter “Doc” Rolland, PhD, Director music education organizations in a patented bass bar which greatly plan with 100% equity applied, mail- 1616 W. Mountain View Dr. support of active music-making. enhances the sound of all string QTFGTUGTXKEGCRRTCKUCNUCPFſPG Mesa, AZ 85201-4517 Orchestra America educational instruments. Instruments are available instrument sale and consignment. Fax: (480) 969-9744 programs and performance with and without the new bass bar. Specializing in Violin, Viola and Email: [email protected] opportunities include the Honor Check out our ad on page 103. Cello. Renown for quality service; Category: IAMS,IRE,MPD,O Orchestra of America and Orchestra restorations, instrument and bow Description: Distributor of Paul America National Festival, part of Pirastro GmbH making. Rolland pedagogy videos and Peter the Music for All National Festival Annette Mueller-Zierach 4QNNCPFſFFNKPIDQQMUCPF%&U held in Indianapolis, Indiana. The Senefelderstrasse 80 OFFENBACH R.L. Ray Violin Shop LLC Local instrument sales and rentals. 2008 Festival will be held Feb AM MAIN Robert and Tess Ray, Owners Check out our ad on page 102. 27- Mar 1, 2008 and the Honor 63069 GERMANY 925 State Ave., NE Orchestra of America features Larry Phone: +49-69-840090-0 Olympia, WA 98506-3956 Roy G. Quade Bowmaker J. Livingston, conductor, with guest Fax: +49-69-831663 Phone: (360) 570-1085 Roy Quade violin soloist, Barnabas Keleman, Gold Email: [email protected] Fax: (360) 570-1092 2312 4th Ave., NW Medalist at the 2002 International Web: www.pirastro.com Email: [email protected] Calgary, AB T2N 0N9 CANADA Violin Competition of Indianapolis. Category: IAMW Category: BOWS,IRE,IR,IMD,IAMS Phone: (403) 277-9373 Programming also includes the Description: PIRASTRO is a string ,IAMW Email: [email protected] Orchestra Division for high school and rosin manufacturer offering strings Description: Full service violin shop. Web: www.quadebows.com students at the Music for All Summer for bowed instruments, harps, guitars, Makers, dealers, and restorers. New, Category: BOWS Symposium in Normal, Illinois. and gamba. Pirastro manufactures contemporary, rare instruments and Description: Roy G. Quade lives and strings under the brand names: Evah DQYU*KIJSWCNKV[TGPVCNQWVſVU works in Calgary, Canada where he Otto Musica Pirazzi, Obligato, Tonica, Violino, Full line of accessories. Robert Ray has been making bows for the last Daniel Yeh, President Oliv, Eudoxa, Gold, Chorda, No.1 Archetier. twenty years. His initial training was 1600 Arch St., Ste. 201 The Universal E-String, Wondertone with William Salchow of New York, Philadelphia, PA 19103-2031 Solo, Flexocor, Permanent, Chromcor, Rapkievian Fine Violins and subsequent to that his skills and Phone: (215) 636-0585 Ultra-Sensitive, Piranito, Synoxa, David Ludwik Chrapkiewicz style were further developed at the Fax: (215) 636-0584 Aricore, and Wondertone. Rosin brand 404 Brown St. well known summer workshops at Email: [email protected] names include: Oliv/Evah Pirazzi, Washington Grove, MD 20880 Oberlin College lead by Stephane Web: www.ottomusica.com Eudoxa, Obligato, Tonica, Gold, Phone: (301) 519-2021 Tomachot. Quade’s bows have Category: IAMW 5EJYCT\)QNFƀGZ%GNNKUVQ%GNNQ Email: [email protected] received four gold medals, one silver Description: Artino Accessories, Bass, and Piranito. Web: www.FineViolinsbyDavid.com medal, and fourteen merit awards at Warchal Strings for violin Check out our ad on page 4. Category: IMD competitions in North America and Description: Full time making of Great Britain. Pasewicz String Instruments, Inc. PlayMyPiece, LLC. violas, violins. Expert bow rehairing Leeann Sorenson, Business Mgr. David Brickman, Artistic Dir. and tone adjustments for the most 4WſPQ8KQNKPU 4911 Waters Edge Dr., Ste. 200-A 378 Rockingham St. discerning musicians. Minor repairs %JCTNGU4WſPQ Raleigh, NC 27606-2461 Rochester, NY 14620-2516 and servicing of professional level 293 Central Park West Phone: (919) 858-0429 Phone: (585) 461-9421 instruments. Bow restoration. Entered New York, NY 10024-3009 Fax: (919) 233-4991 Email: [email protected] three international competitions, won Phone: (212) 581-6226 Email: [email protected] Web: PlayMyPiece.com 3 awards for tone (1982 & 2000). 'OCKNCOFI"TWſPQXKQNKPUEQO Web: tristrings.com Category: IAMS,OP,SM VSA 2002 International Competition, 9GDYYYTWſPQXKQNKPUEQO Category: BOWS,IAMS,IRE,IR,IMD Description: PlayMyPiece.com Silver Medal for Viola Tone. Category: BOWS,IMD,IRE Description: We are a full-service offers affordable mp3 downloads of Description: Violins, Viola, and violin shop; make, restore, repair, sell new recordings of the most popular Reuning & Son Violins Violoncellos hand-made by Charles CPFTGPVſPGUVTKPIKPUVTWOGPVUCPF student string repertoire. The site is Maureen Wall 4WſPQ4WſPQKPUVTWOGPVUCTGRNC[GF bows. We offer rehair service and child-friendly and features repertoire 321 Columbus Ave., 4th Fl by leading professional and serious accessory sales. from the Suzuki method, Vivaldi, Boston, MA 02116-5168 students and recognized to be among Seitz, Handel and more. Phone: (617) 262-1300 VJGſPGUVKPUVTWOGPVUCXCKNCDNG Peter Prier & Sons Violins Fax: (617) 262-4645 /CMGTUQHVJG4CHHCGNG1TQſPQDTCPF Peter Paul Prier, Owner The Potter Violin Company Email: [email protected] of instruments. Rare instruments and 308 E 200 S Dalton Potter Web: www.reuning.com bows also available. Please call for Salt Lake City, UT 84111-2107 4706 Highland Ave. Category: IMD,BOWS,IR an appointment well in advance of Phone: (801) 364-3651 Bethesda, MD 20814-3612 Description: Connoisseurs and a visit. Fax: (801) 364-3652 Phone: (800) 317-9452 dealers in violins, violas, cellos and Email: [email protected] Fax: (301) 652-8375 their bows. Artistic restoration and Web: www.prierviolins.com Email: [email protected] GZRGTVEGTVKſECVKQP Category: BOWS,IAMS,IAMW,IMD,IR Web: www.pottersviolins.com Check out our ad on page 64. Category: IAMS,IMD,BOWS,IR,ACC, IRE,SM,MPD Description: A full service string shop selling instruments and bows for students and professionals. The original home of the Rudoulf Doetsch instruments. Check out our ad on page 9.

www.astaweb.com | 61 String Industry Council 2007Membership Directory Sam Ash Music Corporation Sibelius Software Ltd. Soundwaves Recording The String Project Paul J. Ash, President Lisa Speegle Virginia Canalos Karen Summerville PO Box 9047 1407 Oakland Blvd. 4708 Surfside Dr. 2821 Kirchoff Rd. Hicksville, NY 11802-9047 Walnut Creek, CA 94596-8492 Huron, OH 44839 Rolling Meadows, IL 60008 Phone: (888) 615-5904 Phone: (925) 280-0600 Phone: (419) 433-4918 Phone: (847) 255-5099 Fax: (516) 938-1437 Fax: (925) 280-0008 Fax: (440) 967-9006 Fax: (847) 255-6451 Email: [email protected] Email: [email protected] Email: [email protected] Email: Web: www.samashmusic.com Web: www.sibelius.com Web: www.soundwaves.org [email protected] Category: IAMS Category: ACC, O Category: O Web: www.orchestralstrings.com Description: Sam Ash Music Stores Description: Sibelius Software Ltd. Description: On-location digital Category: IMD,IR have been serving musicians specializes in music composition and audio recording, specializing in Description: Sales, rentals and since 1924. Featuring: Instruments notation. music education conferences and repairs of violins, violas, cellos and and accessories for students and fundraising CD sales. We can double basses and their bows. Also professionals, music, software, and SMHD Publications also produce and package your carry a wide selection of sheet music recording equipment at discount Susan Day, Composer own recordings and process your and their accessories. prices. Stores located in AZ, NY, NJ, 8091 South Albion St. copyright licenses. CT, PA, OH, IL, CA, TN, FL, NV, TX, Littleton, CO 80122-3902 Strings Music and More LLC. IN, NC, GA and VA. 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62 | American String Teacher | August 2007 Category Legend: A=AssociationsACC=AccessoriesBOWS=BowsIAMS=Instrument and Accessory Manufacturer/WholesalerIMD ,QVWUXPHQW0DNHU'HDOHU IR=Instrument RepairIRE=Instrument RentalsMF=Music FestivalMPD=Music Publisher/DistributorO=OtherOP=Other PublisherSM=Sheet Music

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The Violin Shop available nationwide! Email: [email protected] Fred Carpenter Check out our ad on page 73. Web: www.twofold.com.au Tata Classical LLC 220 Old Hickory Blvd., Ste. 201 Category: MPD Chas Arnold Nashville, TN 37221-1336 William Moennig & Son, Ltd. Description: Twofold Media publishes 3750 Miller Rd. Phone: (615) 662-1570 2039 Locust St. multimedia CDROMs for violin Ann Arbor, MI 48103-1725 Fax: (615) 662-1518 Philadelphia, PA 19103-5613 education. Violin Magic by Robert Phone: (734) 604-1373 Email: [email protected] Phone: (215) 567-4198 Wakely and Frances Gall, and Violin Fax: (734) 747-9044 Web: www.theviolinshop.net Fax: (215) 567-4175 Alive by Fintan Murphy demonstrate Email: [email protected] Category: IR,IMD Email: [email protected] violin technique in video with sound Web: www.tataclassical.com Description: The Violin Shop offers Web: www.moennig.com and text. 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Fax: (734) 475-8335 Email: [email protected] Tempo Press Web: www.united-workshops.com Steven Luck, President Category: IAMW PO Box 71396 Description: Distributor of Heinrich Madison Heights, MI 48071-0396 Gill and Bernd Dimbath stringed Phone: (248) 588-0808 instruments. Heinrich Gill instruments Fax: (248) 588-0880 are made in the centuries old German Email: [email protected] shop tradition by highly specialized Web: www.tempopress.com luthiers and a small number of master Category: MP, SM violin makers under the direction Description: Tempo Press is a of Bernd Dimbath, Violinmaker. publisher of music for school and The combination of individual style community orchestras. We are and state-of-the-art technology the exclusive publisher of Sandra produces beautiful investment grade Dackow Editions. instruments of excellent quality and lasting value. Check out our ad on page 3.

www.astaweb.com | 63 String Industry Council 2007Membership Directory Williamson Music Company Wood Violins Mark Williamson, Vice President Mark Wood 701 East Plano Pkwy., #414 PO Box 2074 Plano, TX 75074-6757 Port Washington, NY 11050 Phone: (972) 633-8203 Phone: (516) 767-6677 Fax: (972) 424-6540 Email: [email protected] Email: [email protected] Web: www.woodviolins.com Web: www.williamsonmusicco.com Category: IAMS,IMD Category: Description: Wood Violins offers BOWS,IMD,IRE,IR,IAMS,SM handcrafted instruments that are Description: Williamson Music designed and hand-built exclusively Company has been serving schools in the USA, and we are dedicated and music professionals in the to a truly unique concept in Dallas/Ft. Worth area since 1965. We manufacturing electronic violins. provide quality band and orchestra These instruments are hand-built instruments, expert instrument by master craftsmen Joe Domjan repair and personal service to our and Mark Wood and should actually customers. appreciate in value over time. Each violin is calibrated and tested by Mark Wingert-Jones Publications, a div. of Wood prior to shipment to ensure that J.W. Pepper & Son, Inc. you receive the very best instrument Gerald Fuchs for your investment. 11225 Colorado Check out our ad on page 29. Kansas City, MO 64137-2502 Phone: (816) 765-6200 Yamaha Corporation of America Fax: (800) 382-8250 Ken Dattmore, Mgr. - Strings Email: publications@wjpublications. 6600 Orangethorpe Ave. com Buena Park, CA 90620-1396 Web: www.wjpublications.com Phone: (714) 522-9011 Category: MPD Fax: (714) 522-9475 Description: Wingert-Jones Email: [email protected] Publications is a publisher of Web: www.yamaha.com/strings instrumental music for band, Category: IAMW,BOWS,ACC orchestra and solo/ensemble Description: Combining technology literature for winds, strings and with tradition, Yamaha offers a full percussion. line of award winning electric string instruments and acoustic string Wireless for Strings instruments, student through signature Chris Kranyak UGTKGURTQHGUUKQPCNECTDQPſDGT 2718 Easton Dr. bows and a piezo transducer bridge Burlingame, CA 94010-5648 pickup for acoustic violin. Dedicated Phone: (650) 343-6444 to supporting student and teachers, Email: [email protected] Yamaha sponsors clinics, conference Web: www.wirelessforstrings.com events and competitions throughout VJGUVTKPIOWUKEGFWECVKQPſGNF Wm. Rees Instruments, LLC Check out our ad on page 13. Pamela Rees 222 Main St. Young Musicians Inc. Rising Sun, IN 47040-1225 Jeannette Runyon, President Phone: (812) 438-3032 PO Box 2407 Fax: (812) 438-3089 Keller, TX 76244 Email: [email protected] Phone: (817) 741-3838 Web: www.reesharps.com Fax: (817) 741-3839 Category: IMD Email: [email protected] Description: W. Rees Instruments Web: www.ymonline.com LLC have been hand building the Category: ſPGUVNGXGTJCTRUCXCKNCDNGHQT IAMS,IR,BOWS,IRE,SM,ACC 35 years. Their new product, the Description: Company has provided Harpsicle, is a small, affordable harp exceptional customer service in mail- which can be easily incorporated into order music and supplies since 1984. a wide variety of school and teaching Sells Suzuki and traditional materials, applications. as well as instruments, sheet music and accessories and more.

64 | American String Teacher | August 2007

Order of Importance: A Cellist’s Perspective by Edward Laut

Cello is third creates a situation where your moving parts meet your non- A cello is a beautiful, expensive, glorified noise maker moving parts, causing tension. To avoid this situation and that can, if the player is skilled and motivated to do so, guarantee effortless continuous natural motion, your mo- give expressive sounds to music. Its range and timbre more tions should originate at the soles of your feet and go into closely parallels that of the human voice than does any other the cello. Whenever you move your arms, hands, fingers, artificially constructed instrument. As gracefully curved as its etc. the motions inscribe arcs, whereas the functional parts outlines are, the functional part of a cello is its strings, a set of the cello and bow consist of straight lines, right angles, of nearly vertical straight lines set into motion by a bow, an and perpendiculars. Therefore, you must find the specific “energy stick” that is moved at a right angle to them. set of your natural arcing motions that will most efficiently Music is second permit you to interact with the cello and bow without con- Music comes in two types: 1) visible, the type players forming to their restrictive, straight-line natures. Fascinating and teachers deal with and that the listening public never as it can be, technique in itself is dry and meaningless. Its thinks about; and 2) audible, the type people hear and iden- true purpose is to permit you to express thoughts in music. tify immediately as music. Composers write music not so it Technique without expression is like reciting the alphabet in will look pretty on paper, but so that it will help the players a conversation. create, through sounds, ideas that the composers want an Music is a refinement of verbal communication, so to audience to understand. Visible music is like a box of cake communicate most effectively through music, you must mix. It has all the ingredients but no “taste.” You need to employ as many as possible properties of the human voice “add water” by motion and “stir it and bake it” by practice in your playing. For example, the sound of the voice is before it can fulfill its purpose. produced by the thin buzz of the engaged vocal chords, There are three inherent “eye traps” that plague players amplified by the sinus cavities, and modulated by the soft as they attempt to translate visible music into audible music. palate and the tongue. In cello, the analog of the buzz occurs The first of these is the bar line. Bar lines were invented from the friction of the thousands of microscopic ridges on in the middle ages not coincidentally at about the same the hairs of the bow as they pass along the string. The voice time the mechanical clock was invented. People then were is surrounded by breathing sounds, the analog of which enamored with measuring time. The clock was invented so may also be produced by not quite engaging the bow on the that members of the city government could meet without string. The voice scoops to pitch, an effect that can faithfully milling about for the whole day waiting for all its members be reproduced by slides of varying audibility. “Syllables” can to appear. The bar line was invented to coordinate untrained be formed by varying bow pressures and by vibrato. members of large choirs so that rehearsals wouldn’t drag on. Ultimately, it is not enough for you to imitate the The second “eye trap” is the beam. When composers voice. You must use your “cello voice” to say something. To wrote their music by quill, they would beam together four do this you have to consider the composer. The composer consecutive 16th notes to save pen strokes. This made them is much more than a name inscribed in Roman lettering happy. They beamed with joy! Unfortunately, the visual on the façade of a concert hall or a music building. The aspect of bar lines and beams puts music into orderly little composer is of far greater importance than a bronzed bust visual drawers that subliminally inhibit the natural flow mo- with laurel wreath on top of a piano. The composer is, or tion that makes the musical line musical. In all of history was, a human being. The composer came into this world there has never been a beautifully played bar line or beam. naked and screaming just like you! All of the thoughts and Perhaps the greatest of “eye traps” are notes, if the feelings the composer knew and distilled onto the page in player mistakes notes for music. All note heads are the same notes were the same ones that you know as well. That’s your size, and yet, in a successful rendering of audible music, the birthright. You do not “parrot” the composer. The composer sound energies are in a constant state of flux. The human was the first interpreter, indicating sounds as expressions. mind is wired so that it seeks out only those elements that The composer gives you, with note heads, the beginnings form patterns, such as note heads, and disregards whatever of notes. You as “per-former” give the audience the middles does not. It often takes long, difficult years of study and and ends of notes, vocally shaped. You and the composer experience for a player to finally realize that the real music are partners in expression! takes place in spaces between the note heads. It’s like going to view the Mona Lisa and seeing only the frame. Cellist Edward Laut, a graduate of Indiana You are First (That’s right...You!) University as a student of Janos Starker, While this optimistic statement seems to have leapt has appeared as soloist on radio and out of the pages of one of those “self-help” books, it’s really television in the U.S. and abroad. He quite true. A cello can sit on top of a pile of music until the premiered and recorded Concerto for Cello Cello Forum and Jazz Band, Sonata for Solo Cello, and sun burns out, without making a single sound. It takes your Suite for Cello and Jazz Trio, by renowned playing to complete the music. composer David Baker, on the Liscio label. The Latin word for “through” is “per.” The Latin word Laut has also recorded for the Canadian for “shape” is “forma.” To make music you must move Broadcasting Corporation and National Public Radio, and won through the shape of a piece. That makes you a “through the plaudits of such composers as Samuel Barber, George shaper,” or, if you will, a “performer.” What this all means Crumb, and Virgil Thomson for his performances of their works. technically is that, when you play the cello, your motions Laut has held principal positions in the Manila Symphony, the must be continuous and natural or you are not “through 86$)%DQG:DVKLQJWRQ'&DQGWKH$WODQWLF6\PSKRQ\KH shaping.” Natural motions are defined as those that do not was also assistant principal of the Montreal Symphony Orches- simultaneously tense opposing sets of muscles. tra, and cellist in the Cleveland Orchestra. In 1977 he joined the faculty of the University of Kansas, where he was named Making the cello more important than you blocks your outstanding educator by the Mortar Board Society. The wide natural motion. Cello has long been traditionally taught by selection of his arrangements and compositions for cello, and conforming the fingers to the cello and bow and moving cello with other instruments, including classical guitar, are only what immediately affects the cello. This approach published by E & E Cello Music, L.L.C. (www.eecellomusic.com)

66 | American String Teacher | August 2007 Call for volunteer string clinicians! ASTA is launching a new program—Discovering Strings and Orchestras—to partner youth groups with local string educators to bring string music to young students. Funded by a grant from NAMM, this program will bring youth groups together with local string clinicians ZKRZLOOKRVWDÀYHVHVVLRQZRUNVKRSWKDWH[SORUHVVWULQJPXVLF Geared towards students in grades one though three, Discovering Strings and Orchestras will include performances, activity books, group lessons, and more! If you are interested in serving as one of the volunteer string educators, please contact Elizabeth Bookwalter at (703) 279-2113, extension 26 or [email protected]. You can also log on to www.astaweb.com to learn more about this new program. Viola Music by Women Composers by Carolyn Waters Broe

In recent years, there has been a tremendous interest in learning more about music by women composers. Aaron Cohen lists 2,961 women composers in his International Encyclopedia of Women Composers, written in 1981. Since then, new research has revealed a treasure trove of previously unknown women composers and updated research on already established composers. An original manuscript of the Sonata for Viola and Harpsichord of Beatrice Mattei of Florence, Italy (1741) was discovered in an Eastern European library in 1996 by ARS FEMINA. After the Soviet Union was dissolved, the library needed to pack up many items and repatriate them to their original owners. Since the manuscript for the Mattei was owned by the Knights Templar, the library was about to ship it off when the research group ARS FEMINA of Ken- tucky asked if they could make a copy. There was also another recent discovery of asinfonia by Maria Antonia Walpurgis (1724-1780) found in the Bach Archive discovered in Kiev, Ukraine in 1999 by Christoph Wolff of Harvard and Patricia Kennedy Grimsted. This archive contains about 5,000 scores by 17th and 18th century European composers (C.P.E. Bach, Telemann, Graun, and the Benda brothers, etc. from the Singakademie of Berlin). Many works that were thought to have been by male composers are now believed to have been composed by women. Some works by Fanny Mendelssohn Hensel were published under her brother Felix Mendelssohn’s name. This may also be the case with the works of Clara Schumann and her husband Robert Schumann. Recent editions are making corrections in these publications. The American composer, Louise Lincoln Kerr (1892-1977), left a manuscript archive of more than 100 music com- positions to Arizona State University. Only the Five Character Pieces for Viola and Piano have been edited and published by Classics Unlimited Music. Therefore, she is still largely unknown by the public. Kerr, a violinist/violist and a student of Prokofiev and Stravinsky, was an expert in composing chamber music pieces, many of which include viola parts. She also composed chamber orchestra works as well as several symphonic works and five ballets. Many of Kerr’s pieces combine melodies of the Hopi Indians and Spanish folk songs with classical genres. She was also fond of jazz rhythms especially in her string literature. Living women composers are creating new works for the viola on an ongoing basis. In developing this list of women viola composers, I discovered many pieces with which I was unfamiliar. I am indebted to Dr. David Sills, as his repertory list of works that he has performed by women composers was the inspiration for this list. This list of women viola compos- ers is not designed as the last word, but merely as an introduction to the subject. A complete annotated bibliography of women viola composers has not yet been written. Some transcriptions have been included in this list; however, the vast majority are original works for the viola.

* Works composed for, premièred by, or arranged by Dr. David Sills ** Treasury of Music By Women Before 1800 edited or arranged for viola ensembles by William Bauer, ARS FEMINA editions Note: This is not a complete list of all viola works. My apologies if I have missed anyone.

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68 | American String Teacher | August 2007 Viola Forum t
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www.astaweb.com | 69 t
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Collections Edwin A. Fleischer Collection of scores at the Free Library of Philadelphia, Kile Smith. Louise L. Kerr Collection MSS-90 at Arizona State University, Department of Archives and manuscripts, Haydn Library, Tempe, Arizona. Robert Spindler, curator. Primrose International Viola Archives at Brigham Young University, Patricia McCarty.

Dissertations Broe, Carolyn Waters. 2001. “The String Literature of Louise Lincoln Kerr: An Edition of Her Viola Music and Analysis of her Violin Concerto.” Arizona State University, Doctor of Musical Arts in Viola Solo Performance. Kohnen, Daniela. 1994. Rebecca Clarke. Weg einer Komponistin Anfang des 20. Jahrhunderts. Hausarbeit, Hochschule für Musik Detmold, 75 S. Palumbo, Michael A. 1981. The Viola: Its Foundation, Role, and Literature, Including An Analysis of the “Twelve Caprices” of Lillian Fuchs. Ball State University Doctor of Arts in Orchestral Conducting.

Websites Viola Forum http://www.fourseasonsorchestra.org (information on FSO, Carolyn Broe and women composers) http://www.cs.bsu.edu/homepages/dlsills/David_repertoire.shtml - 19k - (lists women composers) http://www.music.indiana.edu/music_resources/women.html http://members.aye.net/~arsfemin/home.html (publishing historic women composers) http://www.hildegard.com (publishing historic women composers) http://www.kapralova.org (women composers and conductors) http://www.iawm.org (International Alliance of Women Musicians) http://www.viola.com (resources for violists) http://www.mmbmusic.com (modern composers) http://music.acu.edu/www/iawm/wimusic/iiswm.html (California State University, Northridge) archives of articles and recordings gathered by Aaron Cohen on women composers http://www.ascap.com/index.html (composers) http://www.symphony.org/ (American Symphony Orchestra League) http://www.astaweb.com/ (American String Teacher Association web)

70 | American String Teacher | August 2007 Viola Forum http://www.rebeccaclarke.org/ (information on Rebecca Clarke’s music) http://amy.music.udel.edu/faculty/murray/course3.html (University of Murry, Kentucky)

Books Battersby, Christine. Gender and Genius: Towards a Feminist Aesthetics. Bloomington and Indianapolis: Indiana University Press, 1989. Bowers, Jane and Tick, Judith eds. Women Making Music: The Western Art Tradition, 1150-1950. Chicago: University of Illinois Press, 1987. Briscoe, James R., ed. Historical Anthology of Music by Women. Bloomington and Indianapolis: Indiana University Press, 1987. Cohen, Aaron I. International Encyclopedia of Women Composers. 2 Vols. New York: Books & Music, USA. 1981. Curtis, Liane, ed. Rebecca Clarke Reader. Bloomington and Indianopolis: Indiana University Press, 2004. Ebel, Otto. Women Composers: a Biographical Handbook of Women’s Work in Music. Brooklyn, New York: 1902. Glickman, Sylvia and Schleifer, Martha Furman. Women Composers: Music Through the Ages: Composers Born Before 1599 (Vol. 1); From Convent to Concert Hall; Composers Born 1700-1799; American Women Composers, Keyboard Music 1866-1910. Jezic, Diane Peacock. Women Composers: The Lost Tradition Found (forward Elizabeth Wood). New York: The Feminist Press at the City University of New York, 1988. Lutyens, Elisabeth. A Goldfish Bowl. London: Cassell, 1972. Marshall, Kimberly, ed. Rediscovering the Muses: Women’s Musical Traditions. Boston: Northeastern University Press, 1993. Neuls-Bates, Carol, ed. Women in Music: An Anthology of Source Readings from the Middle Ages to the Present. Revised ed. Boston: Northeastern University Press, 1996. [Includes an extensive bibliography.] Sadie, Julie Anne and Samuel, Rhian eds. The Norton/Grove Dictionary of Women Composers. London: W.W. Norton and Company, 1995. Williams, Amedee Daryl. “Lillian Fuchs First Lady of Viola”. Studies in the History and Interpretation of Music, Vol. 45 Zeyringer, Franz. Literatur für Viola, new edition revised and expanded. Hartberg: Julius Schönwetter Jr., 1985. Mus Ref ML 128 .V36 Z5 1985

Carolyn Waters Broe, American conductor, composer, and violist has been the featured soloist with orchestras in both California DQG$UL]RQD6KHUHFHLYHGKHUEDFKHORU·VGHJUHHLQPXVLFSHUIRUPDQFHIURP&KDSPDQ8QLYHUVLW\KHUPDVWHU·VGHJUHHRIÀQH arts in music from California State University Long Beach, and her doctorate in music from Arizona State University in viola solo performance. She studied viola with Dr. William Magers, Louis Kievman, Adriana Chirilov, Robert Becker, Dr. Thomas Hall, Jerry Epstein, and René Bregozzo. Dr. Broe is now the conductor of the Four Seasons Orchestra of Scottsdale, Arizona. She studied conducting with John Koshak, and attended master classes with Leonard Bernstein, Seiji Ozawa, and Herbert Blomstedt. She is now the violin and viola instructor for Paradise Valley Community College and the viola instructor for Mesa Community College in Arizona. For more information about the works listed herein, contact Dr. Broe at [email protected].

www.astaweb.com | 71

New in the ASTA bookstore!

ASTA has just released an Alternative Styles DVD— Alternative Styles in the Classroom—that can help you bring alternative styles to your classroom. Funded by a grant from NAMM, ASTA worked with leading artists in the alternative strings community to produce a DVD that will help string educators explore the world of alternative styles and address how you can begin teaching new material to your students. Not familiar with alternative styles? It doesn’t matter! This DVD offers tips on how to teach alternative styles even if you are classically trained, techniques you can teach in the classroom, resources for furthering your own education, and even a section to engage your students. Alternative Styles in the Classroom includes VHFWLRQVRQURFNÀGGOLQJZRUOG styles, mariachi, improvisation and more. With lessons and interviews from Mark Wood, Julie Lyonn Lieberman, John Blake, Jr., Mark O’Connor, and a host of others, this two-disc set is a must have for any teacher who wants to expand his/her repertoire!

Alternative Styles in the Classroom is available through the ASTA bookstore for the member price of $20 ($26 nonmember price.)

If you are interested in learning more about Alternative Styles in the Classroom, please log on to www. astaweb.com.

Teaching Tips by Jennifer Kessler Eight Tips for the Traveling String Teacher’s Survival

Being a traveling string teacher is certainly one of the most rewarding professions you can have. It is also one that you cannot fully describe or understand until you actually do it. Ten years ago, I was fortunate enough to be the first teacher of a newly established program in Virginia. I remember as a first year teacher feeling excited that I was going to pass on a skill that was so near and dear to me to many little anxious people who were dying to take out their instruments. My schedule was to have me running to six schools, twice a week. I re- alized that this could be a daunting task. Questions popped up: “How am I supposed to schedule each school so they are not on consecu- tive days?” and “How do I arrange it in a way that will accommodate all of the administrators’ schedule requests?” I was supposed to be a teacher; who knew that simply creating a strings schedule forced me also to become part mathematician and logistics expert? As I set off on my new adventure and got to know the 170 children in my program, it became even more apparent that being a traveling string teacher is not just teaching. It involves wearing many more hats, including bookkeeper, secretary, luthier, special events coordinator, record keeper, and staunch advocate. I have created a list of timesavers for the string teacher on the go; some things that can end up making a big difference in your “behind the scenes” existence. My own experience, combined with the ideas and advice of very special colleagues in my life, has made compiling this bank of ideas fun and easy. Keep a Three-Ring Binder (Hat: Record Keeper) 1 The three-ring binder is absolutely necessary for this profession. You are in a position where you need to keep information about all your students in one place for easy reference. In it, you can keep any paperwork that you need for your job. I used dividers and gave each of my schools a section. In each section, I had at- tendance rosters and information on lesson groups. Heading each lesson group section was a cover sheet that listed the students, and their lesson time and day. On each student’s sheet, I listed information about progress and assignments. Add another section for things like program statistics (for advocacy), correspondence, and any other documents that can’t be categorized. Keep a File Receptacle in Your Car (Hat: Secretary) 2 Unlike the binder, which is designed to keep you organized, this tip is designed to keep your car organized. After all, your car is the place where you spend the bulk of your time during the week. Some traveling string teachers are fortunate to have a school file cabinet or other storage space. This car file comes in handy when you don’t. The file container can be a cardboard box or a hanging file folder. Whatever the choice, use it to organize your handouts, letters, and master copies. Each folder can be designated a title, such as “letters home” or “progress reports.” Keep in this container everything that you wish to distribute to the students at each school. If you have a folder labeled with a certain school’s name, simply grab it and go when you arrive. In addition to being your “office space,” the car file is a neat place to put documents that you don’t need to keep in your tote bag at all times. Keep a Ledger for Finances (Hat: Book/Record Keeper) 3 Someone has got to keep track of the finances! You may or may not have a coordinator of fine arts, or an ad- ministrator who can do this for you. Even if you do, my advice is to maintain a ledger so you can keep track of expenses incurred during the school year. Depending on the school district, instrumental music teachers’ budgets (as well as the procedures implementing the budget) are not always the same as other teachers who don’t teach music, or travel for that matter. Because you may order equipment, or be required to submit purchase orders in a different way, the ledger can be useful for keeping up with business. In one district where I taught, I had accounts with two reputable music companies in which I had a certain amount of money designated for string program use. Because I was responsible for doing all of the ordering when I wanted, the ledger ended up being helpful for figuring out how much money was spent and when. When it is time to hand in any budget information or purchase orders to the appropriate person for processing, you will have the information you need. Carry a Tool/Repair Kit (Hat: Luthier) 4 “Anything that can go wrong will go wrong.” (Murphy’s Law) This is an adage that has reared its ugly head many times in my experience. I am referring specifically to the instrument that drops on the cafeteria floor for the fifth time in one lesson, or to the child who opens his case only to reveal yet another collapsed bridge or sound post. Do yourself a favor and carry a portable tool/repair kit for instrument mishaps; it will come in handy five minutes before you are supposed to go onstage for a concert. In college, no one tells you that you will become an “instrument repair expert.” Consider it a perk of the job. You are learning a new skill while doing another!

80 | American String Teacher | August 2007 Maintain a Good Working Relationship with Key Players in Your Schools 4 (Hat: Social Events Coordinator) Although this is not a tangible item on this list, it is still an invaluable tool in helping to maintain your orga- nization and sanity. A very wise piece of advice was given to me when I was hired for my first string job: Be good to the secretaries and the custodians for they are the most important people in the school. As a traveling string teacher, you can often feel like you are truly on your own, flitting from building to building all day, and carrying out tasks that another teacher might not need to do on a regular basis. Everything from setting up for string events and lessons to requesting space, times, and forms can be done more easily with help from the secretaries and custodians. These wonderful people can make your job run much more smoothly. Don’t forget thank you notes after the job is done! Have a Folder with Teaching Aides (Hat: Pack Mule) 5 An itinerant teacher finds it very difficult to call one place “home.” The sad fact is depending on the space situation, there may be no classroom for a string teacher, or any instrumental teacher who travels. You could find yourself teaching in places where you will never really be able to set up shop. Some of the places I have had to teach include: a storage closet, in the hallway, on stage (with physical education going on simultane- ously), and outside. Sound rough? It can be if you are not prepared. That is why I recommend carrying with you a folder full of pre-made teaching aides that you can use at a moment’s notice. These can include charts for note reading, posters, class rules, and any other tool you may have in your bag of tricks that can make learning more meaningful for your students. Make a Contact Sheet (Hat: Record Keeper, Booking Agent) 6 So many times I found myself at one school needing to contact another teacher…of course; I did not have the phone number handy. Yes, you can run to the office and look it up, but that takes precious time. I finally got smart and made a list for “one stop shopping.” It had every school’s main line, fax number, principal’s ex- tension, and teachers’ numbers. I also had the numbers for PTA representatives and other people who could be helpful in arranging a public performance for my students. For contacts at the district offices, I added the numbers of my fine arts coordinator, her secretary, and the superintendent. One other useful number I added to my list was my district’s communications specialist. This person handled any school-related press releases and was responsible for information that went to the media. Note: If your district doesn’t have a person to do this, talk to your administrators about the process of publicizing your strings program. It’s a great idea for a teacher who is working hard to get a strings program on the map! Possess a Belief in What You Are Doing (Hat: Staunch Advocate and finally…Teacher) 7 Again, this isn’t a tangible item that you can tote around, but it is a key ingredient to your success. Someone once told me, “If a program exists, it’s important.” As the warrior in a profession that is sometimes fraught with misconceptions and lack of understanding about why it exists, you need to be strong and confident as to why you are doing this job. When you are, it will show in your attitude, your effort (how much are you will- ing to do for your students, even under sub-par conditions?), and ultimately in your teaching. As a reward, your co-workers, administration, and community will see the worth and importance in what you are doing, and your students will love you for being passionate about all you do for them.

Jennifer Kessler is a violinist who has directed string pro- grams and taught general music in Virginia and New York state public schools for 10 years. She attended the Boston Conservatory and the Crane School of Music, as well as the College of William and Mary. She is currently on the faculty of the Crane School of Music at SUNY Pots- dam, where she teaches courses in string and general music education.

www.astaweb.com | 81

Notes In Memoriam: Mary Drane West 1909-2007

“Baby doll — don’t you think that could be better in tune?” “Sweetie — let’s practice that a little slower.”

To Mary West, everyone was her “baby” or “sweetie.” With patience and tenacity, warm smile, gentle spirit, and encouraging words, Mary inspired, motivated and educated 1,000-plus violin students in Min- neapolis for more than 50 years. Mary passed away in June at the age of 97, still teaching a full studio of students until a few months before her death. Mary’s magic (besides incredible knowledge and skill) was her love for her students. Every student felt they were her favorite. Mary’s love inspired each one to do their best every day for the next lesson. She

photo credit: Kris Drake Photography was devoted to their progress and committed to their development as people. To her students and col- leagues, Mary was a mentor and a valuable friend. “Love your violin.” “Let your bow be your voice.” All Mary’s students have a beautiful sound and excellent technique, but they all sound different. Mary’s gift to her students was helping each one truly play from their heart and fulfill their own artistry. Mary set high standards. She said she didn’t expect all her students to become professional violinists; she just expected them to play like professionals. And they did. Mary’s students routinely won competitions at all levels. They entered prestigious music schools and uni- versities and now have performing and teaching careers, from local freelancers to orchestras as far away as Australia. And those who have careers outside music still value the life skills Mary taught them — anything is possible if you practice, practice, practice. Whenever there was a problem with a passage, Mary searched for the technical reason holding the student back. Her amazing ability was to watch and listen and zero in like a laser beam on that spot that was causing the problem — a shoulder a bit too tense, or some imbalance in the hand. Then Mary would give a specific exercise for correction and improvement. Students were never told just to practice more; they always went home knowing what needed to be fixed, and how to practice to c-a complish it. One student remembers eagerly practicing in the car on the way home from lessons — because the instructions were so clear and the improvement so obvious. Lessons were positive and encouraging. Mary always commented first on what had improved, and then drew the student in with questions about areas that needed work. Before every audition or competition there would be a phone call to say, “Oh baby doll it’s going to be just fine. You’re going to do just great.” Mary was tenacious. Technical development was never “good enough for you” — there was always room for improvement and there were no short cuts. No student was exempt from Sevcik, Whistler, Trott, Kreisler, and Flesch. Mary was patient and knew the importance of repetition. She was willing to say things over and over and work on problems again and again without letting up. “Hold your violin up.” “Relax your bow arm shoulder.” “Keep your shoulders back.” “Vibrate continuously.” “Play in tune sweetie.” “Look like a violinist!” Mary had a simple structure for her lessons — start with the scales and technique. She knew the students were going to practice their pieces. And when students realized that they weren’t going to get to the pieces in lesson until the technique was covered, they started prac- ticing the technique too. Even with recitals or auditions approaching, the technique came first in lessons. Mary was eager to learn from others, and was eager for her students to learn from others too. Whenever students got comments from a competition, those comment sheets were on the music stand at lesson for weeks afterwards — until every point suggested by the judge had been worked through and improved. Mary was a generous and inspiring mentor to her colleagues. Teachers could talk to her about a problem a student was having and she had very helpful suggestions. She would also hear students that colleagues brought in and gave suggestions on how to work on problems. She was encouraging to other teachers and made each one feel they could improve as teachers. Mary must have been born a teacher. When she was 5 years old she begged for a violin and started lessons soon after. After every les- son she fled to the attic and secretly taught her older sister, Virginia, to play. After a year, the sisters held a surprise performance for their astonished family. Mary and Virginia studied at the Kansas City Conservatory and Juilliard, and then toured the east coast as a swing duo, The Drane Sisters. But when invited to perform for President Franklin Roosevelt at the White House in 1938, they played what they loved best, clas- sical music. Mary married Bob West in 1942 and continued to perform until the family moved to Minneapolis in 1951. While raising her family, Mary started private teaching. She became a professor at the University of Minnesota and taught at MacPhail Center for Music from 1968 until her death. In her distinguished career, Mary received many honors including Outstanding Teacher of the Year (Minn. ASTA), Teacher of the Year (Schubert Club) and Special Service Award (MacPhail Center). In 1991 the Governor of Minnesota officially declared October 6 toe b

84 | American String Teacher | August 2007 “Mary West Day” in recognition of her musical contribution to the unusual and difficult Heifetz Cadenza which brought back Minnesota. In 2006, ASTA honored her with the Marvin J. Rabin wonderful memories for me as this was one I used to play with Community Service Award for her significant contributions to my teacher [Heifetz]. It was a brave and thoughtful choice to play community through her teaching and leadership. In accepting the this and good for the audience to hear this wonderful Cadenza.” Rabin Award, Mary said, “I feel so very, very fortunate and appreci- Leading up to the finals was a week of intense competition ate the honor so much. All that I ask of my students is that they for the 18 semi-finalists in the 2007 Michael Hill International reach as high as they can and play the violin as best as they can. Violin Competition. They were initially selected from a field of And I can honestly say, so far, they all have.” more than 100 applicants, representing 25 different nationalities, Mary’s zest was remarkable. When asked about her philosophy to compete in the first two solo and piano-accompanied rounds of life, the secret to her success, she replied, “I can say that I have of the semi-finals. At the completion of those rounds, the jury truly loved every moment of my life.” selected the top six competitors to go through to the chamber Mary has gone to that place where all the bow arms are beauti- music round held in Auckland on June 6 and 7. Each of the six ful, all the pinkies are curved, and everyone plays from the heart. competitors was required to perform a full-length trio with Ash- May all of us be inspired by her example to enjoy every moment of ley Brown (cello) and Sarah Watkins (piano) of the New Zealand our lives, to strive for lofty goals and to practice, practice, practice. Trio. From this round, the jury chose the three finalists. The biennial Michael Hill International Violin Competition Since 1980, Faith Farr has had the pleasure of being Mary West’s (a member of the World Federation of International Music Com- colleague at MacPhail Center for Music. Farr also edits the MNSOTA petitions) aims to recognize and encourage excellence and musical newsletter, String Notes, which has twice received the ASTA Best News- artistry, to expand performance opportunities (including playing letter Award. New Zealand repertoire), and to promote young violinists from all over the world who are on the brink of launching their profes- Bella Hristova wins 2007 sional solo careers and are aspiring to establish themselves on the Michael Hill International world stage. Violin Competition Application Deadline for New Bella Hristova of Bulgaria is the win- String Project Sites: nner of the 2007 Michael Hill International Vi- oolin Competition. In New Zealand’s Auckland November 16, 2007 TTown Hall, 21-year-old Bella Hristova and The National String Project Consortium (NSPC) is now ac- ffellow finalists, Yuuki Wong of Dominica and cepting applications to start new String Project sites at universities SStefan Hempel of Germany, each performed in order to address the string teacher shortage. The deadline for Bella Hristova, student of tthe Brahms Violin Concerto in D major, ASTA member Steve Shipps, this round of applications is November 16, 2007. Each new String accompanied by the Auckland Philharmonia performing in semi-finals Project will receive $10,000 from grants to start their program. photo credit: Simon Darby Orchestra conducted by Christian Knapp. The NSPC now consists of 30 String Projects at universities Bella Hristova was overwhelmed by her win. “This is such throughout the United States. These programs are training about a great, unbelievable moment,” she said. “And the prize means a 250 string teachers each year. Recent grants from NAMM and great deal to me, particularly the CD recording. I feel honored and can’t believe it’s happened.” First prize includes $40,000, a the D’Addario Foundation have enabled new String Projects to CD recording on the Naxos label for worldwide distribution, and be created at Baylor University, Virginia Tech, University of New a winner’s tour of New Zealand in 2008. Hampshire, and Central Washington University. The ultimate The second prize of $10,000 went to 25-year-old Yuuki goal is to have at least one String Project in every state. For more Wong. The third prize of $5,000 went to 27-year-old Stefan information and the application form, go to the website at http:// Hempel. The prize of $2,500 for the semi-finalist who had the www.stringprojects.org or contact Robert Jesselson at 803/777- best performance of Ross Harris’s composition Fanitullen, a piece 2033 or [email protected] specially commissioned for the competition, was won by Yuuki The National String Project Consortium is a coalition of Wong. Celeste Golden of the United States won fourth prize; String Project sites based at colleges and universities across the Noah Geller (United States) won fifth prize; and Can Gao of United States. The NSPC is dedicated to increasing the number China won sixth prize. Kinga Augustyn of Poland was awarded of children playing stringed instruments, and addressing the criti- the use of the Riccardo Bergonzi violin for the next two years. cal shortage of string teachers in the United States. The 2007 Competition jury, chaired by Dr. Robin Congreve, was internationally representative and included Pierre Amoyal (France/Switzerland), Justine Cormack (New Zealand), Pamela Frank (United States), Mark Kaplan (United States), Boris Kus- chnir (Russia/Austria), Hu Kun (China/United Kingdom), and Dene Olding (Australia). Juror Pierre Amoyal said “Throughout the competition we were expecting a lot from Bella with her control of technique and the beauty of her music in the different styles. Of course in front of a big audience, as we had tonight, you never know how someone will perform, but Bella was fantastic. And she played

www.astaweb.com | 85 ASTA Publications

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88 | American String Teacher | August 2007 ASTA Student Chapters

Appalachian State University: Hayes School of Music, Amanda Mesa State University:5DFKHO5RVHQEHUJ3UHVLGHQW&DUORV(OLDV University of Michigan:'LDQH6WUDVVHU3UHVLGHQW5REHUW&XOYHU 5REHUWV3UHVLGHQWEDUJUVWRFNQH#DSSVWDWHHGX'U1DQF\( $GYLVRUFHOLDV#PHVDVWDWHHGX1RUWK$YHQXH*UDQG-XQF- $GYLVRUGPVWUDVV#XPLFKHGX6FKRRORI0XVLF%DLWV'ULYH Bargerstock, Advisor, 813 Rivers Street, Boone, NC, 28608-0001 tion, CO, 81501-3122 Ann Arbor, MI, 48109-2018 Augustana College: -HQQLIHU2·'RQQHOO3UHVLGHQW-DQLQD(KUOLFK Michigan State University: &DLWOLQ0LKDONR3UHVLGHQW-XG\3DODF University of Missouri-Columbia: -RKQ0F/HRG$GYLVRUSURIHV- $GYLVRUMHQQLIHURGRQQHOO#DXJXVWDQDHGX(XYOLJD6WDQJDU&KDS- $GYLVRUPLKDONRF#PVXHGX0XVLF%OGJ6FKRRORI0XVLF(DVW [email protected], School of Music, 138 Fine Arts, Columbia, MO, ter, 639 38th Street, Rock Island, IL, 61201-2210 Lansing, MI, 48824-1043 65211-0001 Baldwin-Wallace Conservatory:.LP0LODQDN3UHVLGHQW-XOLDQ Minnesota State University Moorhead:.DWHOLQ6WDQHN3UHVLGHQW University of Nebraska-Lincoln:0XULHO+XFNLQV3UHVLGHQW'DYLG 5RVV$GYLVRUNPLODQDN#EZHGX(DVWODQG5RDG%HUHD2+ .LUN0RVV$GYLVRUPRVVNLUN#PXVWDWHHGX6HYHQWK$YHQXH 1HHO\$GYLVRUGQHHO\#XQOHGX:HVWEURRN0XVLF%OGJ 44017-2005 South, Moorhead, MN, 56563-0001 UNL, Lincoln, NE, 68588 Ball State University:$\ULROH)URVW3UHVLGHQWDFIURVW#EVXHGX Minot State University: -RQ5XPQH\$GYLVRU0XVLF'LYLVLRQ University of North Carolina At Greensboro: Laura Doyle, Presi- Dr. Kristin Turner, Advisor, 2000 University Avenue, Muncie, IN, University Avenue West, Minot, ND, 58707-0001 GHQW6FRWW5DZOV$GYLVRUOHGR\OH#XQFJHGX*DWH&LW\$67$ 47306-0001 Montclair State University: President: Kimberly Syvertsen, PO Box 26167, School of Music, Greensboro, NC, 27402 Baylor University:-XOLD+DUGLH$GYLVRU6FKRRORI0XVLF:DFR [email protected], 1 Normal Avenue, Montclair, NJ 07043 University of Northern Colorado: 0DF.HQ]LH6WLQH3UHVLGHQW-XOLHW TX, 76798 New Jersey City University:/RXLV.RVPD$GYLVRUORXNRV#HUROV :KLWH6PLWK$GYLVRU-XOLHW:KLWHVPLWK#XQFRHGX6FKRRORI0XVLF Boise State University: 6WHSKDQLH%HHEH3UHVLGHQW&UDLJ3XUG\ com, Liberty Chapter, Jersey City, NJ, 07305 Frasier Hall 105, Campus Box 28, Greeley, CO, 80639-0028 $GYLVRUVWHSKLHID\HEE#KRWPDLOFRP'HSDUWPHQWRI0XVLF Northern Illinois University: 3DXOD&ROOHWWL3UHVLGHQW$QQ University of Northern Iowa: 5HEHNDK&DQQRQ3UHVLGHQW-XOLD University Drive, Boise, ID, 83725-0001 0RQW]ND6PHOVHU$GYLVRUSFROOHWWL#QLXHGX6FKRRORI0XVLF 7UDKDQ$GYLVRUPWUDKDQM#XQLHGX81,6FKRRORI0XVLF5XVVHOO Brigham Young University:6DUD:LWEHFN3UHVLGHQW$QGUHZ Dekalb, IL, 60115 Hall, Cedar Falls, IA, 50614-0001 'DEF]\QVNL$GYLVRUVDUDVWDVLD#KRWPDLOFRP6FKRRORI0XVLF Northwestern State University of Louisiana: Darilyn Manring, University of Oklahoma:*UHJRU\6DXHU$GYLVRUJGVDXHU# HFAC- E550, Provo, UT, 84604 $GYLVRU&UHDWLYH 3HUIRUPLQJ$UWV&HQWHU)LQH$UWV%XLOGLQJ ou.edu, 500 West Boyd, Norman, OK, 73019-3130 Brooklyn College: -DQH3DOPTXLVW$GYLVRU&RQVHUYDWRU\RI0XVLF Room 110, Natchitoches, LA, 71497-0001 University of South Carolina: :LOOLDP7HUZLOOLJHU$GYLVRU6WDF\ 2900 Bedford Avenue, Brooklyn, NY, 11210-2850 Northwestern University:5DFKHO&DEDQLOOD3UHVLGHQW-DPHV :LOH\3UHVLGHQWZWHUZLOOLJHU#PR]DUWVFHGX6FKRRORI0XVLF Central Michigan University:-HQQLIHU:DWNLQV3UHVLGHQW-DPHV .MHOODQG$GYLVRUUFDEDQLOOD#QRUWKZHVWHUQHGX(OJLQ5RDG 813 Assembly St, Columbia, SC, 29208-0001 )LVWH$GYLVRUÀVWHMD#FPLFKHGX6FKRRORI0XVLF0XVLF Evanston, IL, 60208-0804 University of Texas At Austin: 7DPP\/LQ3UHVLGHQW/DXULH6FRWW Building, Mount Pleasant, MI, 48858 The Ohio State University: /DXUHO%XWOHU$GYLVRU6FKRRORI0XVLF $GYLVRUWOLQQ#\DKRRFRP6FKRRORI0XVLF8QLYHUVLW\6WDWLRQ Central Washington University:.LPEHUO\5R\3UHVLGHQW%UHW 100 Weigel Hall, 1866 College Road, Columbus, OH, 43210 E3100, Austin, TX, 78712 6PLWK$GYLVRUUR\NL#FZXHGX(8QLYHUVLW\:D\(OOHQVEXUJ Ohio University:0RULVVD)UHLEHUJ3UHVLGHQW0DUMRULH%DJOH\ University of Wisconsin-Eau Claire: 1REX\RVKLRUD&RR- University of Kansas:0\UD9DOGH]3UHVLGHQW/DXUHQFH5LFH$G- SHU$GYLVRUESRQ\#NVXHGX'HSDUWPHQWRI0XVLF0F&DLQ YLVRUP\YDOGH]#NXHGX0XUSK\+DOO5RRP1DLVPLWK Auditorium, Manhattan, KS, 66506-4700 Dr, Lawrence, KS, 66045-0001 Lebanon Valley College: +DQQHV'LHWULFK$GYLVRU'HSDUWPHQWRI University of Louisville:.DWKHULQH/OR\G$GYLVRU6FKRRORI0XVLF Music, Annville, PA, 17005 Belknap Campus, Louisville, KY, 40292-0001 0DQVÀHOG8QLYHUVLW\&KULVWLQD$WWDQDVLR3UHVLGHQW'U.HQQHWK University of Maryland:%UHW6PLWK$GYLVRUESVPLWK#FZX 6DUFK$GYLVRUNVDUFK#PDQVÀHOGHGX%XWOHU0XVLF&HQWHU edu, 2110 Clarice Smith Perf Arts Ctr, College Park, MD, 0DQVÀHOG3$ 20742-0001 ASTA K–12 Student Chapters

Adlai E. Stevenson High School:$GYLVRU²&ODUN&KDIIHH Etowah Youth Orchestras:$GYLVRU²0LFKDHO*DJOLDUGR Nyack High School:$GYLVRU&KULVWLQH*HUR&KULVWLDQ+HU- 6WHYHQVRQ'U/LQFROQVKLUH,/(PDLO %URDG6W*DGVGHQ$/(PDLOPLNHJDJOLDUGR# DOG5G1\DFN1<(PDLOFJDUR#Q\DFNVFKRROVRUJ [email protected]. culturalarts.org. Ridgewood High School:$GYLVRU²)UDQFHVFD3.XELDQ( Chamber Music Connection:$GYLVRU²(PLO\%XWWHUÀHOG6LQVEXU\ James River High School:$GYLVRU²%HWK$OPRUH-DPHV Ridgewood Ave, Ridgewood, NJ 07451. 'U1&ROXPEXV2+(PDLOHEXWWHUÀHOG#FRUHFRP 5LYHU5G0LGORWKLDQ9$(PDLO Topeka West High School: $GYLVRU&DURO\Q5LFK9RWK6: Commack High School: Co-Advisors – Mrs. Dow-Friia and Frank [email protected]. VW6W7RSHND.6(PDLOFYRWK#WRSHNDNNVXV +DQVHQ6FKRODU/Q&RPPDFN1< McEachern High School:$GYLVRU²7LP0RRQH\1HZ Corltland Junior-Senior High: $GYLVRU²-XOLH&DUU9DOOH\YLHZ 0DFODQG5G3RZGHU6SULQJV*$ 'U&RUODQG1<(PDLOMDFDUU#FRUWODQGVFKRROVRUJ Web: www.geocities.com/mcearchernorchestra.

,I\RXUFKDSWHULVQRWOLVWHGLWLVFRQVLGHUHGLQDFWLYH7RUHFHLYHDUHJLVWUDWLRQSDFNHWIRUUHHVWDEOLVKLQJDVWXGHQWFKDSWHUSOHDVHFRQWDFWWKH1DWLRQDORIÀFHDWRUVHQG email to Beth Danner-Knight at [email protected]. www.astaweb.com | 89 Showcase

Tempo Unveils New Arrangements

Tempo Press is proud to be the exclusive ISO’s 2007-2008 Season publisher of Sandra Dackow Editions. For years, Dackow has been among the foremost September 27-29, 2007 arrangers of music for beginning and Mario Venzago, Conductor intermediate string orchestras. Her arrangements have been a Augustin Hadelich, Violin favorite of teachers, students, and audiences for more than 20 R. Strauss’ Death and Transfiguration years. Four new arrangements from Dackow will be available Scriabin’s The Poem of Ecstasy later this year: Tchaikovsky’s Violin Concerto Augustin Hadelich November 2-3, 2007 t
Russian Easter Overture (Rimsky-Korsakoff/Dackow) – Cornelius Meister, Conductor Full Orchestra Truls Mørk, Cello t
Aubade from Le Cid (Massenet/Dackow) – String Orchestra Mendelssohn’s he Hebrides Overture (Fingal’s Cave) t
Sinfonia from The Observance of the First Commandment Shostakovich’s Cello Concerto No. 1 (Mozart/Dackow) – String Orchestra Bartók’s Concerto for Orchestra t
Symphony No. 32 in C Major – Finale (Haydn/Dackow) – String Orchestra November 9-10, 2007 Mario Venzago, Conductor In 2007, Tempo Press also unveiled the Tempo String Series. These Leila Josefowicz, Violin titles are not only great music, but also great teaching tools. Care is Schumann’s Overture, Scherzo and Finale taken to ensure that within a given piece all members of the orches- Oliver Knussen’s Concerto for Violin tra will find something rewarding. Students will not only become Weber’s Overture to Oberon better musicians and develop a greater appreciation of our musical Schumann’s Symphony No. 4 in D Minor Leila Josefowicz heritage, but will also enjoy practicing and performing these works. February 15-16, 2008 The debut titles from the Tempo String Series are: Douglas Boyd, Conductor Jack Liebeck, Violin t
American Hoedown (Barnard) – String Orchestra Mozart’s Overture to Così fan tutte t
Fantasia on The Water is Wide (Barnard) – String Orchestra Mendelssohn’s Violin Concerto in E Minor t
The Liberty Bell (Sousa/Bender) – String Orchestra Berlioz’ Symphonie fantastique t
Pilgrim’s Chorus from Tannhäuser (Wagner/Bender) – String Orchestra February 29-March 1, 2008 Mario Venzago, Conductor t
Sinfonia in C (Torelli/Reed) – String Orchestra Anthony Kniffen, Tuba (ISO Principal) View scores and listen to recordings of all Tempo Press titles at Ju-Fang Liu, Bass (ISO Principal) www.tempopress.com. John Aadams’ Short Ride in a Fast Machine Rimsky-Korsakov’s Capriccio espagnol John Williams’ Tuba Concerto Indianapolis Symphony Tubin’s Double Bass Concerto Orchestra’s 2007-2008 Season Ravel’s Boléro The Indianapolis Symphony Orchestra’s (ISO) new season in- March 27-29, 2008 cludes performances with prominent guest artists including cellist Hannu Lintu, Conductor Truls Mørk, violinists Leila Josefowicz, Augustin Hadelich, win- Alina Pogostkina, Violin ner of the 2006 International Violin Competition of Indianapolis Nielsen’s Helios Overture and more! Principal bass Ju-Fang Liu, principal tuba Anthony Prokofiev’s Violin Concerto No. 1 Kniffen, and principal viola Michael Isaac Strauss are also featured Sibelius’ Symphony No. 2 as soloists this season! June 6-7, 2008 Student and group discounts are available. Contact the ISO Asher Fisch, Conductor Education Department at (317) 231-6786 or Michael Isaac Strauss, Viola (ISO Principal) [email protected] for a complete schedule or visit Haydn’s Symphony No. 90 www.IndianapolisSymphony.org. Avner Dorman’s Metamorphoses for Orchestra Berlioz’ Harold in Italy

90 | American String Teacher | August 2007 D’Addario Launches Subscription Buying Program The success of D’Addario & Company’s “Buy Now” program has provided the foundation for one of the most unique purchase plans to hit the music industry in decades: the D’Addario & Co. Subscription Program. Now musicians can enjoy the convenience of a home delivery for select accessories on a pre-determined schedule. The newly launched Subscription Program will be a hit with musicians and educators all while providing retail locations who have signed up for D’Addario’s “Buy Now” program with new and returning customers. Subscribing is simple. Users simply visit the D’Addario online store, by clicking on the “Buy Now” link, and looking for the “S” icon beside the desired product, which indicates that product’s availability under the new subscription plan. Users then select the quantity of items they would like delivered and complete the checkout process like a regular purchase, except that it will only have to be done one time. As with other purchases through the D’Addario & Co. online stores, the order is then assigned to the closest retailer, geographically. The retailer then fulfills the order and the credit card of the buyer will be debited automatically at the time of each scheduled delivery. A consumer can immediately see their upcoming shipments upon login to their account and they can click on the link called Subscription Orders in the header of the account area to view the upcoming orders. Subscriptions are for a specified period, although cancellations can occur at any time without penalty. When subscriptions lapse, users receive a reminder to visit their D’Addario online store account and renew. “Through the Subscription Program, D’Addario and our dealers are better able to meet the needs of working musicians,” David Via, vice president of D’Addario Sales. “D’Addario’s new Subscription Program will provide an incredibly convenient alter- native for those with recurring needs for musical accessories while supporting our local retailers by directing the business to their stores for fulfillment.” Special Tribute Mstislav Rostropovich: Musician of the World

Mstislav Rostropovich, known throughout the classical world as Slava, passed away on April 27 at the age of 80 from intestinal cancer. Not only was he a famous musician, great cellist, and outstanding conductor, but also an admirable advocate who tirelessly fought for human rights. Rostropovich was considered by many to be the best cellist since Pablo Casals. He was born in 1927 in Baku, by the Caspian Sea. He came by his talent naturally as his mother was an accomplished pianist, and his fa- ther a distinguished cellist, pianist, and composer. By the time he was four years old, he had composed his first piano piece of music, “Polka.” At age five, his family moved to Moscow to nurture his talent. It was also a time when his family had to overcome monetary hardships and struggles. By age 16, he entered the Moscow Conservatory where he studied composi- tion with Prokofiev and Shostakovich. In 1945, he became an overnight sensation as a cellist when he won the gold medal in the Soviet Union’s competition for young musicians. As the years passed and his reputation and musicianship grew, he became a frequent visitor to Britain. In 1956, he formed a bond with Benjamin Britten and the Aldeburgh Festival. He made quite an impression at his first appearance there when he played Sonata in C which Britten had composed for him. 2002 ASTA International Isaac Interest and respect for Rostropovich grew worldwide as he and his wife Galina Stern Award Winner Vishnevskaya, leading soprano at the Bolshoi Opera in Moscow, supported Nobel Mstislav Rostropovich prize winning novelist Alexander Solzhenitsyn. As a result of this show of support in 1974, his performances outside the Soviet Union were curtailed. When granted permission to leave, they returned to a home in Paris. Four years later, he and his wife learned that their Soviet citizenship had been rescinded. Both were restored in 1992. The transition was not easy at first; however as a result of diligence, hard work, and creative performances, they found merited success and reputation. In 1977, he became the music director of Washington’s National Symphony Orchestra (NSO) for 17 extraordinary years. In a comment on his time with the NSO, a release from the Kennedy Center for the Performing Arts stated, “Touring recording, high-pro- file guest artists, and music-making of incredible passion and intensity—all these things were part of that tenure. Audiences around the world heard them, even in Red Square, where we played the first orchestral concert ever to take place there.” The political appearances of Rostropovich at the Berlin Wall, where he played Sarabande from Suite No. 6 in D major for Solo Cello, BMV 1012, and the Rus- sian White House, a government building in Moscow, became symbolic as the fight against all forms of totalitarianism. A Washington Post editorial on April 28, included this sentence. “Freedom had no better friend.” The American String Teachers Association honored Rostropovich in 2002 with the Isaac Stern International Award. “Many of our members have been influenced by this great man’s expertise in music and have been inspired by his humanitarian- ism. Some of us even had the privilege to meet him, play in master classes for him, or play under his baton,” says Mary Wagner, ASTA president. “The National Symphony held a Memorial Concert in his honor on May 19, 2007. The concert ended with a recording of this phenomenal cellist playing the portion of the Bach Suite he played in Berlin. As the recording played, the concert hall went dark with a lone spotlight on the empty podium.”

92 | American String Teacher | August 2007 www.astaweb.com | 93 Volunteer Leadership Directory State Presidents As with the National Board, the following state chapter presidents have been elected to serve a two-year term (2006–2008). Alabama: $QQH&:LWW6FKRRORI0XVLF%R[ Louisiana: Michael Buckles, 413 West Claude St., Ohio: (OL]DEHWK$+DQNLQV(PHUVRQ$YH 870366, 810 2nd Ave, Tuscaloosa, AL 35487- /DNH&KDUOHV/$ &OHYHODQG2+ K  Z    Z  PEXFNOHV#PDLOPFQHHVHHGX  K  Z  [ [email protected]. Maine: /DXUHQ5LRX[:LQQRFNV1HFN5G6FDU- Oklahoma: &KDUOHQH'HOO*ODVJRZ'U1RU- Alaska: 6DQGUD6KRXOGHUV P.O. Box 236, ERURXJK0( PDQ2.K   7DONHHWQD$.K    K  ODXUHQULRX[#KRWPDLOFRP  Z  FGHOO#RXHGX [email protected]. Maryland/DC: &\QWKLD6ZLVV)DOOV5G%DOWL- Oregon: 0DUVKDOO7XWWOH0W+RRG&RPPXQLW\&RO- Arizona: $QQ(ODQD:LOOLDPV16DOLGD'HO PRUH0'K   lege, 26000 SE Stark St, Gresham, OR 97030- 6RO'U7XFVRQ$=K    Z  [FVZLVV#PFGRQRJKRUJ K   Z   Massachusetts: -DQH((]ELFNL%HOOHIRQWDLQH  Z  LQRWPDUN#DROFRP [email protected]. $YH)UDPLQJKDP0$ Pennsylvania/Delaware: 5REHUW*DUGQHU Arkansas: 6WHYHQ%LUG&ROOHJH+LOO0LGGOH6FKRRO  K  Z   Music Bldg, 1 Penn State University, University )RUHVW7H[DUNDQD$5K Michigan: 6WHYH5HHG6XQ3UDLULH'U6W 3DUN3$K    Z  VWHYHQ- -RVHSK0,K    Z  UGJ#SVXHGX [email protected].  Z  GLHWULFKUHHG#\DKRRFRP Rhode Island: &KULVWLQH+DUULQJWRQ2OHDURV California: *D\DQH.RUNPD]LDQ6$UPVWURQJ Minnesota: /RULH+LSSHQ+LOOYLHZ5G +LOO5G0RRVXS&7 Fresno, CA 93727 h 559-255-5803 0RXQGV9LHZ01K  Z  K  Z   Colorado: $QGUHD/0H\HUV(*UHHQZLFK  OMKLSSHQ#PVQFRP [email protected]. 'U+LJKODQGV5DQFK&2 Mississippi: ;LH6RQJ3LQHKDYHQ'U-DFN- South Carolina: .DWK\5RELQVRQ%ULJKW:DWHU  K  Z   VRQ06:  VRQJ[- /Q*UHHQYLOOH6&K   [email protected]. [email protected]. [email protected]. Connecticut: -DQHW)DUUDU5R\FH+ROO\0DU+LOO Missouri: -DPHV(5LFKDUGV'XUZRRG'U South Dakota: 5REHUW9RGQR\6RXWK6WDWH6W 5G1RUWKIRUG&7 )ORULVVDQW02K   $SW$EHUGHHQ6'  K  Z    Z  -DPHV5LFKDUGV#XPVOHGX  K  Z   [email protected]. Montana: -HQQLIHU6PLWKUG$YH1*UHDW [email protected]. Florida: -HVVLFD7DOERW7XUQEXOO'U2UODQGR)/ )DOOV07K   Tennessee: *DU\:LONHV&KDWWDQRRJD6FKRROIRU K  MWFHOORIVX#JPDLOFRP  Z  MOVPLWKYOD#KRWPDLOFRP the Arts and Science, 865 East Third St, Chat- Georgia: 'DYLG6WDUNZHDWKHU5LFKDUG:D\ Nebraska: 3DWULFLD5LWFKLH3LHUFH6W2PDKD WDQRRJD71 $WKHQV*$K  Z 1(Z  SULWFKLH#WFRQOFRP  K  Z    GDVWDUN#XJDHGX Nevada: &KDUOHV&XVKLQHU\:9LNLQJ5G [email protected]. Hawaii: 'XDQH3DGLOOD3HQVDFROD6W3+ /DV9HJDV19 Texas: 0DUJDUHW-RKQVRQ6WDJV/HDS'U +RQROXOX+,K  Z    K  Z   0F.LQQH\7;K   SDGLOODGM#DROFRP [email protected]. Z  PEMYLROLQ#DROFRP Idaho:(ULND6FKXOWH(DVW%HQWRQ6W3RFDWHOOR New Hampshire: /DXULH0HHGHU*UHHQ Utah: 'HDQQH+HOTXLVW1RUWK(DVW ,'HULNDVFKXOWHB#PVQFRP 0RXQWDLQ5G(IÀQJKDP1+ /LQGRQ87K   Illinois: -RDQQH70D\6%URRN&W*OHQ  K  Z   [email protected]. (OO\Q,/Z   [email protected]. Vermont: 0LFKDHO+RSNLQV&ROOHJH6W8QLW [email protected]. New Jersey: 0DU\$QQ0XPP&UHVW5G5LGJH- %XUOLQJWRQ97K   Indiana: .DWK\6FKHPLQH:LOORZ5LGJH)LVKHUV ZRRG1-K    Z  PKRSNLQV#]RRXYPHGX ,1K  Z    Z  PDPXPP#PVQFRP Virginia: +HOHQ))DOO$UJRQQH'U)DLUID[ [NVFKHPLQH#JPDLOFRP New Mexico: $QQH0.DUOVWURP6RODQR'U 9$K   Iowa: -XOLD.7UDKDQ:0DLQ6W6WHDPERDW 6($OEXTXHUTXH10  Z  9$9LROD#DROFRP 5RFN,$K    K  DFPN#RVRJUDQGHFRP Washington: &KDUOHV6FKRROHU6RXWK%D\  Z  MXOLDWUDKDQ#XQLHGX New York: 7RQ\3LQHOOL:\RPLQJ'U+XQWLQJWRQ 5G2O\PSLD:$K  Z Kansas: 5HEHFFD*0HLV:WK6W2YHU- 6WDWLRQ1<K   (360) 596-7000. ODQG3DUN.6K    Z  DSLQHOOL#SRUWQHWNQ\XV West Virginia: ,DQ$-HVVHH/HH6W($SW%  Z   North Carolina: 1DQF\(%DUJHUVWRFN'HOPDU &KDUOHVWRQ:9 [email protected]. 6W%RRQH1&K    K  LDQVWUR#FKDUWHUQHW Kentucky: 1DQF\-&DPSEHOO6W6WHSKHQV  Z  EDUJUVWRFNQH#DSSVWDWHHGX Wisconsin: *HUDOGLQH2*ULQH0HUULWW$YH *UHHQ/H[LQJWRQ.< North Dakota: .DUL0RHQQG6W1:0LQRW 2VKNRVK:,  K  Z   1'Z  NUPMMW#PLQRWFRP  K  Z  [ [email protected]. [email protected]. Wyoming: 6KHUU\6LQLIW&RUWKHOO5G  /DUDPLH:<K  

94 | American String Teacher | August 2007 2008 Alternative Styles Advisory Committee on Studio Instruction (COSI) String Industry Council Executive Committee Cornelia Watkins, Chair, [email protected] Committee Andrew H. Dabczynski, Chair, [email protected] Stella Anderson Neil Lilien, President, Meisel Stringed Instruments, Renata Bratt Elizabeth Blakeslee [email protected] Robert Gardner Lynne Denig David Luce, Secretary, J.D’Addario & Company, Inc. Steven Muise Petar Kodzas Donna Sizemore Hale, ASTA Executive Director Jed Fritzemeier David Murray Mary Wagner, ASTA President Beth Danner-Knight, Staff Associate Jeffrey Solow, ASTA President-Elect Council of Past Presidents Beth Danner-Knight, Staff Associate 2008 National Orchestra Festival David Littrell, Chair, [email protected] Student Chapters Committee Committee National Foundation to Promote String Marjorie Bagley, Chair, [email protected] Jim Palmer, Chair, [email protected] Teaching and Playing Committees: Denese Odegaard Mary Wagner Kari Hahn, Staff Associate Libby Dietrich, Staff Associate CodaBows for America Community 2008 National Conference Planning Outreach Program Committee ASTA with NSOA Past Presidents Committee Debra Myers, Chair, [email protected] Robert Gillespie 2004-2006 Kathy Fishburn David Littrell 2002-2004 Charlotte Eads, Chair, [email protected] Robert Jesselson 2000-2002 Jeff Van Fossen Michael Alexander Louis Bergonzi 1998-2000 Karen Higdon Pam Phillips Merle J. Isaac Composition Contest ASTA Past Presidents Stanley Chepaitis Committee Edward H. Adelson 1996-1998 Robert McCashin, Chair, [email protected] Jacquelyn Dillon-Krass 1994-1996 Penny Meitz Anne Witt 1992-1994 Deanna Tompkins, Staff Associate Robert Culver 1990-1992 Potter’s Violins Instrument Awards Gerald Doan 1988-1990 2008 Alternative Styles Conference Anne Mischakoff 1986-1988 Planning Committee Committee Gerald Fischbach 1984-1986 Laura Kobayashi, Chair Stanley Chepaitis, Chair, [email protected] Lucas Drew 1982-1984 Marian Dura Renata Bratt LeRoy Bauer 1980-1982 Amy Feldkamp Jody Harmon Phyllis Young 1978-1980 Jery Kupchynsky 1976-1978 Munikanthe Kulasinghe Richard Sieber 1974-1976 Katherine Mason Special Project Grants Committee Jeffrey Solow, Chair, [email protected] Robert Oppelt 1972-1974 Beth Danner-Knight, Staff Associate Marilyn Seelman Ralph Matesky 1970-1972 Harry Lantz 1968-1970 Benjamin Whitcomb 2008 National High School Honors Howard Van Sickle 1966-1968 Orchestra Committee Paul Rolland 1964-1966 Brian Cole, Chair, [email protected] Outreach Grants Committee Robert Klotman 1962-1964 Beth Gilbert, Chair, [email protected] Gwen Armwood Gerald Doty 1958-1962 Elizabeth Bookwalter, Staff Associate Frank Hill 1954-1958 William Bitter Ernest Harris 1952-1954 Shelly Burger Rex Underwood 1950-1952 Chuck Cushinery Development Committee Kirk Moss, Chair, [email protected] Duane Haskell 1947-1950 David Eyler Leslie Adams Wimsatt Doug Neill NSOA Past Presidents Elizabeth Bookwalter, Staff Associate Clark Sheldon Doris Gazda 1997-1998 Donna Hale, Staff Associate Sheldon Schlesinger Peter A. Miller 1995-1997 Libby Dietrich, Staff Associate Robert J. Greenwood 1993-1995 ,QVWUXPHQW6SHFLÀFDWLRQV%URFKXUH Arlene G. Witte 1991-1993 Jacquelyn Dillon-Krass, Chair, [email protected] Pamela Tellejohn (Hayes) 1989-1991 Advocacy Committee Robert S. Frost 1987-1989 Robert Gillespie, Chair, [email protected] Sharon Anderson Terry Shade Jerry N. Kupchynsky 1985-1987 John Benham James H. Godfrey 1984-1985 Judy Evans Donna Sizemore Hale G. Jean Smith 1983-1984 Bob Phillips C. Gary Iams 1981-1983 Erin Gallagher, Staff Associate New Music Reading Folders James H. Godfrey 1979-1981 Kari Hahn, Coordinator John R. Bright 1977-1979 No Child Left Behind Sub-Committee [email protected] Robert A. Ritsema 1975-1977 Lois Hobbs 1973-1975 Denese Odegaard, Chair, [email protected] James H. Godfrey 1971-1973 Susan Basalik Research Committee Michael Allen, Chair, [email protected] Malvin N. Artley 1969-1971 Pat Glunt H. Wayne Pyle 1967-1969 Michael Alexander Mark Sholl Orville “Cy” Dally 1963-1967 Gail Barnes Forest A. Etling 1961-1963 Collegiate String Education Roundtable Elanine Colprit Traugott Rohner, Founder 1958-1961 Gail Barnes, Chair, [email protected] Rebecca MacLeod Jane Palmquist Committee on School Orchestras and David Sogin Strings (CSOS) Ruth Kurtis, Co-Chair, [email protected] Denese Odegaard, Co-Chair, [email protected] Karen Higdon Elizabeth VanBenthuysen

www.astaweb.com | 95 Reviews

Class/Individual Method teachers and students, one eighth notes, with a few ties. QPVJGſTUVRCTVYKNNPQV MASTERY FOR STRINGS: A every string teacher should Third position is necessary compromise the harmonic own. Parents of string players HQTſTUVXKQNKPUCPFUGEQPF structure. Most parts fall LONGITUDINAL SEQUENCE YKNNCNUQſPFKVWUGHWN8QNWOG position for cellos. There is YKVJKPVJGſTUVRQUKVKQPYKVJ OF INSTRUCTION, LEVEL I II is eagerly anticipated. W.C. some rhythmic interest in the exception of bass, which (vn, va, vc, db). William Dick the inner divisi parts. The occasionally goes to C above & Laurie Scott. Mastery for String Orchestra editor provides extensive the staff. A good teaching Strings Press, musipro@aol. explanations of the markings piece for young orchestras, com, 2004, $15.95 ($8 each DABBLING IN THE DEW in both the score and parts. A this would be a nice addition VQCP[NKDTCT[/& for class set of 20 or more). (Gr. 1.5-2, opt. pno). quiet arrangement, this would be a good contrasting piece This series, written by two Arr. Shirl Jae Atwell. Neil for contests and festivals, and very experienced teachers, A. Kjos, 2004, $38. HIGHBRIDGE WAY (Very useful to teach legato bowing is designed to be used in This English folk song, Easy, pno). Carl Strom- CPFHQTYCTFGZVGPUKQPU/& conjunction with other correlated with Artistry in men, ed. Amy Rosen. Carl standard methods in school Strings, Book I, Unit IV, will Fischer, 2003, $35. orchestras, private lessons delight young string players DOODLIN’ AROUND (Gr. 1.5). A remarkable and and college method courses. with its unique sound. Fast Carrie Lane Gruselle. FJH unforgettable melody makes It complements other paced with simple quarter- Music Company, 2005, $35. this selection endearing to materials by offering in-depth, and eighth-note rhythms, My hat goes off to Gruselle all who hear it. This British step-by-step pedagogical this piece gives everyone an for this “dandy” arrangement march-styled work is a great explanations and exercises opportunity to play the A of Polly Wolly Doodle and teaching piece for C-natural in seven strands: The Left minor melody. F- and C- Yankee Doodle. Although set versus C-sharp. Players will be Hand: Form and Flexibility; naturals appear extensively KP)QPN[ſTUVXKQNKPUPGGFVQ challenged with the hooked The Bow and Its Repertoire; throughout. In 4/4 meter, the play C-natural on the A string. bowings and C-sharps on Cognitive Knowledge of the one 2/4 measure will not be 'XGT[PQVGNKGUYGNNKPſTUV the G string. The accents, Fingerboard; Shifting; Vibrato; a problem. There are a few position for all instruments. well-thought-out dynamics, String Crossings; Musical tricky spots for seconds and Violas double second violins, and eighth-note runs make Literacy. Clear learning cellos with string crossings and and basses double cellos. the song exciting for young QDLGEVKXGUCTGURGEKſGFVJCV unfamiliar intervals in addition Rhythms are straightforward. musicians. The eighth-note reinforce material covered to lots of slurred eighth Eighth-note passages on passages are well laid out and in other beginning method notes. With the exception of doubled notes and double- do not cross strings. All parts books. Explanations are basses’ shift to E above the stops of open strings add much have independent melodic ENGCTKPENWFKPIURGEKſE staff, all parts are playable depth to the song. Pizzicato passages. The upper strings directions for students’ home KPVJGſTUVRQUKVKQP/& sections and cello/bass soli play rhythms together in practice. The exercises are sections add diversity and chordal fashion while the bass interesting and effective. DONA NOBIS PACEM EQNQTVQVJGRKGEG&[PCOKEU doubles the cello line. This $CUKEſPIGTRCVVGTPUCTG (Gr. 2-3, opt. pno). Arr. and bowings are well-marked, selection is recommended presented in a unique way Anne McGinty, ed. Shirley and the piece builds naturally for second year players who to reinforce good position Strohm Mullins. Queen- to a loud and vigorous ending. are ready for E string notes, while establishing good Gruselle arranged a hit for eighth-note runs, and extended intonation. Posture points, wood/Kjos, 2003, $38. my young players with these G string C-sharps for violin, songs and games, connecting McGinty, well-known for her two catchy tunes. T.M. viola, and cello. T.M. VJGſPIGTDQCTFVQPQVG compositions for intermediate- level concert band, has names, and student-friendly FESTIVAL CHORAL AND MARCH JUBILEE (Gr. scale pattern construction arranged this beloved tune for middle school strings. It begins MARCH (Gr. 1, opt. pno, 1.5). Kathy Cook. Neil are key features. Students perc.). John Caponegro. A. Kjos, 2003, $35. OWUVFGOQPUVTCVGRTQſEKGPE[ with a short introduction in This majestic march in G is on a series of sequential A major, with the melody Kendor, 2003, $38. moderately slow, employing “mastery skills,” assuring solid played by second violins, Opening with a slow Choral ſXGRCTVJCTOQP[CPFGCU[ technical development for all. CPFNCVGTD[XKQNCUCPFſTUV in G, this piece features to-learn rhythms that include This mastery sequence also violins; the cellos provide a simple rhythms using quarter, eighth notes and dotted half facilitates easy assessment, little stretto interest. Attention half, and eighth notes. The notes. Spiccato, pizzicato, as home study guides and to the forward extensions composer recommends and slurred eighth notes will assessment forms are included. for the upper strings and using a legato bowing “at challenge young musicians. While written for use with cellos, as well as the backward a leisurely pace” for the The seconds and violas play beginners, more advanced extensions for the basses, is Choral; the recommended mainly in thirds with many of UVWFGPVUYKNNDGPGſVHTQO essential. Fingerings for all tempo for the March, which the same rhythms. All parts many of the exercises. This instruments are well-marked. is based on the same Choral CTGKPſTUVRQUKVKQP'XGT[ single volume can be used by Later modulation to the theme, is m=96. Attention section in the orchestra gets a all string instruments and does -G[QH&EQPVKPWGUVJGWUG to the F- and C-naturals chance to shine, and basses get not require a teacher’s edition of extensions. This piece will insure good intonation. to play the last two measures for further explanation. This includes basic rhythms using Violas often double second alone. This march is rich in is an invaluable resource for half, dotted-half, quarter, and violins, so having more violins

96 | American String Teacher | August 2007 texture with a beautiful B Through repetition of phrases, can be added to keep the part is intended for a treble section in the cello part. I students will polish the rhythm alive. T.M. instrument but as Nathaniel highly recommend this piece eighth-note scale passages with Rosen demonstrated in for a concert to reinforce F- precision. The eighth-notes do TANGO DOS SONHOS (Gr. his beautiful recording for UJCTRQP&XGTUWU%PCVWTCN not cross strings, a credit to 2+, strings with clave, guiro). EGNNQCPFRKCPQQHVJGſTUV on A, as well as independent Croft for circumventing this Susan H. Day. Grand Mesa Gymnopédie, a lower pitched rhythms. Cook adds a history ſTUV[GCTUVTWIINGHQTUVTKPI KPUVTWOGPVECPUQWPFLWUVſPG page on marches and suggests players. There are no slurs, but Music Publishers, 2006, $50. The arranger has also provided further enrichment activities some hooked bows and bow The title of this entertaining CſXGRCIG2TGHCEGFKUEWUUKPI to include in your theme-based lifts. I suggest adding more Portuguese tango means Satie, the Trois Gymnopédies layered curriculum. T.M. bow lifts to accommodate ő6CPIQQH&TGCOUŒ6JG and his arrangement. J.S. better phrasing. The middle cellos have the dotted quarter–eighth note tango PRELUDE TO TE DEUM section in G has no A string TJ[VJOYJKEJUVC[UKPſTUV Cello (Gr. 2.5). Marc-Antoine C-naturals. The unison violin position and travels between SONATAS FOR VIOLON- Charpentier, arr. Robert 2/viola part is well written with an interesting, yet less all four strings. Violin 2 and CELLO AND KEYBOARD D. McCashin. FJH Music viola parts are mostly in FKHſEWNVRCTVVJCPVJGſTUV (BWV 1027-29). J.S. Bach, Company, 2005, $35. unison, with a few high third violin. The unison cello/bass ed. Bernard Greenhouse McCashin has superbly part has many open strings ſPIGT%UJCTRUCPF(UJCTRU arranged this version of Te and repeated eighth notes, Basses will stay occupied even & Kate Dillingham. G. Deum so that all parts have but no running eighth-note though their part has mostly Schirmer, 2005, $17.95. independent melodies that mix scales. You may want to QRGPUVTKPIUCPFUVC[UKPſTUV In these ürtext days, it is well together for rich tonal add more dynamics and position. The clave and guiro unusual to see Bach’s three JCTOQPKGU5GVKP&OCLQT percussive instruments (e.g., parts vary from measure to Gamba Sonatas appear in a with a moderate tempo and triangle, cabasa, marimba) measure, and require constant new, unabashed performance level 1 rhythms, this piece to add texture and varied counting. This is an excellent edition. This one joins three challenges second and third timbres. My sixth-grade middle school or advanced other commonly available year players with its many orchestra thoroughly enjoyed GNGOGPVCT[RKGEGVQſPKUJC performance editions—Julius ſPIGTGZVGPUKQPUCPFNGICVQ working on this piece that concert and add a Latin beat Klengel (1908), Janos Starker bowing throughout. Second made them sound regal with pattern to students’ musical (1979), and Pierre Fournier— and third violins/violas are its richness in color. T.M. experience. My students several ürtext/critical given most of the C-sharps can’t stop playing it. A.H. editions—Henle, Peters and on the G string, but cellos SUPER STRING SAMBA (Gr. Bärenreiter—and a plethora have enough extensions to TROIS GYMNOPÉDIES of out-of-print or out-of-the- 1, opt. pno, perc.) Joseph keep them busy as well. First ÁH[LEOHVFRULQJRSWKDUS way editions such as Friedrich Compello, ed. Amy Rosen. violins spend most of their lute, guitar, voice). Eric Grützmacher’s from 1866 Carl Fischer, 2003, $35. time on the E string, and Satie, arr. Benjamin-Gunnar CPFC&WTCPFGFKVKQP CFXCPEGFITQWRUYKNNſPF This lively Latin selection is edited by Louis Fournier and that the part also lies well RGTHGEVHQTſTUV[GCTRNC[GTU+P Cohrs. Doblinger, 2005. %NCWFG&GDWUU[#NVJQWIJ in third position. McCashin &OCLQTKVKURNC[GFGPVKTGN[ Erik Satie’s (1866-1925) listing two editors, this really provides technique building QPVJG&CPF#UVTKPIU'KIJVJ Trois Gymnopédies (“Three is Greenhouse’s edition with lourée bowing and notes are played in pairs and $CTGHQQV&CPEGUŒŌVJGPCOG HCEKNKVCVGFD[&KNNKPIJCO dotted quarter-eighth patterns the rhythm is catchy and easy is derived from an ancient &KNNKPIJCOGZRNCKPUVJCV in this lovely arrangement. to memorize. The unison Spartan ceremony) were in preparation for her 2002 But, all in all, what attracts cello/bass acts as the rhythm originally written for solo New York debut recital, she my middle school students section along with the maraca piano but have become most coached the sonatas with Mr. to this piece is the simple and cowbell. The unison MPQYPKP&GDWUU[ŏU Greenhouse who loaned her fact that the melody is violin 2/viola part has great QTEJGUVTCVKQPQHVJGſTUV the music he had used for gorgeous and students can opportunities with the melody and third. Cohrs has made his New York debut in 1946 play any line independently as well as a spunky pizzicato these beautiful sarabandes after coaching with the noted as its own melody. T.M. section. No slurs are written, accessible to “amateur, school RGFCIQIWG&KTCP#NGZCPKCP but the composer suggests and youth orchestras, and and Greenhouse’s teacher, chamber orchestras” by SALUTE TO THE STRINGS slurring the cello melody the legendary Pablo Casals. providing a multiplicity of (Gr. 1, opt. pno). Virginia if needed. The whole piece Comparing this edition should be played with a light performance options. They Croft, ed. Amy Rosen. Carl (which boasts sturdy covers VQWEJVQRQTVTC[VJGƀKTVCVKQWU can be played by string and convenient page-turns) Fischer, 2003, $35. Latin style. Because of its orchestra alone or with harp with Greenhouse’s 1950s- 6JKUKUCITGCVſPCNGRKGEGHQT great appeal, this selection can or lute; string orchestra with vintage recording reveals [QWTſTUV[GCTQTEJGUVTC5GV also be performed combined solo instrument or wordless numerous small discrepancies KPVJGMG[UQH&CPF)VJKU with more advanced players. voice; solo instrument or between the way that he majestic piece gives all string Latin percussion, such as voice accompanied by harp, played the sonatas then players an important melodic guiro, claves, or bongos, lute, guitar, organ or piano; or and what the edition shows and rhythmic experience. organ or piano alone. The solo now—demonstrating the

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main pitfall of any recording The City College of New BE THOU MY VISION HIGHLAND HEART (lever or or performance edition: York, with a reputation as #0&,'57,1;1(/#0ŏ5 pedal harp). Kim Robertson. musicians change their possessing formidable jazz &'5+4+0)ETGCVKXGN[ Gourd Music/Kim Robert- minds. But in the main, and classical technique on weaves these two melodies in a mini-medley. It includes son Music, 2006, $15. Greenhouse’s approach has both the acoustic and electric Includes: Ae Fond Kiss, Are remained consistent. What bass. His book addresses etouffe in the left hand, triplets, two against three You Sleeping Maggie?, Bonny is not clear from the edition approaches to develop both At Morn, Dark Woman of the alone, without listening right and left hand facility, as in several places, and large rolled chords. It is useful for Mountains, Ghosts of Gight, to his recording, is exactly well as honing one’s ear to the Glenbournie Rant, I Vow to how he intended that the linear melodic and harmonic recitals, religious services, weddings and background Thee My Country, If I were a player should execute various challenges of each piece. Blackbird, Jamie Come Try Me, The text is divided into two OWUKECNKMG&)8 ornaments, appoggiaturas, JOYFUL, JOYFUL, WE Loch Lomond, Loch Tay Boat UGEVKQPU6JGſTUVEQPVCKPUVJG ITCEGPQVGUſPIGTKPIUCPF #&14'6*''/KFFNG Song, Mist Covered Mountains 6o melodic etudes (pp. 6-68); articulations. There are to late intermediate players of Home, Sleep Soond I’da also a number of misprints. the second (pp. 68-128) has 60 will enjoy the variety in this Moarnin’, The Selkie. For example, in the third melodic scales for both the arrangement of Beethoven’s Robertson continues to movement of Sonata 2, m. acoustic and electric bass. The melody. 4/4 and 3/4 are used, grace the harp community UJQYUVJGſTUVUKZVGGPVJ RNC[GTVTCXGTUGUſXGEJQTFU as well as a slap bass variation. with exceptional, unique note of the second beat major, minor 7, dominant 7, A walking bass variation in arrangements and Highland changing to an E when it minor 7b5 and major 7#11 “swing” style features etouffe Heart is no exception. It should remain a C-sharp tied in various modes such as with the left hand thumb; you features selections from major, dorian, and phrygian. QXGTHTQOVJGſTUVDGCVKP will sound like you are playing JGT%&D[VJGUCOGPCOG the fourth movement of the Patitucci states, “As far as I with an upright bass player! Ideal for middle to late same sonata, the second and MPQYVJKUKUVJGſTUVDQQMVQ There is one chromatic lever intermediate players, these third eighth notes in m. 24 have a separate melodic etude EJCPIGYKVJC&HQNNQYGF arrangements include chord should have dots under the HQTGCEJQHVJGſXGEJQTF D[C&UJCTRYJKEJEQWNFDG symbols and no lever changes OCFGUOQQVJGTWUKPI'ƀCV slur without which a slide sounds in all 12 keys.” This during each piece. Features instead. This is perfect for a would ensue, which is clearly is an excellent compilation include syncopation, meter not the intention. Most of of exercises for playing church service or wedding recessional or postlude music. changes within a piece, grace these glitches, however, can technique, ear training, and notes, signing melodies developing artistry on the SUMMER RAIN, a lovely, DGKFGPVKſGFVJTQWIJUVWF[ CPFNWUJEJQTFU&)8 and the exercise of musical bass. I highly recommend early-intermediate tune, it both for students and KUKPCPF&OCLQT+V common sense. And it is LUMINESCENCE, MUSIC through study that this edition professional performers. M.F. works nicely as a light recital will provide its main value. piece, gig piece, or wedding FOR THERAPEUTIC SET- RTGNWFGURGEKCNOWUKE&)8 Every thoughtful player will Harp TINGS, 12 Solos for Small ultimately create his/her own Harp. Susanna Lowy. slowy@ DQYKPIUCPFſPIGTKPIUDWV The following pieces for HALLOWE’EN (4 tunes, ZLQÀUVWFRP studying, trying and carefully intermediate lever or pedal $10). SPOOKY TUNES (6 Includes: Still Life, Rising considering the choices of a harp are easy to read and tunes, $12). Suites for Lever Phoenix, Lament, Grace, great musician and player, have well-planned page turns. Harp. Mitch Landy. Mitch Lecago, Migration, Light Lever/pedal changes are not simply swallowing Landy Publications, 2006. Contained in Darkness, them blindly, is a valuable clearly marked, with plenty Restful Peace, Soul Release, of time to change them, These fun collections will learning experience. What this be great for your programs The Wandering Path of Soul, edition really is, is a lesson in CPFJGNRHWNſPIGTKPIUCTG Luminescence, Revelation. included. They can be played next Halloween (or anytime). absentia with a master. J.S. Early intermediate players will Lowy has been a volunteer for individually, or combined Sutter Hospice of Sacramento to create your own medley. enjoy the descriptive titles, Double Bass such as “Boogeyman’s Blues.” for seven years, which Thanks to Voltz for fantastic inspired Luminescence. These contributions to the world ő9KVEJGUŏ&CPEGŒ Hallowe’en) 60 MELODIC ETUDES FOR is reminiscent of Mussorgsky’s gentle and descriptive late ACOUSTIC AND ELECTRIC of harp publications. Chiera beginner/early intermediate Music www.frankvoltz. Night on Bald Mountain and BASS. John Patitucci. Carl 5CKPV5CGPUŏ&CPEG/CECDTG pieces are in 3/4, 4/4, and com, 2007, $5 each. 6/8 time, using the keys of C, Fischer, 2005, $19.95. AMAZING GRACE is All selections in Hallowe’en This has become a part of my are in 6/8 time; Spooky Tunes )&FQTKCPCOKPQTCPFG a beautiful intermediate minor. Each piece is one or daily warm up routine. The arrangement, starting in G and includes 4/4, 12/8, 3/4 and only problem I have is putting 6/8. Levers or pedals are two pages in length; there are modulating to C. It features no lever changes except to it aside to practice other triplets, etouffe in the left set at the beginning of each OWUKEUKPEG+ſPFVJGGVWFGU selection. One selection in set the key at the beginning. hand, glissandos, two cadenza- *GNRHWNſPIGTKPIUCTGQHVGP challenging and so musically like measures of ascending Hallowe’en gives an “original” satisfying to play, especially at and an “easy version.” No included. One tune has grace arpeggios and concludes with notes and some triplets. the given tempo indications. several measures of very ſPIGTKPIUQTEJQTFU[ODQNU Patitucci is active as a bass CTGRTQXKFGF&)8 Harpists will also enjoy a accessible eight-note rolled few syncopated rhythms. educator and professor at chords and harmonics.

98 | American String Teacher | August 2007 Luminescence will be useful for great guitarists have learned and Far Away are used as a CDs therapeutic, background, and to play without the aid of backdrop for this type of TGNKIKQWUQEECUKQPU&)8 traditional methods–and now melodic exploration. I believe BEETHOVEN, STRAVINSKY, you can too!” Guitarists often that improvising using small ROREM, SCEARCE. The Fry WORLD OF THE HARP, BOOK desire to bypass the normal groups of notes is a good Street Quartet. FryStreet- III (early int.). Diana Stork. conventions of studying point of departure for many Quartet.com, 2004, $35. Diana Stork, 1999, $15. music and get to the core students. “Guitar” in the The Fry Street Quartet, This fun collection of thirteen of the sounds and pieces title is puzzling, as none of winners of several prestigious tunes features mainly original that inspired them to begin VJGGZCORNGUCTGſPIGTGFHQT Chamber Music competitions, EQORQUKVKQPU&GUETKRVKXG playing. So, in a peculiar way, guitar, and idiomatic elements including Fischoff and titles include Cassie’s Carousel this publication is very much of phrasing, such as slur and Banff, are currently string and Amelia’s Afternoon Walk. in the mainstream of how legato markings, are non- quartet in residence at Utah A variety of time signatures the study of popular guitar existent. The exploration of State University. (It should includes 7/4, 9/8, 7/8, in styles has evolved. An integral playing over chord changes be noted that since this addition to 3/4, 4/4 and cut part of this approach is the had no hint of arpeggio recording, Jessica Guideri time. May Day has twelve EQORCPKQP%&%QPEGRVU study, and it does not provide has been replaced by William variations, alternating with of tuning, rhythm playing, any particular insight into (GFMGPJGWGT 6JGſTUVFKUEKU the chorus. Great Ocean is ear training, lead guitar developing improvisational comprised of Beethoven’s op. FGFKECVGFVQVJG&CNCK.COC playing and song structure are ability in a jazz style. 18 no. 5 in A major and op. of Tibet and has unique presented. I found the material However, it would be useful 132 in A minor. Both readings rhythms between the hands, to be well organized and full in organizing melodic content are convincing and played as well as two time signature of practical information. A for students beginning to with mastery. The second changes during the piece, possible limitation is that study improvisation. M.C. disc contains Stravinsky’s glissandos and two easy many examples go from the Three Pieces for String Quartet, lever changes. I particularly very simple to fairly complex Chamber Music Ned Rorem’s String Quartet like this book because, as very quickly. It is not well- No. 4 and Mark Scearce’s you turn the pages, you suited to most beginners, as TRIO TAPESTRY (3 vn, va, String Quartet 1 (Y2K). The YKNNCNYC[UſPFUQOGVJKPI the physical part of learning or vc, opt. pno). Joanne Stravinsky is a very concise PGYCPFFKHHGTGPV&)8 the instrument is largely left Martin. Summy Birchard, piece with sharp angles and WRVQVJGKPFKXKFWCNVQſIWTG Inc., 2004, $6.95 each. asymetrical rhythms, three Guitar out; I believe it would be This collection of fourteen movements totaling about most useful with a competent original multilevel pieces six and a half minutes in 50 RENAISSANCE SOLOS teacher as a guide. M.C. can be played by any length. In striking contrast, FOR CLASSICAL GUITAR. combination of violin, viola, the Rorem is a suite of ten Cherry Lane/Hal Leonard PLAYING THE CHANGES: and cello. The optional piano movements, each named Corporation, $14.95. GUITAR, A LINEAR AP- accompaniments add color after a Picasso painting, and The works of 21 Renaissance PROACH TO IMPROVISING. and texture to the ensemble. the writing is more romantic composers are presented Mitch Seidman & Paul Del These delightful pieces utilize CPFN[TKECN6JGſPCNYQTM in standard notation and “the resonances of the open on the disc, by Scearce, is Nero. Berklee Press, $19.95. intensely and emotionally contemporary tablature. A This book and companion strings” to present a broad EQORCPKQP%&KUKPENWFGF range of harmonies including played by the Fry Street %&YGTGFGXGNQRGFHQTWUG Quartet. With its dynamic, but no performance notes or in courses at Berklee College modal, contemporary, and biographical information. The blues. They are an attractive poetic and energetic artistry, of Music. It is intended we should all become more material is cleanly presented for musicians who have way to introduce beginners to CPFIGPGTCNN[PQVVQQFKHſEWNV chamber music playing. Each familiar with the voice of the UQOGRTQſEKGPE[QPVJG Fry Street Quartet. A.C.F. to perform. There is nothing instrument and some degree work includes two easy parts particularly compelling about and one advanced part, which of music literacy. The method DIALOGUES WITH this publication, as much of employed is primarily derived includes more accidentals and the material is readily available from the use of tetrachords rhythmic challenges. Some DOUBLE BASS. Jeremy in other editions. It is a good (four-note groups) and their of the cello parts involve McCoy & Friends. Bridge value for those interested in relationship to an underlying shifting; the violin and viola Records, $14.99. compiling material that can chord progression. For CTGGPVKTGN[KPſTUVRQUKVKQP McCoy performs as soloist, be used for sight-reading or example, the key of C major is The cute Three-Legged March chamber player, and Assistant for building repertoire at the divided into two tetrachords–a involves triplets, a lovely Principal bassist with the early intermediate level. M.C. C tetrachord consisting of Berceuse uses slurred string New York Metropolitan VJGPQVGU%&'(CPFC crossings. Many of the clever Opera orchestra, on a PLAY GUITAR BY EAR. G tetrachord of G, A, B, C. titles, such as Paint Rag and OCIPKſEGPV&QOGPKEQ Douglas Baldwin. Hal Other modes are approached Robot Rodeo, were provided Busan double bass. He asked Leonard, $17.95. in a similar fashion. The by young students “piloting” a number of his colleagues the collection. G.H. The rear cover of this chord progressions to the jazz to join him in presenting a RWDNKECVKQPEQPſFGPVN[ standards Blue Bossa, Tune IGPGTQWUUGXGPVGGPVTCEM%& states that “thousands of Up, Valse Hot, and Long Ago with compositions ranging

www.astaweb.com | 99 Reviews

from the baroque to the to your listening library well are very recent and others 6JG&8&CNTGCF[UJQYP contemporary, and they worth purchasing. A.C.F. historic. All are inspiring and on PBS stations nationwide, do indeed have wonderful represent the highest level of KPENWFGUVJGUKZV[OKPWVGſNO musical conversations. The ULTIMATE STRINGS. ASTA, artistry. All proceeds from CPFVYGPV[ſXGOKPWVGUQH OWUKEOCMKPIQPVJKU%&KUUQ 2005, 2006, $9.95 each. the sale of both “Ultimate bonus features (interviews joyful, varied, and well-played VOL 1: ALTERNATIVE 5VTKPIUŒ%&UFKTGEVN[UWRRQTV and the like). Presented in that you cannot resist being STYLES. With so many the educational programs English, with Japanese and drawn into each selection. A artists playing a myriad of of the National Foundation French subtitles, it is in rousing rendition of Rossini’s alternative string styles, how to Promote String Teaching CNNTGIKQPHQTOCV6JGſNO Duetto for Cello and Bass with do you choose representative and Playing. The reasonable would be interesting to any EGNNKUV5VGXGP&QCPGQRGPUC recordings to play for your price and high quality make aspiring young string player program that includes music students? Toby Mountain and these a great choice as a and inspiring to any teacher by Telemann, Bottesini, Matt Glaser have compiled a “motivational” or graduation who works with them. It )NKGTG'NICT(TCPECKZ&CND[ %&VJCVYKNNUGTXGCUCITGCV gift for aspiring young would also be engaging to a and Patitucci. I found the starting point. It presents string students. G.H. non-musician, community two Patitucci compositions, superb recordings of some of member, administrator, or The Root and Grateful, played today’s top artists in various DVDs school board member as by Patitucci and McCoy, to UV[NGUHTQOVTCFKVKQPCNſFFNG an advocacy tool showing DGGPICIKPI/CVKP&CND[ŏU styles to jazz and rock. The CIRCLING AROUND—THE the power of music in the MacPherson’s Rant for bass and %&QRGPUYKVJVJGIQTIGQWU VIOLIN VIRTUOSI. Di- lives of children. Circling RKEEQNQƀWVGCPFCNVQƀWVG “Old Country Fairy Tale” by rected Hideki Isoda. www. Around is a delightful and all played by Laura Gilbert, Mark O’Connor’s Appalachia riax.com, $24.95. well-made documentary, depicts the nefarious activities Waltz Trio and continues The Indiana University and highly recommended to of an eighteenth-century with tracks by John Blake, String Academy, under the music teachers and students Scottish cattle thief who plays &CTQN#PIGT$TKVVCP[ direction of Mimi Zweig, has of any discipline. C.R. QPGNCUVQWVTCIGQWUſFFNG Haas, Christian Howes, Matt been known for excellence tune before his execution. Glaser, Alison Krauss and in string pedagogy and MEL BAY PRESENTS Both McCoy and Gilbert Union Station, Mark Wood performance for many years. “GENE BERTONCINI–ART really get into the virtuosity and The Hampton (Rock) The pre-college program OF SOLO JAZZ GUI- and somewhat dark humor String Quartet. Each artist is geared towards young TAR.” Mel Bay, $24.95 of the piece with energy and has developed a personal violinists and cellists, ages 5 Guitarist Gene Bertoncini’s spirit. Gliere’s Cradle Song voice on the instrument that to18, and is a comprehensive reputation as a unique voice is a lovely work, tenderly is unmistakable. Informative approach to learning music in the jazz world is most often played McCoy and violist Ira liner notes by Glaser introduce and stringed instruments. associated with the nylon Weller. Space does not allow each artist and provide website This is an Emmy-nominated stringed instrument he prefers. for all the accolades this album addresses for further study. documentary produced 6JKU&8&VCMGU[QWDGJKPF deserves other than for me 7UGVJG%&VQKPURKTG[QWT through a partnership with the scenes to an informal clinic VJKUKUCOWUVJCXG%&HQT students as they walk into WTIU, RIAX Productions, he presented in a New York everyone’s music library. M.F. class and to initiate discussions and the Indiana University jazz club. Although the format of various stylistic elements. Jacobs School of Music. It is is casual and the production FREDERICK CHOPIN AND Thank you, ASTA, for an illuminating portrait of values are not slick, it FRANZ LISZT: COMPLETE embracing and promoting all a group of talented young reveals much about the MUSIC FOR CELLO AND styles of string playing. M.N. violinists, their teachers and method behind Bertoncini’s PIANO. The Fisher Duo. Bridge parents, and the family that approach to music. One can VOLUME 2: CLASSICAL Records, 2006, $14.99. is created by their unique see that his way of thinking VIRTUOSITY. This is the experiences making music about the capabilities of the 9GNNMPQYPCUſTUVTCVG UGEQPFKPCUGTKGUQHVJTGG%&U artists, cellist Norman Fischer together. The documentary guitar, and how he prepares and features performances KVUGNHKUKPſXGRCTVU2TGNWFG JKOUGNHVQſPFJKURGTUQPCN and pianist Jeanne Kierman by violinists Joshua Bell, have produced a wonderfully Andante, Moderato, Allegro, sound, transcends his Midori, and Rachel Barton CPF(KPCNG6JGſTUVEJCRVGT decision to play jazz music delicious album of commonly Pine, violist Emanuel Vardi, known Chopin pieces is an introduction to the on a “classical” guitar. The cellists Janos Starker and academy; others highlight &8&KUCEQODKPCVKQPQH (Sonata Op. 65, Polonaise Jeffrey Solow, double bassist Brilliante and the Grand Duo the top-level players, known pedagogy and performance. Gary Karr, harpist Lynn as the Violin Virtuosi. Some Bertoncini demonstrates Concertant), as well as some Aspnes, and guitarist Gerald much more rarely heard individual students are practice techniques to increase Klickstein. This is a wonderful RTQſNGFHQNNQYGFD[VJGKT sensitivity to the relationship works of Liszt, transcribed by sampler of movements Liszt later in his life from their VQWTVQ,CRCPCPFſPCN[GCT between melody and from major violin concertos in the program. The students harmony. He breaks the guitar original versions to the works (Tchaikovsky, Brahms, and recorded here. The playing on and their time together down and eschews formula- Bruch and smaller works by are portrayed through based chord voicings. It would VJG%&KUTGſPGFDGCWVKHWN Mendelssohn, Bartok, and and brilliant. It is an addition interviews, lessons, rehearsals, be helpful if the viewer has Paganini–Caprices on the performances, and other some knowledge of chord viola!). Some performances activities in the academy. theory to fully appreciate this

100 | American String Teacher | August 2007 segment. He also performs Books Reviewers has a master of music degree in harp performance from solo arrangements of and Michael Carenbauer (M.C.) improvisations on a variety of THE LEGEND OF HENRIETTE Northwestern University. RENIÉ. Odette de Montes- is professor of guitar and jazz tunes. I was particularly director of guitar studies at quiou, ed. Jaymee Haefner, Allison Hogue (A.H.) is struck by his performance the University of Arkansas currently in her eleventh of solo arrangements in trans. Robert Kilpatrick. at Little Rock. He is the year of teaching orchestra keys that guitarists often AuthorHouse, 2006, $18.95. recipient of numerous awards KPVJG5EQVVUFCNG7PKſGF CXQKFŌVJGQTKIKPCNƀCVMG[U This is the most extensive for performance, teaching and 5EJQQN&KUVTKEV5JGJCUJGT favored by horn players resource currently available composition and has recently degrees from the University and singers!–and how he in English on the life of TGNGCUGFC%&QHYQTMUHQT of Arizona and University exploits the open strings VJKUUKIPKſECPVCTVKUVKPVJG guitar, string quartet and of Michigan and her primary of the guitar to create his history of the harp. It is the Chinese zheng entitled instrument is violin. distinctive sonic palette. M.C. written by one of Renié’s Music for Guitar and Strings. oldest students and friends. Georgia Hornbacker (G.H.) MEL BAY PRESENTS “STARO- Renié was a child prodigy Winifred Crock (W.C.) is associate professor of violin BIN PLAYS SOR AND GIU- and studied composition, is the orchestra director at Millikin University in LIANI.” Mel Bay, $24.95. harmony, and counterpoint at at Parkway Central High &GECVWT+NNKPQKUCUUQEKCVG The Ancient Church of Saint the Paris Conservatoire as the 5EJQQNKP%JGUVGTſGNF concertmaster of the Illinois Mary the Virgin outside only female in those classes. Missouri and maintains a Symphony Chamber London provides a lovely Carlos Salzedo once said, private violin studio. She Orchestras and violinist of the setting and excellent acoustics “She is high above all other is an active string clinician, Kirkland Trio. She maintains for this beautifully rendered harpists as heaven is above lecturer and conductor. a private studio in her home, &8&)WKVCTKUV&CXKF earth.” She lived in France and in 2001 was named Starobin performs works through two world wars, Marilyn P. Daggett (M.D.), Outstanding Studio Teacher from Tecla facsimile editions and taught many students a violist, retired from teaching by Illinois ASTA with NSOA. of the music of Fernando who came to study with string orchestras in Fairfax Sor and Mauro Giuliani on her from all over the world County Virginia public Tammy Mason (T.M.) is a a guitar crafted by Herman KPENWFKPI/KNFTGF&KNNKPI schools. She is currently string specialist for Tempe Hauser. This instrument Harpo Marx, and Susann teaching privately at a small 5EJQQN&KUVTKEV5JG was modeled on a Viennese /E&QPCNF*GTXKTVWQUKECPF studio in the Phoenix, Arizona earned her M.M. and M.Ed. instrument made by Johann RCVJQUſNNGFEQORQUKVKQPU metropolitan area. She in bilingual education from George Staufer, the maker are a unique contribution maintains her membership Arizona State University of Franz Schubert’s guitar, to the repertoire, as is her in ASTA and MENC. and has taught and played and is likely similar in size Complete Method for Harp. violin professionally during and sound to instruments *GTNKHGTGƀGEVGFKPVGTUGEVGF Michael Fanelli (M.F.) is a her seventeen years as played by Giuliani and Sor. CPFKPƀWGPEGFOCP[QH string specialist, double bassist, director of six orchestras at Multiple camera angles and the artistic and cultural music historian, and assistant Gililland Middle School. expert lighting enhance the trends in late-nineteenth professor of education at experience of viewing this to early-mid twentieth the University of Northern Martin Norgaard (M.N.) is &8&5VCTQDKPRTQXKFGU century France. Inspiring Iowa. He also teaches double C2J&ECPFKFCVGKPOWUKE introductory narrative to some and amusing anecdotes can bass at Grinnell College and and human learning at of the works, but the primary be found, humanizing this maintains a private studio. The University of Texas at focus is the performance. His NGIGPFCT[ſIWTGYJQFGſGF Austin, Mel Bay author, FJH playing is very expressive and Nazi occupation of Paris but Amy Catron Flores (A.C.F.) composer and string teacher controlled throughout. This is remained dedicated to her is co-principal cellist with at St. Andrew’s Episcopal a wonderful resource for any family above all professional the Illinois Symphony, School in Austin, Texas. student or teacher working opportunities. Edited and principal cello in Millikin Check out his website at on music from this era. Many annotated by Haefner as &GECVWT5[ORJQP[ www.JazzFiddleWizard.com of the works presented are part of a doctoral project Orchestra, and as well as etudes that have been the at Indiana University, this other local orchestras. She is Craig Resta (C.R.) received cornerstone of classical guitar book is an immeasurable the cellist for the Kirkland his BME from Baylor pedagogy. The performances contribution to the harp Piano Trio in residence University, MM from Indiana consistently have a vocal world to those who are at Millikin University. University, and is currently quality and sense of urgency interested in learning about C2J&%CPFKFCVGKP/WUKE that effectively eliminate the a person who profoundly Denise Grupp-Verbon Education at University distinction between material affected her chosen profession (D.G.V.) is an active of Maryland College YTKVVGPVQHWNſNNCRGFCIQIKECN [GVCNUQTGƀGEVGFVJGEWNVWTCN professional performer who Park. Principally a string need and pure music. M.C. and social restrictions of her teaches privately and at specialist, he has taught in time. Particularly helpful Owens State Community Texas, Indiana, New Jersey, is an index of Renié’s College. She was formerly California, Maryland, and known compositions and a member of the Civic Georgia. He is currently transcriptions with dates of Orchestra of Chicago and composition if known. A.Y. assistant professor of music

www.astaweb.com | 101 Education at Columbus State University in Georgia.Reviews Jeffrey Solow (J.S.), cellist, maintains a busy schedule traveling throughout the United States and Canada, Europe, Latin America, and the Orient as recitalist, soloist, chamber musician, and teacher. He has been guest artist at many national and international chamber music festivals and he tours regularly as a member of The Amadeus Trio. Solow is professor of cello at Temple University in Philadelphia.

Ann Yeung (A.Y.) is associate professor of harp and Chair QHVJG5VTKPI&KXKUKQPCV the University of Illinois at Urbana-Champaign. Active as a performer, teacher and author throughout the U.S. and abroad, she is Editor of the World Harp Congress Review.

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www.astaweb.com | 103 My Turn by Matt Turner

Improvisation in the Classroom: Watering the Seeds

I recently presented a string im- Wind players often have opportunities chord. Unfortunately, conservatories and provisation workshop at a high school to play in a jazz combo or jazz ensemble. music schools are stuck mostly in “conserve” in Wisconsin. The residency consisted This may be why so many string teachers mode. We are not pushing the envelope. If of meeting with string students during equate improvisation only with jazz. But, the national standards expect our teachers to orchestra once a week over a two-month improvisation can be introduced in many incorporate improvisation into the class- period. We worked on jazz pieces for styles and can greatly enhance a traditional room, we need to deliver the goods. string orchestra, learned head-tunes by orchestra curriculum. I realize there are other issues here. ear, and explored improvisation games to Teaching improvisation is a national Who pays for teachers to teach these col- get students and teachers to think outside standard, but we do poorly in terms of lege level classes? Where does one fit this the box. The teacher immediately put the preparing our future teachers to teach im- into the curriculum? Is it even worth the ideas to use with his middle school classes. provisation. College music students need effort? I believe it is, and my hat is off to The goal was to introduce ideas to the to roll up their sleeves and actually do those string teachers who are already intro- orchestra teacher so he could continue it—then they will have more tools when ducing improvisation to their students. I to keep improvisation alive in his cur- they begin teaching. If national standards want to see our efforts grow into some- riculum. This workshop, however, was dictate that improvisation be taught, thing beautiful. Why settle for a tree when different from most I have done because then universities should provide adequate we can grow a forest? of the long-term timeline and because the instruction in improvisation. Otherwise, teacher was dedicated to planting the seeds remove the improvisation requirement Matt Turner is widely with his younger students. It represented from the list of standards. Would we regarded as one of the a crucial turning point in my career as an instruct our teachers to speak French and world’s leading improvising improviser and clinician because the seeds then expect them to teach their students to cellists and performs were really going to grow. speak French and Mandarin, never having everything from jazz Don’t get me wrong. Other teach- studied Mandarin? It just doesn’t work. I standards and 20th century ers have taken the improvisation ball and often receive SOS emails and calls from new music to alternative rock run with it. Sometimes, improvisation is string teachers (most right out of college) and improvised avant-garde. He is featured already alive and kicking when I visit an asking for an improvisation lifeline. My on more than 70 recordings, has shared the orchestra program. But, more often than instructional responses are nothing more stage with Natalie MacMaster, Donell Leahy, not, the improvisational seeds planted at than a band-aid on a wound requiring a Marilyn Crispell, John Butcher, LJ Booth, Bill many schools have either lain dormant or tourniquet. Carrothers, and Bobby McFerrin, and has have not been watered enough to grow. I When I taught improvisation at a performed in Europe and Asia. Turner served know many string teachers are itching to university, I would often tell my college on the faculty for several years at Lawrence do improvisation with their students, and students that I wanted them to put me University where he taught jazz piano, jazz yet many remain a bit tentative. Obstacles “out of business” before I retire in 20-some strings, composition, and improvisation. His are getting in the way, preventing string years. In other words, in the future, I do string music is published by Carl Fischer and teachers from incorporating improvisation. not want to be planting seeds anymore. I Latham Music. Turner is a Yamaha Performing For starters, many string teachers want teachers to have the tools to be their Artist and presents numerous improvisation only associate improvisation with jazz. own creative cultivators. The trees should workshops to string teachers and students For some, this is the beginning of the be growing by that time. each year. He is currently writing an improvi- end. Those same teachers may appreciate First, we have to change how we teach sation book for string teachers. jazz but may have little if any experience music and how we prepare future teachers. performing or teaching jazz. There are Look at the history of the conservatory. now jazz and blues string methods giving Conservatories 200 years ago were not excellent advice on how to present jazz in entirely in business to conserve music of the the classroom, but even with these books, past. Conservatories were dedicated to train- teachers still often avoid improvisation like ing musicians to fill specific needs of the the plague. It’s frightening, I know. I see day. Musicians today need to be well-versed, the fear in the eyes of students and teach- so if today’s music schools and conservato- ers all the time. How do we rid ourselves ries functioned much the same as a conser- of that fear? vatory 200 years ago, our students would I am going to make a proposition that not only be studying four-part progressions some will applaud, some will find amus- and Bach Partitas, they would be learn- ing, and others will find ludicrous. I am ing how to play country fiddle, write rock proposing (drum roll please) that all music music, improvise in various styles, and be students in college learn how to improvise able to tell the difference between a domi- and learn how to teach improvisation. nant seventh chord and a major seventh

104 | American String Teacher | August 2007