American String Teacher PDF

AMERICAN STRING TEACHER
August 2008 | Volume 58 | Number 3
BACK-TO-SCHOOL ISSUE!
August 2008
Guidelines for Successful

Orchestra Auditions
The Projected Career Plans of
String Music Educators
Challenging the Middle School
Orchestra Musician
PLUS:
String Industry Council Directory
American String
Teachers Association
www.astaweb.com
SAVE
THE
DATES!
2009 ASTA
National Conference
March 19-21, 2009
Atlanta, GA
* Exhibits
* National Orchestra Festival
* National Solo Competition
* Alternative Styles Awards
2010 ASTA
National Conference
February 17-20, 2010
Santa Clara, CA
* Exhibits
* National Orchestra Festival
* National High School
Honors Orchestra
2 | American String Teacher | August 2008

AMERICAN STRING TEACHER CONTENTS
Features and Forums

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

We want to challenge our students—but, to do what? What kinds of
experiences make a lasting impact on a young person, and how can
we help our students develop a feeling of ownership that leads to a
commitment to music?
by Gail V. Barnes
42 Mastering the Unknown: Guidelines for Successful Orchestra

Auditions
Orchestra auditions and recitals require differing methods of preparation.
Read about the most important difference between auditions and recitals.
by Garrett Fischbach
46 The Projected Career Plans of String Music Educators: Implications

for the Profession
Where do string teachers go when they leave the profession, and
what are the implications on the profession as a whole?
by Joshua Russell
64 Master Class
There Are No Secrets—Thoughts on a Career in Music
An Interview with Violinist David Nadien
David Nadien’s name is known to many young violinists as “the man who
recorded those great Suzuki CDs.” His affiliation with Dr. Suzuki was just a
small part of his stellar career.
by Elaine Fine
www.astaweb.com | 5
AMERICAN STRING TEACHER CONTENTS
Columns Special
10 Inspirations
by Donna Sizemore Hale
Sections
30 ASTA Award Winners
32 Member2Member
Strings and Volunteering: A Winning Combination
52 Discovering Strings and
Orchestra
by Robert Gillespie 56 2009 ASTA National
Conference Preview
86 Teaching Tips
Check Sheet for the Beginning String Class
by Nancy Kredel
72 2008 String Industry Council
Directory
Mission Statement
The American String Teachers Association
promotes excellence in string and orchestra
teaching and playing. ASTA pursues its mis-
sion through:
• an open sharing of ideas;
Departments
• benefits, services, and activities responsive
to the needs of all members;
• development of strong state leadership
and chapters;
• enhancing the image and visibility of string
teaching and study;
• advocacy for string education; and
Association News
14
• an inclusive community of string teachers
Message from the President, award and grant and players.
announcements, new publications, and other American String Teacher (ISSN: 0003-1313)
association-related information is published quarterly by the American String
Teachers Association (ASTA). American String
About the cover: Teacher (AST) is available exclusively to
88 Showcase ASTA members; the annual subscription price

The latest news from members of the String is included in membership dues ($99). Known
office of publication is: American String
Industry Council Teachers Association, 4153 Chain Bridge Rd.,
Fairfax, VA 22030. Periodicals postage paid
at Fairfax, Virginia 22030 and additional
Notes
90
mailing offices.
News of people, places, and events of interest to
POLICY: As the primary means of profes-
string teachers and players sional communication of ASTA, the American
String Teacher represents and reflects
100
the mission of the association. It is not the
Reviews intention of AST to promote or endorse any
Of books, music, software, and videos particular person or commercial product. The
ideas and opinions expressed are those of
Rebecca Edmondson’s the writers and not necessarily those of ASTA
or AST. ASTA reserves the right to refuse
students await their
Every Issue
advertising for any reason. No article or
chance to hold and editorial matter in AST may be photocopied
explore a stringed or reprinted without written permission from
ASTA. Visit www.copyright.com for more
instrument in a information.
Discovering Strings
and Orchestra session
94 ASTA Publications Library
POSTMASTER: Send address changes to
in Bar Harbor, Maine. 96 Membership Application American String Teacher Journal, 4153 Chain
98 Leadership Directory Bridge Rd., Fairfax, VA 22030. © 2008 by
American String Teachers Association.
106 Advertisers Index

www.astaweb.com | 7
www.astaweb.com | 9
Inspirations by Donna Sizemore Hale
ASTA Board of Directors

Getting the Word Out President • Jeffrey Solow
7914 Park Ave.
In Your Neck of the Woods Elkins Park, PA 19027-2629

solowcello@gmail.com
President-Elect • Kirk Moss

With the school year looming ahead, this is a great time to focus on how 1218 18th Street S
Moorehead, MN 56560-3127
you can promote string education at the grassroots level. The sluggish mosskirk@mnstate.edu
economy is having a profound impact on many people and professions. Past President • Mary Wagner
We continue to hear stories of music programs being curtailed and even 5833 Burke Cove Landing Rd. #204
Burke, VA 22015
eliminated as school districts struggle to balance their budgets. mscello@cox.net
Now is the time for you to lay groundwork to solidify your string
Secretary • Judy W. Bossuat
program’s importance in the curriculum. Here are some simple but 2913 Hempstead Way, Stockton, CA 95207
important steps that you can take to ensure your program’s success. jwbossuki@onebox.com
Member-at-Large • Beth Gilbert

1928 E Calle De Caballos, Tempe, AZ 85284-2507
• Learn who the decision makers are in your district and begin to bgilbert4@cox.net
cultivate them. Invite them to concerts. Attend school board and other
Member-at-Large • Lynn Harrell
community meetings to promote strings. It is too late to begin nurturing 1615 Hermann Drive Unit 1208, Houston, TX 77004
these relationships once your program is put on the chopping block. lynnharrellusa@aol.com
• Engage your students’ parents in promoting strings in your community. Member-at-Large • Kristin Turner
Orchestra programs with a strong booster component are generally more 1708 N Morrison Rd., Muncie, IN 47304
kristi259@comcast.net
respected and recognized within their communities.
Member-at-Large • Mark Wood
• Get to know the media contacts in your area. School boards love positive PO Box 2074, Port Washington, NY 11050-0500
publicity. Send them invitations to your concerts as well as success stories mark@markwoodmusic.com
from your orchestra. Publications Chair • Marilyn Seelman
• Become an active and engaged member in your state chapter. 2075 Briarwillow Dr., Atlanta, GA 30345-3501
musmms@langate.gsu.edu
Participation at the state level will provide you with a solid network of
colleagues that can help you and your program become stronger. String Industry Council President • Neil Lilien
Meisel Stringed Instruments
• Take care of and nurture yourself. As busy teachers, we often neglect 32 Commerce St., P.O. Box 90, Springfield, NJ 07081
Neil@meiselmusic.com
our own professional development and growth. Make your professional
development a priority and your students will reap the rewards. The Executive Director • Donna Sizemore Hale
ASTA National Office
ASTA National Conference offers you more than 175 string-related 4153 Chain Bridge Rd., Fairfax, VA 22030
sessions and workshops. Plan now to attend. donna@astaweb.com
American String Teacher

On the national level, ASTA provides a number of resources that are
Editor • Mary Jane Dye
designed to help you promote strings. Many of you have seen the special Interim Articles Editor • Mary Wagner
customizable PowerPoint on our website and the advocacy video. These Reviews Editor • Marg Schmidt
Design and Layout • Sky Henderson
tools were created to help you advance strings at the grassroots level. Advertising Representative • Steve DiLauro
Just recently, ASTA began partnering with “Wunderkind Little Amadeus,”
a new television series designed to introduce children and their parents to
• Correspondence Subscriptions, change of
classical music. This show will begin airing this fall on public television address (send mailing label), individual issues,
stations. For more information go to www.little-amadeus.com billing, membership, and other business matters
should be directed to the ASTA National Office,
We also welcome your suggestions at the national level for programs 4153 Chain Bridge Rd., Fairfax, VA 22030; tel.
703-279-2113; FAX 703-279-2114; Email:
and projects to pursue in the advocacy realm. You can email me at asta@astaweb.com.
donna@astaweb.com or the Advocacy Committee Chair, Mary Wagner at • Advertising Deadlines are: August issue—June
5; November issue—September 5; February
mscello@cox.net issue—December 5; May issue—March 5. Inqui-
ries should be directed to ASTA National Office,
4153 Chain Bridge Rd., Fairfax, VA 22030;
tel. 703-279-2113; FAX 703-279-2114;
Email: asta@astaweb.com.
• Editorial AST welcomes letters and articles from

its readers. Query letters are preferred over
unsolicited manuscripts. For a copy of the AST Au-
thor Guidelines, visit www.astaweb.com. Inquiries
and articles should be submitted to ASTarticles@
astaweb.com.
• Reviews Review materials should be sent to Marg

Schmidt, School of Music, ASU, 40 Gammage
Parkway, PO Box 870405, Tempe, AZ 85287-
0405. Requests to become a reviewer should be
addressed to Marg Schmidt, tel. 480-965-8277;
Email: marg.schmidt@asu.edu.
• Submission Deadlines For material to be

considered for publication in the Departments
and Association News sections (including Letters
to the Editor), it must be received by: February
issue—November 10; May issue—February 10;
August issue—May 10; November issue—August 10.

www.astaweb.com | 11
AST Editorial Committee
Gregory Barnes Sharan Leventhal
Columbia, South Carolina Boston, Massachusetts
Sean Beavers Greg Sarchet

Huntington, West Virginia Chicago, Illinois
Margaret Berg Laurie Scott

Boulder, Colorado Austin, Texas
Chelcy Bowles David Starkweather

Madison, Wisconsin Athens, Georgia
William Dick Benjamin Whitcomb

Austin, Texas Fort Atkinson, Wisconsin
Emanuel Garcia, M.D. Members of the ASTA

Boulcott, Lower Hutt, National Executive Board
New Zealand
AST Forum Editors
Violin Forum, James Przygocki
Viola Forum, Helen Callus
Cello Forum, Benjamin Whitcomb
Bass Forum, Michael Fanelli
Guitar Forum, Jonathan Leathwood
Harp Forum, Saul Davis-Zlatkovsky
ASTA National Office
4153 Chain Bridge Road • Fairfax, VA 22030
Phone: 703/279-2113 • Fax: 703/279-2114
www.astaweb.com
Donna Sizemore Hale, Executive Director
donna@astaweb.com ext. 13
Beth Danner-Knight, Deputy Director, Conferences

and Member Services
beth@astaweb.com ext. 11
Jody McNamara, Deputy Director, Finance and Administration

jody@astaweb.com ext. 15
Deanna Tompkins, Director of Meetings and Events

deanna@astaweb.com ext. 24
Mary Jane Dye, Director of Communications

maryjane@astaweb.com ext. 12
John Golden, Development and Advocacy Manager

john@astaweb.com ext. 26
Sky Henderson, Manager of Publications and

Graphic Design/Webmaster
sky@astaweb.com ext. 10
Kari Hahn, Director of Membership

kari@astaweb.com ext. 14
Libby Dietrich, Meetings and Events Manager

libby@astaweb.com ext. 28
Erin Gallagher, Membership and Conference Coordinator

erin@astaweb.com ext. 16

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

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

Outstanding Student Enjoy Your Complimentary
Chapters Wanted! Copy of Teen Strings
Don’t miss your opportunity to submit your application to be selected We hope you enjoy the latest issue of Teen
as the 2009 Outstanding Student Chapter. The award will be pre- Strings, which accompanied this issue of
sented at the 2009 ASTA National Conference in Atlanta, Georgia. AST. Teen Strings, the magazine for the next
Applications are due no later than December 1, 2008. Please visit the generation of violin, viola, cello, bass, and
student chapter section at www.astaweb.com for more details. fiddle players, is brought to you by String
Letter Publishing, the publisher of Strings
magazine. Geared toward younger string
Potter’s Violins Instrument players, Teen Strings is all about the benefits
of string playing and the creative, social,
Award Winners intellectual, and professional opportunities string playing opens
up for young people.
ASTA is pleased to announce that three young musicians were Teen Strings has proven to be a great tool to help teachers inspire
awarded instruments by The Potter Violin Company, based in their students. With Teen Strings, you too can give young players a
Bethesda, Maryland. Twice a year, Potter’s Violins donates three voice of their own as it reflects their musical activities, aspirations,
instruments to deserving young musicians who demonstrate and dreams. To subscribe to Teen Strings or to share copies with your
particular need and talent. The recipients of instruments for the students, call 1-800-827-6837 or go to teenstrings.com.
2008 April round of the Potter’s Violin Instrument Awards are:
• Ariel C.D. Manning of Atlanta, Georgia – violin
• Heather Mueller of Chippewa Falls, Wisconsin – violin CodaBow Awards
• Kenneth L. Trotter of Friendsville, Tennessee – violin
Every year, CodaBow International, Ltd., donates approximately
For more information on the award, or to download an ap- $5,000 worth of full-size CodaBow Aspire bows to deserving schools
plication, please visit www.astaweb.com. The postmark deadline and studios. Violin, viola, and cello bows are awarded. Applications
for the October 2008 awards is October 1. are accepted from ASTA members on behalf of schools or studios that
outline the particular worthiness, promise, and need of their program.
John Golden Joins ASTA ASTA is pleased to announce that bows were awarded to:
• Eastview Middle School - Bartlett, Illinois
National Staff (Jennifer Gontarek)
• Grants Pass School District #7 - Grants Pass, Oregon
John Golden, development and advocacy (Krista DeBolt)
manager, joined ASTA in April 2008. Golden Please visit www.astaweb.com for more information on the
received a B.A. degree in English literature award or to download an application. The next postmark deadline
from Saint Michael’s College in Vermont. He for this outreach program is April 1, 2009.
began his career in the nonprofit association/
human service arena in 1992. He worked
with at-risk youth in both inner city and rural
areas of New York and Massachusetts prior to
ASTA Pushes Congressional
John Golden
returning to Vermont where he was involved
in alumni work for his alma mater, and Associates Program
responsible for the day-to-day operations of a homeless shelter.
After relocating to northern Virginia in 2004, Golden worked for This past July, ASTA sent out more than 200 faxes to members of
another homeless services organization. He later joined Ronald the Congressional Arts Caucus and the Senate Cultural Caucus to
McDonald House. He dedicates his personal time to local commu- encourage membership in ASTA’s free Congressional Associates
nity theater and volunteer activities such as Greyhound Rescue and Program. The one-page fax was designed to draw the attention
the American Legion Post 177. of democrats and republicans alike and used famous quotes by
former presidents on music and the arts. One of the biggest
ASTA Certificate Program advantages for joinning this free program is a gratis listing on
ASTA’s webpage with a picture, bio, and personal quote on why
Changes Its Name music is important in today’s society and for future generations.
“It will be interesting to see if this grassroots effort garners any
response,” says Donna Hale, ASTA executive director. “As many
The national board of directors voted to change the name of the
Certificate Program for Strings (CPS) to the ASTA Certificate of you already know, getting information through the mailroom
Advancement Program or ASTACAP, informally. This change on Capitol Hill is difficult since 911.”
took effect July 1, 2008. State chapters should continue to use
any current supplies that they have on hand and request new
supplies as needed. For more information on the ASTACAP
program, please visit www.astaweb.com.
ASTA Welcomes New Members
The following list reflects individuals and organizations who joined the association between April 1 and June 30, 2008.
Welcome to ASTA!
Individual Annette Cleary Jonathan Holtfreter Debbie McDonald Miya Saito-Beckman Tricia Wilburn
Members Jennifer Coalson Grainne Hope Thomas McDonald Nelda Sanker Christine Williams
Samuel Cogburn David Horger Carol McNeely David Sariti Kelley Williams
Elizabeth Adams
Barbara Corbato Jane Horswill David Mei Janet Sawyer Thomas Wood
Sonia Aki
Paul Cortese Beth Hough Mark Mendelsohn Amy Schuetz Elizabeth Wright
Elora Alden
Susan Drew Coson Linda Howard Deborah Meyer Danette Schuh Ching Fang Wu
Jamie Allen
Drew Cryer Ellen Howerton Patrick Miller Sherrill Shaffer Yu-Hua Wu
Yessenia Amaya
Amanda Cushman Lawrence Huang Jennifer Miyahira Barry Shapiro Albert Wu
Levon Ambartsumian
Eric Dahlgren Thomas Huntington Bonnie Mohr Thomas Shaw Allison Wyatt
Paran Amirinazari
Andrea Dawson Austin Huntington Olivia Mok Julie Slama Makiko Yamauchi
Tony Andre
Rickie Denton Joy Indrelie Santiago Morales Leonora Sleeter Clara Yang
Christiane
Grant Donnellan Jeff Jacobsen Jonathan Mott Carol Smith Jennifer Yopp
Appenheimer-
Alexandra Dreyfuss Stephen Johnson Riana Muller LaDonna Smith Susan Young
Vaida
Joyce Dubach Lynn Anne Johnson- Sachi Murasugi Linda Smith Cooper Beth Yue
Nicola Aversa
Rachyl Duffy Lange Mikylah McTeer Holly Smith Talton Kellen Zakula
Mindy Ball
Sara Duval Rochelle Jones Antonia Nelson Robin Soden Lori Zimmermann
Patricia Balster
Thomas Echols Elizabeth Jones Jessica Nickel Kevin Song Donna Zitzelberger
Fran Bard
Arthur Edelson Er-Gene Kahng Monica Noon Jann Sparks Erin Zurbuchen
Karin Barg
Megan Edinger Michaela Keating Elizabeth O’Brien Matthew Spieker
Jordan Bayorgeon
Stuart Eisen Tascha Keettel Tara Ogden-Skouson Michael Sporre
Jennifer Bearup
Thomas Elliott Megan Kenny Karl Olson Anthony Springer Institutional
Michelle Beauchesne
Kelly Evans Derin Kenny Robert O’Reilly Jenete St. Clair Members
Katharina Becker
Thea Farhadian Phillip Kent Lisa Ornstein Craig Stanton
Melissa Belgen Texas Tech University
Kelly Farrell Alexander Kerr Michael Oshiver Kathleen Starr
Monte Belknap School of Music
Elizabeth Feetham Jolene Kessler Merietta Oviatt Kristina Stingle
Sarah Belt Pittsburg State
Laura Felton Christopher Kneisel Marie Parker Jennifer Sullivan
Ramiro Benavides University
Elizabeth Feola William Koehler Cicely Parnas Sharon Taylor
Megan Benjafield University of New
Sarah Fertig Wang Brian Koenig Susan Pascale Stacey Thompson
Alyson Berger Hampshire
Charles Fidler Haley Krajewski Dori Pavel Judith Thompson
Ligon Bert UCLA Music
Rosamond Finley Charles Kreitzer David Peek Kathleen Thomson
Christine Beverson Department
Garrett Fischbach Misha Kuchuk Stephen Phalp Pauline Thomson
Stacey Binder The Community Music
Michael Fizzell Arthur LaBrant Emily Pierce- Inge Throckmorton
Henry Birge-Lee School of the
Aisling Foley Fredell Lack Heuschele Michael Tinus
Bonnie Black Piedmont
Wesley Follett Kristin Landis Brian Powell Richard Todd
Michael Blostein University of Miami
Julie Gage Diana Lanpher Karie Prescott Buffy Tolstedt
Reuben Blundell Frost School of
Dianna Gallacher Enrique Lasansky Neil Puzon Scott Tran
Anabel Blythe Music
Annabelle Gardiner Travis Laughlin Erin Quinton Robert Trent
Elizabeth Bond
Tiffany Ge Kendra Law Michael Rado Erica Trocino
Christine Bonds
Eric Geier Dylan Lawless Elizabeth Reardon Olivia Tsui
Laura Bosela
Jay Gilbertson Erin Lawson Tommy Reddicks Myra Valdez
Jeanne Bourgeois
James Giles Kimberly Le Ariel Redfield Celia Valerio
David Bowes
Brenna Gillette Eric Le Van Maile Reeves Elizabeth Van
Rebeca Boyd
Diana Gilliland Michelle Leavitt Kevin Reidy Benthuysen
Cammie Brennan
Bridget Glynn Gaye LeBlanc Robin Reimer Dorian Vandenberg-
Matthew Briere
Sarah Gold Jean Lenoir Caroline Reiner- Rodes
Candace Brower
Emma Goldberg Betty Lin Williams Ligia Vascan
Lora Brown
Sidney Goldstein Robert Lipsett Stephen Reinfranck Gilbert Velez
Laurie Bruckner
Anissa Gonenn Agnes Litfin David Renter Nicole Vettraino
Matthew Bryan
Susan Goudreau Shelley Livingston Jennifer Rhodes Erika Vipond
Ashley Burkhardt
Benjamin Greene Burke Lokey Julie Ribchinsky Leykin Vitaly
Tinder Burris
Marjory Grusky Janet Lyman Karen Ritscher Christina Voto
Nancy Butcher
Terence Guerrero Emily Lyons Valerie Ritter Jui-Chao Wang
Helen Callus
Janet Guy-Klickman Jason Majewski Sarah Roark Jessica Warren
Arlette Cardenes
Jordan Han Zachary Mansell Brittany Robson Christine Watts
Janice Carlson
Alice Hanel Kevin Marcinko Joseph Rodgers Metta Watts
Javan Carson
Michael Hanf Nathan Mark William Roehrs Shirley Weaver
Elizabeth Chang
Johanna Hartman Andriana Markano Laurie Rominger Christina Wedberg
Tiffany Chang
Thomas Hartman Stephen Marr Sharon Rondeau Jane Weigel
Lucy Chapman
Naomi Hasan Gerry Marsh Svend Ronning Andrew Weihrauch
Jamie Chapman
Tara Hayes Natasha Matveeva Michael Ronstadt Rebecca Wenham
Stephanie Charlton
Tamir Hendelman Michael May Dennis Root Thomas Wermuth
Sarah Chelgren
Jeraldine Herbison Dana McComb Jay Rubottom Lukasvincenty
Harry Chiang
Hillary Herndon Miles McConnell Sarah Russell Whaley-Mayda
Jennifer Chieffalo
Randen Heywood Jan McCosh Crystal Sabik Chad Whalley
Jennifer Chin
Curtis Hiyane Shannon McCue Kiarra Saito- Rita Whitaker-Haun
Jules Christeson
Ashley Holbrook Colleen McCullough Beckman Sarah Whitehouse

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

American String Teachers Association Application
Celebrating Alternative Strings: Deadline
The Biennial Alternative Styles Awards October 1, 2008
March 18-21, 2009 • Atlanta, Georgia
Personal Information Please print clearly or type.
Name ___________________________________________________________________________________________________________________
Teacher’s Name ________________________________________________________ ASTA member ID of applicant or teacher _________________
Instrument ________________________________ Alternative Style(s)/Genre(s) ________________________________________________________
Age as of March 18, 2009 ___________________________________ Birthdate ______________________________________________________
(Please attach proof of birthdate: copy of birth certificate, driver’s license, etc.)
Senior Division (ages 19–25) born on or after March 18, 1984, and before March 18, 1990.
Junior Division (ages 14–18) born on or after March 18, 1989, and before March 18, 1995.
Elementary Division (through age 13) born on or before March 18, 1996.
Permanent Home Address ___________________________________________________________________________________________________

City, State, Zip ___________________________________________________________ Country _________________________________________
Home Phone _____________________________________________________________ Email ___________________________________________
College or Temporary Address (optional) _______________________________________________________________________________________

City, State, Zip ___________________________________________________________ Country _________________________________________
Home Phone _____________________________________________________________ Email ___________________________________________
Honors/Awards
(not mandatory, attach additional paper if necessary)
________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________
Recorded Selections (title and composer) submitted on VHS or DVD:

1. ______________________________________________________________________________________________________________________
2. ______________________________________________________________________________________________________________________
3. ______________________________________________________________________________________________________________________
Applicants are encouraged to attach any additional supporting materials that may enhance the application.
Membership
Become an ASTA student member today for only $30. (This is additional to the $75 entrance fee.)
Completed entry form, recording, supporting materials, and $75 entry fee (check payable to ASTA) must be postmarked by October 1, 2008,
and mailed as a single package to:
ASTA Alternative Styles Awards
4153 Chain Bridge Road
Fairfax, VA 22030
I understand that I must adhere to all criteria published with this application to be eligible to participate.
Applicant’s Signature ___________________________________________________________________ Date ______________________________
Parent or Guardian’s Signature ___________________________________________________________ Date ______________________________
(needed if applicant is younger than 18 years of age)
Sponsored by:
National Solo Competition
Information
Finals held March 18- 21, 2009 in Atlanta, Georgia
at the Florence Kopleff Recital Hall
Co-Sponsored by Georgia State University
What is the National Solo Competition?

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

co-sponsorship of the National Solo Competition Finals!
National Solo Competition Entry Form
March 18-21, 2009 in Atlanta, Georgia
Name _________________________________________________________________________________
Address ________________________________________________________________________________
City, State, Zip __________________________________________________________________________
Phone ____________________________________________ Fax _________________________________
Email _____________________________________________ Instrument___________________________
Age _______________________ Birth date________________________________________
Division Are you a member of ASTA?
̆ Junior ̆ yes
̆ Senior ̆ no
ASTA ID number_____________
Is your teacher a member of ASTA?
Which state competition did you enter?
________________________________
̆ yes: ASTA ID Number_______________
̆ no
̆ not sure: Teacher’s name_______________________
Repertoire (on recording) __________________________________________________________________
_______________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
Competition Prizes, Significant Concerts, Festivals, and Honors (5 lines maximum): ______________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
______________________________________________________________________________________
Students, please return the following components to your state chairperson by their deadline, or Nov. 1,
whichever is earlier. For list of state chairs, visit www.astaweb.com.
I have read and understand the Solo Competition Guidelines and Responsibilities. I understand that I am responsible for all costs
associated with advancing to the ASTA National Finals in Atlanta, GA (including travel, lodging, meals etc.). I understand that I will
be provided an accompanist or will notify the National Office that I am securing my own. I understand that if I am selected by the
national committee to participate in the finals of the National Solo Competition at the national conference, I may not participate
in the Alternative Styles Awards program or be part of a participating National Orchestra Festival group due to overlapping
schedules that disrupt the overall experience of all participants.
Applicant Signature __________________________________________________________ Date _________________________
Parent/Guardian Signature (required for Junior Division Applicants) __________________________________________________
State Chairs, please return the following components for each entrant postmarked by November 15, 2008.
• 2 copies of entry form with proof of birth date (birth certificate, license, etc.).
• Non-refundable entry fee of $75 USD made payable to ASTA.
• CD or cassette recording of national repertoire requirements
Return to: ASTA/2009 National Solo Competition • 4153 Chain Bridge Road • Fairfax, Virginia 22030
Tel: 703-279-2113, ext. 28 • Email: libby@astaweb.com
E l iz abeth A.H . G reen
S c h oo l E du cator A war d
ASTA Committee on School Orchestra and Strings
The Elizabeth A.H. Green School Educator Award is presented annually to a school
string teacher with a current and distinguished career in a school orchestral setting.
ASTA members making nominations should complete and submit this form to the ASTA
National Office with a postmark no later than November 1, 2008.
Late forms will not be accepted.
1. The selection committee will photocopy all materials submitted, so it is important that all information be typewritten or printed legibly.
2. Nominee must currently be active in teaching strings or orchestra in a regularly scheduled school setting.
3. Nominee must have a minumum of 15 years of successful school string/orchestra teaching experience.
4. Nominee’s program must be for school-aged children through the 12th grade.
5. Nominator and nominee must be current ASTA members.
6. Note: Nominations will be kept on file for three years. Nominees not selected this year will automatially be included in the next two
years of applications.
Nominee
Nominee Name ____________________________________________________________ Title_________________________
Address___________________________________________________ City___________________ State_______ Zip________
Phone___________________________________________ Email_________________________________________________
Current position__________________________________________Years in position__________ Years in profession__________
Name of school district: ____________________Location of school district (urban, rural, or suburban): _____________________
Grade level(s) currently teaching (HS, MS/JH, Elementary, and/or Pre-K): ____________________________________________
Number of schools where currently teaching: ____________
Nominator
The selection committee’s initial assessment of the nominee will be based upon a narrative provided by the nominator. The narrative
must address all of the following issues in the order listed: the nominee’s impact on students; the nominee’s impact on the musical
development in his/her school, community, and state; the nominee’s pursuit of his/her own professional development: a listing of
past teaching awards and other awards; and a listing of nominee’s service to the profession through state and national leadership
activities. Note: Be sure to use detailed examples in each section of the narrative to provide the selection committee with a complete
description of the nominee’s qualifications.
Nominator Name __________________________________________________________ Title__________________________

Address___________________________________________________ City__________________ State_______ Zip_________
Phone_______________________________ Email_____________________________________________________________
References
Please obtain and submit with this application at least 2 letters of recommendation for the nominee. The selection committee
will narrow the applicant pool (using the narrative provided by the nominator). Upon arriving at the semifinal list, the committee
will contact three references that will need to be able to speak of the abilities of the nominee. These references must include an
administrator, a teacher/colleague, and a student or parent.
Please submit application to:

Elizabeth A.H. Green Award • American String Teachers Association • 4153 Chain Bridge Road • Fairfax, Virginia 22030

A wa r d s a n d C i t a t i o n s
This impressive list of ASTA award winners emphasizes that our organization is the leading string education and performance association.
ASTA congratulates our many award winners, who have been influential in the lives of thousands of string students, teachers, and players.
Artist Teacher Award

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

Citations for Leadership 2004 1996 1985
and Merit Lynne Aspnes Judy Evans James Ceasar
Renata Bratt Robert Klotman Cleveland Foundation
2008 Andy Dabczynski Anne Witt Coleman Chamber Society
Albuquerque Youth Symphony Gerald Klickstein Louis Kievman
Richard Anshutz Julie Lyonn Lieberman 1995 Gene Morlan
Joshua Bell Kirk Moss Dorothy A. Straub
Amy Fear-Bishop Martin Norgaard 1984
Judy Bossuat Deborah Perkins 1994 LeRoy Bauer
Lynne Denig Bob Phillips Edward Adelson Warren Benfield
Jeremy Denk Mary Alice Rich-Wittrig Jody Atwood Marla Mutschler
Robert Gillespie Louise Rossi Robert Culver Louis Potter
Donald Hamann Jeffrey Solow Doris Gazda Marvin Rabin
Joanne May Edmung Sprunger Lawrence Hurst William Starr
Denese Odegaard Carol Tarr Robert Klotman Francis Tursi
Jung-Ho Pak Leslie Webster Oscar Zimmerman
Shanghai Quartet Leslie Wimsatt 1993
Mimi Zweig Ross Capshaw 1983
Lya Stern
Gordon Epperson Nancy Cluck
Leslie Webster
2003 Edward Krolick
Renata Bratt 1992 Siegfried Palm
2007
Connie Aiken Stanley Chepaitis Louise Behrend 1982
Renata Bratt Andrew Dabczynski Gerald Doan Patrick Burrougs
Michael Carrera Robert Gardner Joe Kirschner Tanya Carey
Marilyn Daggett Matt Glaser Jerry Cadek Lucktenberg Nannie Jamieson
Michael Gagliardo Mary Lou Jones Kevin Miller John Kendall
Robert Gardner Carol Liddle Irene Sharp Zenzo Matsumoto
Midori Goto Julie Lyonn Lieberman Eduard Melkus
Karen Higdon Kirk Moss 1991 Elizabeth Morgan
Tanya Kalmonovitch Anne Sheldon Robert Hladky Max Rostal
Martin Norgaard Mary Wagner Scott Schwab Phyllis Young
Jim Palmer Shi-Hwa Wang
Pam Phillips Leslie Webster 1990 1981
Bonnie Rideout Ronda Cole Margaret Farish
Daryl Silberman 2002 J. Kimball Harriman Art Hill
Tracy Silverman Michael Alexander Daniel Heifetz Richard Maag
David Smith Louis Bergonzi Linda Lydiard Raymond Stuhl
Kristin Turner Jeff Bradetich Anne Mischakoff Larry Zgonc
Matt Turner Tanya Carey Margaret Pardee
Turtle Island String Quartet Pamela Tellejohn Hayes Aaron Shearer 1980
David Wallace Judy Palac George Vance Neva Greenwood
Cornelia Watkins Laura Reed Markwood Holmes
Carol Smith 1989 A. Kunrad Kvam
2006 Jeffrey Solow Fredell Lack
Stanley Chepaitis Harry Lantz 1979
Janet Farrar-Royce 2001 A. Clyde Roller Robert C. Marince
David Littrell Michael Alexander Shirley Trepel Mehli Mehta
Katharine Mason Michael Allen Frederick Neumann
Kirk Moss 1988
2000 Gerald Fischbach 1978
Denese Odegaard
Edward Adelson Richard Kapuscinski Phillip Gordon
James Palmer
Robert Cowden David Walter C. Paul Herfurth
Kansas City Symphony
Bob Phillips Doris Gadza Anne Witt 1977
Vicki Richards Lawrence Hurst John Celentano
Daryl Silberman Mary Lou Jones 1987 Mary Sexton
Jeffrey Solow Dotty Kuhn Carleen Hutchins John Zurfluh, Sr.
Kristin Turner Laura Reed Milton Preves
Mary Wagner Lya Stern 1974
Mary Wagner 1986 Vera Barstow
2005 Margery Aber Joan Boney
Geri Arnold 1998 Joachim Chassman G. Jean Smith
Karen Becker Susan Kempter Abraham Chavez Priscilla Smith
Renata Bratt William Magers Lucas Drew Phyllis Young
Andrew Dabczynski Phyllis Dunn
Gerald Doan 1997 Murray Grodner 1965
Robert Greenwood Evelyn Elsing Richard Maag Marjorie Keller
Julie Lyonn Lieberman Margaret Motter Joseph Knitzer
Steve Muise Mary Wagner Lucie Landen
Bob Phillips Ralph Matesky
Daryl Silberman Gabor Rejto
Mary Wagner
Member2Member by Robert Gillespie
Strings and Volunteering: A Winning Combination

String teachers are passionate about their profession. We give, give,
give, work, work, work, defend, defend, defend. In short, we care,
care, care! I challenge you to combine that deep love and commit-
ment to strings with volunteering in your local communities.
We get the importance of strings and volunteering. We
freely volunteer much of our personal time with our students.
Who has ever gotten paid for everything that we do for them?
No one! How about taking some of that devotion and sharing
it with our communities through volunteering as string instru-
ment professionals?
Benefits of Volunteering with Strings

Let’s briefly look at the benefits of community volunteering:
• Enriches the lives of others beyond our classrooms or
private studios,
• Helps us get beyond ourselves –allows us to focus on others,
• Allows us to realize how blessed and fortunate we are,
• Gives us practical ways to help others – we may not be able
to fix someone’s car or repair their house, but we do have
the skills to bless them through strings,
• Helps us become more aware of others – not just our
students, family, and friends,
• Helps us learn to give – not hard for us, we already give,
give, give to our students,
• Helps relieve stress by focusing on others in need – the Volunteering is an important part of community service.
effects of volunteering are actually healthy!
• Helps us to personally grow and sometimes gets us beyond • Incorporate volunteering into your string teaching curricu-
our comfort zones, lum and make it a topic of discussion, research, and action
• Models good citizenship for our students when they see us that involves string instruments.
volunteer, and • Ask your students and their parents to suggest string
• Helps us to keep balance in our lives – have you ever volunteer activities. They may have suggestions you would
found yourself so deeply committed to your profession never have considered. April is National Volunteer month.
that you forget there are other important values in life and Pay special attention to volunteering with strings during
people who need us? this time.
Okay I Get It! How Do I Do It? Opportunities Are Everywhere!

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

How to Get Started
Getting started with any new activity is tough. The following are some guidelines to help us begin volunteering with strings:
1. Be practical and start small. Choose one activity that you can comfortably fit in your life. Begin with one activity for one hour per
month. Try it for a few months and then add more if it works.
2. Do not make a major life or schedule change to get the activity to work. At first, choose something that can comfortably fit in your life
without having to make a lot of changes.
3. Just try something. You may not be sure if the volunteer activity is the best one for you. Test it out a few times and see if it feels
right. If it does not, try a different activity. Keep going until you find the one or two that fit you well.
4. Do not be a perfectionist (Just like me!) and worry too much about being able to perform the activity. Just try it out and see if it works.
Those in charge can’t lower your salary if you are volunteering for free! Choose an activity that is comfortable and relatively safe for who
you so that it is easier to get started.
5. Reflect on how volunteers have affected your life and then consider how to add strings to that experience. Have you ever volunteered at
a nursing home? Bring your string instrument and play for everyone. It will brighten everyone’s day, and yours too, in a unique way that
only you as a string player can do!
6. Remember that volunteering is not about you – it is about others. Do not volunteer because who want or expect to get appreciated.
Let’s be frank. Teachers need to be in charge of their classes and private lessons. We are used to leading and controlling circumstances
and people. We are good at it, and we need to be so we can successfully teach. In our field, we are accustomed to applause and appre-
ciation. However, volunteering is not about being in charge or being appreciated. Volunteering focuses on helping and blessing others.
Volunteering is about service and serving others, not rewards and applause for us. Someone may recognize our efforts or say thank you,
but not often. That is okay. Volunteers are servants.
The Charge
We have one of the grandest professions. We get to teach and support others through the world of string instruments and music. In
the course of our work we can touch many people’s lives. We have the power to bless those around us with music that will move them,
brighten their day, and enrich their lives. Strings in our hands are powerful. I challenge you to consider touching others by using your
professional string skills as volunteers. I challenge you to use your teaching and playing to touch people beyond your classrooms, pri-
vate studios, and concert halls.
Reflect on how incomplete your life would be without strings. Have you ever tried or been forced not to play or teach for a time?
It is difficult, you miss it, and you have to return. Use that longing and gift to share with others through volunteering. Touch others
with strings in the same way you have been touched.
Combining strings and volunteering is a win-win: You will be blessed and so will those you touch.
JamesCare for Life MusicCare Program

Located at Ohio State University, the James Cancer
Hospital and Richard J. Solove Research Institute is one
of the leading cancer hospital and research centers in the
country. The JamesCare for Life MusicCare Program was
developed to enhance the quality of care for patients. The
goal of the MusicCare Program is to surround patients in
a soothing, calming atmosphere before, during, and after
their treatment or surgery.
Patients may experience live or recorded music.
All of the live music is performed by volunteer perform-
ing musicians who dedicate over hundreds of hours
playing in patient rooms or out in hospital waiting ar-
eas each year. One of the volunteers, Judy Mollenhauer,
harpist, of the Columbus (OH) Symphony, states:
“Having played the harp professionally for many
years and as principal harpist for the Columbus Symphony, Jude Mollenhauer plays bed side to an appreciative patient.
I know the joy that music has in general, and the harp in
particular, can bring to people in any state of health. Having joined the MusicCare program in January 2001, I
have had the opportunity to experience some very touching positive responses from the patients when I play the harp
in their rooms, as well as from the staff when I play in the general area near the nursing station. One patient wished
me much beauty, as I had made her day so beautiful. Another time was when I got off the elevator with my harp; a
staff member just looked, smiled, and gave a long sigh of joy.”
The James MusicCare program is free of charge to all patients at the James. It is funded by private dona-
tion and grant support.
Dr. Robert Gillespie, professor of music, is responsible for string teacher training at The Ohio State University. He has served on
the ASTA national board for six years, most recently as immediate past president (May 2008). He is a frequent guest conductor
of All-State, Region, and festival orchestras throughout the country and Europe. He has presented string teacher sessions,
workshops, and conducted concerts at national and state music educator conferences in 44 states and Canada and Europe.
Using a Practice Diary to Promote
Self-Regulated Instrumental Practice
by Susan J. Kim
“Practice is everything.” This is often misquoted as “Practice makes perfect.”

Periander (ca. 625-585BC)
A s a studio violin teacher, I

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

The practice diary can also be used as a practical tool for studio music teachers to examine their students’ daily practice behaviors. To
promote self-regulated learning in students at various ages, the following three self-teaching phases should be used (Jorgensen, 2004):
• Planning and preparation of practice,
• Execution of practice, and
• Observation and evaluation of practice .
The Semi-Structured Practice Diary

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

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

The questions in the third phase should be answered after second phase questions.
1. How did I sound?
The student ought to think like a medical doctor by diagnosing strengths and weaknesses in order to prescribe solutions
to problems, so practice can be more effective. This phase of the self-regulated learning cycle is crucial to knowing how to
continue practicing. The student needs to reflect upon how he practiced, and how he sounded in order to figure out his next
plan. Students in the study found the semi-practice diary a helpful tool to articulate what they heard and reflect on their
practice session. They also found it to be a concrete way to keep track of their progress.
2. What are some problems that I encountered during this practice session? How am I going to go to fix them?
Practicing becomes more effective once you identify the problem and only then can you solve it by coming up with possible
solutions. This question reminds the student to identify problems on a regular basis. However, the teacher may need to
challenge the student to probe deeper to help get to the root of the problem. This question served as a reminder to not only
identify problems, but also to think through their problems. By articulating them on a daily basis, the students developed
better critical thinking skills and problem-solving skills.
3. Did I accomplish the goals that I set at the beginning of the practice session? Which ones?
Practicing becomes more rewarding when a student sees the fruits of his labor. The students in this study felt a sense of progress
when they were able to reach the goals they had set at the beginning of the practice session. They also learned what kind of goals
were reachable within a practice session. Ultimately, setting specific short-term goals helped them reach longer-term goals during
the period of the study. In addition, they became more motivated to practice as they accomplished smaller goals on a daily basis.
4. How did I play musically?
When a student overly focuses on the technical aspects of playing, musical expression can be compromised. This was the case
with some of the students involved with the study. They struggled with balancing technical work with musical expression.
However, this question served as a reminder to play musically during their practice sessions. As a result, the students enjoyed
practicing more because they did not get into the mindset of only thinking about the technical aspects of playing. Teachers
can encourage their students to think and play more musically by asking them to write a story that would go along with the
music or by asking them to describe the music in colors or emotions.
5. What is my next plan of action?
The last question of the semi-structured practice diary should help the student plan and prepare for the next practice session.
This question directs the student back to the first phase of the self-regulated learning cycle.
Summary
Most students self-regulate their learning to some degree; still, all students can benefit by learning how to practice more efficiently. The
student can use the practice diary as a tool to remind himself of some of the important elements of effective practicing. The practice
diary is also a way for a student to keep a record of progress over the week or even a month.
The students found the diary useful in making them more aware of how they learned during their practice sessions. They were also able
to achieve their goals during the four-week period of the study, and they became more confident in the way they practiced on their own.
Teachers can use the semi-structured diary to examine their students’ practice habits and diagnose persistent problems. With the
diary, they can assist their students to develop more efficient practice habits. The practice diary can also serve as a catalyst for discus-
sion and exploration of better practice strategies and practice habits between the student and teacher, as well as for the students in the
same music studio.
Instructions
The semi-practice diary’s forms can be copied for each day of the week and put in a binder for each student. Younger students might
need more help using the semi-structured diary. Teachers might consider going over the questions with each student and give examples
of various practice strategies or good practice behaviors. Studio teachers may tailor the practice diary to the needs of each student as
long as the integrity of the self-regulated learning cycle is preserved.
References
Bandura, A. (1991). Self-regulation of motivation through anticipatory and self-reactive mechanism. In R.A. Dienstbier (Ed.), Nebraska Symposium on Motivation: Vol. 38. Perspectives on
motivation (pp. 69-164). Lincoln: University of Nebraska Press.
Galamian, I. (1964). Principles of Violin Playing and Teaching. London: Faber & Faber.
Hallam, S. (1995). Professional musicians’ approaches to the learning and interpretation of music. Psychology of Music, 23(2), 111-128.
Jorgensen, H. (2004). Strategies for individual practice. In Williamon, A. (Ed.), Musical Excellence: Strategies and Techniques to Enhance Performance. (pp. 85-103). N.Y.: Oxford University
Press, Inc.
McPherson, G.E. & Zimmerman, B.J. (2002). Self-regulation of musical learning. R. Colwell & C. Richardson (Eds.), The New Handbook of Research on Music Teaching and Learning (pp.
327-347). New York: Oxford University Press.
Miklaszewski, K. (1989). A case study of a pianist preparing a musical performance. Psychology of Music, 17, 95-109.
Zimmerman, B.J. (1998). Developing self-fulfilling cycles of academic regulation: An analysis of exemplary instructional models. In D.H. Schunk & B.J. Zimmerman (Eds.), Self-regulated
learning: From teaching to self-reflective practice (pp. 1-19). New York: Guilford Press.
Susan J. Kim, violinist, recipient of the Charles Petschek Award and Michael Cohen Scholarship, studied with Sally Thomas and
Joel Smirnoff, receiving her B.M. and M.M. at the Juilliard School. She went on to receive a doctor of education degree from
Teachers College Columbia University and is currently on the Preparatory Division faculty at Mannes College of Music. Kim has
performed across the United States, Canada, Germany, Japan, and Korea as a soloist, an orchestral player, and a chamber
musician.

Challenging the
Middle
School
Orchestra
Musician
By Gail V. Barnes
We want to challenge our students—but, to do what? Play faster? Higher?

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

25 Common Ratings Statements the larger objective. the back of the chair and have the soles
Ensemble Another aspect of both feet flat on the ground. Teachers
Players watch conductor. may be learning to may also want to take a closer look at their
Ensemble plays together. speak in terms of orchestra room chairs. Do the students
Chordal accompaniments are together. “we.” As an example have a fighting chance of sitting up
Players show evidence of listening to one another. rather than “I want straight in bucket chairs or even worse…
Attacks are clearly defined. to hear. . .,” or “Play metal folding chairs? One possible way to
Overall texture is clear. it this way for me...,” get musician’s chairs is to ask parents to
Left hand focus on “What we donate one in honor of their child. Add
Cadence points are in tune. want to do.” This can a small brass plaque on the back, with the
Vibrato speed and width contribute to artistic impact. be done by simply child’s name imprinted serving as a lasting
Chromatic alterations are in tune. giving two choices legacy to their time in your group.
Lowered fingerings are in tune. and then asking
Raised fingerings are in tune. the students to vote Challenge Three: Rhythm
Position for one. It is bet- Rhythm issues can frequently seem
Players demonstrate correct instrument position. ter to progress from abstract to a child instead of something
Players demonstrate correct left hand position. broad to more subtle they can internalize. If we want dotted
Players demonstrate correct right hand positions. choices or perhaps rhythms to be accurate and precise and
Players demonstrate lengthened and balanced posture. even open-ended all notes to be sustained for the notated
Players demonstrate uniform bow placement. ones. This may lead value, how do we bring those concepts to
Rhythm to the feeling of los- our students? Sometimes children become
Dotted rhythms are accurate and precise. ing a bit of control confused about where to start counting.
Notes are sustained for the full notated value. over the class, but if Here’s an idea…They all have measuring
Players demonstrate control of bow speed. the students begin to cups or tape measures at home, and they
Tempo understand how they know those particular devices start with
Tempi are fast enough. can influence shaping zero—so, when they count to three for
Tempi are appropriate to style of composition. the piece, they may a dotted half note, they stop when they
Presentation pay more attention get to three, just as with a measuring cup,
Ensemble has a uniform appearance. and take greater pride they don’t want to overflow. Just because
Ensemble has a professional appearance. in their work. This you explain that music starts on one and
Bow will influence their the need to hold the beat to beat four may
Players use enough bow speed. sense of ownership seem obvious to us, but not so much to
Players use sufficient bow weight. and integrating music the average 11 or 12 year old.
into their lives. What about developing an internal
Young children will frequently at- pulse? While being able to move to music
These items, along with a positive struc-
tribute success to effort, but middle school is a preliminary step either with the body
ture for the orchestra rehearsal, may be
students have more of an understand- or by foot tapping, we also want our
used to provide focus and direction for
ing of the difference between effort and students to able to internalize the beat.
both teacher and students.
ability than younger children. We need Robert Culver, professor of music educa-
to increase their attributions to effort. If tion at the University of Michigan, chal-
Challenge One: Goal Setting
they are encouraged to try harder and not lenges students with the following: a) First,
Sometimes, the six to eight weeks we have
accept mediocrity, there is some evidence clap or snap a consistent pattern of quarter
to prepare our students for a performance
they will read this as an ability cue and notes b) stop after a time and ask the
seems light years away. We can focus our
that they are capable of higher achieve- students to clap together after a specific
efforts by prioritizing: position, rhythm,
ment. Children are not easily fooled and number of beats after you stop the pattern
intonation, tone, ensemble, and presentation
may infer lack of ability from an excess (call that beat one). The students will see
(stylistic elements). While it may not always
of sympathy (Asmus, 1985; Austin & if they can audiate the beat without exter-
be feasible or even desirable to keep these as
Vispoel, 1992; Schmidt, 1995). nally displaying it.
discrete categories, it is one way of creating
shorter-term goals so that students will focus.
Challenge Two: Position Challenge Four: Intonation
Each rehearsal needs to be structured
Every orchestra member must have a Accurate intonation is a lifelong quest
with specific goals that will be meaning-
lengthened and balanced position. Middle- for most string musicians. For middle
ful. One method of doing this comes from
school students are sometimes growing school string players, it may help to teach
Christopher Selby, an orchestra director
at such a rapid pace that, all of a sudden, concepts in polarities: teach good intona-
in Richland School District 2 (Colum-
those good habits we thought were in- tion by modeling accurate intervals and
bia, SC): Stage 1—first introduction to
grained seem to disappear. Middle-school then comparing them to out-of-tune
the piece; Stage 2—working through the
children seem to be trying to hide and curl intervals; having second violins and violas
structural elements and Stage 3—polish-
into themselves. They must be continually manipulate the third of the chord to be
ing the piece for performance. These three
but gently reminded to sit up away from either minor or major; model an out-of-
stages create smaller goals on the way to
tune leading tone and the resulting lack an unintentional accent and is not very Doppler effect (articulation coming in
of tension. Sometimes intonation may be musical. Make students aware of this issue waves rather than at a single moment) that
clouded by less than accurate rhythmic and teach them to lighten the bow weight, can sometimes occur in young orchestras.
alignment. Another contributing factor is and bring the bow closer to the finger- Optimally, the orchestra should have the
less-than-effective playing position (there board on the shorter note. This helps the same blend from any angle of the listener.
are many specific examples that you could overall expressivity of the sound. Altering
cite), and a lack of understanding of finger the bowing to hooked bows can also work! Challenge Seven: Tempo
patterns. There are several systems for the Middle school students should also Tempi need to be fast enough or slow
latter, the most common being the Bornoff be challenged to avoid open A and E enough. That may seem obvious but
fingering system. Sometimes string and strings. Using a fourth finger (or second does not always happen by concert time.
orchestra teachers isolate the issue to two or third position for the cello) can create Bill Jones, from the University of Iowa,
notes or even one note, circulating around new intonation issues but those can be believes the first reading must be at the
the group and having each student play, adjusted. Once students make the left-arm correct tempo, no matter how many notes
note-by-note. This can be inefficient, adjustments that make the fourth finger get dropped. The students then get a sense
because it is actually easier for students to feasible, they will enjoy the more pleasant of their ultimate goal. In Stephen Covey
hear pitches in context, three to four notes sound of the fingered pitch. The violin and terms, we need to begin with the “End
at a time, as in i.e. D-E-F#-G rather than viola left hand (and elbows) may only be in Mind.” Middle school students have
just the F#. Another suggestion for this age set properly when the fourth finger is used a frequent tendency to rush the tempo.
group is to have them experiment with res- correctly and consistently. There are a couple of strategies for work-
onance: Students play a fast down bow on ing with this problem. First, describe the
an open D or G and “whip” the bow off Challenge Six: Ensemble performance as the telling of a story. If
the string and listen for the “ring.” Then, The most heavily weighted item in the one talks too fast or hurries to the end, the
the teacher can model an in-tune and OPRS was “players watch conductor.” story isn’t as enjoyable. Second, try using
out-of-tune fingered note of her choice, Developing an internal pulse can go a long a loud metronome such as the McAdams
bowed the same way and demonstrate that way toward keeping the group together, tuner-metronome or a Dr. Beat connected
in-tune notes will have resonance also. but the orchestra will never be able to play to an amplifier to serve as a unifying force
expressively or feel the potential power of in the school orchestra. When students
Challenge Five: Tone the music without watching the conduc- start rushing, make the beat five or 10
The bow presents a unique challenge to tor. One trick is to have the students degrees slower. If they continue to rush,
young string players and is affected by all hold or release a note while watching us decrease it five or 10 degrees more. They
the preceding elements: position, rhythm, during scale exercises. This trick forces the find this maddening, but it does have the
and intonation. Use of the bow and students to watch but that can fly out the effect of making them pay more attention
pitch are mutually dependent because an window once we get absorbed rehearsing to keeping a steady pulse.
unfocused bow stroke can make the pitch pieces. This is evident in performances,
sound muddy. Conversely, out-of-tune both adjudicated and otherwise, when the Challenge Eight: Presentation
pitches will never have a resonant sound. students are burrowed into their music and As with sports, suiting up appropriately
Sometimes we can become so focused on we may only see the tops of their heads. for an activity helps the young player
performances that we may forget to look at Perhaps another approach is develop- recognize that he or she is getting ready to
bow holds to be sure they’re still bending ing their musical sensitivity through their do something important. Not all middle
the (first) right thumb joint. If this is the listening skills. If students practice in school orchestras have adequate resources
case, students are handicapped by playing quartets, they may begin to have a greater to purchase concert dress for every child.
with crooked bows and almost always pri- understanding of the importance of their If this is the case, explore fundraising
marily, in the upper half of the bow with a section’s musical line. Not all middle options to purchase concert attire, thus
drooping right elbow. Try capturing middle school orchestra facilities are fortunate gaining uniformity. To make another com-
school students’ imaginations by describing enough to have practice rooms, so another parison to sports, it also helps the group
the palette of tone colors that are available option is dividing the students into small feel like a team.
to them. If they can control bow speed and groups and have them scattered around Variety in the aural experience of the
weight, draw the bow parallel to the bridge, the room. Each player will have both an listener is also important, and it is easier
control the distance from the fingerboard individual and a group responsibility. than ever to find varied literature. Students
to the bridge, they can vary their sound, It can also be valuable to vary the love rhythmically driven pieces. They are
leading to a more exciting sound. Make seating within the traditional set-up. This keen on pieces written in a modal or mi-
sure they understand that sometimes requires work on the part of the director, nor tonality and also enjoy novelty pieces.
the bow is too light, so we must make it shaking things up and getting the students Students also need expressive pieces that
heavier with right arm weight. Sometimes out of their comfort zones. One system can initially be a tougher sell. These will
it is too heavy, and we must make it lighter may be to rotate one stand forward each help students really develop their sound,
with a lifting effect that incorporates the week (second stand moves to first, first control their pitch, watch the conduc-
right arm and thumb. stand rotates to back, etc). Many directors tor, and pay attention to their role within
Middle school students may fre- may wish to have their more confident the school orchestra. Meeting all of these
quently yank at the bow during certain players lead the section for performances, challenges is not easy, but all add up to a
rhythmic figures, e.g. dotted half note, but it may be worthwhile to consider hav- quality teaching and learning and experi-
followed by a quarter note, dotted quarter, ing a strong player/anchor in the rear of ence for both student and teacher.
followed by an eighth note. This leads to the section. This can help with the mini-

References
Asmus, E. P. 1985 Sixth grader’s achievement motivation: Their views of success and failure in music. Bulletin of the Council for
Research in Music Education, 85:1-13.
Austin, J. R. & Vispoel, W. P. 1992 Motivation after failure in school music performance classes: The facilitative effects of strat-
egy attributions. Bulletin for the Council of Research in Music Education, 111: 1-13.
Boardman, E. 1989 Dimensions of musical thinking. Lanham, Maryland: Rowman & Littlefield Education
Schmidt C. P. 1995 Attributions of success, grade level, and gender as factors in choral students’ perceptions of teacher feedback.
Journal of Research in Music Education: 43:313-329
Smith, B & Barnes, G. (2007)Validation of an orchestra performance rating scale. Journal of Research in Music Education,
55:268-280.
Gail Barnes is associate professor of string teacher education, director of

the USC String Project and area coordinator of music education at the
University of South Carolina. She edited Applying Research to String
Teaching and Playing for the American String Teachers Association and has
developed an online community for string and orchestra teachers, present-
ing best practices in string and orchestra teaching through video in an
online forum.
M astering the Unknown:
Guidelines for Successful
Orchestra Auditions
by Garrett Fischbach
Orchestra auditions and recitals require differing methods of

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

That story sounds pretty grim, but the good news is that you Must I Know the Score?
can still win an audition under those circumstances. What follows You will have an advantage if you know what else is happening in
is advice on mastering the skill of playing your best even in the the score. That doesn’t mean that you must memorize every part
most disorienting of circumstances, as well as answers to many in the orchestra, and although it is always useful to see a score, if
frequently asked questions regarding preparing for and taking access to a particular score is difficult, you can still do without it.
orchestra auditions. Usually careful listening to a few standard recordings will tell you
the important points: who has the melody, what other aspects
The Importance of the “Mock Audition” of rhythm, articulation, and voicing are present in the score that
A large part of your preparation must be devoted to putting your- might affect the way you play your part, and especially, what
self into unfavorable circumstances by playing practice auditions. traditional unmarked rubato or tempo changes exist.
You will have to use your imagination to come up with ideas that
will best challenge you. You can call one professional colleague, Why Are There So Many Spiccato Excerpts?
and ask him to gather one or two others, but not tell you who Many audition repertoire lists consist largely of excerpts de-
they are. Show up at his house and have them sit in an adjacent signed to test your bow control. Even the best soloists don’t need
room to keep their identity unknown. Have your colleague perfectly even spiccato because they need not match exactly with
choose three excerpts for you to play straight through with only an entire section. As soloist it is okay to stand out a bit. A slight
five minutes of warm up time. Play the excerpts, and you’re done. irregularity in a section player’s spiccato will sound like sloppy en-
The point is for you to practice the act of giving your best in those semble, not artistic personality. Different techniques are required
first few minutes, with no second chances, and no time to settle for different types of spiccato. Many people consider the most
in. Do this as many times as possible during the weeks leading up difficult to be the slow spiccato excerpts where each note is con-
to the audition date, and vary the circumstances so that there is trolled individually, rather than very fast spiccato which requires
some new factor that you must deal with each time. By the time only an easy back and forth motion of the wrist. For the slower
you get to the audition, the feeling of being “on” in the first few spiccato strokes, a firmer bow hold is required. It is helpful to fo-
minutes under strange circumstances will be routine for you. cus on the firm contact of the fourth finger with the bow, and to
pay attention to the up-bows. Also, practice ON the string until
How Should I Practice? you reach the actual performance tempo. Most of these spiccato
From the start, program yourself for the best possible rhythm strokes are best thought of as well articulated “on” strokes - the
and intonation. You don’t need to take any shortcuts, because stick moves up and down, but the hair scarcely leaves the string.
you will allow yourself ample time to learn the music carefully.
There is one method of practicing you use to prepare for tomor- Must I Do Their Bowings or Tempo Markings?
row morning’s rehearsal, for which you just today received the Occasionally an orchestra will send their own parts for a particu-
music. Quite another type of practicing is used to prepare for an lar excerpt. If there are bowings marked, you should familiarize
audition: you start weeks or months in advance, never pushing yourself with them and be prepared to play them, but if you feel
yourself to play more material than you can manage, or at a faster you sound much better with your own bowings, it is better to use
than comfortable tempo. If you isolate a small enough passage, those. It is usually not difficult to determine a standard tempo
and play it slowly, you are almost guaranteed to succeed in the range; listen to several recordings to get a general idea of tempo.
practice room every time you play that passage. If you play up to In the last stages of an audition, candidates are often asked to
tempo before you are ready, you will practice making mistakes. repeat excerpts with different tempos, dynamics, articulations, etc.
Repetition at gradually increasing tempos cultivates success from The better prepared you are, the more flexible you will be. Profes-
the beginning and will increase your chances of getting it right sional orchestras require great flexibility and the ability to make
that one time that counts: at the audition. Do not change tempos quick changes due to limited rehearsal time. If you are a finalist,
during a play through of a passage while you are practicing - this they want to test your flexibility.
will build habits of unsteady rhythm. In other words, don’t speed
up in your practice for half a bar just because that half bar is easy. How Can I Be Expressive Yet Sound Like a Good Section
Keep a continuous tempo. Use the metronome often - even for Player?
slower lyrical passages. Many committee members will be on the Notes at ends of passages should be short and neat, especially
other side of the screen silently tapping and subdividing to check when there is a dot over the note. Attacks with the bow should
your rhythm. If you are practicing a fast passage at a slow tempo, always be from very close to the string and not high up in the air.
don’t vibrate excessively or use too much bow. Try to approximate The former is a style more suited to matching with the sound of a
the same physical motion that you will use at a fast tempo, and section. Vibrato should be expressive, but not such that it would
then you will be more nimble when you actually play fast. stand out in a section. You may be as eccentric/passionate/rhap-
sodic as you wish in the concerto. The excerpts must still be as ex-
Should I Play for Orchestra Members Prior to the Audition? pressive as possible, but played with a symmetry that can easily be
Coaching with someone in the orchestra can be useful for obtain- followed, and automatically agreed upon by an entire orchestra.
ing general advice from an experienced professional, but that When each player pushes/pulls the rhythm or dynamic in differ-
same advice can sometimes be obtained from an individual in a ent places; you end up with ragged edges and ensemble problems.
different orchestra as well. In most cases, it is not worth the cost An audition committee knows this, and they will respond well to
of a special trip across the country or ocean to play for someone, a player whose expression is compelling, but not unpredictable or
especially if the finals will be held behind a screen. If there is no too individualistic in the excerpts.
screen in the finals, then obviously psychological factors can come
into play among the committee members, and if you have previ- Must I Learn the Musical Style of the Orchestra that I Am
ously formed a positive relationship with one or more of them, it Auditioning For?
may help you. Still, there are no guarantees, and most likely the Some orchestras are known for having a unique style, and often
person who plays the best at the audition will win. hire local students who have studied for years with members of
the orchestra and played as substitutes in the orchestra. Many In Conclusion
observers criticize this practice, but an orchestra must function Winning an orchestra audition requires a specific set of skills. The
as many individuals working toward a common goal, so it often audition process can be awkward and full of unpleasant surprises
doesn’t hurt if there is a uniformity of approach. If you know but with the right kind of conscious preparation, the outcome is no
that the orchestra is famous for this type of selection, you will longer left to chance, and the player is empowered with the tools for
undoubtedly increase your chances by studying with a member of success.
the section or with the section leader. Having said that, it is true
in most cases, the person who wins the job is the one who plays Garrett Fischbach is a currently tenured member of
the best for the audition, even if no one in the orchestra has ever the Metropolitan Opera Orchestra in New York City,
heard of that person. and a former member of the San Francisco
Symphony, and the National Symphony Orchestra in
Should I Play Double Stops? Washington, D.C. He holds a bachelor of music
When auditioning, your first consideration should be to sound degree with high honors from Boston University
your best. To that end, you will take each case individually and where he studied violin with George Neikrug and
decide on bowings, fingerings, double stops, etc. Generally, one is Yuri Mazurkevich, and a master of music degree
not expected to play double stops in an audition or in an orches- from Northern Illinois University where he studied
tra performance. On the other hand, one is rarely frowned upon violin with Shmuel Ashkenasi. He is an avid teacher, and has given
for playing double stops in the orchestra. In an audition however, master classes at the Central Conservatory of Music in Beijing, China,
you don’t score any points for successfully playing double stops, the Shanghai Conservatory of Music, and the Mannes College for
simply because it is not a skill that will be required. In the audi- Music. He has enjoyed close exposure to a broad range of pedagogi-
tion, play them only if they are easy and only if they add to the cal methods, from early training with his father whose influences
fullness of your tone, especially with open strings. If the part is included Paul Rolland, to five subsequent teachers who were themselves
marked ‘divisi’ then the answer is obviously “no.” pupils of Gingold, Galamian, Dounis, Oistrakh, and Zimbalist.
Is My Instrument Good Enough? Is It Loud Enough?

The most important condition is that you are comfortable. It’s
best not to borrow that great Strad two days before the audition -
you might not feel accustomed to it. When the passage is marked
fortissimo, think about the fullness of your tone rather than the
penetrating quality. When you are alone on stage, your sound
won’t be covered up by other sections of the orchestra, so there is
no reason to play as though you are fighting to be heard. Beauti-
ful tone and most of all good playing, will win in the end.
Must I Count Out the Rests During An Audition?

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

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

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

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

Table 1. One Year and Five Year Career Plans
Year One Year Five

Career Plan
Frequency Valid Percent Frequency Valid Percent
Remain a music teacher at the same 250 83.3 154 51.7
school
Remain a music teacher in a different 8 2.7 17 5.7
school in the same district
Remain a music teacher in a different 10 3.3 25 8.4
district
Leave music temporarily for family, 4 1.3 10 3.4
health, or personal reasons
Leave music teaching temporarily for 6 2.0 4 1.3
educational or professional reasons
Leave music teaching to become an 0 0.0 5 1.7
education administrator
Leave music teaching in a K-12 school to 4 1.3 10 3.4
teach music privately
teach music in a community organization
teach music in a college or university
Take early retirement 4 1.3 10 3.4
Retire 10 3.3 50 16.8
Leave music teaching completely and 3 1.0 8 2.7
permanently for reasons other than
retirement
Total 300 100.0 298 100.0
The greatest proportion of string teachers, at both year one and year five, planned to remain a music teacher in the same school.
No participants planned to become school administrators or community music school instructors within a year, or community music
school instructors within five years. The number of teachers planning to retire is over 10 percent greater for year five than year one.
There are also sizeable year one versus year five differences in the proportion of teachers planning to remain a music teacher in a differ-
ent school in the same district or in a different district; proportions for all other career decisions differed less than 3 percent from year
one to year five.
Based on career plan responses, participants were placed into one of three groups (stayer, mover, leaver). Stayers are those who
planned to remain a music teacher at the same school where they currently work. Movers are those who planned to remain a music
teacher but in a different school in the same district or in a different district, leave teaching temporarily for family, health, or personal
reasons, leave music teaching temporarily for educational or professional reasons, leave music teaching to become an education admin-
istrator, leave music teaching in a K-12 school to teach music privately, leave music teaching in a K-12 school to teach music in a com-
munity organization, or leave music teaching in a K-12 school to teach music at a college or university. Leavers are those who planned
to take early retirement, retire, or leave music teaching completely and permanently for reasons other than retirement. Frequencies and
percentages for these classification groups are shown in Table 2.
Table 2. Descriptive Results for Stayers, Movers, and Leavers
Group Year One Year Five

Frequency Valid Percent Frequency Valid Percent
Stayer 250 83.3 154 51.7
Mover 33 11.0 76 25.5
Leaver 17 5.7 68 22.8
Total 300 100.0 298 100.0
Comparisons to National Data

Direct statistical comparison of string teacher career decision data from the current investigation with national data for music/
arts teachers or all K-12 teachers is not possible. It is possible, however, to make logical, descriptive comparisons. In Figure 1, string
teacher career decision percentages for year one and year five are presented alongside actual career decision data for all K-12 teachers
as compiled by the National Center for Educational Statistics (NCES) (Marvel, Lyter, Peltola, Strizek, & Morton, 2007). The propor-
tion of string teachers classified as stayers, movers, or leavers for year one (based on projected career decisions) is almost identical to the
NCES proportions for all teachers (based on actual career decisions).
Figure 1. Percentage of Teacher Stayers, Movers, and Leavers: String Teacher Data and National Data for All K-12 Teachers
100
80
60
40
20
0
04-05 National Data String Teacher (Year 1) String Teacher (Year 5)
Stayers Movers Leavers
In Figure 2, string teacher career decision percentages for year one and year five are presented alongside NCES data for all mu-
sic/arts teachers. Once again, the proportion of string teachers classified as stayers, movers, or leavers for year one (based on projected
career decisions) is almost identical to the NCES proportions for all music/arts teachers (based on actual career decisions). Collectively,
these findings provide support for the validity of projected career decision data.
Figure 2. Percentage of Teacher Stayers, Movers, and Leavers: String Teacher Data and National Data for Music/Arts Teachers
100
80
60
40
20
0
04-05 National Data String Teacher (Year 1) String Teacher (Year 5)
Stayers Movers Leavers
The Teacher Follow-up Survey (TFS) includes a range of additional data about teachers, including their age, gender, years of
teaching experience, minority student population, school level, school setting, and teacher ethnicity. Table 3 presents demographic
results for stayers, movers, and leavers, as compiled by the TFS, alongside string teacher demographics for these same career decision
categories. Overall, data patterns are very similar; cell proportions for all teachers and string teachers (year one) are typically within five
percent. Compared to all K-12 teachers, early-to-mid career string teachers (4-6 years of experience) appear more inclined to migrate
to other positions in education (25 percent, as opposed to 9.4 percent for all teachers) than to leave teaching altogether (1.7 percent as
opposed to 7.9 percent for all teachers). Similarly, a greater proportion of non-Caucasian string teachers plan to stay in their current
positions, rather than move to a different job or leave teaching.

Table 3. Cross Tabulations for Career Decisions and Demographics
Factor 04-05 National Data* Year 1 Projections Year 5 Projections

Stayers Movers Leavers Stayers Movers Leavers Stayers Movers Leavers
Age
<30 76.3 14.7 9.0 80.7 15.4 3.8 36.5 57.5 5.8
30-39 84.2 9.0 6.8 79.1 20.9 0.0 59.5 38.1 2.4
40-49 87.6 7.1 5.3 89.0 11.0 0.0 79.4 15.9 4.7
50+ 83.7 4.5 11.8 83.1 6.6 10.3 42.6 14.0 43.4
Gender
Male 83.9 8.3 7.7 82.3 12.4 6.3 60.3 23.1 16.6
Female 83.4 8.1 8.6 83.9 11.1 5.0 49.1 26.4 24.5
Teaching Experience
1-3 yrs. 77.1 14.8 8.1 82.6 13.0 4.4 52.2 39.1 8.7
4-9 yrs. 82.7 9.4 7.9 73.3 25.0 1.7 36.7 58.3 5.0
10-19 yrs. 88.2 6.3 5.5 91.5 7.0 1.5 70.0 15.7 14.3
20+ yrs. 84.9 3.9 11.2 83.8 7.0 9.2 49.6 14.2 36.2
Minority Students
<10% 86.4 5.6 8.1 82.1 12.8 5.1 51.3 25.6 23.1
10-34% 85.5 7.8 6.7 87.5 9.4 3.1 48.4 21.9 29.7
35% 80.6 9.9 9.5 84.5 8.2 7.3 55.6 25.9 18.5
School Level
Elementary 82.8 8.8 8.5 83.1 9.2 7.7 53.1 29.7 17.2
Secondary 84.6 6.8 8.6 83.0 11.7 5.3 52.0 22.8 25.2
Combined 85.9 7.8 6.3 86.2 10.3 3.5 50.8 43.2 21.0
School Setting
Urban 79.8 10.3 9.9 84.5 8.5 7.0 54.3 21.4 24.3
Suburban 84.8 7.3 7.9 83.9 10.9 5.2 51.3 26.2 22.5
Rural 85.0 7.3 7.7 83.3 13.3 3.3 53.3 26.7 20.0
Teacher Ethnicity
White 83.9 7.9 8.2 82.7 11.4 5.9 51.1 26.7 22.2
Black 79.3 9.7 11.0 100.0 0.0 0.0 20.0 0.0 80.0
Hispanic 80.6 10.1 9.3 100.0 0.0 0.0 50.0 25.0 25.0
Asian/Pacific 81.8 7.9 10.3 83.3 16.7 0.0 75.0 16.7 8.3
Islander
Amer. Indian 93.1 5.0 1.9 100.0 0.0 0.0 100.0 0.0 0.0
* Data from the 2003-04 TFS Survey conducted by NCES.
Implications
Although not leaving the music education endeavor completely, string teachers who elect to migrate within the field will create a
deficiency at the school organizational level (Ingersoll, 2002). Schools that string teachers leave must find a qualified individual to
replace the outgoing teacher, which will become increasingly difficult unless the number of students entering string education programs
increases (Gillespie & Hamann, 2002). Positions may be staffed by individuals not highly qualified to teach strings or the position may
not be filled at all, leading to the elimination of the program or an additional stress to remaining music faculty (possibly leading to
their migration or attrition).
Many migrators leave their positions viduals who lack public school experi- string pedagogy as well as in management
only temporarily for either personal or ence or who are otherwise unequipped to of such community programs. If trained
professional reasons. Although this migra- be effectual as a string music education music educators do not intend on taking
tion may cause an organization stress, it professor, thus deterring more students such positions, string performers and
does not necessarily negatively impact the from becoming string music educators and pedagogues will most likely staff them.
profession as a whole. String teachers may producing unprepared students. Although the percentage of string
be leaving to pursue a graduate degree or Several researchers in general educa- teachers planning to remain in the profes-
some other form of professional develop- tion and music education have indicated sion was relatively high, the importance
ment (Poutiatine, 2005). Such professional that the relationship with and support of teacher turnover and attrition should
development could enhance their teaching received from administrators is para- not be overlooked. National data suggest
skills and might, in the long term, advance mount in the retention of music educators that the demand for teachers continues to
the profession. Those temporarily leaving (Bloland & Selby, 1980; Cotten, 2003; increase due to student enrollments, immi-
for personal or familial reasons may return Krueger, 2000). If few music educators gration, class size reduction initiatives, and
to the profession with a greater apprecia- become school administrators, percep- teacher retirements. Moreover, the rate of
tion or sense of renewal based on their tion and communication challenges that the teacher workforce growth began to de-
time away from teaching. characteristically impede string orches- cline in the late 1990s (Gerald & Hussar,
Given the private training experiences tra programs are likely to persist. String 1998). As a consequence, a greater num-
of many string musicians, it is not surpris- teachers may face continuing difficulties in ber of schools with teaching openings are
ing that many wish to teach privately communicating the intricate and nuanced having difficulty finding highly qualified
themselves. The flexible schedules, rela- differences between what transpires in a candidates to fill their positions (Ingersoll,
tively high pay, and lack of K-12 teaching traditional classroom and in a music class- 2002). This threat is more pronounced in
stress can draw many string players to room. As more music educators become the specialized field of string music educa-
this role. The participants who indicated educational administrators, communication. In the 2000-2001 school year, 43
a desire to become a private instructor, tion between school administrations and percent of school districts with orchestra
however, could still be involved in the string teachers and string program advo- programs had string teacher positions left
string music education enterprise by teach- cates may improve. If few music educators unfilled (Gillespie & Hamann, 2002).
ing lessons to students involved in school enter into this endeavor, the music educa- As claimed by previous researchers
programs, offering clinics and workshops tion profession may miss out on some its (Gillespie & Hamman, 2002), retire-
for students and teachers, and performing most effective advocates. ment continues to be a major factor in
with student ensembles. No participants in the current study the string teacher shortage. More inter-
One of the more disturbing findings indicated plans to teach in a community estingly, however, participants with less
was how few participants indicated a desire organization. It could be that the small teaching experience were more likely to
to teach in higher education, become an salaries and large work loads often associ- migrate away from their current position.
administrator, or teach in a community ated with such positions leads most string The high incidence of migration among
organization. Although it may be difficult music teachers to continue in their K-12 early career string teachers in this study
to identify an optimum level of overall position or to find a more lucrative position may reflect a certain reality – namely, that
string teacher migration, some migration outside of classroom teaching. This finding first jobs seldom match novice teachers’
is required for the health of the profession. has a potentially alarming implication. expectations and skills. Researchers have
If experienced and well trained string Previous researchers have found that access found that teaching experience is related
music educators do not migrate from K-12 to string music instruction in public schools to teacher retention and that teachers with
classroom teaching to other education is limited (Smith, 1997); only 16 percent little teaching experience are more likely to
related endeavors, an important resource of school districts in the United States offer migrate or leave their position (Beaudin,
(experienced string educators) is not be- string music education instruction. Due to 1993; Bempah, 1991; Brownell, Sindelar,
ing distributed throughout the multiple this limited access to string instruction, the Bishop, Langley, & Seonjin, 2002; Theo-
dimensions of string music education. role of community string and orchestra or- bald, 1990).
Teachout (2004) identified several ganizations becomes even more important. When string teachers leave positions,
barriers, such as financial considerations Although students may take private lessons, it is not uncommon for a band director
and limitations on time that may dissuade without community organizations, students or other music educator outside of string
music educators from pursuing a doctoral in areas where access to string instruction music education to replace the string
degree and then teaching in higher educa- in the schools does not exist will miss the teacher, if the individual is replaced at
tion. Additionally, teaching in higher opportunity to participate in an ensemble. all. In a recent survey of string teachers,
education may present challenges for those If such organizations do not exist or Gillespie and Hamman (2002) found that
who do complete a terminal degree (e.g., are operated by individuals untrained in only 80 percent of individuals teaching
gaining employment, meeting publication string pedagogy and music education, stu- strings in public schools were string play-
expectations, earning tenure). Given the dents may not receive the best instruction ers (this number decreases to 62 percent
small number of string music educators possible. This finding has some implica- when considering new hires) and only
planning on entering higher education, tions for institutions of higher educa- 59 percent indicated that their teaching
string music education undergraduates tion. String performance undergraduates assignments were completely in strings. As
may find themselves instructed by indi- should be given improved instruction in Ingersoll (2002) states, “one of the pivotal

causes of low school performance is the inability to adequately
staff classrooms with qualified teachers” (p. 26). Accordingly,
string programs should be staffed with teachers adequately trained
in music in general as well as string education specifically.
The limited supply of qualified string music educators can
also threaten the very existence of string programs. When string
teachers leave the profession and/or migrate within the profession,
as reflected in the study participants’ five year plans, deliberate ef-
forts are needed to rally parental, administrative, and student sup-
port for the program and ensure that the program will continue
under the guidance of a highly qualified string music educator.
References
Bempah, E.O. (1991). An Econometric Analysis of Teacher Mobility. Dissertation Abstracts
International, 52(06), 1953.
Beaudin, B.Q. (1993). Teachers Who Interrupt Their Careers: Characteristics of Those Who
Return to the Classroom. Educational Evaluation and Policy Analysis, 15(1), 51-64.
Bloland, P.A., & Selby, T.J. (1980). Factors Associated with Career Change Among Secondary
School Teachers: A Review of the Literature. Educational Research Quarterly, 5(3), 13-24.
Brownell, M.T., Sindelar, P.T., Bishop, A.G., Langley, L.K., & Seonjin, S. (2002). Special
Education Teacher Supply and Teacher Quality: The Problems, The Solutions. Focus on
Exceptional Children, 35(2), 1-16.
Cotten, V. (2003). Elementary Teacher Attrition and Factors of Organizational Climate. Dis-
sertation Abstracts International, 64(06), 1954.
Gerald, D., & Hussar, W. (1998). Projections of Education Statistics to 2008. Washington, DC:
National Center for Education Statistics.
Gillespie, R., & Hamann, D.L. (2002). Wanted: 5000 Future String Teachers. American String
Teacher, 52(1), 72-78.
Ingersoll, R.M. (2002). The Teacher Shortage: A Case of Wrong Diagnosis and Wrong Pre-
scription. NASSP Bulletin, 88(631), 16-31.
Kjelland, J. (1996). My Turn: Where Have All the Teachers Gone? Bringing the Ecosystem
Into Balance. American String Teacher, 46(2), 91-92.
Krueger, P.J. (2000). Beginning music teachers: Will they leave the profession? Update: Ap-
plications of Research in Music Education. 19(1), 22-26.
Marvel, J., Lyter, D.M., Peltola, P., Strizek, G.A., & Morton, B.A. (2006). Teacher Attri-
tion and Mobility: Results From the 2004-2005 Teacher Follow-up Survey (NCES
2007-307). U.S. Department of Education, National Center for Education Statistics.
Washington DC: U.S. Government Printing Office.
Poutiatine, M. (2005). Selected summary of the research on the courage to teach program and
the process of teacher formation. Unpublished Paper, Gonzaga University.
Smith, C.M. (1997). String Education: The Stepchild of American Music Education. Ameri-
can String Teacher, 47(4), 37-42.
Stinebrickner, T.R. (2002). An Analysis of Occupational Change and Departure from the Labor
Force: Evidence of the Reasons That Teachers Leave. Journal of Human Resources, 37(1),
192-216.
Teachout, D.J. (2004). Incentives and Barriers for Potential Music Teacher Education Doc-
toral Students. Journal of Research in Music Education, 52(3), 234-247.
Theobald, N. (1990). An Examination of the Influence of Personal, Professional, and School
District Characteristics on Public School Teacher Retention. Economics of Education
Review, 9(3), 241-250.
Joshua A. Russell is an assistant professor of

music education at the University of
Arkansas in Fayetteville. He received his
Ph.D. from the University of Colorado at
Boulder, an M.M at Northwestern University,
and bachelor degrees in music education
and composition from Shepherd University in
West Virginia. At the University of
Arkansas, Russell teaches graduate and
undergraduate courses in music education
and string pedagogy. His research interests include education policy,
string education, and cognitive and psycho-social development in the
teaching and learning of music. His research has been published in
several music education journals.
Plucks the Right
Notes with
Children
While
Encouraging
Volunteerism
Mission accomplished! Discovering Strings and Orchestra
(DSAO) has succeeded in its first year to encourage young
students to participate in string and orchestra programs in
their schools and communities. Children from all regions
are “discovering” the joy of strings and showing interest
in pursuing lessons either privately or through school
programs. “We fully expect its second year to garner even
Quilt from “Quilt in a Day” by Eleanor Burns.
more enthusiasm and open up even more opportunities

for the program,” says Donna Hale, ASTA executive direc-
tor. “We continue to appreciate the support that NAMM
has given us for this program as we could not have done it
without them. Now our challenge is to continue to grow
the program.”
NAMM graciously funded DSAO in June 2007. The
program partners with youth groups and focuses on students
in grades one through three with volunteer string clinicians
introducing them to the world of strings. There are five
sessions to select from: Introduction to Strings, Strings and
Academics, Group Lesson, Field Trips, and Advocacy. The

program is designed to be flexible and can nated the DSAO program for two Brownie
be done in just one session or extended troops and used university and community
for several weeks. Many clinicians have clinicians. She wanted to include the entire
successfully combined sessions to allow more five sessions so she planned the program
topics during a fixed allotment of time. (This to last the entire school year. Session one
is especially true with Brownie troops that began with electric and early string instru-
meet after school for just an hour.) Prepared ments, with adults and children from the
lesson plans and program details can be academy performing and helping with
found at astaweb.com. Adding interest and the instrument petting zoo. There is not a
fun to the program are several free items repair shop in Hays so Drabkin improvised
including a DVD, coloring and activity and invited cellist Ben Morris-Cline from
book, a completion certificate, and a patch. the FHSU Music Department to give a
Due to DSAO’s flexibility, every program creative presentation covering many of the
can have its own look and feel. Additionally, things in the repair shop session. Drabkin
this flexibility has allowed certain components used her own ingenuity to make the ses-
of the program to reach further than originally sions “fit” when the required criteria were Student volunteers provide assistance and serve as
anticipated. Young Audiences of Virginia is not available. role models.
now using the coloring and activity book as a
part of their Project Music program reaching Matching Performers to Groups Learning for Life
more than 4,000 children in the Tidewater Paul Hoffman, executive director of the Doctoral viola student Sally Barton pre-
area for the period of October 2007 through New Hampshire Philharmonic, registered sented sessions for Florida’s Steinhatchee
June 2008. They plan to continue using as a performer for DSAO and requested School third graders through a Learning
the activity and coloring book indefinitely. help in finding youth groups for his ticket for Life program. Barton and cellist Hristo
“This is a significant achievement in bringing donations. Charlene LeDoux, interim Ivanov borrowed instruments from String-
continued name recognition to ASTA and New Hampshire state president, volun- fest (Kyle Dunn, Luthier) and transported
our DSAO program,” says Hale. The activity teered to pilot projects and was matched them 60 miles from Tallahassee to Stein-
book was also featured at a book fair in with two troops who were able to arrange hatchee so that each child handled at least
Washington D.C. at the Hyde Leadership session times together. LeDoux chose to two instruments and had time to ask many
Public Charter School. More than 250 books use a small size cello in her petting zoo and questions. For session one, a homeschooler
were given away to second and third graders. played her full size one while the girls sang (the same age as the participants) joined
along. The troop leaders followed up the them and played the violin; Barton and
session by hosting an instrument dem- Ivanov performed viola-cello duets for
onstration by The Sounding Post String session five. “We are sure that going the
Shop in Hooksett. A nice complement to extra miles for the instruments truly made
this DSAO program was the fact that the a difference for the kids,” says Wagner.
director and public relations manager of
the Girl Scouts Council for that area took After School Programs
a keen interest in the project. According to An after school program in Solomon,
Clark, “They felt DSAO offered youth arts Kansas took advantage of sessions one,
opportunities which were not otherwise three, and five. To personalize the pro-
available in their area.” gram, an ensemble of teachers and string
students from a nearby middle school in
Troops Look for Good Programs that Offer Junction City gave them a private concert.
Educational Benefits Note: Junction City/Ft. Riley schools were
Working with a newly-formed Utah Brown- in their second year of introducing a strings
ie troop in Bountiful, Michael Palumbo of curriculum.
Weber State University included not one, Kimberly Chiesa, president of the
but two shop field trips taken to Peter Prier ASTA/New Jersey college student chapter
Violins and The Violin Making School of at Montclair State University, is debuting
America. He combined parts of session one, the first New Jersey program and the first
The first DSAO program was launched at Ft. two, and three and supplied tickets to We- ASTA college chapter pilot with her mem-
Hays State University’s Western String Academy. ber State University’s Orchestra Concert. bers and student advisor Dr. Paul Hostet-
Encore Year Mary Wagner, ASTA past president, ter. (This student chapter was recipient
The generous grant from NAMM allowed used three string assistants from Lake of the national ASTA 2007 Outstanding
ASTA to hire a project consultant, Dr. Braddock Secondary School in Burke, Student Chapter award.) They incorpo-
Anne Clark for the first year. As DSAO Virginia for her DSAO project with a local rated session one in May to a special strings
enters its second year, prospective volunteer Brownie troop. Donna Hale, ASTA execu- outreach to 50 elementary school children
clinicians can rely on a community network tive director, coordinated the program that at the St. Patrick and All Assumption
of adults who value strings and have exper- was condensed to one session. To add yet School in Jersey City, New Jersey and are
tise to share in getting a program started. another component to the program, Wag- planning an after school DSAO program
Below are some proven ideas and sugges- ner had one of her assistants talk about for the fall of 2008.
tions on how to implement DSAO in your playing sports and pursuing the violin
area for specific targeted groups. while in high school. Her message was that Summer Program
you can do both but time management In Jackson, Mississippi, private string stu-
Brownies was important. Note: Brownie troop sign dio teacher Kate Morgan planned a sum-
Volunteer as a Coordinator up flyers are available from ASTA and can mer DSAO session for public school chil-
Cathy Drabkin, Fort Hays State University’s be tailored to meet your needs. Please email dren who participate in an independent
(FHSU) Western Strings Academy, coordi- maryjane@astaweb.com for flyers. after school program at the Neighborhood
do plucking with instruments loaned Due to the success of her first project, she
by Lafayette Music of Lafayette, plans to offer another one this fall.
Colorado. In Bar Harbor, Maine, Rebecca
Martha Clark, New Mexico clini- Edmondson teaches orchestra and general
cian, conductor of the Clark Recital music at Conners Emerson School on an
Orchestra, and member of the Assai island where there are also four other mu-
String Quartet presented session sic teachers. She used different sessions of
one, three times to three different DSAO with her grade one, two, and three
third grade music classes in Sunset music classes. Her students took a walking
Elementary School in Carlsbad, field trip to Song of the Sea for a 30-
New Mexico. This was followed by a minute instrument demonstration where
combined concert for session five of instruments are made. Since all her second
the orchestra and quartet. Of note, graders already study violin, their petting
students in the school have no string zoo showed them other string instruments.
A young girl delights in holding a stringed instrument for the classes. Two unusual features of this They colored in the activity booklet right
first time. project were that the petting zoo in- in class at the end of session one. Edmond-
cluded a Celtic harp demonstration by son chose to integrate sessions of DSAO
Christian Center where she teaches. Dur- Elizabeth Pappas, and small size string right into her music class curriculum, and
ing the center’s summer program, Morgan instruments were used. At this time, Clark used a bass for the science academic lesson
gave DSAO sessions to children that she hopes to offer DSAO to more Carlsbad extension after the initial lesson plan with
will work with in the 2008-09 school year. schools and create a summer string camp violin. She created and videotaped her own
for all five sessions. American history lesson plan using open
Music Classes in Regular and Unique Elizabeth Hankins, Ohio ASTA state string accompaniment and a dance to the
Public Schools president, was able to set up a late spring song “Shoo-Fly, Don’t Bother Me” (in the
Wonderful collaborations happen when project for 75 kindergartners at Harrison public domain) and students created and
string clinicians work with school music Elementary School in Lakewood, Ohio. colored quilt patterns, coordinating with
teachers on DSAO projects. This was the She chose this school because the teachers the song. Some creative ways she was able
case with seven state pilot projects last were former string players and the princi- to publicize her project included postings
spring. The school’s general music teacher pal had a daughter in the orchestra. The on her school website, mass e-mailings
assists in planning, publicizing, and in Lakewood High School String Quartet done by Maine ASTA, and the Bangor
some cases conducting field trips or sessions played in the school for session five, and Symphony Orchestra notified the Maine
when the string clinician is not available. she videotaped it for broadcasting over the Arts Commission and offered to present a
In Milwaukee, Wisconsin Fran Richman, school’s TV access channel. teachers’ workshop during a professional
executive director of the Milwaukee Youth ASTA board member, Beth Gilbert of day for other music teachers. She also
Symphony Orchestra, located a Marquette Tempe, Arizona, used her sixth grade string suggested having a state teacher workshop
University graduate student and private students to present the petting zoo for about integrating strings with the aca-
strings teacher Anna Toshach to be a part of third graders at Edison Elementary School demic curriculum to Margaret Hopkins,
DSAO. Toshach presented DSAO to first- in Mesa, and also arranged their field trip secretary of Maine ASTA.
graders at Congress Year Round School, an to an elementary orchestra concert. The possibilities of “Discovering
extended day K-8 school in the Milwaukee Lisa Robertson, music professor at Strings and Orchestra” are endless, and
public school system. This system prides Eastern Oregon University, began session this summary only begins to reveal how
itself on using many nontraditional ap- one at the end of the school year with Carla creative our string teachers are in work-
proaches to achieve excellence. Toshach of- Arnold’s grades K-5 in Central Elementary ing in local situations to share the joy of
fered a one day session combining sessions School in La Grande, Oregon, and plans to strings with others. ASTA awaits your call
one and the science lesson from session two. continue sessions the following school year to start planning your own “Discovering
She also helped Tasha Little, music special- with other co-clinicians. Strings and Orchestra” project soon! For
ist, with planning field trips to Korinthian Judy Bossuat of the University of Cali- more information, contact Mary Jane Dye
Violins Shop (Korinthia Klein, Luthier) fornia, Sacramento, and a long-time ASTA at maryjane@astaweb.com.
and the Milwaukee Symphony Orchestra. leader on the national level and current
The same type of collaboration happened in board secretary, assigned her cellist graduate ASTA sincerely thanks Dr. Anne Clark for her
Colorado between Dr. William Hinkie (The student Timothy Stanleyto to offer DSAO hard work and dedication to DSAO.
New Millennium Conservatory for Strings to Robla School in Sacramento. Accord-
and artist faculty, The Interlochen Center ing to Bossuat, he capably handled the
for the Arts) and music teacher Tommy media contacts and releases too.
Reddicks of Flagstaff Academy Charter
School in Longmont. Reddicks had started Public School Music Teacher Projects
an after school orchestra program in 2007- Two projects in DSAO’s first year had the
08, but wanted to use DSAO to recruit benefit of the clinician and school music
more third graders for the fall of 2008. For teacher being one and the same person.
session two the children conducted using Vinny Lee teaches orchestra and elemen-
straws while violinist Jennifer John of New tary music in Eastmont School district in
Millennium played music. Then Hinkie Washington. With the goal of recruiting
and John demonstrated different subdivi- for her orchestra classes, she offered four
sions of the pulse using word associations sessions with third and fourth graders
(huckleberry, apple, pie, chocolate) fol- who elected to take the project at Kenroy
lowed by collaborative group work identify- Elementary School in East Wenatchee.
ing rhythms and time signatures. In session She used five of her own beginning string
three students were put into small groups to students to play during the first session. The young children enjoyed learning from older youth
volunteers.
2009 ASTA
National Conference
March 18-21, 2009
Atlanta, Georgia
Each year the ASTA national conference grows just a little bit bigger with more information
to share with attendees. Join your colleagues for another phenomenal conference this coming
March. This event will be packed with sessions that will interest and excite just about everyone
in the string world – from classical and alternative styles performers to K-12, private studio,
and university teachers, as well as students at all levels. 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, reminisce with old friends, and, of course, meet 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 for future string
players and educators, and alternative styles techniques, to name just a few. The top-notch pre-
senters are well respected in the field and possess a wealth of information to pass along to you.
View all sessions on the website under the conference/national conference section.
In addition to the education sessions, there will be:

• Pre-Conference Sessions on March 18,
• Grand Opening Ceremony to begin the conference,
• Energizing keynote address by Miles Hoffman,
• Multilevel master classes for every instrument,
• Exhibit Hall dedicated to the string industry and string-related items,
• Exciting social events for all attendees,
• Invited performing groups,
• Juried Poster Sessions,
• Music Industry Showcases,
• National Orchestra Festival competition and master classes,
• Finals of the National Solo Competition and the Alternative Styles Awards,
• Outstanding Thursday evening performance by Darol Anger’s Republic of Strings, and
• The culminating event of the conference: “Gala Benefit Evening” which includes the Silent
Auction and the final concert performed by Zuill Bailey and youth orchestra.

Conference Sponsors as of June 30, 2008
Alfred Publishing Company, Inc. Hal Leonard Corporation
Claire Givens Violins, Inc. Merz-Huber Company
Clemens Violins, Violas, Violoncellos Shar Products Company
CodaBow International Ltd. StringWorks
Connolly & Co., Inc. Yamaha Corporation of America
Electric Violin Shop
Confirmed Master Class Clinicians Confirmed Exhibitors as of June 30, 2008

Pre-College Level Alfred Publishing Company, Inc.
Cello: Robert Jesselson Barenreiter
Viola: Kathryn Steely BEE-IN Tuner, Inc.
BowStopper Enterprises
Violin: Helen Kwalwasser
Carl Fischer Music, LLC
Bass: TBD
Carl Fischer Music – ABCs of Strings
Collegiate Level Claire Givens Violins, Inc.
Cello: Hans Jorgen Jensen Clemens Violins, Violas, Violoncellos
Viola: Karen Ritscher CodaBow International Ltd.
Connolly & Co., Inc.
Violin: Brian Lewis
Bass: Milton Masciadri
The Enterprising Rabbit
Multilevel FJH Music Co., Inc.
Viola: William Preucil, Sr. Frederick Harris Music Co.
Guitar: Gerald Klickstein Frisch and Denig Custom-fitted Chinrests
G. Schirmer, Inc.
Harp: Robbin Gordon-Cartier
Hal Leonard Corporation
Chamber Music: Norman Fischer
G. Henle USA, Inc.
Alternative Styles: Tracy Silverman
Huthmaker Violins
Music Industry Showcases Il Gladio
Alfred Publishing Company, Inc. JazzBows Music, Inc.
Barenreiter Luck’s Music Library
Connolly & Co., Inc. Mark O’Connor Fiddle Camp & Strings Conf.
Frederick Harris Music Company Mel Bay Publications
FJH Music Company Merz-Huber Company
Frisch and Denig Custom-fitted Chinrests Mona Lisa Sound, Inc.
Neil A. Kjos Music Company
G. Schirmer
Northeastern Music Publications
Hal Leonard Corporation
Sam Ash Music Corporation
Il Gladio Shar Products Company
Mel Bay Publications Southwest Strings
Neil A. Kjos Music Company Strings Magazine
Northeastern Music Publications Strings Music and More, LLC
Shar Products Company StringWorks
Strings Music & More, LLC. Super-Sensitive Musical String Co.
Tempo Press Tempo Press
Yamaha Corporation of America Yamaha Corporation of America
Pre-Conference Sessions & Events Wednesday, March 18
Pre-Conference Sessions (12:00 – 5:00 pm)
Adjuducation 101
Alternative Styles
Pre-Conference Sessions & Events
Body Maintenance
Wednesday, March 18
Conducting
Pre-Conference
K-12 Sessions
(a STEP program requirement) 12:00 p.m. – 5:00 p.m.
Private Studio
Full session descriptions available on website.
State Leadership Training Workshop
Solo Adjuducation 101 (invitation only) K-12 (a STEP program requirement)
Alternative Styles Private7:30-9:00
Studio pm
Advocating for Strings: An Interactive Discussion Forum
Body Maintenance State Leadership Training Workshop
Join your colleagues for this stimulating and interactive discussion. All conference attendees (invitation only)to attend and participate. There will
are encouraged
Conducting
be advocates leading the discussion, and an open mic for attendees to ask questions and share their own experiences. Complimentary copies of
the “Advocating for Strings” DVD will be available.
Advocating for Strings: An Interactive Discussion Forum 7:30 p.m. – 9:00 p.m.
Collegiate
Join yourMembers Meetfor
colleagues & this
Greetstimulating and 9:00 – 11:00
interactive pm
discussion. All conference attendees are encouraged to attend and partici-
Firstpate.
timeTh
attending a national ASTA conference or just want to meet
ere will be advocates leading the discussion, and an open othermic
conference attendees
for attendees likequestions
to ask yourself? Then, cometheir
and share to thisown
pre-conference
experiences.
meet and greet where you can talk with other students. You just might meet a new friend or two to pal around the conference with.
Complimentary copies of the “Advocating for Strings” DVD will be available.
Collegiate
Educational Members
Sessions Thursday Meet & Greet
– Saturday 9:00 p.m. – 11:00 p.m.
Please
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around and Masterclasses.
the conference with.
Once the committee has set the schedule this summer/early fall sessions will also be listed by date and time.
Juried Research Posters

Educational Sessions
(Submission Deadline: October 3, 2008)
Thursday
This poster session is open to papers involving any aspect– Saturday,
of string playingMarch 19 including
and teaching, through those21
that are philosophical, theoretical, or
historical
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nature, as well
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topical tracks: faculty, and
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General/Crossover, K-12,Submission procedures:
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Ethics published has
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setJournal of Research
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fall sessions willnot
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date and prior to the
time.
conference. Papers presented at other conferences will be considered for poster presentation if the audience was substantially different (e.g., a
state meeting or a university symposium). A statement specifying particulars of presentation must be included with the submission. You must be a
Juried
member of Research Posters
the American String (Submission
Teachers Association (at time of submission and presentation). Deadline:
If accepted, the primary or October 3, 2008)
a listed co-researcher
Th is poster session is open to papers involving any aspect of string playing and teaching, including those that
must register for and attend the conference to present the poster. Presenters will be expected to bring 40 copies of their abstract and five are philosophical, theo-
copies
retical, or historical in nature,
of the completed report to the session. as well as reports that are qualitative and quantitative in design. We are accepting submission of studies
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submission by
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undergraduate to accept
students, graduate your researchuniversity
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andOctober
practicing3, 2008.
teachersAll in
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Submission at the timeAll
procedures: ofsubmissions
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Ethics published in the Journal of Research in Music Education and
To should
submit anot
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tion if the audience was substantially different (e.g., a state meeting or a university symposium). A statement specifying particulars of
presentation must be included with the submission. You must be a member of the American String Teachers Association (at time of
submission and presentation). If accepted, the primary or a listed co-researcher must register for and attend the conference to present
Evening Performances
theAnger’s
Darol poster. Republic
Presentersofwill be expected to bring 40 copies of their abstract and
Strings five copies
Thursday, Marchof19
the completed report to the session.
Th e online submission process will
Showcase Performance of Alternative Styles be available to accept your research poster
Friday, March 20 proposal until October 3, 2008. All applicants
must be current
Award Winners members of ASTA at the time of application and also at the time of conference. To submit a proposal for the juried
Gala Benefitposter,
research Eveningplease
featuring
visit our website and click on the Conferences link on the left side of the page.
Silent Auction, then Zuill Bailey and youth orchestra Saturday, March 21
Evening Performances
Darol Anger’s Republic of Strings ....................................................................................................................... Thursday, March 19
Silent Auction
TheShowcase Performance
Silent Auction of the
will kick off Alternative Styles
Gala Benefi AwardonWinners
t Evening Saturday,....................................................................................Friday,
March 21, 2009, in Atlanta. Please join us to bid on a variety of March fabulous20
donations, including instruments, bows and accessories, travel packages, state baskets, and much more! All proceeds will benefit the educational21
Gala Benefi t Evening featuring Silent Auction, then Zuill Bailey and youth orchestra .......................................... Saturday, March
programs and activities of the National Foundation to Promote String Teaching and Playing. Visit the ASTA website to view auction items and a
listing
Silent of our generous donors. To make a donation, contact John Golden at john@astaweb.com or complete the donation form online.
Auction
The Silent Auction will begin the Gala Benefit Evening on Saturday, March 21, in Atlanta. Please join us to bid
The Gala Evening, silent auction and performance, is sponsored by Connolly & Co., Inc. (Sky – please include their logo)
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 John Golden at john@astaweb.com or complete the donation form online.
The Gala Evening, silent auction, and performance is sponsored by Connolly & Co., Inc.

National Orchestra Festival®
The National Orchestra Festival brings together orchestras from around the country to a single location in order
to provide an unparalleled opportunity to receive placement, ratings, and comments from leading clinicians and
adjudicators in the industry. The festival encompasses Youth Orchestras, Middle School Orchestras and High School
Orchestras in their choice of Competition, Rating, and or Comments categories. Competitive groups will receive rating and
comments as part of their competition status. Performances of the orchestras are open to all conference attendees.
For a complete list of selected orchestras participating in the 2009 festival, visit the conference section of the website at
www.astaweb.com beginning in early October.
Finals of the 15th Biennial National Solo Competition

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

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

String Teacher Enrichment Program (STEP)
ASTA offers members a 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 over a four year
period. STEP is open to any string teacher interested in learning vital topics in string education, non-string playing teachers such as
band directors who are now teaching strings, and private lesson instructors now teaching adjunct in schools. STEP fills in 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 that a certificate
in this program has been received. You may also elect to receive two college credits during this program issued by ASTA’s university
partner, Shenandoah University.
To participate in this program you will need to pay conference registration fees, including the pre-conference session,
one-time ASTA enrollment fee of $25*, and if elected, the cost of credit 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 regis-
tration form, register for the conference and the K-12 pre-conference workshop, and if appropriate, the one-time enrollment fee box.
Additional materials will be sent to you about the program. You may also visit the ASTA website for complete program details.
College Credit Available from Shenandoah University

Shenandoah University will offer undergraduate and graduate credit in conjunction with the American String Teachers Association’s
National Conference. To receive credit, you must complete Shenandoah’s registration information form indicating course number
and credit level and complete all required assignments. These are available to view on ASTA’s website and you will receive these upon
checking the box on the ASTA conference registration form. Tuition cost for 1 credit is $197, plus a $20 special student application
fee for all 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.
Today Register
for 20
08 Ra
W e’ll Se tes -
Professional Development Opportunities (con’t) e You
Atlan In
Professional Development Documentation Program & Certificate ta!
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 specified number of clock hours to meet.
Certificate 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.
To get the best rates, register today!

Early Bird rates are the same as last year!
Plan now to join us at the conference. Use the registration form on page 55 or visit the conference section of the ASTA website at
www.astaweb.com for additional information and ways to register.
Early-bird registration deadline is December 10, 2008!

All registered by December 10 are entered into a drawing for a DIAMOND SX Bow, generously donated by
CodaBow International. Get the best rates available and a chance to win a bow!
Hotel Accommodations Reservation Deadline: March 2, 2009

ASTA has secured preferred rate room block at the Atlanta Marriott Marquis Hotel. Please contact the hotel by calling
404-521-0000 or toll free at 888-855-5701 by the cut-off date of March 2, 2009 to secure your reservations – be sure to mention
you are with ASTA in order to receive the special room rates below. We are anticipating that the ASTA room block will sell out
before the cut-off date. Reserve early to ensure space availability.
MARTA Train
Fly into Hartsfield International Airport and get to the hotel without stepping outside! Take the MARTA train from the airport stop
to Peachtree Center Station. The hotel is connected to the station. The fare is just $1.75 each way! (Approximately a 20-minute train
ride.) Visit www.itsmarta.com for more details.
Single $150++/night
Double/Triple/Quad $155++/night
Reservations
888/855-5701 or 404/521-0000
Atlanta Marriott Marquis Hotel
265 Peachtree Center Ave.
Atlanta, Georgia 30303

2009 ASTA National Conference
De $A
Re mb MO
2009
ce VE
gi er N
Registration Form
ste 10 EY
rb a !
March 19-21, 2009
y nd
National Conference Atlanta, Georgia • Atlanta Marriott Marquis Hotel
Fax or email form to: Name _____________________________Member ID # ___________________________

ASTA Address 1________________________________________________________________
4153 Chain Bridge Rd.
Address 2________________________________________________________________
Fairfax, VA 22030
FAX 703/279-2114 City, State, Zip, Country _____________________________________________________
Or register online: Phone _____________________________FAX __________________________________
www.astaweb.com
For questions, call: Email ___________________________________________________________________
703/279-2113, ext. 16 Primary Profession (circle one): K-12 University Private Studio Performer
Early-bird Check here if first-time

rates attendee.
same as last
year!
Conference
Conference Rates
Rates Documentation
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Master Class by Elaine Fine
There Are No Secrets—Thoughts on a Career in Music;

an Interview with Violinist David Nadien
D
avid Nadien’s name is known to many young violinists as “the man who recorded those great Suzuki CDs.” His affiliation with
Dr. Suzuki, though, was but a small part of his stellar solo and orchestral career that spanned more than six decades.
Elaine Fine, a professional musician and long-time ASTA member, was fortunate to have been able to sit down with Nadien earlier
this year to discuss his background, career, and thoughts on the music profession. She writes, “David Nadien had his career during a fantastic
time, and he was the best fiddle player around. He got where he did by practicing and by playing really well all the time. However, the musi-
cal world has changed. Anyone who has tried to ‘make a go’ of music as a freelancer knows how difficult it is to make a living, no matter how
well he or she plays. Nadien, being a sensitive human being, is acutely aware of the musical prospects for people who are just starting out or
are interested in going into music as a profession. It is Nadien’s absolute honesty that has made him the player and the man he is.”
Biography
Nadien was born in Brooklyn, New York in 1926. He studied in New York and in Lucca, Italy with Adolfo Betti, the leader of the
Flonzaley String Quartet. He made his Town Hall debut at 13, and played his first concerto with the New York Philharmonic when he
was 14. Nadien continued his studies with Ivan Galamian, until he was drafted into the Army. After getting training in various fields of
artillery, he was asked to join the Army Services Orchestra as its concertmaster, and in 1946, after the war was over, Nadien was given
the Leventritt Award by Arturo Toscanini. A frequent soloist with the New York Philharmonic, he became the orchestra’s concertmaster
in 1966, where he was a frequent soloist and remained until 1970. After leaving the Philharmonic, Nadien continued to be very active
as a studio musician in New York through the 1990s. In addition to his work with the New York Philharmonic, Nadien has soloed
with the St. Louis Symphony, the National Orchestra Association, the Montreal Symphony, the Quebec Philharmonic, the Washington
Symphony, and the Omaha Symphony.
Cembal d’Amour (www.cembaldamour.com) has issued four DVDs that feature Nadien as soloist. Some selections on the record-
ings are reissues of out-of-print LP recordings from the 1960s, and some are recordings from concert performances. The CD that
features concert performances of the Tchaikovsky and Glazunov concertos, and Ravel’s Tzigane and Havanaise by Saint-Saëns, includes
a bonus 68-minute DVD interview that has a minute or so of David Nadien playing a bit of Kreisler.
Musical Influences body! Don’t be ashamed of it. Yes. The good ones know how difficult it
Are there any secrets about great violin play- I barely learned anything at all tech- is, and are appreciative of anyone who is
ing that you can share? nically or physically from him, but what capable. Absolutely. I know that when I
I did enjoy with him was the music. He hear somebody who plays extremely well,
There are no secrets. If there were, there had such a wonderful sense of phrasing I take my hat off to them. I know how
would be so many people able to do it! and shaping of a piece; that was what I difficult it is to do.
enjoyed about working with him. You
Could you tell me about studying with Constan- know, he himself said that gifted people Did you ever study with Fritz Kreisler?
tine Dounis? I have heard stories about people and talented people play, for the most
not wanting to be seen in his waiting room. part, correctly--they do not need to ana- No, never. But I was a great admirer of his.
lyze what they are doing. He’s the first to
You could come in from an entrance recognize that talent will survive overall. I love your audible shifts, particularly when
from a balcony or you could come in Dounis was quite independent finan- you play Kreisler. You don’t hear an actual
through the front door. Sometimes cially and he didn’t need to teach if he slide, but you hear something: it’s as if the
people who felt embarrassed, people didn’t want to. I think he was married to shifted-to note carries harmonic material
perhaps of some stature didn’t want to be a rather wealthy woman. He loved mu- from wherever it came from.
seen by other people in the same field, so sic, and he would go out of his way for
Dounis would usher someone in through some people. I remember that he came That’s called good shifting! You know the
the front door, and the previous student to a recital that I played at a high school master of that was Fritz Kreisler. Kreisler
would be ushered out the balcony door in the Bronx (a friend of mine drove had the most beautiful changes of posi-
and exit to a different elevator. He did him there). He would go out of his way tion. That was my idea of how a violin
that to keep them happy, and he used to for somebody that he cared about, but should sound: Fritz Kreisler.
laugh about it. Sometimes well-known he would not move a finger for people
artists would ask him questions, and he who had “attitudes” that involved ego I love his pieces. I get the impression that he
wouldn’t want to deal with them because and false expectations. wrote those thinking, “If I have to practice
of their attitude. Often they would want technique, let me at least make it musical,”
to study on their terms and not want I have been lucky to have known a lot of and it works to practice his pieces with the
anybody to know. I think that’s very great musicians, and among the great musi- idea of getting all the position changes and
phony myself: If you’re going to study cians I have known, humility seems to be a string crossings.
with somebody, then study with some- unifying trait.

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

teaching should be able to basically “put their
money where their mouth is.”
Yes!
Performance Practice/Musical Approach

How do you feel about playing Baroque
music without vibrato?
A lot of people play it as if Baroque

music shouldn’t be played with any
feeling. It should be played with a lot of
feeling. Vibrato has a great deal to do
with feeling. Everything is combined:
the vibrato, the bow, how you shape a
piece. It’s “multi-complicated.”
When you were working as a studio musi-

cian did you approach commercial music
differently from the way you would approach
“serious” music?
Not at all. I always made it sound the

best that I could make it sound, but
often the style of it might have to be
different. I would always try to make
it sound well. For example once I was
asked to do some hillbilly stuff, but I
tried to make it sound like “good hill-
billy,” not “bad hillbilly.”
So you are saying that whatever you are play-

ing, you do at your very best?
Absolutely. If I can’t get any pleasure out

of what I’m doing musically, I’ve failed.
I have to enjoy it myself. I want to like
what I’m doing while I’m doing it.
If live commercial music ever comes back, do

you think that would be a goal for commercial
players, for musicians to have as much integ-
rity with whatever they are trying to play?
Yes. It’s not like the old saying, “it’s good

enough for jazz!”
Elaine Fine is a violinist,

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

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

ASTA
Announces
2009 Budget
Revenue
Administration 25,220
Foundation 48,900
Governance 0
Grants 30,000
Member Services 1,912,507
Publications 68,100
Total $ 2,084,727
Expenses
Administration 369,131
Foundation 88,624
Governance 83,678
Grants 30,283
Member Services 1,460,348
Publications 46,571
Total
$2,078,635
2008
String Industry Council
Membership Directory
(current members as of June 30, 2008)
On the following pages you will find the annual printed String Industry Council directory. Please note that significant changes were made
in its organization and presentation in an effort to better assist you in finding the products and services you need on a daily basis. The full
directory listing for each company, including the full description and all categories and more, is still available on our website at http://
www.astaweb.com. Click on the Member Resources link on the left, then click on the Searchable Directories link on the left as well. You
may search by company, product, business location, and more. The website gives you the description of the company, and complete
contact information including live links to email and websites.
Anytime you are in need of products and services, use these pages or visit the online directory, please support the companies that are
actively supporting you! Many listings also include special discounts for ASTA members – just ask!
ACCESSORIES (ACC) Mach One Shoulder Rest

819-684-3886 www.machonerest.com
Alter’s Violin Shop Meisel Stringed Instruments

816-468-7757 www.altersviolinshop.com 800-634-7356 www.meiselmusic.com
Ashokan Fiddle & Dance Camps Mercury String Shop

845-246-2121 www.ashokan.org 804-553-7995 www.mercurystringshop.com
Bob Beerman’s Bass Violin Shop Pasewicz String Instruments, Inc.

336-272-2877 www.bassviolinshop.com 919-858-0429 www.tristrings.com
Brobst Violin Shop The Potter Violin Company

703-256-0566 www.brobstviolins.com 800-317-9452 www.pottersviolins.com
Concord International Group Sam Ash Music Corporation

847-836-8688 www.concordgroup.com 888-615-5904 www.samashmusic.com
D’Addario & Co., Inc. Super-Sensitive Musical String Co.

631-439-3333 www.daddariobowed.com 941-371-0016 www.supersensitive.com
Fegley’s Violin Shop The Violin Case

610-779-0665 www.fegleyviolin.com 425-829-4945 www.violingifts.com
Fein Stringed Instruments Yamaha Corporation

651-228-0783 www.feinviolins.com 714-522-9011 www.yamaha.com/strings
George Robinson Violins ASSOCIATIONS (A)

806-792-9752 www.robinsonviolins.com
Huthmaker Violins Heart of Chamber Music Institute

800-572-1019 www.huthmakerviolins.com 617-232-1135 www.heartofchambermusic.net
Johnson String Instrument Indianapolis Symphony Orchestra

617-964-0954 www.johnsonstring.com 317-231-6785 www.indianapolissymphony.org
Kenneth Warren & Son, Inc. The Midwest Clinic

312-427-7475 http://kennethwarrenandson.com 847-424-4163 www.midwestclinic.org
Last Resort Music Publishing, Inc. Starling Project Foundation

818-956-0088 www.lastresortmusic.com 513-421-4404 www.starling.org

BOWS (BOWS) George Robinson Violins
806-792-9752 www.robinsonviolins.com
A. Cavallo Violins Glasser Bows, Inc.

402-827-9270 www.acavalloviolins.com 718-994-1613 www.glasserbows.com
Alter’s Violin Shop Gliga Violins USA

816-468-7757 www.altersviolinshop.com 626-578-0442 www.violinslover.com
Antonio Violins Guarneri House

800-846-5270 www.antonioviolin.com 616-451-4960 www.guarnerihouse.com
Beckmann Violin Shop House of Note

913-831-1119 www.kkbeckmannviolins.com 952-929-0026 www.houseofnote.com
Bob Beerman’s Bass Violin Shop Huthmaker Violins

336-272-2877 www.bassviolinshop.com 800-572-1019 www.huthmakerviolins.com
Brobst Violin Shop Ifshin Violins

703-256-0566 www.brobstviolins.com 510-843-5466 www.ifshinviolins.com
Casa Del Sol Jim Clinton Violins

317-257-9923 www.casadelsolviolins.com 864-322-2622 www.jcviolins.com
Charles W. Liu Fine Violins John Montgomery, Inc.

801-255-9636 www.finestringinstruments.com 919-821-4459 www.montgomeryviolins.com
Claire Givens Violins, Inc. Johnson String Instrument

612-375-0708 www.givensviolins.com 617-964-0954 www.johnsonstring.com
CodaBow International Ltd. JonPaul Bows

507-454-1509 www.codabow.com 801-266-0443 www.jonpaulbows.com
Conrad String Instruments, LLC. Kelin Violin Shop

732-469-4544 www.conradstrings.com 972-964-8666 www.kelinviolin.com
David Gage String Instrument Repair Ken Altman Bowmaker

212-274-1322 www.davidgage.com 503-873-7420 www.altmanbows.com
Eastman Strings Lemur Music

800-624-0270 www.eastmanstrings.com 949-493-8323 www.lemurmusic.com
Electric Violin Shop Lisle Violin Shop

919-806-3311 www.electricviolinshop.com 800-545-4753 www.violins.com
Fegley’s Violin Shop Meisel Stringed Instruments

610-779-0665 www.fegleyviolin.com 800-634-7356 www.meiselmusic.com
Fein Stringed Instruments Menchey Music Service, Inc.

651-228-0783 www.feinviolins.com 717-637-2185 www.mencheymusic.com
Ferguson Violin Shop Mercury String Shop

208-356-0231 www.fergusonviolinshop.com 804-553-7995 www.mercurystringshop.com
Foster’s Violin Shop Metzler Violin Shop

714-639-4480 www.fostersviolinshop.com 818-246-0278 www.metzlerviolins.com
Fritz Reuter & Sons Inc. Nordenholz Distributing Co.

847-677-7255 www.fritz-reuter.com 800-272-7170 www.nordenholz.com
2 0 0 8 String Industry Council Directory
Oliver Musica USA, Inc. Charles W. Liu Fine Violins
714-632-5959 www.olivermusic.com 801-255-9636 www.finestringinstruments.com
Pasewicz String Instruments, Inc. CodaBow International Ltd.

919-858-0429 www.tristrings.com 507-454-1509 www.codabow.com
Peter Prier & Sons Violins Conn-Selmer, Inc.

801-364-3651 www.prierviolins.com 574-522-1678 www.conn-selmer.com
The Potter Violin Company Connolly & Co., Inc.

800-317-9452 www.pottersviolins.com 631-757-0110 www.connollyandco.com
Psarianos Violins, Ltd. CSC Products Co., Ltd.

248-689-8424 www.psarianosviolins.com 888-600-8559 www.samuelshen.com
Reuning & Son Violins D’Addario & Co., Inc.

617-262-1300 www.reuning.com 631-439-3333 www.daddariobowed.com
R.L. Ray Violin Shop LLC. Dogal SNC

360-570-1085 www.rlrayviolinshop.com +39 041 5388281 www.dogalstrings.it
Robertson & Sons Violin Shop, Inc. Don’t Fret Enterprises

505-889-2999 www.robertsonviolins.com 505-292-9614 phiddle4@earthlink.net
Roy G. Quade Bowmaker Eastman Strings

800-624-0270 www.eastmanstrings.com
403-277-9373 www.quadebows.com
Rufino Violins The Enterprising Rabbit

866-876-3123 www.enterprisingrabbit.com
917-930-4153 www.rufinoviolins.com
Southwest Strings G. Edward Lutherie, Inc.

612-781-5799 www.gelbass.com
520-624-9390 www.swstrings.com
The String House Gemeinhardt Co., Inc.

219-295-5280 www.gemeinhart.com
585-442-9272 www.thestringhouse.com
Gibson Musical Instruments
Violin Outlet 615-871-4500 www.gibson.com
702-733-3028 www.violinoutlet.com
Gliga Violins USA
William Moennig & Son Ltd. 626-578-0442 www.violinslover.com
215-567-4198 www.moennig.com
Happynex
Williamson Music Company 401-569-6510 www.happynex.com
972-633-8203 www.williamsonmusicco.com
Howard Core Company
Yamaha Corporation 800-633-2302 www.howardcore.com
714-522-9011 www.yamaha.com/strings
Il Gladio
INSTRUMENT & ACCESSORY +88 6982253177 www.il-gladio.it
MANUFACTURER/WHOLESALER
(IAMW) Instrumental Distribution
734-480-2280 www.instrumentaldistribution.com
A. Cavallo Violins Jim Clinton Violins

402-827-9270 www.acavalloviolins.com 864-322-2622 www.jcviolins.com
Ashokan Fiddle & Dance Camps Johnson String Instrument

845-246-2121 www.ashokan.org 617-964-0954 www.johnsonstring.com
BEE-IN Tuner, Inc. Kaman Music Corporation

516-798-5555 www.BeeInTuner.com 860-509-8888 www.kamanmusic.com

Knilling String Instruments THOMASTIK-INFELD
314-727-4512 www.knilling.com +43 15451262 www.thomastik-infeld.com
Kun Shoulder Rest, Inc. United-Workshops

613-232-1861 www.kunrest.com 888-895-7477 www.united-workshops.com
Lemur Music Universal Music

949-493-8323 www.lemurmusic.com 310-537-0938 www.univiolin.com
Meisel Stringed Instruments Xeros Music Enterprises

800-634-7356 www.meiselmusic.com 972-234-5414 xerosmusic.com
Nordenholz Distributing Co. Yamaha Corporation

800-272-7170 www.nordenholz.com 714-522-9011 www.yamaha.com/strings
Notes & Strings LLC INSTRUMENT, ACCESSORY &

719-251-1341 www.notesnstrings.com MUSIC SALES (IAMS)
Oliver Musica USA, Inc.
714-632-5959 www.olivermusic.com A. Cavallo Violins
402-827-9270 www.acavalloviolins.com
OnBoard Research Corporation
214-239-4005 www.tuners.com Anti-Fatigue Practice Mat
574-232-5434 www.musicmat.net
Otto Musica
215-636-0585 www.ottomusica.com Antonio Violins
800-846-5270 www.antonioviolin.com
Peter Prier & Sons Violins
801-364-3651 www.prierviolins.com Beckmann Violin Shop
913-831-1119 www.kkbeckmannviolins.com
Peterson Electro-Musical Products, Inc.
708-388-3311 www.petersontuners.com Casa Del Sol
317-257-9923 www.casadelsolviolins.com
Pirastro GmbH Charles W. Liu Fine Violins
+49 69-840090-0 www.pirastro.com 801-255-9636 www.finestringinstruments.com
Psarianos Violins, Ltd. Claire Givens Violins, Inc.

248-689-8424 www.psarianosviolins.com 612-375-0708 www.givensviolins.com
R.L. Ray Violin Shop LLC. Concord International Group

360-570-1085 www.rlrayviolinshop.com 847-836-8688 www.concordgroup.com
Shar Products Company Conrad String Instruments, LLC.

734-665-3978 www.sharmusic.com 732-469-4544 www.conradstrings.com
Snow Stringed Instruments, Inc. CSC Products Co., Ltd.

718-353-7402 www.snowviolin.com 888-600-8559 www.samuelshen.com
Sofia Violins David Gage String Instrument Repair

317-264-0444 www.sofia-violins.com 212-274-1322 www.davidgage.com
Southwest Strings David Kaemmer’s Fiddle Tune of the Month

520-624-9390 www.swstrings.com 520-220-1166 www.dkmusicstudio.com
Super-Sensitive Musical String Co. Don’t Fret Enterprises

941-371-0016 www.supersensitive.com 505-292-9614 phiddle4@earthlink.net
Superscope Technologies, Inc. Electric Violin Shop

630-820-4800 www.superscopetechnologies.com 919-806-3311 www.electricviolinshop.com
The Enterprising Rabbit Oliver Musica USA, Inc.
866-876-3123 www.enterprisingrabbit.com 714-632-5959 www.olivermusic.com
Ferguson Violin Shop Pasewicz String Instruments, Inc.

208-356-0231 www.fergusonviolinshop.com 919-858-0429 www.tristrings.com
Fritz Reuter & Sons Inc. Peter Prier & Sons Violins
847-677-7255 www.fritz-reuter.com 801-364-3651 www.prierviolins.com
Gliga Violins USA Peter Zaret & Sons Violins, Inc.

626-578-0442 www.violinslover.com 888-846-5462 www.zaretandsonsviolins.com
Guarneri House PlayMyPiece, LLC.

616-451-4960 www.guarnerihouse.com 585-461-9421 www.playmypiece.com
House of Note The Potter Violin Company

952-929-0026 www.houseofnote.com 800-317-9452 www.pottersviolins.com
Ifshin Violins Psarianos Violins, Ltd.

510-843-5466 www.ifshinviolins.com 248-689-8424 www.psarianosviolins.com
Il Gladio R.L. Ray Violin Shop LLC.

+88 6982253177 www.il-gladio.it 360-570-1085 www.rlrayviolinshop.com
Jim Clinton Violins Rolland String Research Associates

864-322-2622 www.jcviolins.com 480-969-9744 www.myspace.com/peterdocrolland
John Montgomery, Inc. Sam Ash Music Corporation

919-821-4459 www.montgomeryviolins.com 888-615-5904 www.samashmusic.com
Johnson String Instrument Shar Products Company

617-964-0954 www.johnsonstring.com 734-665-3978 www.sharmusic.com
KC Strings, Inc. Southwest Strings

913-677-0400 www.kcstrings.com 520-624-9390 www.swstrings.com
Kelin Violin Shop Strings Music and More LLC.

972-964-8666 www.kelinviolin.com 480-200-4025 stringsmusicandmore.com
Lemur Music Strings101.com

949-493-8323 www.lemurmusic.com 626-961-4936 strings101.com
Lisle Violin Shop Tata Classical LLC

800-545-4753 www.violins.com 734-604-1373 www.tataclassical.com
Meisel Stringed Instruments Violin Outlet

800-634-7356 www.meiselmusic.com 702-733-3028 www.violinoutlet.com
Menchey Music Service, Inc. William Moennig & Son Ltd.

717-637-2185 www.mencheymusic.com 215-567-4198 www.moennig.com
Metzler Violin Shop Williamson Music Company

818-246-0278 www.metzlerviolins.com 972-633-8203 www.williamsonmusicco.com
Music & Arts Center Wood Violins

301-620-2053 www.musicarts.com 516-767-6677 www.woodviolins.com
Notes & Strings LLC

719-251-1341 www.notesnstrings.com

INSTRUMENT MAKER/DEALER (IMD) Gemeinhardt Co., Inc.
219-295-5280 www.gemeinhart.com
A. Cavallo Violins George Robinson Violins

402-827-9270 www.acavalloviolins.com 806-792-9752 www.robinsonviolins.com
Alter’s Violin Shop Gibson Musical Instruments

816-468-7757 www.altersviolinshop.com 615-871-4500 www.gibson.com
Anne Cole Violinmaker Gliga Violins USA

505-294-3709 www.annecoleviolinmaker.com 626-578-0442 www.violinslover.com
Beckmann Violin Shop House of Note

913-831-1119 www.kkbeckmannviolins.com 952-929-0026 www.houseofnote.com
Bob Beerman’s Bass Violin Shop Huthmaker Violins

336-272-2877 www.bassviolinshop.com 800-572-1019 www.huthmakerviolins.com
Brobst Violin Shop Ifshin Violins

703-256-0566 www.brobstviolins.com 510-843-5466 www.ifshinviolins.com
Casa Del Sol Jansma Fine String Instruments

317-257-9923 www.casadelsolviolins.com 231-924-0657 www.jansma.com
Charles W. Liu Fine Violins Jiang Violins

801-255-9636 www.finestringinstruments.com +86 10 5210 7389 www.jiangviolins.com
Claire Givens Violins, Inc. Jim Clinton Violins

612-375-0708 www.givensviolins.com 864-322-2622 www.jcviolins.com
Clemens Violins, Violas, Violoncellos John Montgomery, Inc.

314-727-4787 www.clemensviolins.com 919-821-4459 www.montgomeryviolins.com
Conrad String Instruments, LLC. Johnson String Instrument

732-469-4544 www.conradstrings.com 617-964-0954 www.johnsonstring.com
CSC Products Co., Ltd. Jonathan Cooper Violinmaker

888-600-8559 www.samuelshen.com 207-893-1866 www.jcooperviolinmaker.com
Electric Violin Shop KC Strings, Inc.

919-806-3311 www.electricviolinshop.com 913-677-0400 www.kcstrings.com
Fegley’s Violin Shop Kelin Violin Shop

610-779-0665 www.fegleyviolin.com 972-964-8666 www.kelinviolin.com
Fein Stringed Instruments Kenneth Warren & Son, Inc.

651-228-0783 www.feinviolins.com 312-427-7475 http://kennethwarrenandson.com
Ferguson Violin Shop Lemur Music

208-356-0231 www.fergusonviolinshop.com 949-493-8323 www.lemurmusic.com
Foster’s Violin Shop Lisle Violin Shop

714-639-4480 www.fostersviolinshop.com 800-545-4753 www.violins.com
Fritz Reuter & Sons Inc. Lyon & Healy Harps

847-677-7255 www.fritz-reuter.com 312-786-1881 www.lyonhealy.com
G. Edward Lutherie, Inc. Maison Bernard

612-781-5799 www.gelbass.com +32 2 514-18-71 www.maison-bernard.com
Menchey Music Service, Inc. William Moennig & Son Ltd.
717-637-2185 www.mencheymusic.com 215-567-4198 www.moennig.com
Mercury String Shop Williamson Music Company

804-553-7995 www.mercurystringshop.com 972-633-8203 www.williamsonmusicco.com
Metzler Violin Shop Wm. Rees Instruments, LLC.

818-246-0278 www.metzlerviolins.com 812-438-3032 www.reesharps.com
Oliver Musica USA, Inc. Wood Violins

714-632-5959 www.olivermusic.com 516-767-6677 www.woodviolins.com
Pasewicz String Instruments, Inc. INSTRUMENT RENTAL (IRE)

919-858-0429 www.tristrings.com
Peter Prier & Sons Violins A. Cavallo Violins

801-364-3651 www.prierviolins.com 402-827-9270 www.acavalloviolins.com
The Potter Violin Company Antonio Violins

800-317-9452 www.pottersviolins.com 800-846-5270 www.antonioviolin.com
Psarianos Violins, Ltd. Bob Beerman’s Bass Violin Shop

248-689-8424 www.psarianosviolins.com 336-272-2877 www.bassviolinshop.com
Rapkievian Fine Violins Brobst Violin Shop

301-519-2021 www.fineviolinsbydavid.com 703-256-0566 www.brobstviolins.com
Reuning & Son Violins Casa Del Sol

617-262-1300 www.reuning.com 317-257-9923 www.casadelsolviolins.com
R.L. Ray Violin Shop LLC. Charles W. Liu Fine Violins

360-570-1085 www.rlrayviolinshop.com 801-255-9636 www.finestringinstruments.com
Robertson & Sons Violin Shop, Inc. Conrad String Instruments, LLC.
505-889-2999 www.robertsonviolins.com 732-469-4544 www.conradstrings.com
Rufino Violins Fein Stringed Instruments

917-930-4153 www.rufinoviolins.com 651-228-0783 www.feinviolins.com
Sofia Violins Ferguson Violin Shop

317-264-0444 www.sofia-violins.com 208-356-0231 www.fergusonviolinshop.com
Southwest Strings Foster’s Violin Shop

520-624-9390 www.swstrings.com 714-639-4480 www.fostersviolinshop.com
Steven M. Tinling Violinmaker Fritz Reuter & Sons Inc.

951-780-1274 smtinling@earthlink.net 847-677-7255 www.fritz-reuter.com
StringWorks George Robinson Violins

920-830-0928 www.stringworks.com 806-792-9752 www.robinsonviolins.com
The Violin Shop House of Note

615-662-1570 www.theviolinshop.net 952-929-0026 www.houseofnote.com
Universal Music Huthmaker Violins

310-537-0938 www.univiolin.com 800-572-1019 www.huthmakerviolins.com
W & W Musical Instrument Co./ Jim Clinton Violins

Venus Harps 864-322-2622 www.jcviolins.com
847-818-0578 www.venusharps.com

Johnson String Instrument INSTRUMENT REPAIR (IR)
617-964-0954 www.johnsonstring.com
Kelin Violin Shop A. Cavallo Violins

972-964-8666 www.kelinviolin.com 402-827-9270 www.acavalloviolins.com
Alter’s Violin Shop

Lisle Violin Shop 816-468-7757 www.altersviolinshop.com
800-545-4753 www.violins.com
Menchey Music Service, Inc. Antonio Violins

717-637-2185 www.mencheymusic.com 800-846-5270 www.antonioviolin.com
Mercury String Shop Beckmann Violin Shop

804-553-7995 www.mercurystringshop.com 913-831-1119 www.kkbeckmannviolins.com
Metzler Violin Shop Bob Beerman’s Bass Violin Shop

818-246-0278 www.metzlerviolins.com 336-272-2877 www.bassviolinshop.com
Music & Arts Center Brobst Violin Shop

301-620-2053 www.musicarts.com 703-256-0566 www.brobstviolins.com
Pasewicz String Instruments, Inc. Casa Del Sol

919-858-0429 www.tristrings.com 317-257-9923 www.casadelsolviolins.com
Peter Zaret & Sons Violins, Inc. Charles W. Liu Fine Violins
888-846-5462 www.zaretandsonsviolins.com 801-255-9636 www.finestringinstruments.com
The Potter Violin Company Claire Givens Violins, Inc.

800-317-9452 www.pottersviolins.com 612-375-0708 www.givensviolins.com
Psarianos Violins, Ltd. Clemens Violins, Violas, Violoncellos

248-689-8424 www.psarianosviolins.com 314-727-4787 www.clemensviolins.com
R.L. Ray Violin Shop LLC. CSC Products Co., Ltd.

360-570-1085 www.rlrayviolinshop.com 888-600-8559 www.samuelshen.com
Rolland String Research Associates David Gage String Instrument Repair

480-969-9744 www.myspace.com/peterdocrolland 212-274-1322 www.davidgage.com
Rufino Violins Electric Violin Shop

917-930-4153 www.rufinoviolins.com 919-806-3311 www.electricviolinshop.com
Shar Products Company Fegley’s Violin Shop

734-665-3978 www.sharmusic.com 610-779-0665 www.fegleyviolin.com
Southwest Strings Fein Stringed Instruments

520-624-9390 www.swstrings.com 651-228-0783 www.feinviolins.com
The String House Ferguson Violin Shop

585-442-9272 www.thestringhouse.com 208-356-0231 www.fergusonviolinshop.com
Violin Outlet Foster’s Violin Shop

702-733-3028 www.violinoutlet.com 714-639-4480 www.fostersviolinshop.com
Williamson Music Company Fritz Reuter & Sons Inc.

972-633-8203 www.williamsonmusicco.com 847-677-7255 www.fritz-reuter.com
G. Edward Lutherie, Inc.

612-781-5799 www.gelbass.com
George Robinson Violins Reuning & Son Violins
806-792-9752 www.robinsonviolins.com 617-262-1300 www.reuning.com
House of Note R.L. Ray Violin Shop LLC.

952-929-0026 www.houseofnote.com 360-570-1085 www.rlrayviolinshop.com
Huthmaker Violins Robertson & Sons Violin Shop, Inc.

800-572-1019 www.huthmakerviolins.com 505-889-2999 www.robertsonviolins.com
Ifshin Violins The String House

510-843-5466 www.ifshinviolins.com 585-442-9272 www.thestringhouse.com
Jansma Fine String Instruments The Violin Shop

231-924-0657 www.jansma.com 615-662-1570 www.theviolinshop.net
Jim Clinton Violins Violin Outlet

864-322-2622 www.jcviolins.com 702-733-3028 www.violinoutlet.com
John Montgomery, Inc. William Moennig & Son Ltd.
919-821-4459 www.montgomeryviolins.com 215-567-4198 www.moennig.com
Johnson String Instrument Williamson Music Company
617-964-0954 www.johnsonstring.com 972-633-8203 www.williamsonmusicco.com
KC Strings, Inc. MUSIC FESTIVAL (MF)
913-677-0400 www.kcstrings.com
Kelin Violin Shop ACIS/Encore Tours

972-964-8666 www.kelinviolin.com
617-450-5660 www.encoretours.com
Kenneth Warren & Son, Inc. Ashokan Fiddle & Dance Camps
312-427-7475 http://kennethwarrenandson.com
845-246-2121 www.ashokan.org
Lisle Violin Shop Charles W. Liu Fine Violins
800-545-4753 www.violins.com
801-255-9636 www.finestringinstruments.com
Maison Bernard
+32 2 514-18-71 www.maison-bernard.com Festival-Institute at Round Top
979-249-3129 www.festivalhill.org
Menchey Music Service, Inc.
717-637-2185 www.mencheymusic.com Johansen International Competition
301-946-9531 www.fmmc.org
Mercury String Shop
804-553-7995 www.mercurystringshop.com Music Celebrations International
480-894-3330 www.musiccelebrations.com
Metzler Violin Shop
818-246-0278 www.metzlerviolins.com Music Dreaming, Inc.
828-350-0916 www.violinmastery.com
Music & Arts Center
301-620-2053 www.musicarts.com Orchestra America
317-636-2263 www.musicforall.org
Pasewicz String Instruments, Inc.
919-858-0429 www.tristrings.com Symerge
585-313-4319 www.symerge.org
Peter Prier & Sons Violins
801-364-3651 www.prierviolins.com Travel Adventures
810-664-1777 www.traveladventures.com
The Potter Violin Company
800-317-9452 www.pottersviolins.com Vanguard Tour Service, Inc.
708-895-0060 www.vanguardtours.com
Psarianos Violins, Ltd.
248-689-8424 www.psarianosviolins.com

MUSIC PUBLISHER/DISTRIBUTOR Heiden Music Publications
(MPD) 503-587-2201 heidenmusic.com
Innovative Learning Designs, LLC.

Alfred Publishing Co., Inc. 800-232-6332 www.musicreading.com
818-891-5999 www.alfred.com
Jazzbows Music Inc.
Ashokan Fiddle & Dance Camps 718-881-8158 www.jazzbows.com
845-246-2121 www.ashokan.org
Jim Clinton Violins
Barenreiter 864-322-2622 www.jcviolins.com
+49 561 3105 173 www.baerenreiter.com
Kendor Music, Inc.
Boosey & Hawkes 716-492-1254 www.kendormusic.com
414-774-3630 www.halleonard.com
Last Resort Music Publishing, Inc.
C. Alan Publications 818-956-0088 www.lastresortmusic.com
336-272-3920 www.c-alanpublications.com
Latham Music, a Lorenz Co.
C.F. Peters Corporation 800-444-1144 www.latham-music.com
718-416-7800 www.cfpeters-ny.com
Lemur Music
Carl Fischer Music 949-493-8323 www.lemurmusic.com
212-777-0900 www.carlfischer.com
The Lorenz Corporation
Col Legno Music 937-228-6118 www.lorenz.com
651-487-1980 www.collegno-music.com
Luck’s Music Library
David Kaemmer’s Fiddle Tune of the Month 248-583-1820 www.lucksmucic.com
520-220-1166 www.dkmusicstudio.com
Lyra House Music Publications
E&E Cello Music, LLC. 248-855-2135 www.iteachguitar.com
785-354-0765 www.eecellomusic.com
Mel Bay Publications
E.F. Kalmus/Ludwig Masters Publications, Inc. 636-257-3970 www.melbay.com
718-268-8906 www.kalmus-music.com
Mewzkl Publications
The Enterprising Rabbit 410-841-6288 www.mewzkl.com
Mona Lisa Sound, Inc.
Family String Method 877-263-5691 www.monalisasound.com
413-624-3976 www.familystringmethod.com
Mountain Crest Music
FJH Music Co., Inc. 845-226-1142 www.mountaincrestmusic.com
954-382-6061 www.fjhmusic.com
Mozart Music
Frank Rodgers Music 832-566-0405 www.mozartm.com
757-420-7671 frodg@macs.net
MSB Publishing Co.
Frederick Harris Music Co. 703-561-0189 members.aol/msbpubco
905-501-1595 www.frederickharrismusic.com
Music Mart, Inc.
G. Schirmer, Inc. 505-889-9777 www.musicmart.com
Neil A. Kjos Music Company
GIA Publications, Inc. 858-270-9800 www.kjos.com
708-496-3800 www.giamusic.com
NJR Music Enterprises
Hal Leonard Corporation 952-974-5047 http://members.aol.com/njmuse
Northeastern Music Publications, Inc. Jazzbows Music Inc.
610-942-2370 www.nemusicpub.com 718-881-8158 www.jazzbows.com
Northfield Press Johnson String Instrument

716-634-6884 www.northfieldpress.com 617-964-0954 www.johnsonstring.com
The Potter Violin Company Last Resort Music Publishing, Inc.

800-317-9452 www.pottersviolins.com 818-956-0088 www.lastresortmusic.com
Robertson & Sons Violin Shop, Inc. Latham Music, a Lorenz Co.
505-889-2999 www.robertsonviolins.com 800-444-1144 www.latham-music.com
Rolland String Research Associates Luck’s Music Library

480-969-9744 www.myspace.com/peterdocrolland 248-583-1820 www.lucksmucic.com
Shar Products Company Metzler Violin Shop

734-665-3978 www.sharmusic.com 818-246-0278 www.metzlerviolins.com
SMHD Publications Mona Lisa Sound, Inc.

303-773-3185 www.smhdmusic.com 877-263-5691 www.monalisasound.com
Southwest Strings MSB Publishing Co.

520-624-9390 www.swstrings.com 703-561-0189 members.aol/msbpubco
Strings Music and More LLC. Music Mart, Inc.

480-200-4025 stringsmusicandmore.com 505-889-9777 www.musicmart.com
SYNKROS Navarro River Music

585-244-4962 www.synkrosmusic.org 707-937-3342 www.navarrorivermusic.com
Tempo Press PlayMyPiece, LLC.

248-588-0808 www.tempopress.com 585-461-9421 www.playmypiece.com
Twofold Media The Potter Violin Company

+613 9878 0716 www.twofold.com.au 800-317-9452 www.pottersviolins.com
Wilfin Music Southwest Strings

+61 7 3341 8086 www.wilfinmusic.com.au 520-624-9390 www.swstrings.com
Wingert-Jones Publications Stanton’s Sheet Music, Inc.

816-765-6200 www.wjpublications.com 614-224-4257 www.stantons.com
SHEET MUSIC (SM) Tempo Press

248-588-0808 www.tempopress.com
Brobst Violin Shop
703-256-0566 www.brobstviolins.com Wilfin Music
+61 7 3341 8086 www.wilfinmusic.com.au
C.F. Peters Corporation
718-416-7800 www.cfpeters-ny.com Williamson Music Company
E.F. Kalmus/Ludwig Masters Publications, Inc. OTHER PUBLISHER (OP)
718-268-8906 www.kalmus-music.com
George Robinson Violins Alfred Publishing Co., Inc.

806-792-9752 www.robinsonviolins.com 818-891-5999 www.alfred.com
Heiden Music Publications Claire Givens Violins, Inc.

503-587-2201 heidenmusic.com 612-375-0708 www.givensviolins.com
JW Pepper & Son, Inc. David Kaemmer’s Fiddle Tune of the Month
610-648-0500 www.jwpepper.com 520-220-1166 www.dkmusicstudio.com

Innovative Learning Designs, LLC. Navarro River Music
800-232-6332 www.musicreading.com 707-937-3342 www.navarrorivermusic.com
Jazzbows Music Inc. NS Design

718-881-8158 www.jazzbows.com 207-563-7705 www.nedsteinberger.com
Music Dreaming, Inc. RCI Software Riden Consulting Inc.

828-350-0916 www.violinmastery.com 480-968-0407 www.riden.com
Navarro River Music Robertson & Sons Violin Shop, Inc.

707-937-3342 www.navarrorivermusic.com 505-889-2999 www.robertsonviolins.com
Notes & Strings LLC Rolland String Research Associates

719-251-1341 www.notesnstrings.com 480-969-9744 www.myspace.com/peterdocrolland
PlayMyPiece, LLC. Soundwaves Recording

585-461-9421 www.playmypiece.com 419-433-4918 www.soundwaves.com
Rolland String Research Associates Strings Music and More LLC.

480-969-9744 www.myspace.com/peterdocrolland 480-200-4025 stringsmusicandmore.com
OTHER (O) SYNKROS

585-244-4962 www.synkrosmusic.org
ACIS/Encore Tours Telarc Records
617-450-5660 www.encoretours.com 216-464-2313 www.concordmusicgroup.com
Alter’s Violin Shop Travel Adventures
816-468-7757 www.altersviolinshop.com 810-664-1777 www.traveladventures.com
Charles W. Liu Fine Violins Vanguard Tour Service, Inc.
801-255-9636 www.finestringinstruments.com 708-895-0060 www.vanguardtours.com
Creative Imperatives The Violin Case
201-947-3923 www.creativeimperatives.com 425-829-4945 www.violingifts.com
D’Addario & Co., Inc. Wireless for Strings
631-439-3333 www.daddariobowed.com 650-343-6444 www.wirelessforstrings.com
DSP Financial
800-433-8369

919-806-3311 www.electricviolinshop.com
The Enterprising Rabbit

Fegley’s Violin Shop “The Teaching of in String Playing”

610-779-0665 www.fegleyviolin.com
Indianapolis Symphony P a u l R o l l a n d ’s l e g e n d a r y f i l m s e r i e s
Orchestra video set $295 (USA/VHS postpaid) PAL/overseas add S&H
A monumental series of timeless value!!!
317-231-6785 Every string teacher should own a set.
www.indianapolissymphony.org
The series of 21 topics by one of the pre-eminent string pedagogues of
our time effectively demonstrates all phases of string playing
Merz-Huber Company essential to establishing good playing form. It is a wonderful teaching
tool for classroom, private studio, & individual student use. Endorsed by
610-544-2323 www.merzhuber.com Yehudi Menuhin, Eduard Melkus, Marvin Rabin, Max Rostal and others.
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Send PO a/o check or money order payable to:
Mona Lisa Sound, Inc. is a leader in string education.
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worldwide for its effectiveness. (480) 969-9744; e-mail: peterrolland@cox.net
www.monalisasound.com
Teaching Tips by Nancy Kredel
Check Sheet for Beginning String Class

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

Optional: Some classes will only get this far during the first class. Do not worry if this happens. Tell them the first
class or so we do not get to cover a lot. Suggest to them that they practice everything we just went over 10 times a day.
When you are ready, have students put the instruments away and latch the case before picking it up.
Optional: During the first or second class, take pictures of half or a third of the class at a time. Ask their permis-
sion first. Tell them the purpose is to help you learn their names. Get the pictures developed and write their
names on the back. Study the faces and names whenever you get a chance in order to learn them quickly.
SECTION THREE — STATUE OF LIBERTY AND INSTRUMENT UNDER CHIN
8. Get sponges and Kun shoulder rests on instruments. Teach students how to put Kun shoulder rests on, demon-
strating first and then helping as needed. Put sponges on for them. If there is time, check each student using a
sponge with the instrument under their chin to see if it fits.
9. Statue of Liberty Game. As you face the class, stand to the right of the child on the right end of the row as you
face them, so all the students will be looking slightly to the left at you. Demonstrate the whole game, then take
them through it step-by-step. If there is a student who has already played some, have them come up in front of
the class and be the leader.
Stand with instrument under your arm with the strings facing out. This is called rest position.
Aim the scroll up toward the ceiling a little.
Put your feet together and make a “V” with your toes; “V” for violin or “V” for viola.
Move one foot sideways so your feet are under your shoulders. Rock back-and-forth.
Hold your left hand up high.
With your left hand, cover up your dot so no one knows it is there. Put your thumb on the top of the neck and the
fingers underneath.
Hold up your instrument like the Statue of Liberty holds her torch. Hold it in the same path your left foot points in.
Put your weight on the foot under the violin or viola (left foot). Stand tall.
Look at the back of the instrument and let’s count to 10. (Do it.)
Lift your chin. Help with your other hand and put your instrument on your shoulder.
Let your jaw hold it a little snug and float your left hand fingers over the big red dot. Pretend your fingers are an
umbrella and don’t let the rain get on your dot.
With your left pinky, strum the strings over the dot.
Curl up your pinky and see if you can pluck just your D string. (Do it.) Pluck your A string. (Do it.)
Put your instrument under your right arm in rest position and listen to this: (In playing position under your chin, you
pluck the whole song, D A D, with your left pinky over the dot.)
At first this is a little tricky, but you can do it if you practice it a lot. When the whole class can pluck D A D with
their pinky perfectly, we will be ready to use the bow!
10. Give them the paper for the Statue of Liberty Game and suggest they drill it at home 10 times a day. The check-
out (item. 11) should be done in the next class, after a drill.
* 11. Statue of Liberty Checkout. Have one row at a time do this game… up to plucking the D string with the pinky.
When the whole row does it correctly, with the instrument on the shoulder, tell them, “That is correct. Great!”
Test the other rows the same way, correcting any student who needs help. When they are ready, test the whole
group. The class only passes when all students do it correctly without help.
* 12. Do Statue of Liberty and pluck D A D (whole song) with the pinky over the big red dot. This will take some
home practice to master. Test them as in #11. When all of the students are doing it correctly, say “Congratula-
tions! You have mastered the position of the instrument. Now we are ready to use the bow!”
PROVISIONAL: If there are one or two that lag behind on this skill and you want to go on, tell them to take the test next time first thing. If they
will promise to master it at home, you will let the class start the bow. Tell them if they do it 10 times a day, they will be able to do it easily the next
time. Do your best to make sure they master the skill as soon as possible. If anyone was absent, be sure to catch them up with the rest of the class.
Nancy Kredel is an elementary string teacher in Fairfax County, Virginia. She is a former student of Paul Rolland with more than 30
years of teaching experience. She chose the most basic teaching strategies to get the students to hold the instrument and bow properly
and play short strokes. The check sheet format ensures mastery of these skills before using a method book or teaching left-hand tunes
by rote. Each year she revised and improved her teaching strategies and those included in the check sheets have proved to be the
most successful in a group setting. A complete set of check sheets can be downloaded from the Virginia ASTA website at www.
vastaweb.org. Included is a set of bass check sheets written by Matthew Baldwin. Permission is granted to copy all the material.
Showcase
The songs included in the book and performed on the accompa-
Alfred Distributes Violin Bow nying CD (sold separately) are:
Technique for DVD-ROM 1. Gavotte, P. Martini
Violin Bow Technique, a new multimedia 2. Minuet, J. S. Bach
DVD-ROM by Fintan Murphy, shows you 3. Gavotte in G, J. S. Bach
how you can develop and improve your 4. Humoresque, A. Dvorák
bowing skills. More than 150 video clips in 5. Gavotte, J. Becker
11 chapters cover all the major bowstrokes, 6. Gavotte in D, J. S. Bach
complete with the steps needed to develop 7. Bourrée, J. S. Bach
artistic and advanced bowing. Violin Bow
Technique is a wonderful fusion in-depth Alfred currently has over 45,000 active print, DVD, soft-
research into bowing technique with state-of- ware, general MIDI, audio CD and enhanced CD titles in
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Lessons include: musical tastes and styles, including the works of George and Ira
• Bowhold Gershwin, Duke Ellington, Henry Mancini, Led Zeppelin, the
• Hand & Finger Action Eagles, Madonna, Green Day, and hundreds more. In addition to
• Bowstrokes its own titles, Alfred distributes works from the National Guitar
• String Crossing Workshop, the Dover Music catalog, and Faber Music. Contact
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• Friction or Pressure
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tionally, with the exception of Australia and New Zealand (where extremely easy and fun to use and it is the fastest, most efficient way
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Suzuki® Violin School Volume 3 clearly reads out your instrument, string, and selected tuning.
Revised Edition Violin and Viola
Alfred is also pleased to release the third The BEE IN TUNER uses specially designed fine tuners which
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the Suzuki® school with the following student instruments .This will cut tuning time by 75%.It allows
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• Additional exercises, some from Dr.
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suggestions for teachers, The BEE IN TUNER for guitar uses a similar wand design but
• New editing of pieces, including bowings and fingerings, has a specially designed head which will adapt to any shaped
• New engravings in a 9” x 12” format, guitar tuning machine. Designed for beginners or advanced musi-
• 16 additional pages, cians, the wand contains the standard plus five alternate tunings.
• Glossary of terms in English, French, German and The tuning wand can be used on any six string electric or acoustic
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Phone or fax inquiries at (516) 798-5555.

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

Shoulder Rest From
Meisel “Grows” With
Students
It used to be that as a student grew and moved
up to a larger violin, parents would have to
buy a new shoulder rest. Not anymore; the
V-809, an innovative new shoulder rest from
Meisel Stringed Instruments, is adjustable so it
“grows” right along with the student.
Thanks to the V-809’s adjustable
feature, students can continue to use the
same shoulder rest as they move up from
fractional violins to a full-size model. This
spares parents the expense of buying a
new shoulder rest with each instrument,
something that is sure to be appreciated
during these economic times. The V-809
can be adjusted to fit any violin from a 1/8
model to a full-sized instrument, as well
as 11-inch to 14-inch violas. The unique
design of the V-809 makes the adjustment
process simple and convenient.
Weighing only two ounces, the ergo-
nomic V-809 is comfortable and unobtru-
sive, so it will not interfere with a student’s
Notes
Dr. Marianne Murray Perkins (1954-2008)

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

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

Music” DVD Wins Two Awards
“At the Heart of Chamber Music” is a first-of-its-kind, 35-minute
Officers for the Oklahoma Chapter of ASTA met last DVD that has won two awards for excellence and will be aired on
May. Pictured left-to-right are: Douglas Droste, Laura PBS in the fall. According to Gillian Rogell, creator of the DVD
Talbott, George Speed, Mary Snider, Dorothy Hayes, and music educator, “Educators find that it helps their students
and Dawn Thrailkill.
engage with classical music because it de-mystifies the language of
Notes
classical music and provides a window into what musicians experience as they create music.”
Rogell and the Jupiter Quartet coach three chamber groups, with commentary by the world-renowned cellist, Paul Katz. Students
explore what the music is “saying” and how musicians make this happen. Bonus features include a performance of the first movement
of the Brahms Sextet in G major, and an extended conversation with Paul Katz.
Gillian Rogell, violist, teaches at New England Conservatory Preparatory School and is the chair of the Chamber Music Depart-
ment at the School of Continuing Education. She is the director of the Heart of Chamber Music Institute and has been a member of
ASTA since 2004.
For more information go to www.musicalchemy.net.
ASTA Members Invited

to Submit Articles for
American String Teacher
Journal
The award-winning American
String Teacher journal provides
an extraordinary 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.
Author guidelines may be found

on our website, www.astaweb.
com. Articles may be submitted
for consideration as feature
articles, forum (instrument-specific)
articles, My Turn, Teaching Tips, or
Member2Member articles.
Please make an initial inquiry with

article idea or send a completed
article via e-mail to Mary
Wagner, interim articles editor, at
astarticles@astaweb.com.

(Showcase continued from page 89)
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This grade 1-2 collection, arranged by
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Full Score #7961, $11.95 Viola T.C. #7964, $6.95
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Kendor Music is a publisher of educational music for jazz ensemble, concert band, string orchestra, textbooks and instrumental solos and en-
sembles since 1954. Distributor of both the Doug Beach Music (U.S.A.) and the Advance Music (Germany) catalogs. www.kendormusic.com
ASTA Publications
Pricing Guide: Improvise! by Jody Harmon, includes CD Compendiums
M= Member NM=Nonmember $25.95 M $33.75 NM
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Harmon and John Blake, includes CD and Ensembles ed. Gregory Hurley
New Books $24.95 M $32.45 NM
$25.95 M $33.75 NM
Honey Bee’s Song
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Pedagogy Manual of Orchestral Bowing Music Medicine
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Playing by Paul Rolland $8.75 M $11.40 NM
$37.50 M $48.75 NM Orchestral Bowings and Routines
by Elizabeth A.H. Green Stretching for Strings by Jack Winberg,
Violin M.D., and Merle F. Salus, M.S.T.
Basic Principles of Violin Playing $16.50 M $21.45 NM
by Paul Rolland $19.95 M $25.95 NM
$10.50 M $13.65 NM The School Symphony Orchestra
Experience: A Guide to Establishing a Miscellaneous
A Comparison of Violin Playing Full Orchestra in the Schools Advocating for Strings DVD
Techniques: Kato Havas, Paul Rolland, free M, $9.95 NM
ed. Pamela Tellejohn Hayes
and Shinichi Suzuki by Marianne Alternative Styles In the Classroom DVD
Murray Perkins $13.95 M $15.95 NM
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The Violin Guide by Stefan Krayk for a Diverse Society ed. Jane Aten (program-specific, please visit
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A Violinist’s Guide for Exquisite Teaching Stringed Instruments in Ultimate Strings, Vol. 1: Alternative Styles CD
Intonation by Barry Ross, second ed. Classes by Elizabeth A.H. Green $9.95 each (M and NM price same)
$19.95 M $25.95 NM $21.75 M $28.30 NM Ultimate Strings, Vol. 2:
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ed. Greg Barnes Basic String Maintenance: A Teacher’s
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A Violist’s Guide for Exquisite
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The Bach Chaconne for Solo Violin Contains 25 of each certificate.
Getting It Right from the Start ed. ed. Jon F. Eiche
Kathlene Goodrich and Mary Wagner, $12.95 M $16.85 NM ASTA Pin* ASTA Keychain*
second ed. $7.00 each $4.75 each
$19.95 M and NM The Ten Beethoven Sonatas
by Joseph Szigeti I ♥ Strings Bumper Stickers*
A Harp in the School: A Guide for $4.00 M $5.20 NM $12.00 per pack of 10
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*Shipping is only included on individual purchase of bumper stickers, keychains, and/or
membership pins. If ordering books or CDs along with either of these, you MUST add shipping
according to the chart on order form.

Publications Order Form
Order online at www.astaweb.com.
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Kari Hahn at kari@astaweb.com. ASTA Student Chapters
Augustana College
Kelly Helmich, President, kelly-helmich@augustana.edu Kansas State University University of Arizona
Janina Ehrlich, Advisor Laura Bradshaw, Cora Cooper, Advisor Toru Tagawa, President, tagawat@email.arizona.edu
janinaehrlich@augustana.edu corac@ksu.edu Donald Hamann, Advisor, dhamann@email.arizona.edu
Luvliga Srtangar Chapter Department of Music PO Box 210004
639 38th Street 109 McCain Auditorium 1017 N. Olive Rd.
Rock Island, IL 61201-2210 Manhattan, KS 66506-4700 Music Bldg. Rm 109
Tucson, AZ 85721-0004
Baldwin-Wallace College Mansfield University
Adam P. Cordle, President, adam.cordle@gmail.com Stephanie Swart, President, University of Nebraska - Lincoln
Julian Ross, Advisor swarts@mounties.mansfield.edu Muriel Huckins, muriel.huckins@gmail.com
jross@bw.edu Kenneth Sarch, Advisor David Neely, Advisor, dneely1@unl.edu
275 Eastland Rd. ksarch@mansfield.edu 120 Westbrook Music Bldg, UNL
Berea, OH 44017 Butler Music Center 106 Lincoln, NE 68588
Mansfield, PA 16933
Ball State University University of North Carolina at Greensboro
Christine Jones, President, cmjones87@gmail.com Michigan State University Annalisa Chang, President, acchang@uncg.edu
Kristin Turner, Advisor Caitlin Mihalko, President, mihalkoc@msu.edu Rebecca MacLeod, Advisor, viola-studio@uncg.edu
kturner@bsu.edu Judy Palac, Advisor, palac@msu.edu Gate City ASTA
2000 University Avenue 102 Music Practice Building PO Box 26167, School of Music
Muncie, IN 47306-0001 East Lansing, MI 48824 Greensboro, NC 27402
Central Washington University Minnesota State University - Moorhead University of Northern Colorado
Carrie Rehkopf Michel, Advisor, rehkopfc@cwu.edu Haley Rydell, President, haleyrydell@hotmail.com Joe Miller, President, jsl.miller@gmail.com
400 E University Way Kirk Moss, Advisor, mosskirk@mnstate.edu Juliet White-Smith, Advisor, Juliet.Whitesmith@unco.edu
Ellensburg, WA 98926-7502 1104 Seventh Avenue South 501 20th Street
Moorhead, MN 56563-0001 Greeley, CO 80639
Concordia College
Kelly Aus, President, kjaus@cord.edu Northwestern University University of South Carolina
Jane Linde Capistran, Advisor Lindsay Klecka, lklecka@gmail.com Stacy Wiley, President, longsm4@mailbox.sc.edu
capistra@cord.edu James Kjelland, Advisor, kjelland@northwestern.edu William Terwilliger, Advisor, wterwilliger@mozart.sc.edu
901 8th St. South 60 Arts Circle Dr. 234 Russell House, SG 189
Moorhead, MN 56560 Regenstein Hall, Rm. 202A Columbia, SC 29208
Evanston, IL 60208
Converse College University of Tennessee
Michele Tate, President, jennifer.tate@converse.edu Ohio University Katie Middleton, President, kmiddle1@utk.edu
Sarah Johnson, Advisor Morissa R. Freiberg, President, mf245504@ohio.edu Wesley Baldwin, Advisor, wbaldwin@utk.edu
sarah.johnson@converse.edu Marjorie Bagley, Advisor, bagleym@ohio.edu UT School of Music
580 East Main Street 440 Robert Glidden Hall Knoxville, TN 37996
Spartanburg, SC 29302-1931 Athens, OH 45701
University of Texas - San Antonio
Duquesne University Old Dominion University Matthew Bernard and Darryl Tolliver, Co-presidents
Alexis Kitchen, kitchena@duq.edu Jessica Metcalf, President, jmetc001@odu.edu bbmatty1@hotmail.com or xeritha@sbcglobal.net
Stephen Benham, Advisor, benham@duq.edu Lucy Manning, Advisor, lmanning@odu.edu Jennifer L. Cahill Clark, Advisor
600 Forbes Avenue Diehn FPA jennifer.cahillclark@utsa.edu
Pittsburgh, PA 15219-3016 4810 Elkhorn Ave. One UTSA Circle
Norfolk, VA 23529 San Antonio, TX 78249
East Carolina University
Kathryn York, President, kjy0923@ecu.edu Pennsylvania State University University of Wisconsin - Whitewater
Greg Hurley, Advisor, hurleyc@ecu.edu Matthew Haydt, President, mjh5156@psu.edu Nicole James, jamesne22@uww.edu
Fletcher Music Center, 307 B Robert D. Gardner, Advisor, rdg13@psu.edu Benjamin Whitcomb, Advisor, whitcomb@uww.edu
Greenville, NC 27858 231 Music Building I 800 W Main St.
University Park, PA 16802-1901 Center of the Arts, Room 2038
Florida State University Whitewater, WI 53190-1705
Julia Castor, President, juliacastor@yahoo.com Sacramento State University
Michael Allen, Advisor, mallen@mailer.fsu.edu Emily Wolfram, President, emilywolfram@gmail.com VanderCook College of Music
College of Music Judy Weigert-Bossuat, Advisor, Fabian Lopez, President, flopez@vandercook.edu
Tallahassee, FL 32306 Jwbossuki@onebox.com Racheli Galay-Altman, Advisor,
6000 J Street rgalay@vandercook.edu
Grand Valley State University Sacramento, CA 95819 3140 S. Federal Street
Amanda Thoms, President, thomsa@student.gvsu.edu Chicago, IL 60616
John Blakemore, Advisor, blakemjo@gvsu.edu SUNY Potsdam
1300 Performing Arts Center Shawn DePalma, President, depalm64@potsdam.edu West Virginia University
Music Department Sarah Hersh, Advisor, hershss@potsdam.edu Elyse Brandt, President, leesie17@hotmail.com
1 Campus Drive 44 Pierre Port Avenue Mikylah Myers McTeer, Advisor,
Allendale, MI 49401-9403 Potsdam, NY 13676-2200 mikylah.mcteer@mail.wvu.edu
Division of Music
Indiana University of Pennsylvania Tennessee Tech PO Box 6111
Liesel Dorrow, President, l.a.dorrow@iup.edu Michael Neal, President, maneal21@tntech.edu Morgantown, WV 26506-6111
Linda Jenkins, Advisor, ljenning@iup.edu Dan Allcott, Advisor, dallcott@tntech.edu
103 Cogswell Hall Department of Music and Art Western Michigan University
Indiana, PA 15705 Tennessee Tech Box 5045 Emily Kenney, President, e5kenney@gmail.com
Cookeville, TN 38505 Bruce Uchimura, Advisor, bruce.uchimura@wmich.edu
James Madison University 1903 W Michigan Ave.
Alex Lacquement, President, lacquead@jmu.edu School of Music
Robert McCashin, Advisor, mccashrd@jmu.edu Kalamazoo, MI 49008-5200
JMU School of Music
Harrisonburg, VA 22807
ASTA K–12 Student Chapters

Chamber Music Connection James River High School West Chester University
Emily Butterfield, ebutterfield@core.com Beth Almore, beth_almore@ccpsnet.net Jamie Chimchirian, President jc607258@wcupa.edu
977 Pennsylvania Avenue 3700 James River Rd Sylvia Ahramjian, Advisor sahramjian@wcupa.edu
Columbus, OH 43201-3334 Midlothian, VA 23113 Swope Hall
West Chester, PA 19383
Chancellor High School McEachern High School
Michelle Sweeten, msweeten@hs.spotsylvania.k12.va.us Dr. Tim Mooney, mtc10554@cobbk12.org
6300 Harrison Road 2400 New Macland Road
Fredericksburg, VA 22407-6363 Powder Springs, GA 30127
Etowah Youth Orchestras North Allegheny Senior High School
Michael Gagliardo, mikegagliardo@culturalarts.org Sarah Lavelle, slavelle@northallegheny.org
501 Broad Street 10375 Perry Highway
Gadsdenm, AL 35901-3719 Wexford, PA 15090
Volunteer Leadership Directory
State Presidents
As with the National Board, the following state chapter presidents have been elected to serve a two-year term (2008–2010).
Alaska: Ida Pearson; w (907) 543-0642; PO Box Massachusetts: Kenneth C Culver; h (978) 692-5560 Ohio: Elizabeth A. Hankins; h (216) 529-4051
3087, Bethel, AK, 99559; iwalters@gci.net x2134; w (978) 392-5992; 241 Concord Rd., x3; w (216) 534-4121; 12963 Emerson Ave.,
Westford, MA, 01886-4203; maastapres@mac.com Cleveland, OH, 44107-2809; elizabeth.
Alabama: Dr. Daniel Hornstein; h (256) 428-8150 hankins@lakewood.k12.oh.us
x192; w (256) 776-4768, 101 Jodie Dr., Huntsville, Maryland: Doree Huneven; h (703) 582-7493;
AL, 35811-9690; DanHornstein@hotmail.com w (301) 589-9396; 1609 Ladd Street, Silver Oklahoma: Douglas Droste; h (405) 744-8984; w
Spring, MD, 20902-3520; dhuneven@verizon.net (405) 385-0603; 5207 W. 3rd Place, Stillwater,
Arkansas: Patricia J Cox; h (501) 279-4479; w OK, 74074-6726; douglas.droste@okstate.edu
(501) 268-2302; Harding University, Box 10767, Maine: Mary Eckstein; w (207) 642-4368; 5
Searcy, AR, 72149-0001; cox@harding.edu School St., Standish, ME, 04084-5413; Oregon: Marshall Tuttle; h (503) 491-7010; w
belgraphica@fairpoint.net (503) 618-8655; Mt Hood Community College,
Arizona: Janice McDivitt; w (520) 742-3110; 26000 SE Stark St, Gresham, OR, 97030-3300;
6633 N Montrose Dr., Tucson, AZ, 85741-3122; Michigan: Mark Kotchenruther; w (616) 974- inotmark@aol.com
azastapresident@hotmail.com 9018; 2948 Oakwood Dr SE, Grand Rapids, MI,
49506-4236; mkotchen@fhps.us Pennsylvania: Dr. Stephen J Benham; h (412)
California: Manon Robertshaw; w (562) 924- 396-1887; w (724) 554-7676; 390 Jubilee Dr.,
6019; 6475 East PCH PMB#165, Long Beach, Minnesota: Sarah Chelgren; h (763) 504-8688; Bridgeville, PA, 15017-1171; benham@duq.edu
CA, 90803; manon.robertshaw@pmu.edu w (612) 310-6407; 15645 E 25th Pl N, Unit E,
Plymouth, MN, 55447; s.chelgren@comcast.net Rhode Island: Pamela Ursillo; h (401) 270-8010;
Colorado: Donald Emmons; h (303) 347-7736; w w (401) 368-9121; 135 Gansett Avenue,
(303) 906-3912; 10417 S Hollyhock Ct., Highlands Missouri: Patience Fleer; h (636) 938-2400 x2232; w Cranston, RI, 02910; ladida79@aol.com
Ranch, CO, 80129; demmons@lps.k12.co.us (636) 239-7394; 2312 Southbend Dr., Washington,
MO, 63090; fleerpatti@rockwood.k12.mo.us South Carolina: Kathleen S. Robinson; h (864) 355-
Connecticut: Dr. Nola Campbell; h (860) 768-4127; 1400; w (864) 232-0175; 300 Bright Water Ln.,
w (860) 392-8080; 12 Green Meadow Dr., Granby, Mississippi: Stephanie Maisel; h (601) 941-0687; Greenville, SC, 29609-6004; ksr29@aol.com
CT, 06035-2429; ncampbell@hartford.edu w (601) 605-1805; 201 Lisa Circle, Madison,
MS, 39110-9292; smaisel@bellsouth.net South Dakota: Kim Evander; h (605) 665 2073;
Florida: Nancy Beebe; h (561) 882-3872; w (561) w (507) 319-5174; 700 W. Riverside Drive,
659-6828; 615 Upland Rd., West Palm Beach, Montana: Jenanne B. Solberg; h (406) 862-8650; w Yankton, SD, 57078; k_evander@hotmail.com
FL, 33401-7849; nancybeebe@yahoo.com (406) 862-3921; 148 Mallard Loop, Whitefish, MT,
59937-8457; jensolberg@hotmail.com Tennessee: Francis E. Elliott; w (931) 528-1276;
Georgia: James Palmer; h (770) 521-7600; w (770) 799 West Oak Dr #B-5, Cookeville, TN, 38501-
528-5992; 2041 Signal Ridge Chase, Kennesaw, North Carolina: Susan Wallace; h (919) 760-8703; 3795; felliott@tntech.edu
GA, 30152-3265; jpstrings@bellsouth.net w (919) 782-6216; 6810 Fairpoint Ct., Raleigh,
NC, 27613-3612; susanwallace_12@hotmail.com Texas: Dr. Eugene Dowdy; h (210) 458-4354; w
Hawaii: Daniel Padilla; h (203) 496-3677; w (210) 493-8684; 4603 Tex Woods Street, San
(808) 566-6659; 2268 Hikino St., Honolulu; HI, North Dakota: Kari Moen; h (701) 240-9993; w Antonio, TX, 78249-1844;
96821; padilladj@aol.com (701) 852-8971; 202 22nd St NW, Minot; ND, eugene.dowdy@utsa.edu
58703-2961; krmjjt@minot.com
Iowa: Dr. Julia K. Bullard; h (319) 273-3074; w Utah: Andrew H Dabczynski; h (801) 422-2317;
(641)920-7021; 703 W Main St., Steamboat Nebraska: Ruth Meints; h (402) 250-9287; w w (801) 226-0714; 4374 Imperial Way, Provo,
Rock, IA, 50672-1006; julia.trahan@uni.edu (402) 614-5106; 9279 Adams St., Omaha, NE, UT, 84604; adab@byu.edu
68127-4026; rameints@artist-productions.com
Idaho: Erika Schulte; h (208) 282-4626; w (208) Virginia: Gary Frisch; h (703) 533-5883; w (703)
478-1526; 1135 East Benton St., Pocatello, ID, New Hampshire: Charlene Mary Ledoux; w (603) 533-3887; 3008 Westcott St.; Falls Church, VA,
83201-4843; schuerik@isu.edu 878-9169; 784 Campbell Mill Rd., Mason, NH, 22042-1925; gfrisch1@cox.net
03048-4901; cledoux@localnet.com
Illinois: Peter Rosheger; h (847) 784-6699; w (847) Vermont: Michael Hopkins; h (802) 656-7767;
831-0764; 611 Barberry Rd., Highland Park, IL, New Jersey: Frances Elizabeth Rowell; w (201) w (802) 864-2483; 36 Arbor Road, South Burl-
60035-4429; roshegep@newtrier.k12.il.us 759-4680; 8700 Boulevard East #2H, North ington, VT, 05403-5748; mhopkins@zoo.uvm.edu
Bergen, NJ, 07047; ferowl@aol.com
Indiana: Elisabeth S. Ohly-Davis; h (317) 259-5428 Washington: Carol Pederson; h (509) 354-6035;
x806; w (765) 748-7810; 2189 Glebe Street, New Mexico: Kimberly Fredenburgh; h (505) 277- w (509) 838-5240; 1111 W 20th Ave., Spo-
Carmel, IN, 46032-7294; esohly@yahoo.com 8534; w (505) 877-7230; 4362 Aspen Ave NE, kane, WA, 99203; carolpe@sc81.k12.wa us
Albuquerque, NM, 87110-5743; kfred@unm.edu
Kansas: Bruce Boyd; h (620) 665-4575; w (620) Wisconsin: David Topolovec; h (414) 773-3164;
665-3610; 401 W 6th #2, Hutchinson, KS, Nevada: Charles Cushinery; h (702) 799-5800 w (262) 513-9047; 3026 Rolling Ridge Dr.,
67501-1324; boydb@usd308.com 4063; w (702) 876-8768; 5826 W. Viking Rd., Las Waukesha, WI, 53188-1354;
Vegas, NV, 89103-2336; chukcush@hotmail.com dtopolovec@wi.rr.com
Kentucky: Joanna Binford; h (859) 338-9630;
3500 Merrick Ct., Apt. 214, Lexington, KY, 40502; New York: Jackie Darvill; h (315) 341-2800; w West Virginia: Ian A Jessee; w (304) 550-3078;
j.binford@insightbb.com (315) 343-5422; 267 W 7th St., Oswego, NY, 7 Forest Drive, Charleston, WV, 25302-2906;
13126-3843; jdarvill@fmschools.org ianstro@suddenlink.net
Louisiana: Michael Buckles; h (337) 475-5034; w
(337)-562-2815; 413 West Claude St., Lake Charles, Wyoming: Sherry Sinift; w (307) 745-8662; 157
LA, 70605-3405; mbuckles@mail.mcneese.edu Corthell Road, Laramie, WY, 82070-4825;
sinift@uwyo.edu

Alternative Styles Task Force Council of Past Presidents Student Chapters Committee
Robert Gardner, Chair, rdg13@psu.edu Robert Gillespie, Chair, gillespie.5@osu.edu Kari Hahn, Staff Associate
Renata Bratt
Andrew H. Dabczynski Solo Competition ASTA with NSOA Past Presidents
Steven Muise Laura Kobayashi, Chair, vlnkobayas@yahoo.com Robert Gillespie 2004-2006
Jed Fritzemeier Libby Dietrich, Staff Associate David Littrell 2002-2004
Beth Danner-Knight, Staff Associate Robert Jesselson 2000-2002
Curriculum Committee Louis Bergonzi 1998-2000
2009 National Orchestra Festival Stephen Benham, Chair, stephenbenham@comcast.net
Committee Jane Aten ASTA Past Presidents
Kathleen D. Brungard, Chair, kbrung@aol.com Judy Evans Mary Wagner 2006-2008
Libby Dietrich, Staff Associate Denise Odegaard Edward H. Adelson 1996-1998
Mary Wagner Jacquelyn Dillon-Krass 1994-1996
2009 National Conference Planning Anne Witt 1992-1994
Committee National Foundation to Promote String Robert Culver 1990-1992
Karen Higdon, Chair, kehigdon@mindspring.com Teaching and Playing Committees: Gerald Doan 1988-1990
Susan DuBois Anne Mischakoff 1986-1988
Ruth Kurtis CodaBows for America Community Gerald Fischbach 1984-1986
Bill Scott Outreach Program Committee Lucas Drew 1982-1984
Deanna Tompkins, Staff Associate LeRoy Bauer 1980-1982
Merle J. Isaac Composition Contest Phyllis Young 1978-1980
2009 Alternative Styles Conference Committee Jerry Kupchynsky 1976-1978
Planning Committee Richard Sieber 1974-1976
Randy Sabien, Chair, fidlhead@cheqnet.net Potter’s Violins Instrument Awards Robert Oppelt 1972-1974
Darol Anger Committee Ralph Matesky 1970-1972
Sheldon Fisher Harry Lantz 1968-1970
Dayle Quigley Special Project Grants Committee Howard Van Sickle 1966-1968
Beth Danner-Knight, Staff Associate Kirk Moss, Chair, mosskirk@mnstate.edu Paul Rolland 1964-1966
Nancy Bargerstock Robert Klotman 1962-1964
2009 Alternative Styles Awards Barbara F. Eads Gerald Doty 1958-1962
Committee Frank Hill 1954-1958
Matt Turner, Chair, TurnMatt@aol.com Outreach Grants Committee Ernest Harris 1952-1954
Lesa Terry Beth Gilbert, Chair, bgilbert4@cox.net Rex Underwood 1950-1952
Tanya Kalmnanovitch John Golden, Staff Associate Duane Haskell 1947-1950
Crystal Plohman
Andy Carlson Development Committee NSOA Past Presidents
Libby Dietrich, Staff Associate Doris Gazda 1997-1998
Instrument Specifications Brochure Peter A. Miller 1995-1997
Advocacy Committee Jacquelyn Dillon-Krass, Chair, jacquelyn.dillon@wichita.edu Robert J. Greenwood 1993-1995
Mary Wagner, Chair, mscello@cox.net Sharon Anderson Arlene G. Witte 1991-1993
John Benham Judy Evans Pamela Tellejohn (Hayes) 1989-1991
Donna Sizemore Hale Neil Lillien Robert S. Frost 1987-1989
John Golden, Staff Associate Jerry N. Kupchynsky 1985-1987
New Music Reading Folders James H. Godfrey 1984-1985
Collegiate String Education Roundtable Kari Hahn, Coordinator G. Jean Smith 1983-1984
Jane Palmquist, Chair, janep@brooklyn.cuny.edu musicreadingfolders@astaweb.com C. Gary Iams 1981-1983
James H. Godfrey 1979-1981
Committee on School Orchestras and Research Committee John R. Bright 1977-1979
Strings (CSOS) Robert A. Ritsema 1975-1977
Ruth Kurtis, Chair, rkurtis@mckinneyisd.net String Industry Council Executive Lois Hobbs 1973-1975
Committee James H. Godfrey 1971-1973
Committee on Studio Instruction (COSI) Neil Lilien, President, Meisel Stringed Instruments, Malvin N. Artley 1969-1971
Susan DuBois, Chair, sdubois@music.unt.edu info@meiselmusic.com H. Wayne Pyle 1967-1969
Brian Lewis David Luce, Secretary, J.D’Addario & Company, Inc. Orville “Cy” Dally 1963-1967
Thomas Landschoot Donna Sizemore Hale, ASTA Executive Director Forest A. Etling 1961-1963
Leslie Webster Jeffrey Solow, ASTA President Traugott Rohner, Founder 1958-1961
Jeff Bradetich Kirk Moss, ASTA President-Elect
Beth Danner-Knight, Staff Associate
Reviews
String Class Method and evaluations are provided counter melody and close rocking, tipping and rolling
in the teacher’s manual. harmony sections in this over in the lake. It is very well
NEW DIRECTIONS FOR The teacher’s manual is a lovely piece. Based on the written and is a good way
STRINGS, BOOK I. Joanne Er- 535-page spiral bound book chord changes to Autumn to introduce young players
win, Kathleen Horvath, Robert with many extras, including Leaves, this composition is to uneven and changing
worksheets, evaluations, and easy for beginning improvisers meters. The piano part is an
D. McCashin, Brenda Mitchell,
organizational information to solo in a familiar key (E important part of the piece,
Supplemental Ensemble Music minor/G major) as well as fun but it could be performed
useful for the new teacher or
by Elliot Del Borgo & Soon for the seasoned veteran. You for advanced players. P.Z. without it because most
Hee Newbold. FJH Music get more than just a method parts are doubled. I highly
Company, 2007, teacher’s book, as performable works BRING A TORCH (Med. recommend it. Hopefully the
manual $39.95, pno accomp. for your ensemble and solos Easy-Med., opt. pno). other three movements will
$14.95, student books $8.95. arranged specifically for each be published also. J.K.H.
Arr. Roy Phillippe. Carl
New Directions For Strings is an instrument are included. The
three full-length performable
Fischer, 2007, $45. I GOT RHYTHM (Gr. 3.5,
innovative and comprehensive Here is a warm and richly
approach to teaching strings, pieces are outstanding. Elliot rhythm section). George
scored setting of this popular
containing everything Del Borgo’s piece will help Gershwin, arr. Bert Li-
Christmas carol that will
necessary to teach a beginning your beginning ensemble gon. Alfred, $60.
greatly enrich seasonal
strings class. Produced by a achieve a full, strong sound Ligon has combined tight
programming. Roy Phillippe
team of co-authors, the book while learning their First four-horn writing with
has employed a broad palette
was piloted for one year in Concert Piece in D major; string-specific techniques,
of harmonic and instrumental
classrooms across the country two by Soon Hee Newbold, resulting in a lively and varied
colors to craft a memorable
by 12 string music educators a Scottish tune in G major arrangement of this classic
holiday selection. This
who provided feedback on and a rock-style piece with for jazz string ensemble.
arrangement, scored in a
the original draft. It was then syncopated rhythms in E Opening with solo drumset
lush but flowing way, takes
revised and refined many times minor, are also included. The and percussive “chop” patterns
the simple tune in directions
and evolved as a magnificent piano accompaniment for the in the strings, Ligon goes
that are truly unexpected.
resource. String music entire method has outstanding on to exploit a variety of
The melody moves through
educators will appreciate pianistic accompaniments, string colors and techniques
several keys, F, D, and G
the innovative aspects of well-written in the style of including pizzicato, “sul
major, each one adding its
this method. Each student each piece. Clearly, much tasto,” jazz bowing patterns
own color to the tune. And
book includes two CD’s of attention was given to writing and articulation. Dynamic
there even seems to be a well-
accompaniments for home the piano accompaniments and contrasts, soli as well as close
hidden reference to “Away in
practice. Instructors have a moreover to developing the harmony sections and other
a Manger”. First violins and
choice of two bass books. One entire method. New Directions references all contribute to the
cellos require third position.
starts students in first position, For Strings is timely, utilizes fun of this arrangement. The
A moderate tempo, numerous
as other string method books current technology, is aligned improvisation section includes
slurred passages, and a few
generally do. The other starts with the National Standards, a different sample solo in
dynamic changes mean this
students in fourth position and takes a fresh, innovative, each of the four string parts,
could be put together without
(“D” position), like some of and comprehensive incorporating jazz vocabulary
too much effort, yet produce
the well-known studio bass approach to string music and phrasing, over the original
a nice full sound. N.C.
methods. There are advantages education. What a wonderful Bb rhythm chord changes.
to both approaches, and the addition to beginning string Written-out background lines
music education. P.S. CARDBOARD REGATTA from
authors have left the choice can be used behind any soloist.
to each teacher. Although Crystal Lake Suite (grade 1+).
This chart is an excellent
teachers may be required to String Orchestra Robert Frost. Kjos, 2006, $40. vehicle for introducing
rethink the way they start bass This is a movement from rhythm changes to strings,
students, it is worth the effort BOSSA VERDE (Gr. 3, a four-movement work or a nice ride for more
to examine the “D” position rhythm section). Bert Li- commissioned by the advanced improvisers. P.Z.
book and perhaps to give it gon. Alfred, $60. McHenry County, Illinois,
a try. New Directions uses a Already a popular Youth Orchestras. It is all in
first position, and in C major MEXICAN MOSAIC (Gr.
comprehensive approach and arrangement among jazz string
with a few accidentals. The 1+, opt. perc., pno). Barry
is aligned with the National ensembles and teachers, this
Standards for Arts Education. is newly published by Alfred opening is in 5/8. Another Amass. Mewzkl Publica-
Opportunities are provided for string orchestra (8-8-4-4-) section is in 6/8, while tions, 2007, $35.
for students to read and and bass, piano, and drums. another alternates from 2/4 This is a catchy 4/4
write music, sing, improvise, Suggested solos in all four to 6/8 every other measure composition and would be
practice ear training skills, and string parts have been added, or so. The tempo is moderate perfect for a concert around
learn about music history. with chord symbols. Ligon with one ritardando and one Cinco de Mayo. With sections
Students complete written has provided meticulous jazz accelerando. The cello part in C and G major, it would
activities in their books. bowings and articulations, has rolled three-note chords be a fun way to work on
Reproducible worksheets simple background lines in several places. The piece is low and high second fingers.
behind solos, contrasting supposed to represent boats The violin and viola parts are

rhythmically the same and for all players. Extended Violin coded; red for bowings, black
mostly in thirds, giving the finger passages are in all for fingerings, and green
piece a mariachi flavor. Much parts, but not difficult. The CONCERTO IN D MAJOR for stylistic instructions
of the second and viola parts scalar sixteenth-note runs FOR VIOLIN AND ORCHES- (articulation, bow distribution,
is on the G string. Cello and pose no problem. Dynamics TRA, OP. 77 (vln/pno). phrasing, technical suggestions).
bass double, but in different are well marked, with two Johannes Brahms; ed. Clive Friend is a former leader of
octaves to avoid shifting energetic fortepianos to really the London Philharmonic
Brown. Bärenreiter-Verlag,
for the bass. Except for the get the momentum going. where he worked closely
2006, score $37.95, pno with Haitink, Barenboim,
more lyrical middle section, This is a great piece to play
the cellos and basses pluck a and learn the classics. N.C. reduction (by the composer) Solti and Giulini. In 1975 he
fun rhythmic ostinato that $19.95, critical commen- became concertmaster of the
drives the piece and will keep STOMPIN’ ON THE HOUSE- tary (English) $19.95. New York Philharmonic
them on their toes. The piece No scholarly critical edition and worked with Bernstein,
TOP (Gr. 1+, opt. pno,
ends with everyone playing of this work has previously Boulez, and Mehta. On
sleighbells). John Capone- been published; therefore the returning to London, he
a pizzicato rendition of the
first section. The percussion gro. Kendor, 2007, $42. many, sometimes conflicting, became leader of the BBC
and piano are optional (and Notable meters: 3/4, 4/4, sources have never been Symphony and professor of
not in the score), but guiro, and 2/4, keys: G and D (so evaluated for a critical violin at the Royal College of
maracas, cowbell, bongos/ C# and C-naturals), first performing edition. In this Music. From these and other
conga certainly make the finger D-sharp in viola part, new edition not only Brahms’ associations he brings a wealth
piece more festive. Mewzkl high 3 for viola and second autograph score, solo part, and of first-hand knowledge to
has a website with a full audio violin, foot stomping and autograph piano reduction, the repertoire. For instance,
version of the piece and a shuffling, some pizzicato but also his personal copy of as concertmaster of the New
view of the first page of the This is a welcome addition the first edition score and first York Philharmonic, he
score. Check it out. S.P.W. to the holiday literature. It edition orchestral parts have performed the entire Mahler
features a medley of “Up all been consulted. Brown’s literature working from the
on the Housetop”, “Jingle edition offers insights into the composer’s personal markings
RONDO FROM HORN Bells” and “We Wish You a genesis of the composition and bowings. This book is
CONCERTO K. 417 (Gr. Merry Christmas” in a fun and the working relationship an indispensable resource,
3.5). W.A. Mozart, arr. arrangement. The students between Brahms and Joachim. especially for young players
Gerald R. Doan. Great will enjoy working on the It includes an informative learning the repertoire who
Works/Ludwig, 2007, $48. foot stomping and shuffling, article on period performance have not had the opportunity
As with so much of Mozart’s which often happens as part practice with regard to vibrato, to perform these works
work, the finale of this horn of the melodic line and could bowing articulation, tempo, in an orchestra. G.H.
concerto transfers naturally to be a fun challenge for some rhythm, and rubato. Both the
other instrumentations. This students. Violas have one full score and piano reduction PLAYING THE VIOLIN: AN IL-
arrangement maintains all D-sharp, and the violas and are cross-referenced with the LUSTRATED GUIDE. Mark Rush.
the excitement of the original seconds have one measure of critical commentary, which
high three C-sharps. Since the Routledge, 2006, $29.99.
and treats the students like outlines the discrepancies
key changes for each piece, The first four of eight
true musicians, a great piece between sources. Included is
the students have to go back chapters of this beautifully
to challenge your players up a separate brochure with not
and forth between C-sharp and bountifully illustrated
a notch to the next level. The only the familiar Joachim
and C-natural. Although there book are devoted to the
solo horn passages have been cadenza, but also those by
are a lot of meter changes, fundamentals of posture
divided among violins and Carl Halir, Leopold Auer,
the quarter note and tempo (without the instrument) and
cellos. Stylistically, the work Hugo Heermann, and
remain constant. The sleigh set-up, holding the violin
is quite typical of Mozart’s Ferruccio Busoni. G.H.
bells are a true percussion (shoulder rest, yes or no),
music for strings but should
part (the student will have to positioning the left hand
be played with vigor to THE ORCHESTRAL VIOLIN-
count!) and, as the publisher and arm, and holding the
capture the essence of the IST, BOOK 1. Rodney Friend.
suggests, add sparkle to the bow. Rush draws on Dounis
original horn lines. Lilting
piece. The optional piano Boosey & Hawkes/Hal principles and exercises and
6/8 rhythms will require
part can be used for both Leonard, 2006, $38.95. material from Ivan Galamian,
performers to explore the
rehearsal and performance. This collection in two volumes Dorothy Delay, and Simon
lower portions of their bows,
Caponegro has again given includes excerpts from 53 Fischer. There are wonderful
and provide a great chance to
us a new piece that can be a of the orchestral works photos illustrating how to
teach the jig bowing of two
great teaching tool, fun and most frequently required choose and fit a shoulder rest
slurred notes and one up bow.
the hit of the concert. S.P.W. on auditions. Unlike other and clear instructions about
The original key of E-flat
books that crowd the excerpts what a shoulder rest should
has been raised to F to make
on the page this book has a and should not do. In addition
the work more accessible
clean, open look about it. there are observations about
to younger players. There
This helps make the music the fundamental differences
are many second position
seem less intimidating. All involved in playing without
passages for the first violins,
editorial additions are color a shoulder rest. There is
and third position passages
Reviews
a similar list of chinrest This compositional style SONATA IN B MINOR Cello
qualifications, but no photos. likely coincides with the (vn solo). Franz Liszt,
The remaining chapters discuss presence of Johann Paul von FANTASIESTÜCKE, op. 73 (vc).
trans. Noam Sivan. Carl
putting right and left hands Westhoff (1656-1705) whose Robert Schumann, rev. ed Ernst
Fischer, 2007, $19.95.
together, posture (with the own works require similar Liszt’s Sonata in B Minor, Herttrich, vc bowings/finger-
instrument), more on bowing technical prowess. Wollny’s a masterpiece of piano ings Reiner Ginzel, pno finger-
(smooth bow changes, string informative preface provides literature, is offered here for ings Hans-Martin Theobold. G.
crossings, playing successfully comments on the sources, the first time in a version for Henle Verlag, 2006, $15.95.
at the frog), vibrato, and notes on Meniker’s realization solo violin. This transcription Beethoven can be considered
tips on practicing. Over 200 of the figured bass, an ürtext of a large-scale sonata in one the first modern composer in
pictures vividly amplify the violin part, and a performing movement exploits numerous the sense that he supported
text, which is designed to edition with fingerings, instrumental possibilities in himself largely by selling
be accessible to students, bowings and helpful order to create a distinctive compositions to publishers
parents, studio teachers, and comments on performance sound palette, including instead of being a resident
those who teach in the public practice by Manze. G.H. melodic independence of court musician. As paying
schools. This book would be the four strings, wide-range
royalties to composers was
particularly valuable to school SONATAS FOR VIOLIN AND polyphony, unusual use of
not yet the practice, it is
orchestra directors who are harmonics, and a pizzicato
HARPSICHORD: Band I BWV fugue. All instructions not surprising that sales
not string players and need 1014-1016, Band II BWV potential became an important
practical information about are clearly marked, with
1017-1019 (vn/pno). Johann excellent fingerings and phrase consideration for composers
string playing presented in a such as Brahms, Dvorak,
clear, concise format. G.H. Sebastian Bach; ed. Karl markings. Page turns in the
part are not convenient. Many and Schumann in their
Schleifer/Kurt Stieler. C. F. Pe- negotiations with publishers.
technical challenges of violin
SONATAS IN G MAJOR, E ters, 1958, $25 each with CD. playing have to be overcome To this end Schumann began
MINOR; FUGUE IN G MINOR This appears to be a reissue in studying this sonata. The offering his piano-paired-
FOR VIOLIN AND BASSO of an older edition with the task, therefore, is to clarify with-a-single-instrument
addition of a play-along CD the musical meaning of each compositions with multiple
CONTINUO BWV 1021, of the continuo realizations. passage, giving shape to the performance options. Thus
1023, 1026 (vn/pno). Johann The pitch is at modern the Adagio und Allegro, op.
melody while still allowing
Sebastian Bach, ed. Peter A-440 level. A click track the harmonies to intertwine. 70 for horn and the clarinet
Wollny, comments Andrew precedes each movement It would be helpful for the Fantasiestücke, op. 73 (both
Manze, continuo realization where the performers begin performer to consult the piano from 1849—Schumann’s most
Zvi Meniker, Bärenreiter- together. The tempos are version regarding thematic productive year in his own
moderate and the performance structure, chromatic harmony, estimation) were designated
Verlag, 2005, $13.95.
straightforward. A forward and voicing; however, this ‘violin/cello ad libitum’ while
This new edition reevaluates source should not be the only
by Karl Schleifer is in the Drei Romanzen for oboe,
the sonatas, BWV 1021 and guide to interpretation, since
German, but not translated. op. 94 and the cello set of Fünf
1023, on the basis of newly- the violin version must retain
The fingerings are somewhat Stücke im Volkston, op. 102
unearthed sources. The Fugue, its own unique character. had ad libitum violin parts.
BWV 1026, long viewed as old-fashioned and don’t Israeli-born transcriptionist
reflect the influence of recent (Schumann even transcribed
spurious, appears here for Sivan currently lives in his cello concerto for the great
the first time in a scholarly- scholarship with regard to New York City, is on the violinist Joseph Joachim!) It
critical edition authenticating Baroque performance practice. faculty at Mannes College, is not known who actually
Bach’s authorship. It contains There is studious avoidance of and is a C.V. Starr doctoral made the string versions
few of the elements of Bach’s open strings, and “smoothing fellow at the Julliard School. of the chamber works, but
mature style, but this may out” of the natural down- This transcription displays Schumann clearly authorized
be due to a 1709 encounter bow stresses with hooked remarkable imagination, with them; in his informative
with the Dresden virtuoso bowings. The edition does novel use of half-positions, Preface, Herttrich mentions
Johann Georg Pisendel, which not include an ürtext part, intricate broken chords, and
an 1852 diary entry in
may also have given rise to so it is not possible to tell the employment of Bartók-
which Schumann praises
the Sonata in E Minor, BWV whether bowings are original like pizzicati in a most
fantastic fugue passage. Some violinist Ferdinand David’s
1023. The only surviving or editorial. The CDs might splendid performance of the
be valuable for young students interesting requests made of
manuscript copy of this the performer during this Fantasiestücke with Clara.
sonata, residing in the Saxon who have never played pizzicato section can be very Henle’s excellent new cello
State and University Library with harpsichord, but the liberating. This piece is a version (I assume that the
in Dresden, was evidently violin parts would require daring challenge; even those new Preface and Comments is
prepared at Pisendel’s request considerable alteration of who do not choose to feature what they mean by “Revised
for the music collection of the fingerings and bowings it in concert performance Edition”) of the Fantasiestücke
Dresden court. The Fugue by the teacher, as well as will benefit from mastering is based on the composer’s
deserves special attention consultation of a critical its intricacies in private. personal copy of the first
for its remarkable length edition to sort out what is As often found in Liszt’s edition with emendations by
and the level of virtuosity Bach and what is not. G.H. pieces, this work glorifies Schumann. The concluding
demanded of the player. Paganini’s soul. N.C. editorial comments reflect

cello and violin sources as Mark Summer’s Julie-O is are most welcome. Though they are achievable by an
well as those for the original Cheney’s arrangement, not other Abel sonatas have been advanced high school student
clarinet version. Hettrich the original, and the solo transcribed and published and attractive enough for a
notes that Schumann part to Elgar’s Salut d’Amour for bass, this sonata, K. 144, professional recital. Although
substantially revised the has a few unexpected octave has not. This charming short the works were already
original autograph version. displacements. Each volume three-movement piece gives available—Turetzky’s editions
A particularly interesting has a separately-purchased bassists a rare opportunity of nos. 1-6 (pub. Marx),
change was Schumann’s double CD: the first with to explore a style between Neidlinger’s nos. 7-12 (pub.
addition of the final chord Cheney and pianist David the high baroque of Bach Ludwin), and Turetzky’s
of the second movement; Dunford performing the and Handel and the early nos. 1-12 (pub. Recital
without it the music flows works in a very satisfactory classical style of Dittersdorf, Music), along with versions
without pause into the third fashion, the second of the that of Empfindsamerstil. The with piano accompaniment
movement. Hettrich also accompaniment alone (in melodic style is vigorous and edited by Oscar Zimmerman
notes that the slurring in tempo). Cheney’s solo quite varied, including many and Malaric—this edition is
the string versions seems to performance of Julie-O rhythms and articulations. valuable for its transparency
reflect bowing rather than is lively, rhythmic and The range spans just over of editing and clarity of
phrasing so it is useful that the technically well-executed, two octaves from low G to presentation: one sees a text
piano part retains the original and in general her lyric a harmonic A. Though Abel that is very close to what
clarinet/piano score. J.S. musicianship and pleasing was the last great historic Dragonetti wrote and can
tone are a fine example to gamba virtuoso, the piece largely verify, in the editorial
SOLOS FOR YOUNG students. Cheney also includes was apparently written for notes, changes that were
CELLISTS, Vols. 5. 6. background information and amateurs (according to the made. A comparison with
translations of terminology New Grove) and calls more a copy of the manuscript
Carey Cheney. Summy-
and titles, emphasizing the for musical imagination (courtesy of Robert Nairn)
Birchard, 2007, books, kind of information that than for technical fireworks. shows that Glöckler did the
CDs each $13.95. students need to perform Drew’s editorial decisions can meticulous work that has
Cheney continues her series meaningfully. Invaluable be verified and potentially become his hallmark. This
with the fifth and sixth to teacher and student alike modified, since the piano part edition continues the major
installments of repertoire are the practice suggestions is a reprint of Bärenreiter’s contribution that Glöckler and
collections for student cellists. for developing the less- Hortus Musicus edition. Henle are making to classic
Primarily a supplement to than-standard techniques The collected works, edited double bass repertoire. A.K.
the Suzuki material, the needed to perform Julie-O. by Walter Knape, could
pieces are technically more Unfortunately, Cheney is provide additional insights
challenging than the Suzuki Guitar
not consistent with these into articulation. A.K.
volumes of the same number, offerings, as some of the BERKLEE JAZZ GUI-
but they do offer enriching pieces have literally pages TAR CHORD DICTION-
ZWÖLF WALZER für Kontra-
and important literature. of introduction, while bass solo. Domenico Drag- ARY. Rick Peckham.
Each piece has been selected others have no supplemental
for variety of styles and onetti, ed. Tobias Glöckler. Berklee Press, $9.95.
information whatsoever. Peckham’s Dictionary
composers, mixing standards Perhaps Cheney could fill in Henle, 2007, $13.95.
with those that really deserve These waltzes, composed explores standard jazz
the blanks for future printings voicings in a compact easy-
to be played more, including that will be needed: at the around 1840, appear to be
Frank Bridge’s lovely the only original music for to-use format. The book is
price, these useful collections divided into two parts: part
Meditation. Canadian cellist and well-played recordings unaccompanied double bass
Claude Kennesen’s keyboard before the twentieth century one presents chord voicings
are hard to beat. C.W. (forms), while part two gives
realization of the Boccherini brought works such as those
Sonata in C Major G. 4 is by Scontrino, Moulaert, and diatonic exercises. In the
featured prominently in Double Bass Hindemith. Arguably, no first two chapters, Peckham
Volume 6, which also includes works for unaccompanied chooses four voicings for each
SONATA IN G MAJOR chord type. I found some of
a two-cello version. It should for Cello or Double Bass bass of equal musical merit
be noted, however, that some appeared until Maconchy’s my favorites omitted, but in
and Piano. Karl Friedrich Four Improvisations (1954). general the ones presented
of the arrangements are not
what a traditional teacher Abel, ed. Lucas Drew. St. Dragonetti’s Waltzes are “sound” and are useful.
might expect when “cherry- Francis, 2007, $9.95. therefore of prime historical Chapters 3 to 5 give guide tone
picking” from the repertoire. Drew, past president of importance. They also have chords (root-third-seventh),
For instance, in Volume 5, ASTA, is devoting his the pedagogical advantages triads over bass notes, and
the realization of Couperin’s retirement to enhancing of brevity compared to inversions (for the first six
Pièces en Concert is by the bass repertoire through Dragonetti’s concerti and, types). One of the strengths
David Dunford, not the more publication of older out-of- with the exception of waltz of book is that the same forms
familiar one by Paul Bazelaire, print material, much of which 11, never rise beyond a twelfth are used throughout, so once a
and Schumann’s Adagio and has been sorely missed, as above the open G string. student learns minor seventh
Allegro, has been transposed well as new compositions and With their rhythmic drive voicings for instance, these
to F from the original A-flat. transcriptions, many of which and intricacies of bowing, shapes are repeated in later
Reviews
chapters such as guide tone provide a virtual laboratory alike. All players receive a his publisher’s request, Reger
(chapter three) and inversions for gaining experience for turn at melodic patterns and arranged the Serenade’s flute
(chapter five). the diatonic engagements of this sort. I fun devices. The rhythms are part for violin, making a
exercises in part two are useful believe that the publication perfect for advanced string few small changes to more
as they present the forms of could be more effective with students and offer challenges practically write technical and
Part One in a scalar context several additions. There is no in a variety of styles: tango, timbral elements. Therefore,
using major, harmonic and discussion of chord voicing ragtime, and jazz. Slides or there are actually four parts
melodic minor, and the major methods commonly used glissandi into notated pitches for op. 141a, with the flute
and minor bebop scales. In by guitarists in this style. and tremolo are indicated. and its companion violin
Although it is to be expected The parts can be used part almost identical. This
contrast to chord dictionaries
that the guitar parts are interchangeably so that violins ürtext edition has critical
containing an endless array of
not the focal point of the can play with violas; piano comments in English in
possible voicings, Peckham’s
arrangements, it would be accompaniment duplicates the back, with explanation
presents common forms
nice to have a separate mix on the ideas in the duet parts and of the sources, notes on
using contiguous strings and the CD, or a way to modify can complete or add stability the edition, and measures
roots on the 6th-4th strings. the balance/panning, where to any combination. Divisi marked where changes and/or
This no-nonsense approach you could more clearly hear sections in some duets fill out further explanations are
implies a methodology that, the guitarist’s articulation. the sound when more than needed. As with all Henle
once absorbed through study However, I feel that it is two students are involved. The ürtext editions the pages are
of the text, can be applied a helpful addition to the beautifully laid out on quality
to any harmonic structure. titles are “Chromatic Tango,”
resources available for teachers paper, with convenient page
This text, paired with the “Soft Shoe,” “Hoedown,”
at the high school or collegiate turns. Measure numbers are
Mel Bay Rhythm Guitar “April Rag,” “Hopak,” and
level who wish to expose marked. I can hardly wait
Chord System, would offer the “Mellow Moment.” Studio
students to this style. M.C. to play these myself! N.C.
intermediate jazz guitarist a teachers, here’s your chance
powerful tool for mastering to add enjoyment to sight
jazz chord voicings. M.Z. Harp reading pieces for your TRIO NO. 2 IN C MAJOR,
advanced students. P.C. OP. 87 FOR VIOLIN, CELLO
STROLLING THROUGH THE
SWING FAVORITES–BIG AND PIANO. Johannes
STRINGS (4 lever or pedal
BAND PLAY-ALONG, SERENADES OP. 77a AND Brahms, ed. June DeForest.
harps). Frank Voltz. Chiera
Vol. 1. Hal-Leonard, 141a FOR FLUTE (VIO- International Music Company,
Music www.frankvoltz.com,
book/CD $14.95. LIN), VIOLIN AND VIOLA. 2007, score/parts $39.
2008, score/parts $12. In the summer of 1880,
No less an authority than Voltz’s first ensemble Max Reger. G. Henle Ver-
the great Jim Hall has stated lag, 2006, $46.95. Brahms sketched two piano
arrangement is based on his trios. The second of these, the
that, “if the tree of jazz were delightful solo publication, These serenades leave the
pruned down far enough, impression of works of a C major, was completed in
and the ensemble is quite 1882, during a summer spent
we’d be left just with Freddie pleasant as well. The 11- consciously classical style. In
Green strumming away and a letter of June 5, 1904 to his at Bad Ischl. Though Brahms
page bound score is easy to was extremely critical of his
making you feel like playing read. The two-and-a-half publishers, Reger stated, “It
and smiling.” I feel that too is absolutely clear to me what own music, this composition
page individual parts range gave him every satisfaction.
often the jazz guitar student in difficulty from beginner is lacking from our music
spends a disproportionate today: a Mozart! – To be The principal theme of the
to intermediate. Written in first movement Allegro is
amount of study/practice G major, lever and pedal perfectly frank: the first fruits
time developing the ability of this realization . . . are the stated by violin and cello
changes are clearly marked. in octaves, with the piano
to play “lead” guitar without Part one has 11 lever changes op. 77a Serenade for flute,
developing a great sense of violin and viola, and the op. contributing chiefly to the
and part four has only two. second subject group, followed
pulse in a swing context. Each part gets to play either 77b Trio for violin, viola and
Opportunities for learning violoncello” (Max Reger: Briefe by the development of this
glisses or harmonics or both. material, marked animato
this fundamental skill have A few helpful fingerings are an die Verleger Lauterbach &
largely dissipated with the Kuhn, i, ed. Susanne Popp, to maintain its momentum
included in this exceptional and espressivo to signify
disappearance of performance addition to the harp ensemble Bonn, 1993, p. 324). The
opportunities for big bands. relaxed, even cheery nature of the lyricism of the melodic
repertoire. D.G.V. line. The second movement
Chord chart reading is a these works is accompanied
requisite skill for pit orchestral by a lightness of construction, Andante consists of a theme in
playing as well. This Chamber Music clear formal design and easily A minor and five variations.
publication has chord charts comprehended harmonic The following C minor
PLAYING WITH STYLE. Scherzo has a more relaxed
to a variety of jazz standards progressions, and clearly seeks
(2 vn, 2 va, str. quartet, contrasting trio section in the
and an accompanying comparison with Beethoven’s
performance CD with a or orch). Joanne Martin. Serenade op. 25 for the same tonic major. The original key
quality professional band. The Summy-Birchard/Alfred, instrumentation. Reger was and mode is fully restored
guitar arrangements largely 2006, parts each $5.95. aware from the outset that the in the opening of the final
consist of chords symbols Here’s a find that you won’t instrumental forces required Allegro giocoso, where, as so
in slash notation with some want to miss: duets that for op. 77a (in D major) would often in this work, violin and
written rhythmic kicks, and entertain players and audience not always be available. At cello initially support each

other in octaves. In sonata such prominent musicians, broadly about strings and Reviewers
form, a variety of thematic educators, philosophers, and string playing as a form
material suggests the contrasts child development experts of self-guided professional Nola Campbell (N.C.) is assis-
inherent in a rondo. The as Elizabeth A.H. Green development. However, tant professor of music educa-
entire trio is reminiscent of and Fred Rogers. Although my classroom and teaching
Hungarian Gypsy music. the advice and many of the lacked the idea that students tion/strings at the Hartt School
DeForest’s fingerings and teaching examples are based might have benefited from for the University of Hartford in
bowings are nicely presented. on or drawn from the Suzuki the same sort of shot in the Connecticut, and director of the
Page turns for the strings are Violin Method, the general arm. Happily, this recently Hartt String Project. She performs
convenient, and all measures principles of practice set forth published book fulfills that on either violin or viola with the
are numbered. N.C. can be applied to the study purpose. Directed toward New Britain Symphony Orchestra,
of any instrument. Much of a teenage audience, this
what is included will provide and many other orchestras in the
Books accessible handbook features
greater Hartford area, and is
valuable insights to both well-written, concise articles
HELPING PARENTS PRACTICE, teachers and parents. G.H. on topics ranging from bow an active music education clini-
IDEAS FOR MAKING IT EASI- maintenance to audition cian, lecturer, studio teacher, and
ER, Vol. 1. Edmund Sprunger. SIXTY MUSIC QUIZZES tips. Furthermore, a section orchestra conductor.
Yes Publishing, 2005, $20. FOR THEORY AND READ- devoted to adolescent wellness
Sprunger’s insightful ING. Jay Althouse. Al- shows that thoughtful and Michael Carenbauer (M.C.) is
observations are drawn fred, 2007. $24.95. comprehensive consideration professor of guitar and director
from his many years of Intended as a companion to underscored the design of this
of guitar studies at the University
experience as a Suzuki Althouse’s Ready to Read book. The most remarkable
teacher, teacher trainer, aspect of Succeed as a String of Arkansas at Little Rock. He is
Music (Alfred, 2003), this
clinician, and psychotherapist. volume includes reproducible Player is that popular musics the recipient of numerous awards
His book is organized one-page quizzes suitable are featured alongside music of for performance, teaching and
in five interconnected for assessing music theory the Western classical tradition composition and has recently re-
“neighborhoods”: Decoding, skills that MENC associates in complete compatibility. leased a CD of works for guitar,
Practice Basics, Musicianship, with grades 5-8 (see www. This may be analogous to how string quartet and the Chinese
Rhythm, and Appendix: menc.org). Owning a single teenage musicians actually zheng entitled Music for Guitar
Games. Each chapter copy brings permission to experience the world of
(neighborhood) is divided into make copies for one school/ and Strings.
music. The rich possibilities
sections (blocks). The table organization. The units of electronics and strings are
of contents bears a strong within the book include included and balanced with Vincent Cee (V.C.) is currently a
resemblance to a subway map. staff/notes/rests, rhythm, an effective presentation of doctoral student in music educa-
The “staples of practice,” such note names, key signatures, the traditional. One could tion at the University of Mas-
as how to make it pleasant musical symbols and terms, read this book from cover to sachusetts, Amherst. He taught
and productive are available time signatures, keyboard cover or just move from topic
in every chapter, but each strings for five years in the Mesa
identification, and musical to topic. Part of the book
“neighborhood” also has puzzles (unscramble words, Public Schools in Mesa, Arizona
features articles written by
its own unique offerings. word search, crosswords). famous players (Hillary Hahn and continues to spend part of
Most sections have cross- Specific material begins with and Joshua Bell), and other his summer in Fairbanks, Alaska
references making it possible writing a whole note in an parts highlight up-and-coming teaching bass and jazz at the
to “hop around the book assigned space and ends with younger players. It is fitting University of Alaska, Fairbanks
as your needs and interests such skills as determining that the teens get the last word
dictate.” It can be used as a Summer Music Academy.
time signatures for the music in the concluding articles,
reference book, a textbook, examples provided, including as every part of the book
or as a “daily dose” applying 5/8. The number of quizzes is carefully aimed toward
Patricia Cox (P.C.) is associate
one or two new sections to within each unit ranges from professor of music at Harding
adolescent string musicians.
each day’s practice session. two (keyboard identification) University in Searcy, Arkansas,
Considering the breadth of
Practice Basics has creative to 12 (note names). The where she teaches strings and
topics and the outstanding
suggestions to help children format of questions is nicely
focus, help parents give clear layout and organization, it coaches the university string quar-
varied between quizzes, and
directions, and guidance for is reasonable to conclude tet. She directs the White County
vocabulary is appropriate.
“choosing your battles.” The that this book ought to be a Youth Orchestra and the Searcy
The physical format is
musicianship chapter focuses staple in any studio, strings
appropriately inviting. A.K. String Quartet.
on helping the child find their classroom, and personal or
own voice. The chapter on public library. Perhaps this
SUCCEED AS A STRING book will encourage teachers Winifred Crock (W.C.) is the or-
rhythm has some very useful PLAYER! TEEN STRINGS chestra director at Parkway Cen-
ideas on early introduction to formulate their own
of the metronome in non- SHOWS YOU HOW. Ed. Me- classroom libraries while tral High School in Chesterfield,
threatening ways. Throughout gan Westberg. String Letter drawing on all of the resources Missouri and maintains a private
the book are inspiring Publishing, 2007. $16.95. Teen Strings provides. V.C. violin studio. She is an active string
and thought-provoking As a public school string clinician, lecturer and conductor.
marginal quotations from teacher, I would often read
Advertisers Index
Denise Grupp-Verbon (D.G.V.) is an active professional performer who teaches privately and at ASTA ....................................................................22
Owens State Community College. She was formerly a member of the Civic Orchestra of Chicago Baerenreiter Petra ....................................... insert
Ball State University .........................................62
and has a master of music degree in harp performance from Northwestern University. Bee-In Tuner, Inc.................................................13
Brobst Violin Shop.............................................41
C. Alan Publications ............................................ 7
Janet Kvam Holub (J.K.H.), D.M.A, is a private studio teacher in Woodstock, Illinois. She conducts the C.F. Peters Corporation ....................................29
Prelude Orchestra at the McHenry County Music Center, teaches music appreciation classes and studio Caputo Music .....................................................44
violin and viola at mchenry county college and is a free-lance violinist in the northern Illinois area. Carriage House Violins ....................................12
Claire Givens Violins, Inc. ................................13
Cleveland Institute of Music ............................27
Georgia Hornbacker (G.H.) is associate professor of violin at Millikin University in Decatur, Illinois, CodaBow International, Ltd. ..........................63
associate concertmaster of the Illinois Symphony Chamber Orchestras and violinist of the Kirk- D’Addario & Company ....................................41
DePauw University School of Music ...............55
land Trio. She maintains a private studio in her home, and in 2001 was named outstanding studio Dogal SNC c/o Cupertino Strings .................16
teacher by Illinois ASTA with NSOA. Electric Violin Shop ............................................. 9
Fegley’s Violin Shop ........................................... 2
Frustrated Accompanist...................................... 7
Andrew Kohn (A.K.) teaches string bass and music theory at West Virginia University and is a Gateway 4M .....................................................84
member of the Pittsburgh Ballet Theatre and Opera orchestras. Gettysburg College / Sunderman
Conservatory of Music .............................71
Hal Leonard Publishing Co. .............................19
Polly Sibert (P.S.) directs the Walker Upper Elementary School Orchestras in Charlottesville, Vir- Happynex ...........................................................66
ginia, and restores, repairs, and builds violin family instruments. She received her D.M.A. in music Heart of Chamber Music Institute ..................83
Huthmaker Violins .............................................68
education from Shenandoah University, her M.M. in orchestral conducting and her B.M.Ed. from Ifshin Violins ..................................................... 109
James Madison University. J.W. Pepper & Son, Inc. ...................................11
Jazzbows Music Inc. .........................................44
Johnson String Instrument ................................... 8
Cornelia Watkins (C.W.) is a private cello teacher and freelance cellist in Houston, Texas. She is K.C. Strings Violin Shop ...................................85
the author of Rosindust, a newsletter for string teaching and playing, and has given several clinics Kaman Music Corporation ................................. 2
Knilling String Instruments ................................15
at teaching conventions across the country. Lawrence University..........................................63
Little Amadeus ...................................................84
Susan P. Wilson (S.P.W.), a graduate of Indiana University, was a violist in the New Jersey Sym- Mannes College of Music/
The New School .........................................26
phony and then for many years with the Phoenix Symphony Orchestra. She currently teaches Meisel Stringed Instruments ............................... 7
teaches fifth and sixth grade strings at three elementary schools in the Gilbert Unified School Mel Bay Publications ........................................66
District, Gilbert, Arizona. Menchey Music Service, Inc. ............................62
Merz-Huber Company .....................................55
Midori/Partner in Performance ......................26
Mark Zanter (M.Z.) is associate professor of composition and theory at Marshall University, and an Mona Lisa Sound, Inc. .......................................29
New York University .........................................92
avid jazz guitarist. His new release, Question Mark, is available on CD Baby and iTunes. North Carolina School of the Arts .................69
NS Design ............................................................ 9
Paula Zeitlin (P.Z.) is a jazz violinist from the Boston area who teaches improvisation and coaches jazz Oberlin Conservatory of Music ......................23
Otto Musica ........................................................51
string ensembles at the Rivers Music School and Wellesley College. She has given presentations at Pasewicz String Instrument, Inc........................85
national and regional conferences and performs with her jazz quintet and jazz string quartet. Peter Prier and Sons Violins ............................37
Peter Zaret and Sons Violins, Inc. ...................91
Peterson Electro – Musical Products, Inc. .......62
Pirastro G mbH ................................................... 4
Rice University/Shepherd School of Music .. 107
Robertson & Sons Violin Shop ........................91
Rolland String Research ...................................83
San Francisco Conservatory of Music ........ 108
Shar Products .................................................. 110
Southern Methodist University .......................45
Southwest Strings ................................................ 9
Stephen F. Austin State University ............... 106
StringWorks .......................................................89
Stulberg International String ..........................12
Super-Sensitive Musical String Co.................... 3
Texas Christian University ................................37
The Potter Violin Company..............................45
Thomastik-Infeld / Connolly & Co. .................. 1
United-Workshops Corp./Heinrich Gill
Violinmakers ...............................................13
University of Massachusetts - Amherst ..........67
University of Miami, Frost School of Music...29
University of Michigan School of Music ........70
Venus Harps (W & W Musical Instrument
Company) ...................................................69
Violin House of Weaver ..................................71
Wayne State University ...................................37
Willamette University.......................................45
William Harris Lee & Co. ................................37
William Moennig & Son, Ltd. ..........................85
Yamaha Corporation of America .................... 2


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AMERICAN STRING TEACHER

August 2008 | Volume 58 | Number 3

Guidelines for Successful

2 | American String Teacher | August 2008

Features and Forums

38 Challenging the Middle School Orchestra Musician

42 Mastering the Unknown: Guidelines for Successful Orchestra

46 The Projected Career Plans of String Music Educators: Implications

88 Showcase ASTA members; the annual subscription price

6 | American String Teacher | August 2008

ASTA Board of Directors

In Your Neck of the Woods Elkins Park, PA 19027-2629

President-Elect • Kirk Moss

Member-at-Large • Beth Gilbert

American String Teacher

• Editorial AST welcomes letters and articles from

• Reviews Review materials should be sent to Marg

• Submission Deadlines For material to be

10 | American String Teacher | August 2008

Sean Beavers Greg Sarchet

Margaret Berg Laurie Scott

Chelcy Bowles David Starkweather

William Dick Benjamin Whitcomb

Emanuel Garcia, M.D. Members of the ASTA

Beth Danner-Knight, Deputy Director, Conferences

Jody McNamara, Deputy Director, Finance and Administration

Deanna Tompkins, Director of Meetings and Events

Mary Jane Dye, Director of Communications

John Golden, Development and Advocacy Manager

Sky Henderson, Manager of Publications and

Kari Hahn, Director of Membership

Libby Dietrich, Meetings and Events Manager

Erin Gallagher, Membership and Conference Coordinator

12 | American String Teacher | August 2008

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20 | American String Teacher | August 2008

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What is the National Solo Competition?

ASTA thanks Georgia State University for their support and

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Artist Teacher Award

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Strings and Volunteering: A Winning Combination

Beneﬁts of Volunteering with Strings

Okay I Get It! How Do I Do It? Opportunities Are Everywhere!

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JamesCare for Life MusicCare Program

“Practice is everything.” This is often misquoted as “Practice makes perfect.”

A s a studio violin teacher, I

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