MUSE 355 String Pedagogy Handbook

Name: Nancy Thompson Date: 10/05/2023

#1 Violin and Viola Instrument Set-up

 Definition and Description

 Definition: Violin and viola instrument set-up is how the violin and the viola come to
the body.

 Description: Violin and viola students can learn instrument set-up sitting or standing. It
might be easier for young classes to stand so that their feet can be flat on the floor.
Students should stand with their feet shoulder width apart with their weight in the
balls of their feet. The left foot should be at a 45-degree angle and in line with the
scroll. If students learn to play while sitting, they should sit on the front edge of their
chair with their feet flat on the floor and shoulder width apart. Students should hold
the violin or viola parallel to the ground with their left hand holding under the upper
bout and their right hand holding the lower bout. Students should raise the instrument
above their heads then bring the instruments to their left shoulder at about a 45-
degree angle. The button should be near the middle of the neck. The side of the jaw
should touch the chin rest with the head still facing forward. The scrolls should be
parallel to the floor. Shoulder rests should be used to fill the space between the
shoulder and the back of the violin.

 Figurative Language #1: When you hold the instrument in front of you and above your
head, you want the instrument to be flat like a table. Don’t let anything fall off of your
table.
 Having students pretend to not let anything fall of the table would help students keep
their violins and violas parallel to the ground. Students might not understand what
parallel feels like, but they have all seen a table and would understand that it should be
flat and balanced.

 Figurative Language #2: When you bring the instrument down to your shoulder, you should
feel like your shoulders have weights on them that you can’t lift up.
 Students tend to hunch and raise their shoulders as they bring the instrument down to
their left shoulder. If students think about having weights on their shoulders, it would
encourage them to keep their shoulders down and relaxed.

 Figurative Language #3: When you stand up to play the violin or viola, stand up like a tree.
A tree is rooted in the ground, and it stands up tall and straight.
 Pretend like you are a big tree in a forest. Show everyone how tall you would be.
Having students pretend to be “rooted” encourages them to keep both feet firmly on
the floor. Having students lift up tall like a tree encourages lengthened posture and a
straight back.

#2 Cello Instrument Set-Up

 Definition and Description
 Definition: Cello instrument set-up is how the cello comes to the body.

 Description: Cello students should start by standing and holding the cello an arm’s
length away. While the student is still standing, the endpin should be adjusted until the
scroll of the cello is in line with the student’s nose. Students can then sit on the front
edge of the chair with their backs away from the back of the chair. Their feet should be
flat with a gap wide enough to fit the cello. Keeping the endpin an arm’s length away,
the cello should be leaned back toward the upper half of the body, slightly to the left.
The C peg should be behind the left ear. The knees should balance the sides of the
instrument just below the C bout. Cello players should feel like they are leaning their
upper body forward into the instrument.

 Figurative Language #1: You should feel like you are giving your cello a big hug.
 Pretend to give your cello a hug. Having students pretend to hug the cello can get them
used to coming toward the instrument. This is important because cello players lean
into the instrument with the upper half of their bodies. This would also get them used
to bringing their right arm around the cello.

 Figurative Language #2: When you stand up and hold your cello an arm’s length away,
pretend you are Pinocchio, and you just told a lie. Now, watch your nose grow really long.
Is it touching the scroll of your cello? Is the cello too high or too low?
 Cello height will be different for each student, so it is important to base this off of the
student’s physical size. Students may not be able to tell if their nose is in line with the
scroll. Pinocchio is a fictional character, and his nose grows every time he lies. By
having students visualize their nose growing and touching the scroll, students would
have an easier time determining if they need to raise or lower the cello.

 Figurative Language #3: Your C peg and your left ear should be buddies. Imagine that the C
peg is your best friend sitting behind you, and they have a secret to tell you. Make sure
your friend can whisper that secret behind you.
 Students might have a hard time thinking through where to put the C peg spatially.
Asking students to put the peg near their head and behind their ear uses a lot of
analytical language that might not be understood. Most students have probably had a
friend whisper to them in the desk behind them. This could help students position the
cello correctly by thinking of the C peg as their whispering friend.

#3 Double Bass Instrument Set-Up

 Definition and Description

 Definition: Double bass instrument set-up is how the instrument comes to the body.

 Description: Bass students should start by holding the instrument while standing. The
endpin should be pushed in or pulled out until the nut is by the student’s forehead. The
student should also be able to reach the sweet spot between the fingerboard and the
 bridge with their right arm without leaning over. Students should stand with feet flat
on the floor and keep the instrument an arm’s length away with the endpin in front of
the left foot. The instrument should be leaned back into the body and rotated slightly
to the right. The right side of the bass should lean against the left side of the stomach.
The bass should be balanced against the body so that the left hand can move up and
down freely.

 Figurative Language #1: The bass is like your dance partner. You should feel like you can
dance and sway with your bass.
 The bass should be balanced against the body and the stomach without having to be
held by the arms. Asking students to dance with their bass would help them
understand that the bass should move wherever they move. Using technical
terminology and telling them to balance the bass against the floor, their groin, and
their abdomen would be confusing. Telling them to make the bass their dance partner
can help them find that balance more naturally.

 Figurative Language #2: When you bring your right arm down to the strings, you want it to
feel like an elephant’s trunk.
 Having the correct height is important for bass playing. Students’ right arms should be
slightly bent and relaxed to reach the sweet spot. Students might try to bend their arm
too much or push their shoulder forward to reach the sweet spot. Having students
think of making their right arm in the shape of an elephant’s trunk can help them keep
a natural bend in the arm and relaxed shoulder. It can also help me see what students
need to adjust their endpins.

 Figurative Language #3: Pretend you and your friend are doing a trust fall.
 When the bass is an arm’s length away from you, pretend like the bass is your friend,
and they want to do a trust fall. They are going to lean into you, and you will support
them. Thinking of the leaning motion of the bass as a trust fall can help students
picture what it means to lean the bass back and use the side of your stomach to hold
the bass up. In a trust fall, a person leans back into another person and is completely
dependent on the standing person for balance.

#4 Violin and Viola Bow Hold

 Definition and Description

 Definition: Violin and Viola bow hold is how the right hand is shaped when holding the
bow of a violin or viola.

 Description: The hair of the bow should be facing the ground when forming the bow
hand position. The bow is held with the right hand. The thumb should be bent and
against the hair. The second and third fingers should be curved over the stick of the
bow, with the second finger across from the thumb. The hand leans on left side of the
index finger which rests slightly curved on top of the stick. The pinky finger is curved
and rest on top of the stick. The hand should be over the frog, with the thumb where
the frog meets the hair.
 Figurative Language #1: You want to bend your thumb like you are having a thumb war
with your friend.
 The right thumb on the violin and viola bow hold has to be bent at the knuckle. This is
an unnatural way of bending the thumb. Students have most likely had a thumb war
before, and this is the natural way the thumb bends during a thumb war. This would
help students create the correct thumb shape without having to think analytically.

 Figurative Language #2: Your second and third fingers should look like buck teeth on a
bunny.
 The second and third fingers have to be curved over the side of the bow. They have to
be lower than the other fingers. Buck teeth rest lower than the rest of the teeth.
Students would understand what a bunny’s buck teeth would look like. They could look
at their hand to recreate this shape and help form the bow hold.

 Figurative Language #3: Your pinky should be like a rainbow on top of the stick.
 The pinky has to stay rounded and on top of the bow. Students will tend to flatten their
pinky out or wrap it around the stick. Having students look for a rainbow on top of their
stick can help them visualize a curved pinky. If students cannot see the tall rainbow,
they know they need to round the pinky.

#5 Cello and Bass (French) Bow Hold

 Definition and Description

 Definition: Cello and Bass bow hold is how the right hand is shaped when holding the
bow. The French bow hold for basses will be very similar to the cello bow hold.

 Description: The hair of the bow should face the wall in front of you when forming the
cello and bass bow hand shape. All four right fingers are curved over the side of the
stick. The stick can rest over the first or second knuckles. The thumb should be curved
with the tip across from the second finger. The hand should be on the frog of the bow,
with the second finger near the ferrule and the pinky near the eye. The hand is not
leaned to one side like with the violin and viola bow holds. The bass French bow hold is
formed generally the same way as the cello bow hold. The only difference is with the
bass bow hold, the fingers will be lower and reach further over the frog. For both
instruments, the entire arm is then lowered as a unit until the stick meets the strings at
the sweet spot.

 Figurative Language #1: Pretend like you’re hanging on the stick like it’s a cliff.
 Cello and bass students need to keep their wrists in line with their arms. Students also
have to drape their fingers over the stick. Telling students to hang on the stick like it is a
cliff can help them keep their wrists down and keep the weight in their fingers because
you use your fingers to support yourself when hanging on a cliff.

 Figurative Language #2: Your hand and stick should look like the letter “T.”
  With cello and French bow holds for bass, the hand should be perpendicular to the
stick. This is different from violins and violas who lean their hands to the side, so this
should be addressed. Telling students their hands should form a T shape would be
easier to process than asking them to make their hand perpendicular to the bow.
Young students would know what a “T” looks like even if they do not know what
perpendicular means.

 Figurative Language #3: Your second finger and thumb should be like buddies.
 It is important to have the second finger stay with the thumb in order to keep the
correct balance and weight in the bow. Students will tend to let their thumbs move
around, so asking them to keep their thumbs with the second finger could help with
this. Students would stay next to their buddies in real life, so telling them their thumb
and second fingers are buddies can help them visualize this.

#6 Tone Production

 Definition and Description

 Definition: Tone production is the quality of the sound, and it comes from the bow for
string instruments. Tone production involves bow speed, bow weight, and bow
placement.

 Description: The sound produced from the bow is dependent on the bow speed, bow
weight, and bow placement for each string instrument. Bow speed is how fast the bow
moves across the strings. A faster bow speed increases the volume while a slower bow
decreases the volume. Thinner strings also typically require a faster bow speed while
thicker strings require a slower bow speed. Bow weight is how much pressure is being
put on the strings from the bow and from pronating. Pronation is turning the right hand
so that the index finger adds weight to the bow. More bow weight generally makes the
volume louder while less bow weight decreases the volume. Bow placement is also
known as the contact or sounding point. This is where the bow rest on the string.
Moving the bow closer to the bridge typically increases the volume. The “sweet spot” is
the bow placement that creates the most characteristic sound. This is located over the
F holds and between the bridge and fingerboard. The best tone production comes from
bowing parallel to the bridge.

 Figurative Language #1: Think of bowing fast like running and bowing slow like walking.
 Bow speed is one of the easiest ways to change the volume. If you are walking, it will
take longer for you to get to your destination. With a slower bow speed, it will take
longer to reach the end of the bow. If you are running, it will take less time for you to
reach your destination. With faster bow speeds, you will reach the end of the bow
sooner. Students would all know how running and walking affects their own speed, so
they could relate running and walking to bow speed.

 Figurative Language #2: Think of your arm being as light as a feather for a little bow weight,
and as heavy as a book for a heavier bow weight.
  Beginner string players have trouble finding the right bow weight for their instrument.
Upper string players can avoid crunching sounds by thinking of their arm weighing the
same as a feather. Lower string players can produce a quality sound by thinking of their
arm weighing the same as a book.

 Figurative Language #3: Think about punching yourself in the nose when you do an upbow.
 With bow placement, the bow has to be parallel to the bridge in order to produce a
quality sound. Players will tend to keep their wrists straight when doing an upbow
which makes the stick go toward the face. This produces a bad tone. Telling students to
punch themselves in the nose helps them bend the wrist as it comes toward the face.
This would keep the bow parallel to the bridge and produce a quality tone.

#7 Détaché

 Definition and Description

 Definition: Detache bowing is the standard bowing that beginner students will learn
first. The bow will alternate between down bows and up bows.

 Description: Detache bowing is the first bowing that students will learn, and it
alternates back and forth between up bows and down bows with each note. The notes
are given full value but have separate bow strokes. With detache bowing, if the number
of notes in the measure is even, students will start the next measure with the same
bow direction as the first measure. If the number of notes in the measure is odd,
students will start the next measure with the opposite bow direction as the first
measure. Students should bow between the bridge and the fingerboard. Students
should also bow parallel to the bridge. Beginner violin and viola players should start
bowing from the balance point of the bow. Beginner bass and cello players should start
bowing from the lower half of the bow. Detache is the standard bowing expected when
there are no articulation or bowing markings in the music. Detache bowing is on the
string.

 Figurative Language #1: When violins and violas finish a down bow, your arm should look
like the letter “V.”
 Students will need some guidance on the pathways to take while bowing. They will also
tend not to use the full bow, especially on downbows. By having violin and viola
students look at their arm and match it to a shape, they are more likely to use the
whole bow. Students would be able to see a letter’s shape better than telling them a
degree of angle for their arm. This would also help them bow parallel to the bridge.

 Figurative Language #2: Detache bowing is like taking turns.

 Detache bowing alternates back and forth between down bows and up bows. This is a
lot of language for students to remember. If they can just think about their bow
directions taking turns, it should be easier. This gives them only one option for each
bow direction, even when the number of notes in a measure changes.
 Figurative Language #3: Bass players, your down bow should feel like you are throwing a
frisbee.
 Bass players have to move their right arm from their shoulder, followed by the
forearm, then the hand. Many students will not be able to think through these motor
skills. Most students would be able to remember what it feels like to throw a frisbee.
Having students think about this can help them understand which muscles move first
without asking them to think technically. It also teaches them to move their body as
they play bass because the body moves when you throw a frisbee.

#8 Staccato

 Definition and Description

 Definition: Staccato is a bowing that involves adding weight at the beginning of the
bow stroke to make a slight accent with a clear release.

 Description: Staccato bowing is achieved using colle. In English, this means “sticky.” In
bowing, this means to add weight using the index finger. The palm is turned out to
pronate as the player moves toward the tip. After creating this slight accent using colle,
the weight is released, and the arm stops bowing to end the sound. Staccato notes will
sound short and slightly accented. Staccato bowing is an on-the-string bowing.

 Figurative Language #1: Adding weight should feel like you’re pouring out a drink.
 Students have to add weight to achieve a staccato, and they also have to add weight
when bowing near the tip of the stick. Having students think about turning their palm
out while adding weight in the index finger could be confusing because it uses
analytical language. When students pour out a drink, their palm naturally goes out with
the index finger pressing down. Students could think about this while bowing to add
weight.

 Figurative Language #2: Pretend like your bow is trying to move the string.
 Using colle is important for staccato bowing and adds a slight accent. To help students
know what it feels like to make their bows “sticky,” students can think about trying to
move the string with their bow. This would make them naturally press into the string a
little more, which would add weight. Moving the string would be easier to think about
than turning out the palm and pressing the index finger.

 Figurative Language #3: Staccato notes should sound like you’re chopping your favorite
fruit.
 Staccato notes are detached and short with a slight accent. When you chop something
like fruits or vegetables with a knife, the sound the knife makes as it hits the cutting
board is accented and short. Asking students to think about what it sounds like to chop
something can help them audiate this sound.

#9 Brush Stroke and Spiccato

 Definition and Description

  Definition: Brush stroke and spiccato are off-the-string bowings. Brush strokes give the
bow more time on the string. Spiccato strokes give the bow less time on the string, and
the bow bounces on the string.

 Description: Brush strokes start off-the-string from a few inches above the string. The
bow is dropped to the string, pulled on the string, then lifted up off the string again.
When spiccato bowing, the bow bounces on the string. It starts above the string and is
faster and shorter than brush strokes. Brush strokes follow an arched path while
spiccato strokes follow the shape of a “V.” The hand must be relaxed during brush and
spiccato strokes. Spiccato strokes are typically played in the lower half of the bow.

 Figurative Language #1: Brush strokes should look like a smiley face.
 Brush strokes involve three separate movements that could be confusing to remember
for students. Instead of asking students to start with their bow off the string, drop it
and pull down, then lift the bow, students can think about drawing a smiley face. The
smile of a smiley face follows the shape necessary and uses fewer words. Students
have also likely drawn many smiley faces before.

 Figurative Language #2: Spiccato bowing should bounce like a ping-pong ball.
 During spiccato bowing, the bow bounces up and down. Students can think of this the
same way a ping-pong ball bounces up and down. A ping-pong ball only bounces a few
inches above the ground, and it doesn’t take very long to bounce again. Students have
likely all played ping-pong, so this would be easier to think about than bouncing quickly
and using less bow.

 Figurative Language #3: Brush strokes should be like painting.

 Brush strokes involve putting the bow on the string, pulling it down, then lifting the
bow back up. When painting, the brush would touch the wall, be pulled down, then
lifted back up. Students can think about painting a wall during brush strokes to help
understand the three separate motions involved with brush strokes. Thinking of
painting would also help them keep their bowing smooth.

#10 Louré

 Definition and Description

 Definition: Loure bowing is also called portato. Loure is when multiple notes are played
in the same bow direction with only a slight articulation between each note.

 Description: Loure, or portato, bow strokes have multiple notes in the same bow
direction with only a slight articulation between the notes. The articulation comes from
leaning the index finger slightly onto the bow. Notes played with a loure bow stroke
sound like they are pulsing. When written in notation, loure looks like slurred legato
notes. All of the notes should have the same legato sound.

 Figurative Language #1: Loure should sound like water running down a stream.
  Loure bow strokes should be legato with only slight articulations between the notes.
Students might have trouble thinking of what this would sound like. Having students
imagine water running down a stream can help them keep each note legato and
smooth. This could also help them stay relaxed as they bow.

 Figurative Language #2: Loure should sound like pulsing Christmas lights.
 Christmas lights often have a setting where the color pulses with just a slight
interruption. Kids would be able to visualize the lights fading in and out smoothly. This
translates to bowing because the sound should keep going with only a slight break for
each articulation.

 Figurative Language #3: Loure should sound like ripples made from tossing a pebble in the
water.
 Loure bow strokes should only have a slight interruption to the sound. When a pebble
is dropped in water, there are tiny waves that ripple away from the pebble. Ripples
would be closer to the sound of loure than large waves. Students have likely thrown
rocks into a pond before, so they would be able to visualize the ripples that form from
it.

#11 Slurred Staccato

 Definition and Description

 Definition: Slurred staccato is a bowing that involves playing multiple staccato notes in
the same bow direction with shortened bows on each note. Slurred staccato is an on-
the-string bowing.

 Description: Slurred staccato is like regular staccato bowing, but slurred staccato
includes bowing in the same direction, rather than alternating direction. There will be
space between the notes. To create the accent, players should use some colle by
adding weight to each stroke. Slurred staccato can be taught in beginner classes. In
notation, the notes have dots with a slur marking.

 Figurative Language #1: Slurred staccato is like turning the water faucet off for a second.
 Slurred staccato involves two notes bowed in the same direction with space between
the notes. Students can think about a running faucet being like their sound. Slurred
staccato would be like someone turning the faucet off for just a second, then turning it
back on. The water stream would just be interrupted for a second, and the stream of
water would turn back on the same way it did the first time.

 Figurative Language #2: Slurred staccato is like moving your piece forward in a board game.
 When you’re playing a board game, you advance your piece in the same direction by
moving the playing piece a few squares forward. The squares are all equal distance
from each other, and you touch each square as your piece advances. This would
translate to slurred staccato because the notes are played in the same bow direction,
and the notes are typically equal value. There would also be space in the physical
 sound of touching each square in the board game, just like there is space between
slurred staccato notes.

 Figurative Language #3: Slurred staccato sounds like a car alarm.

 Imagine a car alarm going off that just repeats the “beep beep beep” over and over.
Each one of these sounds the same, and there is an equal amount of time between
each beep. The beeps are also very defined since they have to alert the owner. This
translates to slurred staccato because the fronts of the notes are well-defined and
there is space between the notes.

#12 Retake

 Definition and Description

 Definition: A retake is a bowing style that involves starting consecutive bows in the
same bow direction using a bow lift in between the notes.

 Description: The retake involves two notes played in the same bow direction from the
same contact point. Retakes include a bow lift where the bow is replaced back to the
same initial bow placement. A retake is indicated in notation with a breath mark. This is
usually used for multiple down bows in a row. After completing one down bow, the
bow would be replaced back at the frog. To complete a bow lift, the arm moves in a
circular motion.

 Figurative Language #1: A retake is like taking a breath.

 Retakes are also called bow lifts and indicate a pause with a resetting of the bow before
playing again. This is very similar to taking a breath for winds or even while talking.
Wind players breathe before setting their articulation and playing again. When people
are talking, they take breath before beginning a new thought. Students can think of
retakes as breaths in the music. It would be a chance to pause and lift their bow.

 Figurative Language #2: Try to draw a circle with your arm on each retake.
 The arm should move in a circular motion to reset the bow at the contact point. Rather
than thinking about contact points and muscle movements, students can think about
drawing a circle with their arm. A circle is continuous, so this would help students keep
the bow moving and perform a smooth retake.

 Figurative Language #3: A retake feels like turning a page in a book.

 To complete a retake, the arm has to move in a circular motion. When you turn a page
in a book, the arm moves up and back in a circular motion. Turning a page in a book
also makes the arm return to the same place, so this would be easy for students to
think about.

#13 Hooked Bow

 Definition and Description

  Definition: Hooked bows are a bowing with two notes in the same bow direction. The
first note is long, and the second note is short. There is space between the two notes.

 Description: Hooked bowing in an on-the-string bowing that involves two notes in the
same bow direction. The first note is long, the second note is short. There is space
between the two notes. Hooked bowing is often used for dotted rhythms. Using
hooked bows can help make bowing easier and more consistent. The use of hooked
bowing can also be decided by the first chair player.

 Figurative Language #1: Hooked bows are like hitting pause and resume on a video.
 Hooked bowings involve two notes played in the same bow direction with space
between the notes. When you resume a video after pausing it, the video continues
from the place it left off. This is what happens with hooked bowing. The bow continues
from the same place in the same direction. The space between the notes is just like
pausing a video. Students are very familiar with pausing and resuming videos, so this
would probably translate well.

 Figurative Language #2: Hooked bows should sound like a fast heartbeat.
 Think about the sound of a heartbeat. The beats aren’t even. One of the pulses is
longer than the other. Hooked bows sound like a fast heartbeat. Hooked bows typically
involve uneven notes like dotted rhythms. The first note is long, and the second note is
short. Thinking of hooked bows like fast heartbeats can help students understand the
rhythm and feeling that hooked bows and dotted rhythms create.

 Figurative Language #3: Hooked bows should look like Morse Code.
 Morse Code a communication system involving a series of dashes and dots. A dash with
a dot would look the way hooked bowing sounds. Hooked bowing consists of a long
note followed by a short note. In this example, the dash would represent the long note,
and the dot would represent the short note. Showing Morse Code would be a good
way for students to visualize the sound and length of the long and short note.

#14 Slur

 Definition and Description

 Definition: Slurs are bowings with multiple notes played in the same bow direction.

 Description: Slurred bowings are performed by smoothly playing multiple notes

without changing bow direction. Slurs occur between different pitches. Slurs are
notated in music using a curved line between multiple notes. Intermediate students
will learn slurs with many notes in one bow direction. These students can practice
slurring four, six, and eight notes at a time through exercises like slurring an ascending
scale using one bow. It is important to make the left-hand fingers very precise during a
slur since the bow will not be helping with articulation. Slurring can help save energy by
reducing the amount of bow strokes used.

 Figurative Language #1: Slurs are like walking on a staircase.

  Slurs involve changing pitches between multiple notes without changing bow direction.
When walking up or down a staircase, you continue moving in the same direction. The
only change is you are just up or down another stair. This is similar to slurring in strings
because your bow continues moving in the same direction, it just changes pitches.

 Figurative Language #2: Pretend like you are sharing a pie with friends.
 Pretend like it’s Thanksgiving Day, and you are sharing a pie with your friends. Your
bow is your pie. The number of notes in your slur is how many slices of pie you will
need for your friends. For example, if you are slurring four notes, you will want to split
the pie into four pieces to use the whole pie. This relates to slurring because students
should use the whole bow, and each slur should have equal length of bow if they are
the same length note. With four notes or slices, students can think about changing
their fingers each time they reach a new slice.

 Figurative Language #3: Slurs sound smooth like caramel.

 Imagine a river of caramel. What would it sound like? It would be smooth and flowing.
This is how slurs should sound on string instruments. When moving to a different note,
the only change should be in the left hand. The result is a smooth, continuous bow
between two notes. Thinking of caramel can help students imagine slurs because
caramel would be smooth and connected like their bow stroke.

#15 Tremolo (bow)

 Definition and Description

 Definition: Tremolo is an on-the-string bowing that involves playing many short bow
strokes on the same note. There is also a fingered tremolo that involves alternating
between two notes at least a third apart using the left fingers.

 Description: Tremolo means to “tremble,” and it is notated in music using three lines
on a pitch. Tremolo can be performed using just the wrist, or by using the arm, wrist,
and hand. Using just the hand is typically quieter, while using the arm, wrist, and hand
is typically louder. Tremolo bowings should be played using the middle to top half of
the bow. Tremolos can be metered or just played as fast as possible. Fingered tremolos
are played with the fingers between two notes at least a third apart. These are notated
with three beams connecting the stems of the two notes.

 Figurative Language #1: Tremolo bowing should be like waving to your friend.
 Tremolo bowing can be performed using your wrist. Waving involves moving your wrist
side to side a few inches back and forth. This would translate to tremolo bowing
because the bow should move back and forth on the string a few inches. Students can
practice waving without the bow then waving with the bow to learn tremolo.

 Figurative Language #2: Tremolos sound like an earthquake.

 Tremolos are often performed as fast as possible and make a quivering sound. Students
might not understand how fast this bowing should be. Having them think of the
rumbling and shaking of an earthquake can help them create the effect. Tremolos can
 also be used to build tension in music, so an earthquake would help students
understand this sound.

 Figurative Language #3: Tremolos should feel like scratching out or erasing a wrong answer.
 When you write a wrong answer or spell something wrong, you quickly scratch out or
erase the mistake. This motion involves quickly moving the wrist side to side a few
inches. Students would be familiar with this motion, and this would be easier to think
about than waving the wrist.

#16 Sul Tasto

 Definition and Description

 Definition: Sul tasto is a bowing that means “on the touch.” This bowing involves
playing lightly over the fingerboard.

 Description: Sul tasto should be played with a light bow stroke on the fingerboard. The
hair of the bow should be flat, and the player should use the upper half of the bow. The
bow speed should also be fast. Sul tasto should be played at a soft dynamic. Sul tasto
will create a more mellow sound. There should not be a lot of weight added to the bow
with sul tasto bowing or else the sound will be scratchy. This will normally be indicated
in music with the words sul tasto written over the notes.

 Figurative Language #1: Sul tasto sounds like an old record player.
 Imagine you are at your grandparent’s house, and they have an old vinyl record player.
You decide to start playing some music. As the record starts spinning, you hear a little
crackling, airy sound behind the music. This is what sul tasto sounds like. Having
student imagine the sound of an old record player will help them understand that sul
tasto adds extra texture to the normal sound.

 Figurative Language #2: Sul tasto sounds like you’re in an empty cave.
 Pretend you just stumbled upon a cave. You walk in, and you are the only thing in the
cave. It is completely empty. Imagine playing your instrument in this cave. What would
it sound like? It might sound hollow or echoey. Imagining they are in a cave could help
students match the hollow, mellow sound produced by playing over the fingerboard.

 Figurative Language #3: Sul tasto sounds like talking when you have a cold.
 Think of the last time you had a really bad cold. How did your voice sound? It probably
sounded somewhat rough. It might have sounded like it needed to be cleared. This is
how the sul tasto technique sounds. It does not sound as clear as playing between the
fingerboard and the bridge. Playing over the fingerboard makes a rougher, more hollow
tone.

#17 Sul Ponticello

 Definition and Description

  Definition: Sul ponticello means “on the bridge.” In this bowing, the bow is placed next
to the bridge or slightly touching the bridge.

 Description: With sul ponticello bowing, the bow is placed next to or touching the
bridge. The hair should be flat against the string, and there should be very little bow
weight. The bow speed should be fast. The resulting sound is eerie and can be used to
build suspense. Sul ponticello is indicated in the music with the words ponticello or
pont. over the notes. The major difference between sul tasto and sul ponticello is
where the bow is placed.

 Figurative Language #1: Sul ponticello bowing sounds creepy.

 Imagine you are walking through a graveyard at night. What would it sound like?
Would there be ghosts? Sul ponticello sounds like this creepy graveyard. Sul ponticello
bowing produces a sound that is eerie. Composers often use it to build suspense in the
music. Having students think of creepy things can also help them immerse themselves
in the musical intentions of the piece.

 Figurative Language #2: Pretend like your bow is light as a feather.

 Imagine your bow is as light as a feather. You don’t want to crush the feather. When
you bow on the bridge, you want your bow weight to be very light. Think about just
barely pressing on the strings. Having students think about their bow being a feather
can help them keep a very light bow weight.

 Figurative Language #3: Sul ponticello sounds screechy like metal.

 Think about scratching a piece of metal. How would this sound? It would make a
screeching, high pitched sound. Play lightly over the bridge and see if you can match
this sound. Having students think of scratching metal can give them a model for a
sound that would likely feel wrong or unfamiliar to produce.

#18 Collé

 Definition and Description

 Definition: Colle is a technique that means to add weight to the bow to produce a clean
articulation. Colle means glued or sticky.

 Description: Using colle produces a short, accented note. The motion comes mostly
from the fingers. The weight is added at the beginning of the note using the fingers,
then the weight is released. When the weight is released, the bow should be lifted off
the string using the fingers. Adding colle makes the start of the note sound clear and
well-articulated.

 Figurative Language #1: Pretend like your bow has a piece of gum on it.
 Pretend like someone took your bow and put a piece of gum on the hairs. Now you
need to scrape that gum off against your strings. Having students imagine there is gum
on their bow that needs scraped off can help students understand how the bow is
 supposed to grip the string when performing colle. Gum is sticky, so students would
have to add extra weight in order to scrape it off.

 Figurative Language #2: Pretend like your bow is a match and your strings are the match
box.
 Imagine that you are camping with your friends, and you want to start a fire to make
smores. Your bow is your match, and your strings are the match box. You have to push
the match into the match box in order to light your match for the smores. This idea of
lighting a match would help students create colle because colle requires some
pronation.

 Figurative Language #3: Pretend like you are turning the stove off.
 Imagine that you are cooking a pancake breakfast on the stove. As you cook, you
realize that the pancakes are starting to burn, so you quickly turn off the stove. This
idea of turning off the stove will encourage students to turn their right hand by
pronating it to create colle. Turning off the stove requires rotating a knob
counterclockwise. This motion is similar to pronating your right hand.

#19 String Crossings

 Definition and Description

 Definition: String crossing occurs when students have to move their arms to a play on a
new string.

 Description: When performing a string crossing, students will raise or lower their arm
to reach a different string. For violins and violas, crossing to a higher string involves
lowering the arm. For cellos and basses, crossing to a higher string involves raising their
arm. The same is true for moving to a lower string. Violins and violas will raise their arm
to reach a lower string, while cellos and basses will lower their arms to reach a lower
string. Most of the physical movement to change strings comes from the arm, but
sometimes it will come from the wrist at faster tempos.

 Figurative Language #1: String crossing is like going up and down in an elevator.
 To string cross, all string instruments will raise and lower their arms to change strings.
This motion should stay mostly in the arm. Elevators stay in the same plane, and just
move up or down different levels. Students could think about their arm having a
different level for each string. For upper string instruments, the top level would allow
them to play their lowest string. For lower string instruments, the top level would allow
them to play their highest string.

Figurative Language #2: Pretend like you are a marionette puppet.

 Imagine you are a marionette puppet, and there is someone else controlling your body.
There is a string attached to your right wrist. The puppet master is raising and lowering
your arm using that string. This is the motion that is used during a string crossing. The
arm stays steady while it moves up and down to play on different strings.
Figurative Language #3: Pretend like you are playing on a teeter-totter.
 Imagine you are in the park with your best friend. You decide to play on the teeter-
totter together. Pretend like your right arm is you on the teeter-totter. Picture yourself
moving up then down on the teeter-totter as you move your arm. This is like the
motion for string crossing. When you string cross, your right arm will move up and
down steadily like you are going up and down on a teeter-totter.

#20 Hand Frames for Violin and Viola

 Definition and Description

 Definition: Hand frames for violin and viola players refer to the shape of the left hand.
Violin and viola players use different hand frames to play scales.

 Description: Hand frames refer to the left-hand shape, and these determine what notes
will be played on each string. With hand frames, finger patterns describe the intervals
between notes. Fingers that are touching create a half step, while fingers with a space
between them create a whole step. The first hand frame that violin and viola players
learn is called the 2-3 finger pattern. This hand frame would create a whole step
between the first and second finger, a half step between the second and third finger,
and a whole step between the third and fourth finger. The 1 23 4 finger patter allows
violin and viola players to play a D major scale. With this hand frame, players would
start on their open D string. The first finger would produce a whole step to E. The
second finger would be another whole step to F#. The third finger would produce a half
step to G. The fourth finger would be another whole step to A. The same finger pattern
would be used on the A string to play the notes B, C#, D, and E. The second hand frame
students will normally learn is the 12 3 4 finger pattern. This hand frame includes a half
step between the first and second fingers, a whole step between the second and third,
and a whole step between the third and fourth. There are four hand frames for violins
and violas when playing diatonically.

 Figurative Language #1: Hand frames tell you which fingers are buddies.
 Hand frames determine the series of whole steps and half steps between different
fingers. To help students learn how to form hand frames, they can think about having
certain fingers be buddies. If two fingers are buddies, this means they are close
together. The fingers that are buddies will produce a half step in the hand frame.

 Figurative Language #2: Hand frames are like a math equation.

 Imagine you are in math class, and you have to solve equations. You are given the
answer, and you have to figure out the formula. In string playing, the scale you are
playing is like the answer, and the hand frames are like your formula. You have to
figure out which hand frames are needed to complete the scale. The idea of an
equation would help students use problem solving skills to determine which hand
frames are required for a scale.

 Figurative Language #3: Try to make the letter “W” with your left hand.
  Hold your left hand up and try to shape it like the letter “W.” The second and third
fingers would stay together. This is the 2-3 (1 23 4) finger pattern that lets you play a D
major scale. Having students make a “W” would help them shape their hand frames
because making a “W” creates space between the outside fingers, and the inside
fingers are touching.

#21 Extensions on a Cello

 Definition and Description

 Definition: Extensions on a cello are stretching the left hand forward or backward to
reach a note. This opens up more space between the first and second finger, and it
allows the cello player to play a major third interval.

 Description: The cello left hand normally creates a minor third interval, with half steps
between each finger. In an extension, the left index finger is straightened, creating a
whole step between the first and second finger. This allows the entire hand to play a
major third interval. During an extension, the index finger straightens, and the other
fingers lean back. Extensions on a cello can be forward or backward. In a backward
extension, the other fingers stay placed, and the index finger moves to a different spot
when it is straightened. In a forward extension, the index finger stays in the same spot
and pivots, and the other fingers should move down to create space between the first
and second fingers. The thumb will continue to stay with the second finger during an
extension. During extensions, the elbow also moves down. Cellists will use the first,
second, and fourth fingers with extensions.

 Figurative Language #1: Move your hand like you are pointing at the ceiling.
 Tell everyone to point at the ceiling with their left hand. This is similar to the hand
movement that occurs during a cello extension. When you point at the ceiling, the
index finger straightens, the knuckles on the bottom fingers lean and no longer point
straight forward, and the thumb comes to the second finger. When translated to the
cello, the idea of pointing will help students stretch their hand the correct way.

 Figurative Language #2: Think of holding a waffle cone.

 Imagine that you are at the state fair, and you just bought a big waffle cone with your
favorite flavor of ice cream. Hold the cone in your left hand. This is similar to the shape
your left hand will make during an extension. Thinking of holding a waffle cone will help
students shape the left hand because when holding a waffle cone, the thumb is
typically angled up and the index finger is straighter than the others.

 Figurative Language #3: Pretend like you are reaching for the remote.
 Imagine that you are sitting on the couch, watching your favorite show. You reach for
the remote that is a foot away from you to turn up the volume. When you reached for
the remote, your arm moved. You did not try to reach for the remote using only your
wrist or your fingers. You used your hand and your arm. This is like a cello extension.
When you reach for the note that is further away, let your arm move with the hand.
#22 Shifting

 Definition and Description

 Definition: Shifting is moving the left hand to a new spot on the fingerboard. Shifting
uses a sliding motion and allows a player to play higher or lower notes.

 Description: Shifting allows a string player to move up and down the fingerboard to
access a greater range of notes. There are three reasons a string player would shift: to
increase the instrument’s range, to make a section easier to play, and to make a section
more musical. When shifting, the left hand should move lightly and smoothly to its new
position. The thumb should follow the hand and stay with the first finger for upper
strings and the second finger for lower strings. The locations for different hand frames
on the fingerboard are called positions. Positions are determined by the placement of
the first finger. For violins and violas, the only position they typically use as beginners is
first position. Intermediate upper strings will learn to shift to third position. For
example, if violin and viola players play a third finger D on the A string in first position,
they can play this same note with the first finger by sliding to third position. As upper
string players shift to play higher, they should slightly close their arm. Intermediate
cello players will learn to shift to fourth position. Basses will begin shifting before the
other string instruments because their hand frame only covers a whole step interval.
For example, when bases play a D major scale, after they play 4th finger B on the G
string, they will shift to play 2nd finger C# and 4th finger D on the same string. On the
way down, they will shift back after playing 2nd finger C# while descending. String
players can make effective markings in their music by indicating a shift with a dash
before the new finger they will use.

 Figurative Language #1: For basses, think about spray painting a pole.
 Imagine you have a pole in front of you, and you want to spray paint it your favorite
color. As you spray paint, you will move your entire arm up and down the pole as a
unit. Your hand also stays in the same shape since it has to hold the can of paint. This
idea can help bass students shift because their hand will stay in the same shape, and
the arm, hand, and wrist will move together.

 Figurative Language #2: Shifting is like playing peek-a-boo.

 Imagine you’re playing peek-a-boo with a baby. You cover your eyes, then move your
hands away from your face. Then you move your hands back toward your face. This is
similar to the motion used in shifting for violin and violas. When performing an
ascending shift, the left hand would come toward the face. When performing a
descending shift, the left hand would move away from the face.

 Figurative Language #3: For lower string players, pretend like you’re pulling a rope.
 Pretend like you have a rope in front of you, and you want to pull it down with your left
hand. Your hand will wrap around the rope, and you will move your entire arm down to
pull the rope. This would feel similar to shifting because the left hand shape would stay
the same, and the arm would move down as a unit.
#23 Vibrato

 Definition and Description

 Definition: Vibrato is a technique used to alter a pitch by rolling the left hand to slightly
lengthen and shorten the string.

 Description: Vibrato is an intermediate technique that should be taught after students

have proven that they can play very well in tune. For violin and viola players, vibrato
can be created by moving both the arm and the hand, or just the wrist. To create
vibrato for violin and viola players, the first knuckle on the left hand will flex while the
tip of the finger is rolled back and forth on the string. For cello and bass players, vibrato
is created by moving both the arm and the hand in a straight line. The finger also rolls
on the string for cello and bass players. Vibrato can be different speeds and widths.
Vibrato can be used to make passages more musical and add warmth to the sound. It is
important to keep the arm and wrist relaxed when playing with vibrato.

 Figurative Language #1: Vibrato sounds like a spring.

 Imagine you push a spring down and let go of it. The sound it makes sounds like
“boing.” This is because the spring is bouncy and will move up and down quickly. This is
what vibrato sounds like. Vibrato makes the pitch move up and down and produces
that “boing” sound that a spring might make.

 Figurative Language #2: For violin and violas, vibrato is like trying to make your fingers do
push-ups.
 Pretend that you want your fingers to get really strong, so you are going to make them
do push-ups. Whichever finger is playing the note should flex and unflex the first
knuckle to do the push-up. This idea of finger push-ups would encourage violin and
viola players to flex their first knuckle to cause the bending of the pitch needed for
vibrato.

 Figurative Language #3: Vibrato is like a leaf blowing in the wind.

 When you look outside at the trees during fall, you see leaves falling down and getting
blown around by the wind. Imagine a leaf being blown up and down by the wind,
swirling around in the air. This idea can help students visualize what vibrato sounds
like. The note moves up and down and makes a warm, swirling sound.

#24 Pizzicato

 Definition and Description

 Definition: Pizzicato means to “pluck,” and it is typically the first sound a string player
creates. Pizzicato is achieved by pulling and releasing a string using the finger.

 Description: Pizzicato is typically taught using the right-hand index finger. The thumb of
the right hand can be placed on the corner of the fingerboard, and the index finger
should pluck the strings over the fingerboard for the best sound. The index finger
should grab the string and pull it across the fingerboard using the pad of the finger.
 Bass players often use the side of their index finger to pluck instead of the tip. Pizzicato
is typically notated in music using the word “pizz” over the notes. If the left fingers are
being used to play a note, they should stay firm on the string when performing
pizzicato to produce the best sound. Pizzicato is sometimes performed using the left
hand.

 Figurative Language #1: Pizzicato sounds like big raindrops hitting the roof.
 Imagine you’re sitting in your room during a rainy day. You hear big raindrops plopping
on your roof. These sounds are similar to the sound pizzicato makes. Pizzicato creates a
short, defined sound. A raindrop hitting the roof would make a very percussive sound.
Thinking of the sound of raindrops could help students imagine what plucking should
sound like.

 Figurative Language #2: Pizzicato is like pulling a really tight rubber band.
 Imagine your friend is holding a really tight rubber band. You reach over and pull the
rubber band with your finger. When you let go, the rubber band moves back and
makes a sound. This action is related to pizzicato because the strings are very tight.
When students pull a rubber band, they pull it to the side. This is similar to pizzicato
which pulls the string across the fingerboard to make the best sound.

 Figurative Language #3: Pizzicato sounds like bubbles popping.

 Imagine you are a little kid outside, and there are bubbles all around you. You go
around popping them, and each one makes a little popping sound. This is how pizzicato
notes should sound. The idea of bubbles popping can help students imagine playing
pizzicato because pizzicato and bubbles both create a round and percussive sound.

#25 Tuning Process

 Definition and Description

 Definition: The tuning process for string ensembles is a method of getting all of the
instruments to play a note together without any waves in the sound.

 Description: The tuning process for orchestras begins when the oboe player (or piano)
sounds an A. Violin and viola players should then play an A and adjust the pitch until it
matches the sounding pitch. Once the A is in tune, violin and viola players should tune
using double stops. These will produce perfect 5th intervals. Players should adjust
strings until there are no waves between each double stop. When the tuning A is
played, cello and bass players will use harmonics to tune. Cellos will tune the A string
and split it in half to play the harmonic A. They will then split the D string into thirds to
tune to that same A. After the D string is in tune, cellos will continue that same process
on the rest of the strings. When the tuning pitch is given, bass players will tune the D
string by splitting it into thirds to get the A harmonic, which they will match to the A
harmonic on the A string. This process would then continue for the rest of the strings.
For beginner groups, this process might be too involved. These groups could tune from
the bottom up using open strings. For example, basses would start by tuning their A
strings together. Then cellos would join, followed by violas then violins. This would be
 repeated for all the open strings. Once students are in tune, they can practice droning
their pitch by using long, slow, and soft bows.

 Figurative Language #1: Pretend you are trying to pet a kitten.

 Pretend there is a newborn kitten in front of you and you want to be really gentle with
it. When you pet it, you will just lightly touch the kitten with your finger. This is the
feeling you should have when you play a harmonic note. You should just lightly touch
the string and be very gentle.

 Figurative Language #2: Being in tune sounds like no waves.

 When you play in tune, there will be a pure sound with no waves to interrupt the
sound. When you play out of tune, you will hear lots of waves which make more
clouded sound. This idea of waves can help students understand what it feels like to be
in tune or out of tune.

 Figurative Language #3: Playing out of tune sounds like your note is scratchy.
 When you play out of tune, your notes sound like they don’t belong. Your face might
even scrunch up because the notes sound crunchy and harsh. The idea that out of tune
notes are scratchy and make faces scrunch up could encourage students to avoid
sounds like that and alter their pitch.