Httpkjos.vo.Llnwd.neto28pdf117F Excerpt.pdf

Teacher’s Edition • Book 3 117F
Terry Shade & Jeremy Woolstenhulme
STRING
With Wendy Barden
B ASICS
TM
STEPS TO SUCCESS FOR STRING ORCHESTRA
REVIEW EXCERPT
Welcome to String Basics Book 3, a Comprehensive Method for String Orchestra!
We are excited that you are back with us! String Basics Book 3 continues with a strong and sound pedagogy
that prepares students for grade 3 performance literature and beyond. Like with String Basics Books 1 and 2,
step-by-step sequences of instruction are provided and instructional strategies have been included throughout this
edition. The strategies have been divided into two primary categories: Performance and Musical Understanding.
Through those strategies, guidelines and guideposts assist to help students acquire a comprehensive experience in
orchestra.
String Basics offers learning opportunities beyond the printed books. The Neil A. Kjos Music Company is pleased
to provide an Interactive Practice Studio and Interactive Teacher Studio. In them, students and
teachers will discover fun and educational information and activities utilizing photos, paintings, maps, and flags.
Downloadable worksheets help deepen students’ understanding of music, terms, world cultures, and history. Five
video lessons designed for students and teachers offer visual and aural support for several landmark concepts
introduced throughout the book. The Interactive Practice Studio, accessible on any Windows or Mac
computer (www.kjos.com/ips), also hosts complete recorded accompaniments called “Practice Tracks” for each
line of music, along with full performances of the orchestra arrangements. Students using the Practice Tracks will
have the capability of recording their performance along with the accompaniment for playback opportunities.
Best wishes as your journey continues through String Basics!
Neil A. Kjos Music Company
String Basics is available in SmartMusic.

To subscribe, go to www.smartmusic.com.
Instrumentation
• Violin • Cello • Piano Accompaniment
• Viola • String Bass • Teacher’s Edition
ISBN-10: 0-8497-3519-X • ISBN-13: 978-0-8497- 3519-6
©2013 Kjos Music Press, Neil A. Kjos Music Company, Distributor, 4382 Jutland Drive, San Diego, California, 92117.
International copyright secured. All rights reserved. Printed in U.S.A.
This copyrighted material is the property of Kjos Music Press. Beyond personal use, it is not to be distributed,
reprinted, or reproduced in any form without the written consent of the publisher. It is exclusively available
for purposes of teaching and planning by directors until the final version of the String Basics, Book 3—
Teacher’s Edition (117F) is released.
and are trademarks of Kjos Music Press.

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The Authors
Terry Shade is a nationally recognized middle school and junior high school orchestra
specialist. She has made numerous appearances throughout the United States and abroad as
honor orchestra conductor and clinician, including serving as a technician for the 2009 Midwest
Clinic Orchestra Rehearsal Labs. In 2012 she performed at the Washington Music Educators
Association State Conference and was named WMEA - American String Teacher’s Association’s
“Outstanding Orchestra Teacher of the Year.”
Ms. Shade earned her bachelor’s degree in Music Education from Loyola University, New
Orleans. She taught middle school strings in Atlanta, Georgia (Gwinnett County), for 10 years,
and her award-winning orchestras were selected to perform at the Southern Division MENC, the
Midwest Clinic, and the Atlanta International Band and Orchestra Conference. Upon relocating to
Las Vegas, Nevada, Ms. Shade became a string educator in the Clark County School District, and
worked for six years as a project facilitator, mentoring a staff of over 80 orchestra teachers and
performing supervisory duties for the Secondary Fine Arts Department. Under Shade’s supervi-
sion, the Clark County orchestra program received national recognition and experienced signifi-
cant growth, prompting the state of Nevada to honor her with the prestigious Steve Maytan Contribution to Education Award.
Ms. Shade currently resides with her family in Issaquah, Washington, where she teaches orchestra at Pacific Cascade Middle School
and conducts the Issaquah School District Honor Orchestra.
Jeremy Woolstenhulme received his Bachelor of Music Education degree from Brigham Young University in 2000, and a Master
of Arts degree in cello performance from the University of Nevada, Las Vegas in 2005.
Mr. Woolstenhulme currently serves as the orchestra director at Hyde Park Middle School
in the Clark County School District of Las Vegas, Nevada, where he teaches around 400
students daily. His orchestra was selected to play at the 2008 Midwest Clinic, and in 2010
& 2011, at the National ASTA Conference. He has traveled with his orchestras to London,
Washington, D.C., Boston, San Diego, and New York, and in 2011, he was guest conductor
for the Queensland Honor Orchestra at Griffith University in Brisbane, Australia. Also in 2011,
Woolstenhulme received a “Teacher of the Game” award presented by University of Nevada,
Las Vegas, MGM Resorts, Channel 8 News, and the Clark County School District. In 2013, he
made a return trip to Australia where he served as clinician and conductor at the Maryborough
Music Conference and additional workshop venues throughout Australia.
Mr. Woolstenhulme is a contract member of the Las Vegas Philharmonic. He is also the cellist
for the Seasons String Quartet, and he performs as a freelance musician at many entertainment
venues in Las Vegas. He is a commissioned and published composer with a growing number of
original works for string orchestra to his credit, many of which have been performed across the United States and abroad.
Jeremy Woolstenhulme and his wife, Taryn, live in Las Vegas with their three children, Cadence Belle, Coda Blake, and Canon Thomas.
Wendy Barden recently retired from ISD 279 - Osseo Area Schools (Minnesota) where
she served first as a music educator, and then K-12 Music Coordinator, during her 36-year
tenure. Her teaching experience spans elementary through college levels in instrumental and
general music classrooms. Under her leadership, Osseo Area Schools was recognized as
one of the Best Communities for Music Education five consecutive years. She was named
a Yamaha National Mentor Teacher, MENC Nationally Registered and Certified Music
Educator, and MMEA Educator of the Year. In 2013, Dr. Barden was honored as a Yale
Distinguished Music Educator.
Dr. Barden’s extensive work in the classroom has provided the basis for several ground-
breaking publications for strings, band, choir, and general music, all published by the
Neil A. Kjos Music Company including her popular multi-book series, Maximizing Student
Performance. She is the co-author of Artistry in Strings, Recorder Apprentice, and Recorder
Excellence. She is also a contributing author of the Standard of Excellence Beginning Band
Series and author of the Standard of Excellence Music Theory and History Workbooks
Teacher’s Editions. Barden is an active clinician and has presented workshops for music educators in 33 states and Canada.
She is also the lead consultant for Segue Consulting Partners, a service providing assistance with music curriculum development,
field study workshops, professional development in music, and more.
Wendy Barden holds B.S. and M.A. degrees in music education from the University of Minnesota. Her Ph.D., also from the
University of Minnesota, is in music with emphasis in music education and musicology. She has pursued additional study in assess-
ment, arts integration, and creativity. Dr. Barden has actively served on the board of directors of Chamber Music Minnesota, and as
president of both the Minnesota Band Directors Association and Minnesota Music Educators Association.
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Acknowledgements
The authors thank…
•
•
Andy Robinson, Monica Michel, PJ Bovee, Rogelio Diaz, Tony Lizarraga, Tara Tierney, Nicole Elledge, Mary Elledge, and
David Norgren. We couldn’t have done this without you.
• Chris Callipari and the print production team at Kjos for their invaluable production assistance
• Audio engineer Dan Abernathy for his engineering expertise and creative stylings
• Photographer Marcos Rivera for his tremendous work
• Chuck Cushinery, Chuck Foley, and the Wooly Recording Orchestra for their contributions to the orchestra arrangement
recordings
• the talented Hyde Park Middle School orchestra students for modeling an exemplary performance in the photographs
• San Diego students Heidi Taylor Fleishbein and Kevin Shim for their outstanding performances in the video lessons, along
with their parents who supported them throughout the project
• Ferrari Productions for video production
• Bill Manning and Lightspeed Imaging for putting the final touches on the DVD
• Py Kolb, Cayleen Kolb, and Dustin Merrell at Pyware for their expertise with “IPS/ITS”
• the musicians who performed on the Practice Tracks: Dan Abernathy, Ryan Beard, Cathy Blickenstaff, Allison Boles, PJ Bovee,
Chuck Elledge, Diana Elledge, Natalka Kytasty, Sean Laperruque, Andy Robinson
• Perry Norton for her voiceover talents
• Nicole Elledge and Richard Morrison for their count off voice talents
• Taryn Woolstenhulme for her tireless efforts throughout the project development
• San Diego County string educators Lazlo Menzo, Ulli Reiner, and Philip Tyler for their assistance and support
• Dean Angeles and the string education department at Loyola University in New Orleans, Louisiana
• Dr. Marvin Rabin, the “grandfather” of string education
• heterogeneous orchestra technicians around the country whose time-tested and pioneering classroom techniques are
highlighted throughout String Basics. We could not have written this without you!
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Table of Contents Teacher’s Edition Student Book
Special Features in String Basics
Interactive Practice Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Interactive Teacher Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Instructional Strategies for Students
Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Musical Understanding . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Keys to Teaching Maturity of Sound . . . . . . . . . . . . . . . . . . . . . . . . . 12
Tuning Your Violin: Small Adjustments . . . . . . . . . . . . . . . . . . . . . . . 14 . . . . . . . . . 2
Tuning Your Violin: Large Adjustments . . . . . . . . . . . . . . . . . . . . . . . 15 . . . . . . . . . 3
Tuning Your Viola: Small Adjustments. . . . . . . . . . . . . . . . . . . . . . . . 16 . . . . . . . . . 2
Tuning Your Viola: Large Adjustments. . . . . . . . . . . . . . . . . . . . . . . . 17 . . . . . . . . . 3
Tuning Your Cello: Small Adjustments. . . . . . . . . . . . . . . . . . . . . . . . 18 . . . . . . . . . 2
Tuning Your Cello: Large Adjustments . . . . . . . . . . . . . . . . . . . . . . . 19 . . . . . . . . . 3
Tuning Your Bass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 . . . . . . . . . 2
Tuning Your Bass: Tuning With Harmonics . . . . . . . . . . . . . . . . . . . . . 21 . . . . . . . . . .3
Review: D & G Major, A & D Minor . . . . . . . . . . . . . . . . . . . . . . . . 22 . . . . . . . . . 4
Review: Bowing Exercises – String Crossings . . . . . . . . . . . . . . . . . . 28 . . . . . . . . . 5
Review: Finger Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 . . . . . . . . . 6
Review: Low 1st Finger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 . . . . . . . . . 7
Review: High 3rd Finger (Violin, Viola)/Forward Extension (Cello) . . . . 46 . ........ 8
Louré Bowing/Review: F # on C String (Viola, Cello) . . . . . . . . . . . . . . 52 . ........ 9
A Major/D String: G # (Violin, Viola, Cello)/G String: G # (Bass) . . . . . 58 . . . . . . . . 10
A Major/E String Note: G # (Violin, Bass) . . . . . . . . . . . . . . . . . . . . . 66 . . . . . . . . 11
Review: Sixteenth Notes/Sixteenth & Eighth Note Combinations . . . . . 73 . . . . . .12–13
Tempo: Andantino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 . . . . . . . . 14
Dotted Eighth & Sixteenth Note Combinations . . . . . . . . . . . . . . . . . 93 . . . . . .15–16
Chromatic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 . . . . . . . . 17
Shifting to 3rd Position (Violin, Viola, Cello)/Review: Shifting to G (Bass) . . 112 . . . . . . . . 18
3rd Position (Violin, Viola, Cello)/4th Position (Cello)/Shifting to High D (Bass) . 118 . . . . . . . . 19
Same Finger Shifting (Ascending and Descending) . . . . . . . . . . . . . 125 . . . . . . . . 20
Extended 3rd Position (Cello)/Shifting Higher (Bass) . . . . . . . . . . . . 134 . . . . . . . . 21
Playing in Positions: Intervals & String Crossings . . . . . . . . . . . . . . . 141 . . . . . .22–23
Natural Harmonics/Glissando to Harmonics . . . . . . . . . . . . . . . . . 155 . . . . . . . . 24
3rd Position E String Notes (Violin) . . . . . . . . . . . . . . . . . . . . . . . . . 164 . . . . . . . . 25
Shape Shifter Program Notes/Rehearsal Ideas/Musical Understanding . 172
Shape Shifter for String Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 173 . . . . . .26–27
Eighth Note Triplets/Bow Retrieval . . . . . . . . . . . . . . . . . . . . . . . . 181 . . . . . . . . 28
6
Slow 8 Time (Counting in 6) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 . . . . . . . . 29
6
Fast 8 Time (Counting in 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 . . . . . .30–31
Gigue Program Notes/Musical Understanding
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Gigue for String Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

98 12
& 8 Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 . . . . . . . . 33
3rd Position: D Minor (Violin, Viola, Cello)/High E & F Natural (Bass) . 220 . . . . . . . . 34
3rd Position: Mixed Finger Patterns (Violin) . . . . . . . . . . . . . . . . . . . 226 . . . . . . . . 35
2nd Position (Violin, Viola, Cello) . . . . . . . . . . . . . . . . . . . . . . . . . . 231 . . . . . 36 – 37
E b Major/2nd Position Ab (Cello)/½ Position Ab on G String (Bass) . . 248 . . . . . . . . 48
E b Major/3rd Position (Violin, Viola)/Extended 4th Position (Cello) . . . 257 . . . . . . . . 39
E Major/½ Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 . . . . . .40– 41
Natural, Melodic & Harmonic Minor . . . . . . . . . . . . . . . . . . . . . . . 280 . . . . . .42– 43
Grace Notes/Advanced Spiccato . . . . . . . . . . . . . . . . . . . . . . . . . 295 . . . . . .44– 45
Steps to Successful Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 . . . . . 46– 47
Glossary (Violin) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 . . . . . . . . 48
Meet the Students Featured in String Basics Book 3 . . . . . . . . . . . . . 317 . . . . . . . . IFC
Duplicable Materials Contents Listing . . . . . . . . . . . . . . . . . . . . . . . 318
Duplicable Fingering Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Duplicable Worksheets, Forms, Rubrics, Record Charts . . . . . . . . . . 322
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
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Special Features in String Basics: Interactive Practice Studio
The Interactive Practice Studio is a downloadable resource designed for students featuring Practice Tracks, video
lessons, personal audio recording opportunities, tuner and metronome tools, a simple notation software program, and
“Connections!” a special curriculum where extended learning opportunities take place.
Practice Tracks are recorded accompaniments that aid in the development of students’ sense of pulse, tonality, and
meter; improve intonation, tone quality, phrasing, ensemble skills, and understanding of various musical styles.
Each line in the student book (except for theory exercises and orchestra arrangements) is performed by a professional
violinist or cellist with an accompaniment specifically composed for that piece. Vibrato is used at times to enhance
musical and tonal quality. Tracks include two mixes. The first mix includes the student part with the accompaniment and
the second mix features the accompaniment only. The accompaniments have been recorded at a comfortable practice
tempo; not too fast, not too slow. The metronome marking matching these tempos is shown in brackets above the first
measure of the score music. To make practice as effective as possible, the IPS allows students to select two slower
tempos.
Video Lessons teach and reinforce several landmark skills and concepts introduced throughout Book 3.
Lesson 1 – Special Bowing Techniques
• Louré
• Bow Retrieval
• Advanced Spiccato
Lesson 2 – Violin and Viola Only: Introducing 3rd Position
Lesson 3 – Cello Only: Introducing 3rd and 4th Position
Lesson 4 – Harmonics
Lesson 5 – Vibrato
The Personal Studio allows students to record their own performances, and share them with teachers, family members,
and friends via email.
The Tuner/Metronome provides students with instant assess to these practice tools from their first day of playing. The
chromatic tuner has automatic pitch detection and production that allows students to visually and aurally develop their
intonation skills.
The Media Downloader is a repository of all Recorded Accompaniment and Video Lesson files that students can down-
load. Once downloaded, files may be burned to custom CDs or DVDs or uploaded to portable media devices.
Music Writer Touch, an innovative, easy-to-use music notation program, allows students to complete written exercises
and notate their own music within the IPS environment. It does not replace lessons in handwritten notation, but simply
enhances opportunities for students to learn about theory and composition.
My Files is a holding bin for students to save recordings of their own performances.
Connections! IPS. is an excellent place for students to visit to find an abundance of historical enrichments,
composer facts, maps, flags, artwork, fun trivia, and much more. Connections! IPS. is available to students and
Connections!, located in the Teacher’s Edition, provides even more information to support your lesson for the day.
Be on the lookout for ___Connections! IPS. and Connections! because you’ll never know where they will pop up!
Beyond the Interactive Practice Studio, Kjos Music suggests:

SmartMusic, a product of MakeMusic, Inc. It is an interactive assessment music software program allowing students
to receive instant feedback about their performance. This subscription-based practice tool motivates and enhances home
practice sessions. Visit www.smartmusic.com.
Visit www.kjos.com to learn more about the many publications available for beginning string classes. Listen to string
orchestra literature by some of the world’s leading string education composers.
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Special Features in String Basics: Interactive Teacher Studio
The Interactive Teacher Studio (ITS) provides a “virtual” version of this Teacher’s Edition compatible with Mac OS
operating system* software and Windows operating system* *. It offers features to aid in your teaching and is ideal for
personal and classroom use with traditional video projection or interactive whiteboard technology.
To access the ITS, visit www.kjos.com/its and download the appropriate software. Your Teacher’s Edition contains an Interactive
Teacher Studio User License that provides the code you need to log on to your ITS. You will find your ITS User License Code on the
Inside Back Cover. In the area below the disc holder, carefully tear along the perforated lines to remove the User License. You will find
your personal 16-digit code on the hidden portion of the User License Card. After registering and logging in, you will have access to
all the features and media in the students’ Interactive Practice Studio. In addition, all the forms and worksheets found in the rear
portion of the Teacher’s Edition are also provided in the ITS with exception of the ITS-Only Bonus Material Section. Hyperlinks
throughout the Teacher’s Edition provide links to printable worksheets and forms.
ITS-Only Bonus Material:

• Composition with Percussion Information & Reference Sheet
• Composition with Percussion Worksheets
• World Map
• Super Sleuth – Violin
• Super Sleuth – Viola
• Super Sleuth – Cello
• Super Sleuth – Bass
• Super Sleuth – Answer Key
• Scavenger Clue Hunt (with Answer Key)
• Certificate of Completion (for color duplication)
• Certificate of Completion (for black duplication)
• Blank Staff Paper
For technical support, you may access Help by clicking on the red question mark in the lower right hand corner of the Page Viewer
in the ITS, or you may contact interactivestudio@kjos.com with questions.
DUPLICATION (PHOTOCOPYING) INFORMATION

This Teacher’s Edition (117F) and the Interactive Teacher Studio includes pages featuring forms, worksheets, and other
special materials where duplication/photocopying is authorized for use in your classroom and by your students. Duplication/
photocopying is granted for only those pages where the following notice is printed: © 2013 Kjos Music Press. This page
authorized for duplication. Please adhere to these copyright guidelines. It’s the law and was originally designed to
protect the work of composers, authors, and copyright owners. The Neil A. Kjos Music Company is available to answer your
questions and concerns. For more information, visit www.kjos.com and click “Licensing” located on the home page.
*Mac OS is a trademark of Apple Inc., registered in the U.S. and other countries.
**Windows is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries.
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Instructional Strategies for Students
Strategies for Success – Performance
Rhythm and Pulse
Group pulse is the foundation of ensemble playing, and has been a major principle of String Basics from the very beginning of
Book 1. Group pulse remains vital to the success of orchestra classrooms at more advanced levels of learning.
As students settle in with Book 3, engage students in a group count off to help them internalize the pulse before playing. Count
one preparatory measure aloud as a class before playing the first note. Use this group count off as a normal part of your routine
and especially when new rhythms and time signatures are introduced.
In String Basics Book 3, the following rhythms and meters are introduced:
• Dotted eighth & sixteenth note combinations (student bk. p. 15)
• Eighth note triplets (student bk. p. 28)
• Slow 86 time: counting in 6 (student bk. p. 29)
6
• Fast 8 time: counting in 2 (student bk. p. 30)
9
• 8 time (student bk. p. 33)
12
• 8 time (student bk. p. 33)
Before playing an exercise, consider using some or all of these steps to focus on the new rhythm. Students will:
• Count the rhythm aloud using a counting system or syllables.
• Count and play the rhythm pizzicato on an open string.
• Add the left hand and pizzicato the exercise before using the bow.
• Count aloud and vertically air bow the exercise.
Finger Patterns
String Basics Book 3 reviews previously taught finger patterns and introduces new patterns and positions for all instruments,
including the presentation of natural harmonics. Shifting is integrated into the introduction of position work. Here is what’s new:
• Violins and Violas
3rd Position with 3-4, 2-3, and 1-2 finger patterns
2nd Position with 1-2, 3-4 finger patterns
Natural Harmonics with 4th finger
Low 3-4 finger pattern
½ Position
• Cellos
3rd Position
Extended 3rd Position
4th Position
Extended 4th Position
Low 4th Position
Natural Harmonics with 3rd finger
2nd Position
Low 2nd Position
½ Position
• Basses
Shifting to High D
Shifting to High E
Natural Harmonics with 3rd Finger
½ Position
When introducing a new finger pattern/position – or familiar pattern/position on a different string, begin with call and response
rote experiences. This allows students to concentrate on achieving accurate finger placement with good hand shape. Once
students have reasonable control of the physical skill, they are ready to move to its application in the printed music.
Additionally, have students refer to relevant photos and fingerboard diagrams shown at tops of pages and watch Video Lessons
#2 and #3 for guidance.
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Ear Training
A sense of relative pitch is fundamental to good intonation, both for instrument tuning and in music performance. By now, students
should have a good sense of the perfect fifth, especially D to A, from music and training received in Books 1 and 2. Continue to
help students develop their sense of relative pitch by using the duets where the Part B harmony is created through prominent use of
the tonic and dominant pitches. This unique and consistent strategy helps students to continue developing a sense of tonality and
pitch reference. You may apply this strategy to many exercises and warm ups by having one or more sections play the exercise and
the other sections sustain a tonic/dominant pitch.
Use of the Bow

Specific attention to various bowing concepts is highlighted throughout the book. Students will:
• Continue to work on fundamental thumb to tip bow strokes, creating a rich sound.
• Play legato and slurs, achieving a smooth and connected sound through full bow strokes.
• Play hooked and louré bowing, achieving contrasting styles through full bow strokes.
• Refine their ability to contrast dynamics with appropriate bow weight, bow placement, and bow speed.
• Play various rhythms with proper bow division and distribution, including playing near the bridge with less bow for
sixteenth/eighth note combinations.
• Use bow retrieval.
• Continue to work on spiccato at a more advanced level.
Rote Experiences – Call and Response

Call and response activities will continue to serve exceptionally well at this more advanced level of playing. Continue to introduce
new notes/finger patterns/positions, rhythms, and bowings through call and response experiences (students echo what the teacher
has played). This allows students to concentrate on achieving each skill without the added complication of reading notes on the
staff. Once students have reasonable control of the physical skill, they are ready to move to its application in printed music.
Ensemble Playing
An ensemble playing experience – a round, duet, trio, quartet, or orchestra arrangement – is part of almost every lesson.
There are six orchestra pieces or arrangements in which each instrument has its own part. Rehearse parts separately before
combining. These compositions effectively reinforce the skills and concepts students are learning and can also be effective perfor-
mance pieces for concerts.
• 48. Theme from “William Tell Overture” – Rossini
• 61. La Cumparsita – Rodríguez
• Shape Shifter – Woolstenhulme
• Gigue from Orchestral Suite No. 3 – Bach/arr. Woolstenhulme
• 165. March Slav – Tchaikovsky/arr. Woolstenhulme
• Chorale in E Minor – Bach/arr. Woolstenhulme
Nurturing the Independent Musician

As students move into String Basics Book 3, they are developing skills that will serve them well as soloists and orchestral
musicians in your classroom and beyond. Continue to guide students throughout the year since the next stepping stones in their
development are potentially big ones. They should become comfortable playing and performing in different settings and should
know how to follow a conductor with baton. Students need to know how prepare for class, rehearsals, and concerts. They should
have more advanced skills regarding their individual practicing and they should be able to reflect on their practice – what
improved and what requires more work next time.
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Strategies for Success – Musical Understanding

Musical understanding is the partner to performance skills. String Basics provides the framework and instructional resources for a
comprehensive music experience that is aligned with the standards of many states and provinces of North America. Considered
universal in scope, the voluntary National Standards for Music Education of the United States (1994) are:
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines outside the arts.
9. Understanding music in relation to history and culture.
Many standards-based activities are purposefully woven together in the String Basics curriculum to support a comprehensive musical
experience. Some of the activities are described in this Teacher’s Edition along with a particular exercise or song, and other activities
are included as a duplicable or downloadable page from the Interactive Teacher Studio. Make time to include as many activities
as possible because the more students understand about the music, the better they will be able to perform it and ultimately, the more
they will enjoy it. A sampling of activities is given below.
Read and notate

• Identify key signatures.
• Count rhythms, identify bar line placement.
• Identify intervals.
• Sight reading.
Analyze and describe

• Identify same, similar, and different measures in music.
• Compare stepwise motion versus skips.
• Compare/contrast two different lines of music.
Listen and describe (using Practice Tracks accompaniments and other resources available commercially and/or online)
• Describe different music styles.
• Identify instruments.
• Explain how the accompaniment changes on the repeat of a music line.
Compose
• Manipulate notes and/or rhythms to demonstrate musical concepts.
Ear Training
• Engage in interval training through listening exercises.
Practice and Assessment

• Reflect on personal achievement and skill development through Self-Evaluation Forms.
• Note progress with Practice Reflection Journals.
• Receive feedback on performance assessments with Test Line Rubrics and the Memorization Rubric.
Common Core State Standards for English Language Arts & Literacy in History/Social Studies,
Science, and Technical Subjects
Three activities are also included that address the (United States) 2010 Common Core State Standards:
• Students work independently to read the given short biography, then research online to confirm, expand, or contradict
information presented (see p. 152).
• Students work in partners or independently to analyze the terms and symbols in a given piece (see p. 172).
• Students work independently to research the composer and/or piece to write program notes for an upcoming concert
(see p. 208).
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11
Connections!, part of the Interactive Practice Studio (IPS), are highlighted throughout String Basics.
Connections! include a variety of information:
• Maps & Flags
• Composer biographies
• Art
• History
• Folk Song backgrounds & lyrics
• Grammar
• Interdisciplinary Fun Facts with photos & videos
Below is the Connection linked to 126. Old Joe Clark, featuring flags, a map, and facts.
117F
12
Keys to Teaching Maturity of Sound
by Terry Shade
Teaching students to perform with more maturity,
beauty of sound, and to play with an overall higher
level of musicianship are tremendous goals and
definitely worthy of achieving. Guiding your students
as solo and ensemble musicians requires various
strategies that can be implemented and reinforced on
an ongoing basis as they continue to advance on their
instruments. When students achieve more advanced
levels of musicality, they become even more motivated
to continue their musical journey and be the best
musicians they can possibly be.
1. “Do you like your tone?” Writing this simple

sentence in large letters on the board can be very
thought provoking for your students. It will open up
discussions regarding the basic quality of sound
individuals are producing and how each student can evaluate their own particular tone. Is the sound rich or thin? Is their
overall posture helping or impeding the ability to produce a beautiful tone? Is the bow slightly crooked (making the sound
unpleasant) or is it being pulled straight? Are students using controlled bow changes, or are the bow changes too rough?
When playing lyrical passages, are they using enough bow? Encourage each student to practice slow scales using long,
full and even bow strokes as a regular part of their home practice routine. If good tone quality is regularly practiced and
discussed in class, they are likely to pay more attention to it when practicing at
home.
2. It’s all about the bow! At this more advanced level of instruction, we
sometimes fall into a trap of paying too much attention to the left hand (vibrato,
shifting, etc.) and not enough time is dedicated to improving bowing skills. First
of all, please make sure that your students are “frog players,” and that they
aren’t constantly gravitating toward the upper half of the bow (this is mostly
a tendency for upper string players). A big sound comes from playing at the
frog – plain and simple. Secondly, daily emphasis on the “big three” concepts
of bowing should be a part of each lesson: 1) Bow speed, 2) bow placement,
and 3) bow weight (the “intense” bow stroke). As often as possible, remind
the class, the section, or the individual about the correct speed, placement,
and weight they should be executing at any given moment. Soon, they will
be more mindful of their own bowing and the results will be amazing! Lastly,
when teaching a new bowing technique such as bow retrieval, use plenty
of rote teaching on an open string, and plenty of repetition for proficiency.
When introducing a new piece of repertoire that contains difficult rhythms and
bowings, have the class initially learn the rhythms and bowings on an open
string taking the left hand “out of the mix.”
3. Let your students hear exemplary demonstrations of what you are describing. In class, simply stating
to your students what particular sound you would like them to achieve, such as a dynamic contrast, or a certain phrase, or
how you would like that whole note to “fade away” for example, is not enough. There is no better way to get your musical
point across than demonstrating the example on your instrument so they can hear what you are describing to them. There
are many wonderful orchestra teachers who are not professional string players. If this is the case, consider the following
options:
• Have your most advanced player demonstrate to the class.
• Have all of your first chair players demonstrate to the class.
• Play a professional recording.
• Play a video of a professional string player.
• Pick up an instrument and “give it a shot” (even if you are a tuba player). Your students will love the effort you are
making!
117F
13
4. Dynamics and phrasing. These musical concepts are best learned after the notes and rhythms are already
in place. Isolate the dynamic passage/phrase and have the students practice and repeat these areas several times
before putting them back into the piece you are working on. In addition, a demonstration of how it should sound
would be most beneficial.
5. Intonation. A mature sound and a well-trained ear go hand in hand. It is our responsibility to teach students how
to adjust the out of tune pitch by using ongoing and effective teaching practices. Continue to address fundamentals
such as correct left hand shape, finger patterns, and singing for ear training purposes. During class, be sure to stop
the entire group when out of tune playing is going on. Work quickly and efficiently to address the pitch problem. At
this level, holding out a “sour” note or chord while having students make the small finger adjustments works extremely
well. If necessary, hear individuals play to find out which students are playing in tune, and which are not. With
literature/3-4 part music, chord building also helps, starting with the root, adding the 5th, adding the 3rd, and so on.
6. Vibrato. Teaching students the process of developing a controlled vibrato is an important step
toward playing expressively with a beautiful tone quality. Students must understand that developing vibrato is a
process. A beautiful vibrato doesn’t instantly occur! Vibrato begins with finger slide exercises while evaluating the
physical aspects of the left hand, arm, shoulder. All must be relaxed in order for a healthy and beautiful vibrato to
unfold. See Vibrato Video #5 – Vibrato for more information.
7. Listen “across the orchestra.” Work consistently to teach your students how to listen to other sections while
playing their own part. Below are some sample questions you may consider, which could help develop the listening
skills of your young orchestra:
• Which section has the melody right now?
• What should you do if you don’t have the melody?
• Which section or sections have some form of accompaniment?
• Did you hear a certain section rushing the tempo?
• Why did I stop the group and what do we need to fix?
• Violins, are you listening to the lower strings at all times to help you stay together?
• Which two sections are playing in octaves right now?
• Which sections are playing the same rhythms at the beginning of the piece?
• What “role” do the lower strings have in this section?
117F
14
Student Book (Violin) page 2
117F
15
Student Book (Violin) page 3
117F
16
Student Book (Viola) page 2
117F
17
Student Book (Viola) page 3
117F
18
Student Book (Cello) page 2
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19
Student Book (Cello) page 3
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20
Student Book (Bass) page 2
117F
21
Student Book (Bass) page 3
117F
22 Review: D & G Major, A & D Minor
Student Book page 4
Steps to Success:
❏ Establish group pulse
❏ Play with good intonation and tone

Posture and Position Review
Model proper posture and proper position for each instrument at the beginning of the year. Observe and provide feedback on
proper posture and position for the first few weeks of instruction and offer ongoing review and reinforcement throughout the year.
44 time) several times

Rhythm and Pulse
Group pulse is the foundation of ensemble playing. Have all students count quarter and eighth notes aloud (in
to help them internalize the pulse before playing the exercises on their instruments.
Use of Bow
One of the objectives of this first page is for all students to have uniform bowing throughout. Before playing each exercise, discuss
with students where to place their bows—either the frog or the balance point. Also remind them of correct bow amounts and
appropriate bow distribution as they perform each exercise.
Finger Patterns
This page reviews four different key signatures, D Major, G Major, A minor, and D minor. As a precursor to playing each exer-
cise, have students play a simple one octave scale in the same key, being cognizant of mixed finger patterns.
Independent Musician
Encourage students to bring a pencil to class each day to be able to mark their music as needed. For example, marking natural
signs or flat signs above certain notes at the beginning of the year will keep mistakes to a minimum.

Musical understanding is the partner to performance skills. The String Basics Book 3 curriculum supports a comprehensive
music experience with many standards-based activities. Refer to Teacher’s Edition pages 10 -11 for more information. This chart
identifies specific activities for each music line on student book page 4. Instructions or prompts for each activity are provided
under the music line titles.
be
S ecri ribe
s
TIEI t at de
sc ns!
I V no and d de ctio
T d n e
AC d an lyze en a onn ess
a a t C s
Student Book – Page 4 Re An Lis As
1. D Major X X
2. G Major X
3. A Minor X
4. D Minor X

• Repeat and reinforce exercises until all students are able to perform them accurately and with group pulse.
117F
23
1. D Major
Read and notate. Exercises on pages 4-7 of String Basics review rhythm combinations of quarter and eighth notes. As
you work through these pages, solidify students’ understanding of the rhythms alone by assigning Unit 3 in Rhythm Basics: A
String Basics Supplement. Begin with Rhythm Basics pages 8-9 (lines 47-58). See pages TE2-TE4 and TE15 in Rhythm
Basics Teacher’s Edition for information on the various rhythm activities. As students complete the rhythm activities, take time to
review their work and provide feedback, as needed.
Analyze and describe. In partners, have students study this exercise for patterns in pitches. Where are there repeated patterns?
Where are there slight changes in the patterns? Discuss how these observations can impact their performance of this exercise.
→ Tempo featured in Practice Tracks (recorded accompaniments)
117F
24
1. D Major (continued)
117F
25
2. G Major
Analyze and describe. In partners, have students study this exercise for patterns in both rhythm and pitch. Where are there
repeated patterns? Where are there slight changes in the patterns? Discuss how these observations can impact their performance of
this exercise.
117F
26
3. A Minor
Listen and describe. In partners, have students listen to the Practice Track, and before doing so, review the tempos and defini-
tions they have learned so far (Andante, Moderato, Allegro). As they listen, ask them to consider which tempo marking would be
most fitting for this song and why.
117F
27
4. D Minor
Analyze and describe. In partners, have students study this exercise in 2-measure phrases. Discuss how these observations
can impact their performance of this exercise.
117F
28 Review: Bowing Exercises — String Crossings
Student Book page 5
Steps to Success:
❏ Hold bow correctly
❏ Play using three different bow arm levels
Use of Bow: Slurs, String Crossings and Arm Levels

The emphasis in this lesson is to concentrate on bowing, without the burden of difficult left hand notes or tricky finger patterns.
Although students have been slurring and crossing strings for some time, this review lesson is a good opportunity to reassess their
bowing skills and to begin to finesse the bow arm to a more advanced level.
For these exercises, make sure that students are doing the following:
• Performing with a correct bow hand shape and loose fingers.
• Bowing smoothly with a nice tone quality. Bow arm and bow hand should be loose at all times.
• Playing string crossings with a flexible wrist and right elbow that is moving fluidly.
• Using three different bow arm levels as they slur across the three strings.
Rote Experiences
Model string crossings (separate bows and slurs) on open A, D, and G strings only. Play simple one – or two – measure patterns in
call and response style using separate bows, two-note slurs and three-note slurs. Have students repeat each pattern you play until
bowing is fluent.
Encourage students to practice bowing exercises in front of a mirror so they can check that their arm is maintaining different levels
during string crossings.
117F
29
be
S cri ribe
e s
TIE
I t at sc ns!
de
T d n e
a a t C s
5. Open String Slurs X
6. Separate Crossings
7. Careful Bowings X
8. Three String Slur
9. The Swift Up Bow X X
10. All About the Bow X X

• Have students reflect on their own developing skills by completing the Self-Evaluation – pages 4-5. Collect their papers
and address any difficulties they identify before moving ahead.
• Summarize learning with students by discussing the objectives and photos at the top of the page.
5. Open String Slurs

Read and notate. Assign selected activities in Rhythm Basics from pages 10-12 (lines 59-82). See page TE15 in Rhythm
Basics Teacher’s Edition for information, including suggested dictation examples. Take time to review students’ work and
provide feedback, as needed.
117F
30
[Œ = 80]
# ≥ ≤ ..
Vln. & cœ œ
œ
œ œ
œ œ œ œ œ
œ
œ
œ œ œ œ
œ œ œ œ œ œ œ œ
≥ œ≤ œ œ œ œ œ œ œ œ œ
Vla. B# cœ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
? # c ≥œ œ≤ œ œ œ œ œ œ œ
Cello œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
? # c ≥œ œ≤ œ œ œ œ œ œ œ
Bass œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
G6 Ami/G D7/G G6
# ..
& c ‰ jœ œ œ ‰ j ‰ jœ œ œ ‰ j
1 2 3 2 4
œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ œ ˙
Accomp.
?# c
œ5 .
j
œ œ.
j
œ œ.
j
œ œ.
j
œ œ.
j
œ œ.
j .
œ œ œ œ œ ..
J
7. Careful Bowings
Listen and describe. Before students look at the music for this song, play the Practice Track (without the student part) and ask
them to determine the bowing style they will need to play to best match the accompaniment (ie. smooth legato strokes, bold staccato,
etc).
7. Careful Bowings
[Œ = 76] ≤
# ≥ ..
& c
0
Vln.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
≤
≥
B# cœ œ œ œ œ œ œ œ œ
œ œ œ œ
œ œ œ œ ˙ ..
0
Vla. œ
?# c ≥ ≤
œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ..
Cello
œ œ œ œ œ
≤
? # c ≥œ œ œ œ œ œ œ œ œ œ œ ˙ ..
œ œ œ œ œ
0
Bass œ œ
G D/F # Emi7 D7 G D/F # Emi7 D7 G
# w
5
˙ ‰ j œ œ w œ œ œ œ œ ˙œ œ ˙˙ ..
3
& c‰ œ œ œ œ œ ‰ œ ˙
4
œ ‰ œJ ‰ J 1
Accomp. J1 2 3 J 2
?# c jœ
1st x
j œ j œ œœ œ ..
œ. œ œ œ œ. œ œ . œ œ œ œ œ œ
3 3 2 1
(4)
1. Allison
2nd x
Print Date 2. Gary

5/31/13 3. Chuck 117F
117F
31
8. Three StringString
8. Three Slur Slur
[Swing eighths Œ = 80]
# 3≥ ≤ 1. 2.
& 4 œ œ œ œ œ .. ˙ .
œ œ œ œ œ œ œ
Vln.
≥ œ œ≤ œ œ œ .. ˙ .
Vla. B # 43 œ œ œ
œ œ
œ œ
? # 43 ≥ œ œ œ≤ œ œ
œ œ œ .. ˙ .
Cello
œ œ œ œ
≥ ≤
? # 43 œ œ œ œ œ œ
œ œ œ .. ˙ .
Bass œ œ œ
1. 2.
G D/F # C add2 G/D Emi D7 N.C. Ami7/D G
5 5 4 4
#
3 2 2
œœ œ “ œœ œ œœ œ .. Œ œœ # # œœ œœœ
2 3
& 43 Œ # œj œœ œ œj œœ œ “ œœ œ ˙˙ Œ œ œ # œj œœ
2 1
Accomp.
? # 43 .. Œ œ
˙ œ ˙ œ œ œ ˙ œ
1
4
˙
9. The Swift Up Bow
Listen and describe. Have students listen to the Mariachi-style Practice Track (without the student part). Ask them to determine
what instruments enter after the repeat [two trumpets].
Connections! IPS. Thesaurus Time: Swift.
9. The Swift Up Bow
# 3≥
[Œ = 88]
≤
& 4 œ œ œ ..
Vln.
œ œ œ œ œ œ ˙ œ
≥ œ≤ œ œ
Vla. B # 43 œ œ
œ
œ
œ
œ
˙ œ
..
?# 3 ≥ œ œ≤ œ
œ
œ œ ..
Cello 4œ œ œ ˙ œ
≥ ≤
? # 43 œ œ œ œ œ
œ œ ˙ œ ..
Bass œ œ
G D7 G C D7 G
#
5 5 3 5
& 43 Œ Œ Œ Œ ..
3 4 2 2 2
œœ œ œœ œ œ œ œ
œœ œ œœ œ œœ œ œœ œ œ œ
Accomp. >
? # 43 Œ œ Œ œ œ œ ..
œ œ œ œ œ œ
2 3 >5
❒ 1. Allison
Print Date ❒ 2. Gary
5/31/13 ❒ 3. Chuck 117F
117F
32
10. All About the Bow

Connections! IPS. Facts about bow hair.
Assess. Duplicate and distribute Self-Evaluation – pages 4-5 (Interactive Teacher Studio). Have students complete the self-eval-
uation for individual reflection. Collect their papers, and compare your observations to student responses. Address any student
concerns before moving ahead.
10. All About the Bow
[Œ = 88] ≤ ≥
# ≥ ≥ ≥œ œ≤
Vln. & 43 œ œ œ
œ
œ
œ œ œœ
œ œ œ œ
œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ ≥œ
≥ œ œ≤ ≥œ ≥ œ œ œ œ≤ œ œ
B # 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vla. œ
œ≤ ≥œ œ ≥œ œ≤ œ
?# 3 ≥ œ œ œ œ œ œ œ
≥ œ œ œ œ
œ œ œ œ œ
œ
œ œ œ
Cello 4œ
≥ ≤ ≥ ≥ ≥œ œ≤ œ œ4
? # 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1
Bass œ œ œ œ œ œ œ œ œ
G D7/G G D7 G D7/G
# 3
3 3 5 5 3
& 4Œ œ œ Œ Œ œ œ Œ Œ Œ
1 2 2 3 1
œœ œ
œ œ œœ œœ œ œ œ œœ œœ œœ œœ
Accomp.
? # 43 Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ
œ2 œ œ œ œ œ œ œ
# œ≤ ≥œ ≤ ≥ U
& œ œ œ œ œ œ œ
Vln.
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
œ œ
≤
œ ≥œ œ≤ œ œ œ œ œ œ ≥ œ œ œ U
# œ œ
rit.
B œ œ œ œ œ œ œ œ œ œ œ
Vla. œ
≤
œ ≥œ œ≤ œ œ œ œ œ ≥
œ œ œ œ œ œ œ œ œ œ U
rit.
Cello
?# œ œ œ œ œ œ œ œ
≤
œ ≥œ œ≤ ≥œ
œ œ œ œ œ œ œ œ œ œ œ Uœ
rit.
Bass
?# œ œ œ œ œ œ œ œ œ œ
rit.
G D7 G D7/G G
#
5 5
U
& Œ œœ œ Œ Œ Œ Œ œ œ Œ
2 2
œœ œ œœ œœ œ œ œ
œ œ œœ œœ œ œ œ œ œ
Urit.
Accomp.
?# Œ
œ œ œ œ œ œ Œ Œ œ Œ Œ œ œ œ ˙.
117F
Review: Finger Patterns 33
Student Book page 6
Steps to Success:
❏ Violin/Viola – Play D Major 2-3 finger pattern
❏ Violin/Viola – Play D minor 1-2 finger pattern
❏ Violin/Viola – Play G minor 1-2 finger pattern
❏ Cello – Play D Major 1-3 finger pattern
❏ Cello – Play D minor 1-2 finger pattern
❏ Cello – Play G minor 1-2 finger pattern
❏ Bass – Play D major 1-4 finger pattern
❏ Bass – Play D minor 1-2 finger pattern
❏ Bass – Play G minor with low 1st finger on B b
Finger Patterns
Students need to be aware of the various key signatures on this page. A discussion should take place prior to playing each
exercise so students recognize the appropriate finger patterns on each string.
Ear Training
To develop the students’ sense of tonality and pitch center, add the tonic pitch to create a duet for exercises 11 and 13. Divide
the class into two groups and have one group play half notes on D (tonic pitch) while the other group plays the written exercise.
Switch parts.
Rote Experiences
Begin each exercise with a rote experience that reinforces the finger patterns and key signature used. Play simple call and
response exercises based on the 5-note patterns in the melodies found on page 6.
Bass ½ Position
Chances are the basses have not played in ½ position for quite some time. Review ½ position with bass players prior to playing
15. Pat-A-Pan. Initially, they will be more successful if these exercises are played at a slower tempo. They may need reinforcement
to regain fluency in ½ position.
117F
34
be
cri ribe
IES e s
IT not nd atc
es ions
! de
V d
TI d a nd ec
t
a a t C s
11. D to A in D Major X
12. Musette X X
13. D to A in D Minor X
14. Minuet X X
15. Pat-A-Pan X X

• Ongoing feedback—to the class, small groups, and individual students—is essential for skill development. Repeat and
reinforce exercises until all students are able to demonstrate skills consistently.
• Use one of the Test Line Rubrics (A,B, or C) to provide formal written feedback as students play 14. Minuet.
• Summarize learning with students by discussing the photos at the top of the page.
11. D to A in D Major
Read and notate. Assign Rhythm Basics page 13 (lines 83-90). Take time to review students’ work and provide feedback, as
needed.
11. D to A in D Major
[Œ = 72]
## 4 ≥ 4 4 4
..
Vln. & 4œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙
# ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
B # 44 œ œ œ œ œ œ œ
4 4 4
Vla. ˙ ˙ ..
Cello
? # # 44 ≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ..
Bass
? # # 44 ≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ..
D D7 G Gmi D
5 4
2 5
#
2
˙˙ ..
3
& # 44 œœ
1
n ˙˙˙ .. œœœ ..
1
˙˙ ˙˙ b ˙˙
1
˙. œ . ˙ ˙ ˙ ˙˙˙
Accomp.
? # # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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35
12. Musette
Read and notate. You might approach Musette as a sight reading line. Before playing, have students study the music and consider
the following:
1. Study the pitches. What finger pattern do you use?
2. Study the rhythm. Silently practice any measures that could be tricky.
3. Study the other markings.
Connections! IPS. Definition of Musette. Johann Sebastian Bach (1685–1750)
German Composer
≥4
Allegro [Œ = 96] 1. 2.
#
& # c˙ .
4 4 4 4
Vln. œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ ˙
f
≥4
˙ œ œ œ œ 4˙ œ œ œ œ œ œ 4œ œ œ œ œ œ œ .. œ œ ˙
B ## c
4 4
Vla.
f
? ## c ˙≥ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ
Cello œ œ œ œ .. œ œ ˙
f
Bass
? # # c ≥˙ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ ˙
f
1. 2.
#
D N.C. A7 D
& # c ww www . ˙
œ œ œ œ œ œ œ œ œ . œ œœœ ˙˙
3
w
f
œ œ œ œ œ œ œ œ œ .. œ œ
Accomp.
? ## c œ œ œ œ
œ œ œ œ 3 1
˙
13. D to A in D Minor
Analyze and describe. In partners, have students compare 13. D to A in D Minor to 11. D to A in D Major. The exercises are the
same except for one pitch. What is the pitch that makes one exercise sound major and the other exercise sound minor?
[Œ = 72]
b 44 ≥ ..
4
Vln. & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙
4 ≥œ œ œ œ œ4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ..
Vla. Bb 4
Cello
? b 44 ≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ..
Bass
? b 44 ≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ..
Dmi Dmi(MA7) Dmi7 Dmi6 B bMA7/D A7sus Dmi
5 5
& b 44 ˙˙˙
3 4
˙ ˙ ˙ ˙ ˙˙˙ ˙˙˙ ..
1 2
# ˙˙ “ ˙˙ n ˙˙ { ˙˙ ˙
? b 44
Accomp.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
117F
36
14. Minuet TEST LINE

Connections! IPS. Formal fashion during Bach’s lifetime.
Assess. A few days before the formal assessment of this line, introduce the Test Line Rubric (Interactive Teacher Studio) you will
use to provide individual feedback to students on their performance – Test Line Rubric A, B, or C. Depending on the Rubric you
choose, either review the given criteria or lead the class to agree on the three most important skills required of the exercise and the
criteria for a satisfactory performance. Provide an exemplary model of each skill. On test day, use the Rubric to provide feedback
to each student. As needed, encourage students to use your feedback, continue practicing, and replay the exercise at a later date.
Johann Sebastian Bach (1685–1750)

≥
Moderato [Œ = 92] German Composer
b 3
4 4
Vln. & 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ
F
≥ œ œ œ œ œ œ4 œ œ œ œ œ œ
B b 43 œ œ
4
Vla.
F
? 3 ≥œ œ œ œ œ
Cello b 4
F
≥ œ œ œ œ
? 3 œ œ œ œ œ œ œ œ œ œ
Bass b 4
F
Dmi A/C # Dmi A7sus A7 Dmi
& b 43 ˙˙
5
œœ ˙˙ ˙ œ
1
œ œ ˙
Accomp. F
? 3 œ œ œ #˙ œ œ #œ nœ œ œ œ
b 4 œ œ
2 1 1
&b œ
4
Vln.
œ œ œ œ œ œ œ œ œ œ ˙.
Bb œ œ ˙.
4
Vla.
? œ œ œ œ œ œ œ œ œ œ œ ˙.
Cello b
?b œ œ œ œ œ œ œ œ œ œ
Bass œ ˙.
A7 Dmi E 7
ø A7 Dmi
&b
1 2 3 1 3
œ ˙ œ œ œ #œ nœ œ œ ˙.
˙
œ œ œ œ
?b œ œ œ œ œ œ œ
Accomp.
œ œ #˙ œ
2 3 2 1
117F
37
15. Pat-A-Pan
Listen and describe. Have students listen to the Practice Track and identify if Pat-A-Pan sounds major or minor. Together, discuss
how they determined their answer.
Connections! IPS. France map and flag. Burgundy region and the town of Autun.
French Carol
Allegro [Œ = 116]
b 4≥
&b 4
4 4
Vln.
œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ œ œ
œ œ
F
≥
B b b 44 œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ œ œ
4 4
Vla. œ
F
? b b 44 ≥ œ œ œ œ ˙
Cello
œ œ œ œ œ œ œ ˙ ˙ œ œ
F
? b b 44 ≥ œ œ œ œ ˙
4
œ œ œ œ œ
1 1
Bass
œ œ ˙ ˙ œ œ
Pos. F
N.C. Gmi D7 Gmi D7 Gmi

b
& b 44 œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ #œ œ ˙
4
œ #œ œ œ œ
2 1
Accomp. F
? b b 44 œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
>5 >
œ
> œ œ2 œ œ
5 >
b
&b
4
œ œ œ œ ˙ œ œ œ œ
Vln.
œ œ œ œ ˙ ˙ œ œ
f
B bb œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ
4
Vla.
f
? bb ˙ œ œ œ œ
Cello œ œ œ œ ˙ œ œ œ œ ˙ œ œ
f
? b 0 ˙ œ œ œ œ
œ œ œ œ
4
b œ œ ˙ œ œ
4
Bass
œ œ ˙
f
D7 Gmi D7 Gmi D7 Gmi
b ‰ œJ œ ‰ œ œ œ œ œ # œ œ
&b Œ œ œ œ œ œ œ œ œ
œ Œ œ
5 5 3 2 2
J
Accomp. f
? b œ œ œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ
œ œ >5 > œ œ
> >
1. Allison 117F
Print Date 2. Gary
3. Chuck
38
117F_015 Pat-A-Pan - p.2
15. Pat-A-Pan (continued)
b
&b
4
Vln.
œ œ œ œ œ œ œ œ œ ˙ ˙ w ˙
p
B bb œ œ œ œ œ œ œ œ œ ˙ ˙
4
Vla. w ˙
p
? b ˙
Cello b œ œ œ œ œ œ œ œ œ ˙ w ˙
p
? bb ˙
Bass œ œ œ œ œ œ œ œ œ ˙ w ˙
p
D7 Gmi D7 Gmi Cmi D 7 Gmi D7 Gmi
>
bb œ3 œ œ Œ Œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ
3 1 1
œ œ œ
4
& #œ œ œ œ œ
>
Accomp. p
? bb œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > >
❒ 1. Allison
117F 5/31/13 ❒ 3. Chuck
117F
Review: Low 1st Finger 39
Student Book page 7
Steps to Success: New! Terms & Symbols:

❏ Violin/Viola – Play open finger pattern • a tempo
❏ Violin/Viola – Play “low” 3-4 finger pattern
❏ Cello – Play open finger pattern with low 1st finger
❏ Cello – Play 1-2 finger pattern
❏ Bass – Play ½ position
❏ Identify half steps and whole steps
❏ Understand and play a tempo
❏ Identify major and minor key signatures
Open Finger Pattern – Violin and Viola

Discuss the photo and fingerboard diagram in the student book at the top of the page. On the D string, Eb – F – G – A are all
whole steps and the fingers should be evenly spaced between each note. With this new finger pattern:
• Students hold up the left hand and spread fingers so all fingers are spaced apart.
• It is imperative that the left elbow is tucked nicely under the instrument for proper left hand shape and to allow pinky to
extend properly.
Open finger pattern is a particularly challenging stretch of the left hand (especially for violists playing large instruments). First
attempts may be out of tune, however, slowly repeating these whole steps over and over will help the left hand become stronger.
Low 3-4 Finger Pattern – Violin and Viola

In 18 and 19, violins and violas play the low 3-4-finger pattern on the A string. Review the pattern before playing these exer-
cises. Students often overcompensate when playing low 4, and the pinky pushes their 3rd finger back too far. The result is poor
intonation.
Cello Left Hand
experienced in Book 3. Take time for students to silently finger the low extension Eb – F – G on the D string before playing. Note
Discuss the photo and fingerboard diagram at the top of page 7. This is the first left hand backward extension the cellos have
that exercise 18 has the potential to be played out of tune. As students prepare for E b while playing open D, have them roll the
thumb and point the 1st finger towards the location for E b . When descending to the C, have them roll the thumb back so that they
are back into a solid 1st position posture.
Rote Experiences
Introduce the low first finger patterns by rote before reading the printed page of this lesson. Play patterns beginning with low
1 (½ position bass) on the D string. Keep call and response patterns simple using notes E b , F, G and A.
117F
40
be
S ecri ribe s
TIEI t at sc ns!
de
T d n e
a a t C s
16. Open Pattern X
17. Challenger Deep X X
18. Bb to Eb in Bb Major
19. The Rakes of Mallow X X X
20. Steps to Learning Theory X

• Take time to check students’ understanding of the concepts and symbols that appear on this page, including half steps,
whole steps, and a tempo.
16. Open Pattern

Read and notate. Bring Rhythm Basics Unit 3 to conclusion with page 14. Together, discuss Composition Basics: “The End”
before students complete Composition Time.
16. Open Pattern
[Œ = 72]
4≥ ..
4
Vln. & 4 œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ ˙ ˙
4 ≥ b œ œ œ 4œ œ œ œ b œ œ œ œ œ œ œ b œ œ œ œ œ œ œ
Vla. B4œ œ œ ˙ ˙ ..
Cello
? 44 ≥œ b œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ ˙ ˙ ..
? 44 ≥œ b 1œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ ˙ ..
4 0 2
Bass ˙
ø
5
2
j j j j j j j
1
A 7/D
j j j
Dmi Dmi
4 œœœ ‰ b œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœœ œœœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ œœœ ˙˙˙ ..
& 4 ‰ œœœ œœœ ‰ œœœ ‰ œœœ ‰
œœ œ œ œ
Accomp.
? 4 j‰ j‰ ‰ j‰ j‰ j‰ ‰ j‰ j‰ j‰ ‰ j‰ œ œ ..
4 œ j œ œ j œ œ j œ œ
œ œ œ œ œ œ œ 2 œ œ œ
117F
41
17. Challenger Deep

Listen and describe. This song features two Practice track accompaniments in different styles. Have students listen to both. Do
they have a preference for one more than another? Why? After students learn about Challenger Deep and The Mariana Trench,
does one accompaniment seem to create the perfect mood for a scientific expedition down deep into the ocean’s water? How so?
Connections! IPS. The Mariana Trench.
17. Challenger Deep
Moderato [Œ = 84]
≥
Vln. & 43 bœ œ œ œ œ œ bœ œ œ œ
œ œ œ œ
F
≥ œ œ œ œ bœ œ œ
Vla. B 43 œ bœ œ
œ œ œ œ
F
? 43 ≥ bœ œ œ œ œ œ bœ œ œ œ
Cello
œ œ œ œ
F
? 43 ≥ bœ œ œ œ œ œ bœ œ œ œ
Bass
œ œ œ œ
½ Pos. F
G7 5/B B b sus A bMA7

#
Cmi(add2) F9 G7
b 3 ‰ œœj œœ œœ œœ ‰ œjœ œœ œœ œœ
3 4 5
j
& b 4 ‰ œjœ œœ œœ œœ ‰
2 3 3
œœ œœ œœ œœ
Accomp. F
? b b 43 ˙ .
(Version 1)
nœ b˙ œ b˙ nœ
Rock Ballad
1 1 2
˙
with pedal
A b7
b b
Cmi G7 9/C Cmi Cmi G7 9
. . . “ b œœ. œœ. “ œœ. œœ. œœ. œ bœ bœ #œ œ

3 b œœ œœ # œœ. œœ. œœ
4 4
“ œ5 b œ œ œ
2 2
& 4 “œ
F œ.
œ. œ. bœ œ œ bœ œ œ “œ bœ œ
Accomp.
? 3 œ œ. œ
(Version 2)
Sci-fi
4 . œ.
2 2 2 1
117F
1. Allison
Print Date 2. Gary
42
117F_017 Challenger Deep - p.2
17. Challenger Deep (continued)
bœ œ œ œ bœ œ
4 4
& œ œ œ ˙.
Vln.
œ bœ œ œ œ œ bœ
œ œ bœ œ
œ b œ œ œ bœ œ œ œ œ bœ œ œ ˙.
4
B
4
Vla.
Cello
? œ bœ œ œ
œ
œ bœ œ œ œ bœ œ œ bœ œ
œ ˙.
bœ œ
Bass
? œ bœ œ œ œ œ bœ œ œ œ œ bœ œ œ ˙.
G9 Eb Cmi Eb Fmi Cmi D7 Gmi

ø
A 7 Gmi
bb ‰ œj œ œ œ
5 5
3 4 3 4 3 32
& œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œœ œ œ œ œ
Accomp.
? bb
(Version 1)
˙ œ œ1 œ œ œ œ bœ œ #œ œ œ œ
3
2 1 2
4
1
2
œ “œ œ
3
# b
Dmi A7 5 Dmi Cmi G7 Cmi7 Fmi D7 9 D7 Gmi D7 Gmi
b œœ. œœ. œœ. œœ. œœ

œœ. œœ. # œœ. œœ. œ.
5
. “ œ. œ. # œ. œ. œ
œ œ b œ # œ œœ
4
3 1
& œ bœ œ œ œ œ
Accomp.
(Version 2)
? œ. “ œ. œ. œ. b œ. #œ œ #œ “ œ. œ.
“ œ. œ
2 2 1
5 2
❒ 1. Allison
117F
117F 5/31/13 ❒ 3. Chuck
43
18. B b to Eb in Bb Major
18. B b to E b in B b Major
Andante [Œ = 84]
b b c ≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ..
Vln. &
≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙
Vla. B bb c ..
≥
? b cœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
Cello b ˙ ˙
≥
? b c
Bass b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ..
Bb F7sus Bb E b add2 E b/F Bb F7sus Bb F7sus B b

5 5
2 3
b
1 2
& b c œœœ œœœ œœœ œœœ œœ œœ œœœ œœœ œœ œœ œœœ œœœ Œ œœœ ˙˙ ..
. . . . œ. œ. . . œ. œ. . . . ˙
Accomp.
? b c ..
b œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œ
2
œ. œ. 2
œ. œ œ œ. >
4 4 5
❒ 1. Allison
5/31/13 ❒ 3. Chuck 117F
117F
44
19. The Rakes of Mallow
Read and notate. Duplicate and distribute Rhythm Basics Teacher’s Edition pages TE17, TE18, and/or TE19 to assess
students’ understanding of quarter and eighth note rhythms. See pages TE4 and TE16 for information on these assessments.
Listen and describe. Together, view or listen to a performance of The Rakes of Mallow, and have students focus on the mood
or feeling communicated in the performance. What else do they hear that might be applied to their own performance of the theme?
Give students time to talk about their observations with a partner before sharing with the class.
Connections! IPS. Ireland map and flag. The town of Mallow. Irish Folk Song
Allegro [Œ = 124]
b ≥ œ œ œ œ
Vln. &b c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
F
≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vla.
b
Bb c
F
≥
? bb c œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Cello œ œ œ œ œ œ
F
≥
? bb c œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bass œ œ œ œ œ œ
F
Bb F7
b
4 5
&b c Œ œ Œ œ Œ Œ Œ
œœ Œ Œ Œ
2 1
œ œ œœ œœ œœ œœ œœ œœ œœ
Accomp. F
? bb c œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ
2
œ œ 1
œ œ
5
b U
œ , a tempo
≥œ
œ œ œ œ œ œ œ œ œ œ
Vln. &b œ œ œ Œ œ œ ˙
rit.
f
U ≥œ œ œ
a tempo
œ œ œ œ œ œ œ , œ œ œ œ œ œ œ ˙
Vla. B bb Œ
f
≥
a tempo
,
rit.
? bb œ U
Cello œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ ˙
f
≥
rit.
,
a tempo
? b œ U
Bass b œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ ˙
rit.
f
Bb B b7 Eb F7 Eb F7 Bb
b U
4 a tempo 4 5
&b Œ Œ Œ Œ Œ Œ
2 1 2
œœ œœ œœ œ œ œ œ œ œ
b œœ œ “œ œ œ œ œ ˙˙
Accomp. rit.
f
? b œ U
b Œ Œ œ Œ Œ ˙
œ œ œ5 œ3 œ œ œ œ 2
4
117F 1. Allison
Print Date 2. Gary
5/31/13 3. Chuck 117F
18. b btotoEEb bininBBb bMajor
18.BB Major
F ≥
? b bb cc≥ ≥œ≥ œ œœ œœ œœœ œ œœ œœ œ œ œœœœ œœœœ œœ œœ œœ œ œœ œœ œœ œœ œœ œ˙ œ ˙
19.
19. The
The Rakes
Rakes Andante
Andante
ofofofMallow
Mallow
....
Mallow 19. The Rakes Mallow Irish Folk Song Irish
Irish
Irish Folk
Folk
Folk Song
Song
Song
& b œ ≥œœ œ œ
aœtempo œ œœ œ œ œ œ ˙ œ œ ˙
45
œ œ œ œ œ œ
œ œ œœ œœœ Uœœœ ,œ œœ ≥œœ œœ œœœ œ œœ œœ œœœ œ œœ œœœ œ œ œ œ œ œœ œ œ
Allegro
Allegro
Allegro
œ œ 20. B&B b b bcbbœc toœœ Learning

œSteps œ œœ œ œ œ œTheory
& b œ œ œ Œ œ œ œ œ œ ˙
19. The
The Rakes
Rakes
Fofofcorresponding
Fand Mallow major and minor scales.
Mallow f a tempo
Read and notate. Duplicate and distribute Key Signatures I worksheet (Interactive Teacher Studio). Have students write each
19.key signature
U U ≥œ ≥œ œ œ œ
Irish
Irish Folk
IrishFolk Song
FolkSong
Song
≥œ œ, œ œ Theory œ œœ, , a tempo

rit.
œ œ œ œ œ œœœ œ œ œ œœœ œ œ œ œœœ œœœ œ˙ ˙
a tempo
Allegro a tempo
20. StepsbœtoœU œ œ
Allegro
? b b c œ œ
œ ≥œ œ
œ œ
œ U
œ œ œ ≥œ
œ œ
b c
Bb b bbtheœmajorœ œ œ œ œ œ œ œ œ Œ œŒ œ œœ œœœœ œœ˙ œœœ œ œ œ œœ œœ œœ œ ˙œœ œœ
œœ œœ below. œ œ œ œ
Learning
œ œName
B &
& œ key œ key signature
Œ forœ each
## # bb
& F
fF &
rit.
rit.
f f & &
a tempo≥
rit. rit.
U ,, ≥
a tempo
bbbelow. U
œœ ŒŒ œœ œœ œœ œ œ œ œœ œœ œ œ ˙
________ ________ ________ ________
? b the majorœœkey for eachœœkey signature œ
ng Theory
20.
20. 20. Steps
Steps
Steps toto toLearning
Learning
Learning Theory
Theory
Theory
&# #b œ
for each key signature
Name œ œ
œ œ
œ # ## œ below.
œ bœ œ œ œ 117VN ˙ b
B&B# # BB & ff BBb
& B& Bb b b
Printed 1/28/13 at 11:39 AM
rit.
rit.
________
________ ________
________ ________
________ ________
20.
20.Steps
StepstotoLearning
LearningTheory
Theory
? #### ? ## ? b
Name the major key for each key signature below.
?117VN
& bb b
117VN
117VA
117VA
& & &
Printed 1/28/13 at 11:39 AM Printed
Printed 3/22/13
3/22/13
Printed at 11:39
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at 10:55
1/28/13 at AM
AMAM
________ ________ ________ ________
Printed
Printed 4/25/13
4/25/13atat
Printed1/28/13 3:08
at11:39 PM
3:08 AM
PM 117CO
117VN
117F
46
Review: High 3rd Finger (Violin, Viola)/Forward Extension (Cello)
Student Book page 8
Steps to Success:
❏ Violin/Viola – Play 3-4 finger pattern on the G string
Cello – Play forward extension on the G string
Bass – Shift to C# and D on the G string
❏
❏
❏ Play staccato
Finger Patterns
Students need to be aware of the various key signatures on this page. Discuss the key signature prior to playing each exercise so
students prepare for the appropriate finger patterns on each string.
Rote Experiences
Begin the lesson with a rote experience that reinforces the finger patterns and key signatures you are working on. Use patterns
similar to the lines of music found on page 8.
Rhythm and Pulse

It would be beneficial to have students count aloud the rhythms on 23. Theme from “Serenade for Strings” before playing. This
tune contains eighth notes, sixteenth notes, and a combination of the two. After counting, consider playing the tune pizzicato
before arco, to further solidify the rhythm and style of this piece.
Use of Bow
Line 23 presents the staccato bow stroke for the first time in Book 3. Have the class play the first line on an open string to re-famil-
iarize themselves with the short and separate bow stroke needed (be sure to leave out any slurs when playing rhythms on the open
string).
Have students mark any sharps, extensions (x2), or bowings they may need with their pencils.
be
S cri ribe
e s
TIE
I t at sc ns!
de
T d n e
a a t C s
21. The C # Stretch – Duet X
22. Now is the Month of Maying X X
23. Theme from “Serenade for
Strings” X X
24. Coventry Carol X X X

• Summarize learning with students by discussing the objectives and photo at the top of the page.
117F
47
21. The C# Stretch – Duet

4 2 3
Read and notate. Exercises on pages 8-10 continue to review 4, 4, and 4 meters, including pick-up notes. Focus on rhythm
alone by assigning Unit 4 in Rhythm Basics. Begin with Rhythm Basics pages 16-17 (lines 91-104). See pages TE2 and
TE20 in Rhythm Basics Teacher’s Edition for information on the various rhythm activities, including suggested dictation
examples. As students complete the rhythm activities, take time to review their work and provide feedback, as needed.
21. The C# Stretch - Duet
[Œ = 84]
## 4 ≥ œ œ ˙ ˙ ..
& 4 œ œ
4
A
œ œ œ œ ˙ ˙
Vln.
## 4 ≥ ..
& 4 œ œ œ œ œ œ œ
0
œ œ ˙ œ ˙
œ œ
B
≥œ œ œ œ ˙ ˙
#
B # 44 œ œ ˙ ˙ ..
œ œ
4
A
≥ œ œ
Vla.
œ œ œ œ œ
B # # 44 œ œ œ œ ˙ œ ˙ ..
0
B
≥ œ œ œ ˙ ˙
? # # 44 œ œ œ ˙ ˙ ..
x2
A œ œ
Cello
? # # 44 ≥ œ œ œ œ ˙ œ œ œ œ œ œ ˙ ..
x2
B œ œ
≥ œ œ ˙ ˙
? # # 44 œ œ
2 4
œ œ œ ˙ ˙ ..
A œ
Bass
? # # 44 ≥ œ œ œ œ ˙ œ œ œ œ œ œ ˙ ..
B œ œ
A G/A A G/A A7 D D/A G/A A G/A A7 D

# 4 j
Œ œ œ ‰ œ ‰ œj œ œ
4 4 4 5
& # 4 Ó ‰ j ..
2 2 1 2
œœ œœ œœ ˙˙ œ. œ. œ œ œ œ œœ œœ ˙˙
. . œ œ
Accomp.
1st x . .
? # # 44 j j j j j
œ. œ ˙ œ. œ œ œ œ œ. œ œ. œ œ. œ œ˙ œ œ ..
œ. œ. ˙ œ. œ. 2 œ. œ. œ . œ. œ . œ. œ . œ. œ œ
2nd x
117F
❒ 1. Allison
48
22. Now Is the Month of Maying

Listen and describe. Together, view or listen to a performance of Now is the Month of Maying by Thomas Morley. What do
students hear that might be applied to their own performance of this melody? And, how is the performance different from the
music printed in their books? Give students time to talk about their observations with a partner before sharing with the class.
Connections! IPS. Thomas Morley and lyrics.
Thomas Morley (1559–1602)
English Composer
Allegro [Œ = 128]
# 4 ≤
Vln. & 4œ j #œ
œ œ œ œ ˙ œ œ œ. œ œ
F
≤
Vla. B # 44 œ œ œ œ œ ˙ œ œ œ. j
œ œ #œ
F
? # 44 œ≤ j #œ
œ.
x2
Cello
œ œ œ œ ˙ œ œ œ œ
F
? # 44 œ≤ j #œ
Bass
œ œ œ œ ˙ œ œ œ. œ œ
F
D G D G Emi A
# 4
5
2 2
& 4 œœ œœ ˙˙ œœ ˙˙
œ ˙ œœ œœ # œœ
Accomp. F
? # 44
œ5 ˙2 œ œ ˙ œ œ ˙ œ œ
1
4
n
#
& ˙ j Œ ..
4 4
Vln.
œ œ œ œ œ œ œ œ œ œ œf œ œ œ œ. œ ˙
p n
B# ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
j Œ ..
4 4
Vla. œ ˙
p n f
?# ˙ œ œ œ œ j Œ ..
Cello œ œ œ œ œ œ œ œ œ œ œ. œ ˙
p n f
?# ˙ œ œ œ œ j Œ ..
Bass œ œ œ œ œ œ œ œ œ œ œ. œ ˙
p f
D Ami G D G Gsus D G
#
5 5
.
3 1 1
& w j œ œ œ œ œ .
œ œ œ œ ˙ œ œ œ œ œ ˙˙ ˙
˙
œœ .
. œ ˙˙
Accomp. p f
?# j ..
˙ ˙ ˙ ˙ œ. œ ˙ ˙ œ œ œ ˙.
1
117F
1. Allison
49
23. Theme from “Serenade for Strings”

Analyze and describe. In partners, have students study this exercise in 2-measure phrases. Where are the phrases the same?
Where are there slight changes? Discuss how these observations can impact their performance of this exercise.
Connections! IPS. Tchaikovsky and his Serenade.
Peter Ilyich Tchaikovsky (1840–1893)

Allegro [Œ = 84] Russian Composer
≥
## 2 4
& 4œ œ
4 4
œ. œ. œ œ œ œ œ. œ. œ. œ. œ. œ œ œ œ œ
Vln.
. . œ.
F
≥4
#
B # 42 œ. œ. œ. œ. œ. œ. œ. œ.
4
œ œ œ œ œ œ. œ œ œ œ œ
4
.
Vla.
F
? ## 2 ≥œ. œ. œ. œ.
x2
Cello 4 œ. œ. œ œ œ œ œ. œ. œ. œ. œ œ œ œ œ
F
? ## 24 ≥œ. œ. œ. œ. œ œ œ œ œ. œ. œ. œ. œ. œ œ œ œ œ
Bass œ.
F
D/F # A/E Bmi/D A/C # D A/E Bmi/D A/C #
j j
5 5
# 2 j j j j j j
5 5 5
2 2
& # 4 œœ ‰
1 2 2
œœ ‰ œœ ‰ œœ ‰ œ ‰ œœ ‰ œœ ‰ œœ ‰
œ œ œ
Accomp. F j j
? ## 2 œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
4J J J J J J
2 3
4
## 1. 2. U
œ .. œ œ
4
Vln. & œ. œ. œ. œ. œ œ œ œ. œ. œ. œ. œ. œ. œ œ œ œ. œ. œ œ œ
4.
. œ. œ. œ. œ œ. œ. œ. œ. œ. œ . .
œ œ œ œ œ .. œ œ œ œ Uœ
Vla. B ## œ œ œ œ
? # # œ. œ. œ. œ. . . œ. œ. œ. œ. œ . . U
Cello œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ
. . . .
Bass
? # # œ. œ. œ. œ. œ œ œ œ œ œ. œ. œ. œ. œ œ œ œ œ œ .. œ œ œ œ Uœ
G/B D Emi7 G D G/B D Emi7/G A/E Emi7/G D

U
4 4
# # 1j j j j j j j j
2 2 1. 2.
j
3
œœ ‰ .. œœ ‰
1 1
& œœ ‰ œœœ ‰ œ ‰
œ œœœ ‰ œœ ‰ œœœ ‰ œ ‰
œ œ
œœœ
Accomp.
? ## j ‰ œ ‰ œ ‰ j œ ‰ U
œ J œ ‰ œ ‰ œJ ‰ J œ ‰ .. œJ ‰ œ
J J J
3
117F
1. Allison
2. Gary
50
24. Coventry Carol

Read and notate. You might approach Coventry Carol as a sight reading line. Before playing, have students study the music
and consider the following:
1. Study the pitches. What finger patterns do you use?
2. Study the meter and rhythm. What patterns do you see?
3. Study the bow markings and silently plan your bow distribution.
Listen and describe. Have students listen to the Practice Track and identify if Coventry Carol sounds major or minor. Together,
discuss how they determined their answer.
Connections! IPS. A few facts from the 16th century. English Carol
Andante [Œ = 92]
≥4
Vln. & b 43 œ œ #œ ˙ œ ˙ œ #˙.
p
≥4
Bb 4œ3 œ #œ ˙ œ ˙ œ #˙.
Vla.
p
Cello
? b 43 ≥œ œ #œ ˙ œ ˙ œ #˙.
p
? b 3 ≥œ œ #œ ˙ œ ˙ œ #˙.
Bass 4
p
Dmi Dmi7/C B 7
ø b
A7 9
5
& b 43 Œ Œ Œ Œ
3 3 1 2 3
˙ ˙ œœ œœ œ
p {œ #œ œ
Accomp.
?b 3 œ œ ˙ œ
œ œ
œ
œ œ œ œ œ
4 nœ œ œ œ
1 4 2 5
3 4 1
with pedal
≤
&b œ
4
Vln.
œ œ ˙ œ ˙. ˙ œ
P
≤
œ œ ˙ œ œ
Bb œ ˙. ˙
4
Vla.
P
?b œ œ œ ˙ œ ˙. ˙ œ≤
Cello
P
?b œ œ œ ˙ œ ˙. ˙ œ≤
Bass
P
Dmi7 C6 Dmi F
&b Œ ‰ Œ ‰ Œ Œ ‰
2 3 2 3
j j j
“œ œ œ œ œ
œ #œ œ œ œ
Accomp. P
?b œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ
2 1 1 3 5 2 1 2 1
3 4 2 3
117F
51
117F_024 Coventry Carol - p.2
24. Coventry Carol (continued)
Vln. &b ˙ œ ˙ œ ˙ œ #˙.
Vla. Bb ˙ œ ˙ œ ˙ œ #˙.
Cello
?b ˙ œ ˙ œ ˙ œ #˙.
Bass
?b ˙ œ ˙ œ ˙ œ #˙.
Gmi7 F C Dmi C Gmi7 A7

4 3 4 3
&b Œ Œ Œ
2 1 1 2
œœ œœ œœ
œœ œœ œœ # ˙˙ ..
Accomp.
?b œ ˙ œ œ œ œ œ œ #œ œ œ
œ œ œ œ œ
1 1 3
4 1 3 2 5
&b ˙
4
Vln.
œ #œ œ œ #˙. ˙.
p
Bb œ
4
#œ œ ˙ œ #˙. ˙.
Vla.
p
?b œ œ ˙ œ #˙. ˙.
Cello #œ
p
? œ #œ œ ˙ œ #˙. ˙.
Bass b
p
B bMA7 C D
&b Œ Œ ‰
2 4
˙. ˙˙ j #œ ˙.
œ œ
Accomp. p
? b ˙˙ .. Œ ˙˙ œ ˙ œ
œ ˙
1
1
4
❒ 1. Allison
❒ 2. Gary
Print Date 117F
117F 5/31/13 ❒ 3. Chuck
52
Louré Bowing/Review: F# on C String (Viola, Cello) Video Lesson #1
Student Book page 9

❏ Identify and play Louré bowing • Louré
❏ Understand Adagio • Adagio
Video Lesson #1 – Special Bowing Techniques [Length - 5:01]

In this video, Ms. Shade teaches three bowing techniques: Louré, bow retrieval, and advanced spiccato. The first portion of the
lesson (0:00-2:06) is devoted to Louré, the execution of long hooked notes. Key elements include:
• When playing Louré, there is a slight separation between notes when played on a series of down bows and up bows.
• Another word for Louré is Portato, and in String Basics, the term Louré is used.
• The notation is written with a dash placed under or over each note.
3
• Start trying Louré on an open D in 4 time, using a half note followed by a quarter note. In the demonstration, notice the
slight separation within the legato sound.
• Compare the difference between hooked bowing and Louré.
• Listen to a portion of 25. Louré - Quartet (Part A) for a sampling of Louré.
Use of Bow
In this lesson, Louré bowing style is indicated by dashes over or under the notes. Have students look for these indicators
throughout page 9.
Discuss together the difference between separating the bowings in a legato style versus separating the bowings in a staccato style
(indicated with dots). For the Louré technique, a slight separation between notes is far more challenging for students than a full
stopping of the bow (hooked bow). Begin work on an open string, using plenty of repetition and reinforcement.
Rote Experiences: Louré Technique

3
Start the lesson with call and response patterns on an open string in 4 time. Progress to patterns using a tetrachord, or including
notes found in the lines of music throughout page 9.
Ensemble Playing
Student book page 9 includes a quartet. For best success, introduce each line of the quartet before dividing the class into parts.
Encourage violas and cellos to mark sharp signs over or under the F#s on the C string, as needed.
117F
53
e
rib ibe
c
IES te es
IT nota nd d des tions
cr !
T I V d a d c
n e
a a t C s
Student Book – Page 9 Re A n Li s As
25. Louré X X X
26. Las Mañanitas X
27. Danny Boy X X

• Ongoing feedback—to the class, small groups, and individual students—is essential for skill development. Repeat
and reinforce exercises until all students are able to demonstrate skills consistently.
• Gather feedback from individual students on the new skill—louré bowing—by having them complete an Exit Slip (A,
B, or C).
Connections! [27. Danny Boy]

Usually set to the melody, Londonderry Air, this Irish folk tune has been a beloved song for generations.
Lyrics were written for Londonderry Air by Frederick Weatherly and published in 1913.
Frederick Weatherly (1848-1929) was an English lawyer, author, and lyricist. He was quite popular during
his lifetime, having written lyrics to many, many popular songs. In 1910, he wrote lyrics for a song called
Danny Boy, but it did not receive much attention as it seemed that the melody wasn’t strong enough. He
searched for another melody without luck and ultimately moved on to other song projects.
Meanwhile, his sister-in-law Margaret Weatherly emigrated from England to the United States. She and her
husband settled in Colorado and in 1913 happened upon a beautiful song being played by a group of
Irish immigrants. She asked what the song was and they said it was a song from their homeland of Ireland.
Margaret wrote it down, sent it to Frederick, and with minor alterations, his original Danny Boy lyrics fit
the melody from Londonderry Air perfectly. The song became quite popular and was instantly published in
England in 1913.
Since that time, many major artists have performed and recorded Danny Boy. Here is a small list of artists
and groups who have given this song a special voice:
Judy Garland Carly Simon
Harry Belafonte Harry Connick, Jr.
Bing Crosby The Irish Tenors
Elvis Presley Mormon Tabernacle Choir
Sarah Vaughan Celtic Thunder
Lyrics for Verses 1 and 2:
Oh, Danny boy, the pipes, the pipes are calling

From glen to glen, and down the mountain side
The summer’s gone, and all the flow’rs are dying
‘Tis you, ‘tis you must go and I must bide.
But come ye back when summer’s in the meadow

Or when the valley’s hushed and white with snow
‘Tis I’ll be here in sunshine or in shadow
Oh, Danny boy, oh, Danny boy, I love you so.
117F
54
25. Louré – Quartet

Read and notate. Assign Rhythm Basics pages 18-19 (lines 105-120). See page TE20 in Rhythm Basics Teacher’s
Edition for suggested dictation examples. Take time to review students’ work and provide feedback, as needed.
Listen and describe. This song features two Practice Track accompaniments. Have students listen to both. Do they have a
preference for one -more
25. Louré than another? Why?
Quartet
Andante [Œ = 88]
≥- -̇ œ- -̇ œ- ˙.
#
& # 43 ˙ œ-
A
F
## 3 ≥ -̇ œ- -̇ œ- œ œ œ
B & 4 ˙- œ-
Vln. F
## 3 ≥
œ
4
C & 4 œ œ œ œ œ œ œ œ ˙.
P
## 3 ≥
D & 4 œ œ œ œ œ œ œ œ œ ˙.
P
# ≥ -̇ œ- -̇ œ- ˙.
B # 43 ˙- œ-
A
F
≥
B # # 43 ˙ œ-
-̇ œ- -̇ œ- œ œ œ
B -
Vla. F
≥
C B # # 43 œ œ œ œ œ œ œ œ œ ˙.
P
# ≥
B # 43
4
D œ œ œ œ œ œ œ œ œ ˙.
P
? # # 43 ≥˙- œ-
-̇ œ- -̇ œ- ˙.
A
F
? # # 43 ≥ -̇ œ- -̇ œ- œ œ œ
B ˙- œ-
Cello F
? # # 43 ≥ œ
C œ œ œ œ œ œ œ œ ˙.
P
? # # 43 ≥ x2 4
P
? # # 43 ≥˙- œ-
-̇ œ- -̇ œ- ˙.
A
F
? # # 43 ≥ -̇ œ- -̇ œ- œ œ œ
B ˙- œ-
Bass F
? # # 43 ≥œ œ œ œ œ œ œ œ œ ˙.
C
P
? # # 43 ≥œ œ œ œ œ œ œ œ œ ˙.
D
P
[Swing eighths]
D Emi7 D7
œ œ œœ œœ œ œ
5
# 3 œœ œœ # œœ œœ œ œ œœ
4 4 4
‰ œJ ‰ # œœ œ ‰ “ œJ œ
2
& # 4 ‰ J ‰ J ‰ œ nœ
2 2 2
J J
Accomp. P
(Version 1)
? ## 3 ˙ œ œ “˙ œ œ œ
Country
4 œ ˙ œ ˙ œ
5
D Emi7 D
œœ. œœ. œœ. œœ œ. œ. . œ œœ. œœ. œœ. œœ œ. . œ. œ
4 4 4
## 3
‰ œJ œ œœ œ ‰ Jœ œœ œ œ
2 2 2
& 4 ‰ J ‰ J
Accomp. P
˙ œ œ ˙ œ œ ˙ œ ˙ œ œ
œ
(Version 2)
Funk R&B ? # # 43
117F 2 2
55
25. Louré (continued)

Assess. Duplicate and distribute one 117F_025 Louré
of the Exit Slips - Quartet
(Interactive - p.2Studio) to get feedback from individual students on how
Teacher
they are feeling about louré bowing – Exit Slip A, B, or C. In addition to your own observations, this information will help you plan
next steps for instruction and practice.
# # -̇ œ- -̇ œ- œ ˙ ˙.
A &
f p
## -̇ œ- -̇
B & œ- œ ˙ ˙.
Vln. f p
# ˙.
C & # œ œ œ œ œ œ œ œ œ
F p
## 4
D & œ œ œ œ œ œ œ œ œ ˙.
F p
-̇ œ- -̇
B ## œ- œ ˙ ˙.
A
f p
B B # # -̇ œ- -̇ œ- œ ˙ ˙.
Vla. f p
#
B # œ œ œ ˙.
C œ œ œ œ œ œ
F p
#
B # œ œ
4 4
D œ œ œ œ œ œ œ ˙.
F p
? # # -̇ œ- -̇ œ- œ ˙ ˙.
A
f p
? # # -̇ œ- œ- œ ˙
B -̇ ˙.
Cello f p
? ## œ œ œ ˙.
C œ œ œ œ œ œ
F p
? ##
F p
? # # -̇ œ- -̇ œ- œ ˙ ˙.
A
f p
? ## -̇ œ- œ ˙
B -̇ œ- ˙.
f p
Bass ˙.
2
? ## œ œ
4 4 4
C
F p
? ## œ œ œ œ œ œ œ œ œ ˙.
D
F p
Emi7 D/A A7 D
j
4
## œ œ œ œ œ œ œ
5 4 5 5 1 5
‰ Jœ œœ œœ “ œœ ‰ œ œ œœ œœ
œ œ
1 1 3 2 1
& ‰ œJ ‰ # œJ œ ‰ œ ‰ #œ œ
J J
Accomp. F œ pœ
? ## ˙ œ œ ˙ œ œ “˙ œ œ œ
(Version 1)
Emi7 D/A A D
œ. œ. œ. œ œ. œ. . œ j . .
4
œ. .
5 4 5
##
‰ œ œ œœ œ
2 1
‰ Jœ œœ œœ. œœ ‰ œœ œœ œœ œœ
1 1 3 1
& ‰ œ œ œ œ
J J .
Accomp. F p
? ## ˙ œ
(Version 2)
œ œ œ
1
˙ œ œ ˙ œ œ
5
œ
5
3 117F
56
26. Las Mañanitas

Connections! IPS. Las Mañanitas. Soundbytes in Spanish.
Mexican Folk Song
Allegro [Œ = 88]
## 3 ≥ ≤
& 4 j j j œ-
4 0
Vln.
œ- . œ- œ œ œ. œ œ œ œ. œ œ œ -̇
œ œ
f
≥ ≤ -̇ œ-
B # # 43 œ œ- . œ- œ œ œ. œ œ œ œ. œ œ œ
4
œ
0
Vla.
J J J
f
≥ ≤ j -̇ œ-
? # # 43
œ œ œ- . œ- œ œ œ. œ œ œ œ. œ œ œ
Cello
J J
f
? # # 43 ≥ ≤ j -̇ œ-
œ œ œ- . œ- œ œ œ. œ œ œ œ. œ œ œ
Bass
J J
f
A D A7 D G
#
5 5 5
& # 43 Œ Œ Œ Œ Œ
3 3 1
œœ œ œœ œœ œœ œ œ œ
Accomp. f œ œ œ œ œ œ œ œ œ œ œ œ
? # # 43 œ ˙. ˙. ˙.
œ ˙.
5 3
2
## ≤ j
& œ. œ œ œ œ œ œ œ- œ- œ ˙
œ œ
Vln.
# ≤.
œ œ- œ-
B # œ œ œ œ œ œ œ œ œ ˙
Vla. J
? # # œ≤ . œ œ œ œ œ œ œ œ œ- œ- œ ˙
Cello
J
? # # œ≤ . œ œ œ œ œ œ œ- œ- œ ˙
Bass
J œ œ
D A7 D/A G/A A7 D
#
5 4
& # Œ Œ Œ
3 1
œœ œœ œœ œœ œœ œœ œ. œ œ
œ œ œ œ .
Accomp. >œ œ œ
? ## ˙ . ˙
˙. ˙ œ
117F 1. Allison
Print Date 2. Gary
3. Chuck 117F
57
27. Danny Boy

Listen and describe. Together, view or listen to a performance of Danny Boy, and have students focus on the mood or feeling
communicated in the performance. What else do they hear that might be applied to their own performance of the theme? Give
students time to talk about their observations with a partner before sharing with the class.
Connections! Danny Boy and lyricist Frederick Weatherly (Return to page 53 in this Teacher’s Edition).
Irish Folk Song
- œ ≥ ≤
Adagio [Œ = 66]
# ≤ ≤
& # 44 œ œ œ œ- . j
œ- œ œ œ œ œ œ œ œ
œ œ- . J œ œ œ ˙ ‰
œ œ œ œ œ œ
Vln.
F f - F
-
≤ -
B # # 44 œ œ œ œ . œ- œ œ œ œ œ œ œ œ œ œ œ œ . Jœ œ œ ≥œ œ≤ ˙ ≤
‰ œ œ œ
Vla. J
F f F
? ## 4 œ≤ œ œ œ- . œ- œ œ œ œ œ œ œ œ œ œ . œ- œ œ ≥ œ≤ ˙
- ≤
Cello 4 J œ œ J œ ‰ œ œ œ
F f F
-
? ## 44 œ≤ œ œ œ- . œ- œ œ œ œ œ œ œ œ œ œ œ- . Jœ œ œ ≥œ œ≤ ˙ ≤
‰ œ œ œ
Bass
J œ
F f F
A D Emi7 N.C. Emi7 A
4
# œ œ ‰ œ œœ œ ˙˙˙
2
& # 44 œ œ œ œ ˙˙ .. Œ ∑
3 1
˙ J
F fœ œ œ F
œ œ œ œ œ œ
Accomp.
? ## 4 ‰ Œ œ œ œ œ œ œ
4 œ œ5 . J œ
œ 1
with pedal
## j ≥ ≤ ≥ U
j œ j
Vln. & œ- . œ- œ œ œ œ œ œ œ œ œ œ œ- .
œ- œ œ œ œ ˙ œ
rit.
-
B ## œ . œ- œ œ œ œ œ œ œ - œ- œ œ ≥œ œ≤ ≥˙ U
Vla. J œ œ œ œ œ. J œ
J
? # # œ- . œ- œ œ œ œ œ œ œ -. œ- œ œ ≥œ œ≤ ≥˙ U
rit.
œ œ œ œ œ J œ
Cello
J J
? # # œ- . œ
œ- œ œ œ œ œ œ
-. œ- œ œ ≥œ œ≤ ≥˙ U
rit.
œ œ œ œ œ J œ
Bass
J J
ø
rit.
D D7 Emi7 E 7 D/A A Gmi D
4 3
U
# # œ œ œ œ n ˙2 ˙ œ
1 1
‰ œ œ œ ˙ ‰ b œ œ œ œœj
3
œ œ
3
‰ œœ œ œ
1 4 3
& J J J œ
œ U
Accomp. rit.
? ## œ œ œ œ œ
œ œ œ œ bœ ˙ œ œ2 œ œj
1 3
1
117F
1. Allison
Print Date 2. Gary
58 A Major/D String: G# (Violin, Viola, Cello)/G String: G# (Bass)
Student Book page 10
Steps to Success: New Note:

Violin/Viola – Place high 3rd on G#
Cello – Place extended 4th finger on G#
❏
Bass – Place 1st finger on G#

❏
❏
❏ Understand A Major key signature
❏ Play A Major scale
New! Term & Symbol:

• A Major
A Major
Page 10 introduces A Major. Students need to be aware of the new key signature, and they should also be able to identify the
three sharps in the correct order (F#, C#, G# ).
Discuss the photos and fingerboard diagram at the top of page. Even though students are learning G #, the finger patterns and
hand positions are quite familiar and easy to transfer from previous learning.
Ear Training
As you can see, an E half note reference pitch is provided in the form of a duet for 28. Going for G # - Duet. This useful ear training
stategy will help create a pitch center in the classroom.
Additionally for this page, use A tonic pitch along with 30. A Major Scale to reinforce good intonation. Divide the class into two
groups and have one group play half notes on A while the other group plays the A Major Scale. Switch parts.
Rote Experiences: A Major/G#

Incorporate call and response patterns in A Major. Feature G# in the patterns and use ascending and descending tetrachords so
that solid intonation is achieved in this new key.
117F
59
e
rib ibe
c
IES te es
IT nota nd d des tions
cr !
T I V d a d c
n e
a a t C s
Student Book – Page 10 Re A n Li s As
28. Going for G# X
29. Let’s Take Turns X
30. A Major Scale X
31. Sicilian Hymn X
32. Bella Bimba X X

• Use the Memorization Line Rubric to provide formal written feedback as students play 30. A Major Scale.
• Summarize learning with students by discussing the photo at the top of the page.
This is the Interactive Practice Studio Connection for 32. Bella Bimba.
117F
60
28. Going for G# – Duet

Read and notate. Assign Rhythm Basics page 20 (lines 121-128). Take time to review students’ work and provide feedback,
as needed.
28. Going for G# - Duet

[Œ = 84]
44 ≥ ..
A & œ œ #œ œ #˙ ˙ #œ œ #œ œ ˙ ˙
Vln.
44 ≥ ..
B & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
≥ #˙ ˙ #œ œ #œ œ
A B 44 œ œ # œ œ ˙ ˙ ..
Vla.
≥
B B 44 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ..
? 44 ≥œ œ #x2œ œ #˙ ˙ #œ œ #œ œ ˙ ˙ ..
A
Cello
? 44 ≥˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ..
B
? 44 ≥œ œ # œ œ # 1˙ ˙ #œ œ #œ œ ˙ ˙ ..
A
Pos.
Bass
? 44 ≥ ..
B
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
E D/E E D/E A/E D/E E
3 4 5 3
4 ..
1 1 2 1
&4 œœ œœ ˙˙ œœ œœ
# œœ œœ œœ œœ œœ œœ # œœ œœ # ˙˙
Accomp.
? 44 j j j j j ..
j
œ. œ œ. œ œ. œ œ œ œ œ œ. œ œ. œ œ. œ œ œ œ
1
❒ 1. Allison
117F
❒ 2. Gary
Print Date
5/31/13 ❒ 3. Chuck 117F
61
29. Let’s Take Turns

Listen and describe. Have students listen to the Practice Track (without student part). Discuss imagery and how music can help
motivate the imagination. What comes to mind when hearing this music?
29. Let’s Take Turns
Andante [Œ = 88]
### 4 ≥
Everyone Cello/Bass Viola Violin
œ ..
4 4 4 4
Vln. & 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
≥ œ œ œ œ .
B # # # 44 œ œ œ œ œ œ œ œ œ œ œ œ
4 4 4 4
Vla. .
Cello
? # # # 44 ≥œ œ
x2
œ œ œ œ œ œ œ œ œ œ œ œ œ œ .
.
? # # # 44 ≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .
.
1 2
Bass
F # mi E7 5
# #
A A E7 D E7 D E7 D E7 D E7 D E7 5 A
# # # 4 œ2. œ. ‰ œ. . . .. . . . . j 52. . . 54. 42

3 5
‰ # œœ œœ ‰ œœ.
4
‰ “ œœ ‰ œœ ‰ œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ œœ ‰ # œœ œœ ..
1 1
& 4 œ œ œJ J J J J J . J
.. J J J
Accomp.
? ### 4 j ‰ j ‰ j j j ‰ j ‰ œj ‰ œj ‰ œj ‰ j ‰ œj ‰
4
œ. œ. œ. ‰ œ. ‰ œ. œ. . j ‰ œj ‰ œj ‰ œj ‰ œ ..
. . œ. . œ. . . .
4
❒ 1. Allison 117F
❒ 2. Gary
Print Date
62
30. A Major Scale – Memorization Line

Assess. This is a memorization line to help students develop proficiency with the finger patterns of the A Major scale. Duplicate
and distribute the Memorization Line Rubric (Interactive Teacher Studio). Discuss each element of the Rubric and model an
exemplary performance. On performance day, use the Rubric to provide written feedback to students.
30. A Major Scale - Memorization Line
### c ≥ 4
& ˙ ˙ ˙ ˙
Vln.
˙ ˙ ˙ ˙
# # ≥ ˙ ˙ ˙ ˙ ˙
B # c ˙ ˙
4
Vla. ˙
? ### c ≥ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Cello ˙
? ### c ≥ ˙ ˙ ˙
0
˙ ˙ ˙
1 ˙2
Bass ˙
A7 G7 A7 G7 A7 D7 E7 A
##
5 4 4 4
& # c Œ Œ ‰ jŒ Œ ‰ jŒ Œ Œ
2 1 1 2
œœ œœ
Accomp.
n œœ- œœ. n œœ- œœ. œ
n œ. n œœ- œœ. œ n œ œ
n œ. [ œ- œ. - . [ ˙˙
? ### c œ
œ œ n œ2 œ œ œ nœ œ œ œ œ œ œ œ1 œ
1 2
4 5 4 4
## U
Vln. & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
œ œ œ U
Vla. B ### œ œ œ œ œ œ œ œ œ œ œ ˙
U
Cello
? ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
U
? ### œ œ œ œ œ œ œ œ œ œ œ œ
Bass œ œ ˙
D7 E7 D7 A7 D7 A7 E7 A7
## U
5 5
& # Œ Œ ‰ jŒ Œ ‰ jŒ Œ Œ
2 2
n œœ œœ œ œ n œœ n # œœ œœ n œœ n # œœ œœ œ œ n ˙˙˙
- . œ- œ. . - . . - . [ œ- œ.
U
Accomp.
? ### œ œ
œ œ œ œ œ
œ œ œ œ1 œ œ ˙
4
4 4 œ
4
117F
❒ 1. Allison
❒ 2. Gary
Print Date
63
31. Sicilian Hymn

Connections! IPS. Sicily and Mt. Etna.
Traditional
Moderato [Œ = 96]
## ≥
Vln. & # 44 ˙ ˙ œ œ œ œ ˙ ˙ œ- œ- œ- œ-
F
≥ œ-
Vla. B # # # 44 ˙ ˙ œ œ œ œ ˙ ˙ œ- œ- œ-
F
? # # # 4 ≥˙ ˙ œ œ œ œ ˙ ˙ œ- œ- œ- œ-
Cello 4
F
? # # # 4 ≥˙ ˙ œ œ œ œ ˙ ˙ œ- œ- œ- œ-
Bass 4
F
A D A D A D/E A D A D A D/E
### 4 œ
5 4 5 4 5
œ5 œ œ5 œ œ œ œ œ œ œ œ œ5 œ œ
4 2 1 4
& 4 œ œ œ œ œ œ œ
F
? ### 4 w ˙. w ˙.
Accomp.
4 œ œ
### ,
Œ
4
Vln. & ˙ ˙ ˙ œ œ ˙ ˙ ˙.
# œ œ ˙ ,
B ## ˙ ˙ ˙ ˙ ˙.
4
Vla. Œ
œ ,
Cello
? ### ˙ ˙ ˙ œ ˙ ˙ ˙. Œ
œ ,
Bass
? ### ˙ ˙ ˙ œ ˙ ˙ ˙. Œ
A E/G # F # mi7 E F # mi E/B B7 E
### œ
4 5 5 1
œ
4 5 4
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
4 2
& œ œ
œ œ œ œ œ #œ œ œ œ
P
˙
Accomp.
? ## # ˙ ˙ ˙ j
˙ œ. œ œ œ œ œ œ
1 4 1
1. Allison 117F
Print Date 2. Gary

3. Chuck
64 117F_031 Sicilian Hymn - p.2
31. Sicilian Hymn (continued)
### ≥
&
4 0
Vln.
œ œ œ œ œ œ ˙ œ- œ- œ- œ- œ- œ- ˙
P F
≥
B ### œ œ œ œ œ ˙ œ- œ- œ- œ- œ- œ- ˙
œ
4 0
Vla.
P F
≥
? ### œ œ œ œ ˙ œ- œ
-
œ- œ- œ- œ- ˙
Cello œ œ
P F
≥
? ### œ œ œ œ ˙ œ- œ- œ- œ- œ- œ- ˙
Bass œ œ
P F
###
E7 A/E E7 A/E D/E A/E E/D
& ∑ ∑
Accomp.
F
? ### j j j j j
œ. œ ˙ œ. œ œ. œ œ. œ ˙ œ2 . œ œ. j
œ
### 4
Œ
& œ œ œ œ œ- œ- œ- œ- ˙
Vln.
f ˙ ˙.
# # œ4 œ œ œ œ- œ- œ-
Vla. B # œ- ˙ ˙ ˙. Œ
f
? ### œ œ œ œ œ- œ- œ- œ- Œ
Cello ˙ ˙ ˙.
f
? ### œ œ œ- œ- œ-
œ œ œ- Œ
2
Bass ˙ ˙ ˙.
f
A/C # D A/E F # mi7 Bmi7 A/E E7 A
4
###
2 3 5
œ œ œ œ œ œ œ œ œ œ œ œœœ Œ
2 4 1 1 1 3 2
& œ œ œ œ œœœ œœœ œ
œ œ œ œ œœ œ œ
Accomp. f
? ### œ. œ j Œ
j œ œ œ œ œ œ J œ. j œ. œ œ
œ. œ œ œ3 3
4
œ
❒ 1. Allison
❒ 2. Gary
Print Date
117F 5/31/13 ❒ 3. Chuck
117F
65
32. Bella Bimba

Read and notate. Duplicate and distribute instrument-specific Half Steps & Whole Steps I worksheets (Interactive Teacher
Studio). Have students label each interval as a half or whole step.
Read and notate. Duplicate 4 2 and distribute
3 Rhythm Basics Teacher’s Edition pages TE22, TE23, and/or TE24 to assess
students’ understanding of 4, 4, and 4 meters, including pick-up notes. See pages TE4 and TE21 for information on these
assessments.
Connections! IPS. Pasta.
Italian Folk Song

Allegro [Œ = 108]
### 3 ≤ ≤
.. ≥œ
1. 2.
œ œ œ œ œ œ .. œ œ œ œ ˙
4
Vln. & 4œ . œ. œ œ œ. œ. œ œ œ. œ. œ. . .
F ≥œ
≤
B # # # 43 œ
œ œ œ œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. ≤
œ. . . œ œ ˙
.. œ œ
4
Vla. ..
F ≥œ
? # # # 3 œ≤ .. œ œ œ œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ≤. .. œ. œ.
œ œ ˙
Cello 4
F ≥4
? # # # 3 œ≤ œ œ1 2œ 1œ œ . . ≤ œ œ ˙
Bass 4 .. œ œ. œ. œ œ œ. œ. œ œ œ œ œ. .. œ. œ.
F
1. 2.
##
E7 A 4 E7 5 A E7 E7 5 A
& # 43 Œ .. Œ Œ Œ Œ .. Œ
2 3 2
œœ œœ œœ œœ œœ œœ œœ œœ œœ œ ˙˙
Accomp. F . . . . . . . . . œ.
? ### 3 œ .. Œ Œ Œ Œ Œ Œ œ .
4 œ œ. œ. œ. œ. Œ œ . œ
Œ
œ. œ. œ œ
1 3 2 1 3 . . >
117F
66 A Major/E String: G# (Violin, Bass)
Steps to Success: New Note:

❏ Violin – Play high 2nd finger on G#
❏ Violin – Play upper octave A Major scale
❏ Bass – Play 4th finger on G#
Finger Patterns – Violin and Bass

Discuss the photos and fingerboard diagrams for violin and bass at the top of page 11. To play this new note G#, students will be
able to transfer previous learning quite easily. Fingering and hand position are familiar.
be
S ecri ribe s
TIEI t at de
sc ns!
T d n e
a a t C s
33. G# on E String
34. Upper Octave A Scale
35. Chester X X X
36. Gentle Mother X
37. Minuet X X

• Ongoing feedback—to the class, small groups, and individual students—is essential for skill development. Repeat
and reinforce exercises until all students are able to play fluently in the key of A Major.
• Use one of the Test Line Rubrics (A, B, or C) to provide formal written feedback as students play 35. Chester.
117F
67
33. G# on E String – New Step for Violin and Bass
33. G# on E String - New Step for Violin and Bass

≥œ
[Œ = 92]
œ #œ œ #˙ ˙ œ œ #œ œ œ œ #œ œ
Vln. & 44
≥ œ #œ œ #˙ ˙ œ œ #œ œ œ œ #œ œ
B 44 œ
4 4
Vla.
? 4 ≥œ œ #œ œ #˙ ˙ œ œ #œ œ œ œ #œ œ
Cello 4
? 44 ≥ 4
Bass
œ œ #œ œ #˙ ˙ œ œ #œ œ œ œ #œ œ
Asus/E D/E E A/E E Bmi/E E

4 5 5 5 4
3 3 2 3 2
4
1 1 1 1 1
& 4 ˙˙ # ˙˙ # ww ˙ # ˙˙ # ˙˙ # ˙˙
˙ ˙ w # ˙˙ ˙ ˙ ˙
Accomp.
?4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4
œ œ #œ #œ œ
œ #œ #œ œ œ #œ œ #œ #œ ˙
Vln. &
#œ œ œ #œ #œ œ
B œ #œ œ œ #œ œ #œ #œ ˙
4
Vla.
? œ #œ #œ œ œ #œ #œ œ œ #œ œ œ #œ #œ ˙
Cello
? œ
Bass
œ #œ #œ œ œ #œ #œ œ œ #œ œ #œ #œ ˙
Asus/E A/E E Bmi/E E
4 4
3 2
1 1
& ww œœ # œœœ # ˙˙˙

w # www w
# ww œ
Accomp.
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
❒ 1. Allison
❒ 2. Gary
Print Date
❒ 3. Chuck 117F
5/31/13 117F
68
34. Upper Octave A Major Scale – New Step for Violin

34. Upper Octave A Major Scale - New Step for Violin
### 4 ≥ œ œ œ œ œ œ ˙ ˙ ˙ ˙
Vln. & 4œ œ
# # ≥ œ œ ˙ ˙ ˙ ˙
4
B # 4œ œ œ œ œ œ
4 4
Vla.
? # # # 44 ≥ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙
Cello œ
? # # # 44 ≥ œ œ œ œ œ œ ˙ ˙ ˙ ˙
2
œ œ
1
Bass
A Bmi7 E7 F # mi7 D/F # C # mi/E D E7
### 4
5 5 4 4
& 4Œ œ Œ œ Œ Œ Œ Œ Œ œ œ œ œ œ
3 2 2 1
œ œ œ œœ œœ œœ œ œ
Accomp. œ
? # # # 44 j
œ . œj œ œ œ.
j
œ œ œ œ œ œ. œ œ.
j
œ œ. j
œ œ. œ
j
2 3
### œ œ œ œ œ œ
Vln. & œ œ ˙ ˙ ˙. Œ
# # œ œ œ œ
B # œ œ Œ
4
Vla. œ œ ˙ ˙ ˙.
? ### œ œ œ œ œ œ Œ
Cello œ œ ˙ ˙ ˙.
? ### œ œ œ œ œ œ œ ˙ Œ
Bass œ ˙ ˙.
F # mi E D MA7 A D C # mi/E E7/G # A D E7 A E7sus A 6
### œ
5
œ œœ
4
˙ œ œ œ #œ œ œœ
1
œ Œ Œ Œ Œ
3 2
& œ œ œ œ
Accomp.
? ### j Œ
œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ
4 3
❒ 1. Allison
❒ 2. Gary
Print Date
117F 5/31/13 ❒ 3. Chuck 117F
69
35. Chester TEST LINE

Listen and describe. Together, view or listen to a performance of Chester by William Billings. What do students hear that might
be applied to their own performance of this melody? And, how is the performance different from the music printed in their books?
Give students time to talk about their observations with a partner before sharing with the class.
Connections! IPS. William Billings.
William Billings (1746–1800)
American Composer
Andantino [Œ = 100]
# # # 4 ≥˙ œ œ ˙ ˙ œ œ œ œ w
Vln. & 4
F
≥ ˙ œ œ
B # # # 44 ˙ œ œ ˙ œ œ w
4
Vla.
F
Cello
? # # # 44 ≥˙ œ œ ˙ ˙ œ œ œ œ w
F
Bass
? # # # 44 ≥˙ œ œ ˙ ˙ œ œ œ œ w
F
A D
o
G# † A D A D E7 A C # mi
### 4
5 3
Œ
2 1 3
& 4œ œ
œ œ œ œœ œ˙ œ ˙œ œ œ œ œ œ œ œ œ ˙
Accomp. F
? # # # 44 œ œ ˙ œ. œ
˙ ˙. œ œ J
œ œ œ œ
5 1
2
## ˙ œ œ œ œ œ œ œ œ
Vln. & # œ œ œ ˙ ˙
P
#
B ## ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙
4
Vla.
P
? ### ˙ œ œ œ œ œ œ œ œ œ
Cello œ œ ˙ ˙
P
#
? ## ˙ œ œ œ œ œ œ œ œ
Bass œ œ œ ˙ ˙
Po
C# 7 Bmi7 E7
###
4
2 1
& œ ˙ œ
n˙ ẇ ˙ ww
œ bœ “
Accomp. P
? ### w œ œ œ
nw ˙. #œ œ
3 2 1
117F
1. Allison
70
35. Chester (continued)

Assess. A few days before the formal assessment of this line, introduce the Test Line Rubric (Interactive Teacher Studio) you will
use to provide individual feedback to students117F_035 Chester –- p.2
on their performance Test Line Rubric A, B, or C. Depending on the Rubric you
choose, either review the given criteria or lead the class to agree on the three most important skills required of the exercise and the
criteria for a satisfactory performance. Provide an exemplary model of each skill. On test day, use the Rubric to provide feedback
to each student. As needed, encourage students to use your feedback, continue practicing, and replay the exercise at a later date.
# # # ≥˙ œ œ ˙ œ œ œ œ œ œ w
Vln. &
F
# ≥ œ œ œ w4
B ## ˙ œ œ ˙ œ œ œ
4
Vla.
F
Cello
? # # # ≥˙ œ œ ˙ œ œ œ œ œ œ w
F
Bass
? # # # ≥˙ œ œ ˙ œ œ œ œ œ œ w2
F
A D MA7 Bmi E7 A/C # F # mi E7 F
###
4 5 5 5 5
2 2 1 1 1
& ˙˙ œœ œœ œ ˙˙ œœ œ nw
w ˙ œ œ w
Accomp. F
? ### œ œ ˙ ˙ ˙ ˙ œ
œ nœ œ œ nœ œ
œ nœ
1
### œ . œ œ œ
J œ œ œ œ œ œ œ œ œ
& œ w
4
Vln.
f
# œ. œ
B ## J œ œ œ œ œ œ œ œ œ œ œ œ w
4
Vla.
f
? ### œ . œ
J œ œ œ œ œ œ œ œ œ œ œ
Cello œ w
f
? ### .
œ œ œ œ
J
œ œ œ œ
œ œ œ œ œ
Bass œ w
f
F # mi D A D E7 D MA7 E7 D A
###
2
4 5 1 1
& [ ˙˙ œœ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œœ ˙ ˙˙
˙ œ ˙
Accomp. f
? ### œ j j œ ˙
[ œ3 œ œ œ2 1
œ
3
œ œ œ. œ œ . œ œ
œ 2 œ
4
117F
❒ 1. Allison
❒ 2. Gary
71
36. Gentle Mother

Connections! IPS. School in Japan.
Japanese Folk Song
Andantino [Œ = 72]
# # # 2 ≥œ œ œ œ œ œ œ
4
‰ œ œ œ œ œ œ œ œ œ œ ‰
& 4 œ œ œ œ œ.
Vln.
œ œ œ.
f
≥œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ. œ œ œ œ œ œ œ œ œ.
B # # # 42 ‰ ‰
4
Vla.
f
≥œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ
? ### 2 ‰ œ œ œ. ‰
Cello 4
f
≥2
œ œ œ œ 4œ œ œ4 œ1 œ œ œ œ. œ œ œ œ 1œ œ œ œ4 œ œ
? ### 2
2
‰ œ œ œ. ‰
4 1
Bass 4
f D Str.
F#5 C#5 F#5 D5 C#5

### 2 2 1 œ œ œ œ œ œ œj œ œ œ j
œ œ œ œ
3 5 2 5 1 2 1 2
& 4œ œ œ J ˙ œ œ J œ ˙
f œ œ œ œ œ œ œ œ œ œ
Accomp.
#
? ## 2 ˙ ˙ œ œ ˙ ˙ œ
4˙ ˙ ˙ ˙
2 1
5 2
with pedal
≤
# # # 4j
‰ œ œ œ œ œ œ œ œ œj œ- œj ˙
4 4 4
& œ œ j œ œ œ œ.
œ œ œ œ œ -
Vln.
≤
# # 4œ œ œ œ œ 4œ œ. œ œ 4œ œ œ œ œ œ œ œ- œ- ˙
4
B # œ œ œ œ ‰ J J
Vla.
J J
≤ j œ œ œ œ œ œ œ- œ- ˙
? ### œ œ œ œ œ œ œ œ. œ œ œ œ
x2 3
œ œ ‰ J J
Cello
J
? ### ≤ j œ œ œ œ. œ œ œ œ œ œ œ œ œ- œ- ˙
œ œ œ œ œ œ
2
œ œ ‰ J J
Bass
J
D5 C#5 D5 F#5 D 5 C#5 F#5
###
5
œ œ œ œ œ j
J ˙ œ
1
œ œ œ œ œ j
& J œ œ œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ
? # # # ˙˙ ˙˙ ˙˙ ˙˙
Accomp.
œ œ œ Œ œ
1 2 1
œ
4
117F
1. Allison
Print Date 2. Gary
72
37. Minuet
Analyze and describe. As a class, discuss the intervals in measures 5 and 6. Play each interval slowly to focus on intonation,
then play the Minuet again.
Connections! IPS. Alexander Reinagle.
Alexander Reinagle (1756–1809)
American Composer
Andante [Œ = 96]
### 3 ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vln. & 4œ œ œ
F
# ≥ œ œ œ œ œ
Vla. B # # 43 œ œ œ œ œ œ œ œ œ œ œ
F
? ### 3 ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ
Cello 4œ œ œ
F
? ### 3 ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bass 4œ œ œ
F
A A/C # D E7
### 3 Œ
5
1
& 4 œ œ Œ œœ œœ Œ œœ œœ Œ œœ œœ
œ œ
Accomp. F
? ### 3 ˙. ˙. ˙.
4 ˙.
### œ œ
Vln. & œ œ œ œ œ œ œ œ œ ˙. ..
œ œ
B ### œ œ œ œ œ œ œ œ œ ˙. ..
4
Vla.
? ### œ œ ..
Cello œ œ œ œ œ œ œ œ œ ˙.
? ### œ œ
œ œ œ œ œ œ œ ..
Bass œ œ ˙.
A/C # D E7 A
## œœ œœ œ œ
5
œ œ ˙˙ .. ..
& # Œ Œ Œ
2
œ œ œ œ
Accomp.
? ### œ œ œ œ œ œ ˙. œ ..
œ
1 2
117F
1. Allison
Review: Sixteenth Notes/Sixteenth & Eighth Note Combinations 73
Student Book page 12-13
Steps to Success:
❏ Play sixteenth notes
❏ Play eighth & sixteenth note combinations
❏ Play using less bow and near the bridge
Rhythm and Pulse

When you are ready to play exercises and tunes on pages 12-13, use a three-step approach to help students read and success-
fully play the various sixteenth note rhythm combinations with a steady pulse:
1. Count the rhythm aloud using previously learned syllables.
2. Play the rhythm of the exercise or tune on an open string (ignoring left hand). Divide the class into two groups and have
group one pizzicato the steady pulse as group two plays the rhythm of the line arco. Switch parts.
3. Play arco as written.
Use of Bow
When playing the exercises up to tempo, sixteenth note rhythm combinations are generally played around the middle of the bow
using small amounts of bow. Constantly check bow placements, making sure bowing stays near the bridge and does not slip
towards the fingerboard.
The bow hand should remain loose and the arm should stay relaxed. If students are playing the sixteenth notes successfully, the
upper arm should be stationary and only the lower arm (forearm) should be used.
Finger Patterns
Students need to be aware of the various key signatures on these pages. Discuss appropriate finger patterns that need to be
played based on the different key signatures.
Ensemble Playing
38. Sixteenth and Eighth Notes Reunion is a trio. For best success, introduce each line separately before dividing the class into
parts.
117F
74
be
cri ribe
IES e s
IT at es
c ns!de
ot
T IV d n and nd d ectio
a a t C s
Student Book – Pages 12-13 Re An Lis As
38. Sixteenth and Eighth Notes Reunion X
39. Rhythmic Scale in G Major
40. Sourwood Mountain X X
41. Cripple Creek X X
42. Bb Major Scale in 92 Notes! X
43. Tirra Lirra Loo X X
44. A Major Broken Thirds and Arpeggio
45. When I Was a Lad from “H.M.S. Pinafore” X X X
46. Steps to Learning Theory

• Repeat and reinforce exercises until all students are able to perform the sixteenth note combinations accurately and
with group pulse.
• Have students complete the Self-Evaluation – pages 12-13. Collect their papers and address any difficulties they
identify before moving ahead.
117F
75
38. Sixteenth and Eighth Notes Reunion – Trio

Read and notate. Exercises on pages 12-14 of String Basics review eighth and sixteenth note combinations. Focus on rhythm
alone by assigning Unit 6 in Rhythm Basics. Begin with Rhythm Basics pages 26-27 (lines 165-177). See pages TE2-TE4
and TE28 in Rhythm Basics Teacher’s Edition for information on the various rhythm activities. As students complete the
rhythm activities, take time to review their work and provide feedback, as needed.
38. Sixteenth and Eighth Notes Reunion - Trio
[Œ = 72]
## 4 ≥ œ œ œ œ œ 4œ œ œ œ
A & 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
## 4 ≥ œ œ œ ..
Vln. B & 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
## 4 ≥
& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
4
# ≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
B # 44 ..
A
# ≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
B # 44 œ œ œ œ œ œ ..
Vla. B
≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .
B # # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4
C .
? # # 44 ≥ œ œ œ œ œ œ
A œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
? # # 44 ≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Cello B
..
? # # 44 ≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
C
? # # 44 ≥
A œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
? # # 44 ≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
..
2
Bass B
? # # 44 ≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
C
Use less bow and play close to the bridge.
5
j
2
## 4 D j A j D j D j
1
G A A7
œœ ‰ œœ œœ œœ ‰ œœ ‰ œ œœœ ..
3
& 4‰ œœœ œœœ ‰ œœ ‰

œ œ œ ‰
œ œ œ œ
Accomp.
? # # 44 œ ‰ j j j j ..
J j ‰ œ ‰ œ œ ‰ œ ‰ ‰ œ œ
œ 2 œ œ
117F
❒ 1. Allison
76
39. Rhythmic
39. Scale
Rhythmic in in
Scale GGMajor
Major– Steps toto
- Steps Learning Theory
Learning Theory
# ≥
[Œ = 72] ,
& 42 œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
Vln.
œ œ œ œ œ
≥ œ œ œ œ œ ,
Vla. B # 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
,
?# 2 ≥ œ œ œ œ œ œ œ œ œ
Cello 4œ œ œ œ œ œ œ œ œ œ
,
? # 42 ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bass
œ œ œ œ œ
Write in the counts before playing.
G Dmi7 G/F C/E G/D Ami/C D G
# j j
5
j
4
& 42 Œ
1
‰ Œ ‰ Œ ‰ Œ
1
œ œœ œ œ
œ œ œ
Accomp.
? # 42
œ. œ ≈ œ œ nœ œ nœ œ œ œ. œ
≈
1
# ≥ ,
& œ œ ..
Vln. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
≥ ,
Vla. B# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
,
? # ≥œ œ œ œ œ œ œ œ œ œ œ œ ..
Cello œ œ œ œ œ œ œ
,
? # ≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
Bass œ œ œ œ œ
Bmi7 Dmi7
# j
C G Ami G G
j j ..
& Œ œœ ‰ Œ œœ ‰ Œ œœ ‰ Œ œ
œ
Accomp.
?# ..
1st x
œ. œ œ œ œ œ #œ œ œ “œ. œ ≈ œ œ nœ œ œ œ
4 1 2
œ
2nd x
❒ 1. Allison
❒ 2. Gary
Print Date
117F ❒ 3. Chuck 117F
5/31/13
77
40. Sourwood Mountain

Analyze and describe. Have students compare measures 1-4 with 5-8, and describe how the measures are the same or
different. Discuss how their observations can impact their performance of this folk song.
Connections! IPS. Mountain peaks and their names.
American Folk Song
# 2≥
Moderato [Œ = 76] ,
& 4œ œ œ œ œ œ œ œ œ
4
Vln. œ œ œ œ œ œ œ œ œ œ
F
≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ,
#
B 4 2
4
œ œ œ
Vla.
F
≥ œ ,
Cello
? # 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
F
≥ œ ,
?# 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bass 4
F
G Emi7 C D7 G Emi7 G/D D7 G
# j
5 2 3 2
j
& 42 ‰ œ ‰ j ‰ j
œœ ‰ ‰ j ‰ j ‰ j
1 1 1 1
œœ œœ œœ œœ œœ œ
œ œ
Accomp. F
?# 2 j ‰ j ‰ j ‰ j ‰ j ‰ j ‰
4œ œ œ œ œ œ
1 œ œ œ œ
# ≥ ,
& œ œ œ œ œ œ œ œ œ ..
4
Vln. œ œ œ œ œ œ œ œ œ œ
f
≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ,
B# œ œ œ ..
4
Vla.
f
≥ œ ,
Cello
?# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
f
≥ œ ,
Bass
?# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
..
f
Emi7 C Ami7 Bmi7 C Bmi7 Ami7 D7 G
# j
4 4
& ‰ œ ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ..
2 2
œœ œœ œ œœ œœ œœ œ
œ œ œ
Accomp. f
? # j ‰ œj j j j
1st x
‰ j .
œ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ œ œ œ .
1 4
3
2nd x
117F
1. Allison
2. Gary
78
41. Cripple Creek

Read and notate. Duplicate and distribute Counting Eighth and Sixteenth Combinations worksheet (Interactive Teacher Studio).
Have students write in the counting, count and clap, then play the lines on an open string.
Listen and describe. Have students listen to the Practice Track and identify if Cripple Creek sounds major or minor. Together,
discuss how they determined their answer.
American Folk Song
Allegro [Œ = 72] ≤
# # 2 ≥œ œ œ œ œ œ œ œ œ œ
Vln. & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f
≥œ œ œ œ œ œ œ œ œ œ
B # # 42 œ œ œ≤ œ œ œ œ œ œ œ œ œ œ œ
Vla.
f
≥œ œ œ œ œ œ œ œ œ œ
Cello
? # # 42 œ œ œ≤ œ œ œ œ œ œ œ œ œ œ œ
f
≥4
Bass
? # # 42 œ œ œ≤ œ œ œ œ œ œ œ œ œ œ œ
f
D G A D G A7 D D 7/A
o
## 2 j
4 5 3
& 4‰ j ‰ œj ‰ ‰ œj ‰ œj ‰ j ‰
1 1 1 3
œ œ œœ j œ #œ
œ œ œ œ œ œ
Accomp. f œ # œ
? ## 2 œ ‰ j j
4J œ ‰ œ4
‰ œ œ œ ‰
J œ5
j ‰ œ œ œ œ
3 3 2
1
≤
## œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
Vln.
œ œ œ œ œ
# œ œ œ≤ œ œ œ œ œ œ œ œ œ œ œ œ
Vla. B # œ œ œ œ œ œ
œ œ œ œ œ
? ## œ œ œ≤ œ œ œ œ œ œ œ œ œ œ œ œ
Cello œ œ œ œ œ œ
œ œ œ œ œ
? ## œ œ œ≤ œ œ œ œ œ œ œ œ œ œ œ œ
Bass œ œ œ œ œ œ
D G A D
ø
E 7/G A G D
# j j
4 4 5
& # œ ‰ œj ‰ ‰ j ‰ j ‰ j ‰
1 2 2
œ œ œœ œ œ œœ œœ
œ œ œ œ œ bœ
œ œ
Accomp.
? ## œ ‰ j j j
J œ ‰ œ
‰ œ œ œ
J
‰ œ
‰ œ œ œ
3
117F
1. Allison
2. Gary
79
117F_041 Cripple Creek - p.2
41. Cripple Creek (continued)
#
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
Vln.
p œ œ
Vla. B ## œ œ œ œ œ œ œ œ œ œ
œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
p
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Cello œ œ œ œ œ œ œ œ
p
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bass œ œ œ œ œ œ œ œ
p
D D 7
o D D 7
o D Emi D
4
# œ œ œ œ œ “œ
1
‰ # # œœ ‰ # # œœ
5 4
œ
& # ‰ ‰ ‰ ‰
1 1
œ œ œ œ œ “œ œ
p J J J J J J
Accomp.
? ## J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ ‰ œ œ
3
#
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
Vln.
f œ œ
Vla. B ## œ œ œ œ œ œ œ œ œ œ
œ œ
œ œ œ œ œ
f
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Cello œ œ œ œ œ œ œ
f
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bass œ œ œ œ œ œ œ
f
#
D G D A7 5 D G A G D
# j j
4 4 4 4 5
j j j
& # ‰ œ ‰ ‰ ‰ # œj ‰ ‰ ‰ j
1 1 1 1 2
œ œ œ œ œœ œ
Accomp. f
? ## œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
J J J J J J œ œ
4
1
❒ 1. Allison
❒ 2. Gary
Print Date
117F 5/31/13 ❒ 3. Chuck 117F
80
42. B b Major Scale in 92 Notes!

Analyze and describe. In partners, have students study this exercise for patterns in the rhythm. Discuss how these observations
can impact their performance of this exercise.
42. B b Major Scale in 92 Notes!
b 4≥
[Œ = 76]
b
& 4 œœœœœ œ œœœœœ œ œœœœœ œ
œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ œ
Vln.
≥ œœœœœ œ œœœœœ œ
Vla. B b b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? b 4≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œ œœœœœ œ œœœœœ œ

Cello b 4 œœœœœ œ
? b b 44 ≥ œœœœœ œ œœœœœ œ œœœœœ œ

Bass œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ œ
½ Pos.
Bb Cmi7 Bb Cmi7 Bb Cmi7 F7 Bb
bb 4 ‰ œ ‰ œj ‰ œ œ ‰ œ ‰ œ ‰
j j j j j œœ œ j
œ ‰ œœ œœ ‰ œœ ‰ œ ‰ œ ‰ œ œ ‰ œ ‰ œ ‰ œœ ‰ œ œ ‰ œ
œ
5
2
& 4 œ œ œœ œ œ œ œ œ
J J J J J œœ œ
Accomp.
? b b 44 . œ œ Ó œ. œ œ
œ œ œ. œ œ œÓ œÓ œ. œ œ
œ Ó
5 3
3
3
b
Vln. & b œœœ œ œœœœœ œ œœ œœœ œ œœœœœ œ œœ œœœ œ œœœœœ œ œœ œœœ œ œœ
œ œ
œœœ œ œœœœœ œ œœ œœœ œ œœœœœ œ œœ œœœ œ œœ
Vla. B bb œœœ œ œœ œœœ œ œœœ œ
? b œœœ œ œœœœœ œ œœ œœœ œ œœœœœ œ œœ œœœ œ œœœœœ œ œœ œœœ œ œœœ œ

Cello b
? b œœœ œ œœœœœ œ œœ œœœ œ œœœœœ œ œœ œœœ œ œœœœœ œ œœ œœœ œ œœœ œ

Bass b
Gmi7 F Gmi7 F Cmi7 Gmi Cmi7/F Bb
b ‰ œj ‰ œj ‰ œ œ ‰ œj ‰ œj ‰ œj ‰ œ œ ‰ œj ‰ œj ‰ œj ‰ œ œ ‰ œj ‰ œj ‰ œj Œ
4 5 5
1 2 2
& b œœ œ œ œ œ œ œ
œ œ œ œ œœ œ œœ œ œ
Accomp.
? b œ ≈ ≈
b œ. œ œ œ Ó œ. œ œ œ Ó œ. œ œ œ Ó
œ. œ 1 œ œ œ œ
1
1. Allison
117F 2. Gary
Print Date
5/31/13 3. Chuck 117F
81
43. Tirra Lirra Loo
Read and notate. You might approach Tirra Lirra Loo as a sight reading line. Before playing, have students study the music and
consider the following:
1. Study the key signature and pitches. Where are the steps and skips? What finger patterns do you use?
2. Study the rhythm. Silently practice any measures that could be tricky.
3. Study the other markings. Where will you go when you reach D.C. al Fine?
Analyze and describe. In partners, have students look at the 4-measure phrases that make up this theme, then use A and B to
represent the pattern of the phrases (ABA). Encourage students to play the dynamics as marked as one way to distinguish between
A and B phrase.
Canadian Folk Song
Moderato [Œ = 72]
b 2≥
Fine
Vln. &b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f
≥œ œ œ œ œ œ œ œ œ
B b b 42 œ œ œ œ œ œ œ œ œ œ œ
Vla.
f
? b b 42 œ œ œ œ œ œ œ œ œ œ
Cello œ
f
? b b 42 œ œ œ œ œ œ œ œ œ œ
Bass œ
f
Bb F Eb Bb Eb Bb F7 Bb
b 2 j
5 5 4 5 5 5 4
j j j j
Fine
&b 4 ‰ ‰ ‰ j
œ ‰ ‰ ‰
3 2 1 2 2 2 1
œœ œœ œ œ œ œœ
œ œ œ œ œ œ
Accomp. f
? b b 42 j ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ
œ J J J J J œ
5
D.C. al Fine
b
Vln. &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
p F
œ œ œ œ œ œ
Vla. B bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p F
? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Cello b œ œ
p F
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bass œ œ
p F
D.C. al Fine
Bb Eb Bb Eb
b
3 F7
j j
&b ‰ œ ‰ œ
1
œœ œœ œœ œ œœ œœ œœ œœ œœ œ œœ œ.
. . . . . . .
p F
? b ˙ ˙ ˙ œ œ. œ.
Accomp.
b
2 2 1
117F
82
### 4 ≥
[Œ = 72] ,
œ œ œ
4
& 4 œ œ œ œœœ œ œœœœœ œ œ œœœœœ œœœ œœœœœ

4
œ œ œ œ œœœœœ œ œœœ
Vln.
# # 4 ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œ œ œ œœœœ œ,

B # 4 œ œ œ œ œœœœ œœœ
4 4
Vla.
≥ œ œ œ œœœœœ œœœ œ œ œ œœœœ œ,

? # # # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ
Cello œ œ œ œ œœœœ œœœ
≥ œ œ œ œ œ œ œœœœ œ,
? # # # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bass œ œ œ œ œœœœœ œ œœœ œ œœ
A Bmi7/A A Bmi7/A A E7 D7 E7 D7 A
5 4
œœ œœ. œœ. n œœ œ Œ
2 4
## 4
2 2 2 3
œœœ
1 1
œœ œœ œ œ Œ œœ n œ œ œ œ Œ
1 1
& # 4 Œ œ œœ œ œ n œœ. œœ. # œœ

1
œ œ œ œ. œ. œ œ œœ. œœ. œœ
j
Accomp.
? # # # 44 œœœ œ ˙ ˙ œ. œ. œ
w w
3
### ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ U
& œœ œ œœ œ œ œœœœ
œ œ œ œ œœœ œœœ œ œœœ
Vln.
# # ≥ œ œ œœœœ œ œœœ œœ œ œ œ œ œ œ œ œ œ œ
U
B # œ œ œœœœ œ œœœ œœ œ œ œ œ œ œ œœœ
4
Vla. œ
? ### ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
U
œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ
Cello œœ œ œœ œ œ œ
? ### ≥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
U
Bass œœ œ œœ œ œ œ œ œœœ œ
A7
œœ. œœ. œœœ
D A D
œœ U
##
& # Œ œ œ œ Œ Œ
2 4
œœ œœ œœ œœœ œ n œ ˙˙˙
œ œ. œ. w
Accomp.
? ### w . . U
w Œ œ œ nœ œ œ ˙.
3 2
1 1
œ
❒ 1. Allison
❒ 2. Gary
117F Print Date
5/31/13 ❒ 3. Chuck 117F
83
45. When I Was a Lad from “H.M.S. Pinafore”

Listen and describe. Together, view or listen to a performance of When I Was a Lad from “H.M.S. Pinafore” by Sir Arthur
Sullivan (and lyrics by W.S. Gilbert). This comic opera is light-hearted and silly at times. Is humor evident in the performance you
view or listen to? If so, in what ways does it show? What do students hear that might be applied to their own performance of this
melody? Give students time to talk about their observations with a partner before sharing with the class.
Connections! IPS. Comic opera, Gilbert and Sullivan.
Sir Arthur Sullivan (1843–1900)
English Composer
Allegro [Œ = 80]
# # # 2 ≤j 4 4
Vln. & 4 œ œ. œ œ œ. œ. œ œ
. . œ. œ. œ. œ. œ œ œ œ œ. œ œ. œ. œ. œ. œ œ œ œ œ. œ. œ. œ.
. .
f
# # 2 œ≤. œ4. œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ. œ.
4. .
œ. œ. œ œ œ œ œ œ œ. œ. œ. œ.
Vla. B # 4J
f
. œ œ œ. œ. œ. œ. œ. œ. x2œ. œ. œ œ œ œ œ. 1œ. œ. œ. œ. œ. œ œ œ œ œ. œ. œ. œ.
? # # # 2 œ≤. œ
Cello 4J
f
. œ œ œ. œ. œ1. œ. œ. œ. œ. œ. œ œ œ œ œ. œ. œ. œ. œ. œ. œ œ œ œ œ. œ. œ. œ.
? # # # 2 œ≤. œ
Bass 4J
f
E7 A A 7
o E7/A A Ami
### 2 j ‰
5 4 5 5
j ‰ j ‰ j‰ j ‰ j‰ j ‰ j‰ j ‰ j‰ j ‰ j‰ j
2 1 3 2
& 4œ
œ. œ
œ.
œ
œ.
œ œ
œ. œ. # # œœ. œœ
.
“œ
œ.
œ
œ. œ
œ.
œ
œ.
nœ œ
œ. œ.
Accomp. f
? ### 2 ‰ j ‰ j ‰ j ‰ j ‰ j‰ j ‰ j‰ j‰ j‰ j ‰ j‰ j‰
4
œ œ œ œ œ œ œ œ œ œ œ œ
5
### œ. œ. œ j
& œ. œ. œ œ œ œ œ. œ œ œ œ
4 4 4
Vln. . œ. œ. œ œ œ œ
œ œœœ œ œ œ
œ . . .œ
. . . . . . >
. œ. œ œ œ œ œ. œ. œ. œ. œ. œ. œ. . 4. 4. .
#
B # # œ œ œ œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ̆J
4
Vla.
œ œ. œ. œ. . œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ. œ. œ̆J
Cello
? # # # œ. œ. œ œ œ œ. œ. œ. œ. œ
œ x2 œ. œ. œ. . œ. œ. œ. œ. œ œ 1œ œ œ œ œ œ œ. œ. œ̆J
? # # # œ. œ. œ œ œ œ. œ. œ. œ. œ
1 4 x2
Bass
B7 E A D E7 A
### ‰ j ‰ j
5 5 5
‰ œj ‰ œj
2 2 2
& # œœ œœ œ. œ. œœ œœ œœ œ œ œ œ œ œ œ œœ œœ
œ. œ. . . œœ œ œj
Accomp.
. . . . . œ. œ. œ. œ. œ. . . fl
? ### j ‰ j ‰ j‰ j‰ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ œj œj
œ œ œ œ . . . 5
. fl
117F
. . . .
f
###
84
œ œ œ .
œ . j
œ
4 4 4
46.& œ. Learning
œ. œ œ. œ œ œ œ œ œ
. œ. . œ. œ. œ. œ œ œ œ œ . . >.œ œ œ œ œ
Steps to Theory
. . .
Assess. Duplicate and distribute Self-Evaluation – pages 12-13 (Interactive Teacher Studio). Have students complete the self-
evaluation for individual reflection. Collect their papers, and compare your observations to student responses. Address any student
concerns before moving ahead.
46. Steps to Learning Theory
3
4œ œ œ œ œ
Complete each measure using these notes: qttt qtr qrt. Check the time signature. Write in the counting and perform
your new rhythm line on open D.
117F
Tempo: Andantino 85

❏ Understand Andantino • Andantino
• Simile
Use of Bow
Before playing the orchestra arrangement, be sure to point out various bow lifts, hooked bowings and staccato articulations.
Ensemble Playing
48. Theme from William Tell Overture is an orchestra arrangement. It includes rhythms recently introduced. In general, this
arrangement should be played in the lower half of the bow, and lift bows need to be executed quickly. Each instrument part is
independent. Rehearse parts separately before combining.
e
rib ibe c
IES at
e cr
IT not nd d des tions
es !
T I V d a d c
n e
a a ist C s
Student Book – Page 14 R e A n L As
47. Dance X X
48. Theme from William Tell X X X X
Overture

• Have students reflect on their own progress and developing fluency by completing a Practice-Reflection Journal (A, B,
or C).
117F
86
47. Dance – Duet

Analyze and describe. In partners, have students study this melody in 2-measure phrases. Where are the phrases the same?
Where are there slight changes? Discuss how these observations can impact their performance of this exercise.
Connections! IPS. Türk.
Daniel Gottlob Türk (1750–1813)

Andantino [Œ = 69]
# 4 ≥ œœ
German Composer
& 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ
A
œ J
F f p
# 4≥
Vln.
& 4˙ œ œ œ œ. ‰
B ˙ œ œ œœœœœ œ ˙ ˙
F f p
≥œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ
#
B 4 4 œ J
A
F f p
≥
Vla.
B # 44 ˙ ˙ œ œ œœœœœ œ ˙ ˙ œ œ œ œ. ‰
B
F f p
≥ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
? # 44 œ œ œ œ j
A œ
Cello F f p
? # 44 ≥˙ ˙ œ œ œœœœœ œ ˙ ˙ œ œ œ œ. ‰
B
F f p
≥
? # 4 œœ œœ j
A 4 œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ
Bass F f p
? # 44 ≥˙ ˙ œ œ œœœœœ œ ˙ ˙ œ œ œ œ. ‰
B
F f p
G D/F # Emi7 A D7 G D/F # G D7 G

3
# 4 j
5 4
œœ œ œ œ œ œ œ œ œ œ œ
2 2 1
& 4˙ ˙˙ œœ œ œœ . œœ ˙ ˙˙
˙ #œ . ˙
Accomp. F f p
? # 44 œ œ œ œ œ œ œ
œ3 œ œ œ œ œ œ œ œ4 œ ˙5
1 4 3 4
œ œ œ 3 4
117F
1. Allison
2. Gary
87
47. Dance – Duet (continued)
117F_047 Dance - Duet - p.2
# œ œ œœœœœ œ œ œ
& œ œ œ œ œ œ œ œ œ œœœ œœœ œ œ œœ œ œœœ œœ˙
4
A
Vln. P rit.
#
B & œœœœœ œ œ œ œ œœ œ œ œ œ œœœœœ œ ˙ ˙ œ œ œ œ œœœ
P
œ œ
œ œ œ œœœ œ œ œœ œœœ œ œ œ œ œœœ œœœ œ œ œœ œ œœœ œœ˙
rit.
B #
A
P
Vla.
œ œ œ œ œœ œ œ œ œ œ œ ˙
B # œœœœœ œ œ œ œ œ œ œ œ œœœ
rit.
˙
B
P rit.
?# œ œœœ œœœ œ œ œœ œ œœœ œœ˙

œœ
A œ œ œ œœœ œ œ œœ œœœ œ œ œ
P
œ œ
? # œœœœœ œ œ œ œ œœ œ œ œ œ œœœ œ ˙
Cello rit.
˙ œ œ œ œ œœœ
B
P rit.
?# œœ
A œ œ œ œœœ œ œ œœ œœœ œ œ œ
œ œœœ œœœ œ œ œœ œ œœœ œœ˙
P
Bass
? # œœœœœ œ œ œ œ œ œœ œ ˙
rit.
˙ œ œ œ œ œœœ
2 4 4 1 4
B
P rit.
D7 G C Ami7 D7 G D/F # G D7 G
3
# œ3 œ œ œ œ 3 œ œ œ 2
2 3
œœ œ œ œœ˙ ˙˙ œ
1
& œ œ ˙˙ œ œœœ œœœœœœ

˙ œ P
Accomp.
œ œ œ œœœ œ œ
rit.
?# œ œ œœ œ œœ œ œ
2 3 1
œ œ œ
1 2 1
2
117F
❒ 1. Allison
❒ 2. Gary
88
48. Theme from “William Tell Overture” – Orchestra Arrangement

Analyze and describe. In partners, have students talk about how they will play this piece from beginning to end, given the
D.S. al Fine. Check their understanding as a full class.
Listen and describe. Together, view or listen to a performance of the finale of William Tell Overture. What do students hear
that might be applied to their own performance of this melody? Give students time to talk about their observations with a partner
before sharing with the class.
Assess. Duplicate and distribute one of the Practice-Reflection Journals (Interactive Teacher Studio) to help students reflect on their
work in rehearsals and individual practice – Practice-Reflection Journal A, B, or C.
Connections! IPS. The story of William Tell.
From Interactive Practice Studio:
117F
89
48. Theme from “William Tell Overture” – Orchestra Arrangement
Gioacchino Rossini (1792–1868)

Italian Composer
,
Allegro [Œ = 80–84]
# 2 ≥œ , .
œ ≥œ œ≤ œ œ ≥œ œ≤ œ. œ. œ œ œ. œ. œ. œ
5
& 4 œ. œ. œ œ.
. . .
Vln.
f ,≥ ≤
≥
Vla. B # 42 ∑ ∑ ∑ ∑ œ œ œ œ
f
≥œ œ , ≥œ œ≤
Cello
? # 42 ∑ ∑ ∑ ∑
f
Bass
? # 42 ∑ ∑ ∑ ∑ ∑
.
œ. œ. œ. œ
5
# 2 œ3 œ œ œ œ œ œ œ œ. œ. œ œ œ. œ. œ œ
2 1 2
& 4 . . . .
f
œœ œœ œœ œœ
Reduction
? # 42 ∑ ∑ ∑ ∑
1
3
# . œ. œ. œ. œ œ œ. œ. œ. œ œ œ. œ.
, ≥
& œ œ. ˙ œ ‰
Vln.
œ œ
P
,≥ ≤ , ≥
Vla. B# œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. ˙ œ ‰ œ œ
, P
?# œ œ , ≥œ œ≤ œ. œ. œ. œ. œ. œ. œ. ˙ œ ≥
‰ œ œ
Cello œ.
P
≥ , ≥œ œ
Bass
?# ∑ ∑ ∑ ˙ œ ‰
f P
# œ. œ. œ. œ. œ œ œ. œ. œ. œ œ œ. œ.
& œ. ˙ œ ‰
œ œ
œœ. œœ. P
? # œœ œœ œœ œœ œœ. œ. œœ. œ. œœ. œœ. ˙˙˙ œœœ œ œ
Reduction
œ œ ‰ œ œ
1 1 1
3 2 3
1. Allison 117F
Print Date 2. Gary

90
117F_048 Theme from “William Tell Overture” - Orchestra Arrangement - p.2
48. Theme from “William Tell Overture” (continued)
%
#
11
& œ œ. œ. œ œ œ
Vln.
. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ œ
sim.
B # œ. œ œ œ. œ. œ. œ œ œ. œ œ œ œ œ
sim.
Vla. œ œ œ. œ œ œ. œ œ
? # œ. œ œ œ. œ œ œ. œ. œ. . œ œ
œ œ œ. œ œ œ œ œ œ œ œ
sim.
Cello
Bass
? # œ. œ œ œ. œ œ œ. œ. œ. œ œ œ. œ œ œ. œ œ sim.
œ œ œ œ œ
%
#
11 4
œ. œ œ œ
2
& œ œ.
. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ œ
.œœ . œœ. œœ. .
œœ œœ œœ. œœ œœ œœ œœ œœ œœ. œœ œœ œœ œœ œœ œœ œœ
Reduction sim.
?# œ œ œ
1 1 1 1
3 3 2 3
# ≥ , ≥œ œ
Vln. & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f
≥
œ≤ œ œ œ œ œ œ œ
Vla. B# œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
f
?# œ œ œ œ œ œ œ œ œ œ œ œ≤ ≥œ œ
Cello œ œ œ œ œ œ œ œ
f
?# œ œ œ œ œ œ œ œ œ œ œ œ≤ œ œ œ œ œ œ œ œ ≥œ œ
Bass
f
#
2
œ œ œ œ œ œ œ œ œœ œœ
1
œ œ. œ.
1
& œ œ œ œ œ œ œ œ
? # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ. œœ. f
Reduction
œ œ
1 1 1 2 3
3 3 3 4
❒ 1. Allison
❒ 2. Gary
Print Date
117F
117F 5/31/13 ❒ 3. Chuck
91
œ œ œ œ œ
œ œ œ œ≤ œ œ œ œ œ
19
# œ
Vln. & œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ≤ œ œ œ œ œ œ œ œ œ œ œ œ
Vla. B#
?# œ œ œ œ œ œ œ œ œ œ≤ œ œ œ œ œ œ œ œ œ œ œ œ
Cello
?# œ œ œ œ œ œ œ œ œ œ≤ œ œ œ œ œ œ œ œ œ œ œ œ
Bass
œœ œ œ œ œ
œœ œœ œœ œœ œœ œœ
19
# œ œœ
3 5
œœ œœ œœ œ œœ œœ œœ œ œ œ œ œœ œœ
1
& œ
3
Reduction
?# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
# j ,‰
Fine
Vln. & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
Vla. B# œ œ œ œ œ œ œ œ œ J ‰
?# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰
Cello J
Bass
?# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J ‰
# œ
Fine
œœ œœ œœ œœ œœ œ j
& œ œ œ œ œ œ œ œ œ œ œ œ œ ‰
œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
Reduction
?# œ œ œ œ œ œ
J ‰
1 1
3 3
❒ 1. Allison
❒ 2. Gary
Print Date
5/31/13 ❒ 3. Chuck 117F
117F
92
# ≥
27 ≥ ,≥
œ œ œ
Vln. & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
≥ ≥ , ≥œ œ
Vla. B# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
, ≥œ ,
? # ≥œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ œ ‰
Cello
J J J J J J
, ≥œ ,
? # ≥œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ ‰
Bass
J J J J J œ J
27 2 5 2
# œ œ œ
1 3 1
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ. œ. œœ œœ
œ œœ
Reduction
?# œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œœ ‰
J J J J J œ J
# œ œ œ , ≥
D.S. al Fine
& œ œ œ œ œ œ œ œ œ œ #œ œ ‰
Vln.
œ œ
P
, ≥
Vla. B# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ
P
, ≥œ ,
? # ≥œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
≥
‰ œ œ
Cello
J J J J J œ
P
, ≥œ ,
? # ≥œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
≥
‰ œ œ
Bass
J J J J J œ
P
5 4
D.S. al Fine
#
1
œ œ œ
1
œ #œ œ
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ ‰
œ œ
P
œ œ œ
Reduction
?# œ
J ‰ œ
J ‰ œ
J ‰ œ
J ‰ œ
J ‰ œ œ ‰ œ œ
1
3
❒ 1. Allison
❒ 2. Gary
Print Date
117F
117F 5/31/13 ❒ 3. Chuck

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Teacher’s Edition • Book 3 117F

Terry Shade & Jeremy Woolstenhulme

STEPS TO SUCCESS FOR STRING ORCHESTRA

Best wishes as your journey continues through String Basics!

Neil A. Kjos Music Company

String Basics is available in SmartMusic.

and are trademarks of Kjos Music Press.

• Photographer Marcos Rivera for his tremendous work

• Ferrari Productions for video production

• Perry Norton for her voiceover talents

• Dr. Marvin Rabin, the “grandfather” of string education

Gigue for String Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Beyond the Interactive Practice Studio, Kjos Music suggests:

ITS-Only Bonus Material:

DUPLICATION (PHOTOCOPYING) INFORMATION

Use of the Bow

Rote Experiences – Call and Response

Nurturing the Independent Musician

Strategies for Success – Musical Understanding

Read and notate

Analyze and describe

Practice and Assessment

1. “Do you like your tone?” Writing this simple

Strategies for Success – Performance

44 time) several times

Strategies for Success – Musical Understanding

Practice and Assessment

→ Tempo featured in Practice Tracks (recorded accompaniments)

Strategies for Success – Performance

Use of Bow: Slurs, String Crossings and Arm Levels

Strategies for Success – Musical Understanding

Practice and Assessment

5. Open String Slurs

Print Date 2. Gary

10. All About the Bow

10. All About the Bow

Student Book page 6

Strategies for Success – Performance

Practice and Assessment

14. Minuet TEST LINE

Johann Sebastian Bach (1685–1750)

N.C. Gmi D7 Gmi D7 Gmi

15. Pat-A-Pan (continued)

Student Book page 7

Steps to Success: New! Terms & Symbols:

Strategies for Success – Performance

Open Finger Pattern – Violin and Viola

Low 3-4 Finger Pattern – Violin and Viola

Cello Left Hand

Strategies for Success – Musical Understanding

Practice and Assessment

16. Open Pattern

17. Challenger Deep

G7 5/B B b sus A bMA7

. . . “ b œœ. œœ. “ œœ. œœ. œœ. œ bœ bœ #œ œ

G9 Eb Cmi Eb Fmi Cmi D7 Gmi

b œœ. œœ. œœ. œœ. œœ

Bb F7sus Bb E b add2 E b/F Bb F7sus Bb F7sus B b

œ œ 20. B&B b b bcbbœc toœœ Learning