2011 - American String Teachers Association

Transcription

American String Teacher
May 2011 | Volume 61 | Number 2
May 2011
In This Issue
•
•
•
•
Paul Rolland and His Influence
The Tardy Recognition of J.S. Bach’s Sonatas and Partitas
Developing Critical Thinking and Assessment in Music Classrooms
and much more!
PLUS:
ASTA Conference Highlights with
National Award Winners
2
The ASTA String Curriculum is a groundbreaking publication that will help
establish string-specific standards and guidelines to further develop and enrich
programs. Purchase your copy through ASTA’s publishing partner at Alfred.com.
American String
Teachers Association
www.astaweb.com
ZZZDVWDZHEFRP_
_$PHULFDQ6WULQJ7HDFKHU_0D\
$0(5,&$1675,1*7($&+(5 &217(176
0D\_9ROXPH_1XPEHU
)HDWXUHV
3DXO5ROODQGDQG+LV,QÁXHQFH
5ROODQGKDGWKHJHQLXVWRUHFRJQL]HWKDWZKDWZHWHDFKLQWKHÀUVWOHVVRQVVHWVWKH
VWDJHIRUHYHU\WKLQJWRFRPH+HZDVRQHRIWKHÀUVWSHGDJRJXHVWRGLVFXVVIUHH
SK\VLFDOPRWLRQVRIWKHERG\DQGLWVLPSRUWDQFHWRSOD\LQJPXVLFDOO\ZLWKWHFKQLFDO
ÁXLGLW\
7KH7DUG\5HFRJQLWLRQRI-6%DFK·V6RQDWDVDQG3DUWLWDVIRU9LROLQ6ROR
7KHYLROLQVRORVGLGQRWHQMR\VXFKDSURPLQHQWVWDWXVLQ%DFK·VWLPHDQGHYHQLQWKHUHVW
RIWKHWKFHQWXU\7KH\ZHUHFRPSOHWHGE\WKRXJKWKHÀUVWFRPSOHWHHGLWLRQ
GLGQRWDSSHDUXQWLO
E\'L6X
'HYHORSLQJ&ULWLFDO7KLQNLQJDQG$VVHVVPHQWLQ0XVLF&ODVVURRPV
7KHLQFUHDVHGHPSKDVLVRQVWDQGDUGL]HGWHVWLQJKDVDIIHFWHGFODVVURRPH[SHFWDWLRQV
IRUPXVLFHGXFDWRUVLQWKH8QLWHG6WDWHV
E\0LPL=ZHLJ
E\0DULD6WHIDQRYD
*XLWDU)RUXP
&ODVVURRP&ODVVLFDO*XLWDU
:RUNLQJIURPZHOOJURXQGHGXQGHUO\LQJSULQFLSOHVRIKXPDQOHDUQLQJDQGEHKDYLRU
FKDQJHDQGIRFXVHGRQWKHJRDORIH[SUHVVLYHDQGUHÀQHGPXVLFPDNLQJDFXUULFXOXP
IRULQVWUXFWLRQZDVGHYHORSHGWKDWHQJDJHVOHDUQHUVIURPWKHLUÀUVWH[SHULHQFHVZLWK
WKHJXLWDUHPSKDVL]LQJEHDXW\RIVRXQGDQGHIIHFWLYHFRPPXQLFDWLRQWKURXJKRXWWKH
GHYHORSPHQWRIWHFKQLFDOFDSDFLW\
E\0DWWKHZ+LQVOH\
&KDPEHU0XVLF)RUXP
&KDPEHU0XVLF2IIWKH3DJH
:K\ZDLWWRLQWURGXFHLPSURYLVDWLRQWR\RXUVWXGHQWV"7KHÀUVWVWHSLVWRHQFRXUDJH
VWXGHQWVDQGQRWKROGEDFNWKHLUWKLUVWIRUIUHHPXVLFDOVSHHFKRIIWKHSDJH
E\'HERUDK%DUUHWW3ULFHZLWK&RQVWDQFH(%DUUHWW
ZZZDVWDZHEFRP_
ZZZDVWDZHEFRP_
$0(5,&$1675,1*7($&+(5 &217(176
0D\_9ROXPH_1XPEHU
&ROXPQV
,QVSLUDWLRQV
6WXGLR7HDFKLQJ7LSV
1DWLRQDO$ZDUG:LQQHUV
0HVVDJHIURPWKH3UHVLGHQW
E\.LUN'0RVV
6XPPHU&RQIHUHQFHV
.7HDFKLQJ7LSV
,PSURYLQJ<RXU&RQGXFWLQJ8VLQJ9LGHR6HOI$VVHVVPHQW
E\0LFKDHO+RSNLQV
$UH<RX(TXLSSHG"
E\1LVVDGHOD7RUUH
$VVRFLDWLRQ1HZV
1RWHV
6KRZFDVH
5HYLHZV
$ZDUGDQGJUDQWDQQRXQFHPHQWVQHZ
SXEOLFDWLRQVDQGRWKHUDVVRFLDWLRQUHODWHG
LQIRUPDWLRQ
1HZVRISHRSOHSODFHVDQGHYHQWVRILQWHUHVWWR
VWULQJWHDFKHUVDQGSOD\HUV
7KHODWHVWQHZVIURPPHPEHUVRIWKH
6WULQJ,QGXVWU\&RXQFLO
2IERRNVPXVLFVRIWZDUHDQGYLGHRV
(YHU\,VVXH
&RQIHUHQFH5HFDS
E\'RQQD6L]HPRUH+DOH
'HSDUWPHQWV
6SHFLDO
&RPPLWWHH6SRWOLJKW&RGD%RZVIRU$PHULFD&RPPXQLW\2XWUHDFK
3RWWHU·V9LROLQ2XWUHDFK
0HPEHUVKLS$SSOLFDWLRQ
9ROXQWHHU/HDGHUVKLS'LUHFWRU\
$GYHUWLVHUV·,QGH[
0LVVLRQ6WDWHPHQW
7KH$PHULFDQ6WULQJ7HDFKHUV$VVRFLDWLRQ
SURPRWHVH[FHOOHQFHLQVWULQJDQGRUFKHV
WUDWHDFKLQJDQGSOD\LQJ$67$SXUVXHVLWV
PLVVLRQWKURXJK
DQRSHQVKDULQJRILGHDV
EHQHÀWVVHUYLFHVDQGDFWLYLWLHVUHVSRQ
VLYHWRWKHQHHGVRIDOOPHPEHUV
GHYHORSPHQWRIVWURQJVWDWHOHDGHUVKLS
DQGFKDSWHUV
HQKDQFLQJWKHLPDJHDQGYLVLELOLW\RI
VWULQJWHDFKLQJDQGVWXG\
DGYRFDF\IRUVWULQJHGXFDWLRQDQG
DQLQFOXVLYHFRPPXQLW\RIVWULQJWHDFK
HUVDQGSOD\HUV
$PHULFDQ6WULQJ7HDFKHU,661
LVSXEOLVKHGTXDUWHUO\E\WKH
$PHULFDQ6WULQJ7HDFKHUV$VVRFLDWLRQ
$67$&KDLQ%ULGJH5RDG)DLUID[
9$3HULRGLFDOVSRVWDJHSDLGDW
)DLUID[9$DQGDGGLWLRQDOPDLOLQJRIÀFHV
$PHULFDQ6WULQJ7HDFKHU$67LVDYDLODEOH
H[FOXVLYHO\WR$67$PHPEHUVWKHDQQXDO
VXEVFULSWLRQSULFHLVLQFOXGHGLQPHPEHUVKLS
GXHV32670$67(56HQGDGGUHVV
FKDQJHVWR$PHULFDQ6WULQJ7HDFKHU
&KDLQ%ULGJH5G)DLUID[9$
32/,&<$VWKHSULPDU\PHDQVRISURIHV
VLRQDOFRPPXQLFDWLRQRI$67$WKH$PHUL
FDQ6WULQJ7HDFKHUUHSUHVHQWVDQGUHÁHFWV
WKHPLVVLRQRIWKHDVVRFLDWLRQ,WLVQRWWKH
LQWHQWLRQRI$67WRSURPRWHRUHQGRUVH
DQ\SDUWLFXODUSHUVRQRUFRPPHUFLDOSURG
XFW7KHLGHDVDQGRSLQLRQVH[SUHVVHGDUH
WKRVHRIWKHZULWHUVDQGQRWQHFHVVDULO\
WKRVHRI$67$RU$67$67$UHVHUYHVWKH
ULJKWWRUHIXVHDGYHUWLVLQJIRUDQ\UHDVRQ
1RDUWLFOHRUHGLWRULDOPDWWHULQ$67PD\
EHSKRWRFRSLHGRUUHSULQWHGZLWKRXW
ZULWWHQSHUPLVVLRQIURP$67$9LVLWZZZ
FRS\ULJKWFRPIRUPRUHLQIRUPDWLRQ
32670$67(56HQGDGGUHVVFKDQJHVWR
$PHULFDQ6WULQJ7HDFKHU-RXUQDO
E\$PHULFDQ6WULQJ7HDFKHUV
$VVRFLDWLRQ
ZZZDVWDZHEFRP_
ZZZDVWDZHEFRP_
,QVSLUDWLRQV
E\'RQQD6L]HPRUH+DOH
$67$%RDUGRI'LUHFWRUV
$GYRFDF\DWWKH1DWLRQDO/HYHO
In April, I had the honor of attending the first ever White House
Briefing on the Arts at the Old Executive Office Building in
Washington D.C. The briefing was part of Arts Advocacy Day which
is an annual event spearheaded by Americans for the Arts to bring
attention to the arts on Capitol Hill and now within the Executive
branch of our government.
Unfortunately, my time at the Old Executive Office building
among some of the top decision makers in our administration left
me with more questions than answers. The arts, like so many other
important programs in our society, are just one more thing for our
elected leaders to argue about. While celebrities like Alec Baldwin and
Hill Harper from CSI: NY, spoke passionately about the importance
of the arts to our economy and our culture, the reality is too many of
our nation’s leaders remain unpersuaded that we need to protect these
programs for our children. Several of the advocates who had spent
the day meeting with Congressional leaders said directly that political
leaders told them that to protect the arts for future generations we need
new arguments. During a time of fiscal unrest this is not uncommon.
But it is disheartening and maybe even a little scary.
It is looking like Congress will finally address the reauthorization
of the Elementary and Secondary Education Act in the near future.
There are many associations, including ASTA, working to protect
music and arts education in our schools. We will succeed on some level
in many communities with the help of people like you. However, the
question of access was once again raised as funds will be limited. There
are communities, many of them in rural America and in financially
struggling parts of our country where the arts could all but disappear,
denying an entire generation of children the chance to play an
instrument, paint that amazing portrait, or take that dance class. One
of the speakers from the White House talked about “education being
the civil rights issue of this generation.” This statement really made me
think about music education in a different way. If indeed music and
arts programs are severely underfunded or unfunded in many areas, are
we not violating one of our basic principles of democracy?
As voters we all need to demand accountability from our political
leaders in terms of funding for education. Elected leaders really do
pay attention to what their constituents say. As the debate over
reauthorization heightens we will be asking all music educators far and
wide to speak loudly and with one voice. Everyone who has decisionmaking responsibilities over what happens in your communities needs
to hear that you believe music education is a priority. You also need
to encourage your students and their parents to speak up as well. We
need to cast a wide net with our message from the halls of Congress to
the local school board meetings in your own communities.
ASTA is working closely with MENC and NAMM on the New
Music Education Policy Roundtable designed to coordinate advocacy
efforts for music education. Just as we as individuals need to speak with
one voice, so do the leading associations and nonprofit organizations
that champion music education. If you would like to be involved on
our ongoing efforts please feel free to call or email.
Executive Director
3UHVLGHQW.LUN0RVV
/DZUHQFH8QLYHUVLW\&RQVHUYDWRU\RI0XVLF
(%ROGW:D\
$SSOHWRQ:,
NLUNGPRVV#ODZUHQFHHGX
3UHVLGHQW(OHFW%RE3KLOOLSV
/DNHVKRUH'U
*UDQG+DYHQ0,
SKLOOLSVÀGGOHUV#DROFRP
3DVW3UHVLGHQW-HIIUH\6RORZ
3DUN$YH
(ONLQV3DUN3$
VRORZFHOOR#JPDLOFRP
6HFUHWDU\%HQMDPLQ:KLWFRPE
6WDF\/Q
)RUW$WNLQVRQ:,
ZKLWFRPE#XZZHGX
0HPEHUDW/DUJH%ULDQ/HZLV
:6DLQW(OPR5G$SW
$XVWLQ7;
EOYLROLQ#DROFRP
0HPEHUDW/DUJH/XF\0DQQLQJ
$$UJDOO$YH1RUIRON9$
OPDQQLQJ#RGXHGX
0HPEHUDW/DUJH0DUWLQ1RUJDDUG
+ROO\+LOO5G$SW
$XVWLQ7;
PDUWLQ#MD]]ÀGGOHZL]DUGFRP
0HPEHUDW/DUJH-XG\3DODF
0XVLF%XLOGLQJ(DVW/DQVLQJ0,
SDODF#PVXHGX
6WULQJ,QGXVWU\&RXQFLO3UHVLGHQW.HQ'DWWPRUH
2UDQJHWKRUSH$YH%XHQD3DUN&$
NGDWWPRUH#\DPDKDFRP
3XEOLFDWLRQV&KDLU0DULO\Q6HHOPDQ
%ULDUZLOORZ'U$WODQWD*$
PXVPPV#ODQJDWHJVXHGX
([HFXWLYH'LUHFWRU'RQQD6L]HPRUH+DOH
$67$1DWLRQDO2IÀFH
GRQQD#DVWDZHEFRP
$PHULFDQ6WULQJ7HDFKHU
(GLWRU0DU\-DQH'\H
&ULWLFDO$UWLFOHV(GLWRU0DU\:DJQHU
5HYLHZV(GLWRU0DUJ6FKPLGW
'HVLJQDQG/D\RXW6N\+HQGHUVRQ
$GYHUWLVLQJ5HSUHVHQWDWLYH6WHYH:DIDORVN\
&RUUHVSRQGHQFH6XEVFULSWLRQVFKDQJHRI
DGGUHVVVHQGPDLOLQJODEHOLQGLYLGXDOLVVXHV
ELOOLQJPHPEHUVKLSDQGRWKHUEXVLQHVVPDWWHUV
VKRXOGEHGLUHFWHGWRWKH$67$1DWLRQDO2IÀFH
&KDLQ%ULGJH5G)DLUID[9$WHO
)$;(PDLO
DVWD#DVWDZHEFRP
$GYHUWLVLQJ'HDGOLQHVDUH$XJXVWLVVXH³-XQH
1RYHPEHULVVXH³6HSWHPEHU)HEUXDU\
LVVXH³'HFHPEHU0D\LVVXH³0DUFK,QTXL
ULHVVKRXOGEHGLUHFWHGWR$67$1DWLRQDO2IÀFH
WHO)$;
(PDLODVWD#DVWDZHEFRP
(GLWRULDO$67ZHOFRPHVOHWWHUVDQGDUWLFOHVIURP
LWVUHDGHUV4XHU\OHWWHUVDUHSUHIHUUHGRYHU
XQVROLFLWHGPDQXVFULSWV)RUDFRS\RIWKH$67$X
WKRU*XLGHOLQHVYLVLWZZZDVWDZHEFRP,QTXLULHV
DQGDUWLFOHVVKRXOGEHVXEPLWWHGWR$67DUWLFOHV#
DVWDZHEFRP
5HYLHZV5HYLHZPDWHULDOVVKRXOGEHVHQWWR0DUJ
6FKPLGW6FKRRORI0XVLF$68*DPPDJH
3DUNZD\32%R[7HPSH$=
5HTXHVWVWREHFRPHDUHYLHZHUVKRXOGEH
DGGUHVVHGWR0DUJ6FKPLGWWHO
(PDLOPDUJVFKPLGW#DVXHGX
6XEPLVVLRQ'HDGOLQHV)RUPDWHULDOWREH
FRQVLGHUHGIRUSXEOLFDWLRQLQWKH'HSDUWPHQWVDQG
$VVRFLDWLRQ1HZVVHFWLRQVLQFOXGLQJ/HWWHUVWRWKH
(GLWRULWPXVWEHUHFHLYHGE\)HEUXDU\LVVXH³
1RYHPEHU0D\LVVXH³)HEUXDU\$XJXVW
LVVXH³0D\1RYHPEHULVVXH³$XJXVW
ZZZDVWDZHEFRP_
$67(GLWRULDO&RPPLWWHH
%DUEDUD%DUEHU
6HDQ%HDYHUV
6XVDQ%URZQ
-DPHV%XVZHOO
%UXFH&DUWHU
&KDUOHQH'HOO
/\QQH'HQLJ
6XVDQ(OOLQJWRQ
-DQHW)DQWR]]L
5REHUW*DUGQHU
*UHJ+XUOH\
0DUWLQ1RUJDDUG
-DQH3DOPTXLVW
'DYLG:DOODFH
&DQGDFH:LHEHQHU
0LPL=ZHLJ
$67)RUXP(GLWRUV
9LROLQ)RUXP(GPXQG6SUXQJHU
9LROD)RUXP(ULND(FNHUW
&HOOR)RUXP7DQ\D&DUH\
%DVV)RUXP(ULF+DQVHQ
*XLWDU)RUXP6WDQOH\<DWHV
+DUS)RUXP/\QQH$VSQHV
&KDPEHU)RUXP'HEELH3ULFH
$67$1DWLRQDO2IÀFH
&KDLQ%ULGJH5RDG
)DLUID[9$
3KRQH
)D[
ZZZDVWDZHEFRP
SAVE THE
DATES!
'RQQD6L]HPRUH+DOH([HFXWLYH'LUHFWRU
GRQQD#DVWDZHEFRP
H[W
%HWK'DQQHU.QLJKW'HSXW\'LUHFWRU
&RQIHUHQFHVDQG0HPEHU6HUYLFHV
EHWK#DVWDZHEFRP
H[W
-RG\0F1DPDUD'HSXW\'LUHFWRU)LQDQFHDQG$GPLQLVWUDWLRQ
MRG\#DVWDZHEFRP
H[W
'HDQQD7RPSNLQV'LUHFWRURI0HHWLQJVDQG(YHQWV
GHDQQD#DVWDZHEFRP
H[W
0DU\-DQH'\H'LUHFWRURI&RPPXQLFDWLRQV
PDU\MDQH#DVWDZHEFRP
H[W
'HE%LVVHQ)RXQGDWLRQDQG$GYRFDF\&RRUGLQDWRU
GHE#DVWDZHEFRP
H[W
6N\+HQGHUVRQ0DQDJHURI3XEOLFDWLRQVDQG
*UDSKLF'HVLJQ:HEPDVWHU
VN\#DVWDZHEFRP
H[W
/LEE\'LHWULFK0HHWLQJVDQG(YHQWV0DQDJHU
OLEE\#DVWDZHEFRP
H[W
February 27-March 2, 2013
Providence, RI
*ORULD:DUZLFN$GPLQLVWUDWLYH$VVLVWDQW
JORULD#DVWDZHEFRP
H[W
Exhibits National Orchestra Festival
National Solo Competition
Eclectic Strings Festival
7DPL2
%ULHQ0HPEHUVKLS0DQDJHU
WDPL#DVWDZHEFRP
H[W
$PDQGD%HUQKDUGW0HPEHUVKLS&RRUGLQDWRU
DPDQGD#DVWDZHEFRP
H[W
2012 ASTA
National Conference
March 21-24, 2012
Atlanta, GA
Exhibits National Orchestra Festival
National High School Honors Orchestra
Eclectic Strings Festival
2013 ASTA
National Conference
ZZZDVWDZHEFRP_
IURPWKHSUHVLGHQW
$67$·V6WULQJ&XUULFXOXP7KH)XWXUHLV1RZ
I am pleased to share my excitement regarding ASTA’s historic release of the first national-level String
Curriculum. We decided to feature a photo of the curriculum on the journal cover to further celebrate this
monumental achievement. With the publication of this document, the future of string teaching is now. As Oliver
Wendell Holmes stated: “The great thing in this world is not so much where we stand, as in what direction we
are moving.” This curriculum provides a clear direction for the K-12 profession.
From the initial discussion of the curriculum project until its release, nearly three-and-a-half years have
passed, a longer time period than any of us anticipated. The project grew in scope and depth as the committee
surveyed current curricular practices, discussed the project aims with experts in the field of string education and
curriculum in general education, and determined how to best meet the needs of the K-12 string and orchestra
teachers. On behalf of the National Executive Board, I extend my heartfelt appreciation to the Curriculum
Committee Chair, Stephen Benham, as well as committee members Jane Aten, Judy Evans, Julie Lyon
Lieberman, Denese Odegaard, and past national ASTA President Mary Wagner. Collectively, these dedicated
ASTA members have made a significant contribution to our field.
This new curriculum will help establish string-specific standards and guidelines to further develop programs.
It will also provide administrators, school board members, parents, and students with a visible and concrete
evaluation tool. Assessment is an even more important issue given that Congress will soon start working on the
reauthorization of the Elementary and Secondary Education Act. No longer do “standards” and “assessment”
serve only as buzzwords. Now the string profession has its own measurement tool that we can use to promote
the learning that happens every day in school string and orchestra classes and private studios. As teachers, we
know what a difference playing a stringed instrument and participating in orchestra makes for our students. We
experience these success stories each and every day. We hope that this new resource will lend credence to what we
do and help with our local, state, and national advocacy efforts.
In developing this resource, the authors considered the many challenges faced in the life of the string
teacher, including teaching students with a wide range of skill levels, concert scheduling, traveling between
multiple buildings, instrument repair, and planning lessons and rehearsals for multiple grade levels, just to name
a few! To that end, a clear and concise scope-and-sequence makes this curriculum easy to use; more than 200
specific learning tasks make this curriculum comprehensive. Based on the outstanding teaching traditions in the
field and the contributions of many earlier authors, educators, and researchers, this curriculum contains useful
and practical information for string teachers from every level of experience.
Recognizing that successful teachers may use differing approaches, this curriculum includes many schools
of thought and provides a comprehensive approach. Setting standards for instruction and outcomes will benefit
us all and now that these ideas are in print, they can act as a starting point for further development. We view the
curriculum as a living document that will progress over time. We want to hear your feedback on what works,
what might need modification, and also new ideas that emerge as you put the pages into actual use. The power of
any curriculum is based on its real world application. Please share your stories with us.
The initial print run of the curriculum sold out during the first day of the ASTA national conference. We
hope many of you are already using this resource in your classrooms. If you have not purchased a copy, you can
do so online through ASTA’s distributor, Alfred Publishing. Speaking of the conference, I want to thank all of
you who joined us in Kansas City! I am already working on plans for next year. Mark your calendars for Atlanta:
March 21-24, 2012, and have a terrific summer.
[email protected]
ZZZDVWDZHEFRP_
$VVRFLDWLRQ1HZV
2011-13 National Board
Election Results
ASTA warmly welcomes Lucy Manning and Judy
Palac to the National Executive Board. They
bring a wealth of expertise and experience to the
member-at-large positions. Elections were held
this past winter and results were officially
announced at the ASTA national conference in
Lucy Manning March. Complete bios and statements can be
found in the November 2010 AST.
ASTA also sincerely thanks outgoing board
members Dalton Potter, Gail Barnes, Gerald
Klickstein, and Andrea Meyers for their dedication and service. We will miss them but look
forward to their continued support of ASTA and
its programs.
Judy Palac
In other related news, the Board has appointed
Ken Dattmore of Yamaha Corporation of America to fill the position of String Industry Council president.
Now Available through Alfred
Publishing: ASTA String
Curriculum
ASTA String Curriculum: Standards, Goals, and Learning
Sequences for Essential Skills and Knowledge in K-12 String
Programs
This comprehensive K-12 string program curriculum is the first of
its kind. A clear and concise scope-and-sequence makes this curriculum easy to use, and more than 200 specific learning tasks make
it comprehensive. Based on the outstanding teaching traditions in
the field and the contributions of many earlier authors, educators
and researchers, this curriculum contains useful and practical information for string teachers at every level of experience. You may
purchase it for $49.99 through www.Alfred.com.
ASTA congratulates its authors, Stephen J. Benham, Mary L.
Wagner, Jane Linn Aten, Judith P. Evans, Denese Odegaard, and
Julie Lyonn Lieberman for their outstanding work and dedication
to this landmark publication.
Congratulations to the George
Bornoff Memorial Scholarship
Winners
The George Bornoff Memorial Scholarship, sponsored by the
Foundation for the Advancement of String Education in conjunction with ASTA, provided this year’s winners with $800 each to
attend ASTA’s National Conference: Cicely Desalle of Tempe,
Arizona, Steve Fairbanks of Park City, Utah, and Lauren Trolley
of Iowa City, Iowa.
Applicants had to meet specified criteria, write an essay explaining how the scholarship would help in achieving career goals,
provide reference letters, and complete a detailed application to
the Bornoff Committee, graciously headed by Natalie Colbert.
ASTA will be posting the new application for 2012 this fall
on its website.
Apply for a State Chapter
Special Project Grant
ASTA Special Project Grants are designed to provide financial
assistance to projects planned at the state chapter level. Funding
is available for new projects that will advance ASTA’s mission and
increase the strength, visibility, and activities of your state chapter.
Only one project per state may be funded but states may submit
more than one project for consideration. Grants of up to $850
will be awarded.
The postmark deadline to apply for a Special Project Grant
is June 1, 2011. Special Project Grants will be awarded to finance
projects or events that are new to a state and are scheduled to take
place between July 1, 2011 and June 30, 2012. Revised guidelines
and application forms are available at astaweb.com.
Potter’s Violin Instrument Award
It’s not too soon to begin thinking about applying for the October round of the Potter’s Violin Instrument award. Applications
are online at astaweb.com. Please apply on or before October 1,
2011. Applications are accepted on behalf of students, elementary
to high school, from ASTA members who outline the worthiness
and promise of a student. “These awards really make a difference
to an aspiring musician,” said Donna Hale, ASTA executive director. “Thank you to Dalton Potter, owner of Potter’s Violins in
Bethesda, Maryland, for his continued generosity of this important outreach program.”
Don’t Delay
Payments: Use Our
Correct Mailing
Address
The postal service has started to return mail items
“back-to-sender” that are sent to our old 4153
street number. Please make sure that your
bill/payable accounts have our new 4155 street
number. Using the old address will delay
payments to ASTA. Our correct address is
4155 Chain Bridge Rd., Fairfax, VA 22030.
Dues Increase Slightly
Advancing Strings Campaign:
Giving In Harmony
The national ASTA Board of Directors passed a motion in June
2005 to increase dues annually by the rate of inflation. ASTA has
held association dues at the same rate for the past three years as
a result of the economy. The ASTA Board of Directors passed
a motion at the January 2011 meeting to increase dues effective
July 1, 2011, as follows:
ASTA is pleased to
launch its annual
campaign to support
string education across
the nation. This year
we have chosen the
theme “Giving in
Harmony; $50 Helps.”
We believe that providing young people with
the opportunity to
learn to play a stringed
instrument is a wise
investment especially
during these turbulent
economic times when
many music and arts programs are in jeopardy. We are asking
string supporters to give at least a $50 tax-deductible donation to
ASTA. The money will be used to support programs that provide
instruments and bows to children, to fund string music programs
at the local level, and to recognize and support aspiring string
players.
Jeff Van Fossen, the founder of one of our programs, said,
“It is incumbent upon all of us to encourage the dreams of our
children. Please go to “Support ASTA” on our home page, and
click on “Annual Campaign” to make a donation.
Professional: ................................................................$105
Senior: ..........................................................................$75
Dual: ..........................................................................$145
Student: ........................................................................$50
High School Chapters: ..................................................$69
Institutional: ...............................................................$306
String Industry Council: .........................$199, $275, $378
Library Subscriptions: ...................................................$95
Automatic Annual Membership
Renewal
You have wanted for it for years, and it’s finally here: automatic
annual membership renewal! ASTA will take care of all of the
processing details. This includes notification of when it’s time
to renew, the exact amount, and the transaction date when the
charge will occur. Once you have enrolled, and unless we hear
differently, your designated credit card will be charged, and you
will receive a new membership card. It’s that easy! You may enroll
or discontinue participation in this service at any time. Just let
us know by contacting the membership department. To enroll in
the program, check the box on your next renewal statement. The
option is a direct result of upgrading our membership system to
better meet your needs.
Membership associates are available Monday through Friday,
8:00 a.m. to 4:30 p.m. EST by calling (703) 279-2113 ext. 14 or
ext. 16.
New Installment Plan for Paying Membership Dues
In an effort to provide even better service and flexible options for members, ASTA is now offering an easy installment payment plan
for membership dues. Below is a chart of the available frequencies and the corresponding amounts. To take advantage of this convenient plan, please contact the office and we will set up this service. Note: There is a small fee included in the quarterly and monthly payment options to cover the processing fees ASTA incurs from the credit card merchant. Annual and semi-annual payments do not incur fees.
July 1, 2011 Rates:
Annually
1 Payment
Semi-Annually
2 payments
Quarterly*
4 payments
Monthly*
12 payments
$105
$52.50
$28.50
$10.50
Dual
75
37.50
20.25
7.50
Senior
75
37.50
20.25
7.50
Student
50
25
13.75
5
Institutional
306
153
78.25
27
Council 1 (<1M)
199
153
78.25
27
Council 2 (1M-2.5M)
275
137.50
70.25
24
Council 3 (>2.5 M)
378
189
96.25
32.75
Membership Type
Professional
ZZZDVWDZHEFRP_
$67$:HOFRPHV1HZ0HPEHUV
7KHIROORZLQJOLVWUHÁHFWVLQGLYLGXDOVDQGRUJDQL]DWLRQVZKRMRLQHGWKHDVVRFLDWLRQEHWZHHQ-DQXDU\DQG
0DUFK:HOFRPHWR$67$
,QGLYLGXDO
0HPEHUV
-HDQ'DYLV&$
$QJHOLFD'H-HVXV)/
6XQQLID'HHKU$.
:HQG\'HOVRQ&7
5DPRQ$FRVWD7;
&DUOD'HQL]9$
.D\RNR$GDFKL&$
:LOOLDP'HWULFN.6
7LPRWK\$GDPH7;
6DUDK'XGDV&$
/XLV+$ODUFRQ7;
-RQDWKDQ$OOHQWRII1< &DURO\Q'XQQ1<
6WHYHQ(GZDUGV0$
-DQLV$OOLVRQ,'
&KULVWLQD(OLH$=
.DWKHULQH$QGHUVRQ
$PDQGD(OOHUEH2+
2+
7LPRWK$VKLQJ02
.HYLQ$QGHUVRQ*$
5LFDUGR$YHUEDFK2+ .DWKOHHQ(YDQV/$
0ROO\(YDQV&2
.DUOL%DLOH\.<
1LFROH)DLQVDQ&2
0DUO\Q%DUUHUD,/
-DFRE)DUU7;
$OH[%DU\LDPHV1+
6\GQH$RJOH.<
0HUHGLWK%DWHV3$
3HWHU)R[2+
0HL/L%HDQH9$
6KHOO\*DKDQ7;
'DYLG0%HEH1<
*XDGDOXSH*DUFLD,/
'DQLHOOH%HOHQ&$
3HGUR*DUFLD,/
-RHO%HOJLTXH25
5REHUW*DUGQHU87
:LOOLDP%HUGLQH&$
.DWKHULQH*DUUHWW.<
.D\OHH%ODFN1-RVKXD*DUYHU1<
.DUHQ%OHLNDPS,/
&KHOVHD*HWW\.<
*DEULHOOH%RJXVODZ
-XGLWK*LOO9$
.<
7RP*LQVEHUJ$=
0DWWKHZ%RRWKH.<
(OL]DEHWK%UHVOHU02 &ODXGLR*RQ]DOHV0,
-XOLD*UD\/LRQ7;
&DWKHULQH%URZQ87
0DUN*UD\FH10HJKDQ%URZQ02
-XOLD*XWLHUUH]7;
(OOD(OYLUD
6XVDQ+DOGHUPDQ:,
%XJHUHQNR7;
-XOLDQ+DOOPDUN&$
1DWDOLH%XWOHU02
6DUDK+DQVRQ:<
0DWWKHZ%XWWHUÀHOG
=RHL+DQW]RSXORV7;
.<
-HULO\QQ+DUULV
-DQHW&DQQRQ0,
.LOJRUH:$
-XOLH&DVWRU2+
%HVQLN+DVKDQL)/
5REHUW&HVDULR02
0LFKHOOH+DWFKHU1+DQQDK&KDON.<
6DUDK+DXJKWRQ9$
(ULN&KDQ&$
6XVDQ+D\QLH7;
%DLOH\&KDQFH.6
%HQMDPLQ&KHQH\2+ -DFRE+HDG.<
6WHSKHQ+HGJHV,1
+HDWKHU&KOXS*$
(ULQ+HLGULFN&$
/RLV&ORQG,1
&KULVWLQD+HUQDQGH]
-HQQLIHU&OXJJLVK
7;
/HRQJ2+
/HVOHH0+HUUHUD7;
7UHYRU&RUPDFN2+
6DQGUD(+HUUHUD7;
&DWKHULQH&ULOO\,/
.HYLQ'DQLHO+LJK02
&DURO&XEEHUO\1&
'DQLHOOH+RLVLQJWRQ
&DWKHULQH
.6
&XQQLQJKDP10
.DWKOHHQ+RXVH.6
6HDQ&XQQLQJKDP,/
:HOOV&XQQLQJKDP)/ 6DEULQD(+RZDUG
1&
'DQLHO'DYLHV&$
0RQ<XQ$P\+VLHK
&$
3DXO&+VLHK&$
&KULVWLDQ+XDQJ&2
)ORUHQFH+XDQJ&$
&KLQD+XGGOHVWRQ.<
.HQQHWK+XPHQQ\,/
1LFROH<+ZDQJ&$
*UDQW-DFREV.<
$QGHUV-DQVRQ1&
(WKDQ-RG]LHZLF]:$
$SULO-RKQVRQ*$
1LFROH0-RKQVRQ19
6DQGUD-RKQVWRQ3$
/LQGVH\'DZQ-RQHV
02
$OH[DQGHU.DOPDQ
&$
-RVHSKLQH.DQH,/
/HRQRUD.DUDVLQD0'
1LFN.DUSLQVN\0,
0DXULFH.HOOH\,,7;
7D\ORU.LHKO2+
-LQ+HH.LP0$
/HR'.LP&$
-RVKXD.LPEDOO6'
-XOLDQQH.LQJ.<
5RJHU.LUN07
6DUDK-HDQ.RR&$
/HR-/D0HUH,,,*$
$O\VVD/DQH.6
0DWWKHZ%/DQH.<
5RVHPDU\/DWKHU0'
-DUHG/DWWD.<
3DPHOD/DZVRQ.6
.\XQJ/H%ODQF'&
&K\L<DX&KHQ/HH
&$
&DURO/HWFKHU,1
<H/L0'
$SULO0/LEHUW\)/
&KLX7]H/LQ1.LPFKHULH/OR\G.<
$ULHO/RYHODQG,'
0LUDQGD/RYHOHVV87
-HQQLIHU/XFLDQ&7
%ULDQQD/\QQ9$
;DYLHU0DOGRQDGR,/
9DUW\0DQRXHOLDQ&$
&DLWOLQ0DUVK,$
6DUDK(OL]DEHWK
0DUWV7;
7UDYLV0DVOHQ&$
0HOLQGD0DWWKHZV9$
$DURQ0D\.<
&KULVW\0F&ODLQ/$
&DVVLHO0F(YR\16RSKLD0F)DGGHQ
.HHVOLQJ0,
/DXUD0F*LOO.6
-HQQD00HHNV1&
-RVHSK0HQGRHV&$
&DURO\Q0LOOHU&$
.ULVWHQ$QQ0RRQ01
0DUN0RRQLQJKDP0,
$SULO0RULDUW\87
(IUDLQ0XQJXLD7;
+LODU\0XUUD\,/
0LFKDHO1DXJKWRQ,/
-XOLH1HOVRQ)/
/DXUD2UWPDQ2.
%ULDQ2VWUHJD,/
'HODQLD2ZHQ$5
)DQJ:HL3DQ7DLZDQ
+\RVDQJ3DUN10DUN3D[VRQ0$
&KULVW\3D[WRQ02
7RGRU3HOHY&$
(PLO\3HWHUVRQ02
.ULVWLQ3IHLIHU)/
$QGUHD3LFDUG0'
-DPHV3RPSD7;
&KULVWLDQH3RUV1<
(PLO\3ULFH0'
5\QH4XLUR]&$
'RQQD5DQGDVK1'
.ULVWL5DVPXVVHQ25
0DU\5HHG.<
'DYLG5HQHDX71
+HLGL5HQ]:$
&RQQLH5LFKDUGVRQ$5
=LQD5LFKDUGVRQ&2
6DYDQD5LFNHU02
-RKQ5LKDQL,1
&\QWKLD5LRV7;
(ULFN5LRV7;
-RVH5LRV7;
&KULVWLQD5RZDQ0,
/DXUD6DFNV1<
'HERUDK6DGDQDQG
10RQLFD6DL]6SDLQ
-DQLFH6DQGHUV0,
.DWLH6DQGHUV19
&RXUWQH\6FKLVOHU.<
6FRWW6HLIULHG9$
0DUJDUHW6HOE\6&
%U\FH6HOLJHU25
'DQLHO6HQGHU0'
&RUQHOLD6H[WRQ&7
&DURO\Q6KDFNHOIRUG
87
-XOLDQQH$QGUHZV,'
7LPRWK\6KLX71
.HYLQ6KXH1<
/DXUD6LIXHQWHV7;
3DXO6LNHV&$
0DULD6LOOV0'
5RGQH\6LPSVRQ,/
/HH6LRZ6&
0RQLFD6PLOH\&2
(OLVDEHWK6PLWK&2
+DQQDK6PLWK&2
.DURQ6PLWK71
5\DQ6QDSS.<
0LFKDHO6WDIIHOGW10
-DPLH6WHLQEHUJ)/
&KXFN6WHSKHQ&2
'L6X1<
.LULND6X]XNL&$
7DPP\7DNDLVKL02
.LD+XL7DQ2+
9DORULH7DWJH2.
$OOLVRQ7D\ORU87
$L:HQ7KLDQ
0DOD\VLD
.DUD7KLERGHDX9$
6DPDQWKD7KUXVK$=
1LFKRODV7REHQ0,
$URQ7RSLHOVNL10DUWLQ7RUFK,VKLL0,
.ULVWHQ7RXUYLOOH$=
7ULVKD7XEEV:$
&DWKHULQH7XUHF.<
'LDQD7XUQHU&$
3DXOD7XUQHU71
$QGUHD8PEHQKRZHU
1<
'DYLG8SKDP1+
6KHULO\Q8UEHQ10
+RZDUG9DQ'HU6OXLV
9$
6DPVXQ9DQ/RRQ&$
$QQD9D\PDQ,1
9LYLDQ9HQWXUD)/
$[HOOH9HUERRQ1(
9LFWRULD9HUJD1<
&ODXGLD9LFNHUV25
(PLO\9RWR1<
-HIIUH\:DOGURS$=
5HEHFFD1HHO\.<
(OL]DEHWK:DOODFH87
%ULWWQH\:DVKDP.<
*HRUJH:DWNLQV.6
$OH[:HEHU0'
5RVHPDU\:HLODQG
7;
6KHD:KHHOHU71
0LUDQGD:KLWH.6
7LPRWK\:KLWH1+
$DURQ:LOEXUQ2+
(GZDUG:LONLQ97
&DWKHULQH:LONLQV$.
0LUDQGD:LOVRQ,'
&KULVWLQD:RKOIRUG
1&
6DUDK:RRG&2
&KLHQPR:X0'
$XEUH\<HK&2
'DQ=KDQJ9$
$QWKRQ\=LHOLQNVNL,/
3KLOOLS=ZHLJ&2
,QVWLWXWLRQDO
0HPEHUV
%HUNOHH&ROOHJHRI
0XVLF0$
0RXQWDLQVDQG6WULQJV
&KDPEHU0XVLF
5HWUHDW,'
3RO\VSULQJ(QWHUSULVHV
&R/WG+RQJ
.RQJ
6WULQJ
,QGXVWU\
&RXQFLO
0HPEHUV
%HUW/LJRQ0XVLF6&
(GXFDWLRQDO6WULQJ
3XEOLVKLQJ0$
)LGGOHVWLFNV
,QWHUQDWLRQDO&$
1RWHDEOH,QF2.
5HQW0\,QVWUXPHQW
FRP.6
5REHUW$PHV//&15R]DQQD
V9LROLQV1<
6FRU1<
ZZZDVWDZHEFRP_
O
3DXO5ROODQG$QG
+LV,QÀXHQFH
"
E\0LPL=ZHLJ
ven though I met Paul Rolland only one time in the early 1970’s, he
remains one of the most influential voices in my teaching. I was a violinist in
the Piedmont Chamber Orchestra in residence at the North Carolina School
of the Arts and because it was not a full time position, I had plenty of time
on my hands.
My ex-husband, Jerry Horner, suggested that I observe Nancy Kredel
(who was a recent graduate of University of Illinois at Urbana-Champaign
and student of Paul Rolland) teach kids in her string program she was beginning in the Winston-Salem school system. Kredel was using the principles
and inspiration of her teacher. Initially, I wondered why go to observe her?
I had no thoughts about teaching; and furthermore, I was not crazy about
kids. After the first day, I was hooked and 40 years later I’m still teaching.
Besides observing Kredel and working as her apprentice, the series of
films, The Teaching of Action in String Playing, changed my life. Here were
the answers to so many questions I had as a 22-year-old: What is the relationship of the body to the violin, how does one shape the left and right
hands, can shifting be learned, and what about vibrato? The weekend I
watched these films changed the course of my relationship to the violin, and
the principles became a major foundation block of both my teaching and
playing.
Rolland had the genius to recognize that what we teach in the first lessons
sets the stage for everything to come. He was one of the first pedagogues
to discuss free physical motions of the body and its importance to playing
musically with technical fluidity. With innovative techniques that he developed, he addressed all the important issues about violin playing: Supporting
the violin and balancing it on the collarbone, geographical understanding of
the finger board, supple bow movements that define the basic bow strokes,
shifting motions and vibrato impulses.
In becoming a teacher, I absorbed information from my teachers, observed master classes, practiced thousands of hours, performed and learned.
I am still learning from my students. It has all been put together in a melting pot and come out as my own recipe.
%
ere are a few things in my teaching that are Rolland-inspired:
O
,QWKHÀUVWOHVVRQWKHDZDUHQHVVRIWKHERG\WRWKH
LQVWUXPHQWLVVHWE\IHHOLQJWKHERG\EDODQFHIURPWKH
IHHWXSZDUG7KH6WDWXHRI/LEHUW\H[HUFLVHGRQHE\
SODFLQJWKHOHIWKDQGLQWKSRVLWLRQRQWKHÀQJHUERDUG
DQGKROGLQJWKHYLROLQDWDGHJUHHDQJOHXSDQGWR
WKHOHIWVWUHQJWKHQVWKHOHIWDUPRI\RXQJYLROLQLVWV2QH
ZLOOUDUHO\VHHWKHOHIWDUPQHVWOHGDJDLQVWWKHERG\
EHFDXVHWKHPXVFOHVKDYHEHHQGHYHORSHG7KHYLROLQLV
SODFHGRQWKHFROODUERQHIURPDERYHDQGZLWKDFLUFXODU
PRWLRQJXDUGLQJDJDLQVWULJLGLW\
O
7KHSODFHPHQWRIWKH´KLJKGRWµGLYLGLQJWKHVWULQJ
OHQJWKLQWRWZRHTXDOSDUWVLVWKHEHJLQQLQJRIWKHJHR
JUDSKLFDOXQGHUVWDQGLQJRIWKHÀQJHUERDUG7KLVFHQ
WUDOGRWSURGXFHVWKHKDUPRQLFRQHRFWDYHDERYHWKH
RSHQVWULQJ%\SODFLQJWKHIRXUWKÀQJHURYHUWKHKLJK
GRWLQWKSRVLWLRQWKHOHIWKDQGLVDOVREHLQJQDWXUDOO\
VKDSHG7KHJHRJUDSK\RIWKHÀQJHUERDUGZLOOODWHU
EHGLYLGHGLQWRWKLUGVDQGÀIWKVZLWKWKHXVHRIQDWXUDO
KDUPRQLFV
O
7KHSODFHPHQWRIWKH´0DJLF;µ,FDOOLWPDJLFEH
FDXVHLWZLOOGLVDSSHDUDIWHUWKHÀUVWKDQGZDVKLQJDW
WKHEDVHRIWKHOHIWKDQG·VÀUVWÀQJHULVDQRWKHUJHR
JUDSKLFDOPDUNHU,QWKHÀUVWOHVVRQVWXGHQWVDUHVOLGLQJ
XSDQGGRZQWKHQHFNRIWKHLQVWUXPHQWVHWWLQJWKH
OLIHORQJPRWLRQVRIÁXLGVKLIWLQJ7KH´;µLVDOVRXVHGWR
VHWWKHOHIWKDQGSRVLWLRQ6OLGHGRZQRQWKH´;µIURP
WKSRVLWLRQWRVWOHDYLQJWKHÀQJHUVUHOD[HGRYHU
3HJ.QRFNHUVUHOHDVHWKHZULVWYLEUDWR:LWKWKH
WKHÀQJHUERDUG([WHQGLQJWKHXVHRIWKH´;µZHFDQ
KDQGLQVWSRVLWLRQUHOHDVHWKHZULVWVRWKDWWKH
FKHFNIRUWKHFRUUHFWEDODQFHRIWKHOHIWKDQGÀQJHUV
NQXFNOHVIDOOEDFNDQGKLWNQRFNWKHSHJV*HQWO\
7KH´;µVKRXOGEHOHYHOZLWKWKHÀQJHUERDUGQRWWRR
NQRFNWKHSHJVLQUK\WKP7KHDUPYLEUDWRFDQEH
KLJKRUWRRORZ7KHPRVWHIÀFLHQWOHIWKDQGSRVLWLRQLV
UHOHDVHGE\VOLGLQJWKHÀQJHUVRQWKHÀQJHUERDUG
RQHZKHUHWKHWKLUGDQGIRXUWKÀQJHUVDUHFRPIRUWDEOH
ZLWKÁH[LEOHNQXFNOHV6OLGHXSWRWKSRVLWLRQZLWK
DQGWKHÀUVWDQGVHFRQGÀQJHUVDUHH[WHQGHGEDFN
WKHÀQJHUEHQWWKHQVOLGHEDFNZLWKLWÁDW5HSHDW
7KHÀQJHUVZLOOUHOD[DIWHUEHLQJSOD\HGDOORZLQJ
RQHDFKVWULQJ+DOI6WHS)LQJHU6OLGHVZLOOKHOS
WKHPWRÀQGWKHLURZQPRVWQDWXUDOSRVLWLRQ
WRUHOHDVHWKHÀQJHUYLEUDWR6OLGHWKHÀQJHUEDFN
DQGIRUWKLQKDOIVWHSVZLWKWKHNQXFNOHEHQWJRLQJ
XSDQGÁDWFRPLQJGRZQ
$VVWXGHQWVGHYHORSWKHLQQRYDWLYHWHFKQLTXHVFRQ
WLQXH/HIWDUPVZLQJVNHHSWKHOHIWDUPIUHHDWWKH
EDOODQGVRFNHWMRLQWDQGDOORZVWKHOHIWKDQGÀQJHUV
O 6RIDUZHKDYHRQO\FRYHUHGWKHOHIWVLGHRIYLROLQ
WRFKDQJHDQJOHIRUHDFKVWULQJ7KLVLQVXUHVFRQVLVWHQW
SOD\LQJ1RZOHW·VWDNHDORRNDWWKHULJKWVLGHDQGWKH
LQWRQDWLRQ7KHIUHHGRPRIPRWLRQIURPWKHEDOODQG
ERZ$OOWKHLQQRYDWLYH5ROODQGWHFKQLTXHVDUHDJDLQ
VRFNHWMRLQWDOVRJLYHVRQHWKHDELOLW\WRVKLIWXSWKH
EDVHGRQWKHFRQVWDQWDZDUHQHVVRIIUHHDQGFLUFX
ÀQJHUERDUGDQGWRNHHSWKHYLROLQDWDJRRGKHLJKW
ODUERG\PRWLRQV7KHIUHHGRPRIPRWLRQEHJLQVZLWK
WKHFLUFXODUPRWLRQRIWKHULJKWKDQGSL]]LFDWRRYHUDOO
VWULQJVDQGWKHFLUFOHWKDWIROORZV,WFRQWLQXHVZLWKWKH
6KLIWLQJLVWKHWUDQVSRUWDWLRQV\VWHPRIWKHÀQJHU
SOD\LQJRIZKROHERZFLUFOHVDQGERZZDQGHULQJV
ERDUG,UHPHPEHUDVDGHYHORSLQJYLROLQLVWWKDWJHW
%HJLQDWWKHWLSRIWKHERZDQGSOD\ZLWKUHOD[HGVPDOO
WLQJRXWRIVWSRVLWLRQZDVDPDMRUDFFRPSOLVKPHQW,W
GHWDFKHERZVXSWRWKHIURJDQGUHWXUQWRWKHWLS5RO
GLGQRWKDSSHQIRUTXLWHDZKLOHDQGWKHQRQO\ZLWK
ODQGZDVYHU\VSHFLÀFDERXWGHÀQLQJERZVWURNHV7KH
WKHWUHSLGDWLRQRIQRWDUULYLQJVXFFHVVIXOO\WRWKHGHV
O
O
LJQDWHGVSRW5ROODQGZDVDEOHWRFODULI\DQGVLPSOLI\
VKLIWLQJ,QDGGLWLRQWRVOLGLQJRQWKH´;µLQUHVWSRVL
WLRQVWXGHQWVLQSOD\LQJSRVLWLRQDUHVOLGLQJVLOHQWO\
XSDQGGRZQWKHÀQJHUERDUGRQLQGLYLGXDOÀQJHUV
WKHQVOLGLQJZLWKWKHERZDQGHYHQWXDOO\VOLGLQJWR
PDWFKKDUPRQLFV:LWKWKHKDUPRQLFVWKHHPSKDVLV
LVDOVRRQWKHOLJKWQHVVRIOHIWKDQGÀQJHUV3OD\LQJ
´$X&ODLUGHOD/XQHµEHJLQQLQJLQVWSRVLWLRQDQG
FRQWLQXLQJXSWKHVFDOHRQRQHVWULQJJLYHVHTXDOHDVH
DQGIDFLOLW\WRDOOSRVLWLRQV
O
$V,JUHZXSWKHVD\LQJZDVWKDWYLEUDWRFRXOGQRWEH
WDXJKWDQGWKRVHZLWKDEHDXWLIXOYLEUDWRPXVWVLPSO\
EHWKHWDOHQWHGRQHV5ROODQGSURYHGWKLVDFFHSWHG
VD\LQJHUURQHRXV7KHNH\WRDEHDXWLIXOYLEUDWRLVWR
UHOHDVHWKHLPSXOVHLQWKHDUPZULVWDQGÀQJHUV(DFK
LQGLYLGXDOZLOOÀQGKLVKHURZQQDWXUDOLPSXOVH+H
DOVRNQHZWKDWWKHYLEUDWRZRXOGQRWÁRZXQOHVVWKHUH
ZDVWKHFRQVWDQWDZDUHQHVVRIWKHUHOHDVHGPRWLRQV
ZLWKLQWKHHQWLUHERG\,QWKHÀUVWOHVVRQVWKHWDSSLQJ
LPSXOVHLVLQWURGXFHGZLWKWKHOHIWKDQGÀQJHUVWDS
SLQJLQUK\WKPVRQWKHOHIWVLGHRIWKHYLROLQ1RWRQO\
GRHVWKLVUHOHDVHWKHYLEUDWRLPSXOVHEXWLWDOVRKHOSV
WRVHFXUHDFRUUHFWSRVLWLRQIRUWKHYLROLQ$QRWKHU
JHQLXVDVSHFWRI5ROODQGLVWRLQWURGXFHRQHWKLQJWKDW
LQGLUHFWO\DIIHFWVDIHZRWKHUWKLQJV+HUHDUHDIHZ
PRUHSUHOLPLQDU\YLEUDWRH[HUFLVHVWKDWDUHLQWUR
GXFHGHDUO\LQDFKLOG·VGHYHORSPHQW
ZZZDVWDZHEFRP_
ULQJWRWKHPDUWHOHLVSURGXFHGE\SXOOLQJWKHVWULQJRQWKHGRZQ
ERZSXVKLQJRQWKHXSERZDQGSURFHHGLQJZLWKWKHZHLJKWRI
WKHDUP7KHGHWDFKHVWURNHLVSURGXFHGZLWKRQHPRWLRQWKH
GRZQERZZKLFKIDFLOLWDWHVWKHXSERZIRUPLQLPDOHIIRUW+LV
WHDFKLQJRIWKHVSLFFDWRVWURNHLVZKDW,XVHZLWKVWXGHQWVRIDOO
DJHVDQGOHYHOV,WEHJLQVZLWKVLOHQWERZERXQFHVDWWKHEDO
DQFHSRLQWRIWKHERZDQGWKHQDGGLQJWKHKRUL]RQWDOPRWLRQ
XVLQJWKHIRUHDUPLQWKHORZHUKDOIRIWKHERZPDLQWDLQLQJWKH
´ERXQF\µIHHOLQJ
O
7KHFRQWHPSRUDU\UHSHUWRLUHWKDWGHYHORSHGZLWKWKH5ROODQG
3URMHFWPDGHDPDMRULPSDFWRQRXUH[SHFWDWLRQVRIZKDWZH
WKRXJKW\RXQJVWXGHQWVZRXOGDFFHSWDQGXQGHUVWDQG<RXQJ
VWXGHQWVZHUHSOD\LQJSLHFHVKRWRIIWKHSUHVVDQGORYLQJWKHP
,Q7KH1HZ7XQHVIRU6WULQJVE\6WDQOH\)OHWFKHULQZKLFK5RO
ODQGUHTXHVWHGVKRUWSLHFHVIRUVSHFLÀFWHFKQLTXHVZHKDYH
DJROGPLQHRIVRSKLVWLFDWHGPXVLFIRUWKHEHJLQQLQJVWULQJ
VWXGHQW7KHVHSLHFHVLQFOXGHKDUPRQLFVVOLGLQJKDUPRQLFVSL]
]LFDWRLQWHUHVWLQJLQWHUYDOVFDWFK\WXQHVIURPDURXQGWKHZRUOG
³DOORIZKLFKVWUHWFKWKHWHFKQLFDOERXQGDULHVRIWKHVWXGHQWLQ
DORJLFDOPDQQHU
Paul Rolland remains a major contributor to string education because he had
a vision of violin development from the
beginning to the artist level. To teach
at the advanced levels, it is extremely
helpful to understand from where we
have come. All problems, regardless of
how complicated, can be broken down
into the simplest elements and solved
with enough repetitions. All these
years later, the Rolland legacy lives on
through my students.
0LPL=ZHLJLVFXUUHQWO\D
SURIHVVRURIYLROLQDQG
GLUHFWRURIWKH,QGLDQD
8QLYHUVLW\6WULQJ$FDGHP\
6LQFHVKHKDVGHYHO
RSHGSUHFROOHJHVWULQJ
SURJUDPVDFURVVWKH8QLWHG
6WDWHV6KHKDVJLYHQPDVWHUFODVVHVDQG
SHGDJRJ\ZRUNVKRSVLQWKH8QLWHG6WDWHV
0H[LFR&DQDGD,VUDHO-DSDQDQG(XURSH
6KHKDVUHFHQWO\SURGXFHG6WULQJ3HGDJRJ\
FRPDQLQQRYDWLYHZHEEDVHGWHDFKLQJWRRO
,QWKHVSULQJRI$PHULFDQ3XEOLF
7HOHYLVLRQUHOHDVHGWKHGRFXPHQWDU\´&LUFOLQJ
$URXQG7KH9LROLQ9LUWXRVLµZKLFKIHDWXUHV
6WULQJ$FDGHP\VWXGHQWV+HUVWXGHQWVKDYH
ZRQQXPHURXVFRPSHWLWLRQVDQGWKH\WHDFK
DQGSHUIRUPZRUOGZLGH
2UGHU\RXUFRS\RIWKH
6WULQJ5HVHDUFK-RXUQDO
DYDLODEOHQRZIURP$OIUHG
0XVLF3XEOLVKLQJ
ZZZDOIUHGFRPDVWD
ZZZDVWDZHEFRP_
The Tardy Recognition of
J.S. Bach’s
Sonatas and Partitas
for Violin Solo
E\'L6X
Introduction
J. S. Bach’s Sonatas and Partitas for Violin Solo (BWV 10011006) are among the most important masterpieces in the literature of violin music.1 They are included in standard repertoire
for serious violin students; they are frequently performed in solo
recitals; they are recorded by numerous virtuosi; and they are required in major violin competitions. The vast amount of editions
also indicates the importance of the works. In Edlund’s catalogue,
one finds as many as 77 editions ranging from Simrock (1802) to
Henle (1987).2
However, the violin solos did not enjoy such a prominent
status in Bach’s own time, and even in the rest of the 18th century. They were completed by 1720, though the first complete
edition did not appear until 1802. The earliest known public performance took place in 1840 by Ferdinand David; the first partial
recording by Joseph Joachim in 1903; and the first complete set
recorded in 1933-34 by Yehudi Menuhin.The solos received little
attention during the 18th century, according to the history of
publication and performance. It is often wondered why the works
did not gain recognition for such a long period of time. Despite
much research, no conclusion has been reached due to the lack
of evidence. In this respect, this one is no exception. The purpose
of this article is to help violin students understand the works
more fully by familiarizing the solos from the angles other than
performing techniques in the light of current knowledge.
Possible purpose of composing the solos
Bach clearly stated his purpose on some of his works from the
Cöthen period, during which he wrote the solos. For example, he
dedicated Six Concertos with Several Instruments (1721) to Christian Ludwig, Margrave of Brandenburg, hence the better-known
title Brandenburg Concertos. He wrote Clavier-Buchlein for W.
F. Bach (1720) and the first volume of The Well-Tempered Clavier
(1722) for his son’s piano study. But Bach gave no indication in any
way of the purpose of writing the solos and 300 years later Bach’s
motive of composing them still remains an unsolved mystery.
It has been suggested that Bach wrote these pieces for a
certain virtuoso, most probably for the violinist Johann Georg
Pisendel of Dresden who studied violin with Torelli and Vivaldi. As an established German violinist, Pisendel was used to
playing pieces for unaccompanied violin and he wrote a Sonata
for Unaccompanied Violin (dated 1716), which bears a typical
German tradition. It was probably in 1717 when Pisendel played
his own Unaccompanied Sonata for Bach, “who may have written
his solos with Pisendel’s performance in mind.”3 It would not
be unusual that Bach wrote the solos for Pisendel because other
notable contemporary composers also dedicated works to him,
including Tomaso Albinoni, Antonio Vivaldi and Georg Philipp
Telemann. One of the supporting comments states that Pisendel
owned a hand-written copy of Bach’s solos.4 Regrettably, Schwarz
offers no detailed explanation as well as the original source of the
evidence to convince the reader that the solos were indeed written for Pisendel. Other possible candidates of receiving the solos
might include Prince Leopold; Volumier of Dresden, a well-known
French violinist; and Joseph Spiess, the court Konzertmeister of the
Cöthen orchestra. However, these are no more than assumptions
that cannot be confirmed due to the lack of original evidence.
Another possibility would be that the solos were written for
pedagogical purposes, serving as study pieces, since the title page
of the first complete edition indicates so. In fact, the rapid string
crossing passages in the Preludio of Partita No. 3 in E Major are
a fine example of a perpetual motion exercise. Bach wrote a good
number of teaching pieces during Cöthen period, most notably
Clavier-Buchlein for W. F. Bach and The Well-Tempered Clavier. He
was a teacher “with an urge born of the Lutheran duty to instruct
and demonstrate to others.” His goal of teaching, as stated on the
title page of the Inventions, is to make a musician who possesses
not only good inventions [ideas] but also the ability to “develop”
them. His teaching method, therefore, involves a systematic training with all the possibilities imaginable. The material in the solos is
actually “sufficient for a whole course of musical education.” Williams summarizes, “The solo works can serve two purposes: (a) to
stretch the player, that is to train the performer and (b) to provide
compositional models, that is to train the composer.”
In his early days in Cöthen, Bach was not impressed by the
orchestra players. As Apps described, “with only a nucleus of
capable performers, the rest being the wretched ‘town musicians’
of whose incompetence he is known to have complained.”10 He
might try to improve the quality of his orchestra by providing advanced study pieces to the players. We also know that Bach taught
violin in Cöthen. One of his violin pupils, Johann Schneider, later
joined Bach’s Cöthen orchestra.11
Senza Basso Accompagnato on the title page of the manuscript
indicates that the solos should be performed “without bass accompaniment.” It was certainly not a popular way of performing
in the Baroque period, but it was a common form of practice
for violin pupils. As Forkel observes: “For a long series of years,
the violin solos [of J. S. Bach] were universally considered by the
greatest performers on the violin as the best means to make an
ambitious student a perfect master of his instrument.”12
It seems that Bach might have written the solos with a chief
focus on advanced violin studies, while giving little consideration
for public performance, as the history of the solos performance
reveals. In a letter to Forkel in 1774, Carl Philipp Emanuel Bach
represents a popular view on the solos: “One of the greatest
violinists told me once that he had seen nothing more perfect for
learning to be a good violinist, and could suggest nothing better
to anyone eager to learn, than the said violin solos without bass.”
Comments as such were so influential that the pieces had long
been regarded as advanced studies, which were more suitable for
teaching than for performing. This belief is evident in several
early editions. For example, the solos were titled “Studies” in the
very first complete edition of 1802. Also, David’s edition of 1843
kept “Studies” in the subtitle and added direction Zum Gebrauch
bei dem Conservatorium de Musik zu Leipzig [For the Use by the
Conservatory of Music in Leipzig].13
Writing style of the solos
In the 18th century, violin repertoire was dominated by the Italian school led by Arcangelo Corelli (1653-1713), Antonio Vivaldi
(1678-1741) and Giuseppe Tartini (1692-1770). Music style
became more melodic and soloistic as we see in Vivaldi’s Four
Seasons. Bach was certainly influenced by the Italians as reflected
in his violin concertos (BWV 1041, 1042, 1043). But Bach’s
music originality came from the German school, which is famed
for polyphonic playing.
The polyphonic style of playing the violin was well developed
in Germany by the end of the 17th century as the continuation of
ZZZDVWDZHEFRP_
the German violin tradition. The German school of violin playing
achieved the technique of making a single violin self-sufficient, i.e.
without an accompaniment by other instruments. In the early 18th
century, when the Italian school became dominant, this polyphonic
style not only continued in Germany but also expanded its influence to France and even Italy. Bach kept this tradition alive by
reaching the culmination with the creation of the solo works.
The genre of unaccompanied violin solos can be traced back
to the late 17th century. Heinrich Biber (1644-1704) published
his Passacaglia for unaccompanied violin solo in 1681. Johann
Paul von Westhoff (1656-1705), a violinist at the Weimar Court
when Bach was first appointed there in 1703, published Saus basse
continue [The Suite for Unaccompanied Violin] in 1682 and Six
Suites for Violin Solo in 1696. Thomas Baltzar (1630-1663) composed Two Preludes and an Allemande, which was included in
The Division Violin by John Playford in 1685, the year Bach was
born. In terms of performance, virtuosi Johann Jakob Walther
(1650-c1717), Westhoff and Pisendel, among others, were well
known for the fashion of violin solo without accompaniment.
Bach would certainly have known some, if not all, of these works,
and might have become interested in writing the same type of
music himself. At the end, Bach’s solos far surpassed the rest of
them in both technique and musical interest.
It is often wondered how Bach, whose principal instrument
was the organ, could have written compositions for the violin in a
most complex way as shown in his solos. When we think of Bach
as a performer, we usually regard him as a master of keyboard
instruments. But in fact, Bach was also an accomplished string
player. His status as a violinist was overshadowed by his own fame
as an organist. Violin playing was part of Bach’s family heritage.
Both his father and grandfather were successful violinists.14 Bach’s
first musical impressions were cultivated by his father, Johann
Ambrosius Bach, who taught him how to play the violin and
other stringed instruments.15 Bach’s first professional post was
court violinist in the chamber orchestra of Duke Johann Ernst
of Weimar.16 In 1714, Bach became Konzertmeister in Duke’s
orchestra. In a letter to Forkel in 1774, C.P.E. Bach describes his
father’s abilities as a string player:
,QKLV\RXWKDQGXQWLOWKHDSSURDFKRIROGDJHKHSOD\HG
WKHYLROLQFOHDQO\DQGSHQHWUDWLQJO\DQGWKXVNHSWWKH
RUFKHVWUDLQEHWWHURUGHUWKDQKHFRXOGKDYHGRQHZLWKWKH
KDUSVLFKRUG+HXQGHUVWRRGWRSHUIHFWLRQWKHSRVVLELOLWLHVRI
DOOVWULQJHGLQVWUXPHQWV7KLVLVHYLGHQFHGE\KLVVRORVIRUWKH
YLROLQDQGIRUWKHYLRORQFHOORZLWKRXW>DFFRPSDQ\LQJ@EDVV17
Bach was known as an expert in organ construction. But
he was also knowledgeable in stringed instruments. He even
made changes in their shapes and built them to suit his needs.
His invention of viola pomposa shows his deep understanding of
stringed instruments.18 Although little is known about Bach as a
violinist, it is reasonable to assume that he must have thoroughly
studied the technique of the instrument, or he would not have
written the pieces in the way he did. As Lester points out, “Only
a composer who knew intimately how violin technique works
– who could think compositionally as a violinist – could have
crafted such perfect solo-violin music.”19 The comprehensiveness
and encyclopedic nature earned the solos the place as the Bible of
the violin music literature.20
In Bach’s organ music writing, we see the heavy use of con_$PHULFDQ6WULQJ7HDFKHU_0D\
trapuntal texture, the prolonged pedal suspensions, and the large
schemes of harmony. He applied all of these to the solos with unprecedented violin technicalities. He displayed, especially in fugue
movements, his magic skill of writing “melodic polyphony.” That
is, where several voices are implied in one melodic line. As Forkel
observes: “So remarkable is Bach’s skill that the solo instrument
actually produces all the notes required for complete harmony,
rendering a second part unnecessary and even impossible.”21 Schweitzer has a similar impression. He writes: “We hardly know what
to admire most - the richness of the invention, or the daring of the
polyphony that is given to the violin. The more we read, hear and
play them, the greater our astonishment becomes.”22
An important aspect of Bach’s compositional procedure in
the solos is its encyclopedic scope. For example, the gigantic 64
interconnected variations, a total of 256 measures in a minormajor-minor tripartite structure, in the famous Chaconne from
Partita No. 2 in D Minor are developed from a mere four-measure
bass progression pattern. Bach aims at not only following, developing and exhausting specific principles of composition, but also
breaking through the technical limitations of the instrument. At
the end, his imagination triumphs over reality. The solos “represent the victory of the spirit over material limitations,”23 concludes
Leopold, one of the greatest violin pedagogues in modern time. Of
Bach’s mastery in composition, Johann Mattheson comments:
2QHRIWHQÀQGVWKHPRVWH[FHOOHQWZRUNLQJVRXWXSRQWKH
IHZHVWQRWHVRUVKRUWHVWIXJXHVXEMHFWVDOPRVWDVWKHEHVWVHU
PRQVFDQEHPDGHRQWKUHHRUIRXUZRUGVRIWH[W:KRZRXOG
EHOLHYHWKDWWKHVHHLJKWVKRUWQRWHVZRXOGEHVRIUXLWIXODV
WREULQJIRUWKDFRXQWHUSRLQWRIPRUHWKDQDZKROHVKHHWRI
PXVLFSDSHUZLWKRXWXQXVXDOH[WHQVLRQDQGTXLWHQDWXUDOO\"
Performing and teaching the solos
The unconventional writing style makes the solo works difficult
to play. They present the player some of the greatest challenges to
deal with in the whole range of violin technique. It is not uncommon for a performer to produce some unpleasant tone in chords or
poor realization of polyphonic lines. “No one ever conquers them,”
declared John Holloway, one of the world’s leading Baroque violinists.25 The highly challenging technique for performing the solos has
brought a viewpoint which states “either the art of violin playing of
his time must have been extraordinarily perfected, or Bach thought
far in advance of his time in this as in all other pieces.”26
Interestingly enough, despite advances made in the technique
of violin playing since the Baroque period, the music of the solos
appears to become even more difficult to play for the modern
violinist than the one in the 18th century. This might be the
consequence of the birth of the concave Tourte bow at the end
of the 18th century and various types of modern bows thereafter,
as well as the higher and more curved modern bridges. Together,
these modifications make the bowing of multiple stops harder to
manage. With this background, J.B. depicts with his imagination:
7KH*HUPDQYLROLQLVWRI%DFK·VGD\FRXOGWKXVVWUHWFKWKH
KDLUVWLJKWHURUUHOD[WKHPDVKHOLNHG&KRUGVWKDWWKHYLU
WXRVLRIWRGD\FDQRQO\SOD\ZLWKGLIÀFXOW\DQGZLWKRXWDQ\
EHDXW\RIHIIHFWE\WKURZLQJWKHERZEDFNRQWKHORZHU
VWULQJVJDYHKLPQRWURXEOHDWDOOKHVLPSO\ORRVHQHGWKH
KDLUVDOLWWOHVRWKDWWKH\FXUYHGRYHUWKHVWULQJV27
The difficulty of playing the solos on a modern violin led to
the invention of a so-called Bach bow, or Vega (arched) bow in
the 20th century. The Bach bow is a bow with a very high arch
- about four or five inches separating the bow stick and the hair
at the highest point. With a mechanical lever controlled by the
thumb, the player can tighten the hair at will to play on individual strings; or he can loosen the hair to encompass all the strings,
thus sustaining multiple stops continuously.28 The Bach bow was
created to play the solos as precisely as written. That means the
multiple voices are to be fully realized and sustained, as polyphonic lines require. Consequently, the Bach bow produces sound
more like an organ and less like a violin because of the increasing
number of overtones during the course of playing.29 Although
the conception that the multiple voices in the solos ought to be
sustained as precisely as written is arguable, the invention of the
Bach bow reflects a fact that the modern violin is less capable
of mastering the solos than the Baroque one due to the historical features of the instrument. Some modern violinists seem to
confirm this perception.30
In teaching the solos, there are various opinions among
teachers, most notably on whether they should be played in the
historical style of Bach’s day (thus no spiccato, for example), or
whether they should be reformed to fit the modern taste, technique and the instrument. It remains a controversial issue that
may never have a conclusive answer.
It seems to be wise to ask the following questions before assigning the pieces to a student:
1) Is this student technically and musically ready for the challenge? This includes a total technical control of both hands, as
well as a thorough understanding of polyphonic music. Due to
the complex nature of the solos, it is difficult for some grading systems to determine in which level they should be placed.
For example, they are not listed in Graded Music Examination
Syllabuses (eight grades in total) by the Associated Board of the
Royal Schools of Music in United Kingdom.31 But some guidelines do exist. The ASTA String Syllabus (six grades in total)
suggests students begin to study the solos in the fifth grade.32
2) What is the purpose of studying the pieces? Is it for technical training, music style study, audition, competition or recital?
A different purpose will result in a different focus of study. For
example, Carl Flesch’s edition with a reprint of the original score
is suitable for style study, while Maxim Jacobsen’s study edition
might be more practical for training purpose.
Conclusion
From the historical background we see that Bach’s official duty in
Cöthen and personal friendship with Prince Leopold granted him
more freedom in writing music than he had been given in Weimar. His creative attempt was focused on secular, instrumental
music. His music seems to be in free spirit, serving the purposes
of both private thoughts and universal potential without being
confined to the musical life of the local community.
The neglect of the solos was probably caused by the complex
writing style, particularly “the anti-violinistic polyphonic texture,”33 which was uncommon in violin music writing. Geiringer
connects Bach’s polyphonic writing for the violin with the artistic
conceptions of the Baroque era:
$WWKDWWLPHWKHZDOOVRIKRXVHVZHUHRFFDVLRQDOO\GHFR
UDWHGZLWKSDLQWLQJVVLPXODWLQJYLVWDVRIZLGHFRORQQDGHV
DQGIRUPDOJDUGHQV6XFKHPEHOOLVKPHQWVUHTXLUHWKH
ZRUNLQJRIWKHLQQHUH\HMXVWDVWKHLPSOLHGSRO\SKRQ\DQG
ULFKKDUPRQLFWH[WXUHLQ%DFK·VFRPSRVLWLRQVUHTXLUHWKH
FRRSHUDWLRQRIWKHLQQHUHDU
The solos, therefore, are “difficult to understand. It may be
hard to receive into the soul.”35 “Bach never can nor shall become
truly popular;” the reviewer of Ressel’s 1845 edition of the solos
with piano accompaniment said, “but he always will win that part
of the public to whom the conception of art stands higher than
bare sense-stimuli (Sinnenreiz), and this public is truly cultured.”36
The neglect could be also attributed to the unpopular performing
form, a fact that might explain the creations of various piano accompaniments, as well as several transcriptions for other instruments or a group of instruments, that are naturally more capable
than the solo violin in managing polyphonic lines.37 Indeed, early
performances of the solos were usually accompanied by a piano.
A concert review on Ferdinand David’s performance of the solos
expresses such necessity for the audience: 38
:HPXVWUHPDUNDWWKLVSRLQWWKDW'U0HQGHOVVRKQ%DU
WKROG\DFFRPSDQLHGERWKSLHFHV>WKH&KDFRQQHDQGWKH
3UHOXGHLQ(PDMRUIURPWKHWKLUG3DUWLWD@RQWKHSLDQRIRUWH
WKURXJKDIUHHUHDOL]DWLRQRIWKHKDUPRQ\FRQWUDSXQWDO
LQGHVLJQ7KHVH%DFKLDQVRORSLHFHVDUHMXVWWKDWRULJL
QDOO\ZULWWHQIRUYLROLQDORQHZLWKRXWÀJXUHGEDVVDQGVR
SULQWHG1RZWKLVLVÀQHIRUPXVLFLDQVZKRDVVXFKDUHLQ
WKHSRVLWLRQWRSHUFHLYHDQGWRMXGJHWKHKDUPRQLFGLUHFWLRQ
DQGDUWLVWLFZRUNPDQVKLSIRUWKHPVHOYHVDWWDLQLQJFRPSOHWH
XQGHUVWDQGLQJRQO\WKHSXEOLFUHTXLUHVDQDGGLWLRQDOKHOS
DFRPPHQWDU\VRWRVSHDNWKDWFODULÀHVWKHZKROHDQG
IDFLOLWDWHVXQGHUVWDQGLQJ
The solos had been far from popular in Bach’s own time,
and then remained a hidden treasure during the 18th century.
They represent music for music’s sake with much more profound
expressions than the public needed or was accustomed to listening
to. The appreciation of the solos, therefore, requires not only a
high level of technical proficiency from the performer, but also
more than average receptivity from the audience. The solos simply
might have been too highbrow to be popular in Bach’s own time.
Notes
1
In his autograph score, Bach uses ‘Solos’ on the title page. The term ‘Solos’ will be borrowed
for this article.
2
Harry Edlund, Music for Solo Violin Unaccompanied: A Catalogue of Published and Unpublished Works from the Seventeenth Century to 1989 (High Wycombe, England: Peter
Marcan Publications, 1989), 3-4.
3
The New Grove Dictionary of Music and Musicians (London: Macmillan, 1980), xiv, 775.
4
Boris Schwarz, Bach: Sonatas and Partitas for Solo Violin (Germany: Deutsche Grammophon, 1975), CD liner notes, 13.
5
Although, the later discovered manuscript in early twentieth century shows that actually
Bach himself did not use the word ‘studies’ on the title page. We do not know whether
it was the publisher’s misunderstanding of the nature of the compositions, or it was a
reflection of a popular public view to the Solos at that time.
6
Peter Williams, J. S. Bach: A Life in Music (Cambridge: Cambridge University Press, 2007),
140.
7
The title page is included in Hans T. David and Arthur Mendel, The Bach Reader: A Life of
Johann Sebastian Bach in Letters and Documents (New York: W.W. Norton & Company,
1966), 86.
8
Homer Ulrich, ‘The Nationality of Bach’s Solo-Violin Partitas’, Paul A. Pisk: Essay in His
Honor, ed. John Glowacki (Austin, Texas: University of Texas, 1966), 100.
9
Williams, J. S. Bach, 140.
10
Howard Llewellyn Apps, ‘Bach and the Violin’, The Strad 72, no..858 (October 1961), 209.
11
Jeffrey Pulver, ‘Johann Sebastian Bach As Violinist’, The Monthly Musical Record (February
1, 1926), 36.
12
David and Mendel, 346.
13
Ibid., 277.
ZZZDVWDZHEFRP_
14
Karl Geiringer, Johann Sebastian Bach: The Culmination of an Era (New York: Oxford University Press, 1966), 306.
Karl Geiringer, The Bach Family: Seven Generations of Creative Genius (London: George Allen & Unwin Ltd, 1959), 120.
Friedrich Blume and Wilburn W. Newcomb, ‘J. S. Bach’s Youth’, The Musical Quarterly 54, no.1 (January 1968), 14. See also, Jan Chiapusso, Bach’s World (Bloomington, Indiana: Indiana
University Press, 1968), 59.
17
David and Mendel, 277.
18
There is a debate on whether or not Bach actually invented it. See Francis W. Galpin, ‘Viola Pomposa and Violoncello Piccolo’, Music & Letters 12, no 4 (October 1931), 354-364. See also,
Arthur Mendel, ‘More for “The Bach Reader”’, The Musical Quarterly 36, no.4 (October 1950), 501-502.
19
Joel Lester, Bach’s Works for Solo Violin: Style, Structure, Performance (New York: Oxford University Press, 1999), 10.
20
Laurence Vittes and Rachel Podger, ‘Towering Titans’, Strings 21, no.6 (January 2007), 51.
21
Johann N. Forkel, J.S. Bach: His Life, Art, and Work (London: Constable & Company Ltd., 1970), 83.
22
Albert Schweitzer, J.S. Bach (New York: Dover, 1966), 387.
23
Leopold Auer, Violin Master Works and Their Interpretation (New York: Carl Fischer, 1925), 21.
24
The author refers to the fugue subject of Sonata in A Minor, BWV 1003. David and Mendel, 230.
25
Vittes and Podger, 47.
26
A. Haupt, ‘Ciaccona 3 Sonate no 2. per il Violino solo, composta da Joh, Seb. Bach. Per il Violino con Accompagnamento di Pianoforte ed. du F. W. Ressel. Berlino, presso Ad. Mt. Schlesinger’, Caecilia, 25 (1846), 103. [English translation taken from Sevier, Zay D. ‘Bach’s Solo Violin Sonatas and Partitas: the First Century and a Half ’, Bach 12, no.2 (1981), 16.]
27
Schweitzer, 389.
28
For a photograph of ‘Bach bow’, see David D. Boyden, The History of Violin Playing from its Origins to 1761 (New York: Oxford, 1990), Plate 40a, ‘The modern Bach bow’. Images of the
“Vega Bach Bow” are available online at <http://www.baroquemusic.org/barvlnbo.html>. [Accessed August 20, 2010].
29
Emil Telmányi recorded all six Solos with the ‘Bach bow’ in 1953 and 1954 (Copenhagen: Danacord, 1984; New York: Distributed by Qualiton Imports, 1984; London Records, 1955).
30
Vittes and Podger, 51.
31
“Complete Syllabus, Violin.” Graded Music Examination Syllabuses. Associated Board of the Royal Schools of Music. <http://www.abrsm.org/resources/violinSyllabusComplete08.pdf>. (Accessed: August 20, 2010).
32
String Syllabus Vol. 1: Violin, Viola, Cello, Double Bass, Ensembles, ed. David A. Littrell (Urbana, Ill.: The American String Teachers Association, 1997), 14.
33
Frederick Neumann, ‘Some Performance Problems of Bach’s Unaccompanied Violin and Cello Works’, Eighteenth-Century Music in Theory and Practice: Essays in Honor of Alfred Mann, ed.
Mary Ann Parker (Stuyvesant, New York: Pendragon Press, 1994), 20.
34
Geiringer, Johann Sebastian Bach, 307.
35
Eva Grew and Sydney Grew, Bach (New York: Pellegrini and Cudahy, 1949), 88.
36
A. Haupt, 104. [English translation taken from Sevier, Zay D., 16.]
37
The famous Chaconne, for example, has been arranged with several types of piano accompaniment by F.W. Ressel (1845), F. Mendelssohn (1847), R. Schumann (1853), and F. Lux (1863); and
transcribed for piano solo by more than a dozen composers; among them F. Busoni’s transcription (1893) is the most famous. C. Reinecke published his arrangement for piano four-hand (between 1865-1874); and J. Brahms transcribed it for piano left-hand (1878). Transcriptions for other instruments include for organ by W. T. Best (ca., 1850) and O.H. Messerer (1909) among
several; for harpsichord by L. Mortensen (2002, in A minor); for guitar by A. Sinopoli (1922) and A. Segovia (1935); for piano trio by B. Todt (1909); for two violins by F. Hermann (1887); for
string quartet by M. Herz (1912); and for orchestra by L. Stokowski (1930). For more details, see Georg Feder, ‘History of the Arrangements of Bach’s Chaconne’, The Bach Chaconne for Solo
Violin: A Collection of Views, ed. Jon F. Eiche (Bloomington, Indiana: Frangipani Press, 1985), 41-61.
38
The performance took place on the 14th of February 1840 in Leipzig, and it was the first documented public performance of the Solos.
39
Gottfried Wilhelm Fink, ‘A Concert Review’, The Bach Chaconne for Solo Violin: A Collection of Views, ed. Jon F. Eiche (Bloomington, Indiana: Frangipani Press, 1985), 63.
15
16
'L6XVWXGLHGYLROLQDW7KH6KDQJKDL&RQVHUYDWRU\RI0XVLFDQGKHOGDIDFXOW\SRVLWLRQDWWKH&RQVHUYDWRU\+HHDUQHGD
PDVWHU·VGHJUHHLQYLROLQIURP7KH8QLYHUVLW\RI&RQQHFWLFXWDQGDPDVWHU·VGHJUHHIURP:HVW9LUJLQLD8QLYHUVLW\+LVPDLQ
LQWHUHVWVDQGÀHOGVRIUHVHDUFKLQPXVLFLQFOXGHYLROLQUHSHUWRU\DQGVWULQJSHGDJRJ\&XUUHQWO\KHLVDVVRFLDWHSURIHVVRULQ
/LEUDU\6FLHQFHDW<RUN&ROOHJHRIWKH&LW\8QLYHUVLW\RI1HZ<RUN+LVELRJUDSKLFDOHVVD\VRQVHYHUDO$PHULFDQPXVLFLDQV
LQFOXGLQJ%LOO\9DXJKQ(ULFK/HLQVGRUI:LOOLDP6FKZDQQ-RKQ&DJH1DGLQH&RQQHUDQG6DUDK&DOGZHOOKDYHDSSHDUHGLQ
7KH6FULEQHU(QF\FORSHGLDRI$PHULFDQ/LYHV
'HYHORSLQJ&ULWLFDO
7KLQNLQJDQG
$VVHVVPHQWLQ
0XVLF&ODVVURRPV
by Maria Stefanova
The increased importance and emphasis on standardized testing have affected the
classroom expectations for music educators. More and more music teachers are
asked to incorporate reading and writing into their curriculum. Since many
public schools in the United States are having difficulties meeting testing
standards, it is important for all teachers to be involved in reading and
writing skills for their students.
The purpose of this article is to provide information that will
bridge the gap between teaching music and teaching literacy to students.
It will show how to use music for improving comprehension skills and
active thinking by using writing strategies. This not only gives teachers
a powerful tool in assessment but proves the importance of their music
programs and its integration into the school curriculum. It will also give
strategies that teachers can use to incorporate literacy skills without having
to sacrifice music instruction time.
This article introduces five classroom strategies that can be used by
music teachers to not only strengthen music instruction, but also to develop
active thinking and assessment tools in the music classroom. All of these strategies encourage student engagement in the learning process and provide excellent
feedback to the teacher. They also provide students with the freedom to express
their thoughts. The first one could be used as an excellent assessment tool prior
to instruction, while the second one can be effectively used to assess the instruction at the end of a lesson. The last three strategies are meant to
add on the music instruction while performing concerts and inviting
guest clinicians.
,QWHUHVW6XUYH\VDQG4XHVWLRQQDLUHV
Using surveys and questionnaires in the classroom are an excellent
way to gather information about student interests, background,
needs, and struggles. This information is important for primary
assessments, especially when working with new students. I suggest interviewing the students at the beginning of each school
year to get to know them better. When asking for personal
information or opinion, it is always more effective if the questions
are provided in written form. This way, the students have more time
to think about the answer in a less threatening environment that oneon-one questioning might provide. It also provides reference information
for future use if needed. Interest surveys or questionnaires provide invaluable
ZZZDVWDZHEFRP_
information for the teacher about what motivates students, and
how the curriculum could be geared toward students’ needs. This
is especially important for elective teachers, where the students
“choose” to be in the class. Music teachers must always know
what their students are interested in and use this information
when planning for instruction in order to develop and retain a
successful program. As Gerald Graff suggests in his book, Clueless
In Academe, ... “we need to tap into students’ hidden intellect
(Graff, pp 222) by discovering their subculture and addressing
it through our instruction. Then, we need to find the way to
teach students the connection between their daily life and their
academic thought. Questioning students is a first step to tapping
into the students’ natural resources, or intellect.”
When you question your students, it provides the necessary
information to be sensitive to diverse backgrounds, interests,
and needs. This is why it is so important: it shows students that
their background is important to the teacher and the classroom.
It also empowers the students to have a choice in their learning
process.
([LW7LFNHWV
Another effective tool for teachers, the use of exit tickets, is a
strategy where the teacher creates a question(s) that the students
need to answer at the very end of class. Students are told that
answering the exit ticket question is their “ticket out the door.”
The questions usually help students to think and then summarize
what they learned during class. Questions should also encourage critical thinking or opinion about the lesson. This strategy
promotes higher order thinking for the student by summarizing
their thoughts on paper. This is a great strategy because it doesn’t
use a lot of classroom instruction time. However, within this
short timeframe, the teacher obtains critical feedback about the
effectiveness of the lesson and students’ thinking. Exit tickets are
an excellent assessment strategy. They also provide the students
with the opportunity to gather their own thoughts and actively
think at the end of the lesson.
The purpose of the exit ticket strategy is for students construct their own knowledge and thought process, instead of the
teacher simply providing the information. “Questions open the
mind; statements close it.” (Sprunger, pp 86). It is important to
students that they are actively involved in getting the information.
It is also important for the teachers to guide critical thinking with
the right questions.
Asking a question instead of giving the answer is also an
important concept of the Suzuki philosophy in music education. Suzuki developed a system of teaching a musical instrument
imitating the natural way children acquire their native language.
One of the major ideas of Suzuki was to ask instead of telling the
students what to improve. Through guiding each violin lesson
with questions, Suzuki was able to bring very young students to
an exceptional level of playing their instrument. These ideas could
be very well applied to a regular classroom with great success.
5HVSRQVH:ULWLQJ
Music classes provide excellent opportunities for using response
writing after music festivals, concerts, school-related performances, etc. Writing immediately after an educational event requires
students to engage in interpretive and evaluative thinking. This is
easily done by asking students to do a quick writing activity.
Additional Materials
Sample Questions for Student Questionnaires:
•
•
•
•
•
Do you have your family’s support to play an instrument?
What type of music do you listen to at home?
How much do you practice at your house?
Which musical piece makes you practice the most?
What is the most difficult/easy thing for you to do in
orchestra?
Sample Questions for Exit Tickets:
• We have spent the class talking about music dynamics. Why
are dynamics important in music?
• Today we have been discussing teamwork. Explain why is it
important to listen to the other players in orchestra?
Sample Quick Write Essay Assignments:
• Assessment of playing mastery and reflection We will have
a "playing quiz." Everyone will have to perform a passage
from the piece of music at the front of the classroom.
Based on our lesson on providing critical feedback, write a
one-minute essay critiquing your own performance. Write
about areas that you have learned well, and areas that need
improvement. Remember to be specific!
• Write a one-minute essay summarizing your experiences
at the final concert. What did you enjoy, and what do you
think needed improvement?
Ask them to take one-to-10 minutes to summarize their thoughts
about their concert experience and what they learned. With this
type of assignment, students should be given the freedom to
express themselves in a free form of writing. When doing a quick
writing activity, the emphasis is on content and expression, and
not so much on grammar and text structure.
A teacher may also choose to create a more structured writing
response activity. In this case, the students need specific directions
such as length, questions to be answered, and text structure. You
may also want to provide samples of what is expected.
Response writing can be used as an assessment tool because it
reflects a student's view of the event and provides documentation. The writing also shows the thought process, which can be
analyzed and compared.
In my classroom, I collect all written responses during the
school year. I have found that using writing assignments after
music events to be invaluable when presenting the effectiveness
of my classroom to administration. When administrators attend
a concert, they may not understand the process in teaching
music with relationship to the final product. By providing writing samples from students, the thought process after the concert
provides documentation of student self-assessment. This is more
proof of students’ work in your class, and it is what administrators
are familiar with and relate to better.
*XHVW$UWLVWV
Music educators often invite other professionals as guests to their
music classroom. Having a clinician or a guest presenter can be a
great opportunity for students to develop their critical thinking
skills. It is also a great way to incorporate some writing into the
curriculum. Very often, students have lots of questions for the
guest but they may not feel comfortable asking them in front of
the class. A simple sheet for them to write their questions could
be helpful for both the students and the guest. Students could
also be given writing assignments/questionnaires to write what
they have learned, what questions are still unanswered, and what
was their general impression of the presentation. I have used such
assignments effectively when inviting a clinician to work with a
specific section of the orchestra. These assignments have taken
care of discipline issues because they engage the whole class in
the learning process. For example, I have been separating the
upper and lower strings in order to work on sections of the music.
While working with the lower strings section, the violins were
engaged in writing about the sectional. They were given specific
questions that guided them to observe and provide feedback.
They also had to trace the progress of the lower strings in that
particular piece of music.
3UDFWLFH/RJV
Student practice logs provide an ongoing record of homework.
The use of practice logs can aid the clarity of home practice
expectations. Music instruction is more effective when students
are given very specific instructions about what to focus on while
working at home. Practice logs can be implemented in many
different ways. Students can write and track their practice in their
agenda, they can have a separate chart, or they can write in a journal. I like the idea of including a place for parent-teacher communication, as well as for additional comments from students.
Practice logs can be an effective teaching tool, but only when
teachers are consistent with their implementation. Students also
have to be given clear direction of how
much, and what exactly should go into
their practice log. It is one of the greatest tools for assessment. It provides direct
documentation between effort at home and
performance in class. Because it is done on
a continuing basis, practice logs are effective
for tracking development. In my classroom,
I expect students to return a practice log
that is signed by a parent. The time that is
spent practicing at home, as well as their
consistency in submitting it, becomes a part
of their grade. I keep a chart and note when
students have not submitted their practice
logs. After forgetting them twice, the third
one becomes a warning for a lower grade for
that grading period. As any other assessment tool, I collect all practice logs. I often
use them for parent-teacher conferences.
It clearly shows the gaps that need to be
worked on. It is also a good assessment tool
to present to administration when tracking the development of a
child, or the different steps taken to develop a piece of music.
In their book Content Area Reading, Robert and Jo Anne
Vacca present research that has revealed several characteristics of
instruction that make students more focused in their learning.
They state two of these characteristics as cultural sensitivity and
active teaching methods, or the ability to provide active learning
to the students. I believe that these strategies promote active engagement in the learning process. Therefore, all of these strategies
could be used as an asset to creating a more focused and effective
classroom learning experience.
These are just a few ideas teachers can use to integrate critical
thinking into their music classroom. It is my hope that the strategies introduced in this article will serve as encouragement for
music educators to discover more ideas to promote active learning
in the classroom.
Notes
Suzuki, Shinichi. 1969. Ability Development From Age Zero. Miami. Warner Brothers Publications, Inc.
Sprunger, Edmund. 2005. Helping Parents Practice. St. Louis, MO. Yes Publishing.
Graff, Gerald. 2003. Clueless in Academe: How Schooling Obscures the Life of the Mind. New
Haven, CT. Yale University Press.
Vacca, Richard T. and Vacca, Jo Anne L. 2008. Content Area Reading: Literacy and Learning
Across the Curriculum. Boston, Pearson Education.
Tovani, Chris. 2000. I Read It But I Don't Get It. Portland, ME. Stenhouse Publishers. USA.
0DULD6WHIDQRYDLVDQDWLYHRI%XOJDULDZKHUH
VKHEHJDQKHUPXVLFDOWUDLQLQJDWWKHDJHRI
ÀYH6KHUHFHLYHGDEDFKHORURIÀQHDUWVLQ
YLROLQSHUIRUPDQFHIURP&DOLIRUQLD,QVWLWXWHRI
WKH$UWV6KHHDUQHGKHUPDVWHURIDUWVLQYLROLQ
SHUIRUPDQFHIURPWKH8QLYHUVLW\RI1HZ0H[LFR
ZKHUHVKHWRRNDGGLWLRQDOFRXUVHVLQVWULQJ
SHGDJRJ\ZLWK6XVDQ.HPSWHU&XUUHQWO\
6WHIDQRYDLVWKHRUFKHVWUDGLUHFWRUDW7D\ORU
0LGGOH6FKRROLQ$OEXTXHUTXH1HZ0H[LFR
ZZZDVWDZHEFRP_
Classroom Classical Guitar
How curriculum development and teacher training transformed classroom classical guitar in Central Texas and beyond, and, in
the process, engaged thousands of middle and high school students in school-based fine arts for the first time.
*XLWDU)RUXP
by Matthew Hinsley
Our biggest challenge was not yet apparent in 2001 when we
first began the Educational Outreach Program of the Austin
Classical Guitar Society (ACGS). ACGS, a nonprofit organization with broad community-based classical guitar programs,
had received a financial contribution to support expert teachers to visit what was then one of two classroom guitar programs in Austin, Texas schools. Our teachers were to provide
individual instruction for dedicated low-income students.
Almost immediately, the school’s program director – a
choir director by training, who was a classical guitar enthusiast – invited our teachers to assist with classroom direction in addition to individual instruction. Our instructors
noticed a degree of misalignment between what they felt to
be a proper sequence of classical guitar instruction and what
was actually happening in the classroom. The main problem was that there was no vast library of carefully graded
ensemble music for guitar— unlike what had been developed over the last century for choir, orchestra and band
programs. So, with determination, elbow grease, talent,
and creativity, our teachers began a collaboration to come
up with sequenced repertoire solutions - some originally
composed and some fashioned from existing literature - that
would allow them to teach the classes effectively.
The program operated in this manner for three years.
During this time, it grew from 15 to 85 students and a
nearby middle school began a program with our help as
well. They had 13 students in the first class. Six graduates
had already been accepted to college with scholarship offers.
By 2004, ACGS found itself more or less responsible for the
musical education of about 100 young people. But we were
reinventing the wheel each semester. It was at that point
that our biggest challenge became apparent: We needed to
develop a comprehensive, A to Z, curricular solution for
classroom classical guitar.
The wish list was a long one: Develop a strictly ensemble solution that would allow a teacher to teach from
the podium while, at the same time, engaging each student
in a common music-making experience; develop a graded
sequence mirroring widely accepted methods for teaching
individuals, but tailored to the special concerns, especially
pacing and common technical pitfalls, that relate to teaching in large groups; maintain a musically expressive focus at
all times in the classroom—from the very first notes on the
very first day; create a solution for the common eventuality
that single classes will contain students with a wide variety
of skill levels that need to be meaningfully engaged at the
same time; develop theory worksheets and exam components relating directly to the ensemble repertoire at each
stage of graduated student development; create graded
ensemble sight-reading exercises for all levels; write a comprehensive pedagogical sequence document; and develop a
comprehensive library of stylistically varied ensemble music
to support instruction at each level.
The Ensemble Solution
While visiting many guitar classrooms, both in Austin and
beyond, we observed a wide variety of quality and success. The least successful (from a classical guitar pedagogical standpoint) were classes that employed a wide stylistic
focus. These classes tended to operate more like “guitar
clubs” than guitar classes. Students were rarely developing the kinds of skills one would associate with a quality
school-based music program: music literacy, sight-reading,
attention to dynamic/expressive markings, high quality
rehearsal and performance skills, etc. And in no cases did
we find that these types of classes yielded consistent results
in terms of classical guitar technical development. The best
technical results we observed involved teachers who led
their classes through established method books with all
students playing the same thing together. While students in
these classes tended to move well and show discipline, the
results were not particularly musically fulfilling, and the lack
of ensemble playing made entry into these “group individual lesson” environments strikingly different than entry
into orchestra classes where students were making beautiful
music together. Our solution, we concluded, would have
to be entirely ensemble-oriented. We settled on a system
of three-part guitar ensemble music for all beginning and
intermediate repertoire, including sight-reading.
A Graded Sequence
One of our greatest frustrations when reviewing the published literature for pedagogically appropriate ensemble
music, was that while an individual part of a piece of music
may be relatively “easy” for the first 30 measures or so, it
would often depart into a technically challenging section for
the next 30 measures! In some cases, it seemed composers
had a general sense of the level they were writing for but,
understandably, more often the musical result they were
seeking would take precedence over staying within any sort
of strict technical guidelines. While occasional technical
departures might be manageable when coaching a talented
ensemble of three or four players who have private instruction, trying to teach a class of 15 high school students, with
no private instruction is only possible when parts strictly
adhere to appropriate technical specifications.
We developed a curriculum of nine graduated levels
of advancement. With all the music we would create, we
would be sure that any part could fit snugly into one of
these nine levels. In summary, the skills presented in each
level break down as follows:
Level 1 - Open string reading with “fixed” fingers in the right
hand and minimal left hand rote elements
Level 2 - Reading on strings 1, 2 and 3 in first position (right
hand fingers still fixed)
Level 3 - im alternation and string crossing (no new notes)
*XLWDU)RUXP
Level 4 - Bass notes on strings 4, 5 and 6
Level 5 - Combined skills of Levels 1-4 with complexity, add simple
slurs
Level 6 - Simple arpeggios
Level 7 - Complex arpeggios and barring
Level 8 - Moderate upper position reading and rest stroke and
Level 9 - Advanced upper position reading
The most troubling technical problems we observed during our survey of classroom students related to the right hand.
Problematic right hands were tense, too low, bent down from the
wrist, did not “string cross,” had fingers plucking “up and away”
instead of moving naturally into the hand, or some combination
of all of these things. These issues are hard enough to address
one-on-one with students, and they are far more challenging in
large class environments. In developing our sequence, we particularly sought precautions to allow teachers maximum facility in
developing right-hand technique. Our solution was to dedicate
the first two levels to “fixed finger” positions with the emphasis
on hand position and stroke quality, followed by an entire level.
Level 3 would focus solely on finger alternation and string crossing - two techniques that must be introduced with great care.
Teaching Musicianship
As concerned as we were with careful technical sequencing, we
were even more concerned – thanks to the advice of Robert
Duke, founder of the Center for Music and Human Learning at
the University of Texas at Austin - with engaging young people in
the joy of music-making from the very first notes in every class.
We had visited a few classes where talented and earnest young
guitar teachers were doggedly leading their classes through a series
of technical exercises and pieces of music that were thinly veiled
technical exercises. In these classes, we heard little that could be
described as beautiful, expressive music.
In his book, Intelligent Music Teaching, Duke wrote, “Learning
efficiency is maximized when all of the elements of [musicianship]
are introduced and practiced in contexts that are as much like the
final goal as possible. In other words, students learn best when each
learning opportunity closely resembles the long-term goal itself .”1
In developing our library of music in accordance with our
nine-level technical sequence, therefore, our guiding principle at
all times was to write music, no matter how technically simple,
that would be expressively engaging, and that carried ample dynamic expressive indications at all times.
Duke recently said: “ACGS has made a signal contribution
to the world of guitar pedagogy. Working from well-grounded
underlying principles of human learning and behavior change,
and focused on the goal of expressive and refined music-making,
the organization has developed a curriculum for instruction that
engages learners from their first experiences with the guitar, emphasizing beauty of sound and effective communication throughout the development of technical capacity.”
Teaching to Multiple Skill Levels
One of the toughest nuts to crack is the issue of dealing with
students at multiple skill levels in the same class. This sometimes
occurs because school administration can allow for only one section
of guitar to be taught meaning that “last year’s” level 4 students begin their second year of study in the same room as the current level
1 beginners! We often observed talented students who had studied
privately training for years before entering one of our guitar classes.
Then, all of a sudden we had level 8 or 9 students, combined with
intermediate students and even beginners.
Our solution to this problem was to develop a comprehensive library of guitar ensemble music instructing our composers to
write multiple versions of each part appropriate to multiple skill
levels. The result? We could have several “part ones” in multiple
levels, any one of which could combine with any of the multiple
“part twos” we had, that could in turn combine with any of the
“parts threes,” yielding countless level combinations! We even
asked Web developers to load the entire database online and
create a search function wherein our teachers could enter their
individual classroom makeup and have scores and parts returned
instantly to them, allowing them to meaningfully engage every
member of their class at the same time.
The Results
Observing the transformation of classroom classical guitar
instruction over the past eight years in Central Texas has been
a remarkable experience. While the project is constantly being revised and expanded, the ACGS curriculum was primarily
developed between 2004 and 2008. We have built programs in
17 public, private and charter schools, and have supplied our curriculum to many additional cities throughout the United States
and Canada. In Austin alone, our affiliate programs accommodate
about 750 students each day. Our educators buzz from location to
location directing classes, team-teaching, training teachers, planning recitals, and working with small ensembles. We now provide
more than 10 hours a week of individual lessons for low-income
students, and ACGS owns more than 80 guitars that are on free
loan to schools and individuals in need.
Jeremy Osborne, our assistant director of education, describes his experience in this way, “I have to constantly change my
role in the classroom virtually each period of the day. One hour I
will be working directly with kids and will have complete control
over what is being taught in the class. The next hour, I will be
taking a backseat, observing another teacher, quietly straightening
student wrists, and interjecting with concepts when absolutely
necessary. Transitioning between being a teacher and a consultant
presents me with a unique set of challenges that, when met, yield
the reward of solid progress in a new frontier of music education.
The most inspiring part of my work with ACGS is knowing that,
through the development of guitar education, we are successfully
creating new opportunities for students to have a meaningful
relationship with music and art.”
Our enrollment is extremely diverse. We have strong
programs in middle and high schools in economically disadvantaged areas of Austin. About 65 percent of our enrolled students
are Hispanic and 40 percent are female. Perhaps most interesting, however, is that, according to a poll we conducted in 2009,
almost 90 percent of our students are attending school-based performing arts classes for the first time in middle and high school
through guitar class. We are not seeing kids that were band,
orchestra, or choir students, or “music kids” who have decided to
go play guitar instead of, or in addition to, their other musical endeavors. Nearly all of the young people we see are trying performing arts in middle and high school for the first time because they
are drawn to guitar.
ZZZDVWDZHEFRP_
Travis Marcum has directed ACGS Education and Outreach
Programs since 2005: “Over the past five years, I have seen a complete shift in Austin’s music education environment. Music teachers that once resisted change in the traditional school curriculum
have embraced the guitar as a vehicle for reaching a more diverse
group of students who would otherwise never experience music
making. Thousands of students, many at risk of underperforming
scholastically, dropping out, or even entering the juvenile justice
system, have changed their attitudes about learning because of
guitar class. They are making beautiful music on the guitar and
transferring these skills to other parts of their lives. These students
are going to conservatory, teaching in the community, performing at Austin’s local venues and around the world. Each day in the
classroom, I feel like I am part of something progressive, meaningful, and life-changing for these students.”
In 2009, the University of Texas, School of Social Work conducted a social impact study on the program’s effects on students
in three schools. The study, under the direction of Calvin Streeter,
focused on a measurement technique called concept mapping,
which seeks to accurately relate the effect of a program through
the recipient’s own words. Sixty-seven statements were made by
students in our program that were then sorted, categorized, and
evaluated by the entire student population.
We learned a number of interesting things during the course
of the study. One of the more interesting aspects was that “selfesteem,” as a concept, was ranked as the most important overall
by both teachers and students. Common themes included: “The
class gave me many new experiences;” “I like playing in front of
people;” “It’s given me more confidence;” “It gives me a feeling of
accomplishment;” and “I feel proud of myself.” Another concept
that ranked high on the list, “unique learning environment.” This
included such statements as: “This class has more interaction with
the teachers – everyone gets attention;” “It’s easier to ask for help
in this class;” “It doesn’t make you feel dumb if you don’t get it;”
“It’s okay in this class if you don’t understand;” “I like that we
play in pieces or sections, so we are all needed;” and “Everyone
messes up in this class sometimes, so it doesn’t feel bad to mess
up in this class.” Improved self-esteem, feelings of belonging,
and safety in music class are things that we, as music teachers,
intuitively know to be natural results of great music education. It
was great to see these ideas reflected so clearly in the work of independent researchers.
Observations
Once we decided to venture into curriculum development, it
didn’t take long to develop an outline for what we hoped to accomplish. It seemed reasonable to expect, given enough time and
the resources of talented educators, that we would be able to create the materials we envisioned. What we were not prepared for,
however, was the degree to which diverse, modern young Americans would flock to the classical guitar, stick with it, and become
passionately engaged with it. Indeed, in 2003, many people we
spoke with thought we were crazy to promote a purely classical
guitar curriculum. The sentiment we encountered, and still often
run into, was that very few young people would be interested in
the guitar unless they were playing classic rock or pop music.
What we’ve learned in the intervening years, however, is
that classical music on the guitar has a powerful ability to attract
and retain diverse students to school-based music study. Some
students we’ve encountered are playing music for the first time,
some have played classical guitar before, and others play rock and
pop styles on the guitar casually or with private teachers. For the
vast majority of students, the beauty, intricacy, and challenge of
learning expressive music on the classical guitar, combined with
the contextualizing structure of performances or competitions,
develops a deep, permeating passion for the art form. While excellent and pedagogically-sound courses in pop guitar playing do
exist, we now know that classroom classical guitar classes, when
administered appropriately, can be incredibly potent vehicles for
bringing new and diverse students to school-based fine arts.
Over the 10 years that ACGS has been involved in publicschool guitar education, we have become aware of a number of
remarkable, inventive, passionate, and successful educators who
have been building similar programs in other parts of the United
States. The stories we hear, from California to Nevada to New
Mexico to Oklahoma to Florida to Virginia, are similar: large
numbers of students, from diverse backgrounds coming to music
study – and sticking with it – through guitar classes. A community-based nonprofit organization involved in curriculum and
training, we are overjoyed by the number of choir, orchestra and
band directors (and non-guitarists) from across North America
who have become successful class guitar instructors. They are adding guitar sections to their course loads and substantially building
their enrollments. We’re also thrilled to see new jobs created for
classical guitarists who are certified educators, as schools begin
hiring full time guitar instructors to meet the rising demand.
Several years ago, an education reporter from a local Austin
newspaper attended a class at a brand new program and wrote
a front page story on what she saw. She ended the article with a
quote from a senior classman who was taking guitar for the first
time: “It’s the first thing that’s really interested me,” he said, “it
just motivates me to come to school because I want to come to
this class.”
Note
1 Duke, R. A. (2010). Intelligent Music Teaching: Essays on the Core Principles of Effective
Instruction. Austin, TX: Learning and Behavior Resources.
0DWWKHZ+LQVOH\3K'ZDVWUDLQHGDVDFODVVLFDO
JXLWDULVWDQGYRFDOLVWDWWKH,QWHUORFKHQ$UWV
$FDGHP\WKH2EHUOLQ&RQVHUYDWRU\RI0XVLFDQG
WKH8QLYHUVLW\RI7H[DVDW$XVWLQ%H\RQGSHUIRUP
LQJDQGVFKRODUO\SXUVXLWV+LQVOH\KDVFXOWLYDWHG
WZRSULPDU\SURIHVVLRQDOLQWHUHVWVWRHQKDQFHWKH
ZD\\RXQJFODVVLFDOJXLWDULVWVDUHWUDLQHGLQ
$PHULFDDQGWRWUDQVIRUPWKHZD\DUWVRUJDQL]D
WLRQVVHUYHRXUGLYHUVHFRPPXQLWLHV$VH[HFXWLYH
GLUHFWRURIWKH$XVWLQ&ODVVLFDO*XLWDU6RFLHW\+LQVOH\KDVUDLVHGZHOO
EH\RQGPLOOLRQLQVXSSRUWRIEURDGFRQFHUWRXWUHDFKDQG
HGXFDWLRQDOSURJUDPPLQJ+HZDVDOHDGDXWKRULQWKH$&*6·
FXUULFXOXP*XLWDU&XUULFXOXPFRPWKDWVHUYHVWKRXVDQGVRI\RXQJ
VWXGHQWVWKURXJKRXW1RUWK$PHULFDDQGIRXQGHGWKH$&*6SHUIRU
PDQFHRXWUHDFKSURJUDP+LQVOH\·VSULYDWHVWXGLRKDVSURGXFHG
VWXGHQWVZKRKDYHWKUHHWLPHVDGYDQFHGWRWKHÀQDOURXQGRIWKH
SUHVWLJLRXV*XLWDU)RXQGDWLRQRI$PHULFD,QWHUQDWLRQDO\RXWKFRPSHWL
WLRQLQFOXGLQJWKHZLQQHULQ
7+(675,1*7($&+(5·6
&22.%22.
&UHDWLYH5HFLSHVIRUD6XFFHVVIXO3URJUDP
(GLWHGE\-RDQQH0D\
7KLVLVDFROOHFWLRQRI LQVLJKWIXOVWUDWHJLHVDOOSODFHGWRJHWKHULQRQHHDV\TXLFNWR
UHDGVRXUFH$FFRUGLQJWRWKHSXEOLVKHUFRQWULEXWRUVWRWKHERRNZHUHHYHQHDJHUWR
JHWDORRNDWHDFKRWKHU·VLGHDV:LWKRXWVWDQGLQJUHFRUGVRI SHUIRUPDQFHZRUNVKRS
FOLQLFVUHFRUGLQJVUHVHDUFKFRPSRVLWLRQOHDGHUVKLSDQGWHDFKLQJWKHDXWKRUV
SURYLGHWKHLUIDYRULWH´UHFLSHVµWKDWUDQJHIURPRYHUYLHZVRI VXFFHVVIXOSURJUDPV
WRVSHFLÀFWRSLFVLQWHQGHGWRLQVSLUHDOOOHYHOVDQGW\SHVRI HQVHPEOHV
DQGSHUIRUPHUV
7KHFRRNERRNLVSXEOLVKHGE\0HUHGLWK0XVLFDQGGLVWULEXWHGE\
+DO/HRQDUGZLWKUR\DOWLHVJHQHURXVO\GRQDWHGWR$67$7KLVERRN
FDQEHSXUFKDVHGRQOLQHDWKDOOHRQDUGFRPIRUMXVW
ZZZDVWDZHEFRP_
Chamber Music, Off the Page
&KDPEHU0XVLF)RUXP
by Deborah Barrett Price with Constance E. Barrett
Debbie begins…
Back in the late 1980s and 90s, as a grad student
and young professional, I was gigging as a section
violist with the Springfield Symphony Orchestra. The late
John Ferritto, music director at the time, supplied us with
an eclectic array of guest soloists including classical artists -- the young Joshua Bell, Hilary Hahn, and Gary Karr
-- and Broadway, pop and jazz artists -- Joel Gray, Crystal
Gayle, and one of the greatest vibraphone players in history,
Johnny Lytle. Of all the guest soloists, it was an experience performing with Lytle that influenced me to create a
teaching path affecting numerous students that I have had
the privilege to encounter through my teaching and clinic
presentations.
Back in that rehearsal in 1995, a remarkable event took
place. We were rehearsing a piece arranged for orchestra
and vibraphone with rhythm section. Somewhere in the
middle of the piece the orchestra became “lost.” Lytle was
seemingly having a great time playing around with the tune.
Maestro Ferritto kept the rhythm section going while the
rest of us were frantically trying to figure out where we were
on the page. I happened to be sitting next to the drummer
who toured with Lytle. I leaned over and asked him if he
had any idea where Lytle was in the music. He replied with
a chuckle, “I have no idea where he is.”
Eventually Lytle stopped playing, turned around, and
asked the orchestra, “Anyone want to take a lick?” At this
point, the entire string section let out an audible gasp. The
wind and brass players didn’t respond much better, but
eventually a trombonist volunteered to “go a round.” The
trombonist sounded great to my classically trained ears, and
I remarked to my stand partner that I really wished I knew
how to improvise so I could “go for it.” At that moment,
I vowed to never let my students walk out of my studio
without having exposure to improvisation and without giving them a few tools to give them confidence to improvise
effectively when presented an opportunity.
In all fairness, I did try to learn jazz from a bassist and
composer friend, John Kennedy, but I simply didn’t have
the theory tools to make sense of what I needed to do to
jump in and play. And it was my lack of theory comprehension that contributed to my fear of jazz and improvisation.
The whole scene left me feeling a bit betrayed by my early
education as well, having never been given the opportunity
nor encouraged to learn theory well enough to understand
chord progressions as a tool to gain skills for improvisation.
In some cases, I was even discouraged to consider learning jazz and improvisation as some of my mentors stated
that I wouldn’t be considered a “legitimate” classical player
and that I probably wouldn’t be thought of as a “serious”
classical musician if I pursued my interest in jazz and pop
improvisation too seriously.
More influences…
When I founded the Delaware Chamber Music Festival
in 1992, which eventually became the Chamber Music
Connection (CMC) in 1998, my first guest artist was the
renowned cello teacher, Richard Aaron. During the class,
he had one of my young quartets create and perform an impromptu composition. He gave each one of them a rhythm,
bow tone, tap or short motive to play and encouraged them
to play their instructed sound at various times creating a
short composition. It was fun and engaging, and they asked
me if they could perform this creation at the finale concert.
Inspired by Aaron’s “dictated composition,” I began incorporating my movement and cuing exercises into presenting
similar experiences for my students, which for years now has
been very well received.
In early 2000, I met yet nationally recognized jazz
pianist and composer Bradley Sowash. I asked Sowash and
Barrett to teach an improvisation theory workshop. This
pairing complemented Sowash’s skill in jazz improvisation
with Barrett’s skill in classical improvisation. Currently,
Sowash is the director of improvisation and jazz theory at
CMC. Because string instruments only learn the melodic
line in their solo study, they are often not sufficiently skilled
in music theory. This inadequacy left most of the CMC
students scared to death to try the class, so I began to
require it for all my fellowship students. Many went in kicking and screaming, proclaiming they “didn’t like” jazz and
didn’t want to participate in the class. Many of those same
students came out of the class asking to take it again. They
were simply scared of the unknown and of the ignorance
created by not encouraging them to get off the page much
earlier in their education. During these years of exposure,
I was fortunate enough to attend an Ohio Music Teachers
Association (OMTA) workshop with Eric Edberg, a certified instructor of Music for People (MfP). He led a group
of teachers and students in several improvisation games that
allowed us to participate in a nonthreatening form of improvisation producing an exciting new connection with our
instrument and voice. What a revelation! My sister, Connie,
found her own way to Mf P and is presently a certified
workshop clinician.
Connie writes…
Growing up in our family meant that you played an
instrument -- no exceptions. Our father and mother
were both pianists and singers. Dad was a composer
and loved to play recorder. Our brother chose flute. I started
on piano and switched to violin in third grade and then
switched to cello in fourth grade. Debbie started on piano
and switched to violin in third grade. Almost immediately,
chamber music was a part of our lives. I begged our parents
to play piano duets with us and later to accompany us on
our solo literature. When I switched to cello, my father
pulled out the Jean Baptiste L’Oeillet, Telemann and Handel trio sonatas so that I could begin playing continuo with
him on recorder. Dad stressed the tradition for the soloist to
improvise ornamentation on the repeats in Baroque music,
which he encouraged me to try as trills on leading tones.
I learned about sequences and cadential figures, as well
through my experience with playing bass lines.
As we got older - and more experienced - we continued
to play together. Debbie switched to viola, and I went to
Baldwin-Wallace College Conservatory. After graduating,
we went our separate ways. I went to University of Notre
Dame and Debbie got married and attended graduate
school at Kent State. I completed my master’s at Notre
Dame, followed by chamber music studies in France and
a year performing with the Albany Symphony. Debbie’s
husband was transferred to Columbus, and Debbie entered
the Ohio State University. The cellist in the graduate string
quartet graduated, leaving an opening that I promptly
filled. After I finished my doctoral studies, I moved back
east to pursue teaching and performing full-time. Debbie
founded a chamber music program, which became the
Chamber Music Connection in Worthington, Ohio.
I eventually landed in Greenwich, Connecticut, teaching middle school orchestra. The PTA’s Arts in Education
Committee brought in cellist David Darling to work with
the orchestra students. What I experienced changed my
teaching forever. Darling expressed his love for his instrument. He introduced the concept of using the bow as a
drumstick, albeit one that had hair on it so that string players had
the option of playing legato. He had the students improvising in
trios and quartets. They played with a better sense of pulse and
with more fun than they seemed to ever have with just me. What
I noticed the most, however, was how I felt. I felt happy. I was
wide awake, enthusiastic and joyfully ready to play more instead of
feeling exhausted and ready to crash on the couch at home. I knew
that I needed to learn more about this way of teaching. Darling
directed me to the Music for People website. I entered the four-year
Music Leadership Program and learned a new way to help students
become self-directed learners, to become better musicians, and to
become all-around better people. I learned to facilitate students’
learning rather than to teach, to use my instrument more, and how
to help students become musicians from the inside out.
Some of the basic strategies that the leadership program
&KDPEHU0XVLF)RUXP
Photo credit: Andi Wolfe
taught me was simply to listen, to learn to welcome silence in
music, to offer back in a conversational style using my instrument
what someone else had already said musically.
I have two exercises that I love using. One is using drone
tones and scales and modes. When I am teaching students their
first experience in minor mode, I use the Dorian mode in D
rather than the natural minor. Because the Dorian mode has
a raised sixth and a minor third, the finger pattern is the same
on both the D and A strings for the violin, viola and cello. The
pitches -- D, E, F-natural, G, A, B-natural, C, and D -- mean that
only the second finger is low for the violin and viola, and we only
use the second finger, not the third, on the cello. The bass players
are offered a choice: they can shift or they can transpose from the
G string down to the A. The whole orchestra plays the open D
string while each student has the opportunity to fully experience
the mode performing as a soloist. I offer them the opportunity to
play the scale with the notes in order (as a scale/mode) or
“messed up.” Students are usually ready to experiment with
improvising melodic lines after they’ve tried the mode once
through.
Another exercise I learned in MfP, and that I love, is a
teaching form using improvisation. Arrange the orchestra
room into quartets and trios, inviting a bass or cello to sit
first in each group, followed by the violins and violas.
Ask the group what they know about a classical symphony or string quartet. For example, ask them how many
movements? What are those movements called? Eventually, students will state there are generally four movements:
a fast movement, a slow movement, a minuet and trio or
scherzo and trio, and ending with a fast movement. If the
class has more experience and understands rondo, someone
might suggest that as a last movement. If you have more
than four quartets and trios, you can do this exercise more
than once. Randomly choose four groups, or ask for four
groups to volunteer. Then, without discussion -- this is the
fun part -- group one breathes together and starts with a fast
movement. After they finish, the second group improvises a
slow movement, the third group then improvises an A-B-A
movement, and the fourth group improvises a rondo. One
of the beauties of this exercise is that there are many levels
Photo credit: Andi Wolfe
ZZZDVWDZHEFRP_
of sophistication that you, as the teacher, can help facilitate your
students’ understanding of form. When the orchestra is working
on Corelli or Vivaldi’s La Folia, for example, you can suggest that
they improvise using the ¾ sarabande rhythm with strong 1 and
2 beats [1-2 (sh) and 1-2 (sh)]. Improvising a fugue is another
challenging and fun exercise. You can also suggest that students
take one element from the group before them to experience the
concept of “thematic unity” (how one movement relates to another
in a symphonic or chamber work). After the example, ask each
group what worked for them, what might have gone better, what
they might do differently, and what it was like. The freedom that
each student experiences, both within themselves and within their
group, is one that they can take to their solo repertoire and selfexpression as developing, sophisticated musicians. At first, students
may have a hard time with the “no prior discussion” rule, but they
will quickly come to understand it. Point out to them how quickly
they come together even without prior decisions; they are improving their ears as well as their improvisational skills!
Debbie returns…
To encourage a sense of expecting improvisation in my
CMC curriculum, I incorporated an all-program improvisation as our focus theme for the 2011 winter semester. Fellowship students were trained by faculty members Bradley Sowash
and Karl Wohlwend to be ready to pop in on all 27
of our small ensembles to introduce jazz “snip-its”
or a taste of jazz improvisation made accessible
through a tune that Sowash wrote called “Don’t Eat
Green Bugs.” CMC’s winter semester culminated
the Jazz improvisation theme with a surround
sound performance of “Don’t Eat Green Bugs” by
all 114 students, and several faculty members, surrounding the audience (music found on the next
page of this article.) We even included audience
participation by encouraging them to sing the
words to the tune, “Don’t Eat Green Bugs” allows
improvisations by students at any level. We encourage students to begin improvisation by experimenting with the rhythm of their own name on an open
string (D, G or E) or any of the pitches used in
“Don’t Eat Green Bugs.” Then progress to using
two or more pitches. Eventually, work their way up
to utilizing the relating pentatonic scale.
CMC faculty, alumni and colleagues share their
experiences…
One of my favorite improvisation-related memories
included taking my introductory jazz experiences
to a decidedly classical stage when my trio performed at the 2005 Fischoff Competition. We were
a violin-viola-bass trio, playing an arrangement of
Charles Washington's “Midnight Child” quartet,
a one-movement work that includes a section in
the middle where each musician takes a solo. Two
of the group members (Kevin Jablonski, bass, and
I) improvised and then wrote down our own solos
for the movement. Our violinist, Heather Kufchak,
and I forced Kevin to include some pyrotechnic
leaps and runs, since his fast fingers deserved to be
shown off. I wrote a solo that I felt was just high enough and just
quick enough to sound showy without being stressful to perform.
I had the exciting opportunity to perform that solo in the semifinals at Fischoff that year, and I think I can speak for all three of
us when I say that rocking the stage was an amazing sensation.
I loved the feeling of leaning back, sliding up the A string, and
wailing on a solo that had my personal stamp on it. It was pure
fun without the stress that is usually part and parcel of competitive music making. Without the improv background I learned at
CMC, I would never have had the courage to write that Midnight
Child solo, and I am so very grateful that with Debbie's forceful
encouragement I grew empowered to do so.
- Annalisa Boerner, CMC Alumna, first year master’s student at CIM
In addition to enabling students to enjoy playing a wider variety
of styles, improvisation paradoxically deepens the interpretation
of written music. That’s because, rather than merely reproducing the notes on the page, students with creative music making
experience have a better sense of how they came to be there in the
first place.
- Bradley Sowash, CMC Associate Faculty Member, composer, pianist, author, educator
Being at a conservatory where the main focus is “classical” music,
I sometimes start my practice sessions with improv to try and
help release the tension, frustration and stress that can take place
at any school. Once I get into my “improv groove” I feel like I can
mentally move onto my solo work happy, centered and with an
open mind. Anyone can improv, that's what’s so great about it. I
can improv on an open D string as long as I want and no one can
tell me that it’s wrong, they might even join in! Improv is a tool to
finding and creating your voice through your instrument. Luckily for me, CIM requires undergraduates to take World Rhythms
with Jamey Haddad. Learning improv and jazz at CMC gave me
the courage to talk with Jamey, expanding my musical knowledge
and ideas further to drums and Brazilian music. Having this class
at CIM made me feel like myself and taught me more than I was
planning. Studying with Jamey also gave me the opportunity to
perform what I learned, and love, with him, nine male students,
and President Joel Smirnoff at CIM’s 2010 Opening Ceremonies.
- Stephanie Price, CMC Alumna, junior viola performance major at
CIM
Sometimes in quartet rehearsals I have kids improvise a different
arrangement of the music they’re playing. They might change the
meter, or change the “groove” (rhythmic feel) of the accompanying voices. Or, I have them improvise a quartet using material
similar to what’s in the music they’re studying. After allowing this
experimentation, I have them play the original music, and the
difference in their playing is dramatic! Having been allowed to
get inside the mind of the composer, they are much more engaged
in the music; they become more aware of the functions of the
melody, countermelody, and accompaniment, and thus play it
more musically; they listen to the music and each other more
deeply; and the joy in playing with music is apparent.
- Jody Harmon, violinist and author, Improvise
How can classically trained string players get more comfortable
performing “off the page?” As a musician who performs in a
variety of improvised musical forms as well as traditional western
art music, I have found a few helpful techniques when working
with my students. First, the student and teacher need to establish
a set of parameters that will help focus the learning process. What
style of music is being performed? (Jazz, bluegrass, blues, rock).
Each style of music has its own language and stylistic conventions. Identifying these conventions through listening is a critical
component to the student’s success. Put together a discography of
several players that represent a particular style and listen daily. Listening is the No. 1 element in developing the ability to improvise.
Also, a practical knowledge of harmony is essential. The student
needs to be able to identify the chords in a tune and frame 3-note
arpeggios based on those chords. Once this has been achieved,
add the 2nd and 6th scale degrees to each arpeggio to form the
pentatonic scale. These scales are a way for the student to play
over chords in most traditional forms of American music. Asking
students to play arpeggios and pentatonic scales over a simple
chord chart is a quick way to introduce basic improvisation.
Lastly, the rhythmic possibilities are endless and can often be an
intimidating factor for new improvisers. Come up with a few
standard rhythms that can be “go to” patterns to get students off
the ground. In American fiddling, for instance, the basic shuffle
(one eight-note followed by two 16th-notes) pervades multiple regional styles. Set this as the rhythm and ask students to find voic-
ings for the chords (typically I, IV and V). Have them read the
chart and play along with the shuffle rhythm. This can be done
with almost any standard fiddle tune chart that has accompanying
chord symbols included. The world of improvised music is vast
and often complex. However, a functional knowledge of harmony
and style allows the classical musician entrance to a broader world
of music-making. Just remember to start with the basics!
- Dr. Andy Carlson, Professor of Violin & Blue Grass, String Department Chair, Denison University
The main purpose for writing and publishing this article is to encourage our membership to take the risks we ask our students to
take in regard to improvisation. If we are not willing, why should
we expect our students to be? Moreover, why wait to introduce
improvisation so late in a student’s progression, when if we
choose to incorporate it from the get-go, the fear of improvisation
wouldn’t have a chance to take hold so fundamentally? Through
resources at ASTA, Yamaha and the Internet, we know of educators ready and willing to open the improvisation door to our
students. The first step is for the teacher to encourage students
and not hold back the thirst for free (musical) speech off the page.
Additional resources for improvisation inspiration:
• www.astaweb.com
• www.musicforpeople.org, David Darling
• www.giamusic.com Bringing Music to Life by Barry Green
• www.stringimprov.com, Jody Harmon and John Blake
'HERUDK%DUUHWW3ULFHLVWKHIRXQGHUDQGDUWLVWLF
GLUHFWRURIWKH&KDPEHU0XVLF&RQQHFWLRQ6KH
DOVRVHUYHVRQWKHIDFXOW\DW'HQLVRQ8QLYHUVLW\
DQGLVD<DPDKD&HUWLÀHG6WULQJ(GXFDWRU
FOLQLFLDQ6KHZDVQDPHG&ROXPEXV6\PSKRQ\
2UFKHVWUD&RPPXQLW\0XVLF(GXFDWRURIWKH\HDU
DQGUHFHLYHGFRPPHQGDWLRQVIURP2KLR·VVWDWHKRXVHRIUHSUHVHQWD
WLYHVDQGVHQDWHIRUH[FHOOHQFHLQWHDFKLQJ6KHLVDQDGYRFDWHIRU
FKDPEHUPXVLFHGXFDWLRQDQGDIUHTXHQWJXHVWDUWLVWIRUFKDPEHU
PXVLFFOLQLFVDQGRUFKHVWUDIHVWLYDOVSUHVHQWLQJVHVVLRQVDWVWDWHDQG
QDWLRQDOPXVLFFRQIHUHQFHVLQFOXGLQJ$67$071$DQG6$$&KDPEHU
HQVHPEOHVXQGHUKHUPHQWRUVKLSUHFHLYHGDLUWLPHRQ)URPWKH7RS
UDGLRDQGWHOHYLVLRQ7KH\DOVRFRPSHWHGLQQDWLRQDODQGVWDWH
FKDPEHUPXVLFFRPSHWLWLRQVZLQQLQJJROGVLOYHURUEURQ]HPHGDOVLQ
WKH6DLQW3DXO6WULQJ4XDUWHW0<$'LVFRYHU&KDPEHU0XVLFDQG
)LVFKRII1DWLRQDO&KDPEHU0XVLFFRPSHWLWLRQV
&HOOLVW&RQVWDQFH(%DUUHWWKDVGHYRWHGKHU
SURIHVVLRQDOOLIHWRWHDFKLQJVWULQJVWRSHRSOHRI
DOODJHV6KHUHFHQWO\UHWLUHGIURP*UHHQZLFK
&RQQHFWLFXW3XEOLF6FKRROV$<DPDKD&HUWLÀHG
6WULQJ(GXFDWRU%DUUHWWKDVSUHVHQWHGSURIHV
VLRQDOVWDIIGHYHORSPHQWDFWLYLWLHVIRU9+6DYH
WKH0XVLF)RXQGDWLRQ$67$DQG6$$1DWLRQDO&RQIHUHQFHV6KHKDV
DSSHDUHGRQQDWLRQDOQHWZRUNWHOHYLVLRQ6KHKDVDOVRDUUDQJHGPXVLF
IRUWKHFKLOGUHQ·VPXVLFHQVHPEOHVDQGDSSHDUHGLQWKHÀOP5HVHUYD
WLRQ5RDG6KHKDVSXEOLVKHGDUWLFOHVLQ$PHULFDQ6WULQJ7HDFKHU7KH
%ULGJHDQG$PHULFDQ6X]XNL-RXUQDO6KHKDVDOVRFRQWULEXWHG
FXUULFXOXPZULWLQJWR135·V)URPWKH7RSDQGVHUYHGDVDQRQOLQH
RUFKHVWUDPHQWRUIRU0(1&6KHKDVSHUIRUPHGZLWK*UDPP\DZDUG
ZLQQHUV·'DYLG'DUOLQJDQG*OHQ9HOH]ZLWKYRFDOLVW/RUL&RWOHU$OVR
ZLWKYLROLQLVW6WHSKHQ&ODSSDQGZLWKPHPEHUVRIWKH&DYDQL6WULQJ
4XDUWHW,QVKHUHFHLYHGWKH'LVWLQJXLVKHG0XVLF(GXFDWRUDZDUG
IURPWKH<DOH8QLYHUVLW\6FKRRORI0XVLF
ZZZDVWDZHEFRP_
5HYLHZHUV:DQWHG
:HDUHORRNLQJIRUYROXQWHHUVWRUHYLHZERRNVPXVLF'9'V
&'VDQGVRIWZDUHIRUWKH´5HYLHZµVHFWLRQRI$PHULFDQ
6WULQJ7HDFKHU,I\RXLQWHUHVWHGDQGOLNHWRZULWHSOHDVH
FRQWDFW0DUJ6FKPLGWDW0DUJDUHW6FKPLGW#DVXHGX<RX
ZLOOEHJLYHQDSSURSULDWHFUHGLWDQGZHZLOOLQFOXGH\RXU
ELRZKHQUHYLHZLVSXEOLVKHG<RXPD\DOVRNHHSWKHUHYLHZ
SURGXFW$FFRUGLQJWR$67·VODVWVXUYH\WKH´5HYLHZµVHFWLRQ
LVZHOOUHDGDVLWSURYLGHVPHPEHUVZLWKDFULWLTXHEHIRUH
SXUFKDVLQJDSURGXFWWKDWPD\QRWEHDSSURSULDWH
ZZZDVWDZHEFRP_
2011
National Conference Recap
2011 ASTA National Conference: Good Vibrations from
Beginning to End!
The heart of the heartland, Kansas City, Missouri, was beating with excitement when ASTA held its 2011 national conference, March
16-19. Registrations for string teachers, professionals, students and music enthusiasts reached nearly 1,000. The registration numbers
were not surprising as many members say that nothing compares to the atmosphere and excitement of this one-of-a-kind string event.
And, for young students of music, there is nothing that compares to learning from and playing with distinguished clinicians and professionals. For many, it is a once in a lifetime experience!
If you weren’t expanding your knowledge, gaining confidence in your abilities or improving technique, most likely you were being
inspired by fellow musicians and listening to extraordinary performances. The entertainment began Thursday night with Benny and
Eric Kim performing the Brahms Double Concerto with the UMKC Conservatory Orchestra.
On Friday evening, the Kansas City Symphony performed, featuring Roberto Díaz and conducted by maestro Michael Stern.
On Saturday morning, the winners of the National Orchestra Festival and Solo Competition Finals dazzled the crowd with a concert.
To officially close the conference, Mark Wood and Friends gave an electrifying performance that included an encore with the Eclectic
Strings Festival players.
2011 ASTA National Conference Exhibitors
$7HPSR6RIWZDUH
$%,²$PHV%HFNPDQQ,VOH\9LROLQ
*URXS
$OIUHG3XEOLVKLQJ&R,QF
$PDWL·V)LQH,QVWUXPHQWV
American Viola Society
$UFRV%UDVLO86$
%lUHQUHLWHU
%RVWRQ&RQVHUYDWRU\
&DUO)LVFKHU0XVLF
Carriage House Violins
Cedarmont Woodworking
&HQWXU\6WULQJV,QF
&ODLUH*LYHQV9LROLQV,QF
&ODVVLF0XVLFDO,QVWUXPHQWV
&OHPHQV9LROLQV9LRODV9LRORQFHOORV
&RGD%RZ,QWHUQDWLRQDO
&RQFRUG,QWHUQDWLRQDO*URXS
&RQQ6HOPHU,QF
Consortium of Violinmakers
&UHDWLYH,PSHUDWLYHV
'·$GGDULR&RPSDQ\,QF
'L[RQ6WULQJV
(DVWPDQ6WULQJV,QF
(OHFWULF9LROLQ6KRS
(OLWRQ//&
7KH(QWHUSULVLQJ5DEELW
(UZLQ2WWR6WULQJV
)LGGOHVWLFNV,QWHUQDWLRQDO
7KH)-+0XVLF&RPSDQ\
)RUUHVW7-RQHV&RPSDQ\
)ULVFK'HQLJ&XVWRPÀWWHG&KLQUHVWV
*(GZDUG/XWKHULH,QF
| American String Teacher | May 2011
*6FKLUPHU,QF
*OLJD9LROLQV86$²7KH9LROLQ3ODFH,QF
+DO/HRQDUG&RUSRUDWLRQ
+DSS\QH[
*+HQOH86$,QF
+RZDUG&RUH&RPSDQ\
-:3HSSHU6RQ,QF
.HOLQ9LROLQ6KRS
KC Strings
.QLOOLQJ6WULQJ,QVWUXPHQWV
/DUVHQ6WULQJV$6
/DWKDP0XVLFD/RUHQ]&RPSDQ\
/XFN·V0XVLF/LEUDU\
LudwigMasters Publications
0DUURZVWRQH6XPPHU0XVLF)HVWLYDO
Matsuda Violin Studio LLC
0HO%D\3XEOLFDWLRQV,QF
0HU]+XEHU&RPSDQ\
0HWURSROLWDQ0XVLF&RPSDQ\
0XVLF&HOHEUDWLRQV,QWHUQDWLRQDO
1$00,QWHUQDWLRQDO0XVLF3URGXFWV
Assoc.
1HLO$.MRV0XVLF&RPSDQ\
1RWHDEOH,QF
2OLYHU0XVLFD86$,QF
2UFKHVWUD7ULDJH,QF
3HWHU=DUHW6RQV9LROLQV
7KH3RWWHU9LROLQ&RPSDQ\
3ULYDWH0XVLF6WXGLR*XLGH%RRNV
5HQW0\,QVWUXPHQWFRP
Rolland String Research Associates
5XÀQR9LROLQV
6DJD0XVLFDO,QVWUXPHQWV
6DP·V6WULQJV//&
6FUROODYH]]D=DQUp61&
6KDU3URGXFWV&RPSDQ\
6LPSO\9LROLQ
6LQJLQJ:RRGV9LROLQ6KRS
6PDUW0XVLF)LQDOH
6QRZ6WULQJHG,QVWUXPHQWV
6RÀD9LROLQV
Southwest Strings
6WDQWRQ·V6KHHW0XVLF
The Strad Magazine
7KH6WULQJ&HQWUHDGLYRI:RRGZLQG
DQG%UDVVZLQG
String Letter Publishing
6XSHU6HQVLWLYH0XVLFDO6WULQJ&RPSDQ\
7HPSR3UHVV
Things4Strings
7KRPDVWLN,QIHOG&RQQROO\0XVLF&R
7RQJ·V9LROLQ6KRS
Truman State University
8QLYHUVLW\RI,OOLQRLV6FKRRORI0XVLF
8QLYHUVLW\RI0LVVRXUL.DQVDV&LW\
USC Thornton School of Music
9LROLQMD]]3XEOLVKLQJ4XDUWHW6DQ
)UDQFLVFR
9LROLQV%\3DFR
:LOOLDP+DUULV/HH&R,QF
Wingert-Jones Music Publications
Wood Violins
:\DWW9LROLQ6KRS
<DPDKD&RUSRUDWLRQRI$PHULFD
$67$WKDQNVWKHIROORZLQJFRPSDQLHVDQGLQGLYLGXDOVIRU
JHQHURXVO\VXSSRUWLQJ$67$’V1DWLRQDO&RQIHUHQFH
1DWLRQDO2UFKHVWUD)HVWLYDO6SRQVRUVKLS6KDU3URGXFWV&RPSDQ\
(FOHFWLF6WULQJV)HVWLYDO6SRQVRUV<DPDKD&RUSRUDWLRQ1$00
DQG$OIUHG0XVLF3XEOLVKLQJ
1DWLRQDO6ROR&RPSHWLWLRQ6SRQVRUV
6HQLRU'LYLVLRQ3UL]H0RQH\7KH3RWWHU9LROLQ&R
-XQLRU'LYLVLRQ3UL]H0RQH\0XVLFLDQV:D\FRP
*UDQG3UL]H7KH5DOSK0DWHVN\$ZDUG
,QWHUQDWLRQDO0XVLF$FDGHP\3LOVHQ6FKRODUVKLS7KRPDVWLN,QIHOG
([KLELW+DOO*UDQG2SHQLQJ5HFHSWLRQ0HU]+XEHU&RPSDQ\
2IÀFLDO&RQIHUHQFH3URJUDP6KDU3URGXFWV&RPSDQ\
&RQIHUHQFH7RWH%DJV7KRPDVWLN,QIHOG&RQQROO\&R
&RIIHH%UHDNLQ([KLELW+DOO&ODLUH*LYHQV9LROLQV
5HJLVWUDWLRQ$UHD0DWHULDOV'·$GGDULR&R,QF
:HGQHVGD\(YHQLQJ6RFLDO7KH6WUDG%REDQG3DP3KLOOLSV
DQG0DU\:DJQHU
7KXUVGD\(YHQLQJ5HFLWDO+RZDUG&RUH&RPSDQ\
)ULGD\(YHQLQJ([KLELW+DOO5HFHSWLRQ'·$GGDULR&R,QF
'HVVHUW5HFHSWLRQLQ([KLELW+DOO6WULQJV0DJD]LQH
2SHQLQJ&HUHPRQ\$OIUHG0XVLF3XEOLVKLQJ
'LUHFWLRQDO6LJQV'·$GGDULR&R,QF
&RIIHH%UHDNLQ([KLELW+DOO/DUVHQ6WULQJV$6
-DP6HVVLRQ.&6WULQJV
(DUO\%LUG5HJLVWUDWLRQ'UDZLQJ&RGD%RZ,QWHUQDWLRQDO/WG
0DVWHU&ODVV6SRQVRUV
$OWHUQDWLYH6W\OHV(OHFWULF9LROLQ6KRS
&KDPEHU0XVLF&OHPHQV9LROLQV9LRODV
9LRORQFHOORV//&
%DVV3LUDVWUR*PE+
&HOOR/DUVHQ6WULQJV$6
9LROLQ7KRPDVWLN,QIHOG&RQQROO\0XVLF
9LROD7KRPDVWLN,QIHOG&RQQROO\0XVLF
(OL]DEHWK$+*UHHQ6FKRRO(GXFDWRU$ZDUG6KDU3URGXFWV&RPSDQ\
$UWLVW7HDFKHU$ZDUG.D\+/RJDQ
ZZZDVWDZHEFRP_
2011
1DWLRQDO&RQIHUHQFH5HFDS
2011 Student Chapter Awards Presented at ASTA National
Conference
ASTA is pleased to announce the winners of the 2011 Student Chapter Awards: Western Michigan University was named Outstanding
Student Chapter, while Illinois State University picked up the award for Most Improved Student Chapter. The awards were presented
to chapter representatives at the 2011 ASTA National Conference, held in Kansas City, Missouri, last month. Congratulations to the
student members, officers, and faculty advisors of both chapters!
Eclectic Strings Festival Concert Provides Edgy Beat to an
Appreciative Audience
The Eclectic Strings Festival (ESF) made its debut to an enthusiastic contingent of student and adult musicians who embraced the
opportunity to explore a wide range of styles and genres. Fiddle, rock, and jazz were taught by nationally-recognized clinicians, Andy
Carlson (fiddle), Christian Howes (rock), Martin Norgaard (jazz), and Randy Sabien (jazz). The crowning event was a performance
on Saturday afternoon that featured all styles, conductors, and participants. Additionally, as a “finale” to the ESF, they were invited to
perform with Mark Wood and Friends’ at his Saturday evening performance before a large crowd.
ESF was generously sponsored by Yamaha Corporation, Alfred Music Publishing and NAMM. A debt of gratitude is extended to
Mark Wood for helping to make the ESF experience as electrifying as his concerts.
ASTA’s 16th Biennial
GRAND PRIZE
WINNER
National Solo Competition
The 16th biennial National Solo Competition featured four days
of string playing by 40 state finalists. These talented young musicians competed in two divisions, Junior (under 19) and Senior
(19-25). National finalists advanced to the final competition
through rigorous state and semi-final rounds. They competed for
cash prizes in the instrumental categories of violin, viola, cello,
double bass, classical guitar, and harp. Brannon Cho, junior
cello winner, was selected as the grand prize winner.
As grand champion, Brannon performed at the winners’
concert held on Saturday, March 19th in the Music Hall, Municipal Auditorium to an audience of conference attendees, local
community, and family.
The first National Solo Competition took place April 12,
1978 in Chicago, Illinois. Past winners include famed violinist
Joshua Bell (1981), Andres Diaz (1983), Wendy Warner (1986
and 1990), and Jennifer Koh (1992).
Brannon Cho
Junior Division - Cello
Short Hills, New Jersey
ASTA sincerely thanks the sponsors of the prize money for this
prestigious event:
Junior Division — MusicansWay.com
Senior Division — The Potter Violin Company
Grand Prize — The Ralph Matesky Award
International Music Academy Pilsen Scholarship —
Thomatik-Infeld
Additional Solo Competition Winners:
Violin
Junior
Division
First Place
Winners
Lily Tsai
Palo Alto,
California
Senior
Division
First Place
Winners
Michelle Tseng
Huntington
Beach,
California
Viola
Cello
Double Bass
*Tie*
Brannon Cho
Jackie Johnson
Abigail Elders
Short Hills, New Plano, Texas
Bloomfield Hills, Jersey
Michigan
Harp
Angelica
Hairston
Atlanta, Georgia
Guitar
Noah Kim
San Marino,
California
Gi Seo
Los Angeles,
California
No Prize
Wei-Ting Sun
Boston,
Massachusetts
*Tie*
Jonathan
Hammonds
Ann Arbor,
Michigan
Yue Grace Guo
Oberlin, Ohio
Chengyin LV
Denton, Texas
ZZZDVWDZHEFRP_
2011
1DWLRQDO&RQIHUHQFH5HFDS
National Orchestra Festival Groups Present the
Beauty and Excitement of Music
The eighth annual ASTA National Orchestra Festival (NOF), generously sponsored by Shar Products,
was held in conjunction with the national conference in Kansas City, Missouri. The NOF featured 13
ensembles representing 12 middle/junior high schools, high schools, and youth orchestras from across
the country and Hong Kong. Competing orchestras are split into four categories: High School String
Orchestra, High School Full Orchestra, Youth Orchestra, and Middle School Orchestra. Concerts are
evaluated by a panel of music educators on technique, tone quality, intonation, rhythm, and interpretation. As the educational aspect is an important component of the festival, students have the opportunity to attend and participate in some master classes.
Congratulations to all the talented young musicians who participated in the festival. Many thanks to NOF Chair David Littrell for
all of his hard work and dedication, as well as our adjudicators William Dick, Mark Laycock, and Robert McCashin. We are also grateful to clinicians Andrew Dabczynski and Jung-Ho Pak, and the many elective master class clinicians.
The festival grand champion for 2011 was Rapid City Central High School Chamber Orchestra from Rapid City, South Dakota
under the direction of Bruce Knowles.
Other groups receiving awards are on the next few pages.
+LJK6FKRRO6WULQJ2UFKHVWUD:LQQHUV
1. Rapid City Central High School Chamber Orchestra, Bruce Knowles, Director (Rapid City, South Dakota)
2. Liberty Senior High School Honors Orchestra, Mary Lou Jones, Director (Liberty, Missouri)
3. Hilliard Davidson High School Chamber Orchestra, Mark Sholl, Director (Hilliard, Ohio)
ZZZDVWDZHEFRP_
2011
National Conference Recap
+LJK6FKRRO)XOO2UFKHVWUD:LQQHU
1. Vero Beach High School Symphony Orchestra, Matthew Stott, Director (Vero Beach, Florida)
0LGGOH6FKRRO6WULQJ2UFKHVWUD:LQQHUV
1. Horace Mann Middle School String Orchestra, Ian Jessee, Director (Charleston, West Virginia)
2. Hyde Park Middle School Orchestra, Jeremy Woolstenhulme, Director (Las Vegas, Nevada)
3. Hong Kong International School Middle School Orchestra, Rondecca Chiwai Kam, Director (Tai Tam, Hong Kong)
48 | American String Teacher | May 2011
<RXWK2UFKHVWUD:LQQHU
1. Springfield Junior Youth Symphony, Lisa Fent, Director (Springfield, Missouri)
2011 National Award Winners
$UWLVW7HDFKHU$ZDUG'RQDOG:HLOHUVWHLQ
163&$ZDUG:D\QH6WDWH8QLYHUVLW\
Donald Weilerstein has performed extensively as 'HWURLW0LFKLJDQ
a soloist and chamber musician throughout the
world. He is a founding member and first
violinist of the Cleveland Quartet, and performed with them from 1969 to 1989. His
recordings with the quartet can be heard on the
RCA, Telarc, CBS, Phillips, and Pro Arte labels. The recordings
have earned seven Grammy nominations and won Best of the
Year awards from Time and Stereo Review. A former member of the
Young Concert Artists and a participant in the Marlboro Music
Festival, he performed on several “Music from Marlboro” tours. In
1968, he won the Munich International Competition for violin and
piano duo. He currently performs as part of both the Weilerstein
Duo and the Weilerstein Trio.
The Artist Teacher Award is given to an artist/pedagogue of renowned
stature from within North America every three years.
(OL]DEHWK$+*UHHQ6FKRRO(GXFDWRU$ZDUG
&DQGDFH:LHEHQHU,RZD&LW\,RZD
Candace Wiebener is currently in her 41st year of
teaching in the Iowa City Community School
District. During her long and illustrious career,
she has done just about everything from growing
programs that excite students to becoming a
district coordinator responsible for band,
orchestra, and choir. She is very active in statewide music efforts and
advocacy. Among her many positions have been: President of ISTA,
IMEA Orchestra Affairs Chair, and Iowa All State Chair. For 19
years, she has been the chair and champion of the Iowa Junior
Honors Orchestra providing advanced orchestral experience for
junior high students. She has received numerous distinguished
teaching awards for her outstanding work including the ISTA String
Teacher of the year in 1994 and 2000. She earned her bachelor of
music and master of arts degrees from the University of Iowa.
Elizabeth A.H. Green School Educator Award is given annually to
a school string teacher with a current and distinguished career in a
school orchestral setting.
The string project at Wayne State is located in the heart of Detroit. Founded in 2008, with support from the National String
Project Consortium (NSCP), the string project served to fill the
void left as local school string programs shrank or vanished in the
city. This year, more than 140 children are enrolled as well as 14
talented and passionate young instructors-in-training.
The NSPC award is given annually to a string project at a university
that exemplifies the mission of increasing the number of children
playing stringed instruments and addressing the shortage of string
teachers in the United States.
2XWVWDQGLQJ$FKLHYHPHQWLQ6WULQJ5HVHDUFK
$ZDUG'RQDOG+DPDQQ
Donald Hamann, Ph.D., professor of music
education and director of the Institute for
Innovation in String Music Teaching at the University of Arizona, teaches string pedagogy and
graduate research, teacher education, and
statistics. He has presented workshops and
clinics across the United States for many leading music associations. He founded and is the executive director of the UA String
Project. Hamann, who has published extensively in national and
international string, education, and research journals, is the
founder of, Journal of String Research now ASTA’s String Research
Journal. Hamann served on the JRME National Editorial Board,
the MEJ National Editorial Board, and the ASTA National Editorial Board, was president of the Arizona ASTA with NSOA and
chaired the ASTA National Research Committee. His book
Strategies for Teaching Strings, is published with the Oxford
University Press. Earning his degrees from the University of Texas
at Austin and the University of North Carolina at Greensboro,
Hamann taught at the University of Northern Colorado, where
he founded the UNC String Project, Kent State University, and
the Eanes Independent School District, Austin, Texas, where he
created their orchestral program.
The award is given to recognize long-term excellence in string research
to a researcher whose work has contributed significantly to scholarship
in string education.
ZZZDVWDZHEFRP_
2011
1DWLRQDO&RQIHUHQFH3KRWR5HFDS
ZZZDVWDZHEFRP_
2011
Summer Conferences
The Juilliard Starling-DeLay
Symposium on Violin Studies
May 31 – June 4
The Juilliard School
/LQFROQ&HQWHU3OD]D
1HZ<RUN1<
Email:V\PSRVLXP#MXLOOLDUGHGX
Web:MXLOOLDUGHGXVWDUOLQJ
String Orchestra Camp
June 19 - 24
University of Wisconsin-Whitewater
Contact: &RQWLQXLQJ(GXFDWLRQ6HUYLFHV
:HVW0DLQ$YHQXH
:KLWHZDWHU:LVFRQVLQ
Phone: Fax:
Email:FHVHYHQWV#XZZHGX
Web:XZZHGXFRQWHGXFFDPSVVWULQJ
Faculty:
Benjamin Whitcomb:&HOOR6WULQJ$UHD&RRUGLQDWRU
Susan Chandler:2UFKHVWUD6WULQJ(GXFDWLRQ
Steve Rindt:&KDPEHU2UFKHVWUD
Leanne League: Violin
Jennifer Paulson: Viola
Bradley Townsend: Bass
George Lindquist:*XLWDU
Jane Ferencz:(DUO\0XVLF(QVHPEOH
Rolland Fiddle Camp
June 26 – July 2
Hermit Basin Conference Center
1HDU:HVWFOLIIH&RORUDGR
Contact:3HWHU5ROODQG
:0RXQWDLQ9LHZ'ULYH
0HVD$=
Phone:
Email:SHWHUUROODQG#FR[QHW
Web:SHWHUUROODQGFRP
Faculty:
Fiddle:3HWHU0DWWKHZ0LFKDHO5ROODQG
Beginners:*DLODQG(GHQ5ROODQG
Dance and Singing:(GHQ*UDFH5ROODQG
Violin and Rolland Pedagogy:/\QQH'HQLJ
)LGGOHLPPHUVLRQLQ¿GGOLQJWHFKQLTXHVVW\OHVWXQHV
PRUHLQDVPDOOFDPSHQYLURQPHQW&RQFHQWUDWLRQRQROG
WLPH¿GGOLQJOHDUQLQJROGUHFRUGHGJHPVIRONRUFKHVWUDDQG
LPSURYLQJSOD\LQJVNLOOV7UDFNIRUVWULQJWHDFKHUVLQFOXGLQJ
¿GGOLQJIRUFODVVURRPXVH3DXO5ROODQGVWULQJPHWKRGV
| American String Teacher | May 2011
Conservatory Music in the
Mountains
July 10 – July 31
Fort Lewis College
'XUDQJR&RORUDGR
Contact:2QHLGD0&UDPHU
1HZ&RQVHUYDWRU\RI'DOODV
32%R[
'DOODV7H[DV
Phone:
Fax:
Email:RFUDPHU#QHZFRQVHUYDWRU\RUJ
Web:QHZFRQVHUYDWRU\RUJFPLWP
Faculty:
Violin:$UNDG\)RPLQ$UWLVWLF'LUHFWRU'HDQ'PLWUL
%HUOLQVN\9DGLP*OX]PDQ&HOHVWH*ROGHQ%R\HU*ULJRU\
.DOLQRYVN\0DUFLD/LWWOH\3KLOLSSH4XLQW.DVLD6RNRO
0LVKD9LWHQVRQ
Viola:9DOHUL$YUDPHQNR0LVKD*DODJDQRY0LFKDHO.ORW]
Cello:&KULVWRSKHU$GNLQV-HVXV&DVWUR%DOEL$VVRFLDWH
'HDQ-DVRQ&DOORZD\.DWKHULQH-HWWHU
Double Bass:5RJHU)UDWHQD
Ensembles:&ODYLHU7ULR$PHUQHW6WULQJ4XDUWHW
OSU String Teacher Workshop
July 10 – 16
The Ohio State University
&ROXPEXV2KLR
Contact:'U5REHUW*LOOHVSLH
&ROOHJH5RDG
&ROXPEXV2+
Phone:
Fax:
Email:*LOOHVSLH#RVXHGX
Web:PXVLFRVXHGXVWULQJWHDFKHUZRUNVKRS
Faculty:
Robert Gillespie:3URIHVVRURI6WULQJ(GXFDWLRQ3HGDJRJ\
7KH2KLR6WDWH8QLYHUVLW\
David Becker: 'LUHFWRURI2UFKHVWUDO6WXGLHV/DZUHQFH
8QLYHUVLW\&RQVHUYDWRU\RI0XVLF
Elliot del Borgo:6FKRRO2UFKHVWUD&RPSRVHUDQG
3XEOLVKHU
Pamela Tellejohn Hayes:6FKRRO2UFKHVWUD3URJUDPV
Muriel Bodley:3XWWLQJ6X]XNLLQWKH6FKRRO2UFKHVWUD
3UDFWLFDOO\
Chuck Laux: 0DNLQJ7HFKQRORJ\:RUNLQWKH6FKRRO
2UFKHVWUDIRU<RXDQG<RXU6WXGHQWV
Martin Norgaard:-D]]9LROLQ$XWKRUDQG,QWHUQDWLRQDO
&OLQLFLDQ
6HHDGRQSDJH
-XLOOLDUG&RQGXFWLQJ:RUNVKRS
IRU0XVLF(GXFDWRUV
-XO\²
7KH-XLOOLDUG6FKRRO
/LQFROQ&HQWHU3OD]D
1HZ<RUN1<
(PDLO(YHQLQJ#MXLOOLDUGHGX
:HEMXLOOLDUGHGXVXPPHUFRQGXFWLQJ
268$WODQWD6WULQJ7HDFKHU
:RUNVKRS
6WULQJ,QVWUXPHQW5HSDLU
&OLQLFV
-XO\²$XJXVW
8QLYHUVLW\RI:LVFRQVLQ0DGLVRQ
&RQWDFW-RGL5REHUWV
1RUWK3DUN6WUHHWWK)ORRU
0DGLVRQ:LVFRQVLQ
3KRQH
)D[
(PDLOMUREHUWV#GFVZLVFHGX
:HEGFVZLVFHGXOVDPXVLFKVZKWP
)DFXOW\
&KULVWRSKHU*HUPDLQ,QWHUPHGLDWHDGYDQFHGVWULQJ
LQVWUXPHQWUHSDLU
&KULVWRSKHU0RRUH%DVLFEHJLQQLQJVWULQJLQVWUXPHQWUHSDLU
'DYLG2UOLQ%RZUHSDLU
:LO%UHPHU)UHWWHGLQVWUXPHQWUHSDLU
-HQQLIHU5XJJLHUL+DUSPDLQWHQDQFH
-XO\
$OSKDUHWWD+LJK6FKRRO
&ROOHJH5RDG
&ROXPEXV2KLR
:HEVFDVWDRUJ
&RQWDFW'U5REHUW*LOOHVSLH
3KRQH
)D[
(PDLOJLOOHVSLH#RVXHGX
:HEPXVLFRVXHGXVWULQJWHDFKHUZRUNVKRS
)DFXOW\
5REHUW*LOOHVSLH3URIHVVRURI6WULQJ(GXFDWLRQ3HGDJRJ\
6KHOGRQ)LVKHU2UFKHVWUD'LUHFWRU$OSKDUHWWD+LJK6FKRRO
0DULO\Q6HHOPDQ0XVLF'LUHFWRUDQG&RQGXFWRU$VVLVWDQW
3URIHVVRURI6WULQJ(GXFDWLRQ*HRUJLD6WDWH8QLYHUVLW\
-DPHV%DUNHW'LUHFWRU:HEE%ULGJH0LGGOH6FKRRO
&KDPEHU2UFKHVWUD
6HHDGRQSDJH
6XPPHU6WULQJV&DPS6XPPHU
&HOOR,QVWLWXWH
-XO\-XO\
6RXWK&DUROLQD$PHULFDQ6WULQJ7HDFKHUV$VVRFLDWLRQ
&RQYHUVH&ROOHJH
6SDUWDQEXUJ6RXWK&DUROLQD
3HWULH6FKRRORI0XVLF
:HEVFDVWDRUJ
&RQWDFW0LFKHOH7DWH5HVLGHQFH/LIH5HJLVWUDWLRQ'LUHFWRU
)DFXOW\
.HQQHWK/DZ&HOORDQG&RGLUHFWRU
7KHUHVD-HQNLQV5XVV-D]]&ODVVLFDO9LROLQDQG
&RGLUHFWRU
%UHQGD/HRQDUG&HOOR
-DQLFH+XWWRQD9LROD9LROLQDQG&KDPEHU
5DQG\6DELHQ)LGGOHDQG-D]]
0DWW7XUQHU-D]]&HOOR
&KULVWLQD3ODFLOOD9LROD
&KLS*XOEUR9LROD9LROLQDQG)LGGOH
7LDQ\XDQ*H%DVV
UH\RXLQQHHGRI
DIIRUGDEOHLQVXUDQFH"
$67$LVLQSDUWQHUVKLSZLWK
7)-WRRIIHUOLDELOLW\JURXS
WHUPOLIHKHDOWKDQGHYHQ
SHUVRQDODXWRLQVXUDQFH
,I\RX·GOLNHWRWDNH
DGYDQWDJHRIWKLVJUHDW
RSSRUWXQLW\IRUUHOLDEOH
DQGFRPSUHKHQVLYH
FRYHUDJHSOHDVHJRWR
ZZZIWMFRP$67$WRÀQG
RXWPRUH
ZZZDVWDZHEFRP_
&RPPLWWHH6SRWOLJKW
CodaBows for America
Community Outreach
Committee
CodaBow International, Ltd., donates approximately $5,000 worth of
full-size CodaBows annually to deserving schools and studios. Violin,
viola, and cello bows can be awarded. Applications are accepted from
ASTA members in good standing on behalf of schools or studios that
outline the particular worthiness, promise, and need of their program.
Jim Bates, Chair
Jim Bates is director of orchestral activities at
Otterbein University in Columbus, Ohio and
serves as an assistant conductor for the
Columbus Symphony Youth Orchestras. For
18 years, he was a conductor for the Louisville
(KY) Youth Orchestras and was music director
of that organization from 1996 – 2001. In
1999, he joined the conducting staff of Interlochen Center for
the Arts and continues to co-direct the Junior Orchestra program
and Junior String Institute. He has served as a clinician or guest
conductor in several states and has served as president of Kentucky ASTA. In addition to string education, he is very involved
with the Classical Mandolin Society of America and period
instrument performance.
Jeff Van Fossen
Jeff Van Fossen is cofounder of CodaBow
International, makers of the CodaBow family
of performance bows. When not designing and
crafting performance bows, he serves on
regional arts boards including Strings in
Motion, The Great River Shakespeare Festival,
and the Winona Symphony. Van Fossen holds
degrees in mechanical and aerospace engineering from Princeton
University. He enjoys the rare privilege of being able to paddle a
canoe to work.
Linda Ratti
Linda Stewart Ratti retired after 33 years of
teaching orchestra in Lexington and Louisville
public schools. She is currently part time
faculty at University of Louisville teaching
String Pedagogy and serving on the board of
University of Kentucky Friends of Music. She
has served on the Lexington Suzuki Board,
Louisville Youth Orchestra Board, District KMEA String
Chairman, State Convention Exhibits Chair, Treasurer for
Kentucky ASTA, conductor for music festivals and All County
groups. Linda received a B.M.E. from University of Kentucky
and M.M.E. at Northwestern University. Awards include
Kentucky Middle School Orchestra Teacher, Kentucky ASTA
String Teacher, and Kentucky ASTA Service.
Potter’s Violins Instrument
Awards Committee
Dalton Potter, owner of Potter' s Violins in Bethesda, Maryland,
donates six instruments annually to students in need. Three instruments-violins, violas, or cellos of any size-are awarded each round.
Application deadlines are April 1 and October 1 each year. Beginning with the April 2011 competition, Peter Zoller outfits are also
awarded to winners. Applications are accepted on behalf of students
(elementary through high school), from ASTA members who outline
their particular worthiness and promise as string students.
Caroline Karl, Chair
Caroline Karl is a graduate of The University
of Michigan School of Music-Ann Arbor
(B.M.) where she studied cello with Jerome
Jelinek and music education with Robert
Culver. She holds a M.M. in music education from the University of Georgia-Athens.
After receiving her bachelor’s, she taught
orchestra in the Atlanta Public Schools.
From there, she returned to her home town of Livonia, Michigan
to direct the Franklin High School Orchestras. In 2006, she
relocated to Reno and directs the orchestras at North Valley High
School, O’Brien Middle School, and teaches the Reno Philharmonic’s “Celebrate Strings” after-school violin program. During
her career, she has taught orchestra, band, and general music to
students in grades K-12 and has been honored with inclusion in
Marquis’ Who’s Who in American Education. Karl, a certified
Suzuki teacher, is an active member in ASTA, MENC/NMEA,
and SAA.
Frances Oare
Frances Oare currently teaches strings in the
Wichita Public Schools. She holds a
bachelor’s degree from the University of
Michigan, a master’s with emphasis in string
pedagogy from Cincinnati Conservatory of
Music, and has extensive experience and
training in the Suzuki method. Prior to
teaching in Wichita, Oare taught in Hawaii,
Washington, and Michigan. She has taught band and orchestra,
maintained a private Suzuki studio, and spent eight years as
conductor of the Capital Area Youth Philharmonic in Olympia,
Washington. For the past six years, Oare has been on the faculty
of Blue Lake Fine Arts Camp in Michigan. In Addition, Oare
has performed extensively as a French hornist with the Olympia
Symphony Orchestra and has also performed with the Honolulu
Symphony and Northwest Wind Symphony.
Valerie Palmieri
Valerie Palmieri, string educator, pedagogue, conductor, violinist, clinician, judge, and strings advocate, is in her
38th year of music education. Currently she serves as educational consultant and violinist with the Dearborn
Symphony, Great Lakes Chamber Orchestra and Traverse City Symphony. Distinguished roles include president
of MASTA , associate professor at Madonna University, Central Michigan University, and University of Wisconsin GB. She received her B.M and M.M (violin performance) and music education from University of Michigan
and Suzuki certification for violin and cello. Her teaching positions include music coordinator for Bloomfield
Hills Schools, director of Orchestras for Lahser High School, and director of orchestras at Walled Lake Western
High School. Honors include Most Outstanding in Music Education (Wenger), a certificate for musical excellence, (Michigan Association of School Boards), a certificate of recognition (Harvard University), ASTA String
Teacher of the Year, and Teacher of the Year (Walled Lake).
6XPPHU&RQIHUHQFH&DOHQGDU
$SULO
9LROLQ9LROD3HGDJRJ\:HHNHQG
0DVWHU&ODVVHV3HUIRUPDQFHV
/HFWXUHV
%LHQHQ6FKRRORI0XVLF
1RUWKZHVWHUQ8QLYHUVLW\
(YDQVWRQ,OOLQRLV
(PDLO.MHOODQG#QRUWKZHVWHUQHGXRU
VSHQFHUV#QRUWKZHVWHUQHGX
:HEPXVLFQRUWKZHVWHUQHGX
SURJUDPVVWULQJSHGDJRJ\KWPO
0D\²
7KH+DUS*DWKHULQJ
6DXGHU+HULWDJH,QQ
$UFKEROG2KLR
(PDLOLQIR#KDUSJDWKHULQJFRP
:HEKDUSJDWKHULQJFRP
0D\²-XQH
7KH-XLOOLDUG6WDUOLQJ'H/D\
6\PSRVLXPRQ9LROLQ6WXGLHV
7KH-XLOOLDUG6FKRRO
1HZ<RUN1HZ<RUN
(PDLOV\PSRVLXP#MXLOOLDUGHGX
:HEMXLOOLDUGHGXVWDUOLQJ
-XQH
%H\RQGWKH1RWHV'D\
3HUIRUPDQFH:RUNVKRS
9LUJLQLD&RPPRQZHDOWK8QLYHUVLW\
5LFKPRQG9LUJLQLD
(PDLOMDGHOPDQ#YFXHGX
:HEYFXPXVLFRUJ
-XQH
3LDQRDQG6WULQJV6XPPHU&DPS
*HRUJLD&ROOHJH
0LOOHGJHYLOOH*HRUJLD
:HEJFVXHGXPXVLFFDPSVKWP
-XQH²
6WULQJ2UFKHVWUD&DPS
8QLYHUVLW\RI:LVFRQVLQ:KLWHZDWHU
:KLWHZDWHU:LVFRQVLQ
(PDLOFHVHYHQWV#XZZHGX
:HEXZZHGXFRQWHGXFFDPSVVWULQJ
-XQH²-XO\
5ROODQG)LGGOH&DPS
+HUPLW%DVLQ&RQIHUHQFH&HQWHU
0HVD$UL]RQD
(PDLOSHWHUUROODQG#FR[QHW
:HESHWHUUROODQGFRP
-XQH²-XO\
0RGHUQ(DUO\0XVLF,QVWLWXWH
*HRUJH:DVKLQJWRQ8QLYHUVLW\
:DVKLQJWRQ'&
(PDLOPHPL#WKHYLYDOGLSURMHFWRUJ
:HEWKHYLYDOGLSURMHFWRUJ0(0,LQGH[
KWPO
-XQH²-XO\
2UFKHVWUD7ULDJH$Q
8QFRQYHQWLRQDO$SSURDFKWR
%XLOGLQJD6XSHULRU2UFKHVWUD
3URJUDP
$UHD(GXFDWLRQ$JHQF\
%HWWHQGRUI,RZD
(PDLOMKHQU\#RUFKHVWUDWULDJHFRP
:HERUFKHVWUDWULDJHFRP
5HJLVWHUDHDNLDXV
-XQH²-XO\
0LNH%ORFN6WULQJ&DPS
6WRUP*URYH0LGGOH6FKRRO
9HUR%HDFK)ORULGD
:HE0LNH%ORFN6WULQJ&DPSFRP
-XO\²
&RQVHUYDWRU\0XVLFLQWKH0RXQWDLQV
)RUW/HZLV&ROOHJH
'XUDQJR&RORUDGR
(PDLORFUDPHU#QHZFRQVHUYDWRU\RUJ
:HEQHZFRQVHUYDWRU\RUJFPLWP
-XO\²
2686WULQJ7HDFKHU:RUNVKRS
&ROXPEXV2KLR
(PDLO*LOOHVSLH#RVXHGX
:HEPXVLFRVXHGX
VWULQJWHDFKHUZRUNVKRS
-XO\
&URRNHG7UHH6XPPHU6WULQJV
&URRNHG7UHH$UWV&HQWHU
3HWRVNH\0LFKLJDQ
(PDLOUREHUW#FURRNHGWUHHRUJ
:HEFURRNHGWUHHRUJ
-XO\²
-XO\²-XO\
0DUN:RRG5RFN2UFKHVWUD
&DPS
0LG$PHULFD1D]DUHQH8QLYHUVLW\
2ODWKH.DQVDV
(PDLOPZURF#PDUNZRRGPXVLFFRP
:HEPZURFFRP
-XO\²-XO\
2686WULQJ7HDFKHU:RUNVKRS
$WODQWD*HRUJLD
(PDLO*LOOHVSLH#RVXHGX
:HEPXVLFRVXHGX
DWODQWDVWULQJWHDFKHUZRUNVKRS
-XO\-XO\
6XPPHU6WULQJV&DPS6XPPHU
&HOOR,QVWLWXWH
6RXWK&DUROLQD$PHULFDQ6WULQJ
7HDFKHUV$VVRFLDWLRQ
&RQYHUVH&ROOHJH
6SDUWDQEXUJ6RXWK&DUROLQD
:HEZZZVFDVWDRUJ
-XO\²$XJXVW
1DWLRQDO6WULQJ,QVWUXPHQW5HSDLU
&OLQLFV
8QLYHUVLW\RI:LVFRQVLQ0DGLVRQ
0DGLVRQ:LVFRQVLQ
3KRQH
(PDLOPXVLF#GFVZLVFHGX
:HEGFVZLVFHGXOVDPXVLFKVZKWP
$XJXVW
&URRNHG7UHH)LGGOH&ODVV
&URRNHG7UHH$UWV&HQWHU
3HWRVNH\0LFKLJDQ
(PDLOMHQQLIHU#FURRNHGWUHHRUJ
:HEFURRNHGWUHHRUJ
$XJXVW²
:$67$%LUFK%D\6WULQJ7HDFKHUV¶
:RUNVKRS
)HUQGDOH:DVKLQJWRQ
(PDLO
MHGOXQG#VWULQJVSHFLDOLVWFRP
:HEVWULQJVSHFLDOLVWFRPELUFKED\
-XLOOLDUG&RQGXFWLQJ:RUNVKRSIRU
0XVLF(GXFDWRUV
7KH-XLOOLDUG6FKRRO
1HZ<RUN1HZ<RUN
(PDLO(YHQLQJ#MXLOOLDUGHGX
:HEMXLOOLDUGHGXVXPPHUFRQGXFWLQJ
ZZZDVWDZHEFRP_
1RWHV
In Memoriam:
Concertmaster and Conductor Sydney Harth Dies
Sidney Harth, 85, concertmaster and conductor, died in Pittsburgh, Pennsylvania of respiratory
complications. His wife, violinist Teresa Harth, predeceased him in 2010. His son, Robert Harth,
passed away in 2004 while serving as CEO of Carnegie Hall. He is survived by his daughter,
Laura Harth Rodriguez, and a grandson.
During his career, Harth was concertmaster for the Louisville Orchestra, the Chicago Symphony Orchestra and the New York Philharmonic and worked with the Jerusalem and Puerto Rico
symphonies, among others. He was also chairman of the music department at Carnegie-Mellon
University from 1963-73; and taught violin at SUNY and Yale University. In later years, he reaffiliated with Carnegie-Mellon and became director of orchestral activities at the Mary Pappert School of Music, Duquesne University.
He attained international recognition when he became the first American to receive the Laureate Prize in Poland's Wieniawski
Violin Competition in 1957. That placement, a tie with a student of the renowned Soviet violinist David Oistrakh, was a breakthrough
during the Cold War that happened a full year before pianist Van Cliburn celebrated victory at the First International Tchaikovsky
Competition in Moscow in 1958.
“It was in the height of the Cold War and never had an American finished even in the top three before that,” said his daughter, Laura
Harth Rodriguez of Shadyside. “It launched his career.”
Acclaimed Violinist Eric Rosenblith Passes
Violinist and teacher Eric Rosenblith, 90, passed away last December from prostate cancer complications.
Formerly the head of strings at Boston's New England Conservatory, he had most recently taught at the
Longy School.
He was a resident of Newton, Massachusetts but was born in Vienna, Austria. The family moved to
Berlin, Germany where he made his professional debut at age eight. Soon after, the family fled and moved
to Paris, France to avoid Nazi persecution. In Paris, he studied under Jacques Thibaud and later with Carl
Flesch in London. In 1939, he rejoined his family in Paris and once again had to leave due to impending
Nazi invasion. The family settled in New York City, where he continued his studies. He made his New
York debut in 1941. Rosenblith was drafted into the U.S. Army. He returned to concert performance in
New York and abroad in the late 1940s.
Rosenblith joined the faculty of the New England Conservatory in 1968, and headed its strings program for 25 years, retiring in 2007. In 1997, he founded the International Musical Arts Institute and Festival in Fryeburg, Maine.
In his later years, Rosenblith updated and translated book one of Flesch's pedagogy text, The Art of Violin Playing, and last October, Carl Fischer Music published Rosenblith's own teaching approach in a volume called Ah, You Play the Violin...Thoughts Along the
Path to Musical Artistry.
Famed Violist Emanuel Vardi Passes Away at His Home
Violist Emanuel Vardi, 95, passed away at his home on January 29. Many consider him one of the
greatest violists of the 20th century. In addition to his musical career, he was a commissioned fine artist.
According to his wife, Lenore Vardi, “He was a true individual — musically and artistically — and he had
a dose of rebel in him, so he was always trying new things.”
Vardi began playing violin when he was two-and-a-half. By the time he was 12 years old, he successfully auditioned for Julliard but was too young to attend. So, he was sent to the Institute of Musical Art
but dropped out a few years later. He eventually attended Julliard and studied violin and viola.
Vardi left school when he had an opportunity to play with the NBC Symphony Orchestra. Next, he
joined the U.S. Navy Band during World War II. It was during this time, that Eleanor Roosevelt had him
play for the president. In 1942, Vardi was named Recitalist of the Year by New York’s music critics. He is one of only two violists in the
world to have given a solo recital at Carnegie Hall.
After the war, Vardi used his GI bill to study fine art at Florence’s Academia de Belle Arte. He entered and won an art international competition and his work was displayed in an Italian museum. He returned to the U.S. to continue studying art but music
was his passion. He had a long solo career and recorded and performed with some of the biggest names in classical music and
American popular music.
Music Educator Frank A. Mazurek Touched Many Lives During
Long Career
Frank A. Mazurek, inspirational and dedicated music educator, passed away last December at age 72.
His 37-year music career was spent in the Ithaca City School District where he touched the lives of many
students from elementary through high school. His deep devotion and pride in his students led him to say,
“I got more out of the kids than they got out of me.” Upon his retirement from Ithaca High, a scholarship
was established in his name called the Frank Mazurek String Award.
Mazurek was born in Buffalo, New York where his family owned a bakery. As a young boy, his father
encouraged
his passion
for music. He
would eventually earn a B.A. from Oberlin College and
an M.A. from Ithaca College, both in music
education.
He was an active volunteer in many
music organizations including ASTA. He
is a former president of the New York State
Chapter of ASTA and co-founder and director
of ASTA/NSOA String Music Camp. He was
committed to community service and an active member in his church where he participated in music ministries. He enjoyed playing in
the Ithaca Community Orchestra and taking
his own school orchestras to play at convalescent facilities. He assisted with flu clinics and
taught even Polish to senior citizens. You could
even find him rebuilding a hurricane-ravaged
home in North Carolina. He was honored as
the 2010 volunteer of the year by the Salvation
Army’s Kitchen Cupboard.
He is survived by his wife of 50 years,
Jane; his son, David of Bozrah, Connecticut;
and his daughter, Debbie of Cato, New York.
Donations in his name should be made to:
Salvation Army Kitchen Cupboard, 150 N.
Albany St., Ithaca, NY 14850.
www.astaweb.com | 57
$67$
0HPEHUVKLS$SSOLFDWLRQ
3OHDVHFRPSOHWHDOORIWKHVHFWLRQVEHORZ7RKHOSUHGXFHHUURUVSOHDVHSULQWFOHDUO\
1HZ0HPEHU
5HQHZLQJ0HPEHU$67$,' BBBBBBBBBB5HIHUUDO6RXUFHBBBBBBBBBBBBBBBBBBBBBBBBBBBBB
)XOO1DPHBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB
$GGUHVVBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB
&LW\6WDWH=LSBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB
+RPH7HOHSKRQH BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB :RUN7HOHSKRQHBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB
)D[BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB (PDLOBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB
-RE7LWOHBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB 3URIHVVLRQDO,QVWLWXWLRQBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB
'DWHRI%LUWK BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB $QWLFLSDWHG*UDGXDWLRQ'DWHVWXGHQWVBBBBBBBBBBBBBBBBBBBBBBB
<RXU3URIHVVLRQ
&KHFNRQO\SULPDU\SURIHVVLRQ
&KHFNDQ\VHFRQGDULHVWKDWDSSO\
3ULPDU\
6HFRQGDU\
+LJKHU(GXFDWLRQ

.
+LJK6FKRRO

0LGGOH-U+LJK6FKRRO

(OHPHQWDU\6FKRRO

6FKRRO0XOWL/HYHO

3ULYDWH6WXGLR

3HUIRUPHU

&RQGXFWRU

0XVLF$GPLQLVWUDWRU

6WULQJ(QWKXVLDVW

6WXGHQWDQ\OHYHO

5HWLUHG

<RXU,QVWUXPHQW
&KHFNRQO\SULPDU\LQVWUXPHQW
&KHFNDQ\VHFRQGDULHVWKDWDSSO\
3ULPDU\

6HFRQGDU\
9LROLQ

9LROD

&HOOR

'RXEOH%DVV

*XLWDU

+DUS

%UDVV

.H\ERDUG

3HUFXVVLRQ

:RRGZLQG

0HPEHUVKLS&DWHJRU\&KHFNRQO\RQHGXHVSDLGDQQXDOO\
3OHDVHFKHFNRQH
0DOH
)HPDOH
3ULPDU\IRFXV
&ODVVLFDO 1RQ&ODVVLFDO
3OHDVHLQGLFDWHDQ\GLUHFWRULHV
IURPZKLFK\RXZLVKWREH
(;&/8'('
2QOLQH0HPEHUVKLS'LUHFWRU\
$67$(PDLO$QQRXQFHPHQWV
0DLOLQJ/DEHOVUHQWHG
&RQWULEXWLRQWR)RXQGDWLRQ
5DWHVLQHIIHFWWKURXJK-XQH
3URIHVVLRQDO 'XDO
)XOOWLPH6WXGHQWFXUUHQW,'UHTXLUHG /LEUDU\6XEVFULSWLRQ 6HQLRUDJHRURYHU +LJK6FKRRO&KDSWHU )RULQIRUPDWLRQRQLQVWLWXWLRQDOPHPEHUVKLSFDOOH[W
'XHVDUHIRULQGLYLGXDOPHPEHUVKLSRQO\'XHVDUHQRQWUDQVIHUDEOHDQG
QRQUHIXQGDEOH7KHUHLVDFKDUJHRQLWHPVUHWXUQHGIURPWKHEDQN
(OHFWURQLF9RWLQJ
,KHUHE\JLYHP\FRQVHQWWRSDUWLFLSDWHLQDQGUHFHLYHHOHFWURQLF
WUDQVPLVVLRQVRIHOHFWLRQPDWHULDOVDQGHOHFWURQLFYRWLQJ
<HV1R
3OHDVHVHQGPDWHULDOVWRWKHIROORZLQJHPDLODGGUHVV
BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB
3OHDVHVXSSRUWWKHHGXFDWLRQDOSURJUDPVRI$67$0DNHDFRQWULEXWLRQDQG
KHOSSURYLGHLQVWUXPHQWVWRQHHG\VWXGHQWVIXQGLQVWUXPHQWOHVVRQVIRUXUEDQ
\RXWKDQGDGYDQFHWKH$67$PLVVLRQ
7RWDOV
0HPEHUVKLS&DWHJRU\ BBBBBBBBBB
)RUHLJQ3RVWDJH86UHVLGHQWVSRVWDJHLQFOXGHG
IRU&DQDGDIRUDOORWKHUV BBBBBBBBBB
0HPEHUVKLS/DSHO3LQHDFK BBBBBBBBBB
$67$&RQWULEXWLRQ BBBBBBBBBB
0HPEHUVKLS&HUWLÀFDWHHDFK BBBBBBBBBB
*5$1'727$/BBBBBBBBBB
3D\PHQW,QIRUPDWLRQ
&KHFNBBBBBBBBBBB
&KHFNPDGHSD\DEOHWR$67$
9,6$ 0DVWHU&DUG $PHULFDQ([SUHVV
&DUGBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB
([S'DWHBBBBBBBBBBB 6LJBBBBBBBBBBBBBBBBBBBBBBBBBB
0HPEHUVKLSDSSOLFDWLRQVVKRXOGEHUHWXUQHGWR
$67$0HPEHUVKLS'HSDUWPHQW&KDLQ%ULGJH5RDG)DLUID[9$
2UXVH\RXUFUHGLWFDUGWRMRLQRQOLQHDWZZZDVWDZHEFRP
9KL9Klm\]fl;`Yhl]jk
8QLYHUVLW\RI/RXLVYLOOH
6FKRRORI0XVLF
/RXLVYLOOH.<
6LGQH\.LQJ
VLGDNLQJ#VEFJOREDOQHW
*DEULHOOH%RJXVODZ
JPERJX#ORXLVYLOOHHGX
,QGLDQD8QLYHUVLW\
0XVLF(GXFDWLRQ'HSW
(7KLUG6W
%ORRPLQJWRQ,1
%UHQGD/%UHQQHU
EEUHQQHU#LQGLDQDHGX
5HEHFFD&ROERUJ)UHGHULFN
PLVVUHEHFFDYLROLQ#JPDLOFRP
2OG'RPLQLRQ8QLYHUVLW\
2OG'RPLQLRQ8QLYHUVLW\',(+1
)3$
1RUIRON9$
/XF\0DQQLQJ
OPDQQLQJ#RGXHGX
+HDWKHU6PLWK
DOOHJUDPDVWHU#JPDLOFRP
,QGLDQD8QLYHUVLW\RI3HQQV\OYDQLD
&RJVZHOO+DOO
,QGLDQD3$
6WDQOH\&KHSDLWLV
VWDQOH\FKLS#YHUL]RQQHW
6WDFH\.%XUZLFN
[FJS#LXSHGX
3HQQV\OYDQLD6WDWH8QLYHUVLW\
0XVLF%XLOGLQJ,
8QLYHUVLW\3DUN3$
5REHUW*DUGQHU
UGJ#SVXHGX
-LQLDQ&RPSWRQ
MOF#SVXHGX
&RQFRUGLD&ROOHJH
'HSDUWPHQWRI0XVLF
WK6W6RXWK
0RRUKHDG01
-DQH/LQGH&DSLVWUDQ
FDSLVWUD#FRUGHGX
5DFKHO0HUWHQV
UHPHUWHQ#FRUGHGX
,WKDFD&ROOHJH
6FKRRORI0XVLF
'DQE\5G
,WKDFD1<
'HEUD.0RUHH
PRUHH#LWKDFDHGX
6DPDQWKD+HFKW
VKHFKW#JPDLOFRP
681<3RWVGDP&UDQH6FKRRORI
0XVLF
3LHUUH3RUW$YHQXH
3RWVGDP1<
-HQQLIHU.HVVOHU
NHVVOHMN#SRWVGDPHGX
$QGUHZ)XQG
DI#DROFRP
8QLYHUVLW\RI1RUWK&DUROLQD
*UHHQVERUR*DWH&LW\
81&*6FKRRORI0XVLF
0F,YHU6WUHHW
*UHHQVERUR1&
6FRWW:\DWW5DZOV
YLRODBVWXGLR#XQFJHGX
3HJJ\0DUVKDOO
SDPDUVKD#XQFJHGX
'XTXHVQH8QLYHUVLW\
)RUEHV$YH
3LWWVEXUJK3$
6WHSKHQ-%HQKDP
EHQKDP#GXTHGX
/RUL&DUUDX
FDUUDX#GXTHGX
-DPHV0DGLVRQ8QLYHUVLW\
6FKRRORI0XVLF06&
6RXWK0DLQ6W
+DUULVRQEXUJ9$
5REHUW0F&DVKLQ
PFFDVKUG#MPXHGX
$QQD.RE\OVNL
DQQDNRE\OVNL#JPDLOFRP
7H[DV6WDWH8QLYHUVLW\6DQ0DUFRV
6FKRRORI0XVLF
8QLYHUVLW\'U
6DQ0DUFRV7;
$PHV$VEHOO
DPHVDVEHOO#DXVWLQUUFRP
5XEHQ%DOERD,,,
UXEHQEDOERDYLROLVW#\DKRRFRP
8QLYHUVLW\RI1RUWKHUQ&RORUDGR
6FKRRORI0XVLF
)UDVLHU+DOO
*UHHOH\&2
:LOOLDP++LQNLH,,,
+LQNLHLLL#QHW]HURQHW
0HOLVVD%DUUX
EDUU#XQFRHGX
.HQQHVDZ6WDWH8QLYHUVLW\
&KDVWDLQ5RDG
$OSKDUHWWD*$
0LFKDHO$OH[DQGHU
PDOH[#NHQQHVDZHGX
'DQLHO%HUPHO
VWDQ#JPDLOFRP
8QLYHUVLW\RI&RORUDGR
&ROOHJHRI0XVLF8&%
%RXOGHU&2
0DUJDUHW+%HUJ
PDUJDUHWEHUJ#FRORUDGRHGX
0RQLFD6PLOH\
PRQLFDVPLOH\#FRORUDGRHGX
/DZUHQFH8QLYHUVLW\
(%ROGW:D\
$SSOHWRQ:,
.LUN'0RVV
NLUNGPRVV#ODZUHQFHHGX
$QGUHZ/D&RPEH
ODFRPEHD#ODZUHQFHHGX
8QLYHUVLW\RI*HRUJLD
5LYHU5G
$WKHQV*$
&OLQW)7D\ORU-U
FIWD\ORU#XJDHGX
.DWKHULQH+HUULQ
NDWHKHUULQ#\DKRRFRP
8QLYHUVLW\RI7H[DVDW(O3DVR
6XQ&LW\
)R[)LQH$UWV&HQWHU5RRP0
(O3DVR7;
6WHSKDQLH0H\HUV
VPH\HUV#XWHSHGX
6DQGUD(+HUUHUD
VHKHUUHUD#PLQHUVXWHSHGX
/RQJ,VODQG8QLYHUVLW\&:3RVW
1RUWKHUQ%OYG
*UHHQYDOH1<
0DXUHHQ'+\QHV
PDXUK\QHV#DROFRP
&KHOVHD:LQWHU
FKHOVHDZLQWHU#P\OLXHGX
8QLYHUVLW\RI+DUWIRUG7KH+DUWW
6FKRRO
%ORRP¿HOG$YH
:HVW+DUWIRUG&7
-RVKXD5XVVHOO
MRUXVVHOO#KDUWIRUGHGX
9LYLDQ'RXJKW\
YGRXJKW\#KDUWIRUGHGX
$SSDODFKLDQ6WDWH8QLYHUVLW\
+D\HV6FKRRORI0XVLF
5LYHUV6W%RRQH1&
1DQF\(%DUJHUVWRFN
EDUJUVWRFNQH#DSSVWDWHHGX
0HOLVVD&KDSSHOO
FKDSSHOOPH#DSSVWDWHHGX
$XJXVWDQD&ROOHJH/MXYOLJD
6WDQJDU
'HSWRI0XVLFWK6W
5RFN,VODQG,/
-DQLQD(KUOLFK
PXHKUOLFK#DXJXVWDQDHGX
5DFKHO3DOPHU
UDFKHOSDOPHU#DXJXVWDQDHGX
(DVWHUQ.HQWXFN\8QLYHUVLW\
)RVWHU
(.8/DQFDVWHU$YH
5LFKPRQG.<
-HUHP\0XOKROODQG
MHUHP\PXOKROODQG#HNXHGX
:LOOLDP'XGJHRQ
ZLOOLDPBGXGJHRQ#HNXHGX
(OPKXUVW&ROOHJH
'HSDUWPHQWRI0XVLF
3URVSHFW$YH
(OPKXUVW,/
-RDQQH70D\
MPD\#\DKRRFRP
$OH[DQGHU0H]D
DPH]D#JPDLOFRP
)ORULGD*XOI&RDVW8QLYHUVLW\
%RZHU6FKRRORI0XVLF
)RUW0\HUV)/
5RG&KHVQXWW
UFKHVQXW#IJFXHGX
5RODQG)RUWL
URODQGIRUWL#\DKRRFRP
)ORULGD6WDWH8QLYHUVLW\
&ROOHJHRI0XVLF
7DOODKDVVHH)/
*UHJRU\6DXHU
JVDXHU#IVXHGX
-DPHV0LFN
MDPHVSDXOPLFN#JPDLOFRP
,OOLQRLV6WDWH8QLYHUVLW\
&DPSXV%R[
1RUPDO,/
.DWKHULQH/HZLV
NMOHZLV#LOVWXHGX
$OH[DQGUD$QODV
DPDQODV#LOVWXHGX
0DQVÀHOG8QLYHUVLW\
%XWOHU0XVLF&HQWHU
0DQV¿HOG3$
.HQQHWK/6DUFK
NVDUFK#PDQV¿HOGHGX
$PDQGD)7ULPSH\
PDQGDID\HW#DROFRP
0LFKLJDQ6WDWH8QLYHUVLW\
0XVLF%XLOGLQJ
(DVW/DQVLQJ0,
-XG\3DODF
SDODF#PVXHGX
&KULVWLQD6WH\HU
VWH\HUFK#PVXHGX
0RQWFODLU6WDWH8QLYHUVLW\
1RUPDO$YH
0RQWFODLU1-
)UDQFHV(OL]DEHWK5RZHOO
IHURZO#DROFRP
(ODLQH:LVQLHZVNL
ZLVQLHZVNLH#PDLOPRQWFODLUHGX
8QLYHUVLW\RI,OOLQRLVDW8UEDQD
&KDPSDLJQ
0XVLF(GXFDWLRQ'HSW
:1HYDGD6W
8UEDQD,/
/RXLV%HUJRQ]L
EHUJRQ]L#LOOLQRLVHGX
-HUHP\.ULIND
MNULIND#JPDLOFRP
8QLYHUVLW\RI,RZD
6FKRRORI0XVLF
8QLYHUVLW\&DSLWRO&HQWUH
,RZD&LW\,$
6FRWW$QGUHZ&RQNOLQ
VFRWWFRQNOLQ#XLRZDHGX
&ROOHHQ)HUJXVRQ
FUHQHHI#DOXPQLXWH[DVQHW
8QLYHUVLW\RI1HEUDVND/LQFROQ
:HVWEURRN0XVLF%XLOGLQJ
/LQFROQ1(
'DYLG1HHO\
GQHHO\#XQOQRWHVXQOHGX
0DULVVD&DUOVRQ
PFDUOVRQ#KXVNHUVXQOHGX
8QLYHUVLW\RI:LVFRQVLQ:KLWHZD
WHU&ROOHJLDWH
:0DLQ6WUHHW
:KLWHZDWHU:,
%HQMDPLQ:KLWFRPE
ZKLWFRPE#XZZHGX
'HDQQH&DUORQL
GLGLGLYFDU#JPDLOFRP
9DQGHU&RRN&ROOHJHRI0XVLF
6)HGHUDO6W
&KLFDJR,/
'DYLG)(FFOHV
HFFHOOR#\DKRRFRP
'HYRQ5HHG\
GUHHG\#YDQGHUFRRNHGX
:HVW9LUJLQLD8QLYHUVLW\
'LYLVLRQRI0XVLF
32%R[
0RUJDQWRZQ:9
0LN\ODK0\HUV0F7HHU
PLN\ODKPFWHHU#PDLOZYXHGX
$U\HOOH'HOJDGR
DGHOJDG#PL[ZYXHGX
:HVWHUQ0LFKLJDQ8QLYHUVLW\
:0LFKLJDQ$YH
6FKRRORI0XVLF
.DODPD]RR0,
%UXFH-8FKLPXUD
EUXFHXFKLPXUD#ZPLFKHGX
-DPHV9DQ(L]HQJD
MDPHVPYDQHL]HQJD#ZPLFKHGX
ZZZDVWDZHEFRP_
9ROXQWHHU/HDGHUVKLS'LUHFWRU\
6WDWH3UHVLGHQWV
$VZLWKWKH1DWLRQDO%RDUGWKHIROORZLQJVWDWHFKDSWHUSUHVLGHQWVKDYHEHHQHOHFWHGWRVHUYHDWZR\HDUWHUP²
$ODEDPD
&KLS*XOEURZK
FKLSJXOEUR#JPDLOFRP3DQRUDPD'ULYH+XQWVYLOOH
$/
/RXLVLDQD
/LQ+HZKOLQKH#OVX
HGX0XVLF%XLOGLQJ/RXLVLDQD6WDWH8QLYHUVLW\%DWRQ
5RXJH/$
$ODVND
*DLO1-RKDQVHQKDNJDLOMRKDQVHQ#
JPDLOFRP$UFWLF/RRQ&LU)DLUEDQNV$.
0DLQH
5HEHFFD$(GPRQGVRQZ[K
UHGPRQGVRQ#PGLUVVRUJ(FKRO3LQHV5G
0RXQW'HVHUW0(
$UL]RQD
6KHOOH\5LFKKVKHOOH\ULFK#\DKRRFRP
3DUDGLVH5G)ODJVWDII$=
$UNDQVDV
%DUEDUD5HHYHZK
EUHHYH#EDWHVYLOOHVFKRROVRUJ+LOO6W%DWHVYLOOH$5
&DOLIRUQLD
%RQJVKLQ.RZK
ENR#IXOOHUWRQHGX32%R[%HYHUO\+LOOV&$
&RORUDGR
.LP:DWNLQVZK
N\PHUM#TFRP16WUDZEHUU\/Q&DVWOH5RFN&2
&RQQHFWLFXW
&KULVWRSKHU-RQHVKFKULVMRQHV#DULRVRHQ
VHPEOHFRP+XQWLQJWRQ$YH(DVW+DYHQ&7
)ORULGD
0HOLVVD/HVQLDNZK
PHOLVVDOHVQLDN#JPDLOFRP6:$YH8QLW
0LDPL)/
*HRUJLD
1DWDOLH)LVKHU&ROEHUWZK
QFROEHUW#DWODQWDNJDXV16WUDWIRUG5G
1($WODQWD*$
+DZDLL
&KDG+DUXR8\HKDUDFKX\HKDUD#JPDLOFRP
$LQDSR6WUHHW+RQROXOX+,
,GDKR
.HYLQ+RZDUGZ[K
NHYLQBKRZDUG#\PDLOFRP:RRG5LYHU'U
7ZLQ)DOOV,'
,OOLQRLV
&ODUN06KHOGRQZK
FVKHOGRQ#EDUULQJWRQRUJ21(WKHO6W:LQÀHOG
,/
,QGLDQD
%UHQGD/%UHQQHUZK
EEUHQQHU#LQGLDQDHGX'HYRQVKLUH&W%ORRPLQJ
WRQ,1
,RZD
-HUU\+HQU\Z[K
DQ\FDQ#\DKRRFRPWK6W/H&ODLUH,$
.DQVDV
.DWKOHHQ0F&XOORXJKZK
PDF#DROFRP*RGGDUG/Q2YHUODQG
3DUN.6
.HQWXFN\
/DXUD+LOOZ[K
ONKLOODUWVHG#DROFRP&URVV6SDQQ5G0XUUD\.<
0DU\ODQG'&
&DWKHULQH6WHZDUWZK
FVWHZDUW#PVQFRP3ULQFHVV$QQH'U
2OQH\0'
0DVVDFKXVHWWV
0DUJRW%XHVFKHU5HDYH\KPDUJRW
UHDYH\#JPDLOFRP&KDQQLQJ5G:DWHUWRZQ0$
0LFKLJDQ
/DUU\('LWWPDUKOSGLWWPDU#VEFJOREDO
QHW*HWW\VEXUJ$QQ$UERU0,
0LQQHVRWD
6DUDK&KHOJUHQ'XII\ZK
FKHOJUHQGXII\#PHFRPWK3ODFH1RUWK
8QLW(3O\PRXWK01
0LVVLVVLSSL
6WHSKDQLH0DLVHOZK
VPDLVHO#EHOOVRXWKQHW/LVD&LUFOH0DGLVRQ06
0LVVRXUL
6WHYH3DWWRQZK
SDWWRQVWHYH#URFNZRRGNPRXV2DNOHLJK:RRGV
'ULYH%DOOZLQ02
0RQWDQD
0DUWKD,OJHQIULW]ZKLO
JHQP#KRWPDLOFRP0RRVH5XQ/Q+DPLOWRQ07
1RUWK&DUROLQD
6FRWW'/DLUGZK
ODLUG#QFVVPHGX'HZLWW6W'XUKDP1&
1RUWK'DNRWD
6X]DQQH/DUVRQZK
VHODUVRQ#ZHVWIDUJRNQGXVWK6W::HVW
)DUJR1'
1HEUDVND
%\URQ:-HQVHQKEMHQVHQ#KDVWLQJV
HGX+DVWLQJV&ROOHJH'HSWRI0XVLF17XUQHU$YH
+DVWLQJV1(
1HZ+DPSVKLUH
6WHYHQ2UJDQHNZK
SHUSHWXDOQRL]H#\DKRRFRP+LJKZRRG'ULYH0DQ
FKHVWHU1+
1HZ-HUVH\
(ULND%RUDV7HVLZK
FHOORHW#JPDLOFRP7HQDÁ\0LGGOH6FKRRO6XQVHW
/DQH7HQDÁ\1-
1HZ0H[LFR
(PLO\$ZHVKHPLO\DZHV#\DKRRFRP
9LD(QWUDGD6DQGLD3DUN10
1HYDGD
5\DQ':DWVRQZ[K
UGZDWVRQ#LQWHUDFWFFVGQHW0RVV/DNH6W
/DV9HJDV19
1HZ<RUN
/LVD'/HRQDUGLZK
OLVDO#DROFRP&OLQWRQ$YH+XQWLQJWRQ1<
2KLR
.DWKOHHQ$+RUYDWKZK
NDK#FDVHHGX2UFKDUG5G&OHYHODQG2+
2NODKRPD
/DXUD7DOERWWZK
ODXUDWDOERWW#RNVWDWHHGX1*OHQZRRG'U6WLOOZD
WHU2.
2UHJRQ
'HQLVH)XMLNDZDZK
GPIXMLNDZD#HDUWKOLQNQHW1(WK$YH3RUWODQG
25
3HQQV\OYDQLD'HODZDUH
.DWKOHHQ:<HDWHUKERENDWK\\HDW
HU#FRPFDVWQHW5RELQ+RRG'U<RUN3$
5KRGH,VODQG
3DPHOD/RZHOOZK
SORZHOO#FSVHGQHW0RFDVVLQ'U:DUZLFN5,
6RXWK&DUROLQD
7KHUHVD-HQNLQV5XVVZK
7(-6WULQJV#DROFRP+HDWKZRRG'U6SDUWDQ
EXUJ6&
6RXWK'DNRWD
5REHUW9RGQR\ZK
5REHUW9RGQR\#QRUWKHUQHGX6RXWK6WDWH6WUHHW
$SW$EHUGHHQ6'
7HQQHVVHH
'DQ$OOFRWWZKGDQDOO
FRWW#JPDLOFRP10DSOH$YH&RRNHYLOOH71
7H[DV
/\QQ)/HGEHWWHUZK
O\QQOHGEHWWHU#VEFJOREDOQHW7KRUSH/DQH$SW
6DQ0DUFRV7;
8WDK
6DUD-DQH7KRPSVRQZK
VMWKRPSVRQ#GVGPDLOQHW6RXWK0DLQ
%RXQWLIXO87
9LUJLQLD
/XF\0DQQLQJZKOPDQ
QLQJ#RGXHGX$$UJDOO$YH1RUIRON9$
9HUPRQW
+LODU\*ROGEODWWZK
KLODU\R#PSVYWRUJ3URVSHFW6WUHHW0RQWSHOLHU97
:DVKLQJWRQ
:DOWHU6FKZHGHZK
ZDOWHUVFKZHGH#ZZXHGX+LJK6W'HSWRI0XVLF
::8%HOOLQJKDP:$
:HVW9LUJLQLD
&ROOHHQ7DQZKWDQFRO
OHHQ#JPDLOFRP*RUGRQ'ULYH&KDUOHVWRQ:9
:LVFRQVLQ
-DQH5LQNDZK
MULQND#ZDXNHVKDNZLXV1RUWK8QLYHUVLW\'U
:DXNHVKD:,
:\RPLQJ
9LQFHQW*XWZHLQZK
YJXWZHLQ#VLOYHUVWDUFRP32%R[-DFNVRQ:<
9\ng[Y[q;geeall]]
B]^^j]qKgdgo$H9$;`Yaj$kgdgo[]ddg8_eYad&[ge
Bg`f:]f`Ye$EF
Ea[`Y]d?Y_daYj\g$9D
Dgj]fEYq$AD
<Yna\OYddY[]$FQ
<gffYKar]egj]@Yd]$=p][mlan]<aj][lgj
9dl]jfYlan]Klqd]k;geeall]]
9eq>]d\cYeh%EYjj$EA$;`Yaj$>a\\d]<anY8lZka_eY&gj_
K`]d\gf>ak`]j$?9
:]l`>gjlmf]$O9
JYf\qKYZa]f$OA
EYjlafFgj_YYj\$LP$:gYj\DaYakgf
:]l`<Yff]j%Cfa_`l$KlY^^9kkg[aYl]
:gjfg^^>mf\DaYakgf
FYlYda];gdZ]jl$?9$f[gdZ]jl8YldYflY&c)*&_Y&mk
<]YffYLgehcafk$KlY^^9kkg[aYl]
;g\Y:gok^gj9e]ja[Y;geemfalqGmlj]Y[`
;geeall]]
BYe]k:Yl]k$G@$;`Yaj$B:Yl]k8gll]jZ]af&]\m
B]^^NYf>gkk]f$EF
Daf\YJYlla$CQ
<]Z:akk]f$KlY^^9kkg[aYl]
;gdd]_aYl]Kljaf_=\m[YlagfJgmf\lYZd]
CjaklafLmjf]j$AF$;`Yaj$clmjf]j8Zkm&]\m
?Yad:Yjf]k$K;$:gYj\DaYakgf
;geeall]]gfK[`ggdGj[`]kljYkYf\Kljaf_k
;KGK!
K[gllDYaj\$;`Yaj$F;$DYaj\8f[kke&]\m
KYjY`<bgj\b]na[$AD
Jml`Cmjlak$9R
Dgj]llYE[Fmdlq$;9
<]f]k]G\]_YYj\$F<
<]ZH]jcafk$LP
JgZ]jlYOYjÚ]d\$FQ
9f\j]YE]q]jk$;G$:gYj\DaYakgf
;geeall]]gfKlm\agAfkljm[lagf ;GKA!
Kl]h`]fKàhhk$EA$;`Yaj$kZkàhhk8mea[`&]\m
=f\j]?jYfYl$;9
B]^^j]qAjnaf]$G@
DYmjYCgZYqYkà$N9
K`YjgfJgZafkgf$AF
BYe]kNYf<]eYjc$FQ
<YfY]Oall]j$;9$Klm\]flDaYakgf
;gmf[adg^KlYl]Hj]ka\]flk
Kl]h`]f:]f`Ye$H9$;`Yaj$Z]f`Ye8\mi&]\m
:gZHàddahk$EA$:gYj\DaYakgf
<gffYKar]egj]@Yd]$=p][mlan]<aj][lgj
C%)*;mjja[mdme;geeall]]
Kl]h`]f:]f`Ye$H9$;`Yaj$Z]f`Ye8\mi&]\m
BYf]9l]f$LP
Bm\q=nYfk$>D
Bmda]DqgffDa]Z]jeYf$;L
<]f]k]G\]_YYj\$F<
EYjqOY_f]j$N9
E]eZ]jkàh;geeall]]
9f\j]YE]q]jk$;`Yaj$Yf\j]Ye]q]jk8[ge[Ykl&f]l
E]jd]B&AkYY[;gehgkalagf;gfl]kl;geeall]]
Ea[`Y]d@ghcafk$EA$;`Yaj$e`ghcafk8mea[`&]\m
;Ye]jgfDYo$;G
9d][EYjaYfa$FN
*()*FYlagfYd;gf^]j]f[]HdYffaf_
;geeall]]
EYjqOY_f]j$N9$;`Yaj$ek[]ddg8[gp&f]l
CjaklafLmjf]j$AF$;gdd]_aYl]Jgmf\lYZd]
DYmjYCgZYqYkà$N9$;GKA
K[gllDYaj\$F;$;KGK
9eq>]d\cYeh%EYjj$EA$9dlKlqd]k
<]YffYLgehcafk$KlY^^9kkg[aYl]
FYlagfYd?jYflk;geeall]]
CYl`jqf@g^^]j$9C$cYl`jqf`g^^]j8`gleYad&[ge
EYjqBYf]<q]$KlY^^9kkg[aYl]
9KL9HYklHj]ka\]flk
B]^^j]qKgdgo*((0%*()(
EYjqOY_f]j*((.%*((0
*()*FYlagfYd@a_`K[`ggd@gfgjkGj[`]kljY
;geeall]]
?o]f9jeogg\$AD$;`Yaj$_Yjeogg\8[ge[Ykl&f]l
Ea[`Y]d?Y_daYj\g$9D$HYkl;`Yaj
CajcEgkk$OA$:gYj\DaYakgf
DaZZq<a]lja[`$KlY^^9kkg[aYl]
9KL9oal`FKG9HYklHj]ka\]flk
JgZ]jl?add]kha]*((,%*((.
<Yna\Dallj]dd*((*%*((,
JgZ]jlB]kk]dkgf*(((%*((*
Dgmak:]j_gfra)110%*(((
*()*FYlagfYdGj[`]kljY>]klanYd
<Yna\Dallj]dd$CK$;`Yaj$\dalemk8c%klYl]&]\m
CajcEgkk$OA$:gYj\DaYakgf
DaZZq<a]lja[`$KlY^^9kkg[aYl]
F]oEmka[J]Y\af_>gd\]jkJ]_agfYd
;ggj\afYlgjk
=Ykl2?Yad:Yjf]k$_ZYjf]k8egrYjl&k[&]\m
Ea\o]kl2<Yna\Dallj]dd$\dalemk8ckm&]\m
O]kl2Bm\q:gkkmYl$boZgkkmca8_eYad&[ge
Hgll]jkNagdafkAfkljme]fl9oYj\k
;geeall]]
;Yjgdaf]CYjd$FN$;`Yaj$[Yjgdaf]bcYjd8_eYad&[ge
>jYf[]kGYj]$CK
NYd]ja]HYdea]ja$EA
HmZda[Ylagfk;geeall]]
EYjadqfK]]deYf$?9$;`Yaj$ek]]d8eaf\khjaf_&[ge
Kcq@]f\]jkgf$KlY^^9kkg[aYl]
J]k]Yj[`9oYj\k;geeall]]
Bg`fE&?]jaf_]j$>D$;`Yaj$b_]jaf_]j8^km&]\m
EYj_Yj]l:]j_$;G
B]ffa^]jEak`jY$LP
BYf]HYdeimakl$FQ
Kh][aYdHjgb][l?jYflk;geeall]]
:gZHàddahk$EA$;`Yaj$hàddahkÚ\\d]jk8Ygd&[ge
=m_]f]<go\q$LP
EYjcCgl[`]fjml`]j$EA
EYjqBYf]<q]$KlY^^9kkg[aYl]
Kljaf_J]k]Yj[`BgmjfYd
=\algjaYd:gYj\
Bg`fE&?]jaf_]j$b_]jaf_]j8^km&]\m
*()(%).L]je
EYj_Yj]l:]j_$;G
EYj_Yj]lK[èa\l$9R
DYmja]K[gll$LP
*((1%)-L]je
Bg`f?]jaf_]j$>D
J]Z][[YEY[D]g\$F;
<Yna\Kg_af$CQ
*((1%)*L]je
Dgmak:]j_gfra$AD
JgZ]jl?add]kha]$G@
:j]llKeal`$O9
Kljaf_Af\mkljq;gmf[ad=p][mlan];geeall]]
C]f<Yllegj]$;9$Hj]ka\]fl$c\Yllegj]8qYeY`Y&[ge
<Yna\Dm[]$9D$K][j]lYjq$@goYj\;gj];g&
<gffYKar]egj]@Yd]$9KL9=p][mlan]<aj][lgj
CajcEgkk$OA$9KL9Hj]ka\]fl
:gZHàddahk$EA$9KL9Hj]ka\]fl%=d][l
9KL9HYklHj]ka\]flk
=\oYj\@&9\]dkgf)11.%)110
BY[im]dqf<addgf%CjYkk)11,%)11.
9ff]Oall)11*%)11,
JgZ]jl;mdn]j)11(%)11*
?]jYd\<gYf)100%)11(
9ff]Eak[`Ycg^^)10.%)100
?]jYd\>ak[`ZY[`)10,%)10.
Dm[Yk<j]o)10*%)10,
D]Jgq:Ym]j)10(%)10*
H`qddakQgmf_)1/0%)10(
B]jjqCmh[`qfkcq)1/.%)1/0
Ja[`Yj\Ka]Z]j)1/,%)1/.
JgZ]jlGhh]dl)1/*%)1/,
JYdhÈYl]kcq)1/(%)1/*
@YjjqDYflr)1.0%)1/(
@goYj\NYfKa[cd])1..%)1.0
HYmdJgddYf\)1.,%)1..
JgZ]jlCdgleYf)1.*%)1.,
?]jYd\<glq)1-0%)1.*
>jYfc@add)1-,%)1-0
=jf]kl@Yjjak)1-*%)1-,
J]pMf\]jogg\)1-(%)1-*
<mYf]@Ykc]dd)1,/%)1-(
FKG9HYklHj]ka\]flk
<gjak?Yr\Y)11/%)110
H]l]j9&Eadd]j)11-%)11/
JgZ]jlB&?j]]fogg\)11+%)119jd]f]?&Oall])11)%)11+
HYe]dYL]dd]bg`f @Yq]k!)101%)11)
JgZ]jlK&>jgkl)10/%)101
B]jjqF&Cmh[`qfkcq)10-%)10/
BYe]k@&?g\^j]q)10,%)10?&B]YfKeal`)10+%)10,
;&?YjqAYek)10)%)10+
BYe]k@&?g\^j]q)1/1%)10)
Bg`fJ&:ja_`l)1//%)1/1
JgZ]jl9&Jalk]eY)1/-%)1//
Dgak@gZZk)1/+%)1/BYe]k@&?g\^j]q)1/)%)1/+
EYdnafF&9jld]q)1.1%)1/)
@&OYqf]Hqd])1./%)1.1
Gjnadd]
;q<Yddq)1.+%)1./
>gj]kl9&=ldaf_)1.)%)1.+
LjYm_gllJg`f]j$>gmf\]j)1-0%)1.)
Klm\]fl;`Yhl]jk;geeall]]
BgYff]EYq$AD$;`Yaj$beYq/1-,8qY`gg&[ge
9d]pE]rY$AD$Klm\]flJ]hj]k]flYlan]
:]fbYeafOàl[geZ$OA$:gYj\DaYakgf
ZZZDVWDZHEFRP_
6KRZFDVH
Alfred Music Publishing
Releases Strings for All: Pops
Series
Alfred Music Publishing expands its popular
“…For All” series with Strings for All: Pops, a
new collection of instrumental books
containing solos, duets, trios, and quartets
for any combination of string instruments,
arranged by Michael Story.
Strings for All: Pops books contain 12 fun
and easy string instrument arrangements
to popular songs such as “Any Way You
Want It” (Journey), “Boulevard of Broken Dreams” (Green Day),
“Hedwig’s Theme” (Harry Potter and the Sorcerer’s Stone), and
more. Each book is in four-line score form, so parts can be played
by any members of the string family: violin, viola, cello, or string
bass. All songs are in familiar keys, and bowings are included.
Songs can be played as a solo or with a large group, and an optional score/piano accompaniment book is also available.
The playing ability progresses through the books from level 1
in the beginning to level 3 in the end. Paging is the same in each
book, so titles are easy to find, and no page turns are necessary
while playing. The layout/measures are all the same, so locating
rehearsal points is convenient.
Strings for All: Pops books for violin, viola, cello/string bass,
and piano accompaniment are now available for $7.99 each at
music retail stores and at alfred.com.
Carl Fischer Music
Announces Distribution of
Margaret Brouwer’s Quintet
from Brouwer New Music
Publishing
Carl Fischer Music announces the distribution Brouwer New Music Publishing’s Quintet (BR1004 - Score and Parts - $42.50) for
clarinet in A, two violins, viola, and cello by Margaret Brouwer.
A work in four movements, Quintet was commissioned by Daniel
Silver and the University of Colorado, in the tradition of quintets
for the same ensemble by Mozart and Brahms.
Composer Margaret Brouwer’s music has earned an unusual
amount of praise for its lyrical qualities, rich musical imagery and
emotional power. Remarkable for its poetic sensibility, Brouwer’s
music also reveals musical craftsmanship of the highest order.
These attributes are found in music ranging from symphonic
works for orchestra to a wide variety of chamber combinations
such as string quartet, trios, duos, and pieces for diverse solo
instruments.
For more information about new publications, please contact
Heidi Vanderlee at (212)777-0900 ext. 230 or send an email to
[email protected].
Theodore Presser Company
Publishes Green Sneakers
Theodore Presser Company announces the
release of Green Sneakers (411-41121 - Study
Score - $35), a work for solo baritone voice
with string quartet from the critically
acclaimed Ricky Ian Gordon. Grown from a
cycle of poems dedicated to the composer’s
departed love, Green Sneakers is a raw and
touching ode to the life they shared and the
process of grief. The string quartet narrates
the story as much as the baritone voice, creating a mini-opera,
complete with an empty chair, employed as a prop, and a piano
played by the singer at the conclusion. According to Gordon, “I
suppose I wanted to end the piece with not only a lullaby, but a
celebration of what we had together.” String quartet parts are
available for rental.
Encore Music Announces
Two Essential Title for Your
Library
Poème by Chausson, Edition Shipps/Gagnon
This violin edition is based upon Stephen
Shipps' work with Josef Gingold and on
thirty years of Shipps' experience teaching
this magnificent cornerstone of the violin
repertoire. This new piano reduction by
Allison Gagnon is an effective, playable, and accurate piano
arrangement of the orchestral score for Chausson’s Poème.
Superior Bowing Technique, by Lucien Capet
Superior Bowing Technique is the definitive
treatise on all aspects of bowing technique for
the violin. Written by Lucien Capet,
translated from French to English by
Margaret Schmidt and edited by Stephen
Shipps, the book is 187 pages in length. Lucien Capet's concepts
of bowing technique are completely revealed in this comprehensive
volume. Along with the instructive text he has included exercises,
studies and excerpts from the standard repertoire to clearly
demonstrate the acquisition of Superior Bowing Technique.
String Industry Council
Members: Show Off Your Stuff!
Would you like to have exclusive placement of your company’s
new products, services, or information “showcased” in AST and
on our webpage? If the answer is “yes,” please send all releases, not
more than 300 words, to [email protected]. This benefit is
only offered to String Industry Council members. Don’t let this
opportunity pass you by to showcase your items!
ZZZDVWDZHEFRP_
5HYLHZV
&ODVV0HWKRG
1(:',5(&7,216)25
675,1*6%22.-RDQQH
(UZLQ.DWKOHHQ+RUYDWK
5REHUW'0F&DVKLQ%UHQGD
0LWFKHOOHQVHPEOHPXVLF(O
OLRW'HO%RUJR6RRQ+HH
1HZEROG)-+0XVLF
WHDFKHU·VPDQXDO
WHDFKHU&'VSDUWV
&'VZLWKSOD\DORQJWUDFNV
OLYHRUFKHVWUDUHFRUGLQJ
1HZ'LUHFWLRQV%RRNIROORZV
WKHVDPHIRUPDWDV%RRN2QH
(DFKXQLWLQFOXGHV3UHSDUDWLRQ
DQG5HYLHZRI 6NLOOV)RFXV
5HYLHZIRU,QWHJUDWLRQDQG
6NLOOV$VVHVVPHQW7HDFKHU&'V
KDYHUHSURGXFLEOHZRUNVKHHWV
WRUHLQIRUFHZULWWHQDQGDXUDO
VNLOOVHWV7KLVPHWKRGLV
XQLTXHLQWKDWHDFKDXWKRULVDQ
LQVWUXPHQWVSHFLÀFSHGDJRJXH
7KH´WHDFKHUWLSVµVSULQNOHG
WKURXJKRXWWKHPDQXDODUHRQH
RI WKHVHULHV·VWUHQJWKVDQGZLOO
EHQHÀWERWKVWULQJDQGQRQ
VWULQJSOD\LQJWHDFKHUV1DWLRQDO
6WDQGDUGVDUHDGGUHVVHGDQG
LQFRUSRUDWHGWKURXJKRXW
$OVRLQFOXGHGRQWKH&'DUH
XVHIXODGPLQLVWUDWLYHIRUPV
%RRN2QHSURJUHVVHVWRDPRUH
DGYDQFHGOHYHOWKDQPRVWWH[WV
DOORZLQJDPRUHDGYDQFHGVWDUW
XSIRU%RRN7ZR7RJHWKHUWKH\
FRYHUFRPSDUDEOHVNLOOVWRPDQ\
WKUHHYROXPHVHWVDQLPSRUWDQW
EXGJHWFRQVLGHUDWLRQ7KHWH[W
LVODLGRXWVHTXHQWLDOO\EXWLWLV
SRVVLEOHWRXWLOL]HGLIIHUHQWXQLWV
DVFRQFHUWOLWHUDWXUHGLFWDWHV
7KHFRQFLVHHDV\WRUHDGVFRSH
DQGVHTXHQFHLVODLGRXWSHU
SDJHSHUXQLWHQDEOLQJWKH
WHDFKHUWRHDVLO\LGHQWLI\OHVVRQV
WRDGGUHVVGHVLUHGVNLOOV1HZ
FRQFHSWVDUHLQWURGXFHGDQG
UHYLHZHGWKURXJKRXWWKHWH[W
V\QWKHVL]LQJPDVWHU\RI DOOVNLOOV
7KHUHYLHZHUVKDYHIRXQGWKLV
ERRNWREHDQHIIHFWLYHWRRO
IRUPLGGOHVFKRROFODVVHVDV
ZHOODVIRUKLJKVFKRROVWXGHQWV
WRUHYLHZWHFKQLTXHVDQG
VNLOOVWKDWZHUHQRWDFKLHYHG
DWWKHPLGGOHVFKRROOHYHO
0XVLFLDQVKLSVNLOOVDUH
DGGUHVVHGULJKWDQGOHIW
KDQGVNLOOVDUHLQWURGXFHG
LQGHSHQGHQWO\WKHQLQWHJUDWHG
IRUFRPSOHWHPDVWHU\.H\V
LQRUGHURI SUHVHQWDWLRQDUH
'*&)$%DQG%ÁDW
PDMRUDQG$DQG'PLQRU
6FDOHVLQWZRRFWDYHVIRUWKHVH
NH\VDUHLQFOXGHGZLWKEDVVHV
JLYHQRSWLRQDORFWDYHSDWWHUQV
:ULWWHQWKHRU\H[HUFLVHV3HQFLO
*DPHVZLWKLQWKHVWXGHQWWH[W
FRPSOHPHQWOHVVRQFRQFHSWV
0RUHHODERUDWHH[HUFLVHV
DUHLQFOXGHGDVUHSURGXFLEOH
PDVWHUVRQWKH&'7HUPVDUH
SUHVHQWHGERWKZLWKLQWKHWH[W
DQGLQDQHQGJORVVDU\7KH
ERRNHPSKDVL]HVFRPSRXQG
PHWHUWULSOHWVDORQJ
ZLWKUHYLHZDQGLQWHJUDWLRQRI SUHYLRXVO\OHDUQHGPHWHUV7KHUH
LVDPSOHUHYLHZLQYDULRXVNH\V
IRUFRXQWLQJLQWZRDQG
LQVL[GRWWHGTXDUWHUHLJKWK
QRWHSDWWHUQVDQGV\QFRSDWLRQ
'HYHORSPHQWRI OHIWKDQGVKDSH
LVSURPRWHGZLWKH[FHOOHQW
YLVXDOÀQJHUSDWWHUQJUDSKV
DQGGLDJUDPV$XUDOVNLOOVDUH
GHYHORSHGWKURXJKVROIqJHDQG
RFWDYHWUDQVSRVLWLRQVDUHOHDUQHG
YLD´FDOODQGUHVSRQVHµHFKR
SDWWHUQV2SWLRQVIRUKDUPRQ\
DUHSURYLGHGIRUIXUWKHUHDU
WUDLQLQJGHYHORSPHQW/LWHUDWXUH
LQFOXGHVDJHDSSURSULDWH
PXOWLFXOWXUDOIRONVRQJV
PDQ\FODVVLFDOFRPSRVHUV
FKDOOHQJLQJLQVWUXPHQWVSHFLÀF
VROROLWHUDWXUHLGLRPDWLFWRWKH
GHPDQGVRI WKDWLQVWUXPHQW
DQGHQVHPEOHVHOHFWLRQV7KH
UHYLHZHUVÀQGWKLVWH[WKLJKO\
HIIHFWLYHZLWKPLGGOHDQGKLJK
VFKRROVWXGHQWVDQGVWURQJO\
UHFRPPHQGLW0%U0/
6WULQJ2UFKHVWUD
$'$*,2)25675,1*6
RSWRUJDQ6DPXHO%DU
EHUDUU-DPLQ+RIIPDQ
*6FKLUPHU
,ZDVH[FLWHGWRVHHDVOLJKWO\
HDVLHUYHUVLRQRI WKLVSLHFH
+RIIPDQ·VDUUDQJHPHQW
PDLQWDLQVWKHFKDUDFWHURI WKH
RULJLQDODQGZRXOGEHZLGHO\
UHFRJQL]HGE\WKHVWXGHQWV
DQGWKHDXGLHQFH7KHUHDUH
PDQ\PHWHUFKDQJHVDQGPDQ\
DFFLGHQWDOV:LWKWKHH[FHSWLRQ
RI FXHGQRWHVLQWKHFHOORSDUW
DOOSDUWVDUHSOD\DEOHLQÀUVW
SRVLWLRQPDNLQJLWDFFHVVLEOH
WROHVVH[SHULHQFHGJURXSV
+RZHYHUWKLVSLHFHUHTXLUHV
VWXGHQWVWRPDLQWDLQDEHDXWLIXO
VRXQGRQORQJVXVWDLQHGQRWHV
,SODQWRWU\WKLVSLHFHZLWKP\
RUFKHVWUD,KRSHP\VWXGHQWV
KDYHWKHPDWXUHPXVLFLDQVKLS
WRULVHWRWKHRFFDVLRQ0&
%$1$1$%22*,(*U
RSWSQR'RULV*D]GD
&DUO)LVFKHU
6HYHUDODVSHFWVRI WKLVVZLQJ
VW\OHEOXHVSLHFHPDNHLW
DSSURDFKDEOHIRUDEHJLQQLQJ
OHYHORUFKHVWUD)LUVW*D]GD
ZULWHVRXWWKHVZLQJUK\WKPIRU
WKHVWXGHQWVZKLFKZLOOKHOSWKH
YLVXDOOHDUQHU6HFRQGWKHXSSHU
VWULQJSOD\XQLVRQUK\WKPV
DQGWKHORZVWULQJVVHUYHDVWKH
ZDONLQJEDVV9DULHW\RI WH[WXUH
RFFXUVZLWKWKHDGGLWLRQRI SL]]LFDWRDQGWUHPROR7KHEOXHV
WRQHV)QDWXUDOWR)VKDUSDQG
&VKDUSWR&QDWXUDODUHDOZD\V
JLYHQWRWKHVDPHLQVWUXPHQWV
%DVVHVVKLIWXSWR&QDWXUDO
DQG'RQWKH*VWULQJ*D]GD·V
SURJUDPQRWHVDUHDYDOXDEOH
DVVHWIRUWHDFKHUVLQOHVVRQ
SODQQLQJ7KLVLVDQDZHVRPH
LQWURGXFWLRQWRWKHERRJLH
ZRRJLHVZLQJVW\OHRI PXVLFIRU
YHU\HDUO\VWULQJSOD\HUV70
'$1&(2)7+(7+81
'(5%2/76YHU\HDV\RSW
SQR/DUU\&ODUN&DUO
)LVFKHU
0LGGOHVFKRROVWXGHQWVORYH
LPDJHU\DQGWKLVSURJUDPPDWLF
SLHFHHYRNHVWKXQGHUEROWV
GDQFLQJDURXQGWKHURRP
6RPHWLPHVWKHWKXQGHUVWRUP
LVKDUVKIDVWSLHUFLQJ2WKHU
WLPHVLWLVOD]\GUL]]O\DQGO\ULFDO
LQTXDOLW\0\PLGGOHVFKRRO
VWXGHQWVDUHHQMR\LQJZRUNLQJRQ
WKLVSLHFH7KH\H[SHULPHQWZLWK
WHPSRVG\QDPLFVSKUDVLQJ
DQGHYHQSXWZRUGVWRWKH
PDLQWKHPHRI WKHOLJKWQLQJ
EROWVVWULNLQJDQGWKXQGHUEROWV
DQVZHULQJ7KH\DUHDOVR
UHVHDUFKLQJW\SHVRI UDLQVWRUPV
VRWKH\FDQFKDQJHWKHWLPEUH
DQGTXDOLW\IRUYDULRXVVHFWLRQV
0\VL[WKJUDGHYLROLVWVVWUXJJOH
ZLWKWKHPDQ\&VWULQJ)VKDUSV
DQG*VWULQJ&VKDUSVDQG
IRXUWKÀQJHU*RQWKH&VWULQJ
LVVWLOODVWUHWFK0\ÀUVWYLROLQV
ORYHWKHFKDOOHQJHRI SOD\LQJ
XSWRIRXUWKÀQJHU%RQWKH(
VWULQJ%HFDXVHRI WKHVOXUVRYHU
VWULQJVH[WHQVLYHXVHRI IRXUWK
ÀQJHUDQGLQGHSHQGHQWUK\WKPV
DQGPHORGLHV,EHOLHYHWKLVLV
WHFKQLFDOO\DJUDGHSLHFH70
)$1)$5()25$+(52
*U%RE0DWWKHZV
.MRV
7KHSRPSRXVDQGUHJDOTXDOLW\
RI WKLVSLHFHVHWVLWDSDUW
IURPPDQ\RWKHUPDHVWRVR
SURFHVVLRQDOV0DWWKHZV
ZRUNVWKHERZLQJDQGDFFHQWV
PDVWHUIXOO\VRWKDWHYHQDQ
LQH[SHULHQFHGPLGGOHVFKRRO
RUFKHVWUDJURXSFDQVRXQG
DPD]LQJO\VXSHUEDQGULFK
LQWKHFOLPDFWLFVSRWV7KH
FHOOREDVVVHFWLRQKDVDORYHO\
PHORG\LQWKLVSLHFHZKHUHDV
WKHXSSHUVWULQJVDFWDVWKH
WUXPSHWHUV6WXGHQWVZLOOSHUIHFW
WKHGRWWHGTXDUWHUQRWHSDLUHG
ZLWKVL[WHHQWKQRWHVE\XVLQJ
GRXEOHGRZQERZV7KHEDVVLV
VRORLVWLFLQVSRWVDQGZLOOORYH
WKHFKDQFHWRVKLQHDVWKHKHUR
LQWKLVIDQIDUH7KLVVHOHFWLRQ
LVDZRQGHUIXODGGLWLRQWRD
FRQFHUWZKHQSUHSDULQJIRU
DWULSEHIRUHWKH:LQWHURU
6XPPHU2O\PSLFVRUIRUD
PRWLYDWLRQDOSLHFHWRSURPRWH
VFKRROVSLULW:KDWDQXSOLIWLQJ
ZD\WRHQGHDFKFODVV70
0$*0$EHJLQQLQJRSW
SQR/DUU\&ODUN&DUO
)LVFKHU
7KLVH[WUHPHO\IRUFHIXOVRQJ
EHJLQVZLWKDYROFDQLFHUXSWLRQ
7KHODYDÁRZVGRZQWKH
PRXQWDLQDQGFRQWLQXHVGULYLQJ
WKHSLHFH7KHUK\WKPLFSXOVH
EHJXQE\WKHFHOOLEDVVVHFWLRQ
LVSDVVHGDURXQGHORQJDWHGDQG
WKHQSOD\HGLQDFFHQWHGXQLVRQ
IRUDQDJJUHVVLYHVRXQGLQJ
FOLPDWLFHQG$OWKRXJKZULWWHQ
ZLWKD'PDMRUNH\VLJQDWXUH
WKHSLHFHFHQWHUVDURXQG(
PLQRUZLWKQRDFFLGHQWDOVRU
H[WHQGHGÀQJHULQJV)LUVWYLROLQV
RIWHQSOD\WR%RQWKH(VWULQJ
+RRNHGERZLQJVOXUVDQGOLIW
ERZVDUHXVHG5K\WKPVLQFOXGH
ZKROHKDOIDQGTXDUWHUQRWHV
'\QDPLFVYDU\JUHDWO\DGGLQJ
IHUYRUWRWKHSLHFH70
0$5&+-8%,/((*U
.DWK\&RRN.MRV
7KLV*0DMRUPDHVWRVR
SURFHVVLRQDOPDGHP\ÀUVW
\HDUSOD\HUVVRXQGYLEUDQW
DQGERRPLQJDWWKHLURSHQLQJ
FRQFHUW7KHIRXUDQGÀYHSDUW
KDUPRQLHVDUHULFKDQGEULQJ
RXWWKHRSHQ*DQG'VWULQJ
VRXQGVVRWKHRUFKHVWUDVRXQGV
JUHDW&RRNLQWURGXFHVWKH
HLJKWKQRWHVVOXUVDQGGRWWHG
KDOI QRWHVZHOOVRVWXGHQWV
SOD\FRQÀGHQWO\:KHQWKH
UHJDOPHORG\WUDQVIHUVWRWKH
FHOOREDVVVHFWLRQWKHXSSHU
VWULQJVXVHSL]]LFDWRWRDYRLG
RYHUSRZHULQJWKHPHORG\
&HOORVKDYHRQHWULFN\HLJKWK
QRWHSDVVDJHUHSHDWHGIRXU
WLPHV*LYHWKRVHFHOOLVWVH[WUD
DWWHQWLRQDQGWKH\ZLOOEHFRPH
WKHVWDUVRI WKHSURJUDP70
48$'5,7,80*URSW
SQR0LNH)RUEHV&DUO
)LVFKHU
7KLVYHU\EHJLQQLQJOHYHOSLHFH
SOD\VZLWKWKHQXPEHUIRXU,W
HPSOR\VRQO\IRXUWRQHV'(
*$0DQ\RWKHUDVSHFWVRI WKHSLHFHDUHFHQWHUHGDURXQG
IRXUWKVTXDUWDOKDUPRQ\DQG
VWXGHQWVFDQEHFKDOOHQJHG
WRÀQGDOOWKHUHSUHVHQWDWLRQV
RI WKHQXPEHUIRXU%HFDXVH
WKHWRQHVDUHVLPSOHWKH
RUFKHVWUDLVDEOHWRIRFXVRQ
PXVLFDODVSHFWVVXFKDVDFFHQWV
SKUDVLQJG\QDPLFVEDODQFH
VWDJJHUHGHQWUDQFHVVWDFFDWR
VOXUVWLHVERZVW\OHVDQG
SL]]LFDWR2QHFUD]\DVSHFWLV
DORQJEDVVJOLVVDQGRLQWKH
PLGGOHRI WKHSLHFH7KLV\HDU
WKLUWHHQHFVWDWLFEDVVSOD\HUV
DUHSHUIHFWLQJWKH$VWULQJ
JOLVVDQGRDVWKHKLJKOLJKWRI WKHLUPXVLFDOGD\70
3(56(86*U6RRQ+HH
1HZEROG)-+
$FFRUGLQJWR*UHHNP\WKRORJ\
3HUVHXVLVEHVWNQRZQIRU
VOD\LQJWKHJUXHVRPHVQDNH
0HGXVDZKRVHORRNVWXUQHG
HYHU\RQHWRVWRQH7KLV
DUUDQJHPHQWLVIDVWPRYLQJ
DQGH[FLWLQJYHU\GUDPDWLF
DQGEROG(QHUJ\VKRXOGEH
PDLQWDLQHGWKURXJKRXWWKH
SLHFH3HUVHXVFDOOVIRUDORW
RI IDFLOLW\IURPWKHSOD\HUV
7KHUHDUHQXPHURXVIXQVWULQJ
WHFKQLTXHVWKURXJKRXWLQFOXGLQJ
WUHPRORJUDFHQRWHVSL]]LFDWR
DQGDQHQGLQJKDUPRQLF0HWHU
FKDQJHVSURYLGHDQH[FHOOHQW
RSSRUWXQLW\WRLQWURGXFH
VWXGHQWVWRSRO\PHWHU
7KH
DFFHQWVDQGV\QFRSDWLRQVDUH
DOVRJRRGWHDFKLQJPDWHULDO
HVSHFLDOO\UHODWHGWRDUWLVWLF
ERZXVH6HFRQGYLROLQVRU
YLRODVOHDGZLWKWKHPHORG\LQ
VHYHUDOVHFWLRQV)LUVWYLROLQV
JRWRHLJKWKSRVLWLRQZLWK
FXHVDQRFWDYHORZHU6HFRQG
YLROLQVDUHDOOLQÀUVWSRVLWLRQ
ZKLOHFHOORDQGEDVVUHTXLUH
VHFRQGSRVLWLRQ%HFDXVHRI LWVEULJKWVSLULWDQDGYDQFHG
PLGGOHVFKRRORUFKHVWUDPLJKW
EHDEOHWRSHUIRUPLW30+
5,'*(32,1729(5785(
*U'DYLG+LQGV
/DWKDP0XVLF
7KLVULFKWH[WXUHGIDVWWHPSR
RYHUWXUHZLOOEHDJUHDWFRQFHUW
RSHQHU,QÀUVWSRVLWLRQLWKDV
QRDFFLGHQWDOVRUVXUSULVHV7KH
ÀYHLQGHSHQGHQWSDUWVSOD\
DOWHUQDWHO\LQWKLUGVFDQRQ
DXJPHQWHGUK\WKPVRUXQLVRQ
IRUYDULHW\DQGHIIHFW7KHSLHFH
FXOPLQDWHVZLWKDOOÀYHVHFWLRQV
SOD\LQJPLUURUHGUXQQLQJ
HLJKWKQRWHSDVVDJHV&HOORVDQG
EDVVHVKDYHODUJHVHFWLRQVRI PHORG\ZKLOHWKHXSSHUVWULQJV
SOD\DFFRPSDQLPHQW0\FHOOR
DQGEDVVVHFWLRQVDVNWRSUDFWLFH
WKLVRYHUWXUHHYHU\GD\%DVVHV
SOD\XSWR'RQWKH*VWULQJ
+LQGVGHIWO\HPSOR\VWKHWZR
RFWDYH*PDMRUVFDOHVSHHGLQJ
XSWKHÀQJHUGH[WHULW\IRU
SOD\HUV$OOSDUWVDUHLPSRUWDQW
DQGWKHUHIRUHVWXGHQWVHQMR\
SUDFWLFLQJWKLVSLHFH70
5,*$8'21RSWSLDQR&DUO
6WURPPHQHG$P\5RVHQ
&DUO)LVFKHU
7KLVHDV\OHYHO)UHQFK%DURTXH
VW\OHGDQFHIHDWXUHV*0DMRU
VL[WHHQWKDQGHLJKWKQRWHUXQV
7KHXSSHUDQGORZHUVWULQJSDUWV
DUHRIWHQLQXQLVRQRUWKLUGV
ZLWKWKHVDPHUK\WKPV7KH
RQO\UK\WKPLFFKDOOHQJHLVDWLHG
VL[WHHQWKQRWHWKDWFURVVHVDEDU
OLQH'\QDPLFVDQGSL]]LFDWRDGG
YDULHW\DQGWH[WXUHRQUHSHDWHG
VHFWLRQV7KHSLHFHOLHVZHOOLQ
ÀUVWSRVLWLRQDOWKRXJKWKHUHDUH
PDQ\&VWULQJ)VKDUSVIRUWKH
YLRODVDQGFHOOL³,UHFRPPHQG
FKDQJLQJWKHRFWDYHIRUWKRVH
VHFWLRQVDVQHHGHG,XVHGWKLV
SLHFHDWWKHEHJLQQLQJRI WKH
VFKRRO\HDUWRXQLI\ERZLQJ
VW\OHVDFURVVWKHVHFWLRQV
DQGWRWHDFKVHFRQGÀQJHU
&QDWXUDODQG)VKDUSSDWWHUQV
LQWKHXSSHUVWULQJV70
5866,$1($67(529(5785(
*U1LNRODL5LPVN\.RUVD
NRYDUU5REHUW'0F&DVKLQ
)-+0XVLF
7KLVG\QDPLFDUUDQJHPHQWIXOO\
FDSWXUHVWKHVSLULWDQGDPELDQFH
RI 5LPVN\.RUVDNRY·VRULJLQDO
FRPSRVLWLRQ7KHDUUDQJHPHQW
LVVKRUWHQHGEXWVWLOOPDLQWDLQV
WKHYLROLQDQGYLRODVRORV7KH
DUUDQJHPHQWH[SDQGVWKHVWULQJV
LQWRQLQHSDUWVZLWK´%µSDUWV
IRUOHVVH[SHULHQFHGSOD\HUV
PDNLQJLWLGHDOIRUIHVWLYDORU
ODUJHRUFKHVWUDV2SHQLQJLQ
KHDYLQHVVDQGGDUNQHVVPDMHVWLF
DQGLPSRVLQJWKLVRYHUWXUH
EXUVWVIRUWKZLWKQHYHUHQGLQJ
VSLULW6HFRQGSRVLWLRQZLOO
IDFLOLWDWHWKHYLRODVROR7KH
ÀUVWYLROLQDQGVRORSDUWJRWR
VHYHQWKSRVLWLRQVHFRQGYLROLQ
JRHVWRWKLUGFHOORWRIRXUWK
ZLWKEDVVLQÀUVWSRVLWLRQ$Q
03GRZQORDGDQGDVWUHDPLQJ
YLGHRDUHDYDLODEOHZRQGHUIXO
IHDWXUHVIURP)-+30+
6+(3+(5'·6'$1&(
IURP$PDKODQGWKH1LJKW
9LVLWRUV*U0HQRWWL
DUU/OR\G&RQOH\*
6FKLUPHU
,ORYHWKLVRSHUDVR,DPH[FLWHG
WRKDYHDSLHFHRI LWWRVKDUH
ZLWKP\VWXGHQWV7KHVORZ
EHJLQQLQJKDVWKHUK\WKPLQ
ORZVWULQJVZLWKYLROLQVHFKRLQJ
WKHYLOODJHUV·SDUWV7KHPHWHU
FKDQJHVIUHTXHQWO\IURP
WRWRLQWKH$OOHJUR
VHFWLRQ%RWKYLROLQVHFWLRQV
FDUU\WKHLQWULFDWHUK\WKPV
DQGWKHORZVWULQJVFDUU\WKH
FKURPDWLFPRYHPHQWZLWK
VLPSOHUUK\WKPV$Q\RQH
IDPLOLDUZLWKWKHRSHUDNQRZV
WKDWFRQVLVWHQWWHPSLDQG
G\QDPLFFRQWUDVWVDUHFUXFLDO
WRHQOLYHQWKHSHUIRUPDQFH
$FFLGHQWDOVFUHDWHDPRGDO
PRRG,ORRNIRUZDUGWR
PDNLQJWKLVDSDUWRI P\
KROLGD\UHSHUWRLUH0&
6,;025$9,$1)2/.
621*6VWULQJRUFKHVWUDRU
VWULQJTXLQWHW/HRå-DQiĀHN
DUU/XFDV'UHZ6W)UDQ
FLV0XVLF3XEOLFDWLRQV
ZZZHONLQPXVLFFRP
7KHVL[IRONVRQJVLQWKLV
FROOHFWLRQZHUHVHOHFWHGIURP
-DQiþHN·V)LIWHHQ0RUDYLDQ)RON
6RQJVIRUSLDQR(DFKFKDUPLQJ
PLQLDWXUHKDVDGHVFULSWLYHWLWOH
DQGIHDWXUHVDGLIIHUHQWPHPEHU
RI WKHVWULQJIDPLO\7KH:DWHU
.HHSV5XQQLQJ2QDQG2Q
SDLUVÀUVWDQGVHFRQGYLROLQVLQ
DVSULJKWO\ÁRZLQJPHORG\ZLWK
DSRORQDLVHOLNHDFFRPSDQLPHQW
ÀJXUHLQWKHRWKHUSDUWV+DOIZD\
WKURXJKWKHSLHFHVHFRQGYLROLQV
DQGFHOORVWUDGHSDUWV7KH'
PLQRUKDUPRQ\KDVDPRGDO
ÁDYRUDQGDKLQWRI PHODQFKRO\
2K<RX<XUL/LWWOH<XULIHDWXUHV
VHFRQGYLROLQVZKLOHÀUVWV
KDYHDÁRZLQJFRXQWHUPHORG\
/RWVRI DFFLGHQWDOVFUHDWH
VRPHLQWHUHVWLQJGLVVRQDQFHV
7KH*LUO:DV:HDYLQJWKH
)OD[ZDV6SLQQLQJKDVDOPRVW
FRQVWDQWVL[WHHQWKQRWHVVHPSUH
SL]]LFDWRWKURXJKRXWLQDOO
SDUWVZLWKORWVRI V\QFRSDWLRQ
DQGRIIEHDWVIRU]DQGL:KRVH
/DGLV:DONLQJLQWKH1LJKW
KDVDYHU\VWUDQJHGDUNIHHOLQJ
$OOSDUWVDUHPXWHGDQGWKH
VORZPRYLQJPHORG\LQWKHÀUVW
YLROLQVKDVDYHU\QDUURZUDQJH
7KHKDUPRQ\LV'PDMRUZLWK
VRPHVXUSULVLQJ%ÁDWVDQG
*VKDUSVWKURZQLQ$OOSDUWV
HQGRQKDUPRQLFV:KHQ,:LOO
/LHLQD%ODFN)RUHVWDEULHI
HHULHWRQHSLFWXUHIHDWXUHVWKH
YLRODVHFWLRQLQD*KDUPRQLF
PLQRUPHORG\$JDLQWKHUH
DUHVXUSULVLQJDFFLGHQWDOVDQG
FRORUIXOGLVVRQDQFHVEHWZHHQ
WKHSDUWV7KHDFFRPSDQLPHQW
LVYHU\VRIWSL]]LFDWRIRUPRVW
RI WKHSLHFH7KHÀQDOSLHFH
:KRVH*LUOLVRQWKDW0RXQWDLQ
7RSIHDWXUHVDFKURPDWLF
VL[WHHQWKQRWHRVWLQDWRSDVVHG
IURPWKHYLRODVWRWKHFHOORVDQG
EDFN7KHHQHUJHWLFV\QFRSDWHG
ZZZDVWDZHEFRP_
5HYLHZV
PHORG\LVVKDUHGE\ÀUVWDQG
VHFRQGYLROLQVSDVVHVEULHÁ\WR
WKHYLRODVLVLQXQLVRQIRUIRXU
EDUVWKHQSDVVHVEDFNWRWKH
YLROLQVDQG³DIWHUDGUDPDWLF
JUDQGSDXVH³WKHRVWLQDWRLV
SHUIRUPHGLQXQLVRQDWWKH
HQG$FFRPSDQLPHQWSDUWV
DUHSL]]LFDWRRUFROOHJQRIRU
PRVWRI WKHPRYHPHQW7KH
IRUWLVVLPRSUHVWLVVLPRHQGLQJLV
YHU\H[FLWLQJ7KHHQWLUHVXLWH
ODVWVRQO\DERXWVHYHQPLQXWHV
DQGLQFOXGHVDZLGHUDQJHRI G\QDPLFVFRORUVWHFKQLTXHV
DQGWHPSRV1RWKLQJJRHVDERYH
WKLUGSRVLWLRQ7KHUHDUHWZR
PHDVXUHVRI WUHEOHFOHI LQWKH
FHOORSDUWDQGQRWUHEOHFOHI LQ
WKHYLRODSDUW7KLVVXLWHRIIHUV
DQDWWUDFWLYHZD\WRDGGVRPH
KLVWRULFDODQGFXOWXUDOGLYHUVLW\
WR\RXUSURJUDPPLQJ*+
$62/',(5·6+<01*U
SQR6RRQ+HH1HZEROG
)-+0XVLF
7KLVVDGELWWHUVZHHW*0DMRU
WXQHEHJLQVZLWKJXQÀUH
VRXQGLQJLQWKHGLVWDQFH$ORQH
VROGLHULVERZHGLQJULHI RYHU
DJUDYHVLWH7KDWLVWKHLPDJH
WKHRSHQLQJVWDWHPHQWRI WKLV
EHDXWLIXOQHZ1HZEROGPHORG\
HYRNHV&HOORVDQGEDVVPXVW
SUDFWLFHSUHFLVHSLDQRSL]]LFDWR
DWWKHRSHQLQJIRUMXVWWKHULJKW
HIIHFW8SSHUVWULQJVPXVWSOD\
SLDQLVVLPRORQJQRWHVIROORZHGE\
TXLFNXSERZVZLWKJUHDWFRQWURO
WRDYRLGXQZDQWHGDFFHQWV7KH
LPDJHU\RI WKHPXVLFUHDOO\
KHOSVLQWHUPHGLDWHVWXGHQWV
GHYHORSSKUDVLQJDQGERZXVDJH
VNLOOV/HJDWRVOXUVDQGTXDUWDO
KDUPRQLHVDUHSURPLQHQW
EXWWKHUHDUHQRGLIÀFXOWQRWH
SDVVDJHV7KHFHOOROLQHFRPHV
DERYHWKHYLRODVUHTXLULQJWKH
YLRODVWRSOD\)VKDUSVRQWKH&
VWULQJ7ZRERZLQJFKDOOHQJHV
IRUP\\RXQJHUSOD\HUVZHUH
WKHSLDQLVVLPRWUHPRORVDQGD
UHSHDWHGGUXPOLNHUK\WKPLF
SDWWHUQWKDWLQYROYHVDERZOLIW
WRWKHIURJIROORZHGE\DTXLFN
XSERZ,I \RXDUHVHDUFKLQJ
IRUDJUHDWSURJUDPPDWLFSLHFH
WKDWWHDFKHVPLGGOHOHYHOSOD\HUV
WRVWUHWFKWKHLUERZXVDJHDQG
VWULYHIRUSDVVLRQDWHSOD\LQJ
WKHQWKLVLVDZLQQHU70
63,5,72)7+($0(5,
&$1:(67*USQR
6RRQ+HH1HZEROG)-+
0XVLF
:RZZKDWIXQ7KLV
SURJUDPPDWLFSLHFHjOD
&RSODQG·V5RGHRH[FLWHGP\
PLGGOHVFKRROSOD\HUVWR
H[SHULPHQWZLWKYDULRXV
SL]]LFDWRWHFKQLTXHVDUPOHYHOV
IRUVWULQJFURVVLQJDQGORWVRI ERLVWHURXVERZOLIWV,WLVIXQWR
WHDFKWHFKQLTXHVWRPRWLYDWHG
OHDUQHUVDQGWKLVSLHFH
PRWLYDWHV7KHSL]]LFDWRDORQJ
ZLWKWKHSLDQRDFFRPSDQLPHQW
DQGRSWLRQDOZRRGEORFNV
UHSUHVHQWVWURWWLQJKRUVHVDQG
WKHO\ULFDOWZRQRWHVOXUVWKDW
FRQWLQXDOO\URFNEDFNDQGIRUWK
DFURVVVWULQJVUHSUHVHQWWKH
JDOORSLQJVWDPSHGHVRUVWDJH
FRDFKH[SUHVVULGHVWKURXJKRXW
WKH6RXWKZHVWLQWKH·V
&KDQJLQJPHORGLFUK\WKPVDGG
YDULHW\WRWKLVSLHFH)ROORZLQJ
WKHFRQGXFWRULVHVVHQWLDOIRU
WKHSDWFKZRUNRI VL[WHHQWK
QRWHVDQGFDQRQLFHQWUDQFHVWR
ÀWWRJHWKHUSUHFLVHO\7KLVSLHFH
LQ'*DQG&OLHVZHOOLQÀUVW
SRVLWLRQZLWKRQHVPDOOVHFWLRQ
IRUEDVVLQKDOI SRVLWLRQ%HVXUH
WRDGGWKHSLDQRDVWKHDGGHG
UK\WKPLFEHDWHQKDQFHVWKH
MRYLDOIHHOLQJRI WKHJDOORS70
685(217+,66+,1,1*
1,*+7*UVRORYQ
YDKDUSSQR6DPXHO
%DUEHUDUU-RKQ0RVV*
6FKLUPHU
7KLVZRQGHUIXODGDSWDWLRQRI DQ
H[SUHVVLYHFKRUDORUVRORYRLFH
SLHFHIHDWXUHVDVRORYLROLQDQG
DVRORYLRODWKURXJKRXW2QO\
WKLUW\IRXUPHDVXUHVORQJDQG
LQ'ZLWKPDQ\DFFLGHQWDOV
WKLVVORZHUSLHFHLVDJUHDW
RSSRUWXQLW\WRZRUNRQWRQH
SURGXFWLRQ7KHUHDUHPHWHU
DQGWHPSRFKDQJHV7KHSLDQR
SDUWDOVRSOD\DEOHE\KDUSZLWK
PDQ\DUSHJJLRVDQGPRYLQJ
HLJKWKQRWHVQRWGRXEOHGLQWKH
VWULQJSDUWVFHUWDLQO\DGGVWRWKLV
YHU\PDJQLÀFHQWSLHFH0&
7+(0($1'9$5,$7,216
HDV\PHGLXPHDV\RSW
SLDQR'RXJODV7RZQVHQG
&DUO)LVFKHU
0\VWXGHQWVOHDUQHGWKH
GHÀQLWLRQRI WKHPHDQG
YDULDWLRQZHOOIURPWKLVSLHFH
)RXUXQLTXHDQGFRPSOHWH
YDULDWLRQVIROORZ7RZQVHQG·V
*PDMRUPDLQWKHPH7KH
ÀUVWFKDQJHVWH[WXUHDQG
FRPSOH[LW\RI WKHWKHPHE\
DGGLQJVL[WHHQWKQRWHUXQVDQG
UHSHDWHGQRWHVDVZHOODVYDULHG
G\QDPLFVSKUDVLQJDQGERZ
XVDJH9DULDWLRQWZRFRPSOHWHO\
FKDQJHVWHPSRWRDEULVNPDUFK
LQWZRDFFHQWLQJVL[WHHQWKQRWH
UXQVWKURXJKRXW0LGGOHOHYHO
SOD\HUVZLOOEHWKULOOHGZLWK
WKLVFKDOOHQJLQJVHFWLRQIXOORI JUDFHQRWHVDQGGRWWHGQRWH
SDVVDJHVOHDGLQJULJKWLQWR
WKHWKLUGYDULDWLRQ7RZQVHQG
UHFRPPHQGVFROOHJQRERZLQJ
WDPERXULQHDQGEDVVGUXP
IRUWKLVYHU\O\ULFDODQGPRGDO
VHFWLRQ9DULDWLRQIRXUFDQEH
SOD\HGHLWKHUE\DVWULQJTXDUWHW
RUWKHZKROHRUFKHVWUD7KLV
3DVWRUDOHNHHSVWKHVDPH
WZREHDWIHHODVWKHSUHYLRXV
WZRYDULDWLRQV7KHYDULDWLRQV
HQGZLWKDUHWXUQWRWKHWKHPH
LQDFRGDVHFWLRQ7KLVSLHFH
LVVWUDLJKWIRUZDUGDQGHDV\WR
SHUIRUPIRUDOOSOD\HUVDQGHYHU\
VHFWLRQKDVJUHDWSDUWV70
7+5((&(/7,&&$52/6
*USQRSHUF$UU
'HERUDK%DNHU0RQGD\
/DWKDP0XVLF
7KLVHQFKDQWLQJ:HOVKKROLGD\
PHGOH\LQFOXGHVWKUHHOHVVHU
NQRZQFDUROV7KHÀUVWPHORG\
GHULYHGIURPD*LOEHUWDQG
6XOOLYDQPRGDOWXQHLQ*XVHV
DODUJHWRPWRPWRGULYHWKH
VWURQJUK\WKPLFEHDW2QHZLOO
WRWDOO\EHVXUSULVHGEHFDXVHWKH
FDUROLVQDPHG´,W&DPH8SRQD
0LGQLJKW&OHDUµEXWWKHPXVLF
LVKDXQWLQJDQGHWKHUHDO,W
LQFOXGHVOHJDWRDQGQRQOHJDWR
SDVVDJHVSL]]LFDWRDQGJUDFH
QRWHVUHPLQLVFHQWRI DQFLHQW
&HOWLFPXVLF7KHVHFWLRQWKDW
OHDGVWRWKHVHFRQG6FRWWLVK
PHORG\GUDZVWKHDXGLHQFHWR
WKHKHDYHQV8VHRI KDUPRQLFV
KDUSOLNHDUSHJJLDWHGSLDQR
DFFRPSDQLPHQWWULDQJOHDQG
DQRQJRLQJZLQGFKLPHVHFWLRQ
PHVPHUL]HWKHDXGLHQFH$V
VXJJHVWHGE\WKHDUUDQJHURXU
RUFKHVWUDDGGHGFKRLUDDKVRQ
WKHHOHFWULFNH\ERDUGWRFUHDWHD
P\VWLFDOIRJLQWKHEDFNJURXQG
7HFKQLFDOO\WKLVVHFWLRQPD\
EHWD[LQJIRUJUDGHFHOOLVWV
:HZRUNHGWKHOHJDWRVWULQJ
FURVVLQJVGDLO\DQGFKDOOHQJHG
RXUPRUHDGYDQFHGVWXGHQWV
WRSOD\LQWKLUGDQGIRXUWK
SRVLWLRQWRDYRLGRSHQVWULQJV
DQGHPSKDVL]HWKHIRXUWKÀQJHU
$IWHUDGUDPDWLFJUDQGSDXVH
WKHGULYLQJIRUFHRI WKHWRP
WRPEHJLQVDWKLUGPHORG\WKDW
JDLQVPRPHQWXPWRWKHHQG
%\WKHÀQDOGRXEOHVWRSSHG
DFFHQWHGQRWHHQGLQJDOO
VWXGHQWVDUHSOD\LQJPHORGLHV
DQGFRXQWHUPHORGLHVDWDQ
H[XEHUDQWSUHVWRWHPSRWKDW
OHDYHVWKHDXGLHQFHMR\RXV
IRUWKHKROLGD\V70
<2852&.*URSW
SQR0DWW7XUQHU&DUO
)LVFKHU
7KLVVWDFFDWRSLHFHXWLOL]HVWKH
QRWHVRI WKH$PLQRUSHQWDWRQLF
VFDOH$&'(*$YHU\
SHUFXVVLYHTXDOLW\LVHPSOR\HG
LQWKLVVRQJZLWKDUHSHWLWLYH
ÀYHQRWHWKHPH9LROLQVZLOO
OHDUQQRWHVRQDOOIRXUVWULQJV
HPSKDVL]LQJWKH*DQG(
VWULQJV9LRODVDQGFHOORVVWD\
PDLQO\RQWKH*VWULQJ7KHEDVV
PRYHVWRKDOI SRVLWLRQRQWKH(
VWULQJIRXUWLPHVDQGFOLPEVWR
&RQWKH*VWULQJDWWKHHQGRI WKHVRQJ,QWHUHVWLQJJLPPLFNV
VWXGHQWVZLOOORYHWRSUDFWLFH
DUHWKHVFRRSLQJXSWRQRWHVVXO
SRQWLFHOORVOLGHVDQGDFRPSOHWH
VHFWLRQRI LPSURYLVDWLRQXVLQJ
WKH$SHQWDWRQLFVFDOH7KH
UDZYHUYHRI WKLVSLHFHH[FLWHV
P\VWXGHQWVWRSXVKWKHURFN
WHPSRHYHUIDVWHU,ORYHWKHIDFW
WKHFRPSRVHUZDQWVWRUHPLQG
P\EHJLQQHUVQRWWRDWWHPSW
YLEUDWRRQWKLVSLHFH70
)XOO2UFKHVWUD
),1$/(IURP6\PSKRQ\1R
2S'PLWUL6KRVWD
NRYLFKDUU6WHSKHQ%XOOD
*6FKLUPHU
:HOOZLWKLQWKHUHDFKRI PRVW
PHGLXPDGYDQFHGKLJKVFKRRO
RUFKHVWUDVWKLVVWXQQLQJ
DGGLWLRQWRWKHUHSHUWRLUHLVLQ
WKHQHRFODVVLFDOVW\OH+DYLQJ
IDOOHQIURPIDYRUZLWKWKH6RYLHW
DXWKRULWLHV6KRVWDNRYLFKZURWH
WKLVV\PSKRQ\LQDQDWWHPSWWR
UHHVWDEOLVKKLVFUHGHQWLDOV7KH
DUUDQJHPHQWIROORZVWKHIRUP
RI WKHRULJLQDOFORVHO\7KHUHLV
DKLQWRI DSURJUDPLQWKHZRUN
WR´VKDSHDPDQ·VFKDUDFWHU
ZLWKDPDQ·VH[SHULHQFHµ7KH
ÀQDOPRYHPHQW·VH[FLWLQJUXVK
WRWKHFRQFOXVLRQZLOOGHOLJKW
VWXGHQWV5HWDLQLQJPHORG\LV
SDUDPRXQWWRWKH)LQDOH6OLJKW
NH\UDQJHDQGRUFKHVWUDWLRQ
FKDQJHVPDNHLWDQLGHDOWHDFKLQJ
SLHFHIRUVFKRRORUFKHVWUDV
%UDVVLQVWUXPHQWVSOD\DQ
LPSRUWDQWSDUWLQGHOLYHULQJWKLV
PRYHPHQWVWURQJSOD\HUVDUH
HVVHQWLDO7KHWLPSDQLSDUWLV
DGHOLJKW7KHVWULQJSDUWVDUH
QRWQHFHVVDULO\GLIÀFXOWEXW
VSHHGWHPSRDQGDFFLGHQWDOV
PD\DGGFKDOOHQJH)LUVWYLROLQV
JRWRVL[WKSRVLWLRQEXWPRVW
RI WKHSDUWLVLQÀUVWDQGWKLUG
SRVLWLRQV6HFRQGYLROLQVPRYH
WRWKLUGSRVLWLRQFHOORDQGEDVV
JRWRIRXUWKZKLOHYLRODVVWD\
LQÀUVW7KLVDUUDQJHPHQWLVDQ
H[FHOOHQWZD\WRLQWURGXFHKLJK
VFKRROVWXGHQWVWRPXVLFRI WKH
WZHQWLHWKFHQWXU\,WLVGHVWLQHG
WREHFRPHDFODVVLF30+
9LROLQ
&21&(572,1'0$-25IRU
9LROLQDQG2UFKHVWUD2S
/XGZLJYDQ%HHWKRYHQHG
-RQDWKDQ'HO0DU%lUHQUH
LWHU9HUODJIXOOVFRUH
YQSQRUHGXFWLRQYQ
SDUWHG'HWOHI+DKQ
&DGHQ]DVHG0DUWLQ:XOI
KRUVW&ULWLFDO
&RPPHQWDU\(QJOLVKHG
-RQDWKDQ'HO0DU
2XWVWDQGLQJ%HHWKRYHQVFKRODU
'HO0DU·VFULWLFDOHGLWLRQFODULÀHV
WKHVLJQLÀFDQFHRI %HHWKRYHQ·V
VRORDQGWXWWLPDUNLQJVIRUWKH
ÀUVWWLPHDQGFRUUHFWVRYHU
PLVWDNHVLQWKHIXOORUFKHVWUD
VFRUH7KHVHYHQWHHQIDFVLPLOHV
IURPWKHDXWRJUDSKLQFOXGHG
LQWKH&ULWLFDO&RPPHQWDU\
LOOXVWUDWHKLVFRQFOXVLRQV7KH
SLDQRUHGXFWLRQLQFOXGHVDQ
UWH[WVRORYLROLQSDUWZLWK
%HHWKRYHQ·VRULJLQDOVOXUULQJ
DQGDUWLFXODWLRQDVZHOODVD
YLROLQSDUWZLWK+DKQ·VERZLQJV
DQGÀQJHULQJV$VHSDUDWH
YROXPHLQFOXGHVFRPSOHWH
VHWVRI FDGHQ]DVE\/HRSROG
$XHU)HUGLQDQG'DYLG-DFRE
'RQW-RVHSK-RDFKLPWZR
FRPSOHWHVHWV)HUGLQDQG/DXE
%HUQKDUG0ROLTXH&DPLOOH
6DLQW6DsQV/RXLV6SRKU
+HQUL9LHX[WHPSVDQGÀUVW
PRYHPHQWFDGHQ]DVE\+HQU\N
:LHQLDZVNLDQG(XJqQH<VDºH
7KHVHFRPSRVHUV·KLVWRULFDO
SHGDJRJLFDODQGSHUIRUPDQFH
FRQQHFWLRQVWRWKHFRQFHUWR
DUHGLVFXVVHGLQWKH3UHIDFH
$OVRLQFOXGHGDUHWUDQVFULSWLRQV
RI WKHFDGHQ]DV%HHWKRYHQ
FRPSRVHGIRUKLVDUUDQJHPHQW
RI WKH&RQFHUWRIRUSLDQRDQG
RUFKHVWUDRSDGLVFXVVHGLQ
WKHFULWLFDOFRPPHQWDU\,QWKH
SDVWYLROLQLVWVKDYHRYHUORRNHG
WKHIDFWWKDWWKLVSLDQRYHUVLRQ
LQFOXGHGQRWWKUHHEXWÀYH
FDGHQ]DVRUFDGHQ]DOLNH
SDVVDJHV1RZIRUWKHÀUVWWLPH
SHUIRUPHUVKDYHDFFHVVWRD
WUDQVFULSWLRQRI %HHWKRYHQ·V
RZQIHUPDWDHPEHOOLVKPHQWIRU
PRI WKHVORZPRYHPHQWLQ
DGGLWLRQWRQHZWUDQVFULSWLRQV
RI WKH(LQJDQJOHDGLQWR
PRI WKH5RQGRDQG
RI WKH5RQGRFDGHQ]DDQG
1RYDFHN·VWUDQVFULSWLRQVRI WKHFDGHQ]DVWRWKHÀUVWWZR
PRYHPHQWV.UHLVOHU·VIDPRXV
FDGHQ]DLVQRWLQFOXGHG,
UHFRPPHQGWKLVHGLWLRQIRU
LWVSLRQHHULQJVFKRODUVKLSDQG
FRPSUHKHQVLYHQHVV*+
9,2/,16&$/(6$1'$53(*
*,26,121(7:2$1'
7+5((2&7$9(6/LVD%HUPDQ
6LPSO\9LROLQ
7KLVVWXUG\DQGZHOORUJDQL]HG
ERRNIURP%HUPDQ·V6LPSO\
9LROLQVHULHVLVFOHDQORRNLQJDQG
XVHVDIDLUO\JRRGVL]HGIRQW
(DFKSDJHLVXQFOXWWHUHGDQG
HDV\WRUHDG%DVHGRQWKHZRUN
RI &DUO)OHVFKWKHVFDOHVDQG
DUSHJJLRVXVH)OHVFKÀQJHULQJV
DQGDUH´FRQVLVWHQWIURPVFDOHWR
VFDOHDUSHJJLRWRDUSHJJLRDQG
RFWDYHWRRFWDYHµ7KHERRNLV
GLYLGHGLQWRWZRODUJHVHFWLRQV
RI VFDOHVDQGDUSHJJLRV(DFK
VFDOHDQGDUSHJJLRVHFWLRQLV
GLYLGHGLQWRPDMRUDQGPLQRU
VFDOHVDQGPDMRUDQGPLQRU
DUSHJJLRVLQRQHWZRDQGWKUHH
RFWDYHV6FDOHVDQGDUSHJJLRVDUH
RUJDQL]HGDURXQGWKHFLUFOHRI ÀIWKV7KHRQHRFWDYHVFDOHVDQG
DUSHJJLRVDUHDOOSHUIRUPHGLQ
ÀUVWSRVLWLRQ7KHWZRRFWDYH
VFDOHVVKLIWFRQVLVWHQWO\IURP
ÀUVWWRWKLUGSRVLWLRQRQWKH
$VWULQJERWKDVFHQGLQJDQG
GHVFHQGLQJ$OORI WKHWZR
RFWDYHDUSHJJLRVEHJLQRQWKH*
VWULQJDQGVWD\ZLWKLQDSRVLWLRQ
6LPLODUO\WKHWKUHHRFWDYHPDMRU
DQGPLQRUVFDOHVEHJLQRQWKH
*VWULQJDQGVKLIWWRKLJKHU
SRVLWLRQV$KHOSIXOJORVVDU\
DWWKHEDFNLVDNH\WRV\PEROV
XVHGZLWKLQWKHVFDOHVDQG
DUSHJJLRVWRGHVLJQDWHGLUHFWLRQ
RI VKLIWVVWULQJVDQGÀQJHULQJV
$YHU\FRORUIXOFLUFOHRI ÀIWKV
GLDJUDPLVLQVLGHRI WKHEDFN
FRYHU7KLVLVDJUHDWERRNIRU
VWXGHQWVZKRDUHMXVWEHJLQQLQJ
ZRUNRQVFDOHVDQGDUSHJJLRV
DQGIRUVWXGHQWVZKRKDYHPRUH
H[SHULHQFHVKLIWLQJLQWRKLJKHU
SRVLWLRQVRUZKRQHHGZRUNRQ
SOD\LQJVFDOHVVWDUWLQJLQKLJKHU
SRVLWLRQV$VWXGHQWFDQJURZ
ZLWKWKHERRNIURPEHJLQQLQJWR
DGYDQFHGLQWHUPHGLDWH0%D
&HOOR
621$7(32859,2/21&(//(
(73,$12&ODXGH'HEXVV\
HG5HJLQD%DFN'RXJODV
:RRGIXOO+DUULV%lUHQUH
LWHUhUWH[W½
7KHLQLWLDODSSHDUDQFHRI 'HEXVV\·VFHOOR6RQDWHSDVVHG
YLUWXDOO\XQQRWLFHGSUREDEO\
GXHWR·VPRUHLPSHUDWLYH
ZDUQHZV,WKDVVLQFHEHFRPHD
VWDSOHLQWKHFHOORUHSHUWRLUH³
WKHPRVWSHUIRUPHGFHOORVRQDWD
RI WKHWZHQWLHWKFHQWXU\,QWKH
SUHIDFHWR%lUHQUHLWHU·VEHDXWLIXO
QHZHGLWLRQWKHHGLWRUVJLYH
GHWDLOVRI WKHJHQHVLVRI WKH
6RQDWHDQGLWVÀUVWSHUIRUPDQFHV
DQGSURYLGHSHUIRUPDQFH
SUDFWLFHLQIRUPDWLRQZLWK
ZKLFK,PRVWO\DJUHHLQFOXGLQJ
VRPHLOOXPLQDWLQJTXRWHV
IURPWKHFRPSRVHU4XLWH
ODFNDGDLVLFDOLQWKHQRWDWLRQ
RI SHUIRUPDQFHGLUHFWLRQVLQ
KLVHDUO\VFRUHVE\WKH
\HDUKHFRPSRVHGWKH6RQDWH
'HEXVV\KDGEHFRPHPHWLFXORXV
LQIXUQLVKLQJVXFKGHWDLOV7KXV
WKHLQWHUQDODPELJXLWLHVDQGWKH
LQFRQVLVWHQFLHVEHWZHHQWKHWZR
PDLQVRXUFHVWKHÀUVWHGLWLRQ
SXEOLVKHGE\'XUDQGDQGWKH
DXWRJUDSKPDQXVFULSWDUHDOOWKH
PRUHYH[LQJHGLWLRQV3UHYLRXV
3HWHUVDQG+HQOHHGLWLRQV
DWWHPSWHGWRSUHVHQWGHÀQLWLYH
UWH[WYHUVLRQV%lUHQUHLWHU·V
HGLWLRQWKHÀUVWWRPDNHXVH
RI 'HEXVV\·VVNHWFKHVKHOGLQ
WKH6WDGWELEOLRWKHN:LQWHUWKXU
ZKLOHVWLOOQRWDEOHWRVHWWOHDOO
RI WKHWH[WXDOXQFHUWDLQWLHVLV
SUREDEO\DVFORVHDVZHZLOOHYHU
FRPH3HUKDSV'HEXVV\KLPVHOI ZRXOGQRWEHDEOHWRVHWWOHDOO
VXFKTXHVWLRQVDQGKHPLJKW
QRWHYHQKDYHFDUHG&RQGXFWRU
(UQHVW$QVHUPHWUHFRXQWHGWKLV
VWRU\RI KLVYLVLWWR'HEXVV\
LQ´$QGWKHQZHJRW
URXQGWRKLVRUFKHVWUDOZRUNV
DERXWZKLFK,KDGDJRRGPDQ\
TXHVWLRQVWRDVN:KHQLWFDPH
WRWKH1RFWXUQHVKHVKRZHG
PHDVFRUHFRYHUHGLQDOOVRUWV
RI FRUUHFWLRQVLQRUGLQDU\
SHQFLOEOXHSHQFLOUHGLQNDQG
JUHHQLQN¶:KLFKDUHWKHULJKW
RQHV"·,DVNHG¶,·PQRWUHDOO\
VXUH·KHUHSOLHG¶WKH\DUHDOO
SRVVLELOLWLHV7DNHWKLVVFRUH
ZLWK\RXDQGXVHZKDWHYHU\RX
OLNHIURPLW·µ'HEXVV\6WXGLHV
&DPEULGJH8QLYHUVLW\3UHVV
7KH%lUHQUHLWHUHGLWLRQ
FRQFOXGHVZLWKDIDFVLPLOH
RI WZRSDJHVRI 'HEXVV\·V
VNHWFKHVDQGDFRPSUHKHQVLYH
FULWLFDOFRPPHQWDU\7KH
FHOORSDUWKDVZHOOWKRXJKW
RXWSDJLQDWLRQSOXVDIROGRXW
WRIDFLOLWDWHSDJHWXUQV-6
ZZZDVWDZHEFRP_
5HYLHZV
'RXEOH%DVV
+DUS
'$,/<*5229(6)25
%$663DWULFN3IHLIIHU&DUO
)LVFKHU
/21'21'(55<$,5(KDUS
WULR7KRP'XWWRQ&DSH
6LGH0XVLF
:ULWWHQE\1HZ<RUN&LW\SUR
EDVVLVW3IHLIIHU'DLO\*URRYHV
IRU%DVVLVDPXFKQHHGHG
PHWKRGIRULQWHUPHGLDWHWR
DGYDQFHGEDVVLVWV7KHPHWKRG
LVFOHDUO\RUJDQL]HGLQWRÀIW\
WKUHHZHHNVRI PDWHULDO6HFWLRQV
GLYLGHGLQWRGD\VRI WKHZHHN
FRQWDLQDSSHDOLQJJURRYHVWKDW
DUHQHYHUWRRPXFK2QHFRXOG
HDVLO\SXOODGDLO\JURRYHLQWR
SUDFWLFHDQGDLPIRU\HDUORQJ
ORQJLWXGLQDODFFRPSOLVKPHQW
7KHERRNFRXOGEHDJUHDWKHOS
WRPXVLFLDQVIRUVLJKWUHDGLQJ
SUDFWLFH7KHERRNFRPHVZLWK
D&'WKDWLQFOXGHV03DXGLR
WUDFNVDQGD3')ÀOHRI WKH
JURRYHVLQWDEODWXUH$VHULRXV
VWXGHQWFRXOGPL[UHDGLQJWKH
WDEODWXUHDQGWKH&'WRGHYHORS
UHDGLQJDQGDXUDOVNLOOV3IHLIIHU
ZURWHWKHERRNSULPDULO\IRU
WKHIRXUVWULQJHOHFWULFEDVVEXW
KHLQFOXGHVRYHUIRUW\JURRYHV
WKDWZRUNRQDÀYHVWULQJZLWK
WKHORZ%:KLOHVRPHRI WKH
ZULWLQJLVLGLRPDWLFWRWKHEDVV
JXLWDU,WULHGWKHVHRQP\
XSULJKWEDVVDQGHQMR\HGWKH
H[SHULHQFHWUHPHQGRXVO\&OHDUO\
3IHLIIHULVDEDVVLVWZULWLQJWR
KHOSEDVVLVWVEXWDQH[SDQGHG
'DLO\*URRYHVIRU0XVLFLDQVVHULHV
PLJKWEHDSRVVLELOLW\'DLO\
JURRYHVIRUEDVVPLJKWKHOS
WURPERQLVWVDQGEDULWRQH
VD[RSKRQHSOD\HUVLQDMD]]
EDQGVHWWLQJ)XUWKHUPRUHWKHVH
JURRYHVPLJKWVRXQGUHDOO\KLS
RQDEDVVRRQRUDEDVVFODULQHW
QRWWRPHQWLRQZKDWDMD]]FKRLU
PLJKWJDLQIURPWKHVHH[HUFLVHV
8OWLPDWHO\'DLO\*URRYHVIRU%DVV
LVDVXFFHVVDQGÀOOVDJDSLQ
PDWHULDOVDQGSUDFWLFHURXWLQHV
IRUEDVVLVWV7KHSRVLWLYH
ERRNLVFKDUJHGZLWK3IHLIIHU·V
HQWKXVLDVWLFDQGUHDOLVWLFRXWORRN
UHÁHFWHGLQKLVVWDWHPHQW
´%HFRPLQJDJUHDWEDVVSOD\HU
GRHVQ·WKDSSHQRYHUQLJKW
,WWDNHVSUDFWLFHGLVFLSOLQH
DQGSHUVHYHUDQFHµ9&
/RQGRQGHUU\$LUH'DQQ\
%R\LVDSHUIHFWWXQHIRUWKH
KDUSDQGHYHQEHWWHUDVD
KDUSHQVHPEOH7KLVXQLTXH
DUUDQJHPHQWLQFOXGHVJUDFH
QRWHVUROOHGFKRUGVKDUPRQLFV
JOLVVDQGRVDQGWKXPEVOLGHV$
W\SHRI ELVELJOLDQGRLQ+DUS
FDOOHGWULQRE\$OIUHGR5RODQGR
2UWL]LVIXQWRGR/HYHU
FKDQJHVDUHFOHDUO\PDUNHGDQG
VRPHÀQJHULQJVDUHLQFOXGHG
7KLVDUUDQJHPHQWKDVVRPH
FKDOOHQJLQJUK\WKPVDQGLV
DSSURSULDWHIRULQWHUPHGLDWH
SOD\HUV<RXZLOOQHHGMXVW
RQHFRS\RI WKHPXVLFWR
SHUIRUPLWDVDWULRDV+DUSV
DQGDUHSXOORXWV'*9
6,03/<7+(+$53&/$66,
&$/6(/(&7,216%RRN
&ODVVLFDO7KHPHVDUUDQJHG
IRU/HYHU+DUSV$QJL%HPLVV
%DOIRXU.QLJKW6LPSO\
WKH+DUS
<RXFDQQHYHUJRZURQJ
ZLWKDERRNRI DUUDQJHPHQWV
E\%HPLVV7KLVFROOHFWLRQ
DYDLODEOHLQ&RU(ÁDWWXQLQJ
SUHVHQWVIDPLOLDUVHOHFWLRQV
LGHDOIRUSURJUDPVZHGGLQJV
EDFNJURXQGPXVLFKDUSWKHUDS\
DQGFKXUFKHV,QFOXGHGDUH
DUUDQJHPHQWVRI 6FKXEHUW·V
$YH0DULDDQG0HGLWDWLRQIURP
7KDLVDVZHOODVIUHTXHQWO\
UHTXHVWHGH[FHUSWV&ODLUGH/XQH
DQG3UDHOXGLXPE\%DFKDOO
KDUGWRÀQGIRUWKHOHYHUKDUS
(DFKVHOHFWLRQLVSUHVHQWHG
LQDWZRSDJHIRUPDWDQGKDV
OHYHUFKDQJHVFOHDUO\PDUNHG
&KRUGV\PEROVDUHLQFOXGHG
DQGQRÀQJHULQJVDUHVXJJHVWHG
0DQ\RI WKHVHVHOHFWLRQVFRXOG
HDVLO\EHSOD\HGDVDGXRZLWK
DPHORG\LQVWUXPHQWVXFK
DVÁXWHRUYLROLQ'*9
:+,7(&+5,670$6,U
YLQJ%HUOLQDUU5R-HDQ
/RXFNVZZZURKDUSV
FRP
:HKDYHDZDLWHGDKDUS
DUUDQJHPHQWRI ´:KLWH
&KULVWPDVµIRUDORQJWLPH
DQGKHUHLWLV/RXFNVLVD
FUHDWLYHDUUDQJHUDQGXVHV
EHDXWLIXOFKRUGVWKURXJKRXW
7KLVHDUO\LQWHUPHGLDWH
DUUDQJHPHQWIHDWXUHVUROOHG
FKRUGVTXDUWHUQRWHWULSOHWVD
IHZV\QFRSDWHGUK\WKPVDQG
VRPHVFDWWHUHGVL[WHHQWKQRWHV
,WFDQEHSOD\HGHDVLO\RQD
KDUSWXQHGLQ(ÁDW&RU)
7KHUHDUHDIHZOHYHUFKDQJHV
DOOPDUNHGDQGUHDVRQDEOHWR
DFFRPSOLVK6XJJHVWLRQVDUH
PDGHLQFDVH\RXGRQRWZDQW
WRSOD\ZLWKDQ\OHYHUFKDQJHV
DWDOO1RÀQJHULQJVRUFKRUG
V\PEROVDUHSURYLGHG<RX
ZLOOQRWZDQWWRSDVVXSWKH
RSSRUWXQLW\WRDGGWKLVWR\RXU
KROLGD\UHSHUWRLUH'*9
%RRNV
+2/,'$<+$536+$53
251$0(176)25-2<286
7,0(6'LDQD6WRUN7DVKD
:DWHUV(WKDQ6Q\GHUPDQ
ZZZKDUSGDQFHUFRP
7KLVLVDEHDXWLIXOFROOHFWLRQ
RI IXOOFRORUSKRWRJUDSKV
IURP6WRUN·VKROLGD\RUQDPHQW
FROOHFWLRQ<RXZLOOHQMR\
FRPELQJWKURXJKWKHVHSDJHV
DQGH[SORULQJSKRWRJUDSKV
RI RUQDPHQWVQHZDQGROG
0L[HGWKURXJKRXWDUHTXRWHV
SRHPVVRQJO\ULFVDERXWKDUSV
DQGPXVLFIRU\RXUHQMR\PHQW
(DFKSDJHKDVDTXRWHSRHP
VRQJO\ULFRUVKRUWKLVWRU\RI WKHRUQDPHQWV7KLVGHOLJKWIXO
KLJKTXDOLW\ERRNLVMXVW
IRXUDQGDKDOI E\VL[DQG
DKDOI LQFKHVDQGHYHQKDVD
SURWHFWLYHFRYHU,WLVWKHLGHDO
VWRFNLQJVWXIIHUIRU\RXUVHOI RUDKDUSLVWIULHQG'*9
127(&5$&.(5086,&
7+(25<3HWHU/LQG:LVH
3XEOLFDWLRQV+DO/HRQ
DUG
)ODVKFDUGVULYHWHGWRJHWKHU
DWRQHHQGWKHSDFNDJHLV
DERXWLQFKHVORQJ
LQFKHVZLGHDQGDOPRVW
LQFKWKLFN7KLVOLWWOHSDFNLV
DJUHDWUHIHUHQFHLQFOXGLQJ
HYHU\WKLQJIURPUHDGLQJEDVV
DQGWUHEOHFOHIVWRUK\WKPLF
YDOXHVVFDOHVLQWHUYDOVFKRUGV
LQFOXGLQJFKRUGV\PEROV
PXVLFDOWHUPVDQGPRGHV,W
FRXOGÀWDQ\ZKHUHDERRN
EDJRULQVWUXPHQWFDVH,WV
UHDVRQDEOHSULFHPDNHVLWLGHDO
DVDVWXGHQWJLIWDVZHOO'*9
'9'
9,2/,1$1'9,2/$(5*2
120,&6-XOLH/\RQQ/LHEHU
PDQQ-XOLH/\RQQ0XVLFZZZ
MXOLHO\RQQFRP
/LHEHUPDQQSUHVHQWVDZHDOWKRI LQIRUPDWLRQWRKHOSSHUIRUPHUV
WHDFKHUVDQGVWXGHQWVDUULYH
DWDVHWXSZKLFKWDNHVLQWR
DFFRXQWWKHLUERG\W\SHFRUUHFWV
DQ\KDUPIXOSK\VLFDOKDELWV
DQGUHVXOWVLQDUHOD[HGQDWXUDO
VROXWLRQ7KLVLVDFFRPSOLVKHG
E\GHWHUPLQLQJWKHRSWLPXP
SOD\LQJSRVLWLRQIRUHDFK
LQGLYLGXDOZLWKLQWKHIRXUSODQHV
YHUWLFDOVKRXOGHUMDZKHDG
KRUL]RQWDODQJOHVFUROOKHLJKW
DQGWLOW(TXLSPHQWLVWKHQ
FKRVHQWRVXSSRUWWKDWRSWLPXP
SRVLWLRQDQGÀOOLQDQ\JDSV
/LHEHUPDQQJLYHVZRQGHUIXOWLSV
IRUGRLQJ´GHWHFWLYHZRUNµWR
GHWHUPLQHZKHUHWHQVLRQH[LVWV
ZKDWLVFDXVLQJLWWKHQFKRRVLQJ
H[HUFLVHVDQGLQVRPHFDVHV
GLIIHUHQWHTXLSPHQWWREDODQFH
WKHSOD\LQJSRVLWLRQVXSSRUW
JRRGSRVWXUHDQGHOLPLQDWH
WHQVLRQ*UHDWHPSKDVLVLV
SODFHGRQKDYLQJDG\QDPLFQRW
VWDWLFVHWXSWKDWFDQEHWZHDNHG
WRDGMXVWIRUPLQRUFKDQJHV
ZHLJKWJDLQORVVGLIIHUHQW
FORWKLQJHWFDQGHVWDEOLVKLQJD
QDWXUDOUHODWLRQVKLSEHWZHHQWKH
KDQGVDUPVVKRXOGHUVKHDG
DQGWKHLQVWUXPHQW$OOWKHEDVLF
W\SHVRI VKRXOGHUUHVWVFKLQ
UHVWVDQGDGGLWLRQDODFFHVVRULHV
ZKLFKFDQFXVWRPL]HWKHÀWDUH
GLVFXVVHGDVZHOODVKRZWR
XWLOL]HWKHLUSDUWLFXODUIHDWXUHV
WRDGMXVWIRUVSHFLÀFDQDWRPLFDO
VLWXDWLRQV1RVLQJOHVROXWLRQ
LVDGYRFDWHG7KHYLHZHULV
HQFRXUDJHGWRLQYHVWLJDWHDOO
SRVVLELOLWLHVLQRUGHUWRDUULYH
DWWKHEHVWVROXWLRQIRUWKHLU
RZQRUWKHLUVWXGHQWV·QHHGV
DQGWKHQWRUHPDLQFRQVWDQWO\
DOHUWWRDQ\FKDQJHVWKDWZRXOG
QHFHVVLWDWHDQDGMXVWPHQWRI WKHVHWXSWRPDLQWDLQSDLQIUHH
UHOD[HGDJLOHSHUIRUPDQFH*+
5HYLHZHUV
0DUJDUHW1LFKROV%DOGULGJH0%DLVSURIHVVRURIYLROLQDQGYLRODDWWKH8QLYHUVLW\RI0RQWDQDZKHUHVKHLVDOVRWKHFRQFHUWPDVWHU
RIWKH0LVVRXOD6\PSKRQ\OHDGHURIWKH6WULQJ2UFKHVWUDRIWKH5RFNLHVDQGYLROLQLVWLQWKH0RQWDQD3LDQR7ULR6KHDOVRSHUIRUPV
DQGWHDFKHVLQWHUQDWLRQDOO\ZLWKWKH6DSSKLUH&ODULQHW7ULR
0DUJDUHW%URZQ0%ULVDIRXQGLQJGLUHFWRURIWKH0F.LQQH\,6'2UFKHVWUDSURJUDPWHDFKHVDW0F.LQQH\1RUWK+LJK6FKRRODQG
ZDVD7H[$67$ERDUGPHPEHUIRUHLJKW\HDUV6KHFXUUHQWO\LVWKHYLFHSUHVLGHQWRI7H[DV2UFKHVWUD'LUHFWRU·V$VVRFLDWLRQDQGKROGV
DEDFKHORURIPXVLFHGXFDWLRQIURP7H[DV:HVOH\DQDQGDPDVWHURIPXVLFLQ6WULQJ3HGDJRJ\IURP7H[DV7HFK8QLYHUVLW\
9LQFHQW&HH9&LVDVVLVWDQWSURIHVVRURIPXVLFHGXFDWLRQDWWKH8QLYHUVLW\RI$ODVND)DLUEDQNVZKHUHKHWHDFKHVFRXUVHVLQPXVLF
HGXFDWLRQMD]]DQGWHFKQRORJ\+HSHUIRUPVUHJXODUO\ZLWKWKH)DLUEDQNV6\PSKRQ\2UFKHVWUD7KH$UFWLF&KDPEHU2UFKHVWUDDQG
WKH-XQHDX6\PSKRQ\
0XULORX&KLOPDQ0&LVDQRUFKHVWUDWHDFKHULQWKH3DUDGLVH9DOOH\6FKRRO'LVWULFW6KHLVDYLROLQLVWDQGYLROLVWZLWKDPDVWHUVRI
PXVLFHGXFDWLRQIURP$UL]RQD6WDWH8QLYHUVLW\6KHLVDPHPEHURIDQDFWLYHVWULQJTXDUWHWDQGZULWHVWKHIXOORUFKHVWUDDUUDQJHPHQWV
IRU5HVXUUHFWLRQ/XWKHUDQ&KXUFK
'HQLVH*UXSS9HUERQ'*9LVDQDFWLYHSURIHVVLRQDOSHUIRUPHUZKRWHDFKHVSULYDWHO\DQGDW2ZHQV6WDWH&RPPXQLW\&ROOHJH6KHZDV
IRUPHUO\DPHPEHURIWKH&LYLF2UFKHVWUDRI&KLFDJRDQGKDVDPDVWHURIPXVLFGHJUHHLQKDUSSHUIRUPDQFHIURP1RUWKZHVWHUQ8QLYHUVLW\
*HRUJLD+RUQEDFNHU*+LVDVVRFLDWHSURIHVVRURIYLROLQDW0LOOLNLQ8QLYHUVLW\LQ'HFDWXU,OOLQRLVDVVRFLDWHFRQFHUWPDVWHURIWKH,O
OLQRLV6\PSKRQ\DQG,OOLQRLV&KDPEHU2UFKHVWUDVDQGYLROLQLVWRIWKH.LUNODQG7ULR6KHPDLQWDLQVDSULYDWHVWXGLRLQKHUKRPHDQGLQ
ZDVQDPHGRXWVWDQGLQJVWXGLRWHDFKHUE\,OOLQRLV$67$
3ULVFLOOD+RZDUG30+WHDFKHVDWWKH3HQQV\OYDQLD6WDWH8QLYHUVLW\DQGKDVDSULYDWHVWULQJVWXGLR6KHDOVRLVDYLROLQLVWZLWKWKH
)DLUID[9LUJLQLDDQG<RUN3HQQV\OYDQLDV\PSKRQLHV
0LFKDHO/LQN0/LVFXUUHQWO\WKHRUFKHVWUDGLUHFWRUDW%R\G+LJK6FKRROLQ0F.LQQH\7H[DV7KLV\HDUWHDFKLQJYHWHUDQKROGVDEDFKHORU
RIDUWVGHJUHHIURP:HVWHUQ,OOLQRLV8QLYHUVLW\0DFRPEDQGDPDVWHURIPXVLFHGXFDWLRQIURP9DQGHU&RRN&ROOHJHRI0XVLF&KLFDJR
7DPDUD0DVRQ70HDUQHGDQ00LQLQVWUXPHQWDOPXVLFHGXFDWLRQDQG0(GLQELOLQJXDOHGXFDWLRQIURP$UL]RQD6WDWH8QLYHUVLW\
7KLVLVKHUVW\HDUDVGLUHFWRURIVL[RUFKHVWUDVDW*LOLOODQG0LGGOH6FKRROLQ7HPSH$UL]RQD
-HIIUH\6RORZ-6FHOOLVWDQGSDVWSUHVLGHQWRI$67$PDLQWDLQVDEXV\VFKHGXOHWUDYHOLQJWKURXJKRXWWKH8QLWHG6WDWHVDQG&DQDGD(XURSH
/DWLQ$PHULFDDQGWKH2ULHQWDVUHFLWDOLVWVRORLVWFKDPEHUPXVLFLDQDQGWHDFKHU+HKDVEHHQJXHVWDUWLVWDWPDQ\QDWLRQDODQGLQWHUQDWLRQDO
FKDPEHUPXVLFIHVWLYDOV6RORZLVSURIHVVRURIFHOORDQGFKDLURIWKH'HSDUWPHQWRI,QVWUXPHQWDO6WXGLHVDW7HPSOH8QLYHUVLW\LQ3KLODGHOSKLD
ZZZDVWDZHEFRP_
7HDFKLQJ7LSV.
by Michael Hopkins
,PSURYLQJ<RXU&RQGXFWLQJ8VLQJ9LGHR
6HOI$VVHVVPHQW
Conducting an ensemble comes with great
responsibilities. Prior to rehearsal we must
select appropriate repertoire and develop
an informed interpretation of the score
through our own knowledge of style and
performance practice. We need to research
the historical context of the music. We
must spend time analyzing the structure
and musical terminology in the score, and
must complete a thorough melodic and
harmonic analysis so we can easily detect
errors in rehearsal.
During rehearsal we have many
other responsibilities. We must keep the
rehearsal interesting and efficient through
our pacing. When we detect errors and
wish to improve the level of our orchestra’s
performance, we must find creative ways
to solve problems while keeping the atmosphere positive and engaging.
With all of these responsibilities, it is
easy for us to overlook the impact that
our conducting gestures have on our
students’ music making. The physical gestures of conducting are very important for
providing musical leadership in orchestras
at all levels of development. A clear beat
pattern can result in better ensemble precision. Consistency in showing cues and
releases can boost players’ confidence in
the conductor. Making frequent eye contact with members of the ensemble results
in the ensemble watching the conductor
more closely.
The physical act of conducting is
much like the physical aspect of playing
an instrument—over time, bad habits can
develop, especially when we are so focused
on helping our students. Most of us do
not regularly have a professional colleague
in the rehearsal with us who can critique
our conducting and give us feedback.
We may be able to attend professional
development conducting workshops in the
summer, but during the school year an effective way to improve our conducting and
remove bad habits is to video record ourselves conducting in rehearsal or concert
and assess our own technique. This article
describes various physical components of
conducting that can be improved through
the use of video self-assessment, and
provides questions and techniques that can
be used for self-reflection while studying
video recordings.
Video recording technology has come a
long way in the past decade. Using currently available technology, it is easy to video record yourself conducting, connect the video
camera to your PC or Mac computer, and
upload the video to your computer’s hard
drive. Commonly used free or inexpensive
software applications include iMovie (Mac),
Adobe Premiere Elements (PC or Mac),
Windows Movie Maker (PC), Sony’s Vegas
Movie Studio (PC), or Pinnacle Studio
(PC). There are plentiful resources available
on the web for comparing and contrasting
video software, and for determining what
products will work with your computer and
operating system.
Once the video is imported, you can
quickly access the part of rehearsal you
want to examine. You can use the computer keyboard to watch in slow motion or
frame-by-frame, which I have found to be
extremely useful for assessing conducting
gestures.
Posture and podium presence
One of the easiest things to assess by
watching your conducting on video is your
overall posture and podium presence. Here
are some questions to ask while you watch
yourself conduct:
Is my posture lengthened and balanced,
or am I slouching? Are my shoulders level?
When mirroring with my left hand, is it on
the same plane as my right hand?
Is my face looking out toward the ensemble or is my head angled down toward
the score while I am conducting?
If conductors are visually connected to
the musicians in their ensemble, the musicians watch the conductor more closely.
Assess the amount of eye contact you are
making with the ensemble as you conduct.
Think of yourself as a driver and the score
as a road map. We may need to occasionally glance at the road map, but staring
at it while driving could have disastrous
consequences!
Clarity of prep beat
Listen very carefully to your orchestra’s
sound on the video to determine the precision of the ensemble. If there is a lack of
clarity on the initial entrance, study your
gestures and facial expressions carefully.
Very often poor entrances are caused by a
lack of conductor eye contact through the
prep and downbeat or poor clarity at the
beginning of the preparatory beat.
To assess the clarity of the prep and
downbeat at the beginning of the piece,
watch your video frame by frame or watch
in very slow motion. Ask yourself these
questions while you watch your video:
Do I maintain eye contact with the
ensemble through the prep and downbeat
or am I staring down at the score? Does
the motion of my left hand contribute to
the clarity of the prep and downbeat, or
does it distract?
Imprecise mirroring with the left hand
may obscure the clarity of the downbeat.
One solution is to use only the baton for
the initial prep and downbeat. Leave the
left hand by your side until you need it for
a cue or expressive gesture.
If your group is having precision
problems on entrances, watch the video to
determine if you are breathing in with the
prep beat and exhaling on the downbeat.
Synchronizing your breath with your prep
and downbeat will greatly help the musicians synchronize their entrances.
Clarity of beat pattern
A common conducting problem that
causes poor ensemble precision is a lack of
clarity in the conducting beat pattern. As
you watch your video, ask yourself these
questions: Are my beats placed on a horizontal plane located above waist level? Do
the beats in my pattern have a clear ictus?
Pausing your video and moving forward/backward frame-by-frame or in slow
motion can be extremely useful for determining the clarity of ictus in the baton.
Clarity on the inner beats is very
important and sometimes overlooked. A
common problem is rotating the right
hand wrist so the palm is no longer
towards the floor. If the palm rotates
towards the wall, it will often result in a
lack of ictus and predictable placement of
the 2nd and 3rd beats (when conducting
in a 4 pattern) or problems on beat 2 in a
three pattern. Since beats 2 and 3 are off
the plane of beating, musicians who are
trying to enter on those beats (or just trying to diligently play with the conductor)
will have widely varying opinions about
exactly where the beat is. The result is a
sloppy sounding ensemble. See Labuta, 2010 p. 22, or Green and
Gibson 2004, p. 10 and 11, in suggested readings for more info
on beat clarity.
The left hand
The left hand can be a great help but also a great distraction. Using the left hand to mirror the right hand is sometimes effective,
but there are often more expressive possibilities for the left hand.
Watch your left hand on the video and ask yourself how you could
use it more effectively to communicate dynamics, articulations,
releases, and cues.
Cues, Fermatas, Tempo Changes and Releases
Watch your video for cues. Ask yourself these questions: Am I
delivering enough cues to the players in my ensemble? Are my cues
being delivered a beat before the entrance is to occur? Do my cues
have eye contact? Does my posture remain lengthened and balanced through the cue?
Fermatas and tempo changes are always challenging to conduct,
and precisely where the ensemble needs you the most. Watch the
video and ask yourself these questions: Did I lead my ensemble
through the fermatas and tempo changes with clarity? Did I maintain continuous eye contact with the ensemble through fermatas
and tempo changes?
Showing releases can greatly improve the sonic precision of an
orchestra. Watch the video to determine if you are showing clear
releases at the end of long sustained notes.
Through the use of video self-assessment, we can continue to
develop and grow as conductors. A refined conducting technique
will help facilitate great music making with your students. Here
are a few books on conducting technique I have found very useful
and suggest for further reading:
Bailey, W. (2009). Conducting : the art of communication. New York, Oxford University Press.
Green, E. A. H., M. Gibson, et al. (2004). The modern conductor: a college text on conducting
based on the technical principles of Nicolai Malko as set forth in his The conductor and his
baton. Upper Saddle River, N.J., Pearson Prentice Hall.
Labuta, J. A. (2010). Basic conducting techniques. Upper Saddle River, NJ, Prentice Hall.
Rudolf, M. and M. Stern (1994). The grammar of conducting : a comprehensive guide to baton
technique and interpretation. New York, Toronto, Schirmer Books.
0LFKDHO+RSNLQVLVDQDVVRFLDWHSURIHVVRURIPXVLF
HGXFDWLRQDWWKH8QLYHUVLW\RI0LFKLJDQLQ$QQ$UERU
0LFKLJDQZKHUHKHWHDFKHVFRXUVHVLQVWULQJ
HGXFDWLRQ3ULRUWRMRLQLQJWKHIDFXOW\+RSNLQVZDVDQ
DVVRFLDWHSURIHVVRURIPXVLFDWWKH8QLYHUVLW\RI
9HUPRQWIURPZKHUHKHZDVFRQGXFWRU
RIWKH8902UFKHVWUDDQGWDXJKWFRXUVHVLQPXVLF
HGXFDWLRQDQGPXVLFWHFKQRORJ\+RSNLQVKDV
DSSHDUHGDVDJXHVWFRQGXFWRUDWRUFKHVWUDIHVWLYDOV
WKURXJKRXWWKH8QLWHG6WDWHVDQGLVWKHIRXQGLQJGLUHFWRURIWKH
%XUOLQJWRQ&KDPEHU2UFKHVWUD+HLVDFWLYHDVDFRPSRVHUDQG
DUUDQJHUZLWKRYHUSXEOLVKHGZRUNVIRURUFKHVWUD+RSNLQVLVWKH
DXWKRURIWKHZHEVLWH7KH6WULQJ3HGDJRJ\1RWHERRNDUHVRXUFHIRU
VWULQJWHDFKHUVDQGSHUIRUPHUV+HKDVSXEOLVKHGDUWLFOHVLQWKH-RXUQDO
RI5HVHDUFKLQ0XVLF(GXFDWLRQ$PHULFDQ6WULQJ7HDFKHUDQG7KH
,QVWUXPHQWDOLVW+HKDVVHUYHGRQWKHIDFXOW\RIWKH$PHULFDQ6WULQJ
:RUNVKRSDVWKHH[HFXWLYHGLUHFWRUIRUWKH*UHHQ0RXQWDLQ&KDPEHU
0XVLF)HVWLYDODQGLVSDVWSUHVLGHQWRIWKH9HUPRQWFKDSWHURI$67$
+RSNLQVUHFHLYHGKLVEDFKHORU
VGHJUHHLQPXVLFHGXFDWLRQIURP
&RORUDGR6WDWH8QLYHUVLW\DQGKLVPDVWHU·VDQG3K'LQPXVLFHGXFDWLRQ
IURPWKH8QLYHUVLW\RI0LFKLJDQ
$GYHUWLVHUV·,QGH[
$OIUHG0XVLF3XEOLVKLQJ
$PDWL¶V)LQH,QVWUXPHQWV
%UREVW9LROLQ6KRS
&DUULDJH+RXVH9LROLQV5HXQLQJ
&HQWUDO&RQQHFWLFXW6WDWH8QLYHUVLW\
&ODLUH*LYHQV9LROLQV,QF
&RGD%RZ,QWHUQDWLRQDO
'H3DXZ8QLYHUVLW\
(GXFDWLRQDO6WULQJV3XEOLVKLQJ
(OHFWULF9LROLQ
)UXVWUDWHG$FFRPSDQLVW
+XWKPDNHU9LROLQV
,IVKLQ9LROLQVLQVLGHEDFNFRYHU
.&6WULQJV9LROLQ6KRS
.QLOOLQJ6WULQJ,QVWUXPHQWV6W/RXLV0XVLF
0HO%D\3XEOLVKLQJ
0HU]+XEHU&RPSDQ\
0RQD/LVD6RXQG,QF
1$00
1HLO$.MRV0XVLF
16'HVLJQ
3HWHU=DUHW6RQV9LROLQV,QF
3LUDVWUR*PE+
5REHUWVRQ6RQV9LROLQV
5ROODQG6WULQJ5HVHDUFK$VVRFLDWHV
6KDU3URGXFWV EDFNFRYHU
6R¿D9LROLQV
6XSHU6HQVLWLYH0XVLFDO6WULQJ&RPSDQ\
7KH3RWWHU9LROLQ&RPSDQ\
7KH6WULQJ&HQWUHDGLYLVLRQRIWKH
:RRGZLQG%UDVVZLQG
7KLQJV6WULQJV//&
7KRPDVWLN,QIHOG&RQQROO\&RDGV
7ZRIROG0HGLD
8QLYHUVLW\RI0HPSKLV5XGL(6FKHLGW
6FKRRORI0XVLF
9LOODQRYD8QLYHUVLW\
:LOOLDP+DUULV/HH&RPSDQ\
<DPDKD&RUSRUDWLRQRI$PHULFD LQVLGHIURQWFRYHU
ZZZDVWDZHEFRP_
6WXGLR7LSV
by Nissa de la Torre
6WXGLR7HDFKLQJ7LSV$UH<RX(TXLSSHG"
Dorothy DeLay was equipped with a couch, stuffed animals, a grand piano, and a big, comfy chair in her studio. Finding a balance between a clutter-free teaching environment, and having all of your “teaching stuff” on hand are important considerations when organizing or setting up a private studio or classroom. The space should function for you, your teaching style and your clientele. Achieving the
proper set up can make a big difference in the quality and comfort experienced during lesson time. Take a look around and see what
you use and don’t use. How does your space feel? Make adjustments accordingly. I have compiled a list of the studio “essentials” I have
come to use over the years.
0LUURU+DYLQJDPLUURUPRXQWHGRQWKHZDOOKHOSV
WUHPHQGRXVO\ZLWKLQVWDQWIHHGEDFN7KHVWXGHQWLVDEOH
WRVHHDQGUHLQIRUFHJRRGWHFKQLTXH
!0DUNHUERDUG,OLNHDODUJHPDUNHUERDUGEXWWKH
VL]HZLOOGHSHQGRQKRZELJRUVPDOO\RXUVWXGLRRU
FODVVURRPLV7KLVLVKDQG\IRUTXLFNH[SODQDWLRQVYLVXDO
UHIHUHQFHVIRU\RXUYLVXDOOHDUQHUVDQGLWJLYHV\RXD
SODFHWRZULWH´VWXGLRUHPLQGHUVµIRUDOOWRVHH
"6WULQJVZLQJ+DYLQJVXFKDWKLQJ²EDVLFDOO\DYLROLQ
KDQJHUZLWKERZKROGHU²DOORZVIRUTXLFNHUDFFHVVWR
\RXULQVWUXPHQWLQJLYLQJEULHIH[DPSOHV3OXVLWSUR
YLGHVDVDIHSODFHWRVWRUH\RXULQVWUXPHQWZKHQ\RX·UH
QRWSOD\LQJLW<RXFDQPRXQWLWRQWKHZDOORUGLUHFWO\
RQWRDPXVLFVWDQG
#7HDFKLQJVXSSOLHV6KDUSSHQFLOVSDSHUFOLSV
FORWKHVSLQVLHDSRRUPDQ·VÉRZVWRSSHUµ3RVW,W
QRWHVSHQVPDUNHUVVWLFNHUVÀQJHUERDUGDQGERZ
WDSHVWDSOHUWDSHDQGVFLVVRUV
$3ODQWV3ODQWVNHHSLWIUHVKUHF\FOHWKHDLUDQGPDNH
IRUDQLFHHQYLURQPHQW-XVWUHPHPEHUWRZDWHURQFHD
ZHHN,I\RX·UHQRWDOORZHGSLFWXUHVRIQDWXUHKHOSWR
EULQJWKHRXWVLGHLQHVSHFLDOO\LIWKHUHDUHQRZLQGRZV
,WLVLPSRUWDQWWRIHHODFRQQHFWLRQWRWKHRXWVLGHDV
PDNLQJPXVLFLVDQRUJDQLFH[SHULHQFH
% ,QVSLUDWLRQDOSRVWHUVDUWZRUN3RVWLQJPXVLFDO
FRQFHSWSRVWHUVVXFKDVWKHVWDIIUK\WKPLFYDOXHVV\P
EROVDQGFRPSRVHUVZLOOUHLQIRUFHOHDUQLQJ3OXVPRVW
VWXGHQWVHQMR\VHHLQJLQVSLUDWLRQDODUWZRUNSLFWXUHVRI
WKHPVHOYHVUHFHQWFRPSRVLWLRQVRUDFKLHYHPHQWVDQG
NQLFNNQDFNVRUGUDZLQJVWKH\KDYHJLYHQWR\RX:KLOH
\RX·UHDWLWPDNHVXUH\RXWKURZ\RXUGLSORPDDQG
FHUWLÀFDWHVRQWKHZDOO
& 8QSDFNLQJVWDWLRQ6KRZ\RXUVWXGHQWVWKDW\RX
DSSUHFLDWHWKHPDQGWKDW\RXUVWXGLRLVDOODERXWWKHP
+DYHDVWXUG\WDEOHEHQFKRUFRXFKWRXQSDFNRQZLWK
RWKHUHVVHQWLDOVQHDUE\FRDWKRRNVFDQG\QDLOFOLSSHUV
DQGÀOHKDQGVDQLWL]HU
' %RRNVDQGPXVLF<RX·OOZDQW\RXUPXVLFVWDFNVDQG
ERRNVKDQG\DQGRUJDQL]HG7KLVVKRZV\RXUSDUHQWV
DQGVWXGHQWVWKDW\RXDUHYHU\IDPLOLDUZLWKWKHUHS
HUWRLUHDQGWKDW\RXDUHZHOOUHDGRQWKHVXEMHFWRI
WHDFKLQJWKHLUFKLOGUHQKRZWRPDNHPXVLF
(7RROV'HVLJQDWHDQDUHDRUFRQWDLQHUIRUEDVLFWRROV
VXFKDVDWDSHPHDVXUHYLROLQFOHDQHUDQGSROLVKSDSHU
WRZHOVUXEELQJDOFRKROZLSHVFKLQDQGVKRXOGHUUHVW
H[DPSOHVDQGFRUNDQGIRDPIRUDGMXVWLQJWKHP
) 6WRROVRUDJRRGFKDLU,OLNHWRVLWRQDVWRRO
ZKLOH,WHDFKEHFDXVH,DPFRQVWDQWO\XSDQGGRZQ
0LQHLVSDGGHGDQGWDOO,DOVRKDYHDFRXSOHIRUP\
VWXGHQWVWRVLWRQZKLOHZH´FKDWµZKLOHWKH\ZDLWRU
ZKLOHWKH\ÀGGOH
* &RPSXWHULIWKHUH·VURRP7KH,QWHUQHWDFFRXQW
LQJPXVLFRIÀFHUHFRUGLQJVRIWZDUHHPDLOVFKHGXOH
DQGDFFHVVWRUHFRUGLQJVDOOSOD\DUROHLQWKHEXVLQHVV
RIUXQQLQJDSULYDWHVWXGLR7KHUHDUHWRQVRIUHFRUGLQJV
DQGYLGHRVRQ<RX7XEHDQGLWLVQLFHWRKDYH\RXUVWXGLR
FRPSXWHUDYDLODEOHIRUDQ\KRXVHNHHSLQJUHVFKHGXOLQJ
RUTXLFNSULQWLQJ
+ 2WKHU,QVWUXPHQWV7KHSLDQRRUJXLWDUFDQSURYLGH
DVRXUFHRIDFFRPSDQLPHQWDQGWKHRU\UHIHUHQFHGXULQJ
OHVVRQWLPH6HHLQJDQGLQWHUDFWLQJZLWKRWKHUPXVLFDO
LQVWUXPHQWVVHUYHVWRLQVSLUHDQGLQIRUP
1LVVDGHOD7RUUHLVDQHQHUJHWLFPXVLFLDQDQGLQVWUXFWRUZKRUXQVDPXOWLSOHVW\OHPXVLFVWXGLRLQ/LQFROQ1HEUDVND+HUVWXGLR
KRXVHVVHYHUDOWHDFKHUVDQGWKHFRPPXQLW\EDVHGÀGGOHJURXS7KH6SLWÀUH)LGGOH%DQGGHOD7RUUHUHFHLYHGDEDFKHORURI
PXVLFGHJUHHIURPWKH8QLYHUVLW\RI1HEUDVND/LQFROQZKHUHVKHWDXJKWLQWKH186WULQJ3URMHFW6KHKDVSHUIRUPHGZLWK
FRXQWOHVVPXVLFDOJURXSVLQDZLGHDUUD\RIJHQUHVDVZHOODVEHLQJDFRPSRVHUDQGPXVLFDUUDQJHU&XUUHQWO\1LVVDLVLQKHU
VHFRQGWHUPDVSULYDWHVWXGLRPHPEHUDWODUJHIRUWKH1($67$
American String Teacher
May 2011 | Volume 61 | Number 2
May 2011
In This Issue
•
•
•
•
Paul Rolland and His Influence
The Tardy Recognition of J.S. Bach’s Sonatas and Partitas
Developing Critical Thinking and Assessment in Music Classrooms
and much more!
PLUS:
ASTA Conference Highlights with
National Award Winners
2
The ASTA String Curriculum is a groundbreaking publication that will help
establish string-specific standards and guidelines to further develop and enrich
programs. Purchase your copy through ASTA’s publishing partner at Alfred.com.
American String
Teachers Association
www.astaweb.com