Professional Documents
Culture Documents
1
What
is
the
difference
between
school
orchestra
and
youth
orchestra?
In
youth
orchestra,
the
individualized
instruction
is
left,
almost
entirely,
to
the
private
teacher.
Key
Concept
#1:
In
School
Orchestra,
all
studentsnot
just
the
ones
taking
lessons
deserve
sequential,
comprehensive
technical
instruction
that
enables
them
to
learn
the
musical
and
performance
skills
that
upper-level
orchestral
works
require,
so
that
every
student
can
make
great
music.
When
should
we
review
and
teach
advancing
string
skills
to
upper-level
students?
If
Orchestra
Directors
want
to
teach
great
orchestral
repertoire
to
their
studentsand
have
their
students
play
this
music
wellthey
must
devote
part
of
their
rehearsal
to
teaching
students
the
fundamental
and
advancing
skills
these
pieces
require.
Fundamentals
Time
is
the
classroom
rehearsal
time
that
you
devote
to
improving
student
skills
and
technique.
We
spend
time
at
the
beginning
of
rehearsals,
but
also
time
embedded
within
the
rehearsal
to
teach
and
reinforce
good
technique
that
improves
student
performance.
CHALLENGES:
Teaching
advancing
string
technique
in
an
orchestra
rehearsal
has
its
challenges.
1. Most
of
us
were
never
taught
how
to
embed
technical
instruction
into
a
rehearsal.
2. Our
programs
are
so
individualized
that
most
sequential
method
books
dont
seem
to
fit
what
our
students
need
to
learn.
What
will
you
take
away
from
this
session?
Today,
we
will
identify
tools
and
strategies
that
can
be
used
during
fundamentals
time
for
resolving
and
overcoming
several
of
the
most
pressing
and
entrenched
problems
our
upper
orchestras
face.
We
will
identify
the
challenges
that
cause
our
students
to
struggle
with
intonation,
tone
quality
and
rhythmic
literacy,
and
we
will
look
at
exercises
and
strategies
for
correcting
these
problems.
2
Part
1:
Teaching
Resonant
Intonation
Why
upper-level
middle
and
high
school
string
students
play
out
of
tune
1. Their
instruments
are
out
of
tune
a. Students
must
learn
to
tune
themselves;
insist
on
quality
instruments
b. Students
must
learn
to
listen
and
use
a
tuning
tone
c. Cross-tuning
is
required
2. Poor
hand
position
and
instrument
position
increase
the
difficulty
of
an
instrument
that
is
already
challenging
to
play
in
tune
a. Increase
strategies:
Constantly
look
for
new,
better
ways
to
teach
technique;
keep
adding
to
your
bag
of
tricks
b. Decrease
tolerance
of
poor
position
(zero-tolerance
is
a
good
goal
to
have)
3. Finger
patterns
dont
agree
with
the
key
signature
a. Student
fingers
are
not
familiar
or
comfortable
with
the
finger
patterns;
solution:
spend
more
time
on
finger
patternsincluding
cello
extensionsto
increase
muscle
memory
and
aural
awareness
and
skills
to
differentiate
between
the
patterns
b. Students
are
not
cognitively
aware
(
or
paying
attention
to)
to
the
key/key
signature;
solution:
spend
more
time
studying
4th
and
7th
scale
degrees
in
each
key
4. Students
lack
fine
tuning
skills
and
experience
a. Sing
b. Tuning
Canon
and
Chords
c. Chorales
5. Rangehigher
registers
pose
new
challenges
with
the
above
mentioned
skills
a. Shifting
b. Scales,
Arpeggios,
and
Thirds
c. More
study
of
Higher
Positions
Think
for
a
moment:
Why
do
students
play
out
of
tune?
What
can
you
do
to
correct
that?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
3
1.
Tuning
Our
Instruments
Teach
Students
to
Tune
Themselves.
Teach
Tuning
Tone:
Using
a
soft,
transparent
tone
allows
students
to
hear
the
correct
pitch
while
they
tune
their
strings.
Cross
Tuning
For
Classes
Comfortable
Tuning
Themselves
1. The
leader
plays
the
A;
the
students
listen
for
5
seconds,
and
then
tune
their
A
string
at
the
tip
of
the
bow.
Once
the
A
is
in
tune,
the
leader
turns
off
the
A
and
instructs
the
class
to
tune
up
the
rest
of
their
strings.
The
class
tunes
their
instruments
quietly
using
the
tip
of
the
bow
and
stops
playing
when
they
are
finished.
2. Even
accomplished
high
school
orchestras
are
still
a
little
out
of
tune
at
this
point,
and
the
student
leader
should
then
take
the
class
through
the
Cross-Tuning
procedure.
A. Everyone
plays
their
A
string
again
to
make
sure
it
is
perfect.
B. Violin/bass
play
their
A
strings
while
violas
and
cellos
tune
their
D
strings.
C. Players
switch.
Violas/cellos
play
their
A
while
violins/basses
tune
their
D.
D. Violins/basses
continue
to
play
their
D;
violas
and
cellos
cross
over
and
tune
their
G
string.
E. Players
switch;
viola/cellos
play
their
D
while
violin/basses
tune
their
G
string.
F. Violins
and
basses
continue
to
play
their
G
string;
violas
and
cellos
cross
over
and
fine
tune
their
C
string.
G. Finally,
violas
and
cellos
play
their
A
string,
while
the
violins
tune
their
E
string.
Then,
violas
and
cellos
drop
out,
and
basses
tune
their
E
string
to
the
violins.
Basses
may
take
few
extra
seconds
to
double
check
their
tuning
using
harmonics.
2.
Instrument
Left
Hand
Position
Allocate
fundamentals
time
at
the
beginning
of
rehearsals
for
reviewing
hand,
body
and
instrument
position
and
technique.
Have
upper
instruments
stand
up;
its
easier
for
them
to
play,
and
for
you
to
see
and
correct
problems.
Get
off
the
podium
and
move
around
the
room.
Use
calisthenics
and
maintain
zero
tolerance
for
position
problems
and
flawsDont
be
an
enabler
by
allowing
poor
positions.
4
?4 b b b
4
? # # N
6
3.
Finger
Patterns,
then
Key
Signature
Agreement
Use
b
exercises
that
focus
on
specific
patterns
to
develop
muscle
memory.
# n
?
11
Basics:
Highs,
Lows,
Extensions
16. Forward Extension Exercises *
? 4 .. 3 # # 4 2 .. 3 # .. # # .. N # # ..
A. B. C. D.
4
2 3 4
2 1 1
? 44 ..
A. 3
# # .
B.
. # # N . C.. # # . D.. n # .
. . . . . . .
x2
3
? # # # 4 .. 2 x2 x2 ..
18. Extension Etude
4
* 16A and B: Match the 3rd finger with open G. Keep 2nd finger perpendicular to string with the thumb directly behind it. Always
keep 4th finger
Tetrachord
curved, relaxednever stretched and straight. The extension (space) occurs between the 1st and 2nd fingers.
Etude
16C: Play all of Mary with the 2nd finger perpendicular to the string, and 4th finger curved and relaxed.
The
purpose
16D: When 2nd of
finger
the
moves
Tetrachord
from F toEFtude
s, keepis
it tperpendicular
o
efficiently
focus
to the string on
andfinger
move thepatterns.
thumb with
it.
It
can
be
used
as
a
daily
warm-up
or
in
a
rehearsal
to
review
the
problematic
finger
pattern
and
transfer
the
pattern
to
the
music.
The
etude
is
to
be
learned
and
performed
on
one
string.
Cellos
shift
between
two
positions
in
a
way
that
is
common
for
them;
basses
will
shift
through
three
positions
and
6 use
bass
pivot
fingerings.
Habits of a Successful String Musician - Violin
19. Tetrachord Etude
Tuning Notes (Dorian Tetrachord) Etude
U U U U
4
12
& 8 . #. . . .. # # ..
4 4
w.
After learning the Etude with the Dorian tetrachord above, play it with one of the other tetrachords below.
Tetrachords:
Major Dorian Phrygian Lydian Major (half pos.)
20. Velocity Etude
Perform as written first, and then perform with the different finger patterns (#2. Fn and #3. Ef) shown below.
4
& 4 # # # #
Finger Pattern #1 #2 #3
5
& # & N & b
Tetrachord
Etude
Strategies
1. Set
the
tuner
to
a
low
E
pedal
tone
and
begin
with
the
Dorian
pattern
written
below.
2. Students
should
learn
one
measure
at
a
time
while
listening
and
adjusting
their
fingertips
to
finely
tune
the
notes
in
the
pattern.
3. After
students
can
play
the
Tetrachord
Etude
with
the
dorian
pattern,
teach
them
the
other
patterns.
A
pedal
C
on
the
tuner
works
better
for
Phrygian
and
Lydian
patterns.
4. After
all
the
patterns
have
been
learned,
have
students
perform
them
one
after
another,
to
help
them
hear
and
understand
the
differences.
5. To
practice
changing
modes
in
quick
succession,
omit
measure
one
(tuning
notes),
and
perform
only
measures
two
and
three
after
each
repeat.
6. Have
students
perform
the
etude
on
other
strings
or
in
higher
positions
to
perfect
the
intonation
and
tone
quality
of
all
other
notes
on
the
instrument.
Teaching
Velocity
Use
velocity
exercises
develop
finger
speed
and
accuracy
while
maintaining
a
relaxed
left
hand.
This
Velocity
Etude
also
improves
bow
management
and
tone
production.
Once
the
Major
pattern
is
learned,
teach
the
Minor
and
Phrygian
patterns.
Perform
the
etude
with
all
three
patterns
in
succession
as
a
group
without
stopping.
This
is
Variation
A;
the
other
variations
can
be
taught
the
same
way.
Find
Positions
IV Higher the
students
maximum
and Alternate relaxed
tempo;
write
down
this
speed
limit
and
make
11
Clefs it
a
goal
to
extend
this
limit
during
the
course
of
the
year.
Always
check
for
relaxed
left
hands
(especially
thumbs.)
Relaxation
is
a
key
component
of
these
exercises,
as
tension
IV Higher Positions and Alternate Clefs
slows
fingers
down.
48. Velocity Etude in Higher Positions
Perform as written first, and then perform with the different finger patterns (#2. Fn and #3. Ef) shown below.
# # # #
& 44
Finger Positions
#1 #2 #3
2 # N b
Third Pos.
&
3
& &
1
2 3 4
Second Pos.
A. B. C. D. E. F.
&
&
G. H. J. K. M. N.
Alternate Clefs
Advanced violinists should learn alto clef, so they can double on viola if needed.
C D E F G A B C
& w w w w w 6
Treble Clef
w w w
w w w w w
w
D Major
II Lower Positions: Finger Patterns,
75. Tuning Canon
Intonation, and Velocity
76. Tuning Chords
Uw Uw
Uw
-2
#
1. 2. 3. 4.
U # U U U U Uw w w
# P44atterns
& Natural
Finger
12. & Sharp .. w
and
Key
Signature
Agreement
4
& # 4 w w ww ww
# Which
A. B.
notes
do
string
players
miss
most?
What
are
C.we
doing
div.
about
it?
4 .
& 4Most
. pitch
. .
in
s. chool
problems
. .
. .
. ..
th
orchestras
occur
on
the
4
and
7
scale
degrees
where
th
II Lower Positions: Finger Patterns, Intonation, and Velocity 5
77. Scales
keys
and
and
Arpeggios - OnecOctave
finger
patterns
hange
first.
# Had a Little Lamb (Backward Extension)
# 4 II Lower
13. Mary
, ## 4
Positions: Finger Patterns,
4 4
& b 44 w & 4 w
4 4
& bexercises
b 4 that
student
raise
awareness
about
the
4th
and
7th
scale
degrees
Use
Intonation, and Velocity
Two Octaves
# 4
#
& 4A.
4
12. Natural & Sharp
w
-1 -2 4
14. Backward Extension Exercises
#b 4 4 . A.
B. C. C.
& b b4 4 . .. n b .. .. .. .. n b Three .. .. .. Octaves
.. .. .. ..
B. D.
D n b .. E1
1
III
-1
## 4 -1 0 2 # # 4 G2 1
& 4
3 3 1 A
& 4
1
w
,
13. Mary Had
15. Dominant Etude a Little Lamb
1 (Backward Extension)
4b
III I V
& 4b b 44 -1 4 x4 -4 3 -3 b -3 A4 b D b G4
III
# # -1 4
& w
2
IIIN
& #A. # B. x4 C.
6
14. Backward VII Extension
XI Exercises VI
b 4 3 1 -4 1 A3 D.1 D2 G4 2
b b . n b . . n b .. .. .. .. ..
# . . . -1
D
& # 444 3 # n 3
11&
G A 3 E 3
1 n b
4 2 -1
2 1 2
nd
Reviewing
VIIIb Awareness
w
&
Teaching
aIII Keys
V and
Key
Signature
1
III
Use
exercises
that
focus
on
the
4
and
7
scale
degrees
of
the
key
you
want
15. Dominant Etude
th th
to
teach
4
b b
b
& Forward
4
Exercises
16. Extension
A.
78. Dominant Arpeggio
4# ..
B. C. D.
& 4 # 4 # # . # . # #N ..N # # ..
. .
2 4
4 4
& 4 #2 # 1 1
6 3 4 4
&
2 1
# n
17. Scale and Arpeggio Forward Extensions
A. Arpeggios
g o pportunity
& ive
students
b to
C.h4ear
the
leading
tones
key;
the
11
.. .. # # N .. .. # # .. .. n # ..
Dominant
B. the
D. 4in
a
given
4Thirds
.. - Lower# Octave
&
79. 4 #
the
sound
4 feel
of
the
key
(and
leading
tones
in
that
the
better
they
4
# # 4
better
they
learn
and
key)
notes
in
their
music.
4
& iForward
will
16. 4 aExtension
dentify
nd
correct
the
problem
Exercises 1
1
18. Extension Etude 1
4 We
use
dominant
arpeggios
to
teach
any
and
all
12
major
and
12
minor
keys/modes
A. B. C. D.
.
& #4# # .Octave # -2.. th 4 # -2 th .. ## -2 .. -2N # .. # ..
1
4 # .
4 .2 practice,
& # Slow
Upper
14
and
7
scale
degrees;
listen
and
adjust
fingertips
identifying
1
4
& #
Reviewing
17.Scale a
dominant
and Arpeggio Forward
III
arpeggio
Extensions rVight
before
rehearsing
III
a
piece
sI aves
time
and
1improves
A. B.
intonation
significantly.
C. D. 4
4 .. .. # # N .. .. # # .. .. n # ..
& 4 ..
4
# #
? 43 ..
. .. . - .
Bass
13
4 4 .
1 &- - exercises
and
. opportunities
to
learn
how
to
finely
tune
their
fingers
4.
Give
students
4teach
students
o
listen,
blend,
and
. tHabits
Vln.
Tuning
Canons,
Chords
and
Chorales
26 2 & of a Successful
fString
inely
t4une
the
notes
than
J lower
instruments
should
be
louder
4 4
key.
- i-n
each
and
chords
For
overall
balance,
the
Musician
- Violin
.
the
upper
instruments,
and
no
one
should
play
so
loudly
that
they
cannot
blend
and
finely
tune
their
B - w
Vla. notes
- ith
the
players
around
. f
DThe
Major
them.
tuning
canon
w ay
is
a
good
to
class;
begin
as
. a
warm
up,
students
-can
focus
- . with
good
on
performing
pitch
and
good
tone
.
Vc. ?
.
121. Tuning Chords
120. Tuning Canon
U
. U. . U U U U Uw Uw Uww ww
b ?b 4 b b 4 .
1. 2. 3. 4.
&bbb 4
Bass - .. w & b b b 4 w w ww ww
.
128 Habits of a Successful String Musician - Conductor
and42Arpeggios - One Octave
122. Scales
STUDENT 194. Chorale #3: Pavane from Capriol Suite
PAGE q = 88
b b Chorale
bSTUDENT
4 #9:
& 25b b 4 Midwinter
the Bleak - continued) bb 4
& b b b 4
- w w
(200. In 40
PAGE
b 2.
11 & bb 4
.. J # 1 - w .. .
.. J # . w .
& n # J .
Two Octaves
b b b
4
2 - .. . J w ..
b&b bb4 4 .. b N
Vln.
&22b & - w ..
Vln. 4
-1 -2
1
w
- -
III
b2 .
I
Three
.. .. Octaves G ..1
Vla. B & b 4. . J -1 -1 w 1 A1 -1 nw
b b b 4 J2
.
E
bb 4
Vla.
& b b b 4 w & b b .4 w
? 2
Vc. B b b 4. .. J III . . JIII V ..
Vc. - -
I
. .
-1. 4 -4 3 -3 . -3. . A4
b ? b 2 J 4 4 2 w ..
x4 -4
.
& b b b 4 . J
b
G
Bass b B - - w . .
-1 D
Bass w
VII IX VI III
EChorale -4
b Emperor
Concerto,
x4
b 4
A A G
b
3 3 3 1
b
2 2
& b4
2 4 1 -1 2 -1 1 3 1 4 2
V Movt.
VIII 2 q = 42 III
w
III Adagio un poco mosso
# # # # 4 3 1 .
1
1 & #4
1
123.
Vln. Dominant Arpeggio p
# # # #3 4
2 b& # 4 j
4 2
b 4
1
& b b b 4 - - . -
p
# n
2
# ## 4
I 1 1
j
Vla. B # # 4
- - . -
p
? # # # #- Lower
44 Octave . n a
.
j
124.
Vc. Thirds # J -
bb 4 p
& b?b #4 # 4 .
b
1
j
1
# # # 4 1 J n a . -
p
Bass
-2
b6 b # # #1 . 1 -2 1 2
Upper Octave -2
-2
b b
&1 &b # #
f p
8
III V III I
# ##
Vln. cresc. dim.
2 & # # j
.
# 4
24.
39. D Major Scale and Arpeggio - on One String
4
-1 -2 -3
& 44 -1 -3 -1 -2
25. Shifting Up the String
Ef Major
III I III I
#
40.
5.
Teaching
Scale tand
R-1ange
Arpeggio
hrough
- on U
Shifting,
One
nits
String
on
Upper
Positions
and
-1Alternate
Clefs,
and
-1Scales
4
24.b b 44 . -2 .. .. .. 9
-1
-1
&
III Shifting Exercises-1 -1 -1
-1 -1 -3
-2 -1
b .
-2
& # 44 -1 -2 -3 -3w
ifferent
Finger
Shifts
Shifting
& students
4 about
t-1he
different
I
-1
39. D
Teach
Major Scale
II
and Arpeggio
I
- on One
III x4
k String
inds
-4
o f
s
I
hifts:
B
-3 IV
oth
S
ame
a nd
I
D
V
&
III
the Octave
To reachhigher positions, bring
26. Shifting
the elbow and arm around the instrument, around the neck.
b -1-1 -1 -1
25./i`>`i`i>wiwxi>iwi>`Li``i]i>`
Shifting Up the-1 String -3
4 -1 -1 -2
-1 -2
b# -1 -2
# b
-1 -1 -1
Arpeggio String
-1 -1
-1
-1 -3
b 4 III -1 III -1 V -1 -1 I -1
&&b bbb b4 . I . . III .. wI
. IV-1 . . -1
-1
II -1
-1 III -1I I -1 -1 I -1 I -1
27. -2
26.s#Shifting
4
x4 -3
.
-4
-2
& 4
Use
hifting
etoxercises
that
dFinger
evelop
skills
throughout
the
-1
These
9
.
III Shifting a
Exercises Different
exercises
41. 42.UpEtudeandain lso
DownFhMajor
elp
thestudents
Octave develop
well-balanced
instrument
positions
to
shift
easily
and
/i`>`i`i>wiwxi>iwi>`Li``i]i>`
39. D# 4 4
correctly.
To reach
III-1 positions, bring
higher I the elbow and arm III around the instrument, and the thumbIII -2 4 -2the neck. 2I -4
around
-1 -1 -1 -1 -1 . -1 -1
I-2
& b 4
-1
-3 -1
-2 -2 -4 -1
Major Scale and Arpeggio - on One String
4 -3 . -4 -1 -2 -1
-3
&b #b 44 -3
-3 -4 -2
28.
-1
& 4 . III . .
-1
-2 -2 4
. w
-4
27.
b # in Fs Minor -3 -1
&&b b 4 -3 .
-1 -1
-1 -1 -1 -1 -1-3 -1 -1 -1 -1
-2 -1 -2
-3
-1 -1 -1 -1 -1
-2 -3
43. Etude
-3
4
# #f#Major Scale and Arpeggio - onOne . String -3 -2
4 -1 Mark III adotor a-2diamond.
Minor shifts with -2-2I -1III -3 I
-2 4 -2
40. E
& b 44 -1
-2 -4
-1Ithe silent
-1 I -1 III -2 I III .. .. -1I
29. Etude in EIII
& b# b4 4 in.. FMajor III -1 III .
. -2I
# 44 -2
x4 -4 -4 -2
4 -2
w -3
42. Etude
28.
& -3 -3 -3 -4
-3
& 4 4 in E Major
-1
-1
-3 -2 -3 -1 -2
44.bEtude
2 -4
& 4
-1
# # #and4IIIDown
#ifferent
kinds
Iof
shifting
I III I
41. dUp theto
Octave
Use
etudes
Iteach
different
IIIpatterns
-2
& To reach 4 higher positions, the elbow andarm around the instrument, and the thumb around the neck.
1 -1
bring
III
b b 4ininFI EMinor s
VI -1
b
43.29. Etude -1 -1 -1
-2
# # # 4 in3 F Major
42.#Etude -4-2
4 -2 2 -4
-3
&& 44 4.. -2 -3 -3 -4
-1
1 -3 -1
-3 -4
& b 44 I III III I -2 V III IVI III
-4 -2
Positions
..
III 2. -4 I
& Etude
-3 -4
Higher
43. in F s Minor IV
Take
time
to
teach
students
how
to
play
in
higher
positions.
II
Just
figure
it
out
yourself
I
and
go
#
1/2
# # p4rivate
teacher
Replacement) 4 -3
-2 I III 4 -2 III I III I III I -3
ask
your
a re
n ot
tIeaching
strategies.
-3
45.
# 4 . 3 III
-3
.
I -3 III I I -4III I
& 4
III -4
1.
III
&# # 4 -3 -3 -4 -4
-1
1 -1 -2
..
-3 -4 -4
&
#
I III V VI
## # I
-2I
I III I -2 -1 I
&
-2 III III III
9
IV II 1/2 I
## 44 30 . 2 11 -4 2 1 -1 2
& .. J n -1 n 2 j 0 2 1 n -4 1 ? n -2 0
2 1
B4 B ..
3
4 & .
Vc.
Bass
#
& # 44
V III II1/2 V III I
n n n n
1 2 2 1
Bass
-1 3 1
x4 x4
4 E
-1
&
-1 3
# # 4 1
Vln.
& 4 A
0
Vln.
# # 0
-4 -2 -4
4
& # 44 A1
x4
-1 4
# 4
Vla.
& # 4
3
Vla.
1 2 2 1 D3 2 1 2 D
A A 2
B # # # 44
D
1 2 3
#
Vc.
& # 44 A D 1 3 G 1 1 2
3 3
3 1 A3 1
1 2 2 1
a
Vc.
3 1 3
D
B ## 4
## 4
1 3
& # 44
Bass
1 3 3 1
Bass
54. D Major Scale and Arpeggio STUDENT PAGE 12
-4 -3
# 4 1 -1 3 1
x4 x4
-1
E
& # 4
-1 3
Vln.
-4 -3
# 4 1 -1 3 1
x4 x4
-1
A
& # 4
-1 3
Vla.
#
D A D
& # 44
3
D
1 2
3 2 1 2 2
1 2 3 2 1
Vc.
G
# 4
D G D
3 0
D
& # 4 Habits
1 3 -2 3
String Musician
1 3 1 1
of aSuccessful
1 3 3
- Conductor
1 3 2 -3
122
Bass
STUDENT PAGE 40
(194. Chorale #3: Pavane from Capriol Suite - continued)
-
-
b
& b .. .. .. ..
17
1
- -
b . .
Vln.
2 & b .. . . ..
b - -
Vla. & b .. .. .. ..
- -
# #
n # .
B b b .. .. .. .
Vc.
? b b .. - - ? .. .. B
Bass
B
..
195. Chorale #4: Coventry Carol q = 98
10
#
1 & # 43 # # .
Tone The bow angle is perpendicular to the string and rotated correctly.
Bow weight and speed are well-matched and appropriate.
Bow placement (frog, lower half, balance point, middle, upper half, tip) is correct.
Notes are consistently correct and in tune, especially 4th and 7th scale degrees.
Hand placement is correct on fingerboard, not sharp or flat.
Intonation i>i>wi>ViiViV>w>`ii`>Vi>iViV
-w>iVi>>`iiiVi`xi>iViV
Scales
and
Arpeggios
Fingertips adjust quickly, refining the pitch after finger placement.
The
purpose
of
studying
scales
and
arpeggios
is
to
improve
intonation
and
tone
by
learning
/i>iVi]L]`>
patterns
and
tand
Tempo echnique
required
in
different
keys
across
the
entire
range
of
the
instrument.
Rhythm is correct.
Rhythm Exercise is memorized when appropriate.
Introducing
New
Scales
and
Arpeggios
to
students
of
different
levels
Students of different levels can learn and perform scales at the same time. Those performing more octaves
should begin their scale first, as shown below.
# 4
3-Octave
& 4
w
# 42-Octave
V Scales, & 4 and Thirds
w
Arpeggios, 41
# 1-Octave
& 44be taught the same way.
Arpeggios can
w
students
of
different
levels
# Instruction
44
3-Octave
to
teach
at
the
same
time:
&
Use
Differentiated
w
1. Set
the
classroom
tuner
to
drone
the
tonic
note
of
the
key.
# 42-Octave
2. Have
everyone
& 4
p lay
the
one-octave
scale
and
arpeggio
to
get
familiar
with
the
new
tonality
and
patterns.
3. Next,
more
advanced
students
can
move
on
to
the
two-octave
scale;
one-octave
# 41-Octave
students
stay
& 4
on
the
one-octave
scale.
When
teaching
multiple
levels,
the
students
performing
more
octaves
should
begin
their
scale
wfirst.
4. Next,
three-octave
students
can
move
to
the
three-octave
scale,
while
the
other
students
stay
on
the
number
of
octaves
appropriate
for
their
level.
Again,
students
Differentiated Instruction
performing
byoctaves
more
Instrument begin
tSection
heir
scale
first
The
difficulty of a scale can vary depending on the instrument. In a high school class, for example, violin
students will likelyIbe
Differentiate
ready to tlearn
nstruction
a three-octave
o
Accommodate
Bf scale long
Instrument
before their lower string peers. Instead of
Differences
asking the
The
violas toof
play
difficulty
a three-octave
a
scale
f
B scale before
can
vary
depending
on
the
they are ready,
instrument.
In
ause theschool
high
strategies forfor
class,
differentiated
instruction described
example,
above towmake
violin
students
scale
ill
likely
be
levels
ready
appropriate for everyone.BIn
to
learn
a
three-octave
thescale
-flat
example
long
below,
before
the violin
their
students can learn their three-octave B f scale while the rest of the students
lower
string
peers.
We
recommend
differentiating
instruction
(below)
to
make
scale
levels
just play two.
appropriate
for
everyone.
b 44
&b
Violin
w
B bb 44 w
Viola
? b 44
Cello/Double Bass
b w
Dominant Arpeggios
No exercise
teaches students the patterns and feel of a particular key better than the dominant arpeggio,
11
where the high and low fingered notes occur in close proximity. Set the tuner to drone the 5th scale
degree (the root note of the dominant arpeggio). Focus especially on keeping the 7th scale degree high and
V Scales, Arpeggios, and Thirds 15
Uw
65. Tuning Canon 66. Tuning Chords
Uw Uw -2
U Uw w w
4 U U U U
1. 2. 3. 4.
4 .. w w ww ww
&4 &4 w
4
div.
w w
1
Two Octaves
4
4
&4
4
-1 -2 4
w
III I
Three Octaves
4 1
4
-1
E
4
& 44
x4
G A
&4
2 1
w IV
4 -4 3 -3
II
-1
x4
-3 A4
-1
D
4 G
&
4 2
w
VI VIII V II
-1 3 1
x4
-4
E 3
4 1 A3 1
D 2 D
A 3 G
&4
2 4 2 1 -1 2 4 2
IV VII II
w
II
4
1
&4
4
& 44
4 4
3 4
1 1
I 1
-2 -2
Upper Octave
4
&
4
III 1 I
12
V Scales, Arpeggios, and Thirds 39
# -3 4
185. Two Octave Chromatic C Scale
-1 -2
3 # # #
x4
& 4 # # # # # #
0 1 -1 2 3
3 4 0 1 -1 2 -2 3 4 1 2 -2 3 4 0
b -3 b 2 -2 b 1 -1 0 4 3 2 -2 1 -1 0 4 3 2 -2 1 -1 0 4
-1 2 3 4 2 2 -1 2 -1 2 3 4
1 2 -1 2
b b b
4 -4 3
& b b b
3
3 2 1 -4 3 2 1 1 -2 1
b .
1 -2
4 b b b b n b b b
&b 4 b n b w
13
I Tone and Articulation 1
& 44 .. & 44 ..
Frog Tip Frog Tip
Even Tone - Frog to Tip
.. ..
w w - - - - - - - -
7>{>iL`]>iiViii>>iiL
contact point, angle, weight, and speed.
I2c. ToneFrog
and Articulation Tip 1
44 .. & 44 ..
2d.
&Teacher .. ..
Tips:
w of this exercisew is to study the following basic bowing
- components
- - without
- thinking
- - about- fingers
- or
The purpose
I Tone and Articulation
2e.counting.
4 .. Hold: A flawless bow hold & 44orExercises
2f.
- -
finger
Vln.
U Contact Point: The bow is correctly placed on the string between
Even Tone - Frog to Tip the bridge and w
44 U4 U
1.
fingerboard
With
Grab a flawless
Bow
U and Angle:bow
Release Thehold,
bow isplay the opentostring
perpendicular without
the string counting
and the or keeping
stick is directly over &Vla. B 4 w
i>>iiLV>V]>i]i]>`ii`
the hair or rotated slightly toward the scroll of the instrument. w
Grab the string with the hair of the bow to begin each note with a crisp attack.
U Bow Placement: The correct part of the bow for producing the desired articu- ? 44 U
Vc. w
3a. lation
Even Bow frog, balance point, middle,
Distribution 3b. tipis over the string. 3c.
U4 Bow
.. -Frogweight speed are4balanced
.. Tip .. and produce .. tone that& 44 Bass
.. Tip? 44-w -
U
..
&2a.4 projects - and bow & 4
. . . . .4. . .
2b.
an excellent
. . . .
4
Frog
& 4 .. .. & 4 .. ..
well.
w3d. w - - - - - - - -
STUDENT PAGE 1
4 .. Tip 2d. . . . . ..
. . . . . . . . . . . . . . . . . 4. . . . . . . . . . . . .
2c.
4 & 4Distribution
Frog
&4 .
Even .Bow . &4 . ..
w w - - - - - - - -
Teacher Tips:
Crossings Strings
U -`i>i>VViiiiL>V>Lii` >i`Liii`V>
4 .. Frogstring. Tip & 44 ..
2e. 2f.
4 . 44 .. Tip
STUDENT PAGE 1
. Tstring
4 .with
Frog the hair
of the
bow
to begin
. each
2b.note .. a crisp
4 . Frogwith .
& 4 the & 4. . & 4 . &attack. .. .
2a. Tip
Grab
Teacher
ips
Vln.
w are
to
practice
w using
the
entire
bow
-with
- a
constant
- - bow
- - Bow
- angles
3a. Students
3b. 3c. - speed.
4 should
t4 4
& 4 ..Vla. .. w4& .4 .. . . .. . . B. 4 ... - . -. .. - - . & 4- .. . - . - - -. . .to
- be
..
- B 44 ..b-we
perpendicular
4
Frog Tip
4f. Frog Tip
o
the
string.
.
Dig
in
more
a t
the
t &
ip
a 4 .
nd
l
ess
a
? 4 . Frog
t
t he
f
rog
t o
c
ompensate
f .
or
t he
b ow's
t endency
? a4 t
.. the
tip.
Frog Tip Tip
light
.
. 4 . ..
Vc.
3d. 4 w w - - - - - - - -
Move
4 ..the
bow
closer
tTip
o
the
bridge
when
digging
- - - - - - - - ..
Frog in
more,
and
closer
to
the
finger
board
& 4 . . . i.n
l.ess.
. . . . . . . . .. . . . 4 ... . . . . . . . . . . . . . . . ..
Tip
w w
Frog
? 4
when
4 d..igging
? 4
Bass
Crossings Strings
4a. 4c. 14
. . . . . . . .
## 4 #
8c. 8d.
& 4
& # 44 . . . . . . . .
Basic Bow
Bowing
Strokes
. . . .
Variations
. . . .
Here
5a. are
a
number
of
tools
5b. and
strategies
w5c. e
use
to
efficiently
and
effectively
teach
tone,
# # 44
5d.
and
rhythm
combinations.
!We
use
the
following
sequence
most
often:
@
Middle to upper half
! @
articulation,
3
&
3 3 3
Spiccato Exercises
1. Select
a
rhythm
or
bowing
that
the
students
need
to
learn
or
review,
pKeep ossibly
from
pinky tcurved.
he
*iwiVV>i>iL>>ViiiiL>`Vi`>`iViw
# #fluid. , thumband
,
44menu
of
options
below,
j
5e. 5f. 5g. 5h.
re
pjlaying.
U.H. L.H. or
make
up
your
own.
&
and
2 2.
Establish
- . . - . . - . . - . . . .
a
t empo
f rom
a
c
oncert
p iece
w ith
t he
r .
hythms
Habits of at .
he
s
Successful -
tudents
a
String Musician - - Violin
5j. # 4
3. Use
9a.
, , , , 5k. #
the
i ntroduction
t o
m odel
9b. t he
r , , 5m. , ,
hythms
o r
articulations
s
# # 4 5n., t,he
tudents
9c. a re
t o
l , ,
earn.
#
&# 44 # 4
& 4 Variations j j j j & 4 or
4. Students
p lay
t he
T heme
i mmediately
a fter
t he
t eacher,
d emonstrating
rhythm
& # 4articulation
j .
ust
m.
. .. . . .
odeled
b Bowing
y
t he
t eacher
o
r
s
tudent
l eader.
. . - . .
-
5. Practice
9d.
# 4
Perform the theme ,with
,using , ithout
and
one
w , the trhythm
of he
## 4
9e. classroom
, from the variations
metronome.
or articulations
## 4
9f. below.
& # 4Introduction . .
& 4
. . . . . . & 4
4 . . . 4. . . . . . .
(teacher) Theme (student)
#Bow
# 4 . ..
&9g.# 4 9h.#. 3 3 3
4
Full Exercises
# 3w
9j.
4 # 44 4
&# # 4Frog Tip & & # 4
3 3
- . . Frog . . . . . . Tip - . . . - . . .
6a. 6b. 6c. 6d.
4
& # 4 - . . . j . . . .j . . . riccochet
- - - - - - - - - -, - - - -, - - - - - -9n.- - - - - -
Basic# Bow 4 Strokesf #f# 4 ## 4 f
9k. 9m.
& 44 @ @
3
Middle half
Tip 3 Frog
3 3
j
5e. 5f. 5g.
j
U.H. L.H.
#.# .12 . . . .
.. - - # # 12
-
& 8 f & 8 j j . .
# #
7d. 7e.
& # 44 10f. # 4
& 4 . . . . . . . .
# 12. .Exercises
. . . . . # 12
10e.
Full Bow #
& 8 . . . #
& 8 . . . . . . . .
# # 44 Frog ## 4
6a.
7f. 6b. 6c. 7g. 6d.
# 12
.- - - - - . - - - - .
- -
-
- - - -# #-12- - - - - - - - --
& 8 f f & 8 . . . . . . . . f. .
grand martel
. . . . . .
# # 4to
Rj emember
6e. Frog Tip Tip 6f. 6g.
Things
Frog up-bow staccato
j j
j students
Tip Frog
& 4Model
how
- - - - - - > - - - - - - - . . . . . . - . . . . . .
are
to
sound
Assess
student
performance.
L>ook
f for
correct
bow
hold,
direction,
part
of
the
bow,
good
weight
and
speed
to
project
well,
and
correct
articulation
# # #
7a. 7b. 7c.
- - - . . . - . . .
f 15
# 4 ## 4
7d. 7e.
& # 4 . . & 4 . . . . . . . .
4 Habits of a Successful String Musician - Violin
Slurring
Variations
can
be
used
to
teach
slurs
and
detach
(including
sautill)
Use
a
metronome:
Start
with
a
slow
tempo
and
gradually
increase
speed.
Slurs
Use
more
weight
on
the
slurs,
and
more
bow
on
separate
notes.
#4 . #
611a. Habits11b.
of a Successful String Musician - Violin
. .. & 44 ..
..
4 4
& 4
4 4
w w
19. Tetrachord Etude
Tuning Notes (Dorian Tetrachord) Etude
#124U . U U #4 .
11c. 11d.
U
4
. ..
4
. . .
44
& .
& 8 4 . # . . . . # #& .
4 . w.
4 4 4
w
w
# #
After
4 4
11e. learning the Etude with the 11f.
4 Dorian tetrachord above, play it with one of the other tetrachords below.
.. .
. .
. ..
4
& 4
M anagement
& 4
4 4
VI Chorales
teaches
& # requiring
s&
bow
management,
to
tudents
N attention
t&
Chorales
are
great
tools
for
teaching
tone,
balance,
blend,
and
phrasing.
This
chorale
also
pay
b point
and
bow
speed.
o
contact
125
STUDENT PAGE 41
. w . w w . . .
Bass 4
& b . # . . . N . .
# 8
w # . # w w
1
& 16
b #
&2 . . . . . -
.
Vln.
.
4
# 2
& 4 JVIII
Sight-Reading
by Level
J
A. Quarter Notes and Rests; Eighth Notes
260. and b.
# #3 2 Part
3:
Rhythmic
Literacy
and
Sight
Reading
211a.
j j
& 4 4
The
goal
of
teaching
rhythm
is
to
develop
independent
string
musicians
who
can
decipher,
# 3 j how
& #a#nd
written
4 perform
rhythms
without
the
of
a
teacher.
help
We
need
to
be
careful
recall
we
&
respond
to
the
most
frequently
asked
q uestion
How
J does
this
in
music
education:
go?
If
we
are
not
careful,
teachers
can
unintentionally
create
students
that
become
rhythmically
dependent
upon
the
teacher
or
other
players.
j j j j j j j j j j
212a.
261. and b.
# 42 . . . .
All
&
44 has
two
components:
the
pulse
and
the
rhythm
that
goes
over
the
pulse.
The
rhythm
# 4must
develop
both
cjomponents
for
.to
properly
a
student
understand
j and
hould
. b. e
Jtaught
always
Jneed
perform
teacher
& 4 J J . J J Jthat
there
rhythms.
262. P ulse
s a nd
e stablished
f irst;
s J
tudents
t o
l earn
can
&42Rhythm
VIIbe
a
pulse
Charts
without
in a a
Musical
rhythm,
but
there
is
no
such
thing
as
good
rhythm
without
a
pulse.
47
Context
213a. and b.
4 jD.j Intermediate Triple
j j j
Meter
263. 4 . . . . . .
2 b.
& #b 434 .
220a. and
j
& 48 . J J . . . j .
.
J J
#
264. 3
.
& # 8 practice
# 3 J
& 4
For additional with ties, dotted quarter notes and eighth rest patterns, go to Part VIII Sight Reading Exercises 270283.
b#b 26443 j j . .
. j j
&&
& 8F > >J . j j J # . p .
p . f
## and
jj j J j . . j jj . j
286.
24 b. .
267.
&& 464 . . j
. J . f
223a.
8F P .
# j j j j
&# # #68 2 . j j j j.
287.
J J J .
& 4 J J
.
98 . j j . j J j . J jj j .
224a. and b.
288.
3
&4 J J J J
# 9 j . j j
8 J .
17
& J .
## j j . J J
289.
& # 43 . . j
Getting
Started
1. Establish
and
model
the
tempo
and
counting
style
students
are
to
use
during
the
rhythmic
example.
Students
are
to
count
the
pulse
(not
the
rhythm
of
the
music)
out
loud.
After
they
demonstrate
their
ability
to
keep
a
steady
pulse
counting,
they
can
begin
performing
the
rhythm
of
the
music
with
their
bow
hand
while
continuing
to
count
out
loud.
Count
using
the
smallest
denomination
used
in
the
music;
for
example:
a. If
the
example
is
mostly
quarters
and
half
notes,
count
quarter
notes
(1,
2,
3,
4.)
b. If
the
example
has
dotted
quarters
and
eighth-notes,
count
the
pulse
and
division
(1
&
2
&
3
&
4
&)
c. Dotted
eighths
and
sixteenth-notes:
1
e
&
a,
2
e
&
a,
3
e
&
a,
4
e
&
a
2. While
counting
out
loud,
students
perform
the
rhythm
exercises
with
their
bow.
a. Air
bow
first.
Students
can
get
a
preliminary
feel
of
the
rhythm
as
they
count
the
pulse
out
loud.
Longer
notes
should
be
bowed
with
a
slow,
sustained
motion.
The
Teacher
can
check
to
make
sure
students
are
counting
and
watch
the
bows
to
assess
who
is
struggling
most.
b. After
students
demonstrate
success
with
air
bowing,
have
them
count
and
bow
the
rhythm
on
an
open
string.
Watch
students
closely
to
make
sure
they
continue
counting
as
they
play;
the
students
who
dont
count
will
not
know
when
to
come
in
after
long
notes
and
rests.
c. When
they
are
ready,
have
students
look
at
the
line
with
the
pitches.
Remind
them
to
look
at
the
key
signature,
and
have
them
mentally
practice
(silently
air
bowing
and
putting
fingers
on
the
string)
before
the
class
plays
together.
This
important
step
gives
the
non-readers
with
good
ears
a
chance
to
practice
reading
without
having
the
opportunity
to
listen
to
the
person
next
to
them.
d. Instruct
students
to
perform
the
notes
and
rhythms
on
the
second
line
with
their
bows.
If
they
seem
to
need
it,
students
may
take
the
intermediate
step
of
counting
and
playing
pizzicato
before
playing
the
notes
arco.
Counting
Out
Loud
To
genuinely
understand
a
rhythm
pattern,
students
must
perform
the
rhythm
while
simultaneously
keeping
a
consistent
pulse
somewhere
else
in
their
body.
The
biggest
benefit
to
this
strategy
is
that
students
are
counting
while
they
perform
through
long
or
dotted
notes
and
rests,
which
is
the
most
important
time
to
count.
Students
will
find
it
easier
to
count
in
their
head
(and
they
will
beg
their
teachers
to
let
them
do
this)
because
in
truth,
they
temporarily
stop
counting
during
the
toughest
rhythms;
instead,
they
should
count
out
loud,
especially
when
the
rhythms
are
difficult.
Modeling
is
encouraged,
but
avoid
teaching
rhythm
through
repetition.
Hammering
a
rhythm
over
and
over
may
clean
up
rhythmic
inaccuracies,
but
the
students
are
only
learning
to
copy
the
teacher,
and
not
learning
to
count
and
independently
perform
the
rhythm.
Each
time
a
rhythm
or
exercise
is
repeated,
the
students
with
good
ears
and
poor
reading
ability
have
less
need
to
read.
So,
avoid
repetition,
and
remember
that
the
best
time
to
teach
rhythmic
literacy
is
every
time
students
are
learning
new
exercises
or
music.
18
Take
Students
Through
a
Series
of
Rhythm
Exercises
that
are
sequenced
in
increasing
difficulty.
Also,
practice
musical
sight
reading
exercises
that
gradually
challenge
students
to
play
harder
rhythms,
in
more
advanced
keys,
and
in
higher
positions
and
alternate
clefs.
A.
Quarter
Notes
and
Rests;
Eighth
Notes
B.
Ties,
Dotted
Quarters,
and
Eighth
Rests
32 Habits of a Successful String Musician - Conductor
C.
Syncopation
STUDENT PAGE 11
D.
G.Intermediate
H.Triple
Meter
J.
K. M. N.
E.
T riplets
Vln. &
F.
Simple
Sixteenth
Notes
G.
Dotted
Eighth
Notes
and
Sixteenth
Rests
Vla. B
H.
Cut
Time
Triple
J.
Advanced
Meter
?
Vc. K.
Irregular
Meter
?
Alternate
Clefs
Take
Bass time
to
teach
students
how
to
read
alternate
clefs.
Just
figure
it
out
yourself
and
go
ask
? teacher
your
private
not
are
strategies.
teaching
Alternate Clefs
Violinists use ottava (8va) and lower strings use alternate clefs to reduce the number of leger lines the
performer reads when the music moves into higher registers. Viola players must learn to read treble clef.
Cello and double bass players must learn to read tenor and treble clefs. Advanced violinists should also learn
alto clef, so they can double on viola if needed.
Violin/Viola C D E F G A B C
& w w w w w
Treble Clef
w w w
w w w w w
Alto Clef B w w w
w w w
C D E F G A B C
w w w w w
?
Cello/Double Bass
Bass Clef
w w w w w
B w w w
Tenor Clef
& w w w w w
Treble Clef
w w w
C D E F G A B C
49. G Major Scale with Alternate Clef same as measures 1 and 2
# 4
Vln. & 4
B
B # 44
&
Vla.
0
-1 -4
-1 -4
D
? # 44
D
B
4
4 0
Vc. 19
-1
3 -4 -4
3
-1
3 -4 -4
0
-1 3 3
? # 44
0
B
0 3
0 -1
Bass
3 a 1 3 1 A3 1 2
G
3 1 3
D
B ## 4
A D
# 4
1 1 3 1
Bass
-4 -3
# 4 1 -1 3 1
x4 x4
-1
E
& # 4
-1 3
Vln.
-4 -3
# 4 1 -1 3 1
x4 x4
-1
A
& # 4
-1 3
Vla.
#
D A D
& # 44
3
D
1 2
3 2 1 2 2
1 2 3 2 1
Vc.
G
# 4
D G D
3 0
D
Bass & # 4
1 3 -2 3
1 3 1 1
1 3 3
1 3 2 -3
IV Higher
IV
and
Higher Positions
Positions and Alternate
Alternate Clefs 35
33
STUDENT PAGE 12
60. Scotlands
50. Frere Jacques
Burning STUDENT PAGE 13
B 44# # 44 B
&
&
B & B & B
Vln.
Vln.
D A3
-1
4# 4 1 B -1 B 3 B-1 0
A
Vla.
Vla. B
&4 4 # & & & &
-1 2 3 1 3 2 D-4 1
III
1
-4
? 2
B 44# # 44 B ? B ? B ? B
Vc.
Vc.
3 1 D G1
III IV I
3
B # # D144 1 -1 4
1 1 3
0
3
? ?
G 1 3
?4 B ? B B B
4
Bass 1
Bass
III IV III
51. Viva la Musica
.
.
B 44 .. J B ..
61. Arirang STUDENT PAGE 13
& J
B# . J . J . J .
Vln.
3 . J
4 . J
.. .
Vln.
4 . B .
& 4# J J &.
3 j j j
Vla.
j j .
Vla. & 4 . . . . .
B 44 4 . -4 j
.. J 1 ? B ..
I . J & IV .1 . . . J .
-1 -4
3 . J
B#
Vc. 3 3
Vc. 4 IV3 J J I
0 . 2 1 -4 1 1 -1 2 3
B4 .. j -2 . 0 . B ..
3
J . .
?
B 4#
2 0
. . J
-1 2 1 -4 1
3 . &
JV III JII J
Bass
4 J
1
Bass V
1/2 III I
62. This Land Is Your Land
Upper Register and Thumb Position
STUDENT PAGE 13
21
Notes
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
22
Notes
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
23
Christopher Selby is an active clinician, speaker, adjudicator and
conductor, and is the co-author of Habits of a Successful String
Musician, a string method book for upper level orchestras
published by GIA. Dr. Selby currently directs the high school string
and symphony orchestras at the School of the Arts in Charleston,
SC. He earned his Masters and Doctorate of Musical Arts degrees
in Orchestral Conducting from the University of South Carolina,
and a Music Education degree from the Hartt School of Music in
Connecticut. He earned his National Board Certification in the
area of Early Adolescent and Young Adult Music in 2002 and
2012.
Before
moving
to
Charleston,
Dr.
Selby
taught
orchestra
in
traditional
elementary,
middle
and
high
schools
for
eighteen
years.
He
was
the
Orchestra
Coordinator
in
Richland
School
District
Two
and
had
been
teaching
at
Spring
Valley
High
School
since
2005.
Under
his
direction,
his
orchestras
consistently
receive
superior
ratings
playing
grade
VI
music,
and
the
schools
small,
diverse
Chamber
Orchestra
won
1st
Place
in
the
competitive
high
school
string
orchestra
division
of
the
2012
National
Orchestra
Festival,
at
the
national
conference
of
the
American
String
Teachers
Association
(ASTA).
From
2012-2014,
he
served
as
the
Chair
of
the
Committee
on
School
Orchestras
and
Strings
in
the
American
String
Teacher
Association
(ASTA).
Dr.
Selby
has
presented
numerous
sessions
at
state
and
national
conferences
and
gave
a
keynote
address
on
Encouraging
Creativity
in
Secondary
Performing
Ensembles
at
the
2012
SCMEA
state
conference.
He
co-authored
the
2010
SC
Performance
Standards
for
Instrumental
Music,
and
published
three
articles
in
ASTAs
national
publication,
American
String
Teacher.
A
recipient
of
the
2009
SC
ASTA
Orchestra
Teacher
of
the
Year,
Dr.
Selby
has
conducted
a
SC
All-State
Orchestra
and
numerous
regional
honor
orchestras
in
the
area.
Dr.
Selby
was
the
2011-2013
President
of
the
South
Carolina
Music
Educators
Association
(SCMEA)
Executive
Board,
which
is
in
charge
of
the
state
conference
and
is
the
umbrella
organization
for
the
Band,
Orchestra,
Choral,
Elementary,
Higher
Ed
and
Piano
Divisions.
He
was
President
of
the
Orchestra
Division
from
2007
to
2009
and
led
this
organization
through
the
restructuring
of
their
Region
and
All-State
Orchestras,
and
improved
the
clarity
and
rigor
in
the
evaluation
process
at
Concert
Festival
and
Solo
and
Ensemble
Festivals.
Dr.
Selby
lives
in
Mount
Pleasant,
SC
with
his
wife,
Margaret,
and
their
children,
Alex
and
Kate.
He
is
currently
writing
his
next
book,
Habits
of
a
Successful
Orchestra
Director,
offering
helpful
tips
for
building
a
strong,
successful
orchestra
program,
and
a
guide
to
help
directors
plan
and
deliver
thoughtful,
well-sequenced
technique
instruction
in
their
advanced
orchestras.
24