DOCUMENT RESUME

ED 025 850 24 EA 001 937

By-Farish. Margaret K.; Rolland. Paul
A Plan for Developing Performance Materials in the Contemporary Idion for the Early Stages of String
Instruction. Appendices A-F. Final Report.
Illinois Univ., Urbana.
Spons Agency-Office of Education (DHEW). Washington. D.C. Bureau of Research.
Bureau No-BR -7-E-0 15
Pub Date Sep 68
Grant -0EG-3-7-070015-1624
Note-198p.
EDRS Price MF -$1.00 HC-$10.00
Descriptors-*Elementary School Students, *Music Education. *Music Techniques. *Orchestras, *Teaching
Methods
A project to develop a plan for adding contemporary music to the repertory of
elementary students of stringed instruments found virtually no contemporary music
published in the United States suitable for early stages of instruction. Since much
contemporary music literature exists for beginning piano students, it was assumed
that the dearth of similar material for stringed instruments was caused by the nature
of the instruments or by the way they are taught. To develop the project plan,
standard string method books were analyzed to identify the skills that can be
reasonably expected from young students and these skills were related to the
performance of contemporary music. A Composers Guide (appendix A) was then
designed to give composers interested in writing music for elementary string students
recommendations concerning beginners' technical skills and current pedagogical
methods, while placing no restrictions on musical style. Six composers were
comMissioned to use the Composers Guide in writing 24 pieces introducing
characteristic contemporary techniques (appendix E). The Composers Guide was found
to be useful and was well received by the composers. Success of this approach with
beginning students remains to be seen and depends upon gaining the support of
music teachers. (TT)
 FINAL REPORT
Project No. 7-E015
Grant No. OEG 3-7-070015-1624

A PLAN FOR DEVEOPING PERFORMANCE MATERIALS

IN THE CONTEMPORARY-IDIOM FOR THE EARLY STAGES
OF STRING INSTRUCTION

September 1968

U. S. DEPARTMENT OF
HEALTH, EDUCATION, AND WELFARE

Office of Education
Bureau of Reaearch

UNI
0

0
 U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE
OFFICE OF EDUCATION

THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE

PERSON OR ORGANIZATION ORIGINATING IT. POINTS OF VIEW OR OPINIONS
STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION
POSITION OR POLICY.

Final Report
Project No. 7-E015
Grant No, OEG 3-7-070015-1624

A PLAN FOR DEVELOPING PERFORMANCE MATERIALS

IN THE CONTEMPORARY IDIOM FOR THE EARLY STAGES
OF STRING INSTRUCTION

"PERMiSSION TO REPRODUCE THIS

CBOPYRIaGHuTl 2ATlERlIanAL
1410ED HdAS BEEN GRANTED
Margaret K. Farish
and
Paul Rolland
TO ERIC AND ORGANIZATIONS OPERATING
UNDER AGREEMENTS WITH THE U.S. OFFICE OF
University of lilinois EDUCATION. FURTHER REPRODUCTION OUTSIDE
THE ERIC SYSTEM REQUIRES PERMISSION Of
Urbana, Illinois THE COPYRIGHT OWNER."

See Appendices A and F

September 1968

The research reported herein was performed pursuant to a grant with

the Office of Education, U. S. Department of Health, Education, and
Welfare. Contractors undertaking such projects under Government
sponsorship are encouraged to express freely their professional
judgment in the conduct of the project. Points of view or opinions
scated do not, therefore, necessarily represent official Office of
Education position or policy.

U. S. DEPARTMENT OF
HEAUH, EDUCATION, AND WELFARE

Office of Education
Bureau of Research
 TABLE OF CONTENTS

The Summary 1

Introduction 2

Procedures 4

Composers Guide

Composition of New Pieces 5

Trial of Contemporary Music 6

Results 8

Response of Composers 8

Evaluation of the Composers Guide 9

Response of Teachers TTTTTT.TTTT 10

Project Compositions T .
12

Herbert Bielawa 12

Ralph Shapey IN, me

12

Seymour Shifrin T.
13

Alan Shulman 14,0410400m.r 13

Halsey Stevens %OW

13

Richard Wernick 1. 1111,

14

Conclusions and Recommendations 14

Appendix A: Composers Guide for Writing Violin Music for

Children 1-50

Appendix B: Supplement to Composers Guide 52

Appendix C: Pieces written for the project by William Mullen 68

Appendix D: Instructions to Teachers 79

Appendix E: Commissioned Pieces 81

Appendix F: Copyright Information

Eric Report Resume

ii
 THE SUMMARY

The purpose of this project is the development of a plan for adding

contemporary music to the repertory of elementary students of stringed
Instruments, Most string methods and materials are designed to train
students for the performance of the literature of the past. Virtually
no contemporary music suitable for the early stages of instruction has
been published in this country. As a result, procedures for
introducing innovative compositional practices have not been devised.

It was assumed at the outset that.the musical idioms of the 20th

century can be employed in compositions suitable for performance by
children. The existing literature for piano students supports this
belief and suggests that the dearth of similar material for stringed
instruments is caused by the nature of the instruments, or the way in
which they are taught. The compiiation of pertinent information for
composers was undertaken as the major task of the project. A guide
was written to explain the technical capabilities of young string
students Six composers agreed to write a few pieces for children,
using the guide as a basis for setting technical limitations. The
project was licensed to reproduce copies of these compositions for
trial by participating teachers.

The plan developed in this project is smoodied in the "Composers

Guide." Although no restrictions are placed upon choice of musical
style, the guide recommends that composers employ those instrumental
skills customarily taught by current pedagogical methods. In view
of the number and variety of new compositional practices that must
be assimilated if contemporary music is to be adequately presented,
an approach which offers teachers the opportunity to gradually expand
procedures appears necessary.

The project composers are Herbert Bielawa, Ralph Shapey, Seymour

Shifrin, Alan Shulman, Halsey Stevens, and Richard Wernick. All
responded favorably to the "Composers Guide", expressing strong
support ,t)f our purpose and our plan. Twenty-four attractive and
colorful pieces are finished and ready for trial by teachers.
Written carefully for young minds and hands, they introduce a
number of characteristic contemporary technics. Although instrumental
skills required are those commonly attained in the first years of
study, children trained solely through the use of standard string
methods are likely to need special preparation for some of these
pieces. Anticipated difficulties are not entirely due to 20th
century innovations. Experience acquired in an informal testing
program indicates that a repertory of folk songs and simplified
transcriptions does not develop the musicianship needed for the
performance of the project compositions. The project recommends the
 preparatIon of supplementary instructional materials for the use
of teachers participating in the testing program and others who
wish to introduce contemporary music to students.

INTRODUCTION

The literature available to beginning students of stringed

instruments is remarkable for its limitations. In a time of
unprecedented artistic ferment and experimentation children are
restricted to a musical world bound by the key, the triad, rigid
meter, and relentless melodic symmetry. Popular method books and
collections of easy pieces contain familiar folk songs and ballads,
arrangements of melodies by famous composers of the past, and
original compositions in traditional style, usually of the class
that the Yale Seminar on Education labeled "pseudomusic." The
writer has not been able to find any published music suitable for
first and second year violin students by American composers using
20th century compositional technics. The few pieces available from
foreign publishers are expensive and hard to obtain. For the
intermediate student there'is a handful of compositions, mostly
published abroad. For the advanced performer and mature professional
there is a wealth of solo and chamber music written by the finest
composers of our time. This imbalance does not mean simply that
the experience of playing contemporary music is delayed and requires
e degree of skill that many amateurs never reach. It causes serious
problems for even gifted players and may establish permanent
impediments to the enjoyment and performance of new music. The
strng player trained exclusively in music of the 18th and 19th
centuries determines relationships of pitch by reference to a
tonal center and rhythm by conventional metrical divisions. His
ability to read fluently is based upon these concepts. The
idiomatic patterns of the music he has studied are built into his
technical skills. Much new music seems enormously difficult
because he becomes quite literally lost, technically and musically.

If the art of string playing is to continue to tlourish it must be

taught as a living tradition. By limiting children to a
repertory selected and pruned to satisfy the requirements of a
pedagogical method concerned solely with the music of the past,
we present instrumental techniques as steps towards a fixed goal.
We imply that a formal musical education consists of training in
a finite number of skills necessary for the proper performance of
an existing literature. This approach distorts the nature of the
performing arts and threatens their vitality. The militant
guardian of our heritage of masterworks is in danger of handing
on only the ritual gestures characteristic of a static art form.

v
The antidote is fresh, unpredictable, irreverent music that surprises
the ear and awakens the mind - the music of our own time. By offering
the child the music of living composers we invite him to participate
in the art of the present and prepare him for Lhe future contributions
of his own generation. We place him in the studio of the craftsman
instead of the gallery of the museum and, in so doing, we teach the
traditions of the past more honestly. Instrumental technics are
inventions, not rules, and can be thoroughly understood only in
musical context. The study of literature from a variety of periods
helps the student to grasp the relationship between performing skills
and musical style. Those who play contemporary music also learn that
the stringed instruments do not speak a dead language but one that is
in a continual state of revision and expansion. It is possible,
however, that unless we provide an education which encourages young
performers to contribute to this process we may wholly alienate the
composer, thus leaving the violin in the hands of musical historical
societies.

At present these arguments are largely academic. The string teacher

whc is convinced that elementary students should play contemporary
music has no means of acting on his belief. There is no literature
available. Any realistic attempt to remedy this situation must
recognize the influence of current pedagogical methods. By ignoring
the radical changes of the past sixty years, teachers have avoided
the necessity of devising procedures for introducing innovative
compositional practices. This project proposes to develop a plan for
adding contemporary music to the repertory of young string players
by exploring the nature of the problems that must be solved by
composers and teachers.

It was assumed at the outset that the musical idioms of the 20th
century can be employed in compositions suitable for performance by
children. The growing body of contemporary literature written
expressly for piano students supports this belief and suggests that
the dearth of similar material for stringed instruments is caused
by the nature of the instruments or the way in which they are
taught, rather than the difficulty of writing for the young. A
glance at popular string methods published within the last thirty
years provides additional evidence. Certain carefully planned and
widely used procedures for teaching basic instrumental skills are
incompatible with some of the most influential compositional theories
and practices of our time. A striking example is the simultaneous
development of the "finger pattern" system of teaching and the serial
method of composition.

Instrumental technics are solutions to musical problems. Current,

teaching procedures are designed to prepare students for an C.:Ms-ton,
literature, the music which they, in fact, learn to play. In the
opinion of the writer, these procedures do not provide an adequate
preparation for the music of the 20th century but the absence of a
contemporary student repertory makes spontaneous revision unlikely.

3
 The first objective of this project is to obtain a group of original
compositions for young players which can be offered for study
and trial.

Composers, as well as teachers, must understand the problems before

Vie proposing a solution. Much of the standard repertory is drawn f,-om
the literature of the 18th century when a musical education included
the study of violin as a matter of course. Today the professional
training of a composer is not likely to cover the fundamentals of
string playing and teaching. Yet those who write for children must
work in the realm of the possible. The compilation of practical and
pertinent information for composers was undertaken as the major task
of the project.

In :Jssence, is proposed to provide a bridge from composer to

it
teacher by offering technical advice which will enable composers
to give teachers new music appropriate for their students. At the
beginning of the project it was recognized that the successful
development of this plan would depend upon our ability to enlist
the cooperation of imaginative composers and to offer them
information which is useful, but not excessively restrictive.

PROCEDURES

Funds were granted to support the project for one year, beginning
December 1, 1966. Procedures were planned to be accomplished in
three stages: (1) preparation of a technical guide for composers,
(2) composition of pieces by composers using the guide, and (3)
trial of new music by teachers. The first two were scheduled for
completion within the year. The third was expected to continue
beyond the duration of this project as part of the University of
Illinois String Research Project.

Comeosers Guide

The guide is designed for the use of composers interested in

writing music for elementary students of stringed instruments.
Because of the time limitation, it seemed advisable to restrict
specific directions and illustrations to music for the violin.
It was assumed that the principles involved could be applied to
compositions for the other stringed instruments without serious
difficulty.

4
The task of writing the Guide was approached in the following steps:

1. Standard string method books were analyzed to identify

the instrumental technics taught in the early stages of
instruction, and the order in which they are customarily
presented.

2. This information was organized as an outline of the

technical capabilities which can reasonably be expected
of young students.

3. The possibility of employing the performing skills

described in the outline in a variety of contemporary
compositional styles was discussed with advisors.

4. The outline and the suggestions of the consultants

were given to William Mullen, a graduate assistant in
composition at the University of Illinois assigned to
the project. He was asked to write a group of sample
pieces for informal testing.

Throughout the preparation of the Guide, the technical materials

being produced in the University of Illinois String Research
Project were studied. Paul Rolland, Project Director, and members
of the staff offered many useful suggestions. Virginia Givens,
instructor of pre-instrumental music classes for children at
Northwestern University, also acted as an advisor.

Current compositional practices and their application to music for

children were discussed with Ralph Shapey, Music Director of the
Contemporary Chamber Players of the University of Chicago. Work
with William Mullen contributed to an understanding of the
composer's problems and resources.

The first draft of the Guide was read by consultants Ralph Shapey
and Anthony Donato, Professor of Music at Northwestern University.
As a result of their suggestions, it was completely rewritten.
The second draft, submitted to the consultants, the Project
Director and Richard Colwell, Associate Director of the String
Research Project, was subsequently revised once more. The final
version is attached as Appendix A.

Composition of New Pieces

In order to test the usefulness of the Composers Guide and to obtain

pieces for trial, a few composers were invited to write for the
project. Choice was based upon suggestions from a variety of
sources in the hope of finding composers of widely different styles.
Recommendations were made by the Contemporary Music Project of the
Music Educators National Conference, as well as the project
consultants and interested teachers.

The plan called for six composers. The first seven letters brought
only one refusal. All others expressed interest, although several
made accepLance conditional upon examination and approval of the
Guide. Some months after receiving the Guide, one composer withdrew.
At this point, an extension of time for completion of the project
was requested in order to replace this composer. Composers retained
to write for the project are: Herbert Bielawa, Ralph Shapey, Seymour
Shifrin, Alan Shulman, Halsey Stevens, and Richard Wernick.

Composers were asked to write three short pieces for stringed

instruments, using the Guide as a basis for limiting instrumental
technics. No restrictions were placed upon choice of compositional
technics other than those implicit in the nature of the work.
Criticism and comments on the contents of the Guide were requested.
In order to enlarge testing possibilities, each composer was asked
to write at least one piece suitable for mixed string class (violin,
viola, cello). Composers licensed the project to reproduce a
limited number of copies of each piece for trial by teachers
participating in the University of Illinois String Research Project,
Arnold Fish, Associate Director of the Juilliard Repertory Project,
was consulted about the terms of the licensing agreement and other
questions concerning plans for a testing program.

Manuscripts received from the six composers who agreed to write for
the project have been carefully studied and edited. All editorial
suggestions were submitted to composers for approval. Minor
revisions requested have been made. The pieces are ready for trial
in 1968-69.

Trial of Contemporary Music

Early in 1967, an informal testing program was initiated to explore

problems encountered by teachers introducing 20th century musical
idioms to children. Music was written for this program by Wiliam
Mullen. Trial of these experimental pieces was proposed as a means
of identifying some of the skills required for the performance of
contemporary music that are not developed by the study of traditional
teaching materials. Discussion of ways to prepare students for the
acquisition of these skills might lead teachers to reassess current
methods and consider new procedures which would allow them to
present the basic elements of music in terms applicable to the
present as well as the past. It was planned to report the reactions
of teachers participating in this program in the form of a syllabus
which would suggest ways to establish a musical orientation
appropriate for our time.

6
Seven short pieces by Mr. Mullen, (see Appendix C), were given to
three teachers in Urbana and four in the Chicago area between
February 18 and March 8, 1967. All of these teachers are themselves
string players. Six teach in the public schools and one gives
private lessons in violin. Participation was entirely voluntary.
The writer talked to each of the teachers personally to explain
the nature of the project and the purpose of the testing program.
No effort was made to involve anyone reluctant to engage in
experimental work. On the contrary, the importance of genuine
interest was emphasized. Those who were given Mr. Mullen's
compositions had all expressed pleasure at the opportunity to
participate in the project and a desire to try new music.

A brief outline of information desired was given to each teacher. A

copy of these instructions will be found in Appendix D. The
investigator requested an opportunity to observe classes working on
the pieces being tested. Teachers were encouraged to make a
selection from the group of pieces if they did not find all suitable
for their students. They were asked to complete the trial and report
results verbally to the investigator by the middle of June.

In order to stimulate discussion of teaching procedures appropriate

for contemporary compositional practices, the writer outlined a
method of teaching students to identify and measure differences In
pitch and duration. Four of the participating teachers who expressed
an interest in examining a new approach were given the outline for
consideration.

This program was unsuccessful. The proposed syllabus was not written
because the teachers did not give the pieces adequate trial and did
not respond to the invitation to consider new teaching procedures.
The outline provided by the investigator was received with
indifference. When asked directly for an opinion on the practicality
of suggestions for introducing melodic and rhythmic patterns
characteristic of this century, several replied that they did not
know, had never tried anything of like nature, and that it would
take too much time, in any case.

Only one of the seven participating teachers made a serious effort

to teach any of the pieces thoroughly. She gave one piece to a five-
year-oid and two pieces to two students aged six and seven. All
three children took private lessons. The teacher reported that the
children were able to play the pieces well, learned them with little
difficulty, and enjoyed them. Three teachers gave some of the pieces
a token reading. One arranged to present two pieces in a class
session with the investigator present as an observer. The music was

7
introduced effectively and the students responded with obvious
enthusiasm. Despite this succPss, no additional work on these
compositions, or any of the others, was subsequently reported.
The remaining three teachers did not try any of the pieces.

The writer discussed the program with each of the teachers several
times during the trial period. Almost all apologized for failing
to fulfill their committment, explaining that they could not find
the time. Apparently, they felt that an inordinate amount of time
would be required to present and explain music in a contemporary
idiom. It is assumed that they do not believe conventional methods
and materials provide an adequate musical preparation because no
one considered the instrumental technics unusually difficult. In
the opinion of the writer, the teachers agreed to test the pieces
in good faith but were not able to relate them to their accustomed
programs of instruction. Several spoke of introducing contemporary
music as "curriculum enrichment." They seemed to believe that the
trial pieces would provide an interesting experience but did not
consider the possibility of adding them to the student repertory.
The six public school teachers appeared reluctant to evaluate the
new pieces in either musical or technical terms. They did not
reject the music as poorly written or unsuitable for children.
Only one expressed any dislike for it. The others gave the
impression that they found Mr. Mullen's music irrelevant to their
purposes.

RESULTS

Response of Composers

Six gifted composers have written music for elementary students of

stringed instruments. It was not at all difficult to find composers
willing to write for children, although the fees were minimal. The
letter of invitation, explaining the purpose of the project, brought
immediate, encouraging response. Composers participating in the
project strongly support this point of view. They are aware of the
gulf between contemporary compositional practices and educational
materials; they are disturbed by the results. They realize that
many performers are not properly prepared for music being written
today.

These composers are concerned with the nature and quality of the
musical experience offered to students. Written specifically for
young minds and hands, the project compositions are designed for
performance by children. They give students the opportunity to
fully and honestly realize the intentions of the composer and thus
become, in fact, youthful musicians.

8
 Evaluation of the Composers Guide

The Composers Guide was received favorably by the six composers

writing for the project. All described it as helpful and none
objected to any part, although criticism was invited. An
examination of the pieces leaves no doubt that the composers
studied the Guide seriously. Remarkably few passages deviate from
the technical limitations recommended. Those that do exist are of
minor importance and can be defended.

A few technical problems not discussed in the Guide appeared.

As
a result, some composers were asked for slight revisions to eliminate
these difficulties. Several involved technics peculiar
to the
cello, and two composers suggested that these problems
might well
be included in the Guide. The Supplement to the
Composers Guide,
Appendix B, contains information on these and a few other points
which were not adequately covered.

The Guide places no restrictions upon the composer's choice of

musical structure or idiom. On the contrary, he is urged to find
new ways to employ elementary performing skills. The Guide does
suggest that composers should understand and accept the technical
limitations of students taught by conventional methods.
Essentially,
it is proposed that the existing impasse between traditional
teachers
and innovative composers can best be solved by compromise.
Composers
are asked to work within the technical limitations set by current
methods in the expectation that teaching procedures can be expanded
to accomodate new sounds and forms of musical expression.

The pieces written for the project indicate that this approach may
be effective. Inventive composers are able to use conventional
instrumental technics in a variety of ways. The treatment of
finger patterns is a good example. When the outline for the Guide
was under discussion, the feasibility of recommending this teaching
device to contemporary composers was seriously questioned.
The
first finger pattern, a major tetrachord, is firmly tied to the
major scale in conventional materials. It is also a practical
method of reducing intonation problems for beginners which could be
particularly helpful in unfamiliar or atonal music. The project
composers apparently recognized the usefulness of this approach
and adapted it to their purposes ingeniously. Seven pieces are
written entirely in Finger Pattern I. Excerpts may be found in
Part II of the Supplement, Appendix B.
Other compositions employ
finger patterns in combinations which limit the amount of left hand
adjustment. Similarly, the bowing patterns described in the Guide
were applied to rhythmic figures in changing meters or asymmetrical
designs.

9
Response of Teachers

The new compositions have been rec eived with some surprise by those
accustomed to the standard reper ory for students. There is a
remarkable difference in the sou nd. Music written for stringed
instruments by imaginative comp osers has.infinitely more color and
resonance than the folk songs and transcriptions that fill the
collections we now teach. In spite of stringent limitations imposed
by the nature of the assignment, composers have written with wit and
verve.

In the opinion of the wri er and other teachers in the project, the
pieces employ instrumenta technics commonly attained by students
1

in the early stages of nstruction; structure and idiom may create

i

difficulties for the co nventionally trained. Until the trial phase

has been initiated, pr oblems of teaching the project pieces cannot
be satisfactorily exp lored. However, comparison with published
materials suggests t hat students may not be adequately prepared for
the following:

1. Ensemble Technics

Without exception, composers expect some skill in ensemble

playin g. Even in the easiest duets, each part is given a
degre e of independence. Most class methods, designed
prima rily for unison playing, offer little preparation
for contrapuntal music. First ensemble pieces in method
boo ks are usually written in chordal style, with each part
mo ving in identical rhythm. Although the ensemble technics
equired for the performance of the project compositions
are,rudimentary, students must be able to observe rests,
make entrances, and fit an individual part into the whole.

2 . Rhythm

In general, the new pieces offer far more rhythmic variety

than standard materials. Change of meter should not prove
excessively difficult since the pulse, or metrical unit,
remains constant. Frequent short, irregularly spaced rests
are likely to be more troublesome. Rhythmic accents may
fall at irregular intervals also, forming phrases of
varying length. One composition is polymetric and one
contains polyrhythmic passages. Rhythmic patterns are well
planned for young performers but do require more than
conventional metrical training.

10
3. Tonality

Most pieces are tonal although they are not confined to one
key. Careful use of finger patterns reduces aural problems
in atonal and polytonal pieces. The composers have handled
problems of pitch so skillfully that unusual intonation
difficulties are not anticipated with well trained students.

4. Expression Marks

One of the teachers who tried the pieces written by William

Mullen remarked that students are not accustomed to change
of dynamics. The writer can find little justification for
the dearth of expressive words and symbols in published
methods. Even after two or three years of instruction, many
students have not learned to observe indications affecting
tempo, dynamics, accent, or phrasing. The project composers
use all of these signs as a matter of course.

11
Project Compositions

A brief description of the compositions written for the project

follows. The terms Stage I, Stage II, Stage III refer to a system
of grading illustrated in the Composers Guide. Reference is made
also to technical problems described in the Guide (Finger Patterns,
Bowing Patterns). All duets for violin and cello have optional viola
parts and may be used in string classes. Excerpts from the pieces
may be found in the Supplement to the Composers Guide, Appendix B.
The commissioned pieces are presented in Appendix E.

Herbert Bielawa: FOUR LEGENDS; for violin and cello

FIDDLE-FLING, three pieces for violin and piano

The four duets for violin and cello, all in canon form, are built on
tunes of foZk song character. Edch can be played without change of
finger pattern, with the exception of a few bars in the cello part of
No. 3. The first, in Finger Pattern I; and the second in Pattern II,
are suitable for Stage I. The third and fourth, in Patterns =a and
IIIb, are more difficult, particularly for the cellist who must be
able to play long passages in extended position. Short slurs are
used to provide a variety of rhythmic groupings of irregular length.

The violin and piano pieces are designed for Stage III. The first
is technically easy but the others are too advanced for moat students
at this level. aistained double-notes in the second piece demand
skillful bowing. Since one note is always an open stringi-the left
hand difficulties are not excessive. The last piece employs glissandi
and piasioati on single notes and chords.

Ralph Shapey: MARCH, SONG, AND DANCE, for violin, viola, cello and

percussion (3 players)

Technically, these pieces are easy, employing instrumental skills

that are mastered in Stage XL Parts for all instruments are written
in Finger Pattern I. Bowing technics are elementary also. However,
there are ensemble problems and rhythmic difficulties, particularly
in the Dance. Meter changes almost every measure, although the pulse
remains constant, and there are eome polyrhythmic paesages. 1March";
which is scored for strings only, can be played by a trio without a
conductor, but in the other two pieces students will need cues and
rhythmic direction. Percussion parte are written for rhythmic
inetruments which can be played by anyone able to read musics. Wood-
block, triangle, and hand drum are suggested. These pieces have been
skillf4lly written to sound well in the hands of children. BV

12
 limiting the instrumental technics the
composer has made the study
of more complex rhythmic problems feasible.
The combinatio,, of
strings and percussion is highly effective. Easy double-notes,
pizzicati, and glissandi provide additional color.

Seymour Shifrin: LULLABY, for violin soZo

PLAY, for violin and cello

DUETTINO, for violin and piano

"Lullaby" is a simple, expressive melody for

unaccompanied violin.
Bowing techniques and rhythmic patterns are easy.
Frequent changes
of finger pattern are well planned for students in
Stage III. The
other two pieces require training in ensemble playing.
"Play"
employs elementary instrumental skills suitable
for students at the
beginning of Stage III. Change of meter and
frequent short rests in
a quick tempo demand rhythmic precision. AZthough the violin part
of
"Duettino" is easy to play alone, fairly complex
the piano may cause ensemble problems. rhythmic writing for
String parts include
indications for accent, staccato, dynamics, and tempo,
as well as
passages marked pizzicato, con sordino, sul ponticello.

AZan Shulman: THEME AND VARIATIONS, for two violins

DUET, for violin and cello

STUDY, for violin, viola, cello

These pieces provide good training for students not

experienced in
ensemble pZaying. Although each part is given
some degree of
independence, rhythmic problems are minimal. "Theme and Variations"
can be played easily by students in Stage II, if they
are ready to
Zearn Finger Pattern IIIa. The duet for violin and
cello and the
trio are suitable for Stage III. All parts Zie weZZ for
the
instruments. Easy double-notes
are effectively used in the duet.
Dynamics are caref4lly indicated throughout.

Halsey Stevens: TWO DUETS., for two violins

FOUR DOM, for violin and cello

The violin duets offer an excellent introduution to
two-part
contrapuntal music. In the first, a canon, one change of finger
pattern occurs in the second violin part. The other is in Finger
Pattern I exclusively. Both require control of
legato bowing and

13
change of string within a slur. The rhythm is easy and bowing
patterns remain constant.

The duets for violin and cello are more difficult. Students in
Stage III should pZay the second and third easily. Although it is
technically suitable, the style of the first is too mature for young
children. It is more appropriate for xrpable students of junior high
school age. The fourth duet is ZikeZy to be too difficult for
students in Stage III unless they have acquired considerable agility
and precision. In aZZ the duets, players must be able to listen to
one another and follow the Zeading part. There are no unusual
rhythmic problems. String writing is idiomatic, employing double-
notes, slurs, and staccato effectively.

Richard Wernick: YOU CAN'T CATCH ME, canon for three violins or two

violins and cello (or viola)

PETER'S MARCH, for two violine

A MVSICAL GAME OF TAG, for two violins

These three easy pieces for Stage I introduce the beginner to

contemporary rhythmic practices. The first, a strict canon, in
three parts, is played entirely upon open strings. It is divided
into three phrases of equal length. Edch is written in a different
meter, and each employs a different method of producing sound - arco,
col Zegno, and pizzicato. When aZZ three players have entered these
phrases are heard simultaneously. It is an ingenious way of teaching
poZymeter. The other two pieces can be played by chiZdren who have
learned Finger Pattern I and simple detached bow strokes. Rhythmic
figures are not difficult but parts move independently of one another
and there are frequent short rests. In '!,4 ftsical Game of Tdg" an
atonaZ melodic Zine is divided between the pZayers.

CONCLUSIONS AND RECOMMENDATIONS

The plan developed in this project is embodied in the Composers Guide,

Composers are asked to write music expressly for children, using
elementary instrumental technics developed by current pedagogical
methods in order to reduce the problems of teachers. If first
contemporary compositions utilize skills commonly attained by
students, procedures for introducing 20th century music may be
devised without immediate, radical revision of basic methods. The
response of the six composers who used t;le Guide indicates that this
approach is effective. Compositions written for the project place
contemporary musical idioms in settings suitable for performance by
children.
14
The ease with which new music was obtained suggests that the absence
of a contemporary student repertory is not due to the disinterest of
composers. Those who participated in the project were extremely
cooperative, expressing vigorous support of our goals. Comments on
the Guide indicate that technical information offered was helpful,
possibly indispensable to those who are not themselves string
players. This phase of the project was more successful than we dared
hope. Composers proved willing and able to write for children,
receptive to the recommendations in the Guide, and pleased to provide
new music for trial. Plainly, they are prepared to meet teachers
halfway.

We do not know what the response of string teachers will be when the
compositions are offered for trial. However, we have reason to
anticipate difficulties. The informal testing program initiated in
the course of the project produced negative results. Although this
failure is not particularly significant in itself, we believe that
the attitude of these teachers is not atypical. Those who use string
class methods may not be prepared to present the project compositions.
New problems are not entirely due to the innovations of the 20th
century. Standard student materiais are not designed to develop the
musicianship required for the performance of the new pieces.

There are many ways of teaching. Not everyone depends solely upon
published class methods. Hopefully, some teachers will be able to
use these pieces with little difficulty. Others may devise procedures
to prepare students for new musical problems. However, the writer
and others concerned with the project believe that it is unrealistic
to assume that a large number of teachers will be able to use these
pieces successfully without assistance.

The Composers Guide appears to be a useful technical tool and an

effective means of drawing attention to the need for hew literature.
Tested by experienced composers and expanded to include examples of
their work, it may prove helpful to others who want to write for
string students. The project compositions are worthy of publication,
but without supplementary instructional materials widespread accept-
ance is doubtful. The project recommends the preparation of a manual
for the use of teachers in the testing program and others who wish
to introduce contemporary music to students. Our plan has gained
the support of gifted composers but unless we are equally successful
with teachers their music will not be played by the children for
whom it was written.

15
 ?e 1- 25, 06-
PR
CO
L.C1
APPEND IX A

LLJ

COMPOSERS GUIDE

for writing

,VIOON MUSIC FOR CHILDREN.

by Margaret Parish

UNIVERITTY OF %mums STRING RESEARCH PROJECT

Paul Rolland, Director

1967
PRE-PUBLICATION DRAFT
(Not to be quoted or
reprinted without permission)

COMPOSERS GUIDE

for writing

VIOLIN MUSIC FOR CHILDREN

by Mdrgaret Fhrieh

UNIVERSITY OF ILLINOIS STRING RESEARCH PROJECT

Paul Rolland, Director

1967

The research reported herein was performed pursuant to a contract with,

the United States Department of Beath, Education and Welfare, Office
of Education, under the provisions of the Cooperative Rebearch Program.
 FOREWORD

This guide has been prepared for composers who are interested in
writing music for students of stringed instruments. It provides an ex-
planation of current pedagogical practices, a description of the technical
capabilities of young players, and suggestions for the use of instrumental
skills in compositions for students in the early stages of instruction.
Although it is directly concerned with music for the violin, most sugges-
tions are applicable to compositions for the other stringed instruments.

At the present time, beginning string students are confined to a

repertory which is singularly lacking in variety and imagination. For
two or three years, most children play nothing but familiar folk tunes
and arrangements of melodies by famous composers of the 18th and 19th
centuries, or their 20th century imitators. A few of these pieces appear
in this guide as illustrations of typical teaching materials. They are
not intended to influence or restrict the composer's choice of musical
style. The sole purpose of all musical examples is clarification of the
text.

Although music for children must be easy, it need not be trite.

This writer believes that the current literature is the result of an ex-
cessively pedantic approach which tends to stifle both musical growth and
youthful enthusiasm. The idioms of the 20th century are as suitable as
those of any other period in the hands of a composer who understands the
musical abilities and technical limitations of children. The young do not
demand a conventional use of meter or tonality until they have been trained
to hear with 18th century ears. New pieces and new sounds are urgently
needed.
 INTRODUCTION

The composer of music for students is writing for both children and
teachers. From a practical standpoint, acceptance by the teacher is most
important since the choice of literature is his. Unless the composer
understands modern pedagogical methods, his pieces are not likely to reach
the hands of children. Few teachers are willing to use music which re-
quires radical changes in their normai procedures. For this reason, it
seems wise to begin with a brief discussion of current practices. Descrip-
tions of teaching methods and materials are offered as preliminary considera-
tions to assist the composer, not as rules to be followed. If pieces are
not suitable for practical teaching situations, they will not be played,
but if they are not more than technical tools, they should not be written.
Although the requirements and attitudes of teachers must be considered, the
major responsibility of the composer is to the child. The sole purpose of
this guide is to provide information which will enable the composer to write
meaningful music which children can play and will want to play.

The private teacher needs pieces for solo violin with piano accompani-
ment, suitable for students of Ciarlous ges. Although,private lessons may
be started at any time after the age of three, the children at the levels
of advancement described in this guide are likely to be between four and
fourteen years old. The accompaniment, which will probably be played by the
teacher, should not be technically demanding. It should be light in texture
to avoid overpowering the young soloist. Violin duets for two students, or
for student and teacher, are possible alternatives.

Solo pieces may be used in violin classes, particularly in beginning

classes for young children. The largest market for student music is pro-
vided by the public school string classes, but in the schools all the string-
ed instruments may be taught simultaneously. Classes are customarily started
In the fourth or fifth grade, using class method books written for violin,
viola, cello, and string bass. Solo pieces designed for mixed string classes
must be more restricted in range and style. However, practices vary, and
in some public schools violin students are taught in separate classes part
of the time. In violin classes, solo pieces can be played in unison with
or without piano accompaniment. Two-part pieces without accompaniment are
particularly useful in class teaching. Unless the group is very small, it
Is difficult to teach children effectively from the piano bench. Parts
should be equally attractive and reasonably interesting when played separately
in individual practice sessions at home.

Two-part pieces may also be designed to meet the varied requirements

of the string class. If a piece for solo violin has an optional part,
suitable for the lower instruments, it can be used by teachers of either
violin classes or mixed string classes, and by private teachers as well.
In compositions for students each part should be designed to ensure the
player's attention. Class morale and discipline depend upon keeping all
children occupied.

-3-
 Accompaniments may be written for simple percussion instruments.
This is practical if music is for use in public schools, where a variety
of instruments are likely to be available. Small rhythm instruments, such
as the hand drum, triangle, tambourine, and wood blocks, can be played by
children. In this way, students may take turns playing the solo and ac-
companying parts.

Virtually all writers of violin methods published in recent years

introduce fundamental musical and playing skills in approximately the same
order and use the same type of musical materials. The size and accessi-
bility of the school market has encouraged the publication of materials
suitable for the mixed string class, as well as the violin class or pri-
vate student. To meet the requirements of group teaching, writers of
beginning methods have developed procedures for presenting elementary
skills slowly in a series of carefully graded steps. This tends to pre-
vent the use of additional music unless the same sequence is followed.

At present, the rote approach advocated by the Japanese teacher

Shinichi Suzuki is receiving widespread attention. Although rote methods
change the way in which children are taught, they do not appear to have
had much effect upon what they are taught. The children who study with
teachers trained or influenced by Suzuki are playing the same folk songs
and transcriptions as those who are using written music. However, the com-
poser of music for beginners has more freedom in writing for children who
are being taught by rote. Much more rhythmic variety is feasible when the
Intricacies of notation do not have to be explained at once. Emphasis upon
listening, rather than reading, develops aural memory which will assist the
child in learning unconventional melodic patterns. The elimination of music
reading in the earliest stages of instruction tends to encourage more
rapid development of instrumental technics, including change of position
(change of hand placement on the fingerboard).

In the following pages, elementary musical and instrumental skills

are outlined in the order in which they are usually taught. It is probable
that two to three years will be devoted to this training, but the time
spent in any stage of learning depends upon individual attitudes and circum-
stances. Typical teaching pieces are offered as illustrations, not as
models for the composer. This guide has been writ,en in the hope of ex-
panding the literature for students. However, it is important that the
musical experience of the average student be taken into consideration.

At this time, it is not possible to know how influential the trend

towards rote teaching will become. The demonstrations of Suzuki have pro-
vided a great impetus, but traditional methods are strongly supported.
The majority of American students are still being taught to play from
written materials, even in the first lessons. It is probable that new
pieces for students will be more widely accepted if they are confined to
first position and are written in simple notation. On the other hand, the
teachers who are following Suzuki's example, or are exploring other ap-
proaches to rote teaching, are in need of material and may be more recep-
tive to contemporary pieces. For this reason, suggestions will be includ-
ed for music which may be taught by rote or by teachers who are not com-
pletely dependent upon conventional method books.

-4-
 STAGE I: TECHNICAL LIMITATIONS

Bowing

The bow is most easily controlled on detached strokes in the miclle.

In the beginning, best results are obtained by using from one-fourth to
one-half of the bow length on a single stroke. This means that notes
should be no longer than 41 ( w9t) The average student is able to
change bow direction easily if short strokes are used. Fairly rap'd notes
on one pitch are practical, even in the earliest piecesTEFf9
)
J 100' .

The playing of beginners is never truly legato. Slurs are not taught
at this stage, and a smooth, imperceptible change of bow direction is
rarely achieved during the period of study described in this guide. In
Stage I, notes may be either detached or staccato. No indication is re-
quired for detached notes. Omission of slurs guarantees a slight articula-
tion at each change of bow. A simple staccato is easily played. It will
be f:rm, not light, because the bow will remain on the string.

Rhythmic Patterns

The easiest patterns are those which do not require any change in the
speed of the bow stroke. In spite of its appearance, Example.A is easier
for the beginner to bow than Example 8.
(lvpiv 11 v v
Example A cl Examrle 13 d 1 1J JI

Assume that the student is using half the bow length for the half
notes. In Example A, the quarter notes can be played with a fcurth of the
bow, but in Example B the quarter notes must also be played with a half-
bow in order to have sufficient bow for the second half note. This means
that the bow arm must move twice as tast on the up-bow 0) as on the down-
bow 00

Rests would simplify bowing problems in Example B.

Beginners tend to draw the bow at approximately the same rate of

speed all the time. A little skill and experience must be acquired be-
fOre a child can be expected to determine the amount of bow needed and con-
trol the motion of his arm in passages requiring changes of bow speed. In
Stage I, all rhythmic figures should be designed to avoid this difficulty.

5-
 In most published methods, all pieces are in 4/4 or 2/4. Usually,
only quarter and half notes are written. Technically, this limitation
is not necessary. Many easy rhythmic figures can be played with a con-
stant bow speed.

For example:

n 1).11
nJnJJ frn J J I J771 I] I

d J. JD i)rfirn in J.

Any rhythmic figure which can be played without changing bow speed
and is easy to remember can be taught to beginners by rote. Students
who play only what they can read are usually limited to the following
rhythmic symbols at this time:

Intonation

There can be little doubt that most students find control of pitch
the most difficult of all technical problems. Everyong agrees that good
intonation depends upon the ear, but, apparently, writers of violin
methods do not believe that systematic aural training is necessary, or
they do not consider it to be the responsibility of instrumental teachers.
The realistic composer will not assume that students have been given
instruction in solfejgio or any method of ear-training. In these circum-
stances, it is necessary to simplify problems of pitch as much as possible.
The organization of .musical materials by finger patterns is a practical
method of reducing the complexities of left hand technic. This approach,
which has been adopted by virtually all teachers and writers of string
methods, should be studied carefully by composers of music for elementary
students.

Finger Patterns

The term "finger pattern" is used to describe the spacing between

the fingers of the left hand in one position. The hand is said to be in

-6-
 first position when it is placed so that all four fingers fall within the
range of a fifth from the open strings.

Example A
First Position

IF

i.AD 1EiD IB
2FQ 2CO 2C

213
3c 90

4N 46

I I al
I gi
11_

iVi

Theoretically, chromatic alterations do not affect the position,

although the hand may move slightly. Both examples below
are considered
to be in first position.

Adjustment of pitch is guided by the ear, but accuracy Is possible

only if the left hand is properly placed. The violinist gradually learns
through the sense of touch correct finger spacing for the various intervals.
The hand itself is the basic measuring device of the string
player, taking
the place of keys or frets on other instruments.

If a violinist plays the notes shown in the previous diagram (Example A),
he'must use three different finger patterns. On the G string there is
a
half-step from the second to the third finger, on the D and A strings the
half-step is from the first to second finger, and on the E string it is from
the open string to the first finger. Beginners are almost always taught
these patterns one at a time, starting with the half-step
from second to
third finger, which is called Finger Pattern in this guide,
I

-7-
 Example B
Finger Pattern I

Open Si rin1s

iA 1E

2
3c 3G

2 i" 04441
itrf I rir +

In the first stage of instruction, most students are able to play only
Finger Pattern I, using the notes shown above in Example B. It is common
practice to avoid the use of the fourth finger at this time.

The Positions

The left hand of the violinist normally spans a fourth. In first posi-
tion, the hand covers the first four notes on each string. In succeeding
positions, the hand moves up by step. Open strings may be played from
any
position, of course.

first Posi lion

d A 3

(S) 41,11 12 31/ 4T 3r .fr"

5e4onl Pos.
i 4 a

r2 f3 I

-8-
 FI2Urig6 P. a 3 si -Z 3 f

Fr& Pos. d 2 3 ti

d A 3 ii i 2 11 2 3 i

41 -1

Traditionally, the violin student is limited to first position for

a year or more. However, it is quite possible for elementary students to
play in more than one position, and some teachers recommend the use of
several positions from the beginning. Most children can play in second
and third positions without much difficulty. The fourth and fifth are
harder because the string is farther from the fingerboard and more strength
is needed to produce a clear tone. The higher positions are not suitable
for elementary students.

The real difficulcy is change of position. As long as the hand

remains in any one position the fingers may be placed in relation to one
another. When the hand moves up the fingerboard the young violinist must
depend upon his ability to anticipate the sound of the next note. Even-
tually, he will learn to judge the distance between positions kinestheti-
cally, but this requires considerable experience. Time and practice are
needed, also, for the acquisition of an unobtrusive shift. In music for
the levels that are outlined in this guide neither speed nor agility should
be expected in changing positions.

The composer who wishes to write mutic which is suitable for most
beginners should limit himself to the notes of first position. On the
other hand, there are some teachers who want to develop left hand mobility
from the beginning and need appropriate literature. If pieces are written
specifically for those who teach beginners to play in more than one position,
the following sequences may be considered. All are in Finger Pattern I.
 Seconcl g
1A311.ta3f.1.2 3 ate

to
rr
'Third Fibs.
I a 3 4 12g4 d.0131/
1,1 rr
In order to place the hand in the proper position, the student can adjust
the pitch of G, D, A, or E to the open string at the unison or octave. It is
wise to start with one of these notes and to build melodic figures from it.
seconS Pos.
o 3 0 3 o 3 ADA a
.1

Mt I

Tkiri Los

All en

If the student is asked to change position he must be given adequate time

to place his hand. All shifts should be preceded by a rest or an open string.
Above all, the student must have not doubt as to the pitch of the first note
in the new position. The following are suitable.

J=12

pk) fi'rst Fos . 9,11 $6. it Pos Pe5 kt

1 B 3 0 o C, 1 3

It

Pieces in second and third positions are more likely to be used by beginners
who are being taught by rote. A comparison of the notes in Example C (second
and third positions) with those shown in Example B (first position) reveals
problems for the student who is playing from notation. When Finger Pattern I

is written in first position the beginner has only 16 notes to remember. Each
note is played by the same finger on the same string whenever it occurs. For
example, the note E on the first line of the staff is learned as the first
finger on the D string. This greatly simplifies the reading of music for beginners.

-10-
Change of String
A smooth change of string is a major technical problem for violin
students.

To play the given notes without

V a noticeable break between them, a
2 surprising number of factors must be
taken into consideration. The bow
must move from the lower to the higher
string at precisely the moment that the
direction is changed from down-bow to
up-bow. The first finger must not be
lifted from the D string until the bow has moved to the A string. The
second finger must be in place on the C sharp by the time the bow arrives.
This is too difficult for beginners. In Stage I, one note should be an
open string unless the bow is stopped before crossing to the new string.

Change of string suitable for Stage I

AIM
-77 NW' JillMI I
iAMMOMM
0 7 NW
VFW
El I
11.3MWMII I
I 10.7
F/IP
MIIAMMI I
11111111 I

The beginner should not be asked to move his bow quickly from one
string to another. Example A, below, is difficult for Stage I. Examples
B and C are better.

PI= I=1 M.:11 ME I

10: tW JIII YEN I

STAGE I: OUTLINE OF CONVENTIONAL TEACHING METHODS

Pieces are in 4/4 or 2/4. In most cases only quarter and half notes are
written. Rote methods may use r.r and

Bowing patterns can be played without changing the speed of the bow stroke.

All music can be played in first position in Finger Pattern Most

pieces lie within the range of one octave.

Sometimis
When crossing from one string to another, one note is an open string.
0

Passages requiring the use of the fo urth finger are not included.

No slurs are written.

Pieces are almost exclusively fol k tunes.

Typical piece for Stage I

I
w.ciu -
AM EM111111MINIMMOIM MI
ILOMMW /11-1111/"=111=111
=immlimi im mIM
=1MIMIMIIIMINMIMINIMIIMEEMIIMIMINIM
MAY M At Ir _WNW 1 J

-
MIltaaffiliMr If e V W? =SW W INW K-MIMAPW:11

I
'11:f .
MOM _MIM MO I

A ammimie----------mmismosmommulimmmum
F. AN maim= Nom= wpm Elimml... am IMIMIIIMMIIIMINWW. =I f 111=IMIIIMIMINIff I MI
11116
A
I
I

1 I 111AWWNIIIWM111W Milt IL I I MAW Jai 1111111/11KIEMEr ..

STAGE I: SUGGE TIONS FOR COMPOSERS

Beginner s have little left hand dexterity. If they are to play accurately
the fingers must be placed with care. In this respect, the technical problems
of the left hand differ completely from those of the right. The first pieces
will sound best if the bow moves fairly quickly and the left hand slowly.

Rhythm
Sh ort pieces of strongly rhythmic character are both suitable and attrac-
tive t o children. The ease with which repeated notes can be played at a fairly
quick tempo may be exploited by choosing easy bowing patterns and centering
atte ntion upon rhythmic rather than melodic movement. Do not ask for rapid
cha nge of pitch unless the new note is an open string. It is easy to quickly
li ft a f!nger, as shown in Example A below. Example B is too difficult at
his time. C is easier because the third and second fingers can be placed a
little more slowly. Bowing patterns in all three examples are suitable.
Groups of four sixteenth notes are customarily started down-bow (r, ).
 412qt
suaa6le B. Teo Hay4
A.
n ---
.
Is' ..- maw 1

r
.=1-=--.7-------mr=miram.----mmummommel '7 lff Mal
atmodwommumm.....ammostrammimmotommrrrrowesommor
vivArvrrarwrimmommium15111ww,rwrwirumairarhis

C. Suitable IMIIIMINNIIP

r-

ern

Meter

Few students play music that is not in 2/4, 3/4, 4/4, or 6/8, until
they are well past the early stages of study. This restriction is totally
unnecessary. Other metrical designs including changing meters, are suit-
able from the beginning. The young player is not able to execute subtle
or intricate rhythmic figures, but he does not have to be confined to
symmetrical arrangements of quarter and eighth notes. Almost any clearly
defined rhythmic pattern can be learned by children. However, they should
not be asked to change patterns frequently and quickly within one piece.

Tonalitx

At present, elementary violin students rarely have the opportunity

to play music not in a key. Most beginning pieces are in 0, A, or G
major. It is quite possible for children to study for a year, or more,
without encountering modulations or altered notes. Even compositions in
minor are rare in conventional methods. Under these conditions, the
student naturally becomes accustomed to the sound of the major scale and
gradually develops an aural recognition of tonal relationships within a
key which serves as a basis for the control of pitch. However, the child
also depends upon the sense of touch in measuring differences of pitch.
Melodic figures based upon finger patterns which conform to the shape of
the hand are relatively easy to play in tune, and can be used in either
tonal or atonal pieces.

Finger Patterns

Obviously, Finger Pattern in first position is based upon the

I

major scale. It is difficult to construct an extended

melodic line from
these notes outside of a major key. Frequent large leaps might offer a
solution, but they are impractical for beginners who cannot move the left
hand quickly. This guide is not an attack upon the key system or the major
scale. The argument against new tunes in D, A, or G major is simply that
there is already an adequate supply. However, children cannot be taught
all phases of 20th century style at once. If the rhythmic structure is
more complicated than that found in traditional pieces, it is wise to make
melodic figures simPle or conventional. It would be helpful, also, to
introduce tonal music which is not built upon the unaltered major scale,
supported exclusively by tonic, dominant, and subdominant triads. This can
be accomplished in a variety of ways through the piano accompaniment. The
danger here is the possibility of writing a piano solo with violin obbligato.
Children will not willingly practice a part which is uninteresting when
played alone.

Another solution is a duet written for two different tetrachords. For

example, one child may play figures built from the notes on the G string,
and the other may play on the A string.

V6.1
1111=I

el-

Each part might be given an octave range.

tilvi vi.n1

Pentatonic or modal scales may be used in either solos or duets.

a

1 a
rsri.
44-r-
MNIMWIPW
IMMum,rmrINLill=1
A
I w Bad.
7,JIMMIIMO
1L11
w
It is not difficult for children to place the fourth finger a half-step
from the third, but the whole step from third to fourth requires a measure
of control. This is why the fourth finger is avoided in teaching materials
based on the G, D, and A scales. The composer who does not feel obliged to
remain in a major key need not be bound by this restriction. The following
example shows the first three finger in Fihger Pattern with a lowered fourth
I

finger added. It is not found in conventional teaching methods.

-14-
 Finger Pattern I in second position offers another opportunity for
less conventional melodic writing. Unfortunately, beginning pieces in
second and third positions may not be used by many teachers.

1
All=111MM
AINIMI111= OM UM WWI
Ws mr imiim.r

Double-Notes

The beginner can play open string double-notes easily if short, firm
bow strokes are used. He will not be able to control sustained or soft
strokes on two strings. It is best to start double-notes with a down-bow.

fl B
A) a
WI= =WI =MEI I I
AIM= lir..M IMIIM I
I
I
%MI MS= MMIll I EMI I= IM =I NM I
tin I MI MN MI I= MI I

The upper note may be fingered. The following are possible in Stage
I. pieces in first position.

IP

The student must be given time to place.the bow evenly on both strings.
M

4
w

If one note is ffngered, even more time must be allowed, unless the
finger is already in place.

MM
#4
lr

-15-
String Crossing Figures

All combinations that can be played as double-notes may also be used in

repetitive figures. In the following example, the student leaves his finger
on the C sharp and simply moves his bow from one string to the other.
2 0

Other open strings may be added.

In writing passages of this type, avoid a quick succession of string

changes. The following is too difficult for Stage I.

Too hard

AINLI7 /1111 =11r-i1117 I I I alIPINIIIWWW111=1107.77g'7

III MINI11171.1
MM.
I II MIN IMMINIMII111111111
MN MOM =I
II I IIII MOP

Adequate time must be provided if the player is required to jump over

a string. .When the second note is an open string the leap is not difficult.
If the left hand must be placed as.well as the bow, more time is needed. In

either case, after the bow has been lifted over the intervening string the
next stroke should be down-bow.

J.so 2

Th
Violinistic Effects

One of the most striking limitations of the current student repertory

is the absence of instrumental effects. Children are delighted with color-
ful sounds and frequently discover many well known violinistic effects for
themselves. The only technic of this nature commonly taught to beginners
is pizzicato. Open strings sound well when plucke by young violinists,
but fingered notes are too soft for extended pizzicato passages in solo
pieces. Left hand pizzicato on open strings may be written for all stages.
It is easier for beginners to aim for the two outer sti-ings.

41.80
4. or t t

If strings are to be plucked with the right hand, any open string or
combination of two adjacent strings may be written. Guitar pizzicato
across four strings is also possible. Do not ask a child to try this with
three strings. He will not be able to avoid hitting them all. Tempo
should be moderate in pizzicato passages. If combined with arco, a rest
of at least four beats ( J - 60), will be required for the child to make
the necessary change in bow grip.

Ju. q(FrGO Fizz.

VIIIMII (M=1111,

A
ir A A.sr A A_arAiff A'V
sr -Jr V-

A soft percussive effect may be achieved by tapping the fingers of

the left hand on the fingerboard. It is best if the fingers are dropped
on the edge of the fingerboard, left of the G string.

If young children are asked to play col legno the result is likely to
include chipped violins and broken bows. However, a simil.r effect may be
produced by striking two open strings with the bow held in normal playing
position. There is no name for this stroke. It might be described as a
drum stroke because the bow is used to tap rhythmic figures as if it were
a stick.

Children seem to have an affinity for the glissando, although they

are almost always forced to look upon it as extra-curricular, if not contra-
band. The realist will not expect a stop on a fixed pitch at this stage.
Descent to an open string is suggested for those who do not subscribe to
random technics.

-17-
 A few natural harmonics may be written if they are approached with care.
The first harmonic (an octave above the open string) is not difficult for
students who are accustomed to playing in more than one position. It is

most easily reached by extending the fourth finger when the hand is in third
position.

q 4
0 0
;1111011,1111.11111
NM I
SIM Ea MO
Tow we

Change of Tempo and Dynamics

Indications of tempo and dynamic changes are as important in music for

students as in any other type of composition. In pieces for early stages,
strong contrasts are best. Slow and fast, loud and soft are good but not
subtle changes of nuance. A considerable dynamic range is available to
beginners if the physical properties of the instrument are explotted. The
open strings, particularly E and A, are very brilliant when attacked down-bow.
In the following, dynamic change is almost unavoidable.

A) n n es se
'Mr MAI AMIE 1111WIENNIMIIIIEMLIIIMINNIIIIMMIIIMMI10-11111=11
IN II NM MLA= IMMI EN HMI MEI
MEI NWINI worimmummemimi.......sm
NE Ili MIMI EU ME ATM la AIM=
tawia.P.
iiimagivi
arr. 41.- simu Lie El OM 0111

Although children soon become capable of crescendo, decrescendo, accel-

erando, ritard, these indications are meagre in most elementary pieces. This
is unfortunate because children enjoy dynamic variety and respond to an invi-
tation to play faster and faster with the same zest they display in running
down a hill.

Vibrato

There is great difference of opinion about the early introduction of

vibrato. Although there are indications that an increasing number of teachers
advocate the use of vibrato by young players, it is unlikely that many chil-
dren develop much control in the first two years. It should be assumed that
all pieces will be played without vibrato by the great majority of elementary
students.

Length
All pieces should be very short. One-,of the best ways to determine the
suitability of both length and style of a composition for first-year students
is to imagine teaching it by rote. If pieces cannot be remembered easily
they will not be practical for most students, even those who are using music.
Reading skills are not very dependable at first.

-18-
 STAGE.II: TECHNICAL LIMITATIONS

Bowing

Students should be able to use the whole bow, but long

passages
requiring very slow bow strokes should not be written.
The ability to
draw the bow slowly and evenly, sustaining a tone of
pure quality, is
gained only through hours of practice and years of study.
Dynamic extremes
make the problem greater. The child normally plays
successive whole bows
moderato, mezzo-forte.

If notes are not connected and the bow arm moves quickly, whole
bow strokes can be played forte. The outer strings (E and G)
are best
for heavily accented strokes.

I -
11R:11:11101=11 sIMIWIIIIIJIIIIM11110111
AINIIMINIMb=111 11111.71M MOM

A short passage may be written pianissimo.

/99
If open strings are used, a soft passage
may be longer. The open
string can be subjected to uneven pressure without
disastrous results.

Short slurs of two, three, or four notes are written for

at this stage. students
Slurred staccato and portato strokes are taught.
spitcato in the lower part of the bow is possible A slow
for most students. Fast
spiccato and staccato strokes are far
too difficult for young players.
The speed with which slurred figures
can be played depends upon the
length and complexity of the
passage, as well as the ability of the
individual student. The metronome speeds
given below are about the maxi-
mum.

L elate staccato %alto 9 piccato

loo 100 I/2
so

-1 9-
 Staccato should not be continued for more than a few beats at a time,
uniess tempo is slow. It is easier to control if it is combined with de-
tached notes, especially if.the staccato can be played up-bow.
M Y n V

GI 4
%......"
Ici is easier ihas Jjii ad di
.....
.

Spiccato passages should be interrupted frequently by rests, or strokes

which are not lifted, to avoid tiring the arm.

Rhythmic Patterns

At this time, children will be learning to change the speed of the

bow stroke when necessary, but they will not be very skillful at controll-
ing the volume of sound on long strokes. In the following example, the
violinist must move the up-bow three times faster than the down-bow. The
probable result of.first attempts is illustrated by dynamics.

rICL YJ P. J1
P c .--P I
It is much easier to control change of speed on short strokes. For
example:
mvily
J 11 J il
Rhythmic patterns which require changes in bow speed should not be
used in repeated figures, unless strokes are very short. Example A is
awkward. The others are much easier.

A. el 1777 I ci 7111 el 1771 Id Z711

nt
3 717n'i .r1731

Slurs are helpful in avoiding clumsy bowing patterns. Short

slurs on one string are not at all difficult. Rapid change of bow speed

-20-
requires more technical control. The following example would be hard
for students to play well if there were no slurs.

In Stage II, children should not be asked to handle frequent

changes of bow speed and a variety of slurred figures at the same
time. If detached and slurred notes are combined, bow speed should
be constant most of the time. A few of many suitable possibilities
are shown below.

e JJLdnjI
J JJ;IJJJ JJ1
IJJJJ1JJJJ

Students may learn the following notation.

Change of String

In this stage, students are taught to cross from one fingered

note to another. This is more easily done if the crossing is made
from a lower to a higher finger.

4 2 Is easier i 1101 is easier then

(.) J ti t 1
.....,

4/ 1
I i
II
.1

I 3
1

3 1
1 I
2

-21-
 The most difficult crossing is the ascending augmented fourth. It
should be avoided in the first stages.

Difficult

Although students can now be expected to move the bow quickly to an

adjacent string, a series of string crossings should not be written unless
one note is an open string.

fee Diffic ull

f I

Allrff..Y 1 MI= Or Oil 1

I. 7 Eli MO We &Mr I= IMII I

ME ; JE eV: I I
Suitable
a
mam......nw irm im im..---.1.11= ma
1

it.1'
i....1
Alasimmarmamaa....mailmammw:.
amilmal ..mi .1.A.mma..1
1ING' zmit I

A slur accentuates the problem of a legato string crossing. At this

time, it is advisable to prepare at least cne finger.

Suitable
/c.:. re-N.

A perfect fifth should not be written in a legato passage (except on

open strings). The finger must be placed on both strings at the same time,
an impossibility for many children.

suitakile. fao Difficult

Fourth Finger

Students in Stage II learn when to use the fourth finger. In first

-22-
position, it may be substituted for
the open string to avoid changing
strings for one note within a
phrase.

Fourth finger is also used to

avoid changing strings within a
slur.

The fourth finger is most easily approached from below.

A) E4154 Difcicult
Ore
#
MMEMEMMIPPIE AM
AMIN/71 I MEM 111111MAIM mrsmr,aidor mrmmissl
NM AIM MIMI ME
G al= "NAMII MN NM III AM =MIME MIN MI 11111O I
III AIM I

Avoid the fourth finger on the highest or most prominent note

of a phrase. Few children produce a strong, clear tone with the
fourth finger at this time.

Fourth finger note is too prominent.

MIMMIONINII II !Mr 16=11111 INII Mril= IMS AMIE I

11111 WI= IMW T

Finger Patterns

The second finger pattern is introduced at this time. The half

step will be from the first to the second finger.

Finger Pattern ll
First Position Open S trintis
 At first, pieces are usually written in either Finger Pattern or
I

Finger Pattern H. A little later, the two patterns will be combined.

The notes for the first, third, and fourth fingers are the same in both
patterns. Only the second finger may be changed.

Finjer Patiern I Finger Pagan I

4 Itj ti ilr 11 a A r
r
I
Because modulation is rare in conventional methods, change of finger
pattern usually coincides with change of string. For example, a piece
may use only these notes:

Key of C

Key of D

Change of pattern on one string is customarily taught in studies

through simple figures, such as the following:
 STAGE II: OUTLINE OF CONVENTIONAL TEACHING METHODS

Pieces may be in 3/4 or 6/8

ti. J. JN are added in 2/4, 3/4, 4/4

rn,J J11 are added in 6/8

There are occasional passages in which the bow speed is not constant.
V
'If . NM
IAMMI:MIWIIMIMMMIM
II.71=111MiIM MIPMMI MP WNW NM
111 M MUMIIIMMENF IMO UM
gib

Two, three, and four note slurs are written. The slurred staccato and
portato are taught.

Fourth finger is used. At this time it is usually approached from

below.

I
/11.:= NI IM M I I TIMM JMIW MIN IMPINMEMMINMII
A MA IIMEM MP INF MEM MI ANIFMI IMP ' JEININW MIK IR IMPIM I
COUIAMIr M

Easy string crossings with fingers on both strings are introduced.

Finger Pattern II is taught at this time, usually on the D and A

strings.

I'
AlniabillIV:111110 1UrIMEMIMMINDWIMIlr X 1=11==11111 IMIWMIF NiMMIMMI
I iblVM IMMIUMff NW IMMIF:
- armarr z a Er: =tr.= ....1 Mt Jr ANIBMI1117 MAN Jr Min
I
rAII ' YIIIMMI1 MilMaMii I
"ii;M= I

Finger Patterns and II may appear in the same piece.

I
In most
cases, there is only one pattern for each string.

-25-
 chromatically.
Occasionally, the second finger may move

arrangements of melodies
Typical pieces for Stage Il are folk tunes, or
by famous composers.

moommolo IN MI MIT
NM IMO NMI MIMI= MI MB
III= immumasiiAIM :~1111IS
IMPOINVIIIII I
rooms= MN MI all= mew IM ERMA I
AIMS MEI IMMO MI NMI
1 MEM 1111111111111 sommolownor
m misariimrsammassommolemseor
IN MIN NMI Itommohdomemmoolon
vli ?MEM, 1016/NPININI MEW MAO

3.Sip.tk
I

AWNIAISAMIAMIMPIIMINIP11111111MIIMAIF
lb
dor wimeor Arm
MIMPT11111.4111 IIMIIMAIr IP 1M II NM II
JIM. INIF AEI MN MI Ilg4II" Wf MIN MEMMEMMbrAMOMM
Mi
nos
111-11=1-In
-- I

POINIKPIIMMINIMIIIMIILAIM
MI 'AMU NM
=I ..
f .,.
I AMP Ili W JIM -11.-AMININ i

STAGE II: SUGGESTIONS FOR COMPOSERS

Melodic Figures
A little more
Most students develop left hand speed gradually.
figures should be con-
fluency can be expected at this stage, but rapid
of
fined to one string. Do not ask for both change of pitch and change
bow on each note in a fast passage.
P 1!
)111101Die S uita ble
_..0 _ A
A
CIMIlr/: "...- 111111IM INA 1.7-.1 %...-Z 1 WININIrr 'SAM MIll-:....1
a 1111-111111MII1111 AIM= 21111111MMIIII =I
PW11110111/111111111111111111111=P71111O-1111WIPIMINIIIMI I
IlfIr M ALI Mr /V' IC AM 111Wg itamr Ilrir M Ir IIIII

if the fourth
Do not expect the same degree of agility and accuracy
practical for young play-
finger must be used. The example below is not
Open A cannot be
ers. The fourth finger must be placed too quickly.
substituted without distortion. (The open string will sound noticeably
louder.)

Too Difficult
 These notes can be played easily 1 2 3
with a different fingering. Unfortunately, igesimdelissass
immemaimipmwmus
most students are not accustomed to play- %7.71=,=11111Pir /Myr
ing in second position.
41/1/M...7 Ahdlr=l INg /IMO
-

Easy string crossings may be written more freely, making it pos-

sible to use more large melodic leaps. In most conventional student
pieces, melodic lines are predominantly conjuct. Larger intervals
are almost always chordal, outlining major or minor triads. The leap
of a seventh is rare. When it does appear, it is usually part of a
dominant seventh chord. For this reason, it is wise to consider in-
tonation problems when writing disjunct lines for beginners. Even the
youngest student can readily learn to recognize and adjust perfect oct-
aves and fourths from the open strings. In the following example, the
first interval sets the hand. Once the high A is in place, the other
notes are not difficult to find.

MEM
'WNW.

Finger Patterns

In writing music which combines the first two finger patterns, the
composer should remember that students have learned change of pattern
in the context of the key system. In reading the following example some
children may lower the second finger on the D string because they know
that E to F is a half-step. It is more likely that they will be told
to play Finger Pattern I on the G string and Finger Pattern II on the D
string, or that the half-steps will be marked. Of even more importance
is the probability that students will be able to adjust the F because
they are familiar with the sound of the major scale.

It is not realistic to depend entirely upon reading skills for the

correct placement of intervals at this level. Most teachers point out
the difference between F and F sharp, but the system is againstithem.
The beginner has no practical reason to observe key signatures as long
as he plays nothing but one pattern in first position. When only two
patterns are required it is still easier to play by ear or by relating
change of pattern to chanae of string. It is possible to follow the
latter method without st,,;ng in one key. For example, a piece might
be based upon the following:

-27-
 If more than one pattern is written for any one string the point of
change should be obvious and easily remembered. The end of a phrase, a
pause, or a change in dynamics, range, or figure may provide a musical land-
mark for change of pattern. Two other possibilities are suggested below.

Change of pattern in consistent order

Change in prominent place in phrase

own:eftsr um, msmr;idwim IME sal

AUMMIIMMAAWAPVE immIrrams-womsimmmiummaratum
//sa AMIN=mar glowirm,quar Imoommar
Ur' 111

Obviously, these suggestions apply also to pieces designed for rote

teaching. One might logically assume more facility in changing finger
patterns from children who are acquainted with notation, but at this par-
ticular stage the more highly developed ear may compensate for the inability
to read.

The Pogitions

If Finger Pattern II is written in second or third position, these

sequences are suggested:
Second Rm.
a 3 4

1'64 Po4ion
3

inibi
riff
17,11
41.

Perhaps it should be mentioned again that many teachers will not use
pieces for Str-ge II which are not confined to
first position, no matter how
well written. To understand the reading problems, compare the above se-
quences with the following, which comprise the total vocabulary of Stage 11

-28-
 in popular method books.

Finger Patterns I and II in first position

ci
ptr r
Orktri
$444-41-

4 -14 ird JJJJ ,AJT

Double-Notes

A few more double-notes may be written.

0 o 0
A 3
omilmiommiw mit ...rim

e INWWITIP111111111/111111'
MW 'r I1 MEM IMMI

In general, double-stops (both notes fingered) are too difficult.

One may be written occasionally if at least one finger is prepared.
In the following, both fingers are in place before the double-stop
must be played.

In double-stops the lower finger should be on the lower string.

A 3
3 1
2 end Aole sus ci easier-A". 1
&A*

String Crossing Figures

Repetitious string crossing figures may be written if the bowing

pattern remains the same throughout the passage. String crossings

-29--
are easier when the direction of the stroke is the same as the direction
of the crossing. The natural arm movement is from the lower to the
higher string on the down-bow, and the reverse on the up-bow. The follow-
ing patterns are suitable.

A) Ft 13 be Fl

11.1.11111
1111W MIN =ME
1111111191
N..11 a' =MN MINIUM/
yr MI11-14
I= MEW I= MN I IMMO= I
I

All four strings may be used in slurred string crossings. Bow direc-
tion must always be as shown.
j=c12-11g

B . ii
r41111MV,/ r if M II `\7Il I f. M lb ZWrf' W JIIM I
AMINffi-IMIIMIMII-MhlaMIMMEW/AIIMIUMI
I. .711 K 11Mr IMENIIMW AMIMMIMI1 ir ivil
viimmumAmlimiwoiaimmimrammi

Fast string crossing figures for three strings are more difficult.
If the arm moves quickly it is hard for the inexperienced player to
avoid striking the fourth string.

Chordal figures can be played without moving the fingers of the left
hand. Passages of this type should not be long. The left hand tires
easily when it is immobilized.

String crossing figures can combine an open string and fingered

notes. In an extended passage change of pitch is easier on the higher
string.
Jr144
II
A
1. Iimma,m4N-Na4liassr MIN MIME
IM =1IE.;! IN IMO M Me! I
I
A INI r Iv MI 11.11 MANSE
.71r
.wmigAMIMCIE =Immo
IMIIIIM111M111101
11Ma /" r imam/2=w
Elm EP MN
mi

Tivmolo

When children are allowed to explore the violin they almost invariably
discover tremolo. Naturally, it tends to get out of control. Ample time

-30-
must be allowed for coasting to a gradual stop. It is also necessary
to give the child a chance to place his bow before the passage starts
because tremolo must be played near the tip. Do not ask for precise
change of pitch and do not write extended passages. A child's arm tires
quickly. About eight beats (E) = 60) is probably the limit for
a con-
tinuous tremolo. A combination of glissando and tremolo will be greet-
ed with joy by students.

Harmonics

The following are possible for good students. The bow must move
very smoothly on harmonics. Long fast strokes are best.
3 s
9 3

Length

Pieces should be short, between one and two minutes on the aver-
age.
STAGE III: TECHNICAL LIMITATIONS

Bowing

New bowing technics are not likely to be added at this time.

Work will continue on basic strokes which have been introduced pre-
viously. A smooth whole bow stroke can be expected, but slow sus-
tained passages will be too difficult for most students if they are
prolonged.

Slightly longer slurs may be written occasionally if the notes

will be played quickly. It is more difficult to maintain an even tone
in Example B than in A, even if the bow moves at the same pace.

A.

Long slurs are particularly difficult for very young players.

It must be remembered that most children do not start with full size
instruments, and many are not able to reach the tip of even a short
bow.

Rhythmic Patterns

Rhythmic figures may be a little more complicated. Students will

be familiar with notation for more difficult subdivisions of the beat,
such
tu
Change of bow speed should be handled with more assurance by
students in Stage III, but bowing patterns should always be considered
when rhythmic groupings are difficult, or change frequently. Few
children will be able to play the following example well at this stage
n v n vn v v ri
M V
JId.1JJP n J. 1'
IJ)JJ 10
In the first two measures the down-bow must move more slowly than
the up-bow. In measures three and four this pattern is reversed. The
first bow stroke must be quick if there is to be sufficient length avail-
able for the dotted half note. Then the slow down-bow returns in the
fifth measure.

The example below is much easier. The fifth measure still re-
quires a slow down-bow, but it has not been preceded by the reverse
pattern

tILL v:
1JJJ ui

-32-
Change of Str'lz

Although the left hand should be fairly well controlled by now,

certain legato string crossings will still present problems. The in-
tervals most easily played in a smooth string crossing are those which
lie well as double-stops. At the moment of crossing both fingers must
be in place, as in playing double-stops.

To play , the left hand moves in this fashion:

NAM Mil
glAmmlim MEM Mil MO MIN
MI Et MT MI

The notes most easily played as double-stops (and in legato

change of string) conform to the shape of the hand. The fingers
of the violinist are not at right angles to the strings. The slant of
the hand, necessary because of the left arm position, makes some combi-
nations more comfortable than others. If all fingers are placed on dif-
ferent strings, the most natural position is:
Ka

1
For this reason, the easiest combinations for change of string
and for double-stops are those in which the lower finger is on the
lower string.

For example:
a it4

(In general, minor sixths are more easily played than major sixths.
The major sixth from third to fourth finger is difficult for many stu-
dents.)

Reverse combinations of first to third and first to second are not

too difficult.
5 10.3f2

First to fourth and second to third are possible at moderate

speed. Third to fourth should be avoided.
Po ssi
I A 3 di f 4
foo Nand
4- *
AVEMPOMMirAMIIMMAMIONWEr
MIONIIILUVAMMWMFAMOMP/MV
wr,

-33-
 Finger Patterns

In Stage III, the major technical advance is the expansion of read-

ing and playing skills through the addition and transposition of new finger
patterns.

In Finger Pattern III, the half-step lies between the third and fuurth
fingers. This sequence is taught in two forms designated Illa and Illb in
this guide. If students are using a clas,. 'hod, the following is usually
r

presented first.

Finger Pattern Illa

First Position
A

3C

In materials designed for violin only Illb may be taught before

Ma.
Finger Pattern Illb

A
MOM MO
roMlit a MI EMI
INIKW roz Wig
Ci ;MEI ME MOII. MI own.. 1771::"7''''2=1'

Finger Pattern Illa may be combined with Finger Pattern II, or Illb
with I. In either case, only one finger placement is altered by change of
pattern.

First Finger is Lowered

A 114,
J 1 filrf:"?

- 314 -
 Third Finger is Lowered

Finger Pattern IV (four whole steps) may also appear at this

time, but is rarely used in extended passages. The augmented fourth
from first to fourth finger and the major third from second to fourth
are difficult for children.

Finger Pattern IVa

Finger Pattern IVb

Positions

Once the first four basic finger patterns are learned in first
position, conventional teaching methods introduce change of position.
It is customary to start with third position in Finger Pattern III or
I.

Common sequences for first studies in third position

III.
1 .,
IA 3y f 2..31/ 1 2 3 Y
.

fr fr
e1,TITJJ
.1.1A

-35-
 First pleces usually remain in third position, or shift between first
and third position after an open string. Before long, students are ex-
pected to change position by step. Early shifts will not be legato, nor
will they be played quickly.

Vrif f
The first legato shifts from first to third position are usually
started with the first finger. It is easier to ascend from a lower to
a higher finger. In descending shifts the reverse is true.
2 1 3 4g 3

FIMM"-//KISiIIMMM AMEN
All1=011 =PIM 611/711011
r.ii11 IN /MIR MIMI
11

STAGE III: OUTLINE OF CONVENTIONAL TEACHING METHODS

Bowing patterns requiring strokes of varied speed are used more often.

JJJ.PpJell
J1J nlJelle1.
H ITy H
117:1J.

More difficult subdivisions of the beat are found.

13 T1
n
J n1J.r314-pitnJ7J1

-36-
 There are more frequent string crossings.

mos
t

AWNS al IIM WIWI or AEI if i I a AWN NM

dm. -.:., mew AAI = MEM
et)
I
I MI
-""
I
smarmanorrsimmwei
MAI1K MI AA
11 Fa
.
MA 11111 ME MC T AN I
1

MIMI
`4
r 1

Finger Pattern III is introduced. In most cases, no more than two pat-
terns are combined in one piece, and the change from
one pattern to
another is made by altering the placement of only one finger.

Patterns II and Illa. The first finger is lower on the A string.

IlLa

:1I IMINIMANIII/1110101
!Ar AI 7 AM WM= MINNIE
MP roma 11117IMPW/Mlia11111111
:1
row I= a am
a: arum= - ow IN=
rot NM
sa IMAA11,=Imml
imriar
z INIMdr NI I

Patterns I and Illb. The third finger is higher on the G string.

f
Alla TWAIN= MI IM =AM AM
WINIMAINI11 OIMAIIMt
ims Armor IOW MI
El MI IMAM AlIWAPP7::= MIMING IM I
gl siZUNIMINIIIWANI MIMI EMMONS ME MN =WEEMS IN MI
,7INMF 'MEW Al API" a W MEI. IMINO IP IN--
1

Some books include pieces in Patterns I, II and III.

I. MMIPP--..saMOZNIMMINE I/IMPPV MI NNW

Hamlet,

A WM= ;MPIWIN Al I 11;M11 MI MIT IIIW /10/71111111i1M1111111PT

IGI7rIll All A AMA AM AM ORME ARM 11"
*rgrammomm-mli ow. Wm
IA AIM AI WoZMAMN IA MIMI= EMI AEI IIMILAINI
smo.,:Ammilmemolismiummiwaram

b
min= im um I=
MA
IUIU IAA WM
iv 11111111111A PT la ad111111N-Allir Pr1MIN/71111r11.
=map irwir ar IN I= =II 111111111111 INEW-111111 111111M1 MA A Ell 1 ANI
I, 77 AKA 4 111111 AININfo NWT 111illf 1174Mb-.1111 I
111/:i NM MI=711 to/AMOI low"
IIIII

-37-
11

Finger Pattern IV is taught, but occurs infrequently in pieces.

Sttuil

MANI WoWMl WNW

wrAMIIIIIPIMITilmiNIMMI=Off AP

All finger patterns may be combined at this stage, but usually the
combinations described in this section and in Stage II (Finger Patterns
I and II) are found within a single passage.
acme&
a, "ii...immem fl MIMI= IWO 01 JMEI INV
MINEMM/==iniMili
A=IMPUI 111/9=IIMIN Ir MU AIW r
MINN MIME MEP I=P'
sp..

This is one of the more difficult passages for change of pattern found
in this stage. It is taken from a violin method used by private teachers.

W A Mozart

-38-
Conventional methods may introduce third position at this time.

fltini Pos.

0
rwimsa RUNK ImsWw0.lam mrg mums
a
ammorum
1MME
Aiwa. ammo =is ImmusIMI1=11111111MS/INNIMM111.
111NIM=NIMIN AMU MINI=111
INIIINON-:11NIMIN11111111111MIIMINIIIMI AM WIIIIII1111
V
STAGE III: SUGGESTIONS FOR COMPOSERS

String Crossing Figures

Students should be reasonably adept at crossing strings.

Figures involving two adjacent strings are easy to bow if the pat-
tern of string change remains constant and conforms-to the natural
direction of arm movement (see suggestions for Stage II). Additional
bowing figures possible at this stage are:

Nommi NM-
!MINN JIW iIM K
IIIMIIIIMIII1111111111M1111111=110101111
newor I111M
IL

Changes in pattern or direction in string crossing figures are too

difficult unless tempo is very slow.

Too many patterns. , lig III 1R

AIIMMIMENISrlIMUT
11111
110111PINII
111111111r Ilia111111111111
II I

One should be chosen for a short passage.

or or
9

nl
Too hard because arm direction changes in third measure.

11

MINII1611W-401.11INFAMIMIM
/4.11Mr_ 1==111111MIMIIIMINM 111111111=1=111111=11=1M
WI/ "Ill&e,r maim wr ACT MIMIllt JEW:. MIMIWar lIMINIUIW:
L

Suitable

-40-
 Figures for three or four strings jc132
should not be written unless notes are
slurred. The following is very hard,
even for a more advanced player.

J:13g
When slurred, the figure is much
imam NIMMWMi _mina
easier. Mi mom IN mie Mr= 1

AiiIIW JIM, HMI Ulf imp

vioraummossonsmurt

Both the highest and the lowest note should be repeated in

figures of this type.

ea3;er Aapt
a
TALI IW/M MMINNUM EMI MU
kill NM MUM NM
ATOM It JINNI JIM III JIMW.J1
=WIIt Al=MI
WAN Ir.=
rammommonaussim IM NMI MI= ISM

IS nMe4 44/ fp%

I thag 1 A 1
WIMP% 1011 MEI NEM /AM NM III 11111111.1111Ka MIME
/MEIN'
41111411111 /IRE IN 1, L1f .1 IN MI r a CAI
MIA i UM IN MI KV ma
rsarrarr1111-/PINIVM 1=1.1 MIMIIW' MI IP MIMI"
Pitch Notation

When students have learned the first four finger patterns

they are able to play tones of any pitch in first position. In
addition to the natural notes, they should be able to read the
following:

They will probably be taught:" #e

The notes below are unfamiliar to most elementary students.

They should not be written frequently in compositions for the
average student.

ENIrry,r
alswop' PM if &A INIM NMI
II Eh MI MI MI
r Auras =I

Combination of Finger Patterns

Although most children read music fairly well by the time they
reach Stage III, frequent changes of finger pattern are likely to
cause difficulties, especially in unfamiliar musical idioms. In-
tonation will be more secure if new demands upon the traditionally
trained ear are balanced by a limited number of left hand adjustments.

As long as the outer fingers A

remain in position over the finger-
board, change of pattern is relatively
easy, at this stage of advancement. For
example, these notes are played on the
same place on each string.

41
4 1

-42-
 Within the hand span of a perfect fourth,
three patterns are possible, at this time.

When the first and fourth fingers

fall in the same place on each string,
moving directly across by perfect fifth,
they keep the hand n place, serving as
fixed outer boundaries. Inside this
frame, the second or third finger may
move a half-step up or down without
disturbing the t.)tal placement of the
hand.

The easiest combinations of finger patterns are those in which

the first and fourth fingers are in the same place on each string.

or..wrarrummumenmmowsor
VI 'MO MN MN MN Mr
moosums
r Second Finger is Lowered

1111111111111MMINI111111111311M111111MI
1111131111111
._
OMNI NM NM MIMI M1111 MAN MIME

itrOif Third Finger is Raised

nvnsposition of Finger Patterno

If patterns are transposed a half-step lower, the first and fourth

fingers are on:

With the addition of open strings, Finger Pattern I becomes:

It may be combined with Finger Pattern lila.

 Transposition of Finger PatternlJoes not create exceptionally
difficult technical problems, but because conventional methods
avoid flat keys the notation is likely to cause consternation.

Finger Pattern II should not be transposed a half-step lower.

The left hand is too cramped in this position.

Change of First Finger PZacement

When the first finger changes position intonation may suffer.

This apparently innocent example contains a notorious trap for
the inexperienced.

dr 4111
AIM J1/1111 II MIEN III MI MI MN
W &IN =I i AMIN MINIM

If the F is low enough (highly unlikely), the A will probably

be flat. The change of finger pattern here is from II to Illa.

,9

This combination can be used, but discretion is

recommended in
approaching the lowered first finger, particularly
on the E string
where it is difficult to maintain the correct hand position.
In
either of the following, the student is
more likely to play what is
written because he has time to pull his first finger back.

i A) CO
WIN/811 IOW IMM" -WI IYMIIIN 1111'11MO -MU AM MN - AM I
411111111 Mr MP1 MP/1111 MEM MO
IIPT.MIIIMIIsiINIONIMMINII I /AIM dlt MITZI 'AM MIUMIIIMMIN In MI =I I
IN MN= =I I lasu III MI AM =I NIMMIIIIIIMII NM I
I 01 MI IN lig
Change of Finger Patterns

In writing for students, the composer must determine the

feasibility of changing patterns and strings in each individual
passage. if speed is expected figures should remain in one finger
pattern. An open string will greatly facilitate a rapid string
crossing.

r1

;1;0'4
UNINI11
NMI
*UM= PiC moopmenmolwarrif
r.alallIMINEA
ear Amm mcvmmimmi Urm
IOW MIM NM woo
MN. EOM 41,
INNI:

In general, intonation will be better if no more than two

finger patterns are used in a short piece. Longer pieces may
change combinations at the end of a section.

The Positions

One of the most common weaknesses in pieces designed for

first position is the inclusion of melodic figures which lie in
the Proper range but cannot be played musically without change of
position. Frequent change of string can distort a legato phrase.
Even a more advanced player would find it difficult to keep the
following from sounding choppy.

E and A strings

The phrase can be played smoothly in third position.

Third Posi.tion
A string only

-146-
 In the following example it is impossible to play the last two
notes legato in first position because they do not lie on adjacent
strings.

A shift to third position will solve the problem, but a

student needs more time. The example below is suitable for Stage III.

0 2 )2. / I

Most children will be given some training in third position

during this period of instruction, but very few will be able to
change positions with agility. Shifting technics are difficult to
master. Early attempts may be very wide of the mark. Intonation,
insecure in the best of circumstances, will be extremely dubious in
unfamiliar musical idioms unless shifts are planned with care. Com-
posers should decide which position is appropriate for each figure,
or phrase, and be sure that it is possible fpr the student to be in
that position at the proper time. It is atWisable to continue to
follow the suggestions given in Stage for suitable shifts.
I

An additional possibility is a iequential use of one finger pattern

in three positions. (It should be noted that children who are be-
ginning the study of the positions at this time will probably not
be familiar with the second position. The following examples are
more suitable for those who were taught change of position in an
earlier stage.)

11,
3 a 1 2 1 2
ammimpurommwm mmampuimm.
A =MIAMI MI= AM"! IN= wt-raimbamulsorminff-awaur willowy rum Ma IL711
Nidr Laimaa.:Arsimasi.timm.
Mir IN I I In Iff AO ' 7 WAII AP MAN r ALMA 11111Asi MrAll
IFAIIP4MWEL/f T JIt iiI1111 IA WA. NMI III MI IBM NI UM MN
Lam IA MI IN IIII MINIM NM 11111E vo!!:
II MI ligj mo

One or two notes may be written in fourth or fifth position

for a special effect.

First Position Fifth Position (A String)

3

-47-
 Whenever a student is asked to shift from one position to another,
he should be given time to make the move and an aural point of reference
for the pitch of the new note.

On nearly every page of this guide the word "pattern" occurs, like
a persistent leitmotif. It can hardly be avoided in a discussion of
this nature since children learn to play the violin through the study
of patterns, aural and physical. It is particularly important that
the composer of music for beginners understands how this is accomplished
because the stringed instruments require entirely different right and
left hand technics. The child must learn to control two patterns of
motion simultaneously. At first, of course, he turns his attention
from one to the other. Many of the suggestions in the preceeding pages
are specific instructions for giving him a chance to do this. Elementary
students should not be given more than one new or difficult problem at
a time. If the bowing is hard, the left hand figures should be simple.
If the rhythm is more complicated than usual, the easier bow strokes
should be used. As every musician knows, patterns learned through repetition
become habitual, forming the basis for instrumental technic.

Most effective pieces for students are simply constructed. The re-
peated phrases of the folk song and 18th century dance forms are very
practical for teaching purposes. Repetition and sequence are not
characteristic of much 20th century music, but it is hard to imagine how
they can be avoided in music for young children. The inexperienced
player is not capable of rapid and frequent change, musical or technical.
On the other hand, he can play more varied music than he is usually
given. Any set of skills, or any pattern, has many possible applications.

Each finger pattern, for example, can be played on all four strings
as soon as it is learned on one. It can also be played in the first three
positions, if the teacher is adventurous enough to let the child try. By
taking a sequence of notes which lie within the hand span and changing
strings, order, and rhythm, a reasonable amount of variety can be achieved
in the earliest pieces.

Bowing patterns are quickly learned. Once established, they can be

maintained against shifting accents or groupings in the accompaniment. A
pattern may also be continued through change of meter.

fr J. JJ1c1. JJ1kitti. p cL lid LIJJJ J

-148-
 One last recommendation: exploit the open strings. They can
be inserted nearly anywhere to provide time for a shift, string
crossing, or a difficult change of pitch. Because the open strings
are the most resonant notes on the instrument, they are useful for
accents, especially when unaccented notes lie on a lower string.
The open E always sounds brilliant, even in the hands of a beginner.

Finally, the composer who does not play the violin himself
needs a good editor. Many technical difficulties can be eliminated
by the smallest of changes - a brief rest, a slur, the omission of
an eighth note. If a violin teacher is not available, any young
student will do. He may not be able to suggest solutions for
awkward passages, but he will expose them with the utmost clarity.

FINIS

-49- .
 COMPOSERS GUIDE FOR WRITING VIOLIN MUSIC FOR CHILDREN

INDEX
Page

Foreword 2
Introduction 3
Stage I: Technical Limintations 5
Bowing 5
Rhythmic Patterns 5
Intonation 6
Finger Patterns 6
The Positions 8
Change of String 11
Stage I: Outline of Conventional Teaching Methods 11

Stage I: Suggestions for Composers 12

Rhythm 12
Meter i3
Tonality 13
Finger Patterns 13
Double-Notes 15
String Crossing Figures 16
Violinistic Effects i7
Change of Tempo and Dynamics 18
Vibrato i8
Length 18
Stage II: Technical Limitations 19
Bowing 19
Rhythmic Patterns 20
Change of String 21
Fourth Finger 22
Finger Patterns 23
Stage II: Outline of Conventional Teaching Methods 25
Stage II: Suggestions for Composers 26
Melodic Figures 26
Finger Patterns 27
The Positions 28
Double-Notes 29
String Crossing Figures 29
Tremolo 30
Harmonics
Length 31
Stage III: Technical Limitations 32
Bowing 32
Rhythmic Patterns 32
Change of String 33
Finger Patterns 34
Positions 35
Stage III: Outline of Conventional Teaching Methods 36
Stage III: Suggestions for Composers 4o
String Crossing Figures 40
Pitch Notation 42
Combination of Finger Patterns 42
Transposition of Finger Patterns 44
Change of First Finger Placement 45
Change of Finger Patterns 46
The Positions 46

50
 Appendix B

SUPPLEMENT
TO

COMPOSERS GUIDE
for writing

VIOLIN MUSIC FOR CHILDREN

by mhrgaret Parish

UNIVERSITY OF ILLINOIS STRING RESEARCH PROJECT

Fdul Ratand, Direotor

1988
 SUPPLEMENT TO COMPOSERS GUIDE

The Composers Guide was given to six composers for trial and evaluation.
Each was asked to write a group of pieces expressly for students in the
stages of advancement described in the Guide. The Supplement is based upon
a study of these compositions. The first section contains additional
technical information. In the second part, examples from the music written
for the project illustrate a variety of solutions to the problems of
writing string music for children.

PART I: TECHNICAL INFORMATION

Finger Patterns for the Cello

Finger Patterns and II are easily played on the cello.

I Because the
left hand remains in the same position on the fingerboard for both, music
which combines the first two patterns is not difficult for the beginner.

Fula!: Mut/ I 4
I 3 4 0 3 4 o 1 3
3

FIsigit PoittERN

Finger Patterns Ilia and Illb are played in extended position. Long
passages in Finger Pattern III are not suitable for beginning cellists. The
stretch from first to second finger is tiring for young hands.

Fiksit a Patiasts III a 4 0 4

0 I 1 4 $ s 4

61

TiotlEtt Pattatto UI b
I 2. 4 0
zA I Z 4

-4

52
String Crossing Figures for the Cello

Because of the position of the instrument, the natural bow direction

of the cellist is the reverse of the violinist. The cellist moves more
easily from higher to lower strings on the down-bow. This is particularly
important in slurred passages.

ri
ri
or'N OrN

-0-

Change of String

Simple figures which are easily played by the advanced performer may
lie awkwardly for the beginner who is confined to one position. Rapid
changes back and forth between two strings are audible and should be avoided
unless the sound of the crossings is musically desirable. In the following
example, string crossings make the second measure sound quite different
from the first.

If one note of a phrase is played on a different string it is almost

certain to be conspicuous. In Example A, change to the E string contributes
to the sense of the passage. In Example B it disturbs the phrasing.

Two slurred notes a step apart usually sound better on one string. In
first position the violinist may avoid awkward crossings by substituting the
fourth finger for the open string, but this is not possible for the cellist.
In Example D below, change of string and timbre will break the cello
slur from the stopped G to the more resonant open A.

$xNi / 4 3 4 'Poor
4 o

ct n n r [1. Lf9

53
 3

Diminished Fifth

The interval of the diminished fifth requires unconventional fingering

It is not difficult for
students who are accustomed to
on the violin. and handled with
change of finger pattern, but should be avoided in Stage
I

Example A should not present an unreasonable problem at

care in Stage II.
trouble. The G may be played
a moderate tempo. Example B is likely to give the hand must be
with the third or the fourth finger but, in either case,
opened quickly if the second F sharp is to be in tune.
(44)
Possi bit mart Di 44 iculf

with normal fingering

On the cello the same passage is easily played taken with
(Example C). Example D is not suitabie. The E and F may be
be played with the fourth
the second and third fingers, but the G cannot
finger without shifting. D Tao Difficult
2
C Equi 4 -
isr.--..Arszoom

Double-Notes, Stage III

Example
Passages of sustained double-notes should.be carefully planned.
The change from one pair of strings to another
A is suitable for Stage III.
makes Example B more difficult. Example C requires more control than can
is
be expected of elementary students. A fairly advanced bow technic
strings.
needed to play double-notes softly with an even pressure on both
inexperienced player to move smoothly from
It is difficult, also, for the
and to make a
one string to two at the beginning of the second measure

,
legato crossing to the A and D strings without playing more loudly (measure
3). The passage ends with a unison, the most difficult of all intervals to
play in tune.
R SutigbIE
s qt 41.
stj A ei-47j -4n
r r 1
Posbit

I.
f
C lOo Difficult
;Um:1k)
f
1 * II= AMIN
4/111.11111
i

MMILIMEM limmvai'moimAsurAiiiiimbilimmimm.
mom 1111=41/INIMIIMIIIM 4. .JEMPPMEMMMINi
mon
Onim MOM 11=1 JIM dPITNIMPRIMMIM0BONMI
;MEW . To MINI I
no w IIM= MIMI

54
 PART II: EXAMPLES FROM COMPOSITIONS WRITTEN FOR THE PROJECT*

These excerpts have been chosen to illustrate a variety of solutions

to the problems of writing within the limitations recommended in the
Composers Guide.

Finger Patterns

A number of composers confined entire pieces t o the notes of one finger

pattern. The following are all in Finger Pattern I .

(1) a 64 I. Mmrch RANfith ShFlpEli

V1N.

Deigchi

Vim

In/ DE lechi

2ello

Dthicht
V
.,
imr c MIN
ri 0
.
n0
,

ItarMINI1111
It r i A
_

7. A '------it: --I! -110-----1----

* Air =.141A14 voicE bl qlph SIncl 196%

*For copyright information see Appendix F.

55
I
dII
 I; Musical Gam oC 1.141
A1tilro = 92 t.y RichArd WEr14ick, 06e
inP --
I we EN .
at. .
an Imo
NNW. I I M I 6 11MM I' '1 III 11. I IN
a 11
.
MIMI IIM-Jrn
:Ammo
, Iff MMINO IMML.7. ,
IMMO ...111i '111111UlaiKIMMIS NMI MEW MIMS -ANIIII
0 WMICTIOMS.
, AB

. . lIl
I pill/
I
I MISMIN
1 al. ' MI / MIMS atiMMO I
as teq io .
m as possi ble Ort0 V
fit
I
# vow rt
I
Iii...... /
1111111/ INLa 1111L"11111=11M 11,111
NI I 111MMaINIEL-AMINNI In
EMU I 1111=111111 lia-.
Ial . . VIM OEM= MI =MI O1111111/MMIMMIO-1Mi.2II INEMI WI 11In1111111/
VI OM
I

lin"111/1/ 11111111M W

0 iz air C O
p11.1 .
. . M V +
=IP MIEIMtai
111111112111111111
.
'IMMUNE' e
tr

.. ,.. .
mom:
. SCAM - ..._ IIIIIIIINVI W,1MIM/A
INNIEL-Mi a AINEMINIC7M.
NIMI
g MM. UM.
.

ono
IM
Mir .
1
. JO --- 1

I
EN L lb
I

INOW.M-"MMMIMMMIIAIII
MS 111WW
Mr . NNIMINLI IF
I

Il "A!'
I

ME L. s I

11 the following only one finger changes position.

Llkb9
FitldFiNt E Solo VioliN Seriogr S,4ifria, /?6e

. 57
 Olb

" BA
r. IFLTNIVA Fa...;
R
1\R

h.,,,,y
br
EN/

....--
belim
*
v.(

.)
= Plgy

110- ior
(32
the
as

0.

soca
you

.
Se%.jrnou.r

Sli(rit.4

,1168
 Change of Striu

These passages, exploiting frequent change of string, lie well for the
violin.

RALPH SHOP t(t6L

=1-1.11i1

--Ar mmosicADAD:=mie.Izmi
fwiam7=..

Flak sty Ste ve* 4,

me.
4

1.4v.

C.110

&rm.

59
 String Crossing Figures

The following can be played easily by beginners.

PE r Elk's MARC s
Rtchoct. vietnicK

rs
rit rt
4;
IIII/4 NNW
IN L. allVi
MO waif/

_.

INN 3//l1
n y
WI MILO -
IV 14 %WA
1111L,7,III 4.4.

J J

60
 b.

MARCI-1
R4P1.1 SgA Pgy t 846is

cett't

61
 Double-Notes

Many of the composers used easy double-notes. In the two examples

below, the resonance of the open strings is effective.

IAR Du ds
+OR ViCilit4 Flu d CEllo
HRISE4 SEVEP4S sog

I IV FINNITIMEMINEW Mr f

..*
buel 4or Vtoi 141 likka Colo

c 144 1:11cm Shu twutig.1167

AC

fl4fl

62
 V

0
.
Ga .EI 1111
MI JR/Mr
le /PAM iiM - MK i AN
MI
.11111M= MI MK ' INN
11111
JI= MI IMM1" IMP" SEW' 1W le
eoitt; vt.44 e 4 p /I. '

.1

IN

Instrumental Effects

Inventive composers find many ways to add color.

The first example, by Richard Wernick, is a canon for three violins

to be played solely on open strings. Entrances are marked (2) and (3).

liou Can't Catch Me

CRNOKI {on ihRi pIRti-Erts
IRlicHARd WERmiCk, lemg
Jr (Do
gRco (2) col leimbomfulo'
rel

(3) pizz.
fingErw
Ili WIN INNEL'I
.10 'ION= 1111. =EWA=
mwsmEmmilmaammmr mowmilm
111 VIM

63
 Mak
I)
,
101
,4!)091
 IMO
N.
I
a
i
011
 1-E-o/5
19,09
Lr,
co
L.r=
c\I

c)
7 c..

Appendix C

Pieces Written for the Project

by

William Mullen
 t
gll
/ 1A g 7/d r ,-
usimmaewsma.,
a
.s
DYNAIIICS
RECE It 2 .
-rnaLLEA/

Mar Allor /NW lor:_al !MEM NM= IMINIIMIL7= "1Ir

ommoomr-i=7111:rmoo 'mating' NrAmirion
"W" ^.1=
411111=111' MEI AMY AM ANNIE MEW+ Aim= swam I
NIGIEW MINIIMIraWI
2. alb

Ie ENE 11=11
1=1111,1=1 =Min NM 1_411:3M PM IMO CIIIMIII11110
LIU /MI
=1=111 I Inn G NNE MIN 111111WILIM PIN MI NM
MEE IIIMMII VANN= NMI
ileRFUM
- BMW' 1E70 7..1 M11 Ill MI La' 111.CIFI
*

yo p
V/04A
124110 Ire riff
IMILII11 JIMMilaNI// 11=1W1NV7I
W 11111 =II 1 L MI .11L71
W..71=1 I
A11121 MON
.11.
IIIP 11.111/11WINNIII
>
fr 7,3 Pf

C&:41.0
INV' AMMO -
aarmas =Mr Mir MEW all w7-ormr_Ar."1.oroomm Ir NW' L1111M, "
ZAMMIr,'W-mI 01.
4..1M4
oromonmood am, NI 1111 MUNI MI .-411111M111
smor;:=r,
NM 141.11Ind UMW IF" MC diall71E111.4 moor um 71/1117111
ifrawar =sr Emir. morgami I INILINNI WIN MEE moonorm mom wr mocimmtt
Now war Mr Mir
11111111111~
fr
)9
 Y Zpos BLE SroPs
Ps.eceThree . u Lcii

Wi
111111111116.1111113

goy rif `Air>"4"1",ri

I
w. t ammo.
//111.171r7=.
=lit NEI 11111
Min MOW =imam IIM_J1111 MIK -III1 .1= 11111111.11111.
LIMIntalliMill111111111111
/2= deg .=WIWAMIX.11.1

v CASCO
rr rr
o /6
roma
BIM
LIIA:
milia-dwwwi vir
MOM trAll=111
am ammo= I *
MN MO INIIIIIIIININI I MIMI II I.
i mil Jr- Nor t Mr -, =NW, 11111111Mniamwswamammi a in 1 =II = 171.666mum5,1WW,M=
I )IIIIII MIN IIMIMMI Ma MIIII NIMIII MIN MI= I
ILIBW.111=1111111to IMIIMIllallING/ 0-111Cr MIN I 11111111wwitmlisr.misr- mg

R.1.4 z0e, aiare dsa Am& .4".1,

 Vshy.

iId ot ,
__LL4C
t.,,,_.____i5
?IA
__31:_____....___, 1. , -r 0
\*........ r %,.......
--...e. \.....-0
, NM
.
1

....,
PCV. ZrqP If
I ___1
_

0 6 1 1

A
IIIWI
,

k ,
-7 I=
MO _.t.-v_t!,,,,_____4,-;- _f, WIIII ,
,,

I
--e'L
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Appendix D

Instructions Given to the Teachers

Who Agreed to Test the Pieces Written

by William Mullen
Contemporary Music for Students

University of Illinois String Research Project

The ultimate purpose of this project is the development of a plan for

the composition and use of contemporary music for string students.
We hope to assist the composer by providing a detailed description of
the technical capabilities of students in the early stages of
instruction. We are equally concerned with the problems of teaching
the contemporary idiom. We want to know if an unfamiliar musical
style presents serious difficulties. Can students apply instru-
mental skills to either contemporary or traditional compositions with
equal facility?

In order to explore this question, we have asked you to try a few

new pieces. Follow your customary procedures in teaching these
pieces in either private or class lessons to students at the proper
stage of advancement. Please record the response to each piece
tested. We need to know:

1. Did the student have any unusual difficulty in learning

the piece? If so, what was the problem? Rhythm?
Intonation? Memory?

2. Did the student like the piece? At once? After becoming

familiar with it?

3. Did the student indicate any reason for either a positive

or a negative reaction?

4. What other pieces did the student learn at about the

same time? Were they easier to teach? If so, why?

Any additional comments are most welcome.

79
 -w 17-E-015
ffi

Appendix F

Copyright information
Permission to reproduce this copyrighted material has been granted by
Herbert Bielawa, Ralph Shapey, Halsey Stevens, Seymour Shifrin, Alan
Shulman, and Richard Wernick to the Educational Research- Information
Center (ERIC) and to the organization operating under contract with
the Office of Education to reproduce ERIC documents by means of
microfiche or facsimile hard copy, but this right is not conferred
to any user of ERIC materials. Reproduction by users of any copy-
righted material contained in documents disseminated through the
ERIC system requires permission of the copyright owner.
 COPYRIGHT INFORMATION

The following works, commissioned by this project, are included in

this report:

Reprinted from FOUR LEGENDS by Herbert Bielawa, owner of copyright,

copyrighted 1967.

Reprinted from FIDDLE-FLING by Herbert Bielawa, owner of copyright,

copyrighted 1967.

Reprinted from THREE CONCERT PIECES FOR YOUNG PLAYERS by Ralph Shapey,
owner of copyright, copyrighted 1968.

Reprinted from PLAY FOR THE YOUNG by Seymour Shifrin, owner of copy-
right, copyrighted 1968.

Reprinted from DUETTINO by Seymour Shifrin, owner of copyright,

copyrighted 1968.

Reprinted from LULLABY by Seymour Shifrin, owner of copyright,

copyrighted 1968.

Reprinted from DUET FOR VIOLIN AND CELLO by Alan Shulman, owner of
copyright, copyrighted 1967.

Reprinted from STUDY IN FIFTHS - STRING TRIO by Alan Shulman, owner

of copyright, copyrighted 1967.

Reprinted from THEME AND VARIATIONS by Alan Shulman, owner of

copyright, copyrighted 1967.

Reprinted from FOUR DUETS FOR VIOLIN AND CELLO by Halsey Stevens,
owner of copyright, copyrighted 1968.

Reprinted from BICINIA FOR TWO VIOLINS by Halsey Stevens, owner

of copyright, copyrighted 1968.

Reprinted from YOU CAN'T CATCH ME by Richard Wernick, owner of

copyright, copyrighted 1968.

Reprinted from PETER's MARCH by Richard Wernick, owner of copy-

right, copyrighted 1968.

Reprinted from A MUSICAL GAME OF TAG by Richard Wernick, owner of

copyright, copyrighted 1968.
APPEND IX E

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AL:DOSS, 2011 WALNUT STREET
PFALAnELPHIA. PENNA. 19103
No. IC7