String Explorer Covers 4i256i

Andrew Dabczynski • Richard Meyer • Bob Phillips See Inside for a Chart of the Sequential Introduction of Musical Concepts Treat your students to an unforgettable journey through string playing with String Explorer, the exciting new string method from Highland/Etling by renowned string pedagogues and authors Andrew Dabczynski, Richard Meyer and Bob Phillips. With a unique, full-color look and approach, String Explorer is sure to motivate both students and teachers in any group or individual setting! adventurers and tour guides Arco Dakota and Rosalyn Le Bow as they guide your students along the path to successful string playing.

String Explorer has been thoroughly field-tested and represents the best of contemporary and traditional teaching practices. Each lesson first addresses a new right-hand technique, then a new left-hand technique, and then culminates in a “Putting It Together” section that uses classics, folk songs and original pieces to combine and reinforce the newly learned skills. Along the way your students will enjoy learning and performing four concert-appropriate ensemble pieces representing the four major time periods of music. Five Activity Pages provide playing and written exercises that focus on composition, improvisation, music theory, ear training, and world music. A thoughtfully produced and comprehensive course of study, String Explorer meets and exceeds the USA National Standards for Music Education. You’re also sure to love the String Explorer Orchestra Series—an expertly written series of works for string orchestra that correlates with specific pages from String Explorer. Concert planning has never been so easy!

Instrumentation Violin Viola Cello Bass

Additional Materials Piano Accompaniments 2-CD Set Conductor’s Score with CD Teacher’s Resource Kit

The Teacher’s Resource Kit includes special assessment materials for student testing, reproducible music theory and composer worksheets, sample letters to parents, rhythm flash cards and more. The Conductor’s Score contains a wealth of helpful hints and suggestions, in an easy-to-use format.

Cello Book (page 36) A series of clearly presented color photographs illustrate proper bow hold and initial instrument set-up.

1

Sequential instruction separately addresses right and left hand challenges unique to cello

2

Special emphasis on lower string issues

3

Basic introduction to fourth-finger extensions included as a "Future Frontiers" subject near the end of Book 1

4

Culminating "grand solo" specifically for cellists

Bass Book (page 18) Clearly presented color photographs illustrate proper position for both French and German bow, as well as for both standing and sitting posture

1

Sequential instruction that separately addresses right and left hand challenges unique to bass

2

Early, non-intimidating presentation of shifting process eliminates unnecessary octave displacements and other awkward musical issues

3

Special emphasis on upper-string tone production before introduction of lower strings

4

Culminating "grand solo" and jazz "walking bass" solo specifically for bassists

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5

Violin Book (page 22)

EXPLORING THE BAROQUE ERA The term Baroque is used to describe music written from approximately 1575 to 1750. The word originally applied to richly ornamented architecture of that time, and Baroque music may be said to be similarly fancy and elaborate. Bach, Handel, Vivaldi and Corelli are known for the string music they composed during the Baroque era.

Four full-performance pieces represent the Baroque, Classical, Romantic and Contemporary eras

BAROQUE 1575–1750

CLASSICAL 1750–1820

1600

ROMANTIC 1820–1900

Brandenburg Concerto No.5 1800 written in 1721

1700

1900

Brandenburg Concerto No. 5

1

Each performance piece begins with a synopsis of the period and how it relates to world history, and the most popular composers of the time

2

A marker shows where the piece fits in on a music history timeline

3

All pieces are arranged by renowned composer, Richard Meyer

Melody

A Melody part and an Accompaniment part are provided for each performance piece

Johann Sebastian Bach (1685–1750) Arr. R. Meyer

Allegro

# œ œ œ œ œ œ œ œ Œ & # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœœœœœ f 9 # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ ˙ Ó & 2

3

7

6

# & # Œ œ œ œ

4

5

8

10

Œ œ œ œ

˙ ˙ œ œ œ œ œ œ œ œ œ œ ˙ ˙ 19 ## Œ œ œ œ œ œ œ œ œœ œ œ œ œœ œ Œ œ œ & œ œ œ œ œ œ œ œ œ œ œœœœ ## œ œ œ œ ˙ œ Ó & œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ 11

12

13

14

18

17

4

CONTEMPORARY 1900–Present

15

20

24

23

16

21

25

22

26

27

Accompaniment

# & # 44 œ œ œ œ f Allegro

&

##

6

2

11

17

12

18

14

15

20

œ œ œ 24

23

22

13

œ œ œ

œ

4

8

œ œ œ œ œ œ œ œ œ

# & # œ œ œ ## & ˙ œ œ # & # œ œ œ

œ œ Œ œ œ Œ Ó .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ œ ˙ ˙ 19 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

œ œ œ œ œ œ œ œ œ œ œ œ

9

7

œ

21

25

26

œ œ œ œ Œ œ œ œ 16

˙ œ œ œ œ Œ œ œ

22

Ó

27

œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ

5

10

˙

Violin Book (page 29) Five Activity Pages of playing and written exercises focus on music theory, ear training, composition, improvisation, and world music

Exploring Music Theory

Complete the melody below. You may add only one note to each measure. Use the note printed above the staff. Then play the melody.

# & # 43 œ œ

Exploring Ear Training

D

˙

A

B

2

These activities reinforce previously learned concepts and tie in with curriculum from other classes

Exploring Composition

A brief introduction to vibrato follows a section exploring the blues

4

A solo with piano accompaniment is provided for each instrument String Explorer meets and exceeds the USA National Standards for Music Education and most State Standards

œ

E

D

Œ

œœœœ ˙

, # 4 & #4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œŒ 0

0

Contrary motion refers to two melodies moving in opposite directions. When one goes up the scale, the other goes down and vice-versa.

The bottom part of this duet moves in contrary motion to the top part. Can you complete it? Then, with a friend, play this contrary-motion duet. a.

3

F#

G

Try playing “Ode to Joy” using only your first finger. Have fun sliding up and down the D string. 0

1

œ.

A

œ

b.

# & 44 œ œ œ œ œ œ ˙ # & 44 œœ

Exploring Improvisation

œœ˙

0

0

œœ˙

˙ ˙

˙ Ó

œœ˙

˙ ˙

˙

œœœœ œœ˙

Ó

œœœœ ˙ ˙

œœ

This is a pentatonic scale:

& œ œ #œ œ œ œ 2.

.. ˙ .

1. Write the pitch names under the notes. 2. Using pitches from the pentatonic scale, improvise a melody using the rhythm provided. 3. Try changing the order of pitches when you repeat.

The erhu is a two-string Chinese fiddle with a long and rich heritage. The hair of the bow actually es between the two strings, so it is always attached to the fiddle. The following tune is a piece based on a poem written by the renowned poet Li Bai of the Tang Dynasty.

Reminiscence of Lady Quin Er Andante , #

& 44

# & 44

œœœœ ˙ ˙

1. 3 & 4 œ œ œ œ œ œ œ œ œ ˙.

Exploring World Music

#4 & 4œ œ ˙

0

˙ ˙ p

˙. Œ

˙ ˙ p

, ˙ . Œ .. œ œ œ œ œ œ ˙ p

, 2. . ˙ ˙ . œ œ ˙.

1.

Learn to play “Reminiscence of Lady Quin Er” on your violin. Try to play it while holding your violin vertically on your lap, as an erhu performer would.

4

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29

Violin Book 1 (pages 16–17)

1

3

Right-hand bowing techniques are practiced alone first

4

Right- and left-hand concepts are combined in culminating exercises

Rosalyn Le Bow explains and defines various elements and regularly encourages students to perform a “Hot Shot Challenge”

Putting It Together

6 Eighth notes

œœ

Ready, set, BOW!

1.

Eighth Notes

∑ ..

2.

First and second endings

∑

One-half beat each œœ =œ

Check Yourself: ✔ Bow is parallel to the bridge ✔ Right thumb is relaxed and bent ✔ Violin is up and over

Climbing the Steps

, œ œ œ œ œ Œ œ œ #œ œ

Practice: 1. Clap 2. Sing 3. Pizz.

Play the first ending the first time through. After repeating the music, skip the first ending and play the second ending.

& 44 œ œ # œ œ

64

, 2. Œ .. œ œ œ œ Œ œœœœœ œ

1.

Running Ponies on the Staff

, , & 44 œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ Œ # œ œ œ œ œ œ œ œ œ œ Œ

Practice: 1. Clap 2. Pizz. 3. Arco 55

1 +2 + 3+4 +

Oats, Peas and Beans

& 44 # œ œ œ œ œ œ

65

1+2+3+4 +

& #œ œ œ Œ

Pony Runs Back

& 44 œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ # œ œ œ œ Œ œ œ œ œ œ œ # œ œ œ œ Œ 1 + 2 +3 + 4 + 1 + 2 +3 + 4 + Two Endings , , 2. 1. 57 & 44 œ œ œ œ œ œ œ œ œ œ œ Œ # œ œ œ œ œ œ œ œ œ œ œ Œ .. œ œ œ œ œ œ 56

1 + 2 + 3 +4 +

You

58

=œœœœ) , 2. , 1. & 44 œ œ œ œ œ œ œ œ œ œ œ œ # œ Œ œ œ œ œ # œ œ œ œ œ œ œ Œ .. # œ œ œ œ œ Œ

3

& œ

Open A string

G on the D String, Open A

G (D string)

D string

Exploring G

, , , & 44 œ œ # œ Œ œ œ œ Œ œ # œ œ œ œ œ œ Œ..

Practice: 1. Pizz. 2. Arco 59

3

œ

G

A

F# G

A

, , 4 & 4 œ œ #œ œ œ œ œ Œ œ œ œ œ œ œ œ Œ #œ œ œ œ #œ œ œ œ œ œ#œ œ œ œ œ Œ

67

, & 44 # œ œ œ Œ œ œ œ Œ # œ œ œ œ œ œ œ Œ œ œ œ œ # œ œ œ œ œ œ œ œ # œ œ œ Œ 1

2

1

2

& 44 œ # œ œ œ # œ œ œ œ œ Œ œ œ œ œ # œ Œ œ # œ œ œ # œ œ œ œ œ œ Œ œ # œ œ œ Œ

Lake Shore Limited

2

63

3

œ œ œ œ œ #œ Oats and peas and beans and

#œ œ œ œ œ œ

Oats and peas and beans and

American Folk Song , œ œ œ Œ bar - ley

grow!

œ œ œ bar - ley

Œ

grow!

The accompaniment adds harmony to the theme.

b.

3

Variation (can be played with line 67b)

0

2

62

both know.

& 44 # œ œ œ œ œ œ # œ œ œ œ œ # œ # œ œ œ Accompaniment 4 & 4 œ œ œ #œ #œ œ œ œ œ Œ œ Œ œ œ œ Theme

68

4 & 4 #œ œ œ œ œ

The Tunnel The line after each finger number means to leave your finger on the D string while you play the A string.

we

Ode to Joy a.

E

#œ œ œ Œ

I,

Theme and Variations on

0

G

Riding the Rails 61

open A string

#œ œ

, , , & 44 œ Œ œ œ œ œ œ Œ œ œ œ œ œ œ œ Œ ..

Exploring A 60

E A D G

œ

, Œ

grow!

, 1. , 2. & 44 œ œ œ œ # œ œ œ # œ œ Œ # œ œ œ œ œ œ œ œ # œ Œ .. œ œ œ œ œ # œ œ œ œ Œ

66

1 + 2 + 3 +4 +

and

bar - ley

Huron Sunset

Motorcycles on the Elevator ( œ œ œ œ

Finger “Tips”

œ œ œ

Sing: Oats and peas and beans and

&#



œ

Ludwig van Beethoven (1770–1827) , Œ #œ œ œ œ œ œ#œ œ Œ œ œ œ #œ œ œ œ , Œ Œ Œ Œ œ œ # œ # œ # œ œ œ œœ œ œœœ 3

œ œ œ #œ œ

œ œ œ œ #œ

, #œ œ œ œ Œ

œ œ œ #œ œ œ

œ œ œ œ œ #œ

œ œ œ œ

Œ

ARCO’S HISTORY HIGHLIGHTS Beethoven used his “Ode to Joy” as the main melody in the final movement of his ninth symphony. This marvelous piece uses a very large orchestra, a full chorus and vocal soloists. Amazingly, Beethoven wrote the piece after he had become deaf.

16

17

2 Left-hand fingering techniques are focused on second

5 Arco Dakota offers “Arco’s History Highlights,” insights into the history of strings and music, selected composers, and folk songs

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3

Violin Book 1 (page 3) Full-color photographs of students taken from a variety of angles provide an excellent visual representation of correct playing position. Here, the sequence of steps for placing the left hand is shown.

1

All key concepts are grouped into units

2

Full-color photographs of students taken from a variety of angles

3

A photograph from the perspective of the student is always included

1 Getting Started Activity 1: Holding the Violin in Banjo Position 1. Place the violin flat against your stomach. 2. Hook your right thumb on the string closest to your nose. 3. Rest your right palm behind the bridge. 4. Hold the lower bout of the violin with your left hand. 5. Raise the neck of the violin up slightly with your left hand.

Activity 2: Exploring the Open Strings 1. Pluck the G string (string closest to your nose) with your thumb. 2. Pluck the D string (second string down) with your thumb. 3. Pluck the A string (third string down) with your thumb. 4. Pluck the E string (string closest to the floor) with your thumb. 5. As directed by your teacher, pluck the D string four times, then the G string four times, then the A string four times.

E A D G

4 5

Play all the notes of this tune on your own.

Listen as your teacher plucks the grey notes, then echo back with the black notes.

Visual and aural reinforcement facilitate learning the open strings Line numbers refer to the corresponding String Explorer CD

Activity 4: Open String Blues

1*

Activity 3: Open String Echoes

DDDD DDDD DDDD DDDD

DDDD DDDD GGGG GGGG DDDD DDDD

GGGG GGGG DDDD DDDD

AAAA AAAA GGGG GGGG DDDD DDDD

AAAA

Finger “Tips”

*Numbering corresponds to track numbers on the String Explorer CD.

GGGG DDDD DDDD

A

B

C

D

Activity 5: Placing Your Left Hand 1. Hold your left hand out as if to shake hands (picture A). 2. Put the neck of the violin on your hand (picture B). 3. Slide your hand out to the end of the neck (pictures C and D). 4. Position the neck over the base t of your first finger, just above the point where the finger meets the hand (picture D).

3

Violin Book 1 (page 6)

2

44

œ œ œ œ

œ œ œ œ œ œ

“down, up, down, up”

“mo-tor - cy - cle, stop, stop”

..

An optional, eight-page rote section at the beginning allows students to focus on proper bowing and fingering first, before learning to read “Echo Exercises” help develop ear training

Quarter note

Go back to the beginning and play again One beat

Eighth notes

One-half beat each

arco

Arco (Italian)

With the bow

≥ ≤ # Œ

Echo Exercises Listen as your teacher or student soloist (single player) plays the grey notes. Then, echo back with the black notes.

œœœœ =œ œ

Down bow

Move bow towards the tip

Up bow

Move bow towards the frog

Sharp

Raises the pitch of a note one half step

Quarter rest

One beat of silence

Down, Up, Down, Up Practice: 1. Clap 2. Pizz. 3. Arco

2

2

Repeat sign

œ

44 = four beats per measure = œ or Œ gets one beat

Pizzicato (Italian) Plucked

œœœœ

Start here.

1

Time signature

pizz.

Ready, set, BOW!

Adventure Map

Adventure Maps chart out and define and symbols to be introduced.

44 œ

D

œ

solo

œ

œ

1

+ 2

+ 3

+ 4

+

D

œ

œ

class

œ

œ

1

+ 2

+ 3

+ 4

D

D

œ

..

D

D

œ œ œ œ œ œ

œ œ œ œ œ œ

..

œ

œ

œ

œ

œ

œ

œ

+

Motorcycle, Stop, Stop Practice: 1. Clap 2. Pizz. 3. Arco

3

D

New notes are demonstrated with a photograph as well as a fingerboard diagram

3

D

44 œ œ œ œ œ œ 1

+

2

+

3 + 4

œ œ œ œ œ œ

+

1

+

2

+

3 + 4

+

On Your Own

4

A complete glossary is provided on page 47, and included are clearly indicated throughout the book

Down, Up, Down, Up

Motorcycle, Stop, Stop

Practice: 1. Clap 2. Pizz. 3. Arco

44 œ œ œ œ D

4

Practice: 1. Clap 2. Pizz. 3. Arco

D

. œ œ œ œ .

Finger “Tips” The D Ladder

4 4œ œ œ œ œ œ D

5

G

D string

F#

Echo Exercises 1st finger

œ œ œ œ œ œ .. 3

1

2

E

F# G

whole whole half step step step

E

E-Z Does It

D

E A D G

(Everytime you see a word in this color box, look it up on page 47.)

1st finger

D class E E D D 44 solo œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

pizz. D 6

Second Rung pizz. D 7

2

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6

2nd finger

D

E

E

F#

2nd finger

F#

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Featured Composers

World Music

Bach—Brandenburg Concerto No. 5; Minuet; March in C Beethoven—Ode to Joy Billings—Chester Dvorˇák—New World Symphony Elbel—The Victors Foster—Oh! Susannah Handel—Judas Maccabaeus; Hornpipe; La Rejouissance Haydn—St. Anthony Chorale Mozart—Minuet from Symphony No. 36 Offenbach—Can Can; Barcarolle Pierpont—Jingle Bells Purcell—Rigaudon Rossini—William Tell Overture Tchaikovsky—Swan Lake; Russian Folk Song Wagner—March of the Meistersingers

African-American—Shoo Fly Argentinian—Tango Chinese—Reminiscence of Lady Quin Er Dutch—We Gather Together English—Hot Cross Buns; Mary Had a Little Lamb; London Bridge; Drink to Me Only English-Australian—Shepherd’s Hey French—Twinkle, Twinkle, Little Star; Are You Sleeping; Au Claire de la Lune; Irish—Antrim Hills; Syncopated Piper Israeli—Chanukah, Chanukah; Dayenu Korean—Arirang Mexican—Carmela; Un Elefante Mexican-American—Paso Doble Native American—Apache Melody Norwegian—Bridal March from Valdres Polish—Tatra Song; Click Your Heels U.S. American—Oats, Peas and Beans; Bile Them Cabbage Down; Old Joe Clark; Simple Gifts (Shaker); America; Erie Canal Note : Original tunes and exercises not catalogued

About the Authors Andrew H. Dabczynski is Professor of Music Education at Brigham Young University in Provo, Utah. He formerly served as Associate Professor of Music Education and Director of the Community Education Division at the Eastman School of Music in Rochester, New York. Dr. Dabczynski has also held teaching and istrative positions in the public schools of Penfield and Mamaroneck, New York and was the Supervisor of Fine Arts Education in the Waterford School District of Michigan. Dr. Dabczynski received a Bachelor of Music degree in Applied Viola from the Eastman School and a Master of Arts degree from the University of Connecticut, where he served as violist in the graduate string quartet. He also holds a Ph.D. in Music Education from the University of Michigan. As a performer, Dr. Dabczynski has played viola in the Rochester Philharmonic, the Hartford Symphony, the Portland (Maine) Symphony, the Kalamazoo Symphony, and the Greenwich (Connecticut) Symphony orchestras. For six years, he was a member of the Colden String Quartet, the ensemble-in-residence at Western Michigan University, and he also has been an adjunct faculty member at numerous other colleges and at national string workshops. A strong interest in folk music has led Dr. Dabczynski to focus his research efforts on fiddling and the transmission of traditional music. In addition to his doctoral dissertation, he has written many articles on the subject of teaching and learning fiddling in contemporary America, and is co-author of the Fiddlers Philharmonic series, published by Alfred. Dr. Dabczynski frequently appears as a guest conductor and clinician for student ensembles in the United States and Canada, and has arranged and published numerous pieces for string orchestra. He and his wife, Diane (a commercial vocalist) live in the Provo area with two musical daughters. Richard Meyer received his Bachelor of Arts degree from California State University, Los Angeles and has taught middle school and high school instrumental music for over 16 years. He currently conducts the Pasadena Youth Symphony Orchestra. Mr. Meyer has had many works published for band and orchestra including Celebration, winner of the National School Orchestra Association composition contest, and Geometric Dances, winner of the Texas Orchestra Directors composition contest. He received the Outstanding Music Educator Award from the Pasadena Area Youth Music Council in 1994, and has also received the Pasadena Arts Council Gold Crown Award for Performing Arts.

Bob Phillips has taught in the Saline Area Schools of Michigan since 1976, building a string program with over 700 students. In the year 2000, he and his wife Pam were recognized by the city of Saline as “Citizens of the Year.” Mr. Phillips has been recognized as “Teacher of the Year” nine times by regional, state and national music organizations. In addition to serving on numerous district and state committees for the Michigan School Band and Orchestra Association and ASTA, he has been invited to present clinics in 29 states and 6 foreign countries, as well as at national conferences including the Ohio State University String Teachers Conference, the National String Teachers Training Workshop, the American String Workshop, the International String Workshop and the International Society of Bassists. Mr. Phillips has conducted the All-State Orchestra at Interlochen; the University of Michigan Junior Youth Symphony; Blue Lake Fine Arts; Jackson Youth Symphony; Music Youth International Orchestra; Oakland (Michigan) Youth Orchestra (founder); American String Workshop Orchestra; and the MASTA Junior High Camp. During his tenure as Artistic Director as well as founder of the Saline Fiddlers Philharmonic, the group has gained an international reputation, annually performing more than 100 shows. The Fiddle Club and Improvisation programs he began include over 150 students each year. An expert in the use of folk fiddling and jazz in the string orchestra, Bob is also co-author of three successful series of books—Fiddlers Philharmonic, Fiddlers Philharmonic Encore!, and Jazz Philharmonic—all published by Alfred. These arrangements of traditional American fiddle repertoire grew from a need for material in his own string classrooms and performing groups. Mr. Phillips received his bachelor’s and master’s degrees in music education from the University of Michigan, where he was a student of Lawrence Hurst, Elizabeth Green and Bob Culver.

Alfred Publishing Co., Inc. USA/Canada: P.O. Box 10003 • 16320 Roscoe Blvd. • Van Nuys, CA 91410-0003 • E-mail: [email protected] wo 23202 • 102219

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