Over the past few decades, there has been a substantial increase in pedagogical work, throughout

world, focused on the development of musical teaching methodologies, mainly

related to instrumental practice. The resulting refinement from these studies was generally
used as parameters for the classification of works composed and intended for different
levels of learning of the instrument.

Widely used in the United States, Europe, and Japan, the tables and classification indicators of
parameters for musical writing proved to be fundamental in assisting composers and
arrangers, who were able to direct efforts towards the production of works intended for
meet didactic and artistic expectations. In supporting the teacher, in guiding the young
musician on his journey of musical knowledge, the scores began to have the indication of the level
progressive technician.

To encourage the creation of new works for orchestra, with artistic direction and
pedagogical, we prepared this Table of Technical Parameters for Strings, in order to assist
teachers and masters, and the composer himself in his creative process.
The technical levels indicated in this present table are*:

level ½ (0.5) level 1 level 1.5 level 2

very easy / elementary very easy | easy easy easy / intermediate
level 2.5 level 3 level 3.5
intermediate intermediate intermediate

This table is directed towards the writing of strings, and the use of winds requires a lot of care, and
it is only advisable, optionally, starting from level 2.5 with moderation, in shades
as F or C.

The preparation of the table was based on numerous editorial references in the USA and Europe used.
by important publishers of works for strings, and references indicated by various associations
the educational institutions. The analyses and adjustments of information were made by the teachers.
Simone dos Santos and Carla Rincón, with review and consolidation by Professor Marcelo Jardim.

*
The complete table also includes levels 4, 5, and 6, but since the current production is directed only towards the beginner levels and
intermediaries, all other indications were suppressed. The complete study will be published later on the project's website.
Table of Technical Parameters - String Instruments 1 - EM/UFRJ d19m05a20 SINOS - National System of Social Orchestras of Brazil
Level 0.5 (½) Level 1 Level 1.5 (1½) Level 2
Parameters
Dificuldade: Muito fácil / Elementar Dificuldade: muito fácil / fácil Difficulty: easy Difficulty: easy intermediate
Start of the 1st year of study. Pieces for
2nd year of study onwards.
group of beginner students presenting
1st and 2nd year of study. Pieces for student groups 1st and 2nd year of study. Pieces for groups of students Musical pieces for beginner student groups that already have
small intervals. Emphasis on
Indication beginners who already have some experience playing. beginners who already have some experience playing. some experience playing, emphasizing musical skills
basic musical skills. Focus on
Emphasis on basic musical skills. Emphasis on basic musical skills. basic, and that have proficiency in the items listed at the level
beginning of reading comprehension and
previous
musical notation.

Possible key armor,

Key armor up to 3#, according to the indicated notes up to 3#, according to the indicated notes up to 4#, according to the indicated notes
according to the indicated notes

major (D, G, A) major (D, G, A), minor (natural, Bm, Em, F#m), modal.
major (E, D, G, A), minor (natural, Bm, Em, F#m), modal.
Tonalities maior, menor, modal minor (natural, Bm, Em, F#m) Other possible shades
Other possible shades with the indicated notes.
modal with the indicated notes.

Metric ["2/4","3/4","4/4"] 2/4, 3/4, 4/4 ["2/4","3/4","4/4"] 2/4, 3/4, 4/4, 6/8, 9/8

andante moderato (72 - 100), with possibilities of andante moderato (72 - 100), small changes in tempo
andante moderato, without agogic alteration andante moderato, without agogic alteration (72 - 100).
Tempo/Speed small changes in time (agogic), such as (agogical), such as delaying the time.
(72 - 100) One can use fermata.
ritardando at tempo. One can use a fermata.

Note figures and

pause

minimums, semi-minimums, with respective minims, semiminims, quarter notes, with respective 2 eighth notes together, without a tie, on the same note. Avoid complex combinations of rhythmic figures,
pauses pauses. Variations may occur, with caution. 2 identical notes with a tie. mainly in relation to syncopes and quialteras.
Basic rhythms, with variations between whole notes,
basic rhythms with quarter notes, eighth notes, and basic rhythms with quarter notes, eighth notes, 2 sixteenth notes minims, semiminims, quarter notes, respective rests
Rhythms with 4 eighth notes (preferably not tied) in notes
respective pauses, which may vary without ligature, on the same note, without the use of but without isolated setbacks, being able to have notes different, preferably in set degrees, syncopations with
Rhythm various by measure (half and two) syncopation. Respective pauses and variations with dotted notes and some syncopated rhythms with eighth notes and eighth note and whole note (different notes), sixteenth note and eighth note
semiminima | 4 semiminima | semiminima of these figures of notes. However, it is advisable semimolas. Eventually syncopated rhythms with (same note) and quialteras (different notes in semitones and the same)
minimum and two half notes, etc. maintain more frequent rhythmic patterns. semicolcheia - colcheia - semicolcheias, in the same notes in eighth notes). Dotted rhythms.
note.
it is not strictly necessary to indicate
the student begins to make the change of p, mp, mfef can be used. (The student is already making p, mp, mfef can be used. (The student is already making a change in
dynamic for this level, as this
Dynamics dynamic, but still does not demonstrate the ability to change of dynamics, but still does not present dynamic, but still does not show great skills for
skill is still not developed
in a student of this level.
nuances great skills for nuances nuances

One can use the indication of epizzicatto, with the signs for
One can use the indication of epizzicatto bow, with indication of epizzicatto bow, with down signs and
One can use the indication of the arch and down and up, caesura, as well as indicating staccato and legato. The
the signals for down and up. One can use upwards. One can use caesura, staccato, and tenuto.
Articulation pizzicato, with the signs for down and for articulation and phrasing indications can be more regular and
cesura. Other sporadic indications may occur, Tied in two different notes (quarter notes) may
top. greater variety can be employed. Two arcs upward in
such a burden occurs.
seminal or seminal and minimal.
Table of Technical Parameters - String Instruments 2 - EM/UFRJ d19m05a20 SINOS - National System of Social Orchestras of Brazil
Not applicable. However, some effects
can be used, such as beating the The same application of techniques at level 0.5, when A simple appoggiatura (of a note) can be applied,
Ornaments Simple appoggiaturas (of a note)
hand on the surface of the instrument, play with necessary. when carried out at slower paces.
arch on the back part of the saddle.

Simple, without counterpoint. The simple construction of The melodic and rhythmic material is simple, and may be
The melodic and rhythmic material can be explored further
Simple, without counterpoint. Keeping violin chords with four sounds can be done. Simplicity used counterpoint techniques, canons. Care
detailing, may use counterpoint techniques,
1 and 2 in unison. The simple construction it is also fundamental in the construction of the material with the weaves and continuity of use of
Orchestration canons, etc.. be careful with the textures. Scales, arpeggios and patterns
four-note chords can be melodic and rhythmic. Be careful with the textures. scales, arpeggios, and finger patterns
fingers are expanded here and create a greater understanding of the
done. Be careful with the weavings. Eventually, one can write for violin 1 and 2. can be used here to expand the
tonality.
(maintain the same rhythmic structure for both). understanding of tone.

De 1,5 a 2 minutos. Pieces lasting 2 to 3 minutes.

From 1 minute to 1.5 minutes From 2 to 3 minutes.
In case of a suite, the suggestion is to be composed of
In the case of a suite, suggestion of 4 to 6 In case of a suite, suggestion of 3 to 6 movements.
Duration 3 to 6 movements/dances, according to the duration 3 to 6 movements/dances, according to the duration
movements. One can use the refrain Possibility of structuring other forms.
of each one, and that they are contrasting. of each one, and that they are contrasting. One can
in the pieces of 1.5 minutes. The refrain can be used.
The refrain can be used. use the refrain.

Extension / Texture
As indicated in Table 2
Violin 1

As a suggestion, the writing for the violin, starting from

The writing for the violin should be in two voices, and no more in
The writing for violin must be in level 1.5 can be in unison or for two voices, and
The writing for violin must be in unison, having in unison, to achieve greater harmonic richness. The
Observation for unison, considering that the students also follow the recommendations for texture
view that the students are basically on the same the procedure, however, can be both technically dealing with
violin 1 and 2 they are basically at the same level indicated, or also differentiate the textures,
beginner technical level. the same texture, or the possibility of differentiating the textures,
initiation technician. considering the violin 2 with the same tessitura as the
considering violin 2 with the same tessitura as the previous level.
previous level.

Extension / Texture
Violin 2

Extension / Texture
Viola

Extension / Texture
Cello

Extension / Texture
Double bass
Add these notes for level 1 Add the following notes for level 1.5 Add the following notes for level 2

Escrita fácil. Escalas e arpejos são bem limitados

Very easy writing, elementary. The students As it is a level above, between easy Intermediate easy writing, with more fluent musical material, in
at this level, they develop knowledge of the
they are getting used to holding the intermediate, the technical realization here already seeks
simple and compound metrics, but without internal exchanges (define one
tonalities, which must follow the indication
arch and curved movement on the strings elements of musicality in the communication of ideas unique meter, or at most, a change of meter for sections
Considerations (basic). The technical implementation here is revealed as a
open. The finger pattern is introduced musicals, but treated subtly. Adding specific ones), accessible tonalities, and comfortable tempos. The realization
element more important than the expectation of
with the left hand and the bow on the four what can be important between level 1 and 2, such as The technique allied to underlying basic musicality must be a given.
musicality in the communication of musical ideas,
cordas is developed. intermediate function. important at this level.
considering still the technical limitations.
Technical Parameter Table - String Instruments 3 - EM/UFRJ d19m05a20 SINOS - National System of Social Orchestras of Brazil
Level 2.5 (2 ½) Level 3 Level 3.5 (3 ½)
Parameters
Difficulty: intermediate Difficulty: intermediate Difficulty: intermediate
3rd and 4th year of study.
2nd and 3rd year of study. 3rd year of study onward. Challenging musical pieces intended for students with at least 3 years of experience.
Musical pieces for groups of students between beginners and intermediates, Challenging musical pieces, intended for students with at least experience or more. It is important to remember that it is not the increasing complexity
Indication que já demonstram certa experiência tocando. Ênfase nas habilidades 3 anos de experiência, e que já tenham desenvoltura no estudo de obras what makes a repertoire more challenging, but the set of parameters.
basic musicals, but already anticipating more technical possibilities and in the reading of repertoire. Emphasis on musical skills with Here we present some that, individually, already add more challenges, without
developed. more refined technical possibilities. however, obscure the previous levels, which may present equal difficulty,
if there is no attention to compositional choices and decisions.

Key armor up to 4#, according to the indicated notes up to 4# or 1b, according to the indicated grades up to 4# or 2b, according to the indicated notes

maior (E, D, G, A, C, F), menor (natural, C#m, Bm, Em, F#m, Am, Dm), maior (E, D, G, A, C, F), menor (natural, C#m, Bm, Em, F#m, Am, Dm), maior (E, D, G, A, C, F, Bb), menor (natural, C#m, Bm, Em, F#m, Am, Dm, Gm),
Tonality
modal and other possible tonalities with the indicated notes. modal and other possible tonalities with the indicated notes. modal and other possible tones with the indicated notes.

["2/4","3/4","4/4","6/8","9/8","12/8","2/2"] 2/4, 3/4, 4/4, 6/8, 9/8, 12/8, 2/2,

Metric 2/4, 3/4, 4/4, 6/8, 9/8, 12/8, 2/2
5/8, 7/8 (com padrão regular, sem variação) 5/8, 7/8 (with regular pattern, without variation)

Adagio (60 to 71), moderato andante (72 - 100), agogic alteration Lento and adagio (52 to 71), moderate andante (72 - 100), agogic alteration Lento and adagio (52 to 71), moderato andante (72 - 100), agogic alteration
Tempo/pace (accel., rit., rall.) and moderately fast (102 to 112), with due care (accel., rit., rall.) and moderately fast (102 to 112), with due care (accel., rit., rall.) and allegro (102 to 120), with due care for the rhythm.
with the rhythm. One can use fermata, suspension. with rhythm. One can use fermata, suspension. One can use fermata, suspension.

Note figures and

pause

Greater rhythmic variation with syncopations, dotted rhythms, and 4 All figures from previous notes, with additions of combinations and All figures from previous notes, with additions of combinations and
semicolons on the same note. variations, with syncopation, offbeat, with eighth notes and sixteenth notes. variations, with syncopation, off-beat, with eighth notes and sixteenth notes.

different notes can now be used with rhythms that have eighth notes
The rhythms with 4 sixteenth notes can contain intervallic leaps, notes of
(sequence) and 2 or 4 sixteenth notes (preferably in degrees
passage, etc., and even with a blend of syncopated rhythmic figures. The
Everything that is possible at the previous level, with more variations, rhythms sets). Syncopes and quiälteras with a quarter note and a half note can be
Syncopations and quatrains can also be used with jumps. The measures
Rhythm dotted and syncopated with eighth notes and quarter notes and eighth notes and used in joint degrees, and syncopes and quailers with semiquaver and
asymmetrical ones can also be used, with more elaborate rhythm, and
semicolons. One can use the setback in a measured way. play in the same note. The introduction of asymmetric measures can
even with greater change in internal meters, not only between
to occur, while maintaining the same rhythmic base for the pattern
sessions.
chosen.

p, mp, mfef. Cres. e Decres. Start of the use of sudden changes pp, p, mf, f, ff, crescendo and decrescendo (with longer duration), use of pp, p, mf, f, ff, cresc. and decresc. (with longer duration), use of changes
Dynamics
of dynamics, with care, and also ofdp. sudden changes in dynamics, as well as defp, sfp, sf sudden dynamics, as well as defp, sfp, sf

All the joints from the previous levels, and using 2

Indication of epizzicatto bow, with signs for down and up.
tied arpeggios, with leaps of fifths (open strings) or sixths (all strings) All the articulations of the previous levels. Simultaneous use of more than
Articulation cesura, staccato, legato, tenuto. The articulation markings, with
loose) and 1st finger. Simultaneous use of more than one joint, in a joint, in different suits.
Accents and phrasing can be regular and varied.
different cards.
Table of Technical Parameters - String Instruments 4 - EM/UFRJ d19m05a20 SINOS - National System of Social Orchestras of Brazil

Simple appoggiaturas (of a note), use of trills, pizzicato Trills in some notes, with finishing, grace notes and Trills in some notes, with finishing, upper and lower mordents and
Ornaments
with loose rope in the left hand. upper and lower groups and simple appoggiaturas. simple appoggiaturas.

The melodic and rhythmic material is more developed, being able to be used The melodic and rhythmic material is more developed, being able to be used
Scales and arpeggios used more consistently, advances with more
counterpoint techniques, canons, as well as double note techniques counterpoint techniques, and other compositional techniques, as well as techniques
of a possibility of finger positions. The musicality and the
with open strings. Be careful with the textures. Scales, arpeggios, and double note patterns with open strings. Be careful with the textures. Scales, arpeggios
Orchestration auditory perception becomes a more important element here, and this
fingers are expanded here and create a greater understanding of and finger patterns are expanded here and create a greater understanding of the
can be reflected in the melodic and rhythmic construction, in the technical realization and
tonality. Modulations can occur more frequently when tonality. Modulations can occur more frequently when
the communication expectations.
necessary. necessary, and even the use of effects. Use of natural harmonics.

Piece of 2 to 3 minutes. Short pieces of 2 to 3 minutes. Suggestion by the suite follows the same. Short pieces of 2 to 3 minutes. Suggestion by the suite follows the same.
In the case of a suite, a suggestion of 3 to 6 movements. guidelines from previous levels, with small movements guidance from the previous levels, with small contrasting movements.
Duration Possibility to structure other forms, with openings with themes contrasting. One can have here works with greater duration, up to 8 minutes, One can have here works with greater duration, up to 8 minutes, and the possibility of
contrasting, fantasy or rhapsody. the possibility of structuring other forms, with openings with contrasting themes, fantasy or
One can use the refrain. contrasting, fantasy or rhapsody. rhapsody.
Add to level 2.5, in addition Add to level 3, Add to level 3.5
Extension / Texture
the notes of level 2, the following beyond the level 2.5 grades beyond the level 3 notes
Violin 1
notes the following notes the following notes

Same procedure, regarding the writing in two voices for the Same procedure, regarding the writing for two voices for the violins,
Same procedure, regarding the writing in two voices for the
Observation for violins, with the possibility of differentiating the textures, considering the possibility of differentiating the textures, considering violin 2 with the
violins, with the possibility of differentiating the tessituras, considering the
violin 1 and 2 violin 2 with the same tessitura as the previous level. Possibility of same texture as the previous level. Possibility of also using the technique
violin 2 with the same tessitura as the previous level.
also use the technique of double and triple strings, on open strings. of double and triple strings, on open strings.

Add to level 3. Increase to level 3.5

Extension / Texture
beyond the notes of level 2.5 beyond the level 3 notes
Violin 2
the following notes the following notes
Add to level 2.5, besides Add to level 3, Add to level 3.5
Extension / Texture in addition to the level 2.5 notes
the notes of level 2, the following besides the level 3 grades
Viola
notes the following notes the following notes
Add to level 2.5, in addition Add to level 3, Add to level 3.5
Extension / Texture
the notes of level 2, the following beyond the level 2.5 grades beyond the level 3 notes
Cello
notes the following notes the following notes

Add to level 2.5, besides Add to level 3, Add to level 3.5

Extension / Texture
of the level 2 grades, the following in addition to the notes of level 2.5 beyond the level 3 notes
Double bass
notes the following notes the following notes

Escrita de nível intermediária, mas já possibilita praticamente a utilização

Intermediate level writing, with musical material already having small Intermediate level writing, with musical material already with small
of the main technical resources, what makes the work a great challenge for
challenges, in simple and compound metrics, accessible tonalities, and challenges, in simple and compound metrics, accessible tonalities, and
the musicians. There may be greater presentation of asymmetries, variety of
comfortable and fast tempos. The technical realization and musicality already comfortable and fast tempos. The technical realization and musicality already
Considerations tonalities, and faster tempos. The technical realization and musicality already
important give must be given at this level. Use sparingly the important data must be given at this level. Use with moderation the
must be observed in greater detail. Use of syncopations
syncopes. The use of chromaticism, even if careful, can be syncopations, and when to use asymmetric measures (5/8), keep the still deserves attention, and the same goes for the 5/8 and 7/8 measures. The chromaticism
used at this level. same pattern of internal subdivision.
it can be used as a more constant technique.
BELL PROJECT

Coordenação Geral Projetos UFRJ-FUNARTE:Marcelo Jardim

Coordenação SINOS:André Cardoso
Production Coordination Projects UFRJ-FUNARTE and SINOS: Vanessa Rocha
Production Assistance: Vilane Trindade
Pedagogical Coordination Course in String Instruments Teaching: Carla
Rincón and Simone dos Santos
Pedagogical Coordination Spiral Project: Aloysio Fagerlande and Leandro Soares
Coordenação Academia de Regência:André Cardoso, Ernani Aguiar, Marcelo Jardim, Roberto
Duarte, Tobias Volkmann and Thiago Santos.
Administrativo:Aliciandra Amaral e Bruna Marques