CHRISTOPHER SELBY SCOTT RUSH Detesm ero naeG-8625 HABITS OF A SUCCESSFUL STRING MUSICIAN VIOLA A Comprehensive Curriculum for Use During Fundamentals Time CHRISTOPHER SELBY, SCOTT RUSH, AND RICH MOON AVAILABLE EDITIONS:‘elcome to Habits of a Successful String Musician, This method book was written to help string \ X ] players establish effective daily routines that ultimately lead to great music making. While practicing the various components of playing, remember that improved technique only serves to increase the artistry of a musical performance. ‘This book begins with studies on tone production, bowing, and articulation (right hand), followed by finger patterns and shifting (left hand). Subsequent studies for scales, chorales, rhythm and sight-reading make this a complete method for the advancing string m ‘ach exercise has a very specific purpose that leads logically to the performance of concert music. ‘Turn your rehearsal room or practice room into a laboratory for making music, and let your musical journey begin! This book is divided into eight parts: 1. Tone and Articulation. ' V. Scales, Arpeggios and Thirds 4 IL. Lower Positions: Finger Patterns, Intonation VL. Chorales seen 4 and Velocity 5 | VIL Rhythmic Study in a Musical Context 4 IIL. Shifting Exercises . conn | VIEL Sight-Reading by Level sonnei SH IV. Higher Positions and Alternate Clefs ul ‘Tips for Individual Practice: * Listen to a recording of your favorite artist on your instrument; then imitate that artist’s sound. * Remind yourself why you are practicing. Set goals for each practice session and devise a logical order of things to learn, Strive to cover as many Components of Playing as possible, starting with tone production (bowing variations) and then finger pattern study and scales, + Begin practice sessions with stretching. Stay relaxed—tension is a performer's worst enemy. * Practice with a mirror. Review basic technique for standing or sitting well, and use left- and right- hand calisthenics to develop relaxed, healthy positions for holding the bow and instrument well. * Stay focused and rest five minutes for every twenty minutes of practice; unfocused practice is a waste of time and energy and is detrimental to a performer's progress. + When practicing the sight-reading exercises in the back of the book, use metronome and establish. a slow, reasonable tempo that will allow you to play the exercises with a steady pulse. * Record yourself and use the recording to identify personal goals for improving your skills and performance. your practice session by playing something fun. We practice so we can improve the performance skills needed to express the musical ideas that we find so enjoyable and deeply rewarding. Habits of a Successful String Musician - Viola Edition Christopher Selby, Scott Rush, and Rich Moon G-8625 ISBN: 978-1-62277-091-5 Copyright © 2014 GIA Publications, Inc 7404 S. Mason Avenue, Chicago, IL. 60638 wow [Link], All rights reserved. Printed in the United States of AmericaI Tone and Articulation 1 I Tone and Articulation Open String Exercises Even Tone - Frog to Tip 1 With a flawless bow hold, play the open string without counting or keeping anim y time; pay attention to the bow’s contact point, angle, weight, and speed. Bi. Even Bow Distribution BIS = | 4 Bak. ° j BIS : | Grab and Release Grab the string with the hair of the bow to begin each note with a crisp attack mmm yyy Ba Bie |2 Habits of a Successful String Musician - Viola Bowing Variations Perform the theme using one of the rhythm or articulations from the variations below. Introduction (teacher) “Theme (student) Bigert titre t f © f = reqe 4 Basic Bow Strokes 5, ste to upper alt eeeer 2 3 cerreeery | ‘5h, Keep thumband pinky curved. ee Bet eee Te. Ripe _ "| Bites oy1 Tone and Articulation 3 Syncopated Patterns fa Bas Sd Rips] Biter eerceeeed Bibet Spiceato Exercises Perform the spiccato stroke at the balance point; keep the thumb and pinky curved and the knuckles soft and fluid. pa 2y gaps sy Noma yvoovmy v n SSS ] ered ih Bak4 Habits of a Successful String Musician - Viola Slurs Be ieectite iy pater tte Ty, 1 Bante fede | Le persedIL Lower Positions: Finger Patterns, Intonation, and Velocity 5 II Lower Positions: Finger Patterns, Intonation and Velocity 12. Natural & Sharp A ta Bipiet ts: 13. Mary Had a Little Lamb Be prorat eres 14, Flat Finger Pattern Exercises Batt 15. Dominant Etude Atay tee! tee tne aa A Bal. 18, Etude X Biers6 Habits of a Successful String Musician - Viola 19. Tetrachord Etude Taning Notes (Dorian Tetrachord) Ende pipet toptetrerter tes fret 4 After learning the etude with the Dorian tetrachord above, play it with one of the other tetrachords below. Tetrachords: Major Dorian Phrygian Lydian Major (half pos) 20. Velocity Etude Perform the tude as written first, and then perform it with finger pattern #2 (F#) and #3 (>) shown below. Finger Patterns #1 Major [= ot Velocity Etude Variations 21. Trills The esl on beats 2 and 4 are performed the same way:IIL Shifting Exercises Ill Shifting Exercises Shift with a light, smooth motion; always move the thumb with the second finger. 22. Shifting to the Harmonic lentes 26. Shifting to a Different Finger * ‘The diamond isthe destination ofthe shifting finger iis aslent shifting note that shouldbe hidden, not head, Bitte8 Habits of a Successful String Musician - Viola 30. Changing Keys How does the key change the spacing of the shifts and finger patterns? ee ee ape epae Eel pe 34. Etude in Eb Major Mark the silent shifts with a dot or a diamond. o> ee Le oe Bepet’ the pee =e 35, Focus on 4" Position 38. Tetrachord Etude - 3" Position Tuning notes Enude a ao ie Peter et on —— ‘TetrachordsIIL Shifting Exercises 9 39. D Major Scale and Arpeggio - on One String : beet t tee ee Bedi, 27 CEES SEES te | 40. Eb Major Scale and Arpeggio - on One String Jepee f eeee 2s ot : shalt ite SSeS ==] 41, Up and Down the String “To reach higher positions, br 45. Etude in E Major pifepeter tier10 Habits of a Successful String Musician - Viola 46. Etude in D Major Perform as written and with three- or sixcnote sur. Bre ee te ot = eof B 7 : 47. Shifty Jig pape ™ 1 mIV Higher Positions and Alternate Clefs i IV_ Higher Positions and Alternate Clefs 48. Velocity Etude in Higher Positions Perform the etude as written first, and then perform it with finger pattern #2 (F4) and #83 (E) shown below. _——. Finger Patterns Major ® Minor Alternate Clefs Violinists use ottava (8va) and lower string players use alternate clefs to reduce the number of leger lines the performer reads when the music moves into higher registers. Viola players must learn to read treble clef. Cello and double bass players must learn to read tenor and treble clefs. Advanced violinists should also learn alto clef, so they can double on viola if needed. Treble Clef [F Alto Clef 49. G Major Scale with Alternate Clef free SSS EeR Habits of a Successful String Musician - Viola Upper Register and Thumb Position ‘To reach higher positions, bring the elbow and arm around the instrument, and the thumb around the neck. 52. Upper Register Patterns x ghar =F 54. D Major Scale and Arpeggio A tert fee foterteet lt 56. E Major Scale and Arpeggio 4 Leet 2 teed Lae ; Siege e i BE Eiri SS] 57. C Major Scale and Arpeggio ote SS]IV Higher Positions and Alternate Clefs B 58. F Major Scale and Arpeggio get = 59, Twinkle 60, Frere Jacques (Round) A eiear Se 62. This Land Is Your Land ¥ $= - ; Bre pte id o 63. French Folk Song Ss ca== 64. Tetrachord Etude in Upper Positions 44 Habits of a Successful String Musician - Viola V_ Scales, Arpeggios and Thirds Students should focus on the skills and octaves that are appropriate for their level of ability and experience Begin learning a scale by playing cach note without a pulse; listen and adjust fingertips to fine tune each pitch before moving to the next note. Then, add a pulse and learn half and quarter notes, the printed rhythm, and finally add slurs, as shown below. A a AAA AaAD ‘Use the following checklist to guide your practice: Sound projects well with an excellent tone quality Contact point isthe correct distance between bridge and ‘The bow angle is perpendicular to the string and rotated correctly. Part of the bow is correct. Bow weight and speed are balanced and produce an excellent tone that projects well. Notes are consistently correct and in tune, especially fourth and seventh scale degrees, Hand placement is correct on fingerboard, not sharp or fat. Intonation Finger pattern (hal-step placement) is correct; half- and whole-step distances are correct. Shifts are clean and well-executed; fingerings are correct. Fingertips adjust quickly, refining the pitch afer finger placement “Tempos are consistent; no stopping, stumbling, rushing, or dragging, Rhythm is correct. Exercise is memorized when appropriate. Students of different levels can learn and perform scales at the same time. Those performing more octaves should begin their scale first, as shown below. Loctave | BaV_ Scales, Arpeggios, and Thirds 1s Major Scales, Arpeggios, and Thirds C Major 65. Tuning Canon 66. Tuning Chords 2 a a a 8 RESiese aes BESS BS oy 67. Scales and Arpeggios - One Octave SS) BES “Two Octaves aera eee tt theres eS ‘Three Octaves 68. Dominant Arpeggio Bee 69. Thirds - Lower Octave rr Bit ie Upper Octave16 Habits of a Successful String Musician - Viola G Major 71. Tuning Chords 72. Scales and Arpeggios - One Octave RasterV- Scales, Arpeggios, and Thirds 7 D Major 75. Tuning Canon 76. Tuning Chords Breas pists mt BI a 77. Scales and Arpeggios - One Octave Bige rte f-fttterepe—| ypippecrt Tivo Octaves Upper Octave Bret o18 Habits of a Successful String Musician - Viola A Major 80. Tuning Canon 81. Tuning Chords Bite Bea 82. Scales and Arpeggios - One Octave ‘Two Octaves 83. Dominant Arpeggio omens 84. Thirds - Lower Octave Upper Octave pyr retV_ Scales, Arpeggios, and Thirds 19 85. Tuning Canon Lk E Major 86. Tuning Chords Bile 87. Scales and Arpeggios - One Octave fF pas af = 45" ‘Two Octaves ‘Three Octaves 220 Habits of a Successful String Musician - Viola B Major 90. Tuning Canon 91. Tuning Chords 1 Bee, fag : = 93. Dominant Arpeggio Bitpeet teeter 94. Thirds - Lower Octave Upper Octave Giger ete feV_ Scales, Arpeggios, and Thirds 2 ¥F# Major 95. Tuning Canon 96. Tuning Chords A B.o t = Bid fs Bae lwo Octaves Bite Upper Osen Habits of a Successful String Musician - Viola F Major 100. Tuning Canon 101. Tuning Chords 2 BESSA Bale 102. Scales and Arpeggios - One Octave Bos eer aS = r ‘Two Octaves BS Sees 104. Thirds - Lower Octave Be Upper Octaves, Arpeggios, and Thirds 2B Bb Major 106. Tuning Chords Jo] Bepeis sje Two Octaves 108. Dominant Arpeggio = Be 109. Thirds - Lower Octave Be dezeperer eer eee Upper Octave ‘ _ fe tef eft bb ea ® utM4 Habits of a Successful String Musician - Viola E> Major 110. Tuning Canon 111. Tuning Chords Bat BEES. ‘Two Octaves Bee 113. Dominant Arpeggio Bs 114. Thirds - Lower Octave BST Upper OctaveV__ Scales, Arpeggios, and Thirds Ab Major 115. Tuning Canon 116. Tuning Chords ere oO . ap pfipp PS : a ann 6 9 A Base ye yey Ba eS =| > 117. Scales and Arpeggios - One Octave Begs ret ot treris | Bets ero trie | ‘Two Octaves Beds Stent geo parser ge tre- Viola 6 Habits of a Successful String Musici: D> Major 120. Tuning Canon 121. Tuning Chords roo 3 Sf ttre SS Three Octaves snV_ Scales, Arpeggios, and Thirds Melodic Minor Scales, Arpeggios, and Thirds A Melodic Minor 125. Tuning Canon 126. Tuning Chords 3 A eee BE See io Bie 127. Scales and Arpeggios - One Octave ‘Two Octaves rgegpeitie seer peter ‘Three Octaves Upper Octave gererrisis28 Habits of a Successful String Musician - Viola D Melodic Minor 130. Tuning Canon 131. Tuning Chords 1 2 Beppe 132. Scales and Arpeggios - One Octave cpeerecititt inoe se Brepeeree etrree ‘Two Octaves cee re ricie _f Webe = = — ree vn 133. Dominant Arpeggio 134. Thirds - Lower Octave “ ‘ ee ee SS Upper Octave ect tt tagtiettesV_ Scales, Arpeggios, and Thirds 29 G Melodic Minor 135, Tuning Canon 136. Tuning Chords 3. Bier Bees 137. Scales and Arpeggios - One Octave Beg Sseceh tore] Bet. et + ‘Two Octaves wa bint £ Wede Bey Sereinfae! s LEE = 139, Thirds - Lower Octave30 Habits of a Successful String Musician - Viola C Melodic Minor 140. Tuning Canon 141. Tuning Chords 2 . 142. Scales and Arpeggios - One Octave = SS ee Beek os Seer ree ‘Tivo Octaves b 143. Dominant Arpeggio w 144. Thirds - Lower Octave Upper Octave pieV_ Scales, Arpeggios, and Thirds 31 F Melodic Minor 145. Tuning Canon 146. Tuning Chords hoo 8 Be A BAAR 147. Seales and Arpeggios - One Octave BREE rite ore FHS) Be ‘Tivo Octaves Lie t &, 149. Thirds - Lower Octave Boe Soss sae Upper Octwwe pop riettiset2 Habits of a Successful String Musician - Viola Bb Melodic Minor 150. Tuning Canon 151. Tuning Chords 1 PUES eae] BiShe 152. Scales and Arpeggios - One Octave Bie vars See ‘Two Ocsarss 154. Thirds - Lower Octave Be 2 Upper OctaveV_ Scales, Arpeggios, and Thirds 33 E> Melodic Minor 155. Tuning Canon 156. Tuning Chords 2 BESS 157. Scales and Arpessios- One Octave ‘Fvo Octaves by rede putea pple CT FOC a Fy ‘Three Octaves fre Se) pages Se betete Fbaos 2. 159. Thirds - Lower Octave Popo pe et == SSH Upper Octave Bapeteteeets34 Habits ofa Successful String Musician - Viola E Melodic Minor 160. Tuning Canon 161. Tuning Chords ie .V_ Scales, Arpeggios, and ‘Thirds 35 B Melodic Minor 165. Tuning Canon 166. Tuning Chords Lo 2 Bite ee yea Bite [sie ‘Three Octaves™ BEES ad 169. Thirds - Lower Octave36 Habits of a Successful String Musician - Viola F# Melodic Minor 170. Tuning Canon 171, Tuning Chords WO 2 Bes 3) Bake o> > > ote 172. Scales and Arpeggios One Octave . Bulg ie sirtert wre JT] paige ‘Two Octaves Bate =V_ Scales, Arpeggios, and Thirds 7 C# Melodic Minor 175. Taning Canon 176. Tuning Chords pateg et: eetiewas Bie oS y 177. Scales and Arpeggios ~ One Octave aye BYE, ‘Two Oct caves, Bie Aish ‘Three Octaves ee * was cS jh 179. Thirds - Lower Octave RB38 Habits of a Successful String Musician - Viola G# Melodic Minor 180. Tuning Canon 181. Tuning Chords eens BYE 182. Scales and Arpeggios - One Octave pity aes tia SIs ‘Two Octaves #| he i ll 184. Thirds - Lower Octave fis a gd bate it? ee pe a nee et eS Upper Octave wibpeitteV__ Scales, Arpeggios, and Thirds 39 Chromatic, Mixolydian and Blues Scales A chromatic scale is made entirely of half steps. 185. Two Octave Chromatic C Scale Be eemeree wlhiiie eps Mixolydian and Blues Scales 186. Bb Mixolydian Blues Scale and Arpeggio be_eh _ bes ebe lee Terese treet 187. F Mixolydian Blues Scale and Arpeggio Bete 188. C Mixolydian Blues Scale and Arpeggio Pt trespsiepie Pe Phe Blues Scale and Arpeggio opbleeg ith Ptpaeiie Hier Blues Scale and Arpeggio prertecte Eesteters Blues Scale and Arpeggio40 Habits of a Successful String Musician - Viola VI Chorales 192. Chorale #1 Brew idiesd fheeipee OTT PO eee pier depaEterot er SS] 193. Chorale #2 Ba op pep eee se 195. Chorale #4 wate See ee re f =VI Chorales 41 196. Chorale #5 Bane Sen psf Seghs Cpeptriferitte 198. Chorale #7 eS =my Habits of a Successful String Musician - Viola 199. Chorale #8 ieee eed 201. Chorale #10 4 mn y A BY P ° v A BYE EES caVI Chorales 4B 202. Chorale #11 cy 4 = + eee ee Rese ieppetr ere ie ieee a is . <2 fee e wheelers treet eit he reer aoe a - = - bee = = Dn ae eae a eres44 Habits of a Successful String Musician - Viola VIL Rhythm Charts in a Musical Context A. Quarter Notes and Rests; Eighth Notes All rhythm has two components: the pulse and the rhythm that goes over the pulse. ‘To genuinely understand a rhythm pattern, students must perform the rhythm while simultaneously keeping a consistent pulse somewhere else in their body. Students MUST count while performing a rhythm with their body or instrument. 203a. and b. gt id Rae 204a. and b. 207a. and b. Fy lL Bagi rt For additional practice with quarter- and eighth-note patterns, go to Part VII Sight Reading Exercises 260-269,VIL Rhythm Charts in a Musical Context, 45 B. Ties, Dotted Quarter Notes and Eighth Rests 208a. and b. oe dy jer a fer dls ddyjrdy dia r) dyad | Bip aap frags Pa oar 209a, and b. ged dl dL tJ, by ba, bd | | 4 22a. and b. is pL DL DLL bs bbl bt by dT need | 13a. and b. m J akhonal practice with tes, dotted quarter notes and eighth rest patterns, go to Part VILL Sight Reading Exercises 270-28346 Habits of a Successful String Musician - Viola C. Syncopation 214a. and be Fao t tel Ipigeeer ie teres 215a. and b. E27 ELS SSS SSS 2160. ate add dl aids dss SSI bd badd dL ddL dL | _ | Beasts Ss 2. eels fore 217a. and b. ee ia Hapa od ad od 218a. and b. [ fer re dad eddie de dd re Madre ae IBitagepee prep prt siptoat Se iataat 219a. and b. Fpl BO hd ty ba = = BEE Spe Eb pts pt pate For additional practice with syncopated patterns, go to Part VIII Sight Reading Exercises 284-297.VIL Rhythm Charts ina Musical Context D. Intermediate Triple Meter 220a. and b. Rel vee IRigsa St = 221a. and b. [9 15a, and b. gp FTad DDL a Tp Tad ped Od | By Rept opge eset pis aS 1 aulitional practice with intermediate tiple meter patterns, go to Part VIII Sight Reading Exercises 298-308.ry Habits of a Successful String Musician - Viola E. Triplets 226a. and b. : : : : r 3/4 I JOT A ae JTL [pias sacer tS ierrer int Steere ioerey 227. and b. r B81 Heer tr pce tates J am. Ammo iffretet | 228a. and b. 7p — Rise er tetera epee rei 229a. and b. A 7 p44 S071, 5007 peas Depts Spee 230a, and b. ; es a 2 pt a Tb oo | ppp Ppt bye p oS ft tetts 231a. and b. pL AMAL Lp a | [piegh totes es HE of SEE etree | For additional practice with triplet eighth-note patterns, go to Part VIII Sight Reading Exercises 309-312.VIL Rhythm Charts in a Musical Context 49 F. Simple Sixteenth Notes 232a. and b. gS TL A SE Sb [Riper GAkt eee beer Sekt trees | 233a. and b. 234a. and b. pI, 5, STL, [BEF Reeere ph 235a, and b. foes Ba ere ese ty 26a. and b. = Ca foe deste oJ Bi SE 17a, and b. i See ae y¢ AOL wlectese du, 4, d1-J | mie oe ‘bor additional practice with simple sisteenth-note patterns, go to Part VII Sight Reading Exercises 313-324,50 Habits of a Successful String Musician - Viola G. Dotted Eighth Notes and Sixteenth Rests 238a. and b. = = : Posey ceege fe ATE leans { | te * popesre CLEP oier. gtitecerr | Here eee 239, and b. Perreeen FRED GT Ty Ty FpThy1_ ys 5p | 242a. and b. 4D, OI, Th, A, = 243a. and b. p44. 45 setee pa Se For additional practice with dotted-eighth-note and sixteenth-rest patterns, go to Part VII Sight Reading Exercises 325-334.VU Rhythm Charts in a Musical Context H. Cut Time @® 24a. and b. we 245a. and b. [ eee? i didtad ete aa paetts a tetre th j, TLL bbl ee ji mL iftttersssyepetet | 24a. and b. ODL Ay OD a Ly Rae partes pst or pi Ben ‘or additional practice with cut time patterns, go to Part VIII Sight Reading Exercises 335-347.52 Habits of a Successful String Musician - Viola J. Advanced Triple Meter 249a. and b. pg Fd ITT STITT TIT TT Th a Be =e eee = 250a. and b. g- 1} SIR IT, ony Ed AJIT, ST TI, 882 251a. and b. 9 I, A. | asaaomaa woo} LTD TI SI ‘ pity 252a, and b. 253a. and b. EF ge ALITA | IpHete SPecchrrrereee pe 254a. and b. g CLO oe, repetesrt fer For additional practice with advanced triple meter patterns, go to Part VIII Sight Reading Exercises 352-369. aft Pres BEE SSSVIL Rhythm Charts in a Musical Context 53 K. Irregular Meter 25Sa, and b. fp) dD TIL yO SL TIL | | Lee seacett sae 256a. and b. TR Ey. aL [Big 2eop gee O 257a. and b. L Be 1 SS = 258a. and b. 4 ATT J IL HB ie greet SPE itp tog te 259a, and b. gt TT TT ST ky sone | | Bike a f | For additional practice with irHabits of a Successful String Musician - Viola VIII Sight-Reading by Level A. Quarter Notes and Rests; Eighth Notes 260. Biter tfVIL Sight-Reading by Level 55 pipette afte patel te Bee Sere te pes 269. gi af —— Toni efe tet Ol tee B. Ties, Dotted Quarter Notes and Eighth Rests 270. BIS 55 re@rrgiitey 271. Beet? totateisietttrstssy pitgitet hf leet patter tate BSS v Bete = Phe P as meer_fh Biya f tte nf56 Habits of a Successful String Musician - Viola 276. Bit de leel? 277. Beet rea 281. Bete of 282. ModeratoVIL Sight-Reading by Level 37 C. Syncopation58 Habits of a Successful String Musician - Viola D. Intermediate Triple Meter Seen So aVILL Sight-Reading by Level 301, Bee alee AS pie gig eS nf BABS reeaeeayes mp — nf — mp mae aoe —— 86S - weteg CEs reeone De rrpert are ery 305. Boh 9 ERASE Stree Petey60 Habits of a Successful String Musician - Viola E. Triplets fe wee fee ert tte] SSeS 314. pa 5 jem ae eee 315.Te VII Sight-Reading by Level 318, DPR ee yey eee eet ees Be a renee QUES raNiefere Hace! aires 319. Bigeee ieee ieee ieee ae ered ae poe s fGe BAe Ceres ie eagle ic ig 321. piece be Sart gl Seat See terry St =P ar fvcere_} Bey 7 Ee maf ptReprierttrer Sr] P — Sse ee 324, 5 y Bago aer er trea Er See G. Dotted Eighth Notes and Sixteenth Rests62 Habits of a Successful String Musician - Viola 326. Bag ere = 327. a SES rhc ioeaeriieere 328. ee eae Sse er che P 331. Maestoso BM bestest =VILL Sight-Reading by Level 6“ H. Cut Time and 3Habits of a Successful String Musician ~ ViolaVIL Sight-Reading by Level 354, + ef Reggie nf Bs Beets a _ : a eee 4 a 150, tite g ttt eee. 1B hae ere wo . pipe fees BF ee me Bie va 1% §66 Habits of a Successful String A - Viol 362. ig pre Bi sprerter! si eeeettt re = srl Bee PPE preset eftreett tert 368. BSS ae SSS Sea pee pe ef ere ee & = are = glare ees SeerVILL Sight-Reading by Level K. Irregular Meter Begertte wert Poppet or peeteae et orM. Mixed Meter RE git ee BEE el 381. spp tg ey 3. A e _ a Bie 1 PSS SSSVIL Sight-Reading by Level 384, Brg Spot toe f 69 a , £9 a70 Habits of a Successful String Musician - Viola =p-p op tf tae Pfr ee 2 e =fatrfHABITS OF A SUCCESSFUL STRING MUSICIAN "Habits of a Successful Sting Musician is tremendous resource for string teachers and students. comprehensive, well thot anoles ston pedal tol be allowing or nda caching styles an priorities. For me, *Tabits a tine-saver and a great catalyst for teachable moments with ny stents of technique and bro string playing concepts i the elasitcom —Scoft Laird “Music Instructor and Fine Arts Coordinator North Carolina School of Science and Math Habits of a Successful String Musician i eric educational resource and supplemental book for advanced twiddle aa high schoo! string students. [found the tuning canons and sight-reading to he particularly effective [My stunts have enjoyed all the exercises an Ihave found them very useful assembling thet focus std preparing them to play high level epertoee Jonathan Glawe Director of String Studies Pioneer High School, Ann Arbor, Ml 2013 ASTA National Orchestra Festival Grand Champion Habis ofa Successful Sting Musician ts field tested, vital andd—mos mportant—musialcolleton of almost 400 sequenced exercises for building fundamentals Perfect to use with the entire sting orchestra or solo player at vitally any sil level, dis series contains carefully sequenced warps, sight-reading etude, shythm vocabulary studies, chorale, tuning canons and much more. In one place, this se collects everything an aspiring player needs to build fundamental musicianship shllsand then beable to transfer those skills Uiretly into the performance of great teraure Habis ofa Sucesful Seng Musician Presents a differentiated, sequential, and comprehensive method for develaping skill that lea to the mastery of readin rhythms, and ulinately, co musial sight-reading. Creates method for teaching scales, arpeggios and thirds that simultaneously accommodates students of different ability level, (Organizes tone, thythm and articulation pattems into a flexible and sequential series, Creates finger patter and velocity studies that addres the most common problems encountered by intermediate orchestra students Provides beginning through advanced shifting exercises for students of every level ‘Creates exercises for leaning alternate clfs and higher positions. Provides chorale forthe development of intonation, tone quality, blend an rausickanship. Presents thythm charts n a new format that allows transfer from taming and shyt Co pitehes ia musical content Provides audition sight-reading ina classroom "ull ensemble” format that is wel planned in scope and sequence. There are ower 130 sight-reading examples in dhs book + Promotes the ia that students should cross the threshold from the “technical components of playing” to music making abuts ofa Successful Sting Musicon isthe answer to the very simple question, "What should Ibe leaming dur fundamentals ime Christopher Selby isthe Director of High School Orchestras atthe Charleston Schoo! of the Are in Charleston, South Carols Dr Selby isa twenty-year veteran teacher, an active conductor, clinician and adjudicator and a leader in both NAFME and ASTA He holds degrees from The Hartt School and the University of South Carolina ‘Scott Rush s Director of Bands at Wando High School in Mount Pleasant, South Carolina. A graduate of the New England Conservatory of Music and the University of South Carolina, Mr. Rush is active asa clinician and adjudicator throughout the United States 68625. Us. $9.95