MUSE 355 String Pedagogy Handbook

Name: Neftali Canas Date:

Required Topics

#1 Violin and Viola Instrument Set-Up

Definition: The body stays lifted and the instrument always comes to
you. Grab the instrument and set it on your shoulder. The button
should go right into the middle of your neck and you should just turn
your head and rest your jaw bone on the chin rest.

1. The left-hand needs to house a rat. This allows for just the right
amount of space in your hand. The mouse usually sticks its nose out
every now and then (the bow).
2. I will tell my students to picture the statue of liberty. I will explain
how the torch will be the instrument (held by the bout). Then bring
their shoulders down and back and simply put the instrument onto
their shoulder. Then place their jaw on the chin rest.
3. To the sky. When we lift the instrument before setting it on our
shoulders, we’ll want to lift it high to the sky and then bring it back to
earth (our shoulders). Then we just simply turn our head and let our
jawbone rest on the chin rest.
4. I will have my students point to the button above their heads. After
they have identified this, then I will tell them to put their right index
finger on the button. Then I will tell them to push the button and act
like it’s an elevator going down to the first floor where this is our
shoulder but the button needs to go into the neck.
5. To ensure students are in the right playing position, I will tell them
to get into their playing position and I will walk behind them to make
sure that their shoulders and neck are making a T. This is only
achievable if they all have the correct posture.

#2 Cello Instrument Set-Up

Definition: Stand up, Arm straight out, scroll to the eyes, sit down, and
don’t move anything. Scroll to your left shoulder and you hug the cello
with your knees.
1. When sitting down, your left arm should feel like you are giving
someone a handshake. Fully extended then, just bring the instrument
to you and hug the cello with your knees
2. Palms and Knees is a way to get students to feel what it is like to
be relaxed with their feet flat on the ground.
3. Up and light is a way to check for students not to hold their cello
super tightly between their knees as a teacher can come around and
take the instrument gently
4. Jack-in-the-box is a way to check if students have their feet flat on
the ground as when you tell them to jump up it should be instant.
5. Wite-out end pins is a great way to help students remember how
far out they need to take the endpin out indicating this with a mark
with a white-out marker.

#3 Double Bass Instrument Set-Up

Definition: The endpin should be pulled out as far as it needs for the
nut to be near the student’s forehead. Then ask the student to rest
their right arm on their leg and the line of the bass line knuckles
should be at the height of the top of the bridge. Then bring the
instrument to you, not the other way around

1. I will tell my students to act like they are taking a picture with
someone they really like and that for the first picture they will stand
straight and the second their friend wants to lean into you because
they get tired of standing.
2. Pretend that you are the tree and the Bass just walked a few miles
to get up the hill. The Bass is pretty tired so they decide to just lean
against the tree (you).
3. I will tell my students to picture an unfinished “N”. The first two
lines are a great representation of what a Double Bass setup should
look like. The first line is the student and the second is the Bass and I
will emphasize how the instrument comes to you not the other way.
4. Drinking a Dr. Pepper is a great way for students to visualize what
their hands should look like. While the neck of the Bass is a lot wider
than a violin a can is pretty close to the size. This also encourages
them to stay relaxed.
5. Students should imagine throwing a football. This relaxed hand
and wider stance as well is what their left hand should look like.

#4 Violin and Viola Bow Hold

Definition: The Violin and Viola bow need to be relaxed. The Middle
and ring fingers are together and connect with the thumb. Pinky is
rounded and the pointer pronates into the bow itself. You stick your
thumb into the frog and make sure that the thumb is tucked.

1. I will tell my students to picture a bunny and its buck teeth (finger
2,3). The thumb is just its bottom teeth. The bunny goes to sleep
(pronate) and the pinky just curls up and rests as well but is still not
together with the buckteeth. The thumb goes tucked into the frog
2. If I am in Texas (or not), Everyone is going to know the “hook em
horns”. Fingers 2,3 are the steer’s head and the pointer and pinky are
the horns. The steer is sad so it decided to take a nap. The thumb still
goes into the frog.
3. Using the Windshield Wiper as a motive, will encourage students
to understand if their pinky is helping with stability and if their thumb
is in the right position. Create a good hand, then just ask students to
point the hair down to the ground then up to the sky to create this
windshield wiper movement.
4. Fingers 2 and 3 are always going to be touching, you start with
your hand at the fulcrum of the bow, finger 1 will pronate into the bow
itself with a slightly rounded and relaxed finger. The pinky will play to
balance the entire bow on top while still being rounded.
5. Using a pencil to imitate a bow is a great way to help them feel
what it is like to hold a bow. This not only removes the weight of the
actual bow but we can see how good their curved fingers are without
any weight.

#5 Cello and Bass (French) Bow Hold

Definition: Hair should face the wall then you find the fulcrum point
with your thumb and your fingers should be spread apart evenly and
it should feel as if your fingers are hanging on the bow itself then just
move everything down to the frog.
1. Picture a climber hanging off a cliff. The climber is your fingers and
the cliff is the bow. The hair should face the wall.
2. Your fingers should feel as if they are doing pull-ups but instead of
your whole hand, it is just your fingers.
3. Fingers should be a waterfall off the bow itself. The bow is the
mountain and the water needs to be relaxed in order to work properly
4. The right hand should not be a duckbill but rather like holding an
egg.
5. All the fingers should be relaxed, curved, and the fingers should go
draped over the bow stick. The thumb should go snugged into the U
shape of the frog.

#6 Détaché
Definition: Detache is a bowing where it is placed on the string and
then it involves pulling back and forth. We create shapes with our arm
to create this. Big box, Little V, triangle. These are the shapes that we
should see when bowing.

1. I will have students with their bow only point them straight up. I will
tell them to picture a rocket ship blasting off. With this motion in mind,
we will transfer this to the string and tell them to blast off on their
string with still having weight.
2. Pretend you are sawing into a tree and the tree is the string
instrument. This type of forward and back motion is the bowing for
Detache
3. Picture the instrument is a fruit and you want to cut it in half. This is
the motion that we will use for one detache bowing. Just straight and
in half.
4. Students will understand that we always put rosin on our bow
before playing and exactly how they are putting rosin this is the same
motion that will be used on the string.
5. First place the bow on the string but make sure it is parallel and
pull one direction then pull the other.

#7 Staccato
Definition: Staccato is a type of attack for the bow on the string. It
should be short and detached but can be used under slurs. A
staccato is like a detache bowing with many interruptions that are
short and light. First, I will show the differences and then ask the
students to replicate.

1. I will tell my students to picture a bubble popping. When it pops it is

very short and fast not long. When we play a staccato it is the same.
Short and separated.
2. It is like popping a balloon. Very quick and sudden but still
pronounce. Our bow will be the needle and the sound is the balloon.
When we use our bow, it will be swift but still enough to pop the
balloon.
3. A staccato is like popcorn. It is very quick and short when the
cornel pops.
4. Staccato is like a snap. It is a very quick light and sudden sound.
This is how we want our staccatos to sound.
5. Staccato is a type of articulation that involves a very

#8 Brush Stroke and Spiccato

Definition: Spiccato is an off-the-string attack. It is like bouncing the
bow on the string which creates a very short crip sound and is just
normally faster. Brushstroke is just more bow with a slower duration
between each note (slower version of Spiccato).

1. I will tell my students to picture “U” when bowing. When it is a

brushstroke, we tend to make the letter “U”, and when we are doing a
shorter or faster form of brushstroke with using less hair, it is more of
a “V” shape.
2. For Brushstrokes we need to picture a swing. This “U” motion of
forward and backward while only having your feet touch the ground
when you are able to should be what it feels like.
3. Spiccato can be like bouncing on a trampoline. While it is
controlled, there is a very short duration in which the hair actually has
contact with the string.
4. Spiccato is like a jump rope. While the rope is always moving,
there is only a small blip that makes contact with the ground. This is
what we should try to emulate on the string.
5. Spiccato is produced by an arc-like motion with a relaxed elbow
and shoulder, wrist join, and fingers.

#9 Louré
Definition: Loure is a short series of pulsed (more weighted) legato
notes that are played in one direction. Separated but not accented
and has a clear beginning to each note.

1. Loure is like writing in cursive, while it is still in one direction each

letter has a different start but is pronounced.
2. Loure is like a Tornado siren. While it is always sounding even
when it is spinning, it is its loudest when it is facing you and it is very
clear.
3. Loure is kind of like an annoying fly coming in and out of your ear.
When its closest its loud then gets soft because it doesn’t want to get
swatted.
4. Loure is like a lightsaber. Every time you move the saber it makes
a deeper and louder sound. When we move the bow when it is
supposed to be a loure attack it should sound the same
5. Loure is a combination of legato notes that are played in one
direction but are still clearly pronounced. For instance, in a sentence,
we say many words but we are not done until we end the sentence
with a period. While the sentence flows there aren’t any interruptions
but our words are clearly articulated.

#10 Slurred Staccato

Definition: Slurred staccato is a bowing that involves multiple notes
with space between them, using the same bow direction.
1. I would tell my students to picture a car driving down the road and
they are stopping at every intersection because of stop signs so there
is space between each stop sign which would be notes. While they
are stopping, they are still driving in the same direction as the bow
will move.
2. Slurred staccato is like you are stuck in traffic on the highway.
While you are driving in one direction, you stop every now and then
and there is space between stopping and going.
3. A conveyor belt starting and stopping
4. Like skiing down a mountain. You are going in one direction but
need to stop to slow yourself down and there is space.
5. Slurred Staccato is a marking that involves the bow to articulate
with a staccato attack but still maintain the same direction. For
instance, if we are bowing in one direction, there can be many
interruptions in that bow.

#11 Retake
Definition: A re-take is a movement associated with your bow where
you reestablish yourself at the frog of the bow for the next beat.

1. A retake is like taking a selfie. While we get into our pose we might
do the same pose 3 times but only like 1 of the photos taken but we
do the same pose. When we retake, we establish ourselves at the
frog of the bow as if we are restarting again.
2. I would tell my students to picture themselves as runners in a
sprint. The starting block is where we establish ourselves before
starting our sprint. When we retake, we start again at the starting
block (the frog) for the next note.
3. A retake is like taking a picture with a disposable camera. After
every photo, you have to turn the knob so the camera is prepped for
the next photo. This is what we do, we turn the knob (retake at the
frog) before the next photo (the next note)
4. Its like dropping the food on your fork before it gets to your mouth
so you have to reload it and grab more before you start to eat again
5. A retake is the motion we do when we are re-establish ourselves
on the string for the next note. It is like a typewriter after completing a
line. We reload the paper rest for the next line.

#12 Hooked Bow

Definition: A hooked bow is a bowing associated with any rhythm that
is “Long short-long” ex: Dotted quarter 8th quarter.

1. The toy cars that have a spring-loaded feature have different ways
of working. In this case, if you pull a car back just slightly it can go for
a long while. This type of short, long rhythm is what Hooked Bow is.
2. When we skip, we tend to last on one foot longer. Its always a
“long-short long” type of rhythm we create when skipping and this
works the same way for Hooked Bow
3. When we go fishing, we cast our line then tug on it a bit to attract
the fish then once we get a bite, we pull! This is creating the “Long,
short, long” Rhythm.
4. A swimmer taking a breath while swimming. They don’t breathe for
a long time and when they do, it’s a very short breath. The rhythm in
that swimmers use is to hold their breath for a LONG time and then
take a SHORT breath then repeat their LONG breath.
5. A Hooked bow is any rhythm that is “long-short long” which is also
a type of bowing. It is a mixture of a detache and a staccato. One
long stroke then a short following it which changes the direction of the
bow.

#13 Slur
Definition: A Slur is a type of marking in our music that indicates
multiple notes are played same bow direction over an extended
period and a slur lengthens the duration of the bow
1. If you throw a hockey puck on the concrete it doesn’t go anywhere.
The slur is like adding ice under the puck. It lengths and makes it to
where it slides freely while still being able to be manipulated by the
player. I would practice with throwing the puck on the ground
(detache) and then on ice (slur) with a scale
2. A Slur is like drifting a car. Sure, a car can turn and do everything it
wants to without drifting but when it does, it connects everything such
as the turns. In this case, a slur connects everything under it.
3. If we picture a train on tracks, the tracks are what keep the train
going in one direction. While the tracks play a huge role in how the
train operates, we can think of them as the slur and the train is the
bow as the tracks make everything seamless.
4. A slur is a type of marking in our music that indicated connection
while lengthening the duration of the bow. Rather than playing a
quarter note for each bowing, we can get wild and change the rhythm
that our bow has. Sometimes it can be quarter notes in our left hand
and then Half in our right.
5. A Slur is like a snake slithering over rocks. While other animals
might use each individual foot to move, a snake makes everything
seamless by slithering but is still moving.

#14 Tremolo (Bow)

Definition: A Tremolo bowing is an extremely rapid and short bowing
that is happening on one note or string with a relaxed wrist.

1. Tell kids to picture an earthquake. An earthquake usually isn’t

slow, but rather short and fast. Your bow should be the earthquake
on the string. Very short and fast related to the hair.
2. Students will have to put their bow on their string and will start out
with a detache approach then increase speed and shorten the
amount of hair that is used.
3. Picture you are writing really fast, that same feeling should be what
is on your bow when placed on the string
4. Should feel like you are starting a fire on your string. Rapid back
and forth motion.
5. Like you are giving your sibling a noogie, fast with lots of friction
but on the string

#15 Sul Tasto

Definition: Sul Tasto is a placement of the bow where it is over the
fingerboard to create a softer sound

1. Place your bow like you’re playing a baby instrument. (higher on

the fingerboard)
2. Picture that you are in a house with 3 levels. Basement, Main floor,
and upstairs. The main floor is the sweet spot of the instrument and
when you go upstairs which is over the fingerboard, this is Sul Tasto.
3. It is like a little brother or sister. The bigger the string, the fuller and
louder it is, and the smaller you make the string, the softer it sounds.
The shorter (playing closer to the fingerboard) the softer, the longer
(over the f-holes) the fuller.
4. Sul tasto to me sounds like a soprano which is lighter and
sometimes softer compared to a Bass which is really deep and full.
5. Sul Tasto is like a timider sound. When we are shy or don’t feel
safe we tend to close up and this is what the sound should be. The
timider is higher on the fingerboard.

#16 Sul Ponticello

Definition: Sul Ponticello is when the Bow is placed very close to the
bridge to create a whispery sound.

1. Like at the basement of the cello. You bow across closer to the
bridge
2. It should sound like a thriller movie or something very eerie
3. Like earth. There is a sky, ground, and underground. The area in
which this is played on the instrument would be the underground
which would be closer to the bridge.
4. The recipe, how to create a sul ponticello is by adding flat bow hair,
faster bow speed, and no weight on the bow
5. Sul Ponticello can sound like something scary is about to happen
or it might make someone unsettled. This sound should be what we
try to replicate.

#17 Collé
Definition: Colle literally means “glued”, the beginning of note should
be pronated into to create the “glued” sound at the beginning of the
note

1. Put enough pressure into the bow as if it is glued onto the string
2. Picture sap between the string and the bow and you can only move
it left to right
3. Picture a really strong magnet that is making your bow stuck to the
string
4. Picture two pieces of sandpaper and imagine the friction between
the two and try to imitate this friction with the bow and the string
5. It should feel like you are shoveling your string with a tiny shovel

#18 String Crossings

Definition: String crossing is traveling from one string to another
within a passage or scale

1. Moving your elbow either up or down or, in or out to make it easier

to change strings
2. Telling my students to picture a seesaw on my string will allow
them to feel what it is like to string cross
3. The motion should be fluid as if a boat is rocking back and forth
4. Practice with just feeling what it’s like to changes strings without
bowing. The feeling of your elbow going in or out is what it should feel
like when string crossing.
5. It should feel like you are giving a person a high-five but with your
elbow

#19 Hand Frames for Violin and Viola

Definition: A Hand Frame is a physical frame in which your hand is in
when playing a specific scale or a mode

1. I will ask the students if they can picture a puzzle. For each piece
of the puzzle, there is a specific shape and these shapes are called
frames. For a scale, there is a hand frame that can be used.
2. A hand frame is like a socket for a nut. You need to find the right
socket size in order to loosen or tighten the nut. In this case, our hand
frame is the socket and the nut is whatever scale or passage is being
played.
3. Hand frames are like a key to a lock. Every lock needs a specific
key and cut and this is how our hand frames work. Our hand frame is
the key for a scale which would be the lock
4. A hand frame is like putting wheels on a car. While there are all
different types of combinations, there are specified kinds for certain
cars. This is how hand frames work. For each scale or passage, there
are certain frames we use.
5. An example of a hand frame is fingers 2 and 3 kissing and this is
used for any scale that involves a whole step, half step, then whole
step.

#20 Shifting
Definition: Shifting is the physical movement of your left hand moving
either up or down the fingerboard for a specific passage

1. I will explain to my students that shifting is like going up and down

the elevator. For a specific passage if there needs to be shifting then
you move the entire left hand up and down while still keeping the
thumb with the other fingers.
2. Shifting should feel like you are putting a phone to your ear or
putting the phone down. Just practice what it’s like to grab something
and put it to your ear then put your phone down. This is what it should
feel like.
3. Paper shifts is the process of students placing a tissue paper on
their fingerboard below the strings. This I will ask them to move their
fingers up and down the fingerboard with their fingers on the paper.
4. Shifting is like a drop tower at an amusement park. We go up and
down. This up and down motion is what it should feel like when
shifting.
5. Shifting is the physical motion of moving up and down the
fingerboard for a given passage. We will start out with just going up
and down on one note then ensuring that the students are keeping
their thumb with either their second finger or their first.

#21 Vibrato
Definition: Vibrato is a rapid fluctuation of note (going sharp or flat
very rapidly and slightly) to create a warmer, round tone to create a
different color.

1. It is like you are cleaning a stain that just won’t come off. You start
off big then decrease the movement on the string and just get it to
where your wrist is making the motion
2. If the sound was a noodle (no vibrato), picture a cooked noodle
and how wavy, and twisty it is. (with vibrato). Start out with an
uncooked noodle and picture you are cooking it and start to move
your left hand back and forth and minimize the size
3. If we picture a trombone, how they use vibrato is by moving the
slide ever so slightly back and forth. This is how our left hand should
use vibrato. Our left hand is the trombone slide.
4. Vibrato is like shaking a maraca. While any slight movement
makes a sound this is what Vibrato does. It needs to be shaken to
make a sound. This shaking of the maraca is made right in between
your finger and the fingerboard.
5. Vibrato is like trying to erase something. You don’t do large
movements you tend to do small but in one area but also in very
small forward and backward motions.

#22 Tone Production

Definition: Tone production includes 3 factors which are Bow Speed,
Bow Placement, and Bow Weight are all used to create a good sound

1. Tone production is like the gas you put into your car and the car, is
the tone. The 3 things that are needed in the gas are bow speed,
weight, and placement. If you are missing one of those, your car
might not run so well.
2. Tone production is like the seasonings when cooking. If you don’t
have any at all will your meal taste as good? You will need
seasonings which in this case are placement, weight, and speed. Too
much of one thing can also be not so good but just the right amount is
perfect and can make a good meal which is our tone.
3. Tone production can be seen as a plant and the soil, water and the
sun are the other factors that go into making a good sound. If there’s
too much of one thing, then this could hurt the plant and not allow it to
thrive. There needs to be a good balance of weight (soil), speed
(water), and sun (placement).
4. There are three elements to making a good sound. These three
are bow placement, speed, and weight. Firstly, you’ll want to locate
the F-holes where your bow will want to create the most resonant
sound. For bow speed, this depends on the weight and the piece of
music that is played. Whether this is slow or fast.
5. Tone production is like the body. In order for it to work properly, we
need to eat, drink water, and exercise. Tone production is similar to
this. In order to create a nice full sound, there are three factors that
go into play which are bow placement, bow speed, and bow weight.
Five Elective Topics (These must be string playing skills)

1st Elective Topic. Martele__________________

Definition: Martele involves an accent at the beginning of the stroke,
immediately followed by a release of weight on the bow.

1. Martele is like getting electrocuted with a jolt of energy. The jolt is

the motion that we use to create the accent.
2. Finding the pinching fingers is a strategy where we ask our
students to place the bow on the string but only held by the index and
thumb. Then I will tell my students to lean their finger into the bow
and then release it.
3. Pinch, pull, and release is a great way for students to know the
steps it takes to create an accent followed by release. This is done by
leaning slightly into the bow, the bow is pulled, and then immediately
released.
4. I will tell my students to think of tug-of-war. This is an immediate
grab, pull, then release and repeat. These are the basic steps for
creating a martele bowing.
5. Martele is like using a hoe when gardening. We first create the
tension by digging into the dirt, then pulling then releasing, and
repeating.

2nd Elective Topic._Ricochet______________

Definition: Ricochet is a bow stroke that involves the bow being
dropped onto the string and rebounding for several notes in the same
bow direction.

1. Ricochet is like bouncing a basketball on your string. When you

drop the ball (the bow) you dribble it (creating the ricochet) and you
keep moving to try
2. If we picture a drumstick falling on a snare, it has multiple
rebounds. This is in a sense what a ricochet bowing does as well.
The string is our snare and our stick is the bow.
3. Have you ever skipped a stone on water? This is what ricochet
bowing is on our string. It is just dropped our bow onto the string and
let it rebound like skipping a rock on water.
4. If we picture a speaker and how it bounces, this is how our bow
should act on the string. First, we can show how a speaker with no
sound doesn’t bounce compared to one that is playing a sound with
lots of Bass does bounce.
5. Ricochet is like stacking dominos and dropping them. While
ricochet our goal is to just create as many rebounds, dominos also
give the effect of not knowing when exactly all of the row will topple
over. There is a clear start and the speed of the clicks is random.
When we drop the bow onto the string this is the same case as it is in
one direction and our goal is to get our bow to rebound.

3rd Elective Topic.__Extension for Cello___________

Definition: An extension is a motion of extending your finger past its
original hand frame. For instance, if I extend my pointer finger on the
cello in first position for Bb on the A string this is an extension as I
extend my first finger but keep my other fingers in place.

1. An extension is like reaching for something. We try to elongate our

body to make it possible to reach the object and this is what our hand
should do as well. Our hands should extend from the inside out.
2. Anchoring and extending is a great way to get students to feel what
it is like to extend. First, we anchor the ship which can be in the first
position then extend the finger that is needed to extend for the note.
3. Extension for cellos needs to involve a few steps. The elbow
moves towards the floor and instrument, then the first finger moves a
half step towards the scroll, and the thumb rolls as the first finger
extends backward. The side of the first finger touches the string and a
whole step is formed between the first and second fingers.
4. Extending is like growing an extra inch to your fingers. When we
extend we don’t only move the finger but we extend it enough for the
note to be played. We are essentially growing our hands to fit the
glove.
5. An extension if like adding an extra inch to your ruler. While the
ruler will always have 12inches, you are going to add one extra inch
so you can reach another note. It is either added at the beginning of
the ruler or at the end of the ruler.

4th Elective Topic._Glissando______________

Definition: A glissando is an ornamental effect that is noted between
two notes. This glissando is used to connect two notes by indicating a
continuous slide in pitch from one note to another. You create this
glissando effect by sliding one note to another using one finger.
1. Picturing a slide whistle is a great way in hearing what a glissando
sounds like. It is one continuous movement from one pitch to another.
This is the same thing for strings. Your finger moves continuously
from one pitch to another.
2. When going down a slide, there is the first point which is at the top
(the starting note), then the ending point which is the bottom (the note
you are going to). This is what a glissando is like. One continuous
motion with a start and end.
3. If you ever are in a car, listen for the engine. The car needs to
reach an optimal rpm in order to shift into its next gear and when the
car increases in speed, the RPMs sound like a glissando as it goes
from one gear to another.
4. An air siren is a perfect example of a glissando. It needs more and
more air to get winded up before reaching its optimal pitch. This is
what a glissando is like. We start from one pitch and go into another
by sliding our fingers to said note.
5. A glissando can sound like a sigh. We start from one note then
release our tension and descend. This sigh can be done on a string
by starting from one pitch then just sliding down to the next.

5th Elective Topic.__Tunneling __________________

Definition: Tunneling is creating tunnels with your hands. If we slide
up and down one string over another, then the other string that is not
being played is in a tunnel.

1. If we picture our string as a track and our fingers are the train, we
want to stay on the track at all times. While there might be other
trains next to your track, you always want to make sure that they are
on the string so there aren’t any collisions.
2. If we picture a guy walking on a tight rope, the guy is your fingers
and the tightrope is the string. We always want to make sure the guy
is stable. Maybe you are slacklining with a friend next to you, you
don’t want to get in their way as they might fall which are your other
fingers on other strings.
3. Have you ever driven down a road and seen birds hanging out on
an electric line, this is what our fingers should do on a string. While
there are multiple electric lines in our case 4, our fingers need to be
the birds and only stay on one line, and if your fingers are on another
line well make sure they don’t interrupt each other.
4. When in a car, there are normally two lanes in your neighborhood.
The car is our fingers and the lane is the string. While we get onto the
interstate, this is where there are more lanes but each car always
stays in their lane without interrupting other lanes. This is what we
should keep in mind when tunneling.
5. A tunneling is like using a bookmark. While you set the bookmark
(your fingers), you can skim through other pages (the strings). A
bookmark is meant to stay in one place as tunneling we keep our
fingers down and create this bookmark.