MUSE 355 String Pedagogy Handbook

Name: Elijah deWeerdt Date: 3/13/22

Topics

#1 Violin and Viola Instrument Set-Up

Definition: The appropriate positioning of the violin or viola for the player. The player
should sit in a relaxed, upright position with the violin resting on the left shoulder. The
left hand thumb sits on the side of the instrument’s neck, and the fingers wrap around the
neck to be used on the fingerboard.

1. Two Handed Lift:

- To explain two handed lift, I will have students hold the instrument first by the
scroll in their left hand, and then place their left hands on the button. I would then
have them lift the instrument (parallel to the floor) above their heads and set it
into place on their left shoulder.
2. Feel the Platform:
- In class, it might be necessary to get students aware of the platforms that the
instrument will rest on. I will have them place their hands on the tops of their left
shoulders, the jaw, the sides of their necks, and their collarbones.
3. Nose/bridge/scroll:
- Nose/bridge/scroll is an effective way to check posture for the violin/viola. I will
have students go to a playing position, and then touch their nose, bridge, and
scroll. I will have them know these three points should be a straight line.
4. Statue of Liberty:
 - This would be another way to explain how to set the instrument to the shoulders. I
would have the students hold the instrument at the scroll in their left hand above
their shoulders (looking like the statue of liberty)
5. Shoulder and neck “T”:
- I would use this with students who do not have the correct posture. A good way to
check is by going behind the students while they are in playing position (or
having other students check each other) that the shoulders are parallel to the floor,
and the neck is straight up and down, forming a “T”.

#2 Cello Instrument Set-Up

Definition: The appropriate position of the cello for the player. Starting with standing, the
nut of the instrument should be in line with the nose, and the endpin should be adjusted to
properly support the instrument at this height. in the correct sized chair, the instrument
should be brought to the player with the C tuning peg right behind the left ear. The left
thumb should be slightly curved and placed in line with the left hand middle finger on the
neck/fingerboard.

1. Palms and’ Knees :

- Used to determine if the player is using the correct chair height, which is
important for a comfortable playing position. I would have a student sit in a chair
and place their hands on their kneecaps. If the palms are parallel to the floor with
feet flat on the floor, then the chair is the correct height
2. Shuffle/air hockey/jack in the box:
- Used to make sure students are keeping their feet flat on the floor, as well as
relaxed. I would explain the shuffle as a “sitting dance” where the feet slide on the
ground like hockey pucks. The dance comes to an abrupt end when the teacher
says “jack in the box”, or “goal” or whatever the students respond to. when they
hear this word, they are to immediately rise to a standing position. (This can be
used for all players).
3. Sniff the candy:
- I would use this analogy to help students determine the correct length of the
endpin. I would have the students imagine the scroll as a candy wrapper, and in
order to smell the candy inside you have to put it right up to your nose. The
students should make adjustments to their endpins until they find the correct
height.
4. Scratch the ear.
- Used to get the students to have the right cello angle in a seated position. I would
tell students that the best thing ever about cello is that if you get an itch on the
back of your ear while you are playing, the C peg is conveniently right there at all
times (just don’t scratch too hard).
5. The Cello bandit:
- Used to keep students from holding on to the cello with their knees, and playing
with good posture. Warn students about the cello bandit, a mysterious individual
who sometimes travels through the orchestra room, swiping the school's cellos.
However, he is just as forgiving as he is mysterious. If the cello is easily moved
away (the students aren’t gripping their knees, and the player has good posture to
intimidate him), he kindly returns it.

#3 Double Bass Instrument Set-Up

Definition: The appropriate position of the string bass for the player, ideally on a stool for
beginners and standing for more advanced players. (The stool option will be used for this
definition). Students should sit on the stool as they would without holding an instrument,
With the instrument resting on the torso and turned slightly in towards the player, the
correct height can be found by playing “a '' on the g-string with the index finger. if this
finger is at eye level, the bass is at the correct height.

1. Looking cool:
 - Used for getting students to sit with a comfortable position on a stool. I would
have the students sit on the stool without the instrument at first and tell them that
they gotta look cool. Because anyone sitting on a stool looks cool. I would tell
them that being slouched doesn’t look cool, and you definitely don’t want to lean
back, because falling off the stool isn’t very cool either. The left foot should rest
on the rung of the stool while the other rests flat on the floor, enhancing coolness.
2. Say cheese:
- I would use this to explain how the bass should be held. I would have players
imagine they were taking a picture with a friend. If it is a friend you like to take
pictures with, you will both be pointed towards the camera (gets the players to
turn the bass slightly towards them).
3. Don’t fall off the cliff:
- I would use this analogy to help players avoid leaning forward when they play
with the bow. I would advise students to not lean forward to reach the “sweet
spot” on their instruments, just like how a mountain climber wouldn't want to sit
on a cliff and reach too far forward (they would fall). If they can’t reach the sweet
spot without leaning forward, they should adjust the endpin to bring the sweet
spot closer to them
4. Don’t poke your eyes out:
- Used to make sure the bass is at the correct height for playing. When the previous
point is checked, this will assure that the students have the bass at the best height.
Tell students that playing “A” on the G string is one of the scariest notes, because
one slip up is a guaranteed poke in the eye (not really). But the index finger is
right beside the eye if the bass is at the right height, so there’s no harm in being
careful.
5. Look ma, no hands:
- (can be used for all instruments). This would be a quick check to make sure that
the bass is being properly supported without the need of the arms. If the
 instrument is correctly positioned, a player needs not worry about holding the
instrument, since gravity will be doing all the work anyway.

#4 Violin and Viola Bow Hold

Definition: The violin/viola bow should be held in a relaxed right hand. The thumb is
hooked under the frog and just slightly on the bow hair, and pronation/supination is
controlled by the index finger and the pinky thumb, respectively. The middle and ring
finger wrap around the top of the bow for stability.

1. Rabbit:
- Method for explaining how to hold the violin/viola bow. Instruct students to make
a hitchhiker thumb on their right hand, and place it on the bow, in between the
stick and the hair. Using the middle and ring fingers, make a “bunny” chew on the
stick. remind students that bunnies have “buck teeth” which go over the bow.
Next the bunny goes to sleep (or dies) and leans on its ear (the index). The pinky
rests on top of the bow, giving the player all the control they need.
2. Windshield wipers/waves:
- (can also be used with cello/bass) Movements to train the muscles in the hand
how to hold the bow. Instruct the students to hold the bow, and then rotate their
wrist back and forth like the blades of a windshield wiper. They can also hold the
bow in front of them and wave “hi” or “bye”. This trains students to hold the bow
while keeping the muscles from getting tense.
3. Seesaw:
- Another exercise to develop muscles in the hand for the bow hold. This can be
done from the balance point for beginners, and can eventually at the frog once
students develop the right muscles. Instruct students to make a “seesaw” by
bouncing the stick back and forth using the index and pinky fingers.
4. Puckering up:
 - This would be one way to get students to play with curved fingers. I would have
the students hold the tips of the thumb, middle and ring finger together as if they
were holding the bow, then I would have them flatten out the fingers, making it
look like the thumb middle and ring fingers are “puckering up like their
grandma”. Tell students that kissing is gross so they have to hold the fingers like a
normal mouth (which means the fingers stay curved).
5. Rock and Roll:
- Another method for teaching violin/viola bow hold. Make a “rock and roll” hand
shape, (thumb over rolled up middle and ring, index/pinky pointing up). Bring the
bow down so the thumb catches it and opens the hand slightly, and bring the
middle/ring fingers back around so they are now over the bow. Then, wiggle the
index and pinky fingers so they are “headbanging”. Eventually they get “tired”
and rest on the bow.

#5 Cello and Bass (French) Bow Hold

1. Monkey bars:
- One method for finding the cello/bass right hand position. Have students hold the
bow from the tip in their left hand parallel to the ground, and then instruct them to
grab on to it like they were hanging on a monkey bar. The thumb comes around to
support between the stick and the hair.
2. Cliffhanger:
- Another method for finding the cello/bass right hand position (also preferable for
students who are using a “death grip” on the bow). The instructions are similar to
the “monkey bars” analogy, though the student will imagine they are hanging
from a cliff instead of monkey bars. This can get the students to imagine their
hands a bit less curved around the bow for a more relaxed bow hold.
3. Shelving:
 - Have students hold their right hand at their side, forming a “shelf” with their
fingers. The bow can then be rested on this shelf and the thumb can come around
to support the bow.
4. Palms on the knees:
- This can be used as a way of creating a relaxed hand shape for holding the bow.
Have students put their right hand over their knee, or their head, or even a
grapefruit or softball. This will keep the hand relaxed and open.
5. Slippery Pinky:
- Tell students that there is a small slick of oil right on the end of their bow, right
where the pinky rests. if it sits on top of this oil slick it will slip right off, back in
line with the other fingers. This will help to keep students from resting their pinky
on the bow, like a violin/viola bow hold.

#6 Détaché
Definition: The “normal articulation” for string players. Performed with alternating bow
strokes; each change in direction is a new articulation.

1. The Goldilocks zone:

- This is a means by which you can get a student to experiment with finding the
best sound possible - Explain the three factors associated with sound (bow
placement, bow speed, and bow weight), and tell the students to experiment with
“too much” and “too little” with each of these factors: once they find the sound
they like, that will be their “Goldilocks zone”.
2. Box, Big V, Little v:
- Used to maintain the correct arm shape as the bow moves and across the strings.
When the contact point is at the frog, the arm makes a small v. When the contact
point is about halfway, the arm and the bow make up three sides of a square.
When the contact point is at the tip, the arm and bow make up a big V.
3. On the rails:
 - A means by which a student can learn to keep the bow consistently on the “sweet
spot. Students could imagine that their bows were set on train rails, which guide
the trion to go in one direction, and one direction only (there are no steering
wheels on a train).
4. Egg Carton:
- One way to train students to bow in a parallel manner involves using a portion of
an egg carton. students can cut out two pockets from the carton which they can
then set over the strings on the violin. When upside down, the crook created by
the two egg pockets can serve as a cheap and easy guide rail for the bow.
5. Tidal Wave:
- It will be important for the students to move large muscles first, and then smaller
muscles second. one way to visualize this might be with a “tidal wave”,
essentially getting the students to move their arms in waves. The motion starts
first at the elbow, and the “wave” builds up as it reaches the wrist and fingers.

#7 Staccato
Definition: separated. There is a noticeable amount of empty space between the
beginning of one note, and the beginning of the second note. Performed on string
instruments by using short bow strokes, and stopping the bow movement when the
desired length is reached.

1. Sticky bow:
- One way to work on the proper articulation could be for students to imagine that
their bow is covered in a bunch of glue (and technically, this is true). The bow
will stick to the strings, and the motion of breaking it free is what makes the string
play staccato
2. Pluck with the bow:
- This is another method which will help the students pronate and play staccato.
Here, the students will imagine there is a small hook on their bow (technically this
 is true as well!). The goal is to “hook” the string, and then “pluck” it with the
bow, as if one were plucking the string with their fingers..
3. Picket fence:
- This would be a way to get students to conceptualize the length of notes. The
pickets on a fence are always a constant distance from one another, and therefore
it is the space in between each picket which makes a fence look different. Staccato
might be seen as a fence with enough space between the pickets to see through the
fence, whereas a tenuto marking might be seen as a fence with no space in
between the boards, and no way to see through.
4. The hands take turns:
- A way that students could practice playing staccato on the instrument while still
separating left hand/right hand skills would be to move the hands separately. The
students could move their left hand to a new note, play the articulated note, move
to the next note, play that note’s articulation, rinse and repeat.
5. Red light/green light:
- If students have ever played red light, green light, there is a good chance that they
have had an annoying experience where someone would say “green light” and
then “red light” again immediately after. In essence, this is what the bow is
dealing with for staccato.

#8 Brush Stroke and Spiccato

Definition: Can be seen as a lifted articulation between notes. Performed by lifting the
bow off of the strings after each note.

1. Paint strokes:
- I would have students imagine they are painting the wall. There is a natural “press
and lift” motion involved, where there is a slight amount of pressure on the
articulation and a release of the pressure towards the end of the note.
2. Sweeping with a broom:
 - Similar to the painting analogy, this idea would help to Get students to have a
natural press and release needed to perform a brush stroke.
3. Airplane touchdown:
- Explaining this one will involve watching a video of an airplane landing, and then
immediately taking back off. The explanation here would be that there is just a
moment where the wheels touch the ground before the plane is back in the air. I
would then explain that this is very comparable to the brush stroke/spiccato
4. Swinging:
- Without contacting the string, I would have the students swing their arm with the
bow in hand, with the intention of them moving it like the seat of a swingset.
Once the students understand this concept, I would have them transfer that
knowledge to the instrument.
5. Wiggle fingers:
- An important part of the brush stroke is that the hands and fingers stay relaxed
and flexible. I would instruct students to wiggle their right hand fingers, Making
sure they are flexible for playing spiccato. I could also instruct students to have
“wiggly hands” or even arms.

#9 Louré
Definition: Can also be known as portato. A line of notes are connected by being played
with the same bow direction, but each note is emphasized by a light re-articulation of the
bow.

1. Heartbeat:
- One way I could explain Loure bowing is to compare it to a heartbeat. If you
aren’t listening carefully you may not be able to notice it is there. But if you listen
closely you will hear the beat from the rest of the noise.
2. Potholes/speedbumps:
 - I could explain the concept of how to play loure by talking about potholes (a
common sight in muncie) and how as you drive and eventually hit one, your car
dips slightly, which makes a bit of extra noise while driving.
3. Lightsaber:
- I would explain the sound a loure bowing makes by comparing it to the sound of a
lightsaber being swung around. Everyone should be familiar with this sound at
this point, and it would get the point across that there is a slight flare in volume
from an otherwise constand sound.
4. Write in cursive “L”:
- This would be another way to explain playing technique. I would have students
draw cursive “l’s” in their right hand with the bow, and then translate that idea to
the instrument. The “L” motion in the right hand, if not overdone, will roughly
mimic the movements needed to play loure.
5. Rocking boat:
- This could be a focused exercise to get a better understanding of pulsing through a
sustained note. I would have students imagine there was a boat rocking on the sea.
I would have students imitate this image by adding more weight as the boat
rocked to its side, and less weight as the boat returned to normal. The speed of
this exercise can be increased or decreased as much as the teacher feels is
necessary.

#10 Slurred Staccato

Definition: Articulation style where multiple notes are played in one bow stroke, however
the bow is stopped after each note is played, creating a staccato effect.

1. Lemon car:
- I would have students imagine they were driving in a really junky car that was
constantly stopping and starting. You could also equate this to someone learning
how to drive a manual car, with a bunch of abrupt starts and stops.
2. That one spongebob scene?:
- There is a scene from a Spongebob Squarepants episode which would be an
entertaining way to describe the sound of a slurred staccato. There is a certain
point where Spongebob makes a funny gesture that really has the same stopping
and starting motion of slurred staccato.
3. Countdowns:
- This would be a good way to get students to practice many articulations in the
same bowing direction. I could start the class with anywhere between 5 and 10
articulations in one bow direction. With each change in direction, the group will
“count down” from the original number. For example, if the class were to start
with five on the first downbow, the following upbow will be four articulations.
This would continue until the students were playing only one note per bowstroke.
The exercise helps students get a good feel of the amount of bow weight and bow
speed needed in relation to 1.) how many notes are encompassed in the slurred
staccato) and 2.) the desired volume.
4. All the notes should share the bow equally:
- A tendency for younger students when working on slurred staccato will be to give
too much of the bow to the first few notes, and then have no space left for the last
notes in a slur. I would explain to students that they need to split up their bow so
each note gets a fair amount of the bow.
5. Take a quick bite:
- One way to get the students to play a slurred staccato in the correct style would be
to have them “take a quick bite” out of the string. This gives them the idea that
slurred staccato should be quickly in, quickly out, and involves a bit of extra force
(hence the “bite’)

#11 Retake
Definition: The action of lifting a bow off the strings to move the contact point (between
string and bow) from the tip of the bow, back to the frog.
1. If you don’t breathe, you will die:
- I will remind students that breathing is a very important part of living. Likewise, I
will remind students that they need to breathe when they make a retake. early on,
this will hopefully get students to understand how a retake could break apart
phrases. Similarly, The retake could also be seen as a place where a singer might
take a breath.
2. Watermelon, cantaloupe, grapefruit, and apple:
- Once students become more skilled with quick retakes, it would be useful to
describe the size of the retakes they should be making. If there is plenty of time, I
might describe a retake as a “watermelon sized” retake. if there are much quicker
passages with multiple downbows, I might describe the retakes as “apple” retakes.
This should help students conceptualize how much of the bow they should use per
note, and
3. Rainbow:
- One important aspect of the retake is that the students make an arc with their right
hand on the retakes. I can hopefully get students to follow this motion by
imagining they are following the rainbow.
4. Helicopter bow (exercise):
- This will be an exercise to have students work on lifting the bow and setting it in
various positions on the strings. I will have the students imagine that a helicopter
is lifting the bow off the strings (reminding them that the bow doesn’t tilt when a
helicopter lifts it) and then sets it down in just the right spot.
5. Guided missile:
- Similar to the rainbow analogy, This is a good way to get students to follow an arc
from the tip of the bow back to the frog. There is an added benefit of this analogy,
and it is that guided missiles are very accurate. every time they take off, they land
precisely on the target.
#12 Hooked Bow
Definition: Any variation of “long-short” which is played with the same bow direction.
(Is sometimes also referred to as “portato” or “slurred staccato”, but Dr. Spieker does not
like that).

1. Long and short are friends:

- I would use this explanation to help students understand that the long and short
notes of the hooked bow go in the same direction. Essentially, good friends do
everything together, and that includes going to the same places. The long-short
rhythm is actually two different notes that are best friends.
2. Snappy Bow:
- I will remind students that the bow needs to be “snappy” or quick. This is
important for hooked bowing, especially at faster tempos, since slow and
lackadaisical movements are going to drag the tempo down.
3. Flick of the wrist:
- I would try to get students to make their hooked bowing movement more in the
wrist than the arm with this explanation. I would instruct students to “flick” their
wrist on the short note of a hooked bowing so they can get better used to this
movement
4. Hook and pull (p.71):
- This idea will help students create a more fluid motion as they use hooked
bowing. Essentially, the student will play the first note as they would a staccato
note. for the second note, they will try to “hook” the bow to the string and pull the
bow. Having a constant motion will help students avoid becoming very rigid with
their bowings.
5. doorknob (p.71):
- I would have students imagine they are using a turning motion similar to opening
a doorknob to get them to understand the turning motion used in the wrist for the
staccato stroke. ON the first long note, they will turn the hand more towards the
 instrument (pronating) and turn their hand slightly away from the instrument
(supenating) for the shorter note.

#13 Slur
Definition: Playing multiple notes with one bow stroke. achieved by changing notes in
the left hand without changing bow direction.

1. Roller coasters:
- To explain the concept of a slur I would compare it to riding a roller coaster.
While traveling up and down hills, the roller coaster continues to travel in the
same direction (provided they are on a 2D plane). Similarly, the bow travels in the
same direction despite the fact that the notes are going up and down.
2. The right hand and left hand are in disagreement:
- This is a way of explaining that while the hand is playing one rhythm, the bow is
playing another. A conversation between the two might sound like: “LH: We’re
playing quarter notes. RH: no, we are playing half notes. see?” the player will
have to eventually step in and say “well, you are BOTH right”.
3. Playing trills:
- Trills would be a great way to introduce students to the concept of switching notes
while bowing in the same direction. While having students play son filet, they can
try rapidly pressing and depressing their first finger. This helps them realize they
can change the notes with their left hand without having to change bow direction
4. Bunching up the notes:
- Explain to students that a slur can be seen as a rope that bunches groups of notes
together. All notes within a group should be played in the same bow direction.
5. All these notes live in the same house (or in the same boat)
- A slur over or under a group of notes can almost be seen as a rooftop, and under
can be seen like a boat. I can then reason with students that these groups are
families, and they all need to be played with the same bow stroke
#14 Tremolo (Bow)
Definition: An effect created by quickly moving the bow back and forth on the strings
using wrist movements. The goal is to create a piercing, agitated sound.

1. Right hand trill:

- I would explain to students that the tremolo is what everyone thought a trill was in
elementary school. I would reenact the sight of a first year player trying to play a
trill by changing the direction of the bow every time they changed notes on a trill,
hopefully to some comedic effect.
2. Lazy arm, hard working hand:
- To get students to use more of the wrist instead of the arm, I would explain that
while the wrist is putting in all the work, the rest of the arm is being a big
freeloader. I could compare it to a group project, where there is someone who
wants to do all the work, and someone else who does nothing. This version would
be for soft tremolos. For loud tremolos, I would say that the arm and wrist
become the dream team. In the dream team, everyone works together and the
result is a big sound.
3. The game of suspense:
- To practice playing tremolos at different dynamics, I would have students play the
tremolo as a fermata, and then follow either the teacher or a student for dynamics.
I would tell them that the softest dynamic (by the hip) is so quiet you practically
cannot hear it. The loudest dynamic (by my forehead) should be loud enough for
people in the math class to hear from the other end of the school. The class has to
follow the dynamic changes, while also smoothly switching from just the wrist to
the entire arm moving.
4. Waving:
- In the beginning stages (or if students are playing with rough technique) I will
clarify that the hand should be waving if it were being shown in slow motion.
 This should hopefully keep students from making their hands or arms rigid. I
would then practice a tremolo as if it were in slow motion, and then gradually
speed it up.
5. Light a fire:
- I would instruct students that they need to “light their strings on fire” to encourage
them to move their bows across the strings as quickly as possible.

#15 Sul Tasto

Definition: A very light bow stroke over the fingerboard, resulting in a wispy sound often
used for impressionistic works. The bow should move quickly, and the bow hairs should
be flat on the string

1. Sul tasto dynamics:

- I would use this to explain the purpose of sul tasto bowing, which is to play at
piano or pianissimo dynamic levels. I would challenge students to try and play sul
tasto at a forte dynamic, though they will quickly realize it isn’t possible without
creating a scratchy, or unpleasant sound (this could also further reinforce why we
should bow over the F hole normally).
2. Lanes:
- Preceding this, I would have explained to students that the space between the
bridge and the end of the fingerboard can be divided into 4 or 5 different lanes,
which each have different sound effects. Understanding that students already
know that, I could then explain that there are actually a few more lanes right
above the fingerboard (perhaps lanes 6 and 7). I would explain that the same
concepts of parallel bowing and bow speed apply no matter what lane we play in.
3. Get the best traction:
- I would explain that there is one major difference between bowing over the F hole
and sul tasto bowing, and that is that you want to get as much traction as possible.
What this means is that the bow needs to be turned in a way that allows as many
 bow hairs to touch the string as possible (which means the bow hair will be flat on
the string.)
4. Foggy day:
- To give students a sense of imagery for what this sound should be on the
instruments, I will tell them that this should sound like a “foggy day” - It is not
very clear, You really have to work in order to see (or hear) things, and there is an
overall eerie feeling you get.
5. Table/counter:
- First, I would point out to students that the end of the fingerboard looks almost
like it were a table or countertop, since it could really look like one if the right
comparisons were made. I would then tell them to “play over the table” for sul
tasto bowing, as this gets them over the fingerboard, but hopefully not for far up
the fingerboard that it gets in the way of their left hand

#16 Sul Ponticello

Definition: a very light bow stroke played close to the bridge. The bow hair should be flat
to the string, and the bow should move quickly and lightly. The resultant sound is an
eerie, high harmonic sound.

1. The recipe:
- I would explain to students that there is a “recipe” involved in making a sul
ponticello sound: One part bowing on the bridge, one part bowing flat on the hair,
one teaspoon of fast bow speed, and just a pinch of bow weight.
2. Bats have to fly quickly:
- This could serve a double purpose. First, I can describe the sound of sul ponticello
bowing as a screechy “bat-like” sound. Following this analogy, I can explain that
bats need to fly quickly through the air to keep flying. Likewise, the bow should
move quickly whenever we are making bat sounds.
3. Be light like a bird:
 - Another part of sul ponticello bowing is to keep the bow light. I would ask
students to bow lightly “like a bird” in order to get the desired effect.
4. Skating on the rail:
- In order to keep the students from losing control of their bows as they move them
quickly across the bridge, I will have them imagine they are skating across a
handrail. They don’t want to lose their balance, so they should focus on keeping
the hair of the bow even across the bridge.
5. Fireflies:
- This is less of a literal, but more of a figurative description of the sound of sul
ponticello. In this explanation, The images of fireflies around inspire something
that is light, quiet, swirling around, and little flashes all around.

#17 Collé*
Definition: “Stuck”. Performed as a short, accented stroke. Played by a bit of extra
pronation on the strings, causing the bow to move less easily. Little arm motion is
involved. The resultant sound should resemble a pizzicato, played with the bow.
1. Bow is glued to the string:
- Part of the translation of “stuck” I want the students to understand, I want the
students to imagine their bows are sticking to the strings, and a strong pull is
needed in order to break the bow free.
2. Play pizzicato with the bow:
- I want students to imagine that they are “plucking” the strings with the bow. This
should hopefully get the students to try and pronate into the string in order to
really pull the string with their bow.
3. Finger pull ups:
- For this exercise, I would have students first set the palm of their right hand onto
a chair, with their fingers handing off the side. I would then have them do
“pull-ups” with the fingers of their hand. Next, I would have them practice the
same exercise in the air, and then with the bow pointed up towards the ceiling,
 and parallel to the ground. Using this “finger-pullup” movement, the students
should be able to move the bow just an inch or so, which is perfect for a
separated, colle bowing style.
4. Frogs:
- It will take considerably less effort for students to get the amount of pressure
needed for collé bowing if they do so by the frog. I might even go as far as having
the students use enough pressure to make the frog “croak”. Once they can do this,
I will have them back off on the amount of pressure until they are making an
actual sound on the string instrument again.
5. The last inch is the slowest one:
- Part of the motion of colle bowing is that the last inch or so on the approach of the
bow to the string must be done slowly to achieve proper control. I would explain
to the students that this extra inch above the strings should feel like moving
through molasses, to get them to slow down their approach.

#18 String Crossings

Definition: The ability on a string instrument to efficiently switch from playing on one
string to another. Doing so requires coordination with the bow (right hand elevation) as
well as coordination with the left hand (tunneling).

1. Seesaw:
- I would have students practice moving the bow to different levels at first by
moving their bow up and down, like a seesaw. This would get the larger motions
into the students’ muscle memory, and that will be useful for when the students
begin making quicker string crossings.
2. Tall Fingers/short fingers:
- A lot of fine movements can be controlled by either extending or compressing the
fingers. I would describe extended fingers as “tall” fingers, and compressed
 fingers as “short” fingers. With this level of control, students can begin to make
fast string crossings without the need of the entire arm.
3. Don’t waste energy!:
- By the time students can shift between strings using both their arms and the
tall/short finger method, I will advise them to “avoid wasting energy” on
unnecessary movements. On slower passages it might be more practical to move
the entire arm, but for much faster passages and string crossings the student will
need to make use of smaller movements in the hand and fingers
4. Right hand levels:
- Something students need to get used to doing is bowing a string without keeping
an eye on the string. I will work to get them to feel certain “levels” on their
instrument, and get used to what it feels like to bow at these various levels while
looking forward to a sheet of music.
5. Open string tremolos:
- To put the concept of string crossings to practice, I will have students work on
crossing between two strings at a constant rhythm. It can be at first half notes,
then quarter notes, eighth notes, and progressively faster rhythms until the
students can all but practically trill between the open strings. I would have the
group work on this exercise between all strings, and this exercise could be
expanded to include three strings, or even all four strings.

#19 Hand Frames for Violin and Viola

Definition: The left hand shapes that violin and viola players use to play diatonically (or
chromatically) in a given key. For diatonic scales there are three: index/middle together,
middle/ring together, and ring/pinky together. With chromatic there are two more which
are generally used, and that is space between all the fingers or the “spock” shape.

1. Index/middle are friends/ middle and ring/etc.:

 - I would explain to students that the hand frames on violin and viola are really a
group of patterns related to which fingers are “friends”. The friends stay close to
one another, while the rest of the fingers keep their personal space.
2. 1st/2nd/etc. frames:
- This would be a good way to keep the hand frames organized for students. Since
there are not a huge number of possible combinations, A teacher could organize
the hand frames by number. This can be helpful when having students look at a
scale and communicate which hand frame to use.
3. Newton’s Cradle:
- I would use this as an exercise to get students to comfortably move between
different hand positions. Much like a Newton's cradle, I would have the students
hold their fingers together. They will pull their index finger back, and as it hits the
group of fingers, the pinky then bounces off. The more these hand muscles
develop to move easily, the better.
4. Markers/checkpoints:
- This would be a controversial way to teach hand frames. To make sure students
aren’t entirely relying on markers, I would only put a piece of tape where the
pinky should rest in order to play the 4th above an open string in first position.
This would be the student's “checkpoint” and they would guide their fingers from
here. Humans are able to divide spaces remarkably well (and I would tell the
students this), so as long as the pinky and index are in the right place, the hand
frame will be correct every time (provided they are using the right hand frame.
5. Cat Paw:
- (This can also be used for Cello/bass players). The concept here is to get students
to comfortably stretch their hands so they can reach all hand positions, finger
frames, or extensions. The concept I would explain to students would be to
expand their hand from the center (like a cat’s paw) and that will help them more
comfortably stretch their fingers further.
#20 Shifting
Definition: the skill of moving the left hand from one position on the neck of a string
instrument to another. Requires a hand that is not tense to the fingerboard, and the ability
to support the instrument without the need of the left hand.

1. Unlock the thumb/left hand:

- I would instruct students that before they shift, they should tap the neck of their
instrument with their thumb at first, effectively “unlocking” if from its position on
the instrument. by having the thumb (and by extension the entire left hand)
disengaged from the neck, the hand can then move freely.
2. Sirens:
- One sound which is incredibly fun to make on the violin (and possibly one of the
more irritating) would be “sirens”, played by boing as the player freely moves
their hand up and down a string. This gets the student familiar with the feeling of
shifting, while also giving them a fun new sound to mess around with.
3. Index moves into a new house, and his friends follow:
- This would be an analogy that connects to the instruction to find a certain note on
a given string. I can explain to the students that each note is a house, and that the
index finger can move around the fingerboard into new “houses”. Fortunately, all
of the index finger’s friends move with him, so they never have to worry about
getting mixed up.
4. Scales with only one finger / one string:
- Scales played using only one finger would be a fun challenge for the students,
since it requires a hand that can move freely across the fingerboard, and allows
students to easily interact with their pitch, building up aural skills.
5. Anchors:
- Similar to the concept of learning positions on a trombone, a student can use
certain landmarks, or “anchors” as guide points for where to place their hand.
 They should eventually develop the muscle memory to find these positions,
however.

#21 Vibrato
Definition: an organic fluctuation of pitch created on a string instrument by rolling the
left hand on the string. Requires the acquisition of left hand shifting skills.

1. Ripples on the water:

- I would want students to think of vibrato as ripples on an otherwise smooth pond.
Not only does this help with the idea of a smooth vibrato, the pond analogy can
also be used for explaining a tone without vibrato. Ideally, there should be no
fluctuation on this “pond” besides the ripples.
2. Funnel/slide:
- Students might make the most sense out of vibrato by first starting very wide, and
then gradually narrowing it down. I could use the analogy of a funnel, which
starts wide and gradually gets narrower as you reach the bottom as a way of
visualizing this specific exercise
3. Wave Hi/bye:
- I would remind students on violin and viola that a lot of the movement for vibrato
is in the wrist. They can get a feel for this by waving “hi” or “bye” with their left
hand.
4. Rolling the finger:
- For narrower vibratos, it might be good to explain to students that the finger does
not actually move across the string at all, but instead sort of “rolls” back and forth
on the tip of the finger.
5. Ketchup:
- This is a good analogy to help students know how to use vibrato in good taste. I
would compare it to ketchup. While it is good on some dishes, it can ruin a meal
if it is 1.) Completely covered in it, or 2.) Put on something that does NOT need
 ketchup. This can hopefully get students to use vibrato sparingly, or abstain from
it in music which does not call for the technique.

#22 Tone Production

Definition: The ability to produce a characteristic sound on a string instrument.
Determined by three factors: bow weight, bow speed, and bow placement. Development
of these skills are brought about through careful repetition and correction.

1. Dig Into the string>

- To make sure that students are playing with a proper amount of bow weight and
bow speed, they should be encouraged to “dig in” which encourages a greater
weight into the string.
2. Pounds/miles per hour:
- The good thing about this analogy is that it gives the teacher a way to effectively
toggle the amount of weight or bow speed a student is using. It is possible to say
“the bow needs to move at 50 miles per hour here” or “add 10 pounds of weight
to the string”. This point isn’t for students to take these measurements literally,
but to give them a frame of reference.
3. Look how you want to sound:
- Bad posture can often be the cause of many playing issues, one of which is poor
tone quality. I would encourage players to look like the sounds they are trying to
create (open and flowing for lyrical passages, or tall and proud for more bold
passages).
4. Strong, but not rigid (steel):
- This is in reference to the right hand. The teacher should encourage students to
have a good balance between steadiness (muscle engagement), and rigidness
(excess muscle tension). The teacher can say that the hand needs to be made of
steel, which is indeed quite tough, but it can still bend if it has to without
snapping.
5. Sounds like a…:
- This method would encourage students to use their imagination, and their
instruments as a way of creating a mental image of the music. The teacher can use
any list of analogies, like “this should sound like a giant stomping around” to
elicit a heavy, powerful tone. Likewise “hummingbirds” could be used to get
students to play lightly.

Five Elective Topics (These must be string playing skills)

1st Elective Topic: String Harmonics

Definition:

1. Fractions:
- One of the first concepts I want students to understand about string harmonics is
how they apply to fractions. I would explain that making the string half its
original length will make the pitch go up an octave. One third the original length
is an octave and a fifth, and one quarter raises the pitch by two octaves. Keen
students will notice at this point that with each increase in the denominator, there
is a new note that can be played. This would be fun for math-oriented students to
experiment with, and might be something they find enjoyment in practicing.
2. Wiggle Strings:
- On the low string instruments, harmonics and wiggle strings are both used for
tuning, though they can also be used on high string instruments. Knowing how to
play harmonics on a low string instrument allows for a player to tune as a
professional would, and the wiggle strings can be a good indicator that harmonics
are matching up.
3. Bugle calls:
- A fun exercise to play using just the harmonic series would be a series of bugle
calls. All of these calls were composed to be playable with just use of the
 harmonic series, so they would work well for students working on string
harmonics. This exercise also has the added benefit of working on left hand
shifting, especially to increasingly higher points on the fingerboard.
4. Just tap, don’t press:
- One of the first errors a student might make when trying to play string harmonics
would be to apply too much pressure to the string. When this happens, the string
stops vibrating, even if the finger is placed in the right spot. I would advise
students to “only tap” in order to get the string to resonate at a higher harmonic.
5. tune into the radio:
- Students may not be able to find the harmonic points on a string instrument right
away, so I would encourage them to look for it “like they were tuning an old
radio”. Essentially, they will move their finger up or down the string until it
eventually resonates with a harmonic.

2nd Elective Topic: Col Legno

Definition: An instruction to strike the string with the opposite side of the bow, creating a
percussive sound frequently used by Stravinsky, as well as by many other composers.

1. “With the stick”:

- For the most clear definition, I will explain to the students that col legno translates
from Italian as literally “with the stick”, as in the stick of the bow.
2. Right hand doesn't change:
- I want to explain to students that despite flipping the bow in their right hand, the
right hand bow still stays the same. There is no need to hold the bow in some
different way based on the orientation of the bow.
3. Wooden Raindrops:
- I found this to be a very unique way of describing the sound of col legno bowing.
This idea of “wooden raindrops” will eet the idea in the students’ head that there
is a bit of a punch to the sound, though it is still very small and light.
4. Roll to the scroll:
- In order to get the bow from a regular playing position to col legno position, I will
instruct students to “roll” the bow towards their scroll for both upper and lower
strings. This allows for quick shifts without contorting the wrist into
uncomfortable shapes.
5. Battle Battuto:
- Another type of bowing similar to col legno, which students may encounter is
battuto. The difference between col legno and Battuto is that the former uses both
the wood of the stick as well as some of the bow hair, while the latter uses ONLY
the stick. To help students remember the difference, I will have them associate
battuto with the word “battle”, since it is noticeably harsher than col legno.

3rd Elective Topic: Double Stops

Definition: A skill which involves bowing two strings at the same time. A necessary skill
for tuning, playing richer chords in the ensemble, and also for advanced literature.

1. 50/50 weight:
- I would instruct students to try and balance the weight of their bow between the
two strings they were trying to play, instructing them that the weight should be
“50/50” on each string.
2. Drawbridge:
- To find the correct elevation of the bow, I would want students to start by playing
on just one string, and then gradually lowering the bow towards the second string
they are wanting to play, much like a drawbridge getting lowered.
3. Rock the boat:
- Another way to find the sweet spot between two strings would be to “rock the
boat”. To do this, Students would first start out with very wide variations in their
bow height as they played, and the variation in height would gradually decrease
 until only three strings are played, then two strings, and finally the bow is
balanced on just two strings.
4. “G 1/2… etc”:
- Once students have found the right heights for the double stops, The teacher can
make a quick reference to what bow level should be used on a double stopped
passage by stating it is “G 1/2” or “D 1/2” or “A 1/2”. This can be even more
effective if it is integrated into an already existing bow-level system.
5. Gregorian Chants:
- This would be a good chance for some cross curricular teaching. I would describe
the sound of double stops on open strings as “chant-like”, which would then lead
into a discussion on Gregorian chant, and the historical context of medieval
music.

4th Elective Topic: Low Stings Extended Positions

Definition: A set of hand frames for cello and string bass which allow the player to access
the full chromatic range of the instrument.

1. Stretching:
- This might be a good way to introduce the idea of extended positions to new
students. This helps them understand that their hand essentially expands and
reaches further when going into extended position
2. Rubber bands go back!:
- To prevent undue strain and injury, students should be in the habit of returning
their hand back to a closed position, since prolonged use of the left hand causes
muscle strain, unless a player has rather large hands. I would explain to students
that the hand is like a rubber band, and when it does not have to be pulled as far as
possible, it goes right back to its original length.
3. Reach closer/reach further:
 - I would want students to understand that there are only two ways to extend:
extensions to reach closer to the scroll, and extensions to reach closer to the
bridge. In both cases, the hand shape ALWAYS stays the same. What is important
is where the index finger is placed.
4. Don’t pinch the neck:
- Also important for the ability to use an extension without straining the hand is to
keep the thumb light on the back of the neck, if it is on the neck at all. To keep
students from applying too much thumb pressure, I would tell them to not “pinch”
the neck, since that hurts the cello. Follow the golden rule!
5. Swing the elbow forward:
- Another movement which makes the extension more comfortable would be to
“swing” the left elbow forward slightly. This puts the wrist at a better angle for
the extension. I could have students practice swinging their left elbow forward
and backwards to help them recognize this movement.

5th Elective Topic: Left Hand Pizzicato

Definition: A skill in which the player can pluck the string with their left hand, as
opposed to the right hand. This skill allows for more complex pizzicato passages, and is
also a necessary skill for advanced solo literature.

1. Imbalanced hands make balanced sounds:

- One of the attributes of left hand pizzicato is that it is used in conjunction with
right hand pizzicato. The challenge of this is to get both hands to sound equal. To
get there, I will explain to students that “imbalanced hands make balanced
sounds”. What this means is that the timing between the hands will be different,
and the force needed will be different, and students will need to practice and
accept these differences.
2. Lift Off/pullback:
 - I would use this to explain the motion needed from the left hand plucking fingers
to get the desired sound. In order to keep other strings from being touched or
sounded, the left hand plucking finger needs to “lift off” from the fingerboard like
a helicopter, rather than taking off like a plane. This is especially true for the
lower strings.
3. Left arm pivot:
- In order to get the right hand angles, I will explain to the player that they will
need to be able to “pivot” the left elbow to their body for lower strings, and away
from their body for higher strings.
4. Longer Left hand fingernails (or calluses made of Iron):
- One of the greatest challenges of the left hand pizzicato is to get a resonant tone
which is comparable to the open string getting plucked. I would instruct students
that the left hand fingertips should have “calluses of iron”, or even slightly longer
fingernails on their left hand in order to properly hold the string down without
interference from the fleshy pad of the fingertip.
5.The Lever Principle:
- I would explain to students that the left hand pizzicato works on a lever principle.
What this means is that it is much easier to get a solid sound near the center of the
string, and as the plucked notes get closer to the scroll, more force is needed in the
plucking in order to produce a sound. This is because, like a lever, physics works
more in our favor when there is a rotational action far away from the pivot, and
less in our favor when there is a rotational action very close to the pivot.