Stoddard 1

Micah Stoddard

MUS 250

String Techniques Notebook

12/5/13

Stoddard 2

Table of Contents

CHAPTER 1: Right Hand Techniques Pages 4-9

Precursors to the Bow Hold: Page 4

How Hold Activities: Page 5

Pizzicato Formation: Pages 5-6

Bow Position: Page 6

Basic Bow Stroke: Page 7

String Crossing/Direction Changes: Pages 7-8

Double Stops: Page 8

Stopped/Hooked Bow: Pages 8-9

Off-String Strokes: Page 9

Bowing Principles (Guidelines): Page 9

Slurring: Page 9

CHAPTER 2: Left Hand Techniques Pages 10-14

Body Posture: Page 10

Instrument Position: Page 11

Hand Frame: Pages 12-13

Finger Position: Page 13

Finger Patterns 1, 2, and 3: Pages 13-14

Complex Finger Patterns: Page 14

Vibrato and Shifting: Page 14-15

CHAPTER 3: Pages 15-

Construction and Nomenclature: Pages 15-19

Care and Maintenance: Pages 19-20

Tuning: Pages20-21, 22-24

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Developing String Programs/Recruiting: Pages 25-33

Method Book Criteria: Page 33

String Literature: Pages 34-47

Rehearsal Techniques: Pages 48-68, 69-78

Curriculum/Assessment: Pages 79-84

Identifying Technical Problems: Page 85

Handbooks: Pages 85-98, 99-114

Games: Page 115

Scales: Page 115

Fingering Charts: Page 131-132

Bibliography: Page 117

Anything else: Page 118-126, 127-133, 134-144

Stoddard 4

Right Hand Techniques

Precursors to the Bow Hold

Goals

o Thumb- supports the bow from the bottom

o Pinky- acts as a counter level

o Index Finger- Governs the weight (“power finger”)

o Middle Finger/Ring Finger- Used for stability

Violin/Viola

Cello/Bass

Activity: Pencil Hold

Step 1: Hold the pencil with the left hand at eye level.

Step 2: Hang the right hand fingers over the top of the pencil.

Stoddard 5

Step 3: For Violin and Viola, place the forth finger pinky on top of the pencil. For Cello and Bass,

the fourth finger pinky should hang over the pencil.

Step 4: The thumb should be slightly curved and be directly behind the second finger.

Step 5: For Violin and Viola, the first finger should rest on top of the pencil. For Cello and Bass,

the pencil should touch the first three fingers and touch the fourth finger at the first joint of the

finger.

Step 6: Remove the left hand, keeping the fingers relaxed. Practicing this will help with shaping

the hand for the bow hold.

How Hold Activities

Shake hand as if it is dead weight

“Bunny Hand”

o Make a “bunny” face with the thumb being between the middle finger and right finger

“Up like a Rocket” – keeping the bow hold, shoot the bow up into the air and then back down.

Back and forth – keeping the bow hold, wave the bow back and forth (like windshield wipers).

Circles – keeping the bow hold, place the left hand at the end of the bow, and then move the

bow in a circular motion clockwise and counter clockwise.

PVC pipe – Use the PVC pipe to practice bowing

Balloon Bonanza

o With blown up balloons, the students will attempt to keep the balloon up in the air with

the bow, while keeping the proper bow hold.

Spider Races

o Racing up and down the bow while keeping the bow hold.

Pizzicato Formation

Definition: Pizzicato: to pluck

Formation

o Form the right hand with the middle, ring and pinky down. The first finger and thumb

will be out as if forming the letter “L.”

o The hand has to be anchored in place at the side of the finger board.

This gives free rang to get at all of the strings.

o Plant the thumb at the side of the finger board.

o Using the middle of the pad of the finger, wiggle the string and then pull to the side and

let go.

Stoddard 6

Bow Position

3 Things That Make a Good Bow Sound

Placement

o Middle

o Finger Board

o Bridge

Weight

o Medium

o Heavy

o Heavier

Bow Speed

o Andante

o Allegro

o Adagio

o Changing speeds with Rhythm

o Presto

Stoddard 7

Basic Bow Stroke

Used for detached notes, the motion of the basic bow stroke is a pushing and pulling motion.

Not slurred.

Goals

o Bow hand shape is set

o Bow is place on the string

Between the bridge and the finger board.

o Bow is always parallel to the bridge

Activities

o Dowel to the shoulder or belly

o Staying in lanes

o Physical activities

o Set bow on the string

o Wiggle to feel contact

o Pulled bow

Down and up on each string

o Arm weight for each string thickness

Use an example such as a pound or a sack of potatoes

o Follow the curve of the bridge

o Suzuki rhythm exercises

Mississippi hot Dog

Hot chili

Days of the week

Wish I had a motorcycle

String Crossing/Direction Changes

Goals

o Bow hand shape has to be set and must have a good basic stroke

o Bow direction must be set

The motion must always be circular in nature, moving clockwise or counter

clockwise.

The faster the tempo, the smaller the body motion. The slower the tempo, the

larger the body motion.

o Violin and Viola

Lower arm when crossing strings

Raise arm when going to lower strings

o Cello and bass

Raise arm when crossing strings

Lower arm when going to lower strings

o Lead with the elbow

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Activities

o Tock the bow on the bridge

o Imagine a pencil on the tip of the bow; player should be able to draw a circle

o Practice string crossing by rote first

o Add rests between string crossings for practice

Double Stops

Definition: Playing on two adjacent strings at the same time.

Goals

o An even sound should come from both strings

o Player should have a good push and pull basic stroke

Activities

o Center the bow on both strings

o Play a D scale with the open string

Stopped/Hooked Bow

Staccato

o The note is a detached, separated, or disconnected not played with the bow remaining

on the string

o Stopped bowing

Martele

o A staccato stroke that is commonly referred to as a hammered stroke. Each stroke must

be prepared for with pressure before playing and then immediately followed by release

of pressure.

Tremolo

o This technique is moving the bow back and forth as rapidly as possible for the duration

of the note

Hooked Bowing

o To avoid awkward bowings or improper accents, this technique is tying or slurring notes

o Hooking two notes in one bowing

Loure

o A smoothly separated (pulsed) bowing, a semi staccato type of bowing

o Used to annunciate notes without having a pause between each of the notes

Sul Ponticello

o Playing with the hair of the bow as close to the bridge as possible

o Tilt the bow hair away from the bridge to get the desired affect

Col Legno

o Playing with the wood of the bow, the string is struck (tapped) with the wood side of the

bow

Sul Tasto

Stoddard 9

o Playing with the bow placed over the finger board

Colle

o The bow is placed on the string as if going into an up-bow spiccato

o Pinching the string lightly with a sharp attack, and then as soon as the note is sounded,

lift the bow for preparation of the next bow stroke

Scordatura Tuning

o Tuning to create an unusual effect

Off-String Strokes

Spiccato

o Referred as “bouncing bow”

o Moving in a horizontal direction like the basic bow stroke

o After each stroke there is a lift, which creates a bouncing effect

Bowing Principles (Guidelines)

Bowings are going to be in music for low level pieces

o In higher level pieces, teacher must be put in bowings

Nearly all the time, measures will begin with a down-bow

o Strong beats must begin with a down-bow

With an up-beat; use up-bow

Dotted eighths are usually played with a hook bowing

A succession of uninterrupted sixteenth notes without slurs should have each group of four

begin with a down-bow

A syncopated note should be played with a down-bow

Slurring

Goals

o Smoothly pull the bow in the same direction

o Connect two or more different pitches

Activities

o Fast finger (left hand) slow bow (right hand)

o Eighth notes with the left hand

o Quarter notes with the left hand

o Hook bow

Split the bow in half with each note

o Slow Scale

Stoddard 10

Left Hand Techniques

Body Posture

Goals

o Lengthening of the body

o Balanced

o Having the freedom to move

o Having a wide range of motions

Activities

o Sitting/standing

o Tripod

Feet flat on the ground

Torso lengthened

Shoulders back

o “Surveying” the land

o Acting the royalty

o “Growing and inch” by pretending there is a string on top of your head that you pull up

to “grow an inch”

o Balancing a book

o Bouncing knees- bounce up and down for balance

o “Hot Seat” – having to get up quickly from your seat

o “Elevator” – slowly getting up and down from your seat

Stoddard 11

Instrument Position

Cello/Bass

o Out in front of player

o Tuck instrument into the body

Cello should be in-between the knees

When standing, the peg box should come up to the player’s chin

When sitting, the neck and peg box should NOT rest on the player’s

shoulder

Bass should be against the player’s left thigh

When standing, the peg box should come up to at least the eye level of

the player

o Hug instrument

o Roll – rock the body back and forth

Violin/Viola

o “Statue of Liberty”

Have the instrument up above the player’s head

o “Helicopter”

Bring the instrument over to the left shoulder without placing on the shoulder

o “Landing”

Place the instrument on the shoulder of the player

o “Sniff”

Bring the head up and then place the chin on the chin rest

Cases should be on the left side of the chair

o This gives order to the setup and gives a path to get in-between students

o Make sure the cases are locked before the player picks the case up

o When getting the instrument out while sitting, make sure the handle of the case is by

the belly

o Knobs on the bottom of the case should be in the lap

Open the case

o Lift the instrument out by the neck with the left hand

o Close and lock the case and then place on the floor

When helping the high strings put on their shoulder rests, give the low strings a task to keep

them occupied

Check the low strings to make sure that everything is on task

Stoddard 12

Hand Frame

Goals

o Left shoulder needs to be relaxed

o Left elbow and arm should be at an appropriate level for the string needed

o Arm should be parallel to the floor for violin and viola. Arm should be up like a “chicken

wing” for cello and bass

o The back of the wrist should be straight for violin and viola

o With the cello and bass, the hand should make a “C.” The thumb and middle finger

should be together at all times. The thumb will be placed on the back of the neck so that

it is not seen.

o For violin and viola, the thumb is relaxed and facing toward the ceiling

BAD GOOD

Good Violin/Viola

Stoddard 13

Activities

o “Salute” (for violin and viola)

o Arm out “C”

For cello and bass, the player will bring their left arm out with the hand in the

shape of the “C.”

Player will then bring their arm in and place their left hand in the appropriate

place on the instrument

o Hand Shake and Wave (for violin and viola)

o Bear Claw (for Cello and bass)

o Pinky Strum

Players will strum with their pinky without loosing the proper left hand hold

o Tapping

To build finger strength, students do mini “finger push-ups.”

Finger Position

Thumb is relaxed

Fingers are curved, making table-tops and tunnels

Must keep fingers close to the strings

o Player should not bring their fingers away from the instrument. Keep fingers close to be

able to play quick passages

Finger Pattern One

Finger pattern one is based off of the tonic tetra chord of a major scale. Beginning on an open

string, it consists of the normal progression of two whole steps, a half step, and a whole step. This finger

pattern is a very natural position, and the most comfortable out of all the finger patterns. The first finger

will be a whole step up from the tonic open string. The second and third fingers for violin and viola will

be coupled together so that the player will achieve a whole step and then a half step. For cello and bass,

the third and fourth fingers will be coupled together to achieve a while step and then a half step.

Finger Pattern Two

Finger pattern two is based off of the tonic tetra chord of the natural minor scale. This

progression is a whole step, a half step, and two whole steps. On violin and viola, the first finger and

second finger a coupled together to achieve a while step and then a half step. On cello, the first and

second fingers will be coupled together to achieve a whole step and then a half step. On bass, the

second finger will be extended to achieve the half step needed.

Complex finger patterns (finger pattern three)

This pattern involves a finger extension for the cello. Cello will extend their first finger backward;

all other fingers will stay in their same basic finger pattern. The bass will move the entire hand one half

step back to lower the pitch. But, the fingers will be similar in relationship to the first finger pattern.

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Complex Finger Patterns

Extensions

o Backward- move index finger backward, dropping the elbow to maintain relative hand

position

Half Positions (Bass moves hand one half step back)

o Finger patterns Three, Four, and Five employ extensions and half positions

Vibrato and Shifting

Using only one finger at a time

For upper strings the motion is even

o When using (arm vibrato), the arm, wrist, and hand function as a unit. The wrist is

straight, but relaxed. There should be a straight line from the elbow to the bass of the

hand.

o When using (wrist vibrato), the motion is generated by the wrist joint as a “waving”

motion. The finger flexes and there is minimal arm motion. The ring finger is normally

used with this vibrato.

For lower strings

o Arm vibrato is used. The motion is produced by rotating the lower arm, the elbow does

not move, rolling back and forth to function as a unit. When vibrating with the pinky,

player should add third finger.

Activities

o Cross the chest and massage the shoulder (for violin and viola)

o “shake the can”

o Polish the strings

Player will slide their fingers up and down on the strings

o Make the polishing smaller

Make the polishing smaller and smaller until player is down to one finger. The

vibrating should be between a major second and minor third.

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o “Shadowing”

Flip the bow over and place onto lap. Pretend to slow bow while vibrating the

string on the instrument. Slow bow, fast left hand.

o Add the bow to the strings

Special Topics

Construction and Nomenclature

Viola Strings Violin Strings

Stoddard 16

Cello Strings Bass Strings

Materials

Body

o Spruce – used normally for the top of the instrument

o Maple – used for the scroll, peg box, neck, sides, and bridge

o Ebony – used for the finger board, nut, pegs, tail piece, and end button (on the violin

and viola)

o Metal – used for the brass pegs, fine tuners, and tail gut

o Plastic – used for the tail piece, fine tuners, chin rests, and tail gut

o Laminated Wood – used on school instruments for durability

Chin Rests

o Come in a variety of sizes

o Can be made out of ebony, boxwood, rosewood, or plastic

End Pins

o Found on the cello and bass

o Made out of steel

Pegs

o Used to tune the strings

o Types of pegs

Friction pegs

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Tension pegs (caspiri)

Peg compound (aka dope) is used to loosen pegs

Bow

o Materials

Pernambuco and brazilwood

These are best for making a bow

Normally used by step-up students and professionals

Carbon fiber

o Coda bow

o Musicary

Frog

Found at the end of the bow, this is where you hold the bow

Normally made out of plastic

Hair

Made of either horse hair, or synthetic hair

Bass Bows

Two types (German and French)

Strings

Metal

o Found on the E string of the violin

o Metal wound metal

o Metal wound with synthetic

Giver warmer sound

Less responsive

o Metal wound with guy

Used on the cello G and C strings

o String Brands (students)

Glaesel Chrominum Steel

Dr. Thomastik (Germany)

Eudora

Wondertone

Gold Label

Red Label

Jarger (for cello)

o Rock Stops

Can be made out of metal, rubber, or player could use a

strap that attaches to the leg of the chair

o Shoulder Rests

Can be made out of sponge

More expensive brands:

Resonance (about $12)

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Wolf (about $45, good for taller students)

Kun (about $30)

Play on the Air

Strad Pad

Viva

Muco (very similar to Kun)

o Rosin

Sticky substance use on the hair of the bow

Bass rosin

Different than basic rosin, somewhat thicker

Hill Rosin (brand)

Use for violin, viola, and cello

Sizing

o Violin

If the hand of the player comes up to the next of the

instrument, a ¾ size instrument is the correct size

In the hand of the player passes the peg box, a FULL size

instrument is the correct size

o Viola

Most students start on a 13”-14” viola

The standard size viola is 15”-16”

o Cello

With the endpin out, the top of the cello should come

up to the chin

The next and peg box of the instrument should clear the

shoulder

Student must be able to form a minor third with their

left hand (ex. E-G)

Sizes

½

¾

Full size (4/4)

o Bass

The height of the instrument should be so that the nut

is level with the student’s eyes

The left hand needs to form a major second from the

index finger to the pinky finger

Sizes

¾

½

Stoddard 19

When the bow is on the strings, the shoulders of the

student need to be horizontal

Cases

o Types

Upper strings

Oblong

Hard

Plastic

Basic

Soft

Lower Strings

Soft

Hard (chellos)

** Bow MUST come out first when removing a cello or bass from a soft case

Care and Maintenance

Things to remember

o Keep the room at an even temperature. The room should be humidified.

o Make sure that every student has a cleaning cloth and that they clean off the rosin from

the body of the instrument every way.

o Fine tuners should not be turned all the way down

o Make sure to have peg dope

Strings

o Professionals will put new strings on every six months.

o At a school, new strings should be put on every year.

Except on bass, the strings last longer, so there is no need to replace them every

year.

Bow

o Bow should be re-haired once a year.

Maintenance

o Strings need to be even on the finger board.

Take fingers to the feet of the bridge and move it over until the strings are

straight and even.

Bridge needs to be straight.

Indentation lines up with the bridge.

If the bridge is slanted, then it is warped.

o Chin rest can get loose.

Take a paper clip and tighten the chin rest.

o End pins

Watch to make sure the nut does not strip.

o Fine tuners

Stoddard 20

If the fine tuners are really stiff then they should be replaced

o Finger board

Plane the finger board if grooves appear.

o Sound post

Invest in a sound post adjuster to fix the sound post.

o Strings

If frayed at the nut or down at the bridge the string will break. Strings must be

replaced in this case.

o Tail gut

The tail gut can get loose. It also can get too tight.

o Bow

The grip can get loose.

The stick can get warped or cracked at the tip.

The frog can crack.

Winding tip can strip.

If you cannot tighten the bow anymore, then the bow should be taken into the

shop.

o Cases

Fasteners won’t latch

Handles will fall off

Bow clip will not hold the bow

Zippers on the soft cases will not work

Send to the shop if:

o The bow needs to be re-haired

o If there are open seams

o If there are cracks on the instrument

o If the end pun needs replacing

TUNING

While the students are learning the basics, the teacher needs to tune the instruments. This will

save a lot of time.

To save time, just tune the D and A strings at the beginning of learning.

A quick method of tuning is using pizzicato to tune. To make the instrument sound more in tune,

use the bow to tune.

Make sure there are fine tuners on the instruments, except for bass.

Once students can recognize pitch, have the students start to tune on their own.

Sequence Tuning

o Tuning position without bow

o Tuning position with bow

o Manipulate the pitch with the fine tuners

o Discriminate whether it is in or out of tune

Stoddard 21

o Tune one string at a time (A, D, G, C, E)

o Controlled double stop (playing two strings at once)

Strategies of Tuning

o Difference between high and low

Okay and then have the students tell whether the pitch is higher or lower

o Teacher plays up-bow, on the down-bow, students play softly so that they can tune

o Teacher gives pitch, students pluck string without the bow

o How to tune in fifths

Listen for the evenness in the waves

Tuning the Bass (Bass Harmonics)

o Start on the D string in third position, using the fourth finger (A harmonic)

o Take first finger and place it on the A string octave

o Take fourth finger on the A string in third position and put the first finger on the E string

o Take the first finger and place it on the D string, then put the fourth finger on the G

string

Stoddard 22

Structuring the Rehearsal

Principles of Delivery

o Non-verbal

Not using any words to teach (keeps the students attention and keeps them

engaged)

o Eye contact

Use a lot of eye contact, students could get distracted and then not pay

attention

o Gestures

Conduct how you would play

Use hand and body gestures

o Proximity

Get in a close proximity of the students. But not too close!

o Vocal inflections

Use non-verbal vocal inflections to get the student’s attention

o Pedagogical touch

Small touches such as lifting someone’s elbow or a slight push on the back to

get the student to sit up straight

o Choosing words carefully

Try to use three words or less

Less is always more

Games

Spider races

o To help in learning and retaining the bow hold, try adding candy into the game. Put a life

saver at the tip of the bow, and in order to get the candy, the player has to successfully

complete the spider race without dropping the candy.

Balloon Bonanza

o To help in learning and retaining the bow hold

Bibliography

Scales (2 OCTAVES NOT 1!!!!!)

G Major:

Violin/Viola: 0 1 2 3 0 1 2 3

G A B C D E F# G

Cello: 0 1 3 4 0 1 3 4

Stoddard 23

Bass: 2 0 1 2 0 1 4 0

D Major:

Violin/Viola: 0 1 2 3 0 1 2 3

D E F# G A B C# D

Cello: 0 1 3 4 0 1 3 4

Bass: 0 1 4 0 1 4 -2 4

Bibliography

Anne Thompson

Becky Busy

Carol J. Johnson

Cooper Middle School (Patricia Cleaton)

Stoddard 24

Forest Hills Eastern

Jstore/MENC: The National Association for Music Education

Southwestern Musician (Dr. Michael Alexander)