Newsletter

First of all I would like to welcome our new Stringing Along editior, Julianne Rensink and thank her for taking on the task of getting our three yearly newsletters out to you all! And of course I thank Debby Greenblatt for her many years of hard and capable work to make the newsletter what it has become. I hope it is informative and helpful to you.

Second, I would encourage everyone in NEASTA to seriously concsider finding a way to attend the National Convention wheich will be held in Kansas City, March 8-11, 2006. It will likely never be more convenient for those of us in Nebraska and the event is certainly worth your time and effort to attend. You should have received information about this from National ASTA or you can find forms in this newsletter. If you know anyone hwo is not a member and would like to attend the convention feel free to share with them the Trial Membership form, also in ths newsletter. They cna join for a six month trial period from Novemeber 1, 2005 to April 30, 2006 for a reduced fee and be eligible to attend the convention.

More close to us time-wise is the NMEA Copnference/Clinic November 17-19, 2005, at the University of Nebraska-Lincoln. Our annual membership meeting will be Saturday, November 19 at 7:45 am in the Steinhart Room, Lower Lobby of the leid Center. A light breakfast will be provided.

Congratulations to Patty Ritchie, our President-Elect, who has written a grant titled "ROSIN" )Ready for Orchestras and Strings In Nebraska) and received full funding from the ASTA Special Projects Grants. The grant deals with igniting interest in developing new String and Orchestra programs in the state. Way to go Patty!

Not long ago the teacher at one of the middle schools my elementary students feed into asked me about the warm-ups I use with the kids. Having seen us warm up at last year's NMEA convention he wanted to take what I do and build on it when he gets the students the following year. Not having the capability of putting standard notation in a word-processing document or an e-mail, I was challenged to some how put down in understandable language just what we do. it occurred to me that others of you might be interested in our routine as well.

I teach my students one octave scales almost as soon as they can put three fingers on a string (orfour for cellos and basses). They don't need to know note names, only fingering patterns at first, and usually by the fourth lesson I introduce a least the D scale. They can play it pizzicato or with the bow if they have learned how to hold the bow properly. To start with I teach a specific rhythm for each scale and we play that rhythm on each step of the scale, going up, playing the highest note only once, and going back down. This sets the kids up to play scales in rounds later on. the first three scales are D,G, and A for violins and basses (and often the basses take longer to learn these because they are more difficult on the bass) and D,G, and C for violas and cellos. later in the year I teach the A and C scales to the groups that don't have an A or C strings.

When the students are competent playing the scales in unison I introduce playing them as rounds. I have each person or group continue to play the prescribed rhythm on the final note until everyone completes their scale, then we end together on a whole note on the tonic. The students learn to listen for the sound of everyone being back on the same note to know when to end the scale. The rounds can be played in any number of parts and we have done it in up to 16 parts, though not often because it takes so long to complete it!

Once the students learn my standard rhythm for each scale we can mix the rhythms around and use them on differenct scales. I also have other rhythms we substitute for the scales in the more advanced classes, but everyone in the school string program learns the first 4 bssic ones very well.

Basic Patterns:
D scale--pepperoni pizza--ti ti ti ti ta ta (eighth, eighth, eighth, eighth, quarter, quarter)
G scale--green apple, green apple--ta ti ti ta ti ti (quarter, eighth, eighth, quarter, eighth, eighth)
A scale--ice cream and candy--ti ta ti ta ta (eighth, quarter, eighth, quarter, quarter)
C scale--encyclopedia--ta ti ti ti ti ta (quarter, eighth, eighth, eighth, eighth, quarter)

Other rhythms I use:
great big watermelon--ta ta ti ti ti ti (quarter, quarter, eighth, eighth, eighth, eighth )
pop or soda--tam ti ta ta (dotted quarter, eighth, quarter, quarter)
open the door, shut the door--triple-ti ta, tam ti ta (eighth note triplet, quarter, dotted quarter, eighth, quarter)
do the dishes, take out the trash--tam ti ti tam, triple-ti ta (dotted quarter, eighth, eighth, dotted quarter, eighth note triplet, quarter)

As students advance and can play higher or lower octaves of the scales I let them choose which octave to play during warm-ups. Last year I even made a wall chart where I record the date when each student plays a scale memborized and perfrect for me. An asterisk gives credit to those who play an additional octave.

Memorized scales are such wonderful teaching tools because the studnets know what the scales should sound like, thanks to the very competent general music teahcers in my schools and they can concentrate on playing in tune and with good tone quality and correct playing position. They also learn to hear the harmonies while we are playing rounds and adjust their pitches so the group sounds "right", as well as the absolute necessity of playing the rhythms the same speed and staying together. They are encouraged to watch each other's bows as wll as listen to help them stay together.

Advantages to having all string players in the school know the same scales and rhythm patterns are several. At the beginning of classes I can have individual students start the scale rounds and they can be engaged and playing while I am taking attendance and practice time, replacing a string, resetting a bridge, or any of the myriad of things teachers find they have to do at the beginning of classes. I can even tune instruments while the students are playing their scales.

When all the string players in the school get together to rehearse for a concert all grade levels know the same scales so I can instantly get everyone's attention by just having one section start on e of the scales. I don't even hafe to use lots of workds. I just say, "D scale", or "Dscale, Pepperoni Pizza" and they know what to do. Hafing ninety elementary string players in a multipurpose room playing sclaes in a 4 part round makes quite an impression on administrators and other teachers! And whenever we need to demonstrate our instruments for anyone we have something we cna play instantly in parts whtat sounds absulutely wonderful and dispels the myths of squeaky, out of tune beginning string players!

These 34 traditional and original tunes are arranged for two instruments, with chords for back-up musicians included. The tunes in each collection are in the same keys, so you can all play and sing together.

SINGING FIDDLING TUNES FOR TWO BASSES
SINGING FIDDLING TUNES FOR TWO CELLOS
SINGING FIDDLING TUNES FOR TWO MANDOLINS
SINGING FIDDLING TUNES FOR TWO VIOLAS
SING;ING FIDDLING TUNES FOR TWO VIOLINS

Contents: Alice Johnson's Jig, A Banjo Player Closed My Door, Boil Them Cabbage, Cactus Pete, Call Me, Cindy, Follow the Lead Sheet, The Fox, Gig On Time, goin' Down to Cairo, have Mercy, How Many Biscuits, I Can Learn to Play this Song, Ida Red, It Ain't Gonna Rain, I Starts With Your Feet, Liza Jane, Love Somebody, Mary Ann the Fiddler, Old Bald Eagle, Old Dan Tucker, Overalls, Play Harmony, Practice Practice Practice, Railroad Whistles, Sail Away ladies, Sally Goodin', Shortnin' Bread, Sourwood Mountain, Train On the island, Tumbalalaika, Waltzing's As easy As 1,2,3

ROSIN has three basic elements.
1. Spread the word that new string programs cna grow in Nebraska.
2. Gather and organize resources to help interested communities.
3. Offer support through personnel and materials.

The fall and winter, we are creating:
A ROSIN informational, inspirational tri-fold
A data base of prospective contacts
A display for the Nebraska Music Educators Conference
A link on the NEASTA website
Helpful sessions for the 2006 Central States Regional Workshop

Everyone of us has something valuable ot offer to the ROSIN project! Who among us will contribute expertise?

Would you be will to :
Answer/make a phone call?
Meet with an interested person or board of education?
Serve as a presenter on a specific topic for Central States next September?
Travel to a community and perform?
Allow your name on a roster of resource people for a specific topic? Or for a geographical region?
Interview a students and submit testimonials for promotional materials?

The String world is more fascinating then ever. Whether strolling, fiddling, alternative styling, rocking, classicalizing or mariaching, a new string sound can flourish, and help create vibrant communities.

Email Patty Ritchie during the month of October with a good word about how you can help. ROSIN up!

Well,for those of you who were unable to attend the organizational meeting of Omaha's Big Muddy Fiddle Club, I am very excited to report it is a go!!! There seems to be enoughyt interest, support, not to mention a great deal of positive energy for getting this thing off the ground. Hooray!!!! I thank everyone for their involvement last night and /or vial email.

1. General purpose is to have fun, promote fiddling in the greater Omaha area, and provide a forum for people (all ages/abilities) to learn/share fiddling music. fiddles, including bass fiddles are welcome to join.

2. Structure--right now, we are pretty informal. as time goies on and if membership expands, etc. we may need to think about formalizing our group. Mary Pat Klevin will do some research on this and report at our next meeting.

Generally, we will meet 1/month and use the first hour for general business and skill memtoring (tunes, bowing, back up, potatoes and tags, etc) and the later portion of the meeting for jamming.
We will attempt to have 2 different learning sessions going on in different rooms for various ability levels. This will depend on what folks are interested inand who is willing to serve as lead mentor/teacher. There seems to be a general feeling that old time and Irish/Celtic music sill be the focus.

3. Dues: We'd like to bring in local/reginal folk for a variety of workshops and thus thought dues my help support this---so, we agreed $10.00 annual membership was reasonable. Thus, we have a Treasurer--mary Pat volunteered for this role. No one objected. We didn't discuss this: Here is my proposal: for now we collect annual dues each October, and pro-rate anyone who joins after April (or close to...we are not picky), unless there are toher thoughts. ??

4. Name: Big Muddy Fiddle Club. Folk seemed to like this name and no other suggestions came forward.....

5. Leader: Umm, y'all seemed to think I should serve in this capacity. Awww, shucks--thank you. Really, this is quite exciting and I appreciate your vote of confidence. I'll do my best to keep things running, keep members informed, and so forth. Not sure ifwe need a VP or Secretary---but if anyone is interested in serving in this capapcity of otherwise think we should have one, we cna discuss on the 30th.

6. Meeting format: Business (old/new stuff) followed by concurrent teaching sessions (beginners and intermediates/pros) followed by a jam or toher venue. We'd like this to be a fiddle club---not beginners fiddle club, not a masters fiddle club. Something for everyone to enjoy. There may be times that there will not be instruction scheduled, in which case we can jam longer (depending on Sheryl of course) or play it by ear. ha ha.

7. We did exchange phone numbers in the event there is a last minute change. We'll contact folks if there is a last minute change/cancellation--generally, all meetings and announcements will be by email for those who have access to email. Those who do not have ready access, I'll call. I'll provide a complete roster to everyone by the next meeting with names, addresses and phone numbers.

Thanks again everyon---I liik forward to learning/growing with ya all! See you on the 30th . As part of the program on the 30th, Bill Adams has agreed to teach "Puncheon Floor" to those that are interested in it. This is a tune that several of us learned form Jenni Wallace Grate. Randy Adams has already sent out a file with the music to the club roster. If anyone else would like to teach a tune, please let me know. There is room for another teaching session.

Fourth ANNUAL NEBRASKA ASTA
FIDDLE TUNE COMPOSITION CONTEST!

FIRST PLACE: $100.00 SECOND PLACE: $50.00 THIRD PLACE: $25.00

The first 15 entries received will get a special prize, courtesy of our sponsors.

The winners will be announced on May 27, 2006, during the Monumental Fiddling Championship held at the Homestead National Monument in Beatrice, Nebraska. The winning compositions will be performed at the Monumental Fiddling Championship, and printed in Stringing Along, the journal of the Nebraska Chapter of the American String Teachers Association. Direct your questions to: Deborah Greenblatt, The Old Schoolhouse, PO Box 671, Avoca, Nebraska, 68307-0671, or by e-mail to g-s@alltel.net.

The 2006 Contest Rules and Guidelines

1. Each submission should be an original composition which must be unpublished and composed after May 28, 2005.
2. Composers may submit more than one tune, but only one prize will be awarded to any one composer.
3. Four copies of the music must be submitted via computer generated sheet music, or hand-written sheet music.
4. The composer should include their name, address, phone number, e-mail address, and the title of the piece.
5. The entry fee of $20.00 should be sent in at the time of submission. Checks should be payable to Nebraska ASTA.
6. If you wish to receive written evaluation of your tune by the judges, include a stamped, self-addressed envelope with your entry.
7. Nebraska ASTA assumes no responsibility for loss or damage to works submitted.
8. Entries must be postmarked by March 31, 2006.
9. Send your entry to Deborah Greenblatt, The Old Schoolhouse, PO Box 671, Avoca, Nebraska, 68307-0671. The composer is responsible for keeping a copy of their work, as well as for coyrighting their tune.
10. The composer understands that if their tune is one of the winners, Nebraska ASTA has permission to have the piece performed on May 27, 2006, in Beatrice, Nebraska, as well as permission to reprint the tune in Stringing Along, the quarterly newsletter of Nebraska ASTA.

Sponsors of the 2005 Nebraska ASTA Fiddle Tune Composition Contest:

Greenblatt & Seay Publications, Avoca, Nebraska
The Metropolitan String Quartet, Omaha, Nebraska
Nielsen's Violin Shop, Omaha, Nebraska
Shar, Michigan
SouthWest Strings, Arizona

Officers & Membership

Private String Teachers

Forms/Applications

Fall 2005
Volume 19, Number 3

Officers & Membership

Private String Teachers

Forms/Applications

Fall 2005 Volume 19, Number 3

Fall 2005
Volume 19, Number 3