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SUMMER 2001 ISSUE Volume 15, Number 2   President's Message This gentle anthem, "Was It One-Thirty", is helpful for maintaining sanity while trying to keep up with details. For best results, vocalize in a resonant hallway, with felines. "Was It One-Thirty" should be realized in a slowish, disorienting tempo. Was It One-Thirty?, @ 1999 by D. Greenblatt Was it one-thirty, or was it two? Just when was the time I was meeting you? Is today the day, or will tomorrow do? Have I missed it yet? Or has you know who?   Was it two-thirty, or was it three? Just when was the time that was planned for we? Is today the day we set aside for glee? Have I missed it yet? Or has he and she?   Was it three-thirty, or was it four? Just when was the time we'll be at your door? Is today the day, or one day less or more? Have I missed it yet? Or just the first encore?   Was it four-thirty, or was it five? Just when was the time we were to arrive? Is today the day, or is that just some jive? Have I missed it yet? Or can I tape it live?   Was it five-thirty, or was it six? Just when was the time we should hit the bricks? Is today the day for chicks to get their kicks? Have I missed it yet? That game of pick up sticks?   Was it six-thirty, or was it seven? Just when was the time for the bread to leaven? Is today the day to get our motors revin'? Have I missed it yet? Or shall we say eleven?   Was it seven-thirty, or was it eight? Just when was the time that we set the date? Is today the day that we matriculate? Have I missed it yet? Or am I almost late?   Was it eight-thirty, or was it nine? Just when was the time you were to be mine? Is today the day our souls and hearts entwine? Have I missed it yet? Just let me know on line.   Was it nine-thirty, or was it ten? Just when was the time we where planning when? Is today the day, or is it now and then? Have I missed it yet? Or should I be more Zen?   Was it ten-thirty, or was it eleven? Just when was the time we were meeting Evan? Is today the day we fly a kite for heaven? Have I missed it yet? That book by Andre Previn?   Was it eleven-thirty, or was it noon? Just when was the time we had planned to tune? Is today the day, or is it much too soon? Have I missed it yet? Or is that just a moon?   Was it twelve-thirty, or was it one? Just when was the time till the time we're done? Is today the day we planned our ton of fun? Have I missed it yet? Or has it just begun?   Sincerely, Debby-in-the-Schoolhouse President Nebraska ASTA with NSOA PRIVATE TEACHER'S BROCHURE   Our intrepid Private Studio Member-at-Large, Mischa Johnson, is developing a brochure listing Nebraska string teachers who are currently accepting new students. Nebraska ASTA members will be listed for free, and future Nebraska ASTA members will be listed for a $5.00 fee. The brochure will be distributed in a free and reasonable manor to music stores, music teachers, schools, museums, etc. If you would like to be listed in the brochure, please mail the following information to Mischa Johnson, 1318 N. Hewett, Hastings, NE, 68901 by October 15: Your Name: Teaching Location: Store/Private Home/School: Instruments: ASTA Member/Future ASTA Member: Phone: Address: E-Mail: Web-site: Mission Statement/Philosophy of Life: If you have any future ASTA friends who would like to be listed, or if you have suggestions about where to distribute the brochure, please mail that information to Mischa. October 15 is the deadline to submit information, and the brochure will be distributed by November 1. SCHOOL EMERGENCY TASK FORCE COMMITTEE FORMING   Yes, boys and girls, it is true. Our pro-active President-Elect, Karen Becker, is championing this latest cause. In a brilliant bureaucratic move, Ms. Becker will be the chairman of a newly-designed-committee-that-we-will-hopefully-never-need, although we probably will. If you would like to serve, in solidarity with Karen, please let her know. With any luck at all, you'll never even have to ever meet each other..... ASTA WITH NSOA MEMBERSHIP OPEN TO STUDENTS   Do your students know about the student membership opportunity available from ASTA with NSOA? For only $20 per year, any full-time student can receive the American String Teacher, and our own Stringing Along. Please give any interested student an application blank. For more information, contact: Christa Speed, Membership Chair, 1625 Coventry Lane, Grand Island, NE, 68801, H: (308) 381-0664, cspeed@esu10.org ALL-STATE STRING AUDITION CD   The recording of the required scales and etudes for NMEA All-State Orchestra auditions has been completed, mixed down, and is currently in production. Our colleagues at NMEA will be distributing these CD's, free of charge, to all of the high schools in Nebraska that have string programs. This project was funded by a Special Projects Grant from the national office of our American String Teachers Association, as well as funds from our own Nebraska ASTA. If you want to thank any of the folks who were "instrumental" in making sure that this project exists, feel free. NEASTA Grants Committee: Margaret Carpenter, Rosemary Flores, Deborah Greenblatt Recording Artists: Richard Lohman, violin; Amy Peterson, viola; Margaret Lim, cello; William Ritchie, bass; Katie Wychulis, harp NMEA Liason: Kim Evander Engineer:David Seay STRING CLINICIANS ANNOUNCED FOR NMEA CONFERENCE NOVEMBER 15 - 17, 2001   Bill Roehrs, President-Elect of the Nebraska Music Educators Association has announced that the following clinicians will present sessions next November 15-17, 2001 at the NMEA All-State Conference: Daryl Silberman is a nationally recognized improvisational blues, jazz, and folk/rock recording artist. She is an educator with an active private studio and on the faculty at the Colburn School of Performing Arts at USC. Her topics will address alternate styles of string playing in the school settings. Aviva Segall is the Conductor of the Omaha Area Youth Symphony. She will present a session on conducting techniques and other related topics. Margaret Carpenter, a NEASTA Suzuki teacher will discuss string techniques. Margaret hopes to bring some students as a demonstration group. Gary Wolfmann, a former candidate for MENC national president will discuss "The Changing Rehearsal and the National Standards", and "Performance with Understanding: The Wisconsin Comprehensive Musicianship Through Performance Project". What a great speaker and bright educator! The Annual ASTA business meeting will be held on Saturday morning November 17, 2001 at Westbrook Music Building in Room 109 at 7 AM. NMEA invites all ASTA members to join MENC, the world's largest music teacher organization and attend the All-State Conference. For more information contact William A. Roehrs, wroehrs@lps.org, 402-423 6784   "COME SWING WITH THE STRINGS IN SAN ANTONIO!" July 25-28, 2001   If you have ever thought about making the switch to teaching orchestra or if you have suddenly found yourself standing in front of one, we have a workshop specially designed for you! ASTA/NSOA in conjunction with the Texas Orchestra Directors 40th Annual Convention offers sessions for the experienced string teacher as well as the novice! Sessions include: "String-a-Phobia!" "How to Sound Like a String Teacher" "Bowing Techniques" "Practical Applications for Stringed Instruments" "Sequencing Technical Skills with Literature" "Panel Discussion of Successful Orchestra Directors from a Non-String Background" Music Reading Session of "Tried and True Favorites" "Diagnosing Technique Problems in the String Orchestra" "A Harp in Your Orchestra?" "Organizing your Orchestra" 3 New Music Reading Sessions Clinics on Conducting / Rehearsal techniques Social activities each evening Over 125 exhibitors Nationally recognized clinicians include: Robert Gillespie, William Jones, James Kjelland, and Marvin Rabin. ASTA WITH NSOA PROGRAMS AND SERVICES   ASTA WITH NSOA offers members a number of benefits and services. To learn more about these items, contact the National Office at 803-476-1316 or visit the association's web site at www.astaweb.com. Instrument Insurance discount Urban outreach Grants Summer workshops and conferences New Music reading folders Visit the web site for a complete list of the member services and benefits. PRESENTATION FOR THE INTERNATIONAL SOCIETY OF BASSISTS 2001 CONVENTION by Bill Ritchie   HOOKED ON JAZZ! Bob Phillips, Director of Orchestras, Saline Public Schools, Artistic Director of Fiddlers Philharmonic, and co-author of Jazz Philharmonic and Fiddlers Philharmonic books published by Alfred Music Bill Ritchie, Assistant Principal Bass, Omaha Symphony Artist-Faculty member, Music Department, University of Nebraska at Omaha This session will show how Bob Phillips' and Randy Sabien's Jazz Philharmonic series can be used as an introduction to jazz bass playing in the private studio. Even though it has been designed for use in the heterogeneous string class, I have found it to be a wonderful way to introduce jazz bass playing to younger students. The bass book can be used effectively with beginning elementary through college-age students because the skills presented are logically organized from the simplest 3-note tune to open-ended original improvised solos. Listening to jazz is integral to learning to play jazz, so the accompanying CD should be used in conjunction with the series. It includes some great jazz violin playing by Randy Sabien, as well as fine jazz bass lines played by Jeff Eckels. For further listening, I have included a list of recommended recordings featuring some of the great jazz bassists in small-group formats, as well as a list of other jazz bass material at the end of this handout. PLAYING THE PREPATORY PAGE The prepatory pages are one of the unique strengths of this series in that they prepare the student for all of the technique needed for the tune that follows. I especially like the rhythmic echoes which allow the student to model their playing after Randy's. You might try using stopped pitches instead of open strings for some of the echoes, especially the single note ones. It may take some preliminary work before the student is able to execute the speed on the recording, however. You will notice that the language of jazz is being taught with the proper style and articulation right from the start. Note that the layout of the book has two prepatory pages opposite each other: one tune precedes and the other follows.   TEACHING THE TUNE I should point out that for jazz bowing, it's very helpful to get away from the lower part of the bow, which is where many younger players will want to begin. Demonstrate and then have them try it more towards the middle of the bow. For those who use the French-style bow, you might experiment with holding the bow a bit further away from the frog. The Groovin' for the First Time prepatory page and tune that Bob & I will demonstrate can be played along with the CD and/or as a duet by the teacher and student. Each tune can be done as a duet in the following ways: 1. Bass 1 with Bass 2 2. Tune with Bass 1 or 2 3. Solos 1 & 2 with Bass 2 4. Improvised Solo with Bass 2 5. Improvised Solo with Improvised Bass Line For those just starting jazz playing and teaching, the first three ways will suffice but as both the teacher and student become more adept at jazz, you may want to add improvising new melodies and bass lines. This first tune is playable by beginners, but it can be made more challenging for more advanced students (as can all of the tunes in the book) by making some changes in the printed music. Some examples might include: eliminating open strings in Solos 1 and 2; playing the melody at the end of Solo 2 in the same octave as on the recording (the bass part has the melody folded under); or simply playing the tune and both solos up an octave. As you become become more familiar with the book, you will find many examples of these possible modifications throughout. The teaching studio and the student's practice area should both include easy access to a "boom box" or stereo system with a CD player to make use of the accompanying CD. I have found that the less-expensive systems do not include a way to eliminate one speaker side, which is very helpful in using the recording. Since the melody is recorded on one side, it's possible to "dial out" Randy's violin and play along with the rhythm section alone. Of course, it also helps to play along with Randy and model his articulation and style. Using Jazz Philharmonic in private lessons is a great way to change the routine of the usual "traditional" scales, etudes, solos, and orchestra excerpts. The scales and rhythmic echoes can be used at the start of a lesson, and all of the tunes can be played as duets. I think it's a great way to end a lesson on a "upbeat" note with some swing and good energy! PERFORMANCE POSSIBILITIES Just this past week I used many of the tunes with my students on a student recital for the first time. The teacher's manual has an easy piano part and by using that along with someone on a suspended cymbal (sample parts included), you can make it sound like a real swingin' jazz combo! Add some percussion for some of the latin and rock tunes and the sky's the limit for what's possible with this material. Find tempos that work best for each student. I found that with one of my youngest beginners, we had greater success by playing Groovin' for the First Time at a slower tempo at the recital than when we practiced with the recording. AMPLIFICATION ADVICE In the private lesson and at a student recital, amplification is not needed. If a player decides to get more involved in jazz bass playing, particularly in an ensemble where more volume is needed, a few words about pickups might be in order. Two of the simplest bass pickups to install are the Fishman and the Underwood. Both of these amplify only the sound of the bridge, however. To get a warmer arco sound, I add a small Crown microphone to the bridge and blend the pickup and the microphone with a Fishman Bass Blender. With this setup, I am able to get a better tone with my bowed bass solos and still have enough volume and punch to use on a professional job. The total cost of this equipment now approaches $550, not including the cost of the amplifier. As a student gets to middle/high school or college age and wants to include jazz bowing in a jazz ensemble, the addition of some or all of this equipment becomes something to consider. SPREAD THE WORD! We hope this session has given you some ideas on how to use Jazz Philharmonic in your own private studio. The two companion series, Fiddlers Philharmonic & Fiddlers Philharmonic Encore!, co-written by Bob Phillips and Andrew H. Dabczynski, do the same thing with traditional fiddle music, folk, and bluegrass music. LIST OF RECOMMENDED JAZZ BASS MUSIC(listed in approximate order of difficulty) TITLE AUTHOR PUBLISHER The Really Easy Bass Book Tony Osborne Faber Music The Really Easy Electric Bass Book Tony Osborne Faber Music Rags, Boogies, and Blues Charles Hoag Theodore Presser MicroJazz for Double Bass Christopher Norton Boosey & Hawkes I Walk the Line Tom Anderson Houston Publishing* Modern Walking Bass Lines Technique Mike Richmond PedXing Music Big Band Bass John Clayton Belwin Mills The Bottom Line Todd Coolman Aebëersold, Inc. Jazz Bowing Techniques John Goldsby Aebersold, Inc. The Bass Tradition Todd Coolman Aebersold, Inc. Evolving Bassist Rufus Reid Myriad Limited Ray Brown's Bass Method Ray Brown Hal Leonard Improvisor's Bass Method Chuck Sher Sher Music Co. Concepts for Bass Soloing Chuck Sher Sher Music Co. Evolving Upward Rufus Reid Myriad Limited Mr Brown, I Presume! Arni Egilsson Arneus Music New Orleans Tune Arni Egisson Arneus Music Blues for Ray Arni Egilsson Arneus Music Bass Strut Arni Egilsson Arneus Music *(in conjunction with Vol. 54 of Jamey Aebersold's play-along recording Maiden Voyage)   Many of these publications are available from: Lemur Music P.O. Box 1137 San Juan Capistrano, CA 92693-1137 (800) 246-BASS   LIST OF RECOMMENDED RECORDINGS TITLE BASSIST LABEL NUMBER Solos, Duets, & Trios Jimmy Blanton w/Duke Ellington RCA Bluebird Bass on Top Paul Chambers Blue Note CDP 7 46533 2 Alone Together Ron Carter w/Jim Hall Milestone 9045 LP Night Train Ray Brown Verve 3145214402 This One's for Blanton Ray Brown w/Duke Pablo PACD-2310-721-2 As Good As It Gets Ray Brown w/Jimmy Rowles Concord CJ-66 LP Ultimate Ray Brown Ray Brown Verve 314 559 705-2 Bill Evans Trio Sunday at V.V. Scott LaFaro Riverside OJCCD-140-2 Trio '65 Chuck Israels Verve 314 519 808-2 Intuition Eddie Gomez Fantasy F-9475 LP Bill Evans - The Paris Concert Marc Johnson Electra Musician 60164-1 Money Jungle Charles Mingus United Artists GXC 3131 LP GettiÐn' To It Christian McBride Verve 3145239892 That's Right! Christian McBride Blue Note CDP 0777 7 84467 2 9 Reunion In Europe John Clayton Concord CJ-231 LP Siblingity John Clayton Warner Brothers 47814 Chick Corea Acoustic Band John Patitucci GRP GRD-9582 Supertrios Ron Carter & Eddie Gomez Milestone M-55003 LP Basses Loaded Arni Egillson w/Ray Brown Bay Cities BCD 2002 LP Super Bass Ray Brown & John Clayton Capri 74018-2 Shut Yo Mouth Slam Stewart & Major Holley Delos 1024 Double Bass Delights Rufus Reid & Michael Moore Double-Time Records Oscar Peterson & the Bassists Ray Brown & Niels Pedersen OJC-383 LP SuperBass Brown/Clayton/McBride Telarc CD-83393 Ray Brown's New 2 Bass Hits Ray Brown & Pierre Boussaquet Capri 74043-2 EUGENE FODOR PLAYS "THE HARRISON" STRAD   Eugene Fodor, a Heifitz protege and the first American to win the Tchaikovsky competition in Moscow, will perform Vivaldi's The Four Seasons, plus works by Paganini and Vitali, on "The Harrison" violin by Antonio Stradivari--the greatest surviving concert instrument of the 17th century!--and three other great violins, one by Stradivari and two by Guarneri del Gesu. the concert will be on April 6, 2002, on the campus of the University of South Dakota. It will be the first time that "The Harrison" will be heard, since the Museum acquired it in 1984, and prabably the last. There will be a Spring Festival Orchestra organized for the occasion, made up of high school students. Teachers of interested high school players should contact the Shrine to Music Museum for more information. This is a unique opportunity to motivate string players of all ages. Discounted tickets for student field trips will be available on a first-come, first-served basis. Now is the time to make your plans! Contact America's Shrine to Music Museum, 414 E. Clark Street, Vermillion, SD, 57069; phone 605-677-5306; fax 605-677-5073; smm@usd.edu; www.usd.edu/smm. POTTER'S VIOLINS AWARDS INSTRUMENTS   The American String Teachers Association with National School orchestra Association announces hree winners of the Potter's Violins Instruments Awards. Dalton Potter, owner of Potter's Violins in Betheseda, Maryland, donates six Rudolf Doetsc instruments annually to deserving students. Three instruments are awarded each Fall and Spring to students demonstrating exceptional promise and worthiness, as determined by a committee appointed through ASTA With NSOA. Applications are now being accepted for the Fall 2001 round and are due by October 1, 2001. Complete guidelines and application information is available at www.astaweb.com or by calling the ASTA National Office at 703-476-1316. SPRING 2001 WINNERS VIOLIN---Elizabeth Bottner, of Newark, Delaware, has just completed her sophomore year in high school and has been studying violin for seven years. She is the third born in a set of triplets. Due to her premature birth she is totally blind, but this has not stopped her from pursuing her passion...music. She has recently begun taking Braille music lessons in order to eliminate learning music through imitating taped recordings. This violin awarded by Potter will help Elizabeth achieve her dream of going to college and studying ethnomusicology. VIOLA---Aliciana Grace Ferris, from Martinsville, Indiana, is studying music at Indiana State University. She was born in Honduras, and raised by her mother. Aliciana has a strong commitment to music and in addition to playing viola also plays the French horn. She has aspirations of performing the orchestra pit for Broadway, operas, and ballets. Aliciana also plans to teach students and hopes to inspire them to love music as much as she does. Kristina Ellen Willey, a 13 year old from Pleasant Grove, Utah, has been studying viola for eleven years! She has completed the seventh grade, and has been to several summer music camps and institutes. Kristina has already performed at the Ravinia Festival and at Avery Fischer Hall, in addition to soloing with several orchestras in Utah. She has five brothers and sisters, all of whom play an instrument, and they love to play together. With her viola from Potter, Kristina will be able to continue her budding musical career. FROM DAVID LITRELL National ASTA President-Elect   I am happy to announce that twelve states have been awarded Special Projects Grants for this year. A distinguished ASTA/NSOA Committee reviewed the grant proposals that were submitted, and was excited about the positive and innovative ideas proposed by numerous states. The following are the twelve projects that will be funded. Florida: Chamber Music Festival for adults/retirees Illinois: IL-ASTA/NSOA Teacher Workshop-Designed to appeal to undergraduate music education students and new eachers. Indiana: Indiana String Days - Four locations for string workshops to reach young people in different areas of the state. Montana: Begin State Solo Competition Nebraska: All-State Audition Etude Recording - A recording project to benefit the All-State Orchestra audition process. New Hampshire: Members' Conference - Bob Gillespie workshop North Dakota: State Solo Competition - Renewal of the Solo Competition. Ohio: Developing Youth String Educators - A program to reach high school musicians at the earliest stages of career planning and inspire them to consider careers in music, especially as string/orchestra/chamber music teachers. Texas: Creation of a TexASTA WebSite - Possibilities for websites are endless, including electronic version of the newsletter, announcements, business links, etc. Utah: Bass Fest 2001 - Successful event last year. Great motivational event for young bassists. Washington: Middle School Orchestra Festival/Workshop Wisconsin: WISTA EXPLO - Strategic Plan covering many years shows careful thought, planning, and vision. Barrage is a "cool" group that Wisconsin hopes to have perform at their WISTA meeting with young people, which is part of the ten-year strategic plan.     2002 NATIONAL SOLO COMPETITION Attention teachers - The 2002 National Solo Competition is fast approaching and we want you to enter your students in this prestigious event! Start preparing them now for this fantastic opportunity. But don't forget: to qualify, Nebraska students must enter through their State Competition Chair. The finals will take place next year at Michigan State University, with winners performing at the National Studio Teachers Forum. The cash prizes, this year totaling aproximately $30,000, have assisted previous winners including Joshua Bell, Wendy Warner, and Andres Diaz in the establishment of their international solo careers. Other winners now occupy titled chairs in important orchestras, such as Hai-ye Ni, assistant principal cello of the New York Philharmonic, Cynthia Phelps, principal viola of the NYPO, and Cathy Basrak, associate principal viola of the Boston Symphony Orchestra. For more information, contact our State Competition Chair, Bill-the-Ritchie, britchie@tconl.com, 402-333-0845. "TEACHING TEACHERS TO TEACH: TWO SIDE-BY-SIDE UNIVERSITY CONFERENCES"   January 17-19,2002: "The String Project Concept" January 18-20,2002: "Teaching the College String Methods Courses" These two conferences, held at the University of South Carolina School of Music, will focus on the training of future string teachers. The first will explore the String Project concept: the creation and administration of such programs, pedagogical concepts involved in this service learning idea, including sessions on grant writing, starting a program, training young teachers. The other part of this conference will be for college faculty who teach string methods and techniques classes, in order to help improve the teaching of these courses. Planning Committees: "String Project Concept" - Gail Barnes, Chair; Karen Becker, Karrell Johnson,Daniel Mason, Jim Pryzgocki "Teaching the College String methods Courses" - Kathlene Goodrich, Chair, Ken Sarch, Bob McCashin, Bob Gillespie, Gail Barnes (sponsored by ASTA with NSOA, with the National String Project Consortium and the Collegiate String Education Roundtable) ASTA WITH NSOA PLANS 2003 CONFERENCE For the first time in its history, ASTA WITH NSOA will hold a stand-alone conference at The Ohio State University March 27 through 29, 2003 The gathering will recognize the wealth of our rich traditions as well as offer members new horizons in teaching and performing strings. Conscious of the diverse demographics of its constituency, ASTA WITH NSOA will have clinics and performances that address the needs of private studio teachers, elementary and secondary string and orchestra teachers, university string teachers in both applied and music education areas, string students, Suzuki teachers, professional classical and non-classical performers, non-string performers who teach strings in schools (band directors, choir directors), and administrators. Sessions will address the following areas: traditional pedagogy, string and full orchestras, classical and alternative styles of performance; university-level training of future string teachers; non-string players who teach strings; use of technology as it applies to playing and teaching strings; and the music industry. A call for session proposals will be announced in Spring 2002. Those attending the conference will have the pleasure of hearing the NATIONAL HIGH SCHOOL HONORS ORCHESTRA, a new Alternative Styles Performance Contest, solo recitals and chamber music performances by well-known performers or groups, selected elementary through high school string or full orchestras, and selected college or university orchestras. Plan tojoin string teachers and players from around the nation in the festivities!     ©2005 ASTA with NSOA, Nebraska Unit, C. Ellenwood, Webmaster