| Acknowledgments |
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xi | |
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PART I: The Teaching of Music |
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Playing Beyond the Score: Thoughts on Teaching Effective Musicianship |
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3 | (2) |
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Getting Started Teaching Young Musicians to Play Expressively |
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5 | (1) |
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Some Thoughts about Consummate Musician-Conductors |
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5 | (1) |
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Teaching Secondary Level Orchestras to Play Beyond the Page |
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6 | (3) |
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World Music in Orchestral and String Education: Understanding Reggae-Sprinkled ``Twinkle'' |
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9 | (1) |
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``Twinkle'' and Other Options |
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10 | (1) |
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Orchestra as World Music Ensemble |
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11 | (1) |
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Using World Music: Expanding Our Ability to Teach with Culture |
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11 | (3) |
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To Leave Culture at the Door |
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12 | (1) |
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``But Mr. Smith, That's Not How It Goes!'' |
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13 | (1) |
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To Teach with Culture: Issues of Authenticity |
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14 | (11) |
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Authenticity of Materials |
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14 | (1) |
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Category 4: Of a Culture (or an Approximation Thereof) |
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15 | (1) |
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Category 3: Cultural Borrowing beyond Thematic Material) |
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15 | (1) |
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Category 2: Euro-American Artistic Processes |
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15 | (1) |
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Category 1: In Title Only |
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16 | (1) |
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16 | (1) |
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17 | (1) |
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Approaching Beginning Lessons and Large Ensembles from a Multicultural Perspective |
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18 | (2) |
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Teaching Arirang for String Orchestra |
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20 | (5) |
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What Arirang Came to Mean to Me |
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25 | (2) |
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27 | (1) |
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27 | (1) |
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28 | (1) |
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29 | (4) |
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End-Of-Year Massed Concerts |
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33 | (1) |
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33 | (1) |
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34 | (1) |
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34 | (1) |
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Developing an Organized Floor Plan |
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35 | (1) |
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Dress Rehearsal and Concert |
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36 | (1) |
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36 | (1) |
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37 | (2) |
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Checkpoints for Self-Evaluation: Creating a Self-Help Program to Become the Best String Teacher You Can Be |
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39 | (9) |
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Relating to Students Effectively |
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39 | (1) |
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Keeping the Big, Technical Vision |
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40 | (1) |
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40 | (1) |
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Nonverbal and Limited Verbal Teaching |
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41 | (1) |
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41 | (1) |
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41 | (1) |
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42 | (1) |
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Dissect and Stack Playing Skills |
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42 | (1) |
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Multiple Teaching Strategies |
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42 | (1) |
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42 | (1) |
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43 | (1) |
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43 | (1) |
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43 | (1) |
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44 | (1) |
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44 | (1) |
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44 | (1) |
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Careful Development of Playing Skills |
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45 | (1) |
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45 | (1) |
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45 | (1) |
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Accommodating Students' Natural Learning Styles |
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46 | (1) |
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The Most Effective Teaching Sequence |
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47 | (1) |
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Tools for Evaluating Your Teaching |
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48 | (1) |
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Putting It Together: Creating a Personal Plan to Improve Your Teaching |
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49 | (1) |
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50 | (1) |
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50 | (1) |
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Solving the Mysteries of the String Bass |
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Who Should Play the Bass? |
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51 | (1) |
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52 | (1) |
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Materials for Teaching the String Bass |
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53 | (1) |
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Choosing Orchestra Music with the String Bass in Mind |
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53 | (1) |
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Checklist for String Bass Setup: Posture and Position |
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54 | (2) |
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Posture, Holding the Bass |
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54 | (1) |
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Right-Hand and Bow-Arm Positions |
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54 | (1) |
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Left-Hand Position and Techniques |
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54 | (2) |
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56 | (1) |
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The Bass, the Unique Member of the String Family |
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56 | (1) |
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57 | (1) |
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58 | (1) |
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58 | (1) |
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58 | (1) |
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In Addition to the Instrument |
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59 | (1) |
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59 | (1) |
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59 | (1) |
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60 | (1) |
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60 | (1) |
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60 | (1) |
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Helpful Information for Purchasing Basses |
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61 | (1) |
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62 | (1) |
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62 | (1) |
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62 | (12) |
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Taming the Rushin' Sailor's Dance: Using Bowing Principles to Your Musical Advantage |
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| Conclusion |
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74 | (1) |
| Glossary of Bowing Terms Used |
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75 | (1) |
| Bibliography |
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76 | (437) |
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PART II: Teacher Resource Guides |
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77 | (436) |
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81 | (5) |
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86 | (5) |
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Chorus of the Huntsmen from Der Freischutz |
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91 | (5) |
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96 | (5) |
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101 | (5) |
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106 | (3) |
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109 | (6) |
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115 | (5) |
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120 | (4) |
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124 | (6) |
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130 | (5) |
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135 | (8) |
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143 | (4) |
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147 | (5) |
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152 | (3) |
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155 | (3) |
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158 | (3) |
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161 | (4) |
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Finale, Symphony No. 2 in C, Op. 17 |
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165 | (5) |
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170 | (5) |
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175 | (7) |
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The Harmonious Blacksmith, Theme from Suite No. 5 in E Major |
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182 | (5) |
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William Tell Overture (Finale) |
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187 | (8) |
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A Rose for Emily: A Scene from Faulkner |
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195 | (5) |
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Allegro from Sonata No. 1 |
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200 | (5) |
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An Italian Elegy from Symphony No. 4 (``Italian'') |
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205 | (7) |
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212 | (5) |
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Bahn Frei (Clear Track) Polka, Op. 45 |
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217 | (4) |
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Brandenburg Concerto No. 4 (Third Movement) |
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221 | (6) |
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227 | (4) |
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231 | (5) |
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236 | (6) |
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242 | (7) |
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Don Quixote Suite (Selections) |
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249 | (5) |
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254 | (6) |
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260 | (5) |
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Fugue in G Minor (``The Little'') |
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265 | (7) |
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Gavotte from the Classical Symphony |
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272 | (5) |
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277 | (4) |
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281 | (5) |
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Jesu, Joy of Man's Desiring |
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286 | (5) |
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On a Hymnsong of Philip Bliss |
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291 | (4) |
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Prelude on an Early American Folk Hymn |
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295 | (5) |
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Prologue, Hymn, and Dance |
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300 | (5) |
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305 | (6) |
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311 | (5) |
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316 | (5) |
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321 | (4) |
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Suite No. 3 in G Major from Water Music |
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325 | (6) |
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331 | (5) |
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336 | (7) |
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343 | (5) |
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348 | (4) |
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Allegro from Concerto Grosso No. 5 |
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352 | (6) |
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358 | (9) |
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367 | (5) |
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372 | (5) |
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377 | (5) |
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Iphigenia in Aulis Overture |
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382 | (6) |
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Christoph Willibald Gluck |
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388 | (7) |
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395 | (6) |
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401 | (6) |
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407 | (4) |
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411 | (6) |
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417 | (5) |
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422 | (5) |
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427 | (5) |
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432 | (5) |
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437 | (10) |
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447 | (6) |
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Dance Rhythms for Orchestra, Op. 58 |
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453 | (6) |
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459 | (7) |
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466 | (7) |
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Morning, Noon, and Night in Vienna Overture |
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473 | (6) |
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479 | (7) |
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Poet and Peasant Overture |
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486 | (5) |
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Rhythmic Variations on Two Ancient Hymns |
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491 | (5) |
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496 | (5) |
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Slavonic Dance in G Minor, Op. 46, No. 8 |
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501 | (6) |
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Symphony No. 9 in C Major, D. 944 (First Movement) |
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507 | (6) |
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| Index by Title: Volumes 1, 2, & 3 |
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513 | (7) |
| Index by Composer: Volume 3 |
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520 | (3) |
| Index by Title: Volume 3 |
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523 | |
