Habits of a successful

school orchestra
Tools and Strategies for Taking Your Middle and

High School Orchestras To the Next Level

Using Fundamentals Time to Improve Your Orchestra’s

Tone, Articulation, Intonation, Rhythm and Reading Ability

Christopher r. selby

GIA Publications, Inc.

Chicago
A-ha Moments
• Rule of Sevens
• Inversion Principal

Why Fundamentals Time?

Identify three pieces that you would like to teach your students if their technique was a
little better.

1. ________________________________________

2. ________________________________________

3. ________________________________________

Think specifically about the pieces you identified above, and describe the skills that your
students would need to learn better before they could perform these pieces well enough
to get a superior at concert festival.

__________________________________ ________________________________

__________________________________ ________________________________

Key Concept #1: The Need for Fundamentals Time

If Orchestra Directors want to teach great orchestral repertoire to their students—and
have their students play this music well—they must devote part of their rehearsal to
teaching students the fundamental and advancing skills these pieces require.

Fundamentals Time is the classroom rehearsal time that you devote to improving
student skills and technique. We spend time at the beginning of rehearsals, but also
time embedded within the rehearsal to teach and reinforce good technique that
improves student performance.

What will you take away from this session?

Today, we will identify tools and strategies for teaching and improving intonation,
rhythmic literacy, and orchestral tone quality during fundamentals time.
 Part 1: Teaching Resonant Intonation
Why upper-level middle and high school string students play out of tune
1. Their instruments are out of tune
a. Students must learn to tune themselves; insist on quality instruments
b. Students must learn to listen and use a “tuning tone”
c. Cross-tuning is required
2. Poor hand position and instrument position increase the difficulty of an
instrument that is already challenging to play in tune
a. Increase strategies: Constantly look for new, better ways to teach
technique; keep adding to your bag of tricks
b. Decrease tolerance of poor position (zero-tolerance is a good goal to
have)
3. Finger patterns don’t agree with the key signature
a. Student fingers are not familiar or comfortable with the finger patterns;
solution: spend more time on finger patterns—including cello
extensions—to increase muscle memory and aural awareness and skills
to differentiate between the patterns
b. Students are not cognitively aware ( or paying attention to) to the key/key
signature; solution: spend more time studying 4th and 7th scale degrees in
each key
4. Students lack fine tuning skills and experience
a. Sing
b. Tuning Canon and Chords
c. Chorales
5. Range—higher registers pose new challenges with the above mentioned skills
a. Shifting
b. Scales, Arpeggios, and Thirds
c. More study of Higher Positions

1. Tuning Our Instruments

Teach Students to Tune Themselves

Teach “Tuning Tone”: Using a soft, transparent tone allows students to hear the correct
pitch while they tune their strings.

Cross Tuning For Classes Comfortable Tuning Themselves

1. The leader plays the A; the students listen for 5 seconds, and then tune their A
string at the tip of the bow. Once the A is in tune, the leader turns off the A and
instructs the class to “tune up” the rest of their strings. The class tunes their
instruments quietly using the tip of the bow and stops playing when they are
finished.
 2. Even accomplished high school orchestras are still a little out of tune at this point,
and the student leader should then take the class through the Cross-Tuning
II Lower Positions: Finger Patterns, Intonation, and Velocity
procedure. 5
A. Everyone plays their A string again to make sure it is perfect.
B. Violin/bass play their A strings while violas and cellos tune their D strings.
II Lower Positions: Finger Patterns,
C. Players “switch.” Violas/cellos play their A while violins/basses tune their
D.
Intonation, and Velocity
D. Violins/basses continue to play their D; violas and cellos cross over and
tune their G string.
12. Natural & Sharp
Players “switch;” [Link]/cellos play œtheir [Link] violin/basses
œ œ tune their G
A.
E.
œ œ
? # 4 .. œstring. œ œ œ œ œ .. .. œ œ œ œ œ œ œ
œ .. .. œ œ œ œ œ ..
4 F. Violins and basses Ó
continue to play their G string; violas and cellos cross
over and fine tune their C string.
G. aFinally,
13. Mary Had violas
Little Lamb and cellos
(Backward
,
play their A string, while the violins tune their E
Extension)
? b 4 œ œ string.
œ œ œThen,
œ œ violas
œ œ and œ œ œdropœ out,
œ cellos œ œandœ œbasses
œ œ œtuneœ their
œ œ Eœ string
œ Œ to
bb 4 the violins. Basses may take few extra seconds to double check their
tuning using harmonics.
14. Backward Extension Exercises
A. n œLeft
2. Instrument
œ œ œ Hand
œ œ B.œ œ n œ œ œ œ b œ œ C.œ œ œ œ œ œ
b œ œ Position
? 4 . .. œ hand,
œ œ n œ œbody
œ œ band
D.
b
bb 4 .
Allocate .
fundamentals time .
. .
at . the beginning of .
. . .
rehearsals œfor œ .
reviewing œ ..
instrument position
4 and technique. 4 2 1
• Have upper instruments stand up; it’s easier for them to play, and for you to see
15. Dominant Etude
œ œthe
b œ œroom. œ œ bœ œ œ œ bœ œ œ œ œ œ œ
and correct problems.
?•4 œGetœoff œ œthe
œ œ œand
œ œ move
œ œ œ œ œ
4 œ œœ
podiumœ œœ œ
around œ œ
• Use calisthenics and maintain zero tolerance for position problems and flaws—
œDon’t beœan enabler
œ #œ œ œœ œ œ by allowing
œ #œ œ œ œœ œpoor positions.
?œ œ Nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœœœ
6

œ œ
3. Finger Patterns, then Key Signature Agreement

œ œ œ œ #œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œœ œœ Œ
b œ to develop muscle memory.
Use exercises that focus on specific patterns
?œœœ
11

œœ œ œ œ œ œ œ œ œ œ œœ œœ
Basics: Highs, Lows, Extensions

16. Forward Extension Exercises *

? 4 .. œ3 # œ œ œ # œ4 œ2 œ œ .. œ3 œ œ œ # œ œ œ œ .. # œ # œ œ œ œ œ œ .. N œ œ # œ œ œ œ # œ œ ..
A. B. C. D.

4
2 3 4

2 1 1

17. Scale and Arpeggio Forward Extensions

œ œ œ
? 44 .. # x2œ # œ œ .. .. œ # œ # œ œ œ N œ œ .. .. œ œ œ # œ œ # œ œ .. .. œ œ œ n œ œ # œ œ ..
A. 3 B. C. D.

œœ œ œ œ

3 œ œ
? # # # 4 .. œ œ œ œ2 œ œ œ œ œ œ œ œ x2œ œ œ œ œ œ œ œ œ œ x2 œ œ œ ..
18. Extension Etude
4 œ œ œ œ œ Ó

* 16A and B: Match the 3rd finger with open G. Keep 2nd finger perpendicular to string with the thumb directly behind it. Always
keep 4th finger curved, relaxed—never stretched and straight. The extension (space) occurs between the 1st and 2nd fingers.
16C: Play all of “Mary” with the 2nd finger perpendicular to the string, and 4th finger curved and relaxed.
16D: When 2nd finger moves from F to Fs, keep it perpendicular to the string and move the thumb with it.
Tetrachord Etude
The purpose of the Tetrachord Etude is to efficiently focus on finger patterns.
• It can be used as a daily warm-up or in a rehearsal to review the problematic
finger pattern and transfer the pattern to the music.
• The etude is to be learned and performed on one string. Cellos shift between two
positions in a way that is common for them; basses will shift through three
6 positions and use bass pivot fingerings. Habits of a Successful String Musician - Violin

19. Tetrachord Etude

Tuning Notes (Dorian Tetrachord) Etude

U U U U
4

12
& 8 œ. #œ. œ. œ. .. œ œ œ # œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ ..
4 4

œ œ œ œ w.

After learning the Etude with the Dorian tetrachord above, play it with one of the other tetrachords below.

Tetrachords:
Major Dorian Phrygian Lydian Major (half pos.)

& œ #œ #œ œ & œ #œ nœ œ & œ nœ œ œ & bœ œ œ œ & bœ œ œ bœ

Tetrachord Etude Strategies

20. Velocity Etude
1. Set the tuner to a low E pedal tone and begin with the Dorian pattern written
Perform as written first, and then perform with the different finger patterns (#2. Fn and #3. Ef) shown below.
below.
4 Students should learn one measure at a time while listening and adjusting their
& 4 œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ
2.
fingertips to finely tune the notes in the pattern.
3. After students can play the Tetrachord Etude with the dorian pattern, teach them
the otherFinger Pattern #1 A “pedal C” #2
patterns. on the tuner works better#3 for Phrygian and Lydian
&
patterns.
œ #œ & œ Nœ & bœ œ
4. After allœthe patterns have beenœlearned, have students œperform them one after
another, to help them hear and understand the differences.
5. Etude
Velocity To practice
Variations changing modes in quick succession, omit measure one (tuning
A. notes),B. and perform C. only measures
D. [Link] [Link] [Link]. H.
& 6.œ œtheœ intonation
œ œ œ œ and
Have students
œ œtone
perform the etude onœ other strings
œ œquality
œ œ œof œall other œ œ onœ the
œ œnotes
or in œhigher positions
œ œ œ œ œ œ œ œ œ
œ instrument.
to perfect

I. J. K. L. M. N.
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
O. P. Q. R.
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

21. Trills
Ÿ
The trills on beats 2 and 4 are performed the same way.
Ÿ
& b 44 œ . œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ. œ œ. œœ
Ÿ Ÿ
& b œ. #œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ œ. œ œ œ œ œ œ œ Nœ œ œ. œ œ. œ œ
Teaching Velocity
Use velocity exercises develop finger speed and accuracy while maintaining a relaxed
left hand. This Velocity Etude also improves bow management and tone production.
• Once the Major pattern is learned, teach the Minor and Phrygian patterns.
• Perform the etude with all three patterns in succession as a group without
stopping. This is Variation A; the other variations can be taught the same way.
IV • Higher
FindPositions and Alternate
the students’ maximumClefs relaxed tempo; write down this “speed limit” and 11
make it a goal to extend this limit during the course of the year. Always check for
IV Higher Positions and Alternate Clefs
relaxed left hands (especially thumbs.) Relaxation is a key component of these
exercises, as tension slows fingers down.

48. Velocity Etude in Higher Positions

Perform as written first, and then perform with the different finger patterns (#2. Fn and #3. Ef) shown below.

œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ
& 44

Finger Positions
#1 #2 #3

œ œ #œ œ œ Nœ œ bœ œ
Third Pos.

&
3

& &
1 2

2 3 4
Second Pos.

Velocity Etude Variations

œ
V [Link], œ œ B.œandœThirds
œ Arpeggios, œ œ œ œ œ œ
C.
œ œ œ œ
D.
œ œ œ œ
E.
œ œ œ 39œ
F.
&
œ
G.
œ œ œ H.œ œ Chromatic
œ œ œ œ œ and
J.
œ
K.
œ œScales
œJazz œ M.œ œ œ œ œ œ œ œ
N.

&
Additional Finger Pattern Studies
A chromatic scale is made entirely of half steps.
185. Two Octave Chromatic C Scale
Alternate Clefs -1 œ # -2 œ
œ # -3 œ
œ
3 œ # œ
œ œ # œonœ viola if needed.
x4

œ # double
4

œ can Œ
-1 3

œ #soœ they
0 1 2

& 4 œ #violinists œ # œ
3 4 1

œ # œ
3 4 0 1 -1 2 -2 2 -2 3 4 0
Advanced
œ
œ œ # œ1 2 -1 2 3 4
should learn alto clef,

œ œ b œ œ-3 b œ2 œ-2 b œ1 œ-1 0 4 3 2 -2 1 -1 0 4 3 2 -2 1 -1 0 4 C3

2 2 -1 2 -1 2 3 4
-1 2

œ bœ œ bœ œ œ bœ
C D E F G A B

w œ b œ wœ b œ wœ œ b œ wœ b œ w .
4 -4 3

& Treble Clef & w w w

w w w1 -2 1 w w
w
2

w
3 2 1 -4 3 1

B w
1 -2

Alto Clef
Mixolydian and Blues Scales
C D E F G A B C

186. Bf Mixolydian Blues Scale and Arpeggio

49. Gb Major Scale with Alternate Clef
4
& #b 44 œ œ œ œ bœ œ bœ œ œ œ œ b œ œ n œ œ b œ œas measures
same œ b œ œ1 and 2 œ œ
nœœ bœœ b œ œ œ œœ b œ œœ b œ œ œ œ wÓ
& 4 œ œ œ œ œ œ œ œ
œœ œ œ œ œ œ œ B
œ œ œ
œ œœœœ œ
187. F Mixolydian Blues Scale and Arpeggio
50. Scotland’s Burning
œ œ œ œ œ
4 œ œ œ b œœ œ b&œ œ œ œ œ œ Bœ bœœ œ nœœ œ b&œ œ œ œb œœœ Bn œ bœœ bœœ œœ œ œ&b œ œ b œ œ B
& 44b 4 œ œ œ B
& œ œ wœ œ œ
œ œ œœ œ œ œœ œ œ
œœ œœ

œ. œ œ œ
51. Viva
188. la Musica
C Mixolydian Blues Scale and Arpeggio
œ œ œ
 Intonation, and Velocity
12. Natural & Sharp
D Major
# 4 .
A. B. C.

& 4 . œ Canon
75. Tuning œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ76.œ Tuning œ .. .. œChords
œ
œ
œ œ œ œ œ .. -2 Ó
U 5U
Uw Uw ww ww
II Lower [Link]: Finger
3. Patterns,
4. Intonation, and Velocity
# U # U U U U
Finger Patterns 2. and Key Signature Agreement
4
# Which . wmiss most? What # 44 are wwe doing
ww wwabout it?
&•Mary Little Lamb (Backward. Extension) &
4 Had anotes w
do string players
, Finger
13.
• MostII pitch Lower
problems in Positions:
school orchestras occur on the Patterns,
4 [Link] 7th scale degrees
th

b 4
& b b where
4 œ œ keys œ œ œ œ œ œ œ first.
œ œ œ œIntonation, œ œ œ œ œ œ œ œ œ œ œ Œ
andœ œVelocity
and finger patterns change

Use exercises that raise student awareness about the 4th and 7th scale degrees
77. Scales and Arpeggios - One Octave
12. Backward
Natural &Extension
Sharp
14.
# # 4A.A. Exercises
œ œ B.œ # # 4 D. œ
œ œ œ œ œ œ
4 4

& #b 444 . œ œ œ œ œ . . œ œ œ œ œ wœ . . & œ 4 œ œ œœ . œ w

4 4
B. C. C.

& b b4 4 . ..œ œ œn œ œœ œœ œ bœ œ œœ .. . .. . œœ œ n œœ œ œœ œœ b œ œ œ.. .. . œ. œœ œ œœ œœ œ œ œœ .. .. œ œœœ n. œ œ œ œÓ b œ ..

œ œ œ œ œ œ œ œ œ œ œ
3 3 1
Two Octaves
# # 4 Had a Little Lambœ (Backward œ œ œ Extension) œ œ
œ œ œ œ
4

& 4 œ œ œ œ œ œ
-1 -2 4

, œ w
13.
15. Mary
Dominant Etude
4b b 4 œ b œ œ b œ b œ œ
& 4 b œ4 œœ œ œœ œ œ œ œœ œ œ œœœ œ œ œœ œœ œœ Three œ œœœ œ œD œ œ œœ œœ œ œœ œœœ Œœ œ E
œœ œœ œœOctaves
1
III
œ
I

œ œ œ œ œ œ œ œ1
-1 œ œ -1 œ œ œ
# œ # œ
# 44 œœ œ œ œ # œ44 œ œ œœœ œœ œ œ œœ œ œ œ œ
0 2 G 1 A

& Backward œ œ & œ N œ

2 1

œ œ œ œ œ œ
œ
& œ œ #A.œ œ IIIœ œ 1œ œ # œ B.œ I œ œ œ œ œ w œ œ of a œSuccessfulœ œ œString
œV œMusician - Violin
6
14.
18 Extension Exercises Habits

b b b 44 .. œ n œ œ-1 œ œœb œœ4 œ œx4œ .. ..œ-4 œ œ3 œ n œ œ œ œ b œœ œ ..œ-3 .. œœ œ œA4 œ œ œ .. ..Dœ œ œ œG4 œ œ ..

C. III D.

11&

œ# #œ œœ œ-13 œ œ œ œ œ œ œ # œ œ n œ3 œ œ œœ œ-3 œ A Majorœœ1 œ œ œœ œ4 œ n œ œ œ b œ2

&& œand œ
œ Reviewing œ Key b œ Signature
œ œ œ œ œ Awareness œ œ œ œ œœ œ Œ
Teaching Keys and
III œ œ œ
ofœ theœkeyœyou œwant œ to w
œ teach
œ
th th
Use exercises VII that XI focus on the 4 and 7VI scale degrees
15. Dominant Etude
4Tuning
& Forward
4# # œ4 G2 œ Extension
œ
D
œ œ œ œ œ œ œ œx4œ b œ œœ381.œ1Tuning œ-4 œChords
œ b1 œ œAœ3 1 œ b2œ œG4 œ œ2 œ
œ
D

œ œ œ œ œ œ œœ œœ œ œœ œ œ œ
& A.4 œœ 1. œ œ œ2.œ œ œ 3. B. 4.œ œ œ œ 4 C.
80.
16. Canon
4 2 A
1Exercises
-1
3 E -1
3

œ w
2

4# #.. III 4 # Uw Uw Uw
D.
VIIIU III U U U U U
. . #
& 4 # œ4# œ œ œ # œ œ œ œ . œ œ œ œ # œ ..œ œw œ . # œœ #œœNœœ œ#œ œ œ4œ œœ œ .œNœ œ œ # œ œ wœœ œ # œw œœ .
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& œ œ4# œ2 œ œ œ œ œ œ # œ 1œ œ œ œ œ œ œ œ & 4 œ w œ œ1 ww œ w œ œ œ
6 V 4

& œ œ w div.

œ œ œ #B.œ œ n œ œ
17. Scale and Arpeggio Forward Extensions
œ œArpeggio
œ A.œ œ œ œ 4 œ
78. Dominant
œ 4 œ b œ œ œ œ C.œ 4 œ œ Œ
11

& œ œ
D. 4
82.4#Scales
. 4 . . œ N œ œ œ .œ . œ œ # œ œ œ œ . . œ œ
n œ œ œ .
& 4 # #.4 œœ œ œœ œœ# œœ# œœœ œ. .œœ # œ 4#œœ œ œ œ œ4 . . œ œ œ œ œœ œ # œ œœ . œœ. œ# œœ œœ œ œ œœœ#œœ 4œœ . œ
2 4
and Arpeggios -
&
One
3 Octave 4
4

# # œ4 #1 # 4
& 4 œ œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ
œ œ œ œ œ w œ œ w
2
16. Forward Extension Exercises
18. Extension Etude
4 Octaves
Tuning [Link] B. Arpeggios give C.
and Dominant D.
students the opportunity to hear the
1

# .. 4tones .. œ theœbetter .. # œ #the œ œ..“feel” œ Óœ ..

1

& #4Thirds
Two # œ # ..œ- œLower
inœ #aœ given
œ œ œkey; œ œ # œ œtheyœ œ learn œ œœ œ œ œ œ œand
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& # # 4tones œ œœ œ andœœcorrect
leading of the
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4

4 2 œ œinœthat œ4 œ œtheœ better œœ œœidentify

œ œœ œwill
œ œœ œ œthey œ œ4 œthe œ1 œ œ œ notes in4
79. Octave
# œ œ œ
œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ
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œ œœ œ œ œ w
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their
17.•Scale We œ use
and œtuningForward canons Extensions
and dominant arpeggios 1 to teach1 any and all 12 œ majorœ œ1 and œ œ
1
A. B. C. 4 Three Octaves D. 4
œ
12 minor keys/modes 1

&•4# # #Slow .. œœ œ-2 ##œœ# #listen œ-1 œ œ œ

4 ..Octave œ ..œ-2 .. œœœ# œœ#4œœœand œ œœ .. degrees;
œœ N7œœ œscale œ 4œ and.. adjust œ œ œ # œ .. œ
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œœ œœtuning
œ œ œœcanon is a good way œ œ œ
œ w tone œ œ
to begin class; as a warm up, students
& on performing IV with good pitch Iand good III

œ œ œ œ œ œ -3
œ-1 œ œ significantly.
III V III I 1
Reviewing
18. •Extension Etudea dominant arpeggio right before rehearsing a piece saves time and
œ œintonation œ œ
x4

# # improves
œ œ œ œœœ œœ œ œ œœ4 œœœ œ œ
4 4

& ### # 44 ..
E

œ œ .. Ó4
1 4

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& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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VI III I w
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V Scales, Arpeggios, and Thirds 15

Major Scales, Arpeggios, and Thirds

C Major

Uw
65. Tuning Canon 66. Tuning Chords
Uw Uw -2
U Uw w w
4 U U U U
1. 2. 3. 4.
4 .. w w ww ww
&4 &4 w
4

div.

67. Scales and Arpeggios - One Octave

4 & 44
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VI VIII V II

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w
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68. Dominant Arpeggio

4 œ œ œ œ œ œ
1

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69. Thirds - Lower Octave

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4 4

œ œ œ œ œ œ œ œ œ
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1 1
I 1

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Upper Octave
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-2
4

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13

1 & students
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fingers ≥4 4
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J œ students œ
Habitsœ of a Successful œ ˙ œ - Violin
4

26 2 & œ String
œ œ Musician
4

œ œ œ œ and ˙.
-̇ œ- œ œ Chords
Tuning Canons, œ Chorales teach to listen, blend, and finely tune
the notes and chords in each key.≥ For overall œ balance,
˙ œ the lower instruments should be
Vla. B œ ˙ œ ˙ instruments,
œ ˙ . ˙ and D f˙ Major
œ no œ œ œ that
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louder -̇ -
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with œ ˙playersœ œ
around them.
œ œ œ ˙.
? ˙ œ ˙ œ œ ˙ œ œ œ
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121. Tuning Chords ˙ .
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120. Tuning Canon
? œ ˙ . ˙≥. ˙ . ˙
Bass b b ˙4 œ ˙ œ- ˙
U bb 4 œ ˙. wœ
1. 2. 3. 4.
.. w ˙.
&bbb 4 & b b b 4 w w ww ww

128 Habits of a Successful String Musician - Conductor

122. Scales
STUDENT
194. Chorale #3: Pavane from Capriol Suite
and42Arpeggios - One Octave
PAGE
q = 88
(200.b Chorale
bSTUDENT
4 #9:
& b 25b b 4 œœ. œ œœ œœ œ˙ œœ œMidwinter
œ œ b b b b b 44 œ œ œ
œ - œ- œœ œœ œ œ
In the Bleak - continued)
PAGE 40
w &
. œ œ œ ˙ œ˙ œ œ œ œ .œ œ ww
b 2 œ ˙ œ
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VII IX VI III

201. 2 Chorale œ
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p
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b # œ œ≤ œ œ œ œ ≥ œ 2 œ œ œ
-2

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4 œ Exercises œ œ
œ œ œ œ œ œ œ œ
-1

& 4 œ œ œ œ
III Shifting 9

III I III I III I

39. D Major Scale and Arpeggio - on One String
23. Shifting to the Same Finger 4Perform all shifting exercises with and without slurs.
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œ œ œ œ œIII œ œI œ œ œ œ œ IIIœ œ œI 9
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40. Ef MajorII Scale and Arpeggio
I - III
on One String
I IV I V I
Teach students about the different kinds of shifts: Both Same and
-1 Different Finger Shifts
b#b 4 .. -1 œ œ œ œ œ -3 œ
24.
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39. D Major Scale and-1 Arpeggio - on One String
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40. EfToShifting
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Major
reach Scalepositions,
and Arpeggio
bring on One String
around the instrument,

&&
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IV
exercises that develop skills throughout the entire range of the instrument.
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b 4exercises œœ-1 students œ-1 œ œ-1 instrument
I

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-3

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-4

b b œ œ œ œ œ œ
-1 -1

& œ œ
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These also help
œ œ
III 9
41. Up
easily and œ
Down œ
and correctly.
26. Shifting III the Octave
to a Different Finger I III I III I
To reach higher positions, bring the elbow and arm around the instrument, and the thumb around the neck.

b## 44 inœ-3-1F-1Major
28.
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39. D Major ›`ыÈÑӈiÑ`iÈӋ›>Ӌ
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-1 -2-1 -1 -1-3 -1 -1 -1 -1
-1 -1 -2
-1 -1 -1 -3 -1
-1 4 -1 -2 4 -2
-2 -1

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40. Etude Scale and Arpeggio - on One withString
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-3
29. in E Minor Mark-3the silent
&Etude -2 œ
shifts a dot or a diamond. -3 -1

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43.
b œ
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& # # 4# 44œ œœIIIœ œ œœœ œ I œ œ œ œIII œ œ

42. Etude in F Major
œ œ œœI œ œ œœ œœ III œ œ-4 œ œœ Iœw œ
& 4 4 œ œ œ œ-1 œ œ
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-2 -3 -3 -2

œ
& b #4 4œ œ œ-3œIII œœ œ-2 I œ œ IIIœ-3 œ œ œ œ I -1 œ IIIœ œ œ œIII-1œ œ œ œ-3I
-2 -3 -4 -3 4 -2
28.
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-2

‚I œ œIII ‚ I œ IIIœ
I
41. ‚ the Octave ‚
To reach higher positions, bring the elbow and arm around the instrument, and the thumb around the neck.
44. Etude in E Major
# b # 4in F Minor œ œ œœ œ œ-1 œ
Use different1s-1etudes to -1teach different kinds-1of shifting patterns
b #
43. Etude
b # 4
-1 -1
œ œ
& # 44 œœ-2œœ œœ œœ œœ œ-2œ œ4œ œœ œœ-2œ œ œœ œ œ-3 œ œ œ œ-3œœ œ œ œœ œœ œ
œœ œ-2 œ œ œ
-1 -1 -1 -1 -1 -1 -1 -1 -2 -1 -1

œ œ-4œ œœ -3
-1

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& 4 œ œ œ œ œ œ œ œ œ œ
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Minor Mark the silent shifts with a dot or a diamond.

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-1

& œ œœ œ œ œ œ
44. Etude in E Major
# # 4 in1 F Major
42.#Etude œ œ œ œ œ œ œ œ œ œ œ
IV II 1/2 I

# œ œ œ œ
-1

œ œ œ œ
-2

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-1

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45. Etude
b 4 œ œ œ œ œ
Replacement)
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4 -3

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& œ œ œ œ œ œ œ œ œ œ œ œ I œ œ œ œ œ œ III
III I

III I III
43. Etude in Fs Minor
## #œ œ œ œ-2 œ-3 œ œ -2 4 -3 -2 œ œ œ -3œ œ -4œ œ œ-3 œ œ
IV -3 II 1/2 I

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-4 -4 1. 2.

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44. Etude in E MajorIII

#
# # 4 œ œ œ 2.œ-4 œ œ -4œ
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&# #œ œ 4œ œ œ-3œ œœ œœ œœ œœ œ œ œ-3 œ œœ œœ œœ œœ œœ -4œœ œ œœ œ œœ-4 œœ œ œ

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1 -1

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#
I III V VI

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I III I I -2 -1 I

&
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IV II 1/2 I
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0 2 11 2 2 31

4
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-4 1 -2 0

& œ œ œ œ ˙
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Bass
Higher Positions
# # to
V III V I

4
II1/2 III
Take time teach1 students how to play 2in higher positions. “Just figure it out yourself”
Bass &
“go ask4 your œ
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n œ teaching œ œ œ
n œstrategies. nœ œ ˙
2 1

and œ private œ are œ

Upper Register and Thumb Position

To reach
53. higher
A Major positions,
Scale bring the elbow
and Arpeggio and arm
STUDENT around
PAGE 12 the instrument, and the thumb around the neck.
√ Patterns
52. Upper Register
# # # 4 √1 œ œ œ-4 œ œ œ -3 œ œ3 1 -1
œ œ œ œ œ
E

œ œ œ œ-1 œ œ ˙ Ó
x4 x4

& # 4 E1œ
-1 3

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
Vln.

Vln. & # 4 A
### 4 0 œ œ œ-4 œ œ œ -2 œ0 œ-4
œ œ œ œ œ œ œ
4

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B # # # 44 œ œ œ
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54. D Major Scale and Arpeggio STUDENT PAGE 12

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122
Bass of a Successful String
STUDENT PAGE 40

(194. Chorale #3: Pavane from Capriol Suite - continued)

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 Contact point is correctly distanced between bridge and fingerboard.
Tone The bow angle is perpendicular to the string and rotated correctly.
Bow weight and speed are well-matched and appropriate.
Bow placement (frog, lower half, balance point, middle, upper half, tip) is correct.

Notes are consistently correct and in tune, especially 4th and 7th scale degrees.
Hand placement is correct on fingerboard, not sharp or flat.
Intonation ‹›€iÅÑ°>ÓÓiśѲˆ>’wŠÈÓi°Ñ°’>Vi–i›Ó³Ñ‹ÈÑV ÅÅiVÓËш>’wÑ>›`Ñåˆ ’iÑÈÓi°Ñ`‹ÈÓ>›ViÈÑ>ÅiÑV ÅÅiVÓµ
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The purpose of studying scales
Fingertips adjustand arpeggios
quickly, is toafter
refining the pitch improve intonation and tone by
finger placement.
learning patterns and/i–°
technique required in different keys across the range of the
ÈÑ>ÅiÑV ›È‹ÈÓi›ÓËћ ÑÈÓ °°‹›€]ÑÈÓޖL’‹›€]ÑÅÞȈ‹›€Ñ ÅÑ`Å>€€‹›€µ
Tempo
instrument. and
Rhythm is correct.
Rhythm Exercise is memorized when appropriate.
Introducing New Scales and Arpeggios to students of different levels

Students of different levels can learn and perform scales at the same time. Those performing more octaves
should begin their scale first, as shown below.
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V Scales, Arpeggios, 41
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Arpeggios can be taught the same way.
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Using Differentiated œœ œ œ
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w
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4 students can move on to the two-octave scale; one-octave
∑ ∑
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students &stay 4 on the one-octave scale.œ œ When
œ œ teaching multiple levels, the
students performing more octaves œ œ should begin w their scale first.
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students
Differentiated stay on
Instruction bythe number of
Instrument octaves appropriate for their level. Again,
Section
students performing more octaves begin their scale first
The difficulty of a scale can vary depending on the instrument. In a high school class, for example, violin
students will likely be ready
Differentiating to learnto
Instruction a three-octave
Accommodate Bf scale long beforeDifferences
Instrument their lower string peers. Instead of
asking the violas to play a three-octave B f scale before they are ready, use the strategies for differentiated
The difficulty of a scale can vary depending on the instrument. In a high school class,
instruction described
for example, above
violin to makewill
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Dominant Arpeggios
No exercise teaches students the patterns and feel of a particular key better than the dominant arpeggio,
where the “high” and “low” fingered notes occur in close proximity. Set the tuner to drone the 5th scale
degree (the root note of the dominant arpeggio). Focus especially on keeping the 7th scale degree high and
the 4th scale degree low; this is where most of the intonation problems in young string groups occur.
 j j
210a. and b.

54 42 œ ‰ œ œ œ œ œ œ œ œ Habits œ œ œ String
œ œ of a Successful œ Musician
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VIII Sight-Reading by œLevel
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Part 2: Rhythmic Literacy and Sight Reading
A. Quarter Notes and Rests; Eighth Notes
211a. and b.
The
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260. j who canj
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262. Rhythm Charts in a Musical Context
VII 47
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264.
For additional practice with ties, dotted quarter notes and eighth rest patterns, go 270–283.

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Getting Started

1. Establish and model the tempo and counting style students are to use during the
rhythmic example. Students are to count the pulse (not the rhythm of the music) out
loud. After they demonstrate their ability to keep a steady pulse counting, they can begin
performing the rhythm of the music with their bow hand while continuing to count out
loud. Count using the smallest denomination used in the music; for example:
a. If the example is mostly quarters and half notes, count quarter notes (1, 2, 3, 4.)
b. If the example has dotted quarters and eighth-notes, count the pulse and division
(1 & 2 & 3 & 4 &)
c. Dotted eighths and sixteenth-notes: 1 e & a, 2 e & a, 3 e & a, 4 e & a

2. While counting out loud, students perform the rhythm exercises with their bow.
a. Air bow first. Students can get a preliminary feel of the rhythm as they count the
pulse out loud. Longer notes should be bowed with a slow, sustained motion.
The Teacher can check to make sure students are counting and watch the bows
to assess who is struggling most.
b. After students demonstrate success with air bowing, have them count and bow
the rhythm on an open string. Watch students closely to make sure they continue
counting as they play; the students who don’t count will not know when to come
in after long notes and rests.
c. When they are ready, have students look at the line with the pitches. Remind
them to look at the key signature, and have them mentally practice (silently air
bowing and putting fingers on the string) before the class plays together. This
important step gives the non-readers with good ears a chance to practice reading
without having the opportunity to listen to the person next to them.
d. Instruct students to perform the notes and rhythms on the second line with their
bows. If they seem to need it, students may take the intermediate step of
counting and playing pizzicato before playing the notes arco.

Counting Out Loud

To genuinely understand a rhythm pattern, students must perform the rhythm while
simultaneously keeping a consistent pulse somewhere else in their body. The biggest benefit to
this strategy is that students are counting while they perform through long or dotted notes and
rests, which is the most important time to count. Students will find it easier to “count in their
head” (and they will beg their teachers to let them do this) because in truth, they temporarily
stop counting during the toughest rhythms; instead, they should count out loud, especially when
the rhythms are difficult.

Modeling is encouraged, but avoid teaching rhythm through repetition. Hammering a

rhythm over and over may clean up rhythmic inaccuracies, but the students are only learning to
copy the teacher, and not learning to count and independently perform the rhythm. Each time a
rhythm or exercise is repeated, the students with good ears and poor reading ability have less
need to read. So, avoid repetition, and remember that the best time to teach rhythmic literacy is
every time students are learning new exercises or music.
 Additional Teaching Strategies
Teaching rhythm and notation
As a general rule, teach students how a rhythm sounds first, and then teach how it
looks. Students will learn how to count and recall rhythms within a pulse in the next
section.

1. Use 2/4 to teach quarters and half notes; use 3/4 to teach dotted halves, and
4/4 to teach whole notes. Instruct students play quarter notes with their bow
on an open string while they count to two, three, or four with and without the
metronome depending on the meter the teacher has chosen. Have students
play half notes, dotted-half, and whole notes with their bows on an open string
while counting to two, three, or four respectively. Demonstrate the rhythms
taught in this section on an instrument, and ask students to write down the
rhythms they hear.

2. Use a syllable system (like 1 & 2 & for 8th notes and 1 e & a 2 e & a for 16th
notes) to teach eighth and sixteenth notes with and without a metronome.
Students can march or clap the pulse while counting 8th and 16th notes to
reinforce the connection between the two. Have students play 8th or 16th
notes with their bows on an open string while counting (and/or marching) to
two, three, or four with a consistent pulse. Demonstrate 8th and 16th notes in
different time signatures, and ask students to write down the rhythms they
hear.

3. Syncopation, dotted and tied rhythms are much easier to learn after the
quarters, 8th and 16th notes addressed in the previous section. In this category
of rhythm, the dot, tie, or syncopation holds the note over a beat. This is more
easily explained visually in terms of 8th and 16th notes that are contained in
each note of the rhythm. When students begin playing these rhythms over a
pulse in the next section, it is imperative that the students count through the
rhythm to keep track of the beat that is contained in the dot, tie, or
syncopation.
 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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32 œ œ œ œ œ œ œ œ œ œ œ œHabits
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53. A Major Scale and Arpeggio
w w w w w
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STUDENT PAGE 12

Alto Clef√
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54. D Major Scale and Arpeggio PAGE 12

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 IV Higher
IV Higher Positions
Positions and
and Alternate
Alternate Clefs
Clefs 35
33
STUDENT PAGE 12
60. Scotland’s
50. Frere Jacques
Burning STUDENT PAGE 13

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51. Viva la Musica

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Bass 4 II1/2 V III I

128 Habits of a Successful String Musician - Conductor

STUDENT PAGE 42

Upper Register and Thumb Position

(200. Chorale #9: In the Bleak Midwinter - continued)
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I Tone and Articulation 1

I Tone and Articulation

Part 3. Tone
Open andExercises
String Articulation
Use Open Strings to teach basic tone production.
Even Tone - Frog to Tip
U correct
1.
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problems. &4 4
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Additional Bowing Variation Strategies
Students can perform each variation in unison or in canon. They can also overlap and
perform multiple variations simultaneously to develop deeper rhythmic understanding
and ensemble skills.

1. Perform the variation in unison. The best strategy for using the Bowing
Variations is the no-talking “Call and Response” method. Demonstrate in the
introduction how the students should look and sound; then, without a pause, the
students play the variation over the Theme, demonstrate the rhythm and
articulation modeled by the teacher. While students play, the teacher watches
and listens to make sure that the students are performing
a. With a flawless bow hold, curved pinky and thumb, and relaxed knuckles
b. In the correct part of the bow with the correct bow angle and contact point
c. With enough bow speed and weight to produce a good tone that projects
well
d. With correct rhythms and a consistent pulse
If the students need to play it again, play the Introduction again as soon as the
students finish the Theme, modeling again what the students need to improve. If
the students are ready for a different rhythm or bowing, introduce a new variation
right after students finish the theme. This Call and Response method is most
efficient when done with as little talking as possible.

2. Perform the variation as a canon in two, three, and four parts. Divide the class
into multiple sections; when the first section gets to the third pitch, the next
section begins.

3. Overlap and perform complementary variations at the same time. Without

the introduction, have one group of students perform a variation with a dotted
rhythm or syncopated pattern while a second group performs a variation with
consistent 8th or 16th notes; then have groups switch parts. Both groups should
listen to each other to learn and perform dotted rhythms or syncopations more
accurately. In addition to overlapping variations with complementary rhythms,
competing rhythms—like duple against triple—can be overlapped.

4. Practice transitioning from one rhythm to another by having students play

the introduction only. In concert music, problems frequently arise in the
transitions between different rhythms (like going from 8th to 16th notes) or
articulations (going on and off the string). To teach challenging transitions, have
students play the Introduction with one rhythm/articulation, and then repeat the
Intro with the other rhythm/articulation. Practice going back and forth between
variations with a metronome. Three or more variations can also be practiced in a
series.

Modeling. It is very important for the teacher or student leader to model the rhythm and
articulation. It helps the students understand how they are to look and sound. It also
helps the teacher make sure the tempo is correct, since the action of the bow can
change dramatically with different tempos.
4 Habits of a Successful String Musician - Violin
Slurring Variations can be used to teach slurs and detaché (including sautillé)
• Use a metronome: Start with a slow tempo and gradually increase speed.
• Use more weight on the slurs, and more bow on separate notes. Slurs
#4 . #4 .
11a. 11b.
.. ..
6 Habits of a Successful String Musician
4 - Violin

& 4 . œœœœœœœœœ & 4 . œœœœœœ

4

œ
4 4

œ œ
19. Tetrachord Etudeœœœœ œœœ w œ œœœ œœœ w
#4 . #4 .
Tuning
11c. Notes (Dorian Tetrachord) Etude 11d. 4

4U . U U .. ..
œ œ œ œ. œ œ œ œ œ . œ
4

& U & 4 œ œ
4

œ œ
4 4

& 12 œ . #œœœ. œœœ. œ .

œ
. œ œ œ # œ œœ œœ œœ œ œ œ œ œ œ # œ œ œ œ œ œœ œœ œœ œœ œ œ . w .
. œ œœœœ
4 4

8 w œ w
#4 . #4 .
11e. 11f.

. œ .
. . œœœœœ ..
4 4
After learning the Etude with the Dorian4 tetrachord above, play it with one of the other tetrachords below.4
& 4 œ œ œ œ œ œ œ œ & 4 œ œ œ œ
Tetrachords: œ œ œ œ œœœ w œ œ œ it has also
œ speed, œœœ w
Velocity Etude for Bow Management
While we use
Major
the velocity etude primarily
Dorian
for developing left hand
Phrygian Lydian Major (half pos.)
been
œ
& #œ #4œ #toœ contact n œ œweight & n œ œ œto produce
11g.a good tool for teaching students to manage their 11h.
& œ # œbow œ œ œ tone from
& #b œ4aœgood
bow speed. Students must pay
& b œ the bœ
œ œfirst
.
& to4the. last. œ œ œ œ œ œ œ œ œ .
. & 4 . . ..
œœœœœœœœœ
attention point, and speed

œœœœ œœœ œœœœ œœœ

note
w w
20. Velocity Etude
Perform as written first, and then perform with the different finger patterns (#2. Fn and #3. Ef) shown below.
4
& 4 œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ

Finger Pattern #1 #2 #3

&bow & œ students & œ b œto contact

Chorales are great tools for teaching tone, balance, blend, and phrasing. This chorale
also teaches œ #œ
œ management, requiring œ N œ to pay attention œ point and
VI Chorales
bow speed. 125
STUDENT PAGE 41
Velocity Etude Variations
A. B. 198. Chorale
C. D.#7: Fantasia
E. in
F. G q =G.76 H.
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
≥
#4
I. ˙ J. œ œ- œ œ K.
w
≤
œ œ- ˙
L.
œ œ- ˙
M. N.
Ó
&1 œ& œ 4 œ œ œ œ œ œ œ œ œ w w
œ œ œ œ œ œ œ œ œ œ œ œ œ
O. # 4 ≤ P. ≥ œ œ- ˙≤
4Ó ˙ w œ- œ œ ˙
Vln.
2 &
Q.
œ R. ˙ œ œ- ˙ œ œ- ˙
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
≥
˙ œ œ- ˙≤ œ œ- œ œ
Vla. B # 4
4 Ó w w w≥ œ œ≥ œ œ

?4 # 44 Ó œ≥ œ ˙
21. Trills
œ œ ˙ ˙Ÿ
The trills on beats 2 and 4 are performed the same way.
˙ ˙ œ œ- œ œ ˙ . œ- œ Ÿœ ˙
b
& 4 œ. œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ. œ˙ . œ .
œ œ. œ œ. œœ œ
wœ
Vc.

w w
? # 4 w≥ w w
4 Ÿ
Ÿ
Bass

& b œ. #œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ œ. œ œ œ œ œ œ œ Nœ œ œ. œ œ. œ œ
# œŸ œ œ œ w œ œ≤ ˙≥ #œ œ œ . œ œ ˙ ˙ #˙ w w
8

1 & ˙ Ÿ
& b œ .# .. Ó
œ œ. œ œ œ. œ œ. œ œ œ œ- œ œ
Vln.

& ˙ ˙ œ œ- œ œ ˙ ˙ ˙. œ ˙ ˙
w
2
 What to do with Fundamentals Time in an Orchestra Rehearsal
Think broadly and identify the skills that your students need to develop. These could be
skills that the students were lacking when they came into your program from another
teacher. They could be skills that would have made your students perform better at last
year’s concert festival.

__________________________________ ____________________________________

__________________________________ ____________________________________

__________________________________ ____________________________________

__________________________________ ____________________________________

__________________________________ ____________________________________

__________________________________ ____________________________________

__________________________________ ____________________________________

Key Concept #2: Identify the “components of string playing” students need to
learn during fundamentals time and organize them in a sequential and meaningful
format.

Musical Components

Basic Elements Range and Organization Ensemble Concepts Creativity: Musical Choice
Tone Color Palette Blend Choice of timbre & vibrato
speed
Intonation Register and Key Tuning Intervals/Chords Melodic/Harmonic Improv
(Sharp/flat)
Pulse & Rhythm Tempo and Meter “Ensemble” Agreement Rhythmic Improv; Tempo
Choice
Articulation Attacks & Releases Style: Consistency Style: Fluency (Baroque to
Jazz)
Volume Dynamics Balance Phrasing

Technical Components

General Technique Left Hand Right Hand

• Stretching and • Position • Position and Basic
Breathing • Basic Motion Motion
• Balance: Standing and • Finger Patterns • Tone Production
Sitting • Fingertip Adjustment • Advancing
• Spine, Shoulders, • Velocity, Shifting, Articulations
Arms Vibrato • Advancing Rhythms

Cognitive Components: Literacy, Culture, History, Occupational Awareness

Key Concept #3. Use a sequential system of warm-up exercises that develop the
musical and technical skills required in the orchestral repertoire the students are
to perform.
• Bowing exercises improve tone, articulation, and specific rhythm patterns
• Finger pattern exercises improve intonation, intervals, velocity
• Shifting and Scale exercises improve intonation, tone and shifting throughout the
entire range of the instrument
• Tuning Canons, Chords, and Chorales teach fine tuning, balance and blend
• Sequenced Rhythm and Sight Reading Examples improve sight reading ability

Key Concept #4: Fundamentals Time should include sequential and

comprehensive sight reading
• Introduce your desired counting system
• Use rhythm charts reinforced with pitches
• Sightread notes and rhythms with an emphasis on timing
• Sightread at a tempo that insures a successful performance of everything that is
on the page
• Sightread with an emphasis on the "components of playing"
• Musical sight reading must be developed over time with a logical sequence in
place

Key Concept #5: Fundamentals must ultimately lead to great music making
• Cross the threshold from the "components of playing" to "thoughts about
phrasing and musicianship"
• Sing and use solfege to combat "musical wandering"
• Include music-making exercises as part of the curriculum
• Get off of the podium and let them play
• Strive for an artistic performance
 Habits of a Successful String Musician
A Comprehensive Curriculum for Use During Fundementals Time

Christopher Selby • Scott Rush • Rich Moon

Habits of a Successful String Musician is a field-tested, vital, and - most important

- musical collection of almost 400 sequenced exercises for building fundamentals.

Perfect to use with the entire string orchestra or solo player at virtually any skill
level, this series contains carefully sequenced warm-ups, sight-reading etudes,
rhythm vocabulary studies, chorales, tuning canons, and much more. In one place,
this series collects everything an aspiring player needs to build fundamental
musicianship skills and then be able to transfer those skills directly into the
performance of great literature.

Habits of a Successful String Musician:

• Presents a differentiated, sequential, and comprehensive method for developing skills that lead to the
mastery of reading rhythms, and ultimately, to musical sight-reading.
• Creates a method for teaching scales, arpeggios and thirds that simultaneously accommodates students of
different ability levels.
• Organizes tone, rhythm and articulation patterns into a flexible and sequential series.
• Creates finger pattern and velocity studies that address the most common problems encountered by
intermediate orchestra students.
• Provides beginning through advanced shifting exercises for students of every level.
• Creates exercises for learning alternate clefs and higher positions.
• Provides chorales for the development of intonation, tone quality, blend and musicianship.
• Presents rhythm charts in a new format that allows transfer from timing and rhythm to pitches in a musical
context.
• Provides audition sight-reading in a classroom “full ensemble” format that is well planned in scope and
sequence. There are over 130 sight-reading examples in this book.
• Promotes the idea that students should cross the threshold from the “technical components of playing” to
music making.

Each Student Book just $9.95.

G-8624 Violin, G-8625 Viola, G-8626 Cello, G-8627 Bass, G-8628 Strings Full Score and Conductor’s Edition, $34.95

Christopher Selby is the National Board Certified Orchestra Director at the School of the Arts High
School in Charleston, SC. He is a graduate of the Hartt School of Music and holds master’s and doctorate
degrees from the University of South Carolina. He has taught orchestra for over 20 years and served 11
years as the Richland School District’s Orchestra Coordinator. Ensembles under his direction have con-
sistently received superior ratings and placed 1st in the 2012 ASTA National Orchestra Festival. Selby is
the recipient of the 2009 SC ASTA Orchestra of the Year Award and is a past president of the SC Music
Association. He is current chair of ASTA Committee on School Orchestras and Strings, and chair-elect
for NAfME National Council for Orchestral Education. Christopher Selby is an active clinician, speaker,
adjudicator, and conductor through the U.S. He is a co-author of Habits of a Successful String Musician
(GIA) and the 2010 SC Performance Standards for Instrumental Music.

GIA Publications, Inc.

7404 S. Mason Avenue • Chicago, IL 60638
800-442-1358 • 708-496-3800 • Fax 708-496-3828
[Link] SELBY2015