The American String Teachers Association with the National School Orchestra Association has predicted that there may be a shortage of 5,000 qualified orchestra teachers in the next generation of music educators. With demand for string programs growing, it is imperative that all qualified music teachers – regardless of their background – feel that they can become successful string teachers. It is not my intention within the framework of this article to imply that by simply reading a few suggestions any one with a background in music can become a gifted orchestra teacher. Rather, it is my point that anyone with a strong desire to teach strings, coupled with the drive to learn the technical side of the pedagogy, can and will become a competent, if not successful, orchestra director.
Having given a session, along with my colleague Dr. John Clinton, on this very subject at two prominent national music conventions, I have encountered several divergent reactions to my tenet that any strong music teacher can become a strong orchestra director. At one, a string teacher walked into the room, picked up a program and exclaimed “Oh, great! Now the band directors are going to get our jobs!” At the other, a string teacher walked up to the ticket counter and gave back her tickets because, as she said with sincere disgust, “I don’t do band.”
This has got to stop. I am not recruiting band and choir directors to “take the place” of qualified string teachers. Nor am I saying that orchestra is better than band or choir. I have a passion for string pedagogy and the wonderful opportunities it offers students and teachers alike.
I have concentrated in this article on teaching the beginning level of strings. I strongly suggest studying privately on an instrument as you teach beginning classes – learning along with your students is an excellent method of teaching as well! So, clear your preconceptions, and read ahead for a few suggestions on becoming a successful string teacher!

Bowing Terms
Non-string players are often intimidated by the various terms for bowing. This is unfounded, as any good musician knows how to articulate, regardless of whether they are singing or playing an instrument. The easiest way I’ve found in my career to relate band or choral teacher to string teacher is to equate the use of breath to the use of the bow. In band and choir, air is the medium by which the music is articulated. The bow is the articulator in string playing. Terms such as legato, staccato, and various other articulations are synonymous in application if not in name. Yes, there are specific French and/or Italian words for these bowings, but the same general effect can be achieved often times by simply singing the articulation to the string players. There are several good resources out there for specifics (see the bibliography), but the articulations break down to two basic ideas:
Bow On the String (Detaché) Bow Off the String (Spiccato)
*It is the amount of SPACE BETWEEN the notes that determines the exact bowing.

Beginning String Classes
The best thing about teaching beginners on string instruments is the fact that you can see everything! The posture is easily identifiable and the correct playing positions can be seen and corrected, if needed, immediately. The hand positions can be assessed easily as well. For me, especially with the beginners, I find that if you get them set up correctly from the very first class session, you will have fewer problems down the road.
For violin and viola, the student should sit on the edge of the chair with the feet flat on the floor, shoulder width apart. (I like to have the students start without the instrument and play a little game. I tell them that I should be able to pull or push them out of their chair so that they will stand up without any problems. I then walk around the room shaking hands and randomly pulling students to their feet. Yes, it’s goofy, but the students think it’s fun and it gets my point across.) The instrument is placed on the left shoulder. A correctly fitted shoulder rest should be used to support the space between the student’s neck and the instrument. The jaw is allowed to rest on the chin rest while the left hand is brought up to the neck of the instrument. The left hand should never squeeze the neck of the instrument. If fit properly, the combination of shoulder rest, chin rest, and instrument should set comfortably with the student. The scroll of the instrument is turned toward the music stand, twisting at the torso slightly to accomplish this.
For the cellists I like to start the same way, with the feet even spread, but then I do things a little differently. The endpin should be extended so that the scroll of the instrument is eye-level when the student stands. As the student sits, they widen the stance to the left slightly, allowing the cello to rest against the left leg a little more than the right. This will help line up the instrument along the center of the body while keeping the C peg behind the left ear. The left hand forms a “C” shape (I like to tell the student to imagine holding a can of soda) and rests on the fingerboard, the thumb on the neck below the second finger.
For the bass players, you’ll have to decide whether you want them to sit or stand. If sitting, the proper stool and instrument combination is essential. I start my students standing as it is a little easier, I find, to get the proper posture. The endpin should be adjusted so that the nut of the fingerboard is about forehead level (this varies greatly with the size of the student – just try to avoid having the student reaching up for half-position) with the bass in front of the student. The bass is pulled back toward the student while keeping a slight forward lean to the instrument. The weight of the bass is used to help the student set her fingers “into” the strings. The left hand forms the letter “C” like the cellists, and the arm is brought up into first position. For the bassists, it is essential that the left elbow not be allowed to drop, collapsing the wrist and twisting the hand position. While this is true for all string instruments, it is critical for the bass players, as the size of the instrument can quickly lead to more physical problems.
So what about the bow?
The bow hold – notice I used the term hold not grip (a picky distinction, yes, but one that can subliminally can cause tension in the bow hand and arm) – is basically the same for the violin and viola: the thumb is curved, allowing for a hollow hand, up to the bow stick while the first three fingers are placed over the top of the stick, the second finger lying over the dot on the frog. The fourth finger perches on top of the bow stick near the screw. As the students progress through bow exercises, they quickly discover that the pinky finger is there to counterbalance the weight of the bow. For the cello and bass, I have the students open their right hand palm up with the fingers spread open (have the students visual putting gum balls between their fingers). The bow is placed on the right hand so that the stick lies across the first knuckle crease on the first and fourth fingers. The thumb curves up to the bow stick just in front of the frog. Keeping the rounded, hollow shape produced by the curved thumb, have the student turn their hand over – voila! Instant bow hold! (Please note that I do not teach German bow hold for the basses.)
Once the posture has been perfected (and it will take time), the teacher can move onto more musical matters. Selecting a text for the string class should be done the summer before the class begins. There are several wonderful texts available now, some even come with CDs and DVDs so the kids can hear and see lessons. Choose one with which you can feel comfortable and familiarize yourself with it. Reading through the teacher’s edition of these textbooks can alleviate many of your concerns. I’m rather biased in my opinions on beginning texts, as I am a contributing composer to one series, so I won’t endorse any one book here. I will leave it to you to discover the one that is right for you and your students.
For the first two years of study, technique will be emphasized utilizing the textbook series chosen. Supplementing the texts with literature will be the next step. Many of the textbooks will have correlated literature that is published separately. There are also many wonderful pieces that have been listed on the MENC Orchestra Super List (available from the Music Educators National Conference website www.menc.org). If you have a required state music list, purchase a copy for your school. If you don’t have one, try to get your hands on the Texas UIL Required Music List. This is one of the best lists out there and has graded literature for beginners through high school.
As you program for your concerts, never forget that you are also educating your audience as well as your students. In the first year of study, take time during the performances to do demonstrations, explaining how things work. Parents who understand the concepts that you are teaching are more apt to support their students. Parents who are involved will also encourage students to practice and take private lessons.

Middle School & High School String Classes
When I first started teaching string classes I was paranoid that I had to know everything. I frantically tried to absorb as much information as I could but quickly learned that it was impossible to know it all. It will never fail that some student will throw you a curveball in a rehearsal: one of those questions you have absolutely no idea how to answer. Just tell them “I don’t know, but I’ll find out and tell you tomorrow.” Then go call a colleague or look it up. It’s okay! You will have students who can play their instrument better than you can – and BRAVO to you for it. That means you’re doing a great job. But never forget that you’re the professional educator. You’ll always have something to offer your students.
With middle school orchestra, it’s important to keep going strong on technique. The urge will be to put more emphasis on performances, as there will undoubtedly be more of them at this level, but try to maintain a good balance between technique and literature. More instrument-specific technique can be introduced at this level. Etudes can be assigned from books designed for the instrument. Vibrato should also be introduced. If you don’t feel comfortable with it yourself, there are good books out there on the subject, and at least one textbook designed for the middle school orchestra (Viva, Vibrato! published by Neil A. Kjos Music Company).
High School orchestra presents the opportunity for more performances (concerts, contests, trips) but you will need to maintain the balance of technique vs. literature. I know I keep coming back to this, but it’s an integral part of my teaching style. I honestly believe that the time invested in technique (scales, etudes, vibrato, shifting, etc.) is time later saved in rehearsals.
Another aspect of high school orchestra programs that has gotten a lot of attention lately is that of alternative styles. I like to call this “why do the band directors get all the cool stuff?” Alternative styles is the orchestra’s answer to the jazz and marching band. Right now there are schools that have jazz orchestras, fiddle groups, and strolling strings ensembles. My high school has one of the few high school instrumental Renaissance groups in the country. They all serve the same purpose: community relations in a unique format that accentuates the school program. However, as with any music program, it is imperative that the director maintains an educational balance. We are here to educate – not entertain – and if we forget this, maybe our school boards will too!
Resources are available from a variety of sources for alternative styles. Textbooks are available for fiddling and jazz in the string orchestra class. There is information available online at www.astaweb.com as well.

Getting Started
The opportunities for teaching orchestra are out there. Right now, somewhere in this country, there is a school orchestra program that does not have a qualified orchestra teacher in charge of it. This is inexcusable. The students are suffering because of it.
If you are interested in getting started down the path of string education, I suggest that you spend some time this summer at a teacher’s resource workshop. There are several on the ASTA website: www.astaweb.com. Spend time talking with colleagues who teach orchestra. Attend new literature reading sessions. Do everything possible to make yourself the finest string teacher possible.
I have listed several resources at the end of this article. There are several more out there. If you have any questions, feel free to email me with your questions. I wish you the very best on your road to teaching strings successfully!

Resources
GENERAL REFERENCE
American String Teachers Association (1986). String Syllabus: Violin, Viola, Violoncello, Double Bass. Bryn Mawr, PA: Author.
Hopkins, Michael (2001). The String Pedagogy Notebook: A Resource for Teachers and Performers compiled by Michael Hopkins http://www.uvm.edu/~mhopkins
Music Educators National Conference (1988). The Complete String Guide: Standards, Programs, Purchase, and Maintenance. Reston, VA: Author.
BOWING
Gigante, Charles (1986). Manual of orchestral bowing. Bryn Mawr, PA: American String Teachers Association.
Green, Elizabeth A. H. (1980). Orchestral bowings and routines (2nd ed.). Ann Arbor, MI: Campus Publishers.
Rabin, Marvin, & Smith, Priscilla (1992). Guide to Orchestral Bowings Through Musical Styles, video. Madison: University of Wisconsin.
FOR PARENTS
Fink, Lorraine (1977). A parent's Guide to string instrument study: Helpful information for families with children studying orchestral string instruments. San Diego, CA: Kjos West.
REHEARSAL TECHNIQUES
Clinton, John (2002). Rehearsing the Whole Orchestra—Getting the Most Out of Your Full Orchestra. Midwest International Band and Orchestra Clinic. Unpublished presentation.
Re Gattiker, Irvin (1977). Complete book of rehearsal techniques for the high school orchestra. West Nyack, NY: Parker Publishing.
STRING/ORCHESTRA TEACHING
Colwell, Richard J. (1992). The Teaching of Instrumental Music (2nd ed.). Englewood Cliffs, NJ: Prentice Hall.
Cook, Clifford A. (1957). String teaching and some related topics. American String Teachers Association.
Dillon, Jacquelyn A. & Kriechbaum, Casimer B., Jr. (1978). How to design and teach a successful school string and orchestra program. San Diego, CA: Kjos West.
Green, Elizabeth (1992). Teaching String Instruments in Classes. Bryn Mawr, PA: American String Teachers Association.
Lamb, Norman(1990). Guide to Teaching Strings (5th ed.). Dubuque, IA: Wm. C. Brown Publishers.
Music Educators National Conference (1991). Teaching Stringed Instruments: A Course of Study. Reston, VA: Author.
Rabin, Marvin (19 ). Rabin on Strings, video. Madison: University of Wisconsin.
Rolland, Paul & Mutschler, Marla (1974). The teaching of action in string playing: Developmental and remedial techniques. Urbana, IL: Illinois String Research Associates.
Suzuki, Shinichi (1983). Nurtured by love: The classic approach to talent education (2nd ed.). Smithtown, NY: Exposition Press.
Tanglewood String Symposium (Louis Krasner, Chairman) (1965). String Problems, Players and Paucity. Syracuse, NY: Berkshire Music Center with the Cooperaton of the School of Music, Syracuse University.
Winberg & Salus (199_). Stretching for strings. Bryn Mawr, PA: American String Teachers Association.
Young, Phyllis (1986). The string play: The drama of playing and teaching strings. Austin: University of Texas Press.