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Rehearsal and Performance Guide: Sibelius’ Andante Festivo
By Mark Laycock
Jean Sibelius’ Andante Festivo
occupies a rarefied place in the repertory: its modest technical challenges make it accessible to accomplished middle-level groups, while its emotional depth and musical substance appeal to advanced players.
Envision, Engage, and Express: Musical Habits of Mind in the Orchestra Classroom
By Susan A. Davis
The ability to think, analyze, communicate, listen, and behave like a musician is as much a part of musical study as learning instrument pedagogy, developing musical literacy, and responding to a conductor’s gestures. We need to develop our students’ creative, critical, and divergent thinking patterns if we want to increase independent musicianship in the orchestra setting.
Success on Your Secondary Instrument: Reciprocal Exercises for Switching Between the Violin and Viola
Part II—A Violist on the Violin: The Left Hand
By Kevin Nordstrom and Stephen Nordstrom
The major technical issues a violist will face when playing the violin are ones concerning the left hand. These issues are directly related to the smaller size of the violin, which affects the shape, angle, and position of the entire left arm, wrist, and fingers.
Interview with Mary Brigid Roman
By Jacqueline Pollauf
Mary Brigid Roman, associate professor of harp at The Florida State University (FSU) College of Music, heads one of the oldest harp departments in the country. As she enters her fiftieth year of teaching at FSU, she reflects on her long and varied career.
An Integrated Approach: Eight Tips for Teaching, Learning, and Improving Violin Vibrato
By Joseph Kneer
Many students develop a healthy, functional vibrato without much fuss, using either an arm or a wrist motion. However, in some cases, an integrated
vibrato—a motion that incorporates aspects of both approaches—can and should be introduced earlier in the development of vibrato to promote efficiency and ease of playing.