Reviews: Books & Music

Books on Heifetz

Although many ASTA members grew up in awe of the great twentieth-century's violinist Jascha Heifetz, that master has already lost his status as a household name in the early years of this new millennium. Many younger players and students know little of the technical perfection, artistic taste, and excitement he brought to his performances. The year 2001 marks the hundredth year of Heifetz's birth, according to most records (Russians were less careful about birth certificates at the turn of the last century), and two close-up portraits of him as a teacher have appeared in timely fashion.

Though the two writers clearly knew the same man and in no way contradict one another, Ayke Agus presents the more thorough and probing account. She was not only Heifetz's student and his last accompanist both at his studio classes and at home, but also a confidante and caregiver. She presents a broad view of the man and musician, at times riveting in its detail, at times more objective and critical. Born in Indonesia, Agus has had a fascinating life of her own, and the reader will enjoy the descriptions of her own background before meeting Heifetz, as well as the rich look at many aspects of his life and their interactions with one another. Well edited, her book is clearly organized into topics suggested by her subject and includes his teaching, ideas on musicianship, lifestyle, and composition. It includes an appendix listing Heifetz's publications and sketches. Ayke Agus writes very movingly about Heifetz's last years and weeks, and certainly does not regret having devoted fifteen years to him.

Sherry Kloss offers a sincere look that is also quite appealing, and her writing is fresh and natural. The book is a “quick read,” and the author includes wonderful quotes from Heifetz as well as lists of repertoire he required of his students. Kloss's version is more an abridged, spontaneous, gushing look at Heifetz. I'm glad to have read both and glad that I read Agus's work second.

I met Heifetz several times as a youngster when he visited my father in our home and heard his close friend and colleague Gregor Piatigorsky tell stories about him as well. At the time of Heifetz's death in 1987, I almost worshipped his recordings of itsy-bitsy pieces (a term Kloss says he used to describe encore pieces) but found it difficult to accept his personal eccentricities and cold behavior. Opening both these books, I expected to be put off by the intensely personalized accounts of a man I had assumed was an indifferent and ineffective teacher. My judgment proved premature—neither author is off-putting, and Heifetz clearly comes through as a caring mentor to students he felt merited it.

These books leave no doubt that Heifetz was as difficult a personality in teaching as he was with family and others (he turned down an ASTA Artist-Teacher Award with a letter from his lawyer demanding that we not harass him). In fact, he emerges as simultaneously complicated and quite simple, self-centered, and concerned with the world as he saw it. It's a telling exhibit of how stunting it is to grow up a prodigy. But it is clear that both writers adored him, saw way beyond his flaws, and learned much from him. Agus writes, “He let me close enough to observe a basically shy man who was never at ease with his own fame and longed to be understood while even he could not understand himself, a person who never learned to relate to another person, not even as a child; a man who had no tolerance for cant and pretense….” You will learn a lot about Heifetz, about the teacher-student relationship, and even about yourself from your reaction to reading these books. A.M.H.

THE HEIFETZ COLLECTION: Heifetz Plays Gershwin. Gershwin, arr. Jascha Heifetz, Carl Fischer, 2000, $19,95.

Heifetz and Gershwin, almost the same age, were musical friends, and Heifetz made numerous transcriptions of the composer's works, including those presented here: excerpts from An American in Paris, Porgy and Bess, and Three Preludes for piano. Ayke Agus describes the drawers full of transcriptions and sketches for transcriptions, as well as some original pieces that Heifetz wrote. She specifically mentions (p. 228) how Heifetz, in his last year, played for her his sketches for an arrangement of An American in Paris and gave her directions for completing this work. Heifetz completed the other pieces at his cottage at Harbor Island, California, in 1940, 1942, and mostly 1944. The edition corrects some mistakes from earlier publications and includes Heifetz's suggestions for fingerings and bowings as well as some facsimile prints of the violinist's music notation. Some works are playable by students and amateurs; others require greater facility. In its own way this music collection is a welcome portrait of an era and of two sublime musical stylists, A.M.H.

String orchestra

The ABC's OF STRING ORCHESTRA. Janice Tucker Rhoda and Andrew Balent. Carl Fischer, 2000.

Another in the ABC's of Strings series, this compendium is designed to complement the other published materials. Its twenty pieces offer much to the elementary string class. The repertoire, which mixes familiar pieces with original compositions by Rhoda, works in tandem with regular lesson material encountered in the first two years of study and utilizes G, D, and A major. The final page of each of the student books has these three scales written out with fingerings. The violin book provides only the second octave of the G major scale. The viola and cello scales are two octaves. The bass scales are presented without octave juxtaposition, which requires shifting into half and third position.

The pieces present a variety of challenges for young players that include 2/4, 3/4, 4/4, and 6/8 meters; slurred, hooked, staccato, and détaché bowings; dynamics; repeats; fermatas; whole, half, quarter, and eighth notes; and pick-up notes. They use all four strings for the violin and double bass and the top three for viola and cello. The violin and viola books only require first position while the cello book includes extensions as well as second position, and the bass book uses the half and third positions.

At this level it is often hard to find exciting repertoire that presents the skills needed for technical development, particularly in the low string parts. All told, the volume is well done and makes an interesting, positive contribution to the available repertoire for the elementary orchestra, K.H.

HORNPIPE (from Water Music). George Frederic Handel, arr. John Caponegro, Kendor Music, Inc., 2001, $40.

John Caponegro's recently released five-minute arrangement of Hornpipe is well thought out and educationally sound for young string players. It affords the chance to introduce new concepts to students, including 3/2 meter and shifts in tonality. The exposition is in the comfortable key of D major, but the development takes players through B minor and major, F-sharp minor, A major, and E major. Working it out in rehearsal offers a substantial opportunity to introduce key changes and relationships. This arrangement also presents a solid chamber music experience, with thematic material given to each violin section, the violas, and the cellos on a fairly equal basis. Effectively doubling (and reinforcing) the cello line, the bass part nicely adds depth and color for the upper dynamic levels throughout, Although the author designates this Hornpipe as Grade 4, it might more appropriately be considered Grade 3 level. R.M.

TRUMPET VOLUNTARY for string orchestra. John Stanley, arr. John Caponegro. Kendor Music, Inc., 2001, $40.

John Caponegro arranges the Trumpet Voluntary in a spirited and lively fashion that fits younger players at a Grade 3 level. Unfortunately, as with many arrangements at this level, interest mostly lies in the upper two voices, with occasional lines for the viola. Its tonality is straightforward (in D major) with little harmonic deviation. The greatest challenge is for the upper strings to play the extensive dotted-eighth and sixteenth passages correctly and cleanly. Position work is limited, requiring only the violas to take a brief excursion into third position. R.M.

ALL STRINGS ATTACHED. Lennie Niehaus. Kendor Music, Inc., 2001.

This short (2:20) rondo is an ideal introduction to string ensemble playing for young students. In D major, it briefly modulates to G before the conclusion. The second violin and viola parts include slurs during this brief modulation; the first violin has a short obbligato to the second violin melody. Optional side and bass drum parts are included. In short, while elementary throughout, the piece presents a wonderful introduction to technical requirements and holds the interest of players. M.L.

RETURN OF THE METRO GNOME. Fred M Hubbell, Kendor Music, Inc., 2001, $35.

Cello and bass players get to start this brief, two-minute tune with a twelve-bar pizzicato introduction. The upper parts (violin III and viola parts are the same) then join in with separate entrances, imitating each other. Through the contrapuntal style, Hubbell creates an opportunity for young students to hear one another's parts and play better as an ensemble. Teachers may want to edit the bowings (beyond the two-note slurs given) if their players are ready for additional right-hand technique. This will add variety to an already interesting piece. There are optional wood block and piano parts included. M.L.

EIGHTEENTH VARIATION. Sergei Rachmaninov, arr. Deborah Baker Monday. Lake State Publications, 2000, $45.

Beauty abounds in this three-minute composition from the Rhapsody on a Theme of Paganini The lovely melody is shared between the upper and lower strings, and triplet arpeggios form the fluid accompaniment. A mature string orchestra is needed to perform this lush arrangement, which has long sustained tones. The first violin part uses third position. The bass goes to fourth position, with fingerings notated. All other parts are in first position with some reminder fingerings given. Accidentals are numerous, especially in the inner parts, although the key centers are C and G major. Accurate intonation is needed for a fine performance, P.H.

CANZONA PER SONARE No. 4. Giovanni Gabrielli, arr. Joseph J. Phillips. Kendor Music, Inc., 2001, $35.

Gabrielli (1558-1613) likely intended this music, frequently played by brass ensembles, for performance by many different combinations of instruments, as was the common practice in Renaissance times. The greatest challenge in teaching this piece (about two minutes) will be helping high school students to play all rhythms correctly without being confused by the counterpoint in the other parts. All parts are extremely independent. Although most of the parts are playable in the first position, shifting is necessary to avoid open strings and for a mature sound. The cello extended finger pattern is also essential. The key of D major helps to herald the ensemble in a rich open sound. P.H.

ANITRA'S DANCE, from “Peer Gynt Suite No. 1,” Op. 46, No. 3, Edvard Grieg, arr, Tony Finno. Kendor Music Inc., 2001, $40.

Anitra's Dance” is actually a mazurka that contrasts stylistic delicate passages with spirited staccato passages. Close attention must be paid to dynamic extremes to give full voice to Grieg's direct melodic charm and perennial freshness. All sections share important lines in this arrangement. Because of the key of A minor and the nature of the music, accidentals are numerous. Intonation between passages in major and minor must be accurate for proper performance. Grace notes and trills are also present. Although listed as a Grade 2+ by the publisher, the first violin part ventures to seventh position, clearly placing it above this level. These very high passages in the first part could be rewritten an octave lower. The cello part goes to second position, with all other parts playable in first. Staccato playing and other stylistic features make this a good teaching piece for high school, P.H.

MAHLER WITH A TWIST (Theme from Symphony No. 1). Gustav Mahler, arr. Deborah Baker Monday. Lake State Publications, 2000, $40.

This slow and mysterious theme is especially well suited for middle school strings. The deep voice of the lower strings is especially profound. Changing metronome markings will force students to look up and pay attention to the conductor. Subtle dynamics, pizzicato, and doubled sixteenth notes add interest, The variations focus on rhythmic differences. A violin III part is also included. With only one note in second position for the bass, this is basically a first-position piece for all players. P.H.

ROLLING RIVER. David Z. Durant Self published, $45.

Despite an initial impression that this piece is easy, the way Durant uses parallel (rather than traditional) harmonies makes it more difficult than it appears. His work sounds almost modal and requires good basic technique of young players, especially in dynamics and rhythm. It begins in melodic unison, with rhythmic unison generally throughout.

Single or détaché bows are standard, and you may wish to add other bowings for instructional purposes. There are identical violin III and viola parts. Your students will undoubtedly enjoy preparing this unique composition, suitable at both elementary and secondary levels. M.L.

Violin

JAZZ FIDDLE WIZARD: A Practical Guide to Jazz Improvising for Strings. Martin Norgaard. Mel Bay, 2000, $22.95 with CD.

Here is a good introduction to jazz improvisation for violinists. The book presents twenty-five lessons dealing with many of the concerns of the budding jazzer. These include rhythm, II-V-I patterns and the circle of fifths, the bebop scale, passing chords, and arpeggio shapes. Blank pages avoid awkward page turns—hallelujah. All lessons stay in the first position and encourage you to transpose them into different keys.

The CD, included with the book, features both a comfortable slow tempo and a faster accompaniment to try out your newly learned skills. There is a helpful discography to expand your aural experience—and a web site (www.fiddlewizard.com) that provides more resources. Other web sites are listed to help you connect with the enigmatic time warp of cyberspace.

Let it be said that there are whole volumes devoted to each of the issues Norgaard's book covers, but this one can serve as a good springboard. Just doing these exercises will not teach you all you need to know to wing it with more experienced players. Listen to as many different players as you can and be willing to look very foolish trying to be creative, G.B.

ESSENTIAL JAZZ LINES: The Style of Charlie Parker. Corey Christiansen. Mel Bay, 2001, $14.95 with CD.

You can't figure out the music of Charlie Parker in thirty-two pages, but you can make a good start. It is said that even Parker himself could not play transcriptions of his solos. Corey Christiansen presents many of Bird's ideas in one- or two-bar patterns you can practice with the CD that comes as part of your investment These include the various II-V-I progressions and turnarounds seen before from other authors, but Christiansen goes a step further and shows how the old yardbird was able to “target” chord tones with various chromatic scale patterns. Christiansen also talks about secondary arpeggios and the idea of using III flat-9 over V₇ chords. The rhythm section on the CD is solid—a joy to hear. It is a sobering thought that our dear friend W. A. Mozart and Charles Christopher Parker each were on this earth for only some three decades. I have every reason to think that 250 years hence we will still be talking about Parker with as much reverence as we regard Mozart today. G.B.

THE ABC'S OF VIOLIN: EASY PIANO ACCOMPANIMENT. Books 1 and 4. Janice Tucker Rhoda. Carl Fischer, 2000, $8.95 each.

These piano arrangements by Dan Fox are smooth and have nice chromatic turns. They lie well for the hands, and like the earlier version by Rhoda herself, support the violin part through doubling for about two-thirds of the tunes. They go with the second or “Millennium Edition” of Book 1. The accompaniments in Book 4 retain a sense of whimsy and ease of playing. A.M.H.

THE ABC'S OF VIOLIN FOR THE BUDDING VIRTUOSO. Book 5. Janice Tucker Rhoda. Carl Fischer, 2000, $8.95.

Rhoda has added to her popular series with a book of more advanced warm-up exercises, longer etudes, and familiar classical and popular pieces in three positions. Seven of the nineteen melodies are the author's, and other composers include Dvořák, Rubinstein, Saint-Säens (with a missing C-sharp in measure eight), Schubert, Adam, Sibelius, and Franck. The eclectic collection includes exercises for agility, shifting, a wider range of keys, double stops, simple embellishments, and chromatics. It is odd to see this level of music printed in large notes, but the book adds attractive material to the series, continuing its utility as an appealing supplement to Suzuki materials, A.M.H.

Cello

TWENTY ETUDES FOR TWO VIOLONCELLOS. Katherine M. Azari. Spratt Music Publishers, $7.95.

Twenty Etudes for Two Violoncellos could easily be called duets for intermediate cellists. The etudes may also be used by an instructor to accompany a student. The collection contains a wide variety of chorales, hymns, fiddle tunes, dances, airs, canons, waltzes, and more. Written in score form as twenty-four measures per page, each duet is in A-B-A form. Encompassing half to fourth position in standard meters, the parts include helpful bowings and fingerings. Each etude (except the last) is written in bass clef. The final work, Carillon, employs tenor clef in the upper voice and treble clef in the lower voice, and presents a brief introduction to basic thumb position.

Useful explanatory remarks before each etude give players a subtle, nonthreatening lesson in music theory. Students will discover in these works occasional mild dissonance, plagal cadences, enharmonic spellings, modes, pentatonic scales, polytonal writing, tertian harmony, Latin syncopations, and natural harmonics. These etude duets provide a wide variety of performance styles in an attractive format and should definitely increase a player's level of harmonic awareness. B.S.H.

Double Bass

THREE PIECES FOR DOUBLE BASS ALONE. Donald Erb. Merion Music/Theodore Presser, 2000, $5.

There has been no greater friend to double bassists among distinguished American composers than Donald Erb. This is no doubt due primarily to the efforts of Bertram Turetsky, who has premiered more than a dozen solo and chamber works by Erb over a span of nearly four decades.

The latest evidence of this collaboration is Three Pieces for Double Bass Alone, composed in 1999 and published just last year. Erb has largely abandoned the aleatoric tendencies of his works from the 1960s, but he retains his fascination with colorful timbral effects. This work is composed in a similar style to his Déjà vu, a work originally published by ASTA some twenty years ago.

The first movement, “Quiet Song,” is composed in a clear arch form, a shape underlined by an ascending line, increased rhythmic activity, and ever-louder dynamics. Next comes “A Scherzo,” which mixes rapid col legno (to be played with a chopstick) with occasional pizzicato. The finale, “Racing for the Exit,” is a challenging and rather amusing piece calling for rapid passage work, abrupt modulations of color, and quick alternations of arco and pizzicato,

Like Déjà vu this is both an effective concert piece and an excellent training vehicle that, in a mere six minutes, demonstrates a virtual compendium of contemporary double bass techniques, M.C.

TECHNIQUE DE LA CONTREBASSE, Volume 4: Scale Fingerings. Bernard Salles, Gérard Billaudot/Theodore Presser, 1999, $22.95 in English and French.

This forty-one page volume is the latest installment in bassist-composer Bernard Salles's method for the double bass. The brief but clear instructions are in both French and English. Salles's system for the use of numbers and symbols is by now fairly standard, and his advice regarding shifting and the use of open strings is quite sensible.

The first part devotes one page per scale: a major scale followed by its parallel minor, and proceeding by ascending half steps. On each of these pages he presents the scale in one, two, and then three octaves. While this may be the simplest method for organizing scales, it does provide the minor inconvenience that students must flip pages more frequently.

In the second part students progress chromatically upward in a series of one-octave scales, one leading directly to the next, so that the entire range of the instrument is covered. I admit that I have never heard scales practiced in this fashion (at least from string players), but it is an intriguing and possibly valuable twist on a time-honored tradition.

Next comes the most unusual feature, a series of modal scales. Salles writes dial these have been used in Gregorian chant and some contemporary music, but in fact they may be of greatest benefit to jazz players, who use these modes more often than other bassists. These are followed by outer less common scales, such as whole tone and octatonic (alteration of half and whole steps). While some may legitimately debate the value of these, at least as part of one's daily routine, Salles does not devote an excessive amount of space to this esoterica.

The fingerings throughout are conservative, adhering closely to the Simandl tradition. The only minor exceptions to this are the use of the lower strings a bit higher than in the older methods and the use of the thumb in slightly lower positions than Simandl advised. Perhaps surprisingly, Salles does not incorporate any extended positions, despite the increasing tendency of modem bassists to explore this territory.

Overall, this is a welcome and valuable addition to the rapidly expanding repertoire of double bass technical studies. M.C.

Harp

NORTHERN FOLK HARP: Music from Celtic and Nordic Lands (pedal or lever harp). Beth Sankey Kollé. Beth Sankey Kollé, 2000, $18.

Kollé's introduction states in part, “I present to my harper friends the exquisitely modal and lyrical music of Norway, Sweden, and Finland,” but she also includes traditional Irish and Scottish music selections and two original tunes. In all, this is a delightful, diverse addition to the available repertoire of early-intermediate level Celtic music. Each of the twenty-five selections has a little program note or performance tips, numbered measures, and chord symbols. Lever changes are indicated; pedal harpists will have to add changes. Five tunes include a flute part and four include a second harp part. Recommended for students and professionals. D.G.V.

CELTIC HARP DUET BOOK: Six Traditional Tunes from the British Isles (lever or pedal harp). Book 1. Darhon Rees-Rohrbacher. Dragon-flower Music, 2000, $12.50.

This charming collection includes Londonderry Aire, Eileen Aroon, Annie Laurie, the Queen's Marsh, English Country Garden, and the Maids of Mourne Shore. Each tune can be played either as a solo or as a duet. The music is arranged in score form, which is particularly helpful for teaching. Ranging from early- to mid-intermediate level, in each piece harp I is more difficult than harp II, yet both are important to the duo. Lever and pedal changes are indicated, and helpful fingerings and chord symbols are included. You will need two copies to perform the selections as a duo, and they provide a fun group for any harp duo occasion. D.G.V.

Chamber Music

PRELUDE, ALLEGRO, AND PASTORALE (va/cl). Rebecca Clarke. Oxford University Press, 2000, $14.95.

Almost two decades ago I began scouring libraries in vain for this work by one of my musical heroines, the outstanding British violist Rebecca Clarke (who married pianist James Friskin when she was fifty-six). Clarke's Sonata is by now well known and appreciated by violists, but her other works have not been readily available. This duo for viola and B-flat clarinet adds a wonderful work to the chamber music repertoire; three movements of distinct character in a slightly more contemporary idiom than the sonata. Composed in 1941, this edition is its first publication and includes an important prefatory note by Christopher Johnson. The viola writing is idiomatic but still challenging; the Prelude is a subtle dirge, the Allegro full of distinct energy (as well as interesting mirror and contrapuntal writing for the two instruments), and the Pastorale reminiscent of the opening in the finale of Clarke's Sonata. Oxford has added to its already fine viola catalog—including Hilary Tann's From the Song of Amergin for flute, viola, and harp (1997), Aaron Minsky's Three American Pieces (1991), and Watson Forbes's transcription of Jesu, Joy of Man's Desiring—an important work that is sure to please violists. A.M.H.

QUINTETTE, 1999 (pn/st). Edison Denisov. Alphonse Leduc/Theodore Presser, 1999, $95.

Edison Denisov (1929-1996) came into prominence as a member of the post-Shostakovich generation by writing music that used post-serial, avant-garde techniques. After the dissolution of the Soviet Union he spent most of his time in France. Denisov's twenty-four minute Piano Quintet is beautifully printed in clear conventional notation. The spacious score makes clear all the complicated cross-rhythms that dominate the music. Though the individual string parts are not particularly difficult to play, together with the piano they form a constantly changing state of cacophony that creates problems with both pitch and rhythm. Throughout the piece Denison writes quintuplets almost always superimposed over groupings of triplets, four sixteenth notes, septuplets, or a combination of all three. At one point in the agitato movement, Denisov asks the piano to play a passage of adjacent quintuplets and septuplets that cover a range from the highest A-flat on the instrument to the lowest B-flat. This happens concurrently with a pizzicato quintuplet of eighth notes (over two quarter beats) in the cello and a set of nine pizzicato sixteenth notes in the viola that are to be played in the space of eight.

In addition to the rhythmic complexity, the piece is also harmonically rather obtuse. Dissonance prevails, and it is hard to find distinct points of tension and repose. There are often minor seconds lurking within clusters of pitches that are difficult to hear clearly. Denisov works well with contrasts. For example, he juxtaposes homorhythmic parallel legato motion in the strings against frantic accented motion in the piano. He often writes canonically, occasionally has the strings play without the piano, and has extended sections that move within a soft dynamic.

How anyone could hear polyrhythms that involve such minute divisions of beats well enough to play this piece accurately is beyond my imagination. I would be interested to hear a performance by any group that dares take up the challenge of this piece, E.F.

Methods

HIGH TECH FOR STRINGS: Technical Studies and Solo Literature for String Orchestra or Individual Study. Doris Gazda. Carl Fischer, 2000, Score/Teacher, $29.95; pn. acc., $12.95; student books, $8.95.

High Tech for Strings is a well-meant book. Finding repertoire on technical development for the heterogeneous string class at the intermediate level is a difficult task, and few books have dealt successfully with the unique technical elements of the individual instruments in public school settings at this level. There is some great information in the introduction of the teacher's score about intonation and tone production, posture and stance, as well as fingering patterns and extensions.

Basically sound, this information does not go far enough, and by failing to differentiate in the comments about the individual instruments, some comments are incorrect. Unfortunately, there are many small oversights. For example, in reviewing Bornoff's five-finger patterns, the directions indicate to play the exercises on all four strings. But given the fingerings indicated, these exercises can be performed on only three bass strings. The cello book uses shifting to make possible playing them on all four strings, and the same could be done for the double bass. Also, the nomenclature XI is used a few times in the bass book, but this is not usually indicated in bass parts because the bassists do not use extension technique until an advanced level.

The section on intervals is quite worthwhile for ear training and creating the foundation for solid intonation. The third section, Harmonics and Shifting, is a good idea for understanding the fingerboard, but needs further explanation. The actual pitch location on the fingerboard for the third, fourth, and fifth harmonics would be the best way to introduce the concept, rather than using standard nomenclature of a diamond-shaped note on the actual pitch. Students encountering this section without the aid of a teacher would find it confusing. Gazda's section on shifting is quite good except that the position system specified in the bass book on pages 19 and 22 contradicts the Simandl system used in the beginning. The distinction between whole and half positions is an integral part of bass pedagogy, as it assists students sensing a system of measurement for such a large fingerboard. Unfortunately, there is no parallel construct for positions between the four stringed instruments. This is one area that cannot be adapted for use in the heterogeneous string class.

The rest of the text is dedicated to systematically working up the fingerboard to the fifth position using various major and minor scale configurations. It also covers bowing styles and techniques, vibrato, ornaments, and rhythm. These sections are well done and provide students with important information not available in any other text for group instruction at this level. I particularly like the Bowing Styles and Techniques section, explaining the differences between the standard bow strokes. This area is often overlooked in string classes. For this section alone the text has merit. K.H.

STANDARD OF EXCELLENCE: Music Theory and History Workbook. Books 1, 2, and 3. Chuck Elledge, Jane Yarbrough, and Bruce Pearson. Neil A. Kjos, 2000.

Having a theory text to accompany a class method book is a wonderful tool to bring together the elements of music. This particular series is written to be used in conjunction with the Standard of Excellence Comprehensive Band Method. The books provide a systematic approach to major and minor key signatures, intervals, time signatures, note values, terminology, basic composition, transposition, chords, chord function, harmonization of melodies, rudimentary analysis, and music history. Book 1 introduces the piano keyboard, using it to introduce the requisite theory information. The student books are divided into sections on theory, history, and assessment. Book 3 is primarily a theory text that connects the information with a composer, form, or compositional technique unique to a particular time period. Information is presented in a student-pleasing format, with lots of visual excitement. Titles of the exercises and sections (e.g., music math, musical crossword, composition challenge, accidental aerobics) are cleverly designed. The history sections present an enormous amount of information, and the assessment section is also comprehensive.

This is a well-developed series but it moves too quickly. Most elementary students would find it challenging to get through the first volume in a year. Plus, the student books are so packed with information that there is too little drill. To use these successfully would mean adding drills and perhaps taking two years per book. And, though some fundamental keyboard knowledge is helpful to conceptualize music theory, it might be better to approach the first volume from the student's experience with his or her own instrument. Because intervals manifest themselves on stringed instruments as distance between fingers and hand shape, it may be confusing to add another instrument into the picture while students are forming these basic intervals within their own hands. In addition, only treble and bass clefs are used, omitting the viola's alto clef. Although all key signatures are introduced in the first volume, the relationships established between keys by the circle of fifths are not addressed in any of the three volumes.

It is not clear from the Teacher's Edition, which lacks any compendium of listening examples, if there is listening involved with the history lessons. Studying music history should involve guided listening in class so that the teacher can assist the student in identifying the musical elements presented in the selection. Overall this series has much to offer, but it would require some augmentation for use in the string environment. K.H.

Software

VIOLIN MAGIC MADE EASY. Robert Wakely and Frances Gall. Volume 1. Twofold Media, www.twofold.com.au, e-mail: vmme@twofold.com.au.

Studio teachers and parents may welcome this appealing CD-ROM as a demonstration refresher course of actions for starting students on a proper course. The sixty-minute disk requires Windows 95 or 98 and the equivalent of Pentium MMX 200MHz with some sound system and 32MB of RAM (as well as a CD-ROM drive, of course). The teaching demonstrations are appealing and have a good feel (both teacher and student), embodying a certain enthusiasm. You'll easily find your way among sessions on tuning, violin and bow holds, and early lessons. These are compatible with Suzuki and Rolland teaching approaches. A good start! A.M.H.