vasta fingerboard
TRANSCRIPT
get a job done, no matter
what! That’s why Starlet
was asked to fill the position
of Editor for our Finger-
board! We welcome Starlet
to our VASTA family!
I hope to see all of you at the VASTA General Membership Meeting on Thursday, November 15 at 5:15 p.m. in the Stratford Room of the Homestead d u r i n g t h e V M E A Conference! This is one of the only times that the VASTA Board gets a chance to meet the members of our VASTA organization and I am really looking forward to seeing old friends and meeting new ones. I’ve been reflecting over the summer, the impact that string teachers have on so many students over the years of our teach-ing life. Seeing the excite-ment in the eyes of a young string player, as he or she discovers the solution to a playing problem or master-ing a new skill is the most wonderful sight! Seeing the exhilaration on the faces of players after a concert well done is balm to the heart of a string teacher. Knowing that we can help students to learn so many life skills, through the art of playing a
string instrument, is what teaching is all about. Many, who have been in the field for years, have students who have gone on with music imbed-ded in their lives. Perhaps a student went on to make music education their life’s work or perhaps the student continues to play their instrument as an adult. All of these experiences make a t e a c h e r p r o u d a n d reinforces the incredible rewards of teaching. ……. I want to say a big Thank You to Elizabeth Blakeslee, our out-going Editor of the Fingerboard. Elizabeth has given VASTA many years of service. She has been a wonderful colleague and a never tiring advocate for str ing education in Virginia and harp education throughout the country. ………….. Our new editor for the VASTA Fingerboard is Starlet Smith. Starlet is a former student of mine, from McLean High School in Fairfax County. She was always an eager, striving
Issues are delivered
electronically to save
paper and allow more
resources for activities!
Still want a printed,
paper copy of this
newsletter? There will
be a $10 annual fee.
For more information,
contact VASTA President
Gretta Sandberg at
President’s Message
The Fingerboard is now Green!
VASTA Fingerboard V O L U M E 9 , I S S U E 1
I N S I D E T H I S I S S U E :
President’s Message …………..I
VASTA Board Members ………2
Forum Editors …………………..3
Regional News …………………..4
Edwin A. Johonnott Scholarship……4
Past Events ………………………5
Upcoming Events ……………….6
Conference News ……………….6
The Crooked Road ………………7
Viola Forum ….……………………8
Bass Forum ………………………10
Guitar Forum ……………………12
Allegheny String Orchestra …14
General News ……………………16
Paul Roland DVD ………………17
Spooky Strings Concert ………18
Recital Series Report …………19
Submission Guidelines ……………..20
S P O N S O R S :
Frisch & Denig Chinrests ……………3
James Madison University …………..7
Potters Violins …………………...….17
Mercury Fine Violins, Ltd. ………...18
Violin House of Weaver …………...20
Changing the world —
one string player at a time!
Gretta Sandberg,
VASTA President
S U M M E R / F A L L 2 0 1 2
P A G E 2
Introducing our new
Fingerboard Editor,
Starlet Smith
Starlet Smith received her Bachelor
of Music degree from James
Madison University, and currently
teaches elementary and middle
school orchestra in Fairfax County
Public Schools. Starlet is also a
graduate of FCPS, notably under the
baton on Gretta Sandberg at
McLean High School. During her
time at JMU, she held the positions
of both secretary and president of
JMU’s collegiate ASTA chapter.
Starlet is also a Member at Large for
The Youth Orchestras of Fairfax
and a sister of Sigma Alpha Iota,
the all-female International Music
Fraternity. Starlet enjoys giving
private lessons, serving as a guest
coach or conductor for youth or-
chestras throughout northern
Virginia, and doing freelance cello
work in the DC Metropolitan area.
Contact: [email protected]
V A S T A F I N G E R B O A R D
President Gretta Sandberg [email protected]
(540) 468-2769 Monterey, VA Past President Lucy Manning [email protected] Williamsburg, VA Secretary Charlotte Dettwiler [email protected]
Norfolk, VA Treasurer Carol Stone [email protected] Falls Church, VA Webmaster Margaret Whiteside [email protected] Fairfax, VA
Member at Large: Northern Region Kathy Thompson [email protected] Member at Large: Northwest Region Joel Ross [email protected]
Harrisonburg, VA Member at Large: Western Region Lisa Maynard [email protected] Harrisonburg, VA Member at Large: Eastern Region Deanna Kringel [email protected] Chesapeake, VA Member at Large: Southern Region Mike Mitchell [email protected] Floyd, VA
VASTA Board Information
Ex Officio Member: Recital Series Chair Marta Howard [email protected]
Ex Officio Member: College Advisory Committee Chair Akemi Takayama [email protected]
W W W . V A S T A W E B . O R G
Instrument Forums
If you have a topic you would like
covered or an article to submit,
please contact the following
Instrument Forum editors:
Violin Forum
Lynne Denig
Viola Forum
Alice Lindsay
Cello Forum
Carl Donakowski
Bass Forum
Donovan Stokes
Harp Form
Elizabeth Blakeslee
Guitar Form
Sean Beavers
W W W . V A S T A W E B . O R G P A G E 3
Regional News New from the Northwest Region Donovan Stokes, former editor The Bass Coalition Summer Workshop took place on the campus of Shenandoah Conservatory on June 16th. Additionally, the Castleton Festival, made up of students ages 17-35, took place from June 22- July 22 in Castleton, Virginia under the direction of Lorin Maazel.
Stay tuned for the next publication of the Fingerboard for Regional News from the other regions!
The deadline to send in Regional News for the Winter Issue of the VASTA Fingerboard is Mon-
day, January 5, 2013.
V A S T A F I N G E R B O A R D
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Edwin A. Johonnott, V Memorial Fund This scholarship program was set up to honor the life and work of Ed Johonott, former violinist in the National Symphony and violin teacher. Help to recognize Ed Johonnott's life's achievements by contributing to a Scholarship Fund through the Virginia String Teachers Association (VASTA), which will benefit future violin and viola students heading to college to pursue a career in music. Our first scholarship winner is Jamie Agee, a violinist from the Richmond Area. Go to www.vastaweb.org and visit our Home Page. You can click on “Scholarship Application Form” to get more information about this scholarship and to apply for the scholarship. Send contributions to the VASTA Treasurer, Carol Stone at [email protected]
VMEA Conference Going to this year’s VMEA Conference at the Homestead in Hot Springs, Virginia? Be sure to send in any photos and/or articles to the VASTA Fingerboard for the Winter Issue! Please send articles and photos to Starlet Smith at [email protected]. Deadline for all articles and photos is Monday, January 5, 2013. Also, don’t forget to attend the VASTA General Membership Meeting on Thursday, November 15 at 5:15 p.m. in the Stratford Room at The Homestead.
P A G E 5 V O L U M E 9 , I S S U E 1
R E C E N T P A S T E V E N T S :
Jul 30th to Aug 3rd -
2012 Paul Rolland Workshop,
George Mason University
Fairfax, VA
Jul 16th to Jul 20th -
Chamber Music Institute,
Grace Baptist Church
Richmond, VA
Oct 7th -
Charles Castleman
Violin Master Class,
George Mason University
Fairfax, VA
Oct 13th -
Open House and Open Studio,
Virginia Commonwealth University
Richmond, VA
Oct 15th -
Deadline for VASTA Award
Nominations
Oct 19th to Oct 20th -
Viola Day,
Liberty Middle School
Clifton, VA
Nov 3rd -
“World On A String” Workshops,
Unitarian Universalist Church
Silver Spring, MD
Introducing the New Member at Large:
Northwest Region
Joel Ross
Joel Ross teaches in Shenandoah County, where he directs the
Signal Knob Middle School Chorus and String Orchestras as well as
the Strasburg High School String Orchestras, where he also teaches
high school Music Theory and AP Music Theory. Joel also teaches at
and runs “Shenandoah Summer Strings,” a week-long summer
orchestra camp for students in Shenandoah County. Joel began
studying violin in 4th grade and continued playing through high
school and college, also picking up viola and trumpet along the way.
After four years of undergraduate studies, made very enjoyable by
the numerous opportunities for musical performance, he graduated
from Messiah College in Grantham, Pennsylvania with a B.S. in
Music Education with a concentration in voice. After studying with
Dr. Karen Keating and Dr. Deen Entsminger, Joel completed a
Master’s in Music in Conducting at Shenandoah University in
December of 2011. Joel presented a graduate recital, which included
the Strasburg High School String Ensemble as well as a choir of
colleagues and friends. In addition to a great variety and number of
performances and trips he has organized with the school ensembles
he directs, Joel enjoys performing on occasion with several
professional choirs in Washington, D.C., including Chantry, an early
music ensemble.
P A G E 6
2013 National ASTA Conference
MSMTA Conference SAVE THE DATE...all area string teachers are invited! The Maryland State Music Teachers Association (MSMTA) has organized a full day of activities for string teachers during their State Conference to be held January 12 and 13, 2013. Special events for strings will be held on Sunday, January 13 from 9:00AM to 4:30PM at the Uni-versity of Maryland College Park, Clarice Smith Performing Arts Center.
Program for the day: Morning: Rebecca Henry –
violin master class Alicia Ward –
cello master class Elizabeth Field and
Stephanie Vial, co-directors of The Vivaldi Project and the Institute for Early Music on Modern Instruments, will discuss and demon-strate baroque performance practices - bowing techniques, applications of vibrato, and principles of phrase structure - as applied to baroque dance forms and the sonatas and concertos found in the Suzuki books and among the standard performance repertoire.
Afternoon: Nurit Bar-Joseph –
violin master class Evelyn Elsing -
cello master class Rebecca Henry -
Lecture on Developing Independent Practice Strategies
Plus, there will be time for chatting over lunch and meeting string teachers from MSTMA, ASTA MDDC, VASTA, SAGWA!
Application deadline: January 7.
Cost: $40 for the day
($45 if after deadline)
Students $12
For further informa-tion and application, go to www.msmta.org
Don't miss your opportunity to stay at the host hotel that is seamlessly connected to the Rhode Island Convention Center. Joining us takes three simple steps: 1. Register today 2. Call the Westin 3. Arrange travel
details
ASTA has secured a pre-ferred rate room block at the Westin Providence: Single/Double: $149 Triple: $159 Quad: $169 (City/State Taxes: currently 13%, subject to change) Questions? Contact 703-999-0169 or [email protected]
Be where the action is - sign up and make your hotel reservations today! WHEN? February 27-March 2, 2013 WHERE? The Westin Providence One West Exchange St Providence, RI 02903 1-888-627-8449
V O L U M E 9 , I S S U E 1
U P C O M I N G E V E N T S :
Nov 15th to Nov 17th -
VMEA Conference
Jan 12th to Jan 13th -
MSMTA Conference
Jan 5th -
Deadline for submitting
photos/articles for the
Winter Issue of the
VASTA Fingerboard
Jan 6th -
Deadline for Jan 20th
recital
Feb 3rd -
Deadline for Feb 17th
recital
Feb 27th to Mar 2nd -
ASTA Conference
Mar 3rd -
Deadline for Mar 17th
recital
Apr 7th -
Deadline for Apr 21st
recital
V A S T A F I N G E R B O A R D
coursework and instruction for students at all levels of education. The TMEP provides unique educational opportunities and programs for the region’s youth, and has already fostered tremendous pride and interest in preserving and promoting the unique musical and cultural heritage of Southwest Virginia. Current TMEP initiatives include after-school programs where students learn to play bluegrass and old time music from accomplished musicians, development of in-school curricula materials, a resource booklet for educators and
Submitted by Mike Mitchell The Crooked Road’s Traditional Music Education Program (TMEP) is a broad educational initiative designed to provide support to public schools, community colleges, and communities for the devel-opment and implementation of traditional music programs, coursework, and instructor training in Southwest Virginia. The Crooked Road is working directly with these institutions and communities to strengthen existing traditional music programs, develop and implement new programs, and to incorporate traditional music
traditional music instructors, a youth music concert series, and an annual festival featur-ing youth bluegrass and old time music performers.
For more information about The Crooked Road’s Traditional Music Education Program, contact Jonathan Romeo by phone at (276) 492-2401 or by email at [email protected] or visit The Crooked Road’s website at: http://www.thecrookedroad.org.
The Crooked Road
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Submitted by Alice Lindsay
This summer brought me to Haiti to present master classes, sectional rehearsals, and work-shops in Cange, which is about a 90 minute drive north of Port au Prince. The National Music Camp, under the aegis of Haiti’s Holy Trinity School, was home to 350 Haitians from age 8 through adult, ranging in levels from beginners through professional players.
Conducting a 60 member orchestra in Haiti at their final concert
My role was to work with the high school and college age violists, giving master classes, individual lessons, introduce teaching skills, and teach sectional rehearsals to members of the OPST, the professional Orchestra based at the Holy Trinity School in Port au Prince. The orchestra is comprised of faculty members and post collegiate members from the school and provides the nucleus of players for the Festival Orchestra in conjunction with the summer camp.
V A S T A F I N G E R B O A R D
Viola Forum
V O L U M E 9 , I S S U E 1 P A G E 9
While the violists were at various skill levels (some very advanced), I found that they had self inflicted intonation problems, mainly caused by their irregular vibrato style. Universally, they seemed to conceptualize that the vibrato was to roll their fingers to both sides of each pitch with very narrow oscil-lations. It was so exciting for me to introduce my vibrato concept to an incredibly receptive group of inspired players and to see the glee in their responses when their tone improved as a result of their more accurate intonation. While I subscribe to the usual vibrato concept of rolling the knuckle from point A (the core of each pitch) to point B (below each pitch) and returning in smooth, even oscillations back to point A, there are sometimes students who either grip the viola with their left hand or who try to vibrate by moving the motion perpendicular to the string rather than in the direction of the string. This causes an inferior vibrato leading to poor tone quality. As an alternative, I have devised a formula for both loosening the left hand and enriching the tone by the use of a beautiful, even vibrato that brings out the special sonorities of the instrument.
Here is how it works... On the C string, with the 3rd finger, play the harmonic (an octave higher that the open string) with your third finger. Lift the finger from the string; keep your bow moving at the same speed, with the same pressure and in the same lane so the harmonic sound continues when you raise your finger. Practice this by holding the bow stroke for a ½ note while playing the harmonic and then by lifting the finger at the bow change for two beats. When the finger is lifted from the harmonic, the string should continue to sound the harmonic. When this is comfortable, start with the same finger and the same har-monic. Now, as you lift your finger, roll your knuckles back while maintaining the harmonic sound. Do this rhythmically, all the time keeping the harmonic sound in play. Now try it in ¼ notes, always return-ing to the harmonic note with your finger while keeping the harmonic sound in play. Finally, roll the oscillation in 1/8 notes while maintaining the harmonic. This procedure should then be done with 2nd finger, then the 1st finger, then the 4th finger. Once this is achieved, you will have an even vibrato with the ability to determine its speed and intensity. It was an exhilarating experience. I even learned to speak some Creole phrases, but their English was much better than my command of Creole or French. Their spirit, respectfulness, and determination were unblemished by their dire economic existence, inferior instruments in disrepair, and the long emotional recovery for some of them who lost family members in the devastating earthquake.
Viola Forum
Bass Forum
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Legato Bowing Donovan Stokes, editor One of the most common deficiencies string players have when using the bow is an inconsistency of tone in various parts of the bow. There may be times when such inconsistency is musically desirable, but it should always be under our control. For example, when playing the passage below, we should be able to keep a consistent tone from frog to tip and have a smooth, clear, beginning to each note.
Listen closely while you play this and you may find this is not the easy task it appears to be.
Bow speed, contact point (of the bow on the string), and pressure (sometimes referred to as “weight” to avoid the potentially negative connotations of the word “pressure”) all play a role. However, I often see that inadequate weight into the string is the root cause of someone’s uncontrolled tone. The most common error is that the pressure exerted on the string by the bow diminishes as we move to the upper half of the bow, i.e. nearer to the tip. The result is a less focused and weaker tone in the upper half of the bow. Assuming a good tone at the frog, we must make changes to our bow arm as we move out toward the tip if we are to create the same tone throughout the bow. The first step, however, is determining what the appropriate weight is to achieve a good tone at the frog. How much is too much? How much is enough? Try this: Place the bow on the D String at the frog. Allow the weight from your arm to fall into the bow. If the weight is adequate, you should be able move the bow left and right (up bow and down), thereby pulling the string back and forth, without making a sound. The string should push and pull with your small movements but no tone should be heard. Being able to do this will ensure that you have at least minimum weight into the string. You may have too much, but you at least have the minimum. Now, play a quarter note down bow. If the weight is appropriate you should hear an immediate beginning to the note, without extraneous noise. The note should begin clearly with an ictus or point, but not an accent, and continue with a good tone. If you had appropriate weight to move the string left and right without making a sound but had extraneous noise when playing the quarter not, then you should experiment with less weight. Take time to find the correct weight to achieve this result. Appropriate weight will change based on bow placement so keep this facet consistent. Once you can achieve the desired sound at the frog, you are ready to experiment throughout the bow.
V A S T A F I N G E R B O A R D
V O L U M E 9 , I S S U E 1 P A G E 1 1
When playing the following example, use small bow strokes of less than an inch. In between each note make the necessary adjustments needed to ensure that you are still gripping the string with appropriate weight before you play the next note. Between each note you should be able to push and pull the string without making a sound.
As always, use the minimum physical effort to achieve the appropriate result. Although playing the bass requires muscular effort, be aware of your body and work with body position and gravity as much as possible.
Once you can play the example below, remove the fermatas and play it simply as staccato bows.
When you can do this with the same tone and attack on each note, then you know the feeling of weight, as well as the position of your hand and arm, needed for each part of the bow. You should then be able to play our original example with a consistent tone in all parts of the bow. Be careful not to lose the tone at the tip. The attack of the up bow should be equal to that of the down bow.
The key to a good legato bow is a good staccato bow!
Bass Forum
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Teaching Sitting Position
with the Guitar
Sean Beavers, editor
There are three categories of body posi-tion with the guitar: classical sitting position with the guitar on the left leg, casual sitting posi-tion with the guitar on the right leg, and stand-ing position with a strap. I recommend that gui-tar students spend most of their practice time in classical sitting position. There are two reasons why this position is beneficial: 1) stability of the guitar and 2) better access to higher positions on the fingerboard.
Standing Position - Less Stable
Stability of the Guitar: When standing with a
strap or sitting in casual position, there is poten-
tial for the guitar to move unexpectedly,
resulting in inaccuracies in playing and tech-
nique. When sitting in classical position, the gui-
tar can be braced in four places: right leg, left
leg, right arm, and chest. These four points of
contact greatly increase the stability of the
guitar, thus facilitating accuracy and technique
development.
Casual Sitting Position - Less Stable
Better Access to Higher Positions: When sitting
in casual position, there is no impediment to playing
in first position, but when moving higher on the
fingerboard, the left arm will be restricted by the
player’s body and will not be able to move smoothly
into higher positions. The same issue often arises
when standing with a strap unless careful thought
is given to height of the guitar and neck angle. In
classical position, the elevation of the guitar’s body
and neck angle allows fluid access to higher posi-
tions.
V A S T A F I N G E R B O A R D
Guitar Forum
V O L U M E 9 , I S S U E 1 P A G E 1 3
Teaching Classical Position
with the Guitar
Sean Beavers, editor
It is helpful to start by having the student sit in a good position without the guitar. Have them sit on a seat that slopes slightly forward. Seat height should be adjusted so that the student’s hips and knees can each form a ninety-degree angle while both feet are flat on the floor. The student should sit toward the front of the chair. Arms should hang down at the sides with shoulders relaxed. Then ask the student to raise the left foot and put it on the footstool. The right knee and foot should be pointed to the right to make room for the body of the guitar. Then the teacher can place the guitar on the student’s legs and have the student rest his right arm on the guitar.
Classical Sitting Position—More Stable
Classical Sitting Position with NeckUp - More Stable
Guitar positioning can be tweaked accord-ing to Aaron Shearer’s Five Ways of Moving the Guitar: 1) Moving the guitar head forward and back, 2) Tilting the bottom of the guitar in or out on your left thigh, 3) Raising or lowering the guitar head, 4) Raising or lowering the entire guitar in relation to your torso, and 5) Moving the entire guitar to the right or left in relation to your torso. Each of these adjustments involves a com-promise between freedom for the right hand to pluck the strings and freedom for the left hand to cover the whole fingerboard. My suggestions are as follows: 1) Place the guitar head slightly forward, 2) Tilt the bottom of the guitar slightly out on the left thigh, 3) Angle the guitar neck at about forty degrees, 4) Raise the upper bout of the guitar to near the middle of the sternum, and 5) Situate the sound hole near the middle of the player’s body. It is worth noting that raising the left leg for long periods of time can put strain on the lower back; one solution to this issue is to use a guitar support like ErgoPlay or NeckUp. In summary, teach good principles of body posi-tioning and then bring the guitar to the well-positioned body rather than putting the body in an uncomfortable position to adapt to the shape of the guitar.
Guitar Forum
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Submitted by Gretta Sandberg
This summer, Allegheny Mountain String Orchestra won first place in the Marching Bands category at the Highland County Fair Parade in Monterey, VA! The orchestra marched with the best of them - stepping out with "Oh! Susanna" and "Buffalo Gals"....oh, yes, marching strings!
The Allegheny Mountain String Project marching orchestra in the 2012 Highland Fair Parade....a great way to let the community know that there are strings in the area!
V A S T A F I N G E R B O A R D
Allegheny Mountain String Orchestra Awarded
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“Congratulations to the Allegheny Mountain String Orchestra! Gretta is the Queen of Marching
Orchestras. I'll always remember the first [marching orchestra] at the Arlington County Columbus
Day Parade when the AACHSO won the Sheriff's Award!” - Helen Fall
Congratulations Allegheny Mountain String Orchestra!
News from Radford University
News from The Roanoke Youth Symphony Submitted by Mike Mitchell
Every June, at Ferrum College, The Roanoke Youth Symphony Summer Music Institute (SMI) offers daily group instruction, master classes, chamber music coaching (time permitting), and orchestra rehearsals for both a full orchestra (the Roanoke Youth Symphony Orchestra) and two String Orchestras, which provide a total musical experience for any beginning to intermediate students of violin, viola, cello, or bass. The development of each participant's talent and musicianship is emphasized in this intensive and challenging musical atmosphere. The SMI concludes with a public performance by the Roanoke Youth Symphony Orchestra
2) Radford University's 11th Annual International Guitar Festival hosted a symposium title "Music of the Americas" featuring artists from across Latin America, including Naumburg Prize Winner Jorge Caballero.
Submitted by Mike
Mitchell
1) This past Spring, Radford University's Honors Guitar Quartet was selected by jury to perform at the Guitar Foundation of America's Regional conference held at Strathmore in Bethesda, MD.
3) Dr. Robert Trent, director of Radford University's Guitar program, completed two concert tours of Latin America this summer. His new solo CD of "Music for 10 Stringed Classical Guitars" is due out this fall. 4) Radford University has hired Taylor Baldwin as conductor of the RU Chamber Orchestra.
(RYSO) and the String Orches-tras. Throughout the SMI, students are well-supervised in their study, practice, and recreational activities. Students receive the highest quality instruction from the SMI faculty, all of whom are professional musicians and music educa-tors. Many of the instrumental faculty are members of the Roanoke Symphony Orchestra (RSO). A specialist is present for each instrument represented in the orchestra. At the June, 2012 SMI, a total of 78 students attended: 42 in the RYSO and 36 as part of the String Orchestras. The RYSO musicians represent 18 schools - middle and high - representing, five school districts, one private school and homeschooled
families. The String Orchestras drew students from 12 public schools - elementary through high school - representing three school districts, one private school and homeschooled families.
Come hear a 100-piece orchestra when the RSO and RYSO combine for an out-of-this-world "side-by-side" program, performing music from “Apollo 13,” “Lord of the Rings,” “2001 A Space Odyssey,” “Star Trek,” “The Planets,” and more at the RSO/RYSO "Side By Side" Concert, January 27, 2013 at 3:00 PM, at the Jefferson Center in Roanoke, VA.
P A G E 1 6 W W W . V A S T A W E B . O R G
k National Solo Competition
For information, go to the ASTA
website: www.astaweb.com
Click on “Competitions &
Festivals” and scroll down
V A S T A F I N G E R B O A R D
Paul Rolland Legacy DVD
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Submitted by Nancy Kredel The Paul Rolland Legacy DVD will be out sometime between November 10th and November15th. Look in the November issue of the national American String Teacher magazine for an advertisement announcing the release. Many thanks to Jim Skidmore for paying for that ad to launch the DVD! If you would like to see a short promo clip of the DVD, go to YouTube and type in "The Paul Rolland Legacy DVD promo.” I believe that any string teacher who sees it will be clamoring for "Opening Doors," Mary Alice's piece that helps develop vibrato!
Many thanks to those who have helped with financial support for the project. With your support and the $850 Special Projects Grant from ASTA, we are on sound financial footing. The cost of producing the 300 copies will be covered by the sales. All we need to do to get the DVD to sell well is to let people know it is available. I expect we will sell the 300 copies within a year. We can easily have more made if we need to. We would like to get three more advertisements, each about $430, so we can promote the release further - one more for the next issue of the American String Teacher magazine and two for Strad magazine. Your help would be greatly
appreciated! If you would like to help with the ads, make a check to VASTA and send it to me at:
4215 Peakview Court Fairfax, VA 22033
All donations are tax deductable, so it would be good timing to do it now, at the end of the year before tax season. To purchase a DVD, please send a check for $25 plus $3 shipping with your name and address to the address above and I will send you one. Those of you who have pre-ordered the DVD, copies will be sent to you as soon as I receive the them. Stay tuned as we will soon be setting up a web site where the DVD can be purchased. Thank you!
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Submitted by Stephanie Trachtenberg
Annual Spooky Strings Concert Oct. 31, 2012 at White Oaks Elementary in Burke, Virginia.
Mrs. Stephanie “Transylvania” Trachtenberg’s 33rd Spooky Strings Concert
Spooky Sounds Abound! Stage decorations and costumes can
make any youth orchestra concert a thrilling time!
Some chillin’ cellists ready to perform in the White Oaks Elementary annual Spooky Strings Concert!
V A S T A F I N G E R B O A R D
Spooky Strings Fall Concert at White Oaks Elementary
National Conference Session Presiders Wanted!
Recital Series Report Submitted by Marta Howard
VASTA Northern VA recitals have been scheduled for the following dates: Nov. 18, app. deadline Nov. 4 Jan. 20, app. deadline Jan. 6 Feb. 17, app. deadline Feb. 3 Mar. 17, app. deadline Mar. 3 Apr. 21, app. deadline Apr. 7 We will remain at The Fountains at Washington House, and all are conveniently placed on the 3rd Sunday of the month. I notice that Jan. is on Inauguration Day, but I don't expect too much traffic trouble. Our recital venue has a view of the Mall, so it might draw even better attendance than usual! Please try to present the entire score (if not the entire work) on recital programs, solo part with accompaniment whenever possible.
Do you need extra visibility at our national conference for your
school administrator? Then volunteer to preside at a session or two at
ASTA's 2013 National Conference, from February 27th to March 2nd
in Providence, Rhode Island. As a presider, you will introduce a ses-
sion, sign attendees’ professional development forms, and complete a
short session evaluation.
If you sign up before January 7, you will be listed in the official
conference program book. For additional information, email
P A G E 1 9 W W W . V A S T A W E B . O R G
k ASTA
Membership
Don't forget to renew your ASTA membership
You ARE what makes us VASTA!
Go to www.astaweb.com
to renew your membership today!
V A S T A F I N G E R B O A R D
Submission Guidelines
V O L U M E 9 , I S S U E 1 P A G E 2 0
Deadline for articles, ads, and payment for
the Winter Issue:
January 5, 2013
Guidelines for submitting
articles, advertisements, and
photos for the Fingerboard:
Submission format:
Text documents must be submitted as
Microsoft Word documents, single
spaced
Photographs may be submitted as JPG,
GIF, or PDF files.
PDF files
Advertisement rates:
Business card $25/issue
1/4 page - 5(h) x 4(w) OR
1/4 page - 2.5(h) x 8(w) $40/issue
1/2 page - 5(h) x 8(w) $80/issue
Full page - 10.5(h) x 8(w) $160/issue
One time Special Events Advertising is
available per issue for 1/3 the fee per
size
Website advertising:
www.vastaweb.org
$100/year - ASTA members,
$125/year - nonmembers
Advertisements can be started at any
time and run for one year.
Copy an be changed during the year at
no additional charge.
Please submit file in JPG or GIF for-
mat, max size 100 KB, or 116 pixels
high by 139 pixels wide.
Please submit all text, photos, and adver-
tisements digitally to: Starlet Smith,
Fingerboard Editor