Selecting String Repertoire for a Reason

Concerts, festivals, contests, graduations, school, and community celebrations—we do so many performances! Teaching our students the joy of performing music is one of the many reasons we do what we do. As music educators, we strive to foster a love of music in our students while equipping them with the necessary skills for successful performances.

So, how do we develop our students’ technique and ensure successful performances? By selecting repertoire for a reason! One of the most impactful ways to achieve this is by carefully selecting repertoire that engages students and addresses specific technical challenges.

The Power of Purposeful Repertoire

When we choose music for our students’ performances, we have an opportunity to go beyond simply entertaining. By selecting repertoire that aligns with our instructional goals, we can create a more meaningful and effective learning experience.

For example, many orchestra music educators use Sahara Crossing by Richard Meyer and Gauntlet by Doug Spata when teaching flats to younger string students. These pieces provide a fun and engaging context for learning a new musical concept. Why not take it one step further and use repertoire to master other areas of technique?

I’ve found that when students need to learn specific musical concepts to perform well, I am highly motivated to teach, and they are highly motivated to learn. Using additional, pedagogically based resources is crucial, but if I combine those resources with specifically selected repertoire, my students receive immediate musical gratification.

Festival and contest season is an exciting yet demanding time for music educators and students. To help with this, Alfred Music has created The Ultimate Guide to Festival & Contest Season ––an in-depth digital guide from music education experts packed with resources, repertoire ideas, preparations strategies, and more to help you and your students thrive during this busy season.

The Benefits of Active Learning

Research has shown that the brain learns new skills when it is engaged and active rather than passive. As music teachers, we have an excellent platform for active learning, as students constantly apply new techniques in a musical context.

For example, while practicing a piece that requires frequent shifting, students learn the physical skill of shifting to a new position and experience how it sounds within the musical context. The immediate feedback of using new musical concepts in a passage provides an ideal learning environment, reinforcing the learning process and making it more enjoyable.

Find repertoire for strings appropriate for practicing specfic skills at the end of this article.

Key Technical Aspects to Consider

When selecting repertoire for your instrumental or choral ensembles, consider the following:

• Articulations : Are there specific articulations (e.g., staccato, legato, marcato) that students need to master?

• Bow strokes : Does the piece require particular or diverse bow strokes (e.g., détaché, spiccato, col legno)?

• Breathing : Are there challenging breathing patterns or phrases requiring careful attention for choral or wind ensembles?

• Difficult rhythms and/or meter changes : Are there complex rhythms or frequent meter changes that students must navigate?

• Extended Positions/Chromatics: Does the piece explore extended positions or chromatic passages that will challenge students’ technical abilities?

• Phrasing : Are there opportunities for students to develop their phrasing skills and understanding of musical expression?

• Ranges : Does the repertoire fall within the appropriate range for the ensemble and individual students? Will it allow them to expand their typical range?

• Shifting Positions : Are there challenging shifting patterns that students must practice to play the piece comfortably?

By carefully considering these technical aspects, music educators can select repertoire that challenges their ensembles and supports the musical growth and development of individual students. Choosing repertoire for a reason helps us create a more engaging and effective learning experience for our students.

Repertoire for Shifting

1.5 – “ El Gato Pizzicato ” by Richard Meyer (glissandos for preshifting) 2 – “ The Octavator ” by Michael Hopkins (octaves for tuning shifting) 3 – “ Bitter Sweet Symphony ” by Jagger, Richardson, Ashcroft/Todd Parrish (all sections shift)

Repertoire for Spiccato

1.5 – “ March of the Intrepid ” by Susan H. Day (spiccato on repeated notes) 2.5 – “ Across the Wind ” by Doug Spata (brush stroke at frog) 3 – “ Allegro Giocoso ” by Michael Senturia (independent by section)

Repertoire for Extended Positions/Chromatics

1 – “ A Pirate’s Dream ” by Susan H. Day (F and C naturals) 2.5 – “ Swan Lake ” by Tchaikovsky/Michael Hopkins (sustained notes for listening) 3 – “ Symphony No. 29, K. 201 ” by Mozart/Janet Farrar-Royce (half position too!)

Repertoire for Vibrato

1.5 – “ Moonlight Shadows ” by Michael Kamuf (sustained notes) 2.5 – “ Lithuanian Nocturne ” by Traditional/Richard Meyer (mature sound using vibrato) 3 – “ Aspire ” by Bob Phillips (vibrato with shifting)

Repertoire for Musicianship

1 – “ A Spanish Lullaby ” by Traditional/Victor Lopez (natural phrasing) 2.5 – “ Wayfarin’ Stranger ” by Traditional/Barry Milner (lyrics to sing phrasing) 3 – “ Sarabande ” by Bach/Jeffrey S. Bishop (orchestration of solo Bach)