Andrew Dabczynski Richard Meyer Bob Phillips

See Inside for a Chart of the Sequential Introduction of Musical Concepts

Treat your students to an unforgettable journey through string playing with
String Explorer, the exciting new string method from Highland/Etling by
renowned string pedagogues and authors Andrew Dabczynski, Richard Meyer
and Bob Phillips.
With a unique, full-color look and approach, String Explorer is sure to motivate
both students and teachers in any group or individual setting! Join adventurers
and tour guides Arco Dakota and Rosalyn Le Bow as they guide your students
along the path to successful string playing.

String Explorer has been thoroughly field-tested and represents the best of
contemporary and traditional teaching practices. Each lesson first addresses
a new right-hand technique, then a new left-hand technique, and then
culminates in a Putting It Together section that uses classics, folk songs and
original pieces to combine and reinforce the newly learned skills. Along the
way your students will enjoy learning and performing four concert-appropriate ensemble pieces
representing the four major time periods of music. Five Activity Pages provide playing and written
exercises that focus on composition, improvisation, music theory, ear training, and world music. A
thoughtfully produced and comprehensive course of study, String Explorer meets and exceeds the USA
National Standards for Music Education.
Youre also sure to love the String Explorer Orchestra Seriesan expertly written series of works for string
orchestra that correlates with specific pages from String Explorer. Concert planning has never been so easy!

Instrumentation
Violin
Viola
Cello
Bass

Additional Materials
Piano Accompaniments
2-CD Set
Conductors Score with CD
Teachers Resource Kit

The Teachers Resource Kit includes

special assessment materials for student testing,
reproducible music theory and composer worksheets, sample
letters to parents, rhythm flash cards and more. The Conductors
Score contains a wealth of helpful hints and suggestions, in an
easy-to-use format.

Cello Book (page 36)

A series of clearly presented color photographs illustrate
proper bow hold and initial instrument set-up.

Sequential instruction separately addresses right

and left hand challenges unique to cello

Special emphasis on lower string issues

Basic introduction to fourth-finger extensions

included as a "Future Frontiers" subject near the
end of Book 1

Culminating "grand solo" specifically for cellists

Bass Book (page 18)

Clearly presented color photographs illustrate proper
position for both French and German bow, as well as
for both standing and sitting posture

Sequential instruction that separately addresses

right and left hand challenges unique to bass

Early, non-intimidating presentation of shifting

process eliminates unnecessary octave
displacements and other awkward musical issues

Special emphasis on upper-string tone

production before introduction of lower strings

Culminating "grand solo" and jazz "walking

bass" solo specifically for bassists

www.stringexplorer.com

Violin Book (page 22)

EXPLORING THE BAROQUE ERA

The term Baroque is used to describe music written from approximately 1575 to 1750. The
word originally applied to richly ornamented architecture of that time, and Baroque music
may be said to be similarly fancy and elaborate. Bach, Handel, Vivaldi and Corelli are
known for the string music they composed during the Baroque era.

Four full-performance pieces represent the Baroque,

Classical, Romantic and Contemporary eras

BAROQUE
15751750

CLASSICAL
17501820

1600

ROMANTIC
18201900

Brandenburg Concerto No.5

1800
written in 1721

1700

1900

Brandenburg Concerto No. 5

Each performance piece begins with a synopsis

of the period and how it relates to world
history, and the most popular composers of
the time

A marker shows where the piece fits in on a

music history timeline

All pieces are arranged by renowned

composer, Richard Meyer

Melody

A Melody part and an Accompaniment part

are provided for each performance piece

Johann Sebastian Bach (16851750)

Arr. R. Meyer

Allegro

#



 

& # 44
  


f
9



# # 
  ..  
&
 

2


#
& #  

10

  

    

19




## 




&
      
 
##

  

&


11

12

13

14

18

17

CONTEMPORARY
1900Present

15

20

24

23

16

21

25

22

26

27

Accompaniment

#

& # 44 
  
f
Allegro

&

##

11

17

12

18

14

15

20

  
24

23

22

13

#
& #  

##
&
 
#
& #





 



..
    

 


 
19


        
3


  

21

25

26

   


  
16

 


 

22

27

 

   

10

Violin Book (page 29)

Five Activity Pages of playing and written exercises
focus on music theory, ear training, composition,
improvisation, and world music

Exploring
Music Theory

Complete the melody below. You may add only one note to each measure.
Use the note printed above the staff. Then play the melody.

#

& # 43

Exploring
Ear Training

These activities reinforce previously learned

concepts and tie in with curriculum from
other classes

Exploring
Composition

A brief introduction to vibrato follows a

section exploring the blues

A solo with piano accompaniment is provided

for each instrument
String Explorer meets and exceeds the USA
National Standards for Music Education and
most State Standards

,

# 4

& #4
0

Contrary motion refers to two melodies

moving in opposite directions. When
one goes up the scale, the other goes
down and vice-versa.

The bottom part of this duet moves in contrary

motion to the top part. Can you complete it?
Then, with a friend, play this contrary-motion duet.
a.

F#

Try playing Ode to Joy using only your first finger. Have fun sliding up and down the D string.
0

.

b.

#

& 44
#

& 44

Exploring
Improvisation





This is a pentatonic scale:

& #
2.

.. .

1. Write the pitch names under the notes.

2. Using pitches from the pentatonic
scale, improvise a melody using the
rhythm provided.
3. Try changing the order of pitches
when you repeat.

The erhu is a two-string Chinese fiddle with a long and rich heritage. The hair of the bow actually passes
between the two strings, so it is always attached to the fiddle. The following tune is a piece based on a poem
written by the renowned poet Li Bai of the Tang Dynasty.

Reminiscence of Lady Quin Er

Andante
 ,


#

& 44

#
& 44

1.



3
& 4 .

Exploring
World Music

#4
& 4

,

. ..
p

, 2. 
.
. .

1.

Learn to play Reminiscence of Lady Quin Er on your violin. Try to play it while holding your
violin vertically on your lap, as an erhu performer would.

www.stringexplorer.com

29

Violin Book 1 (pages 1617)

Right-hand bowing
techniques are
practiced alone first

Right- and left-hand

concepts are combined
in culminating exercises

Rosalyn Le Bow explains and

defines various elements
and regularly encourages
students to perform a Hot
Shot Challenge

Putting It Together

6
Eighth
notes

Ready, set, BOW!

1.

Eighth Notes

..

2.

First and
second
endings

One-half beat each

=

Check Yourself:
Bow is parallel to the bridge
Right thumb is relaxed and bent
Violin is up and over

Climbing the Steps

,

#

Practice: 1. Clap 2. Sing 3. Pizz.

Play the first ending the

first time through. After
repeating the music, skip
the first ending and play
the second ending.

& 44 #

64

, 2.
..

1.

Running Ponies on the Staff

,

,




& 44 #

Practice: 1. Clap 2. Pizz. 3. Arco

55

1 +2 + 3+4 +

Oats, Peas and Beans

& 44 #

65

1+2+3+4 +

& #

Pony Runs Back






& 44 # #
1 + 2 +3 + 4 + 1 + 2 +3 + 4 +
Two Endings
,

, 2.
1.


57
& 44 # ..
56

1 + 2 + 3 +4 +

You

58

=)
, 2.
,

1.


& 44 # # .. #

&

Open A string

G on the D String, Open A

G (D string)

D string

Exploring G

,
,
,



& 44 # # ..

Practice: 1. Pizz. 2. Arco

59

F# G

,

,

4

& 4 # # # #

67

,






& 44 # # # #
1







& 44 # # # # # #

Lake Shore Limited

63

#
Oats and peas and beans and

#

Oats and peas and beans and

American Folk Song

,

bar - ley

grow!

bar - ley

grow!

The accompaniment
adds harmony to the theme.

b.

Variation (can be played with line 67b)

62

both know.

& 44 # # # #
Accompaniment




4

& 4 # #
Theme

68

4

& 4 #

The Tunnel
The line after each finger number means to leave your finger on the D string while you play the A string.

we

Ode to Joy
a.


#

I,

Theme and Variations on

Riding the Rails

61

open
A string

,

,

,

& 44 ..

Exploring A
60

E
A
D
G

grow!

, 1.

, 2.



& 44 # # # # .. #

66

1 + 2 + 3 +4 +

and

bar - ley

Huron Sunset

Motorcycles on the Elevator (

Finger Tips

Sing: Oats and peas and beans and

&#

Ludwig van Beethoven (17701827)

,

# #

#
,


#

#

,
#

ARCOS HISTORY HIGHLIGHTS

Beethoven used his Ode to Joy as the main melody in the final movement of his
ninth symphony. This marvelous piece uses a very large orchestra, a full chorus and
vocal soloists. Amazingly, Beethoven wrote the piece after he had become deaf.

16

17

2
Left-hand fingering techniques
are focused on second

5
Arco Dakota offers Arcos
History Highlights, insights
into the history of strings
and music, selected
composers, and folk songs

www.stringexplorer.com

Violin Book 1 (page 3)

Full-color photographs of students taken from a variety
of angles provide an excellent visual representation of
correct playing position. Here, the sequence of steps
for placing the left hand is shown.

All key concepts are grouped into units

Full-color photographs of students taken from

a variety of angles

A photograph from the perspective of the

student is always included

1
Getting Started
Activity 1: Holding the Violin in Banjo Position
1. Place the violin flat against your stomach.
2. Hook your right thumb on the string closest
to your nose.
3. Rest your right palm behind the bridge.
4. Hold the lower bout of the violin with your
left hand.
5. Raise the neck of the violin up slightly with
your left hand.

Activity 2: Exploring the Open Strings

1. Pluck the G string (string closest to your
nose) with your thumb.
2. Pluck the D string (second string down)
with your thumb.
3. Pluck the A string (third string down) with
your thumb.
4. Pluck the E string (string closest to the
floor) with your thumb.
5. As directed by your teacher, pluck the D
string four times, then the G string four
times, then the A string four times.

E A D G

4
5

Play all the notes of this tune on your own.

Listen as your teacher plucks the grey notes,

then echo back with the black notes.

Visual and aural reinforcement facilitate

learning the open strings
Line numbers refer to the corresponding
String Explorer CD

Activity 4: Open String Blues

1*

Activity 3: Open String Echoes

DDDD DDDD DDDD DDDD

DDDD DDDD GGGG GGGG DDDD DDDD

GGGG GGGG DDDD DDDD

AAAA AAAA GGGG GGGG DDDD DDDD

AAAA

Finger Tips

*Numbering
corresponds to
track numbers
on the String
Explorer CD.

GGGG DDDD DDDD

Activity 5: Placing Your Left Hand

1. Hold your left hand out as if to shake
hands (picture A).
2. Put the neck of the violin on your hand
(picture B).
3. Slide your hand out to the end of the neck
(pictures C and D).
4. Position the neck over the base joint of
your first finger, just above the point where
the finger meets the hand (picture D).

Violin Book 1 (page 6)

44








down, up, down, up

mo-tor - cy - cle, stop, stop

..

An optional, eight-page rote section at the

beginning allows students to focus on proper
bowing and fingering first, before learning
to read
Echo Exercises help develop ear training

Quarter note

Go back to the beginning and play again

One beat

Eighth notes

One-half beat each

arco

Arco (Italian)

With the bow

Echo Exercises
Listen as your teacher or student soloist (single player)
plays the grey notes. Then, echo back with the black notes.

Down bow

Move bow towards the tip

Up bow

Move bow towards the frog

Sharp

Raises the pitch of a note one half step

Quarter rest

One beat of silence

Down, Up, Down, Up

Practice: 1. Clap 2. Pizz. 3. Arco

Repeat sign

44 = four beats per measure

= or gets one beat

Pizzicato (Italian) Plucked

Start here.

Time signature

pizz.

Ready, set, BOW!

Adventure Map

Adventure Maps chart out and define terms and

symbols to be introduced.

44

solo

+ 2

+ 3

+ 4

class

+ 2

+ 3

+ 4

..

..

Motorcycle, Stop, Stop

Practice: 1. Clap 2. Pizz. 3. Arco

New notes are demonstrated with a photograph

as well as a fingerboard diagram

44




1

3 + 4





3 + 4

On Your Own

A complete glossary is provided on page 47, and

included terms are clearly indicated throughout
the book

Down, Up, Down, Up

Motorcycle, Stop, Stop

Practice: 1. Clap 2. Pizz. 3. Arco



44
D

Practice: 1. Clap 2. Pizz. 3. Arco

.
.

Finger Tips
The D Ladder

4



4
D

D string

F#

Echo Exercises
1st finger

..
3

F# G

whole whole half

step step step

E-Z Does It

E
A
D
G

(Everytime you see a word in this color box,

look it up on page 47.)

1st finger

D class
E
E
D
D
44 solo

pizz. D
6

Second Rung
pizz. D
7

www.stringexplorer.com

2nd finger

F#

2nd finger

F#

44

Featured Composers

World Music

BachBrandenburg Concerto No. 5;

Minuet; March in C
BeethovenOde to Joy
BillingsChester
DvorkNew World Symphony
ElbelThe Victors
FosterOh! Susannah
HandelJudas Maccabaeus; Hornpipe;
La Rejouissance
HaydnSt. Anthony Chorale
MozartMinuet from Symphony No. 36
OffenbachCan Can; Barcarolle
PierpontJingle Bells
PurcellRigaudon
RossiniWilliam Tell Overture
TchaikovskySwan Lake; Russian Folk Song
WagnerMarch of the Meistersingers

African-AmericanShoo Fly
ArgentinianTango
ChineseReminiscence of Lady Quin Er
DutchWe Gather Together
EnglishHot Cross Buns; Mary Had a Little Lamb; London Bridge;
Drink to Me Only
English-AustralianShepherds Hey
FrenchTwinkle, Twinkle, Little Star; Are You Sleeping;
Au Claire de la Lune;
IrishAntrim Hills; Syncopated Piper
IsraeliChanukah, Chanukah; Dayenu
KoreanArirang
MexicanCarmela; Un Elefante
Mexican-AmericanPaso Doble
Native AmericanApache Melody
NorwegianBridal March from Valdres
PolishTatra Song; Click Your Heels
U.S. AmericanOats, Peas and Beans; Bile Them Cabbage Down;
Old Joe Clark; Simple Gifts (Shaker); America; Erie Canal
Note : Original tunes and exercises not catalogued

About the Authors

Andrew H. Dabczynski is Professor of Music Education at Brigham Young University in Provo, Utah. He formerly served as Associate Professor of Music
Education and Director of the Community Education Division at the Eastman School of Music in Rochester, New York. Dr. Dabczynski has also held
teaching and administrative positions in the public schools of Penfield and Mamaroneck, New York and was the Supervisor of Fine Arts Education in
the Waterford School District of Michigan. Dr. Dabczynski received a Bachelor of Music degree in Applied Viola from the Eastman School and a Master
of Arts degree from the University of Connecticut, where he served as violist in the graduate string quartet. He also holds a Ph.D. in Music Education
from the University of Michigan. As a performer, Dr. Dabczynski has played viola in the Rochester Philharmonic, the Hartford Symphony, the Portland
(Maine) Symphony, the Kalamazoo Symphony, and the Greenwich (Connecticut) Symphony orchestras. For six years, he was a member of the Colden
String Quartet, the ensemble-in-residence at Western Michigan University, and he also has been an adjunct faculty member at numerous other colleges and at
national string workshops. A strong interest in folk music has led Dr. Dabczynski to focus his research efforts on fiddling and the transmission of traditional music. In
addition to his doctoral dissertation, he has written many articles on the subject of teaching and learning fiddling in contemporary America, and is co-author of the
Fiddlers Philharmonic series, published by Alfred. Dr. Dabczynski frequently appears as a guest conductor and clinician for student ensembles in the United States
and Canada, and has arranged and published numerous pieces for string orchestra. He and his wife, Diane (a commercial vocalist) live in the Provo area with two
musical daughters.
Richard Meyer received his Bachelor of Arts degree from California State University, Los Angeles and has taught middle school and high school
instrumental music for over 16 years. He currently conducts the Pasadena Youth Symphony Orchestra. Mr. Meyer has had many works published for
band and orchestra including Celebration, winner of the National School Orchestra Association composition contest, and Geometric Dances, winner of
the Texas Orchestra Directors composition contest. He received the Outstanding Music Educator Award from the Pasadena Area Youth Music Council in
1994, and has also received the Pasadena Arts Council Gold Crown Award for Performing Arts.

Bob Phillips has taught in the Saline Area Schools of Michigan since 1976, building a string program with over 700 students. In the year 2000, he and
his wife Pam were recognized by the city of Saline as Citizens of the Year. Mr. Phillips has been recognized as Teacher of the Year nine times by
regional, state and national music organizations. In addition to serving on numerous district and state committees for the Michigan School Band and
Orchestra Association and ASTA, he has been invited to present clinics in 29 states and 6 foreign countries, as well as at national conferences including
the Ohio State University String Teachers Conference, the National String Teachers Training Workshop, the American String Workshop, the
International String Workshop and the International Society of Bassists.
Mr. Phillips has conducted the All-State Orchestra at Interlochen; the University of Michigan Junior Youth Symphony; Blue Lake Fine Arts; Jackson Youth Symphony;
Music Youth International Orchestra; Oakland (Michigan) Youth Orchestra (founder); American String Workshop Orchestra; and the MASTA Junior High Camp. During
his tenure as Artistic Director as well as founder of the Saline Fiddlers Philharmonic, the group has gained an international reputation, annually performing more
than 100 shows. The Fiddle Club and Improvisation programs he began include over 150 students each year.
An expert in the use of folk fiddling and jazz in the string orchestra, Bob is also co-author of three successful series of booksFiddlers Philharmonic, Fiddlers
Philharmonic Encore!, and Jazz Philharmonicall published by Alfred. These arrangements of traditional American fiddle repertoire grew from a need for material in
his own string classrooms and performing groups. Mr. Phillips received his bachelors and masters degrees in music education from the University of Michigan, where
he was a student of Lawrence Hurst, Elizabeth Green and Bob Culver.

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