{"title":"Cedar Creek State School","description":"","products":[{"product_id":"dycem-black-hole-cello-rock-stop","title":"Dycem Black Hole Cello Rock Stop","description":"\u003cp\u003eStop your cello from sliding around! Invest in a non-slip endpin stop, especially if you're playing cello on wooden floors.\u003c\/p\u003e\n\u003cp\u003eMade by a company that specializes in non-slip rubber products, the \u003cstrong\u003eBlack Hole Cello Stop\u003c\/strong\u003e is a simple and effective means of holding the cello in place - the smoother and harder the floor, the better it works. Just place the Black Hole in position and let the unique non-slip properties do the rest. No messing around with strings or belt straps around the chair legs! Easily carried in the pocket or in the case.\u003c\/p\u003e","brand":"Dycem","offers":[{"title":"Default Title","offer_id":13017304137822,"sku":"4650","price":30.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/files\/Dycem_Black_Hole_Cello_and_Double_Bass_Stop.png?v=1741842958"},{"product_id":"prelude-viola-string-set-13-14","title":"D'Addario Prelude Viola String Set 13\"-14\"","description":"\u003cp\u003eThis set contains: A-Steel\/Aluminium, D-Steel\/Aluminium, G-Steel\/Nickel, C-Steel\/Nickel. \u003cbr\u003eD'Addario Prelude strings are recommended for beginner violists, as the solid steel core has been optimised for warmth and playability. Prelude strings provide a clear sound with a quick response.\u003c\/p\u003e\n\u003cdiv\u003eFeatures:\u003c\/div\u003e\n\u003cul class=\"product-bullets\"\u003e\n\u003cli\u003eRecommended for beginner violists. \u003c\/li\u003e\n\u003cli\u003eSolid steel core optimised to create one of the warmest-sounding student strings available. \u003c\/li\u003e\n\u003cli\u003eExtra Short-scale, ensuring little to no rattling.\u003c\/li\u003e\n\u003cli\u003eClear sound, quick response and long durability. \u003c\/li\u003e\n\u003cli\u003ePackaged in uniquely-designed sealed pouches providing unparalleled protection from the elements that cause corrosion.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Daddario","offers":[{"title":"Default Title","offer_id":13017303220318,"sku":"J910 XSM","price":75.8,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/products\/DAddario-Prelude-Viola-String-Set-13-14_6ac840fe-253d-40df-9a75-1a0686f8f103.jpg?v=1636080413"},{"product_id":"prelude-viola-string-set-14-15","title":"D'Addario Prelude Viola String Set 14\"-15\"","description":"\u003cp\u003eThis set contains: A-Steel\/Aluminium, D-Steel\/Aluminium, G-Steel\/Nickel, C-Steel\/Nickel. \u003cbr\u003eD'Addario Prelude strings are recommended for beginner violists, as the solid steel core has been optimised for warmth and playability. Prelude strings provide a clear sound with a quick response.\u003c\/p\u003e\n\u003cdiv\u003eFeatures:\u003c\/div\u003e\n\u003cul class=\"product-bullets\"\u003e\n\u003cli\u003eRecommended for beginner violists. \u003c\/li\u003e\n\u003cli\u003eSolid steel core optimised to create one of the warmest-sounding student strings available. \u003c\/li\u003e\n\u003cli\u003eExtra Short-scale, ensuring little to no rattling.\u003c\/li\u003e\n\u003cli\u003eClear sound, quick response and long durability. \u003c\/li\u003e\n\u003cli\u003ePackaged in uniquely-designed sealed pouches providing unparalleled protection from the elements that cause corrosion.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Daddario","offers":[{"title":"Default Title","offer_id":13017306562654,"sku":"J910 SM","price":75.8,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/products\/DAddario-Prelude-Viola-String-Set-14-15_bd6f815e-f2de-4fab-ba79-51d3a88db4e3.jpg?v=1637547461"},{"product_id":"hidersine-junior-violin-rosin","title":"Hidersine Junior Violin or Viola Rosin","description":"\u003cp\u003ePerfect for beginner violinists and violists, the Hidersine Junior Violin Rosin is a light, low dust rosin. This small rosin cake is made to Hidersine's original recipe using a unique blend of waxes and fine resins. Housed in a plastic case to help prevent breakages. \u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 12\"\u003e\n\u003cdiv class=\"section\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eRosin is made from tree sap and creates friction between the strings and the bow. Rosin causes the bow hair to stick to the string and pull it, which in turn creates the sound. It’s a good idea to keep a spare rosin stashed away in case it is misplaced or dropped.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Hidersine","offers":[{"title":"Default Title","offer_id":13017205964894,"sku":"51615","price":13.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/files\/Hidersine_Junior_Rosin_for_Violin.png?v=1742179619"},{"product_id":"hidersine-junior-cello-rosin","title":"Hidersine Junior Cello Rosin","description":"\u003cp\u003ePerfect for beginner cellists, the Hidersine Junior Cello Rosin is a dark, low dust rosin. This small rosin cake is made to Hidersine's original recipe using a unique blend of waxes and fine resins. Housed in a plastic case to help prevent breakages. \u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 12\"\u003e\n\u003cdiv class=\"section\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eRosin is made from tree sap and creates friction between the strings and the bow. Rosin causes the bow hair to stick to the string and pull it, which in turn creates the sound. It’s a good idea to keep a spare rosin stashed away in case it is misplaced or dropped.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Hidersine","offers":[{"title":"Default Title","offer_id":13017276776542,"sku":"84862","price":13.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/files\/Hidersine_Junior_Cello_Rosin.png?v=1785799025"},{"product_id":"nyman-double-bass-rosin","title":"Nyman Double Bass Rosin","description":"\u003cp\u003eNyman Double Bass Rosin is a medium hard\/hard rosin used by beginners and orchestral professionals alike. The sticky formula is perfect for white, black and salt and pepper mixed hair bows. The Nyman Rosin is wrapped in a metallic foil - just peel one side of the foil down a few centimeters and rosin away. \u003c\/p\u003e\n\u003cp\u003eDraw the bow across the surface of the cake with long downward strokes - do not draw the hair back and forth across the cake. The sticky formulation of this rosin could damage your bow hair if not used correctly. \u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 12\"\u003e\n\u003cdiv class=\"section\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eRosin is made from tree sap and creates friction between the strings and the bow. \u003c\/span\u003e\u003cspan\u003eRosin causes the bow hair to stick to the string and pull it, which in turn creates the sound. It’s a good idea to keep a spare rosin stashed away in case it is misplace\u003c\/span\u003e\u003cspan\u003ed \u003c\/span\u003e\u003cspan\u003eo\u003c\/span\u003e\u003cspan\u003er \u003c\/span\u003e\u003cspan\u003edropped.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Nyman","offers":[{"title":"Default Title","offer_id":13017678151774,"sku":"20165","price":24.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/products\/Nyman-Double-Bass-Rosin_f9aff2be-b2c6-4ffb-b5c3-4ce5ffffa143.png?v=1636094900"},{"product_id":"prelude-violin-string-set-3-4","title":"D'Addario Prelude Violin String Set 3\/4","description":"\u003cp\u003eThis set contains: E-Steel, A-Steel\/Aluminium, D-Steel\/Nickel, G-Steel\/Nickel. \u003cbr\u003eD'Addario Prelude strings are recommended for beginner violinists, as the solid steel core has been optimised for warmth and playability. 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Invest in a soft, microfibre cleaning cloth and get into the habit of wiping down the instrument (and strings!) regularly.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eExcellent large cloth for all string instruments. Ultra-soft premium microfibre cloth for the cleaning and polishing of all timber and strings. Specifically designed for string instruments. Will not harm varnished or polished surfaces. 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Visit us in-store today for a personalised, one-on-one consultation to find the perfect shoulder rest. No appointment needed!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe only ergonomically designed and patented violin shoulder rests that provide the best comfort for all violin and viola players.\u003c\/p\u003e\n\u003cp\u003eFeatures:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSpecially Engineered Fixed Tilt – The unique computer-modeled design of the EVEREST shoulder rest raises the violin to an ergonomically correct and comfortable playing angle. Teachers, students, and professionals alike have all praised this innovative and distinctive design: teachers love the way it trains correct playing angles, while students and professionals love the comfort, durability, and style. \u003c\/li\u003e\n\u003cli\u003eAdjustable – Unscrew grippers and select alternate positions for the best fit to the instrument.\u003c\/li\u003e\n\u003cli\u003eSimple and Virtually Unbreakable – The one-piece body integrated with adjustable leg height means that there are NO angle brackets or swivel mechanisms to break, and NO thumb knobs to misplace. The EVEREST Shoulder Rest is made of a strong, high-grade ABS material which provides both strength and flexibility, unlike the inexpensive polypropylene plastic that other shoulder rest manufacturers use.\u003c\/li\u003e\n\u003cli\u003eImproved Holding Legs and Foam – Identical and interchangeable parts for both the left and right legs means that there is no longer any need to be confused as to which leg attaches to which side of the body. The newly engineered lyre-shaped holding legs are made of a soft, non-skid, wear-resistant material, with additional height requirements built right into the body of the shoulder rest. The foam is made from high quality, extra-thick and extra-soft neoprene for long-lasting comfort and excellent support.\u003c\/li\u003e\n\u003cli\u003eFunctionality and Style – The distinctive 3D computer-modeled design of the EVEREST shoulder rest maximizes comfort without sacrificing style and elegance. Traditional areas of high stress are reinforced for long-term durability. Engineered by Americans to American standards, this shoulder rest is built to last.\u003c\/li\u003e\n\u003cli\u003eLow Cost – This shoulder rest is designed to help meet the growing needs of school-based violin programs. With limited funding available to these programs, students simply cannot afford the outrageous and expensive prices other shoulder rest manufacturers are charging.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Everest","offers":[{"title":"1\/10-1\/4","offer_id":41228269486174,"sku":"2102","price":35.0,"currency_code":"AUD","in_stock":true},{"title":"1\/2-3\/4","offer_id":31983052456030,"sku":"2103","price":35.0,"currency_code":"AUD","in_stock":true},{"title":"4\/4","offer_id":41228270993502,"sku":"2105a","price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/products\/Everest-Standard-Violin-Shoulder-Rest-12-34-Black_e3e63a79-9d04-4e9a-bccf-54d079f6ee91.png?v=1636137908"},{"product_id":"my-first-pieces-for-viola-by-stephen-chin","title":"My First Pieces for Viola","description":"\u003cdiv\u003e \u003c\/div\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003eMain Ethos and Philosophy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTo make the short term and long term lesson experience as musically satisfying for the student as possible.  My experience is that once students are inspired to play they will be often more open to developing their technique just so the music can sound more beautiful.\u003c\/li\u003e\n\u003cli\u003eThe teacher is seen more as a partner and facilitator.  Both the string and piano accompaniments allow for this to happen in an ongoing meaningful way.\u003c\/li\u003e\n\u003cli\u003eAdvanced students can also play along – the buddy system works so well!\u003c\/li\u003e\n\u003cli\u003eThe actual pieces are drawn from well-known works and a number of works especially written for a particular need.\u003c\/li\u003e\n\u003cli\u003eThe accompaniments themselves, whilst packed with plenty of musical ideas and styles, have been devised to support the student and certainly not overwhelm them.  The three part texture, melody, counter-melody \u0026amp; bass line is consistent through the entire book.  Cellists can choose to play their part or the bass part.\u003c\/li\u003e\n\u003cli\u003eA wide range of keys and modalities are aurally introduced to the student. For instance, when they learn C#, the accompaniment is in C# minor or after playing the G major scale, a piece in A dorian mode (no 62. Galloping across the Plains is played).  This gives the student a wider aural experience than they would normally experience as a beginning player.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003eSome Features of the Books\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSpiral binding for ease of opening.\u003c\/li\u003e\n\u003cli\u003eImages of the instrument and posture are in colour – easier and more attractive to the eye.\u003c\/li\u003e\n\u003cli\u003eGlossary at the back to check on terms used throughout the books.\u003c\/li\u003e\n\u003cli\u003eTable of contents for easy navigation.\u003c\/li\u003e\n\u003cli\u003eThe student’s books page numbers are indicated throughout the Teacher’s and Accompanist’s books.\u003c\/li\u003e\n\u003cli\u003eUncluttered – much better for learning.\u003c\/li\u003e\n\u003cli\u003eStudents are encouraged to draw their own pictures.  There is alsoplenty of room for stickers!\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003ePedagogy and Sequencing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThere is no specific method put forward – most of what is presented is in line with current pedagogical practice.\u003c\/li\u003e\n\u003cli\u003eTechnical tips and images regarding posture, bow-hold etc. are only there as an aid for students and are not in any way meant to be definitive.  I personally do not advocate a solid shoulder rest and prefer a Huber pad but I would never put that on other colleagues!\u003c\/li\u003e\n\u003cli\u003eI have tried both ways of starting ie: with the bow or with pizzicato.  I now favour the right hand pizzicato as little arms really get tired with both at first.  The bow-hold is introduced using a pencil after a week or two of learning.  Students are always encouraged to follow the set –up rule for the left hand.\u003c\/li\u003e\n\u003cli\u003eBowing is introduced at piece no. 24.\u003c\/li\u003e\n\u003cli\u003eA wide range of techniques are covered but with no one area overdone.\u003c\/li\u003e\n\u003cli\u003eMusical terms and concepts are introduced one or two at a time.\u003c\/li\u003e\n\u003cli\u003eMany of the bowings in the teacher’s parts are matched with the student’s bowings.\u003c\/li\u003e\n\u003cli\u003eStudents are encouraged to compose – a compositional task is at the end of the book for easy reference.  It can be started at any appropriate time.\u003c\/li\u003e\n\u003cli\u003eThe sequencing is logical and fairly straightforward:\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePITCH\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e1. All the open strings – note that the bassists learn their open strings in reverse order to the other string players.  I believe it is less confusing for them when they know their sounds are in reverse.\u003c\/p\u003e\n\u003cp\u003e2. The D major scale notes with a range of keys\/modalities.\u003c\/p\u003e\n\u003cp\u003e3. The G major scale notes with a range of keys\/modalities.\u003c\/p\u003e\n\u003cp\u003e4. The C major scale notes with a range of keys\/modalities.\u003c\/p\u003e\n\u003cp\u003e5. The E String Notes (violin\/bass – viola\/cello review)\u003c\/p\u003e\n\u003cp\u003e6. The C string notes (viola\/cello – violin\/bass review)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRHYTHM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eCrotchets, minims, semibreve, dotted minims, and their rests.  Quavers – in 2’s then 4’s, dotted crotchet followed by a quaver.  Time signatures used are: 4\/4 à 3\/4 à 2\/4\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eARTICULATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRight hand pizzicato à detache à staccato à hook stroke à slurs \u0026amp; legato à portato.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOTHER TECHNIQUES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRetakes; bowing divisions; harmonics; left-hand pizzicato.\u003c\/p\u003e","brand":"Stephen Chin","offers":[{"title":"Default Title","offer_id":31983124152414,"sku":"ESVA","price":41.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/products\/My-First-Pieces-for-Viola_e001500a-a1fe-4b18-ade7-693f9accacd5.jpg?v=1636137994"},{"product_id":"my-first-pieces-for-double-bass-by-stephen-chin","title":"My First Pieces for Double Bass","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003eMain Ethos and Philosophy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTo make the short term and long term lesson experience as musically satisfying for the student as possible.  My experience is that once students are inspired to play they will be often more open to developing their technique just so the music can sound more beautiful.\u003c\/li\u003e\n\u003cli\u003eThe teacher is seen more as a partner and facilitator.  Both the string and piano accompaniments allow for this to happen in an ongoing meaningful way.\u003c\/li\u003e\n\u003cli\u003eAdvanced students can also play along – the buddy system works so well!\u003c\/li\u003e\n\u003cli\u003eThe actual pieces are drawn from well-known works and a number of works especially written for a particular need.\u003c\/li\u003e\n\u003cli\u003eThe accompaniments themselves, whilst packed with plenty of musical ideas and styles, have been devised to support the student and certainly not overwhelm them.  The three part texture, melody, counter-melody \u0026amp; bass line is consistent through the entire book.  Cellists can choose to play their part or the bass part.\u003c\/li\u003e\n\u003cli\u003eA wide range of keys and modalities are aurally introduced to the student. For instance, when they learn C#, the accompaniment is in C# minor or after playing the G major scale, a piece in A dorian mode (no 62. Galloping across the Plains is played).  This gives the student a wider aural experience than they would normally experience as a beginning player.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003eSome Features of the Books\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSpiral binding for ease of opening.\u003c\/li\u003e\n\u003cli\u003eImages of the instrument and posture are in colour – easier and more attractive to the eye.\u003c\/li\u003e\n\u003cli\u003eGlossary at the back to check on terms used throughout the books.\u003c\/li\u003e\n\u003cli\u003eTable of contents for easy navigation.\u003c\/li\u003e\n\u003cli\u003eThe student’s books page numbers are indicated throughout the Teacher’s and Accompanist’s books.\u003c\/li\u003e\n\u003cli\u003eUncluttered – much better for learning.\u003c\/li\u003e\n\u003cli\u003eStudents are encouraged to draw their own pictures.  There is alsoplenty of room for stickers!\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003ePedagogy and Sequencing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThere is no specific method put forward – most of what is presented is in line with current pedagogical practice.\u003c\/li\u003e\n\u003cli\u003eTechnical tips and images regarding posture, bow-hold etc. are only there as an aid for students and are not in any way meant to be definitive.  I personally do not advocate a solid shoulder rest and prefer a Huber pad but I would never put that on other colleagues!\u003c\/li\u003e\n\u003cli\u003eI have tried both ways of starting ie: with the bow or with pizzicato.  I now favour the right hand pizzicato as little arms really get tired with both at first.  The bow-hold is introduced using a pencil after a week or two of learning.  Students are always encouraged to follow the set –up rule for the left hand.\u003c\/li\u003e\n\u003cli\u003eBowing is introduced at piece no. 24.\u003c\/li\u003e\n\u003cli\u003eA wide range of techniques are covered but with no one area overdone.\u003c\/li\u003e\n\u003cli\u003eMusical terms and concepts are introduced one or two at a time.\u003c\/li\u003e\n\u003cli\u003eMany of the bowings in the teacher’s parts are matched with the student’s bowings.\u003c\/li\u003e\n\u003cli\u003eStudents are encouraged to compose – a compositional task is at the end of the book for easy reference.  It can be started at any appropriate time.\u003c\/li\u003e\n\u003cli\u003eThe sequencing is logical and fairly straightforward:\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePITCH\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e1. All the open strings – note that the bassists learn their open strings in reverse order to the other string players.  I believe it is less confusing for them when they know their sounds are in reverse.\u003c\/p\u003e\n\u003cp\u003e2. The D major scale notes with a range of keys\/modalities.\u003c\/p\u003e\n\u003cp\u003e3. The G major scale notes with a range of keys\/modalities.\u003c\/p\u003e\n\u003cp\u003e4. The C major scale notes with a range of keys\/modalities.\u003c\/p\u003e\n\u003cp\u003e5. The E String Notes (violin\/bass – viola\/cello review)\u003c\/p\u003e\n\u003cp\u003e6. The C string notes (viola\/cello – violin\/bass review)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRHYTHM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eCrotchets, minims, semibreve, dotted minims, and their rests.  Quavers – in 2’s then 4’s, dotted crotchet followed by a quaver.  Time signatures used are: 4\/4 à 3\/4 à 2\/4\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eARTICULATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRight hand pizzicato à detache à staccato à hook stroke à slurs \u0026amp; legato à portato.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOTHER TECHNIQUES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRetakes; bowing divisions; harmonics; left-hand pizzicato.\u003c\/p\u003e","brand":"Stephen Chin","offers":[{"title":"Default Title","offer_id":31983124676702,"sku":"ESDB","price":41.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/products\/My-First-Pieces-for-Double-Bass_23a4b18f-40ef-4d44-a5a1-dc8d73242757.jpg?v=1636137999"},{"product_id":"folding-music-stand-with-bag-black","title":"DCM Folding Music Stand with Bag Black","description":"\u003cp\u003eEncourage regular practice with this durable music stand! This folding music stand is made of top quality materials and folds up for easy transport and storage. Comes complete with a carrying bag. Don't buy your first instrument without investing in one of these. \u003c\/p\u003e\n\u003cp\u003eThe music stand can be height adjusted, and offers a tilting bookplate, making it suitable for sitting or standing positions. The stand can hold up to three A4 books or sheets with the fold out extensions. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"DCM","offers":[{"title":"Default Title","offer_id":31987285590110,"sku":"STBS01","price":39.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/products\/STBS01.png?v=1652676094"},{"product_id":"my-first-pieces-for-violin-by-stephen-chin","title":"My First Pieces for Violin","description":"\u003cdiv\u003e \u003c\/div\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003eMain Ethos and Philosophy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTo make the short term and long term lesson experience as musically satisfying for the student as possible.  My experience is that once students are inspired to play they will be often more open to developing their technique just so the music can sound more beautiful.\u003c\/li\u003e\n\u003cli\u003eThe teacher is seen more as a partner and facilitator.  Both the string and piano accompaniments allow for this to happen in an ongoing meaningful way.\u003c\/li\u003e\n\u003cli\u003eAdvanced students can also play along – the buddy system works so well!\u003c\/li\u003e\n\u003cli\u003eThe actual pieces are drawn from well-known works and a number of works especially written for a particular need.\u003c\/li\u003e\n\u003cli\u003eThe accompaniments themselves, whilst packed with plenty of musical ideas and styles, have been devised to support the student and certainly not overwhelm them.  The three part texture, melody, counter-melody \u0026amp; bass line is consistent through the entire book.  Cellists can choose to play their part or the bass part.\u003c\/li\u003e\n\u003cli\u003eA wide range of keys and modalities are aurally introduced to the student. For instance, when they learn C#, the accompaniment is in C# minor or after playing the G major scale, a piece in A dorian mode (no 62. Galloping across the Plains is played).  This gives the student a wider aural experience than they would normally experience as a beginning player.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003eSome Features of the Books\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSpiral binding for ease of opening.\u003c\/li\u003e\n\u003cli\u003eImages of the instrument and posture are in colour – easier and more attractive to the eye.\u003c\/li\u003e\n\u003cli\u003eGlossary at the back to check on terms used throughout the books.\u003c\/li\u003e\n\u003cli\u003eTable of contents for easy navigation.\u003c\/li\u003e\n\u003cli\u003eThe student’s books page numbers are indicated throughout the Teacher’s and Accompanist’s books.\u003c\/li\u003e\n\u003cli\u003eUncluttered – much better for learning.\u003c\/li\u003e\n\u003cli\u003eStudents are encouraged to draw their own pictures.  There is alsoplenty of room for stickers!\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003ePedagogy and Sequencing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThere is no specific method put forward – most of what is presented is in line with current pedagogical practice.\u003c\/li\u003e\n\u003cli\u003eTechnical tips and images regarding posture, bow-hold etc. are only there as an aid for students and are not in any way meant to be definitive.  I personally do not advocate a solid shoulder rest and prefer a Huber pad but I would never put that on other colleagues!\u003c\/li\u003e\n\u003cli\u003eI have tried both ways of starting ie: with the bow or with pizzicato.  I now favour the right hand pizzicato as little arms really get tired with both at first.  The bow-hold is introduced using a pencil after a week or two of learning.  Students are always encouraged to follow the set –up rule for the left hand.\u003c\/li\u003e\n\u003cli\u003eBowing is introduced at piece no. 24.\u003c\/li\u003e\n\u003cli\u003eA wide range of techniques are covered but with no one area overdone.\u003c\/li\u003e\n\u003cli\u003eMusical terms and concepts are introduced one or two at a time.\u003c\/li\u003e\n\u003cli\u003eMany of the bowings in the teacher’s parts are matched with the student’s bowings.\u003c\/li\u003e\n\u003cli\u003eStudents are encouraged to compose – a compositional task is at the end of the book for easy reference.  It can be started at any appropriate time.\u003c\/li\u003e\n\u003cli\u003eThe sequencing is logical and fairly straightforward:\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePITCH\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e1. All the open strings – note that the bassists learn their open strings in reverse order to the other string players.  I believe it is less confusing for them when they know their sounds are in reverse.\u003c\/p\u003e\n\u003cp\u003e2. The D major scale notes with a range of keys\/modalities.\u003c\/p\u003e\n\u003cp\u003e3. The G major scale notes with a range of keys\/modalities.\u003c\/p\u003e\n\u003cp\u003e4. The C major scale notes with a range of keys\/modalities.\u003c\/p\u003e\n\u003cp\u003e5. The E String Notes (violin\/bass – viola\/cello review)\u003c\/p\u003e\n\u003cp\u003e6. The C string notes (viola\/cello – violin\/bass review)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRHYTHM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eCrotchets, minims, semibreve, dotted minims, and their rests.  Quavers – in 2’s then 4’s, dotted crotchet followed by a quaver.  Time signatures used are: 4\/4 à 3\/4 à 2\/4\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eARTICULATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRight hand pizzicato à detache à staccato à hook stroke à slurs \u0026amp; legato à portato.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOTHER TECHNIQUES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRetakes; bowing divisions; harmonics; left-hand pizzicato.\u003c\/p\u003e","brand":"Stephen Chin","offers":[{"title":"Default Title","offer_id":31987463192670,"sku":"ESVN","price":41.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/products\/My-First-Pieces-for-Violin_f46f2bf8-3de0-4ea9-aee2-dc2667af8fc6.jpg?v=1636140001"},{"product_id":"my-first-pieces-for-cello","title":"My First Pieces for Cello","description":"\u003cp align=\"center\"\u003e\u003cstrong\u003eMain Ethos and Philosophy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTo make the short term and long term lesson experience as musically satisfying for the student as possible.  My experience is that once students are inspired to play they will be often more open to developing their technique just so the music can sound more beautiful.\u003c\/li\u003e\n\u003cli\u003eThe teacher is seen more as a partner and facilitator.  Both the string and piano accompaniments allow for this to happen in an ongoing meaningful way.\u003c\/li\u003e\n\u003cli\u003eAdvanced students can also play along – the buddy system works so well!\u003c\/li\u003e\n\u003cli\u003eThe actual pieces are drawn from well-known works and a number of works especially written for a particular need.\u003c\/li\u003e\n\u003cli\u003eThe accompaniments themselves, whilst packed with plenty of musical ideas and styles, have been devised to support the student and certainly not overwhelm them.  The three part texture, melody, counter-melody \u0026amp; bass line is consistent through the entire book.  Cellists can choose to play their part or the bass part.\u003c\/li\u003e\n\u003cli\u003eA wide range of keys and modalities are aurally introduced to the student. For instance, when they learn C#, the accompaniment is in C# minor or after playing the G major scale, a piece in A dorian mode (no 62. Galloping across the Plains is played).  This gives the student a wider aural experience than they would normally experience as a beginning player.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003eSome Features of the Books\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSpiral binding for ease of opening.\u003c\/li\u003e\n\u003cli\u003eImages of the instrument and posture are in colour – easier and more attractive to the eye.\u003c\/li\u003e\n\u003cli\u003eGlossary at the back to check on terms used throughout the books.\u003c\/li\u003e\n\u003cli\u003eTable of contents for easy navigation.\u003c\/li\u003e\n\u003cli\u003eThe student’s books page numbers are indicated throughout the Teacher’s and Accompanist’s books.\u003c\/li\u003e\n\u003cli\u003eUncluttered – much better for learning.\u003c\/li\u003e\n\u003cli\u003eStudents are encouraged to draw their own pictures.  There is also plenty of room for stickers!\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp align=\"center\"\u003e\u003cstrong\u003ePedagogy and Sequencing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThere is no specific method put forward – most of what is presented is in line with current pedagogical practice.\u003c\/li\u003e\n\u003cli\u003eTechnical tips and images regarding posture, bow-hold etc. are only there as an aid for students and are not in any way meant to be definitive.  I personally do not advocate a solid shoulder rest and prefer a Huber pad but I would never put that on other colleagues!\u003c\/li\u003e\n\u003cli\u003eI have tried both ways of starting ie: with the bow or with pizzicato.  I now favour the right hand pizzicato as little arms really get tired with both at first.  The bow-hold is introduced using a pencil after a week or two of learning.  Students are always encouraged to follow the set –up rule for the left hand.\u003c\/li\u003e\n\u003cli\u003eBowing is introduced at piece no. 24.\u003c\/li\u003e\n\u003cli\u003eA wide range of techniques are covered but with no one area overdone.\u003c\/li\u003e\n\u003cli\u003eMusical terms and concepts are introduced one or two at a time.\u003c\/li\u003e\n\u003cli\u003eMany of the bowings in the teacher’s parts are matched with the student’s bowings.\u003c\/li\u003e\n\u003cli\u003eStudents are encouraged to compose – a compositional task is at the end of the book for easy reference.  It can be started at any appropriate time.\u003c\/li\u003e\n\u003cli\u003eThe sequencing is logical and fairly straightforward:\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePITCH\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e1. All the open strings – note that the bassists learn their open strings in reverse order to the other string players.  I believe it is less confusing for them when they know their sounds are in reverse.\u003c\/p\u003e\n\u003cp\u003e2. The D major scale notes with a range of keys\/modalities.\u003c\/p\u003e\n\u003cp\u003e3. The G major scale notes with a range of keys\/modalities.\u003c\/p\u003e\n\u003cp\u003e4. The C major scale notes with a range of keys\/modalities.\u003c\/p\u003e\n\u003cp\u003e5. The E String Notes (violin\/bass – viola\/cello review)\u003c\/p\u003e\n\u003cp\u003e6. The C string notes (viola\/cello – violin\/bass review)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRHYTHM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eCrotchets, minims, semibreve, dotted minims, and their rests.  Quavers – in 2’s then 4’s, dotted crotchet followed by a quaver.  Time signatures used are: 4\/4 à 3\/4 à 2\/4\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eARTICULATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRight hand pizzicato à detache à staccato à hook stroke à slurs \u0026amp; legato à portato.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOTHER TECHNIQUES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRetakes; bowing divisions; harmonics; left-hand pizzicato.\u003c\/p\u003e","brand":"Stephen Chin","offers":[{"title":"Default Title","offer_id":32014613184606,"sku":"ESCO","price":41.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/products\/My-First-Pieces-for-Cello_7e7fbd52-c389-406f-b0c0-450f785bead8.jpg?v=1636140738"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0014\/2521\/1486\/collections\/95dabdbe515f2c90b5399269e3e0fd5e_9c1e43b4-1358-4519-b8a2-3fe07751133b.jpg?v=1636961412","url":"https:\/\/www.simplyforstrings.co.nz\/collections\/cedar-creek-state-school.oembed?page=2","provider":"Simply for Strings","version":"1.0","type":"link"}