Stringtastic Book 2 is out now! We spoke to authors Mark Wilson and Paul Wood about what’s new in book 2, how they approached writing it, and some of their tips for teachers using the books.
Stringtastic book 2 is out now! What are you most proud of about this series?
We’re proud to have created a series where all four string instruments work pedagogically in order with the same piano part. It was tricky at times, particularly as the level of playing becomes more advanced, but we’ve been able to refine our approach over the course of the three books (Stringtastic Beginners, Book 1 and now Book 2). Before writing book 2, we sat down and planned out exactly what every tune needed to do pedagogically before writing a single note. That way, when we sat down to compose, we had a framework to work to – and the result is that book 2 is one of the tightest yet in terms of how the pedagogy and the instruments work together.
We’re also proud that we’ve written over 180 tunes between us over the course of the three books – and found names for all of them, which was often as challenging as writing the pieces themselves!
You mentioned one of the unique parts of this series, which is that all four instruments – violin, viola, cello, and double bass – have the same pieces (and even matching page numbers!), which can all be played together with the same piano parts. What were some of the challenges in maintaining this principal throughout the book?
Often, the trickiest instrument to write for is the double bass, which is why many string methods miss it out. For example, when introducing slurs we avoided string crossings so as to avoid overloading the student. In order to do this, we had to write a tune with only three consecutive notes; the double bass can only play open string, first and fourth fingers before needing to cross to a new string. We worked closely with double bass teachers in developing the Stringtastic books, so that even where the pedagogy has to vary slightly due to these practicalities, it is done in a way that makes sense for the instrument.
It was important to us to uphold the principle of having all 4 instruments able to work together. In our own teaching, working as peripatetic teachers and at music services, it is so useful to be able to teach violin and viola alongside one another, or bring all students together for a big group session, and just be able to say, “Ok, turn to page 16, Mister Magpie!”, and everyone is (literally!) on the same page.
Where does book 2 pick up from book 1, and where does it take us?
Short answer: book 1 ends at grade 1 level, and book 2 takes you up to grade 2!
At the start of book 2, we spend a bit of time consolidating techniques from book 1 – perfect for starting again after the summer break, or for students who need a bit of extra help.
Technique-wise, we introduce new rhythms – quaver semiquaver, dotted quaver, syncopation. We spend a good amount of time on syncopation – introducing each type of rhythm gradually and giving students time to practice it through repeats – and helped along by lyrics! We’ve also introduced compound times and time signature changes, as well as the different finger patterns required for grade 2 including those found in the melodic and harmonic minors, and natural minors and whole tone scales.
Can you share a few ‘easter eggs’ in the books that no-one else knows?
For the very eagle-eyed reader, you might notice there are two ‘magpie-themed’ pieces in the series so far! In Stringtastic Beginners we have a piece setting the folk text ‘One for sorrow, two for joy’. In researching that text, we discovered that there are ways of counteracting the bad luck of seeing a single magpie, and those have inspired the lyrics for 'Mister Magpie'. The pieces are also written so that they work played one after the other, as a mini ‘Magpie Suite’!
What age range do you think these books are most suited for?
It truly is for everyone! We have stayed away from nursery rhyme tunes which can be off-putting to older learners – everything in the book is composed by us, with no arrangements of existing pieces. We’ve used it in our own teaching with students as young as 5 right up to adult learners.
Some of the aspects of the books will of course resonate differently with different ages of learner – while the lyrics may be useful for younger students to keep them engaged and help them to remember key points of technique, for older learners it can be something that prompts a smile. There is a gentle humour in some of the lyrics, but also plenty of storytelling, and some subtle life lessons that can resonate with students of every age.
What piece would you recommend for a group performance – perhaps an end of term concert?
All the pieces work together as group performances, and many of the tunes are in unison. We feel that there is a real power in unison playing. Being lost on a 3rd violin or viola part can be disorientating for beginners! Playing the same tune as everyone else on the other hand is grounding and empowering, with the volume of sound when everyone is playing the same line, and you can really listen to what is around you. This also means that students can learn the pieces separately but then come together and instantly have a shared music-making experience that everyone can be proud of.
If you are looking for something with a bit of harmony, we would recommend ‘Andante for a furry friend’, or ‘Swimming in the stars’. These pieces were sort of ‘happy accidents’, which came about when trying to keep the pedagogy the same across instruments – in this case working on new notes on the C and E strings at the same time – but produced some lovely moments of harmony between the parts.
You have said that your goal in writing the Stringtastic series was to write “a book of great tunes which also builds technique one step at a time! Could you share which is each of your favourite tunes in book 2?
P: There are so many different styles and emotions across the pieces that it really depends on what you’re feeling! One of my favourites is Mark’s version of 'Happy birthday'. It takes some doing to write a new tune to 'Happy birthday', and I think you’ll find his is incredibly catchy, and very clever.
M: A favourite of mine, written by Paul, has to be ‘When the sun begins to rise’. It is a beautiful piece, full of warmth and joy!
Could you recommend a few pieces in the book which are good for focusing on specific techniques?
‘Running very late’ – the first piece in the book – is a good one for practising bowing and rhythm. ‘When you’re all grown’ is a good one for talking about bow distribution. 'Mind the gap' and 'Flatmates' are excellent pieces for introducing new finger patterns.
One of our aims with all the pieces was to teach technique, almost without the student realising. So, for example, every piece has been carefully written to make sure you are always in the right place in the bow. Several of the pieces, like 'Mind the gap' and 'Flatmates' are really exercises, written in the form of a fun piece with lyrics!
Stringtastic Book 2 is out now and available to buy from the Faber Music shop or from your preferred music retailer.