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encouragement of orchestras in America  \nTHE SYMPHONY ORCHESTRA BASSISTCELLO THUMB POSITION  \nCONTEMPORARY MUSIC LIBRARY  \nin this issue  \nYORK,PA.YOUNG PERSONS CHAMBER ORCHESTRALOWELL HIGH AT EXPO'70STRING PLAYER IN JAZZ:PART IIMUSIC-MINDED ADMINISTRATORS IN MECKLENBURG  \nRoth-CaspariPegs  \n1.Conserves valuable teaching time.  \n2.Provides extra practice time.  \n3.Makes tuning easier.  \n4.Simplifies instruction in tuning.  \n5.Avoids peg slippage.  \n6.Does not require inward pressure.  \n7.Turns with micrometer precision.  \n8.Permits students to improve tuningaccuracy by concentrating on pitch in·stead of mechanics of tuning.  \n9.Eliminates peg box damage,reducingmaintenance.  \n10.Can be adjusted according to climaticconditions.  \nDescriptive and detailed literature free-Write for it  \nSCHERL&ROTH,Inc.1729 SUPERIOR AVE.●CLEVELAND 14,OHIO  \nRCHESTRA NEWS°  \nNO.3  \nMAY,1970  \nPublished in the interest of music education and participationof music in America -and specifically to further the cause ofTHE ORCHESTRA.  \nCONTENTS  \nTHE SYMPHONY ORCHESTRA BASSIST,Oscar Zimmerman..3INTERLOCHEN SPOTLIGHTS STRING CLASS TEACHINGAND CHAMBER MUSIC………  …………        …3WHEN AND HOW TO PRESENT THE CELLO THUMB  \nPOSITION,Martha Rierson………  ………………  ………4THE MUSIC COMMUNICATIONS GAP,John Ohanian……4CONTEMPORARY MUSIC FOR SCHOOL AND COMMUNITYORCHESTRAS—THE CMP LIBRARY,Browning Cramer..…5YOUNG PERSONS'CHAMBER ORCHESTRA AT YORK,PA.,Richard Shue …………………  ……………………………………6EDITORIAL,J.Frederick Müller…………  …………………………6ON TO OSAKA AND EXPO 70……………………………  …………7THE STRING APPROACH IN JAZZ,David Baker……………8THERE'S MORE TO MUSIC THAN\"YELLOW  \nBIRD\"IN JAMAICA,Dr.Phyllis Klotman…………………10MUSIC-MINDED ADMINISTRATORS………………………………10MINI STRINGERS,William Steffy……………………  ………11THE EAST BRUNSWICK STORY,Leona Kaufman……………11  \nMEET OUR DISTINGUISHED CONTRIBUTING EDITORS  \nHARRY LANTZ,President,American String Teachers'Ass'n;Professor of Music,University of Wisconsin at Kenosha.  \nORVILLE DALLY,Past President,NationalSchool Orchestra Association;Bryan,Ohio  \nFRANK W.HILL,Former President,American String Teach-er'sAssociation;Universityof Northernlowa,Cedar Falls,Iowa  \nDR.MARVINRABIN,Professor,Schoolof Musicand Extension Division,University of Wisconsin  \nMELVIN SCHNEIDER,Research inMusic Education;Cedar Falls,Iowa  \nHOWARD M.VAN SICKLE,Past President,American StringTeacher's Association,Mankato State College;Mankato,Minn.  \nEDITOR:DR.ROBERT KLOTMAN,Chairman,Music Education Dept.;Indiana University  \nMANAGING EDITOR:Ruth Vendley Neumann  \nPUBLISHER:Roth Violins,Division  \nof Scherl &Roth;Cleveland,Ohio  \nORCHESTRA NEWS  \n1729 Superior Avenue·Cleveland,Ohio 44114  \nPrinted in U.S.A.  \nCover and contents copyrighted by Scherl &Roth,1970  \n# SymphonyOrchestraBassist\n\nOSCAR ZIMMERMAN  \nProfessor of double bass,Eastman Schoolof Music.Principal bass,RcchesterPhilharmonic Orchestra.  \nHE DOUBLE BASS PLAYER in a sym-phony orchestra has a great deal more tobe concerned with than the well knowndifficult passages in the symphonic reper-toire.Of course,these parts must be mas-tered and satisfactorily performed.Alongwith these passages,however,it is equallyimportant for a bass section to be able tomaintain a solid,secure bass line.It is thevery foundation of an orchestra.Without itthe conductor is in trouble.It follows thatknowledge of the bass part of any majorwork should be known in its entirety inorder for one to be a really fine double bassplayer in a symphony orchestra.  \nIn learning an unfamiliar work,we con-centrate on the technically difficult pas-sages while too often ignoring the rest ofthe score.This often results in having to“learn”the composition during orchestrarehearsals.While this is excusable in thecase of something so contemporary that itaffords no prior time for study,it is inex-cusable to waste time at rehearsals whileplayers learn something in the standardrepertoire which should be know","cbCaie4RyFOTTF9d","https://ap.wps.com/l/cbCaie4RyFOTTF9d","pdf",1238334,12,"English","# The Symphony Orchestra Bassist\n# Interlochen Spotlights: String Class Teaching and Chamber Music\n# When and How to Present the Cello Thumb Position\n# The Music Communications Gap\n# Contemporary Music for School and Community Orchestras—The CMP Library\n# Young Persons' Chamber Orchestra at York, Pa.\n# Editorial\n# On to Osaka and Expo 70","[{\"question\":\"What main topics are covered in this issue of ORCHESTRA NEWS (May 1970, Vol. IX, No. 3)?\",\"answer\":\"The issue focuses on orchestra development and music education, featuring articles on the symphony orchestra bassist, cello thumb position, music communications, contemporary music libraries, and student chamber orchestras.\"},{\"question\":\"Why does the article on the symphony orchestra bassist emphasize knowing the bass part in its entirety?\",\"answer\":\"It argues that a reliable, secure bass line is the foundation of the orchestra, and that players should know major bass parts fully rather than only isolated difficult passages.\"},{\"question\":\"How does the issue address tuning and peg-related practice?\",\"answer\":\"It lists practical benefits of a specific thumb position/peg approach, including conserving teaching time, simplifying instruction, avoiding peg slippage, and allowing precise adjustment under different conditions.\"}]","ORCHESTRA NEWS - May 1970 - Volume IX No. 3 - Bassist Cello Thumb Position Articles | PDF",1789969947]