AUSTA OVERSEAS

Notices

The solo double bass: pride or prejudice

The solo double bass: pride or prejudice

written by Barry Green

This article originally appeared in Stringendo Volume 46 Number 1 April 2024. All images provided by Barry Green.
Barry Green is the AUSTA International Touring Artist in July and August 2024.
Learn more about where you can see Barry here


Why is it that, in jazz or classical circles, the idea of listening to a bassist playing a solo ranks about as desirable as being forced to eat lima beans or spinach? I have no doubt that, in general, the public is more attracted to eating pizza, hamburger and chocolate lava cake! Who decides what the music-going public ‘eats’? Is it personal choice or what a ‘chef’ decides is best to serve? How does this analogy translate into a concert of solo bass music?

Within this question is perhaps a clue as to why bass solos in jazz and classical music don’t attract much support, compassion or open-mindedness. I propose a different pathway for bassists that allows them to sidestep prejudices, traditions and the unwillingness of the public to accept the double bass as a solo instrument.

A famous jazz teacher once said that if a bassist takes a solo, then it doesn’t matter how many years people have refused to talk to one another: even the most bitter enemies in an audience will suddenly start talking to each other for the entire solo.

A few celebrated classical and jazz bassists have transcended this prejudice: Gary Karr, the great entertainer with a soulful sound; Francois Rabbath, the cultural wizard and popular master of classical, Middle Eastern fusion and jazz; and jazz greats like Christian McBride, a radio host, out-of-this-world virtuoso and the Leonard Bernstein of the bass, who interviews and performs with the great jazz artists of the world. When John Clayton plays his heartstopping bowed ballad, Emily by Johnny Mandel, jazz clubs get eerily quiet and the audience leaves talking about Clayton’s breathtaking, soulful playing being the highlight of the evening! Yes – bass solos!

Unfortunately, everyone doesn’t have the same performance gifts as these superstars. But I suggest most any good musician can embrace some things these artists do through a change of their musical intentions. The main thing is to ask, what is your performance goal? Who are you playing for?

Before I reveal this performance goal, I don’t want to minimise the need for mastery of your craft through a lot of dedicated practice, studying with great teachers, patience and discipline. There is no room in the music business for playing out of tune, out of time, out of style and without a clean connection between your mind, body, spirit and your instrument.

There are no shortcuts. It’s your responsibility to always be the master of your craft. Are you ready for the great reveal? It can be reduced to one sentence…

It isn’t about you – it’s about them!

The ‘you’ in this statement represents your instrument, repertoire and performance. ‘Them’ represents the audience: their likes, interests, and willingness to listen to and consume what you deliver through your performance.

Think about the great artists I mentioned above. They’ve created fantastic musical dishes any audience would enjoy. They delight, entertain, tantalise and serve gourmet musical masterpieces that delight their audiences.

Australia is the home of the celebrated bassist, Rob Nairn, a specialist in historical performances who has found great audiences for authentic early music. Rob’s performances bring out his fans of Renaissance music!

The awesome and expressive Melbourne solo bassist Phoebe Russell augments her solo career playing with Ensemble Q, a chamber music collaborative of world-class musicians. Music of Mozart, Haydn, Schubert, Mendelssohn and Beethoven are audience favourites.

Sydney’s Elsen Price, the ultimate contemporary, improvisatory, creative and collaborative musician, has taken his bass to pubs, dance halls and folk festivals, performing with youthful and likeminded avant-garde, talented musicians.

Through media such as YouTube, television, movies and live concerts, we have become a visual culture that values young, dynamic, attractive and physically animated virtuoso performers like bassist Mikyung Sung. She is a fearless, intense, dynamic and beautifully expressive Korean bassist.

Composer-bassist Xavier Foley, who won the 2014 Sphinx competition winner in his early twenties, is one of the world’s most creative, ferocious and virtuosic talents. He is a great role model for the next generation of young bass soloists, and his own folksy and melodic musical style is appealing to virtually everyone.

 

Think about these great artists. Their artistry often leaves an audience breathless and speechless. There are thousands of less-than-superstar musicians who play instruments other than the bass that are rarely featured in solo concerts, such as the viola, trombone, percussion and accordion. Can they find a way to create a different environment to attract audiences more accepting of their artistic talents? I believe so.

When you choose to watch a movie or attend a play or musical, either at home or in the theatre, and are willing to pay a lot of money for this experience, you expect something in return. I’m sorry to say I don’t believe a lot of people, other than for a few bass players, will spend their time and hard-earned cash to attend a rather unimaginative performance of the Koussevitzky or Dragonetti bass concertos. At least, not me.

Subconsciously I’ve known this for a long time, but I’ve never really understood how true and relevant it is until recently. As a symphony solo bass player, I have always performed recitals. Sometimes my programs consisted of newly commissioned pieces that I loved and felt were important for my bass colleagues and students to hear. However, I knew this was only for an audience of bassists.

After this early phase of my solo bass career, I noticed that people would come to hear me at least once, but they might not come back unless there was something special offered for them. So I changed my performance goal. Instead of acting like a chef serving my favourite dishes, I became a chef offering popular dishes that people need to experience! Yes, I made it about them, not me!

The final step

The Four Elements

Do you think I’ve deserted the traditional double bass repertoire? Well, I kind of have. My most recent project is a unique and powerful narrated multimedia program dedicated to the four elements: fire, water, air and earth.

It deals with global warming and caring for our planet, a topic of interest and relevance to any age and perhaps any audience who may have never attended a bass concert. This program is designed to empower audiences to be more appreciative of and proactive in enriching their lives through the four elements. It also provides resources for community engagement through music and the arts. The promotion for this program does not mention anything about a bass solo! Rather, I humbly put my name and instrument last as a participant.

If they think they are coming to a bass concert, I’ll have no audience – I admit that! I regrettably accept this prejudice. But as long as I can get butts on the seats, nobody will care that they are listening to a solo double bass player. They came for The Four Elements program, and they will get what they came for. (But, shhh – it’s really a bass concert, ha ha!) It’s a concert for them, not for me! So, I invite you to think about your audience when you plan your next concert. You don’t have to be a Christian McBride or a Xavier Foley to create a program designed to please and inspire the ‘them’ in your performance goal.

Consider this: if you’re planning a required academic degree recital, you can fulfil your requirements with a traditional bass sonata. But what music might you program that connects, delights, is remembered and is enjoyed by your audience? Why not inspire them to leave the concert thinking, ‘That was really awesome. When is the next program?’

AUSTA Patron Barry Green, a native Californian, served as Principal Bassist of the Cincinnati Symphony for 28 years. As former Executive Director of the International Society of Bassists, and Formerly professor of bass at The Ohio State University, the University of California Santa Cruz and the University of Cincinnati CCM. Green has also written 3 bass method books and many solo recordings. As a bass soloist, Green has created three multimedia productions called Anna’s Way, Anna’s Gift, and Anna’s Promise composed by Andres Martin and based on inspirational stories for solo bass with combos, bands or orchestra. Green’s latest multimedia concert program is a documentary style concert of Russian music called: Music from Ukraine and a new multi-media narrated program based on the Four Elements: Fire, Water, Air and Earth.

Green is author of three books dealing with the philosophy of music, the mind, body and spirit: The Inner Game of Music (Doubleday, 1986), The Mastery of Music, Ten Pathways to True Artistry (Broadway/Doubleday 2003) and Bringing Music to Life! (GIA, 2009).  Barry’s most recent projects include an eight part video series with co-host Jason Heath called Buckeye Bass Bashes, and a popular video string method called Stringersize, and the formation of the Bass Club Cincinnati that includes programs with local and Internationally known guest artists for the Cincinnati community, For information on Green’s personal appearances, publications and mini-workshops please see his website, www.innergameofmusic.com

 


AUSTA National Touring Artist: Barry Green

AUSTA National Touring Artist 2024

Barry Green

Barry Green (USA), world-class double bassist, best-selling author, and renowned educator, is touring Australia from July to August as AUSTA’s National Touring Artist for 2024.

Double bass virtuoso Barry Green is the author of three bestselling books that explore the philosophy of music, the mind, and spirit: The Inner Game of Music (Doubleday, 1986), The Mastery of Music: Ten Pathways to True Artistry (Broadway/Doubleday, 2003), and Bringing Music to Life (GIA, 2009). He has also written three bass method books, produced numerous solo recordings, and created unique multimedia concert programs.

From July 5 to August 5, Barry Green will conduct workshops, concerts, masterclasses, and more as part of his tour with AUSTA. Green’s workshops engage the audience with lively group exercises and spontaneous coaching of individuals, instantly transforming performers’ concentration from a place of doubt to a state of relaxed focus. This is a unique opportunity to see a master at work, with real engagement that elevates our music from the ordinary to the extraordinary.

Barry Green will also perform his unique and powerful narrated multimedia program, The Four Elements, dedicated to fire, water, air, and earth. This program addresses global warming and aims to empower audiences to appreciate and enrich their lives through these four elements.

AUSTA National President Nicole Strohfeldt says Green’s visit will have a significant impact on Australia’s string community:

“Barry Green is iconic in the music world for a reason. His charisma, expertise, and unbounded optimism are so infectious that just being in the same room makes you want to strive to be better—whether that means being a better musician or just a better human!” – Nicole Strohfeldt

Full dates and details of where you can see Barry Green are available on our website.


About Barry Green

Barry Green

Barry Green, a native Californian, served as Principal Bassist of the Cincinnati Symphony for 28 years. As former Executive Director of the International Society of Bassists, and Formerly professor of bass at The Ohio State University, the University of California Santa Cruz and the University of Cincinnati CCM. Green has also written 3 bass method books and many solo recordings. As a bass soloist, Green has created three multimedia productions called Anna’s Way, Anna’s Gift, and Anna’s Promise composed by Andres Martin and based on inspirational stories for solo bass with combos, bands or orchestra. Green’s latest multimedia concert program is a documentary style concert of Russian music called: Music from Ukraine and a new multi-media narrated program based on the Four Elements: Fire, Water, Air and Earth.

Green is author of three books dealing with the philosophy of music, the mind, body and spirit: The Inner Game of Music (Doubleday, 1986), The Mastery of MusicTen Pathways to True Artistry (Broadway/Doubleday 2003) and Bringing Music to Life! (GIA, 2009).  Barry’s most recent projects include an eight part video series with co-host Jason Heath called Buckeye Bass Bashes, and a popular video string method called Stringersize, and the formation of the Bass Club Cincinnati that includes programs with local and Internationally known guest artists for the Cincinnati community. For information on Green’s personal appearances, publications and mini-workshops please see his website, www.innergameofmusic.com

Barry Green is an AUSTA Patron.


ESTA UK Summer School

ESTA UK Summer School

August 4 – 9 2024

ASTA members, AUSTA members, ESTA members and friends are warmly invited to attend the ESTA UK Summer School. Held at Dean Close School, in the historic English town of Cheltenham, on the edge of the Cotswolds.

Presenters include world class string educators including Steve Bingham, Sarah Crooks, Chris Haigh, Glyn Oxley, Michelle Falcon, James Halsey and Dr Simon Jones. During the week, delegates will learn about klezmer, rock, jazz, technique, baroque style and much more! In addition to playing and learning, Henry George will be leading classes on Alexander Technique and we will be joined by string manufacturers, instrument shops and publishers too.

The week’s cost includes food and accommodation and the full cost starts at £695.00. To find out more and apply, follow this link to our website

Download a Flyer HERE


EBM Coverlink Insurance Partnership

EBM CoverLink offers AUSTA members access to an exclusive insurance offer that applies whether your instrument is at home or in transit. Benefits include:

  • instrument covered whether it is at home or in transit
  • no claim discount (if no claims made during past 3 years)
  • free climatic conditions cover (if instrument is under $100,000)
  • reduced broker fee from $90.00 to $50.00 p/y
  • support in the event of a claim.

Read more about how to access this offer here (please note, you must be logged in to the website and a current member to access this offer.)

For more information contact EBM CoverLink on 1300 761 661 or visit ebmcoverlink.com.au.

*This offer is not available non-members. Terms, conditions, limits and exclusions apply. These are set out in the Product Disclosure Statement (PDS). Please read the PDS to consider whether the insurance is right for you. For more information, please contact us.

ABN 89 659 634 223 | EBM CoverLink Pty Ltd is a Corporate Authorised Representative (AR001297445) of Elkington Bishop Molineaux Pty Ltd


AUSTA 2025 National Conference Questionaire

Dear AUSTA colleagues,

We are excited that our upcoming AUSTA National Conference will be hosted in Sydney, NSW on 11-13th July 2025.

To make this conference inspiring and enlightening we would love to get feedback from you and all AUSTA members through this short 10-minute survey HERE. We want to better understand your needs and your vision for the conference. Each submission will be placed in a lucky draw to win prizes.

Do not miss out on the lucky draw and ensure your feedback reaches us on time by 19th March.

We look forward to reading your feedback and seeing you at the conference next year.

Goetz Richter (NSW Chapter) on behalf of the 2025 National Conference Organising Committee.

Nicole Strohfeldt (AUSTA National President), Lorraine Chai (NSW Chapter), Victoria Jacono-Gilmovich (NSW Chapter), Douglas Glanville (NSW Chapter)


2024 AUSTA Q Events

Save the Dates!

Brisbane Events

SUNDAY 4 FEBRUARY – AUSTA Q Reading Day and AGM

SATURDAY 13 & SUNDAY 14 APRIL – AUSTA Q Mini-Conference

SATURDAY 27 JULY – AUSTA Q Concerto Championship

SUNDAY 28 JULY – AUSTA Q String Festival

SATURDAY 14 & SUNDAY 15 SEPTEMBER – AUSTA Q Professional Weekend

SUNDAY 3 NOVEMBER – AUSTA Q International Reading Day on Zoom

Regional Events 

To be confirmed early 2024


2023 AGM

The Annual General Meeting of the Australian Strings Association Limited (AUSTA) will be held on Thursday November 23 at 8.00 pm Australian Eastern Daylight Time.

Notice is hereby given that the 2023 Annual General Meeting will be held online via Zoom on Thursday November 23 at 8:00 pm ADT.

Members who would like to participate should contact Emily (AUSTA National Administrator) by email admin@austa.asn.au for access to the relevant Zoom links.

The audited financial statements will be made available to members on the website prior to the meeting.

Members who would like to nominate a proxy can use the form below and email it to the National Administrator by Monday 20th November.

Meeting Agenda:

  • President’s Welcome
  • Minutes of the 2022 AGM
  • Reports:
    • President
    • Treasurer
    • Chapter Presidents
    • Stringendo
  • Acceptance of Financial Report and Audit
  • Ratification of Board of Directors
  • Confirmation of Charity Status
  • Other Business

The audited financial statements will be made available to members on the website prior to the meeting.

Download Proxy Form: 2023 AUSTA AGM notice

Download reports from the 2022 meeting: 2022 AGM Reports


SEA Music Academy Online Partnership

AUSTA is pleased to announce a new partnership with Southeast Asia Music Academy Online (SEA Music Academy Online).

The Academy provides a virtual platform for musicians, music teachers, and music students to upskill and expand their horizons, through a varied selection of music courses and classes delivered by award-winning educators. In collaboration with leading partners in the region, we strive to create an online music community in the region, connecting musicians and students of all genres. With lifelong learning as the Academy’s mission, our courses equip learners with valuable skills needed to thrive in an ever-evolving musical landscape — providing access to high-quality music education at affordable rates.

The Great Shutdown of 2020 isolated many of us at the start, but this proved to be but a prelude to new collaborations unfettered by physical borders. The team of the Academy brings together a think tank with experience ranging from music performance to entrepreneurship, with award-winning expertise in music education, and extensive experience in leadership and organisation.

SEA Music Academy Online is offering AUSTA Members a 20% discount on all courses, recordings and the upcoming conference. 

To access this discount, log in to the AUSTA website and visit the page HERE to access your AUSTA Member discount code.

Full information about the Musicverse Conference is HERE.


National Advertising Manager – Job Description

AUSTA is conducting a search to find our new Advertising Manager for Stringendo.

There is an honorarium attached to the position. The person would need to enjoy talking to potential and current advertisers, be reliable, good with deadlines, and able to organise data in Microsoft Excel.

The Advertising Manager’s role is to solicit and liaise with current and potential advertisers for the inclusion of advertising in Stringendo, AUSTA’s twice-yearly published Stringendo Journal. The job is an autonomous one, although reporting to the National Executive Committee and Stringendo team is required.

The Stringendo Journal is published in April and October.

The important time frames for liaising with advertisers in the lead-up to each publication is predominantly four to five months before each journal is published.

More information can be provided if requested.

Please ask any potential candidates to forward their resume to Emily Dittman at admin@austa.asn.au by Friday 24 February 2023.


Tax time stage fright? The ATO can help

Performing Artists:

The Australian Taxation Office (ATO) has put together a range of resources and tips to help you lodge your tax return this year.

  1. Check out the work-related expenses guide for performing artists to find out what you can and can’t claim this year.
  2. COVID-19 has had a big impact on the performing artist industry and as a result you might have a few new and different claims this year. If you’ve received a COVID-19 support payment, remember the tax treatment of these payments varies so make sure you visit the ATO’s quick guide to the tax treatment of the various COVID-19 payments.
  3. Don’t forget, any COVID-19 tests you purchased for work purposes are now tax deductible. You can claim a deduction for any tests you paid for from 1 July 2021 as longs as you:
  • used the test for a work-related purpose
  • had a qualifying COVID-19 test, such as a PCR test or a rapid antigen test
  • have a record of your purchase (you can use to ATO app)
  • were not reimbursed for the cost by your employer.

Finally, if you need help completing and lodging your tax return and your income is around $60,000 or less, you may be eligible for the ATO’s free Tax Help program.

If you need more information, you can find it at ato.gov.au/pa.

Teachers:

Read more about deductions you can claim here.


Book Launch: Molto AUSTA

Molto Austa: a historical overview of the Australian Strings Association

Susan Pierotti

Order your copy now!

Orders close Fri 17/06/22

  • $30 (collect at conference)
  • $45 (posted)

The Australian Strings Association (AUSTA) has a diverse membership of teachers, students, players and makers of stringed instruments.

AUSTA began with a few enthusiastic string teachers at a seminar in 1975. It rapidly developed thriving chapters in all states, delivered workshops and conferences, and organised tours by overseas guest artists and tours overseas by AUSTA members.

It has survived fluctuating membership numbers, financial pressures and the opening and closing of state chapters. Its members have learnt new skills and adapted to modern technology and global virus outbreaks. It has supported remote and regional members. Most of all, it has brought string professionals of all kinds together in a unique collegiate environment. Friendships have been maintained over forty years, and profound respect across many generations.

Using archival materials and live interviews, author Susan Pierotti has assembled a themed history of AUSTA, an association that all its members can be proud of.

Click HERE to order your copy!

Testimonials

An enjoyable and interesting read about the many facets of AUSTA’s past, connecting it with Australian music education’s developments during the 20th century while showing its adaptability and vision for the 21st century. Molto AUSTA and Viva Strings!

– Hamish Paterson, AUSTA Vic President


Molto AUSTA is a captivating read! The enthralling stories of inspiration, engagement and genuine hard work by leaders and members of both the National and State Chapters in developing and maintaining the organisation are beautifully told.

The historical perspective of string teaching in Australia provides a backdrop for the shaping of AUSTA’s purpose and drive, and takes the reader on an insightful journey as descriptions of conferences, meetings and celebrations focussed on promoting the cause of the profession in all corners of the country. It is an important account of Australia’s first and only association for strings and its significant role in supporting teachers, performers and makers across the country.

– Sue Arney, Lecturer in Teacher Education, The University of Melbourne


 


EBM Insurance Partnership

EBM Insurance Partnership

EBM Insurance & Risk is Australian owned and operated and has a dedicated team that supports musicians, dealers, teachers and students with cover for their instruments.

 

AUSTA members can access an exclusive insurance offer from EBM Insurance & Risk.

This offer applies whether your instrument is at home or in transit and includes:

  • no claim discount (if no claims made during past 3 years)
  • free climatic conditions cover (if instrument is under $100,000)
  • reduced broker fee from $90.00 to $50.00 p/y
  • support in the event of a claim.

Read more about how to access this offer here (please note, you must be logged in to the website and a current member to access this offer.)


Viola Resource List

VIOLA RESOURCE LIST for AUSTA NSW presentation,

Disclaimer – this list provides a broad range of resources for teachers and students of viola. It’s possible that this list can also later be able to be made available on the AUSTA and/or the Australian New Zealand viola society websites and updated from time to time. The exclusion of any resource does not imply that it is not recommended. – Helen Tuckey and Robyn Brookfield, October 2021

Download this list here (140KB)

1 Learning the alto clef

Apps

“Tenor Tutor” (Covers Alto Clef as well as Tenor Clef) This App teaches basic note recognition and music theory, using a Flash Card form.

“Flashnote Derby” teaches note reading in any clef. Use settings to adjust to reading capacity of student, can be for any age 3 and up. As well as naming a note by alphabet letter on the screen, users can also develop the ability to find the alto clef note on a virtual piano keyboard, or by playing the note on the viola. Child-friendly and fun presentation.

“Staff Wars” note reading in any clef – teenage and adults, progressively rewards speedy recognition.

Viola theory books

Stringstastic

(an Australian series of books by Lorraine Chai for all strings – see website for resources) – Ensemble series for older students, Mini for younger (contains stickers)

All for Strings Theory Workbooks 1 & 2

(using nomenclature from USA)

2 Technique

Roger Benedict  “Scale Up!” A new scales method for viola. Partitura 2019

Mary Cohen “Viola Quick Change!”  Clef switching for viola made easy. Faber 1996

Freda Dinn “A Viola Method” from the third to the first position. Schott 1975

Simon Fischer “Warming Up” complete warm-up sequence for the viola. FMP 2011

Simon Fischer “Tone” experimenting with proportions on the viola. FMP 2019

Harvey S Whistler “From Violin to Viola” a transitional method. Rubank – Hal Leonard

3 Books

General Reference:

Barrett, H. The viola: Complete guide for teachers and students (Uni of Alabama 1996)

Bynog, David M. Notes for violists: a guide to the repertoire OUP 2021

Dolejší, Robert Modern Viola Technique. DaCapo Press (1939) ISBN 0-306-70552-4

Yehudi Menuhin and William Primrose Violin and Viola. Macdonald and Janes ISBN 0 356 047164

Nelson, S. The violin and the viola (London, Benn 1972)

Riley, Maurice The History of the Viola (2 volumes, out of print, second hand or library copies)

 

Violist autobiographies

Emma Ayres  “Cadence” Travels with Music – A memoir. ABC Books 2014
ABC journalist, broadcaster and one time professional violist in Hong Kong Philharmonic Orchestra

William Primrose “Walk on the North Side. Memoirs of a violist” ISBN 0-8425-1813-2

Lionel Tertis “Cinderella no more” Published by Peter Nevill Ltd (1953)

Lionel Tertis “My Viola and I. A complete Autobiography. With Beauty of Tone in String Playing and other essays” Paul Elek London 1974 ISBN  0 236 31040 2

Bernard Zaslav. “The viola in my life. An alto rhapsody” (Book and CD) ISBN 978-0-8314-0096-5

 

Violist biographies

Lillian Fuchs – Amédée Daryl Williams “First lady of the viola” ISBN 0-595-30957-7

William Primrose “Playing the Viola. Conversations with William Primrose” David Dalton OUP ISBN 0-19-816 195-6

Lionel Tertis “The First Great Virtuoso of the Viola – Lionel Tertis” by John White ISBN 184383278X 9 781843 832782

 

4 Graded Repertoire Books (sheet music)

AMEB Viola Repertoire Books (Preliminary to Grade 6)    Published AMEB
A New Tune a Day for Viola   Boston Music Company

A New Tune a Day Performance Pieces for Viola Boston Music Company

My First Pieces, My Next Pieces. Stephen Chin. Everything String.

Royal Conservatory Viola Series (Frederick Harris Music, Canada)

Levels P – 8 repertoire books with CDs, plus books of grade etudes, technique and orchestral excerpts)
Suzuki Viola School  (9 Volumes)  Summy-Birchard
Solos for Young Violists. Barbara Barber (5 Volumes) Summy-Birchard

 

5 Sight Reading

Improve your Sight Reading for Viola Grades 1- 5  Paul Harris  Faber Music

Viola Sight-Reading 1 & 2 Kember & Wilkinson Schott

Treble Clef for Violists (reading studies integrating both clefs) Elizabeth Stuen-Walker

Many method books and pop albums for viola come in many genres with backing tracks that are great for sight reading practice. The Vamoosh! books by Thomas Gregory are a good example.

A website for practice samples at all levels is https://www.sightreadingfactory.com/

 

6 Studies and Etudes written originally for viola from many eras:

(additionally, many violin study resources are also transcribed for viola)

Atar Arad 12 Caprices

Bruni 25 Studies
Campagnoli 41 Caprices
Lillian Fuchs 15 Characteristic Studies, 16 Fantasy Etudes, 12 Caprices
Hoffmeister  12 Etudes
Michael Kimber – numerous, see his website

Palashko 12 Studies op 55

Jorge Variego 18 + 3, see his website

Maurice Vieux

20 Études, 10 Études sur les traits d’orchestre, 10 Études sur les intervalles

 

7 Viola websites:

https://www.anzvs.com/

http://www.americanviolasociety.org/

https://www.britishviolasociety.co.uk/

https://imslp.org/wiki/Category:For_viola

https://www.violaonline.com/violabasics.htm

Send email to helenvla@bigpond.net.au with your name, mobile phone number and state to join Helen’s independent Australia/New Zealand viola email list

 

8 List of violists:

https://en.wikipedia.org/wiki/List_of_violists

 

9 Contemporary violists websites – violists who perform, compose and more:

http://marthamooke.com/

http://thatviolakid.com/

http://www.garthknox.org/

http://m_kimber.tripod.com/mkmusic.html

http://atararad.com/

https://giuranna.it/en/

 

10 Repertoire resources

(In addition to the wonderful historic resources on imslp, it’s important to support composers and publishers of contemporary music. Examination bodies such as AMEB and ABRSM, education organisations and some viola society sites also have graded repertoire lists.)

The Australian Music Centre

https://www.australianmusiccentre.com.au/ish/viola-music

Primrose International Viola Archive:

https://lib.byu.edu/services/primrose-international-viola-archive/

American Viola society:

http://www.americanviolasociety.org/

VlaTutti – some free and some paid fascinating viola resources

https://www.vlatutti.com/

New England fiddle tunes for viola (free):

https://thesession.org/discussions/44482

Gems Music Publications:

https://www.gemsmusicpublications.com/

Viola World Publications:

https://www.violaworldpublications.com/

Absolute Zero Viola Quartet:

https://absolutezeroviola4.com/

 

A bouquet of viola listening links:

https://www.youtube.com/watch?v=nz4N3vlCu9E&ab_channel=PeterBarsony

https://www.youtube.com/watch?v=a74-iXLceo4&ab_channel=violim

https://www.youtube.com/watch?v=CWIQcZHFVng&ab_channel=MaximRysanov

https://www.youtube.com/watch?v=bNHtnGjKRj0&ab_channel=AndrewToovey

https://www.youtube.com/watch?v=YkwTSSkEHko&ab_channel=evolvingstring

https://www.youtube.com/watch?v=I5uAvTRGnss&ab_channel=JeremyGreen

https://www.youtube.com/watch?v=bH7BBg0tjxQ&ab_channel=MichaelStanley

https://www.youtube.com/watch?v=lYKemw1_qV8&ab_channel=AveryFisherArtistProgram

https://www.youtube.com/watch?v=L9UJMVfI20c&ab_channel=WQXR

https://www.youtube.com/watch?v=_-BrOGirXh4&ab_channel=ChroniclerofAncientSunlight


AUSTA WA Facebook Group

In addition to the AUSTA WA Facebook page, (which is largely for AUSTA events, member news and opportunities posted by AUSTA Social Media managers) we have started a page AUSTA WA Group which is for members of the group and others to post freely in regard to anything of interest to the string community.  All responsibility lies with those who post and is not the responsibility of AUSTA WA.


AUSTA WA Group page

In addition to the AUSTA WA Facebook page, we have started a page AUSTA WA Group which is for members of the group and others to post freely in regard to anything of interest to the string community.  All responsibility lies with those who post and is not the responsibility of AUSTA WA.


Barry Green – 2021 International Presenter – Rescheduled Australian Tour. CANCELLED

AUSTA is sad to announce that is has made the decision to CANCEL the 2021 tour of Barry Green. This difficult decision was made due to continuing difficult travel conditions.

Barry Green served as Principal Bassist of the Cincinnati Symphony for 28 years. He is a former Executive Director of the International Society of Bassists, and currently teaches at The Ohio State University and at high schools in Cincinnati. Green has been a professor of bass at U. of Calif. Santa Cruz and U. of Cincinnati CCM and has written 3 bass method books and many solo recordings. As a bass soloist, Green has created three new multimedia productions called Anna’s Way, from Inspiration to Artistry, Anna’s Gift, the Way of Passion, and Anna’s Promise. These unique hour-long productions are for solo bass, narration with background visuals and have been performed internationally in combo version as well as with full concert band and orchestra.

Green is author of three books dealing with the philosophy of music, the mind, body and spirit: The Inner Game of Music (Doubleday, 1986), The Mastery of Music, Ten Pathways to True Artistry (Broadway/Doubleday 2003) and Bringing Music to Life! (GIA, 2009).  Green has collaborated with renown music educator Bob Gillespie on a unique string exercises program sets to  popular music grooves and videos called Stringersize. 

The program will be introduced at the Chicago Mid-West Band and Orchestra festival in December 2019 and during his May 2020 national tour of Australia sponsored by the Australian Strings Association. 


DON’T FORGET TO REGISTER!

ANAM Faculty member Karen Kyriakou presents a practical PD session for instrumental teachers of all instruments who teach groups or direct ensembles. The session will be held at the Dudley Clarke Performing Arts Centre, Hutchins School Hobart


The National Conference dates moved to Friday 1 July – Monday 4 July 2022

After much discussion, the National Executive has decided to delay the next National Conference to 2022.

This gives time for us to better understand what the future of conferences and large gatherings will be, and to work safely with our sponsors, international presenters and of course our members, in order to provide the best conference under whatever circumstances may be at play.

The conference will be held in Melbourne and the dates have been confirmed as Friday July 1 – Monday July 4, 2022.

Please make a note in your forward planner, and we look forward to seeing you there.


See the AUSTA WA Calendar on your iPad or iPhone Calendar app

On an Apple Computer in Calendar

File > New Calendar Subscription

Copy and paste this link

 

In the iPhone Calendar app:

Tap Calendars (centre of bottom line)

Add Calendar (bottom left)>Add Subscription Calendar

Copy and paste this link


AUSTA VIC – 40 Years of Newsletters

The first AUSTA VIC Newsletter was published at the end of


AUSTA VIC – Card Payments

Did you know that AUSTA VIC can now accept card payments at our events?


North Qld Celebration of Strings

Celebration of Strings 2018

5 Exciting Orchestras!

Workshops Friday 19


AUSTA WA Calendar

View the calendar of string events in WA

 


AUSTA Patron Richard Gill Honoured

AUSTA patron Richard Gill has recently received an Arts Leadership Award.

Angus McPherson’s article, recently published in Limelight


Conference Session Notes

Notes from the National Conference Sessions are being updated progressively.

New today, session notes for the Violin Forums (1.5 & 2.5) and the Set UP For Success Forum (3.4).

Go to the Interactive Program to link to the notes.


AUSTA ACT Report

We have had a fairly quiet start to the year with just one event so far. We held a Bowing Workshop with Rosemary Macphail presenting a session called


AUSTA Tasmania – upcoming events

AUSTA Tasmania has the following events planned for the coming months.

As registrations open, they will be published under events.


Events

No State found. Unable to provide calendar.