Stringing Along, Level 1: Viola Book

Stoutamire and Henderson created viola parts that sit comfortably in beginning range while giving violists substantial musical material, not just filler underneath the violins. The harmonized arrangements mean violas hear themselves as essential voices shaping the sound, which builds confidence and ensemble awareness from day one.

Warm and accessible. These pieces celebrate straightforward melodies and full harmonic writing without asking for technical virtuosity. A student sight-reading from this book encounters music that sounds complete and musical from page one, building immediate satisfaction in ensemble playing.

Violists in their first year of instruction or first year in a beginning string orchestra. This book works for any program using Stringing Along for the complete ensemble, whether in schools or community settings.

• Balance your tone with the first violins and second violins rather than playing underneath them; your part carries harmonic weight and deserves equal voice.
• Use consistent bow distribution across quarter-note phrases to avoid rushes; this collection rewards steady, even time-keeping from all string sections.
• Listen for moments where your line doubles or supports a melody in another section, and match that player's vibrato and articulation to blend the texture.
• Practice the viola-cello-bass line as a unit during sectional rehearsals; these pieces rely on lower-voice clarity and intonation to support the arrangement's fullness.

Use this throughout the first year of string instruction alongside the corresponding parts for other strings and piano-conductor. Program selections as concert pieces or use them as sight-reading material in sectional rehearsals. The full-sounding arrangements work well for family concerts and school assemblies where you want young players to sound polished.

• Reading viola clef with consistency across varied note positions
• Playing sustained whole notes and half notes with stable intonation
• Matching bow speed and weight to ensemble colleagues' tone quality
• Recognizing harmonic function (supporting role, melody-shadowing, bass line anchoring)
• Following a conductor through simple phrase structures and tempo changes
• Coordinating with cello and bass to establish ensemble foundation