• Download the price list and order form as a 'Word' document. Fill in the quantity, fill in the total price and your details, including your order number ; attach and email to sales@fiddlinphil.com We will dispatch and invoice your accounts department. We will try to fill your order as quickly as possible and you should receive it within 5 working days. In the case of large bulk orders, it might be a few days longer,depending on stock, but we will notify you when it is dispatched. In the case of urgent orders, (we know what it is like to have to lay your hands on something quickly - eg eisteddfod) we can arrange to dispatch 'express'.
  

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• Q: "I am not actually looking for a Strings Teaching Method - I just want some exciting Ensemble Music for my students/classes" A: Within the 'Fiddlin' Phil Strings Method', almost ALL of the pieces can be used for ensemble performance, using a clever combination of open string, ensemble and melody parts between the violin, viola, cello & double bass books. 'The Windy Day Concerto', 'Autumn' & 'Eine Kleine Nachtmusic' (and many others) are particularly suitable for ensemble performance at your school open day, speech night, awards assembly etc. If you use the 'Fiddlin' Phil Strings Method' for your class/instrumental program then you almost straight-away have an inclusive and motivational string orchestra in your school - The 'Classic Music Set' and 'Folk Music Set - Celtic' can also be purchased in class packs and ensemble packs for quick and easy formation of exciting new ensembles in your school and/or music class.
• Q: I already have my own strings method - my strings teacher writes his/her own music. What would the FPSM do for my students? A: Fair enough - your strings teacher may well write excellent music but all 4 of the students books in the FPSM work together in nearly ALL pieces, so that even in a class of 30, classroom management is easier, a school ensemble can be formed from your class/instrumental program. Also, the backing CD's are included in ALL books, violin, viola, cello and double bass - featuring real instruments and real musicians. The students are motivated to practise their instrument at home. The Teacher's Handbook is cross referenced to the student workbooks with Listening Examples as well as theory worksheets, composition lessons and a very complete teaching program - this complete method is compliant with a number of Australian and International Music Syllabi.
• Q: When it comes to Classical or Folk Music, isn't this music public domain? Can't I just photocopy or download it? A: Interesting question - and many teachers and students do not understand intellectual property and copyright law. If you were to listen to a Beethoven String Quartet or Irish Folk Melody, notate the tune your self, then make your own arrangement and backing tracks, then this would not be a breach: in fact, you would own the copyright on that arrangement, BUT if you find someone else's arrangement and/or backing track on the internet or in a book and just copy it and call it your own, then this is a very serious breach of copyright. ALL Fiddlin' Phil publications are checked and are original arrangements and we produce our own backing tracks. In the event that we arrange someone else's music, such as a Jazz Standard, which is still in copyright, then we must seek the permission and pay the appropriate license to the owner of that work.
  
• Q: I do not like my beginner students to use the bow immediately or to use left hand fingers straight away. A: and you would be very right to be so careful in teaching correct technique at the correct time to your students. The FPSM is simply a smorgasbord of teaching resources, motivational pieces of music and ideas for creating original music and experiencing music of different cultures. It does not specify to the teacher when the student should use the bow or play a scale - rather: every piece of music and exercise has at least 2, sometimes 3 different levels of difficulty. In the large class situation, it is possible for a student who is inexperienced and challenged by string playing, to play open strings with the backing track right through to the end of the book - or for experienced and more able students to play the melody part right from the beginning. It is up to the teacher to adapt and use lesson ideas and pieces in interesting ways - with the view that 'no child should feel that they have failed in music making' and to quote my good friend, Ann Carr-Boyd "Always be enthusiastic about what you do, and never be afraid to be imaginative".