All Bowing DO NOT USE articles – Page 2
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Conductor Manfred Honeck on achieving his orchestral string sound
Music director Manfred Honeck has brought a distinctly European flavour to the Pittsburgh Symphony. Gavin Dixon asked him how his time as a violist in the Vienna Philharmonic helped him to become the conductor he is today…
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Technique: Teaching rhythm and bowing to beginners
How to inspire very young musicians to learn new cello playing skills
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Performing entirely by reflex, by cellist Leonid Gorokhov
The Russian musician and Hochschule für Musik und Theater, Hannover professor describes how he trains himself to transcend the physical restraints of playing
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How to play with a flexible bowing arm by cellist Gary Hoffman
The American musician explains how he developed a supple and varied bow arm motion, guided by his ear and musical instinct
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Technique: Sautillé
Tips to help you master a bow stroke vital for making a good impression at any orchestral audition
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Ask the Experts: should players separate technique and musicality in practice?
A violinist asks if players should separate technique and musicality when preparing a piece for a performance, and if there is a strategy that can help combat performance nerves
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'Every bow movement should be calculated' - Aaron Rosand
The American maestro discusses the need for relaxation and finesse for good tone production in a 2007 article for The Strad
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Quick exercises to improve string playing technique
Bruno Giuranna, Mimi Zweig, Bonnie Hampton and Boris Kuschnir reveal their secret teaching weapons
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None of my teachers were any good at explaining technique - Ruggiero Ricci
Celebrating his 90th birthday in July 2008, the legendary violinist looked back at his teaching influences and revealed that he was largely self-taught
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Technique: Walking bass
Essential foundations for producing a jazz bass-line with good sound, rhythm and harmony
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Émile Sauret, moderation and the ‘saccade’ bow stroke
As Nazrin Rashidova continues her recorded exploration of Sauret’s Études-Caprices played on his own Stradivari, she contemplates an unusual technical challenge
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Ask the Experts: purchasing the right Baroque bow
A trio of Baroque bow makers give their thoughts on what to look for when making the leap into historically informed playing
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Turtle Island Quartet techniques: chop, slide and hickety mute
Members of the genre-crossing ensemble share some of the unusual techniques they use to give them their unique sound
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From the archive: Technique or tone?
This article from The Strad, September 1954, argues that the trend among students of pursuing mechanical brilliance at the expense of beauty of tone is misguided
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Isabelle Faust on how playing period instruments has improved her bowing
Our January 2019 issue cover star on bringing her unusually active and flexible right arm technique to bear with a classical Tourte bow and the ‘Sleeping Beauty’ Strad
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Pinky promise: the Pinky Hold bowing aid
By helping to anchor a student’s little finger in place on the heel of their bow, the Pinky Hold is designed to avoid stiffness and encourage the development of muscle memory. Made of soft, hypoallergenic silicone and available in a range of colours, it weighs 3g and ...
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6 tips for smooth bow changes
Advice on smooth and inaudible bow changes at the tip and the heel from The Strad's archives
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10 ways to avoid tension in your playing
Advice on how to be flexible and relaxed as a string player from 120 years of The Strad
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Ask the Experts: how to eliminate tension in the bow arm and hand
Three teachers give their thoughts on eliminating right hand, arm and shoulder tension in a young student
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Joshua Bell: Don't impose bowings and fingerings on your students
There is no ‘one size fits all’, argues the American violinist. It is important to discuss why students chose their fingerings and why there may be better alternatives