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Early vibrato was one aspect of a vastly different sound world
A response to Beverly Jerold’s article 'Did early string players use continuous vibrato?' by Kevin Class
Why can't players get vibrato right?
Vibrating need not compromise purity of tone if it's done tastefully, says Tully Potter, who takes to task those who overplay, misplay or completely disown it
Historically informed performance on modern instruments is misguided
Historically informed performance is all well and good, argues Julian Haylock, but continuing to play on modern instruments just results in the worst of both worlds
Young musicians too often make musical decisions based on impressing the listener
As artists grow older they hear more in the music, says Orion Quartet violist Steven Tenenbom, who urges younger musicians to learn as much as they can from their mentors – and delve deeper into the music themselves
How should string teachers approach an advanced adult pupil?
Understanding the physique and psyche of a new adult pupil should not be taken lightly, writes Pauline Harding
Sound quality should be the main focus of string teaching
Young students improve when they learn to listen to themselves, says Royal Northern College of Music senior lecturer in music education Philippa Bunting
Young students must learn to listen if they are to practise effectively
String students who struggle in the early stages of learning often don't know how to listen. Patiently help them to train their ears, says Peter Quantrill, and practice sessions will become ever more fulfilling
Should music tuition revolve around passing exams?
Toby Deller argues that young players should be inspired by fulfilling experiences
