All Debate articles
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Premium ❘ FocusOpinion: Flexibility in orchestral playing
Violinist Alexandra Gorski argues that an orchestra’s greatest asset is not power or accuracy; rather the ability to adapt seamlessly to every style of music and manner of conductor
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Premium ❘ FocusOpinion: The importance (and difficulty) of playing softly
As string players, we are often encouraged to make a big sound, but cellist Davina Shum believes that the art of playing quietly is an underrated one
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Premium ❘ FocusOpinion: EFT for performance anxiety
Violinist Jenny Clift struggled with performance anxiety until she discovered an unusual therapeutic technique
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Premium ❘ FocusOpinion: Rethinking Beethoven’s String Quartet op.135
Norman Werbner argues an intriguing case for a different way of performing Beethoven’s String Quartet op.135
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Premium ❘ FocusOpinion: The pros and cons of backing tracks
Naomi Yandell argues that while backing tracks are a useful learning tool, they create an experience gap that needs bridging
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Premium ❘ FocusOpinion: A case for depping
The art of deputising may be one of the scariest things a musician can do, but it’s a skill that can benefit all players, says cellist Davina Shum
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DebateOpinion: The Wisdom of Yoda
In the Star Wars universe, Jedi Master Yoda is the ultimate teacher – and his insights can be applied just as readily to string playing as to learning the ways of the Force, writes cellist Brian Hodges
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FocusOpinion: Jedi Wisdom for string playing
In the second of his articles, mining the wisdom of the Star Wars universe, cellist Brian Hodges explains how the teachings of the Jedi can be applied to string playing
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Premium ❘ FocusOpinion: French or German bass bow hold?
Rodrigo Moro Martín, the London Symphony Orchestra’s new principal double bass, argues that the two tribes who favour French and German bow holds should coexist in perfect harmony
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Premium ❘ FocusOpinion: Are regional differences in orchestral tuning really necessary?
Historically, orchestras have tuned to slightly different versions of the note A. Thomas Eisner wonders whether such gradations really matter
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Premium ❘ Focus‘The violin concerto lives again’ - Opinion
Are we witnessing a golden age for new violin concertos, or simply too much of a good thing?
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Premium ❘ Focus‘Cut the Stradivari cord’ - Opinion
Luthier Paris Andrew argues that, rather than copying Antonio Stradivari models, makers should study other beautiful instruments that exist
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Premium ❘ FocusOpinion: how chamber music develops communication and listening skills
Violist Rosalind Ventris shares her experience of the transformative power of playing chamber music
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Premium ❘ FocusOpinion: How teachers can help students deal with feelings of futility and despair
Neesa Sunar explores how teachers can call on their own experience to help pupils struggling with feelings of sadness or futility
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Premium ❘ FocusOpinion: Does an orchestra’s home hall define its sound?
Edwin Barker, principal double bass of the Boston Symphony, argues that an orchestra’s ‘home’ concert hall shapes the unique character of the ensemble
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Premium ❘ FocusOpinion: How learning a language can inform musical practice
Naomi Yandell’s efforts to learn a language using Duolingo have inspired her to rethink the way she teaches her own students, particularly with regard to repetitive practice
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DebateSlow practice should be used only when needed as a learning tool
Are you wasting your time? As musicians we should be doing more to question the standard warm-up and practice regimes, writes violist Paul Neubauer
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Premium ❘ FocusOpinion: A teenage cellist on spreading the love for classical music
Megan Clarke, a 16-year-old cellist in the National Youth Orchestra, is on a mission to communicate her love of classical music to other young people
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Blogs9 tips on playing the Ravel and Debussy quartets
Franck Chevalier, viola player of the Quatuor Diotima, gives advice on how to approach the most celebrated French additions to the quartet repertoire
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Premium ❘ FocusOpinion: Playing by numbers
In theory, it is possible for a student to gain their ABRSM Grade 8 having only learnt 24 pieces in their life. Davina Shum argues that such a quantified approach to learning is no way to become a rounded musician