Debate
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Premium ❘ FocusOpinion: Intelligent approaches to the bow in orchestral playing
The default for many orchestral string players is to use as much bow as possible to achieve maximum projection. Violinist Alexandra Gorski argues that a more thoughtful approach is necessary
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Premium ❘ FocusOpinion: Becoming a ‘bowist’
Violinist and teacher Alun Thomas explains why, when working on our technique and expression, string players should focus much more attention to the right arm than we might at first imagine
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Premium ❘ FocusOpinion: The importance of repetition in teaching
In the practice of teaching, the value and beauty of repetition must always be encouraged, says violinist and pioneering Suzuki pedagogue Helen Brunner
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Premium ❘ FocusOpinion: Embracing diversity in string teaching
Having made the difficult journey from an unbending conservatoire education to a fulfilling career playing and teaching non-classical styles, French violinist Scott Tixier says it’s essential to embrace diversity in music education
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Premium ❘ FocusOpinion: Making the most out of chamber music coaching
Playing chamber music well is the most valuable, and demanding, lesson for both string students and their teachers, says cellist David Finckel. He shares his own wealth of experience for making the most of coaching sessions
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Premium ❘ FocusOpinion: Solving issues with your students’ parents over coffee
When issues arise that aren’t easily solved during lesson time, cellist and teacher Naomi Yandell finds that taking a pupil’s parent or guardian out for a coffee and a chat on neutral territory can be time well spent
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Premium ❘ FocusOpinion: Practising scales in sequential order
While most string players agree that scales and arpeggios are the basic building blocks for good technique, cellist Robert Jesselson says that it’s essential to practise them sequentially to gain the maximum benefit
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Premium ❘ FocusOpinion: Avoid overloading students with information
Double bassist Alex Ferkey believes that young string players are often derailed by information overload, and should trust more in unconscious processes when trying to perfect their technique
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Premium ❘ FocusOpinion: Mass discardment of cheap bows
Cellist Andrew Janss was shocked to discover the phenomenon of the cheap, single-use bow: one that costs more to rehair than replace. He calls for a change in manufacturers’ attitudes to such waste
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Premium ❘ FocusOpinion: Criticism in teaching
Cellist and teacher Naomi Yandell explores the fine line between nagging and getting a point across by reminder and reinforcement, and suggests that a less verbal approach can often yield good results
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Premium ❘ FocusOpinion: Adjusting instrument necks for teenage players’ growing hands
Bow maker Bernd Müsing believes that widening violin and viola necks could help young players, especially teenage boys, who find that there is no longer enough space between the strings for their growing fingertips
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Premium ❘ FocusOpinion: How improvisation can help with perfectionism
Having discovered a love of improvisation during the pandemic, cellist Simone Seales believes that the practice can free classically trained musicians from a typically unhealthy fear of imperfection
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Premium ❘ FocusOpinion: The benefits of rest for students
Cellist and teacher Naomi Yandell is often pleasantly surprised at how much progress can be made by students during a break from lessons
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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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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
