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Playing
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Opinion: 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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Opinion: 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
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
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
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
Premium ❘ FocusOpinion: AI vs live performance?
Even with the proliferation of technology such as generative AI in the music industry, violist Toby Deller believes there will always be a strong human need to experience live performance
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
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
Premium ❘ FocusOpinion: Independence of the left-hand thumb
To free up left-hand technique, violinist and teacher Martin Goldman encourages players to think more carefully about their thumb as an independent entity, yet still in close partnership with the four fingers
Premium ❘ FocusOpinion: why don’t string players practice pizzicato?
Perfecting bowing is a lifelong quest for string players – but what about pizzicato? Cellist Davina Shum advocates setting aside some dedicated practice time to this neglected technique
Premium ❘ FocusOpinion: The benefits and challenges of playing at the back of the section
While the musicians at the front of an orchestral string section might be in the spotlight, every string player should experience the unique challenges of sitting towards the back, says violinist Alexandra Gorski
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
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
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
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
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
Premium ❘ FocusOpinion: EFT for performance anxiety
Violinist Jenny Clift struggled with performance anxiety until she discovered an unusual therapeutic technique
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
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
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
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
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
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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