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Playing
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Opinion: Period instruments aren’t just specialist tools
Benjamin Shute questions our assumptions about contemporary instrument set‑up and the idea that period instruments are merely specialist equipment
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Opinion: Finding creativity in scales
Love them or hate them, scales are at the heart of string training. Violinist and teacher Mark Knight examines why, when approached correctly, they are the gateway to a world of expressive freedom
Premium ❘ FocusOpinion: Why students should rehearse with musicians other than their teachers
Cellist and teacher Naomi Yandell highlights how valuable and insightful it can be for string students to rehearse with a musician outside of their teacher – especially a pianist
Premium ❘ FocusOpinion: why string players should pay attention to large muscle groups
Fleet fingers may be the ultimate goal for string players, but it’s the larger muscle groups that form the foundations of solid technique, says cellist Davina Shum
Premium ❘ FocusOpinion: SongHa Choi on ‘aura’ in live performance
In an age of instant digital access to recorded music, violinist SongHa Choi still believes that nothing can compare to the experience of a live performance
Premium ❘ FocusOpinion: Creating a musical environment
Suzuki pedagogue Helen Brunner considers the importance of preparing the environment for young learners, and why we should surround our children with music from the start
Premium ❘ FocusOpinion: How a performing career and teaching work hand in hand
Can performers sustain their own careers while also teaching students at a high level? Violinist Irina Rostomashvili believes it is not only possible, but essential
Premium ❘ FocusOpinion: Duets as a teaching tool
Cellist and teacher Naomi Yandell outlines the reasons why duet playing is an essential tool in one-to-one instrumental teaching
BlogsWhy you should stop and think before you play
Violinist and Suzuki pedagogue Helen Brunner advocates for a thoughtful, step-by-step approach to practice
Premium ❘ FocusOpinion: How to navigate competitions
Lucie Robert, violinist and professor at the Manhattan School of Music, offers sage advice to young string players planning to step on to the competition path
Premium ❘ FocusOpinion: The dangers of perfectionism
In striving to become the best player or educator you can be, it’s important not to fall into the trap of unhelpful perfectionism, say violinists and teachers Claire Allen and Christine Goodner
Premium ❘ FocusOpinion: Strategies for coming back to your instrument
Returning to your instrument after a long break can be dispiriting, says cellist Davina Shum, but it’s important to take it by degrees, have faith in your ability and trust the process
Premium ❘ FocusOpinion: The future of lutherie after the Newark School’s course cancellations
News came in May that the Newark School of Violin Making is withdrawing its degree-level courses. Helen Michetschläger, who trained at the school, says what this might mean for the future of lutherie worldwide
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
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
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
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