All Feature articles
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FeatureFrom the archive: Interpreting ‘I Got Rhythm’
Practical steps towards improvising like the greats on one of jazz’s most frequently performed progressions. Taken from the April 2011 issue
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From the Archive: String players should concentrate equally on the right and left hands
Performers often concentrate their attention on the dexterity of the left hand to detriment of the right hand and bowing arm. Louis Kievman advocates a healthy balance. Taken from the January 1986 issue
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Masterclass: Bow techniques for jazz bass
Bassist with the WDR Big Band in Cologne, Germany, and author of Jazz Bowing Techniques For The Improving Bassist and The Jazz Bass Book. Taken from the June 2009 issue
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How to use your left hand in non-classical violin playing
Understand the use of touch in your playing and you’ll be well on your way to finding the best approach for non-classical styles, explains Julie Lyonn Liberman
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Masterclass: Jazz style and technique for violinists
Taking time to explore a tune from all angles helps the player to perform it. Jazz violinist Chris Garrick takes bebop favourite Donna Lee and works from the bottom up. Taken from the September 2007 issue
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Masterclass: Jazz bowings on the violin
Do you sound uninspired when you try alternative styles? How should you interpret the printed notes? Julie Lyonn Lieberman reads between the lines to bring life to your right hand Taken from the April 2005 issue
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Masterclass: Right and left-hand touch in non-classical violin playing
Understand the use of touch in your playing and you’ll be well on your way to finding the best approach for non-classical styles, explains Julie Lyonn Liberman Taken from the October 2005 issue
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6 ways to improve left-hand flexibility
Tips from The Strad’s archive on increasing suppleness of movement and reducing tension
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Strength in Diversity: Minorities in US Orchestras
Half a century has passed since the New York Philharmonic hired its first black musician, and yet the percentage of black and Latino players in top US orchestras remains woefully low. Vivien Schweitzer reports on the organisations taking action towards greater inclusivity Taken from the November 2014 issue ...
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Accessories 2021: Covid-19 Safety for Orchestras – Playing Safe
Orchestras are among the musical ensembles to have suffered most during the pandemic. Pauline Harding finds out how some have been adapting their outlooks, products and processes in this new era of germ evasion and online streaming
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Accessories 2021: Low-latency Performance Technology – Adventures in Time and Space
The internet has been a lifeline for musicians in the pandemic, but latency – the delay as sound data is processed and transmitted – is a killer for those wanting to perform together in real time. Tom Stewart finds out how teaching institutions are fighting back with technology that can ...
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Accessories 2021: Teaching Online – Amplified Learning
Coronavirus has upended the lives and livelihoods of musicians around the globe – and one consequence has been the rapid growth of online instrumental teaching. Charlotte Smith looks at ways in which dedicated technology can enhance the experience without breaking the bank
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Accessories 2021: Case Innovations – Structural Revolution
In a quest to make instrument cases stronger, lighter and more sustainable, manufacturers are finding new ways of working with polycarbonate, Kevlar, recycled carbon fibre and even linen, writes Harry White
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Accessories 2021: Packaging and Shipping a Violin
A method for sending instruments long distances, giving the smallest possibility of damage to the package’s contents
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Accessories 2021: Tailpieces and Chin Rests – Sound Unlimited
Makers of chin rests and tailpieces have adopted new and exciting materials in recent years, with interesting implications not only for weight and strength, but also for the instrument’s tonal capabilities. Peter Somerford investigates
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Sentimental Work: François Rabbath
Performing Bach’s Cello Suites on the double bass was unheard of when the 90-year-old bassist was starting out – but now they’re almost considered standard repertoire
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Sentimental Work: Daniel Hope
Schnittke’s First Violin Sonata was the Irish–German violinist’s introduction to the composer’s work – as well as the perfect opening to meet the composer himself
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Sentimental Work: Amit Peled
Bloch’s Prayer was the Israeli–American cellist’s entry to understanding Jewish music – and in fact provides a perfect example of ‘the Jewish sonata form’
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Sentimental Work: Camille Thomas
The Franco-Belgian cellist gave an impassioned premiere performance of Fazil Say’s cello concerto ‘Never Give Up’ in 2018, and has now recorded the piece for Deutsche Grammophon
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String Recycling: New Life from Old Strings
The structure and shape of strings make them difficult and costly to recycle. But that hasn’t stopped some manufacturers from tackling the challenge, and even extracting metal from old strings to use in new ones, writes Tom Stewart
