All Feature articles
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FeatureHow to shift correctly on the violin
What tips do the great pedagogues and players offer for getting around the instrument? Rok Klopčič looks at a fundamental aspect of playing: change of position. From August 2004
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In Focus: a 1682 violin by Nicolò Amati
Precision and elegance abound in this grand pattern Amati once owned by the Italian virtuoso Spagnoletti, writes Christopher Reuning
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Sentimental Work: Amanda Forsyth
For the Canadian cellist, Richard Strauss’s Don Quixote is a rollercoaster ride through all the composer’s Romantic works, as well as a huge physical challenge
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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
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Leonard Rose: All about the bow
American cellist Leonard Rose was a consummate performer and pedagogue, whose velvety tone was the result of complete mastery of the bow arm. Oskar Falta explores some of his bowing theories and speaks to former students about his teaching techniques. From November 2020
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Ask the Experts: how to correct a violin bridge position
Three top luthiers answers a reader's query on preserving the correct instrument geometry after changing strings, in this feature from 2014
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Professor Ševčík addresses Strad readers
The Czech violinist and influential teacher passes on words of wisdom to readers of The Strad in February 1912
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How to help music students with sightreading
If your students only brush up their sightreading at exam time, they're missing out on an important part of music making
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Sentimental Work: Boris Kuschnir on Mozart Violin Concerto no.4
For the Austrian violinist, Mozart’s Violin Concerto no.4 in D major K218 brings back fond memories of David Oistrakh – and a less salubrious recollection of the Tibor Varga Competition. From the October 2019 issue
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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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From 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 ...
