All Focus articles – Page 33
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Focus5 views on playing the perfect harmonic
Learning how to do harmonics properly is invaluable to a player’s left hand, bow arm and intonation – as the following tips from The Strad's archive demonstrate.
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FocusMost early American violin makers had no formal training
An astonishing number of early US makers approached the craft with nothing other than skill with woodworking tools, writes Philip Kass
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FocusAsk the Experts: how to cure a locked left-hand fourth finger
Strad readers submit their problems and queries about string playing, teaching or making to a panel of experts
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Premium ❘ FocusViolinist Ida Haendel on Bach's Chaconne
The great performer and teacher offered her insights into the work in The Strad's May 2010 issue
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FocusEvery violinist must develop an individual voice, says Aaron Rosand
The American maestro discusses the importance of developing a distinctive tone
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FocusThe wisdom of Galamian: 'You do it my way and then you can do it how you want'
Former Guildhall School of Music and Drama violin teacher Pauline Scott remembers her lessons with the great pedagogue
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FocusWe do not believe in a Czech tradition of playing, says the Pavel Haas Quartet
Despite specialising in the music of their homeland, the quartet’s members believe there is more to understanding this repertoire than a shared language and culture
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FocusAsk the Experts: how to combat unravelling strings
Strad readers submit their problems and queries about string playing, teaching or making to a panel of experts
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FocusLeft-hand pivots and the crab fingering system with bassist François Rabbath
The French soloist and teacher advises on how to improve intonation and dexterity on the double bass. From the October 2015 issue
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FocusUsing harmonics as a violin teaching and practice tool
Although harmonics are most often used for musical effect, in the search for a perfectly pure sound they can be a wonderful aid to learning and practice, argues Laura Reed
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Premium ❘ FocusAnalysing a Mantegazza viola, 1796
The large proportions of this instrument give it a powerful sound that make it ideal for string quartets, says Sam Zygmuntowicz
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FocusTop tips for travelling musicians
Before you bookMake sure you check the airline’s policy on musical instruments before you fly. You might have used the airline previously or received a recommendation from a fellow musician, but the airline may have recently changed its policy. Steve Gelfand, director of touring and travel at ...
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Focus6 ways to develop a smooth legato
Tips from The Strad’s Archive on producing a fluid and beautiful tone
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Focus'Violin making has much further yet to go' - Peter Prier
Paul Prier's tribute to his father, the late Peter Paul Prier, founder of the Violin Making School of America
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FocusAsk the Experts: playing in cello thumb position
Strad readers submit their problems and queries about string playing, teaching or making to a panel of experts
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FocusThe evolution of violin bow hold
From the awkward grips of the past to the relaxed approach of today, the bow hold has come a long way. Globalisation has a lot to do with it, says John Krakenberger
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FeatureViolinist Christian Tetzlaff on studying with Uwe-Martin Haiberg
The German musician's lessons with Haiberg at the Lübeck Musikhochschule were intimidating, but ultimately invaluable
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FeatureThe viola should sound like a human voice, says Nobuko Imai
Innate sympathy for the instrument combined with solid training were the backdrop to Amsterdam Conservatoire professor Nobuko Imai's love-affair with the viola
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FeatureHow to impress a conservatoire audition panel
'When you're ready...' These three little words needn't chill your spine in the audition room; Joanne Talbot asks the examiners what they're looking for when you stand in front of them
