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Improve your playing in the Playing Hub
Geminiani’s scales: a portal to the past
Geminiani’s scale exercises in his seminal 1751 treatise The Art of Playing on the Violin may look puzzlingly random to modern eyes, but violinist Benjamin Shute argues that they can reveal useful insights into the thinking behind performance practice of the time
Technique: Creative fingering for double bassists
Belgian double bassist David Desimpelaere explores the ongoing quest for new and personal solutions
Technique: the connections between cello and voice
Cellist and operatic baritone Matthew Sharp shares tips on how to embody and inhabit your sound
Premium ❘ Feature
Geminiani’s scales: a portal to the past
Geminiani’s scale exercises in his seminal 1751 treatise The Art of Playing on the Violin may look puzzlingly random to modern eyes, but violinist Benjamin Shute argues that they can reveal useful insights into the thinking behind performance practice of the time
Premium ❘ Feature
Technique: Creative fingering for double bassists
Belgian double bassist David Desimpelaere explores the ongoing quest for new and personal solutions
Premium ❘ Feature
Technique: the connections between cello and voice
Cellist and operatic baritone Matthew Sharp shares tips on how to embody and inhabit your sound
7 tips on adjustments to get the best out of your instrument
The finest Stradivari in the world will sound poor if it is badly set up. Here are some points to consider sourced from our archive
‘Beautiful heart, beautiful tone’: Shinichi Suzuki's philosophy on sound
In this extract from the September 2021 issue, violinist and teacher Helen Brunner shares personal reminiscences of working on tone with Shinichi Suzuki
Opinion: 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
Opinion: 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
7 pointers for perfect pizzicato
Advice on plucking and strumming from 120 years of The Strad
How harmonics and singing can help to build a sound technique
Violin and viola pedagogue Jane Metcalfe discusses using techniques inspired by Kodály and Colourstrings methods
‘We still get nervous’: violinist Brett Yang on performance nerves
The key to dealing with performance anxiety and nerves is to have the confidence to gain more experience performing, says the violinist
‘We still get nervous’: violinist Brett Yang on performance nerves
The key to dealing with performance anxiety and nerves is to have the confidence to gain more experience performing, says the violinist
Opinion: The Wisdom of Yoda
In the Star Wars universe, Jedi Master Yoda is the ultimate teacher – and his insights can be applied just as readily to string playing as to learning the ways of the Force, writes cellist Brian Hodges
Opinion: 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
Technique: Finding your voice on the viola
Susie Mészáros’s thoughts on shifting and articulation
Technique: Finding your voice on the viola
Susie Mészáros’s thoughts on shifting and articulation
Blue Sky Teaching: Using creative approaches to refine students’ technique
In our June 2019 issue, Judith Kogan spoke with three string teachers, all based in North America and whose unique ideas are achieving significant results
How to make scales enjoyable
Encouraging students to practise scales needn't be an uphill struggle, says Paul Harris - in fact, it can even be fun!
Vibrato: three reminders from our online editor Davina Shum
Don’t overdo it and avoid slipping into auto-pilot mode, writes the cellist
Vibrato: three reminders from our online editor Davina Shum
Don’t overdo it and avoid slipping into auto-pilot mode, writes the cellist
The Art of Vibrato: Techniques and Tips for Violinists
Donna Maurer offers six tips to help violinists master the technique of vibrato
Should vibrato exercises be practised separately from the repertoire?
Teacher Talk: your string teaching questions answered by our panel of experts. From 2011
Five tips for achieving flawless legato for violinists and violists
Artists from The Strad’s extensive back catalogue share their insights on playing smoothly with the bow arm
The Art of Vibrato: Techniques and Tips for Violinists
Donna Maurer offers six tips to help violinists master the technique of vibrato
Should vibrato exercises be practised separately from the repertoire?
Teacher Talk: your string teaching questions answered by our panel of experts. From 2011
Violinist Aaron Rosand on how to produce a good vibrato
The American violinist examines the role of vibrato in enhancing sound and providing character. From 2017
‘We just love what we do’: 21 years of the Sacconi Quartet
Comprising violinists Ben Hancox and Hannah Dawson, violist Robin Ashwell and cellist Cara Berridge, the members of the Sacconi Quartet chat with The Strad about their guiding principles throughout their shared history together, as well as as some memorable performances
‘We just love what we do’: 21 years of the Sacconi Quartet
Comprising violinists Ben Hancox and Hannah Dawson, violist Robin Ashwell and cellist Cara Berridge, the members of the Sacconi Quartet chat with The Strad about their guiding principles throughout their shared history together, as well as as some memorable performances
Ask the Experts: how to encourage students to trust their ears
A reader asks what can be done to help young students who rely on learning finger placement rather than trusting their ears. Three teachers give their views
4 ways Bach can improve your playing: Violinist Rebeca Nuez Suarez
Rebeca Nuez Suarez reflects on the application of Bach’s Solo Violin Sonatas and Partitas in the technical and musical development of young performers
How to memorise earlier and smarter: Adam Hockman
The practice and performance consultant identifies what causes memory slips and gives tips on improving memorisation technique
How to memorise earlier and smarter: Adam Hockman
The practice and performance consultant identifies what causes memory slips and gives tips on improving memorisation technique
How to improve your aural skills and ditch your sheet music in 5 easy steps
Simplicity, curiosity and diligence are the keys to learning by ear, according to violinist Lissa Schneckenburger
Should soloists always perform music from memory?
Pointless and terrifying, or essential for musical communication? Playing without the music arouses some strong opinions, finds Laurinel Owen
Cornerstones for violinists: the Australian violinist and teacher Alice Waten on left-hand set-up
The Australian violin pedagogue Alice Waten (1947-2022) shared advice on achieving fluidity and expressivity in the left hand in an interview with Joy Lee from early 2022
Cornerstones for violinists: the Australian violinist and teacher Alice Waten on left-hand set-up
The Australian violin pedagogue Alice Waten (1947-2022) shared advice on achieving fluidity and expressivity in the left hand in an interview with Joy Lee from early 2022
Technique: Left-hand lightness for cellists
Richard Tunnicliffe on how to develop healthy and sustainable habits in the left hand
Playing Fast: add these above-and-beyond rhythm exercises to your practice routine
Changing up rhythm and metre are great ways to get that fast passagework down, writes violinist Susanna Klein
Premium ❘ FeatureMaking her mark: violinist María Dueñas
Although she’s only 21, the Spanish violinist María Dueñas is already a rapidly rising star in the musical world. Tom Stewart speaks to the young virtuoso about how she has created her own unique and distinctive voice on the instrument
Premium ❘ FeatureCreation and evolution: Manchester Collective
Manchester Collective is an ensemble that doesn’t shy away from either transporting its listeners to unexpected places, or embracing change within its own identity. Members including co‑founder and violinist Rakhi Singh talk to David Kettle about the group’s unique philosophy
Premium ❘ FeatureA musical smorgasbord: violinist Fabio Biondi on recording Roman’s ‘Assaggi’
Italian violinist Fabio Biondi speaks to Robin Stowell about recording Swedish Baroque composer Johan Helmich Roman’s assaggi – solo musical morsels to whet the appetite
Premium ❘ Feature
Making her mark: violinist María Dueñas
Although she’s only 21, the Spanish violinist María Dueñas is already a rapidly rising star in the musical world. Tom Stewart speaks to the young virtuoso about how she has created her own unique and distinctive voice on the instrument
Premium ❘ Feature
Creation and evolution: Manchester Collective
Manchester Collective is an ensemble that doesn’t shy away from either transporting its listeners to unexpected places, or embracing change within its own identity. Members including co‑founder and violinist Rakhi Singh talk to David Kettle about the group’s unique philosophy
Premium ❘ Feature
A musical smorgasbord: violinist Fabio Biondi on recording Roman’s ‘Assaggi’
Italian violinist Fabio Biondi speaks to Robin Stowell about recording Swedish Baroque composer Johan Helmich Roman’s assaggi – solo musical morsels to whet the appetite
Masterclass: Beethoven Violin Sonata no.8, first movement
Violinist Viktoria Mullova describes how knowledge of historical style, a sense of spontaneity and precise metronome work are crucial for pulling off this cheeky movement
Masterclass: Beethoven Cello Sonata no.5, second and third movements
Cellist Gary Hoffman considers the importance of context to understand and appreciate this work, written in 1815 during a period of isolation and difficulty for the composer
Masterclass: Ravel Violin Sonata no.2, second movement ‘Blues’
Violinist Curtis Stewart looks at how to get the most from the different styles Ravel used, and how questions that arise from their juxtaposition are arguably more important than answers
The Strad Podcast #115: designing your own musical education as an adult learner with violinist Julia Reddy
How can adult students gain musical enrichment beyond the practice room? The violinist, teacher and podcaster shares her strategies
The Strad Podcast Episode #57: Augustin Hadelich on Recuerdos and Ricochet
Enjoy some ’R&R’: the violinist speaks about his new album, as well as a particularly tricky bowing technique
The Strad Podcast #114: exploring resources and finding your teaching style with cellist Guy Johnston
The cellist speaks about how resources left by renowned ‘cello gods,’ as well as fostering a community of sharing has informed his teaching methods throughout his career
Masterclass: Beethoven Violin Sonata no.8, first movement
Violinist Viktoria Mullova describes how knowledge of historical style, a sense of spontaneity and precise metronome work are crucial for pulling off this cheeky movement
Masterclass: Beethoven Cello Sonata no.5, second and third movements
Cellist Gary Hoffman considers the importance of context to understand and appreciate this work, written in 1815 during a period of isolation and difficulty for the composer
Masterclass: Ravel Violin Sonata no.2, second movement ‘Blues’
Violinist Curtis Stewart looks at how to get the most from the different styles Ravel used, and how questions that arise from their juxtaposition are arguably more important than answers
The Strad Podcast #115: designing your own musical education as an adult learner with violinist Julia Reddy
How can adult students gain musical enrichment beyond the practice room? The violinist, teacher and podcaster shares her strategies
The Strad Podcast Episode #57: Augustin Hadelich on Recuerdos and Ricochet
Enjoy some ’R&R’: the violinist speaks about his new album, as well as a particularly tricky bowing technique
The Strad Podcast #114: exploring resources and finding your teaching style with cellist Guy Johnston
The cellist speaks about how resources left by renowned ‘cello gods,’ as well as fostering a community of sharing has informed his teaching methods throughout his career
More from the Playing Hub
Vibrato: three reminders from our online editor Davina Shum
Don’t overdo it and avoid slipping into auto-pilot mode, writes the cellist
The anatomy and function of the bow arm: violinist Rachael Ridge
Having an awareness and understanding of how the bow arm moves is crucial to achieving a good tone on the violin
Playing Fast: add these above-and-beyond rhythm exercises to your practice routine
Changing up rhythm and metre are great ways to get that fast passagework down, writes violinist Susanna Klein
6 tips for practising fast passages: violinist Susanna Klein
Susanna Klein gives advice on left and right hand dexterity and coordination for violinists wanting to improve their virtuosity
Masterclass: Beethoven Violin Sonata no.8, first movement
Violinist Viktoria Mullova describes how knowledge of historical style, a sense of spontaneity and precise metronome work are crucial for pulling off this cheeky movement
Masterclass: Beethoven Cello Sonata no.5, second and third movements
Cellist Gary Hoffman considers the importance of context to understand and appreciate this work, written in 1815 during a period of isolation and difficulty for the composer
Masterclass: Ravel Violin Sonata no.2, second movement ‘Blues’
Violinist Curtis Stewart looks at how to get the most from the different styles Ravel used, and how questions that arise from their juxtaposition are arguably more important than answers
Masterclass: Brahms Violin Sonata no.2 first movement
Taking inspiration from the composer’s Lieder, violinist Daniel Kurganov highlights the importance of emulating vocal lines in the second of Brahms’s violin sonatas
Masterclass: Beethoven Violin Sonata no.8, first movement
Violinist Viktoria Mullova describes how knowledge of historical style, a sense of spontaneity and precise metronome work are crucial for pulling off this cheeky movement
Masterclass: Beethoven Cello Sonata no.5, second and third movements
Cellist Gary Hoffman considers the importance of context to understand and appreciate this work, written in 1815 during a period of isolation and difficulty for the composer
Masterclass: Ravel Violin Sonata no.2, second movement ‘Blues’
Violinist Curtis Stewart looks at how to get the most from the different styles Ravel used, and how questions that arise from their juxtaposition are arguably more important than answers
Masterclass: Brahms Violin Sonata no.2 first movement
Taking inspiration from the composer’s Lieder, violinist Daniel Kurganov highlights the importance of emulating vocal lines in the second of Brahms’s violin sonatas
‘Dream big and give yourself time to try things out’ - violinist Tim Kliphuis’s life lessons
The Dutch violinist recalls his journey to discovering his own distinct style and sound
Postcard from Detroit: Sphinx Competition and SphinxConnect convention
At the Sphinx Competition and SphinxConnect convention, Rita Fernandes experienced an array of inspiring events that went beyond simply addressing diversity in classical music
Sentimental Work: Christian Poltéra on Ravel’s Sonata for violin and cello
The challenges of Ravel’s Sonata for violin and cello led to a memorable encounter between the Swiss cellist and his childhood hero, Mstislav Rostropovich
From the archive: Neville Marriner on his musical education
The violinist, chamber music player and conductor was born on this day in 1924. In this excerpt from a 1986 interview, Neville Marriner speaks to Dennis Rooney about his first encounters with violin playing and his early teachers
‘Dream big and give yourself time to try things out’ - violinist Tim Kliphuis’s life lessons
The Dutch violinist recalls his journey to discovering his own distinct style and sound
Postcard from Detroit: Sphinx Competition and SphinxConnect convention
At the Sphinx Competition and SphinxConnect convention, Rita Fernandes experienced an array of inspiring events that went beyond simply addressing diversity in classical music
Sentimental Work: Christian Poltéra on Ravel’s Sonata for violin and cello
The challenges of Ravel’s Sonata for violin and cello led to a memorable encounter between the Swiss cellist and his childhood hero, Mstislav Rostropovich
From the archive: Neville Marriner on his musical education
The violinist, chamber music player and conductor was born on this day in 1924. In this excerpt from a 1986 interview, Neville Marriner speaks to Dennis Rooney about his first encounters with violin playing and his early teachers
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