Headshot door pc Matthew Johnson

Technique: Developing powerful base knuckles

2022-09-28T08:15:00+01:00

Stephen Upshaw on developing powerful base knuckles in both hands for tension-free playing

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7 tips on adjustments to get the best out of your instrument

2020-06-19T12:43:00+01:00

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

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Technique: How to vary and enhance your cello pizzicato

2022-07-28T20:53:00+01:00

Soloist and chamber musician Christoph Richter talks about good pizz technique with particular attention to the range of sound demanded by Debussy's Cello Sonata. From The Strad's November 2015 issue

ViolinStageFright

Conquering performance nerves: how do I banish sweaty hands and nausea?

2022-09-08T07:31:00+01:00

Brian Hodges and Diana Allan answer student questions on coping with stage fright

Chromatic

How to make scales enjoyable

2022-07-22T00:01:00+01:00

Encouraging students to practise scales needn't be an uphill struggle, says Paul Harris - in fact, it can even be fun!

Vibrato

Why can't players get vibrato right?

2022-03-03T10:00:00+00:00By

Vibrating need not compromise purity of tone if it's done tastefully, says Tully Potter, who takes to task those who overplay, misplay or completely disown it. From October 2009

Supple

Can bowing-wrist suppleness improve intonation?

2022-09-16T07:01:00+01:00

John Krakenberger has made a number of interesting connections between good tuning and loosening the bowing wrist in his teaching

Supple

Can bowing-wrist suppleness improve intonation?

2022-09-16T07:01:00+01:00

John Krakenberger has made a number of interesting connections between good tuning and loosening the bowing wrist in his teaching

Flexibility

6 ways to improve left-hand flexibility

2022-08-18T09:35:00+01:00

Tips from The Strad’s archive on increasing suppleness of movement and reducing tension

Laurinel Owen

Should soloists always perform music from memory?

2022-08-26T08:00:00+01:00

Pointless and terrifying, or essential for musical communication? Playing without the music arouses some strong opinions, finds Laurinel Owen