All Practice articles – Page 2
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FocusDouble bass beginners should play in all left-hand positions
Thomas Martin pinpoints some common technical problems for young bassists and insists that beginners shouldn't be restricted to playing in the lower positions. From the May 2014 issue
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Focus6 tips for teaching young violinists by Suzuki instructor Teri Einfeldt
The University of Hartford Suzuki Department chair shares her methods for teaching children
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Blogs5 pieces of advice for playing Bach by violinist Lisa Batiashvili
The artist shares her ideas about performing works of the great Baroque composer
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BlogsTop tips for putting the joy into practice
Violinist Maren Bosma offers seven helpful tips to make practice sessions fun, varied and productive
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BlogsVarying my warm-up routine is essential for performing success, says violinist Natalia Lomeiko
The multiple prize winner and Royal College of Music professor has found numerous ways to warm up for concert performances
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Focus7 warming up and cooling down exercises for musicians
Suggested warm-ups prior to playing and cool-down stretches following performance and/or practice
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FocusFour alternative methods to make sure your practice efforts survive the pressures of performance
A violist with a background in neuroscience, Molly Gebrian shares some alternative practice methods informed by studies on how our brain processes learning
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BlogsNever practise for more than five hours per day, says violinist Itzhak Perlman
Marking the violinist's 75th birthday, we republish this feature from our archive in which Perlman warns against the dangers of over-practising
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Focus7 ways to harness mental practice for musicians
Tips for using mental imaging to boost your musical practice regime from The Strad’s archive
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Focus7 views on repetitive practice
Is repetition the most effective mode of practice? Debate from The Strad Archive
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DebateOpinion: In the Public Eye
The primary purpose of a musician is to be heard by an audience – yet so many performers are self-conscious about the idea of their practice being observed and judged. Perhaps it’s time to practise out in the open, writes Toby Deller
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FocusHow important is happiness for effective practising?
Adopting a positive mindset helps to prime you for learning, writes musician and performance psychology expert Christine Carter
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Premium ❘ FeatureHow to play with a flexible bowing arm by cellist Gary Hoffman
The American musician explains how he developed a supple and varied bow arm motion, guided by his ear and musical instinct
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Premium ❘ FeatureIs repetitive practice a good or a bad thing?
A prolonged, sickening and monotonous repetition of a section of music or the legitimate means of mastering a difficult passage? Joseph O'Doherty weighs up the two sides.
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Premium ❘ FeatureHow to develop fourth finger strength
String students often suffer from weakness in the little finger, but this can be overcome, writes James Winram in the Strad's July 1913 issue
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Premium ❘ FeatureMe and my teacher: Dan Styffe and Gary Karr
The double bass virtuoso taught Styffe how to control the pressures of the world outside the teaching studio
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Focus12 ways to encourage children to practise
Finding the right level of involvement in a child’s instrumental practice can be a tricky balancing act. Cellist and pedagogue Oliver Gledhill offers some strategic guidance
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Feature7 mental techniques to boost your practice
Effective practice without the frustration and drudgery? Piet Koornhot looks at ways to direct your imagination.
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Premium ❘ FeatureQuick exercises to improve string playing technique
Bruno Giuranna, Mimi Zweig, Bonnie Hampton and Boris Kuschnir reveal their secret teaching weapons