All Practice articles – Page 3
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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
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Premium ❘ FeatureThe 4 stages of memorising music for performance
With the right concepts and skills, any musician can successfully learn music by heart, as Gerald Klickstein explains
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DebateYoung students must learn to listen if they are to practise effectively
String students who struggle in the early stages of learning often don't know how to listen. Patiently help them to train their ears, says Peter Quantrill, and practice sessions will become ever more fulfilling
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Premium ❘ FeatureAsk the Experts: how to make the best use of limited practice time
Four specialists in practice techniques advise a busy amateur musician how to make the most of his limited rehearsal time
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BlogsAaron Rosand on how to practise effectively
There is no short cut to fine playing; only logical, intelligent and concentrated practice will yield results, writes the American violin virtuoso
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Blogs7 tips for successful practice by violinist Rachel Podger
The Baroque musician reveals the most important elements of her practice routine
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Focus6 tips for smooth bow changes
Advice on smooth and inaudible bow changes at the tip and the heel from The Strad's archives
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Focus10 views on the benefits of slow practice
Debate on how best to harness slow practice from The Strad Archive
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VideoPhiladelphia concertmaster David Kim on ‘super slow’ practice, muscle memory and concerto prep
Explore more Featured Stories like this in The Strad Playing Hub In this film for J.W. Pepper, Philhadelphia Orchestra concertmaster David Kim talks about how he organises his practice, and how he prepares for important concerts. Created by J.W. Pepper & Son, Inc. Produced by Rocco Richardson, Celena McAfee ...
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DebateIn their focus on technical prowess, conservatoires neglect music theory
Instinct isn't enough for true musicality. Instead of simply drilling technique, performers should have a profound an understanding of music theory, argues cellist David Watkin
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FocusWhat is the best scale system for string students?
The Strad's panel of teaching experts answer reader questions as part of the magazine's Teacher talk series
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BlogsThe power of legato practice for string players - Moonkyung Lee
The violinist shares her tried and tested method of practising to improve tone and memory skills
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FocusScales and exercises are essential for all string players
Not all players regard exercises as important, but without a sound technical basis you cannot achieve your expressive potential, writes the cellist
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FocusHow to use 'flow' to make the most of your practice
Andreas Burzik offers four principles that will minimise the effort and maximise the effects of practising
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FocusViolinist Hilary Hahn on practice and interpretation
In June 2012 violinist Hilary Hahn was guest editor of The Strad's ‘Conversations' special. The following five quotations on performance and interpretation are extracted from that issue.
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FocusShould violin students take a long summer break without practising?
Top string teachers Mimi Zweig and Géza Szilvay answer a reader's question for The Strad's Teacher Talk section
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Focus8 opinions on performance and career by violinist Ivry Gitlis
The great violinist reveals his sometimes surprising views on performance and the music business to Ariane Todes to mark his 90th birthday in The Strad's August 2012 issue
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FocusRecording your playing provides easy and effective feedback. So why isn’t everyone doing it?
With techniques drawn from sport psychology you can retain more of what you learn, says musician and performance psychology expert Christine Carter
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FocusHow to use random practice to help long-term learning
Practising shouldn't be boring. With techniques drawn from sport psychology you can retain more of what you learn, says musician and performance psychology expert Christine Carter
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FocusHow the harmonic series can unleash your tonal energy
Work on the harmonic series and you'll release a wealth of colour from your instrument without effort. Pedro de Alcantara explains how it's done
