All Premium ❘ Feature articles – Page 7
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Premium ❘ FeatureAll Set up and Ready to Go
In the first of two articles looking at instrument set-up, Joseph Curtin examines the acoustic roles played by the tailpiece and fingerboard in affecting vibration, frequency and resonance
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From the Archive: the difficulties of playing in tune
The Strad writer E. Polonaski bemoans the number of string players with suspect intonation in our March 1893 issue
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Violinist Reinhard Goebel on adapting to focal dystonia
The condition forced the musician and early music specialist to make a radical career change - he is now a conductor
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Quick exercises to improve string playing technique
Bruno Giuranna, Mimi Zweig, Bonnie Hampton and Boris Kuschnir reveal their secret teaching weapons
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The 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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Violist Roger Chase on studying with Bernard Shore
Lessons with Shore at the Royal College of Music in London emphasised enjoyment and gave valuable technical insights, remembers the Chicago College of Performing Arts professor
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Ask the Experts: how to correct a violin bridge position
Three top luthiers answers a reader's query on preserving the correct instrument geometry after changing strings
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Trade Secrets: Asymmetric neck shaping
A method that allows for deviation from the standard neck outline, for the comfort of the individual player
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6 tips for launching a music career after graduation
As hundreds of young string players leave college in a few months, music careers expert Angela Myles Beeching hands on advice for life after graduation
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Why historic recordings deserve more air time
Broadcasters routinely neglect and patronise historic recordings made by some of the greatest-ever string players, in favour of modern ones. They're failing in their duties, according to Tully Potter
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The Russian violin school is largely misunderstood
Igor Bezrodnyi, violinist, teacher and conductor, interviewed for The Strad shortly before his death in 1998
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Sentimental Work: Barry Guy
The British double bassist recalls his first encounters with Iannis Xenakis’s solo work Theraps – including some frank exchanges with the composer himself
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6 ways to avoid an angry soloist
Growing numbers of musicians are speaking out against bad audience behaviour, finds Charlotte Smith
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Me and my teacher: violist Toby Appel and Max Aronoff
A year spent studying nothing but technique with Curtis Institute teacher Aronoff gave future Juilliard School viola professor Appel total musical freedom
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8 ways to make music lessons interesting
Violinist Sid G Hedges gives advice to teachers on how to inspire enthusiasm in The Strad's June 1923 issue
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Can you tell a fake instrument from the genuine article?
With more and more instrument forgeries finding their way on to the market, how do experts, dealers and buyers stay wise to deception? Femke Colborne finds out
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How to be a successful busker
Summer provides the richest time for musicians to make money from impromptu outdoor performance. Experienced buskers tell David Kettle how they go about it, and why the rewards can be greater than you might expect
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None of my teachers were any good at explaining technique - Ruggiero Ricci
Celebrating his 90th birthday in July 2008, the legendary violinist looked back at his teaching influences and revealed that he was largely self-taught
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Passing the Torch
Expert encouragement in their early years helped turn the Belcea Quartet into one of today’s most formidable chamber ensembles. Twenty-five years after they started out, they talk to Tom Stewart about passing on their experience to the next generation – as well as continuing to gain knowledge themselves
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