Teaching
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Technique: Cello warm-ups - the bow arm
How to prepare the whole body for efficient, time-saving repertoire practice
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Video
Yo-Yo Ma gives online masterclass for Youth Music Culture Guangdong
The session covers topics such as ’activating the imagination’, ‘relaxing while playing’ and ’finding a story in music’
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Analysis February 2021: Brave new educational world?
The recent normalisation of virtual learning has raised the profile of subscription-based online instrumental tuition – but it’s still no substitute for one-to-one teaching. By Harry White
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Technique: Melodic string-crossings
How to play controlled, smooth and seamless melodic lines
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Focus
‘He inspired us to believe we could master anything we wanted’ – remembering cello pedagogue George Neikrug
Cellist George Neikrug, who died in 2019 at the age of 100, was a celebrated performer and orchestral principal. However, his skills as a pedagogue were second to none, writes University of Wisconsin-Whitewater professor Benjamin Whitcomb, who has gathered personal recollections
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Video
Violinist Pinchas Zukerman on left and right hand intensity
’I want piano in the right hand and fortissimo in the left hand…’ In this masterclass clip Pinchas Zukerman talks to student Wu Jie about modifying left and right hand intensity to create a variety of sounds in Franck’s Violin Sonata. Read: ‘Young players today should be realistic ...
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Focus
Violinist Tomás Cotik on how to produce clear and controlled ricochet bowing
The violinist demonstrates ricochet technique in a series of videos
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George Neikrug: Memories of a legend
Cellist George Neikrug, who died in 2019 at the age of 100, was a celebrated performer and orchestral principal. However, his skills as a pedagogue were second to none, writes University of Wisconsin-Whitewater professor Benjamin Whitcomb, who has gathered personal recollections
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Technique: Ricochet
How to produce clear and controlled bounced bowings on the violin
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Focus
What technical exercise has brought you the swiftest results?
The Strad's panel of experts answer string teaching questions from readers as part of our Teacher Talk series
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Focus
How can I avoid memory slips?
William Herzog, assistant professor of violin at Northern Kentucky University, US, shares techniques to help you learn music off by heart
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Focus
A string quartet is an ‘instrument’ that students must master
Graham Oppenheimer, senior chamber music tutor at Chetham’s School of Music, shares some of his teaching strategies for school-age students
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Debate
Opinion: Being conscious
Developing musical potential requires a real sense of critical awareness as students grow, writes cellist Cecilia Radic
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Debate
Should music tuition revolve around passing exams?
Toby Deller argues that young instrumental players should be inspired by fulfilling experiences
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Analysis December 2020: Competing with coronavirus
Most of 2020’s international string competitions were postponed – but with no easy resolution to Covid-19 in sight, how are events planned for 2021 dealing with the uncertainty? By Peter Somerford
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Teaching chamber music: light-bulb moments
Giving formal chamber music training to students during their school years is vital for fostering a lifelong commitment to the art, writes Graham Oppenheimer , senior chamber music tutor at Chetham’s School of Music in Manchester
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Technique: Memory and mental practice
Techniques to help you learn music off by heart and protect against memory slips
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Focus
‘The right-hand thumb absorbs movement like a skier’s legs’ - cellist Leonard Rose
Leonard Rose was principal cellist of the Cleveland Orchestra and New York Philharmonic, and a professor at the Juilliard School and Curtis Institute. His velvety tone was the result of complete mastery of the bow arm - Oskar Falta shares some of his bowing theories
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Blogs
How I began giving Instagram tutorials during the pandemic
Violinist Callum Smart explains how the pandemic prompted him to transfer his teaching to the online sphere
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Focus
5 ways in which learning new violin styles can train your musical ear
Too often string teachers shy away from embracing styles outside the Western classical canon, but in doing so they’re ignoring a wealth of useful skills and techniques, writes Julie Lyonn Lieberman