Teaching – Page 2
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Focus‘Inherently democratic’ - equity and the Suzuki Method
In this extract from the September 2021 issue, Samara Ginsberg examines common misunderstandings and myths in the Suzuki Method related to sightreading, parental involvement, racism and social issues
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The 3-points practicing routine: Description - Action - Result
In the first of a series of blog posts, violin teacher at the Guildhall School of Music and Drama Junior department Ivo Stankov outlines his motivation for creating the Violin Tips Practice Guide
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Opinion: Make ’em laugh
Humour can be a useful tool when teaching – especially online, argues Naomi Yandell
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The rhetorical nature of Baroque music: learning to speak with the bow
Walter Reiter discusses how the rhetorical narrative in Baroque music must be reflected in how players use the bow, illustrating the parallels between spoken word and string playing
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Suzuki teaching: Every child can
Since Japanese violinist Shinichi Suzuki founded his method of bowed string tuition in 1945, it has been adopted and embraced by countries around the world. Samara Ginsberg talks to teachers and students, past and present, about their experiences of Suzuki teaching and its enduring popularity
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The Suzuki approach to tone: Every tone has a living soul – Shinichi Suzuki
Suzuki’s study of violin tone was his lifetime’s work. Here violinist and teacher Helen Brunner shares personal reminiscences of working with him
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Technique: Overcoming common misconceptions in Suzuki teaching
Why it is so important to understand the method’s concepts of review, group class and aural training
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Blogs
The violin and 50 laps: how swimming can help string playing
Violin and viola teacher Martin Goldman took up swimming during the pandemic. He writes about how the process made him step into the role of the student and how the physicality of swimming can be transferred into teaching stringed instruments.
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7 bow hold insights from historical string players
The way of holding a bow is a topic of endless discussion. Here is what seven influential string players of the past had to say about it
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‘A mecca for gifted students’ - inside Ivan Galamian’s studio
In this extract from September 1997, Barbara L. Sands explores the studio of the great violin pedagogue Ivan Galamian, who taught many students that went on to have flourishing careers
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Ivan Galamian: hand of steel
Since his death Ivan Galamian has passed into legend as perhaps the greatest teacher the string world will ever know. Barbara L. Sand asked some of his ex-pupils whether their former master really lived up to his reputation. Taken from the September 1997 issue of The Strad
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‘It’s a great diagnosis tool’ - Leon Bosch’s etude of choice
In this extract from 2012, double bassist Leon Bosch shares why Simandl’s etude no.1 covers the fundamental aspects of playing
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‘Good grief, there are 40 of them!’ - Alexander Baillie on Popper studies
In this extract from August 2013, cellist Alexander Baillie shares his experiences of the studies as well as strategies for students embarking on learning them
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‘A complete workout for the bow’ - violist Patricia Pollett’s study of choice
In this extract from 2012, viola professor at the University of Queensland Patricia Pollett shares why Ševčík’s op.2 no.5 allows players to focus on a variety of bowstrokes, and why it’s more difficult than it looks
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‘The best medicine for string-crossing, spiccato and the right arm’ - Felix Andrievsky’s etude of choice
In this extract from September 2012, violin professor Felix Andrievsky shares how Paganini’s Caprice no.2 is an excellent tool to develop your right arm technique
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‘Celebrate each note in terms of its beauty and excellence’ - Timothy Eddy on playing expressively
In this extract from the August 2021 issue, professor of cello at the Juilliard School Timothy Eddy provides tips for students and teachers on building an emotional connection with music and harnessing technique to play with expression
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‘I value them as supremely sharp tools’ - Colin Carr on Popper studies
In this extract from the August 2013 issue, Colin Carr, Professor of Cello at the Royal Academy of Music, shares his thoughts on using the technical studies to create fluidity in music making
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Pedagogues’ top studies: Etude of choice
There’s a wealth of variety when it comes to the studies string teachers can use with their students. Vicky Hancock asks some leading pedagogues which ones they find most useful
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Popper cello etudes: Rites of passage
To mark 100 years since the death of cellist and composer David Popper, we ask top cello teachers from around the world: how valuable are his notoriously tricky cello studies to today’s students and players?
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Technique: Playing with expression
How to build an emotional connection with music that shines through in every note
