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Technique – Page 3
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Focus6 ways to perfect your double-stops
Tips from The Strad’s archive on producing even and finely tuned double-stops
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FeatureHow knowledge of physics can improve your sound
Understanding the basic physics of string movement can help us produce a richer, more ringing tone, says professor of violin Wendy Case
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ArticleA 30-minute daily practice routine for violinists and violists
How to keep your playing in shape while maintaining a busy schedule, by Misha Galaganov, professor of viola and chamber music at Texas Christian University, TX, US
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Premium ❘ FeatureTechnique: A 30-minute routine to keep your playing on top form
Ideas to help violinists and violists maintain high technical and musical standards around a busy regime
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Premium ❘ FocusTechnique: strum bowing
A guitar technique adapted for violin, to help bowed string players plug into their inner groove. By Tracy Silverman, electric violinist, author of The Strum Bowing Method, string faculty member at Belmont University in Nashville, Tennessee, and jazz clinic and workshop tutor worldwide
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Focus5 ways to improve playing in thirds
Tips for hand position, bow distribution and intonation from The Strad Archive
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Premium ❘ ArticleTechnique: achieving balance between the chin and left thumb
Learn to reduce physical stress by distributing instrument weight more effectively across your body. By Matthew Jones, Head of chamber music and professor of viola at the Guildhall School of Music & Drama, London; director of Pro Corda Intermediate Course.
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Premium ❘ FeatureNelli Shkolnikova’s principles of violin technique
The great Russian violinist and pedagogue died early in 2010. Curt Thompson, one of her former students, looks back on her life and examines her teaching methods
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VideoTwoSetViolin: The Twelve Levels of Violin Playing
The musical double act abandon their usual hijinx in favour of something more serious for newbie violinists: a whistle-stop tour of what their violin-playing career could look like (with a bit of practice).
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ReviewBook review: The Strum Bowing Method and 22 Groove Studies for Strings
Max Grosch reviews two books by fellow jazz violinist Tracy Silverman
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Premium ❘ FeatureTechnique: Sound and phrase
The importance of developing a refined, balanced technique to communicate a nuanced musical line on the double bass
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ArticleHow I interpret Bach: Tomás Cotik on strings, intonation and vibrato
Ahead of his 2020 album release of Bach’s Sonatas and Partitas, the violinist continues his blog series, in which he discusses the contradictions between the opposing trends and traditions in Bach interpretation, and his personal solutions to them
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FocusConductor Manfred Honeck on achieving his orchestral string sound
Music director Manfred Honeck has brought a distinctly European flavour to the Pittsburgh Symphony. Gavin Dixon asked him how his time as a violist in the Vienna Philharmonic helped him to become the conductor he is today…
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Premium ❘ FeatureTechnique: Teaching rhythm and bowing to beginners
How to inspire very young musicians to learn new cello playing skills
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FocusPerforming entirely by reflex, by cellist Leonid Gorokhov
The Russian musician and Hochschule für Musik und Theater, Hannover professor describes how he trains himself to transcend the physical restraints of playing
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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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VideoThe Double Bass with Thomas Martin: Left Hand Ep 1, Position and Fingering Pt 1
In this series of episodes Thomas Martin takes a look at left hand technique, addressing a number of issues commonly experienced by players. This first episode covers the basics of positioning the left hand on the double bass in order to stop the string. Read: Dealing with Dystonia Read: ...
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Premium ❘ FeatureTechnique: Sautillé
Tips to help you master a bow stroke vital for making a good impression at any orchestral audition
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FeatureAsk the Experts: should players separate technique and musicality in practice?
A violinist asks if players should separate technique and musicality when preparing a piece for a performance, and if there is a strategy that can help combat performance nerves