Technique
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Premium ❘ FeatureTechnique: Thoughts on bowing
Charles Castleman explores a range of approaches to teaching bowing techniques
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BlogsInterpreting Dvořák vs. Mozart — a technical perspective for violinists
Grace Park provides a mini masterclass on how violinists can bring to life to the stylistic and musical qualities of the two seemingly opposite composers
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Premium ❘ FeatureTechnique: Cellist Inbal Megiddo on removing tension in the left hand
The cellist shares tips on achieving a tension-free left-hand set-up
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Focus6 tips for improved coordination
Guidance from The Strad’s archive for greater synchronisation between left-hand fingers and bow
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FocusNumbness of the fingers in violinists: what causes it and how can you fix it?
J.L.H. Thomas delves into a physical exploration of what causes numbness, as well as exercises to help strengthen muscles to alleviate its symptoms
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Premium ❘ FocusOpinion: why don’t string players practice pizzicato?
Perfecting bowing is a lifelong quest for string players – but what about pizzicato? Cellist Davina Shum advocates setting aside some dedicated practice time to this neglected technique
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BlogsCornerstones for violinists: the Australian violinist and teacher Alice Waten on left-hand set-up
The Australian violin pedagogue Alice Waten (1947-2022) shared advice on achieving fluidity and expressivity in the left hand in an interview with Joy Lee from early 2022
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BlogsFive tips for achieving flawless legato for violinists and violists
Artists from The Strad’s extensive back catalogue share their insights on playing smoothly with the bow arm
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Premium ❘ FeatureTechnique: Violin bow landings with Gina McCormack
Violinist Gina McCormack on teaching bow landings in reference to Mozart
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VideoOur bow is our breath: cellist John-Henry Crawford
Understanding the relationship between the bow and the voice is key to creating a singing line, as the cellist discovered while preparing his new album Voice of Rachmaninoff
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BlogsVibrato: three reminders from our online editor Davina Shum
Don’t overdo it and avoid slipping into auto-pilot mode, writes the cellist
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BlogsThe anatomy and function of the bow arm: violinist Rachael Ridge
Having an awareness and understanding of how the bow arm moves is crucial to achieving a good tone on the violin
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BlogsPlaying Fast: add these above-and-beyond rhythm exercises to your practice routine
Changing up rhythm and metre are great ways to get that fast passagework down, writes violinist Susanna Klein
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Blogs6 tips for practising fast passages: violinist Susanna Klein
Susanna Klein gives advice on left and right hand dexterity and coordination for violinists wanting to improve their virtuosity
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BlogsHow to memorise earlier and smarter: Adam Hockman
The practice and performance consultant identifies what causes memory slips and gives tips on improving memorisation technique
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Premium ❘ FeatureTechnique: Octaves for cellists
Cellist Seth Parker Woods on overcoming the fear and finding joy in octave practice
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Feature6 ways to improve left-hand flexibility
Tips from The Strad’s archive on increasing suppleness of movement and reducing tension
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BlogsHow Bach enhances right-hand dexterity: Violinist Rebeca Nuez Suarez
Rebeca Nuez Suarez discusses the contribution the Sonatas and Partitas for solo violin by Bach can make to gaining dexterity and strength in the right hand
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Premium ❘ FeatureAsk the Experts: how to encourage students to trust their ears
A reader asks what can be done to help young students who rely on learning finger placement rather than trusting their ears. Three teachers give their views
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FocusCan bowing-wrist suppleness improve intonation?
John Krakenberger has made a number of interesting connections between good tuning and loosening the bowing wrist in his teaching
