Technique – Page 3
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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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Focus
Performing 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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How 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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How harmonics and singing can help to build a sound technique
Violin and viola pedagogue Jane Metcalfe discusses using techniques inspired by Kodály and Colourstrings methods
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The 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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Technique: Sautillé
Tips to help you master a bow stroke vital for making a good impression at any orchestral audition
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Ask 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
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8 ways to vary your vibrato
Tips from The Strad’s archive for varying vibrato speed, width, pressure and direction to produce an infinite range of colour contrasts
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Ask 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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Perfect 5ths
British violinist Rodney Friend has spent many years formulating his method for achieving a relaxed left-hand position. Here, he shares his voyage of discovery with Charlotte Smith
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Technique: Mapping out the fingerboard
Exercises to train your brain and fingers, to help you become a more fluent performer and improviser
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7 mental techniques to boost your practice
Effective practice without the frustration and drudgery? Piet Koornhot looks at ways to direct your imagination.
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'Every bow movement should be calculated' - Aaron Rosand
The American maestro discusses the need for relaxation and finesse for good tone production in a 2007 article for The Strad
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Premium ❘ Debate
Early vibrato was one aspect of a vastly different sound world
A response to Beverly Jerold’s article 'Did early string players use continuous vibrato?' by Kevin Class
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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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Cellist Jian Wang on the importance of slow practice
The Chinese artist explains why his method of practising hand movements has its origin in the jungle
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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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How to shift smoothly and cleanly by cellist Jeffrey Solow
When it comes to shifting, the American cellist and Boyer College professor gets his inspiration from the physics of ball games in this 2007 article
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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
