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Improve your playing in the Playing Hub
Technique: Finding the right bass technique for you
Why double bass technique needs to be tailored to the physicality of the individual player
Technique: Playing in the high register of the cello
Guy Johnston offers tips and exercises to improve playing in the cello’s high register
Positive self-talk: a key to boosting musicians’ confidence
Cellist and researcher Joanna Latała shares methods for how to enhance your performance with affirming language, plus what musicians can learn from top athletes and sports psychology
Premium ❘ Feature
Technique: Finding the right bass technique for you
Why double bass technique needs to be tailored to the physicality of the individual player
Premium ❘ Feature
Technique: Playing in the high register of the cello
Guy Johnston offers tips and exercises to improve playing in the cello’s high register
Blogs
Positive self-talk: a key to boosting musicians’ confidence
Cellist and researcher Joanna Latała shares methods for how to enhance your performance with affirming language, plus what musicians can learn from top athletes and sports psychology
7 tips on adjustments to get the best out of your instrument
The finest Stradivari in the world will sound poor if it is badly set up. Here are some points to consider sourced from our archive
Opinion: 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
Opinion: 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
7 pointers for perfect pizzicato
Advice on plucking and strumming from 120 years of The Strad
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
Positive self-talk: a key to boosting musicians’ confidence
Cellist and researcher Joanna Latała shares methods for how to enhance your performance with affirming language, plus what musicians can learn from top athletes and sports psychology
Positive self-talk: a key to boosting musicians’ confidence
Cellist and researcher Joanna Latała shares methods for how to enhance your performance with affirming language, plus what musicians can learn from top athletes and sports psychology
Aija Reke: how to deal with performance anxiety
The violinist gives tips on how to build your confidence on stage through her own experiences and examples from literature
‘We still get nervous’: violinist Brett Yang on performance nerves
The key to dealing with performance anxiety and nerves is to have the confidence to gain more experience performing, says the violinist
Technique: Finding your voice on the viola
Susie Mészáros’s thoughts on shifting and articulation
Technique: Finding your voice on the viola
Susie Mészáros’s thoughts on shifting and articulation
Blue Sky Teaching: Using creative approaches to refine students’ technique
In our June 2019 issue, Judith Kogan spoke with three string teachers, all based in North America and whose unique ideas are achieving significant results
How to make scales enjoyable
Encouraging students to practise scales needn't be an uphill struggle, says Paul Harris - in fact, it can even be fun!
Vibrato: three reminders from our online editor Davina Shum
Don’t overdo it and avoid slipping into auto-pilot mode, writes the cellist
Vibrato: three reminders from our online editor Davina Shum
Don’t overdo it and avoid slipping into auto-pilot mode, writes the cellist
The Art of Vibrato: Techniques and Tips for Violinists
Donna Maurer offers six tips to help violinists master the technique of vibrato
Should vibrato exercises be practised separately from the repertoire?
Teacher Talk: your string teaching questions answered by our panel of experts. From 2011
Five 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
The Art of Vibrato: Techniques and Tips for Violinists
Donna Maurer offers six tips to help violinists master the technique of vibrato
Should vibrato exercises be practised separately from the repertoire?
Teacher Talk: your string teaching questions answered by our panel of experts. From 2011
Violinist Aaron Rosand on how to produce a good vibrato
The American violinist examines the role of vibrato in enhancing sound and providing character. From 2017
‘We just love what we do’: 21 years of the Sacconi Quartet
Comprising violinists Ben Hancox and Hannah Dawson, violist Robin Ashwell and cellist Cara Berridge, the members of the Sacconi Quartet chat with The Strad about their guiding principles throughout their shared history together, as well as as some memorable performances
‘We just love what we do’: 21 years of the Sacconi Quartet
Comprising violinists Ben Hancox and Hannah Dawson, violist Robin Ashwell and cellist Cara Berridge, the members of the Sacconi Quartet chat with The Strad about their guiding principles throughout their shared history together, as well as as some memorable performances
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
4 ways Bach can improve your playing: Violinist Rebeca Nuez Suarez
Rebeca Nuez Suarez reflects on the application of Bach’s Solo Violin Sonatas and Partitas in the technical and musical development of young performers
How to memorise earlier and smarter: Adam Hockman
The practice and performance consultant identifies what causes memory slips and gives tips on improving memorisation technique
How to memorise earlier and smarter: Adam Hockman
The practice and performance consultant identifies what causes memory slips and gives tips on improving memorisation technique
How to improve your aural skills and ditch your sheet music in 5 easy steps
Simplicity, curiosity and diligence are the keys to learning by ear, according to violinist Lissa Schneckenburger
Should soloists always perform music from memory?
Pointless and terrifying, or essential for musical communication? Playing without the music arouses some strong opinions, finds Laurinel Owen
Numbness 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
Numbness 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
Setting up the left hand: a guide for beginner violinists
Rachael Ridge gives some helpful pointers and a step-by-step guide delving into the nitty-gritty of left-hand set-up
Cornerstones 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
Premium ❘ FocusSentimental Work: Frank Peter Zimmermann on Schumann’s Violin Concerto
Although the German violinist came late to Schumann, the Violin Concerto remains one of his repertoire staples – and provides an insight into the composer’s fraught mental state
Premium ❘ FeatureAdvice from peers: sharing the wisdom
Charlotte Gardner speaks to leading string players who have learnt valuable lessons from their colleagues and contemporaries, demonstrating that such insights are not only passed from teacher to pupil
BlogsFrom Attic to album: Takács Quartet and Marc-André Hamelin shine light on Florence Price’s Piano Quintet
Takács Quartet violist Richard O’Neill talks about the ensemble’s latest release, a collaboration with Marc-André Hamelin that pairs piano quintets by Florence Price and Dvořák
Premium ❘ Focus
Sentimental Work: Frank Peter Zimmermann on Schumann’s Violin Concerto
Although the German violinist came late to Schumann, the Violin Concerto remains one of his repertoire staples – and provides an insight into the composer’s fraught mental state
Premium ❘ Feature
Advice from peers: sharing the wisdom
Charlotte Gardner speaks to leading string players who have learnt valuable lessons from their colleagues and contemporaries, demonstrating that such insights are not only passed from teacher to pupil
Blogs
From Attic to album: Takács Quartet and Marc-André Hamelin shine light on Florence Price’s Piano Quintet
Takács Quartet violist Richard O’Neill talks about the ensemble’s latest release, a collaboration with Marc-André Hamelin that pairs piano quintets by Florence Price and Dvořák
Masterclass: Saint-Saëns Violin Concerto no.3 in B minor, first movement
Violinist Benjamin Beilman explores how to navigate the athletic virtuosity of a work that requires the soloist to have firm technical and musical command
Masterclass: Schumann Five Pieces in Folk Style op.102, first piece
Cellist Trey Lee shares how a particular painting in London’s National Gallery provided his inspiration for this movement, which can be seen as a metaphor for life
Masterclass: Saint-Saëns Violin Concerto no.3 in B minor, first movement
Violinist Benjamin Beilman explores how to navigate the athletic virtuosity of a work that requires the soloist to have firm technical and musical command
Masterclass: Schumann Five Pieces in Folk Style op.102, first piece
Cellist Trey Lee shares how a particular painting in London’s National Gallery provided his inspiration for this movement, which can be seen as a metaphor for life
Masterclass: Ravel Piano Trio, first movement
Keeping in mind Ravel’s orchestral sound palette is key to letting colour direct the myriad character and mood changes in this lilting movement, says cellist Carrie Bean Stute
More from the Playing Hub
Five 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
Technique: Violin bow landings with Gina McCormack
Violinist Gina McCormack on teaching bow landings in reference to Mozart
Our 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
Vibrato: three reminders from our online editor Davina Shum
Don’t overdo it and avoid slipping into auto-pilot mode, writes the cellist
Masterclass: Saint-Saëns Violin Concerto no.3 in B minor, first movement
Violinist Benjamin Beilman explores how to navigate the athletic virtuosity of a work that requires the soloist to have firm technical and musical command
Masterclass: Schumann Five Pieces in Folk Style op.102, first piece
Cellist Trey Lee shares how a particular painting in London’s National Gallery provided his inspiration for this movement, which can be seen as a metaphor for life
Masterclass: Ravel Piano Trio, first movement
Keeping in mind Ravel’s orchestral sound palette is key to letting colour direct the myriad character and mood changes in this lilting movement, says cellist Carrie Bean Stute
Masterclass: Mendelssohn Violin Concerto, first movement
Although this concerto is a well-known staple of the repertoire, violinists can still find opportunities to explore refreshing interpretations in this movement, says Paul Huang
Masterclass: Saint-Saëns Violin Concerto no.3 in B minor, first movement
Violinist Benjamin Beilman explores how to navigate the athletic virtuosity of a work that requires the soloist to have firm technical and musical command
Masterclass: Schumann Five Pieces in Folk Style op.102, first piece
Cellist Trey Lee shares how a particular painting in London’s National Gallery provided his inspiration for this movement, which can be seen as a metaphor for life
Masterclass: Ravel Piano Trio, first movement
Keeping in mind Ravel’s orchestral sound palette is key to letting colour direct the myriad character and mood changes in this lilting movement, says cellist Carrie Bean Stute
Masterclass: Mendelssohn Violin Concerto, first movement
Although this concerto is a well-known staple of the repertoire, violinists can still find opportunities to explore refreshing interpretations in this movement, says Paul Huang
‘Always be truthful and loyal to yourself’ - Maximilian Hornung’s life lessons
The German cellist on his varying influences and what it takes to be a musician
Until Between: a musical exploration of home, identity and language
Violinist Marie Schreer introduces a multi-disciplinary programme that examines themes of belonging, identity and mother tongue
‘The jury members should answer to their own convictions’ - Tabea Zimmermann on presiding over the 2025 Concours de Genève viola jury
The German violist spoke to The Strad about her approach to presiding over a jury, what she looks for in contestants, and her views on competitions
‘Always be truthful and loyal to yourself’ - Maximilian Hornung’s life lessons
The German cellist on his varying influences and what it takes to be a musician
Until Between: a musical exploration of home, identity and language
Violinist Marie Schreer introduces a multi-disciplinary programme that examines themes of belonging, identity and mother tongue
‘The jury members should answer to their own convictions’ - Tabea Zimmermann on presiding over the 2025 Concours de Genève viola jury
The German violist spoke to The Strad about her approach to presiding over a jury, what she looks for in contestants, and her views on competitions
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