Technique – Page 2
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Premium ❘ FeatureFrom 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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FeatureShould 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
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Premium ❘ FeatureFrom the Archive: How to memorise solos
The art of memorising can be mastered by even those who believe they have no aptitude in the area, wrote Edwin H. Pierce in The Strad's December 1894 issue
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FocusWhy can't players get vibrato right?
Vibrating need not compromise purity of tone if it's done tastefully, says Tully Potter, who takes to task those who overplay, misplay or completely disown it. From October 2009
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FocusDealing with Dystonia
Violinist Bernard Zinck shares his experiences of his devastating diagnosis of focal dystonia in his forties and his rehabilitation process to resume playing
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FocusBow holds of the great violinists
How does the positioning of fingers on the bow affect sound and flexibility? Rok Klopčič examines the bow holds of leading violinists and pedagogues in this extract from October 2007
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FocusTrills and embellishments: exercises from Wilhelmj and Brown’s A Modern School for Violin
Violist Misha Galaganov recommends exercises from August Wilhelmj and James Brown’s out-of-print A Modern School for Violin, to accompany his Technique article in the October 2021 issue
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Focus3 simple trill exercises for players and teachers
Professor of viola and chair of strings at Texas Christian University Misha Galaganov offers technical advice on how to play and teach trills
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FocusReplacing shifts with a stretch: Daniil Shafran’s left-hand technique
Oskar Falta examines Soviet cellist Daniil Shafran’s unique left-hand technique and vibrato in this extract from the September 2021 issue
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FocusWalter Reiter’s exercises to improve Baroque playing
The violinist offers tips on how narrate emotions through the bow when playing Baroque music
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FocusLeft-hand agility in Dont Etude op.35 no.8
In this extract from the May 1999 issue, violinist Zakhar Bron shares tips on hand shape and intonation when playing thirds in Dont Etude op.35 no.8
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FocusAvoiding the ‘neutral zone’- what to do with your bow when playing violin trills
Violinist Zakhar Bron discusses creating a smooth line when playing trills in the op.36 no.6 etude by Dont
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Premium ❘ FeatureViolin Masterclass: Playing Thirds in Dont’s Etude op.35 no.8
Violin teacher Zakhar Bron provides tips for practising the op.35 no.8 Etude by Dont
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DebateOpinion: An integrated whole
By divorcing technique from the music, we prevent the bow from becoming an extension of our right arm and hand, writes John Crawford
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BlogsVarying my warm-up routine is essential for performing success, says violinist Natalia Lomeiko
The multiple prize winner and Royal College of Music professor has found numerous ways to warm up for concert performances
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FocusWhat technical exercise has brought you the swiftest results?
The Strad's panel of experts answer string teaching questions from readers as part of our Teacher Talk series
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ArticleNine steps to mastering violin vibrato
Dr Rebecca McLeod, associate professor of music education at the University of North Carolina, gives a guide to achieving a good vibrato - from establishing a relaxed position to mastering a smooth, even motion
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Focus9 tips for flexibility in the right hand
A look in The Strad archive for wisdom regarding the importance of flexibility in the bowing arm, hand and fingers
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Focus'Popper's cello studies force you to know the fingerboard inside out'
The cellist and Boston Conservatory chair of strings considers the value of the composer's etudes
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ArticleCellist Paul Katz on creating your ideal sound with vibrato
The New England Conservatory cello professor describes how to vary hand position to produce your desired vibrato sound
