• Dec 11
    Millar Chapel Evanston




 This month, I'm really excited to bring you a wonderful post by trumpet player Mike Brozick.  Mike was kind enough to take the time to share his wisdom with us and his post is totally inspiring and motivating!  Enjoy!

“First you master your instrument.

Then you master the music.

Then you forget all about that and just play.”

-Charlie Parker


We spend a lot of time mastering our instrument, but how do we go from refining the fundamentals to performing for an audience? After you lay a foundation of technique and begin to build your repertoire, it is important to distinguish between two complementary forms of practice: programming practice and performance practice -- or as Parker puts it, mastering the music and then forgetting about all that and just playing.


These two practice strategies could not be more different. Programming practice is analytical and self-critical with the goal of improving greatly with each repetition. Performance practice summons everything learned so it can be presented in one confident and accurate shot. Without performance practice, performing in front of an audience can be quite scary, like flying a plane without ever stepping into a flight simulator. Performance practice is something we can and should do every day.


“Imagination is more important than knowledge.”

-Albert Einstein


After I spend time on fundamentals, I move on to my programming practice of musical repertoire in the form of etudes, solos, excerpts or any performance parts. At this point it's no longer about “mastering your instrument,” it's about the music. Athletes do plenty of sit-ups and pushups to build their body, but leave that behind once they step on to the field. Here you want to build your musical imagination and your ability to project this on your instrument efficiently. Have your favorite recordings at hand and really take time to listen. I certainly listen to music throughout the day, but I use my practice time to deliberately sit down with the sheet music and study what my musical heroes do artistically. Just as we learn to speak before learning to read, imitation and learning by ear can be a powerful tool.


Before playing a passage on your instrument, try “pre-hearing,” in as much detail as possible, the phrase you are about to play. Becoming acquainted with your inner instrument, and aware of the fact that you have control of the way you sound in your head, should be something you use to your advantage. As you read these words right now, you have no problem hearing your inner speaking voice. Now re-read that sentence in the voice of someone else, like Morgan Freeman. With practice you can be just as skillful with your inner instrument, looking at the page and imagining the most beautiful sounds possible. Just as you think before you speak, hear before you play.


Mental practicing has a surprisingly physical component. A study conducted at the University of Chicago found basketball players who visualized making free throws improved nearly as much over 30 days as those who physically practiced. When you imagine yourself playing a difficult passage, and can play it accurately in your mind, your brain actually sends almost undetectable signals to the same muscles used in the actual act of physically playing your instrument. Brain scans have confirmed that imagining an activity and physically doing an activity are almost identical in the brain.


Sing your music, like an actor reading a script aloud, and bring the printed notes to life. Not having the instrument in your hands forces you to be accurate with your pitch and rhythm, and draws your attention to the inflection or natural communication that is inherent in the human voice.


To ensure you are able to bring every single marking on the page to life with the greatest of ease, “slow and steady wins the race.” While practicing slowly, you have more time to listen and avoid mistakes. When you slow down, your brain is more aware of subtle and important information and learns to make efficient movements with less effort. You can choose to improve slowly by practicing fast or improve fast by practicing slowly.





A successful performance requires summoning all the work I’ve done in mastering my instrument and the music to perform under pressure. I don’t want to wait to be in front of an audience and my colleagues to figure this out. I make a big distinction between my programming practice and performance practice and even set up two music stands. One with a stereo and a keyboard close at hand and the other is in front of my audience: often my pug, Arthur, and always my microphone. At this point I stop practicing to improve and record a performance. Just like real life, I play my best once through and move on.


Shift your focus away from perfection to expression. The type of concentration you need in programming is self-critical whereas in performance you draw upon self-affirming concentration. Practice turning off that “chatter” when you go into performance mode while at the same time learning what you need to do to be accurate. Recording gives you a daily deadline to stop fixing things and produce something beautiful and of the highest quality. Having the microphone on the other side of the room encourages you to listen to your sound “out there” -- taking the focus off of yourself and giving it to your audience.


Sleep on it



Once you record your music, do not listen until tomorrow! Give yourself time to forget. If you listen back too soon you are merely replaying what is in your short term memory. Find a time of day to listen to your daily practice. For me, I listen to yesterday's recordings first thing in the morning on my walks with Arthur. Pixar, the groundbreaking and beloved animation studio, starts every morning watching yesterday's animation so they can approach the day's work with fresh eyes. Ask yourself: What is working and what is not and what was I not noticing yesterday? While you record, leave yourself verbal notes. Tell yourself what you've been doing in your practice so you can listen to the result. Are my strategies working or do I need to try something new? Daily recording and listening also gives you a long-term view of your progress. If you are working on a concerto or excerpts over a month you can get a realistic view of how you are progressing each day. What areas are improving faster than other areas and what areas need more attention?

Finally, take time to listen to what you have accomplished and enjoy your own musical expression. Be your biggest fan and most devoted audience member by recording your performance practice. If you can listen to your own music making, and really love it for where you are in your musical journey, while being encouraging of where you want to go, you'll be more prepared to share your musical self with others.

Mike Brozick is a member of the Kalamazoo Symphony Orchestra, Elgin Symphony Orchestra, the principal trumpet of the Northwest Indiana Symphony Orchestra and is a performing member of the the Chicago Philharmonic. He has performed with the Chicago Symphony Orchestra, Pittsburgh Symphony Orchestra, Lyric Opera of Chicago, Milwaukee Symphony, Grant Park Orchestra under the batons of Bernard Haitink, Pierre Boulez, Michael Tilson Thomas, Manfred Honeck and Sir Andrew Davis. He has recorded Gustav Mahler’s Second Symphony with the Chicago Symphony Orchestra and has performed on the Pittsburgh Symphony's European tour throughout Spain and in Vienna's Musikverein. At Lyric Opera he was featured on stage as one of the King’s Trumpets in Wagner’s “Lohengrin” and playing the Egyptian trumpet in Verdi’s “Aida.” As a chamber musician he is a member of the Elgin Chamber Brass, International Chamber Artists, and has performed live on Chicago’s classical music radio station WFMT. Mr. Brozick earned his Bachelor of Music Education degree from Duquesne University and a Master of Music in performance from Rice University and was a Fulbright Fellow studying at the Stätliche Hochschule für Musik in Detmold, Germany. Mike is an active recitalist and has been featured as a soloist with the DuPage Symphony Orchestra, Salt Creek Sinfonietta, and the Kalamazoo Symphony Orchestra.



This month, I once again bring you Dr. Stefan Kartman, amazing cellist and professor at the Peck School of the Arts at the University of Wisconsin, who will share with you exercises he uses to work on the principles he discussed last month in Part 1.  Dr. Kartman has put together PDFs illustrating these exercises.  They are attached to this blog post.  Please contact me ( if you are experiencing problems downloading them and would like to obtain a copy. 

Enjoy!  On to Dr. Kartman!

An Artist's Guide to Technique on the Cello (or the violin!) – Part 2: Daily Exercises

By Dr. Stefan Kartman, Professor of Cello Peck School of the Arts - University of Wisconsin

Daily Exercises

Every determined teacher at some point develops on their own or finds existing raw technical material that exposes and potentially improves these inconsistencies that are detrimental to success in the latter groups of goals.

In such material, it is important that they include as many aspects as possible within the designed timing of the exercise that might be used in a musician's professional life. One can work on bow changes at the frog and tip until they are absolutely great, but this will of course make everyone even more aware of the shaky one in the middle or upper third.




This month, I am really excited to share the wise words of Dr. Stefan Kartman, amazing cellist and professor at the Peck School of the Arts at the University of Wisconsin. In the first of two contributions to Mind Over Finger, Dr. Kartman discusses musicianship and technique on the cello. I know that some of our readers are cellists, and I hope they truly enjoy this wonderfully interesting and informative text! As for the rest of us, violinists and musicians, the principles expressed are similarly applicable to us all and, therefore, try to apply them we shall!

On to Dr. Kartman!


An Artist's Guide to Technique on the Cello (or the violin!) – Part 1

By Dr. Stefan Kartman, Professor of Cello Peck School of the Arts - University of Wisconsin

 Cello Technique - Goals

If audience members are aware of technique at all, the first thing most think of when they hear that a cellist has a fine technique is that he or she can play really fast. Musicians might add big tone, great intonation and rhythm, consistency, beautiful sound, big dynamic range and a few others. Accomplished professional musicians, when they choose to spend time talking about it at all, might add things like awareness of form, use of tone color to achieve effective phrasing, ability to adapt convincingly to the style called for in the music and by the other players in the ensemble, and others.

No matter how firmly we believe as teachers that our way is best, there is certainly more than one technique suitable to artistic goals on the cello. However, there are many more ways that don't work well than there are ways that work well. As teachers, we have a duty to steer students towards the ways that will serve them best as accomplished professional musicians.

That said, let's look at the partial list of goals from audience members, musicians, accomplished professional musicians, and add a few from teachers of accomplished professional musicians.

We'll start with some of the basics mentioned above...

This month, the wonderful cellist and author Sara Sitzer talks to us about how to maximizing our performance by being mindful about our body movements.  Enjoy her delightfully insightful text and make sure to stop by her website to read more about and from her.  On to Sara!  - RPG
If you spend the majority of your days with an instrument in your hand, you're an athlete. What we do is physically demanding, exhausting, and, frankly, a bit unnatural! Think about it: we spend hours every day in a practice room, contorting our bodies in an effort to achieve technical perfection and dramatic musicality. And while stretches, yoga, and other healthful activities are key to taking care of ourselves as athletes, the technique that I have found to be the most powerful when it comes to saving energy, preventing injury, and playing more expressively, comes down to one word: 
Less is more.
Think about biking for a moment. Ya know how serious bikers wear those dorky spandex shorts and funny tops? Well, it actually makes it easier for them to ride faster! Without loose clothing flapping against the wind and heavy fabric to soak up sweat, the outfit itself becomes a tool towards efficient riding.
Umm.... you're not suggesting that I wear spandex for any performance that involves fast notes, are you?
Luckily, for us musicians, I can happily attest that spandex is NOT the answer! But, like biking, we can look into what we are doing while we play that gets in the way of being able to sound the best we can. Next time you practice, take a video of yourself and, when you watch it, ask these questions:
1. What physical movements do I habitually incorporate into my playing?
2. Are these movements necessary?
I've been working up a few orchestral excerpts lately, and, asking myself these questions in a recent practice session, realized that every time I started the opening melody in the second movement of Beethoven's 5th Symphony, I made a sweeping gesture with my bow arm and dipped my head down. I had been struggling to get it to sound flowing and easy, and suddenly it dawned on me that perhaps such a large gesture was actually getting in the way. Being conscious to keep my gesture small, concise, and efficient, I tried the passage again. The difference was striking--not only did the melody sound more legato and free, but, physically, I felt more in control and less tense. The physical movement I had been making was unnecessary and haphazard, and though it looked like I was simply playing musically, in actuality, I was playing inefficiently.
Don't die onstage.
Often times, when we're playing an especially romantic or intense piece of music, our physical movements become more romantic and intense right along with it. This always makes me think of something my former teacher, Uri Vardi, used to tell me: When an actor plays Romeo in "Romeo and Juliet," he doesn't actually die. His character dies, but he himself is only acting. Likewise, when we play an incredibly passionate piece of music, the goal is to channel the passion into our sound, not to allow the passion to creep into our physical movements. Physical tension is a musician's greatest enemy, but what we don't always realize is that it is our effort to play expressively and musically that often leads to the worst kind of tension. Learning to separate the musical drama from the physical drama can be what allows us to minimize pain and tension, and also tends to give us the freedom to make that musical drama more effective, exciting, and expressive.
Now, don't get me wrong. Moving when you play isn't bad, and I'm not suggesting you be stiff and still! After all, there are many virtuosic players out there who move a LOT! (Just look Yo-yo Ma or Joshua Bell!) But what I have learned in 25 years of cello playing is that the absolute best thing you can do for both your body and your sound is to be aware of the way you move, constantly evaluating whether what you're doing while you play is helping you achieve the sound your want or simply getting in the way. The way you use your body should always be intentional and thought-through. It is through constant awareness, evaluation, and intentionality that you can find the most of efficient playing style for you, which I think you'll find not only makes you a better musician, but also a happier, healthier artist.
Sara Sitzer, Cellist
A native of St. Louis, Missouri, Sara Sitzer leads a varied life as an orchestral, chamber, and solo cellist, as well as administrator and writer. She has performed recitals all over the world, from the new Frank Gehry designed New World Center in Miami Beach to the Hermitage Museum in Saint Petersburg, Russia. Her performing career has taken her to Israel, Japan, England, Australia, as well as throughout the United States.



This month, I am thrilled and truly honored to welcome the amazingly inspiring Ellen McSweeney!  If you are not already a follower, you soon will be (or should be!).  Ellen’s creative force is phenomenal, and her delightful enthusiasm positively radiate in the community that surrounds her.  Enjoy this awesome text from Ellen!  - RPG


I've been a freelance violinist in Chicago for more than eight years now, and it’s brought me some pretty wonderful opportunities. I've played chamber music at Millennium Park, Ganz Hall, WBEZ, the Empty Bottle, and everywhere in between. As I've grown as a player, my performance opportunities have grown with me.



Memorization on the mental violin


I am so very excited to welcome Wil Herzog as my first guest blogger for 2016! 

Wil is a wonderful human being and amazing violinist.  He and I met at Northwestern University and shared many talks about violin technique in dingy smelly practice rooms.  He is someone who’s opinion and insight I value tremendously and who’s friendship I consider precious. 

In this post, Wil shares a few of his thoughts and strategies on how to maximize your time away from your instrument and achieve musical magic in your head!  And now, to Wil!


Memorization on the Mental Violin – by Wil Herzog

Undergraduate technique class at Northwestern was nearly the same this week as any other.  As usual, each student took a turn to stand at the front of the room and play scales and arpeggios in response to the prompts provided by me, the instructor.  However, this week, each student also played an eight-measure excerpt of a Corelli sonata from memory.  All of the performances were near flawless, with only an occasional hesitation or stumble.  After everyone had taken a turn, I posed the big question: “So… how did it go?”  The students giggled and began the discussion.  The conclusion: it had gone surprisingly well.  What made this week’s assignment unique?  The students had been asked to prepare the given excerpt and perform it memorized without ever playing it on the violin or listening to a recording.

Recognize that the harder you work and the better prepared you are, the more luck you might have.  - Ed Bradley

For the last entry of 2015, I want to encourage you to go all in, at all times, in all lessons!

As I mentioned two weeks ago, you pay good money for your lessons and it would be wise to take full advantage of the knowledge that a teacher is trying to transmit to you.  How fast you progress will be directly proportional to how much care you take in preparing for your lesson.  Every.  Single.  Week. 

Before the lesson

Schedule your daily practice sessions at the beginning of the week, and organize them in your practice journal (you have one, right?), making sure you are progressing each day toward the completion of all assigned tasks. 


 Working hard and working smart sometimes can be two different things.  -  Byron Dorgan

The KitchenNow that you have brought your groceries home, the fun can begin!  You have the ingredients, and all you need is a good recipe to prepare a delicious meal.

Here is one of the many ways you can break down your “cooking” session.  As you get closer to performance dates, the ratio might change a little bit to include more performance practice, but proper planning and consistency will allow you to stay relatively stable in your routine.

The fractions are based on an hour of practicing, i.e. 1/12 of 60 minutes = 5 minutes.  A student practicing 4 hours a day can therefore multiple by 4 to know the approximate ratio (i.e. 1/12 = 20 minutes).

Be thorough and mindful!  If you feel that your practice sessions are not as productive as they could be, what better time than now to begin making the most out of them?  After all, how can you expect different results if you are doing the same old thing?  As Henry Ford so perfectly put it: if you always do what you’ve always done, you’ll always get what you’ve always got.

Warm up: 1/12

  • Always, always, always warm up.  It is the best way to prepare yourself for the work ahead and to prevent injuries.  Select exercises that warm up both arms and hands. 
  • Long tones, Schradieck, Gavriloff.


I have been impressed with the urgency of doing. Knowing is not enough; we must apply. Being willing is not enough; we must do. - Leonardo da Vinci

Bring Your Groceries HomeI am noticing a common pattern among you, my students, and I can sadly report that I occasionally fell into the same trap at your age: you don’t bring your groceries home!  Going to your lesson to receive instruction from your teacher is a little bit like going to the grocery store.  You go to the store, fill your cart with items, pay, and then bring the food home to eat so you can remain alive, healthy, thriving as a person.  But a lot of you are in the habit of casually leaving the bags behind at the cash register!

Week after week, some of you walk in the studio without having put in a real effort to solve the problems addressed in the previous lesson.  What you get then is what I call a “repeat lesson,” when the teacher has to repeat and explain the same concepts all over again.  It is hard for you to improve significantly and difficult for a teacher to move forward when, lesson after lesson, the same material and the same notions must be revisited.  Some of you do try to a certain extent, but several of you revert to the same old bad habits whenever something feels slightly uncomfortable or requires real effort to accomplish.  Fight this urge and tackle your bad habits!


Make it easy to go right, and hard to go wrong.  – Gretchen Rubin

The Location

Like all disciplines, studying music requires focus and clarity of thought.  One of the best ways to achieve this is by creating a work space that enhances your ability to concentrate and helps you stay on target. 

In her book, Better Than Before, author Gretchen Rubin explains that one of the most powerful strategies to create healthy habits is the Strategy of Convenience: “by making it convenient and pleasant, you make it easier on yourself to keep up with it.”  It’s aSecret of Adulthood for Habits: Make it easy to go right, and hard to go wrong.  You want to make it as easy as possible to just pop in your work space and get something done.

You need a few basics tools – your music, something to hold it, a metronome, a pencil, enough room to move your arms – and you need to work on your ability to zone out distractions and stay focused on the task at hand.


Managing your time without setting priorities is like shooting randomly and calling whatever you hit the target.  – Peter Turla

THe ScheduleI have talked about finding your vision and setting a plan of action.  Now comes the time to talk about a way to organize your time that might help you become more effective in acting towards achieving your goals.

Knowing how to build a well-organized schedule can be an instrumental element in becoming an efficient and successful person.  Personally, I like to take some time at the beginning of each week, usually on Sunday evening, to plan the upcoming days.  I plan everything - practice time, rehearsals, concerts, appointments, teaching, cooking, working, studying, cleaning, leisure time, etc. - and I try to be as precise and detailed as possible.  Proceeding this way allows me to maximize my time and prevent unpleasant surprises.  Not 100% of what I plan gets done, but I’m 100% more efficient by planning ahead of time. 

The Plan 

Planning is bringing the future into the present so that you can do something about it now.  -  Alan Lakein


In the last entry, I suggested that you take some time to reflect on where you stand and where you want to go.  Now that you have the picture, you have to think of your plan.  I agree with the technique presented in almost every self-help book, which is to put your plan on paper and to break long term goals into short-term, achievable increments.

If you don’t know where to start and you are not too sure how to move forward, you might want to consider finding a mentor.  Most of you already have one—your private teacher.  Your teacher will, without a doubt, be more than happy to answer any question you have and to help you establish your plan and follow through with it (sometimes, for your own good, in spite of yourself!).  If you want even more input, think of someone who lives the life you dream of living and reach out to him/her.  Ask them out for coffee and pick their brain on their personal strategies to achieve success.  What did they do to get where they are?  What did they have to sacrifice?  What qualities were essential in their success?  What did they learn from their mistakes?  What mistakes should you avoid?   What did they learn from their successes?  What steps should you take?



 There is nothing like a dream to create the future.  -  Victor Hugo

The Picture


Ah!  September!  The air is filled with optimism and the possibilities appear limitless!  Like January 1st, the beginning of the school year opens the door to reinvention.  It is the perfect moment to pause, reflect, assess, and plan.  A clean slate is laid before us and everything is possible. 

As any time management expert or success guru will tell you, you need to know where you want to go, or you go nowhere.  And while you put some effort into thinking about where you are going, it is also a good idea to take in where you are.

At the beginning of each school year, I ask my students to mull over a few points and write a short essay.  The exercise (hopefully) allows them to evaluate their current situation and develop a vision for their future.  

I am including it here and invite you to ponder the questions and do your own self-assessment.  Feel free to share your essays and thoughts with me at, and I will be happy to offer you feedback and/or discussion. 

I encourage you to be as honest and spontaneous as you can be.  Allow yourself one short sentence per question and let the answers come to you naturally, sticking with the first thing that comes to your mind.  Try to complete the exercise in less than 10 minutes.  The time factor and concise answers will promote a fluidity in your thoughts and provide insight into things which are important to you, some of which you might not have realized before.

In a short essay, please briefly describe: 



If you get stuck, draw with a different pen. Change your tools; it may free your thinking.  -  Paul Arden


The Tools of the TradeAs I have mentioned several times, getting creative with your practicing techniques can yield fantastic results.  Any and every exercise can be tweaked and tailored to your needs.  In Dig Deep, I elaborated on the fact that we need to turn off the automatic pilot and really use our mind to analyze the problem and find ways to solve it.  Using your imagination to come up with new exercises is not only fun, it fires up the synapses in your brain, solidifying your skills. 

Technology can be your friend in this area.  In addition to listening to the repertoire you are working on and browsing the internet for articles and videos about music making (read here for ways to incorporate these into your routine), there are several tools you can use to enhance your practice sessions.  Having written in detail about how to record yourself, I will now turn to a few other tools of the trade.  

Check Your Pulse


Honestly, as you can imagine, it really isn't all that fun directing yourself, running back and forth to the monitors to see if you're terrible or not.  -  George Clooney


 In my last post, I discussed ways to make the most of the summer period and strongly encouraged students to embrace and incorporate technology into their practicing arsenal.  One of the best way to ensure monitoring and accelerate progress is by recording yourself.

Summer Is Coming 

“And you? When will you begin that long journey into yourself?” ― Rumi


Exams are over, library books have been returned, and summer is slowly making its way here.  If you are a serious high school level violin student, you most likely will not take summer off from practicing.  If you are a college music major, you most definitely should not.


Growing Heap 

 A little and a little, collected together, becomes a great deal; the heap in the barn consists of single grains, and drop and drop make the inundation.  - Saadi


Lately I have been talking to all my friends about my new favourite podcast, Happier with Gretchen Rubin.  I thoroughly enjoy the wise and practical advice that the sisters/authors Gretchen Rubin and Elizabeth Craft deliver with charming candidness and good humor.  I have become a loyal listener from the very first episode in which Ms. Rubin elaborates on the “argument of the growing heap.”  This was extremely interesting to me, being about one of the most important aspects of the discipline of violin playing and one about which I have been thinking about so much lately. 

 Je me souviens

Je me souviens is the official motto of Quebec, the province of Canada where I’m from. It means "I remember".

Yes, we remember. We remember the past and its lessons, the past and its misfortunes, the past and its glories. - Thomas Chapais, Québec, 1895


A couple of years ago, I read an excellent text published on the excellent Bulletproof Musician blog and written by the excellent horn player/teacher and fearless performance wizard Jeff Nelsen.

Grit Is Great


Nothing ever comes to one, that is worth having, except as a result of hard work.  - Booker T. Washington

Ain’t nothin’ like hard work.  Don’t be afraid of it!  Embrace it, cultivate it. 

Of course, we should all strive to keep a balanced life.  Keeping time for all important things: family, health, work, and leisure, is a good habit to develop.  But when the time to work comes, we should not be afraid to go all in.

Eat That Frog

If it's your job to eat a frog, it's best to do it first thing in the morning. And if it's your job to eat two frogs, it's best to eat the biggest one first. - Mark Twain

In the last post I talked about one trick to adopt to get ourselves in the practice room.  I would now like to talk about a concept which I had known about for what seems to be forever (thank you, Mom!) but was presented to me in a fresh way a couple months ago during a visit to the Savor blog.  In a short video segment the former concert pianist and deeply inspiring young successful entrepreneur Angela Jia Kim (founder of Om Aroma & Co and creator of the Manifest Method) discusses how you can increase your productivity by simply “eating that frog.”

Commit to ten 

 Each goodly thing is hardest to begin.  -  Edmund Spenser


Sometimes, one of the hardest thing about practicing the violin is to actually start.  For most people, procrastination is often the sign of an underlying problem.  For a violinist, it can stem from a fear of failure, a feeling of inadequacy, a lack of motivation, and/or discouragement in the face of the amount of work ahead.  Playing the violin, or any musical instrument, is a deeply personal experience.  At the root of it all is a deep love for music.  Then, after years of hard work, discipline, and sacrifices, it becomes an intrinsic part of who we are.  One feels exposed, revealed.  The never ending pursuit of perfection combined with accumulating deadlines can often make the climb to the mountain top seem way too steep.  Sometimes, it is simply scary because we usually put a huge amount of pressure on ourselves and, for this reason, the violin resting in the case becomes a feared object embodying a large panoply of frustrations and insecurities. 


 Questions are the answer.  – Anthony Robbins

An important part of deep practice is introspection.  Fixing any problem and improving any passage begins by first analyzing the issue at hand by asking yourself questions.  In his book Awaken the Giant Within, Anthony Robbins asserts (with reason) that our questions determine our thoughts and, therefore, our actions.   Still according to Robbins, quality questions create a quality life.  In the violin studio, this could be translated as “quality questions create a quality practice session.”  The best way to deepen your focus during a practice session is by being fully aware and by maintaining an inquiring mind. 

Seek And You Shall Find 

 You will find only what you bring in. - Yoda


After discussing my philosophy as a teacher in the first post of the year, I would like to turn my attention to the second partner in the musical team: the student.  Having been there myself, I realize how easy it is for students to forget the critical importance of their active participation in the process.  Not only in violin playing, but in all other subjects, students often approach lessons/classes in a passive state, showing up ready to take in what is to be offered but without having done thorough preparatory work. 

Work Together, We Can 

 Always two there are, no more, no less. A master and an apprentice. - Yoda


For the first post of the year (can you believe the calendar reads 2015?!), I want take a few minutes to reflect on my values as a teacher and guide.  It is important for me to provide my students with solid notions about violin playing and music in general, to instill in them the desire to apply and deepen that knowledge outside of the studio, and to hopefully reach them on a personal level and help them develop solid human values.



Try again.  Fail again.  Fail better.  –Samuel Beckett


As I stated in the first installment of this blog, first, there is art.  But for art to reach the listener’s heart, there needs to be a limited amount of filters between the artist’s conception of a work and his/her audience’s ears.  Technical mastery of basic elements will give the performer the freedom to interpret music , beyond merely playing notes.   

Mind over finger


 Technique is conception - Zvi Zeitlin


“Technique is conception” my beloved old teacher Zvi Zeitlin would often repeat.  When not shouting at me, or laughing at some clever remark he had just made, he loved to point out how everything about violin playing originated first in the mind.  Of course, as a young and naive pupil, it took me years and countless hours of mindless/useless practice to fully grasp the importance of this concept.

Price of shortcut 

 Hasten slowly and ye shall soon arrive.  - Jetsun Milarepa


Anyone who has ever taken a lesson with me knows that I love a good analogy as much as anybody.  One that y I like to use with my students is the comparison of inefficient and impatient practice with rushing out the door.  We know how things happen when we get ready in a rush! This is when we drop, spill, knock things down, and forget important steps in our morning routine.  We might make it out of the house in time, but with crumpled clothes, disheveled hair, coffee stained pants, and our packed lunch sitting back home in the fridge.


House of brick 

 Then the third little pig built himself a house of bricks. It took him a long time to build it, and it was a very strong house. - Children tale


First, there is art.  The artistic message is the essence of what we do.  But for the message to be communicated truthfully, the transmitting medium must be effective.  At the basis of an effective performance (“effective” taking on different meanings for each performer and/or listener) is a solid technique.  A solid technique allows the musician to experience freedom from the limitations imposed on him by the markings on the page and lets his vision of a work take place.  However, reaching mastery takes time . . . lots of time.  It requires dedication, discipline, and a long term vision which guides everyday (every minute!) decisions.

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