As a violin technique mentor and coach, I can help you:
- Master precise intonation. A string player must be adept at using the small muscles of the hand and fingers to adjust note relationships even before the ear hears them. A kinesthetic knowledge of the fingerboard is vital.
- Refine bow technique to utilize the natural movement of the arm and hand.
- Optimize your positioning with the instrument and bow to fit your particular anatomy.
- Develop stamina, by learning to use and relax your body, isolating muscle groups and employing only what is necessary to play in a given moment.
- Playing with natural movement in harmony with your body.
Contact me for a free 30-minute consultation.
As a violin technique mentor and coach, I can help you:
- Master precise intonation. A string player must be adept at using the small muscles of the hand and fingers to adjust note relationships even before the ear hears them. A kinesthetic knowledge of the fingerboard is vital.
- Refine bow technique to utilize the natural movement of the arm and hand.
- Optimize your positioning with the instrument and bow to fit your particular anatomy.
- Develop stamina, by learning to use and relax your body, isolating muscle groups and employing only what is necessary to play in a given moment.
- Playing with natural movement in harmony with your body.
Contact me for a free 30-minute consultation.
I received valuable aspects of my violin technique from the following teachers:
Sam Chernyk
From working with Mr. Chernyk, I learned finger patterns and precise intonation, playing with left-hand fingers on tips and keeping fingers down to feel as well as hear note relationships.
Harold Wippler
Every time I went to a lesson with Mr. Wippler, I came out of his studio playing like a million dollars. Mr. Wippler had also been a teacher of Eugene Fodor, the first American to win a gold medal at the Tschaikovsky International Violin Competition in Moscow.
James Maurer
former Professor of Violin at the University of Denver Lamont School of Music
Mr. Maurer taught me Ivan Galamian’s Scales and Arpeggios. I always warm up before playing or performing with all of these; they give me a good basis for anything I play. Also, I studied Suzuki Pedagogy with James. That helped me immeasurably as I combined his training with my traditional background of study on the violin.
Stefan Krayk
Stefan reshaped my left hand, teaching relaxed finger technique—striking, then releasing each finger between notes. This is how I can play three hours of a Mozart opera without tiring.
Jesse Ceci
Jesse taught me not only advanced orchestral technique, which allowed me to audition and win positions with various orchestras, but also skilled chamber music interpretation. With him, I was able to meet and perform with some of the best musicians in the world.
Burton Kaplan
Violin instructor at the Manhattan School of Music
For an entire year, I traveled to New York, stayed at the YMCA near Columbus Circle and took the subway to Burton’s home to take 4 hours of violin lessons in one day—two hours in the morning and two hours in the afternoon. Mr. Kaplan totally changed my bowing technique, giving me an ease which utilized the natural movements of the arm. The reason it took me a whole year is because I had developed habits over the years that needed to be unlearned. One day, slowly practicing the Bach Chaconne, I had a spiritual experience where my whole system relaxed and the music was flowing effortlessly in and throughout me. I was dancing with the music and with my violin. Since then, I have been able to play almost anything effortlessly on the violin.
I have incorporated everything I learned from these teachers into a precise method to help you master violin or viola technique and performance.
When you study with me, you will learn exact and understandable ways for you to play anything well.