1st lesson free
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Jason
- Rate 535 GHS
- Response 1h
535 GHS/hr
Contact
1st lesson free
- Violin
- Viola
- Cello
- Erhu
Build Reliable Shifts, Smoother Bow Changes, and a More Expressive Violin Sound
- Violin
- Viola
- Cello
- Erhu
Lesson location
About Jason
I’m Jason, and I work especially well with violinists who feel that their playing is almost there but not dependable enough. Maybe your intonation is good in one run and questionable in the next. Maybe a shift succeeds three times and misses on the fourth. Maybe your bow sounds beautiful when you think about it, but the sound changes the moment the music becomes difficult. Those are the kinds of problems I like because they usually have identifiable causes.
My approach is very specific. If something goes wrong, I do not want to simply tell you that the passage needs “more practice.” I want to know exactly which movement changed before the mistake happened. Sometimes the finger that misses the note is not actually the problem. The thumb may have stopped moving. The elbow may have arrived late. The bow may have become faster because your attention moved to the left hand. Finding the first thing that changes is often more useful than concentrating on the final mistake.
I also want you to become good at comparing sensations. We may intentionally play something in two slightly different ways and ask which one gave you more control. That helps you develop an internal reference for what efficient playing feels like instead of depending entirely on someone watching you.
If you are the kind of violinist who wants to understand the mechanics behind consistency—not simply be told to repeat the passage until it eventually works—my lessons are designed with that kind of student in mind.
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About the lesson
- Beginner
- Intermediate
- Advanced
- +10
levels :
Beginner
Intermediate
Advanced
Professionel
Child
Beginner Level
Elementary Level
Intermediate Level
Advanced Level
CEM
DEM
DE
CA
- English
All languages in which the lesson is available :
English
If you can play comfortably in first position but everything becomes less predictable the moment you need to shift, I want to make that transition feel much less mysterious. Instead of treating a shift as a jump and hoping your finger lands correctly, we will build physical landmarks into the movement. You will learn to notice what the hand, thumb, and guide finger are doing before the shift begins, during the movement, and at the moment you arrive. We may practice the movement silently before adding the destination note, then compare the distance against notes your hand already knows. The idea is to make shifting feel like a route you recognize rather than a leap into empty space.
I use a similar approach for bow changes. Many players have a decent sound in the middle of a bow stroke, but the sound changes when they reverse direction. You may hear a small crunch, a gap, or an accent you never intended. We can practice disguising the bow change by slowing down the final few centimeters of one stroke, preparing the fingers and wrist for the reversal, and listening for whether the new stroke begins with the same quality of sound as the previous one. Then we apply the same motion inside the actual phrase. If somebody listening with their eyes closed cannot tell exactly where you changed bow direction, we are getting somewhere.
Rhythm will also become part of your technique. If a difficult run contains eight fast notes, we might deliberately change the rhythm—long-short, short-long, groups of three, or accents on different notes. That forces your fingers to solve the passage in several different ways instead of memorizing one shaky version of it. When we return to the original rhythm, the movement often feels much more organized because every pair of notes has been examined instead of rushed through.
Once the mechanics become reliable, we start asking a different question: what should the listener actually hear? We will decide where a phrase is going, which notes need more weight, which notes should pass by lightly, and where the bow needs to save or spend energy. Technique is important, but I do not want you to sound like someone successfully completing an exercise. I want the technique to disappear underneath the music.
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Rates
Rate
- 535 GHS
Pack prices
- 5h: 2675 GHS
- 10h: 5350 GHS
free lessons
The first free lesson with Jason will allow you to get to know each other and clearly specify your needs for your next lessons.
- 1hr
online
- GHS535/h
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