In 2011, declaring that "our art is passed from one generation to the next, not by books but by mentoring," NEC faculty member Paul Katz launched CelloBello, a website designed to connect cellists of all ages and performance levels. Among the site's resources are "Cello Lessons," consisting of footage filmed in Katz's studio with NEC students; "Legacy" videos from Katz's own mentors; and the blog streamed through this page, and coauthored by more than a dozen prominent cellists.
Like so many classically trained cellists, improvising was never something that I felt very comfortable trying. And although most of my professional life has been in the world of new music, improvisation was not something that I had explored in depth until a few years ago.
My improvisational journey began literally the day after my final day with the Kronos Quartet when I played a concert at The Stone in New York with John Zorn and several others on one of his monthly improv nights. For those of you who have never been to one, the way that these concerts work is that everyone sits downstairs in the basement and one by one people decide in the moment who plays with whom. It can be duos, trios or quartets – you literally have no idea what you are playing or whom you are playing with until two seconds before walking upstairs. Everyone then comes together at the end to play in one giant improv. I didn’t realize it at the time, but I was taking my first step into a new world that, over time, has increasingly become a large part of my performing life.
TALKING AND LISTENING
A few days after the Stone show, Zorn and I grabbed some sushi together. One of the questions he had for me was, being fully aware of my rookie status as an improvisor, how I felt about improvising a few nights before. I responded by saying that I had made an interesting discovery about myself. I had learned that when I improvised with people I didn’t know, my musical behavior was no different than the conversation that I would have had if I were meeting people for the first time. I am much better in smaller groups, but when the groups get larger I tend to listen more than talk. This was exactly what happened when I was improvising.
Some time later I put together a concert as part of VisionIntoArt’s Ferus Festival at the Stone. The group was comprised of Vijay Iyer, Scott Colley and Satoshi Takeshi. These were all individuals that I had long admired and I was thrilled when everyone agreed to play. However, about two weeks before the show, I began to have a bit of a panic. After all, these are some of the best improvisers around. What was I thinking putting myself on stage with these master improvisors?
When we began playing together it sounded…GREAT! At that moment I knew what I needed to do. I would just lay back and let everyone else do they’re thing. They will sound great and I can just ride on their coat tails. What a great plan!
While we were playing, at some point I made a very minute change in what I was doing…immediately the entire group made a shift in the texture. Oh no – they are actually listening to me too! My plan was ruined.
I was literally shocked by the heightened level that Vijay, Scott and Satoshi were listening at. I have spent most of my career as a chamber musician playing at most of the major concert halls around the world. I had never played with musicians that were that closely tuned in to the nuances of everyone’s playing. Without a doubt this level of engagement would tremendously benefit any musician or chamber group regardless of what repertoire they were playing.
Over the years I have found that the best improvisors are also the very best listeners.
MAKE A PLAN. BUT BE FLEXIBLE: PLANS OFTEN CHANGE IN THE HEAT OF THE MOMENT
Part of the reason why classical musicians don’t want to improvise is that we are conditioned to fear making mistakes. Our job is to develop an interpretation with integrity and then attempt to execute it to perfection whenever we perform. When this works, the performance can be sublime. In our lessons we are told to vibrate on every note, to play the exact same bowings all of the time, not to play the wrong articulation, not to put the accents in the wrong place and to absolutely only play the correct notes. When we improvise, which ones are the correct notes?!
I am not saying that there are no mistakes when you improvise. But I have discovered over the years that often things that may immediately feel like they might be mistakes are actually opportunities to allow the music to evolve.
Several years ago I formed a trio with the German pianist Hauschka and the Finnish drummer Samuli Kosminen. We call ourselves H K Z. I love playing in this group. Hauschka and Samuli are both brilliant musicians and master improvisors. I have learned a great deal working with those two. Whenever we play together we always make a plan. We have yet to actually stick to the plan.
Last Fall we played two concerts in Berlin at Radialsystem V. The shows were packed and went very well. In our sound checks, after we had checked all of our microphones and effects units, we would generally just begin playing together in order to feel each other out. Often these improvisations are the best because you have zero expectations since it isn’t the actual concert. For this reason, it is not uncommon to stumble upon perhaps the most magical moment that you could ever imagine.
But then what do you do next? Do you try to recreate the same magic in the concert? Sounds like a reasonable idea. But I will tell you this, every single time that I have ever tried to recreate a magical moment in a concert it has fallen flat…every…single…time. Why does that happen?
It is just like taking a walk through the woods. You are only following your imagination and then unexpectedly you find a clearing that leads to the most incredible view you had ever seen. The next day you come back and make your way to the same spot. But this time you go more directly because you know where you are going. It is still nice, but the magic of stumbling upon that moment will never be the same. A mentor of mine once told me that “Life never turns out the way you planned. But it always works out.” I have found this definitely to be true.
After several decades of exploring the outer limits of music, I have thoroughly enjoyed returning to my classical roots teaching at Mannes College the New School for Music. My students are very talented and I enjoy exploring the possibilities of the cello with them. After spending so many years drawing outside of the lines, I definitely see the benefits for students to be able to explore this area of playing. It heightens one’s level of listening and teaches one all of the skills of chamber music. It also gives performers the ability to successfully turn any unexpected moment on stage into an opportunity for success.
When I reflect upon my studies, this approach does not actually clash with my training as much as it would seem. Paul Katz taught me a great deal about the cello and musicianship. However, I think the greatest gift that he gave me was the importance of listening. In addition to leading to artistic integrity, it also enables one to engage fully in all levels of music making whether you are an orchestral musician, soloist or chamber musician. When I was studying with Janos Starker he would tell us that we should have several different approaches already mapped out and that we should not stick to only one way of playing. This way whenever you perform you have choices. Listen to yourself and to others. Always make a plan, but be flexible.
One of the goals of good teaching is assisting students to develop into interesting, compelling and communicative artists. Of course, there are many influences that create artistic musicians and many of them can be discussed and demonstrated in lessons. However, one of the factors that I believe is extremely important is also one that cannot actually happen in a lesson. For it to get done, you must often rely on the parents of your students or, for collegiate students, the student themselves.
That factor is getting students to attend concerts to hear and watch professional and artistic musicians performing “live”.
Imagine the difference it would make to students who love sports if they could not see great athletes performing. It is relatively easy to see a basketball game, baseball game, tennis match, football game, gymnastic or swim meet, etc. All one has to do is turn on the TV! And yet, going to a sporting event makes a much bigger impression and is more fun that sitting on the couch at home, and certainly is a more dynamic experience than listening to a game on the radio. The same is true of music events. Listening to a recording or live radio concert of a great artist, orchestra or chamber ensemble has many rewarding benefits, but seeing it can be even better. In recent years, it has become possible to see some interesting performances on the internet through sites like You Tube. Especially interesting are the concert videos featuring legendary performers who have passed away. But, watching a video just is not the same experience as going to hear a live performance and being part of the audience. And unlike sporting events, concerts on television are relatively few and far between…..especially concerts of chamber music.
Artistry is often necessarily a part of studio teaching that is generally taught to more advanced players. There are so many issues that need to be covered in a lesson that artistry is frequently ignored or at least put on the back burner. However, there is a way to start teaching artistry to even beginning students….Concerts!….getting them to hear and see concerts! Much like a picture is worth a thousand words, so too is concert attendance. The more concerts a student can attend, the more they can learn. Orchestra concerts are fun, exciting and large scale. Many students play in youth symphonies and can benefit greatly by hearing a professional caliber orchestra concert. However, individual artistry is hard to observe and though there is often a soloist who is usually a great player and often a great artist, they most often have to be observed from afar.
On the other hand, chamber music concerts are almost always in more intimate spaces allowing students to observe up close just what artistic playing is all about. Tickets are usually far less expensive than orchestra concerts and some are even free. In addition, many chamber music concerts feature unreserved seating. This means that if you arrive a little bit early, you can get the best seats in the house and sit very close to the artists if you so choose, sometimes even right on the stage with them! You can literally feel the artistic intentions of the musicians and observe how they approach their instrument from a technical point of view. A motivated student can observe each player for many things such as the bow hold, vibrato, use of color in the sound, cueing, breathing and other communication techniques among the performers and sometimes even how they put markings in the music. A good chamber music concert not only has great music as a part of it, but also can cause audience members to feel a direct and personal connection to the artists on stage. There can even be a personal connection made through eye contact during moments of applause. As a bonus, many chamber music concerts also have post-concert receptions where audience members can not only have a delicious snack (a big draw for some younger students!), but also have an extended conversation with some or all of the musicians who just played. All of these things can have a significant and lasting impression on students and significantly affect how they grow artistically and what they strive to do when they perform.
The studio teacher can do many things to encourage concert attendance. Chamber music concerts should perhaps be included more often near the top of the list of concerts students should be encouraged to attend. Usually, it makes a bigger impact if specific recommendations are passed along. This can be done in many ways, and often the best strategy is to employ more than one. For instance, teachers can inform students and/or their parents of concerts via email and Face book, a prepared list printed out on a sheet of paper, flyers for concerts posted at the teaching studio itself and personal verbal reminders. Some teachers may want to consider requiring that their students attend a certain number of concerts each year. This sends a message that the teacher really does feel it is truly important to the development of their students.
To find out what chamber music concerts are going on, the “entertainment” section of newspapers, flyers in violin shops and at universities, magazines, and the web all are excellent sources of information. Most students and their families are very busy with day-to- day events and it is often hard for them to squeeze in yet another music activity. Some have parents who like to go to concerts, have the financial means to do so, and bring their kids along. Others are less into doing that, or simply can’t swing it logistically. For those students, carpools are an often-overlooked possibility. A small group of students can go to a concert together with only one parent as a “chaperone”. Another thing that can make a big impact is a concert “field trip” with the studio teacher. There may be a concert by a particular artist or chamber music ensemble that the teacher wants to attend. This can be a great opportunity to bring their students with them. With some advance planning, group tickets can be purchased if necessary, and students can attend without their parents. It can make a lasting impression on students, especially if the teacher can lead the group after the concert to meet the artists. Then, in subsequent lessons, that particular concert and traits that were observed can be referenced in helping the student to strive for artistic excellence.
There is one final thing that can result from having students attend chamber music concerts. It can give them the desire to play in a chamber music group if they don’t already do so. For those that already do, it can be a tremendous way to learn how to improve their ensemble playing. For all it can help to develop opinions on what styles of playing they desire to emulate, and learn about repertoire they look forward to playing. One of the great benefits of playing a string instrument is having the opportunity to play the enormous and amazing repertoire of chamber music masterpieces. Teachers can really influence the type of ensemble playing they encourage their students to take part in. All are wonderful, but chamber music can push their musical and ensembles skills forward faster than most. Usually, the first step is getting students to the concerts…events that are truly worth a thousand words.
Today’s Blog is devoted to some thumb position exercises by Diran Alexanian that my teacher in Freiburg, Spanish cellist Marcal Cervera, gave to me in 1972. These exercises are not in included in Alexanian’s seminal book on cello technique, Traite Theorique et Pratique du Violoncelle (Theoretical and practical treatise of the violoncello).Alexanian’s book includes several pages of other thumb position exercises (pages 125 ff.) which are well worth practicing, but I believe that these 13 exercises have never actually been published. I do not know how Cervera got these exercises, but I copied them from his notebook, and studied them with him. I find them to be very useful.
Alexanian was born in Armenia in 1881. He became Casals’ assistant at the École Normale de Musique in Paris. His treatise was endorsed by Casals (on the cover it says “compiled in complete accord with Pablo Casals”), and in the preface Casals writes:
“When Alexanian submitted to me a well elaborated plan for the analysis of the theory of violoncello playing, based on principals that I myself accept, I recognized that I had before me a serious effort towards the casting off of the shackles of the superannuated prejudices with which the above mentioned works were replete…I would therefore recommend to all those who play or who wish to play the violoncello to imbue themselves thoroughly with the contents of this treatise”.
Alexanian’s students included Bernard Greenhouse, David Soyer, George Ricci, Raya Garbousova, David Wells, and Mischa Schneider in the US, and Gabriel Cusson, Maurice Eisenberg, Antonio Janigro, Gregor Piatigorsky, Hidayat Inayat Khan, Pierre Fournier, and Emmanuel Feuermann in Paris.
For more information about Alexanian, you can go to these websites:
These following 13 exercises all deal with opening up the hand in thumb position, and as such, they would be useful only after the basic thumb position formation (discussed in Blogs #19 and #20) is secure.
For seven long minutes he stood. Then he stirred
And he said to the bear, “do you know what I heard?
Do you see that far mountain…? It’s ninety miles off.
There’s a fly on that mountain. I just heard him cough!
Now the cough of a fly, sir, is quite hard to hear
When he’s ninety miles off. But I heard it quite clear.” Dr. Suess
In Dr. Suess’s story, “The Big Brag”, the rabbit goes on and on about how well he can hear. Of course, that is not the point of the story, which is about how dumb it is to brag about how great you are. (That is a possible topic for another article…not that musicians ever do that!). But it does have an important message that many musicians, especially younger musicians need to learn. Our ears are remarkable and can hear at an amazing level of detail. But it is also remarkable how poorly many music students really listen.
Although it seems obvious, a huge part of musical training involves getting our ears to listen to what our ears are hearing while we are playing our instruments. Fortunately, many students are actively encouraged to do this by their teachers. An equally or perhaps more important part of listening education involves how to teach a student to listen to their self as well as the other musicians playing in a group with them. This is not the type of listening that is commonly focused on in individual music lessons. Hopefully, youth orchestra conductors do this. But they cannot really work with the individuals in great detail. But, a good chamber music coach can work on this in great detail. This is another tremendous benefit to having young musicians play chamber music.
Listening to oneself:
In a chamber music group, each member must listen very carefully to themselves.
Many of the listening issues are the same as in solo playing. They include such things as good intonation, good use of dynamics, quality of sound, color of sound, choice of vibrato, types of articulation, bow proportioning and what part of the bow to use, tempo, good rhythmic accuracy, choices of where to use rubato and simply being sure to play all the right notes. One of the truly interesting and often startling things about playing chamber music is that one could come to rehearsal wonderfully prepared in all of the just mentioned topics, and yet have to make changes to nearly all of them!
Listening to those around you:
Everything your hands do to play your instrument is guided by signals the brain sends them, based on what your ears tell the brain is needed. In a chamber music group of inexperienced players, it can be obvious that some or all of the players are not in sync with each other, or are only listening to themselves or part of the total group. One person might be behind the beat, or playing an altogether different tempo than the rest of the group. Or, they might be in the right tempo and playing all of their rhythms perfectly, but not in a way that lines up with the beat that the others are playing to. Sometimes I am amazed at how a young musician can do that. There are composers, like Charles Ives that deliberately compose a particular part to make it sound like it is unassociated in any way with the others. It often takes a group with tremendous rhythmic skills, determination, and rehearsal time to pull that off. Yet, inexperienced players often do that without even hearing that they are off from the rest of the group. Another interesting hearing issue is intonation. A note that might sound wonderful in a solo context might be horribly sharp or flat in the context of vertical intonation that is so often required for good ensemble intonation. Unless the player is listening to the entire structure of the intonation, they won’t be able to adjust. Matching ones vibrato to others is also a matter that is often not listened for. When it comes to interpreting the length or articulations of notes, unless one watches for and listens to differences, those things will go un-unified. One of the roles of the coach is to help all members of the group learn to recognize and self-correct many of these issues. If any one player fails to do that, the group cannot reach it’s potential.
Adjusting ones playing to fit the context of the music:
One of the most difficult areas to excel at as a chamber musician is knowing how to use voicing in the group. It can be confusing to an inexperienced player to know what to do, and is always a matter of opinion, know matter at what level a group plays at. For example, take a passage marked with a piano dynamic. It is rare that each player in a group would actually play their part in exactly the same dynamic. So many issues are at play here. The goal is for the audience to always be able to hear the primary voice. Which instrument and in what register that instrument is playing the primary voice will totally determine what the others must do. On top of that, the actually tonal capabilities of a players’ particular instrument needs to be noticed and adjusted for. A melody in the low register of the cello in the context of a piano trio will almost always need to be louder than it would be in a string trio. The melody might jump from one player to the next. To attain the proper voicing from an audience perspective might perhaps require the first violin to play piano, the violist forte and the 2nd violin mezzo forte.
One good way of getting a group to think about this is to give the example of a solo pianist playing a sonata. It is easily understandable to see how within one dynamic that a pianist would have a specific finger play louder than another, or how they might bring out or subdue certain notes to make it all sound the way they conceive it in their ear. But, a solo pianist’s job is easy in comparison to a string quartet for example. The pianist has only one brain to process the sound. A string quartet has four. The pianist has only one opinion. A string quartet has four. The pianist has only one place they are listening to the sound from. A string quartet has four, and beyond that, some players are closer to their sound than others, and the sound goes out to the audience from different distances. Achieving this balance takes teamwork, experience, problem solving, and most of all, great listening skills. (This is yet another way playing chamber music can help gain skills needed in other aspects of life!).
Besides having a coach help achieve this balance, there are several ways the members of the ensemble need to listen. One is for each player to be carefully listening to themselves. There are two others that I think are very effective ways of increasing listening skills, both of which require imagination and instinct, and are highly subjective. One is for each player to listen to the group as a whole, as if their sounds are all meeting in a large sphere hovering above and just in front of the group. It is almost as if there is a virtual microphone hanging in front of the group that each player plays to. Another very interesting concept is for each player to imagine they have 2 sets of ears….their own attached to their head, and a remote set that are perched above a seat in the audience that send back signals as to how things sound out in the hall. I realize this is in some ways a strange concept to explain, but I also think it vitally important to how each member of the group and the entire group sounds. After all, the goal is to make the piece sound right to the audience.
Adjusting one’s playing to the acoustics of the performance space:
One added complication is that almost always, for chamber ensembles the performance space and its acoustics are different than the performance space. Major orchestras often get around this difficulty by owning or leasing the concert hall in which they give most of their concerts. Just the same, they also may travel, and will need to be making adjustments to their playing from one city to the next. Chamber ensembles may find they need to adjust such things as tempo, voicing, articulations, etc. when they get into a new space. For groups with piano, this is even more complicated, as the pianist may need to make all sorts of adjustments to their playing compared to their practice or rehearsal piano. Although not always possible, a set of real ears from a trusted coach or colleague out in the hall can really help, assuming the group does get to “try the hall” before the performance. And, there is no substitute for experience. The more types of acoustics a group experiences, the more likely they will be to make decisions that work based upon what they each are hearing and listening to.
Chances are, Dr. Suess’s rabbit would have made a lousy chamber musician. Even though he had such a great set of ears and knew how to use them, it took him seven whole minutes to hear that fly cough. A good chamber musician might need to know what he or she heard in less than seven milliseconds! On top of that, he was too arrogant and obnoxious to be a colleague that would be tolerable for very long in a chamber music group…but that is another issue altogether!
When violinists are asked what part they prefer to play in chamber music, there are often just two answers. I wish more often that there were three common answers, but more on that later.
Some like to feel like they are the star, and so they want to play 1st violin. Others are either unwilling or unable to take on the 1st violin part which often features the most virtuosic part writing in the strings and so they choose 2nd violin.
The irony in that decision is that playing 2nd violin well in a chamber ensemble requires a skill set that is in many ways more difficult than what the 1st violin is required to do. And, it is very different than in orchestra, where the individual player can and often should blend into the section. In a chamber ensemble, the second violinist has tremendous responsibilities.
Here are some examples:
- Setting the tempo. Although the tune at the beginning of a piece may not be in the 2nd violin, the inner rhythm is often in the second violin. In those situations, that player controls the actual tempo of the piece. A great example of that is Beethoven’s Quartet in F, Opus 59 #1, where the cello has the tune, but the 2nd violin and viola have the eighth notes under the tune, and therefore are really in control. By the way, the 1st violin doesn’t play anything at the beginning of that piece!
- Having a very strong personality from the stage. In a good group, all the players have distinct and interesting personalities from the stage. But, because there is another violinist who sits in front of the 2nd violin, AND who has their part written in a better register for projection than the 2nd violin, AND whose part is often more “showy” than the 2nd violin, the 2nd violin needs to play with more character and power than would possibly make sense if they were playing the 1st violin part. A great example of this occurs in the last page of the finale of Beethoven’s Quartet in C, Opus 59, #3.
- Understanding the emotional context the harmony plays in a quartet. Often, this difficult tasked is placed upon the second violinist. A great example of this is the first movement of Schubert’s quartet in A minor. Many students only see the pages of running 16ths and think “they don’t have anything”. While it may seem that they don’t, what is more accurate is that they don’t have much melody. What they do have is the heart and soul of the music. Every one of those 16ths relates to and affects the melody in both subtle and bold ways. Those 16th notes are actually the most interesting part of the four in that very beautiful work.
- Understanding how to adjust thirds and sevenths in chords so that the group intonation works. The second violin more often than not is given a note other than the root or the fifth in chord writing. This means that most of the time, the second violinist will need to be the one to alter their note to fit the vertical intonation required of good ensembles. Take the example of a standard C Major chord. The cello will have the low C….an open string. The viola will have a low G, also an open string and (hopefully!) a perfect fifth above the cello. The 1st violin will have either a C or G in the melody and will have an open string in the cello or viola to match to. That leaves the 2nd violin with an E natural to fill out the chord. If the 2nd violinist plays an open E, or matches an open E, they will sound out of tune (quite sharp!). This is one of the great difficulties of quartet intonation. Thirds and sevenths almost always need to be slightly low to sound in tune in the chord. While all four players need to understand this, it is the 2nd violin part that usually requires this more often than the other parts.
Earlier in the article, I mentioned that I wished there was a third response to which part in a chamber ensemble violinists would like to play. That third answer, which is a choice that from my perspective is not heard enough is: “I want to play the viola!!”
The viola is an awesome instrument that is fun to play, often has spectacularly gorgeous part writing, is uniquely colorful and is much like a good character actor in a movie….interesting…..vital to the whole….but not the main star. Yet, the honest truth about most pre-college chamber ensembles (and youth orchestras) is that there simply are not enough good violists to go around. There are many reasons for this that are too complex to go into in this article with any detail. But some of the obvious ones include that many more students start on the violin (especially in Suzuki programs), there is more quality solo repertoire for the violin, the viola projects with more difficulty than the violin, and there are many more violin teachers than viola teachers.
There is a relatively easy solution to this problem, and some regions of the country have figured it out at the pre-college level.
In some ways, I have a unique window on the nation’s pre-college chamber music scene. For over thirty-five years now, I have been the Artistic Director of The Fischoff National Chamber Music Competition. That competition remains unique in that it is the only major chamber music competition in the world with a pre-college division. As such, I have watched the amazing evolution of the nation’s pre-college chamber music movement as it has grown both in scope and quality, and also have observed what cities and programs seem to always have wonderful violists for their pre-college ensembles. The answer to this is often that the top violin teachers in those cities or programs not only allow their students to try viola, but often require it.
It is also very common at that competition for the top groups in the pre-college level to have players switch instruments from one piece to another. So for example, the 2nd violin will move over to viola, the 1st violin will become 2nd violin, and the violist will then play 1st violin. They will all take turns playing each part. Of course not all groups do this, but a surprisingly large number do. The result is equally strong players on all three parts, and students who learn and understand the differing but equally important roles those parts have in a good chamber ensemble. They are better musicians for it! A well coached group will get the best player on a particular piece in the most suitable chair. For example, if the viola part is especially dynamic, such as in the Smetana E minor Quartet or the B-flat Brahms Quartet, the strongest player will be on viola.
As a pre-college chamber music coach, I do often ask violinists to try the viola for a piece. I do this for several reasons, including the fact that in this region of the country, there are too few good pre-college violists. (It is true in the region’s youth orchestras as well.) Of course, the results can vary. Some students immediate love the different sound and physical sensation the viola has compared to violin. Some enjoy being in a position of less audience scrutiny than 1st violin, and revel in the role they play in adding color and depth to the quartet sound. Some love the often quirky part writing that violas get to enjoy. I find that most often, a student will start with reluctance, and usually end up enjoying playing the viola. Learning a new clef is challenging for the first week or two, but is almost always quickly overcome. Some end up permanently switching, or at least playing viola all the time in chamber ensemble or orchestra while still playing violin as their solo instrument. It is also wise to have students to start playing on relatively small violas, to minimize the slightly different issues that arise in left hand position. I have found that overall, intonation issues are not nearly as significant as people assume they will be….the ear leads the left hand to play in tune.
Students who learn to play both instruments well gain a lot. They not only become more versatile artists, but they can play leadership roles as violists in orchestra as well as chamber music. Music schools and colleges around the country often seek good violists and often offer scholarships to those that are violists or play both violin and viola. At the professional level, I believe many orchestra viola sections have players who start out as violinists. In many professional touring string quartets, including some of the greatest in the world, the violist was or still may be a violinist.
If you are a student who plays violin….I encourage you to give the viola a chance! If you are a violin teacher with students ready for a chamber music group and all the benefits that experience will give your students….I encourage you to urge them to try the viola. If you are a chamber music coach, try to create violists!
Many violinists quickly learn to enjoy playing viola and happily play it some of the time. Of course, not all students who agree to try the viola (or are required to by their teachers) do well. Some never sound right or get comfortable. And…..some truly fall in love with the viola, realize they were meant to play the viola and make the permanent switch. So remember….there are three parts every violinist can play in a chamber music group…..choose that often overlooked third one and see what amazing things might happen!