# Violy — Full-content context Violy makes practice perfect — a smart music practice app for violin, piano and 20+ instruments, with real-time pitch and rhythm feedback for students, teachers and parents. Site: https://violy.app Generated: 2026-10-23T17:04:08.180Z Designed for one-shot LLM ingestion: every public content entry in frontmatter + full Markdown body. For an index version (title + URL + summary), see . Includes 112 entries across 5 sections. # Product (1) --- # Violy Product Introduction - URL: https://violy.app/product - Markdown: https://violy.app/product.md - Published: 2026-06-19 - Categories: Product - Summary: Violy is a smart music practice app that listens to performance, follows the score and gives pitch, rhythm and practice feedback. # Violy Product Introduction Violy is a smart music practice app for students, teachers, parents and music schools. It listens to practice, follows the score and helps learners understand pitch, rhythm and practice quality. ## Core Capabilities - Real-time pitch and rhythm feedback for instrument practice. - Score following and practice records for daily learning. - Support for violin, piano and other music learning scenarios. - Practice data that helps teachers and parents understand progress between lessons. ## Who It Helps Violy helps students practice with clearer feedback after lessons. It also helps teachers and parents see what happened during practice instead of relying only on memory. ## How to Get Violy Learners can download Violy from the App Store or Google Play, then start practicing with a phone or tablet. # FAQ (1) --- # FAQ - URL: https://violy.app/faq - Markdown: https://violy.app/faq.md ## Violy FAQ # Violy FAQ ## Product ### What is Violy? Violy is a smart music practice app that listens to practice and gives pitch, rhythm and practice feedback. ### Which instruments does Violy support? Violy supports violin, piano and other music learning scenarios. The available features depend on the current app version and score content. ### Do I need extra hardware? No extra hardware is required for core practice feedback. A phone or tablet is enough to start. ## Download ### Where can I download Violy? Violy is available on the App Store and Google Play. ### Can teachers use Violy? Yes. Teachers can use Violy practice data to understand students' work between lessons. # User Q&A (1) --- # User Q&A - URL: https://violy.app/user-qa - Markdown: https://violy.app/user-qa.md ## Violy User Q&A # Violy User Q&A ## Learners and Parents ### My child does not know what went wrong during practice. How can Violy help? Violy provides pitch and rhythm feedback, so learners can see specific practice issues after playing. ### Can parents use Violy without music knowledge? Yes. Violy turns practice into clearer feedback and records, helping parents understand whether practice happened effectively. ## Teachers ### Why would a teacher use Violy? Teachers can use practice records to understand what students did between lessons and focus class time on higher-value correction. ### Is Violy useful for music schools? Yes. Violy can help schools make practice visible for students, parents and teachers. # Blogs (103) --- # Shenzhen Additional Tickets | Russian Piano Empress, Representative of the Russian School: Zilberstein Solo Recital - URL: https://violy.app/blog/shenzhen-additional-tickets-russian-piano-empress-representative-of-the-russian-school-zilberstein-solo-recital - Markdown: https://violy.app/blog/shenzhen-additional-tickets-russian-piano-empress-representative-of-the-russian-school-zilberstein-solo-recital.md - Published: 2026-10-05 - Categories: Music News - Summary: A profile of Lilya Zilberstein and the Russian piano tradition, with the programme and China-specific ticket arrangements announced for her October 25, 2026 recital in Shenzhen. The October 2026 Shenzhen announcement included a ticket giveaway in China: the two participants whose comments received the most likes would each receive one concert ticket. In twentieth-century piano music, **the “Russian school of piano playing”** earned an illustrious reputation. Among the great artists competing for distinction in that era, **Lilya Zilberstein** emerged as one of its most representative female pianists. Her exquisite, astonishing performances captivated audiences, who described them as “divine” and hailed her as the **“Russian Piano Empress.”** ![Image](https://static.lianmuse.com/image/blog/14f2b7864a4f148416468e0f366091e0.webp) **October 25, 2026** was the announced date for this master pianist's appearance at **Guangming Culture and Art Center in Shenzhen, China**, with a piano recital entitled **“Echoes of Time.”** **Ticket Information** The following ticket arrangements were advertised for this Shenzhen performance in the October 5, 2026 announcement; they are specific to the Chinese venue and event. ![Image](https://static.lianmuse.com/image/blog/b336fce554003b8e18e67ad0b371266f.webp) *The announcement directed readers to the poster for ticket purchases. Echoes of Time— **Lilya Zilberstein Piano Recital** **Performance Time** Sunday, October 25, 2026, at 15:00, local time in Shenzhen, China **Venue** Guangming Culture and Art Center Performing Arts Center · Concert Hall **Duration** 95 minutes, including a 15-minute intermission **Ticket Prices** RMB 380 / 280 / 180 / 100 **Limited-Time Ticket Discount** The RMB 380 / 280 / 180 tiers were advertised at **20% off**. RMB 304 / 224 / 144 / 100 **Membership Discount Policy** Membership discounts were accepted, with a limit of six tickets for this performance; membership discounts could not be combined with early-bird discounts; stored-value cards were accepted for payment; birthday discounts were accepted, with a limit of four tickets. **Ticket-Purchase QR Code** ![Image](https://static.lianmuse.com/image/blog/d9f36ed64df130cca3a5a6bf2a31cf42.webp) **Audience Information** *Recommended age: six and older. *One ticket entitled one person to one seat. Children 1.2 meters tall or taller required a ticket for admission. Babies carried in arms were not admitted. *Latecomers could enter between pieces during the first half, but could not enter during the second half. *Photography and video recording were prohibited during the performance. **PART.1** **The Zilberstein Barrier** **1987, the Busoni International Piano Competition in Italy.** The account describes most competitors as choosing stylistically similar works from a narrow period. Zilberstein, however, made a series of “rebellious” choices: her competition repertoire **included Russian, German, French and Austrian composers**, ranging **from the nineteenth century to the 1920s and 1930s**. Its breadth and force were astonishing. In the first round, according to the account, she selected **Beethoven's Piano Sonata No. 3, Chopin's Étude in Thirds and Taneyev's Prelude and Fugue in G-sharp Minor**, among other works. After her performance, several jurors reportedly asked her for a recording of the Prelude and Fugue, saying they “could not imagine such a difficult work being played so perfectly.” From the second round through the final, she held nothing back: **Brahms's Six Piano Pieces, Schubert's Piano Sonata in B Major, Brahms's Variations on a Theme by Paganini, Debussy's Images, Shostakovich's Piano Sonata No. 1 and Prokofiev's Piano Concerto No. 3…** (The accompanying video was described as a very rare recording of Zilberstein performing on Soviet television in Moscow after winning the Busoni Competition in 1987.) Such a programme might have left another pianist feeling pulled in every direction. The account reports that the final was broadcast across Europe that year. Zilberstein's extraordinary command of each demanding work secured her the gold medal without dispute. Another five years passed before the first prize was awarded again. The article describes the jurors as instinctively measuring subsequent competitors against her, with no one reaching the same height. **This became known in the piano world as the “Zilberstein barrier.”** **The article attributes the following generous praise to the “Queen of the Piano,” Martha Argerich:** “**Lilya is a flawless pianist**, with a natural, flowing way of playing—truly world-class! Fortunately, she did not compete in my year at Busoni; otherwise, winning would have been very difficult for me.” ![Image](https://static.lianmuse.com/image/blog/0dc5f880fe5eebb940ec5195a790225a.webp) (The two friends had been performing together for 27 years by the time of this 2026 announcement.) **PART.2** **“A Jewel Covered in Dust”** **The Fate of a Jewish Pianist in the Former Soviet Union** **Behind this “barrier,” however, lay a path strewn with thorns.** The biographical account portrays **life in the former Soviet Union, where antisemitism was widespread**, as leaving exceptionally gifted Jewish musicians like jewels covered in dust, unable to shine. Zilberstein was born in Moscow in 1965 and entered the Gnessin music school at six. With what the account calls a “photographic memory” and remarkable talent, she quickly became one of its finest pupils. She memorized scores rapidly; music seemed to flow from her by instinct. ![Image](https://static.lianmuse.com/image/blog/8290e0c740ec83aa3cca803bc5ad3354.webp) Yet at a crucial point, that gifted young musician's path was abruptly blocked. As she prepared to apply to the Moscow Conservatory, one of the Soviet Union's leading music institutions, an interviewer reportedly saw her distinctly Jewish surname and told her there was no point in preparing: “You won't get in anyway.” The article also says she could not even get onto domestic competition shortlists and had virtually no opportunity to make her mark. *Translator's note: The claim that she could not enter domestic competitions conflicts with [Zilberstein's official biography](https://www.lilyazilberstein.com/), which records first prize in the Competition of the Russian Federation and a prize at the All-Union Competition in Riga in 1985.* More painfully still, the account says her performing career was held back across the board, preventing her from representing her country in competitions abroad. One juror reportedly offered her a private “solution”: marry and change her surname. At twenty, Zilberstein could scarcely believe what she was hearing. Marriage should rest on love; what would be the point of sacrificing marriage and freedom for fame? **She refused.** ![Image](https://static.lianmuse.com/image/blog/d999be3ed25905c74f3904dbabceb634.webp) **PART.3** **“The Only Opportunity”** From Busoni to the Top of the World **The opportunity finally arrived in 1987.** According to the article, a place at the Busoni Piano Competition became available to Zilberstein after other contestants strategically withdrew because of scheduling conflicts and the distant location. Both she and her teacher regarded it as “the only opportunity.” What followed was the performance that entered the history books. ![Image](https://static.lianmuse.com/image/blog/6fca02d94f7d5e7887d2e0fdafcb8912.webp) After her victory, her international career opened up. In 1991, under the baton of **Claudio Abbado**, Zilberstein made her debut with the **Berlin Philharmonic**, beginning a long association. She also performed with leading orchestras including the **Chicago Symphony Orchestra, London Symphony Orchestra, Orchestra of La Scala in Milan and Staatskapelle Dresden**. The conductors with whom she shared the stage included **Gustavo Dudamel, Christoph Eschenbach and Semyon Bychkov**. ![Image](https://static.lianmuse.com/image/blog/6dd63d36878d56c7f4f5ab84d07ff8f3.webp) The article describes her as one of the few Russian pianists to maintain a long association with **Deutsche Grammophon (DG)**. She recorded eight albums for the label, including solo works by Mussorgsky, Liszt, Schubert, Brahms and Debussy. She also contributed to DG's first complete recording of Chopin's works, released in 1999. At the time of the announcement, she was a **full-time professor at the University of Music and Performing Arts Vienna**, succeeding the great pianist **Paul Badura-Skoda** at an institution ranked among the world's leading universities for the performing arts. **PART.4** **Echoes of Time** In 2026, the **“Russian Piano Empress,”** still an imposing presence in her sixties, was scheduled to bring Chinese audiences a carefully shaped Romantic programme—a musical conversation across time. Romanticism encompasses more than brilliance and passion: it also reflects the inner world. **Liszt's Six Consolations—** *Quiet, meditative and songful. The composer remembered for dazzling virtuosity lays down his armour here, revealing his gentlest inner self.* **Czerny's Introduction, Brilliant Variations and Hunting Rondo—** *A glittering miniature of nineteenth-century salon culture. This rarely heard large-scale virtuoso work is technically demanding and magnificent in scope. Czerny was both Beethoven's pupil and Liszt's teacher; the work thus links successive generations of the Romantic tradition.* **Chopin's Barcarolle in F-sharp Major—** *The swaying of a Venetian gondola, its melody rippling like water. A late masterpiece by Chopin, it conceals yearning within elegance and depth within its flowing motion.* **Rachmaninoff's Thirteen Preludes—** *The centrepiece of the second half. Intense, solitary, expansive and delicate—the soul of the Russian school burns brightly here.* ***This is more than a piano recital: it is a journey into the depths of the Romantic spirit.*** **PROGRAMME** **Franz Liszt:** Consolations, S. 172 / R. 12 Liszt: Six Consolations, S. 172 / R. 12 **Carl Czerny:** Introduction, Variations brillantes et Rondeau de chasse, Op. 202 Czerny: Introduction, Brilliant Variations and Hunting Rondo, Op. 202 **Frédéric Chopin:** Barcarolle in F-sharp Major, Op. 60 Chopin: Barcarolle in F-sharp Major, Op. 60 **-Intermission-** **Sergei Rachmaninoff:** Thirteen Preludes, Op. 32 Rachmaninoff: Thirteen Preludes, Op. 32 **October 25, 2026** **Lilya Zilberstein was scheduled to appear at Guangming Culture and Art Center in Shenzhen, China.** **The announcement invited audiences to attend in person** **and hear the echoes of the Russian piano empress's legendary playing.** The Shenzhen ticket giveaway's deadline was October 8, 2026, at 14:00, local time in China. --- # Who Set Such Difficult Questions? The Right Answers Are Everywhere - URL: https://violy.app/blog/who-set-such-difficult-questions-the-right-answers-are-everywhere - Markdown: https://violy.app/blog/who-set-such-difficult-questions-the-right-answers-are-everywhere.md - Published: 2026-09-24 - Categories: Music News - Summary: Guangzhou cello teacher Liang Yingbiao reflects on choosing between violin and cello, football and music, administration and performance, and public-sector and independent work. He discusses musical friendships, responsible teaching, sharing lessons online, and why playing an instrument remains a personal experience in the age of AI. **Violy · People** Violy · People is a Violy interview series that sets out to speak with 99 artists from China and abroad, bring fresh artistic ideas into conversation, and explore an artistic world where feeling and inner inspiration meet. Our guest this time: Liang Yingbiao, a cello teacher in Guangzhou and a popular creator on Xiaohongshu, the Chinese social platform. ![](https://static.lianmuse.com/image/blog/06e9d1b45465a94b565a6660cc6d2d7d.jpg) A few days before this article was published, our host, known as Yuanzhang, spoke on a livestream with Liang Yingbiao, a well-known Guangzhou cello teacher and popular Xiaohongshu creator. ![](https://static.lianmuse.com/image/blog/64f6863d9525c3509cc294708080c655.png) He talked about his musical journey from childhood: choosing between violin and cello (he chose cello); music and football when moving on to secondary school (he chose football); administration and performance (he chose administration); and public-sector and independent work (he chose independent work). He has faced several choices along the way, but ultimately, each has led him back to music. Besides those musical choices, Yuanzhang and Liang discussed how children can keep learning an instrument, what makes a teacher trustworthy, and what AI can do for music learning. ## After Six Years of Violin, He Could Not Keep Going—Time for a Change! Yuanzhang: How did you first encounter music? Liang Yingbiao: I started learning violin at four. My parents took me to a children's palace—a youth activity and education center—to choose a class. Learning an instrument was still a relatively uncommon choice at the time, and I chose violin. I gradually moved from large group classes to smaller ones, studying with different teachers. Six years went by that way. Eventually, I hit a plateau. There was a piece I still could not play all the way through after more than three months. At every lesson, my teacher would talk to me earnestly, but I had lost enthusiasm for playing. One day, my mentor, Gu Yinglong, asked me, "Have you considered switching to cello and giving it a try?" At first, I said no. I thought, why should I have to change instruments just because I was not doing well on violin? But he still encouraged me to try it first. The first time I went to the orchestra to try a cello, the teacher lent me one. As my mother and I walked down an alley, with me carrying it on my back, someone saw us and asked why my mother was not helping such a small child carry such a large instrument. I still remember that scene. Yuanzhang: What changed after you switched instruments? Liang Yingbiao: Perhaps my aptitude for violin was fairly ordinary, but I picked up cello more quickly. Of course, those six years of violin were not wasted. Some of the fundamentals of string playing carry over. Gradually, I gained confidence. After studying for a while, I joined an orchestra again, rehearsing and growing with everyone else. Practicing alone feels very different from making music with a group. Yuanzhang: Later, you also made a choice between football and music? Liang Yingbiao: Yes. I played football as a child too. When it was time to enter junior secondary school, I was accepted both by a conservatory-affiliated secondary school and by a regular secondary school that recruited students with football talent. In the end, we chose the regular school. I did not take the conservatory-school route at that point. For senior secondary school, I entered a school with a music focus. During those years, I had many classmates who loved music. We formed our own chamber groups and entered competitions together. I began taking more initiative in studying music. Then I was admitted to Xinghai Conservatory of Music for university and returned to professional music training. When I was little, sometimes I would simply go home after orchestra class. In senior secondary school, I had a group of friends who talked about music and prepared performances all day. Those relationships were deeper. Even now, some of my fellow musicians are friends I have studied instruments with since childhood. ## At 35, He Made the Decisive Choice to Leave the Public Sector Yuanzhang: After graduating from the conservatory, why did you not go straight into a professional orchestra? Liang Yingbiao: During university, I was already teaching part-time at the Guangzhou Children's Palace. In my final year, I brought together classmates and fellow students from my teacher's studio to put on two concerts introducing children to music. We used stories to connect different pieces. I discovered that helping more children encounter music was very rewarding. Later, I joined the children's palace, gradually moving from teaching into organizing activities and management, and also worked in other related roles. I had to learn how to organize public-benefit activities and collaborate with different institutions. I also became involved in filming and online communication. That path lasted more than ten years. I was not always working directly in cello teaching during that time, but I learned many things beyond professional performance. Looking back now, those experiences help me teach children and communicate with parents. Yuanzhang: Since your job was relatively stable, why did you decide to leave the public sector at 35? Liang Yingbiao: At that age, I began wondering whether continuing down the same path would give me the life I wanted. I could see what staying might lead to, and I could also see situations I did not want to repeat. Of course, my family had concerns. My wife is cautious, and this was not an easy decision for us. I am not saying everyone should quit their job. You have to consider your family's circumstances and whether you can bear the consequences. The worst-case scenario I imagined was returning to instrument teaching. After all, I could play and teach, and I could take some performance work. At least I had a skill I could earn a living with. Once I actually left, my income and way of life suddenly changed, and I went through uncertainty too. But I felt that if I did not try at 35, I might have even less courage a few years later. Yuanzhang: How did you return to teaching after leaving? Liang Yingbiao: First, I helped run a privately operated children's palace. After about two years, I increasingly felt this way: Rather than continually refining and promoting courses for other people, I should return to what I could do with the greatest confidence—teaching an instrument. During those ten-plus years, I had actually continued teaching students; it just was not my entire job. Later, my student numbers gradually grew. When the pandemic arrived, in-person lessons moved online. I started recording videos to preserve explanations that students easily forgot or needed to watch repeatedly. That became the starting point for my ongoing sharing of teaching content. ## Why Children Learning an Instrument Need a Group of Friends Yuanzhang: You keep mentioning orchestras and chamber music. Just how important are peers for children? Liang Yingbiao: Many children usually take lessons on their own and go home to practice on their own. When they run into difficulties, they may feel they are the only ones going through them. When they join an orchestra, they discover that others also need to practice, also make mistakes, and are preparing for the same performance. They rehearse and go onstage together, and make friends through music. Learning an instrument then becomes more than completing a weekly lesson and a homework assignment at home. A large part of what truly drew me to music in senior secondary school was having those friends around me. That is why I now encourage my students to join orchestras, visit other cities for exchanges, and perform with local children. Children need their own circle of musical friends so that learning an instrument does not always feel lonely. Yuanzhang: Do competitions and performances also affect children? Liang Yingbiao: Good results certainly encourage children, helping them see what comes from serious preparation. But they must not think only about winning. Going onstage and playing with others should itself be something to enjoy. We want children to remember more than the prize they received at the end. We also want them to remember the time they spent with music and friends during rehearsals and performances. ## A Good Teacher Must Care About More Than That One Hour of Lessons Yuanzhang: How does choosing a teacher differ for families learning music today compared with the past? Liang Yingbiao: I think parents now have more information and more choices. They do not just look at how well the teacher plays. They also ask: Can this teacher help my child learn? How should my child practice at home this week? What is the next step as they continue learning? In recent years, some teachers and music shops have indeed felt that student numbers have fallen. I am reluctant to simply say that families no longer need music. I think parents have become clearer about what they want, and teachers need to change with them. Yuanzhang: What do you consider the most important criteria for a good teacher? Liang Yingbiao: I look at three things: Responsibility, a structured approach, and communication. Responsibility means not caring only about the forty or fifty minutes of the lesson. Children can send videos of their practice at home, and teachers should try to watch and respond promptly when circumstances allow. Some mistakes can be corrected in the same week they are discovered. If you wait until the next lesson, the child may already have practiced the mistake until it has become a habit. A structured approach means knowing what to teach at each stage. Someone may play very well themselves without being able to explain clearly how a movement works, much less know how to help a child who cannot yet do it learn it. I am also building a framework for my own teaching: what knowledge each stage covers and what students need to accomplish, then gradually revising it based on actual teaching. Communication means understanding parents' expectations and recognizing children's difficulties. Has the child not understood, lost interest, or simply been given a task that is too difficult? A teacher cannot just say, "Do it again." They also need to find the next step that will help the child get past the difficulty. Yuanzhang: Are these abilities music teachers have tended to overlook in the past? Liang Yingbiao: People who study instruments spend a great deal of time developing their specialist skills from childhood. Some perform very well but are unfamiliar with how to communicate their teaching to a wider audience, build relationships with parents, or plan a learning path for children. During my years organizing activities and managing programs at the children's palace, I encountered these things and learned to think from a child's perspective: How do they understand something? What kinds of activities make them want to take part? Experiences that seemed like detours eventually found their way back into my classroom. ## Before Creating Social Media Content, Decide What You Want to Preserve Yuanzhang: Why did you first post your teaching videos on Xiaohongshu? Liang Yingbiao: During online lessons in the pandemic, some students struggled to concentrate. I recorded some explanations and sent them to students to watch again. At first, I just wanted a convenient place to store and share videos. Later, other instrument learners, besides my own students, came to watch and exchange ideas. So I kept recording. Whenever I taught a lesson, I recorded whatever content I could. Over time, it became my own library of teaching materials. Yuanzhang: What advice would you give a music teacher who also wants to start creating social media content? Liang Yingbiao: First, be clear about your goal. What matters most to me in making these videos is preserving my lessons so students can prepare for class or review afterward. If you start out thinking about how many new students a few videos will bring in, you may soon be disappointed. Second, however much you think about it, you still have to start. I have seen teachers ask about many methods, then go home and never post anything, or post one video and stop. This takes sustained action. Third, find an approach you can keep up over the long term. If every video requires complicated equipment, visuals, and editing, the result may look very good, but making the next one will also be costly. Simply recording a genuinely useful explanation from a lesson clearly is often easier for teachers to sustain. One more thing: if you want parents to understand your teaching, posting only performance videos may not be enough. Viewers will know you play well, but they will not necessarily know how you help children learn. ## If AI Can Help Children Learn Music, Why Should They Still Play Themselves? Yuanzhang: AI is increasingly able to answer questions and process information. How will it change music learning? Liang Yingbiao: It can help in many ways. In the past, to learn about a composer, the background of a piece, or a term on a score, you had to find books and look things up. Now students can start by asking AI, then use those questions to guide further research. Teachers can also use it to help prepare concert introductions and find clues to understanding a work. Of course, information from AI still needs checking. You cannot simply believe everything it tells you. Yuanzhang: Since listening to music and looking things up are easier now, why should children still spend time practicing with their own hands? Liang Yingbiao: Because no one else can play for you. You have to gradually learn to control your hands so they produce the sound you want. That process is difficult, but when you finally succeed, the joy is your own. Listening to a good singer and singing yourself are two different experiences. You may not sing quite in tune, yet still feel happy because "I sang it myself." Playing a string instrument is the same. There is more than one answer to what makes a piece sound good. AI can help us find more information and open up more questions. But how children listen, how they understand, and ultimately how they bring a sound out of their instruments are still things they must experience themselves. Looking back at Liang Yingbiao's journey, several important changes stand out: switching to cello when violin was not going smoothly; first choosing a regular secondary school when faced with football and music; and returning to teaching after many years in management. Those changes did not erase what he had learned before. Six years of violin helped him take up cello. The organizational and communication skills he learned at the children's palace later became part of his teaching. Memories of rehearsing with friends became the circle of musical friends he now hopes his students will have. For children learning an instrument, perhaps there is no need to decide too early which path they must take in the future. First, find a teacher who can help them get past the difficulty in front of them, find companions to perform with, and give them opportunities to hear the sounds they gradually learn to produce themselves. The joy of doing it with their own hands is what gives them a reason to keep going. AD The original China-region article described the Violy app as instrument-practice software for phones and tablets, with sheet music, performance audio and videos, AI error correction, practice check-ins, and other features. It stated that the app supported a range of instruments, including piano, strings, and winds. At the time of publication, it invited readers in China to search their app marketplace for the Chinese app name, 一起练琴, to try it for free. This invitation refers to the China-region offering described in the original article, rather than a current Global trial offer. --- # The 13-Year-Old Girl Chosen by Karajan Turned Around and Went to the Zoo - URL: https://violy.app/blog/the-13-year-old-girl-chosen-by-karajan-turned-around-and-went-to-the-zoo - Markdown: https://violy.app/blog/the-13-year-old-girl-chosen-by-karajan-turned-around-and-went-to-the-zoo.md - Published: 2026-09-18 - Categories: Music News - Summary: A narrative portrait of Anne-Sophie Mutter, from her audition for Herbert von Karajan at 13 to a lifetime on stage, with the original China-region announcement for her November 3, 2026 concert in Shenzhen. *The scenes and recollections below follow the source article's narrative account.* Outside that door. Thirteen-year-old Anne-Sophie Mutter sat waiting, her violin case resting against her knees. Through the door, she could hear the orchestra rehearsing. Sometimes there was a great sweep of strings. Sometimes it suddenly stopped, leaving only a man's voice. She looked down at her hands. Inside that door. There was a man who reigned over the music world like a figure out of legend. His name appeared on record covers and brought a sudden seriousness to adults' faces when they talked about music. The door opened. Someone called her name. She took a deep breath and straightened her back. However difficult a passage was, she could learn it through practice. But no one had taught her how to face Karajan. She picked up her violin case and walked in. ![Image](https://static.lianmuse.com/image/blog/c4e16b05d48934dd686a641ab86ef188.png) Mutter with Karajan in her younger years. Karajan was busy that day. The rehearsal had just ended, and there was a performance that evening. He had seen many gifted children. They could play difficult passages cleanly and beautifully, their fingers moving with astonishing speed. The adults accompanying them were often more nervous than the children, as though they had packed the entire family's future into that violin case. The girl took her place. Karajan signaled for her to begin. At first, he heard the training: accurate notes, a steady bow, phrases practiced over and over again. Then something made him lift his head. She did not rush the melody toward the next note. Her bow slowed just a little, allowing the phrase to linger in the air. In that small pause, there was something of her own to say. Karajan watched her. The girl kept playing. She did not know that she had made Karajan pause. The music had begun; she had to give it her undivided attention. Gradually, the room grew quiet. Someone stopped gathering up the sheet music. Chairs no longer moved. A day that had been about to end was extended a little by this child's playing. Mutter later recalled that Karajan, despite being pressed for time, let her play for half an hour. Afterward, Karajan invited her to Salzburg to perform with him and the Berlin Philharmonic. How did she celebrate the invitation? Years later, a journalist asked her. Her answer: she went straight to the zoo after playing. That answer brings something back into focus: the performer who had held Karajan's attention for 30 minutes was still a 13-year-old girl with a child's heart. When she actually came to perform with the Berlin Philharmonic, things became more complicated. The rehearsal room was full of adult musicians. They adjusted their instruments, turned the pages of their scores, and exchanged glances with an unspoken understanding that she had not yet learned. She sat there in jeans, waiting. The orchestra rehearsed other pieces first. Time passed. She had already played her opening in her head, then played it again. At last, it was her turn. The orchestra began the introduction. She raised the violin to her shoulder and waited for the moment to enter. But Karajan stopped them. He pointed out a small problem to the orchestra and asked them to start again. That brief interruption loosened the tension in the room. So even the Berlin Philharmonic could be stopped. Even the people sitting here needed another try. She adjusted her bow again. When the introduction began for the second time, she no longer faced an imposing wall of masters. She began to hear sounds she could approach and answer. The violin joined the orchestra. Karajan raised his eyes and met her first phrase. For a child, help can sometimes be just such a moment: letting her know that here, she can breathe. After that, life began to move at a different speed. Concert halls, recording studios, airports, hotels. The violin case opened and closed again. A city that had been unfamiliar yesterday was already receding beyond the car window today. In 1978, her recording of Mozart's violin concertos with Karajan and the Berlin Philharmonic was released. On the record cover, her young face appeared alongside that celebrated name. More and more people came to know her. When they introduced her, they always mentioned him, too. "The girl Karajan discovered." ![Image](https://static.lianmuse.com/image/blog/3a7ea51a9cbfefe440b8e87dedb59ee2.jpg) Mutter performing with Karajan. © Siegfried Lauterwasser / DG. She gradually grew up. At one rehearsal, she played a passage according to her own interpretation. When her bow stopped, she looked toward Karajan. In the past, she would have hurried to search his expression for a sign of whether she was right or wrong. This time, she waited a moment, then tried to explain why she wanted to play it that way. Her words did not come easily. Things that make sense in music often become awkward when put into language. But she made herself clear, and her interpretation was accepted. Day by day, she had moved beyond the age of 13. In 1989, Karajan died. Mutter later recalled: at her first performance without Karajan, she stood in the wings. She walked into the light, greeted the audience, and then turned toward the conductor's podium. Another figure stood there. From then on, she would have to find her own way. She continued to play Mozart, Beethoven, and Brahms, while also bringing her bow to new works, many written especially for her. People in the audience might know the sound of her Mendelssohn, yet have no idea what they would hear that evening. After the applause died away, she would lead them into a new musical continent they had yet to discover. Perhaps a title such as "Queen of the Violin" acquired its weight gradually, over countless evenings like these. ![Image](https://static.lianmuse.com/image/blog/ed712a9a9634939ba80e17874d2eda79.jpg) Mutter on stage. In 2026, Mutter was marking her 50th anniversary on stage. Even after four Grammy Awards, nine ECHO Klassik awards, and numerous other leading international honors, she remained at the center of the stage. *Translation correction: the original calls the nine awards "Classic Fm" awards. Mutter's [official biography](https://www.anne-sophie-mutter.de/en/biographical-overview/) identifies them as ECHO Klassik awards (rendered there in English as "Echo Classic Awards").* *The concert invitation, ticket giveaway, prices, and membership terms below are preserved from the original China-region article published on September 18, 2026. They describe that announcement and its local offers, rather than current Global services or benefits.* The article announced that on November 3, the "Queen of the Violin," Mutter, would appear at the Guangming Culture and Art Center as the closing guest of the Shenzhen Belt and Road International Music Festival. She would be joined by the renowned Royal Philharmonic Orchestra, which had been granted the title "Royal" by the British Queen herself. The article described this as a rare opportunity to take your child to hear one of the world's finest performers: every concert attended was an opportunity that would not come again. Violy strongly recommended it! The original invitation asked readers to leave a comment about their family's experience with the Violy app and share the article. The two readers whose comments received the most likes would each receive one ticket. The comment deadline was September 22 at 15:00. Readers were instructed to contact Violy customer service to claim their tickets. **Ticket Information** ![](https://static.lianmuse.com/image/blog/f5fb35476eb9cd42a6064adcec63f741.jpg) **2026 Shenzhen Belt and Road International Music Season** **Anne-Sophie Mutter and the Royal Philharmonic Orchestra in Concert** **Performance Time** Tuesday, November 3, 2026, at 20:00 **Venue** Guangming Culture and Art Center Grand Theater, Performing Arts Center **Duration** 95 minutes, including an intermission **Ticket Prices** CNY 1680/1380/1080/880/680/480/280/100 **Limited-Time Discounts** Tickets priced at CNY 1680/1380/1080 were offered at 20% off; tickets priced at CNY 880/680/480 were offered at 10% off. Original prices: CNY 1680/1380/1080/880/680/480/280/100 Discounted prices: CNY 1344/1104/864/792/612/432/280/100 *The limited-time discounts could not be combined with membership discounts.* **Membership Discount Policy** Membership discounts were available, with a limit of six tickets for this performance. Payment by stored-value card was accepted. Birthday discounts were available, with a limit of four tickets. For convenience when purchasing tickets, customers were asked to contact customer service representative Xiaoming to obtain the birthday discount. Its validity would be extended to 23:59 on the day after it was issued; expired discounts would not be reissued. Customers purchasing tickets for another performance or project needed to contact Xiaoming again for a new discount. **Scan the QR Code to Buy Tickets** ![Image](https://static.lianmuse.com/image/blog/201dfbda4b4ca6dbf50c08463aac0613.webp) **Please Note** - Each person needed one ticket for one seat at this performance. - Children under 1.2 meters tall were not admitted, or children aged six and above needed to bring an identity card for admission. *Translator's note: the original admission notice links these conditions with "or" and does not clearly explain how the height and age requirements interact. The conditions are preserved as written; readers should confirm their application with the venue.* **Violy** The original article describes Violy as a specialist violin-practice tool founded in 2016. --- # From Juilliard to Harvard to Violy: A Conversation with Our Colleague Chen Yiding - URL: https://violy.app/blog/from-juilliard-to-harvard-to-violy-a-conversation-with-our-colleague-chen-yiding - Markdown: https://violy.app/blog/from-juilliard-to-harvard-to-violy-a-conversation-with-our-colleague-chen-yiding.md - Published: 2026-09-12 - Categories: Music News - Summary: Violy colleague Chen Yiding discusses her journey from Juilliard and Harvard to music technology, the realities of a music career, effective practice, and music education. She also reflects on why human connection remains central to music in the age of AI. **Violy · People** “Violy · People” is a Violy interview series that sets out to speak with 99 artists from China and around the world, bringing fresh artistic ideas into conversation and exploring a world of art where feeling and spirit meet. Our guest this time is our Violy colleague Chen Yiding. She graduated from Juilliard and then Harvard University. ![](https://static.lianmuse.com/image/blog/8f479fabec85250721edb1432e4a4559.jpg) Chen Yiding She began studying piano at four and flute at six, receiving professional training at the primary and secondary schools affiliated with Xinghai Conservatory of Music. She then attended Juilliard Pre-College and its undergraduate program, before studying Human Development and Education at the Harvard Graduate School of Education. Today, Chen Yiding works in academic administration at the music technology company Violy, managing online practice teachers and lesson quality. Her journey may sound impressive, but it has also involved very specific difficulties and choices: being unable to produce a sound on the flute after three months of study, competition at a leading conservatory, uncertainty about the future at graduation, fierce competition for professional orchestra positions, and a move from the stage to work behind the scenes. In this conversation, she discusses her upbringing and career choices, why children learn music, how to practice more effectively, what makes good music education, and whether AI will replace music. (Coming next in the series: Liang Yingbiao, a well-known cello educator in Guangzhou.) The interviewer is identified in the original as “园长” (Yuanzhang); their questions are labeled “Host” below. ## From Juilliard to Harvard, Then to a Music Technology Company Host: Could you walk us through your entire journey, from your first encounters with music to where you are today? Were there any particularly memorable stories at each stage? Yiding: I first started learning piano when I was four, and my first teacher was my mother. At around six or seven, I took up a second instrument: the flute. At the time, so many children were learning piano that the competition was intense. My mother said, “Why not learn another instrument? It cannot hurt. And a girl looks very elegant playing the flute.” That was how it happened. Learning the flute was actually quite painful at first. A wind instrument is different from a piano: with a piano, you sit on the bench, put your hands on the keys, and get a sound as soon as you play. It took me about three months to produce my first real note on the flute. But some students I have taught could make a sound straight away in their first lesson, so it really varies from person to person. My teacher was quite frustrated too, and eventually said, “I cannot teach this child anymore. You will have to find someone else.” Before deciding that I should learn the flute, my mother had even tried learning it herself. She thought, “This is not difficult. You can learn it.” But when it came to me, I could not make a sound. Once I finally could, though, everything progressed smoothly. Host: When did you decide to pursue music professionally? Yiding: Honestly, probably very early on. But at that age, I did not have a definite answer like “I want to be a musician” or “This is what I want to do in the future.” My parents helped guide me. My family would say, “You have been learning for so many years, and you seem quite talented. Let us see where this takes you.” The feedback from my teachers was also positive. I liked music, but a six- or seven-year-old does not exactly have a grand plan for the future. Host: You later got into the primary school affiliated with Xinghai Conservatory of Music? Yiding: I entered in sixth grade, then spent three years at the affiliated secondary school. That meant four years at Xinghai, up to the end of junior secondary school. Host: After finishing there, why did you decide to go straight to Juilliard Pre-College? Yiding: I had already been thinking about further study abroad, and we had decided on the United States. After discussing it with my family, we thought that since I would be going abroad for undergraduate study anyway, it might be better to leave earlier. I could adjust sooner, which would make undergraduate study smoother. It was also a chance to start building connections, including getting to know teachers. Host: Did you have to take an entrance examination for Juilliard Pre-College? Yiding: Yes. The first round involved submitting an online application with basic information and application essays. Sometimes you had to write one or two short essays. Then, most importantly, you submitted performance videos. The school reviewed the submissions. If you passed the first round, you were invited to travel to the United States for an in-person audition on campus. Everything was already in English at that point. I had attended bilingual schools from childhood, so that part was fine for me. Host: Is moving from Juilliard Pre-College into the undergraduate program much easier than applying directly? Is it something like an internal selection process? Yiding: Objectively, the numbers might suggest that, but it is not a rule. It is true that after entering Pre-College, you may have studied for years with a specialist teacher who also teaches undergraduates. Of course that can improve your chances of admission. But you still have to consider the strong applicants applying in the same year. Ultimately, it depends on your abilities as a musician. Host: You were a performer, but after your undergraduate degree you went to Harvard to study education. What happened in between? Yiding: After graduating, I was thinking about what direction to take next. It was during the pandemic, and the broader circumstances affected the whole industry. My friends and classmates were also feeling doubtful and uncertain about the future. We wondered what the music industry would become. With AI emerging, we also wondered whether it would affect the face-to-face, immediate experience of live music. So I was thinking about exploring more possibilities and broadening my career options. My main principle was that the move should not be too drastic: it still had to be within a range I was comfortable with. But I also wanted to step a little outside my comfort zone in music performance while retaining a connection to my past. In today's language, you might call it trying to become a “multi-hyphenate.” Host: How did you choose a career after graduating from Harvard? Yiding: I was still uncertain. Once you leave university, you discover that the job market, and reality more broadly, may not be as ideal as you imagined on campus. After a music degree, there are perhaps only two or three obvious career paths: teaching, whether at a university or in your own studio; performing in an orchestra; or pursuing a solo career. The solo path is probably the hardest. First, you need to reach a certain standard and already have demonstrated that you are at the top of the pyramid. I felt that if I spent the next 20 or 30 years teaching the same kinds of students, or playing the same repertoire repeatedly in an orchestra, it might not offer me much novelty or challenge. Then I realized I could explore other paths, while still staying within music. Host: What are you responsible for at Violy now? Does your work still involve music? Yiding: I mainly manage teachers, so I do not have much direct contact with audiences. Host: Put simply, people book online practice teachers through the app, and you handle teacher selection and the various arrangements. Having moved from performing to academic administration, what is your relationship with music now? Yiding: First of all, I have to say that I remain very closely connected to music. It cannot be removed from my life, because I have lived with it every day for more than 20 years. Even though I have moved into education, or might move into another field in the future, music will always have a place in my heart. ![](https://static.lianmuse.com/image/blog/9558e052bb88f2444d8159d8043d25ca.png) ## Beyond the Prestige of Elite Schools: The Real Job Market for Music Graduates Host: You graduated from Juilliard, which is an impressive credential wherever you go. Can students like you, who attended both Pre-College and the undergraduate program, basically choose whichever orchestra they want? Yiding: Absolutely not. It comes back to what I said earlier: your professional ability matters. When people see Juilliard and Harvard on your résumé, those names certainly open doors and make an impression. But after that initial impression, where is your actual ability? Does it live up to those impressive credentials? That is what many orchestras and music-related employers consider. Host: What were the students you encountered at Juilliard like? Were there many prodigies? Was it a shock when you first arrived? Yiding: I would not call it a shock, because I already had certain expectations before auditioning: this was the “Harvard of music.” I had not expected to be fortunate enough to get in. I was really just going to give it a try. Once I was there, I found that everyone was indeed highly capable and quite modest. Of course, sometimes there was quiet competition between us. We had competitions within the school, such as the concerto competition, where students from all disciplines competed together. Everyone prepared a complete concerto and performed it in the competition. When I was at Juilliard, I noticed a particularly large number of Asian students, mainly from East Asia, including China, South Korea, and Japan. They perhaps made up about a third. That number might be higher now, but I am not sure. Host: A viewer asks whether the increasing number of Chinese students at Juilliard means standards have fallen. Is that a valid question? Yiding: I think the quality is certainly still there. But I graduated four years ago and have been away from Juilliard for four years, so I really do not know the current situation. Among my classmates, though, some are active as soloists, while others have entered international competitions and won awards. That is undeniable. Host: Many people want to know whether they can stay abroad after studying there. From what you have seen, what distinguishes those who can stay from those who cannot? Yiding: First, there is a very fundamental objective factor: immigration status. While you are at school, you are of course on a student visa. If you win an orchestra position, the orchestra will provide a work visa. But as I understand it, the time allowed between graduation and actually receiving a job offer has been getting shorter. That means you have to plan very early, and even with planning, you do not know whether you will get an offer. If you do not receive one within that time, you have to return to your own country. That really is not something the school can decide. In that respect, everyone faces the same situation. A great deal also depends on luck, with your professional ability perhaps adding to what you can offer. Host: Before returning to China, did you audition for any orchestras in the United States? Yiding: I did, and it was quite an eye-opening experience. It was my first in-person audition for a professional orchestra. It was not a particularly large orchestra: the Albany Symphony in New York State. It is in the northern part of the state. Although it is not one of the so-called five or ten leading American orchestras, the competition was still very intense, because flute players from around the world could apply to audition. Tens of thousands of applications would arrive in their inbox, and they would select a small number of applicants to invite to an in-person audition. After that, there would be a first round, a second, a third, and a fourth, all competing for that one position. Host: On the one hand, professional orchestras have very few openings and fierce competition. On the other, the orchestra sector seems to be declining, with some orchestras even unable to pay salaries. Are those two things contradictory? Yiding: People may have seen news stories in recent years showing that orchestras' finances are quite worrying. A while ago, an orchestra in the Washington area announced that it had dismissed all its musicians. Many of them might have been there for 20 or 30 years and thought of those jobs as secure for life, only to lose them all in a single day. In the United States, sponsorship is very important to an orchestra, as are charitable foundations and major benefactors. That funding matters enormously. If those supporters withdraw their money, an orchestra can certainly run into difficulties. ## What Should Children Aim for When Learning Music? Host: A viewer asks whether a four-year-old can understand what a teacher is saying. Do you think starting systematic music study at four is early or late? Yiding: They can, but it varies from child to child. From the feedback I have received from my teachers over the years, I was quick to understand and very much a visual learner. If a teacher demonstrated something, whether abstract or concrete, I could generally reproduce it immediately after seeing it once, so comprehension was not a problem. But the instrument matters. Children sometimes begin piano even at three. Wind instruments have restrictions because you have to consider physical development. With the flute, for example, you need to consider whether your arms are long enough, whether you have the stamina, and whether you can hold it up for that long. You also have to consider whether your baby teeth have all been replaced, because that affects breath control. Host: When children begin learning an instrument, do you recommend learning staff notation at the same time? Yiding: Generally, yes. For instrumental study, we usually recommend learning staff notation. Singing may also involve learning things such as movable-do solfège. Host: You started on a professional path very early. Was that more your own choice, or your parents' guidance? Yiding: I liked music then, but a six- or seven-year-old does not have a grand plan for the future. So my parents helped guide me. Parents may think that after so many years of lessons, their child seems talented and the teachers' feedback is positive, so they should see where it leads. Host: At this point in 2026, what does music mean for children? How has the environment for learning music changed since your childhood? Yiding: I think the pandemic was a very important turning point. Before that, my impression was that parents of young musicians in China, and the children themselves, were caught up in very intense competition around music. It felt as though every household had a piano, and at least one child was learning piano, perhaps along with a second or third instrument. After that turning point, people may have reduced their demand for music lessons. Instead, they paid more attention to children's physical health and wanted them to do more sports. That seems more direct than “cultivating an appreciation of the arts.” When you exercise, your physical condition and health improve. But if you play piano for an hour today and another hour tomorrow, can you say you will be ready to perform onstage the day after? Of course not. So it is also a question of sunk costs. Many parents consider how much time and energy they have invested, while the returns are less immediate than they imagined. Host: Is that change happening because the world's demand for music has declined? Yiding: I do not think it has. Perhaps, at this particular moment, people have temporarily turned their attention to other pursuits. I think they will return to music in the future. Host: Some parents say they approach lessons simply as a way for their children to enjoy music and play with it. Yiding: I think that is a very healthy attitude. Host: Starting at five, you went to concerts every week for ten consecutive years. What effect did that experience have on you? Yiding: It was not just concerts. I went to many other kinds of performances too, including plays, stage productions, ballets, operas, and musicals. Of course, my family took me. They wanted me to encounter all kinds of music, and their attitude was really to let me listen for fun. Perhaps one day something would click. They did not really mind whether the child sitting in the audience was taking it all in. The main purpose was exposure to the arts. As a child, I would actually be in the front row rubbing against the railing, moving back and forth along it throughout the performance. Host: So whether you understood a concert as a child was not particularly important? Yiding: That is right. ## Is Practicing Eight Hours a Day Necessarily Better Than Practicing Three? Host: How intensive was practice for Juilliard students? Yiding: Mine was not especially intensive. Piano and string students tended to practice harder. Some practiced six to eight hours a day. Host: How long do wind players generally practice each day? Yiding: Wind players really cannot keep going that long; there are physical limits. My average was probably around three hours a day. I think I cared more about the quality of practice than the quantity. If you practice eight or nine hours one day and find the next day that everything has reverted to how it was before, then you have not really understood what is in the music. That is ineffective practice. Host: In other words, you cannot just count practice hours. You also have to make sure each session actually brings improvement. Yiding: Exactly. ## Good Music Teachers Do More Than Point Out Wrong Notes Host: What differences did you see between music education at Juilliard and music education in China? Yiding: I have made some observations recently. In my regular work reviewing teachers' piano lessons through the administration system, I find that many teachers in China may not really know how to spark children's interest in music or their desire to explore it. They may simply keep saying, “Right, that note was wrong. What should that note be? Try again. Right, again.” To me, that kind of constant repetition does not accomplish much. Often, teachers tell students directly, “This is what you did wrong here, and this is how you should fix it,” instead of asking the child, “How do you think the passage you just played could sound better?” I think there is still something missing in how we encourage children's own understanding of music. When I studied abroad, teachers often asked open-ended questions. Open-ended questions can also be abstract, such as, “What kind of story do you imagine here?” Or, “What kind of sound do you imagine as you play? Could you share that story with me?” It was a more exploratory style of teaching. Host: It encouraged students to think and ask questions, rather than having the teacher simply tell them what was wrong. Yiding: Yes. But I would add that you cannot simply label an education system, or an individual teacher's teaching style, good or bad. What matters most is the fit between the student and the teacher. If a student likes a very strict, demanding style of teaching, then that teacher is a good match for them. Host: Yes. I would also add that we often criticize Chinese education as “spoon-feeding,” but the education we have today reflects China's national circumstances. China is also in the world's leading group in scientific research. Each approach has advantages and disadvantages, so we cannot simply pass a sweeping judgment on the quality of education in any particular country. ## Why People Still Need Music in the Age of AI Host: Do you think AI will replace music and art in the future? Yiding: The simplest answer is no. I think AI brings music many possibilities we could not previously have imagined. It is an interdisciplinary field: you can combine music with algorithms, with technology, or with anything else you want. We cannot predict what the future will look like, but the sky is not going to fall. I think music will always be something AI cannot replace, because it is a field that places great value on connections between people. Host: Yes. Behind music is not just a hand, but a person. Emotion is central to being human, and music is a vehicle for emotion. As AI becomes more deeply embedded in our lives, art, sport, and reading may actually become more important. Yiding: Yes. Host: We do not need to imagine AI as a threat. At this stage, it is a more convenient tool that can help us become more creative. However powerful the tool, people's perception and understanding of music remain at the center. Yiding: AI will add more layers and possibilities to music. Host: Whenever you perform onstage, how does the connection between music and real people happen? Yiding: Every time I finish a piece onstage and hear the applause from the audience, I feel a sense of achievement in that moment. I feel that my music has reached real people's hearts, perhaps giving someone something to think about or moving them in some way. I feel that after every performance. Host: Do you still long for the stage? Yiding: I would not quite say that, but if I had an opportunity to perform again, I would still enjoy it very much. Host: How does the sense of achievement in your academic administration work differ from that of performing onstage? Yiding: When you perform onstage, the applause gives you very immediate feedback. But behind that moment, you may have spent “ten years honing your craft,” or practiced hard for six or seven hours every day, just to experience less than a minute, perhaps only 20 or 30 seconds, of that sense of achievement. My academic administration work is similar. Every day, I review many lessons and think about how to improve lesson quality on the platform and the teaching experience for users and students. That is a long-term undertaking. In the short term, it may not give me a particularly strong sense of achievement. But if one day a parent or teacher tells me, “I think your product is very good,” that is recognition of my work, and a sense of achievement too. * * * From professional performance to education and then music technology, Chen Yiding has not left music behind. She has simply extended her connection with music from performing onstage to education, products, and more people's everyday practice. Perhaps that is the most inspiring part of her experience: there does not have to be just one path through life. You can leave your original position without abandoning everything you have built along the way. And as AI brings more technology and tools into the world of music, what remains irreplaceable is people's perception of music, and those real moments when people connect and are moved by it. (Coming next in the series: Liang Yingbiao, a well-known cello educator in Guangzhou.) AD *The following advertisement appeared in the original China-market article; it is retained here as part of that article, rather than as a statement of current Global availability or trial terms.* The original advertisement described the Violy app as music practice software for phones and tablets, with features including sheet music, performance audio and video, AI error correction, and practice check-ins. It stated that the app supported piano, string instruments, wind instruments, and other instruments. It invited readers to search for “一起练琴” (Violy's Chinese name) in their app marketplace to try it free. --- # Violy's Brand-New Feature: AI Automatic Accompaniment - URL: https://violy.app/blog/violys-brand-new-feature-ai-automatic-accompaniment - Markdown: https://violy.app/blog/violys-brand-new-feature-ai-automatic-accompaniment.md - Published: 2026-09-10 - Categories: Product - Summary: Violy’s China-market announcement introduces AI automatic accompaniment that follows a child’s violin playing in real time. It explains the Apple app version, VIP membership, and score requirements at launch, along with the China-market 618 promotion mentioned in the original article. # iPhone and iPad Users Were Invited to Try It > This feature announcement concerns Violy’s China market. The launch timing, app version, device support, membership requirements, customer service arrangements, and 618 promotion below reflect the offering at the time of the announcement, rather than current Global availability or benefits. No launch year or promotion year is specified. With this update, we wanted to address a problem that many families with children learning the violin encounter: During everyday practice, children often practice the melody on their own. But in lessons, graded music exams, competitions, and performances, many pieces require them to play with piano accompaniment. Without enough ensemble practice beforehand, children can encounter these difficulties when it is time to perform: - An unsteady rhythm; - Coming in at the wrong time; - Feeling nervous when they hear the piano accompaniment; - Playing independently instead of staying together with the accompaniment. That is why we developed AI automatic accompaniment. It does more than play a fixed recording of piano accompaniment. Like a real piano accompanist, it listens to the child’s playing and follows along in real time. Previously, accompaniment was more like this: "The piano accompaniment plays at its own tempo, and the child has to work hard to keep up." The new AI automatic accompaniment is more like this: "When the child plays a little faster, the piano accompaniment speeds up too; when the child plays a little slower, the piano accompaniment slows down too." In other words, AI identifies where the child is in the piece and the tempo they are playing at. It automatically adjusts the accompaniment’s timing to match the child’s performance in real time. This is helpful for everyday practice. When children practice at home, they can work on more than playing the right notes and rhythms: they can also become familiar with the feeling of playing together with a piano. Especially when practicing exam pieces, competition repertoire, or concertos, children can become familiar with the piano accompaniment earlier, rather than discovering problems only when they finally rehearse with an accompanist. It also makes things easier for parents. ![](https://static.lianmuse.com/image/blog/ecd6a1c8012a4d843355b3bf551d29e1.png) Previously, giving a child more opportunities to practice with piano accompaniment could mean arranging a teacher, finding a suitable time, and booking a place to rehearse. With this update, families could simply open the Violy app and practice with accompaniment at home. By practicing a little each day, children can gradually become more familiar with the accompaniment and find it easier to develop a steady sense of rhythm and confidence on stage. At the time of the announcement, there were several points to note about AI automatic accompaniment: First, the version available at that time supported only Apple devices. Apple users were asked to update the Violy app to version 13.18.0 or later to use the feature. Second, this was a VIP membership feature. An active VIP membership was required to use AI automatic accompaniment. Third, automatic accompaniment was available only for the violin. AI automatic accompaniment for other instruments was not yet supported. Fourth, accompaniment was already available for most scores. If a score a child was practicing did not yet have accompaniment, families were invited to contact Violy’s China-market customer service team. We would do our best to arrange for accompaniment to be added. The original announcement also coincided with the 618 promotion, China’s midyear shopping promotion around June 18. Families interested in having their children try AI automatic accompaniment were invited to read the promotional article for details of the 618 offers available at that time. [Violy VIP Membership: May Mega-Sale Livestream Schedule](https://mp.weixin.qq.com/s?__biz=MzUxMjU5ODMyMg==&mid=2247507528&idx=2&sn=6e025f25f0fba526fa00f5ac9ad679ca&scene=21#wechat_redirect) At the time of the original announcement, Violy described itself as having reached its tenth year since its founding in 2016. Throughout these years, we have kept working toward one goal: Making children’s practice more efficient, and giving parents less anxiety and more practical ways to support their children’s practice. As a practice app trusted by families learning string instruments, we will continue improving the product and making the practice experience more professional and easier to use. Thank you for your continued support. Violy will keep supporting children as they practice well and make steady progress. --- # A Child Who Cannot Hear the World Plays as Associate Principal Cellist in the Provincial Youth Orchestra - URL: https://violy.app/blog/a-child-who-cannot-hear-the-world-plays-as-associate-principal-cellist-in-the-provincial-youth-orchestra - Markdown: https://violy.app/blog/a-child-who-cannot-hear-the-world-plays-as-associate-principal-cellist-in-the-provincial-youth-orchestra.md - Published: 2026-09-10 - Categories: Music News - Summary: Born deaf in both ears, 12-year-old Liu Jingyuan became associate principal cellist of the Hunan Provincial Youth Chamber Orchestra. Her mother shares how the family navigates hearing difficulties, music learning, and an upbringing without predetermined limits. In a recent Violy livestream, we spoke with the mother of a young music student whom everyone calls Mama Yin. Her daughter, Liu Jingyuan, was 12 years old and in sixth grade at the time of the interview. She was born deaf in both ears. But she also held another role: associate principal cellist of the Hunan Provincial Youth Chamber Orchestra. Can a child who has been unable to hear since birth really learn music? How does she hear whether she is in tune? How does she follow the conductor? How does she coordinate with the orchestra's other sections? It sounds almost impossible. Yet Liu Jingyuan really has made it that far. In this interview with Mama Yin, we wanted to understand more than how a child learns the cello. We also wanted to know: How does a family help a child get beyond the barrier of not being able to hear? And how does a mother gradually turn her initial devastation into the support that lifts her child up? ![](https://static.lianmuse.com/image/blog/597f39140c17f676ae8db4c41caad480.jpg) (Left: Jingyuan; right: Mama Yin. Reposted from Mama Yin's WeChat Moments.) ## 1. My Daughter, Liu Jingyuan Liu Jingyuan was 12 at the time of this interview and was born deaf in both ears. After birth, she repeatedly failed her hearing screenings. At 11 months old, she was finally diagnosed with severe congenital hearing loss in both ears. At around three years old, she received a cochlear implant, opening a door to the world of sound. She later studied piano and cello and joined the Hunan Provincial Youth Chamber Orchestra. From the preparatory ensemble to Ensemble B, then Ensemble A, and eventually the associate principal cello position, she gradually stepped into the spotlight. Mama Yin said she had never hidden her child away. "Do not avoid the subject. Do not set limits. Do not treat her differently." These three choices gradually became the foundation of Liu Jingyuan's upbringing. ![](https://static.lianmuse.com/image/blog/757b71eabae3c2cb969db3cb55b4b3be.png) (Image reposted from a state-media article.) ## 2. On Music and Education Violy: What did you go through after first discovering that your child might have a hearing problem? Mama Yin: "When she was born in hospital, she did not pass her hearing screening. The nurse reassured us that this did not necessarily mean something was wrong: if she passed any one of the follow-up tests, that would mean there was no problem." "At forty-something days old, at two months, at three months—she failed every follow-up test. Each time we went full of hope and came back disappointed again." "At 11 months, she was diagnosed with congenital deafness in both ears, with severe to profound hearing loss. Of course, we were devastated. It was the darkest moment of my life." "Coming home from the hospital, I felt like the walking dead. I got home, shut the door, hid under the quilt, and sobbed." "But after that, I never shed another tear. Because I knew my child was still waiting for me." Violy: How much can your child hear with a cochlear implant? Mama Yin: "I am truly grateful for cochlear implants. Having one is already a very fortunate thing." "But there is still a big gap compared with normal hearing. In her experience, the effective listening range is basically within three meters. In public places with background noise, she finds it hard to filter it out. All the sounds come rushing in at once." "An ear with normal hearing has roughly two thousand to three thousand auditory nerves, whereas our child's cochlear implant has only a dozen or so channels. The sounds she hears are very limited. They may sound thin, with parts missing, or incomplete." *Translator's note: The interviewee's figure of 2,000–3,000 “auditory nerves” is retained here as spoken, but it is not an accurate anatomical comparison. Research describes approximately 3,500 inner hair cells in the human cochlea, each connected to multiple auditory nerve fibers; hair cells, nerve fibers, and implant channels are different structures. See [Bharadwaj et al., “Cochlear neuropathy and the coding of supra-threshold sound”](https://pmc.ncbi.nlm.nih.gov/articles/PMC3930880/). The [U.S. National Institute on Deafness and Other Communication Disorders](https://www.nidcd.nih.gov/health/cochlear-implants) explains that cochlear implants stimulate the auditory nerve and do not restore normal hearing. The three-meter range and channel count above describe this family's reported experience, rather than universal limits for cochlear implants.* "For someone who wears a cochlear implant, simply listening can take all their energy." Violy: How did she start learning the cello? Mama Yin: "Looking back now, one phrase sums up our decision to learn the cello: ignorance is fearless." "For generations, our family had no relatives or friends involved in music or the arts. We knew absolutely nothing about music." "When she was eight, she met a violin teacher. The teacher said, 'Your Jingjing has a good build for it. She is tall, with long arms and legs. She would suit the cello.'" "I went home and searched for the cello on my phone. What came up was Nana Ouyang playing the cello onstage, looking like a princess. I showed it to my little girl and asked if she wanted to be like that young woman. She said, 'Yes, yes!'" "That was how casually we made the decision." "Only later did I realize how difficult string instruments are. Even for someone with normal hearing, let alone someone with hearing difficulties, I think they are incredibly difficult." ![](https://static.lianmuse.com/image/blog/02f22fd4e30517cf872d294436d50727.jpg) (Reposted from Mama Yin's WeChat Moments.) Violy: What gave you the courage to introduce her to music? Mama Yin: "One of my principles in raising a child is not to set limits." "I would not say that because her hearing is impaired, she must never have anything to do with sound, let alone music." "In first grade, many of her classmates were taking extracurricular classes. I thought we should sign her up for something too." "She started with piano. If she could learn it, she could continue; if she could not, I would not force her. Unexpectedly, she gradually did quite well." "She began the cello when she was a little over eight. At first, she studied piano and cello together. Later, we found she could not manage both, so she stopped piano and continued with cello." "In the orchestra, she first auditioned successfully for the preparatory ensemble, then Ensemble B, then Ensemble A. After that, she worked her way through auditions from a seat further back to her current position as associate principal." Violy: What difficulties does she still face? Mama Yin: "There are difficulties all the time, in every aspect of life." "There is no way to resolve this completely. When it comes to hearing, she does have less ability than others, and things are harder for her." "People with hearing loss have to put in so much more effort to do the same thing as people with normal hearing. Something someone else can memorize in a minute may take them ten minutes, or even half an hour." Violy: How do you explain her condition to her? Mama Yin: "One principle I have in raising my child is not to avoid the subject." "I will not conceal it or be afraid that telling her the truth will hurt her." "Ever since she was little, I have told her, 'Your ears are unwell, so we need to wear your little ears. We should also thank the doctors who helped fit them. They help you hear sounds.'" "It is like Daddy having poor eyesight and needing glasses. Glasses help Daddy see clearly; your little ears help you hear clearly." "This device is already part of her body. You need to face reality and accept it—and accept it with gratitude." Violy: Do her teachers and school know about her hearing? Mama Yin: "Not really. Whether at school or when signing her up for classes, I do not volunteer information about her condition to the teachers." "It is not that I am afraid of people knowing. I just do not want her to live and learn under special care from beginning to end." "Whatever she learns and whatever group she joins, she is treated the same as everyone else." Violy: After joining the orchestra, how did she deal with not being able to hear the conductor or the other sections clearly? Mama Yin: "There are certainly difficulties, but she has not told me much about them." "I once asked her, 'Can you hear the students playing beside you in the orchestra clearly? Can you hear your own playing clearly?'" "She said that first of all, she has to watch the conductor very closely." "Especially when she was seated further back, she could not hear what the conductor was saying at all. She could only observe, watch, and try to understand the conductor's intentions." "She also believes that music is a language. Language is not just what comes out of our mouths. Music can also be felt and understood with the heart." Violy: Does she practice intensively every day? Mama Yin: "She actually does not practice for very long, and she cannot manage to practice every day." "At the very most, it is an hour, or a little over half an hour." "As for the difficulties she encounters, I think she encounters all the difficulties that every young music student faces." Violy: As a mother who does not know music, what is the biggest difficulty when supporting her practice? Mama Yin: "The biggest difficulty is that we parents know absolutely nothing about music. That is really hard." "When she practices, I only know that the cello is making a sound and that she is practicing. But I have no idea whether she is playing correctly or whether she should practice that way." "She could be reinforcing mistakes as she practices. Then, in her next lesson, the teacher has to spend even more time and effort correcting her. It would almost be better not to practice." "On her journey of learning music, we cannot give her any effective help." Violy: In situations like this, the Violy app can help you. Violy: What do coverage by national media and various national honors mean to your child? Mama Yin: "I am very thankful and grateful for the honors she has received and all the reporting about her." "But I do not think they have changed very much for her. She still takes things in her stride." "I tell her that the honors she receives now do not mean very much. At most, they recognize her past achievements and efforts." "Everyday life and learning still have to go on as usual." ![](https://static.lianmuse.com/image/blog/feb03b34bd4ec8e4bb1ea3c2eead277d.jpg) (Jingyuan was named a national “Good Young Person of the New Era,” an honor for young people in China.) Violy: How have you supported your child over the years? Mama Yin: "I devote myself entirely to caring for her, in every aspect of life." "Because of her condition, I have stayed home full-time since she was born. I have not had a job outside the home in all these years." "Teaching her to speak alone can take up most of my energy. It is a long and difficult process." "Once we had addressed speaking, we immediately faced school, studying, and all sorts of educational needs." "There has to be someone dedicated to watching over her, looking after her, guiding her, and being there for her." Violy: How do you weigh academic results, health, and skills? Mama Yin: "To me, mental health matters more than any score or skill." "A healthy, positive outlook and a persistent, resilient character are very important." "I always tell my child that whether it is academics, music, sports, or anything else, what matters is having the right attitude, putting in the effort, and taking it seriously. How many marks you get or what awards you win do not matter at all." Violy: Does your family have any longer-term plans for her future in music? Mama Yin: "No, none at all. We are quite laid-back by nature." "Whether it is piano, cello, singing, or fencing, we do not pursue these things with a particular end goal." "If you have the chance to try something and want to learn it, then we as parents will support you wholeheartedly." "As for what the future holds, we can talk about that later." ![](https://static.lianmuse.com/image/blog/046ae652c6de1e4387367497644f3cb9.jpg) (The Hunan Youth Chamber Orchestra's Spring Festival concert. Jingyuan is fifth from the left in the front row. Image reposted from Mama Yin's WeChat Moments.) ## 3. Facing Life What moved us most in this interview was more than a child making music on the cello. It was a mother who, at the hardest moment life had brought her, did not hide her child away. She said, "Do not avoid the subject," and her child learned to face herself honestly. She said, "Do not set limits," and her child had the chance to experience music. She said, "Do not treat her differently," and her child kept stepping out into the world with other people. Truly supporting a child does not mean shielding her from the whole world. It means taking her hand and walking out into it together. Perhaps every parent who supports a child's music practice has had moments like these: finding it hard, feeling exhausted, and wondering whether they can keep going. But Mama Yin and Liu Jingyuan's story tells us to keep moving forward: difficulties are temporary, and we can face everything together. Share this with parents who are supporting their children through music practice and life's challenges. You are also welcome to follow Liu Jingyuan's WeChat Channels account: 刘静远小静坨 (Liu Jingyuan Xiao Jingtuo). Advertisement in the original China-region article: Founded in 2016, the Violy app was described at the time as a world-leading instrument-practice app supporting piano, violin, viola, cello, wind instruments, and more. The original article invited readers to download it and give it a try. --- # What Is Violy? - URL: https://violy.app/blog/what-is-violy - Markdown: https://violy.app/blog/what-is-violy.md - Published: 2026-09-10 - Categories: Product - Summary: An introduction to Violy and its recommended practice routine, including sheet music, demonstrations, Note-by-note practice, AI assessment, accompaniment, and practice tracking. > Translation note: This article presents the original Chinese guide. Its descriptions of feature releases, live coaching, and introductory membership benefits refer to the China-region offering at the time of the original guide, rather than current Global availability or benefits. References to demonstration videos are retained from the source, which contains no embedded video links. In just a few minutes, this article will introduce you to: What the Violy app is, and why it can help you. Violy is a practice tool designed to help us practice our instruments efficiently. The original guide describes Violy as a well-known practice app in China and abroad, with a ten-year history at the time of writing. It supports a range of instruments, including piano, violin, cello, viola, digital piano, clarinet, and flute. The app helps us practice through its resources and features. - **Resources:** The app includes free sheet music and demonstration audio and videos, making scores and demonstrations easy to find. - **Features:** It offers basic tools such as a metronome and tuner, as well as more advanced options such as AI assessment and live practice coaching. These features help you check the accuracy of your practice. First, get your ticket for a journey toward more efficient practice 🚢: download the app. Download the Violy app for free: ![](https://static.lianmuse.com/image/blog/6ebe9014de7c92400158584241d46642.png) Press and hold to scan the QR code and download the app. Welcome aboard! First, let me show you how Violy can help you: Here is the practice routine we recommend: 1. Find the sheet music you are practicing in the app. 2. Open the score and use playback to watch demonstrations, listen to the performance, and sing along with the notes. 3. Once you are familiar with the score, use Note-by-note mode to check that you are playing the correct pitches. 4. After you have practiced the piece thoroughly, use the AI assessment feature, Audition, to check your accuracy and identify and correct mistakes yourself. 5. Once your pitch, tempo, and rhythm are correct, use the accompaniment feature to have fun making music. Throughout your practice, you can use the practice check-in feature, which listens to your instrument, to record your practice. You can also have a live coach accompany your practice over video. Demonstrations of the individual features follow. How to search for and use sheet music in the app: You can use any piece in the sheet music library. Even better, these scores can all be played back! Next, I will show you how to play back a score and adjust the playback speed. When we start a new piece, reading the score, listening to the audio, and using playback to sing the notes can help us become familiar with it quickly. Watching a demonstration performance can also help us get started sooner! In addition, many scores support accompaniment. The next video shows you how to watch demonstration videos attached to a score and use accompaniment audio. Note: The original China-region guide announced that Violy supported AI accompaniment, which had launched on Apple devices, and invited readers to try it. The guide also announced the launch of band accompaniment, with band backing tracks provided for all the practice pieces. Once you are familiar with the score and ready to practice, you can start with Note-by-note mode, practicing one note at a time. During Note-by-note practice, always pay attention to the cursor position. Unless you play the current note correctly, the app cannot recognize the next note. Once you have mastered the piece, try the Audition assessment feature: As you play, the app listens to your instrument and gives you a score, showing you where you played incorrect notes and where you need to improve. This is one of Violy's core features: using practice data to support a systematic approach to practice. For beginners, learning to use this feature can be challenging. The original guide encourages you to give it a try, saying that learning to use it will help take your playing to the next level. Watch the next video and try it yourself! Using Audition gives you a performance score and generates a practice assessment report. Basic tools such as a tuner and metronome are also available. If you want to tune your violin, watch the video. When tuning, make adjustments slowly and patiently. There are many other features in the app for you to explore: The practice check-in feature, which tracks actual practice time by counting only the time when it hears your instrument. ![](https://static.lianmuse.com/image/blog/1563107a7638f34adc5577b0db47a49a.jpg) Practice check-in And the practice check-in streak system: Earn one star each day by logging 10 minutes of instrument practice. How many days can you keep your streak going? ![](https://static.lianmuse.com/image/blog/254235ee8d2ae3dfeb5aa27f61c0679c.gif) In addition, the original China-region guide described live online practice-coaching lessons in the Violy app, using one-to-one, two-way video calls. Teachers were available for violin, piano, guzheng (a Chinese plucked zither), and other instruments. The guide also stated that first-time users would automatically receive a complimentary membership, which they could claim in the app to try its features without restrictions. Live online practice coaching was excluded from this offer. If you have any questions about the app, the original guide invites you to contact Violy China customer support at any time: ![](https://static.lianmuse.com/image/blog/f4c18725bf15c03801e1320a1f3c7248.jpg) Scan the QR code to add Xiaoba, the China-region customer support contact. Trying it yourself is better than hearing about it—give it a go! --- # Violy Launches Its AI Automatic Accompaniment Feature! Available on Both Apple and Android - URL: https://violy.app/blog/violy-launches-its-ai-automatic-accompaniment-feature-available-on-both-apple-and-android - Markdown: https://violy.app/blog/violy-launches-its-ai-automatic-accompaniment-feature-available-on-both-apple-and-android.md - Published: 2026-09-10 - Categories: Product - Summary: Violy’s China-market announcement introduces AI automatic accompaniment that follows a child’s violin playing in real time. It explains Apple and Android version requirements, VIP membership access, and the instruments and scores supported at the time. # Both Apple and Android Users Can Use It! > This feature announcement concerns Violy’s China market. The availability, app versions, membership requirements, and support arrangements described below reflect the offering at the time of the announcement, rather than current Global availability or membership benefits. With this update, we wanted to address a problem that many families with children learning the violin encounter: During everyday practice, children often play the melody on their own. But in lessons, graded music exams, competitions, and performances, many pieces require them to play with piano accompaniment. Without enough ensemble practice beforehand, children can encounter these difficulties when it is time to perform: - An unsteady rhythm; - Coming in at the wrong time; - Feeling nervous when they hear the piano accompaniment; - Playing independently instead of staying together with the accompaniment. That is why we developed AI automatic accompaniment. It does more than play a fixed recording of piano accompaniment. Like a real piano accompanist, it listens to the child’s playing and follows along in real time. Previously, accompaniment was more like this: "The piano accompaniment plays at its own tempo, and the child has to work hard to keep up." The new AI automatic accompaniment is more like this: "When the child plays a little faster, the piano accompaniment speeds up too; when the child plays a little slower, the piano accompaniment slows down too." In other words, AI identifies where the child is in the piece and the tempo they are playing at. It automatically adjusts the accompaniment’s timing to match the child’s performance in real time. This is helpful for everyday practice. When children practice at home, they can work on more than playing the right notes and rhythms: they can also become familiar with the feeling of playing together with a piano. Especially when practicing exam pieces, competition repertoire, or concertos, children can become familiar with the piano accompaniment earlier, rather than discovering problems only when they finally rehearse with an accompanist. It also makes things easier for parents. ![](https://static.lianmuse.com/image/blog/ecd6a1c8012a4d843355b3bf551d29e1.png) Previously, giving a child more opportunities to practice with piano accompaniment could mean arranging a teacher, finding a suitable time, and booking a place to rehearse. With this update, families could simply open the Violy app and practice with accompaniment at home. By practicing a little each day, children can gradually become more familiar with the accompaniment and find it easier to develop a steady sense of rhythm and confidence on stage. At the time of the announcement, there were several points to note about AI automatic accompaniment: First, an app update was required. Apple users were asked to update the Violy app to version 13.18.0 or later; Android users were asked to update to version 13.19.0 or later. HarmonyOS devices were not yet supported. Second, this was a VIP membership feature. An active VIP membership was required to use AI automatic accompaniment. Third, automatic accompaniment was available only for the violin. AI automatic accompaniment for other instruments was not yet supported. Fourth, accompaniment was already available for most scores. If a score a child was practicing did not yet have accompaniment, families were invited to contact Violy’s China-market customer service team. We would do our best to arrange for accompaniment to be added. At the time of the original announcement, Violy described itself as having reached its tenth year since its founding in 2016. Throughout these years, we have kept working toward one goal: Making children’s practice more efficient, and giving parents less anxiety and more practical ways to support their children’s practice. As a practice app trusted by families learning string instruments, we will continue improving the product and making the practice experience more professional and easier to use. Thank you for your continued support. Violy will keep supporting children as they practice well and make steady progress. --- # Nine Masters of Film Scoring Come Together for One Cello - URL: https://violy.app/blog/nine-masters-of-film-scoring-come-together-for-one-cello - Markdown: https://violy.app/blog/nine-masters-of-film-scoring-come-together-for-one-cello.md - Published: 2026-09-10 - Categories: Music News - Summary: Tony Gilroy’s Behemoth! brings together nine composers for a story starring Pedro Pascal as a cellist returning to Los Angeles. The original article presents it as a love letter to performers and the musicians behind film scores. **Nine Masters of Film Scoring Come Together for One Cello:** **This Could Be the Film Music Lovers Have the Most Reason to Look Forward to This Year** If a score has ever made a film stay with you; if you have ever been reluctant to leave as the credits rolled, wanting only to hear the final note; then this is a film worth remembering ahead of its arrival. It is called *Behemoth!* (the original article gives it the provisional Chinese title *巨兽*, meaning “Giant Beast”). In the trailer, there are no superheroes and no battles across the universe. Just Pedro Pascal sitting down and picking up a cello. The bow meets the strings, and the story begins. About the origin of the name: Behemoth is a creature mentioned in the Bible. The original article recounts a legend in which God created Behemoth and Leviathan from clay on the sixth day of Creation. It describes a tail held upright like a cedar, muscles as solid as stone, and bones as hard as bronze and iron. It goes on to say that, in the Middle Ages, Behemoth was tempted by demons to join the forces of Hell, becoming one of its seven kings: a ruler representing the opposite of hope and a king of greed. The article also mentions the Chinese name “比蒙巨兽” (Bimeng, the giant beast). It explains the Hebrew name בהמות as “beasts,” suggesting a creature so enormous that only many beasts together could compare with it. > Translator’s note: This passage combines biblical imagery with later legends. [Job 40:15–18](https://bible.usccb.org/bible/job/40) describes Behemoth’s strength, cedar-like tail, and bronze-and-iron imagery, but does not give the clay-creation story or the infernal rank described above. Collin de Plancy’s [1863 *Dictionnaire infernal*, “Béhémoth” entry](https://fr.wikisource.org/wiki/Dictionnaire_infernal/6e_%C3%A9d.%2C_1863/B%C3%A9h%C3%A9moth) associates the demon with gluttony and bodily pleasures, rather than establishing the article’s claims about greed, the opposite of hope, or seven kings. Those details are retained as the original author’s account, not as verified biblical teachings or a single established medieval tradition. ## This Time, Music Is Not the Background The film’s protagonist, Alex, is a gifted cellist. After twenty years of touring, he returns to Los Angeles and unexpectedly finds himself in the world of Hollywood film scoring. Music has been the unceasing river of his life. Now that river carries him home and into a journey that could change his life. This is not simply a “musician makes it big” story. It seeks to explore how someone finds family, the past, things that have been lost, and the courage to begin again through music. Music no longer merely supports the story. Music is the story itself. ## One Film, Nine Composers What really excites music lovers is the creative team behind the film. According to the original article, director Tony Gilroy did not follow the usual practice of asking a single composer to score the entire film. He brought in nine film musicians with different styles: - Michael Giacchino: *Up*, *Lost* - James Newton Howard: *The Hunger Games*, *The Sixth Sense* - Alan Silvestri: *Back to the Future*, *Avengers: Endgame* - Henry Jackman: *X-Men: First Class*, *Captain America: The Winter Soldier* - Michael Abels: *Get Out*, *Us* - Emily Bear: *Moana 2* - Nami Melumad: *Star Trek: Strange New Worlds* - Brandon Roberts: *Andor* - Lukas Frank: *East of Wall* They form a special group, The Behemoth! Collective, each creating music for different fictional films within the film, as the original article reports. In other words, we are not just watching a film about music. It could also be a large-scale experiment in listening, spanning many different styles of film music. ## Why Does It Need Nine Composers? Because every piece of music in this film has a job of its own. As the original article describes it, whenever the protagonist performs the opening music of a film, memories surface. Different melodies open doors to different moments in time, gradually helping us understand why he left Los Angeles and why he returned twenty years later. The article reports that Tony Gilroy spent a year interviewing working studio musicians. One image particularly struck him: Dozens of people, all different in age, personality, and life experience, pick up their instruments, and their differences fall away. They begin to breathe together and listen to one another, eventually becoming a single sound. Perhaps this is the “behemoth” that *Behemoth!* really wants to capture— not one individual genius, but music made together by a group of people, something greater than any one person. ## Pedro Pascal, This Time Without Armor To play this cellist, Pedro Pascal underwent intensive training, according to the original article. It reports that he later described learning the cello as far harder than filming action scenes, handling weapons, or performing wire stunts. Even holding the bow correctly required repeated practice. Anyone who has truly studied an instrument will readily understand that. An actor can imitate an expression, but it is hard to fool a musician’s eyes. Do the fingers look natural? Does the bowing carry weight? Does the breathing follow the phrase? Every small movement reveals whether someone is merely “posing” or trying to approach what a real performer does. To the original author, the trailer suggests that Pascal chose the latter. This might also be our first glimpse of a role so vulnerable and so close to Pedro Pascal himself: no armor, no superpowers, just a person, a cello, and a past he does not want to face. ![](https://static.lianmuse.com/image/blog/736f1b8accb846eb1dfb8d960414e14a.jpg) ## A Film for Those Beyond the Spotlight Most films keep their cameras on the people at center stage. *Behemoth!* turns its attention to the performers in film recording studios. They may have played on countless classic works, yet ordinary audiences rarely remember their names. We remember the embraces, farewells, and heroic moments on screen, without necessarily realizing that the strings, winds, and drums in these musicians’ hands helped those images reach our hearts. So this film is about more than one cellist. It is also about everyone who practices quietly, every ensemble performance no one sees, and traditions in the music industry that are disappearing. Above all, it is about a question many music lovers have asked themselves: When music has become part of our lives, are we playing music, or has music been guiding us forward all along? ## Add It to Your Watchlist Now *Behemoth!* is written and directed by Tony Gilroy, the creator behind *Andor* and *Michael Clayton*. Pedro Pascal stars alongside Olivia Wilde, Eva Victor, Hank Azaria, Will Arnett, and others. The original article reports a planned North American release on December 4, 2026. [Searchlight Pictures’ official film page](https://www.searchlightpictures.com/behemoth) also lists December 4, 2026 as the theatrical release date. At the time of the original article, there was no news of a mainland China release. But “one cellist, nine composers, and a love letter to film music” is already enough to earn it a place among the films music lovers have the most reason to anticipate this year. Before the film arrives, put on your headphones and watch the trailer. Listen to the first sound of the cello. You may discover— some films become impossible to miss from their very first note. The original China-region article closes with this invitation: Violy (一起练琴) is a professional music practice app. It states that the app has helped millions of families learning instruments improve their practice efficiency, and invites readers to download it and try it by searching Chinese app marketplaces for “一起练琴.” This preserves the original promotional claim and China-specific search instruction; it is not an independently verified user count or a statement of current Global trial benefits. --- # He Made the Violin Speak Chinese—Remembering Chen Gang, Composer of The Butterfly Lovers - URL: https://violy.app/blog/he-made-the-violin-speak-chinese-remembering-chen-gang-composer-of-the-butterfly-lovers - Markdown: https://violy.app/blog/he-made-the-violin-speak-chinese-remembering-chen-gang-composer-of-the-butterfly-lovers.md - Published: 2026-09-10 - Categories: Music News - Summary: A tribute to composer Chen Gang, tracing his collaboration with He Zhanhao on The Butterfly Lovers, Yu Lina’s role in its development and premiere, and his musical journey to Blossoms. His work helped the violin express Chinese emotion and aesthetics in a musical language heard around the world. ### The man who helped write The Butterfly Lovers has passed away. At 4:50 a.m. on July 18, 2026, the renowned composer and Shanghai Conservatory of Music professor Chen Gang died of illness in Shanghai, aged 91. As the news arrived, a familiar melody seemed to sound once more from afar. The flute gently ripples the surface of the water. The violin takes up that tender, restrained theme, and a pair of butterflies rises once again from the strings. This time, however, we are bidding farewell through the music to one of the people who wrote it. Chen Gang was born in Shanghai in 1935 and began studying music with his father, Chen Gexin, as a child. He joined the army at 14 and wrote his first composition at 15. In 1955, he entered the composition department of the Shanghai Conservatory of Music, studying with musicians including Ding Shande and Sang Tong. In 1959, before graduating, he collaborated with He Zhanhao to complete the violin concerto *Liang Shanbo and Zhu Yingtai*, known as *The Butterfly Lovers*. He was just 24 that year. ![](https://static.lianmuse.com/image/blog/3a0bd94e479bff999f9d45e431ddc150.jpg) Over the following decades, he composed works including *The Golden Furnace*, *Morning in the Miao Mountains*, *Sunshine over Tashkurgan*, and *Wang Zhaojun*, all of which became deeply embedded in China’s musical memory. By 2025, Chen Gang was 90, yet he had not stopped composing. He presented a new symphonic work, *Blossoms*, looking back on Shanghai through music and sustaining the creative passion that had burned throughout his life. He wrote *The Butterfly Lovers* at 24, and *Blossoms* at 90. From youth to old age, he kept searching for a sound that belonged to China and could also be heard by the world. ### The evening The Butterfly Lovers was born Violy previously [interviewed the renowned violinist Yu Lina, who gave the premiere of The Butterfly Lovers](https://mp.weixin.qq.com/s?__biz=MzUxMjU5ODMyMg==&mid=2247490810&idx=1&sn=bd7cc60a92c691db385ea2e0a716822e&scene=21#wechat_redirect). In Violy’s account of that interview, Yu remembered that evening in 1959 and the shared efforts of a group of young Chinese musicians exploring how to make a Western instrument speak Chinese. > Translator’s note: The original article repeatedly describes the premiere as taking place in the evening. A historical account by music scholar Guo Kejian, published in *China Art News* on the China Federation of Literary and Art Circles website, places it at 3 p.m. on May 27, 1959. The date is unchanged; the original’s evening wording is retained here with this clarification. [Historical account](https://m.cflac.org.cn/yl/202607/t20260724_1368297.html). In the 1950s, the Shanghai Conservatory of Music established an experimental group dedicated to developing a Chinese national school of violin playing. The young musicians faced a simple but pressing question: how could the violin, an instrument from the West, speak in a way that Chinese listeners could understand and connect with? He Zhanhao had worked in a Yue opera company’s orchestra and knew the vocal style of Yue opera and the character of music from Jiangnan, the region south of the lower Yangtze River. Chen Gang had received systematic professional training in composition and understood musical form, harmony, and orchestration. One brought the living tradition of Yue opera; the other gave its melodies a complete symphonic structure. Their collaboration gave *The Butterfly Lovers* its distinctive form. As the composers wrote each passage, Yu Lina and her fellow students copied it out by hand and tried playing it, then the music was revised in response to what they heard. They studied Yue opera singing and erhu playing techniques, repeatedly exploring slides, vibrato, and musical breathing on the violin. They wanted this Western instrument to do more than play a Chinese melody: they wanted it to embody the expressive spirit of Chinese opera. On May 27, 1959, *The Butterfly Lovers* premiered at Shanghai’s Lyceum Theatre, with Yu Lina as the violin soloist. The final sounds of the piece were very soft. In the account recalled in Violy’s article, when the closing passage ended, applause did not immediately follow. Yu Lina’s heart leapt with apprehension. Then, after a moment, applause suddenly erupted from the audience and continued for a long time. He Zhanhao and Chen Gang were invited onto the stage. The performers took bow after bow, but the audience still would not leave. Since this was a concert of new works, no encore had been prepared. In the end, the musicians could only play *The Butterfly Lovers* again. That evening, the melody truly moved its listeners. ![](https://static.lianmuse.com/image/blog/71a2ab7f1fb86304b59942b74112e208.jpg) (From left: He Zhanhao, Chen Gang, and Yu Lina.) Soon afterward, a recording of *The Butterfly Lovers* reached listeners across China through radio broadcasts. For many, it was the first realization that a violin could sing in the familiar accents of home; that symphonic music belonged not only to distant Western concert halls but could also tell the story of Liang Shanbo and Zhu Yingtai, expressing Chinese experiences of love, parting, resistance, and longing. A youthful work written, copied, tested, and revised on a college campus went on to endure for more than sixty years, becoming one of the most moving voices in Chinese music. ### What The Butterfly Lovers means to China The significance of *The Butterfly Lovers* has never been limited to a love story set to a beautiful melody. It answered an important question: can we use an art form shared around the world to express emotions and aesthetics that are distinctly Chinese? The original tribute quotes Chen Gang as saying, “Symphonic music is not about telling stories; it is about expressing the spirit.” In his view, *The Butterfly Lovers* did not simply place a folk legend inside a Western concerto framework. Through love, struggle, and transformation into butterflies, it distilled a human spirit: the longing for freedom, resistance to fate, and an unwavering pursuit of beauty. The tribute also recalls a Shanghai Conservatory of Music article from March 2026 that recorded Chen Gang’s understanding of *The Butterfly Lovers*: listeners heard a love story, while he heard the Chinese spirit of “perseverance and the pursuit of beauty.” Reading those words again a few months later is especially moving. ![](https://static.lianmuse.com/image/blog/2f83f75f12653564ef0de7372c250290.jpg) *The Butterfly Lovers* has endured not only because it is beautiful to hear, but because it has roots. The vocal style of Yue opera, the rhythms of Chinese opera, the subtlety of Jiangnan culture, and the depth of feeling and resilience with which Chinese people face love and fate all take life on its strings. It also tells generations of children learning music that developing a national musical voice is not a matter of placing a few traditional symbols on the surface of a work. It means understanding where one’s culture comes from and how one’s emotions arise, then expressing them with honesty and creativity. This is an important part of the legacy Chen Gang left to Chinese music. Today, one of the people who helped write the lovers’ transformation into butterflies into the violin’s strings has departed. But the butterflies will never take their final bow. Whenever the introduction sounds again, whenever a young performer plays that familiar love theme, whenever a violin strives to speak in a language that belongs to China, Chen Gang lives on in his music. Thank you, Mr. Chen Gang. Thank you, together with He Zhanhao, Yu Lina, and that generation of young musicians, for enabling a violin from the West to sing in the accents of China. Thank you for turning love and parting, struggle and hope into melodies that people around the world can understand. May the music endure, and may your memory live forever. **Rest in peace, Mr. Chen Gang.** **With deepest condolences from all of us at the Violy app** **July 18, 2026** --- # We Cannot Know in Advance How a Single Practice Session Will Affect a Child - URL: https://violy.app/blog/we-cannot-know-in-advance-how-a-single-practice-session-will-affect-a-child - Markdown: https://violy.app/blog/we-cannot-know-in-advance-how-a-single-practice-session-will-affect-a-child.md - Published: 2026-09-10 - Categories: Music News - Summary: A musician's story in Keigo Higashino's The Miracles of the Namiya General Store invites us to reconsider what practice means for a child, beyond talent, prizes, or a professional career. Written after Keigo Higashino's passing, this is a reflection on the music story he told. On July 27, 2026, the news of Keigo Higashino's death was announced. He had passed away on July 23, aged 68. ![Breaking news: Japanese author Keigo Higashino has died](https://static.lianmuse.com/image/blog/8d760f6943b8e86058f1211ecf80975a.jpg) For many Chinese readers, Keigo Higashino is more than a name on a bookshelf. He wrote of the long darkness in *Under the Midnight Sun*, the quiet, weighty choices in *The Devotion of Suspect X*, and a shop that could receive letters from the past in *The Miracles of the Namiya General Store*. Many people remember the mysteries in his books. But today, I want to tell you about a music story he wrote. It is about a musician who never became a star, never lived to hear the applause, and never even saw the future of his own work. The story also brings us back to a question that many families whose children study an instrument have asked: If my child will not become a professional musician, does the time spent practicing now still mean anything? This article contains spoilers for *The Miracles of the Namiya General Store*. ## 01 / A Musician Who Did Not Know Whether He Had Talent In *The Miracles of the Namiya General Store*, there is a young man named Katsuro Matsuoka. His family runs a fish shop. They want him to come home and take over the business, but he wants to become a professional musician. When his dream first takes shape, everything seems full of possibility. But years pass, and the opportunities Katsuro imagined do not arrive. No record company takes an interest in him. His audience does not grow. He has no achievements that could prove he made the right choice. Meanwhile, his father's health deteriorates, and the family fish shop needs someone to take over. The choice before him is not a simple matter of “dreams versus reality.” Going home does not mean he is a coward. Continuing to make music is not inherently nobler than taking responsibility for his family, either. ![](https://static.lianmuse.com/image/blog/d1575a1c0ff3ed293aa3a000a9870962.png) (A still from the film *The Miracles of the Namiya General Store*: the dilemma between making a living and pursuing a dream.) What truly torments Katsuro is another question: What if he really has no musical talent? If he is simply missing an opportunity, perhaps a few more years of persistence would be worthwhile. But if he has no talent at all, have all those years of effort been nothing more than stubbornness? Would continuing make his family pay an even higher price? Katsuro writes his worries in a letter and sends it to the Namiya General Store. He wants an answer: should he go home, or keep making music? But with life's hardest questions, there is often no one who can know the outcome for us in advance. ## 02 / He Never Became a Star, but His Song Reached the Future Katsuro later writes a song. It does not make him famous overnight or put him on a stage watched by thousands. On one occasion, he performs at a children's home. In the audience, a girl listens closely and remembers his melody. ![](https://static.lianmuse.com/image/blog/5308457325ab392a0ca2804137cce560.png) (A still from the film *The Miracles of the Namiya General Store*: performing at the children's home.) Later, a fire breaks out at the home. Katsuro loses his life while rescuing someone. He does not live to become a professional singer or hear the applause. But his music does not disappear with him. The girl who once heard him sing grows up to become a singer and carries his melody further into the world. Katsuro's music does not change his own fate, but it becomes part of someone else's life. He never lives to hear the applause, but his song does. ![](https://static.lianmuse.com/image/blog/188d33c7373a6ab9b6fd768d3e387dd3.png) (A still from the film *The Miracles of the Namiya General Store*: the little girl holds the music in her heart.) This is not a story in which “as long as you persist, your dream will come true.” Katsuro does not become the person he originally wanted to be. Nor does his persistence bring him success in the conventional sense. Perhaps what makes the story so moving is this: We cannot know in advance what effect the things we are doing now will have in the future. ## 03 / Practice, Too, Can Take a Long Time to Echo Back The same is true when children learn an instrument. Many families have gone through a stage like this: Their child has practiced for a year and still plays wrong notes. The teacher has explained the same intonation or rhythm problem, but the child forgets again at home. Parents give reminders every day; the child puts things off every day. Before the playing improves, the atmosphere at home has already become tense. Adults are used to judging whether something is worthwhile by its results: What exam grade has the child reached? What place have they won? Are they clearly ahead of others? Could they become a professional musician someday? But many of the effects of learning music do not immediately show up in certificates or scores. Through repeated practice sessions that do not go smoothly, a child may gradually come to understand: Not being able to do something well now does not mean they will never be able to do it well. They may be learning to hear small differences, to break a large difficulty into smaller problems, and to begin again after feeling frustrated. Or they may simply be keeping a melody in their memory. Years later, when they hear that piece again, they may remember more than keys, strings, and a metronome. They may remember their childhood room, the family member sitting beside them, and the person they were when they practiced so earnestly. We often mistake “no results yet” for “this has had no effect.” But when a seed is buried in the soil, we cannot see what is happening to it, either. ![](https://static.lianmuse.com/image/blog/727c8694e4477b6c4c7c3ef4bbeea2bf.png) (A still from the film *The Miracles of the Namiya General Store*.) ## 04 / More Important Than Judging Talent Is Protecting a Child's Relationship with Music When results are not visible, parents can easily become anxious. “You've been learning for so long. Why are you still making mistakes?” “Look how far everyone else has got. Why are you still stuck here?” “If you aren't going to take it seriously, why did you start learning in the first place?” These words do not necessarily mean that parents do not love their children. Often, it is precisely because we have invested time, energy, and money that we want so badly to know it has not all been wasted. But a child may hear a different message: If I cannot prove I have talent, I do not deserve to keep learning. It is hard to reach a sound conclusion about a child's musical talent based on how quickly they progress over a short period or on a few stage performances. Instead of repeatedly asking “Does my child actually have talent?”, we can first look at more specific questions: - Do they dislike music altogether, or are they simply afraid they will not master what they are practicing? - Are they deliberately putting things off, or do they not know where to begin today? - Is the task so large that, as soon as they sit down at the piano, they feel unable to do it? - During practice, do they hear more concrete help, or more judgments about their ability? Sometimes, what a child needs is not another reminder to “keep going,” but a small step they can actually take. The next time a difficulty arises, try replacing: “Why did you get it wrong again?” with: “Let's first find the hardest part of this measure.” Replace: “You have to master the whole piece today.” with: “Let's use the Violy app to practice this measure slowly, in smaller sections first.” Replace: “You just aren't taking this seriously.” with: “Shall we lower the assessment difficulty in the Violy app a little?” > Translator's note: These app-related suggestions reflect the original China article's wording and product context at its source date; they are not a statement that every current Global version offers the same settings. These words cannot solve every problem immediately. But they can help a child understand that difficulties can be noticed, broken down, and worked through, rather than treated as proof that “I can't do it.” ![](https://static.lianmuse.com/image/blog/5104c5873220658c617a2f99a9491e65.png) (A still from the film *The Miracles of the Namiya General Store*: the little girl encourages Katsuro not to give up easily.) ## 05 / Persistence Does Not Mean Having to Become a Professional Of course, this does not mean that once a child starts learning an instrument, they must keep going to the very end. Persistence is not always the right choice in itself. If a child remains unhappy for a long time, if the practice approach never suits them, or if music has become nothing but conflict, adults need to stop and reconsider: Are the goals too demanding, or does the method need adjusting? Does the child dislike music, or do they temporarily dislike the way they are learning it? Should we keep moving forward, or reduce the intensity, try a different piece, change how we communicate, or even allow a pause? A child can choose not to become a professional and still find lasting companionship in music. They may never win a competition, yet learn through practice how to face a problem they cannot solve right away. They may also discover, after making a serious attempt, that their true passion lies elsewhere. Changing direction does not mean everything that came before was wasted. What we need to avoid is closing a door for a child too early simply because of one failure, a plateau, or a remark that they “may have no talent.” (The benefits music brings children can stay with them throughout their lives.) ## 06 / We Also Do Not Know Where Today's Support Will Lead In *The Miracles of the Namiya General Store*, Katsuro Matsuoka does not know where his song eventually goes. In real life, a teacher may never know which of their words a student will remember. A parent, too, cannot know in advance: Which moment of holding back criticism will protect a child's newly emerging confidence; which time spent helping them break down a difficulty will make them less afraid of failure later; or which concert or piece of music will return to their life many years from now. We cannot guarantee that every child who studies an instrument will reach a bigger stage. Nor can we use the distant promise that “you'll thank me someday” to demand that a child endure every unsuitable pressure today. What we can do is take a little more care in the present: Help children find where they are truly stuck, make the task more specific, offer one less judgment and one more moment of understanding. As for what effect these small things will have in the future, we may never fully know. Just as a song's life does not belong only to the person who wrote it, the meaning of a serious practice session does not lie only in how many notes were played correctly today. Keigo Higashino has passed away. But new readers will still open his books and, at different stages of life, hear different answers in the same story. And the musician who never lived to hear the applause still reminds us: Some efforts do not blossom right away. Some melodies must travel through a long stretch of time before someone else hears them. We cannot hear the echoes of every practice session. But that does not mean they will not sound in the future. ![](https://static.lianmuse.com/image/blog/9f2af68011ab5eb120c14f136370073a.png) (A still from the film *The Miracles of the Namiya General Store*.) ## AD / About Violy In its China-market introduction at the time of the original article, the Violy app was described as having been available for ten years and as a world-leading music practice app. The introduction said that it used AI to recognize the sound of bowed string instruments and piano, provide timely corrections during each practice session, and improve practice efficiency. It invited readers in China to search for “一起练琴” in app marketplaces to download and try it. --- # The Instrument Practice App with an Overwhelming Lead in User Numbers Worldwide - URL: https://violy.app/blog/the-instrument-practice-app-with-an-overwhelming-lead-in-user-numbers-worldwide - Markdown: https://violy.app/blog/the-instrument-practice-app-with-an-overwhelming-lead-in-user-numbers-worldwide.md - Published: 2026-09-10 - Categories: Product - Summary: A guide to Violy and its recommended practice routine, including sheet music, demonstrations, Note-by-note practice, AI assessment, accompaniment, practice tracking, and live practice coaching. > Translation note: This guide preserves the features and invitations described in the original Chinese article. Its download and customer-service QR codes, live practice-coaching services, and introductory membership offer refer to the China service as described in that article, rather than a current worldwide offer. The title's claim of an overwhelming worldwide lead in user numbers is the original article's promotional claim; the supplied source provides no comparative user figures. The supplied text refers to demonstration videos but contains no video links. In just a few minutes, this article will help you understand: What the Violy app is, and why it can help you. Violy is a practice-assistance app that helps us practice efficiently. The original article describes Violy as a well-known practice app in China and abroad that had been available for 10 years at the time of writing. It supports a range of instruments, including piano, violin, cello, viola, digital piano, clarinet, and flute. The app helps us practice through its resources and features. - **Resources:** The app includes free sheet music and demonstration audio and videos, making it easy to find scores and examples. - **Features:** It offers basic tools such as a metronome and tuner, along with advanced AI assessment and live practice coaching. These features help you check the accuracy of your practice. First, get your ticket for the journey toward more efficient practice 🚢: download the app. Download Violy for free: ![](https://static.lianmuse.com/image/blog/6ebe9014de7c92400158584241d46642.png) Press and hold to scan the QR code and download the app. Welcome aboard! First, let me show you how Violy can help: Here is the practice routine we recommend: 1. Find the sheet music you are practicing in the app. 2. Open the score and use playback: watch a demonstration, listen to the performance, and sing the notes along with it. 3. Once you are familiar with the score, use Note-by-note mode to check that you are playing the correct pitches. 4. After you have practiced the piece thoroughly, use the AI assessment feature, Audition, to check your accuracy and identify and correct mistakes yourself. 5. Once your intonation, tempo, and rhythm are in order, use accompaniment to have fun making music. Throughout this process, you can use the practice check-in feature, which listens to your instrument, to record your practice. You can also have a live coach accompany your practice over video. The individual features are demonstrated below. How to search for and use sheet music in the app: You can use any piece in the sheet music library. Even better, these scores can all be played back! Next, I will show you how to play back a score and adjust the playback speed. When you begin a new piece, reading the score, listening to the audio, and singing the notes along with playback can help you become familiar with the music quickly. Watching a demonstration performance video can also help you get started sooner! Many scores support accompaniment, too. The next video shows you how to watch the demonstration videos attached to a score and how to use accompaniment audio. Note: At the time of the original article, Violy already supported AI accompaniment, and readers were invited to try it. Violy had also introduced band accompaniment! According to the original article, band accompaniment had been added for all practice pieces as well. Once you are familiar with the score and ready to practice, you can start with Note-by-note mode, practicing one note at a time. During Note-by-note practice, always pay attention to the cursor position. Unless you play the current note correctly, the app cannot recognize the next note. Once you are comfortable with the piece, try the Audition assessment feature: As you play, the app listens to your instrument and gives you a score, showing where you played incorrect notes and where you need to improve. This is a core Violy feature: using practice data to support a systematic approach to practice. Beginners may find this feature difficult to master at first. The original guide encourages you to keep trying, expressing confidence that learning to use it will take your playing to the next level. Watch the next video and give it a try! Using Audition gives you a performance score and generates a practice assessment report. The basic tuner and metronome are included, too. If you want to tune your violin, you can watch the video. Make adjustments slowly and patiently as you tune! There are many other features in the app for you to explore: The practice check-in feature, which tracks actual practice time, counting only when it hears your instrument. ![](https://static.lianmuse.com/image/blog/1563107a7638f34adc5577b0db47a49a.jpg) Practice check-in And the practice check-in streak system: Earn one star each day by checking in with 10 minutes of instrument practice. How many days can you keep it up? ![](https://static.lianmuse.com/image/blog/254235ee8d2ae3dfeb5aa27f61c0679c.gif) In addition, the original China guide also describes live online practice-coaching sessions in Violy, using one-to-one, two-way video. Teachers were available for various instruments, including violin, piano, and guzheng, a Chinese plucked zither. For first-time users, the original China offer described an automatically awarded membership that users could claim in the app to explore its features without access restrictions. Live online practice coaching was excluded. If you have any questions about the app, the original article invites you to contact the Violy China customer-service team at any time: ![](https://static.lianmuse.com/image/blog/f4c18725bf15c03801e1320a1f3c7248.jpg) Scan the QR code to add Xiaoba, the customer-service contact. Trying it yourself is better than hearing about it a hundred times. Come and give it a try! --- # Major Violy App Update: A Brand-New Practice Lesson Interface - URL: https://violy.app/blog/major-violy-app-update-a-brand-new-practice-lesson-interface - Markdown: https://violy.app/blog/major-violy-app-update-a-brand-new-practice-lesson-interface.md - Published: 2026-09-10 - Categories: Product - Summary: Violy announced a redesigned practice lesson interface in China, with clearer booking, weekly lesson subscriptions, lesson requests, and individual lesson journals. The announcement also explains how existing lessons, account balances, and benefits would carry over. > This update was announced for Violy’s China market. The service figures, features, account changes, coupons, and app-version requirements below describe the offering at the time of the announcement; they are not a statement of current worldwide availability or benefits. Since launching in November 2020, Violy's online guided practice service has been supporting you for nearly six years. More than 1 million lessons have been completed, with teachers spending nearly 50 million minutes helping students practice a variety of instruments online. Behind these numbers are children who keep showing up to practice with care, and the lasting trust of every parent. Now, Violy practice lessons are getting a fresh upgrade. The interface is more welcoming, and booking is clearer, too. The first change you notice: from teal to mango orange Open the new practice lesson interface, and the first thing you see is its new visual style. The main color has changed from cool teal to warmer, more energetic mango orange. Cards, buttons, and options have softer, rounder shapes, complemented by cream yellow, white, and light gray to make the pages feel friendlier and more relaxed. Mango orange is more than decoration: it also provides clear visual cues. Available options, selected states, and the final confirmation button are all highlighted in orange. # This New Version Mainly Upgrades Six Things ## 01 | A Reorganized Practice Lesson Home Page Makes Everyday Features Easier to Find The former "Video Lessons" page has become the new practice lesson home page, bringing the features you use most often together: - Practice Teachers: browse and choose teachers. - My Schedule: view booked lessons. - Account Center: view your balance, coupons, and lesson journals. - My Favorites: quickly find familiar teachers. - Pre-Upgrade Lessons: view lessons booked before the upgrade. Your next upcoming lesson is also displayed more prominently on the home page. It is easier to see whether you have a lesson today and what time it starts as soon as you open the page. ![](https://static.lianmuse.com/image/blog/f552e29a52c7e13489f47ee3985c0904.png) ## 02 | More Complete Lesson Information and a Clearer Booking Process The new version adds more detailed lesson information between choosing a teacher and selecting a booking time. On the lesson details page, you can see the lesson introduction, supported instruments, prices for different lesson lengths, the teacher's education and professional background, and available dates and times in one place. Less searching back and forth, more information you can understand at a glance. Here is the new lesson details page: ![](https://static.lianmuse.com/image/blog/87e1b2b4410a5b3e11b6a592bc02c364.png) To book a lesson, simply make your selections in this order: 1. Choose a teacher and lesson. 2. Choose the lesson date. 3. Choose a duration of 25, 50, or 110 minutes. 4. Choose a suitable lesson time. 5. Confirm the booking and pay. Different colors and styles clearly distinguish available, fully booked, and selected slots. The new filters also let you choose teachers more quickly according to your criteria. Here is the new booking time selection page: ![Image](https://static.lianmuse.com/image/blog/11134ead3dd2974cca86a3b2cfa1bcce.jpg) ## 03 | Recurring Lessons Become "Lesson Subscriptions" - The previous recurring lessons will become more flexible lesson subscriptions. - Your teacher, lesson time, and existing price stay the same. - Instead of paying for several lessons in advance, the fee for the next lesson is automatically deducted each week. - You can view and manage subscriptions under "My Schedule — My Subscriptions." - You can request time off when something comes up, or cancel the subscription when you no longer need it. Ongoing recurring lessons will transition automatically. Lessons already paid for before the upgrade will take place as usual, and the subscription will start automatically afterward. Parents do not need to set anything up again. ## 04 | Request a Lesson Directly, Even When a Teacher Has No Available Slots Previously, if a teacher had not made a suitable time available, you often had to send a private message to ask. The new version adds a "Lesson Request" feature. Parents can select their preferred time on the lesson details or booking page, pay the lesson fee in advance, and submit a request. The teacher has 24 hours to confirm. If the teacher accepts, the lesson can go ahead as usual. If the teacher declines or the request times out, the lesson fee is refunded in full. What used to require a private inquiry is now a formal process you can complete within the page, making communication simpler and the outcome clearer. ## 05 | Practice Journals Become "Lesson Journals" In the old version, practice journal entries were arranged chronologically, with all content mixed together. The new lesson journals provide a separate record for each lesson. Each lesson has its own areas for preparation, a post-lesson summary, and lesson communication. Parents and teachers can share text, images, files, and sheet music for that particular lesson, making everything easier to find when reviewing it later. Practice materials from the previous lesson with the same teacher in the same course can also automatically carry over to the next lesson, reducing repeated uploads. Your previous practice journals will not disappear. They will remain available in the new system. ## 06 | Teachers, Lessons, and Account Benefits Carry Over Smoothly Although the pages and booking process have changed, the teachers, lessons, and account benefits you care about will all be retained: - Teachers you have booked in the past three months will automatically be added to "My Favorites." - You can still view and attend lessons booked before the upgrade. - Qinbei account credits will be converted to Mangobei credits at equal value, with no change to your balance. - Unused coupons that have not expired will be retained. - Historical lesson journals and lesson statistics will be retained. - You do not need to download a separate app; the new interface is available within the Violy app. Your teachers, lessons, and balance are unaffected. The upgrade benefits for existing users are shown below: ![Image](https://static.lianmuse.com/image/blog/dc87654c89206886be34feaab5ea7ced.png) # Benefits for Existing Users To thank existing users for their continued support, the upgrade offer automatically provided three RMB 10 coupons the first time they opened the new practice lesson page after upgrading. These coupons could be found under "Account Center — Coupons." They applied to all guided practice lessons, with no minimum spending requirement, and were valid for 30 days after receipt. # Important: Update the App Before Using the New Version The old version still lets you view and join lessons booked before the upgrade, but it cannot book lessons in the new system. To avoid interruptions to future bookings, the announcement asked users to update promptly to version 13.21.0. Every redesign of our practice lessons grows out of real experiences using the service, and depends on feedback from parents and students. We hope this upgrade makes the pages warmer, the information clearer, and booking simpler, while helping every practice session feel worthwhile. Thank you for your continued trust and support. The Violy Team --- # Why Does Every Young Music Student Need It? - URL: https://violy.app/blog/why-does-every-young-music-student-need-it - Markdown: https://violy.app/blog/why-does-every-young-music-student-need-it.md - Published: 2026-09-10 - Categories: Product - Summary: An introduction to Violy and its recommended practice routine, covering sheet music, demonstrations, Note-by-note practice, AI assessment, accompaniment, and practice tracking. > Translation note: This guide describes the features, services, and offers presented in the original Chinese article. Its download and customer-service QR codes, live practice-coaching arrangements, and introductory membership offer refer to the China service at the time of the article, rather than a current worldwide offer. The supplied source text refers to demonstration videos but contains no video links. In just a few minutes, this article will help you understand: What the Violy app is, and why it can help you. Violy is a practice-assistance app that helps young music students practice efficiently. The original article describes Violy as a well-known practice app in China and abroad that had been available for 10 years at the time of writing. It supports a range of instruments, including piano, violin, cello, viola, digital piano, clarinet, and flute. The app helps us practice through its resources and features. - **Resources:** The app includes free sheet music and demonstration audio and videos, making it easy to find scores and examples. - **Features:** It offers basic tools such as a metronome and tuner, along with advanced AI assessment and live practice coaching. These features help you check the accuracy of your practice. First, get your ticket for the journey toward more efficient practice 🚢: download the app. Download Violy for free: ![](https://static.lianmuse.com/image/blog/6ebe9014de7c92400158584241d46642.png) Press and hold to scan the QR code and download the app. Welcome aboard! First, let me show you how Violy can help: Here is the practice routine we recommend: 1. Find the sheet music you are practicing in the app. 2. Open the score and use playback: watch a demonstration, listen to the performance, and sing the notes along with it. 3. Once you are familiar with the score, use Note-by-note mode to check that you are playing the correct pitches. 4. After you have practiced the piece thoroughly, use the AI assessment feature, Audition, to check your accuracy and identify and correct mistakes yourself. 5. Once your intonation, tempo, and rhythm are in order, use accompaniment to have fun making music. Throughout this process, you can use the practice check-in feature, which listens to your instrument, to record your practice. You can also have a live coach accompany your practice over video. The individual features are demonstrated below. How to search for and use sheet music in the app: You can use any piece in the sheet music library. Even better, these scores can all be played back! Next, I will show you how to play back a score and adjust the playback speed. When you begin a new piece, reading the score, listening to the audio, and singing the notes along with playback can help you become familiar with the music quickly. Watching a demonstration performance video can also help you get started sooner! Many scores support accompaniment, too. The next video shows you how to watch the demonstration videos attached to a score and how to use accompaniment audio. Note: At the time of the original article, Violy already supported AI accompaniment, and readers were invited to try it. Violy had also introduced band accompaniment! According to the original article, band accompaniment had been added for all practice pieces as well. Once you are familiar with the score and ready to practice, you can start with Note-by-note mode, practicing one note at a time. During Note-by-note practice, always pay attention to the cursor position. Unless you play the current note correctly, the app cannot recognize the next note. Once you are comfortable with the piece, try the Audition assessment feature: As you play, the app listens to your instrument and gives you a score, showing where you played incorrect notes and where you need to improve. This is a core Violy feature: using practice data to support a systematic approach to practice. Beginners may find this feature difficult to master at first. The original guide encourages you to keep trying, expressing confidence that learning to use it will take your playing to the next level. Watch the next video and give it a try! Using Audition gives you a performance score and generates a practice assessment report. The basic tuner and metronome are included, too. If you want to tune your violin, you can watch the video. Make adjustments slowly and patiently as you tune! There are many other features in the app for you to explore: The practice check-in feature, which tracks actual practice time, counting only when it hears your instrument. ![](https://static.lianmuse.com/image/blog/1563107a7638f34adc5577b0db47a49a.jpg) Practice check-in And the practice check-in streak system: Earn one star each day by checking in with 10 minutes of instrument practice. How many days can you keep it up? ![](https://static.lianmuse.com/image/blog/254235ee8d2ae3dfeb5aa27f61c0679c.gif) In addition, the original China guide also describes live online practice-coaching sessions in Violy, using one-to-one, two-way video. Teachers were available for various instruments, including violin, piano, and guzheng, a Chinese plucked zither. For first-time users, the original China offer described an automatically awarded membership that users could claim in the app to explore its features without access restrictions. Live online practice coaching was excluded. If you have any questions about the app, the original article invites you to contact the Violy China customer-service team at any time: ![](https://static.lianmuse.com/image/blog/f4c18725bf15c03801e1320a1f3c7248.jpg) Scan the QR code to add Xiaoba, the customer-service contact. Trying it yourself is better than hearing about it a hundred times. Come and give it a try! --- # In Conversation with Esther Abrami, the Instagram Violin Influencer with a Million Followers - URL: https://violy.app/blog/in-conversation-with-esther-abrami-the-instagram-violin-influencer-with-a-million-followers - Markdown: https://violy.app/blog/in-conversation-with-esther-abrami-the-instagram-violin-influencer-with-a-million-followers.md - Published: 2026-05-15 - Categories: Music News - Summary: French violinist Esther Abrami talks with Violy about practice, performance pressure, finding your own pace, and nurturing a child's love of music. She also discusses her China tour, women composers, and the musical legacy of her grandmother. **Violy · People** “Violy · People” is a Violy interview series that sets out to speak with 99 artists from China and around the world, bringing fresh artistic ideas into conversation and exploring a world of art where feeling and spirit meet. Our guest in this edition is French violinist and well-known Instagram creator Esther Abrami, whom the original article introduces as having 1.4 million followers across social media platforms. ![Esther Abrami violinist, educator, and influencer & Larsen Aurora](https://static.lianmuse.com/image/blog/beb6445fddc4d2d1b81f625082c7ff1e.jpg) ## Esther: The Greatest Danger in Practice Is Not Slow Progress, but Forgetting Why You Started The original article introduces Esther Abrami as a French violinist born in 1996. Her first encounter with music came at age three, when she picked up a miniature violin given to her by her grandmother. As she grew older, she went on to study at some of the world's finest music schools. One of the most striking parts of her story is that she regularly posts videos of her violin playing online. With more than a million followers, she has become something of a “superstar,” helping many young people who had never listened to classical music fall in love with it. In connection with her China tour, Violy held an entirely English-language livestream interview with her, which the article reports drew 40,000 viewers. Listen to how someone who went from a small town in Provence to the international stage thinks about practice, pressure, passion, and passing music on. The following conversation has been edited from the interview transcript. References to “next month” and the forthcoming tour reflect the time of that conversation. Violy (question): For listeners meeting you for the first time, could you introduce yourself in your own words? Esther (answer): “Hello to everyone watching Violy. I'm Esther Abrami, a French violinist and composer. I've been performing for many years, and my career began while I was studying at the Royal College of Music. People first got to know me through the videos I posted on social media. I was one of the first classical musicians to use that approach. I'm now signed to Sony. I'm working on my fourth album and touring as well. Next month, I'll be coming to China for my second tour.” ![](https://static.lianmuse.com/image/blog/9107227f94dbfd80af1302ae537f8983.png) Violy (question): What impressions did China and Chinese audiences leave on you during your last visit? What are you most looking forward to this time? Esther (answer): “The first time I came to China was for an exchange at a university music school in Beijing. I had the chance to learn and to discover a little about Chinese culture and its musical culture. Later, I came for my first tour, which was incredible but also very tiring, because we had concerts almost every evening: travel, perform, then travel again. But it was so heartwarming to see that in a country like China, which I'd only visited a few times, people already knew who I was and what I was doing. Even though I can only say a few words in Chinese, music lets me go to any country and bring emotion to audiences, wherever they are and whatever language they speak.” Violy (question): How will this China tour differ from the last one? Esther (answer): “First of all, the cities on this tour are different. Beijing and Shenzhen might be places we're returning to, but this time I'll visit many new cities I didn't go to last time, which is very exciting. There will still be some film music in the program, but I've also added new pieces and works by women composers. Women composers are a subject I care deeply about. My previous album, Women, was about that, and I've also published a book telling the stories of women in music history, because we know so little about that history.” ![Esther Abrami: the feeling of music combined with the elegance of fashion](https://static.lianmuse.com/image/blog/ab04f8f62f438cd2a15bda414cbb2101.jpg) Violy (question): How do you see the state of the classical music market in Europe and North America today? Esther (answer): “I think it's certainly changing a great deal. Musicians today are expected to do more than play well and practice well; we need other skills too. The existence of social media doesn't mean everyone has to use it, but I think everyone at least needs to build an online community or a community around them. You need connections, and you need to know how to promote yourself and how to read a contract. That's how I learned when I signed my first contract. But we don't teach students these things. Even a basic understanding of law and contracts is very important for musicians.” Violy (question): Some theaters and orchestras are facing financial difficulties, or even suspending operations. Have you had similar experiences, and what do you think about this? Esther (answer): “It depends on the country. But overall, many theaters and orchestras that rely on funding are indeed struggling at the moment. I know a lot changed during the pandemic, and many orchestras and concert halls ran into difficulties. So I do think things are changing. That's all the more reason for us to work harder to bring more audiences closer to classical music. Grants and support are important, of course, but if classical music can become more sustainable, with enough people wanting to attend concerts, that will help the whole classical music sector.” ![Esther Abrami - YouTube](https://static.lianmuse.com/image/blog/62f50a85f3bf2e90b9ceea69fed78662.jpg) Violy (question): How are today's students different from students ten years ago? Esther (answer): “I'll start with the negative side, then talk about the positive. The challenge for this new generation is that, because of social media and the world we live in, everything moves so fast. I've heard many professors say that it's getting harder to help students be patient, to help children understand that you can't do something straight away: it takes time and practice. Students today are different from those ten years ago because the pace of our lives is completely different. The challenge is to help children understand that there is beauty in practice, effort, and time itself.” She added: “On the positive side, I see many children at my concerts, especially in France and Europe, and many young girls. They see me on social media and connect with someone they can follow and look up to. I also show many different sides of a classical violinist's life, not just practice but more fun things, such as choosing concert dresses. So today, more and more children, and more and more young girls, are being inspired to start learning an instrument. That's how social media is: it has a good side and a bad side.” Violy (question): When preparing for an exam, competition, or concert, how can students practice the act of performing onstage itself? Esther (answer): “One piece of advice I'd give students at every level is this: don't underestimate practicing performance itself. Of course we need to practice our instruments, and if we've had a good musical education, we'll know how to practice slowly and learn a piece through different exercises. But before an exam or performance, you must already have practiced ‘performing the piece.’ For example, when I have new repertoire or a new program, I would never play it for the first time at an important concert. Something unexpected always happens the first time you perform something. When you're nervous, you find out what stays with you and what disappears.” She said: “So practice performing. You can put yourself under a little pressure by recording yourself, doing a livestream, or asking friends to watch you play. There are many ways. You can even play through a piece when you're completely out of form, or when you happen not to have practiced, to see whether you can still remember it.” Violy (question): If a child doesn't live in a major city and doesn't have access to the best resources, how can they reach a higher level? Esther (answer): “One very important point is that we sometimes feel we're behind for all kinds of reasons. Maybe we come from the countryside and don't have the same educational resources as a big city, or maybe we started learning later. I didn't really start taking violin lessons until I was about nine or ten, which can be considered fairly late. But the most important thing is not to lose heart. You can make up for lost time. Starting late doesn't have to mean anything.” She recalled: “I used to be the best in my small town. Then I went somewhere bigger, to England, and became the lowest-ranked student in my class. But you learn far more in a place that challenges you than in a comfortable environment where you feel you'll always be the best. Challenges push you to work harder and move forward. So don't see this as a setback. It can even become an opportunity that makes you want to grow and practice more.” ![Esther Abrami](https://static.lianmuse.com/image/blog/336121f12a3772e4f5f0410d0877b311.jpg) Violy (question): How can parents distinguish between a child's own passion and expectations that the older generation is projecting onto them? Esther (answer): “When a child starts very young, it really is hard to tell whether it's the child's dream or the parents' dream. In my case, I was given a violin at three, but my parents didn't immediately start sending me to lessons. They waited until I said for myself, ‘I want to play the violin.’” She said: “I think it's wonderful for children to learn music, but you can also let them try lots of different instruments and activities. That makes it much easier to see whether a child has a spark for the violin or for something else. Give children a variety of choices and let them try. Maybe they're just curious, or maybe after trying something they'll realize, ‘I prefer what I'm doing now.’ But that way, you'll know whether it really comes from the child.” Violy (question): What do parents most often overlook during practice? Esther (answer): “Sleep is a priority. It shouldn't be underestimated. If we don't sleep well, we stop being healthy. Playing the violin is a sport, and practicing an instrument is a sport: it uses a great deal of energy. So treat yourself like an athlete. Sleep well, eat healthily and well, and exercise too.” Violy (question): How can students step back from excessive competition, anxiety, and the pressure to keep practicing harder just to keep up with everyone else? Esther (answer): “You need to understand your own rhythm and not be ashamed of it. Some people practice better in the morning, others in the evening. Some do well practicing for four hours straight; others need breaks. Don't force yourself to do something just because someone else does it that way. Find what works for you.” She said: “Practicing without engaging your brain is useless. We all know that sometimes we go into automatic mode because we're tired, bored, or for any number of other reasons. But if your brain isn't involved in your practice, you're better off going outside for a walk. We're all different, and we remember things differently too. Some people have a visual memory; others remember things by hearing them. Forcing yourself to use a method that doesn't suit you won't really work.” Violy (question): In a parallel universe where you had never picked up the violin, what would you do? Esther (answer): “I think I'd definitely still be in the arts. I love fashion, so perhaps I'd work in fashion. Or theater: I did a lot of theater at school, and I really enjoyed acting.” ![](https://static.lianmuse.com/image/blog/998004e33506c91cd98ce9a95273d2b3.png) Violy (question): What special meaning does your piece Transmission hold for you? Esther (answer): “This time, I'll be bringing my own piece, which is very special to me. I released Transmission, a piece I composed myself, on my previous album, and it was very well received in Europe. This will be the first time I perform it in China, so I'm very excited. I wrote it for my grandmother. It tells the story of music being passed down from her to me.” Violy (question): Finally, could you leave today's audience with a closing thought? Esther (answer): “First of all, thank you for inviting me and for hosting this conversation. It's been lovely to answer these questions. I'm very excited to come back to China and share more stories, especially about women composers, but also about my culture, French culture, French music, and film music. It's always good to be able to speak very openly about these subjects. I think it's very important to talk about them, not to close ourselves off but to have an open exchange. Thank you for listening, and thank you for inviting me.” The harshest and gentlest thing about practice is this: it won't give you answers straight away, but it keeps a record of every effort you make. AD The original China article described Violy as a music practice app for phones and tablets, with features including sheet music, performance audio and videos, AI error correction, and practice check-ins. It listed support for a range of instruments, including piano, strings, and winds. At the time of publication, the China article invited readers to search their app marketplace for Violy under its Chinese name, “一起练琴,” to try it for free. This invitation referred to the China offering at that time. * * * **/ · Recommended Reading · /** [![](https://static.lianmuse.com/image/blog/2d701c2dd763d94a11db0dfe800642f0.jpg)](http://mp.weixin.qq.com/s?__biz=MzUxMjU5ODMyMg==&mid=2247488365&idx=1&sn=7cc5ee86df1526709bd075653aec81e4&chksm=f9635b30ce14d2261e82eba519c2c62eb3964abd7538940fb12de55603305c63367172f15690&scene=21#wechat_redirect) [![](https://static.lianmuse.com/image/blog/fa5c7577a4b94946c5158ad317274320.jpg)](http://mp.weixin.qq.com/s?__biz=MzUxMjU5ODMyMg==&mid=2247487803&idx=1&sn=3d952c50ae5720809d5d1acad207b7e1&chksm=f9635966ce14d070e3782efcb8f405282e08efb2c1582d727006da6dbe7546b28582ddbcbdfc&scene=21#wechat_redirect) [![](https://static.lianmuse.com/image/blog/1a480bc986f7de6dfeeee78b1c806d0d.jpg)](http://mp.weixin.qq.com/s?__biz=MzUxMjU5ODMyMg==&mid=2247487521&idx=1&sn=72f155a4e45e69f9d40ca5440c8c76e6&chksm=f963587cce14d16acfb81fa4244564e67c0c6b081a49e335ea1705cda65393a3a3fa7faf1b32&scene=21#wechat_redirect) --- # This Week, the Piano World Lost a 101-Year-Old Legend - URL: https://violy.app/blog/this-week-the-piano-world-lost-a-101-year-old-legend - Markdown: https://violy.app/blog/this-week-the-piano-world-lost-a-101-year-old-legend.md - Published: 2026-04-29 - Categories: Music News - Summary: Remembering Ruth Slenczynska, Rachmaninoff's last surviving pupil, and a life that moved from a stolen childhood to independence, teaching, and a new piano album at 97. ## This Week, a Pianist Passed Away On April 22, 2026, news quietly spread through the classical music community: Ruth Slenczynska had died at the age of 101. ![](https://static.lianmuse.com/image/blog/929a747112abe6ddbf15307f764610fa.png) In this fast-paced age, countless internet celebrities rise and fall every day. The passing of this centenarian seemed to make little impression on trending searches. Yet for those who truly know the history of the piano, it marked the end of an era. She was more than an outstanding pianist. She was a living history of music. She was the last surviving pupil to have studied directly with the great Russian composer Sergei Rachmaninoff. To the author of this tribute, her passing severed our last link to a golden age of classical music in the tradition of Mozart, Beethoven, and Chopin. But this is not a somber obituary. Look through Ruth Slenczynska's life story, and you will find that, beyond her awe-inspiring musical achievements, her fiercely lived life—with its upheavals and repeated reversals—was more compelling than any Hollywood film. ![](https://static.lianmuse.com/image/blog/ddfc755654a8ab49f616a23bd65a9d83.png) ## Rachmaninoff's Cherished Pupil—and a Queen in Charge of Her Own Destiny If a few phrases could capture Ruth's musical career, they would be these: She began at the top, walked away from it all, and became a legend in old age. Everyone spoke of her as a “genius” and “Mozart reborn.” Indeed, she gave a solo recital at four and performed with a major symphony orchestra in Paris at seven. Even today, that would be a dream résumé for parents of children learning the piano. Her teachers included some of the leading figures in classical music. She studied not only with Rachmaninoff, but also received personal guidance from masters such as Artur Schnabel and Alfred Cortot. Her memoir recounts a particularly interesting episode: Rachmaninoff and Cortot held each other in low regard, yet Ruth secretly studied with both. She combined their techniques, and, without realizing it, each master was influenced by the other. It was like a martial arts expert learning from rival schools and bringing their strengths together. According to the account in the original article, when Rachmaninoff was injured and unable to perform, she even took his place onstage while still a little girl. ![](https://static.lianmuse.com/image/blog/71adc664db9b76f193fa24935800c0f0.png) Her mentor, Rachmaninoff What made Ruth most remarkable, however, was not how high she had risen. It was her courage to make a decisive leap away from the summit. At 15, she made a shocking decision: “That's it. I'm done playing!” Surrounded by flowers, applause, and spotlights, she left the stage without looking back. The original article recounts that she cut ties with her family and went to the University of California, Berkeley, to study psychology. She married, settled into an ordinary life, and disappeared completely from the music world's view. More than a decade later, when everyone thought this shooting star had faded for good, she returned to the stage with a genuine, unclouded love of the piano. She was no longer a puppet driven by her father, but a queen playing for herself. At 97, she was still releasing a new piano album, *My Life in Music*. At 99, she could still sit at the piano and play music that bridged a century. ## From a “Stolen Childhood” to Taking Back the Wheel of Her Life A brutal truth lay behind Ruth's seemingly glamorous childhood. Her father, Josef Slenczynski, had been a violinist. According to the story recounted in the original article, he was badly wounded on a First World War battlefield, with shrapnel shattering his left arm. On the brink of death, he vowed to God that, if he survived, he would raise the world's most outstanding musician. When Ruth was born, she inevitably became the means through which her father would fulfill his ambition and honor that vow. From the age of three, he took her to Europe to study with leading musicians. This was no education tailored to a child's abilities. It was inhumane abuse. In her later autobiography, *Forbidden Childhood*, Ruth recalled those painful days. The original article renders her recollection this way: “People marveled at how well I played. The reason was simple: my father made me practice nine hours a day, seven days a week, without fail.” The slightest lapse brought harsh scolding or physical punishment. She had no friends and no childhood. Like a miniature doll, she was forced to entertain audiences and political leaders around the world on a modified small grand piano. By 15, relentless pressure had exhausted her physically and mentally. The article recounts that one critic cruelly described her as a “burned-out candle.” ![Feishu document - image](https://static.lianmuse.com/image/blog/07179cca8fd0592bed7c3dc5db8637a9.png) In her autobiography, she described the oppressive piano practice she endured as a child. Leaving home at 15 was therefore more than abandoning a career. It was a desperate act of resistance against a cruel father's authority, an escape to preserve her sense of self. The author suggests that studying psychology at university may have been an instinctive attempt to heal her emotional wounds. In 1951, after upheaval in her marriage and years of life experience, Ruth finally made peace with her past—and with the piano. This time, no one stood behind her with a whip. She returned her hands to the keys entirely out of an inner desire to play. Her performances after her return had less youthful virtuoso display and more of the composure and depth that come from a life fully lived. She also spent more than 20 years as an artist-in-residence at Southern Illinois University, sharing her skills and insights freely with the next generation. ![Feishu document - image](https://static.lianmuse.com/image/blog/f0da7b072d19a84632940fd1448b7711.png) ## A Century of Music: Living and Playing into Old Age Returning to the stage seemed to open an extraordinary second act in Ruth's life. There was less of the dazzling virtuosity of youth and more of the composure and depth earned through experience. She resumed touring around the world and became a living part of history: during her lifetime, she played for five U.S. presidents. From Herbert Hoover to John F. Kennedy, her audiences included some of the country's most prominent leaders. She even played a Mozart piano duet with President Harry Truman at the White House. Beyond being an exceptional performer, Ruth became a great educator. In 1964, she accepted an invitation from Southern Illinois University Edwardsville (SIUE) to become its artist-in-residence. She taught there for decades, freely passing on to generation after generation of young musicians the precious skills she had learned from Rachmaninoff and other masters. She taught them not only how to play the piano, but also how to experience life through music. ![Feishu document - image](https://static.lianmuse.com/image/blog/105f8f659c681a9c67e31a5f6ddbba14.png) Most astonishing of all was the vitality she continued to show late in life. At an age when many people in their 90s struggle even to walk steadily, Ruth remained active on concert stages around the world. The original article also recounts that she traveled to Taiwan, China, to teach as a visiting instructor. In 2022, at 97, she signed with the leading international classical label Decca and released a new solo piano album, *My Life in Music*. On that album, she once again played works by her mentor Rachmaninoff, offering a musical tribute that spanned nearly a century. Even at 99, she could still sit steadily at the piano and give solo performances that the original article describes as flawless. It quotes her as saying: “Music is meant to bring joy. If my music can still make people happy, then I am doing the right thing.” ## Life Is an Open Landscape. You Have Choices. Through her 101 years, Ruth Slenczynska gave us a vivid lesson. Today, too many parents resemble Ruth's father: under the banner of “it's for your own good,” they impose their anxieties and unrealized dreams on their children. They push them into all kinds of extra classes and graded examinations, terrified that they will fall behind from the very start. Yet Ruth's story reminds us that a flower forced into bloom through fear and pressure can easily wither along the way, however early or brilliantly it blossoms. Genuine love needs space to breathe. The most inspiring thing about Ruth was how she proved to the world that we have the right to start our lives anew at any time. What was wrong with leaving music at 15 to study? With returning after more than a decade away? With releasing a new album at 97? Life has never been a one-way road that must be traveled according to a strict timetable. It is a vast, open landscape. Once you find something you truly love, it is never too late to begin. And whenever you need to stop and catch your breath, you are allowed to press pause. Ruth Slenczynska is gone. But the sounds she drew from the keys, and her resilient commitment to keeping her destiny in her own hands, will continue to echo across time and space. ![Feishu document - image](https://static.lianmuse.com/image/blog/862d63e74abac9e336babc8087d7bcbd.png) AD The original China article, published on April 29, 2026, introduced Wonder Piano as a piano practice app that uses gamification and engaging interactions to make practicing enjoyable, and invited readers in China to download it from app marketplaces. --- # Breaking: A Famed Guadagnini Violin Worth Ten Million Yuan Goes Flying, Leaving the Performer Stunned - URL: https://violy.app/blog/breaking-a-famed-guadagnini-violin-worth-ten-million-yuan-goes-flying-leaving-the-performer-stunned - Markdown: https://violy.app/blog/breaking-a-famed-guadagnini-violin-worth-ten-million-yuan-goes-flying-leaving-the-performer-stunned.md - Published: 2026-04-18 - Categories: Music News - Summary: At an April 17 Sinfonia Lahti concert, violinist Elina Vähälä caught her centuries-old Guadagnini with her foot after the conductor knocked it from her hands. The article recounts the incident and two earlier onstage collisions involving valuable violins. Imagine holding a large jade bangle worth more than RMB 10 million. Suddenly, someone beside you swats it out of your hand. How would you feel? Just yesterday, April 17, something equally heart-stopping happened at a concert by Sinfonia Lahti in Finland. So what made the violin that went flying so remarkable? The person at the center of the mishap was renowned Finnish violinist Elina Vähälä. ![](https://static.lianmuse.com/image/blog/245ee3a75bee158f87c16715f6b50412.jpg) The instrument knocked from her hands was no ordinary violin. It was a celebrated antique violin made in Italy in 1700! Its maker was the legendary luthier Guadagnini. In classical music, the name carries a reputation much like Ferrari's among sports cars. The violin is currently estimated to be worth US$1–3 million (RMB 10–20 million). According to one account, famous violins from the 16th to 18th centuries were made from wood that grew during the Little Ice Age. That wood has exceptionally close-set growth rings, giving the instruments their distinctive resonance. Wood like that can no longer be found today, which helps explain the high prices. Violins of this kind also demand extraordinary care. For Vähälä, this violin had been with her for years. It had long since become *her* instrument, part of her body and her musical soul. ![](https://static.lianmuse.com/image/blog/35b2888597ddf4ce91a2f4cad296b34d.jpg) A Terrifying Moment and a “Golden Left Foot” The concert was reaching its most stirring finale. The conductor was completely absorbed in the music, sweeping his arms with particular force. Then—bang! His hand struck the multimillion-dollar violin hard. The instrument flew from Vähälä's hands and headed straight for the hard floor. The audience gasped. ![](https://static.lianmuse.com/image/blog/3e37f9ecb95c239d115aa3847aceeba0.png) With the violin seemingly a hundredth of a second from smashing on the floor, a miracle happened! Vähälä reacted with astonishing speed. She shot out her foot and cushioned the violin just before it hit the floor! (I watched closely: only 0.3 seconds passed between the violin being knocked away and her foot reaching it.) She pulled an instrument worth tens of millions of yuan back from the brink. Fortunately, its surface did not shatter. She used another violin afterward and finished the concert. But she later said, heartbroken, that its sound had changed. With an antique several centuries old, even a tiny internal seam in the wood opening slightly would be serious damage. The violin has now been rushed to a specialist “violin doctor” for a thorough examination. Conductors: Destroyers of Instruments? Think this was a once-in-a-century accident? No! A look back through classical music history reveals an amusing but painful truth: Overenthusiastic conductors can be a violin's “natural enemy”! Take an incident just two years ago, in 2024. Renowned Czech violinist Pavel Šporcl was performing with his exceptionally valuable custom-made “blue violin.” The conductor beside him swung his baton so sharply that it sent the instrument flying! Šporcl's remarkable response was to extend a foot just as quickly. He caught the violin securely on the top of his foot, saving the priceless instrument. ![](https://static.lianmuse.com/image/blog/9371a55e3ad2b4f31f34c809fdf88834.jpg) Not everyone is so lucky. Back in 2016, at a concert in Portugal, violinist Rómulo Assis was playing a Tchaikovsky masterpiece with great feeling. The conductor beside him made such a broad gesture that his hand knocked the violin to the floor. There was a crack, and the hall fell deathly silent. The precious antique French violin by Nicholas Lupot suffered a long crack across its surface—a serious injury on the spot. People tend to think playing violin onstage is an elegant, safe profession. It now seems that knowing classical music alone is not enough to be a top musician today. You have to watch out for the conductor waving his arms beside you. And, above all, you need to secretly train a lightning-fast “golden left foot”! ### A Little Background on Famous Violins Why are antique violins so expensive? These centuries-old instruments, including those by Stradivari and Guadagnini, can sell for millions of euros (equivalent to more than RMB 10 million). Why? Fact 1: They absorbed the “magic of the Ice Age” The claim is that the sound of these famous instruments cannot be reproduced because nature gave their makers a rare opportunity. Between 1645 and 1715, Earth went through an unusually cold period known as the “Little Ice Age” (the Maunder Minimum). It was exceptionally cold. Because of the cold, spruce trees high in Europe's mountains grew extremely slowly. Slow growth made the wood grain especially tight and even. Violin makers happened to cut these cold-weather trees and turn them into instruments. According to the article, even today's most advanced machines cannot reproduce the distinctive resonance produced by that extreme cold. Fact 2: The performer may not even own the violin You might assume that playing an instrument this expensive makes Vähälä a billionaire. In fact, this violin worth tens of millions of yuan probably is not hers at all! In the classical music world, antique instruments of this stature have often been bought by large corporations, banks, museums (such as the Ashmolean Museum in the United Kingdom), or specialist foundations (such as the Nippon Music Foundation). They are like the world's most exclusive limited-edition supercars. Foundations lend them to leading performers around the world free of charge, almost like an award. So when the violin fell, Vähälä was probably more frightened than anyone. Imagine almost crashing a RMB 10 million Ferrari lent to you by your boss! AD Violy is a music practice app for phones and tablets. It includes sheet music, performance videos and audio, AI-powered error correction, and practice check-ins. It supports piano, string instruments, wind instruments, and more. In Chinese app stores, search for “一起练琴” to try it for free. --- # From Ningbo to the World's Top Music Schools: A Few Insights She Offers Parents of Young Musicians - URL: https://violy.app/blog/from-ningbo-to-the-worlds-top-music-schools-a-few-insights-she-offers-parents-of-young-musicians - Markdown: https://violy.app/blog/from-ningbo-to-the-worlds-top-music-schools-a-few-insights-she-offers-parents-of-young-musicians.md - Published: 2026-02-02 - Categories: Music News - Summary: An interview with Curtis Institute of Music violinist Yiyang Hou, tracing her journey from Ningbo and sharing her reflections on practice, parental support, and competitions. ![](https://static.lianmuse.com/image/blog/17096b9dbb763a4018164acd74b0abcb.gif) **Violy · People** ![](https://static.lianmuse.com/image/blog/17096b9dbb763a4018164acd74b0abcb.gif) “Violy · People” is a Violy interview series featuring conversations with 99 artists from China and abroad. It brings fresh artistic ideas into dialogue and explores a world of art where emotion and spirit meet. Our guest in this edition: Yiyang Hou, whose path took her from the school affiliated with the Shanghai Conservatory of Music to Curtis. At the time of this article's publication, she had just won second prize at the well-known Elmar Oliveira International Violin Competition. Held every three years, this competition maintains a high professional standard and seeks to discover young performers aged 18–30. # **Violinist Yiyang Hou** ![](https://static.lianmuse.com/image/blog/42aee603a8ca2bb74b88daeca0d4ade4.jpg) ● ○● At the time of publication, Hou was an undergraduate at the Curtis Institute of Music in the United States, one of the world's leading music schools. She studied with Professor Ida Kavafian, an internationally revered violinist and educator, and American violinist Benjamin Beilman. According to the original profile, in 2023 she became principal second violin of the Curtis Symphony Orchestra, the youngest principal in the orchestra's history. In 2024, she was selected to participate in Belgium's Queen Elisabeth Violin Competition, described in the profile as the youngest Chinese participant ever selected. She won second prize at the 2026 Elmar Oliveira International Violin Competition. The article reports that she was the only Chinese finalist and achieved the best result by a Chinese competitor in the competition's history. **A School She Had Only Dared to Dream About** ▼ At 17, Yiyang Hou spent a long time hesitating in front of the Curtis Institute of Music application page. It was her “dream school”: the alma mater of Lang Lang and Yuja Wang. The article describes it as having the lowest acceptance rate in the United States and admitting only three to five violin students from around the world each year. At the time, a callus on her finger had become infected and developed into a large blister. After repeated medical visits failed to resolve it, she had to stop practicing. Studying German for an upcoming examination also took up much of her time. “It was the best music school in the world—the very pinnacle. I could dream about it, but I didn't dare actually apply,” she said. ![](https://static.lianmuse.com/image/blog/f831c49f9b070689b3cec3924e9fd398.jpg) It was not until the final day of the application period that a teacher in the academic affairs office finally helped her prepare her transcripts. “If I'm going to apply, I should apply to the best. Besides, I'm only in my second year of senior high school. If I don't get in this year, I can try again next year—or even the year after,” she thought. She successfully submitted her application just a few hours before the deadline. She lost count of the nights she spent awake, practicing in a practice room. Even so, she had not expected to be accepted. At 17, according to the interview, she became the first student in nearly a decade from the middle school affiliated with the Shanghai Conservatory of Music to gain admission to Curtis. ![](https://static.lianmuse.com/image/blog/3022840e45cec58e5e193a8656d4ee5e.jpg) Why is Curtis considered one of the world's leading music schools? For readers unfamiliar with it, the original article highlights these points: - Curtis awards all admitted students scholarships that cover tuition. - It is the alma mater of Yuja Wang and Lang Lang. - It brings together leading musicians from across the United States and around the world, giving students access to exceptional teaching resources. - The article describes it as having the lowest acceptance rate in the United States, making admission extremely difficult, with fewer than five places opening in each major every year. - The article describes a student body of no more than 200, with a high ratio of teachers to students and teaching tailored to each individual. **Her Childhood** **Six Hours of Practice Was the Daily Routine** ▼ Yiyang Hou was born in Ningbo in 2004. Her father, trained in classical singing, gave her her earliest introduction to music. Her mother ran a piano shop. Music was as familiar to her as the air she breathed growing up. She began learning the violin at six and a half. Her mother's philosophy was simple and direct: “If you're going to learn, find the best teacher.” She took her to Wang Baihong, whom the interview describes as Ningbo's best local violin teacher, for her first lessons. When she entered a regular primary school, she attended academic classes for only half the day. Her afternoons were devoted entirely to practice: six hours every day, without exception. “I'm not someone who relies on natural talent. Everything I can do came from practice,” she said candidly. Fortunately, she was not a child who especially wanted to go out and play. “Practicing wasn't particularly fun, of course, but I didn't find it painful either.” Quietly supporting her and giving so much of herself was her mother. **“My Mother Was Always There Behind Me”** ▼ Her mother sought out Fang Lei, identified in the interview as the principal of the middle school affiliated with the Shanghai Conservatory of Music. Every weekend, she drove her daughter two hours to Shanghai for lessons. Rain or shine, they never missed a lesson. Her mother also stayed throughout her daughter's violin lessons, writing down every word the teacher said in a notebook. “My mother was afraid of missing even a single word. She even wrote down every little interjection the teacher used. As soon as each lesson ended, she would organize all the notes, turning the word-for-word transcript into a summary. So every lesson had two versions of notes.” Over the years, those notebooks grew into a thick stack. ![](https://static.lianmuse.com/image/blog/196dc79270a547a6b325f4de7b787959.jpg) ![](https://static.lianmuse.com/image/blog/40ce6e2d6c897ffbcc6e95e1f1ee56a3.jpg) A year later, Yiyang Hou was admitted to the fourth grade of the primary school affiliated with the Shanghai Conservatory of Music, where she studied with Zhou Mingen, head of the strings department. Her mother closed the family's piano shop and moved to Shanghai to be with her while she attended school. “When I was little, I didn't have a strong sense of commitment to the violin,” Hou said. Her mother's presence kept her from feeling alone or giving up. “I take notes myself now, but I don't think I'm as thorough as my mother was.” **She Truly Began to Love the Violin** **Only After She Turned 10** ▼ She started learning at six, but she did not immediately fall in love with the instrument. That happened through a subtle, gradual process. “I didn't find the violin interesting before,” she said, with a little hesitation. “It wasn't until I got into the affiliated primary school. Perhaps it was because I had entered a good environment. All my classmates played instruments, and being with friends who shared that interest made me happy. I could also perform onstage and play in ensembles. With that positive feedback and sense of achievement, I gradually realized I was beginning to like the violin.” She cannot remember the exact day, but she remembers the feeling: as though she had found a way to speak to the world. Her inner motivation did not awaken overnight. It developed little by little, quietly and steadily. **In 2026, She Stood at** **A New Starting Point** ▼ Over time, talent and effort, opportunity and preparation had come together, allowing her artistry to bear fruit. As the article recounts, in 2023 she became Curtis's youngest-ever principal second violin, and in 2024 she became the youngest Chinese musician ever selected for the Queen Elisabeth Violin Competition. At the **Elmar Oliveira International Violin Competition in Boca Raton, Florida, on January 18, 2026, she won second prize, achieving what the article describes as the best result by a Chinese competitor in the event's history.** As the only Chinese musician on the finals stage, according to the report, she performed with the Lynn Philharmonia under conductor Gerald Karni. Her composed, poetic playing revealed a musical depth beyond her years. The award brought her a $15,000 cash prize provided by Tarisio Fine Instruments and Bows and a silver-mounted bow made by bow maker Vladimir Radosavljevic. It also offered the world a glimpse, in the meeting of bow and string, of a young musician shaping her future with sincerity and courage. Music, in this telling, is not a display of technique but a way for the soul to reach others. ![](https://static.lianmuse.com/image/blog/17d780e8f27d391f828cfcf321aa41c2.jpg) At 19, she was selected for Belgium's Queen Elisabeth Violin Competition, described in the article as the youngest Chinese participant ever selected. This was a new starting point. After countless journeys to lessons, countless hours in practice rooms, and countless practice sessions, she was closer to the sound she was seeking. ![](https://static.lianmuse.com/image/blog/96495d88c4601f10daa7f39566ec31a0.png) At 21, she won second prize at the 2026 Elmar Oliveira International Violin Competition. The article identifies her as the only Chinese finalist and credits her with the best result by a Chinese competitor in the competition's history. **Closing Thoughts** ▼ ![](https://static.lianmuse.com/image/blog/c10089089ca915f3f6db1c3b62593b30.jpg) Yiyang Hou at Curtis The story of Yiyang Hou, described as a “young prodigy,” is not a miracle. It is a story of steady, everyday work. What lies behind it is countless six-hour practice sessions, repetition day after day, and persistence through days and nights. Even at a leading music school filled with extraordinary talent, she has wondered whether she was good enough. “I don't compare myself with others. I want to be the best version of myself.” She believes that she came into this world to become herself: “Other people are already being themselves, so I can't be someone else.” Some Reflections for Parents ● ● During the interview, Violy also asked her several questions that concern parents of young children learning instruments. - How can you tell whether a child could pursue music professionally? - I think you have to consider several factors, including the child's own wishes. If the child isn't resistant to the idea, it is worth trying. - Only if children truly enjoy it can they keep going. - Is it worth sacrificing so much playtime for practice? - Practice is repetitive, but it isn't particularly painful. I'm a homebody who doesn't especially like going out to play, so I didn't feel I was sacrificing anything. - Parents often take their children to competitions and summer or winter camps during school holidays. What is your view of those activities? - What matters more to me is what I can learn or gain from a competition. Learning a new set of pieces, refining them repeatedly, and mastering new repertoire in preparation for a competition—that is the most valuable part. The competition isn't the goal; it is a catalyst for the process. - Once we understand that what truly matters is what we gain along the way, we can make better choices. - I treasure every competition because I know there aren't that many opportunities in a lifetime to stand on a competition stage. Each one I take part in leaves one fewer ahead. - I treasure every stage because I hope more people will hear my music. - I treasure every opportunity because it also lets me meet many interesting new friends. For Violy, this offers parents a fresh perspective: set aside, for a moment, questions about whether the investment is worthwhile or whether their child will succeed, and accompany them as they search for their own “voice.” Even if that voice is not the loudest or the most polished, it expresses what is inside them. That alone makes it worth hearing. Music Together (Original interview: Zhang Qing of Violy, June 2025) Violy App: founded in 2016. At the time of the original article's publication, Violy described itself as a well-regarded professional music practice app and music education media outlet in China. Thank you for reading! END --- # In Conversation with Dr. Wu Chun, Tsinghua University's Artist-in-Residence - URL: https://violy.app/blog/in-conversation-with-dr-wu-chun-tsinghua-universitys-artist-in-residence - Markdown: https://violy.app/blog/in-conversation-with-dr-wu-chun-tsinghua-universitys-artist-in-residence.md - Published: 2025-12-22 - Categories: Music News - Summary: In an interview originally published in October 2020, pianist Dr. Wu Chun discusses his musical education, overcoming setbacks, family support, teaching, and online lessons. Violy republished the conversation alongside an announcement of a China livestream scheduled for December 23, 2025, at 8 p.m. Beijing time. **Violy · People** “Violy · People” is a Violy interview series that sets out to speak with 99 artists from China and around the world, bringing fresh artistic ideas into conversation and exploring a world of art where feeling and spirit meet. Our guest in this edition is **Dr. Wu Chun, Tsinghua University's artist-in-residence and a Steinway Artist.** ![](https://static.lianmuse.com/image/blog/c43894ed801de570acf85c176091a053.jpg) Dr. Wu Chun The original article introduces him as holding a performer's doctorate in piano from Germany's Hanover University of Music, Drama and Media, as well as doctorates in piano performance and musical arts from Ukraine's Odesa National Music Academy. It describes him as **a Chinese pianist with three doctoral degrees** and the recipient of sixteen international awards. His biography in the article lists him as Tsinghua University's artist-in-residence, a Steinway Artist, an honorary professor in the piano department of Odesa National Music Academy in Ukraine, and a teacher at the Central Conservatory of Music. **In its December 22, 2025 announcement, Violy was delighted to invite Dr. Wu to an online conversation on December 23.** The article below originally appeared in October 2020. The interview answers, including references to Violy's features, reflect that historical conversation. Violy previously invited Dr. Wu to a lively online interview about his journey as a music student and his insights into education. How did someone born into an ordinary family become a pianist who attracted the world's attention? What difficulties did he encounter while learning the piano? How did he ultimately overcome them? The conversation below answers these questions and more. * * * Y: Violy W: Wu Chun **Y: What do you consider the biggest obstacle you encountered while learning the piano?** W: I certainly encountered some difficulties, but I would not call them “obstacles,” because **if you want to overcome them, you can.** Common difficulties include young children being restless, wanting to play, or having trouble concentrating. Parents may not understand music or know how to correct their children's mistakes, but software such as Violy can now address that problem. Beyond that, I think what matters is **maintaining the relationship between parents, teachers, and students as an equilateral triangle.** Teachers must do their work well, treating students with patience, care, and a sense of responsibility. Parents should work with teachers, build a bridge of communication between teachers and students, and give their children enough support and companionship. Even if parents do not understand music, they should be there while their children practice, **so that children feel cared for and know they are not alone on their musical journey.** Learning the piano is, in itself, a lonely activity: you practice alone, and lessons are one-to-one. If a close family member can stay beside a child and offer understanding and help, the child will be less inclined to retreat from practice. That is why I feel **there are few true obstacles.** Every family and every child is different, so difficulties may arise. But **if teachers, parents, and children maintain a good relationship and keep communicating, any difficulty can be overcome.** **Y: At your lowest point, did you ever think about giving up? What helped you get through it?** W: I never really experienced an especially serious low point. The small setbacks I encountered while learning the piano were things like not winning a prize in a competition or not performing as well as I had hoped onstage. Those things can affect your mood. You might not feel like practicing for the next few days, or you might become a little resistant. Fortunately, **I never felt that I did not want to keep learning.** At those moments, **encouragement from parents is very important.** Even at a so-called low point, if parents guide their child positively, that “difficulty” can become excellent training and an opportunity to grow. **No one is invincible in competitions. Nobody wins forever.** Even if you win a competition, that result belongs to the past. You still have to keep training and working hard, improving a little every day. Everyone makes mistakes onstage. **No matter who you are, there will be imperfections.** What you need to do in your next performance is correct the mistakes from the previous one and keep refining your work. Isn't that what progress is? For me, **one of the bigger setbacks was a competition I entered in Hong Kong in 1997.** My family had no money at the time. My mother borrowed money to buy my plane ticket; my travel and accommodation expenses were borrowed too. I went there full of confidence and said, “I will definitely bring you back a prize and the prize money.” In the end, I did not even reach the final. I came home feeling utterly defeated. I had not told my mother when my flight would arrive, but when I came out of the airport, I saw her. **She said, “Mom is here to pick you up.”** Our financial circumstances were very difficult then. A taxi from our home to the airport cost more than 100 yuan, which was a lot of money at the time, so **she walked to the airport to meet me.** My flight arrived at night. She had started walking in the afternoon and kept going until evening. Seeing her at the airport moved me deeply. After that setback, I placed first or second in almost all of the competitions I entered next. I hope this can show everyone that **there is no difficulty that cannot be overcome.** My other piece of advice is: **even when you reach a low point, please, please do not give up.** I believe that for someone who has learned the piano since childhood, “giving up” should not be part of their vocabulary. I started learning the piano at four. I watched my mother work several jobs on her own to help me fulfill my dream. I sometimes worked alongside her. In Wuhan's 40°C heat, I helped her buy and deliver goods and did whatever manual work I could manage. We overcame those difficulties together. So I hope children will **honor their own efforts, their families' sacrifices, and their teachers' devoted guidance.** Whether or not you pursue it professionally, learning the piano is certainly beneficial. When you need it, you can quietly enjoy time alone with the piano. **Whatever you are feeling, you can express it through the piano,** freely, safely, without hurting anyone—and without buying a ticket. **Y: Which mentor had the greatest influence on you while you were learning the piano? What kind of influence did they have?** W: Every one of my teachers had a great influence on me at a different stage. My first teacher was Kuang Ying. **She introduced me to the piano and led me into its world.** She also introduced me to my second teacher, Shen Hongze. Teacher Shen helped me **experience the richness of piano knowledge firsthand** and understand the vastness of its literature and the variety of its styles. In 1991, he introduced me to Professor Chen Wan, then head of the piano department at Wuhan Conservatory of Music. **That was my true introduction to professional piano study.** She was among the most renowned teachers in south-central China. She showed me how rigorous piano study is and how much meticulous, diligent work it requires. Alongside teaching me the piano, Professor Chen Wan taught me how to conduct myself: **to serve society and the people, and to express my character through music.** In 1998, she sent me to Odesa National Music Academy in Ukraine, where I met Professor Kalina Popova. I was sixteen and knew no one in that foreign country. **Professor Popova cared for me like a mother, giving me the warmth of family even far from home.** My last teacher was Professor Vladimir Krainev. The story of how I became his student was rather dramatic. **In 2000, I entered a competition named after him and won second prize,** but only the first-prize winner had the opportunity to go to Germany to study with him. I suppose I was a young person with nothing to fear. After the prizewinners' concert, I went straight up to him and asked in Russian, “Maestro, I would like to become your student. Would that be possible?” He found it interesting that a Chinese person was speaking to him in Russian and told me, “Next year I have a concert tour in Russia. Come then, and let me see how much you have improved over the year.” **In 2001, I joined Professor Krainev's concert tour.** After the last concert, he said, “All right. First complete your graduate degree, then come directly to me for doctoral study.” But for particular reasons, I did not actually set foot in Germany until 2005. **Before going to Germany, I also studied for a doctorate in performance and a doctorate in music theory in Ukraine.** That is why I have three doctoral degrees. Professor Krainev's greatest influence on me was that **he gave me confidence.** He said, “If even I have recognized your ability, why would you lack confidence onstage?” **I still remember those words. Whenever I doubt myself, they give me courage.** **Y: You just mentioned earning three doctoral degrees. Could you share any study techniques?** W: My technique is **to use time wisely.** A performance doctorate involves giving concerts in many formats and at many scales, and taking part in all kinds of competitions. A doctorate in theory requires more time squeezed out for research. **The two do not conflict.** When you are tired of playing, you can read; when you are tired of reading, you can play. For me, it did not feel especially exhausting. **The only relatively difficult part was traveling between two schools,** since they were in two different countries, in Eastern and Western Europe. **But you first need to manage your time well if you want to switch between those roles effectively.** **Y: When have you felt that all your hard work had paid off?** W: I think **“contentment brings happiness”** is what matters most. **What people put in and what they get back often do not match.** Putting in 10 and getting back 100 is extremely rare; you can almost disregard that possibility. **More often, especially in the short term, the return is less than the investment.** So before doing anything, think through three or four different levels of outcome. **Prepare yourself mentally, accept the worst outcome in advance, and make different plans. That helps you feel at peace.** **If the result is very good, then you can count yourself fortunate,** right? Of course, effort is very important throughout that process. **Working hard does not guarantee success, but without hard work, you certainly will not succeed.** Rewards take many forms, both material and emotional. I come from a single-parent family. My mother was alone back in China, and the longest we went without seeing each other was six years. So for me, the reward is more about giving something back to her. I share every prize and every achievement with her. **That emotional encouragement is a reward for both of us.** The two of us supported a household together. Beyond being mother and son, we were family members supporting each other, and even close friends. Whenever my efforts bring even a small achievement, **I call my mother immediately to share the good news and encourage her,** helping both of us keep going. That is why I think contentment matters so much. Start with the little things. You do not have to achieve something enormous. Great achievements are wonderful, of course, but **small achievements that accumulate slowly and steadily are worthwhile too.** **Y: After so many years building your career abroad, what made you decide to return to China?** W: At the time, I had a company representing me abroad, concerts, and a stable income. But my mother had always stayed in China. She was getting older and her health was not very good. I feared **wanting to care for her only to find that she was no longer there.** That would be deeply painful, so I wanted to return first. Another very important reason was **my wish to serve my country and its people.** I wanted to bring back what I had learned and teach it to more people. **Y: Why did you choose to teach at Tsinghua University?** W: It was also a matter of circumstance. I met Zhao Hong, director of Tsinghua University's Center for Arts Education. After learning about my background and hearing me play, she invited me to meet and exchange ideas with students in Tsinghua's performing arts troupe. I remember very clearly that I spent my thirtieth birthday on a stage at Tsinghua. From that year onward, **whenever I returned to China for concerts or to visit family, I would also return to Tsinghua University,** giving free lessons and lectures to students in the keyboard ensemble and helping them put on concerts. **I wanted to bring some music and art into their lives amid the heavy pressure of their studies.** Seeing their progress and happiness gave me great satisfaction. I felt that this was why I had started teaching music. In June 2017, I became **Tsinghua University's first-ever artist-in-residence, and its only one at the time,** maintaining close ties with the university and its students. **Y: You remain active onstage as a performer while also teaching. How do you balance the two?** W: I want both a concert stage and a classroom. In general, **whether I am performing or teaching, I can balance the two as long as I organize my time well.** I enjoy teaching because **I can see something of myself in the process.** In my students, I see echoes of my own years of study. I also see their desire to absorb more professional knowledge and improve themselves. At the same time, I understand parents' hopes that their children will find a good teacher who is responsible, patient, and caring. So **I want to share everything I have learned with my students, holding nothing back.** Of course, **teaching and performing are inseparable.** As I said earlier, you practice alone, and lessons are one-to-one. You need a stage and opportunities to show more people what you have learned. That is why I also cherish the stage. Whenever I have the opportunity, I want to **share what I have learned with an audience through performance, which can make it more immediate for them.** Something I often say is: **“The stage is the most lovable place, so you must cherish it.”** Whenever an opportunity comes, give it your all. **Y: More and more music students are choosing to study abroad. In your view, in what respects is music education abroad ahead of that in China?** W: Whatever else we say, the piano is a Western instrument, and its roots are there. It is like our Peking opera and traditional Chinese music: we cannot expect to learn traditional Chinese music properly abroad. Of course, that was how my generation thought about going overseas. **For our generation, choosing to study abroad was a journey in search of roots:** to gain genuine knowledge, then return home to serve our country and pass it on to more people. Many people have now done this. At some of China's top conservatories, **many Chinese students win international prizes every year and bring honor to the country.** **So I think the gap is narrowing.** Access to knowledge is also very convenient now. Whether through video or audio, there are so many opportunities and channels for encountering music. **Y: There are now many online practice-support apps on the market. How do you view the development of online education?** W: I have not used many practice-support apps. I have only used Violy. The feature I use most is video lessons. I used the software to teach my students during the pandemic. **Because I was living abroad, I started teaching remotely in 2003,** so I have built up some experience. After trying Violy, some of my students who lived elsewhere decided to use it for remote lessons, saving time and effort. Whether for practice support, correcting mistakes, or taking online masterclasses, **I think Violy is a “one-stop” solution that brings all those possibilities together, so I strongly recommend it.** * * * Dr. Wu Chun generously gave Violy this interview after working for twelve hours, and we are deeply grateful. His sincerity moved and encouraged us throughout the conversation. **The December 2025 announcement invited readers to watch Dr. Wu Chun's live online conversation, scheduled for December 23, 2025, at 8 p.m. Beijing time.** * * * **/ · Recommended Reading · /** [![](https://static.lianmuse.com/image/blog/2d701c2dd763d94a11db0dfe800642f0.jpg)](http://mp.weixin.qq.com/s?__biz=MzUxMjU5ODMyMg==&mid=2247488365&idx=1&sn=7cc5ee86df1526709bd075653aec81e4&chksm=f9635b30ce14d2261e82eba519c2c62eb3964abd7538940fb12de55603305c63367172f15690&scene=21#wechat_redirect) [![](https://static.lianmuse.com/image/blog/fa5c7577a4b94946c5158ad317274320.jpg)](http://mp.weixin.qq.com/s?__biz=MzUxMjU5ODMyMg==&mid=2247487803&idx=1&sn=3d952c50ae5720809d5d1acad207b7e1&chksm=f9635966ce14d070e3782efcb8f405282e08efb2c1582d727006da6dbe7546b28582ddbcbdfc&scene=21#wechat_redirect) [![](https://static.lianmuse.com/image/blog/1a480bc986f7de6dfeeee78b1c806d0d.jpg)](http://mp.weixin.qq.com/s?__biz=MzUxMjU5ODMyMg==&mid=2247487521&idx=1&sn=72f155a4e45e69f9d40ca5440c8c76e6&chksm=f963587cce14d16acfb81fa4244564e67c0c6b081a49e335ea1705cda65393a3a3fa7faf1b32&scene=21#wechat_redirect) --- # A New Species in Music: "Synchronized Demonstration" - URL: https://violy.app/blog/a-new-species-in-music-synchronized-demonstration - Markdown: https://violy.app/blog/a-new-species-in-music-synchronized-demonstration.md - Published: 2021-07-06 - Categories: Product - Summary: Violy's July 2021 China-region announcement introduces Synchronized Demonstration, which aligns recorded performances with sheet music so learners can jump directly to notes, phrases, and passages. It explains how to find these demonstrations and outlines the team's plans for teacher uploads and free access at the time. > Translation note: This is Violy's China-region announcement of July 6, 2021. The feature descriptions, album names, planned teacher uploads, and preliminary decision to offer free access reflect that historical announcement, rather than current Global availability or benefits. Claims about the feature's originality and other educators' work are presented in the original team's voice. **This article is the birth certificate for a new species: "Synchronized Demonstration"!** Synchronized Demonstration. A demonstration with sheet music synchronized to audio and video. A real performer's demonstration, with the sheet music and audio or video synchronized and aligned. With Synchronized Demonstration, when you study a piece or watch a demonstration, you can use the score to jump to a precise point in the audio or video. You can specify where in the score the demonstration should begin, or locate a particular phrase or passage to watch repeatedly. ![](https://static.lianmuse.com/image/blog/183e965c7bdf30c3f4b7cd75e7ffc574.jpg) Why do we call it a new species? Because we see it as revolutionary, as **an entirely new innovation**: a new "species" in which the score and the demonstration are closely integrated and synchronized. Our team spent a long time thinking about it. It deserved a distinctive name. After many discussions, we finally settled on "Synchronized Demonstration." --- In fact, the well-known violin educator Zhang Shixiang had done something similar long before this, with related video courses available for sale online. In those courses, the teacher demonstrates a piece in the video while the corresponding score appears below it in sync. ![](https://static.lianmuse.com/image/blog/53e244f831af0e1121080813829f8009.jpg) You have probably seen plenty of videos like this on video-sharing and social platforms, with the corresponding sheet music displayed in the video. But those demonstrations are still essentially videos. They do not let you interact with the score: the sheet music is only there to be viewed, without substantially improving the demonstration experience. Put simply, Violy's Synchronized Demonstration lets you interact with the score during playback to jump to a precise point in the audio or video at any time. In other words, Synchronized Demonstration is no longer a standalone audio or video recording. It is synchronized, aligned, and combined with the score. Synchronized Demonstration no longer depends on dragging a progress bar to find a particular note or phrase. You have surely experienced how frustrating it can be to scrub through audio or video to find a phrase. Instead, it uses the most natural way to navigate music: the score itself. The Violy app had always offered demonstration playback, and it was interactive, too. Previously, however, those demonstrations were computer-generated, so the sound was not very realistic. This version of the Violy app adds Synchronized Demonstration using audio and video recordings of real performers. Many of the teachers we spoke with had already asked us for Synchronized Demonstration, hoping we could make it happen. For teachers in music education, it is a wonderfully useful feature. Many people in the music world had wanted to do this for a long time, but technical limitations prevented them from doing so. Even putting a score into a video, as in the examples above, takes considerable manual effort. So why did Violy only achieve Synchronized Demonstration now? Because there were technical hurdles. After all, synchronizing and aligning scores with audio and video cannot rely entirely on manual work. It requires computers. After four years of building up our technical expertise, our team had finally reached the point where we could make it happen. How could you find pieces with Synchronized Demonstration in the app? Look in the "Online Sheet Music Library" for albums marked with the "Demonstration" label. If an album has that label, at least one piece in it has a Synchronized Demonstration. An audio or video icon appears before each piece that has one. The most common albums were the "String Demonstration Sheet Music Collection" and the "Piano Demonstration Sheet Music Collection." At the time, the selection of pieces with Synchronized Demonstration was still limited. We would keep working to expand it gradually. We would also invite renowned musicians and teachers to record more demonstrations. Here is a preview of what we had planned: The ability to upload Synchronized Demonstrations directly in the app would be made available to teachers first. Teachers could then record their own demonstrations for their students, making it easier for students to practice with them, passage by passage and phrase by phrase. Have fun, everyone! --- Special announcement: Our preliminary decision was to make the new Synchronized Demonstration feature available entirely free of charge! --- # How to Improve Sight-Reading Skills — 6 Useful Tips - URL: https://violy.app/blog/how-to-improve-sight-reading-skills-6-useful-tips - Markdown: https://violy.app/blog/how-to-improve-sight-reading-skills-6-useful-tips.md - Published: 2021-05-07 - Summary: Sight-reading is the art of being able to play a piano piece at first sight without any prior (or li # Handy Hints for All Piano Beginners Sight-reading is the art of being able to play a piano piece at first sight without any prior (or little) preparation. It is an essential technique that all pianists should possess and excel at. In the meanwhile, sight-reading seems to be one of the challenges that either a piano beginner loves or has recurring nightmares about. Good sight-reading skills are significant because they can help piano students improve the efficiency of practicing new piano works, and expand the piano learners’ repertoire in some way. It takes a long time for most piano beginners to master the skills, but some useful tips can make the whole process less difficult. So what are the tips for piano beginners to improve sight-reading skills? Let’s dive in. ![](https://static.lianmuse.com/image/blog/9106e633de70046133dbc787dcbddf1e.png?v=9106e633de70046133dbc787dcbddf1e) # Familiarize Yourself with A Variety of Rhythms before Sight-Reading No matter what piano sheet music you are playing, you must have a solid understanding of the tempo and the rhythm of the piano piece. Familiarizing yourself with common musical rhythms in different styles of music can make sight-reading more manageable, and will help you get ready to play the piano in any situation. Once you are sure of the time signature and the beat of the piano work, you can be better prepared for sudden tempo changes, complicated note sequences, unusual rests, and other unexpected surprises in the music’s pattern. With more exposure to different music genres, you are likely to learn to anticipate some rhythms before you start reading and playing the new music score. # Memorize the Key Signatures to Get Prepared for Sight-Reading For piano students who start piano learning from scratch, it is not easy to read key signatures when playing the instrument. The process of getting to know what a key signature can tell the piano players may be confusing. [To understand how to recognize and memorize key signatures, you are supposed to grasp some certain rules.](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/#Violin-Teachers%E2%80%99-Biggest-Difficulty-Teaching-Violin-Students-to-Read-Key-Signatures) ![](https://static.lianmuse.com/image/blog/77c0ef1e0b3e45c98498c1d4c1c26885.jpeg?v=77c0ef1e0b3e45c98498c1d4c1c26885) Memorizing your key signatures is especially helpful for piano students, as you need to be aware of how many sharps or flats are coming up in your upcoming sight-reading exercise. This may take a bit of time initially, but in the long run, it will not only make sight-reading easier, but also do good to your piano practicing and performing. # Hum the Piano Music to Yourself to Improve Sight-Reading Skills When looking at a piano piece for the first time, some piano beginners may be eager to play the piano sheet music right away. But instead of immediately rushing towards the instrument, going through the piano work audibly first by either humming or singing the notes from the music score can be more helpful for you to improve your sight-reading skills. By knowing about the notes, you can simply focus on the way the piano music is supposed to sound as it is written, rather than your instrument and how well you are playing it. Once you have worked your way humming through the piano piece, you can start to play a few notes on your instrument. If there are still a few tricky phrases that are too challenging for you, just stop playing, and continue to hum the certain melodies until you have a clear idea about how to play the notes. In addition, the sight-reading exercises contained in [Violy App](https://violy.app/) are wonderful options for you to train your skills in this way. ![](https://static.lianmuse.com/image/blog/4ccb07fcb583f597431e50533d6333c9.png?v=4ccb07fcb583f597431e50533d6333c9) # Focus on the Piano Piece before Aiming for the Natural Sound If you are not completely tuned into what you are doing, you cannot expect to make much progress. When you are sight reading a piano work, it is no doubt that you need to focus on the sheet music. Or you may not be able to comprehend what you are working on. Not only should you think while reading the music, but you should also connect those thoughts with your playing ability. Once you get familiar with the piano piece, you are supposed to pay more attention to the sound produced on the instrument, and make sure that your sight-reading skills can help promote a smooth and natural flow of sound from your piano. At this point, you can absolutely stop focusing on each and every detail in the music score, and just let your inner musicality shine through. But you can only manage to do so after knowing the piano piece inside out. ![](https://static.lianmuse.com/image/blog/6502200befe05fbeb5a48677c9f42ec4.jpeg?v=6502200befe05fbeb5a48677c9f42ec4) # Keep Playing Even If You Make A Mistake While Sight Reading It’s inevitable that you will make mistakes during the process of sight reading. All piano learners aim for 100% accuracy, but eventually, most of them are going to miss a note or two. When it comes to sight-reading, a missed note is unfortunate, but a wrong rhythm or faulty counting can completely throw you off track. Therefore, when you are sight reading, the most important thing to remember is that when you make a mistake, don’t stop. Just keep playing and pick up where you left off. Also, like anything else you do, the more you practice sight-reading, the better you will get. So don’t focus on the mistakes you make during the performance, and don’t feel as though you have to stop and correct them. Just keep going, do the best you can, and remember that by testing your abilities as a piano player, you are making yourself better in the long run. After playing, you can review the whole piano piece and start to make corrections. # Be Patient and Take time to Practice Sight-Reading Sight-reading skills take time to develop. Trying to master sight-reading too fast can actually hinder the overall development of the skills. Besides, speeding up the learning process will lead you to bad habits which are really hard to fix later on. Every piano beginner should know that becoming proficient in sight-reading is a long-term process. You can set many short-term goals along the way so that you can see the results as they happen. But you should always be patient, and make sure to do quality sight-reading as often as you can. ![](https://static.lianmuse.com/image/blog/719d286303633997668895250f3add20.jpeg?v=719d286303633997668895250f3add20) Practicing frequently brings you a positive feedback loop — sight-reading becomes easier as you stick to daily practice. Then you are able to play through more piano works, and improve even faster. At the beginning, it is hard to decipher every measure, but once you get to a certain level, it starts snowballing. Effortless music reading is a goal that almost every piano player is pursuing. It involves assimilating the musical language of piano pieces played in the past, and then using that stored information to anticipate what might come next in a new piece. Strengthening your sight-reading skills by following the tips introduced above can make a drastic improvement on how you play the piano, and take you one step closer to the goal. Ref: 1. https://www.londonpianoinstitute.co.uk/how-to-improve-your-sight-reading/ 2. https://www.musicnotes.com/now/tips/10-tips-tricks-sight-reading-music/ 3. https://www.musical-u.com/learn/improve-sight-reading/ 4. https://www.jazzadvice.com/lessons/5-steps-to-mastering-sight-reading/ 5. https://www.quora.com/How-can-a-beginner-pianist-improve-his-her-sight-reading-skills?__filter__=all&__nsrc__=notif_page&__sncid__=14475052545&__snid3__=20507855995 6. https://www.e-musicmaestro.com/blog/26/10-useful-tips-for-piano-sight-reading # Have a HAPPY practice!! # ## More Violy Music Articles: [**10 Benefits of Piano Playing - Get Your life Shaped**](https://www.violy.app/blog/2021/04/10-Benefits-of-Piano-Playing/) [**Piano Books for Beginners**](https://violy.app/blog/2021/04/Piano-Books-for-Beginners/) [**How Should Music Parents Help Their Children’s Practice**](https://violy.app/blog/2020/12/How-Should-Music-Parents-Help-Their-Children%E2%80%99s-Practice/) [**Best Piano Apps 2021**](https://violy.app/blog/2021/02/Best-Piano-Apps-2021/) [**Teaching Students to Read Key Signatures**](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) {% raw %}
{% endraw %} ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/3edcab6644bfad50a68ae2c5dbab5814.png?v=3edcab6644bfad50a68ae2c5dbab5814) --- # 10 Benefits of Piano Playing - Get Your life Shaped - URL: https://violy.app/blog/10-benefits-of-piano-playing-get-your-life-shaped - Markdown: https://violy.app/blog/10-benefits-of-piano-playing-get-your-life-shaped.md - Published: 2021-04-28 - Summary: As long as you are learning piano and intend to master piano playing one day, you cannot skip daily # Reasons Why You Should Practice after Piano Lessons As long as you are learning piano and intend to master piano playing one day, you cannot skip daily practicing. It is true that effective practicing is one of the most important elements which can help piano students get improved step by step. But isn’t it tiresome for piano learners to be pushed to practice by their piano teachers and parents? Apart from finding pleasure in piano learning, knowing the benefits of piano playing which are backed by science can also serve as an impetus for you to take the initiative to practice. The benefits can help shape your life, and you will never refuse to make your life better. ![](https://static.lianmuse.com/image/blog/cee0ec266c3f14df1fe0430caf21faf7.png?v=cee0ec266c3f14df1fe0430caf21faf7) # Piano Playing Relieves Stress A moderate amount of stress can do good to you, while too much pressure can exhaust you. To keep yourself motivated, relieving stress by playing the piano can be a fantastic way. An article published in 2013 by the National Library of Medicine found that piano practice can actually help alleviate stress in elderly adults. Despite the studied demographic being older adults, these findings are encouraging for people of all ages that playing the piano can improve mental health. People who play the piano tend to experience less anxiety, loneliness, and depression than their nonmusical counterparts. Playing for a few minutes a day can improve your self-esteem, make you feel more positive, and lower your blood pressure. Piano playing is also a widely used form of therapy for Attention Deficit Disorder. # Piano Playing Improves Aural Awareness If you are able to feel and understand music while listening to it, you may find that music can make difference to your life. To feel the music deeply, you need to improve your aural awareness. Do you have a naturally musical ear, or are you tone deaf? Playing the piano can improve your overall aural awareness no matter where you fall in this range. Through piano playing, you are trained to recognize tones, intervals, and chords, and develop a sense of pitch. Good aural awareness makes it easier to identify and understand various sound patterns, and can help you if you have trouble hearing when there is a lot of background noise. Also, the improvement of aural awareness provides a chance for piano learners to be more aware of the charm of music and **the emotional feeling of others through voice tone changes**. ![](https://static.lianmuse.com/image/blog/cd8c129e87667d456a1037cc7b863652.jpeg?v=cd8c129e87667d456a1037cc7b863652) # Piano Playing Strengthens Hand Muscles & Hand-Eye Coordination Good motor skills can not only make you more agile, but also bring you energy in some way. Piano playing requires asymmetrical motions of both hands and good hand-eye coordination, which makes it a helpful way to improve your motor skills. A recent study on hand motor control in musicians suggests that piano performers have actually changed the cortical mapping to increase the speed of fingers. Playing the piano is like taking your fingers to the gym. As you practice on a regular basis, your fingers will inevitably strengthen. Yet the speed and the strength alone will not be the fingers’ greatest reward. Over time, your fingers will also become nimbler on the keys, and the repetitive motions of playing will increase your ability to coordinate the movements. As a result, you will discover better what it means to “get a grip,” not just on the piano keyboard but on your life at large. # Piano Playing Helps Develop New Language Skills It takes a long time for most people to learn a new language. The progress may be super fun, but unavoidably, challenging as well. New language skills can be improved in multiple ways, but have you ever known that piano playing can also help develop new language skills? A study in the early 1990s discovered the “Mozart effect” in children, which showed that early language development and spatial-temporal intelligence could be boosted by piano lessons for preschoolers. Some of the auditory skills learned from piano playing enhance specific aspects of the perception of spoken language. ![](https://static.lianmuse.com/image/blog/5cfa3266d5c316e6a557649bd76253a4.jpeg?v=5cfa3266d5c316e6a557649bd76253a4) Learning a new language may present an opportunity for you to live a different lifestyle. It can be even more appealing if you can get familiar with an instrument at the same time. # Piano Playing Encourages Creativity Whether you are a creative person or not, you are likely to have felt the wonder of creativity before. Every piano learner may be able to harness the creative power one day, since piano playing can encourage creativity. Dr. Ana Pinho at the Karolinska Institute in Stockholm conducted a study on jazz pianists. By monitoring the piano players’ brain activity when they were playing, she found that the part of their brain responsible for default or stereotypical responses was actually turned off. Instead, during the jazz pianists’ playing, their improvisational ability was brought out to create unique, original sound and style. It is always important to strengthen creativity, because it is the seed for new developments and new ideas which lead to a colorful life. ![](https://static.lianmuse.com/image/blog/11ba71a75c48c96b9a02b8e8fec67156.png?v=11ba71a75c48c96b9a02b8e8fec67156) # Piano Playing Teaches You Perseverance and Discipline No matter what you are focusing on at present, perseverance and discipline are must-have qualities which can contribute to your achievements. Learning new songs on the piano takes time and effort. Until you can actually play a song fluently by heart, you may need to spend several weeks practicing it. As you look forward to being able to play the song, you are supposed to stay motivated, learn patience, and increase your perseverance. These skills will always help you when you are confronted with difficult tasks at school, university, or work. Practicing the piano regularly also requires discipline. Some parts of the piano song you are working on may be so technically challenging that you will have to practice over and over again. At the beginning, it cannot be easy for you. Maybe you have to come up with some little treats to get yourself there. However, slowly but surely, you will get used to it, and being disciplined about your practicing time will not be hard any more. Likewise, you can follow the same steps to get more control over your own life. # Piano Playing Sharpens Your Concentration The rapid pace of life has transformed many people into multitaskers. The fact highlights the importance of concentration even more. Split concentration is an integral part of playing the piano, which helps sharpen your concentration skills. When you are playing the piano, you are also multitasking that you have to focus on the rhythm, pitch, tempo, note duration, and several other things, which makes the process of piano playing a multi-level concentration exercise. Once you become adept at piano playing, you may find that your concentration skills in the outside world are also greatly improved. In fact, studies have shown that every time a musician picks up his or her instrument, there are fireworks going on in his or her brain. Playing a musical instrument is perhaps the only activity during which almost all brain areas are simultaneously activated. What’s more, regular music practice at an early age can make structural changes to the brain that stay with you for the rest of your life, making your brain more efficient both while playing and in extra-musical endeavors. ![](https://static.lianmuse.com/image/blog/d6c40d7f49575a2b00ea797810745f61.png?v=d6c40d7f49575a2b00ea797810745f61) # Piano Playing Helps Improve Time Management & Organization Skills Many of us have quite busy schedules. Unfortunately, scientists have not found a way to make one day last more than 24 hours yet. To get all your activities and duties done, you need to get them organized. Piano playing can be particularly effective in challenging one’s ability to manage and organize their time since the mastery of piano techniques demands a routine practice schedule. Also, you have to understand how to schedule your practice sessions so that you can get the most benefit from them without feeling stressed when you are doing other things. For all piano learners, playing the piano is a great way to teach them the lifelong skills of time management. It is always fascinating to spend your limited life participating in numerous interesting activities, but you can only manage to do so when you are able to organize your time well. # Piano Playing Enhances Your Physical Health It is hard to say what is the fountain of youth on earth, but things which offer physical and physiological advantages can definitely play the role. Piano playing is supposed to be put on the list of these things, since it provides a plethora of health benefits that will supplement every part of your life. A study by the University of Miami indicated that adults who play the piano in a regular basis experience increased levels of human growth hormone (HgH), which is responsible for cell reproduction and regeneration. This hormone also helps regulate body fluids, muscle and bone growth, metabolism, and perhaps even heart function. Besides, music has also been shown to reduce heart and respiratory rates, and to increase immune response. Physical health is the basis of pursuing a life of development. As a piano player, you are fortunate to have a chance to enhance health while enjoying piano music. # Piano Playing Helps Expand Cultural Knowledge Music is a language that crosses all barriers of age and ethnicity. Through learning and playing music, you are likely to meet new friends, experience new cultures, and even live a new life. In a 2016 study of Amazonian women and men, musical preference was found to be strictly cultural and not hardwired into our brains. Counter to past assumptions about our brains’ preferences of dissonant versus consonant chords, the study’s findings support learning to play the piano as one way to expand our cultural knowledge of different sounds, styles and types of music. Especially for children, this exposure is critical to encouraging early open mindedness and cultural diversity. Another wonderful thing about playing the piano is that you can share the music with other people. It is an amazing way to bring together larger communities, as well as smaller groups of family and friends. ![](https://static.lianmuse.com/image/blog/e1efc6828894bf30ee88a64a0c629d2b.jpeg?v=e1efc6828894bf30ee88a64a0c629d2b) After learning about the trivia above, you may have a clear idea about what you will gain from practicing after piano lessons. No matter how old you are, there are a whole lot of reasons for you to learn piano. When you are playing the instrument, the benefits you gradually obtain can shape your life bit by bit. Once you have noticed the changes in your life, you will thank yourself for choosing piano to accompany you all along. Ref: 1. https://www.pianoemporium.com/10-benefits-playing-piano/#:~:text=Regular%20piano%20playing%20offers%20different,pressure%20and%20increase%20immune%20response 2. https://www.steinway.com/news/features/the-benefits-of-playing-piano 3. https://www.lindebladpiano.com/blog/benefits-of-playing-piano 4. https://www.flowkey.com/en/benefits-playing-piano 5. https://www.pianodreamers.com/benefits-of-playing-piano/ 6. https://www.pianistmagazine.com/blogs/5-remarkable-health-benefits-of-playing-the-piano/ 7. https://www.edweek.org/leadership/music-on-the-mind/1998/04 8. https://www.theguardian.com/science/2013/nov/12/scientists-creativity-pianists-brain-activity # Have a HAPPY practice!! # ## More Violy Music Articles: [**Piano Books for Beginners**](https://violy.app/blog/2021/04/Piano-Books-for-Beginners/) [**How Should Music Parents Help Their Children’s Practice**](https://violy.app/blog/2020/12/How-Should-Music-Parents-Help-Their-Children%E2%80%99s-Practice/) [**Best Piano Apps 2021**](https://violy.app/blog/2021/02/Best-Piano-Apps-2021/) [**Teaching Students to Read Key Signatures**](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [**A Comparison of Movable Do & Fixed Do**](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) {% raw %}
{% endraw %} ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/3edcab6644bfad50a68ae2c5dbab5814.png?v=3edcab6644bfad50a68ae2c5dbab5814) --- # The Open Class's First Foreign Master: Maxim Mogilevsky - URL: https://violy.app/blog/the-open-classs-first-foreign-master-maxim-mogilevsky - Markdown: https://violy.app/blog/the-open-classs-first-foreign-master-maxim-mogilevsky.md - Published: 2021-04-27 - Categories: Music News - Summary: Violy's April 2021 announcement introduced Russian pianist Maxim Mogilevsky as its open class series' first foreign master. The China-based online masterclass was scheduled for April 29, with five student performances and professional interpretation. *Historical context: This invitation was published on April 27, 2021, for a Violy open class in China. The event details and registration instructions below describe that historical event.* Emotional and romantic! Although Russian piano artistry developed somewhat later, it grew rapidly. Combining local musical characteristics with advanced performance techniques absorbed from Western Europe and elsewhere, it established an important place in the history of piano education worldwide. It also developed a distinctive performance style and school, making a significant contribution to both piano history and piano teaching. The original article describes the Russian piano school's influence on most of the world's renowned pianists, including Kissin, Rubinstein, Richter, Argentina's Martha Argerich, Vietnam's Dang Thai Son, and China's Yuja Wang, Lang Lang, and Haochen Zhang, among others. Parents and teachers in Violy's piano groups often discuss the Russian school of piano playing. For this edition of the Violy Open Class, we invited a Russian music master to give an online masterclass. This was the first time the Violy open class series had invited a foreign master to share his knowledge and teach our community. He was Mr. Maxim Mogilevsky. ![](https://static.lianmuse.com/image/blog/83a3abda80a5ef73590f1695fc87f9b3.jpg) The original introduction presented Maxim Mogilevsky as a renowned Russian musician and a Steinway Artist appreciated by audiences around the world. The original introduction described him as holding bachelor's, master's, and doctoral degrees from the renowned Moscow Tchaikovsky Conservatory, and as an advanced performing artist certified by the Juilliard School in the United States. The Washington Post, as cited in his artist biography, praised his individual character and exceptional technique, noting that he brings his own distinctive interpretation to the music he plays. ([China Shenzhen International Piano Concerto Competition biography](https://www.csipcc.com.cn/about-us/competition/jury/maxim-mogilevsky/)) He has regularly been invited to collaborate with leading orchestras, including the New York Philharmonic, the Orchestre National de France, and the Russian National Orchestra. The original introduction also noted that his performances had received several classical music awards. ![The Washington Post's coverage of Professor Mogilevsky](https://static.lianmuse.com/image/blog/64641fd70c27da8e8af625181b41c788.png) According to the original introduction, Maxim Mogilevsky had served on piano competition juries around the world, including the Kazakhstan International Piano Competition and the Moscow Conservatory International Piano Competition. At the time of the announcement, he was described as vice chairman of the Grotrian International Piano Competition. The original introduction described him as having taught students around the world and held professorships at many leading music conservatories. It noted that his student Tianxu An was a widely discussed figure at the most recent Tchaikovsky Competition at the time. ![Professor Mogilevsky with his student Tianxu An](https://static.lianmuse.com/image/blog/20cbf6d18047754c4f2fe11fa8eeafd4.png) In the years leading up to this announcement, Professor Mogilevsky had been active in China. The article introduced him as a distinguished professor of piano at the Communication University of Zhejiang, and noted his visits to music institutions across China, where he shared extensive knowledge of piano theory and performance with students. The article also described Professor Mogilevsky as a loyal Violy user who used its video call feature to teach students around the world. Thursday, April 29, at 7:30 p.m. (China Standard Time) We were delighted to invite Professor Mogilevsky as the speaker for the Violy Open Class, sharing insights from his many years of performing and teaching. - Speaker: Maxim Mogilevsky - Time: April 29, 2021, starting at 7:30 p.m. (China Standard Time) - Format: Live video broadcast Five students were scheduled to perform in turn, with the professor offering comments and guidance on each performance. A professional interpreter would also be present, so participants would not need to worry about the language barrier. ### How to Participate The original invitation gave the following registration instructions: 1. Scan the QR code on the poster to visit Violy's WeChat Channels account. 2. Tap the reservation button to reserve a place in the class. 3. WeChat would automatically send a reminder when the class began. ![](https://static.lianmuse.com/image/blog/5ff3435689de387082affe0feafe8da9.png) --- # Piano Books for Beginners - URL: https://violy.app/blog/piano-books-for-beginners - Markdown: https://violy.app/blog/piano-books-for-beginners.md - Published: 2021-04-19 - Summary: It is always challenging to start to learn the piano from scratch. But with the help of right tools, # Suggestions from Piano Teachers It is always challenging to start to learn the piano from scratch. But with the help of right tools, the piano beginners can quickly become proficient in basic piano techniques. Apart from an excellent piano teacher who can guide you along, high-quality piano books are also necessary for you to make progress. If you are new to piano, the following piano books can be wonderful options. Also, the piano sheet music contained in more than half of the recommended piano books can be found in [Violy App](https://violy.app/). ![](https://static.lianmuse.com/image/blog/5f70788ce3f090b3a1ac20312c8dd5f9.png?v=5f70788ce3f090b3a1ac20312c8dd5f9) # Piano Adventures Written by Nancy & Randall Faber, the set of books titled "Piano Adventures" take a different approach to teaching piano beginners to learn the instrument. ![Original Picture from https://pianoadventures.com/](https://static.lianmuse.com/image/blog/53653e0386fabbadfbceaa108e9210bc.jpg?v=53653e0386fabbadfbceaa108e9210bc) ***Piano Adventures*** is the teaching method of choice at leading university programs and music studios around the world. The student-centered approach of this method uses analysis, creativity, and expression to develop a "musical mind and heart". The delightful, pianistic pieces and creative theory pages, combined with an outstanding technical approach, encourage piano beginners of different ages to practice and make progress. A comprehensive introduction to piano techniques and music theory is provided in ***Piano Adventures*** books. Piano beginners at all levels can find what they need in the books and gradually master piano playing. For young learners, they can develop basic piano skills with the help of fun-filled songs, rhythm games, and technique activities. For adult beginners, they can lay a solid foundation by using the lesson book, the theory book, the technique & artistry book, and the performance book together, and afterwards, understand piano music better. # The Virtuoso Pianist ***The Virtuoso Pianist*** written by Charles-Louis Hanon is a compilation of 60 exercises meant to train piano players in speed, precision, agility, and strength of all fingers and flexibility in the wrists. The book is one of the most widely used piano books. ![Original Picture from https://www.amazon.com/Hanon-Virtuoso-Exercises-Complete-Schirmers/dp/0793525446](https://static.lianmuse.com/image/blog/4db44f3f6a58660e6747704141534c6d.jpg?v=4db44f3f6a58660e6747704141534c6d) The piano exercises contained in the book are intended to address common problems which could hamper the performance abilities of a piano student. The exercises are divided into 3 parts: (1) Exercises 1–20: These are the most famous exercises, and are used to develop finger strength and independence. Each exercise contains a sequence of 8 semiquavers, beginning on C, which is then repeated starting on D, and so on across 2 octaves. The exercise is then repeated in reverse down 2 octaves to the starting C. (2) Exercises 21–43: This more difficult section is meant to be played after the piano beginner has fully mastered Part (1). Scales and arpeggios are included in this part. (3) Exercises 44–60: Hanon recommends the piano players to work on this part after mastering the previous 2 parts. This part includes repeated notes, repeated double notes, scales in thirds and octaves, tremolos, etc.. # John Thompson's Easiest Piano Course Almost every piano learner is familiar with this set of method books named ***John Thompson's Easiest Piano Course***. The books have been preferred by more than 12 million piano students since 1955. ![Original Picture from https://iteacherschoice.com/method-books/hl-easiestpianocourse](https://static.lianmuse.com/image/blog/6a9e400bf78efc1c5efb014d2cf52e71.jpg?v=6a9e400bf78efc1c5efb014d2cf52e71) ***John Thompson's Easiest Piano Course*** is a comprehensive step-by-step course specifically designed to suit the needs of all young piano beginners. The books feature an amusing family of characters and illustrations to help emphasize the information being taught. The clear and straightforward layout makes learning more fun and ideal for parent participation. Besides, the books contain work sheet pages which encourage the review of new information and concepts. The melodies in the books are composed to fit a beginning child's small hands. In addition to exciting tunes, sight-reading exercises, written exercises, and read-aloud exercises are also included. # 24 Piano Studies for the Left Hand It is not easy for most piano beginners to train their left hand since about 90% of people are right-handed. But complicated and asymmetrical motions of both hands are required for the mastery of piano playing. For piano students who are eager to improve left hand skills, ***Carl Czerny's 24 Piano Studies for the Left Hand*** can be the best choice. ![Original Picture from https://images.app.goo.gl/ptg9oazAPGJB6auRA](https://static.lianmuse.com/image/blog/e436ce89baa39fb720b571146c43448c.png?v=e436ce89baa39fb720b571146c43448c) The book is not a collection of left-hand solo studies, though it focuses on the dexterity of the left hand. The book contains multiple types of exercises, such as scales, double thirds, full chords, arpeggios, skips, melody and accompaniment in the left-hand part, turns, passing of the second finger over the first, fast repeated notes with changing fingers, exercises to strengthen the fourth and fifth fingers, grace notes and octaves, etc.. # Hal Leonard Student Piano Library The ***Hal Leonard Student Piano Library*** series is compelling for piano students. With the help of the books, even the most inexperienced piano beginners can create music right from the very start of their studies. ![Original Picture from https://images.app.goo.gl/rfv3ERPS3syNUkaz5](https://static.lianmuse.com/image/blog/734180c7f0873bfb8e4a9cae79da85f7.jpg?v=734180c7f0873bfb8e4a9cae79da85f7) The set of books are chock-full of simple instructions, illustrations, and CDs that the piano beginners can follow along with. The abundant content makes it easy for piano students to learn how to play right in the comfort of their own home. For piano teachers, the variety of styles and moods, the natural rhythmic flow, the singable melodies and lyrics, the accompaniments, and the improvisations integrated throughout the books make the series of Hal Leonard Student Piano Library perfect for private or group instruction. ![](https://static.lianmuse.com/image/blog/6ddf9f0a53e2597c667ab82758299bd9.png?v=6ddf9f0a53e2597c667ab82758299bd9) # Bastien Piano Basics The ***Bastien Piano Basics*** method is comprised of 5 completely correlated course books - ***Piano, Theory, Performance, Technic, and A Line A Day Sight Reading.*** ![Original Picture from https://images.app.goo.gl/HMgAi3gyp1ErZwAv8](https://static.lianmuse.com/image/blog/88af00810833996292034838dcda7a36.jpg?v=88af00810833996292034838dcda7a36) The course of ***Bastien Piano Basics*** uses a gradual multi-key approach. 5 levels of carefully graded lesson materials provide constant opportunities for reinforcing basic musical concepts. Piano is the main lesson book in the course. The carefully graded, logical learning sequence assures steady and continual progress. Also, the original music written by the author includes a stimulating mixture of pop, folk, classical, and contemporary styles. Through a dynamic way, the ***Bastien Piano Basics*** books introduce young piano learners to the marvelous world of music, and make piano learning more enjoyable. # Suzuki Piano School The Suzuki method is an internationally known music curriculum and teaching philosophy. The core Suzuki literature is published on audio recordings and in sheet music books for each instrument, and Suzuki teachers supplement the repertoire common to each instrument as needed. The ***Suzuki Piano School*** series is composed of 7 volumes. The piano beginners can start from the first volume, and gradually move forward to the next volumes. ![Original Picture from https://images.app.goo.gl/Khea2kz4YFiSgcC97](https://static.lianmuse.com/image/blog/964ed27ca05e7221411bb0ae31af3576.jpg?v=964ed27ca05e7221411bb0ae31af3576) The first book begins with variations on ***Twinkle, Twinkle, Little Star***, and continues with many folk songs and contemporary songs. As the piano students progress to the other books, they can find more famous pieces written by romantic, classical and baroque composers, such as Schumann, Beethoven, Bach, Mozart, Haydn, Handel, etc.. # Alfred's Basic Adult Piano Course: Adult All-in-One Course If you are an adult piano beginner and learn the instrument with a piano instructor, you should not miss this piano book named Alfred's Basic Adult Piano Course: ***Adult All-in-One Course***. ![Original Picture from https://images.app.goo.gl/46FN1WoTJMTSkeRS7](https://static.lianmuse.com/image/blog/80ac7d4ba3401e3910a87414d36069d7.jpg?v=80ac7d4ba3401e3910a87414d36069d7) The book is designed for the beginning piano students who are looking for a truly complete piano course. This comprehensive course adds such features as isometric hand exercises, finger strengthening drills, and written assignments that reinforce each lesson's concepts. The piano beginners can find a smooth and logical progression between each lesson, a thorough explanation of chord theory and playing styles, and outstanding extra piano songs, including folk, classical, and contemporary selections. At the completion of this course, the piano students will have learned to play some of the most popular piano music ever written, and will have gained a good understanding of basic musical concepts and styles. # Piano Book for Adult Beginners Damon Ferrante's lesson book called ***Piano Book for Adult Beginners*** and the accompanying streaming videos are all that adult piano beginners will ever need for getting started to play the most famous and cherished piano classics. ![Original Picture from https://www.rollingstone.com/wp-content/uploads/2020/06/damon-ferrante-piano-book-adult-beginners.jpg?w=386](https://static.lianmuse.com/image/blog/eae6fd602153b6a90e1f7244e96271d0.jpg?v=eae6fd602153b6a90e1f7244e96271d0) The lessons begin with basic finger patterns and piano key recognition, and gradually build on skills as the course progresses. Besides, the lessons will greatly expand the piano students' repertoire of beloved piano songs, and improve their piano techniques, creativity, and understanding of music. Whether you are teaching yourself piano or learning with a piano teacher, this book and the streaming videos will take your piano playing to a whole new level. # The Joy of First Year Piano The book belongs to a constantly expanding series named "Joy of…". The series has been chosen by musicians all over the world. They love it for the imaginative choice of materials. In ***The Joy of First Year Piano***, the author guides the piano beginners through piano works to help them improve piano skills. ![Original Picture from https://images.app.goo.gl/xi4cmBbDEcAAyATP8](https://static.lianmuse.com/image/blog/197e00efd80a074301634b4ad584e7c8.jpg?v=197e00efd80a074301634b4ad584e7c8) A diverse range of music is covered in this book.The book also comes with audio. Each piece is accompanied by a track boasting a skilled pianist playing the piece. What's more, as a method book, ***The Joy of First Year Piano*** allows piano teachers to vary the approach according to the needs of each piano student. No matter what piano books you choose, it is always significant to keep in mind that working with a professional piano teacher will help you advance your skills faster. In the meanwhile, constant practicing can make it possible for you to take full advantage of the useful piano books. ***Ref:*** 1. https://pianoadventures.com/browse/libraries/piano-adventures/ 2. https://en.wikipedia.org/wiki/The_Virtuoso_Pianist_in_60_Exercises 3. http://www.methodbooks.com/store/john-thompson/john-thompson-easiest-piano-course.htm 4. https://www.amazon.com/gp/product/B005LTHMFQ/ref=dbs_a_def_rwt_hsch_vapi_tkin_p1_i5 5. https://www.merriammusic.com/school-of-music/piano-lessons/piano-books/ 6. https://www.amazon.com/WP200-Bastien-Piano-Basics-Primer/dp/0849752655 7. https://en.wikipedia.org/wiki/Suzuki_method#Piano 8. https://www.goodreads.com/book/show/848520.Adult_All_in_One_Course 9. https://www.amazon.com/Piano-Book-Adult-Beginners-Technique-ebook/dp/B0746L9LH8 10. https://www.merriammusic.com/school-of-music/piano-lessons/piano-books/ 11. https://kjos.com/piano/methods/bastien-piano-basics.html#tab-description # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violy Music Articles: [**Violin Books for Beginners**](https://violy.app/blog/2020/01/Violin-Books-for-Beginners/) [**How Should Music Parents Help Their Children’s Practice**](https://violy.app/blog/2020/12/How-Should-Music-Parents-Help-Their-Children%E2%80%99s-Practice/) [**Best Piano Apps 2021**](https://violy.app/blog/2021/02/Best-Piano-Apps-2021/) [**Teaching Students to Read Key Signatures**](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [**A Comparison of Movable Do & Fixed Do**](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/3edcab6644bfad50a68ae2c5dbab5814.png?v=3edcab6644bfad50a68ae2c5dbab5814) --- # Violy Creator Studio - URL: https://violy.app/blog/violy-creator-studio - Markdown: https://violy.app/blog/violy-creator-studio.md - Published: 2021-04-16 - Summary: Did not find the sheet music you want in Violy App’s [“Music Cloud”](https://www.youtube.com/watch?v # A Creative Toolbox for Sheet Music Uploading Did not find the sheet music you want in Violy App’s [“Music Cloud”](https://www.youtube.com/watch?v=AzyAuJRdVxo)? Don’t worry, you can upload the music scores into the app by yourself. [“Violy Creator Studio”](https://creator.violy.app/login#/) allows each Violy musician to be a music publisher. Once the uploaded sheet music is released after a short review process, you will be able to find it in “Music Cloud” in Violy App, and start your practice at any time and in any mode. Besides, by uploading music through “Violy Creator Studio”, you can make it possible for Violy musicians all over the world to check out your music works and practice together. ![](https://static.lianmuse.com/image/blog/a13aec99638ea6028c277a44e389c7a1.png?v=a13aec99638ea6028c277a44e389c7a1) Find below the instructions of how to upload music through “Creator Studio”: # Create A New Album Visit Violy’s official website (https://violy.app/), and click on “Creator” on the top. The current version of “Violy Creator Studio” is only accessible with a web browser, and is preferentially designed for PC and Mac. ![](https://static.lianmuse.com/image/blog/88fe4a9d655bb499732135cba90bf0cf.jpeg?v=88fe4a9d655bb499732135cba90bf0cf) Log in the “Creator Studio” with your Violy account. ![](https://static.lianmuse.com/image/blog/c6366a1d3a9030eee3a671ae14c6bbdb.jpeg?v=c6366a1d3a9030eee3a671ae14c6bbdb) Click on **“Add New Album”** after the login. ![](https://static.lianmuse.com/image/blog/0a76613e5861bdf4ef8105257967b260.jpeg?v=0a76613e5861bdf4ef8105257967b260) **Fill in the album** information, and click on **“Submit”** to create a new album. ![](https://static.lianmuse.com/image/blog/6401ae90e07bd45defe795b90bfccc69.jpeg?v=6401ae90e07bd45defe795b90bfccc69) **“Visibility”**, **“Album Title”** and **“Album Cover”** must be completed. ![](https://static.lianmuse.com/image/blog/b70840062062a276cb09dfa3376e3112.jpeg?v=b70840062062a276cb09dfa3376e3112) The **“Visibility”** of your album can be set to **“Private”**, **“Public”**, **“Group”** or **“Academy”**. If your album is set as a **“Private”** album, it will only be visible to yourself. Private albums are not required to pass the review process. You can find them in **“Violy” > “Music Cloud” > “Private” > “Personal”** after they are released. If you are in groups or academies, and set the **“Visibility”** of your album to **“Group”** or **“Academy”**, the album will be visible to all members in the certain group/academy which is selected to share the sheet music album with. Albums for groups and academies are not required to pass the review process either. Once the albums are released, they can be found in **“Violy” > “Music Cloud” > “Private” > “Group”**. If your album is set as a **“Public”** album, it will be visible to all Violy users. Every piece of music included in public albums needs to be reviewed by Violy team before being released. # Add Music and Parts in the Album Once the new album is created, you can add music pieces into it by uploading sheet music files. Click on **“CREATE MUSIC”** to add music scores. ![](https://static.lianmuse.com/image/blog/c06ba72f6929ed7bc7c9a28938c0c5ca.jpeg?v=c06ba72f6929ed7bc7c9a28938c0c5ca) Complete the **music title**, select the **instrument** and the **composer**, and upload sheet music files. If there are more than one part in the music piece you would like to upload, click on **“+ ADD NEW PART”**, and fill in the required information. Then you can finish uploading by clicking on **“SUBMIT”**. ![](https://static.lianmuse.com/image/blog/5e1c8fde9a9779cec4336db095c738f3.jpeg?v=5e1c8fde9a9779cec4336db095c738f3) The **only supported formats** of sheet music files are **MuseScore(.mscz)** and **MusicXML(.musicxml)**. The MuseScore files can be directly exported as MusicXML files through [**MuseScore software**](https://musescore.org/en). Scanning and recognizing of sheet music files in JPG, PDF, or other formats are not supported. # Submit Music for the Review Process If the “Visibility” of your album is set to “Public”, it needs to be reviewed. After the submission, it normally takes 24 hours for Violy team to review and release the album and the sheet music contained. ![](https://static.lianmuse.com/image/blog/d101a9fa1dc1cf3876e7ee28983c3744.jpeg?v=d101a9fa1dc1cf3876e7ee28983c3744) The current version of “Violy Creator Studio” is only for sheet music uploading. More features will be supported later, such as adding audio and video demos for the uploaded sheet music, and receiving other users’ likes and comments. “Violy Creator Studio”, it is all in creative! ![](https://static.lianmuse.com/image/blog/05b1ff5c516b059ac4b14656d5200a28.png?v=05b1ff5c516b059ac4b14656d5200a28) # FAQs about Using MuseScore Software to Create Sheet Music ## Q: How to download MuseScore? A: You can download MuseScore Software here: https://musescore.org/en/download. To create sheet music, you need to install the software on your computer. ## Q: How to use MuseScore? A: Create a new score after entering MuseScore. ![](https://static.lianmuse.com/image/blog/d961838d6fb64088eb53ee1c6afbc1a1.jpeg?v=d961838d6fb64088eb53ee1c6afbc1a1) Fill in the information required, and click on **“Next”**. ![](https://static.lianmuse.com/image/blog/3877aea288ad2b3489779d7592eadb96.jpeg?v=3877aea288ad2b3489779d7592eadb96) Select the instrument (Violin is taken as an example in the following pic), key signature, tempo, time signature, number of measures, etc., and then click on **“Finish”**. ![](https://static.lianmuse.com/image/blog/c062068c07ab7dbdd150aa65bc90ce67.jpeg?v=c062068c07ab7dbdd150aa65bc90ce67) Now you can start to add the elements you need into the blank stave. ![](https://static.lianmuse.com/image/blog/a3501b76f19e49d168237fd3e5086287.jpeg?v=a3501b76f19e49d168237fd3e5086287) To **add music notes**, click on the symbol of **“Enter Notes”**, select a note of certain value, and put it in any measure according to your own preference. ![](https://static.lianmuse.com/image/blog/b9c98f7e39397ea39924637cada99a6a.jpeg?v=b9c98f7e39397ea39924637cada99a6a) You can also type the letters “C” “D” “E” “F” “G” “A” “B” on the computer keyboard to add notes. To add **key signatures, time signatures, or barlines**, select a measure, choose a certain section in **“Palettes”**, and click on the element you would like to enter (The section “Key Signatures” is taken as an example in the following pic). ![](https://static.lianmuse.com/image/blog/a4c7673a87e72752d3840dea33224778.jpeg?v=a4c7673a87e72752d3840dea33224778) To **add accidentals, articulations, grace notes, dynamics, fingerings, etc.**, choose a certain section in **“Palettes”**, select a note in the stave, and click on the element you would like to put into the stave (The section “Accidentals” is taken as an example in the following pic). ![](https://static.lianmuse.com/image/blog/c08e70a3e06ad02eff9f8268e8033412.jpeg?v=c08e70a3e06ad02eff9f8268e8033412) To **add slurs, crescendo hairpins, diminuendo hairpins, or other elements in “Lines” section**, select 2 notes, and click on the element you would like to enter(The slur is taken as an example in the following pic). ![](https://static.lianmuse.com/image/blog/cff9be4d499a9360c7d07a163fda9644.jpeg?v=cff9be4d499a9360c7d07a163fda9644) To **add breaks and spacers**, select a measure, enter **“Breaks & Spacers”** section, and click on the certain element you would like to put into the stave. ![](https://static.lianmuse.com/image/blog/6d0b015cff0b9c627568193e3576ddcf.jpeg?v=6d0b015cff0b9c627568193e3576ddcf) To **change the format**, enter **“Format” > “Page Settings”**. ![](https://static.lianmuse.com/image/blog/476db07c554fccae86a89fb21998720c.jpeg?v=476db07c554fccae86a89fb21998720c) To **edit more information**, enter **“File” > “Score Properties”**. ![](https://static.lianmuse.com/image/blog/96e9a52eece895fdb41d9ae382b6b968.jpeg?v=96e9a52eece895fdb41d9ae382b6b968) To understand the features better, you can also check out the video tutorial of how to use the latest version of MuseScore: {% raw %}
{% endraw %} ## Q: How to export the sheet music file from MuseScore? A: Enter **“File” > “Export”**. ![](https://static.lianmuse.com/image/blog/d7437f0781d03c67b821e65a657ea9c3.jpeg?v=d7437f0781d03c67b821e65a657ea9c3) Set the name and format of the file, and save it to your computer. ![](https://static.lianmuse.com/image/blog/9ea919db1d40047b56a450652d2766c5.jpeg?v=9ea919db1d40047b56a450652d2766c5) ## Q: What should I pay attention to when using MuseScore to create sheet music? A: In order to make the sheet music created in MuseScore work fine in Violy App, there are some norms need to be followed: 1. One instrumental voice part should correspond to only one music score, each music score should correspend to two musescore files (**MuseScore(.mscz)** and **MusicXML(.musicxml)**). 2. If there are multiple parts included in a piece, the sheet music of each part should be created and uploaded separately. To separate the parts, click on **“File” > “Parts” > “All Parts” > “OK”**. ![](https://static.lianmuse.com/image/blog/40f404d4ad10820ef68d8ec04761b31a.jpeg?v=40f404d4ad10820ef68d8ec04761b31a) ![](https://static.lianmuse.com/image/blog/c137ebaf453ef72794270ec662784047.jpeg?v=c137ebaf453ef72794270ec662784047) 3. If the elements added into the music scores are manually dragged and moved, in the exported MusicXML file, they may automatically return to where they were before. It is necessary to take the display effect of the sheet music into consideration before moving the elements. 4. After uploading the sheet music into Creator Studio, please click on **“Preview”** to check if there is no error in the music score. ![](https://static.lianmuse.com/image/blog/8e6140f51a00673efdf22bf2951829ec.jpeg?v=8e6140f51a00673efdf22bf2951829ec) 5. The title is required in the sheet music, while the subtitle is optional. The suggested font for the title is FreeSerif, and the suggested font size is 36. The punctuation marks included in the title should follow the rules in the certain language of the title. ![](https://static.lianmuse.com/image/blog/e2b5902da77d24535c61dd3f868f8577.jpeg?v=e2b5902da77d24535c61dd3f868f8577) 6. The name of the composer should be added as well. The recommended font and the font size are FreeSerif and 12. If the composer is unknown, enter **“Unknown”** when uploading the sheet music into Creator Studio. When it comes to scales, enter “Scale”. 7. When the clefs and the key signatures are changed, the pitches of the notes contained in the selected measures may change as well. ![](https://static.lianmuse.com/image/blog/20103782cb9a1a6122e9a2eec86f7a34.jpeg?v=20103782cb9a1a6122e9a2eec86f7a34) 8. The time signature in the sheet music uploaded should be the same as that in the original music score. ![](https://static.lianmuse.com/image/blog/efc27b5b805f1cd80c092f1b084c80a8.jpeg?v=efc27b5b805f1cd80c092f1b084c80a8) 9. The tempo should be added to each music score. If it is not included in the original sheet music, you can refer to the recommended tempos below: 2/2: = 50~60 2/4, 3/4, and 4/4: = 70~80 3/8, 5/8, 6/8, and 7/8: ≥ 120 ![](https://static.lianmuse.com/image/blog/5d72d8d24acba3ad31766d7588b99a73.jpeg?v=5d72d8d24acba3ad31766d7588b99a73) 10. To change the value of a certain note, select the note, and then add different value according to your own needs. ![](https://static.lianmuse.com/image/blog/5c90549fe771edbc7f0682a79bf46249.jpeg?v=5c90549fe771edbc7f0682a79bf46249) 11. After adding an accidental for a note, remember to delete the other accidentals which automatically appear beside the other same notes in the same measure. 12. Make sure that the marks of dynamics are placed below the correct note. 13. To add lines below or above a measure, select a certain measure, and click on **“Line”** in **“Lines”** section. Then, you can add texts above the line by selecting a certain note in the measure and clicking on **“Text” > “Staff Text”**. ![](https://static.lianmuse.com/image/blog/50bee08d17f6079e8c586f045ff98024.jpeg?v=50bee08d17f6079e8c586f045ff98024) 14. Use a tie to connect 2 same notes, and use a slur to link 2 different notes. 15. The slur is required to use when you need to connect a note and its grace note. 2 grace notes cannot be linked with a slur. 16. If there are multiple parts contained in a piece, the crescendo hairpins and the diminuendo hairpins should be added into the first part. 17. To add fingerings, you are supposed to find the certain number in **“Fingering”** section. If there are brackets or texts contained in the texts of fingerings, click on **“Staff Text”** to add the related elements. 18. To add any texts in sheet music, select a note and click on **“Staff Text”**, or press “ctrl” and “T” on the computer keyboard. 19. To add the crescendo lines and the diminuendo lines, select a note and click on **“Staff Text”**. 20. To add repeats and jumps, select a measure, and click on **“Repeats & Jumps”** to choose the element you would like to enter. ![](https://static.lianmuse.com/image/blog/6024de75087c60a0f835c23d050716fc.jpeg?v=6024de75087c60a0f835c23d050716fc) 21. To add trills, you are suggested to select “tr” in **“Articulations”** instead of the trill line in **“Lines”**. ![](https://static.lianmuse.com/image/blog/9fc04808574f7a511f9b7b05a0eccf10.jpeg?v=9fc04808574f7a511f9b7b05a0eccf10) 22. The suggested page size is A4. Besides, we suggest you to set the staff space and the page margins as that shows in the following pic. ![](https://static.lianmuse.com/image/blog/b80ee7a22ee5c326aa129ba7423cfb3d.jpeg?v=b80ee7a22ee5c326aa129ba7423cfb3d) 23. To add a line break, select a measure or a barline, and then press “Enter” on the computer keyboard. 24. Before uploading, re-check if the MuseScore file can be opened normally. 25. If there are multiple-measure rests contained in the sheet music, press “M” on the computer keyboard for twice before exporting the MusicXML file. Otherwise, the music score may not be demonstrated properly in Violy App. 26. Select the right instrument for each part when uploading the sheet music. Or the playback of the music in Violy App may be affected. ## Q: I know how to use music notation software, but I am not a user of MuseScore. What should I do? A: MusicXML files are supported on various music notation software. You may use other software to create music scores, but we suggest you to export the required sheet music files (both MuseScore files and MusicXML files) from MuseScore before uploading, since “Violy Creator Studio” has better compatibility with files exported from MuseScore. Users of [**Overture Software**](https://sonicscores.com/overture/) and [**Sibelius software**](https://www.avid.com/sibelius) can follow the instructions below to upload the sheet music. If you use neither of the two, the certain steps can also be referred to. If you use **Overture Software** to create music scores, you may move the sheet music file to MuseScore first: Enter **“File” > “Export” > “As MusicXML file”** after you finish editing the sheet music in Overture. ![](https://static.lianmuse.com/image/blog/5894b48e7d077d7f660649c41f47eb8a.jpeg?v=5894b48e7d077d7f660649c41f47eb8a) Save the MusicXML file to your computer. Then, enter **“MuseScore” > “File” > “Open”**, select the MusicXML file which is just saved, and open it in MuseScore. ![](https://static.lianmuse.com/image/blog/cde8394e369316f501c1a7beabaa0a7b.jpeg?v=cde8394e369316f501c1a7beabaa0a7b) Later, you can follow the instructions introduced above to upload your sheet music into Violy App. Likewise, if you are a user of **Sibelius Software**, you need to enter **“File” > “Export” > “MusicXML” > “Uncompressed (xx.xml)”** to export the sheet music file from Sibelius first: ![](https://static.lianmuse.com/image/blog/b1db753a9abacbd2dce41f139fa5cf1d.jpeg?v=b1db753a9abacbd2dce41f139fa5cf1d) Then, after saving the MusicXML file, you can open it with MuseScore, and upload the sheet music as intended. ## Q: I know how MuseScore works, but it is still difficult for me to deal with the sheet music by myself. What should I do? A: It does take some time to create sheet music. If you cannot handle the task, we can recommend you third-party personnel who have collaborated with Violy team and can provide the service of sheet music creating. Here are the suggested service prices: - For music pieces in grade 3 and lower: 3 USD per page - For music pieces in grade 4 to 6: 5 USD per page - For music pieces in grade 7 and higher: 8 USD per page The prices are accepted by the third-party personnel. Please consult with them directly if you have any questions. Please notice that the collaboration between you and the person who offers the service is independent of Violy team. You can contact us if the collaboration fails to go well. Then we may consider not recommending the certain person any more. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violy Music Articles: [**How Should Music Parents Help Their Children’s Practice**](https://violy.app/blog/2020/12/How-Should-Music-Parents-Help-Their-Children%E2%80%99s-Practice/) [**Best Violin Apps for 2021**](https://violy.app/blog/2020/12/Best-Violin-Apps-2021/) [**Teaching Students to Read Key Signatures**](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [**A Comparison of Movable Do & Fixed Do**](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [**Things You Must Know About Violin Bowing**](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [**Violin Books for Beginners**](https://violy.app/blog/2020/01/Violin-Books-for-Beginners/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/3edcab6644bfad50a68ae2c5dbab5814.png?v=3edcab6644bfad50a68ae2c5dbab5814) --- # Make Music Reviews Based on Real Music Performance - URL: https://violy.app/blog/make-music-reviews-based-on-real-music-performance - Markdown: https://violy.app/blog/make-music-reviews-based-on-real-music-performance.md - Published: 2021-03-19 - Summary: Apart from daily practice, timely feedback from music teachers also plays an important role in the s # Comment on Music Practice in Violy App Apart from daily practice, timely feedback from music teachers also plays an important role in the students’ music learning and music practicing process. In Violy App, music teachers can check music students’ homework under **"OVERALL"** and **"PRACTICES"** sections in **"Students"** page. Now the **"Homework Comment"** feature is newly supported, which allows music teachers to leave comments based on the students’ performance recordings in real time. To understand the feature better, check out the instructions of its usage below. ![](https://static.lianmuse.com/image/blog/51ad5168be8f2cad0d3fd8dc611d5f53.png?v=51ad5168be8f2cad0d3fd8dc611d5f53) # Create Reviews on Music Practice Homework Enter **"Students" > "MEMBERS"**, and click on a student’s avatar. ![](https://static.lianmuse.com/image/blog/2ac69aca6cd77d391082dfbb189dfdc3.jpeg?v=2ac69aca6cd77d391082dfbb189dfdc3) Select an **"Audition" record**. ![](https://static.lianmuse.com/image/blog/96cabf66f35383074ab28990694b1584.jpeg?v=96cabf66f35383074ab28990694b1584) Click on the symbol of **"Create Reviews"**, mark the content you would like to comment on, and write reviews. ![](https://static.lianmuse.com/image/blog/e4a3d99a7d8d03f2074822ec85ba9aff.jpeg?v=e4a3d99a7d8d03f2074822ec85ba9aff) You can also click on the **"Microphone"** symbol to record voice comments, and then send the audio. ![](https://static.lianmuse.com/image/blog/77be741312b17573f9cc44b91083da0a.jpeg?v=77be741312b17573f9cc44b91083da0a) Later, the student can receive and check out the comments on his or her side in **"History"** page. ![](https://static.lianmuse.com/image/blog/872e32562e5bf564b9bf4aeb27e62e2b.jpeg?v=872e32562e5bf564b9bf4aeb27e62e2b) With the "Homework Comment" feature, music teachers can provide after-class guidance for students in a more efficient way. More new features designed for music education will be available in the future. Please stay tuned! ![](https://static.lianmuse.com/image/blog/4a67bf9e880f4475ea15b8cc35449266.png?v=4a67bf9e880f4475ea15b8cc35449266) # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violy Music Articles: [**How Should Music Parents Help Their Children’s Practice**](https://violy.app/blog/2020/12/How-Should-Music-Parents-Help-Their-Children%E2%80%99s-Practice/) [**Best Violin Apps for 2021**](https://violy.app/blog/2020/12/Best-Violin-Apps-2021/) [**Teaching Students to Read Key Signatures**](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [**A Comparison of Movable Do & Fixed Do**](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [**Things You Must Know About Violin Bowing**](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [**Violin Books for Beginners**](https://violy.app/blog/2020/01/Violin-Books-for-Beginners/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/3edcab6644bfad50a68ae2c5dbab5814.png?v=3edcab6644bfad50a68ae2c5dbab5814) --- # New Feature | Check In with the Sound of Your Instrument and Record Your Practice Time - URL: https://violy.app/blog/new-feature-check-in-with-the-sound-of-your-instrument-and-record-your-practice-time - Markdown: https://violy.app/blog/new-feature-check-in-with-the-sound-of-your-instrument-and-record-your-practice-time.md - Published: 2021-03-01 - Categories: Product - Summary: This March 2021 introduction to Violy's practice check-in feature in China explains how instrument sounds are used to track practice time, how to view practice statistics, and what to keep in mind when using the feature. *Historical context: This article introduced a feature in the China version of Violy in March 2021. The app versions and instructions below reflect that release.* Winter break is almost over. The children have had their fill of food and fun. As for all the instrument practice they were supposed to do… well… Whether children have been practicing properly at home has always been one of parents' biggest concerns. To make sure their children spend enough time practicing, many parents sit beside them and supervise. But when parents are not there, it is hard to tell whether their children have been practicing properly. To help parents keep better track of their children's practice time, we introduced the practice check-in feature. **Note:** To use this feature at the time of its release, the app needed to be updated to the latest version: Android 6.0.2 or iOS 8.0.0. ## Check In with the Sound of Your Instrument: Record Your Practice Time ### Instrument Sound Recognition Before you start practicing, tap the "Start Check-in" button. The app will begin listening. ![](https://static.lianmuse.com/image/blog/a851a83669ba3b4e2bcd1cd2cd2984a5.jpg) Once enabled, it automatically detects surrounding sounds. When it recognizes the sound of an instrument, it displays "Practicing" and automatically tracks your practice time. ![](https://static.lianmuse.com/image/blog/40be3c00dc9ca50caf7c93a726941b5b.png) ### Check-in Statistics Tap anywhere in the practice check-in module to open the check-in statistics page and view more detailed information. To make check-ins more fun, we use "stars," "moons," and "suns" to represent practice time. ![](https://static.lianmuse.com/image/blog/711c74a693ad76a6477f00947e5cbb4c.jpg) 10 minutes of practice = 1 star; 100 stars = 1 moon; 10 moons = 1 sun. On this page, you can also see today's practice time, your progress toward your goal, and the total number of stars you have lit up. ![](https://static.lianmuse.com/image/blog/1ae1e80109193115343627b75c3dd8f1.jpg) The calendar below lets you view your practice activity by date. Tap a date to see details such as your practice time and the number of pieces you practiced that day. ![](https://static.lianmuse.com/image/blog/e625a9af667676c35e940c5c8c00d4d1.png) Gray means you practiced that day but did not reach your goal. A yellow star means you reached your goal for that day. ## Things to Keep in Mind - Update to the latest app version available at the time of this release. - Once check-in is enabled, keep the screen on. Do not leave the app or return to your phone's home screen, as this will affect the statistics. - Before starting a check-in, make sure the instrument you are practicing matches the instrument you selected in the app. --- The original article attributes two secrets of practicing to Itzhak Perlman: **first, practice slowly in sections; second, practice every day.** It also attributes this advice to Perlman: do not practice too much each day, but do practice every day. We hope the practice check-in feature will encourage young music students to practice more actively and make it easier for parents and teachers to understand how their practice is going. --- # Best Piano Apps for 2021 - URL: https://violy.app/blog/best-piano-apps-for-2021 - Markdown: https://violy.app/blog/best-piano-apps-for-2021.md - Published: 2021-02-02 - Summary: Plan to learn a musical instrument? There are multiple reasons why you should choose piano. Accordin # Use Apps to Customize Your Piano Playing with Ease! Plan to learn a musical instrument? There are multiple reasons why you should choose piano. According to studies, playing the piano reduces stress and anxiety, improves hand-eye coordination, and even boosts self-esteem. Apart from these benefits, during the Covid-19 pandemic, playing your favorite songs on the piano can be soothing. With the aid of technology, the ways of learning, teaching, and playing the piano are no longer limited. Piano teachers and students can choose to use a variety of piano apps according to their individual needs. Search for the word “piano” in your App Store or Google Play Store, and then you will be shocked at how many options there are. But which ones are the most recommended piano apps? Keep reading, and you will find the answers. ![](https://static.lianmuse.com/image/blog/d49dc0e60e06729b49cdebf4bfd60caa.png?v=d49dc0e60e06729b49cdebf4bfd60caa) # Violy No matter what you need to do with a piano app, almost all your needs can be satisfied when you use [Violy App](https://violy.app/). ## Teach Piano Lessons Virtually Due to the quarantine, many piano classes were brought online. For piano teachers, it can be annoying to tolerate the unsatisfactory audio quality for the instrument during remote classes. But with Violy App, the unpleasant moment can be entirely avoided. In Violy’s “[Students](https://violy.app/blog/2020/03/Music-instrument-live-class/)” page, piano teachers are allowed to set up their own virtual music classroom. In this page, piano teachers can use “[Live Class](https://www.youtube.com/watch?v=o1OHpIe3PV4&feature=youtu.be)”, the video call feature, to call their piano students directly and conduct remote piano lessons. The specially optimized, high-definition audio and video transmission makes it possible for all participants of the classes to hear each single layer no matter how complicated the chords or ensembles are. ![](https://static.lianmuse.com/image/blog/342b3b03bed4a1c08c70d09bf8ba705f.png?v=342b3b03bed4a1c08c70d09bf8ba705f) A smart timetable is necessary for piano teachers who have a large number of students, and Violy’s “[Classroom](https://violy.app/blog/2020/08/Teach-Music-Class-Online/)” feature can play the role. With this feature, the teachers are able to schedule each piano class and get every participant notified automatically, which helps relieve the music educators from the repetitive work of reminding every piano student of the time for classes. Considering the current situation of the pandemic, remote music teaching may be the norm for a long time to come. As a smart music classroom, Violy links music teachers and students together, and contributes to better development of online music education. ## A Piano App Tailor-made for All Piano Students Piano playing requires complicated and asymmetrical motions of both hands. Since about 90% of people are right-handed, for most piano beginners, training the left hand separately can be hard. Besides, piano teachers are not likely to follow up the students’ practice 24/7, but students need instant feedback to help them improve. Thanks to Violy, the problems mentioned above can be easily solved. The “[Smart Audition](https://violy.app/blog/2020/04/Smart-Music-Classroom/#%E2%80%9CAudition%E2%80%9D)” feature statistically analyzes each piano student’s playing and witnesses every sign of progress. The players can choose to be auditioned on one hand or both hands. For those who are eager to practice left hand skills, this feature is a great help. {% raw %}
{% endraw %} A “Smart Audition” can be initiated by playing “C♯4 D♯4 F♯4” on the piano. Under the audition mode, the users’ performing is tracked and recorded. After playing, users can receive an in-depth analysis report presenting the overall score, the score for rhythm, notes which are misplayed and missed, etc.. What’s more, both teachers and students are allowed to review their piano practice homework anytime and anywhere. When it comes to a piano app, most piano students are likely to have expectations for the piano music included. As for Violy, its sheet music library “[Music Cloud](https://violy.app/blog/2020/04/Smart-Music-Classroom/#%E2%80%9CMusic-Cloud%E2%80%9C)” can surprise you. ![](https://static.lianmuse.com/image/blog/8adb7780344cd90e65e5d66583875a73.png?v=8adb7780344cd90e65e5d66583875a73) Pianists at all levels can find the pieces they like in “Music Cloud”. With a large piano repertoire covering various categories, “Music Cloud” empowers you to listen to and play thousands of piano pieces at any tempo and volume. You can also annotate the sheet music. If you fail to find the sheet music you need, just visit the “[Creator Studio](https://violy.app/blog/2020/02/Create-Sheet-Music-on-Violy/)” and you can upload the music scores to the app by yourself. Violy is available on both iOS and Android mobile devices. The app is FREE for all music teachers, and each new user can receive a FREE 7-day premium gift. # Simply Piano [Simply Piano](https://www.joytunes.com/simply-piano) was rated as one of the best iPhone apps of 2016. Its slogan goes like “from beginner to pro, play piano like you’ve always wanted”. Indeed, it is an excellent tool for piano players at any level. ## Piano Courses for Self-Learners Currently, there are 25 courses for different music levels included in Simply Piano. You can take 2 courses for free before being required to subscribe. With the **piano courses**, the easy-to-use piano app takes you through the basics step by step, from reading music to learning to play with both hands. **Video tutorials**, **warm-ups**, and **exercises** can be found throughout the whole learning process. While you are learning, you can **slow down the pace of the songs**. In addition, the **personalized 5-minute workouts** are perfect for you to master the skills bit by bit. ## Play Piano Songs of All Genres and Receive Instant Feedback Are you a classical music lover or a huge fan of pop songs? No matter what kind of music you are into, you can always find your favorite **piano songs** in Simply Piano. The various categories can fit your taste for sure. ![](https://static.lianmuse.com/image/blog/8de87eb1298925768fd6f1d2e0714d5b.jpeg?v=8de87eb1298925768fd6f1d2e0714d5b) During your playing, Simply Piano works in tandem with your instrument. The app has the ability to **register what you are playing**, and gives you **real-time feedback**. Once the song is completed, there will be a pop-out showing the details of your performance. ![](https://static.lianmuse.com/image/blog/b2b2d7e3b10f3870e0f7bbe2495801b3.jpeg?v=b2b2d7e3b10f3870e0f7bbe2495801b3) Simply Piano even won a World Summit Award from the United Nations. It can truly make a difference in your path of piano practice. The app can be used on iOS and Android mobile devices. # Piano Maestro If you are a piano beginner who need a piano app to help you learn while having fun, [Piano Maestro](https://www.joytunes.com/apps#pm) is definitely your cup of tea. Like Simply Piano, this app is also developed by JoyTunes. ## Gamification of Piano Learning Most young piano learners are not self-motivated in their daily practice. They need incentives to keep them focused and moving forward. In this case, incorporating games into the process of learning can be effective. Under Piano Maestro’s “**Journey**” mode, fun game tasks and piano learning are perfectly combined. This mode makes it possible for you to move on chapter by chapter, unlock new songs, and raise the difficulty level along the way. It helps you learn to play the songs step by step, and have access to more practice options. Besides, your learning experience can be personalized. ![](https://static.lianmuse.com/image/blog/0aa3002dbc306c70b1788430ecc47410.jpeg?v=0aa3002dbc306c70b1788430ecc47410) In the app’s **“Library” section**, **piano songs** of different genres and levels, **piano exercises** covering all skills and hand options, and the most well-known **method books** are all selectable. What’s more, JoyTunes has collected and continues to add current hits to the “Library”. The lure of your favorite songs and the carefully sequenced selection of exercises can stimulate you to keep playing and improving your skills. ## Play Bite-Sized Chunks of Piano Sheet Music and Master the Whole Piece Goals cannot be reached in one step. For piano players, it always takes some time to completely master a new piece. With Piano Maestro, the efficiency of the process can be enhanced. Before playing the whole song, learning comes first since you need to get familiar with the sheet music. Each song is divided into small sections under **“Learn” mode** in Piano Maestro. The mode just requires you to play the bite-sized chunks one by one. Every music note being played will be checked. Once there is a misplayed note, the cursor will pause until the note is corrected. ![](https://static.lianmuse.com/image/blog/281f13d268c2a33d761ec6d9bd2e70ee.jpeg?v=281f13d268c2a33d761ec6d9bd2e70ee) When you are ready for the complete song, you can choose **“Play” mode**. Under this mode, you are able to play along with the backing tracks at the tempo you set, and receive a final score after the playing ends. Using the two modes interchangeably makes it easier for you to master the whole piece. If you do not have your acoustic piano at hand, “**touch piano**” is also supported on Piano Maestro. Just tap the screen to play a virtual piano keyboard then. Piano Maestro is only available on iOS mobile devices. Gamers who decide to learn piano from scratch will not want to miss this one. # Skoove If you are new to the world of the piano, [Skoove](https://www.skoove.com/en) has interactive beginner and intermediate courses to get you up and running, after which you can continue with further tuition either in a pop or classical direction. ## A Piano App Offers A Rich Seam of Online Piano Lessons During this challenging time, to start a musical journey with interactive piano lessons seems to be a good idea for self-learners, and Skoove can be the guide on the journey. Skoove features an ever-growing curriculum of 400 **piano lessons** over 19 courses. As expected, the first lessons are for absolute beginners, and more complex musical ideas are introduced as the course progresses. ![](https://static.lianmuse.com/image/blog/b1fca88c9e2a10c70983d61f53982fbd.png?v=b1fca88c9e2a10c70983d61f53982fbd) The “listen, learn, and play” approach adopted by the app can help you master new techniques quickly. ​ First, you can get to know the song just by listening. Then, you may get prepared to learn. When you are learning, a moving score shows you which notes to play and when. You can watch the **video tutorials** at the same time to check your fingerings and hand frames. During the process, Skoove **recognizes the notes** you play, telling you what is right and where to improve. ![](https://static.lianmuse.com/image/blog/672fdc9b54d52402535c797f3d656801.jpeg?v=672fdc9b54d52402535c797f3d656801) Later, you can start to sight-read the piano piece, and enjoy the rich emotion behind every note. Skoove works with PC, Mac, iPad, and iPhone. Plus all pianos and keyboards. All in all, Skoove embodies a simple and effective method for learning piano online. # Yousician Founded in 2010, Yousician is considered the fastest-growing music education company in the world. As a all-round piano app, [Yousician App](https://yousician.com/piano) helps unleash every learner’s inner pianist. ## Learn and Practice Piano at Your Own Pace One of the most obvious advantages of piano apps is that they allow the users to manage their own learning and practicing process. Yousician just maximizes the strength. In Yousician, there are thousands of **piano songs**, **piano exercises** and **teacher-crafted piano lessons** on offer, with step-by-step video tutorials. Whether you are a piano beginner hoping to pick up the basics such as key signatures, combining hands, melodies, chords, etc., or you are already advanced, the “**missions**” and “**workouts**” in the app are always perfect for developing a wide range of skills, learning great pieces, having fun, and staying motivated. The visual interface makes reading music easy with the hybrid, color-coded notation. Under “**Practice**” mode, you are able to slow the song down, set hand options, and select consecutive bars to practice repetitively. ![](https://static.lianmuse.com/image/blog/1cb1a7e6938ef2d7da42dfde32fa7100.jpeg?v=1cb1a7e6938ef2d7da42dfde32fa7100) Under “**Play**” mode, you can play the whole piece, and get an overall score based on your performing after the song ends. Both modes listen to your playing, give you instant feedback, and enable you to play along with the backing tracks. Also, you are the one who decide when and how to start your piano playing journey. The app will tell you every detail of your daily practice. ## Participate in Weekly Challenges with Pianists Worldwide If you are a piano player who tend to push yourself to achieve 100% accuracy, you may be excited to compete with millions of piano learners in Yousician’s **weekly challenges**, and enjoy the truly interactive experience. Songs selected for weekly challenges can be played under the two modes mentioned above. The scores you receive under “Play” mode and the rankings are showed in the “**Leaderboard**”. You can even invite your friends to take part in the challenges and see how they perform. ![](https://static.lianmuse.com/image/blog/0a0b3e439501293bf36964b389aaabc0.jpeg?v=0a0b3e439501293bf36964b389aaabc0) Yousician is available on multiple platforms including iOS, Android, Windows and Mac. As a piano app neatly combining practice and competition, it is used by some piano teachers as a complement to their in-person piano lessons. ![](https://static.lianmuse.com/image/blog/9448520210d47d09c874055aa5d3a6f5.png?v=9448520210d47d09c874055aa5d3a6f5) # Flowkey Produced in collaboration with Yamaha, [Flowkey](https://www.flowkey.com/en) works well with either a MIDI keyboard or an acoustic piano, providing accurate visual feedback and progress tracking. ## Pick up New Piano Songs in the Playing Videos Learning a new instrument with the songs you love may help improve your music playing by leaps and bounds. Flowkey just provides all piano students with an opportunity to do so. With over 1,500 piano songs of every genre and skill level, the app wows every piano learner. Choose a song you like, and then you can **watch an expert pianist play the song**. In the meanwhile, you can **follow the sheet music** on the same screen. During the process, you are allowed to **reduce the speed**, **replay a specific section**, or **select a single hand** to check the fingerings separately. The sheet music scrolling and the video playing are always in sync. ![](https://static.lianmuse.com/image/blog/8c1757ce857a5af8003c2eefede4cb63.jpeg?v=8c1757ce857a5af8003c2eefede4cb63) When you start to play your instrument along with the video, the “**Flow**” mode listens to you and waits for you to hit the right notes. If you are confused about where to put your fingers next, the video will show you. Flowkey also offers **piano lessons** to help you develop your piano skills from the very beginning. The interesting lessons are extremely beneficial for beginners that they cover not only the techniques, but also the music theory. Since the app **keeps track of your progress**, you can jump back and forth through the lessons without losing track of where you left off, and choose where to start according to your own preference. This app is compatible with iOS and Android mobile devices. # Piano Academy You are never too old or too young to learn piano. But once you make the decision to start from scratch, you may find that the first step is always difficult. How to learn the instrument in a fun and easy way? [Piano Academy](https://www.pianoacademy.app/) will give you the answer. ## A Piano App Offers Video Tutorials and Real-Time Feedback “**Academy**” section in Piano Academy can help all piano beginners set up their learning path in a systematic way. **Video tutorials** in “Academy” section cover topics like music notes, staff, chords, and much more. These topics are introduced to you by your personal instructor with the aid of animations and walk-through videos. While you are learning, you can play fun games that are explicitly designed to train your musical hearing, hand-eye coordination, and sense of rhythm. If you are a pop music lover, you will be delighted by Piano Academy’s “**Songbook**” section. Most piano songs contained in the app are pop songs. During your playing, the app shows the music notes as you see in real sheet music, and the notes are perfectly synced with the background music that accompanies you. Like most piano apps, Piano Academy also **listens to every note you play**, and gives you **real-time feedback**. Then you will know whether you hit the correct note at the right time. ![](https://static.lianmuse.com/image/blog/e9874dd8ae5ba015c68d5e306b71f49d.jpeg?v=e9874dd8ae5ba015c68d5e306b71f49d) Piano Academy is supported on iOS and Android mobile devices. The app is suitable for all ages, and works well with multiple kinds of piano keyboards including acoustic pianos, digital pianos, and MIDI keyboard controllers. # Piano Marvel As a piano app including loads of video content, [Piano Marvel](https://pianomarvel.com/) is designed to be used with a MIDI keyboard so that you can receive immediate feedback on your progress. ## Simple and Segmented Piano Lessons Taking long hours of piano lessons may cause piano students to lose concentration. But with Piano Marvel, the problem is no longer a headache to piano learners, and they will not be overwhelmed by information. Learning sessions in Piano Marvel are broken into **20 piano lessons with a video tutorial** above each lesson to summarize the skills you are supposed to be learning in the lesson. The first lessons include skills on how to combine notes and read notes of different time values. Then you will progress to finger numbering and other notes on the keyboard. As you progress, you will get to learn more classic piano songs and other beginner songs. Over 25,000 piano songs and exercises included in the app will definitely meet your needs. ## Boost the Efficiency of Piano Practice and Track the Progress Automatically For self-learners, quick and accurate feedback is necessary. Also, the progress made in daily practice needs to be visualized. If you are looking for a piano app which satisfies the requirements above, Piano Marvel is an excellent choice. Developed by experienced music teachers, the app is helpful to self-learners of all ages and levels. Piano Marvel’s **“Prepare” mode** waits for you to play, allowing you to work through the notes and rhythms at your own pace. Under **“Assess” mode**, your playing is graded as you go along. To keep your motivation going, you can win trophies that can then be shared via social media. After playing, you are able to see what you played correctly or incorrectly. ![](https://static.lianmuse.com/image/blog/3b860379955ecc7bbe87c9e8bab86adb.png?v=3b860379955ecc7bbe87c9e8bab86adb) Single notes, double stops, and chords you play are all clearly recognized under both modes. As you step forward bit by bit, Piano Marvel **tracks your progress automatically**. In “Profile”, you can create your practice goal, and view how your daily practice goes. According to the details, you may manage your piano practicing time in a more scientific way, and adjust your learning plans. ![](https://static.lianmuse.com/image/blog/33766f391aae8d90ee9a54408db593fe.png?v=33766f391aae8d90ee9a54408db593fe) Piano Marvel can be used on platforms including iPad, Windows, and Mac. # Perfect Piano [Perfect Piano](http://www.revontuletsoft.com/) is the highest rated piano simulator app available today. If you play the piano just for fun, and do not have a real instrument around, Perfect Piano can amuse you. A Piano App Connects You with Other Piano Players When you and your friends are playing mobile games together, all of you can communicate with each other directly online. If the real-time communication can also work when you and other players are playing the same piano piece in a piano app, would you like to try the app? This **88-key intelligent piano simulator** not only serves as a smart tool guiding you through thousands of piano pieces, but it also lets you **connect with other fledgling pianists around the world**. ![](https://static.lianmuse.com/image/blog/98d35dbb0906a76d23a7ea7361878da0.png?v=98d35dbb0906a76d23a7ea7361878da0) There are **weekly challenges** that let you compete against other users. If you are the less competitive type, you can create a guild with your friends to provide support for one another, and share songs you have been working on. Perfect Piano is available on iOS and Android mobile devices. The app even comes with a widget you can keep on your home screen, which lets you play around on the keys without even opening the app itself. # Piascore Carrying paper sheet music around can be inconvenient for piano teachers and students. Collecting all the piano sheet music in a smart app will make things easier. As an app for browsing digital musical scores, [Piascore](http://piascore.com/) enables piano players to view the piano pieces anytime and anywhere. ## A Piano Sheet Music Toolbox In “Piascore”, you are able to **browse and download a whopping 100,000 classical music scores for free**. To bring you more convenience, the app also supports **sheet music importing**, **camera capturing**, and **web search**. You can even **create your own sheet music** in the app, which basically replaces the needs for paper, pencils, and erasers. ![](https://static.lianmuse.com/image/blog/64c240cd331d71b042ace50c42c1645b.png?v=64c240cd331d71b042ace50c42c1645b) After accessing to the piano sheet music, you are given all kinds of other features and tools, such as the **recorder**, the **metronome**, the **virtual keyboard**, etc.. To understand the pieces better, you can also **add audio files** from the local storage or iTunes, search for **performing videos** from YouTube, or annotate the sheet music. ![](https://static.lianmuse.com/image/blog/b52451bb0cd1947d8d42c637bc140bea.png?v=b52451bb0cd1947d8d42c637bc140bea) Piascore is only supported on iOS mobile devices. The piano app making all piano sheet music portable can change every pianist’s life. Many young learners tend to start from piano when they decide to pick up a musical instrument. According to professor Wing Ho from Central Conservatory of Music, learning the piano for 2 or 3 years before selecting another instrument can be the optimal choice for the children. Every musician may benefit from the experience of playing the piano. The challenges posed by the pandemic still remain. With the help of the piano apps, online music education can progress more smoothly during the tough time. But piano apps can never replace real piano teachers. What they can do are strengthening the connection between the piano teachers and the students, providing each user with better experience, and encouraging piano players to love music and their life more. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violy Music Articles: [**How Should Music Parents Help Their Children’s Practice**](https://violy.app/blog/2020/12/How-Should-Music-Parents-Help-Their-Children%E2%80%99s-Practice/) [**Best Violin Apps for 2021**](https://violy.app/blog/2020/12/Best-Violin-Apps-2021/) [**Teaching Students to Read Key Signatures**](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [**A Comparison of Movable Do & Fixed Do**](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [**Things You Must Know About Violin Bowing**](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [**Violin Books for Beginners**](https://violy.app/blog/2020/01/Violin-Books-for-Beginners/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/3edcab6644bfad50a68ae2c5dbab5814.png?v=3edcab6644bfad50a68ae2c5dbab5814) --- # Best Violin Apps for 2021 - URL: https://violy.app/blog/best-violin-apps-for-2021 - Markdown: https://violy.app/blog/best-violin-apps-for-2021.md - Published: 2020-12-30 - Summary: Violin apps designed for violinists have transformed the ways of practicing, learning, and teaching # Professional Apps for Violin Playing Violin apps designed for violinists have transformed the ways of practicing, learning, and teaching the instrument. Thanks to the amazing apps and the professional developers, especially during the Covid quarantine, violin players at all levels are able to customize their playing in a smarter way. So which ones are the best violin apps for 2021? Let’s dive in. ![](https://static.lianmuse.com/image/blog/2bbe442f8542b46f731e7824c113816a.png?v=2bbe442f8542b46f731e7824c113816a) # Violy: A Smart Music Classroom That Connects Violin Teachers and Students For Violy violinists, [**Violy App**](https://violy.app/) is definitely their favorite. It allows violin teachers to start violin classes online, and allows the teachers and students to review their practice homework anytime and anywhere. ## Teach Remote Violin Lessons Violin teachers may find that online violin classes are not always pleasant due to the poor audio quality for the instrument during the video chat. But with Violy, the problem can be readily solved. In Violy App’s "[**Classroom**](https://violy.app/blog/2020/08/Teach-Music-Class-Online/)" page, violin teachers can build the virtual music classroom. Through the "[**Live Class**](https://violy.app/blog/2020/03/Music-instrument-live-class/#Bring-your-music-instrument-class-online)" feature, teachers can make video calls to violin students instantly and give violin lessons online. The specially optimized, high-definition audio and video transmission helps pave the way for the smooth progression of remote music education during the challenging time. {% raw %}
{% endraw %} With Violy App, teachers are able to hear each single layer no matter how complicated the chords/ensembles are! Have too many students to notify before the class begins? Don’t worry, the "[**Classroom**](https://violy.app/blog/2020/08/Teach-Music-Class-Online/)" feature makes it possible for each violin teacher to schedule violin classes and get every participant informed on time. ## Customize the Violin Practice for Each Violin Student It can be a rewarding journey to practice the instrument in a “Violy” way. Violin teachers cannot always be around students. But after the violin lessons, some violin beginners may still need someone to help their practice and give them feedback. Violy can take up the baton. By playing “EADG” on the violin, violin students can initiate a "[**Smart Audition**](https://violy.app/blog/2020/04/Smart-Music-Classroom/#%E2%80%9CAudition%E2%80%9D)". The feature tracks and records the users’ playing, and automatically scores on the intonation and rhythm. After playing, more details based on the performance can be found in the analysis report. In this way, every moment of the users’ daily practice is visualized and statistically analyzed. {% raw %}
{% endraw %} For the ones who need to get familiar with the music in a short time, "[**Note-by-note**](https://violy.app/blog/2020/04/Smart-Music-Classroom/#%E2%80%9CNote-by-note%E2%80%9D)" can assist. Under “Note-by-note” mode, each music note being played can be checked. Once there is a misplayed note, the cursor will pause until the note is corrected. What advanced violin players are looking for is an accompanist, and Violy can play the role. As long as the users open a music score with “Acc.” symbol, they can choose to play along with the "[**Accompaniments & Ensembles**](https://violy.app/blog/2020/04/Smart-Music-Classroom/#%E2%80%9CAccompaniments%E2%80%9D)” at any tempo and volume. {% raw %}
{% endraw %} It can be exciting for all violinists to play what they truly enjoy. Violy’s sheet music library "[**Music Cloud**](https://violy.app/blog/2020/04/Smart-Music-Classroom/#%E2%80%9CMusic-Cloud%E2%80%9C)" includes a large violin repertoire, and provides you with a complete control over thousands of classical and pop sheet music and backing tracks, including tempo, volume, and all kinds of musical notation. But if the learners cannot find the sheet music they need in the app, they can visit the "[**Creator Studio**](https://violy.app/blog/2020/02/Create-Sheet-Music-on-Violy/)" to upload the music scores on their own. Violy is available on both iOS and Android mobile devices. New users can have a FREE 7-day premium gift. Also, the app is FREE for every music educator. # SmartMusic: Offers An Abundant Violin Repertoire and Helps Violin Teachers Track Students’ Progress As a comprehensive tool for music education, [**SmartMusic**](https://www.smartmusic.com/) is popular among music teachers and music schools. ## A Rich Seam of Violin Sheet Music In the repertoire of SmartMusic, either a classical music player or a rock fan can find what they are fond of. With a [**music library**](https://search.smartmusic.com/) which accompanies violin players at all levels with professional accompaniments, violin teachers and students can get access to violin sheet music of all genres and difficulty levels. ![](https://static.lianmuse.com/image/blog/111484761de49e7175aeadc849f0a9b8.png?v=111484761de49e7175aeadc849f0a9b8) Also, premium users are able to print the music scores. ## Effective Violin Playing Knowing how the violin practice goes directly from the sheet music seems to be attractive. **Immediate feedback on pitch and rhythm** is accessible in SmartMusic as well. Violin students can see what they played correctly or incorrectly, receive a performance score, and listen to their recording. ![](https://static.lianmuse.com/image/blog/fb7f1976aeb75d21a3b49161dfbac54b.png?v=fb7f1976aeb75d21a3b49161dfbac54b) To get familiar with certain sections in the piece, the users can select consecutive measures, set them as loops, and practice them constantly. ![](https://static.lianmuse.com/image/blog/8cc41b8231f3e2bffc90001755c860cc.png?v=8cc41b8231f3e2bffc90001755c860cc) ## Tools for Violin Teachers Nobody will refuse the promotion of efficiency with the aid of technology. That’s why violin teachers should not miss the useful tools below. In SmartMusic, Violin teachers can [**assign homework to students**](https://smartmusic.zendesk.com/hc/en-us/articles/360026371253-Assignment-creation), provide them with feedback, and [**track their progress**](https://smartmusic.zendesk.com/hc/en-us/articles/360026370553-Grading). By accessing the students’ recordings, assignments, and performance scores, violin teachers are able to understand the students’ learning and practice in a better way. ![](https://static.lianmuse.com/image/blog/6c849df4e26ff67463fbeaacf2848609.png?v=6c849df4e26ff67463fbeaacf2848609) The “**Sight Reading Builder**” allows violin teachers to create an unlimited number of sight-reading exercises for any student or ensemble. {% raw %}
{% endraw %} Being web-based, SmartMusic can only be used on computers and iPads. {% raw %}
{% endraw %} # Trala: A Violin App Friendly to Violin Beginners [**Trala**](https://www.trala.com/) is developed entirely by professional violinists. Learning violin from the world’s best violinists can appeal to a large number of violin learners. Instant Feedback on Violin Performance Receiving feedback at once can be an impetus for beginners to move on. As a violin app especially helpful to beginner violinists, Trala prides itself on giving the [**users instant feedback**](https://www.youtube.com/watch?v=0FY2OEcg3QA). Like a tutor, the app listens to what the users are playing, and provides guidance on what they are doing. Both MIDI tracks and sheet music are supported in the app. ![](https://static.lianmuse.com/image/blog/75de87efe40e01496a47aa05a2f3f999.png?v=75de87efe40e01496a47aa05a2f3f999) ![](https://static.lianmuse.com/image/blog/ad68bd79c9569bd04a81d13e6cbb4fe5.png?v=ad68bd79c9569bd04a81d13e6cbb4fe5) After the users’ playing, scores on pitch and rhythm pop out right away. Players can practice the same piece time after time to get improved. ![](https://static.lianmuse.com/image/blog/a1623d142f7b090797b382564724f881.png?v=a1623d142f7b090797b382564724f881) ## Multiple Violin Tutorials and Sheet Music How thrilling it can be to be taught step-by-step by professional performers? With a variety of violin tutorials, Trala helps the violin beginners learn postures, string crossings, scales, tone quality, vibrato, scores of classical songs, etc.. {% raw %}
{% endraw %} The sheet music library in Trala mainly contains scales and arpeggios, which are often the most effective modes of warmup for any violinist, and are essential for learning notes, fingering positions, and hand shifting. ![](https://static.lianmuse.com/image/blog/7f25721d494bf4dedbb10540cdcbffb7.png?v=7f25721d494bf4dedbb10540cdcbffb7) To stick to the playing, creating a personal practice schedule is helpful. Trala allows users to do so. From holding the violin to playing advanced violin pieces, Trala guides violin players to step forward. The progress bars make it easier for the users to view their performance. ![](https://static.lianmuse.com/image/blog/ef6ba1c3bd87f10db42d84f2d470a87a.png?v=ef6ba1c3bd87f10db42d84f2d470a87a) Trala can be used on both iOS and Android mobile devices. However, the iOS version is more user-friendly. # Jameasy: A Violin App That Makes Violin Practice Fun and Easy Violin learning requires repetitive practice. [**Jameasy**](http://jameasy.com/en/index.html) intends to turn tedious violin practice into fun experiences. ## Real-time Feedback on Violin Playing and Gamification For those violin players who get absorbed in music games, game-like violin playing in Jameasy can be their cup of tea. Under “Practice” mode, violin students can play along with the accompaniments and the metronome. In the meanwhile, the [**real-time feedback**](https://www.facebook.com/watch/?v=2282211802045407) with sparkle effects can be seen on the sheet music. ![](https://static.lianmuse.com/image/blog/905ff9349f7885281d94f8d9e2b2df55.png?v=905ff9349f7885281d94f8d9e2b2df55) Also, users are able to select certain sections to practice repeatedly. After playing, the **practicing records** can be accessed right away. ![](https://static.lianmuse.com/image/blog/92c525e33c555dc082cf9ae4e93f25ff.jpeg?v=92c525e33c555dc082cf9ae4e93f25ff) Under “Concert” mode, violin players are provided with a feeling like playing in a **virtual concert**. Scores, awards, and rankings are offered when the playing ends. ![](https://static.lianmuse.com/image/blog/dd0acc56687b2f8e6118f04a8eb40e72.png?v=dd0acc56687b2f8e6118f04a8eb40e72) ## Violin Tuner A useful violin tuner is always necessary for a violinist, since no one likes their instruments to be out of tune while playing. With a built-in violin tuner, Jameasy users can tune their instruments at any time. Since the tuner automatically recognizes the sound produced by the strings, violin students do not need to choose certain strings manually. ![](https://static.lianmuse.com/image/blog/72ea314b21fcb336db65155fc7c65856.jpeg?v=72ea314b21fcb336db65155fc7c65856) The optional range of frequency is from 420 to 460 Hz. ![](https://static.lianmuse.com/image/blog/2d7fdca9ba90646aaf9595b8a19c8c90.jpeg?v=2d7fdca9ba90646aaf9595b8a19c8c90) Jameasy can be downloaded from App Store and Google Play Store. # Tomplay: A Violin App for Immersive Violin Playing With a variety of interactive [**violin sheet music**](https://tomplay.com/instrument/violin-sheet-music) covering multiple styles, [**Tomplay**](https://tomplay.com/) is the one recommended for intermediate and advanced violin students. In Tomplay, users can play along with real recordings made by professional violinists. Before signing up, the violin players can set their own playing level, and will receive free recommended sheet music after login. ## Digitized Music Scores and Recording Feature All sheet music in Tomplay [**scrolls automatically**](https://tomplay.com/how-it-works) on the screen in time with the accompanying music. The tempo of the accompaniments is adjustable. Violin players can slow down or speed up the tempo to match their level, which allows them to progress at their own pace. For violin students, it is helpful to [**record**](https://tomplay.com/how-it-works) themselves while playing in the app. In this way, they can listen to the performance, and make improvement more rapidly. {% raw %}
{% endraw %} ## Annotate and Print the Violin Sheet Music The [**annotating feature**](https://tomplay.com/how-it-works) in Tomplay provides an opportunity for violin teachers and students to add personalized annotations to the violin sheet music, and say goodbye to the scribbles and eraser marks on paper music scores. What’s more, the sheet music can be printed directly with or without the annotations. ![](https://static.lianmuse.com/image/blog/3ccce43b593df49a36136d1b754f95e9.jpeg?v=3ccce43b593df49a36136d1b754f95e9) ![](https://static.lianmuse.com/image/blog/1e12f52f3d481116ba6618ded004356a.jpeg?v=1e12f52f3d481116ba6618ded004356a) Tomplay is available on computers and mobile devices with iOS and Android systems. ![](https://static.lianmuse.com/image/blog/ea38c3260b76975db580c9f279417edc.png?v=ea38c3260b76975db580c9f279417edc) # Tonara: Helps Violin Teachers Manage Music Education Technically speaking, [**Tonara**](https://tonara.com/) is more like an online music education studio. ## Keep Violin Teachers Updated on Students’ Violin Practice In Tonara, violin teachers are able to [**create smart assignments**](https://www.youtube.com/watch?v=2JrOZn2X8Oo) for their students. Materials including comparing recordings, videos, voice notes, written notes, etc. can be sent along with the assignments. ![](https://static.lianmuse.com/image/blog/0450f805e4f2b3e553be242d244f8651.png?v=0450f805e4f2b3e553be242d244f8651) In the "[**Compare Recording**](https://www.youtube.com/watch?v=GBXi4iwKmFA)" assignment, Tonara’s AI technology compares the students’ playing to a pre-recorded piece. Then the app will provide the student with real-time feedback on their fluency, pitch, rhythm, and tempo. Also, through Tonara, violin teachers can set goals for the students, and see the details of their daily practice. The "[**messaging**](https://tonara.com/studio-teacher-benefits/)" feature helps both sides communicate at all times. {% raw %}
{% endraw %} In addition, violin teachers can [**schedule and give online violin lessons**](https://www.youtube.com/watch?v=HKrj0bATjSQ) through desktop version of Tonara. ## Customize Violin Students’ Music Learning Plan Tonara makes it possible for violin students to [**choose violin teachers**](https://tonara.com/learning-music/) that fit their needs, budget, and timetable, and engage in virtual violin lessons anywhere. Being [**connected with the teachers**](https://tonara.com/studio-student-benefits/), young learners are able to receive and complete the assignments more easily. After finishing the tasks, violin students can earn points which demonstrate how they make progress. {% raw %}
{% endraw %} Like Tomplay, Tonara is also supported on computers, iOS mobile devices, and Android mobile devices. # MuseScore: A Notation Software for Creating and Playing Violin Sheet Music When it comes to music notation software, [**MuseScore**](https://musescore.org/en) cannot be neglected. For violin players who have a demand for composing or finding multiple music scores, MuseScore is definitely a good choice. ## Write and Notate Violin Music Supporting a wide variety of file formats and input methods, Musecore empowers violin teachers and students to **create their own sheet music**, and **annotate** it according to the need. The notation software is totally free to use. ![](https://static.lianmuse.com/image/blog/7161f35fff3ce82e8ea43f9be35a37ec.png?v=7161f35fff3ce82e8ea43f9be35a37ec) The music scores can be played, saved, uploaded to other websites, or printed. ## Play Violin Music and Communicate with Violin Players Worldwide MuseScore is accompanied by **a mobile score viewer and playback app**, and **an online score sharing platform**. In the mobile app, violin players can browse all the scores uploaded. The playback feature makes it more convenient to practice the pieces with the accompaniments and the metronome. Also, transposition is supported. ![](https://static.lianmuse.com/image/blog/2aca1ac4b277a1c0eb1d8b8924404d44.png?v=2aca1ac4b277a1c0eb1d8b8924404d44) ![](https://static.lianmuse.com/image/blog/34c855aa1e1e6ae44a6f613af0b33ad5.png?v=34c855aa1e1e6ae44a6f613af0b33ad5) On the score sharing platform [**musescore.com**](http://musescore.com/), violin players are able to **view, download, and share** various violin sheet music. In the “Community” page, heated discussions based on different topics make violin players from all over the world connect with each other. ![](https://static.lianmuse.com/image/blog/c49d0998ace9e9c470922b3d01c66ebd.png?v=c49d0998ace9e9c470922b3d01c66ebd) As a scorewriter, MuseScore can be downloaded to computers directly. The score viewer and playback app is available on both iOS and Android mobile devices, while the sheet music sharing platform is web-based. # Newzik: A Sheet Music Toolbox for Violin Players How about building a private digital library of violin sheet music which can be accessed anytime and anywhere? Well, [**Newzik**](https://newzik.com/) allows violin teachers and students to do so. {% raw %}
{% endraw %} ## Import the Violin Sheet Music with Media Files Violinists can use different ways to [**import**](https://www.youtube.com/watch?v=Gi_hZ6JTOSQ&list=PLyvb0zdfC20J-idLyIS4YuoNhE7VcwWYf&index=2) thousands of music scores into Newzik, and organize them into “**Setlists**” and “**Projects**”. The “Setlists” works as a personal catalog of sheet music for individual violinists, while the “Projects” feature allows multiple musicians to share and modify music scores. {% raw %}
{% endraw %} To get familiar with a new violin piece, violinists may need to watch or listen to the live performance while reading the music. Newzik completely meets the demand. In Newzik, violin players are able to [**add media files**](https://www.youtube.com/watch?v=CWQ7UQrydjw) after entering the score. Both audio and video files are supported. Users can even search for videos from YouTube directly. ![](https://static.lianmuse.com/image/blog/1cc41a357dfb14f06b86b058d7983d67.png?v=1cc41a357dfb14f06b86b058d7983d67) To customize the playing, users can set the speed and transposition by themselves. ![](https://static.lianmuse.com/image/blog/d4fe10d70849e2900f1d808858971fe9.png?v=d4fe10d70849e2900f1d808858971fe9) ## Annotate, Export, and Share Music Scores Newzik offers a platform for violinists to **create and edit violin sheet music** with a set of tools, and share the [**annotations**](https://www.youtube.com/watch?v=HNukg4M7Vc4&list=PLyvb0zdfC20J-idLyIS4YuoNhE7VcwWYf&index=5) in real-time with other musicians. Both the music score and the annotations can be exported. ![](https://static.lianmuse.com/image/blog/5ec3cb86d77fe1bfd60aacba17bbbd71.png?v=5ec3cb86d77fe1bfd60aacba17bbbd71) ![](https://static.lianmuse.com/image/blog/e516b3f73e102102dee108b7fdabf23d.png?v=e516b3f73e102102dee108b7fdabf23d) What’s more, the "[**Band**](https://www.youtube.com/watch?v=O52T9dIyvL4&list=PLyvb0zdfC20J-idLyIS4YuoNhE7VcwWYf&index=1)" feature makes it possible for Newzik users to get connected with each other through devices, share the sheet music online, and play together offline. As a mobile music app, Newzik is only available on iOS devices. ## Pockestra: An Orchestra in Violinists’ Pocket For violin teachers and students, carrying a mobile device with [**Pockestra**](https://pockestra.com/appweb/?language=en) installed is like carrying a portable orchestra with themselves. "https://www.youtube.com/embed/BQKIbIYIgak" {% raw %}
{% endraw %} ## Accompaniment and Violin Sheet Music From classical to diverse genres, Pockestra offers numerous [**music scores and accompaniments**](https://www.youtube.com/watch?v=Kezkt3HrpP4). In the app, violin players can listen to the prerecorded accompaniments directly while sight reading the pieces. Also, the tempo and key can be changed to meet different violinists’ needs. ![](https://static.lianmuse.com/image/blog/fa74835382e93636609e72de77a12993.jpeg?v=fa74835382e93636609e72de77a12993) Sheet music can be searched by filtering or simply typing in the title, the composer’s name, or the name of the album. ![](https://static.lianmuse.com/image/blog/8333295518f0009f852a18a0b51b6b83.png?v=8333295518f0009f852a18a0b51b6b83) If the violin players fail to find the sheet music they need, they can reach out to the Pockestra team by using the "**Request**" feature. New contents will be uploaded to the app every week. ![](https://static.lianmuse.com/image/blog/7ed8b7701db407115859b2a06d2aa916.png?v=7ed8b7701db407115859b2a06d2aa916) Pockestra can be used on both iOS and Android mobile devices. # Metronaut: Violinists’ Tailor-made Musical Accompaniment App [**Metronaut**](https://metronautapp.com/) gives violinists the freedom to have more fun with music. In the app, there is a growing [**catalog of music accompaniments**](https://metronautapp.com/en/catalog) for every instrument and level. Metronaut’s accompanists are among the best orchestras and pianists, and each accompaniment offers fully acoustic and high quality studio recordings. ![](https://static.lianmuse.com/image/blog/99b6f24f5743f3b73804840cdc0d07d8.png?v=99b6f24f5743f3b73804840cdc0d07d8) ## Take Control over Tempo and Key Violinists are in full control of the digital score. They can **choose the speed of the accompaniment** according to their own preference. Thanks to the **automatic and quality preserving transposition**, they can also play pieces not written for violin. After the violin playing, the recordings can be checked, listened to, and shared. {% raw %}
{% endraw %} ## Annotate and Print Music Scores In Metronaut, Violin teachers can **add indications** to the sheet music or **highlight** the score for their students, as they would do on a regular violin sheet music. The users can also print the score if they would rather work on paper. ## Take the Lead and Play at the Violin Player’s Own Rhythm Violinists can personalize their performance using the app’s **speed adaptation feature**. The feature empowers the musicians to play at their own rhythm throughout the piece. Metronaut just adapts the accompaniment tempo to the player’s interpretation in real-time. {% raw %}
{% endraw %} Metronaut is only available on mobile devices with systems of iOS 13 and above versions. 2020 has been tough for music education due to the challenges, but awesome music apps are opening up new avenues for both music teachers and music students. The 10 best violin apps for 2021 meet diverse demands of all kinds of violin players, and help musicians be more engaged in music. We hope every violinist can make a difference in 2021 with the aid of the violin apps. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violy Music Articles: [**Teaching Violin Students to Read Key Signatures**](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [**A Comparison of Movable Do & Fixed Do**](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [**How to Choose Right Violin Strings**](https://violy.app/blog/2019/12/How-to-choose-right-violin-strings/) [**Things You Must Know About Violin Bowing**](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [**Violin Books for Beginners**](https://violy.app/blog/2020/01/Violin-Books-for-Beginners/) [**Acoustic Violin VS Electric Violin**](https://violy.app/blog/2020/01/Acoustic-Violin-VS-Electric-Violin/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/3edcab6644bfad50a68ae2c5dbab5814.png?v=3edcab6644bfad50a68ae2c5dbab5814) --- # How Should Music Parents Help Their Children’s Practice - URL: https://violy.app/blog/how-should-music-parents-help-their-childrens-practice - Markdown: https://violy.app/blog/how-should-music-parents-help-their-childrens-practice.md - Published: 2020-12-16 - Summary: Music instrument performing can be complex since it requires complicated and asymmetrical motions of # The Role Parents Played after Music Lessons Music instrument performing can be complex since it requires complicated and asymmetrical motions of both hands, which need good muscle coordination to complete. To grasp all these motions, music instrument learners are supposed to practice for a lot of times in a long term. For young music learners, they may need more supervision in daily practice. When they are taking music lessons, teachers can play the role of supervisors. But when lessons end, teachers are not likely to follow up students’ practice 24/7. Therefore, parents are ideal ones to take up the baton and help their children’s practice after music lessons. ![](https://static.lianmuse.com/image/blog/25a1b25a38760303ea703d478058c616.png?v=25a1b25a38760303ea703d478058c616) **So what should parents do to be helpful after music instrument lessons?** First of all, music parents need to keep in mind that their company is aimed at **helping children improve practicing efficiency and enjoy the process**, rather than watching whether their children have practiced. # Treat Practicing after Music Lessons Like Relaxation There are academic classes for children, there should be after-school activities as well. Taking various classes, such as Math, PE, Science, etc, is the daily routine. Then after school, they are likely to be faced with piles of endless homework. With so many different subjects, it is no wonder that setting a time slot to practice music instrument can seem like a burden to a kid. Therefore, music parents need to help their children see playing music in a different light. Rather than treating practicing like any other subject, parents need to create a distinction so that children see violin practice as relaxation. The best way to shift children’s mindset is to let them play music which they are actually interested in. # Let Children Play Music They Like While there are always certain signature songs and classics for violin, or for piano, or for any music instrument, children may lose interest if he or she does not like the music/music instrument they are playing. Parents can try to work with their children’s teacher to make sure that their children have the chance to learn and play some music they truly enjoy. According to the Academy of Music and Dance, “As children get to be around 10 years old, sometimes younger, they start to develop preferences for musical style, which is largely influenced by internet, radio, TV, and whatever they are most exposed to at home. They will also typically gravitate to whatever their friends are listening to.” Parents can use this as a motivational strategy and allow their children to play at least one song they like as part of their weekly routine. Classic repertories are also essential, but performing other songs the children enjoy can work as an impetus for daily practicing. ![](https://static.lianmuse.com/image/blog/cdce23da4a49d4d0e0f29c9caf663ca7.png?v=cdce23da4a49d4d0e0f29c9caf663ca7) # Make Music Practice after Lessons Fun This should come as no surprise. No one wants to practice when it is boring. Incorporate fun games, activities, and challenges can make young music instrument learners look forward to practicing. In fact, very few children are self-motivated in their daily practice. Most need incentives and reminders to keep them focused and moving forward. Parents may also communicate with the music teachers and develop some creative ways making practice more fun. # Form A Practice Schedule and Create Challenges To form a schedule or a to-do list can help people avoid procrastination in some way. Parents may let their children determine the practice schedule. In this way, children are more likely to stick to it. Children hear parents tell them what to do all the time. To catch their attention, letting them plan their own practice schedule can be effective. Besides, it really improves their strategic thinking in a long term. Basically, parents can get their children to determine when to practice, what to practice, and how long to practice. After the decision is made, parents can help children research and figure out how often a good musician practices. The children then can set a schedule based on the reality that one must practice more to become excellent. Not only will this allow children to feel a sense of control, it will also help them learn the value of practice. Besides, parents can help children set specific goals and challenges. This will help them progress faster because they will work on accomplishing specific tasks or mastering particular skills. Don’t just ask kids to ‘practice’. Instead, parents may give them bite-sized and clear challenges to complete. For example, set a goal like working out a fingering for measures 24–35, or gradually speeding up section B to 85 bpm. ![](https://static.lianmuse.com/image/blog/6be3ebf82d852c0d71ce47e5491858c5.png?v=6be3ebf82d852c0d71ce47e5491858c5) # Be Children’s Cheerleader and Celebrate All Accomplishments They Made under the Music Teachers’ Guidance Parents should let children know that they always had their parents as the biggest fans, especially when they may feel frustrated or discouraged. Parents are supposed to listen to their children at home as often as possible and make encouraging remarks about children’s progress. Also, parents should make sure to ask their young learners how the music lessons went. Once parents take a genuine interest in their children’s musical journey, the young musicians will be excited to play. Moreover, parents need to celebrate their children’s little victories along the way of violin learning. Learning to play the violin is a long journey full of peaks, valleys, and plateaus. Celebrating the little victories will help children keep a positive attitude when they are struggling or having difficulty tackling a new concept or song. While verbal praise and giving some rewards are important, parents may also find another way to celebrate achievements. Keeping a journal of children’s accomplishments can be a good way. When parents put it in writing, they are less likely to forget. # Plan Performances for Children When it comes to music instrument learning, we all know that it is important to keep the little performers engaged and excited about their music education. Giving them the chance to perform consistently throughout the year can definitely hit the mark. Consistent performances continue to motivate children. Scheduled performances on campus, instrument performing competitions and other occasions all work well. By planning performances for children and encouraging them to be on stage, parents can help children increase excitement and confidence. Besides, it may make children themselves recognize that more practice means avoiding embarrassment at a recital. ![](https://static.lianmuse.com/image/blog/209a02802701e7e78d291b7068926fde.png?v=209a02802701e7e78d291b7068926fde) # Help Children Engage with Music and Understand the Gift of Music Children are more likely to practice music if they feel connected to the process. Parents need to help their young learners develop an interest and curiosity for music. Once children find themselves are engaged with music, they are more likely to be willing to practice. Besides, parents should be engaged with music themselves. They can create a musical atmosphere at home by showing interest to music, for example, listening to music and sing together. In this way, children may naturally want to imitate their parents, so it is a big motivation for children to practice. What’s more, parents should take efforts to confirm children that playing the music instrument is an opportunity that is not necessarily available to everyone. They need to teach children to appreciate music and what music can offer and help them discover that music can enhance their life. To make children understand the gift of music, parents can take them to concerts or shows, play music at home, and help them discover what they like. This can also help children understand why practicing after music lessons is important. Different parents may have various ways to help their children’s daily practice. All the ways are aimed at providing children with effective practice and also a chance to make achievements. The whole process requires all parents’ participation and efforts. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violy Music Articles: [**Teaching Violin Students to Read Key Signatures**](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [**A Comparison of Movable Do & Fixed Do**](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [**How to Choose Right Violin Strings**](https://violy.app/blog/2019/12/How-to-choose-right-violin-strings/) [**Things You Must Know About Violin Bowing**](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [**Violin Books for Beginners**](https://violy.app/blog/2020/01/Violin-Books-for-Beginners/) [**Acoustic Violin VS Electric Violin**](https://violy.app/blog/2020/01/Acoustic-Violin-VS-Electric-Violin/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/3edcab6644bfad50a68ae2c5dbab5814.png?v=3edcab6644bfad50a68ae2c5dbab5814) --- # What Should the Best Practice Coaching Be Like? - URL: https://violy.app/blog/what-should-the-best-practice-coaching-be-like - Markdown: https://violy.app/blog/what-should-the-best-practice-coaching-be-like.md - Published: 2020-12-07 - Categories: Product - Summary: Violy CEO Javen Fang reflects on supporting children's music practice through intelligent tools, professional coaching, and parental companionship, alongside Violy's December 2020 launch of live online practice coaching in China. Written by Javen Fang, CEO of Violy > Historical context: This article was published on December 7, 2020. Its launch announcement, prices, and payment arrangements describe Violy's China service at that time. At the time of this announcement, Violy had introduced its own live online practice coaching in China, described as moderately priced and payable one session at a time. ![](https://static.lianmuse.com/image/blog/0d52575be95fe2d2d46ab5f97314ff60.png) ## 1 As a new generation of parents, when our children start kindergarten, we begin to think: My child should not grow up as I did, knowing little beyond what I learned by rote from textbooks. My child should have broader knowledge and develop some abilities in the arts or sports. My child should lead a richer, more colorful life. And so, all kinds of extracurricular classes are flourishing. None of them are particularly cheap, either. Most other extracurricular activities are fairly straightforward: you take your child to a class. But for parents who have ventured into music education, the experience is much harder to put into words. At first, most parents do not realize how much music study will demand of them. Only after they get started do they discover just how deep that commitment goes. You think a teacher is all you need for a child to learn music. Gradually, however, you realize: **Learning is three parts instruction and seven parts practice. Without practice, even the best teacher cannot teach a child to play well.** Children have to practice repeatedly, every day. They must keep overcoming difficulties and climbing uphill. Psychologically, intellectually, and physically, it is an enormous challenge. The challenge does not fall on children alone. Parents who have entered the world of music education face an unavoidable question: how to support and guide their child's practice. That saying about three parts instruction and seven parts practice actually has a second half: the remaining ninety points depend on practice support. Parents are all wondering how to handle this so that their child's musical learning can go a little better, last a little longer, and feel a little less painful. ## 2 I am one of those parents, too: the parent of a child learning an instrument. My answer to the question of how to support practice was the Violy app. The starting point for this app was that most parents, like me, cannot read staff notation. **Is the child making mistakes in pitch or rhythm while practicing? If so, can those mistakes be corrected promptly?** Parents who do not understand music cannot resolve these issues themselves. There should be a tool that can help. The app needed to act like a human practice coach, clearly identifying mistakes after a child finished playing. So it needed a degree of intelligence. That is what I mean by “intelligent practice coaching.” **At the time, we described Violy as the world's first truly intelligent practice-coaching app.** Children are young, so expecting them to use the app entirely on their own is neither realistic nor reasonable. The app's main purpose **is to serve as a supporting tool for parents, helping those who do not understand music address the technical issues that arise while supporting their child's practice.** ## 3 Just as it helped me, the Violy app has helped many other parents **resolve basic technical issues during practice.** However, through my own experience supporting practice and my conversations with many parents, I have found that the app's intelligent practice coaching is useful, but **has limitations**. Supporting practice requires a great deal of time, energy, and patience. Many parents therefore find it quite difficult. With their own limited understanding of music, the help they can offer their children is still not always enough. Sometimes a child does not practice as the teacher instructed. Even if a parent tries to correct the child or shows them a video recorded during the lesson, the results can be limited. That led me to a new idea: if a professional teacher could guide about two of a child's six weekly practice sessions, perhaps that would better support the child's learning. For one thing, a practice coach can offer more professional guidance. For another, having a different person guide practice feels fresh to a child, and children will listen to a teacher. Taken together, I was convinced these advantages would make practice much more effective. Since evenings are the only available time for coached practice on weekdays, the arrangement should be easy to access, ideally online. **The purpose of practice coaching is to ensure that children practice correctly, following the instructions of their main instrumental teacher.** It follows that practice coaching should ideally be arranged by the main teacher. That teacher's supervision and guidance are needed to ensure the quality of the coaching and keep it on track. ## 4 The Violy team's latest achievement is the launch of an online practice-coaching feature. On one level, this article is my personal reconsideration of practice support as the parent of a child learning an instrument. On another, it is also our official announcement: **Violy's online practice-coaching service has launched!** But our online practice coaching is different from what people may already know under that name. Violy's service differs substantially from the online practice-coaching platforms people have seen before. The central difference is that Violy's online practice coaching **requires the main teacher to participate: to arrange, guide, and supervise the coaching.** We believe that only with the main teacher's involvement can online practice coaching achieve the best results, keep a child's practice on the right path, and help the child get the most out of every practice session. **For children, time is the most precious resource.** Once we have chosen our child's main music teacher, we should trust that teacher's professional judgment about learning music, including their ability to make the best arrangements and coordinate the child's learning. At the time of writing, Violy's online practice coaching had been running on a trial basis for several weeks. Parents' responses had been very positive, and they were highly satisfied with the coaching results. **The sessions also offered very good value, with beginner sessions priced as low as RMB 50.** Even more importantly: ### Pay for One Session at a Time! Once the time for a session is confirmed, simply book and pay for it in advance. As parents, we have all had experience with one of the biggest pitfalls of extracurricular classes: “promotional deals.” You buy as many as 100–200 sessions at once, only to find that you usually cannot finish them all. Later, you may end up attending simply to use up the sessions you bought. That wastes not only money but, even more importantly, a child's time. In my experience, most platforms would not allow refunds, either. Paying for one session at a time greatly reduces the costs involved in learning and choosing a service. ## 5 To sum up: Previously, I tried to use an app to help parents resolve the basic technical issues they encounter when supporting practice. Now, the aim is to bring in professional practice coaches who can provide an appropriate amount of online support for parents and better address issues that require musical expertise. Combining intelligent tools with human coaching makes practice support more varied and comprehensive. But even that is still not enough! In a child's education, tools and outside expertise should only ever be external support. Parents cannot hand over their own responsibility for supporting practice. Above all, supporting practice means being there for your child. What children need most is companionship, encouragement, and appreciation. It is fine if we parents do not understand music or lack professional expertise. But our emotional support must not be absent. It is also what our children need most. In the past, when intelligent practice-coaching apps did not exist and it was difficult to find a practice coach, many parents still fulfilled this role through their own perseverance and love. So what matters most is a parent's presence. Children themselves have some ability to solve technical problems. Now, with better app tools, convenient online practice coaching, and our patient emotional support as parents, I believe our children's musical learning can go more smoothly and bring them more joy. Let me share my own experience. A few years ago, when my daughter was in primary school, I developed the app to help me solve the basic technical problems that had previously left me feeling helpless. But I did not do a good job of providing emotional support. Now that my son is learning piano, I pay more attention to emotional support. Supporting his practice is going much more smoothly than before, too. I still need to keep learning and improving. In Violy's WeChat group for parents and teachers, many parents do this much better than I do. --- # ABRSM Violin and Piano Sheet Music on Violy App - URL: https://violy.app/blog/abrsm-violin-and-piano-sheet-music-on-violy-app - Markdown: https://violy.app/blog/abrsm-violin-and-piano-sheet-music-on-violy-app.md - Published: 2020-11-27 - Summary: Violy violinists and pianists, ABRSM violin and piano albums are available on Violy app now! From No # Buy ABRSM Albums and Get FREE Premium Gifts Violy violinists and pianists, ABRSM violin and piano albums are available on Violy app now! From November 27th, 2020 to February 22nd, 2021 (EST), users will receive 7-day premium gifts as long as buying ABRSM albums on Violy app. A single purchase will bring you a 1-week FREE membership. The time of your membership can be prolonged if you make more purchases. ![](https://static.lianmuse.com/image/blog/7c6db396f0caa3ec4e4ca12c3f7a73c0.png?v=7c6db396f0caa3ec4e4ca12c3f7a73c0) # Contents of ABRSM Albums on Violy App Currently, there are 16 ABRSM violin albums and 24 ABRSM piano albums containing pieces in grade 1–8. ## ABRSM Violin Albums **ABRSM Violin Exam Pieces Grade 1-8** ![](https://static.lianmuse.com/image/blog/e187aadf8f5ff00bd50e9accad074dd5.png?v=e187aadf8f5ff00bd50e9accad074dd5) The album of each grade includes 3 pieces of music. **ABRSM Violin Scales & Arpeggios Grade 1-8** ![](https://static.lianmuse.com/image/blog/0a0b66c43ee1f4a5136a048183659e64.png?v=0a0b66c43ee1f4a5136a048183659e64) Complete content of the original book is contained in the album of each grade. ## ABRSM Piano Albums **ABRSM Piano Exam Pieces Grade 1–8** ![](https://static.lianmuse.com/image/blog/89fc99b193ab74a5642dba7b19076bed.png?v=89fc99b193ab74a5642dba7b19076bed) The album of each grade contains 3 pieces of music. **ABRSM Piano Scales & Arpeggios Grade 1–8 (from 2021)** ![](https://static.lianmuse.com/image/blog/067d1d955c9fd91cdef70e6683d993a2.png?v=067d1d955c9fd91cdef70e6683d993a2) Complete content of the original book is contained in the album of each grade. **ABRSM Piano Specimen Sight-Reading Tests Grade 1–8** ![](https://static.lianmuse.com/image/blog/8857bd94cc96e8595ff3f3b4a10253b1.png?v=8857bd94cc96e8595ff3f3b4a10253b1) 1/3 of original music repertoires are included in the album of each grade. ![](https://static.lianmuse.com/image/blog/836b9efb3fcbffbce6b17608937102c8.png?v=836b9efb3fcbffbce6b17608937102c8) # Find ABRSM Violin and Piano Albums in Violy App Enter **“Music Cloud”** in **“Violy”** page. ![](https://static.lianmuse.com/image/blog/aef19037a9b465a54e0661bb1cbeef5a.jpeg?v=aef19037a9b465a54e0661bb1cbeef5a) Enter **“Categories”**, select **“ABRSM”**, and choose the album tags according to your own preference. ![](https://static.lianmuse.com/image/blog/493b1ad608306917fe1033976f350403.jpeg?v=493b1ad608306917fe1033976f350403) Start to practice ABRSM works in a “violy” way and make progress during this challenging time! # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violy Master Class Articles: [**Viola Master Class - Ho Wing**](https://violy.app/blog/2020/04/Viola-Master-Class-HoWing/) [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) [**Violin Master Class - Ling Zi**](https://violy.app/blog/2020/03/Violin-Master-Class-LingZi/) [**Violin Master Class - Gu YingLong**](https://violy.app/blog/2020/06/Violin-Master-Class-GuYingLong/) [**Piano Master Class - Kong Jianing**](https://violy.app/blog/2020/11/Piano-Master-Class-KongJianing/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/3edcab6644bfad50a68ae2c5dbab5814.png?v=3edcab6644bfad50a68ae2c5dbab5814) --- # Piano Education in China and Western Countries | Kong Jianing - URL: https://violy.app/blog/piano-education-in-china-and-western-countries-kong-jianing - Markdown: https://violy.app/blog/piano-education-in-china-and-western-countries-kong-jianing.md - Published: 2020-11-25 - Summary: Kong Jianing is a famous young pianist and professor of piano in Royal College of Music (RCM). In th Kong Jianing is a famous young pianist and professor of piano in Royal College of Music (RCM). In this Violy master class, he introduced the differences between the music education in China and that in Western countries. ![](https://static.lianmuse.com/image/blog/7a6f8fcccf1b87cd2cf29578b28983d8.png?v=7a6f8fcccf1b87cd2cf29578b28983d8) Content of Kong Jianing’s lecture is as follows (edited in first person): Good evening, everyone. My name is Kong Jianing. I am very glad to be here to share my views on **music education in China and Western countries**. We all know that over the past 2 decades, music learning has been popular in China ---- The country possesses the largest number of young music learners in the world. Also, we have cultivated world-famous talents who are outstanding in multiple fields. However, many teachers and parents are still confused about the level of music education in China compared to that in Western countries, as well as in neighboring countries like Japan and South Korea. Since it is a large topic, I have selected some key points, and my sharing will be based on these points. # What is the World-class Music Education Like? Few music players can become world-class performers. Therefore, in my opinion, **the primary purpose of music education is not cultivating world-famous performers**. If I were to define the purpose of music education, I would say that the most important aspect is **training the future audience.** If we take music as a kind of culture, we shall **teach the children to appreciate and love music**, which is the most significant thing related to music education. All music genres including classical music, jazz music, pop music, and world music can only be preserved when the learners know how to enjoy them. Only then can our musical culture be developed and retained. Quality education and aesthetic are both related to the education of music. By learning music, the learners may find that music can cultivate their aesthetic, and help them improve their life quality. Cultivating world-class performers is not the aim of music education. If we can create an environment where a large number of people love and understand music, talented performers will stand out naturally. Over the past century, the Western countries, Russia, Japan, and South Korea have already formed an environment mentioned above. Considering China’s national conditions and traditional culture, currently, we lag behind these nations in music education. Classical music has developed in China for only a few decades. But over the past 20 to 30 years, the development has been rapid that some achievements have already been made. From this perspective, we can discuss some topics related to beginners, amateurs, professional players, and some learning methods. In my opinion, it is significant for us to **take the purpose of music education as cultivating the future audience.** # Differences between the Music Education in China and That in Western Countries: Attitudes of Music Teachers and Parents I have lived in the United Kingdom for about 20 years. But before the age of 16, I lived in China. Since I spent the first half of my life in China and the other half in the UK, I can tell you more about the practical differences between the music education in China and that in Western countries. From my observation, in the UK, parents who can afford their children’s music learning will definitely support the children to learn music instruments. Like parents in China, many parents in the UK buy pianos or violins for their children, or find music teachers for the young learners. Plenty of families let the children start to learn instruments at the age of 4 or 5. But what is the major difference between Chinese parents and Western parents? Personally, I think that Chinese parents take the music learning very seriously. They hold the view that once there is input, there must be output. This is the most distinct characteristic of Chinese parents. They think that once they have spent money on music instruments and music lessons, there must be some results then. The output can be regarded as achievements. The achievements can be big or small. The parents who pursue small achievements think that the children must take graded music exams. In this way, the young learners can demonstrate that they have worked hard on learning music. The graded music exams can be regarded as the proof of music learning. As for British families, they may let their children learn music just for fun. For example, the children can perform in front of the family members on Christmas day. British parents may say that their young learners feel happy to learn music instruments, but they may not focus too much on the so-called output. In fact, many children in the UK also take graded music exams. The utilitarian idea is not typical for Chinese parents. British parents can be utilitarians as well. Some British parents will tell their children’s music teachers in advance that the young learners intend to take graded music exams, because the children can only enter the private schools with music scholarships if they hold the certificates of certain grades. Like Chinese parents, some parents in the UK tend to think in this way as well. It is normal to have the thought that there should be output since there has already been some input. The key point is that we should confirm whether it is the only purpose involved in the whole process. We may find some subtle differences if we discuss the topic. National conditions in different countries can vary a lot. From my observation, generally speaking, most Europeans are quite willing to pursue spiritually beautiful things. Most Chinese parents neglect those spiritually beautiful things. It is common for me to see that **some Chinese parents are very anxious about the development of their children.** In other words, as long as the children decide to learn piano, whether they intend to become professional performers or amateur players, the parents are worried. I mentioned in Violy team’s interview that Parents play the most important roles in the children’s early education. From preschool period to elementary school period, during the children’s learning process including the process of learning instruments, parents are more important than teachers and all the other external factors. No matter how talented the children can be, **parents are vital to the children’s development.** If the parents are extremely anxious, their children will definitely be affected. The impact can be imperceptible. I know many British parents who require their children to participate in school shows, regional piano contests, and other events. The whole process is natural. Since we have learned the instruments, there will be some output for sure. But these parents are not very anxious about the development of their children or the achievements. Therefore, in my opinion, a major difference between the education, especially children’s education in China and that in western countries, lies in the parents’ mindset. # Why Is ABRSM Exam Widely Accepted in Foreign Countries? In recent years, the ABRSM Exam is particularly popular in China. Actually, the ABRSM Exam started in 1889, and has been existing in the UK for more than a century. I am always asked whether the ABRSM Exam is related to RCM or not. The answer can be yes and no. **The ABRSM (The Associated Board of the Royal Schools of Music)** was created in 1889 by the president of RCM and the president of Royal Academy of Music (RAM). Now there are 4 schools included in the associated board, which are RCM and RAM in London, Royal Northern College of Music (RNCM) in Manchester, and Royal Conservatoire of Scotland (RCS) in Glasgow. The associated board is **a separate organization which is not directly relevant to the administrators in the 4 schools.** But the origin, name, and other elements of the associated board are closely related to the schools mentioned above. Not only do the parents of piano learners let their children take the ABRSM Exam, but those learners of guitar, percussion, brass, woodwinds, cello, violin and other instruments also tend to enter the ABRSM Exam. Therefore, **its universality and popularity are high. Also, the exam is officially recognized and certified.** Having been developed for over 100 years, **the system of ABRSM Exam is very mature now.** Compared to the examiners of the graded music exams in China, the examiners of ABRSM Exam tend to be generalists, which is to say, the examiners who have a piano learning background may not be assigned to ABRSM piano exams. These examiners may need to grade the viola exams. What can we know from the fact above? During the ABRSM exams, **the examiners do not pay much attention to practical techniques like particular performing techniques used on the piano.** Or we can say that in the examiners’ view, the performing techniques are not crucial. If a violinist or a person who has a violin playing background needs to grade the piano exams, he or she is not familiar with piano techniques for sure. So what do the examiners care about? They pay attention to the **playing styles, music expression, and skills of dealing with music content**, because these are common aspects related to music playing. People who have a music learning background are supposed to be able to tell if the music is played with emotion, if the playing style is appropriate, if the music content is properly dealt with, and if the notes and rhythm are played correctly. **An important difference between the graded music exams in China and the ABRSM Exam lies in the exam system.** The system of ABRSM Exam conveys **the importance of music education and understanding music,** which is to say, the system does not require perfect performing techniques. If a highly-skilled player and an unskilled player both perform a same piano piece of ABRSM grade 8, there will definitely be some differences on the music expression. Or we can say that a highly-skilled player can master the piece better. It is no doubt that the music expression will be much better as well. Although the examiner cannot play the piano, he or she will be able to tell the differences between the two players’ playing. I remember that there is something interesting related to the ABRSM scales. I was still in college when I just knew about ABRSM scales. At that moment, I also taught some amateur players, and tended to **tell them the recommended fingerings.** But actually, the learners did not need to follow the exact fingerings. They could just play the legato, and skip the certain keys correctly. I wondered that if it is possible for us to play the C major scale with only 2 fingers. Theoretically, we can definitely use 2 fingers to play the scale. **It is not necessary to follow the traditional fingerings of the C major scale.** I thought it was so amazing. In China, we cannot tolerate wrong fingerings in graded music exams.
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The ABRSM Exam is very interesting and historic, because it is designed for the amateur players to develop a hobby of music first, and then follow the scientific grading system. But many problems appeared after the ABRSM Exam was brought to China. Over the recent 2 to 3 years, I met many part-time teachers who were confused about how to distinguish the music genres from one another. It seems that everyone is so anxious. **Actually, all people become utilitarians who are in a hurry to know everything about music.** Some people may wonder how to learn some certain techniques fast so that they can tell the differences among Baroque music, classical music, Romantic music, contemporary music, etc.. They also want to know how to make these genres sound alike. These problems cannot be solved easily by entering only 1 or 2 lectures. It takes a long time for the players to know well about these music genres. ![](https://static.lianmuse.com/image/blog/e2bcd652c2afed3866fcd49410255fb3.png?v=e2bcd652c2afed3866fcd49410255fb3) # The Selection of ABRSM Exam Pieces We all know that **the ABRSM exam pieces are changed every 2 years**. The repertoire is very abundant. There are 3 sections (a, b, c) contained in each exam book, and each section includes 3 pieces. 9 pieces are contained in every book. Also, there are some selectable alternative pieces which are not included in the books. The repertoire provides the teachers with a wide range of choices. Besides, **the teachers are supposed to possess a wealth of knowledge and a rich imagination**. They should know how to choose the pieces and help the students get good grades, which can be very flexible. Teachers are not supposed to teach the certain selected pieces forever. But under the exam system in China, **the teachers are likely to teach the same pieces for 10 or more years, which can be limited. What is the essence of music?** The essence is to understand, love, and learn music comprehensively. # How to Arouse Students’ Interest? How Do Music Teachers and Parents Work Together? At the early stage of music education, what should we do to guide the children in a balanced way? Since the parents and the teachers influence the young learners directly, **they play the most important roles in guiding the children.** Personally, I have not done much research on child psychology, but I have taught many children. Also, I know some children under 10 who are very talented and smart, but their interests and passions have been killed. I have taught some 11-12 year olds who were in grade 7 or 8 in middle schools affiliated to conservatories of music, or in grade 6 in affiliated primary schools. I could not see the passion in most of these students’ eyes, which is to say, they did not have strong curiosity or desire to learn. The students I like, or those who are very talented and fun to me, **tend to be passionate about everything including music, and have a strong thirst for knowledge.** When will the interests, passions, and curiosity be killed? **Once the teachers and the parents treat the young learners in a dogmatic way, the characteristics mentioned above will be killed.** For example, if we teach a child who has learned the piano for just 1 year to play the etudes written by Czerny, the sonatinas, Bach’s works, etc., and treat the learner in a most strict, boring, and unscientific way while teaching, the child will start to hate practicing the piano. Although the learner hates playing the instrument, he or she still has to practice it since the parents are the decision-makers in the family. With the continuous bad experience, many people who have learned the piano in their childhood start to hate the instrument when they grow up. They do not even want to touch the piano, let alone listen to piano music. There are tens of millions of young music learners in China, but most of them do not become professional players after learning for years. Besides, how many of these learners tend to visit concert halls regularly, go to concerts spontaneously, buy records, or download the music? Sometimes I think the phenomenon is lamentable. It could have been better, **but some certain problems appeared during the learning process, and the passions were killed.** From the teachers’ view, they cannot tolerate the students’ playing wrong notes, having wrong hand frames, and using wrong techniques. Therefore, teachers tend to treat their students in a strict way while teaching. The most important thing is to find the balance between **keeping the students’ passions and teaching them correct content which must be learned.** Many people hold the view that the education must arouse the children’s interest. It is not my opinion. Also, I disagree with the idea that the learning process must be boring. We can find the balance between interest and boredom. To sum up, I think that **we should transform the requirements, self-discipline, and efforts into positive things.** The transformation may be difficult, but we can encourage the children to take the initiative to practice. It is true that some learners hate the instruments they learn so much that they do not want to work hard. But I know that most children will not reject practicing as long as **there is active encouragement or scientific planning.** I can share the process of my growth here. When I was a child, I was good at the academic subjects, and had little spare time to play. But **practicing the piano has already become a part of my daily routine since I was about 7 or 8 years old.** When I was young, **my daily routine included eating, sleeping, doing homework, playing the piano, etc..** As a result, now I play the piano every single day unless I am on my way to someplace, for example, being on board for 12 hours. The parents and teachers, especially the parents, **need to make practicing the piano become a part of the children’s daily routine.** The part can be regarded as the combination of interest, habit, and self-discipline. **Music should be everywhere.** Music is **neither a means of proving yourself nor a way to show how excellent your family is.** It is supposed to be a part of the life, which is ubiquitous. In my opinion, successful music education can definitely make music become a part of our life. For the young learners under10 years old who do not intend to be professional performers, they are likely to practice their instruments for only 45 to 60 minutes each day. If a third-grade student does not have the plans to enter middle schools affiliated to conservatories of music, or to become a professional player, it is sufficient for him or her to practice for only 1 hour every day, since what he or she needs is to participate in some graded exams, competitions, and performances. It is enough for the student to simply practice the fingerings, the playing techniques, and the pieces learned in the music lessons. But **the young learner is supposed to enjoy the 1-hour practice instead of hating it.** 1 hour is not a long time in a day. It is important for the young learners to make good use of the time slot and **take the initiative to practice rather than hate the instrument.** Besides, families are different. Some children may need their parents’ company, and the parents need to help the children **manage the time scientifically**. If these things are not done, it is hard for the young learners to practice on their own initiative. # Are Hand Frames Really Important to Young Piano Learners? Almost all parents are wondering whether their children are playing the piano properly, and whether the children’s piano teachers are teaching correctly. **For those who do not know music, the hand frames are not easy to understand.** The hand frames are not like the academic subjects. Parents may be able to tutor the children in academic subjects, and understand the content of the textbooks, but they cannot tutor their young learners in hand frames, since they are not able to read music or tell the effect of playing. Therefore, many parents are anxious about the children’s piano learning. They are eager to know whether the teachers are teaching in a right way, and how their children play compared to other learners. It is hard for the parents to understand the young learners’ playing, so **they tend to pay attention to the children’s hand frames.** Are hand frames important or not? It is a complex question. **My answer is, again, yes and no**. Hand frames are important, because piano teachers are obliged to teach their students to play with correct hand frames. But the hand frames can also be unimportant, since **it is difficult for a piano player, especially a piano learner who has learned the instrument for only a few years, to develop 100% standard hand frames in a short time.** From this point of view, **the hand frames should not be the only standard for evaluating the learners’ piano playing,** which is to say, hand frames are not that important. Here I would like to share more details related to the topic. Piano teachers should take the responsibility to teach their students the correct hand frames, **because one cannot play the piano well without right hand frames.** I mentioned this idea in my former lectures as well. When we intend to play the piano, what we need to do is putting the hands on the keys. Currently, many articles contain the idea that the hand frames are not important at all, since there is a piano master who can play really fast with his fingers stretched. In my opinion, the piano master’s hand frames should not be judged only by the appearances. It is hard to tell how the master uses the finger strength. Also, a strong personal style has been developed over years of playing. For example, many people know that the famous Russian pianist Horowitz were able to play excellently with his fingers stretched. But if we pay attention to his palm joints, wrists, and ways of using finger strength, we will find that the pianist’s hand frames were scientific, classic, and correct. **The most natural and relaxing way to play the piano is to sit up straight while playing. In the meanwhile, our shoulders, arms, and wrists should be relaxed so that we can put the weight on the keys.** Then we can have the most natural and scientific hand frames.
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If we know more about the famous pianists of the last century, we will find that **almost all excellent players can use the weight well.** How to play well when we are relaxed? The palms and knuckles should be able to hold the weight. Once the weight can be held, we can find the balance of the hands. If we take the palms as the cores, the hands are like seesaws, and the weight is put on the wrists. With strong finger strength, the hands can be kept in a balanced state. Correct hand frames are so important that we cannot continue playing without them. Since even the tiny mistakes on the hand frames can lead to wrong playing, I will not share more detailed skills here.
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It is significant for piano teachers to teach hand frames. Personally, I think it is wrong to believe that there are no fixed hand frames, or all hand frames work for players. When the learners reach the level of top performers, and have developed strong personal styles, they can select the most suitable way of playing. But whether the way of playing belongs to the Russian school, German school, or other schools, it should always be scientific. Otherwise, we cannot play the piano well. On the other hand, hand frames are not that important, because **they cannot be regarded as the only standard for evaluating the children’s piano learning.** Why? As a professional pianist, I started to play the piano at the age of 4, and have practiced the instrument for over 30 years. During the process, I have learned from different teachers, and have tried different ways of playing. Finally I developed my own hand frames. It is impossible to require a learner who has learned the piano for only 3 years to develop their own hand frames like their teachers or I did. Therefore, the whole early stage of piano learning is a constantly changing process. **We cannot require a changing thing to reach the standard completely.** Besides, the hand frames are also affected by other things, for example, the relaxed state. Some people may find their forearms stiff when they intend to develop nice hand frames. With the so-called nice hand frames, they cannot even move. **The teachers are obliged to teach correct hand frames, the parents should cooperate with teachers in daily teaching, and the students are supposed to follow the teachers’ instructions.** But the hand frames cannot be considered as the sole criterion for testing the children’s learning. I shared many views today. As a music educator, every time when I give a lecture, I hope the participants can **look on music education in a rational way instead of blindly worrying or being anxious.** This is what all teachers and parents should pay attention to. I hope teachers and parents can **treat the children’s music learning with a normal state of mind.** # Music Q&A: ## Audience: What do you think of lifting the fingers high when practicing the piano? Kong Jianing: Lifting the fingers high is a way of practicing instead of a way of playing. It is widely accepted and opposed. The players are required to press down on the keys easily while playing. When I explain the details to my students, I tend to make an analogy with taking the elevator. When you are touching the keys with your fingers without pressing, you can take it as being on the first floor. To go to the basement, you need to take the elevator, and the process can be taken as pressing down on the keys. When your fingers are lifted, you can take it as being on the second floor. Then it takes a longer distance to go to the basement. Therefore, lifting the fingers high is not an effective way of playing. But on the other hand, the way is important since it helps the players train their palms. The strength of palms plays a significant role in piano playing. A piano learner who has learned the instrument for about 3 or 4 years need to know how to use the strength of palms. The most effective way to train the palms is lifting the fingers high while practicing. For example, playing Hanon’s piano exercises can be helpful. Besides, lifting the fingers high can help the player improve the finger flexibility. If the player needs to play the scales fast, the finger flexibility is necessary.
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In my opinion, lifting the fingers high needs to be included in the daily practice of a learner who has learned for 2 to 3 years. In China, many teachers ask the students to practice lifting fingers after a few lessons. It is wrong. Lifting the fingers high requires strong strength and stability of the wrists. Also, the player needs to be able to hold the weight with the palms and knuckles before being trained to lift the fingers high. Or the training will be ineffective. ## Audience: How should I practice before participating in competitions? Kong Jianing: It is an interesting question. There are some tips for the students who intend to participate in competitions and performances. The purpose of daily practice is consolidating what you have learned, while preparing for competitions and performances requires students to play through the pieces. During the daily practice, the students are supposed to focus more on particular techniques and challenging phrases, so practicing some certain sections slowly can be important. But once the students are preparing to perform on stage, they need to create for themselves an atmosphere where they are already on stage. The players will feel a little nervous if they imagine themselves to be playing in front of the audience. Then after the playing, they can find some phrases which are not played well. Later, they can make some corrections. Before participating in competitions and performances, the students need to create an atmosphere where they are performing on stage, which can be very helpful. ## Audience: Can you recommend some piano books for beginners? Kong Jianing: I’m not an expert in piano books. Actually, there are a variety of piano books for beginners available on the market. You may search for them online. Books written by Thompson, Faber, and Sebastian are all good for the students. With a combination of illustrations and words, the books contain the content of music theory, hand frames, and playing methods. Parents can read the books together with their children. When the learners have learned for more than 1 year, they can start to play some simple pieces of different times including Baroque period, Classical period, Romantic period, contemporary period, etc.. The piano teachers need to select the pieces for the students. If the students intend to enter graded music exams, they can focus more on the exam pieces, and practice some other pieces as well, such as etudes. ## Audience: How to express different kinds of music through changes of tones? Kong Jianing: This is a highly technical question. I am seeking answers to it as well. Different tones are produced through different techniques. Tones are different from the sound quality. Tones are related to the ways of dealing with music, while sound quality is connected with the ways of piano playing. Sound quality comes first. Even without microphones, the sound of the piano needs to be heard clearly by the audience in the halls. A pianist should be able to make the piano produce the sounds which are easy to be transmitted. Therefore, as I mentioned before, the player needs to press down on the keys. Only in this way can the sounds be resonant. Besides, the players need to press the keys in a better way instead of a quicker way. The speed of pressing the keys needs to be considered. Every key should be pressed down while playing, and the ways of playing should be controllable. Then the sounds produced are clear and resonant. Once the sound quality is good, the tones need to be taken into consideration. Tones are related to the ways of dealing with music. For example, when you are playing Chopin’s Etude Op. 10, №1 in C major, you should make sure that the sound quality is good. Then you can consider if the tones are soft, and if the sounds produced are colorful. As long as the sound quality of each note is good, you can add some colors to the music you play. According to the musical emotions, you may make the tones brighter or darker, or make the sounds bigger or smaller.
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Making adjustments according to the musical emotions is also an important skill. It is necessary to distinguish the tone from the sound quality. Tones can be used to convey emotions. The subtle changes of tones help the players deal with phrasing, music expression, musical characteristics, etc.. ## Audience: How do you like Mr. Dan Zhaoyi’s new books? Kong Jianing: I have not seen the books yet. I know that many piano teachers have already started to use the books, and they are satisfied with them. Mr. Dan Zhaoyi is one of the most outstanding professors of piano in China. He has abundant experience in basic teaching. I think his new books are worthy reading for piano learners. Thank you! Thanks for Mr. Kong’s brilliant sharing! Please stay tuned for the next Violy master class. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violy Master Class Articles: [**Viola Master Class - Ho Wing**](https://violy.app/blog/2020/04/Viola-Master-Class-HoWing/) [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) [**Violin Master Class - Ling Zi**](https://violy.app/blog/2020/03/Violin-Master-Class-LingZi/) [**Violin Master Class - Gu YingLong**](https://violy.app/blog/2020/06/Violin-Master-Class-GuYingLong/) [**Piano Master Class - Kong Jianing**](https://violy.app/blog/2020/11/Piano-Master-Class-KongJianing/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/3edcab6644bfad50a68ae2c5dbab5814.png?v=3edcab6644bfad50a68ae2c5dbab5814) --- # All about Viola | Music Learning and Career Choice | Wing Ho’s Viola Teaching Class Part 7 & 8 - URL: https://violy.app/blog/all-about-viola-music-learning-and-career-choice-wing-hos-viola-teaching-class-part-7-8 - Markdown: https://violy.app/blog/all-about-viola-music-learning-and-career-choice-wing-hos-viola-teaching-class-part-7-8.md - Published: 2020-10-22 - Summary: In these two classes, Professor Wing Ho will share his views on topics that are of great concern to # Music Learning and Career Choice In these two classes, Professor Wing Ho will share his views on topics that are of great concern to music teachers and parents — — the path of music learning from preschool to university. # Music Learning in the Preschool Period During the preschool period, many children will take special interest classes, such as dance, ballet, singing, instrument playing, calligraphy, abacus learning, and so on. The classes are helpful for the children to develop intelligence and improve coordination skills. The parents are also interested in these classes. My mother told me that **we should learn something when we are young, and be good at it then.** Since I grew up in the conservatory of music, it was natural for me to decide to learn music. Besides, I was surrounded by music teachers and masters, so my road to music was quite smooth. In Asia, a great number of parents force their children to learn music, because they hope that their music dream can be realized by the children. Therefore, the children may suffer from the learning process. **Few music masters are forced to become excellent. Most of them have a strong interest in music, and have developed the interest since childhood.** Some parents intend to make their children geniuses. In fact, gifted children will show their talent for music very early. For example, some children have absolute pitch. When they hear a note being played on the piano, they are able to tell what the pitch is right away. Some children adapt well to instruments. They can pick up a new instrument quickly, or memorize a certain passage right away after listening to it. Musical talent can be inherent, but it can also be acquired if the learner is immersed in a musical environment. Besides, some learners are born with good memory and good hearing, which are helpful for them to have musical talent. ## The Benefits of Learning Music ### Music Therapy A friend of my wife has a child who suffers from depression. The child’s academic performance is affected by the disease. But his health condition got improved gradually after learning music for some time. Therefore, music can be good for the treatment of some diseases. ### Concentration When a child is playing a piece, no matter for how long he or she is playing, it cannot be easy for the child to focus on it, or even memorize the piece. Everyone has an attention span. When we are in our childhood, our attention span is short. With continuous training, it will become longer. Music learning is helpful for us to develop a longer attention span. ### Unconventional Thinking Music learners tend to think unconventionally. Also, music learning helps us form a habit of multitasking. ### Auditory Memory Auditory memory plays an important role in the process of learning. The content we are able to remember after attending a class affects our learning effect. Learning to play music helps us improve our auditory memory. ### Imitation Skills When we are learning music, we pay much attention to the training of imitation skills. After listening to a piece, it is important for us to imitate and play it. The ability to imitate can be improved during the process of learning music. ### The Ability to Transform Music teachers always emphasize that students need to transform music into words or images, or turn words into music. When we are playing a piece, we need to visualize what we play, so the ability to transform is important. ### Width of Hearing and The Ability to Filter Auditory Information Sometimes we need to ignore some auditory information. For example, if we are practicing in a noisy environment, we are supposed to hear what we are playing all the time. Before the exam, there are likely to be many people waiting in a classroom. In such an environment, music learners should be able to concentrate on what they are doing, and filter the unnecessary auditory information. To sum up, not only does learning music help us improve our concentration, but it also does good to our reflexes and hearing. Besides, it is helpful for learning other knowledge. [All music learners can benefit from the experience in multiple aspects](https://www.evergreenviolin.com/2021/03/09/learning-an-instrument-benefits/). ## Things Need to Be done before Starting to Learn Music In my opinion, we can just let nature take its course. ### Music Literacy Classes for Children Music literacy classes can be comprehensive that they may contain the training of singing the melody, recognizing the pitches and rhythms, coordinating, imitating, and so on. Children are likely to learn the related skills during the classes. ### Attending Concerts Attending concerts frequently can be helpful to children as well. ### Being Enlightened by Masters or Experienced Teachers Most foreign masters and excellent Chinese performers are experienced, so **it is very important for young learners to be enlightened by these highly skilled teachers.** If we do not learn from qualified teachers, we are likely to spend more time on correcting mistakes. Young learners should try to avoid the problem. It is better for them to learn from professional and experienced teachers. ## The Best Time to Start to Learn Music **Children can start to learn the string instruments from ages 3 to 5. Girls can start earlier than boys do, since girls’ language skills and coordination skills are likely to be developed earlier.** Most of my students and I myself started to learn music from a young age. But since I grew up in a complex time, I did not learn music formally until I was in my teens. Actually, **it is more important for children to follow their interests.** Parents do not need to force their children to start from a young age. They can wait until their children’s intelligence has been developed in some way. For young children, especially boys, it is not good to start music learning too early. A friend of mine forced his child to begin music learning when the child was very young. Then, when the child grew up, he began to hate the instrument he learned. Therefore, **it is essential to select the best time to start music learning.** ## Music Course Here I would like to introduce 5 kinds of music Course. All music learners including those undergraduates and postgraduates who major in music need to take these classes. ### Solfege It is better for music learners to start to learn solfege as early as possible. ### Basic Music Theory Students should start to learn music theory as soon as they enter their very first music lesson. During the process of learning music, the learners are supposed to gradually internalize the knowledge of music theory. If the students intend to major in music then, they need to find professional teachers to instruct them. The classes of basic music theory contain a variety of content. ### Rhythm Training ### Body Movement Training Body movement training is always neglected by players of classical music. Compared to teachers of Chinese folk music who tend to add many body movements in teaching and playing, teachers of classical music do not pay much attention to body movement training. Although some students are already playing advanced-level pieces, they still have some unnecessary body movements, or twist their bodies. Some students’ bodies even stiffen up. In other countries, there are courses designed for body movement training. In China, we have not developed systematic courses for it. Teachers are supposed to know more about body movement training. ### Instrument Performance ## What Is the Best Instrument for Children to Learn? **No matter which instrument the children choose to learn, they can start from the piano.** Learning the piano for 2 or 3 years before selecting another instrument can be the optimal choice for the children. When they are learning the piano, they can find some simple pieces to play. In fact, older musicians in China who established the conservatories of music tended to play multiple instruments. Those older teachers, including the foreign experts who visited Central Conservatory of Music to give lectures, were all able to play the piano, or accompany other players on the piano. Besides, many older experts could speak multiple languages and Chinese dialects, such as Cantonese, Shanghai dialect, Hokkien, and so on. They were likely to shift from one place to another place frequently when they were young, so their languages were affected. Teachers now may not be able to master different languages and dialects like the older experts did. In my opinion, starting from the piano is the best choice for the children who decide to learn musical instruments. It can be helpful for the learners to lay a foundation by learning the piano first. **Whether the children switch to another instrument or continue to play the piano then, they can benefit from the experience.** ## Things Parents Must Know Once the learners start to learn instruments and decide to be professional, their parents need to **get prepared to help their children’s daily practice for 10 to 15 years.** Not only should the parents find a professional instructor for their children, but they also need to have an economic strength to afford the children’s instruments, fees for music lessons and competitions, and other costs. Also, even though some parents spend amounts of money during the process, their children may not ultimately succeed. Parents should get prepared mentally for the possibility. ## What Kinds of Music Teachers Should We Look for? In my opinion, we are supposed to look for the music teachers as follows: 1. **Instructors who teach in or have retired from conservatories of music** These teachers can provide professional guidance for the students. 2. **Experienced and active teachers who frequently participate in events held by music associations** These teachers can provide abundant information related to music learning. 3. **Orchestra musicians** Since most of these musicians joined orchestras directly after graduating from the school, they are also very professional and experienced in teaching. ## Misunderstandings Need to Be Avoided Some parents think that they can find an unprofessional teacher for their children first, and switch to a professional one later. In fact, parents should avoid this misunderstanding since ##learning from an unprofessional teacher can do harm to the children.## Not only should a good teacher possess abundant professional knowledge and teaching experience, but he or she also needs to have some psychological knowledge, and know how to communicate with students. It is important for the teachers to know how to teach students in accordance with the students’ aptitudes. If the teachers fail to do this, some of their students are likely to give up halfway. Besides, some teachers may be experienced but very strict. Some of the students cannot stand the strictness. Personally, I think **it is unfair to be too strict to the students and treat all the students in the same way.** Teachers are supposed to master multiple teaching methods, and treat different students in different ways. ## How Many Hours a Day Should We Practice? If we practice in an effective and efficient way, time duration is not that important. But we should practice the instruments for at least half an hour or an hour per day. For the students who decide to be professional, they need to practice for a long time every day. We cannot master the classical music with only short-term training. Some students think that if they practice for more than 10 hours per day, and keep practicing in this way for half a year, they will be admitted by a good school. It is not true. **We have to spend some time on playing classical music to understand it deeply, and let the fingers get used to the instruments we play.** Intensive short-term training is not enough for the learners. **The accumulation of time is important.** Therefore, keeping practicing is the most efficient way. ## Music Grading Tests, Competitions, and Performances? How Do These Events Facilitate the Practice? Every conservatory of music has its own system of grading tests. **It is meaningful for the children to enter grading tests to improve their motivation.** But from a professional perspective, grading tests are quite meaningless, since **the content in those textbooks for grading tests does not meet the requirements of professional training.** Participating in competitions can be helpful in some way. But if the students take part in too many competitions, their normal learning schedule can be affected. Since there may be only a few pieces for the students to practice to prepare for the competitions, the learners are likely to play these pieces for several years, and have no time to practice new works. However, there are also some students who have taken part in various competitions, and gained comprehensive skills. **Generally speaking, participating in competitions can benefit the students, but entering too many competitions can have a negative impact on the students’ normal learning schedule.** From my point of view, entering performances can be very helpful to the students since they are likely to set a goal of practice after the performances. Teachers can hold a concert each year, which can help the students set goals, and facilitate their practice. ![](https://static.lianmuse.com/image/blog/f07a5d66ba7b37190980075efc32e227.png?v=f07a5d66ba7b37190980075efc32e227) # Middle Schools Affiliated to Conservatories of Music VS Ordinary Middle Schools Students can enter conservatories of music for further study when they are in the fourth or fifth grade. They can choose to enter the middle schools affiliated to conservatories of music, or go to ordinary middle schools and continue the music learning. **In my view, I recommend students to enter ordinary middle schools, and continue to learn music at the same time.** Most western schools do not encourage students to choose the music pre-major, since it may **limit the students’ thinking** in some way, and affect the acquisition of other knowledge. ### What Should We Know If We Decide to Choose Schools Affiliated to Conservatories of Music? **Students in middle schools affiliated to music conservatories need to practice basic skills.** They take the music classes I introduced above, including solfeges, basic music theory, rhythm training, body movement training, and instrument performance. Students who are able to enter the affiliated middle schools are all high-level ones. Compared to those in 1970s, the students at present are much more excellent. Sometimes a common phenomenon appears during the exams: the students only focus on the speed of playing, and the levels of the pieces they play. As a result, the students are likely to choose a much more difficult piece, and fail to perform it well. ### The Level of the Students Who Graduated from Affiliated Middle Schools Most students who have graduated from the affiliated middle schools and will enter conservatories of music **are able to master almost all the techniques, sight-read music, and know well about most of the important pieces.** This is the level of the students in the affiliated middle schools. Unlike these students, other learners tend to play certain pieces for years to prepare for the entrance exam. Once I met some students in the chamber orchestras in affiliated middle schools. These students were able to master the pieces prepared for the exam, but could not even play the simplest work prepared for the orchestras. Generally speaking, apart from the certain pieces being played for a long time, these students are weak in other aspects. ### The Content of Solfege Entrance Exams As for the solfege entrance exams held in affiliated primary schools, the content contains reciting a song, tests of comprehensive quality of music culture, and Q&A sessions for both the candidates and their parents. As for the solfege entrance exams held in affiliated middle schools, the content includes intervals, chords, inversion, rhythm, imitation of melody, and sight-singing the new sheet music. The skills mentioned above cannot be mastered in a short time. For those students who intend to enter the affiliated middle schools, they need to learn solfege for at least 2 years before taking the entrance exams. **Starting the training of music theory and solfege as soon as possible** is significant to the learners who decide to take a professional path. # The Second Choice: The College Entrance Examination for Music Students There are 2 choices for the students who intend to take the college entrance exam, the postgraduate exam, or the doctoral qualifying exam: to study in our country, or to study abroad. In other countries, if you can play well, the education background is not necessary when you are applying for positions in orchestras, or jobs related to music performing. Apart from these jobs, other occupations such as teaching require degrees in music. In Japan, South Korea, Singapore, and some other countries, you need to hold a doctor’s degree to teach in the college. In our country, some students can choose to teach in their own colleges after getting bachelor’s or master’s degrees. But over the past few years, the educational requirements have been raising in our country. Some domestic universities have already started to require the teachers to hold doctor’s degrees. ## Music Diplomas 1. The college prep diploma: Many conservatories of music such as The Juilliard School have college-preparatory schools. The college-preparatory schools are like the middle schools affiliated to conservatories of music. But the students in these schools tend to take classes on weekends. 2. The performance certificate: Performance certificates cannot be used as degree certificates. Some students may have no time for college, so they choose to study part time in conservatories of music for half a year or one year. During the process, they only attend major courses and some activities on campus. When they finish their studying, they can have a performance certificate. 3. The bachelor’s degree 4. The master’s degree 5. The post master’s degree: Since there are too many postgraduates, and it can be difficult for them to find jobs right away after graduation, the post master’s degree was created in other countries. To get this degree, the postgraduates need to stay at the university for an extra year after graduation. During this period, the students can take some classes or do some on-campus jobs. Some universities can provide some opportunities for these students, such as positions in the school orchestras. 6. The performance diploma: This diploma is higher than the bachelor’s and the master’s degree. It is not easy to get. 7. The Doctor of Musical Arts (DMA) Apart from the degrees mentioned above, there is another special degree only awarded by Yale University. To get this special degree, the students need to be admitted into a program called **“Gifted Children”**. Those highly-skilled players can choose to attend this program. The content of this program is like that of Master of Music programs. But the students who attend the “Gifted Children” program need to study for 3 years, while Master of Music programs require 2 years. The students who attend the “Gifted Children” program will be awarded a certificate when they finish studying. **With this certificate, the students can get a master’s degree offered by Yale University after having a bachelor’s degree.** Several Chinese players including the famous cellist Jian Wang have attended this program. If the learners decide to study abroad, they need to be careful and make sure that the universities they attend are authorized. Some universities may claim that they do not require language proficiency tests when enrolling students. But after a few years’ studying, the enrolled students may not get their degrees since their language proficiency does not meet the requirements. Therefore, it is a hoax. Here is the normal process for the students: entering the college, getting the bachelor’s degree, being awarded the master’s degree, and then pursuing a PhD. **Taking a shortcut can cause the waste of time and money, and we cannot have degrees if we do so.** ## How to Choose Teachers and Universities? We can search for some information online before going to the college, and know about the teachers in the university in advance. If it is possible, when we are in the middle school, we can participate in some international summer camps attended by the university teachers we like. After taking several classes offered by the teachers, we can recognize whether the teachers are suitable for us or not. Besides, it is helpful for us to be introduced to the college teachers by our peers or instrument teachers. When we are selecting universities, we should consider the type, the reputation, the geographical location, and other elements of the schools. ## How to Enter the Domestic Conservatories of Music? The students who intend to go to the domestic conservatories of music need to start their music learning at a young age, and master the techniques in some way. Also, the scores of their academic subjects should meet the standards of the schools. What’s more, they should know well about music theory, and consider the possibility of being admitted to the certain schools. The students should be familiar with music theory and solfege, and get prepared in advance. In the meanwhile, they can select multiple schools for the sake of increasing the chances of admission. In China, the college entrance exam for art students is held in January or February each year. The time is usually behind that of Chinese New Year. **The students should pay attention to the particular time.** **It is better if the students select more than 1 school.** Also, the time of the entrance exams of different schools can be various. The students need to set their schedule in advance. After the preliminary exams and the secondary exams, the students who are not eliminated will be put on the waiting list. If there are students who have failed their exams of music theory or academic subjects, they will also be eliminated. After the National College Entrance Exam held in June, the conservatories of music will send admission notices to the students. The whole process is not complicated, but the students should not neglect the academic subjects since the scores of these subjects occupy certain proportions in the aggregate score. Therefore, it is not easy for the students to study both the academic subjects and their specialties at the same time. Due to the Covid-19, the music students who entered the college entrance exams in 2020 have gone through an even harder time. ## Things about Studying Abroad Many students pay much attention to the things about studying abroad. In the recent few years, there have been some misunderstandings and changes related to studying abroad. But those who intend to study arts may not be affected. ### The Essential Conditions for Studying Abroad - Economic conditions: Even without scholarship, the students’ families should be able to sponsor them through college. - Passing the language proficiency test. - Strong self-control - Learning ability - Communication skills The aspects mentioned above are all important. Personally, I tend to encourage my students to study abroad, but I never get involved in their college application process. The procedures, such as searching for the information about the college, translating the application materials, and other related things, are all handled by themselves. When my students finish translating the materials, they can ask me to check the translation. **If the students cannot translate the required materials on their own, they are not suitable for studying abroad.** The thing the teacher can do is writing reference letters for the students. If the students have told the teacher that they would like to study with a certain university instructor, the teacher can act as a referee, and help the students contact the university instructor. As long as the students can complete the whole application process by themselves, they can decide to study abroad. Or they are supposed not to make the decision. ### How to Enter the Foreign Conservatories of Music or Comprehensive Universities? 1. Generally speaking, the students are supposed to select multiple universities. They can focus on the instructors or the colleges. 2. The students must prepare some pieces for the entrance exams. Different schools may require different pieces, but in general, there will not be any big differences. Some well-known universities may require the candidates to play an extra modern work, or 1 more scale or etude. Therefore, the students should carefully select the pieces for the exams. 3. Write letters to contact the schools and the university instructors. The contact information of the instructors can be found on the official websites of the universities. Also, the students can get to know the contact information from their peers or instrument teachers. 4. Attend the language proficiency tests. The students who apply for universities in the US need to take TOEFL. Those who apply for universities in Commonwealth countries need to take IELTS. If the students intend to apply for universities in Germany, they need to take TestDaF. Different countries have different language tests and requirements, so the students need to make it clear. ### The Application Process Since I am familiar with the colleges in the US, I will take US universities for an example. The deadline for the applications to US universities is normally before December 1st. The materials needed for the application: - Recordings of the playing of the pieces required on the schools’ official websites - 3 reference letters - TOEFL score - Transcript (sometimes a certificate issued by the current school is also needed) Usually, the application results will be announced at the end of March. The universities will give priority to the highly-skilled students who have uploaded the materials completely. Also, the colleges will notify the students of the amount of scholarship. If there are still some places which can be offered to the students, the schools will choose the applicants among those highly-skilled ones with incomplete materials. The general timeline: - Submit the materials before December 1st. - Apply for the passport and visa before the end of January. The materials needed for the application of passport and visa change every year, so the applicants need to search in advance for the certain requirements on the official website of the embassy. Also, the applicants can entrust the visa application to the travel agencies, which can be more convenient and do not cost much. - Take the interview in February. The students should arrange the accommodation and transportation in advance. - Accept the offers at the end of March or in April. The timeline above is only for reference. There are much more details contained in the whole process. **If the students do intend to study abroad, they should get prepared and be familiar with every detail.** **Also, the students should always pay attention to the latest policies.** Plans never keep up with changes. Opportunities are only for those who get prepared. Currently, things we can do are **managing ourselves, enriching ourselves, and planning ahead.** ![](https://static.lianmuse.com/image/blog/f05c44a10ee424f508dc0c20ca6b003f.png?v=f05c44a10ee424f508dc0c20ca6b003f) # Music Careers Apart from performing in orchestras and teaching, what else can students majoring in music do after graduation? This issue concerns many people, especially the college students who are confused and indecisive. Only when many students enter their final year in the university, will they have a sense of crisis. But it will be too late then. ## The Importance of Practicing Orchestral Excerpts in Advance Some students in the European and US universities start to practice orchestral excerpts as soon as they enter the college. Some of them even start in high school. They know that **for music students, the job which is easiest to find is playing in an orchestra.** **Also, it is unrealistic for those who have never played orchestral excerpts to teach.** A music teacher should have various experience. For students who intend to be orchestra musicians, being trained to play orchestral excerpts is significant. In other countries, college students majoring in music are trained to play orchestral excerpts very early. But in China, the students tend to skip the orchestra classes. In my opinion, **the universities need to rethink the quality and practicality of the orchestra classes.** Also, the teachers need to encourage and guide the students. Overall, at present, we do not pay attention to orchestra classes. My university tutors paid much attention to my practicing related to orchestra and ensemble playing, and gave me many suggestions. **I suggest the students to buy the sheet music of their parts, and write down all the important information on it.** My tutors told me: “You need to pay much attention to the training and always get prepared. When you are playing with the orchestra, you can appreciate the playing of other instruments, which can be a joy. Also, you are likely to be the principal viola in the orchestra after graduation. As a section leader, you need to set all the fingerings and bowings for the whole section before the rehearsal. Therefore, you need to learn carefully, and what you learn today can be used in the future.” My first job was playing as the principal viola in an orchestra. When I just graduated, I found that there were 2 positions available in the orchestra. One is the principal viola, the other one is the viola section member. Since I had not played as the principal viola in the school orchestra before, I applied for the position of viola section member. At the moment, many people applied for the 2 positions. After the first round of the exam, the conductor told me to practice the orchestral excerpts, and take the second round of the exam 10 days later. After the second round, I was hired right away. Therefore, **the students should be trained to play orchestral excerpts as soon as possible**, especially the college students. It is too late to start to practice the excerpts just before the graduation. Some students tend to turn to their teachers for help just before participating the exam held by the orchestra. It is not wise at all. Orchestra classes aim to broaden the students’ horizon and open their mind. **The music industry in China has great potential for development**. Young people can make contributions to the development, and enrich the future life. ## Hot Jobs Related to Music - Orchestra musician: This is the most direct choice. Those who intend to play in orchestras are supposed to participate in more orchestra rehearsals when they are still in college, and practice the challenging orchestral excerpts as soon as possible. - Music lawyer: A music lawyer need to deal with things related to copyright, music production, music contracts, and record labels. - Music educator: Music teachers who have backgrounds in music learning are needed in kindergartens, primary schools, secondary schools, universities, communities, and churches. - Arranger: A large number of arrangements are needed in kindergartens, primary schools, and secondary schools. - Music critic: A music critic should dare to say, and say something to the point. For music performers, a good music critic can be a good inspector as well. Here I would like to recommend a book called *The Spring Breeze Brings People to Life.* - Music editor - Editor for music books and magazines: This position is needed in publishing houses. - Instrument tuner and repairer - Instrument salesperson - Music librarian - Art management staff: Since the number of theaters increases, more art management staff are needed. - Recordist - Music therapist: Music therapists’ work involves multiple aspects, for example, the psychological nursing specially for musicians and other patients. - Music translator and interpreter: A music translator and interpreter needs to deal with the language problems that appear in foreign music masters’ classes and lectures, and translate foreign music books. - Agent: An agent needs to deal with theaters, orchestras, performers, and other parties. Apart from the business, an agent also needs to arrange the schedule of events for the performers. ![](https://static.lianmuse.com/image/blog/81c4487568af3e6dfa8432b582fe47ac.jpeg?v=81c4487568af3e6dfa8432b582fe47ac) ### Job Search Channels The job search channels include magazines, official websites of orchestras, introductions by someone you know, career service centers, recommendations by music institutions, etc.. ### The Resume of Music Students **A standard resume is always necessary regardless of what job you apply for.** The resume gives the initial introduction of oneself. Its content and quality determine whether you would be invited to attend an interview or not. **The resume is one of the most important factors we need to pay attention to**. But many people just do not care about it. Making a resume is an art. The resume needs to be clear that our advantages and strengths are showed directly. It is also an optimal tool for us to test ourselves. **By making a resume, we can find that we may be lacking in some aspects**, such as experiences in gaining awards, working, participating in events, publishing works, teaching, playing in the orchestra, managing projects, etc.. These aspects are what we need to demonstrate on the resume. Generally speaking, there are 2 types of resumes. A normal resume covers the applicant’s experiences in 1 page. The other type is called biography, which is usually used for concerts and introductions of artists. We all need a professional introduction, which concerns whether we will be invited to an interview. The introduction is simple but essential. The employer may not even take a glance at it if it is badly written. It is not complicated to make a resume. The resume should be nicely formatted, and there should be some space between sections. ### Resume Template (The content included is fictional) - Put the contact information on the top; - Do not write down the date; - The content should be as concise as possible; - The photo on the resume should be real and up-to-date. ![](https://static.lianmuse.com/image/blog/35f579722eea354f90425daf54616fbc.jpeg?v=35f579722eea354f90425daf54616fbc) ### Interview The interviews for the positions in the orchestra: - Master the prepared pieces, and listen to the recordings of the orchestra and the conductor for more times; - Perform according to the music score; - Female applicants are supposed not to wear high heels when taking the exams; - Practice sight-reading as much as possible (practice symphony works). The interviews for the administrative positions: - Shake hands firmly with the interviewers, which can show your confidence and sincerity; - Arrive early; - Dress smartly; - Be polite; - Carry a pen and a notebook. ### Who Need Agents? - The one who performs excellently; - The one who has played a certain number of works; - The one who has gained international awards, and his or her playing has been widely praised. The performers mentioned above need agents to help them deal with some daily affairs, and contact concert organizers. The performers will share the revenues with their agents. The importance of agents cannot be ignored. ### Recording - Recording is always important to the players, whether they participate in competitions or exams; - Bring two pieces of sheet music (one for the players themselves, the other one for the recordists); - Play without the sheet music while recording; - The players should carry the metronome and the tuner with themselves, which can help them improve the intonation and rhythm instantly; - Take a spare bow and spare strings; - Bring demos for the recordists’ reference. ### Cover Letter The cover letter is also very significant for finding jobs. You need to show your intent in the first paragraph of the cover letter, and tell the employer that you are the most qualified candidate for the position. You should write clearly the reasons, and the first paragraph should be as short as possible. Then, you need to make clear your career plans including what you intend to do next for the employer. Finally, you need to conclude in a proper way. The concluding paragraph should be as concise as possible. Generally speaking, a cover letter is in 1 page including 4 paragraphs. Cover letter template (the content included is fictional): ![](https://static.lianmuse.com/image/blog/8ddf4cbd0ccb1d3b5d4dbd108df47ec3.jpeg?v=8ddf4cbd0ccb1d3b5d4dbd108df47ec3) # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## All About Viola - Viola Teaching Class [**All about Viola 1 ｜ Tips about Enlightenment Teaching of Viola**](https://violy.app/blog/2020/06/All-about-Viola-Master-Class-Tips-about-Enlightenment-Teaching-of-Viola/) [**All about Viola 2 ｜ Basic Teaching of Viola**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Basic-Teaching-of-Viola/) [**All about Viola 3 ｜ Viola Bowing Techniques**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Viola-Bowing-Techniques/) [**All about Viola 4 ｜ Movements of the Left Hand**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Movements-of-the-Left-Hand/) [**All about Viola 5 ｜ Viola Exercises for Beginners**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Exercises-for-Beginners/) [**All about Viola 6 ｜ Common Viola Repertoire Catalog**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Repertoire-Catalog/) [**All about Viola 7-8 ｜ Music Learning and Career Choice**](https://violy.app/blog/2020/10/All-about-Viola-Master-Class-Music-Learning-and-Career-Choice/) ## More Violy Master Class Articles: [**Viola Master Class - Ho Wing**](https://violy.app/blog/2020/04/Viola-Master-Class-HoWing/) [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) [**Violin Master Class - Ling Zi**](https://violy.app/blog/2020/03/Violin-Master-Class-LingZi/) [**Violin Master Class - Gu YingLong**](https://violy.app/blog/2020/06/Violin-Master-Class-GuYingLong/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # All about Viola | Common Viola Repertoire Catalog | Wing Ho's Viola Teaching Class Part 6 - URL: https://violy.app/blog/all-about-viola-common-viola-repertoire-catalog-wing-hos-viola-teaching-class-part-6 - Markdown: https://violy.app/blog/all-about-viola-common-viola-repertoire-catalog-wing-hos-viola-teaching-class-part-6.md - Published: 2020-09-28 - Summary: In this session, professor Wing Ho will introduce some important viola teaching materials. Content o In this session, professor Wing Ho will introduce some important viola teaching materials. Content of Wing Ho's lecture is as follows (edited in first person): Hello, everyone. Welcome to my session. Before I start to introduce the viola teaching materials, I would like to give you 8 suggestions. In my opinion, the suggestions are important to the viola teachers, and the students who will become teachers in the future. # 8 Suggestions on Viola Practice ## The Title, Composer, Key signature and Opus Number of the work we play. The information mentioned above is significant. When I was in college in the United States, I felt embarrassed when I could not answer my professors' questions about the background story of the piece I played. The same happened to some of my master class students. In my opinion, all the players should form a good habit of knowing well about the piece being played. Personally, every time before my students start to play, I train them by asking the background information. The young learners tend to know the piece better after being asked for several times. During the student concerts, all my students will tell the audience aloud the information of the piece they are about to play, only then will they start to perform. ## Urtext Editions of the Music Score. Here I would like to share a picture containing the two versions of the urtext editions. ![](https://static.lianmuse.com/image/blog/208ae03614e2541e2970c33352784a9c.png?v=208ae03614e2541e2970c33352784a9c) An urtext edition of a work is a printed version intended to reproduce the original intention of the composer as exactly as possible, without any addition or modification. Students can find the word “urtext” on the covers of the two books showed above. These two versions of the urtext editions are authoritative. Also, there may be different versions of the sheet music of a same work contained in the books. 1 version is the urtext edition, while the other version may contain some fingerings or other markings added by other experts. These two versions of the urtext editions are authoritative. Also, there may be different versions of the sheet music of a same work contained in the books. One is the urtext edition, while the other version may contain some fingerings or other markings added by other experts. With the 2 versions of the sheet music, we can play more accurately. The students can take a look at the added markings first, and then sight-read the urtext edition of the work. During the playing, students can also add some techniques which are helpful for reproducing the composer’s original intention. The urtext edition can be regarded as a template. ## Refer to different versions of the sheet music. I like to collect sheet music myself. Every time when I find a different version of the sheet music I already have, I just buy it. Sometimes I can find different fingerings and bowing techniques in different versions, which may help me get improved. Therefore, it is helpful for the players to refer to different versions of the sheet music. But first, we need to have the urtext editions. ## Find the sheet music with accompaniment CDs. The accompaniment CDs are also useful for musicians. We can find the sheet music with accompaniments online. The accompaniments in Violy App are great for the music beginners to play along with, also, the speed of the piano accompaniments on Violy App is adjustable. By practicing with music accompaniments, it can really improve the musicality. ## Find more music information online. We can find detailed information related to the pieces we play, such as the composers of the works, and the ways of playing the works. The players should make good use of the Internet to search for more information. ## Listen to the recording of your own playing. In the past, we did not attend many concerts. Most of the time, we were listening to the recordings. But there were few high quality recordings. When I was young, every time when I found a good recording, I would listen to it for so many times that the tape broke. Nowadays, we can find the latest things on the Internet. We are able to find all newly published works online, and most of the works are free. I always ask my students to listen to different versions of a certain piece, so the students can communicate with each other, and discuss which version they like best and why. On the basis of listening to different versions, the students can make a detailed analysis of the work. With the Internet, we can easily find the recordings we need. The students should know how to use the online resources effectively. ## Take notes on the sheet music. Personally, I like to mark the fingerings and bowing techniques on the sheet music. But other viola teachers may not recommend their students to do this. They like to memorize the marks instead of writing them down. In my opinion, taking notes on the sheet music can be very helpful to the students, because once they become teachers, they can build their own system of markings on the basis of their note-taking. The system of markings will help their teaching. Also, they can make changes to the markings instantly. Besides, the teachers may refer to useful markings in their students’ sheet music if it is necessary. Different students may get used to different markings. In my view, if the students keep making mistakes while playing a certain passage, they are likely to have some problems with their fingerings or bowing techniques. The students are supposed to find the optimal hand frames, which can help them place their fingers naturally. It is not wise for us to practice too much without adjusting the fingerings. We should try all types of fingerings first, and then we will be able to know which type is suitable for us. Different players tend to use different fingerings. Knowing the fingerings better can also help the teaching. ## Keep your sheet music. Some players may misplace their sheet music after playing, which can be a bad habit. Then they may not be able to find the sheet music next time before practicing. We should always keep our sheet music. The sheet music can be used for a lifetime. Actually, some sheet music I still use today used to belong to my mother. There are precious markings contained in her sheet music. We should form the habit of keeping the sheet music. ![](https://static.lianmuse.com/image/blog/7c1e17e4c569e78f4b491baa98470d58.png?v=7c1e17e4c569e78f4b491baa98470d58) # The Catalog of Recommended Viola Sheet Music Now I would like to share a catalog of viola sheet music. The catalog does not contain every piece, but the most popular ones are covered. It can be helpful to the viola teachers and students. There are 6 categories of sheet music contained in the catalog: ## Basic Training There are some scales and etudes included in the category “Basic Training”. ### Scales There are 3 scale systems, including that of Hřímalý, Carl Flesch, and Galamian. Hřímalý’s scale system is the earliest one. Most students are familiar with Hřímalý’s scales. There are 24 notes contained in every descending and ascending scale in Hřímalý’s system, which can be useful for the students to practice. But there are only 2 arpeggios included in this system. Carl Flesch’s scales consist of triplets. There are 21 notes contained in every descending and ascending scale. Besides, there are 7 arpeggios included in Carl Flesch’s system, which are frequently used by the viola players. In China, Hřímalý’s and Carl Flesch’s scale systems are the most popular ones. For the students at higher levels, they tend to use one scale system of Carl Flesch’s, or Hřímalý’s, and Carl Flesch’s arpeggios. For the students at lower levels, they prefer Hřímalý’s scales and arpeggios. Galamian was an American music educator. There are 24 notes contained in every descending and ascending scale in his scale system. Besides, there are 10 arpeggios included in the system. In the United States, Galamian’s scale system is widely used in the music conservatories, such as The Julliard School and Curtis Institute of Music. There are other scale systems as well. I will not introduce them here. The 3 scale systems mentioned above are the most commonly used ones. Most viola teachers in China are familiar with all these 3 systems. ### Basic Practice When it comes to the basic practice of viola, I would like to recommend Otakar Ševčík’s books. He wrote 10 books. Almost all exercises, including the movements of the left hand, the movements of the right hand, changing positions, and double stops are covered in those 10 books. Besides, Sitt’s 100 Viola Etudes are also very useful. The etudes are simple and suitable for the viola beginners to play. The exercises, including shifting the strings, changing positions from the first position to the seventh position, and double stops, are covered in Sitt’s viola etudes. Ševčík’s books and Sitt’s etudes can help the viola players’ basic practice in an effective way. What’s more, Tartini’s *The Art of Bowing for the Violin* is also helpful to the students. All bowing techniques are included in this book. ### Rhythm Practice For rhythm practice, I would like to recommend a book called *Accuracy in Rhythm*. There is no clef or key signature contained in the sheet music in this book, which is to say, the players of all string instruments including violin, viola, cello, and double bass can practice the pieces in different keys. There are 2 parts in every piece. Therefore, teachers and their students can play together. Or the players can clap to the beats of one part, and tap to the beats of the other part at the same time. We can practice in this way while using the metronome. In this book, there are over 50 pieces covering almost all types of rhythms, incluing random rhythm and regular rhythm. Players can find an explanation above the sheet music of every piece included in this book. I have already translated this book, but the translated version has not been published yet. I may introduce you to the book in detail in the future. ## Etudes There are two types of etudes contained in my catalog. One type of etudes are the violin etudes being played on viola, while the other type of etudes are originally written for viola. Here I would like to share a list of the etude books. The books can be found online: ### The Books containing the violin etudes played on viola: Dont: *24 Etudes and Caprices for Violin Solo, Op. 35* Dont: *24 Preparatory to Kreutzer and Rode Studies, Op. 37* Fiorillo: *36 Etudes or Caprices for Violin Solo* Hofmann: *20 Studies, Op. 86* Hofmann: *The First Studies, Op. 25, Bk 1* Hofmann: *Studies for Progressive Pupil, Op. 25, Bk 2* Hofmann: *Studies for More Advanced Student, Op. 25, Bk 3* Kayser: *36 Elementary and Progressive Studies for the Viola, Op. 20* Kreutzer: *42 Etudes* Rode: *24 Caprices in form of Etudes in 24 Keys* Paganini: *24 Caprices for Solo Violin* Wieniawski: *Etudes-Caprices, Op. 18* Wohlfahrt: *40 Elementary Studies for Violin, Op. 54* Wohlfahrt: *60 Studies for the Violin, Op.45* Wohlfahrt: *70 Easy Melodious Studies for the Violin, Op. 74* Mazas: *Etudes Brilliants, Op. 36* Mazas: *Etudes Speciales, Op. 36* ### The Books containing the etudes originally written for viola: Beltran: *12 Caprices for Viola* Bruni: *24 Studies for Viola* M. Fine: *Rock Etudes for Unaccompanied Viola, Op. 114* Fuchs: *15 Characteristic Studies for Viola* Fuchs: *16 Fantasy Etudes for Viola* Hoffmeister: *12 Etudes for Viola* Campagnoli: *41 Caprices for Viola, Op. 22* Lukács: *Exercises in Change of Position for Viola, Advanced Grade* Palaschko: *10 Artistic Studies, Op. 44* Palaschko: *20 Viola Studies, Op. 36* Palaschko: *25 Easy and Melodic Studies, Op. 87* Vieux: *10 Intervals Etudes for Viola* Vieux: *20 Etudes for Viola* ### Differences between Violin Etudes and Viola Etudes Generally speaking, when we start to learn viola, we tend to play violin etudes first. There are many differences between violin etudes and viola etudes. Many violin etudes require players to play on higher positions, and shift the strings frequently, while viola etudes do not. Viola etudes are not easy to play for beginners. The pieces fit the registers of the instrument. Also, the rhythm and tempo of viola etudes are different from that of violin etudes. Some viola etudes are highly difficult to play, such as Vieux’s etudes, which can be more difficult than that of Paganini’s. The tempo of Vieux’s viola etudes is fast, and accidentals are frequently used in the pieces. Lukács’ viola etudes also require various techniques. We recommend players at higher levels to play the pieces. Being contained in Exercises in Change of Position for Viola, Advanced Grade, Lukács’ etudes are helpful for the players to play modern works. There is an explanation above the sheet music of every piece included in the book. I have translated this book as well, but the translated version has not been published. Campagnoli’s and Bruni’s viola etudes are melodious and not hard to play. We can regard Campagnoli’s *41 Caprices for Viola* as opuscula. As for Hoffmeister’s *12 Etudes for Viola*, they are quite long and melodious like the composer’s concertos. There are two etude books written by Fuchs included in the list above. Fuchs was a famous American violist. She taught in The Julliard School and Curtis Institute of Music before. Her daughter is a cellist. We were colleagues in a summer camp before. Fuchs’ granddaughter is also an excellent violist. She made two albums containing Fuchs’ etudes. Students can find the albums online. As for other viola etudes, Beltran’s *12 Caprices for Viola* are very melodious. The caprices are the must-play pieces in some contests held in Spain. Besides, M. Fine’s rock etudes for unaccompanied viola are quite interesting. What’s more, the most frequently played viola etudes written by Palaschko are *10 Artistic Studies, Op. 44*. These 10 studies are beautiful but not easy to play. Many teachers in college use these studies as teaching materials. For viola beginners, I recommend them to start from violin etudes, such as the etudes written by Kayser, Wohlfahrt, Hofmann, Dont, or Mazas. ## Unaccompanied Pieces **Here is the list of the unaccompanied pieces I recommend to students:** J.S.Bach: *6 Cello Suites, BWV 1007-1012* J.S.Bach: *6 Sonatas and Partitas, BWV 1001-1006* Hindemith: *Sonata for Viola Solo, Op. 11 №5* Hindemith: *Sonata for Viola Solo, 1937* Hindemith: *Sonata for Viola Solo, Op. 25 №1* Hindemith: *Sonata for Viola Solo, Op. 31 №4* Knox, Garth: *Viola Spaces-Contemporary Viola Studies* Ligeti: *Sonata for Viola Solo* Reger: *3 Suites for Viola Solo, Op. 131d* Penderecki: *Cadenza for Viola Solo* Telemann: *12 Fantasias* As for the unaccompanied pieces, Bach’s cello suites are the most frequently played. The pieces are also the must-play ones during the exams. Besides, the six sonatas and partitas for violin composed by Bach are popular as well. But the cello suites are more suitable for the players to play on viola. Hindemith’s works I recommended above are all hard to play. All the college students majoring in Viola Performance need to play the pieces. The works require various techniques. As pieces in Romantic period, Reger’s *3 Suites for Viola Solo* are melodious. As for Telemann’s *12 Fantasias*, there are both viola versions and violin versions. The fantasias are played more on violin instead of viola. As works in Baroque period, the fantasias are not easy to play. They are even more difficult than *Bach’s cello suites*. It may take a long time for us to play Bach’s works well. For Telemann’s *12 Fantasias*, we cannot play them well without musicality. The fantasias are must-play pieces in some international contests. To play the fantasias well, we need to find the musicality first. Knox’s *Viola Spaces-Contemporary Viola Studies* are not frequently played. The composer visited Central Conservatory of Music last year. I have known him for some years, and have ever been to one of his live concerts. His performance was spectacular. All viola techniques are included in his *Viola Spaces-Contemporary Viola Studies*, such as harmonics and pizzicato. Players can use all 10 fingers to play pizzicato when playing the studies. We can say that Knox have found all possibilities of playing the viola. Actually, showing all techniques has become an international trend for the playing of contemporary works. Several years ago, a master flutist came to Beijing and hold his concerts. It was incredible that he showed almost all flute techniques during performing. The contemporary viola studies written by Knox are also incredible. Some techniques are very difficult to grasp. But the students can find the tutorial videos and recordings online. The pieces are worth being studied. If the players can master these viola studies, they will find it much easier to play other contemporary works. ## Sonatas **The students can find below the list of the sonatas I recommend:** Bach: *3 Sonatas for Viola da Gamba* Bax: *Sonata for Viola and Piano* Bowen: *Sonata for Viola and Piano in c minor, Op. 18, №1* Bowen: *Sonata for Viola and Piano in F major, Op. 22, №2* Brahms: *Sonata for Viola and Piano in f minor, Op. 120, №1* Brahms: *Sonata for Viola and Piano in E flat major, Op. 120, №2* Bruni: *6 Viola Sonatas, Op. 27* Clarke: *Sonata for Viola and Piano* Franck: *Sonata in A major* Glinka: *Sonata for Viola and Piano* Hindemith: *Sonata for Viola and Piano, Op. 11, №4* Hindemith: *Sonata for Viola and Piano, Op. Posth(1939)* Hindemith: *Sonata for Viola and Piano, Op. 25, №2* Hindemith: *Sonata for Viola and Piano, Op. 25, №4* Hummel: *Sonata for Viola and Piano in E flat major, Op. 5, №3* Mendelssohn: *Sonata for Viola and Piano in c minor, MWV Q14* Rochberg: *Sonata for Viola and Piano* Reger: *Sonata for Viola and Piano in B flat major, Op. 107* Schubert: *Sonata in a minor “Arpeggione”* Schumann: *Märchenbilder, Op. 113* Shostakovich: *Sonata for Viola and Piano, Op. 147a* C. Stamitz: *Sonata in D major* Vieuxtemps: *Sonata for Viola and Piano in B flat major, Op. 36* Vieuxtemps: *Unfinished Sonata for Viola and Piano, Op. Posth* Some of the sonatas mentioned above are originally played on violin, such as Franck’s Sonata in A major. It is said that the manuscript of this piece can be seen in a library in France, and the work was composed for viola at the beginning. But no one played the piece at that moment. Therefore, it was published as a sonata written for violin. The information about Franck’s sonata came from a professor from France. I did not see the manuscript of this piece. The sheet music can be seen in a French museum, and it shows that the work was written for viola. Most of the sonatas I introduced above are not easy to play. But Mendelssohn’s *Sonata for Viola and Piano in c minor* is easier compared to other sonatas. Viola beginners can try to play this piece. Besides, Hummel’s *Sonata for Viola and Piano in E flat major* and *Stamitz’s Sonata in D major* are melodious and not very difficult to play. Apart from these 3 pieces, the other ones are all hard to play in some way, and require various techniques. Glinka’s *Sonata for Viola and Piano* was not finished. The composer only wrote the former 2 movements of the work. All the sonatas I mentioned above can be found online. ![](https://static.lianmuse.com/image/blog/f1e6cefc6357d09caf0f926b6623f7b7.png?v=f1e6cefc6357d09caf0f926b6623f7b7) ## Concertos **Here is the list of the concertos I recommend to the students:** J.S.Bach: *Concerto for Viola and Orchestra in c minor* Bartók: *Concerto for Viola and Orchestra* Berlioz: *Harold in Italy* Benda: *Concerto for Viola and Orchestra in F major, LorB 314* Bowen: *Concerto for Viola and Orchestra, Op. 25* Bloch: *Suite for Viola and Orchestra* Zelter: *Concerto for Viola and Orchestra in E flat major* Forsyth: *Concerto for Viola and Orchestra in G Sharp minor* Handel: *Concerto for Viola and Orchestra in b minor* Hindemith: *Der Schwanendreher* Hoffmeister: *Concerto for Viola and Orchestra in D major* Hoffmeister: *Concerto for Viola and Orchestra in B flat major* Kraus: *Concerto for Viola and Orchestra in C major, VB 153b* Kraus: *Concerto for Viola and Orchestra in E flat major, VB 153c* Martinu: *Rhapsody-Concerto, H. 337* Penderecki: *Concerto for Viola and Orchestra* Rolla: *Concerto for Viola and Orchestra in E flat major, Op. 3* Schnittke: *Concerto for Viola and Orchestra* J. Schubert: *Concerto for Viola and Orchestra in C major* C. Stamitz: *Concerto for Viola and Orchestra in D major, Op. 1* Telemann: *Concerto for Viola and Orchestra in G major* Vanhal: *Concerto for Viola and Orchestra in C major* Vaughan Williams: *Flos Campi* Walton: *Concerto for Viola and Orchestra* Last year, I published a book containing some concertinos, among which more than a half are originally played on violin. The concertinos are suitable for the beginners to play. Most viola concertos are not easy for the viola beginners. Telemann’s *Concerto for Viola and Orchestra in G major* is frequently played by the beginners, but it is quite difficult to play the piece well. My students who just start to play the viola tend not to choose this work, since they can not find the musicality while playing it. Telemann’s works are even more difficult to play than Bach’s pieces. ## Concert Pieces **There are various concert pieces for viola. The students can find below the list of the concert pieces I recommend:** Enescu: *Concert Piece* Bartók: *Rhapsody, №1* Bowen: *Phantasy, Op. 54* Britten: *Lachrymae, Op. 48* Bruch: *Romanze, Op. 85* Manuel De Falla: *Suite Populaire Espagnole* Glazunov: *Elegie* Hummel: *Fantasy for Viola and Orchestra* Kodály: *Adagio* Clarke: *Morpheus* Clarke: *Passacaglia on an Old English Tune* Clarke: *Lullaby* Clarke: *Chinese Puzzle* Liszt: *Romance oubliée* Reger: *Romance for Viola and Piano* Paganini: *La Campanella* Paganini: *Sonata for Grand Viola and Orchestra* Prokofiev: *Selected Pieces from the Ballet “Romeo and Juliet”* Schumann: *Adagio and Allegro, Op. 70* Vieuxtemps: *Elegie, Op. 30* Hindemith: *Trauermusik for Viola and Orchestra* Beethoven: *Notturno in D major ,Op. 42* Weber: *Andante e Rondo Ungarese* Paganini’s *Sonata for Grand Viola and Orchestra* was composed for 5-string viola and orchestra. But at present, we can play the piece on the normal 4-string viola, since our playing has been improved greatly. The concert pieces I mentioned above are the most frequently played ones. Most of them are written for viola. Some opuscula are not included. ## Duets **Here is the list of the duets I recommend to the students:** Bach: *Brandenburg Concerto №6 for Two Violas and String Orchestra* Beethoven: *Duet with Two Eyeglasses Obligato WoO 32* Bruch: *Double Concerto in E minor for Clarinet and Viola, Op. 88* Handel/Halvorsen: *Passacaglia for Violin and Viola* Mozart: *Duos for Violin and Viola, K 423/424* Mozart: *Sinfonia Concertante in E flat major for Violin, Viola and Orchestra, K 364* I have published several books containing some duets, but the included pieces are not on the list above. The duets I mentioned above are the most well-known ones. Some pieces are familiar to the viola players, such as *Passacaglia for Violin and Viola*. There are various versions of this Passacaglia, including the versions for two violins, for two violas, for violin and cello, for viola and cello, etc.. The version for violin and viola is likely to be the original one. Mozart’s *Sinfonia Concertante in E flat major for Violin, Viola and Orchestra* is hard to play on viola. The melodious piece requires players to change positions frequently. Actually, the piece is played in D major on viola, and in E flat major on violin. The composer made some adjustments on the notation so that the sound produced by viola can be clear and pleasant to hear. That’s all for my sharing today. All the viola sheet music I introduced above can be found online. In the next two sessions, I will talk about the career planning of students who major in music. Please stay tuned! # Music Q & A ## Audience: What kind of players is Schubert’s Sonata in a minor suitable for? Wing Ho: Actually, this piece is one of the must-play works for the postgraduates. It requires various viola techniques. Many students like the work, but it is very difficult to play it well. My students tend to play it only after going to college. ## Audience: How to switch to alto clef from treble clef? Wing Ho: Are you talking about switching to viola from violin, or playing on higher positions on viola? I talked about the notation in the former sessions. You can check out the sessions then, and find the answer. ## Audience: How many books have you published? Wing Ho: I have published about 60 books. Some of them are currently out of print. Only a few of the published books can be found now. ## Audience: For violin students who want to switch to viola, do you have any recommended books? Wing Ho: It depends on your own level of violin playing. If you are at a lower level, you would better start from scratch. If you are at a higher level, you can choose the pieces you like. Viola etudes may not be very difficult for you if you are at a higher level, but it is important for you to know as soon as possible how to produce good sound on viola. Although some students have switched to viola from violin for some years, they still tend to produce the sound which is similar to that of violin. As for the recommended books, I have introduced some books in the former sessions. You can find out the names of the books then. ## Audience: Are there any Chinese viola pieces? Wing Ho: Yes, there are some Chinese viola pieces, and also some Chinese violin pieces played on viola. There are some books published by Shanghai Conservatory of Music containing some Chinese viola pieces. You can search for the books then. ## Audience: Are there any authoritative people in the 20th century who did research on the history of viola? Or is there any literature on the history of viola published in the last century? Wing Ho: A professor named Wu Yishen translated a book about the history of viola written by a Russian author. The book is quite old and comprehensive. There are some books published in the 20th century which are about some composers such as Bartók, Hindemith, and other viola performers. But it seems that there are few books about the history of viola. In fact, viola started to develop only after 1980s. Before 1980s, there were only Hindemith and a few other composers who played the viola. After 1980s, there were much more viola performers and viola pieces. But as far as I know, until now, no one has ever formally done research on the development of viola. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## All About Viola - Viola Teaching Class [**All about Viola 1 ｜ Tips about Enlightenment Teaching of Viola**](https://violy.app/blog/2020/06/All-about-Viola-Master-Class-Tips-about-Enlightenment-Teaching-of-Viola/) [**All about Viola 2 ｜ Basic Teaching of Viola**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Basic-Teaching-of-Viola/) [**All about Viola 3 ｜ Viola Bowing Techniques**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Viola-Bowing-Techniques/) [**All about Viola 4 ｜ Movements of the Left Hand**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Movements-of-the-Left-Hand/) [**All about Viola 5 ｜ Viola Exercises for Beginners**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Exercises-for-Beginners/) [**All about Viola 6 ｜ Common Viola Repertoire Catalog**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Repertoire-Catalog/) [**All about Viola 7-8 ｜ Music Learning and Career Choice**](https://violy.app/blog/2020/10/All-about-Viola-Master-Class-Music-Learning-and-Career-Choice/) ## More Violy Master Class Articles: [**Viola Master Class - Ho Wing**](https://violy.app/blog/2020/04/Viola-Master-Class-HoWing/) [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) [**Violin Master Class - Ling Zi**](https://violy.app/blog/2020/03/Violin-Master-Class-LingZi/) [**Violin Master Class - Gu YingLong**](https://violy.app/blog/2020/06/Violin-Master-Class-GuYingLong/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # All about Viola | Viola Exercises for Beginners | Wing Ho's Viola Teaching Class Part 5 - URL: https://violy.app/blog/all-about-viola-viola-exercises-for-beginners-wing-hos-viola-teaching-class-part-5 - Markdown: https://violy.app/blog/all-about-viola-viola-exercises-for-beginners-wing-hos-viola-teaching-class-part-5.md - Published: 2020-09-14 - Summary: In this session, Professor Wing Ho will introduce some viola exercises for beginners. Content of Win In this session, Professor Wing Ho will introduce some viola exercises for beginners. Content of Wing Ho’s lecture is as follows (edited in first person): Good evening, everyone. In today’s session, I will share some pictures, which can help you understand the details better. Let’s start from scales. Practicing scales can be a headache to viola players, especially young learners. They do not like to play scales. In fact, every piece contains scales and arpeggios. We are supposed to find the joy of learning scales. Also, we need to find the similarities and differences among all types of scales. Then we can play scales more easily. I would like to make an analysis of scales and arpeggios in this session to help you understand them better. # Scale Systems Which Are Frequently Used ## Carl Flesch’s Scale System There are 3 scale systems which are most important, among which the most frequently used in China is Carl Flesch’s scale system. Many viola players are familiar with Carl Flesch’s scale system, because most of them started to play his scales at a young age. Carl Flesch was a famous music educator from Hungary. He started to learn the violin at the age of 5. During his lifetime, he taught in many countries including France, Switzerland, Austria, and the UK. He even taught in Curtis Institute of Music in the US. The educator left us in 1944. In the next year, one of his students created the Carl Flesch International Violin Competition. The competition was held every 2 years. In 1970, viola was also included in the competition. Carl Flesch wrote some classic books in his lifetime, such as *Basic Studies for Violin*, *Problems of Tone Productions in Violin Playing*, and *The Art of Violin Playing*. The three books are like bibles for violin teachers. Besides, the educator’s *Scale System for Violin* is the most well-known one. It was first published in 1926. Also, there is another book called *Studies and Exercises for Violin*. ![](https://static.lianmuse.com/image/blog/51a25a07a7fece598384def815c31151.png?v=51a25a07a7fece598384def815c31151) This book contains 50 etudes written by many famous composers, such as Kayser, Mazas, and Kreutzer. The etudes were carefully selected. Almost all violin techniques were included. What’s more, there are 24 scales contained in the book. The most important contribution it made to the practice of scales is that it used the system of 7 arpeggios. Most of us are familiar with this system. Also, the exercises of third sequences, chromatic scales, single-string scales, double stops, thirds, octaves, tenths, and harmonics are included in the book. In addition, 21 notes are contained in every descending scale and ascending scale. ## Ivan Galamian’s Scale System Ivan Galamian was born in 1903 and died in 1981. During his lifetime, he taught many famous violinists, including Perlman and Zukerman. He also wrote some classic books, which are widely used by scholars and violinists. One of the most well-known books written by Galamian is *Principles of Violin Playing & Teaching*. This book is very comprehensive that many teachers regard it as the bible of teaching. Chinese teachers may not be familiar with the author’s *The Galamian Scale System* (adapted for viola by Karen Olson). But in the United States, Galamian’s scale system is used by almost all music conservatories. In this system, 24 notes are contained in every descending scale and ascending scale. The notes can be put in different orders. Later, I will share a picture showing the orders. When we play Carl Flesch’s scales, we get to know from the sheet music that the fingering above the first note and that below the first note are different. The fingering above the first note means that we need to play the note with the middle finger, while the fingering below the first note means that we should play with the index finger. ![](https://static.lianmuse.com/image/blog/e90cc6132687c4d05bc8aec907fe4f58.png?v=e90cc6132687c4d05bc8aec907fe4f58) Different players may have different habits. But generally speaking, we tend to play the first note with the middle finger in order to play more comfortably. Starting to play with the index finger may cause discomfort in some way. When we play Galamian’s scales, we tend to start to play with the index finger. Compared to Carl Flesch’s scales, there are more notes contained in Galamian’s scales. We can put the notes in different orders while practicing. Besides, the system of 10 arpeggios is used. Players may find it uncomfortable to play the arpeggios at the beginning, but the system of 10 arpeggios can be really helpful to viola players. This system is widely used in music conservatories in the US. Compared to the system of 7 arpeggios, the system of 10 arpeggios requires us to do much more exercises, such as the exercises of thirds, fourths, fifths, sixths, and so on. There are 24 major and minor scales contained in Carl Flesch’s scale system, and each of the keys is clearly marked. But when it comes to scales in Galamian’s scale system, we can only see some certain fingerings on the sheet music. Actually, if we have already practiced the chromatic scales and sequences in Galamian’s scale system, we will find out the regularities. This scale system is useful to all viola players. # Jan Hřímalý’s Scale System Jan Hřímalý’s scale system can be regarded as the earliest scale system. Most of us are familiar with this scale system as well. Hřímalý’s *Scale-Studies for the Violin* was first published in 1905. The author was born in 1855 and died in 1915. There are 24 notes contained in every descending scale and ascending scale. The fingerings of Hřímalý’s scales are similar to that of Carl Flesch’s scales. Hřímalý’s scale system is also frequently used in China. In Hřímalý’s scales, the system of 2 arpeggios is used. Since the number of arpeggios is small, we tend to combine Hřímalý’s scales and Carl Flesch’s arpeggios together. Likewise, we usually start to play Hřímalý’s scales with the middle finger. We can also start with the index finger, but starting with the middle finger is recommended. Here I would like to share a picture: ![](https://static.lianmuse.com/image/blog/eb9fff4123bb10e99a5e7e1a6b836518.png?v=eb9fff4123bb10e99a5e7e1a6b836518) We can see from the picture that triplets are used in Carl Flesch’s scale. There are 21 notes contained in every descending and ascending scale (the last note is not counted). Here I would like to make a demonstration. To make it easier to understand, I will use the key of E major. We tend to use B major when playing the scales on the violin. The fingerings will not change.
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The notes in Carl Flesch’s scales cannot be put in many different orders. During the exams, students may choose to play the notes included in the scales on 2, 3, or 4 bow strokes. The number of bow strokes is not fixed, but we should pay attention to the speed of playing. Now let’s take a look at Hřímalý’s scale. The last note of the ascending scale and the first note of the descending scale are the same.
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The fingerings of Carl Flesch’s scales are similar to that of Hřímalý’s scales, but Carl Flesch only used triplets in his scales. Since Hřímalý’s scales contain more notes, we can put the notes in more orders. I will share a picture showing the details then. Besides, we can play Hřímalý’s scales at different tempos. Now let’s have a look at Galamian’s scale. We need to start to play the scale with the index finger, and the fingerings are different from that of the other 2 masters’ scales. Also, the last note of the ascending scale and the first note of the descending scale are different.
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# Intervals and Fingerings Need to Be Paid Attention to ## Intervals and Fingerings of Scales When we are practicing ascending scales, we can use either major seconds or minor seconds while changing the positions. When we are practicing descending scales, we need to use minor seconds while changing the positions, which can make it easier for us to avoid unneeded movements, and improve the intonation. If we use major seconds while changing the positions, the intonation is not likely to be good. As for the fingerings of the scales, the last 2 notes in the ascending scales are played with the little finger. Since the pitches of the last 2 notes are high, it is difficult to play the notes with the other fingers. Also, the intonation may not be good if we play the notes with other fingers. Some students tend to play the last 2 notes with the ring finger and little finger respectively, but I do not recommend players to play in this way. When we are playing in higher positions, it is pretty hard to play with both the ring finger and the little finger. Playing the notes with the little finger can be easier. All three masters used the same fingerings when it comes to the last 2 notes in the ascending scales. We should pay attention to the fingerings as well. We can notice that the first 2 notes in Galamian’s ascending scale are played with the index finger and the ring finger respectively. It may be a little bit difficult for young learners. Galamian used other fingerings in his scales as well, such as playing all notes with the index finger, playing with the index finger and the middle finger alternatively, playing with the index finger, the middle finger, and the ring finger in turns, and playing with the four fingers in rotation. Different fingerings can be beneficial to us when practicing scales. ## Intervals and Fingerings of Arpeggios When we are practicing scales, the most important intervals need to be paid attention to are minor seconds and major seconds. When we are practicing arpeggios, we should pay attention to minor thirds, major thirds, and perfect fourths. Knowing intervals can help us change the positions more accurately. When it comes to arpeggios, there are mainly 3 types of fingerings, which were frequently used by the 3 masters mentioned above. Among the 3 types, there are 2 types of fingerings which are commonly used when playing the violin. For the violas, these 2 types can also be used if our instruments are not too big. If we use the other 1 type on the viola, we are likely to play more comfortably, but the intonation may be affected. Here I would like to share a picture showing the fingerings of arpeggios: ![](https://static.lianmuse.com/image/blog/5481092003d54efb0fb7a188d1f8986f.png?v=5481092003d54efb0fb7a188d1f8986f) Let’s take a look at fingerings of the first arpeggio (marked “1.” in the picture). We need to start to play with the middle finger. Carl Flesch’s arpeggios in the picture above are in E major. We can play very comfortably using the fingerings showed above. We may need to stretch the ring finger and the little finger a little bit when playing the last 2 notes in the ascending arpeggio(as marked in the picture), since there is a perfect fourth. Then let’s have a look at the third arpeggio(marked “3.” in the picture). We need to start to play with the index finger. We may find it more comfortable to play the arpeggio on the viola if we use Galamian’s fingerings. We do not have to stretch the fingers while playing. When we play the second and fourth arpeggios(marked “2.” and “4.” in the picture), we should combine the fingerings and positions. The 2 arpeggios are useful for the training of changing the positions, and we need to make sure that the intonation is not affected while playing. The tonic is not likely to be played correctly at the beginning. Since there are 24 major and minor keys, Carl Flesch wrote 24 major and minor scales. We may get confused in some way since there are too many scales. Galamian also wrote 24 individual major and minor scales, but he combined major and minor arpeggios together, which is to say, there are only 12 arpeggios. The notation is slightly different, but the fingerings are the same. There are mainly 3 types of fingerings used in Carl Flesch’s scales, including starting to play on the open string, starting to play with the index finger, and starting to play with the middle finger. If we start to play on the open string, we tend to start with G string on the violin, and C string on the viola. If we start to play with the middle finger, we tend to start with A natural on the violin, and D natural on the viola. Mastering the 3 types of fingerings mentioned above, we will find it easier to play scales. We just need to start from different positions while playing. The fingerings are also used in arpeggios. If we are familiar with the fingerings, we will notice that arpeggios are not difficult to play. I hope all students can get to know more about scales and the 3 scale systems from the content I shared above. ![](https://static.lianmuse.com/image/blog/fb2d436e7b5a91d3a904980af4053851.png?v=fb2d436e7b5a91d3a904980af4053851) # Viola Exercises for Beginners There is some important literature on viola practice, like Tartini’s *The Art of Bowing for the Violin*. There are a variety of exercises contained in this useful book. Also, I would like to recommend Otakar Ševčík’s books. Otakar Ševčík was from Czechia. He wrote 10 books containing all exercises. There are 4 books included in Opus 1, which introduce the training of the left hand, such as using different fingerings and playing in different positions. In Opus 2, there are 2 books which include the bowing techniques. There are also 2 books contained in Opus 7, which contain the exercises of playing trills. What’s more, the Opus 8 introduces the training of changing the positions, while the Opus 9 contains the exercises of playing double stops. The 10 books are not difficult to find, and the viola versions of the books were already published. Hans Sitt’s *100 Viola Etudes* are also important for viola beginners. There are 5 books, and each book contains 20 viola etudes. The first book includes the exercises of playing on the first position, and the second book contains the exercises of playing on the second, third, fourth, and fifth positions. The third book introduces the exercises of changing the positions. As for the fourth book, the exercises of playing on the sixth and seventh positions are included. The fifth book contains the exercises of playing double stops. The books I recommended above are all classic viola books. Every viola player can get improved by practicing the pieces included in the books. # Rhythm Practice For rhythm practice, I would like to recommend this book called *Accuracy in Rhythm*. ![](https://static.lianmuse.com/image/blog/872844680ff01fa6223dd1070a6091cb.png?v=872844680ff01fa6223dd1070a6091cb) There is no clef contained in the sheet music in this book, which is to say, players of all string instruments including violin, viola, cello, and double bass can practice the pieces in different keys. Also, teachers and students can play together if there are two parts in the piece. Or students can clap to the beats of one part, and tap to the beats of the other part at the same time. Young learners can definitely improve their rhythm if they practice in this way. In this book, there are over 50 pieces covering almost all problems related to rhythms. in China, there are few resources for the viola. Today in this session, I gave a thorough introduction of original viola books. Students can find the books online easily. As for the rhythms of scales and arpeggios, I would like to share a picture here: ![](https://static.lianmuse.com/image/blog/d2881c6b4c7171f6d5ee975cd0815237.png?v=d2881c6b4c7171f6d5ee975cd0815237) When we are practicing, we can play a certain rhythm slowly at first, and gradually speed up. This way is very helpful. Since there are 24 scales, the notes can be put in different orders. All my students practice the rhythms in this way. Other young learners can try it as well. Children can start from playing 4 or 6 notes on a bow stroke, and gradually speed up to play all 24 notes on 1 bow stroke. I recommend all viola players to use metronome while practicing the rhythms. Metronome is a useful tool. # Viola Etudes Generally speaking, there are 14 etude books which are frequently used, among which half of them contain violin etudes, and the other ones contain viola etudes. The viola etudes may not be very basic. The books are helpful for all players. Wohlfahrt’s *60 Studies for the Violin*, Op.45 is the most popular etude book in China. In this book, the first 30 etudes are played on the first position, while the other 30 ones are played on the third and higher positions.The author also wrote *70 Easy Melodious Studies for the Violin*, Op. 74. and 40 Elementary Studies for Violin, Op. 54. Compared to the Op. 45, the Op. 74 and Op. 54 are easier. If students can find the books, they can try to practice the etudes included. Kreutzer, Fiorillo, Mazas, and Rode were composers who wrote early etudes, which are not easy to play. Kayser, Wohlfahrt, and Dont were composers who died in the 1880s. They simplified their etudes, and the etudes tend to be easier than the early ones. Actually, the etudes were written for the viola instead of the violin at the beginning. There are other composers earlier than Kreutzer and his contemporaries who wrote viola etudes, such as Hoffmeister, Bruni, and Campagnoli. Hoffmeister wrote 12 melodious etudes. Bruni wrote both viola etudes and violin etudes, which are not long or difficult, but very useful. Campagnoli’s etudes are a little difficult to play. Besides, there are composers who died in the 20th century, and wrote etudes in their lifetime, such as Vieux from France, Lukács from Hungary, and Fuchs from the US. These composers’ etudes contain techniques which are helpful for playing modern works. Fuchs was a female composer and teacher in Curtis Institute Of Music who wrote two etude books. Her etudes are suitable for viola playing. Fuchs’ daughter plays the cello, and her granddaughter plays the viola. Her granddaughter made two albums containing Fuchs’ etudes. Students can find the albums online. ![](https://static.lianmuse.com/image/blog/8799b5478192dce78fb5d73ab5a7aacf.png?v=8799b5478192dce78fb5d73ab5a7aacf) Here I would like to make a list of the frequently used etude books: Wohlfahrt: *60 Studies for the Violin, Op.45* Wohlfahrt: *40 Elementary Studies for Violin, Op. 54* Wohlfahrt: *70 Easy Melodious Studies for the Violin, Op. 74* Palaschko: *10 Viola Studies, Op. 49* Kayser: *36 Elementary and Progressive Studies for the Viola, Op. 20* Fiorillo: *36 Etudes or Caprices for Violin Solo* Dont: *24 Etudes and Caprices for Violin Solo, Op. 35* Dont: *24 Exercises for the Violin, Op. 37* Mazas: *Etudes Speciales for Viola, Op. 36* Kreutzer: *42 Studies for Viola* Paganini: *24 Caprices for Solo Violin* Bruni: *24 Studies for Viola* Hoffmeister: *12 Etudes for Viola* Fuchs: *15 Characteristic Studies for Viola* Fuchs: *16 Fantasy Etudes for Viola* Lukács: *Exercises in Change of Position for Viola, Advanced Grade* Campagnoli: *41 Caprices for Viola, Op. 22* Vieux: *20 Etudes for Viola* Vieux: *10 Etudes sur les Intervalles for Viola Solo* Most viola etudes are melodious and not very easy to play. The etudes are like opuscula, which can be performed on stage. *10 Viola Studies*, Op. 49, written by Palaschko, are frequently played in China. Actually, Palaschko wrote several etude books, but the Op. 49 is the most popular one. What’s more, few players practice Vieux’s 20 Etudes for Viola since the etudes are too difficult. The pieces are even more difficult than Paganini’s 24 caprices. 10 Etudes sur les Intervalles for Viola Solo, another book written by Vieux, is helpful for viola players to know better about the intervals. That’s all for my session today. The scale systems I introduced above are worth studying. Knowing more can help us understand the importance of practicing scales. In fact, there has been music pedagogy since the Classical period in Western countries. But in China, there is no systematic music pedagogy. This is a significant reason why Chinese instruments are not internationally known. Therefore, young viola teachers can do more research, and write more papers on the topic of music pedagogy. # Music Q & A: ## Audience: How to practice dotted notes? Wing Ho: You may find the answer in Accuracy in Rhythm, the book I recommended above. The book is really useful for viola players. ## Audience: How to practice scales together with etudes? Wing Ho: Scales and etudes are different. Actually, we can practice scales and etudes separately. When we are playing scales, we may focus on one or more octaves. Also, we need to consider the keys. Sometimes we practice the bowing skills by playing etudes, and in the meanwhile, we may not pay much attention to the keys. Etudes can be very helpful if we need to improve the techniques, while scales can help us improve the intonation, the rhythm, and the speed of playing. We don’t have to practice etudes and scales together. ## Audience: How to play descending scales smoothly? Wing Ho: I recommend you to keep your index finger on the string while playing scales. The index finger can play a role of leading the movements of other fingers. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## All About Viola - Viola Teaching Class [**All about Viola 1 ｜ Tips about Enlightenment Teaching of Viola**](https://violy.app/blog/2020/06/All-about-Viola-Master-Class-Tips-about-Enlightenment-Teaching-of-Viola/) [**All about Viola 2 ｜ Basic Teaching of Viola**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Basic-Teaching-of-Viola/) [**All about Viola 3 ｜ Viola Bowing Techniques**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Viola-Bowing-Techniques/) [**All about Viola 4 ｜ Movements of the Left Hand**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Movements-of-the-Left-Hand/) [**All about Viola 5 ｜ Viola Exercises for Beginners**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Exercises-for-Beginners/) [**All about Viola 6 ｜ Common Viola Repertoire Catalog**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Repertoire-Catalog/) [**All about Viola 7-8 ｜ Music Learning and Career Choice**](https://violy.app/blog/2020/10/All-about-Viola-Master-Class-Music-Learning-and-Career-Choice/) ## More Violy Master Class Articles: [**Viola Master Class - Ho Wing**](https://violy.app/blog/2020/04/Viola-Master-Class-HoWing/) [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) [**Violin Master Class - Ling Zi**](https://violy.app/blog/2020/03/Violin-Master-Class-LingZi/) [**Violin Master Class - Gu YingLong**](https://violy.app/blog/2020/06/Violin-Master-Class-GuYingLong/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # All about Viola | Movements of the Left Hand ｜ Wing Ho's Viola Teaching Class Part 4 - URL: https://violy.app/blog/all-about-viola-movements-of-the-left-hand-wing-hos-viola-teaching-class-part-4 - Markdown: https://violy.app/blog/all-about-viola-movements-of-the-left-hand-wing-hos-viola-teaching-class-part-4.md - Published: 2020-09-02 - Summary: In this session, Professor Wing Ho will share his idea about the left hand movements in viola playin In this session, Professor Wing Ho will share his idea about the left hand movements in viola playing. Content of Wing Ho’s lecture is as follows (edited in first person): # Train the Fingers As I mentioned in the [second session](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Basic-Teaching-of-Viola/), we can train our fingers by bending them like scratching an itch. It is not difficult. Also, when we are pressing the strings, we can lift our fingers up and down like hammering. It is also an effective way to train our fingers. ![](https://static.lianmuse.com/image/blog/705d7aec15a61d40b1f7a3dd3bd1fa3f.jpeg?v=705d7aec15a61d40b1f7a3dd3bd1fa3f) We should keep in mind that the movements of lifting fingers up and down should be very fast. What’s more, we can see that there are marks on our fingertips after pressing the strings. ![](https://static.lianmuse.com/image/blog/21d9f68c0f19b9321713a2fbb89fbea1.png?v=21d9f68c0f19b9321713a2fbb89fbea1) The positions of the marks should not be shifted while playing the viola. After pressing the strings, there should be only one mark on each fingertip. ## Hand Positions There are four hand positions which are most frequently used: First Position: The middle finger and ring finger are next to each other. There is a semitone between the two fingers. Also, there are two semitones between the index finger and middle finger, and another two semitones between the ring finger and little finger. ![](https://static.lianmuse.com/image/blog/fcbb3b69efa395aeda1ef79e739cb755.jpeg?v=fcbb3b69efa395aeda1ef79e739cb755) When we use this hand position, we can play more comfortably. Second Position: The ring finger and little finger are next to each other. There is one semitone between the two fingers. Also, there are two semitones between the index finger and middle finger, and another two between the middle finger and ring finger. ![](https://static.lianmuse.com/image/blog/d111faa4c5d7be3a66fcb28f7e5e3633.jpeg?v=d111faa4c5d7be3a66fcb28f7e5e3633) Third Position: The index finger and middle finger are next to each other. There is one semitone between the two fingers. Also, there are two semitones between the middle finger and ring finger, and another two between the ring finger and little finger. ![](https://static.lianmuse.com/image/blog/d5da560fe9c3e081563c2b8fb6896584.jpeg?v=d5da560fe9c3e081563c2b8fb6896584) If we use this hand position while playing, we are not likely to play comfortably. Fourth Position: There are two semitones between every two adjacent fingers. ![](https://static.lianmuse.com/image/blog/9ec3c1f4effc1827e56a6f7f6b986ef4.jpeg?v=9ec3c1f4effc1827e56a6f7f6b986ef4) There are many viola etudes for young learners to train their hands and get used to the four hand positions I mentioned above. Here I would like to share a picture included in one of my viola books. ![](https://static.lianmuse.com/image/blog/5a983af1489d67f4c939f1ac0636fc12.jpeg?v=5a983af1489d67f4c939f1ac0636fc12) The sheet music above is for young learners who start to learn scales. We can see the pitch names marked on the noteheads, which can help beginners read music. The hand positions being used are referred to as “first one” and “third one” in the picture. When we see an “x” on the notehead, the finger we use to play the note should be kept on the string. For example, if we use the index finger to play D note on the C string, the index finger should also be placed on the C string when we use the middle finger to play E note on the same string. ![](https://static.lianmuse.com/image/blog/af6a8de54034ed14e5b01c0b6f762377.png?v=af6a8de54034ed14e5b01c0b6f762377) Knowing which finger to keep on the string is very important for viola players. All viola learners should learn the skill after training. This skill can help us avoid unnecessary movements of fingers. The scale above can be helpful to young learners that they can correct their hand positions while playing the viola. Knowing the intervals and fingerings is also significant to viola learners. It can make us play more easily when we need to play in higher positions. We can check the intervals and fingerings in the picture below. ![](https://static.lianmuse.com/image/blog/0b786ffed2545026c44ee51e82fa54fe.jpeg?v=0b786ffed2545026c44ee51e82fa54fe) The picture above is useful to viola beginners. They can keep it for future reference. Here I would like to share the video of playing the bars contained in the picture:
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# Three Things Need to Be Paid Attention to While Shifting ## Moving the Fingers When we move the fingers while playing the viola, we should keep in mind that our fingers should get prepared before the bow does. Then the musicality can be expressed. Also, the fingers should be flexible. We need to pay attention to the movements of lifting fingers up and down, and the sound produced should be clear.
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## Changing the Positions When we change the positions, our fingers should get prepared, but not move in advance. Or some unpleasant sounds may be produced. There are several different ways of changing the positions. Sometimes we change the positions without switching to another finger. For example, we may move the index finger from lower positions to higher positions.
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Besides, sometimes we also need to stretch a finger a little bit to reach for a higher position.
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What’s more, we may need to switch to another finger when changing from higher positions to lower positions, and vice versa.
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Changing the positions in a Classical style requires us to use “medium note”, which is a short note played during the process of changing the positions. For example, we need to change from higher positions to lower positions, and we are supposed to switch to the index finger from the middle finger. In this case, the “medium note” is likely to be played by the middle finger.
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Also see Schumann’s [*Fair-Tale Pictures*](https://www.instagram.com/p/CDN56GbA8iS/?utm_source=ig_embed&utm_campaign=embed_video_watch_again) Kreutzer’s etudes are typical pieces for viola players to practice changing the positions. Changing the positions in a Romantic style requires us to use the middle finger and the glissando is usually produced.
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Composers in the Romantic period preferred this way of changing the positions. But we should notice that when we are playing classical music, glissandi are supposed to be avoided. Also, most players prefer the way of changing the positions in a Classical style. ![](https://static.lianmuse.com/image/blog/dc477d5aac507ee11aa7fc8041c51ae7.png?v=dc477d5aac507ee11aa7fc8041c51ae7) Let’s have a look at the sheet music below. I made some marks on the sheet music. We should pay attention to the fingerings and changing of positions. Both changing the positions in a Classical style and changing the positions in a Romantic style are used. ![](https://static.lianmuse.com/image/blog/583b5c0b8185032929858da3448835b9.jpeg?v=583b5c0b8185032929858da3448835b9)
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In Schumann’s *Fair-Tale Pictures*, the way of changing the positions without switching to another finger is frequently used. Our fingers and the bow should get prepared in advance. Besides, we should notice that when we are playing classical music, glissandi are supposed to be avoided. In the meanwhile, the musicality should be expressed. ![](https://static.lianmuse.com/image/blog/1f258402717bc065f0779049bb78348f.png?v=1f258402717bc065f0779049bb78348f) ![](
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) Like clarinet pieces, many viola pieces require players to use changeable fingerings. We are supposed to keep the movements of shifting in mind. Let’s have a look at the sheet music below. ![](https://static.lianmuse.com/image/blog/b27e57ae6c2ea32f99ec958296c7d1f7.jpeg?v=b27e57ae6c2ea32f99ec958296c7d1f7) Glissandi should be avoided while playing the concerto above. The fingers should always get prepared before the bow does.
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## Shifting the Strings When we are shifting the strings, our fingers and the viola bow need to get prepared in advance so that we can produce resonant sound. This idea was proposed by some composers in Baroque period. Let’s take a look at the sheet music of *Bach’s Suite №4 in E flat major*, which is a typical piece for us to practice the skills of shifting the strings. ![](https://static.lianmuse.com/image/blog/9b25c7f501d1de965b4c27f2d4a2e0c1.png?v=9b25c7f501d1de965b4c27f2d4a2e0c1)
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Also, we should pay attention to the movements of our upper arm. Besides, since viola strings are thicker than violin strings, we need to apply more strength to the fingerboard while playing and find the best positions to play on the viola. Or the quality of the sound produced may be affected. # Pizzicato When we are playing the viola, we usually pluck the strings with our right hand. When I was training the young learners in orchestra, I found that many students could not play pizzicato correctly. Also, they seldom practiced pizzicato. The best position to pluck the strings is close to the end of the fingerboard. ## Single Notes When we are playing a single note marked pizz., our fingertip should be parallel to the string which needs to be plucked. But we should not press the string hard while plucking it.
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There are two ways of plucking: First, our thumb should be placed at the end of the fingerboard. Then we use the index finger to pluck the string.
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This way can make the sound produced more steady. Second, our thumb should be placed on the first knuckle of our index finger, and then we pluck the string with our index finger.
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This way brings more musicality and the position of playing pizzicato can be adjusted. ## Double Stops When we are playing double stops marked pizz., we should pay attention to the “balance” of the two notes. The sound produced should be steady and clear. We can use either one finger or two fingers to pluck the strings while playing double stops marked pizz..
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## Chords When we are playing chords marked pizz., we should pay attention to the flexibility and explosiveness. Let’s take a look at the sheet music below: ![](https://static.lianmuse.com/image/blog/373c6b52054047623b52e57b7718b012.png?v=373c6b52054047623b52e57b7718b012)
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We should find the best position to play chords marked pizz.. Sometimes the height of the bridge or the fingerboard may affect the quality of the sound produced while plucking the strings. Therefore, the instrument needs to be adjusted if it is necessary. Besides, we are supposed to pluck the strings fast and pay attention to the “balance” of the notes. # Trill When we are playing trills on the viola, we should play attention to the intonation and the movements of our fingers. Also, the sound produced should be clear. A professor once came to Central Conservatory of Music to give a lecture. He provided us with a good method of moving our fingers while practicing playing trills. The movements of fingers are demonstrated in the video below:
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Our intonation and the quality of the sound produced can get improved if we practice playing trills in the way shown in the video above. Also, if the required speed of playing trills is too fast, we can play vibrato instead of trills：
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![](https://static.lianmuse.com/image/blog/16cb198cc54d614198f8c9844ec57d5d.png?v=16cb198cc54d614198f8c9844ec57d5d) # Vibrato Technically, there are four types of vibrato. ## Arm Vibrato Arm vibrato is frequently used. The sound produced tends to be intense and the movements of our arm tend to be big.
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## Wrist Vibrato Wrist vibrato requires us to use the wrist only. We can compare the wrist movements with the arm movements and find the differences. When we do wrist vibrato, we should pay attention to the movements of our first knuckles.
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As I mentioned in the second session, when we are holding the viola, there are two contact points. One is below the index finger, the other one is above the first knuckle of the thumb. When we are playing vibrato, we should also pay attention to the contact points. ## Finger Vibrato When we play in higher positions on the viola, we tend to do finger vibrato.
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## Invisible Vibrato Invisible vibrato means that our left hand should keep in the state of doing vibrato, but actually, we do not move the left hand.
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When we do invisible vibrato, our bow should coordinate with our left hand. Invisible vibrato is frequently used when we are playing Baroque music. When we are playing vibrato, we can use various movements and the speed of playing can be different. We can select different types of vibrato according to our own feelings while playing the viola. There are several ways of practicing vibrato. We can start from playing the scale without doing vibrato. Then we can try to do vibrato while playing the scale. The movements can be bigger and the speed of playing can be slower. When we are practicing vibrato, our movements tend to be bigger. In this way, our fingers can get trained well. Also, our fingers can stretch a little bit when doing vibrato slowly. ![](https://static.lianmuse.com/image/blog/f35bdf1731e85f24b203255252f4ed47.jpeg?v=f35bdf1731e85f24b203255252f4ed47) In addition, when we are practicing changing the positions, we can combine glissandi and trills:
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In this way, our movements of changing the positions can get improved. # Music Q & A **Audience: My little fingers are short. What should I do to keep the correct hand position while playing in higher positions?** Wing Ho: When we play the viola, we are supposed to find the contact position of our ring finger on the fingerboard first. Then we can find the contact position of our little finger. Later we can place the index finger and middle finger on the right positions. When we place the four fingers on the fingerboard, we get to know the correct hand position. **Audience: Every time when I reach the bow tip, my shoulders become stiff. What should I do to avoid the problem?** Wing Ho: When I was young, my shoulders were also stiff while playing the viola. Then my neck became stiff as well. After being massaged and getting to know how to relax the neck, I started to play in a relaxed state. It is very important for us to be relaxed while playing, and we should find the relaxed state by ourselves. **Audience: How can I switch to up bow naturally after playing down bow?** Wing Ho: When we switch to up bow after playing down bow, we should not move our right wrist. Also, the speed of playing should not change when we change the bow. Or we may produce unsteady sound. **Audience: My right hand shakes when I reach the bow tip. What should I do to solve the problem?** Wing Ho: Maybe your right arm stretches too much. Or your viola bow may be too long for you. We should keep in mind that when we are playing the viola, our arm should not be stretched too much. It is not necessary to use the whole bow while playing. Otherwise, we cannot change the bow naturally. **Audience: When I play in higher positions, the sound produced is not clear. What should I do?** Wing Ho: When we play in higher positions, our bow should be close to the bridge. Or the sound produced can never be clear. Also, there may be another reason that the height of the fingerboard of your instrument is too low, so you may find it difficult to press the strings. Then the sound produced is unclear. **Audience: I am always busy with work and have little time to practice. What should I do to get improved?** Wing Ho: Viola playing can be a form of entertainment for you. When you are not busy, you can pick up the viola and practice some scales or other pieces. It takes much time to get improved. If you did not start to learn the instrument from a young age, you could not get improved without practicing for a long time. **Audience: How to pluck the strings while holding the bow?** Wing Ho: I have already introduced the ways of plucking the strings. When we need to pluck the strings while holding the bow, our fingertip should always be parallel to the strings.
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**Audience: When I play on the D string, I tend to touch the G string. What should I do to avoid the problem?** Wing Ho: Maybe you need to place the bow closer to the bridge. Also, you should pay attention to the movements of your upper arm. **Audience: How to practice vibrato slowly?** Wing Ho: We should move our fingers back and forth and the movements should be big at first.
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For viola beginners, they should learn wrist vibrato first. Once they know how to do wrist vibrato, they can play vibrato well on viola. **Audience: How to pluck the strings with the left hand?** Wing Ho: We hardly pluck the strings with our left hand when playing the viola. But when it is needed, we should pay attention to the strength of our fingers. **Audience: How to play a perfect fifth well on viola?** Wing Ho: It is difficult to play a perfect fifth on viola because the distance between every two adjacent strings on most instruments is too long. We can turn to luthiers and ask them to adjust the distance. Then we will be able to play the perfect fifth well. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## All About Viola - Viola Teaching Class [**All about Viola 1 ｜ Tips about Enlightenment Teaching of Viola**](https://violy.app/blog/2020/06/All-about-Viola-Master-Class-Tips-about-Enlightenment-Teaching-of-Viola/) [**All about Viola 2 ｜ Basic Teaching of Viola**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Basic-Teaching-of-Viola/) [**All about Viola 3 ｜ Viola Bowing Techniques**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Viola-Bowing-Techniques/) [**All about Viola 4 ｜ Movements of the Left Hand**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Movements-of-the-Left-Hand/) [**All about Viola 5 ｜ Viola Exercises for Beginners**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Exercises-for-Beginners/) [**All about Viola 6 ｜ Common Viola Repertoire Catalog**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Repertoire-Catalog/) [**All about Viola 7-8 ｜ Music Learning and Career Choice**](https://violy.app/blog/2020/10/All-about-Viola-Master-Class-Music-Learning-and-Career-Choice/) ## More Violy Master Class Articles: [**Viola Master Class - Ho Wing**](https://violy.app/blog/2020/04/Viola-Master-Class-HoWing/) [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) [**Violin Master Class - Ling Zi**](https://violy.app/blog/2020/03/Violin-Master-Class-LingZi/) [**Violin Master Class - Gu YingLong**](https://violy.app/blog/2020/06/Violin-Master-Class-GuYingLong/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violy Academy Account - URL: https://violy.app/blog/violy-academy-account - Markdown: https://violy.app/blog/violy-academy-account.md - Published: 2020-08-27 - Summary: Music academies, music schools, and music conservatories, can apply for institutional account on Vio # Account for Music Schools Music academies, music schools, and music conservatories, can apply for institutional account on Violy, which allows music Academy admins to manage student groups, classes, and education progress easier with the listed features: ![](https://static.lianmuse.com/image/blog/e443863d974cc782d6f5dcc4ff444779.jpeg?v=e443863d974cc782d6f5dcc4ff444779) * Customized App Opening Picture; * Academy Members (Contact list for teachers and students on Violy); * Academy Admins (Academy managers who can manage the groups and classes); * Academy Groups (Practice Overview on each group); * Unified Account for Live Class Pro; * Yearly Premium and Live Class Pro Discount; To create an academy account, please contact us at: Support@Violy.app, [WhatsApp](https://api.whatsapp.com/send?phone=+8613127960147), [Facebook](https://www.facebook.com/ViolyPractice/), [Instagram](https://www.instagram.com/violy.practice/). # Customized App Opening Picture Academy owner can upload the app opening picture, and every member of the academy will have the same app opening effect. {% raw %}
{% endraw %} Academy admin can also set a logo and a banner for the Academy. It can be confirmed on the page of **Academy (“Me > I’m a teacher > Academy > Academy”)**. ![](https://static.lianmuse.com/image/blog/301d60f78f2e76e82c4342ad8725b183.jpeg?v=301d60f78f2e76e82c4342ad8725b183) # Academy Members Once the Academy account has been activated, account owner can enter **Members** page **(“Me > I’m a teacher > Academy > Members”)** and add Violy app users to the Academy. ![](https://static.lianmuse.com/image/blog/026bf9edde0dd4b8809fb35b77c08c54.png?v=026bf9edde0dd4b8809fb35b77c08c54) Different from private group, the members of Academy can be grouped directly with out inviting/adding later. It is similar to adding friends on WhatsApp, or any other message apps. ![](https://static.lianmuse.com/image/blog/2ca7591755569d19fe34ec2ffac59078.png?v=2ca7591755569d19fe34ec2ffac59078) To add a teacher, please enter the teacher’s Violy account (with no national code, with no space blank) beside “Add teacher” button, and click on “Add teacher”. To add a student, please enter the student’s Violy account (with no national code, with no space blank) beside “Add student” button, and click on “Add student”. You can also add members to the Academy by sending the invitation link of an Academy group (see “Academy Groups”). # Academy Admins After adding a teacher, the owner can set the teacher as an admin of the Academy account. An admin can also add/remove people to/from the Academy, create groups, and [**schedule Live Class lessons (“Classroom > +Create”)**](https://violy.app/blog/2020/08/Teach-Music-Class-Online/). **Academy** page **(“Me > I’m a teacher > Academy”)** is only accessible for the owner and the admins. However, an admin can only be promoted by an owner, an admin can not set another admin. # Academy Groups Academy Groups can be created by the owner and the admins on **Groups** page **(“Me > I’m a teacher > Academy > Groups”)**. ![](https://static.lianmuse.com/image/blog/de239959c6080a054a2f2c1c112c96b1.png?v=de239959c6080a054a2f2c1c112c96b1) Enter the **Groups page (“Me > I’m a teacher > Academy > Groups”)**, and click on **+New Group**. And input “Group Name” and select a “Group Owner” from Academy teachers. ![](https://static.lianmuse.com/image/blog/eb3c290dd6c67b4b0d150c1e6b8c3516.png?v=eb3c290dd6c67b4b0d150c1e6b8c3516) Once the group is created, even if the Academy owner and admins are not the group owner, they can still manage the group. And the created group will be displayed on **Students** page of its teachers’. ![](https://static.lianmuse.com/image/blog/047ff8744c12326988e2922a9a0d3562.png?v=047ff8744c12326988e2922a9a0d3562) If the group owner is not the Academy owner, nor admin, the group owner can only manage the group on **Students page (“Students > Groups”)**. However, the members of Academy group will be automatically synchronized to Academy members, which means it is possible to add Academy members by sending an **Invitation Link (“Students > Groups > Invite students”)** of the Academy’s group. ![](https://static.lianmuse.com/image/blog/c6cf481aeec8eee34cebe565ea97961f.png?v=c6cf481aeec8eee34cebe565ea97961f) The Academy owner and the admins can check practice progress (Audition and Note-by-note) and practice rank on **Overall page (“Me > I’m a teacher > Academy > Overall”)**. ![](https://static.lianmuse.com/image/blog/fc32f61875470ab14e11d552bb742471.jpeg?v=fc32f61875470ab14e11d552bb742471) # Unified Account for Live Class Pro All of the cost generated by the Academy groups is taken from the balance of **Academy Account (“Me > I’m teacher > Academy > Academy”)**. ![](https://static.lianmuse.com/image/blog/acb8f2a83db502fc4b75f055debc95ab.png?v=acb8f2a83db502fc4b75f055debc95ab) To top up the balance for an Academy account, please contact us directly. # Yearly Premium and Live Class Pro Discount We provide huge discount of Yearly Premium membership and Live Class Pro for Academy, please contact us to learn more! Support@Violy.app, [WhatsApp](https://api.whatsapp.com/send?phone=+8613127960147). # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## Violy - Smart Music Classroom [**Online Music Class App**](https://violy.app/blog/2020/04/Smart-Music-Classroom/) [**Teach Music Intrument Online**](https://violy.app/blog/2020/03/Music-instrument-live-class/) [**Upload Your Music into Violy App!**](https://violy.app/blog/2020/02/Create-Sheet-Music-on-Violy/) ## Violin Practice Articles: [**5 Tips on How to Play Vibrato on String Instruments**](https://violy.app/blog/2020/05/5-Tips-on-How-to-Vibrato/) [**Cello Suites for Cello and Viola on Violy**](https://violy.app/blog/2020/02/Cello-Sheet-Music-for-Viola-on-Violy/) [**Acoustic Violin VS Electric Violin**](https://violy.app/blog/2020/01/Acoustic-Violin-VS-Electric-Violin/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/3edcab6644bfad50a68ae2c5dbab5814.png?v=3edcab6644bfad50a68ae2c5dbab5814) --- # Violy’s Classroom Feature | Create online music classes! - URL: https://violy.app/blog/violys-classroom-feature-create-online-music-classes - Markdown: https://violy.app/blog/violys-classroom-feature-create-online-music-classes.md - Published: 2020-08-13 - Summary: Violy app’s “Live Class” feature allows teachers to make video calls to students instantly. But in s # Create online music classes! Violy app’s “Live Class” feature allows teachers to make video calls to students instantly. But in some cases, this single mode cannot meet all requirements of remote music class. Students may get disconnected during a group class and cannot rejoin the class unless the teacher invites again, and then the whole class can be interrupted. Also, it just wastes the other participants’ time, which can be annoying. Besides, without class schedule, teachers have to remind their students of attending the class on time every time before the class begins. If there are multiple students, it can be time-consuming for teachers to notify every one of them. Also, teachers are likely to make mistakes during the process. **To help users take remote music classes in a more organized and flexible way, the "Classroom" feature is newly supported on Violy app.** ![](https://static.lianmuse.com/image/blog/7c377657e7ce6b8ca40960cd0f34697d.jpeg?v=7c377657e7ce6b8ca40960cd0f34697d) Things that the “Classroom” feature allows users to do: * Teachers can set the time for the class in advance; * Participants can get notified before the class; * Students can rejoin the class if they get disconnected during the video call; * The group/institution admin can help teachers create classes, which can take the pressure off the teachers and make the management more convenient. ![](https://static.lianmuse.com/image/blog/984272abf12b582cfe01c4de18c464d7.png?v=984272abf12b582cfe01c4de18c464d7) # Instructions for Music Teachers: Online Music "Classroom" After updating the app to the latest version, teachers can enter **"Classroom"** page in the app and click on **"+Create"** to schedule a class. ![](https://static.lianmuse.com/image/blog/2c34275f1ea449e752139127de9ca272.jpeg?v=2c34275f1ea449e752139127de9ca272) Then the teachers need to fill in the information required and click on **"Confirm"**. Later, a new class is created. ![](https://static.lianmuse.com/image/blog/3f83e95b4262465e17e7026b3da71c52.jpeg?v=3f83e95b4262465e17e7026b3da71c52) Currently, teachers can set the time for the class in Violy app, but students cannot make appointments with teachers through the app. Once the new class is created, it can be seen in section **"Timetable"** of **"Classroom"** page. ![](https://static.lianmuse.com/image/blog/5423ad2deadb9209ee2ad570f14c38af.jpeg?v=5423ad2deadb9209ee2ad570f14c38af) All participants will receive push notifications from Violy app 15 minutes and 5 minutes ahead of the scheduled time of the online music class. We recommend users to enable the notifications of the app in case of missing classes. ![](https://static.lianmuse.com/image/blog/a4d1ceea5ca9051578d6aa1d549809fd.jpeg?v=a4d1ceea5ca9051578d6aa1d549809fd) Participants can click on **"Join now"** to join the class 5 minutes before the class begins. ![](https://static.lianmuse.com/image/blog/7f1505a27caaf0b16d070905ba14ac29.jpeg?v=7f1505a27caaf0b16d070905ba14ac29) During the class, if the participants get disconnected or exit from the class by accident, they can click on **"Lessoning…"** to rejoin the class. ![](https://static.lianmuse.com/image/blog/6f7498e1ce78769f5d170382123d30fd.jpeg?v=6f7498e1ce78769f5d170382123d30fd) # Things Related to "Classroom" Feature Which Need More Attention * When the host clicks on the button of ending the current class, the host can choose to "Pause for now" or "End the class". ![](https://static.lianmuse.com/image/blog/489c3ed490013fea4a140e115661bda2.png?v=489c3ed490013fea4a140e115661bda2) * If the host clicks on "End the class", the current class will be ended. Then no one will be able to join the class anymore. ![](https://static.lianmuse.com/image/blog/6d87ca06fe65591575b995cb2773a8b8.jpeg?v=6d87ca06fe65591575b995cb2773a8b8) * If the host chooses to "Pause for now", the class will not be ended. The host can rejoin the class within the duration of the current class. But if the host does not return to the class in time, the class will be ended automatically when the time is up. ![](https://static.lianmuse.com/image/blog/2aded0a9c95092e02e982486e8790737.png?v=2aded0a9c95092e02e982486e8790737) * If the host exits from the class because of losing the network connection, the current class will not be ended. We hope that Violy’s new feature introduced above can help users enjoy the online classes more! # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## Violy - Smart Music Classroom [**Online Music Class App**](https://violy.app/blog/2020/04/Smart-Music-Classroom/) [**Teach Music Intrument Online**](https://violy.app/blog/2020/03/Music-instrument-live-class/) [**Violy Institution Account**](https://violy.app/blog/2020/03/Music-instrument-live-class/) [**Upload Your Music into Violy App!**](https://violy.app/blog/2020/02/Create-Sheet-Music-on-Violy/) ## Violin Practice Articles: [**5 Tips on How to Play Vibrato on String Instruments**](https://violy.app/blog/2020/05/5-Tips-on-How-to-Vibrato/) [**Cello Suites for Cello and Viola on Violy**](https://violy.app/blog/2020/02/Cello-Sheet-Music-for-Viola-on-Violy/) [**Acoustic Violin VS Electric Violin**](https://violy.app/blog/2020/01/Acoustic-Violin-VS-Electric-Violin/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # All about Viola | Viola Bowing Techniques ｜ Wing Ho's Viola Teaching Class Part 3 - URL: https://violy.app/blog/all-about-viola-viola-bowing-techniques-wing-hos-viola-teaching-class-part-3 - Markdown: https://violy.app/blog/all-about-viola-viola-bowing-techniques-wing-hos-viola-teaching-class-part-3.md - Published: 2020-07-20 - Summary: In this session, Professor Wing Ho will talk about viola bowing techniques. Content of Wing Ho’s lec # Viola Bowing Techniques In this session, Professor Wing Ho will talk about viola bowing techniques. Content of Wing Ho’s lecture is as follows (edited in first person): # Détaché Détaché can be played in all parts of the bow.
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Since viola bows are heavier than violin bows, and viola strings are thicker than violin strings, the optimal position to play détaché with the viola bow is a little lower than the middle of the bow, which is different from the best position to play détaché with the violin bow. Finding the best position to play détaché helps us produce sound more easily and play more comfortably. # Legato Legato means that we need to play multiple notes in one bow stroke. Let’s have a look at the sheet music of Walton’s *Concerto for Viola and Orchestra*. ![](https://static.lianmuse.com/image/blog/743fb51c1bb437ccc1cc173ba62da505.png?v=743fb51c1bb437ccc1cc173ba62da505) We can find that legato is played frequently in this piece. We use a tie to connect two notes of the same pitch so that the notes can be sustained. A slur is applied to two or more different notes and means that the different notes should be played legato.
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There is another bowing technique called portato, in which successive notes are re-articulated while being joined under a single continuing bow stroke.
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We can see that we need to play portato in the bar 10 in the sheet music above(marked in the picture). Apart from Walton’s viola concerto, Reger’s *Suite №1 for Solo Viola* is also a typical piece for practicing portato. # Collé Kreutzer’s *Etude №7 for Viola* is suitable for practicing collé. ![](https://static.lianmuse.com/image/blog/4d1abff68d041fab8433a6bfc17e7294.png?v=4d1abff68d041fab8433a6bfc17e7294) Explosiveness is needed for playing collé. This bowing technique is usually used when we are playing chords. But in general, it is not frequently used. It can help us increase the finger flexibility. When we are playing collé, we should move the fingers instead of the wrist.
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# Martelé To practice martelé, we can select Kreutzer’s *Etude №6 for Viola*. ![](https://static.lianmuse.com/image/blog/90c6c8dc3f9e5ea922d9ad78a169c3d3.png?v=90c6c8dc3f9e5ea922d9ad78a169c3d3) When we are playing martelé, we should notice that the notes are short and the bow should be kept on the string. We usually use the tip of the bow to play martelé, and the speed of playing can be controlled. We are supposed not to play it too fast. We need to take three steps to play martelé: 1. Place the bow on the string; 2. “Release” the bow after producing the sound; 3. Control the bow and apply strength to it with our index finger on the right hand.
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![](https://static.lianmuse.com/image/blog/90ca8b781ffd5ee2925a48086b652a77.png?v=90ca8b781ffd5ee2925a48086b652a77) # Staccato When we are playing staccato, we should also control the speed of playing and the bow should be kept on the string. As I mentioned above, we tend to play martelé at the tip of the bow, because the tension of this part of the bow is higher. However, we usually use the lower half of the bow to play staccato, and the notes being played should be separated from one another.
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# Spiccato Likewise, we use the lower half of the bow to play spiccato and the speed of playing is controllable. After producing the sound, the bow needs to leave the string.
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# Sautillé We use the middle of the bow to play sautillé on violin, but when it comes to viola, the best position to play sautillé with the viola bow is a little lower than the middle of the bow. To practice sautillé, we can start from playing détaché, and the sound produced should be clear. Then we can gradually speed up so that the bow can bounce slightly off the string. The speed of playing sautillé cannot be controlled.
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# Ricochet Ricochet is seldom used in viola playing. To play ricochet, we should let the bow fall on the string and bounce naturally to produce a series of rapid notes.
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Let’s have a look at the sheet music below. We can see that there are dots beneath some notes. The dots mean that the notes should be separated from one another, which is to say, we can play spiccato or martelé. Also, we can use other bowing techniques to play the notes. It depends on the tempo. ![](https://static.lianmuse.com/image/blog/9361ea86125ae309fe86dfc861926675.png?v=9361ea86125ae309fe86dfc861926675) # Chords Chords are frequently used in viola playing. A chord refers to a set of pitches consisting of three or more notes that are heard as if sounding simultaneously. Here I would like to tell you more about it. In 1978, I went to Hong Kong with my family and lived in the city for some time. When I was in Hong Kong, I learned the violin for one year with Mr. Zheng Yanyi, who was a professor of violin in Shanghai Conservatory of Music. During the year, I focused on playing open strings and chords. The year’s training was very effective and it laid the foundation for my viola learning. In my opinion, the best way to play chords is playing two notes at a time.
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But it depends on the certain piece we play. We use different ways to play chords in different works. For example, when we are playing Sarabande from Bach’s Cello Suite №1, we tend to play broken chords, because there are many appoggiaturas. Broken chords are also frequently played in Sarabande from Bach’s *Cello Suite №3*.
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No matter how we play the chords, we should produce resonant sound. In addition, when it comes to Bach’s works, we need to figure out which way to use when playing chords. ![](https://static.lianmuse.com/image/blog/917416d8298a1dccd882ef08dcf621ca.png?v=917416d8298a1dccd882ef08dcf621ca) Chords are often heard at the beginning of viola concertos. Let’s have a look at the sheet music below: ![](https://static.lianmuse.com/image/blog/350f0ab32379e8b3e5555294b3ed502d.png?v=350f0ab32379e8b3e5555294b3ed502d) I counted beats before starting to play Hindemith’s *Der Schwanendreher*. Personally, I tend to count beats before starting to play. Different players may have different habits. It also depends on the pieces.
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Now let’s take a look at the sheet music of Bach’s *Concerto for Viola and Orchestra in c minor*. To make the melody complete, we can start right away instead of counting beats. ![](https://static.lianmuse.com/image/blog/8f6a6535aa0468effb576f7096e34e2c.png?v=8f6a6535aa0468effb576f7096e34e2c)
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Likewise, we tend to start right away when playing Joseph Schubert’s *Concerto for Viola and Orchestra in C major* so that the playing can be more rhythmic. ![](https://static.lianmuse.com/image/blog/20eaf8d4976d216f92defe03b4020e28.png?v=20eaf8d4976d216f92defe03b4020e28)
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As I mentioned above, the best way to play chords is playing two notes at a time. Let’s take Walton’s Viola Concerto for an example. ![](https://static.lianmuse.com/image/blog/adeef8dc400f252cfd730ab49649927f.png?v=adeef8dc400f252cfd730ab49649927f) To play all notes consisting of chords at the same time may be difficult. Therefore, we can play two notes at a time. I made some marks on the sheet music, which mean that we need to play two notes simultaneously. We can play slowly at the beginning, and gradually speed up. It is hard to play on three or four strings at the same time, so we can play on two strings first.
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Here’s another example. The phrases below belong to the sheet music of Hindemith’s *Der Schwanendreher*. ![](https://static.lianmuse.com/image/blog/22572d08ac0c9bf3e81fa5255ccbb32a.png?v=22572d08ac0c9bf3e81fa5255ccbb32a) When we are playing the chords consisting of three notes, we can play two notes at a time so that there will be more resonance and explosiveness.
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To sum up, the bowing techniques I introduced above are the most commonly used in viola playing. They should be flexibly used when we are playing different pieces. # Music Q & A **Audience: When I am holding the bow, my fingers tend to move up. What should I do to avoid the problem?** Wing Ho: It seems that you do not form a good habit of holding the bow. Maybe you can use some tools to help you. If our fingers move up when holding the bow, we cannot hold it stably because the point of support is lost. Then we are not able to play fast. Actually, in ancient times, players’ bow grip tended to be higher. Ancient music tended to be gentle and slow as well. At present, we are supposed to hold the bow correctly. As I mentioned in the former session, the first knuckles of our fingers should be placed on the stick. **Audience: How to play the chords in Bartók’s Viola Concerto(bar 135)?** Wing Ho: In fact, the recommended way of playing chords I mentioned above is commonly used in the playing of different works. You may try it out when playing this concerto. It can help us improve the intonation while playing chords, and in this way, we may not miss notes.
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# Audience: Do we need to move the wrist while playing spiccato and sautillé? Wing Ho: Personally, I do not move the wrist while playing spiccato and sautillé. All our knuckles are supposed to be flexible, but if it is not necessary, we do not have to move every knuckle while playing. When I play spiccato and sautillé, I tend to move the forearm, and in this way, the sound produced is clear. # Audience: When is the suitable time for an elementary school student to start to learn the viola? Wing Ho: Actually, students can start to learn the viola at any time. Also, violin learners can switch to viola at any moment. I switched to viola formally when I was a postgraduate. But I started to play the viola when I was in junior high school. As long as you love the instrument, you can start to learn it at any time. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## All About Viola - Viola Teaching Class [**All about Viola 1 ｜ Tips about Enlightenment Teaching of Viola**](https://violy.app/blog/2020/06/All-about-Viola-Master-Class-Tips-about-Enlightenment-Teaching-of-Viola/) [**All about Viola 2 ｜ Basic Teaching of Viola**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Basic-Teaching-of-Viola/) [**All about Viola 3 ｜ Viola Bowing Techniques**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Viola-Bowing-Techniques/) [**All about Viola 4 ｜ Movements of the Left Hand**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Movements-of-the-Left-Hand/) [**All about Viola 5 ｜ Viola Exercises for Beginners**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Exercises-for-Beginners/) [**All about Viola 6 ｜ Common Viola Repertoire Catalog**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Repertoire-Catalog/) [**All about Viola 7-8 ｜ Music Learning and Career Choice**](https://violy.app/blog/2020/10/All-about-Viola-Master-Class-Music-Learning-and-Career-Choice/) ## More Violy Master Class Articles: [**Viola Master Class - Ho Wing**](https://violy.app/blog/2020/04/Viola-Master-Class-HoWing/) [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) [**Violin Master Class - Ling Zi**](https://violy.app/blog/2020/03/Violin-Master-Class-LingZi/) [**Violin Master Class - Gu YingLong**](https://violy.app/blog/2020/06/Violin-Master-Class-GuYingLong/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # All about Viola | Basic Teaching of Viola ｜ Wing Ho's Viola Teaching Class Part 2 - URL: https://violy.app/blog/all-about-viola-basic-teaching-of-viola-wing-hos-viola-teaching-class-part-2 - Markdown: https://violy.app/blog/all-about-viola-basic-teaching-of-viola-wing-hos-viola-teaching-class-part-2.md - Published: 2020-07-06 - Summary: In today’s session, Professor Wing Ho will talk about issues related to basic teaching of viola. We # Basic Teaching of Viola In today’s session, Professor Wing Ho will talk about issues related to basic teaching of viola. We suggest that viola teachers hold the instrument while reading the article so that they can go through all the details mentioned. Content of Wing Ho’s lecture is as follows (edited in first person): # Left Hand We should normally have two contact points between our left hand and the viola neck. Let’s take a look at the picture below. ![](https://static.lianmuse.com/image/blog/78b387c596b9de2b2ec2d3b118e059b9.png?v=78b387c596b9de2b2ec2d3b118e059b9) **The first contact point is below the index finger**, as shown in the picture above. When we hold the viola, the neck is placed there. It plays a role of a shaft, which helps us move the left hand when shifting the strings and changing the positions. Actually, there are other ways of holding the viola. For example, holding the instrument with the first knuckle of the thumb. But I recommend that students place the neck at the contact point shown in the picture, because in this way, each finger can have an individual position while playing. **The second contact point is above the first knuckle of the thumb**. It is the contact position of our thumb on the viola neck. Some students may place the first knuckle of the thumb on the neck and sometimes their thumb may touch the G string. Therefore, the contact position demonstrated in the picture above is a better choice. It also makes us play more comfortably. As for the other four fingers, we should find the balance point of our left hand and the correct positions of the four fingers so that we can apply strength to the fingerboard and play comfortably. We need to bend the fingers and place them on the fingerboard. The back of our left hand, our wrist and our forearm should be in a line. The wrist should keep flat without bending backward or forward. Also, our fingers should not stretch. ![](https://static.lianmuse.com/image/blog/3968a365c8ab98e4092b76b418318a23.png?v=3968a365c8ab98e4092b76b418318a23) We should pay attention to the movements of our fingers while playing the viola. There are two ways for us to train our fingers. **The first one is bending our fingers like scratching an itch**. ![](https://static.lianmuse.com/image/blog/6b49642ab2e60e4600d1f951c1b309d1.png?v=6b49642ab2e60e4600d1f951c1b309d1) **The second one is touching the left thumb with the other four fingers on the left hand**. It can help us understand the “independence” of the fingers. To improve the “independence” of the fingers, students can put an eraser between every two adjacent fingers while practicing. Some students who have smaller hands or shorter little fingers tend to stretch the little finger while playing. This training method can effectively help them avoid the problem. When we are playing, we should bend our fingers instead of stretching them. ![](https://static.lianmuse.com/image/blog/72a9811d042fc760ba3e1aa88f8a7534.png?v=72a9811d042fc760ba3e1aa88f8a7534) If we do not train our fingers properly, the strength of our fingers cannot get improved. When we are pressing the strings, we should make sure that the movements of lifting fingers up and down are fast, like hammering. We can see that there are marks on our fingertips after pressing the strings. ![](https://static.lianmuse.com/image/blog/9735fa1a42ba179bb4ad13214ab3a175.png?v=9735fa1a42ba179bb4ad13214ab3a175) The positions of the marks should not be shifted while playing the viola, which is to say, after pressing the strings, there should be only one mark on each fingertip. Overall, there are four things we need to pay attention to when training the fingers. First, touching the thumb with the other four fingers, which can help us avoid the problem of stretching the little finger. Second, bending our fingers like scratching an itch, which can help us find the right positions of our fingers while playing. Third, lifting fingers up and down like hammering. Fourth, memorizing the positions of the marks on our fingertips after pressing the strings. The latter two things can help us improve the strength of our fingers. There are two ways of pressing the strings. When we are playing slowly, we can use the finger pulp to press the strings and our fingers can stretch a little bit. When we are strolling, we are quite relaxed. Likewise, our fingers can be relatively relaxed when we are playing slowly. ![](https://static.lianmuse.com/image/blog/863eaf1801f747b287263e0dda5b3f20.png?v=863eaf1801f747b287263e0dda5b3f20) When we are walking fast or running, we have to bend our legs. Likewise, when we are playing fast, we need to use fingertips and bend the fingers. ![](https://static.lianmuse.com/image/blog/5346f7eca00d5cc888a574f1bb20f493.png?v=5346f7eca00d5cc888a574f1bb20f493) To sum up, we should pay attention to the two contact points between our left hand and the viola neck, the movements of our fingers while playing, and the ways of training the fingers and pressing the strings. # Right Hand The way of holding the viola bow is not difficult. When we are holding the bow, our right thumb should be placed close to the middle finger on the right hand. Also, the first knuckles of our index finger, middle finger and ring finger should be placed on the stick, and we need to cover the bow eye with our ring finger. Besides, the balance point is on the fingertip of our little finger. ![](https://static.lianmuse.com/image/blog/8a0176fd1683995e5aa85301a537db42.png?v=8a0176fd1683995e5aa85301a537db42) We need to make sure that our fingers are isolated from one another. Likewise, the back of our right hand, our wrist and our forearm should be in a line, and we should not stretch the fingers on the right hand. During the practicing of holding the bow, we can hold the right wrist with our left hand, place the bow on the shoulder, and bend our wrist up and down. ![](https://static.lianmuse.com/image/blog/2ed7b8f8bd528f4e36a50bac8e57d618.png?v=2ed7b8f8bd528f4e36a50bac8e57d618) ![](https://static.lianmuse.com/image/blog/7856c67f0208ab415e230e77c12b35d2.png?v=7856c67f0208ab415e230e77c12b35d2) We can also move our wrist back and forth. ![](https://static.lianmuse.com/image/blog/d30d8cd4a6590047932489c75ad02fdc.png?v=d30d8cd4a6590047932489c75ad02fdc) ![](https://static.lianmuse.com/image/blog/e551722a9f5d8ef2955522762dd3a674.png?v=e551722a9f5d8ef2955522762dd3a674) The flexibility of our fingers on the right hand can be increased in this way. We should not hold the bow too tightly while playing. When we are holding the handrail on the subway, we tend not to hold it firmly. Likewise, our right hand tend to be relaxed while holding the viola bow. Then, when we place the bow on the shoulder, we can try to lift our index finger and ring finger at the same time, or middle finger and little finger in the meanwhile, to understand the “independence” of the fingers. Remember not to apply too much strength to the bow. ![](https://static.lianmuse.com/image/blog/53a53d27b26d492a50b8c8c68ffe0764.png?v=53a53d27b26d492a50b8c8c68ffe0764) ![](https://static.lianmuse.com/image/blog/fbfa99c7c19fe8623e8afb6d181a676f.png?v=fbfa99c7c19fe8623e8afb6d181a676f) Later, we can rotate our wrist in this way while holding the bow: ![](https://static.lianmuse.com/image/blog/104208b316c6a111128d6079e8715cc7.png?v=104208b316c6a111128d6079e8715cc7) ![](https://static.lianmuse.com/image/blog/02d9873ed25e5e3518e22562e295878d.png?v=02d9873ed25e5e3518e22562e295878d) The balance point is on the fingertip of our little finger. Some viola players may lift their little finger when holding the bow, which does not influence their playing. But for students, they need to train their fingers and form a good habit of holding the bow, so they should place their little finger on the stick. Doing the movements correctly is more important for young learners. They are supposed to know how to play with the bow flexibly at the beginning. Young learners can use tools to help them hold the bow correctly. Actually, they are likely to form a good habit of holding the bow in two or three weeks if they use the methods of practice mentioned above. For those learners who started to learn the viola at an early age, they can place their thumb on the bottom of the frog at the beginning and get used to the hand position first. After increasing the flexibility in their fingers, they can place their thumb on the stick. ![](https://static.lianmuse.com/image/blog/332994fa6d30a9a283d0f8401978ea5a.png?v=332994fa6d30a9a283d0f8401978ea5a) The most important thing is being relaxed while holding the bow. Imagine that we are twirling walnuts in our hand. Then we can understand how to relax the right hand. ![](https://static.lianmuse.com/image/blog/a9c7288d133ff04f384c3dd9d470f2d9.png?v=a9c7288d133ff04f384c3dd9d470f2d9) # Chin Rest There are many different types of chin rests. The one I use is a Stradivari-style chin rest. The Guarneri-style chin rest is also popular. The chin rest can make us play more comfortably. Actually, the ancient viola did not have a chin rest. Also, playing ancient music did not require players to change the positions frequently. No matter which brand of chin rest we are using, we should know that when we hold the viola, the tailpiece should be vertical to the midline of our body. Our head should not tilt. What’s more, the chin rest of the viola should not be placed too high. ![](https://static.lianmuse.com/image/blog/a283b2a696c3ffb6d89eef998614cfaa.png?v=a283b2a696c3ffb6d89eef998614cfaa) # Shoulder Rest Personally, I use the shoulder rest while playing. Some teachers do not use shoulder rests. Shoulder rest is an important tool which can prevent slipping and help us relax while playing. A shoulder rest of high quality should not fall off the viola after several hours of playing. Also, the height should be adjustable. My favorite brand of the shoulder rest is Pedi. For teachers, they are supposed to know how to adjust the angle of the shoulder rest. The concave side of the shoulder rest should be placed on the shoulder while playing. ![](https://static.lianmuse.com/image/blog/74d90e8628b5b1c6100b1a84ddfb433e.png?v=74d90e8628b5b1c6100b1a84ddfb433e) For students, the height of the shoulder rest should not be too high, and the angle is also important. Actually, they can start from using sponges. # Holding the Viola When holding the viola, our head should not tilt. We are supposed to tilt the instrument to the left, and the angle between the viola and our body right front should be 45 to 55 degrees. The angle tends to be a little bigger sometimes. If the angle is too small, the quality of the sound produced and the tension of the instrument may be affected. ![](https://static.lianmuse.com/image/blog/145c34f69f38bd8d0f6790e827657acb.png?v=145c34f69f38bd8d0f6790e827657acb) We are supposed not to look at the instrument while playing, but when we need to look at the viola, we should turn our head in this way: ![](https://static.lianmuse.com/image/blog/4710cb305327ead3cca673b4d3e8a59f.png?v=4710cb305327ead3cca673b4d3e8a59f) Our neck should be in contact with the lower bout of the instrument. Both our head and shoulder should be relaxed. Besides, the angle between our forearm and upper arm should be smaller than 90 degrees. ![](https://static.lianmuse.com/image/blog/88b805f5605ae1b8687e863c8b6bd608.png?v=88b805f5605ae1b8687e863c8b6bd608) Otherwise, we cannot play the viola comfortably. For young learners, if the angle is bigger than 90 degrees, it means that the instrument being played is too big for them. Playing on an oversized instrument can make young learners develop bad habits. During playing, the back of our hand, the wrist and the elbow should be in a line. If the viola is too big, the hand position, the flexibility in our fingers and the speed of playing can be affected. In addition, during playing, we should make sure that the viola strings are parallel to the ground. ![](https://static.lianmuse.com/image/blog/568895280846b278c0cce3b48469805a.png?v=568895280846b278c0cce3b48469805a) # Posture Your temperament can be observed from your posture. Posture training is significant to every viola learner. Once students start to learn viola, they are supposed to improve their posture. We should stand still with our feet shoulder width apart while playing. Our left foot can tilt a little bit, and the angle between the foot and the midline of our body can be about 30 degrees. When we are on stage and facing the audience, our body can turn 45 degrees left so that we can be seen from every direction. We need to look at the audience and be gracious. We should convey the feeling that the thing we cherish the most is about to be dedicated to the audience. # Breathing We can take a deep breath before performing to relieve tension. But once we are already on stage, we should avoid deep breathing, or we may need more time to get ready for the playing. When we are on stage, we can increase the breathing rate and try belly breathing to relieve tension. During playing, the rhythm of our breathing should match the rhythm of the music. Breathing can help us express the emotions while playing. Also, we can collaborate better with others if we know how to breathe while playing. All viola players should practice breathing. When we are playing phrases with upbeats, downbeats, syncopation or accents, like the beginning of Walton’s viola concerto, we should pay more attention to the breathing. Viola teachers should teach their students to breathe properly while playing every phrase. # Bowing In Mr Fu Tong Wong’s books, he introduced the pithy formulas of bowing, which are good for students to understand the movements. When it comes to bowing, many viola teachers will teach their students how to change the bow. They will focus on the movements of fingers and wrist. On the purpose of training, it really benefits students. In my opinion, when we are changing the bow, our fingers on the right hand should be flexible, but they should not move. Unnecessary movements should be avoided. Also, I prefer the way of playing the cello when playing the viola, which is to say, the hand position should not change. ![](https://static.lianmuse.com/image/blog/049326ca2e13bb74a8f3870201262cd7.png?v=049326ca2e13bb74a8f3870201262cd7) When we are playing, our arm should not be stretched. There should always be an angle between the upper arm and the forearm, or our arm may be stiff. Some students have bad habits while playing, for example, the movements of their elbow may be unnatural, as shown in the pictures below. ![](https://static.lianmuse.com/image/blog/7d9f499f3ce749a489be3061268b8823.png?v=7d9f499f3ce749a489be3061268b8823) ![](https://static.lianmuse.com/image/blog/0adf3542df77db103bcd13dfc5fade35.png?v=0adf3542df77db103bcd13dfc5fade35) We need to pay attention to the movements of the upper arm while shifting the strings. Also, we should notice the movements of the forearm while changing the bow. We can imagine that the camera lens is a mirror. Then we can use this mirror to check the movements. The bow should be kept straight while playing. When we reach the bow tip, the stick is parallel to the upper arm. ![](https://static.lianmuse.com/image/blog/c59c45e9bee6db91247316a1a9cdf171.png?v=c59c45e9bee6db91247316a1a9cdf171) When we reach the middle of the bow, the stick is still parallel to the upper arm, and the angle between our upper arm and forearm is 90 degrees. ![](https://static.lianmuse.com/image/blog/950adcf1423f4e68b03f679edefd023f.png?v=950adcf1423f4e68b03f679edefd023f) When we reach the frog, the bow tip, our right hand and our elbow should be in a line. ![](https://static.lianmuse.com/image/blog/e7c78197f4f909c7e241093da79dc2bf.png?v=e7c78197f4f909c7e241093da79dc2bf) This is a simple and effective way to check our movements of bowing. Then we can make adjustments. ![](Q & A Session) Audience: What should I do if I cannot bend the little finger on the right hand? Wing Ho: I had a student who has big hands and short little fingers, and his little fingers are crooked. We need to train the fingers and solve the problem. As I mentioned above, we can bend our fingers like scratching an itch. Many problems can be solved if we do train our fingers in this way. Audience: What if my thumb falls off the stick when I hold the bow? Wing Ho: We can see the contact point between our thumb and the bow in the picture below. Our thumb should be placed there. ![](https://static.lianmuse.com/image/blog/cb9071d7482200c431833ab5c0cda8f3.png?v=cb9071d7482200c431833ab5c0cda8f3) If we are using a new bow and feeling pain when placing the thumb on it, we can sand it and round off the sharp corners. # Music Q&A ** Audience: What if I cannot reach the bow tip while playing? ** Wing Ho: There can be various reasons behind the problem. Maybe the bow you use is too long for you. Then you should switch to a shorter one. On the other hand, sometimes it is not necessary to reach the bow tip. Our arm should not be stretched while playing. ** Audience: I am a college student. There are still problems with the movements of my hands. What should I do? ** Wing Ho: Actually, all viola players can try the ways of training the fingers that I introduced today. If we can understand the ways well, many problems can be solved. ** Audience: When we are playing the A string, should we change the contact points between our hand and the viola neck? ** Wing Ho: The instrument is not fixed at the contact points. When we are holding the handrail on the subway, we tend not to hold it firmly. Likewise, our left hand tend to be relaxed while holding the viola. No matter where we place the neck, the index finger should always be placed above the strings. Also, when we hold the bow, I recommend that we place the first knuckles of the fingers on the stick, but the contact points between the fingers and the stick are not fixed. We should know the right hand position while holding the bow. ** Audience: When I hold the viola, the scroll of the instrument is placed low. What should I do to solve the problem? ** Wing Ho: Maybe your viola is too big for you, or you did not hold it in a right way. Our neck should be in contact with the lower bout of the instrument when we hold the viola. ** Audience: Where should I place my left thumb when holding the viola? ** Wing Ho: As I mentioned above, the contact point between the thumb and the neck is above the first knuckle of the thumb. In this way, our thumb can be more flexible when changing the positions. We can train our left thumb by moving it back and forth when holding the instrument. ** Audience: How to select suitable viola bows for children? ** Wing Ho: There are several sizes for viola bows. I will talk about the sizes in detail in next sessions. ** Audience: How to adjust the parts of the viola? ** Wing Ho: You may get help from your viola teacher. Every viola teacher is supposed to know about the adjustment and maintenance of the instrument. The viola bridge is likely to fall out of its place after some time. We are supposed to adjust it regularly. When we adjust the bridge, we can place the viola on the lap, grip the bridge with both hands and put it back in place. Then we can check if it is vertical to the body of the viola. ** Audience: My hands are sore after playing the viola for some time. What should I do to relieve the pain? ** Wing Ho: If our hands are flexible enough, we will not get tired after playing the instrument. But if our hands are stiff, we are likely to get tired easily. When we are playing the viola, our neck, back, shoulders and hands should all be connected to each other. A friend of mine said that the rooms in a castle were interconnected. Our body is like a castle, and the body parts I mentioned above should be connected to each other when playing the viola. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## All About Viola - Viola Teaching Class [**All about Viola 1 ｜ Tips about Enlightenment Teaching of Viola**](https://violy.app/blog/2020/06/All-about-Viola-Master-Class-Tips-about-Enlightenment-Teaching-of-Viola/) [**All about Viola 2 ｜ Basic Teaching of Viola**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Basic-Teaching-of-Viola/) [**All about Viola 3 ｜ Viola Bowing Techniques**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Viola-Bowing-Techniques/) [**All about Viola 4 ｜ Movements of the Left Hand**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Movements-of-the-Left-Hand/) [**All about Viola 5 ｜ Viola Exercises for Beginners**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Exercises-for-Beginners/) [**All about Viola 6 ｜ Common Viola Repertoire Catalog**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Repertoire-Catalog/) [**All about Viola 7-8 ｜ Music Learning and Career Choice**](https://violy.app/blog/2020/10/All-about-Viola-Master-Class-Music-Learning-and-Career-Choice/) ## More Violy Master Class Articles: [**Viola Master Class - Ho Wing**](https://violy.app/blog/2020/04/Viola-Master-Class-HoWing/) [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) [**Violin Master Class - Ling Zi**](https://violy.app/blog/2020/03/Violin-Master-Class-LingZi/) [**Violin Master Class - Gu YingLong**](https://violy.app/blog/2020/06/Violin-Master-Class-GuYingLong/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Three Years in the Making: Intelligent Piano Practice Coaching Is Finally Here - URL: https://violy.app/blog/three-years-in-the-making-intelligent-piano-practice-coaching-is-finally-here - Markdown: https://violy.app/blog/three-years-in-the-making-intelligent-piano-practice-coaching-is-finally-here.md - Published: 2020-07-06 - Categories: Product - Summary: In this July 2020 announcement, the Violy team introduces sound-based piano practice assessment after three years of development, explaining its approach and the technical challenges that remain. > Historical context: This article was originally published in China on July 6, 2020. The features, usage figures, comparisons and invitation below reflect the Violy team's account at that time. ## 1 Most parents who have supervised a child's instrument practice will recognize these experiences: - Learning an instrument feels mysterious: you only find out whether something is wrong with practice when you visit the teacher. - Practice is so difficult to quantify and describe with data that supervising it often leads to arguments with your child. Unlike the established homework and assessment systems for Chinese language, mathematics and foreign languages, instrument learning has long lacked a relatively simple, transparent way to evaluate progress. This is an important reason why **learning an instrument becomes a painful experience for many children and parents**. More and more parents decide that their children should learn an instrument from an early age. At the same time, many parents and children struggle to persevere and give up soon after they start. **The underlying issue** is clear: - Things would be easier if children and parents could assess how practice is going each day at home, promptly identify basic problems and resolve them. But how can parents and children with limited musical knowledge assess practice themselves? **The old approach is to rely on exceptional parents, exceptional teachers and exceptional students.** **There is a new approach: rely on the latest technology and the app in your hand.** In more and more fields, computers are taking over relatively simple, basic tasks that are highly repetitive and involve straightforward logic. In instrument learning, **the most basic problem is wrong notes!** For teachers, detecting them is also a basic, repetitive task. **Computers should take care of this work.** And it should be addressed during practice at home, rather than left for the teacher. ## 2 For the **piano**, quite a few companies were already working to solve the problem described above. At the time, the most common approaches were: 1. Smart pianos. 2. Piano sensor strips: hardware devices placed on conventional pianos to detect key presses. The basic idea behind both approaches is to use hardware to detect key presses and determine whether the performance is correct. Digital pianos can also detect key presses, making it possible to identify performance errors. However, these approaches are relatively costly, especially the first two, which involve additional equipment. Existing solutions depend on hardware, but the bigger problem lies in the software. (We will spare you 20,000 Chinese characters of complaints here.) ## 3 People are increasingly recognizing the importance of software. **"Software changes the world"** is becoming more and more of a reality! The conventional software approach to detecting errors during practice generally works like this: - You practice while looking at a digital score in the app. - Once detection starts, a cursor moves through the score, one note at a time. - You have to play each note at the moment the cursor reaches it, and the score shows whether you played it correctly. In this process, the person practicing is **passively and mechanically "pressing keys"**, rather than playing musical phrases. In our view at the time, most smart instruments and apps designed to make instruments smarter used this software approach. It is relatively simple to implement technically. **This method has some value for beginners, but it is certainly not a lasting, human-centered approach.** A human-centered approach should let learners take the initiative and play, with a practice coach beside them: First, choose the passage to practice. - The student practices and performs as usual, reading their own paper score. - After the practice session, the coach comments and explains where the mistakes were, so they can be corrected promptly. **Good software should provide "intelligent practice coaching" like that coach: the app should follow the person, rather than make the person follow the machine.** ## 4 Three years before this article, Violy had introduced intelligent practice coaching for the violin, which we described as a world first. Shortly before this announcement, we had also rolled out support for viola, cello, clarinet, flute and digital piano. As the parent of a young musician with Violy on your phone, imagine this scenario: - You find the score in the app and select a passage to practice. - Your child reads their usual paper score and practices as they normally would. - In the app, you can see exactly where they are in the performance: which measure and which note. - The moment your child finishes the piece, the app gives you a score for the performance and shows the mistakes: missed or wrong notes, and notes played too early or too late. Notice what happens? Your child plays normally throughout, while you can understand their performance at a glance. When you identify a problem, you can discuss it with your child promptly and ask the teacher how to improve. With the app's help, parents become **able to assess how practice is going**. In other words, instrument practice becomes more like Chinese language, mathematics and foreign-language study: it can be **better quantified, represented through data and made transparent**. By the time of this article, Violy's intelligent practice coaching had been widely welcomed by parents and teachers. **We reported hundreds of thousands of registered users and more than 100,000 assessment records generated each day.** We also reported receiving recognition and encouragement from many experts in the field: - Ding Zhinuo, violin educator at the Shanghai Conservatory of Music. - Wing Ho, professor of viola at the Central Conservatory of Music. - Gu Yinglong, violin educator. - Shao Guanglu, violin educator. - Huang Jun, young violinist. - Huang Futang, violin educator in Taiwan. There is another key reason so many people used Violy's software-based assessment: - It requires no additional hardware: you simply install the app on your phone. - In other words, detection and analysis are based entirely on the recording captured by the phone's microphone. - Downloading and installing the software is enough to try it, keeping the barrier to entry low. ## 5 But sticking to this software-only approach for the piano is difficult: **the sound of a piano is too complex!** We started intelligent practice coaching with the violin because **its sound is relatively "simple"**—though beautiful. Three years earlier, we had already begun preparing for this day: intelligent piano assessment. We first built up our technology using instruments with relatively simple sounds. Now we had reached that point and finally completed an initial version of piano assessment. **We worked for three years to reach this day!** ## 6 Dr. Wey also summarized the challenges of assessing piano performance through sound. This part is rather technical, so feel free to skip it. 1. Accurately identifying the pitch of every note when several notes are played simultaneously At any given moment, there are often many notes sounding at once. These include both the notes being played at that moment and the sustained sounds of notes played earlier. An extreme example is both hands playing chords—pressing eight keys simultaneously—while earlier notes continue to sound because the sustain pedal is held down. ![Spectrogram of an excerpt from a performance of Rachmaninoff's Prelude in G minor. At every moment, components at different frequencies overlap and intertwine in the audio signal, with substantial reverberation as well.](https://static.lianmuse.com/image/blog/b016a105811ec48ecd3ca7beab9f4e2a.png) 2. Maintaining robust polyphonic note recognition across the wide range of tunings and timbres encountered among users In Dr. Wey's account, string players generally tune their instruments before each practice session, whereas most piano users have their pianos tuned only every six months or longer. Some have not had them tuned for years and pay little attention to routine maintenance. As a result, each user's piano has different tuning characteristics. The degree of deviation varies from note to note on a single piano; even the two or three strings for one note can differ in pitch. Timbre also varies enormously between pianos. 3. Keeping the performance-following cursor stable A cursor that follows the performance is one of our distinctive features. The piano's wide pitch range, the rich combinations of notes, the flexibility of performance and the complex, varied ways users play all make stable, reliable, real-time cursor following more difficult. 4. Keeping assessment results consistent across many different devices Microphones on users' devices have different frequency responses, and manufacturers apply different amounts of noise suppression to microphone recordings. Noise-reduction algorithms can weaken piano reverberation, suppress sustained sounds and distort some components of the audio. Different manufacturers use different algorithms; some apply noise reduction and others do not. Microphone hardware characteristics and noise-reduction algorithms mean that the audio signals we receive vary enormously. ## 7 After all the effort we put into intelligent piano assessment, how well did it work? Our assessment at the time was: 1. It was usable at a basic level. 2. We considered it the best implementation available. 3. There was still considerable room for improvement. We needed to keep working and take on another three years of development. We will not elaborate on that assessment in this article. **At the time, we warmly invited everyone to try it!** --- # All about Viola | Tips about Enlightenment Teaching of Viola ｜ Wing-Ho Viola Teaching Class Part 1 - URL: https://violy.app/blog/all-about-viola-tips-about-enlightenment-teaching-of-viola-wing-ho-viola-teaching-class-part-1 - Markdown: https://violy.app/blog/all-about-viola-tips-about-enlightenment-teaching-of-viola-wing-ho-viola-teaching-class-part-1.md - Published: 2020-06-18 - Summary: Wing Ho is a professor of viola in Central Conservatory of Music (CCOM). To set an overall goal of t # First Class: Tips about Enlightenment Teaching of Viola Wing Ho is a professor of viola in Central Conservatory of Music (CCOM). To set an overall goal of teaching for all viola teachers, he will give a series of Violy master classes focusing on viola teaching. There will be eight parts in total. In the first four parts, he will talk about issues related to basic teaching of viola. ![](https://static.lianmuse.com/image/blog/c5ad1331e340ed18e3623e77b18c9708.png?v=c5ad1331e340ed18e3623e77b18c9708) Content of Wing Ho's lecture is as follows (edited in first person): Dear teachers and friends, good evening. I am very honored to be here and share my views on viola teaching, which is concerned by all of us. In this Violy master class, we can discuss why not the enlightenment teaching of viola has developed well. Actually, I used to play the violin and switched to viola later. Violin was my undergraduate major and I was the concertmaster in the college orchestra. But I switched to viola for my master's degree simply because I loved the instrument. **It is very important to choose a suitable instrument.** Let's start the lecture and talk about elements related to enlightenment teaching of viola. # Does Viola Playing Require Special Physiological Conditions? Just like basketball players, those who are tall with sharp minds and flexible limbs are definitely suitable for playing the viola. But in fact, most world-famous violists are not tall, and most of them are female. Those who play the viola professionally are used to customizing their own instruments. The length range of the body is 405–420 mm, which is the most commonly used. Of course, the bigger the viola, the louder and deeper the sound. Selecting suitable instruments according to the players' body build is the most important. **Some parents may let their children play on a bigger viola first and adapt to it gradually, which is very inadvisable.** Children are likely to get tired from playing on bigger instruments, have incorrect postures, and have a pain in the neck or even ache all over. **In my opinion, viola playing does not require special physiological conditions.** The most suitable physiological conditions are: · Higher height; · Longer arms and bigger hands; · Longer little fingers will be even better. But children with smaller hands, especially those whose little fingers are shorter, can also meet technical standards after being specially trained. # Viola Sight Reading There are two types of sight reading: · For those who switch to viola from violin; · For those who start to learn viola from scratch. Four open strings of violin are “GDAE”, while that of viola are “CGDA”. **The most effective method to memorize the fingering is to combine positions of notes in the staff and the corresponding fingering together.** Students are supposed to train themselves in this way from the beginning. Find the positions of notes in the staff and the pitch names in the following picture: ![](https://static.lianmuse.com/image/blog/609aa62446d4fa61fd5473d288423ab7.png?v=609aa62446d4fa61fd5473d288423ab7) We can ask students to start from easy etudes and mark more fingering on the sheet music first. Then we should let them reduce the number of marks and gradually develop the habit of music reading. For example, as long as they can do the sight reading of Wohlfahrt's *Etude №1* completely, they can move on to *Etude №2*. After being able to do the sight reading of ten or more etudes, they are likely to form the habit of reading music. Children have a good memory, but are not willing to read music at the beginning. Therefore, some students may memorize the whole sheet music after practicing for several times. When they are playing in viola lessons, they seem to look at the sheet music, but in fact, they are just doing the "recite-playing". When the viola teacher tells them that there are wrong notes, they cannot even find where the wrong notes are. # The Requirements of Music Reading Once students start to learn viola, they are supposed to understand the meaning of all marking on the sheet music and form the habit of reading music as soon as possible. The habit of reading music plays *a foundational role* in enhancing the ability of sight reading, improving the accuracy of playing, and playing professionally in the future. # Start to Learn Viola from the Scratch In fact, for me, the viola teaching in Western countries is worth learning. Currently, my country has already had the condition to learn from other countries. The optimal choice is learning viola from the beginning, which can avoid the mental imbalance of switching from violin to viola. **I strongly recommend students learn viola from the scratch.** First of all, we should make sure to **select viola of the right size for children**. I would like to share my own methods here. The measurement of size of viola is different from that of violin. Violin sizes are measured as 3/4, 1/2, 1/4, 1/8 and 1/16, while viola sizes are calculated by inch, such as 11, 12, 13, 14, 15 and 16 inches. However, even though we use this method, we cannot accurately calculate the exact size of viola for children of different build. Later I will introduce a simple measuring method, which can help viola teachers select suitable small-sized violas for students. **Picking viola strings for small-sized violas is another significant step.** It also greatly affects the popularization of viola in China. Viola strings for adults cannot produce sound on small-sized violas, because small instruments do not have enough tension. If we use violin strings on small violas and replace the G string with C string of viola, we cannot play the instrument well, because the tension does not match. Currently, we have already developed viola strings for small-sized violas using high-tech measures. The strings have been used for over eight years on the market, which are mature products and can completely meet the demands of children who use small-sized violas. As consumables, strings need to be changed after being used for some time, even though they are not broken then. Since strings are likely to produce muffled sound, go out of tune or even become unresponsive after being used for a long time, we should always prepare a set of spare strings. # Sounding Point The contact position of bow hair on viola strings is a little lower than that on violin strings, which is mainly to increase the natural weight. The distance between the viola bow and the bridge is supposed to be closer than that between the violin bow and the bridge. There are five contact positions of bow hair on viola strings between the fingerboard and the bridge, among which the optimal ones are the third and the fourth contact positions. ![](https://static.lianmuse.com/image/blog/3b693aecfd92405b0e296e18cc64ca2b.png?v=3b693aecfd92405b0e296e18cc64ca2b) # Suggested Viola Books for Viola Beginners There are a variety of books for viola beginners and most of them are in foreign languages. First, I would like to introduce Tutorial of Advanced Viola Training edited by Shanghai Conservatory of Music (SHCM). In my opinion, this set of books is comprehensive with additional etudes and other pieces. There is also another set of high-quality viola books edited by SHCM, which is called Tutorial of Basic Viola Training. ![](https://static.lianmuse.com/image/blog/97ed174367dc9b533e456bf06741b3e1.png?v=97ed174367dc9b533e456bf06741b3e1) As for foreign viola books, the most popular set of books is *Suzuki Viola School*. The author paid much attention to the selection of pieces. There are warm-up exercises for each piece. I think the teaching effect of this handy set of books will be better if some traditional etudes are included. ![](https://static.lianmuse.com/image/blog/a6355d54ce0d86a034b6398f4c5b316e.png?v=a6355d54ce0d86a034b6398f4c5b316e) Another set of viola books I would like to recommend is **The Sassmannshaus Tradition: Early Start on the Viola**. It contains a variety of pieces with illustrations. The sheet music is exquisite. ![](https://static.lianmuse.com/image/blog/18a3c0784a94917c695f3ae5148f2126.png?v=18a3c0784a94917c695f3ae5148f2126) Also, for groups like junior orchestras in school, they use tutorials of learning string instruments from scratch for group teaching. Many teachers misunderstand that textbooks of grading test are training tutorials. Here I do not make comments on grading tests, but I think **textbooks of grading test cannot be used as systematic learning tutorials**. I recommend teachers use **western music for enlightenment teaching** instead of Chinese folk songs, because Chinese songs contain a great number of glissandi and notes producing unsteady sounds, which can impact on students' learning in the future. # Questions Related to Small-sized Violas Now I would like to introduce the measuring method I mentioned above in detail. In my opinion, *children must have instruments of suitable sizes in all stages of music learning*, which can improve the comfortableness and help them give full play to their performing skills in all stages. Small-sized violas have ten sizes in total: from 400 mm, the smallest size, to 620 mm. A difference of 20 mm exists between every two adjacent sizes. All students of three to fourteen years old can find suitable sizes for themselves. The measuring method is as follows: ![](https://static.lianmuse.com/image/blog/0574886e202905ec3c10156ffb93b479.png?v=0574886e202905ec3c10156ffb93b479) The length range of violas of all sizes is as follows: ![](https://static.lianmuse.com/image/blog/32e6aed181cb09a9bcb161852db3f03e.png?v=32e6aed181cb09a9bcb161852db3f03e) How do we confirm whether the size of viola is suitable or not? Let's have a look at the picture below: ![](https://static.lianmuse.com/image/blog/00c910f487f67bfc0b8b4a5e1649506e.png?v=00c910f487f67bfc0b8b4a5e1649506e) # Solfege, Music Theory and Rhythm Training Solfege, music theory and rhythm should be learned in the meanwhile. It is better if students can lay a good foundation for viola learning in advance. In the beginning stage, teachers can introduce basic music theory and rhythm training into the teaching during viola lessons. Students should be trained to learn solfege by professional teachers. The process can be long and slow, so teachers are not supposed to push their students too hard. Actually, **every time when students enter a different stage, the auditory function of their ears will improve in some degree**. This step is vital for every young learner. # Solve the Problems Related to Viola Teachers Violin teachers who teach viola at the same time should recognize the similarities and differences between violin playing and viola playing. They are supposed to know more about literature on viola, have a rich repertoire and understand how to select suitable etudes and other pieces for students. Besides, viola teachers should be clear about how to choose instruments of right sizes for students. Also, teachers are supposed to know more about the adjustment and maintenance of the instrument, such as tuning and adjusting the angle of the sound-post and the bridge. What's more, during viola lessons, viola teachers should communicate well with both students and their parents verbally and mentally. They can make friends with students but are supposed to know their positions as teachers. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## All About Viola - Viola Teaching Class [**All about Viola 1 ｜ Tips about Enlightenment Teaching of Viola**](https://violy.app/blog/2020/06/All-about-Viola-Master-Class-Tips-about-Enlightenment-Teaching-of-Viola/) [**All about Viola 2 ｜ Basic Teaching of Viola**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Basic-Teaching-of-Viola/) [**All about Viola 3 ｜ Viola Bowing Techniques**](https://violy.app/blog/2020/07/All-about-Viola-Master-Class-Viola-Bowing-Techniques/) [**All about Viola 4 ｜ Movements of the Left Hand**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Movements-of-the-Left-Hand/) [**All about Viola 5 ｜ Viola Exercises for Beginners**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Exercises-for-Beginners/) [**All about Viola 6 ｜ Common Viola Repertoire Catalog**](https://violy.app/blog/2020/09/All-about-Viola-Master-Class-Viola-Repertoire-Catalog/) [**All about Viola 7-8 ｜ Music Learning and Career Choice**](https://violy.app/blog/2020/10/All-about-Viola-Master-Class-Music-Learning-and-Career-Choice/) ## More Violy Master Class Articles: [**Viola Master Class - Ho Wing**](https://violy.app/blog/2020/04/Viola-Master-Class-HoWing/) [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) [**Violin Master Class - Ling Zi**](https://violy.app/blog/2020/03/Violin-Master-Class-LingZi/) [**Violin Master Class - Gu YingLong**](https://violy.app/blog/2020/06/Violin-Master-Class-GuYingLong/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violy Master Class of Violin | Gu Yinglong - URL: https://violy.app/blog/violy-master-class-of-violin-gu-yinglong - Markdown: https://violy.app/blog/violy-master-class-of-violin-gu-yinglong.md - Published: 2020-06-02 - Summary: Gu Yinglong is a famous violin educator. In this Violy master class, he shared some tips about how t # Improve the Efficiency of Violin Practice Gu Yinglong is a famous violin educator. In this Violy master class, he shared some tips about how to practice violin correctly and efficiently. ![](https://static.lianmuse.com/image/blog/02ea33dcfabf0fc85fc51e37f5167ed4.png?v=02ea33dcfabf0fc85fc51e37f5167ed4) Content of Gu Yinglong's lecture is as follows (edited in first person): Young learners, teachers and parents, good evening! I am very glad to be here and talk about the art of violin. Tonigh, **my topic is "how to improve the efficiency of violin practice"**. I think the key points are normative hand positions, accuracy and methods. Let's start from the hand positions. # Improve Your Intonation by Correcting the Left Hand Position When it comes to the left hand position, students are most likely to have wrong thumb positions when holding the violin. Some students hold the neck tightly, and their thumb is stretched. Actually, there is space between your left thumb and index finger when you are holding the neck. The contact position of your thumb on the fingerboard should be slightly tilted, so your thumb is naturally placed on the neck. Besides, wrong position of left little finger is another problem which is most likely to arise among students. It is not a good habit to hook up your little finger or put it beneath the fingerboard while playing. Our little finger should be relaxed and placed above the fingerboard. Like Professor Lin Yaoji said, the four fingers should be in a line. Our left hand should open up and all the fingers should be placed above the fingerboard getting prepared to play, like an open umbrella. Actually, we need to press the strings with our finger tips. If we press a little harder, we can see the marks on our finger tips. Therefore, our index finger should tilt a little bit, with the first knuckle being placed on the neck. All fingers on our left hand should keep in the motion of knocking instead of being placed vertically on the fingerboard. Only in this way can we improve our intonation comfortably and conveniently with normative hand positions. ## Why Do We Have Poor Intonation? In my opinion, it is because some students do not pay attention to their playing and some teachers ignore the fact as well. I would like to give an example here: Once I met a student who played skillfully. He marked the fingering with a pencil on the sheet music. So I asked him: "Your intonation is not good. How long have you been learning the violin?" He said: "I've been learning for three years." I answered: "Then you should have good intonation, but why are you still struggling with it? What are you looking at during playing? The fingering or the sheet music?" He said: "The fingering." Did this happen to other teachers? If you see a student whose sheet music is filled with pencil marks of fingering, you are supposed to erase those marks for him or her. Here are other interesting examples: Many students apply wide tapes on the fingerboard to mark positions. I met quite a few students who play skillfully but have poor intonation. It turned out that most of them look at the tapes while playing. The tapes are supposed to be used by violin beginners in the first three months. Later, students should be able to listen to their playing instead of relying on the tapes. Students need to master two things in advance: the correct finger position and the right feeling of pitch. I suggest learners not apply tapes but use correction pen to dot the positions (as shown below), and after three months, these dots should only be seen by the students' parents. If learners get used to the marks, they will not listen to their playing carefully, and their intonation will never be improved. ![](https://static.lianmuse.com/image/blog/590e8dd57f569e210a328fec1e352000.png?v=590e8dd57f569e210a328fec1e352000) It is even more strange that some students play well but cannot tell at once what the pitch is when I point at a note on the sheet music. They need to read the whole piece again, and only then can they tell me the pitch. These students have learned the violin for years and play skillfully, but they are not able to read music well. They memorize the sheet music without understanding what they play, just like some people memorize what they read mechanically but do not know the meaning of the words. Therefore, **teachers need to notice the fact that some students never think during playing. They are supposed to help the learners avoid that.** What's more, some students try to find the right finger positions one by one when playing the violin. It is not right. All our fingers should get prepared before pressing the strings. Then, we need to pay attention to the "independence" of fingers during the process of practicing slowly. ## What Is the "Independence" of Fingers? **The "independence" of fingers means the fingers should be isolated from one another**. My daughter Gu Wenlei went to Beijing to learn from Professor Lin Yaoji at the age of eight. Professor Lin asked her to practice Kreutzer's Etude №9 slowly for six months, which was to help her understand the "independence" of fingers and grasp the skill. I would like to emphasize that our fingers should not move randomly. The "independence" of fingers is very important in the art of violin. No matter which etude we are working on, we are supposed to avoid moving fingers randomly. All our fingers should get prepared and be "independent". Meanwhile, no matter which finger position we are playing on, the first finger should always stay there, which is also important. Besides, intonation is a "one-off deal", which means once you start playing, it is already decided. Therefore, we need to think while playing. Some learners tend to play fast in daily practice. As a result, they neglect the intonation. I would like to tell all students that **practicing slowly is a "secret weapon"**. Only practicing slowly can help you make progress. Also, we need to pay attention to our intonation, which means we should find **the right pitch using eyes, mind and fingers**, and then we should keep the whole system in the mind. Professor Lin said: **Practicing the violin is like training the mind**. ## What Is the Best Practicing Method and What Is the Worst? In my opinion, the worst practicing method is playing a piece to the end time after time; while the best method is to **select the difficult parts of the sheet music, practice them slowly and constantly check the intonation by playing the open strings**. ![](https://static.lianmuse.com/image/blog/c752153b05637b61141150a475049080.png?v=c752153b05637b61141150a475049080) # The Basic Skills of the Right Hand Now let's talk about the right hand. Students are also most likely to have wrong positions of right thumb and little finger. When they hold the bow, their right thumb tends to be stretched and tense. It is wrong. Our right thumb should touch both the frog and the stick. As for the little finger, students especially beginners should make sure that their right little finger is placed on the stick naturally instead of being straightened. Also, the index finger should be put on the stick gently. I would like to give some advice to all learners. When you are playing the violin, **the back of your right hand should keep flat, your palm should move outwards, and your forearm should be leading the move**. Regardless of bow changing, string shifting or position changing, we should always keep in mind that the small movements are driven by the bigger ones. **During practicing, there are three things we need to pay attention to:** When we are shifting the strings, we should do it gradually instead of changing suddenly. Other people who listen to your playing should not notice the changing. When we are **changing the positions**, we should do it **gently and slowly**. Other people are not supposed to notice what you are doing. When we are **changing the bow**, we should do it **naturally** instead of making squeaky sounds. Apart from what I mentioned above, we should also pay attention to the strength. First, we need to hold the bow with right strength. Second, we should put the violin on the shoulder gently. Third, left hand fingers should be placed on the fingerboard softly, and the left thumb should be put on the neck naturally. **Also, the movements of our right hand should be "flat, steady and straight".** Like Professor Lin said, the movements of the right hand should be "flat, steady and straight". "flat" refers to the four planes of four strings, and the three planes of two strings and the bow hair when we play double stops. The sound we produce on the violin can be beautiful if our right hand is relaxed while playing. When we are shifting the strings and changing the bow, we should know that the small movements are driven by bigger ones. The etudes we play are written for practice of different techniques, such as détaché, staccato and string shifting. Now I take Kreutzer's Etude №13 for an example and demonstrate the movements of string shifting. When we are about to shift the strings, we move our upper arm first, then we move the forearm. The movements are continuous. We should practice slowly and relax our shoulder and the whole arm, imagining that a drop of water flows from the shoulder to the fingers. {% raw %}
{% endraw %} ## The Practice of Détaché How can we practice détaché well? We need to "hang" the bow on the strings and put on the weight of the right arm and the bow. There are two things we need to do when playing détaché: **"hanging" and "dragging"**. "dragging" means that we are supposed to use the whole bow instead of a few parts. Technically, we play with our forearm when using the upper half of the bow; when we use the lower half, we play with our upper arm. We should pay attention to the movements of our wrist when playing in the middle of the bow. The wrist should not be stiff. During playing, we should keep the seven planes I mentioned above in mind. ## The Coordination of Our Left Hand and Right Hand All fingers on our left hand should get prepared in advance so that we can find the right pitches at once. During my playing, I adjust the movements of my whole left hand in time without moving my fingers randomly. Why do I do this way? Because when we are shifting the strings, our fingers may be placed vertically on the fingerboard. Adjusting the movements of the whole hand can help us avoid wrong finger positions. Besides, when it comes to bowing, we should follow Professor Lin's advice: flat, steady and straight. "flat" refers to the planes I mentioned above. "steady" means the sound we produce should be steady. "straight" means the bow should be kept straight while playing. In other words, the bow should not be slanted or flipped. During playing, the bow should be placed on the strings stably. When we are playing chords, our shoulder needs to be relaxed and the bow should have a "soft landing" on the strings. In a word, **being relaxed and thinking** while playing are the most important things we need to keep in mind. ## Staccato Explosiveness is crucial to the playing of staccato. Explosiveness consists of 90% relief and 10% tension. My friend, Professor Liu Dahan from Xinghai Conservatory of Music, told me that the playing of staccato requires three movements: pressing, playing and releasing. Professor Liu's words do make sense. When we are playing staccato, we press the strings and use the bow, then we need to let the bow glide as soon as the sound is produced. ## Trill How can we play trill fast? There is only one way: keeping the finger pressed on the string relaxed. # Q & A Session Violy team: Many students find that their movements are unnatural or stiff while playing vibrato. How can we practice vibrato? Gu Yinglong: Vibrato is an important violin technique. Currently, many students including those from music conservatories have trouble dealing with the skill. Last year, I attended the annual conference of Guangdong Violin Education Society and discussed the styles of vibrato with other teachers. Which style should we choose, finger vibrato, arm vibrato or wrist vibrato? Here I would like to make it clear that ways of vibrato playing are changing. We need to combine all three styles. Professor Lin Yaoji said: the breeze stirs the leaves, the wind moves the branches, the gale sways the trunk. The styles of vibrato change according to the dynamics in sheet music. Our fingers should move in a "parallel" way instead of applying strength to the fingerboard. The godmother of violin, Professor DeLay from Julliard School asked her students to set the metronome at 60 BPM and practice vibrato on the fourth position by moving the finger up and down. I have my own method, which is taught by my violin teacher Tang Long. This method fits every violin player. Here are the movements: First, put the violin on the shoulder without placing your chin on the chin rest. Then, move your first finger from the first position to the highest position. You can speed up during the process and make the movements smaller. Next, return to the third position and move your finger up and down continuously. Likewise, you can speed up and make the movements smaller. Finally, place your chin on the chin rest, play a long note and listen to your playing. You can practice vibrato in the way I provided twice a day. Practice it for three minutes each time and continue to do it for three months. Then you can master the skill. {% raw %}
{% endraw %} We call the method "cod-liver oil practice". If we take 2 capsules of cod-liver oil each day and continue to do it for a month, our health condition will be better. Likewise, if we continue to do this "cod-liver oil practice" for three months, we can play vibrato well. In addition, I would like to re-emphasize that smaller movements are driven by bigger ones when we shift the strings and change positions. What's more, our fingers should get prepared before playing. We are supposed to keep in mind that our left hand needs to get prepared before the right hand does, and our mind needs to get prepared before the hands do. Violy team: How can we play music beautifully and express the musicality? Gu Yinglong: It is all about the expression of music. We should make it clear to students that **all the techniques serve music**. When we are playing music, we should visualize a scene. For example, I played Fishing Boat in the Sunset just now. During playing, I visualized the scene that I was standing on the Yellow Crane Tower, looking at the Yangtze River and thinking of my departed friends. Then I brought the feelings into the prelude of the piece. All the etudes and other pieces contain emotions. G string has a deep sound, while E string has a vibrant sound. There are also markings of dynamics on the sheet music. Like Professor Lin said, **when we see the markings of forte and piano, we should do our utmost to express the emotions behind**. We need to express the emotions of each piece correctly. I held a special concert celebrating my 80th birthday in Guangzhou Xinghai Concert Hall on December 19th, 2019. I intended to play Butterfly Lovers with orchestra in my concert. Before that I practiced at home but found that every time when I played the cadenza, I was not satisfied with my playing. Then I asked my wife: "why can't I get satisfying playing of the cadenza?" My wife said: " Because you only focus on skills during playing but ignore the music itself! The cadenza is like a colorful painting. You can see the beautiful scenery after playing it with emotions." Later, I found that I can play the cadenza well every time. Many students have a shortcoming that they never play with emotions. We should ask them to do the sight-singing before playing and put emotions into it. **Imagination is the impetus of music**. As for the definition of musical emotion, it can be explained by an example. Once a virtuoso was playing Xiao Song's Poem, his student asked what the piece expresses. The virtuoso said the work expresses "love" from beginning to end. Love is an eternal theme, whose opposite is hatred. We should present the most beautiful music to the audience. Violy team: Some students express the musicality well at home, but when they are on stage, they are not able to do it. How can we solve this problem? Gu Yinglong: This is a good question. Why can't students express the musicality well on stage? **Because they are distracted by other thoughts**, such as worrying about making mistakes or playing out of tune. When we are on stage, we are supposed to drop all these thoughts and focus on music only. We should have a positive attitude and hold the view that we need to present the best music to our audience. My daughter Gu Wenlei told me that **when we are on stage, we should have three things: aura, vigor and temperament**. At the end of this lecture, I want to tell all students, parents and teachers: a famous music educator said that **if there is no enthusiasm or excitement, there will be no music**. If there are scenes in our mind, there will be music. Audience: How to solve the problem of "breathing" during playing? Gu Yinglong: The breathing between phrases is very important! I remember that when my sister Professor Gu Xiaomei took her first violin lesson in the United States, her violin teacher was talking about the breathing. Breathing exists between phrases and even rests, which is to arouse the emotions. We should keep in mind that **where there is breathing, there will be emotions**. Audience: How to find the direction during the process of practicing spiccato? Gu Yinglong: There are various kinds of spiccato. Generally speaking, our right hand should be relaxed while playing spiccato. We should find the bounce point and balance point of the bow. Some violin teachers ask students to find "the point of weightlessness" of the bow while practicing slowly, which is a high requirement. When we are playing spiccato, we should keep the bow hair flat and place it close to the bridge. Audience: When it comes to rhythm, what should we pay attention to while practicing? Gu Yinglong: Rhythm is significant. **Parents and teachers should urge the students to use metronome frequently**! During practicing, it is important for students to find the right beats, so they are able to know if their playing is on the beat or not. What's more, violin teachers should pay much attention to shorter beats and always keep shorter beats in mind. For example, the rhythm of violin concertos composed by Mendelssohn and Lalo is difficult to grasp. If we do not have shorter beats in mind, we cannot play the pieces well. Audience: Many children never practice on their own initiative. How to solve this problem? Gu Yinglong: **Sometimes parents are to blame, because their children have no idea about the benefits of violin learning**. The violin is one of the most precious gifts that parents give to children. I used to teach the child of Mr. Huang, the vice president of Sun Yat-Sen University. The child learned violin for one year. He was not willing to continue his learning when he was in the first grade of primary school. After entering the college, he found that there are orchestras in every university, which made him feel envious. Then he asked his father: "Why didn't you make me continue learning?" His father said: "You said you were not willing to learn." Later, the child got angry and said: "**I was young and naive at that moment, but you should not have let me give up**." I can tell you that there are tens of thousands of benefits of violin learning, but in my opinion, the most important one is "happiness". Once you start to learn violin, the happiness will be with you all the time. I must tell you that as long as you learn violin, you are likely to be respected by others. People will think that you are a person with high quality, good taste and high accomplishment. Children may be too young to understand what the benefits are, but parents are supposed to tell them. Of course learning violin is a tough journey. Parents need to comfort and encourage children during the process of learning. Also, parents should take children to more concerts. I know a father whose child learns double bass and plays well in orchestra. But one day the father asked the child to stop learning. The father said that unless his son could get the first place in the school exam, he cannot continue learning. Exam-oriented education does great harm to children. Even parents have no idea what counts more. I would like to tell you that happiness is the most important benefit. Learning the violin brings a lifetime of happiness to children. Thanks for Mr. Gu's brilliant sharing! Please stay tuned for the next Violy master class. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violy Master Class Articles: ## [**Viola Master Class - Ho Wing**](https://violy.app/blog/2020/04/Viola-Master-Class-HoWing/) [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) [**Violin Master Class - Ling Zi**](https://violy.app/blog/2020/03/Violin-Master-Class-LingZi/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # 5 Tips on How to Play Vibrato on String Instruments - URL: https://violy.app/blog/5-tips-on-how-to-play-vibrato-on-string-instruments - Markdown: https://violy.app/blog/5-tips-on-how-to-play-vibrato-on-string-instruments.md - Published: 2020-05-12 - Summary: Many string instrument players find it difficult to grasp vibrato, one of the most important techniq # How to Play Vibrato? Many string instrument players find it difficult to grasp vibrato, one of the most important techniques. For violin beginners, learning to play vibrato is a key step. Those who master this skill can make their playing more expressive. In this article, we will introduce the tips you need to know about playing vibrato. # An Introduction of Vibrato on String Instruments Vibrato is a musical effect consisting of a regular change of pitch. It is used to add expression to instrumental music. Vibrato is typically characterized in terms of two factors: the amount of pitch variation ("extent of vibrato") and the speed with which the pitch is varied ("rate of vibrato"). Here are viola professor Wing Ho's demonstrations of not doing vibrato and doing vibrato. We can see the differences. **No vibrato demonstration** {% raw %}
{% endraw %} **Vibrato demonstration** {% raw %}
{% endraw %} Players tend to wobble the finger which stops the string on the fingerboard when producing vibrato, or move the finger up and down for a wider vibrato. # Styles of Vibrato on Violin There are three styles of vibrato on violin. ## 1. Wrist Vibrato Using the wrist only, this style of vibrato is usually fast but shallow. It allows the violin player to produce intense sound, and it is useful when playing a faster and more lively song. Wrist vibrato adds color and charm. ## 2. Arm Vibrato Using the arm only, this style of vibrato is slower and broader. To achieve this method, players use arm movements, and keep their fingers stabilized in place. Arm vibrato is perfect for slow, sad and heart-wrenching pieces. It adds depth and emotion. ## 3. A Combination of Arm and Wrist Most players use a combination of both styles. Advanced violinists are very efficient at using both their arms and wrists to achieve optimal vibrato. Depending on the piece, emotion and intensity, professional violinists combine the two styles effectively when playing. ![](https://static.lianmuse.com/image/blog/26164f9fbefc84861785fecffb5549fa.png?v=26164f9fbefc84861785fecffb5549fa) # Violin Teachers' Tips of Playing Vibrato ## 1. Make sure your left hand, wrist, and arm are completely relaxed. To start practicing vibrato on violin, you can try to move your hand and arm all the way up the violin neck slowly, then towards the body of the violin, and later, back down towards the scroll. This exercise can be done in two ways:  1). Keep a finger on the string without pushing the string down;  2). Relax your hand slightly above the string with no finger contact. Add the bow while you keep moving your arm up and down. Your vibrato on violin may not sound pleasant at first, but it will get improved if you keep doing the exercise above. ## 2. Start with one finger and then move to other fingers. Put your second finger on the string and use your wrist to make broad, slow, and relaxed movements back and forth with your hand. Keep the arm stable. Make sure your hand only moves backwards (towards the scroll) and returns to original position. This exercise should be completed every day without the bow. You need to practice using all four fingers and all four strings later. Typically, the second and third fingers are the easiest ones, while the first and the fourth are more difficult. Violin students should spend a couple of minutes every day on this exercise and continue to do it for several weeks before adding any other vibrato skills. What should be paid attention to is that **vibrato movements never move forward on violin**. Therefore, do not let your finger roll past the original point of the note. This is for intonation purposes. To make sure your wrist and arm stay in a good position, your wrist should not be collapsing towards the neck of the violin. It should remain stable during this exercise, and in line with your arm. This may take time to learn and conquer. If you are having difficulty, try to visualize that a string is attached to the knuckles on the back of your left hand, and then pull straight towards your scroll. ## 3. Add violin bow and change bow smoothly. Now you can add the violin bow while doing the exercises above. Try to change bow and play some notes at the same time. Keep up the good work and take it slow. You will get it soon. ## 4. Practice slow scales and easy pieces. When you are comfortable doing the exercises, the next step will be practicing the vibrato skills by playing slow scales, followed by a slow and easy piece or two. When you reach this stage, you can begin with songs that are not too difficult. In this way, you can focus on vibrato, rather than finding the right notes, producing good sound, or bowing correctly. ## 5. Don't give up. If you are having a hard time, go back to basics and start to play slowly again. Keep vibrato relaxed. Do not try to achieve the intense vibrato of the professionals until you have relaxed and controlled movements. Add speed to your vibrato gradually and with time, you will have a rich vibrato that adds color and depth to your playing. ![](https://static.lianmuse.com/image/blog/80158d1ac149609c410d57db388798e3.png?v=80158d1ac149609c410d57db388798e3) # Violin Beginners: Are We Ready for Vibrato? Many violin beginners are eager to jump into the vibrato technique. However, it is important that you are ready for this "big undertaking". One should develop a full tone before learning to play vibrato, as this will ensure that you sound the best. You should also have a solid understanding of positions. Besides, your wrist and arm need to have good forms, as this technique can be very strenuous on the muscles. If you can confidently check all these boxes, you are ready to learn the technique. Just remember to be patient with yourself. Don't push yourself too hard. Progress may be slow at first, but with practice, you will reach your goal. You can work closely with your violin teacher to come up with more exercises helping you master this skill. Also, we hope the tips provided above can help you get improved soon. Visit [Violy.app](http://violy.app/) for more~ Questions? Contact us at [Facebook Page](https://www.facebook.com/ViolyPractice/) / [Instagram](https://www.instagram.com/violy.practice/) / [WhatsApp](https://api.whatsapp.com/send?phone=+8613127960147) , or email us at Support@Violy.app # Have a HAPPY practice!! {% raw %}
{% endraw %} ## More Violy Master Class Articles: ## [**Viola Master Class - Wing Ho**](https://violy.app/blog/2020/04/Viola-Master-Class-HoWing/) [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) [**Violin Master Class - Ling Zi**](https://violy.app/blog/2020/03/Violin-Master-Class-LingZi/) Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) Feel free to contact us at Support@Violy.app ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violy Master Class of Viola | Ho Wing - URL: https://violy.app/blog/violy-master-class-of-viola-ho-wing - Markdown: https://violy.app/blog/violy-master-class-of-viola-ho-wing.md - Published: 2020-04-22 - Summary: Wing Ho is a professor of viola in Central Conservatory of Music (CCOM). In this Violy master class, # 3 Master Tips for Viola Players: Practicing Efficiency, Sight Reading, Musicality Wing Ho is a professor of viola in Central Conservatory of Music (CCOM). In this Violy master class, he shared some tips about string instrument practicing, including the usage of some tools, advice on sight reading and expression of musicality. Content of Wing Ho’s lecture is as follows (edited in first person): Hello everyone, I am Wing Ho. I am very glad to be in Violy master class of viola and share my views. I would like to express my gratitude to Violy team and everyone who is here today. Thanks for providing me with the opportunity of sharing. My topic is **“practicing skills of string instruments”**. I will talk about **how to use tools to assist your practice and norms of sight reading**. I am a viola teacher myself. I can find that many Violy users are viola teachers or students, and there are also some violin students interested in viola. Therefore, I would like to give a brief introduction of the circumstance of viola in China. Currently, there are few good viola teachers in China, not to mention high-quality instruments, teaching materials, or accessories. Besides, we have never attended any viola recitals in China, and few students around us play the instrument. Some people even do not know viola at all. Actually, Viola is an important discipline in music conservatories. The instrument is indispensable in chamber orchestras. Let’s take the circumstance of viola in Beijing as an example. There are 16 grades in CCOM, among which the approximate number of viola students is 80. Adding up viola teachers in the college and performers in orchestra, there are around 100 people who play the viola in CCOM. The scale may be the largest in China. Outside CCOM, there are about 500 viola players in Beijing, who play in other colleges and orchestras as professional or amateur violists. In other cities, the number is even smaller. On the other hand, the teaching level of viola in China is high. The country’s viola teaching has international influence. There are Chinese violists winning prizes in almost every international viola contest, where there are Chinese judges as well. Viola students from China are popular internationally. Also, viola sections are the strongest in almost all domestically and globally well-known orchestras. Overall, China’s specialized teaching of viola does have strength. ![](https://static.lianmuse.com/image/blog/a889423fb969654b62fe18a8ee02aae1.png?v=a889423fb969654b62fe18a8ee02aae1) # The Usage of Viola Tuner Let’s talk about the tuner first. When we are tuning, we usually regard A as standard pitch and tune other strings referring to A. This is the most professional, most standard and fastest tuning method. The reason why we regard A as standard pitch is that British Standards Institution (BSI) uniformly set A as standard pitch in 1939. Before 1939, the standard was various in different countries. The frequency of A is 440 Hz. Hertz (Hz) is a frequency unit, which is used to measure the number of vibrations per second. 1 Hz means 1 vibration per second. When the pitch of A goes up an octave, the frequency will become 880 Hz. The octave can be divided into 12 semitones, which indicates the concept of twelve-tone equal temperament. 440 times 2 and then divided by a power of 12, the result is exactly a semitone. Nowadays, many performers prefer the pitch of 442 Hz or even higher. This is because that people prefer the effect of brightness and excitement, and higher frequencies can help reach the effect. **A professional tuner should meet two requirements. First, it should show the frequency of pitch; second, it can be used to adjust the temperament.** Here I would like to introduce an app called ClearTune. It is available on iPhone and iPad. The range of this app is wide. The intervals of string instruments are quite special and natural. If we tune the instrument by ear and then use tuner to check the pitch, it is usually out of tune. This is very common. I prefer 442 Hz myself. When I tune my instrument using “String Family” feature in ClearTune app, I can get all four strings well-tuned. Then I use another tuner with twelve-tone equal temperament to check the pitches, and find that the frequency of the second string is 442 Hz, the third string close to 441 Hz, and the fourth string 440 Hz. The low pitch will get lower while the high pitch will become higher. You may try this out then. If you play the violin, viola or cello, you can check the frequency and listen to the quint while tuning. After tuning, you can play the pieces you like to feel the beautiful tone. **For string instrument players, intonation means achieving resonance. Our ultimate goal is to know the pitch by ear rather than rely on the tuner. Tuner is just a tool.** # Using Metronome during Viola Playing Several years ago, I used an app called Dr. Beat, which is very useful and fully-functional. It supports the combination of different rhythms. If you cannot find the app, try Tempo. It is very necessary to use metronome during our practicing, and we should form the habit of using it. **Metronome is important during the whole process of music learning, no matter which stage you are in.** Now let’s start with the origin of metronome. During the French Industrial Revolution in 1789, Napoleon paid great attention to the development of science and technology, and promoted the development of musical instruments, such as ancient pianos. The wooden soundboards were replaced by steel or iron plates, making tension and sound evolve into that of our current pianos. Then I must mention a great composer, Beethoven, who was born in 1770. When the French Industrial Revolution broke out, he was only 19 years old! The invention of metronome cannot be verified now. But we know its existence from Beethoven’s works. Beethoven is the earliest composer who used tempo marks. His piece, Symphony №8 in F Major, Op. 93: Tempo di minuetto, described the metronome at that moment. ![](https://static.lianmuse.com/image/blog/80da81e9831f342cc25b61c1e8fb710e.png?v=80da81e9831f342cc25b61c1e8fb710e) ![](https://static.lianmuse.com/image/blog/843e1a6554721ae99993ed5ed115a7f2.png?v=843e1a6554721ae99993ed5ed115a7f2) This work was composed in 1812, which is to say, the metronome was invented before 1812. We can see the original speed of this work in the sheet music above. The BPM of the second movement is 88, which means 88 beats per minute. Metronome is widely used in music. Composers use it to mark the tempo and calculate the length of the piece. It is also used for dotting, splitting track and recording in the studio. For us, we use it to train our rhythm. **Here I would like to share two ways of using metronome to improve our playing.** By the way, I recommend you use digital metronome instead of mechanical metronome, since the latter one may produce incorrect tempo if it is not placed stably, while the former one produces clear sound and steady rhythm. **The first way is listening to shorter beats, counting longer beats and playing the piece.** For example, the piece we are playing is in 2/4 and the BPM is 70. We use metronome to count the shorter beats, which is to say that quavers are counted and the metronome ticks two times in one beat. Besides, we tap our foot, clap our hands or hum to count the longer beats, which is to say crotchets are counted. Then we can start to play. You can try this way. If you can hear the shorter beats while counting the longer beats, the music you play will always be in the framework of rhythm. **The second way is listening to longer beats, playing the piece and counting shorter beats.** For example, again, the piece is in 2/4 and the BPM is 70. We use metronome to count the crotchets. Then we start to play. At the same time, we hum or tap our foot to count quavers. **The second way is very useful since it can be more flexible in the framework of rhythm, which is to say, music should be played under the framework instead of being played randomly.** ![](https://static.lianmuse.com/image/blog/3e51fceb30ac6e6791795d0d54d3eba6.png?v=3e51fceb30ac6e6791795d0d54d3eba6) # Recording Videos of Yourself Playing Violin, Viola and Cello Recording your practicing can be an effective way to get improved. We all have smart phones now, in which there are apps for metronome, tuner, video playing and digital sheet music. What’s more, recording effects of the smart phone are great. We should make good use of the device. At the moment, teaching via video call is the choice of many teachers. I would like to give some advice to students based on this situation. First, realize the benefit of recording videos; Second, deal with the problems related to video recording; Third, check the videos after recording; Fourth, be aware of the ultimate goal of recording practicing videos. Recording videos can help reveal your authentic practicing, which is the benefit. You can notice the problems of your practicing when watching the recorded videos. Also, you can listen to your playing repeatedly and slow down the video playing to check your motions. This way is also universally used for sports training. As for the problems, sometimes the quality of videos is affected by practicing, and some students have no idea what they should pay attention to while watching the recorded video. Actually, the problems can be solved if the students realize the shortcomings of their own playing. I often tell my students about the major difference between professional and amateur players. When listening to other people’s playing, many amateur players are able to figure out the shortcomings. But when it comes to themselves, they just ignore their own weaknesses. Unlike amateurs, professional players can tell the disadvantages of both others and themselves. This is the major difference between professional and amateur ones. After recording, we should check different aspects, including: 1. The height of scroll; 2. Pinkies of both hands; 3. State of shoulders; 4. Facial expressions; 5. Error correction; 6. Intonation; 7. Tone; 8. Double stops; 9. Sound quality; 10. The way you start and stop bowing; 11. Bowing during playing; 12. String shifting; 13. Position changing; 14. Intervals; 15. Connections among phrases; 16. Other aspects need improvement. I found that some young learners send the recorded videos directly to their teachers without considering the quality. This is a bad habit. Some beginners may have wrong hand shapes, and unnatural postures and facial expressions. Therefore, watching the recorded videos and making adjustments are important. Also, students should check the aspects I mentioned above carefully, pay attention to other shortcomings, make improvements, and record for more times until there is no mistake. Then it is suitable to send the videos to your teacher. The ultimate goal of recording videos is training our ears to help us make progress. # Norms of Viola Sight Reading Most students do not have a good habit of sight reading. They know little about the piece they play. Now that we are learning Western instruments, we are supposed to have a thorough understanding of them. Sheet music originated from Europe. In the year of 500, musicians in church used dots to record the music. Let’s have a look at some early sheet music: The first picture shows the most ancient sheet music, which consists of dots and lines only. ![](https://static.lianmuse.com/image/blog/b21da730270c7919d9c20a1e754182c8.png?v=b21da730270c7919d9c20a1e754182c8) There are more lines and details in the sheet music in the second picture. ![](https://static.lianmuse.com/image/blog/2e470a7104e57009a4de6b704a93fc0f.png?v=2e470a7104e57009a4de6b704a93fc0f) The sheet music in the third picture is similar to that we use today. Sheet music had become what it is currently after 1000 to 1500 years of developing. ![](https://static.lianmuse.com/image/blog/45e1adf743edf0735db4234fa8136741.png?v=45e1adf743edf0735db4234fa8136741) The framework of sheet music was set in Baroque era (around the year of 1650 when Bach, Handel and Telemann lived). In the year of 1750, composers including Haydn, Mozart and Beethoven added some marks into sheet music, such as crescendo and decrescendo. In the year of 1820, Liszt, Mendelssohn, Schumann, Chopin and other composers added a variety of marks, such as rallentando, accelerando, sforzando, fortepiano and other detailed explanatory notes. The following picture shows the relationship among treble clef, alto clef and bass clef. The three notes below are all middle Cs. ![](https://static.lianmuse.com/image/blog/463e50b17d7b844000ebb9bd821431af.png?v=463e50b17d7b844000ebb9bd821431af) The following picture demonstrates the norms of sight reading. Apart from the marks shown, there are also other marks used in sheet music. ![](https://static.lianmuse.com/image/blog/f35f50800e436b86b9d5ca85f209c6dd.png?v=f35f50800e436b86b9d5ca85f209c6dd) Words and marks above the stave are all related to tempo and playing techniques, such as fingering, bowing and speed; while those below the stave are all related to emoticons and dynamics. # Expression of Musicality While Playing the Viola Generally speaking, those who have good musicality can even play open strings beautifully, while some players still cannot express their musicality well even if they are trying hard to do vibrato. Then sometimes, the latter ones tend to blame their bows and strings. Actually, the expression of musicality consists of several elements: * Bowing; * Attentiveness; * Normative language; * Invisible vibrato. **1.Bowing** Since bowing is the basis of good playing, I put it first. Bowing skills can be decisive in some way. We should control the strength the bow applies to strings. Also, we should make sure that the bowing is natural. Bowing needs to be trained for some time to get improved. **2.Attentiveness** We should be attentive when playing music. **3.Normative Language** Normative language is simple. It is close to languages in our life, especially Chinese. We can use “1—2—3—4” to represent “forte—piano—mezzo-forte—piano”. If you count faster, you will find there is a tone. If there are three beats, it will be like “forte—piano—piano” or “forte—piano—mezzo-forte”. For two beats, it will be “forte—piano”. **4.Invisible Vibrato** Invisible vibrato means that whether we are playing vibrato or not, we should always keep the state of vibrato. Invisible vibrato is more suitable for early music. When playing early music, we are supposed to play vibrato less or avoid obvious vibrato. But the music can still be expressed. {% raw %}
{% endraw %} The following two videos show the difference between playing vibrato and not playing vibrato. You may check them out. **No vibrato demonstration** {% raw %}
{% endraw %} **Vibrato demonstration** {% raw %}
{% endraw %} **5.Comprehensive expression** We can visualize a scene or express a kind of emotion when playing. That’s all for my sharing. Please let me know if you have some questions or suggestions. Thanks for your time and the platform Violy provides. # Q & A : Violy team: When is it suitable for students to learn the viola or switch to viola from violin? Wing Ho: On the one hand, it will not work if the students decide to switch to other instruments but do not play the violin well. What counts most is having a solid foundation for instrument playing. Apart from that, I think height does not matter to string instrument playing, while having bigger hands, longer arms, and longer fingers can be advantages. For tall students, they may have chances to play larger instruments, whose sound is more resonant. But we hardly see a world-renowned performer who are very tall. On the other hand, instrument itself plays a very significant role in viola learning. Compared to violin, viola does not have well-developed systems of instrument or string making. This is a major problem. Some teachers replace violin strings with viola strings. This way does not work, because tension of the two kinds of strings is different. Viola strings may not produce sound on violins. This issue also confuses us for long, since there are few high-quality viola strings. Overall, it is beneficial for students to learn the viola from scratch. Violy team: Could you please introduce the customized violas and viola strings? Wing Ho: It is important to develop small-sized violas. The instrument is scarce in China. I developed a new method of measuring. The total length of a viola suitable for you should be equal to the distance between your neck and palm. Or if you are playing the viola on the first position, the angle between your forearm and upper arm should be 90 degrees. Students can choose suitable violas by this standard. ![](https://static.lianmuse.com/image/blog/9ca625f9034b6a6aa820e145ff43663e.png?v=9ca625f9034b6a6aa820e145ff43663e) I developed different viola sizes for children of different heights and different ages, such as 1/16, 1/8, 1/4, 2/4, 3/4 and so on. I also developed viola strings suitable for small-sized instruments, which have better tension and produce more harmonious sound. Violy team: Some parents know little about music, how can they help their children’s practicing effectively? Wing Ho: This question is widely discussed. I have checked former Violy master classes. I think that Ms. Ling Zi’s view on this question is good. It is very necessary for parents to make progress together with their children. Here I would like to give some examples. Once I had a student, whose father accompanied him to viola lessons. The father repeated what I said all the time, and the student never thought about my words himself. For example, I asked him if it is more suitable to use middle bow while playing, his father would say “middle bow” to the student directly. Therefore, I talked with the father later and told him not to do that, which is important to all parents. Another student of mine also had his parents be with him during viola lessons. His parents recorded videos in every class and took detailed notes during the process. I think our parents can try this way as well. It is a great habit. Parents should encourage their children more during their daily practicing and avoid being too involved. Also, parents should take their children to the concerts of masters. It can be an unforgettable experience for children to enjoy a master’s live performance. What should also be paid attention to are children’s interest and practicing quality. Pushing children to practice for a long time without letting them correct the errors is not wise at all. Playing a few notes correctly is better than playing the whole piece while having many mistakes. The parts not played well should be practiced first. It is a great way for parents to record their children’s practicing and help them improve, which will bring children a sense of achievement. Violy team: Many children start to learn music from a young age and most of them choose not to go professional later, while the investment during the whole process can be quite big. In this case, what does music learning mean to children? Wing Ho: This is a good question. I would like to give some examples to answer it. When I was in college, I knew a cello professor who majored in mathematics. He played the cello excellently and finally went to the music conservatory to teach cello. Actually, there are many professors in universities abroad who do not major in music. They teach other disciplines but work as deans of music conservatories. Here’s another example. One of my students from Peking University (PKU) turned to me after graduation, saying that he wanted to study computer science in Carnegie Mellon University (CMU) but it was hard to get admitted with scholarship. He was asking for my advice at that moment. I told him that the music conservatory of CMU was excellent and he could have a try to take the entrance exam of viola performing major. Then he could study two majors. After listening to my advice, he took the entrance exam of CMU’s music conservatory, got admitted and won the scholarship. When he was on campus, he studied two disciplines and got offers from big companies before graduation. From my student’s experience, we can tell that learning instruments can bring many possibilities. For instance, in California, there is a symphony orchestra for doctors, which is only accessible to professional doctors. They always go on world tours. So it is not a must to go professional for music learning. I also have a friend who is a lawyer and goes to concerts four times a week. He also has abundant knowledge of music. Audience: How to grasp the styles of different pieces? Are there any other ways except listening to the pieces for many times? Wing Ho: We can tell the styles based on characteristics of works in different eras. Works in Baroque era are clean and flexible. Those of Classical era are humorous, relaxing and happy. Pieces of Romantic era express emotions. Contemporary works are with rich imagination and techniques. Besides, some certain techniques are performed differently in various works. For example, trill is usually played from higher pitches to lower pitches in Baroque works. But in Classical pieces, trill must be played from lower pitches to higher pitches. Audience: What is universities’ standard of enrolling in viola students? Are there any requirements for grade tests? Wing Ho: Take CCOM as an example, we enroll students based on their playing mainly. Generally speaking, the level of grade tests does not meet our requirements. Audience: How to improve the skills of sight reading when performing in viola sections of symphony orchestras? Especially when it comes to parts with complex rhythms. Wing Ho: This is a professional topic. We should get familiar with the rhythm, and this suggestion applies to other instruments as well. I had a college classmate who used to practice basic skills every day following the metronome. Later he became the first one of us who found a job in an orchestra, which is Cleveland Orchestra, one of the ten American orchestras. Besides, we should listen to the pieces we play for more times. When I was studying in the United States, I knew another classmate who was able to tell details of many pieces, including the background, movements, tempo and who the conductors are. Here’s a tip: listen to the former recording of performances of the orchestras or conductors for several times, and then we can get to know the styles. Then it may be easier for us to get admitted by orchestras. Audience: Could you introduce the invisible vibrato again? Wing Ho: You can try to play vibrato on every note when you are practicing scales. Then you can feel the state. Your left hand and right hand are both moving when doing vibrato. Invisible vibrato is like you are not playing vibrato, but your left hand should keep in that state. During playing, your bow will coordinate with your left hand when you do invisible vibrato. Here I would like to draw an analogy. If a girl is beautiful, she does not need to put on too much makeup to show her beauty, which is to say, if the sound of the note we are playing is pleasant to hear, we do not need to do vibrato wildly. We should know that vibrato is a kind of ornament. It is not necessary to play vibrato on every note. Audience: What if I cannot figure out whether the double stops I play are in tune or not? Wing Ho: If we listen to the playing carefully, we can find out that in double stops, there is at least one note whose pitch is close to that of the open string. This note should be played in resonance, and we can check the intonation of the other note according to that of this note. Audience: If I start to learn the viola from scratch, are there any differences between the learning method of the viola and that of the violin? Wing Ho: Actually, the methods for beginners are the same. There are a variety of viola books which are suitable for beginners, like Suzuki Viola School (1–3) and the books written by viola teachers from Shanghai Conservatory of Music, by Mr. Hou Donglei from Xinghai Conservatory of Music, and by Mr. Wang Ke from Shanxi Province, China. Besides, new viola books for grade test edited by CCOM will be published soon. For intermediates, books written by Mr. Wang Changhai, by Mr. Wang Shaowu, by Mr. Sheng Li and by other viola teachers are suitable. You may search for them online. The biggest difference between violin and viola is that the viola strings are thicker than violin strings. And the pitches of viola are a quint lower than that of violin. Also, viola is not suitable for showing off techniques. But difficult etudes such as Paganini’s works are required for viola exams. In fact, difficult techniques are rarely used in daily practicing of viola. What’s more, we may need to apply more strength to produce sound on viola strings when we just start to learn the viola. Indeed, there are some different playing skills for producing sound. And the clefs are different as well. Apart from these, viola playing is similar to violin playing. Host: Thanks for Professor Ho’s sharing. Please stay tuned for the next Violy master class and keep practicing! # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violy Master Class Articles: ## [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) [**Violin Master Class - Ling Zi**](https://violy.app/blog/2020/03/Violin-Master-Class-LingZi/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violy - Smart Music Classroom - URL: https://violy.app/blog/violy-smart-music-classroom - Markdown: https://violy.app/blog/violy-smart-music-classroom.md - Published: 2020-04-03 - Summary: # “App Installation” i, Open “APP Store/Google Play” and search for “Violy”; ii, Find the app and cl # A Professional App for Music Instrument Education and Practice # “App Installation” i, Open “APP Store/Google Play” and search for “Violy”; ii, Find the app and click “GET”; iii, After the installation, click “OPEN”. ![](https://static.lianmuse.com/image/blog/549439e0eeecf8d768c4472da5a7df0e.png?v=549439e0eeecf8d768c4472da5a7df0e) # “Sign-up and Login” The Sign-up/Login is very easy. It is accessible by simply verifying your Mobile Number/Email Address. A pin is not required. ![](https://static.lianmuse.com/image/blog/dc1d350538802b2a9459061fbe23e253.png?v=dc1d350538802b2a9459061fbe23e253) # “Select Identity” “Classroom” is an additional feature for teacher’s account. It allows teachers to manage their students and check students’ practice and homework, see details on page 9) Identity Selection **cannot** be modified optionally by user. ![](https://static.lianmuse.com/image/blog/2ea3f8e900851eabc9b4cb8454cc7a5b.png?v=2ea3f8e900851eabc9b4cb8454cc7a5b) # “Select Instrument” You can now select the music instrument to practice. Selected instrument can be switched by user optionally. Violin, viola, cello, clarinet, and flute are currently supported on Violy. ![](https://static.lianmuse.com/image/blog/5d9aee291a02f6db2b9e65af6a75e2d1.png?v=5d9aee291a02f6db2b9e65af6a75e2d1) # “Audition” Open a Sheet Music, play the initiation notes under “Audition” to initiate an “Audition”. The initiation notes are “#C#D#F” for Piano; “EADG” for violin; “ADGC” for viola and cello; “CEGC” for clarinet; “GBAC” for flute. And start to play the music within 8 seconds. Audition will stop in 8 seconds, if there are no valid sounds detected. ![](https://static.lianmuse.com/image/blog/9131ddce308bc564c39ce97e82c9f697.png?v=9131ddce308bc564c39ce97e82c9f697) You can also stop an “Audition” at anytime. After not playing for 6 seconds/ending the “Audition”, the system provides an overall analysis of your performance. Enter “Analysis Report” to check the details. This feature is only available for Premium members. ![](https://static.lianmuse.com/image/blog/cccd6350c73bd999cf943aa2b80565ad.png?v=cccd6350c73bd999cf943aa2b80565ad) # “Audition Report” On this page, users can not only check the **“Intonation”** and **“Rhythm”** of each note they have played, but also hear the music they played and compare the records to the sheet music audio. Students’ teachers can also check, review, and comment on their students’ audition reports as soon as the students have been added to their groups in “Classroom”. “Audition Report” is only available for Premium users. Premium is free for verified teachers, see detail on page 10. ![](https://static.lianmuse.com/image/blog/b57a267262700218871d95c246e18f9a.png?v=b57a267262700218871d95c246e18f9a) # “Accompaniments” Find a Sheet Music Album with “Acc.” symbol on the cover. “Acc.” is an abbreviation for “Accompaniments”, especially “Piano Accompaniments”. ![](https://static.lianmuse.com/image/blog/d77a45ae697564ef281c56e0a5854f75.png?v=d77a45ae697564ef281c56e0a5854f75) ![](https://static.lianmuse.com/image/blog/4c021962d04a13ff69984f2db65b289a.png?v=4c021962d04a13ff69984f2db65b289a) # “Note-by-note” Enter the sheet music page and click the “Audition”, and choose “Note-by-note”. ![](https://static.lianmuse.com/image/blog/ad9b6543bfde23dba50ef76fa6ec8817.png?v=ad9b6543bfde23dba50ef76fa6ec8817) Compared to the “Audition” mode, “Note-by-note” is more like a mode for practicing. After receiving a sound in correct pitch, a checkmark would be ticked on the corresponding note. Rhythm and Tempo are not items to be analysed. It helps users to get familiar with the music in a short time. Initiating action is not needed in “Note-by-note” ![](https://static.lianmuse.com/image/blog/8c6e6581de85e4ef2f6556bb5fcc7690.png?v=8c6e6581de85e4ef2f6556bb5fcc7690) # “Music Cloud“ After sign-up, click the “Violy” button and you will see the homepage of the app, click on “Music Cloud” to enter sheet music library. ![](https://static.lianmuse.com/image/blog/3b08fe1cc14f4f87628987c7c7e11a38.png?v=3b08fe1cc14f4f87628987c7c7e11a38) ![](https://static.lianmuse.com/image/blog/f3b7b07ef843992067bcc0450bd5f062.png?v=f3b7b07ef843992067bcc0450bd5f062) # “Creator Studio” Enter “CREATOR STUDIO” and Login Open the official website of Violy (https://violy.app/) with your browser on Mac/PC and click on the **“CREATOR”** on the top. The only supported formats of sheet music files are **MuseScore(.mscz)** and **MusicXML(.musicxml)**. Sheet music files can be directly exported as [MusicXML](https://musescore.org/en) file through MuseScore software. Find “Creator Studio” tutorials on https://violy.app/blog/2020/02/Create-Sheet-Music-on-Violy/ ![](https://static.lianmuse.com/image/blog/e232cdc96b7ceeb9d10e2f65967a02aa.png?v=e232cdc96b7ceeb9d10e2f65967a02aa) # “Premium and Free Gifts” The following Violy features are only available for Premium users: 1. Accompaniments; 2. Analysis audition report; 3. Sectional “Audition” practice; 4. Homework review and comment. Click on the “Red Box Gift” to claim “Free Premium”. Violy App is not subscription based, it does not charge automatically. The “Gift” is 100% FREE! Teachers can redeem Free Premium by verifying their real-life identities. Students can also win free Premium Gifts by participating Violy Events in Violy User Community (via Facebook/Instagram, etc.). *We are deeply aware of that it is **impossible** to study a classical instrument like violin **without a professional instructor**; *Violy is **NOT** designed for violin self-learning; *Violy app is **FREE** for **EVERY music teacher/educator**. ![](https://static.lianmuse.com/image/blog/34c5425eb1783c9e8dd55125b8a3cb51.png?v=34c5425eb1783c9e8dd55125b8a3cb51) # “Classroom” Classroom is a student management system and only available for teachers. There are 3 tags on “Classroom” page. Teachers can add students to “Groups” and teach “Live Class” on “MEMBERS”. Teachers can check students’ homework on “OVERALL” and “PRACTICES”. ![](https://static.lianmuse.com/image/blog/ebf72adba530e1349e4e675722821a44.png?v=ebf72adba530e1349e4e675722821a44) # “Live Class” “Live Class” is a video call feature that specially designed for music instrument lessons, it delivers the best quality sounds of music instruments. To start a Live Class, enter “Classroom” -> Enter the “Group” -> “Live Class” There is a 20 minutes limitation for free Live Class, you can start a new Live Class after the limitation launches. Free “Live Class” can upgraded to “Live Class Pro” Charge Standard of “Live Class Pro”: Every 10 minutes: 0.15 USD x total number of participants. **Case 1 — For 60-minute 1to1 “Live Class”: 0.15x2x6=1.8 USD** **Case 2 — For 40-minute four people “Group Class”: 0.15x4x4=2.4 USD** Live Class Pro cost will be charged from group/institution owner’s balance. Check details on: https://violy.app/blog/2020/03/Music-instrument-live-class/ ![](https://static.lianmuse.com/image/blog/ead01b36e08192c3406e0dde33aa8c32.png?v=ead01b36e08192c3406e0dde33aa8c32) # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violy Master Class Articles: ## [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/d6a827feeb4054b307bb9719304a97d9.jpeg?v=d6a827feeb4054b307bb9719304a97d9) --- # Violy Live Class - Smart Music Classroom - URL: https://violy.app/blog/violy-live-class-smart-music-classroom - Markdown: https://violy.app/blog/violy-live-class-smart-music-classroom.md - Published: 2020-03-20 - Summary: Violy musicians, the feature of **“Live Class”** is coming in the app! Through “Live Class”, music t # Bring your music instrument class online Violy musicians, the feature of **“Live Class”** is coming in the app! Through “Live Class”, music teachers can make video calls to students and teach music instrument lessons online. It is specially optimized, high-definition audio and video transmission for music instrument education. In the text below, we will introduce the new feature and provide detailed instructions of its usage. ![](https://static.lianmuse.com/image/blog/c480aaaa63b8f2c1186fe368beb76cc7.jpeg?v=c480aaaa63b8f2c1186fe368beb76cc7) {% raw %}
{% endraw %} # How to start a Music Class online? Open the app and select “I’m a teacher”. ![](https://static.lianmuse.com/image/blog/0c1cf7e0b3b5d02288ddef6aeab19902.png?v=0c1cf7e0b3b5d02288ddef6aeab19902) After login, choose “Live Class” on "Instrument Selection" page. However, the instrument selection does not affect the usage of “Live Class”. ![](https://static.lianmuse.com/image/blog/bd9649d874b3a7bc5b9a38aaa5d64eb7.png?v=bd9649d874b3a7bc5b9a38aaa5d64eb7) Then you can see a popup window introducing the feature after entering the app. ![](https://static.lianmuse.com/image/blog/2e25d8fe5baea16076fdf635347c1e46.png?v=2e25d8fe5baea16076fdf635347c1e46) Enter “Classroom” page. ![](https://static.lianmuse.com/image/blog/7cb1474e9a8c0ab23a0c59bd99734157.png?v=7cb1474e9a8c0ab23a0c59bd99734157) If the student you want to call is not in your group currently, click on “Invite students” to invite him or her to the group. ![](https://static.lianmuse.com/image/blog/32e05f2464e79d2cccb50229d7eb78fe.png?v=32e05f2464e79d2cccb50229d7eb78fe) Then you can choose which platform you want to share the link of invitation to. Here we take Instagram as an example. ![](https://static.lianmuse.com/image/blog/cd11e85e70af4e704dc4d0b821648f88.png?v=cd11e85e70af4e704dc4d0b821648f88) Once the student opens the link you share, he or she needs to input the phone number or email address and the verification code received to log in. Then the student manages to join your group. ![](https://static.lianmuse.com/image/blog/daaa0bd0f7abb18a808b41a41a431fe3.png?v=daaa0bd0f7abb18a808b41a41a431fe3) When the student joins the group, click on “Refresh” and then you can see his or her name. Later, click on the button of “Live Class” behind the name to start a live class. ![](https://static.lianmuse.com/image/blog/649ba555dbcbeb3043e95a76e9df7289.png?v=649ba555dbcbeb3043e95a76e9df7289) You can click on “Manage”, input the phone number or email address of the student and click on “Add Member” to invite him or her to your group. You can also invite other teachers in this way. Only the admin of the group is allowed to invite people via “Manage”. ![](https://static.lianmuse.com/image/blog/4af41eb7a4b436060b64895a3f1e5a12.png?v=4af41eb7a4b436060b64895a3f1e5a12) Please notice that the one being called should open the app in the front page on his or her device, and the screen of the device should stay on for accepting the video call. ![](https://static.lianmuse.com/image/blog/3fe29794769cc46343d1ab96ecb4ad7c.png?v=3fe29794769cc46343d1ab96ecb4ad7c) # Online Music Group Class To switch the group or create new groups, click on “Switch” on the top right corner. For making video calls to more than one student, click on “Group Class”. ![](https://static.lianmuse.com/image/blog/3568b290dd1ae006ec648f8a39f6d9b8.png?v=3568b290dd1ae006ec648f8a39f6d9b8) Choose the video quality and select the students you want to call. ![](https://static.lianmuse.com/image/blog/7d1d618b2c43f64e2b1f7cd5b52dfee7.png?v=7d1d618b2c43f64e2b1f7cd5b52dfee7) The feature of “Group Class” limits up to 4 people in a live class. ![](https://static.lianmuse.com/image/blog/c3b83d0de7cdd2889ef6fe533a59ff0b.png?v=c3b83d0de7cdd2889ef6fe533a59ff0b) After selecting the students, click on “Confirm” to start the video call. ![](https://static.lianmuse.com/image/blog/e329488bb170afb145ee8782b4c503cd.png?v=e329488bb170afb145ee8782b4c503cd) Once the video call ends, you can click on “Live Class Log” to check out the time, period, and participants of the live class. ![](https://static.lianmuse.com/image/blog/635ce203fdfc011dd9172913f9e14cbc.png?v=635ce203fdfc011dd9172913f9e14cbc) # Music “Group Class” Features ## 1. Focus Mode The default full-screen chat window is that of the teacher. If the teacher who starts the video call clicks on the chat window of a student, the student will be on the focus and his or her chat window will be displayed in full screen. Then the student can be seen or heard by all the participants. The teacher can hear all the students and see their chat windows, while students can only hear the teacher and the one on the focus, and see the chat windows of the two. ## 2. The Feature of “Mute All” Only the teacher has the permission to turn off microphones of all the other participants. ## 3. The Feature of “Mute” and “Unmute” Participants can control their microphones separately. # Things Related to Music “Live Class” Which You Should Pay Attention To 1. Both teachers and students who join the live class should make sure that their apps are updated to the latest version. 2. Both teachers and students should make sure that their network conditions are good. Since “Live Class” provides high-quality audio and video transmission, the feature requires sufficient network bandwidth. 3. Both teachers and students should make sure that the permissions of microphone and camera of their devices are turned on. 4. Only teachers can start video calls in “Live Class”, but the feature requires neither Violy premium nor “Teacher Verification”. Just select the identity of teacher and it is available. 5. The feature of “Live Class” can be used for FREE for the first 20 minutes. To extend the time of using, the teacher needs to go Violy pro and become the pro user. All Violy users can go Violy pro for “Live Class”. # Solutions for “Live Class” Problems If you meet some problems and cannot use “Live Class” normally, try the solutions below: 1. Confirm the apps are in the front pages on all sides. 2. Update the apps to the latest version on all sides. 3. Confirm that the same account is not logged in on more than two devices. 4. Re-login or reinstall the app. The feature of “Live Class” is applicable for all instruments! Digital piano and more instruments will be supported on Violy app in the future. Stay tuned and enjoy music as always! ![](https://static.lianmuse.com/image/blog/f410982b05b4b23f76338b71e51a9b24.png?v=f410982b05b4b23f76338b71e51a9b24) # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violy Master Class Articles: ## [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violy Master Class of Violin | Ling Zi - URL: https://violy.app/blog/violy-master-class-of-violin-ling-zi - Markdown: https://violy.app/blog/violy-master-class-of-violin-ling-zi.md - Published: 2020-03-09 - Summary: Ling Zi is a skilled expert of music education. In this Violy master class, she shared some views ab # Parents’ Role in Violin Practice Ling Zi is a skilled expert of music education. In this Violy master class, she shared some views about music education and what parents should do to help their young learners. ![](https://static.lianmuse.com/image/blog/66932e5eb1e7c398599ba3a4179770f0.jpeg?v=66932e5eb1e7c398599ba3a4179770f0) ## Content of Ling Zi’s lecture is as follows (edited in first person): Violy parents and teachers, good afternoon! I am glad to have the chance to share my views. Some parents say they do not have enough time to be with their children and have little communication with them in daily life. As a result, the parents may have problems dealing with their young learners’ violin learning. My lecture today is to help parents solve the problems and guide them through what they can do during children’s learning process. # A Violin Teacher’s View: Why Do Children Learn to Play the Violin? This question is widely discussed. As a music educator for years, I think learning the violin can bring 3 main benefits: **First, it can arouse children’s interest in music and give them an opportunity to plan their career earlier.** **Second, it can help improve the relationship between children and parents.** **Third, it can help train the musical talents for the country.** Let’s start from the first benefit. Some parents say that they support their children to learn the violin because the children like what they learn and have a talent for it. Actually, it is hard for non-professional parents to tell whether the young children do have a talent or not. Parents need to pay attention to their children’s learning. Many children may have great passion when they just start to learn, but later, they are likely to lose interest or practice less for a variety of reasons. This kind of situation is very common in some way. Children are different from each other. But mostly, they are so young that they need parents’ rational guidance to persist in practicing. Strong interest is the start point of many children’s road to music. When children choose to learn the violin, parents should figure out what can music bring to their young learners. Apart from helping build up willpower and broadening knowledge, learning music can also play an important role in children’s career planning in the future. It is not likely for every music learner to become a musician, but a person who has learned music may have more choices when choosing an occupation since his or her comprehensive quality got improved during years of music training. Therefore, I suggest parents help their children improve musical quality and skills from childhood. During the process, parents may find that their children gain improvements in other aspects as well. Now let’s move on to the second benefit. Parents can grow up together with children to maintain good relationship with them. One effective way is to learn music with children. Many parents may learn with their children at the beginning but quit for some reasons later, such as being lack of time or failing to catch up with children. In this case, I think parents should maintain a positive attitude during the process. Children can be parents’ teachers sometimes and they are willing to do so. Some excellent musicians have common musical topics to discuss with their parents. They also appreciate and talk about music together. Our parents can do it as well. I hope our parents can broaden their musical knowledge first so that they are able to understand the children’s playing and find out the mistakes. Only in this way can the parents help their young learners in practicing, and then both parties are more likely to find common topics and strengthen the bond of parent-children relationship. As for the third benefit, I think parents have a duty to pay more attention to helping their children if the children are very talented, because they can become musical talents for the country. It is almost impossible for a person to become an excellent musician by himself only. Most musicians become successful because they start to learn music at a young age and have parents’ support and teachers’ guidance all along. It takes time to tell whether the children can have achievements in music or not. Parents’ company and teachers’ guidance are extremely significant. # When Should Children Start to Learn the Violin? I think the best period to start is preschool age. We do not expect children to start playing the violin at a very young age, but we can give them a chance to listen to beautiful music first. When the children are three and a half years old, parents can introduce some basic music training, such as rhythm and singing training. Under this condition, children can enter the process of violin learning more easily. On the other hand, parents can encourage children to perform in front of people. For example, the performance can be seen by violin teachers and students via group video call. In this way, children are also able to communicate with their peers. # A Violin Teacher’s Experience in Handling the Problem of Boring Practice Practicing for a long time can be boring for young learners. I suggest parents shorten the practicing time for their children. For example, parents can let children practice for one hour or 40 minutes each time. After practicing, children can be allowed to have a rest and do some other things, like playing games. Some parents say that their children always waste time on little things before practicing. To deal with this, parents can ask some questions based on the piece their children are practicing, like “who wrote the piece”, “is there any other versions”, “what are the differences between this version and another version”, etc. If the children have no idea about the questions, parents can help them search for the information online. In this way, children can feel their parents’ caring and may find some topics to discuss with parents then. ![](https://static.lianmuse.com/image/blog/9c741cbc5a1715fe10aad8d0bee2dc02.jpeg?v=9c741cbc5a1715fe10aad8d0bee2dc02) # How to Arouse Children’s Interest and Help Develop Their Persistence? Before the age of three and a half, children are supposed to set up the concepts of rhythm and melody. They do not need to learn some instruments at this moment, but they can listen to different sounds, like clapping hands, bouncing the ball and tapping against the glasses with different amount of water. These do help. When children start their violin learning, parents are supposed to tell the young learners to practice carefully and help them solve the problems they encounter. When there are some problems, parents should analyze with their children and find out how to deal with them. Besides, turning to teachers can help as well. Sometimes it may take some time for children to solve the problems completely, so parents need to be patient. On the other hand, it is important for parents to set good examples for their children. Setting up rules for practicing is helpful. # Tips from A Violin Teacher: How Do Parents Help Children’s Practice? Some parents may say they are too busy to accompany their children during their practicing. In fact, parents can still set aside some time to know more about their children’s playing. Parent’s company is not just sitting beside the young learners when they are practicing, but helping them practice more effectively. For example, sometimes children may find it difficult to understand a certain work, then parents can search for more information of the piece to improve the young learners’ understanding. Moreover, parents can download the music their children are learning and let the young learners listen to it for more times. These things are not hard for parents to do. # What Are Good Violin Teachers Like? I must say that good violin teachers are those who are suitable for the children. If the children just start to learn, it is not necessary to find them an international master. A careful and responsible teacher who was trained professionally is OK. If parents find their children talented after learning for some time, they can take the children to participate in some high-quality summer camps of violin. I have held a summer camp myself for 26 times. Many children who have entered the camp find that it is a good platform for meeting excellent teachers and communicating with peers. It also provides the talented children with an opportunity to become violin masters’ students. For parents, they can get to know how the masters evaluate their children’s playing. It is important for both parents and children to decide whether the professional path is suitable or not. On the other hand, I would like to tell our parents not to push their children too hard. What the children need to do is making progress during learning and practicing. It is not necessary for parents to force their children to speed up too much. Or the children may break down. Having a sense of achievement during practicing counts more for children. **To sum up, there are 4 things that parents need to pay attention to during their children’s music learning:** **First, choose a suitable instrument for children.** **Second, create a good learning environment for children.** **Third, select a good teacher.** **Fourth, take some time to accompany children.** ![](https://static.lianmuse.com/image/blog/24c883363b77987af386a1d2a346c6ce.png?v=24c883363b77987af386a1d2a346c6ce) # Violin Q&A: Violy: When do you think it is suitable for children to change teachers? Ling Zi: It depends on children’s playing. If the children are very talented and decide to go professional, and their current teachers have some limitations themselves and cannot instruct the children anymore, the children may consider switching to a more professional teacher. If the children do not intend to go professional, and their teachers are trained and responsible, they do not need to change teachers. Violy: In your opinion, what are the differences between Chinese and Western music education? What improvements should Chinese young learners make? Ling Zi: I think the biggest difference is the emphasis on music accomplishment. Western parents pay much attention to it while Chinese parents focus more on children’s skills, results of competitions and grading tests. Chinese young learners should make improvements on their music accomplishment. Violy: Could you please give a brief introduction of your summer camp? Ling Zi: My summer camp started from 2002. The guest of my first summer camp is Ms. Zhao Wei, the well-known professor from Central Conservatory of Music (CCOM). We invite excellent teachers from music conservatories in China or even worldwide to our summer camp to help parents solve problems related to their children’s practice. We also have forums for teachers and parents who participate in the summer camp. They can communicate with each other in the forums. Besides, we hold the summer camp in different cities each year. In this way, more students from different places can have a platform for peer communication. Violin parents: How can children schedule practicing since they are busy with their schoolwork? Ling Zi: There is no fixed answer for this question. I would like to give an example here. I visited a child’s parents 10 years ago. The child was excellent in his schoolwork. His parents drove to pick him up every day. At noon, he had his lunch in the car and started to practice as soon as he arrived at home. Then he got 30 minutes for practicing. When he was after school in the afternoon, his parents picked him up, and on the way home, the parents played the recording of the piece he needed to practice. It may take 20 to 30 minutes. Then he practiced for about half an hour when he finished homework in the evening. In this way, the child got one and a half hours to practice every day. He did not become a musician later, but he managed to arrange his study and life very well then. Violin teachers: Sometimes we find some children very talented and may be suitable to go professional, but their parents think the children should pay more attention to their schoolwork, how can we persuade the parents? Ling Zi: First of all, we must confirm whether the children are talented for sure and whether they are suitable to go professional. Professional teachers can tell if parents take their children to meet them. If the children are suitable to go professional indeed, parents may rethink about the children's career path. On the other hand, children's willingness should be taken into consideration as well. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violy Master Class Articles: ## [**Cello Master Class - Wu Linfeng**](https://violy.app/blog/2019/12/Violy-Cello-Lecture-WuLinfeng/) [**Violin Master Class - Wang Boyang**](https://violy.app/blog/2019/08/Violy-Violin-Lecture/) ## #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Play Along with Piano Accompaniments - Improve Skills of Violin, Viola, Cello Violy - URL: https://violy.app/blog/play-along-with-piano-accompaniments-improve-skills-of-violin-viola-cello-violy - Markdown: https://violy.app/blog/play-along-with-piano-accompaniments-improve-skills-of-violin-viola-cello-violy.md - Published: 2020-03-02 - Summary: Violy musicians, how’s your practice? To present you with a “violy” way to practice violin, viola an Violy musicians, how’s your practice? To present you with a “violy” way to practice violin, viola and cello, we will go through Violy’s features of **polyphony playback** and **accompaniments** in this article. # Play along with Metronome Open the Violy app and enter the piece you want to practice. Here we take *Canon in D major* for an example: ![](https://static.lianmuse.com/image/blog/122d8e45933f963a37759b05104b1e0a.png?v=122d8e45933f963a37759b05104b1e0a) Enter the score, click on the icon of “Metronome” on the left side to turn it on. ![](https://static.lianmuse.com/image/blog/63f1cad909cd7f7faf40d5eae2000064.png?v=63f1cad909cd7f7faf40d5eae2000064) Tempo of the music can be adjusted by dragging the spanner. ![](https://static.lianmuse.com/image/blog/c06e4d64bb739c732dbd5daf8ca50cb5.png?v=c06e4d64bb739c732dbd5daf8ca50cb5) Press the “play” button and check the current tempo. Now let’s return to the sheet music page. Click on the blue “Play” button to start playing the music. ![](https://static.lianmuse.com/image/blog/2828dfbd0b99f9e39183a5f560bbba2e.png?v=2828dfbd0b99f9e39183a5f560bbba2e) If the tempo has been adjusted before, the music will be played at the current speed. During playing, the click sound of metronome can be turned on or off by clicking on the first icon in the bottom left corner. ![](https://static.lianmuse.com/image/blog/9ca4af153a6968601f4aae5d31e8f254.png?v=9ca4af153a6968601f4aae5d31e8f254) # Play along with Piano Accompaniment Turn on the piano accompaniment by clicking on the second icon of “Keyboard”. ![](https://static.lianmuse.com/image/blog/866b0cae1ee57643fc669deb2abf275f.png?v=866b0cae1ee57643fc669deb2abf275f) The volume of piano accompaniment can be adjusted by clicking on the “Mixer” icon on the upper side. ![](https://static.lianmuse.com/image/blog/525fa515f905242fefbfebeb07dfa015.png?v=525fa515f905242fefbfebeb07dfa015) ![](https://static.lianmuse.com/image/blog/4621865b70ff03ffac1bfd0a51373a5c.png?v=4621865b70ff03ffac1bfd0a51373a5c) # Play along with Polyphony and other Instruments The third icon of “Vln.” represents the sound of the first violin. It can be turned on or off according to your own needs. ![](https://static.lianmuse.com/image/blog/060bd0eaf2b80705e834492ff4815b31.png?v=060bd0eaf2b80705e834492ff4815b31) Just as same as it works for the piano accompaniment, the volume of the first violin can be adjusted as well. ![](https://static.lianmuse.com/image/blog/a15c40478d42efa3419aca0beee4bf81.png?v=a15c40478d42efa3419aca0beee4bf81) Ditto for the second violin. Just click on the fourth icon to turn it on or off, and set its volume. ![](https://static.lianmuse.com/image/blog/d29f31d53a4baf7027687c9bb1c5cb35.png?v=d29f31d53a4baf7027687c9bb1c5cb35) ![](https://static.lianmuse.com/image/blog/45a690d5d2d702efec17516091882b6e.png?v=45a690d5d2d702efec17516091882b6e) That’s all for the introduction of the features of polyphony playback and accompaniments. Now you can start to practice your violin, viola or cello in a “violy” way. If there are any other problems, you are welcomed to contact Violy team at any time. Stay tuned, Violy musicians, more instructional articles based on Violy features will be released~ {% raw %}
{% endraw %} # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violin Articles: ## [**Teaching Violin Students to Read Key Signatures**](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [**Perform Harmonics on Violin**](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [**Solfeges used in Violin Lessons**](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [**How to Choose Right Violin Strings**](https://violy.app/blog/2019/12/How-to-choose-right-violin-strings/) [**Things You Must Know About Violin Bowing**](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [**Tips for Proper Violin Maintenance**](https://violy.app/blog/2019/12/Violin-Maintenance/) [**Violin Books for Beginners**](https://violy.app/blog/2020/01/Violin-Books-for-Beginners/) [**Practice Effectively after Violin Lessons**](https://violy.app/blog/2020/01/Practice-after-Violin-Lessons/) [**Acoustic Violin VS Electric Violin**](https://violy.app/blog/2020/01/Acoustic-Violin-VS-Electric-Violin/) #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Tango Music for Violin, Viola, Cello - URL: https://violy.app/blog/tango-music-for-violin-viola-cello - Markdown: https://violy.app/blog/tango-music-for-violin-viola-cello.md - Published: 2020-02-18 - Summary: Violy musicians, have you tried to combine classical string instruments with tango music? Well, if y # Tango Sheet Music for String Instruments Violy musicians, have you tried to combine classical string instruments with tango music? Well, if you haven’t, now there is a chance for you to enjoy the elegance of cello and the Latino passion of tango at the same time. Here comes Tango, another FREE album in February on Violy. We will bring you with an introduction of tango and go through the pieces contained in the album. ¡Vamos a disfrutarlos (Let’s enjoy)! ![](https://static.lianmuse.com/image/blog/a4b0d0e1782ba3cc8c9b2206993f9274.jpeg?v=a4b0d0e1782ba3cc8c9b2206993f9274) # Tango Music and Tango Styles Tango is a partner dance and social dance that originated in the 1880s along the Río de la Plata (La Plata River), the natural border between Argentina and Uruguay. It was born in the impoverished port areas of the countries, where natives mixed with slaves and European immigrants. Tango is the result of a combination of German Waltz, Czech Polka, Polish Mazurka, Bohemian Schottische, Spanish-Cuban Habanera, African Candombe, and Argentinian Milonga. The dance was frequently practiced in the bars of ports, where business owners employed bands to entertain their patrons with music. It spread to the rest of the world then. Many variations of this dance currently exist around the world. On August 31, 2009, tango was added to the UNESCO Intangible Cultural Heritage Lists. Tango consists of a variety of styles that developed in different regions and eras of Argentina, as well as in other locations around the world. The dance developed in response to many cultural elements, such as the crowding of the venue and the fashions in clothing. The styles are mostly danced in either open embrace, where lead and follow have space between their bodies, or close embrace, where lead and follow connect chest-to-chest (Argentine tango) or in the upper thigh (American and International tango). Different styles of tango are: Tango argentino (Argentine tango); Tango canyengue; Uruguayan tango; Tango liso (Smooth tango); Tango salón (Salon tango); Tango orillero; Tango camacupense (from Angola); Tango milonguero; Tango nuevo (New tango); Tango Valparaísino (from Valparaíso, Chile); Tango vals (Tango Waltz); Milonga; Ballroom tango; Finnish tango; ![](https://static.lianmuse.com/image/blog/c1de5e9b9aa7bcef8fd047734dd8e583.jpeg?v=c1de5e9b9aa7bcef8fd047734dd8e583) # Tango Sheet Music for Violin, Viola, and Cello: There are totally 6 pieces of music in the FREE album of Tango on Violy, including: ***1. La Derniere Rose*** | Andante = 76 The work originated from The Last Rose of Summer, which is a poem written by the Irish poet Thomas Moore. He wrote it in 1805. The poem was set to a traditional tune called “Aislean an Oigfear”, or “The Young Man’s Dream”. The poem and the tune together were published in December 1813 in volume 5 of Thomas Moore’s A Selection of Irish Melodies. ***2. Moments Musicaux №3*** | Allegro Moderato = 100 The work is the third movement from Six Moments Musicaux composed by Franz Schubert. This piece in F minor has been arranged by Leopold Godowsky and others. ***3. The Easy Winners | BPM = 80*** The work is a ragtime composition by Scott Joplin. It is one of the composer’s most popular works. The composition follows the structural pattern which is typical of many Joplin’s works. The pattern is extended to include an introduction before strain A and another before strain C, or the trio. Thus, the structure reads: Intro A A B B A Trio-Intro C C D D. The intro is in A-flat major and the Trio is in the subdominant key of D-flat major. ***4. The Entertainer | BPM =80*** The Entertainer is written by Scott Joplin in 1902. As one of the classics of ragtime, it returned to international prominence as part of the ragtime revival in the 1970s, when it was used as the theme music for the 1973 Oscar-winning film The Sting. The Entertainer is sub-titled “A Ragtime Two Step”, which was a form of dance popular until about 1911, and a style which was common among ragtime works written at the time. Its structure is: Intro–AA–BB–A–CC–Intro 2–DD. The work is primarily set in the key of C major. However, for the C section, it modulates to F major. Then through a transitional passage, it modulates back to C major for the D section. The B section contains an indication that the melody is to be played an octave higher on the repeat. ***5. Por Una Cabeza | Moderato = 104*** Por Una Cabeza is a tango song written in 1935 with music by Carlos Gardel and lyrics by Alfredo Le Pera. The name is a Spanish horse-racing phrase meaning “by a head”, which refers to a horse winning a race narrowly by just the length of its head. The starting phrase in the B section may be inspired by Mozart’s Rondo for Violin and Orchestra in C major, K. 373. The song was originally composed in A major. It was thereafter adapted to the violin and the piano in G major. ***6. La Bamba | Allegro = 138*** La Bamba is a Mexican folk song, originally from the state of Veracruz, best known from a 1958 adaptation by Ritchie Valens. The adaptation is a top 40 hit in the U.S. charts and one of the best-known songs of early rock and roll. Valens’ La Bamba infused the traditional tune with a rock drive. The song features a simple verse-chorus form. It ranked №98 in VH1’s 100 Greatest Songs of Rock and Roll in 1999, and №59 in VH1’s 100 Greatest Dance Songs in 2000. Furthermore, Valens’ recording of the song was inducted into the Latin Grammy Hall of Fame. # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violin Articles: ## [**Teaching Violin Students to Read Key Signatures**](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [**Perform Harmonics on Violin**](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [**Solfeges used in Violin Lessons**](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [**How to Choose Right Violin Strings**](https://violy.app/blog/2019/12/How-to-choose-right-violin-strings/) [**Things You Must Know About Violin Bowing**](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [**Tips for Proper Violin Maintenance**](https://violy.app/blog/2019/12/Violin-Maintenance/) [**Violin Books for Beginners**](https://violy.app/blog/2020/01/Violin-Books-for-Beginners/) [**Practice Effectively after Violin Lessons**](https://violy.app/blog/2020/01/Practice-after-Violin-Lessons/) [Acoustic Violin VS Electric Violin](https://violy.app/blog/2020/01/Acoustic-Violin-VS-Electric-Violin/) #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violy CREATOR STUDIO - URL: https://violy.app/blog/violy-creator-studio-2 - Markdown: https://violy.app/blog/violy-creator-studio-2.md - Published: 2020-02-13 - Summary: Hello, Violy musicians, now you can **upload your own sheet music** into [**Violy App**](https://vio # Upload Your Music into Violy App! Hello, Violy musicians, now you can **upload your own sheet music** into [**Violy App**](https://violy.app/#download) via [**CREATOR STUDIO**](https://creator.violy.app/login#/) and practice it! According to the constant feedback from all users, one of the most frequently asked questions is “when can I practice my own sheet music with Violy ?”. Well, thanks for your patience during such a long time. We have just released the new feature of “**Violy CREATOR STUDIO**”. ![](https://static.lianmuse.com/image/blog/8692d4618356d4e14fb447c94efd6417.jpeg?v=8692d4618356d4e14fb447c94efd6417) # CREATOR STUDIO, all in Creative! Every Violy user can be a music “publisher” in [**CREATOR STUDIO**](https://creator.violy.app/login#/)! To submit sheet music to CREATOR STUDIO, it requires the sheet music in the format of both **MuseScore** and **MusicXML**. Once the sheet music releases after a short reviewing process, you are able to find it in “**Music Cloud**” on Violy App and start your practice in any time, any mode. # Practice with Current version of Violy CREATOR STUDIO: - The current version of “**Violy CREATOR STUDIO**” is only accessible with a web browser and is preferentially designed for PC and Mac. - Scanning and recognizing of sheet music files in **JPG, PDF** or other formats are not supported; - The only **supported formats** of sheet music files are **MuseScore(.mscz)** and **MusicXML(.musicxml)**. Sheet music files can be directly exported as [**MusicXML**](https://musescore.org/en) file through MuseScore software. Here are the brief steps to upload sheet music onto Violy App with “CREATOR STUDIO”: **I. Create a new album;** **II. Add music and parts in the album;** **III. Submit for review process (for public albums only).** # I. Create a new album ## Enter “CREATOR STUDIO” and Login Open the official website of Violy (https://violy.app/) with your browser and click on the “**CREATOR**” on the top. ![](https://static.lianmuse.com/image/blog/9a9f0435305210fcabf1c3945e4451ad.jpeg?v=9a9f0435305210fcabf1c3945e4451ad) And login “CREATOR STUDIO” with your Violy account. ![](https://static.lianmuse.com/image/blog/2b8984ae98308bd299678bb2cbf09b21.png?v=2b8984ae98308bd299678bb2cbf09b21) ## Add New Album and Complete the Album Info Click on ‘**ADD NEW ALBUM**’ after entering ‘Creator’. ![](https://static.lianmuse.com/image/blog/21ae5a3320135f835724add2659539be.jpeg?v=21ae5a3320135f835724add2659539be) Once the new album is created, you can add music pieces into it by uploading sheet music files into the album. Also, you need to **fill in the album information** after adding new album (**red items are required**). ![](https://static.lianmuse.com/image/blog/54561bcdc379ffb00113ae85347dcf0e.jpeg?v=54561bcdc379ffb00113ae85347dcf0e) “**Public Visibility**”, “**Album Title**” and “**Album Cover**” must be completed. ![](https://static.lianmuse.com/image/blog/31cacf7d1f3ef5586137003d9b1b8741.jpeg?v=31cacf7d1f3ef5586137003d9b1b8741) You can set the “**Public Visibility**” of your album for ‘**Private**’, ‘**Public**’, ‘**Group**’ or ‘**Institution**’. ‘**Private**’: If you set the album as private, it will only be visible to your Violy account. Private albums are not required to pass the Review Process. You can find them in **“Violy” > “Music Cloud” > “Private”** after releasing. **'Group'/'Institution'**: If you are in a certain groups or institutions, and you have set the “Public Visibility” of your album for ‘Group’ or ‘Institution’, the album will be visible to all members in the same group/institution. You need to select the group or institution to share the sheet music album with in advance. ‘Group’ and ‘Institution’ albums are not required to pass the Review Process. ‘**Public**’: If you set the “Public Visibility” of your album as ‘Public’, it will be visible to all Violy users. Every piece of music in public albums needs to be reviewed by Violy team. The sheet music album is also required to be reviewed before releasing. # II. Add music and parts in the album ## Create Music You can add more than one piece of music in an album. ![](https://static.lianmuse.com/image/blog/af38f8ea75d98571a5ae6fa72cb42102.jpeg?v=af38f8ea75d98571a5ae6fa72cb42102) ## Complete Music Info You need to complete the **music title** ![](https://static.lianmuse.com/image/blog/a704a6dac3db71c4c0d93238c141d7b8.jpeg?v=a704a6dac3db71c4c0d93238c141d7b8) select the **instrument** and **composer**, and upload **sheet music files**. If there are other parts in the uploaded music, you can click ‘**ADD NEW PART**’ to complete the information. Then you can click ‘**SUBMIT**’ to finish uploading. ![](https://static.lianmuse.com/image/blog/a16d4239c706a1041b67cc627532151d.jpeg?v=a16d4239c706a1041b67cc627532151d) # III. Submit for review process (for public albums only) If an album’s “Public Visibility” is set for public, after the submission, it normally takes 24 hours for Violy team to review and released the album and the sheet music within. ![](https://static.lianmuse.com/image/blog/a9e85c84e39c756134e40cea9eca67c6.jpeg?v=a9e85c84e39c756134e40cea9eca67c6) The current version of “Violy CREATOR STUDIO” only for sheet music uploading. Please stay tuned, there will be more and more features later, such as adding audio and video demos for the uploaded sheet music, and receiving other users’ likes and comments. By uploading sheet music in “Violy CREATOR STUDIO”, you can give a chance to music lovers all over the world to check out your music works. “Violy CREATOR STUDIO”, it is all in Creative! # Have a HAPPY practice!! # {% raw %}
{% endraw %} ## More Violin Articles: ## [**Teaching Violin Students to Read Key Signatures**](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [**Perform Harmonics on Violin**](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [**Solfeges used in Violin Lessons**](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [**How to Choose Right Violin Strings**](https://violy.app/blog/2019/12/How-to-choose-right-violin-strings/) [**Things You Must Know About Violin Bowing**](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [**Tips for Proper Violin Maintenance**](https://violy.app/blog/2019/12/Violin-Maintenance/) [**Violin Books for Beginners**](https://violy.app/blog/2020/01/Violin-Books-for-Beginners/) [**Practice Effectively after Violin Lessons**](https://violy.app/blog/2020/01/Practice-after-Violin-Lessons/) [Acoustic Violin VS Electric Violin](https://violy.app/blog/2020/01/Acoustic-Violin-VS-Electric-Violin/) #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Cello Suites for Cello and Viola on Violy - URL: https://violy.app/blog/cello-suites-for-cello-and-viola-on-violy - Markdown: https://violy.app/blog/cello-suites-for-cello-and-viola-on-violy.md - Published: 2020-02-11 - Summary: Hello, Violy cellists and violists! Bach's Cello Suites will run through your 'violy' February and m # Free Sheet Music on Violy App Hello, Violy cellists and violists! Bach's Cello Suites will run through your 'violy' February and make the month more fascinating. During the whole month, the Violy sheet music album of *The Six Unaccompanied Cello Suites* for Cello and for Viola are FREE to all Violy users. In this article, we will go through these Baroque masterpieces from Johann Sebastian Bach, one of the greatest composers of all time. ![](https://static.lianmuse.com/image/blog/87e684da4455e66d46781cea502fbea8.png?v=87e684da4455e66d46781cea502fbea8) # Cello Album Composer: Johann Sebastian Bach [Johann Sebastian Bach](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/#Violy-Album-Contents) was a German composer and musician of the Baroque period. The Bach family had already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. He is known for instrumental compositions such as the *Brandenburg Concertos* and the *Goldberg Variations*. He enriched German styles through his mastery of counterpoint, harmonic and motivic organization, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. ![](https://static.lianmuse.com/image/blog/d1a275b8cc5ea997a9f1ce399bfcb3a2.jpeg?v=d1a275b8cc5ea997a9f1ce399bfcb3a2) Bach’s compositions include hundreds of cantatas, Latin church music, passions, oratorios, and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but also in his four-part chorales and sacred songs. He wrote extensively for organ and other keyboard instruments. He also composed concertos for violin and harpsichord, and suites for orchestra. Many of his works employ the genres of canon and fugue. Throughout the 18th century, Bach was primarily valued as organist, while his keyboard music, such as *The Well-Tempered Clavier*, was appreciated for its didactic qualities. The 19th century saw the publication of some major Bach biographies, and by the end of that century, all of his known music had been printed. ![](https://static.lianmuse.com/image/blog/a54f4973037ed0f4203a1937d1c3cb35.jpeg?v=a54f4973037ed0f4203a1937d1c3cb35) # Bach’s Cello Composition Bach’s six unaccompanied cello suites are some of the most frequently performed and recognizable solo compositions ever written for cello. Bach most likely composed them during the period 1717–23, when he served as Kapellmeister in Köthen. The title given on the cover of Anna Magdalena Bach’s manuscript was *Suites à Violoncello Solo senza Basso* (Suites for cello solo without bass). As usual in a Baroque musical suite, after the prelude which begins each suite, all the other movements are based around Baroque dance types. The suites are structured in six movements each: prelude, allemande, courante, sarabande, two menuets or two bourrées or two gavottes, and a final gigue. The Bach cello suites are considered to be among the most profound of all classical music works. Wilfrid Mellers described them in 1980 as “Monophonic music wherein a man has created a dance of God.” Due to the works’ technical demands, étude-like nature, and difficulty in interpretation, the cello suites were little known and rarely publicly performed until they were revived and recorded by Pablo Casals in the early 20th century. Since then, they have been performed and recorded by many renowned cellists and have been transcribed for numerous other instruments. The six cello suites are considered to be some of Bach’s greatest musical achievements. # Violy FREE Album Contents: There are totally 42 pieces of music in the FREE album of *The Six Unaccompanied Cello Suites — Bach* (and the same pieces for Viola) on Violy, including: 1. ***Suite I-Prelude*** | BPM = 80 {% raw %}
{% endraw %} The *Prelude of Suite №1 in G major*, mainly consisting of arpeggiated chords, is probably the most well-known movement from the entire set of suites and is regularly heard on television and in films. 2. ***Suite I-Allemande*** | BPM = 80 3. ***Suite I-Courante*** | BPM = 80 4. ***Suite I-Sarabande*** | BPM = 80 5. ***Suite I-Menuet I*** | BPM = 80 6. ***Suite I-Menuet II*** | BPM = 80 7. ***Suite I-Gigue*** | BPM = 80 8. ***Suite II-Prelude*** | BPM = 80 9. ***Suite II-Allemande*** | BPM = 80 10. ***Suite II-Courante*** | BPM = 80 11. ***Suite II-Sarabande*** | BPM = 80 12. ***Suite II-Menuet I*** | BPM = 80 13. ***Suite II-Menuet II*** | BPM = 80 14. ***Suite II-Gigue*** | BPM = 80 The *Prelude of Suite №2 in D minor* consists of two parts. The first part has a strong recurring theme that is immediately introduced in the beginning. The second part is a scale-based cadenza movement that leads to the final powerful chords. The subsequent allemande contains short cadenzas that stray away from this very strict dance form. The first menuet contains demanding chord shiftings and string crossings. 15. ***Suite III-Prelude*** | BPM = 80 16. ***Suite III-Allemande*** | BPM = 80 17. ***Suite III-Courante*** | BPM = 80 18. ***Suite III-Sarabande*** | BPM = 80 19. ***Suite III-Bourrée I*** | BPM = 80 20. ***Suite III-Bourrée II*** | BPM = 80 21. ***Suite III-Gigue*** | BPM = 80 The *Prelude of Suite №3 in C major* consists of an A–B–A–C form, with A being a scale-based movement that eventually dissolves into an energetic arpeggio part; and B, a section of demanding chords. It then returns to the scale theme and ends with a powerful and surprising chord movement. The allemande is the only movement in the six suites that has an up-beat consisting of three semiquavers instead of just one, which is the standard form. The second bourrée, though in C minor, has a two-flat (or G minor) key signature. This notation, common in Pre-Classical music, is sometimes known as a partial key signature. The first and second bourrée of the third suite are sometimes used as solo materials for other bass instruments, such as tuba, euphonium, trombone and bassoon. 22. ***Suite IV-Prelude*** | BPM = 80 23. ***Suite IV-Allemande*** | BPM = 80 24. ***Suite IV-Courante*** | BPM = 80 25. ***Suite IV-Sarabande*** | BPM = 80 26. ***Suite IV-Bourrée I*** | BPM = 80 27. ***Suite IV-Bourrée II*** | BPM = 80 28. ***Suite IV-Gigue*** | BPM = 80 *Suite №4 in E♭ major* is one of the most technically demanding of the six suites, as E♭ is an uncomfortable key on the cello and requires many extended left hand positions. The key is also difficult on cello due to the lack of resonant open strings. The prelude primarily consists of a difficult flowing quaver movement that leaves room for a cadenza before returning to its original theme. The very peaceful sarabande is quite obscure about the stressed second beat, which is the basic characteristic of the 3/4 dance. In this particular sarabande, almost every first beat contains a chord, whereas the second beat most often does not. 29. ***Suite V-Prelude*** | BPM = 80 30. ***Suite V-Allemande*** | BPM = 80 31. ***Suite V-Courante*** | BPM = 80 32. ***Suite V-Sarabande*** | BPM = 80 33. ***Suite V-Gavotte I*** | BPM = 80 34. ***Suite V-Gavotte II*** | BPM = 80 35. ***Suite V-Gigue*** | BPM = 80 *Suite №5 in C minor* was originally written in scordatura with the A string tuned down to G, but nowadays a version for standard tuning is included in almost every edition of the suites along with the original version. Some chords must be simplified when playing with standard tuning, but some melodic lines become easier as well. The prelude is written in an A–B form. It is a French overture. It begins with a slow, emotional movement that explores the deep range of the cello. After that comes a fast and very demanding single-line fugue that leads to the powerful end. This suite is most famous for its intimate sarabande, which is the second of only four movements in all six suites that do not contain any chords. Mstislav Rostropovich describes it as the essence of Bach's genius. The fifth suite is also exceptional as its courante and gigue are in the French style, rather than the Italian form of the other five suites. 36. ***Suite VI-Prelude*** | BPM = 80 37. ***Suite VI-Allemande*** | BPM = 80 38. ***Suite VI-Courante*** | BPM = 80 39. ***Suite VI-Sarabande*** | BPM = 80 40. ***Suite VI-Gavotte I*** | BPM = 80 41. ***Suite VI-Gavotte II*** | BPM = 80 42. ***Suite VI-Gigue*** | BPM = 80 It is widely believed that *Suite №6 in D major* was composed specifically for a five-stringed violoncello piccolo, a smaller cello, roughly ​7⁄8 normal cello size with a fifth upper string tuned to E. However, some people say there is no substantial evidence to support this claim. Cellists playing this suite on a modern four-string cello encounter difficulties as they are forced to use very high positions to reach many of the notes. This suite is written in much more free form than the others, containing more cadenza-like movements and virtuosic passages. It is also the only one of the six suites that is partly notated in the alto and soprano clefs (modern editions use tenor and treble clefs), which are not needed for the others since they never go above the note G4 (G above middle C). Stay tuned, Violy musicians! # Have a HAPPY practice!! # ## More Violin Articles: ## [**Teaching Violin Students to Read Key Signatures**](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [**Perform Harmonics on Violin**](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [**Solfeges used in Violin Lessons**](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [**How to Choose Right Violin Strings**](https://violy.app/blog/2019/12/How-to-choose-right-violin-strings/) [**Things You Must Know About Violin Bowing**](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [**Tips for Proper Violin Maintenance**](https://violy.app/blog/2019/12/Violin-Maintenance/) [**Violin Books for Beginners**](https://violy.app/blog/2020/01/Violin-Books-for-Beginners/) [**Practice Effectively after Violin Lessons**](https://violy.app/blog/2020/01/Practice-after-Violin-Lessons/) [**Acoustic Violin VS Electric Violin**](https://violy.app/blog/2020/01/Acoustic-Violin-VS-Electric-Violin/) ## Also, check out violin sheet music on Violy App~ ## [**Johnn Sebastian Bach**](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), [**Joseph Haydn**](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/), [**Wolfgang Amadeus Mozart**](https://violy.app/blog/2019/11/Mozart-on-violin-app/), [**Ludwig van Beethoven**](https://violy.app/blog/2019/11/Beethoven-on-violin-app/), [**Felix Mendelssohn**](https://violy.app/blog/2019/12/Mendelssohn-on-violin-app/), [**Pyotr Ilyich Tchaikovsky**](https://violy.app/blog/2020/01/Tchaikovsky-on-violin-app/). {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Acoustic Violin VS Electric Violin - URL: https://violy.app/blog/acoustic-violin-vs-electric-violin - Markdown: https://violy.app/blog/acoustic-violin-vs-electric-violin.md - Published: 2020-01-21 - Summary: When we talk about violin, we usually refer to the acoustic violin, or classical violin, which is wi # Trivia outside Violin Lessons When we talk about violin, we usually refer to the acoustic violin, or classical violin, which is widely learned and performed all over the world. As for the electric violin, some violin learners may know little about it and never try it before. On the other hand, violin teachers may not teach students to play the electric violin in violin lessons. It is obvious that electric violins are getting more popular in some occasions, such as commercial performances, stage plays, music festivals and so on. In the text below, we will discuss the differences between the acoustic violin and the electric violin. ![](https://static.lianmuse.com/image/blog/e3a8e045ec5ba9f604c217c84e78c95b.jpeg?v=e3a8e045ec5ba9f604c217c84e78c95b) # A Brief Introduction of Electric Violin Which Is Also Used by Violin App Users An electric violin usually refers to an instrument intentionally made to be electrified with built-in pickups, usually with a solid body. Some famous instrument stores sold electric violins in the 1930s and 1940s. Fender Musical Instruments Corporation, an American manufacturer of stringed instruments and amplifiers, produced a very small number of electric violins in 1958 and reissued them again in 1969. During the 1980s, more companies were formed producing their own brand of electric violin. There has been a great deal of commercial success for manufacturers of electric violins since the 1990s. # Violin App Users’ Opinions: Differences between Acoustic Violin and Electric Violin ## Different Structures The acoustic violin is made of a hollow structure that amplifies the vibrations of the strings. Conversely, the electric violin is often made of a solid structure and must be connected to an amplifier to be heard. Therefore, the main difference is related to the amplifying way of the sound being played. Besides, an acoustic violin has a sound box while an electric violin does not. Therefore, an acoustic violin is heard from the moment being played. As for an electric violin, if it is not connected to an amplifier, it will not be heard by the public but produce a slight sound which is barely audible. ![Original Picture from 3Dvarius](https://static.lianmuse.com/image/blog/8e94fb26fadc628b40c8deeb3cd1a2fc.png?v=8e94fb26fadc628b40c8deeb3cd1a2fc) [3Dvarius](https://www.3d-varius.com/differences-acoustic-electric-violin) ## Different Weights Since the acoustic violin has a hollow body, it weighs less than the electric violin. An acoustic violin weighs about 480g. The weight of an electric violin differs from one manufacturer to another. Some manufacturers may limit the amount of material and lighten the final weight of the instrument as much as possible, but others may not. Heavy electric violins may tire players' arms and hands, and develop tendinitis in the long term. ## Different Sound Transmission An acoustic violin uses a classical bridge, which is placed on the body of the violin and sustained by the pressure of the strings. The bridge facilitates the transmission of the string vibration to the sound box. However, an electric violin will have to re-transcribe the string vibration into an electrical signal, and then transmit it to an amplifier. The "manufacture" of this electrical signal will be carried out by one or more pickups contained in the bridge. The sound quality of an electric violin will depend on the type of bridge and the number of pickups it contains. There are several types of pickups that can create the electrical signal, such as piezoelectric pickups or magnetic pickups. Almost every violinist has already received complaints from unhappy neighbors because of the sound produced by violin exercises. Sometimes violin players may use a mute to muffle the sound of an acoustic violin, but it is not enough. Using headphones to amplify the electric violin can allow players to play quietly at home without disturbing their neighbors. ## Different Designs An acoustic violin has 4 strings: G(Sol), D(Re), A(La), E(Mi). An electric violin may have 4 or more strings. A 5-string electric violin has the C(Do) string, which is generally used on violas. What's more, acoustic violins always have the same visual appearances. We can find common elements on acoustic violins, such as f holes, tailpiece, scroll and so on. But these elements can disappear on an electric violin. Only some necessary elements are remained on electric violins, such as the neck and the fingerboard. In fact, electric violins can have any type of designs, colors, and materials. The certain appearance can be completely decided by the designer. ![](https://static.lianmuse.com/image/blog/3da7db78f8d7fda5fb7756e92e5da428.jpeg?v=3da7db78f8d7fda5fb7756e92e5da428) ## Different Sound and Genres An electric violin does not have the same sound as an acoustic violin does. It is possible to get closer to a classical sound with an electric violin using small effects. But if violin players wanted to play classical music, they would be playing it on an acoustic violin. A multi-effect pedal can be used on an electric violin to improve and transform the sound produced. It can transform the sound into different genres. With the effect pedals, violin players can play rock, metal, jazz, pop, etc. on an electric violin. To conclude, acoustic violins and electric violins are designed for different uses. It is common to meet violinists who perform both kinds of violins. Moreover, most violinists have one or more copies of each instrument. They choose to use one or another depending on the playing occasions. In classical performances, such as a church ceremony, they will choose to play the acoustic violin. In other performances, like a rock music festival, they may prefer electric violin. But we recommend violin beginners to start with an acoustic violin, simply because it is much easier to play and does not require anything to be plugged in. # Have a HAPPY practice!! # ## More Violin Articles: ## [**Teaching Violin Students to Read Key Signatures**](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [**Perform Harmonics on Violin**](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [**Solfeges used in Violin Lessons**](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [**How to Choose Right Violin Strings**](https://violy.app/blog/2019/12/How-to-choose-right-violin-strings/) [**Things You Must Know About Violin Bowing**](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [**Tips for Proper Violin Maintenance**](https://violy.app/blog/2019/12/Violin-Maintenance/) [**Violin Books for Beginners**](https://violy.app/blog/2020/01/Violin-Books-for-Beginners/) [**Practice Effectively after Violin Lessons**](https://violy.app/blog/2020/01/Practice-after-Violin-Lessons/) ## Also, check out violin sheet music on Violy App~ ## [**Johnn Sebastian Bach**](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), [**Joseph Haydn**](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/), [**Wolfgang Amadeus Mozart**](https://violy.app/blog/2019/11/Mozart-on-violin-app/), [**Ludwig van Beethoven**](https://violy.app/blog/2019/11/Beethoven-on-violin-app/), [**Felix Mendelssohn**](https://violy.app/blog/2019/12/Mendelssohn-on-violin-app/), [**Pyotr Ilyich Tchaikovsky**](https://violy.app/blog/2020/01/Tchaikovsky-on-violin-app/). {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Practice Effectively after Violin Lessons - URL: https://violy.app/blog/practice-effectively-after-violin-lessons - Markdown: https://violy.app/blog/practice-effectively-after-violin-lessons.md - Published: 2020-01-14 - Summary: Learning to play the violin involves long hours of training. Every violin student understands that t Learning to play the violin involves long hours of training. Every violin student understands that the total amount of practice you put in will equal how great a violinist you can become. For violin teachers, they also urge their students to practice as much as possible since the practicing amount of weekly violin lessons is not enough. However, just spending every second practicing cannot make you a professional violinist. Apart from practice itself, what should also be considered is how to practice effectively. In the text below, we will introduce several ways to make your practice more effective. ![](https://static.lianmuse.com/image/blog/be21c473e5f06a0f4ea158056d6787e6.jpeg?v=be21c473e5f06a0f4ea158056d6787e6) First of all, almost every violinist knows the importance of deliberate practice. Deliberate practice is difficult, but worth it. Deliberate means when you practice, you need to center all your thoughts on practice itself for the entire time. The tips we will discuss below share the common core of deliberate practice. Although you may have your own individual regimen like other violin players do, you can still develop your own deliberate practice style and begin to see remarkable results by incorporating these practice habits and visualization techniques. # Visualize Your Goal When Practice after Violin Lessons Without a clear and attainable goal, making progress can be incredibly difficult. For example, instead of concentrating on the violin fingering that you are doing wrong, you are supposed to focus your mind on how it should be like when it is done properly. It can help if you watch a close-up of a virtuoso performing the same piece. It is important to create realistic images of how it will feel and sound when the piece is performed perfectly. By outlining the practicing goal, violin students are able to focus on the outcome desired, rather than a current limitation. # Organize Your Surroundings Outside of Violin Lessons The place where you practice has a direct influence on how effective you will be able to learn. Essentially, you are practicing to get improved. If your mind is able to wander easily or there are a lot of distractions nearby, deliberate practice is going to be difficult. The place you practice after violin lessons should be organized to support total concentration. It is hard to focus on practice itself if you are being constantly interrupted by texts, phone calls, or other objects which may be distracting. Find a quiet room and make sure that the notifications of your mobile devices are off. It will also help if you situate your music stand in an area that offers few visual distractions. What’s more, you can conduct your practice near a mirror to assist the visualization process. # Train Yourself to Identify and Solve Specific Problems When Your Violin Teacher Is Not There Rather than play the same and incorrect passage over and over again, you should use problem-solving strategies to fix your violin bow technique, fingering issues, or problems with violin notes. The best way to create deliberate practice is to slow down and play softly. Research has shown that sensory perception is heightened when sounds are faint, which makes it easier to detect slight alterations in pitch and vibrato. Moreover, by reducing your tempo, you give yourself time to process the information. Some violin students may have forgotten how beneficial it is to play at an extremely reduced tempo. Reducing the tempo at first can help ensure that your arms and fingers execute correctly, then you can gradually pick up the pace. ![](https://static.lianmuse.com/image/blog/d4fb4193edc52e83cd570092c40a89ca.jpeg?v=d4fb4193edc52e83cd570092c40a89ca) # Practice at the Same Time Every Day Set a time slot specially for violin practice and try to form a habit to practice at that time every day. When you have a designated practice time, you are less likely to make excuses or skip deliberate practice. # Use A Violin App to Track Your Practice Violin apps are helpful tools in daily practice after violin lessons. Violin teachers cannot supervise their students’ daily practice at any time after weekly violin lessons. But a violin app can. Try Violy app for example, which is a smart mobile app using AI technology to analyze violin practice statistically. # Use Violin Tuners at the Beginning of Every Practice Session Tuning is a must-do step before playing your instrument. It can also make your practicing effective, since you would not be bothered by higher or lower pitch when playing if all your strings are tuned in advance. There are a variety of violin tuner apps, and Simply Tuner is a good one. # Keep All Your Violin Sheet Music Together for Violin Lessons It can be annoying when you are about to practice but cannot find the piece you need to play. Therefore, always keep your sheet music together and sort it into alphabetical order, or you can sort it according to your own preference, just make sure you can find the piece you need at any time. # Always Have A Pencil on Hand When You Practice without Violin Teachers’ Guidance Have a pencil within reach so that you can mark your violin sheet music with helpful reminders. It is normal to make mistakes during practicing, so you need to mark them in case you play the wrong notes next time. Besides, sometimes you may find it enjoyable playing certain bars on sheet music, so you can mark those bars for afterwards performing. # Use A Music Stand and Practice with Proper Posture Good posture is not only essential to helping you play better, it is also important to preventing injury. Using a music stand can definitely help you form a proper posture for violin practice. What matters more is how you practice, instead of how much you practice. You can make real strides in your playing by making an effort to “deliberately” practice. Just apply all these tips mentioned above for a long term and you will be amazed at your progress. # Have a HAPPY practice!! # ## More Violin Articles: ## [Teaching Violin Students to Read Key Signatures](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [Perform Harmonics on Violin](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [Solfeges used in Violin Lessons](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [How to Choose Right Violin Strings](https://violy.app/blog/2019/12/How-to-choose-right-violin-strings/) [Things You Must Know About Violin Bowing](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [Tips for Proper Violin Maintenance](https://violy.app/blog/2019/12/Violin-Maintenance/) [Violin Books for Beginners](https://violy.app/blog/2020/01/Violin-Books-for-Beginners/) ## Also, check out violin sheet music on Violy App~ ## [**Johnn Sebastian Bach**](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), [**Joseph Haydn**](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/), [**Wolfgang Amadeus Mozart**](https://violy.app/blog/2019/11/Mozart-on-violin-app/), [**Ludwig van Beethoven**](https://violy.app/blog/2019/11/Beethoven-on-violin-app/), [**Felix Mendelssohn**](https://violy.app/blog/2019/12/Mendelssohn-on-violin-app/), [Pyotr Ilyich Tchaikovsky](https://violy.app/blog/2020/01/Tchaikovsky-on-violin-app/). {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violin Album of Tchaikovsky on Violin App - URL: https://violy.app/blog/violin-album-of-tchaikovsky-on-violin-app - Markdown: https://violy.app/blog/violin-album-of-tchaikovsky-on-violin-app.md - Published: 2020-01-11 - Summary: Hello, Violy violinists. The recently added “Albums” of violin repertoires on Violy — the best violi # Violin Album of Tchaikovsky (Sheet music on violin app) Hello, Violy violinists. The recently added “Albums” of violin repertoires on Violy — the best violin app needs you to make them ‘violy’. In today’s article, we will discuss the repertoire from Pyotr Ilyich Tchaikovsky, who was the first Russian composer whose music made a lasting impression internationally. {% raw %}
{% endraw %} # Album (Violin) Composer: Pyotr Ilyich Tchaikovsky Pyotr Ilyich Tchaikovsky was a Russian composer of the romantic period, whose works are among the most popular music in the classical repertoire. He was also a guest conductor in Europe and the United States. Although musically precocious, Tchaikovsky was educated for a career as a civil servant. There were scant opportunities for a musical career in Russia at that time and there was no system of public music education then. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching he received there set him apart from composers of the contemporary nationalist movement, which was embodied by the Russian composers of The Five, with whom his professional relationship was mixed. While his music has remained popular among audiences, critical opinions were initially mixed. Some Russians did not feel it was sufficiently representative of native musical values, and expressed suspicion that Europeans accepted the music for its Western elements. In an apparent reinforcement of the latter claim, some Europeans lauded Tchaikovsky for offering music more substantive than base exoticism, and said he transcended stereotypes of Russian classical music. Others dismissed Tchaikovsky’s music as “lacking in elevated thought”, according to longtime New York Times music critic Harold C. Schonberg, and derided its formal workings as deficient because they did not stringently follow Western principles. ![](https://static.lianmuse.com/image/blog/1a995715f0c604fd32f7cf976a7d57aa.jpeg?v=1a995715f0c604fd32f7cf976a7d57aa) # Pyotr Ilyich Tchaikovsky’s Violin Composition Pyotr Ilyich Tchaikovsky wrote several works well known among the general classical public — *Romeo and Juliet*, *the 1812 Overture*, and his three ballets: *The Nutcracker*, *Swan Lake*, and *The Sleeping Beauty*. These 5, along with two of his four concertos, three of his six symphonies (seven if his program symphony Manfred is included), and two of his 10 operas, are probably among his most familiar works. *The Manfred Symphony*, *Francesca da Rimini*, *the Capriccio Italien* and *the Serenade for Strings* are almost as popular as the works mentioned above. *The Violin Concerto in D major*, one of Tchaikovsky’s freshest-sounding and least pretentious works, is filled with melodies that could have easily come from one of his ballets. It is also one of the best-known violin concertos. The composer also had some chamber music works, including string quartets and one string sextet. ![](https://static.lianmuse.com/image/blog/eceaa1070f81f71a2059b82255e68509.jpeg?v=eceaa1070f81f71a2059b82255e68509) # Violy Album Contents: There are totally 6 pieces of music in the self-titled Album of Pyotr Ilyich Tchaikovsky on Violy, including: ***1. Andante Cantabile***| Andante cantabile = 76 · This work is from Pyotr Ilyich Tchaikovsky’s String Quartet *№1 in D major Op. 11*. It was the first of his three completed string quartets that were published during his lifetime. An earlier attempt had been abandoned after the first movement was completed. Composed in February 1871, it was premiered in Moscow on 16/28 March 1871 by four members of the Russian Musical Society: Ferdinand Laub and Ludvig Minkus, violins; Pryanishnikov, viola; and Wilhelm Fitzenhagen, cello. Tchaikovsky arranged the second movement for cello and string orchestra in 1888. The quartet has four movements: *Moderato e semplice (D major)*, *Andante cantabile (B♭ major)*, *Scherzo: Allegro non tanto e con fuoco — Trio (D minor)*, and *Finale: Allegro giusto — Allegro vivace (D major)*. ***2. Chanson Triste*** | Allegro non troppo = 120 ***3. Dance of Little Four Swan*** | BPM = 100 ***4. June: Barcarolle*** | Andante cantabile = 80 ***5. Melodie in E Flat Major, Op. 42 №3*** | Moderato con moto = 84 · This work is from *Souvenir d’un lieu cher (Memory of a dear place) Op. 42 for violin and piano*. It was written by Pyotr Ilyich Tchaikovsky between March and May 1878. It consists of three movements: *Méditation (D minor)*, *Scherzo (C minor) and Mélodie (E-flat major; Tchaikovsky also described it as a “chant sans paroles”)*. ***6. Theme for Swan Lake*** | BPM = 82 · *Swan Lake Op. 20*, is a ballet composed by Pyotr Ilyich Tchaikovsky in 1875–76. Despite its initial failure, it is now one of the most popular of all ballets. The scenario, initially in two acts, was fashioned from Russian and German folk tales and tells the story of Odette, a princess turned into a swan by an evil sorcerer’s curse. The ballet was premiered by the Bolshoi Ballet on 4 March 1877 at the Bolshoi Theatre in Moscow. Although it is presented in many different versions, most ballet companies base their stagings both choreographically and musically on the 1895 revival of Marius Petipa and Lev Ivanov, first staged for the Imperial Ballet on 15 January 1895, at the Mariinsky Theatre in St. Petersburg. For this revival, Tchaikovsky’s score was revised by the St. Petersburg Imperial Theatre’s chief conductor and composer Riccardo Drigo. *Swan Lake* is scored for the typical late 19th-century large orchestra: Strings: violins I and II; violas, violoncellos; double basses, harp Woodwinds: piccolo; 2 flutes; 2 oboes; 2 clarinets in B♭, A and C; 2 bassoons Brass: 4 French horns in F; 2 cornets in A and B♭; 2 trumpets in F, D, and E; 3 trombones (2 tenor, 1 bass); tuba Percussion: timpani; snare drum; cymbals; bass drum; triangle; tambourine; castanets; tam-tam; glockenspiel; chimes ## In this series of article, we will introduce you the music pieces of [**Johnn Sebastian Bach**](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), [**Joseph Haydn**](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/), [**Wolfgang Amadeus Mozart**](https://violy.app/blog/2019/11/Mozart-on-violin-app/), [**Ludwig van Beethoven**](https://violy.app/blog/2019/11/Beethoven-on-violin-app/), [**Felix Mendelssohn**](https://violy.app/blog/2019/12/Mendelssohn-on-violin-app/), [**Pyotr Ilyich Tchaikovsky**](https://violy.app/blog/2020/01/Tchaikovsky-on-violin-app/) **Antonio Lucio Vivaldi**, and finally, **Dmitri Shostakovich**. Stay tuned, Violy musicians, let’s bring the music fashion of violin back~ Ref: 1.https://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky 2.https://en.wikipedia.org/wiki/List_of_compositions_by_Pyotr_Ilyich_Tchaikovsky 3.https://en.wikipedia.org/wiki/String_Quartet_No._1_(Tchaikovsky) 4.https://en.wikipedia.org/wiki/Souvenir_d%27un_lieu_cher 5.https://en.wikipedia.org/wiki/Swan_Lake # Have a HAPPY practice!! # ## More Violin Articles: ## [Teaching Violin Students to Read Key Signatures](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [Perform Harmonics on Violin](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [Solfeges used in Violin Lessons](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [How to Choose Right Violin Strings](https://violy.app/blog/2019/12/How-to-choose-right-violin-strings/) [Things You Must Know About Violin Bowing](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [Tips for Proper Violin Maintenance](https://violy.app/blog/2019/12/Violin-Maintenance/) [Violin Books for Beginners](https://violy.app/blog/2020/01/Violin-Books-for-Beginners/) {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violin Books for Beginners - Suggestions for Violin Teachers - URL: https://violy.app/blog/violin-books-for-beginners-suggestions-for-violin-teachers - Markdown: https://violy.app/blog/violin-books-for-beginners-suggestions-for-violin-teachers.md - Published: 2020-01-03 - Summary: Among all instruments, violin is very popular and perfect for musicians of all ages to learn. During # Violin Books for Beginners Among all instruments, violin is very popular and perfect for musicians of all ages to learn. During the process of learning, to have a qualified violin teacher is no doubt important. Moreover, right violin books are also valuable tools. Different teachers may use various violin books on violin lessons. Students may also have personal preference when they practice with violin apps. To be frank, there is no such a thing like the most useful and informative book for beginner students. In the text below, we just provide some suggestions based on most people’s choices. ![](https://static.lianmuse.com/image/blog/661d4410933175812324bd4af04765f8.jpeg?v=661d4410933175812324bd4af04765f8) # *Essential Elements for Strings* *Essential Elements for Strings* is very useful for beginners. It offers sound pedagogy and engaging music. The book includes familiar songs and instrument-specific exercises that let violin students focus on the unique characteristics of the violin. It also includes specially designed exercises that translate well in the classroom. That means if you are in group classes and the violin teacher uses this book, practicing with it at home can speed up the learning process. ![](https://static.lianmuse.com/image/blog/807303c25f85ca9a16f755f2783dc0d8.png?v=807303c25f85ca9a16f755f2783dc0d8) *Essential Elements for Strings* starts very slowly and moves very gradually, which can be helpful for violin teachers who deal with groups of students. On the other hand, it can work well for violin self-learners who don’t have a violin teacher to provide step-by-step guidance. They can use the book to start with music reading, move gradually to violin playing and get improved later. # *The ABCs of Violin* for the Absolute Beginner This book is the first one in the series of *The ABCs of Violin*. *The ABCs of Violin* is a phenomenally successful series. It owes much of its success to the wonderful original material and the sensitive arrangements of classical, folk, fiddle and other popular melodies. This best-selling instruction book is a good start for a violin beginner of any age. Various melodies plus short warm-up exercises and study pieces can advance students technically in an easy and enjoyable way. Simple duets, scales, a note-reading worksheet, a glossary of music terms and symbols, and a practice chart are also included along with many graphs to show left-hand finger placement. ![](https://static.lianmuse.com/image/blog/76ebd5aa2184ca8ab58a0be5c9a2058f.png?v=76ebd5aa2184ca8ab58a0be5c9a2058f) The included CD consists of 34 songs with violin and piano accompaniments, piano-only tracks for playing along, and printable PDF files of the piano accompaniments. *The ABCs of Violin* series is a truly valuable resource for students in the early stages of violin learning. # *Suzuki Violin School* This 10-book series takes violinists from near-beginning stages to a moderately advanced level. The series is based on Suzuki Method. The key principles of Suzuki Method are that all children have the capability to be good at music and that a nurturing environment can help develop and enhance that capability. For either a young violin child or a learner who is well into adult years, Suzuki Method is appropriate for harnessing the ability to play the violin. ![](https://static.lianmuse.com/image/blog/5c5e88a6f6574f5e9d3c3682a5c918b4.png?v=5c5e88a6f6574f5e9d3c3682a5c918b4) *Suzuki Violin School* series contains limited information regarding note reading and musical theory, so it is not ideal for violin students to use the books to teach themselves. However, the series is exceptionally useful if the violin teachers already use Suzuki Method in their violin lessons. If a violin beginner combines lessons based on Suzuki Method and daily practice with Suzuki Violin School together, it will be much more beneficial. On the other hand, *Suzuki Violin School* series contains many children’s songs, so the books may be more popular among violin kids. But for adult beginners, they are likely to find it a little bit boring playing these songs. # Rubank Elementary Method Violin This is one of the most popular violin books, both for individual instruction and same-instrument groups. It employs a very well-rounded approach to violin teaching, including scales and arpeggios, articulation and technical studies, solos and duets, and studies for musicianship. Well-known songs make it fun to progress through each section. The book does not come with a CD. It provides a fantastic wealth of material for all violin students. ![](https://static.lianmuse.com/image/blog/972448cf7e48a68562595346ff6e2ff6.png?v=972448cf7e48a68562595346ff6e2ff6) # *Violin for Dummies* For either a violin beginner preparing for the first violin lesson, or a learner who just wants to boost violin learning, *Violin for Dummies* is one of the most important violin books in players’ collection. It begins by introducing music fundamentals, including reading musical notation and understanding harmony. Then it focuses on violin specifics, such as tuning your instrument, holding the bow correctly, and keeping it in good condition with regular maintenance. The accompanying CD includes audio and video clips and tutorials to help you get started. It also features MP3 files of every song and exercise in the book. ![](https://static.lianmuse.com/image/blog/72a7349d2bdbec8708e714431503a3cc.png?v=72a7349d2bdbec8708e714431503a3cc) *Violin for Dummies* is good for zero-based self-learning. It covers from choosing the right violin for yourself to playing a variety of musical styles. You can learn how to read and feel music from this book. Besides, you can have an idea about how to inject your own personality into whatever you play. You will be playing classical, jazz, country, and more musical styles using this book. The included audio and video instruction encourage you to play along as you learn, and allow you to hear, see, and imitate proper technique. In addition to books, there are a lot of great resources available for violin learning. One of the best resources is a qualified violin teacher. Your teacher can offer more specific recommendations based on your age, current skill level, and specific goals. Although the violin has a reputation of being difficult to learn, the reality is that it is more difficult to master. Practicing over time will refine your performing techniques and musical style. During the whole process, suitable violin books can provide you an impetus to keep making progress. ![](https://static.lianmuse.com/image/blog/f0e67754ab5046a569cfe58f377065d0.jpeg?v=f0e67754ab5046a569cfe58f377065d0) # Have a HAPPY practice!! # ## More Violin Articles: ## [Teaching Violin Students to Read Key Signatures](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [Perform Harmonics on Violin](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [Solfeges used in Violin Lessons](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [How to Choose Right Violin Strings](https://violy.app/blog/2019/12/How-to-choose-right-violin-strings/) [Things You Must Know About Violin Bowing](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [Tips for Proper Violin Maintenance](https://violy.app/blog/2019/12/Violin-Maintenance/) ## Also, check out violin sheet music on Violy App~ ## [**Johnn Sebastian Bach**](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), [**Joseph Haydn**](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/), [**Wolfgang Amadeus Mozart**](https://violy.app/blog/2019/11/Mozart-on-violin-app/), [**Ludwig van Beethoven**](https://violy.app/blog/2019/11/Beethoven-on-violin-app/), [**Felix Mendelssohn**](https://violy.app/blog/2019/12/Mendelssohn-on-violin-app/). {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # 2019 Year in Review: The Growing Violy - URL: https://violy.app/blog/2019-year-in-review-the-growing-violy - Markdown: https://violy.app/blog/2019-year-in-review-the-growing-violy.md - Published: 2019-12-31 - Categories: Product - Summary: Violy CEO Javen Fang reflects on the app's product updates, international user growth, parent education initiatives in China, and expanding team in 2019, and shares the team's plans for 2020. ![](https://static.lianmuse.com/image/blog/8704c55b099179d021843faf2903e471.png) I took the photo above of a whiteboard outside the concert hall at the Hochstein music school in the United States during the summer vacation of 2019. I had brought my daughter there for a weeklong string music summer camp. > Music can change the world, > Because it can change people. I believe that music can change the world because it can change people. That belief is why I want my child to learn more about music, and why I started this business. The world is changing faster and faster, and technology is advancing every day. The gap between rich and poor is widening, and people are becoming more restless, busy, and lonely. Humanity needs music: to soothe our wounds; to help us become quieter, more peaceful, and more composed; to help us see more beauty; and to move the world in a better direction. ![](https://static.lianmuse.com/image/blog/ed24408598d4e0baf9c79efd16334a53.jpg) --- If I were to sum up Violy's 2019, I would call it a year of steady growth. What moved us most was the support so many users showed through their actions when we announced a VIP membership price increase. More than 100 users purchased three-year memberships, even though they knew we were still a relatively small team and our revenue was far below what we were investing. We are determined to live up to that trust. What makes us proud is the team we have built. We have brought together many talented young people who are passionate about and interested in our work, laying a solid foundation for our next stage of development. What we found especially rewarding was organizing four free public classes and one private course for parents of young music students in China, helping more parents find a clearer direction and the confidence to keep going. ### Product In May, Simply Tuner took the lead in adding support for viola and cello. In July, Violy added support for multiple parts. In August, Violy received a major update, with a new logo and added support for cello and viola. In October, Violy launched its accompaniment feature. We also increased VIP membership prices that month. The **complete redesign of our brand logo** was a major milestone. ![](https://static.lianmuse.com/image/blog/0d1745a2551014ba4fb69e2ec71a8417.png) Support for multiple parts and accompaniment also made the app more enjoyable to use. We added cello and viola to the instruments we support. We had originally planned to support wind instruments in 2019, but postponed that work until 2020. One point deserves special mention: each time Violy adds an instrument, we have to adapt its core Audition feature, which follows the score and assesses the performance. Instruments have different characteristics, so the core algorithms differ too. Adding support for another instrument is no easy task for us, because each has its own distinctive qualities. ### Users Our biggest achievement on the user side in 2019 was Violy's popularity overseas. Recently, the number of registered users outside China surpassed the number in China. Our users span five continents and four oceans. Beyond developed countries in Europe and North America, users in South America, Southeast Asia, and the Middle East are particularly enthusiastic about Violy. Countries where users enjoy the app include Mexico, Brazil, South Korea, and Iraq. ![](https://static.lianmuse.com/image/blog/5a518cf6745e12db9b3820179ddac5f9.jpg) Violy's overseas operations team has been making a lively impression on Instagram. The man starring in our homemade videos has even become something of a minor internet celebrity in violin circles abroad. In China, we are particularly grateful to teachers for their recognition of and trust in Violy. The number of Violy-verified teachers has reached several thousand, and teachers have created several hundred student practice groups. We are also working with a number of music education institutions, helping them improve practice across their student groups. We all understand that meaningful progress in learning an instrument depends on students actually practicing at home. We also provided many additional services for parents in China in 2019, which were widely praised: - Four public classes, with total attendance exceeding 10,000 across the sessions. - One private course livestreaming basic music theory for parents: 25 parents enrolled, and 24 completed the course. ![](https://static.lianmuse.com/image/blog/00456fde7c15b5c089d22e740dbb8559.jpg) ### Team Our team family grew substantially in 2019, from six full-time members at the beginning of the year to 33 now. ![](https://static.lianmuse.com/image/blog/0707c8f2c9121b73d522ba56feabd27b.jpg) Most of our team members have experience learning an instrument or studying music. Even the few who do not are drawn to music and take a keen interest in it. ![](https://static.lianmuse.com/image/blog/387978b5292d8413aaa0efd1ea513dd2.gif) However busy work gets, we still make time to play music, learn from one another, and improve together. Every day brings something to enjoy. ![](https://static.lianmuse.com/image/blog/6d1b2de744f7cd33ed315b07e6dd07dd.gif) ![](https://static.lianmuse.com/image/blog/9d4488be2c260ab1a6d200ca2606022b.jpg) Thank you to every team member for your trust. I believe that, with our shared aspirations, we can keep making Violy better. ### Looking Ahead to 2020 Looking ahead to 2020 is exciting. We expect 2020 to be a year of rapid progress for Violy. Our plans at the end of 2019 include: - Expanding support to more instruments. Digital piano support is planned to launch soon, with wind instruments and traditional Chinese instruments also on the roadmap. - Launching Creator Studio so users can upload their own sheet music. Later, we plan to gradually allow uploads of accompaniment tracks and demonstration performances too. - Adding automatic accompaniment, bringing this advanced technology to more young music students. - Adding the ability to attach demonstrations by human performers to sheet music, in both audio and video formats. - Making it easier for teachers and music education institutions to track students' practice and interact with parents. We also have two big surprises in the works, but we are keeping them secret for now! --- Violy has always focused on making instrument practice more efficient. On one hand, we will keep improving our tools so students and parents have useful, easy-to-use support for practice at home. On the other, we will keep strengthening the connection between students and teachers, helping teachers track and guide practice more effectively. We firmly believe that increasingly intelligent tools can help more people practice with greater ease and learn to play instruments and understand music well. As we close 2019, we are eager to get started and look forward to the new year of 2020. By Violy CEO Javen Fang --- # Violy Cello Lecture | Wu Linfeng - URL: https://violy.app/blog/violy-cello-lecture-wu-linfeng - Markdown: https://violy.app/blog/violy-cello-lecture-wu-linfeng.md - Published: 2019-12-31 - Summary: ## Violy Cellist — Wu Linfeng ![](https://static.lianmuse.com/image/blog/d5e22dca1d4335482e085ad1a0c # Violy Cello Lecture | Wu Linfeng ## Violy Cellist — Wu Linfeng ![](https://static.lianmuse.com/image/blog/d5e22dca1d4335482e085ad1a0c5a6dc.jpeg?v=d5e22dca1d4335482e085ad1a0c5a6dc) Wu Linfeng is the former head and chief cellist of Peking University Symphony Orchestra. He is also the founder of “Cello Lovers Union”, a famous Wechat official account. In this Violy lecture, he shared some of his experiences as a Peking University student with music talent, and some music educational views. **Content of Wu Linfeng’s lecture is as follows(edited in first person):** Hello everyone, I’m Wu Linfeng. I’m very glad to be given this chance to share some of my experience on music. I will divide my lecture into four parts: my cello learning experiences, what the students with art talent are like, my career choice, and the status quo of Chinese music education in my view. # My Cello Learning Experiences in Cello Lessons My grandfather loves music very much and he is a collector of CDs. My father learned to play the violin when he was young and he is an amateur violinist himself. Once he heard a song with cello cover and became interested in the instrument, he intended to let me learn to play the cello instead of violin. This is a brief story about my road to cello. Since I grew up in a family that love music, and my father had some music training before, I have the chance to learn music with these two advantages. I started to learn cello in 1995 and continued to take cello lessons until 2007, when I was about to go to the college. I was in Beijing Sun Youth Orchestra during the whole process of learning and got improved greatly through amounts of practicing and frequent performances. In the meanwhile, I participated in many competitions and was awarded the first prize in The 1st Ai Qin Prize Competition in China. This experience encouraged me a lot. # A Cello Teacher’s Explanation: What the Students with Art Talent Are Like First, I need to make it specific that art students and students with art talent are totally different. Art students are those who major in art in college, for example, a student majoring in violin performing in College of Arts, Renmin University of China. As for students with art talent, they are those who study comprehensive majors but get admitted under the privilege because of art talents. I am a student with art talent myself and got admitted by Peking University under the privilege of 50 points dropping, which means if the enrollment score of Peking University is 650, I can enter the university with a score of 600. Although students with art talent can be admitted under the privilege, they need to participate in rehearsals of college orchestra on the weekend. Besides, they also need to enter the stage and perform when there are activities on campus. The privilege for students with art talent is changing over the past few years. The enrolling number of these students is dropping and the admission criteria is getting more strict. But students with art talent are still competitive in admission of some elite schools worldwide. On the other hand, these students may be easily remembered by others in social occasions because their talents are impressive. To be remembered in social occasions can be important in some way and this is a good beginning for your self-development. ![](https://static.lianmuse.com/image/blog/119d5205b115d15c14ccb67ebb9f1432.jpeg?v=119d5205b115d15c14ccb67ebb9f1432) # My Career Choice As A Cello Teacher Personally, I think what people should learn are knowledge, skills and ability. These elements are important for career choice. The majors I studied at college are economics and law, and my university also taught me a series of abilities, like learning new skills, interpersonal communication, empathy and so on. To be honest, I tried different things when I just graduated. At the moment, a conductor I knew asked me if I want to give up cello, which I had learned for 17 years, and switch to my majors, which I had studied for just 4 years. He gave me some suggestions and I thought deeply myself, then I decided to be a cello teacher. In this way, I just combined my personal preference, self-competence and market demand together. The intersection of the three aspects for me is being a cello teacher. Some people asked me if my job will be replaced by AI in the future. I think it is not easy for teachers and performers to be replaced. ![](https://static.lianmuse.com/image/blog/248068b97d9a8a7446c8f7026772ea0e.png?v=248068b97d9a8a7446c8f7026772ea0e) # A Cello Teacher’s View: The Status Quo of Chinese Music Education As far as I know, many Chinese parents of the time have little knowledge of music. Since education in China is utilitarian in some way, Chinese parents lack art education. It is not likely for them to help their children in music learning. But I recognized one thing during my teaching that this situation will be improved in our next generation. Take Beijing for example, in an ordinary primary school, children who learn to play the instrument account for 1/3 to 1/2 of all students. This percentage is much higher than that in our generation. Here I would like to recommend a book for parents, which is called *Producing Excellence: The Making of Virtuosos*. It provides a sociological view on the research of developing path of music learners from dozens of families. It is normal for music learners and their parents to encounter some difficulties at the beginning of learning. It can be hard for most parents to identify if their children have talent in instrument playing, to decide how to help their children plan music learning path, and to know how to help their children in daily practice. Considering these problems, I can say that Violy app is very helpful since it can be an effective tool supervising students’ practice. I have tried some features of the app and can feel that within the product, there is a leading musical education concept. At the end of my lecture, I would like share something related to my communication with other musicians and music educators worldwide. Some musicians from western countries find it astonishing that Chinese children can concentrate on one thing, like listening to instructions, for quite long time. It is almost impossible for children in their countries to sit still for two hours. But from their comments I can find out that compared to Chinese children, children from western countries are likely to regard music as a part of life instead of a burden. For many western music learners, it is quite normal that their parents know a little music or play instruments as well, so there is a musical atmosphere at home and they love music naturally. Therefore, I usually tell parents of my students that if they want their children to learn well, they should let children love the instrument they play. Furthermore, parents should like music themselves. I believe that with the development of society, Chinese children’s music learning road will become more and more smooth. They will enjoy better art education as well. That’s all for my lecture, thanks for your attention! # Have a HAPPY practice!! # ## More Violin Articles: ## [Teaching Violin Students to Read Key Signatures](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [Perform Harmonics on Violin](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [Solfeges used in Violin Lessons](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [How to Choose Right Violin Strings](https://violy.app/blog/2019/12/How-to-choose-right-violin-strings/) [Things You Must Know About Violin Bowing](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) [Tips for Proper Violin Maintenance](https://violy.app/blog/2019/12/Violin-Maintenance/) ## Also, check out violin sheet music on Violy App~ ## [**Johnn Sebastian Bach**](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), [**Joseph Haydn**](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/), [**Wolfgang Amadeus Mozart**](https://violy.app/blog/2019/11/Mozart-on-violin-app/), [**Ludwig van Beethoven**](https://violy.app/blog/2019/11/Beethoven-on-violin-app/), [**Felix Mendelssohn**](https://violy.app/blog/2019/12/Mendelssohn-on-violin-app/). {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Tips for Proper Violin Maintenance - URL: https://violy.app/blog/tips-for-proper-violin-maintenance - Markdown: https://violy.app/blog/tips-for-proper-violin-maintenance.md - Published: 2019-12-27 - Summary: Most violin teachers will tell students that it is important to take good care of their instruments. # What You Won’t Know from Violin Lessons Most violin teachers will tell students that it is important to take good care of their instruments. But for many students, from regular violin lessons, they are not likely to get a specific concept of how to take good care of their violins on earth. Most violins are worth a good amount of money, and they will sound and look best when you play them if they are well-maintained. In today’s Violin App article, we are going to show you everything you need to know to properly maintain your violin. ![](https://static.lianmuse.com/image/blog/89e16b4b6e1965fbf6335e808129a6f6.jpeg?v=89e16b4b6e1965fbf6335e808129a6f6) # Clean the Violin after Playing It You can begin with the rear deck when the instrument is new. Take a little dry handkerchief or cloth and make rotating motions. You need to wipe all the curves on the side as well when cleaning the front deck. Every day, after you practice, there will be a little bit extra rosin residue on your instrument, so make sure to clean under the fingerboard and the bridge to wipe off the rosin dust. ![](https://static.lianmuse.com/image/blog/eae96745a05b604701a2927145518a88.png?v=eae96745a05b604701a2927145518a88) Besides, make sure to clean the fingerboard under the strings if the instrument is old with visible traces of rosin. Use cleaning solutions and don’t apply the solution directly to the wood. Then switch to the cloth. In this way it will not be concentrated in one spot. Don’t clean the neck with a solution, instead just wipe it down with a dry cloth. Every couple of months you need to put a little shine on your violin. When you finish playing, your hands start to sweat a little bit and you also need to use a little rubbing alcohol on your handkerchief. Put that rubbing alcohol on the fingerboard. You can put a little bit on the neck as well, so it is nice and smooth for your left hand to shift and play nicely. # Clean the Strings before Tuning When cleaning strings, you can use moist wipes. If the wipes are not available, just use a dry cloth and spirit. Wipe the strings carefully and don’t let the spirit touch the wood. ![](https://static.lianmuse.com/image/blog/f9914b6bf69aacbec09f09926bc3d4a2.png?v=f9914b6bf69aacbec09f09926bc3d4a2) # Pay Attention to the Bridge before Performing on Violin Lessons The bridge is an important part of the violin, which is located in the middle of the F hall at the 90 degree angle to the violin. If there has been an accident and the bridge has fallen out of its place, grip it tightly with both hands and put it back in place. Try not to touch the strings in the bow zone. ![](https://static.lianmuse.com/image/blog/16fd7125a52e82766e0bd55b39bdd1b2.png?v=16fd7125a52e82766e0bd55b39bdd1b2) # Keep Perfect Humidity inside the Violin Case after Violin Lessons Storage is very important for the acoustic violin. In most violin cases, there are built-in humidity meters, so the humidity is easy to control. Perfect humidity is about 45 to 55 percent. 60 to 40 is still okay. ![](https://static.lianmuse.com/image/blog/7d843f05224a4d8b424ea5579f9a0e3c.png?v=7d843f05224a4d8b424ea5579f9a0e3c) If a violin is in a dry room, put a container of water into the case. It will evaporate and raise the humidity a little bit. If the air is too humid, put some salt in the case to absorb the moisture. Please take a note: if you are using silver strings, you cannot use salt. Make sure you keep your instrument in the case when you are not playing it, you need to strap it up nicely and not loosely at all. Keep in mind that the case should always be zipped when your violin is inside. Besides, remember to leave it home in a nice and well-ventilated area. ![](https://static.lianmuse.com/image/blog/316a6f94bba622ebb1b041f126bbc4c0.jpeg?v=316a6f94bba622ebb1b041f126bbc4c0) # Tuning Pegs Need to Be Maintained as Well after Tuning If the peg box has shrunk and the pegs are hard to pull out, put the peg box under the hot lamp for about two hours. The wood will expand and you will be able to pull the pegs out. If the pegs are loose and don’t hold the tuning, use chalk to stroke a few times on them. Then it will tighten the grip. If the pegs are hard to turn, use most basic household soap and apply it just like the chalk. Just make sure it is not scented. ![](https://static.lianmuse.com/image/blog/4cb876eef0a33a4a88fc74be23dea1c6.png?v=4cb876eef0a33a4a88fc74be23dea1c6) # Process of Changing the Violin Strings When changing the strings, don’t take all the strings off at once, because the bridge might fall off and lose its perfect position. Change the strings one by one. Each string has a different thickness shown on the packaging. Take the appropriate string and put one end of the string into the hole of a tuning peg, and carefully wind it around the peg. Then insert the other end into the hole by the fine tuner. You may change all the strings regularly. The frequency depends on how much you practice. ![](https://static.lianmuse.com/image/blog/4e5b053a9fe7c64034f1e46f71dfcfbb.png?v=4e5b053a9fe7c64034f1e46f71dfcfbb) # Take Care of Fine Tuners Sometimes the fine tuners get stuck and are not easy to turn when fine-tuning. When they do, unscrew them and apply lubricant. We recommend cork grease. Make sure that the lubricant doesn’t come into contact with the wood. ![](https://static.lianmuse.com/image/blog/a87ae48de89b7c2ac32ac12ee45fab52.png?v=a87ae48de89b7c2ac32ac12ee45fab52) # Clean the Bow for Better Tone on Violin Lessons When cleaning the bow, use a dry cloth. Make sure that you wipe the stick without touching the hair. At the side of the bow, there is a screw that regulates the tension of the hair. Make sure that the screw is not too tightly wound. After playing, loosen the screw and the stick doesn’t get bent if humidity changes. Tighten the screw again before playing. ![](https://static.lianmuse.com/image/blog/163bd3aa67fc30428db6105574332af7.png?v=163bd3aa67fc30428db6105574332af7) # Tips for Applying Rosin before Violin Performing If you have a new bow, you need to apply rosin very carefully like doing it inch by inch. If you have used the bow for a while and feel that you need to reapply the rosin because the tension is fading, apply it more lightly. When applying the rosin, don’t push. It can cause large pieces of rosin to get stuck in the hair and cause unpleasant sounds. If you have applied too much rosin, unwind the screw and hit the bowl lightly to shake the dust off. ![](https://static.lianmuse.com/image/blog/bc8d53f757ffa3e117e30452eea9c7a4.png?v=bc8d53f757ffa3e117e30452eea9c7a4) Just follow these simple steps and your instrument will serve you for years to come. # Have a HAPPY practice!! # ## More Violin Articles: ## [Teaching Violin Students to Read Key Signatures](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [Perform Harmonics on Violin](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [Solfeges used in Violin Lessons](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [How to Choose Right Violin Strings](https://violy.app/blog/2019/12/How-to-choose-right-violin-strings/) [Things You Must Know About Violin Bowing](https://violy.app/blog/2019/12/Violin-Bowing-Guide/) ## Also, check out violin sheet music on Violy App~ ## [**Johnn Sebastian Bach**](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), [**Joseph Haydn**](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/), [**Wolfgang Amadeus Mozart**](https://violy.app/blog/2019/11/Mozart-on-violin-app/), [**Ludwig van Beethoven**](https://violy.app/blog/2019/11/Beethoven-on-violin-app/), [**Felix Mendelssohn**](https://violy.app/blog/2019/12/Mendelssohn-on-violin-app/). {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Things You Must Know About Violin Bowing - Violin Teachers’ Guide - URL: https://violy.app/blog/things-you-must-know-about-violin-bowing-violin-teachers-guide - Markdown: https://violy.app/blog/things-you-must-know-about-violin-bowing-violin-teachers-guide.md - Published: 2019-12-19 - Summary: Bowing is crucial for violin learners, especially beginners. It is also what violin teachers focus o # Things You Must Know About Violin Bowing Bowing is crucial for violin learners, especially beginners. It is also what violin teachers focus on during beginners’ violin lessons. We are going to talk about some bowing techniques and various bowing strokes in the text below. ![](https://static.lianmuse.com/image/blog/701ef39d79a4d7b2e1c51e9396c914dc.jpeg?v=701ef39d79a4d7b2e1c51e9396c914dc) # Bowing Techniques Which Should Be Taught by Violin Teachers on Violin Lessons Violin teachers should tell students that the way they bow their instruments is critical to their health and performance. Incorrect bowing ways such as poor wrist-hand-arm alignment, incorrect motion, and incomplete/over extension, can cause chronic physical issues. On the other hand, poor bowing techniques may impact violin sounds during performances and result in weak, watery, bouncy and/or inconsistent tones, not to mention the intolerable squeaks. Here are 4 tips that will make an improvement in students’ bowing techniques and violin sound. ![](https://static.lianmuse.com/image/blog/a3e6ccd931db3af82468c3eb898e4eb1.png?v=a3e6ccd931db3af82468c3eb898e4eb1) ## 1. HOLD THE BOW CORRECTLY As we mentioned above, correct bowing hand is significant. How you hold the bow determines the pressure and angle of the bow on the strings. Too much, too little, too angled, etc., can affect the sound. Ultimately, bow grip should be so comfortable that you don’t have to think about it. Just allow the hand to feel stable, in control, flexible and relaxed. To find your natural grip, you can place the hand palm up, curling your thumb towards your middle-ring finger and relaxing. Now flip your hand back around. This is your natural grip. Replicate this position when you place the bow in your hand. Rest half of your thumb-tip on the frog “bump” while the other half rests on the stick. The part right below the thumbnail will rest on the bow hair for support. Let the other four fingers rest in their natural position, with the first three fingers curling over the stick while the first finger rests gently on top. Your forearm may rotate inward just a bit, and the result is a relaxed, comfortable but controlled bow grip. ![](https://static.lianmuse.com/image/blog/452a3722e4c43010b8d9010fd77f0cda.png?v=452a3722e4c43010b8d9010fd77f0cda) ## 2. KEEP YOUR ELBOW AT A RIGHT ANGLE When you stand in front of a mirror, with your bow on the A string, halfway between the fingerboard and the bridge, then you should be able to picture a square, with imaginary lines running from shoulder, to elbow, to the line made by your bow. Readjust, bow across the strings and maintain that squared position. Now, run through a basic, 15-minute warm-up and watch to see if your arm maintains the squared position when you change strings. Adjust accordingly. ## 3. KEEP THAT BOW IN THE MIDDLE — AND THE MIDDLE This one is a two-for-the-price-of-one bowing tip. In the beginning, and even at intermediate levels, it is important to keep your bowing to the middle of the bow itself (not too close to the frog or the tip), and to move the bow across the mid-space between the fingerboard and the bridge. Regularly check both of these positions and you will gain better bowing control as well as a straight bowing performance technique, both of which are admired by violin teachers, audiences and musicians. ## 4. KEEP THE BOW FLAT ON THE STRINGS It is true that experienced violinists tilt their bows a bit. Moreover, they have perfected their technique and have an inherent understanding of how to tweak the bow angle achieves a desired sound. As a beginner or intermediate player, however, it is better to keep the bow flat on the strings for control and depth of sound. Over time, you will be able to relax this rule a bit. These violin bowing tips are worth making a part of your regular violin practice and overall awareness. The result will be an enviable technique that allows you to tackle any piece you wish. ![](https://static.lianmuse.com/image/blog/6f1ecdf8ddc781674aa3d86a5847b560.jpeg?v=6f1ecdf8ddc781674aa3d86a5847b560) # Various Bowing Strokes Violin Players Should Grasp In this article we divide bowing techniques into four categories: detaché, martelé, spiccato and others. ## 1. Detaché Detaché is a separate stroke, down and up, with a healthy tone and a seamless bow change. It is often played in rapid succession and it is very useful, because it is in almost the entire repertoire on violin. In **detaché collé**, you perfect a ‘slow motion’ spiccato and lift the bow at the bow changes. In **detaché porté**, you emphasize the beginning of each bow stroke using a higher bow speed without pressure accent. **Son filé** is a bowing technique in which you make a deep and full sound. In **legato** you play multiple notes on one bow stroke. This gives a fluent sound. In sheet music you see a slur above the notes. **Portato** is an up bow with stops. It is a little similar to legato as you play multiple notes on one bow stroke, but you stop your bow between the notes without accents. **Chord** is to play three or four notes at the same time. ## 2. Martelé Martelé is often the second bowing technique you learn on the violin. In martelé you don’t make a silent or seamless bow change, but there remains ‘air’ between the notes. Also every note begins with an accent. Usually you put the weight of your arm through your index finger into the bow and release it when the bow stroke starts. In **martelé collé** you lift the bow at the bow change. This looks a bit like slow motion spiccato or detaché collé. **Martelé lancé** means a longer bow stroke with higher bow speed at the beginning of the note. This looks a lot like detaché porté, but with firm accents. **Staccato** and martelé are mixed up sometimes. Often staccato is used to describe multiple martelé notes on one bow stroke. **Flying staccato** leaves the string between mulptiple martelé notes on one bow stroke. Your bow bounces, but you control the movement. **Fouetté** is the middle between spiccato on the string and a detaché with accents. Most of the time it is played on the upper half of the bow. ## 3. Spiccato Spiccato uses the natural jumping of your violin bow. The bow leaves the string at the bow changes and the bow strokes are short. It is important in spiccato that your wrist and fingers make smooth movements and you are not doing the spiccato with your entire arm. **Sautillé** is done in a high tempo and played higher on the bow than spiccato. In spiccato your hand and the natural bounce of your bow work together. In sautillé you do less and your bow bounces more naturally. **Flying spiccato** is to play several spiccato notes on one bow stroke and you bow almost on the same spot of the bow. There is an almost vertical jump. In **ricochet** you use the natural jumping quality of your violin bow and play several notes on one bow stroke. It is like a pebble bouncing over the water surface. **Jumping arpeggio** is to apply ricochet in broken chords. ## 4. Others There are many more sounds you can make with your violin bow. In **tremolo** you make short bow strokes at the tip. In **col legno** you turn the bow upside down and you play with the wood on the string. **Sul punticello** is bowing near the bridge causing a classy sound. **Sul tasto** is bowing near or above the fingerboard with the soft sound. **Flautato** is bowing with a high bow speed and little pressure creating a whistling transparent sound. For violinists who use violin apps, perfecting bowing techniques works for their better performances on violin apps. On the other hand, violin teachers are supposed to go through all bowing techniques and strokes for students during violin lessons. # Have a HAPPY practice!! # ## More Violin Articles: ## [Teaching Violin Students to Read Key Signatures](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [Perform Harmonics on Violin](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [Solfeges used in Violin Lessons](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) [How to Choose Right Violin Strings](https://violy.app/blog/2019/12/How-to-choose-right-violin-strings/) ## Also, check out violin sheet music on Violy App~ ## [**Johnn Sebastian Bach**](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), [**Joseph Haydn**](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/), [**Wolfgang Amadeus Mozart**](https://violy.app/blog/2019/11/Mozart-on-violin-app/), [**Ludwig van Beethoven**](https://violy.app/blog/2019/11/Beethoven-on-violin-app/), [**Felix Mendelssohn**](https://violy.app/blog/2019/12/Mendelssohn-on-violin-app/). {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # How to Choose Right Violin Strings - Violin Teachers’ Guide - URL: https://violy.app/blog/how-to-choose-right-violin-strings-violin-teachers-guide - Markdown: https://violy.app/blog/how-to-choose-right-violin-strings-violin-teachers-guide.md - Published: 2019-12-06 - Summary: As the most direct source of sound, violin strings are extremely important for not only the instrume As the most direct source of sound, violin strings are extremely important for not only the instrument itself, but also the violinists. What should be paid attention to is that most violin students and parents have no idea about choosing right strings, unless professional violin teachers give specific advice to them during violin lessons. ![](https://static.lianmuse.com/image/blog/acb420ba5504f2f2ae684fd2183c61a5.jpeg?v=acb420ba5504f2f2ae684fd2183c61a5) Some violinists stick with the strings they’ve been using for years, while others constantly seek different strings that might improve their instrument’s sound or make playing easier. These days, string players face a multitude of choices when it comes to picking violin strings. Trying every available string on the market to find your dream strings is probably unrealistic, but you can have a general idea of selecting strings after reading this article. In this article we focus on brief introduction and regular choices of violin strings, and based on prices, we will tell you what kind of strings match your violin best. ![](https://static.lianmuse.com/image/blog/af6f10114e5a49709c4cdad667765764.png?v=af6f10114e5a49709c4cdad667765764) ## First we need to clarify that violin strings are consumables. ## It is normal to change new ones when your violin strings are broken. It seems that some violin students feel like ruining their instruments as they break strings when tuning. Actually we don’t have to panic. ## The optimum service life for violin strings is three to six months. ## If your strings are not severely worn, they can serve for about one year. It may be terrified for violin beginners to find that their strings get broken just within several days. But as a fresh hand for tuning, many actions can lead to string breaking, such as wrong stringing ways, bumping and tightening strings too much. Therefore, preparing for new strings to change at any time is what violin players usually do. # Features of Some Violin Strings Used during Violin Lessons # Violin strings used during violin lessons are mainly classified into three types: **gut strings, nylon strings and steel strings.** **Gut strings** are very old and their design goes back several centuries. The tone of this kind of strings can be very gentle and they are suitable for performing music in Baroque era. Typically made from sheep intestines, gut strings are lower tension than other strings and have a complex tone that is rich with overtones. Because of the low tension and winding method, they are more pliable under fingers than other strings and require players to finesse the sound from their instruments with the bow. But gut strings are easy to break and hard to preserve. Besides, the prices are very high. Considering these factors, we don’t recommend students to use gut strings unless they are soloists or hard-core fans of classical music. ![Gut strings](https://static.lianmuse.com/image/blog/b5f2b02ac788b2d780de870d3163ce47.png?v=b5f2b02ac788b2d780de870d3163ce47) **Nylon strings** are modeled on gut strings. Compared to gut strings, nylon strings combine durability and tone in an effective way. They are much more stable in pitch than gut strings. Though “gut-like,” they tend to have a more focused tone with fewer complex overtones. They are popular among violin students of higher grades and professional violin performers, and can be regarded as standard equipped strings for them. The prices of nylon strings can vary from around 5 to 220 USD. ![Nylon strings](https://static.lianmuse.com/image/blog/dc5645e88f72c8dd827ab770248c609e.png?v=dc5645e88f72c8dd827ab770248c609e) **Steel strings** are the most universal strings. In general, steel strings have a quick response and a clear, focused, brilliant tone. But, don’t expect a great deal of depth and tonal complexity from steel strings. Steel strings can be used for quite long time that unless they are broken, they are durable until they get rusty. But they are literally not friendly to violin players’ fingers. Generally, they are the least expensive strings on the market. The prices vary from around 1 to 35 USD. ![Steel strings](https://static.lianmuse.com/image/blog/630633b5262297edd5c0e54b53f1512b.png?v=630633b5262297edd5c0e54b53f1512b) # The Way to Choose Right Violin Strings for Violin App and Violin Tuner # **The most practical and operational way to select violin strings is to choose according to the price of your own instrument.** Here we will provide some choosing ranges in violin teachers’ view for your reference. Personal preference and special demands are not included among the ranges. * Price below 150 USD — Steel strings within 3 USD * Price from around 150 USD to 300 USD — Steel strings within 7 USD * Price from around 300 to 700 USD — Steel strings from around 7 to 20 USD or elementary nylon strings * Price from around 700 to 1500 USD — Steel strings or nylon strings from around 15 to 40 USD * Price over 1500 USD — Nylon strings over 30 USD The ranges above are only suggested ranges. It will be definitely better if your professional violin teacher specifies which kind of strings you need to buy. For violins whose prices are below 150 USD, steel strings within 3 USD is enough. Since the size of these violins are usually 1/4 or 1/2, strings of high quality cannot perform well on them. On the other hand, for violin kids who use these kinds of violins, they are not able to take good care of their instruments and may break strings frequently. Therefore, it is reasonable for them to use strings of low prices. ![Steel strings of Shanghai brand are suitable for violin beginners](https://static.lianmuse.com/image/blog/5eb628ac39357b17036ffc9d99d3bced.png?v=5eb628ac39357b17036ffc9d99d3bced) For violins whose prices are from around 150 USD to 300 USD, we recommend steel strings of Alice brand. These kinds of violins are not delicately made, but will sounded more beautiful with better strings. The string prices of Alice brand can be various and you may choose in your own preference. ![](https://static.lianmuse.com/image/blog/cea513f6ac7899f6fccbf620ef237a11.png?v=cea513f6ac7899f6fccbf620ef237a11) For violins whose prices are around 300 to 700 USD, we should decide by sizes. For those smaller than 3/4, we recommend you use steel strings. For those of 3/4 or 4/4, we recommend nylon strings of PIRASTRO TONICA. ![](https://static.lianmuse.com/image/blog/6bacaa49a9013b803807b76dd9ec0750.png?v=6bacaa49a9013b803807b76dd9ec0750) Violins whose prices are around 700 to 1500 USD are generally for adults, so the demands for tone can be higher. But on the other hand, violins of this price range are not that high-grade, so the most suitable strings must be those of around 30 USD. ![THOMASTIK VISION VI100, which is highly cost-effective for violins mentioned above](https://static.lianmuse.com/image/blog/e13f8d3ad5c0218130a71a4f721f969b.png?v=e13f8d3ad5c0218130a71a4f721f969b) As for violins whose prices are over 1500 USD, we will not give advice here. Players who hold these kinds of instruments can decide on their own. Choose right violin strings and enjoy your practice on violin app more! ![](https://static.lianmuse.com/image/blog/b63aba1126a41b120f360e17bba5f8be.jpeg?v=b63aba1126a41b120f360e17bba5f8be) # Have a HAPPY practice!! # ## More Violin Articles: ## [Teaching Violin Students to Read Key Signatures](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [Perform Harmonics on Violin](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [Solfeges used in Violin Lessons](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) ## Also, check out violin sheet music on Violy App~ ## [**Johnn Sebastian Bach**](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), [**Joseph Haydn**](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/), [**Wolfgang Amadeus Mozart**](https://violy.app/blog/2019/11/Mozart-on-violin-app/), [**Ludwig van Beethoven**](https://violy.app/blog/2019/11/Beethoven-on-violin-app/), [**Felix Mendelssohn**](https://violy.app/blog/2019/12/Mendelssohn-on-violin-app/), **Pyotr Ilyich Tchaikovsky**, and finally, **Dmitri Shostakovich**. {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violin Album of Mendelssohn (New Albums on Violy | The BEST Violin App) - URL: https://violy.app/blog/violin-album-of-mendelssohn-new-albums-on-violy-the-best-violin-app - Markdown: https://violy.app/blog/violin-album-of-mendelssohn-new-albums-on-violy-the-best-violin-app.md - Published: 2019-12-05 - Summary: Hello, Violy violinists. Going through the recently added “Albums” of violin repertoires on Violy — Hello, Violy violinists. Going through the recently added “Albums” of violin repertoires on Violy — the best violin app, is a process filled with ‘violy’ feelings. In today’s article, we will discuss the repertoire from Felix Mendelssohn, who is now among the most popular composers of the Romantic era. ![Felix Mendelssohn](https://static.lianmuse.com/image/blog/077001428046df4b70d66a3b01528409.png?v=077001428046df4b70d66a3b01528409) # Album (Violin) Composer: Felix Mendelssohn Felix Mendelssohn was a German composer, pianist, organist and conductor of the early Romantic period. He was recognized early as a musical prodigy, but his parents were cautious and did not seek to capitalize on his talent. Mendelssohn enjoyed early success in Germany, and revived interest in the music of Johann Sebastian Bach, notably with his performance of the St Matthew Passion in 1829. He became well received in his travels throughout Europe as a composer, conductor and soloist; his ten visits to Britain — during which many of his major works were premiered — form an important part of his adult career. His essentially conservative musical tastes set him apart from more adventurous musical contemporaries such as Franz Liszt, Richard Wagner, Charles-Valentin Alkan and Hector Berlioz. After a long period of relative denigration due to changing musical tastes and antisemitism in the late 19th and early 20th centuries, his creative originality has been re-evaluated. Schumann wrote of Mendelssohn that he was “the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them.” # Mendelssohn’s Violin Composition Mendelssohn’s compositions include symphonies, concertos, piano music and chamber music. His best-known works include his overture and incidental music for A Midsummer Night’s Dream, the Italian Symphony, the Scottish Symphony, the oratorio Elijah, the overture The Hebrides, his mature Violin Concerto, and his String Octet. He also composed the two early string quartets: Op. 12 (1829) and Op. 13 (1827), which both show a remarkable grasp of the techniques and ideas of Beethoven’s last quartets that Mendelssohn had been closely studying. The Violin Concerto in E minor, Op. 64 is his most well-known violin work. Joseph Joachim called it one of the four great violin concertos along with those of Beethoven, Brahms, and Bruch. Mendelssohn also wrote a lesser-known, early concerto for violin and strings in D minor (1822) and another double concerto, for violin and piano (1823). In addition, there are several single-movement works for soloist and orchestra. Mendelssohn’s mature output contains numerous chamber works, many of which display an emotional intensity lacking in some of his larger works. In particular, his String Quartet №6, the last of his string quartets and his last major work, is exceptionally powerful and eloquent. Other mature works include two string quintets and sonatas for the clarinet, cello, viola and violin. ![](https://static.lianmuse.com/image/blog/4bd57eaf10cac3a9eed06148570da228.png?v=4bd57eaf10cac3a9eed06148570da228) # Violy Album Contents: There are totally 6 pieces of music in the self-titled Album of Felix Mendelssohn on Violy, including: 1. ***Autumn Song Op. 63, №4*** | Ma non troppo = 120 2. ***Concerto in E minor, Op. 64, I*** | Allegro appassionato = 96 Felix Mendelssohn’s Violin Concerto in E minor, Op. 64, is his last large orchestral work. It forms an important part of the violin repertoire and is one of the most popular and most frequently performed violin concertos in history. The concerto consists of three movements with the following tempo markings: Allegro molto appassionato (E minor), Andante (C major), and Allegretto non troppo — Allegro molto vivace (E major). Although the concerto consists of three movements in a standard fast–slow–fast structure and each movement follows a traditional form, the concerto was innovative and included many novel features for its time. Distinctive aspects include the almost immediate entrance of the violin at the beginning of the work (rather than following an orchestral preview of the first movement’s major themes, as was typical in Classical-era concertos) and the through-composed form of the concerto as a whole, in which the three movements are melodically and harmonically connected and played attacca (each movement immediately following the previous one without any pauses). The concerto was well received and soon became regarded as one of the greatest violin concertos of all time. It remains popular to this day and has developed a reputation as an essential concerto for all aspiring concert violinists to master, and usually one of the first Romantic era concertos they learn. Many professional violinists have recorded the concerto and the work is regularly performed in concerts and classical music competitions. 3. ***On Wings of Song*** | Andante tranquillo = 120 {% raw %}
{% endraw %} 4. ***Spring Song — Op. 62, №6*** | Allegretto grazioso = 98 5. ***Symphony №4 — “Italian”*** | Allegro vivace = 152 The Symphony №4 in A major, Op. 90, commonly known as the Italian, is an orchestral symphony written by Mendelssohn. The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. It is in four movements: Allegro vivace (A major), Andante con moto (D minor), Con moto moderato (A major), and Presto and Finale: Saltarello (A minor). The joyful first movement, in sonata form, is followed by an impression in the subdominant minor of D minor of a religious procession the composer witnessed in Naples. The third movement is a minuet in which French horns are introduced in the trio, while the final movement, which is in the minor key throughout, incorporates dance figurations from the Roman saltarello and the Neapolitan tarantella. It is among the first large multi-movement works to begin in a major key and end in the tonic minor, another example being Brahms’s first piano trio. 6. ***Wedding March*** | Allegro mod. = 120 In this series of article, we will introduce you the music pieces of [**Johnn Sebastian Bach**](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), [**Joseph Haydn**](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/), [**Wolfgang Amadeus Mozart**](https://violy.app/blog/2019/11/Mozart-on-violin-app/), [**Ludwig van Beethoven**](https://violy.app/blog/2019/11/Beethoven-on-violin-app/), **Felix Mendelssohn**, **Pyotr Ilyich Tchaikovsky**, and finally, **Dmitri Shostakovich**. Stay tuned, Violy musicians, let’s bring the music fashion of violin back~ Ref: 1: https://en.wikipedia.org/wiki/Felix_Mendelssohn 2: https://en.wikipedia.org/wiki/Violin_Concerto_(Mendelssohn) 3: https://en.wikipedia.org/wiki/Symphony_No._4_(Mendelssohn) # Have a HAPPY practice!! ## More Violin Articles: [Teaching Violin Students to Read Key Signatures](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [Perform Harmonics on Violin](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [Solfeges used in Violin Lessons](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violin Album of Beethoven (New Albums on Violy | The BEST Violin App) - URL: https://violy.app/blog/violin-album-of-beethoven-new-albums-on-violy-the-best-violin-app - Markdown: https://violy.app/blog/violin-album-of-beethoven-new-albums-on-violy-the-best-violin-app.md - Published: 2019-11-28 - Summary: Hello, Violy violinists. Have you practiced happily, effectively and ‘violy’? In this article we wil # Beethoven Album on Violin App Hello, Violy violinists. Have you practiced happily, effectively and ‘violy’? In this article we will continue to go through the recently added “Albums” of violin repertoires on Violy — the best violin app. The repertoire we will discuss today is from Ludwig van Beethoven, who is considered to be one of the greatest composers of all time. ![Ludwig van Beethoven](https://static.lianmuse.com/image/blog/da5cbaf6eb3fcd31ace9220ca7fa0b6c.jpeg?v=da5cbaf6eb3fcd31ace9220ca7fa0b6c) # Violin Music Composer: Ludwig van Beethoven Ludwig van Beethoven (17 December 1770–26 March 1827) was a German composer and pianist. He is a crucial figure in the transition between the classical and romantic eras in classical music and remains one of the most recognized and influential musicians of this period. Beethoven was born in Bonn, the capital of the Electorate of Cologne, and part of the Holy Roman Empire. He displayed his musical talents at an early age and was vigorously taught by his father Johann van Beethoven, and was later taught by composer and conductor Christian Gottlob Neefe. At age 21, he moved to Vienna and studied composition with Joseph Haydn. Beethoven’s legacy is characterized for his innovative compositions, namely through the combinations of vocals and instruments, and also for widening the scope of sonata, symphony, concerto, and quartet. # Ludwig van Beethoven’s Violin Composition Beethoven composed in several musical genres and for a variety of instrument combinations. During his life, he composed nine symphonies, five piano concertos, one violin concerto, thirty-two piano sonatas, sixteen string quartets, two masses, and the opera Fidelio. Other works, like Für Elise, were discovered after his death, and are also considered historical musical achievements. Ode to Joy used by Beethoven in his Ninth Symphony may be one of the most well-known violin works among audience. His works with piano accompaniment include 10 violin sonatas, 5 cello sonatas, and a sonata for French horn, as well as numerous lieder. He also wrote a significant quantity of chamber music. In addition to 16 string quartets, he wrote five works for string quintet, seven for piano trio, five for string trio, and more than a dozen works for various combinations of wind instruments. ![](https://static.lianmuse.com/image/blog/ff6c903bd6109cba6c2671b73f59b462.jpeg?v=ff6c903bd6109cba6c2671b73f59b462) # Violy Album Contents: There are totally 14 pieces of music in the self-titled Album of Ludwig van Beethoven on Violy, including: 1. ***Ecossaise in G*** | Allegro = 120 2. ***Für Elise*** | Poco moto = 44 Bagatelle №25 in A minor, commonly known as Für Elise, is one of Ludwig van Beethoven’s most popular compositions. It was not published during his lifetime, only being discovered (by Ludwig Nohl) forty years after his death. The piece is in rondo form, A minor and 3/8 time. It begins with an A minor theme marked Poco moto (in some motion). The same motifs follow around C major and G major, before returning to the original theme. The B section is in the submediant major of F major, which concludes in 32nd note runs leading to a repeat of the A section. In the C section, an agitated theme in the subdominant key of D minor, is accompanied by repetitive chords with some dramatic diminished seventh chords. This section concludes with an ascending A minor arpeggio followed by a chromatic descent over two octaves, leading to another repeat of the A section. 3. ***Gavotte*** | Andantino = 76 4. ***Marmotte*** | Allegretto = 104 5. ***Minuet*** | Allegretto = 104 6. ***Ode to Joy*** | BPM = 100 Ode to Joy is an ode written in the summer of 1785 by German poet, playwright, and historian Friedrich Schiller and published the following year in Thalia. It is best known for its use by Ludwig van Beethoven in the final (fourth) movement of his Ninth Symphony, completed in 1824. Beethoven’s text is not based entirely on Schiller’s poem, and introduces a few new sections. His tune was adopted as the Anthem of Europe by the Council of Europe in 1972 and subsequently by the European Union. Over the years, Beethoven’s Ode to Joy has remained a protest anthem and a celebration of music. 7. ***Romance in F Major*** | Adagio cantabile = 66 The Romance for Violin and Orchestra №2 in F major is the second of two such compositions by Ludwig van Beethoven. It was written in 1798 but not published until 1805 (by which time Beethoven had completed the other work, Romance №1 in G major, Op. 40). The accompaniment is for flute and a pair each of oboes, bassoons and horns, with strings. The length is about eight minutes, Beethoven gives the tempo “Adagio Cantabile”. 8. ***Scherzo: Allegro (in C Major)*** | Allegro = 54 9. ***Sonatina in G Major, Andantino*** | Andantino = 76 10. ***Sonatina in G Major, Moderato*** | Moderato = 96 11. ***Symphony №3 in E-flat Major (“Eroica”), I*** | Allegro con brio = 60 The Symphony №3 in E♭ major is a symphony in four movements by Ludwig van Beethoven. One of the composer’s most celebrated works, the Eroica symphony is a large-scale composition that marked the beginning of Beethoven’s creative middle-period. Composed mainly in 1803–1804, the work is grounded in the Classical symphonic tradition while also stretching boundaries of form, length, harmony, and perceived emotional and possibly cultural content. It has therefore widely been considered an important landmark in the transition between the Classical period and the Romantic era. The work is in four movements: Allegro con brio (12–18 min.) (E♭ major), Marcia funebre: Adagio assai (14–18 min.) (C minor), Scherzo: Allegro vivace (5–6 min.) (E♭ major) and Finale: Allegro molto (10–14 min.) (E♭ major). 12. ***Symphony №5 in C Minor, I*** | Allegro con brio = 108 13. ***Symphony №6 in F Major (Pastoral), I*** | Allegro ma non troppo = 66 14. ***Symphony №7 in A Major, I*** | Vivace = 104 In this series of article, we will introduce you the music pieces of [**Johnn Sebastian Bach**](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), [**Joseph Haydn**](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/), [**Wolfgang Amadeus Mozart**](https://violy.app/blog/2019/11/Mozart-on-violin-app/), **Ludwig van Beethoven**, **Felix Mendelssohn**, **Pyotr Ilyich Tchaikovsky**, and finally, **Dmitri Shostakovich**. Stay tuned, Violy musicians, let’s bring the music fashion of violin back~ Ref: 1: https://en.wikipedia.org/wiki/Ludwig_van_Beethoven 2: https://en.wikipedia.org/wiki/F%C3%BCr_Elise 3: https://en.wikipedia.org/wiki/Ode_to_Joy 4: https://en.wikipedia.org/wiki/Symphony_No._3_(Beethoven) 5: https://en.wikipedia.org/wiki/Violin_Romance_No._2_(Beethoven) # Have a HAPPY practice!! ## More Violin Articles: [Teaching Violin Students to Read Key Signatures](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [Perform Harmonics on Violin](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) [Solfeges used in Violin Lessons](https://violy.app/blog/2019/11/Solfeges-used-in-Violin-Lessons/) {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # A Comparison of Movable Do & Fixed Do - Solfeges used in Violin Lessons - URL: https://violy.app/blog/a-comparison-of-movable-do-fixed-do-solfeges-used-in-violin-lessons - Markdown: https://violy.app/blog/a-comparison-of-movable-do-fixed-do-solfeges-used-in-violin-lessons.md - Published: 2019-11-26 - Summary: According to a brief survey we made among some violinists and violin teachers, two solfeges, fixed D # Solfeges used in Violin Lessons According to a brief survey we made among some violinists and violin teachers, two solfeges, fixed Do and movable Do, are both widely used when they used the violin tuner or play the instrument with violin app. In this article, we’re going to discuss the basic principles of solfege, the difference between the two solfeges, and the advantages and disadvantages of each one. ![](https://static.lianmuse.com/image/blog/15243127ea641b01862b3eec7db5834a.jpeg?v=15243127ea641b01862b3eec7db5834a) # The Basic Principles of Solfege used in Violin Lessons The word solfege is derived from the names of two of the syllables used Sol and Fa. Solfege, solfeggio or sulfa is a music education method used to teach pitch and sight singing with syllables Do, Re, Mi, Fa, Sol, La, Ti, Do in western music. There are two current schools of applying solfege: the first is fixed Do, where the syllables are always tied to specific pitches. Do is always C natural, for example. ![](https://static.lianmuse.com/image/blog/7bbcf14ad7f395c094f6b907f79bb4c7.png?v=7bbcf14ad7f395c094f6b907f79bb4c7) And then movable Do, where the syllables are assigned to scale degrees. Do is always the first degree of the major scale. ![](https://static.lianmuse.com/image/blog/7e5e4de74f6a2f7f224c48f06cdbd384.png?v=7e5e4de74f6a2f7f224c48f06cdbd384) # The Difference between Fixed Do and Movable Do used by Violin Students and Violin Teachers Here is the difference between the two solfeges: In fixed Do, we have a fixed set of pitches that always stay the same. Do is always C natural and then move on from there. Do, Re, Mi, Fa, Sol, La, Si, Do are simply C, D, E, F, G, A, B, C. These are note naming. When you have flats or sharps, you don’t need to change anything. Moveable Do is different that it moves depending on what key you are in. It is entirely different although it uses the syllables. Actually it is naming notes based upon the pitch relationship so that Do is the tonic of the major. It means that if you are in the key of C, Do is C; if you are in the key of D, Do is D. ![](https://static.lianmuse.com/image/blog/a3a387bb4e67a1b1f97f5dbdc4d0e974.png?v=a3a387bb4e67a1b1f97f5dbdc4d0e974) Movable Do tends to be for violin beginners through intermediates. But that is not to say that people who are advanced don’t use movable Do. However, fixed Do is far superior when it comes to the use of chromaticism and more complex music. Another way of looking at this is that fixed Do is for learning perfect pitch whereas movable Do is for learning relative pitch. # The Advantages and Disadvantages of Both Solfeges When Using Violin App Fixed Do is incredibly important in certain contexts. If you are a conductor who have to face a variety of instruments, it is unlikely to figure out what key each instrument is in exactly. For instance, you have violins in F or E flat, and you’ve got cellos in B flat and other instruments in some other key. At this moment, note naming is very important. Or if you are just not that familiar with the transposition of keys and find it difficult to change the note naming each time, it may be better to use fixed Do. A moveable Do is a tool for hearing music. For a young violin beginner, it is automatic for him or her to recognize that any music he or she hears automatically goes into the syllables. Then he or she may naturally hear music. Since some people don’t have perfect pitch, they often need a reference pitch. For the instruments they are not familiar with, they have no idea what pitches they are hearing. The absolute pitch is yet they assume a key and use the syllables in their head. So this is the benefit and it’s a tremendous benefit for hearing music. This can break down, however, with atonal music because syllables become kind of meaningless when there is no tone center. The whole idea of moveable Do solfege is having a tonic that is the starting note of your scale and all the pitch relationships. # It is hard to say which one is better used in violin lessons The great thing about fixed Do solfege is to be able to know to look at a score. If you’ve ever seen a great conductor just realize the score at the piano, it is awe-inspiring. Imagine taking a page that is covered from top to bottom with staffs and being able to flesh out by reading all these parts, there are all these different keys and transpositions and clefs. It takes brilliance to be able to digest a score and that’s where fixed Do Solfege is really important. If you want to be able to hear music and develop the ability to read music at site, the syllables are incredibly valuable because once you learn your pitch relationships in one key, it’s exactly the same in all the other keys. So if you know your key signatures intimately, transposition is a breeze because you put something in two syllables and you couldn’t just put it into any key you want. That’s how transposition works. Movable Do solfege is great for transposition. It is great for dictation being able to write out music you hear. As a violin teacher, you can just teach your students both solfeges and just choose one you use frequently. Either one works for better performing with violin app. ![](https://static.lianmuse.com/image/blog/415c76b945b9b45e529af1da5af065fc.jpeg?v=415c76b945b9b45e529af1da5af065fc) # Have a HAPPY practice!! ## More Violin Articles: [Teaching Violin Students to Read Key Signatures](https://violy.app/blog/2019/11/violin-teachers-biggest-difficulty-teaching-violin-students-key-signatures/) [Perform Harmonics on Violin](https://violy.app/blog/2019/11/how-to-perfrom-violin-harmonics/) ## Also, don’t forget to check out New Violin Repertoires on Violy! [Johnn Sebastian Bach](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), [Joseph Haydn](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/), [Mozart](https://violy.app/blog/2019/11/Mozart-on-violin-app/) Visit [Violy.app](https://violy.app/) for more~ Questions? Contact us at Support@Violy.app Stay tuned, Violy musicians, let’s bring the music fashion of violin back~ {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violin Album of Mozart (New Albums on Violy | The BEST Violin App) - URL: https://violy.app/blog/violin-album-of-mozart-new-albums-on-violy-the-best-violin-app - Markdown: https://violy.app/blog/violin-album-of-mozart-new-albums-on-violy-the-best-violin-app.md - Published: 2019-11-22 - Summary: Hello, Violy violinists. In this article we will go through the recently added “Albums” of violin re # Violin Album of Mozart (New Albums on Violy | The BEST Violin App) Hello, Violy violinists. In this article we will go through the recently added “Albums” of violin repertoires on Violy — the best violin app, which can help you practice ‘violy’. What should be checked out today is the repertoire of Wolfgang Amadeus Mozart, who was praised by Hadyn that “posterity will not see such a talent again in 100 years”. ![Wolfgang Amadeus Mozart](https://static.lianmuse.com/image/blog/c3f921557a7dd0b60c1e83b2bd994abc.jpeg?v=c3f921557a7dd0b60c1e83b2bd994abc) # Violin Music Composer: Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart (27 January 1756–5 December 1791), was a prolific and influential composer of the classical era. He composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. He composed more than 600 works, many of which are acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his early works in the shadow of Mozart, and Joseph Haydn was his friend and mentor. # Wolfgang Amadeus Mozart’s Violin Composition Mozart was a versatile composer, and wrote in every major genre, including symphony, opera, the solo concerto, chamber music, and sonatas. His five violin concertos were written in Salzburg around 1775. They are notable for the beauty of their melodies and the skillful use of the expressive and technical characteristics of the instrument, though Mozart likely never went through all the violin possibilities that others (e.g. Beethoven and Brahms) did after him. Mozart also wrote a concertone, an adagio and two stand-alone rondos for violin and orchestra. He composed a variety of chamber violin music as well, including childhood violin sonatas, mature violin sonatas, variations for violin and piano, string duos and trios, string quartet and string quintet. ![](https://static.lianmuse.com/image/blog/9494d7717fbb13d751bb88ae081ea50e.jpeg?v=9494d7717fbb13d751bb88ae081ea50e) # Violy Album Contents: There are totally 25 pieces of music in the self-titled Album of Wolfgang Amadeus Mozart on Violy, including: 1. ***4 Spiegelkanons, Allegro*** | Allegro = 116 2. ***Aria from “The Marriage of Figaro”*** | BPM = 116 * The Marriage of Figaro, K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Mozart. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera’s libretto is based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro (“The Mad Day, or The Marriage of Figaro”), which was first performed in 1784. The opera is a cornerstone of the repertoire and appears consistently among the top ten in the Operabase list of most frequently performed operas. 3. ***Fifth Concerto in A Major, Ⅰ*** | Allegro aperto Adagio = 66 4. ***“Haffner” — Rondo from Serenade №7, K. 250*** | Allegretto = 104 5. ***Ländler I*** | Allegretto = 104 6. ***Ländler Ⅱ*** | Allegretto = 104 7. ***Ländler Ⅲ*** | Allegretto = 104 8. ***May Song*** | BPM = 150 9. ***Minuet*** | Moderato = 96 10. ***Polonaise — №4 from 12 Duos, K. 487*** | Allegretto = 80 11. ***Serenade №13 — Eine kleine Nachtmusik*** | Allegro = 120 12. ***The Adélaïde Concerto*** | Allegro = 120 13. ***Turkish March*** | Allegro = 120 14. ***Variations on “Ah vous dirai-je, Maman”*** | BPM = 100 15. ***Violin Concerto №2, K. 211, I*** | Allegro moderato = 108 16. ***Violin Concerto №2, K. 211, II*** | Andante = 76 17. ***Violin Concerto №2, K. 211, III*** | Allegro = 120 * Violin Concerto №2 in D major K. 211 was composed in 1775. The concerto has the usual fast-slow-fast structure. The movements of the work have the tempo headings: Allegro moderato, Andante and Rondeau, Allegro. 18. ***Violin Concerto №3, K. 216, I*** | Allegro = 120 19. ***Violin Concerto №3, K. 216, I, Cadenza*** | Cadenza = 80 20. ***Violin Concerto №3, K. 216, II*** | Adagio = 66 21. ***Violin Concerto №3, K. 216, III*** | Allegro = 120 * The Violin Concerto №3 in G major, K. 216, was composed in Salzburg when Mozart was 19 years old. He called it in a letter to his father the Straßburger-Concert, and researchers believe this epithet comes from the opening orchestral motive in the third movement, a local, minuet-like dance that had already appeared as a tune in a symphony by Carl Ditters von Dittersdorf. The piece is in three movements: Allegro, Adagio and Rondeau, Allegro. 22. ***Violin Concerto №4, K. 218, I***| Allegro = 126 23. ***Violin Concerto №4, K. 218, II*** | Andante cantabile = 76 24. ***Violin Concerto №4, K. 218, III*** | Andante grazioso = 76 * Violin Concerto №4 in D major, K. 218, was also composed in 1775 in Salzburg. The autograph of the score is preserved in the Biblioteka Jagiellońska, Kraków. Mozart seemed to have originally composed it for himself to play, but after leaving the Salzburg Court Orchestra, he changed and updated the concerto for the successor of his position in his orchestra, Antonio Brunetti, to play. It is debatable whether the concerto was above Mozart’s level of mastery or if he purposely made the concerto difficult for Brunetti on account of his greater ability. The first movement is nicknamed the “military” Mozart Concerto while the second movement consists of melodic lines. The third movement is joyful and full of fun. 25. ***Wiegenlied*** | Andante = 76 In this series of article, we will introduce you the music pieces of [**Johnn Sebastian Bach**](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), [**Joseph Haydn**](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/), **Wolfgang Amadeus Mozart**, **Ludwig van Beethoven**, **Felix Mendelssohn**, **Pyotr Ilyich Tchaikovsky**, and finally, **Dmitri Shostakovich**. Stay tuned, Violy musicians, let’s bring the music fashion of violin back~ Ref: 1. https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart 2. https://en.wikipedia.org/wiki/List_of_compositions_by_Wolfgang_Amadeus_Mozart 3. https://en.wikipedia.org/wiki/Violin_Concerto_No._2_(Mozart) 4. https://en.wikipedia.org/wiki/Violin_Concerto_No._3_(Mozart) 5. https://en.wikipedia.org/wiki/Violin_Concerto_No._4_(Mozart) 6. https://en.wikipedia.org/wiki/The_Marriage_of_Figaro # Have a HAPPY practice!! {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) Feel free to contact us at Support@Violy.app ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violin Teachers’ Biggest Difficulty - Teaching Violin Students to Read Key Signatures - URL: https://violy.app/blog/violin-teachers-biggest-difficulty-teaching-violin-students-to-read-key-signatures - Markdown: https://violy.app/blog/violin-teachers-biggest-difficulty-teaching-violin-students-to-read-key-signatures.md - Published: 2019-11-19 - Summary: During violin lessons, many violin teachers find that it is difficult for beginners to read key sign # Violin Teachers’ Biggest Difficulty: Teaching Violin Students to Read Key Signatures During violin lessons, many violin teachers find that it is difficult for beginners to read key signatures when playing sheet music on violin app. The process of getting to know what a key signature can tell us may be confused in some way. ![](https://static.lianmuse.com/image/blog/40d8db5eea4006f1591606f8d6c67a18.jpeg?v=40d8db5eea4006f1591606f8d6c67a18) Violy musicians, in this article, we will discuss the secret of reading key signatures and how to recognize them correctly. Also, we will look at the pitfall that you need to avoid. # What does a key signature in violin pieces tell us? Firstly it tells us the key that a piece is written in, and secondly as a result of this, it tells us how many sharps and flats we should play in a particular piece of music. Let’s have a look at an example here: ![](https://static.lianmuse.com/image/blog/f1a3116176eaee3029e7fa2453c3d8d9.png?v=f1a3116176eaee3029e7fa2453c3d8d9) This hash symbol here which is actually a sharp symbol is the key signature and you’ll see it at the beginning of a piece of music and the beginning of each stave. Because this sharp symbol is on the top line there which we know is an F in the treble clef, what that’s saying is that every time we see an F written in this piece of music we should play F-sharp. It’s telling us that it’s in the key of G major. The same would work if it was in the bass clef. Here we’ve got a sharp again on the F line, so it’s the fourth line up in the bass clef which is an F and that again says whenever you see an F note in this piece of music, you are going to play an F sharp. ![](https://static.lianmuse.com/image/blog/511c1c9906db3fc2e6938ae42b264eb8.png?v=511c1c9906db3fc2e6938ae42b264eb8) Let’s have a look at some flats. We’ve got two flats in this particular key signature one is on the middle line and one is on the fourth space up. ![](https://static.lianmuse.com/image/blog/7fe7d85669817898ac648abd7310f2d9.png?v=7fe7d85669817898ac648abd7310f2d9) So one is on the B line and one is on the E space. What it tells us is that every time we see a B written in this piece of music, we are going to play a B-flat. Also, every time we see an E written in this piece of music, we are going to play an E flat. It tells us that the key is B flat major. # What is the secret of reading key signatures? Count up one note from the last sharp of your key signature and you’ll be able to tell straight away what key it’s in. Let’s have a look at our example: ![](https://static.lianmuse.com/image/blog/a801f57a2a456fdc2ad4e9f7fb66a294.png?v=a801f57a2a456fdc2ad4e9f7fb66a294) We’ve got two sharps, an F sharp and a C sharp. Let’s count up one note from the last shot C to D, and that tells us that the key signature is D major. Now let’s have a look at this key signature and utterly terrifying prospect: ![](https://static.lianmuse.com/image/blog/3ef8762ac7f568443e7079e001e79c4e.png?v=3ef8762ac7f568443e7079e001e79c4e) It doesn’t need to be terrifying anymore, because there’s the last sharp. It’s an A. Go up one note, A to B, that tells us that the key signature is B major. It really is as simple as that. You should be able to impress your musical friends with your newfound knowledge that you can read any key signature that has a sharp in it. There’s a similar rule for the flats: you need to look at the penultimate flat of the key signature. Have a look at this key: ![](https://static.lianmuse.com/image/blog/d81d6b64af4a229e9c5ef3a3c308c510.png?v=d81d6b64af4a229e9c5ef3a3c308c510) Signature B flat and E flat. Look at the penultimate note, that’s B flat and that tells us the key signature is B flat major. Now let’s have a look at this one: ![](https://static.lianmuse.com/image/blog/f3f9baec44b5051772bcd94107735ec2.png?v=f3f9baec44b5051772bcd94107735ec2) Look at the penultimate note. It’s A flat major. With the secret, you are able to tell any key signature in any violin sheet music. # What is the pitfall of reading key signatures using violin app? The pitfall is: every major key has a relative minor. If there are two keys that share the same key signature, you find the relative minor by counting down three note names. Here’s our example of G major: ![](https://static.lianmuse.com/image/blog/c3b4e6b015c093e7f77495965fc6a16d.png?v=c3b4e6b015c093e7f77495965fc6a16d) If we count down three note names, G, F, E, and we know that it’s relative minor is E minor. If we choose B flat major, count down three note names, B, A, G, and it’s relative minor is G minor. So you should be a little bit careful and find out what you are working on is in the major or the minor. ![](https://static.lianmuse.com/image/blog/6c1817ba5480bbc9c3736172e84e1981.jpeg?v=6c1817ba5480bbc9c3736172e84e1981) # While playing with violin app and violin tuner, how to find out whether it is in the major or the minor? First, look at the first and last base notes or chord symbols if there are some in the sheet. Most pieces of music start and end on the root chord of the key of the scale. If you look at the first and last bass note, you’re trying to work out whether it’s G major or a minor. If the first and last base notes are both G’s, it’s probably in G major. If they’re both E’s, it’s highly likely to be an E minor. Second, check out are there any accidental sharps knocking around on the piece on the seventh note of the minor scale. Again if you are trying to work out is it in G major or E minor, and you are seeing lots of D sharps knocking around on the piece of music, then you will be thinking that it is probably an E minor, because D is the 7th note of the minor scale. Finally, let’s think about the key changes. If we have a piece of music that starts in G, we will only play F sharps. But then it moves to D major and suddenly we have to place C sharps as well, we will have to look out for those and also beware of accidentals. A few things need to be aware of during violin playing and sheet music reading, and one big thing is to remember the secret of how to read key signatures in sharps and flats. This is going to take your musicianship to a new level straight away. # Visit Violy.app for more~ ## Also, don’t forget to check out Violy sheet music introduction! [Johnn Sebastian Bach](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/) [Joseph Haydn](https://violy.app/blog/2019/11/Haydn-album-on-violin-app/) Stay tuned, Violy musicians, let’s bring the music fashion of violin back~ ## Have a HAPPY practice!! {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) Feel free to contact us at Support@Violy.app ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # When Coaching Your Child During Practice, Do Not Say These Things to Them - URL: https://violy.app/blog/when-coaching-your-child-during-practice-do-not-say-these-things-to-them - Markdown: https://violy.app/blog/when-coaching-your-child-during-practice-do-not-say-these-things-to-them.md - Published: 2019-11-16 - Categories: Music News - Summary: Five remarks children dislike hearing during instrument practice, from personal insults to comparisons with other children, and why parents should avoid them. As the original article puts it, parents have to stay with their children during instrument practice. The younger the child, the more support they need: if you are not there, they will not practice. But being there can also leave you angry and frustrated, leading to conflict with your child. You feel as though you have put in an enormous effort with nothing to show for it. ![](https://static.lianmuse.com/image/blog/c5d5c076ddd8ae3f949deaa265d10851.gif) One parent puts it bluntly: "Every time we practice, I am the enemy in my child's eyes." So what are parents getting wrong, despite spending so much time and energy? The original article cites an informal, unofficial survey with a sample of 420 interviewees. It suggests that the answer may be saying the wrong things. There are some things you are better off not saying during practice. Try to avoid them—or better still, do not say them at all. Below, we have rounded up five remarks that young music students really, really, really dislike. Parents, see whether any sound familiar! --- ### 1 - "Why Are You So Stupid?" ![](https://static.lianmuse.com/image/blog/4175367d52060612f12d027fddda3f2b.jpg) Type: Personal attack and put-down. This is a blatant personal attack. Even adults find it hard to accept, so how can we expect children to take it? What a child might be thinking: - I really am that stupid. I will never learn to play this. - If you are so smart, you play it! - You do not even understand it, yet you are criticizing me. **Dislike rating: ★★★★★** ### 2 - "If You Cannot Play It Properly, You Do Not Get to Eat" ![](https://static.lianmuse.com/image/blog/704503acf75e9ac940d1ba036125af4f.jpg) Type: Threat. The article describes an approach familiar among Chinese parents: mixing coaxing with intimidation. But constantly threatening children with "You cannot eat" or "You cannot sleep" is, frankly, rather inhumane. This may leave children feeling wronged and resentful. It may also make children who already dislike eating even less willing to eat. What a child might be thinking: - Fine, I will not eat. At least I can lose some weight. - Let me starve to death. Then I will not have to practice anymore. **Dislike rating: ★★★★☆** ### 3 - "Paying for You to Learn an Instrument Is a Complete Waste of Money" ![](https://static.lianmuse.com/image/blog/0656188a4870e45432a32828dd1e065c.jpg) Type: Blame. Learning an instrument costs money, and that should be clear before you begin. The article, written in China in 2019, remarks that even pork was expensive at the time. When you are paying to learn a skill that can stay with you for a lifetime, is money really the point? What a child might be thinking: It was not even my idea to learn. Why not save that money and buy me something instead? Money matters much more to you than I do. Dislike rating: ★★★★★ ### 4 - "Look at How You Play, Then Look at So-and-So" Type: Comparison. ![](https://static.lianmuse.com/image/blog/70df2069e8e84e41d0dbe1022c6ca623.png) Parents first need to understand that every child starts learning music from a different place. Blind comparisons only undermine a child's confidence and may even make them dislike practicing. What a child might be thinking: - So-and-so is so annoying. What is so great about playing well? - Why do you not go and be so-and-so's mom instead? **Dislike rating: ★★★★☆** ### 5 - "If You Do Not Want to Practice, Then Do Not (You Will Never Learn It Anyway)" ![](https://static.lianmuse.com/image/blog/740cb5b4dbd1e7f85b65c0330591eb09.png) Type: Negativity. Instrument practice is a long-term commitment. For a child, getting fed up and dragging their feet is entirely normal. Even an adult would struggle to keep doing the same thing over and over every day. At times like these, do not say discouraging things to your child. This kind of cold emotional mistreatment is unacceptable. What a child might be thinking: - I stopped wanting to practice ages ago. Would I dare say no? - What is the point of saying the opposite of what you mean every day? **Dislike rating: ★★★★** --- During practice, the most important thing for parents is to stay patient. Your impatience does nothing except put more pressure on your child. Often, words have already caused harm before parents even realize it. Even when you need to be strict, do not cross any of the five lines described above. --- # Violin Album of Joseph Haydn(New Albums on Violy | The BEST Violin App) - URL: https://violy.app/blog/violin-album-of-joseph-haydn-new-albums-on-violy-the-best-violin-app - Markdown: https://violy.app/blog/violin-album-of-joseph-haydn-new-albums-on-violy-the-best-violin-app.md - Published: 2019-11-14 - Summary: Hello, Violy violinists. let me introduce you to the recently added “Albums” of violin repertoires o # Violin Album of Joseph Haydn(New Albums on Violy | The BEST Violin App) Hello, Violy violinists. let me introduce you to the recently added “Albums” of violin repertoires on Violy — the best violin app. Without further ado, let’s check out the repertoire of Joseph Haydn, whose contributions to musical form have earned him the epithets “Father of the Symphony” and “Father of the String Quartet”. ![Joseph Haydn](https://static.lianmuse.com/image/blog/0d7f73b261bf4c547574a01d3ae1c6c8.jpeg?v=0d7f73b261bf4c547574a01d3ae1c6c8) # Album (Violin) Composer: Joseph Haydn Franz Joseph Haydn was an Austrian composer of the Classical period. He played an important role in the development of chamber music, such as the piano trio. His contribution to musical form has earned him the title of “Father of Symphony” and “Father of String Quartet”. Haydn spent much of his career as a court musician for the wealthy Esterházy family at their remote estate. Until the later part of his life, this isolated him from other composers and trends in music so that he was, as he put it, “forced to become original”. Yet his music circulated widely, and for much of his career he was the most celebrated composer in Europe. He was a friend and mentor of Mozart, a tutor of Beethoven, and the older brother of composer Michael Haydn. [1](https://en.wikipedia.org/wiki/Joseph_Haydn#cite_note-5) # Joseph Haydn’s Violin Composition Haydn’s violin concertos are a bit of a puzzle. He composed four in all, of which the Second is lost. The First was written in 1765 for one Luigi Tomasini, an Italian violinist at the Esterháza court. The rest can’t be dated with certainty: it has been mooted that Haydn, also an accomplished violinist, may have written them for himself. The First is very retro and reminiscent of Vivaldi. The Third and Fourth are more courtly and self-consciously grand. Baroque violinist Giuliano Carmignola has been championing them for some time now. His dexterity is at its most sensational in the double-stopped allegro moderato of the First Concerto and the cadenza of the Fourth, while his ability to generate intense emotions by the sparest means leads to unforgettable things in the First’s adagio. The Orchestre des Champs-Elysées under its leader Alessandro Moccia are classy: their acerbic sound keeps the drama uppermost and prevents everything from becoming cloying. [2](https://www.theguardian.com/music/2012/feb/09/haydn-violin-carmignola-mocca-review) ![](https://static.lianmuse.com/image/blog/7666dcabdbe1381faac0ba6e24ac3ea9.jpeg?v=7666dcabdbe1381faac0ba6e24ac3ea9) # Joseph Haydn’s Concerto The Concerto in A major, Hob.VIIa:3, is often known as the ‘Melk’ Concerto, as copies of the parts were found at Melk Abbey, where oboes are listed and horn parts actually included. The wind parts are thought by some not to be authentic, as they are omitted in a second source surviving in Venice, and in any case the oboe parts would need to be reconstructed. The concerto is listed in Haydn’s catalogue between the dates 1765 and 1770, and was probably also written for Tomasini. It is marginally more demanding than the earlier work, but again makes considerable use of chains of dotted notes, double stopping, relatively high registers of the violin and ornamental figuration. The D major slow movement is followed by an extended and vigorous finale. [3](https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.570483&catNum=570483&filetype=About%20this%20Recording&language=English) The Concerto in G major, Hob.VIIa:4, is not included in Haydn’s own catalogue but is listed in the 1769 Breitkopf catalogue, with the Concerto in C major. Manuscript parts survive dated 1777 with the Vienna Gesellschaft der Musikfreunde and in the Breitkopf archive. As with the other concertos, there is no autograph manuscript surviving. [3](https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.570483&catNum=570483&filetype=About%20this%20Recording&language=English) The G major Concerto is rather less demanding than the other two and may well be earlier than either of them. The solo part makes relatively modest demands on the violinist and the high registers explored in the other concertos are avoided. Baroque chains of dotted notes still have their part, while double stopping is limited. The slow movement aria is in C major, and the last movement, as before, allows the soloist to enter with the main theme, first heard from the orchestra which returns to it to end the whole work. [3](https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.570483&catNum=570483&filetype=About%20this%20Recording&language=English) # Violy Album Contents: There are totally 7 pieces of music in the self-titled Album of Johann Sebastian Bach on Violy, including: 1. *Andante from “Surprise Symphony”* | Andante = 76 2. *Concerto №1 in C Major, I* | Allegro moderato = 73 (Accompaniment available) 3. *Concerto №2 in G Major, I* | Allegro moderato = 64 4. *From Symphony №100 (Military)* | Allegro = 108 (Accompaniment available) 5. *Serenade* | Andante cantabile = 76 6. *Theme from “Surprise Symphony”* | Andante = 76 (2 violin parts) 7. *Toy Symphony* | Allegro = 120 (2 violin parts) The Symphony №94 in G major (H. 1/94) is the second of the twelve London symphonies written by Joseph Haydn. It is popularly known as the Surprise Symphony. Haydn’s music contains many jokes, and the Surprise Symphony includes probably the most famous of all: a sudden fortissimo chord at the end of the otherwise piano opening theme in the variation-form second movement. The music then returns to its original quiet dynamic as if nothing has happened, and the ensuing variations do not repeat the joke. In German, the work is referred to as the Symphony mit dem Paukenschlag, or, with the kettledrum stroke. [4](https://en.wikipedia.org/wiki/Symphony_No._94_(Haydn)) Ref: [1] https://en.wikipedia.org/wiki/Joseph_Haydn#cite_note-5 [2] https://www.theguardian.com/music/2012/feb/09/haydn-violin-carmignola-mocca-review [3] https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.570483&catNum=570483&filetype=About%20this%20Recording&language=English [4] https://en.wikipedia.org/wiki/Symphony_No._94_(Haydn) **In this series of article, we will introduce you the music pieces of** [**Johnn Sebastian Bach**](https://violy.app/blog/2019/11/bach_violin_repertoire_on_violin_app/), **Joseph Haydn**, **Wolfgang Amadeus Mozart**, **Ludwig van Beethoven**, **Felix Mendelssohn**, **Pyotr Ilyich Tchaikovsky**, and finally, **Dmitri Shostakovich**. Stay tuned, Violy musicians, let’s bring the music fashion of violin back~ # Have a HAPPY practice!! {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) Feel free to contact us at Support@Violy.app ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # How to Perform Harmonics on Violin - URL: https://violy.app/blog/how-to-perform-harmonics-on-violin - Markdown: https://violy.app/blog/how-to-perform-harmonics-on-violin.md - Published: 2019-11-09 - Summary: As a violin learner, personally I think one of my toughest experiences about the instrument is learn # How to Perform Harmonics on Violin? As a violin learner, personally I think one of my toughest experiences about the instrument is learning to perform harmonics. But it must be admitted that harmonics can be regarded as the most beautiful sound in violin playing. ![](https://static.lianmuse.com/image/blog/e602bb8bcaa11f42a4676a4ed2c63d9d.png?v=e602bb8bcaa11f42a4676a4ed2c63d9d) # When a violinist plays a note on a violin string, the string starts to vibrate very fast. This vibration makes the air vibrate and the sound waves travel to our ear so that we can hear it. If the note were absolutely pure the string would move in a perfect sinusoidal shape and produce only one frequency, but instead there are multiple frequencies being produced at the same time along with the main one. The note played on the violin string makes the string vibrate in a very complicated way. The higher the note, the faster the string vibrates. An A above middle C (the violinist’s A string) vibrates at 440Hz (440 times per second). This is the “fundamental” or “first harmonic”. The second harmonic vibrates twice as fast (ratio 2:1): 880Hz. This gives an A an octave higher. The third harmonic will give a ratio 3:2. This will be an E (an octave and a fifth above the fundamental). The higher the harmonic the quieter it is, but the ratio is always a whole number. # A violinist can place his finger very lightly on a string so that it divides the string into half. A violinist will hear a harmonic (the note an octave higher than the open string). By placing his fingers in other places he can get more harmonics, e.g. by touching the string a quarter of the way down he gets the next harmonic. “Artificial harmonics” can be played by stopping a string with the finger in the usual way (so that the string is now shorter) and placing the little finger farther up the string to get a harmonic of the stopped note. Artificial harmonics are very hard to play well. The higher the pitch, the harder to play it with great effect. # Practicing tips for harmonics on violin But reading the description only cannot give learners an objective understanding of what to do in detail. Here are some practicing tips for harmonics on string instruments especially on violin: 1. Keep your little finger in a completely relaxing condition, straighten it and try your best to cover the point of harmonics on the string with your finger pulp. In the meantime, your thumb and index finger should hold the neck firmly. The necessary basis for performing is that you need to get accustomed to playing with relaxed finger when it comes to harmonics. 2. Your finger is supposed to stop the string accurately. Even if the deviation is tiny, the harmonics cannot be played well. Therefore, you need to slow down your performing when practicing harmonics and make sure every harmonic is clear and accurate. Vague or hoarse tones should be avoided. 3. When you are performing harmonics, remember to keep your bow close to the bridge. Besides, your bowing is supposed to be swift. It should be kept in mind that when the pitch of harmonics is higher, your bow should be closer to the bridge and bowing should be swifter as well. But never make your bowing too hard. Otherwise, the effect of playing can be impacted or even damaged. 4. Keep your bow steady instead of letting it swing randomly while playing. Or the vibration may be destroyed. Apart form that, your bowing needs to be smooth instead of stiff. Stiff bowing may lead to fluctuating vibration. 5. While playing artificial harmonics, you need to maintain a correct hand type of a fourth. With your index finger stopping the string as usual and your little finger being placed lightly on the string, remember to play within the fourth position as well. Sometimes artificial harmonics are also played on the fifth position on string D and G. But do remember not to break the normal ratio. 6. Performing double-string harmonics can be relatively difficult. As for the skills, you need to play an artificial harmonic using index finger and little finger, as well as a natural harmonic using middle finger or third finger at the same time. You are supposed to pay attention to the contact area between bow hair and strings together with dynamics while performing. 7. Try vibrato if you are already skilled. The sound of harmonics can become even more attractive and less stiff when vibrato is used. Vibrato can resonate well with vibration. # Harmonics can provide unique feelings for both learners and listeners. In general, as a series of special notes, harmonics can provide unique feelings for both learners and listeners. The role played by harmonics is irreplaceable. The special effect of harmonics gives a chance for performers to explore more performances of string instruments, expand the range of violin and intensify the expressiveness in some way. Hopefully the practicing tips above can be effective and do help your performing. # Have a HAPPY violin practice! {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) Feel free to contact us at Support@Violy.app ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violin Album of JS Bach (New Albums on Violy | The BEST Violin App) - URL: https://violy.app/blog/violin-album-of-js-bach-new-albums-on-violy-the-best-violin-app - Markdown: https://violy.app/blog/violin-album-of-js-bach-new-albums-on-violy-the-best-violin-app.md - Published: 2019-11-07 - Summary: Hello, Violy violinists. We will introduce you to the recently added “Albums” of violin repertoires # Violin Album of JS Bach (New Albums on Violy | The BEST Violin App) Hello, Violy violinists. We will introduce you to the recently added “Albums” of violin repertoires on Violy — The BEST Violin App. Without further ado, let’s start from Johnn Sebastian Bach who was also as known as the father of music. ![Johann Sebastian Bach](https://static.lianmuse.com/image/blog/2f5e9959ff02ecbb69e4ac45bcce83b6.png?v=2f5e9959ff02ecbb69e4ac45bcce83b6) # Album (Violin) Composer: Johann Sebastian Bach [Johann Sebastian Bach](https://en.wikipedia.org/wiki/Johann_Sebastian_Bach) (31 March [O.S. 21 March] 1685–28 July 1750) was a German composer and musician of the Baroque era. He is known for instrumental compositions such as the Art of Fugue, the Brandenburg Concertos, and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers of the Western art musical canon. [1]
# Bach’s Violin Composition Bach’s most advanced compositions of violin have been considered to be the highest peak of every violinist’s achievement. The unaccompanied Partitas and Sonatas as well as his violin pieces with accompaniment require a high level of violin mastery and a seasoned musicality. Players who have not reached these heights are also eager to become more adept at his music and deepen their understanding of Baroque playing skills. [2] ![](https://static.lianmuse.com/image/blog/f61c6bd8b725f65a3c9f4a5bdd8309e9.png?v=f61c6bd8b725f65a3c9f4a5bdd8309e9) # Violy Album Contents: There are totally 18 pieces of music in the self-titled Album of Johann Sebastian Bach on Violy, including: 1. ***Air on the G String*** | Lento e molto espressivo = 52 * “Air on the G String” is August Wilhelmj’s arrangement of the 2nd movement in J S Bach’s Orchestral Suite №3 in D major, BWV 1068. * The arrangement is different from the original in that the part of the 1st violins is transposed down so that it can be played entirely on a violin’s lowest string, the G string. It is played by a single violin (instead of by the first violins as a group). [3] 2. ***Allegro*** | Allegro = 120 3. ***Bourrée*** | Allegro moderato = 80 4. ***Come Let Us to the Bagpipes Sound from “The Peasant Cantata”*** | Allegro = 120 * In 1742, Bach, late in his career, took a long look back at the music of his day and made such a thorough-going parody of it that we’re still not sure if he was making a social commentary or a musical joke. * The Peasant Cantata, BWV 212, also has the title of Mer Hahn en neue Oberkeet, which in local Saxon, for We have a new Governor.[4] 5. ***Gavotte*** | Allegro vivace = 136 6. ***Invention No.13 in A Minor BWV 784*** | Allegro = 120 7. ***Invention No. 2 in C Minor BWV 772*** | Allegro Moderato ed Espressivo = 116 8. ***Largo*** | Cantabile ed Espressivo = 46 9. ***Minute 2*** | Andantino = 104 * One of the three most popular minuets in the violin repertoire by Bach. * A minuet is a social dance of French origin for two people, usually in 3/4 time. The word was adapted from Italian minuetto and French menuet, possibly from the French menu meaning slender, small, referring to the very small steps, or from the early 17th-century popular group dances called branle à mener or amener. * The Minuet in G major is a keyboard piece included in the 1725 Notebook for Anna Magdalena Bach. For a while, it was attributed to Johann Sebastian Bach (BWV Anh. 114), but it is now universally attributed to Christian Petzold. It is a 32-measure piece primarily in the key of G major. 10. ***Musette*** | Andante = 76 11. ***Sarabande (violin trio)*** | Allegro = 120 12. ***Suite in B minor: II. Rondeau BWV 1067*** | Allegro = 120 13. ***Violin Concerto in A Minor, I BWV 1041*** | Allegro moderato = 108 14. ***Violin Concerto in A Minor, II BWV 1041*** | Andante = 76 15. ***Violin Concerto in A Minor, III BWV 1041*** | Allegro assai = 130 * The Violin Concerto in A minor, BWV 1041, was written by Johann Sebastian Bach. While it has been “generally thought to be composed at Köthen in 1717–23”. Christoph Wolff has argued that the work may have been written in Leipzig during Bach’s time as director of the Collegium Musicum; John Butt also believes that Bach wrote it “probably soon after taking over the Leipzig Collegium Musicum in 1729”. In any event, the only autograph source to survive are parts Bach copied out (along with other copyists) in Leipzig circa 1730 from a now lost score or draft. [5] 16. ***Violin Concerto in E Major, I BWV 1042*** | Allegro = 120 17. ***Violin Concerto in E Major, II BWV 1042*** | Adagio = 100 18. ***Violin Concerto in E Major, III BWV 1042*** | Allegro assai = 52 * The Violin Concerto in E major, BWV 1042, by Johann Sebastian Bach is a concerto based on the three-movement Venetian concerto model, albeit with a few unusual features as each movement has “un-Italian characteristics”. * While there are two 18th-century scores, neither is autographed; however, Bach re-used the concerto as the model for his Harpsichord Concerto in D major, BWV 1054, found in his 1737–39 autographed manuscript of these works. The concerto is thought to have been written when Bach was working for the court of Köthen or when Bach was in Leipzig. [6] In this series of article, we will introduce you the music pieces of **Johnn Sebastian Bach**, **Joseph Haydn**, **Wolfgang Amadeus Mozart**, **Ludwig van Beethoven**, **Felix Mendelssohn**, **Pyotr Ilyich Tchaikovsky**, and finally, **Dmitri Shostakovich**. Stay tuned, Violy musicians, let’s bring the music fashion of violin back~ [1] https://en.wikipedia.org/wiki/Johann_Sebastian_Bach [2] https://blog.oup.com/2018/05/playing-bach-violin/ [3] https://en.wikipedia.org/wiki/Air_on_the_G_String [4] https://interlude.hk/bach-makes-joke-peasant-cantata/ [5] https://en.wikipedia.org/wiki/Violin_Concerto_in_A_minor_(Bach) [6]: https://en.wikipedia.org/wiki/Violin_Concerto_in_E_major_(Bach) # Have a HAPPY practice!! {% raw %}
{% endraw %} #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) Feel free to contact us at Support@Violy.app ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Niccolo Paganini - The First Ever Violin Rockstar - URL: https://violy.app/blog/niccolo-paganini-the-first-ever-violin-rockstar - Markdown: https://violy.app/blog/niccolo-paganini-the-first-ever-violin-rockstar.md - Published: 2019-10-27 - Summary: Niccolò Paganini, an Italian violinist and street performer, was one of the most famous virtuoso of # Niccolo Paganini - The First Ever Violin Rockstar Niccolò Paganini, an Italian violinist and street performer, was one of the most famous virtuoso of all time and some people believe that he was a metaphorical musical god while the others think that he traded with devil to get such talent and virtuosity. He was also known for his speed in playing violin with 12 notes played per second. Is he really a god or devil? In today's topic, lets unveil this violin master's backgroud story. ![](https://static.lianmuse.com/image/blog/850ff0cb4f8f5d5fc919c7ac68bb2777.png?v=850ff0cb4f8f5d5fc919c7ac68bb2777) ## Devil Violinist Was Born Niccolò Paganini was born in Genoa, Italy, on October 27, 1782 as the third of six children born to Teresa and Antonio Paganini. His father knew how to play mandolin and taught Paganini when he was 5 years old. Paganini's talent was quickly recognized, and his father sent him to study with various local violinists, including Giovanni Servetto and Giacomo Costa. In 1794, 11 years old Paganini had his first public violin performance at Genoa. He then seeked guidance from Ferdinando Paer and Gasparo Ghiretti who had influenced his style of later composition. With hardwork in practicing which it was said that he practiced for 15 hours a day, Paganini gained more frame by traveling to local cities including Livorno and Parma to display his unparrelled violin skills. However, he indulged himself in gambling, womanizing and alcohol as he became famous locally. After he paused his career for a while, he got a great opportunity in 1805. At that time, Napoleon annexed Lucca which was state of Italy, and gave control to his sister princess Elisa Baciocchi. Paganini quickly earned favor of Baciocchi and became the violinist of her court. He also gave private lessons to Baciocchi's husband Felice. It was speculated that he composed masterpiece solo "24 Caprices" at this time. However, he soon left Baciocchi and resumed his traveling virtuoso life. ![“The Devil’s Violinist” is a 2013 film based on the life story of the 19th-century Italian violinist and composer Niccolò Paganini.](https://static.lianmuse.com/image/blog/ccc4a7e5b546c0fee73b349a7e03d3ba.jpeg?v=ccc4a7e5b546c0fee73b349a7e03d3ba) ## Life Of A Virtuoso For the next few years, Paganini traveled throughout the Geona and Parma region and in 1813, his concert in La Scala, Milian was a huge success. Many audiences found his music concert attractive. Some people cried when he executed tender passages and some believed that they had seen the devil helping Paganini with his performance. In 1827, Pope Leo XII honoured Paganini with the Order of the Golden Spur. Paganini soon spreaded his frame through the Europe with his violin concert began in Vienna and stoped at major countries in Europe including Germany, France and Poland. ## Health Decline Of A Violin Master Paganini's health soon decline after his extravagant lifestyle and frequent concert schedule. It was said that he suffered Marfan syndrome and Ehlers–Danlos syndrome. However, many people believed that because of those syndrome, Paganini was able to play violin like a devil with long fingers and extraordinary flexibility. Plus he always weared black suit and his pale skin made him looked unnormal. Thus, he had nickname of 'Rubber Man' and 'Devil Violinist'. He was later on diagnosed with syphilis in 1822 and as his got treatment withmercury, his health became worse. In 1834, he was treated for tuberculosis, which ended his concert and returned to Geona. ## The Final Ending Of The Violin Rock Star Eventhough his health drastically declined, he still devoted himself in teaching his violin techniques and publishing his music compositions. He taught a young virtuoso called Apollinaire who was only 11 years old and found his violin skills impressive. In 1840 May 27, he died of larynx cancer in Nice, France. However, Paganini died without receiving the last rites and church in Geona refused to bury his body on consecrated ground because he was widely rumored with having relationship with devil. His body was finally buried in 1876, in a cemetery in Parma. The devil violinist settled but his music work and his skill of playing 12 notes per secound are still widely known today. ![](https://static.lianmuse.com/image/blog/d8220ab28d8ef3dd89440cf7a153df72.png?v=d8220ab28d8ef3dd89440cf7a153df72) #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) Feel free to contact us at Support@Violy.app ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Limitations of the Violy, the best violin, viola and cello app - URL: https://violy.app/blog/limitations-of-the-violy-the-best-violin-viola-and-cello-app - Markdown: https://violy.app/blog/limitations-of-the-violy-the-best-violin-viola-and-cello-app.md - Published: 2019-10-17 - Summary: Hello, we are Violy team. We always dedicate to provide users with better experience in string instr Hello, we are Violy team. We always dedicate to provide users with better experience in string instrument practicing. We incorporate AI and computer music technology to generate insightful feedback toward user’s individual practice, making sure that users can practice effectively and enjoy learning to play instruments. Our slogan is: Practicing with Violy, practicing with efficiency. Because of technology limitation, the current Violy App still needs more improvement. We guarantee our users that we will continue to enhance our app. Some problems may be hard to handle in the short term but we will keep working on them. We sincerely welcome any constructive feedback and suggestion. Please feel free to contact our support team through support@violy.app . In today’s article, we will talk about some technical limitations and problems existing in our current app. It also serves to help our users and parents understand how our mobile app works. Through the article, you may find answers to some of your questions. ## Clarity of string sound * To improve the accuracy in identifying music notes, each note must be played loud enough to stand out from background noise. Try to reduce the background noise to minimize the interference. Although our app has a certain level of tolerance of background noise and even occasional talking, playing in a noisy environment will lead to inaccurate identification of music note. * Each note must be played clearly for our mobile app to follow your pace and identify where you are in any sheet music. Try to avoid random touching of other strings while you are playing. Otherwise, it will impact the result of final scoring report. * If the background noise cannot be avoided, you are suggested to get closer to the app and play more loudly. If you are exposed to extreme noise, we recommend you to install the pickup (transducer) and input the sound into your device running Violy App. * Most of the time, you may practice with metronome. However, the sound of metronome can somehow interfere our app to identify the notes. We will work on the future update to make sure that our algorithm can leave out the sound of metronome. * Do not talk loudly when practicing since the tablet or smartphone will highlight human voice instead of other sound, which can affect the accuracy of report. ## Error in identifying music notes * Sometimes, the following problem may appear: We think the recording sound is alright but the Violy App generates a low score. Or the Violy App wrongly identifies two consecutive notes that the first one is correct while the other is not. * The reason behind this problem is that the mobile app has its own algorithm and it has a certain level of tolerance in identifying a note. If the note is not played articulately or loud enough, or there is random touching of strings or wrong sound of the previous note, some errors may take place. Therefore, we highly recommend beginners to play their instruments in a slightly slow speed and articulate each note. * If you believe the Violy App keeps displaying inaccurate result, please have your instructor play the same note for you and see if the result is different. Remember, our app serves as a tool to help you practice and it is only a reference. ## Inaccuracy in identifying bass sound * When you play the bass sound, especially in G string, the Violy App may have errors in following or identifying your note. * The reasons behind can be various. 1. First, the sound of string depends on the quality of the instrument. If the instrument is not tuned, the output sound can be impacted. 2. Second, it is hard to play the G string clearly and articulately for beginners. 3. Third, the device running Violy app can varies in brands. The bass sound may not get recorded accurately in different devices. * We suggest that you always play your instrument in a quiet, echo-free environment and place your device running Violy App close to your instrument. We will work on our algorithm to identify the bass sound better in future update. ## Double stops and chords identification * Some sheet music of double stops or chords cannot be auditioned with flickering cursor and the app prompt of “sound not found” during the process. Since identifying a note of these types requires better technology and higher identification rate, Violy app can only identify it if the note is played very clearly and correctly. Besides, users are supposed to play it well enough, or the note cannot be identified normally. * On the other hand, some special sheet music cannot be auditioned no matter how well you play. Therefore, we suggest users not audition the sheet music with the app. In addition, the identification of one note may interfere that of another one when it comes to double stops or chords, especially for the double-stop note that spans exactly one octave. It is difficult to recognize for the current version of Violy app. ## Decorative note and Pizzicato * Decorative, pizzicato, trill and appoggiatura in audition are not supported for the current version of Violy app, but we will continue to develop new technology to support them in future update. * The sound effect of pizzicato contains lingering sound, ending and blanks which may impact the effect of identification and the audition result of pizzicato periods can be negative. * We are trying our best to improve the app! ## Sheet Music Demos * The current demo music for each sheet music is generated with computer instead of recording real music played by human. Therefore, it might sound inauthentic and different from what we expect. In addition, the current demo music does not contain the ‘pizzicato’ sound. It will be contained in future update. * We will work on the demo music and add the real exemplary music played by professional string player. ## Pre-set BPM of Metronome * If the gap between user playing speed and pre-set BPM is more than double, the Violy App cannot follow the user very well and will negatively impact the final rating. Therefore, * we recommend you to adjust the BPM of metronome according to your actual demand every time when you practice with the app. ## Just intonation and Pythagorean tuning are not supported * Just intonation and Pythagorean tuning are not supported in current version of app due to technology limitation. * We will continue to develop new technology to support them in future update. ## Display issue and device adaptation * Some of the old devices, especially those released several years ago, may not display the long music sheet properly. * This issue currently exists in the following devices: * * A. iPad Generation 1,2,3,4 and iPad Air 1 * * B. iPad mini Generation 1,2,3 * * C. Any iPhone before and including Generation 6 * Some special notes or symbols may not be displayed properly or cannot be displayed. * Due to the screen size of different devices, some sheet music sections, especially ‘Cadenza’, may not be displayed clearly in devices with narrow screen. ## Final Recap We gladly appreciate all the users who use our app and we understand that, although the Violy app is very helpful and powerful in instrument practicing, we still have many challenges and we will definitely work on enhancing our app and improving user experience. We will continue to dedicate ourselves to making practicing an enjoyable and effective process. #ViolyPractice makes Perfect!! Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) Feel free to contact us at Support@Violy.app ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) --- # Violy at Music China Expo - URL: https://violy.app/blog/violy-at-music-china-expo - Markdown: https://violy.app/blog/violy-at-music-china-expo.md - Published: 2019-10-11 - Summary: ## Music China x Violy - Smart Music Instrument Partner Music China is an international trade fair a # Violy at Music China Expo ## Music China x Violy - Smart Music Instrument Partner Music China is an international trade fair and Asia’s leading fair for musical instruments and accessories, which will take place once a year in Shanghai. ![](https://static.lianmuse.com/image/blog/152ebe965c72bb3f10a2745aa2fc4a02.png?v=152ebe965c72bb3f10a2745aa2fc4a02) ## Music Instrument Expo Vlogs As a well-known AI instrument training app, “Violy” is honored to be invited to participate in the Shanghai Musical Instrument Exhibition. At the same time, we will upload Vlog of the show so that you can also visit the exhibition online.
It is our second year of participation. We are looking forward to welcoming you at Music China! <<<<<<< HEAD ![](https://static.lianmuse.com/image/blog/76aa0ba67e657b12c48650a9461a565e.png?v=76aa0ba67e657b12c48650a9461a565e) ======= ![](https://static.lianmuse.com/image/blog/89488e19d47ffa5bd42fc2072d49c341.png?v=89488e19d47ffa5bd42fc2072d49c341) >>>>>>> 5716bceecbaa9127131eb6c09476b24fee017b67 Follow us on: [Violy.app](violy.app) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) <<<<<<< HEAD Feel free to contact us at Support@Violy.app ![](https://static.lianmuse.com/image/blog/6813c0763d4eef9b5d0ce8396a65158d.jpg?v=6813c0763d4eef9b5d0ce8396a65158d) ======= Feel free to contact us at Support@Violy.app ![](https://static.lianmuse.com/image/blog/bab663fee379f870f258f4dbd7756fb8.jpeg?v=bab663fee379f870f258f4dbd7756fb8) >>>>>>> 5716bceecbaa9127131eb6c09476b24fee017b67 --- # Violy - Smart Violin, Viola & Cello Partner - URL: https://violy.app/blog/violy-smart-violin-viola-cello-partner - Markdown: https://violy.app/blog/violy-smart-violin-viola-cello-partner.md - Published: 2019-10-09 - Summary: Violy, an intelligent app which can listen and understand instruments' voices. Violy is a must-have Violy, an intelligent app which can listen and understand instruments' voices.
Violy is a must-have app for Violin, Viola & Cello learning and practicing. Violy app makes the practice of string instruments easier for the music teachers, students, and all-level players. It listens and auditions your music practice! Violy can hear and follow your practice without any extra hardware. At the end, Violy provides audition results and scores. You can have 15 days to experience premium service for free. Even if you are not a Premium user, most of features are available to you, including sheet music downloading and audition. ![](https://static.lianmuse.com/image/blog/e9bb8c58e7158aa06d880ba0ad4ae494.png?v=e9bb8c58e7158aa06d880ba0ad4ae494) ## [ Why practice violin, viola, and cello on Violy ] Violy makes music/music instrument practice easier. - For student: real-time audition feedback; Violy increases efficiency of practice. Students can persist in music learning with no difficulty. - For teacher: real-time homework report; Spend less time correcting students’ basic parts like intonation, rhythm, etc. And teach students more efficiently, knowing more about a student’s performance. - For parents: no more pain as music practice partner; Have a comprehensive view of your child’s music skill. ## [ How to practice violin, viola, cello on Violy ] - Get your smart device at hand. - Enter the app, find the sheet music you want to practice, and click to view the sheet in Audition mode. - Smart Start: play open strings 1/2/3/4 (E,A,D,G for violin) in turn, and start a practice. - Score Following: the app recognizes your performance. Meanwhile, the cursor on the sheet will catch up with the music you have played. - At the end of the audition, the app evaluates the practice, and outputs the result.
- Score and stats: analyse every note in wrong intonation/rhythm, and pitch offset of each note. ## [ Features ] Active score following for Audition: - Smart Start: no device operations are needed. Just play the open strings to start a practice. - Music following: during the practice, the cursor follows the played sound, and automatically jumps to the right point. - Automatic Stop: no device operations are needed. If you want to stop the practice, just stop playing. - Section Practicing: start playing at any start point, just click on sheet music to set a start point. - Repeat Signs: repeated sections of the sheet music are supported as well. You can set to turn off the repeated section. - Polyphony: the app follows multiple parts on the sheet music, and indicates the deviation of each note.
### Two Modes: - the default mode is Audition: It is the recommended mode for the users who are familiar with the music. ![](https://static.lianmuse.com/image/blog/8eca583a3956ba9bc6e952ca1abcfbc7.png?v=8eca583a3956ba9bc6e952ca1abcfbc7) - Note-by-note mode: Under this mode, you just play the note where the cursor is located. If your note is correct, the cursor will go to the next note, otherwise the cursor will not move. This mode is for the users who are not familiar with the music. ![](https://static.lianmuse.com/image/blog/01c5cf2f21be890da03f197cf3809dcc.png?v=01c5cf2f21be890da03f197cf3809dcc) ### Violy Music Sheets: - The digital sheet musics are input based on original music books. - All musics can be played. Just click on the music to set new start point. - 100% free to download. - Updates will be launched automatically if an incorrect notation is fixed. - More musics will be added, and will be always FREE. ![](https://static.lianmuse.com/image/blog/4744259cf635b1fd94a214a10630491c.png?v=4744259cf635b1fd94a214a10630491c) ### Practice stats: - Audition score is calculated for every time. - Detailed intonation and rhythm stats, and offset trends are analyzed for every practice. - Stats for overall. ![](https://static.lianmuse.com/image/blog/faacd1a47da801e60ccf12e101404780.png?v=faacd1a47da801e60ccf12e101404780) ### Together for teacher: - Create groups to organize students. - View practice timeline of every student. - View the detailed result of each practice: score, stats, and details. ## [ Feedback ] ### Your feedback is important! - During using, any question, idea or suggestion can be submitted on “Me -> Help&Feedback -> Feedback” page. - There is a feedback button on the left-top side of sheet page. By clicking this you can report sheet error of any sheet and tag the false. Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) Feel free to contact us at Support@Violy.app ![](https://static.lianmuse.com/image/blog/6813c0763d4eef9b5d0ce8396a65158d.jpg?v=6813c0763d4eef9b5d0ce8396a65158d) “Without music, life would be a mistake” ― Friedrich Nietzsche --- # Happy Birthday to Antonin Dvorak | ViolyMusic - URL: https://violy.app/blog/happy-birthday-to-antonin-dvorak-violymusic - Markdown: https://violy.app/blog/happy-birthday-to-antonin-dvorak-violymusic.md - Published: 2019-09-07 - Summary: Antonin Leopold Dvorak, a Czech composer, was one of the first to achieve worldwide recognition with Antonin Leopold Dvorak, a Czech composer, was one of the first to achieve worldwide recognition with his famous style of finding effective ways of utilizing rhythms and other aspects of the folk music of Moravia and his native Bohemia. ## Early Music Education Born as the first of nine children in an innkeepers family in September 8th 1841, Dvorak displayed his musical gifts at age of six as a violin student. In 1853, Liehmann who was an excellent local musician recognized the exceptional talents of Dvorak and taught him about different instrument including organ and piano. Liehmann convinced Dvorak’s father, Frantisek, that his son deserved to study at music academy. Therefore, Dvorak moved to Prague and studied at Prague organ school in 1857. Within a year, Dvorak quickly became the viola player of the Cecilian Association Orchestra and gained valuable music knowledge. ![](https://static.lianmuse.com/image/blog/c84d7f75df28100029bff81f816ab7e0.png?v=c84d7f75df28100029bff81f816ab7e0) ## Gain International Reputation Seeking recognition beyond the Prague area, Dvorak submitted his first symphony to a competition in Germany in 1873 but encountered failure. In the next year, he submitted new works to Austrian State Prize Competition. This time, Johannes Brahms who was in the jury found Dvorak’s compositions very impressive and promoted them to his publisher. In 1878, Dvorak gained international reputation with his published work “Slavonic Dances, Op. 46”. The dances were played in France, England and United States. It is also known today as Dvorak’s representative work which was inspired directly by Slavic traditional music. ## World Tour Dvorak continued to compose “String Sextet in A Major” and “Violin Concerto in A Minor” in 1879 which were both dedicated for strings instrument. He also wrote music for choir such as “Stabat Mater” which received great acclaim in Britain. In 1890, influenced by Pyotr Ilyich Tchaikovsky, Dvořák also visited Russia, and conducted performances of his music in Moscow and St. Petersburg. In 1891, Dvorak received an honorary degree from the University of Cambridge, and was offered a position at the Prague Conservatory as professor of composition and instrumentation. Dvorak later on spent time in New York writing “ Symphony No.9” and “Cello Concerto in B minor, Op. 104” from 1893 to 1895. ![](https://static.lianmuse.com/image/blog/5055407b04808c7685ce05b995255b4b.png?v=5055407b04808c7685ce05b995255b4b) ## Last Years In 1897 winter, Dvorak was appointed a member of the jury for the Viennese Artists’ Stipendium. On April 1900, Dvorak conducted his last concert with the Czech Philharmonic, performing “Tragic Overture” by Brahms, “Unfinished Symphony” by Schubert, “8th Symphony” by Beethoven and his own symphonic poem “The Wild Dove”. In his last years, Dvorak wrote several string quartets in Prague Conservatory and died in 1904 because of influenza. Follow us on: [Violy.app](https://www.violy.app/) [Facebook - ViolyPractice](https://www.facebook.com/ViolyPractice) [Twitter - ViolyPractice](https://twitter.com/ViolyPractice) [Instagram - Violy.Practice](https://www.instagram.com/violy.practice/) [Reddit - Violy](https://www.reddit.com/r/Violy/) [YouTube - Violy](https://www.youtube.com/channel/UCs7VUB4zxSh-7VMWEawOBTQ?view_as=subscriber) Feel free to contact us at Support@Violy.app ![](https://static.lianmuse.com/image/blog/6813c0763d4eef9b5d0ce8396a65158d.jpg?v=6813c0763d4eef9b5d0ce8396a65158d) --- # Cello or Violin? - URL: https://violy.app/blog/cello-or-violin - Markdown: https://violy.app/blog/cello-or-violin.md - Published: 2019-09-04 - Categories: Music News - Summary: A comparison of the violin and cello, covering cost, portability, tone, repertoire, playing technique, and ensemble opportunities to help students and parents choose an instrument. Choosing between the violin and cello can be difficult. In this article, originally published in 2019, the author weighs their advantages and disadvantages to help anyone who is undecided find a direction. The violin and cello are two of the most popular instruments in the string family. Both are central to the orchestra as we know it today. Understanding the advantages and disadvantages of each can help you choose between them. Violin or Cello — How to Decide Advantages and Disadvantages of the Violin One of the violin's most frequently praised advantages is its practicality. On average, the author notes, a violin is much less expensive than a cello. It is also small and portable. Many people appreciate its range and tone, finding them closer to the human voice. By the time this article was published, the violin had been popular for approximately 400 years. Even accomplished, experienced violinists have countless works in the classical repertoire to challenge them. The author also points out that violinists usually make up the largest group of players in an orchestra. In this respect, violinists have an advantage, particularly compared with woodwind, brass, and percussion players. However, the author argues that competition among violinists is also greater than among players of other string instruments, because so many people play the violin. Joining the second violin section may seem relatively straightforward, but reaching the top ranks is extremely difficult. Advantages and Disadvantages of the Cello The cello is often criticized for its practical drawbacks, chiefly its size and price. Yet for many cello enthusiasts, its tone is the deciding factor that helps them overcome these obstacles and remain devoted to the instrument. In the author's view, the cello's lower register and tone resonate more strongly with musicians than the violin's higher register. The violin and cello each have a distinctive range and repertoire, often appealing to different people. Although the violin's repertoire may be broader, the cello also has a well-established and varied body of music, including some major solo works. The author notes that fewer students study the cello than the violin, and argues that cellists are therefore often more sought after: scarcity makes them valuable. Although an orchestra or chamber ensemble requires relatively few cellists, they can be surprisingly in demand. Which Is Harder to Play: Violin or Cello? Many students want to know whether the violin or cello is harder to learn. According to the author, people who have tried both often say the cello is easier because its playing position is more natural and comfortable. The violin's playing position can feel awkward at first, but leading violinists maintain that it becomes natural over time. Many experienced musicians say that each instrument presents its own difficulties. For example, although the cello's playing position is easy to learn, thumb position is very difficult for many students. Advanced cellists must also master three clefs rather than one. Choosing Between the Violin and Cello Music students and parents can approach the choice in several ways. - First, consider the opportunities available at school or in community groups. Keep your long-term goals in mind. - Make sure the student is exposed to both instruments. This can include videos, CDs, and local concerts. Some local universities and conservatories regularly hold public concerts, many featuring the violin and cello. Local symphony orchestras may even offer free concerts in parks. - Most importantly, whichever instrument the student ultimately chooses, they should remain enthusiastic about it, especially its tone. Whether they love the violin's bright, delicate sound or the cello's deep, rich voice, that affection should endure over time rather than give way to a desire to switch instruments. What do you think of the violin and cello? Tell us in the comments below! --- # Music Auditions for Violy Violinists & Musicians - URL: https://violy.app/blog/music-auditions-for-violy-violinists-musicians - Markdown: https://violy.app/blog/music-auditions-for-violy-violinists-musicians.md - Published: 2019-09-04 - Summary: ## Section Violin 2, Audition apply before October 7th, 2019 ![](https://static.lianmuse.com/image/b ## Section Violin 2, Audition apply before October 7th, 2019 ![](https://static.lianmuse.com/image/blog/57327637a53397b68f84f28c6c77bccc.png?v=57327637a53397b68f84f28c6c77bccc) In the last 60-plus years, the Edmonton Symphony Orchestra has taken its place as one of Canada’s foremost orchestral ensembles. Its current roster includes 56 musicians from Canada and around the world, performing a wide-ranging repertoire from the great classical masterworks to pops and family concerts. ESO is currently hiring full-time ‘Section Violin 2’ position. For more information, please visit https://auditioncafe.com/wp-content/uploads/2019/06/Canadian_National_Vi.pdf ## Section Principal Violin 2, Audition apply before September 20th, 2019 ![](https://static.lianmuse.com/image/blog/17d95911a142ab8a6352204224279c9a.png?v=17d95911a142ab8a6352204224279c9a) As a national company with international status, Welsh National Opera sits at the heart of music-making in Wales and play a valuable role in the communities they serve in England. Welsh National Opera works with their partners to discover and nurture young operatic talent, and provide the springboard for international careers. WNO is currently hiring full-time 'Section Principal Second Violin' position. For more information, please visit https://wno.org.uk/vacancy/section-principal-second-violin-1?instrument=violin ## Principal Violin 2, Audition apply before September 20th, 2019 ![](https://static.lianmuse.com/image/blog/2ec22954a68fee13e540a5894e5698c9.png?v=2ec22954a68fee13e540a5894e5698c9) Discover the great traditions and innovative programming of Michigan's oldest orchestra. Whether you're a fan of Bach, Beethoven, or the Beatles, the Battle Creek Symphony has a program just for you. BCSO is currently hiring full-time 'Principal Violin II' position. For more information, please visit http://yourmusiccenter.org/symphony/auditions/ ## Section Violin, Audition apply before September 16th, 2019 ![](https://static.lianmuse.com/image/blog/10729fa7b192daa5e01b2d8f3c54fffd.png?v=10729fa7b192daa5e01b2d8f3c54fffd) The Detroit Symphony Orchestra (DSO), a leader in the world of classical music, embraces and inspires individuals, families and communities through unsurpassed musical experiences. It is an inclusive and culturally relevant community where all people can experience their world through music. DSO is currently hiring full-time ‘Section Violin’ position. For more information, please visit https://www.dso.org/Page.aspx?page_id=48 ## Section Leader Viola, Audition on September 2nd, 2019 ![](https://static.lianmuse.com/image/blog/b6698de952ce6fff4db779570cdf2762.png?v=b6698de952ce6fff4db779570cdf2762) Founded in 1966, the Ulster Orchestra has been at the forefront of musical life in Northern Ireland and the Orchestra’s sixty three full-time musicians form the region’s only professional symphony orchestra. The Ulster Orchestra’s mission is to enrich the lives of people living in and visiting Northern Ireland, as well as promoting the region through international touring and regular broadcasts with BBC. Ulster Orchestra is currently hiring full-time ‘Section Leader Viola’ position. For more information, visit https://www.ulsterorchestra.org.uk/who-we-are/current-vacancies/ ## Quartet Violinist, Audition on September 1st, 2019 ![](https://static.lianmuse.com/image/blog/75cd6dbbeeab28ddcc8024ba2f8efb60.png?v=75cd6dbbeeab28ddcc8024ba2f8efb60) As classically trained musicians, Renovare Music love to play pieces from the likes of Haydn, Beethoven, or Brahms to the works of composers still living today. Renovare present these performances exploring our common humanity in an effort to foster understanding and harmony among people and communities. Renovare is currently hiring full-time ‘Quartet Violinist’ position. For more information, visit https://www.renovaremusic.org/ ## Tutti Viola, Audition on August 29th, 2019 ![](https://static.lianmuse.com/image/blog/94f411b0b0dd872cd29122f797989fcd.png?v=94f411b0b0dd872cd29122f797989fcd) Regarded as “the cultural heartbeat of the South West”, Bournemouth Symphony Orchestra strives to be the model of a 21st century orchestra, enhancing lives through the power of music. BSO is currently hiring full-time 'Tutti Viola' position. For more information, visit https://bsolive.com/jobs/tutti-viola/ ## Principal Viola, Audition on August 23rd ![](https://static.lianmuse.com/image/blog/70c846c0f5e9f826c3c3bbdc846c4323.png?v=70c846c0f5e9f826c3c3bbdc846c4323) The Juno and Grammy-award winning Vancouver Symphony Orchestra is the largest arts organization in Western Canada and third largest orchestra in Canada. We present passionate, high-quality performances of classical, popular and culturally diverse music, creating meaningful engagement with audiences of all ages and backgrounds wherever we perform and developing and delivering inspirational education and community programs. Vancouver Symphony Society is currently hiring full-time 'Principal Viola' position. For more information, please visit https://www.vancouversymphony.ca/about/careers/ ## Milwaukee Symphony Orchestra, Audition on August 23rd ![](https://static.lianmuse.com/image/blog/9caf7ab05d3da3dfb8bc3175222c1d1d.png?v=9caf7ab05d3da3dfb8bc3175222c1d1d) The Milwaukee Symphony Orchestra (MSO) is among the finest orchestras in the nation. Since its inception in 1959, the MSO has found innovative ways to give music a home in the region, develop music appreciation and talent among area youth, and raise the national reputation of Milwaukee. MSO is currently hiring full-time 'Section First Violin' position. For more information, please visit https://www.mso.org/about/employment/orchestra_auditions?instrument=violin ## Section First Violin, Audition on August 23rd, 2019 ![](https://static.lianmuse.com/image/blog/5cbbf2e7fc5dd6e770030d78528b893a.png?v=5cbbf2e7fc5dd6e770030d78528b893a) Since its founding in 1979, the Singapore Symphony Orchestra (SSO) has been Singapore’s flagship orchestra, touching lives through classical music and providing the heartbeat of the cultural scene in the cosmopolitan city-state. SSO is currently hiring full-time ‘Section First Violin’ position. For more information, please visit https://www.sso.org.sg/about/career/section-first-violin?instrument=violin ## Associate Concert Master, Audition on August 19th,2019 ![](https://static.lianmuse.com/image/blog/9ddbb8e406929fd44ce19edc39f531ab.png?v=9ddbb8e406929fd44ce19edc39f531ab) The Orchestra of the Royal Opera House was founded in 1946 with history more than 70 years. The Royal Opera House seeks to be always accessible and engaging, to develop audiences across the UK and to break new ground in the presentation of lyric theatre. They are currently hiring full-time ‘Concert Master’ position. For more information, please visit http://recruitment.roh.org.uk/vacancyView.php?requirementId=3594 ## Section Violin, Audition on August 1, 2019 ![](https://static.lianmuse.com/image/blog/3e327464a3a9d0c815c88a02e47cdd2a.png?v=3e327464a3a9d0c815c88a02e47cdd2a) Arkansas Symphony Orchestra (ASO) is a thriving organization bucking national trends with conspicuous artistic growth. ASO is currently hiring full-time 'Section Violin' position. For more information, visit https://www.arkansassymphony.org/section-violin-quapaw-quartet-violin ## Principal First Violin, Audition July 22, 2019 ![](https://static.lianmuse.com/image/blog/0fdefda43600c6d4ba17b1614d10e4ce.jpg?v=0fdefda43600c6d4ba17b1614d10e4ce) As one of the most professional orchestras in Australia, Queensland Symphony Orchestra is currently hiring the position of Principal First Violin. For more information, please visit https://www.qso.com.au/administration/employment/principal-first-violin-0?fbclid=IwAR2V7hQo0zMQ3KCq2-mb8ladyDwYsSqJwc8I3p1a3fCMitxH19bRH4UQyr8 ## Section 2nd Violin, Audition July 26, 2019 ![](https://static.lianmuse.com/image/blog/d0b6f6dbcd4b59adc073a035c9f0004c.jpg?v=d0b6f6dbcd4b59adc073a035c9f0004c) The New Zealand Symphony Orchestra is one of the world’s oldest national symphony orchestras with recordings for more than 70 years. It is recruiting for the position of Section 2nd Violin and auditions are only open to the candidates with right to work in New Zealand. The recorded auditions due by July 26, 2019 Live applications close on July 26, 2019 Live audition date is August 1, 2019 Check the detailed information by https://www.nzso.co.nz/new-zealands-orchestra/work-with-us/section-2nd-violin/?instrument=violin ![ViolyPractice makes PERFECT!!](https://static.lianmuse.com/image/blog/bfaa9ab946fa0825dbf923949c15df66.jpg?v=bfaa9ab946fa0825dbf923949c15df66) Violy is a Smart Music Practice Partner that makes the violin practicing easier for both the teacher and the student. It listens to, follows, evaluates, and grades your practices. --- # What Did the Viola Do Wrong to Be Mocked All the Time? - URL: https://violy.app/blog/what-did-the-viola-do-wrong-to-be-mocked-all-the-time - Markdown: https://violy.app/blog/what-did-the-viola-do-wrong-to-be-mocked-all-the-time.md - Published: 2019-08-26 - Categories: Music News - Summary: Why do violas and their players so often become the targets of classical music jokes? Carl Rahkonen's research explores the humor, orchestral hierarchies and stereotypes behind the jokes, while highlighting the viola's essential musical role. ![](https://static.lianmuse.com/image/blog/e51d63c229648a9e3fb35a4d6df10b63.gif) > Original article: [JSTOR Daily](https://daily.jstor.org/viola-jokes/) > Original author: Karen Rile, a Philadelphia-based writer and music and arts critic > Chinese translation and adaptation: Xiao A of Violy > > Translator's note: This English version translates Violy's Chinese adaptation, dated August 26, 2019. Quotations below are translated renderings, not transcriptions of the original English. The reference to fifteen years after publication belongs to Rile's January 2015 article about Rahkonen's 2000 paper. Terminology and mistranslated passages have been checked against [Rile's article](https://daily.jstor.org/viola-jokes/) and [Rahkonen's earlier presentation](https://www.mit.edu/~jcb/jokes/viola-presentation.html). Q: How does a viola differ from a lawnmower? A: A lawnmower can be tuned. Q: And how does a viola differ from a vacuum cleaner? A: Both suck, but the vacuum cleaner has to be plugged in first. Q: What makes a violist's fingers resemble lightning? A: They never land on the same spot twice. Every subculture has jokes that only its members fully appreciate, and classical music is no exception. The viola often ends up as the butt of the joke. Violists are portrayed as fools with clumsy fingers, while their instruments are mocked as useless boxes that produce nothing but noise. In the journal *Western Folklore*, ethnomusicologist Carl Rahkonen published *No Laughing Matter: The Viola Joke Cycle as Musicians' Folklore*. The paper collected and analyzed viola jokes circulating widely online during his research in the late 1990s. A violist himself, Rahkonen suggested that these jokes might form a self-contained, self-limiting “joke cycle,” whose history could be useful to future ethnomusicological research. As Rile observed in 2015, fifteen years after the paper appeared, the viola was still classical music's favorite target, and the same collection of jokes was still spreading enthusiastically online. Rahkonen divided viola jokes into six overlapping categories and supplied examples: - Jokes mocking the instrument itself. (How is a viola different from a trampoline? You remove your shoes before jumping on a trampoline.) - Jokes mocking violists. (What does saliva running from both corners of a violist's mouth tell you? The stage is completely level.) - Jokes that people outside classical music can understand. (How does a violist differ from a dog? A dog knows when to stop scratching.) - Jokes that require musical knowledge. (How would you define a quarter-tone? Two violists attempting to play one identical note.) Reverse jokes retaliate against viola jokes, often taking aim at violinists, who are caricatured as ostentatious show-offs. (Why is a violin smaller than a viola? It isn't—the violinist simply has a bigger head.) A cruder example asks: Why don't violists get hemorrhoids? Because every asshole is in the first violin section. The punchline relies on “asshole” meaning both an anus and an obnoxious person. Most viola jokes use a brief question-and-answer format, which helps them endure. Rahkonen's sixth category, however, consists of longer narrative jokes. (Why are viola jokes so brief? So a violinist can remember one.) > Translator's note: The Chinese adaptation gives “quarter note” in the fourth example; the musical term in Rile's article is “quarter-tone,” a pitch interval. It also omits the name of the sixth category. Rahkonen's own presentation identifies that category as narrative viola jokes. The dog joke is also corrected from the adaptation's “stop barking” to “stop scratching,” as in [Rile's article](https://daily.jstor.org/viola-jokes/). So why do the viola and its players have to endure so much ridicule? Rahkonen explains that these jokes “reinforce the hierarchy within an orchestra and give voice to stereotypes that are rarely stated openly but widely believed. For a joke to be funny, it needs both a basis in perceived reality and an unexpected twist.” The poor viola gets little respect. In orchestral and chamber music, it often supplies the inner harmonic lines. These are less showy than violin parts and are perceived within the ensemble as less technically demanding. Compared with the violin and cello, the viola has a smaller solo repertoire. Much of its music uses the alto clef, which can seem obscure to musicians accustomed to treble and bass clefs. (How is alto clef different from Greek? Some conductors really can read Greek.) The instrument also has physical peculiarities. Its size can be cumbersome for many players and can create difficulties in producing sound. In the account summarized here, a viola is approximately 10% larger than a violin but is pitched a fifth lower. Its dimensions and the physics of sound mean that it projects less strongly than its nimble, higher-pitched relative and is harder to play in tune. (How does a viola differ from a violin? You can put more beer in a viola.) Violists fare no better. The Chinese adaptation describes their numbers in an orchestra as often only half those of other string sections. Rile likewise describes violists as being outnumbered two to one, though this should be read as part of her account rather than a fixed staffing rule for every ensemble. She also suggests that violists often begin learning their instrument later because small violas made for children sound so poor. Many violists start out playing the violin, feeding the perception—rightly or wrongly—that violinists who cannot succeed switch to the viola. Rahkonen writes that “violists are often treated as lesser musicians, supposedly because they could not succeed on the violin.” He cites a statement by composer Richard Wagner from 1869: “The viola is generally, with rare exceptions, played by infirm violinists or aging wind players who once had some familiarity with a string instrument.” Rile argues that, in the amateur and community orchestras of her day, the caricature of a poorly trained musician struggling with an inadequate instrument was not entirely unfounded. > Translator's note: The adaptation says that many violists begin their careers at the same time as violinists, and renders Wagner's statement as referring to the past. [Rile's article](https://daily.jstor.org/viola-jokes/) instead says that many violists begin as violinists and quotes Wagner describing who commonly played the viola in his time. Those passages above follow the cited text. The suggestion that the viola is less important, less beautiful or less valuable than the violin does not hold up in symphonic or chamber music. Complex harmonies depend on the viola's solid, reliable inner voice. Besides, as the article points out, Bach and Mozart—composers one might consider greater than Wagner—both championed the viola as their favorite instrument. --- # Happy Birthday to Claude Debussy | ViolyMusic - URL: https://violy.app/blog/happy-birthday-to-claude-debussy-violymusic - Markdown: https://violy.app/blog/happy-birthday-to-claude-debussy-violymusic.md - Published: 2019-08-16 - Summary: Among the most influential composers of the late 19th and early 20th centuries, the French composer # Happy Birthday to Claude Debussy | ViolyMusic Among the most influential composers of the late 19th and early 20th centuries, the French composer Claude Debussy, is generally regarded as the first impressionist composer. Debussy was born on August 22nd, 1862 on the north-west fringe of Paris and he showed talents to be admitted to France’s leading music college, the Conservatoire de Paris at his 10. In fact, Debussy started with piano lessons and transferred into innovative composition as his vocation. Under influence of Russian and far-eastern music, Debussy developed his own style of harmony and orchestral coloring. Debussy’s orchestral works include Prélude à l'après-midi d'un faune (1894), Nocturnes (1897–1899) and Images (1905–1912). His piano works include two books of Préludes and two of Études. Throughout his career, he wrote mélodies based on a wide variety of poetry. He was greatly influenced by the Symbolist poetic movement of the later 19th century. In his final years, he focused on chamber music, completing three of six planned sonatas for different combinations of instruments. Debussy’s works have strongly influenced a wide range of composers including Béla Bartók, Olivier Messiaen, George Benjamin, and the jazz pianist and composer Bill Evans. ![](https://static.lianmuse.com/image/blog/ad1c4c5e63baa2c4236e51e5562e4e70.jpg?v=ad1c4c5e63baa2c4236e51e5562e4e70) In 1880, Tchaikovsky commented on one of Debussy's early pieces: "It is a very pretty piece, but it is much too short. Not a single idea is expressed fully, the form is terribly shriveled, and it lacks unity." It was not until 1894, aged 32, that Debussy completed the first piece to truly declare his independence of thought: Prelude a l'Apres-midi d'un Faune, a highly innovative piece inspired by a poem of Stephane Mallarmé. Debussy has spent years to develop the mature style, and nearly at his 40, he achieved his international fame in 1902 with Pelléas et Mélisande, the only opera he completed. Debussy entered a new creative phase in 1903 with La Mer in Eastbourne where he observed that “the sea behaves with British politeness”. In 1914, Debussy was diagnosed with cancer and the operation left him so debilitated that he composed nothing for over a year. His final masterwork before death is Violin Sonata and he passed away on March 25th 1918 in Paris. ![](https://static.lianmuse.com/image/blog/50195a4b917b99f21a6d6ad15cc03db8.jpg?v=50195a4b917b99f21a6d6ad15cc03db8) --- # Violy Violin Lecture | Wang Boyang - URL: https://violy.app/blog/violy-violin-lecture-wang-boyang - Markdown: https://violy.app/blog/violy-violin-lecture-wang-boyang.md - Published: 2019-08-09 - Summary: ## **Violy Violinist - Wang Boyang** ![](https://static.lianmuse.com/image/blog/244a3ebb60fd079a3d48 ## **Violy Violinist - Wang Boyang** ![](https://static.lianmuse.com/image/blog/244a3ebb60fd079a3d48f65b87634a6e.png?v=244a3ebb60fd079a3d48f65b87634a6e) Wang Boyang has been a seed player of New York Young Concert Artist (YCA), a finalist of Music Teachers National Association (MTNA) and was invited to participate the Naumburg Foundation Violin Competition. Wang Boyang began to learn the violin at the age of six under the guidance of Chen Yubo, the Chief of the People's Liberation Army Symphony Orchestra, and the famous educator Jiang Xiongda. Wang Boyang is currently not only learning the violin from Won Bin Yim, who is the director of College-Conservatory of Music at University of Cincinnati and the former director of Great Mountain Music Festival in Korea, but also assisting Won Bin Yim with teaching.
Wang Boyang took the stage for the first time at the age of thirteen, performing solo of the Laro Spanish Symphony in corporation with National Youth Orchestra of China at the Forbidden City Concert Hall. He performed with the orchestra at Beijing Concert Hall, Poly Theatre, Shanghai Oriental Art Center and other concert halls as well. Wang Boyang also performed solo and ensemble in many foreign countries, such as New York Merkin Concert Hall, Cincinnati Corbett Theatre and Illinois Smith Concert Hall. He has worked with many famous quartets, for example, St.Lawrence Quartet, Julia Quartet and Orion Quartet. Besides, Wang Boyang has actively participated in some important social activities, such as Beijing Rotary Club Opening Ceremony and China-US exchange activities to meet with Henry Kissinger by following National Youth Orchestra of China. Some internationally renowned violinists, such as James Ehnes, Augustin Hadelich, Paul Huang, Janet Sung, Emerson quartet, st. Lawrence quartet, and groups have praised Wang Boyang’s performance.
## **Comments from his lecture are as follows:** Host: let’s welcome today’s guest speaker Wang Boyang. Wang Boyang: Hello, I’m Wang Boyang. Today, I am going to talk about how to improve music literacy in combination with other art forms in our spare time and of course some violin skills. _The feeling of melody and tune is significant in playing the violin._ Please look at the following sheets, Bach’s violin solo, sonata no. 1 in D minor, adagio no.1. ![](https://static.lianmuse.com/image/blog/65194e5d7602ea528259568eeb2ec6d9.png?v=65194e5d7602ea528259568eeb2ec6d9) The first picture is the normal form of music sheet. Generally, the music sheets we buy are like the above one, which looks relatively clear, with more notes and chaotic rhythm. Generally speaking, these are the must for students in Conservatories of Music or high schools. I’m going to talk about how to adjust the tune and the melody by taking example of this piece. The second picture is an original handwritten manuscript, which looks much more chaotic than the first picture, and I believe many of you could not get what that is. This is in G minor, which means it’s in G minor. I’m going to play you two versions of this piece. The first is a normal version of violin playing method and the second is a more traditional version of violin playing method. I personally prefer the second because of its classic method.
Next, I am going to talk about what melody is. I am separating the first row into four pieces. ![](https://static.lianmuse.com/image/blog/68e4a6204adce6771f55757045a46c1d.jpg?v=68e4a6204adce6771f55757045a46c1d) The melody of this song is formed by these four chords. When you are watching this video, please focus on the long note because the chord that makes up the melody is important. The mess that comes after this long note is ornaments, generally assisting the long note. With the long note and other ornaments, a sheet is presented. When you listen to it a few times, you match the chord and the ornaments. After you listen to it a few more times, you can see how this music feels. I have met a lot of students who have trouble with these notes at the beginning. They felt confused and helpless with it so they put effort on those small notes, trying to clear them out. In fact, the long note is more important than these ornaments. When you study pieces of music, you should distinguish between the primary and secondary, develop this sense of melody slowly. That’s what it means to improve the sense of music. ## **Also, using short words or abstract markers to summarize specific feelings in your spare time is helpful.** When you’re not practicing, use your spare time to summarize how you feel when you practice, especially the muscles in your hands. When playing the violin, the first word that pops up in your brain is your direct and accurate feeling about playing the violin. Write out and then if, after a few days, that feeling changes, you write another word. The following picture is a summary of my feelings. There is the difference between the first picture and the second picture. In the second picture, there is an arc above the horizontal line, like a small bridge connecting the two sides of the arc. This is to remind myself to drop the finger well. Everyone feels muscles differently. So, in practice, you can’t say the teacher said that you should practice so, you must practice so. The process of absorption the violin playing method is different for everyone, so you can write down how you feel in an abstract form, so that you can summarize it for yourself. Then you look for your feelings based on what you have concluded, and continue to improve, and then the left hand will form a sense of the whole, and finally you will find the sense of the whole. Let’s talk about developing vocabulary to express your feelings about a particular piece of music. Let me give you an example. There are two pictures. The first is a violin sonata by Richard Strauss and the second movement is the second movement of the Baroque violin concerto no. 2. You can clearly feel that these two pieces are not the same thing, although they are both slow movements, a very coherent slowly feeling. The mood is completely different; the first is deep love while the second is the soothing feeling of country minor. ![](https://static.lianmuse.com/image/blog/09acfd598d268173eac553fb812caccd.jpg?v=09acfd598d268173eac553fb812caccd) When you listen to the music, you can write down your feelings. For example, take a piece of paper and write down what you listened to today and what you felt. Then you can listen to it and write it again in a few days. If there’s a difference, even a word, think about what makes you feel different. Is today better than yesterday, so you think this music is better, or today something happened, and you think this music can reach your heart, touch your heart somewhere. This is a good training for children. Because when you listen to music, your brain will naturally touch on some previous memories, or some of your feelings. With more practice, you can clearly and concretely capture your feelings and memories, which is very helpful for learning and appreciating classical music. Learning a classical instrument is actually a process of using an instrument to clearly and concretely express certain feelings. Instrumental playing is a kind of re-creation, where you have to put emotion in during the performance. Composers writing a piece of music is a creation. When you interpret it, it is a second creation. So you have to understand what you’re feeling, what you’re expressing, and then the audience can receive the feelings you are conveying. ## **The ability to learn from other art forms is essential.** Now, as I have mentioned, students learning violins should not only focus on violins. That doesn’t mean they have to learn all the instruments. I mean, in order to learn violin well, they have to pay attention to other music, at least listen to it and read it. Why does the violin often need to cooperate with other instruments? Because the music that comes out like this is much richer and more detailed in terms of range, timbre, feeling, breadth and so on. The feeling of the violin with different instruments is completely different. Specifically, a combination of violin, cello and piano is much more ideal than a combination of four violins. Therefore, those who learn violin must also pay attention to other instruments and listen to the works of the orchestra rather than listening to violin concertos every day. Here is a picture of an orchestra and what I recommend you listen to. ![](https://static.lianmuse.com/image/blog/d123dd5d896a5c0d0d41b8ebde2d3c90.jpg?v=d123dd5d896a5c0d0d41b8ebde2d3c90) If you look at this violin, the underneath wood grain it is very beautiful, and when you get to the upper right corner, it suddenly breaks. It’s not a good board, but it’s actually very well made. If its original wood can be completed in one sitting, it will be truly amazing. So do not break the consistence in feeling and learning classic music. This is the same thing in other music sheets. So when you are learning the violin, don’t confined to the violin. Instead, other art forms could help. To see the exhibition is a good way to release the stress from practice the violin and also a way to get inspiration from other art forms. So keep open to other forms that can help us improve our artistic accomplishment. Host: thank you very much for Mr. Wang’s wonderful speech. --- # Where Do Soloists Look When Performing from Memory? - URL: https://violy.app/blog/where-do-soloists-look-when-performing-from-memory - Markdown: https://violy.app/blog/where-do-soloists-look-when-performing-from-memory.md - Published: 2019-08-09 - Categories: Music News - Summary: Géza Szilvay and Boris Kuschnir share their views on where soloists should look on stage, from using a score to keeping their gaze natural when performing from memory. Where should you look when you perform from memory? There is certainly no single right answer, but we can listen to some leading musicians explain where they look when playing from memory. > The Chinese source was translated and abridged from The Strad's article “Where should string players look when performing from memory on stage?” Translation and adaptation: Violy Xiao A. Proofreading: Violy Yuanzhang. The biographical roles below are those given in the source article, rather than statements of current appointments. ### GÉZA SZILVAY Principal of the East Helsinki Music Institute ![](https://static.lianmuse.com/image/blog/bf7e617560ec49492a19e16e7b83dfed.jpg) Many people admire performing from memory on stage, although the reasons are unclear. As Szilvay recalls, Béla Bartók, one of the greatest pianists of the twentieth century, always performed with the score in front of him. At the time of these remarks, many other musical giants, such as violin soloist Gidon Kremer, also preferred to perform with a score. Of course, musicians at this level do not rely on the score in front of them as they play. Rather, the sheet music embodies the greatness of the work. Soloists look at this great monument without examining every individual note that forms it. Through those thousands of tadpole-like notes, they can sense the composer's presence directly. A music stand holding the score is like a musical altar, whose dignity must be respected. Soloists need to control their movements carefully, making every gesture as graceful as possible. They should never stare fixedly at the audience or the ceiling, nor should they keep their eyes closed for too long. A music stand placed in front of the soloist does not interfere with interaction with the conductor or other musicians. On the contrary, it can broaden the soloist's field of vision. As violin soloists let their fingers dance across the fingerboard, they can also receive encouraging smiles from the viola and even the cello sections. (Editor's note in the Chinese source: a violin soloist's attention is generally focused on the conductor and the violin section.) They may even respond with a wink. Next time you perform on stage, try taking the score with you. ### BORIS KUSCHNIR Professor of violin at the University of Music and Performing Arts Graz, Austria, and the Vienna Conservatory ![](https://static.lianmuse.com/image/blog/5ed2a46dddd669715275662a3e265261.jpg) Where violin soloists look on stage varies greatly from person to person. It depends on their personality, how nervous they are during the performance, and the technical difficulty and expressive intensity of the piece. Some soloists focus on the violin, some look straight ahead, and others simply close their eyes. It may be easier to approach the question by asking, “Where should soloists not look when performing?” It is not a good idea to search the audience carefully for people they know. Nor is it advisable to stare at one place throughout the performance, such as the point where the bow meets the string or the fingertips of the left hand. Looking upwards can also seem rather strange, as though they were searching for the score on the ceiling. When soloists know a work thoroughly, their thoughts and attention are focused mainly on musical expression at a high level rather than on the technical difficulties of the piece, and their fingers are neither tense nor stiff. I believe that wherever they look, the audience will find them natural and at ease. --- # Insights Shared by 8 String Instrument Enthusiasts - URL: https://violy.app/blog/insights-shared-by-8-string-instrument-enthusiasts - Markdown: https://violy.app/blog/insights-shared-by-8-string-instrument-enthusiasts.md - Published: 2019-08-06 - Categories: Music News - Summary: Eight adult string instrument enthusiasts share their musical journeys, goals, practice challenges, and memorable experiences playing with others. Today, let us hear eight string instrument enthusiasts tell their stories about music. This is a long article, so consider bookmarking it to read at your leisure! *Historical context: This Chinese adaptation was published on August 6, 2019. The interviews originally appeared in the February 2019 issue of Strings magazine. Ages, affiliations, and relative expressions such as “this summer” and “last year” reflect the interviews at that time, rather than the present day. The first-person accounts below are the interviewees' recollections.* > For an adult, returning to the role of a student can be challenging, whatever the subject. Whether it is finding room in a busy schedule to practice or being outplayed at a performance by an 11-year-old prodigy, these are experiences an adult amateur musician has to face. And, as we all know, reaching a level of playing like Yo-Yo Ma's takes years, even decades. I interviewed eight adult string instrument enthusiasts from different schools or camps. Let us explore the challenges and perseverance along their musical journeys. — Stephanie Powell, interviewer and editor at Strings magazine ## 01 ![Enjoying the act of making music](https://static.lianmuse.com/image/blog/a44df4a7ef4a559ca4852d13dfe99ba5.jpg) Samira Saliba Phillips, 56, participant in the Baltimore Symphony Orchestra's Rusty Musicians Program ### Why I Play I play simply for the physical and emotional pleasure of making music. Above all, there is joy in belonging to a group that can turn the little marks on a page into actual music. Some of us are outstanding players, and that is a gift to everyone in the group. ### My Goals One goal is to keep improving my technique and musicianship. The more I improve, the more I want to improve. Another is to find opportunities to perform challenging pieces at a high level. In that respect, I am very fortunate to belong to an excellent community orchestra, the Hopkins Symphony Orchestra, and to have taken part several times in programs the Baltimore Symphony Orchestra offers for adult amateurs. My final goal is to sight-read as much chamber music as possible, mostly for fun. ### My Challenges My biggest challenge is maintaining my playing and learning new pieces without regular lessons or a teacher. After 25 years of formal study with different teachers, I now have a good understanding of what to listen for and how to practice, but working without feedback still feels very different. ### Memorable Moments Performing Tchaikovsky's Symphony No. 6, the Pathétique, with the Hopkins Symphony Orchestra is a particularly unforgettable memory. The work has many emotional layers and great intensity, and it requires a strong connection between the conductor and the orchestra. Everything went smoothly in that performance. When we finished the final movement, I had tears in my eyes, and the entire concert hall was utterly still. ## 02 ![The pure joy that music brings](https://static.lianmuse.com/image/blog/66bb1d78a4fb2faf675f4f20adf271b2.jpg) David Preston, 62, participant in the Interlochen Adult Chamber Music Camp in Michigan I began learning the violin at eight and played in school and youth orchestras throughout high school and college. For the next 30-plus years, I more or less gave it up because of work, moving around, and family commitments. But when our daughter and son began learning the violin and cello respectively, I started thinking about taking up my violin again. Both children practiced seriously through their high school years, and my wife and I accompanied them to countless lessons and performances. Inspired by the children and their excellent teachers, I decided to make violin playing a major part of my retirement. I started playing again about seven years ago and have practiced more intensively since retiring five years ago. I am fortunate to have a wonderful violin teacher, Daniel Sender, an associate professor in the University of Virginia's McIntire Department of Music. I now belong to two community orchestras and an informal chamber group. In the summer, unquestionably my favorite musical season of the year, I attend the Interlochen Adult Chamber Music Camp in Michigan. This summer will be my fifth time there. ### Why I Play The sheer joy of the violin and music, and the satisfaction of working to improve. Practicing, rehearsing, and performing throughout the year: community orchestras in the fall, winter, and spring, and Interlochen in the summer. Encountering music of different kinds and levels: I joined the first community orchestra for enjoyment and the second to challenge myself. At Interlochen, I enjoy chamber music, both pieces we prepare and pieces we sight-read. The pleasure of making friends in all these groups. ### My Goals My daughter reached a very high level of playing in high school, when she was enrolled in the preparatory program at Rice University's Shepherd School of Music. I know I will not reach that level, but my goal in retirement is to improve as much as I can. In other words, at this stage I sincerely want a substantial improvement in my playing, rather than simply the immediate pleasure of making music. I hope I have enough time to achieve this ambitious vision, and I am willing to start over to correct bad habits and develop new skills. Simply put, my main goal is to take my technique and musicianship to a new level. As a source of motivation, though, that is rather abstract. More concretely, I have a list of pieces in mind that I hope to be able to play, including Bach's unaccompanied Chaconne, which the Chinese adaptation describes as a standard piece that is not too daunting. The point of these pieces, for me, is not to perform them in public—heaven forbid!—but to improve my technique and reassure myself that I can essentially play them at a respectable level, gaining a sense of achievement and satisfaction. Another goal is to learn, and learn well, some of the chamber works I often hear at Interlochen. *Translator's note: The Chinese adaptation attaches “not too daunting” to the Bach Chaconne. In [the original interview](https://stringsmagazine.com/8-adult-amateurs-talk-transcendent-moments-finding-the-time-to-keep-playing/), Preston lists a standard violin concerto that is not too daunting and the Bach Chaconne as separate goals; the qualification applies to the concerto.* ### My Challenges Technical: Changing my bow hold. Doing that while continuing to play requires a long, difficult transition, and can leave me unable either to play a piece properly or to hold the bow correctly. Yet I do not want to stop playing during the correction process. Much of the difficulty comes from the loss of flexibility with age, something I have to face and accept. Musical: Improving tone quality and intonation, and using the new bow hold to strengthen my musical expression. Personal: Deciding what counts as “good enough” with a particular technical difficulty. At what point do the returns start to diminish, so that I should stop? Or should I keep practicing? At my age, reaching a given level also takes much more practice than it did when I was a child. Correcting bad habits is much harder than learning correctly from the start, too. ### Memorable Moments Last summer at Interlochen, I had one particularly memorable experience. To my great delight, my 29-year-old son, a cellist, decided to come to the camp with me for the first time. During the week, he and I separately played with another violinist and a violist, and we all felt that we should get together for something challenging before leaving. We chose Schubert's quartet Death and the Maiden. Fortunately, our first violinist—not me!—was fully up to the challenge, so we sight-read the entire work, and it was wonderful. Alongside the beautiful music, we had some funny moments when our instruments made strange sounds. Successfully reading through a piece with partners who actively listen and respond to one another is itself a joyful experience. This was one of the strongest chamber groups I have played with, and it stands out when I look back on my return to the violin. I was also delighted to play with my son. His excellent cello playing was a pleasure to hear and made me proud. His earlier lessons and long hours of practice had brought him to that level. ## 03 ![Music is already a part of me](https://static.lianmuse.com/image/blog/4681583daa1112e771ba740f777dbbb2.jpg) Anne Duffus, 63, participant in the FiddleStar camp *Translator's note: The Chinese adaptation spells the name “Anne Duffufs”; [the original interview](https://stringsmagazine.com/8-adult-amateurs-talk-transcendent-moments-finding-the-time-to-keep-playing/) identifies her as Anne Duffus.* ### Why I Play The endless musical journey and my musician friends keep me playing. Music is already part of me. I cannot think of another way to explain it. Music is a metaphor for life itself. There is always more to learn, explore, improve, and contribute. We never reach a final destination; we simply keep moving forward. Playing the fiddle touches the very core of my life. ### My Goals I have short-term and long-term goals. My short-term goal is to feel content with my playing while working to improve. That is very difficult for a perfectionist like me, who always wants to play as well as the musicians I listen to. My long-term goal is to play Irish music with a good tone and rhythm. ### My Challenges Time is my biggest challenge. I am a veterinarian and can only fit practice in outside work, but I am often tired by the time I get home. Relaxing my body while practicing is another major challenge. I am still working on keeping my left hand more relaxed as I play. ### Memorable Moments Once I performed one of my own compositions with Liz Knowles, an American composer and Irish-style fiddler, as the Chinese editor notes. It was undoubtedly the best concert of my life. Another time, I played “Shove the Pig's Foot in the Fire” with friends at fiddle camp. It felt wonderfully Zen! The Chinese editor's note attributes the tune to American musician Bruce Molsky and identifies it as country music on his 1997 album Bruce Molsky & Big Hoedown. *Translator's note: [The recording catalog](https://music.apple.com/us/artist/bruce-molsky/2468192) confirms a 1997 recording on Bruce Molsky & Big Hoedown under the longer title “Shove the Pig's Foot a Little Bit Further Into the Fire.” This confirms the recording, not the Chinese editor's attribution of composition to Molsky.* ## 04 ![Music brings inspiration to life](https://static.lianmuse.com/image/blog/6a481add857e31526eb3c647e3404076.jpg) Lisa Broody, 61, participant in Sparrow Music Camp I have played the fiddle for ten years, although I started rather late. I had always been interested in playing Irish and Scottish music. That led me to old-time music, and then to Aisha Ivey, director of Sparrow Music Camp, and her Old Time Ensemble Group at Florida State University. As a late starter, I have found camps and ensembles particularly important for building confidence. At Sparrow Music Camp, you learn how to play with other musicians, form bands, and perform. One wonderful thing is the range of ages and ability levels among the participants. My granddaughter attended one weekend, learned to play the ukulele, and performed. It was a fantastic experience! Music has brought inspiration to every part of my life, and I am proud to belong to this community. Playing with other musicians lets you keep learning and improving while giving you a sense of belonging. ## 05 ![I begin practicing after the children are asleep](https://static.lianmuse.com/image/blog/396ef637c04071855bc8f1f639675a90.jpg) Nicholas Martin, 47, participant in Mike Block String Camp I grew up playing classical violin and orchestral music, and studied music as an undergraduate at Yale University. I spent a year in Ireland studying classical violin, but also began playing traditional Irish music there. From then on, I became interested in different styles, including old-time, bluegrass fiddle, Celtic fiddle, country and western, Gypsy music, jazz, and gospel. I attend many music camps each year. ### Why I Play I love everything about the violin: every style I can encounter, its feel, its sound, the sensory experience, and the beauty of the instrument itself. I can spend hours playing harmonies in thirds, sixths, and fourths over and over, with a drone or an old-time fiddle sound. I love styles from every era. So playing is not a question of motivation, but of time—I need more of it. ### My Goals I spend a great deal of time learning country, bluegrass, and jazz fiddle. I hope gradually to build a larger repertoire of longer pieces and to practice improvisation. My biggest goal is to spend more time playing with others in ensembles or bands. At some recent camps, I learned how to make arrangements more interesting, and I really enjoyed that. I also enjoy learning to play rhythmic or contrapuntal parts that support the main melody, enriching the music while bringing the audience's attention back to the singer. ### My Challenges My challenge is time. After a full day of work, I am always tired, and I may not be able to start practicing until after nine, once the children are asleep. My perfectionism also surfaces when I compare myself with other musicians. I know the ambition to develop stronger technique and more well-rounded abilities is positive: that energy keeps me moving. But its side effect is that I often isolate myself until I feel “ready” to go out and play with others. Two things have helped me improve this situation recently. With regard to perfectionism, I have begun learning a new instrument, the banjo, with no expectations of myself. Everything is new, so I am pleased with whatever I can play. I am now trying to bring that openness to the violin, which has carried so many of my expectations over the past 40 years. As for isolation, I have played church music with some very enthusiastic musicians. In that setting, perfectionism and self-criticism in performance have to be seen in relation to a higher connection, rather than simply to me. ### Memorable Moments A recent highlight came from working with an African American musician who is an accomplished singer, keyboard player, and guitarist. Her background, experience, energy, and style are completely different from mine, and that collaboration has taught me a great deal. Improvisation has always seemed distant and mysterious to me, but it comes much more naturally and fluently to her, bringing to mind styles that had previously felt inaccessible to me. Over the past few years, one of my greatest pleasures has been the fresh energy and material I gain from attending one or two camps each year, especially Mike Block String Camp and the Swannanoa Gathering. Playing and talking with my fiddle “heroes” is particularly enjoyable. ## 06 ![My biggest challenge is finding time to practice](https://static.lianmuse.com/image/blog/26ba0a24ba9b608da5a02f06d25d273a.jpg) Terry Chang, 30, participant in the Baltimore Symphony Orchestra's Rusty Musicians Program ### Why I Play Making music with other musicians in an ensemble is the main reason I keep playing. I love playing in symphony orchestras and chamber groups. It is always rewarding to witness individual parts coming together to form a great work. ### My Goals My goal as a string player is always to work toward becoming a better violinist, both technically and musically. ### My Challenges One of my biggest challenges is finding time to practice, especially as a busy adult. ### Memorable Moments One highlight was performing Richard Strauss's Death and Transfiguration with the Baltimore Symphony Orchestra. I am very grateful to have played such a great work with such an outstanding orchestra at Meyerhoff Symphony Hall, and I will never forget the experience. ## 07 ![Playing the cello is my ultimate escape from everyday worries](https://static.lianmuse.com/image/blog/82ba81bde428adb621969e5cc554b6c6.jpg) Michael Freilich, 39, participant in the Bennington Chamber Music Conference ### Why I Play As an amateur, playing the cello is my ultimate escape from everyday worries. When I practice alone, sight-read with friends, or perform, I pay almost no attention to anything else. I therefore treasure time set aside specifically for the cello. Over the past few years, I have found that opportunity at the Bennington Chamber Music Conference, where I can spend an entire week focused on the instrument. It is a wonderful week away from work each year! ### My Goals I have one short-term and one long-term goal. My short-term goal is to find a balance between my cello life and the rest of my life. That always seems like an impossible task. Balance does not come all at once, but every year I spend a few months concentrating on cello practice. My long-term goal is to perform a concerto with an orchestra someday. I never won a concerto competition as a child; perhaps I can win one as an adult! ### My Challenges My biggest challenge is finding enough practice time to maintain a level that satisfies me. I know that a piece only becomes as enjoyable as it should be when I have spent enough time practicing it. I now have a demanding full-time job with frequent travel, which often prevents me from practicing consistently. Although I can quickly regain my feel for playing each time, the best way to overcome this challenge is to set goals and deadlines. Whether I am sight-reading with friends or performing, having a clear goal matters most to me. Another major challenge is intonation! ### Memorable Moments Two come to mind. The first was playing Brahms's Piano Trio in B major with my wife on piano and my best friend on violin. Both are professional musicians. As an amateur, my greatest pleasure in that process was improving both technically and musically. It also reminded me that the cello occupies a smaller part of my world, making the experience even more meaningful. The second highlight was playing Swan Lake with 150 other cellists at Hans Jensen's Cello Happening in 2016. One hundred and fifty cellos! *Translator's note: The Chinese adaptation names Swan Lake here, but [the original interview](https://stringsmagazine.com/8-adult-amateurs-talk-transcendent-moments-finding-the-time-to-keep-playing/) names The Swan. The year and the number of other cellists are the same in both accounts.* ## 08 ![My goal was to play as well as Yo-Yo Ma](https://static.lianmuse.com/image/blog/7f37476fcc60c1919b0aecfbac9e4612.jpg) Nancy Mack, 65, participant in the SCOR! camp *Translator's note: The Chinese adaptation spells the name “Nancy Mark”; [the original interview](https://stringsmagazine.com/8-adult-amateurs-talk-transcendent-moments-finding-the-time-to-keep-playing/) identifies her as Nancy Mack.* My son began learning the violin at five, so from then on my life was filled with lessons, musical activities, and performances. When he left home for college, I realized how much I would miss all of that, so I decided to start learning the cello at 50. I tried the violin too, but found it too difficult! ### Why I Play I keep playing because I have fallen in love with the world of music! Before attending SCOR!, a camp specifically for adults, I had taken lessons for five years and had always practiced at home on my own. The camp was an eye-opening experience for me—absolutely wonderful! The teachers were excellent at encouraging and inspiring students. Thanks to the camp, I experienced the joy of playing with friends, which is one reason I have continued ever since. ### My Goals My first goal was to play as well as Yo-Yo Ma, and I thought I could achieve that in six months. I thought all I needed to do was learn the right notes and put the bow on the strings. Then reality dawned: it was nowhere near that simple. My goals now are to continue learning with my teacher, keep improving my tone, and, above all, enjoy sharing music with others! ### My Challenges My biggest challenge is accepting that I may never play as well as I would like. My career was mainly in accounting, where there was always a way or a solution to a problem. Music is different. It requires a great deal of experimentation and listening before I can decide whether the sound I am making is the sound I want. --- # Several tips for giving a child violin lessons from a violin app user - URL: https://violy.app/blog/several-tips-for-giving-a-child-violin-lessons-from-a-violin-app-user - Markdown: https://violy.app/blog/several-tips-for-giving-a-child-violin-lessons-from-a-violin-app-user.md - Published: 2019-07-26 - Summary: Hi there, I am a grandpa, and I have five-year experience of accompanying my son to learn the violin # Several tips for giving a child violin lessons from a violin app user Hi there, I am a grandpa, and I have five-year experience of accompanying my son to learn the violin. Here are some tips I‘d like to share with other violin parents who have no musical background like me and hope they are helpful. 1. It is better for children to start the violin lessons sooner than later. Many violinists began to learn musical instrument when they were very young. For example, Tchaikovsky started piano lessons at age five, and Mahler took piano lessons at four. Some parents with musical background begin to create a musical atmosphere at home when their kids are only three. I believe when children are able to concentrate, their musical interests can be cultivated, and learning an instrument at a young age makes sense for their future development. 2. Understanding the difference between group lessons and private lessons is important. When children start their first violin lessons, they are better able to build their violin interests by joining in group lessons although private lessons are better for children’s violin learning results. Of course parents can hire professional and responsible tutors to guide children’s violin performance, but they should notice investing in children’s private violin lessons requires a huge amount of money. 3. Violy is a good violin app that can help parents know how kids’ violin performance is. I was introduced to Violy by my son’s violin teacher Zhang, and I surprisingly found that this app can help parent without musical background like me know how’s the violin performance of my kid. Thus, I encourage my son to try his best to achieve 90 points without wrong sound when he was practicing. I think when my son achieved more than 90 points, he got the sense of achievement and he got stronger incentives to practice more frequently. 4. Keeping good learning attitude is the key in kids’ violin training. Any musical instrument learning requires persistence, so developing a good learning attitude is essential for children. I have accompanied my son to learn the violin for five years and we haven’t missed any class, regardless of the hot weather or the snowy wind. Parents’ persistence and accompaniment at children’s young age determine whether children can insist on practicing the violin. If necessary, parents could make some notes, record videos and communicate with teachers to help children learn the violin. Don’t play mobile phones or do other things when watching children practicing the violin; otherwise, these young beginners would consider it not important. Also, if parents have time, they should learn some relevant knowledge to better guide children's practice. 5. Paying attention to adjust children’s posture when they are playing the violins. Parents should attach importance to children’s violin playing posture since this is a long-term effective skill that would influence children’s violin performance. After one year of violin class for the enlightenment, my son transferred to teacher Zhang and Mr. Zhang spent a lot of time to correct my son’s posture, for example, the position and the shape of left thumb and how to hold the bow with right hand. Once the habit of posture is formed, it is not easy to change; so parents need to correct children’s violin playing posture. 6. Don’t forget to develop children’s practice habits. After my son began to primary school, he has to complete the school work and practice the violin. Although his daily schedule is very busy, he practices the violin for at least two hours every day. Generally, he practices the violin for half an hour before he goes to school every morning and two hours before bed. Therefore, with two hours’ violin lessons a week, my son practices the violin more than sixteen hours a week. 7. Encouraging children to participate in exams and group performances is a good way to cultivate children’s sense of accomplishment. Children don’t want to take exams or group performances because of the stress, but exams should be considered as a test and also an incentive. My son started to participate in many international and domestic violin competitions from elementary school; he did so not for the prize or the honor, but for better understanding of his shortcomings of violin performance and making friends with other violin kids. After all, it makes me super happy to be able to spend time with me grandchildren. Music sounded, happiness flow to the face indeed. Hopefully my experience could help you. --- # 10 Tips About Tone - URL: https://violy.app/blog/10-tips-about-tone - Markdown: https://violy.app/blog/10-tips-about-tone.md - Published: 2019-07-24 - Categories: Music News - Summary: Ten pieces of advice from The Strad archives explore how posture, listening, bowing, resonance and vibrato contribute to tone quality and projection. > Adapted from The Strad. The passages below retain the contributors and historical issue dates cited in the Chinese article; they are translated paraphrases, rather than verbatim English quotations. Corrections to the Chinese rendering were checked against [The Strad's original compilation](https://www.thestrad.com/playing-hub/10-tips-on-maximising-tone-quality-and-projection/22.article). ![](https://static.lianmuse.com/image/blog/ff0a61ba10d863ff72bfc066b77bcba1.gif) --- Maintain your full natural height while playing. Keep your shoulders open, allowing your ribs to move freely in relation to your spine. Many string players do not breathe well, which considerably restricts their technical ability, musical freedom and capacity to produce a beautiful tone. — Mary McGovern, The Strad, July 1999. ![](https://static.lianmuse.com/image/blog/3ddd4ef6e011ec2cd0d3fb39a6e9739f.jpg) A prerequisite for a beautiful tone is having a memorable sound in your mind. Just as we imitate the accents we hear other people use, we seek to recreate the beautiful sounds we remember hearing. Tone begins within us. To bring that inner sound to life, we need a body that moves flexibly and finds its balance. — Tanya Carey, The Strad, May 2003. ![](https://static.lianmuse.com/image/blog/2373602c50eafe3f5cca921f25392f17.jpg) Moving the bow towards the bridge changes both the volume and the quality of the sound. A note consists of more than a single tone: it contains a series of partials. Those above the fundamental are called upper partials. The fundamental establishes the note's pitch; the upper partials are comparatively faint, while their number and relative strengths shape the tone quality. As a player, you hear the instrument close to your ear, whereas the audience hears it from a distance. Fischer explains this difference in terms of the upper partials fading sooner with distance than the lower ones. Bowing closer to the bridge produces stronger, clearer upper partials than bowing near the fingerboard. The sound can seem sharp to the player, yet, as those upper partials diminish with distance, it can reach the audience as a rounded, sweet tone. ![](https://static.lianmuse.com/image/blog/fe2cb8b4291a778baa438586b595d670.jpg) A common mistake is to assume that the sound you hear is the same as the sound heard by listeners several metres away. A rounded tone that pleases you close to the instrument may have lost so much strength by the time it reaches the audience that it sounds weak. — Simon Fischer, The Strad, September 2005. Some violinists develop the bad habit of beginning a bow stroke with excessive force. This damages the tone immediately. Students should remember to apply only enough bow pressure to set the string vibrating, rather than pressing hard. — André La Tarche, The Strad, September 1894. In his historical advice, Krall identifies the third of the string nearest the bridge, roughly halfway between fingerboard and bridge, as the place to produce a clear, full tone without damping it. Applying steady pressure at the same contact point makes it easier to obtain a satisfying sound. The amplitude of vibration decreases towards the string's fixed points, including the bridge. Krall therefore recommends moving the bow towards the bridge when increasing bow pressure: in his account, this allows greater pressure without interfering with the vibration, although the string also offers greater resistance to the bow. He concludes that a fortissimo tone can only be produced near the bridge. — Emil Krall, The Strad, August 1911. ![](https://static.lianmuse.com/image/blog/e8368cae9b2ca3ddbef4ba8a5e86ea17.jpg) The ringing that continues after a string is plucked demonstrates resonance. I remind my students that tone does not depend only on the action that starts the sound: much of its magic and beauty lies in the way it is released afterwards. ![](https://static.lianmuse.com/image/blog/e2195d14bf4ceef4d26b25ec2bf6c69c.jpg) I ask my students to pluck an open string and feel the resistance it offers. The instant you engage the string, you have to work with that resistance. — Selma Gockcen, The Strad, May 2003. ![](https://static.lianmuse.com/image/blog/a0f5e2bb4728801c3f912a5a6e993e80.jpg) Train your stopping fingers to apply firm pressure, leaving changes in volume to the bow. Even in pianissimo, a clear tone requires sufficiently firm finger pressure. — Carl Courvoisier, The Strad, March 1893. ![](https://static.lianmuse.com/image/blog/a0f5e2bb4728801c3f912a5a6e993e80.jpg) Vibrato also influences tone. The bow controls volume, while vibrato can enrich the tone's colour. Students therefore need to master vibrato technique, including its speed and width. — Laurinel Owen, The Strad, May 2003. Bow speed, bow pressure and the distance between bow and bridge are essential factors in tone production. As bow speed increases, pressure also needs to increase appropriately. The string feels more resistant nearer the bridge, so bowing in that area requires greater pressure. Using a faster bow near the bridge therefore calls for more bow pressure. — Simon Fischer, The Strad, July 1997. People pay to attend a concert; at the very least, they should be able to hear the instrument. — Mstislav Rostropovich, quoted in The Strad, May 2003. --- # How to tune the instruments Violy | A real-life story about violin and cello - URL: https://violy.app/blog/how-to-tune-the-instruments-violy-a-real-life-story-about-violin-and-cello - Markdown: https://violy.app/blog/how-to-tune-the-instruments-violy-a-real-life-story-about-violin-and-cello.md - Published: 2019-07-24 - Summary: To tune an instrument is indeed the first thing you need to do before you are ready to master it, no # How to tune it Violy | A real-life story about violin and cello To tune an instrument is indeed the first thing you need to do before you are ready to master it, no matters if it's a violin or a cello you have around you. Well, we all remember how tricky it is to tune an instrument during the first period of learning stage, and we also know it is a MUST lesson to learn. In addition, to properly tune a cello you will need to be familiar with the parts involved and how the whole instrument acts as a unit. Just like other similar wood-crafted instruments, the cello is susceptible to changes in humidity, temperature, and atmospheric pressure (please do NOT ignore those environmental conditions, they not only affect how frequently you’ll need to tune the strings, but also, as the wood expands and contracts, can severely damage your cello.). In this article, we are going demonstrate “How to Tune a Cello”. An ordinary cello normally has four strings which are tuned in perfect fifths. The strings are 1(A), 2(D), 3(G), 4(C), in ascending order of thickness. The lowest tone, C open string, is corresponding to two octaves below middle C on the piano. *Please encourage your students to tune their cellos by ear training, and guide them to tune their cellos according to different pitches. If your student is in his/her very first stage of learn (lack of ear training skill), to use a tuner app would be one of the easiest way to approach tuning. Yet, most tuner app in the market can not receive the actual sound of 1(C) string(any relatively lower bass) without external accessory, because of the limitation of the mic in your phone. I personally recommend Simply Tuner. It is one of the best tuner app for string instruments in the market, available for both Android and iOS devices. In this app, you can easily see the instrument option button on left top corner, and select cello. Secondly, you can click the tuning peg symbols below to select which corresponding string to be tuned, which also means you have to tune the strings separately (Well, I am not very used to this feature from my perspective of view. After all, it is an app for the beginners.) Next, play the corresponding string, and the indicator on the meter will show you how many cents are off, also there is also simple instructions above the meter that you can follow to tighten or loosen the string. When the instruction word tunes into yellow Slightly Low/High, you can use the fine tuner(s) for the micro tuning. When the word tunes into green Perfect~ The current string is ready to play. Additionally, if you student is well skilled in ear training, you can always let him use the Speaker Mode by clicking the speaker symbol below the meter. The app can play each open string notes by 2(A) at 442Hz. Tips: 1, Never, ever remove or all of the strings of your cello at the same time. 2, It’s a good idea to ensure that your fine tuners are loosened before the beginning of the tuning process. 3, Use cautious movements! Over tightening your strings can result in damage to your cello and your person—particularly the face and eyes, so be careful! 4, Always ask your teacher or a trusted instrument dealer to help you if you need it. Other very important notes for intermediate and advanced players: The bridge actually moves when you adjust the strings up or down. You should pay attention to the angle of the bridge because if it's not a good angle, the bridge can warp. This can happen after just a couple days at a bad angle. Warped bridges get gradually more warped if being used and it will affect sound and string height more and more. This can only be fixed by having a luthier put the bridge in clamps for a number of days and is a huge pain because it likely won't fix tbe problem permanently. This is why whenever putting on a new string, have a graphite pencil on hand to draw in the grooves where the string will sit on both the bridge and the nut. This will reduce friction and keep the bridge from moving a lot. While tightening the strings, watch the feet of the bridge to make sure they are completely flat on both sides when the strings are at or near the correct pitch. Also observe the bridge angle from the side of the cello (in profile) to ensure it looks perpendicular to the top. Please note that bridges should always be flat on the tailpiece side and curved on the fingerboard side to give more leverage to counteract the weight applied by the bow. Because of this, the bridge will appear to be angled slightly towards the tailpiece even when actually perpendicular As OP stated, you should never take all the strings off at once. The soundpost is held in place only by the preasure from the top, applied by the tension of the strings onto the bridge. It is likely the soundpost will fall down if the strings or bridge are removed and only someone with the right tools and expertise can return it to its correct position. --- # Violy Performer of the Month | ViolyMusic Event - URL: https://violy.app/blog/violy-performer-of-the-month-violymusic-event - Markdown: https://violy.app/blog/violy-performer-of-the-month-violymusic-event.md - Published: 2019-07-23 - Summary: Do you notice the fact that many people give up violin practice due to the the busy daily schedule a # Violy Performer of the Month | ViolyMusic Event Do you notice the fact that many people give up violin practice due to the the busy daily schedule and the repeating process of violin playing? This fact has drawn our attention and thus we are launching a project, the Violy Performer of the Month, to create a violin practice community in which violin players could communicate and share their experiences of violin playing. By launching this project, we are hoping participants and other violin players would enjoy the violin practice and proudly share their performances' grades with others. We would select the best violin performer on Violy every month and the prizes for the violin performer of the month would be one month membership and special derivatives of violinists. The rules of this project are as follows: * The participant's final score picture must be shared on Facebook, Instagram, or Twitter. * Also, it is necessary to contain your Violy ID and #ViolyPractice in the caption to confirm the participation. * On the last Firday each month, we would announce the Violy Performer of the Month on social media platforms and we would send a special award to the the performer of the month. * We would rate participants' performance by the difficulty of the music, and the accuracy and creativity of performance's expression. ![](https://static.lianmuse.com/image/blog/7ec92d21440ed874c154ab1a034052fc.png?v=7ec92d21440ed874c154ab1a034052fc) --- # The Story of La Marseillaise | ViolyMusic - URL: https://violy.app/blog/the-story-of-la-marseillaise-violymusic - Markdown: https://violy.app/blog/the-story-of-la-marseillaise-violymusic.md - Published: 2019-07-15 - Summary: After France declared war on Austria on April 20, 1792, the mayor of [Strasbourg](https://en.wikiped # The Story of La Marseillaise | ViolyMusic After France declared war on Austria on April 20, 1792, the mayor of [Strasbourg](https://en.wikipedia.org/wiki/Strasbourg) expressed the need for a marching song that would rally troops to “defend their homeland that is under threat”. When Rouget de Lisle stationed at Strasbourg, this lowly army officer has responded to the call by composing both the words and music of “[La Marseillaise](https://en.wikipedia.org/wiki/La_Marseillaise)” (April 24, 1792). Originally this song was entitled “Chant de guerre de l’armée du Rhin” (“War Song of the Army of the Rhine”); it gained its familiar title “La Marseillaise” because of its popularity with volunteer army units from [Marseille](https://en.wikipedia.org/wiki/Marseille).
It was made France’s anthem in 1795 but lost its status under Napoleon I and was suppressed during the Bourbon restoration. However, La Marseillaise was reinstated in 1879 and has remained as the national anthem since then. The message of defiance and resistance have proven incredibly potent at key history moments in France’s history. Nevertheless, La Marseillaise’s martial theme has been controversial due to the “fairly bloodthirsty” lyrics. The anthem contains lines about “ferocious soldiers” who are “coming to cut the throats of your sons, your women”. Considering it too warlike, Valery Giscard d'Esta, the president of France from 1974 to 1981, slowed the rhythm. La Marseillaise today is less warlike but still inspiring. Check [Violy](https://violy.app/) bottle challenge and [La Marseillaise on YouTube](https://www.youtube.com/watch?v=D_5sw_EbpI8). Vive La France!! ![ViolyPractice makes PERFECT!!](https://static.lianmuse.com/image/blog/bfaa9ab946fa0825dbf923949c15df66.jpg?v=bfaa9ab946fa0825dbf923949c15df66) --- # ViolyMusic| Happy Birthday to Gustav Mahler - URL: https://violy.app/blog/violymusic-happy-birthday-to-gustav-mahler - Markdown: https://violy.app/blog/violymusic-happy-birthday-to-gustav-mahler.md - Published: 2019-07-08 - Summary: [Gustav Mahler](https://en.wikipedia.org/wiki/Gustav_Mahler) was one of the leading conductors of hi # ViolyMusic| Happy Birthday to Gustav Mahler [Gustav Mahler](https://en.wikipedia.org/wiki/Gustav_Mahler) was one of the leading conductors of his generation and a late-Romantic composer in music history. As a composer, he was as the bridge between the 19th century German and Austrian traditions and the modernist music of the early 20th century. ![Gustav Mahler](https://static.lianmuse.com/image/blog/9f1aa02f08e49691434b0e0b27290015.png?v=9f1aa02f08e49691434b0e0b27290015) Mahler was an early starter; he started learning piano at the age of 4 and gave his first public performance at age of 10. Due to the poor performance at school, Mahler was sent to study at the Vienna conservatory when he was 15 years old. Mahler likely began conducting and composing classical music while studying at the conservatory. Ultimately, he turned to conducting after graduation, believing it to be a more practical career choice. When Mahler graduated from the Vienna Conservatory in 1878, he served as the conductor in the European Opera House. From 1897 to 1907, Gustav Mahler served as director for the Vienna Court Opera, during which time, Mahler changed from a Judaism to a Catholic, but he was still excluded by anti-Semitism due to his Jewish origin. Nonetheless, his performance as a conductor was not only excellent but innovative, which made him one of the greatest opera conductor in history. In his later years, Mahler went Stateside to become director of New York’s Metropolitan Opera and the New York Philharmonic at the turn of the twentieth century. Mahler conducted his final concert at New York’s Carnegie Hall. For much of Mahler’s life, composing was more likely a part-time activity while he earned his living as a conductor. He wrote 10 symphonies during his career, which became popular for their 20th-century techniques and emotional character. Mahler’s compositions were solely symphonic rather than operatic. He eventually composed 10 symphonies, each very emotional and large in scale. He also wrote several song cycles with folk influences. His work is characterized as part of the Romanticism movement and is often focused on death and afterlife. He is known for his choral work Das Lied von der Erde (The Song of the Earth) and the song cycle Lieder eines fahrenden Gesellen (Songs of a Wayfarer). With the background of German-speaking minority among Bohemians and also Ashkenazic Jewish, Mahler developed on a permanent sense of exile, “always an intruder, never welcomed.” Besides that, because Mahler is both a composer and a performer, both Jewish and Christians, both innocent and sophisticated, Mahler’s works are contradictory. Such conflicts and contradictions are expressed by relative emotions: rising melody, strong desire, uncoordinated, and also string sounds representing suffering and despair. ![](https://static.lianmuse.com/image/blog/cc0938800a85ca9eb28778d51971598a.jpg?v=cc0938800a85ca9eb28778d51971598a) Join Violy on Facebook- https://www.facebook.com/ViolyPractice Twitter- https://twitter.com/ViolyPractice Instagram- https://www.instagram.com/violy.practice/ Reddit- https://www.reddit.com/r/Violy/ Questions? Contact us at Support@Violy.app #ViolyPractice makes Perfect!! Visit Violy.app for more ![](https://static.lianmuse.com/image/blog/bfaa9ab946fa0825dbf923949c15df66.jpg?v=bfaa9ab946fa0825dbf923949c15df66) --- # Celebrate LGBT Pride June by Playing the Tchaikovsky on ViolinApp - Violy - URL: https://violy.app/blog/celebrate-lgbt-pride-june-by-playing-the-tchaikovsky-on-violinapp-violy - Markdown: https://violy.app/blog/celebrate-lgbt-pride-june-by-playing-the-tchaikovsky-on-violinapp-violy.md - Published: 2019-06-28 - Summary: ![Happy PRIDE June~](https://static.lianmuse.com/image/blog/52a808d9293172c7e5954f8db1d43b93.jpg?v=5 # Celebrate LGBT Pride June by Playing the Tchaikovsky on ViolinApp - Violy ![Happy PRIDE June~](https://static.lianmuse.com/image/blog/52a808d9293172c7e5954f8db1d43b93.jpg?v=52a808d9293172c7e5954f8db1d43b93) [Peter Ilich Tchaikovsky](https://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky), the most popular Russian classical music composer of all time, was famous for tuneful, open-hearted melodies, impressive harmonies and picturesque orchestration, all of which had great appeal for the general public. Tchaikovsky’s well-known compositions include music for the ballets Swan Lake (1877), The Sleeping Beauty (1889) and The Nutcracker (1892). He was also celebrated for the Romeo and Juliet overture (1870) and the celebrated for Symphony No.6 in B Minor (Pathetique) (1893). ![the young Tchaikovsky](https://static.lianmuse.com/image/blog/0a724818eb096fa05d0033c9a7409fec.jpg?v=0a724818eb096fa05d0033c9a7409fec) One interesting controversy about Tchaikovsky is his sexuality. Russia’s culture minister Vladimir Medinsky and the screenwriter of Tchaikovsky’s film biopic Yuri Arabov have denied Tchaikovsky’s homosexuality, claiming there was no evidence to suggest he was anything other than a lonely man failing to find a suitable woman to marry. However, historians insist it is a historical fact that Tchaikovsky’s own writings reveal his sexuality. Vladimir Putin, the Russian president, conceded Tchaikovsky was probably gay. "They say that Tchaikovsky was a homosexual," said Putin. "Truth be told, we don't love him because of that, but he was a great musician, and we all love his music. So what?" Although Tchaikovsky had long been struggling with societal pressure to repress his homosexuality, we are so proud to have such a talented gay composer who brought us numerous symphonies, operas, ballets, violin concerto and piano songs. Therefore, we have recently added Tchaikovsky’s collection to Sheet Cloud on Violy with six pieces of music including Andante Cantabile, Chanson Triste, Dance of Little Four Swan, Barcarolle, Melodie in E Flat Major, Op. 42 No.3 and Theme for Swan Lake and we proudly created an album cover with rainbow color to show our respect and love. Join us to practice Tchaikovsky's classical music compositions on the best ViolinApp >>> [Violy](https://violy.app/). ![the album of Tchaikovsky is now available in Sheet Cloud on Violy](https://static.lianmuse.com/image/blog/bc1a643aef691324a57bc3a11ad71bd5.jpg?v=bc1a643aef691324a57bc3a11ad71bd5) What’s more, [The XVI International Tchaikovsky Competition](https://tch16.com/en/) which is held every four years is approaching to the end in Moscow and St. Petersburg. All events of the XVI International Tchaikovsky Competition are available online and check the delayed viewing on the tech16.medici.tv platform. Join Violy on Facebook- https://www.facebook.com/ViolyPractice Twitter- https://twitter.com/ViolyPractice Instagram- https://www.instagram.com/violy.practice/ Reddit- https://www.reddit.com/r/Violy/ Questions? Contact us at Support@Violy.app ![ViolyPractice makes Perfect!!](https://static.lianmuse.com/image/blog/fcda98fdbfb630fe0fadaf8348e3b038.jpg?v=fcda98fdbfb630fe0fadaf8348e3b038) --- # Official Announcement: Violy Changes Its Logo - URL: https://violy.app/blog/official-announcement-violy-changes-its-logo - Markdown: https://violy.app/blog/official-announcement-violy-changes-its-logo.md - Published: 2019-06-24 - Categories: Product - Summary: This June 2019 announcement introduces Violy's new app logo and explains the story behind the international brand's change of name from Lian to Violy. Official Announcement: Violy Changes Its Logo > Historical context: This announcement was published in June 2019. The app update, market expansion, and branding decisions described below refer to that time. Violy's Chinese name is 一起练琴 (Yiqi Lianqin). The Violy app has a new icon! Before long, as you update to the new version of the app, you will start noticing a change: Violy has a new logo. ![](https://static.lianmuse.com/image/blog/aedf6d996b7b037de2ece3073f244ec1.png) As shown above, the old app logo was fairly basic and straightforward. When it comes to practicing an instrument, the key word is “practice,” represented by the Chinese character 练. So we made that character the central element, added an image of a violin, and that was our logo. The new version's logo looks a little more “sophisticated, elegant, and classy.” :) The new logo is a little cuter, but it also has some meaning behind it: 1. What we do is “look inside” the notes: we analyze the sound of your playing to help you practice and improve your practice efficiency. 2. We do this using artificial intelligence algorithms built on specialized computer music technology. There is also a bit of a brand story behind this. The logo for our early international version followed the Chinese logo, replacing the character 练 with “Lian.” We also named the international app “Lian.” Thanks to the support of teachers and parents, our app has gained a good level of recognition and acceptance within the industry in China. We now feel confident about committing resources to the international market. So we brought in a colleague with an international background to manage our overseas marketing. Our new international marketing colleague felt that our original name, “Lian,” which was taken directly from the Chinese name, was not “sexy” enough and was difficult for people outside China to recognize. So we began working on an update. After two weeks of spirited debate, we settled on “Violy” as our new brand name and updated the logo at the same time. ![](https://static.lianmuse.com/image/blog/2f3def7f85d34610d1f0e59b2c4d4e2d.png) So here is where things stand: in China, the app is still called 一起练琴 (Yiqi Lianqin), but it shares the same logo as the international version. Outside China, the app is called “Violy.” And that is how it came about. --- # Violy Practice makes Perfect —— An AI Music Practice Partner - URL: https://violy.app/blog/violy-practice-makes-perfect-an-ai-music-practice-partner - Markdown: https://violy.app/blog/violy-practice-makes-perfect-an-ai-music-practice-partner.md - Published: 2019-06-24 - Summary: ## **Violy, an intelligent app which can listen to and understand strings’ voices.** Without any ext ## **Violy, an intelligent app which can listen to and understand strings’ voices.** Without any extra hardware, Violy can hear and follow your practicing, at the end output evaluation results and scores. Currently it supports evaluation of pitch and rhythm. You can get 15 days gift to experience Premium features. Even if you are not a Premium member, most of features are available to you, include all sheets downloading and playing. ### **[ Why Violy ]** VIoly makes your practicing easier. - For student: get practice feedback in time, raise efficiency of practicing; with less difficulty students can persist the violin studying. - For teacher: spend less time to correct student’s basic parts as pitch, rhythm, etc. So teach students more efficiently; get more knowledge about student’s practicing. - For parents: no more pain as practice partner; get more real data and stats about child’s practicing. ### **[ How to use ]** - Get your iPhone/iPad device at hand. - Open the app, find the sheet you want to practice, and click to view the sheet. Check in evaluation mode. - Play open strings 1/2/3/4 (E,A,D,G) in turn, start a practice. - Score Following: the app recognizes your playing notes. Meanwhile, the cursor on the sheet catches up with your voice. - At the end of the practice, the app evaluates the practice, and outputs the result: score and stats - how many wrong pitch/rhythm notes, how much is the bias of each note. ### **[ Features ]** Active score following for evaluation: - Smart start: no need touch on device, just playing notes starts a practice. - Sheet following: during practicing the cursor follows the playing voice, and auto jumps to the right sheet position. - Auto stop: no need any touch on device. If you want to stop the practice, just stop playing. - Section practicing: start practicing at any start point, just need to click on sheet to set start point. - Duplicated section: duplicated section of sheet is supported well. Can set if or not duplicated section will be played. - Multiple voices support: follow multiple voices in sheet, and direct the bias of each note. *VIoly is the must-have violin learning/practicing app.* *Violy is smart and AI-based. It listens, follows, evaluates, and grades your practices. It tells you where is wrong.* Two practice modes: - The default mode is **Audition** Mode. It is the right and recommendatory practice mode for ones who is familiar with the sheet. ![](https://static.lianmuse.com/image/blog/17741d04de8c840a7a7f87aa65b1fafc.jpg?v=17741d04de8c840a7a7f87aa65b1fafc) - Another option is **Note-by-note**. Under this mode, you just play the note where the cursor is. If your play is right, then the cursor will go to the next note, otherwise the cursor will not move. This mode is fit for ones who are not familiar with the sheet. ![](https://static.lianmuse.com/image/blog/fd7b883415c0ca99a0f586403658ce26.jpg?v=fd7b883415c0ca99a0f586403658ce26) ### **Sheets Cloud:** - The electronic sheets are input based on original sheet books, so it can replace paper books. - All sheets can be played. Just click on the sheet to set new start point as playing. - Totally free for downloading all sheets. - Updates will be done automatically if any sheet bug is fixed. - More and more books will be added, and they will be free always. Practice records and stats: - Score is calculated for every practice. - Detailed pitch/rhythm stats, and bias trends for every practice. - Stats for overall practicing time. ### **Together for teachers:** - Create team to organize all your students. - View timeline of practices of all students, or of one. - View the detail result of one practice: score, stats, and analysis. ### **[ Feedback ]** We expect your feedback eagerly! - During usage, any question, idea or suggestion can be submit on “Me -> Help&Feedback -> Feedback” page. - There is feedback button on the left-top side of sheet page. By clicking this you can report sheet error of any sheet and tag the position. Want to practice on Violy? Follow us: - https://www.facebook.com/ViolyPractice - https://twitter.com/ViolyPractice - https://www.instagram.com/violy.practice/ Contact us at Support@Violy.app ![](https://static.lianmuse.com/image/blog/bfaa9ab946fa0825dbf923949c15df66.jpg?v=bfaa9ab946fa0825dbf923949c15df66) --- # Brand New Music Practice Partner - URL: https://violy.app/blog/brand-new-music-practice-partner - Markdown: https://violy.app/blog/brand-new-music-practice-partner.md - Published: 2019-06-23 - Summary: ### Dear Violy Users: To better service the violin teachers and students over the world, we have dec ### Dear Violy Users: To better service the violin teachers and students over the world, we have decided to rebrand the app, which includes changing the app name from Lian to Violy. The logo and user interface have also been redesigned. ![](https://static.lianmuse.com/image/blog/a6bd2ca4fbd43b873aa9b7a7924f5806.jpg?v=a6bd2ca4fbd43b873aa9b7a7924f5806) However, we have been persistently improving the music practicing experience through our app. With the brand new app - “Violy”, users can easily enter the functions like the Tuner and the Metronome, and practice the violin more efficiently. Furthermore, more officially authorised musics and new features are coming soon. In additional, we are going to release a series of Violy accessory gifts, including resin, music stands, violin cases etc., which are free, and only available for those who practice Violy. Hopefully, you can practice the Violin “violy”. Violy Practice makes Perfect!! --- # Going Global - Lian - URL: https://violy.app/blog/going-global-lian - Markdown: https://violy.app/blog/going-global-lian.md - Published: 2018-11-07 - Summary: Finally we are ready to Go Global. We released first version iOS app QIN in App Store 15 months ago. Finally we are ready to Go Global. We released first version iOS app QIN in App Store 15 months ago. QIN is only for Chinese learners, it has only Chinese sheets. In past 15 months, QIN app got 600+ grades, and average 4.6 stars in App Store. Chinese sheets library got more and more sheet albums, and the album number reaches 150 now. Since the app releasesd, we have gotten lots of feedbacks from users, especially from parents. They are very excited with this app, because it is so helpful for home practicing. For parents, the app is a technical helper for them, because kids have no need to see the screen when practicing and evaluating with the app. The app helps parents to be a better practice partner. Everyday lots of users practice violin with the app. We have gotten 300 milions evaluation practices totally. So we think the app should be useful to global learners, too. Most of all, we have not found the similar app. The KEY feature - active score following, no any other app implements it. To go Global, we re-designed the app a little, and make it some different from QIN, and name it to LIAN. So, here we are, LIAN. --- # 95% of Children Cannot Practice on Their Own Initiative; Parental Practice Support Is Important - URL: https://violy.app/blog/95-of-children-cannot-practice-on-their-own-initiative-parental-practice-support-is-important - Markdown: https://violy.app/blog/95-of-children-cannot-practice-on-their-own-initiative-parental-practice-support-is-important.md - Published: 2018-01-05 - Categories: Music News - Summary: A parent reflects on why children need support with instrument practice, the difficulties of using third-party practice coaches, and how parents without musical training can help. *This article is a parent's account originally published on January 5, 2018. Its descriptions of practice-coaching services and app features reflect the Chinese market at that time, rather than current global offerings.* ## Children Need Someone to Support Their Practice Many parents assume that their children can practice on their own initiative and that all they need to do is give them a verbal reminder. Yet, according to one professional teacher, 95% of children cannot practice on their own initiative and need someone to support their practice to make it effective. ![](https://static.lianmuse.com/image/blog/530448f0c5e7fe1a0756618b46199c0e.jpg) As the parent of a child learning an instrument, I have experienced this firsthand. While supporting my child's practice, I kept emphasizing the process, steps, and methods, hoping that once my child became familiar with these routines, she would be able to practice well without my staying beside her all the time. But even when she made a practice plan step by step and reported her progress, the results were still disappointing. Her teacher challenged us: "Progress has been very poor lately." As soon as I stayed beside her to support her practice, however, the results improved noticeably. When I considered the reasons, some had to do with my child herself: we cannot rush things, and self-control takes time to develop. Other reasons lay in the complexity of practice itself. When you think about it, practicing an instrument is far from easy. ![](https://static.lianmuse.com/image/blog/02af1e5405e6d7f3581496129dae25a4.jpg) There are two main difficulties in practicing an instrument. First, setting goals, breaking tasks down, and working through a plan are difficult for children. A child has one lesson a week and practices at home every day. The goals a teacher assigns for practice between lessons are not always very specific. Breaking those goals down into daily practice tasks, carrying them out each day, and achieving meaningful results involve a degree of complexity. Even many adults in the workplace struggle to break tasks down and achieve a goal, let alone elementary school children. Second, practicing an instrument means continually challenging yourself and working through repetitive, tedious exercises. Here is a little story. Once, my daughter went a long time without getting her teacher's approval to move on from an étude. She kept playing a few wrong notes here and there, and I was getting rather frazzled myself. During a casual conversation, she told me she was in no hurry. Why? Because once she passed this piece, there would always be more pieces to learn, and they would only get harder. Practice requires persistence every day. Each day, you have to overcome your own limitations and improve. Expecting an elementary school child to face this alone is asking a great deal. For that matter, how many adults can do it on their own? ![](https://static.lianmuse.com/image/blog/9aa3cdb816c46bccefb4eff7b69ddc35.jpg) That is why children need someone to support their practice by helping them: - Set goals and break tasks down; - Supervise the practice process; - Give feedback on the results; - Find encouragement, even if that simply means staying beside them so they do not feel so alone. ## When Parents Struggle to Support Practice, Can Someone Else Take Their Place? Many parents say, "I don't understand music—the violin or piano," or "I'm busy and don't have time. Can someone else take my place?" This situation was fairly common, and at the time of writing there were two types of service on the market: Dedicated practice coaches. Many students studying music, or students who had learned an instrument as children, did this work part-time. One-to-one online practice coaching over video. A number of providers had recently begun offering this service. In my view, turning to these third-party practice-coaching services generally raises several issues: - Their methods may conflict with those of the child's regular teacher. - A coaching session every day? That can be expensive. - In-person coaching takes considerable time. Children need to practice daily, and the little time we manage to set aside is precious. - Online coaching relies on video communication, which is less direct; I find the results less effective. More importantly, I believe third-party coaching only partly addresses the technical side of practice and struggles to address the psychological side. You know your own child best and can communicate with them in depth. These are issues you, as a parent, are best placed to handle. ![](https://static.lianmuse.com/image/blog/a991e6180070472291d662fb5fcc5425.jpg) ## What If Parents Do Not Understand Music Themselves? Many parents put a tremendous amount of effort into diligently supporting their children's practice. They deserve a thumbs-up! The battles of wits during practice, and even the arguments, scolding, and hitting, can be difficult to put into words. You know what I mean! Yet many parents still feel frustrated and conflicted because they really do not know much about music. Often, the reason they argue with their children—or their children refuse to follow their instructions—is precisely that they do not understand it themselves. There are two ways to address this lack of knowledge: - Attend your child's lessons with them whenever you can. If you really cannot attend, stay in close contact with the teacher so you understand your child's progress and the problems they are encountering. - Use tools to make up for gaps in your technical knowledge. In the two years leading up to this article, smart instruments, including smart pianos and smart violins, had begun appearing. To some extent, they could detect mistakes as they occurred during practice. There were also apps with similar functions. One example described in the original article was Violy: installed on an iPhone or iPad, it could listen to the sound of the instrument and provide feedback on errors in pitch and rhythm during practice. With tools helping to address technical problems, and parents naturally well placed to encourage their children and provide psychological support, I believe parental practice support remains the best approach and can help children improve more quickly! ![](https://static.lianmuse.com/image/blog/bb348d7eb5e7d6c29c4adfe5ce5ce88a.jpg) --- # How Parents Can Take Their Children to Concerts - URL: https://violy.app/blog/how-parents-can-take-their-children-to-concerts - Markdown: https://violy.app/blog/how-parents-can-take-their-children-to-concerts.md - Published: 2018-01-03 - Categories: Music News - Summary: A guide to choosing concerts for children at different stages of musical development, preparing together, and following concert etiquette. It also explains how sharing live music can bring parents and children closer. ## Why Attend Concerts? ![](https://static.lianmuse.com/image/blog/15c2666817dce113e7f0a8da4869343a.png) Writing in 2018, the author anticipated that, with the arrival of the age of machine intelligence, computers and robots would replace humans in an increasing range of fields. In the world our children would grow up in, the humanities, the arts, and creativity would become increasingly important. The author saw more and more parents placing greater emphasis on arts education, with a clear trend toward developing musical abilities by learning an instrument, hoping to give children a competitive advantage in the future and a richer experience of life. For children learning an instrument, attending concerts can help them become familiar with their instrument earlier and understand the pieces they are practicing. It can also help them set goals and feel more motivated to learn. Still, many parents think of concerts as something sophisticated and intimidating, and do not know where to start. Today, let us talk about how to take children to concerts. ## Choosing a Concert Once you have decided to give your child a taste of a live concert, it helps to know about the pitfalls you might encounter. Not every concert is suitable for children. Taking into account a child's age, ability to understand music, exposure to and knowledge of music, and the complexity of the concert, we can think of their readiness for listening in three stages: beginner, intermediate, and advanced. Parents can use the following suggestions as a guide. ### First Experiences and the Beginner Stage Start mainly with accessible, popular programs, such as music from films and animation or short classical pieces. Examples include: - Music from Hayao Miyazaki's animated films - Secret Garden - The Piano Guys - Saint-Saëns's *The Carnival of the Animals* You can also attend performances by classmates or student orchestras. ![](https://static.lianmuse.com/image/blog/6c6f0b134116252d99d976791a2dcb3f.png) ### The Intermediate Stage Children can begin exploring more demanding repertoire and try listening to larger-scale works, such as: - Beethoven's Symphony No. 5, often nicknamed “Fate” in China - Beethoven's Symphony No. 9, with its “Ode to Joy” finale - Music by Johann Strauss - Waltzes, such as *Voices of Spring* and *The Blue Danube* - Polkas - Tchaikovsky's *Swan Lake* Suite - Vivaldi's *The Four Seasons* - Mozart's Symphony No. 40 - The four great violin concertos: Beethoven in D major, Brahms in D major, Tchaikovsky in D major, and Mendelssohn in E minor - Chamber music for small ensembles: with fewer players, it is easier to hear clearly and understand what each part is doing > Translator's note: The original lists Tchaikovsky's violin concerto as being in D minor. The [Los Angeles Philharmonic's work entry](https://www.laphil.com/works/violin-concerto-in-d-major-op-35) identifies it as the Violin Concerto in D major, Op. 35; the key has been corrected above. Other well-known pieces that are relatively accessible are also good choices. ### The Advanced Stage - Attend more formal concerts, including performances by orchestras counted among the world's ten most famous - Solo recitals by renowned performers - Paganini's 24 Caprices - Music by Rossini - The overture to *William Tell* - The overture to *The Barber of Seville* - Ravel's *Tzigane* ![](https://static.lianmuse.com/image/blog/f703ba108d7f64d2c99f370a65f84be3.png) ## Finding Concert Information One point deserves attention: the original article says that, at very formal concerts, children under 1.2 meters tall are not admitted, describing this as an international convention. If your child is too young, you may need to wait a little longer. > Translator's note: A 1.2-meter height cutoff should not be treated as a universal international rule. Admission requirements depend on the venue and event. For example, the [Los Angeles Philharmonic's published venue policies](https://www.laphil.com/visit/venue-policies), checked for this translation, set a minimum age of six for several concert series at Walt Disney Concert Hall, while specifying different ages for family programs. Check the requirements for the particular concert before buying tickets. In its 2018 Chinese context, the original article reported that China did not have a dedicated website bringing together concert information: parents generally had to use broader ticketing websites or individual theaters' performance listings. It suggested the following channels. General ticketing websites: - Damai - Yongle Ticketing - China Performance Ticketing Network - Piaowang Local orchestras' or theaters' WeChat official accounts, with examples including: - Shenzhen Symphony Orchestra - Shanghai Art Center, as named in the original - Douban local events The original grouped Douban's local-event listings with these other sources of concert information. It suggested that the channels above could cover the vast majority of concerts. Choose a concert suited to your child, buy parent-and-child tickets, and go experience it together. These are recommendations from the original 2018 article for readers in China, rather than a verified list of current international ticketing services. ## Preparing Before the Concert All right: you have chosen a concert that interests your child and successfully bought tickets. Next, it is a good idea to explore the concert's theme in advance. Parents and children can learn about the background to the works, their composers, and the musical styles of the periods in which they were written. This preparation can help children understand what they hear, find it easier to sit through the concert, and deepen their appreciation of the music. You should also go over the rules for attending a concert: - Dress appropriately; avoid tank tops and slippers. Show respect for the performers and for yourself. - If you have a cough or an itchy throat, consider bringing some throat lozenges. - Arrive 10 minutes early. Being late is not a good habit. - With the preparations more or less complete, you can start counting down the days until the concert. ![](https://static.lianmuse.com/image/blog/390d4d05c547ce2e8483f9891bb6ff23.png) ## Off to the Concert! Everything is ready. Take your child to the concert venue. You have chosen a concert with a suitable theme, bought tickets, learned about its background, and become familiar with some basic concert etiquette. Let's go! ![](https://static.lianmuse.com/image/blog/b4897e391e5d0a7951e1938449b52ad4.png) There are also a few things to keep in mind during the concert: - Keep quiet. Do not talk loudly or whisper during the performance. - Do not move around unnecessarily. - Keep your phone on silent. - Do not use flash photography. - Do not applaud between movements. You can applaud when the conductor has fully lowered both hands and turned to acknowledge the audience. - Applaud after all the works have been performed. Enthusiastic applause may lead to an encore. ![](https://static.lianmuse.com/image/blog/bf5c64eac85f52d3d4f628ff34eb5396.png) Of course, if your child becomes bored and struggles to keep listening, try offering reassurance: hold their hand, kiss their forehead, or make eye contact. Encourage them to keep going as a basic sign of respect for the performers. After successfully attending a concert together, you can talk with your child about how each of you felt about the experience. When it comes to taking children to concerts, parents' attitudes are crucial. If you do not understand the music, learn alongside your child. Doing so can bring you closer and help both of you grow. Taking children to concerts can develop a family's musical appreciation and strengthen the bond between parents and children. If you have the opportunity, give it a try: it can be a special experience. ![](https://static.lianmuse.com/image/blog/4a3a7767ccc0712972dd72397cb99f80.png) --- # Note-by-note Practice: Learn the Score More Accurately - URL: https://violy.app/blog/note-by-note-practice-learn-the-score-more-accurately - Markdown: https://violy.app/blog/note-by-note-practice-learn-the-score-more-accurately.md - Published: 2017-12-28 - Categories: Product - Summary: This 2017 article introduces Violy's Note-by-note practice mode and explains how to use it alongside slow practice and Audition assessment to learn a score accurately without becoming overly dependent on the app. ![](https://static.lianmuse.com/image/blog/0c00bee7312ee49e5eb90dd433457c43.png) *Historical context: This article was originally published on December 28, 2017, about the Chinese version of Violy. The release announcement and descriptions of app behavior below refer to that time.* The Violy app has finally introduced Note-by-note practice. This is a little embarrassing: we had just said in an earlier article that we were not considering a Note-by-note feature, and the very next version added it. Why the change? Many parents requested the feature in App Store reviews and in conversations with us on WeChat. The violin teachers on our team also advised us that a Note-by-note mode would be useful. We simply hope parents will use it wisely rather than rely on it too much. Why do we need Note-by-note practice? I believe the idea of practicing slowly is widely accepted! When starting a new piece, you need to spend time practicing slowly. During slow practice, get the rhythms and notes in the score right and learn to play them without mistakes. Only then will you be less likely to make mistakes when you increase the tempo. Otherwise, you may still make many mistakes at a faster tempo, and practicing those mistakes makes them familiar too. Correcting them then takes more time, making practice less efficient. Finding the correct finger position for each note during slow practice is a basic skill, especially for beginners. Beginners are not yet familiar with reading music and sometimes make mistakes—my daughter occasionally misreads a line on the staff. Translating a note on the page into the correct finger position also takes practice. During this process, violin playing can be halting and uneven. Parents who do not understand music need not feel embarrassed; most parents are in the same position. They may not know whether their child has found the right note. If a wrong note becomes familiar through practice, that makes matters worse. This creates a need for a tool such as Note-by-note practice: each time a note is played, the player receives immediate feedback on whether it is correct. If it is wrong, the app does not move forward; only after the correct note is played does it allow the player to move on to the next one. During this process, the app checks in real time whether the note at the current position in the score has been played correctly. If so, it moves to the next note and continues checking. Many Violy users have received very low scores in Audition assessment practice. Some have even been unable to continue a session: too many mistakes mean that their playing matches the score too poorly, making the assessment mode more likely to stop automatically. In our experience at the time, the reason was that they had not practiced slowly enough and were not yet familiar with the score. With so many mistakes, they were already asking a teacher or the app to assess their playing. Naturally, the assessment could not continue. Imagine how a teacher would react to a performance full of mistakes. Do not rely too heavily on Note-by-note practice Note-by-note practice can help you find the right pitches during slow practice. However, you should not rely on it too much. By relying too much, we mean opening the app every time you play, following the cursor on the score one note at a time, and shifting your fingers whenever the pitch is wrong. The problem with doing this over the long term is that practice becomes too mechanical. The student keeps focusing on individual notes without developing enough awareness of phrases or a sense of the music as a whole. There is also too little active thinking. The student relies heavily on the app to judge intonation and spends less time thinking and analyzing independently. Without the app, they may lose confidence in their own playing. Overdependence is the greatest concern with a practice aid such as Note-by-note mode: it can solve one problem while creating another. We therefore recommend keeping its use under control. Once you have become reasonably fluent through Note-by-note practice, switch to Violy's Audition assessment mode. The student can practice and play freely, then receive feedback at the end. Parents can even turn it into a game with their children, rather than reveal the result immediately. ![](https://static.lianmuse.com/image/blog/c497c8876def8e4652264e20f37c1683.png) For a parent of a young instrumentalist, perfect practice means one thing: PASS! A typical situation goes like this: the child receives a new piece, and the teacher briefly explains it during the lesson. Back home, you make a practice plan so that the child can pass the teacher's check at the next lesson, usually a week later. Ideally, the scale should pass on the first attempt, and the child should be able to pass two sections of the étude. Concertos are more complicated, so we will leave those aside here. Take the simplest example: a scale. For the first three days, practice slowly. Divide the scale into three sections and work on one each day. For the next two days, spend more time on the difficult and important parts, connect some of the sections, and gradually increase the tempo. The key is to make sure there are no mistakes. On the final day, connect the whole scale and increase the tempo. Aim to get close to perfect. In step 1, one priority is to analyze the relationships between the finger positions in the scale for yourself. Another is to consider using a tool to make sure that every finger position you find produces the correct note. Of course, if you are advanced enough to judge this by ear, that is even better. The most basic tool for this first step is a tuner. At the time of this article, there was now another option: the Note-by-note practice feature offered by Violy. In step 2 above, you can use Violy's Audition assessment practice feature to identify mistakes promptly. If there are many mistakes, that suggests you did not do enough slow practice in step 1. Go back and continue practicing slowly in sections. At step 3, the author's rule of thumb was that an app assessment score of at least 90, ideally 95, suggested the child should be ready to PASS the teacher's check. If parents cannot tell how their child is doing at each stage of practice, the author describes the next lesson as a matter of luck: more often than not, the child fails the check and comes home to practice again. Violy's goal is to use technology to help parents, young instrumentalists, and enthusiasts receive timely practice feedback and correct mistakes promptly, improving practice efficiency. Violy is a practice aid. Do not become overly dependent on the app—be the one in control of the tool! --- # Why Parents Should Learn to Tune Their Child's Violin - URL: https://violy.app/blog/why-parents-should-learn-to-tune-their-childs-violin - Markdown: https://violy.app/blog/why-parents-should-learn-to-tune-their-childs-violin.md - Published: 2017-11-14 - Categories: Music News - Summary: A parent's perspective on why young violin students need help keeping their instruments in tune between lessons, how parents and children can share the task, and a simple tuner introduced in 2017. > Note: This article does not address parents who already understand music, or children who are old enough to tune their instruments entirely on their own. > Historical context: This article was originally published in China on November 14, 2017. The personal experiences and tuner introduction below reflect that time and context, rather than a statement of current Global product availability or features. How many parents know how to tune their child's violin? Judging by the children in my own child's orchestra and the many parents of young music students I have met through my work, relatively few do. My estimate is that the proportion is no higher than 30%. In this article, I want to explain why parents should learn to tune their child's violin. Why do most parents not help their children tune? There are two main reasons: - The violin teacher tunes the instrument every week. - I do not understand music and do not know how to tune. ### Violins Need Frequent Tuning If you have watched a formal violin performance, you will have seen performers tune their violins before playing or between movements. This can puzzle audiences who are new to the instrument: why not tune backstage instead of onstage? The reason is that temperature differences between backstage and the stage can cause the instrument's tuning to change. Yes, a violin can easily go out of tune. This comes down to how it produces sound. The tension of a string determines its pitch, and the tuning pegs in the pegbox adjust that tension. Many factors can change string tension. Even the vibrations produced while playing can cause small changes. Vibrations from carrying or moving the violin, or an accidental bump while a child is holding it, can cause larger changes. For young beginners, the teacher usually tunes the violin at their weekly lesson. Relying on this alone can lead to the problem described above: the violin may go significantly out of tune. Yet the child practices at home every day throughout the week. In other words, the instrument may be out of tune during daily practice, sometimes by a considerable amount. Teachers may feel reluctant to ask parents to learn to tune, so in practice, everyone simply makes do. But a child's sense of intonation develops gradually through sustained practice. We cannot expect every child to have a natural gift for it. So how can we achieve the goal of developing a sense of intonation if children regularly practice on instruments that are out of tune? To help your young violinist make progress more quickly, please put a little time and care into learning to tune their instrument! ### Children Have Difficulty Tuning on Their Own and Need Help from Parents After children have been learning for about one or two years, roughly around Grades 2 or 3 in the graded music examinations referred to in the original Chinese article, teachers gradually begin asking them to tune their own instruments. Expectations rise particularly when children begin learning to play in higher positions. However, children at this stage have limited strength, so turning the tuning pegs can be difficult for them. The usual approach I recommend is to have a fine tuner fitted to each violin string. If the instrument does not already have them, they can be purchased and fitted. Children can make small adjustments with the fine tuners themselves, which is relatively easy. When the required adjustment is beyond the fine tuner's range, a parent turns the tuning peg to make a larger adjustment. This is how my child, who was ten years old and in fourth grade at the time of writing, and I shared the task. Parents may find turning the pegs unfamiliar at first, because even a tiny turn can change the pitch considerably. It takes some practice, but you will become accustomed to it. One more point: when first learning to tune, it is easy to break a string before you have learned how much to turn the peg. In the original article, I described this as something everyone must go through when learning to tune. I also recommend keeping one or two spare sets of strings on hand. > Translator's correction: Breaking strings is not an inevitable part of learning to tune. Yamaha explains that proper tuning helps prevent overtightening and string breakage, and advises against overtightening strings or forcing pegs. Its guidance also recommends having a teacher or string specialist nearby when changing a string for the first time. See [Yamaha's instrument care guide](https://hub.yamaha.com/music-educators/instruments/strings-instruments/general-care-for-your-stringed-instrument/) and [Yamaha's guide to restringing a violin](https://hub.yamaha.com/strings/s-acoustic/how-to-restring-a-violin/). If a string breaks, once parents have learned to tune, they can also learn to replace it at home rather than making a special trip to ask the teacher to do it. ### Parents Can Use a Simpler, Easier-to-Use Tuner One basic obstacle to parents helping with tuning is that a conventional tuner requires some understanding of music: when it shows which note the string is producing, you need to know which direction to turn the peg. When I first learned to tune, I did not understand this very well either, so I asked my child whether I should tighten or loosen the string. But a child who has only recently begun learning may not know either, leaving the parent to work it out. At the time, we looked into various tuner apps on the market and found most of them too complicated for parents who did not understand music theory. So we decided to make a tuner app that parents could use too: Simply Tuner, known in Chinese as 极简调音器. ![](https://static.lianmuse.com/image/blog/27b53be0f8363c66f3bd2a941069e560.png) The aim was to make helping children tune a more enjoyable experience for parents. You could feel more involved in supporting your child's practice! In my view, whether a child continues practicing depends to a large extent on how much effort and care their parents put into supporting them. Let us keep working at it together! --- # We Developed "Simply Tuner": Parents Can Help with Tuning Too - URL: https://violy.app/blog/we-developed-simply-tuner-parents-can-help-with-tuning-too - Markdown: https://violy.app/blog/we-developed-simply-tuner-parents-can-help-with-tuning-too.md - Published: 2017-11-09 - Categories: Product - Summary: In this 2017 article, the Violy team explains why tuning mattered for starting violin practice in the app and introduces a minimalist tuner designed to help parents tune their children's violins. > Historical context: This article was originally published in China on November 9, 2017. The app features and standalone tuner described below reflect that announcement, rather than current Global availability. After we released Violy, our intelligent violin practice app, many parents were delighted, saying it had solved a major problem for them. But quite a few parents struggled to use it. The main difficulty was that they could not get "Start Practice" to start. This brings us to a distinctive design choice in Violy: rather than using the familiar start button, the app listened for the sound of the violin to signal the start of practice. Specifically, the command to begin was the sound of bowing the four open strings, 1, 2, 3, and 4, in sequence. Why did we design it this way? First, Violy was an app that helped check intonation. If the violin itself was out of tune, evaluating the accuracy of the notes played during practice would lose its meaning. Second, both hands are busy when playing. Having to reach over and tap the screen to begin practice is inconvenient. With that in mind, we designed the app so that neither starting nor ending a practice session required touching the screen. The sound of the violin started the session, and the session ended automatically. Some parents had trouble starting practice because their children were beginners or too young to tune their own violins, while the parents had not learned enough about tuning to help them. As we understood it, teachers generally did not teach parents how to tune a violin. If a child was too young or not yet advanced enough to tune independently, the family had to rely on the teacher to tune the instrument at the weekly lesson. This was the situation for most families we encountered. But we also knew that: - Instruments such as violins can easily go out of tune. - Practicing for a long time on an out-of-tune violin does not help a child gradually develop a sense of intonation. We therefore believed that parents should be able to offer some basic help while their children were not yet able to tune their own instruments. Turning the tuning pegs at the head of a violin can be difficult for children, even in the upper grades of elementary school. One obstacle to learning how to tune was that most parents did not know basic music theory. In our experience, the vast majority of tuner apps required at least some understanding of music theory: once the app identified the current pitch, parents needed to know which way to turn the peg next. To address this practical problem, we developed Simply Tuner (极简调音器, literally "Minimalist Tuner"). We built the feature into Violy and also released it as a standalone app. The app was extremely simple: it had just one screen, with no confusing options popping up. [App screenshot] To use the app, parents simply needed to follow its written prompts and carry out the indicated steps. With this tool, parents could enjoy helping tune their children's violins! --- # 5 Common Problems When Children Practice Instruments That Parents Coaching Them Need to Remind Them About Often - URL: https://violy.app/blog/5-common-problems-when-children-practice-instruments-that-parents-coaching-them-need-to-remind-them-about-often - Markdown: https://violy.app/blog/5-common-problems-when-children-practice-instruments-that-parents-coaching-them-need-to-remind-them-about-often.md - Published: 2017-09-28 - Categories: Music News - Summary: A parent shares five recurring problems in children's instrument practice: skipping score singing, forgetting the metronome, rushing the tempo, failing to practice in sections, and always starting from the beginning. The article explains why patient, focused practice needs regular reminders. As parents who help our children practice, we do not want to watch every moment of the process forever. After all, the purpose of practicing alongside them is to reach the point where we no longer need to: children should gradually develop their own habits. But while helping my child practice, I have noticed several routine requirements that children tend to "forget" whenever we stop paying attention. Parents need to remind them often. ### 1. Not Singing Through the Score Generally, when students begin a new piece, teachers ask them to sing through the score first. Singing the score is a basic step in practicing a piece. How important is it? The following explanation comes from a music teacher: 1. We sing through the score first because doing so helps us learn not only the note names but also the piece's key—the sharps or flats after the treble clef at the beginning of each staff are an important indication of the key—and the accidentals in the score. 2. Always keep the beat as you sing, preferably with a metronome running. This helps us form an accurate, clear mental sense of each note's duration. 3. Once we have identified the notes and beats correctly, we begin combining individual notes into short phrases in the correct rhythm, then sing them until they are familiar. The piece begins to take shape in our minds. 4. Once the phrases are familiar, we can sing them together. The "score" has now become "music" in our minds. With a sense of the music, playing it becomes less complicated because we know exactly what we need to do: which notes and rhythms to play. 5. One very, very important benefit of becoming familiar with singing the score is learning to "prepare ahead." The violin is indeed a very difficult instrument to learn. From the beginner stage, teachers start developing students' ability to "keep the mind ahead of the hands." Put simply, while you are playing one note, your mind must immediately identify the next one and get your fingers ready accurately in advance. This sounds difficult, but if we can sing the score fluently and practice slowly with a little more patience, the teacher says we can develop this ability quickly and benefit from it throughout our lives. Children tend to pick up the violin and start playing immediately rather than make the effort to sing the score. To prevent this, my child's violin teacher sometimes gives very specific instructions: "This week, only sing this passage at home. Do not practice playing it. Record yourself singing it and send me the recording." With such clear requirements, it is harder to take shortcuts. Why are children so reluctant to sing the score first? My understanding is that it is less fun than playing the violin and feels more boring. It also requires real mental effort to analyze the notes and phrases carefully and become familiar with them. As the explanation above says, singing the score turns written notation into "music." That is actually quite demanding. It seems to me that relatively few parents recognize the importance of singing the score. We need to understand it ourselves and remind our children more often. ### 2. Not Using the Metronome The metronome should accompany practice throughout the process. My child's violin teacher asks us to use it at all times. I have also read the following words in *[Music at Your Fingertips](https://www.hachettebookgroup.com/titles/ruth-slenczynska/music-at-your-fingertips/9780306800344/)*, a book by a master musician. Here they are translated from the Chinese quotation in the original article: > The metronome is an essential tool for practice. > I always recommend that musicians use a metronome in their practice throughout their lives. Yet I still often have to remind my child during practice: "Turn on the metronome." I see two reasons why children sometimes practice without it. 1. They really do forget. It has to be switched on before practice, then switched off during interruptions or breaks because it can be noisy. A mechanical metronome also needs to be wound regularly to keep it running. It is genuinely a little inconvenient. 2. Practicing with a metronome adds pressure. Once it is running, the child has to work to stay with the beat. That pressure can be considerable, especially when the child is not yet comfortable playing the piece at the chosen metronome speed. If you identify the second reason as the problem, ask your child to lower the tempo and practice at a speed where keeping up is less of a struggle. **Disclosure of interest — a plan reported in the original September 2017 article for the China-market Violy app:** The author said that Violy would add a built-in metronome in the future to remove the inconvenience of a separate one. As described in that plan, the metronome would start automatically when practice began and stop when practice ended. This was a plan at the time of writing, rather than a statement of current Global app functionality. ### 3. Speeding Up For a new piece, teachers ask students to practice slowly first. The purpose is to learn every note and every detail accurately. As long as it is accurate, there is no such thing as too slow. Playing faster inevitably makes the physical movements more demanding. A faster tempo can mask places that have not been mastered at a slow speed. Each increase in speed places greater demands on the movements and introduces a new level of difficulty. Accuracy at a slow tempo must come before speed. Otherwise, even if a child quickly manages to play "fast," the result will be a mess of mistakes. Worse, the incorrect parts may become familiar through repetition, requiring even more time to correct. As the saying goes, haste makes waste. I suspect this is another sign of wanting quick results. Children tend to hurry toward a faster tempo rather than first work carefully on every note and detail. When they do increase the speed, they also tend to push too hard: they have only just managed a tempo of 40, and their next step is to try 80. Parents often need to "put on the brakes" and remind their children: slower, slower. Increases in tempo should also be gradual, a little at a time. ### 4. Not Practicing in Sections When practicing a piece, we should divide it into several short sections, work on each separately, and then gradually connect them. This is a general approach to all kinds of tasks. I remember that even simple movements such as standing at attention and standing at ease during military training at school were broken into smaller actions for practice. Usually, the teacher helps us mark the sections. Sometimes we need to divide them ourselves according to the child's level and progress with the piece. Most often, a section is about two lines long. But even when the teacher has clearly marked the divisions, children tend to practice several sections together instead of first getting each short section good enough on its own and then joining them. The right approach is to bring each section up to the required standard separately before combining them. We do not necessarily have to work through the sections in order; we should organize practice around the most important and difficult parts. Those sections should come first, rather than rushing to achieve the effect of playing everything together. I think this problem arises because children want quick results and focus more on playing the whole piece than on accuracy. In my view, "not practicing in sections" is the most important of these problems! Yet in conversations with many parents, I have found that they do not give it enough attention. They let their children play a piece from beginning to end, treating a few complete run-throughs each day as a finished practice session. **Disclosure of interest — the author's account of Violy in China in September 2017:** At the time, the author reported that many people were using Violy every day and that practice data could be viewed in the app's administration system. "We noticed a problem: quite a few children were working hard on a piece and practicing it repeatedly for a long time, but without clear improvement. Their scores remained low, around 60 or 70. Looking more closely, we found that each individual practice attempt was very long. This is the key reason for inefficient practice! In my own family, my basic requirement is that my child score above 85 on one section before moving to the next. When several sections are joined together, if the score has not reached 80, we go back to practicing them separately." ### 5. Always Starting from the Beginning Practice has a basic principle: break things down and focus on the important and difficult parts. When my child practices, she always likes to start at the beginning and play through to the section she is currently working on. My explanation is that the opening is the part she knows best, so playing it gives her a sense of achievement. But practice time is always limited. When every attempt begins at the start, the opening sections get rehearsed until they are known inside out, while the later sections receive only a limited share of the time. A particular passage may be the difficult part of the piece. If it is never practiced on its own, it remains the piece's weak spot. The right approach is to treat a piece as several short sections throughout practice. Until each section is reasonably well practiced on its own, do not allow them to be connected and treated as a whole. Work out each short section separately, and spend more time examining the difficult ones. Children generally do not have adults' rational approach. They tend to avoid difficulties and pick the easy, appealing fruit. Parents helping with practice need to remind them of this often: analyze the piece rationally, identify the hardest and least familiar parts, and work on those sections—or even individual measures—first. ---- To sum up, the main reason behind these recurring problems is usually the desire for quick results. Parents themselves often fall into the same trap. That means we need to overcome it together. Keep reminding yourself: haste makes waste! --- # 5 Basic Questions Parents of Young Violin Students Should Understand - URL: https://violy.app/blog/5-basic-questions-parents-of-young-violin-students-should-understand - Markdown: https://violy.app/blog/5-basic-questions-parents-of-young-violin-students-should-understand.md - Published: 2017-09-06 - Categories: Music News - Summary: A parent shares experiences of supporting a young violin student, covering progress, posture, metronome use, tuning, and a slow, step-by-step approach to learning new pieces. *Historical context: This article shares a parent's experiences in China in September 2017. The app's aims and the invitation to connect on WeChat below reflect that time.* My daughter is learning the violin. As a parent, I have encountered several common questions and developed some thoughts while supporting her practice and learning more myself. I have put them together here to share with you. ### 1. Progress Many parents are somewhat impatient for results, expecting their child to pass a particular examination grade within a set period. This is only human: when you pay for lessons, you want to see results. Generally, teachers can only do their best to accommodate those expectations. In practice, however, the decisive factors in progress rest with the parents themselves: how much the child practices and how effective that practice is. Why do I say this rests with the parents rather than the child? Practicing an instrument is demanding and complicated for a child. It is almost impossible to rely entirely on children to manage how far they get on their own. Much depends on how parents support their practice. I will leave that topic for now and discuss it in more depth in another article. Returning to progress, I believe the slower the beginning, the better. A slow start, together with a sufficient amount of practice, can build a solid foundation. Once that foundation is in place, progress can become faster and faster. There is a saying: start fast and slow down later; start slowly and speed up later. To give a concrete example, my child practices every day, and usually spends one month on a single etude. ### 2. Posture The violin is a relatively difficult instrument to learn, and posture can be particularly challenging in the early stages. There is a joke that some people pass Grade 10 in a graded music examination and still sound as though they are sawing wood. Put another way, poor posture can lead to an unpleasant sound. A teacher offered this explanation: teachers may differ slightly in their requirements for posture, but they broadly agree on the essentials. Establishing correct posture early is very important. Bad habits in holding the bow or supporting the violin can create serious problems later when learning techniques such as shifting to higher positions and spiccato, a bouncing bow stroke. Posture is therefore something parents need to learn about alongside their child so they can help correct it during practice. ### 3. The Metronome Some teachers place considerable emphasis on using a metronome, while others give it less attention. Even when a teacher emphasizes it, children practicing at home are often reluctant to turn the metronome on, and sometimes simply forget. Their reluctance is easy to understand: the metronome constrains their rhythm, making practice feel more tense. My child's teacher takes the metronome very seriously. I often remind my daughter to turn it on when I support her practice, though I sometimes forget too. While reading a specialist music book, I came across the following passage. It convinced me that a metronome is a necessity rather than an optional extra. > A metronome is an essential tool for practice. > I always recommend that musicians use a metronome in their practice throughout their lives. > — Passage quoted in the original article from [*Music at Your Fingertips*](https://www.hachettebookgroup.com/titles/ruth-slenczynska/music-at-your-fingertips/9780306800344/?lens=hachette-books), translated here from the Chinese edition. ### 4. Tuning Many parents do not know how to tune a violin, although it is fairly straightforward once you learn how. By the time of writing, tuning had become very simple: as nonprofessionals, we do not need to tune by ear. We can simply check each string against a tuner. Smartphones are widely used, and there are plenty of simple, easy-to-use tuner apps. Why should parents learn to tune? In my experience, a violin can easily go out of tune because of the nature of the instrument. Its tuning may even change after a single piece has been played. At the beginning, violin teachers generally tune a child's instrument at each lesson. In the approach I describe here, intonation is not the main focus at this early stage, so being slightly out of tune during practice at home is not treated as a major issue. The teacher therefore does not necessarily ask the parents to take on the task of tuning. In reality, unexpected situations arise. An extended visit to one's hometown, for example, or an accidental drop of the violin can cause a substantial change in its tuning. Parents therefore need to learn how to tune. Here is a small example: a parent I knew in our residential community had a child in fourth grade who had been learning for many years. When a string broke, the parent came to ask me to help replace it. Changing a string and tuning are related tasks. Once parents have learned to tune, they can ask the teacher to fit a fine tuner to each string. For larger adjustments, the parent can turn the tuning pegs at the top of the violin, which the child cannot yet turn. For small adjustments, the child can use the fine tuners. This provides a gradual transition toward the child tuning independently. It is important for children to learn to tune their own instruments, because the process also helps them pay attention to intonation. Later, they can even practice tuning by ear without looking at a tuner. ### 5. Practice Steps When learning a new piece, the journey from unfamiliarity to familiarity also involves choosing between starting slowly and speeding up later, or starting fast and slowing down later. Children tend to favor starting fast. They lack patience, and quickly playing through a piece "fluently" is always more encouraging. In fact, starting a new piece slowly is the way to get better results with less effort. What does "slowly" mean here? First, sing through the notation rather than rushing to pick up the violin. Once you are familiar with the music through singing, pick up the instrument. Begin by playing as slowly as possible, making sure every note is accurate and the rhythm is as correct as possible. Once you can play it comfortably at a slow tempo without mistakes, gradually move to a slightly faster tempo. The key is to establish accuracy at a slow tempo first. If you speed up while mistakes remain, you become accustomed to practicing those mistakes, making them harder to correct later. That means more effort for less progress. Another very important part of slow practice is working in sections. Divide the whole piece into several sections and work through them one at a time. Do not rush to play the entire piece from beginning to end. Master each section, moving from slow to fast. This process could be made more structured and specific. I will discuss it in detail in another article. Helping parents assess how effective their child's practice is was something the Violy app aimed to help with at the time of this article. That is all for now. In the original 2017 article, interested parents were invited to add the WeChat account LittleQvQ to discuss learning together. --- # The Right Way to Use Violy - URL: https://violy.app/blog/the-right-way-to-use-violy - Markdown: https://violy.app/blog/the-right-way-to-use-violy.md - Published: 2017-08-14 - Categories: Product - Summary: This 2017 article explains how Violy can help identify pitch and rhythm errors during practice, and where teacher guidance, parental involvement and the student's own effort remain essential. It describes three stages of learning a new piece and recommends using Violy mainly when working toward fluent playing. *Historical context: This article's source timestamp is August 14, 2017 (UTC). Its descriptions of Violy's capabilities and recommendations reflect the Chinese app at that time.* We hope Violy will become a useful tool for parents who want to help their children practice more efficiently. But its benefits should not be overestimated. Every app has limits to what it can do. First, here is what Violy cannot do for you: 1. Help you learn and practice an instrument without a teacher's guidance. 2. Have your child practice with the app every day so that you, as a parent, are finally "free of the struggle." 3. Serve as something you rely on completely throughout the entire practice process. Violy is simply a tool. Even a good tool can help you become more efficient only when you use it properly. Learning an instrument is a very complex process, and learning the violin is particularly demanding. We should never expect any tool or teacher to solve every problem. Ultimately, progress depends on the learner's own initiative: actively thinking, practicing, correcting mistakes and improving. Here is where Violy can help: identifying problems with intonation and rhythm. That was the scope of its capabilities at the time of this article. How should you make use of this ability? When you first encounter a new piece, after your teacher has explained it and assigned it for practice at home, you can divide the practice process into three stages: A. Become familiar with the score. B. Work toward fluent playing. C. Develop musical expression. Violy's main role should be in Stage B. Stage A: It is better not to use Violy at this stage. If you do use it, use it only as a digital score rather than following its assessment feedback. The right approach is to begin without your instrument: sing the notes from the score, section by section. Then pick up your instrument and become familiar with each section by playing it very slowly. Stage B: Once you can play the individual sections fairly fluently, start using Violy, still practicing slowly and section by section. The purpose of using Violy is to make sure there are no rhythm or pitch errors. Continue Stage B until you can smoothly join several sections together and gradually increase the tempo. Stage C: Once you have brought the whole piece up to tempo and used Violy in Stage B to check that there are no rhythm or pitch errors, begin focusing on musical expression and making the piece sound good. At this point, you need to realize all the expressive markings in the score, such as crescendos, diminuendos and staccato bowing. You can practice without Violy at this stage if you have done Stage B thoroughly enough that pitch and rhythm errors are no longer an issue. There is a basic principle of correcting mistakes that applies across many fields: the earlier you correct a mistake, the less it costs you. The same principle applies to instrument practice. The mistakes beginners most often make are not giving Stage A enough attention, not going slowly enough and not making sure they understand every note correctly. If you do Stage A particularly well, checking each note against a tuner to make sure you get it right from the very first encounter, Stages B and C will be relatively easier. With Violy, detecting and correcting intonation and rhythm problems promptly becomes somewhat easier. Violy's role is to help you spot basic mistakes promptly and correct them promptly! At the time of this article, this was the one task it could do well. Because Violy has this basic capability, it also makes it easier than before for parents to set violin practice goals for their children. We will explore this in future articles. --- # The Origins of Violy - URL: https://violy.app/blog/the-origins-of-violy - Markdown: https://violy.app/blog/the-origins-of-violy.md - Published: 2017-03-06 - Categories: Product - Summary: Javen Fang recalls how helping his daughter practice the violin led him to imagine an app that could listen to her playing, identify pitch problems, and record and assess her practice. I never knew much about music, and an instrument as refined as the violin felt especially far removed from my life. But when my daughter's elementary school formed a symphony orchestra and she switched from piano to violin, I found myself drawn into the world of the violin whether I liked it or not. As it happened, my daughter was quite interested in the violin. Her teacher also thought she stood out among the students and took her progress very seriously. As her parent, I had no choice but to take responsibility and do my best to support her. Yet that very sense of responsibility left me thoroughly frustrated. After all, I did not know much about music, and I knew even less about the violin. I could read a little staff notation and had dabbled in guitar at university, when it was fashionable. While helping her practice, I ran into three very basic problems: > Translator's note: The source says “two” problems but lists three. The count has been corrected to match the list. 1. Daily practice was quite an ordeal for a child. We had agreed on one hour of practice every day, but she would find all sorts of ways to drag it out. The time she actually spent playing might have been less than 30 minutes. 2. She had one lesson with her teacher each weekend. A common pattern was that the teacher would point out three wrong notes in a piece one week, labeled A, B, and C here, including notes that should have been sharpened but were not. At the following week's lesson, there would still be three wrong notes, labeled B, C, and D. She had practiced the mistakes until they became ingrained, making them difficult to correct. 3. During that weekly weekend lesson, the teacher had to spend a substantial amount of time, sometimes even half the lesson, correcting wrong notes or poor intonation. As a tech guy, my instinct was to solve problems when I encountered them. I could not tell by ear whether a pitch was wrong or a note was in tune. But could technology help? If an app could understand the sound of her playing, wouldn't that solve all my problems at once? Yes—not just intonation, but also making the practice process visible and automatically recording and assessing it. When I searched on Google, I realized how far short my own technical knowledge fell. My searches at the time gave me the impression that computer music was a specialized and relatively small field, with few teams around the world working in it. And that was where the next, even more exciting part of the story began. # Legal (6) --- # Violy Account and Data Deletion Notice - URL: https://violy.app/account-and-data-deletion-notice - Markdown: https://violy.app/account-and-data-deletion-notice.md - Summary: Before you cancel your account, please fully read, understand and agree to the following: Your act o # Violy Account and Data Deletion Notice Before you cancel your account, please fully read, understand and agree to the following: Your act of canceling your "Violy" account will cause us to terminate the provision of this service to you, and will also bring a lot of inconvenience to your subsequent use. After successful cancellation, we will delete your personal information so that it cannot be retrieved or accessed, and anonymize your music scores, uploaded videos, comments and other information. - If you still insist on canceling your account, your account must meet the following conditions: - The account has no assets in the "Violy" system; - There are no outstanding orders in the account; - The account is free of any disputes, including complaints and reports or being reported by complaints; - The account is an account in normal use and there is no record of any account restrictions; - During the cancellation of the "Violy" account, if your "Violy" account is involved in disputes, including but not limited to complaints, reports, lawsuits, arbitrations, investigations by the competent state authorities, etc., "Violy" has the right to terminate the cancellation of this "Violy" account without obtaining your consent. - Please be sure to unbind other related accounts before submitting the cancellation application. For details, please contact our customer service. - Once the "Violy" account is cancelled, it cannot be recovered. Please back up all information and data related to the account before operation. - If you cancel the "Violy" account, you will no longer be able to use this same "Violy" account, and you will not be able to retrieve any content or information in your "Violy" account or related to the account (even if you use the same mobile phone number again and use "Violy"), including but not limited to: - You will not be able to log in and use the "Violy" account; - Personal data and historical information (including but not limited to user name, nickname, avatar, practice records, favorite albums, private scores, group information, comments and replies, etc.) of the "Violy" account will not be retrievable; - All the records of the "Violy" website and App that you log in with your "Violy" account will not be retrievable. 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You understand and agree that "Violy" cannot assist you to restore the aforementioned services. - The cancellation of the "Violy" account does not mean that the account behavior and related responsibilities before the cancellation of the "Violy" account are exempted or mitigated. --- # Violy Auto-Renewal Terms - URL: https://violy.app/auto-renewal-terms - Markdown: https://violy.app/auto-renewal-terms.md - Summary: ## Release Date: November 15, 2022 ## Version Number: V1.0 ## Important Notice You are welcome to us # Violy Auto-Renewal Terms ## Release Date: November 15, 2022 ## Version Number: V1.0 ## Important Notice You are welcome to use the automatic renewal service (hereinafter referred to as "automatic renewal service" or "this service") provided by Shenzhen Mango Future Technology Co., Ltd. (hereinafter referred to as "Violy"). In order to protect the rights and interests of users (hereinafter referred to as "you"), please read all contents of this service agreement (hereinafter referred to as "this Agreement") carefully before using this service. Unless you have read and agreed to all the contents of this Agreement, you have no right to use this service. If you purchase or use this service, it means that you have reached an agreement with Violy and voluntarily accept all the contents of this Agreement. If you are under the age of 18, please use this service accompanied by or with the consent of the legal guardian; minors who exercise and perform the rights and obligations under this Agreement are deemed to have obtained the approval of the legal guardian. This Agreement is legally binding on you and your legal guardian. ## Article 1 Service Description 1.1 This service is launched based on your demand for automatic renewal to avoid service interruption due to your failure to renew in time. 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If such a situation occurs, Violy will notify you in the form of an announcement. 3.4 If you want to cancel the automatic renewal, you can cancel the automatic renewal 24 hours before the end of the next subscription period by the following methods: - Apple ID purchases - iOS 12 and higher systems: Open the iOS device "App Store" → click the Apple account avatar in the upper right corner → enter "Account" → click "Subscriptions" → select Violy and cancel the subscription; - For systems lower than iOS 12: open "Settings" → enter "iTunes Store and App Store" → click "Apple ID", select "View Apple ID", enter the "Account Settings" page, click "Subscriptions", select Violy and cancel the subscription. 3.5 After the successful cancellation of this service, it will not affect the paid service that you have successfully been deducted for and that has taken effect, and the paid service that has taken effect will not be automatically renewed after its expiration. Before you choose to terminate this service, the instruction that you have entrusted to Violy to automatically renew the payment is still valid, and Violy will not refund the fee deducted based on the instruction, and you will bear the relevant responsibilities. ## Article 4 Other Agreements 4.1 Law and Dispute Resolution: This Agreement shall be governed by the laws of the People's Republic of China, and the application of all conflict of law provisions shall be excluded. In the event of a dispute, you and Violy agree to submit the dispute to the China International Economic and Trade Arbitration Commission for arbitration in accordance with its currently effective arbitration rules, and the trial will be conducted by three arbitrators. The arbitration award is final and binding on both parties. Arbitration costs shall be borne by the losing party. 4.2 If Violy does not exercise, does not exercise in time, or does not fully exercise the rights enjoyed under this Agreement or in accordance with the law, it shall not be deemed to have waived the right, nor will it affect Violy's future exercise of such rights. 4.3 If the user has any questions about this agreement, please email us at . Shenzhen Mango Future Technology Co., Ltd. --- # Violy Copyright Notice - URL: https://violy.app/copyright-notice - Markdown: https://violy.app/copyright-notice.md - Summary: ## Intellectual Property 1. Violy App is an app for the production, acquisition, sharing, and dissem # Violy Copyright Notice ## Intellectual Property 1. Violy App is an app for the production, acquisition, sharing, and dissemination of music content. We respect and encourage user-created content, recognize the importance of intellectual property protection to the survival and development of Violy App, and commit to protecting intellectual property as one of the basic principles of Violy App's operation. 2. Violy is not a professional intellectual property institution. It does not have the ability to review or judge whether a work is infringing, nor the ability to review the legality, authenticity, or quality of content published by users. Each user shall independently and fully bear legal responsibility for their own uploads. Any disputes, controversies, or litigation arising from your personal conduct are unrelated to Violy. 3. The copyright of content published by users on Violy App belongs to the users themselves. Users may authorize third parties to use such content in any way without the consent of Violy App. 4. The logos, page designs, layouts, text, images, graphics, and other elements contained in the network services provided by Violy App are protected by copyright, trademark, and other laws. Without the consent of the relevant right holders (including Violy and other original right holders), none of the above content may be directly or indirectly published or used on platforms other than Violy App, adapted or redistributed for the purpose of publication or use, or used for any other commercial purpose. 5. To promote the sharing and dissemination of music content, users grant Violy a free, irrevocable, non-exclusive license to use all content they produce and publish on the Violy website. Violy has the right to use such content in all forms of products and services of Violy App or its partners, including but not limited to websites, published applications, and other Internet products. 6. If a third party, for non-commercial purposes, reposts content published by users on Violy to places other than the Violy website and mobile App, it shall indicate the original author's name (or the account name used by the original author on Violy) in a prominent position at the beginning of the work, provide the original link, and indicate "Published on Violy", and shall not modify or adapt the work. If the third party needs to modify the work or use it for commercial purposes, it shall contact the user to obtain separate authorization and use the content in the manner specified by the user. 7. For content uploaded or published on Violy App, users shall guarantee that they are the copyright owner or have obtained legal authorization, and that the content does not infringe the legitimate rights and interests of any third party. If a third party raises an objection concerning copyright, Violy has the right to delete the relevant content according to the actual situation and to pursue the user's legal responsibility. If losses are caused to Violy App or any third party, the user shall be liable for full compensation. 8. If any third party infringes the rights of Violy users, the user agrees to authorize Violy, in its own name or through its designated agent, on behalf of Violy itself or the user, to issue warnings or complaints against such third party, initiate administrative enforcement, litigation, or appeals, or negotiate settlements, and the user agrees to participate in joint rights protection when Violy deems it necessary. 9. Violy has the right but not the obligation to review content published by users, and has the right to handle infringing information based on relevant evidence in accordance with laws and regulations such as the Civil Code of the People's Republic of China, the Copyright Law of the People's Republic of China, and the Regulations on the Protection of the Right to Network Dissemination of Information. 10. Violy holds full intellectual property rights in Violy's self-produced content and other exclusive content obtained through authorization. Without Violy's permission, no organization or individual may repost or disseminate such content, provide viewing services for it, or otherwise infringe Violy's intellectual property rights. Otherwise, Violy will pursue the legal responsibility of the infringer. 11. The intellectual property rights enjoyed by Violy shall not be transferred as a result of any use by users. 12. No one may obtain the source code of Violy through reverse engineering, decompilation, disassembly, or other similar acts. Otherwise, the user shall be responsible for all legal consequences arising therefrom, and Violy will pursue the legal responsibility of the breaching party in accordance with the law. ## Infringement Report Violy App attaches great importance to the protection of online copyright, other intellectual property rights, and users' rights and interests. If any individual or organization finds content on Violy App that infringes their legitimate rights and interests, please contact Violy App (email: ). To ensure that the issue can be handled in a timely and effective manner, please be sure to submit true, valid, complete, and clear materials; otherwise the report will not be accepted. Please use the following format (including the serial number of each item): 1. Proof that the right holder owns the trademark rights, copyright, and/or other rights that may be exercised in accordance with the law over the allegedly infringing content. If the reporter is not the right holder, the reporter shall provide a written authorization certificate for reporting on behalf of the enterprise. 2. A full and clear description of the content that infringes the right holder's legitimate rights and interests, the specific page address of the allegedly infringing content on Violy, and an indication of which parts of the allegedly infringing content infringe the legitimate rights and interests of the right holder listed above. 3. The right holder's specific contact information, including name, a copy of the ID card or passport (for natural persons) or a copy of the organization registration certificate (for organizations), mailing address, telephone number, fax, and email. 4. The following statement on the authenticity of the report, included in the infringement report: - I am the legal right holder of the reported content; - The content I report, published on Violy App, infringes my corresponding legitimate rights and interests; - If the content of this infringement report is not entirely true, I will bear all legal responsibilities arising therefrom. After receiving the relevant materials and having them verified by the relevant institutions, Violy App staff will complete the handling and give a reply within 10 working days. During the handling period, no inquiry services by telephone, email, or other means will be provided. If content that Violy has already deleted or handled can still be found through search engines such as Baidu or Google, this is because such search engines maintain their own caches. Violy has neither the right nor the ability to handle such issues, and related applications will not be accepted. Legal disputes arising from users' commercial activities on Violy shall be handled by the parties to the transaction themselves and are unrelated to Violy. ## Disclaimer 1. Violy App cannot guarantee the correctness of content published by users. 2. Content published by users on Violy App only represents their personal positions and views, and does not represent the position or views of Violy. As the publisher of the content, the user is responsible for the published content, and shall bear all legal and joint liabilities for any disputes arising from the published content. Violy App does not assume any legal or joint liability. 3. Due to the limitations of technology itself, Violy does not guarantee that its network services will meet users' requirements, nor that the network services will be uninterrupted, and makes no guarantee as to the timeliness, security, or accuracy of the network services. 4. Violy App assumes no responsibility for network service interruptions or other defects caused by force majeure or causes beyond Violy's control, but will do its best to reduce the resulting losses and impact on users. 5. Since the client and other software provided by Violy can be downloaded and disseminated through the Internet, for Violy service-related software downloaded from sites other than Violy's designated official sites or obtained through channels not designated by Violy, Violy cannot guarantee whether it is infected with computer viruses or hides disguised Trojan programs or other hacking software, and assumes no legal responsibility for any direct or indirect damages suffered by users as a result. 6. Users shall properly safeguard their accounts and passwords, strengthen password security, and guard against account leakage or theft. Violy assumes no liability for compensation for any losses caused by the leakage or theft of user accounts. Where accounts or in-account assets are lost or reduced due to causes not attributable to Violy, such as communication line failures of telecom operators, network or computer failures, system instability, or force majeure (such as server downtime), Violy assumes no liability for compensation. 7. Users understand and agree that they choose to download and use Violy services at their own discretion and at their own risk, including but not limited to their conduct during the use of Violy services and all consequences arising from the use of Violy services. Users shall bear full responsibility for any damage to mobile phones or computer systems or loss of data caused by downloading or using Violy services. --- # Violy Membership Terms - URL: https://violy.app/membership-terms - Markdown: https://violy.app/membership-terms.md - Summary: ## Important Notice In order to use the Violy VIP service, please carefully read, understand and abi # Violy Membership Terms ## Important Notice In order to use the Violy VIP service, please carefully read, understand and abide by the "Violy VIP Service Agreement" (hereinafter referred to as "this Agreement"). This Agreement is jointly concluded by you and Shenzhen Mango Future Technology Co., Ltd. (hereinafter referred to as "Violy" or "Violy Company"), and has the effect of a contract. - The clauses in the Agreement that have a major interest in your rights and interests, including but not limited to clauses related to exemption or limitation of liability, clauses restricting user rights, clauses agreeing on dispute resolution methods and jurisdiction, etc., may be bolded, color marked or highlighted by other reasonable means to prompt your attention and ask you to focus on reading. - If you do not agree with any or all of the terms of this Agreement, please do not activate or use this service. - If you choose this service, you can proceed to the next step or use the service by accepting it (including but not limited to clicking to agree, activating or renewing fees, conducting transactions related to VIP services, accepting gifts, participating in activities, or performing any other form of confirmation operation, collectively referred to as: the form of accepting the service), to indicate that you have read, understood and agreed to sign this Agreement, and voluntarily accept and abide by all the stipulations of this Agreement. - If you are under the age of 18, please read this Agreement accompanied by a legal guardian, and pay special attention to the terms of use for minors. - If you are the legal guardian of a minor, we hope you can reasonably set the usage time of the minor and cultivate healthy usage habits. ## 1. Definition and description of the Agreement 1.1 **Violy VIP and account** If you need to use and enjoy the VIP service, you need to authorize and log in with the mobile phone account or social account that you have the right to use. You are a Violy VIP within the validity period of the membership period, and are also referred to as "you", "user" or "member" under this Agreement. 1.2 The content of this Agreement also includes the relevant agreements, platform rules, membership rules and other content about the service that have been released by the Company and may be released or updated from time to time. Once the above content is officially released, it will be an integral part of this Agreement and will also be effective for both parties. Due to the wide range of services we provide to you, some additional terms or product requirements (including but not limited to age requirements, etc.) will be added and applied. Relevant terms will be provided together with the provision of services, and your use of these services will make the relevant terms a part of this Agreement. 1.3 Violy VIP service, that is, the membership rights and special services that a Violy VIP can enjoy in the Violy App, and may also enjoy some of the special or time-limited benefits of Violy, including but not limited to evaluation, follow-up, piano accompaniment, custom segmented practice, etc. This Agreement is also referred to as the "VIP Service" or the "Service". 1.4 Membership rules, that is, the user rules, activity rules, usage rules, announcements, tips, notices, online FAQs, etc. for the VIP users of Violy published and revised from time to time by the Violy service provider. 1.5 The service provider refers to Shenzhen Mango Future Technology Co., Ltd., which provides you with the "Violy" App service, referred to as "Violy" or "Violy Company" in this Agreement. 1.6 Member data refers to various data recorded by the server during your use of Violy, including but not limited to login records, browsing records, practice records, download cache records, uploaded files (including but not limited to sheet music, audio, video, etc.) records, operation behavior logs, purchase logs, recharge records, messages, comments, membership period and other data. 1.7 Intellectual Property Rights. Shenzhen Mango Future Technology Co., Ltd. is the intellectual property rights holder of the Violy App. All copyrights, trademarks, patents, trade secrets and other intellectual property rights and other legitimate rights and interests of Violy, as well as all the information content (including text, pictures, music scores, audio, video, etc.) related to Violy, are protected by the laws and regulations of the People's Republic of China and the corresponding international treaties concluded by the People's Republic of China. Violy enjoys the above intellectual property rights and legitimate rights and interests, except for the rights that the relevant rights holders should enjoy in accordance with the law. Without the prior written consent of Violy, you may not use Violy in any way (including Violy as a whole and all the contents, components or elements involved in Violy) for commercial use. Violy may involve intellectual property rights of third parties, and if such third parties have requirements for your use of such intellectual property rights in Violy based on this Agreement, Violy will notify you of such requirements in an appropriate manner, and you shall comply with them as well. 1.8 Modifications to the Agreement. Violy has the right to modify this Agreement (including the components of this Agreement) (modifications include changes, additions, and reductions of the corresponding terms). Once this Agreement is modified, Violy will prompt or publicize it on the relevant page; please be sure to read it carefully. If you do not agree to the modification of this Agreement, you can stop using the service. If you choose to continue using the service, you can take the form of accepting the service for the next step or continue using the service to indicate that you have accepted all the modifications to this Agreement. If you have any questions, you can consult our customer service according to Article 8 of this Agreement. The updated version of this Agreement shall become effective on the date of publication of the updated version. 1.9 In the process of using the Violy VIP service, you shall abide by, including but not limited to, the Copyright Law of the People's Republic of China, the Cybersecurity Law of the People's Republic of China, the Regulations of the People's Republic of China on the Security Protection of Computer Information Systems, the Computer Software Protection Regulations, the Regulations on the Protection of Information Network Dissemination Right and other laws and regulations related to computer and Internet regulations; you shall abide by public order, respect social morality, shall not endanger network security, and shall not use the network to endanger national security, honor and interests, incite subversion of state power, overthrow of the socialist system, incite secession, undermine national unity, advocate terrorism or extremism, advocate ethnic hatred or ethnic discrimination, spread violent, obscene and pornographic information, fabricate and spread false information to disrupt economic and social order, or engage in activities that infringe on the reputation, privacy, intellectual property and other legitimate rights and interests of others. In any case, once Violy reasonably believes that the user has engaged in the above behavior, it can terminate the service to the user at any time without prior notice. 1.10 If you see other paid services other than the VIP service on Violy, and want to know about the related services, please read the rules or service agreements on the relevant service pages carefully. ## 2. Account management and use 2.1 Due to the necessity of providing you with services, you need to fill in some necessary information in the process of applying for the VIP service. Please keep the information true and update it in time so that Violy can provide you with help, or serve you better. If your information is incomplete or inaccurate, the use of the services may not be available or may be limited. 2.2 You should ensure the authenticity of the account registration information. If your personal information is untrue and the consequences are unfavorable to you, Violy Company will not be responsible for any consequences. If you use another user's mobile phone number or social account to activate VIP, Violy Company has the right to stop the service function of the account and cancel the VIP qualification of the account without any compensation or refund. 2.3 Violy Company especially reminds you that you should keep your account and password properly. When you are finished using it, you should exit safely. You may suffer account theft, password theft, and use/transfer of virtual property due to your poor custody, and you are solely responsible for it. 2.4 Violy Company and users are committed to the protection of personal information, and protecting users' personal information is a basic principle of Violy. Without your consent, Violy will not disclose your personal information to any other company, organization or individual, except as otherwise provided by laws and regulations and this Agreement. 2.5 In the event of any of the following circumstances, the Company has the right to disclose or process the user's information: - (1) Disclosure with the consent of the user; - (2) Necessary for the conclusion and performance of this Agreement; - (3) Necessary to respond to social emergencies, or to protect the life, health and property safety of natural persons in emergencies; - (4) Conduct news reports, public opinion supervision and other acts for the public interest, and process personal information within a reasonable range; - (5) To deal with personal information disclosed by individuals themselves or other legally disclosed personal information within a reasonable range; - (6) According to the relevant provisions of the law, or the requirements of administrative or judicial organs, to disclose to others or administrative or judicial organs; - (7) Other circumstances that Violy Company deems appropriate to disclose for the purpose of user service; - (8) Other circumstances that may be disclosed by the Company according to law or contract. 2.6 You understand and agree that, in order to provide better services to users, Violy Company can: - (1) Use the information you submit; the results of the use may be inaccurate, so please make an independent judgment when using related services; - (2) Use information such as your nickname, avatar and relevant operation information in the VIP service, and show it to yourself and other users through the services provided in the Violy service. ## 3. Acquisition and Termination of VIP Services 3.1 You should obtain VIP services through the official designated channels that have been and will be added in the future. When you use a specific method to activate the VIP service, you must carefully check the account number, term, price, membership rights and other specific information, and confirm that you agree to the relevant agreement and use method. After the activation is completed, no transfer or refund is allowed. 3.2 You shall not open the Service for yourself or others in any of the following ways: - (1) Open this service for yourself or others for the purpose of non-personal use such as profit and business; - (2) Open this service for yourself or others through any program or software such as robot software, spider software, crawler software, and screen refresh software; - (3) Open the service for yourself or others by any improper means or in a way that violates the principle of good faith; - (4) Open this service for oneself or others by means other than those designated by Violy; - (5) Open this service for yourself or others by infringing on the legal rights and interests of Violy or others; - (6) Open this service for yourself or others by other means that violate relevant laws, administrative regulations, national policies, public order and good customs. 3.3 The term of this service is subject to the term displayed after you choose and successfully activate it. You can also log in to the Violy member center to inquire about the term of various services. Before the VIP service expires, Violy Company may prompt you to renew the fee. If you do not renew the VIP service on time before the expiration of the VIP service, Violy will stop providing you with the VIP service. 3.4 You understand, know and agree that during the service period of this service, due to non-intentional behavior of the Company, including the resolution of Violy malfunctions, server maintenance, adjustment, upgrade, and third-party infringement handling, etc., which may affect your normal use, you agree to exempt Violy from responsibility for the adverse consequences arising from the above situation, and do not require additional compensation from Violy. 3.5 After becoming a VIP, if you apply to cancel or terminate the VIP service under the circumstance that it is not the fault of the Company, you will not have the right to ask the Company to refund the membership service fee you have paid. After the VIP qualification is cancelled/terminated, you can no longer participate in the VIP privileged activities, and can no longer enjoy the various VIP privileged services and value-added services provided by Violy Company. 3.6 Both parties agree that in the event of any of the following circumstances, the Company has the right to interrupt or terminate one or more services provided to you at any time according to the actual situation and without notice, and terminate your VIP qualification: - (1) According to laws, regulations and policies, you should submit real information, but the personal information you provide is untrue, or inconsistent with the information at the time of registration and fails to provide reasonable proof; - (2) You violate relevant laws, regulations, policies or the stipulations of this Agreement and relevant rules and regulations; - (3) In accordance with the provisions of the law or the requirements of the competent authorities; - (4) For safety reasons or other necessary circumstances. 3.7 If you obtain VIP services by illegal means or improper means, or through channels other than those designated by Violy, or maliciously refund the fees by exploiting loopholes in different channels, Violy has the right to terminate your VIP service immediately without any need to give any compensation, and without the need to refund the activation fee. Unofficial channels include but are not limited to e-commerce platform charging, private charging or other unauthorized channels. All kinds of losses caused by your use of unofficial channels shall be resolved by you and the unofficial channels, and Violy Company is not responsible. ## 4. Special agreement for VIP service 4.1 **Differences in equipment and systems** After you activate this service through the designated channel of Violy, the specific services you can actually use may differ due to differences in the software version, equipment, operating system, etc. you use or other third-party reasons. You understand and agree to waive the relevant responsibilities of Violy for any inconvenience this may bring. 4.2 **Advertising Service** You understand and agree that in the process of using Violy, you may see commercial advertisements or other types of commercial information (including but not limited to screen-opening advertisements, banner advertisements, button advertisements, floating advertisements, pop-up advertisements, pause advertisements, and emerging advertisement forms that may appear in the future according to Violy's business arrangement). Violy will minimize the impact of the above advertising services on your experience. You understand and agree that Violy can send you practice reports, public welfare courses, member benefits, preferential activities and other information through mobile phone text messages, App notifications, announcements or other methods. 4.3 **About Charges** - (1) This service is a fee-based service provided by Violy. You must pay the corresponding fee according to the charging standard of this service before you can use this service. In addition, you may also enjoy and use this service by participating in activities and other official methods recognized by Violy. - (2) Violy may modify and change the relevant rights and interests, charging standards, methods, etc. of this service according to the overall planning of the service. The aforementioned modifications and changes will be displayed on the corresponding service page. When you take the form of accepting the service for the next step or continue to use the service, it means that you have accepted all the modifications to this Agreement. According to the actual situation, Violy will give different discounts to VIPs who have recharged and renewed in different stages or activities. The specific preferential policies are subject to the information published on the relevant service pages. 4.4 **Usage Guidelines** - (1) Do not use this service to publish, transmit, disseminate, or store content that endangers national security and unity, undermines social stability, violates public order and good customs, insults, slanders, is obscene or violent, or any content that violates national laws and regulations; - (2) Do not use this service to infringe any legal rights such as intellectual property rights, trade secrets, property rights, reputation rights, etc. of Violy or any third party; - (3) This service is a fee-based service; for infringing or destroying the act of collecting fees by any means, Violy holds the right to hold the perpetrator responsible and claim compensation; - (4) Do not use this service to conduct any acts that endanger or are suspected of endangering minors; - (5) Do not use this service to maliciously fabricate facts, conceal the truth to mislead or deceive others, or publish or disseminate advertising information and junk information; - (6) Do not use this service to engage in any behavior that violates laws, regulations, policies, public order and good customs, social morality, etc. 4.5 You fully understand and agree that you must be responsible for all behaviors under your login account, including but not limited to any content you publish and any consequences arising therefrom. You should make your own judgment on the content of this service, and bear all risks arising from the use of the content, including the risk arising from reliance on the correctness, completeness or usefulness of the content. 4.6 You understand and agree that the services provided to you by the Company may include related services provided by the Company under the authorization of the legal right holder. Therefore, due to the time, scope and restrictions of the authorization of the Company by the right holder, Violy Company will make certain restrictions on the region where the relevant service users are located, and the time, content, geographical scope, terminal equipment, etc. of the user's use of the service. For the aforementioned reasons or other third-party reasons that make you unable to enjoy related services, Violy does not need to assume any responsibility. 4.7 **Login Restrictions** - (1) The Violy Premium account is exclusively authorized for use within the Violy App and is strictly limited to individual use. Each account is intended for use by a single individual and may not be shared or used by others. - (2) In the event of any violation of the above restrictions, all resulting losses shall be borne solely by yourself. Violy reserves the right, at its sole discretion, to take measures including but not limited to restricting login access, limiting functionality, suspending services, or terminating the account to address such violations. 4.8 **VIP extra fee** You understand and agree that after you successfully activate the VIP service, in addition to your membership rights, there is still content that you need to pay for, including but not limited to: - (1) Based on the requirements of the copyright owner, some scores and albums are not included in the VIP service, and you need to pay additional fees. - (2) For other types of content that require additional payment, please pay attention to the payment instructions on the relevant pages. For the above-mentioned service contents that require additional payment, Violy will remind you on the corresponding page with a prominent mark. Please read the page description before purchasing the additional payment content, and choose whether to purchase it according to your own needs. After you have paid successfully, such additional paid content may have corresponding usage and/or validity period restrictions (please refer to the purchase page description for details). At the same time, you understand and agree that after a certain period of time, Violy has the right to provide some content in the additional paid content to other members/users for free listening/playing. 4.9 VIP rights cannot be transferred between the user's bound mobile phone number and social account. 4.10 If Violy finds or receives reports from others that the information you publish violates this Agreement, Violy has the right to make independent judgments and take technical measures to delete, block or disconnect the link. At the same time, Violy has the right to take measures, including but not limited to suspending or terminating this service, and pursuing legal responsibility, depending on the nature of your behavior. If your actions cause any damage to any third party, you should be solely responsible; if the Company suffers losses due to it, you should also compensate. ## 5. Limitation of Liability 5.1 You know and agree that the content uploaded, published or transmitted by the user on the platform is the user's personal behavior, and Violy has the right to review and delete it, but Violy does not take responsibility for the accuracy, authenticity, availability, security, integrity and legitimacy of such information and content, and you hereby agree to waive the related responsibilities of Violy. 5.2 To the extent permitted by law, Violy is not responsible for service interruption or loss of account or property in the account caused by the following circumstances, including but not limited to: - (1) Damage by computer viruses, Trojan horses or other malicious programs, or hacker attacks; - (2) Communication line failures, network or computer failures, and system instability in the telecommunications departments; - (3) Your misconduct; - (4) You activate/use the VIP service in a way that is not authorized by Violy; - (5) Other circumstances that are not the fault of Violy and cannot be controlled or reasonably foreseen. 5.3 If you come into contact with content that violates the law or regulations, makes people feel uncomfortable, or even causes fear and disgust, please contact Violy in time to deal with it. Thank you very much for your assistance. 5.4 When you use, view, share, repost, forward, and recount related information and content ("use behavior"), you should make independent judgments and use them legally. For any damage to yourself and any damage to third parties caused by your use behavior, Violy does not assume any responsibility. 5.5 Violy obtains the right to deal with illegal content in accordance with this Agreement. This right does not constitute an obligation or commitment of Violy, and Violy does not guarantee timely detection of illegal acts or corresponding handling. Under no circumstances should you be gullible with borrowing, asking for passwords or other network information involving property. If it involves property operations, please verify the identity of the other party first, and please always pay attention to the tips on preventing fraud and crimes issued by Violy Company. 5.6 You understand and agree that the VIP services provided to you by Violy Company may be changed, interrupted, suspended or terminated due to changes in laws, regulations or regulatory policies, requirements of rights holders or copyright owners, requirements of law enforcement or judicial authorities, complaints from other third parties, etc., including but not limited to the right to temporarily or permanently remove the music scores and other content involved in the VIP service, stop providing playback, evaluation, and follow-up, stop providing download or cache, and limit the equipment terminals that provide services. If you are unable to enjoy VIP related services or content due to the aforementioned reasons or other reasons, your prior consent is not required, and Violy does not need to assume any responsibility. ## 6. Modification and termination of the Agreement 6.1 The suspension or termination of this service includes the following situations: - (1) The user voluntarily suspends or terminates the subscription, including but not limited to failure to renew the subscription upon expiration; - (2) Due to the user's breach of contract, the Company voluntarily suspends or terminates the service; - (3) Suspending or terminating the service due to the requirements of the state or relevant departments or the occurrence of force majeure events; - (4) Other services that should be suspended or terminated in accordance with laws and regulations. 6.2 Due to the special nature of Internet services, legal compliance requirements or changes in authorization, Violy has the right to modify, change, suspend or terminate some or all of the services (hereinafter collectively referred to as "change behavior"). You agree and understand that the service provided in accordance with any stipulations in this Agreement can be changed, interrupted or terminated under the circumstance that Violy has made an announcement or notification, and Violy shall not be liable to you or any third party for this; but at the same time Violy will minimize the impact of the change behavior on you. After the change of behavior occurs, when you find that you cannot log in or enjoy the service, you can consult our customer service staff. 6.3 Processing after suspension or termination: - (1) Except for the responsibilities stipulated by law, the suspension or termination of this service shall not be liable to the user or any third party; - (2) Unless specifically specified in this Agreement, the fees already collected will not be refunded; - (3) Relevant member data information will be retained for a certain period of time, and other member rights and interests will be changed or reduced according to the website regulations; - (4) For the ongoing platform transaction, Violy will make a reasonable judgment according to the situation on whether to continue or terminate the relevant transaction, and decide whether to refund or deduct the relevant fees as liquidated damages according to the situation. ## 7. Terms of Use for Minors 7.1 If you are under the age of 18, you are a minor, and you should read this Agreement and use the VIP service under the guardian's supervision and guidance, and have obtained the guardian's consent. 7.2 If the guardian agrees that the minor uses the VIP membership service, he must apply for consumption in the name of the guardian. The minor's use of the VIP service and the exercise and performance of the rights and obligations under this Agreement shall be deemed to have obtained the guardian's approval. 7.3 Minor users should pay attention to the following matters when using VIP services, improve safety awareness and strengthen self-protection: - (1) When filling in personal information, strengthen the awareness of personal protection to avoid harassment of personal life by bad actors; - (2) Under the guidance of guardians or teachers, learn to use the Internet correctly; - (3) Avoid random meetings with strangers or participation in social activities, so as to avoid criminals taking advantage of it and endangering their own safety. 7.4 Guardians and schools should give more guidance to minors when using VIP services. ## 8. Other agreements 8.1 **Notice** - (1) All notifications to users under this Agreement can be sent through client push, official account notifications, mobile phone short messages reserved by customers, or regular mail transmission, and such notifications are deemed to be delivered to the user on the date of sending. - (2) In order to facilitate you to receive relevant notices, you should ensure that the contact information you have reserved is correct and valid, and log in to your Violy account to modify it in time after any change. If you fail to provide correct contact information or fail to inform of new contact information in time, resulting in failure to receive notifications in a timely manner, you will be responsible for the losses and legal consequences arising therefrom. - (3) Violy can send you various notices through one or several of the above methods, and the content of such notices may have a significant beneficial or adverse impact on you, so please make sure that the contact information is valid and pay attention in a timely manner. 8.2 The place where this Agreement is signed is Bao'an District, Shenzhen City, Guangdong Province, the People's Republic of China. 8.3 The establishment, entry into force, performance, interpretation and dispute resolution of this Agreement shall be governed by the laws of the Mainland of the People's Republic of China (excluding conflict of laws). 8.4 If there is any dispute between you and Violy Company, you should first resolve it through friendly negotiation; if the negotiation fails, you agree to submit the dispute to the "Shenzhen Court of International Arbitration" for coordination and settlement. 8.5 If, for any reason, the terms of this Agreement are partially invalid or unenforceable, the remaining terms are still valid and binding on both parties. 8.6 The headings of all clauses of this Agreement are for reading convenience only, have no actual meaning in themselves, and cannot be used as the basis for the interpretation of the meaning of this Agreement. 8.7 If you have any questions about the content of this Agreement, please give feedback through the "Help and Feedback" of the Violy client, or contact Violy customer service for consultation. Shenzhen Mango Future Technology Co., Ltd. --- # Violy Privacy Policy - URL: https://violy.app/privacy-policy - Markdown: https://violy.app/privacy-policy.md - Summary: Last Updated: March 10, 2023 Effective Date: March 10, 2023 Violy is an instrument practice tool pro # Violy Privacy Policy Last Updated: March 10, 2023 Effective Date: March 10, 2023 Violy is an instrument practice tool provided by Shenzhen Mango Future Technology Co., Ltd. This Document will explain how Violy collects, uses and stores your personal information, along with the rights you are entitled to. We will use this Document to explain the relevant details and here are key points: - We will describe the types of personal information we collect and their corresponding uses in order for you to understand how we collect specific types, reasons for its use and methods of such collection of personal information for a particular function. - At present, Violy will not actively share or transfer your personal information to any third parties. - At present, Violy will not actively obtain your personal information from a third party. - You can access, correct and delete your personal information through the instructions listed in this Document. You can cancel your account. For more detailed information on the above, please refer to the relevant sections in the following index: 1. The Information We Collect 2. Storage of Information 3. Information Security 4. How We Use Information 5. External Parties 6. Your Rights 7. Amendments 8. Protections of Minors 9. Contact Us ## 1. The Information We Collect In the process of using Violy service, Violy will, in accordance with the following ways, collect information provided by you during the use of the service or information generated by the use of the service in order to provide such services to you, optimize our services and protect your account security: 1.1 When you register with Violy service, we will collect your mobile phone number, student/teacher identity, etc. The purpose of collecting is to assist you complete the Violy registration and ensure your account security. Mobile phone numbers are considered to be sensitive information. As such, the collection of such information is to meet the relevant laws and regulations of the identity verification network system requirements. If you do not provide such information, you may not be able to use our services properly. You may also choose to fill in nick name, profile picture, gender, region and other information in accordance to your own preference. 1.2 When you use Violy’s service, in order to ensure the normal use of our services, to maintain the normal operation of our services, and to optimize and improve our services and protect the safety of your account, we will collect information about your device model, operating system, unique device identifier, login IP address, Violy version number, access network mode, type and status, the quality of your network, operation logs, service logs and other log information. Such information is basic information which must be collected to provide you with Violy’s service. 1.3.1 When you use Violy’s Audition Practicing function, we will record voice during the Audition practicing, save the practicing voice and upload the practicing record and voice file to cloud. This is the key function of Violy service. Cloud saved records and voices are used to support teachers to view student's practices, help Violy to carry out further statistics and analysis of practice and provide better services by improved algorithm. 1.3.2 When you use an electric piano to practice in Violy and use Audition or Note-by-note in the App, you need to enable Bluetooth permission to connect Violy with your electric piano to more accurately identify your instrument's sound. You have the right to refuse the authorization and the refusal will only make you unable to use the above functions but will not affect your normal use of other functions of Violy; 1.3.3 Some mobile phone systems require the App to have location permission when searching for nearby Bluetooth products. Only with this permission can the App search for nearby Bluetooth electric piano products. We promise that the location permission will only be used in matching the Bluetooth connection of the electric piano and will not be used for other purposes. 1.4.1 When you explicitly operate the function of Daily Challenge in Violy, the App will start recording, analyze and count the duration of the music instruments' sound on Violy. This recording will not be uploaded to the server. It will only be used for analysis on the App client, and will not leave the current device and be shared. When you explicitly stop Challenge practicing and clock in, the recording will stop. By default, the recording will stop automatically when the App exits the user interface. 1.5 When you use Live Class function of Violy, we collect and upload call records, which are the basic components of Live Class function. We will not save media data such as video screens and voices generated during video calls by default unless we explicitly ask for your consent and get an affirmative answer before saving and uploading a piece of data when we need to save it. This is also a part of service. 1.6 When you use the Live Tutoring function of Violy, we collect and upload the Live Tutoring teacher's name, ID card, bank card and other information to pay for your Live Tutoring lessons. Violy will not share this information with any third party. 1.7 When you use the group management function of Violy App, the group you created and the members who joined the group will be saved in the background to provide better services. Violy will not share this information with any third party. 1.8 When you change your avatar, upload a picture, or make a video audition in the Violy, you need to enable the camera permission and/or photo album permission (subject to the specific function you use) for real-time shooting or picture/video upload. When you log in, you need to authorize log and resource file storage permissions. Log storage is to provide corresponding tracking logs when an exception occurs in the App to help find problems. Resource file storage is for users to use the basic functions of the App even when there is no network. 1.9 When you browse music sheets on Violy Discovery page, in order to intelligently recommend suitable music scores, we will provide you with personalized recommendations based on your past practice and playback preference information. If you do not want to use this kind of personalized recommendation service temporarily, you can turn off this function through the path "My" → "Settings" → "Personalized Recommendation". In addition, in accordance with relevant laws, regulations and national standards, we may collect and process your relevant personal information without asking for your consent in the following circumstances: - When it is directly related to national interests such as national security and national defense, or it is directly related to major public interests such as public safety, public health, and public right to know; - When it is directly related to a criminal investigation, prosecution, trial or execution of judgments; - In order to protect vital legitimate interests of you or of other individuals, such as right of life, property, and reputation, while it’s hardly to obtain the consent of the individual; - When the personal information is disclosed to the public by yourself; - When the personal information is collected from legally publicly disclosed information, such as legitimate news reports, government information disclosure, etc.; - When it is necessary for entering into and/or performance of a contract to which you are the party; - When it is necessary for maintenance of the safe and stable operation of the products or services provided, such as discovering malfunctions and/or troubleshooting products or services; - When it is necessary for legitimate news reporting; - When it is necessary for conducting statistical or academic research which is for public interest, and when the results of academic research or description are provided externally, the personal information contained is de-identified. - Other circumstances as stipulated by laws and regulations. Please understand that the functions and services we provide you are constantly updated and developed. If a function or service is not in the above description and your information is collected, we will explain to you the type of information, the scope and the purpose of the information collection by means of page prompts, interactive processes, website announcements or other ways, to obtain your consent. Please note at present Violy will not actively obtain your personal information from a third party. If there is a requirement to obtain your personal information indirectly from a third party for future business development purposes, we will clarify with you the source, type and scope of such personal information. If the processing of personal information for a specific development is beyond the scope of what you originally agreed to provide to a third party, we will obtain your prior express consent before processing your personal information. What's more, we will strictly abide by the relevant laws and regulations and require that the third party guarantees the legitimacy of the information provided. ## 2. Storage of Information 2.1 Where information is stored: We will act in accordance with laws and regulations and store personal information collected within the territory in China. 2.2 The Duration Storing Information: In general, we will only keep your personal information for the time necessary to achieve a specific purpose, for example: - Mobile phone number: When you use Violy service, we will need to store your mobile phone number to ensure your normal use of the service. When you delete your Violy account, we will delete the corresponding information; In the event where we cease our products or services, we will notify you in the form of push notifications, announcements, etc., and delete your personal information or anonymize such information within a reasonable period of time. ## 3. Information Security We strive to secure users' information to prevent information leakage, improper use, unauthorized access or disclosure. We will use a variety of security measures to ensure the security of information within reasonable security standards. For example, we will use encryption technology (for example, SSL), data anonymization and other means to protect your personal information. We use ever-improving technical means to enhance the security of the software installed on your device to prevent your personal information from leaking. ## 4. How We Use Information We may use information collected by certain features for our other services. For example, we may use the information we collect when you use one of our features, and provide you with specific content in another service, including, but not limited to ads (please click About our Advertising for more details), information security tips for content you have read, indirect crowd portraits based on feature tags, and providing more accurate and personalized services and content. In order to ensure the security of our services, and to enable us to better understand the operations of our applications, we may record information such as your frequency of using our applications, crash logs, overall usage, performance data, and the sources that apps are installed from. We will not combine the information stored in the analytics software with any personally identifiable information you provide in the application. If we utilize your personal information beyond the scope of our collection statement or a direct or reasonable connection, we will inform you and obtain your prior express consent again before using your personal information in such situations. ## 5. External Parties At present, we will not actively share or transfer your personal information to a third party. If there are other circumstances in which your personal information is to be shared or transferred or where you require us to share or transfer your personal information to a third party, we will directly obtain or verify the third party has obtained your prior express consent to such share or transfer of your personal information. In addition, we will conduct a risk assessment on the behavior of providing information to a third party. The third-party SDKs connected to the App are listed as follows: - **Facebook Login SDK** - **Function:** Facebook Login - **Types of personal information collected:** DisplayName, Email - **Facebook Login Privacy Policy:** [https://zh-cn.facebook.com/policy.php](https://zh-cn.facebook.com/policy.php) - **Google Login SDK** - **Function:** Google Login - **Types of personal information collected:** DisplayName, Email - **Google Sign-In Privacy Policy:** [https://policies.google.com/privacy](https://policies.google.com/privacy) - **Aurora Push SDK** - **Function:** Implement of message push (or other notification push) functions - **Types of personal information collected:** Device information, geographic location, network information - **Aurora Push Privacy Policy:** [https://www.jiguang.cn/license/privacy](https://www.jiguang.cn/license/privacy) - **Umeng+ SDK** - **Function:** Statistical analysis service and basic anti-cheating service provided by the accuracy of geographic location calibration report data - **Type of personal information collected:** Device MAC address, unique device identification code (IMEI/Android ID/IDFA/OPENUDID/GUID, SIM card IMSI information) - **Umeng+ Push Privacy Policy:** [https://www.umeng.com/page/policy?spm=a211eg.10560647.0.0.547034dcafEUZJ](https://www.umeng.com/page/policy?spm=a211eg.10560647.0.0.547034dcafEUZJ) - **Flurry SDK** - **Function:** Statistical analysis service and basic anti-cheating service provided by the accuracy of geographic location calibration report data - **Type of personal information collected:** Device MAC address, unique device identification code (IMEI/Android ID/IDFA/OPENUDID/GUID, SIM card IMSI information) - **Flurry Privacy Policy:** [https://developer.yahoo.com/flurry/docs/analytics/privacyregulation/summary/](https://developer.yahoo.com/flurry/docs/analytics/privacyregulation/summary/) - **Firebase SDK** - **Function:** Statistical analysis service and basic anti-cheating service provided by the accuracy of geographic location calibration report data - **Type of personal information collected:** Device MAC address, unique device identification code (IMEI/Android ID/IDFA/OPENUDID/GUID, SIM card IMSI information) - **Firebase Privacy Policy:** [https://firebase.google.com/support/privacy](https://firebase.google.com/support/privacy?hl=zh-cn) - **Tencent Bugly SDK** - **Function:** Used for App exception reporting - **Type of personal information collected:** Device MAC address, unique device identification code (IMEI/Android ID/IDFA/OPENUDID/GUID, SIM card IMSI information) - **Tencent Bugly Privacy Policy:** [https://privacy.qq.com/document/priview/fbd2c3f898df4c1c869925dd49d57827](https://privacy.qq.com/document/priview/fbd2c3f898df4c1c869925dd49d57827) - **Zego SDK** - **Function:** The user uses the video call feature - **Types of personal information collected:** Camera permissions - **Zego Privacy Policy:** [https://www.zego.im/privacy](https://www.zego.im/privacy) - **Qiniu SDK** - **Function:** Used for remote file storage - **Types of personal information collected:** Location permissions - **Qiniu Privacy Policy:** [https://developer.qiniu.com/pili/8027/sdk-privacy-policy](https://developer.qiniu.com/pili/8027/sdk-privacy-policy) - **Agora SDK** - **Function:** Used to provide point-to-point message communication - **Types of personal information collected:** Network status, storage writes - **Agora Privacy Policy:** [https://www.agora.io/en/privacy-policy/](https://www.agora.io/en/privacy-policy/) We will not publicly disclose personal information collected by us. If we have to disclose such information publicly, we will inform you of the purpose of such disclosure, type of information disclosed and the sensitive information that may be involved, and obtain your prior express consent. As our business continues to develop, we may engage in mergers, acquisitions, transfers of assets, etc. We will inform you of such circumstances and continue to protect your personal information and require new controllers to continue to protect your personal information in accordance with the laws, regulations and the standards as strict as required by this Document. In addition, in accordance with relevant laws and regulations and national standards, in the following circumstances, we may share, transfer, or publicly disclose personal information without prior consent of the subject of personal information: - When it is directly related to national security or national defense; - When it is directly related to public safety, public health, or major public interests; - When it is directly related to a criminal investigation, prosecution, trial or execution of judgments; - When it is for protecting vital legitimate interests of you or of other individuals, such as right of life, property, and reputation while it’s hardly to obtain the consent of the individual; - When the personal information is disclosed to the public by yourself; - When the personal information is collected from legally publicly disclosed information, such as legitimate news reports, government information disclosure, etc. ## 6. Your Rights During your using of Violy, in order to provide you with an easier way to access, change, delete your personal information while ensuring you with the right to withdraw your consent regarding the use of personal information and the right to cancel your account, we have provided you with the applicable function in our product design. You may refer to the following operational Guidelines. In addition, we have also set up a report and complaints channel, in order to address your feedback in a timely manner. 6.1 Access and Modify Personal Information - After entering the Violy App, tap on "Me". - Tap on the column with your profile photo. - Access your information and modify it. 6.2 Feedback - After entering the Violy App, tap on "Me"; - Tap on "Help/Feedback"; - Tap on "Feedback/Suggestion". 6.3 Delete Violy account Email us at . We will process your request promptly. Note: After your account is canceled, we will delete or anonymize your personal information. ## 7. Amendment We may revise this Document opportunely. In the event where the terms of this Document are amended, we will show you the amended Document by means of push notifications and/or pop-up windows when you log in or when the App version has been updated. ## 8. Protection of Minors We place great importance in the protection of personal information of minors. If you are a minor under the age of 18, according to the relevant laws and regulations, your parents’ or legal guardian's written consent should be obtained prior to your use of Violy service. If you are a legal guardian of a minor, you may contact us through the contact information specified in Section 9 when you have queries regarding the personal information of your minors. ## 9. Contact Us If you have any other complaints, suggestions, or queries regarding personal information of minors, please email us at . We will review your queries as soon as possible and respond within three days after verifying your identity. Shenzhen Mango Future Technology Co., Ltd. --- # Violy Terms of Service - URL: https://violy.app/terms-of-service - Markdown: https://violy.app/terms-of-service.md - Summary: In order to use the application software provided by Shenzhen Mango Future Technology Co., Ltd. (her # Violy Terms of Service In order to use the application software provided by Shenzhen Mango Future Technology Co., Ltd. (hereinafter referred to as the "Company") and the services provided by other clients or websites (hereinafter referred to as the "Platform"), you shall read and abide by the User Service Agreement (hereinafter referred to as the "Agreement"). You must read carefully and fully understand the content of each clause, especially the clauses of exemption or limitation of liability, jurisdiction and applicable laws. Limitations, disclaimers, and other items that require special attention may be highlighted in bold or underlined, so please read them. Unless you have read and accepted all the terms of this Agreement, you (including you and your minor children performing guardianship duties, persons with no or limited capacity for civil conduct) are not entitled to use the services provided by the Company, and you should stop registration and usage immediately. Your (including you and your minor children performing guardianship duties, persons with no or limited capacity for civil conduct) registering and using the Platform services shall be deemed that you have read and agree to be bound by this Agreement. If you are under the age of 18, please read this Agreement with your legal guardian, pay special attention to the terms of use for minors, and seek the consent and guidance of your legal guardian before submitting registration, providing personal information, and purchasing services. ## 1. Scope of Application 1.1 This Agreement is an agreement between you and Shenzhen Mango Future Technology Co., Ltd. regarding your use of the Platform services. "User" means the Platform service user. 1.2 The services under this Agreement refer to the services provided by the Company to users through the Platform. Users can perform musical instrument learning, training guidance, and services provided by other Platforms through the Platform (hereinafter referred to as the "Service" or "Services"). 1.3 The content of this Agreement also includes all the terms of this Agreement and various rules that the Company has issued or may release in the future. All rules are an integral part of this Agreement and have the same legal effect as the body of this Agreement. 1.4 This Agreement is signed by the user and the Company and applies to all your activities on the Platform. This Agreement is effective once you register or use the Service. 1.5 During the performance of this Agreement, the Company may from time to time formulate and modify the relevant provisions and various rules of this Agreement according to actual conditions and needs. Once the contents of this Agreement and related rules have changed, the Company will announce the latest agreements and rules (statements, notices, warnings, business rules, etc.) through relevant system sections or emails, SMS reminders, etc., and no longer give individual notifications to users. Once the revised agreement and rules are promulgated, they will take effect immediately, which is an integral part of this Agreement, and you should also abide by it. If you do not agree with the revised agreement and rules, you should immediately stop using it and stop accepting the Service; once you continue to use or accept the Service, you are deemed to have agreed to the revised agreement, rules and agreed to abide by it. ## 2. Account and Password Security 2.1 You need to register an account when using this Service. A user account will be generated after successful registration. At the same time, if the Platform explicitly allows users to register or log in through their legally owned accounts including, but not limited to, Facebook, Instagram, Twitter, etc., and the user uses the above methods to register and log in to the Platform, this Agreement also applies to users. The user account will record the various operations and activities of the user in the Service. The user has the right to use the account, and the ownership of the account belongs to the Company. The user account is the unique identity of the user on the Platform, and is the only account for the user to log in to the Platform. The Company uses the user's account and password to identify the instructions, anyone who confirms or uses the user's account and password to log in to the Platform, all actions on the Platform through the personal account are deemed to be the user's true intention and behavior. The electronic information records generated by the operation are valid evidence of the user's own actions, and the user himself/herself bears all legal consequences. The user promises to keep his/her account and password properly, and not to disclose personal account information to anyone else. The user agrees that it is the user's responsibility to ensure account security. The Company does not assume any responsibility for any unauthorized use of a user's account or password caused by hackers, viruses, or negligence of the user's custody. The user agrees that the status confirmed by the Service process on the Platform will become the sole basis and clear instructions for the Company to perform related operations. The user agrees that the execution time of the relevant instructions shall be subject to the actual operation time of the Company. 2.2 In order to strengthen security, when you use this Service, you may use mobile phone verification code or email verification code for login verification. You should strengthen the security protection of the verification information such as the above verification code. 2.3 The Company specially reminds you to keep your account and password properly. When you are done using it, you should exit safely. You may be responsible for hacking or password theft due to your improper storage. 2.4 After the user uses the user account to log in to the Platform, according to the relevant rules of the Company, the various operations performed by the user account ID on the Platform through click confirmation or similar methods are deemed to be the user's true will and operated in the user's name, which has legal effect. Users should keep their account information such as their accounts and passwords properly. Users perform various operations through the aforementioned methods are legally binding on all parties. Users should not use the account information such as their account passwords for theft or other reasons to deny the authenticity of related operations and legally binding. 2.5 In the process of Platform registration or receiving Services, you shall provide correct, complete and effective personal information (including real name and various related materials) as required by the Platform. If any information provided by you is inaccurate or unclear, and any party suffers any delay or loss, you shall bear corresponding responsibility. If the personal information you provide changes, you should promptly notify the Company to change it in a timely manner. If the Company fails to contact you due to your failure to notify or change in time, and your service is affected, you shall bear your own responsibility. ## 3. Usage of the Service 3.1 You shall use the Service in a manner provided or approved by the Company. In addition to this Agreement, if you have signed other written documents with the Company on how to use the Service, you should also comply with it. 3.2 The rights you have obtained in accordance with the terms of this Agreement cannot be transferred, divided, shared, leased, cooperated, etc.; you must not sell, transfer, share, or rent the Services provided by the Platform without the written permission of the Company, otherwise, the Company has The right to suspend the provision of the Service and request correction, or to terminate the Service directly without any liability. 3.3 When you use products or Services provided by third parties on our Platform, in addition to complying with this Agreement, you must also comply with the third party's user agreement. 3.4 In using this Service, you shall abide by national laws and regulations and relevant local laws and regulations, and respect local morals and customs. If your behavior violates national laws and regulations and local laws and regulations or ethics, you should be solely responsible for this. ## 4. Services based on the Platform 4.1 The Services provided by the Company through the platform are only software licenses and platform network Services. You can obtain related Services through the platform website or platform client software. You should understand that you may need to prepare the terminal equipment (such as computer, modem, mobile phone, tablet, musical instrument, etc.) related to the relevant Service yourself when using the Company's Services, and bear the necessary costs (such as telephone charges, Internet access fees, Etc.). You understand and agree that your use of this Service will consume resources such as your terminal equipment and bandwidth. 4.2 You shall not use plug-ins or third-party tools that are not authorized by the Company to interfere, destroy, modify or otherwise exert influence on the Services under this Agreement. 4.3 Since the Company mainly relies on software to provide Services to you, you should also observe the following agreements: - In order to improve the user experience, ensure the security of the Service, and the consistency of product functions, the Company may update platform versions such as software to optimize the user experience. If users receive prompts for platform version updates such as software, they must complete the update as soon as possible. If the update involves a fee, you may need to pay for the update. If you do not update in a timely manner, the platform versions such as the software you use may not work properly and maintenance will be stopped. If you cannot use the Service normally because you have not updated it in time, the Company will not bear any responsibility. For partial updates, the Company has the right to update the software or to change or limit some of the functional effects of the software without special notice to you. After the new version of the software is released, the old version of the software may not be available. The Company does not guarantee that the old version of the software will continue to be available and the corresponding customer Service, please check and download the latest version at any time. - The Company may develop different software versions for different terminal devices. You should choose the software version that matches the installed terminal device from the Company and its authorized third parties according to the actual situation. If you obtain the software or an installer with the same name as the software from the Company and it is authorized by a third party, the Company cannot guarantee the normal usage of the software and will not be responsible for the losses caused to you. ## 5. Charged Services 5.1 Some of the Services are provided on a fee basis. If you use fee-based services, please abide by the relevant agreements and rules. The specific information such as the content and price of the paid service shall be subject to the information published on the platform and the order information placed on the user account. For paid services, if you do not pay in time, you will not be able to use these paid services. 5.2 The Company may modify and change the charging standards and methods of paid services according to actual needs, and the Company may also start charging for some free services. Before the aforementioned amendments, changes or charges start, the Company will make a notice or announcement on the corresponding service page. If you do not agree with the above modifications, changes or paid content, you should stop using the Service. ## 6. Intellectual Property and Confidentiality 6.1 Unless otherwise specified by the Company, the platform website, software, hardware and other information materials on the platform (including but not limited to text, pictures, audio, video, diagrams, practice modes, music, scores, track lists, interface design, layout framework, etc.) trademark, copyright, patent rights and other intellectual property rights or other legitimate rights and interests belong to the Company. The intellectual property rights and other legitimate rights and interests of the above and any other content contained in this Service are protected by law. Without the written permission of the Company, no one may use or create related derivative works in any form. 6.2 With "Violy", "Lian" and the Company name, product name, font size, domain name, trademark, service mark, LOGO, brochure, audio and video and other related information and related materials related to this agreement and related information All rights belong to the Company; you must not use it in any way without the written permission of the Company. You must not, under any category, apply for registration of the mentioned, including, but not limited to, any trademark, service mark, and any other type of intellectual property rights related to the Company and its affiliates. 6.3 Without the written consent of the Company, you must not use the intellectual property rights of the Company (owned by the Company or authorized by a third party) and other rights in any way by yourself or by a third party for any reason, otherwise the Company has the right to immediately and unilaterally terminate this agreement and have the right to ask you to compensate for all losses (including but not limited to economic losses, investigation and evidence collection costs, notarization costs, lawyer fees, etc.). 6.4 Unless the Company gives written permission, you must not do any of the following: - Delete copyright information on the software and its copies; - Reverse engineer, disassemble, decompile, or otherwise attempt to discover the source code of the software; - Use, rent, lend, copy, modify, link, reprint, compile, publish, establish mirror sites, etc. of the Company's intellectual property rights; - Copy, modify, add, delete, attach, or run data that is released to the memory of any terminal during the software running process, the interaction data between the client and the server during the software running process, and system data necessary for the software running. Create any derivative works in the form of, but not limited to, plug-ins, or third-party tools / services not authorized by the Company to access the software and related systems; - By modifying or falsifying the instructions and data during the operation of the software, adding, deleting, changing the functions or operating effects of the software, or operating or disseminating the software or methods used for the above purposes, whether or not these acts are for commercial purposes; - Infringement of the Company's copyrights, patents, trade secrets, technical solutions and other legitimate rights and interests. 6.5 Without the written consent and authorization of the Company, the user shall not in any way provide the platform technical data, trade secrets and other confidential information and information learned from the conclusion or execution of this agreement to any third party or disclose to third parties or use it without permission. If the user violates the foregoing agreement, the Company has the right to terminate this agreement immediately and require the user to compensate for its losses. 6.6 If the Platform allows users to post comments, experiences, upload pictures, files, etc., the Service belongs to the platform to provide users with information storage space. Such behavior of the user only indicates the user's personal position and views, and does not represent the platform's position or views. For any disputes caused by the content published by the user, the content publisher shall bear all legal liabilities. At the same time, for the content published by the user, the user agrees to grant the platform a permanent, irrevocable, non-exclusive, and global use authorization and sub-authorization for free. The platform can be used for platform operation and promotion purposes; if there are other third party copies or illegally uses the content published by the user, the user agrees that the platform has the right to handle rights protection (warnings, complaints, reports, claims, etc.). ## 7. Responsibilities 7.1 You must abide by laws and regulations when using the Service, and you must not use the Service to violate the laws and regulations of the military, including but not limited to: - publishing, transmitting, disseminating, and storing content that endangers national security and unity, undermines social stability, violates public order and customs, insults, defamation, obscenity, violence, and any content that violates national laws and regulations; - Publish, transmit, disseminate, and store content that infringes on the intellectual property rights, trade secrets, and other legal rights of others; - Maliciously fabricate facts, conceal the truth to mislead, and deceive others; - Publish, transmit, and disseminate advertising and spam information; - Other acts prohibited by laws and regulations. 7.2 If you violate the Clause 7.1, the relevant state authorities or agencies may file a lawsuit, fine or take other measures against you, and ask the Company for assistance. If your actions cause damage, you should pay compensation in accordance with the law, the Company will not bear any responsibility; if the Company suffered losses as a result, you can also compensate. 7.3 If the Company finds or receives reports from others that your information violates the Clause 7.1, the Company has the right to make independent judgment and take technical measures to delete, block or replace the link. At the same time, the Company has the right to take measures including, but not prematurely suspending, restricting, freezing or terminating the Service, and investigating legal responsibilities, depending on the behavior of the user. 7.4 The user guarantees and promises that any information uploaded or released through the Company is true and valid; the user promises not to use the Company's services and content for any illegal purpose or channel, and to comply with all laws, regulations and other specifications related to the Company's services; users promise not to use the platform to collect, inquire, and solicit personal information, contact information, and financial status of other users of the platform; the user undertakes not to use the software and related services in any illegal way, for any illegal purpose, or in any way inconsistent with this agreement; the user undertakes to perform his/her obligations strictly in accordance with this agreement. The user is solely responsible for the losses and consequences caused by the breach of the above commitments, and has nothing to do with the Company. If any loss is caused to the Company, the user is fully liable. 7.5 If some of the user's actions or statements in the Company are illegal, untrue, inappropriate, violate the relevant agreement, violate the Company's interests, etc., the Company has the right to directly delete the user's actions on the Company with independent judgment. The above acts or speeches have the right to take temporary or make up the account or suspend, terminate, restrict, restrict users from using the Company's services and other measures without notifying the user and without bearing any responsibility. The user shall be liable for damages caused to the Company as a result. 7.6 The user promises that he/she will not publish unfavorable statements about the Company and related to the Company for any reason, and prohibit malicious attacks, otherwise the Company has the right to protect its rights and interests by various means at any time and request users to stop infringement and restore reputation, eliminate the impact, make courtesy refunds on some influential media, compensate for all losses, etc. 7.7 In accordance with this agreement, if you need to compensate the Company for losses, the scope of compensation includes, but is not limited to, economic losses, attorney fees, announcement fees, investigation and evidence collection fees, litigation fees and other costs. In response to these compensation obligations, the Company has the right to deduct the corresponding amount from the paid amount that the user has paid but has not yet used, and the remaining part can be claimed by the user separately. ## 8. Termination of Agreement and Account Cancellation 8.1 Based on the security and legality of the Service (such as that the user's personal information is lack of authenticity, legality, validity or completeness, or there are abnormal transactions, or there is a violation of this agreement or the rules, or other risks that the Company believes exist), the Company has the right to change, suspend, discontinue, or terminate the provision of some or all services to the user, temporarily freeze or permanently freeze (delete) the user ’s account, and delete information such as registration data without any responsibility to the user or any third party. 8.2 The user shall not terminate or terminate this agreement without written authorization from the Company. 8.3 When the user violates this agreement and its related rules, or the user violates the relevant laws, regulations, regulatory policies, or the user infringes the legal rights and interests of others and is requested by the relevant right holder, or the judicial authority and other authority, the Company has the right to suspend, terminate this agreement through E-mail, WeChat, SMS, etc., block user accounts or restrict, suspend, or terminate users' usage of some or all of the services without any responsibility. However, the suspension, termination and restriction of the Company does not relieve the user of the obligations that have not been fulfilled in accordance with this agreement. 8.4 When the user decides to no longer use the user account, he/she shall perform all obligations and responsibilities and apply to the Company to cancel the user account. After the Company's review and approval, the user account may be officially cancelled. After the user's account is cancelled, the contractual relationship between the user and the Company based on this agreement is terminated, and the Company has no obligation to disclose any information in the cancelled account to anyone. 8.5 When necessary, the Company has the right to terminate the user account services without prior notice, and can immediately suspend, close or delete the user account and all relevant information and files in the user account. The legal funds (if any) held by users in these accounts will be properly handled in accordance with this agreement and related rules. 8.6 Suspension, interruption or termination of the user ’s account does not represent the termination of the user ’s responsibility. The user shall still be liable for possible breach of contract or damages during the use of the Company ’s services, and the Company may still retain relevant information of the user. 8.7 If a user registers a Company user account with a third-party website account, the third-party website account corresponding to the user account of the Company shall have legal use rights. If the user loses the right to use the third-party website account for some reason, the Company may stop servicing the user account. ## 9. Force Majeure and Other Exemptions 9.1 You understand and agree that the Company will use its commercially reasonable efforts to ensure the security of your data storage in the platform software and services, but the Company cannot provide guarantees in this regard. 9.2 You understand and agree that the Company's services are provided in accordance with the current state of the art and conditions. The Company will do its best to provide you with services to ensure the continuity and security of the Service; however, the Company cannot foresee and prevent legal, technical and other risks at any time, including but not limited to force majeure, viruses, hackers, system failure stability, third-party service defects, government actions, policies and other reasons may cause service interruption, data loss, and other losses and risks. When the above situation occurs, the Company will try to repair it in a timely manner, but for the loss caused to you, the Company is exempted to the extent permitted by law. 9.3 To the extent permitted by law, the Company does not assume any responsibility for service interruptions or obstructions caused by the following situations, or for any delays, inaccuracies, errors or omissions in the generation or transmission of any materials: - Damaged by computer viruses, Trojan horses or other malicious programs, hackers; - The user or the Company's computer software, system, hardware and communication lines have failed; - Improper user operation; - The user uses the Service in a manner not authorized by the Company; - Other circumstances beyond the Company's control or reasonably foreseeable. 9.4 If you violate the relevant laws and regulations or the clauses of this agreement, or the Company, according to legal requirements or the requirements of the competent authority, the Company has the right to interrupt or terminate the Service to you without notice. The Company obtains the right to deal with illegal content in accordance with the agreement. This right does not constitute an obligation or commitment of the Company. The Company cannot guarantee the timely discovery of illegal acts or the corresponding treatment. ## 10. Change, Interruption and Termination of Services 10.1 The Company reserves the right to interrupt or terminate the Services provided to you without notice if any of the following situations occur: - According to the law, you should submit true information, and the personal information you provided is not true, or is inconsistent with the information at the time of registration, and fails to provide reasonable proof; - You violate relevant laws and regulations or the provisions of this agreement; - As required by law or the competent authority; - For security reasons or other necessary situations. 10.2 The Company has the right to charge according to the provisions of Clause 6 of this agreement. If you fail to pay in full and on time, the Company reserves the right to interrupt, suspend or terminate the provision of services. ## 11. Other 11.1 The headings of all clauses of this agreement are for convenience only, and have no actual meaning in themselves, and cannot be used as a basis for interpretation of the meaning of this agreement. 11.2 No matter what the terms of this agreement are partially invalid or unenforceable, the remaining terms are still valid and binding on both parties. 11.3 Users should provide their true, up-to-date, valid and complete personal information, and they should properly maintain and update their personal information (especially common email addresses, common contact telephone numbers, common contact addresses, postal codes, etc.) to ensure that the information is true, up-to-date, effective, complete, and secure. When personal information such as contact information is changed, it should be updated within 3 days. If you have comments or suggestions about this agreement or the Service, you can contact our customer service department, and we will give you the necessary help. To the extent permitted by law, the Company has the final interpretation right. 11.4 When the user clicks to confirm and agree to this agreement or through registration or use of the Service, it is deemed that the user agrees to this agreement, this agreement takes effect immediately, and this agreement has legal effect between the user and the Company. This agreement will be retained in the Company's platform system in the form of electronic files, and will be used as the basis for both parties to perform and follow. There may be multiple language versions of this agreement, including Chinese and English. If there is any conflict between the Chinese version and other language versions, the Chinese version shall prevail. Shenzhen Mango Future Technology Co., Ltd.