Our string program is guided by resources and teacher training from the Mimi Zweig’s string pedagogy. https://www.stringpedagogy.com/members/?submit=START&hsCtaTracking=f34afb6f-30ca-4f0c-a7e5-04e6f79284e8%7C7c53da2c-bab4-4805-9ff9-640ad8ceec9b
The program uses lesson videos and demonstrations so teachers and students can observe real teaching interactions and physical movements.
It is a movement-based teaching system that develops violin technique through natural physical alignment, sequential technical exercises, and a supportive learning environment. By prioritizing bodily freedom and efficient motion first, the method aims to build reliable technique that ultimately allows expressive and confident musical performance.
Mimi Zweig’s pedagogy is fascinating because it really does sit at the intersection of three major traditions:
She reorganizes their ideas in a very distinctive way. The result is a hybrid system that blends their strengths while correcting what she saw as their limitations.
Influence - What she kept - What she changed
Suzuki - nurturing environment, early start added explicit technical instruction
Rolland - body mechanics, movement freedom made it sequential and systematic
Galamian - structured technique and scale work preceded it with physical training
The result is a pedagogy that:
1. The central idea: technique grows from physical freedom
The pedagogy emphasizes that violin playing involves three integrated domains:
The teaching sequence starts with natural body motion and physical ease, because secure technique grows from a body that is aligned and free of tension. Once technique is physically secure, the player can focus on musical expression.
In simple terms:
Healthy movement → reliable technique → expressive music-making
2. Non-judgmental learning environment
A key teaching principle is a supportive, non-judgmental studio atmosphere.
Students improve more effectively when they:
This psychological environment is considered just as important as technical instruction.
3. Step-by-step physical setup
The teaching approach emphasizes careful physical setup before advanced playing.
Early training focuses on:
Technical work is broken down into small physical actions so students learn how the body moves when playing well.
Examples of foundational topics include:
4. Sequential skill building
Technique is developed sequentially, with each skill layered on top of previous ones.
Typical progression:
Exercises, etudes (like Kreutzer), and scales are used to refine specific technical motions rather than just playing repertoire.
Upright Bass
We use F. Rabbath’s Progressive Repertoire for the Double Bass. The student will be taught how to hold the instrument correctly, how to hold the bow, different styles of pizzicato, different names for the parts of the instrument, how to tune, how to produce a good tone, and much more. We incorporate improvisational, music theory and basics of music harmony.
Electric Bass
We use Roger Filiberto‘s Electric Bass Method
The most widely-used introductory bass method available! Both Volumes I and II present a standard notation approach to reading solo and arpeggio studies for four string bass. Included in Volume I are the rudiments of playing, plus handy charts of arpeggios featuring major, minor, augmented, diminished, and seventh chords, plus upper harmonic extensions.
Volume II continues with studies, scales, walking bass patterns, and more. Presents note reading, solo playing, and chord arpeggio studies. Included are handy charts of arpeggios featuring major, minor, augmented, diminished, seventh chords, and even upper harmonic extensions.
Applicable to any style of music, this method has gained acceptance as the foundational text for electric bass study world-wide.
We partner with Luther String for all rental and repair needs.
Luther Strings (LutherStrings.com) is your first and last stop for everything violin, viola, cello, and bass.
This website uses cookies. By continuing to use this site, you accept our use of cookies.