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Photo by Isabelle Plante

The first time I was traumatized by a broken instrument was in the third grade. My dad propped my rental bass up, leaning it standing on its endpin against the side of our van on the morning of a performance. Propping a bass up standing like that is like asking for a death wish. He walked away, only leaving it to slide over, slamming on the concrete.  The entire neck snapped off. I thought it was finished, completely totaled, and ready to throw in the scrap pile only after we paid thousands of dollars for the irreparable damage.

Well, little did I know that the neck could be glued back on with a seam barely visible to the eye. What I thought was a complete catastrophe turned into no big deal. Well. It was a big deal. It was a miracle in my eight-year-old eyes.

Wood: The Ideal Medium

Over the years as I’ve done string instrument repair and setup, I’ve come to appreciate the brilliance in making objects out of wood. Almost anything made of wood can be easily repaired or cosmetically restored with the right tools and materials: a little glue, micromesh, sandpaper, a variety of wood stains, varnishes, replacement parts, and the like. Some repairs are trickier than others, but most are far, far from impossible, and usually fairly simple.

So if something breaks on your instrument, it’s likely not the end of its life. Keep in mind, violins are like legos with parts that can be either repaired or replaced.

Hypochondriac Instrumentalists

As I’ve become more familiar and comfortable with these common “injuries” inflicted upon stringed instruments, the less they freak me out. In fact, they don’t freak me out at all because we work with them every day. I noticed that people tend to be hypochondriacs when it comes to their personal instruments, especially when they don’t know what the cure or fix is for the damage done. You can take comfort in the fact that your violin like an organic piece with the ability to heal with a simple cast, like for a broken arm, or some basic “surgery.”

Take furniture for example. It can last for hundreds of years when made well and maintained. I was thinking the other day, it seems people are really comfortable glueing a table leg back on or assembling their own IKEA furniture, but if something happens to their violin (which is made of the same basic substance: wood), they panic.

Common String Instrument Repairs

So to shed a little light on the subject, here are some of the most common repairs we deal with in the Kennedy Violins instrument shop including a) the problem, b) how serious it is, and c) how it might be fixed.

• Open Seams: An open seam is simply an opening somewhere between the ribs (the sides) of the instrument and the face and/or back. Open seams are one of the most common repairs and are usually VERY simple and relatively quick repairs when done correctly. Open seams are fixed with melted hide glue, an extremely strong and water-soluble substance that allows for instruments to be easily taken apart and put back together. Hide glue can set in as few as 4 hours, although leaving clamps on for 24 hours is pretty standard. The only time open seams can be a problem is if they’ve been open a very long time in intemperate conditions that may have caused the wood to warp. Warped wood can be a problem if the plates/ribs no longer fit together well or there’s a stress point at the seam wanted to pull itself open again. Still, even a warped open seam is repairable, just may require the face or back of the instrument to be removed and reglued.
• Crack in the Face: Cracks in the face, back, or ribs of a violin can be more serious than an open seam. Like a broken arm, a crack may be an incomplete fracture or a complete break/crack through the wood. Either way, cracks can be delicately filled or glued/clamped back together with special clamps that arch across the top or back of the instrument.
• Cracked Scrollbox: Here’s a fairly common and frustrating malady. The pegs, which are held in place by friction in the scrollbox/pegbox can put so much pressure on the scrollbox (especially if pushed or forced in too hard), that the wood can crack on the edge of hole the peg fits in. It’s a challenging spot to glue because it’s such a stress point. If glueing or splinting the scrollbox doesn’t hold, the entire neck and scroll may need to be replaced.
• Loose or Detached Fingerboard: A very simple fix. Old glue is removed or scraped off and the fingerboard is reset in place with hide glue.
• Cracked Chinrest: Depending on the location of the crack, the chinrest can either be glued and sanded so the crack is nearly invisible, or if the crack is around the brackets at a stress point, the chinrest can easily be replaced.
• Scratches: Scratches can be either buffed out, touched up with a matching varnish color, or filled with wood filler or clear coat. Fine scratches are very easy to buff out with micromesh or pumice/rottenstone polishing powders mixed with paraffin oil on a soft cloth.
• Chipped Corners/Edges: If the wood chip or corner isn’t lost, it can easily be glued back in place. If the piece is lost, a new piece of wood could be carved or shaped to replace it. If the chip, gouge, or hole is small, wood filler could also be used to fill in the gap. Gouges or chips in ebony surfaced can actually be filled with ebony dust mixed with a clear glue, then carved and sanded until level and smooth.
• Warped Bridges: Especially in humid conditions, bridges warp over time from the pressure of the strings forcing down on them. Tuning strings over time also pulls the bridge forward (towards your face as you hold it in playing position). It’s important to occasionally eyeball your bridge from the side and pull it back to standing perpendicular to the instrument face. Warped bridges can actually be boiled, pressed, flattened, and dried back into shape, but replacing the bridge is usually the simple and affordable fix.
• Nut with Grooves Too Deep/Wide: Nuts, the small, shaped block of ebony with four string grooves at the top of the fingerboard, are easy to recarve, remove, raise, or replace if necessary. Sometimes the grooves in the nut get too deep after rough strings saw across them over time. If the strings are too low you may end up with strings buzzing against the fingerboard. This is a quick and easy fix.

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If you have any questions about your instrument’s playability, even if it’s not a Kennedy Violins instrument, feel free to call us at 1-800-779-0242 with your questions! We are always happy to help you identify and necessary repairs to your instrument or recommend an upgrade to one of our Kennedy Violins violas, cellos, and violins. And with our lifetime warranty, we can promise you any maintenance necessary to make your instrument last for years to come!

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Are you the type to be discouraged or inspired by great performers?

It seems there are two kinds of people in the world: those who react positively and those who react negatively in the presence of someone who is “better” at something than they are.

For example, while observing a successful performer having accomplished a specific task, individual A might

1. be discouraged and tempted to throw in the towel.
2. think or say something something like, “I’ll never be that good, so why bother?”
3. believe the performer is showing them up.
4. feel envy, jealousy, or enmity towards the performer.
5. be hesitant to share his/her “lesser” talents with others in the future.

On the other hand, individual B might

1. be inspired and encouraged.
2. think or say something like, “That was incredible. What can I do to find similar success?”
3. believe in the performer’s good intentions to share a positive achievement.
4. feel gratitude and admiration for the performer.
5. be excited to improve and share his/her talents with others in the future.

As a musician, do you find yourself more like individual A or B? When you see a great musical performance, are you inspired and encouraged to practice and improve, or are you tempted to give up?

Having a positive attitude about playing music is incredibly important to your success as an artist. Sure, we all have our frustrating days. Like when no matter how much you’ve practiced, you just can’t seem to get that tricky phrase down. Or you’ve spent months or years working on a piece to perform in a competition to discover one of your peers has smoked you on the same number and beat you out. There may be days when your teacher seems disappointed by your lack of progress, or your technical weaknesses may seem too challenging to overcome.

But music and playing your instrument aren’t meant to be torture, and practice shouldn’t be depressing. If you find yourself feeling discouraged about your progress as a musician, try taking some time to reflect on a few of these questions:

• Why do you play your instrument?
• How does music enrich your life?
• How does music enrich others’ lives?
• What are your greatest strengths as a musician?
• What are areas where you can improve?
• Who are musicians and performers who inspire you?
• What do you hope to accomplish as a musician?
• Do you love what you do?
• Do you like practicing? Or do you hate it?
• Do you set realistic goals for yourself?
• Are you investing the time and effort required to meet your goals?
• What motivates you as a musician?

I often think of a story my husband shared with me from his teenage years when he worked doing construction and remodeling. He worked with many foreign immigrants who struggled to make ends meet. Once, when driving around a beautiful neighborhood of large and impressive homes, one of his coworkers, Hugo, an older man with a difficult life, gazed at the beautiful homes and said, “Aren’t you so happy for these people? I am so happy for them. Look at the beautiful homes and lives they enjoy.” Hugo rejoiced in the successes of others, knowing that even if he never had the riches or talents or beautiful things they did, he could still be happy that someone could have them, if not him.

So even if you don’t perform solo at Carnegie hall or fight back a slew of fans dying for your autograph or sound like Joshua Bell, don’t be discouraged. No matter what level of performance you’re at, remember that there is no “perfection” in the world of musicianship. Be grateful for role models and teachers who inspire. We, including them, are all students, no matter our age, striving to create something meaningful through our art. We constantly improve in a never-ending effort to become a little better at what we do while enriching the lives of others (and ourselves) in the process. So don’t give up. Enjoy the journey, and let yourself be inspired!

Continue reading »]]> This past Sunday, April 22, the Oregon Cello Society held their annual scholarship auditions.  The auditions were open to students in Oregon and SW Washington.  The OCS auditions have several divisions and levels for students to participate in with awards at each level.  The major award that the students were vying for was the Bud Armstrong Scholarship in the amount of $500.

This year, through the OCS auditions, Kennedy Violins awarded Hannah Burke, a talented young student, a Prodigy Coda Bow.  Hannah is 11 years old and studies with Nancy Ives of the Oregon Symphony.  We know that equipped with the new bow she will progress and continue to be successful in her cello studies.

For more information about the Oregon Cello Society and its scholarship auditions, check out their website or you can contact Valdine Mishkin (valdinemishkin@gmail.com).

Continue reading »]]> So you’re at Grandpa’s house helping him clean out his attic.  While cleaning, you stumble across a dusty trunk and inside you find some old books, a quilt, and a violin.  At first, it doesn’t look like much, the bridge is missing and who knows the last time the strings were changes.  But wait!  Something catches your eye inside the f-hole.  You take a closer look and see, “Antonius Stradivarius, Cremonenfis, Faciebat Anno 17XX” along with a symbol of an A and an S enclosed in a circle.  That name, “Stradivarius,” isn’t that the one you hear on the news or read about online when a violin is worth millions of dollars.  Your heart starts beating faster and you immediately begin planning out how many yachts that you will be buying….STOP!  Take a breath and read on.

Label from a Stradivarius Violin Copy

Yes, it is true that a genuine Stradivarius violin, or Strad, can be worth millions of dollars, but that is only if it’s genuine.  The reality is that there are only about 500 genuine Strads in existence today (depending on who you ask) and they are all pretty much accounted for.  There are millions copies out there and some date back to the time when Antonio Stradivari was alive.  So how do you know if what you have found is the real deal?

Copy of a Stradivarius Violin from the late 19th Century

The best thing for you to do in this situation is to take it to a reputable violin maker/dealer for an appraisal.  Most places will do this for free.  It’s important to go in with realistic expectations.  There were thousands and thousands of Strad copies manufactured during the late 19th century and on into the mid 20th century which means that you have a 99.997% chance that your “Strad” is a copy.

1903 Sears Catalog Listing for a "Genuine Stradivarius"

Strad copies from this time are not worthless though.  Monetarily speaking, if there aren’t any major repairs needed, most are worth $100-$300 (or more if they were well taken care of).  If there are repairs needed, however, the cost to repair the violin could easily override the potential value.  Whether or not you repaired the violin would be up to you.  If money isn’t important to you, why not use this serendipitous find as your chance to start learning how to play the violin?  Or, it could be a gift for another friend or relative wanting to play.  Besides, there is always the sentimental value that is  attached with heirlooms and that is priceless.

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photo by schleikmeister

Studies show that amongst a general list of “greatest fears,” there’s one in particular that consistently takes the cake. Surpassing a fear of spiders, heights, and even death, the act of public speaking (or performance) leaves most people shaking in their boots.

“So, you’re telling me that at a funeral, most people would rather be the guy in the coffin than have to stand up and give a eulogy,” says Jerry Seinfeld.

Exactly.

So what is it about performing for a crowd that makes us so nervous we physically react? Shaking hands, dry mouth, stomach butterflies, sweating, an increased heart rate, the rush of adrenaline. You would think this fight-or-flight reaction would be in response to a rhinoceros threatening to run you down.

And yet, instead, all you’ll find is a group of strangers, colleagues, family, friends, and even your sweet grandmother happily anticipating your rendition of “Vocalise.” And check this out: 99% of them (unless you have very evil friends), are hoping–and knowing–you’ll succeed. No one wants you to see you fail.

The most common reasons for stage fright are a fear of failure or criticism, uncertainty, self-consciousness, and social phobia. Trouble is, most of us deal with some combination of these fears, desperately hoping to impress or please the people around us–strangers or not.

So while it may take a little more to cure you of your fear of failure (you might also try a few hundred hours of counseling), here are a few tips to battle stage fright and have a truly exceptional–and even rewarding!–performance.

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1. Prepare and Practice.

If you’re afraid of biffing that difficult cadenza, don’t avoid it; instead, face it. Practice the most difficult passages to a point where you don’t worry about them anymore. There’s nothing worse than walking on stage knowing you aren’t prepared. You’d be setting yourself up for failure, which is the root fear that causes stage fright.

2. Be Confident.

Easier said than done, right? But seriously, give yourself some credit! Embrace your ego and let yourself feel strong and capable–because you are. Hours and hours and years of years of your hard work and experience have prepared you for success in this moment. Take pride in the skills you have. Be empowered.

3. Remember, No One’s Perfect.

In fact, the majority of the people in your audience probably have zero experience with your instrument. Some have maybe never touched a violin, viola, cello, or bass in their life. So if you’re fretting over your vibrato in that one phrase being less than perfect, remember that there are people in the audience who don’t even know what vibrato is. It’s like picturing the audience in their underwear as if you have something going for you that they don’t. Truth is, you do.

4. Don’t Dwell on Mistakes.

Along with remembering that no one is perfect, keep in mind that that includes yourself. Everyone makes mistakes. The “perfect” performance doesn’t exist. So if you stumble a little, don’t just stop and give up or stew over what just happened. Instantly move on and get back to the music. Dwelling on your mistakes will lead to making even more mistakes because you’ve lost focus. And speaking of focus . . .

5. Focus.

In the performance setting, there are a lot of details to distract you from the task at hand: the lighting, who’s out in the audience, your accompanist’s polka dot tie. Tune all of it out and focus on what you’ve practiced. There will be time to talk to that cute guy or girl in the audience after you’ve taken your bows.

6. Perform Before You Perform.

Don’t let your big performance be the first time you’ve played for anyone besides your teacher. Take every opportunity possible to play your repertoire before the scheduled performance date. Play for your friends, spouse, family, strangers, or even your cat. Schedule a small house concert or go play on a street corner if you have to.

7. Dress Comfortably.

What to wear might be a concern before your performance, but once you’re actually playing, it shouldn’t be. Avoid tight corsets, uncomfortable shoes, strangling neckties, or hot tuxedos. Some people even perform barefoot! Just make sure your clothing doesn’t distract from your focus while you play. Try on and practice your program in your performance-wear beforehand to be sure shifting, moving, or breathing isn’t more difficult than it needs to be.

8. Relax.

I remember before playing a house concert once, I went to the back room and screamed my lungs out to relieve my nerves. Do something to get the adrenaline out of your system: jump up and down, run in a few circles, shake out your limbs. And once you’ve done that, calm yourself down. Deep, slow breathing and some stretching also helps release the tension that’s been building up in anticipation of your performance.

9. Be Familiar with the Venue.

If at all possible, run through your program at least once in the recital hall, auditorium, or performance space where you’ll be playing. You don’t want any surprises on performance day, like blinding stage lights, no piano for your accompanist, or weird acoustics that throw you off.

10. Enjoy Yourself.

Remind yourself why you love music and what this is all about. Then go ahead and let yourself go. Enjoy the spotlight and the support of your audience. Have a good time! After all, isn’t that what’s it’s all about?

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Einstein: Obsessive Physicist

The successful theoretical chemist Henry Eyring once said to his son while working on complex mathematical equation, “We were working a problem just like this a week ago. You don’t seem to understand it much better. Isn’t this what you think about all the time?”

As the young man responded negatively, his father asked, “When you walk down the street, when you’re in the shower, when you don’t have to be thinking about anything else, isn’t this what you think about?”

Again, negative. The boy didn’t think about complex mathematics and physics in his spare time. His father, who had hoped all of his children would become successful scientists then said, “Hal, I think you’d better get out of physics. You ought to find something that you love so much that when you don’t have to think about anything, that’s what you think about.”

“Obsession”: A Bad Word?

In today’s world, the word “obsession” has been increasingly weighed down with negative connotations. When you think of an obsessed individual, you may picture a boy playing video games 18 hours per day, a woman who has spent $12 million on plastic surgery, or someone who washes their hands 100 times a day. You may view the characteristic of obsessiveness as a psychological disorder worth treating, avoiding, and fearing.

In truth, however, most of the greatest contributions to the society of man have been made by artists, scientists, inventors, mathematicians, writers, entrepreneuers, business professionals, and the like who have achieved greatness as a result of what may be labeled today as “unhealthy obsessive behavior.” The greatest classical composers and performers are those who have given their entire lives to their art. Thousands of hours of passionate thought and practice have led these self-made prodigies to such levels of success.

Einstein: The Passionate Violinist

Practice: Pleasure or Torture?

I remember as a student in my university’s school of music that I struggled to practice my bass three hours a day based on the curriculum requirement. Over time, I began to dread practicing, gazing out the window of my tiny practice room wishing to be anywhere else or doing anything else. Preferably, I would rather be hanging out with my friends, writing (my “other” passion), or playing and writing songs on the guitar.

As I showed up at my weekly lesson with my bass professor, he sensed my weariness and began to probe me with questions, like the scientist had his son. He wanted to find out how passionate I was about playing the bass, if it was something I truly loved to do, and if I dreamed and ate and breathed “bass” all the time.

Practice, of course, isn’t always “fun,” he said, but he wondered if I had the internal direction or desire I’d need to become the player he hoped I’d become. He asked if I loved to practice as much as he did when he was in school, painting a portrait of himself as a young student (with hair back then) who just couldn’t get enough of anything related to the bass. I just didn’t. I expressed to him my conflicting interests in other things, especially writing, and after some thought, he very sadly, but genuinely proposed that I reconsider my choice to major in music, encouraging me to do what I was most passionate about.

Well, I did finish my music degree and still perform classically. But I also endured a fifth year of college to complete an English minor and take as many writing classes as I could. And since I graduated, I admit, I’ve spent much, much more time writing that I have practicing. And while I feel most myself when I’m playing classical music and take every gig I can get, it’s writing that I think about in my spare time, when I shower, and when I walk down the street.

Embracing Your Obsessions

The word “obsession” and the word “passion” are practically synonymous. But notice when someone says, “I have a passion for music,” it doesn’t sound like a psychological disorder, but  like a wonderful thing—and it is! In order to become a truly great musician, yes, you have to practice your brains out, but you also have to love it enough to practice your brains out when you could be doing other things. You’ll find yourself practicing and listening to classical music because you truly, deeply, love it to the point of obsession.

Allowing yourself to embrace your passions and be “obsessed” with what you love takes a lot of courage. It means setting aside other activities you may enjoy doing to do what you love doing even more. It means letting yourself be crazy enough to spend hours at a time learning or creating something that thrills you to no end. It means doing something you feel you “shouldn’t” be doing if you were a rational person.

So no matter what you’re passionate about, whether it be your violin, your children, or the novel on your nightstand, don’t be afraid—for once in your life—to be a little obsessed. Live a little. Be a little crazy. You may be surprised to see how far it takes you.

Continue reading »]]> Welcome to Part 2 of Instrument Care and Maintenance! If you missed Part 1, read it here. This time we’ll discuss some routine maintenance that is necessary for keeping your instrument in top condition.

Bow Hair – The hair on the bow needs to be replaced regularly. If you are unsure of how often to have the hair changed, it is best to consult your teacher to see what they recommend. Most students need to have their bow rehaired every six months to one year. Under extrememly heavy use, the bow will need to be rehaired more frequently.

Strings – Over time, any brand or quality of strings will gradually lose their quality of tone and quick, sensitive response. Since these changes happen slowly, many players many not notice them take place. If you’re unsure of whether your strings need to be replaced or not, it is best to ask your teacher or instrument dealer. When replacing strings, it is best to replace the entire set, rather than only part of the strings. This will ensure the most evenness in response and tone. It is a good idea to save the most recent older set of strings to use as an emergency backup set. The time between changing strings depends greatly upon the type used, the playing style, and how long the strings have been played.

Case – It is normal for the instrument case or bag to accumulate some amount of wear and tear. Since the case is designed to protect the instrument, it is important to inspect it regularly and to make sure it is still in good enough shape to continue protecting your instrument. The case handles, straps, latches, and zippers should be checked often, and replaced if necessary. After several years is it often necessary to replace the case or bag.

Bridge – The bridge often needs to be replaced several years after the purchase. This part of the stringed instrument is under a great deal of pressure when the instrument is under tension. The bridge can often bend or warp. If this happens, the bridge can be replaced by a qualified luthier. If you happen to move to a new area, the climate changes can usually cause the wood of the whole instrument to shift and change somewhat. This makes a whole new setup and some important adjustments necessary. In certain parts of the country, the seasonal climate changes can make it necessary to have two or three different bridges that are switched out during different times of the year.

General Setup – It is always a good idea to take your instrument to a qualified luthier every few years to have it inspected and readjusted if necessary, similarly to having a car tuneup. You will get the most enjoyment and best performance out of your instrument if it is kept in top conidition. If you have any questions or need more specific advice on care and maintenance, feel free to contact the Kennedy Violins staff.

Continue reading »]]> Maybe you’ve seen it before. You’re at a symphony concert in your best evening wear to find yourself seated next to an obvious newcomer. The lights dim, but a glow next to you reveals your friendly neighbor whipping his phone out from the pocket of his oh-so-fashionably torn jeans. After a storm of texting, he answers a call during the first movement of Elgar’s Enigma Variations, leaning over to you, mid-call, to ask for a piece of gum. The movement concludes, but not knowing the piece is entirely over, your neighbor bursts into applause just as the conductor is about to begin the second movement. And just when you think you might settle into the peace of the evening’s repertoire, he stands up in the middle of the piece, edging through the aisle and loudly saying, “Sorry, when you gotta go, you gotta go!”

Well. We’re all newcomers to the classical music scene at some point in our lives. So if you’ve wondered what to wear or when to clap, here are a few etiquette tips when attending a classical performance, be it a solo recital, symphony concert, quartet salon, or the like.

1. Dress appropriately. As public events become more and more casual, symphony halls may be one of the few venues around where a higher standard of dress is not only welcome, but encouraged. As a general rule, avoid jeans and tennis shoes. Collared shirts for men are appropriate, as are skirts, dresses, or nice pants for women. Dress as if your grandmother were your date for the evening–and she never leaves home with a run in her stockings.

2. Be punctual. There’s no sneaking into a classical concert during the first piece if you’re late. If you are, many venues may even ask you to remain in the lobby until intermission. If you’re lucky, you may be able to sneak in between pieces, but not movements. Keep in mind that classical concerts may only have 2-4 pieces on the program (with multiple movements), so if you are late, you could end up missing out on a sizeable chunk of music. Try to be in your seat about 15 minutes prior to the concert starting.

3. Applaud when appropriate. Unlike during jazz or rock concerts when applause and shouting are welcome as the music is going on, applause at a classical concert is reserved for when

• a) the conductor enters,
• b) the conductor or announcer speaks or thanks patrons,
• c) an entire piece concludes (not a single movement),
• d) a soloist enters the stage, and
• e) a concert concludes.

4. Know when to make your escape. If you must use the restroom, try your best to hold out until intermission. And even if you find the concert a little tiresome, try not to leave at intermission unless you must. Don’t stand up to exit mid-music or even during the silence between pieces or movements. An important element of classical concerts is each individual’s effort to preserve a quiet, peaceful atmosphere for everyone’s enjoyment, so avoid doing anything that will draw attention to yourself.

5. Don’t talk, whistle, or whoop. Save the commentary for your friend/date/mom for intermission. A quick, “That was beautiful!” to your pal during applause is passable, but keep quiet during the performance. And unlike at other types of concerts, whistling and whooping for performers during applause isn’t appropriate in a symphony hall. If you really like the music, feel free to give a standing ovation instead of offering your best cat-calls.

6. No munching. As tempting as it may be to sneak out that crinkly, cellophane-wrapped chocolate bar, next time leave the snacks at home. Don’t even chew gum (or blow bubbles!) Some venues offer refreshments during intermission or following the concert, but hold out during the actual performance. The one exception? Cough drops! We can excuse one wrapper opening if it means saving your neighbors from a cacophony of coughs.

7. Turn off the phone. Don’t even put it on vibrate. Classical music has its quiet moments when even the scuffle of a shoe, the scratch of a head, or the buzz of a phone can be heard clearly. Let the music speak for itself without interruption.

8. Lastly, relax! Okay, maybe you’re getting the impression that classical concerts are only for the uptight and unforgiving. No way! Mind your manners, but enjoy yourself! After all, that’s what it’s all about.

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Photo by Alex E. Proimos

You’re in your car, stopped at an intersection, and glance over to see a young, beautiful teenage couple in a red convertible, laughing, smiling, and presumably taunting you with their youthful future of endless possibilities. In your minivan, now with 299,000 miles on it, you brush the stale crumbs off the passenger seat, glance in the rearview mirror to find a few more gray hairs, and think, “Has life passed me by?”

Too often in my conversations with others, I hear, “I wish I had learned an instrument when I was younger,” “I always wanted to play the violin,” or, “I wish I were musically talented.” Well, for one, as we have established in previous posts, good musicianship has more to do with practice than innate talent. And here’s the other half of the story–the big secret if you will: you’re never too old to become a musician. You may think you can’t teach an old dog new tricks, but it’s far from impossible.

We’ve all heard of virtuosic performers who started playing before they could even tie their shoes or read. Joshua Bell started violin lessons at age four. Yo-Yo Ma similarly started on the cello at age four, but only after he studied violin and viola for a time. Hilary Hahn began violin one month before her fourth birthday. So it seems that four years old is the magic number to begin playing. But is that really true? If we didn’t start learning at age four, is it not even worth trying?

Answer: ABSOLUTELY NOT

There are plenty of professional musicians who picked up their instruments later in life. But keep in mind that you don’t have to be a professional to enjoy music as an important part of your personal development.

Photo by Dierk Schaefer

Plenty of research supports the benefits of not only listening to, but playing and practicing music as nourishment for the mind and body. Playing music releases stress, rejuvenates and excites unused areas of the brain, and boosts confidence and one’s sense of accomplishment. There are plenty of reasons to play music beyond cashing a check or autographing programs at intermission.

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For adults learning music for the first time, here are a few pointers to remember as you pick up a new instrument:

1. Methods for teaching children are not the same as methods to teach adults. For children, whose gelatinous brains are still growing, musical connections are often formed from scratch in their developing minds. For adults, we use the brain power and synaptic connections we already have to understand new concepts. So if you’re an adult returning to an instrument you played as a child, you may approach it differently this time around.

2. Practice is necessary. Your mom isn’t going to ground if you if you don’t practice or take away your iPhone until you perfect that movement. Simply reading about or watching YouTube videos about your instrument won’t do the trick either. Without that “adult figure” to push you along, adults often don’t take the initiative to practice as often as children do. They don’t attend music classes at school everyday or have the external discipline or academic requirements that demand so many minutes or hours of practice per week. So be sure to set some goals and give yourself a little time to step away from the demands of your day to enjoy a little bonding time with your instrument.

3. Be patient with yourself. Even for children, it takes years and years before sounding “good,” especially on a stringed instrument. Don’t give up if you don’t sound like Itzhak Perhlman after two private lessons or a few afternoons of practice. Relax and enjoy the learning experience, keeping realistic expectations for yourself.

4. Learn some theory. If you don’t read music, don’t be overwhelmed by the prospect! Learning to read the musical staff is similar to learning a foreign language. Challenging, perhaps, but very worthwhile! Consider music theory and the musical staff to be your building blocks for your musical foundation.

5. Find a teacher. Trying to learn an instrument by yourself and without guidance quickly leads to frustration and quitting. Find a teacher, friend, or mentor who will encourage your progress and provide you with the technique necessary for success.

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Now that you’re ready to finally embrace that long-lost dream to pick up an instrument, give us a call! At Kennedy Violins, we are always happy to help. From finding the right instrument for you to learning the basics of rosining a bow to choosing accessories, we are here for you. And as you progress, let us know how it’s going!