Dominick Moio is a lecturer in the Jazz Studies program at Arizona State University’s Herberger Institute for Design and the Arts, with a career of more than 50 years teaching.
Here is some advice for cello students coming from one of the most suitable people: Jo Cole (Head of Strings at the Royal Academy of Music in London).
Jo Cole’s Advice for Cello Students Open »
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Separating the Art from the Craft Open »
Cynthia Yeh (Chicago Symphony) has a wealth of experience in auditions and as principal percussion in her orchestra, so she shares some tips here.
Orchestra Experience and Audition Tips by Cynthia Yeh Open »
Performing a concerto with orchestra requires a different skill-set than that normally employed by an orchestral musician, especially a bassoonist. Whereas an orchestral bassoonist will typically carry a prominent musical line for a short time, a bassoon soloist carries most of the thematic material for the concerto’s duration. This requires a deeper dive into a piece’s innerworkings. For my debut concerto as Principal Bassoon of the Atlanta Symphony Orchestra, I not only faced the typical challenges associated with soloing with an orchestra. I also met hurdles like repertoire changes, shortened timelines for preparation, decision-making processes about errata and interpretations, and new parameters for performance, all while navigating an unfamiliar landscape due to the raging COVID-19 pandemic. What I learned in this process enabled me to not only deliver a successful performance of the Hertel Concerto in A minor for Bassoon, but also prepared me for what challenges lie ahead the next time I’m called upon to step to the front of the stage.
Francisco Fullana serves as Chamber Music Director at the Classical Music Institute in San Antonio, an exciting project that he talks about in this conversation.
Francisco Fullana & the Classical Music Institute in San Antonio Open »
The practice of buzzing has become a divisive pedagogical practice in the brass world. One side, the “pro-buzzing” community, argues that buzzing on the mouthpiece away from the instrument can help players improve intonation and lip vibration. The “anti-buzzing” group believes that buzzing is potentially harmful, encouraging bad habits that will manifest when the player introduces the actual instrument.
To Buzz or Not to Buzz — That Is Not the Only Question Open »
We interviewed French guitarist and composer Damien Aribert, a pupil of Emmanuel Rossfelder who teaches in Normandy. Within this interview, he discussed his teaching philosophy and compositions.
Damien Aribert: “The Teacher’s Role Is to Guide and Explain” Open »
Restricted access This content is exclusive to members of the International Journal of Music. Join now for as low as $1.67 per month… …or get
Viola Fluency: Milena’s Practice Tips Open »
Jeremy Wilson, Associate Professor of Trombone at the Vanderbilt School of Music, discusses early influences and education, his career as a trombonist in the Vienna Philharmonic and Vienna State Opera, his teaching philosophy, tips for preparing a successful audition, new recording projects, and his Body Mind Spirit Workshops.
