Click on the image above to watch this performance and testimonial.
The Grossman Method© Newsletter

Welcome to the Fall 2016 Newsletter!

It’s been a busy and exciting summer for The Grossman Method© and we are already gearing up for an active fall season.  Festival workshop highlights included events in Virginia, Massachusetts, Washington, Oklahoma and Bloomington, IN.  It was amazing to be part of the String Academy at Indiana University and special thanks to Mimi Zweig, Brenda Brenner, and Rebecca Henry for participating in and encouraging the workshops for both the String Academy students and the professional Violin and Viola Teachers Retreat.  If you want to see pictures, you can find them

This year I will be embarking on an e-book of The Grossman Method©.  I’ve completed a lot of research and feel ready and excited to start the process of bringing the Method© to life.  But I need your help.  If you have any suggestions, comments, thoughts about e-book platforms, pros and cons of e-books over print books, please let me know
HERE  I welcome your input!

This summer I was interviewed by Patrick Peralta from Baldwin Wallace Conservatory. Patrick, who is a guitar major at BW, was part of the Summer Scholars program at BW and he was doing research entitled "Developing Pedagogic Approaches For Guitar Based on Well-Established Violinist Traditions".  Patrick was a participant in the No Pain, ALL GAIN workshop at Baldwin Wallace last spring and I was honored to lend input to his work.  With his permission, I have included part of that interview for you:

PP: In your own work on string player wellness, have you ever worked with classical guitarists? If so, what are stretches/techniques that work the best for the issues that they face? 
GM:Yes. The stretches for the hands, forearms (flexors and extensors), upper back, shoulders, oblique’s, core and some chest openers in my workshop (and some are on website) are helpful.
PP: What advice do you have for guitarists on seating, based on work with cellists and other string players in an orchestral setting? 
GM:Find the sitz bones! It’s the foundation for spinal alignment when sitting by balancing the sides of the body and maintaining a healthy pelvic tilt.  Also be sure that the feet are well placed on the ground (or on the foot rest, if applicable).
PP: As a teacher, are there any common practice/performance habits that you find should be discouraged in students in order to avoid injury? Any that should be encouraged for the best results?
GM:This is an excellent question and multi-layered. In violinists, there is a tendency to hold the violin in a vise-grip between the chin and shoulder.  Teachers and players alike need to realize that the violin should move when playing and not be held in a locked position.
I encourage my students to incorporate breathing into their practicing.  It can help with all aspects of performance including performance anxiety, phrasing, as well as with the movement of the arms. 
Have a great fall everyone!

Hal Grossman
Ask the Teacher

A viola student in Washington asks:
How do I know if I’m talented enough?
Answer from: 

Alex Ezerman
Associate Professor of Cello
University of North Carolina-Greensboro
 Do Prodigies have a Sixth Sense?
In kindergarten, we are all taught about the five senses, but there is a sixth sense that is of particular importance to string players. Proprioception is the sense of where our body parts are in space, and the force that they are applying. When we think of “physical talent” it seems mysterious – why can the rare individual learn an instrument so quickly? It seems almost supernatural. The secret is their excellent proprioception. Think how easy it would be to learn a string instrument if you could perfectly recreate a motion, find a location in space after only a few attempts, or if you were acutely aware of tension, and sought to avoid it right from the beginning. Of course, most of us are not gifted in this way. Or are we?
Our senses are not fixed attributes; they can be changed, trained and radically improved through deliberate practice. Think of the sense of touch developed to read braille, or the heightened color awareness of artists, and of course the way that musicians develop and refine their ability to listen!
So how do we train our proprioception? It starts with awareness; simply reframing it as a discrete sense that can be improved begins the process. You are no longer practicing an instrument; you are practicing feeling what your body is doing. Instead of hitting a shift, you are remembering what it feels like to have your arm in that location. When you draw the bow, you are tuning in to the grace and smoothness of an effortless movement. Away from the instrument, practice recalling the physical sensation of playing as specifically as you can. The key is where you place your attention. When you cultivate an open and relaxed awareness of feeling, instead of a laser focus on doing, you are improving your proprioception.
Upcoming Workshops & Events
Click on the links below for details!

Sept 29, 2016
Recital, Workshop & Master Class
Miami University
Oxford, OH

Sept 30-Oct 2, 2016

Recital, Workshop, Master Class
Bowling Green State University
Bowling Greene, OH

Oct 3, 2016

Oberlin Conservatory of Music
Oberlin, OH

Oct 15, 2016

Film Row
Oklahoma City, OK

Oct 19-23, 2016

Concerto Soloist, Workshop, Master Class
Nevada School of the Arts
Las Vegas, NV

Nov 11, 2016

Recital with Dr. Penny Kruse, violin
University of Oklahoma
Norman, OK

Dates are subject to change. Message me HERE to confirm!

Featured Stretch

Violin Brain Breaks

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Click here to chat live with Hal Grossman about all your somatic questions and concerns!
Video Disclaimer
Please consult with your physician before beginning this or any exercise program. Exercise at your own risk. If you feel any discomfort, please stop immediately and consult with your physician. The GrossmanMethod, LLC, accepts no liability for injuries from this or any of The Grossman Method© videos. TheGrossman Method, LLC, makes no representations or warranties concerning any usage of the information offered here and will not be liable for any direct, indirect, consequential, special, exemplary, or other losses or damages that may result. Reliance on any information appearing on this site or from me is strictly at your own risk