Adam

"Emma was overwhelmed by her first lesson with you Adam. What can I say." Zoila Pitcher, Tunbridge Wells

Based in East Sussex and hailing from the Grampian Highlands, Adam is a highly regarded Violin, Viola and Celtic fiddle tutor whose students come from all walks of life. Some are teachers themselves and have perhaps played an instrument in the past. Others are absolute beginners and have taken the violin up to develop their creative life and expand their social circle.

All of Adam’s students have benefited from his teaching methods and many have attained high pass levels in examinations. Adam also puts this down also to his background in mental health. He integrates a person centred and reflective approach in his teaching. This has proven to raise students' self awareness and therefore their self-esteem. Adam is also an accomplished classical, Celtic fiddle, rock and impro violin performer.

Adam is a direct descendant of the 18th century Scottish composer and fiddler William Marshall who is credited as creating ‘the first Strathspeys of the age’. Adam’s mixed Basque and Austro-Hungarian lineage has given him a natural affinity with both traditional and classical violin music.

After completing his studies at College, Adam took masterclasses with International soloist and Menuhin student Leland Chen who was to have a considerable influence on his own playing. At these classes, Adam played Beethoven's Spring Sonata and the virtuoso work Legende by Wieniawski. Other tutors included Professor Gillian Findlay of Trinity College and briefly Angus Ramsey of Scottish Opera.

Adam was one of the last people to pass the ALCM in violin teaching exam in its tougher format before it became a stipulation for potential candidates to carry a performer's qualification. He also carries a pass in Grade 8 music theory. Last but not least Adam has a performer's Diploma and is hoping to complete a post grad at the RCM.

Adam uses a reflective and student-centred approach in his teaching. He feels that this raises students' self-awareness and therefore all round self-esteem. Adam also practises mindfulness and uses this in his Strings for All workshops.

As a performer Adam has played with many local orchestras including the GCO and Concordia Strings where he led sections, particularly during crucial rehearsals. Adam has also performed with the Aberdeen Chamber Orchestra for a number of concert seasons and is in regular touch with the Scottish Chamber Orchestra during their workshop seasons. Adam was also half of the highly successful Palm Court duo-Take Two.

Tutoring Experience

I have had the utmost pleasure tutoring for a number of years. Schools all over Sussex and Kent.
Adults and children alike. Online and one to one from complete beginners to beyond grade 8.

I also tutor Music Theory to grade 8 and piano, and have founded and developed the Strings for All technique and workshops.

My students consistently pass with high marks and more than often achieve the Scholarship of their dreams from their playing and also from their recommendation from myself.

Tutoring Approach

I have my own unique method which also contains the best of Suzuki and Coloustrings. I also utilise mindfulness and reflective techniques. This aims to raise students' confidence in lessons by increasing their awareness of playing. It is a person-centred approach with a strong emphasis on fun delivered in a kind and gentle manner.

I am keenly aware of how important it is for younger students' attention to be maintained. Because of this, I have created an approach where I can sustain even the youngest student's interest for at least one hour by creating a diverse package of fun and relevant activities.

With very young students I think it's important to place an emphasis on their overall musicality and to encourage singing. Often I find some students are happiest singing nursery rhymes and very simple melodies.

Lastly, I'll gently ask students to play them on the violin. Overall, as Isaac Stern once said, “If we can use one part of the body to produce the sound then it's easier for another. For as we all know, the violin is a lyrical instrument.”

With older students, I often find they are at a level where they are performing a balancing act. They are learning pieces that require accuracy at all levels. A good sense of rhythm, intonation and dynamics are a must. After this, I encourage them to sing or hum all their pieces with ALL the detail or as much as possible.

By doing this, they are less likely to miss something when they play it. How do I know this works? It works for me when I learn new pieces and it has proven to work for students in the past, many of whom have gained merit or distinction passes in exams and received very positive feedback in auditions.

I place a strong emphasis on warm up exercises, good posture, relaxation and a supple but powerful bowing arm. Many of my students will tell you that I encourage them to practice on open strings with an emphasis on creating a musical line through a highly developed legato technique. They will also explain to you that very slow scale practice is paramount for developing good intonation and a firm yet warm tone.”