Christian Howes

ASTA Speech

2026-03-05T22:47:33Z

American String Teachers Association Artist teacher Award

I was honored by my colleagues in the American String teachers Association this year with the prestigious Artist Teacher award. The same award given to luminaries including Midori and Itzhak Perlman, there is no more prestigious award given.

Now that the occasion has come and gone, there are a few things I could say about this award.

Leading up to the award, I had been considering ways that I might pivot in my career. The work is hard. Maybe I could do some thing that would just feel easier to do. Sometimes it feels frustrating and discouraging to do this work. Also, do I really want to keep doingAlso, do I really want to keep doing one thing or do I want to take the rest of my career and devote it towards other things.

After receiving the award, I feel motivated and inspired to keep going. And I’m sure there are plenty of ways that I can also explore new work at the same. And I’m sure there are plenty of ways that I can also explore new work at the same time. For example, I can mentor youngI can mentor young leaders more in the field coming up behind me. I can get back into more performing composing and producing if I wantI can get back into more performing composing and producing if I want. I can explore doing work throughI can explore doing work through the social impact film that we are releasing this year and see where it takes me. But if anything, I know that I want to keep doing the work of teaching and influencing the culture of our music education community.

Here is the acceptance speech I gave.

Looking around this room, I see extraordinary educators and colleagues. You inspire me, and I’m honored to be among you.

When I was five, my mom — who’s here — sat with me every day and helped me practice Suzuki violin. She and my dad gave up their dreams of singing careers and promised to give me the best musical education they could. Early on, I played to make them proud.

In fourth grade, I played Star Wars for my class — to make my teacher proud.

Later, I practiced harder so the youth orchestra kids from affluent neighborhoods would accept me.

In high school, I joined a rock band — because I wanted the girls and the cool boys to like me.

That experience changed everything. It showed me how much I didn’t understand about music. So I kept entering new musical worlds — Jazz, R&B, Blues, Latin, and Appalachian traditions. Each time, I was humbled… inspired… and confronted again with how much I had to learn.

And each time, I just wanted to be accepted. To be considered worthy of belonging.

25 years ago I thought: maybe I can help musicians like me avoid some of the struggles I encountered venturing into new musical territories. I had a vision to expand the culture of music education — fostering respect for diverse traditions, people, and communities beyond what we typically call “classical training.”

But I underestimated something.

Becoming a teacher would be just as challenging as learning new musical languages.

Teachers were a community I deeply wanted to belong to. I worked to become a better teacher because I wanted the respect of real teachers. And it took a lot of work … for reasons I don’t need to explain to this room.

For much of my life, I chased legitimacy — trying to be an “authentic” jazz player… or fiddler… or teacher… hoping to be accepted.

But in recent years, I realized something:

We can learn new things about music and the world without abandoning who we are.

We don’t need to become someone else.

We need to bring ourselves.

Now, after teaching my own children Suzuki, I’m reminded:

Belonging begins with belonging to yourself.

When we model curiosity, vulnerability, and humanity, we give our students permission to explore new directions, take risks, and grow.

We show them that music is not only about precision — but about connection, identity, and courage.

And we model this when we keep expanding ourselves — even when it means making mistakes and entering unfamiliar territory as beginners again.

Thank you for the work you do.

Thank you for helping students not only learn music…

but find their voice,
their confidence,
and their place in the world.

Thank you.

The post ASTA Speech appeared first on Christian Howes.

How to Play Swing on Violin: Play-Alongs, Bowing Exercises, and Groove Tips (with Videos)

2025-11-04T20:28:41Z

So which is it: the bowing, the articulation, the phrasing, or the timing?
Yes.
Listening, adjusting bowings, and analyzing phrasing and articulation are all helpful in developing your own approach to playing swing feel with a bow. And depending on the tempo, everything can change.

Whether you’re coming from a classical background or diving straight into eclectic styles, studying swing can transform how you approach rhythm and musical expression. Grab your bow and let’s dive in.

Play-Along Playlist: How to Play Swing on Violin or Any Bowed Instrument

Use the arrows on the side of the video frame to switch videos. This playlist includes all three videos in the series. Below is a description of each video. Grab your instrument and play along!

Video 1 — Interactive Play-Along: How to Play Swing on Violin

Play with me! Play swing on violin with this interactive play-along video — perfect for violinists and any bowed instrument players! Whether you’re a beginner or intermediate player, this tutorial walks you through essential bowing techniques with a simple pattern in the G major scale.

You’ll discover different bowing combinations and have a chance to play back along with the demo sections to hear how swing should sound. This is a powerful way to internalize the feel and groove of swing!
Perfect for: violinists, violists, cellists, or anyone looking to explore jazz swing styles on bowed strings.

Video 2 — Call-and-Response Melodies (Play Easy Short Melodies Back to Me)

Play with me! Play swing on violin with this interactive play-along focused on simple, short phrases. Whether you’re just starting or getting back into it, we’ll reinforce bowing combinations, timing, and feel.

You’ll also play easy short melodies back to me so you can check your time, articulation, and swing feel in real time.
Perfect for: violin, viola, and cello — fun for all levels.

Video 3 — Chromatic Exercise + Extended Voicings for Swing Strings

Play with me! We’ll dig into a chromatic exercise to strengthen your ears and fingers, then apply extended voicings so your swing lines sound rich and authentic on violin, viola, cello, or any instrument.

Learn how to connect guide tones with chromatic approach notes and outline extended harmonies while keeping the groove.
Great for: building jazz vocabulary, improving intonation, and unlocking voice leading across positions.

What Makes Swing Bowing So Special?

Swing bowing is a rhythmic conversation that makes people tap their feet and smile. You’re not only playing notes; you’re shaping time, accents, and space within many possibilities of each phrase and sub-phrase (which is similar to how we approach Bach or fiddle tunes, or melodies in any style for that matter.).

In this series we bring together:

timing and feel
bowings: hooks, slurs, bite, on-the-string articulation
hearing/internalizing swing through play-alongs
voice leading and guide tones
chromaticism and approach tones
call-and-response phrasing
and more

The Foundation: Understanding Swing Feel

Swing isn’t just “long–short” eighths — it’s a steady pulse with subtle placement. Your bow is both rhythm and melody.

Feel the backbeat: count 1-2-3-4, but feel 2 and 4.
Shape notes: some strokes lean forward, others lay back. That ebb-and-flow = swing.
Ask yourself: where do I want this note to land — ahead, behind, or right on the beat? There’s not necessarily one right answer. Some people feel time ahead, in the middle, or in front of the beat. On this medium/slow tempo groove featured in the video I suppose I tend to lay back behind the beat.

Essential Swing Bowing Patterns

Keep the bow on the string).
Separate, slur 2,4, 6, or 8
bite: add a touch of index-finger weight at note starts.
Off-beat ties: let the bow connect across the bar

Play along with the playlist and copy the articulation.

Mastering the Technical Elements

Improvising Bowings

Practice repetitive bow patterns, then improvise with the bow to make them musical.

Experiment with playing ahead, behind, and in the center of the beat using different contact points. This creates natural ebb and flow that keeps your phrases alive.

Instead of lifting the bow often, follow the videos: stay on the string, use hooks and slurs, and adjust based on tempo. Play along with Video 1 to lock in bowing, Video 2 for call-and-response melodies, and Video 3 to connect chromatic lines and extended voice-leading with clean articulation.

Common Mistakes That Kill Your Swing

The Rigid Rhythm Trap

Great swing breathes. Ask: Does this phrase feel good?

Avoid:

mechanical, even accents on every 8th
lifting the bow when it’s not necessary

Fix it fast:

copy the phrasing in the playlist
record yourself and listen back

Essential Practice Exercises

The Metronome Is Your Friend (Sometimes)

Use a metronome to learn patterns, then turn it off and play with humans. Try:

click on 2 and 4 only
click on 1 and 3
no click

Benefits for Both Classical and Jazz Players

For Classical Musicians

If you’re coming from a classical background, learning how to play swing on violin will transform your phrasing and timing. You’ll think beyond notes and into feel, articulation, and placement — skills that boost your classical playing too.

For Jazz and Fiddle Players

These bowing patterns are essential for authentic swing. Without solid articulation and time, even great note choices fall flat. Nail the feel, then layer in licks and lines with confidence.

Taking Your Skills Further

Want real-time feedback and community support? Join our live Zoom classes inside Creative Strings Academy:

Weekly Zoom sessions and replays
all levels and instruments welcome
Supportive community and structured guidance

Join here: https://christianhowes.com/csa/

Grab our free directory of 500+ human play-along videos to supercharge your practice:
free play-along video directory

The post How to Play Swing on Violin: Play-Alongs, Bowing Exercises, and Groove Tips (with Videos) appeared first on Christian Howes.

How to Make a Proper Apology (Template Included)

2025-09-30T17:07:19Z

Whether you’re giving or receiving one, a proper apology can repair trust, ease tension, and move things forward. Yet most people think they’re apologizing when they’re really just defending themselves.

Use the simple template below next time you need to apologize—whether in a work email, to a friend, or at home—and see how it changes everything.

The Apology Template:

Hi (first name),

I want to sincerely apologize. You were right that (whatever occurred occurred), and that was our mistake. We know how important this is, especially after you (were affected in a particular way), and I’m really sorry we let you down.

The (bug, problem, oversight, etc.) is now fixed, so (the problem won’t happen again). Thank you for flagging this and for your patience. I’m tightening my checks to make sure it doesn’t happen again.

Best,
(Your name)

Why This Works:

Takes ownership — no excuses.
Acknowledges the impact on the other person.
Explains what’s fixed (and how it won’t repeat).
Ends with gratitude, not defensiveness.

The Result:

When sending this apology, you are likely to encounter far less, if any, drama. In fact, if anything, you may find that people appreciate and trust you even more after the apology than they did before.

Try it out and let me know how it goes.

The post How to Make a Proper Apology (Template Included) appeared first on Christian Howes.

How to Get Good Amplified Sound on Electric Violin

2025-11-03T23:00:58Z

If you’ve ever shopped for an electric violin kit, added a pickup to your acoustic violin, or experimented with a violin amp, you know how confusing amplified tone can be.

Should you buy a silent violin, such as the Yamaha YEV? Is it better to buy an electric violin kit and amp, or to add a pickup to your favorite acoustic, or go all in with a fretted electric violin? Let’s break it down with help from my friend Matt Bell of the Electric Violin Shop.

Electric Violin Options: Acoustic vs Pickup vs Solid Body

Acoustic + Pickup: Great if you want to keep your main violin but need amplification. Removable violin pickups range from $100–$600, while bridge replacements can run higher.
Silent Violin / Solid Body: Ideal for loud bands, worship teams, or rock shows. A good electric violin like the Yamaha YEV delivers clean tone and resists feedback.
Microphone: Best natural sound, but impractical in noisy environments (drums, amplified bands).

Pro tip: distortion sounds cleaner on a solid-body electric violin than on an acoustic with pickup.

Essential Gear for Electric Violinists

Think of your rig as four parts:

Instrument → acoustic with pickup, silent violin, or solid body.
Effects → delay, reverb, octave, wah, distortion.
Looper (optional) → layer your sound live.
Amplification → a dedicated electric violin amp or PA system.

Players searching for “electric violin and amp” often want a simple all-in-one setup. Start small: violin + pickup or kit, one effect pedal, and a portable amp. Basically, an electric violin kit and amp, including pickups and/or pedals.

Do Pickups Hurt Your Violin?

Some worry that adding a pickup will damage their instrument. In reality: no. A clamp-on pickup might change resonance slightly, but the audience hears what comes out of the amp—not your acoustic sound.

Electric Violin Cost Ranges

Electric Violin Kits: $600–$1,000 (Yamaha silent violins, entry-level electric fiddles).
Professional Electric Violins: $1,500+ (Jordan, NS Design, fretted electric violins).
Pickups: $100–$600.
Amps for Violin: $200–$1,000.

Searching for “electric violin near me” or comparing electric violin shops? Your safest bet is calling a specialist retailer like Electric Violin Shop, musicians who test this gear daily.

The “Cheating” Myth

Classical players sometimes claim electric violinists have it easy. But it’s not easier—it’s just different. The skill shifts from projection to groove, effects, and tone control.

Think of it like acoustic and electric violin being the piano vs. organ: different tools, both legitimate.

Final Thoughts

If you’re just starting, a violin set with a pickup or an entry-level electric violin kit will get you going. Add an electric violin kit and amp, and a couple of effects pedals, and you’ll be performance-ready.

And if you need help? Call the Electric Violin Shop team. They’ll walk you through your options—budget, genre, and performance setting.

Grab more resources and free sheet music at christianhowes.com.

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A Brave New Idea for String Teachers

2025-11-04T02:54:47Z

Rethinking Orchestral Education: A Bold Experiment

I just returned from the Western North Carolina Regional HS Orchestra Festival, where I chaperoned my son, Dalton, through two days of music-making with students from across the state.

He had an incredible experience, and I’m grateful to the teachers who made it happen.

While there, it occurred to me:

What if we tried something different?

A Brave New Idea.

First- Paying Tribute to the Old Idea

As I watched three orchestra concerts during the festival, one thing stood out:

Classical orchestral excellence—done at a high level—is extraordinary.

The music
The discipline
The social experience
The character-building
The pursuit of excellence

It’s transformative.

Some of these kids have been practicing daily since they were three. Like elite athletes, they dedicate themselves to a craft that shapes their lives.

This traditional approach to orchestral training is powerful—and I support it.

And yet…

The Brave New Idea: What If We Did This?

What if orchestra programs took ONE month out of the school year and devoted it entirely to non-traditional orchestral learning?

Or one week out of a month.

Or ten minutes out of each class…

Instead of focusing on classical repertoire, students could explore:

Play-along style teaching
Composition & arranging
Breakout student-led projects
Improvisation for individuals, small and large ensembles.
Non-classical styles (Jazz, Folk, Latin, Pop, R&B, contemporary…)

This isn’t replacing traditional training—it’s about expanding what’s possible.

Why Is This Idea Necessary?

After visiting 1,000+ orchestra classrooms in over 25 years, one thing is clear:

Teachers work incredibly hard.

They manage huge ensembles, limited resources, and demanding performance schedules—all while fostering a love for music.

But there’s one common challenge:

Most orchestra teachers were never trained in improvisation, composition, or contemporary styles.

Without that training, it’s hard to teach confidently—so these ideas get pushed aside or briefly experimented with but never fully integrated.

WHY GO PAST TEACHING PRESCRIBED PARTS?

SEL- mindful and diverse ways of thinking and learning
Represents and prioritizes many cultural forms of music
Relevant- student-directed learning
Foster a lifelong relationship with music
Teach nationally recommended standards
Confidence– Many classical musicians don’t believe they are creative. You can change this limiting belief.
The value of creative skills– Companies hire creative problem-solving candidates (not only based on test scores.)
Functional Musicianship-Your students function in classical situations. Why limit them when you can support their functionality in other styles and capacities.

Who Will Raise Their Hand?

If you’re a teacher, I want to ask:

Who will raise their hand for this idea?

Who wants support in making it happen?

Announcing: the first ever Eclectic Styles Orchestra Teachers Method and Cohort

This fall I will support a group of teachers by providing the following:

Sequential curriculum and lesson plans in eclectic styles, harmony, improvisation, arranging, composition and related subjects for MS and HS Orchestra classroom
Performance-ready scores;
Student workbooks and activity packets.
Designed to support traditional learning objectives.
SEL framework.
Personal Support as you implement in your classroom or studio

Yes, after 30 years of testing and development, I’m organizing my method so teachers can easily implement it.

I’m pretty sure it is the first of its kind, i.e., a comprehensive method for teaching harmony, improvisation, composition, and arrangement to string players, with applications in a wide range of eclectic styles.

Several teachers (MS, HS orchestra, and Suzuki) are already “IN”.

*** During this initial launch period, I’ll make this available on a flexible/sliding scale. Budgets will not be a barrier for anyone who sincerely wants to take part.

If interested, email me at chris@christianhowes.com with the subject “brave new idea” and let me know the best #/times to reach you by phone,

or schedule a call with me here.

Let’s push the boundaries together

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Non-Classical Summer Music Camps Guide for String Players

2025-11-04T02:56:01Z

Non Classical Music Camps For Strings

For violinists, violists, or cellists looking to explore music beyond classical, summer music camps offer a chance to explore jazz, folk, improvisation, and contemporary styles in a collaborative, immersive environment.

This guide highlights jazz, folk, improvisation, and contemporary music camps for string players of all ages and experience levels.

Teen & adult-friendly programs
Camps focused on jazz, folk, improv, contemporary, and global music
Options for both in-person and online learning

Creative Strings Workshop | Asheville, NC & Online

Location: Asheville, NC & Online
Dates: June and July
Ages: Open to teens & adults and orchestral teachers seeking continuing professional development.

Why This Camp?

If you’re a string player who wants to break free from sheet music and learn to improvise, Creative Strings Workshop is a great choice. Led by Christian Howes for over 20 years, this program helps violinists, violists, and cellists develop skills in:

Eclectic mix of Jazz, fiddle styles, latin, and contemporary improvisation
Playing in ensembles, jamming, and performance opportunities
Teacher training

In-Person Option (Asheville, NC): A multi-day immersive experience with renowned faculty and guest artists. 2025 guest teachers include Jason Anick, Austin Scelzo, Camille Vogley-Howes, Karl Henry, and more.
Online Option: Participate from anywhere year-round with Zoom guided practice sessions.

Learn More & Sign Up for our In-Person Camps (two weeks)

Learn More & Sign Up for our year-round coaching community online.

Checkout our European Workshop and Festival.

Other Non-Classical Summer Music Camps for String Players in 2025

Jazz & Improvisation Camps

Berklee Global String Intensive | Boston, MA

Dates: June 2025
Styles: Jazz, rock, world music
Ages: High school students & young adults
More info → https://summer.berklee.edu/programs/global-string-program

Stanford Jazz Workshop | Stanford, CA

Dates: Summer 2025
Styles: Jazz
Ages: Teens & adults
More info → https://stanfordjazz.org

Jazz House Kids Summer Workshop | NYC & Montclair, NJ

Dates: Summer 2025
Styles: Jazz
Ages: Middle & high school students
More info → https://jazzhousekids.org/programs/summer/

Django in June | Northampton, MA

Dates: June 2025
Styles: Gypsy jazz
Ages: Teens & adults
More info → https://djangoinjune.com/artists/

Folk, Fiddle & Bluegrass Camps

Swannanoa Gathering – Fiddle Week | Swannanoa, NC

Dates: July 2025
Styles: Celtic, Appalachian, swing, world fiddle traditions
Ages: All ages
More info → https://swangathering.com/our-programs/fiddle-week/

Blue Ridge Fiddle Camp | Brevard, NC

Dates: August 2025
Styles: Bluegrass, folk, improvisation
Ages: All ages
More info → https://www.blueridgefiddlecamp.com

Big Sur Fiddle Camp | Big Sur, CA

Styles: Folk & fiddle traditions
More info → https://www.bigsurfiddlecamp.org

Live Oak Fiddle Camp | Hallettsville, TX

Styles: Texas-style fiddling & improvisation
More info → https://liveoakfiddlecamp.com

Brazilian Choro Camps

Choro Camp New England | Brattleboro, VT

Dates: June 26–July 2, 2025
Styles: Brazilian choro
More info → https://chorocamp.com/overview/

Brazilian Popular Music “Choro” Camp | Seattle, WA

Dates: August 4–8, 2025
Styles: Brazilian choro
More info → https://www.kareniglitzin.com/choro-camp-seattle

Choro Northwest | Port Townsend, WA

Dates: April 22–27, 2025
Styles: Choro & Brazilian music
More info → https://centrum.org/program/choro-northwest/

Final Thoughts

Whether you want to expand your skills, jam with other musicians, or build confidence in improvisation, a summer music camp is a fantastic way to improve and get inspired.

Want help? Contact me at chris@christianhowes.com

The post Non-Classical Summer Music Camps Guide for String Players appeared first on Christian Howes.

Music Business Minus Luck

2025-11-04T02:58:55Z

Music Business—Minus Luck

This post is about How to make money, time, and/or work on projects aligned with your values.

Yesterday, I shared one process I’ve used for nearly 30 years to build my music career—it works no matter the gig, project, or industry shift.

Today, I want to break it down into day-to-day actions you can take to affect your income, free up time, or align your work with whatever matters to you.

Who This Is For

If you’re on salary with a stable job, this might not apply—unless you’re working on building something outside of that job.
If you work for yourself (teaching, gigging, freelancing), or do some combination of jobs, keep reading.

The Work

Let’s be clear:
Practicing your instrument isn’t business-building work.
Teaching students, playing a gig, or working on a project isn’t either.

These things fulfill your career, but they don’t actively build it.

The work that grows your music career is simple:
Defining your goals (money, time, artistic freedom)
Choosing a clear strategy to get there
Creating an action plan
Testing, refining, and repeating

This is the difference between reacting to opportunities and creating them.

If you’re happy with your music career, keep doing what you’re doing. But if you want change, the process above is clear.

Self-Reflection: What’s Your Ideal Work-Life Balance?

Clarifying goals, strategies, and action plans is sometimes more complicated than it sounds and often requires revisiting. To start, answer these questions:

Vision & Priorities

What does my ideal week look like in terms of allocating my time? (Work, practice, personal time)
How much income is enough for my goals?
What impacts matter to me? (Family, community, artistic fulfillment)

What’s Holding You Back?

Am I relying on luck for gigs and work opportunities?
Do I struggle with self-promotion or asking for what I’m worth?
What fears or limiting beliefs keep me from taking action?

What Do I Want to Change?

Do I want more money, more time, or more creative alignment?
What type of work energizes me vs. drains me?
What am I doing too much of that doesn’t serve my goals?

Your Time Is Your Power

If you can devote one hour per day to taking strategic actions aligned with your goals, you can reduce the role of luck and increase the odds of making a balanced “successful” career. “More” is not always the answer. The key is being clear on what you want.

Final Thought

Building a sustainable music career involves strategy and consistent action.

What’s one small change you can make today?

If this resonates, share it with someone who could use it.

If you want to work through this process together, join an upcoming coaching session.

The post Music Business Minus Luck appeared first on Christian Howes.

How to Get to Carnegie Hall – a Music Career Story

2025-11-04T02:59:58Z

A Music Career Story

… to give you perspective—something I wish I’d had as a younger musician to help me better understand how to navigate the long arc of a musical career.

One Process For Everything

My parents asked me, “What do you want to do?”

I thought I would apply for a construction job because I needed an apartment.

I was 24, and it was 1996- a moment of transition following a difficult 4-year period.

Them: “Don’t you want to be a violinist?”

I said, sure, it’s my dream (to pursue jazz), but I had no idea how. It’s not like I could apply for that job.

Them: “You can move in with us, and we’ll show you how.”

I said yes. I was willing to follow instructions and try.

Marching Orders

My dad laid out what to do:

Step One: Call or visit the managers of 15 restaurants or hotels with one question: “Would they permit me to schedule a free 30-minute performance to seek a weekly paid gig if they and their customers like it?”

Step Two: Ask a musician to accompany me to the audition, understanding that if we get the gig, they’ll be first call.

Step Three: Perform the audition and be professional.

The Result

I called 15 managers.
I got eight auditions.
After the auditions, I got five weekly gigs, paying me approximately $600 weekly.
Each gig included a free meal and typically involved three sets of 50 minutes followed by a 10-minute break.

I have used this one process since 1996—including in this post—and I credit it (and teach it to my career coaching clients) to best control the odds of success.

Mom

Before I explain my mom’s role, here’s some context.

My parents dropped out of college, where they were vocal performance majors, to have me when they were 20.

Mom ran her typing business to put Dad through school so he could become an insurance salesman—commission only—and raise four kids. She also supported his business.

He sold.
She marketed.

The one promise my parents made to each other when they dropped out of music school was to enroll their children in Suzuki violin lessons, which they did despite not having much money.

Dad showed me the one process. Mom showed me how to make the most of opportunities that process generated.

dress well, look clean
be on time
get email addresses and follow up
make signage and advertise
deliver on my promises

How it applies to you

As I said, that same process ( much like the “free sample” approach that you can find at a food court in a mall ) carried over into every career shift over 28 years:

moving to NYC and becoming a “first call” violinist
touring as a side player for heroes like Les Paul and Bill Evans.
touring as a bandleader, producing 19 of my albums, recording on hundreds more
running festivals, founding an organization, becoming a publisher and educator
despite many lows amidst the highs

There are many lessons in this, but the one I’ll spell out is this:

Everyone, including you, has something you want to give and something you wish to receive.

Offering what we have to give and asking for what we want to receive is something many struggle with—no matter how successful.

Therefore, it’s worthwhile to revisit these questions regularly and answer them:

What do you want to receive?
What do you want to contribute (and to whom)?
What is your Strategy?
What is your Action plan?
What simple assets do you have or need to amplify and support your strategy and action plan?

Learn more about my framework here: music business minus luck

Join our upcoming class (live and/or recorded) if you’d like to answer these questions and move forward in your career—whether that looks like gaining more money or time or aligning your work with your values and artistic goals.

Learn More and Sign Up Here

The post How to Get to Carnegie Hall – a Music Career Story appeared first on Christian Howes.

Balancing Music, Teaching, and Parenthood: A Journey with Rebecca Clare Douglas

2025-01-29T21:54:18Z

In this episode of the Creative Strings Podcast, Christian Howes speaks with multi-talented musician, educator, and author Rebecca Clare Douglas. From her academic training at Oxford to her exploration of folk music and teaching, Rebecca shares insights on embracing musical diversity, overcoming self-doubt, and building a sustainable career in music.

From Classical Training to Folk Music

Rebecca’s journey began with an academic music degree at Oxford, where she honed her skills in performance and composition. However, after years of balancing teaching and performing, she discovered that classical music alone wasn’t enough for her artistic fulfillment.

“I was asking the wrong question: Am I good enough for classical music? Instead, I should have been asking: Is classical music enough for me?” — Rebecca Clare Douglas

This realization led her to explore folk traditions, starting with the Highland Fiddle Band. She delved into different regional folk styles, recognizing how they evolve and adapt over time, much like spoken accents.

The Intersection of Teaching and Performing

Throughout her career, Rebecca has navigated the balance between teaching and performing. Initially resistant to teaching, she soon realized how much she enjoyed helping others learn.

“I thought teaching was a lesser profession, but I soon found out it’s about sharing—showing someone how to do something rather than just instructing.” — Rebecca Clare Douglas

Now, she encourages her students to explore beyond traditional classical methods, incorporating ear training and improvisation into their practice. She also believes in helping musicians gain confidence so they feel empowered to share their music, whether privately or publicly.

Writing and Publishing a Book of Fiddle Tunes

Rebecca’s deep dive into folk music led her to compose and publish a book of original fiddle tunes. One of the biggest challenges in writing folk tunes, she explains, was learning to leave things open-ended—without specifying bowings, variations, or grace notes.

“Folk musicians often don’t want to learn from sheet music alone. They want to hear the tune first and interpret it in their own way.” — Rebecca Clare Douglas

To bridge this gap, she also released a companion recording so musicians could learn by ear, in true folk tradition.

Overcoming Fear and Engaging with Music

A key theme of this episode is overcoming fear—whether it’s fear of rejection, fear of not being good enough, or fear of sharing music with others. Rebecca emphasizes the importance of finding ways to engage with music in a way that feels fulfilling, rather than being bound by external expectations.

“Too often, musicians get caught up in stylistic nuances that distract from actually playing. What matters is engaging—playing, writing, teaching—whatever fuels your love for music.” — Christian Howes

Being Your Own Patron: Managing a Musical Career

Rebecca shares how she has built a career by taking initiative—whether it’s performing at weddings, teaching classes, or launching her folk duo, Douglas and Moss.

“If you can’t find someone to pay you for the kind of music you want to play, create opportunities for yourself. Be your own patron.” — Rebecca Clare Douglas

She believes in the power of adaptability and taking action to make a musical life sustainable. Whether through performing, teaching, or composing, she has found ways to blend her passions while living in a place that nurtures her creativity.

The Takeaway: Be More Bach, Less Mozart

One of Rebecca’s guiding principles is to “be more Bach, less Mozart.” She admires Bach’s ability to balance artistic work with practical demands, continuously adapting and innovating.

“Bach didn’t wait for inspiration—he worked with what was around him. His music wasn’t created in an ivory tower; it was shaped by his reality.” — Rebecca Clare Douglas

This mindset has helped her craft a fulfilling career that aligns with her values, blending performance, education, and artistic growth.

Closing Thoughts

Rebecca’s story offers a refreshing perspective on what it means to be a musician. Her journey is a testament to embracing change, taking ownership of one’s path, and finding freedom in musical exploration.

Explore Rebecca’s work: www.rebeccaclaredouglas.com Check out her fiddle tune book and duo, Douglas and Moss: Douglas and Moss YouTube Channel

Special thanks to our sponsor Electric Violin Shop. If you have questions about electric violins, pedals, amplifiers, and all kinds of gear, visit www.electricviolinshop.com or call 1-866-900-8400 during business hours.

The post Balancing Music, Teaching, and Parenthood: A Journey with Rebecca Clare Douglas appeared first on Christian Howes.

Combating Perfectionism for Musicians with Dr. Ellen Hendriksen

2025-01-15T15:19:01Z

breaking free from the "not good enough" mindset

In today’s episode of the Creative Strings Podcast, I’m joined by Dr. Ellen Hendriksen, a clinical psychologist, author, and expert on self-acceptance. Her latest book, How to Be Enough: Self-Acceptance for Self-Critics and Perfectionists, dives into the psychology of perfectionism—a topic that resonates deeply with musicians, teachers, and creative professionals.

Perfectionism often holds musicians back, creating an unnecessary burden of self-criticism and impossible standards. In this conversation, we explore the roots of perfectionism, how it manifests in music, and strategies to overcome it while fostering a healthy mindset for growth.

watch our Interview

what is perfectionism?

Dr. Hendriksen defines perfectionism as the tendency to demand a level of performance higher than what is necessary for the situation. While this drive for excellence can produce remarkable results, it often tips into unhealthy perfectionism characterized by two pillars:

Self-Criticism – Harsh, personalistic inner dialogue that undermines self-worth.
Over-Evaluation – Conflating performance with self-worth, such as believing “I did bad, therefore I am bad.”

For musicians, this often translates into feeling only as good as their last performance or obsessing over minute flaws others may not notice.

Perfectionism in Musicians

Perfectionism does not discriminate by skill level—both amateur and professional musicians struggle with it. Dr. Hendriksen discusses how perfectionism is not about striving for perfection but rather about never feeling good enough.

Musicians may hyper-focus on their mistakes, view feedback as personal criticism, or set impossibly high standards for themselves. Even legendary performers like Alan Holdsworth have admitted to struggling with feelings of inadequacy despite their groundbreaking contributions to music.

Strategies to Combat Perfectionism

Dr. Hendriksen shares practical strategies to combat the harmful effects of perfectionism:

Shift Focus to Specifics:
Record your practice sessions and evaluate specific elements like intonation, rhythm, or articulation. By quantifying your performance, you can avoid the all-or-nothing mindset.
Normalize Mistakes:
Allow yourself a “quota” of errors and view them as part of the learning process. No one is flawless, not even the most experienced professionals.
Adopt Self-Compassion:
Treat yourself as you would a good friend. Self-compassion doesn’t have to be words—it can be actions like giving yourself rest, celebrating small wins, or skipping the gym when you’re exhausted.

Cognitive Defusion:
Recognize self-critical thoughts for what they are—thoughts, not facts. Use techniques like humor or visualization to distance yourself from them.

Perfectionism in Different Contexts

Musicians encounter perfectionism differently depending on their roles:

Amateurs: Should embrace the freedom to experiment and make mistakes as part of the learning process.
Teachers: May struggle with perfectionistic self-presentation, fearing vulnerability in front of students. Showing the “mess” can humanize educators and foster trust.

Music Entrepreneurs: Often feel held back by perfectionism in marketing, sales, or launching new projects. Accepting that not every effort will be perfect can pave the way for growth.

Overcoming Perfectionism

Perfectionism can be a significant barrier to growth and joy as a musician, teacher, or creative professional. By shifting your perspective, embracing mistakes, and practicing self-compassion, you can break free from its constraints and focus on what truly matters—your growth and fulfillment.

To dive deeper into these concepts, pick up Dr. Hendriksen’s latest book, How to Be Enough: Self-Acceptance for Self-Critics and Perfectionists. For additional tips and tools, visit EllenHendriksen.com.

About Our Guest: Dr. Ellen Hendriksen
Dr. Ellen Hendriksen is a renowned clinical psychologist, speaker, and author specializing in anxiety and perfectionism. A graduate of Brown University with a Ph.D. from UCLA, she is a faculty member at Boston University’s Center for Anxiety and Related Disorders. Her first book, How to Be Yourself: Quiet Your Inner Critic and Rise Above Social Anxiety, has been widely acclaimed. Through her writing, speaking, and podcast appearances, Dr. Hendriksen empowers individuals to overcome self-doubt and thrive in their personal and professional lives.

Sponsored by Electric Violin Shop. For all things electric strings, visit ElectricViolinShop.com

The post Combating Perfectionism for Musicians with Dr. Ellen Hendriksen appeared first on Christian Howes.