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… Lieberman presents a wealth of information to help performers, teachers, and students arrive at a set-up which takes into account their body type, corrects any harmful physical habits, and results in a relaxed, natural solution. This is accomplished by determining the optimum playing position for each individual within the four planes: vertical (shoulder/jaw/head), horizontal, angle (scroll height), and tilt. Equipment is then chosen to support that optimum position and fill in any gaps. Lieberman gives wonderful tips for doing “detective work” to determine where tension exists, what is causing it, then choosing exercises and, in some cases, different equipment to balance the playing position, support good posture, and eliminate tension. Great emphasis is placed on having a dynamic, not static, set-up that can be tweaked to adjust for minor changes (weight gain/loss, different clothing, etc.) and establishing a natural relationship between the hands, arms, shoulders, head, and the instrument. All the basic types of shoulder rests, chin rests, and additional accessories which can customize the fit are discussed, as well as how to utilize their particular features to adjust for specific anatomical situations. No single solution is advocated. The viewer is encouraged to investigate all possibilities in order to arrive at the best solution for their own or their students’ needs, and then to remain constantly alert to any changes that would necessitate an adjustment of the set-up to maintain pain-free, relaxed, agile performance.
— American String Teachers Journal
Violin and Viola Ergonomics is the most comprehensive single resource I have seen on this topic. Along with The Violin in Motion, it opens the door to a world of possibilities for teachers and players of all levels, providing concepts and tools for individualized and evolving solutions. With the help of these DVDs, we can now realize the potential for a lifetime of freedom and ease with our instruments.
— Garrett Fischbach Metropolitan Opera Orchestra, Mannes College of Music
Julie, I thought that your [Violin and Viola Ergonomics] workshop was so startlingly original, so large in its scope and informed in its detail that I was very taken. To put it another way, it seemed to me that you have put the pieces together in a way that no one else has, and son-of-a-gun, THEY FIT!
— Dr. Phillip Coonce Inventor, Don't Fret
I want to thank you for the special contribution you made to a very successful workshop. I especially appreciated the excellent performance you did on Sunday evening. Just great! Bravo and Brava!! I particularly appreciate your knowledge of musical styles from around the globe, your ability to demonstrate them authentically, and your effectiveness in sharing them with an audience. The presentations on Monday were excellent as well, with meaningful handouts and good connections with the participants. Thank you for a great kick-off for the week!
– Dorothy Straub, Director, Eastern Strings Workshop at Villanova
Her words were as wise as her teaching style was warm, with plentiful laughter and insights that kept the mood light and productive …
– Greg Olwell, Editor, STRINGS MAGAZINE
Julie Lyonn Lieberman can help you incorporate new approaches into your curriculum better than anyone I know.
– Roberta Guaspari Tzavaras, Artistic Director, Opus 118, Harlem Center for Strings
My students have learned so much from your residency at our school. Thank you for opening their ears and minds to the music of the world!
– Beth Hankins, The Lakewood Project, Lakewood, Ohio
Julie, this Facebook is a miracle, because, of musical pedagogues, you are a Titaness, and I can’t believe I am speaking to someone of such talent who has authored books and thoughts that have guided me so profoundly in my entire life outlook … not just musically.
-Carol Osborne Carriere