STRING TEACHERS! Trained in the 1900s to teach in the 21st century?
D’Addario Orchestral and Julie Lyonn Music are offering quarterly in-service days FREE TO STRING TEACHERS to help you upgrade your skills for teaching in yesterday’s AS WELL AS today’s world.

Friday, August 6th and/or Sunday October 24th, 2021


Session Content will include …


The Looper as a Tool for Composition, Rhythm and Improvisation

The looper is an electronic “stomp box” that records short—or long—phrases, layers them and plays them back as many times as you choose. The player controls the box with their foot and can improvise over the tracks they’ve created. Learning to use the looper requires …

  • The skill to generate a rhythmic accompaniment.
  • The ability to generate ideas within a chosen key.
  • The know-how necessary to produce bass lines and harmonies.
  • The facility to track time increments, whether it’s four beats or longer. And,
  • The skill set required to innovate melodic lines over their self-created backing track.

Julie has invented a protocol for how to train your students to use the looper without the use of amplified instruments or the stomp box for programs that lack this equipment or the budget to purchase the needed equipment. She’s found that it’s far more efficacious to start this way, even if your classroom already owns a looper and electrics. Students are engaged immediately without using the “i” word (improvisation). In fact, once they catch on, good luck getting them to stop!

During this session, Julie will walk you through a clear, organized approach concerning how to teach these skills and she will supply support materials you can use to get started.

Support Material:








How to Teach Improvisation

Many string teachers fear improvisation and don’t teach it because they weren’t trained during their certification. All too often, improvisation is perceived as walking into a huge, empty expanse and producing music as if by magic. The good news is that this isn’t the case. There are tangible skills that can be taught much the way the system of pedagogy you use is organized sequentially. This session will offer:

  • 12 coaching tips to use as guidelines to modal Improvisation, which only utilizes one tonal map (scale).
  • How to master time increments since every type of music is based on a structure particular to the style innovated in its point of origin.
  • How to master permutations. This is a system Julie has devised for gaining control over a group of pitches such that the player can manipulate them easily in any way they desire.
  • The difference between styles that use chords that share the same scale tones versus playing over chord changes that require a deeper facility in twelve keys.
  • How to make mastery of chord changes fun and easy.

    Support Material:








How to Dialogue with and Activate the Musical Brain

Julie specializes in Whole-Brain Learning. There are six learning centers musicians can tap into to learn music. Sadly, most musicians are told, “memorize this piece of music” without further instruction. They tend to achieve this haphazardly, so it’s no surprise if they blank out under pressure. Pre-audition/pre-performance anxiety is rooted in relying on procedures that don’t provide a solid support system. The goal here, is to provide young people with skills they can apply to create learn music solidly as well as build successful lives.

Julie will present the six learning centers and walk you through learning procedures for written music as well as aural learning. Her method has been praised world-wide and is extremely effective and can even be applied to brand new pieces of music from day one.

  • Discover the two biggest blunders students and professionals make when endeavoring to memorize music.
  • Learn how to access and teach about the six learning centers of the musical brain.
  • Teach your students how to change their brain hierarchy to imprint music using a whole-brain approach.
  • Discover the key to the gateway to mindful communication with the two nervous systems to eradicate nervousness.
  • Learn how to generate a fortress for each piece of music in the brain such that “mistakes,” or “blank-outs” are alleviated.

Support Material:

Learn to play healthy.








Rhythmizing the Bow

Bowed string players tend to be far stronger at controlling and innovating melodic ideas with the left hand than playing with rhythmic accuracy with the right. Years spent focused on tuning every pitch and learning/playing melodies has tended to mute strong rhythmic capabilities.

Julie has innovated a step-by-step approach to mastering rhythmic acuity and control. This includes:

  • A Practice Technique Designed to Master the Basic Rhythms
  • How to Perceive Rhythms Spatially
  • How to Hear and Produce Rhythmic Subtext
  • Chop Technique as Tool for Mastering the Bow with Precision

Support Material:








21st Century Multi-Style Inclusive String Education

American children have been taught Western European canon based on the belief that this is the only way to instill good technique. Most string teachers aren’t cognizant of the rich musical imagination throughout the world. Good tone, good intonation, good rhythm, and repertoire … can all be taught through any genre. How can we build our string programs and instill a passion for music and for bowed strings if we don’t honor the music our students listen to, and the exciting realm of 21st century multi-string possibilities?

Many American and world roots styles are passed generation to generation by ear, and tunes are played in unison—which can strengthen student intonation and melodic retention. Traditionally, we’ve defined ear training as the recognition of pitch and rhythm. The introduction of new styles actually deepens and widens how we listen and what we listen for.

During this session, we’ll examine and practice:

  • How to find and capture the underlying rhythmic subtext (groove) for styles outside Western canon.
  • An overview of the differences between American and world styles (there are roughly 35 bowed string genres world-wide) and what each has to offer.
  • How to determine which style to begin with and a procedure re: how to teach it.
  • The ingredients that are essential to each style, which stimulates new depths when it comes to ear training.

    Support Material:







Twelve-Key Practice

Why bother learning to play or teach in 12 keys? Galamian certainly thought it was important enough to include in his scale book. And George Bornoff started absolute beginners in four keys through something called “finger patterns.” The brain naturally groups like with like. Learning to move a simple phrase by ear through the keys and then circling back to identify the notes takes advantage of this feature and the results are rather amazing.

  • This skill is essential to playing blues or jazz, our American classic music.
  • If a student wants to play in a band, the singer doesn’t care if the key is difficult for the in­strumentalists in the group. He or she will sing in whatever keys are comfortable to his or her voice and it’s “tough luck” for everyone else.
  • Playing in 12 keys challenges us to learn every single note on the fingerboard and it forces us to work out the best fingering options.
  • All music is made up of interval relationships. This practice approach enables us to lock in important intervallic relationships across the entire fingerboard.
  • Julie will cover a number of approaches you can take to practice in twelve keys.

Support Material: