The Concerto No. I

Originally published as part of The Concerto, a monthly letter in three movements from Tuning in Fifths.

Allegro — The Momentum

To learn how to play the violin and to grow as a violinist as an adult takes immense focus, attention, and often a feeling of trying to make up for lost time. The past 6 years for me have been a time of my life dedicated to learning this instrument, from carving out time for daily practice, orchestra rehearsals, chamber music workshops, to spending time listening to violin concertos, sonatas, and concert repertoire. Much of this work required me to think carefully about how I was spending time practicing and constantly evolving the practice routines that supported each piece I was learning.

When this year began, I was in the midst of learning the first movement of the Mendelssohn violin concerto while also playing in a community orchestra. While my only performance of the concerto would be in a student recital, the piece had been a goal of mine for the last few years, and it felt like an important moment in my life as a violinist. Even now, I still fondly remember the moment I made playing Mendelssohn a goal of mine and spent time after my lesson scanning my teacher’s well-loved copy beneath the passion vine in her garden while another student’s lesson began. Mendelssohn was the longest individual piece I had learned, and it was more challenging than I thought it would be when I embarked on the endeavor.

When the time came to finally perform the Mendelssohn in the recital, It felt as if all the time I had spent in the practice room during the previous five years had lead up to this moment. While my performance was unremarkable, I felt like a door had opened for me to move into new territory as a violinist. But what I didn’t expect was that after achieving this goal, I needed to slow down, and to reflect on how to open up more advanced repertoire through careful attention to practice.

Adagio — Finding Attention in Practice

After the busy seasons early this year—preparing Mendelssohn to perform, while playing in orchestras, then preparing chamber music for camp in the summer— I took some time to reflect while beginning work on the Finale of Ysaye’s Sonata No. 4. I wanted to learn another challenging piece without the distraction of practicing orchestra music and attending rehearsals. I focused on taking weekly lessons, treating each as a lesson in how to practice with keen attention. While it sounds like a simple principle, it is challenging to slow down in practice as it is to slow down in life, to break down the voices in a chordal passage, to know exactly which finger guides each shift, and to know exactly where to place my bow to evoke the appropriate mood or achieve clean articulation. Reflection became a new part of my practice, sometimes taking the form of written notes or journal entries, and at other times taking the form of clearly identifying weekly practice goals after each lesson.

This year, I learned that with focus, clarity, and time, I can learn difficult music.

Rondo — Caring For The Music On The Stand

This year allowed me chances to push forward in my practice, to accomplish a long-held musical goal, then take a careful step back to reflect on the work I have done, and what I need to move forward in my practice and to address the music on the stand while also engaging in musical communities when they bring more fullness to my life.

This coming year offers opportunities to continue cultivating what I began this year: deliberate practice and reflection that helps me refine how I practice. Much of this thinking as come from my work on Ysaye’s Sonata No. 4. I am starting 2026 with a new movement of the Ysaye Sonata on my stand, a captivating, delicate sarabande that I am working on slowly. I am taking the lessons I’ve learned in approaching challenging repertoire as I bring out the harmonies in the chords, address individual shifts, and shape the phrasing in the piece.

I am no longer in a hurry to play any particular piece, but want to give each one the time it deserves in my life before moving on to my next musical discovery.

Encore — The Origin of Tuning in Fifths

As I started reflecting on my practice and my growth as a musician this year, it naturally lead me to begin writing Tuning in Fifths. As an adult student, I have a certain interest in understanding how a person learns music in general, and how I learn music in particular. I am excited by discovery, whether it’s in the form of new repertoire or new techniques. And I want to share my discoveries, interesting musical exercises, under-played yet wonderful repertoire, suggestions for finding ensemble opportunities, and other things I have learned on my journey to become a better violinist. 

As I frequently play in multiple community orchestras and attend chamber music camps and workshops, I know how many other amateur string players are out there. We practice at home, rehearse with ensembles, sometimes play duets with musical friends, but it can also be difficult to find that sense of community. As Tuning in Fifths grows, I am hoping it can be one place where community forms, even if it is merely to put you on the path to finding your own musical community.