Teaching Philosophy:

Dylana Jenson started playing the violin at the age of 2 and a half. She learned the violin using the Russian technique taught by Leopold Auer. Great artists such as Nathan Milstein, David Oistrakh, Isaac Stern and Jascha Heifetz used this approach. This method develops a natural physical relationship to the instrument.

From ages 7 to 11, Ms Jenson spent many hours per week with Manuel Compinsky, her teacher, in 'supervised practice'. Slow and careful work on intonation was critical in developing secure technical facility.

To become fluent and artistic on the violin requires many hours of practice. Ms Jenson has never experienced pain or physical discomfort during practice or performance. She attributes this to a natural physical stance that has prevented spinal and left arm problems.

Tendonitis

Tendonitis has become a rampant problem all over the world for violinists. Through her Master Classes and private teaching, Ms Jenson has established herself as a pain relief specialist.

Great Masters

Nathan Milstein, Jascha Heifetz, Henryk Szeryng, Pinchas Zuckerman, Itzak Perlman, Isaac Stern and David Oistrakh are all examples of great artists who didn't use a shoulder rest.

Shoulder Rest

Ms. Jenson plays and teaches without the use of a shoulder rest. She believes this apparatus can cause an unnatural and unnecessary lift of the instrument. It can also put the violin too far over the left shoulder. This may cause the bow arm to compensate by having to pull excessively to the front of the body. The left arm in most persons using a shoulder rest will twist too much and cause the thumb to be under the neck of the violin. This may ultimately cause stress to the elbow and shoulder of the left arm as well as make wide wrist vibrato difficult. The lack of relationship of the left hand to the ribs of the violin in third position can cause insecurity in shifting. This can also create problems with intonation.

Rhythmic Integrity

Ms Jenson's initial work with a student isolates the importance of rhythmic integrity. When this is established Ms. Jenson can then lead the student to understand and feel emotional improvisation in the music.

Learning by Example

Ms. Jenson uses DVD's to expose her students to the art of the great violinists. Josef Gingold, one of Dylana Jenson's teachers, often played records for his students during lessons. This exposure is important for young violinists. Ms. Jenson believes that students need to "know their history so they can repeat it."