For violinists who are no longer looking for ‘lessons,’ but guidance, refinement and long-term artistic growth, I offer a limited number of weekly spots for students.

My teaching is rooted in a lifetime of performance, mentorship and immersion in the great violin traditions. This is not a program, and it is not casual instruction. It is an ongoing, weekly relationship centered on your artistic voice.

Weekly study with me is designed for violinists who are artistically curious and ready for sustained growth. My students include teenagers, conservatory students, professionals and adult violinists returning to the instrument with renewed commitment.

Weekly study is not about fixing notes, it is about learning to listen, how to practice and organize your work, and how to inhabit music fully-physically, emotionally and intellectually.

Our work focusses on tone production, bow freedom and left hand facility.we also work on musical structure, stylistic understanding and performance preparation. Each lesson builds on the last. Progress come from continuity, not from isolated inspiration.

I teach the whole musician. Technique exists to serve expression. Discipline exists to create freedom. My role is not to mold you into a copy of me, but to help you uncover your own sound, instincts and musical intelligence.

Tendonitis has become a rampant problem all over the world for violinists. I also work with violinists who have discomfort or pain issues. Through many years of helping people I have established myself as a pain relief specialist.
 

SHOULDER REST

Ms Jenson performs 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 people 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.

My Early violin life

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 Jasha 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.

Testimonials

No words can describe her great intelligence, sensitivity and commitment towards her instrument. She is one of those rare violinists that not only achieves the highest level of performance on stage but is also a truly sincere teacher and pedagogue committed to transferring the great school of violin playing she inherited from the great masters to new generations of violinists.

– Edward Pulgar

Principal Violin, Knoxville Symphony Orchestra Professor of Violin, Carson Newman College

 Testimonials

"She is a consummate musician and violinist, with an artistry only found at the highest standards of the profession. She possesses a flawless technique, a brilliantly powerful and rich tone, great conviction in her musical ideas, and a commanding stage presence that beautifully matches her wonderful music-making." 
– Javier A. Pinell

DM Violin Faculty Director of String Studies Sam Houston State University 

"Ms. Jenson has the rare combination of being a demanding teacher, a world-class artist and at the same time, having a genuine care for her students. When studying with her, Ms. Jenson’s training with some of the most important violinists and pedagogues of the 20th century makes her a direct line to the artistry and greatness of these old masters. She has found her very own modern musical voice that combines the richness of tone and virtuoso technique of her mentors with an unparalleled understanding of the human body and its relation to violin playing. She transmits her knowledge and skills to her students with true joy, and inspires everyone around her to become better artists. "

– Raul Gomez

Louisiana State University , D.M.A. in orchestral conducting and M.M. in violin performance
Conducting Fellow with the Allentown Symphony OrchestraArtistic Director of Kids’ Orchestra, a year round program designed to foster social change and nurture promising futures for youth in Baton Rouge.