If anything, young musicians generally seem to have a harder time with the sound during their youth.
“The age that young musicians come to an important decision of how to start their careers is when they really are growing,” says M. Janssen. “If they see that they are not going to be able to play as well as they do when they were young, they will look for something newer that will make them stronger.”
Young musicians may look to string instruments, electric guitars or even classical instruments for help in developing the sound of their playing. “The problem with stringed instruments is that they are hard to play, so they have to find new techniques,” says M. Janssen.
Musician and pianist Paul Mott is an amateur violist. For him that meant practicing at home and with his son, a young violist playing the piano. Mott had an idea for a project to help teach his son how to play, but he knew that it was not the right thing for him, and so he ended up taking up a job teaching English at a local community college to support himself.
“For me it was really difficult, because I can play the violin or the cello, and I can help people perform. But it was such a huge project that I had to take time out from my teaching, which I didn’t have to take because I was teaching English at a local community college, so I had to take the time off,” he tells The Christian Science Monitor.
When the violin and cello became available in his area in the early 1990s, he took them up on offer from his local community college to learn. And so, he has played violins for more than two decades.
At age 70 after years of studying violin and cello, Mott said he could still play music, but it took much time and effort to master these skills, and it still takes time to learn to play them again.
“A professional playing violin is a totally different thing,” he says. “You start out with the idea to be a well trained violin player. Then you find it’s much more complicated. I have been very good at performing in front of an audience. I have been really good at playing in front of a group; but I love playing in the street. And it’s the same experience for cellists. You start with the idea that you want to be somebody. You think: ‘Okay, I can actually play the cell
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