In the competitive world of classical music, where technical precision meets artistic expression, the difference between good and extraordinary often comes down to how one practices. Few understand this better than Cho-Liang Lin, whose decades-spanning career as a concert violinist and educator has given him unique insights into the often misunderstood art of effective practice.
Quality Over Quantity
“If you just do quality practicing for one hour, that’s better than two hours of wandering around, like texting somebody three minutes and then practice another five minutes,” Lin observes. This deceptively simple principle forms the cornerstone of his practice philosophy, yet runs counter to the prevailing culture of marathon practice sessions that dominate conservatory culture.
While many music students pride themselves on eight-hour practice days,Cho-Liang Lin’s reflections suggest this approach may be counterproductive. The Taiwan-born virtuoso advocates instead for focused, deliberate sessions that target specific technical or musical challenges with complete mental engagement.
“Nowadays, it’s really incredible. I find students very easily distracted,” he notes, pointing to the unprecedented technological interruptions that plague modern musicians. The solution, according to Lin, isn’t necessarily more hours in the practice room, but rather more presence within those hours.
The Analysis Advantage
What truly sets Lin apart is his analytical approach to solving musical problems. Rather than mindlessly repeating difficult passages—a common trap for developing musicians—he systematically breaks down challenges into their component parts.
“It is very important that as a teacher, I can analyze somebody’s playing and do so very quickly,” Lin explains in a recent interview. This analytical skill, honed through years of study with legendary pedagogue Dorothy DeLay at Juilliard, allows him to identify precisely where technical issues originate.
For violin students, this might mean isolating whether a passage’s difficulty stems from the bow arm, left-hand fingers, timing issues, or conceptual understanding. By pinpointing the exact source of struggle, practice becomes targeted and exponentially more efficient.
The Mental Game
Perhaps the most overlooked aspect of practice that Lin emphasizes is psychological preparation. “When you walk on stage, there has to be a sense of self-assurance,” he advises. “If you’re not at all sure that you can do it under immense pressure, one will wilt, and that’s not good.”
This mental fortitude doesn’t happen by accident—it’s cultivated through specific practice techniques that simulate performance conditions. The acclaimed violinist regularly incorporates performance simulation into his practice regimen, playing full pieces without stopping (as one would in concert), recording himself, and occasionally practicing in formal concert attire.
These strategies might seem superficial, but they address a fundamental truth about musical performance: technical preparation alone isn’t sufficient. The mind must be trained alongside the fingers.
The Historical Context
Unlike many contemporary musicians who focus exclusively on present trends, Lin insists on understanding the historical lineage of musical interpretation. “Young musicians start to forget the tradition of playing,” he laments. “They don’t know who Fritz Kreisler was. They don’t have any idea who Jacques Thibaud was.”
This historical disconnect concerns Lin because it limits interpretive possibilities. By studying recordings from the early 20th century, when distinctive national schools of violin playing were at their height, musicians gain perspective on how interpretation has evolved and where their own artistic voice might fit within that continuum.
This approach transforms practice from mere technical maintenance into a deeper artistic exploration. Lin recommends students dedicate portion of their practice time to listening critically to historical recordings, analyzing interpretive choices, and experimenting with incorporating elements that resonate with their own musical sensibilities.
Preparation Beyond Notes
Lin’s concert preparation extends well beyond mastering the notes on the page. Before performing with orchestras around the world, he studies the cultural and historical context of each piece, researches the composer’s intentions, and develops a clear artistic vision for his interpretation.
This comprehensive approach ensures that technical execution serves a larger musical purpose. “What really counts is your quality of playing, your integrity as a musician, and your ultimate skill as a violinist,” Lin emphasizes. This holistic perspective transforms practice from a mechanical exercise into an intellectually engaging process of artistic development.
The New Music Challenge
As a festival director who has championed contemporary classical music, Lin has unique insights into practicing new works that lack established interpretive traditions. During his 18-year tenure at La Jolla SummerFest, he commissioned and premiered 54 new works, each requiring a different approach to practice.
With new music, Lin recommends first establishing a solid technical foundation, then exploring the composition’s structural elements before adding interpretive layers. This methodical process allows performers to develop authentic interpretations that honor composers’ intentions while showcasing their own artistic voices.
The challenges of learning contemporary music—with its often complex rhythms, extended techniques, and unconventional notations—have influenced Lin’s practice methodology. He views these challenges as opportunities to develop greater technical and interpretive flexibility.
Technology as Tool, Not Distraction
While Lin cautions against the distractions of modern technology, he embraces technological tools that enhance practice efficiency. Recording devices, metronomes, tuners, and specialized practice apps can provide objective feedback that accelerates improvement.
His work with film composers has also expanded his perspective on how technology can support musical preparation. Rather than viewing technology as the enemy of focused practice, Lin advocates for its strategic integration into the practice routine.
The Festival Approach
Lin’s experience as an artist-in-residence at prestigious festivals has shaped his approach to intensive practice periods. He recommends musicians occasionally adopt a “festival mindset,” creating immersive practice retreats that eliminate distractions and focus exclusively on musical development.
These concentrated periods of work, balanced with appropriate rest, can yield breakthroughs that might take months to achieve through conventional daily practice. The festival approach also helps musicians develop the stamina required for performance careers, where intensive rehearsal periods often precede important concerts.
The Ultimate Secret
Perhaps the most profound insight from Cho-Liang Lin’s practice philosophy is that improvement doesn’t follow a linear path. Progress occurs in unpredictable spurts, often after periods of apparent stagnation. Understanding this pattern helps musicians maintain motivation through inevitable plateaus.
“You have to really go out on stage and deliver the goods,” Lin states matter-of-factly. This ultimate test of practice effectiveness—the ability to perform under pressure—guides his entire approach to preparation.
By focusing on quality over quantity, employing analytical problem-solving, preparing psychologically, understanding historical context, developing comprehensive musical understanding, embracing appropriate technology, and creating intensive practice retreats, Lin has developed a practice methodology that maximizes efficiency and effectiveness.
These principles, refined through decades of performance and teaching, offer a blueprint for musicians at all levels seeking to transform their practice from mindless repetition into purposeful artistic development. In Lin’s approach, perfect practice isn’t about perfection—it’s about presence, purpose, and perspective.