tESTIMONIALs
What my students say about me
Eva is a fantastic teacher, very clear and patient and has a wonderful methodology to help anyone learn to play jazz violin. You’ll love her and her classes!
Look forward to the classes starting soon.
I have always loved jazz violin but didn’t know where to start. Eva’s method of teaching is wonderful. Her combination of technique, instructional materials, videos and love of violin jazz is perfect for the learner of jazz violin. Thank you Eva for your teachings and inspiration.
Gypsy jazz, swing, improvisation…. we can learn it.
With Eva Slongo. She explains and shows how to do it, step by step.
I don’t know of a better method and look forward to the videos to come.
Thanks Eva.
First of all you are an excellent violinist and without this talent you cannot teach what you know correctly
In addition, everything is analyzed in detail so that we can understand
I made a lot of progress thanks to you
I highly recommend
First I will introduce myself. I live in Lyon, I am 63 years old, I took up the violin about ten years ago after having stopped playing for 25 years. I resumed lessons to rework the basics of the technique (classic). I play in a school music orchestra with a varied repertoire, but no jazz. Jazz musicians and especially jazz violinists have always fascinated me.
When I picked up the violin, jazz was somewhere in the back of my brain, but I had a hard time figuring out how it worked. What would it take to be less stuck with the instrument to play with ease and great freedom? Having had in hand the methods of Didier Lockwood (very difficult to approach for a new amateur) and those of Pierre Blanchard (a little easier to access but the notes are one thing but how to make them swing) etc….
What interested me in your method Eva is the contribution of the video in addition to the paper support, I find it essential to hear the exercises offered, your videos are very well done, it’s progressive and very educational, and it is not intended only for graduated violinists. The contribution of playback provides harmonic support, it is very pleasant to play with, especially after a session on the metronome.
I am moving slowly in your method, but it is a good support for me since I enrolled in a Jazz workshop and it is the ideal complement to progress and participate, with great pleasure and with a great desire, and modestly I finds that the universe of “improvisation” gradually reveals itself.
I wish you the best
Kindly
My name is Enric Pastor and I am a violin teacher at the Conservatory of Mallorca, I come from classical training but I started in jazz and world music around 2006.
At that time it was very difficult to find exclusive jazz methods for violin, the first one I could buy was Didier Lockwood’s, which I found very interesting but I did not quite specify the bow and left hand technique to obtain the sound I wanted. I listened to his records, later I went to classes with a jazz guitarist but of course … those concepts were still a mystery to me, I was able to obtain the methods of Jerry Bergonzi and Hal Crook very good in terms of harmonic work and style concept etc … but something was missing ….
It was then that I discovered Eva Slongo in her tutorial videos on YouTube and then I thought … finally a Jazz teacher who talks about the violin-specific bow and left-hand technique, I got in touch and I did an online lesson with her, it seemed to me that she was very clear about what she wanted to teach and she demonstrated it with examples, so I bought her method “The new way to learn jazz violin” and began to practice it: ghost notes with various bow exercises, left hand, scales, triads, examples all with videos … a marvel!
That is why I highly recommend this method, in my opinion, the only really specific method of violin to get started in swing-Jazz that I have found, in my search to know how to achieve that sound that I heard in the great jazz violin players.
Learning jazz violin with Eva is an unusual adventure … First of all because it is a very personal journey which opens onto a truly progressive practice, built in the simplicity and logic of “jazzy” phrasing ; then because with patience and benevolence, Eva brings the technical and musical demonstration of the game of bow and the fingerings, which brings to the comprehension of the harmonic and melodic listening of the “standards” which she has carefully chosen. His method, his playful and attractive way of teaching helped me to explore in practice the universe so rich and so inventive of the “jazz violin”!
Thank you for your trust, cordially,
Dear Eva, As you may have gathered, much as I enjoy your videos, I do better with sheet music – which I can refer to at my own pace. I enjoyed working through your sheet music lessons – with the accompanying video,and am now looking forward to your next sheet music efforts. When one is learning to play jazz violin, one wants to pick up information from different sources. The ideal for learning jazz is personal contact – at which you are an expert. However, as a retired physician living in the country that option is not open to me – so I make do with working through jazz books and your method.
I can attest to the relevance of this method, by email and video (with replay which is very useful in the event of an internet problem), and your commitment to a good cause (that of jazz!).
I especially appreciate the scale exercises, arpeggios, modes and their examples.
I can’t wait for more …
Classical violinist by training, I started jazz on Eva Slongo’s method and I took her first group lessons.
Eva’s structured and progressive pedagogical approach makes jazz accessible to all violinists who want to learn to play standards in style.
It then allows you to gently initiate improvisation and find all the necessary means to progress.
I warmly recommend the methods and courses offered by Eva.
Precisely in view of the modest experience of my own attempts previous gipsy, I was surprised by the logical sequence of the themes and the conclusive clarity of the method developed by Eva.
If necessary, the advancement continues at such small steps, that it is very easy to follow them. So a profit and a great pleasure, this course!
Your course videos are extremely well done! and I say to hesitant kind people go straight ahead! get the whole course ..
After each of us does with his level, his abilities and the structuring of his work, his motivation which is something else, but your teaching Eva is a gift!
Kindly
Not content with being an exceptional musician, Eva is a remarkable pedagogue whether in internship as I had the opportunity to experience it in Paris or through her videos. Attentive to everything, beginners like advanced, she knows how to put you on the path with simplicity and talent. Her method, structured and progressive, allowed me, self-taught and coming to the violin through the orality of traditional dance music, reads badly scores, to discover in videos new playing techniques, sounds and rhythms.
This method provides both working tracks and vocabulary elements: I come back regularly to re-work and refine a specific point (ternary detached, ghosts note, arpeggios) and for the pleasure of picking up study phrases, to play “with her” or inspiring to then improvise on the grid. Follow Eva, you will go far!
I couldn’t play like that without Eva.
I wanted to sound stylistically like Grappelli or Eva.
I can’t ask Grappelli anymore, but Eva showed me how I can put my classic sound aside and find my own style, so that I can play in such a way that I am satisfied and that I can be heard.
I experienced her as a very committed, competent and approachable teacher who really listened to me and tried to help me advance.
She also succeeded.
Of course, I also have to make an effort and motivate myself, but she opened the doors for me as much as possible.
Thank you!!
Herzliche Grüße
What I like about your method is that it gives you very practical tools for swinging (the detached swing and ghost notes) and improvisation by themes. For newbies (but not just them) this is a great way to get into the game without the blank page syndrome.
Musically,
I can attest to the relevance of this method, by email and video (with replay which is very useful in the event of an internet problem), and your commitment to a good cause (that of jazz!).
I especially appreciate the scale exercises, arpeggios, modes and their examples.
I can’t wait for more …
Yours,
Jacques
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