My approach to teaching the violin is both comprehensive and nuanced, recognizing the intricate balance between technical proficiency and musical expression. Here are some key aspects of my teaching philosophy:

1. Holistic Development: I emphasize the importance of mental, emotional, and physical adjustments to the violin and music, acknowledging that each piece has its own character and demands. This holistic view allows students to connect more deeply with the music they play.

2. Individualized Learning: By recognizing that each student has a unique path, I create a personalized learning experience. This adaptability is crucial for fostering growth, as it allows students to explore their strengths and address their weaknesses in a supportive environment.

3. Critical Thinking and Communication: Encouraging students to ask questions and engage in open dialogue fosters a collaborative learning atmosphere. This approach not only builds confidence but also empowers students to take ownership of their musical journey.

4. Technical Foundations: My focus is on the Franco-Belgian School for bow technique, along with a solid foundation for the left hand, thus providing students with a strong technical base. This dual approach helps students develop a versatile skill set that can be applied across various musical styles.

5. Balance of Technique and Musicality: The “yin-yang”, which highlights the interplay between technique and musicality. By guiding students to focus on both aspects, I prepare them to tackle the challenges of performance while also cultivating artistic expression.

6. Emphasis on Virtuosity: My dedication to fostering virtuosic brilliance suggests a commitment to high standards, inspiring students to reach their full potential while also instilling a sense of discipline and dedication.

7. Focal Points for Instruction: By concentrating on Basics/Fundamentals, Technique, Musicality, and Artistic Realization, I provide a clear framework that students can follow. This structured approach helps students understand their progress and areas for improvement.

Overall, my teaching philosophy reflects a deep understanding of the complexities of learning the violin, blending technical skill with artistic expression in a way that is responsive to the individual needs of each student. This balance not only prepares them for technical challenges but also nurtures their passion for music.

More specifically:

For in-person lessons, in addition to major solo pieces, I prioritize reading duos with students, be it violin or violin/viola duos. I consider my role as a pivot that opens doors for students to further access their growth through playing with string trios, quartets, and other ensemble combinations. While it is encouraged to have one lesson a week, some students take two classes a week. For students who live in my region, I sometimes accommodate a mix of in-person lessons at mutual convenient locations, virtually, and/or lessons at the student's location.

On occasion, I teach internationally, and if the time difference might be half a day ahead or behind, I make the time as a priority for such lessons to occur. 

I work with students full-time during the school year, and as well during the summer. Goals are realistic based on the student's level. If students wish to accelerate on the violin, I encourage a nurturing program. During the school year, my focus is generally on one or two main pieces of music per semester, along with a strong emphasis on the basics and technique (ie, scales/etudes/Sevcik/Schradiack variants), and specific repertoire as it applies to the individual needs of each student. 

For students who actively have lessons from autumn to spring, I strongly encourage participation in summer music program(s) with a focus on individual practice, chamber music, and/or orchestra, while finding programs that are enjoyable and reflect the student’s current level. For students who prefer to work with me during summer, I ensure there is as much learning on the solo violin repertoire as possible while additionally balancing reading duos, trios, and/or string quartets; tho it must be strongly communicated that I favor students attend summer violin/string/music programs, either in the US, and/or abroad for maximizing abilities.

Although I teach violin at all levels, both in person and/or virtually via Zoom/FaceTime, my primary focus is on students whose levels could be described as "Intermediate” to “Advanced" ability.....without "pigeon-holing" *any talents' kinetic/current or potential/future ability. With this in mind, I'd describe myself as friendly, supportive, non-abrasive, and approachable, so inquiries of any level are always welcome.

To book a lesson with me, feel free to contact my assistant Akari at akariseiner@gmail.com, or more directly, 267-977-7134 via text message. Lessons are $225.00 (an hour and a half). If you're considering lessons with me, I encourage you to read further:

Jason DePue is a member of the Philadelphia Orchestra, joining at the age of 23. He started officially learning the violin at the age of 5, performing his first public concert at age 7, and making his first solo orchestral appearance with the Toledo Symphony at the age of 13. From age 7 until graduating from High School, he performed about 50 concerts a year primarily with his family. He still remembers before starting violin at age 5 being surrounded by music intuitively, with immediate musical influence from his Mom, Dad, and older brothers, Wallace (Phd in Violin, and founder of the term "Grassical Music"), and Alex (collaborated with Steve Vai Band and Chris Cagle), playing the violin, as well as eventually, the influence of his younger brother, Zachary (founding member of "Time for Three" and current concertmaster of Naples Philharmonic, FL).

Meanwhile, since joining the Philadelphia Orchestra, Jason has released four albums including most recently, a mainstream classical album “Spanish Essentials for Violin and Piano". He also on occasion actively releases updated classical musical projects on his youtube page. He is known for teaching the classical violin literature to students of any level. So far throughout his career, he has taught students ranging from the formative years, to high school, to college, and beyond. He served on Temple University's Music Prep Division for 7 years in roles ranging from teaching privately to coaching chamber ensembles.

His violin teaching approach focuses on (in order): Technique/Basics, Musicality, and Collaboration/Artistic Realization (ie reading duos, trios, quartets with student(s) and/or involving parents for those who also play a musical instrument on any level). His approach has a specific curriculum, tho it also branches off tailoring to each students' individual needs and personality, with emphasis  on careful communication, confidentiality and prudence, all relating to helping the student on how to learn the violin, and "bridge the gap" making learning as practical as possible. Tho it's inferred to try best to "follow the path of least resistance", Jason also communicates the realities of practicing and learning the violin in as effective but nurturing a manner possible. 

Jason continues to expand his repertoire to enhance the learning experiences for his violin students. In addition to exploring live performances of unaccompanied works by Bach, Paganini and Ysaye, he also researches all levels of works, ranging from the basics: Most students, if not all, work on Sevcik, to walking thru many of the classic Etude and Exercise books, to the Carl Flesch Scale System, to other scale system approaches, to the minor and major concerto repertoire, and basically "all things strings" that has anything to do with helping accelerate the student's capabilities. The main thing is explaining *how to learn each individual piece, as it is different for each student. He also strongly considers repertoire selection as it realistically relates to students current needs, and with 25+ teaching years experience, ensuring it is effective for students current development.

For creative and outreach purposes he occasionally updates his YouTube page which currently has more than 2.5 million views. Some of these share basic teaching ideas, while other videos share his basic knowledge of the viola and mandolin, which in turn is applied to reading chamber works with students to help them prepare further for various educational purposes. 

Born into a musical family in Bowling Green, Ohio, DePue’s upbringing is steeped in musical tradition. His father, Dr. Wallace DePue Sr., is a renowned composer of over 65 years. While growing up, Jason attended many concerts at BGSU's Annual "New Music Festival", which is a nationally recognized and celebrated new music program normally held during autumn at BGSU's College of Music. Jason's exposure to these types of concerts introduced, and even to this day, continues to spark his imagination and appreciation for new ideas on violin and musical development, and new music. His mother Linda, was a talented pianist. The DePue family, now known as "The DePue Brothers Band", is recognized for their musical legacy, including a PBS documentary, as well as being honored as "Music Family of America” by Presidential Decree. 

The DePue Family is also known for pioneering and being founders of an official musical genre: "Grassical Music,” which blends classical and bluegrass styles. The band has produced several albums, including “When It’s Christmas Time”, “Weapons of Grass Construction", and “Classical Grass". Their innovative approach has influenced many musicians across genres. 

Jason's principal violin teachers include Boris Brant (who is referenced in a biography about Dorothy DeLay), Vasile Beluska (who participated in the original Jascha Heifetz masterclasses), and David Cerone (Founder of Encore School for Strings). Additional former teachers include William de Pasquale, Aaron Rosand, Joseph Silverstein, Ida Kavafian, Yumi Scott, Yair Kless, and Jamie Laredo.

In his spare time, Jason enjoys sports, staying healthy, comedy, and participating in a book club.

Jason DePue plays a beautiful French violin made by Charles Francois Gand, circa 1824. He resides in Elkins Park.

......some additional remarks:

I encourage students to be aware of the way the great violinists play, as well as the contemporary masters who perform live concerts today. The main idea is to somehow avoid the following exchange from teacher to student: "Are you aware of Nathan Milstein's playing?" .....the student's response, "Who is he?"

I also encourage students to tune into, participate, and listen to any current online violin teaching video(s) that could spark any level of ways to improve their ability on violin.

Salut!