I’m Ray Chen, international concert violinist, performed in over 60 countries, was featured in Riot Game’s Emmy winning animated series, Arcane, and cofounder of Tonic, an app that motivates you to practice. AMA!

Submitted by raychenviolin t3_10y7l71 in IAmA

Hi everyone, I’m Ray Chen. I’m an international concert violinist who has the spent most of my life touring in venues around the world. You may have come across some of my content on YouTube, from performances in concert halls, to playing for horses, to collabs with artists like Sting and TwoSet.

If you’re a musician or ever played/practiced an instrument, you’ll know that there’s no better feeling in the world than getting to sing or play your heart out and share that moment with others. However, the preparation and practice that’s required to get there is tough and often lonely. Even if your goal is to be able to play just one song for your friends at the beach, most people will give up before they’re able to get there. How do you motivate yourself to persevere?

For the past 18 months, I’ve been working on a platform called Tonic that makes practice fun and inspires people to share their artistry through live and social practice rooms. It’s helped many people from beginners to those who hadn’t touched an instrument in over 10 years, come back and relive the joy of music.

If you’d like to give it a go, check it out here.

From practicing, to performance, to life on tour, AMA!

PROOF: https://imgur.com/AitMBcm

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Kalepsis t1_j7wjz5g wrote

Ray, your performances in Arcane were absolutely splendid. I'm not ashamed to say that your song with Sting, What Could Have Been, made me tear up.

When you compose and perform a piece, is there some method you use to ensure you invoke a particular emotional response from the audience?

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raychenviolin OP t1_j82k4fc wrote

Just finished a concert now so this is fresh on my mind. I recall at one point as a student, I went through a lengthy process where I examined as many human emotions I could think of (eg. delightful, exuberant, nonchalance, outside-sorrow, inner-sorrow, the list goes on forever) and tried to figure out what it would sound like coming from an instrument.

Having these different emotions are like colors on a palette. You can paint the most vivid and intense visuals through music that impact directly to the listener’s heart.

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jmax565 t1_j82wq1f wrote

I saw you at that very concert! Fantastic job! The Mendelssohn sounded really great (despite the minor technical difficulties at the end, which were handled very well!). Your passion and joy while performing are clear to see. And a very nice gesture giving that girl the flowers.

(endearing to know that big orchestral celebs hop on Reddit after their concerts - very relatable, lol)

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sweetsoda13 t1_j853s94 wrote

Wow it is a easy thing to do, cuz I think most (or quite a lot of) people need a theorist to release their emotions. So to be able to feel those emotions and examine it, it says a lot about…your sign♓️I mean your gift😆

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jackiefu557 t1_j7wh4us wrote

Hi Ray! Any advice for adult amateur musicians who might be struggling with feelings of inadequacy or feeling frustrated with lack of progress?

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raychenviolin OP t1_j7wjdgg wrote

I believe when people have feelings of frustration or inadequacy from lack of progress, it speaks to their personal metric for success. If you shift your mindset of what determines success for you (for eg. If your goal is to be able to play with others or if you're measuring how well you play against others) then you'll be in a much happier and healthier mindset that allows you to enjoy music.

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jackiefu557 t1_j7x4lqq wrote

Thanks for answering Ray! Gonna do some brainstorming and thinking about my goals during my next practice session on Tonic!

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palmtwee t1_j7yceb5 wrote

Were you a little offended when I mistook you for Editor-San when I ran into you, Eddie, and Brett in Times Square?

I’m still kicking myself over that.

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Historical-Depth1913 t1_j7wk218 wrote

Hello ray! I was wondering what your usual practice routine is? Like what you start with and do during practice and what your end goal is, whether it’s to get further in a concerto or to improve?

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raychenviolin OP t1_j7wlp7w wrote

I first like to categorize goals into scope, so long (>6 months), medium (1-3 month), and short term (1-4 weeks). There are of course even shorter daily goals, as well as longer epic goals, but for the most part it's about correctly categorizing things first to avoid frustration and sadness.

I didn't always have frameworks like this (and I wish I had), but this has helped me immensely through professional career, especially when you have to juggle so much repertoire + all the travel, meetings, other projects (like Tonic) etc. but here are a few examples of goals:

Daily goal 1: Be able to play through 2 pages.

Daily goal 2: Be able to add in phrasing + intonation + musicality.

Weekly goal 1: Be able to complete 1 movement (not memorized)

Weekly goal 2: Be able to memorize that movement.

etc. Obviously more layers apply but then you can add another layer (for eg. another piece or movement) when you feel like you have the capacity to do so. I think of "improvement" of technique as something that happens as I learn different pieces. Best not to get stuck on one piece for too longer (longer than 2 months). You can always come back to it later.

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SamuraiBunnyy t1_j7wmb9t wrote

Hello Ray, I have two questions:

  1. Since you travel so often, does your home actually feel like home? Do you get feelings of homesickness or tiredness from constantly living out of your suitcase and in hotels?

  2. What’s your favorite anime? And/or what’re you currently watching?

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raychenviolin OP t1_j7wns2r wrote

  1. It used to bother me that I couldn't figure out where my "home" was - was it Brisbane? Or Taipei? Or Philadelphia? Nowadays, I've come to realize that there doesn't have to be this rule of "only one home". You don't have to be home-ogenous. Home is where you can relax, recharge, and hang out with some really close friends.
  2. Demon Slayer, One Punch Man (get it together guys for season 3), Mob Psycho. I grew up with Naruto, DBZ (I'm so lost nowadays), and of course Pokemon (but only the original 152). Recently dived into Jojo's Bizarre Adventures which is so whacky but so awesome. Also the OST Golden Wind is my gym anthem.
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SamuraiBunnyy t1_j7wuz3s wrote

GOLDEN WIND!!! Any chance we can hear a Ray cover of il vento d’oro on Tonic? 👀

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TheBigBluePotato t1_j7wgsqg wrote

Hi Ray! I’m wondering about how much practice in a day is too much. I’m on my first year of my BM in Viola Performance and my workload has gotten very large to the point where 4 hours isn’t covering everything I’m working on. My professor recommends me to start doing 5-7 hours/day in order to cover everything. I understand quality is greater than quantity but do you think that 5-7 hours/day is too much for someone in my position?

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raychenviolin OP t1_j7wk34f wrote

I've had a varied relationship with practice. When I was younger, I practiced a lot more because I had yet to develop my own practice frameworks and methods. These days I've gotten to know myself better and so when faced with that question I often reply with "I practice as much as necessary".

I will say, the most I practiced in a day was 10 hours. Definitely not advisable over a long period of time and also dependant on your instrument. This was a special few weeks when I was competing at the Queen Elisabeth competition. I was also 20 years old - pretty sure if I attempted this now my neck would break.

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meltglass t1_j7wia41 wrote

What is your favorite concert hall to perform in?

What are you thinking about while performing? Are you imagining a story? Or is mind blank and you're letting muscle memory do everything?

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raychenviolin OP t1_j7xurcj wrote

A few favorite concert halls where the acoustic is amazing: Suntory Hall (Tokyo), Koerner Hall (Toronto), Weiwuying (Kaohsiung), Walt Disney (LA), Davies (SF), Elbphilharmonie (Hamburg), Musikverein (Vienna), Concertgebouw (Amsterdam),

When I'm performing, I usually think of characters/personas. Sometimes it can become a story but usually it's simply a conversation or scene that happens. For example, at the bridge passage of Mendelssohn's 3rd movement, I imagine a conversation between a young student and an old teacher. The young student keeps asking why while the old teacher just keeps shaking their head. Eventually the student becomes determined to make their own decisions and that's when the 3rd movement starts into this adventure with lots of valleys, mountains, and beautiful scenery just rushing past.

If your mind is blank (which it can very easily become when practicing by yourself), then what comes out will also be blank and robotic. This is why it's important to always have a focused and conscious state when you're practicing.

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heyitsthebrunette t1_j7x120h wrote

Hi Ray. What is your top 3 favorite pieces to perform? Please explain if possible. Also, mad respect to you for creating a platform/opportunity for people to have fun while practicing.

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raychenviolin OP t1_j7xvgsn wrote

Thanks for the great question! If I were to be stuck playing the same 3 pieces for the rest of my life, they would be:

  • Bach's Chaconne for Solo Violin. This one seems an obvious choice because the piece has an incredibly large vessel to fit vast amounts of rich expression and experience. Definitely top pick.
  • Mendelssohn Violin Concerto. This one never gets old for me. It still has the same freshness as the day I met it when I was 9 years old :)
  • Sibelius Violin Concerto. The 3rd one was hard to pick, but I ended up with the Sibelius because of the contrast it provides against the others in the type of expression, yet is still my style of piece (ice & fire).
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Maggie_Steebich t1_j83lezc wrote

Thank you for your honest answer. It is nice to hear there is a difference between the pieces and to read what feelings you want to transport with the melody

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HortonFLK t1_j7zqjt9 wrote

How did you wind up in ARCANE?

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[deleted] t1_j7x48ir wrote

[deleted]

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sumo_suzy-5708 t1_j7x9s3s wrote

I asked this question badly but I want to answer the same thing. I am hoping to get back something of what i was able to do before and finish things up

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medisa t1_j7xcbtp wrote

Hi Ray! I've been wondering how you deal with the fatigue that must come with the constant travel and jetlag. Is it difficult to jump through timezones all the time with (what looks to me after glancing at your concert program) sometimes little time to rest in between?

Also, any chance we might see you back on TwoSet's channel in the near future? Your collabs together are always my favorite :3

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paishocajun t1_j7x580e wrote

Nerd question: did you actually do any of the coding on Tonic?

Music question: have you ever played any fiddle songs and, if so, which is trickier for you, classical or fiddle?

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raychenviolin OP t1_j7x60eg wrote

I did a little github pushing in the very beginning back when we were called Pocket Conservatory. Really simple stuff that made me respect my cofounder Rose, as well as the rest of our dev team for what they do.

Fiddle stuff: I played a few bluegrass pieces by Edgar Meyer (those violin + bass duos) and some basic hoe-downs. Also extreme respect for bluegrass fiddlers was developed in light of those experiences. One of my favorite fidllers is Jeremy Kittel, you should listen to his track "Chrysalis" - just divine!

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chibinoi t1_j7y4mmm wrote

Ray, thanks for the AMA:

My question for you is how does one become a professional classical musician in the capacity that you are? Do you get picked up by a talent agent or scout or something?

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raychenviolin OP t1_j7zovn8 wrote

Great question.

Just to give context to those wondering. These days, there are 4 main categories of musicians in the classical music world:

  • Orchestral musician
  • Pedagogue/Teacher
  • Chamber musician
  • Soloist

Many musicians do a combo of these. Mostly Orchestral + Teaching, Chamber + Teaching, or Solo + Chamber. The rarest mix is orchestral + soloist, where currently I've only seen members of the Berlin Phil able to pull this off. There are also many full time quartet players and full time teachers (like my teachers Prof Zhang and Robert Lipsett) who fully commit to their category.

This doesn't factor in social media/content creation which in today's digital age, has become an extremely valuable asset to have and created a new category in itself. You could be a teacher and market yourself online. You could be an orchestral musician and take on an additional social media role within the orchestra. A chamber musicians who offers online courses, or a soloist who records albums, creates content, or builds an app.

The possibilities are endless with many paved paths, but the best part is being able to create a world in which you are placed at the top and are happy with.

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Puddles0549 t1_j7wjumt wrote

Hey Ray, I got a weird one. What’s your favorite color and what piece would you associate with that color?

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raychenviolin OP t1_j7wkl4o wrote

My favorite color is midnight blue, however it is a "cooler + darker" color and there's not that many moments in music where you need that particular sound.

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_smoke-and-mirrors_ t1_j7wpctr wrote

Hi Ray!! I absolutely love your work in Arcane, and it inspired me to learn the Concerto that you played in it. But I really struggle with the ending, with the fast fingerings and shifts. Do you have any advice for how to play that part and parts like it? Also, will you be returning to Arcane for the season 2 soundtrack?

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aspiringent t1_j7x48vg wrote

I remember seeing you play at the Bowdoin festival years ago, you played the andante from the 3rd Bach sonata as an encore and I can't say that I've ever heard a version I liked more, before or since! It was a really special moment that definitely changed how I think about and approach his music. Thank you!

I'm wondering what your thoughts on improvisation are? I grew up with a classical training as well as playing a lot of folk music, and have been fascinated for some time with all things improvisation, be it jazz or coming up with interesting ways to play around with Bach, who I'm convinced would be the greatest jazz musician of all time if he lived in our time!

​

Thank you for your music!

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Significant_Basil_59 t1_j7z884k wrote

Do you have perfect pitch? Is it useful to have perfect or relative pitch to be a professional classical musician?

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raychenviolin OP t1_j7zjok5 wrote

I do have perfect pitch, though when the note gets too low (think bottom 5 notes of the piano), it becomes difficult for me to differentiate.

That being said, I don't think it's too important to have perfect pitch from a musical standpoint, but it is important to have familiarity with your instrument eg. knowing what the note is when you put your 3rd finger down on a particular valve/string/etc.

I'd be curious to hear what musicians who don't have perfect pitch have struggled with (other than being made fun of). As a musician who does, I have struggled with transposing (eg. when I attempted Paganini's Violin Concerto alla Scordatura (with the tuning raised by a half note) but that may also be the intense familiarity I have with my instrument which was tripping me up.

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_18Mangoes t1_j7wqque wrote

Hi Ray! What would you say to a teenager who loves listening to and playing music, but is unsure of going to music school/pursuing a career in music?

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raychenviolin OP t1_j7zu6zq wrote

I'm going to give an answer that is probably going to give folks mixed feelings.

The choice to pursue music depends on what your goals are in life. If you want to become famous, or earn a lot of money, and pursuing music gives you feelings of uncertainty to achieve those things, I would say don't do it. Music can always be a part of your life if you allow it.

That being said, you could always pivot even after going to music school. I know a lot of people who went to Juilliard, Curtis, and other music schools who are now in completely non-music related industries; from real-estate to finance, crypto, medicine, consulting. What's cool is the discipline, responsibility, and social skills that are built from being a classically trained musician, translates well into other fields.

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sweetsoda13 t1_j80b4kz wrote

Some passage I read from “Die Kunst über Geld nachzudenken” always lingers in my mind. The author mentioned about his craziness of a particular concert; his view about his job as a speculator; and he hopes his children could become like writers or at least journalist. Seems literally making money as a job is not that satisfying, and always brings fantasy about “seems” not so realistic work🧚‍♂️😆

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Rae1544 t1_j7xyesf wrote

Hope he responds to this one! Would love to hear his thoughts

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TohokuJin t1_j7wvz5q wrote

Hi Ray, how's it going. How did you find the concerts in Japan? I was gutted that I couldn't make it.

It's so great to see that you're a huge influence and a great role model for young musicians. Recently, funding for the arts has been cut in many countries around the world, which is so disappointing. How can we preserve classical music and these ensembles from disappearing? And how can we encourage young musicians to not feel disheartened?

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sumo_suzy-5708 t1_j7wwzx1 wrote

I am an old 45 year old who last played the second last year of high school and learned the first movement of the Mendelsohn concerto and passed my Grade 10 violin with RCM. I flamed out so bad with the play with ray challenge. I didn't have a teacher. I tired to learn the notes like I remember my teacher telling me. I couldn't make it to tempo. Don't have intonation anymore. Is it possible for an old dog to relearn old tricks and how should I be practicing . I played the second part first movement from susuki book as a kid, slower, but can't keep up with you. Any practice tips? I can't learn it in a week. Couldn't learn it in 8 ish Any practice tips for apt? I have a mute on but still worried about getting kicked out and I can learn the notes but I can't learn the bowing arm properly cause I have to play soft all the time

I am willing to find a teacher but I have always spent more time trying to learn notes than work on the music

And is there hope for a 45 year old. I want to sound decent. Apparently I can't play anymore.

Love your playing. Hope to see you live one day.

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paishocajun t1_j7x4uif wrote

Not Ray (obviously) but I'm in there with you, 35 and self study (never played before Oct though). I see comments on YT videos and fiddle/violin sites where people are picking it up at 60+, 70+. People like us aren't going to make it to Ray's level, obviously, but my goal is to get good enough to play at church, at least for like Christmas and such.

One note, one song at a time. Literally just the other night I finally played Lightly Row by myself all the way through with no sheet music. My next goal is Song of the Wind and to do Lightly Row with a metronome.

The great thing about being adults starting, we're never going to get to Ray's level! We're not competing for scholarships and such. We can learn at our own pace, doing what we can as we get there, and most importantly, for fun.

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sumo_suzy-5708 t1_j7x63rg wrote

I want to get back to where I used to be :-( I feel more than ever I have unfinished business as I never finished my ARCT (not ray but I am a coder)

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Joshsaurus t1_j7x4i34 wrote

Hi Ray !!! What's your favorite violin concerto ?

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violinewbie t1_j7x5iad wrote

Hi Ray! With the knowledge and expertise that you have now, is there any advice you would tell your younger self? Or anything you wish you could have done differently?

Appreciate you carving time out for this AMA! Your performances have inspired me very much as an adult beginner on the violin :)

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raychenviolin OP t1_j7xsyj6 wrote

Although people say it's not good to dwell in the past, I like reflecting because I think it's the easiest way to determine personal growth. (ie. Situation in the past that happened, how would I deal with it now?)

Therefore I do have a few things I wish I knew that could have helped make life smoother:

  • Don't make assumptions before you have all the details
  • It's OK to be different because everyone is. Some are just hiding it better than others.
  • Don't be afraid to ask people for help but don't let their help go to waste. Learn and adapt so you can be stronger and more useful.
  • It's better to say "I don't know" than to make up something.
  • Be aware of not only yourself and others around you, but also the impact you make to others through your actions.
  • Goldfish only need to be fed once per day.
  • Buffets are not the answer.
  • Instead of being defensive, learn to throw yourself into the situation to fully understand everyone's perspective.
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sweetsoda13 t1_j7xuv7o wrote

Just a small thing. maybe we should not measure ourselves or others in the perspective of usefulness. I believe it’s a trap that many of us fall into time after time. We are allowed to be happy and enjoy our life🌟

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UpsetPound t1_j7x631t wrote

How important of a skill would you say memorization is, and how difficult is it to memorize long pieces? I imagine some parts might intuitively be easy to remember, but others not so much.

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raychenviolin OP t1_j7xw3fs wrote

Being able to fully memorize the part can come in handy, but I would say it's down to the repertoire. Certain repertoire (like chamber music or sonatas) has an etiquette where unless all players have memorized it, you should also use music.

Also it depends on the instrument and how it affects the player. I think pianists don't get affected as much because they're more stationary, but when violinists or cellists have a music stand that's blocking them from the audience, their focus tends to go towards the music stand.

I would say it's like giving a speech. It doesn't have to be fully memorize but one should have enough of it memorized to be able to focus on the musicality and meaning behind the notes.

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mikestergame01 t1_j7x8sf1 wrote

How closely did you work with Sting on What could have been?

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aloebeans t1_j7xz3ow wrote

Hi Ray! Love what you do, your positivity, and your exuberance whenever you’re performing!

I’m about to graduate as an undergrad violin major, and have stubbornly and ambitiously charged towards chasing stages and performing professionally in the future!

However, my biggest worry is that adrenaline and self-doubt easily gets the better of me when I perform solo (never with chamber or orchestra strangely!) — do you have any tips or advice on how to best redirect the shakes/anxiety when playing on stage? Your stage presence and conviction is so inspiring and I’d love to be able to radiate that energy too!

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Rainbowpig3 t1_j7y15ke wrote

Do you still get nervous before performing? Please give us some advice on how to deal with nerves!

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Academic-Welder-166 t1_j7yb6y2 wrote

Hi Ray! I’d like to know which conductor you loved/would love to play with. As a soloist what makes a good conductor in your eyes and how do they add to your performance?

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LennoxDyerViolin t1_j7yd4j9 wrote

Hi Ray hope we're not too late. Wondering how long you practiced per day at 8 years old? My son is pretty talented according to his teachers, playing pieces around 4 courses above his level in the conservatory, but recently been feeling he has a little burnout with all the classes and practice. Need to keep him loving music. Any suggestions? We started using your Tonic app a couple of days ago and he likes that! Thanks

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raychenviolin OP t1_j7zklzh wrote

Thanks! When I was 8, I was playing 8 hours a day

Just kidding. I think I practiced around an hour to an hour and half on weekdays and 2 hours on weekends.

Interesting though that you mentioned you "need to keep him loving music". If love for music is the primary goal here, then he certainly doesn't have to play pieces 4 courses above his level. People (especially kids) need to feel accomplishment and there's no better way to do that, than for him to be the one to say "Yeah, I'm ready for more". There's a balance to strike here but the fact that you're already aware of the burnout tells me that things need to level out for a little while before going higher.

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LennoxDyerViolin t1_j80jh8p wrote

Thanks so much for the reply. I don't think it's the level of the pieces he's struggling with.... (he's pretty proficient at that level and he also loves his classes with his private teacher) (not so much the conservatory which is very strict and in his words 'boring'). The issue I guess is more that I think he feels some pressure and expectation and I wondered how much practice is enough to keep improving to reach a professional level at some point, without killing the joy he gets from playing by doing too much/more than he wants to. That was my reason for asking how much you practiced at his age to gauge whether we're doing too much/little. Hope that makes more sense! An hour and a half to two hours sounds good. Thank you so much. He hopes to meet you one day. Maybe one day he can 'Play with Ray'. You're very kind taking the time to reply, very much appreciated.

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ViolinPianoArtist t1_j7z5852 wrote

Hi, Ray,

i got an issue about projection awareness and recognition from Ray Chen Violin Masterclass at SFCM

y, when daily self practice, i always feel under my own roof, if i play too loud, it sounds rough and not nice.

so i felt i have to play as soft as i can but the fact is i will never get a chance to practice projection for a big space sound effect and purpose.

but, if i practice projection, i.e. exaggerate every single note and record my self, later when i listen to my recording, it sounds rough and horrible.

sigh.......same issue with my piano. cos, since i record myself last year, i noticed that i better not peddle down my piano, i.e. minimize the least .......... otherwise the recording video won't sound good at all.

it's so contradict and different before and after i record myself. y, recording do teach me many things. be solid, never hesitate, keep going, moving on even if i unwillingly but unavoidably making a mistake. also focus on playing the music from the perspective of being an audience, etc. etc.

indeed, recoding has pros and cons.

y, i indeed like to know your view upon this issue, how you practice your projection vs practice for the beauty of music for our own ears right next to the violin? Thank you.

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DaUsrnmeIsAlrdyTaken t1_j7zwh7j wrote

Will you be working with arcane in the next season? How was it working with the team? Love the soundtrack :)

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raychenviolin OP t1_j80ry1x wrote

Hehe no spoilers about S2, but it was incredible to work with the team. Christian Linke is honestly one of the most talented people I know and I'm so happy for him with the quality of talent he's been able to attract to his team.

One of the composers (Alex Temple) wrote some pretty gnarly stuff for the violin like this passage in the song "What Could Have Been" with Sting as well as the mind blowing cadenza where Jinx is just going batshit "She's here".I was so with how things worked out that I asked Alex to write our theme song for Tonic, which is in a completely different style but goes to show how versatile of an artist he is!

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Linds70 t1_j80byjx wrote

Can a Violist also play the Violin?

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raychenviolin OP t1_j80cx5w wrote

Viola jokes aside, many viola to violin (and vice versa) is a pretty easy switch. For eg. I did record the viola in the opening episode of Arcane. You can check it out here and rate how my viola skills are.

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HappyH147 t1_j83d5ux wrote

Hi Ray, what is your approach when learning a totally new piece with harder skill level than the current you have? I'm trying to learn new pieces but sometimes it gets discouraging with a new one when the first page is so hard.

Additionally, what is your thoughts about classical music potential in modern age? Would love to hear your perspective on it, if you are ok with sharing it.

Thank you for open this AMA!

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[deleted] t1_j8lgmfc wrote

[deleted]

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raychenviolin OP t1_j8ma6p2 wrote

At the risk of sounding like a broken record, when it comes to extrinsic-motivation, it really comes down to finding outside sources to inspire you. Practicing with others (just like studying together or going to the gym with others) really does help. I can't stress enough the importance and value of being in a community. This is the very reason why Tonic exists - a (free) way to practice with others in a supportive community. Give it a try today and let me know how it goes :)

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Professional-Hold-13 t1_j7wjg12 wrote

You're probably getting thousands of videos for the Play with Ray competition right now. What will the selection process look like, and what are you looking for in the videos/applications?

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cookiemomofthree t1_j7wk0jt wrote

We are about to board our plane to Pittsburgh to see you tomorrow night. Bringing my daughter for her 16th birthday. Any chance you can sign her program? We are super excited!

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raychenviolin OP t1_j7wm1sx wrote

If you join The Ray Fans group on Tonic, I usually post the time and location for secret meetups at concerts where there isn't an official signing happening (and these days due to covid, it's pretty rare).

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Marinette_2796 t1_j7wk3vt wrote

Hi Ray! Have you ever tried other instruments? If yes, what, when and how was it?

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smoppo t1_j7wkgph wrote

Hi Ray, I'm a big fan of yours! Did you ever come across negativity, toxicity and favouritism in the industry? Any time through your studies and career? I wonder if you have any tips for musicians who have struggled with this sort of thing? Kindest wishes

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raychenviolin OP t1_j7wp1hv wrote

Oh yeah, all 3, all the time. I was pretty mad for a period of time (couldn't you tell from my content? jks) but yeah, it was sort this helpless feeling that actually made me feel like "Welp, I have nothing to lose, might as well focus on what I want, which is connecting with people and creating positive impact".

As advice for those who are dealing with this sort of thing, if it's outside of your control, try to change your environment. If it is something you can change (where you're not hurting others), then do it.

One of the best realizations that I made was when I finally decided I would stop living in the eyes of others. Best wishes and hope you're doing okay!

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smoppo t1_j7wqt0w wrote

Massive respect to you for taking the time to write out such a thoughtful answer. Often we put people on a pedestal and forget they've been through so much themselves. Really great advice and well received! Take care out there

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queenspb t1_j7wlfjq wrote

Hi Ray, It is so generous of you to provide such great opportunity to ask a world class violinist a question that puzzled me since I started learning to play.

Did you have to cover LOTS of etudes when you were a child learner, like Wohlfahrt, Kayser, Mazas, Dont and Kreutzer?

Thank you and hope to see you in England sometime in the future!

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raychenviolin OP t1_j7xrwxf wrote

For the first 9 years of learning the violin, I didn't play any scales or etudes. None of my teachers at the time told me to - I think they probably thought I was doing just fine playing concertos like Tchaikovsky, Mendelssohn, and Bruch. However, it soon became apparent that I was hitting a plateau in my technique. My intonation was not consistent and not improving.

I decided to switch teachers and that's when I was told that in order to improve, I had to play only scales & etudes for 6 months without touching a single piece. Peter Zhang in Sydney was the guy who fixed my technique. Thanks Professor.

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queenspb t1_j80bv7u wrote

Thank you so much for the insight, definitely something to think about...

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i-Have-No-idea00 t1_j7wmty6 wrote

Hi Ray 🙂 I'm an adult beginner on violin (9months). How long might it take to find a comfortable position? Do You feel sometimes any tension/pain? What to do if I can't move my left elbow too much (can't place it "under violin" while playing on G or D string. It makes me 😪

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Zyukar t1_j7wog8j wrote

Hi Ray, didn't expect to see you here! Thanks for this opportunity. My question is, what's your process of interpreting a new piece of music?

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sweetsoda13 t1_j7wqso9 wrote

Hi Ray~what was your biggest setback? Does it transformed you? What’s your biggest fear you haven’t conquered yet?

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procrastipractice t1_j7wsw1g wrote

Hi Ray, teachers all over the globe recommend to pick a piece that is a little harder than one's current level which sounds like very sensible advice. But it's fun to try to play pieces that are way to hard! Could there still be a benefit in challenging myself with a piece that is too difficult for me?

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raychenviolin OP t1_j7wvdqr wrote

Picking a piece that's slightly above your technical level can be very good for technical growth. If you decide to go with a piece that's multiple levels higher, then make sure you remind yourself that you're having fun (1-2 sessions is fine) and that you don't have any external pressure. Otherwise, chances are you might become frustrated which could affect your overall relationship to the piece (don't wanna ruin it for later) or even to your instrument.

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procrastipractice t1_j7wy222 wrote

Thank you for your advice. I have a hard piece I keep coming back to from time to time to see if I have made a bit of progress. But since it's really difficult, I don't expect to play it ever for real. Luckily there is no external pressure, my teacher has no idea ...

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IAmAModBot t1_j7wvgxl wrote

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TSVhide t1_j7wwl9s wrote

Hello! What are your thoughts on being included in fanfics, if that's okay to ask? (It does say to ask ANYTHING right?🥲)

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raychenviolin OP t1_j7xr867 wrote

I haven't read any (and probably won't) but I think creativity should always be encouraged.

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TSVhide t1_j7yov1j wrote

Thank you for your answer❤️

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invincibleMKW t1_j7x1x0c wrote

hey there ray! 17yo cello gang member here. i'm currently practicing the elgar concerto for my first real concert as a soloist in may and it is a real challenge. when you were my age, how did you manage your practice time/productivity while also being a high schooler? much love from minnesota <3

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spuriousmuse t1_j7x93uq wrote

How would you react if (politely ask you to use your imagination here; I can think of a few examples so reckon it's well within your cognitive purview), somehow, you learned that a chicken (or a duck, maybe) was a musical genius beyond any human in recorded history or contemporary knowledge?

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jessnotquick t1_j7x94qd wrote

Hey Ray, do you have any recommended stretching / physical exercise for SCOLIOSIS violin players (particularly beginners)? I know it’s a broad question and your recommendation may not suit everyone but I’m really curious. Soooooo this scoliosis adult beginner who swore to never join the violin gang has actually started to learn the violin partly because of you! I enjoy it very much and the only downside is that my neck and upper back hurt more now. I practice around 30min-1h a day after work but I try to maintain a good posture and I don’t wanna cut my practice duration… I tried some scoliosis stretching and they did relieve my pain a bit but I wonder what works the best on you. Before I end this. Thank you again for inspiring us, creating so many positive chances, and mostly, thank you for making me like myself a bit more. P.S. Can’t wait to see you in Hong Kong for Mendy two days in a row!

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Remote-Two8663 t1_j7xl12v wrote

Hi Ray I’ve been observing my own talent on differentiating notes. I haven’t been structurally improving it, in general I just can’t get it right. Is this common or just lack of natural talent?

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scogle98 t1_j7xqjmg wrote

Hi Ray! Do you have any violinists or other performers that you think inspired you when you were starting, or helped shape you into the musician you are today?

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SirinShah t1_j7xtia3 wrote

Hey Ray, Heartfelt gratitude and love for your contribution to international music, my question is also a bit strange, I am an Indian, what do you think about India's music, how do you feel?, any favorite artists if you know?

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Rae1544 t1_j7xy7lq wrote

Hi Ray! Who has been your favorite musician or celebrity that you’ve worked with or met?

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Yat5456 t1_j7y4b6g wrote

Hi Ray. There has been a sentiment of avoiding using shoulder rests as much as possible because they affect the sounds and the postures while playing. To me, this opinion is absoultely bs because there is no concrete evidence. But I would like to hear about what does a professional think about it. So what is your view on this topic?

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flyingducks27 t1_j7y6ty9 wrote

Hi Ray, how do you get over performance anxiety? I have stomach aches and shaky fingers even when it's just a small recital - while you look so calm and connected to the music even when there are an entire hall watching you. What are your tips to be so calm and musical? Thanks!

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raychenviolin OP t1_j7zsi1f wrote

There are 2 methods for getting over performance anxiety. I've used both but recommend the second - I'll explain why:

  1. "The bulletproof musician" is where you get to a place where you focus and shut off all external forces. The way to do this is practice the same passage over and over in the same style, same phrasing, etc. where you develop the "muscle memory" to be able to play the passage at any given point (even when emerging from sleep). This method was used a lot by the Soviet musicians back in the day. However, if your mental focus cracks and you become aware of the audience during your performance, it's game over.
  2. The second method is constantly practicing in front of an audience to the point where your brain can't differentiate between practice & performance. This is harder to achieve (and a little more terrifying in the beginning) because there are suddenly people in your practice session, but this is probably the most valuable reason I use the Tonic app. The result is when I now walk on stage, I have the feeling like everyone's here to listen to me "try things", just like I do in the Studio.

That feeling you get when you wish you tried different things right after they happen? Yeah, it's possible now which is pretty cool.

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flyingducks27 t1_j81qwcu wrote

Thanks for the detailed response Ray - didn’t expect it! This was a great surprise to my not-so-good school day.

On the side note, Your performance at LA Phil last week was inspiring and will definitely practice more on Tonic now :) hope to see u in tonic studio!!

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flyingducks27 t1_j8klmth wrote

Ray, how does a day in your life looks like as a professional soloist while also juggling social media outlets and Tonic? How are you so productive!?!?

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3-141592654- t1_j7y6vmy wrote

Hi Ray! I just wanted to ask if you have a favourite piece/song to play and listen to? :)

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Consistent_Ad_6363 t1_j7y7zg1 wrote

Hey Ray, I'm looking to play La Campanella but the double stop section is rather confusing, how should I start? Additionally, how should I make sure the artificial harmonics stay in tune consistently?

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raychenviolin OP t1_j7zr0t2 wrote

Ah, if only blackpink had included the harmonics section in their track...

No, but your question is a good one. This is where having more opinions probably makes sense because everyone's hand is shaped differently, some people have more trouble with certain techniques than others. Would recommend you search for the "Advanced Violinists" group on Tonic - they could help you with fingerings and advice if you upload the part in the sheet music you're having trouble.

My personal take on harmonics and intonation would be to always check the "real notes" by checking to see if the 4ths are in tune and placed as intended.

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nr1bubbletea t1_j7ygwcp wrote

Hello Ray! You're an absolutely amazing violinist and I love your playing! Can't imagine how much work goes into everything you do, including tonic. How do you deal with life on tour (lots of changes), jetlag and stuff? Do you have a routine or did you just get used to it? Also, I absolutely love your performance of Wieniawski's first violin concerto on youtube!!! Is it true that it doesn't get performed a lot in general or is it just my feeling? Lots of love ❤️❤️❤️

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BarenreiterBear t1_j7zmz9h wrote

Hi Ray,

What is the best advice you have for someone studying at a conservatory?

Was there a distinct time where you felt or realized you “made it” as a soloist?

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OldFoolOldSkool t1_j7zqdw6 wrote

Ray, how do you deal with pre performance nervousness? What if you feel you know your part, but being nervous affects your sound and keeps you from playing like you should?

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Interesting_Tale t1_j7zstfh wrote

I used to play violin during my school days. I've completed the grade course of Trinity till Grade 3.

Been more than 9 years since I've played, do you think I'll be able to pick it up again? And if so where do you think starting would be a good idea?

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naoswestvillage t1_j800sn9 wrote

Hi Ray! My husband and I have been fans for a few years and got to see you perform Tchaikovsky with the Seattle symphony which was incredible!

My question is: what was one of the hardest moments in your career that you had to overcome and looking back on it, do you feel this hard moment helped you progress in anyway?

Bonus q: what’s your favorite Pokémon game? 😄

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boopershooper t1_j810x3z wrote

Hi Ray!

I just saw you at the Walt Disney playing Mendelssohn last week! That was really special, and an incredible performance that I'll always remember. I've been a violin student for 2 years, and you were one of the reasons I started violin at 16 years old. I'm also participating in Play with Ray! (Hopefully, there's some complications with my application right now, I just emailed the Sydney Symphony to hopefully sort things out).

I wanted to ask about your instruments. I know you just got loaned the Dolphin Stradivarius, but you're also a very big advocate for modern violins, like your Widenhouse. I wanted to ask how the 2 instruments compare. Is the Dolphin really THAT much better than the Widenhouse. Do you ever have days where you feel like playing one rather than the other? What would you say are the characteristics of the antique violins you've played over your modern instruments? Thank you so much.

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ClassicalMusicIsLife t1_j81iqzv wrote

How do I balance sleep, school work and practice at the same time?

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bunny0117 t1_j81o3k2 wrote

Hi Ray! Any advice for learning instruments as an adult? I played the piano for several years as a kid, and used to compete, but haven’t played in 20 years or so. I recently tried to pick it back up but felt frustrated as I’m nowhere near the level that I used to be at. I’d really like to try learning the violin at some point as well, but I’m worried that it would be too difficult if I can’t even properly play an instrument that I used to be skilled at🥲

Thank you!

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darthfoofie t1_j826092 wrote

I played piano in grade school to high school. I seldom played much after that, just once in a great while when I came across a piano. I am 51 now and just started violin this week. After four days, I can play Mary Had a Little Lamb, Jingle Bells, and a little of Ode to Joy. I don't think you would find it difficult to pick up the violin. No, I don't have the coordination to play it perfectly because this is the first time I've picked up a violin. But all things worth doing in life require practice and patience. The challenge is part of the fun.

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NovaChocobo t1_j827a0b wrote

How is it working a long side of Riot and being featured in a video game?

What do you think is the most important thing to learn when playing the violin?

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Arudj t1_j82eh94 wrote

Hey Ray!

What other genra of music do you like to play on your violin, even if its not fit to your instrument? (like blues, metal, jazz, irish, etc.)

I also wonder if you ever try oriental music like arab, turkish, greek, etc? (quarter tone, makam mode, oriental tuning, etc).

Really appreciate that you, Hilary and twoset share classical music knowledge to the comon folks. I start learning music theory because of you all!

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its_tea_time- t1_j82mddc wrote

hope I'm not too late ;-;

stupid question, but what would be your best tips for a beginner violinist?

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AzaraMaikoa t1_j83buxh wrote

will you come out for photos at your hong kong concert on 31 march? :D

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Alone-Monk t1_j85fkoi wrote

I am a huge fan of your compositions for Arcane, honestly it is a large part of what makes the series so good.

While composing for Arcane, what character did you enjoy evoking or composing for in your music? Also did you watch the full 9 episodes after they were completed and if so how was the experience different when you watched it then?

Thank you so much for doing this, I have so much respect for you and the other people who worked on Arcane.

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Callia_Ellesfire t1_j8ffd6r wrote

Hello. I absolutely love your music, coming from a violinist that has played since kindergarten. Recently I have decided to continue playing the violin in college because I can’t live without music. Do you have any advice on how to make covers with little equipment?

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editor_san123 t1_j8mel46 wrote

two questions, it'd be great if you answer them

1, what's your usual practice session like?

2, do you support breddy? 😈

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raychenviolin OP t1_j95sit4 wrote

  1. My practice sessions usually entail me trying out new musical ideas in front of people. I'm constantly trying to put myself in the audience's shoes to create a similar atmosphere as a performance (only you get to try it again without consequences if things don't work out). A lot of people "practice for themselves" and are surprised that when they finally play in front of people they're either nervous as hell or that people don't feel engaged and tune out.
  2. Don't you know I'm the captain of this ship?
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triisarahhtops t1_j8mjoq1 wrote

Hi Ray! What is a piece that you’re currently working on personally? And will you be coming to Singapore again soon? I missed the chance to watch you last year :(

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equisded t1_j998zzk wrote

Hi, Ray! First of all, I just wanted to say that you're my favorite violinist. I first got to know you with your Arcane performances, which, needless to say, are INCREDIBLE. Since then, I've been in love with the way you play and you're the first thing on my mind when I think about what I wish to achieve with my music.

Sadly, I don't think I'll ever be able to play like you do. I have severe anxiety issues and, as you can imagine, they interfere a lot with my confidence and cause me to get very emotional over any mistake I make. Plus, it makes it impossible to play in front of other people (shaking is my biggest nemesis and it's very hard for me to control). In a few weeks I have a final in which I have to play in front of 3-4 examinators, and my biggest fear is not being able to play altogether because of this.

Do you have any tips you can give me? I assume you have been through relatively similar situations and I've seen you break a string, switch violins and keep on playing without batting an eye. Also, it seems like you really enjoy yourself while playing, no matter how nerve-wracking the situation is. How do you manage to keep calm?

I apologize if my comment causes any inconvenience or makes you uncomfortable in any way. I'm a bit emotional right now so I might've accidentally overshared or overstepped a boundary, though it's not my intention at all.

I wish you the best (especially, that your E string doesn't betray you again). You're amazing, never let anyone --- even yourself --- convince you otherwise.

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ImKahunadude t1_j80z3gp wrote

so some quick questions -whats your favorite superhero -favourite ice cream flavor -favourite videogame serious questions what advice would you give to somebody who wants to learn to play the violin?

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Mar3n3lis3 t1_j7wvdmw wrote

Have you ever had a crush on a fan?👀

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