1/22
Since April 2026
Instructor since April 2026
Translated by Google
Teaches violin by ear in all styles: Classical,
From 42.81 C$ /h
A very progressive method by ear to develop accuracy, memory and the ability to free up one's playing in order to be able to adapt it to very different or new styles.
I focus first on the plasticity of the sound at the same time as the awareness of rhythm takes place, the accuracy comes of itself as well as the obviousness of the good bow strokes which bring this expressiveness, these colours, these accents and these variations of intensity so specific to the violin.
Each student has a particular character, some have by nature a nervous tendency, others who have a bow that is too choppy need to make their playing more fluid, still others are naturally hyper relaxed, (as was Stéphane Grappelli, which is why he was praised by the greatest classical virtuosos, who envied him this predisposition).
Without sheet music, some people get stuck, unable to organically integrate melodic lines, rhythm, and musicality into the appropriate style. This is very common, which is why it's essential to play primarily by ear. For those who don't know how, it comes gradually; it's always the case, and it's important and reassuring to be aware of this in order to progress more easily.
Some have to work on their speed of execution, while others will have to concentrate on the stability of their sound over a longer bow stroke and the different speeds of vibrato...
etc... there are so many situations
All the necessary synchronizations for playing the violin fully must be acquired, regardless of the students' initial abilities. These are the first steps, which can differ according to individual temperaments. Moreover, it is these temperaments that shape their personality and tastes in a certain way, becoming their hallmark, and sometimes even their Achilles' heel, with which they will always be more or less at odds. This, in fact, represents a very beneficial and invigorating support, serving as powerful reference points for navigating challenging hurdles. Indeed, one often has to encounter obstacles to have the joy of knowing how to overcome them! And mastering the countless techniques of the violin requires facing them, ultimately leading to intense moments of fulfillment!
I focus first on the plasticity of the sound at the same time as the awareness of rhythm takes place, the accuracy comes of itself as well as the obviousness of the good bow strokes which bring this expressiveness, these colours, these accents and these variations of intensity so specific to the violin.
Each student has a particular character, some have by nature a nervous tendency, others who have a bow that is too choppy need to make their playing more fluid, still others are naturally hyper relaxed, (as was Stéphane Grappelli, which is why he was praised by the greatest classical virtuosos, who envied him this predisposition).
Without sheet music, some people get stuck, unable to organically integrate melodic lines, rhythm, and musicality into the appropriate style. This is very common, which is why it's essential to play primarily by ear. For those who don't know how, it comes gradually; it's always the case, and it's important and reassuring to be aware of this in order to progress more easily.
Some have to work on their speed of execution, while others will have to concentrate on the stability of their sound over a longer bow stroke and the different speeds of vibrato...
etc... there are so many situations
All the necessary synchronizations for playing the violin fully must be acquired, regardless of the students' initial abilities. These are the first steps, which can differ according to individual temperaments. Moreover, it is these temperaments that shape their personality and tastes in a certain way, becoming their hallmark, and sometimes even their Achilles' heel, with which they will always be more or less at odds. This, in fact, represents a very beneficial and invigorating support, serving as powerful reference points for navigating challenging hurdles. Indeed, one often has to encounter obstacles to have the joy of knowing how to overcome them! And mastering the countless techniques of the violin requires facing them, ultimately leading to intense moments of fulfillment!
Extra information
I can provide very good violins for rent, loan, or sale, along with sets of strings at a lower cost. I can also repair or adjust your violin to improve its sound.
I offer very low rates, taking into account the financial difficulties related to the current events of the conflict in Iran, which are affecting the purchasing power of the French and Europeans.
In addition, the isolated geographical location of the Violonis Stéphane Grappelli center requires a strong preference for video lessons.
I can also teach the courses in English.
I offer very low rates, taking into account the financial difficulties related to the current events of the conflict in Iran, which are affecting the purchasing power of the French and Europeans.
In addition, the isolated geographical location of the Violonis Stéphane Grappelli center requires a strong preference for video lessons.
I can also teach the courses in English.
Location
At teacher's location :
- Chem. de la Crète, Bor-et-Bar, France
Online from France
About Me
My name is Jacques, I am a jazz and classical violinist.
I have played with very well-known musicians of different styles: JL Ponty, S. Grappelli, JP Catoul, P Blanchard, R Fays, E Slongo, L. Zeller, C. Mouton, M. Khan, L. Subramaniam, J Carmona, V Duchateau, U Bartel, M Oeschner, R. Guerin, A. Paquinet, P. Thouvenin, and many others...
I am the son, grandson and great-grandson of musicians: father, trumpeter, general secretary of the French musicians' union for 10 years - grandfather, conductor, composer, solo clarinetist of the Lowengut quartet, director of the Lyon conservatory - great-grandfather, virtuoso clarinetist of dances.
With my father, who led the renowned Olympia Big Band, I had the opportunity to work closely with great French musicians and American jazzmen, which immersed me in music from a very early age. It was through learning from them, in addition to what I learned at home, that my ear was truly developed.
I am the director of the Stéphane Grappelli Violonis Centre, which I have devotedly managed since 1989, the year of the first Jazzaparc Festival, organized in a beautiful green amphitheater where regular summer festivals have been held since 1989.
I've organized major concerts both in France and abroad, including the Indian tour of Jean Luc Ponty, L. Subramaniam, Billy Cobham, and concerts all over France and neighboring countries.
I am very good friends with Jean Luc Ponty (former 1st prize winner of Paris) and I teach my students his inspired compositions which made him famous throughout the world, especially in the USA.
Here is what he said about me in a recommendation he made on a violin teaching website.
>>>>
"Jacques has many talents, which is why I'm often in contact with him. A jazz violinist, he also makes bows, restores violins and improves their sound, and organizes concerts. He also dedicates himself to the Stéphane Grappelli Center. He's also a huge fan of Michel Warlop and co-wrote a book about him, which I wrote the foreword for, entitled "Michel Warlop, Genius of Swing Violin." He also teaches, notably my pieces, to the students he devotes to him. It's a pleasure for me to know that my compositions can be perpetuated thanks to him, as well as other violinists around the world. Bravo, Jacques, for everything you bring to the world of music!"
Jean-Luc
Other recommendations:
>>>
I am Raphael, a guitarist.
My encounter with Jacques dates back to 1987-1988, during the Jazzaparc Summer Festival, which he himself had created. This event was both an immense pleasure and a real challenge for me. It offered me the opportunity to meet many musicians invited at that time, including the extraordinary violinist Pierre Blanchard.
With Jacques, I immediately discovered a deep passion for jazz violin, coupled with a remarkable knowledge of this musical world. He has worked alongside and met many renowned violinists, notably the great Jean-Luc Ponty. He has a perfect command of the styles of Michel Warlop, who played with Django Reinhardt and Stéphane Grappelli, as well as that of Didier Lockwood.
Today, through this Violin Tour in which I had the pleasure of participating, I also had the chance to play with Jacques. His profound knowledge of music naturally led him to teaching. His lessons can only enrich and inspire all those who choose to study with him.
I wish him a very successful and enriching teaching career with his students.
>>>
My name is Costel Nitescu, I have a classical background and I was a violinist in the Bucharest orchestra but too deprived of my natural musical instinct, I extracted myself from it and for years I have been playing on stages in Europe and the USA with much more freedom by playing by ear, just as Stéphane Grappelli always did with that inimitable sound so deliciously expressive admired by the greatest classical violinists in the world.
Jacques knew Stéphane Grappelli and spent a lot of time with him in the 80s and 90s. He learned from him, received his advice, and diligently studied his playing style and fingerings by ear to rediscover the expressive logic of his phrases and inspiration. It's no wonder that Jacques' students, learning entirely by ear using his method, progress so quickly and with such liberated musicality.
I know that classical violinists who have learned using conventional methods hear too much of the extraneous overlap between the name of the note and its "sound," which disrupts the purity of direct expression. Jacques' students are very fortunate not to be exposed to this obstacle to their freedom of playing.
Those who wish to play in an orchestra can always learn music theory alongside it.
>>>>
You immediately feel at ease with Jacques! First of all, because he is a kind-hearted man who shares his enthusiasm.
He naturally conveys his passion for music and instruments.
A violinist and son of a musician, he is also an excellent luthier.
He has organized memorable concerts at his home and is friends with many musicians.
I had the privilege of sharing Stéphane Grappelli's life for about twenty years, and Jacques strives to preserve his memory with great conviction. This is how I came to know him: he wants to pass on the legacy of our predecessors and contemporaries with a genuine connection to the artistic community. His profound humanity and generosity certainly make him a teacher who, far more than simply imparting a method, transmits a culture and a passion for the instrument, the repertoire, and the performers.
Well done
Joseph Oldenhove, manager and partner of Stéphane Grappelli
....
I have played with very well-known musicians of different styles: JL Ponty, S. Grappelli, JP Catoul, P Blanchard, R Fays, E Slongo, L. Zeller, C. Mouton, M. Khan, L. Subramaniam, J Carmona, V Duchateau, U Bartel, M Oeschner, R. Guerin, A. Paquinet, P. Thouvenin, and many others...
I am the son, grandson and great-grandson of musicians: father, trumpeter, general secretary of the French musicians' union for 10 years - grandfather, conductor, composer, solo clarinetist of the Lowengut quartet, director of the Lyon conservatory - great-grandfather, virtuoso clarinetist of dances.
With my father, who led the renowned Olympia Big Band, I had the opportunity to work closely with great French musicians and American jazzmen, which immersed me in music from a very early age. It was through learning from them, in addition to what I learned at home, that my ear was truly developed.
I am the director of the Stéphane Grappelli Violonis Centre, which I have devotedly managed since 1989, the year of the first Jazzaparc Festival, organized in a beautiful green amphitheater where regular summer festivals have been held since 1989.
I've organized major concerts both in France and abroad, including the Indian tour of Jean Luc Ponty, L. Subramaniam, Billy Cobham, and concerts all over France and neighboring countries.
I am very good friends with Jean Luc Ponty (former 1st prize winner of Paris) and I teach my students his inspired compositions which made him famous throughout the world, especially in the USA.
Here is what he said about me in a recommendation he made on a violin teaching website.
>>>>
"Jacques has many talents, which is why I'm often in contact with him. A jazz violinist, he also makes bows, restores violins and improves their sound, and organizes concerts. He also dedicates himself to the Stéphane Grappelli Center. He's also a huge fan of Michel Warlop and co-wrote a book about him, which I wrote the foreword for, entitled "Michel Warlop, Genius of Swing Violin." He also teaches, notably my pieces, to the students he devotes to him. It's a pleasure for me to know that my compositions can be perpetuated thanks to him, as well as other violinists around the world. Bravo, Jacques, for everything you bring to the world of music!"
Jean-Luc
Other recommendations:
>>>
I am Raphael, a guitarist.
My encounter with Jacques dates back to 1987-1988, during the Jazzaparc Summer Festival, which he himself had created. This event was both an immense pleasure and a real challenge for me. It offered me the opportunity to meet many musicians invited at that time, including the extraordinary violinist Pierre Blanchard.
With Jacques, I immediately discovered a deep passion for jazz violin, coupled with a remarkable knowledge of this musical world. He has worked alongside and met many renowned violinists, notably the great Jean-Luc Ponty. He has a perfect command of the styles of Michel Warlop, who played with Django Reinhardt and Stéphane Grappelli, as well as that of Didier Lockwood.
Today, through this Violin Tour in which I had the pleasure of participating, I also had the chance to play with Jacques. His profound knowledge of music naturally led him to teaching. His lessons can only enrich and inspire all those who choose to study with him.
I wish him a very successful and enriching teaching career with his students.
>>>
My name is Costel Nitescu, I have a classical background and I was a violinist in the Bucharest orchestra but too deprived of my natural musical instinct, I extracted myself from it and for years I have been playing on stages in Europe and the USA with much more freedom by playing by ear, just as Stéphane Grappelli always did with that inimitable sound so deliciously expressive admired by the greatest classical violinists in the world.
Jacques knew Stéphane Grappelli and spent a lot of time with him in the 80s and 90s. He learned from him, received his advice, and diligently studied his playing style and fingerings by ear to rediscover the expressive logic of his phrases and inspiration. It's no wonder that Jacques' students, learning entirely by ear using his method, progress so quickly and with such liberated musicality.
I know that classical violinists who have learned using conventional methods hear too much of the extraneous overlap between the name of the note and its "sound," which disrupts the purity of direct expression. Jacques' students are very fortunate not to be exposed to this obstacle to their freedom of playing.
Those who wish to play in an orchestra can always learn music theory alongside it.
>>>>
You immediately feel at ease with Jacques! First of all, because he is a kind-hearted man who shares his enthusiasm.
He naturally conveys his passion for music and instruments.
A violinist and son of a musician, he is also an excellent luthier.
He has organized memorable concerts at his home and is friends with many musicians.
I had the privilege of sharing Stéphane Grappelli's life for about twenty years, and Jacques strives to preserve his memory with great conviction. This is how I came to know him: he wants to pass on the legacy of our predecessors and contemporaries with a genuine connection to the artistic community. His profound humanity and generosity certainly make him a teacher who, far more than simply imparting a method, transmits a culture and a passion for the instrument, the repertoire, and the performers.
Well done
Joseph Oldenhove, manager and partner of Stéphane Grappelli
....
Education
I learned the violin with several teachers, violinist friends, and musicians of various styles throughout my life. Like Sergei Grappelli, I didn't attend a conservatory. Like him, I learned most of my knowledge by ear, and I'm very happy to have followed this path, which allows me to communicate its essence all the more effectively to my students.
Experience / Qualifications
Numerous violin students at the Stéphane Grappelli Centre, direction of violin workshops, solo or sideman concerts in France, Italy, Philippines, India, at the Stéphane Grappelli Centre during festival sessions
Age
Children (7-12 years old)
Teenagers (13-17 years old)
Adults (18-64 years old)
Seniors (65+ years old)
Student level
Intermediate
Advanced
Duration
60 minutes
90 minutes
120 minutes
The class is taught in
French
English
Skills
Availability of a typical week
(GMT -04:00)
New York
At teacher's location and via webcam
Mon
Tue
Wed
Thu
Fri
Sat
Sun
00-04
04-08
08-12
12-16
16-20
20-24
Contact Jacques
1st lesson is backed
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Contact Jacques