The Fatkulin Method
Joshua studies the violin teaching system of Sergey Fatkulin, founder of the Fatkulin Academy in Madrid and Bonn.
Rooted in the Soviet school, the method draws together three lineages: the Oistrakh performing tradition, the Yankelevich school of pedagogy, and the training methods of Zakhar Bron.
Four things set it apart:
1. Think first, then move
Not "play it a hundred times and you'll get it." The student must know exactly what they intend before the body executes. Practice time drops sharply as a result.
2. Find the path of least effort
Wherever a motion requires force or bracing, something is usually wrong. We look for the easiest, most natural movement — and the sound becomes larger and clearer, not smaller.
3. Relaxation comes before technique, not after
Ease is not the reward for playing well; it is the precondition. A child who practises with a tense arm for ten years builds injury, not skill.
4. The ear is the final judge
Every adjustment returns to one question: did the sound improve? Students must be able to say out loud what changed between before and after. If they can describe it, they own it.
Fatkulin 蘇聯學派教學法
Joshua 現正跟隨 Sergey Fatkulin（Fatkulin Academy 創辦人，馬德里及波恩）學習其小提琴教學體系。
這套方法源自蘇聯學派，匯合三條傳承：奧伊斯特拉赫（Oistrakh）的演奏傳統、揚凱列維奇（Yankelevich）的教學體系，以及布隆（Zakhar Bron）的訓練方法。
它跟一般教法的分別，在於四點：
一、先想清楚，再動手
不是「拉一百次就會」。每一個動作，學生要先在腦中知道自己要做什麼，身體才跟上。這樣練習量可以大幅減少。
二、用最省力的方法
凡是要用力、要「頂住」的動作，多數都是做錯了。我們找的是最省力、最自然的那條路——省力，聲音反而更大、更通透。
三、先放鬆，才談技術
放鬆不是拉得好之後的結果，而是拉得好的前提。孩子繃緊著手臂練十年，只會練出一身傷。
四、耳朵是最後的裁判
所有調整，最終都回到一個問題：聲音有沒有變好？學生要能夠親口說出「剛才和現在有什麼不同」——講得出，才算真正學會。