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Mu0n

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Everything posted by Mu0n

  1. I'm interested in hearing what is being composed for the violin nowadays. Limit: 5 years old (1999). Anyone know of some very recent works?
  2. Quote: For me, great performances will make me cry, not the music themselves, combined with particular moods I happen to be in. I'm with Toscha. I've found that some pieces I had a great affinity to would sound mundane in ordinary interpretations. I don't think there is a version of Shostakovitch's violin concerto #1 (cadenza) that can have the same effect that Oistrakh's interpretation has on me.
  3. Heehee, Lydia (lwl) found it! Chopin's 'Military' Polonaise op.40 in A major.
  4. This is a bit of a risky post since it's piano related, but I'm not sure it's frequented very often. This is a fairly recognizable piece, I'm sure many of you will remember it. I've put the highest notes of the chords in the beginning - the rythm may be off though. midi sample My first idea was Rachmaninoff, but then Chopin was a good possibility too.
  5. I think my qualms can become clear if I give an example of a problem situation: Let's say the key is F. There is no quick relation between F and any open string (no direct octave, nor fifth relationship between it and any open string). The fifth above F is C (not an open string). Do you set that fifth relation in stone in a just temperament setting, even though that might give it a less than stellar relation to open D for example (haven't checked it or anything). OR, do you still give priority to the open strings (and the octaves they can form with 3rd finger in 1st position, for instance) because they so often come into minor sympathetic resonance. This might happen if your fingers are playing a certain note that might share a higher resonance mode with any untouched open string. I know all about equal-temperament and even already have sheets of frequency-related values for them. I just wanted to figure out the next step (i.e. perhaps a system based on just intonation, but that takes care of the unique intricacies of the violin's open strings). I will check out the link that was provided in this thread a bit later (practicing now!) Thanks for your input.
  6. There is a way suggested by my Inside Macintosh documentation, but I have an inkling it's going to be subpar for violin practice. They provide a huge list of the frequency values used in an equal-tempered scale across 7 octaves. They also provide the just-tempered values (providing, for example, different values for C# and Db) for the C key. Then they tell you a way to construct the values for another just-tempered key: take your pick of value from the equal-tempered list and construct your scale from there. That will change the value of A=440Hz in general, and might leave it unchanged in only a few cases.
  7. Hello peoples. (yes, with an s) I'm trying to program a nifty little mac application (to use my old and otherwise useless powerbook 170) that could assist me with providing me some drone notes while I play some passages. The precision of the sound chip is rather good in terms of frequency. Also, programming a little software using this would mean that I'm in command over how these values are calculated. Of course, I can start from the orchestral A at 440Hz, which is a standard reference. But from there, what are all the aspects which must be taken into account? Tell me if my plan is reasonable: I think I'd let the program require the user to specify a scale, and use the well-defined factors from that base note to all others of the scale. The thing is, how do you do it in a nifty way while still holding A=440Hz true? What about the other open string notes for the violin, do they also have to be held as hard references? The problem with doing this, is that if you have many "hard reference notes", you cannot define exact frequencies for all notes of your scale and still keep these open string notes intact. I'm starting to think there's something from the math aspect of music theory that I've forgotten.
  8. EternalStudent: I advise you not to bet that the pianist would have no trouble following me....Just sayin'. Josie: Yeah, that would be ideal, except we don't have the piano score readily available. I also wouldn't spend my lesson time on practicing to play these duets with my teacher - I have so many other things to review! By the way, you seem to be a "new' (I've been gone so long) face in maestronet. I was here..oh I hardly remember...in early 2000 (I started the violin in the summer of 1999). What about you? Canzonetta: Thanks a lot! That'll save me a lot of work.
  9. Hey everybody. I'm curious to see who remembers me (if at all). It's been several eternities since I last came here. My teacher will have me conjointly rent a pianist with another student. We'll be able to play our respective concertos with accompaniement. I have a little experience playing with another violinist or two, but nothing at the level of rigor that a violin lesson expects from me. How does one prepare to play with a pianist...without the pianist? My concerto is the Accolay and I have that one recording from Perlman (the only source?) that I could try and struggle to play some passages at the same speed. Or, is it advisable to just not worry about it and let the pianist struggle to follow me?
  10. Thanks, the direct link works. I use Mozilla Firebird (the more recent versions are called FireFox), and the error appeared when I clicked on your menu, from the main page, while trying to access the Rieding page. Well, that sure brings back memories from nearly 5 years ago.
  11. Is it still available? I can't download it. Says file not found.
  12. On electric guitar no less: http://www.theronwelch.com/music/solo/
  13. When I right click, all it allows me to save is a ASX file, which is a "shortcut file" that points to the video ASF file. ASX files are just a few bytes large. That ASX file would become useless as soon as the website would be reworked or dismantled.
  14. My teacher told me the Vivaldi would be too hard for our little group. How hard in comparison is that Telemann? He suggested that I looked upon the baroque flute repertoire to find some pieces; I imagine that the Boismortier piece mentionned here is part of that? Thanks guys!
  15. Any suggestions? I figure it's rather less common than other string group configurations.
  16. Is there no way at all to save the videos on a hard disk?
  17. There's really two very different styles of playing chords. Broken down chords can be sustained and played as "normal notes", while the simultaneous 3-string (or more) one fulfills a need for a "choppy", "attacking" chord. You can't allow yourself to hesitate while doing the latter, you need to imagine hitting all 3 at once. Adding pressure from the bow onto the strings will help you, but of course you can't go overboard.
  18. Enrico Polo (1868 - 1953) 30 Studi a Corde Doppie (progressivi dalla 1a alla 3a posizione) very good études for double stops intonation. A lot of them have this "calm church music" or baroquish sound to them.
  19. Argh - 4 years this July....time flies. I'm working on death-to-finger double stop studies in the Polo book. Some Dont études 1 Kreutzer but mostly polishing Méditation de Thaïs. And if it counts as practicing, trying to follow and memorize the Stravinsky violin concerto with the score while listening to it
  20. This question is directed to whomever has entered the fabulous world of composition by either autodidactic or formal training means. I've tried to buff up my musical theory knowledge around last xmas season. I've also been composing extreme-miniatures, or the minimum that is needed to hold one phrase. I've tried to add all the necessary elements so that you got a sense of beginning and end. My initial goal was to make 50 of those, using as many different keys as possible. I lost interest before the end though. I'd like to have a solid, proven method to learn how to compose. I know that creativity cannot be thought, and that isn't what I'm looking for. I want a progressive list of forms of composition upon which I can express myself, and that list has to lead me toward increasingly complex forms.
  21. Méditation de Thaïs Some Corelli sonata some Kreutzer, Dont
  22. I live in Montreal. I've had 5 teachers (4 at this one place, the last and current one I deal with directly), and paid either 30$ or 40$ an hour. If you're looking for private lessons with a teacher who only takes beginners, you may find lower fares.
  23. "I will survive" by Gloria Gaynor.
  24. Anyone know that piece? If you've played it, I'm interested in the tempo you have chosen for it.
  25. I can do it! Just give me another 25 years.
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