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Mary

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  1. I think that there is no "right" or "wrong" way to deal with the thumb question because everyone has different hands. If you check with 5 different people, you will notice that their thumbs are all different lengths in proportion to their hands, so I think it is partly a question of adapting to what is best for you. However, one problem I have been dealing with with some of my young students is the problem of a double jointed thumb. I am noticing that usually the thumbs on these students are rather long. The base joint actually pops out of position and makes it difficult to balance the violin, making them feel as if they must grip. I have talked to a colleague about it who is double jointed and has successfully dealt with it. She suggested having them rotate the thumb a little to the side and balancing it on that first joint -- I can't rotate my thumb because I'm not double jointed, but it seems to be helping. The double jointed students can rotate and it keeps the joint from popping out, causing the violin to slip. You might want to check out whether or not you are double jointed, because this might be adding to your difficulties.
  2. : Sounds great, except, don't old habits die hard?? if you teach kids that little to hold the bow that way, aren't you just paving the road for bad habits later on? Those are just my thoughts, I'm not a teacher. : Katie No, because you don't keep the bow hold for that long. In the past we started with the beginner's bow hold with the thumb on the outside of the frog on the clip. Eventually it moved in. Now we are still keeping the thumb on the outside, we just aren't forcing the pinky on top of the bow until a little later. I've found that if you force the pinky on top at the very beginning, it becomes just an exercise in frustration. Many times the pinky wants to go straight and then this causes the index finger to press. This is a far worse habit to break to my way of thinking.
  3. : I'm curious to know why no one is biding on tarisio auction? is it because they are un relyable? I tried to sign on to bid a tarisio, but my sign on kept getting rejected for some technicality. It wasn't clear what the technicality was, and I didn't have time to pursue it. Perhaps others have had this problem?
  4. Actually we have been experimenting with a modified fist bow hold with very young beginners. It keeps them from pronating or pressing down on the index finger and promotes use of the big muscles. It is so very frustrating to try to get a 3 or 4 year old to "curve their pinky" on top of the bow and this seems to be much less frustrating at the beginning. They also seem to put more of the weight of the arm into the bow so that the tone isn't coming from the pressing index finger. It helps distribute the weight more evenly across all of the fingers. Of course, we don't keep this bow hold for a long time -- just at the beginning, but so far the results are promising!
  5. What is the difference between Carbon bows and wood bows? Why should I use carbon bows when everyone has been traditionally using woodemn bows? How are they different? For carbon bows, usualyl how much do they cost? (reasonalbe price and reasonable sounds)
  6. : Does anyoen know of any luthiers in the Hampton, Newport News, Norfolk area in Virginia? I need to have some work done on my bridge apparently and want to find someone who would do a good job. There is a shop -- I think it is Cappellers (sp?) in Richmond. Greg d'Amato, who works there did some very nice work on my son's bridge. : Jon
  7. : Does anyoen know of any luthiers in the Hampton, Newport News, Norfolk area in Virginia? I need to have some work done on my bridge apparently and want to find someone who would do a good job. There is a shop -- I think it is Cappellers (sp?) in Richmond. Greg d'Amato, who works there did some very nice work on my son's bridge. : Jon
  8. =) A Cello hotel? That's funny! The cello is German (I wrote to Al through the Casa Del Sol website, a very nice one btw!) http://www.maestronet.com/casadelsol/Overview.html For some reason they made these highly decorated instruments in Germany at places like Zimmerman Brothers (not many though, mainly being known for inlayed tailpieces, frogs, etc.) The cello was well under my price range as the maker (still hasn't) been determined. Before buying it, I compared it to several more expensive cellos under consideration but the sound of this one won every time (the luthier fortunately was a really great cellist!) It sounds better than the old Derazey I was using, which was a relief. Al asked me the neck length to determine when it was made (it's from the 1800's). He's great, check out his website! I've seen a couple decorated German violins with this really opaque red varnish. My cello is golden brown...what was the Amati copy like? Thanks for your reply! Still laughing about the Japanese Cello Hotel. =) Mary
  9. : "in silvis vivi silvi canora iam mortua cano" Funny, I just asked Al Stancel about my cello which has this very phrase inlayed into the back of it. It means, "In the forest I lived silently, Sweetly in death I sing." Meaning the tree. (Mine uses "suaviter" or something rather than "canora" though). Where did you see this phrase? Bye! Mary
  10. We paid the $25 price in Maryland, mike, but at one point, that $25 shop screwed up the bow by putting too much tension on one side. Another time, the rehair wasn't done properly and most of the hair fell out within a couple of weeks -- granted, we practice a lot. So, I still use that shop sometimes, but when I have time, I take our better bows to another place -- I think he charges $45, but he is much more selective about the quality of the hair and I am much more certain that my bow won't be damaged. The increased tension on one side warped my expensive bow and I had a repair bill, so it actually isn't any more expensive in the long run to pay a little more and have it done properly. For inexpensive bows, I agree, the $25 job is fine, but when your bow is worth several thousand $'s, it is worth the extra to have it done right!
  11. : I've read many posts in the last several months on how much a particular violin may be worth. The violins in question have ranged from cheap German copies to those of modern makers. So, I'd like to share with you my experience, for what it's worth. : Since 1982 I've bought about seven or eight violins, mostly German Strad copies. In all but two of them I ultimately came to dislike their sound. Of the two whose sound I DO like, one is an old (possibly early nineteenth century) no-label fiddle with a beautiful, powerful, and deep sound. However, I've had to put about $1000 worth of work into it, and even with that certain measurements are off, such as the distance from the nut to the f-holes. On top of that, it is still in need of some expensive work to make it less fragile. : Finding a replacement for this old violin was difficult. To get a similar quality of sound from an older but better built instrument was simply too expensive. In due course I decided to pursue a new instrument from a current maker, because, for me, playing the violin will always be a beloved avocation; I do not require a professional-quality, antique instrument. : Last November I bought an instrument of a young, talented, perhaps up-and-coming maker for about $5000. It is a beautiful instrument, both in its looks and its playability. In the months since my purchase it has continued to improve in the quality of its sound. It is a joy. Naturally, this is the other violin whose sound I've been satisfied with. : What's this new violin worth? I have no idea what its market value is. But to me, at least for the nine months since I've owned it, it is priceless. I wonder if others have had similar experiences. I, too, bought several old violins at antique stores and flea markets, had them fixed up, and used them. However, I outgrew them as my playing improved. I then bought a very nice American-maker violin from the turn of the century which I kept for a couple of years. I was very happy with it until we bought my son a violin from a contemporary maker ($8,000). I then bought myself an instrument from this same maker ($6,000). In the past year, the prices for our violins have increased from $8,000 to $10,000 and from $6,000 to $7,000, so, for insurance purposes, that is the "value." However, that doesn't mean I could go out and sell them for that. I really don't care, though how much I could resell them for (although we have had offers on the $8,000 violin for more than we paid). They are, for the money, much nicer than anything we could have afforded, so, to us also, they are "priceless."
  12. If anyone has had dealings with Sunnyvale Amusement (George Linley)- please contact me. I have paid money for goods never received.
  13. If anyone has had dealings with Sunnyvale Amusement (George Linley)- please contact me. I have paid money for goods never received.
  14. : Hello, I am VERY new to playing the violin, and would like some information. I have been reading the posts on this board for several weeks now, and I am sure you all will be able to give me some very good advice. : I have played piano for eight years, and I am about to enter college next week. I wanted to try a new instrument, and since a piano is quite difficult to fit into a dorm room I purchased a violin. : Now, I know very little about violins, but I bought one off of Ebay anyway....And although some of you may be saying "What a retard" right now, bear with me : I purchased a violin that I"m sure some of you saw, because there were quite a few of them for auction...It was a German, Herbert Schmitt and Sons violin outfit...and I payed $125 for it. : I would appreciate any knowledge you can give me about the violin, such as market price, and the quality of Schmitt violins, etc. : thank you, : Daniel Kinsaul
  15. Potters has many instruments including German trade violins from the turn of the century. The thing is, if you look at a place like Potters, and there are a lot of other shops out there like them, you have the option of trading up when you are able to afford something better or have outgrown the instrument you have without having to sell your old instrument on your own or taking a big loss on it.
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