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M Rankin

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  1. M Rankin


    quote: Originally posted by Mike Powell: Max, I do not know what it says in french and offered for a larger picture if someone had interest(you,also others)if wanted. Larger picture if possible and more clear,(focused) is this what your requesting?(asking for?) Cheers,(Regards,) Mike Powell B] Yes, that would be fine. I'm going away for Easter now (Happy Easter everyone), so it'll be a week before I can look at it. Thanks, Max
  2. M Rankin


    Mike Powell - if you're still looking for a translation, can you post what you think your certificate www.tcsn.net/greenvee/nfvuill3.jpg says please? I (and others better equipped like French Canadians)could have a shot at it then. Max
  3. M Rankin


    Mike - can you post what you think it says here please? I (and others better equipped like French Canadians)could have a shot at it then. Max
  4. quote: Originally posted by staylor: I suppose there are limits beyond which it is not what the composer meaned-at all. But, perhaps, these boundaries are clear-cut e.g. HKV has written here a few times that you should not change the composers markings (e.g. loud/quiet). Outside classical music, the boundaries may be not at all clear, and sometimes they are left to the performer. Three years ago, the pipe band I play in received a pile of around 30 pipe tunes composed by one piper. One of the tunes was a 9/8 composition with no tempo indication (pipers don't normally note tempi on music). The pipe major handed me the music and asked what I thought of it. I had a quick look at it and played it as a slow air (it's a very nice tune called Buchanan Castle). The band liked it, and now other bands across U.K. are playing this tune, as far as I know as we interpreted it. I haven't met the composer since, so I still don't know what he intended! Max
  5. Yankee Fiddler posted recently: 'A friend told me what the difference was between Irish and Scottish music recently. She claims that Irish music is always "more diddly-twiddly."' My own definitions are: Irish (fiddle): diddly-diddly Irish (ullieann pipes) Nyaaah.... Scottish (fiddle): heedarum-hodarum Scottish (pipes): hoochter-choochter Cape Breton: diddly-hodarum Bluegrass: dingly-jangly English: rumpty-tumpty Any more? Max
  6. De-motivating: I'm not a teacher, but having recently had my whole position reassessed. I also take my 5 year old son's practise every day, and my view from the other end is: When you have lessons as an adult, it can be hard to find that you need the same thing correcting for weeks on end until it's right. However, once you have it, it's there, you have achieved something, and it usually makes playing easier generally. A year of concentrating on bow hold, left hand position, slow long bows, figure 8s, basic Kreutzer, and nothing else for 90 minutes a day is excrutiatingly boring for anyone, but it works, and as an adult the motivation is that long-term payoff - it's worth it in the end. Now, young master Innes is five and a half and full of himself. He has the attention span of a grasshopper, as you'd expect, but he learns about twice as fast as I do. He's been playing for about a year (very traditional method, Russian teacher, no coloured dots etc, just straight to the music). Daily practise starts with five minutes of finger exercises - just putting the left hand up and moving the fingers in various ways. He's always done that, so it's just what he you do, motivation doesn't really come into it. Because I sit in on his lessons, I know if his hand position is right a lot better than I can judge my own. As a result he gets a more or less correct hand position every lesson, and I can pick up and correct any odd movements, like bowing the left hand back at the knuckles or bowing from the shoulder. Every time Innes picks the fiddle up when I'm around the procedure is the same: Fiddle on shoulder/head on fiddle/left hand up/check left hand (relax if necc.)/right hand up/check bow hold/check position and angle of bow. We repeat this check before every piece he plays, and if position goes seriously out during a piece, we stop, correct and carry on. He of course wants to just pick it up any old way and whang into his piece, but he knows that I won't let him do that, and why. In another two or three months I hope he'll go through the procedure automatically every time he goes to play, and eventually he won't even realise he's doing it. He now mostly has a pretty decent posture, left hand, and bow hold which I hope will enable him to now learn to play the instrument without too many defects in that department holding him back, whatever style/s he chooses to do play later on - (Andrew, are you saying he'll probably have to change it anyway?). When I was a kid I had a succession of short term teachers, mostly indifferent but fun. I never really learned 'properly' for long enough to get a really solid posture, until now. As a fiddler, I found this was holding back what I wanted to express. You do indeed meet happy fiddlers with really odd ways of holding the instrument, and some of them play what they play very well, but sooner or later you also hear the comment "Well, if I'd learned properly, maybe I could play like you/him/whoever", When I attend folk fiddle camps I see many people of all ages wrestling with this problem - they know what they want to express but they can't physically do it. If only they had the opportunity to get some solid technique right from the start, they wouldn't be suffering from technical blocks now. For many people of any age, learning the violin is pretty hard, and I've never met anyone who claims that it's all fun. My suspicion is that if you don't have the basic motivation to get through a bit of drudgery at times to get the basic things right, you may not be cut out for the instrument anyway, whatever your musical interests. Once you have them right, does it not make everything after that easier? Max
  7. Edited quote: Originally posted by altgeige: ....We have a couple old English fiddles that sound like they're going to have a nervous breakdown. I'm not surprised - they may have been used to play for Morris dancing I've seen a few 'Olde English fydles' recently, and many of the poor old things have had a hard life and much abuse, particularly in the f-hole department. Some look like the owner spend half his life moving the soundpost with a kitchen knife in the vain attempt to get them to sound decent, and the other half playing cricket with the fiddle. Max
  8. I've read on this board that a number of Del Gesus are believed to have had the tops regraduated, but still sound very good, while a few (how many?) have not and also sound very good. Is that somewhat of a wild card in all this? Max
  9. Edited quote: Originally posted by Mike Powell: Max, I will make this simple and clear and since you have decided now to step up for the challenge but a little late as Jeffrey is leaving on vacation and would not be fair to him concerning and clarifying facts about the violin/fiddle, Mike: I'm not concerned about the facts and atttributions of this particular instrument or the circumstances surrounding it, because I'm not taking up the challenge - I'm not qualified to dicuss that anyway. I'm just trying to shift the discussion to the area of how one may best describe instruments in a way that is clear to everyone. quote: The facts are recorded on previous posts of this thread about the violin/fiddle, It is being sold as 18th Century Italian Period Work, Not as Mantegatia, review previous posts, I will address your misinterpretations one at a time, if Jeffrey permits and has not left yet for vacation, No need, Mike - I'm not arguing the toss on this violin, my point is rather that many of us non-experts would and did interpret the wording of this ad (just for example) differently than you apparently intended, so perhaps one needs to be extra careful that 'misinterpretations' of this kind cannot occur. As somebody said, many dealers will know exactly what you're saying, but many non experts like me don't unless a description of this kind is put clearly and simply. What we need is plain speaking in fiddle ads. Now, are there any Amish fiddle dealers out there? Cheers, Max [This message has been edited by M Rankin (edited 04-10-2001).]
  10. This is indeed a fascinating discussion, but when the smoke clears, what do we have for ordinary violin amateurs like me, and what does it suggest to us about buying an instrument? A violin is for sale on Ebay with a description which does not apparently make the seller's precise view of the provenance sufficiently clear to potential buyers in the view of several other respected members of the violin business. The underlying implication appears to be that this instrument cannot be clearly assigned to the maker concerned, and is being sold 'on the story'. You don't have to be an expert to see that the story is (whether deliberately or by chance) worded in such a way that it avoids an outright certification of the instrument while providing enough background detail to convince an inexpert reader that the seller is 100% sure that this instrument is what it says on the label. I'm not suggesting that there is a deliberate intention to mislead, just that such is likely to be the effect on an inexpert reader. So, let's forget the story for a moment - all it tells us is that the seller is of a certain opinion but hasn't got enough hard evidence to comit himself. What are the facts? They are that there is a violin for sale which may be 18th Century Italian, possibly by a certain maker, and it is reputed to be good value as a player's instrument. The seller appears to have a good rating on Ebay and will return the purchase price if not satisfied. Now that's fine, nothing wrong with that - so why do we need all the bull? From this and similar discussions, the non-expert violin enthusiast could be forgiven for coming to the conclusion that, unless the certificate comes from one of a very few experts: a) Don't believe anything you read about a violin - very few people are capable of accurate consistent attributions, and the experts can't always agree among themselves. Don't believe any valuation certificate which accompanies it. c) Don't pay any attention to any 'story' about a violin. d) Don't buy a violin as an investment, because when you come to realise its value experts may tell you it's not what you thought when you bought it and not worth what you paid for it. e) In fact, you can't be sure to rely on anything at all about a violin except whether you like it, and whether it plays well, so pay no attention to anything but that and whether you can afford it, and let the collectors and dealers fret about the details. I admit I'm playing devil's advocate here, but would anyone care to refute or agree with e) above? Max
  11. "I like playing the fiddle that much, I could sit inside and look oot" Peter Milne, 19th Century Scottish violinist, composer and laudanum addict (that explains it, eh?) Max
  12. There's an English way to play this tune too - often slowish, deliberate, and lumpy, at the kind of speed you could morris-dance to (if you were that way inclined). Sort of rumpty-tumpty rather than diddly-diddly.... Max
  13. Nope, 'fraid I don't, but let's boost it up the list in case anyone else does - great description, I've met a few players that sound like this! Max
  14. Well there we are, I guess that's all that needs to be said on the subject. A clear, concise answer, which I will try to model my questions on in future Thanks Michael! Max
  15. We've all seen real estate hyperbole, such as: 'Wonderful opportunity for modernisation' (= it's a total wreck) 'Convenient for transport' (= situated under a 12 lane highway bridge) ..and so on. What are your favourite violin description equivalents? The kind of thing I mean is: Full of character (= it's probably a violin) Max
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