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iceman

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  1. Can you all share how you use your practice time? I'm searching for a good one. Do you warm up with scales? How many scales do you do a day? How long do you warmup? When do you do exercises during practice?
  2. In a memorized solo competition, do the dynamics have to be exactly what's written? What's the best way to memorize dynamics?
  3. How does one obtain a good, strong accent? Do you put more pressure, more speed, or a combination of both? Would the method change if it was a fast piece? If there is an accented note, would the notes around it be softer than usual?
  4. I noticed a buzz sound when I play on the lower two strings (D,G) today. Anyone have any ideas?
  5. What's the right way to install a string? Do the middle two stirngs HAVE to be wound towards the side of the peg box? What happens if it isn't?
  6. Which (cheaper) A and E strings work well with Eudoxa D and G? : : Are Pirastro Tonica's any good? Will they mix well with Eudoxas? : Yes, they are very good strings. They have a brilliance like the Dominant strings, but have more fullness, complexity and more overtones. However, I don't think they will work well with the Eudoxa strings which are warmer, darker and a bit slower in response.
  7. Are Pirastro Tonica's any good? Will they mix well with Eudoxas?
  8. I just ordered a set of Pirastro Eudoxas and I don't plan on using them anytime soon. Do you all think it's better to by a set so you can have a new string available when one breaks, or to buy them when they break? (I have two music stores near me. One sells only dominants and the other sells Eudoxas at more than double the price of Shar.) : I once called Shar and asked about that-- this may not be an expert opinion, since it was a sales rep who told me this, but she said that it depends on the type of string. She said that gut strings will go bad if you leave them for six months; synthetic will supposedly go bad only after a few years. I once kept a set of Dominants in the package for maybe two years; they were utterly unplayable when I put them on! Then again, who knows how long they had been sitting around before they even reached me? : Are your current strings new? I don't claim to be knowledgeable about this, but I think that for synthetics a year would probably be OK, though I personally find that I get much better playing results if I change strings twice a year at least. : : Somewhere I recall reading that it is bad to leave strings : : in their packet for long periods of time before putting them : : on the violin. Is this true? I have a very good opportunity now to : : get some synthetic strings and in a very short while my : : opportunity will be gone. If I get them now, I would want to keep : : them until my current strings get too old, then put on synthetics. : : That could be a year of them being in their packet before use. : : Is that ok? Thanks. : : -Michael L.
  9. : : Are new violins or used violins generally better?
  10. Are new violins or used violins generally better?
  11. Is it safe to use this Lewis instrument polish thing? I an old and very good sounding instrument. Will the polish damage the wood and/or sound?
  12. From what I've heard, there is a teacher in my area that is pretty good. But the thing is, he uses Suzuki books and he lets his students skip song in the book. In some cases, he lets students skip a whole book. Would that be bad? Wouldn't a student miss out on technique that's supposed to be taught in the individual books and songs? By the way, if anyone wants to know. I currently go to a Suzuki Institute. But Suzuki is really costly. The teacher I have at Suzuki seems to be really good though. One more question: Do "average" violin teachers also teach students theory? Because, I also have theory classes at Suzuki... : Finding a good teacher is a matter of doing research. Ask for credentials. Ask friends or other students in the area for recommendations. "Interview" teachers--ask them about their experience, their approach to teaching, how they teach, what kinds of students they like to teach (young or adults, career-focused or not, etc.), what they expect from their students, and so on. Ask to sit in on a lesson if possible. Ask the teacher's students what they think of the teacher. : A good teacher must be knowledgeable and proficient, must be a good analyst, and must communicate well. A good teacher should also provide a warm, nurturing environment. A good teacher must be able to win the student's trust, respect, and admiration. : My understanding is that most teachers charge a fairly standard rate, but the very best teachers usually charge more. This is only in general, though, and you will find incompetent people who charge an outrageous amount for lessons as well as excellent teachers who charge little. : Victor : : How does one find a GOOD teacher? What are the : : qualities of a good teacher? And do good teachers : : usually charge more?
  13. How does one find a GOOD teacher? What are the qualities of a good teacher? And do good teachers usually charge more?
  14. : no message Everytime I put rosin on the bow, it comes right off and goes onto the string. Could that mean that the bow needs to be rehaired?
  15. Is it possible to play fast notes by the bridge? My teacher wants me to play really close to the bridge to get a good tone. I can do that with slow notes but I always get screechy sounds with fast notes. Any suggestions?
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