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  1. Ms. Slatkin was, I believe, Leonard Slatkins mama.
  2. Millie: I don't know about Mark O'Connor, but lots of violinists touch the little finger to the bow only for balance when approaching the frog on an upbow, setting the bow onto the string or doing a spiccato/staccato stroke; the little finger is off the bow the rest of the time. Lifting the little finger as you leave the frog on a downbow allows you to pronate more readily, and thus play into the string more easily.
  3. quote: Originally posted by Andrew Victor: K545, Nope! There is more to it than that. I've also tried several other Guarneri-style chin rests in this very same time-frame to check that out, one boxwood and one rosewood, and they do not give the same improvement in sound at all - and of course - they have that old discomfort I never could easily play with. Now I'm really intrigued! Would you care to speculate on the reasons? By the way, I am currently playing my fiddle without a chinrest, using only a chamois cloth draped over the edge of the lower bout to protect the varnish; I find this gives a deeper sonority to the bass end of the three lower strings.
  4. I have read all her books. The parts that I understand seem to me far from revolutionary, and the balance I find unintelligible. She has been around for many years. Has she produced any truly notable students?
  5. If you are talking just about intonation (as opposed to accurate shifting), I suggest two things: play with a piano accompaniment and play violin music on the viola. The latter, in particular, will force you to attend to intonation very carefully.
  6. quote: Originally posted by Andrew Victor: in the past month or so, I have acquired 5 of the new GelRest chinrests ( http://www.gelrest.com ) and I now (as of last night) have got them mounted on all 5 of my violins - even the ones that "live" in different towns than I do. In every case the sound, especially of the lower notes has improved so very much, that I just had to share the good news about this fine product. (These are all good instruments that had perfectly fine sounds before - it's just that they are ALL better now.) Another feature is that I find these "Guarneri-style" chinrest comfortable enough for me to use, after a lifetime of being unable to comfortably use any other over-the-tailpiece chinrest. I've now played on them through many hours inclding a couple of performances. Andy I suspect that the improvement in sound that you remark on comes from switching from a side-mount to a center-mounted rest.
  7. quote: Originally posted by Andrew Victor: For modern music, I'll bet that more of use (than are willing to admit) go to a piano (or play out some parts an octave down) to get a sense of the intervals. Actually, I don't have any trouble admitting this at all. For the last couple of years most of my study has been of 20th century pieces, and I am forced to the piano all the time to get pitch sequences internalized.
  8. Mr. Sonne has stated my sentiments exactly. The repertoire you are working on will test and build your technique in all sorts of ways. And they are the ways that really matter.
  9. Using a Jargar A and Dominants for the other strings is a very, very standard mix on the viola. Indeed, some dealers, like the outfit in South Bend, Indiana, even sell made-up combination packs of Jarger/Dominants.
  10. Vieuxtemps's remarks are interesting. According to my own teacher, a Russian pupil of Oistrakh, Kogan was notorious for over-practicing. My own teacher, by the way, gets his students away from technical studies just as quickly as possible, since he thinks that technical matters are best taught in the context of carefully selected repertoire. [This message has been edited by K545 (edited 12-17-2001).]
  11. I can't imagine how you maintain any kind of musical concentration when you practice with a regime like that. Does your teacher speak with a heavy German accent?
  12. quote: Originally posted by Ja Rule: NUMBER FOUR NUMBER FOUR NUMBER FOUR!!!!!! scariest thing u will ever hear Yes, and there is a quite fine recording by Simon Rattle and the City of Birmingham Orchestra, made in their new hall. It must be a wonderful hall, because the orchestral sound is really scrumptious.
  13. I second Andrew Victor's solution. I use chamois cloth that I simply drape over the chinrest and mounting barrels. If you are fussy, you can secure it with rubber bands, or even glue. Works like a charm, and also helps keep the instrument in place under your chin.
  14. I think that only the first two notes matter. The initial d/d unison sets up the c/d dissonance, which is really the important thing. The final d/d unison is really not that important, and probably won't even be perceived if played (unless, of course, you are out of tune). That is probably why Gingold did not extend the lower d through all three quavers.
  15. quote: Originally posted by Andrew Victor: Even a change of chinrest can make a big difference, especially if it is a side-mounted chinrest. In that case, reducing the chinrest mass makes a big difference -and going to an over-the-tailpiece mounted chinrest seems to remove its influence on the tone. Andy My own experience is different. I frequently remove my over-the-tailpiece chinrest from my viola to palliate left shoulder problems when I am playing the viola extensively. The tone of the instrument is noticeably improved when I do that: it is rounder and more even, with more bass to the sound. On a whim, I did the same thing with my fiddle the other day. That is, I removed the Guarneri over-the-tailpiece rest. The result? A rounder more even sound, with more bass. I am certain that the difference I hear is not the result of sound conduction through my jawbone, since the difference is apparent even when I lift my head away from the instrument. It seems that chinrest clamps really do dampen the sound, even when they are center-mounted.
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