Andres Sender

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About Andres Sender

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  1. It can be "none is" but "none are" is equally correct.
  2. None are as dangerous as a mind that has not learned how to think.
  3. The article is not an outlier. It reflects an influential broader cultural movement which is growing quickly. It can't be dismissed with simple appeals to common sense--because it is an evolution from ideas about morality and knowledge that have been woven into our culture for a long time. If 'the underdog' is your standard of value in ethics; or you believe that objectivity is a false idol, then you are part of the historical current of which this article is just one symptom. To that extent you won't be able to fight the underlying movement because your arguments will be self-contradi
  4. I expect it has it, but since it's not specified it probably reflects "recommended drinking temperature" which some sources have at 130-160 Fahrenheit, and my guess would be this thing hovers widely at the low end of the scale.
  5. Thanks for the correction. Blues instruction is also found in a lot of books. Improvisation is not a dirty word here. Hmm, something else must be going on.
  6. Gently, without pain or tension, without forcing, as slowly at first as necessary, perform movements with your fingers (on a table, perhaps) that are as close as you can get to the way you would like them to behave on the violin. Just focus on what your fingers can do, how much independence they actually have, and what you can do in a very relaxed way. This is about learning fine motor control of your fingers, and getting used to the feeling of relaxation. Then transfer this feeling to the violin. You won't be able to be that relaxed all the time on the violin, but try to find ways to
  7. Funny how someone with an axe to grind just happens not to think of the fact that jazz and second language education are both overflowing with textbooks and reference books.
  8. Current divisions in music teaching strike many people as artificial. I think there's something in that, but it is also true that cultural traditional arts and skills tend to develop specialized knowledge relevant to their value set which does not exist in other traditions. While it would be fantastic to approach teaching music in such a fundamental and general way that one had a compatible and flexible base point from which to fully comprehend any musical tradition, that sort of phenomenon (a Grand Unified Theory of music?) isn't going to spring into existence by order. It may come into be
  9. Of course. That depends entirely on the compatibility of the specific structure with the specific hand and situation. Wrong structure recommendations are destructive of good execution. Right ones can be magic. What standards dictate whether a structure is right or wrong? One of them has to be the avoidance of levels of tension that interfere with execution. Thanks for your recommendation. I have found Borivoj Martinić-Jerčić's recent book "Freedom and Flexibility of the Violinist’s Left Hand: Technical Studies for Violin" to be very interesting on the topic of structure.
  10. The idea that speed and accuracy comes from having all your fingers exactly in position above where they are to land isn't as important as avoiding tension. Take this with a grain of salt, since I am neither a teacher nor much of a player, but I think the fingers come at their final in-tune positions in so many different ways that playing in tune is often less about the hand being a machine and more about the hand being a monkey that has played Twister for so long it can do it in the dark, if I may be forgiven the wild metaphor.
  11. It is very easy for common misconceptions about correct technique to interfere with learning the right left hand technique for your hand characteristics. Then if you are convinced that the elephant in your room is your age, you might be very distracted by that and fail to find the real problem. Teachers who really understand finger mechanics and the implications of hand shape differences are fairly rare. I was lucky enough a few years ago to find a violin teacher who had also trained as a physical therapist and she made a huge difference in my left hand relaxation. This involved less o
  12. Yes it matters. Not to say you can't apply historical performance precepts to modern equipment, but the full effect only comes with the full equipment. How far down that road you want to go, or what aspects are important to you, is of course a personal decision.
  13. George, without waiting to go to a festival as Baroquecello suggests, or being lucky enough to be near a seller that stocks bows made to historical designs, your best bet for getting a historical bow is to choose a maker by reputation, someone who has researched original bows, and order a suitable model from them. There are CF 'baroque' bows. One is/was being made by Nelly Poidevin, who also makes historical bows. I know nothing about her bows however. There are also CF neo-baroque bows from China which can be found on Ebay, along with all the other pseudo-baroque bows, the like of whi