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robert

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  1. I have been wondering why is it so difficult to make a violin that has great tone and sound of expensive Italian vioins such as Strad. Is it just the mistery or the secrete of Strad that no other contemporary violin cannot reproduce? I guess that since we have better understanding of accustics from physics and because developement of science we might be able to build a violin with better sound. Over centuries, many things have improved due to science and technology, but when it comes to violin making we are behind the old master builders not to mention that we didn't
  2. : hey me to : : : : I play the Alto Saxaphone and I want to learn how to play some of the Star Wars' Theme songs. If anyone can send me music that i can play on my sax, i would love : : : : it. Thank you. : : : : ~Tommy Olson
  3. :I have a friend who has a stradiuarius 1727 , made in czechoslovakia . Trying to find out a value of this instrument . Please help .
  4. There is a very decorative violin on e-bay (# 142426142). The seller states that it dates from c. 1840 and is out of the Vuillaume shop. It has no label. Is this for real or is it a German copy?
  5. I have a square shaped face. So, when I support violin with chin, I use the front part of the chin to make contact with the chinrest, rather than the side part. Using the side part gives me discomfort on my chin. The disadvantage of using the front part of the chin is that I feel strain on my neck and chin easily, since I have to press harder on the chinrest. I would like to know what types of chinrest I should use for my case, so that I can play violin with more comfort.
  6. I have a square shaped face. So, when I support violin with chin, I use the front part of the chin to make contact with the chinrest, rather than the side part. Using the side part gives me discomfort on my chin. The disadvantage of using the front part of the chin is that I feel strain on my neck and chin easily, since I have to press harder on the chinrest. I would like to know what types of chinrest I should use for my case, so that I can play violin with more comfort.
  7. My point of this post was whether we would regard violinists or other instrumentalists as (creative) aritists. Once I was in America, one of my friends laughed at me and said that no matter what I think in general people regard instrument players as entertainers. Should we regard them as just skillful players of instruments who entertain audience, or as artists who have their own interpretation of music and creat new artistic forms? People seem to judge violinists in terms of their technique and quality of tone and sound. Then, what is their difference from other
  8. I have noticed a small difference in classical performance introductions. Whereas in America, each performance is introduced as, for example, Beethoven's violin concerto "performed" by Permann, in Europe it is said slightly differently, namely, violin concerto "interpreted" by Perlman. It seems to be a small difference, but implication seems to be great. The latter seems to refer the instrumentalists as creative "artists" (or even music scholar) who have their on artistic interpretation in terms of their artistic ideas. When I was in America, people seem to rather
  9. It is now summer season. So, I tend to sweat on the neck where the neck make contact with the violin. The part of chinrest where my chin makes contact already has some marks from sweating. But I am concerned with the body of the violin where the neck makes contact with. Will my sweat harm the varnish of the violin?
  10. I recently realized that bow hair tends to get loose after some play. I guess this is due to stretching of hair, perhaps because of the heat generated by the friction between hair and strings. As a result the distance between the wood of the bow and the strings becomes short and therefore buzzing sound (due to the vibration of wood) is generated. I would appreciate any comments or suggestions for this problem.
  11. I have been wondering whether typical students of Suzuki reach the tonal quality of proficiency of Suzuki recorings after reasonable practice (say, few weeks of practice of the same pieces). Or can such level of playing be reached only after years of practices and experiences?
  12. I recently realized than some buzzing sound may come from the bow. It looks that bow itself also vibrates, especially when the wood of the bow is very close to or sometimes touches the strings. I am not sure wether this is a problem for a bow. I would appreciate any comments.
  13. I recently acquired my first violin from a reputable maker in Montreal. The label says Le Maestro, and I was told it's a commercially made instrument, French, probably around 100 years old. Any further info would be appreciated. Thanks Robert
  14. After almost 10 years of break, I began to play violin again. Unfortunately, it just didn't feel like what it was 10 years ago. Fingers were not strong and flexible enough first time. Now, it's improved. But there is one thing that is very hard to be improved. In double stop playing, it is almost impossible to bend each fingers so that they will touch specific two parts of string at the same time. Even with slow play, it's really hard. Is it because now I am old or is it a common problem even with young learner who just starts learning double stop? With time
  15. Heifetz and Kreisler shared the same birthday: February 2. They also both lived 86 years! Heifetz died on December 10--that's Sarah Chang's birthday!
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