Theresa

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  1. My daughter tells me the sound post is broken. I don't know since she's currently in NY and I'm here in VA. I will paste what's been written here and email it to her. I wish someone could enumerate the problems that could result in playing a stringed instrument without a sound post so that she could take what's been written to her viola teacher. A long time ago, I read something on the subject--probably here on Maestronet--but I cannot remember the details. Anyway, thanks for the responses. Best regards, Theresa
  2. --My daughter's sound post in her viola broke. She has three days till she leaves for Thanksgiving break. I've told her I don't think she should play her viola, though her viola teacher said to just play it in orchestra. I don't think she should play it at all. It's a very good viola, and I would think playing without the sound post would put too much pressure on it. Please advise quickly if possible. Many thanks, Theresa
  3. Any suggestions for interesting collections, particularly jazz arrangements and ones you've read through yourself or have heard played? Thanks, Theresa
  4. You should hear the fire alarm at our school. It is an electronic sound that is the loudest, worst sound I have ever heard. Yet the county techs who put in the alarm system have told us teachers that it does not damage hearing. Amazing to consider that an orchestra is more damaging than those dadburn fire alarms.
  5. It would be interesting to know how much hearing loss was reported in those pretty astonishing percentages. I've known a lot of professional musicians, many in advanced years, and I haven't heard a single one of them who said anything about hearing loss. Aging, of course, brings with it some degree of hearing loss... If that 60+% is correct, I sure would like to read the report or study on which it was based. Suspicious in Virginia, Theresa
  6. In reply to: I said it was VERY oversimplified! I am not discounting the importance of the bow in either style, but bowing is of THE UTMOST IMPORTANCE in most fiddling styles, not that fingering is not important in fiddle music, because it is. ...and I'll bet the best of classically trained violinists would say that bowing is of upmost importance, too. Not even debatable, really. However, I'd also wager that the best of the best in both fields would find much to admire in each others' artistic achievements.
  7. Hi, Rainyann... I thought I'd already said hello to you, but, when I checked back tonight, the post I thought I'd posted warn't posted. Go figure. Anyway, yep, I'm checkin' in. I think I need to take music theory all over again. Befuddled regards, T.
  8. Thanks, Scott. You've helped a great deal. It has been over thirty years since I nearly slept through music theory. Best regards, Theresa
  9. I guess the difficult part for me right now is trying to read the coding. I understand I, IV, V, even V7...but it's translating those small letters--ii, iii...--that's tripping me up because I don't have any confidence here. I do understand now that each pitch in a scale has a dominant chord of its own. That makes perfectly good sense. And I also understand how to find that dominant chord. I'm not sure when accidentals should be added to that dominant chord. Are they added just to make the chord a standard dominant chord set us like a standard major chord? Are there exceptions to this rule? Or are all secondary dominant chords major chords? If so, that, at least, simplies things. But the ii, iii coding I'm going to have to think about a bit more. Will read through all this carefully this weekend. Thanks very much for everything you all have provided. It's not quite as confused to me as before, but still not completely clear. Best regards, Theresa
  10. Thanks for the answers, but I suppose I have to work from what I know toward these rather complex-sounding functions. Would it be too much trouble to simply list the pitches in some secondary dominant chords in the three keys: C, G, and F? That way I could see how it worked in a key with no accidentals, one with a sharp, and one with a flat. I think once I saw the list of pitches in the secondary dominants of these three keys, I could then transfer the principles to other keys. If you will do this, don't worry about inversions. I can figure out inversions pretty easily. Thanks very much for the help here. Best regards, Theresa
  11. OK. I understand what dominant chords are in various keys. But what are secondary dominant chords, say in the keys of C, G, and F? Thanks for any elucidation here.
  12. Theresa

    Bee's sting

    A friend wondered whether the bee's sting in the purfling was referred to as a "paraph." Has anyone here heard the sting referred to as a paraph? In the definitions I found on OneLook.com, the only usage noted was that of the flourish used after a signature. Doesn't seem to fit purfling at all. Thanks for any input, Theresa
  13. Sorry to be so late in returning here, but thank you, everyone, for your theories. I'll pass (i.e., paste) them on. Best regards, Theresa
  14. Wodehouse writes: "Anatole, I learned, had retired to his bed with a fit of the vapours, and the meal now before us had been cooked by the kitchen maid - as C3 a performer as ever wielded a skillet."color=blue> Any ideas on what a C3 performer might be? The question has been posed on another bulletin board, and I figured, if anybody knows, one of you would! Many thanks, Theresa
  15. Tara, You wrote: I guess all the 'bells and whistles' are good for the technical-minded, but for poor plain souls like me...(sigh)...I feel like Eeyore. I'm not even sure who I'm replying to. color=blue> It's kind of like learning scales... throw in an ornament here, an arpeggio there, pick up a few tricks way over there.... Once you practice the bells and whistles, they become habitual. Bellcolor=blue> regards, Theresa blue is for Eeyore's depression color=white>