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Everything posted by Theresa

  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>
  16. 1st movement of the Beethoven violin concerto; 2nd movement of the Tchaikovsky; 1st movement of the Bruch [ok, ok, some things never change]; the entire Mendelssohn violin concerto (Milstein playing, puh-lease!); Chopin's entire 1st piano concerto; all of Beethoven's late string quartets; the 1st and 4th Brahms symphonies; and (drum roll!) the favorite of all these: The 2nd Rachmaninov piano concerto--lush! Beat regards, Therecstatic
  17. Hi, MuOn! I'm back for a while. I spend my time these days on the AWAD (A Word A Day) bulletin board. Back to the topic at hand: I'd never describe the sul ponticello sound as glassy. Never. It sounds scratchier than a glassy sound--and eerier, too. How does a very quickly performed détaché sound? Performed at forté? And how in comparison to a quickly performed martélé also at forté? Since I no longer perform at all, I am strictly in the audience--and it would be a wonderful thing to have these techniques described in simple terms--along with some telling adjectives and metaphors--so the audience could understand better what the performers are having to do physically in order to get certain effects. Audience appreciation would go up at least one leve. A video with performers showing the various techniques at different speeds and dynamic levels along with examples from standard literature would be a terrific gift to potential audience members. We Americans, at least (at least!), are so interested in physical achievements. I know my kids at school would really enjoy some aid such as the one I just described--and would enjoy imitating what they see. If anyone knows of such an aid for laymen, please let me know. Again, many thanks for your input. Best regards, Theresa
  18. Many thanks for your replies. Is there something called something like: spritzacato? Or is my brain just coining a word? Is there something like spritzacato? Wordwondering, Theresa
  19. Well, to add a bit more clarification to my own haziness, here's what the questioner queried: "Will one of you musicians please tell me what the term is for making a violin sound harsh and scratchy - other than badly played, that is? I noticed that in certain parts of the Welsh composer Karl Jenkins' composition, PALLADIO, (The theme music for those recent diamond commercials) there are passages using this technique. Thanks in advance!" Again, thanks... Theresa
  20. What kind of articulation involves a kind of harsh, determined bowing? The sound is purposefully hard--the bow is well into the string--I think some kind of détaché movement may be involved. I also think the term may be Italian. So: articulation that is screechy on purpose. What do you call that? Many thanks, Theresa P.S. In fact, is there an online url that may describe various kinds of articulation and physical methods used to execute them? Thanks, again.
  21. There are names of parts that are curiosities in themselves--little jewels that sit there on the page and beg to be picked up and set in sentences. I'm wondering whether we might contrive a list of these terms for mutual enjoyment. I'll begin and see whether any of you might add to the treasure chest. First, bee's sting--or is it bee sting--for that little tail of purfling. That's a gem with a tail. And bell for the end of a horn. Wouldn't want to forget a single bell in this word, for bell's a pretty word. Won't mention the frog here because that's been overdone, but the nut over which the strongs pass is a good one because it's a funny little devil of a word that represents something that doesn't look like a nut at all. And pad: the pads on wind instruments! Such a gentle little word that's ironic when you thnk about how fingers do fly over those pads in fast passages--padsagges! Diapason is beautiful for the organ pipes. Is diapason synonymous with pipe, I wonder? And shell for the body of the kettledrum--that's pretty cool. Anyway, if any of you can think of terms for parts that contribute to the making of music, I'll be interested in reading about them here and picking up a few more definitions. Best regards, T. PS: Hope it's ok to post this here instead of on the Soapbox! [This message has been edited by Theresa (edited 02-23-2002).]
  22. Isn't there a place that has picnic tables? We have a big park here in Richmond, for instance, where you can sign up for picnic tables. They've got grills, too. So, you could play for a while, sit under cover for a while, eat, do whatever easily--picnic style. Now, is there anything like that in the NY/Montreal/overall northerly environs? I don't know about a couple of days--or a long weekend as David has suggested--but at least a long, relaxed day with something cooking on the grill--more like a family reunion atmosphere--where you can eat and talk and play and relax. Last year was fun--but we were kind of in and out of there--felt a bit rushed somehow to me. Best regards, T.
  23. I would love to have the motivation to attend another reunion. Haven't played in ages! The cost is the problem, so, if there's a way to do this cheaply, I sure would love to attend. Best regards, Theresa
  24. Thanks, ViolaMom, for posting this. ABrown, whom I called Eye-Brow-N, and other equally silly word plays, was full of humor and love for language. She could parley with the best of them when it came to having fun with English. She was wonderfully quick-witted and possessed of sparkling intelligence as shown in her posts here on Maestronet. Additionally, if she had knowledge and experience helpful to any of the posters, she would email them to offer a helping hand. I am very sorry she is gone; I know from ViolaMom that Ann's health was frail, but her spirit never flagged. I extend sincere condolences to her family, particularly her children. I think it would be a great effort if a collection of hard copies of Ann's posts could be sent to her family. If we could do a search--divide the task up into certain frames of date... For example (and this is just an example), Viola Mom could take January through March, 1999; I could take April through June, 1999; other people could volunteer for three-month stretches covering the years Ann posted... We could send all hard copies to ViolaMom and she could mail the collection to the family. A lot of spirit is held in what Ann wrote. Just an idea, Theresa
  25. Wow! Great story, Lydia. It sounded exciting and gratifying! Glad your wrist held out! Probably too early to work with any pipe fittings, however. Let it rest for a while! T.
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