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Everything posted by HuangKaiVun

  1. Good question, K544. I can HEAR IT. Gut strings go "boing", not "twang" the way metal strings do. Despite the scratchy recording medium, the way Kubelik's strings hit his bow and the sound of his left hand pizzicato made me think of gut strings. He might have been using a steel E-string, but I couldn't tell.
  2. I like to bow with flat hair, and I don't like excess physical tension. When I make changes at the frog, I don't want my hand and thus hair to be at a funny angle. I want smooth bow changes that don't change in dynamics.
  3. No need to get a different violin. Next step up from that is a NICE TONAL ADJUSTMENT.
  4. So true, syl. Margaret Pardee taught me how to think for myself. Even though I play totally differently from the way she used to do, she at least taught me how to read a piece of music and how to go about expressing it in the way I wished. I could do whatever I wanted as long as I respected the SCORE. On a more subtle level, Rosand did too. He didn't say "Do THIS fingering". He gave me suggestions and made fun of my penchant for playing "chicken fingerings" (easy fingerings). But never did he say "You MUST do it THIS WAY". When I taught staylor, I had him shaping the opening to Beethoven's "Spring Sonata" in all sorts of different ways. I didn't tell him how exactly to go about it, though I did try to assist him with making his ideas come out. In that sense, I tried to teach staylor to think and do for himself. By the time he sees me again, he might have another COOL way of playing "Spring" to show me!
  5. 1. Playing with a warped bow is like to trying to drive straight using a car that keeps veering off to one side. 2. Play the piece through from beginning to end as many times as it takes to become aware of "the big picture". Then break the piece up into PLAYABLE little sections. For me, some sections are 3-4 notes while others are THE ENTIRE PIECE!
  6. Just get the one YOU like. At this price range, it's a moot point. And know that what works for your teacher might not work for YOU.
  7. I use the middle to lower half of the bow with mainly flat hair. I AR-TI-CU-LATE each note slowly and surely, dropping the bow from a very high position onto the string, using the right index finger to secure the bowgrip and right pinky to stabilize the bounces. String changes are effected from the shoulder. Choice of fingering is important too. In general, I try to keep the 16th notes to one string. My next project (when I actually get home before 9 PM one of these days) will be to record a soundclip of this work (including dastardly double harmonics) and stick it on djzerzy's site. In June, I will play a recital in Albany. This piece will be my final encore.
  8. I have never seen or had a terrible teacher that was a truly GREAT performer. The great performers have the flexibility to bring out the best in OTHERS.
  9. If YOU were my student, thewrongstuff, I'd change your practice regimen until I found something that worked. If you truly were incapable of playing simple pieces, I'd re-review open strings and 1st position scales. I do this to myself on a daily basis, actually. I'd also be tailoring my approach to your regimen. Accomplished professionals like you play enough repertoire on your own such that doing the standard classical regimen is overkill. I'd probably have you on real rudimentary stuff while occasionally listening to you play the pieces you are working on. Likely I'd cut your lessons to under 30 minutes, and not on a weekly basis either. REAL violin learning takes a short time to teach and a long time to master.
  10. We all should be helping djerzy - or at least WANTING TO. Once I get out of my current situation, I'll try to help out in whatever way I can.
  11. Go for it, Laurel. The Suzuki training will do you much good.
  12. My student just bought a darkly varnished Scherl and Roth that was in the $1000 range with case and bow. GREAT violin.
  13. Nowadays, I prefer to let my mouth AND my playing do the talking! [This message has been edited by HuangKaiVun (edited 03-12-2002).]
  14. I LIKE my tone - and I am NOT fundamentally in error. My tone - forte or piano - can project to the back of a 3000 seat carpeted concert hall with my little K500 and Glasser fiberglass bow playing over an orchestra. What's wrong with that? Ever since I was a small child playing 1/2 size violins, I've had that ability due to the bowing I learned. That's the way Pardee AND Rosand taught me. If Heifetz told me HIMSELF to change my bowing to go closer to the bridge, I wouldn't do it. I've played with my bow near the bridge earlier in life, and I didn't like the effect. Too harsh for my soft ears. Maybe this is part of the reason why Erick Friedman is not on my short list of preferred players - and why I prefer a few other violinists over Heifetz.
  15. Kubelik definitely is aided by unwound gut strings on that recording. I don't have my unwound gut Dlugoleckis right now, but I'll probably HAVE to put them back on at least one of my violins. Pieces like this come out so much more easily with such strings. With natural gut strings, the bow moves easier and the harmonics come out cleaner.
  16. Friedman is already very well known to the "younger generation" and would be so even without the link to Heifetz and Milstein and Galamian. On the other hand, I'm definitely NOT a fan of his playing though I respect him and his disciples tremendously. For me, the object of moving the bow is to MAKE SOUND. I don't try to keep my bow to the bridge, as I prefer to locate my natural "sounding point" closer to the fingerboard as Mrs. Pardee taught me.
  17. One CANNOT go on for too long on this forum about such matters, Mr. Redrobe. For quite a few people (me included), this is the one chance we have to look at the lessons people like you have to teach. The longer, the better.
  18. That's what happened when I bought MY Gagliano (1800). But if you think a Gagliano is good, wait till you try a Strad or Guarneri - especially with an authentic Tourte bow! ;p........
  19. Now you're sounding like a "good violinist", thewrongstuff! If you leave the principal positions, go out and find one somewhere else! Besides, it truly doesn't matter where one sits in orchestra anyway. Dump the teacher - and her favorite violin. And stop obsessing about the little details. Van Gogh, Picasso - those guys didn't draw photograph-like images. Nor did Kreisler and Heifetz play perfectly. If they can be imperfect, SO CAN YOU.
  20. Dunvegan, I want to try your violin. I'll bet that my luthier and I can open it up.
  21. As Auer and Milstein said, "you can't teach everything".
  22. It doesn't necessarily have to be a great violin of the Gagliano caliber. For example, I treasure my $900 K500 as much as I do my older Gagliano and Hartrain. Listen to my soundclips on djerzy's site to hear how much I enjoy playing the violin (with $34 Glasser Fiberglass). What's also wicked strange even to me is how much I like the Glasser Fiberglass. I'd rather have that bow for playing purposes than many other bows - some of which are supra high end French masterpieces! Of course, an optimal adjustment is necessary for any violin to play its best - especially violins like my K500.
  23. But the best teachers have to be able to PLAY - and the best violinists have to be able to TEACH THEMSELVES. Being able to PLAY is a necessary prerequisite for concertizing or teaching on the violin.
  24. If it's good, I say "Bravo". If it's not good, I offer a suggestion as to how to do it better. My students know exactly where I stand.
  25. Your teacher is NOT WORTHY, thewrongstuff. No teacher of any ability should make a student feel inadequate. Right now, your teacher is KILLING YOU. You have been playing 40 years. Anybody who can bow open strings, let alone perservere for 40 years, has what it takes to be a "good violinist"! Of course, what being a "good violinist" is is open to debate and speculation. Tell us, what piece are you playing? And what do you most enjoy about your own personal violin playing?
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