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Everything posted by Cedar

  1. I always do it during the break between the pre perfomance rehearsal and the actual performance, so about a half hour before showtime.
  2. Thanks for the advice. My panic quotient has dropped substantially. The seam that is failing is an original, as the instrument is only 24 years old. This is the first time something like this has happened, so I am like a new father hearing baby's first cough.
  3. AS I as sitting in rehearsal today waiting for the 20 measures of rest to end I glanced at my violin. When much to my dismay I notice a bulge in the rib right below the chin rest. I kept playing but right afterwards I examined the situation a little more carefully. There is definite separation between the top and the rib right below the chin rest. My question is how major a repair is this? What concerns me is since the crack is down at bottom of the violin the rib has separated from the end block and the instrument is going to have to be popped open to make the repair. I'll have the repair done whatever it takes but I'd like to know what I'm getting into before hand. Thanks
  4. I went to the Portland stop on the tour. I wasn't all that impressed. None of the violins jumped up and down yelling buy me, buy me. Which was probably for the best as I had no intention of buying. I didn't play all of the instruments though so maybe I missed the one. I did like the Luca, just not $15,000 like.
  5. Oh heck, I'm just deleting my reply. It was just throwing oil on the fire.
  6. After selling a del Gesu you should be able to afford quite a few modern violins.
  7. No its not the only way, it is just the fastest and most assured of success way. Thinking through this, at some point every new technique was self-taught by the person who came up with the technique. So it is possible to replicate all of the discoveries by oneself. The problem is the time to do this, especially the time spent exploring blind alleys. Teaching keeps you from having to re-invent the wheel.
  8. It has been quite a few years since I did the Brahm's Requiem. I do remember it being a gorgeous piece with some really nice bass solos. I had only been playing a couple of years when I did it and I don't remember it as being extremely difficult. We did rehearse the bejeebers out of the piece so that might have something to do with it.
  9. Second violins close to the audience! That is unacceptable. My contract clearly states that the 2nds will be able to hide behind the 1sts.
  10. School music program for me. Every kid had to play an instrument in 6th grade. I picked the violin because Einstein played the violin. Plus everybody else was picking band so to be contrary I picked orchestra. I've always wondered did Crystal Bernard really play the cello? I remember one episode towards the end of the series where it sure looked like she was plyaing. If not if was a good job of faking.
  11. Good job. I tried reading this movement last night and fell apart after the first two chords, so I'm impressed.
  12. When is Antonio doing his next violin signing tour because I'd like to get mine signed. Is it just my uneducated eye or is there a big crack on the top?
  13. Wouldn't a set of industrial strength hearing protectors be cheaper and easier on the cleaning bills not to mention the difficulty of practicing while Bruno is knocking on the cell door asking for a date?
  14. Thats what I was referring to linuxviolin. The second thing I did after I thought something was wrong was look at the facsimile to see what Herr Bach had written. The first thing was to turn to Flesch to make sure I wasn't confused about what constituted a g minor scale.
  15. Here is a good listing of the standard etudes.
  16. I'm ordering the music today.
  17. Thanks all for the explanation. I thought it might be some Baroque convention thing, though when I checked the other movements in minor keys this discrepancy didn't occur. If Bach says it is in g minor than thats good enough for me.
  18. I'm working away on the Presto movement when it dawns on me that there is a difference between the written key signature for the piece and the actual played key signature. Unless my music theory knowledge is completely deficient the written key signature is one flat on b, which is F Major or d minor. Yet the title of the sonata is g minor and at least in the Presto movement the chords and arpgeggios are in g minor. What is going on? How can they call this the g minor sonata when it is clearly indicated on the music that the key is not g minor. I'm so confused.
  19. I haven't done the Mahler festival, though I've thought about giving it a whirl. I do know a few folks who have done the festival. Sadly enough it looks like I might have missed my opportunity. I have done something similar at the Midsummer Musical Retreat. We get the music on Tuesday and perform on Saturday. I am amazed at how good the orchestra sounds when I listen to the recordings. The whole thing is a exercise in sight reading, allocation of practice effort and air bowing. After the first sight reading session I separate the music into those sections I can sight read well enough to master in rehearsal with cursory practice, the sections I can get under my fingers with a couple of days of diligent practice and the sections that will take more than four days of practice to master. I measure progress by the amount of music in categories 1 and 2. I concur with your assessment that in ensemble sight reading knowing where you are in the music is important. If you can't play the notes, at least know which notes you should be playing.
  20. Yes, I believe that is the point of sight reading. Someone plunks down a piece of music on your stand and you give a credible performance. As an example I brought the Telemann solo violin sonatas to a lesson one day. My teacher hadn't seen them before. On her first read through she was at performance tempo, missed very few notes and put in dynamics and phrasing. That is what conservatory training and talent buys you but it shows that good sight reading is possible. I've done a few orchestra concerts where a piece or two were only one rehearsal removed from sight reading.
  21. The beatings shall continue until morale improves. We must work at the same company.
  22. To ease your stress about reading ahead while playing music I'd like to point out that you already have the skill to do it, you just have to transfer the skills from other activities. I'd venture to say that you mastered the basic concepts around age one when you learned to walk. It is such a basic activity that we forget how difficult walking is to do. You have to look at what is in front of you while your feet are doing their thing without direct visual contact.
  23. How fast is this piece supposed to go? Is there an accepted tempo or should I just crank the metronome until finger failure?
  24. I struggle with sight reading myself. A couple of things that work for me is first maintain the rhythm. Always be moving onto the next beat. Forget about those notes that you missed, they are gone. Remember that not all notes are equal. In a extended sixteenth note passage you might want to just play the first note of each four note set. Look for patterns, i.e. scales and arpeggios, that you already know how to play. Most importantly, play the piece as if you know it. Confident playing can cover a multitude of errors.
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