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Nihad

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  1. Thank you very much for the detailed instructions. It was like actually watching a bow being rehaired...it obviously helped that I seen the rehairing before. I must admit I was surprised to get such a reply and I appreciate it very much. I guess there are so many bow-makers in the USA that you stoped worrying about competition. It's not the same in other parts of the world. My uncle, I mentioned, is the only man doing repairs on stringed instruments in the whole country...the sad fact is that he hasn't got as many customers as he had before the aggression on Bosnia. None can live of aprox. 20 violin players in the country. I had a chance to engage in violin repairing too, at a well known school, but like my uncle did many years ago I decided to get a university diploma first. Sometimes I ask my self how can people live of repairing (or making) violins at all? First there are not so many artists in one region who need rehairing every three months and second, everybody takes care of his instrument so they don't have to be repaired often. You could start making your own violins but then you need three months to make a piece of art that costs about $1000. If the most famous schools of violin making in Europe are going broke what will happen to less known violin makers like my uncle who haven't had the chance to earn a certificate? He started to learn the job by assisting his teacher, a well known maestro in former Yugoslavia. He had to earn his teachers confidence in that matter that the maestro could put his name behind the work my uncle did. This is the toughest kind of school there is. After maestro Nikolic's sudden death my uncle inherited the atelier but was left without a certificate of a violin maker. I don't know about USA but in Europe the certificate of a violin maker is a matter of survival in the sea of traditional violin making schools. My uncle dried the tears of hundereds of artists by making the damage on cello's, violin's, viola's disappear and he can fix almost anything a man can damage on an stringed instrument (literally). I can say because I saw it my self. But he could never make ends meet if he hadn't had a job, totally different from violin making. Having no customers for this region and no certificate to be taken in consideration for international work he has to do this other job (a very responsible and time taking job) so that only from time to time he repairs an instrument if it is a challenge for him. Recently he repaired a totally unusable cello of a russian artist. The poor Russian cried of joy when he saw his cello again without any sign of damage. But when it comes to the simple things like rehairing a bow (even mine)...no way you're going to make that man light the candle, melt the wax and tight the twine Now he keeps telling me how he will make a new atelier when he goes to retirement, and how he will finally finish his Zubin Mehta violin. This violin is one of his own works. When he presented it to Mehta they decided to put Mehta's autograph on the corpus of the violin. I will have to learn to do the simple reapairs my self before he starts using the wood he is drying for the last 20 years. Maybe he wants it like that to see if I really want to engage in this thankless handicraft. I know one thing for sure: he would kill me if he knew I was writing in public about his problems I have no choice because I have to play a concert next summer with new bow-hair I hope Maybe it would be interesting if you and others could tell what you think the future of a violin maker, repairman or bow maker looks like. It is also an interesting issue for the next century and for young people like me who wish to remain tradition. I have friends who continued their musical education in different parts of the world and I heard different experiences. It would be great to hear what people of other coutries and continents think about the profession of a violin/bow maker. It could help find solutions or at least define the problems that should be solved. Finally, are we going to see (more) violin making schools being closed after all these centuries? Nihad Sarajevo, B&H : Hello: Well...in USA we don't have secrets...just different methods. : I assume you started rehairing from the frog. Have twine...I use unwaxed dental floss...powdered rosin...I make my own from old cakes....; a well fit wooden plug...just room enough left for hair to come around; : super glue, and a flame source. : Wet the hair, put frog on bow, leave a few mm of space from frog to fully loose position, comb hair twice to tip, hold bundle securely, work-in a little powdered rosin, holding bundle flat, tie off, 1-2 mm past mortice...I use two half hitches, four turns, then two half hitches...KEEP TWINE TIGHT...cut floss 3mm too long, melt ends of floss to a little ball, flatten with wet finger before the ball cools, then cut hair 1 to 2 mm past the floss, seal with super glue. Remove frog from bow, put in you jig, then comb hair toward tip...keep bundle parrallel to stick, turn hair over, remove comb...keeping hairs in position, then, put tie-off in the mortice, then put the plug in...replace frog on bow, tighten and allow to dry. Several tries at right length and parallel hairs will become the norm! : Good luck : Al Stancel : PS: The more answers you get, the better you can pick the procedure to fit you...hope you get lots of response!
  2. Now here's something that definitely doesn't belong to the FAQ-s! I need somebody to explain me the process of re-hairing the bow i.e. somebody who is not selfish or inpatient like my uncle who doesn't have the patience to show me how to do it or at least hair the damned bow I'm playing with. I can do that my self, no doubt about that, it is only that I forgot the part when fixing the combed hair to the tip and some other things I rather not mention now (they seem to be some secret recipe of my uncle). I have all the tools I need (and more) all I am asking for is a step by step explanation on how to do it decently and I hope I will build my own Technique somehow. Knowing how jealous bow-makers and other craftsmen are I doubt anybody will help me but I am so frustrated that I will do it my self anyway... So act fast before I make some damage ) Once more: I am not an ABSOLUTE beginner I saw the re-hairing a dozen of times I just never done it my self. A little story on how to re-hair the bow will do just fine to refresh my memory. If you find time to help me I would appreciate if you could just write a line about yourself so I know I am not receiving instructions from a novice like me. I am looking forward to hearing from you maestros out there Best regards from the Balkan peninsula! Nihad Sarajevo, Bosnia & Hercegovina
  3. I am sorry for not being precise enough... I find it very difficult to write in English, which is not my native language, and use appropriate musical terms. In Bosnia we use same words and phrases as Austrians because our schools are based on the same system of mus. education. I play violin and I would like to play duets for solo-violin and guitar as accompaniment (just like there is piano accompaniment). I mentioned Paganini as a good example of what I am looking for. It seems like I will have to use my knowledge of harmony and counterpoint to adopt some other duets (violi-violin, violin-piano, chamber music etc.) for guitar. It's going to be a painful process :-) And one more thing....Is there a data base on INTERNET containing information on all pieces ever written (sorted by composer, instrument, period etc.)? Please let me know if you find something like this. Nihad Dzubur Sarajevo, Bosnia & Herzegovina
  4. I would like to create a repertoire of pieces written for violin and guitar but I don't know if any famous (or not famous) composer has written pieces in arrangement for the two instruments. I know only of the Paganini sonatine but that is too complicated for my level. If someone could provide me a few names and titles it will be of much help to me. I prefer something classical rather than modernistic but I appreciate any suggestion. Isn't there a Spanish composer who thought it might sound nice to combine violin with guitar? :-)
  5. : : Well here is an original problem with buying a violin case. : 1.)I need a good case that is going to last long and stand the : terrible weather conditions in my country (very humid and cold) : 2.) The case has to cost $230 max. (and of a quality brand) : 3.) It must be box-shaped so I could carry sheets(?) in it. : 4.) It has to be easy to carry because I carry my violin more than I play it : : So what's the problem? People I'm in an isolated country. : Therefore I need an address of a store where I could find : such cases (see 1 through 4)as near to Bosnia & Herzegovina as possible. : I think though that the best solution would be if I find a company : which delivers it's products through DHL to all European countries and : does not demand a credit card for purchasing the products. : Well if anybody has information that could be useful to me : please write as soon as possible. I'm running out of money :-) : By the way...doesn't GEWA produce cases anymore? I couldn't find them anywhere. : I spent five days in Budapest, Hungary, trying to find a case but the prices where : sky-hi. An amateur case costs $260 and you can find a good case for $400 min. : So much for buying music accessories in Hungary. : Nihad (B&H) This should be a P.S. to my question: If anyone knows a good (or any) store (where I can find a violin case) in den Haag (Netherlands) tell me please!
  6. Well here is an original problem with buying a violin case. 1.)I need a good case that is going to last long and stand the terrible weather conditions in my country (very humid and cold) 2.) The case has to cost $230 max. (and of a quality brand) 3.) It must be box-shaped so I could carry sheets(?) in it. 4.) It has to be easy to carry because I carry my violin more than I play it So what's the problem? People I'm in an isolated country. Therefore I need an address of a store where I could find such cases (see 1 through 4)as near to Bosnia & Herzegovina as possible. I think though that the best solution would be if I find a company which delivers it's products through DHL to all European countries and does not demand a credit card for purchasing the products. Well if anybody has information that could be useful to me please write as soon as possible. I'm running out of money :-) By the way...doesn't GEWA produce cases anymore? I couldn't find them anywhere. I spent five days in Budapest, Hungary, trying to find a case but the prices where sky-hi. An amateur case costs $260 and you can find a good case for $400 min. So much for buying music accessories in Hungary. Nihad (B&H)
  7. : These are questions best answered via observation of your technique and listening to your playing rather than via e-mail. I would advise you to ask your teacher. If you do not have a regular teacher, at least try to find an opportunity to play for someone whose playing you admire and ask their advice based on their observations of your playing. If you develop faulty technique in shifting positions, it can be very difficult to re-learn correctly. Good luck! Thank you for your responses! I would just like to say a few things. ----------- For Louise: I have been playing violin for 8 years with a 4-year pause (because of the war). I am playing scales using Carl Flesch and I also think that it is very helpful. ----------- I appreciate your advices and I would like to comment a remark of CDN who also answered to the question above. I know that the only way to actualy solve problems is practicing, but it is always helpful to hear what other people have to say about it. Sometimes we need inspiration and options because we lack experience. I have read the messages CDN wrote in reply to other questions and I find them most helpful. I was glad to receive a reply from CDN as well. I will probably ask more questions in the future because I am know deciding whether I will continue playing violin seriously wich means that I would give up any other education. I would then study music in stead of studying humanities. That is a big step to take so I need to make clear whether I am capable of playing violin in a Professional way or not. So I am looking forward to hearing from you all....if that is OK with you. Once again, Thank you!
  8. I need help on these issues so if you could help me...please do: 1. What do you think is the best way to practice scales. I know how important scales are but I never had much progres in practicing them. 2. I have a lot of trouble in changing positions (especialy in scales) and making big "jumps". I am stuck with the first etude in Sevcik opus 8 and this practice doesn't help me at all. Am I doing it wrong? Thank you!
  9. Is there anybody who could send me the scores of Dvorak violin concerto in A minor. It is my favorite concerto and since I live in Sarajevo I can not get it anywhere in Bosnia nor Croatia. I can not afford a trip to Austria where I could probably find these scores. So, if there is anyone who is willing to send me a copy of his own scores by regular mail, I would very much appreciate it. Thak you!
  10. Could anybody help me find a way to practice more effectively i.e. with better results. I know it's an odd question but I need something to give me hope that I can play much better than I do now. The war in Bosnia made me leave the violin for 4 years and now I have to make up for all the four years I`ve missed. I was 14 when it began now I`m 18. I hope that there is somebody who has a story of his own as an example of how I could become more motivated. I have another question... every time I have to play a solo or when I have a concert infront of an audience I become very confused and I usually play the piece very badly. Is there a way to avoid that strange feeling. Just today I have preformed the "Traumerei" . I was so cofused that I had to improvise just to continue playing. I hope that there are some maestros of violin today, who had the same promblem in the past, to help me by answering my questions. Please excuse my bad english and any inconveniences my question might cause! Thak you!
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