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Lillian

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  1. I've tried it for viola, I used it for about a month then started having shoulder pain so I stopped. I like the basic design and shape of the rest, but it was simply to tall for my neck. Unfortunately for me the viola rest is available in tall height only. Have any violists noted how strange this is? from my point of view it would seem logical that as violas generally have thicker ribs than a violin that one would be more likely to need a lower shoulder rest, not a higher one. However it is not only the Comford rest that is like this, I recently played a friends violin and noted how comfortable the shoulder rest was for me, it was a Wolf Standard Secundo, I checked everywhere online and discovered that only the "Forte" secundo is available for viola not the "standard" and even on the lowest height setting the forte rest is taller than the standard. what do the shoulder rest companies have against violists with shorter necks? Sorry for the rant, I'm just sort of frustrated about not being able to find a shoulder rest that's completely comfortable.
  2. This is turning into another one of those threads about age and what skills are easier to develop when you're younger etc.. However I tend to think that probably the real reason most people don't make it starting later is just that they get distracted by trying to earn a living, raise a family etc.. but that it really wouldn't make that much difference if someone were to start at say 18 practice and 4 hrs. a day for 10 years and at 28 enter the "professional" music scence as opposed to someone who started at 7-9 and had put in the same ammound of practice by age 22-24, I mean the orchestra audition panel doesn't really care if you're 24 or 30 as long as you play well. I think the real difference is that we think we have to go to college for four years starting at 17-19 and finish in four years when we're 22-24 and then get a job or higher degree by a certain age I think if somone who was able to take a few more years to finish studies before trying to earn a living were to persue music they would be just as good as the younger player competing for the same jobs if not dictracted by marraige and family.
  3. Thanks for the suggestions! I'm actually playing the Hummel Fantasy right now it's a nice piece, but it doesn't really seem like it would be great for auditions. I'll have to look into the Rebecca Clarke Sonata at some point some of my friends who also play the viola are jsut crazy about it. As for the Walton I think my teacher is planing on the Hindemith being the first of the big three concertos (Walton, Hindemtith, Bartok) that I play. I guess I'll have to look into some of the more obscure concertos or maybe my teacher has come up with something since we talked last. Any ideas are appreciated.
  4. Does anyone know of any good viola concertos or significant pieces for viola and orchestra that would be harder than the Stamitz/Hoffmeister level but a little easier than the Hindemith Der Schwanendreher? My teacher would like me to do one more concerto before the Hindemith, I don't care for the Weber Andante and Hungarian Rondo and I've just finished Bloch Meditation and Processional so probably not one of the Suites. Does anyone know anything about the Cecil Forsyth concerto is it at this level? and does it have a mvmt. that would be appropriate for youth orchestra auditions? I've heard it mentioned and am ingrigued but I don't want to buy the music (around $20) unless it seems appropriate. If anyone could direct me towards any online recording clips that would be great (Amazon.com doesn't seem to have a recording of it) I'd like to hear just a bit before ordering it or even suggesting it to my teacher for that matter in case I really dislike it for soem reason (unlikely). Anyway thanks ahead of time for any suggestions.
  5. One way to work on getting your scales perfectly in tune is to get a tuner that has a tone generation feature (if your's does not already have one) and set it to the tonic of the scale you are playing and play along with it tuning each of the intervals to the tonic. This gives you an aural reference to help you know if you are really off but also develops your ear especially in learning intervals.
  6. you have to be late to rehearsal because you have a rehearsal.
  7. the only thing you ask for for christmas is a new metronome. you are embarassed when you can't identify a piece on the radio or give the wrong name for a piece you're familiar with. it annyoys you when your friends identify a piece by saying "this is from that part of Fantasia when..."
  8. The Hoffmeister concerto is also at about the same level as is the Handel/Cassadeus concerto.
  9. I'll second SteveLaBonne's suggestion of the "Christmans Dance." I've also done well in youth orchestra auditions with the Prelude from the same suite. I studied this the summer after I played the Telemann and the J.C. Bach concerto. I love the Brahms sonatas too but really don't think they would be appropriate for an audition. If you don't like the Vaughn Williams or J.C. Bach you might look at the Hoffmeister and/or Stamitz concertos and see if they look to be doable at your level. Above all make sure that you can play your piece well, a well played telemann will get you further than a less well played harder concerto.
  10. I'm not a piano teacher or even much of a piano player, but in general I have noticed that the U.S. doesn't seem to have the same straighforward and comprehensice methods like those I have heard of being used in Canada and other countries. That said my advice would be to go ahead and use the Royal Conservatory books if you are able to find them for sale in the United States, and if you feel they contain the best material for your students. Just use what you think would be best for your students' musical and techincal development. In fact I believe I have heard of teachers here in the U.S. who teach using the Royal conservatory syllabus.
  11. How advanced is your son on the violin? (what pieces, etudes etc. is he playing?How long has he been playing?) I understand the concerns that people are expressing here, but they should also realize that getting a second opinion is done all the time in normal study of an instrument, especially at the advanceced level, just generally not in an as defined a manner. What are masterclasses, private lessons at summer camps, solo-ensemble competitions and other auditions with feedback on one's playing for if not to get another's opinion on one's playing? I have a friend whose piano teacher even suggests that she play for another teacher before important auditions/competitions. I think it's often easy for a private teacher to overlook some things simply because they are so used to hearing/seeing the student every week that they may cease to observe slightly incorrect posture and other non-obvious things.
  12. Do you know anything about the experience/position of the judge? I know from personal experience from this type of solo-ensemble performance, that the judges are not always very proficient on the instrument(s) that they are judging or may not play the instrument at all and therefore make comments based on a little bit of instruction they have had or by observing other players who may or may not be playing with correct technique. I have several times had violin/viola solos judged at a certain competition by a brass player/ band director, he has made comments about my bowing technique that are just plain wrong and my teachers have told me that the judge was mistaken on that particular comment. So unless you know for sure that this judge is a competent violinist I would not even consider second guessing your daughter's teacher.
  13. It's too bad so many of us have to learn the hard way where not to leave a violin/viola/cello etc.. while not playing it. Last spring I was playing in the pit orechestra for my school's annual musical production as I have for the past 5 years. Previous years I had left my violin on my chair during most of the breaks wihtout any incidents, but this year as a I had a different and more expensive violin ($3,00 compared to $1,000) I was careful to always take it with me and set it in it's case when not being played. However at this particular rehearsal we had a short 5 min. break and I had left my case near the top of the auditorium and I figured that since my violin had been okay before I could leave it on my chair for a minute while I went to the restroom, so I carefully placed it on the chair of my stand partner, who wasn't there that day, thinking that her chair would be safer since it was further from the pathway used by the other players to get in and out of the pit. Well let's just say that was a BIG mistake, I got back to the pit just in time to see a clarinet player knock over a stand which hit my violin causing a very small crack and a couple of dents in the varnish on the top of my violin, fortunately it was only a $120 repair and the school even payed for it but it definately taught me a thing or two about caring for a string instrument.
  14. Only a facimilie would have baroque notation as it is essentially a "photocopy" of the original handwritten score. AS I understand it a urtext edition is essentially the facimilie changed to modern notation, meaning it has no bowings and/or fingerings that have been added by an editor that difer from the original, but it is in modern notation. Other editions not Urtext or Facsimilies are usually edited without any regard to preserving original bowings/fingerings/ornamentation ( for example the composer may have written a group of 4 16th notes w/o slures and the editor may decide that they would work better slured in groups of 2 in a urtext edition this would be noted as difering from the orginal(if it is included at all) but in a regular edition it is likely that no distinction will be made).
  15. When preparing orchestral excerpts for an audition, what, if any, double stops and/or chords should be played. Should I just assume that they would be played divisi and just play the top line? if so, how would I treat 3 and 4 note chords would I just play the top one or 2 notes?
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