S/till T/rying

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About S/till T/rying

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  1. OK then, so at the technique/early stage, it is closer to 80% left hand. (well? THAT's something isn't it? and is it such a short stage?) and in the music stage, closer to 90% right hand. (but that is an enviable stage to get to, the hard work is already over isn't it?) And the brain? Yes, that is always in very high demand. It's the main thing.
  2. Isn't it the training of the left hand? It's only when you have that, and to the degree that you have it, that you can turn your attention partly to problems and technique and practice with the right hand, isn't it? Similarly to the breathing and bending the knees or what have you, darting about, smiling, dancing, dressing up, advertising etc etc. But isn't it 90% the left hand, and the first 90% at that? How could anyone possibly divert ones attention to almost anything else? OK, so the right hand can be thought about once you HAVE the notes ready to bring out. Then, you hav
  3. http://www.violinmastery.com/kreutzer.htm this is a link from the homepage. See caprices there, too. Has anyone heard of all this? Indeed a student of Milstein, and a known soloist in his own right! sounds great doesn't it? Anyone know anything, or have heard of Clayton Haslop?
  4. To Ken Nielson Very funny (that is). How can such a thing be? And yet there are so many visitors the whole time. So what else do you know? where do people post? Actually, Ken (editing now) I don't really understand what you are saying. Yes, I re-joined this forum on May the 23rd 2006, and there are new posts almost every day...if you see the dates of the postings. But, not very many, however.
  5. quote: Originally posted by: yuen "the square note" is a guiding note. It is to be stopped by the finger but not played. (See p.14, String builder by Samuel Applebaum.) Is this the information you are looking for?[/img] YES! THANKS Yuen! I tried it and it fits in well with what you explained! It's simply telling you to have it stopped ready for what's coming up. I never knew that. Oh yes! so even for harmonics it looks a bit similar to this, and means the same thing (to stop but not play).
  6. quote: Originally posted by: bapiano I am a piano player and I have never seen little squares in in the multitudes of pieces I have played. I would suggest going to the least edited source possible (Urtext) to learn the pieces and then perhaps study editions by great violinists to get there opinions. Do you have a teacher or coach/adviser who might help you? Indeed, there are no boxes in my urtext edition (henle verlag). I am also a piano player as well, and these little boxes don't seem to be a way of writing in any piano music I ever remember seeing. At the mome
  7. Well? I mean, a few years back, this forum was very active and by now there would have been quite a few replies to this, and atleast two or three directly answering my problem. And now? Is it normally this quiet these days? (I admit I myself haven't been on here too often recently, but surely others are active, and I thought, would have been increasing with time.
  8. quote: Originally posted by: realviolinilover Any comments? Every violinist has their own interpretation and message they want to express, and she certainly has that. If I listened to it many times, I might realize it more and more. But, with the Bazzini, what does she think about the crispy and excitable Heifetz rendition? can she do it like that too (or even better, but in that style)? This is a side question, which interests me, because I like what Heifetz sounds like with this one, although obviously one cannot copy another completely otherwise that would look
  9. Can someone explain to me which accentuation system is accepted for Paganinis caprice number 16? It appears that there is more than one opinion/version/option. Is this true? |n one edition, it just has several f's throught the caprice. but in another edition, it has that, but in addition it also has a good few little squares, which I think mean accentuations. Aren't they? If so, do those go together with the "f" signs? or are they either/or? And how are they differentiated (what's the difference in this caprice between the f or the little box?
  10. Probably alot to do with being lucky with posture and structure, too.
  11. The body wasn't exactly designed to accomodate a crappy wooden contraption under your neck, either, was it? So probably, those who don't need shoulder pads or chinrests were probably born with them already there, OR something similar, with which the person is able to work with. I don't know much about cellos, but I wonder if THEY were meant to be played on a stone tile floor with those metal spikes protruding from them. I mean, if you are in tune with your body and cello movements.
  12. Is there a link to this list? Is paganini caprices less than the highest? If not, how about Mozarts violin concerto no 4? Or Beethoven"s, or mendleson"s? Is spring sonata that easy to play properly? Oh! what am I talking about? Of COURSE spring sonata of beethoven is easy!
  13. I think classical music has been in decline since about 1840, after about the time of the industrial revolution.
  14. Wow! I can't complain there is not enough about Menuhin on video searches from Yahoo you tube etc. They have entire concertos! (almost looks like someone stole it and posts it with impunity!) Alot of this was recently put up. I need time, however, to search for all the other artists, if it's there, and then to listen alot.
  15. Must add that too, as well as a few others. It would be nice if there were easy and convenient places to download and hear excerpts (long enough) from these artists, without charge, which complicates things. If anyone knows, would be nice to post! I get the impression that anything long and nice enough to make much sense of, requires all kinds of memberships and credit cards etc.