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Ken Nielsen

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Everything posted by Ken Nielsen

  1. I do, and it is beautiful. Hand, Arm and Finger vibrato are all areas that are utilized in different ways by different players. I believe each of us should explore them all, allowing sufficient time and practice to determine each's usefulness in our playing. Oh how important it is to have a qualified teacher(s) to help us during our discovery of each of these vibrato techniques. Ken
  2. Putting a small crunched up towel in a corner at the correct height to receive the scroll of the violin as you stand toward the corner, will offer a steadiness to help ease the practice of vibrato. Only practice from the beginning for no more than five minutes. Make it count as you begin to learn to hold the note in pitch and then move the hand back, very very slowly from the start, to lower the pitch by about a 1/2 step. Practice every day, once a day like this. Over time, your progress will dictate in your actual playing.
  3. Yes, well said. The extent of racism I know of is limited to the bigotry of choosing a shoulder rest. A very controversial subject indeed with apparently no resolve until after much squabble and rejection.
  4. I can't hide the fact that I'm excited. I've followed Hilary Hahn through three California concerts and was able to speak with her at each occasion as she is so generous to meet her fans and sign autographs and chat briefly. She said she would see if she could come to Portland, Oregon and now, finally, she will be here in 3 days. I'm treating my teacher who is also excited to hear Hilary in person. The subject will be Tchaikovsky's violin concerto and celebrates the new release of that concerto by Hilary Hahn on CD. Hilary is kind, composed and humble when she says "There are many wonderful violinists." I simply think she's the best.
  5. Okay, summer is gone but now Concert season opens in my home town with the season opening featuring Hilary Hahn. I asked her if she could come to my home town and she said she would ask her promoters. Finally she will be here in a few weeks and I can go see her, taking my violin teacher along also, without having to fly to another city. Can hardly wait!;- )
  6. A neighbor's Nephew from San Francisco came to visit and was playing cello out in the yard. These are friends, so I asked if he wanted to try some duets and he said sure. While he was far more advanced than I, he was kind enough to stay with the early Suzuki books and we had fun. There is a beautiful combination between violin and cello when played outdoors on a pleasant summer day. Anyone else taking advantage of the good weather? Hope so. Ken
  7. Yet another way to bring that bow under control. ;- )
  8. Forget looks and concentrate on practice. Violins are for music.
  9. Unbelievable. (does not look like a bonified news source.)
  10. A good teacher is a friend for life. You will always be thankful for what they taught you.
  11. Have the violin put into playing condition and then put it away until you are able to afford lessons. A competent teacher will make a profound difference in you learning to play the violin. Every lesson, you will find to be priceless, yet you are able to secure the teaching with mere rubles. Value the teaching and the teaching will value you. Ken
  12. Peter gives the United States a bad name.
  13. Hi Peter, I'm in Portland Oregon, not too far from you. What have you been playing? Teacher? College? Advanced Coursework? Fill us in, post an mp3 if you like. Welcome, Ken
  14. Simply beautiful and aren't we blessed to have such talent and beauty in the world.
  15. Try it again, I'm bouncing between forums today and have two English Springer Spaniels so I keep tabs on a dog forums that is loaded with people knowledge about all aspects of that.
  16. Well, so it's the battle of the Christmas songs? Okay, right time of year for it anyway:
  17. "Although 12 is something of a natural limit for the number of pitches in an octave, it is by no means sacrosanct. A virtual infinity of other pitches is possible, and many are in common use in non-Western musics (and increasingly, in American music as well), such as 9/7, 21/16, 7/6, 7/4, 11/8, 243/128, and so on and so on and so on. In 1588, in an attempt to have a wide range of chords perfectly in tune, Gioseffo Zarlino designed a harpischord on the following model, with 16 pitches per octave" I believe Duke Ellington had a piano made which included certain notes between notes for added colour for his compositions. Of course no one could play the composition without having a piano altered in the same way. All of this encourages me to get the violin out and to do some arbitrary tunings to create modes beyond what Gregorian Monks have contributed. I actually find this subject to be most fascinating. Music, after all, is a glimpse into someone's imagination. Ken
  18. It is good to wonder. I remember the recording of Errol Garner By The Sea. His piano was apparently what he had and that was that. To me, it sounded out of tune and 'rag time' a little bit, but his playing took command and put aside any deficiency in tuning. I've heard other recordings where artist will be captured playing in less than stellar circumstances and with a piano that has been moved and survived temperature changes for years without tuning, or so they sound like, and yet the performer would lay down the performance of a lifetime and that out of tune piano would give you a sense of presence, where, when and what circumstances were during an authentic revelation in performance quality. I'm all for perfect tuning, but I also am very receptive to real situational music where tuning is a subjective thing.
  19. So, would Baroque orchestras of today do best to tune by comparisons to fifths? For a more authentic period sound?
  20. I never go out of my way to watch 'Celtic Woman' but when I see it I am captivated and delighted at the 'heart' that is put into these performances. It's show business put on at its best with camera angles, preparation in place and a focus on natural beauty. The important thing is that they pull it off and all I can do is join in with the audience in applause. Lisa, show us how it's done... http://www.youtube.com/watch?v=To822SCxolM...feature=related In conclusion, I hope we all can put more life into our playing for this holiday season. Ken
  21. I will need time now, to sort through these posts and follow the suggested reading. Thank you for the advanced information on this topic. Ken
  22. Another response to this as I posted the link on the Chess Thinker's Forum: "This song is from mexican composer Narciso Serradel Sevilla.This version is song by spanish tenor Alfredo Krauss. P.d. Someone missed geography class."
  23. I would like to put together a little ammunition to either shoot myself down or add to the case that I believe there is a strong difference between playing in F# and playing in the key of Gb. Just doing the scales and arpeggios has taught me that. What can I add to show, maybe not for playing the piano so much, but that playing the violin in these two keys are entirely different experiences, or at least, that the two keys are not the same. One experienced player told me that in baroque playing that the F# would favor the note 'F' and I'm not sure if I understand what that means.
  24. Wonderful variety of approaches to fingerboard charts in this thread. Thanks to all who are posting. I had no idea that there were so many who have innovated versions. The daddario was an interesting concept. I agree, nothing beats doing it and learning it yourself.
  25. We've had 'Who's the greatest' threads before which wind up showing that it is past scientific analysis and winds up going to individual preference. Each of us has our own favorite or favorites who we consider to be the best.
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