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Everything posted by MrWoof

  1. quote: Originally posted by stephen redrobe: Thanks Don, by the way, when I have 'phone conversations or exchange emails with the chairman of Pirazzi (Pirastro) I am often amazed by the gobbledegook which he passes-off as English. Indeed I have almost wondered whether he does it on purpose!. I can see now that I can easily commit similar crimes against his language!. Complicated stuff, isn't it?. German can be quite the bear when it comes to that sort of stuff. I've been continually learning it for years now. Don
  2. I think you can find some nice bows for that price range. Personally it has been my experience that all bows are unique. I have to physically play a bow to see if I like it or not. Just because it is a Sartory doesn't mean it is the right bow for you. Happy bow hunting. Don Crandall
  3. quote: Originally posted by stephen redrobe: JA, MEIN SCHON rainyann [This message has been edited by stephen redrobe (edited 04-30-2002).] [This message has been edited by stephen redrobe (edited 04-30-2002).] [This message has been edited by stephen redrobe (edited 04-30-2002).] You forgot your adjective endings and an umlaut. The subject is female and in the nominative case so it should be Ja, meine schoene Rainyann. Don Crandall P.S. Don't ask I just know this stuff.
  4. quote: Originally posted by Ernst: Now if I could only learn to play as well as all of you. LOL I never knew that Uncle Fester played the violin. Don Crandall
  5. quote: Originally posted by Alex Carter: The violin's a rental, made by "somebody" lol, and the A string's a little cranky although I can't tell if that's the string or some "sour spot" in my physiology lol. Yes, as I progress, I'll end up getting my own fiddle and probably a bit more "serious" teacher, but what I have I'm sure is fine now. The violin seems OK, no buzzing strings, it stays in tune, etc. But I know there is a progression from "beginning" teachers and equipment to "intermediate" teachers and equipment to "serious" teachers and equipment, fortunately as beginnerly and annoying I might be on the violin, I used to do a sport, one of those olympic ones, where in 2 years I was a us national champion, and in a couple more years was actually starting to get fairly good lol! And, especially in the US where there's hardly any real knowledge or coaching, (this ain't bulgaria or russia etc) to get good one has to become one's own coach to a great degree, and know a lot about training oneself up. Violin is a lot more complicated, enjoyable to others, and socially redeeming, and there are good "coaches" in it everywhere, I think I am beginning to enter a whole new world :-) That is interesting, what was your sport? You are correct self discipline is a big part of music. A lot of musicians I know do other disciplines such as tai chi and yoga. We do after all use our bodies to actualize the music. You will do well. Don Crandall
  6. Perfection is only found in an ending. That which ceases to be, morph, and grow is perfect. It has also achieved artistic entropy. Also, I think your artistic vision is limited if you cut yourself off from any type of music. I still play, participate in, and listen to different forms of music though my main focus tends toward the classical or art music realm. Personally I think all musicians benefit from a well rounded listening habit. Good luck, you will need it. Regards, Don Crandall
  7. quote: Originally posted by Jeffie: Mr Woof May I share some MIDI files that I have that is similar to yours? Can I send them to you through email? Sure send them to Don@tropicstar.com at my work email. Don
  8. Sounds like your present teacher is fine for now till you begin understanding what it is you are trying to do. Importatly though get your instrument to a string instrument expert repairman and make sure it is set up properly. It is hard to build good technique if your are fighting the instrument. A pro in this field will be able to educate you about what makes a good set up. Chances are that you have a zillion questions. Just search through these posts and you will find lots of ready made answers. Regards and good luck, Don Crandall
  9. quote: Originally posted by Jeffie: MrWoof How did you create that MIDI file?? wow!! your piece is certainly reminding me of something, but I will not tell it to you. Where did you get your inspiration from? jeffie Thank you, I am glad you appreciate it. It is simple to save as a midi just one of the options available with Finale. As for inspiration that comes from burying both parents, a brother, and an infant niece and coming to the realization that life is a bonified miracle and that there is love, beauty, wonder, and music all around. As for creating a composition you first have to understand what it is you are trying to say then the rest is mechanically manipulating voices, instruments, and ideas to express that. The what to say part is much more difficult though in my opinion. In a nutshell there it is. I am glad that the music spoke to you. Thank you for your kind comment. Regards, Don Crandall
  10. 1. Sell the Strad and keep half the $$$ for the purchase of another fine instrument which is much less in price. 2. Set up a music scholarship with the other half of the strad money. Claim this as a deduction off my income taxes for the next several years. hehehe it is nice to daydream. Don Crandall
  11. Don't dump a lot of $$$ into your first instrument. You go through a learning curve as to what makes a good violin. Those $95.00 wonder fiddles on ebay are to be avoided if you know that this is something you really want to do. If you are just trying it out and not sure of it then they will look good over the mantle if you decide you don't want to play. If you are serious about playing then you could do a lot worse than getting a nice old german shop violin that has been fixed up and set up properly by a pro. You will spend the better part of $1000.00 or so on it, but it will last you several years untill you have the need and desire to move up to a better instrument. Looking for a decent bow is another can of worms, educate yourself as to what separates a bow shaped object from a good stick. Any bow will be ok for starting, but you should upgrade the bow once you have an idea what you are doing before the violin. The bow is to the violin as breath is to the singer. Regards, and happy hunting. Don Crandall
  12. quote: Originally posted by fiddlein Chris: Thanks for all the help, everyone. I have put new Thomastik Domanance string on my fiddle, that improved the sound greatly. I asked my teacher about the tone quality of my skylark, she said "it has a great voice". WHOA! Stop the music, is your teacher deaf? I have never heard one of those violins with "a great voice". They must have accidentally sent you a lost Strad by mistake. Go test drive some good violins and tell me if you still agree with her. <shuddering> Don Crandall
  13. Hmmm, when I write a piece I usually figure out what it is I am trying to say first, then the mechanics of saying it seem to just flow. All those rules I learned in harmony and in my studies seem to just happen when I do this successfully. I am curious as to your process when you compose something. This has been a good discussion so far. Regards, Don Crandall
  14. quote: Originally posted by Samira: What are we going to do when my daughter starts trumpet lessons in the fall???!!!! LOL, I am reminded of the old joke that goes, Q: How do you get two trumpeters to play softly? A: SHOOT ONE OF THEM!. On a serious note playing the trumpet softly is an art. You could begin with a mute however. I can commiserate with you. I practice in our living room, hubby is usually playing in Backgammond tourneys on the computer or watching TV when I do. When I play well the cats will usually gather on the furniture near me and sit in blissful meditation. When I play poorly they run from the room! Don Crandall
  15. I think that we define counterpoint differently. Counterpoint is the art of manipulating a motivic or melodic idea into new forms and harmony. Though Debussy uses lots of parallel constructions I do not define these as counterpoint. Rather they are a very rich harmonic language which he created to give sonic substance to moods and feelings. Both men were geniuses and approached composition quite differently. There music should be appreciated, studied, and enjoyed for the brilliant works of art they are not not what you, I, or any other dozen experts or musicologists say they should be. Call Debussy contrapuntal if you like, I don't agree, but in the end it doesn't matter. All that does matter is that it works, and does that very well. Regards, Don Crandall
  16. Dear one remember that you cannot know the bliss of true love until your heart has been broken. We have to go through things like this in life. Don Crandall
  17. It looks like one of those cheap guitar overdone in mother of pearl. I think it goes beyond the bounds of good taste. I prefer the elegant simplicity of traditional design. It sort of makes one suspect as to how it sounds. In other words, what are they trying to hide. Don Crandall
  18. quote: Originally posted by altogirl7: summer_breeze-- I hope they won't overlook your other skills because of that one scale. Best of luck! ....and Don, after all the grief you gave little Lynzi, I just can't resist ribbing you about this misspelling!!! in jest and smiles, altogirl [This message has been edited by altogirl7 (edited 04-22-2002).] That's ok. I always welcome constructive criticizm. If this thing had spell check we would all find more of these errors. Perhaps the consciousness about this has been raised because of my posts about Lynzi. I would like to note that she has made vast strides toward writing more professionally and accurately. Pax Don Crandall
  19. quote: Originally posted by Jacob: I arrived a bit late to this thread. However, I still don't find the actual answer to the question, which is: In certain types of Organum (12th, 13th century) parallel fifths and octaves were used to "harmonize" the melody. It is easy to understand that this merely involves a vertical expansion of the melody, and that there is no independence of voice parts. When counterpoint proper developed (that is, multiple voices melodically independent of each other), the two main intervals of parallel organum, namely fifths and octaves, came to be forbidden as consecutive intervals in order to emphasize the difference between counterpoint and organum. It is of course impossible to avoid consecutives of any description at all, and parallel thirds and sixths (about the only consonances left after fifhts and octaves) were certainly never prohibited or avoided. It is therefore important to understand that the prohibition of consecutive fifths and octaves originated as a stylistic and academic matter, not one of aesthetics. I have always found it hard to believe that anyboday can find these sounding "bad". In a certain context (most 14th to 19th century music) it may sound "wrong" to some educated musicians, for sure, but this is simply because it is stylistically out of context. Students of counterpoint and harmony have to follow the constraints of a given style. If you harmonize a chorale melody, you avoid consecutive fifts and octaves as a matter of stylistic and academic discipline. On the other hand, if you do the same with an exercise in the style of Cesar Franck or Debussy, for instance, you would be found equally wanting if you applied the same stylistic rule of avoiding them. It may also be useful to understand why the two above-mentioned composers, amongst others, used these consecutives. In the case of Franck, his written compositions apparently closely resemble his improvisations (he was an organist). For obvious reasons, it is neither as easy to avoid nor as easy to recognise these consecutives in improvised music (most people I know can see such consecutives much easier in a written score than they can recognize them aurally in a dense musical texture. Franck's relaxed attitude to consecutives is in any case a bit of an aberration for this period. In the case of Debussy, who had a keenly developed sense of counterpoint, consecutive fifhts and octaves are used much the same way as in early organum, namely as vertical expansions of the melody. His style of contrapuntal "chords" rather than "voices" is sometimes labelled "layer counterpoint". The bottom line is, consecutive fifths and octaves have never been freely accepted in ANY style of counterpoint. Therefore, when you see them, look for these reasons (other that a simple "mistake"): "layer (chordal)counterpoint"; an improvisatory and mainly chordal style; special effects (imitating exotic music, etc.). [This message has been edited by Jacob (edited 04-21-2002).] [This message has been edited by Jacob (edited 04-21-2002).] I agree that Debussy was a musical genius, and I am awestruck by his work, but I do not find his music contrapuntal at all. Could you please cite the examples of his counterpoint. His music is lush, beautiful, and harmonically rich, but I am not aware of examples of his contrapuntal writing. If anything his music is layered and often crystaline in its beauty. Bach was and remains the high master of contrapuntal writing. None have done it better in his time or since. Regards, Don Crandall
  20. Try taking arnica. You can find it in your healt food store. Don't ask me how but the stuff works wonders. Don Crandall
  21. Scales are one of the fundimental building blocks of all music. Every system has some form of scale. That is why they are important, one ignores them to ones detriment, educate yourself in them. Respectfully, Don Crandall
  22. The blanket helps prevent rosin dust from the bow getting on the instrument and it also helps keep air away from the instrument. One luthier told me that over time it does make a difference in the oxydation of the finish. It takes 5 seconds to "tuck the baby in" and I think it is worth doing. Regards, Don Crandall
  23. Just a note of caution: Electronic embelishments are interesting and fun, but kindly consider that they are only effects. Quite often the music gets lost in the effects. Don Crandall
  24. Go to the health food store and get some Arnica. It won't hurt and will most likely help you. Also follow the advice of your physician. Pain is the body's way of saying something is wrong help me. Hope you find a remedy and feel better. Don Crandall
  25. quote: Originally posted by Tropicalfruitmom: My composition prof explained it this way: "If you want parallel fifths in your music, move to China an you'll fit right it. If you want to drown out the harmonies, put in octaves everywhere you can." Sounds simple enough to me! Ava It is simple, too simple in fact. Rather than learn how to use these dramatically his advice has the effect of preventing you from experimenting to see how they can augment your composition. Imagine coming to a point in a piece where the tension is building and you begin with the strings ascending with parallel fifths, then the woodwinds double this and also add a fourth, timpany begins rising in a tremolo till finally a gong sounds and the horns begin a descent in fifths joined in like manner with the other brass while the strings and woodwinds continue softly shimmering on the last and highest pitch they played. This all dissapates till nothing but the violas are shimmering on a C. A piccolo begins a light bird trill like melody which is picked up in the oboe. Underneath the violins and cello begin a pizz. harmony using major and minor seconds. Neat huh, it is an idea which could yield something good. Would that be "wrong" or drown out the melody? I think not, rather I think that the audience would be transfixed. You have to think outside the box into the world of motion and shape. From that you can generate a profoundly beautiful melodic line. Begin by watching how a river carves it's path through the land or how the lightning branches through the sky. The music is all around us, nature has given us marvelous models to copy, we just need to give them voice. Pax and good luck, Don Crandall
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