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About a1s2

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  1. I think you might had missunderstood me, I meant at the orchestra at the beginning not while playing. It does happen a bit while playing but in a much smaller scale, its just to spice up playing. Check this video out, ii might help you: http://violinmasterclass.com/intonation_qt...sctn=Definition
  2. Yes but its more like " Stiff wrist staccato". Its a very very fast staccato with a fair amount of control but its important not to over do it if you can only do staccato that way. (health reasons) Ive never been able to it that way but ive seen some players that get some of the most amazing staccatos that way. Leopold Auer himself mentions this staccato was the one he used and taught. He also says that Wienawski used it and he was the most brillant exponent of staccato, About Sphor, he also mentions they taught staccato with aid of the wrist, and that he must had had an admirable staccato.
  3. Not all of them tune the same. Usually they go between A 440 and 443, or up to 445 in extreme cases.
  4. I vote for the luthier , just look for a reputable luthier near you (there might be much more near you than you actually think) and tell him your thoughts. Who knows, it might just need the sound post adjustment everyone recommended, then you would probably walk out of there in 10 mins. Oh and by the way, I commented the bridge change becouse it can help making your violin mellower (I mean just a bit thicker, nothing exagerrated). Good luck!
  5. Luthiers sometimes put that on the bridge to protect it from the E string, dont worry about it.
  6. Maybe try to practice on a different room? I dont like the gut strings idea, you would get a lot of trouble tunning it. Besides, are domminants really that louder? How about fitting a new bridge? a thicker one. (keep the old one thought) Maybe some of the luthiers can give you better advices. Congrats on learning by the way! Its fun and its worth all the trouble!
  7. a1s2


    I think you can learn how to play, but you must know that they will sure be some sacrifices. For example: Theres no warranty you wont get a bad habit, some problems are dificult to spot without help. Playing with your teacher usually can helps a lot with intonation. You will have a harder time progressing and more time-consuming. Now some advices : Try to follow a method. If you happen to use Suzuki, id suggest you also use a complementary method, one with more excercises and scales. Since you already play an instrument, you might progress a lot faster than you think, but dont ne
  8. And here is Auer's book http://www.archive.org/stream/violinplayin...age/n0/mode/1up It is supposed to be copyright free. I also would add this to Friedman's opinion, this are L. Auer's words: "But what I have meant to suggest here is that the great artists are exceptional. Each has his peculiarities, and one must not and should not try to imitate any one of them blindly. Rather you must try to catch the reflection of his genius and, utilizing whatever light it may shed, readapt it to your own individual needs. It is often the case, in fact, that when a great artist stresses some small def
  9. I think Fischer's book is more helpfull for teachers than for students. Its good book, but sometimes he over-explains things. (If you have to think too much about it its not gonna work) .Just imagine someone completly clueless trying to understand what Fischer says, especially when he can barely control what hes hands are doing. Now, imagine a teacher who finds something wrong with the student's technique, and uses the book to understand and correct the problem. I think thats how Fischer intended the use of hes book anyways. One last thing, I think the problem is that a lot of people are ju
  10. I read Leopold Auer's book not too long ago and I remember he suggests an interesting excesice to strenght the fingers and give shape to the hand. I dont really remember hes exact words but I'll try to explain: Put all fingers in first position, first finger on F natural on the E string, second finger on C natural on A string, third finger on G natural on the D string and the fourth finger on A on the G String. After you got them all in position, you firmly tap a few times each finger without moving the others. Auer also suggests to follow an order, i think it was second finger first, then f
  11. Who isnt these days? About the violin, I also think that it sounds fantastic. Congratulations Christian Bayon.
  12. I think it is pretty much like languages. For example: When you learn a language at an early age, you usually learn it better than if you learn a language later in life. (Even if you can speak and understand the language properly, it just doesnt feel as natural) I think as a string instrument student you have to develop something similar to absolute pitch but not as developed. (you need to tell if a note sounds off pitch or not as quickly as possible) One of my friends has perfect pitch and I asked him about it a few times. Let me explain, when you have perfect pitch, you are able to tell th
  13. To Derest Rat, I find the comment a bit strange, the caprices have been popularized on several instruments and your comment does not really reflect the truth. I have many friends who dont like all the virtousic passages of violin playing and only enjoy simple melodies (I totally understand that) but you have to realize that even if theyr most apealing to violinists, there are several musicians (even "legendary" ones) who have enjoyed paganini's music (especially the caprices). The most famous are perhaps on the piano (Rachmaninoff and Liszt), but there are several transcriptions for numerous
  14. Ouch, isnt that spider a black widow? I think those are the jumpy type too, that means double the danger.
  15. I visit the youtube channel from time to time and I usuallly enjoy the samples. It is a popular channel afterall, and that can explain or contribute to the high bidding. About all the credibility thing, I dont really want to comment and get into a fight or something. I'll just call myself neutral.
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