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Everything posted by MsMazas

  1. My friend Justice will be going there as well, I'm not sure if you know her or not. She's been studying with Sally Thomas and Anne Setzer for a while now (she and I went to Meadowmount together), and it sounds like Mannes is pretty awesome. Congrats!! --mazas
  2. Hey! Sorry for not responding for a while (I don't check this board as often), but Mr. Lewis did mention that some person from Vegas will be coming too. That's pretty cool! Do you know this person at all? --mazas
  3. That's actually increadibly cool! I've only heard good things about Pamela Frank (extrodinary player), but that is so awesome! Nicely done! I've kinda half-heartly decided on the University of Texas. I was invited to Brian Lewis' studio (he just moved there last year, five openings) and I guess I'll be the only freshman violinst. Yup, they gave me a full ride, plus some extra for "traveling costs," whatever that means. I also heard a little from CIM, and was very dissapointed to find out that Mr. Updegraff literally has no room. He had one opening, and I didn't get it. However, I'm on the top of his waitlist, woohoo. Even if I got into the school (which he hinted at) I'm not sure if I would want my parents to pay 30k+ to study with someone who I don't know. I also got some interesting vibes from the school, and I just thought that the location was awful. Too industrial if you ask me. Anyway, I should stop rambling. Congrats! That's wonderful! --Mazas
  4. I know that we have a lot of younger student musicians on this board, especially ones who are college-bound. So, where's everyone planning on goin to college? Has anyone heard back from their colleges?
  5. My top two: David Oistrakh and Kyung Wa Chung. Sadly, I don't have very many of "Cookie's" cds, but I really love her Prokofiev.
  6. Well, I've figured out which schools I'm auditioning for, but we'll see if I get into any of them. Goodness, it's got to be the most frightening thing...EVER! --Mazas
  7. Yeah...everyone's basically said what I was going to say, but I'll just mention some stuff anyway. As my mom already mentioned, I have recieved some burly blisters from this piece on both hands. It's not a terrible burden to me, but I also just got done with the Tchaik (as well as years of practice with Gav/Dont etudes). Anyway, just telling by your level (I don't want to sound condesending or anything, I mean, I haven't even heard you play) I'd advise against it. If you like it that much then you can wait. It'll be better that way! I would replace the idea with either Caprice Basque by Sarasate or a Weinowski Pollonaise. Happy playing! --Mazas
  8. Yeah, I found a nice copy of the Bruch double, and I think we're probably going to stick with that, but we both want something a little more demanding. It's a very pretty piece, but doesn't have a lot of depth to it. Oh well, I enjoy playing it more than the Mozart concertant, and we've done the other little mozart duets. Does anyone know if Navarra has been transcribed for violin viola? Thanks --Mazas
  9. Hey everybody! My friend and I are hoping to play a duet for violin/viola for solo & ensemble. We're both fairly talented players (he's increadible, I dunno what I can say about myself), and we've been playing together for years, but we have no idea what to play. We can't do the Passacaglia (because it's already been done) and we both tink that the Mozart Concertante is a little overdone, but what else is there? More importantly, has anyone played any music for solo vln/viola? Is anyone familiar with the Bruch double? Thanks, Mazas
  10. Yeah, I've had tendonitus before. Sucks the big one, but it wasn't too serious. I'm assuming that this is occuring with the right shoulder blade, and you probably got it because you hike your shoulder up to your ear when you try to hit the lower strings. If it's with the left arm, then you're just pressing down too hard with your jaw (do you use a shoulder pad?). My best advice would be to see a physical therapist, use that hot-cold stuff, take some aspirin, don't raise your right elbow too much, and suck it up. I mean, this stuff happens to the best of us, and it's usually just from poor technique. Talk to your teacher about it, and you'll get the best answers (hopefully). --Mazas
  11. Hey! You're in CYSO! Some of my best friends in the whole world are in there, and I'm from Washington state. Wierd. Anyway, do you know Ayane Kozasa? --Mazas
  12. Hey, I live in Washington! Anyway, I always go to Rafael Carrabba in Seattle for all of my violin repairs, and he may have some nice violins in right now. Oregon's got some nice shops, so I would advise looking there as well. David Kerr is absolutely fabulous, and he's got some nice violins too. It's a friendly shop, with good deals. So good luck on your trip! I hope you enjoy the pacific northwest while you're here! --Mazas
  13. Well, when I was over on the east coast, my hickey wasn't horrible, but it certainly wasn't pretty either. I had a lovely bunch of zits on it, probably because of the oils from my chin rest, but now I use a cloth over it. It keeps the hickie down, and is quite comfortable. Anyway, I wouldn't worry about it. Poor technique? As if! When I talked with Zuckerman it was impossible not to notice his hickey, and Zuckerman has such horrendous technique you know. Eight hours a day is pretty ridiculous, I hope that he doesn't get tendonitus, and that he's playing accurately. --Mazas
  14. McInnes is a fabulous teacher! I've heard A LOT of good things about him, and he's supposed to be a killa teacher. Nice job, I was looking at USC, but not sure anymore. I was considering Lipsett, but I'm going to have to hear some more on that guy. Heide Castleman sounds like a great viola teacher too, my best friend is looking to study with her. Did you audition there too? I'm so scared for auditions, you're going to have to tell me about what they ask for! --Mazas
  15. I need to know which teachers are great educators, as well as great people. Right now, I'm lookin at David Updegraff, Naomo Tanaka, and Mariam Fried, but I really don't know anything about any of them. Any feedback is greatly appreciated, seriously! By the way, I put "hottie" on here, because he's just so controversial...and hot. (actually, I think he's ugly...but that's ok.) --Mazas
  16. Yeah, I knew Scott, James, and Emily (barely). Nice kids, interesting bunch of people... Oh, I played viola there a lot. What school are you looking at for college? Do you know anything about Alan De Veritch? --Mazas
  17. Quote: I would assume that this thread will be deleted soon. Drama queen. Oh, but I am back from meadowmount. It kinda sucked this year, what was the intense Nazi scenario and all. You'll all be suprised to hear that the shoulder pad is gone, for now. We'll see, I'm just trying this out after recomendation, and it's neither good nor bad. I think I actually kinda missed this place, as crazy as it seems! --Mazas
  18. Ok, so I'm off to Meadowmount tomorrow morning, and I cannot find my violin part to Handel-Halvorsen's Passacaglia. Is anyone familiar with any free sheet music download sites? Anyone goin to camp with that music?! Any help is greatly appreciated! Thank you! --Mazas
  19. Hey toile! I'm not one for fingered octaves (they hurt my hand like a mofo if I practice them too much), but they're somewhat essential for a lot of things. Do you want to make that Sibelius sound good on the last page? Yeah, gotta use the fingered octaves. If you can't play fingered octaves...well... At any rate, my routine kinda goes as follows: I start out in the third position, because first is just a brutal beast, and I play a scale (let's take C for example) and go up on octave on one string. I'll go 1-3, 2-4 all the way up, and then I'll repeat the top notes but change the fingering so that it's a different fingering on the way down. I do this on all four strings, and attempt at playing all the scales above B major. I'll do C major/minor for about five minutes, play some Dont, then go onto D major/minor for a while. Good luck, and DO NOT practice this stuff too much! Tenths and fingered octaves can kill ya if you overdo them. --mazas
  20. Yeah, and now I'm attempting to master both ways! Thanks guys, the comments have helped A LOT! Wowee! Yeah, I'm going to have my last lesson before I depart to camp, and we'll see what his take is on this. Thanks again for the input! If you could put up a recording, I would love to hear it. --Mazas
  21. Oh that's SO true! That's what the whole Galamian school of teaching was all about, which I totally love. The right hand is never emphasized enough, but it seriously makes everything easier. Your left hand isn't the base for musicality, it's actually your right. --mazas
  22. THE NUMBER ONE TIP: Do not wear scandalous outfits to performances. Oh I'm serious on this one, can't stress it enough. One of my friends got docked around five points at a recent competition because of her "revealing apparel." Oooh, it's bad. Here's some more: - Practice with a mirror for bow angle. - Try to record your playing as much as possible. - Practice everything slowly, technique comes with time. - Don't pound your fingers onto the finger board, try to make them really light and springy. - Listen to as many violin/classical recordings as possible! It's great because it builds a strong musical ear which Suzuki doesn't always provide. There's much more, but I'm lazy. --Mazas
  23. Yeah, I think that warm up time is crucial, and to be perfectly honest, I only play scales to warm up before performances. I go through the whole circle of fifths (well, depends on my time slot) and then I do all the four octave scales/arpeggios. At first, I play them REALLY slowly, like quarter note = 40, then after about five scales I'm up to quarter note = 120. It's really important to play your first scales really slowly to listen for intonation, a lot of folks don't do that anymore. In my mind, you only need 10-20 minutes onsite to warm up before performances. It's good to sit there and be extremely concious about your technique before you perform (bow hold, angle, finger placement, intonation, etc) so that you go onstage and have all that set and ready to go. --Mazas
  24. OTH -- That's nice, but if I wanted to take the easy way out than I would play the Auer version there. I do play his edited lines on the bottom of the 8th page (I think that's the one...it's the one where the theme comes back in chords and Auer goes up an octave rather than down), but I wasn't asking about the Auer part. Jimmy -- Thank you SO much! The on-string business is working out real well, I started practicing it like that tonight. I never really thought of it that way, because I've only studied two recordings (Oistrakh and Milstein) and found that they both do the Auer version there with a staccato sort of bowing. It is marked with little dots on the top of the notes, so I took it as being a spicatto section, never thought of it as a detache section. Oh, I am using the Oistrakh-Auer version and it's FABULOUS. Thanks for the comments everyone! I'll probably post some more questions later. --Mazas
  25. Hey folks...sorry for leaving so long, but I've been busy. So, let's cut to the chase. On the fifth page of the Tchaik. there's this brutal part, where he took the triplet section and turned it into double stops (there's an Auer alternative, but it's "too easy"). What type of bow stroke is supposed to be used there? Spicatto? How do you go about doing this magic bow stroke? That section is so dang fast, I'll never get it down! --Mazas
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