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ondinaperret

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  1. I think conceptualization is great if you have the technique to back it up. If not it becomes the same as imagination - where one can imagine many things!!! But I agree with you in that conceptualization or being conscious of what and how you play a given piece can help you progress a lot. It is an analisis aspect and can give you insight in what you want vs. what you are actually able to do and the "how" to try to achieve the bridge between the two aspects. Not sure if I make sense....
  2. Congratulations!!! This is great news and I hope you'll all be happy with this new adventure!
  3. ezboards are updating servers, you should have gotten a PM from ezboards warning you. It will be back when they finish updating!
  4. Congratulations Jerry! Great news!
  5. aesthetics with the suit he was wearing?
  6. LOL rufviol! I'm still trying to understand the lungs vibrating! Anyway, Karla, I am also an adult beginner (well, about 4 years now) and have a long neck, so I strated out with a shoulder rest. I played for 2 years with a shoulder rest but always annoyed at the dull pain I felt in my back, and having been a professional dancer, I was also very aware of my posture and muscles as I played the violin. After a one of the rather famous threads here on shoulder rests I decided to try without and immedietaly felt comfortable, and when I went to lesson the teacher was quite surprised. As it was warm I had my hair up and he saw that my neck was perfectly straight (straight in the sense that it was above my shoulders and hips), and we realized why a shoulder rest wasn't working. Though I have long neck, I also have an underbite, which means my jaw sticks out a bit, and upon experimenting on the spot with my teacher, using the shoulder rest obliged me to tilt back my head... We lowered the shoulder rest to the lowest possible, I tried his shoulder rest etc.etc.etc., and in the end, the best and most correct solution was without a shoulder rest. It took a while adjusting, but since I have not had that dull pain. So besides looking at neck length, one has to look at all physiological aspects, and the most improtant is what you feel most comfortable with - within the uncomfortableness starting the violin! -
  7. Rufviol, I couldn't see from your profile whether you're based in Europe, USA, Asia or other; but here in Europe, Violino's and Dominant's are more or less in same price range, and many students and teachers I have spoken to say there is a world of difference, violino's being much more adequate. I really enjoyed them (except for the E string, but that is probably my own violin). Having had the experience to try as well Obligato's and Pirazzi's, I naturally prefer them, and can't even quite make up my mind which of these two I really prefer as it often times depends on *what piece* I play, but definitely I agree with all, that Pirastro Strings are amazing! Amazing for me, that is! So, if Violino's are in the same price range or within you economy, I would definitely give it a try! Being introduced to Pirastro has introduce me to the importance of strings... and who knows perhaps I end up with a totally different brand, but Pirastro opened my mind in the understanding of string quality. And if this *introduction* has happened, it is due to their generosity in offering me free trial strings!
  8. Lol Finprof! My teacher says and does the same, not so much for thumb, but in regards the suppleness of wrist! Tommy, you must remember that the hand has many tiny little tendons attached to tiny little bones so you must take care not to have injuries! What started out as a numb pain in my thumb ended up as a massive tendonitis on all 5 fingers because I didn't take care of the first pain. Take care of that fatigue, in the long run, it is easier to prevent a big injury than to deal with it!
  9. Have you looked into the programs offered by the North Carolina School of the Arts High School Program and the below copy-paste (I have to copy-paste because can't get direct link... though you can go to http://www.wssymphony.org/ and then click on "Education" and then "In School" and then the "Youth Talent Competition".) If anything, it will at least get you in contact with other parents in NC regarding violin! Quote: Youth Talent Search Competition To Recognize and Develop Young Musical Talent Winston-Salem Symphony Peter Perret, Music Director and Conductor Each year the Winston-Salem Symphony conducts its Youth Talent Search to identify the southeast's most gifted and accomplished young musicians. Maestro Peter Perret established the competition as a means of helping to develop young talent and a way to recognize and support the teachers and families of musically gifted children. Students will benefit from meeting and hearing their peers from around the state and beyond, from preparing an audition and performing for a panel of professional musicians. Winners are chosen to perform as soloists with the Symphony at Classical, Pops or educational concerts, giving them the experience of performing before large audiences. Participation in the competition also motivates students to continue their musical studies. Many have gone on to become professional musicians, including the winner of the very first Youth Talent Search, who is now a member of the New York Philharmonic. If you are interested in being a part of the 2004 Youth Talent Search please print and fill out the following forms: 2004 Audition Form 2004 Registration Form Both of these forms are in PDF format.
  10. there is some (not much) information or rather, speculation, on this thread from last year.
  11. I really like it! I've been using it for the last 6-8 weeks. It gives a nice grip on strings yet the sound is not harsh and allows for a gamma of sound nuances. I had been using Bernadel, but the Tartini is my first choice! I find the response quicker, double stops or chords to be clearer, spicatto etc. to have more projection. I only used to rosin every 6 to 8hrs or so (playing time), and now find myself doing so every 10-12hrs of playing. I would go for it!
  12. The "edition peters (No.1731a)" has a play along CD by music partner for this Mendelssohn's E Minor, but the play along is with Orchestra (Budapest Orchestra, I think). Have you checked any of the Dowani Series or the Music Minus One series? Their accompanyment is usually with piano.
  13. I have similar problem and what has really helped to correct it was some very conscious Shradieck exercises, not only does it stretch span but also strengthen fingers, and I do find Shradieck more entertaining than Sevcik. I also did and am doing lots of silent exercises, having all my 4 fingers down and then sliding my pinky sharp-natural-flat, back and forth, then after sliding, I try lifting it and dropping it in one of the three placements (and pizzicato with other hand to check intonation). And I also do inversely, leaving my pinky down and stretching the third (and 2nd and 1st) finger half a tone down(or what I can! ), both by sliding and lifting and dropping. It takes a lot of patience, but it does help a lot!
  14. Not concerto's but as an intermediate I very much enjoyed studying these (some do go above IIIrd pos.): Schubert Sonatinas Brahms Hungarian Dances Fiocco's Allegro Some of Kreisler's pieces Elgar's Salut d'Amour Violin transcription of some of Bach's Cello suites and some of the easier pieces within the Sonatas & Partitas (excluding the Loure, 3rd partita is not too difficult and gives lots of leeway to go back to in future, plus much inspiration to "suffer" through some tedious Sevcik, Flesch etc.). And as has been mentioned, Corelli and the Bach Concertos.
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