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Paganiniest

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  1. This one sided approach is pedagogically sound. In performance I vary, but I feel one must have a one approach to this in order to break the rule. Sort of like bowing straight, good to practice it but not so good in so far as expression in live performances. Pag
  2. In reply to: The fact is, and this is not a theory, that there is a technique to using the body to project the sound of the violin, to achieve a certain quality of tone. This is why Mr. Rosand is so particular about the way his students hold the instrument. Others may have their technique for holding the instrument, but this is his way. I do not need to know exactly how it works, but I know that it works, and I understand enough about how it works to pass it on to my students. It is not about theories, it is about practice. This to me is the most crucial aspect of my teaching. I feel that if the hold is not proper it makes no sense to talk about other things such as bow hold, tone, vibrato, etc. In fact I insist that the fiddle has to become a part of the person, one with the fiddler. For me the jaw bone and chin rest lock into a firm position in where the player feels that the fiddle and his body are one really, inseparable. In the end one does not play on the violin but rather one plays through it. This approach not only produces a particular tone but is the key for technical assurance, ease of execution as well as tonal mastery of the instrument. Pag PS: Mr. Rosand will be giving a Master Class at the Amati Festival this summer for those interested.
  3. Thanks every one for all the input. One idea that surfaced on all of this was that anger may come "to assist" in one's efforts. I feel those two words describe, at least for me, a healthy blending of all forces that made this particular student excell in her playing. Thanks again, Pag PS: Crazy Jane, sounds like your daughter is a little fireball!
  4. The question was raised in one of my lessons. A pupil asked me if there is such a thing as healthy anger while playing the violin. She expressed that she played much better when she applies this particular emotion. She becomes assertive, secure and technically/musically effective. She just had a fight with her boyfriend, thus the reason for her question. If any one has any good ideas, comments, etc. it would be good to hear those. Pag PS: frankly, she sounded great
  5. D A, This was Mr. Agopian's reply re. the book: The "Building Secure Intonation" method consisted of shifting exercises that were based on an atonal arrangement of intervals, similar but a lot more thorough and extensive than the shifting exercises in the "No Time to Practice" book. The principle and goals were the same: to keep the mind really engaged when practicing shifts, and to increase one's ability to recognize and hear intervals when playing the violin. The method was self-published in a small quantity. It needs some revisions ( a little too long winded and some misprints) which I am undertaking at the present time, partly because of the interest in my "No Time to Practice" method. Pag
  6. Oldgeezer, Good idea, thanks! You know what, is what I did this morning after I got to school. I sent him an e-mail and he was so quick in responding. He asked where I came accross this information and offered to send me a copy. So I e-mailed him back thanking him. Seems like a nice fellow Thanks again, Pag
  7. deStauton, Heheh! I agree 100%. I was just curious since Mr. Agopian won some kind of reward because of this book. I think his No Time To Practice is a pretty kool book though. Pag
  8. Does any one know where one can get a book titled "Building Secure Intonation" by Edmond Agopian? Thanks in advance Pag
  9. Thank you Manfio and Michael. I will look into the Stroebels. Well, you see, the angling of the neck is something I came across the other day on an old book I have by Bachman I believe. But now I understand it is not done much anymore. The other thing that I read is that the notches on the bridge are placed in such a way as to placing the G string notch closer to the left edge of the bridge leaving more room for the E string. This way the E string on the board has more fingerboard onto its right side so a player does not have a sense of falling off the board. Is all of this common practice nowadays? Pag PS: I hope all of this is clear. My descriptions are based on my looking at the fiddle from the playing position
  10. Greetings! Can any one recommend a book on the craft of violin making? I don't need anything super detailed, just a simple book that explains the "why" re. the set up an angles of the neck, fingerboard, strings and bridge, in other words those things that affect basic left hand violin technique. Thanks in advance, Pag
  11. Roman, The link does not work. Pag
  12. For bowing development: Sevcik Op. 2, part I For 'beginner' scale system: Sevcik Op. 6 (not just scales but various finger patterns) Pag
  13. I can report, and gladly do so! It has to do with spending too much time of the Internerd!!! Pag
  14. James, Since we still enjoy the gift of free expression, I take your comment in this light - we all have the right to express our opinions freely and in a civilized manner, and I will do so in the same way. Firstly, I acknowledge that Stephen’s playing, position, etc is not what we expect in terms of actual performance habits, in my opinion. If Stephen, like so many other teachers, has chosen to let go of those for reasons that frankly do not interest me, then let it be so. He can well answer this question I am sure in his own words. Second, with regards to comparing his playing to teachers from other schools, i.e., Juilliard, I was witness of 2 instructors who I was blessed to work with, Galamian and Bronstein. When either one demonstrated for me, they both left a great deal to be desired. They had both relinquished their playing abilities for the art of instruction - is what they did - and I believe their record speaks rather clearly, whether you agree with their teaching ideas or not. It is my hope that same day, me too, will be able to demonstrate in which ever capacity I can, when the time arrives for me to relinquish my performing career and dedicate myself completely to the art of instruction. Thirdly, and as I have said before, for me, it is ‘the way’ in which he chooses to impart knowledge, the actual words used to convey ideas is what is most important, at least for me. In this sense I appreciate watching Stephen’s videos and encourage him to post others with different ideas. Respectfully, Pag PS: I understand Stephen is not able to post here anymore, I may be wrong, but his response would be welcome
  15. Well. IMHO their playing is in need of improvements of course. Intonation and musicality is always an issue. It does not matter what stage of the game one is. I still think these little kids are quite impressive though Pag
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