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About Ecrivain

  • Birthday 12/01/1963

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  1. "I must be missing something because I can't find anything in that link that directly relates to this discussion. I also don't understand why you resurrected a 4-year-old thread to post it. Did you take a look at the picture gallery? If so, did you happen to catch that the pedagogue on the site is playing left handed? A left handed violin pedagogue might have better insight into playing that way. Rather than speculate, we should ask him. The 4-year old post was perfect background. Also, because the online application allows me to do so. Much quicker than staring a new thread. -E
  2. Something many of the posters on this thread might want to browse: http://www.terjemoehansen.com/ I think it helps if one references an expert on the subject, rather than speculate. -E
  3. The "Stern sponge" used in the film looks like it was made from either rubber or synthetic foam with a closer cell than what you usually see availble via the string supply houses. Stern and others used the sponges under their jackets/clothing as opposed to over their clothing and contacting the instrument. There is a similar sponge sold for use in electronics and the hobby industry. If you have a local R/C hobby shop, you might find sheets of the rubber foam in the parts section. They come in several thicknesses. -E
  4. The Strad that Kolisch played in the early 20th century was converted to accomodate his left hand playing. It was converted back to a "righty" after his death. As far as instruments being built 300 years ago as 'lefties?' We may never know. But, as late as CPE Bach it appears to have been frowned upon. Apparently, he took up the keyboard as he was a fairly left dominant guy and a left handed violin was unthinkable him and those around him. So, makes me think that the social preference for right handed violins goes pretty far back, even before the advent of the modern orchestra. I do seem to remember fidels that were made left handed, then again...my memory might be fading. The left or "sinister" hand has enjoyed quite a strong and negative mythology over the past millenia in the west--still does. I doubt many in the 16th-19th centuries would ever think it to be a good thing. I can imagine in midievel times it could result in death? Or, maybe thats just me confusing centuries in my reoccuring nightmare about the inquisition? -E
  5. Welcome Paul, I've looked at your questions and posted an answer for a couple of them below: "....My priority with classical studies is to develop a beautiful sound and good bow technique, but that seems to come later on in many methods." You might have hit the nail on the head with your own question--it takes time. Quite a bit of time. Good bow technique and sound are so ellusive that many technically excellent players graduate from the finest acadamies without mastering either of them. If truth be told, 99% of good classical technique results from good bowing. The only good advice I've ever heard is to practice slow bowing excercises and then work up to the various bowings from there. Until you can hold a single long up or down bow for many minutes (some would actually say an hour!!!????) you won't begin to grasp full control. Bowing is the ONE thing that takes the most practice to aquire skill, yet it is probably the ONE thing that most players neglect studying. It is also the one thing that will allow you to produce good tone. I can progam a robot to finger a violin with exacting precision and even teach a chimp to do some of it--but, I can't get either to bow properly! "Also, I was wondering if there are any good videos of great players talking about tone production and bowing and fundamentals? Not so much a masterclass as a instructional video?" Yes, there are several "master classes" on DVD as well as basic instruction. Some concentrate on bowings, others on specific pieces, yet others on general performance and sound produciton. Any of the string supply houses should carry some in their catalogs. Heifetz, Stern, Menuhin & etc. all have some sort of video covering many of these topics.
  6. Marie, I was thinking about this last night and I came to the conclusion that if this type of service allows two-way video communication, that the type of critique that might be possible for the teacher to share with the student would go a very long way in progress for the student who may not have access to a teacher (especially, those in remote areas). If the average violinist can critique a video of a performance with some degree of accurate cerebral analysis, why shouldn't a trained teacher. If anything, it at least would provide an avenue for informed feedback, which is mostly what a teacher is for. -E
  7. Early keyboard instruments were commonly tuned and retuned to different pitches to suit players and pieces. The most common practice was to tune some of the lower strings to fit the range of the lowest notes (5ths, tonics & etc.) of a particular piece. This allowed the player to use the same instrument over a broader range. Some keyboards were self-transposing with mechanical assistance (usually a half to whole tone difference). In modern times I don't see the advantage of retuning all 88 sets of strings, except to be "flamboyant." Sight reading and simultaneously transposing to a distant key is far more impressive! Prepared piano is now officially dead (or, in the very least, "trite"). Don't try it at home. No one likes a copy cat, especially one that copies a bad idea.
  8. Did he speak Portuguese? I can't share the jokes I remember as they are a bit off-color. Most were plays on double meanings and homophones between the languages, but were constructed in a manner that to understand the entire meanings the listener had to understand all three languages. It was very facinating to me. I'm almost certain he's probably come across them if he speaks Portuguese too. Some of the expressions are quite handy to use as Code if you don't want other non-speakers to know what you're talking about. -E
  9. Very cool! I wonder if the Prince gets some of the trilingual Portugues/Japanese/English jokes? Manfio, are you familiar with these?
  10. Marie, Were you curious for yourself or another person? Or just curious (as I am)? From your postings I am under the impressions that you probably wouldn't need that kind of instruction. I've heard from people that have done online lessons with some success, but I believe all of them had met and had lessons in persons with the teachers. The online format was used to augment between meetings (as some of the teachers were internationally prominent touring concert artists). It seemed that the students were happy with this arrangement. At least one of our local junior colleges had an online begining and "intermediate" piano class. I'm not too certain how effective it would be if the teacher and student never met in person and the teacher never actually saw/heard the student playing in person, though. Although, if it works, I can imagine we'll see websites poping up that look like a cross between Myspace and Youtube; where one can 'shop' for a subject and an associated teacher to teach it to you. Don't know if that is good or bad. I have always wanted to learn how to do surgerey though.... E
  11. outside, Yes, the amount of time the Dad would take to learn the piece is the issue there. I've seen similar things as the result of carbon monoxide poisoning.... -E
  12. outside, I think you may have misread the passage on 3rd position. I believe it was the Student and not the father that had the trouble. Lilylynne, I think Hank Schutz has the best advice. -E
  13. mommag, The only thing that will show results is what your son's teacher has asked of him. I would suggest that you yourself try only using your off-hand (left, if you are right-handed) for eating and writing for the next month and it might enlighen you. Also, which "Mendelssohn" is he attempting? It may very well be that your son is trying to learn pieces that he should not, until he has his basic bowing figured out. -E
  14. I would venture to guess Paganini would have at least whistled in tune. I seem to remember we had a term for this type of display in my philosophy studies at university---"Mental Masturbation." Sad that we live in an epoch where the whims and delusions of a lucky few are bandied about as some form of art. I truly feel sorry for the members of the orchestra to have to have been a part of it--from the few shots of their faces they look uncomfortable with the whole sham. -E P.S. "Brilliant" is an overused word. I declare it is now meaningless.
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