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Zarnath

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  1. Once again, thank you very much for your insightful response HKV. Only thing wrong with classical is that at my age it's impractical to aspire to soloism. I abhor large ensemble playing.
  2. Here's the what the plan has kinda been so far. I had considered Berkeley long and hard, but my (jazz) teacher recommended against it's simply too big a sea. What he did recommend, and my personal first choice anyway, was in fact NEC I guess as a performance major with a kind of minor in jazz. Then I'd have NEC stability and be next door to the Berkeley scene. I want to thank you all for your responses which served to strengthen my resolve to actually make this big leap! Z
  3. For the last two years, I've been going to a State university near my home after dropping out of high school early and getting my GED. I've been majoring in Violin performance. I later enroll in a jazz improv class and found that I no longer want to be a strictly classical musician, but want to go more third-stream, or even toward jazz. If I were a horn player, this would be so easy. I feel a need now to transfer to a better school, but I don't know where there's a school that would offer something like what I just described for a violinist. Does anybody have any suggestions?
  4. Other than the fact that they form a major triad, has anyone else noticed something strange about these notes in particular? If you know anything, PLEASE dont hold back.
  5. Im taking Russian in school and this is an honors project that's due tomorrow. There will be a great karmac reward to anyone who replies, because im stumped, there seems to be no difference. Thx, Zarnath
  6. Guys, I think you misunderstood my teachers meaning when i paraphrased his wisdom. The moral of what he said was that you can be sloppier in performances than on records. He went on to tell of a time when he was recording tchaikovsky w/Isaac Stern and National Symphony. They rehearsed for 6 days, performed the darn piece, but Stern refused to release the recording because it was too sloppy, fearing harsh criticisms from his colleagues. HKV, This isnt the nly: piece ive been working on. This is in addition to paganini, rode, fiorillo, scales, unnacc bach, and intro + rondo (my other semester project, also sloppy but more admissibly so due to its romantic nature). Also, i do wake up at 4:00, but i go to sleep at 8:00. Ive decided to be of the philosophy, for at least the next few weeks, that fanaticism is the solution to all my problems. by fanaticism, i mean of kubelikian proportions. I mean, while i will at times attempt the suzuki style metronome technique mentioned by theresa, every day i will set the metronome at 50 and work it up in increments of :::1::: till its at 120 (my computer metronome will do this). Then start over the next day. Playing scales fanatically until im happy that its at the level that heifetz would accept me as a student were he to hear it. Then do the same thing the next day. In my opinion, my teacher is the next step down from G_o_d and my mother. Every thing he says has profound wisdom to it and is only a means to trick me into getting better. It hurts me deeply when you guys bash him like that, and that is the main reason for this new post; to defend him. Thank you all for your suggestions, especially Mr Victor. You pretty much hit the nail on the head. HKV I think that this was one of your more abstract posts. I love to take your suggestions to heart, but you assumed a lot of things here. Usually your assumptions are very perceptive, but here they hardly apply. Much obliged, Zarnath
  7. I've been working on the Devil's Trill sonata as my semester project this year, and yesterday in my lesson I finally thought I had it down enough to play it from memory for my teacher. He made an interesting comment: "Its performance ready, but if you recorded that you'd be laughed at by every violinist who listened". This is my problem. Im too sloppy in everything i do. I just cant seem to reach the next level of playing that is perfection, at least to the naked ear. Ive lately been waking up at 4 in the morning to get in 3 1/2 extra hours of practice, and it helps, but in scales, etudes, everything there are little idiosyncrasies (sic) in my intonation and my bowing. Im just so close, but it seems as if ive reached an impasse and nothing i can do can take me further. Im sure many of you have had similar experiences and will have some wisdom to share on how you progressed. Im going neurotic over this. Any response is appreciated.
  8. Why pay for this when you can just download a midi file and take out the solo part, along with being able to control the tempi and key?
  9. I just returned from a rather eventful (to say the least) summer at interlochen. I've actually been back for about two weeks, but finally recovered from culture shock and remembered where I left my computer (wow! its been in my basement all along!) I found that there was really too much to do, too hard to focus and as a result I fell 20 or so chairs in challenges. One of my best friends, on the other hand excelled to be five times the player he was before he came, so it really depends on the person. I was a member of the World Youth Symphony at first, but ended up in the high school orchestra before in the end getting last-chair wyso by default. It was a timultuous summer, but its great to be back! ive started school and violin couldnt be better, so I'll be posting. -Zarnath
  10. This is my last day with assured access to the internet. Tomorrow I'm departing for the Interlochen summer camp and won't be back for two months. You have all been incredibly helpful to me, and I'll miss checking all your posts twice daily. adios, Zach Miller
  11. Ok, here's another of mine. How about a metronome that, rather than beeping or flashing, you can put it in your pocket and it will tap your body to the beat! They'd have to start frisking you at auditions
  12. I've heard a lot of places that anyone can learn technique, all it requires is discipline. Musicality, that comes from inside. A great violinist is made from a combination of stellar technique and genius musicality. Assuming all this is true, If one is talented and disciplined, couldn't he pick up violin at like age 10 and learn the technique, and then find that he has the music inside of him, hence becoming the next Perlman. My teacher once told me that "It doesn't matter when you start, but the kind of instruction you recieve". What do you guys think?
  13. (refresh) I kinda like bell. I want to see a mixture of Stern and Heifetz. We seem to have an overabundances of Heifetzes but not enough Sterns. When will people realize that Heifetz is cliché?
  14. For any of you who would like to be added to a bunch of violinist's buddy lists and have live chats, go ahead and put your screename here for easy reference. Mine is: CptZarnath
  15. Alright backporch, u're my kinda fiddler. Personally, though, I prefer Johnny Gimble and Bobby Hicks for the most refined Western Swing. For bluegrass, you really can't beat Aubrey Haney nowadays, but I'm sentimentally attached to Scotty Stoneman. Stephane Grapelli is the reigning king of swing. Jascha Heifetz and Isaac Stern are competing for the place of my favorite classical fiddler. I'm gonna finally get a chance to hear Natalie MacMaster at Interlochen, but I hear she's the best at Cape Breton. I believe that the most well-rounded style-wise violinist in the world is Mark O'Connor. The only reason he's not my favorite is because he decided to completely forget what : eople:: like to hear and now just plays things only he would want to play (I remember me taking a few of his caprices to my teacher and, playing them for me, him asking "What's the point, its all the same").
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