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Everything posted by linuxviolin

  1. Most definitely play what you know best! The audience will be much more pleased with your slightly "easier" piece- remember that you'll be spending much of your time perfecting the musicality- than your attempts to try to get through something that you don't have prepared.
  2. Don't think of it as torture- you'll really get better from it. Expect to spend a good amount of time practicing it a day, and once you get beyond the first two pages, you'll be using your brain a lot more (there's only so much you can do with four fingers and one string)
  3. Is it possibly the "school of violin-technics?" That's three volumes, for "promoting dexterity in the various positions," "double-stops" and "different modes of bowing." Schirmer has a good edition.
  4. Here's what you need: mic, sound card, and a good sound editing program. I use Goldwave, because it's cheap ($40) and easy to use. It has tons of features, but you don't have to use them. For MP3 support, it has a link to LAME, so make sure to download that too. http://www.goldwave.com
  5. I used the same stuff I was applying to my armpits all summer- Old Spice "Red Zone," or something like that. I basically rubbed it into the hands and then rinsed any excess off. And I did it a good half hour before the concert.
  6. Yeah, I mainly just have the hands. I did solve the problem at least for that Havanaise performance I posted here a bit back- first, I ate an extremely light supper, then swam, showered, and applied anti-perspirant to my hands.
  7. "...symptom of stage fright is a tense and shaky right arm ... The rest of the stage fright symptons, excitement, anxiety, heightened awareness, weird time sense, etc I can deal with as they are in my head." Why can't shaky bow arm also be in your head? Am I weird in that I never have shaky bow, and all of these other symptoms when I'm actually performing? Or could the sweat that somehow manages to ooze from every pore in my body when I perform be that "stage fright symptom" that I seem to be missing?
  8. Sony MD + Sony mic or, before it broke, my Audio Technica AT822. I actually used the Sony combination when I was "recording guy" for Quartet Program this summer (the pro quit his job). I managed to actually get some really good results out of it after I uploaded over line-in to the computer and applied some noise filters (the hall was a bit noisy).
  9. "Do you think "Virtual practice" works?? Such as when I am on a train I will listen to some music and follow the score, and try to imagine how to play it." Virtual practice definitely works with regard to knowing how the piece is supposed to go, and learning the inner workings of it. But you do need the real type to fix intonation issues, know hand positions, and other technical things. I guess once your technique is at a certain level, virtual practice might be more useful, but I still don't see a substitute for real practice.
  10. Maybe he doesn't need to practice scales anymore? He didn't say that he has never practiced scales, did he?
  11. I play both- with both of them out on my bed right now. I've contemplated a switch, but there's so much violin repertoire out there that I really couldn't bring myself to do it. Also, my violin is a better instrument than my viola and I can't afford an upgrade right now. Though I think viola is slowly taking precedence over violin. I still have all the lessons on violin- technique, etc.- but I've been having viola lessons fairly regularly right now and have started doing some technique work (when I have time- this week's assignment of "perfect intonation on the entire Mendelssohn first movement" is really cutting into it). I'd have to say, though, the best part about viola playing is that the instrument doesn't wine back at you nearly as much.
  12. Basically, I was twelve when I got it, and ready for a full size. My mother met Michael Koeberling on the net because he had posted a link somewhere to free violin posters, she ordered a few, he sent them, and it turns out they were of his copy of the ex Joachim Strad. He e-mailed her back to see if she liked them, they started talking by e-mail, and he suggested he make me a violin. I was obssessed by Paganini at the time, so I wanted a copy of Il Cannone. It took him nine months, and then he hand delivered it from Germany- he's a really nice guy. I don't think there's anything I could add to it to make it better- maybe an authentic del Gesu label might help- but it has a very clear, refined sound that fills any room you put it in. Plus it came with a Musafia "Hermitage" case.
  13. I meant the homeschooled variety- wake at six, practice at seven, breakfast at eight, back to practicing at 8:15, then practice until tired, do a bit of studying, practice more, and so on. I generally get about 6 - 7 hours of sleep a night, less on weekends. Once a week is quartet, and I lose all of Monday afternoon and part of evening for practice do to lesson + quartet coaching, but I can get work done in the car (two hours each way).
  14. Yes! Most certainly it's good to see live performances. Any time I go to one I realize how much I suck, and I go home and practice like crazy the next day.
  15. At least it's not six on one instrument- I've got violin, which gets about 3.5-4 hours, viola, which gets about 2 hours, and piano, which gets practiced when I have time. Friends? Having fun? Isn't that why we have quartet rehearsals and orchestra rehearsal breaks? Not to mention Maestronet, various mailing lists, etc.
  16. Maybe drop an orchestra? I did a weekly orchestra last year, but they kept raising the rates every year, and it was already a 1.25 hour drive in and back, so I dropped it and now just do an orchestra that has one rehearsal per concert, is free, and really much more enjoyable (plus I moved from rotating member of the first violin section to assistant principal viola ).
  17. My violin is the one pictured on the website. I took some pictures, but I can't figure out how to get them posted, and for some reason 50megs.com won't let me post a 972k image. It cost me $8000 in '98, but Koeberling's rates have increased since. I think he's charging between $12k and $15k now. I don't have any problems playing this violin, but I've got really big hands as well. The neck on my violin is definitely shorter than that on my mother's (also from Koeberling- but made in 2000 and it is standard lengths), but when I stand them next to each other, my violin is longer. I really don't see any out of the ordinary arching, either. One really cool feature is that the f-holes are of different sizes, and off center. Bob Raymond
  18. High school students have it pretty easy- esp. the homeschooled variety. I get in, on average, six hours a day.
  19. Michael Koeberling his website- with a picture of the violin under the "Gallery" section
  20. "In the program notes they said his instrument was made different and so it was tougher for others to play. I asked him what that meant, and he said the body was actually longer than standard, and therefor the neck was shorter, making reaches in the upper positions more difficult. Neat, eh?" Yeah, Paganini had a different body from most of us- and I think he cut any webbing he had between his already long fingers as well. For some reason, though, I don't have any trouble in the higher positions on my copy of the Cannon. "it had a big sound, but not too bassy. Nice and even with a smooth transition to the high register." sounds like my copy of the Cannon- people at camp identified it from a recording of me tuning it. It's really not the deepest sound either, but it's certainly big.
  21. I don't think there's a problem. I switch between Bernardel and Guillame all the time (I have both cakes in my case) without noticing anything bad going on.
  22. yes, his little friend (who can't stay still long enough to listen to me practice) is named Saddam I guess when they do stay still they like what they hear- I was at the piano the other day, and Slug, Osama, and Saddam were stretched out in parallel in front of the wood stove
  23. One of the kittens (named Osama) used to do something similar. He'd hide under my bed, and all through my practicing he'd race out and grab my toes, etc. He's grown up slightly now, but still does wild things to the other cats.
  24. Slightly. This cat used to leave the room as well, though the most contented I've ever seen him was when he was listening to my Perlman/Barenboim recording of the Mozart Piano/Violin Sonatas. He didn't twitch his ears once. For some reason, though, today he really wanted to be helpful. Sometimes he'd pull his ear one way, and as I got closer to the pitch, his ear would move back to its natural position.
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