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Maestro

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Everything posted by Maestro

  1. Hello, I´m very interested in the luthier that you said about moderns bows, I would like try some bows of this English maker. Could you give me his email, or talk about this, my email is gomezviolinist@gmail.com

    Thank you

  2. I keep seeing left handed shoulder rests and Chin rests introduced on the market. What bothers me is that they are also for 1/4 and 1/2 size violins. Why would you start a child on a left handed instrument and limit their options. For start they don't easily fit into an orchestra, they can't pick up any 'normal' violin and play it, so why start that way? It Baffles me! I have a left handed child and he had no problem adjusting to holding the bow and drawing the bow with his right hand.
  3. A related article: http://www.dailymail.co.uk/news/article-2081558/Out-tune-Concert-violinists-identify-sound-multi-million-pound-Stradivarius.html?ito=feeds-newsxml
  4. Below is a link for a double blind test between a Strad and a Modern violin. It's kind of difficult to judge it on your PC speakers, but see what you think. The result of the full experiment was interesting. http://www.npr.org/blogs/deceptivecadence/2012/01/02/144482863/double-blind-violin-test-can-you-pick-the-strad?sc=fb&cc=fp
  5. Not sure if this is the right forum to ask this kind of question, my apology up front. I hear many musicians carry their entire sheet music library on an iPad. Does anybody know how to get the existing paper based library on the iPad? Do I need to scan every single page? (that would take me years!). Provided I get the music on the iPad can it be edited for fingering, bowing etc? Thanks
  6. I am not disputing a need for shoulder rest, I use one myself. I'm also in agreement with you regarding secure hold for shifting. What I would like from a shoulder rest is a freedom to be able to slightly rotate the violin on its horizontal axis for smoother string crossing and a fuller tone. You get a much better counter pressure to the bow for the G string if the violin is tilted towards the floor with f-holes facing the audience. For the E string better counter pressure is achieved by a flatter violin position. Normally a foam pad or no shoulder rest gives you this facility. That's because foam gives a little, and no shoulder rest situation allows the violin rotate on the collar bone. Of course some people achieve this by body movement even with a solid shoulder rest. It's just the shoulder rest I mentioned in my previous post allows the horizontal rotation by a slight movement of the chin/jaw. Apologies to everyone for diversion to the original topic.
  7. Not wishing to extend this thread beyond the original question, here's just an example of horizontal movement in the beginning of this clip that facilitates an easier performance. Raising and lowering the elbow without a slight horizontal move from the violin seems harder and more cumbersome to me. I don't like the type of shoulder rests that restrict movements and fix the violin in one place.
  8. I’d like to add my penny’s worth here. I hope this thread doesn’t turn into should rest against no shoulder rest debate. You’ll get a lot of advice from people here, but only you’ll know what is right for you. Here some suggestions based on years of experience that you might like to consider: Start with the chin rest then search for an equally and supportive shoulder rest. The one that I and most of my pupil find comfortable is the Guadganini chin rest. There must be at least 20-30 other different chin rests on the market. I have a draw full of them :-). Try them until you find one that is comfortable under you chin/jaw. When it comes to shoulder rests, IMHO choose a rest that is not totally fixed like scaffolding under your chin. You need some degree of horizontal movement for bow pressure, i.e GENERALLY the violin should be able to rotate at an angle to the floor for the lower strings, and it should be relatively flatter when on the E string. People who don’t use shoulder rest have this ability, the violin can rotate on the collar bone. . If you watch Pinchas Zukerman’s masterclasses this is what he advocates. For this reason he’s not a fan of Kun shoulder rest, and he has said it publicly many times how much he hates Kun. I don’t like Kun either, it allows no horizontal movement, you need to rotate your body to get the effect. The same goes for Bonmusica, it curves itself around the shoulder and limits the movement. Try wolf forte secondo, but don’t use it as it comes out of the packet. Twist it and bend to the shape of your body contour. Of course there are many other shoulder rests out there but they are mainly variations on the same theme. Finally, last week I posted about a new rest called the ‘Comfy’ shoulder rest. This one is quite different, I found it extremely comfortable, it’s made of foam so it would mould to the shape of body and it allows that horizontal movement and yet it's very supportive. I guess it can also be used under a jacket, as well as on the back of the instrument. Effectively it could be an answer to both camps! Sadly I have not been able to find it in the US. Again, because I find it comfortable it doesn’t necessary mean It would be good for you. I hope you find it a suitable combination soon. Be prepared to have collection of chin and shoulder rests :-)
  9. Hi, I saw this new shoulder rest (www.ComfyShoulderRest.com) in August issue of the Strad. While teaching in Europe last month, someone on the course had it and I really liked it. Does anybody know where I can get one of these in US or Canada? I have contacted the shop in the UK, they are reluctant to ship to US, but suggested Shar Music. I don't see this on their website. Appreciate any help. Thanks
  10. Thank you all for your input. As a teacher I do worry whether my pupils are getting a fair deal when they spend so much on a violin. In this case the violin is bought from a reputable dealer and I hope that everything will work out just fine. Many thanks again.
  11. One of my pupils brought a Gaetano Pareschi violin made in 1933 to lesson yesterday. It had a grafted neck, but I am pretty sure the scroll was original. Can anybody shine some light on as to why a violin made in 1933 would have a grafted neck? There were no signs of any repairs around the neck or anywhere else. Thanks
  12. Maestro

    Octagon bows

    As a player I prefer round sticks. This is not to say that there's anything wrong with Octagonal bows, far from it. In fact I have a handful of fine octagonal bows. It's just I find round sticks have a nice feel about them when doing a sustain note. This is purely my preference and I am sure others equally back octagonal bows for their bouncing ability.
  13. With that description, I would try Tonica by Pirastro.
  14. Just for completeness, there's another fingering that also works well but I don't normally suggest it for people with smaller hands: G023 D0123 A1234 E1212341234.4 G1. You will end up with the 4th finger on the last note of the run. Provided you are comfortable with your 4th finger strength, then that's another good alternative. All the best.
  15. I have a few copies of the poster you mentioned above. A few years ago I managed to find it, and even spoke to the gentleman who had done the calligraphy. I bought it directly from him (there's a phone number in very small print at the bottom of the poster) I have it in my music room and it's beautiful. Recently I wanted to get more copies to give to friends as gifts, but found out that the gentleman who done the poster had passed away. His wife (a violinist)still had some copies, so I bought a handful copies. I don't know if she has any more copies, or even willing to send it abroad. She's based in the UK. Friend of mine bought the same poster in Paris!
  16. Alternatively, one can use the 'vegetable ivory', google it and you see what I mean. The pegs and the tail piece on one of my violins has the vegetable ivory. It has the same colour, hardness, texture and consistency of the real ivory and it's hard to tell the difference.
  17. Hello, Is there a standard range for the weight of violins? I picked up up one of my pupil's violin yesterday and it seemed heavier than other violins I have handled. It's a nice Italian violin with a very full sweet sound, but the weight is defenitely noticeable as a heavey instrument. Thanks
  18. I can't understand the mentality of some people!! Some of my pupils have very good and expensive violins and yet they don't change their strings regluar enough. I keep telling them they are not getting the full benefit of their violin sound. It's like driving a ferrari with 4 flat tyres!! I know they are trying to save on the expenses but IMHO this doesn't make sense at all.
  19. I tried to order this piece of music, but the shop said this is not available from sheet music shops and I need to contact Mr Waxman's son and purchase the score directly from him. This is a standard violin repetoire piece and is included in some competetion programs, I can't belive everyone who plays this needs to contact Waxman's family. Has anyboday on this forum managed to get a copy of this score, if so, from where? Thanks
  20. I am very annoyed with myself. I have a violin that I absolutley adore. Today I was taking it out of case to practise it slipped through my figners and hit the zip on the case and left a nasty scratch on the back. Please correct me if I am wrong, but I have been told previously that oil varnish can't be touched up the best I can do is to rub soot into the scratch to take the contrast away. I am taking it to my luthier tomorrow, but I know he will leave it alone, he belives dents are scratches are part of normal violin life and adds character to the instrument. Of course if there was anything major he would repair it. I have had this violin over 10 years now and this is the first accident I have had with it so I am rather sensitive about it. Thanks in advance for any suggestions.
  21. I have had a few violin cases in my time, Gewa, Winter, etc. If I was going to recommend a case or buy a new one for myself it would be Continental model from American Case company. The only problem is that no one sells them in the UK or Europe. You can buy one from a shop in US but you'll have to pay the shipping cost and the duty fee. I still think it's worth it. One word of caution, they are on the heavy side.
  22. Why not stayingying in the 1st position and use 4th finger for the A#? It'll give a better sound and more secure intonation.
  23. I have several edition of this concerto. One of the edition has trills (with a shrp) in brackets on top of the Cs that you have your 'diamonds'. These thing are normally explained as a legend in the scores. This is not a musical notation, it may be that they have used it like an astrik (*) for a footnote that explains how it's supposed to be performed. I hope this helps.
  24. I'd play it as printed i.e. separately, one bow for each note. I'd play it in the middles of the bow and use mainly my wrist, but make sure the elbow opens a bit and it also moves up and down for strinfg crossing.
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