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About AdultBeginner

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  1. I too, was replacing my Dominant e with a Gold Label e, since I started playing in 1999. Again, because I was told to do so. Then about 2 years ago, was looking to change out my e cause it was really flat and all I had was a Dominant e. So, I put it on. Guess what ? It sounded fine. It actually blended better with the other Dominants. So, now I just use all the Dominants in the package.
  2. I think I'm just a little different. My other instruments include percussion, so when I'm playing the violin, I don't hum (pitch), I sorta of hum (monotone) the rhythm.
  3. I've looked up the literature for several fine arts paint manufacturers; WN, Grumbacher, Schmincke, Holbein, Sennelier. Most lists Lamp Black (amorphous carbon, PBk6)as opaque others as semi-transparent. For watercolor use, the paint becomes "transparent" as you dilute it. It's a very fine pigement which tends to float on the surface of a wash. It doesn't have much staining meaning that the pigment particle doesn't penetrate the paper when dried but stays on top of it. Thus, the white paper underneath can still reflect light back through the paint, the more diluted the more light that is reflected, "transparent" in watercolor terms. The pigment particle itself though is opaque, no light passes through it, just around it. I believe the above would apply when the PBk6 pigment is in an oil base. Hope this helps.
  4. Yes, the dealer should disclose with a label that says something like, "made from the factory/shop of xxxx finished by yyyy. Hum, what would I pay if M Darnton finished a white violin? Assuming its a quality chinese white violin, and was made by the factory to M Darnton's specifications and/or M Darnton has a selection criteria whereby he rejects any white violin he doesn't want to put his name on, then I would pay up to about a 1/3 of what M Darnton's violins normally sale for. If he sells his violins in the $15K region, then I would pay up to $5k. This assumes that it plays like other violins in this price range, which I'm pretty sure it would, if not better.
  5. Yeah, it was great seeing Phil M. finally win a major. His perseverance is a good lesson especially for us budding players. Ever notice how your left hand fingers kinda swell up feeling fat and slow after playing golf? I never golf the day before a rehearsal or performance. The MIDI format records the sound; pitch, duration, volume, etc., and how that sound is to be produced such as attack time, release time, and instrument assignment. It also records some basic information about the whole piece such as tempo, key sign, and meter. MIDI doesn't record notation. Although, most composition software that can use MIDI input can create a score sheet just from the above data. However, it's usually not exactly what the composer had scored. For example, MIDI can't tell the difference between a noted(written) shorten quarter-note and an eight-note if the duration of the played note is the same. Anyway, I use Orchestra Pro which like your software has many features beyond MIDI, but the only input I can take in is either another Orchestra Pro file or a MIDI file. So MIDI is the common file standard for digital music composition. Anyway, would love to hear your piece, not to just appreciate it, but also having access(Maestronet)to the composer(you). How often do we get a chance to ask the composer what he/she had in mind on a certain phrase? Looking forward . . .
  6. Can you convert it to a MIDI file? I would love to hear it and if it's not too difficult play it. Age? Hum, I'll guess 53 since that's my age. Am I a millionaire?
  7. Thanks Andrew for the sound advice. I'll stick with the lighter bow now as it works for me in most situations. Here's how I would compare the two bows: Lighter (54g), softer one: draws sweeter tone, easier to say on beat when playing fast off-string, but need to concentrate so bow is not flying all over the place, able to draw a variety of tones from it but it never really projects well. Heavier (61g) stiffer one: draws more volume, sounds nice on agressive sections, difficult to play soft, quiet sections have to concentrate on bowing light but even near fingerboard never draws a sweet sound, get off-beat if I really have to work it fast like fast off-string bowings, doesn't seem to have variety of tones as softer bow. As I type this, it's sounds more like me than the bows and at this stage I should just be building up bow handling experience with whatever works for me.
  8. I'm currently using a light (54g) bow which is also very soft. It works for 2nd violin section where I'm just trying to blend in with the section. For me, because of its lightness, it has better playability than my heavier(61g), stiffer bow. When I switch to the heavier bow, it feels like a club especially in the faster off-string sections. When I finally upgrade my bow I think I'll finally wind up with a stiff, light, graphite. Which is one reason I'm sticking with the lighter bow now, to get use to playing with a light bow. Is this good thinking? Or should I go back to the heavier (actually its closer to "normal" weight) bow and learn to handle it?
  9. You're right. I just tried it. Website was fine a month or so ago when I printed it. It was the first free sheet music website I had searched back then so I haven't tried looking at any other sites for the Vitali piece. If I had a scanner I'd send it to you. Sorry wasn't much help.
  10. Love your handle "lastchair" that should be mine since that's were I sit at the local community college orchestra. I too, took, my violin to the local luthier for bridge/soundpost adjustment as recommended in this forum. It's amazing what the luthier can do as you'll find out today when he/she adjusts your instrument. If, you mention the double-stop problem, he/she may suggest flattening the arch on the bridge. I wouldn't recommend it at this time. I had mine flatten for easier double-stopping then after playing it for a week turned around and asked him to go back to the original arch (don't you luthiers just love us players who "think" they know what they want?) The reason I had it changed back is because it was too easy to accidentally bow the wrong string during fast string crossing because a flatter arch has less room for bow angle error. So it's back to the standard arch. As for my double-stops I've loosen up the bow tension just a bit and bear down just a tad more and that seems to work better.
  11. Hi there's a copy at Vitali . I hope I did it right (inserting the URL). The Chaconne is my favorite violin piece. Enjoy.
  12. I actually started playing the violin while on business trips staying in hotels. I just used the big rubber mute and didn't play while people where sleeping. Never had a complaint. I would ask for a room by the elevator so there wouldn't be a guest on one side of me. The rooms by the elevators are the usually last to go so if the hotel isn't full, chances are there are no other guests near you.
  13. I saw her last year in San Francisco. She met the audience after her performance out by the gift shop to sign CDs. It wasn't announced before hand nor mentioned in the program. Just a hand-written sign by the gift shop saying Hilary will be here after her performance. So check by the lobby gift shop. Good luck and enjoy the performance. Too bad her new website is still down. On her old site she use to keep a journal with pics of her trips/performances. Made good reading.
  14. Check this out for the latest on Connie Sunday. All very strange. CS article Not sure if I did this correctly to get to the newspaper article (website) onto this message.