• Content Count

  • Joined

  • Last visited

About palousian

  • Rank

Contact Methods

  • Website URL

Profile Information

  • Gender

Recent Profile Visitors

4898 profile views
  1. What better description for anything involving the playing and making of violins! Maintenance of violins is the only thing that is necessary.
  2. Looks like it has a heel
  3. VGreen... There is a thread that you should have looked at before posting, explaining how you need to take photos so experts can determine what your violin actually is. Here is a link... "maestronet thread on photographing your violin" Your photos are too focused on the case and the label, neither of which tells us anything useful about the violin. The label appears to be the standard sort that dealers put in Vogtland cottage industry violins of the latter 1800s, and that's probably what this is. It certainly doesn't look like an actual Stainer, anyway... but, it is worth considering that dealers put bogus labels in all sorts of violins, and there are some very nice violins "mislabeled" Stainer or whatever. Your photos are almost impossible to decode, but the varnish looks nice... could be something. My advice--take decent photos of your violin, following the guidelines in the thread I linked, above. Start a NEW thread (don't join onto an old one like this), just on your violin, looking for an ID. You will notice other threads of that sort here.
  4. I'd be tempted to use the Rode on the harp, and purchase a ribbon mic for the violin. The Cascade Microphones Fathead II is a nice inexpensive one. Ribbon mics have exactly the opposite effect of too-close mic placement on a violin. They seem to aid in filtering out the harsh sounds that you don't actually hear in a violin if you're fifteen feet away, but often get emphasized in a condenser mic. They tend to be quiet, and you don't want to turn on the phantom power on that channel--it will fry the mic. But if you're using the Rode on the violin and getting the tone you want, awesome.
  5. Traditional Irish fiddler here with four decades of experience. Apologies to VdA, but I would venture that there is no such thing as "Celtic" music for a player. There is Irish (Clare, Sligo, Southwest, Donegal), Scottish, Cape Breton, etc... These are languages, and while you can learn rote phrases in this or that language ("Na gaibh thar an lina ban go stada an bus"--(Irish) "Don't cross the white line until the bus stops"...), you can only learn to speak a language if you learn. that. language. "Celtic" is really a marketing tool that includes a lot of individual traditions that can differ widely from each other, and as for the Irish, the style of playing is rarely "in your face." IMO, you are using enough bow. You are also occasionally using a very sweet small vibrato. I would generally caution against using vibrato for beginners because it can be a problem in this music... but, your use of a very small vibrato is actually authentic, like this where it comes up as an ornament of a sustained pitch. A traditional player would add more ornamentation--cuts, a slide or roll here or there, but I thought your tone was fine too, actually. Intonation is a bit of an issue, but you haven't been playing very long--but any problems you think you are having with "tone," seem to me to be an issue of intonation to my ear. When you get those third-finger intervals clean, the instrument will ring better and you will feel your tone improve. My two cents.
  6. Here is the link that works, not sure what all the extra stuff was on the OP's link.
  7. palousian


    Of course there are standard tunings. When something is unfamiliar, it is an unfortunate tendency to dismiss or discount it. Don't do that. This is a fairly sophisticated instrument of this sort, and you could compare it to other three-course/three string instruments like the Turkish saz, Kirghiz komuz, or the Russian balalaika. I found a link that you can scroll down for some information about this and other East African plucked lutes. I found it really interesting, because this basic form survives in the Mediterranean in various three-string bowed-lute versions, in the Balkans and elsewhere. This is a very old form of the plucked lute, IMO. Keep in mind that the term "lute" is from the Arabic "al 'ud"--"the wooden thing." That refers to the brilliant idea to replace a skin top on a plucked lute with a thin piece of softwood. Someone came up with that idea about 2,000 years ago. This lute design predates that. I think you couldn't go wrong tuning this in DAd, or the fifth/fourth interval (AEa, CGc, etc.) that best suits your strings and the tension on the instrument.
  8. One bit of advice on the English. Spell it "Ragas," not "Raga's." "Ragas" means more than one raga. "Raga's" means the raga possesses something--like, "That raga's that is Kalyan." (BTW, for non-Indian musicians, the word "that" means "scale"). I checked out your survey, and besides spelling the plural form of raga correctly, I think it would be best if you explained what specific tradition you are presenting--is this Hindustani or Karnatak tradition? Personally, as a player, I am more drawn to the semi-classical traditions--ghazal and so on--that are somewhat-less-regimented than the structure of the classical music. One of the best moments I had in learning this sort of thing was when I was in India, and at that time, it seemed that all the Sheraton Hotels would hire musicians, so I made a point of going to the Sheraton in whatever city I was in to see who was playing. One issue with Indian music is that if you go to hear people play in public, they are usually wonderful players--the standard is so high! I was lucky though, one afternoon in the Sheraton in Agra, that they seemed to have hired a violinist who was a little rough around the edges, though I enjoyed his music. I found that listening to him was weirdly instructive, since he was less fluid, and I could understand better how everything worked seeing the difference between his playing and the more accomplished players I listened to.
  9. I was pleased to discover that I had in fact memorized my fingerings and bowings. Now for the rest. The cosmic joke on me is that I had been playing for years from the old Dover edition, which is taken from the Bach-Gesellschaft edition, and I had already memorized the first 24 bars. In measure eleven, the Dover version has DFaf (obviously someone thought it should be the same as that chord in the theme, though they went with the DFae the second time). I was stunned, realized that everyone plays the DFae, and there it is in the manuscript (I had to check)! In that spot, I think the DFaf is way harder than the DFae, with the open string, and suddenly those opening bars are sounding much better to me. I knew something always seemed off... I had found one other weird change of that sort years ago in the beginning of the A minor sonata. They "corrected" the low G natural to G#, and I went to the manuscript version to put it right. Are there others that anyone knows? I read somewhere that this manuscript by Anna Magdalena wasn't discovered until after the Bach-Gesellschaft edition had been published, is that right?
  10. Thanks, good suggestion. That's what I did, now taped together. I'm about to find out how many of my fingerings, bowings, and whatnot I have to transfer...
  11. I'm right at the point where I want to go the extra step and memorize this masterpiece. Seeing this, I looked at getting it all on one page for $22 (this poster), even in Anna's lovely hand, cut it in half, and mount it on cardboard so I can play through this damned thing without turning pages. Then I thought, wait... Does anyone know some other way to get this thing on one page for actual playing (is there such an edition--I'd be writing my own fingerings and bowings in anyway..._? Or do I truck my Dover edition down to the print shop and run the copies?
  12. In my opinion, if I had a violin that gave me an "ear splitting" e and an "edgy" G, I might screw around with the sound post and strings, see about a new bridge... but I would assume that would all be for nought. I think you would probably need to seek a violin that sounded better from the beginning. They're out there.
  13. I'm not qualified to speculate, either, but I won't let that stop me. I don't think this is baroque in any sense of the word. Looks to be a late 19th-c. version of the "usual" Dutzendarbeit from Markneukirchen or somewhere thereabouts. The scroll has all the standard features, the one-piece neck, etc. No insights into the wood on the back, alas...
  14. I'm going to see if I can finally memorize the Chaconne, as well as much of the S&Ps as I can get in me, but that is interesting about the Haydn piano sonatas. My composition teacher in college took us first into the transitional pre-classical style with Stamitz, Scarlatti, and CPE Bach, but then we dismantled a Haydn sonata every session, and he used it to demonstrate what Haydn taught Mozart and Beethoven It was wonderful!
  15. Of the wound e's, I like the Kaplan the best. It does not whistle. But not long ago I got thinking about the Amber e, and how when I first tried it, it was hard to get, and... So I've tried it again, and it blends better with the Obligatos I'm using. Sweeter, and somehow more responsive to my left hand. The last few months anyway.