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Everything posted by Stringhappy

  1. Akk. I haven't been here in a while, and so many people are probably new and don't even know who I am. Everyone has a little picture (maestronet is really starting to look like the LJ site!). Thanks for letting us choose passwords that we can actually remember! Onto string issues: Who's going to Aspen? email me if you want to find me there. I'll be there. Would be great to catch up with someone I know really well (previous history and such)
  2. I had no idea about Nadja's finger. I'm glad to know that it's ok now. I really admire her playing.
  3. I like Thirty Odd Foot of Grunts, Russell Crowe's band. That's pretty much the only pop music I listen to, and I don't consider this a sin at all. [This message has been edited by Stringhappy (edited 05-26-2001).]
  4. Thank you all so much. It's just hard to imagine at this point how I will apply my abilities to specific careers and such. Music is my main interest, but I've been told by a number of jaded and tired orchestra players that it's something only selectivly few people can rely on. In terms of finances, I'm not interested in great wealth, it just means having enough to comfortably live on without constantly getting ulcers over worrying about paying the rent and stuff like that. My idea of being a failure I guess would mean not being able to support myself. If I couldn't do this, I'd feel like a cricket without any legs. It sounds horrible. In the mean time however, I feel much better and I thank all of you dear people for your much needed support and help.
  5. I read aloiv's thread about "Music School: the biggest scam". I am crushed. How can this be? Does this mean I am 94 percent likely to be a failure? Maybe I should give some background. I'm 18 years old right now. I work really hard (practicing violin), I work myself until I'm practically ill sometimes. I'm going to Aspen for the full nine months this year. I am not yet playing Paganini but my teacher has assured me that I will play Paganini caprices in 2-3 years. I've been accepted to CU's college of music in Boulder CO to prepare for conservatory. After a year of that I will audition all over the place and go to the best school I can get into. Am I crazy or what? I could go into another field but I don't want to. I have grown up on a steady diet of encouraging "fluff" (being told to reach for stars, to listen to my heart, all of that uncertain stuff that I can't rely on). The bottom line is: I am scared to death.
  6. When I said I wasn't particularly fond of it, I meant the Corelli version. I heard a more Spanish (almost kind of flamenco) version that I did like, come to think of it.
  7. I suppose it's a good idea for students to learn this piece, but honestly I was never particularly fond of it.
  8. I think I know why practically no one has bid on it: No picture. People like some kind of proof.
  9. I've had similar experiences in competitions in my area. There is this one judge who has judged two of the competitions I've played in as well as an audition. She just seems to really have something against me. I say this because her comments are very unconstructive and mean. One example of this is the results sheet from an audition I had. It went like this: Intonation: Accurate but incompetent (what does that mean?) Musicality: Nonexistant Phrasing: Lacking ....that kind of thing. The "additional comments" were scathing and resentful. Ironically, the other judge liked my playing. He offered some helpful advice that has since served me well.
  10. Yesterday I was auditioning for a youth orchestra. I was sharing a warmup room with another violinist and we were both playing. It was kind of hard trying to focus with someone right next to me belting out the excerpt so I recommended that we play it together at the same time, like a duo or something. He seemed kind of skeptical at first, but it actually worked quite well. It gave each of us a better sense of confidence and friendliness. One thing I like about orchestra auditions, is that people frequently really mean it when they wish you good luck. There's a whole orchestra of positions, so the competition is much less severe. Next time I audition, I'll try to pair up with someone and play the excerpt together.
  11. Whatever you do, I highly recommend that you avoid vibrating above the note you are playing. Always vibrate from the note and below it. This is an excellent thing to get clear while you're learning. I remember correcting this problem long after I'd learned vibrato and it wasn't a nice business. Good luck!
  12. Oh Jane, that's alright, you can simply add the piece you like playing most. It doesn't have to be on that list already. I was hoping to get a clue of the opinions and preferences of players from a complete range of repertoire, style and playing level.
  13. We have had lots of posts about recordings, but what about the ones you like to play (as in you, yourself fingering and bowing). Here's the link to vote for it: http://www.freevote.com/booth/favoriteviolinc Maybe we could have an interesting discussion about the results. [This message has been edited by Stringhappy (edited 05-10-2001).]
  14. Consider this situation: My older sister was very good at math and science in high school. She went to a rigorous prep school and had no problem getting into any college she wanted. She majored in Botany and graduated with honors. Now, she has no problem getting lab jobs and supporting herself, but here's the unfortunate bit: she doesn't really like it. She feels as if she's not really living, just earning a living. She never had time to really figure out exactly what she loved to do. The moral (in my humble opinion): major in what you love, not just what you're good at. Having both helps, but the former is ultimately more satisfying.
  15. Yes and no. Glaring intonation problems are distracting and ruin it for me. However, if they are rare and slight and the musical content is there, they don't spoil the listening experience for me.
  16. I recommend preparing for your audition by doing "first tries". This is a process where you simulate the audition experience at home. Ask if a family member will hear you, or if you can't do that then use a tape recorder. Make an appointment with yourself and when you are playing, don't stop until you are through. Best of luck!
  17. quote: Originally posted by Omobono: I'be always wondered about that stuff gymnists rup on their hands to grip their apparatus. They call that rosin too, don't they? I wonder how closely related to bow rosin? It's chalk. Maybe some use rosin instead, but the white stuff you see most of the time is chalk.
  18. Sorry, I only realized after reading your response how inexcusable a comment that was. [This message has been edited by Stringhappy (edited 05-08-2001).]
  19. quote: Originally posted by fatcat: He wasn't just making excuses, Stringhappy. Too much practice can cause horn players to "blow out their lip" and then be pretty useless for hours or even all day. Ok, I see what you mean. I am so grateful to be a violinist and not have such a bizarre problem.
  20. I'm an 18 year old East-European-American violinist. I'm also a Vaishnavite hindu and avid opera fan. I play mostly, but I have been known to compose just for fun. I wrote a sonata for violin, bass drum and rake. Michael [This message has been edited by Stringhappy (edited 05-06-2001).]
  21. Being a student as well, and one who is also working on this piece (the Wieniawski), I can truly relate to your playing! I had a too-wide-vibrato problem like the one that others have noticed in these recordings. My teacher felt that I was allowing my fingers to come off the strings more than they should, so I tried keeping fingers down more often (those behind the finger(s) playing the notes). Keeping more fingers down anchors the vibrato, and helps the technique to be more secure. This might not be your problem, but if it was I hope this helps. Best of luck. Michael [This message has been edited by Stringhappy (edited 05-05-2001).]
  22. A funny thing about hornists and also trumpet players is that because of their playing, they often develop a habit of puckering their mouths even when they're not playing. A few weeks ago I played Brahm's Horn Trio (I played violin, of course). The hornist was always complaining about his tired lips. He couldn't practice for more than 30 minutes or he could barely speak. He said that he practiced for no more than 15 minutes a day. From a violinist's point of view, that sounds ridiculous. I think he was just making an excuse to be lazy.
  23. I tried it once to see what it was like. It makes the pizz easier, but I don't think it's good to rely on it so I don't.
  24. I am currently preparing this piece for a recital. Staylor, you are right about that. It doesn't seem so difficult to start off with but it sounds crummy if played as if it were easy. It's a piece that must be made much of, and when you do that, tricky things arise. It was some of my favorite music when I was a wee little child. Tony, if you want to learn those trills, I recommend consulting your teacher about the proper hand position, and taking each trill very, very slowly to start off with. Don't even trill at first, just slowly go from one pair of notes to the other with a metronome. Then you can gradually speed this up until it's a trill.
  25. Even if your teacher doesn't feel that you are ready yet, you can prepare bits and pieces that will make it easier for the future. I suggest taking care of those doublestops, the chromatic run passage just after the middle, things like that. If you polish off everything that you can manage now, you'll thank yourself for it later. Good luck and happy trills! Michael
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