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Lydia Leong

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Everything posted by Lydia Leong

  1. The value of a board like this one depends on the people who post. If you don't see a topic that interests you, start one. If you find an opportunity to share your expertise, do so. And if you find people who annoy you, don't read their posts.
  2. crystal, Are you sure that the "scratchy" things you're hearing aren't the overtones? Rich-sounding strings with good complexity often have a quality that a player might identify as "fuzz" -- all the partials overlapping.
  3. I meant: HKV, please clarify what you meant. Lymond, Milstein certainly didn't seem to lack personality, though, either on or off-stage. I do think that he didn't deliberately go after the limelight; there's not much "Hollywood" in him.
  4. John, Some configuration options must have gotten changed. Members can edit their own posts, but cannot delete them.
  5. I remember that as a kid, when an assorted group of violinists got together, and just noodled something from memory, the three most frequent choices were the Bach Double, the Pachebel Canon, and Eine Kleine Nachtmusik (if there were other string players around). But there aren't any real "standards". Suzuki, for children, gets some of its charm from the fact that everyone learns the same pieces and thus everyone can play together. Later on, there's a real diversity of repertoire; even taking two students from the same teacher, they might have played almost entirely different works in the course of their training. And orchestral repertoire is so wide and diverse that there's not much standardization, beyond the group of excerpts that tend to show up in high-level and professional orchestra auditions. (Occasionally you get some bizarre impromptu moments. I once ended up playing the first movement of the Tchaikovsky concerto in the hallway of a museum, during intermission of a concert, with a violinists from Russia who didn't speak a word of English. Very surreal, but wonderful.)
  6. By the way, even if a shop doesn't have a player on hand who can help you hear what instruments sound like: Don't be afraid to ask anyone else in the store for help in hearing instruments for five or ten minutes. Some players are glad to help, especially if they're waiting around for something to be done. (i.e., just ask, "Would you mind playing these for me?" Many players will say yes, if you're polite about it and they're not doing anything anyway.)
  7. I haven't done all the Caprices. In fact, after my nine-year break from playing, the Caprices are beyond what I can comfortably handle technically at the moment. Eventually... (A number of them require adjustment or are just unplayable for me, though -- small hands.) However: To play one of the Caprices up to tempo, you are likely to have it memorized anyway. The movements have to be automatic.
  8. Nadja Salerno-Sonnenberg uses Helicores on some of her strings.
  9. (Argh. Can't delete my own post. Ignore this.) [This message has been edited by Lydia Leong (edited 10-09-2000).]
  10. Klaus, If I recall correctly, Flesch had no intention for his scale material to be used by anyone other than relatively advanced players. I believe both Hrimaly and Schradieck, for instance, gear their scale systems towards players just learning to play scales (and who might not yet be able to shift positions). There are probably more possible useful variants for scales than anyone could ever list in a single book, though I suppose it might be interesting to see someone publish One Thousand Ways To Work On Scales in the form of a single book in the key of C major that people could just transpose for themselves.
  11. I suppose you could always delete a post of yours by simply using edit to wipe out all the text.
  12. Zyex is pretty indestructible, isn't it? I would guess that it should wear slowly, in that case.
  13. Eudoxas, at least, have a slower response than most synthetic strings that I've tried.
  14. I think it comes down to this: Sometime during your violinistic training, you get taught the "standard" fingerings for three-octave scales and arpeggios, and probably taken through the drill of thirds, sixths, octaves, and perhaps tenths for each key. Quite possibly, you will do this in more than one scale system. After that point, I suspect everyone comes up with the combination of things that works for them. I don't think there's any such thing as a "perfect" scale system. Also worth a look, by the way, is Simon Fischer's "Basics", which (among the large number of practical little exercises) presents an interesting way to practice scales starting with the 1st, 4th, and 5th degrees (providing you with nothing but perfect intervals, whose locations are absolutely fixed), adding the 3rd and the 6th (allowing you to them tune them to taste vs. the framework of the perfect intervals), and then putting in the 2nd and 7th. I've found this extremely helpful recently, in improving my hearing of intonation in scales.
  15. quote: Originally posted by HuangKaiVun: I have not seen a single post from anybody who feels that they HAVE reached their final plateau level. Complacency and "not improving" have NOTHING to do with reaching - or sustaining - the "max-out" level. If anything, you learn MORE and have to work HARDER as the ability increases. I think what people on this thread have been saying is that they haven't reached their max-out level because they don't believe they HAVE a max-out level. If you are at a max-out level, by definition of "max-out", you have reached the best you can play. Certainly work is no doubt required to maintain that. However, I think most of us would feel phenomenally depressed if we ever reached a point, in ANY of our endeavours, where we felt that we could not improve. (Running just to stay in place is a horrible sensation, too.) I'll agree that as ability increases, you discover more to learn, and may end up working harder in order to master the increasingly fine points of whatever one's craft happens to be -- whether it's playing the violin, or any other hobby or profession. But the max-out means that there's no more to learn. I don't believe that.
  16. Flesch's fingerings are the most commonly used. However, to get maximum benefit out of scale practice, don't let yourself get overly tied to one fingering, since the literature will demand that you be able to play a scale using many different fingerings.
  17. I assume you're talking about scale systems and non-etude technical studies. Flesch wrote a Scale System which almost everyone uses eventually. The other advanced scale system which gets significant use, as far as I know, is Galamian's. However, other people also published scale collections; Schradieck and Hrimaly scales get used frequently by less advanced students. Flesch also wrote a collection of basic technical studies called Urstudien. Evidently, from what he says in his Art of Violin Playing, the Urstudien are meant for players with limited practice time. I've been trying to find a copy, but I believe they're now out of print. Lots of teachers in the US also use Sevcik, Schradieck, Dancla, Sitt, etc. technical exercises.
  18. No. One of the reasons I like the instrument, in fact, is my belief that it *cannot* be mastered -- that there's always more to learn, even if you're a virtuoso. Emma Lily said it well.
  19. I also have a Douglas Raguse bow. I have yet to find a bow that I like sufficiently more that it'd be worth spending money on, though I'll certainly say that older wood does draw a different kind of tone quality than newer wood. Bows feel even more personal to me than violins do -- too many variables in what feels "good". Bah.
  20. I guess you're a university student? Can you complain to the department and get them to assign you to someone else temporarily? Perhaps this teacher merely resents having to teach someone else's student on a temporary basis? Perhaps there's a rivalry with your regular teacher that you don't know about? It seems like she's going out of her way to be hostile. It's almost certainly not your playing -- so just tolerate her as best you can, if you can't get your teacher switched. No doubt there's some other factor at work, here. Galamian scales are a perfectly valid way to go. I've done both, and Galamian is a bit more thorough in giving both hands a workout (whereas Flesch is a better index of comprehensive patterns laid out in a logical way).
  21. I would be inclined to agree with HKV on gut instincts -- though I wouldn't say "immediately", I would say "in the context of a trial lesson". In the course of an awful lot of teachers, even from the time I was a little kid, the first lesson showed pretty clearly whether or not I'd like the teacher and could learn from them. (My parents overruled my gut instincts repeatedly, also illustrating that I was right about the teachers that I didn't think I would work well with. )
  22. Flesch describes this very well in his Art of Violin Playing, so I'm just going to quote him. (I have combined a couple of parts of the same section of text, below.) Obviously, there are variants on the bow-holds described below, and there's also Galamian's variant, which post-dates Flesch and is a combination of Franco-Belgian and Russian. We can distinguish between three types of bow-hold: 1. The older (German) bow-hold. The index finger presses onto the stick with its underside (palmar surface), approximately at the joint nearest the fingertip. The position of the other fingers is determined by this, and the thumb lies across from the middle finger. All fingers are pressed against each other, and the tension of the bow hair is moderate. The forearm is held in a horizontal position, akin to playing the piano. 2. The newer (Franco-Belgian) bow hold. The index finger presses down on the stick in a somewhat sidways manner, the bow touching the finger near the lower (proximal) end of the middle section of the finger, which is thus pushed considerably forward in the direction of the tip of the bow. There is a space between the index and middle finger. The thumb is across from the middle finger. Hair tension is strong and the bow is considerably inclined. Slight inward rotation of the forarm from the elbow joint, of approximately 25 degrees. 3. The newest Russian bow hold. The index finger exerts a sideways pressure on the stick at the middle joint. The finger also somewhat encircles the stick with the help of the tip section. There is only a small space between the index and middle finger. The index finger takes over guidance of the bow, and the little finger touches the stick only when playing in the lower part of the bow. Hair tension is slight, and the bow is flat rather than inclined. Strong rotation of the forearm, of approximately 45 degrees.
  23. Shaham is one of the few younger players that I really like. He has a sweetness of tone that appeals to me, and though others on this forum have expressed a dislike for his "happy" sound, I enjoy it (and I find it distinctive -- I can usually pick out his playing on the radio), much like I enjoy Perlman's style, to which it bears certain similarities.
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