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Longinus

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Everything posted by Longinus

  1. Can someone kindly tell me what is the name of the piece after the Zigeunerweisen? http://www.youtube.com/watch?v=s9tc8zeFcGQ Many thanks.
  2. A short article about the reviving industry in Italy. Link to Economist
  3. That's great~! And you have got all the best reasons. I started violin because my ex-lover dumped me for a violinist. :-) Not that I want that person back, but it's just so natural that after the break up I joined a group violin class. Pathetically it started, but I loved the learning and playing in a matter of a few days.
  4. My bow hair went out from the tip just like that!!! Okay, I'll give a try.
  5. It's a wonderful learning experience I got from you all. Thanks a lot!! And technique_doc, I am glad that you managed to get an accoun tat Photobucket; it's a very nice applicaton of the Internet.
  6. Got it... I think it's just because I'm not familiar with 5th position yet... so I was told to do it on two separate strings. Anyway, I'll just do it naturally and try different variations. Thanks.
  7. Oh... it's called "Songs My Mother Taught Me" by Antonin Dvorak. I uploaded a shot here... the third measure is the one I was talking about. And I apologize for the wrong information I gave earlier, not both of them are quart, only one. The later one is an eighth. http://img.photobucket.com/alb...holylance/DSC02002.jpg
  8. quote: Originally posted by: Andrew Victor Probably should do it all on the D string with the 2nd finger and then move to the 1st finger for the last note. Or even just start it in 5th position with the 4th finger on the D string, and run a fingered chromatic scale at the very end. OR - you could do the fingering initially at the top end and slide your 1st finger. Each will sound a little different - so you can decide which kind of sound you want to apply. Andy Thanks Andy, I will experiment them.
  9. quote: Originally posted by: scratchy rosin Who wrote in the fingering for you? It is printed in the score.
  10. Hi all, So... I am faced with this piece that involve a glissando of 2nd finger on A string, 3rd position to 1st finger on D string, 1st position. Both a quarter long. I have no idea what to do with the transition. Should I let a little double stop kick in? Or after the first note is over I should do a crisp string cross and glide from 3rd to 1st postion on D string using 1st finger? Thanks for reading and any advice.
  11. Try rotating your shoulder so that your left elbow is more on your front; at the lower right side of the violin. This will bring more portion of your fingers over the finger board.
  12. "... or Heifetz's verson"... I wonder how Heifetz engaged the audience by smiling at them and uttering a humorous word or two.
  13. Too late is: you wanted to do it today but decided to wait until tomorrow.
  14. You Wrote: miles, i will report you for openly and repeatedly insulting me with your saying that my strad sounds like an eh-hu. let's see if i ever play here again. <><><><><><><><><><> Actually... I think so, too!! But I don't think that's an insult. This piece employs a good deal of er-hu technique and if you play really like one, isn't that great? And I have to say I really love your performance. This piece is the reason I started to learn violin. I am still half a galaxy away from being able to play this piece, but until then I'll keep learning. Thanks for the re-inspiration.
  15. Well... Ying-tai (a girl) would like to go to school but as a girl she was prohibited by her father. So, she dragged as a boy and joined a school with all the guys. There she had a crush on Shan-bo and they became good "friends"... where Shan-bo doesn't know he is dealing with a girl; while Ying-tai secretly enjoys the thrill of love. Three years had passed (yes, three years... and no single one found out,) and Ying-tai had to leave. (S)He told Shan-bo that (s)he acutally has a sister and would love to introduce to Shan-bo, and Shan-bo definitely promised to go visit that mysterious girl, with whom he actually spent 3 years. According to the story these two people said farewell for 18 times... and in 18 different scenes, Ying-tai tried her best to hint that she is a girl, but hell, if 3 years can't do, can 18 times in a day do? So, it's a goodbye. Well... and it was old China... girls' marriage is arranged by their parents. When Ying-tai went home, there's already a wedding scheduled for her; and she definitely refused, though in vane. By the time Shan-bo came to check out the hot-chick, it's way too late. Ying-tai told Shan-bo the actual story and they promised to sacrify for their true love. Though... probably because of long travel plus stress, Shan-bo got really sick and passed away. On the day of Ying-tai's wedding, she asked for a favor - passing by Shan-bo's tomb and saying good bye. When she got there, well... naturally, she started balling over the grave. Suddenly, the sky started pouring and a big earth quake happened; Ying-tai fell into the grave... and by the time the rain stopped, there were two butterflies flying out from the tomb, and they are never separated again. <><><><><><><><><><> If my memory serves me right, it all happened because two immortals had a crush on each other (unlike Greek myth, Chinese gods are not allowed to fall in love)... and the chief God (equivalent to Zeus) was really pissed and he order these two immortals to experience 7 lives of being couple. So these two poor little immortals had to reincarnate for 7 times and every time they ended up totally tragic. Liang Zhu is one of them.
  16. Yeah, I had that problem, too. Then I found this sticker which is not paper-based but more like a thin sheet of plastic. It sticks to the board much more firmly and I haven't had to change it for more than half a year. I found those stickers in CVS, around the photo-album and stationery section. And definitely no white-out. It stains the finger board and gives out a lot of white dust that would stick to your finger tips. I'd rater just put a drop of white color glue (the usual one for craft), and wait for it to dry and become a transparent and yet shiny dot on the wood.
  17. Hey, don't get upset. I am on the same boat. My left hand is doing fine, but my bow hand is seriously under re-training. Just talk to your teacher, choose one small component that's most pressing & destructive to your performance, and concentrate to work on that first. Play really slow, that would make things more manageble. By enough number of repetitions you can certainly do it.
  18. Hi all... it just happened that my previous teacher had to leave for home country and she wouldn't be able to teach me any more. I was referred to this new teacher whom I think is really great but I was really confused by all these different ideas about playing violin. Would like to share with you: 1. Well... this is not exactly point one but I am having a biggest bow arm shake that I have ever made. I hope this is because of being nervous with new environment. I tried rising my elbow a bit and there was improvement. 2. I was told to play very very very slow (like 40-60 beats per minute). At a point that when I practiced at home this slow tempo nearly drove me to brain death. But I was really amazed how slowing things down make everything much more noticeble and manageble. 3. I was a Suzuki student and my new teacher commented my bowing being too strong (which I agree). Yesterday was particularly depressing because somewhat my work on bowing has been totally trashed and it seemed that I have to relearn it again: to start the bow really slightly and gently with no any scratching and be able to draw a complete bow slowly (8 beats per bow) without any shaking. That'd be my this week task. So, I guess things are moving to right direction, but I was just plainly upset. I wish I'd cheer up a bit later. Thanks for reading this.
  19. That looks pretty nice. But what's the poll for? Is there a 8"!" version and a 12"!" version? I only saw one.
  20. Quote: I have to share this and hope it makes sense...but after a couple of years of struggling with this, finally my daughter's viola teacher described it in a way that finallly made sense to me... Imagine that your bow is drawing a line that curves along the perimeter of a circle BUT you (the player ) are not in the middle of the circle, rather the midpoint of the circle is somewhere beyond the scroll and you are outside the circle. It is a very large circle, so this line is almost imperceptibly curved away from you.... I know this sounds odd, thinking of a curved line to get a straight bow, but somehow this worked for me...I got the feel of it immediately, and my bow has been wonderfully straight (at least on this dimension) ever since... now I need to remember to keep the bow hairs straight... I don't know if any one else uses this image, but I found it fairly amazing... Elfabala... this works really like magic!! I don't have trouble drawing straight bowing but I did try your visualization skill and that really makes a lot of sense!! Maybe the concave curve we thought we are drawing is indeed a straight line. Wonderful.
  21. Quote: Longinus: No, actually, I’m pretty…khm, lanky. About the springing action of the wrist – I’ve noticed other players do that, but I don’t understand the mechanism you’re explaining fully. Are you saying that as you approach the tip, your wrist moves up, and then back down while the lower arm is changing direction? I’ve always thought that the wrist goes up only at the frog. I understand how this could work if the motion was in plane with the lower arm. Or do you mean up/down with regard to this plane? Am I making sense here? Yes, when your bow approach the tip, your wrist will bend up. Otherwise you bow will start sliding away from the bridge to the direction of the finger board. And yes, when pulling an upbow, your wrist should slightly bend down (somewhat like checking your watch.) Though it should not be a very consicious muscular contral. If you let your right arm relax and make sure the wrist is led by the forearm, you'll see how the wrist slightly bend down. The case you mention when playing at the frog is different. If we keep the normal bow hold, your hand will hit the violin body when the frog is approaching the string. Then we have to drop the wrist to continue the bowing. Good luck with practice and teacher search.
  22. Hi Nemanja! I am also pretty new to this board! Looking at your description 1 and 2, I have some suggestions: It sounds to me you have a smaller body size. So that when your bow tip hasn't reached the string your right arm is already fully extended. You can try: i) make sure your left side is comfortable first. Sometimes your right side tensed because your left side is not doing very well. Make sure the shoulder pad fits and you can comfortably press the violin's end with little effort of your chin. ii) assuming your frontal body is facing north, re-position your violin so that it's not totally pointing to west or north-west-west; instead rotate it a bit more towards the direction of north-west. iii) I don't put my pinky on the octagonal part, I put it about 1/2 inch from the metal/wood conjuction and the balance of the bow is still fine. Though I always make sure it's flexibly curved. As for your point 3. It's natural because at that point the torque exerted by the wrist-arm-shoulder swing has reached zero. Which says it actually takes a lot of effort to get a full bow with same sound and dynamic! However, you'll be amazed sometimes just a mental hint to yourself like "Hey when the bow reached the tip I have to come back" may actually save the day. For my case, when I am doing down bow approaching the tip my wrist bend upward; when it's going to turn back, my lower arm start to move inwards back to the direction of the body; while my wrist is still letting the bow going down and finish the remaining 1/2 inch of bowing; I do it by continuing downbowing with my wrist; and it turns from bending upward to starting bending downward. When I leave the tip, my lower arm is already on its way coming back; and you can grant some inertia to the bow by maintaining a flexible wrist so it's more like a spring bouncing the bow horizontally upward. Now the arm and wrist are ready for the upbow, which is actually undergoing... wow... actually I don't realize I am doing this many things at one time... And one last note is: when you feel the tension at any section of the limb, it's usually the part up above that's tensing up. Sometimes the tension feels like from your arm, but it's actually from your right shoulder. Especially when you want to "lighten" your arm, you'd tend to stiffen your shoulder so that you feel something is holding up your arm. Try reminding yourself to relax the shoulder as well. Hope this would help.
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