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  1. Sorry for bumping this thread back again after 6 years. I recently bought another Chinese violin on Ebay and ran into the same dimension problem like 5 years ago. The violin I bought is slightly smaller and has thinner neck than my friend's German violin. I'm not complaining. Instead, I'm just intrigued by the size difference. I wonder if this is a common practice.
  2. I'm sorry for bumping this thread up but I switched to no shoulder rest 3 weeks ago since re-watching Menuhin's videos. It was really difficult to play without one at the beginning. It was also impossible to do his thumb exercises. However, after few weeks, I'm slowly able to do his exercises like rotate the violin or raising the violin using the thumb. Shifting and vibrato are also easier. Playing without a rest is not a magic trick where you can just get rid of it and expect to play the same using old technique. It's no surprise that some will claim "It's impossible for me to play one and kudos to you if you could." Playing restless require a complete new set of left hand and thumb technique. You can't learn it overnight. I also share similar experience of players who went restless: more finger dexterity and freedom of shoulder. You can achieve greatness with a shoulder rest like Hahn provided that you have proper technique and posture. Unfortunately, for most people, the usage of shoulder rest can mask your left hand flaws and prevent you from achieving technical brilliance until you correct those flaws. By taking away the shoulder rest, you will not able to play the violin AT ALL without addressing flaws on your left hand technique. For those who feel like they are stuck in their technical development especially concerning the left hand, I recommend you to experiment with Menuhin's method. I have been stuck for awhile where I was not able to play fast notes on my left hand. With Menuhin's technique, I'm finally able to negotiate previously-impossible passages. p.s. Repin has stopped using his shoulder rest. p.p.s for those who are using Menuhin's method and have smaller hands, how do you negotiate extreme high positions? For example, F natural 2 Octaves above e string (right near the end of fingerboard). My thumb has to move from under the neck to the rim of the violin for my 4th finger to reach the F natural. The problem with this is that it's extremely difficult to move my thumb out of this "rim-position" while downshifting. I feel like my thumb is stuck there. The only way to free my thumb is to rest the violin of my shoulder to take the load which I doubt is the correct way. Any advice?
  3. Hi guys my friend thinks that his newly acquired violin is a a 1973 Ernst Heinrich Rother copy of 1725 strad, but i think it's Chinese made. What do you think? Cheers!
  4. quote: Originally posted by: JohnCee quote: Originally posted by: Allan Speers Ah, Erika. So glad you mentioned Leila Josefowicz! I was afraid to mention here since I don't know a lot about the classical world (and you know, music that only MOVES you doesn't count, it must be technically Paganninian for the artist to have merit!) ] If i knew Vengerov was injured that night, I'd have gone to Leila's concert! Great player, but she pulls horribly stupid faces when she plays. I think its meant to convey passion and intensity but she looks like she's passing a kidney stone. Puts me right off.
  5. quote: Originally posted by: NeoScherzo Hello, I am a 17 year old High School senior with 6 years of French Horn under my belt. However since I was small I was always infatuated with the sound of the violin, sadly my schools music program added a stringed section AFTER I was already 2 Years into my first instrument, which I have not played in 3 years. I was recently browsing YouTube, and I decided to look up "Violin" just for kicks, and some of the videos I found left me awestruck, and rekindled within me a desire to make music. When I first thought about the Idea of learning Violin I immediately shot myself down, telling myself I was probably too old. But after finding this site and seeing that there have been many others, older then me, who started playing, I feel emboldened. So, I ask you, Should I follow through with this, how would I begin? I grasp the basic concept of finding lessons and renting an instrument or buying a starter, but I would feel a little bit more comfortable with some words of wisdom from those with experience. Thanks -NeoScherzo Hi I started at 16 and I'm turning 19 in november Just let to you know that you have some companion I don't dream of becoming a professional and make money but all I strive for is to able to play like a pro(maybe a little bit less) If you have any particular question please PM me since I've been onto your boat once upon a time...
  6. quote: Originally posted by: Lymond Nickia, Fine violinists will often match the equal-termperment tuning of the piano when playing with a piano for the sake of intonation, but for a violinist to deny him/herself the power of expressive intonation? That would be a strange mistake to make. No two notes are the same. Never forget that printed music is limiting in that respect... two notes printed next to each other look the same, but they're not. I think my ears have to develop the ability to distinguish the half-step intonation for single-stop and double stops. The halfstep is supposed to be narrower in single-stop and wider in double-stops. Cheers!
  7. omg I went to Vengerov's concert with UBS orchestra tonight and Vengerov injured his right arm and only played mozart concerto #2 where he was suppose to play #2,#4 and Sinfoinia concertante. I was also so eager to hear his encores... blah bad luck tonight!
  8. Hi I find it difficult to practice double-stops using the "broken method": Play the bottom note, play the top note, then play both notes. This broken method is really hard because my ear is used to the pythagorean tuning. For example, a double-stop third using D on A string and F sharp on E string. I tend to play the F-sharp "in tune" when playing single stop but it's too sharp when played as third.
  9. quote: Originally posted by: pandora No no no no no nononono ... I'm going to have to write a big long answer to this when I have more time (unless stillnew takes care of it for me) but there are some BAD assumptions here. The short version: yes it IS intentional (sometimes, as it should be) yes it is UNintentional (as it ALSO should be), no it doesn't HAVE to be noisy/audible, and YES it is important/helpful for players off ALL levels. If your teacher didn't teach you to do at-the-frog upbow pickups by having you breath in quick then exhale long, then MATCHING that feel with your bow, s/he should have. Yeesh. What is this world coming to. More detailed diatribe later. My teacher once told me to breath when playing arpeggios but I found it really awkward because it shakes up my bowing and shifting
  10. Is it useful to take a big breath when starting a new phrase? Many soloists seem to do it all the time in their recordings. What does it bring? Extra power? More control? thanks!
  11. quote: Originally posted by: Andrew Victor For some people, joining a group that makes music together is a big help - if they can already play the instrument. The comrardery, competition, and the insights of the dirrector can often lauch a stalled "musical career." Knowing other kids who do the same thing was a big inspiration for me, and one I did not have during my earlier playing years (from 4 - 12). Andy I agree. Although I don't like orchestra playing, I still like the opportunity it gives me to interact with other musicians to "see what they got"
  12. I would recommend shoulder-rest free to anyone who experiences tension and pain with a shoulder-rest. Try to play rest free for awhile and then go back to shoulder-rest. I can assure that you can play very more ease.
  13. I personally don't think it will work by "forcing" if she does not enjoy music. Having said that, if she enjoys (at least doesn't dislike), it will definitely help her by attending concert
  14. quote: Originally posted by: matzstudio quote: Originally posted by: nickia Is Brahm something that is unplayable for some people even though they practiced enough? Thanks! in short: yes. So does that mean people must start at X age in order to be able to play certain pieces?
  15. Broken third is supposedly tuned to Pythagorean and double-stops third is tuned to Just intonation. Am I correct? If I'm correct, why would anyone practice double-stops third as broken-third since the finger position is slightly different? I'm really confused about the tuning of double-stops. I have another question: Why can't violinist follow the equal-temperament tuning of the piano where the piano sounds pretty in-tune. Is it because of some special characteristic of violin that makes it more out-of-tune with equal-temperament? Thanks.
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