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hanxiao

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  1. miles, that is indeed the correct answer. very good. (1 / 7) (1 / 7-1) (1 / 7-2) (1 / 7-3) (1 / 7-4) (1 / 7-5) (1 / 7-6) = 1/ 5040 = prob of getting all 7 right with pure luck.
  2. while shooting the movie the red violin, i opted for a little collagen injection.
  3. yuen, all this time i did not know they have the asian lady icon so i settled for the man look. david, i tried, i really tried to do this fancy opening, but i really really do not understand how to do it. so i do DADA in half notes (separate bow?) followed by a trio on D (slide from where to D?), then what 1/16th notes? you'd better get your recording thing up and going soon. even i did it.
  4. david, now i can relate to you better. now i have to watch what i say; i have an image to keep up. thanks again for your kind words. it is pretty amazing that you can tell me exactly what to do when in fact you have not played this piece yet. nice hat trick. every time you manage to leave something for me to sound dumb: what is the opening cadenza? i have been thinking of quitting while i am ahead a little of myself after the first take. miles, i have been trying to upload a pic of the monstress but this site cannot take the pic. also her agent advises against overexposure too early, hehe.
  5. miles, that is a very receptive attitude. we welcome the refreshing change, hehe. if i were you, i would have told jesse that even at any speed he likes, it is impossible for him to identify the 7 violins, hehe. miles, assume we do not know at all and have to guess, please show us your stat skills. what is the odds of getting all 7 matches correctly? violinists are supposed to be good in math. having been here for a while, i have my doubt. but seriously, jesse does point out a very interesting point in that if the compression rate will meaningfully affect the perception of different frequencies in our ears. also, another point. i wonder if having perfect pitch (here we go again) has anything to do with one's ability to distinguish very subtle and dynamic freq differences in your piece? in our case, at least we cannot point fingers at false intonation. i wonder if the ones who are good at hearing the differences with your piece is better at listening to the "big picture" instead of individual notes.
  6. use 1% of your money and buy one factory in china and some ok violins. ship them over by the container load. i think it is better playing on junk than not playing at all. we all have to go through that stage.
  7. miles, leave it for now, let people work on it. what i think may be interesting is to give us some idea or description of how each or some of the 7 violins SHOULD sound like. we always hear descriptions on sound quality of a violin, but this exercise puts all 7 side by side. much more meaningful perspective to see a range.
  8. noah, what you are saying is music to my ears. regarding pop songs, what i mean is that for young kids to mix them with mozart can be more fun. also agree with you that to start them early enough before they form the concept of "cool".
  9. so when i go panhandling in new york city subway with my strad, people would think the sound i make at least match the chinaman's look. i do look like the icon except i have much bigger eyes when i pull the lids wide open. young girls and old ladies watch out, i will make you miss the train! since i am now done with my 4 lines, i will detach the pair of chopsticks sticking out of the F holes. sorry, antonio.
  10. long, thanks, i was playing with miles, trying to get under her skin, if not into her nerves. just can't stand her, or myself. i know how "good" my playing is, hehe. have to admit some interesting effects came through the 10.99 microphone from my strad. since you did not solicit any advice, i will give you some. please practice with a purpose each time. you cannot possibly have time to waste like me. be honest. don't sweep problems under the carpet and wait for tomorrow. do it now, don't stop until you are truely satisfied. then you go play. chinese music is interesting to me in that it is very structured in my mind, maybe due to the fact that the melodies are written to accompany poem like lyrics. even though i have never heard of this piece before, after one line, you feel you know where the next 3 will fall. but only the next 3.
  11. mu, agree with your post. in the american scene, at the local school level, no money, no playing. everything is budget oriented. some families get it immediately, some never will. the key is to influence the large mid tier. in my life, i have never, never seen one kid who is good in classical music and end up doing poorly in school. isn't it a wonderful gift or skill to tell or show feelings by sound? imagination, discipline, eye-hand coordination, performance under pressure, eh, you name it. for kids who love pop music? sure, lets see if you are good enough to play the tune on the violin. i bet you can't! challenge them. never tried it but i can imagine the Titanic music on violin must be beautiful. the other major obstacle is as perlman puts it: how long does it take a piano student to sound decent on piano playing Twinkle, and how long does it take a violinist? no comparison. in a community setting, i think it is wiser to arrange for group play for more fun and less embarassment. together they each contribute one good note, hehe.
  12. erika, absolutely. if where i live needs a volunteer teacher, i would step up with a bucket of dumplings as after practice snack. you watch the turnout.
  13. nikia, if you have a chance (please do find it), get some dvds of great players. with the exceptions of very few, most use a combination of arm, wrist, finger during any play. feel free to use pause and replay with your remote control. better be sure to see it at least once well than assume. look critically when and how they use elbow v, the wrist v, the finger v. they each produce a different effect if not a different sound, a different feeling. when they do slow sad notes, look. when they do slow but powerful notes, look. how is that different? when they do fast, spirited notes, look. when they do extremely fast notes but want to give an emphasis here and there, look. it is all there. for you to see. for you to find out. for you to choose. just look. in the end of the day, your best teacher will still be yourself. because no one can tell you what is right until you make the final call. and when you do make your judgement, it should be based on thorough research and understanding. techniques are not as important as knowing and believing the logic behind them. it is easier to create certain effect if you first know what that effect is.
  14. outside, i totally agree with your sentiment. in my opinion, the modern society craves for instant gratifications and it shows in people's taste for music. most have the tendency to look for labels instead of searching for feelings. they want in- your- face type of stimulation on love, hate, sadness, anger, etc. the pop culture fills that void and classical music seems too distant, foreign, incomprehensible. and if one's attitude is " if you get it you get it, if you don't you don't", then the classical world is losing out the chance to proactively convert those who can be swayed. that is why i think to start early is an absolute must. if you did not grow up on tofu, it will always be an acquired taste. whereas classical music has been documented again and again to boost a kid's aptitude in school work, not all classical music sounds appealing to the ears. some are not appropriate for beginners. on the other hand, once in a while there are good melodies in pop songs (not hip hop or rap of course) which can be very helpful in the understanding of phrasing and rhythm. look at how much record label companies spend each year on publicity for pop music versus for classical music. look at how much money is spent on presential election. classical music is a sitting duck. then we have violinist like andre rieu with his movie star good look who appeals to the mass not with his virtuosity but with his delivery of beautiful, understandable pieces, in his big band with big costumes, pretty ladies, goofy looking men... he shows what classical music can do. it can be fun and it should be fun.
  15. erika, not doubt there are some cool and zany characters out there in the classical field. i just hope they throw more open parties and let people in.
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