Violinchick

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About Violinchick

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  1. Who Is Going To A Summer Music Camp?

    I am going to L'Academie de la Musique in Les Arcs in France. I am very excited to be in Europe.
  2. practice

    quote: Originally posted by Gray Violiner: Guess I'd go to violinists' H**L if THAT were one of the commandments! Some weeks I do well to get in that sort of time in 5 days!! That's well and good if you are pursuing a musical career, and likely more than three hours a day would be required. What type of students does your teacher work with? My teacher is professor at the local University. He is a very good violinist, and very strict teacher. He works with college students who major in music and a few violinists as myself who are still in high school but aspire to a career in violin performance. That is why in my message I said that the amount of time one should practice depends on his or her aspirations. The ten commandments of my teacher's is for violinists wishing to pursue some sort of career in violin. Diana
  3. practice

    Actually many violinists practice many hours a day. Of course it depends on each violinist's learning style and what he/she wants to do with playing the violin(ie. hobby or career). However my violin teacher has the ten comandments for a violinist on his door and one of them is practicing at least 3 hours a day. Diana
  4. Whats more important?

    I feel that though you have to like the sound you produce from the violin, it's more important that the violin sounds good to an audience. Many violins sound "wonderful" to a person under their ears, but the sound isn't quite as nice to the others you are sharing your music with. At this point I would keep your violin, unless you are looking for an upgrade that is a good upgrade. Diana
  5. Any good double stop books?

    Definitely use the Sevcik and the Flesch scales. Enough use of these drills and your double stops will be fabulous. But you have to take your time, and make sure you don't cheat on intonation. Diana
  6. memorizing music

    I memorize pieces fairly easy. It is quite strange to me that after a short while I am able play a piece by memory. I feel that memorizing a piece helps me better pay attention to intonation as well as musicality. One important thing of memorizing is making sure you can play the piece fast or slow, not at one speed. If you can do so, then you really have the piece "memorized". There are many ways to help w/ memorizing as well. I am sure you have heard of some of them. Diana
  7. calling all teenagers

    quote: Originally posted by Russie: I'm a Russian living in the US for school. My age is 19 and my major is music (violin performance). -Mikhail Where do you go to school? Diana
  8. calling all teenagers

    You already know me as ~Diana~ I am 16 yrs of age, and I am a classically trained violinist. Diana
  9. Best Case for around $140

    I suggest that you call Shar who sells the cases to find which one you like more. To me, I just found that the Virtuoso looked better w/ the shoulder rest strap, among it's other ammenities. Sorry I can't help more. Diana
  10. What does talent mean to you?

    In regards how one's physical being contributes to playing, one person had told me about a month ago that she saw a person play the cello w/ his foot bowing. Now, I don't know if this is true, but she was not lying to me or joking around w/ me. I know her too well to know that she wouldn't lie about something like that to me. If this is true, that boy has talent. Diana
  11. virbrato?

    The vibrato subject has come up many times. Here is a link to the numerous threads regarding the subject. http://fingerboard.maestronet.com/cgi-bin/search.cgi Do you take private lessons? It sounds like you have multiple teachers...anyways. Before you go to the link, I will briefly address your questions. Whenever playing the violin, always stay relaxed, that is the most important advice I can give about anything to do w/ violin playing. Regarding the vibrato, you should be able to vibrate w/ the finger only, wrist only, arm only, and a combination of all three somewhat (the latter two are used the most however). Vibrating in all different speeds is also important. Seeing someone demostrate vibrato helps. My best advice is to try out all kinds of movements for vibrato. Listen carefully, that will help you find the vibrato that suits you best. Good luck Diana PS. Once you get the hang of it, vibrate constantly. Continuous vibrato is something not many violinists actually master (same thing goes for bowing straight). [This message has been edited by Violinchick (edited 12-23-2001).]
  12. Thanks lwl for answering my question. I thought that it would make a lot of sense that a relatively higher IQ would help me w/ maybe understanding talent. To those who feel offended by what those two teachers say, I can understand where all of you are coming from. However, not everyone can be born w/ talent. That's life. As to what the teachers said, you don't know that they were looking down at the students. All we have heard is that they stated that only two of their students have talent. But we don't know that they don't appreciate the students that they don't consider have talent. I believe that the subject about what is real talent is, has been brought up on this board before. I think that talent is a whole soup (pardon my bad analogy) of ingredients. Talent is when all the right things happen and concentrate at the same time, just like the macroeconomic equilibrium that we capitalists try to reach. When everything comes together, something spectacular arises. My point is that not everyone will have talent, otherwise we all would be living in heaven. The assumption that the two afore mentioned teachers look down at most of their students shouldn't be made. It's okay to recognize talent, but does that always mean that when we do that, we look down at others who work hard? I don't think so. We as humans can appreciate both. Just my humble opinion. Diana
  13. Best Case for around $140

    I have the Negri Virtuoso violin case. It is very nice, it has a nice shoulder rest strap that frees up space in the storage compartment. The case is made of ply-wood, has a weather strap and overall is a really nice case. One thing I noticed is that the Virtuoso case, and the ones more expensive (Diplomat etc...) have the bow spinners set against the storage compartment, not the violin, which is very good. However, their cheapest model is the Monaco and it is flipped around, so that the spinners are against the violin and the storage compartment is on the left hand side of the case. I really enjoy the case, I recommend their cases, except for the Monaco model. Diana
  14. Do any of you believe that IQ has anything to do w/ talent related to music? I never considered it, but since someone mentioned IQ in this thread, it got me thinking. Diana
  15. Technique...how many hrs.?

    quote: Originally posted by Vivezza: As far as his playing goes, he doesn't have secure intonation (which is a big one for me). But he seems to get by with it. He is amply supplied with gigs in professional orchestras in the city. His students are decent. Nothing extraordinary (myself included). Fairly accurate w/pitch (depending on how good their ears are)technically good, etc. However, from what I've heard, they seem to think more than feel the music. Does this make sense? By this I mean I am not moved by their playing. I like to see and hear a little more involvement. I will be seeing my teacher this week,so I will talk to him about this to see what she expects of me (practice-wise) and see if I could modify my practice sessions so that they are more focused and concentrated. Right now I am doing many exercises that do not relate to the pieces I am playing. Again, I thank you all for replying. Your comments have helped me immensely. First reading this thread, it felt like deja vu for me. I just too changed to a new teacher who is strict on technique (intonation esp.). However, he plays very well, and his intonation is very strong. He just moved from France and the students that have studied w/ him in France play w/ strong intonation as well. In my first meeting/audition, he told me that I need to pay more attn to intonation, b/c in the difficult passages, I played in tune, but in the more easy passages of the Mendelssohn, I got a little more sloppy. Anyways the excersizes he told me to buy (Sevcik etc.), I decide what to practice at home. He doesn't listen to them b/c he expects that I know what he expects from the music I play and the etudes I play for him to show my awareness of my technique. The excersizes are only for my benefit. His increased strictness on intonation compared to my previous teacher has helped me a lot. I have found that I play in tune more consistantly and don't feel as frustrated w/ it as in the beginning when studying w/ him. Anyways my point is that technique is important. As for how much time you take up w/ technique really depends on you. Different violinist from the past had different ways of working on their technique, but obviously it worked for themselves. I wish I could tell you to do what you want. However, w/ your teacher I don't know what to say. I felt the same way as you do, but it quickly went away when I felt the progress I have made. But is bothers me that your teacher doesn't play extremely well, and it bothers me even more that his students aren't the strongest in technique either. In the end it's your decision as to what to do. But I would like to give you the best of wishes. Good Luck, Diana