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Brad Stevens

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Everything posted by Brad Stevens

  1. How wonderful to see such an honor go to someone you know! It's a very interesting piece, too. Creative and certainly innovative and explorative.
  2. I've seen a few of her YouTube videos, found it interesting but not astounding. My biggest question after watching each video concerns just how much actual playing is done during the gyrations and contortions. It is a neat visual, but I find it hard to imagine the bow staying on the string during some of her moves. In light of choreography which seems hard to believe, I think I find the sound more interesting than the video -- though mainly because I feel a bit like I'm watching a lip-sync performance or a dance performed to a prerecorded playback. She is fun to watch and does incorporate some pleasant surprises in her music.
  3. Still haven't found the photos of my friend's instrument. Or is that my former friend's instrument? I'm still frustrated with his decision. Thanks, bcncello. I didn't get past thumbnails on the first post, but the photos of the "Pique school" instrument seem quite similar to the violin in question. It really was lovely, and the resonance from handling and tapping on it seemed promising -- it hadn't been set up for years. It just felt good in my hands.
  4. I'm trying to find the photo files, since the link no longer works. So far no luck, though. I'll always believe that is was authentic; it was a thing of beauty.
  5. Hi, folks. First time back in several years. Been very busy in other areas. I saw my friend a couple months ago and asked what had become of the violin, since he had decided to just hold off for a while. Turns out he sold it to a "guy he knows" who offered him $1250 for it. I had explained to him when we were looking before that it could be very valuable, but he was happy with his $1250. I should have made him an offer back when. Se la vie!
  6. Shar sells it for about $28. She makes a lot of sense.
  7. Crystal, I just got home from visiting our brand new, just opened today, Walmart Super Store, where I saw a folding, black bar stool, 30 inches high. I made a mental note of it, but did not check the price. I've seen similar stools at Target and K-mart stores before, though this one looked a bit sturdier. It was all black, perfect for a gig. That place is huge. I've got to go to bed so I can make it through tomorrow. It wore me out!
  8. I was just joking. I doubt they would let a shoulder rest through the door.
  9. How could you leave home with no rosin in your pocket? I suppose you had no shoulder rest with you either?
  10. Unless I'm mistaken, Nigel Kennedy doesn't use a shoulder rest, but he has a world class, Guiness Book of Records kind of violin hickey. And wasn't it he who even had to have surgery performed on his hickey because it got so bad? Or maybe that was some kind of urban legend.
  11. racerex, I won the CodaBow Classic that was given away here a few months ago. I was thrilled to win it (thrilled to win anything) but a little skeptical. I have several good bows, several that I keep with certain fiddles because they are great fits, and a gold mounted bow by a master maker which I use with my principal instrument. I didn't expect to be terribly impressed. Now, after having these months to consider and experience the CodaBow Classic, even to go back and forth between it and my best bow, I find myself picking up the CodaBow almost every time I go to play. It handles beautifully. I get incredible control, on or off the string. It has a clarity that I've found in no other bow -- I always thought I had found a bow with a very clean sound, When I put the CodaBow to the string, I can detect virtually no noise at all. I recently had laryngitis, so I could neither sing nor talk at my church services (that's what I do) so I got subs and decided to bring my violin and CodaBow and play with our instrumental group -- unamplified. Over all the amplified instruments, voices and the congregation of about a hundred people that morning, even folks in the back of the church (roller rink) heard my fiddle -- I really thought I would be inconspicuously playing for my own enjoyment. Don't know if that is a credit to the fiddle or the bow, but an observation. I do feel like I carry and project better with this bow. I've no experience with the Arcus, but this month’s edition of Strings Magazine has detailed evaluations of about a dozen composites.
  12. Zino, its your list, but you did start off with these guys, and the title is Younger Generation not Youngest Generation.
  13. So he didn't really lose his temper with a student, teacher to student, but with a parent who interrupted his time with another student.
  14. My first instrument was the cedar chest. We couldn't afford a piano, but I was fascinated with the idea of playing one, so I made do. At the mighty cedar chest, I could play anything! Then we got an old piano for $25, and I got to take lessons from a lady in our neighborhood whom I later learned played on about a third grade level. But she taught me enough to be able to teach myself. My first stringed instrument was a loaner viola while taking a string methods class in my masters degree program. I enjoyed it so much that I bought a Skylark violin outfit from the Sears catalog for $69. It kept the flame alive, but nearly was the death of me before I got to play another "real" violin and realized how the Skylark was holding me back!
  15. Now, the seesaw comment throws me. I can play with or without, and like playing without, but have better endurance and control with a shoulder rest. Without the rest, I get the seesaw, but with the rest I use, you couldn't knock it out of position unless I let you. I am able to roll it forward or back, raise or lower it with the slightest pressure form my chin, but it doesn't budge without my input. I can even play with my chin off the instrument. (This rest sits only about a quarter inch from the back of the instrument, so the instrument is only elevated about the height of a pad.) Without the rest, there is so much seesaw that I have nearly dropped the fiddle a couple of times. What am I doing wrong? How can I get some sense of security and control without straining my neck and back in the process?
  16. Does he wake up and cry or just get busy? Is he too old now for a crib or playpen? I forget how long its been since he was born. Maybe you could get him his very own twinkle violin and let him "play" along with you. I mean the cutout variety with no strings or sound. Well, I don't know how I missed Ernst's post! Maybe baby could be entertained or distracted while in a pen or on the other side of a child's gate, out of reach but still in touch.
  17. The schools I attended charged the music students a fee for use of practice rooms each term. Students then signed for and reserved rooms for a set number of standing sessions. Any otherwise open times were fair game, but (officially) only for enrolled music students. This was justified by the fees charged for their use. One good thing about the fiddle is: you can play outdoors in a lot of places and not be shouted down. That was not necessarily the case for voice students, and an impossibility for piano and organ students. Of course, even with their drawbacks, heavy practice mutes let you play just about anywhere without being heard much, if at all. You could probably practice in the closet or the head with one of those things, and nobody would know. I’ve used practiced mutes while people watched TV around the corner who said that they could not hear me.
  18. My current, off and on, teacher uses the Kato Havas New Approach which encourages that more relaxed wrist. It took me a while to cave on the wrist issue, but when I finally let my palm come on toward the neck I began to get a vibrato I could not only live with but appreciate. It feels like it frees my hand and fingers to flex more freely, even independently. My first teachers had me in an unrelaxed, maybe even contorted position for my own body design. The new flexibility helped everything about my left hand, including speed.
  19. Just an observation: The thread that promotes David Palm and other threads in dispute remain on this forum, although some have been locked. Those of the other ilk have been mostly deleted. We may each make up our minds as to the administration's justification for barring Stephen or, if the time comes, for endorsing his return, but the truth is that we can only speculate as to motive in either case. However, if Maestronet is merely acting in its own interests to prevent the promotion or endorsement of Mr. Palm or others, then it seems that such a post would be deleted rather than locked, which leaves any such accolades available via simple search.
  20. "Why ban one and not the rest?" I hope it doesn't come to that.
  21. I'm sorry that Stephen was banned. I don't post much anymore, but try to look in a couple times a day, and found Stephen to be often helpful, a fact not diminished by stongly held opinions or even dogmatic ideas. However, from those conversations to which we members were privy, it appears that banning Stephen had much more to do with stooping to juvenile language and innuendo in this public, family-friendly forum than with other strong desires or beliefs. While some of it was amusing, it often stooped to become so blatantly obvious that it didn't require a "mind in the gutter" or even a grade school graduate to know its subject was at best off-color and by definition obscene, a delightful fact for many rugrats, but shocking or uncomfortable to others. http://m-w.com/ My problem was not that it ever came up, but that it pervaded posts and indeed hijacked several threads for the last few weeks. I didn't watch for them, certainly didn't relish them, and I did get tired of them. I never personally complained to anyone associated with the board, but I did try to avoid the posts. Yet, they became unavoidable. Everywhere. Out of the blue, but even sometimes practically heralded. And I do remember that less than subtle, public warnings and attempts were made to curtail these forays, but they were basically shrugged off -- several times. Even children who have received warnings must choose whether to comply or suffer consequences. I wish everyone had opted for compliance. I would like to see Stephen back on the boards soon, but we all have responsibilities beyond accurate and skilled string counsel. Unless suffering from some disorder, we are all quite capable of self-control, self-censoring or appropriate decorum, at least choosing our words wisely, when in the company of certain people or in particular situations. Case in point: http://www.stephenredrobe.com/ Why not on these Maestronet forums?
  22. There is a difference in the production of vibrato as it pertains to the vocal instrument or strings. For strings, vibrato is the result of something being done to produce the effect, though ideally without tension. For the adult voice, vibrato has more to do with releasing the tension of the instrument so that the voice is allowed to vibrate naturally, usually about 120bpm. This natural, uneffected vibrato does not seem common among children's voices. As with strings, vocal vibrato does impact projection, as restricting that natural vocal vibrato impedes projection. I'm not sure that I recognize it much common use for expression in vocal music other than pop styles where a vocalist will produce an almost strident, straight tone then later relax and allow the vibrato to happen. Sometimes in operatic roles, where the voice is called on to paint a picture beyond words and notes, it will be subjugated for the sake of sounding, for example, hateful, strident, or anxious. It is interesting to note that, in spite of how vibrato is either caused (strings) or allowed (voice) to happen, both become most effective with the ultimate release of tension. Certainly a tense vibrato on strings is no more pleasing than a forced vibrato on the vocal instrument.
  23. Movement as a legitimate response to the music and movement that is nervous or distracting are two different things. I've marked down vocal performers who looked like oscillating fans onstage: start the phrase facing to the right, finish it facing left; return right, start new phrase. I had a friend who would nearly touch her nose to the keys when playing quiet movements. It added nothing and subtracted much form the visual element of her performance. Sometimes contrived movement is detrimental, whereas other movement may reinforce what is occurring musically. However, standing stock still can fall just as short as undue antics.
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