• Announcements

    • ghunt

      Whole Site SSL   03/08/17

      Whole site SSL is now turned on and forced for all pages on Maestronet. If you have any problems, please contact the admin team.

uncle duke

  • Content count

  • Joined

  • Last visited

About uncle duke

  • Rank

Profile Information

  • Gender
    Not Telling
  • Location
    kaw valley

Recent Profile Visitors

2748 profile views
  1. 1. I hope it turns out well. It would save time having to do a lot of homework. 2. Venetian Turpentine - ......on distilling it with water the essential oil [or spirits] of turpentine is obtained, which is a colorless volatile oil, soluble in alcohol, ether, other oils and is a ready solvent of nearly all resins. The residue left in the retort after distilling is the rosin/colophony which is familiar to every violinist. Resin and rosen are two different things and again, I hope your varnishing turns out well. .
  2. If you can play pg. 8, lesson V and pg 9 lesson VI of Schradieck then go ahead and find a teacher now. If you can't comprehend those pages yet then don't get a teacher yet. It's just a waste of money mostly. You can get free advice/lessons from the players here like Rue and Professor Will, for example. Reminding yourself how to read music again should be at the top of the list for your violin playing. And about Vivaldi in book 5 Suzuki like Farl mentioned - start on the D string to see if your violin is up to snuff. Don't quit violin. Carl recommended that to me not long ago. I took his advice, bought a trombone, got back into shape mindwise and I'm ready for orchestra auditions....... Maybe I'll just get another instrument to learn but it's tough to find something more challenging than the violin. Maybe I'll take Ken's advice - learn the clarinet.
  3. Some sell it as Morado but I'm not sure they really know. So that's my guess -maybe Morado.
  4. You may wish you would've went if you happen to not make the trip. I would visit luthiers, at least one, to first find out if this can be a real Grandjon and then ask opinionwise would I end up giving this one away because there's no money left in it after repairs. I hope it wouldn't come to that - maybe save it for an aspiring repairman/luthier someday who can make things right and can offer you a fair amount of money when it's time to deal. Maybe keep the bows separate from the violin??? The idea is to make some money, some how, without sinking your own ship in the process.
  5. I used google maps one day for Davide's address and ended up in the alley way behind his shop. Then I couldn't turn around or make the corner ahead to keep going.
  6. I'll help you. My Mark II Mesa with one of my brothers Jacksons' will melt the face off of Nick's set up.
  7. What do you think of my way Will? Sort of going off the cuff with the fingerings I was.
  8. If it's been cracked for awhile and got dirt and other contaminants then cleaning would be in order first. Brush and water. Using common sense the next step would be to let dry. Calculate a safe clamping situation and reglue the cracks with strong glue. Next, the question is do you run a complete block of wood across the offending peg hole that has cracks on each of it's side and fix that hole first? Or does each side of the box get their own veneer with one hole being covered on one side and the three holes of the other side get it's own veneer? The repair pieces would be put into the inside of the pegbox, a 1/16" deep, smooth and even as possible - not the outside with the block and the veneers would be running 90 degrees to the grain of the outer box. Who has that much patience these days? Hope all that made sense. Maybe the Weisshaar manual/book has a better way?
  9. She and her 1655 Amati sounded fine to me.
  10. Would Novellus discipuli Bellosi mean made under or inspired by Novello who learned under Bellosio or would it mean this is a Novello who learned from Bellosio? Just curious. Novello, Peter, Venice 1710 Novello, Mark Anthony, Venice 1756 Novello, Valentine, Venice 1760 Bellosio, Anselmo, Venice 18th century, imitator of Seraphin.
  11. Times up Sam. Here's what next. Starting with 2nd finger D of the 3rd measure of 7 follow the fingering for the first few notes. Now make a decision for the Bb. I'd use 1st pos. A string but a teacher may prefer 3rd finger D string. Main point is to be able to stop the next low Bb that is coming up soon. Next, follow the prescribed 1st fingered d string notes. Next would be 3rd finger stopped B on d string. Now stop the Eb with 2nd finger on the A string. Make your shift to 1st finger G, on the A string, 3rd finger Bb right after with the next three high notes played on the E string, unless you just happen to be an exceptional learner, use the A string but make sure you have an out to get back down. I'd use the E string. Finally, if you use the E string, stop the Bb with the 3rd finger, A string. It should be obvious that I didn't cover all of the measures. I think the term needed now would be "repetition is the key". Keep sawing away, speaking of which, maybe paying a visit to Sassmanhaus's website could help with speeding up the bowing which would be my problem with this music here - I'm getting old.
  12. Starting at 6, assuming you have the measures in 5 learned, use 2 as written above the Gb for starting. The fingering for first measure 6 would be 2, rest, 2, 1, 2, 1, 2 with the last 2 being the A of the next measure. The last 3 fingerings of the 3rd measure of 6 would be 1,2,1. The G # of the 4th measure of 6 would be 1 with the two A's of the next measure being 2 {second finger} See the 2 above the down bow symbol? Personally, I'd keep using the 1-2 fingering/shifts until I could put a smooth run of four fingers together for 8 or so notes not necessarily being on the same string. You'll figure that one out. Making the three measures before 7 second nature in regards to your playing ability could help too, then work the two measures before those last three into the mix. Keep sawing away- you have to cross the hump you're facing now to get better and when you do you'll be relieved somewhat only realizing there's more to go. Paulosian will show up eventually for more added help , just wait.
  13. I notice this e book edition doesn't have the pages that cover Plate IV or V but does have Plate VI though VI not labeled as such. If I didn't have the plates in my version of EH-A I'd be confused while reading how to make a violin. In a few places the making method does say to refer to the aforementioned plates. Can't do that if they ain't there. Again, this version doesn't have them. Plate V is a Guarnerius Sainton inside mold plan with the arches, neck and other stuff reduced 336% to fit a book. Plate IV is an outside mold for a Stradivari with neck template, clamping cauls, etc. reduced 338%. Plate VI is Sainton ff holes paired together and/or a neck. It's very helpful to understand what "plate 4, 5 and 6" means while using this book. These templates are reduced 165% for their page. Some measurements added confusion when I first read through. Here's some of the fractions converted to mm"s. 4/5 - 20.32mm 7/48 - 3.7mm 1/20 - 1.27mm 1/6 - 4.23mm 1/12- 2.1mm 3/12 - 6.35mm 5/24- 5.29mm 7/40 - 4.44mm 1/5 - 5.08mm 7/10 - 17.78mm 5/48 - 2.64mm
  14. Anne Sophie Mutter or Zimbalist renditions I like. An interesting Brahm's would be Ricci's version + 16 cadenzas. The cadenza is during the first movement for a few minutes with the following players each having their own version of the cadenza put into the recording. The violinists are in order: Busoni, Joachim, Singer, Heerman, Auer, Ysaye, Ondricek ,Kneisel, Marteau, Kreisler, Tovey, Kubelik, Busch, Heifitz, Milstein and Ricci with Ricci finishing out the rest of the Brahm's , over a hour [1:17] worth of music.
  15. 1859 French pass national law A4 435hz 2-16-1859 1926 American musical industry introduces informal standard A4 440hz. Used for instrument manufacture, backed by Rockefeller Foundation. 1936 American Standards Association supports A4 440hz initiative. 1938 Germany pushes for A4 440hz for use throughout Europe. 1955 A4 440hz is officially taken up by International Organization for Standardization. Reaffirmed 1975 as ISO 16. 1956 C. Stross petitions for A4 222 hz so that he can use his half powered Victrola to play along with his favorite artists/orchestras. Petition promptly denied. I had the thought of the reason behind A4 440hz was for C melody sax and piano compatibility issues for Jazz early 20th century. Turns out it was quite a bit more than that.