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About thirteenthsteph

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  1. Fast string crossings

    You're mostly right, the left hand is lagging behind in this case. The right hand has become faster, but the lack of smoothness is mostly due to the left.
  2. Sevcik Op.8's Confusion

    I'd say just take a look at a video of Milstein playing and the whole notion of holding the violin firmly with the chin will vanish from your mind.
  3. How to *Really* Use full bow hair?

    There is a comment below saying that when the violin/ neck is parallel to the floor, the strings have a bit more of an angle so what you think of as vertical to the violin is not vertical to the strings. Now, if, as you say, the string are parallel to the ground then do as you did before. A little tilt, no tilt, whatever, why not try out what angle bounces the most and most easily?
  4. Gasparo 'da Salò' violas

    @Ethan Ford Heath I'm extremely envious that you have played that viola, even though I think it's better that I haven't, or nothing would be able to live up to that afterwards.
  5. Violin Holds?

    1) When I used to play with a shoulder rest (a Kun one) I think it rested on my acromion, as you say. No, actually, quite a bit further in. Other than restriction of movement, it also caused me great pain and many times after rehearsal I could hardly play any more. I am not saying that this was the whole problem, as there was generally more tension then, but I don't consider it ideal either way. 2) I am not sure about the stated reason. I guess if you can play without pain and hold the violin at the right angle for your bow arm, then I doubt a bit of tilt will make a difference. Not sure. Just for fun, looking through the link... ''Remove your shoulder rest and place the violin on the collar bone. Having the violin on the collar bone improves sound through bone resonance. '' I do agree with the first recommendation, I play like that, but the reason stated just seems bollocks to me. Yes, there should be a difference in sound when the back does not touch the shoulder at all and only the end block rests on the collarbone, but, first of all, the angle changes a bit so what I hear might differ, and also, bone resonance.... the bone won't act as a speaker towards the audience, I'm pretty sure. Like when people rest it on the shoulder and say 'oh I feel closer to/one with the violin, I can feel the vibrations', yeah, so you're absorbing them. Sure, you might hear a fuller sound, but does the audience? No shoulder contact should help with the sound, especially the lower end, but I doubt the bone is at all helping with the projection.
  6. A 200 year old Cornerless Cello signed by Chanot

    That looks very nice. Any chance of a recording at some point?
  7. Favorite small viola model?

    That looks amazing to me, I'd love to hear it as well.
  8. Menuhin method

    I assume you've found the paper on Dounis ( ). Maybe Menuhin's book ? I remember your previous thread on this and since then I have returned to the videos myself a couple of times. The technique now seemed more possible than before... but it is still quite difficult to get right. Overall, however, I am not entirely convinced that it is the right way to go.
  9. Favorite small viola model?

    Holy.... I liked the Brensi viola (and I love the way it looks... that Melvin Goldsmith copy! ) but then I heard the Zanetto viola... Wow. Incredible.
  10. Bow Holds???

    That thing literally makes me nauseous.
  11. Bow Holds???

    I'm pretty sure the neighbours would absolutely crucify me if I did that... But I'll try to find a solution. I see. What makes it right? Also, what are your thoughts about achieving an even sound along the length of the bow? More pressure at the tip, using the weight of the arm, the weight of the bow, bow speed? It is puzzling me because many people expect me to press towards the tip and lift at the frog, because supposedly that gets a big sound on the viola, but I think it sounds awful.
  12. Bow Holds???

    Well, I too have been there with gut strings, I can relate... Especially on the lower strings, intonation was always difficult. But it still is on the C, it's not as clear as the violin. The trouble is that now that I believe I'm going in the right direction and figuring things out, I don't have nearly as much time to practice. Perhaps we should go back to the topic. Anything else regarding the bow hold? What did you use?
  13. Bow Holds???

    I like it. It works for me in this case. Maybe less pronounced in music more modern than this. But, I was not clear before; what I had in mind is the teaching aspect of shifting, because I was not taught very explicitly the step-by-step mechanics of a shift, like many basic violin mechanics, since from the start I could pretty much do them so my teacher did not dwell on details. But I was recently shown the underlying mechanism, since my shifts were noticeably wobbly, abrupt and tense and did not always land accurately (as you have noticed too), which involves lifting the finger as if playing a harmonic and slowly gliding until I hear the note faintly and then pressing onto the note. And I'm also trying to be cleverer with my thumb and to make it a habit to downshift with the thumb first, but that's another story.
  14. Bow Holds???

    What expectations? Sorry. I'm not very familiar with the Händel sonata (or Händel at all) so didn't really notice the interpretation. Plus, I meant the way he describes shifting in his books, 'like searching in a dark room' (which was actually described to me, so I'm not even sure if he wrote that), not the way he shifts in the clip. But I think the old fashioned way, that is, the more gliding type and not the modern teleportation-to-the-new-note type, then I like that a bit more. Yeah, the Enescu interpretation is far more interesting.
  15. Bow Holds???

    Flesch doesn't sound half-bad though. I like his ideas about shifting.