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About Zeissica

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  • Birthday 10/28/1966

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  • Location
    Albuquerque, NM
  • Interests
    Violin & Viola playing, astronomy, audio, family & friends.

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  1. I saw Harrel here in Albuquerque when I was in high school and it really made an impression on me. For the encore, he played the Sarabande from the 5th cello suite and it was just incredible and moving. In college, I saw YoYo Ma in LA, playing the Dvorak - it was his projection to the "cheap seats" that impressed me most at the time. I was fortunate to see the Guarneri String Quartet many times over the years, starting in the mid-'80s and into the '90s. David Soyer just had such a great big, bold sound and incredible articulation and phrasing. Still possibly my favorite quartet and
  2. In the Kievman book (Practicing the Viola, Mentally & Physically), he describes "fast detache" as coming from a wrist motion "as if you were playing a series of down bows", with forearm parallel to the floor, wrist flat, and the bow angled slightly to the string - not flat hair on the string. The exercise for this is then to play quarter note, 2-octave arpeggios with 4 16th per quarter, up and down in 1st position to you can work on smooth string crossings, "as fast as possible" while avoiding bouncing. He recommends practicing it at the tip, in the middle, and at the frog. I work on the f
  3. You sound good! Nice intonation, and clear rhythms for the most part - well done! The one thing I would suggest is to work on coordinating your note/bow/string changes more tightly. One way to do that is play scales with dotted rhythms - instead of 8th 8th 8th 8th, play dotted 8th - 16th, dotted 8th - 16th, etc. Then reverse it - 16th - dotted 8th, etc. This will help you think ahead to the string crossings and note changes so they are better synchronized. Keep up the good work! -Karl
  4. Too funny! I'd heard that the concept goes back a ways, but maybe this is the origin?
  5. Amazing stuff - thanks for posting! In the section where they are playing chamber music and talking about the importance of accompaniment figures, and how "many great players never play the 2nd violin part" - every "first violinist" should watch this!
  6. Your goals are reasonable, and should keep you busy for years to come! I think the biggest key to success in practicing is to have a plan, and to continue modifying that plan as you progress. Having only one hour per day is a great reason to focus your plan so that you don't waste any time. For one thing, don't spend time on passages that you've already mastered, at least when you are in the "learning and perfecting" phase of a practice session. Here are some options: Odd days (M, W, F) 10-15 minutes of scales & double stops in the key of your main literature (et
  7. I only had the opportunity to see Mr. Harrell live once, during the 1980s. He played a big concerto with the symphony here, the Lalo, I believe. But what really sticks with me still is what he played for an encore: the Sarabande from the 5th cello suite. It was just haunting and sublime. I think I have the autographed program somewhere.... RIP, Maestro
  8. Take a look at Clean Feed - it appears to have been made for music collaboration and may work well for lessons. https://cleanfeed.net/ -Karl (I have nothing to do with this company)
  9. Probably the best way to "electrify" it would be to get an LR Baggs bridge pickup system. It won't have a particularly natural sound, but you could certainly pipe it into a preamp and/or headphone amp system.
  10. Andrew - good point about ear plugs - I know several pro violinists around here who use either one (in the left ear) or two of the "musician's" earplugs. They are designed to give a neutral sound while reducing the level moderately - 12 to 15 dB would be a good range. Makers include Etymotic, Eargasm, etc.
  11. Mining YouTube will certainly increase... And, I've never gotten tired of watching/listening to this performance:
  12. BP - a few thoughts. First, it is true that most violinists are looking for a loud-ish, responsive violin that projects with minimal effort. It seems you have one of those. In some ways it is like driving a real sports car - responsive and powerful but not easy to control without learning how to drive it. One clue was in your post about your teaching suggesting more bow pressure: this can also lead to a harsher sound. I'm sure your teacher knows this and I don't mean to contract that person. But a real fundamental aspect of bowing is the "three factors": Bow speed, bow pressure (or
  13. What a bummer! Will keep my eyes out. Please post additional photos - the scroll is distinctive, yes, but I'd like to see the rest of it for potential spotting purposes.