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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. In general using separate fingers per note is "crisper" and that's what I try to do, and works in 75-80% of cases. But sometimes you just have to slide, especially 1-1 or 2-2 (it's usually better on those stronger, anchor fingers). I'm thinking viola here primarily, but it applies to violin nearly the same.
  2. I haven't had a chance to watch it yet but look forward to it! Congrats to your kid, Potter!
  3. It will be interesting to hear the final result and whether or not the room he recorded in will be "in the mix" or whether they got decent enough isolation. Also how much of each type of mic his producer ultimately used in the mix... I'm a big fan of ribbon mics for violin recording - been using some Royer and Samar active ribbons lately - really nice stuff! I haven't tried the AT 4080s though - interested to hear how they sound.
  4. For me (on viola) chamber music I'd like to play sometime would have to include any Beethoven quartet I've not played yet (3/4 of them!), the Mendelssohn F Minor quartet, the Dvorak Piano Quintet No. 2, Tchaikovsky Souvenir de Florence.
  5. I have used Audacity for multi-tracking recently. It takes some getting-used-to, but it works. One thing you'll need to do, though, is to set up a latency offset. Some software platforms deal with this automatically, but with Audacity, you have to go through a specific process. The result is that your new tracks will line up with your previously recorded tracks. https://manual.audacityteam.org/man/latency_test.html If you want to marry this to video, you can still use Audacity for the audio recording and editing. A simple way to line up the tracks is to have a countdown on the origi
  6. A friend of mine plays his viola with a violin bow and gets a marvelous sound. I've tried it and it doesn't work for me. I tend to like my viola bows a tad on the heavy side at 71 grams, whereas my violin bows are all around 58-60 grams, average to slightly heavy. I can't imagine using one of my viola bows on my violin, but apparently some people do.
  7. 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
  8. 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
  9. 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
  10. Too funny! I'd heard that the concept goes back a ways, but maybe this is the origin?
  11. 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!
  12. 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
  13. 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
  14. 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)
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