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  1. Playing a C major 3 octave scale starting on 2nd finger on the G string (2nd position) in the Flesch scale book, followed by 3 octave arpeggios, is quite good for 2nd position. Also Sevcik has a finger exercise book for 2nd position. The scale shifting exercises on one string in the Flesch book are very good. Pay special attention to the LH pinky curve - try not to let it collapse. Try to align your fingers PIP joints parallel with the fingerboard and get the PIPs higher up in general. This will help when crossing strings, among other things. Note in bowing that when you reach the tip, there is physically less force being exerted on the bow. Try to maintain the decibel level out to the tip of the bow by pronating your hand gradually as you downbow. Then the reverse on upbow -- supinate toward the pinky of your right hand, so the pinky helps balance your bow at the frog.
  2. It will be interesting to see what happens. The trunk piece is 34" in length and 13-14" in diameter. I'm thinking I could get maybe 4 slabs? If the slabs seem okay I may have them bisected to 17" in length to make them more manageable. Update: here is a pic of the "lumber". Each slab is 17" long. It is currently (after this pic was taken) stacked with books in between.
  3. 'Tis true; a lot can happen in 20 years, or even 2. But hey, irrational is fun once in awhile.
  4. I don't have the length at the moment but before the tree was cut down I calculated the diameter to be about 13 inches.
  5. As soon as I find my camera and it is light out again I will take a pic of this log and post it.
  6. So over the years that I've owned my place, I've had this notion that I would eventually use the trunk of the cherry tree in front to make the back and sides of a violin. This year the tree became so large that it needed to be removed from the small yard in front of our building. I requested that they leave me the trunk, which they have done. It is a heavy son of a gun. I need someone to come cut it into slabs and I have a few questions. Is there a particular kind of saw person that does this? Is it something a handyman can do? What thickness should the slabs be? How do they remove the bark? Thanks for any info.
  7. Hilarious - the Lyon & Healy certificate states that the violin was made by Giuseppe Guadagnini in Milan probably around 1750-1760. According to the net, Giuseppe wasn't even born until 1753!
  8. Yep, it's not curly and clearly there is spirit varnish so it is a 20th century violin. All the Lyon & Healy descriptions seem to read very similarly, though.
  9. My mother sent a copy of the certificate from Lyon & Healy that had accompanied her violin at sale, as well as a copy of Moennig's evaluation that it is/was in their opinion a Sgarabotto. The Lyon & Health 1917 catalog that contained the instrument numbered 4954, as well as the certificate, state: Giuseppe Guadagnini, Milan, i 750-1 760 Number 4954. Giuseppe Guadagnini was the second son of Giovanni Battista. He followed in his father's footsteps with respect to model and general character of workmanship, his violins being very often mistaken for those of his parent. This instrument is in a perfect state of preservation and has an exceedingly large, robust, brilliant tone. It is an excellent violin for a soloist, teacher or orchestra player. Price: $2yOOO This violin was sold to one Robert Vauk of South Dakota on January 8, 1918. The only thing I can think of is that the certificate may have been separated from its original violin. The description reads: "The back is formed by one piece of handsome curly maple, which is matched by the maple of the sides. The top is of spruce of the choicest selection, of straight even grain. The varnish is of a reddish brown color. This instrument is in an excellent state of preservation and is No. 4954 in our records." Moennig in 1974 writes "Violin labelled J.B. Guadagnini, Milan 17??, in our opinion, is the work of Cavaliere Gaetano Sgarabotto during the first quarter of the century. The back is of one piece slab-cut maple, with narrow irregular flames. The sides and scroll are similar to that of the back. The top is of two piece pine mostly of medium broad grain. The varnish is an orange-brown color." As Martin had pointed out earlier, the violin looks like kind of a rough and ready somebody's idea of a Guadagnini. It's kind of gouge-y looking with fixed cracks in the top, messy purfling, and looks as if it took quite a hit at some point. Despite all it is a real nice sounding violin and pretty to look at. My question is - do you think the Lyon & Healy certificate belongs to this violin? Any any other comments appreciated, as well. I'm just trying to flesh out what I know about this instrument.
  10. It was my impression from something I'd read or heard that Lyon & Healy was selling a lot of "models of" as if they were authentic at that time. I could be wrong. But that's a heck of a lot of expensive instruments to actually have on hand. Also, my mother's pseudo-Guad came with a Lyon & Healy "Certificate of Authenticity". The Klotz violin in the description may be the violin she traded for the pseudo-Guad, and I would like to have it as she said she sometimes regretted having traded it in.
  11. The catalog actually has some pretty good plates of the more expensive instruments they were selling (see page 18, for instance). But no pictures of the lower cost instruments. http://www.lyonhealy.com/pdfs/1924 Rare Old Violins.pdf
  12. Thanks. Seems likely. I wish there was a way to trace Lyon & Healy's requisitioning and importation of "old, rare" violins back before they were exclusively harp dealers. Wow - $500.00 in 1924 had the same buying power as $6,977.80 in 2017.
  13. I have no images of it, unfortunately. It has a certain historic/sentimental value to me, unrelated specifically to the maker. I have two nice violins to play, fortunately.
  14. Looking for this violin which was listed in the Lyon & Healy 1924 catalog. I realize it's a fake, but am still interested in perhaps purchasing it (obviously not for $500 - hah! won't go to 5 figures, though) Let me know ifyou know who might have it! Thanks. "SEBASTIAN KLOTZ, MITTENWALD, 1772. Number 6930. A well developed model. Back, one piece birds-eye maple; top, spruce of the choicest selection for tone. The varnish is of a brownish color. The instrument is in a fine state of preservation and possesses a large tone of beautiful quality. Price: $500"
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