violinsRus

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About violinsRus

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  1. Hi all, Kreutzer #12 is a great start for learning fingering and shifting of ascending overlapping arpeggios. Is there a similar study or piece that would do the same for descending 'overlapping' arpeggios? Thanks!
  2. Sorry to hear your troubles. A good bow is everything. It's quite possible that the new plug has changed the tension of the hair on one side of the hair ribbon, and this is the change you are feeling. If you can visit the shop in person, perhaps they could try adjusting tension. Or if the hair was shortened, it's changed the balance point for you. Just some thoughts. Oh, and why was just the plug replaced? Is that really all that needed doing?
  3. My thought exactly. Who knows a lot about bows around here, Blank Face. Must be his! 'fes up BF...
  4. Hi Nick, sounds interesting, I'm salivating already! Is that Bratwurst, or Italian, or Polish, or... :-) I'd also like to learn about this technique, perhaps I'd find something applicable to my own gouging/archingmethods. Thanks, and good luck finishing up the quartet. Cello looks very nice...
  5. OK, I can understand that, you can get a good shearing action with the gouge by angling and rotating as you cut.
  6. So are we saying that a low-angle plane is more likely to pull out chunks than a gouge? I would think a gouge is an equally low angle.. Yes David, I can see the benefits of the gouge for bulk removal, and that is what I use. But I did find the hand-plane video mentioned very impressive. And as you say, the plane is naturally depth-limiting, and also levels off bumps, which is probably necessary after rough gouging, at least for most makers.
  7. Back to the original OP question, I believe the roughing plane used successfully by Peter Westerlund works so well because it is super sharp, and has a low blade angle. He also has perfected the technique, after so many instruments. I was certainly impressed. It is custom made, and if you want one you can ask him for the source. I understand that the tool maker has a waiting list. And such a custom tool will be expensive; wish I could afford one!
  8. Yes, great discussion here. Much to appreciate on both 'sides' of the approach. I have found, and I'm sure all would agree, that finger (and wrist) flexibility that one can develop by practicing colle' does much more than cushioning the bow change. It plays a big role in faster bowing, nuances of expression, string changes, staccato, bow lift at the end of a stroke, etc. Oh, and of course articulation, if you want the sound to start with a 'pop'. I remember being dazzled by this sound and always curious how it was achieved. One thing about the artistic index finger flick, I really had to reign that in so my index finger wouldn't catch on the upper corner of the C bout! Hate it when that happens...
  9. I agree with this. I had to take them off my last new violin, the instrument felt 'over-driven' and had wolf tones. Less drive from cheaper Corelli Crystals, and it was much better. I'm sure there are better string options than that, but it convinced me that putting Evahs on right away was not a good option on my violins.
  10. Streets of London. Sigh, I guess not too many caught the joke, we must be dated, huh? Nice guitar, a Gibson? I got an old J50 dread myself.
  11. i have fooled myself several times before... just sayin'
  12. Hmm, reminds me of the time I went to a local concert with a VERY talented young pianist, who played some amazingly difficult pieces. About an hours worth of memorized pieces, that brought tears to the eye, it was so beautifully executed. But in discussion at the end of the concert one of the pupils from our school asked if she could play the Moonlight Sonata. She could play the first few bars, that was it. Hadn't played it in years she said, but one must believe she did at one point play it well by heart. I chalked it up to memory overload, but I remember being somewhat surprised. The human mind has an amazing capacity for memory, but it is limited.
  13. Yes, especially with that lengthy post crack on the back. Too bad.