Jump to content
Maestronet Forums

Andrew Victor

  • Posts

  • Joined

  • Last visited

  • Days Won


Profile Information

  • Gender
    Not Telling

Recent Profile Visitors

10115 profile views

Andrew Victor's Achievements


Enthusiast (5/5)

  1. Also consider: Meditation by Massenet Melodie from Orfeus & Euridice by Gluck On WIngs of Song by Mendelssohn Largo from the "Winter" concerto of Vivaldi's Four Seasons Sunrise, Sunset from Fiddler on the Roof
  2. My local "cobbler" shop does rivets. I also have a rivet "gun" and some rivets, but maybe not substantial enough for this job. The handle on my BAM Hightech case failed many years ago - not that long after I bought it late in the 20th century. When requested the BAM company sent me (free) all parts of the carrying-handle assembly. Although my rivets did not fail, the handle design is bad and the rivets into the case body would have to be removed and then replaced in order to get the new handle on. So... I simply bought a replacement instrument case handle - the kind one uses for violin cases - to attach to the remaining part on the case***. That's what I've used ever since. *** This kind of side-mounted handle: https://www.sharmusic.com/Accessories/Case-Accessories-Parts/Side-Mounted-Replacement-Case-Handle.axd?utm_term=&utm_campaign=Smart+Shopping&utm_source=adwords&utm_medium=ppc&hsa_acc=1032166109&hsa_cam=13392607188&hsa_grp=121809417503&hsa_ad=525907644700&hsa_src=u&hsa_tgt=pla-293946777986&hsa_kw=&hsa_mt=&hsa_net=adwords&hsa_ver=3&gclid=Cj0KCQjwiqWHBhD2ARIsAPCDzanDfb68ssD0UR128qzah6twfND-zNLhwtBVGt04QFGTvq4JMcB-7ToaAq7eEALw_wcB
  3. I used Bois d'Harmonie Kevlar tailcords on on my violins, violas and cellos. I learned (the hard way) to make the knots so the cord was about 1/4 inch too short to compensate for stretching (i.e., compression of the knot). That seemed to be about right. All this was done at least a decade ago.
  4. As others have suggested, you must play with full awareness of what you are doing until your bad habit is GONE. You did not say how advanced you are, but if you are playing in higher positions, I would suggest only playing in 3rd position and above until you are cured. I don't see how you can collapse your wrist when playing in this neighborhood. I also suggest not trying to learn new music during this time. I feel I can recall some periods in the past, during the 82 years since my first violin lesson, that I have had to stop progress and concentrate on some rehabilitation of technique for one reason or another - and that received my full concentration. It worked!
  5. Are you changing the bowing angle to the strings?
  6. It would have helped if you told us what (brand, model, gauge, etc.) E string you are using. I have had to change E strings sometimes after changing the other strings because the E string I had been using was too strong or too weak for the rest of the set. Some E strings come with a tiny felt "donut" that may provide more muting than the parchment or plastic sleeve.
  7. I've heard that some violists play Mozart's SC that way, but to my mind, E-flat major is the best key for viola playing - and that is the way I have always played it. I had also heard it referred to as the "Masonic Key" and certainly a goodly amount of Mozart's music favors it.
  8. Better, no doubt, but mine have been good enough since the first at least 60 years ago. When I lived out in the "boondocks" I had to do some 2 minute jobs myself rather than add at least one 6 hour round-trip to it.
  9. If you do tighten the strings, I would suggest tapping the top as you go to see if any of the cracks or (top or back) joint separations "resonate." If they do, they will probably resonate when you attempt to play it. Repairing cracks is a job for professionals. Regluing small joint separations with hide ("violin makers") glue, and artist's pallet knife and clamps is not tough at all.
  10. I've read that some use the velocity of sound in the wood as a guide with higher being better. (Check out Lucci meters also check the ARCUS CF bow ads and other literature.) Before Lucci meters (and still today) the resonance of the wood, etc. might be a guide for some makers. Having played a very few bows that played sautille so well it was as if they had a built-in motor, I asked gold-medal bowmaker Paul Martin Siefried** (by phone) how such bows were made. He essentially shrugged his shoulders (over the phone). **I have 2 Siefried bows, one violin and one cello, neither of which has that magic motor - at least not for my playing, but each creates the most powerful sound of my bows of each type. Siefried died in Dec. 2019.
  11. I can envision player physical difficulties that might be helped by a bow outfitted thusly.
  12. When I was teaching I sometimes found it amazing how quickly some students were able to start playing music they really wanted to play. One beginning adult (59) cellist wanted to learn "Amazing Grace." In fact, that was her goal in taking up cello. So for her second lesson I had transcribed it into bass clef and we worked on that at the second lesson. The next week she was able to play that hymn in tune and was ready for whatever was to follow. Another student wanted to play the "Ashokan Farewell" - same story. It turns out my fiirst issue of my STRINGS magazine subscrription (July-August 1996) contained a treble clef version of the song - so I transcribed that for cello too and had it available for any student who wanted it. So when little kids are started on "Twinkle" it is a song they already know and if their parent could sing it in tune they are good-to-go for playing it in tune and working out their finger placement and everything else can follow from there - and usually does. Even though I was only 4-1/2 at my first violin lesson in Spring 1939 "Twinkle" was my first piece (no Suzuki then). Many of the pieces I had in my pre-teen violin lessons showed up in the Suzuki violin books. So did must of the pieces from my mid-teen cello lessons - although I pretty much started those around the equivalent of Suzuki book 4 or 5.
  13. PhilipKT, you are just criticizing the Suzuki approach (again). When my violin lessons started in the late 1930s there was no Suzuki (that I know of in the Western world) and I was taught by whatever the prevailing wisdom was. The same with my cello lessons that started 10 years later with an ex-big symphony musician (Minneapolis, Chicago, Philadelphia and Atlanta), whose musical training starter early enough that he spent WW-I as a cellist in a US Army Band. So after teaching for about 10 years, starting in the mid 1960s I encountered the results of Suzuki teaching when some of the teenage Suzuki violin students were shuffled off on to me. I was so impressed by their progress that I started to use to Suzuki books for my incoming students. I think there is merit to Suzuki approach that starts as it does with the top 2 strings and A major for violin and D major for viola and cello. And it gets rid of any notion of equal finger spacing before it even starts. I was able to move my better kid students off "Twinkle" in a week. OBSERVATION: The Suzuki cello books followed the same "mold" as the violin and viola books - that you, PhilipKT, are complaining about. What can I say - It works. More good players are being turned out now then ever before. Good Suzuki teachers recognize their most promising students and turn them over to the best (conventional) teachers they can find. This should be done before these promising young people finish the whole Suzuki program. You can tell when a kid is something special. I saw Anne Akiko Meyers in concerts when she was 6 and 7 and even then you knew she was special - her intonation, her bowing and her sound. She was sent off to the first of her top teachers a short time later. But, PhilipKT I think you have seen my counter-rant on all this before.
  14. I have great respect for the Suzuki method. For 33 years of my adult life I lived in a small city in the California high desert that had an outstanding Suzuki school/program. The founder and leader of the school was the violist in my string quartet as well as a violinist, pianist and organist. Many excellent young violinists came out of that school, which had the good sense to sent the most promising of them 150 miles south to Los Angeles to more "historically conventional" teachers as that promise became evident. One of this youngsters was Anne Akiko Meyers. So I got to see her in solo performance with our community orchestra when she was 6 and 7 - and then again when she was 12 and performed the Mendelssohn Concerto as a "gift" to her teacher (who led the violas in our orchestra - I was the concertmaster at that time, so I had the best seat in the house). This was after "Annie Meyers" (as she was known to us) had performed it with the LA Philharmonic and before she went off to Dorothy DeLay at Julliard. I did some violin teaching in that town and for 12 more years after I moved away, for a total of about 40 years. At one point a number of the less studious of the teenage Suzuki students were shuffled off to me (the ones whose concerto aspirations exceeded their grasp). That experience led me to start using the Suzuki books in my teaching, supplemented by other etudes, different editions, etc. as I thought necessary. I actual;ly found little difference in much of the printed material and its intent from my own formal violin learning that had started in 1939. Many of the youngsters from that Suzuki program were accepted into the violin section of our community orchestra about the time they entered high school. Some were very good - those were the ones who were had transferred to LA teachers by then. A number of them subsequently became violin majors in college - but they continued to play in the annual Suzuki concerts if they could get back home for them. And they continued an enduring love of their first teacher, the founder of the town's Suzuki school. Based on my observations, I agree with PhilipKT's observations above.
  15. Steven, I do not make instruments, however a friend of mine took it up as a hobby in his 40s (about 45 years ago) and has since made 101 instruments 12 violas, 3 cellos and 86 violins) and sold all but his first and last (violins). I purchased 3 of his instruments made between 1990 and 2000. I have copies of his "notebook pages" for these and I could sent them to you. If you are interested message me.
  • Create New...