tchaikovsgay

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About tchaikovsgay

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  1. Thanks everyone for the advice! I'm seeing light for my graduation!
  2. Hi. I'm moving with my partner into a newly rented flat. It's a short building with a few other flats. Of course I'll have to practice because I have to finish my degree. Under coronavirus I'll have to record myself playing for the exams instead of giving a recital at the University. This means my laptop, webcam and microphone will be needed, making booking a place outside and recording there an issue; I'll have to carry my violin, sheets, music stand, laptop, webcam and microphone to the place! I'm already practicing with a rubber practice mute as I've got a bad experience from being complained by neighbours from the previous place. It got to a point that I can't even focus on practicing because it made me feel I don't have the rights to play the violin at home, even if I never play before 0900 and after 1800. (They even called the security once!) I can never let that happen again. However, I also need my to ace my degree. I don't mind to do ANYTHING to maintain my rights to practice in my room without worrying. I'm thinking about soundproof materials, informing the new neighbors about my situation, asking if the University allows me to record my recital with a practice mute (last resort), etc. Any advice will be very much appreciated.
  3. Thanks for reminding me to readeery sentence more carefully! I think I've found my answer.
  4. Hi. I'm reading Principles of violin playing and teaching by Ivan Galamian. I've encountered the term 'vibrato intensity' for the first time. 'Should it be performed by the arm, the hand, or the fingers?... Within each of these three types, speed, width, and intensity can be varied to a fairy great extent' (Galamian, p. 37). I understand the definition of the first two variables as Sassmannshaus has explained vibrato can be slow or fast; narrow or wide. However, what does intensity mean? I'd really interested and want to incorporate this element into my playing. Thank you Update 4/7: Just realized on the same page he also wrote 'changing the pressure of the finger and its angle with the string' as when describing vibrato intensity.
  5. Hi. I'll graduate in September. I hope I can squeeze a minimum of 1 hour per day for practicing the violin apart from my job (hopefully I can get one). Currently as a music student, I have the luxury to practice for a maximum of 5 hours per day, doing basics, scales, studies (etudes), concertos and solo piece (so far, just bach), 1 hour each. I also read theory and violin books and watch violin performances and tutorial videos in between breaks. Worst case scenario is my job has nothing to do with violin playing. But, I swear I won't stop playing the violin. Any advice on the proportion and content for this condensed 1 hour routine? P.S. Some life goals I want to accomplish include having played all 16 Schradieck & Sevcik exercises, studies by Fiorillo, Dont, Gavines, Rode, Paganini, Wieniawski and eventually Ernst at the right tempo correctly (unfortunately still on Kreutzer), and having learnt my favorite concertos including Khachaturian, Vieuxtemps 4 and Prokofiev 1. Then, I can challenge myself for LRSM and FRSM. Also, LMus and FMus; I'll try to read on public transport I guess... Thank you
  6. I'm using the Gvido for my practice, piano scores for analysis and even music theory books! The only downside is the tip of the stylus isn't as sharp as a pencil / mechanical pencil so it takes a while to get used to it.
  7. Bon musica and tying a thick makeup puff as a pad onto the chinrest (don't laugh) worked for my giraffe neck.
  8. This reminds me of my dry = slippery / wet also = slippery dilemma
  9. Last time I did this in the university orchestra it makes holding the violin with my head uncomfortable as the mask moves around all the time; it's so annoying! However, I'd rather play horribly and uncomfortably than to expose myself to corona.
  10. Hilary Hahn for viruosity and Kyung Wha Chung for passion!
  11. That's a point worth thinking about intentionally doing things differently. I do feel like tend to have a 'default' way of doing things (e.g. flat hair, using open string instead of fourth finger unless in between notes or in a slur on the same string, use the provided upper fingering instead of the lower one, following the printed fingering obsessively, etc) because I feel I'm not practicing seriously if I'm bisobeying the rules. I don't know why it's like rooted in my head. (maybe the way my dad raised me? That's another story though) The benefit is I'll be really clear what I'm doing when I deviate from the 'default' (e.g. tilting the bow for dolce passages, changing the fingering according to the teacher as it's the old fingering style, approaching staccato-dotted notes with bowings other than the on-the-string shortened detache, which can be a lifted detache, spiccato, detache leger, martele, etc) so it'll be easier to figure out what to work on and why should it be different than the default. Obviously the downside is it's not a musical and merely fun approach, as my old teacher asked me why do you stand like a robot (he knows I am able to be more natural), and my current teacher said I play phrase without marked changes of dynamics and articulation and like an 'on-off switch'. (She said it's like I play, then it's on, when I stop, it's off; there's not enough humanistic nuances in it) I do feel like at a point I was drifting to an extreme of rigidness after watching all of Sassmannshaus' video when playing Sevcik: it was like inflexible student + systematic teacher + robotic exercise!
  12. Thank you. I try to maintain a good posture and find the best playing mechanisms so I can play efficiently according to the ergonomics of the human body and the physics of the violin. I do find my intonation improved quite a lot since adding all types of double stops in my 'scales hour', but for musical styles I need more experience in listening to (not only reading about) different composers to figure out how to play their pieces with suitable styles respectively. Thanks for saying my questions are interesting: that makes me feel it's worth it to think about all the little things in violin playing and music in general; sometimes I do question if I am overthinking or making things too complicated (as I'd violin playing isn't complex enough) but I do think masters like Heifetz and Hahn would spent a lot time to think about problems they encounter? Obviously for their level the problems will be even harder to solve?
  13. Yes I've fortunately got a French bow that I like before the coronavirus outbreak! However, my playing is not quite there yet to match its $$$. My next goal would be to save up for an Italian violin, but it'll take quite a while and I'll be graduated by then, which is a pity I probably won't have as much time as I have now for practicing.
  14. The paragraph writes 'In reading the following discussion it is a good idea to keep in mind that the finger motions are used for the smaller, more delicate adjustments and that the hand and arm come into play as the broad and less sensitive effects are desired.' (Galamian, 1962) From my understanding, according to Galamian, when 'more sensitive effects' are desired, finger motions (collé) are used. I'm guessing an example would be in a legato passage that requires the use of a whole bow. For being able to play with whole bow with flat hair and an unchanged bow grip without the help of collé, I don't mean I wouldn't add collé into my whole bow when playing pieces; it's just I want to ensure I'm doing the basic motions correctly (like playing in tune before adding vibrato, being able to play a martelé without adding collé into it); of course, different people learn in a different way, but for me, I really like to break everything down into the simplest motion and figure out I'm doing the right thing in every 'level' first, so I can analyze what element I'm adding into each bow stroke to narrow the scope when fixing technical issues. (Just my opinion)
  15. I'm trying to polish the basic motion first before adding collé; I was reading this book by Galamian that mentioned the fingers are for fine adjustments, but the larger joints (elbow and wrist) are for the basic motions. So, I came to a conclusion that I have to keep the bow straight, using flat hair and bow grip unchanged throughout bowing from frog to the tip (vice versa) on all strings without the help of collé first.