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Everything posted by tchaikovsgay

  1. https://www.violinist.com/blog/laurie/201411/16338/ https://www.violinist.com/discussion/archive/26255/ I've found it. That's very interesting. Never expected pedagogues to hate each other. I wonder if composers also develop enemies too. I thought music is supposed to be fun.
  2. I never was taught Suzuki so I don't really know. I was taught with Shinozaki method and scales. (Which is not thorough enough)
  3. Thanks. Yes I've taught part-time when I was doing my bachelor's, but never full time. Also I really thought the Gossec from Book 1 was supposed to be played spiccato until I heard the recording; that's why I thought I have to get the revised editions to know what Suzuki truly meant. However, upon mastering the piece I agree we can ask students to try different bow strokes on the same piece.
  4. I've got my digital copy on Amazon. Never expected this post to become an academic debate. However it's interesting the probably most popular violin method is actually criticized by a considerable amount of people (not the first time I heard someone saying the Suzuki method is flawed). My only problem was the old monochrome blue editions I have contain almost no explanation of the pieces. This makes a teacher difficult to judge what does the specific notation and symbols Suzuki used in the pieces imply. With recording some clues are revealed, but it's better to have the actual direction itself. Now I'm reading and playing through the revised editions, I found out apparently Suzuki uses the term "staccato bow stroke" for détaché on staccato notes. From the books I've read staccato is a polysemic term; it can mean an articulation (staccato notes) or a bow stroke (a sequence of martelé in the same bow direction). I wonder if this will make the student more confused. However, violin terminology is always complicated and ambiguous on a lot of levels, same as musical symbols, especially the staccato dot and tenuto mark. I think it is important for me to analyze these methods to understand what different editors and arrangers mean with their ways of using musical symbols. P.S. after all these years I still haven't heard a concrete definition of the portato bow stroke (not portato articulation).
  5. I've always known one violin method is never enough to nurture an all-around violinist. Basics exercises, scales and studies (études) must be introduced. I'm just getting a digital copy for analysis of what most current beginners are learning from. I'm also going to analyze Early Start on the Violin by Egon Sassmannshaus.
  6. Hi. I'm trying to find the Revised International Editions (not the old green edition, old blue edition, or Asian edition) for the Suzuki method. I use a digital music reader. I plan to teach the violin full-time so I think I should keep myself updated and to analyze the ten books thoroughly. Thank you.
  7. Update: If I remove Gabriel Fauré Violin Sonata No.1, Op.13 Allegro Molto Then I'll have to find a replacement piece from the syllabus in major key, a slow tempo and from the classical or romantic era, having a duration of about 12:22. It can't be a concerto or solo piece either. Otherwise, the whole programme will be in minor key, andonly having the Bach Andante being slow. Am I over-analyzing or has programme choices always been this tedious?
  8. I see. I'll have to change some of the repertoire.
  9. Thanks for pointing that out. I'll have to make some adjustments then...
  10. The ABRSM guidelines strictly stated violinists must have accompaniment for pieces that are meant to have one. As much as I'd love to learn the second and third movements, they are not included in the current LRSM syllabus.
  11. Hi. Hahn has been playing some of the hardest violin pieces ever (Ernst, Ysaye, Pagagnini and Bach) in that event. I wonder if it was in one go and does anyone have a full programme list? P.S. She also played something with a guitarist, which contains her improvisation. Thank you.
  12. Hi. I'm planning to take LRSM for violin. As I've graduated and have no teacher anymore, I have to plan my own programme. Quoted from https://gb.abrsm.org/en/our-exams/diplomas/music-performance/, 'You should plan your Recital so that it lasts approximately 40 minutes (it may be up to 10% longer or 10% shorter). This total duration includes any breaks between items, as well as one longer pause (of up to 5 minutes) for woodwind, brass and singing candidates. Please note that the examiners reserve the right to stop the Recital if you exceed the prescribed duration' 'In your choice of repertoire, you should aim to present a balanced programme that includes a contrast of repertoire from at least two distinct musical eras. Variety of mood and tempo should also be a guiding factor in the construction of the programme.' Here's my inital prgoramme: Johann Sebastian Bach Violin Sonata No.2, BWV 1003 Andante [6:32] Allegro [5:49] -A minor, Late Baroque, German Gabriel Fauré Violin Sonata No.1, Op.13 Allegro Molto [9:05] -A major, Late Romantic, French Aram Khachaturian Violin Concerto, Op.46 Allegro con Fermezza [14:56] -D minor, 20th–Century, Armenian What do you guys think? It is within the duration, but does it satisfy all the above requirements on varied eras, mood and tempo? Do they take genres and countries into consideration too?
  13. Yes. The m.s. only applies before the start of the rasugueado, according to all videos found online.
  14. Hi. I've finally graduated. Now I'm working on studies and pieces that I like, instead of the standard ones that are suitable for exams. Below I've attached a bar from the 1st movement, which has a 'arrow' pizzicato passage. I've never seen this in any other piece or book. What does this indicate? Thank you.
  15. So can I say, with finger movements, the elbow moves first, then the hand follows? So before a down bow, when the finger is curling (making the bow go upwards), the elbow is going downwards (in preparation of the down-bow)?
  16. If so, do you think the arm movement and the finger movement are towards the opposite direction? (i.e. during stretching the fingers before an up-bow, the arm is moving up)? Because I'm really confused by the term 'auxillary motion' in this video:
  17. Hi. I understand when playing a stroke, with: Finger involvement only The fingers are stretched to play a down-bow; curled to play an up-bow. Contrastingly, with Finger, wrist and elbow involvement The fingers are curled before a down-bow; stretched before an up-bow. My question is, assuming the stretching and curling are done before the bow change, when stretching or curling the fingers, are wrist and elbow involved, or if that part of the stroke is strictly only a finger involvement? Thank you
  18. Thanks everyone for the advice! I'm seeing light for my graduation!
  19. 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. Edit 7/8/2020: It happened! Today's the second day I played without a practice mute (have to record some Bach for an exam), I hear neighbors complaining! It was 1pm, so I've decided to take the advice from everyone and go downstairs to talk to them, 'be sorry but firm'. I told them I am sorry that my violin is too loud and said I was recording for my exam, usually I have mute on and I won't practice after 4pm... They looked accepting (but you'll never know right) Anyways I've got my 2nd last module done! I just need to record for my final exam
  20. Thanks for reminding me to readeery sentence more carefully! I think I've found my answer.
  21. 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.
  22. 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
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