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Everything posted by tchaikovsgay

  1. 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.
  2. Bon musica and tying a thick makeup puff as a pad onto the chinrest (don't laugh) worked for my giraffe neck.
  3. This reminds me of my dry = slippery / wet also = slippery dilemma
  4. 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.
  5. Hilary Hahn for viruosity and Kyung Wha Chung for passion!
  6. 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!
  7. 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?
  8. 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.
  9. 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)
  10. 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.
  11. I see what you mean, sometimes analyzing before practicing makes thing overly complciated
  12. ~this is all based on a basic stroke without the use of collé~ Update 29/6: I'm able to bow having the tip of the ring finger stay on frog eye with flat hair when bowing at the tip with a straight bow now; on G string it's a bit of a stretch, but I've found if I intentionally relax by right arm, it is possible (if my arms are a little bit shorter than it probably won't be possible...) Hi. The tip of my ring finger touches the eye of the frog in my bow grip. When I play at the frog and in the middle, there's no problem to keep the tip of my ring finger on the eye of the frog, but, if I do so towards the extreme tip, my bow hair will tilt outwards (my teacher pointed that out) I want to keep the tip of my ring finger on the eye of the frog, as it provides more security, but tilting the bow hair outwards (even in the context of a straight bow) is visually unsatisfying and loses sound. I need to fix it. P.S. I've practiced in front of the mirror every day but I still can't figure out why... -the angle of the elbow stays the same -the elbow is pushed forward when playing towards the tip and the frog, keeping the bow parallel to the bridge with the bending of wrist -if I use collé (straightening my fingers towards the tip), the bow hair will not tilt outwards, the bow will still be straight, but the tip of my ring finger loses contact with the eye of the frog Thank you
  13. Hi. I'm looking at the more advanced bow strokes but I have no idea what are these excerpts: https://www.siegelproductions.ca/calvinsieb/media/detachelancer.wmv https://www.siegelproductions.ca/calvinsieb/media/detacheporte.wmv https://www.siegelproductions.ca/calvinsieb/media/flyingspiccato.wmv https://www.siegelproductions.ca/calvinsieb/media/inversedbow.wmv https://www.siegelproductions.ca/calvinsieb/media/jetelent.wmv https://www.siegelproductions.ca/calvinsieb/media/pinchedmartele.wmv https://www.siegelproductions.ca/calvinsieb/media/pizzacato.wmv https://www.siegelproductions.ca/calvinsieb/media/sustainedmartele.wmv https://www.siegelproductions.ca/calvinsieb/media/tappingstroke.wmv I would be very grateful to have any answers. Thank you.
  14. Thanks for everyone's reply. It seems like we already have three different answers. I do have a teacher from the University and I just like to ask questions about the fundamentals in a platform that allows free discussion because I want to optimize my playing by understanding how and why things are done in violin playing. I'm not a very flexible person; I like to choose the best way that suits me as default instead of changing from time to time; for instance, questions like: the placement of the little finger on which side of the octagon of the stick, whether there is a default contact of the knuckle of the index finger with the neck, how to tilt the bow without hindering the bow hold, the setup of the violin hold in terms of the balance between weight and comfort, etc. Sometimes I think and experiment for days and nights but still couldn't figure out a convincing answer, that's when I post a question on the forum.
  15. Hi. After finally figuring out the differences between shifting, portamento and glissando, I've came up with another technical question: in the same position using the same finger consecutively, how is the exchange between notes with the same finger done? Study No.12 from 36 Violin Studies, Op.20 Heinrich Ernst Kayser In beat 4, the C6 and B5 requires the fouth finger in first position being used consecutively, when transitioning from C6 to B5, the fourth finger obviously does not lose contact with the string, as it will produce an instrusion sound by the open string, so does it: A. release all finger pressure and slide B. release 50% finger pressure and slide C. slide without releasing pressure Exercise No.15 from School of Bowing Technique II, Op. 2 by Otakar Ševčík Follow-up question: the above situation is in the context of a slurred bowing, however, in separate bowing, with the disguise of a bow change, is it necessary to maintain any finger pressure during the slide? P.S. Last time I asked this question using chromatic scales as an example, which wasn't a good idea as it wasn't specific enough... Thank you
  16. Hi. To consolidate my foundation of studies, I've went from 42 Studies by Rodolphe Kreutzer back to 60 Violin Studies, Op.45 by Franz Wohlfahrt. There are 3 studies that I cannot play up to tempo currently: No.43, No.45 and No.59. I have 1 hour for studies every day and I always practice with a metronome for them. For example, in study No.59 the given metronome mark is quarter note = 111; I couldn't do it. The fastest tempo I can do is 50% speed, i.e. quarter note = 56. Do you think I'm allowed to move onto 36 Violin Studies, Op.20 by Heinrich Ernst Kayser despite I was not able to play at written tempo for those 3 Wohlfahrt studies? Also, what should I do if I can't play up to written tempo for the future studies? Thank you
  17. Hi. I'm working on Preludio from Violin Partita No.3, BWV 1006 by Johann Sebastian Bach. In bar 49, the { notes are to be stopped simultaneously with the fourth finger (otherwise the D♯ will be late), yet, the sixteenth C♯s create a dilemma of risky lifting and dropping of the fourth finger during the C♯s multiple times. The only way I can think of is to "roll" the finger. How to do it? P.S. I'm sorry I always ask questions about the tiniest things Thank you
  18. @Andrew Victor @PhilipKT @The Violin Beautiful Thanks everyone!
  19. I've changed my question to a clearer one. I'm doing a presentation on bowings and fingerings for school and I've just figured out comfortable definitons of shifting, portamento and glissando; now I just need to figure out the details of slides in the same position.
  20. Hi. In the following occasions, is it smarter to press the finger down completely during the slide between the notes with the same finger or not? Situation: 1) a separated ascending 0-1-1-2-2-3-4 chromatic scale in first position 2) a slurred ascending 0-1-1-2-2-3-4 chromatic scale in first position Thank you
  21. Can anyone make a concrete example of practicing differently, focusing on 'Sound' and 'Sound Colors' separately? I still can't differentiate them. Practicing sound on a phrase: ? Practicing sound colors on a phrase: bright vs dark???
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