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tchaikovsgay

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Everything posted by tchaikovsgay

  1. No I'm really having a hard time switching between arco and pizzicato... this might be a smart cure
  2. I can't turn a page with only one finger :3
  3. I realize the E string side of the bridge is a lot lower than the G string side. I remember the luthier told me this prevents the strings from being too high from the fingerboard, which causes the string being hard to press.
  4. I see, I should be able to change the angle without affecting the bow hold; there's an appropriate angle for each string and each double stop, 7 angles total, but not cast in stone
  5. "P.S. Like everyone else, I use full bow hair and with a slight tilt (bow hair towards face) for other strings" I mean full bow hair for all strings, but with a slight tilt (the tilt is the natural bow hold; the weight of bow allows full bow hair to be used even there's a slight tilt)
  6. 12:49 - 12:57 During this pizzicato passage, did Hahn dropped the stick to the 3rd phalanx, or actually the knuckle? Can't determine due to camera angle. Why did she do that? What is the mechanism? How do I learn that?
  7. Thank you, I've just realized if I keep the tip of the ring finger ON the frog eye or near, the jamming can be prevented without any changes of shoulder level or bow tilt; full bow hair can still be used during the whole bow. (Edit: this one is a wrong hypothesis)
  8. Hi. I realize some people (e.g. the following contestant) tilt the bow when they are approaching or starting at the frog on the E string. If I still use full bow hair I'll jam my bow into the violin rib. But I don't want to raise my right shoulder or twist my right wrist inwards; both seem not to be the smartest way... P.S. Like everyone else, I use full bow hair and with a slight tilt (bow hair towards face) for all strings Thank you
  9. Hi. I see there are two fingerings provided in the Carl Fischer edition (in different fonts: normal & italicized), but the only logic among the same type of arpeggio among different keys seems to only be them being mirrored (same fingerings ascending and descending)... I found it very hard to memorize any of them... Is there a specific logic to remember? Say, for ABRSM (italicized): -mirrored (same fingerings ascending and descending) -use index finger for all tonics -always start the first note on G string -------------------------------------------------------------------------------------------------------------------------------------------------------- I cannot ask my teacher about little things anymore because he already calls me a "scientist" for writing all intonation difference in cents out!! Thank you
  10. Ok, I'll ask her Really??? So there are 2 composed by others??
  11. "Hahn studied with Brodsky for seven years and learned the études of Kreutzer, Ševčík, Gaviniès, Rode, and the Paganini Caprices. She learned twenty-eight violin concertos, as well as recital programs, chamber works, and assorted showpieces." — Wikipedia Of course, we all know 42 Studies by Rodolphe Kreutzer, 24 Caprices for Violin by Pierre Rode, 24 Mornings by Pierre Gaviniès, and 24 Caprices for Solo Violin, Op.1 by Niccolò Paganini... But how about Ševčík? Which opus is it? Must be essential because Brodsky has to include it between Kreutzer and Gaviniès... Thank you
  12. Hi. I read somewhere "holding the violin at the neck for a thousand times will cause the violin to fall apart". How should we hold the violin while walking? Some points to consider: -not to touch the varnish? -not to hold violin by the neck? - not making contact of the bow with the violin as they might scratch each other during walking? -hold both the violin and bow with only one hand, as we might have to move music stand (beginner) , or shake hands with someone (advanced)? Thank you *Here are two famous violinists walking while holding their instruments
  13. Thanks hahahah, of course I won't copy Bell's moves
  14. Hi. I really like Hilary Hahn as a violinist and I love watching her videos. But, my mom & my friends noticed that my movements became more "straight line" instead of "curves" since a while ago. It's probably due to watching too much of someone, causing unintentional body movement imitation. I realized I do look like a robot after watching some of my recital videos, and Hilary is even more robotic (comparing to Sarah Chang, Kyung Wha Chung, etc.) After analysis, I think there are certain "technical" body movements, such as the contrary motion of the waist during up-bow and down-bow in order to allow smooth bow changes, yet "musical" ones are hard to be judged: are they natural, expressive, matches the music, yet do not make playing even harder? Any tips? Thank you
  15. Just wanna set a good nail cutting plan for myself :3
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