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Everything posted by tchaikovsgay

  1. Guys I need to know how to use full bow hair as I need to play a slow Sautillé passage (the more bow hair->the slower the bow bounces) and I want to produce a fuller sound... Some say 'to use full bow hair, tilt the bow stick away from you, just slightly' Strings Magazine: http://stringsmagazine.com/4-ways-to-achieve-masterful-bowing-dynamics/ I don't get it?? my strings are absolutely parallel to the ground, isn't most bow hair is used when the bow is not tilted either towards or away from me at all???? thx
  2. Guys I'm practicing No. 1 from Études, Op.36 by Jacques Féréol Mazas I found there is a marking of 'cresc.al'. I understand 'cresc.' means crescendo, but what is 'al.'? Can't find the answer anywhere thx
  3. Hi, I'm practicing Sevcik Op.8 No.2, it says 'hold the violin firmly with the chin, and try to use the thumb as little as possible when shifting' in the intro page, I am soooo confused!! 1)hold the violin firmly with the chin : Isn't it ALWAYS wrong to hold the violin with chin tightly (I can hold the violin without the left hand but just gently), as it creates a tension in neck and chin which hinders stamina, thus might cause health problems? 2)try to use the thumb as little as possible when shifting: Isn't the thumb supposed to be the determiner of 1-7 (or higher) positions? I thought the thumb shifts positions with other fingers simultaneously???? thx
  4. There are many ways of holding the violin without the left hand, do you agree with these 2 points that any violin hold should follow them? Artist in Balance: http://www.artistinbalance.org/adjustments/ 1)Shoulder rest should not press on acromion, as it restricts the movement of the shoulder joint. Violin Secrets: 101 Strategies for the Advanced Violinist: 2)strings are parallel to the ground, to maximize the force of gravity for bowing the best sounding point *I personally am struggling between freedom and security, even though my should rest fits my shoulder line, seems like I can't have both of them on the same posture...
  5. Hey guys, I currently practice these études every day, as I am technically NOT sufficient to handle my graduation recital pieces: 42 Studies by Kreutzer Shifting, Op. 8 by Sevcik What other useful etudes do you guys recommend? Also, how do you increase the tempo when practicing? 1)For No.2 from 42 Studies by Kreutzer, Allegro Moderato seems to be Crotchet=120, but there are so many bowing types on left, do I have to do all of them at Crotchet=120? 2)Sevcik wrote "Moderate Tempo", I think he wants us to play at Crotchet=120, yet it seems impossible to do at start thx
  6. Hi I tried to practice double stops for Haydn Concerto in C, and I conclude everyone saying the tips of playing double stops is to relax our left hands I noticed there is one double stop, with the notes G4 and D5, requires me to play both notes using the Left hand index finger, but I found if I use the tip of my finger, it is physically impossible to press both strings stable, yet using pads to press (flattening only my index finger) kind of produce tension So confused!!!!!!!!!!!!!! How do you guys play that type of chord?
  7. I love listening to CDs but I found older recordings (Jascha Heifetz, Yehudi Menuhin, etc) tend to have some background "sssssss" noises, anyone knows why and starting from which year these noises are not recorded? P.S. will "remastering" remove these noises? thx
  8. Thanks, I think I will play them as the same for now, although I guess my teacher was talking about the "Notes" have different pitches depending on their function thing as I should've already been a experienced musician but I am not sensitive enough, thus, I can't even play all double-stops in tune so I shouldn't "learn to run before knowing how to walk"
  9. Or was it *the placement of fingers* are different comparing to that played one after one, instead of the pitch being different????????? If yes then everything makes sense
  10. A teacher once told me the intonation of two notes played simultaneously is different comparing to that played one after one, for one note at a time, I can find the EXACT pitch of notes by looking at the open strings (whether they're vibrating when playing GDAE notes on other strings) or a tuner set to 440khz, but, how can I find out if both of my double-stop notes land on the "correct" pitch if they're "different than exact pitch"??????????????????
  11. The articulation of this theme (C E F G) [Represented by top line notes] drives me insane!! I know the staccato on F means it should be shortened, but, the (semiquaver F) should be played as (a demisemiquaver F + a demisemiquaver rest) or (a demisemiquaver rest + a demisemiquaver F)?? Because I saw different interpretations online!! By famous violinists Thxxx
  12. Should we keep using full hair when bowing from tip to frog (for basic full bows)? Because the book I learn at first said "when bowing near the frog, the bow should be slightly tilted outwards (hair towards bridge), as the hair hear frog is tighter, which makes sound harder to produce" ??????????????????
  13. The Placement of Violin is generally similar: -"Violin" is horizontal -E string's side tilted to right a bit (Correct me if I'm wrong) But I observe that the definition of a "horizontal violin" varies, is the BODY OF THE VIOLIN or the FINGERBOARD parallel to the floor (without left hand, with whole body relaxed)?
  14. I wanna hold the bow following the Franco-Belgian style as I tried the German & Russian style but they don't feel suitable (comfortable) to me... But I don't know if my bow hold is "Franco-Belgian" enough? Or is it still "generally considered as wrong"??? A. Franco-Belgian "The (2)index finger comes into contact with the stick at the extreme end of its second joint, which is hereby thrust further forward to a noticeable degree. There is an intervening space between (2)index and (3)middle fingers, with the (1)thumb opposite to the (3)middle finger; the bow-hair being at an excessive tension and the stick in an inclined position." *Notes By Itzhak Perlman: -(2)index finger's second joint -Space between all fingers -(5)little finger tip rest on wood bent B. German: -(2)index finger's first line "The index finger presses upon the stick with its lower surface, on an approximate level with the knuckle between the first and second joints; whereby the remaining fingers are brought into the position thus determined, the thumb lying opposite the middle finger. All the fingers are pressed closely together, and the bow-hair is moderately tensed." C. Russian: -(2)index finger's second line "The index finger touches the stick at the line separating the second from the third joint, and in addition embraces with its fist and second joints. There is a very small interval between index and middle finger. The index finger assumes the guidance of the bow, and the little finger only touches it at its lower half while playing. The bow hairs being slack, the stick held straight."
  15. Hi guys I have learned playing the violin for 10 years but never investigate deeply until last week: I use the Franco-Belgian bow hold but I am confused which standing style is the most suitable, generally considered "correct"? A. Some YouTuber: 1)Stand together 2)V Position 3)Left foot moves slightly forward & Left B. Some YouTuber: -feet to be on the same plane to shoulder width apart -weight evenly distributed between the two feet C. Baillot, Pierre: -the body straight and supported by the left side -so that the right side is left unconstrained -the arm can act with greater freedom without giving any motion to the body -the right foot pointing at approximately an 45 degree angle to the left foot -facing straight ahead at the music D. Spohr, Louis: -the body straight and supported by the left side -so that the right side is left unconstrained -the arm can act with greater freedom without giving any motion to the body -the right foot pointing at approximately an 80 degree angle to the left foot -turn the face towards the music stand so that the view falls onto the music over the bridge and the left hand *I will test each of them after dinner
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