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Etorgerson

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  1. Update. I can now say that I have only positive results upgrading my violin with the Concarbo. I took off the strong tension Virtuoso strings and switched to Larsen Tzigane mediums and was able to lose the wolf note eliminator.
  2. I bought a Glasser as a pit/outdoor/-20 below zero / >90 degree instrument. It plays well, is easy to play with good intonation, and can sound passable for a student. It will need a professional setup on the bridge and it can use a denser ebony tailpiece without adjusters as it already has geared pegs. They can also keep it as a back-up for when a better step-up instrument goes into the shop.
  3. I realize that I am coming late to this party, but I have just had a positive experience with a lightweight Concarbo violin tailpiece on an 1895 Berlin made violin. I originally bought the instrument for its warm and broad sound, perfect for giving a fuller almost Maggini like quality when playing second. Lately, however, I have been wanting more projection and clarity, especially when sitting principal in a section. I had tried harp and standard tailpieces in rosewood, boxwood, and ebony some hollowed, some not, with kevlar, dyneema, titanium, nylon, and steel tailguts matched with different
  4. As a former music recording engineer in studios in Chicago and L.A., mic placement and room placement will make a HUGE difference. For example, the reason why you hear so much bow noise in Heifetz recordings (Itzahk calls this his zzzht sound) is because he liked a very close mic placement. Invest in a floor mic stand with a boom arm so you can experiment with mic placement. To get a good setup, try talking to the mic while moving around the mic to narrate what position you are playing from. Start at about 3 feet up from your violin at about 45 degrees from the violin facing squarely at t
  5. The upper G-string wolfiness or huskiness is why I use a harp or diagonal style tailpiece. I find that the longer after-length relieves some of the lack of pliability in the upper positions and opens up the sound.
  6. How many different shapes of mask have you tried? Some have valves that may help with air exchange. Some cover more or less of the jaw bone if your grasp on the chinrest is the issue. Some dermatologists in my area have reported that you should avoid wearing masks when you are far enough away from others because of the humid environment between the mask and skin. That said, I would not choose to go maskless in an enclosed room with a student - unless there is a lot of air exchange ie open window or exhaust fan to the outside. I would be concerned about suspended virus circulating in a sma
  7. There are various grades. That said, mine is junk. I have tried many changes to make it at least playable as a back-up instrument for outside performances to no avail. I keep it only as a keepsake that my grandfather gave me on a visit to Tokyo. He was one of the first Suzuki teachers. I was a brass major beginning a degree in composition. I think that one should consider something like a used Chinese Andreas Eastman, Snow, or maybe Samuel Eastman, Shen or Yamaha as a more basic starter..
  8. If you are just starting out, Jargar d and a are inexpensive and Spirocore chrome c and g won’t break the bank. That would be a fair quality set that is inexpensive. The cheapest playable set that I have used is D’addario prelude steel strings. These all shoukd be available at any local dealer or mail order house. As to set up, get thee to a luthier if you are not experienced. Could be many things from loose seams to weak tailgut to warped bridge to fallen post, to problems in the neck or pegs.
  9. My viola. It is mislabeled and looks like it has been abused- crushed bout from an overtightened chinrest clamp, scars on the treble side table. But it sings in the upper positions like a violin, even on the c string yet the lower register is rich dark and full. I can play it for hours on end without fatigue. It has a nimble diminuitive neck that facillitates the most difficult passages, polyphony, and etudes. It is so well balanced that I rarely play with a shoulder rest. Many of my colleagues have offered to buy it if I ever want to sell. It is labelled 1926 West Germany (hah, learn yo
  10. Two French conductors of excellent quality that I have worked with often sang parts in solfege. I’ve been curious about learning. Fixed or moveable? Are there reference works or methods that you would recommend?
  11. To get back to your original question about viola bashing, I play the two least ergonomic and compromised instruments in the string section- bass which is almost always played at th 3/4 size by everyone but professional classical bassists, and viola. The viola was developed in two primary versions- a smaller more agile one closer to Hutchins’ physics ideal violin resonance length of about 15.5”ish and a larger one which should be about 21” to match the viola’s frequencies. For most average human hands, it gets much harder to play in tune using violin style fingerings on an instrument larg
  12. Matesic, for some reason, I can read alto on cello or bass, but not bass or tenor clef on viola. It’s some kind of mental block that I have not had the desire to fix yet.
  13. To work on treble reading for bass, I often read out of fake books, song books, or 1st position violin books as the range is usually reasonable for high position bass work. I also practice playing down the octave ala dvorak cello. There’s plenty of material on imslp.org for free or you can see what your local library might have. For trombone, I grew up messing around playing trumpet and tenor sax parts for reading Bb in pepband events (games etc.) Think tenor clef, but with the accidentals to transpose. Reading in C, see above.
  14. Look at Simon Fisher’s books. Basics in oarticular. Not a method per se, but very comprehensive with excellent technical details.
  15. I agree with funkyd04. Just last week I was playing sextets on bass with a german bow for two works and switched to cello for Rimsky-Korsakov and the rest of the evening. I prefer German on bass for control and increased dynamic range as well as a more relaxed arm position that lets me play for extended periods. When switching to cello in the same session without warm-up, I noticed how much less arm weight the cello could tolerate and quickly adjusted. Normally, I don’t switch on the same session and sight reading had taken more of my attention than the transition. I would personally onl
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