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violinnewb

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  1. Double spcaing after a period used to be the standard. Not anymore. I still do. However, hyphenated words need not include spaces.
  2. Very happy for Maestro Cole, not happy for Southern Californians. We will miss him. The real question is whether Ms. Tarumoto is leaving the LA Phil. I think she is fabulous.
  3. I listened to a podcast by Nathan Cole and Akiko Tarumoto and one of them said that they rehaired their bow every few months (I think every 3 months?). I looked into this and after speaking with several luthiers came to realize how much more often I should be rehairing my bows. Aside from the obvious reasons (better grip, etc) bow hair stretches over time and continued use. When the hairs stretch, it causes the bow to be tightened more. That in turn affects the stick, its curvature, and the frog mechanisms.
  4. Love the Passacaglia - hope to learn and perform it someday.
  5. Same. I was just showing my son how I practice my spicatto or spiccato or spiccatto.... I use Shraedieck no. 1 and Kreutzer 2. I showed him to start single string martele, then staccato, then bounce. I showed him Kreutzer 2 because of the string crossings. That etude can be used for so many things. BTW - you can practice up bow and down bow staccato using the Shraedieck too.
  6. The Mendelssohn is a piece that has eluded me all of my life. Either a teacher did not want to teach it, refused to teach it, thought I wasn't ready, what have you. The truth of the matter with the concerto is that it fits really neatly into the hands. All of the pyrotechnics are manageable and are technically easier than one would think just by looking at the notes. The difficulty of the piece is getting the intonation, style, and flow right. Don't get me wrong, I am not breezing through it at all. It is difficult. But it is much more manageable than I thought it was, especially after having done tons of etudes in preparation. I just listened to the Wachs. Now I want to learn it!
  7. Recitals and performances rarely go as one "would have liked." The important thing is that you did it and learned something from it. HUGE CONGRATS Rue! I am working on the Mendelssohn Vln Cto in e minor, all three movements, and a tone of etude and scale work. As a part-time musician, I feel like I am revitalizing my love of music and its eating into my real job. LOL
  8. Who has? LOL This is not uncommon. Not really. The bow hold still has to be somewhat "correct" in order for one to be able to perform certain techniques. My biggest piece of advice is to get a teacher if you do not already have one. Remember, what YOU think is "comfortable" may not actually be comfortable. It may be that you feel the most comfortable with the limited knowledge you currently have.
  9. Fingers spread on bow may be "Galamian" but is certainly NOT Russian/Auer. Ray Chen uses a hybrid russian/Auer bow hold. Again, each person is different and adapts differently. I certainly wish I could at least bow like Ray Chen
  10. 1. I do not play much piano so my opinion is lay-person based. My thought is that when piano keys are pressed, the fingers are in a downward plane. That seems to be the same for all fingers. So when you press keys with multiple finger, like in a chord or leaving fingers down in a scale, they are all in the same general plane. BUT-on the violin, and perhaps the cello, there are multiple planes of directional force on each finger because of the position of the notes on the fingerboard. For example, in the first position on the violin, the first finger can usually just plop down. Then the second finger goes down, but at a slightly different horizontal plane, Similar veritical plane, but different angle horizontally. Third and fourth fingers then move much more on the horizontal plane. What seems to happen for me, and according to my current teacher, is that now I have to exert different pressures when leaving fingers down. By lifting and keeping each finger independent, I am eliminating the physical pressures from the multiple planes of finger position of the other fingers. This sounds confusing when I say it. 2. I really think that "each key stroke is a tension-release action" is my ultimate goal!
  11. While I am certain the mechanics of cello and violin are different, I can offer you my experience as a learner and teacher. As a learner, still taking lessons, my teacher wants me to practice minimal effort passage work and only putting down the fingers I need. For example, I would not leave any finger down to play another finger/note, unless there was some anchor point that I would need to return to immediately. SImply put, I am being taught to lift each finger when I do not need. This was confusing because it seemed like more work and contrary to what alot of other do. BUT--the idea is that you are exerting ONLY the minimal pressure necessary and avoiding muscle work involved with leaving fingers down. As a teacher, I started questioning how to approach this topic with beginners, intermediate students, and advanced students. Leaving fingers down is my default teaching method. This is to promote muscle memory for the first position and to condition the finger muscles to remember what the half steps and whole step feel like. BUT- is this counterproductive when later on, I may start teaching them to lift unnecessary fingers? Teaching beginners finger independence early on may be beneficial to later stages of learning. But I still struggle with whether this is the correct approach. Now, specifically as to the 3 and 4 together...sometimes, I do this too in limited situations. I cannot recall what those limited times would be, but I know that I do it as well. Every person is unique in physiology, learning, and playing. Sorry for using Ray Chen, a violinist, as an example, but if you look at his bow arm and hand, he uses a rather "russian/Auer" type bow hold but his fingers are more spread apart. He has mentioned that he never really learned this, he just started doing it. To me personally, his bowing arm and hand defy logic. BUT it works for him tremendously successfully! Wait, can you use 2 adverbs in succession?
  12. I like Lot 416. Seems like it is in good condition. The later mounted frog and button doesn't bother me one bit because I am not a collector. Would love to try it out. Also, seems to be a lot of light Bazin violin bows with certificates. In particular, a couple of Bazin bows that are not pernambuco (beeswood and/or brazilwood). I don't know anything about those other woods so I am a bit curious and interested.
  13. Thank you for the replies! The Instrument cleaning/polishing one has interesting reply results. I try and maintain the overall cleanliness of my instrument on a weekly basis by simple wiping. However, my fingerboard gets alot of sweat stains and the edges and corners of my violin begin accumulating gunk. What is this "gunk"? I do not know, I guess its like belly button lint? The case cleaning is also interesting. I think that I too clean my case when I realize the photos inside are outdated. In doing so, I find alot of things like extra pencils and pens that have never been used and thin out my case clutter. For some reason or another, after awhile, the case becomes cluttered with those same things I threw away prior.
  14. It would help if you were more specific as to the "missing" volumes. IMSLP has Volumes 1 and 3. Is your friend looking for Vol. 2 or 4? The IMSLP forums suggest that certain University libraries have volume 2. I think that the complete set will be uploaded to IMSLP eventually based upon the forum comments.
  15. How often do you: 1. Rehair your bow; 2. Change strings; 3. Have bridge and sound post adjusted; 4. Have instrument professionally cleaned (and possibly polished); 5. Clean out your case? This is just a fun post to see what professionals and non-professionals do to maintain equipment. No need for dissertations.
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