GoPractice
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Thanks for caring. I miss frequently performing. Attending more performances. Studying modern works at a kitchen table is fun but meeting up with a regular ensemble would be great. Need longer legs for Korfkerrest Luna, longer than what is available for the market for at least two students. The current long ones are ok, but do not want a taller chinrest for these growing kids. Trying to locate more playing opportunities for kids. My commute changed with new students this academic year; found a great little grocery shop and a delicatessen. SO many bad drivers! How about you?
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Better clarify that I use Guy Rabut's abstract of how one might hear instrument. Just bringing up the topic to make the point about how one might think about how a player sounds, using a more familiar language. His article was about applying the use of listening to make adjustments. Training to hear attacks and the long arc of a musical bow is interesting. The crescendo is easier to hear and tonal tricks help to yield a perception of more. Getting quieter is the management of the phrase, sometimes having it die out, disappear or fade into the distance. Since these are far more difficult to assess and quantify, yes, long bows are far more complicated to parse out.
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Activation is likely a more neutral description but that and the instruments vary. The violin can do what the voice can not. But we are more familiar with the voice. The activation required is taught sometimes as articulations of harder to softer sounds using toungue teeth lips. The late Jorja Flezannis was the one who commented on the usage and has helped me better clarify to students how to use the string bow fingers to express. After her passing, one of the best tributes? expressions of knowing her were by Stefan Hersh. I have to give her the credit. It was so simple rather than talking durations and grinds and lifts, pinching of specific fingers. So what we hear and and what is not might have to do with distance and our own hearing. A player in the kitchen with Dinah, might want "gentle" sensitive while the guy in a 800 seater might want heavier plates. Long tones/ bows also change. Before Guy Rabut articulated the thoughts in a Strad article, the changing of the vowel sounds within a bow stroke could help drive the musical phrase. ee- to an ahh-, oooh- to an eee-. Though strange, and perhaps kept to ones self, when making adjustments or judging a better players command of bowing, it help to listen carefully. Contours are more interesting than a flat line. Crescendos and whips/ de crescs and chokes also might offer insight. What's that sound before the vibration stops. Have been done with louder moments in opera, because as a friend said, " makes her butt tingle, " ( and I like/ hate brass chords ) but those of sensitive moments often lost in the rafters where the pianisissimos are lost to clicks of consonants or the aaaahs of vowels, are what might be the most artistic. Callas might not have been the "best" voice, who is to say, but was heard perhaps the most human/ real/ emotional when necessary. It's also biting. Not always just the vowels. On stage we tend to hear different things. It's like asking for more cowbell. It is a little ridiculous, but it is done. And more likely in the lower level orchestras because we want to give the audience what they paid for... Since the luthier is more likely the professional and the player is most likely an amateur, it is worth educating the amateur if they would listen. Not to be disrespectful of the players in our midst.
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The answer is no to both, but you know that now. The use and application of compound also varies. Abrasives is descriptive, but for the analysis of the shape size and composition, materials that protect the pegbox and grip the peg, might matter. And that the compound, when mostly evenly distributed have a thickness. Pegbox thickness and mobility also make a difference because some players are rough and there are occasional walks into door frames in the darkness of navigating backstage. I am all for very thin tapered inserts being sold with pegs. Yes, matched from the sources. Yes, I have spoken to a suupplier about this more than a decade ago after seeing my first set of veneers and the manufcaturer's comment was along the lines of, why add complexity? go with narrower pegs? The climate does matter for many, so it might be a consideration. I tend to gift the current Hill compound to students as part of how to change strings, but personally think it is different from the old material. Used to have a box. It is the easiest to use and perhaps the best compromise for less than steady hands and on stage, holds fairly well with a good fitting. I do have the Woodland set given to me by a tech. In my car, not on bench because I am experimenting. The round form factor, not a stick, drove the tech a bit mad. He asked me to rate the different compounds and report back when his stick compound runs out. The medium has worked well this fall but the younger kids moving up from fine tuners find it a bit stiff. At the shop level, the tweaks are necessary. Maestro Darnton's suggestions are intriguing and powerful. My congrats to Alexander.
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Fishman Loudbox Artist vs Fishman Platinum preamp
GoPractice replied to Dwight Shackelford's topic in The Fingerboard
I want to see one of your shows. How do you wire the rig? Have yet to see a cellist with a belt clip so super curious. Do you use a strap or a long endpin? -
Proper technique for a Russian bow hold?
GoPractice replied to SibeliusVC's topic in The Fingerboard
Would you explain the VC in your ID? Hope it's not for ViolonCello? The violin/ viola/ cello holds are always being discussed, but... The one great concerto Sibelius did not pen. And the lesser viola suite that we yearn for. Identifying and understanding ( starting to ) bow holds or patterns ( Strad various vs DG myriads ) will make for better players. From the tallest to the smallest of us, we vary in hand size and proportions. Having said so much, there are many pictures from above, so we see the spread, the stresses, the pinky, but the thumb is lost in the discussion. That's my contribution to this post. I have been to so many seminars and clinics and discussions, but even better violinists have a difficult time getting into specifics. I take better teachers off this list, because they have goals or ability to blend and adapt student playing. violinnewb's comments are important because the hold is one thing. Arm dynamics, shoulder and back play a larger part as one expands literature. Playing Haydn tight is ok. Playing Bach well in a large church is difficult unless the body is in sync, let alone Ysaye, is very difficult. For difficult passages, we might revert back to what is familiar or comfortable to our bodies and ( the audience's ) ears. Consider the thumb position and flex or lack of. I am a slow learner, but had a compassionate and comprehensive teacher who spent several years on both vibrato and arm/ hand mvmt. Sometimes half a lesson. I was a neurotic, stressed and kid, that needed guidance. Again, stressed for being not so bright, did not hear or feel the tonal benefits until about that third year of study. Like a team, muscles and their motions need to learn what it is they are doing. It's not a set position but the willingness for all players/ muscle groups to adapt for the developing play. I think it might be too much to say the thumb is the striker or the goalie. We see the fingers; please examine the thumb. Also try to work loose, at least, at first. And that is a whole 'nother discussion. So go forth, bow holds, discussions and explanations. Try not to attempt a change before December juries. -
Two things leading to other thoughts, for some? Much like players ( often younger or inexperienced ) who do not fully realize potential string complexity, string quality is difficult to judge unless fully utilized. Not about maximizing output but discovering or understanding a variety of qualities or characteristics? If that player is happy with how a string sounds, might last years, certainly I am not to fault them for that joy. There are players who under- utilize a well set up post. In teaching or explaining concepts or the complexity of bowing, sometimes I have to explain that there is a soundpost in an instrument. There are university level students who have no idea. That the coupling allows for what is a bowed instrument quality, that it is necessary to play through to the back of the instrument to fully ( to see what the player can do. ) That it is not entirely about the force one applies, but how one applies it. And a soundpost post fit " properly " helps in making some players work at another level. There are grads and strings, and so many factors. But a better observer might know how a slight adjustment might make it easier or better or worse or harder for a player. Coupled mass might be less sensitive to activation, but once started would have more sustained vibration.
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Going to a fancy violin shop to buy a violin
GoPractice replied to mimi T's topic in The Fingerboard
This will be wordy. The suggestions might help? Well made instruments are complicated. The initial playing of new, well made instruments might be a bit difficult. Not all but quite a few... New instruments will often sound significantly different, compared to later in their lives. First impressions are ever important, but unless you've played many, it can often be a surprise. Too responsive, non- responsive, scratchy, no ring... Just activating sound might be difficult because it is both new and unfamiliar. Upper half of the bow is friendly, hopefully bringing out the brilliance and sweetness and gentle warmth of the instrument on the upper and lower strings. Lower half and arm weight also take time to settle in. Double stops help determine string locations as they might be different with a different chinrest. It is also helpful to bring/ take your shoulder rest if you want to settle in. I am well aware of my fuller up and down strokes. I pair them in a sequence. Usually a comfortable up and down of 16 strokes on single strings whatever the combination can be a musical phrase. My brother is a percussionist and pounding on the kitchen counter in anger can be musical. Ups and downs can sound way different. The ups easier and more forgiving, the downstroke loading a new post set up might be a bit more hesitant and complex. I play a minimum of about 128 strokes on open strings. I know this because I can sort of better understand the different combinations of strings and 8 variations seems like the minimum. Being known for some aggressive playing, I actually want to know how much bow movement take the open string to activate. Up bows best. Bow speed tests follow. Up bows are great because as bow speed increases, it is easier to bring the right hand to the instrument applying weight as the bow speed increases. The next step before approaching scales is to the 3rd position octaves, meaning the first finger placement will match the lower octave string. If there is resonance, one might here it here in this position. 64 strokes matching, fine- tuning the left hand. The 2nd finger will play the note adjacent on the upper string side. Fine tune the spacing between the fingers, listen for the tonal differences between the identical pitches across the strings and vary up and down strokes. If one feels comfortable enough vibrato, add. Another 128 strokes. In addition to prepping one's ears, you are getting to know the instrument, how it feels and responds and the instrument will try to respond the best it can. It is mutually beneficial. A mindful maker or shop owner will listen and might offer suggestions or make adjustments. Totally normal. I imagine Maestro Manfio doing this all the time. Hopefully in this time, the nervousness is gone. When I play expensive instruments, I try to do the above for about 30 minutes. If the shop is busy, I leave with the instrument and do it elsewhere. And I try to bring my best understanding of how it is being played. I do not expect my students to do this, but developing this mindfulness is also important. For super touchy students, I ask them to locate the 3rd finger ( in first position ) that familiar octave note and reactivate with the bow. Maybe locate that familiar sound or resonance? The thumb will need to be resettled, but the the player just needs to get comfortable. Relax both hands. Broad strokes, good posture and realign the body mvmt. Then add the 2nd finger, watch the finger shapes and establish the pitch relationships with the 3rd finger. Usually a half step for most, the 7th or leading tone into G- D- A- major scales. Listen to the voice of each finger on the string. Then roll to down and up to the 1st finger, occasionally playing the open string at the bottom. This settles many players into the width and scale length of the instrument as there are children who also scale up a size, and the width of the neck. Hand shape and the left elbow placement might matter and chinrest comfort combination with shoulder rest gets in the way of some at this point in playing. The process can be exhausting. If the instrument makes it to this point, at least the player has a bit of a knowledge to start warming in to making an assessment. But with new instruments, play factors make a big difference and the shop or the maker should be there to help. I was often puzzled when some would get an instrument and start modifying it as soon as they got back to town. In some instances, it made sense. But changes, in my opinion, should be gradual as even string sets can change how an instrument sounds or reacts. My newer instruments have taken years to how they sound now. Usually, fuller and more complex. This might be unusual, but because the balance has changed a bit in some of my instruments, they might be a little softer overall, which is reasonable. One is quieter, but the tonal colour projects better. Good luck. I hope this is not overwhelming. I try not to have expectations. In just starting to get ( good ) sound gently, every instrument will hesitate. Focusing a bit on the activation tends to get one layer of nervousness out of the way. And easing in with up bows is reasonable. If a bow does not work well in one's hands, ask for another. -
Any seller should study up a bit. Before the internet, even common knowledge at the player level was difficult to obtain. Even now, at some shops, information might be limited. I still spend time at University libraries but am fortunate to access many bits of info in print. The amounts do matter. The amounts in 3- 4- 5- digits figures rarely bump up to the next, but much can fall a digit or two. Stamped bows and mislabeled instruments are significant. Better Papers are expensive. Take that as you will. Not getting into the weeds for this, but better workmanship and condition, from credible sources of has some value.
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Check body length. Check string length. Adjust post. There is an assumption that instruments discussed are set up correctly. This is often how I start with a boxy instrument. Then the touchy feely how thick, where does it ring... then since adjusting the bridge position is free, that offers insights.
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Need to correct, that most of the older instruments have end up in a partnership where they are shared. Insuring instruments can be costly. Sort of a way for trading up to a bow.
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My advice rarely changes. The player needs to love the instrument unless it is their job. When some people picks up an instrument from a maker or a shop, it can change their lives. With the help of a great teacher that will help navigate the cause, a player would likely improve the most with that guidance. But the player also needs that motivation to believe in themselves. Kids improve when I loan them a bow or instrument for a term, for sure. Intonation is one area. Hopefully, tone production. But 10% significantly improve, like drawing tone. Yes, if you attend an institution that loans instruments, take advantage. Otherwise, there is tone matching, playing in a particular ensemble or to hope to play with one. There are the styles in question. Are we to presume that no lowbrow music would be played with a 30k. Is it an investment? I still own several older instruments with exceptional ( tonally flexible/ dynamic or unique sounding instruments ) that are reasonably priced. Most priced in that lower 5 figure range. Some in the mid 4s. When I had one instrument, that many considered great, it was due to price point but now priced upper 6 figures. I could not really play it well and do not regret not owning it/ in possession. It is shop practicality, but it is extremely difficult for many players to determine to purchase an instrument in one week of first discovering the instrument. That is also the dilemma with travel. Shipping back. And one might have to ship the instrument back, which in one instance was more expensive than a round trip flight. Rather, I try everything within reason and keep an open mind. Also, there are limitations where not all instruments priced at a set pricepoint are accessible to players. Some instruments are on hold or limbo. We will call it that. Fly to the Reed Yaboah or Metzler shows, go to Indianapolis VSA. Speak to Maestros Harrison or Allen. I am hardly a person to give advice, but know a few things. There are improvements, there is inclusiveness and there are the investments. As a coach, I can only help you with one as you can only control one. Most instruments are more difficult to sell than to buy. The most prudent buyers ( but not the smartest ) are the ones that try to check all boxes to some degree. I have no difficulty selling my bowed instruments because I think I know what I am doing. But all else, including guitars, they have to be exceptional or way under market when the purchase is made. Synths and mixers are the worst as they take up immense amount of room and require very expensive servicing. Also at around 30k, trading up becomes far more complex. The courtesy of the shop trade- in is almost lost. I know this information does not help. The better advice might be to purchase a Jay Haide ( a new instrument, ) a great bow, and practice well.
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It can be difficult to discuss certain aspects of an instrument, even with shop people. Crisp can be associated with staccatos, in terms of attack and duration of the sonics. Or feel. It can be a perception from the brain to the fingers to the ears. Defining might be difficult. A lot of lessons or coaching is the process of defining our experiences. Cloudy or messy, the opposite of clear? tone sometimes takes awhile to settle in. Set ups might take days, weeks, months and years to achieve a particular quality. At some shops, I have taken delivery of dozens of violins, nearly identical, but still sort by appearance and then sometimes weight. If they look, spec out similar, pre- cutting a dozen(s) posts and pre- cut some bridges to saves time. My point being, at the end of the week, there will be some instruments that sound very similar and some a bit off. Or even a lot off. And this is sort of a blessing at these numbers. Most players do what they do and like what they like. Variety helps in most shops, but there is that cost. Cloudy gets to be warm, messy starts to have a sizzle. Side bar: the crazy aspect of a super clean tone is that the player must also play with intent and clarity. I have no answers to your situation but if one start to determine the parameters needed to satisfy one's ability to control a desired build, the incrementally increasing data set will get you there. Sorry for stating the obvious, but this is what I often tell myself. Sometimes management does not care about what I think, and just have to get by with adequate or hurried work. My " knife " might get faster, but maybe not better? Belt sanders are real. AI is the belt sander of content creation. I still have plenty of blindspots on set ups. It might take weeks to settle one tiny aspect of a larger problem. I can get clarity with out volume, then the client will complain about that. After the sound starts to open up, the e- or a- or g- string might "develop" problems not to a player's liking. The dialog and the understanding of both parties are necessary. I sense satisfaction on certain aspects of your builds. Fortunately you are the builder and player. Try giving it some time, as the arc of expectation diffuse into analysis and awareness and other aspects do get better. Not trying to be patronizing. There are those who keep expecting improvements that they desire or perceive. Sometimes, not percieved. Sometimes a series of events or improvements have to occur and that might/ will, take time. Try to compare the integrity of the seams, the corners, the ribs. Saddle? nut? fingerboard? Integration of the heel? If the arching and projection are similar, swap bridges. I tend to brew a lot of coffee or tea, as I need to step away sometimes. Change bows, cookies, 3 octave scales or arpeggios. Another project. There is sanity and then there is work. So I can share in your frustration and would be curious if it is one simple thing. Again, not knowing the degree of clarity or response desired... I would also try making a simple audio file at a distance and play using a variety of dynamic ranges to determine if the instrument also sounds stuffy or choked.
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The conversation on wolfs do appear to evolve. I was told to play through them decades ago, with old timers. Performing with/ against a piano can be the idea situation or in an orchestra where one can fake it/ drop out. On violin, given minor player adaptions, when it is really impossible to play through, one has to go to the better shops. Violas and certainly cellos more severe instances. The pitch width and variety/ quality of the wolf matters. I would assume a well made modern instrument is likely to have a narrowed wolf. Players with experience of playing "thorough" a wolf can assist in making suggestions and establishing thresholds. But experimenting is also important if curious about tonal ranges and dynamics. If one has a piece that requires many notes to be played quietly and sensitively, and a particular wolf gets in the way, another instrument might be used. Certainly on sustained tones, preventing hiccups in the sound might turn into a grind. That devastatingly strong wolf might require a visit to a shop, with an open mind. If one were to work from the simplest to the more complex solutions, the process might take time. I do know of kids ( their instruments ) arriving at a summer camp and the conditions and extra practice time sort of sets wolfy things into motion. They have a level of expert naivete in their playing and when they nail it, the wolf appears. Usually they are busy enough that their ears and bodies adapt. I lent a kid a bow once and the wolf was more manageable. He just needed someone to confirm what it was and possibly something develop work arounds and he did. The more intense types might panic. I think softer finger and quicker right hand/ finger work helps adapt quicker. This might be a bad suggestion, as many wolfs can be more complex. Learning to sneak up on a wolf can help determine what transitions/ landing on the note make the wolf activate audibly or not. Letting go of the hardness/ squeeze of the left hand pad can also help in more sensitive playing. On melodic notes, I tend to push the treble overtones in the very quite sections, in hopes that the sound carries. While in middle voicings backing off towards the fingerboard and adequate velocity given the direction of the bow can help overcome a hesitant string. The more tired the string, less predictable the saving effects. Steepness of the instrument angle, arm flair, flat hair. So much matter. On cello, a friend returning from a festival in Europe commented on the micro managing of the bow work, finding the proper - correct edge/ bow placement/ pulling - securing to the string to the tip... that sensitivity for the better players, made for an more exciting performance. Of course these sessions were in smaller rooms, but he also commented on how many of the older instruments ( restorations, I am sure ) did not have the traditional sonic problems that we'd encounter in the past. Certainly kids are still muscling a bit ( on newer instrument, or bashing old ) but for, the lack of control, massive tone is a good alternative. And sometimes wolfs go away given playing time.