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About GoPractice

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  1. Of course you know. The grace note is not so much in question. There is a wobble in the ensemble after the opening. No question the players are world class. Are there degrees of energy and urgency? Gemutlichkeit ( comfort, according to my browser )... I am not old school but certainly grew up in an era, here on the west coast of the US, where listening to records from the Eastern Europe consisted mostly of those from Melodia LPs. Otherwise, Isaac Stern? In the 90s, many new musicians moved to California from Eastern Europe and had an opportunity to play with, and learn from. Not that
  2. Currently, I can hear significant deterioration in my own playing. Ensemble practice is with only one group and distanced performances are few. But I do take my instruments outdoors and to churches and play in their courtyards or alcoves. I still try to learn literature. I do need to re-learn the 3rd mvmt of the Barber violin to play fast. Speed, response, ear training, and locating the "center" of the vibrato has been more and more difficult since the new year. I do need to start recording myself playing far more difficult pieces and re- working my hands. Different parts of my brain
  3. Chris Reuning is very busy, like so many of the fine people on this board, but he has been receptive and patient in the past when having spoken to him. You might contact him directly. Most of the better shops in Southern California have a working relationship with Maestro Reuning. But the last time I spoke to him, it was in the Benning shop. If the access to the instrument is limited, perhaps this location might be the easiest and closest?
  4. When I play grace notes, if elongated too much, the audience might hear the grace note as proper fraction of time. If we play the grace notes too quickly, it sounds clipped. We can reduced that clipped, abruptness by playing a bit of double-stop in transition to the goal note. It is like the slight blurring in frame- by- frame slow motion video. It is getting that information to the audiences ears. Also a grace note maybe written in, when those specific notes are open to some manner of manipulation. Show pieces have a great deal of grace notes, or dance pieces with slow pick up or an
  5. Sorry, need to clarify the Opus numbers. From the Op50+s on the music is much more expansive. And need to clarify more in terms of chamber music. The Slavonic Dances are fine, but as a performer, there is not much there. How many of you have performed the the early Dvorak Symphonies? How many have heard them? The early works are important but not the same as the later works. Haydn's early quartets are charming but rarely will commit to performing them as most audiences expect more. In the dozen times I have performed this piece, the wonderful cello opening was always transitioned into str
  6. Could you better describe the buzz? Does it sound like metal buzz ( tuner ) or wood ( open seam ) or a very fine glowing buzz that create an excitation? I am always searching for that glowing buzz.
  7. And will mention that there are maker and region specific experts.
  8. A 2nd or 3rd opinion would usually go to Maestro Dipper here in the US, but if you are serious, you will have to visit several people.
  9. There are many strategies and could write a book about it. From a neuro- muscular stand point, one must do it if one is on the fringes of 4+ sharps or flats. If one is working on difficult pieces, this ( the scale among other etudes ) is necessary. Having reassured the need to pick up the instrument... I watch morning news or listen to Chick Corea or cook while practicing. If one gets it out of the way, even for 5 minutes, that was some practice. From age 14 to my late 20s, I never missed a day of playing, and mostly for 2+ hours. The vioiin, traveled with me everywhere. I made effor
  10. Richardson? I used to get sushi there when visiting kin folk. The museums, the crazy fair ground, public market in South Dallas? I miss Texas for all its complexity. Have a student in Austin and may visit him for next year for his graduation. This year's graduations are a wash. I wanted to visit Curtis and still may do so, but the current situation is strange. I have had both shots of the vaccine but still awkward travelling. This re-opening needs to be thought out carefully, Must say, I would love to hear your stories. A lawn chair, some drinks, a cool night...
  11. Listen for the first tutti of the quintet. They did miss it? Not being too critical, I do not think. Live performances are difficult but there is certainly a bit of disconnect at that point. Nervousness? I have made that mistake, too early, too eager to play. But that sudden increase in texture is epic and they missed it. The piece is great, but in all these years did not realize there was a 1st Piano Quintet so will have to research. Again, this is what we consider, what we teach. Dvorak is wonderful. Did not have the expertise to play Dvorak well enough for my grandmother before she pas
  12. Wow, how great... Have always wanted to play the Jongen. Still chasing after a Mahler 9 too ( that was not an amateur orchestra. That's the one with the pipes? How was Brusilow? Heard he was patient in an era of hard to work with conductors.
  13. It was this very bright, polished silver. Back to Hendrik's initial thoughts. Humans of all sizes scale differently, and this guy was ( well, just sounded ) powerful. It had to be silver. Tinsel, though available was generally not on many bows through the 80s- 90s, where I grew up. Ms Mutter, Ms Chung, possibly Ms Mullova, are ones who scale on the strength side. Growing up, many of the male violinists I listened to were short. One violin teacher who was tall commented on that the fact that I had to, in essence, consolidate my tone to be "heard." He on the other hand this beautiful flowi
  14. My experience has been that Balance Points vary a great deal. Most shops try to keep the range reasonable, but on occasion it is way off. Played an Ironwood bow once that initially was impossible to get off the string. It felt as if I lost control of the arm but after a few minutes and a great deal of effort ( stiff arm, wrist ) was able to get the bow in the air. Many ways to adjust BPs but there are limits and some solutions have changed the sound. There was an older guy out here that replaced all Ivory tips with metal on his A Lamy bows maybe in the 1970s. He was a taller guy. He
  15. "Works a little better" how, is my question... There are cellists that have longer bows just to have the experience. I removed the wrap off of a bow once and it appeared to had been spliced and the an inch longer, spliced 4/4 bow. There was someone out hear doing this. The original stamps were missing, but they appeared to be fine working bows. Longer arms are generally heavier and in that, slightly more difficult to move, but the longer length of the fingers can be effective in compensating more rapid movements. If one wants to "pull" sound to the tip of the bow like Ms Mutter, sh