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  1. Glad you put "German" in quotes. Not to contradict what you wrote as others will understand the statement in the context of how many of us listen to music now. Longing and restraint make Brahms a slightly stingy if not a pained and obviously struggling composer. As I grow older, these chamber pieces and the late Beethoven quartets are the pieces that get studied the most and tedious to teach. Most are exhausted after an hour of practicing 2 or three sections. No one wants to hear that they are dragging or getting ahead or too loud or soft. As a listener, it is necessary to give the pieces time to tease out the essence of how he is building up to a sometimes not so great payoff. I used think that way of Sibelius, but he's another guy that requires time and patience to work out subtleties. Many of Brahms' pieces were re-written many times - see piano quintet as it fits in these sets. I think many in his middle period is unapologetic and still innovative. Since Clara and Robert Schumann were mentors, one can see how disciplined the composing gets. The 4th symphony can be tiresome and bombastic - even for pianists. The dilemma is in how one listens and performs the works. Over indulgence on the player's part robs the listener of the barren-ness of it all. The first sextet then the second offer a good easing in point for unforlding my favorite parts of Brahms' butter. With those ideas established, the 1st two quartets, and the clarinet quintet ease into the undulations and uneasiness and turmoil of life. And while Dvorak's music appears develop with the age of the composer's age, broad, scenic and programmatic, Brahms is more a purist and stays within the bounds of his rules. Robert Schumann tends to play more with themes a la Schubert, that aspect did not trickle down to Brahms though his works do have more globally applied themes. The simplicity of the 1st mvmt of the 1st violin sonata or the opening cello solo in the 2nd mvmt ( slow ) of Op60 piano quartet can be a bit ecstatic for some and surprisingly emotional for others. Some i have played with liken it to a form of musical asceticism. We thank thee for the meal we are about to consume. Makes a huge difference who one plays with... at short music camps, Brahms gets a high satisfaction rate for those willing to tackle the obvious and impending struggles with their group. If one person slacks, it can be difficult for the others. In some instances, Brahms writes in the restraints shackling the players to difficult rhythms making an expressive performance difficult. I think of Joachim and his reputed restraint and expert technique and see parallels in Brahms' composing. So less vibrato? Some resolutions and harmonic changes are brutal so during rehearsals, it is often suggested. Brahms has made it far easier for me to better play and appreciate Mahler ( the 9th and 10th are still whack and difficult ) while Bruckner and Wagner, though impactful require calls to a physical therapist. In performing these pieces or playing better instruments, it does require work to get the best out them. Not all play easily. The difficulty is in knowing what is there and to get the best out of what is there ( or possibly there. ) My difficulty with listening tests or comparisons is larger halls is that, near the limit ( solo repertoire, ) the pieces start to sound tonally similar at louder volumes. And while it is true that most soloists are competing with ( against? ) and orchestra or a piano, a majority of careers or pleasure is found in a different dynamic range. It is interesting to subjectively evaluate instruments. At least for me, it is. And the Brahms vln concerto opening and following are great contrasting sections. As a performer, making the contrast to the middle of that the 2nd page ( to violinists who own most ed. ) is so difficult. Smoother, quieter and coherent, the violin should be responsive and sizzle a bit. For someone given an instrument, sometimes the violin will choose the repertoire. As modern players go, this is where I give Repin the nod way over Vengerov. Though Repin can be boring to some, it seems like he can make most instruments work for him. Same teacher, but live, Repin's sound was remarkable. The new instrument ( ? ) appears to sound better than the Ruby. My pfennig x2.
  2. You are correct. In this situation, general advice was given. It was not only for Nik Kiklo but for others. The advice could have been far more specific. Based on Szerynk's performance, his shifts are structured and studied around harmonic movement that Kreisler most likely used. Many fine violinists stay in position and navigate one chord family in one position for the duration of a half measure or greater length of time. It's just practical and sometimes there are no other options. But there are also very fine violinists who are very tonally sensitive that shift in a more melodic pattern following the contour of the passage, perhaps shifting within the particular arpeggio. It is far more risky but may pay off tonally. One of my tall teachers was able to whip out two octave arpeggios easily on one string. He was one of the most remarkable 2nd violinist as he performed with power and there were no tonal gaps. Though it is expected of us on the upper part of the strings, he could play 2+ octave arpeggios on one shift. A local audition coach shifts so smoothly that she can also play melodic lines fluidly without any tonal breaks. She is not that short but some of her instruction were with the best short players of New York in the 60s and 70s. My fingers are not supple enough to mimic her playing but her suggestions always require effort.. But when students shift while follow contours, that desire is often because odd numbered positions are more mentally comfortable and often more pitch reliable. And I only talk of some students, but include myself as one who shifted where it was the easiest during college. Several teachers at the time coincidentally performed the Beethoven with various orchestras and reminded me that the difficult was not in playing the notes but was making musical sense and communicating to the audience those chosen ideas. It was true, in that with practice, it was possible to play the opening octaves in tune and at speed and the runs were essentially scales. But what I played, it sounded like crap. My suggestion was based on the thought that most players, regardless of hand size, should learn each pattern within the most accessible position for the note (s) sequence and shift frequently. It is tempting to over stay in one position or make chunky shifts. Instead, stay in the position that offers the greatest coherence that particular harmonic structure needs. This is a solo piece, so the notes do not have to be played with equal- temperment. Major and minor passages can be better etched, especially during the faster passages. I should use the term, etched, carefully as there seem to be debates about playing too cleanly. In these passage, fast clusters of notes require that all fingers be able to strike any note within a given position. And here's my point: establishing the placement of the 1st finger in all position should be a priority when learning the piece. In most pieces, any finger can be the anchor, though the 4th is most rare unless reaching back for 9ths and 10ths and even then the 2nd finger would likely be a better choice. So as just stated, even though the other fingers might land and start the passage, establishing the position via the 1st finger will make playing the piece easier in the end. For my example, anchoring does not mean to keep the finger down, nor to squeeze, but to virtually determine that if one were play the first finger, that particular pitch would be dead on. There are many ways to learn any piece. And though obvious, any approach can be abandoned at any point. And sometimes just hacking through the piece is necessary. But for this piece, once one gets started and is finding themselves mired in the faster changes/ passages, clean shifting might make progress faster and the piece more fun to play. Determine when to shift and how far it is to the target. Mr Stross' suggested Szerynk video is quite clear how economical the choices were made.
  3. Correction: There was a time when some other branded geared pegs were grinding themselves down. Have not had any problems with the Wittners.
  4. Wittners do feel better than other geared pegs. There was a time when some where wearing out due to the lack of lubrication. They are not attractive. Most instruments are likely to be sonically immune to the added weight. But there must be some change to some frequency-ranges. I can not imagine that high frequencies would have a noticeable tonal change. But I did noticed with two intermediate early 20th century trade instruments that the lower strings sounded more secure and the tone more solid. The pegs were installed after completing a set up so I had invested several hours of playing prior to installing the pegs. So though the impressions were subjective, I felt the installs were good for the owners. On both instruments the pegs were not fitting well and the pegbox appeared to be a bit frail and both owners had mentioned the Wittners. Tuning often required the lowering of the instrument from playing position and required both hands to tune. The strings were the same old ones ( not replaced but taken on and off several times ) and the e-string tuner remained. To be more specific, the mid, upper d- and g- strings sounded less fuzzy on these two instruments. It could also be that the set up was gradually changing the overall tonal quality. Generally, for my playing, it improved the clarity to my ears as the player and do not think that it was the set up. Curious to see if any players experienced this? Certainly the integrity of the pegbox felt more steady when handling the scroll area and the install was well worth it for the ease of tuning. Because I hear the difference in the fittings used on my other instruments, this lack of change in tonality did bother me. if I were to attribute this lack of change to the quality of the tonal range or signature of the particular instruments that had Wittner pegs installed, perhaps they were more midrange-y and easy to play - more in the intermediate -level of instrument.
  5. It helps to establish the positions with a 1st finger that is shifting cleanly to the pitch. It is economical and technically helpful in the long run. Eric Wen ( Carl Fisher ) has been the default ( modern ) editor for Kreisler works in the US market in several volumes. The Recitativo - Scherzo is in Volume 2. Many great soloist/ composers develop unique ways of establishing patterns. If you've chosen the piece to learn, bravo, and take your time cross training with Flesch octave exercises. If a teacher has teacher has chosen the piece for you, then establish the movement of the harmony. Szerynk does a very good job of establishing this. One does need to establish speed ultimately, but slower practice, locking into each shift is more important. My thoughts of Kreisler, through stories told to me by those who met and heard him was that he exuded tremendous amount of charisma and was truly inspirational but was not one to work and practice each piece. His technical proficiency was great but was not one to spend time on the instrument like other modern soloists like Nathan Milstein whose practice was well-known, who also published solo violin works.
  6. Congrats on the new instrument! Obviously you are getting into it and improving quite a bit.
  7. That is somewhat fast wear, as I tend to have more damaging sweat and can not recall seeing that much movement before in three months time on an established maker instrument. To be fair, your photo is not quite a before and after, so the assumption is that you've had the most impact on the rib area. As to Maestro Molnar's point, prevention is likely prudent. You have your eye on the area so that is good. I would also check the effects on the edge of top. Hope you are taking short breaks during those five hour sessions. I would look for possible wear in other areas of the instrument just to stay on top of things.
  8. The comments here are not to correct anyone else's. There are so many school districts and each district has their process. When I coach at schools, there is a paper that says i have been wormed and have the necessary rabies shorts and have to go through a background check with the county or state law enforcement. Getting on a vendor list might be more complicated. Most districts in my metro area do have rules with a desire to make the bidding process more fair, while vetting business for their quality and reliability. This is not to say the process is fair, just that a process was put in place. There are also too many districts that desire speed over quality in terms of instrument repairs, because with facilities repair, promptness is the first thing that is desired. During the past twenty years the decline in the price of instruments, and quality, it was more practical to replace with a new instrument or bow than repair. The same shops that might specialize mostly in band instruments, that supply $100 violins also receive repairs, as per the contract or Purchase Order. For these shops replacing an inexpensive instrument or a bow is a rapid process. And a major repair is then sent out to a proper string shop, and returned to the school with the added fee. Business is business. Some districts are lucky enough to have teachers and parents ( and students ) who care about the quality of instruments and spend enough for the necessary repairs. Funds specifically set aside or created ( raised ) for the arts or band or orchestra, encouraged by the teacher but managed by the parents are supplemental and can be spent at the teacher's discretion. Since these parents manage their own budgets, they can spend money beyond those of the district. My experience has been that the boosters desire value, a compromise between quality and price so it does help to get to know the particular instructors and be willing to negotiate a price. There are plenty of great shops within a two hour radiius around here so I only work on bows the shops do not want to touch. The teachers who can afford to, do not use super cheap bows. But there are plenty of legacy bows and bulk purchases. These should make it down to the beginners at the primary/ elementary schools. Better bows should make it into the upper programs. Regardless, if a district only has very cheap bows, the shops they work with will replenish with cheap bows rather than rehair. THERE ARE programs where some bow suppliers will either rehair or swap out bows for very little money. This is a very strong incentive for schools to work with those suppliers. I think it is almost impossible for the average bow repair person to compete with the programs. But having studied the music industry for a long time, I am not certain they can sustain this over a long period of time. You might already know this but... Inexpensive, mass produced bows can take more time rehairing simply because removing the slide, plug, wedge can be hit or miss. Once these bows has been rehaired by a compassionate tech, it's much easier to remove fitted pieces, but the factory - glued in parts are generally designed not to come out. If one is to try rehairing, these bows, take several of the same model bows, do the work "assembly line" because they are pretty similar. They also may not come together as planned and plugs may need to be set with a soft plastic glue, though I have never split open a head on a plastic bow. Once there was a slender wood screw in the plug. Frankly, if it were not for the added weight, it would not be a bad solution ( designed to compensate for the balance. ) Then it's ok to have a jeweler's screwdriver on the bench. Shops usually have enough spare parts to replace frogs, but freelancers may not. There were some frogs that were about to be soaked in Liquid Wrench because they would not come apart. Ferrules split. Anyway, I do work on these bows the other shops do not take if there will be a potential shortage in the fall. The experience, if one needs it, might be good, but there may not be a reasonable monetary return on the time spent on each bow. If you are able, and have a demo bow where you can show the parents what steps occur during the rehair and can reassure them a level of quality, then they may send some bows your way. That builds the relationship. Though it may not pay off immediately, the time is an investment and is a form of marketing. To many of them until they actually speak to a tech, it's just nuts and bolts. They often think it's like an oil change on a car. I would way rather complete an oil change on a care than rehair some bows. Like any practice, if you tend to it over time and are patient, it could pay off. As mentioned in other posts, relationships are important. Parents cycle out and teachers leave. There is no way around that. Some parents and teachers will have their shop of choice and that also can not be helped. If you do good work and work on making it great, those who care will reach out for your skills.
  9. This is problematic due to the variety of sizes of violas. I resorted to double cases for a period of time to ease clutter when traveling. Soft BAM cases are great if you have real hard cases at home. They are light and travel well. But have felt that they were never fully protective. I have lived with several soft single instrument cases for over a decade but use them for teaching instruments or for the daily abuser. I had a brand new viola in one for awhile ad felt ( noticed but not measured ) that the edges were wearing a bit faster due to the extra space around the instrument in the instrument cavity. One can feel the instrument moving inside the case in some instances. With hopes for better protection, plywood based cases were tried. Having lived with several brands, they all fail after a certain period of time. I would usually replace the case every two years. The best deal overall was the Bobelock. I kept my last one because the exterior is in excellent condition, but structurally it is flexible enough that the latch ( not zippers ) will release when running with the case. The problems mostly are with the lower shell where the handle is mounted. Due to the extended width and weight of the case, that length of the shell will be under greater strain than any other part of the case. I believe BAM cello case owners also experience this with the lip of the lower shell not easily interfacing with the upper shell. I have several and they all flex except the original Newtech case without wheels, but I also installed one extra latch ( have not purchased the newer BAM cello cases though I have purchased two new violin cases. ) I thought about purchasing an Accord but the Gewas have been ok to this point. The lightweight Gewa cello cases appear to be structurally more rigid at the edges. My assumption is that some of the clam shell - style double case will still have problems with handle length distorting over time unless it has the overhang that the Gewa cello cases have. Others might have experienced other difficulties with the hinges or the strength of the top under compression, but my experience has mostly been the flexing of the case overtime. A solution has been to make straps that wrap around the case reducing the stress on the handles and carrying the case over the shoulder or holding them in the hand. Velcro sown over nylon straps was a quick solution. There have also been large capacity, waterproof, soft back packs, that can hold a double case. I believe these were originally sold to photographers as the pricing was high. Some have called them tactical bags and there is a Tactical brand. When having to walk long distances, this was helpful. I usually sell the case for less than half price after returning from travel. After trying to nurse the first case, I gave up after getting stuck in severe storm. I do have industrial touring cases for various instruments but they are heavy. I have cello cases with skateboard wheels and larger urethane wheels with internal air suspension, but baggage handlers find a way to break the corners. I have yet to be reimbursed by the airline when a GEWA ultralight was crushed. They try to blame the TSA but they are mostly responsible for the damage to internal contents. There is a strange psychology to robust appearances. When the first metal laminated travel cases came out, an associate told me to never purchase one as it encourages the baggage handlers to be rough, as it appears to be strong and due to the mass, the dents are likely to be deeper and more severe. Neither is it worth it for the chiropractor bills. Not suggested. Guitarists sometimes use what is called a pedal board. For several years, about a decade ago, many of the pedal board manufacturers had semi-industrial hard cases made for their pedal boards. I purchased several to try as instruments cases as they were not as heavy as the hard plastic laminated birch-ply cases but the corner caps were metal and there was plenty of space for suspension on the inside. I lived with the weight but there were, strangely, moisture issues that developed. If you do not have weather issues, maybe this might be the way to go. The cases are not too expensive, in the hundreds range. I still have one somewhere, that i will fully seal and hopefully use as a bow case. It will easily withstand several hundred pounds of weight as long as it is not in the middle of the large panels. The other option is the use of adapting a hard plastic structurally reinforced case. They float. I had one for photo gear. My next purchase might be the Pelican V700 case. The interior foam can be replaced, and the price is very reasonable. More reasonable than most solutions, this might be the future. Because of the color, I am not sure how well it protects thermally. It would likely have to sit in the sun for awhile, though. It is a bit bulky compared to metal reinforced cases but much lighter, less likely to bash door frames and car exteriors. I hate to bring up this discussion here, of the risks of having a spare instrument offstage. During orchestral rehearsals or during travel, one is often isolated from the other instrument, the threat of theft is a fraction of a percentage, but it is real. You did not mention how the case wore out. Was it an old school American case or a recently made case? If you have to have a normal type case, is there some one still manufacturing in the style of the Gordge case? They have a very rigid lower shell. I am sure others will have fine suggestions. You mention valuable instruments, but if the instruments are with you all the time and the fit is good, why not try the soft BAM double handle double case. If you store each instrument in a silk bag, that should minimize wear.
  10. Young students, especially those who start before the age of 4, had not desire to play instruments. Some, like the oboe or bassoon, are largely impossible to start until the pre-teen years. There are those, truly inspired by television programming like Mister Rogers or some other programming on PBS, where they were mesmerized and their parents introduced them to their chosen instruments. On the other hand there are crazy parents... the youngest was at 22 months on small-ish 1/32nd instrument that i delivered. I modified it have three strings. A d- a- and e- string. Kids are usually forced into playing by their superior parents. Very few understand art. I used to have field trips to museums twice a year, but few kids attend, so I only do occasional outings now. Some choose team athletics, but only until they get their butts-kicked which is during their early teens. I teach quite a few nationally ranked kids, but that lasts maybe until high school. It's the parents affluence that allows the ability to travel - thus having the national rank. My nephew was on the second best team in the US when he graduated high school. I saw how much money was spent to sustain this and it was 5 times more than the average tuition for music and youth orchestra. It can be argued that he is a better person because of this experience, but I believe it mattered. Only a handful like playing or performing, for various reasons. Competitions and crappy peers ruin that experience for them. The comparison for children is inevitable at one point. Perhaps at church or in fun ensembles, where support is available, the kids learn that the process is cyclical. Learning allows one to improve, the better one plays, the more likely they find like minded players, which increases the desire to learn more. This is that breakthrough moment that is the start for self-development. Then there are the kids who are passionate, sometimes dangerously singular in the pursuits, that all they do is practice and perform and love it while they are a child. When they become adults, there can be a jarring realization that they do compete with the best, not other 14 year olds. I do not suggest one become a professional performer unless they are mentally flexible or have blindingly huge egos. Stressing the better reading and understanding of the music is the primary goal in about 2/3s of my students. Many ( scholastically competitive ) students have an incredible work load. Most middle school students do not get to bed until 11pm. So to maximize ensemble learning, reading music, visually locating patterns and de-stressing make up most of the coaching sessions. In my past, I was given twelve weeks to learn a concerto movement. Practice was about 2+hours a day on violin and about an hour of piano. My sightreading was so bad, that I started everything on piano, but the phrasing was horrible. So for kids who practice less than an hour a day, learning them how to read and play music has become one of the early foundations. >>> Websites... I rarely watch bowed string instruction on Utube. I do watch academic instruction, and the new websites like MasterClass appear to be interesting as famous people narrate their own experiences. But performances, analysis and scientific or historic lectures are what my limited evening times are spent on. My guilty pleasures relate to well mannered food comparisons or essays by musicians like Rick Beato. Mr Beato does a short analysis on popular music as he is a guitarist and appears to be a recording engineer. Never met him, though I think I saw him once at a club. So I can not suggest a fine, though there maybe others who might know of one. At the higher end of instruction, there are several women who show fine examples and differences in finger, wrist, arm vibratos, but these examples are not suggested to all players. Slender physique is helpful, visually to what might be expressed. Shifting is an issue for many students, but without proper ear training it can be uncomfortable. 3rd position can be introduced by locating the octave with the 1st finger and noticing the fine ringing that the sympathetically vibrating lower octave produces. Then the 2nd finger produce a like effect with the neighboring string. If one is patient, that discovery of the ringing is a wonderful experience based on this exercise. But it should be repeated so many times, so that the hand, wrist, arm and shoulder, develop an understanding. Muscle memory is one way, but to truly produce fine tone and freedom, the muscle groups need to work with each other. The 1st part can be explained in a video while the 2nd part is best developed over time and perhaps with some assistance. The above exercise is also a favorite of mine in teaching public school students vibrato. The ring is often satisfying enough so that helps. But about 15 different ways of rolling the finger needs to be shown for a class of 40. The cellos, since a simple cheat can be shown, actually learn from each other when one or two kids get it. But on violin, different examples allow choices for students who may be having difficulty with a concept. Also the different examples expresses to the student that there are many ways to learn if they are willing to spend ( invest ) time. There are many ways up the hill. The draw back is that many develop bad habits between the first meeting and the second or third so then the instruction needs to be reduced to groups or to individuals. They must also learn to be flexible so that musically, they all have to be playing together in a similar way. Thus leading to matched vibrato and that can be taught through teaching rhythmic trills. Many great musicians in the past did not read music very well. They practiced some patterns many times. A piece of paper means very little when it comes to expressing sonic delights. For that matter, some musicians make sound, but it may not resemble music or humanity. One does not have to read music if they play solo or just for fun in the backyard. The local pub ensemble never reads music. They learn from each other through repetition. I once played with a clogger and she surprisingly asked for the music. I was a little confused and gave her the "chart" or the structure and the chord progressions, but she asked for the lead string part. She was studying the rhythmic patters played in the melody so we was able to compliment, rather than stomp out, the melodic line. She was great and I was amazed that she clogged the entire set. For some adults, I spend one long afternoon with them mapping out the traditional musical staff. I bring a used copy of Suzuki Book 1, the corresponding CD and some manuscript paper to save time. $10usd if one is lucky. We learn to play twinkle and the rhythmic variations. The first scale, though in reverse is there. The string crossing and the placement of the anchoring 1st finger for 1st position. These are the mechanics that they are familiar with, by it is pounded into them. As the left hand becomes mapped out with the sheet music, the focus shifts to bowing. The action of tone development reinforces the left hand work. Suzuki is somewhat universal and free tips abound. Though my explanations are long and tedious, the point is that every action is calculated. When you come across a video that makes sense. Follow through and pay attentions for details. You may watch a similar video that chooses to approach explanations differently and may find something of value. Rick Beato, from above, generally approaches taking apart a song in a linear manner from the beginnning to end. With popular music, most songs do not last 5 minutes and form is often structured in a familiar way. It easier to understand what is being taught. But violin music, or instruction, can be confusing. In that music reading class, analysis of the structure of song ( some are 16 bars while others are 12 ) and the understanding of the harmonic changes also helps in understanding what is happening. Kids need no understanding when something is experienced, they just do it or experience it. In adults, though, the brain gets in the way of many intelligent students. Doing is harder without wanting to understand. I do slave the adults in playing. Once something is boringly repeated ten times, observations are made. Self encouragement is also important. That is generated by a little variation, or creativity, on the players part. We all develop frustrations. Sometimes life is but one big frustration. If we are to enjoy what we do, the journey should be personal and somewhat enjoyable. So to be positive in a weird way, your experience is not unique in that there is not one best way ( or even close. ) Just a reminder that others may post their favorite videos or instructors here that are helpful. Drowning in resources is a strange place to be but Hope floats. Sorry to stop here... I may spend a bit of time tonight to see if there are interesting videos. And by learning how to read better, it maybe possible to participate in ensembles. More and more fiddle camps and retreats are passing out sheet music these days ( as they get more and more expensive. )
  11. I am not willing to sell my copy of Courtnall yet, but it was about $60 when picked up, new, maybe 5 years ago. My first copy, I gave to a student, which was about bit more for about $70. At the time I gave it away, I did not think it was that important anymore, but people still refer to it now. The Sacconi in English is puzzling to me. I missed my chance to pick up an old Italian edition for $150 ( obviously it went fast ) locally but am confused as to what appears to be a newer English version. Was there are a recent reprint? Is the original English edition being listed here?
  12. The experience will get better. I was just on a cancelled project where the authoring of better teaching via the internet was the intent. I was pulled in just as the effect of staying at home set in as a reality and the funding evaporated just as it came. There are many good ideas that are being discussed for distance learning. Newer adaptations are being discussed but the implementations are complicated. First, personalized instruction was what many were willing to invest in, but I felt that the desire to learn was more important. How to stoke that desire? Since some of the limitations are based on bandwidth ( speed of data transfer ) of someone's connection, there are limitations. Audio can be tweaked before an outboard analog to digital converter ( ADC and the reverse, the DAC ) plugged into the USB port and lower the sampling rates making for semi-decent audio. This requires a small investment of an out board device, but it may be worth it in the future.That might be an issue for some. Most students who play well do not need any teaching during these times. There is a hit in income, but self-teaching is a large part of becoming a better performer. Would University orchestra reconvene in the fall? Who knows. With Zoom, as with many pieces of software, have advanced settings tab or menu. If one can control the audio that is input into the computer, one can produce better sound and reduce lag by taking the software's auto settings out of the chain. Taking video out can be effective if a beginning studentis just trying to locate the correct notes. The best fidelity comes from making short videos like Mr KT as it can be viewed over and over. I am more likely to video a snippet and send that. So learning online is finding the teacher who communicates the best to your abilities and in addition locate a few challenges that appear entertaining. Be patient so the frustration level doesn't make everything seem like work. Most of my students'while getting plenty of encouragement, will leave with a nagging feeling of dissatisfaction after each lesson. Few keep up with the pace and urgency of students decades ago, so I address this by letting them know. Many students create mental barriers and that does not help. They worry and stress out. Many do not even bother to try or practice because they are mentally too stressed out. They should just start working on Calc, Trig, Lit, practice? They worry, pace, and don't get anything done, wasting limited hours of the day. They check their social networks looking for advice or comfort. At the end of term, they are a mess. Let me also restate, that practice, as well as making instruments or bows is rather a singular experience. The loneliest might be that of a keyboardist. At least I was able to look forward to string ensemble practice or lunch or dinner. My bench used to be in a window less room as many a practice room ( did some place a piece of music in the little glass window in the door? ) The mindset might be adjusted so the goal is to achieve something every day, however small. Improvement for myself is rarely linear. There are those who learn at a steady rate, but I struggle nearly everyday hoping that everything comes together the week of performance. I still do open string warm ups with new instruments. I breath slowly, and while listening carefully, try to take the tension out of the muscles from finger tips to toes. Feel and hear the tug and elasticity of the bow. By the time I complete this task, I am ready to start fingering some notes.
  13. I followed the site yes, about 15 years ago, maybe? There were other maker sites then which were far more specific than what's offered here and still probably are now. I used to work in a shop then and the owner thought there wasn't much for him to gain from the interaction. He thought it was a waste of time when i would browse while resting my ears. We went to the Conventions to purchase materials and meet up with friends to him, that was enough. The old timers did not care. I did not participate mostly because I would be using the shop's equipment. At home there wasn't time and mobile phones or SMS was far faster than e-mail. I quit working for the shop. New work allowed me to travel and visiting shops was a possibility like in the past. When working in a shop I felt it was important to let the owner know. But without that obligation, it was easier to speak openly with others. Talking to players and shop guys and makers was more fun then spending time on the internet. Some ( like me ) are still trying to process other peoples research and there are pet projects like my vegan bow hair that go nowhere except for playing around the house and at rehearsals. I let people hang out but if they stay too long, they will have to work. The better makers continue to make instruments. In someways, not much has changed in that the maker or dealer sphere in that higher end shops still show similar instruments. But makers sell directly, performing artists book their own gigs and there are way more string choices. And there is Amazon. There are incredible people here. And I have been grateful for their contributions. But this is also a clearing house for information. It's free and it is what one makes it. The information is often incomplete for some. Buying knowledge ( as opposed to acquiring it through words ) is not so possible unless one attends a workshop ( Professor Robson's or Darnton's ) but still those events are just snapshots. It might take however long to learn how to sharpen blades and to read the wood and make the necessary cuts or start a fire. And then it's time to pack up. There's not the same excitement as before but most everyone's instruments are sounding better and not necessarily alike. That's good. Without the input of various level of users, a place can stagnate. The distilling or refinement of some information makes for better techniques later.
  14. That Capet's opening tempo is loving? Granted, you are probably correct. Frankly, some of these middle school kids play very well. But I play faster. Classical pieces and their durations are likely to reflect the actual tempos being played. I am not sure that modern pieces necessarily have to fit a similar mold. The opening of the Capet feels slow. The ascending cello line and the a- to e- then f- c- four measure figure in the 1st violin just do not mesh. Even the American's live performance in 2009 is a little awkward in the first measure. The American at Bowdoin performance is more dramatic and slower. The Telarc recording of the Cleveland was my reference for many years. It was not my favorite, but the quality was decent and the pairing with the Debussy made it a fine gift to students. I think the opening is faster but with your notes, will check. The Cleveland segues were very nice at the time. There was a time when performances had to fit the limitation of an LP side and there were some faster and excessively slow performances in the fast. I do not own an original pressing of the Galamir so am not sure of how the sides were configured. A hall with plenty of ambient information can slow the piece performed as it feels more correct, and un-rushed. I think most ensembles start pulling back at the end of measure 4 of mvmt1. It's an amazing and dramatic moment but not marked ( some would say implied, but that is a choice. ) We chose to start a dramatic decrescendo on the end of beat 3 but do not allow the 1st to slow down but allow him to broaden a bit at measure 6 by using more bow as the harmonic change is smoothing out there. We push through the poco a poco without really changing the tempo but playing on the front of the beats. We thought it helped with the tension and the higher octave figure at measure 17 would again allow the 1st violin to broaden at measure 18. The quartet is so beautiful that the cellist inspired us to play the figures as long breaths. She used to practice yoga for all of us. The Galimir might have been an indirect influence. I only heard about it more recently compared to the other recordings that are in carboard boxes in storage. I have not listened to older performances in maybe decades, but when in participating in living composer festivals we generally choose faster tempos if lively and more drawn out depending on the composers' or director's intent. The Barber slow mvmt is case and point where most kids in ensemble play slowly and dramatically then in quartet realize that it's difficult to sustain such angst in one bow. I have played the Ravel in the Redwoods twice and once in the woods next to a brewfest and both times the temps had to be faster due to the lack of boundery support. The forest floors and trees absorb sound. Enso. hmmmm. I heard Alban Berg play Schnittke and Beethoven on a program and I felt sort of cheated in that though they worked together and played beautifully, but the tempos were so slow. A friend who got a free ticket complained they dragged their feet so they'd only have to play two pieces. That was the last time I went to hear them. Their recordings were better than the performances. Since then, I have tried to err on the faster side of performances.
  15. Too funny. It's true. A search revealed an incredibly high price on Amazon on this book >> Out of Print. Covid-19 pricing. At $350 it is a bargain.