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Bardan

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  1. Breaking a major habit like this is hard, but eminently doable. Chances are you've long since adopted this position as an unconscious thing. So you have to go all the way back to being conscious of your wrist. Slow everything down and try to stay conscious of where your wrist is all the time. It will be really awkward. It changes the feel of holding and fingering and all sorts of things. As Evan said, avoid tension like the plague. It's bad for the sound and bad for the musician. You have to capture that feeling of a loose back, loose shoulder, loose arm, loose wrist, loose finger
  2. So it's a fake French one? I've been wandering through threads trying to get an idea of how you can tell, and then when I finally get some certainty, my bubble is burst!
  3. I was taught to slide my fingers up. So the pattern would be 0-1-1-2-2-3-4-0-1-1-2-2-3-4-0-1-1-2-2-3-4-0-1-1-2 from open G to G on the E string for example. Thats all in first position of course.
  4. The obvious cause of things feeling very "grippy" would be lots of rosin. The solution is usually just to keep playing until enough of it comes off to make a smoother sound. Other related factors could come in: dark rosin can get kind of sticky in very hot weather for example. Some bow hair is more grippy than other hair too. But if you're using the same bow, and you've tried with lots of rosin and with less, we could look at other factors. How tight or slack the hair is can change the feel quite a lot. I try to tighten my bow to a fairly consistent point. Also the contact po
  5. Been there. "My voice isn't great today, so let's do it in C# instead of D."
  6. Well there's a few clips of this fella floating around. I don't know how good his opinions were, but I think he's pretty interesting. Then there's John Mangun, for a more modern approach.
  7. It's something people do in Irish trad often enough. More usual is to tune up a semitone, but people sometimes tune down to C# as well. Baroque musicians often play somewhere around there too. A = 415 I think? As opposed to 440. It'll give you a slightly warmer, mellower sound. I've recorded up a semitone before, and it's nice and easy once the fiddle adjusts. Gives you maybe a hair more brightness and response, but overall it's still you playing your fiddle. There's no big changes. Obviously if you're constantly tuning up and then tuning back down for another track
  8. I thought JTL's symbol was a lyre? To my very amateurish eyes, it doesn't look French.
  9. Oh yeah, I was thinking more of the nicer workshop ones. I don't really care where the really basic ones are from. It wasn't really about quality either. I play a Jay Haide a l'ancienne model, which I strongly suspect came from China. I never really checked, and maybe it went to America in the white or in parts and got finished there. Or maybe not. Either way it's a decent fiddle, and about the best I could have got for the price at the time. I think my next one will probably be European with a bit of age on it, and hopefully better, but if my budget was the same as last time
  10. Browsing through old threads I see lots of info about identifying Saxon and Mirecourt violins and a fair bit on rarer or more specific stuff, but nothing about identifying Chinese ones. Is this because it's too easy? Because I'm not sure I could do it reliably. I know musicians get taken in every now and then, usually by instruments that were brought in unvarnished and then antiqued and tricked out locally. So how would you identify a Chinese Instrument? I have some ideas, but I'm not at all confident about them. Or do you just eliminate all the obvious European sources and a
  11. Fair enough. Filtering out the spam I guess?
  12. Sorry I'm not replying to things. I promise I'm reading, but I'm not allowed to post a lot yet. (Or so I understand it.) Yeah, I find it surprising that embellishment would have become less trendy as, in other areas, the baroque turned into rococo. Not exactly a high point for clean lines and minimalist aesthetics in architecture, painting etc! And clearly the tendency to reduce ornamentation didn't go all the way, or they would have simplified the scroll and just done one line of purfling, right?
  13. I honestly quite like the look of a little extra decoration. I wouldn't want to own something really over the top and gaudy, but a nice blond fiddle with some vines and things, or one of those dark german fiddles with a lion's head is actually quite tempting. (If I could find an affordable and good-sounding example.) It also strikes me as a good avenue for a luthier to personalise their work. If you Deviate a lot in your archings or something you're presumably taking big risks with the sound, but some fancy work referencing your background or interests or just personal aesthetic presum
  14. This is the idle curiosity of a player, but it seems to me that modern violins with extra decoration (double purfling, inlay, lion's heads etc) tend to be of a lower grade. And possibly this is true of 19th Century ones too? But a lot of them are based on decorations from very prominent old builders (Maggini, Stainer, - I think I saw pictures of a Guarnerius with what looked like inked on vines and little curlicues and things). And I'm guessing for those old makers the fancy stuff was for fancy owners - commissions for aristocracy and stuff like that, so probably at least as well-made as th
  15. Hello everyone! I hope I'm posting in the right place. I've been a professional fiddler for years, but during the quarantine I've been revisiting classical music, and Bach in particular. I've worked through the first cello suite and parts of the second one. Now I'm embarking on the first violin sonata. Or at least the adagio from it. I've loved listening to the piece for years. And with the dust blown off some relevant technique, it's just about playable, if rather tricky. But the bloody thing is unreadable! I'm constantly trying to count hemidemisemiwhatever quavers. I n
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