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peachykeen248

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  1. The only reassurance I can offer that I'm probably not the latter is that I doubt I have 20k hours of practice
  2. All of the Handel sonatas in this collection actually seem great for what I was looking for: not too intimidating but with a couple of challenges, plus ample opportunity for adding one's own interpretation. Ok, I'll play through once or twice simply because I'll be too self conscious to send over a recording of a true sightreading, but otherwise I'll send it over as it comes out when I get a chance!
  3. Thanks so much for your response, and I'm glad to find someone who can relate! Ultimately, my end goal is to get out and play with other people. An orchestra would be great, and a chamber group would be even better. This was what I enjoyed most when I was young too, so it really comes full circle! I loved the experience of a string quartet having an intimate little musical conversation. This video of the Jasper String Quartet is just perfect. But of course, teachers tend to get students playing major solo works in order to demonstrate mastery. This made a lot of sense when I was thinking about college auditions, but not so much now. I'd like to have something to work towards, but not in any hurry. In the past, I've also enjoyed folk/bluegrass and play a little mandolin and guitar, so if I can't find a proper classical chamber group, I'm more than happy to settle for one that's a little bit country. @Carl Stross sorry to bug you about this again, but could you clarify which Handel you mean?
  4. Ah for point #1, I was just making a tongue-in-cheek comment on your choice of "his"! For point #2, I'll see what I can do as far as recording. I will need to think about practice time. I have a career separate from music, as I know many do, so I need to consider what I can carve out. Definitely less than 10 hours. I truthfully didn't think much about the use of the word immense. I guess it is subjective. He taught me from ages 15-19 and got me through countless auditions. I went from standard middle school/high school orchestra class repertoire to the pieces I mentioned above and a fair number of the Kreutzer etudes, until I stepped back from playing. I really went back to the basics with my more recent teacher, studying out of Schradieck to address action (and again, tension) in the left hand for a semester, plus some Kreutzer as well.
  5. Believe it or not, there are a few women out there with decades of experience too Thank you for your advice!! I will consider these suggestions as options. Any advice for finding a teacher at this level? I am affiliated with a university, which means it is relatively simple for me to enroll in a "course" with a doctoral student as a teacher. As a young adult, I studied under a local university professor and made immense progress with him, however, it now seems difficult to do that where I currently live as the professors are booked full with their own degree-seeking students (undergrad, masters, AND doctoral makes for a lot of students needing lessons).
  6. I played violin as a teen/early college student, but mostly abandoned it as I got older save for a couple of weddings and a single season in a community orchestra. I started some lessons pre-covid where my teacher was primarily focused on 1. getting some muscle memory back and 2. reducing tension, since repeated injuries were a big part of why I put down the instrument. I have been searching for a new instrument I am more excited about playing and gradually getting back to practicing regularly. Now, beginning in the fall, I will be resuming lessons with a doctoral student at the university in my town and would like to take on a more serious study of a piece that I could eventually perform rather than just a series of short etudes and exercises. I will also be auditioning for a community orchestra; as I understand it, they are very low pressure auditions, and the only instructions we've received thus far are "Specific audition requirements will be announced soon, but in the meantime, begin preparing a short solo piece or excerpt that showcases your skills." A little over 10 years ago, I performed Accolay and the Presto movement of Bach No. 1. I quite enjoyed working on adding dynamics and expression to pieces that might not appear at first glance to be particularly interesting or expressive (in the case of the Bach). I'd really rather not return to working deeply on these, though I'm open to pulling them back out for the audition. So, two questions: What would you work on preparing for an open-ended, amateur audition as described above when you don't have anything solidly prepared already? Do you have any recommendations for my next pursuit, close to the level of the aforementioned pieces: challenging and interesting but not discouragingly difficult for a... re-beginner?
  7. Thanks everyone for your input! I found the seller trustworthy so was blindly accepting his analysis of this instrument. I'm glad I posted here. It seems unclear where this instrument is from, but it probably isn't accurately described as an "old German violin." Regardless, since I'm not 100% thrilled with the sound, I don't think I'll be purchasing this and will keep looking.
  8. I am considering purchasing this instrument from a private seller who is a professional musician. They identified it as an old German instrument. There is no label or markings. Hoping someone here can simply confirm the identification as "old German instrument," give your subjective opinion on the quality of the instrument, and give a rough valuation (is $2500 about right?). It plays quite good: direct and projects well, though it seems to lack some depth and feels a bit (physically, literally) heavy. edit: the "heaviness" isn't obscene, but it is noticeably heavier than my probably-Chinese intermediate student instrument I've had since my teen years. I have no idea if there's a correlation between weight and strain, but I have long struggled with repetitive strain injuries and tendonitis in my hand/wrist/arm/shoulder (from violin, cello, guitar, writing, typing, sports... I guess I either have wimpy appendages or terrible form in everything I do or both) which sadly ended all hope of pursuing violin further as a young person, and I am a bit paranoid that a heavy instrument will make it even more likely I will injure myself. Edit #2: I am frustratingly limited at the amount I can post, tried to skirt the rules by sending a DM (thank you to the user who helped me ), then got blocked from doing that too. I will accept that I am not above the law and get back to you all tomorrow. But I added some photos that might help.
  9. This is entirely from a shopper's perspective, so take it with a grain of salt, but this type of simple business advice may be helpful to you. Create an instagram and other social media accounts for your business AND ACTUALLY UPDATE THEM. I've lost count of how many luthiers I found and clicked on their various profiles just to find they hadn't been updated in years, so it's the most logical assumption that they are no longer active. For Instagram, tag posts geographically as being from your area, use relevant hashtags, showcase pictures of your work, and videos of the instruments being played. And post professional or close-to-professional quality pictures. Cameras on phones are pretty good these days, but just make sure you're not posting super low quality content. Post from conventions as those become common again. Post that fun pawn shop find that you didn't buy but maybe someone in your town might. Post before-and-afters of repairs. In addition to this, create a website and keep it updated with the services you provide and a way to contact you. I would urge you to include repair services there too, because that is how I got in the door for buying from my luthier and I assume it is how he keeps the lights on. There is a certain hesitance to include exact prices online, I guess because it limits the flexibility of the maker to charge more or less as they see fit. I would urge you to include at least a price range. Even though my budget is somewhat flexible, I tend not to reach out to people without any hint of a price range. One local maker/dealer near me has price ranges you can click to see instruments within those ranges. I think this works really well. Consider offering instruments that are not just the ones you make, particularly in two categories: antique and student. Both of these will get people in the door to buy from you, and may end up with them buying your instruments, if not today then when they need to upgrade their child. And you can showcase your skills in refurbishing, repairing, and setting up instruments that come to you in less than ideal condition. Have a nice place for people to come try out the instruments you have for sale. "Nice" doesn't need to be fancy, but it should be comfortable, give them a little privacy to play, acoustics reasonably good, provide a stand and tuner, have some extras of shoulder rests and bows around, etc. And figure out how you'd like trials to work; not many people are going to want to buy an instrument on the spot without testing it out for a while except for the lower end student crowd. Offer to keep people in the loop if the instruments you have don't work out for them, and actually reach out as you make/acquire new ones. Advertise any other tangentially related services you are skilled in to make connections. Someone in this thread already mentioned cabinetmaking and other woodworking-related things. If you are skilled enough at playing and teaching to offer private lessons, even at an entry level, consider doing that. Make connections with local teachers and music shops.
  10. Sounds suspiciously like those crypto investment schemes
  11. Thank you to all of you and sorry for my disappearance. I just joined this forum and have a cap on the number of posts I can make. I apologize if I gave the impression I am looking for a collectible or a serious investment piece. I am primarily concerned with getting a good sounding instrument, I just don't want to pay a price such that if I posted details here I would be told I got ripped off. This will likely be a lifelong companion for me, but in the event I did want to sell it, it would be great if I could recover at least half my purchase price. Some appreciation would be even better but not required or expected. I have no opposition at all to a factory-made instrument, or even *gasp* a Chinese instrument if I find one I like, though I haven't yet. My favorites so far are an old German instrument and this "lesser known maker" one. I don't have a really well-defined budget but I've been testing instruments in a pretty large range of $2000-$7000. I'd be most comfortable <$4000 unless I stumble across something I just can't live without. I know this limits my options quite a lot. They are fairly young, and making for just a few years. This may sound a bit "woo woo" to some but it captures my feelings perfectly. I am perfectly willing to purchase a factory or workshop instrument if that's the violin that chooses me, but I certainly feel better about the idea of supporting a craftsman I know and love. i'll send you the $70 if you can tell me.
  12. Good question that I do not know the answer to. Maybe I'll add this to my list of things to ask if I seriously consider their instrument.
  13. I've dived in to trying many different instruments in search of my new violin, and I've surprisingly found myself drawn to those that favor the bass register. One sounded almost like a viola. What causes balance to go in either direction? And for my case, it is possible to get an instrument that truly favors the lower register without sacrificing tone quality in the upper register?
  14. Thanks to both of you! Brad's advice is what I've started doing. I am definitely not interested in haggling with someone over their workmanship and plan to pay their asking price. I guess just asking what is the most you would be willing to "gamble" on an instrument with entirely unknown market value, to which the answer is: "whatever playing value it has to you."
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