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Elke Meier
My favorite violinist has posted another video, this time performing in a quartet. She is nine by now, playing on a half size violin. Since she plays the first violin in this piece she is sitting at such an angle that it gave a really good view on her bow arm mechanics and use of the (full!) bow. And I was once more really impressed by her playing! Just watch how little shoulder movement she needs and how freely her elbow moves. Especially visible in fast parts (like 2:20)...
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2 Responses
Posted: July 11, 2018

Jaime - Orlando , Fl
Hello family! 
So here I am with Fifth pupil's.... dissecting it as we go.
As I've been practicing for months and months.... back to drawing board. I figured out the first "jig" part of the tune is quite a challenge, so why not practice up to that point... work on the beginning up to it... and keep practicing! Next project.... the "jig" project of Fifth pupil's! :0)

3 Responses
Posted: July 10, 2018

Frieda
First upload Sonata XIV
Hello all,
here is  the Sonata XIV "Himmelfahrt Mariae" of Biber in scordatura, very challenging but so beautiful... It's my project for this year... this is only a small part of it!
I wish you all a fantastic holiday with a lot of music... of course :-)
Frieda
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8 Responses
Posted: July 5, 2018

Elke Meier
A note again about the practice course...
I think I have said it here several times already that apart from joining Violinlab in the first place purchasing this practice course was probably the second best decision for my journey with this beautiful instrument. 

When I started with it, sure enough, I started at the beginning, and in the beginning I thought I would just go through the videos one by one and apply them. But pretty soon I realized that if I did that it would probably take years to get to the last video. So I decided to go ahead and watch all of them - just to get an overview of what is there. 

That was a VERY good decision! If you have purchased the course, I would encourage you to go through and watch all the videos as soon as you can. I am through now once, and I got tons of really valuable hints already - and tons more that I already forgot because I didn't take notes on this first round... But at least I know what there is now and where to go back to when I get to a certain stage with a certain piece. 

If I had gone chronologically, waiting to implement all that I learned in the first few videos I would have missed some very crucial tips for shifts that I came across a few days ago. And I would have missed this excellent series on intonation I watched today (it is toward the end of the course) which will most likely be able to reduce my frustration with some sections in the Martini Gavotte. 



4 Responses
Posted: July 8, 2018

Beth Blackerby
Someone posted earlier (Sonia?) about a new kind of chin rest called the WAVE. I was interested so looked up the website and the guy selling them. Turns out he lives in my hometown which I was traveling to in a few days!!! I'm here now and went to his studio and tried out some of his beautifully carved chin rests. I've ordered one and have asked for some modifications to fit my particular needs. I'm excited to see what he makes for me.



sorry for the rotated picture. 

On another note, I will be on a serene lake in Central Kentucky without WiFI for the next several days. Happy practicing to you all!

7 Responses
Posted: July 1, 2018

Barb Wimmer
Bow rhythm difference between left and right = quite a challenge but I think I am getting it in the Eccosaise. I may be working on You Raise Me Up for awhile- on the second line again. 
Then had to try playing this again -Definitely putting every up and down bow in the piece makes a difference for the better- Now this song will take awhile to figure out the bow rhythm between left and right but I am thinking if I do that it will sound better especially in the word "American" rhythm part- that sounds wrong somehow

Suggestions welcome
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5 Responses
Posted: July 5, 2018

Dianne
Finger Lifts
A quick question, if you play for example on the D string in 1st position a slur 4th finger to 1st finger, does it seem that the string continues to vibrate from the 4th finger, even after the finger is lifted? I can get this same thing to happen with harmonics. The harmonic continues to play even after the finger has been lifted.

My question is, how to avoid this? Do I need to be doing something special with the lift or with the bow?

7 Responses
Posted: July 6, 2018

Maria
Autumn Leaves is def. one of my all time favorite... Day 2 practice

So here is my ouido/oido improvisation and interpretation of this beloved piece...Pardon the sound ,my viola's strings are almost 6 years old and I was planning to change it but when I searched for the price it was too much. :)

I have 2 videos and I'm not sure if the notes were all identical, since it's just just all in my head and not written. I'm curious which version is easier to listen to, thank you much classmates and teacher Beth.

It would sound smoother if you have an extra speaker besides the ones on our phone or laptop...

I just recently discovered it 2 weeks ago what difference it adds more for a smooth and richer sounds, I have a small Beatspill plus speaker recommended by one of the Apple rep.



--0-0-0-0-0-0-0-0-0-0-0--

 

6 Responses
Posted: July 1, 2018

Elke Meier
What is your experience? - Vibrato question
When I first started vibrato exercises I tried wrist vibrato as Beth introduces it. Then it became clear that that would not work for me. My wrist became so painful during the months of plain sliding exercises that I gave up again. Since then I have worked on arm vibrato. By now I can do some wiggles on the E- and A-strings, not much on the D-string, and I am FAR from being able to do anything but sliding exercises on the G-string. But since on the E- and A-string it starts to sound like a semblance of vibrato I have hope that after another few years of exercises maybe the D- and G-string will start to come together also. What I can do freely and evenly is very different from finger to finger and from string to string - from the metronome set to 64 (always with two pulses per click) for the fourth finger on the A-string or the third finger on the D-string to it being set to 100 for the second and third finger on the E-string. 

At some point Beth encouraged me to include a loose wrist to make sure I don't have to use only the big arm muscles. I try - with more or less success... But I noticed in the last week or so that the vibrato movement for my first finger is completely different from the other three. It seems more like a wrist vibrato or even a finger vibrato with very little involvment of the other joints. 

Now my question is: Do any of you have a similar experience that the vibrato on one finger functions differently from the others? I am a little concerned. If we are to have the "motor" going I am not sure how that will work eventually when the "motor" needs to run so differently on this one finger from the others. What is your experience?

15 Responses
Posted: July 4, 2018

Ray
Hi Everyone,

I am giving myself a test to work out the fingering for the first 8 measures of: Violin Sonya No. 1 Presto by J.S.Bach and I have run into a snag.  In measure 7 I can either go with: 3rd on the E string followed by 4th, 3rd, 2nd, 1st, and then open A string; or 3rd on the E stringfollowed by high 3rd, 3rd, 2nd, 1st, and then open A string.

This is Presto so it is very fast.  What would you recommend?  Thanks for any thoughts.

9 Responses
Posted: July 5, 2018

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