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Barb Wimmer
Just for fun -Maybe not for violin- but enjoyed the concert and thought would try to play for fun.  Question on music-two eighth notes - in a slur - do I play like  a quarter note?  

Thoughts?  I always wonder what violinists do
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2 Responses
Posted: August 4, 2018

Alan Barnicoat
Swimming Pool Noodle Bumper for Vibrato
Beth, 
Do you happen to know the diameter of the noodle?  Apparently they come in several sizes. 

Thanks,
Alan

1 Responses
Posted: August 3, 2018

Shaheen Saliahmohamed
bow heavy at frog
Hello!

Here another apparatus dilemma:
I currently own two bows, one that a shopkeeper when travelling to Moscow picked for me with is nice, kind of heavy ad produces a great sound and a cheaper one I won off a chinese bow auction on ebay. The latter is lighter, does create a great sound but definitely feels more comfortable when attempting colle and spiccato.

I was wondering if we ever get used to using a heavy bow, build subtle muscles in our wrist or do we just end up with arthritis?? :P

2 Responses
Posted: August 3, 2018

Christopher Mejia
Notation for where to start and finish a bow stroke?
I've been working my way through the Practice Course over the past few weeks and I love it!  I especially like the suggestions for preparing left hand and right hand versions of the scores, meticulously annotated to indicate everything your left and right hands should be doing (every fingering, every bow direction, etc.).

However, I am still looking for some way to annotate the music to indicate where each bow stroke (down bow or up bow) begins and ends.  For example, I was playing the Beethoven Minuet in G from Suzuki Book 2, which has several occurrences of a single beat up bow followed by an entire measure (3 beats) of down bow.  If I'm not careful to start the up bow in the middle of the bow or near the frog, I run out of bow on the down bow measure.

Is there a notation convention for indicating where in the bow (frog, middle, tip) strokes should start and end?  Any pro tips would be much appreciated!

4 Responses
Posted: August 2, 2018

Deborah Landers
Minuet #1 Tips please
Hi there,  I talk way too much in the beginning of this post, so please feel free to get past it to the song.  I feel pretty good about this piece, but would like input on polishing it and cleaning it up.  Especially the 2nd section, playing on the E string.  It feels and sounds disconnected to me.  Any expert advice and specific tips would be sooooo appreciated!

Thank ya, thank ya!  :)
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12 Responses
Posted: July 27, 2018

Christopher Mejia
Hunter's Chorus low 2nd finger in measure 25
This post is in reference to the D-C-A pattern on the A string.

My edition of Suzuki book 2 has a performance note suggesting to place the 1st and 3rd fingers simultaneously before playing this figure.  However, placing the 1st finger makes it very difficult for me to use a low 2nd finger.  I watched Beth's video of this piece, and she clearly does not place her 1st finger down at all during this passage.

Can anyone explain the reasoning behind the Suzuki performance note?  Perhaps the 1st finger helps get the correct intonation for the 3rd finger, but then does one immediately lift the 1st finger in order to place a low 2nd finger?

3 Responses
Posted: August 2, 2018

Fabiano Formiga de Carvalho
walking at the extreme fingerboard
I have almost all Simon Fisher's books on violin techniques. I could'd say that I've read all of them. I get tired with certain amount of technique. Especially, I don't believe too much in translating gestural into oral language. But within those limits, it would be possible to indicate some steps, some attention or precaution when playing with the left hand close to the bridge. However I have not yet read anything about it. What to do when completely alone? To experience, to try out, try walking by trial and error, to grope in the dark. To develop the power of intuition. Perhaps due to my fingers being very thin, I didn't feel great difference when Carl Flesh uses the same fingers in notes very close the bridge. In such a situation the bow is the very problem. Just sharing troubles.....

11 Responses
Posted: August 1, 2018

Barbara Habel
Feeling versus Fakt

Today was the day of my recital at the music school. I played the Rieding Concerto Op 35 - 1st Mov.

I was very nervous when playing - and the result were many stumbles in the music. Conversely - I feel very happy about the recital. It was a two page piece and thus the most demanding piece I have ever performed in a recital. And I am getting more relaxed about my mistakes. More or less I am expecting them now - like good old friends showing up.

But the main lesson to take home from this - is that a piece needs so much more time polishing and practicing - than what I have done so far.

Comments and suggestions welcome !!!
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16 Responses
Posted: July 25, 2018

Maria
NOSTALGIA---a violin improvisation project practice
Day 2/100 NOSTALGIA violin improvisation...

It still sounded very metallic because of the E string. It's still the second day so it's all in first position.

On my next day off (a week or two from now) I'm planning to explore this improvisation further...Find and try play notes in position and further up the finger board for the sweetest sound possible avoiding the E string.

This will be my last post for now until my next day off ( 1-2 weeks from now).

Thank you classmates and goodnight...Going to rest for an hour then go to work 🙏🏼✨🎶🌸
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7 Responses
Posted: July 30, 2018

Beth Blackerby
Vibrato Trainer
New Project! Let me know what you think (here on this thread).

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43 Responses
Posted: July 18, 2018

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