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I can make the impulse but there is no change or exercise in my finger knuckles.How can I do that.

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Posted: July 26, 2011


Hi Beth, I am getting this message sometimes.Its annoying me. "Join Violin Lab as a member to watch the rest of this video. Our memberships give you 24/7 access to all the content on the site. "
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3 Responses
Posted: July 26, 2011

Eileen
Theory question...if you can explain this in a way that I can grasp....you get "3"(count em!) "3" stripes on your pajamas...OR!...a cookie...you get to choose ! :-D

In the book "A complete idiots guide to music theory" the author states..."When measuring a scale by degrees (numbering the intervals)....you can see that the 2nd, 3rd, 6th, and 7th notes can be easily flattened." ....well, actually, no...I can't see that they can be easily flattened, or rather, I can't seem to understand why that is so and the author doesn't explain this. He goes on to say that when you flatten one of these notes you create a "minor" interval, which I do understand what he means by that, I just don't understand why these particular intervals or degrees are more easily flattened than the 4th, 5th and, well...the octave, but I do understand that you can't flatten or sharpen an octave, because then it wouldn't be the octave...right? .....oh gosh....I need an aspirin !! <:-P

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15 Responses
Posted: July 24, 2011


The saga of working on my bow hold continues......

I had reported under an earlier thread that I had recently settled on the "Franco-Belgian" bow hold. But the last week or so that has changed again. I've now gone to a modified "Russian" bow hold.

For whatever reason, this really seems to work best for my bow hand. I can get the best, most consistently clean tone, without really thinking about it, with this "modified Russian". When using the Franco-Belgian bow hold, consistent tone took a lot more concentration. Additionally, as Flesch mentioned in his book, having the stick contact on the middle joint of the finger allows the tip of my index finger to assist in controlling the bow, which I find to be hugely helpful. I seem to be able to control the amount of contact quite easily, so that I don't experience any negative effects from this. The tip contact really seems to come in hand when bowing right at the frog, allowing me to more easily remove weight from the bow without squelching the tone as much as previously. It also helps me with keeping a consistent soundpoint and bowing parallel to the bridge.

Another big advantage for me with the modified Russian hold is that I can easily bow right up to the bow tip, without any undue strain on my right wrist, so much so that I could bow with an even longer bow and still get right to the very bow tip.

My biggest concern is that I originally didn't seem to have enough finger flexibility for the up and down bow "looks" with the Russian hold, but this turned out to be easily rectified by a different placement of my three remaining fingers. This is why I call it "modified Russian". My pinkie finger remains nicely curved, and in contact with the stick the for the entire stroke, unlike the standard Russian hold. I also seem to be able to enlist the aid of my ring fingertip pad in controlling the bow, much easier than I was ever able to with previous bow holds that I worked with.

I guess that this all comes down to the build of an individual's fingers, hand, wrist, shoulder, etc.

If I make another change, I'll report back here. :-)

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27 Responses
Posted: May 17, 2011


Hi Beth. As promised here's my first video. I deliberately did not do any re-recording so you can see my weak points and where I make my mistakes. Major issues that I have are: 1) Finger action on the left hand. 2) Training wheels for bowing. I can do straight bowing and stay on the sounding point of the violin but only when I'm in front of the mirror. I go away, and my bowing becomes terrible and horrible to watch. 3)Bow hold because of, as you can see, the broken finger. Any insights that you have, please feel free to share. Thanks. :)
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5 Responses
Posted: July 22, 2011

Eileen
HI Beth, you mention in this video that one needs to be hyper sensitive to NOT squeezing the thumb.....what if I do the piz exercise here with my thumb completely off the violin ? Are there any reasons why that might not be a good idea ? In the 3rd/4th position I feel very secure with the violin resting on my palm so don't really need the thumb.

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Posted: July 22, 2011

Eileen
Music theory question ! Beth, on the instructional material you provided for the left hand conditioning exercises....sixth line down last bowing, the flags are reversed. The first 2/3rds of the bow they are positioned down and the last 3rd of the bow they are positioned up. Just wondering why that is.
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Posted: July 22, 2011


Hi Beth, I am unsure have to tell when a note in a music piece should be and up or down bow. I do I learn to do this?
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4 Responses
Posted: July 19, 2011

Ray
Hi Beth, I know this is not a theory course, and you know now there is going to be a but, but, I trying to learn the A minor scale. On the ascending side is: A,B,C,D,E,F#,G#, and A. While on the descending side is: A,G,F,E,D,C,B, and A. Why is there a difference between the ascending and descending or is this one of those lesson where you just memorize it and move on? It doesn't make too much difference, it just got my curiousity going and the question had to come out. Cheers, Ray
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18 Responses
Posted: July 17, 2011


Hello All, New to the violin and this site, wonderful lessons by the way. I was wondering if someone would please suggest a bow for me. I bought a 20 year old violin and I suspect that the bow may need replacing. Although I am aware that most of the "screeching" is my fault :^). Something under $100 would be my goal. Or more if you could suggest that doesn't make "Minuet I" sound like two cats fighting over a can tuna! Thanks Bruce
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3 Responses
Posted: July 20, 2011

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