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Juan Pablo Pimienta
Hi everyone at violinlab, I'm Juan Pablo, I'm 29 and I have been playing for almost five years with some ups and downs. Here I share with you a video of me performing Bach Air suite N3 there are some minor intonation issies that are being , care of. Hope you folks enjoy it.

https://youtu.be/rB9nJ3DuRiU
Juan Pablo Pimienta
20 Responses
Posted: January 4, 2016
Last Comment: January 9, 2016
Replies

Beth Blackerby
Posted: January 9, 2016
Juan, your English is so good, it's almost impossible to tell you are not a native American speaker. Thank you for your kind remarks. I think you'll be making excellent progress!

Nick
Posted: January 8, 2016
Once again, a brilliantly educational and enlightening response vid Beth.

Nick
Posted: January 8, 2016
That was a very nice video response Juan Pablo. It took me about the same time i.e. 1.5 years to develop a vibrato (albeit a mechanical one) and it was hard. But I started the vibrato exercises as soon as I started the violin and like you, practised it like mad. Then I got carpal tunnel problems and had to slow down - I learned a valuable lesson through bitter experience, you can't rush vibrato!

Juan Pablo Pimienta
Posted: January 8, 2016
This discussion includes members-only video content

This is for you Beth and the rest of the crew here who have been really nice to me. Thank you guys!!!

Ray
Posted: January 7, 2016
Wow, what a great post and extremely good video response.  I'm sure we are all looking at what chooses we can all make no matter what we are playing.  Cheers.

Beth Blackerby
Posted: January 7, 2016
This discussion includes members-only video content



Juan Pablo Pimienta
Posted: January 6, 2016
Nick, thank you so much for such a great feedback. It wasn't harsh at all. I take benefit in everything a listener's got to say to me. Interpreting is really difficult, I've listened to lots of great violinist perform this and tried to pick my favorite moments and tried to make it interesting accordingly. More expressive? Yes of course it can still get more and more. That's why I never say a piece is ready because there is always something else you can add to embellish it. My biw hold? Haha almost everyone tells me the same thing however, this way is what works for me now. It's become automatic. Vibrato took me a loooooong time to actually sink in. Still working on it though. I am very happy with the critiques I've been given, it helps me value myself more as a player. 
Thank you so much Nick.

Juan.


Nick
Posted: January 6, 2016

Hi Juan, and welcome to ViolinLab!

What wonderful playing! You play superbly well.

You have a very even and fast arm vibrato and your use of the bow speed to create dynamics is beautifully controlled and very effective.

An observation of your bow hold, I think your bow hold is very high up the stick which may be preventing you from really sounding out the forte’s towards the heel. This might be a purposeful motive on your behalf because you want more of a light “baroque sound” but I think there can be much more contrast in dynamics if you play closer to the heel more. I notice many professionals play with a conventional bow hold for this piece. Your right hand was excellent however, controlling and balancing the bow and tone.

Your bow distribution was excellent, ending up in the lower half of the bow for the crescendos and you had good even tone as your approach the tip. But the crescendo starting at the tip 0.48 should begin, I feel, almost “whisper” quiet, (this is difficult to achieve, as anyone who saw my 347 attempts of the Bach Inventions No.1 section saw - thankfully my attempts were lost in the server crash!).

The soft, light-but-with-tone, slow-bowing whisper and gradual crescendo into the forte as you approach the heel would give the piece much more contrast and give this part so much emotion.

Vibrato at the 0.46 mark, I think a short amplitude vibrato gradually building into a very much wider vibrato with accompanying crescendo would build so much “tension” and evoke so much emotion in the listener and would make it more interesting musically.

Musical interpretation at 2.20 mark, I think you could add more “longing” or “agitation” or whatever expression according to how you feel this should be interpreted. I think you played this technically very well but it could be, I felt, more expressive. Your technical ability is excellent and you are in the “interpretation” and “expression” side of the violinistic conundrum which is always subjective.

This might seem quite a harsh critique on what was a wonderfully played piece. I am nit-picking at details of subjective interpetation after all.

Congratulations on a wonderful rendition Juan! You played it beautifully.



Barbara Habel
Posted: January 5, 2016
I too was taught to play the opening 9 points in 2 bows.

You have very nice vibrato. It made the piece sound very beautiful. Good effort. Well done.

CC
Posted: January 5, 2016
Very beautiful! You do produce a very nice tone. What kind of violin are you playing? I can't wait for Beth's video response. 

Juan Pablo Pimienta
Posted: January 5, 2016
Thank you Helene, I am very humble when it comes to my playing. I can't play for people only for the camera. It is a standard violin bow. It is an optical ilusion, the thing is that my bow hold is a bit higher than it should be. Therefore it looks longer. I use Pirastro Tonic strings. Thank you kindly for your comment. I'm still looking forward to making more progress.

Hélène Mathers
Posted: January 5, 2016
I loved it!  This is gorgeous music and you played it very, very well.  

I also thought your bow was very long and the sound so rich that I'm tempted to think that this is a viola bow on a violin and I'd like to know what strings you have on your violin.  I wish I could produce that kind of sound!

Hannarette
Posted: January 5, 2016
Hi Juan!!
You played very well indeed! Though I am too inexperienced to give you any tips, I can say that you have a very nice vibrato! I really love the legatoness of the piece!;-))
Enjoy your playing!!!

Juan Pablo Pimienta
Posted: January 5, 2016
First and foremost, I want to thank each and everyone of you for taking your time to both listen and comment on what you hear. I deeply appreciate it since Im trying to make it own till the moment I can start my private lessons again. Elke thank you so much for.your feedback I will play attention to varying soundpoints. I was taught to make the first 9 beat note in two bows. Beth you've just made my day. Here's hoping I can improve more. Raul, I am hispanic. I am from Uruguay South America jaja.

Raúl Rivas
Posted: January 5, 2016

Hello Juan. Your name seems very Spanish, if you are Spaniard welcome, we are 3 or four as far as I know. Of course, if you are not Spaniard you are also welcome, ja ja !! . Very good playing. The thing that I found strange was your bow. Not how you use the bow, I refer to the bow itself. It seems longer tan usual. Is it or is an optical ilusión?


Deirdre
Posted: January 4, 2016
Welcome! I thought that was really beautiful -- I loved hearing you play.

I'm also looking forward to Beth's video response!

Beth Blackerby
Posted: January 4, 2016
Hello Juan, it was great to heat you play! You have developed good technique and have a lovely tone! My advice to you would be to work on phrasing. You already have good instincts for expressive playing, so paying attention to brining out the definition of each phrase will take your playing to the next level. I will try to find some time in the net few days to make a video response to give you a few ideas and additional observations.

Madonna White
Posted: January 4, 2016
Lovely enjoyed tone legato bowing great performace post again.

Kim Thomas
Posted: January 4, 2016
Great playing Juan!

Elke Meier
Posted: January 4, 2016
Wow, Juan Pablo, that was very beautiful!! I loved your intonation and your vibrato!

Here are two small comments for continuing work:
- watch the note at 1:47, I think it should be a half step higher.
- in general I think it would be good in this piece if you experimented with varying your sounding point. You need VERY long bows which you cannot get if you play so close to the fingerboard. Simon Fischer says that tone is the right balance between bow pressure, bow speed, and sound point. There were times when the tone got thin, and I think it got thin because you could not draw it any faster because you ran out of bow. And since you were close to the fingerboard, you could not apply more pressure either. And there were other situations (for example the long first note) where you had to do it on two bows instead of one. Again, I think if you played that one closer to the bridge you might be able to draw the tone out much longer, since you can apply more pressure and less speed close to the bridge.