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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

19 Responses
Posted: July 17, 2011

Bruce Finney
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

3 Responses
Posted: July 20, 2011

I seem to be stuck. My teacher hasn't been available for a while (I had been doing lessons once a week and I've had them now for about 8 months -- but I started about a year ago). I keep playing Minuet I in Suzuki Book 1 over and over again and seem to be unable to get much done with Minuet II. I've also been working with the Sassmanshaus books and have taken great delight in the Dances, Gavottes, and Minuets almost at the midway mark of book 2. Does anyone else use that series? Any advice for other things to try to play to get me out of my rut? I'm hoping to use this downtime from my lessons to go through some of Beth's beginning series lessons, which I find really helpful -- Beth, I imagine I should be following the lessons (at least the ones tagged as Beginning Methods 1 & 2) sequentially. I guess I'm finding out how dependent I've become on having my teacher tell me what to do next.... and now I'm asking you all in VL ;) Thanks for any suggestions!

6 Responses
Posted: July 7, 2011

Michael Nicholsen
Hello everyone, I would like to please ask some advice regarding a bad habit with the left hand that I've probably had for years, recently noticed, and am now trying to correct. My third finger has a tendency to pull back into my palm and fall behind the fingerboard, requiring me to lift and reposition my third finger. This occurs most often when playing passages that rely heavily on the first and second fingers. I've experimented with stretching my fourth finger out toward me to keep the third suspended over the fingerboard, but I'm concerned that this might cause too much tension to be a real solution. Does anyone know if any of the lessons here address this issue directly? I haven't seen one yet, but I could have overlooked something. Secondly, does anyone have any thoughts on exercises, methods, ideas, etc. to correct the above problem? Thank you, Mike Nicholsen

2 Responses
Posted: July 19, 2011

Beth, I just returned from my annual Chamber Music camp for adults - I had a fantastic time due to the many lesson learned from your videos. I participate in the beginner's group - meeting only once a year really accentuates our individual progress. I received many positive comments about my progress since last year. I will certainly be continuing my studies with you. (and I spread the word about your website to my orchestra-mates) Your work here is greatly appreciated my me and the people I play with!

4 Responses
Posted: July 17, 2011

Stephen Briggs
A happy arrangement of mirrors in my bathroom presents me with an image of myself when I am practicing which is close to how we see Beth on her videos, making it easier to copy/follow her movements. I have a floor to ceiling mirror at my right side and I stand with my chest and arms at a right angle to it at about one pace to the left. Ahead of me about one pace, and to the left of me by about one pace is another floor to ceiling mirror set at 45 degrees to the first mirror ( I do hope this doesn't sound too confusing!) The outcome is that the first mirror reflects an image of myself into the second mirror, the 'right way round' 'I' would appear to myself if a video camera were taking the pictures. I find this arrangement very helpful for applying Beth's inspiring lessons. A 'stand-alone-mirror' set at 45 degrees to another mirror would yield the same result

2 Responses
Posted: July 19, 2011

Anne aMaudPowellFan

Hi all!

On July 10th I have a 20 minutes time slot to play at the "Tag der Laienmusik", Munich's yearly day of amateur music. The program consists of (popular) dances for violin and piano: Tango pour Madame, Leclair Tambourin, Hubay Bolero, Lanner Steyerische Tšnze, Rachmaninoff Danses Tziganes. I am including two videos from yesterday's presentation in violin class, with pianist Nino Gurevich.

I'd be grateful to hear your comments and suggestions. Particularly, if time is short, should we rather play some repetitions in the Lanner and skip the Leclair alltogether? We reckon with longer breaks between pieces, and I also want to give brief introductions.

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22 Responses
Posted: June 30, 2011

shovan kumar Paul
Hi Beth, I am frustrated again. I think I have no improvement. I see a lot of video at a time and try all.At last result is zero. Regards, Paul

9 Responses
Posted: July 13, 2011

Hi Beth! I have had my violin for about a year and a half now and lately I have been having problems with it. When I play it does not have that rich sound it use to have. About 2 to 3 months ago i put on new strings to see if that was the problem. once the strings broke in it still seemed to not have that rich sound it use to have. Is it me or is it that i need a new violin? Im open to any thoughts or ideas on how to fix it.

1 Responses
Posted: July 15, 2011

Ron Davison
HI, Beth Just wanted to say thanks for the wonderful video lessons that you continue to produce. I have an idea for a video series and maybe some classes for the reunion in 2012. I would love to see a series of lessons on improvisation on the violin. For a lot of people this is such a mysterious and scary subject, but so important. Especially if you like to go to jams where it's not practical to pull out a bunch of sheet music. I've seen decent guitar players at clinics completely freeze up when someone says improvise over these chords. But it's great to watch players who can just wing it. And once you start to get the hang of it, its like it frees your spirit (corny as that sounds). I'm not sure the best way to describe it but I think you know the feeling I'm talking about. And if you ask people what they would like to be able to do on their instrument be it violin, mandolin or guitar they will say Id love to be able to improvise but they are just scared to do it. What do you think?

3 Responses
Posted: July 14, 2011

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