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I WOULD LIKE TO HAVE MORE OF THIS TYPE OF INSTRUCTION. THIS IS BEAUTIFUL.

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Posted: March 2, 2011


Thank you Jack for commenting on the Scale Studies series. I took a look at the videos, and find that they're a perfect practice tool. I've been at this a year now, so have some "pieces" to work on for my lessons and ensemble group. I'm finding that I need to always review the basics...fingering patterns, bowing, intonation, etc... And the scale studies are perfect for that. Thank you Beth. As an adult beginner I'm always looking for ways to use practice time efficiently.
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Posted: February 27, 2011


Are there more video's about martele? I would love to see that!

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Posted: February 21, 2011


I am currently studying the Concerto Op. 3, No. 8 in A minor from Antonio Vivaldi's L'estro Armónico. This concerto is for two violins and I am studying Violin I. I need a specific advice from professional violin players : Please take a look to 3rd movement (Allegro) and go to bar No.43 where you will find the arpeggio A,D,F. I need to play this arpeggio using 4th finger on A (D string), 3rd finger on D (A string) and 1st finger on F (E string). When I try to place these three fingers simultaneously on the fingerboard I find it almost impossible not to clinch the thumb and/or twist and squeeze the wrist since this finger placement is really awkward ! Is there any magician that can play this arpeggio keeping all three fingers down without squeezing, twisting or clinching the thumb and wrist ? Is this only a matter of practicing in order to play this arpeggio naturally and easily ?
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Posted: February 20, 2011

Eileen
Enjoyed the webcast Beth ! Very informative !

Would you be thinking about having the next one on purchasing a violin ? Especially....positive and negative things to look for when purchasing an older violin.

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12 Responses
Posted: February 20, 2011

Ray
Beth, when learning spiccato, is one of the goals to be able to feel the vibrations in the right-hand fingers even while exerting contol over tempo? I'm able to feel the vibes while bouncing the bow and I've just introduced the horizontal swing and control over rythm.

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Posted: February 23, 2011


:) Great viddd

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Posted: February 21, 2011

Eileen
Hi Beth, I've been working on Amy Barlowe's "In the Style of Bach" (cool piece!). Is there anything you can tell me about starting that out in those first 3 notes. I can't seem to get the forte/diminish quick long bow short bow thing quite right.

BTW...Great practice guide with these pieces but not being classically trained I often have a hard time figuring out what she's trying to say. \:-/

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Posted: February 21, 2011


Hi Beth, I noticed that in the vibrato lessons, yours and Dr Redfield's words are conflicting in terms of whether the hand should rock forward from a neutral position or backward. Why is that? In practising, I find that for 2nd and 3rd fingers, it's easier for the hand to knock forward. But with the 1st finger there's little room of motion and I prefer to use Dr. Redfield's method. Is it ok to use different motion for different fingers?
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Posted: February 19, 2011

Ray
Hi Beth, I've intigrated the whole bow exercises into my daily practice. Along with finger tapping, retakes, hooked, and string crossing. Now I've begun to intigrate finger motion. I'm hoping to be on scales by June once I've also intigrated detache, legato, marcato, martele, staccato, and spiccato. On your video: Finger Motion at the Frog you mention tilting the bow so that just a few of bow hairs are touching. And on Dr. Stephen Redfield, part 6: Finger Motion you comment when Dr. Redfield also tilts his bow. Do we usuall want to use only a few bow hairs during a whole bow stroke or only if you want to achieve a softer sound as in the example in Finger Motion at the Frog (near the beginning of the video).

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Posted: February 16, 2011

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