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Vibrato: part 11 Amplitude

1 Responses
Posted: August 18, 2010

Tension and the Low 2nd Finger

1 Responses
Posted: May 7, 2010

Elly and I recently went through the process of finding a bow to bring out the best qualities in her violin. It was a fascinating process. Here are some videos I made regarding sampling of violins and bows:,, Our experience involved sampling different bows and discussing their differences. For me - fun and interesting. For Elly???

11 Responses
Posted: August 23, 2010

Beth, I have a 'dilemma' (well it needn't be but I really would like to know why and 'fix it'). I never suffered the thumb 'death grip', as far as I know I don't have a habit to grip with my left hand BUT there is ONE piece of music which unfortunately I had to play for my grade 5 exam where I just CANNOT stop squeezing with my thumb/hand throughout it and my left hand becomes 'death grip', this causes me pain and it makes intonation difficult to keep good throughout the piece. The piece is a baroque piece: Giga by Mascitti and it's on page 8 of the Sheila Nelson's 'Baroque Violinist' book by Boosey and Hawkes. It is meant to be played 'presto' but even in my practice if I practice it really slowly the death grip sets in almost immediately, by the 3rd bar at the most it will be there! This caused me enourmous stress when I was preparing for my exam and I really wanted to 'ditch' the piece but I didn't as I would have viewed it as 'chickening out', I wanted to 'face the challenge and win'. So I did it for my exam, in the exam I did not play it too badly I got a merit! BUT I kept this as the last thing I had to do in the exam because of the tension/pain it would give me to play it. Intonation was not perfect, it never is because of the tension in the hand my fingers will not stretch as far... any ideas why I never suffer with this problem but this piece brings it all out???

6 Responses
Posted: August 23, 2010

elly jocham
Diane, thanks for the reference of Josephine Trott's Double stops, I'll see about getting one. and thanks to the rest of you for welcoming me to the site and for the advise on double stops, that sounds like a good place to start.

0 Responses
Posted: August 24, 2010

elly jocham
hi, I just recently joined your "lab". Wow!! I love it! I was referred by my teacher Diane Allen, now I have two great sites to cruse. anyway...I'm wondering if you have any special practice tips for getting better with double and triple stops. even when I know they are coming I just can't get set up for them, especially when there are multiple ones. They stop me in my tracks. Any words of advice, besides practice, practice, practice? Thanks, elly

4 Responses
Posted: August 22, 2010

The ladies are having a gathering at church tomorrow morning and I've been asked to play a piece of music for them. This will be my first time playing anything in public with no accompaniment. I'm a little nervous but looking forward to the opportunity. They're a friendly enough bunch, I'm sure they won't tar and feather me out of the I'll be playing "He Touched Me" by Bill Gaither. It's a simple enough piece in F major, nothing difficult about it at all and I've even incorporated a few accidentals/twittles in the melody here and there. I'm sure it will go fine. I just wanted to share the experience with my friends here a V-lab. After Meditation and some of the other pieces I've been working on.....this one is a pleasure in that I don't have to work so hard to get it right ! LOL

9 Responses
Posted: August 20, 2010

Dr. Laurie Scott, part 9: Training Vibrato

2 Responses
Posted: January 19, 2010

Just to give you some idea of how 'unpleasant' my schubert sonatina in D is right now, it's very 'wobbly' I will always do something wrong, either intonation or bowing or shaking or no vibrato, I still cannot play it well throughout :( oh well, let's keep going and hopefully look back at it one day and laugh LOL (it's rather sad right now LOL)
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5 Responses
Posted: August 19, 2010

Dan Kobialka: part 3: Spiccato

1 Responses
Posted: April 22, 2010

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