Violinist.com

The Center of the Universe

Wed, 08 Jul 2009 21:13:33 GMT

By Sydney Menees:

Every year since 2004, I have eagerly awaited ten days.� Those ten days comprise of an intensive music camp in Ottawa, KS called Sound Encounters.� This year accomplished the seemingly impossible by exceeding my expectations.�

This year was my second year of being a collegiate student at SE instead of an undergraduate.� The only difference between the two is housing � collegiates live in the nicer dorm with the faculty.� The housing situation also results in fewer rules for collegiate students.� Almost every night, we were up past midnight, which may not have been conducive for 8 AM orchestra, but it certainly was fun!

Some of my fellow collegiates and me on crazy hair day 2009.

In orchestra this year, we prepared and performed Shostakovich�s Two Pieces for String Octet.� The director of Sound Encounters orchestras, David Barg, is full insights.� Sometimes he shows us a score from Leonard Bernstein, sometimes he drops a quote from Pablo Casals.� I was greatly looking forward to playing Shostakovich this year because this work really exemplifies what I love about Shostakovich: the laborious tragedy in the first movement and the fiery wrath of the second movement.� In the first few rehearsals, we were playing it way under tempo and I was unsure what the result would be.� Mr. Barg kept reminding us that, �Slow is just fast slower� and he was right!� Think about it�.� The final performance of it was most excellent and we owed it all to slow, thoughtful rehearsal.

For my private lesson, I brought something I had been working on for a little more than a week: the first movement of Lalo�s Symphonie Espagnole (originally suggested here).� My teacher, Scott Conklin, helped me out tremendously in discovering the sound I wanted out of the music.� As I soon learned, Lalo needs to be played with one�s heart on one�s sleeve, which was difficult for me at first.� Through different techniques, Dr. Conklin taught me what was necessary in order to achieve my desired sound, from simple observation of dynamics to mastering high G-string pyrotechnics. He also pointed out to me that I was having a little trouble keeping my pinky on my bow�.

Repertoire class with Brian Lewis this year was formidable, but fun.� Our pieces were the Mendelssohn Concerto, third movement and the Goldmark Concerto, second movement.� I looked at the Goldmark before SE and saw that it wasn�t technically hard, but I knew that we would be doing a lot of work to develop the character.� I was correct.� We spent a great deal of time on the first few notes of the movement, Brian urging us to cultivate a specific color from the massive stained glass windows in the chapel where we rehearsed.� Even though we were performing these two movements as a group, it was a very introspective experience.� I had learned the Mendelssohn previously, so the most challenging aspect was modifying my bowings, however, the first day of rehearsal on it scared me.� We played it at breakneck speed and afterwards Brian assured us, �Don�t worry, we�ll take it faster for the concert.�� After 10 days, we did, and it sounded great.

I was a member of Chamber Ensemble No. 1 this year.� We played Dvorak�s String Quintet, Op. 77, first movement and we named ourselves The Quintessentials at the suggestion of our wonderful coach, David Garrett.� Mr. Garrett is a cellist in the LA Philharmonic and he was the cellist in our quintet.� He taught us the art of listening to each other and really helped us bring out the spirit that I think Dvorak intended for the movement.

The Quintessentials

At SE, we had a special guest this year: Mark O�Connor!� This was in celebration of Ottawa�s summer music activities� 35^th Anniversary.� While Mark O�Connor was at SE, he taught a class that we all got to attend.� He provided us with etudes and excerpts from his caprices and we went to work.� The most surprising thing I learned was how much the rhythm seems to change when placing emphasis on different beats.� We had sets of sixteenth notes and placed an accent on the first in a set of four, then we tried it on the second in a set of four, etc. and it made such a difference to the sound.� He then proceeded to wow us as we tried to play excerpts from his caprices and failed while he whisked them off flawlessly.� This only whetted our appetite for his concert.� His final night at SE was his concert � the first half was just him and the second half was a performance of his String Quartet No. 3.� There was no program, so as my memory serves, everything that he performed was written by him.� In the first half, everyone was in awe of his prodigious skill.� It was incredible � I am still reeling.� The music he wrote acted as a perfect showcase for his technique and put what we learned in class into context.� The second half � his String Quartet No. 3 � was performed by Brian Lewis on first violin, Mark O�Connor on second violin, Roger Myers on viola, and Amy Barston on cello.� This quartet was innovative in many ways: there were many different rhythms going on at the same time, but they didn�t sound out of place in the slightest.� The overall sound was very� American.� I�m sorry I can�t describe it better, but it was very fresh and invigorating.� The slow movement was beautiful � we got to hear it twice because they played it as an encore.

Mark O'Connor, me, and friends

In closing, I need to make clear that this blog does not do Sound Encounters justice.� In fact, my peers and I have come to the conclusion that the English language does not have the capacity to describe SE.� It is an occasion you need to feel, to breathe, to simply be in to understand how much I love and owe to Sound Encounters.� Thank you.�

Sound Encounters = Happy Students!

Dear parents of my student

Wed, 08 Jul 2009 03:41:07 GMT

By Pauline Lerner: Dear parents of [my student],

I am happy that your son [daughter] is one of my students. He has musical talent, and he enjoys playing music. Do you know that as parents, you play an important role in his musical development? This is true even if you do not know how to play an instrument or read music. You can foster his musicianship in many ways.

First and foremost, you must be supportive music education. Let him know that you take it seriously. Have him keep regular attendance. Encourage him to practice daily, even if he can only practice for 10 or 15 minutes on a very busy day. (More about this later.) Buy him the books I recommend. Show an interest in what your son can do, and praise him for his advances, improvements, and even his persistent efforts.

If your financial situation is difficult, as it is for many people in this deep economic recession, please feel free to speak to me about it, and we'll find the best way to cope. I've done this with several of my students already, and it works.

Find occasions for your son to show off at home with an audience which is sure to be appreciative. Visits from grandparents are great for this. Your son can choose two or three songs to play for them, and he should practice them extra in advance. Any gathering of friends or family in your home can give him a chance to play and show off. Birthdays are special events. I will teach him how to play "Happy Birthday to You." That's a real crowd pleaser. One of my students, age 10, surprised everyone at a Thanksgiving dinner at his home by playing several tunes on his violin. Everyone was impressed and said so. When he told me about this experience, he said, "One of the reasons I like playing the violin is that I can do something well even though I'm just a kid."

If you or your spouse plays guitar or a similar instrument, you can play back up guitar with your son as soon as he learns a few simple songs. You can start doing this at one of your son's violin lessons with me to coach, if you like. I've coached several duos like this, and sometimes I play along. This is a valuable experience for several reasons. Playing by yourself is different from playing with others, and your son will benefit from getting an early start on playing with someone else. Playing music together is a great bonding experience for parent and child. Besides, music is a wonderful thing to share with someone you love.

If you know something about music and/or playing the violin, you may be able to help your son practice. The mother of one of my students used to sing in choruses, and she misses the experience. When her daughter has trouble keeping a steady rhythm in a song, Mom stands up in front of her daughter and conducts. It works! When her daughter plays a wrong note during her practice, Mom calls out, "Wrong note," and that helps too. Another student has a father who plays an instrument other than the violin. He doesn't attempt to teach his son violin specific skills, but he does help his son with rhythm and scales. In these cases, the parent knows enough about music to be a good, creative coach.

Now for the tricky part. Sometimes a talented kid won't practice. I know you don't want to get into a habitual nagging routine or, worse still, have confrontations with him. Reasons that make sense to us adults, such as "You have a gift, and you should appreciate and nurture it" or "I work hard to make the money to give you violin lessons" just fly over the kids' heads. I've found that it sometimes helps to schedule a regular time for practice every day and stick to it. If time is short because your son has too much homework, needs to attend soccer practice, etc., he can practice just 10 or 15 minutes and still accomplish something. At the very least, he will reinforce his muscle memory. If he plays a song he likes, he can motivate himself to keep practicing. Another approach is to reward steady practicing, preferably not with money. The mother of one of my students gave her daughter the reward of having not just one, but two, girlfriends over for a sleepover after she attained a certain goal. It worked. I encourage you and your son to talk with me if the practicing problem persists. After the three of us talk, it might help for me to talk to your son one on one. Sometimes a kid will talk more freely and honestly when his parents aren't around.

"Listening is practicing." So says the great trumpeter, writer, and educator Wynton Marsalis. He's right. Music is one of the few subjects which you can really learn by "osmosis." I'm often surprised that my students and their families don't listen to music much at home, and if they do, there is only one audio device for the whole family. I tell the parents of these students to play a music CD in the car when their kid is with them. Ideally, each student should have an iPod or CD player of his own. Some of their instructional books, including the Suzuki books, have their own CDs. It really helps a student know what a piece should sound like before he even gets to play it. Besides the educational CDs, your son should listen to "real" music to enhance his understanding and appreciation of music. I have hundreds of CDs, and I'm happy to make copies of any of them that your son may like to listen to. However, nothing beats the excitement of a live concert. Unfortunately, the tickets are often prohibtively expensive. There are free concerts, some family oriented. I'm always on the lookout for these, and I let my students and their parents know about them by email.

If you have any questions or issues you'd like to discuss with me, please feel free to contact me.

I look forward to helping your son grow as a musician and enjoy playing the violin.

Pauline Lerner

My First Experience Performing with a Professional Orchestra

Mon, 06 Jul 2009 21:55:57 GMT

By Corwin Slack:

& nbsp;In the sense of performing with & nbsp;paid orchestra the headline isn't true. I have performed in paid orchestras a number of times but last week I performed with a professional orchestra for the first time. I'll be circumspect about the details for the sake of search engines etc. but you can just look at my last blog to know when and who etc.

The performances (3) took place in Mexico City. They were part of a two month summer festival of weekly performances. The musicians were mainly Mexican nationals but the winds were heavily augmented with non-Mexicans who I presume were mainly Americans.. I was an unpaid & nbsp;substitute member of a visiting (volunteer) chorus. & nbsp;

The quality of the orchestra playing was very fine. The solo wind and string parts were particularly well done. Some of the tempos were brisk and the string playing was quite virtuosic in general but I was surprised to see some faking in the first violins on one chorus I know well. & nbsp;

My real surprise was the conductor. He is clearly a bright up-and-coming performer but he has no down beat. He looked more like a boxer delivering a round house punch in the stomach. Once in rehearsal he was critical of the chorus rhythm so he conducted in a very four-square way. Surprise! We sang it quite rhythmically. Clear beat patterns (as opposed to podium choreography) have a function. Who knew!?. & nbsp;

I play in an orchestra that is directed by students (current or former) of Larry Rachleff who is the principal conductor at the Shepherd School of Music. You can say many things about Larry Rachleff but you may not say that he doesn't have a down beat. I have had veterans of orchestras say that the only conductor with a clearer beat pattern than Rachleff is Pierre Boulez. His students tend to conduct clearly. & nbsp;

Our director last week does not have a clear beat pattern and I believe that most of the weaknesses of the performance can be traced to that. When I complained to members of the chorus they told me that he was better than most of the many conductors they have worked with. Horrors!

The performance was actually quite good but I know that it could have been better. We spent too much mental energy on figuring out where entrances were or what tempo was. I was a newbie but my chorus colleagues were veterans of many professional performances. They can sing but they would have been much better served by a clearer beat pattern. They didn't need any histrionics to sing louder, softer or with more drama. In fact the clearer the beat pattern the more confidence we had to inject drama into the work. & nbsp;

& nbsp;

So here is my advice for conductors.

1. Your function at performance time is to communicate the rhythm, mark the beat, and provide effective cues.

2. The rebound after the ictus of the downbeat is always away from the body. (Always always always)

3. The right elbow never rises above the right wrist.

4. The right elbow never rises above the head or for that matter the & nbsp;shoulder.

5. One hand is enough for 98% of the performance. The second hand rarely adds value and if it is used in synch with the right hand it only confuses. & nbsp;

Many years ago I was a part of a conducting lesson given by Joseph Rosenstock. This venerable conductor had retired from the Metropolitan & nbsp;Opera Orchestra and had taken some conducting students. One time he brought a conducting student to a youth orchestra I was playing in. The student tried to get dramatic but Rosenstock shot that down. He wanted a clear beat pattern. At the end he demonstrated. The difference was dramatic. & nbsp;

& nbsp;

Violin Lessons - Top Ten Common Mistakes Musicians Make

Mon, 06 Jul 2009 15:56:55 GMT

By Paul Huppert:

Written by Paul�Huppert

TOP TEN LIST-Mistakes Musicians Make

1. Making Music Only For Yourself
The dynamics that a player experiences are completely different when playing� (or knowing that one will be playing) for other people. The musical growth that a musician experiences in a performance situation is invaluable. A great quote by the concert violinist, Midori � One performance, is worth a thousand hours in the practice room.�

2. Not Wanting To Listen To Yourself Play
Whether recording audio, visual or both, these practice aids can effect how we listen to and perceive our approach to a musical instrument, what is working, what isn�t. Arthur Rubinstein, the great concert pianist was known to comment when entering the recording booth to hear play back of himself, �And now, it is time for my lesson.�

3. Never Good Enough
Progress does not occur in predictable increments, on a set time frame. It is difficult to say what practice technique or performing experience will benefit a particular individual. Persistent downplaying of ones own abilities (when done in a non-constructive manner) does not create an environment for improvement on any level.

4. Feeling You Make Progress Only On �Good Days�
We all need good, bad, and in between days, this is how we gauge our abilities. The bad days are a good opportunity to ask ourselves �What is interfering with my progress?� It is an opportunity to analyze ones faults. When one is able to perform well under less than optimal conditions, the creative palette is better able to take flight under ideal conditions.

5. Avoiding Criticism
Truth hurts sometimes, but the insight of a measured and positive observer, can illuminate a path toward a better understanding of ones potential. It is important to be challenged on occasion, in order to embolden our capacity to discriminate what we are really attempting to accomplish by our musical endeavors.

6. Learning From Only One Source Of Information
It seems that part of our nature is to gravitate toward a single opinion, and ignore opposite or conflicting information. A �balanced diet� of input can often lead to enhanced problem solving skills, and greater confidence in the end result.

7. Ignoring Technical Application
Repetition does have it�s place, but one can also run the risk of repeating the same mistake over and over again, creating a kind of battle within ones own playing experience. Playing the violin is an enormously complex and subtle endeavor. The information available at our immediate disposal is infinite, and ever growing. Internet, easier travel, better understanding of technical application are all a part of the times we live in. Learning to discriminate as to what is or isn�t a good fit for you, is a necessary part of the relationship you create between you and your instrument.

8. Not Portioning Out Practice Time
Very easy to fall into. For a violinist, there are uniquely complex and challenging interactions between left hand technique and bow arm technique. Also, there are demands placed on players in terms of music related endeavors, pieces of music that it may be necessary to practice, as opposed to wanting �to just play�. Making a habit of structuring ones practice time can reap great benefits.

9. Using Tapes On The Fingerboard
Like a lot of practice aids, moderation is an important concept. Using tapes on the fingerboard of a violin year after year, with no variation in terms of position or context, tends to nullify pitch recognition and other subtle cognitive functions. For very early beginners, and to learn shifting, they can serve a purpose. Using tapes on the violin bow can be very useful, provided there are clear goals set, and the tapes are reflective of bow stroke vocabulary.

10. Practicing Too Fast
As a child, we may have asked the question, �Are we there yet?� Practicing a musical instrument does require a degree of patience, the more confident the musician is in the method of practice, the less inclined he or she will be to rush toward a perceived result.

Pickin' mandolin music

Mon, 06 Jul 2009 04:18:50 GMT

By Laurie Niles:

So I'm getting ready to traverse the entire U.S. of A. with my family and I've decided that instead of bringing my fiddle and risking that it turns into a puddle in the trunk, I'm going to bring along my mandolin.

Thus, I dug out my dusty mando and set about resurrecting it today. I still had a gift card that a student had given me last Christmas, so I took my mandolin to my local music store, Old Town Music, where I was able to buy an entire set of strings -- eight of them -- for $4.50! Then for another $10, they strung it for me -- nice. What a shock, after spending something like $79 on four new strings for my violin last week, and of course, when has anyone strung an instrument for me, since I was 12 years old?

During the re-stringing, we meandered to the back of the store, where I looked through some books, hoping to find something that would work for me, the classical violinist. It's not easy; I find mandolin tablature to be unnecessary and unfamiliar, just plain difficult to read! And I don't really need the super-basic & quot;this is the A STRING... & quot; kind of book. Yet, I'm a beginner on mandolin: A left-handed person who has only trained my right hand to use a bow. Pick technique is a new challenge, and though I want some instant gratification, I need just the right thing to help me develop this new technique.

As is typical, I was thumbing through everything, frowning, concentrating, brow furrowed, finding nothing, when my son, Brian, popped up with, & quot;How 'bout this one, Mom? & quot;

Hmmm, Sam Bush Teaches Mandolin Repertoire and Technique...The music is all written out, there's a little CD, the notes are fairly basic but considering the pick issue, it promises some challenge...Looks good.

So I'm all set up, and after listening to a bit of the little CD, Sam seems like a good teacher. And heavens, he seems like a good player!

P.S. For his efforts, I spent the rest of my gift certificate on a harmonica for Brian -- he's not going to bring the piano in the car, either!

Arensky vc + Ysaye op.14 R�ve d' Enfent violin+piano

Sun, 05 Jul 2009 18:46:02 GMT

By Bram Heemskerk:

The unknown Russian A (Anton) Arensky & nbsp;wrote a violinconcerto. Here movement 1 + 2

Also a & nbsp;piece for violin + piano of Ysaye op.14 R & ecirc;ve d' Enfent. & nbsp;

& nbsp;

Arensky , Anton violinconcerto mvt3

& nbsp;

Ysaye op.14 R & ecirc;ve d' Enfent for violin + piano.

& nbsp;

Happy Fourth of July!

Sat, 04 Jul 2009 07:47:46 GMT

By Pauline Lerner:

Today (July 4) is Independence Day (and also my birthday). & nbsp; Independence Day is a major holiday for Americans. Laurie posted a blog about it, but her approach and mine differ. I've gathered a few items from Youtube which make me feel proud to be an American.

Marin Alsop is the first woman conductor and Music Director of a major symphony orchestra (Baltimore Symphony Orchestra) in this country. In her first two years on the job, she has worked wonders. The Baltimore Symphony has made great gains both musically and financially at a time when many other American orchestras face major cuts and possibly shutdowns. She has initiated several outreach and education programs. One is having question and answer sessions after concerts, and other is a series of Webumentaries such as this.

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We have free elections in this country, and we celebrate presidential inaugurations with music and other forms of entertainment. Musicians playing at the inauguration in January of this year included Yo Yo Ma and Itzhak Perlman.

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One of our patriotic songs is & quot;America the Beautiful, & quot; performed movingly here by Ray Charles.

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Happy Fourth of July, everyone!

& nbsp;

Happy July 4!

Sat, 04 Jul 2009 02:03:53 GMT

By Laurie Niles:

That is, happy Independence Day to V.com friends in the United States, and a simple happy July 4 for everyone the world 'round!

I looked around YouTube for something that showed some American spirit, and naturally I chose a piece by a Belgian composer...;) Thank you to V.com member Krzysztof Ruci & ntilde;ski, who was 18 when he recorded this with pianist Chase Coleman, during the Recital launching Foundation to Assist Young Musicians in Las Vegas in December 2007. Enjoy, & quot;Souvenir d' Amerique, & quot; Op. 17 by Henri Vieuxtemps, or, Variations on & quot;Yankee Doodle. & quot;

V.com weekend vote: Strad or del Ges�?

Fri, 03 Jul 2009 23:00:17 GMT

By The Weekend Vote:

Earlier this week, Philippe Quint confessed to being a Strad man, and that got me thinking: Strad or Guarneri del Ges & ugrave;?

The & quot;Stradivarius & quot; label is the famous one, it graces so many knock-offs, and Stradivari is the one violin maker that is known by both musicians and people in the general public -- musical Muggles -- like my Mom. (Hi Mom!) But the del Ges & ugrave; has captured the imaginations of so many artists; this just can't be denied.

Guarneri del Ges & ugrave;s have the general reputation of being more sonorous than Strads but less finely crafted. They also are rarer, simply because del Ges & ugrave; was less prolific than was Stradivari, who kept making fiddles (some 1,000 of them) up until he died at the age of 93. (del Ges & ugrave; lived only half as long -- to the age of 46). The Stradivari Society estimates there are approximately 135 del Ges & ugrave;s left in existence, compared to 650 Stradivari instruments.

Here is a list of some violinists who currently play Strads: Joshua Bell plays the 1713 & quot;Gibson ex Huberman & quot; Stradivarius; Janine Jansen plays the 1727 & quot;Barrere & quot; Strad; Gil Shaham plays the 1699 & quot;Comtesse de Polignac & quot; Strad...there are many more, and please feel welcome to mention these artists below.

Perhaps the most famous Strad is the Messiah -- considered such a fine specimen that it is not to be played!

And here are some violinists who currently play on del Ges & ugrave;s: Rachel Barton Pine plays the 1742 & ldquo;ex-Soldat & rdquo; del Ges & ugrave;; Midori plays the 1734 & nbsp; & quot;ex-Huberman & quot; del Ges & ugrave;; Vadim Repin plays on the 1736 & ldquo;Von Szerdahely & rdquo; del Ges & ugrave;. Again, feel free to add to this least, it is by no means complete.

Pinchas Zukerman plays a 1742 del Ges & ugrave;, and last year he test drove another one, made in 1741, and bought for a record-breaking $3.9 million by Moscow lawyer Maxim Viktorov.

The most famous del Ges & ugrave; is Il Cannone which was Paganini's favorite instrument, so named because of its powerful sound. In 1837 Paganini gave the fiddle to his native city of Genoa, where it still resides and is played once a month, and on special occasions.

Jascha Heifetz, if you are curious, had several Strads and a del Ges & ugrave;: he owned the 1714 & quot;Dolphin & quot; Strad, the 1731 & quot;Piel & quot; Strad, the 1736 Carlo Tononi, and the 1742 & quot;ex David & quot; del Ges & ugrave;. It is said that he preferred the del Ges & ugrave; kept until his death.

So which would you vote for? And please, tell us why. What do you like about the sound? About the craftsmanship? Have you played either kind, and what have been your impressions?

poll by twiigs.com

& nbsp;

Carving a scroll - step by step - part XII

Thu, 02 Jul 2009 23:26:10 GMT

By LUIS CLAUDIO MANFIO:

I continue refinishing with my shaped scrapers. Now we have this:

The scroll is an sculpture work, it's tridimentional, so it most be beautifull in all & nbsp; angles:

& nbsp;

Here I'm cleaning the scroll with a shaped scrap:
& nbsp;

& nbsp;

Here I'm using a thick needle to clean this area:
& nbsp;

& nbsp;