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My Journey with My Violin Since May 1716.
A probably unusual way to learn improvising via baroque play-alongs.
Topic Rating: 5 Topic Rating: 5 Topic Rating: 5 Topic Rating: 5 Topic Rating: 5 Topic Rating: 5 (1 votes) 
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BillyG
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August 19, 2017 - 2:53 pm
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Demoiselle said

...... For the first 6 months I didn't show it because it was clearly to see she needed self-affirmation. If I had told her she wasn't as powerful as she assumed, she probably would have lacked motivation. Finally she tried to completely take over and didn't respect my personal goals anymore.......

  Now, that is simply wrong - you should be given the room and the space to expand your interests !

  You made the right decision IMHO  ( and I say that from the perspective of having BEEN a tutor - not in music, which is no more than a pass-time to me ) but two other completely unrelated subjects.

  I learned, VERY quickly, that some students "were on a slightly-different-path-of-awareness" in the subjects I taught.   I ALWAYS took the time to work with them individually and, many times, I was "enlightened" to a different way of thinking about a problem scenario.

  Been on the other-side as well - as a student / recipient of tuition - (again in non-musical topics) - on several occasions I have simply walked away and found a better mentor that's prepared to deal with "what I want out of it" and not a regurgitation of stuff anyone can read from a book LOLOL...

I like your style !   hats_off

 

  

I seriously recommend not copying my mistakes. D'oh - guntohead.JPG

Please make your own, different mistakes, and help us all learn :-)

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Demoiselle
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BillyG said

Demoiselle said
...... For the first 6 months I didn't show it because it was clearly to see she needed self-affirmation. If I had told her she wasn't as powerful as she assumed, she probably would have lacked motivation. Finally she tried to completely take over and didn't respect my personal goals anymore.......

  Now, that is simply wrong - you should be given the room and the space to expand your interests !

  You made the right decision IMHO  ( and I say that from the perspective of having BEEN a tutor - not in music, which is no more than a pass-time to me ) but two other completely unrelated subjects.

  I learned, VERY quickly, that some students "were on a slightly-different-path-of-awareness" in the subjects I taught.   I ALWAYS took the time to work with them individually and, many times, I was "enlightened" to a different way of thinking about a problem scenario.

  Been on the other-side as well - as a student / recipient of tuition - (again in non-musical topics) - on several occasions I have simply walked away and found a better mentor that's prepared to deal with "what I want out of it" and not a regurgitation of stuff anyone can read from a book LOLOL...

I like your style !   hats_off

 

    

That woman obviously had mental issues. It wasn't her fault. But until the end of June I learned a lot. Even in Berlin it was very difficult to find the right teacher for me. Those who prefer jazz think I'm nuts because I love riding on ancient music, and those who prefer ancient music feel like it's wrong to not just follow the notes of ancient masters. The problem is, if I start shootn' off my mouth people are hurt pretty soon. My argumentation is like a rolling tank, they have no chance. At some point I learned I'm very gifted and powerful in that matter and decided to hold back. I'm glad I didn't use that against her.

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Demoiselle
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I needed some distance and then listen into my three choices out of the Brandenburg Concertos 2, 5, 6 again. Today I feel like the Andante in No. 2 is gonna be great for me.

t=310s

The movement starts in the middle (at 5:12), is not fast and nonetheless a little groovy. I want to start singing each time I listen to it, which shows it speaks to my heart.

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Demoiselle
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It's D minor, my favorite key, so I probably won't transpose it. I tried to accompany the above video sound at my spinet and it was great fun: It involves several minor chords and the harmonic progression is extremely beautiful. This is exactly the kind of stuff I need: Quite dreamy, colorful and nonetheless with a steady groove. Swings like swing jazz.

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Fiddlerman
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August 22, 2017 - 9:44 am
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Demoiselle said

......Those who prefer jazz think I'm nuts because I love riding on ancient music, and those who prefer ancient music feel like it's wrong to not just follow the notes of ancient masters. The problem is, if I start shootn' off my mouth people are hurt pretty soon....... 

Imagine how boring this world would be if everyone thought and acted alike.....

"The richest person is not the one who has the most,
but the one who needs the least."

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Demoiselle
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Fiddlerman said

Demoiselle said
......Those who prefer jazz think I'm nuts because I love riding on ancient music, and those who prefer ancient music feel like it's wrong to not just follow the notes of ancient masters. The problem is, if I start shootn' off my mouth people are hurt pretty soon....... 

Imagine how boring this world would be if everyone thought and acted alike.....  

Yes, terrible idea. Actually a nightmare as I feel.

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Demoiselle
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CIACCONA by Philipp Jacob Rittler (1637-1690)
- improvisation, September 18, 2017 -

It didn't seem fast too me, but if I start playing I find it quite a bit exhausting.

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Demoiselle
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Demoiselle said

CIACCONA by Philipp Jacob Rittler (1637-1690)
- improvisation, September 18, 2017 -

The problem I see is, that I must refrain from tiring myself too soon by stuffing my improvisations with too many fast phrases. It is clearly to hear that I was done around 1:40 in this video. I have successfully integrated pairs of two eighths which I connect via legato. So I bow every second note in those phrases which saves energy and sounds nice. But here I do it too often and it's downright bleeding me out. Especially if I play with people I'm supposed to use more long notes and ad these eighths just now and then.

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Demoiselle
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Now, after 2 1/2 years of playing the violin, I dared to test out playing from sheets. I used notes of 17 century hymns in my old church book. My idea was I would fail, but surprisingly was able to play the notes as if I had done it all those 2 1/2 years. Of course I had played from sheets on trumpet, trombone and recorders before, but violin is a very special challenge because you have to handle so many technical difficulties in one moment.

Now I'm fully convinced, notes are bad for violin beginners because they struggle with so many technical problems anyway and should better concentrate on that. I would possibly confront a trumpet beginner with notes but never a violin beginner. The start on violin is so incredibly tough and I'm anyhow glad I violinistically survived it.

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Fiddlerman
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October 9, 2017 - 1:05 pm
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Maybe bad if that is all they do and never try loosing the sheet music......

"The richest person is not the one who has the most,
but the one who needs the least."

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Demoiselle
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Fiddlerman said
Maybe bad if that is all they do and never try loosing the sheet music......  

You're very right, people should also be able to read sheets. I'm not planning to teach violin beginners, but if I did they would also start on piano. I always confronted music beginners with chords and notes. So I would harass them with even more sheets. Actually what I avoid is sight-reading for at least the first 2 years. On trumpet I made the experience, focussing on sheets took away an awful lot from my expression and my energy especially on high notes. Those high notes which were close to my limit often failed. But they didn't fail when I memorized the melody and then put the notes aside. I think it was a good thing to focus on developing embouchure. I started on trumpet in late 2004 and began to use sheets since 2012. In 2012 began my One Girl Jazz Band project which performed since June 2013. That band was able to play many-many hours in 2014/15 and really had an extensive repertoire. I had no difficulties to prepare and rehearse that program.

Starting on the violin is extremely tough, as I felt it. Having to control so many things at one moment is close to mental torture. There are some geniuses among violin beginners, but for average beginners I find it extremely tough if they also have to focus on sheets. And I don't wonder quite some violin beginners give up. Many are very-very desperate, I hear them moaning all over social media. I would not bother beginners with having to play directly from sheets. No, I would tell them, "You're already having a difficult job, just concentrate on technique and sound. Just watch your fingers and bow." I heard violin students playing who have been taught for years and they still had a poor sound. I also heard many people complaining about their violin teachers or about those teachers they had in their days of youth. I'm afraid there are many idiots among violin teachers and those who don't teach don't have time to do it, because they either perform too often or they run a store like Fiddlerman.
 

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Demoiselle
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Demoiselle said
I needed some distance and then listen into my three choices out of the Brandenburg Concertos 2, 5, 6 again. Today I feel like the Andante in No. 2 is gonna be great for me.

t=310s

The movement starts in the middle (at 5:12), is not fast and nonetheless a little groovy. I want to start singing each time I listen to it, which shows it speaks to my heart.  

I figured out the chords in August and recorded the spinet background. On August 27 I tried it the first time on violin and was not happy. But I couldn't find out why and so the notes were just messing up my shelf and annoying me for weeks. A few days ago I tried it again and came to the result I somehow don't like it. And now I know why : It reminds me too much of Autumn Leaves and gives me the feeling I'm playing jazz instead of baroque. But I have no difficulties to play the first few bars of Bach's original theme (after that I will go over to improvisation anyhow). But I don't think this title is off for good. With a decent banda (band) it will probably feel different and I will like it.....

I still think it's a fine tune. 🙂 

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Demoiselle
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I just found out my spinet background is quite a bit faster than the model I posted here. Slower would be much nicer! Then there's still the question, shouldn't I use Bach's original bass line? Of course I didn't do that when improvising my spinet background. It would be the job of a cello player. But then I would get very close to the original version. Which probably will be okay if it suits to improvisation. I still have to try that out because I made the experience that some bass lines make it difficult to improvise without hitting dissonances I wouldn't like to hear.

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Demoiselle
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My view on rosin has completely changed from a year ago. Then I felt like too less rosin would be better than too much. Today I feel the opposite: better too much than not enough.

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Demoiselle
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I made quite some recordings lately, but they were not copyright free because I mostly play to MusicPartner play-alongs. Today I also played to my C major cover version of Pachelbel's Canon in D and I played it 3 times.

I'm absolutely sure I played phrases I haven't been able to months ago which comes from legato technique my ex-teacher taught me, which now works better than weeks ago. Also I am able to hit greater interval leaps which I missed before.

It is time now to focus on the major second legato connection between 3rd finger notes and the following open string note. I had decided month ago this is supposed to be my legato connection between 2 strings since I do not like the alternative notes on the 4th finger.

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Demoiselle
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I've been trying to make another representative recording for my YouTube channel for many weeks. Today it was the idea again, but I didn't think it over long enough—it was a spontaneous decision to make this recording. I need to hear the spinet via headphone while recording, in order to add a recorder voice later. But I'm too much focused on just practicing, so it's not gonna happen. Actually a good thing because I'm preparing for playing with people instead of just with devices.

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Demoiselle
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I don't miss anymore. Any note I have on my mind, I find and hit right away on the fingerboard. So I can now play any phrase which I have on my mind. It took me two and a half years to get there and quite some get there sooner, but I'm okay with it. I have always been a slow learner but I learn thoroughly. It was my main goal and from now on I can work more effectively. I will not practice so many hours anymore, technique will grow over years. That again will bring in more ease, because practicing hard, kinda like weightlifting, will always be a strain. I think it was necessary, but it will stop now. Now I'm just going to express myself and I can only do it if it doesn't hurt. Hands must be fresh, not tired to make it sound effortless. That's my new direction.

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Demoiselle
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There's another thing I'll have  to avoid: boredom. If I use a certain play-along track too long I will feel sleepy and that's how my music will sound then. I must change immediately to another track which inspires me. It can only sound freshly if I feel fresh and inspired. Dullness is strictly banned from now on! On a bad day I probably better not play at all. Otherwise I learn how to play like feeling bad. Which will always sound uninspired.

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Demoiselle
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Demoiselle said
I made quite some recordings lately, but they were not copyright free because I mostly play to MusicPartner play-alongs. Today I also played to my C major cover version of Pachelbel's Canon in D and I played it 3 times.

I'm absolutely sure I played phrases I haven't been able to months ago which comes from legato technique my ex-teacher taught me, which now works better than weeks ago. Also I am able to hit greater interval leaps which I missed before.

It is time now to focus on the major second legato connection between 3rd finger notes and the following open string note. I had decided month ago this is supposed to be my legato connection between 2 strings since I do not like the alternative notes on the 4th finger.  

Playing it three time was too much, I was finally exhausted and it's to hear that I played worse.

Demoiselle said

CIACCONA by Philipp Jacob Rittler (1637-1690)
- improvisation, September 18, 2017 -

The point here is: my spinet track is too long and I have to stop somewhere in the middle. When I recorded it with violin via handy recorder I hadn't played it the first time that day. That way it will never sound like effortless. My self-played spinet tracks anyway strain me sooner than MusicPartner play-alongs because they are unrelentingly rhythmical, so my fingers have to march and march mercilessly. I  have to cut tracks like this and this one won't be longer than 2 minutes. I can use the best parts as not everything I do on spinet sounds nice.

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What I call string legato works much better now. My former teacher didn't understand that, but I want to avoid whole-step fourth fingers (D, A, E) because I like the open string option much better. So I have to practice legato between third fingers and open strings and also involve that in scales. It proved to be very difficult and I had to work on it since August, but now I'm fairly happy with the result. My teacher had called this personal preference "nonesense" in July and that was one of the main reasons why I fired her in early August. We had also repeated debates on Tuning devides contra her Pythagorean fifth ideal. I want to use tuning devices but she was very forgetful so we had the same debate over and over again. So when I stated, Pythagorean fifth were outdated since the 1600s she replied, "But we don't live in the 1600s anymore." I think she didn't give a darn what I wanted, I payed her, and it was not her job to change my music likings. Still trying to cope with the past months since January. Music teachers are often very problematic, I always thought so and now even more so. I think music is good to enhance intelligence but too much of it can dumb people down. So if someone goes to a music college and music is everything for years, that might be fatal for mental development. Especially if it leads to fanatic fundamentalist views which lead to total objection towards tuning devices.

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