Comments

So many good advices and so very true! One more thing, you advised me in the recent past to play the piano parts also makes eminent sense -- not only it helps music-wise but oddly enough, it also helps my intonation. When I clearly understand who is doing what in each moment, I can shape the music better but also I simply hear myself better and play more in tune. Greeeting,
that`s interesting Yixi. I think ifone can imagine an underlying chord progression it is often helpful in developing intonation.
Cheers,
Buri You've never been to a Wal Mart? I’ve been to Wal-Mart may be twice in my whole life here in Canada, but the Wal-Mart in China is a different story. For one thing, the food market there was really not that bad. I still don’t go to Wal-Mart in North America. Buri,

I am confused: "I find synthetic strings have a good range of dynamics, plenty of power and guts…"
But they are not guts:-)

Wal*Mart sells the 'personal sound' in the 10th isle, and K Mart offers it on the 'Blue Light Special' if one is lucky enough to be present at the time.

By the way, a great blog with so many cogent and wonderful points.
Thanks.

Remember: Isle 10

Greetings,
the first time I ever used three plain gut strings on a violin was in a rehearsal for Brahms four. I had no idea what would hapen so I plucked with glee and abandon. The conducter stopped the orchestra, turned round and said `Who on earth is playing the Shamisen?` (A decidely twangy 3 string instrument native to Okinawa)
Cheers,
Buri Thanks so much for answering many of the questions I was pondering . . . I have a lot to work with here as I keep learning.

I absolutely agree with the idea of starting with what's on the page. I'm re-learning the Bruch concerto right now, and am amazed at how much is in the music that I never did (or was never even aware of) the first time I learned it.

I know what you're saying about trying too hard to imitate a pre-conceived concept of personal sound (whether of a particular artist or in my head). Of course, there are many violinists I admire and would like learn from, but I don't intend to mimic the idiosyncracies of their sound. I also don't mean to develop a sound simply for the sake of sounding 'different'. I just want to develop my natural strengths and work on my weaknesses so I can express the music as convincingly as possible.

I need to figure out more bowing variety for my daily scale routine, so I'm going to dig around and get some ideas for that. I also like your suggestion for listening to singers. Any in particular you'd recommend?

Oh, and you're right, writing things down is very helpful. My music is always littered with post-it notes these days. :)

P.S. Poor Buri, deprived for so long of the joys of Wal-Mart Greetings,
one of the simplest and perhaps most neglected source for scale bowings is the repertoire.
I never use shops that rhyme with fart.
Cheers,
Buri
Singers, Caruso, Chaliapin, The early recordings of the weight cvhallenged guy who recently died, Callas, Ferrier, Schwarzkopf, Dieskau and there is another lady who`s name i gotta dig out who trumps em all.