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Violinist.com members may keep personal journals on the website. Violinist.com's editor selects the best entries for the column below. Links to all other recent blog posts may be found in the column on the right.

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6th dan puddy cat.

By Stephen Brivati
November 1, 2009 21:15

Greetings,

as I have noted before, my cat hates the sound of the violin to the point of pathology. Indeed, I only have to unzip one side of the case and his head shoots up, his body goes rigid and glares at me with a depth of hatred I have never seen bettered on a human being. Then he runs screaming and howling out of the room.

Anthropomorhism aside, he has clearly been studying my Aikido texts while I am out and he recently defeated me at a level only a sixth dan would understand and be able to control. As I tuned the violin he looked at me impassively in a curious state of no mind. There was no energy to feel. As I begin to play he turned sideways in a seated position (Tenkan- the essenc eof Aikido) and did a breakfall onto my feet so he was lying on top of them, back to the ground legs fully extended and pretending to be alseep. I played a few more notes, but what could I do? I put the violin in the case and scratched his tummy as he carried on gently snoozing.

The little swine has become a master!

In the meantime here is a perfect description of how to become a good violinist from a martial arts writer:

http://aikidoforbeginners.blogspot.com/2009/10/very-useful-little-article-i-came.html

Cheers,

Buri

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14 replies


Happy Halloween

By Pauline Lerner
October 31, 2009 18:41

Enjoy some spooky music for Halloween. Saint-Saens's Danse Macabre was inspired by a French poem about ghosts who are summoned by the Devil to rise up from their graves at midnight to dance and then return to their graves at dawn. The piece begins with 12 notes played on the harp, signifying midnight. Then a violin, representing the Devil, plays some eerie chords, including the "Devil's chord," with the E string tuned down to E flat.

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3 replies


Just in time for Halloween

By Karen Allendoerfer
October 31, 2009 08:05

Chatting with Terez about Schumann, I remembered a cryptic misprint in my part for the Symphony No. 3:

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8 replies


V.com weekend vote: Have you hit your 10,000 hours playing the violin?

By The Weekend Vote
October 30, 2009 23:57

Have you hit your 10,000 hours playing the violin?

The magic number is on my mind after writing the blog about Suzuki, who frequently asked his students to play 10,000 repetitions of various exercises and pieces. It's also a number that has come up recently, in Malcolm Gladwell's book, Outliers, which asserts that true expertise in any field comes only after 10,000 hours of practice.

Basically, I'm asking you if you've reached "expert" status.

I did some math, to help everyone along. If you practice one hour a day, it will take you a little more than 27 years to log your 10,000 hours. If you practice two hours a day, it will take nearly 14 years. If you practice three hours a day (this is every day, mind you), you can expect to reach expert status in about nine years. Four hours a day, about seven years. Six hours a day, it will only take four and a half years, provided that you don't injure yourself. There is a point of diminishing returns!

Looking at the numbers, the 10,000 hours idea rings rather true.

After 32 years of playing the violin, I've certainly logged my 10,000 hours playing, and probably teaching as well. How about you? And what do you think of the 10,000-hour concept?

 

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21 replies


Violin Is Easy

By Laurie Niles
October 30, 2009 14:37

Now I remember why I've spent so much time studying Suzuki pedagogy: the man was a genius, and an inspiration.

It's easy to get bogged down, to forget this. Unfortunately I never had the privilege of meeting the late Shinichi Suzuki myself. But after taking more than 100 hours of Suzuki Pedagogy training in all 10 violin books from about a dozen teacher trainers, I've certainly heard enough second-hand stories to put together an image of the man.

As with any leader, people fling knives at his back: he wasn't the greatest violinist, he churned out a lot of robots, it's all method and no music....

But last weekend, I was reminded of the fact that Suzuki was truly a great violin pedagogue, not just a great philosopher of education (though he was that as well). The group of Suzuki teachers with whom I teach, Suzuki Talent Education of Pasadena, got together along with some other area teachers for a training workshop with Cathy Lee, a Suzuki teacher and SAA teacher trainer based in San Francisco.

Cathy spent not just a few months studying with Shinichi Suzuki back in the 70s, but she went to Matsumoto, Japan, over a period of 10 years. She told us one of the first things Suzuki said to her:

“Violin is easy, yes?”

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5 replies


How to Liberate a Bow Arm

By Clayton Haslop
October 30, 2009 11:28

Today’s message should be very helpful to you, IF, that is, you are like most violinists and can always use an insight or two to keep your right arm technique sharp.

You see, most players have four main challenges where it comes to their bow-arm; keeping it straight, keeping it horizontal, achieving clean, non-disruptive string crossings, and coordinating changes of string and direction with the left hand.

Now, you may think of disagreeing with me. You may be thinking, ‘my biggest problem is with spiccato, I can do all those other things.’

If that’s the case, I’d say, you’d be wise to pay attention, your spiccato difficulties may have more to do with these things than you think...
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1 reply


Paganini with prunes

By Stephen Brivati
October 28, 2009 20:42

 

 
I didn’t respond to it at the time but I remember being somewhat startled by a comment on this site about Paganini being a second rate (?) composer/orchestrator, his name being coupled with Chopin in this regard.  The work of the latter cited was the f# minor piano concerto.  Actually I was playing that work in orchestra at the time and thought that in spite of the criticism of banality it actually had quite a few creative and interesting aspects and was thrilling to play.
Alas, I cannot offer the slightest sensible analysis of Chopin or even Paganini for that matter,  but I have been pondering this question a bit recently.  Since my in depth musical knowledge is profoundly limited I tend to see the following three criteria as equaling a `good` composer/orchestrator:   1) good tunes 2) interesting combinations of orchestral instruments and 3) knowing when to stop (as opposed to Schubert…)
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2 replies


Employment

By Robert Eshbach
October 28, 2009 13:33

¶ In actuality you are always being employed to express all the best qualities you are capable of, such as intelligence, wisdom, beauty, balance, grace, sensitivity, awareness, love...this is full-time employment, and it doesn't take a full-time paying job to put these qualities into practice. Getting the job merely continues the expression of these qualities, which should ever continue to grow and develop. The job is really an acknowledgement of those qualities already expressed. —Marylou Speaker Churchill Read more...
2 replies


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The Weekend Vote
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