Rachel Davis on Violinist.com

Music Theory Basics (Part 1)

Fri, 07 Dec 2012 17:33:59 GMT

Music is a language and like any other language it has a written form. The parts that make up the written form of music and the rules for writing is are know as music theory. No matter your age or experience level, reading music and understanding music theory is a valuable skill. Not yet music literate? Now is the perfect time to learn! Let's dive in! Staff: The musical staff is the foundation of modern musical notation. The staff is made up of five lines and four spaces. Each line and space represents a specific note. Note: Short for "notation". Depicts the pitch and duration of a musical sound. Pitch: represents the perceived fundamental frequency of a sound. Clef: A clef is what assigns individual notes to certain lines or spaces. There are several type of clefs, but the most common are the Treble clef (aka G clef) and the Bass clef (aka F clef). Treble clef: Treble is a term for higher sounding notes. The treble clef gets its name because it represents the high notes. Bass clef: Bass is a term for lower sounding notes. The bass clef gets its name because it represents the low notes. Note names: In modern music, there are 7 letters that make up the musical alphabet. A, B, C, D, E, F, and G. The letters are used to denote the pitch of each note. The note names are assigned in alphabetical order (i.e. B comes before C, etc.) and once you reach a G the alphabet starts over again (i.e. A, B, C, D, E, F, G, A, B, C...). This patten can repeat an infinite number of times. Let's put this all together with this handy chart! Since this handy chart won�t always be available, let�s go over how to remember note names. The best way, that I have found, is to use mnemonic devices. On the treble clef, the notes in the spaces (from bottom to top) spell FACE. The note names spell a word, so that�s easy enough to remember. The notes on the lines (from bottom to top) are E, G, B, D, and F. To remember these note names, most people make up a sentence like: Every Good Boy Does Fine. On the bass clef, the notes in the spaces (from bottom to top) are A, C, E, and G. The sentence All Cows Eat Grass is a handy way to remember that. The notes on the lines (from bottom to top) are G, B, D, F, and A. I like to use the sentence Green Bananas Don�t Fool Anybody. If this seems complicated to you, throw away the sentences and just remember two things. The treble clef is also called a G clef because it indicates where the G is located on the staff. If you look closely, the line that intersects the clef the most is the second line from the bottom. That line is G. Likewise, on the bass clef is also called an F clef because is indicated where the F is located. The F can be found between the two dots that are to the side of the clef. This is the second line from the top. Music scholars believe that the current style of the clefs evolved from stylized G�s and F�s that composers and publishers included in the music. In Music Theory Basics (Part 2) we will cover Rhythm and Note Duration. Inspired and can�t wait? 8notes.com has a useful Beginner Music Theory section with easy to read slide shows. You can also find music theory in some of the most popular violin method books like Suzuki.

Rent or Buy? That is the question!

Thu, 16 Aug 2012 16:43:53 GMT

Around this time every year, as the musical season gears up again, we see a lot of new string players preparing to start a new adventure. There are inevitably A LOT of questions, and we are happy to address them. In the past, on the blog, we have covered many topics about beginner basics. One that we haven't gone over in too much detail, though, is the question of renting vs. buying and in these tough economic times, how you spend your money is important and worth considering. Renting is usually more affordable in terms of the monthly payment. Our rental payments range from $14.97 a month to $92.50. The amount you pay is determined by the instrument you need and the quality of that instrument. Also, all stringed instrument stores have a rental agreement. As part of the rental agreement, you may be required to commit to a minimum number of months, which is important to keep in mind. For instance, the store may require a minimum of 6 months of payments and that amount could be close to or equal the cost of just purchasing the instrument. Another thing to consider is what happens to the money you pay each month. Does it go towards the eventual purchase of the instrument? If so, how much of the monthly payments go towards the purchase? At Kennedy Violins, we don't have a minimum rental requirement and we set aside 55% of all rental fees as store credit that customers can use towards the purchase of any instrument. Buying an instrument certainly requires the most money up front, but it can be the most affordable in many cases. If you are part of a family with several children, purchasing would give you the ability to keep the instrument after the oldest child grows out of it or looses interest and pass it on to younger children. Or, if you were like my family and you required at least one year commitment to whatever new thing you are trying out, purchasing could be less expensive in the long run. For instance, if you purchased Kennedy Violins' Bunnel G2 Violin outfit, based on our current rental price, it would pay for itself in about a year. Plus, purchasing usually means that you have "trade-in" power later when it's time for a new size or an upgrade. Either way, the most important factor in the decision making comes down to what the customer is comfortable with. At Kennedy Violins, we are happy to provide both options for people ready to start the adventure of learning to play an instrument.

Stradivarius in the Attic

Tue, 24 Apr 2012 17:25:52 GMT

So you're at Grandpa's house helping him clean out his attic. �While cleaning, you stumble across a dusty trunk and inside you find some old books, a quilt, and a violin. �At first, it doesn't look like much, the bridge is missing and who knows the last time the strings were changes. �But wait! �Something catches your eye inside the f-hole. �You take a closer look and see, "Antonius Stradivarius, Cremonenfis, Faciebat Anno 17XX" along with a symbol of an A and an S enclosed in a circle. �That name, "Stradivarius," isn't that the one you hear on the news or read about online when a violin is worth millions of dollars. �Your heart starts beating faster and you immediately begin planning out how many yachts that you will be buying....STOP! �Take a breath and read on. Yes, it is true that a genuine Stradivarius violin, or Strad, can be worth millions of dollars, but that is only if it's genuine. �The reality is that there are only about 500 genuine Strads in existence today (depending on who you ask) and they are all pretty much accounted for. �There are millions copies out there and some date back to the time when Antonio Stradivari was alive. �So how do you know if what you have found is the real deal? The best thing for you to do in this situation is to take it to a reputable violin maker/dealer for an appraisal. �Most places will do this for free. �It's important to go in with realistic expectations. �There were thousands and thousands of Strad copies manufactured during the late 19th century and on into the mid 20th century which means that you have a 99.997% chance that your "Strad" is a copy.

�

Strad copies from this time are not worthless though. �Monetarily speaking, if there aren't any major repairs needed, most are worth $100-$300 (or more if they were well taken care of). �If there are repairs needed, however, the cost to repair the violin could easily override the potential value. �Whether or not you repaired the violin would be up to you. �If money isn't important to you, why not use this serendipitous find as your chance to start learning how to play the violin? �Or, it could be a gift for another friend or relative wanting to play. �Besides, there is always the sentimental value that is �attached with heirlooms and that is priceless.

Playing While Pregnant

Tue, 17 Jan 2012 19:16:00 GMT

When I found out this last summer that I was pregnant with my first child, I knew that I would have to make adjustments to my everyday life. I wasn't sure exactly what all of those would be since I had never been a mom before. Luckily, there is a lot of information available online and in print for curious new moms like me. I discovered I would have to change what I was eating, start taking a pre-natal vitamins, not ride roller coasters, things like that. When the fall approached and the music groups that I had been playing in started new rehearsals after the summer break, I found myself asking a new question: how do you handle pregnancy as a musician? I knew I wasn't the first woman to try be a musician and pregnant at the same time. I spent hours online and reading books trying to find any information about playing string instruments while pregnant. All I could find were more first time moms with questions like mine. What's a girl to do? Well, I decided to just "go for it." I would play like I usually had each year before and make any adjustments I need to along the way. Now that I am in the last few weeks of pregnancy and having just finished the last concert I would play before my little one appears, I thought I would share some tips for other pregnant musicians that want to know how to make it all work. 1. Know where the bathrooms are. There is nothing like a full bladder to throw off your concentration, timing, intonation, and everything else. Most people that you are playing with will understand if you disappear for a few minutes. 2. Drink lots of water. This might seem counterproductive (especially considering the previous tip) but studies show that when you are well hydrated, the swelling and muscle aches that can hinder a musician from playing their best are lessened. 3. Invest in the appropriate brace. Personally, I spend most of my time playing the cello and violin and I developed pregnancy related carpal tunnel in my left hand. I found that wearing a brace during the day when I wasn't playing or night when I slept prevented or reduced any pain associated with this while playing. 4. Stretch and take breaks. For pregnant gals, it is recommended that you take a break from sitting/standing every 20 minutes. I like to incorporate some yoga as the stretching portion. There are positions for sitting and standing that will give your joints relief. The 20 minute rule works well for practice sessions. It can be difficult to keep this up if you are playing a concert/gig and when the program/set usually doesn't have a break for 30 minutes or more. If you find yourself in this situation, prior preparation is key. Get plenty of sleep the night before and stretch beforehand. 5. It's okay to say no. This is one I struggle with. I used to play music with every one that would let me, but it is very important that you don't try to do it all. The baby takes up a lot energy and during pregnancy, you can't do everything like you used to. Besides, if you are exhausted, you will put yourself at greater risk for injury and you will your baby under stress. 6. Know that every pregnancy is different. You may not experience joint pain or get carpal tunnel but you may get nosebleeds or some other weird pregnancy symptoms that would effect how you play. Just know that there is a way to deal with any symptom out there. 7. Remember that pregnancy doesn't last forever. All the aches and pains associated with pregnancy end after the baby is delivered. For some women, they are back to normal with in a few days, some it takes a few moths. Either way, you will be back in prime playing shape. If I knew at the beginning of my pregnancy what I know now, there are a few things I would do differently. For instance, I took on way too many gigs this holiday season, but I still survived. Hopefully these tips provide some encouragement to other musicians out there embarking on motherhood.

Ensembles Large and Small: Try Them All!

Fri, 21 Oct 2011 21:36:09 GMT

& nbsp;

& nbsp;I am a huge fan of ensembles. & nbsp;The elementary school that I went to offered a strings class to 5th and 6th graders. & nbsp;I was excited to play the violin and then the cello. & nbsp;My favorite part of the entire class, though, was getting to work towards a common goal with my classmates. & nbsp;I love being around people. & nbsp;I'm an extrovert.

As I progressed in my musical studies, a lot of the repertoire that I was learning included Bach's Unaccompanied Cello Suites. & nbsp;This was not as much fun for me. & nbsp;Yes, I know that I learned valuable techniques and skills, however, it was lonely. & nbsp;No one to play off of or interact with because I was by myself. & nbsp;Hours in a practice room, by myself. & nbsp;Sitting on a stage during recitals...BY MYSELF! & nbsp; Still, I made it through the suites with my sanity in tact (my college roommates might debate this). & nbsp;The one thing I think that aided my study of Bach, was my involvement in musical ensembles large and small.

Being involved in a musical ensemble is & quot;built-in & quot; for many beginners. & nbsp;Many still start in a classroom setting through a school music program or teacher's studio. & nbsp;It's a great way to start. & nbsp;Not only does it fill any need for human connection and camaraderie, but it builds listening skills and intonation, as well as rhythm and playing together. & nbsp;For some, they are able to continue in a group setting in a middle or high school orchestra. & nbsp;Yet, how can a student be involved in an ensemble if there are no school programs?

Here are some options:

Duets and Trios (2 and 3 players)-There is a lot of music out there written for two or three, so practically any skill level, beginner to advanced, can participate. & nbsp;Playing a duet is a simple as asking a friend or family member to play together. & nbsp;Your young musician can even ask their teachers if they can play with another student in their studio. & nbsp;Often times, teachers are pleased to play with students too. *Free Participation*

Quartet (4 players)-The traditional string quartet consists of 2 violins, 1 viola, and 1 cello. & nbsp;Like Duets and Trios, there is a lot of music available but, this exact combination of musicians can be trickier to find. & nbsp;It can take some time to get everyone together. & nbsp;You may have to start playing as a duet or trio and add people as you meet them. *Free Participation*

Church/Synagogue Groups-These groups usually perform once a week and are usually open to any musician. & nbsp;Playing in this setting can yield combinations of instruments that you won't find anywhere else and the live performances keep your & quot;chops up. & quot; & nbsp;If you aren't & quot;religious, & quot; don't worry, many groups don't require that, they just want you to play. & nbsp;*Free Participation*

Community Orchestra-Community Orchestras are much larger that any of the other groups I've mentioned. & nbsp;They are often a full orchestra of strings, wind, brass, and percussion. & nbsp;They are great because they can provide the chance for a young musician to play with other musicians that are much more experienced. & nbsp;Plus, they have a will get play more challenging music in the modern orchestra repertoire. & nbsp;While most members will be adults, many community groups are open to proficient students although an audition may be required. & nbsp;Also, a lot of community groups hold & nbsp; & quot;Young Artists & quot; competitions & nbsp;for talented young musicians to perform a solo with a full orchestra. *Free Participation*

Youth Orchestras-Dot Rust posted a & nbsp;blog & nbsp;about this in February. & nbsp;It's worth the read. & nbsp;She describes how they began in the U.S. and how your student can be involved. & nbsp;The only thing that is different from the previous groups is that there is tuition involved. & nbsp;Many groups offer tuition breaks or scholarships for any needy student. *Cost to Participate*

Jazz Band/Combo-We all know Bass players are in jazz bands, but violins, violas, and cellos? & nbsp;Say it with me: Yes we can! & nbsp;See & nbsp;Stephane Grapelli, & nbsp;Lucio Amanti, and & nbsp;Judith Insell & nbsp;for some great examples. & nbsp; Your student may want to learn jazz scales and basic improvisation techniques before jumping in, but it's so worth it. & nbsp;Even if they don't become the Dizzy Gillespie on the viola, playing jazz opens up a whole new world of tonality that will be helpful if they ever dive into some & nbsp;Bernstein & nbsp;or & nbsp;Ives. *Maybe Cost*

Bluegrass Band-Your young musician may want to trade their violin in for a fiddle. Side Note: violin=fiddle. & nbsp;Bluegrass bands are welcoming to all ages and levels and there are competitions in every region that can offer cash prizes to winners. & nbsp;Bluegrass bands often play by ear and by rote instead of reading of sheet music, so this is a great chance for your student to practice memorization. *Buy lots of Rosin*

Indie Rock Band: & nbsp;If you haven't noticed, strings are the new & quot;it & quot; instrument for rock bands. & nbsp;See & nbsp;Yellowcard & nbsp;and any of & nbsp;Coldplay's & nbsp;latest stuff. & nbsp;To successfully communicate with guitar players, your student will have to learn to read chord charts. & nbsp;This isn't too hard if they already know how to read music. & nbsp;Participating in a setting like this could also be an opportunity to write and create music of their own. & nbsp;The cost is determined by how determined the band is. & nbsp;If the band ever records or performs live, it would be a good idea for your student to invest in an & nbsp;electronic pick-up & nbsp;and maybe an & nbsp;effects pedal. & nbsp;*Cost: Whatever it takes, baby!*

Marching Band-Alright, I'll admit. & nbsp;I don't know of any marching string orchestras. & nbsp;I'm just putting up here hoping someone out there might actually do it. & nbsp;The technology exists now to make it happen (carbon fiber instruments & nbsp;+ & nbsp;wireless pick-ups & nbsp;hooked up to a stadium sound system!)...but it would be expensive. & nbsp;Okay, for this one, your student would have the be the relative of an eccentric millionaire that is about to die. *Cost: Priceless*

Really, the sky is the limit when it comes to having your young musician participate in an ensemble. & nbsp;There are numerous possibilities and numerous benefits. & nbsp;Plus, many options are free of charge. & nbsp;Helpful hint: if you need to provide sheet music for the group your student is playing in, check out the International & nbsp;Music Library Score Project. & nbsp;They provide copies of free sheet music for ensembles of many sizes.

& nbsp;

How to Find Gigs: Musical Networking

Mon, 10 Oct 2011 18:28:36 GMT

So apparently, I have genius friends. & nbsp;My friend Liz just sent me a blog she posted. & nbsp;Liz is a bass player and a successful working musician. & nbsp;In her blog she shares the secrets to her success and I am compelled to share her genius. :-)

& nbsp;

: As with any other career, a musician's key to successfully finding gigs often lies in simple networking. (Image by Sean MacEntee)

It takes a long time to establish your reputation as a musician and performer in a new town. After living in Utah for six years, I felt so well connected to a great number of musical organizations, & nbsp;schools, teachers, orchestras, recording studios, and the like. I enjoyed playing regular gigs, teaching a steady number of bass students, and growing & nbsp;strong relationships & nbsp;with musicians and performing groups throughout the state . . .

. . . and then I moved.

My husband & rsquo;s work brought us to Oregon, which meant starting from scratch as a stranger hoping to freelance a new music community. So the first thing I did in the months leading up to and following my move to the Portland area was contact absolutely every musical organization I could find. I made phone calls, sent e-mails with my performance resume attached, and inquired about upcoming auditions. During the summer before the move, I took extra lessons, practiced 20 hours a week, and performed a recital in preparation for auditions I hoped to take once arriving in Oregon.

The day after we pulled our moving truck into town I abandoned our unpacking efforts to attend a masterclass sponsored by thePortland Youth Philharmonic & nbsp;featuring Erik Harris, principal bassist of the & nbsp;St. Louis Symphony. Sure, I was a college grad, so what was I doing hanging out with the youth symphony members? I was also looking for connections. & nbsp; As with most professions, the fastest way to find work is through effective networking and personal referrals. So my goal? & nbsp;Get connected!

Let me tell you, it doesn & rsquo;t take much but confidence. You know you & rsquo;re a good player, so put yourself out there! And if you don & rsquo;t feel like a good enough player to get those gigs, try & nbsp;The Art of Effective Practicing. It takes a lot of work to be a marketable performer, but you can do it!

& nbsp;

Here are a few ways to get connected with your local music community:

Keep your chops up by performing regularly. & nbsp;Put on a house concert. Keep practicing. Find an open-mic night at a local venue to sing, fiddle, or do whatever you do. Play at your church or synagogue. Busk at the local farmers markets. There are endless opportunities to perform, and you can create those opportunities yourself. & nbsp; Don & rsquo;t wait for someone else to do what you can do on your own. You & rsquo;d be surprised by how many restaurants, caf & eacute; & rsquo;s, bookstores, and boutiques there are that would be so happy to have your live music in their space.

Don & rsquo;t demand paying gigs right away or all the time. & nbsp;Be generous in sharing your talents with others! You can do this while still maintaining your stance as a professional. Playing for free allows you to enjoy the opportunity to meet other musicians without stressing about money and union talk. You & rsquo;ll be surprised how many connections you & rsquo;ll make that can lead to future gigs. And come on, we all know the economy is tight, and if all musicians refused to play without pay our artistic community and musical culture would suffer tremendously.

Participate in your local community orchestras! & nbsp;You don & rsquo;t have to wait to win an audition with a semi-professional or professional orchestra to play the great orchestral works. Community orchestras are excellent for meeting teachers, performers, and conductors who can hook you up for future work & mdash;and they & rsquo;re just plain fun. You can relax and play great music with a smile on your face. Sometimes when money is in the mix, musicians can become surly, bitter, or demanding individuals, losing sight of why they chose music as a career in the first place. Don & rsquo;t let that happen to you. Don & rsquo;t let the joy of playing be belittled by your pride or hunger for pay.

Connect with local schools. & nbsp;I decided to call and e-mail local orchestra teachers offering to conduct a free masterclass for their bass sections. It turned into a very fruitful experience. Give it a try! And who knows, maybe they & rsquo;ll even ask you to come back. Regardless, reaching out to the youth in school and community music programs is a great way to make a name for yourself as a teacher. Be sure to get your name on the list of private teachers the orchestra directors provide for their students, and & nbsp;remember you can & nbsp;receive 10% off with your teacher discountthrough Kennedy Violins!

: Photo by Belen Martini.

Don & rsquo;t just teach lessons & mdash;take lessons. & nbsp;Even the most experienced professional musicians can benefit from taking lessons into their old age. Musicians can always benefit from the perspective of another performer with fresh ideas, techniques, and style.

It might be challenging to find the gig of your dreams. But don & rsquo;t wait miserably for a Golden Ticket while throwing away the chance to enjoy that delicious Wonka Bar right in front of you. There is & nbsp;music & nbsp;to be played, players to meet, and stages on which to perform. So have at it! Make a connection! And & nbsp;keep us posted & nbsp;along the way.

& nbsp;

Life of a Luthier

Fri, 23 Sep 2011 17:12:18 GMT

My friend Marisa is a luthier at Kennedy Violins. & nbsp;She wrote this blog about the & quot;Life of a Luthier & quot;. & nbsp; I found it to be insightful, shedding light inside the workshop.

: Marisa, one of the luthiers at Kennedy Violins

: Some luthier tools

The back-to-school time of year has everyone at Kennedy Violins very busy! Let's take a look at the luthier department during this exciting fall season.

In this picture, you can see part of the luthier area. Thousands of violins, violas and cellos are worked on, set up and inspected in this area before being shipped to customers all over the country.

& nbsp;

We use several different knives when working on stringed instruments, as well as chisels, files, and scrapers. All the measurements used in luthier work are very precise and exact, and most things are measured in millimeters using flexible and rigid stainless steel rulers, dividers, and calipers.

When setting up and inspecting an instrument, we check to make sure the tailpiece is in good working order, and tighten the fine tuners so they won't buzz. We also apply peg compound to the pegs so that they will run smoothly.

Another thing we check is the sound post. In the picture you can see a view of the sound post as it appears when you look through the end button hole on the bottom of the violin.

: A sound post inside a violin

Luthiers use this hole to view the fit of the sound post. We check to make sure it is making good contact on both the top and bottom plates, that it is straight, and that it is in the proper place within the violin.

We spend quite a bit of time on the nut and fingerboard. The nut needs to be shaped correctly, and we achieve this using a file. Both the nut and the fingerboard are sanded smooth, using dry sandpaper, wet sandpaper, and steel wool. This process leaves the fingerboard incredibly silky-smooth. The string grooves are carefully filed in the nut using specially sized flat and round files.

: A finished nut

The bridge also requires lots of attention.

: A violin bridge and bridge knife

We make sure that the feet fit the top plate of the violin perfectly. We also shape and thin the bridge so that a subtle taper and bevel are achieved. The string height and top curve are measured and applied, and we also make special cuts on the arms and heart of the bridge.

: The bridge in place on the violin

Next, the strings are installed. We wind the strings on the pegs using a special method which keeps the pegs from slipping, allowing the violin to stay in tune longer.

: A Louis Carpini violin outfit

The violin then undergoes a final inspection, and is now ready to play.

Last of all, the violin is put together as an outfit. The violin pictured here is a & nbsp;Louis Carpini & nbsp;violin outfit, and it is available for purchase on & nbsp;KennedyViolins.com. We inspect and rosin the bow, and make sure that all the accessories are included. The violin is then packed up and shipped to its new owner, where it will be happily played for many years to come.

Stay Off the Injured List

Tue, 06 Sep 2011 16:35:57 GMT

For a few weeks now, many students in the U.S. are back at school. Here in the NW, just starting this week. School starting means many things. Homework, lunch ladies, soccer moms�the list goes on. One thing that going back to school means, however, often escapes most people�s mind. I�m talking about injuries.

Think about it: Families are busier now, going to school, to sports, to scouts, to music lessons, to the library and that�s just on Monday. Plus, the students are in new classroom environments that they don�t know and on a new schedule that they are used to. Not to mention that, musically speaking, they have a heavier load, literally and figuratively, with a new instruments that are often bigger than what they had last year and more music to practice that is more difficult that what they are used to. All of these factor combined translate into bumps, bruises, sprains, strains, or worse. Sigh, it�s a jungle out there.

Why is this topic on my mind? Well, almost 12 years to the date, my brother shut my hand in the sliding door of our minivan right before a cello lesson. The door shut and locked with my fingers in there. I broke two fingers and was unable to play for about a month. It was totally an accident and with our busy family it was only matter of time before something like that happened.

So, how can we keep ourselves from being on the injured list?

Communication-This is huge! Communication is necessary every day, but if good communication is practiced between parents, students, and teachers, then possible injuries can be prevented.

Tools-Giving your students or yourselves the proper tools to work in new environments can also prevent injury. For instance, the proper�shoulder rest�for a new instrument can�prevent muscle strains�in the neck and back.

Sleep-Countless�studies�indicate that there are many�benefits�to a good night�s sleep. In addition to health benefits, good sleep can�decrease�your chances of accidents like falling or running into things.

I�d like to say that I learned my lesson 12 years ago and have avoided injury since then, but that would be a lie. I totally busted my lip by slipping on a puddle and face planting on a stone floor hours before a flute final in college. Still, those three things have lengthened the time between injuries. Oh, and don�t forget to drink plenty of water.

Siblings. Encourage the Rivalry?

Thu, 25 Aug 2011 18:57:55 GMT

If you have been fortunate (or unfortunate) enough to have a brother or sister then you know what it's like to have a rival. �I know that at times, they can also be allies...but not today! �Today, I want to address the competitive side of kin. �Some are reading this and may be thinking, "wow, she has some sibling issues." �Or, "what does this have to do with the violin?" �To those, I would say, "you betcha," and "don't worry, I'll get to the point."

For those of you that have read my Mozart vs. Beethoven blog, you have had a slight introduction to my twin brother. �Despite his questionable taste in music, he is a knowledgable and talented musician (P.S. Don't tell him I told you that!). �We both started singing in kids choir around age 4 and started piano lessons at age 7. �He caught on to theory quickly and could memorize songs after playing them only 3 or 4 times. �In fact, he still remembers some of the early songs 20 years later. �I wasn't struggling, but I had to practice twice as much to make the same progress. �

At the time, I was so mad that I was practicing more than he was, but I was practicing! �The rivalry I felt only spurred on my participation and my desire to learn. �By age 10, I realized that I loved music and I started the violin. �There wasn't any competition driving me to play the violin, I just wanted to play. �I don't think that I would have gotten to that point though, if I didn't have that early rivalry stirring me up and pushing me on past the point of music being a chore.

Practical application time. �I've seen and heard of teachers and parents trying to silence the rivalry of siblings when it comes to music lessons. �I think they could be missing a tool they could use to their advantage. �I'm not saying that any parent or teacher should breed this in their children and I'm not saying that when things �get out of hand that no action should be taken. �What I think is that a little rivalry can fuel a student forward when no other motivation will (candy only goes so far). �

I'm not the only one that thinks so. �Some psychologists suggest that sibling rivalry is vital to social development skills. �Fighting may be a way to test and gauge their own emotions. �Regardless, parents and teachers have the last word on how to handle siblings and their rivalry. �

Today, I have switched from violin to cello, although my interest in the violin still lives on. �I am an active member in the music community working in music business and playing with symphonies, quartets, and a rock band. �My brother wen't into journalism and film and won "Best Comedy" for a short film he did last year. �The rivalry is still there even if it isn't so much on the surface. �He insists that he is going to become a household name in his field before I do. �We'll see.

Shopping list-ruler, pencils, and...violin strings!

Tue, 16 Aug 2011 18:24:54 GMT

My friend Heather Case wrote this. & nbsp;I thought it was super helpful.

& nbsp;

Back to School. As a mom, it means I & ldquo;get & rdquo; to take my kids shopping for new clothes and school supplies. But, for music students, it also means getting ready for a new season/year of rehearsals and performances. Now is the best time to make sure your instrument is ready for hours of play. You can always take your instrument to your local music store to have it completely inspected and set up for the year, but that usually comes with a premium price tag. However, there are so many things that every string player should take the time to learn about their instrument.

For younger students, it is always good to make sure that they are starting the year with the correct size instrument. The tried and true method of sizing a student to a violin is putting the violin into position under the chin with a fully extended (straightened) left arm under the instrument. If your child can wrap their fingers all around the scroll practically reaching into the peg box, he/she is ready for a larger violin.

If the violin is the right size, it is probably time for a new set of strings. Strings can stay intact for years, but they can lose their playability and projection, especially if they are synthetic core strings (Dominant, Zyex, etc.). When changing a set of violin strings, always start with the E string, then proceed to change the G, D, and A strings. A few months ago, & nbsp;Joel wrote a blog on slipping violin pegs. He demonstrated how to change strings properly onto the peg. It is important to wind the strings onto the peg correctly to avoid slipping pegs. And, while you are changing your strings, it is always a good idea to take the time to clean the rosin build up with some violin polish. Never use any other type of cleaner or polish on a stringed instrument. The oil rubbed finish of most instruments have unique properties that can be critically compromised with household cleaners or polish.

When changing strings or polishing an instrument, always be careful with the bridge. Avoid bumping the bridge when cleaning, and watch the angle of the bridge during and after changing strings. New strings will need a day or two to stretch out. During that time, the angle of the bridge can be pulled by the strings. For the most part, the bridge should be angled perpendicular to the body of the violin. If a bridge is left tilted at the wrong angle for too long, it can eventually warp and even break.

One thing that is worth taking your instrument to the luthier for is to get a bow rehaired. Like violin strings, bow hair can visually appear to be in pretty good condition. Eventually, though, rosin can build up and the surface of the bow hair can become dull and almost slick. When bows get to this point of wear, it is difficult to pull sound from the strings, no matter how much rosin you use.

While you have everything out of the case, it is a good idea to grab a vacuum with a hose attachment and clean every nook and cranny. Open each compartment and get every trace of rosin out of the case. Eliminating the build up of dust and rosin inside the case will help keep your violin and bow in great playing condition for a long time to come.

For a newly sized violin or new strings, check out our selection at & nbsp;Kennedy Violins. If you aren & rsquo;t sure which is the right one for you, please feel free to contact any of us. We have recently added a few new musicians to our sales, customer service, and luthier staff, so we are all ready to help you gear up for the new school year.