Welcome to Violinist.com! Log in, or join the community!
Violinist.com
Facebook Twitter Google+ Email Newsletter

The Weekend Vote

V.com weekend vote: Do you play with a wooden or carbon fiber bow?

July 26, 2014 07:03

A number of years back, I posted a vote that showed an overwhelming number of people preferred wood over carbon fiber bows.

With the passage of years and the great improvement in carbon fiber bows, I'm wondering if that's still the case. It's time for another poll about it!

Bow tips

I will word this slightly differently than the old poll; I'm interested in what you are using these days, rather than what you dream about buying. Do you use primarily a bow that is made of wood, or carbon fiber? And if you have both kinds of bows, please choose the kind of bow that you use most often. Also, please feel free to tell us the comments about your bow and its merits. Or, let us know if you use one kind but wish you had another.

Personally speaking, I now have both kinds, and I am surprised at how much I like to play my carbon fiber bow, which has good bounce, feel and dexterity. It happens to be a Coda Diamond GX, but I while in Cincinnati I also have tried a carbon bow from the Baroque Violin Shop, and it also handled extremely well. (I tested a Tourte there, too, and yes, that handles best of all! Probably not in my price range, though!)

22 replies

V.com weekend vote: Is talent or practice more crucial in acquiring musical ability?

July 18, 2014 04:47

A recent study has strongly pointed to nature over nurture, when it comes to acquiring musical skill. The study, published in Psychological Science, by Miriam Mosing of the Karolinska Institute, in Sweden, apparently points to the conclusion that talent is more important than practice.

I thought I'd put the question to you:

Please feel free to elaborate on your answer in the comments below. The media certainly has had its say, here are a few of the headlines:

How Do You Get to Carnegie Hall? Talent

Sorry, folks: Study says musical talent mostly comes from your genes

Music abilities come from DNA, not practice: so says study

Musical Ability: Twin Study Shows It Is Genetic

Scientists Have Discovered Proof That Musicians Are Fundamentally Different From Everyone Else

Yes, one study and now we know!

Though I'm willing to debate the question of talent vs. practice (which is really a variant on nature vs. nurture), I don't put much stock in what the media seems to be making of this study. If you want the unvarnished conclusions, here's the actual study; take a look with your own eyes. The study looked at twins, but 48 percent of those twins were fraternal, meaning they were no more genetically identical than any brother and sister.

One quote from the article in The Economist caught my attention, however: the idea that "the practice of practice itself seems to be under genetic control."

As a teacher for 20 years, I certainly can say that a willingness to practice is the number one factor in the success of a student. That willingness does not seem to correlate with a student's ability to match pitches, accurately clap rhythms or sing back melodies in their first weeks of study. If the student who shows natural musical ability is nonetheless unwilling to practice, that student is rapidly passed up by those who do practice. So do some people have innate ability to practice well? And would that be considered "talent"? Of course, the student who has all those abilities and does practice tends to do very well, very rapidly. I've also witnessed the student who seems to have no sense of pitch develop it.

What do you think?

21 replies

V.com weekend vote: Who is your favorite orchestra conductor?

July 12, 2014 11:15

It would be impossible for me to list all the fantastic and worthy conductors who are on the scene today, but I've chosen five top conductors from top orchestras around the world for you to enjoy. I've assembled videos of each one, in alphabetical order, conducting a classical piece with the main orchestras that they direct (they all guest-conduct many orchestras!) Which, of these, do you like best? Which, that didn't make the list, do you like best? Please vote, and then feel free to elaborate in the comments section.

Gustavo Dudamel - Los Angeles Philharmonic Orchestra
Gershwin: An American In Paris

Valery Gergiev - London Symphony Orchestra
Mahler: Symphony No 6, I.

Alan Gilbert -- New York Philharmonic
A Concert for New York: Mahler: Symphony No. 2, Resurrection - I. Allegro maestoso

Mariss Jansons - Royal Concertgebouw orchestra
Mahler: Symphony No. 3, IV.

Simon Rattle - Berlin Philharmonic
Brahms: Symphony 4, IV

14 replies

V.com weekend vote: What kind of fancy technique gives you the most grief?

July 4, 2014 14:31

Ah, what a beautiful piece of music I'm playing, and how nicely I'm playing it! But wait, what is that, up ahead! Flash red, noooooo!!!

Mendelssohn

Turn the car around, we're about to go careening down a very bumpy hill, and I don't think the brakes work!

Wieniawski

Violinists seem to be natural show-offs, thus our most beloved concertos and showpieces often contain such challenging and treacherous passages. Of course, the best solution is to climb the mountain, slay the dragon, conquer the wild blue sea! Go for it, and get good at it!

But let's be honest: sometimes it's just a pain. You see such a passage and know right away, if you decide to play this piece, you're taking on a heckuva lot more practice! Of the ones listed, what kind of show-off-y technique gives you the most challenge? (Feel free to list any that aren't included in the comments!)

16 replies

Previous entries: June 2014


"Where did the Suzuki CD go?"

Suzuki Violin School Good news! All the Suzuki Violin School CDs are available now as digital downloads on Amazon.com. But why take the time to search for them all? We've collected links to each album for Suzuki Violin Books 1 - 8.

Get them now! Vol. 1 | Vol. 2 | Vol. 3
Vol. 4 | Vol. 5 | Vol. 6 | Vol. 7 | Vol. 8