For some reason, I had relatable feelings while watching this, and it brought tears to my eyes! Oh and, I thought that Tchaikovsky piano concerto was perfect for the mood lol--- very cynical!Tweet
So I just got back from a 6 week summer program in Georgia for music/violin study, and a lot of wild ideas have flown into my head now from this new experience. One in particular had me stumped over a type of chin rest that I've never seen before, most commonly known as the "Center-mounted" chin-rest. Several of the violinists were using it, and I got really curious about it. Personally to me, it looked really awkward to me because each of the players all held their violins a little differently than a traditional method just because their heads were centered on the instrument more so from the center rather than simply the left-lower portion of the instrument. After seeing this, I was more aware of how many professionals use it such as Leila Josefowicz. One of my peers said something about how using it allows free and full movement in the shoulder and arm area--something that should have always been true but isn't necessarily. Any one want to add to this or enlighten me? Here's an link of what the chin rest looks like.
As much as I hoped this would be my personal hotspot for writing about music, I don't have time to write in here 24/7... Let alone put down a single entry! So lately, new ideas have been coming to mind, my Violin concerto I wrote got really difficult and so I decided to put it aside for a second and listen to everything else. Lately, I had been hearing an interesting tune in my head that I couldn't quite put my finger on, so I decided to write a collection of themes all in the same key, with middle and lower voice accompnament. 8 hours later (and still needs more work), I finished writing what I call the "David little quartet no. 2 in a minor". As far as I can describe it..It's really intense and dramatic--Most often it reminds me of Mendelsohn(sp?) and Beethoven put together. Personally it does come from the heart though..All of the wild emotions that have been surrounding me lately inspired me to exploit some of my feelings. I guess this is a musicians way of expressing himself. Rather than being all emo and writing pointless poetry, a musician writes his own quartet piece that sounds as intense as the Shostakovich no. 8! (I wish mine was as nearly as good!) Well, I can't think of anything else to say, since I'm brain-dead being awake at 3:43 am... I just hope my violin concerto eventually turns out good! I've been working VERY hard on it, and I was going to ask my Orchestra director if he'd let me play it with my highschool symphony.
Oh by the way, here's a REALLY random question for all of you Violinist/Violists out there who actually read up on this entry (which I doubt anyone will)
Well okay, this is a really random realization... or technically an assumption I made--and I'm wandering if there's anyone out there who can tell me the TRUE answer.
So, here goes.. I just so happen to own a 16' viola, being a violinist (oh no!), and I practice on it occasionally. I think it's safe to say because of it's relatively larger size than a violin, it takes a lot more effort to produce a lovely, resonating tone. Well after practicing viola for a good hour, I switch back to violin... and---WOAH! All of the sudden everything is way easy! My vibrato feels really easy, smooth, responsive and resonating! I feel like I have full control over my violin--more control than normal--well that's a good thing! So...I conjured that if I always practiced viola for hours on end, I would own at violin just because the instrument requires less energy and it feels... overall... lighter. The best way I can compare it is like saying you'll run faster if you walk around and do everyday activities while wearing leg-weights. The minute you take those babies off, you'll be like a speed demon. So my question is, Does anyone seriously think I can become a MORE well-rounded violinist by practicing on viola?
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