January 18, 2007 at 06:07 PM · Greetings,
if you go to this site you can find Fischer`s Basics at half price....
January 18, 2007 at 06:43 PM · thanks for the tip...now awaiting it!
January 18, 2007 at 07:06 PM · I hadn't shopped for this book before but have heard great things about it, so I did some price comparisons. The link above sells it for £27.95, but at
http://www.musicroom.com/se/ID_No/0161880/details.html you can get it for £24.95.
However, given the current exchange rates (£24.95 = $44.10) and high overseas shipping costs ($8.80), U.S. residents may as well buy it from http://www.sheetmusicplus.com for $49.50 + $2.99 shipping.
January 18, 2007 at 07:59 PM · His 'Practice' is also on sale, and on its way. :-)
Karin, you’re not taking the sale price into account. It's something of a bargain even with shipping to the US.
January 18, 2007 at 10:22 PM · This book is a bargain even at full price.
I wish we could hand this to any violinist who's serious about increasing technical proficiency.
January 18, 2007 at 11:16 PM · I thought the listed price WAS the sale price. It's not? The link about the sale didn't say which books it applied to, so I thought the lower prices were already reflected.
Anyway, I'm tempted, but I've already spent gobs of money on violin stuff this month...besides, I barely have time to practice, let alone read books about practicing. It does look like an excellent resource, though.
January 18, 2007 at 11:19 PM · Greetings,
Karin , go with your temptation. You might get hit by a meteorite tomorrow and your last thought could be `darn, I never read Basics.`
And since you are short of pratcie time it is even more useful becaus eit is full of ways to practice more efficiently.
January 18, 2007 at 11:22 PM · Buri, I seriously doubt that. :) Can this book be used effectively without a teacher?
Also, I tried adding it to my shopping cart and it did show up at full price, i.e. £27.95. At that rate, I'm better off buying from SheetMusicPlus which has flat shipping w/in the U.S. Or am I missing something? Is anyone getting it at £14?
January 18, 2007 at 11:56 PM · Greetings,
>Can this book be used effectively without a teacher?
Do my eyes glaze over at the thought of Krispie Kremes?
In my opinion, one of the most powerful self instruction tools for the violin ever created.
January 19, 2007 at 12:05 AM · Karin, in order to get the 50% discount, click on the red tab labeled "New Year half price special." Then click on "Music and Practice."
January 19, 2007 at 12:45 AM · Oh! Thank you, Tim. I am an idiot.
Okay, I was convinced, Buri. Now I need fear no meteorites. :)
January 19, 2007 at 07:06 AM · Yes, the book can be used effectively without a teacher.
In my opinion, this book is a must-have for any violinist/fiddler who is trying to increase technical proficiency without a teacher.
I actually suspect that many if not most violin teachers out will not be able to teach mechanics as well as the Basics book.
In other words, I think the Basics book ought to be required reading for violin teachers. But I suspect many of them aren't reading it.
Basics is the next best thing to getting lessons from some of the great mechanics teachers living today.
The requirements for making Basics useful is the ability to identify shortcomings in your playing that you want to correct, the willingness to sit down with the book and incorporate exercises from the book into your daily practice routine, and a certain amount of awareness and sensitivity to your own mechanics.
But I suspect that if you're willing to do the middle thing (make time in your practice routine), the first and third things I listed are not nearly as important.
The first one matters becuase it helps you focus on what you'd benefit the most from.
The third one (sensitivity) will help increase the effectiveness of the exercises. But really, the exercises are designed to work with your average violinist. They've been extensively tested and debugged. So even if you aren't aware of why the exercise are helping and how they're helping, I think you'll find that they do help.
January 19, 2007 at 07:24 AM · Can someone tell me when do you know you can stop taking lessons?
January 19, 2007 at 08:14 AM · Thanks, Ray. I do actually have a teacher, but I'm reluctant to incorporate another book into my lesson discussions because we never have enough time to cover my scales/Kreutzer/pieces as it is.
I've ordered the books and look forward to gaining new insights.
January 19, 2007 at 08:49 AM · Hey Xixi, never---ever...
Actually, your goals determine this, but some of those very accomplished people take lessons up through their entire professional careers.
Although we are led to believe that violin study is a very precise thing, once one gets to some level, it really can, and often does become very experimental. Sue Belcher for example taught Suzuki for decades, then started Cajun filddlin.
I for example, want to fiddle 'way' on down the road, but am studying formally for a long time. It's really all about getting to where you want, and creating enough layers of ability within yourself to express any number of dimensions that exist within.
An example from cooking: I love to chef-up entrees and salads and things for my family. But I have no real interest in like baking. And I do have an undeveloped interest in soups and sauces, sauces being more developed that soups. So it's like continuing developing those different areas that one knows for sure they want to master. Violin is too broad for most of us to be both Paganini and Bach.
January 19, 2007 at 04:02 PM · Thank you very much for the sales tip.
January 20, 2007 at 04:37 AM · Can anyone tell me when to stop doing a given exercise and move onto another?
Thanks, Andres, for pointing out that practice was also on sale. We already had the Basics.
January 20, 2007 at 04:49 AM · Thanks Al, for the encouragement. I'm constently upgrading my goals so I'll never stop lessons:(
Thank you Ihnsouk Guim for posting my hidden question:)
Thanks Buri for the tip, now I've got two more books on their way.
January 20, 2007 at 10:24 PM · Looks like this is turning into a thanking thread. Could someone please answer Yixi and me so we can both thank you?
January 20, 2007 at 05:45 PM · Thanks to Buri!
Ihnsouk and Yixi, there isn't a simple answer (to "when to move to another study?") One could say "move on when the etude is mastered," but that's misleading -- we mean different things by the word "mastered" and besides, you never really really master any etude to the point where you can't learn anything from it. A better rule of thumb you might try is that you move on when your playing will benefit more by working on something new. However, it takes a lot of experience to be able to judge this well, and that's one of the reasons why people need teachers. And sometimes, even when you have more to learn from a given study, it may help you psychologically to give yourself something fresh to work on.
January 20, 2007 at 11:23 PM · Hi Ouyang,
Please let me call you Ouyang because if this last name of yours is the two-character Chinese sir name as I think it is, it's one of the most beautiful Chinese sir names.
What you said makes perfect sense to me. I usually play 3 - 4 etudes each week and I do compare them to see which ones are giving me the biggest challenges and benefit me the most at the present. But right now I'm also a bit confused about my own judgement, as it is often the case that my teacher likes the pieces that I think I did poorly but not so impressed by the ones that I really liked and thought I did okay. Again, I guess one's judgement grows together with one's skill level and overall training, and hopefully, over time I'll be better at figuring it out.
January 20, 2007 at 10:08 PM · Peter - Thank you. That's a great rule, one we may be able to follow.
Just got back from the lesson. We are to work on producing smooth sound. Any tips on that? We looked at the legato section in the basics. If there are other things we could try, I'd appreciate. Thank you.
January 21, 2007 at 07:50 AM · Ihnsouk,
I'd hesitate to make specific recommendations over the internet, but I'll say this. Perhaps the single most important aspect of "smooth" legato is regulating the bow speed one uses throughout the bow stroke, and doing this requires you to plan the distribution of bow before beginning the stroke -- one should always be thinking a few notes ahead of where you are in the music, both about the left hand and also about how to distribute the bow, control the contact point, etc.
The violinmasterclass exercises for controlling bow speed, contact point, etc. are good (and I'm sure that Simon Fischer has enough exercises to keep you busy for a while), but personally I find that my problems in sound production are often caused by mental laziness and not by a mechanical problem.
January 21, 2007 at 08:02 AM · I agree Peter--laziness for me too--actually, I can't walk and chew bubble gum yet... But also, as I was telling someone recently, and borrowing an image from my teacher concerning various machines used in playing violin as being one's wrists, waist and etc...-getting to that point where one can manipulate all those points--and think ahead--is pretty challenging of it's own.
January 21, 2007 at 09:47 AM · Greetngs,
walking and chewing gum would be a step down the evolutionary scale. Be thnakful.
January 21, 2007 at 02:56 PM · Peter - Thanks so much. I think you are right that it's in the mind. This wasn't a particular issue before the xmas break. There were a few other things that made me wonder. Looking this way, it now all makes sense. We'll do some mechanical work while waiting for the concentration to return. Thank you. By the way, the violinmasterclass never works for us. Wonder why.
Buri - Thnaks.
January 26, 2007 at 05:23 PM · I just called Orpheus, and they are out of stock of Practice as well as another book I had ordered a week before. A poster at Maestronet also found out by calling in January that the copy of Basics he ordered in December was backordered.
I canceled my orders. Perhaps I’m spoiled by the way other businesses are run, but I’d rather support places that are up front about what’s in stock, at the least by an email immediately after the order is placed.
January 26, 2007 at 10:32 PM · I've got the same out-of-stock email message today. I ordered both books as soon as I had seen Buri's posting. My initial feeling was that they should issue a raincheque or at least made it clear on the site of their sale ads that the availability is subject to quantity. This is not a good business practice and really makes me wonder if I want to do business with them in future.
February 9, 2007 at 11:01 AM · Well, at least you got an e-mail! I had been waiting all this time and sent to emails to them, which went unanswered or were ignored.
Today, I casually found out that they had sent out these e-mails cancelling the orders.
I am definitely very cheesed off with them, and not buying anything from them in the future. If they had a limited amount on offer (on the lines of "We have 3 sets of Fischer at half price!"), that number should have been clearly displayed on the website.
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