Fastest in the world Schumman Scherzo?
This piece, that i didn't know before, pissed me Very much;)):
It isn't hard technically, but very annoying to play it fast as Schumman wanted - in 144 in good level. Because of all the switches of strings.
I worked on it a lot and eventually managed to play it in 160, in a pretty decent level in my view,
It might be the fastest in the world version of it - what do you think?
Mr Krakovich, I am truly impressed. That was a most outstanding performance. I have never seen anything quite like that.
It would be extremely hard to know what Schubert wanted, seeing as he had been dead for 18 years when this symphony was composed.
I kind of feel like you need to use a less sticky rosin.
Your camera is wrecking your intonation.
Not the least bit musical..... perhaps a different vocation that requires dexterity but not insight?
That's not so much the Scherzo as an impressionistic form of it. In many cases you're playing the wrong notes. You're also immensely out of tune, to the point where in some cases it's hard to tell whether you're playing the wrong note rather than just severely missing the correct note. Most professionals would be embarrassed to put up a video like that.
Greatest in the world. Flawless performance! I would be honored to be your stand partner and the small (very small!) intonation slips and the inability to synchronize your right and left hand would not get annoying at all! Please next post a video of Tchaikovsky Violin Concerto "Canzonetta" Fastest in the World! I know the mute will be bad for the flawless sound but you have to respect the dictator composer style!
why not just write Shman?
I agree with Erik. You might want to consider using a less sticky rosin so that it will sound cleaner at that fast tempo. Stickier rosin is going to make it sound sloppy when you're trying to play faster passages. Less stickier rosin also help your bow achieve a better sautillé.
The difference between the F and F# needs to be clear, ditto E and Eb, and all the other accidentals. When that difference isn't clear, it's either a wrong note or an intonation problem. To some extent, this excerpt tests the ability for a player to learn a passage with full attention to detail (all the correct notes, dynamics, accents, etc.) and not just technical coordination between left and right hands.
It was horrifically out of tune.
"THE RULES TO BECOME WORLD'S FASTEST VIOLINIST:
"Mostly in tune, mostly in time"? That shouldn't be the case for someone going for a world record for fastest violinist. If you aren't in tune then how can the performance be recognizable at such a tempo? Likewise, if it's not completely in time, are you truly the fastest violinist? Or are you the sloppiest violinist?
Thank you. Next!
Is it really necessary to be so acerbic? I know he keeps saying 'fastest' in the world and such things, but I still think characterizing it as horrifically out of tune is overly harsh. I mean, it COULD be much more out of tune, no? What would the adjective be then? At such a tempo an amateur's intonation will usually suffer.
David, we are back to square one!
You are killing the messenger here:
The fastest violinist record is no longer supported by Guinness World Records, they tweeted about it and left comments under a YouTube video of David Garret regarding this.
If you go on YouTube, you can even find students and amateurs playing the excerpt in the 126-132 range, not necessarily with the level of perfection needed in a professional audition, but certainly in good enough quality for orchestral performance and quite a bit better than your playing at 120.
In contrast to all you snarks I like to believe the best about a person; David is (still) taking the piss
What´s with the obsession of speed all the time, fleeing from something?
"I'm surprised that people here think it is very out of tune."
No, they didn't get too many applications. What they got was complaints that the people breaking the records were not actually playing the piece. Vov Dylan literally skipped almost half of the notes, and glissando-ed through a bunch more.
Inventive use of microtones
Urban, the point of a piece like that is that the individual notes trace out the harmony. If there isn't sufficient clarity for the listener to grasp the harmony, then that's not a small problem, it's quite serious. Also, in other threads this individual has claimed that he intends to use this piece to audition for professional orchestras and even implied that he wanted the advice of those qualified to help him meet that goal. So if he is being judged harshly against a difficult standard, he's only brought that on himself.
Thank you, Paul Deck!
There also has to be the recognition that this Scherzo is a thing of beauty. The phrases have to be shaped, and there has to be an awareness of how this part fits into the orchestra as a whole. The descending two-note slurs pick up the line from a solo flute, for instance, and the feel of the beat and the articulation need to be done accordingly. But that comes after correct pitches, accurate intonation, and ensuring that a percussive sound to the stroke is avoided throughout the whole thing.
Speed is no excuse for poor quality, nor a substitute for making music.
Vov Dylan! LOL. I always suspected that Bob Dylan was always really just doing performance art, so David, you are at a disadvantage if you want to compare your performance art to the performance art of a Nobel Prize winner who has been plying his craft for decades. If you can crack the code, though, like Vov has, there are probably a lot of dollarydoos to be made.
My personal problem with this speed is that it is a "Gamble" every time to play it like that,
It might be that Schumann knew that it will not be perfect in 144 and still took the risk with 144 because he wanted the fast effect?
Oh my god the Vov Dylan video. I was waiting for it to surface somewhere.
It might be more common to have this at 138 than at 144 in performance, if you listen to recording. I suspect that is usually done as a musical choice more than a technical one though. Violinists playing it well (see many YouTube videos) can nail it every time. The whole reason that we do slow deliberate practice is to ensure that fast is 100% reliable, even under the stressful conditions of an audition. That's the expectation of professionals.
Yes, but is the uncushioned honesty out of pure frustration, or a feeling that being more direct will be taken to heart more? Just ignore me perhaps - I may be too much of a bleeding heart in some cases.
James, I guess it's almost too good to make money. Where there's a nagging part of me that thinks that there's a small chance that if I closed my eyes and listened to a Lola Astanova video, I might find it suprisingly credible, even if my overwhelming concern is really for the health of her lumbar spine with her piano bench so far away from the piano, Vov Dylan, hilariously impossible-to-make-up name and all, seems to me to be beyond satire, like making fun of a puppy for trying to run for President.
Please answer honestly, i really don't know:
I also doubt that any soloist dares to play the Schumann Scherzo on the big stage. That's a shot across the bow, you "so-called" professionals, so ball's in your court Midori!
From experience in previous threads, If it's not direct (and even if it's direct) David will ignore it. People asking for feedback in this forum generally get a degree of gentleness appropriate their ambitions. Because David is claiming to be playing at a professional level and presents himself as being exceptional, he gets feedback accordingly.
It isn't risky at 144 if you have done the work properly to get it there. I knew I was going to nail it at the audition and I did. Yes, every member of the violin section of a full-time professional orchestra can reliably play it well up to tempo, every time.
In an audition you have to play flawlessly AND you must play it at tempo. My point is that very nearly all professional symphony players have passed that particular gauntlet, playing it perfectly at the required speed solo during their live audition before the panel.
DK, this "gamble" issue really underscores your entire problem: Your technique isn't good enough to ensure a smooth ride through that piece in your practice room, not to mention when you're nervous in front of an examining board. In live performances, the reason pros don't need two, three, or four "takes" is because they've got to the point where they're nailing it every time. That's why your teacher told you to practice passages until you can do them 10 times in a row perfectly. Because any lower standard means a "gamble". If you ever get the feeling that the Sibelius Concerto is easy for a top soloist, well, it's because, in fact, it's actually easy for them -- easier than you or I would find Haydn or Seitz.
Urban, I quite understand your discomfort, but this is the eighth or ninth long thread where David tries every possible excuse for not playing well enough..except that of poor practicing. He has treated us as clowns, liars, dictators, snobs, and in a suppressed thread, pseudo-racists. We have been extremely patient!
I hate to be rude, and I’m saying this as a failed musician myself, but this is pure garbage violin playing. You don’t have a prayer of becoming a pro. Find something else to occupy your time.
Maybe just pointing out the obvious: if it were truly a gamble for professional-level players, it would not be a common audition excerpt. Orchestras are looking to hire the best players. It is not in their interest to deliberately make auditions a crapshoot.
Looking forward to "fastest in the world" on Pachelbels Canon.
You think this is hard, give the "Death of Tybalt" excerpt a shot.
The biggest problem to play fast the Scherzo is that you can make a mistake - in live performance as soloist it will look horrible, in orcheatra you probably can "catch the bus" with minor mistake.
That's the "team spirit" David.... hope you stand mate is understanding.
Do that in a professional orchestra and expect not to get invited back / get tenure. People fake sometimes but this isn't one of the places it's acceptable. Muck it up and you're destroying the section sound.
Just curious, since this causes continuous itches... Is "schumman" well-known in Israel? I've never heard of him. And, were Robert "Schumann" and Franz "Schubert" the same person?
I am planning to apply for a chair in quantum physics at a university next month. Do you think it's necessary to know about the theories from folks like hyssenborger or ehnstone?
"Seriously, folks - we're getting trolled. Maybe part of some kind of comedy show, who knows. But definitely not a real person."
David K certainly seems to be a real person, even if he's a provocateur. There's some interesting and useful stuff coming out of the threads here and there, anyway, since most people here tend to be sincere and helpful even if the person in question is coated in teflon anti-clue repellent.
sorry, Lydia, I disagree.
Just waiting for the "Schymman Schertzo played backwards while riding a monocycle and balancing my spare bow on the nose" thread......
No soloist is going to play this excerpt in live performance
If the Schu fits, wear it.
I don't want to be rude -
I really wanna hear the "fastest in the world" version of Pachelbel's Canon.
The Israel Philharmonic did indeed hold violin auditions on July 4, which is publicly available information, but I note that per the website, the application process did not include any video submission.
Mary Ellen Goree
I can't speak to anything at all from the professional side - I'm far from that.
David, was the letter addressed to you?
I am surprised that the Israel Philharmonic does not resume-screen for a conservatory degree.
Rather, what else were you hoping to play?
Like any guitar virtuoso, you need to master your articulation at slower speeds before you can shred at faster speeds. I'm not going to be rude and condescending like some on here, I'll just say get it down at slower tempos first.
They hired five out of 25? Wow those are pretty good odds.
Any idea what age the three who got through are?
You should post your Mozart 5.
The romantic was the Bruch Concerto:
The five that continue on to the next round have likely spent many years preparing for auditions
You previously claimed you attended a prestigious "music academy".
That Bruch is the cleanest thing you've posted to date.
David you're a very good violinist. Do you have a teacher? With a teacher and serious work (and putting aside playing as fast as possible, riding a bike while playing, choosing only "catchy" music, and all such bullshit which only wastes your talent) you could really improve. Did you ever consider that? In fact you've probably improved a lot since you posted your first videos here just by working hard. What would happen if you worked *smart* with the help of an excellent violin professor?
In classical audition when you play the Scherzo faster than 144 the judges probably think that you are nervous and
Maybe flawless (!) technique and a certain grade of virtuosity are only the basics, and members of such an auditioning comitee might mainly look for musicality, as well as for a cooperative personality. Just guessing.
For the Midsummer NIght's Scherzo, they're looking for a delicate, light spiccato -- the fairy-gossamer sound; it needs to be both piano and crisp.
If someone's wish was a basically successful career as a music performer ("for money"), he should be offer something that's more than "but my technique is almost 80% good!". It has to be at a (musical) level people enjoy to listen. And no, I don't want to start a discussion about contemporary music right now.
David here are some sincere, considered comments on one of your recent posts:
I think the best thing you could do in terms of fixing the confusion is to actually get a teacher as you say.
"Because you can't get all of that in speed like 144, especially with orchestra."
And also harmony and rhythm. Wailing away at 160 won't make up for absence in those departments.
To play it well you have to compromise on the speed!,
It's not the whole video, it starts at the presto double speed.
It's pretty clear from your playing that you don't understand the concept "musicality". However, if you listen to this same Inhee Park play the Bach Double with Ray Chen in the background you'll maybe hear the difference. She plays better technically, but also she plays musically, rather than just playing the notes angrily.
David, I'll try again!
It all depads on what you have to emphasize:
Great that you like your own playing that much.
Professional auditions are conducted behind a screen for the first round at the least, which attempts to remove some age bias. You can get a job in your 40s if you play at at the appropriate level. Musicians do move around; their orchestras have financial troubles, their spouse relocates, etc.
David, your Mozart show some delicacy of phrasing (part of Musicality!!)
David I listened to your Mozart. You're playing it better than I can. I didn't listen to the Cadenza because I don't care about that (I know -- it's important -- but Mozart didn't write it -- presumably you are using the Joachim). I also felt you could use more middle and lower bow and generate more singing tone, also there are a lot of notes that you start out at f or mf and then suddenly you drop them to mp or p. My teacher told me not to do this in Mozart. And it's a symptom of playing in the upper half. Also in your Adagio I felt you were rushing in some places toward the end. Listen to the orchestral part, they have 16th notes, right? At the start of your Allegro Aperto your trills are not clear. Plan for fewer "taps" but make them clear, so we can hear ever individual note. Right before you cut to the Cadenza there is a section that leads back to the main theme -- this you are playing up-down, up-down and my teacher taught me that too, but he told me to do it at the frog with a light bow just with your wrist and fingers like a long colle stroke and it's a nice sound. Also that's way too much ritardando there, it sounds kind of tasteless ("too obvious"). If you use any at all, I would only allow the slightest hesitation at the end, on the last couple of 16th notes.
"You can get a job in your 40s if you play at at the appropriate level."
Everything said what was to say. But please, David, would you mind to emphasize a bit more on a small irrelevant detail like the composer's name? It's Robert SCHUMANN. Could you? Pleeease...
What you're talking about -- hiring the 25-year-old before the 45-year-old because of "adaptability" and such. I reject that. I think that's total ageist crap, and while it might actually be happening in some places, I'm glad that in the United States this practice is a violation of Federal employment law. Experience is another matter. A 25-year-old with more experience than the corresponding 45-year-old should rightly have an edge.
The opening adagio is treacherous -- you've got to keep the orchestral part in your head, but just as importantly, the line has to be expressive and have direction. I'm not consciously aware of having made a tempo change, and even listening to it, I think I'd have to put a metronome against it to be aware of any tempo change, and my teacher wants the opening to be played metrically. For me, listening critically to the opening, my awareness is more that the line needs more shape and color. This goes back to the notion that what the listener cares about is beauty.
Your tempo change was much more subtle than David's. I listened again and I think I'm being extremely picky. I think you would nail it with orchestra. The comparison to HH is unfair.
When we compared with the gods... ;-) Your point is a fair one, though, because in an audition situation it has to be absolutely steady.
In your video at 2:40.
Ah. I keep the beginning of the passage on the A string and then switch to the open E later in the passage. This is deliberate in terms of where the color should change. You don't want the brilliance of the open E until it's next to the higher-octave A on the E string.
Herman, U.S. orchestras do not hire (or refuse to hire) based on age; virtually all auditions are screened at least for the first few rounds, and in some cases finals are screened also. Not to mention it is illegal to discriminate based on age.
I like his vibrato for Mozart. Not so much for Bruch.
It's important to avoid big swells-and-fades on the same note. Both the bow speed and the intensification and slowdown of the vibrato cause this effect. You can get away with a narrower vibrato in Mozart but a Romantic concerto demands more amplitude and a more relaxed, slower vibrato.
Mary Ellen, what I was saying was: what does it tell you (when you're deciding on a tutti player) that a 45-year old has never played in an ensemble of orchestra of any shape or kind? About his ability to work with other players and with various conductors?
Herman, a middle-aged player with no ensemble experience isn’t going to pass an audition anyway. But if a hypothetical audition yielded two qualified finalists, age and gender will not determine the winner.
Personally, the thing I find most disconcerting about all of David's threads......... is:
If money is what you are after, realistically, odds are you can make more money in politics. Odds also are that you will continue to lose auditions to those who are in music to
"When was the last time you gave money to some political organization, or gave money to a party or to some politician, or bought tickets to some political event? Never, right?"
I don't think anyone here is envious of his facility. Speed without control and precision is not a gift; if anything, it can be a curse.
To play slower than the composer wanted for "clarity" is a compromise! Too,
My Scherzo above isn't just the fastest in the world but also the only! Scherzo that I've seen played solo that is real 144 or above fully!!!.
David, did they then ask you to play it less fast for more clarity?
Lydia wrote: "I'd be curious what some of the orchestral pros here think of the various videos; what would the committee say? "
I think I know what you're talking about because before I stopped playing, I generally gave off the impression of effortless control, and it felt that way, too. I think the routine patterns are key; I did a ton of Schradieck and Sevcik as a kid that meant that not only were the patterns routine but the ability to make slight modifications with minimal effort was easy. To play Mozart now requires vigilance, especially in the right hand where the sensation of control isn't reliable. And I haven't spent enough time on that movement (less than a dozen hours) to have the real fluidity of autopilot.
The committee might have been (a) polite, or (b) aghast.
I think that they waited to see if i will make a mistake and stop. Like a train that goes off track.
As i said here before the audition- my biggest concern about this speed is that you loose control - you can easily make significant mistake.
I am confident that the committee was being polite. We do this all the time (allow a candidate to play past the point where we have crossed them off, especially if that point occurs at the very beginning of the audition).
Mary Ellen Goree,
If you just "play fast" (but perfectly) you can still get crossed off because it's unprofessional to play above the expected tempo. It indicates a lack of understanding of the context of the excerpt.
The 144! Is the big deal of this piece.
That's in the general category of "professional expectations". If you're not sure what the professional expectations are, you are expected to study with a coach who can make those expectations clear.
And again - I'm not sure that it was the reason - 20 people didn't pass out of 25, no one played in this speed,
Why does it have to be with an orchestra? Why not hire a pianist and give recitals? You can rent a hall, sell tickets, invite the press. I don't know what it takes to enter a competition, but you might want to look into that.
David, in some ways, you and I are not so different. Both of us are adult amateurs with serious childhood training, other careers, not a lot of time to practice, and some degree of professional orchestra ambitions. For you, it's a way to earn money. For me, I don't care about the money even a little bit; I just want to experience a higher level of music-making and drive myself to play better.
I wonder if the "local candidate" thing discussed above is the main reason the audition went as long as it did. Because DK's Mozart, while much better than the Schumann, still sounds to me like the playing of a good-but-not-great amateur. There are plenty of auditioned community orchestras where that quality of playing is a minimum standard, for unpaid amateur players.
Seriously - i don't knoe even now how should i play the Scherzo in the next audition?
That's easy to tell. Preferred is 144, clear and clean, sounding relaxed and not stressful. And there definitely will be people auditioning for a seat in an orchestra like that, who are very well capable of playing at this level.
"I'm not sure - because Schumann knew that violinists can't play it so fast clearly.why then he wrote 144?"
"when you play it solo in audition 144 often sounds way too fast":
What I think is that maybe If you will isolate the sound the average orcheatra player when the conducter asks for 144, he will probably sound like me or even worse.
That's a hell of an extrapolation.
I don't understand where this fanatical insistence on 144 is coming from. For one thing, is there proof that Schumann himself wanted 144? Is there a manuscript in his hand with that marking? Or is it some editor's opinion, just like so many bad fingerings you see in big-name editions from the late 19th century? If he had a metronome, was it accurate?
I suppose the next thing we'll be looking forward to will be a world record speed for Paganini's Moto Perpetuo (all the notes being in the right place and order, of course) - leaving aside the little problem that, as I understand it, Paganini's indication of speed for the piece was a mere Allegro, and not Allegro Vivace or Presto etc, evidently thinking of it as music.
The question of 144 is academic, if you can't play it perfectly at 132 or 138, David.
In average piece it is clear - it is preferred to play slowly but clear, because you don't have specific tempo,
For sure 144 isn't the average speed of the winners in Auditions, anyone knows what it is?
Play it like Nathan Cole and you'll get in, if your other excerpts are up to the same fine standard.
David, grow up!
David, get it good at 130 or less, and you will have the reflexes to increase in small steps with the same quality week by week to 144.
"You don't see people on YouTube play it in 144, you want to tell me they do it in Auditions?"
Then why ask our advice?
This piece is very significant piece, it is played probably in every Audition, or most of them, sobit is very important thing to know. Whatvto practice and how.
Those who can do it well at 144 will beat you every time!
And stop blaming everyone else for your own shortcomings!
And work on your non-existent saltellato..
I'm now beginning to see why people might get annoyed...
I was wondering why this thread keeps popping up until I finally clicked it and saw the OP...
But he thinks his intonation is OK, and that we are out to tyrannise him.
"And I'm not sure that he played much better than me in 160!!."
I want to point out that the two violinists above who use their real names (the second and third videos) are both section players in orchestras nowhere near the stature of the Israel Philharmonic.
You were the one who asked for YouTube videos. Stop moving the goalposts.
I watched it with a metronome running! It was 144 for most of the excerpt.
David, I bow down before you resilient bad faith..
The audition is a competition - play at 144 perfectly and you have better odds at getting picked.
Auditions are competitions for musicianship, not absolute tempo. Thinking about an audition in such a single-minded way will not impress anyone. Whatever you do has to sound like music.
Well OK. I'll give it another try.
For what's it worth, I found your advice very illuminating.
Mr. Krakovich, could you please humor us: let’s put the issue of speed and tempo aside, and let’s forget the title of this thread for a moment. I’d love for you to try the following:
Nate B, ok - i take the challenge - I'll work on that and record a clear version.
"You were the one who asked for YouTube videos. Stop moving the goalposts."
Some of the advice is nevertheless very interesting.
"Why everyone blaming me and not Schumann?
No it isn't!
Schumann marked 138. Source: https://www.henle.de/us/music-column/schuhmann-jahr-2010/schumann-anniversary-2010/schumanns-metronome-markings-a-bother-or-a-benefit/
Lydia, thanks. Finally, someone actually does a bit of research instead of taking a marking as gospel.
Why even bother? He doesn't play all of the notes and is still yapping about speed and thinking it sounds clean "enough". I struggle to imagine a more tedious or inane perspective.
What am I missing? The Henle link goes to a list, and on p9 I see 144.
There is a link on that page that takes you to the Schumann markings. It lists for Symphony No 2 scherzo a 138 marking. If I were not writing from a cellphone I would cut and paste. It is possible I am misreading from my tiny screen.
I'm reading the list of markings. It says 144.
Also, if Schumann intended a slower tempo, that wouldn't make it any easier to get into a professional orchestra. The number of seats is not going to increase because of it. There will still be a lot more aspiring pros than orchestra seats, and orchestras will still be looking to fill them with the best players they can find.
Mr. Krakovich, I encourage you to put aside the issue of tempo and speed for a moment, and consider my advice for practicing which I outlined above. Put in some mindful, attentive work focusing on some clearly defined goals and I promise you, you’re only 45 minutes away from seeing a discernible improvement in your playing.
And learn spicatto.
The Kavakos Paganini 5 stunt is amazing. You can still hear the harmonies brought out. And if you run the video at one-quarter speed, every note is there, in tune, precisely placed.
I wonder if a perfectly controlled sautille at that speed (the Kavakos video) is actually more difficult than the original bowing.
"You described it as if I'm the "Doctor Evil" of the violinists;)))"
One more try....
The Scherzo isn't just another piece - it is played in all auditions, and it means that every day thousands of people all over spend hours trying to make it 144,
"And fail in Auditions because of it."
With the Scherzo the average orchesra asks average violinist to play it almost in the speed of david Garett in the Czardas, that is much easier in fast speeds because it doesn't involve string switchs and positions changes:
So, start practicing faster string crossings and stop snivelling!
Any tips or pieces for learning the saltellato required in this piece?
"And i can play very fast - i think we can all agree about it."
Adrian, thank you for taking the time, I'll try it first thing when I get home from work!
I have a theory about what keeps happening in these threads. Normally children learn the violin gradually. Their ears develop along with their facility. I think what has happened is that David's facility somehow advanced much faster. That's a natural gift, to be sure. But while he is able to move his LH fingers very fast, he is not able to really hear what he is playing. I think this may be what some others were getting at with their comments about "wasted skill" and such. It's not really wasted skill -- it's just skill lacking an as-yet-not-as-well-developed listening counterpart.
David K wrote:
Paul, indeed, intonation is a subtle, complex affair.
Paul, one thing that might help you: In listening to things at very high speed, I am listening to the
Generally I do not struggle comprehending harmony, as I also was brought up learning the piano from a very young age (somewhere between 3 and 4). I agree with Lydia that the harmonic content is what really matters in a very fast passage like that, and when it is well played I can hear that, and when it's not well-played the harmony is less clear. But again, I can't pin that on individual notes in the case of David's playing -- maybe I could if I slowed it down in software, but I have not tried to do that.
The time invested in the Schradieck drill was worthwhile in that it made everything else easier to play. I not-infrequently find places in repertoire these days where I curse myself for not having the patience to practice like that any longer, because I wouldn't be investing time in drilling evenness in repertoire if I had that kind of automatic control over my fingers. It really reinforces the brain-finger connections.
What you're saying is that I should stop being such a whining lazy-ass. Hahahaha ... I get it! LOL
I am merely suggesting that sometimes time invested up front pays forward. :-)
Schradieck is indeed a tonic (in the medicine sense).
Come on, Herman, it's 4:30 PM here, and you had to say "tonic" ....
A little quality control on those juniper berries?
David - instead of trying to be fastest, why dont you see in what tempo you can play as good or better as Nathan Coles video, no matter the tempo, and upload that? (As good or better as in rhythm, intonation, articulation, frasings etc)
Wow, been a while, I see we are still riding the horse, aren't we?
I figure that if you yell SCHUMANN! for this, it should be the same way you'd yell LEEEROY JENKINS!
Tim, I think that's a bit subtle..
Alright, who's ready for the 3-hour Scherzo challenge? First we need a benchmark player....
sorry, no can do - I've already put in 100+ hours on this one
Three-hour challenge doesn't make sense in this case. It's one of those things which is a marathon, not a sprint.
Lol Lydia, the 3-hour challenge didn't exactly make sense for the paganini either. Wasn't that the whole point of the challenge? To take something that can't possibly be mastered in the time frame and attempt it? Certainly, anything played with a high level of quality should be considered a marathon and not a sprint. There's nothing magical about the Schumann that differentiates it from anything else with a lot of awkward, fast 16th notes, except that it's standard audition repertoire so perhaps our standards for it are naturally higher.
A 3 hour Schumann scherzo would be a good son file challenge.
I think the etude challenges (particularly the Paganini ones) are basically "how much can you learn in a short period of time, making some compromises", which might be a generally accelerated way to learn that thing. They're interesting thought-exercises in prioritization.
What is the world record for the number of responses on violinist.com?
Getting to 500 is only half the game. The other half is how quickly it can be done.
Paul, the answer to that is VERY FAST. Indeed, 500 posts will be reached FASTEST in the world.
500th poster makes a deal with devil
I want to get to 500 by typing 144 words per minute, but since I'm starting at 40, that's going to take awhile.
I want to get to 500 by typing 144 words per minute, but since I'm starting at 40, that's going to take awhile.
Did you mean 499 the second time?
Long ways to go yet. In October 2017 "The Paris double-blind experiment" went over 1000 posts. I was the OP but rather lost interest
C,mon. Let's go for it!
Perhaps we could write faster by leaving out some of the letters, or the spaces between words.
Over 2k posts Steve? How long did that thread go on?
You can find it in the archives. It actually went to 1128 posts between Sep 28 and Oct 26 2017. Even towards the end some sense was being written occasionally!
Mary Ellen, you can improve your speed typing by practicing with dotted rhythms ...
For every reply I write I try to learn one bar of the scherzo
Seems like a waste of electrons to me.
Sorry (or perhaps not) to rain on this parade, but be aware that if anyone is intent on a world record for a discussion with the most number of posts then you'd better get moving because discussions now get archived after about a month!