The Radio 3 Boards Forum from myforum365.com
08:29:46, 02-12-2008 *
Welcome, Guest. Please login or register.

Login with username, password and session length
News: Whilst we happily welcome all genuine applications to our forum, there may be times when we need to suspend registration temporarily, for example when suffering attacks of spam.
 If you want to join us but find that the temporary suspension has been activated, please try again later.
 
   Home   Help Search Login Register  

Pages: 1 ... 25 26 [27] 28 29
  Print  
Author Topic: The Violin and Viola Thread  (Read 10741 times)
thompson1780
*****
Gender: Male
Posts: 3615



« Reply #390 on: 16:33:39, 25-04-2008 »

Not quite, A.  I have a mental background of the piano part (or whatever it is) playing whilst I practise the violin part, so it sort of feels right.

But what is depressing is when I get to practise with the actual pianist, rather than the one in my head. How dare they interpret the work differently from how I did when I was practising it!

Once I have got over this control-freekery, it's usually quite fun to adopt and adapt other people's interpretations.  But there is still the gloom of having to flex your interpretation because someone else's technical ability is not up to the mark.....  (which I hasten to add, must work both ways occasionally).

Tommo

Logged

Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
A
*****
Posts: 4808



« Reply #391 on: 16:44:23, 25-04-2008 »

I do , of course , hear the piano part in my head too... but it is not the same as playing WITH someone though!!!!!

A
« Last Edit: 17:04:45, 25-04-2008 by A » Logged

Well, there you are.
oliver sudden
Admin/Moderator Group
*****
Posts: 6411



« Reply #392 on: 17:27:08, 25-04-2008 »

Especially I think (but not only) in the case of Brahms it's not so much like practising a solo piece to which an accompaniment will later be added. More like practising, say, the violin part of a string quartet. Or some other kind of chamber music, which is indeed what it is...
Logged
A
*****
Posts: 4808



« Reply #393 on: 18:08:42, 25-04-2008 »

Absolutely ollie, but much nicer to play the complete chamber work... in all instances I may add!!

A
Logged

Well, there you are.
oliver sudden
Admin/Moderator Group
*****
Posts: 6411



« Reply #394 on: 18:13:45, 25-04-2008 »

Absolutely. I can hardly bring myself to practise the Brahms clarinet sonatas either unless there's the prospect within reach of playing them (or at least playing them through) with a pianist.
Logged
A
*****
Posts: 4808



« Reply #395 on: 19:47:05, 25-04-2008 »

We are in agreement  Grin Grin Shocked
A
Logged

Well, there you are.
owain
**
Posts: 52


« Reply #396 on: 00:52:25, 27-04-2008 »

Practice.

I wonder, does any other string player... violinist maybe ... find it pretty soul destroying to practise the violin only part of a work such as a sonata with no chance of playing it with a piano part? It is so 'thin'

Just spent a good part of today looking at a Brahms violin sonata and can't really be bothered to sort it out completely.. ..just playing the 'good bits for my own amusement !!!

Anyone else feel the same??

A
Yes.  I can play (hack) through concertos for the hell of it, but sonatas just seems like a wasteland without any purpose, unless there is a serious situation where I'll be able to put the thing together.
Logged
Ruby
*
Gender: Female
Posts: 26



« Reply #397 on: 14:04:05, 16-05-2008 »

But there is still the gloom of having to flex your interpretation because someone else's technical ability is not up to the mark.....  (which I hasten to add, must work both ways occasionally).

Hi - I'm on an exploratory mission away from the Welcome board. Smiley

Fortuntely for me I've not had to suffer that problem much, apart from recently playing at a friend's wedding. The local church pianist was either deaf, mad or hopeless, possibly all 3, and I had a struggle to follow him.   Especially since he was playing quite quietly.  He'd race off ahead without realising and ignore agreed pauses - he may well have been racing me.

What it sounded like, I have no idea...  It was meant to be Massenet's meditation but it might have come across more like "confusion".
Logged
Ruby
*
Gender: Female
Posts: 26



« Reply #398 on: 14:13:04, 16-05-2008 »

Practice.

I wonder, does any other string player... violinist maybe ... find it pretty soul destroying to practise the violin only part of a work such as a sonata with no chance of playing it with a piano part? It is so 'thin'

Just spent a good part of today looking at a Brahms violin sonata and can't really be bothered to sort it out completely.. ..just playing the 'good bits for my own amusement !!!

Anyone else feel the same??

A
Yes.  I can play (hack) through concertos for the hell of it, but sonatas just seems like a wasteland without any purpose, unless there is a serious situation where I'll be able to put the thing together.
I know what you mean.  When I was at school 2 of us with the same teacher practiced the parts of Bach double and played together once a week.  I still love the piece so I bought the music with CD accompaniments.  The trouble is, a CD doesn't know when you've gone wrong and stop by itself.  Grin
Logged
thompson1780
*****
Gender: Male
Posts: 3615



« Reply #399 on: 14:32:49, 16-05-2008 »

But there is still the gloom of having to flex your interpretation because someone else's technical ability is not up to the mark.....  (which I hasten to add, must work both ways occasionally).

Hi - I'm on an exploratory mission away from the Welcome board. Smiley

Fortuntely for me I've not had to suffer that problem much, apart from recently playing at a friend's wedding. The local church pianist was either deaf, mad or hopeless, possibly all 3, and I had a struggle to follow him.   Especially since he was playing quite quietly.  He'd race off ahead without realising and ignore agreed pauses - he may well have been racing me.

What it sounded like, I have no idea...  It was meant to be Massenet's meditation but it might have come across more like "confusion".

Glad to have you making a trip to this thread (and thank you for rescuing it!)

Sad to hear about Massenet's Confusion.

Tommo
Logged

Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
A
*****
Posts: 4808



« Reply #400 on: 16:48:18, 16-05-2008 »

Hear hear to that tommo... how's things?

Ruby... welcome on this thread! Do you play violin or viola? or both?

Just as an aside, I have the 'Planets ' concert tomorrow ... good fun and a nice big orchestra!!

A
Logged

Well, there you are.
thompson1780
*****
Gender: Male
Posts: 3615



« Reply #401 on: 13:52:43, 17-05-2008 »

Yes yes, but you all should be coming to see Crazy for You!  At least my show has dancing girls.

(So, things are great, A - mmm dancing girls....)

Tommo
Logged

Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
A
*****
Posts: 4808



« Reply #402 on: 13:49:35, 18-05-2008 »

Yes yes, but you all should be coming to see Crazy for You!  At least my show has dancing girls.

(So, things are great, A - mmm dancing girls....)

Tommo

I have to say they don't do a lot for me tommo Wink Wink... and keep your eyes on the music !! Grin Grin

Hope it's going well.

A
Logged

Well, there you are.
Ruby2
*****
Gender: Female
Posts: 1033


There's no place like home


« Reply #403 on: 17:25:44, 20-05-2008 »

Hear hear to that tommo... how's things?

Ruby... welcome on this thread! Do you play violin or viola? or both?

Just as an aside, I have the 'Planets ' concert tomorrow ... good fun and a nice big orchestra!!

A
Hi - thanks for the welcome!

I don't play the viola - in fact I hardly play the violin these days.  I need to pick it up again, maybe this thread will re-ignite my enthusiasm.

Enforced delay however.

I did the most stupid thing last night - I can only think I must have been tired.  My A string went at the weekend and I tried to take it out last night but it was stuck solid in the tail piece.  Whilst wiggling it I somehow unhooked the E from its fine tuner and the damn thing pinged off too.  At this point the tailpiece is at a bit of a jaunty angle and looking funny, and I notice the bridge has moved a bit (goodness knows when or how).  Like an idiot I decide to see if I can tweak it a bit since there are only two strings on, and I must have pulled a bit too hard because it flipped over.

I know you know what's coming now.

Yes the sound post is now rolling around in the bottom.

I could have kicked myself, I really could.  I sat there and stared at it for a good 5 minutes thinking "I cannot believe you just did that, you idiot..."

Now I've got to find somewhere to take it.  I gather it can be a pretty quick job, but Lincoln is useless for specialist things like this and I might end up taking it back to where I bought it in Leicester - at least I know the guy is good.  I just hope it doesn't change its character irrevocably.  I'll admit there were tears.

Anyone else ever been silly enough to manage this?  Sad
« Last Edit: 17:34:16, 20-05-2008 by Ruby2 » Logged

"Two wrongs don't make a right.  But three rights do make a left." - Rohan Candappa
thompson1780
*****
Gender: Male
Posts: 3615



« Reply #404 on: 17:38:31, 20-05-2008 »

Ruby2,

Yes.  I have had that misfortune.  Worthy of the Grumpy Old Rant Room.

Actually, this post earlier is wrong, according to a restorer I was speaking to the other day......

Gosh - tailpiece changes.  They don't happen very often.

When you slacken the strings, you have to be careful that the soundpost does not shift.  The tension in the strings holds the bridge down hard on the belly.  That traps the soundpost between belly and back.

Actually, on some not-so-good instruments, the soundpost is jammed in so it's not a great risk of falling over if the strings are slackened, but you can never be too careful.......

Anyway, here's what to do (or at least what I did when I last changed my tailpiece):

Take off the chinrest

Get the new tailpiece at hand - and ready (that means having a big enough loop of gut to go over the black nobby bit near where you neck goes).

Hold the violin between fingers and thumb - thumb on the belly near the bridge, and fingers on the back underneath.  Press to retain the soundpost in place.

Slacken the strings just enough that you can slip the old tailpiece off the nobby black bit near where your neck goes.  The bridge will just fall over.

With one hand, still, try to get the strings out of the old tailpiece, and try to get them into the new one.  If you can be very still, place the fiddle down somewhere, and use your other hand.

When the strings are in the tailpiece holes again, hold the violin firmly again, and get the tailpiece onto the black nobby bit.  Then tighten the strings, enough to keep the tailpiece on the nobby bit, but not massively.

Slot the bridge back where it was (there will be marks from the feet).  Make sure the bridge is perpendicular to the belly.  It should not lean back towards the tailpiece or forward towards the fingerboard.

Tighten strings apropriately.  (Sorry John - it's all that tuning again).

As the gut of the new tailpiece stretches, you will need to keep tightening the strings.  All will go flat.  (It's not quite as bad as new pirastoro strings.... Wink)

Keep you violin somewhere where the temperature is around coolish room temperature, and it needs to be not too dry.  I used to put a pot of water near my violin case, but that really is a bit unnecessary if you have a well ventilated house.

Hope that helps!

Tommo

It's the red bit that is wrong.  It leaves the possibility that you hold the fiddle between your legs and tweak the top of the bridge.  Apparantly, you may break the bridge then (or end up with your situation, Ruby2).

The restorer suggested that you held the violin sideways by the strings!  Fingers hooked under the A and D strings, with left hand one side of the  bridge and right hand the other.  Then use your thumbs pressed either side of the top of middle of the top of the bridge to position the bridge.

Sorry this is too late, Ruby2.

Tommo
Logged

Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
Pages: 1 ... 25 26 [27] 28 29
  Print  
 
Jump to: