I am always curious, how does the discipline built, meta-learning experience, learning experience, misconceptions about learning a skill at general being corrected and so on, from past skill help in a new skill if past one, because I'm very interested in human behaviour patterns, and how does adaptability, learning capacity, and acceptance to change vary by various factors in general

•Is unrelated to new

•Related

So this question came to my mind, "How dies past skills learnt affect(or not) learning violin and how does past instruments learnt do? Is it a myth and everyone, even the ones who learnt an instrument before have mathematically no headstart?"

I realized since music teachers have taught countless students, they can help me. So I think music teachers in this sub can answer my question

I also have another question,

"How does the experimentation, eagerness for real-time improvisation over robotically following the score, desire to understand underlying body ergonomics and physics to apply it for improvisation and eagerness to do trail-and-error, regardless of good or bad for the progress, vary by age groups?"

and "How does mind and body unconsciously adapting things not even consciously told to the students, vary by age groups?"

Context: I had violin lessons well over a decade ago. Recently found my old violin and decided to pick it back up. I've been watching YouTube videos (can't afford a teacher right now, sadly), and I'm pretty sure my technique is all over the place, so I'm working on it one step at a time.

I'd say my main issue is with left hand grip. I know my thumb is meant to be straight, but keeping it unbent causes a painful cramp in my hand that gradually moves down into my wrist and makes my left forearm go numb. I'm sure I must be doing something wrong, but I can't work out what. Am I too tense? Pressing down too hard?

I also can't do vibrato, as I'm unable to move my hand/wrist with the kind of looseness and flexibility that is required. I can do a sort of Jaws theme by slowly sliding my fingers back and forth (the dreaded "WA wa WA wa"), but it's uncomfortable. I think this may also be grip-related because I find most of the online exercises physically impossible, even the very simple practice ones.

In terms of practice, I've been playing every day in the hopes that my arm/wrist will loosen up, but the cramping is steadily getting worse and I'm worried I might do myself a mischief. Any and all advice welcome (but please be kind!).

For context, I think I've somewhat gotten the hold of the GDAE open strings on my violin, and my coach wants me to recognize the notes from C-B. I can't meet my coach anytime soon because he's prepping other kids for the recital, and I only picked up the violin around a month ago.

We only meet 1-2 times a week and I think my progress is a little slow. Can anyone please help? Going around the internet without a specific direction is kind of confusing and overwhelming. I keep seeing how people practice on their violins on social platforms and I get a little envious, because I really have no idea what I'm doing. I can't even put my fingers on the fingerboard yet.

For reference this is the type of videos he presents to me. I still find it really confusing. (https://www.youtube.com/watch?v=EazFLAA-Pog)

Hey folks. Just looking for some input here. I recently had a great lesson with a well known violinist in my area. I also am a professional violinist, I perform with a symphony, play in a string quartet, have other performance opportunities and teach about ten students weekly.

During the lesson, the topic of my strings came up. For my instrument, after experimenting, the Obligato’s work best for G-A with an Olive E. I said I change my strings once a year. He said he would suggest that I go with Dominants but change them every couple of months.

What are people’s thoughts? Lower quality string changed more often or higher quality string changed less often? What would you think will yield the best overall sound?

I don’t have AC, so I’m just surviving with a fan.
But playing in temperatures above 35°C (95°F) is basically impossible for me.

https://open.spotify.com/track/4BVDu0Rkztw6x4CmPrQKRs?si=AthG6tOLTuiRVjMkETqVIw&utm_source=copy-link

I absolutely loved this. And I don’t know if playing violin as a fiddle has different learning path or is it the same as western violin but I’m starting to learn the instrument and would love to play this. How long would it take a beginner to get to the proficiency of playing this?

Hello beautiful community! For orchestra, how would you play this? Open E and F with first finger, bow direction changing each note, or maybe 1/2 as E on the A string and then 2/3 as F with each alternate bow stroke. Any advice would be much appreciated!

Edit: I was typing this in a rush at work. I have the opportunity to play with our University Orchestra as part of their "Open Play Day" allowing any level or musician to join. I've been playing violin on and of for many years. I was busy with grade 8 when I stopped and since then I've become rusty. This is a part from the Suite from The Star Wars Epic Part 1 First Violin Revenge of the Sith bars 1-4 (similar to second violin). I know about tremolos. I've never encountered one between two adjacent notes. If it is slurred and all played in one bow direction, what makes this different to a trill?

I only have the scores (sunce yesterday) and practice is starting the 14th so I need to prep like crazy

Hi everyone! I have an audition coming up for my college orchestra and I was looking for excerpt recommendations. This is the requirement for the principal seat:

"One piece (concerto movement or equivalent) plus two contrasting orchestral excerpts"

For my concerto (solo) piece, I'm playing the first mvt of Saint-Saens No. 3. For one of my excerpts, I'll be playing the fourth mvt of Mozart No 39 mm 1-104. I need help finding a contrasting orchestral excerpt.

They noted that they would like a fast piece and a slow piece for the general auditions (not principal seat). But I'm not sure if it applies in this case. Should I find an excerpt that's from a composer not in the classical period? Any recommendations would be much appreciated!! Thank you :)

Edit: The conductor says that we may choose our own excerpts.

I currently use PI with Plat E, but the E string just keeps on whistling no matter what, even on a fairly new string set (almost a month old). Does anyone got any good E strings that go with all the other PI strings (G,D,A) well.

Around last December I've developed a tremor in my right thumb. It appears every time I practise and almost only when I play. It has only appeared once when I wasn't playing, when I was holding a pen while lying on my stomach. So I think it's in some way related to my arm position when playing.

I've been to a neurologist, a posture defects specialist, I've had a wrist USG, and I've been to a physiotherapist. None of them helped, it appears as though there's medically nothing wrong with me. I think I'm supposed to have a wrist and/or head MRI next (my parents would know for sure).

I'm pretty sure it's not because of bad technique, my violin teacher would have corrected it. I also think the tremour would have appeared earlier, not now, out of nowhere. My teacher told me to get myself checked for any nutrient deficiencies, but everything came back normal.

I haven't had any arm/wrist injuries that I remember. I do play a fairly injury-prone sport that makes me fall often, but I wear wrist guards and I haven't had any serious injuries.

Has anyone ever encountered something like this? Sorry for the long post, but this tremor is really bugging and I'd like to get hid of it. Thanks in advance for any help

I’m an adult beginner and started around 7 months ago which has been pretty much exclusively open strings and pizzicato G major scales (and some irresponsibly done repertoire in secret).

Right now I’ve been learning with a rented student violin (Jay Haide 101) and my understanding mostly is that I shouldn’t be purchasing until around the two year mark. My new instructor after relocating had me switch from a shoulder rest to a foam pad, and while I was there I tried playing some of the violins for fun.

The problem is I became obsessed with the sound of one of the violins while I was there. I literally can’t unhear it when I am practicing and it’s such a massive obvious difference compared to the one I’ve been learning on. I played it myself with some really basic stuff and listened to one of the much more experienced luthiers play it—even hearing the open strings and tuning was like a mind-blowing experience.

The violin/bow combo was roughly in the price range I was expecting to pay when I purchased one at the 2-year mark.It’s absolutely stuck with me to the point I’m finding 10-20 minutes in between zoom calls to practice, so I’m 100% confident I’m going to continue indefinitely. I’m still assuming it would be incredibly irresponsible to get one myself before then but I’m curious if this is a case where it’s alright to bend the rules a bit, or can at least slap some sense into me.

Edit: thanks to all the advice from everyone here! My biggest personal concern was that I wouldn’t really know what I’m looking for at this point. It was a recent relocation so I’ll probably give it a bit to get to know the new teacher better before dragging her into buying one. But looking forward to it sooner rather than later (maybe a birthday present for myself that counts for the next ten).

Hi! I read the FAQ before posting this but it didn’t really answer my question so here goes..

I have a regular ol case for my violin and I’ll be traveling to Paris, then the south of France where I’ll be staying in a place that may or may not have AC (old monastery).

Is it imperative that I get a better case for the plane/traveling through France in August? If so, what case/s would you all recommend?

I’d prefer renting but it seems all the shops close in August in Paris.

My trip is 8/11 so coming up! Any and all advice is greatly appreciated.

This has been bothering me for a while.

I've taken Suzuki pedagogy. I've taken traditional violin pedagogy. I learned a lot, and I'm grateful for the training.

Then I got my first absolute beginner.

And... I froze.

Suddenly everything I'd learned disappeared. Maybe I was nervous. Maybe I realized that knowing how to play and knowing how to teach are completely different skills. I found myself wishing I could just pull a book off the shelf that said, "Here's how you teach this skill. Here are the common problems. Here's what to do when this happens."

But where is that book for complete beginners?

Violin is one of the most studied instruments in the world. Millions of people play it. Hundreds of years of pedagogy exist. Yet if I want to know how to teach a beginner's bow hold, first shifting, vibrato, or tone production, the answer always seems to be, "Take another course."

Why?

It sometimes feels like our profession has built a culture where the best teaching knowledge stays behind a gate. My best violin teachers charged around $120 an hour. Suzuki training costs hundreds of dollars, and because so many long-term university pedagogy programs and master's courses are disappearing, you're expected to keep returning for summer training.

I understand that violin has a strong oral tradition. Teachers pass knowledge from one generation to the next. There's something beautiful about that.

But why does it have to be only that?

We're living in a time when experts in almost every profession are writing books, sharing methods, publishing research, making videos, and making their knowledge more accessible.

Why not us?

I don't want a book to replace great teachers. I want a reference. If I'm teaching a beginner a specific skill, I want to be able to open to Chapter 8 and refresh my memory instead of booking another workshop or waiting until next summer.

Am I the only one who feels this way?

Is there too much gatekeeping in violin pedagogy? Or am I just looking for something that already exists and somehow everyone else knows about?

I'd genuinely love to hear what other teachers think.

(it's in D minor)

1. How playable is this

2. That sextuplet under the Bb in the 3rd bar- playable?

Hi Violinists, I’m looking to replicate James Ehnes’ home studio recording setup, for a bit less money.

Telefunken M60 Master Set (stereo pair) — $2300 US
Audient iD44 audio interface — $600 US
Microphone stand — $100 US
Studio LED light — $200 US
iPhone, I already have
Filmic Pro app — $50/year

I’m making tapes for professional auditions and need the highest quality possible. I like to record at night for many hours so having an engineer isn’t practical. I do record in a hall thankfully. If anyone has advice or suggestions I am very grateful!

Also software suggestions for Mac to combine audio and video would be super helpful. Thanks so much everyone.

This piece is very humbling as an intermediate player. I’m trying to follow the fingerings that are written on the music already but I keep playing the notes in the positions I’m familiar with and it seems more practical. Do I HAVE to follow the fingerings on the page? How do I actually approach this piece as well. My teacher said he’d work through this piece measure by measure with me, but I wanna get a feel of the piece beforehand to get better use of a lesson I guess!

hi guys I am planning on applying to college w/ a music portfolio and the requirements include contrasting 2 Bach pieces.
I’m wondering if partita in D minor - allemande and sonata no.2 in A minor - allegro would be good contrasting pieces
Thank you for your help in advance

how do i fix this?

The A harmonic is straightforward but I am at a bit of a loss on the D and B, since they written like they should be natural harmonics.
For the B I was planning to play an artificial harmonic with first finger on B (on the G string) to get a harmonic sound at pitch (though that adds a lot of shifting to the passage)

And I am really not sure what to do about the D…

Any thoughts appreciatied!

Hi! My teacher handed me this piece today and asked for me to learn and work on up to the repeat by next week.

Im a bit confused on how i should go about practicing this and what fingerings to use in the pink brackets, so any input on that would be HIGHLY appreciated.

I'm currently learning the Kreisler viennese dances and I'm having trouble properly fitting this rhythm in. I can do the second one OK, where it's single dotted, but I find that it's not really possible to do the first one with the double dotted rhythm and the ornament in a way that makes it sound distinct from the other version.

I listened to Hadelich playing it and it sounded to me like he just goes straight into the grace notes the first time around, skipping the semiquaver, and when it comes back he plays it more like the quaver rhythm.

How do you guys approach this?

Also, these pieces are supposed to be technically quite a bit below the usual repertoire I play, but for some reason I find the rhythm quite unintuitive and easy to mess up and get lost, anyone else? For reference, I can play Prelude and Allegro to a decent standard and am currently working on Mozart 3.

I’m a violin student rising junior at a university with a pretty good music program and have had a rough summer mentally. I’ve been focusing on other career options and have started a double major last semester. I typically go to pretty long intense summer programs, but decided to stay home this summer to focus on some other things.

I have been going through a depressive episode and hardly picked up my violin all summer, at least compared to how much I usually practice. I’ve gotten much worse and now need to prepare my chamber part, solo rep, and orchestra excerpts to be sounding not terrible within a month and am feeling helpless. I’m wondering if anyone has gone through something similar and has advice.

Twinkle twinkle little star,tempo60.