Glad to be one stage with I Gusti Kompiang Raka, or most-known as Kompiang Raka. We met at event at @bidakaragrandpancoranjkt . Mr. Kompiang Raka is the one and only Traditional Music Maestro of Balinese Gamelan and Balinese Traditional Dance, who has been colaborate with many music genres from Indonesia and other countries. He give lots of influences in Indonesia.
I had learn Balinese Gamelan with him for a year. and finally after years since i learn with him, i met him again at this event. He and his great Balinese Musicians performed Balinese Gamelan Music and I performed Jazz Music with my band. What an unforgettable event for me ❤
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Watching a professional like John Foreman doing what he does best, not only presenting but performing at the launch of the ‘John Foreman’ piano last night was a treat. 🎹
John used plenty of humour, vocal variety, and movement in his presentation, entertaining us even before he wowed everyone on the piano as he accompanied Harrison Craig and Silvie Paladino in their vocals. 🎶🎤
Awesome night! 👌

THE CHICKEN OR THE EGG? — Student violinists at different points must choose whether to focus on bowing or the left hand (fingerings and pitch). Quite a few teachers, artists, students, and observers consider bowing to be the primary difficulty and more important than the left hand in order to get a jumpstart on artistry.

I generally disagree, and my studies hinge on that. Intonation and left hand technique are by far the most complex. At the end of the day, any passage of music can be simplified to note-by-note bowing to work on intonation and left hand speed. Bowing can easily be applied second.

With music as a gestalt, however, bowing is also a crucial component. Thus-far, my focus being on securing the left hand has kept bowing on the back burner. In the last few days, I have finally been working bowing studies into my practice program. A mirror is proving crucial, which I have setup in an ideal spot in my practice space.

My biggest goals coming in have included bowing in precisely one spot on the string and not “swimming” or relocating out of carelessness, keeping perpendicular to the string, relieving shoulder and arm tension while improving my posture form, and keeping my chosen bow hold consistent.

One of my greatest surprises and challenges has actually been introduced by Ševčík in double stopping. It is my first real work with double stopping, which proves difficult not just with the left hand (down the road), but also with the bow arm. It's extremely difficult at first to sustain two pitches at once and requires a lot of stability in the bow.

Enjoy viewing my first steps at isolating my bowing…

SCALES — There is almost no instrument that scales are considered more vital for than a stringed instrument. And with the violin being the smallest stringed instrument, with therefore the intervals being closest together, that makes it all the more crucial. With a piano, at least the keys will always visually be in the same place and with set tuning.

With the fretless nature of the violin, however, a player's abilities are often gauged by their ability to play scales. Scales are the roadmap of the location of each note on each string. In addition to multi-string scales, one-string scales are also crucial to learn the precise locations of notes on each individual string. In Carl Flesch's method, Flesch includes single-string scales FIRST. This fits my own approach to learning the violin, considering single-string playing and shifting prerequisite to string crossing.

I have included a standard three-octave, all-strings scale as a fifth video. C Major is an excellent scale to start with, because it begins in second position which is not too high to start with but outside the typical first position “default.” Enjoy! I hope you find watching my beginner experiences valuable, as I start to tackle this crucial cornerstone of violin technique… . . . Videos from Ševčík's bowing method coming soon, a new study I have been just beginning…

Hi everyone! So, I drew Peter Hammill because he’s an absolute genius. I love his voice and his songwriting a lot. 😁❤️🌟🌸🎶💫☘️🍂 #peterhammill #peterjosephandrewhammill #vandergraafgenerator #singer #songwriter #musician #guitarist #pianist #keyboardist #british #prog #progrock #progressiverock #rock #rockmusic #rocknroll #art #drawing #traditionalart #blackandwhite #portrait #instaart #artist #artistsoninstagram #retro #vintage #music #bands #queenbea_1610

Today I got my bow back from the luthier with a fresh rehair! It hadn't been rehaired since I bought it online, and it didn't play near as well as their shop bows. So I left it on Friday to be redone. I also asked what rosins they see a lot of professionals use, and she immediately went for this P. Guillaume. So I got a cake of it, too. I haven't been too thrilled with my Larsen rosin, though I'm no expert on the matter, yet. But it doesn't hurt to try a recommendation.

I can't wait to get some new videos up for all of you! I've been very successfully working on several exciting things I'll be sharing soon. So Follow if you haven't yet, and stay tuned! 🔥 New videos with the new violin, new bow hair, and new rosin coming soon! 🐸☕️

After trying SEVERAL instruments within a pretty wide price range, this English violin from the 1700's blew the others completely out of the water. There was a major repair done on the back over a hundred years ago, a repair that devalued the sales price of the instrument. But the quality of sound remained and far-outshines other instruments in its price range. The whole instrument vibrates to a far greater degree, and where there were holes in the resonance of the others, this one has nothing but color. It was a very easy choice, though the price was steep on my budget.

I can't wait to continue moving forward with a proper instrument! It's already worlds easier to play with accuracy and without tension. The shop was kind enough to let me borrow a bow. I decided within seconds of comparing my bow with the shop bows that the hair on mine was s*** by comparison, so I decided to have mine rehaired at quality. Will be picking that back up on Tuesday! Videos will be coming VERY soon.

At first glance, one would think these exercises mostly about moving smoothly when shifting. They're so much more than that. One of the most difficult parts of the fretless nature of the violin is that the notes become closer together as you go higher. Multi-string scales and exercises don't fully address this issue on all strings, and they don't address the difficulty of playing narrowing intervals higher on lower strings (what a mouthful!). When I was in undergrad, it used to carve my ears out listening to violinists and violists. Even in college, the intonation was soul-scathing! Coming into learning the violin, I've maintained a determination to fill whatever holes exist in violin pedagogy that prevent students from learning to play increasingly in-tune from the beginning. Forgoing first-position mastery and a multi-string focus have been keys to this. By studying each string individually as prerequisite to string-crossing, I am both training my ear and body posture up and down the full length of each string. The ear training is probably the most-difficult, which is where an electric keyboard is absolutely vital.

With this exercise, I have focused mostly on the fourth string, as it is the most difficult to navigate smoothly. I've placed the first string video first in this video series in order to keep things mixed up and exciting.

Hopefully seeing my humble beginnings at serious exercise book studying will be of some value to you…



Well, after about 2 weeks studying these exercises, I'm finally ready to move forward to first finger, fifth position. Developing these exercises has seen installing my new Whittner, center-mounted chin rest and later my new Dov-Music, harp-style tailpiece! I am loving both! I used my condenser mic for this, and it got a much better, acoustical sound.

It also saw me get on an OCD spell with my bow hair. I was getting a lot of benign squeaks, and my bow wasn't responding as immediately as it should have been. I had noticed some bow hairs would slacken faster than others, and others would slacked way-more-slowly. About 15 clipped hairs later, I had a clear tone. No one tells you to clip bad hairs that haven't broken yet…

Anyway… My approach in not learning the entire first position first is paying huge dividends. I am excited about the progress of my bowing, progress in my tuning accuracy, progress in changing strings with the first finger on the string being changed from without chirps, progress in thumb posture, and progress in sliding without gripping or leaving the thumb behind.

Onwards to the breach!!!!

I’m in love - @lionelrichie

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