[Mel Sandberg]

Saul, your idea is very admirable, and I wish you the best with it, and I hope you make really lots of money, but I don’t believe it is new.

[Mel Sandberg]

I understand now what you are all talking about.

[Mel Sandberg]

I have never even heard that there was meant to be a specific place for the pedal diagram, (above or

[Mel Sandberg]

I have tried all sorts of things for trills, and can’t do a successful one-handed trill at all, but my best result is with 21-21-21-21 (better than anything else).

My 2nd teacher, who was a student in the lineage of Parish-Alvars – Grimm – Posse ……. taught me that for a good one-handed trill, on eg. D and E, the 3rd finger should hold on to the C just below, (for support) and the 2 + 1 should trill on the D + E.

[Mel Sandberg]

Carl, is this Fountain of Zabel that you mention something else than La Source (Am Springbrunnen)?

[Mel Sandberg]

I also looked at that video.

[Mel Sandberg]

Carl, I have a question of my own: à la your explanation of the grand staff having too many lines, and the

[Mel Sandberg]

Thanks for advising about that you believe Catherine Michel does it the same way. I am thrilled with my discovery of it.

[Mel Sandberg]

That same thing – the DADF, I can only have two fingers on-string at a time.

[Mel Sandberg]

Alexandros, for what it is worth, I tried also to open the links, but nothing worked – not the score or the MP3.

[Mel Sandberg]

In reference to the opening trill of the Boeildieu…. Well, I have given the Xavier de Maistre trill a bash, or two, or three, and I can’t do it that way at all.

[Mel Sandberg]

Karen, not only are my hands so small, but I can’t stretch them wide.

[Mel Sandberg]

Carl, thanks for the advice.

[Mel Sandberg]

Carl, I am very interested in your reference to the Mozart concerto, and the broken thirds.

[Mel Sandberg]

Nancy, I have ultra-sound on my wrists and forearms

[Author]

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