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You simply can’t define a Good and a Bad teacher in any categorical way. Each good one is good in different ways, and each bad one is bad in the same way. (or different). Dogma has nothing to do with it. A good teacher will do the very best they can for each student and not just fill the time. A bad teacher will do many things wrong.
You simply can’t define a Good and a Bad teacher in any categorical way. Each good one is good in different ways, and each bad one is bad in the same way. (or different). Dogma has nothing to do with it. A good teacher will do the very best they can for each student and not just fill the time. A bad teacher will do many things wrong.
You simply can’t define a Good and a Bad teacher in any categorical way. Each good one is good in different ways, and each bad one is bad in the same way. (or different). Dogma has nothing to do with it. A good teacher will do the very best they can for each student and not just fill the time. A bad teacher will do many things wrong.
If it came through a Yahoo account, I always mark it with full headers, which show all of its routing, then forward it to abuse-at-yahoo.com and they cancel the account.
That reminds me of the episode of Gilligan’s Island where Tina Louise plays a harp the professor built out of reeds, coconut shells and fishing line. What does she serenade them with? “I’d Like to Get You on a Slow Boat to China”. (just kidding)
I agree with the above, but would add something that helped me getting back into shape after a break. I did lots of slow practise on basic exercises, and although I played slow, I brought the fingers in very fast to quicken them up again. I relaxed after each note, and exaggerated the speed of my placing. Lickety split lightening placing, but slow playing. Same with raising, I exaggerated the fall back onto the strings and placed very quick – “splat” onto the string. Chordal exercises, where you play wide chords and fall onto the strings in one block I found useful too. Also quick alternating (flat) chords with lots of wrist action away from the strings
I agree with the above, and would add that you should already be relaxed by the time your fingertips reach your palm. I don’t favor lots of wrist action in the alternating chords, just a bit, but with free lever-like movement of the lower arm. I find it gives stronger tone, and there is no wear-and-tear on the wrists.
Your 17 is quite beautiful, how fortunate to get curly-wurly maple, though I do love my birds-eye, finally.
My troubador also needs new levers. How much does it cost to get them put on? I was never able to get a price on it.
It has been horrible. I had special middle-distance glasses made, and lost them on the train. I found something called the Carson clip and flip, it’s a simple 1.5 magnifying lense that clips on your glasses like sunglasses, and you can flip them down when you need the magnification. It would seem the perfect and inexpensive solution, only the post office misplaced my package, so I have been waiting over a week for them to arrive! I can still play with my distance glasses if I don’t try to focus on the strings and let them be blurry. I also bought a pair of reading glasses, took off the bows, and used paper clips to make hooks so I could hang them over my glasses, but they don’t work that well.
Only Jane can tell us when they were born, it must have been after February 19th, or somebody is embarking on a career of copyright violation/plagiarism, it would seem!
It’s not a question of quickness, not in learning notes, I don’t think, but the fullness of their understanding of the music and sensitivity to it, and what they bring to it. If you play an Irish tune, and in doing so, you don’t just play a cute tune, but put in it all the feelings you have ever had about Ireland, your understanding of it, your sense of its culture, then I would say you are very gifted. And if each piece acquires its own unique flavor, color, tone, and seems to come from its own place inside you, then you are born performing artist, if you can perform. Those are the essential things I demand from performers beyond any technical considerations, along with a sense of style and interpretive authenticity, which I have more-or-less described here.
If you feel you are
Lucile Lawrence taught her students to always slide onto the next string and not play it to finish an upward glissando/flux. It phrases the top note as part of the whole and not as a sudden separated event, which is what I hear when someone slides up and then plays the top note with the other hand. You can accent the top note this way, but it won’t stick out like it wasn’t part of the phrase. When you are coming down with the thumb, you place the second finger ahead and finish 12, or place 234 and finish 111234. I’ve heard no better way of doing it.
