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0:00
Hi, I'm Andrew Bird, I'm a songwriter and composer, and I'm here today to answer your questions from the internet.
0:04
Welcome to Violin Support.
0:10
First question, Late Lord Chadam.
0:16
I've just had my violin lesson.
0:13
I cannot get vibrato.
0:21
I actually cannot.
0:21
What is the secret?
0:21
Vibrato takes a long time, as with every little technique.
0:21
You kind of get it, and then you're doing one little thing wrong, and then it all kind of falls apart.
0:21
Vibrato is when you're, you can see my last knuckle is kind of flexing a little bit and I'm moving the hand like this, not like this.
0:49
But, um, just be patient, it's just muscle memory.
0:53
It takes a long time, you'll get it.
0:55
Okay, this is from Cowboy Klose.
1:01
How expensive are violins?
1:01
Like, I'm asking for a friend.
1:01
Violins are quite expensive.
1:01
It baffles me sometimes, like a vintage guitar that's super cool and sexy looking is still somewhat affordable.
1:11
To get a violin that starts to be just playable and decent, not much under eight grand or ten grand.
1:21
They just don't sound very good.
1:21
I don't know why that is.
1:21
It's an art, it's really tricky to shave down the wood.
1:21
It's thin enough, there's a lot of nuance to making a good violin.
1:21
The market is very, it's very high.
1:21
M Kent Wheel, I've never understood how to hold a violin bow properly.
1:21
Another one that's, that takes longer than almost anything to get with playing the violin, more than figuring out where your fingers go, is the bow technique, 'cause it's a bit abstract.
1:21
When I used to teach, I would tell my students to pretend that they're lying in a canoe and they've got their arm draped over the side in the water and they're dragging their arm through the water.
1:21
You've got a very light touch on the bow.
1:57
Any kind of like death grip on the bow makes it not work.
2:04
So you've got the bare minimum pressure on the bow and your wrist is a hinge and you're kind of leading this way and everything's trailing behind like a dragging through the wind.
2:04
This one's from a Werewolf.
2:04
Is there a difference between a fiddle and a violin, or is it that one of the players is classically trained and the other has a recipe for possum?
2:25
Well, you don't need to get into stereotypes here.
2:25
Let's just say it's basically function of it.
2:25
Violin is listening music and fiddle is functional dance music and the techniques.
2:25
Creating your own backbeat, that's fiddle playing.
2:25
It tends to be a little rougher around the edges because the point of it is to drive a social dance situation.
2:25
So social music versus like listening music, violin versus fiddle.
2:25
But otherwise, there's no difference in the instrument itself.
2:25
This one is Fishy Aaron.
2:25
I should have attended the pre-concert explanation about the difference between Baroque violin and modern violin technique.
2:25
The main difference is there's little to no vibrato in Baroque violin, and that means Mozart is really not supposed to be played with vibrato if you want to be accurate, because it sounds a little more like fiddle music in a way, and it's very resonant.
3:03
And early music is very like, that's a sympathetic resonation of I'm playing a D on the G string, so I have an open D next to it, so it creates this extra resonance.
3:34
Whereas I play a C right below it, there is no sympathetic C string to that, so it's a little more dry sounding.
3:40
So it's like natural reverb when you get that extra string vibrating next to it because the sound waves go off of the string and hit the string next to it, and if it's the same note, it'll start vibrating sympathetically.
3:52
This is from P Verant.
3:52
I must know the secrets of how to make the Stradivarius violin.
4:00
Well, a lot of people have been trying to figure that out.
4:00
It's a beautiful sound, but it's a very specific sound, it's not always what you want.
4:00
The Stradivarius is an ancient instrument, and it is a more focused and goes into other senses.
4:00
It's like a, you know, succulent kind of sound, rich and dark, very dark.
4:18
I mean, first of all, they were made in the 1600s, generally 17.
4:23
It was a family business, so it stretched over a period of time.
4:26
Some say it's the particular wood that they sourced or the way they treated it or the way they varnished it.
4:34
Scientists have, uh, taken this on as like a little project because they think, oh, there must be some quantifiable way to recreate the Stradivarius, and they've learned some interesting things, but no one's really been able to quite pull it off.
4:46
Colin at 7619.
4:46
The violin doesn't work because there's no rosin.
4:46
What the F is rosin?
4:46
The rosin is what makes the horse hair on the bow grip the string and cause it to resonate.
4:46
You take this stuff, some sort of a resin, just go like that.
4:46
It comes off, and you don't need much.
4:46
If you touch the bow with your hand, the grease or oils from your hand will cause it to slick, and it just go, it just be like, it won't grip.
4:46
This one is from Een Ha.
4:46
Would anyone please teach me how to use a loop pedal?
4:46
Could be key for solo gigs.
4:46
I've been using this loop pedal for years, it's from the mid-90s.
4:46
The chip in it is apparently ancient, and it has a loop function where you get either 26 seconds to make a phrase that once you click record again, it starts over that phrase and keeps recording so you can layer on top of that.
4:46
That's our loop.
4:46
I usually start with pizzicato, we're playing the violin like a guitar, so I'll start a phrase like this.
4:46
So I just sort of improvised something that's sort of polyrhythmic, has a groove to it.
4:46
So I've got my rhythmic skeleton here, and then I might improvise something on top of that.
6:39
So that just started out as like a novel way to expand this otherwise linear instrument into like a chordal instrument and just to try out ideas.
6:51
Sam Salty Science, anyone know how to properly tune a violin?
6:51
Googling and tuning apps are only getting me so far.
6:51
Usually you start with the A.
6:51
The violin is in fifths, the interval is fifths.
6:51
Guitars are in fourths.
6:51
So you get used to the sound of what a fifth being in tune sounds like.
6:51
You can actually hear this like sound of these the sine waves fighting against and being out of sync with each other, but when they get in sync, it all.
6:51
So there is flat, and I'm turning the tuning peg up, bringing the D string up to the A string, and you hear dissonant, dissonant undertones.
6:51
It doesn't sound right.
6:51
And then suddenly, ah, you know, satisfaction.
7:43
It's a perfect fifth.
7:45
Stay Moment, how do violin players not go effing deaf with that near their ears?
7:53
Since the advent of amplification, uh, we've got worse things to worry about than an acoustic instrument being something close to your ears, but they do.
8:00
Most violinists have hearing loss in their left ear from playing, you know, right here, and that's just a fact.
8:00
I'm sure I do.
8:00
WLWK, this is a genuine question for violin players, 'cause I don't know if y'all just can't follow tempo for some reason, but why is it that every violinist I've ever seen speeds up any song they play?
8:00
Any instrumentalist might have trouble speeding up, especially when you get in front of a bunch of people in a performance, and the adrenaline kicks in, the natural inclination is to speed up.
8:00
All players have to develop a good sense of time.
8:00
Playing with a drummer certainly helps.
8:00
That's why a lot of live records it feels great for everybody at the time, the audience and the players, but you listen to the recording, you're like, oh, this is not going to stand up on an album because it's too exciting, doesn't stand up to repeated listens, but doesn't mean it's not right in the moment.
8:52
I'm guilty of it sometimes, but it's usually when I'm playing a big show for thousands of people and like, your adrenaline's way up, the whole band gets that feeling.
9:05
Alright, that looks like that's all the questions for today.
9:05
Thanks so much, carry on.