Author Archives: Strings2u

About Strings2u

Violin Seller and Violin Teacher

MUSICAL TERMS WITH DEFINITIONS

Posted on by
Reply

DYNAMICS MARKINGS: 

VolumeCrescendo (cresc):  Gradually increase the volume

Decrescendo (decresc.):  Gradually softer

Diminuendo (dim.):  Gradually softer

Forte (f):  Strong or loud

Fortepiano (fp):  Loud then immediately soft

Fortissimo (ff):  Very strong or loud

Mezzo:  medium or moderately (as in mezzo piano or mezzo soprano)

Morendo:  Die away

Pianissimo:   very soft

Piano:  Soft

Sforzando (sfz):  Loud sudden attack 

TEMPO:

Grave:  Very very slow and solemn  (30-50)

Largo:  Broad and slow  (40 – 50)

Lento:  Slow & calm  (but not as slow as Largo)  (50)

Adagio:  Slowly, leisurely  (60 – 80)

Andante:  In a walking tempo, moderately slow  (80 – 96)

Maestoso:  Majestically (80 -104)

Allegretto:   Tempo between Allegro and Andante  (96-116)

Moderato:  In a moderate tempo     (112-130)

Allegro:  Quick and lively  (120-160)

Vivace:  Very Fast  (140 – 180)

Presto:  Very fast (160-200)

Prestissimo: As fast as possible (180 + )

TEMPO MODIFIERS:

Accelerando (Accel.):   Gradually increase the tempo

Alla Breve:  (Same as cut time) – Two beats per measure & half note get the beat

Allargando:  Gradually slower and broader

A tempo:  In the original speed

Grand Pause (G.P.):   A long pause in the music

L’istesso tempo:   In the same beat speed

Meno Mosso:  less motion, a little slower

Piu mosso:  more motion;  a little faster

Rallentendo:  Gradually slower

Ritardando:  Gradually slower

Rubato:  Not in a strict tempo

Stringendo:  Press the tempo;  gradually faster

Tenuto:  Hold full value or stretch the notes

FORM:

Attacca:  Attached

Cadenza:  extended section for soloist alone

Coda:  A finishing section (tail)

Da Capo (D.C.) :  From the beginning

Dal Segno (D.S.):  From the sign

Fine:  The end

INSTRUMENTATION INSTRUCTIONS:

Ad Libertum (ad. lib.):    At the performer’s discretion, improvisation

Divisi (div.):  Divide the between players

Ossia:  an alternate part

Soli:  Like instruments playing same part

Solo:  one player

Tacet:  Silent

Tutti:   Everyone

Unison:  All play same part

STYLISTIC INDICATIONS:

Animato:  In an animated style

Brio, con:  With brilliance, with spirit,

Cantabile:  In a singing style

Dolce:  Sweetly

Espressivo:   With Expression

Fuoco, con:  With fire

Grazioso:  gracefully

Legato:  Smooth and connected

Maestoso:  Majestically

Marcato:  Marked with distinctness, every note accented

Pesante:  Heavily, emphatic

Semplice:  simple

Sostenuto:  Sustained

Staccato:   Separated

Secco:   dryly,  extremely separated

Sordino:  Mute (con sordino: with mute;  senza sordino: without mute)

QUALIFIERS:

Assia:  very    (Allegro assia -very fast)

Con:  with  (con fuoco – with fire)

Molto:   Much  (molto crescendo – increase volume significantly)

Non troppo:  Not too much   (Allegro non troppo – not too fast)

Poco a poco:   Little by little  (diminuendo poco a  poco – softer little by little)

Subito:   Immediately, suddenly  (subito piano – suddenly soft)

Senza:   Without  (senza sordino – without mute)

Sempre:  Always   (sempre staccato – always separated)

Simile:  Continue in a like manner  (usually used for articulation)

Orchestras in Sydney You Can Join as a Violin Player

Posted on by
3

You should join a Community Orchestra. It is an experience you owe yourself after all of that bedroom practice. But where is the nearest orchestra to where you live? And how strict is the audition? Are you good enough? In Sydney there are many different Orchestras of varying standard and location. There should be one that is just right for you, so have a look at the list below and check out their webpage for more details.

Also, it helps to have a Violin teacher assist you in preparing for the audition and learning the orchestral music.

I am teaching at Wolli Creek, so please contact me for lessons or for updating the rehearsal times below.

Contact Peter at strings2u2@gmail.com or 0477885377.

[Pedro Sánchez – Own work: Philharmonic Orchestra of Jalisco (Guadalajara, Jalisco, Mexico) CC BY 2.5 view terms; File:Orquesta Filarmonica de Jalisco.jpg; Created: 24 February 2006]

AMATEUR ORCHESTRAS :

SEMI PROFESSIONAL YOUTH ORCHESTRAS by AUDITION:

PROFESSIONAL ORCHESTRAS :

2018 STRINGS2U Concert Videos

Posted on by
Reply

For the 2018 Student Concert Videos please scroll below and click on the play sign

To view them in full-screen size click on the YouTube sign.

How to Save a Copy of a Performance Video to your Computer?  

1.Right click the video and select copy URL  e.g. https://youtu.be/5LhlnWRqXWk

2.Paste the URL on a new page and

3.Replace https://youtu.be/ with https://video.genyoutube.net/ so that the URL is for example https://video.genyoutube.net/5LhlnWRqXWk

4.Scroll down the page and press on the button that says MP4 360p SD so the video will play.

5.Right click the video and select “Save video as” This will open up the file manager for saving to your computer. Select a folder and name the file then press “save.”

 

Varnish damage next to the Fingerboard

Posted on by
1

Have you ever wondered why there is a groove in the varnish on the right of the violin fingerboard? I have and it has been a mystery to me for years! Until now! I have finally worked it out with the help of https://maestronet.com/forum/index.php?/topic/339118-grooves-along-fingerboard/

Some of the contributors on this forum put forward the following suggestions:

“I have a violin that has a line worn in the varnish next to the fingerboard on the treble side. I always thought it was odd. I had seen this type of wear on other violins, and wondered how it happened. Then I saw somebody holding their violin with the same wear line tucked under their right arm and their hand under the top treble bout with their thumb right on that line.”

Here is what it would look like:

Wear-Thumb rest hold

Someone else said: “I’m with the pizz thumb nail theory on this. Just look around your orchestra and you will see varied and sometimes sloppy technique anchoring the thumb on the side of the board.”

That makes sense too! Here is a photo of how it could wear the varnish:

Wear-Thumb Pizzicato

Here is another comprehensive answer:

“Perhaps others have experience, but I have observed that it is often from fingernails.  Not only of the left hand, when the player’s finger slips off the FB accidentally.  Sometimes I’ve seen how the fingers of the right hand can dig in when the violin is held in a rest position and the player is gently plucking out his part with the thumb.   I warn our orchestra players (students) of this danger, as I’ve seen the damage numerous times.  Other sources are possible, I’d be very interested, because this damage is quite frequently observed on instruments that enter my shop, and sometimes even copied in antiquing.”

Here is the wear from the first finger as you pluck with the Thumb in rest position:

Wear-1st finger as thumb plucks

And finally, here is the wear you get from left hand pizzicato which Paganini was famous for: Firstly with the 3rd Finger on the fingerboard and the second photo with the 3rd Finger on the varnish:

Wear-Finger Pizzicato on

And then the 3rd Finger plucks and comes off:

Wear-Finger Pizzicato off

So what do you think? Which is your favorite way of damaging your varnish? If interested leave a comment below.

MYSTERY SOLVED!!!

 

2017 Strings2u Concert Videos

Posted on by
Reply

For the 2017 Student Concert Videos please scroll below and click on the play sign

To view them in full-screen size click on the YouTube sign.

How to Save a Copy of a Performance Video to your Computer?  

1.Right click the video and select copy URL  e.g. https://youtu.be/5LhlnWRqXWk

2.Paste the URL on a new page and

3.Replace https://youtu.be/ with https://video.genyoutube.net/ so that the URL is for example https://video.genyoutube.net/5LhlnWRqXWk

4.Scroll down the page and press on the button that says MP4 360p SD so the video will play.

5.Right click the video and select “Save video as” This will open up the file manager for saving to your computer. Select a folder and name the file then press “save.”

2017 Student Concert Videos

Master Violins

Posted on by
Reply

For Semi Professional Violin DETAILED DESCRIPTIONS and EXTRA PHOTOS please click

MASTER VIOLINS:

 

Master Violins DETAILED DESCRIPTION AND PHOTOGRAPHS:

(SN:200 – S$2190) Information on “the Cremonese Stradivarius” violin (4/4) of 1715 

The “Cremonese Strad” copy is a very fine quality violin with excellent craftmanship and can be described as follows: balanced on all 4 strings. a powerful, bright, rich tone suitable for solo performance. It has a good response, which makes it a good choice for advancing players. The 2 piece book-matched top spruce is extremely fine grain, and not made too thin, giving the violin the potential to grow into a mature old instrument.

About the Original Stradivarius “Cremonese” – made in 1715:

The Cremonese violin is one of Stradivari’s greatest masterpieces made during his Golden Period. The Cremonese was once owned by the famous violinist, Joseph Joashim. It was returned permanently to the Italian city of Cremona in 1961. The choice of wood, pattern, arching, varnish, and sound is proof of Stradivari’s genius. The instrument has inspired some of the greatest makers in history and continues to be an inspiration today. The Cremonese is unique in the way it combines the sweetness and grandeur of a good Strad, while having the depth of a fine del Gesu. Original “Cremonese” Dimensions: Body length 357mm, Upper Bout 168mm, Center Bout 112mm, Lower Bout 207.5mm.

The Construction and Materials of this Violin:

  • · Varnish:          Italian antique varnished
  • · Top:               Excellence Aged Russian spruce dried for 20 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of this copy of the “Cremonese” violin are:

– body length: 357mm; lower bout: 208mm; upper bout: 170mm; middle: 113mm.

200-Strad-Cremonese-1715-front&back200-Strad-Cremonese-1715-sides

_________________________________________________________

(SN:206 S$1890) Master Violin-Copy of Joseph Guarneri Del Gesu “Cannon” Violin of the year 1743-Russian Spruce

About the Original Guarneri Del Gesu “Cannon” Violin – made in 1743:

“The Cannon” violin is also known by the variants Il Cannone del Gesù, Cannone or Canon, and is often appended with the maker’s name “Guarneri del Gesù” which is also the Guarneri trademark. The violin received its name as the Cannon from a former owner, the Italian violin virtuoso Niccolo Paganini (1782–1840), because of its power and resonance. Paganini called it “my cannon violin,” referring to the explosive sound that he was able to make it produce. This is considered one of Guarneri’s masterpieces. The violin has distinct features that set it apart from modern instruments, including a slightly shorter and thicker sound box and a markedly curved neck. Its tone is distinctly bright, yet full. The violin has survived intact and whole and was given by Paganini to the city of Genoa. Original “Cannon” dimensions: Body length 354mm., Upper Bout 168mm., Center Bout 111mm, Lower Bout 207mm.

The Dimensions of this copy of the “Cannon” violin are:

– body length: 355mm; lower bout: 205mm; upper bout: 165mm; middle: 115mm.

106-Joseph Guarneri Cannon-1743-front&back2106-Joseph Guarneri Cannon-1743-sides

_________________________________________________________

(SN:210 S$1890) Master Violin-Copy of Joseph Guarneri Del Gesu “Cannon” Violin of the year 1743-Russian Spruce

The Dimensions of the violin are:

– body length: 355mm; lower bout: 205mm; upper bout: 165mm; middle: 115mm.

110-Joseph Guarneri Cannon-1743-front&back2110-Joseph Guarneri Cannon-1743-sides

_________________________________________________________

(SN:213 S$1890) Master Violin-Copy of Stradivarius “Viotti” of the year 1709-Russian Spruce

About the Original Stradivarius “Viotti” Violin:

This violin is one of the best masterpieces made by Stradivari during his golden period. If the “Messiah” is preserved in a superior condition, then we can say that the “Viotti” is in a very good condition. Besides the wonderful craftsmanship, the wood is superior and the ruby-like varnish also makes this violin incomparable. In France, the Viotti was admired and highly sought after among the instrument makers of the era, most notably Jean-Baptiste Vuillaume. The first biography of Stradivari, authored by Francois Fetis, explained the unparalleled quality of his instruments and contained a list of the best examples, placing the Viotti third.

The Dimensions of this copy of the “Viotti” violin are:

– body length: 358mm; lower bout: 208mm; upper bout: 167mm; middle: 111mm.

113-StradViotti-1709-frontbackfull113-StradViotti-1709-sides

_________________________________________________________

(SN:215 S$1890) Master Violin-Copy of Nicolaus Amati Violin-1670-Russian Spruce aged 20yrs

The Construction and Materials of this Violin:

  • · Varnish:           Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 206mm; upper bout: 166mm; middle: 117mm.

115-Amati-1670-front back full

115-Amati-1670-sides

__________________________________________________________

(SN:218 – S$1890) Master Violin-Copy of Joseph Guarneri Del Gesu Violin-1730-Russian Spruce.

ABOUT Giuseppe Guarneri ‘Del Gesu’  ranks today as one of the two greatest violin makers of all time, although the marked difference between the appearance and sound of his instruments and those of Stradivari makes comparison almost impossible. Some simply prefer Stradivari, and some prefer del Gesu. Giuseppe trained with his father. The earliest known insruments that are entirely his own work date from the late 1720s, but it was not until 1731 that he began to insert the label with the monogram IHS. He seems to have been strongly influenced by the Brescian school, and his work combines the best of the Cremonese tradition with the stretched C-bouts and exaggerated f-holes of Maggini and da Salo. Tonally, his instruments retain much of the sweetness of a Stradivari, but have a seemingly unlimited depth and darkness of sound, irrespective of the pressure of the bow. It is the later instruments that have come to represent all that is characteristic of del Gesu the unbridled creativity, the astonishing disregard for the details of workmanship, and the sheer daring of design and construction that are the natural conclusion of the deeply ingrained individuality of the Guarneri family. The rapid spread of del Gesu’s fame in the mid-19th century was largely due to the patronage of Paganini, who played the ‘Cannon’ of 1743 for most of his career.

The Construction and Materials of this Violin:

  • · Varnish:           Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:               Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 208mm; upper bout: 168mm; middle: 115mm._

118-Guarneri-1730-frontbackfull118-Guarneri-1730-sides

__________________________________________________________

(SN:223 S$1690) Master Violin-Copy of Guarneri Del Gesu “Goldberg-Baron Vita” Violin-1730

The Goldberg is named after a famous violinist, Szymon Goldberg, who had a long and distinguished career as violinist, conductor, and teacher. It is currently played by the violinist Nicholas Kitchen.

The “twin” of the Baron Vitta Guarneri, is the Kreisler Guarneri del Gesù that had belonged to the legendary violinist Fritz Kreisler. Both the Baron Vitta and the Kreisler Guarneri were made in the 1730s by Giuseppe Guarneri del Gesù from the same blocks of spruce and maple.

The Construction and Materials of this Violin:

  • · Varnish:         Antiqued varnished
  • · Top:                Aged spruce dried for 15 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15 years
  • · Fitting:           Boxwood fittings
  • · Fingerboard: Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 206mm; upper bout: 166mm; middle: 110mm.

SN:223 S$1690-Guarneri Del Gesu “Goldberg-Baron Vita”-1730

 

SN:223 S$1690-Guarneri Del Gesu “Goldberg-Baron Vita”-1730SN:223 S$1690-Guarneri Del Gesu “Goldberg-Baron Vita”-1730

223-frontback-medium

(SN:223 S$1690) Copy of Guarneri Del Gesu “Goldberg-Baron Vita” Violin-1730

 

 

__________________________________________________________

(SN:227 S$1890)  Copy of Stradivarius Francesca 1694

This copy of the Francesca Stradivarius has a convincing antiqued varnish which makes it convincingly antique in appearance.

The Construction and Materials of this Violin:

  • · Varnish:         Antiqued varnished
  • · Top:                Aged spruce dried for 15 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15 years
  • · Fitting:           Jujube fittings
  • · Fingerboard: Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 206mm; upper bout: 166mm; middle: 110mm.

SN:227 S$1690-Stradivarius Francesca-1694

__________________________________________________________

(SN:238 S$1890) Master Violin-Copy of Nicolaus Amati “Alard” Violin of the year 1649-Russian Spruce

The Construction and Materials of this Violin:

  • · Vanish:           Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 352mm; lower bout: 202mm; upper bout: 163mm; middle: 110mm.

238-Amati-Alard-1649-front and back

238-Amati-Alard-1649-sides

_________________________________________________________

(SN:239 – S$1890) Master Violin-Copy of Joseph Guarneri Del Gesu Violin-1730-Russian Spruce.

ABOUT Giuseppe Guarneri ‘Del Gesu’  ranks today as one of the two greatest violin makers of all time, although the marked difference between the appearance and sound of his instruments and those of Stradivari makes comparison almost impossible. Some simply prefer Stradivari, and some prefer del Gesu. Giuseppe trained with his father. The earliest known insruments that are entirely his own work date from the late 1720s, but it was not until 1731 that he began to insert the label with the monogram IHS. He seems to have been strongly influenced by the Brescian school, and his work combines the best of the Cremonese tradition with the stretched C-bouts and exaggerated f-holes of Maggini and da Salo. Tonally, his instruments retain much of the sweetness of a Stradivari, but have a seemingly unlimited depth and darkness of sound, irrespective of the pressure of the bow. It is the later instruments that have come to represent all that is characteristic of del Gesu the unbridled creativity, the astonishing disregard for the details of workmanship, and the sheer daring of design and construction that are the natural conclusion of the deeply ingrained individuality of the Guarneri family. The rapid spread of del Gesu’s fame in the mid-19th century was largely due to the patronage of Paganini, who played the ‘Cannon’ of 1743 for most of his career.

The Construction and Materials of this Violin:

  • · Varnish:           Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:               Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 208mm; upper bout: 168mm; middle: 115mm.

SN:239 S$1890-Guarneri Del Gesu-1730-Russian Spruce

239-Guarneri-1730-sides

___________________________________________________________

(ON ORDER – S$1890) Master Violin-Copy of Stradivarius Messiah of the year 1716-Russian Spruce

About the Original Stradivarius “Messiah” Violin:

The Messiah is considered the greatest surviving Stradivari violin by most leading experts. Thickness graduation maps of the “Messiah” violin show similar characteristics to those of the Betts (1704), Cremonese (1715), Tuscan-Medici (1716), and other Golden Age Stradivarius violins. Top plates are generally thin (2-3 mm), with the thickest areas (3-4 mm) occurring between the c-bouts and the f-holes. Back plates have a central concentric zone of greatest thickness (4-5 mm), in which the center of thickness lies distinctly left of the centerline in the Cremonese, Tuscan-Medici, and Kashininov violins. The thickness pattern on the back of the Messiah violin is almost identical to that of the Cremonese violin, including asymmetrical center of thickness points located more than 30 mm left of center. The Original “Messiah” Dimensions: Body length 355mm, Upper Bout 167.5mm, Center Bout 108.3mm, Lower Bout 208mm.

The Dimensions of this copy of the “Messiah” violin are:

– body length: 355mm; lower bout: 208mm; upper bout: 167mm; middle: 116mm.

105-Stradivari Messiah 1716-front&back2105-Stradivari Messiah 1716-sides

_________________________________________________________

(ON ORDER by request) Copy of Giovanni Paolo Maggini Violin-1630

ABOUT THE INSTRUMENT: Loud, roundness, responsive. This gorgeous instrument delivers a powerful, mature tone with great projection and response. The instrument is crafted carefully giving players a wide variety of tonal qualities with the highest standards of playability.

The Construction and Materials of this Violin:

  • · Varnish:          Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 360mm; lower bout: 215mm; upper bout: 170mm; middle: 120mm.

93-Maggini-front&back93-Maggini-sides

_____________________________________________________

 

Exams with ABRSM-preparation and registration

Posted on by
Reply

EXAM INFO

abrsm-logo

ABRSM Exams:

To find the most up to date information go to the Singapore ABRSM website at: http://sg.abrsm.org/en/exam-booking/exam-dates-and-fees/

Introduction: ABRSM is an abbreviation for the Associated Board of the Royal Schools of Music. The examiners come to Singapore three times a year all the way from the U.K. to conduct exams for approximately one month. You will need to prepare for a year to do an exam. Exams are held in February-March and July-September and the registration is done six months beforehand.

On this page I will cover the following topics:

  • REGISTRATION: Dates, Fees, Venue, and Results notification
  • MARKING Scheme: Four Sections of the Exam
  • How and Why Marks are given

Exam Registration

The practical and theory exam are conducted as two separate exams and students are registered for these exams separately. Practical exams are usually held in February-March or July-August or August-September or September but registration starts as early as half a year before the exam. You can register for exam through a music school, a private teacher, or by yourself – simply go down to the ABRSM exams office during the registration period to register for exams or send in the completed form. If you already had registered for exams before (as an applicant), you can register for exams online.

ABRSM Representative Office

Singapore Symphonia Co Ltd

4 Battery Road #19-01

Bank of China Building

Singapore 049908

Registering as an applicant and/or a candidate

An applicant refers to the person registering for the exam. An applicant can be a music school, music teacher, parent, or yourself. A candidate is the person represented by an applicant for an exam. So, if you are registering for exams yourself, you can both be an applicant and a candidate. If your teacher is registering for you, you are the candidate and your teacher the applicant. All correspondences of the exam are sent to the applicant only and any changes with regards to the exam can only be made by the applicant.

Exam Dates for 2016

2016 Practical exams (session one)

Registration period: 12-23 October 2015

GRADE EXAMS

Singapore 16 February – 24 March (subject to minor changes)

2016 Practical exams (session two)

Registration period: 29 February – 11 March

GRADE EXAMS

Singapore 4 July – 5 August (subject to minor changes)*

2016 Practical exams (session three)

Registration period: 4-15 April

GRADE EXAMS

Singapore 10 August – 15 September (subject to minor changes)*

Notification of Exam Dates and Venue

Exam dates and venue are usually released one month before the exam. Practical exams are usually conducted in a music school and Theory exams are usually conducted in classrooms, multipurpose halls or function rooms.

Practical exams are only held on weekdays 9am-5pm. Please note that the practical exam dates, once given CANNOT be changed unless the candidate has a valid reason and proof(school exam schedule / MC) to show that he/she cannot have the exam on that day. Students who wish to take the exams must be prepared to take leave from school or work if the exam date clashes with their school / work.

Theory exams are held on Saturdays.Exam dates are fixed and if the candidate is not able to make it on that day, he/she will have to re-enter for the exam on the next period. Re-entry voucher may be given if the candidate has valid proof of his/her absence.

Exam Results

Practical exam results are usually released about one month after the exam whereas theory results are released after two to three months as they are sent to UK for marking. The marking schemes for both exams are as follows.

MARKING SCHEME

Practical Exams

Practical exams are marked out of a total of 150, with 100 marks required for a pass, 120 for a merit and 130 for a distinction.

There are four parts in the violin/viola exam.

  • Prepared Pieces
    Candidate needs to play 3 prepared pieces from a set list. Book to buy: Violin Exam Pieces ABRSM Grade__.
  • Scales and Arpeggios
    Candidate needs to memorize and play out scales and arpeggios. Book to buy: Violin Scales and Arpeggios ABRSM Grade __.
  • Sight-Reading
    The Examiner will provide an unseen short piece for the candidate to play. Book to buy: Improve your sight-reading Grade __Violin, by Paul Harris.
  • Aural
    Candidates are tested on pulse or rhythm clapping, echo singing, and for grade 4 and above, sight-singing and general questions after listening to a short piece. Book to buy: Aural Training in Practice ABRSM Grades 1-3 or 4-5 or 6-8.
Practical Exam Marking Scheme
Category Passing Mark Full Marks
Pieces 1   Piece from List A 20 30
1 Piece from List B 20 30
1 Piece from List C 20 30
Scales and Arpeggios 14 21
Sight-Reading 14 21
Aural 12 18
Total 100 150

Theory Exams

Theory exams are marked out of a total of 100, with 66 marks required for a pass, 80 for a merit and 90 for a distinction.

Pre-requisites

For practical exams from grade 1 to 5, there are no pre-requisites to taking these exams. Candidates registering for grades 6, 7 and 8 must have already passed one of the following qualifications:

• ABRSM Grade 5 Theory (or above)

• ABRSM Practical Musicianship Grade 5

• ABRSM Solo Jazz subject Grade 5

• Grade 5 Theory (or above) from any of these exam boards: Trinity Guildhall, London College of Music (LCM), Australian Music Exam Board (AMEB), University of South Africa (UNISA)

There are no pre-requisites for taking any music theory exam.

Important notes for students taking the exams:

• Do arrive 15-20mins earlier than your scheduled time. This will ensure that there are no last minute panics. Sometimes examiners might finish examining the previous student earlier so you might have to go in slightly earlier than your scheduled time.

• Do check the exam venue correctly. Different buildings and streets might have similar names.

• Remember to bring any form bring ID – student pass, birth cert, passport, IC, driving licence, etc.

• Remember to bring your exam pieces book for the practical exam and your own pencil and eraser for the theory exam

• Do bring a jacket to the exam room in case it is cold.

ABRSM – how and why marks are given:

The following tables illustrates the basis of marking within the board result bands. Each piece will be assessed independently using the principle of marking from the required pass mark negatively or positively, rather than awarding marks by deduction from the maximum or addition from zero. In awarding marks, examiners will balance the extent to which the cumulative qualities and abilities listed below are demonstrated and contribute towards the overall result.

For Pieces

Pieces MC 2014

For Scales, Sight-reading and Aural

Supporting MC 2014

3. NEW VIOLINS

Posted on by
Reply

NEW VIOLINS TO BUY in SINGAPORE in ALL SIZES:

As a teacher, I know how important it is to get a good sounding yet affordable violin or viola. I personally select the best sounding instruments from several Singapore violin and viola retail shops and set them up to sound the best they can.

MV100-smallest

Similarly, I supply ADVANCED and MASTER violins and violas at around HALF the PRICE that they sell for in the shops. This way you can afford a much better violin or viola! Please call me at +65 96611413 or email strings2u2@gmail.com to ask whatever questions you have.

ONLINE PAYMENT and SHIPPING is available by clicking on the “Buy Now” request button in the description and an email will be sent to you requesting your Paypal account name so a Paypal invoice can be sent to you. Paypal is used because it keeps your credit card information private and has “buyers protection” in case the violin is not as described, so you can get a refund with no hassles.

For information about where I am and when you can visit please click on: WHERE AND WHEN TO VISIT

ON THIS PAGE: 1. Violin Pricing Summary; 2. Detailed Descriptions and Photos

VIOLIN PRICING SUMMARY:

(for all sizes 1/10, 1/8, 1/4, 1/2, 3/4 and 4/4)

BEGINNERS 100 series VIOLIN costs $170-$250. These have a very good tone, response and warmth for beginners level music.

INTERMEDIATE 300 series VIOLIN costs $350 and above (suitable for Grade 2-4). They come with a flamed maple back and sides and an attractive amber gloss varnish.

ADVANCED 400 series VIOLIN costs $600-$1,000 (suitable for Grade 5-6) with a flamed maple back and sides and a choice of different attractive varnishes including amber/orange/red/brown in gloss or matt varnish.

ELECTRIC SILENT VIOLINS are now available starting from $390. There are two types:

1. the SOLID BODY SILENT ELECTRIC VIOLIN – has a headphone jack and a 1/4″ speaker jack with volume and tone controls: the EV1 is a 5 String Electric Violin with the controls near the bridge and it costs S$450; the EV2 is a 4 String Electric Violin with the controls on the side and it costs S$390; the FV1 is a Fender electric violin in near new condition and it costs $690 (usual retail of S$1177).

2. The EV-HOLLOW is a 5 string ACOUSTIC VIOLIN with an ELECTRIC PICKUP and it costs S$390 – it has a 1/4″ speaker jack with the volume and tone controls on the side. It has no headphone jack and does not require a battery.

For more information please click “Electric Violins Available”

SEMI-PROFESSIONAL AND MASTER INSTRUMENTS: for the advanced players (Grade 7 and above) I have SEMI PROFESSIONAL and MASTER violins and violas available for $1,290 and above. There are many different models of New Violins available for you to audition. They represent the work of some of the best Chinese Violinmakers using selected European spruce or aged spruce from China.

– there are detailed descriptions, pricing and photos below.

ANTIQUE VIOLINS: There are also 3/4 and full-sized 4/4 ANTIQUE 50-100 year old violins available from $600 – $2,200 (click on the menu above called “Antique Violins”).

VIOLAS: There are violas of different sizes available, including 14.5″-S$450; 15″-S$590; 15″-S$1,290; 15.5″-S$690; 16.5″-$1,290.

For more information on VIOLAS please click VIOLA DETAILED DESCRIPTIONS AND PHOTOS

________________________________________________________________

LIST OF VIOLINS AVAILABLE:

ADVANCED VIOLINS:

SEMI-PROFESSIONAL VIOLINS:

For Semi Professional Violin DETAILED DESCRIPTIONS and EXTRA PHOTOS please click

MASTER VIOLINS:

Master Violins DETAILED DESCRIPTION AND PHOTOGRAPHS:

(SN:200 – S$2190) Information on “the Cremonese Stradivarius” violin (4/4) of 1715

The “Cremonese Strad” copy is a very fine quality violin with excellent craftmanship and can be described as follows: balanced on all 4 strings. a powerful, bright, rich tone suitable for solo performance. It has a good response, which makes it a good choice for advancing players. The 2 piece book-matched top spruce is extremely fine grain, and not made too thin, giving the violin the potential to grow into a mature old instrument.

About the Original Stradivarius “Cremonese” – made in 1715:

The Cremonese violin is one of Stradivari’s greatest masterpieces made during his Golden Period. The Cremonese was once owned by the famous violinist, Joseph Joashim. It was returned permanently to the Italian city of Cremona in 1961. The choice of wood, pattern, arching, varnish, and sound is proof of Stradivari’s genius. The instrument has inspired some of the greatest makers in history and continues to be an inspiration today. The Cremonese is unique in the way it combines the sweetness and grandeur of a good Strad, while having the depth of a fine del Gesu. Original “Cremonese” Dimensions: Body length 357mm, Upper Bout 168mm, Center Bout 112mm, Lower Bout 207.5mm.

The Construction and Materials of this Violin:

  • · Varnish:          Italian antique varnished
  • · Top:               Excellence Aged Russian spruce dried for 20 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of this copy of the “Cremonese” violin are:

– body length: 357mm; lower bout: 208mm; upper bout: 170mm; middle: 113mm.

200-Strad-Cremonese-1715-front&back200-Strad-Cremonese-1715-sides

_________________________________________________________

(SN:206 S$1890) Master Violin-Copy of Joseph Guarneri Del Gesu “Cannon” Violin of the year 1743-Russian Spruce

About the Original Guarneri Del Gesu “Cannon” Violin – made in 1743:

“The Cannon” violin is also known by the variants Il Cannone del Gesù, Cannone or Canon, and is often appended with the maker’s name “Guarneri del Gesù” which is also the Guarneri trademark. The violin received its name as the Cannon from a former owner, the Italian violin virtuoso Niccolo Paganini (1782–1840), because of its power and resonance. Paganini called it “my cannon violin,” referring to the explosive sound that he was able to make it produce. This is considered one of Guarneri’s masterpieces. The violin has distinct features that set it apart from modern instruments, including a slightly shorter and thicker sound box and a markedly curved neck. Its tone is distinctly bright, yet full. The violin has survived intact and whole and was given by Paganini to the city of Genoa. Original “Cannon” dimensions: Body length 354mm., Upper Bout 168mm., Center Bout 111mm, Lower Bout 207mm.

The Dimensions of this copy of the “Cannon” violin are:

– body length: 355mm; lower bout: 205mm; upper bout: 165mm; middle: 115mm.

106-Joseph Guarneri Cannon-1743-front&back2106-Joseph Guarneri Cannon-1743-sides

_________________________________________________________

(SN:210 S$1890) Master Violin-Copy of Joseph Guarneri Del Gesu “Cannon” Violin of the year 1743-Russian Spruce

The Dimensions of the violin are:

– body length: 355mm; lower bout: 205mm; upper bout: 165mm; middle: 115mm.

110-Joseph Guarneri Cannon-1743-front&back2110-Joseph Guarneri Cannon-1743-sides

_________________________________________________________

(SN:213 S$1890) Master Violin-Copy of Stradivarius “Viotti” of the year 1709-Russian Spruce

About the Original Stradivarius “Viotti” Violin:

This violin is one of the best masterpieces made by Stradivari during his golden period. If the “Messiah” is preserved in a superior condition, then we can say that the “Viotti” is in a very good condition. Besides the wonderful craftsmanship, the wood is superior and the ruby-like varnish also makes this violin incomparable. In France, the Viotti was admired and highly sought after among the instrument makers of the era, most notably Jean-Baptiste Vuillaume. The first biography of Stradivari, authored by Francois Fetis, explained the unparalleled quality of his instruments and contained a list of the best examples, placing the Viotti third.

The Dimensions of this copy of the “Viotti” violin are:

– body length: 358mm; lower bout: 208mm; upper bout: 167mm; middle: 111mm.

113-StradViotti-1709-frontbackfull113-StradViotti-1709-sides

_________________________________________________________

(SN:215 S$1890) Master Violin-Copy of Nicolaus Amati Violin-1670-Russian Spruce aged 20yrs

The Construction and Materials of this Violin:

  • · Varnish:           Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 206mm; upper bout: 166mm; middle: 117mm.

115-Amati-1670-front back full

115-Amati-1670-sides

__________________________________________________________

(SN:218 – S$1890) Master Violin-Copy of Joseph Guarneri Del Gesu Violin-1730-Russian Spruce

ABOUT Giuseppe Guarneri ‘Del Gesu’  ranks today as one of the two greatest violin makers of all time, although the marked difference between the appearance and sound of his instruments and those of Stradivari makes comparison almost impossible. Some simply prefer Stradivari, and some prefer del Gesu. Giuseppe trained with his father. The earliest known insruments that are entirely his own work date from the late 1720s, but it was not until 1731 that he began to insert the label with the monogram IHS. He seems to have been strongly influenced by the Brescian school, and his work combines the best of the Cremonese tradition with the stretched C-bouts and exaggerated f-holes of Maggini and da Salo. Tonally, his instruments retain much of the sweetness of a Stradivari, but have a seemingly unlimited depth and darkness of sound, irrespective of the pressure of the bow. It is the later instruments that have come to represent all that is characteristic of del Gesu the unbridled creativity, the astonishing disregard for the details of workmanship, and the sheer daring of design and construction that are the natural conclusion of the deeply ingrained individuality of the Guarneri family. The rapid spread of del Gesu’s fame in the mid-19th century was largely due to the patronage of Paganini, who played the ‘Cannon’ of 1743 for most of his career.

The Construction and Materials of this Violin:

  • · Varnish:           Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:               Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 208mm; upper bout: 168mm; middle: 115mm._

118-Guarneri-1730-frontbackfull118-Guarneri-1730-sides

__________________________________________________________

(SN:223 S$1690) Master Violin-Copy of Guarneri Del Gesu “Goldberg-Baron Vita” Violin-1730

The Goldberg is named after a famous violinist, Szymon Goldberg, who had a long and distinguished career as violinist, conductor, and teacher. It is currently played by the violinist Nicholas Kitchen.

The “twin” of the Baron Vitta Guarneri, is the Kreisler Guarneri del Gesù that had belonged to the legendary violinist Fritz Kreisler. Both the Baron Vitta and the Kreisler Guarneri were made in the 1730s by Giuseppe Guarneri del Gesù from the same blocks of spruce and maple.

The Construction and Materials of this Violin:

  • · Varnish:         Antiqued varnished
  • · Top:                Aged spruce dried for 15 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15 years
  • · Fitting:           Boxwood fittings
  • · Fingerboard: Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 206mm; upper bout: 166mm; middle: 110mm.

223-frontback-medium

__________________________________________________________

(SN:227 S$1890)  Copy of Stradivarius Francesca 1694

This copy of the Francesca Stradivarius has a convincing antiqued varnish which makes it convincingly antique in appearance.

The Construction and Materials of this Violin:

  • · Varnish:         Antiqued varnished
  • · Top:                Aged spruce dried for 15 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15 years
  • · Fitting:           Jujube fittings
  • · Fingerboard: Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 206mm; upper bout: 166mm; middle: 110mm.

SN:227 S$1690-Stradivarius Francesca-1694

SN:227 S$1690-Stradivarius Francesca-1694

__________________________________________________________

(SN:238 S$1890) Master Violin-Copy of Nicolaus Amati “Alard” Violin of the year 1649-Russian Spruce

The Construction and Materials of this Violin:

  • · Vanish:           Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 352mm; lower bout: 202mm; upper bout: 163mm; middle: 110mm.

238-Amati-Alard-1649-front and back

238-Amati-Alard-1649-sides

_________________________________________________________

(SN:239 – S$1890) Master Violin-Copy of Joseph Guarneri Del Gesu Violin-1730-Russian Spruce

ABOUT Giuseppe Guarneri ‘Del Gesu’  ranks today as one of the two greatest violin makers of all time, although the marked difference between the appearance and sound of his instruments and those of Stradivari makes comparison almost impossible. Some simply prefer Stradivari, and some prefer del Gesu. Giuseppe trained with his father. The earliest known insruments that are entirely his own work date from the late 1720s, but it was not until 1731 that he began to insert the label with the monogram IHS. He seems to have been strongly influenced by the Brescian school, and his work combines the best of the Cremonese tradition with the stretched C-bouts and exaggerated f-holes of Maggini and da Salo. Tonally, his instruments retain much of the sweetness of a Stradivari, but have a seemingly unlimited depth and darkness of sound, irrespective of the pressure of the bow. It is the later instruments that have come to represent all that is characteristic of del Gesu the unbridled creativity, the astonishing disregard for the details of workmanship, and the sheer daring of design and construction that are the natural conclusion of the deeply ingrained individuality of the Guarneri family. The rapid spread of del Gesu’s fame in the mid-19th century was largely due to the patronage of Paganini, who played the ‘Cannon’ of 1743 for most of his career.

The Construction and Materials of this Violin:

  • · Varnish:           Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:               Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 355mm; lower bout: 208mm; upper bout: 168mm; middle: 115mm.

SN:239 S$1890-Guarneri Del Gesu-1730-Russian Spruce

SN:239 S$1890-Guarneri Del Gesu-1730-Russian Spruce

239-Guarneri-1730-sides

___________________________________________________________

(ON ORDER – S$1890) Master Violin-Copy of Stradivarius Messiah of the year 1716-Russian Spruce

About the Original Stradivarius “Messiah” Violin:

The Messiah is considered the greatest surviving Stradivari violin by most leading experts. Thickness graduation maps of the “Messiah” violin show similar characteristics to those of the Betts (1704), Cremonese (1715), Tuscan-Medici (1716), and other Golden Age Stradivarius violins. Top plates are generally thin (2-3 mm), with the thickest areas (3-4 mm) occurring between the c-bouts and the f-holes. Back plates have a central concentric zone of greatest thickness (4-5 mm), in which the center of thickness lies distinctly left of the centerline in the Cremonese, Tuscan-Medici, and Kashininov violins. The thickness pattern on the back of the Messiah violin is almost identical to that of the Cremonese violin, including asymmetrical center of thickness points located more than 30 mm left of center. The Original “Messiah” Dimensions: Body length 355mm, Upper Bout 167.5mm, Center Bout 108.3mm, Lower Bout 208mm.

The Dimensions of this copy of the “Messiah” violin are:

– body length: 355mm; lower bout: 208mm; upper bout: 167mm; middle: 116mm.

105-Stradivari Messiah 1716-front&back2105-Stradivari Messiah 1716-sides

_________________________________________________________

(ON ORDER by request) Copy of Giovanni Paolo Maggini Violin-1630

ABOUT THE INSTRUMENT: Loud, roundness, responsive. This gorgeous instrument delivers a powerful, mature tone with great projection and response. The instrument is crafted carefully giving players a wide variety of tonal qualities with the highest standards of playability.

The Construction and Materials of this Violin:

  • · Varnish:          Italian antique varnished
  • · Top:                Excellence Aged Russian spruce dried for 20 years
  • · Back:              Selected Seasoned Flamed Maple Back dried for 15years
  • · Fitting:           Ebony  or rosewood fitting
  • · Fingerboard: Advance Ebony
  • · Soundpost:    European spruce
  • · String:            Synthetic string
  • · Bridge:           France Aubert bridge
  • · Purfling:        Hand inlay

The Dimensions of the violin are:

– body length: 360mm; lower bout: 215mm; upper bout: 170mm; middle: 120mm.

93-Maggini-front&back93-Maggini-sides

_____________________________________________________

How to Save a copy of the YouTube video

Posted on by
Reply

How To Save a Copy of a Video to your Computer:

1. click the YouTube sign on bottom right of the video

2. copy the Youtube address of the Youtube video,

for e.g. http://www.youtube.com/watch?v=Ss1URTJYlfQ

3. go to  www.keepvid.comkeepvid

4. paste your youtube link into the Download tab where it says: “enter the link of the video you want to download” then

5. click the download button on the right of the entered link (not the one underneath!)

6. wait and right click the link that says Download MP4 then

7. select “save link as”, this will take you to a popup on your computer to save the MP4 wherever you select to save it.

8. Click save in the bottom right and you are done! To play this file just click on the file and your media program will play it without needing to go on the internet.