This is an interesting question.

A little research produced some interesting results. Until two years ago, ESPN broadcast the Indian Wells Tennis Tournament, also known as the PNB Paribas Open, a Masters 1000 level pro tennis ATP and WTP event. This event, located in Indian Wells, California, is perhaps the united state’s most prestigious tennis tournament, aside from the US Open, located in Flushing Meadows. This year’s March, 2009 event has produced some great match-ups and matches. We’ve seen Rafael Nadal finally solve David Nalbandian, Andy Murray get pushed by Ivan Lujbicic, Andy Roddick defeat Novak Djokovic (again), Roger Federer take out Gonzalez and Verdasco, with more exciting matches to come in the men’s semifinals and finals play on Saturday and Sunday.

The semifinals are Roddick/Nadal and Murray/Federer. Can you think of a two more interesting matches? Roddick against Nadal on a fast hard-court? A re-mtach of the US Open (which has not gone Federer’s way since)? This sounds like great tv, at least for tennis fans.

The recent TV broadcast history of this event has ESPN carrying it until last year it was picked up by FSN, otherwise known as Fox Sports Net (USA). And here the problem begins. Although You can access a schedule off of the website for the tournament, this schedule is highly misleading. According to this schedule, if you get FSN you get to see everything live from Round 3 forward. However, note the asterisk that states: Check your local listings. These are subject to change.

So here is the truth: you will NOT see the men’s singles semifinals or finals or (both) live on FSN or any other television station for that matter if you live in the following cities or (in some cases) states: Minnesota (statewide), Wisconsin(statewide), New York (statewide), Denver, Boston, Florida, Atlanta, Houston, Detroit, Pittsburgh, Washington, Baltimore, Atlanta, Miami, and Dallas.

And, since FSN networks choose locally, whether to broadcast these events, sometimes even the scheduled broadcasts are not taking place. Saying there is tennis on FSN is a little like predicting the weather, apparently. Except don’t expect any sunny days in Indian Wells for this weekend if you live anywhere that cares more about, oh, basketball and hockey? And don’t worry, FSN investors, your money wasn’t wasted. They’re watching live tennis wherever the local viewers want to see it, and there is no real FSN to be angry at anyway, just a collection of little local television stations. If I told you that this was owned by microsoft would it surprise you?

Then I download yet another PDF to see the actual broadcast times in my region. To my dismay, most of the broadcasts in my region (FSN North) are delayed. For instance, the Sunday final is supposed to be shown Monday -- in the middle of the night-- from 2:00 am to 6:00 am. And as for the warning that the local listings are subject to change -- that I have already noticed. According to comcast, the channel is simply opting not to show some of the tennis programming it has submitted for the cable station to list, or the tennis programming comes in late, or leaves early. From what I can determine, FSN is actually a group of essentially separate television stations with very little overlapping programming. Imagine a coalition of local porgramming stations (and hence a “network” in its most divergent sense. This “network” has bought the rights to the Paribas Open, but it is up to each independent station what part (if any) and when (live or delayed) to show it.


The truth: Here is Fox Sport Network’s actual broadcast schedule for the PNP Paribas Open at Indian Wells Tennis Tournament:

foxsports09 tennis schedule

Where can I purchase Liebenzeller Gold I rosin?

New Larica Rosin (Liebenzeller Formula)

UPDATE: 01/28/11
Liebenzeller is back! Now under a new name, Larica. The company states that they use the same manufacturing process and materials as the original Liebenzeller. Indeed, after sampling the new product, I think they have indeed brought this rosin back to life.
There have been some issues keeping the product in stock, and, as was the case with the original Liebenzeller, the price is high (around $50.00 per cake). However, it is excellent rosin and I'm very glad to see it back.

Original Post

Original Liebenzeller Rosin

Liebenzeller rosin has been around a long time. In fact, I still have a cake of it from the 1980s, and, when I found out it was going to be discontinued, I bought several more cakes of the gold I and gold II from a local violin shop. From what I understand, it is unlikely that this rosin will be available again, unless it is produced and sold by a different company. Although it may be possible to find Gold II, I do believe that Gold I may be nearly impossible to find. I did a thorough search of shops with an Internet presence both in the United States and abroad, as well as looking on ebay and craigslist, and I couldn’t come up with anything. A couple of stores that still sold it about a year ago (one in Australia and one in England) are now out of stock too.

But not every shop advertises its products on the internet, and I suspect that if you called a few string shops that don’t have a strong internet presence for selling accessories (such as Moenning in Philadelphia, Reuning in Boston, Claire Givens in Minneapolis, or John Waddle in St. Paul) you might find that somebody still has some supply left.

However, many different brands of rosin have come out since Liebenzeller first appeared on the market that are, in my opinion, just as good; and some (such as Andrea Paganinni) have qualities similar to the refined nature of the Liebenzeller. I’d highly recommend looking into these options for fine and light (rather than coarse and dark) rosins that you might like just as much or even better. In my experience, Liebenzeller Gold I has a tendency to apply rather lightly and come off quickly. Because of this, even within a rehearsal or performance, one might feel that the bow already needs more rosin. I hope you are able to locate some of the Gold I, but, in any event, I do think there are a lot of other good options available to you.

How can I use songs to learn intervals?

It is very important to learn to “hear” intervals. Why? Because intervals are the building blocks of music. The distance between each and every note on the page and the next is called an interval. And each interval has its own unique sound.

Learning to recognize intervals is of critical importance on the violin for any musician looking to develop their relative pitch. It allows the violinist to tune the violin properly (as there is a fifth between each open string that the player must learn to recognize).

Also, it assists in intonation by allowing the player to compare a pitch to an open string or an unfamiliar high note to a familiar note in first position. For instance, a first finger A-natural in first position on the G string forms a perfect fourth with the open D above. Similarly, the E-natural first finger on the D string in first position forms a perfect fourth with the open A string above. Knowing this helps the violinist know exactly where the finger should be placed. Of course, key to this process is that the violin must be in tune with itself.

For some, learning to associate intervals with the first couple of notes of a song they know well can help with learning intervals. For instance, many people can hum “Here comes the Bride” but it can be useful to know that the first two notes form an ascending perfect fourth. A good goal for a violinist is to apply this knowledge to playing with good intonation in every position through comparing notes to open string, or to other notes elsewhere on the instrument.






Songs

minor second (half-step) M2 minor 2nd
Ascending
Jaws
What's New?
Nice Work if you can get it
San Francisco (Left my heart)
I Remember You
I'm Getting Sentimental over You
Bye Bye Black Bird
Stormy Weather
It's Been a Hard Day's Night (Beatles)

Descending
O Little Town of Bethlehem
Joy to the World
The Theme (M. Davis)
Sophisticated Lady
Stella by Starlight
The Lady is a Tramp
Solar (M. Davis)
Shall We Dance (The King and I)
Fur Elise
Hernando's Hideaway

Major Second (whole-step) M2 Major 2nd
Ascending
Happy Birthday
Rudolf the Red Nosed Reindeer
Silent Night
There Will Never be Another You
Tennessee Waltz
My Funny Valentine
Body and Soul
They Say, Ruby
Frere Jacques
Doe, a Deer (Sound of Music)

Descending
Mary had a Little Lamb
Deck the Halls
Away in a Manger
Yesterday (Beatles)
On the Sunny Side of the Street
Freddie Freeloader
Three Blind Mice
Whistle While You Work
Mary Had a Little Lamb
M.A.S.H.
Blue Moon
Satin Doll
Tune Up
My Girl
The First Noel

minor third (m3, minor 3rd)
Ascending
Work Song
Confirmation
Georgia on my Mind
A Foggy Day
Moontrane
The Impossible Dream
Somewhere my Love
O Canada
Oh Where, Oh Where has my Little dog Gone?
Brahm's Lullaby
Greensleeves
So Long, Farewell (Sound of Music)

Descending
Frosty the Snowman
What is This Thing Called Love?
500 Miles High (C. Corea)
Misty
When Irish Eyes are Smiling
Hey Jude
Peter Gunn
You're a Grand Old Flag
This Old Man
Jesus Loves Me
Star Spangled Banner

Major Third (M3, Major 3rd)
Ascending
Oh When the Saints
I Can't Get Started
Kum Ba Yah
While Shepherds Watched
Sweet Hour of Prayer
Well I Come From Alabama
From the Halls of Montezuma
{Big Ben Sounding the Hour?}

Descending
Beethoven's Fifth
Swing Low Sweet Chariot
Good Night Ladies
Summertime
Giant Steps
Come Rain or Come Shine
Bessie's Blues

Perfect Fourth (P4, perfect 4th)
Ascending
Here Comes the Bride
Hark the Herald Angels Sing
Oh Christmas Tree
Doxy
'Round Midnight
Maiden Voyage
We Wish You a Merry Christmas
All the Things
Ornithology
Song for my Father
Love me Tender
Auld Lang Syne
Aura Lee
The British Grenadiers
Amazing Grace
Someday my Prince Will Come
Day is Done (Taps)

Descending
Shave and a Haircut
Oh Come All Ye Faithful
Valse Hot (Not Intro!)
Yardbird Suite
Softly, as in a Morning Sunrise
I Didn't Know What Time it Was
Almighty Fortress is Our God
Baseball Chant
Bizet's "L'Arsienne"
Make New Friends
Bizet's Farandole
Born Free
I've Been Working on the Railroad

Tritone (augmented fourth (4th) diminished fifth (5th)
Ascending
Maria (West Side Story)
The Simpsons

Descending
Blue Seven (Sonny Rollins)
European Siren

Perfect fifth (P5, perfect 5th)
Ascending
Twinkle, Twinkle
Theme from 2001
Whisper Not (Benny Golson)
Theme From Peanuts
Bags Groove
Lavender's Blue
Hey There Georgy Girl
Blackbird (Beatles)

Descending
Feelings
7 Steps to Heaven (M. Davis)
Have You Met Miss Jones?
The Way You Look Tonight
Mozart's Minuet in G
Flintstones
Bring a Torch Jeannette Isabella

minor sixth (m6, minor sixth)
Ascending
Love Story (third and fourth notes)
The Entertainer
Morning of the Carnival
Go Down Moses
The Entertainer (third and fourth notes)

Descending
Nobody Knows the Trouble I've Seen
Love Story Theme
Please Don't Talk About me When I'm Gone
You're Everything (C. Corea)

Major Sixth (M6, major 6th)
Ascending
My Bonnie Lies Over the Ocean
Theme from "The Sting"
NBC
Dashing Through the Snow

Descending
You're a Weaver of Dreams
Nobody Knows the Troubles I've Seen
O-ver There
Gonna Lay Down My Sword and Shield

minor seventh (m7, minor seventh)
Ascending
There's a Place for Us (West Side Story)
Old Star Trek Theme
Have You Driven a Ford?
Somewhere (West Side Story)
I'll Close My Eyes

Descending
Watermelon Man (H. Hancock)
Theme from American in Paris
Little Red's Fantasy (Woody Shaw)

Major Seventh (M7, Major Seventh)
Ascending
Cast Your Fate to the Wind
Ceora
Theme from Fantasy Island
Superman
Bali Hai (South Pacific)

Descending
I Love You
"Hee Haw" From the Grand Canyon Suite

Perfect Octave (P8, Perfect 8th)
Ascending
Somewhere Over the Rainbow
A Christmas Song (Chestnuts Roasting)
Let it Snow!
McDonald's Commercial (?)
Del Sasser
Blue Bossa
Descending
There's No Business Like Show Business (Notes 2-3)
Willow Weep for Me
I Love You (The Other One)

A Review of Microphones for Recording Violin

Introduction: I have tried a lot of microphones in search of the one that best reproduces the natural violin sound. This is difficult, because most mics distort the sound in some way by spiking certain frequencies and reducing others.  For classical music, the goal is usually to reproduce the sound as accurately as possible. (Especially since attempts to process the sound later are rarely rewarding.)  Since mics with a "flat" frequency response are also the most accurate, these seem to work best for recording classical violin.

And, for classical music, small diaphragm condenser mics seem to work best because they offer fast transient response, which is also crucial to accurate sound reproduction.

Several condenser mics seem to stand out from the crowd:

Neumann KM-140

Either of the Neumann KM-140 or KM-184 works well and is the choice of many recording studios for strings.  These Neumanns are perhaps the standard to which other mics for recording violin can be compared.

Neumann KM-140 costs about $1,300
Neumann KM-184 costs about $1,600

Neumann KM-84

The KM-84, an older version of the KM-184, is also an excellent mic. It is a little darker than the 184.

Unfortunately, the KM-84 is a bit noisy.  Still, there are many studios who swear by them.

Schoeps CMC5 

Schoeps CMC5 Body with MK4 Capsule



Another wonderful choice is the Schoeps CMC5 body with an MK4 capsule, which has a very flat frequency response and transparent sound.  The Schoeps seems to have a little less treble than the Neumanns. This is because the Neumanns have a small treble spike and are not quite as flat as the Schoeps in frequency response.

Each Schoeps MK4 costs about $1,700 (and you need a pair!)
 

AMT 404

AMT 404

On the less expensive end, AMT (Applied Microphone Technology) recently released condenser studio mics  (AMT 404, set of 2) that have a very flat frequency response and are great for the home studio. They are also much cheaper than competing options (around $240 for the pair!).  

Royer R-121

Royer R-121

Although they are frequently recommended for recording acoustic violin, I have NOT been happy with ribbon mics, such as the Royer R-121.  To my taste, these mics lose a lot of the character of the violin and makes the sound seem one-dimensional.  They cut off a lot of the high-end.  (This may seem good when comparing the Royer to a cheap condenser mic, which can make the violin sound overly bright and harsh.)  Royers really are best for acoustic guitar, electric guitar, and brass.

AKG c451E

AKG c451E

Another frequently recommended mic, the AKG c451E, sounds very harsh to my ear and has heavy treble emphasis. This mic is really best for percussion and acoustic guitar.






 

Apogee Duet

Audio Interface: Don't forget that your choice of audio interface is also very important.  If you have a mac, you will need one that supplies phantom power (48 volts to power the mics).  For the mac user, the Apogee Duet with phantom power is a great option for around $500.  There is really no competition for the duet in that price range.  Because it has only two inputs, the duet is cheaper than other, similar models with multiple inputs that can cost over $2000.



 

Mic Placement: Also, your choice of mic placement and number of mics is important.  Recording in stereo is crucial to the classical sound, and, for the best results, mics are usually placed at least three feet from the violin and often overhead.  One mic might be used to capture the violin more closely, and the other to capture the "room," which can add body and reverb to the sound.  Experimentation is often the best way to find optimal mic placement.

The "room" is also very important.  Small diaphragm condenser mics are very sensitive, and will pick up virtually every sound in the vicinity, even the hum from your refrigerator.  So try to make the room as quiet as you can (even if you have to unplug that refrigerator!).  A big room is usually better than a small one. (small rooms can make the sound seem muddy or poorly defined).  High ceilings are usually good.  Breaking up parallel walls helps minimize echoes and reflections.  Furnished rooms can do the same.  Hardwood floors are very good for the sound.

And if all else fails, there is always the recording studio.....

I would like to play in an adult community orchestra. Who should I contact?

Why play in a community Orchestra? For adults, community orchestra is a good way to put all that practicing to work by allowing you to participate in a fun, social activity. Minnesota has an absolute plethora of adult community orchestras, many of which have been around a long time and have rich histories and ties to the community. Meet in a fun, supportive environment, perform in concerts attended by the public, participate in rehearsals led by very capable and sometimes phenomenal conductors, and play exciting repetoire. How to choose one among so many? You might try calling a few of the conductors and see if their program is a good match for you.

Twin Cities Orchestras for Adults. (Name, Conductor, and Phone Number, if Available).
Please submit updates to this list using my contact form.

Adult Community Orchestras

Abendmusik, Bill Kempe, 612-457-0476
Allegro Sinfonia, William Stuber 612-707-8144
Bloomington Symphony, Akira Mori
Century College Orchestra, Elliot Wilcox, 651-696-6189
Chapel Strings, William Stuber, 612-707-8144
Minneapolis Civic, Cary John Franklin, 612-332-4842
St. Paul Civic, Ed Forner, 651-696-6189
Colonial Church of Edina, Steve Ramsey, 612-827-0657
Dakota Valley Chamber, Steve Ramsey, 612-827-0657
First Unnitarian Society, Gabriel Diaz-Alatriste, 612-377-6608
Golden Valley. Tom Schneller
Health Sciences Orchestra, Jim Riccardo, 651-722-8474
Imp Ork, no conductor
Inver Grove Heights
JCC (St. Paul) Joseph Schlefke, 651-698-0751
Kenwood, Jeff Stirling 651-850-5207
Linden Hills, Jeff Stirling, 651-850-5207
Metropolitan Civic, William Schrickel, 612-871-7605
Minnesota Philharmonic
Minnetonak Civic, Jon
Minnetonak Symphony, Roger Hoel, 952-935-4615
Mississipi Valley, Ed Shlueter, 651-722-7867
Northeast Chamber (Fridley), Jeff Stirling, 651-850-5207
Roseville String Ensemble, Jim Haines, 651-633-0453
St. Anthony, Carol Jensen, 612-788-3516
St. Croix Valley
St. Marks, John Nygaard, 651-688-0250
Southeast Chamber Ensemble
3 M Club, Elizabeth Barnes, 612-699-5375
The Cities Orchestra, Larry Reynolds
Woodbury Orchestra, Garret Lamain, 612-890-6608

Can you help me identify my loose viola strings?

The following string identification chart is for viola players! Now you too can iID those loose strings!

Viola String Identifier

List of Strings Identified in the following chart (in soft, medium and strong):
Corelli Alliance
Corelli Crystal
Kaplan Golden Spiral Solo
D’Addario Helicore
D’Addario Pro-Arte
D’Addario Zyex
Pirastro Aricore
Pirastro Chorda
Pirastro Chromcor
Pirastro Chromcor Plus
Pirastro Eudoxa
Pirastro Eudoxa-Oliv
Pirastro Eudoxa-Aricore
Evah Pirazzi
Pirastro Flexicor
Pirastro Gold
Pirastro Obliato
Pirastro Oliv
Pirastro Piranito
Pirastro Permanent
Pirastro Synoxa
Pirastro Tonica
Prim
Prim Synthetic Core
Thomastik Dominant
Thomastik Precision
Thomastik Spiracore
Thomastik Superflexible
Jargar
Jargar Silver Sound
Larsen

Which rosin brand is the best?

First, what is rosin, and how does it work?
Rosin is a resin collected from one of about a hundred different types of pine tree throughout Europe, Asia, North America, and New Zealand. Rosin comes from from living trees by tapping -- just like maple syrup. After the resin is collected, it is sometimes mixed with other tree saps from different species of trees to create a unique formula. This formula is then purified by straining and heating it in large vats until the resins are completely melted. Once cooked, the concoction is poured into molds. After the mixture sets, the rosin is polished and placed in cloth or another type of housing. The color of rosin is determined by when in the year it is collected. If the resin is tapped in late winter or early spring, it will be gold or amber in color and hard when set up. As the seasons change to summer and fall, the color of the resin darkens and the consistency softens. Rosin works by keeping the bow hair stuck to the string. The bow pulls the string in the direction of the bow motion until the adhesion breaks. Then, the string snaps to its original position and vibrates, to create sound.

So, Rosin. So many brands to choose from. But how do we evaluate which one sounds the best? This is a very difficult question to answer, because players have different preferences for how their rosin functions, and what sound or feel they are looking to derive from it. But one thing is very clear: cheap rosin (usually in the rectangular shape inside a wood housing and costing a couple of dollars) is NOT a good choice for any player, except for perhaps a beginner. Why? Because this rosin tends to stick to the strings like glue and feel and sound grainy.

But one thing is very clear: cheap rosin (usually in the rectangular shape inside a wood housing and costing a couple of dollars) is NOT a good choice for any player, except for perhaps a beginner. Why? Because this rosin tends to stick to the strings like glue and feel and sound grainy.

For some reason, most of the finer rosin is circular and often encased in cloth. When it is darker, it tends to be stickier. When lighter, it tends to glide more over the instrument. If you are a player who likes to “dig in,” or you have a violin that responds well to pressure, a dark rosin may be your choice. You might even opt for cello rosine (such as the Hidersine), for its extra grab.

For those of you who like the feel of a lighter, smoother rosin (or you tend to under-rosin your bow to avoid the feel of excessive grain, grit, or stick, a lighter rosin might be your choice. Often, some of the finest rosin brands will offer different formulations to suit the tastes of both those who prefer a darker rosin and those who tend to opt for the lighter versions.

Below is a list of rosins and descriptions. Although you may find this list helpful, experimentation and trying different brands is the best way to choose your preferred rosin.

One top choice of the pros is Andrea Rosin (formerly Tartini Rosin). This Rosin is relatively expensive (around $30.00) and comes in several varieties from the lightest version (termed “Paganinni”) to the darkest, which is designed for cello but often used by violinists searching for that rich, dark sound.



Pirastro (of string-making fame) sells a large line of rosins, largely named after its string brand. There is Pirastro Gold, tonica, Eudoxa, and Oliv, among others. How much difference there is between these is questionable but they are an affordable alternative to “the block” cheap rosiin at around $10.00

Jade Rosin is another popular and reasonably-priced option that seems to work well for a wide variety of bows and players. It is considered to produce a smooth yet firm grip.

Liebenzeller rosin is a particular favorite of mine. In fact, I have carried this rosin around for almost 20 years. Unfortunately, it is temporarily discontinued, but if you can find yourself this rosin, you will find that it comes infused with various metals from gold to nickel to copper, that lend the rosin different characteristics and grips.

In the end, most of the rosins priced above $8.00 or so are reasonable choices, and the biggest factor as to which one you prefer is whether you want more grip and grit (softer, darker rosin) or a lighter and smoother feel (lighter, harder, rosin). You might even be surprised at which option you prefer in the end -- after all, your particular bow and violin may have preferences of their own!