In the last game of the season, JSI lost to Dunn Gaherin’s 16-14 despite an incredible 8 run comeback in the final inning. It all began when a representative from Dunn Gaherin’s, an Irish bar across from us on Elliot Street, walked over to challenge us to a game of softball back in July. While we lost to their more established team, we have been giving them a run for their money the past two games with the help of some extra batting practice.
Check out photos from the games below, and be sure to visit our neighbors and softball rivals Dunn Gaherin’s for great food, drinks, and fun!
Johnson String in the field while Dunn Gaherin’s bats during Game 3.
Someone thought our warm ups were an elaborate game of fetch.
Luckily that someone was also very friendly.
Getting a quick batting practice in before the game.
Luthier Colin Skofield at bat.
The two teams celebrating a great Game 1 at Dunn-Gaherin’s. Photo credit: Dunn-Gaherin’s
Every student’s worse nightmare: Bach judging your district audition.
Auditions got you worried? Not sure how to prepare? We’ve got you covered! Many of us at Johnson String Instrument have gone through auditions so we’ve been there. We asked our staff to share their tips and tricks to help you do the best that you can. They had some great advice:
1. Relax! Breathe! Try not to get too worked up about it. Every musician (even the judges!) has had to go through auditions, and everyone knows it’s a nerve-wracking experience.
2. Scales! Practice scales! More scales and arpeggios! I missed out on senior districts by bombing the scales because of a combination of nerves and not practicing enough. Get the format down, make them second nature, and that will help you not only with scales but also with sight-reading.
-Alex Wagner, Product and Inventory Specialist, violinist
1. Be sure to listen to the entire piece. The audition committee can tell if you are hearing how your part interacts with the rest of the ensemble. Hearing the piece as a whole rather than just your part is the difference between a good instrumentalist and a good musician.
2. Perform your audition rep for as many people as possible before the audition. I know it can feel awkward or embarrassing but that’s the point! Better to get all the jitters out in front of friends/family than the audition committee.
-Sara Wilkins, Customer Service Representative, cellist
My biggest piece of advice would be not to practice for several hours on the day of an audition. The truth is that your repertoire is as good as it’s going to get that day. A great alternative to playing through the music over and over is to come up with a ritual that helps you feel calm and focused. A couple methods I’ve used are to play a scale (slowly) with all of its arpeggios or to eat a piece of my favorite chocolate while I warm up.
1. Be able to play excerpts in any order presented. Be able to switch from fast and technical to slow and calm.
2. Play for non-string players. If you have rhythm issues play for drummers. Excerpts that have tricky shifts or string crossings, play for flute or other wind players; they are less forgiving about string player-specific issues.
3. Tape and film yourself to look for areas that need improvement.
4. Be ready at least a week before the audition, and relax.
-Jon Crumrine, Bow Maker, violist
Set a box of doughnuts (or preferred favorite treats) in the corner of the audition room. Whenever you get nervous, look at them & feel relieved 🙂
Then treat yourself afterwards!
-Amy Nolan, Store Manager, cellist
1. Get plenty of sleep.
2. Eat well.
3. Live healthily.
4. Play your audition for anybody who will listen, especially if they might have some constructive advice.
5. Read all of these books by Don Greene, and practice the techniques found therein with diligence and devotion.
-Phil Rush, Sales Consultant, violist
Still need to purchase your music for districts? Stop into our store or visit our website, and good luck to all auditioning in the coming months!
Choosing strings for your instrument is a personal and complicated process. With so many options available on the market, it can be difficult to know where to start. Luckily, we are here to help!
Here are some important factors to keep in mind:
What style of playing do you do? What works for a classical player may not work for a jazz musician or fiddler and vice versa. Different genres call for different types of sound, which can be achieved with different kinds of strings.
How do you characterize your instrument’s sound? Strings have the ability to enhance or stifle the particular qualities of your instrument. In order for them to help rather than hinder, know how to characterize your instrument’s sound. Is it dark or bright? Mellow or piercing? This knowledge will help you work with your instrument rather than against it.
What are you looking for? Do you want to brighten the sound? Tone down the power? Speed up response? Slow it down? Knowing what you are looking for helps make sure your strings accommodate your needs.
There are three basic types of strings: gut, steel core, and synthetic core. Keep in mind that the majority of players today use steel or synthetic core strings. The basic differences are:
Warm, complex sound
Softer under the fingers
Long settling period
Shorter playable life
Sensitive to changes in climate
Stable tuning, settle quickly
Direct and cutting sound
Thinner sounding than gut or synthetic
Warmer than steel core strings
Stable tuning and settle quickly
More subtle tonal colors than steel
Most widely-used type of string today
Similar tonal qualities to gut
**Keep in mind these are generalizations. Each type of string will perform differently for different instruments, and the varying qualities of each will appeal to some and push away others**
Experimenting with strings involves trial and error. Now through October 9th, Thomastik is having their back-to-school sale on select string sets and bundles for all instruments, making this a better time than ever to try something new with your strings. As always, our string prices are up to 55% below list price.
For more detailed information about the different kinds of strings we offer and their differences, please visit our website.
If you are a violinist, you have probably been asked this question at some point during your musical career:
Can you play viola?
For some, the answer is a resounding “NO.” For others, this question leads to them taking on the viola as a secondary or primary instrument. This can happen at any point, but many students are asked around middle or high school in an effort to even out the sections in school programs. Since the violin is more well-known and recognizable, many students or families initially choose it over the unknown viola. Whenever or whatever reason the switch is happening, here are some important things keep in mind:
Be careful when choosing a viola size.
The viola is unique in that there is no “full size,” unlike other string instruments. The viola began as two separate instruments: alto viola and tenor viola. Technically, in order to achieve an ideal tone the viola should be much longer than it is now–upwards of 19 inches. That length would make it impossible to play. The tenor viola was the closest solution to this issue; however it was still so long that unless you had very long arms and fingers, it was too painful to play for an extended period of time. Modern violas fall closer to the size of the alto violas, with makers striving to recreate the sound found in the tenor violas of the past.
Today, the viola typically ranges in size from 15” to 17”, with most players falling between the 15.5”-16.5” range. Some 14” violas do exist (the same length as a full-size violin), but they do not have the same sound quality/depth. For new players, your best course of action would be to start by trying a 15-15.5” instrument and adjusting up or down from there. You do not want to feel like you are straining to play. It will feel larger, but should still be comfortable.
Learn to read or transpose the clef.
This may seem obvious, but it can be easy to rely on your ears to tell you exactly what you should be playing, especially if you are working on familiar repertoire. Violists primarily read alto clef and it is one of the only instruments that does so. It lies between treble and bass, with the middle line being middle C. This accommodates the instrument’s range well. Like learning another language, practice and immersing yourself will help you learn faster and more completely. Your treble clef skills will still come in handy, as viola music sometimes switches between the two. There are books that can help you make the transition into reading alto clef, which can be found on our website.
Your position will need to change.
It may look like a violin. It may still be held on your shoulder. It may even feel the same.
Keep in mind that violas and their bows are heavier than violins and this will change how you support the instrument. Your arms will be more extended and the finger-spacing of your left hand will be more spread out, which will necessitate changes in your overall position and posture to prevent tension. The best way to discover what you will need to change is:
Find a teacher who plays viola.
Find a teacher who really plays and works as a violist. Even with only one or two lessons, they can be an invaluable asset in finding a position without tension. Many violists are former violinists and will be able to help you with the transition.
Keep your eye on the Johnson String Instrument blog for more posts, and don’t forget to follow us on Facebook and Twitter!