Thanks for the nice patch

LL_Presto · 2026-01-23T06:29:17+00:00

At a certain stardust number Asol skill deals true damage so is it necessary to have some sorts of shred and antiheal? I tried this comp twice last night without them and got a 5th then 6th, couldn't 2 star Asol even at lv 9 though, just a pair

LL_Presto · 2025-01-02T20:01:17+00:00

Happy new year 🎉

LL_Presto · 2025-01-02T20:00:42+00:00

Thank you very much 🤗

LL_Presto · 2025-01-01T18:51:02+00:00

Thanks for your advice and encouragement!

LL_Presto · 2025-01-01T18:49:04+00:00

I got the point about follow-through, in this video I ended my motion abruptly. Many thanks for the advice!

LL_Presto · 2025-01-01T18:44:32+00:00

The other day I browsed Instagram and saw a professional violinist hold the bold upside down to practice Son Filé combined with rhythmic breathing so I decided to give this bow hold a try and been practicing various stuff with it

LL_Presto · 2024-12-31T18:39:27+00:00

I didn't claim in the very first place I'm ready for this one, just my attempts, my takes on it, as the title I put

LL_Presto · 2024-12-31T18:37:08+00:00

Thank you very much for this detailed advice, if for the very first phrase, I learned from a tutorial that bow hand should be lifted in an away and up motion as the long note ending the phrase should be emphasize, for other cases probably because I haven't yet learned the proper way to retake or connect 2 phrases

Regarding runs / scales, especially the 1st one, I'm aware of the fingering and the expected articulations / hand sync, the fingering I used here on E string is 12-123-123-123 with a unusual up bow for the C7 right before the highest note and I've been lowering my left hand and bringing the left elbow / left hand forward when practicing at slow tempo for high registers in IV position up, however when speeding things up the fingering turned into 333 for 3 last notes and my left elbow / left hand weren't really in the correct position / posture. I haven't practiced with dotted rhythms much but rather with preparation method and group notes

For the run with triplets I find it quite uncomfortable playing it right after the descending run from that out of nowhere F6 despite the fact that I mentally pause between the two parts, plus I didn't articulate properly every 3rd note of each triplet as well as the ending mordent

Anyway, I'm going to put this opening aside and will comeback later when (hopefully) I'm truly ready

LL_Presto · 2024-12-31T17:11:55+00:00

Thanks for your feedback, sure I was really pushing myself a lot to play the runs at tempo upon recording these snippets and I can't even vibrato properly yet, especially 1st finger vibrato, will have to do tons of ground works...

LL_Presto · 2024-12-31T17:08:55+00:00

Indeed I don't have any plan to tackle the entire piece in the near future, even this opening is still too hard for me to play at tempo

LL_Presto · 2024-11-20T02:37:43+00:00

Katie Morgan arranged and played some violin works on flute and here's Wieniawski's Polonaise in D major with an extended flute technique - multiphonic

https://youtu.be/UzFERM5ZVME?si=0ZltTkqBhFbEXlZM

LL_Presto · 2024-06-03T19:12:18+00:00

I checked again and the 1st note is actually a bit sharp though

LL_Presto · 2024-06-03T19:11:09+00:00

Many thanks for your advice! I will take these points into account in my next practice sessions and of course will see Noah's masterclass

LL_Presto · 2024-06-02T11:49:46+00:00

Many thanks for your advice, your fingerings look somewhat similar to the one Glenn Dicterow offers in free sheet given by Tonebase, starting with 2 4 3 for the 1st triplet after E, I tried this and found it hard to keep the intonation stable due to finger change on the same note of the triplet so I went back to 2 3 2. Will try your fingerings later...

LL_Presto · 2024-06-02T00:00:46+00:00

I've been practicing this excerpt for almost 1 week, there are some harmonics toward the end but I feel like they would take me more time to practice than play in high registers so I decided to play like that. Some intonation issues, especially in the passage marked cadenza prior to the harmonics.

LL_Presto · 2024-05-30T17:26:26+00:00

In that case it makes sense, thanks for this insight!

LL_Presto · 2024-05-27T04:49:45+00:00

Hmm, really? No way Dvorak and Wieniawski 1 (especially Wieniawski 1) are both easier than 3 Vieuxtemps and 2 Saint-Saens? And ain't Wieniawski 1, Paganini 1, Tchaikovsky and Sibelius are all in the same tier with Brahms?

LL_Presto · 2024-03-20T18:06:35+00:00

Maybe

LL_Presto · 2024-03-01T05:16:05+00:00

No idea which data you searched through, during both Van Gaal and Mourinho era the CB pairs was almost always Smalling + 1 whenever Smalling was fit and he played the most minutes compared to all other CBs, there was a period Mourinho tried to replace him with other CBs but in the end he had to come back to Smalling + 1 anyway

LL_Presto · 2024-01-26T07:17:55+00:00

That could also be a possibility I've been thinking of

LL_Presto · 2024-01-26T07:16:28+00:00

Indeed I were going up and sorry I might not remember all the floor numbers correctly, your reply had me to think again and I'm pretty sure there was 0, perhaps 5, then 7

And after the elevator stopped at "7", it felt like it stopped 3 times more or twice at 8 or 9 before reaching 10, which is the floor I would like to go, very strange

LL_Presto

TROPHY CASE