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𝐓𝐜𝐡𝐚𝐢𝐤𝐨𝐯𝐬𝐤𝐲 𝐕𝐢𝐨𝐥𝐢𝐧 𝐂𝐨𝐧𝐜𝐞𝐫𝐭𝐨 𝐢𝐧 𝐃 𝐌𝐚𝐣𝐨𝐫, 𝐎𝐩. 𝟑𝟓 Written in 1878, Tchaikovsky's Violin Concerto is one of the greatest works ever written for the instrument. But did you know that the most important music critic at the time, Eduard Hanslick, described it as “music that stinks to the ear”?... The concerto was dedicated to the great violinist Leopold Auer, who proclaimed the piece as “unplayable” due to its difficulty and refused to perform it. The premier performance didn’t happen until two years later, when violinist Adolph Brodsky proved Auer wrong by performing the concerto. The work has since become one of the best-loved staples of the violin repertoire. Enjoy this lyrical masterpiece, performed by Catherine Zhang and Shen Yun Symphony Orchestra, on Shen Yunshow more

🦋 🌷Love Music 🎶 & Dance 💃🏻🕺🏻

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79,457 Aufrufe • vor 1 Jahr •via X (Twitter)

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Profilbild von Love Music 🎶 & Dance 💃🕺

Love Music 🎶 & Dance 💃🕺vor 1 Jahr

It's here! Unveil the trailer for Shen Yun all-new 2025 performances. Mark your calendars and book your tickets now: Watch More:

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Solar Heavyvor 1 Jahr

Instrumental Music is the best

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JBNWvor 1 Jahr

A favorite - and I still like the early review which said the "violin was beaten black and blue."

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Ausente.vor 1 Jahr

My sweet Piotr Illich.

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zozovor 1 Jahr

🎶❤️🎶

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This might be the most beautiful music ever written. This passage feels angelic—every time I hear it, it makes me want to cry. ❤️🎶✨ ✨𝐁𝐚𝐜𝐡: 𝐁𝐫𝐚𝐧𝐝𝐞𝐧𝐛𝐮𝐫𝐠 𝐂𝐨𝐧𝐜𝐞𝐫𝐭𝐨 𝐍𝐨. 𝟑 𝐢𝐧 𝐆 𝐌𝐚𝐣𝐨𝐫 𝐁𝐖𝐕 𝟏𝟎𝟒𝟖 ℹ️ Compiled in 1721, and presented to the Margrave of Brandenburg-Schwedt in Berlin, the six Brandenburg Concertos were written for a diverse, demanding and sometimes daring combination of instruments and represent some of the most jubilant and joyful music of the 18th century. Not discovered until 100 years after Bach’s death, the works are now widely regarded as masterpieces in Western music and human civilisation, so much so that in 1977, the second concerto was sent into space on the Voyager Golden Record as a supreme example of human achievement.

This might be the most beautiful music ever written. This passage feels angelic—every time I hear it, it makes me want to cry. ❤️🎶✨ ✨𝐁𝐚𝐜𝐡: 𝐁𝐫𝐚𝐧𝐝𝐞𝐧𝐛𝐮𝐫𝐠 𝐂𝐨𝐧𝐜𝐞𝐫𝐭𝐨 𝐍𝐨. 𝟑 𝐢𝐧 𝐆 𝐌𝐚𝐣𝐨𝐫 𝐁𝐖𝐕 𝟏𝟎𝟒𝟖 ℹ️ Compiled in 1721, and presented to the Margrave of Brandenburg-Schwedt in Berlin, the six Brandenburg Concertos were written for a diverse, demanding and sometimes daring combination of instruments and represent some of the most jubilant and joyful music of the 18th century. Not discovered until 100 years after Bach’s death, the works are now widely regarded as masterpieces in Western music and human civilisation, so much so that in 1977, the second concerto was sent into space on the Voyager Golden Record as a supreme example of human achievement.

🎶𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀 ✨

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I sometimes like to reflect on my work over the past few years and I love to think back to the recording process of my favourite piece of music - Elgar's cello concerto - with Sir Simon Rattle and the London Symphony Orchestra. It will always remain one of the high points of my life.

I sometimes like to reflect on my work over the past few years and I love to think back to the recording process of my favourite piece of music - Elgar's cello concerto - with Sir Simon Rattle and the London Symphony Orchestra. It will always remain one of the high points of my life.

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John Williams has spent a lifetime making great film scores but I think the best work of his career is Schindler’s List. I’m a violinist of 25 years. Itzhak Perlman is one of my heroes. Listening to Perlman perform this violin solo at a young age is something that drew me even closer to 1) the violin & 2) Cinema. This is just one of the most memorable scores in film history.

John Williams has spent a lifetime making great film scores but I think the best work of his career is Schindler’s List. I’m a violinist of 25 years. Itzhak Perlman is one of my heroes. Listening to Perlman perform this violin solo at a young age is something that drew me even closer to 1) the violin & 2) Cinema. This is just one of the most memorable scores in film history.

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I played with Elina in 2015, but never performed. I was about to, but I had an emergency: We’d just played the overture and I was called off stage and informed that my wife was in an ambulance with chest pains. When asked what I wanted to do, I said “I’m out” and ran out of the hall in my tuxedo, left my clarinets on stage. As I ran out the door the last thing I heard over the PA was the clarinet solo echoing the opening, played by my colleague on no rehearsal. “It’s gonna be ok” I thought as I sprinted for my car. Sadly my wife was not ok, passing away two days later. I always think of this when I hear the Sibelius Violin Concerto now, in a way it was the perfect piece for the occasion, the ultimate expression of loneliness. Here’s Elina playing it that same year, the music of her people. Hope her violin is ok:

I played with Elina in 2015, but never performed. I was about to, but I had an emergency: We’d just played the overture and I was called off stage and informed that my wife was in an ambulance with chest pains. When asked what I wanted to do, I said “I’m out” and ran out of the hall in my tuxedo, left my clarinets on stage. As I ran out the door the last thing I heard over the PA was the clarinet solo echoing the opening, played by my colleague on no rehearsal. “It’s gonna be ok” I thought as I sprinted for my car. Sadly my wife was not ok, passing away two days later. I always think of this when I hear the Sibelius Violin Concerto now, in a way it was the perfect piece for the occasion, the ultimate expression of loneliness. Here’s Elina playing it that same year, the music of her people. Hope her violin is ok:

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Babe I’m Gonna Leave You- Led Zeppelin- Violin Cover by Nina D Wait for the twist at the end… Wait again- how is this a violin and also the instrument I played on Eruption also a violin? Because adding extra strings and frets doesn’t change the fact that you have to be a VIOLINIST to play both of them. #ledzeppelin #babeimgonnaleaveyou #25or6to4 #chicago #cover #coversong #violin #violincover #classicrock

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Violin Concerto No. 4 in D major, K. 218 (Second Movement – Andante cantabile): When Every Voice is Allowed to be Itself The Violin Concerto No. 4 in D major, K. 218 is one of five violin concertos composed by Wolfgang Amadeus Mozart in 1775, when he was only nineteen years old. Though written in the early years of his career, the work already reveals the mature Mozartian voice: a perfect equilibrium between melodic beauty, crystalline clarity of structure, and an almost effortless art of dialogue between soloist and orchestra. The second movement, Andante cantabile, has long been regarded as one of the most exquisitely lyrical pages Mozart ever wrote for the violin. In this recording, the work is performed by the French violinist Zino Francescatti. With his pure, singing tone, refined technique, and an interpretative approach that always places the music above personal display, Francescatti proves ideally suited to Mozart’s artistic world — a realm in which beauty arises not from ostentation, but from the natural flowering of every musical line. What makes this movement truly exceptional is not merely the loveliness of its violin melodies — Mozart wrote many such melodies. Its enduring power lies in the way Mozart creates a musical universe in which no single voice needs to overpower another. The solo violin remains the central presence, yet the orchestra never degenerates into mere accompaniment. Each element retains its own character while contributing to a greater harmonious whole. To understand why this *Andante cantabile* continues to move listeners more than two centuries later, one must begin with this very relationship. The first impression is not created by the solo violin. It is the atmosphere established by the orchestra that captivates from the very opening bars. There is no grand rhetorical introduction, no imposing chords. Mozart allows the orchestra to unfold with gentle, balanced, and luminous phrases. The harmony moves with serene deliberation, the rhythm free of any sense of strain. Within a few bars, the listener is drawn into a tranquil musical space where every motion feels natural and unforced. Only once this world has been gently established does the violin enter. It does not appear as a protagonist stepping onto the stage to command attention. Rather, it emerges as a voice that already belongs to this space. Its melody flows with perfect naturalness from the orchestral texture, without any sense of opposition or conquest. The violin does not strive to rise above the orchestra; it simply continues and expands what the ensemble has already begun. Throughout the movement, Mozart sustains this delicate balance. At times the violin sings long, flowing cantilenas while the orchestra offers the simplest and most tender harmonic support. At other moments, the woodwinds engage in gentle dialogue with the soloist, adding new colours without ever interrupting the melodic line. Even in the more ornate passages, one never feels that the soloist has detached from the whole. Every flourish remains an organic part of the same musical breath. Remarkably, Mozart avoids stark contrasts in this movement. There are no explosive climaxes, no violent conflicts demanding resolution. Instead, each musical idea leads gracefully into the next, with transitions so subtle that the listener scarcely notices them. The entire movement feels like a living organism breathing — every motion connected to the next in perfect organic unity. By the close, the listener does not experience a triumphant conclusion or a dramatic release of tension. What remains is akin to the surface of a lake after the ripples have gently subsided: everything returns to its natural state of equilibrium, yet, having passed through this journey, the final serenity feels infinitely deeper and more profound. Thus, the listener’s experience gradually transforms. At first, one is captivated by the beauty of the violin itself — its crystalline tone, the exquisite smoothness of its phrasing, and the characteristic Mozartean elegance. Yet the more attentively one listens, the more the centre of perception shifts. One begins to realise that the true beauty does not reside in the violin alone. What lingers is the profound sense that every voice in the orchestra is permitted to exist according to its own nature. The violin does not dominate by overpowering the ensemble, nor does the orchestra diminish itself to serve the soloist. Each part speaks with just measure, and precisely because every element remains true to itself, the whole achieves an extraordinary harmony. At that moment, the listener ceases to hear individual instruments. What one perceives is no longer “the violin” or “the orchestra”, but the presence of a single living entity in which every constituent part is allowed to be fully itself — and it is this very authenticity that creates the work’s profound beauty. The principle revealed in this music extends far beyond the realm of art; it is one that resonates deeply in human life itself. We often suppose that for a community to be strong, its members must be alike, think alike, and act in the same manner. Yet the most enduring communities are rarely built upon such uniformity. In a family, father, mother, and children do not fulfil identical roles. Each loves in their own way, bears different responsibilities, and contributes according to their distinct abilities. It is precisely this diversity that makes the family whole. A hospital functions upon the same principle. The physician diagnoses and treats, the nurse tends to the patient, the technician performs the tests, and the support staff ensure the smooth running of the institution. No one can fully replace another, yet it is through each person’s faithful fulfilment of their own role that the entire system flourishes. Even a wise leader does not attempt to do everything himself. His true gift lies in creating an environment where each individual can realise their highest potential while working towards a common purpose. What lends lasting strength to such wholes is not uniformity, but the ability of each part to preserve its own character while contributing to a greater harmonious order. One finds this same principle throughout the natural world. A forest does not thrive through mighty trees alone. Among the great oaks stand saplings, climbing vines, wild grasses, fungi, birds, insects, and countless smaller creatures — each with its own manner of being and its own role within the ecosystem. It is this very diversity that sustains the vitality of the whole. A river is not formed merely by flowing water. It consists of the riverbed, the banks, the meanders, the silt, and the myriad living things that inhabit it. Each element retains its distinct nature, yet together they create a single, unified flow. Even the human body is constituted according to this law. The heart cannot replace the lungs, the eyes cannot perform the work of the ears, nor can the brain take the place of the hands. Each organ fulfils its own function while remaining in constant relation to the entire body, thereby sustaining life. The more closely one observes Nature, the more clearly one sees that true harmony is not achieved by making everything the same. On the contrary, it is when each element is allowed to develop according to its own essential nature that the greater whole attains balance and enduring vitality. Such is the profound truth one experiences when listening with an open heart to the Andante cantabile of Mozart’s Violin Concerto No. 4 in D major.

Violin Concerto No. 4 in D major, K. 218 (Second Movement – Andante cantabile): When Every Voice is Allowed to be Itself The Violin Concerto No. 4 in D major, K. 218 is one of five violin concertos composed by Wolfgang Amadeus Mozart in 1775, when he was only nineteen years old. Though written in the early years of his career, the work already reveals the mature Mozartian voice: a perfect equilibrium between melodic beauty, crystalline clarity of structure, and an almost effortless art of dialogue between soloist and orchestra. The second movement, Andante cantabile, has long been regarded as one of the most exquisitely lyrical pages Mozart ever wrote for the violin. In this recording, the work is performed by the French violinist Zino Francescatti. With his pure, singing tone, refined technique, and an interpretative approach that always places the music above personal display, Francescatti proves ideally suited to Mozart’s artistic world — a realm in which beauty arises not from ostentation, but from the natural flowering of every musical line. What makes this movement truly exceptional is not merely the loveliness of its violin melodies — Mozart wrote many such melodies. Its enduring power lies in the way Mozart creates a musical universe in which no single voice needs to overpower another. The solo violin remains the central presence, yet the orchestra never degenerates into mere accompaniment. Each element retains its own character while contributing to a greater harmonious whole. To understand why this Andante cantabile continues to move listeners more than two centuries later, one must begin with this very relationship. The first impression is not created by the solo violin. It is the atmosphere established by the orchestra that captivates from the very opening bars. There is no grand rhetorical introduction, no imposing chords. Mozart allows the orchestra to unfold with gentle, balanced, and luminous phrases. The harmony moves with serene deliberation, the rhythm free of any sense of strain. Within a few bars, the listener is drawn into a tranquil musical space where every motion feels natural and unforced. Only once this world has been gently established does the violin enter. It does not appear as a protagonist stepping onto the stage to command attention. Rather, it emerges as a voice that already belongs to this space. Its melody flows with perfect naturalness from the orchestral texture, without any sense of opposition or conquest. The violin does not strive to rise above the orchestra; it simply continues and expands what the ensemble has already begun. Throughout the movement, Mozart sustains this delicate balance. At times the violin sings long, flowing cantilenas while the orchestra offers the simplest and most tender harmonic support. At other moments, the woodwinds engage in gentle dialogue with the soloist, adding new colours without ever interrupting the melodic line. Even in the more ornate passages, one never feels that the soloist has detached from the whole. Every flourish remains an organic part of the same musical breath. Remarkably, Mozart avoids stark contrasts in this movement. There are no explosive climaxes, no violent conflicts demanding resolution. Instead, each musical idea leads gracefully into the next, with transitions so subtle that the listener scarcely notices them. The entire movement feels like a living organism breathing — every motion connected to the next in perfect organic unity. By the close, the listener does not experience a triumphant conclusion or a dramatic release of tension. What remains is akin to the surface of a lake after the ripples have gently subsided: everything returns to its natural state of equilibrium, yet, having passed through this journey, the final serenity feels infinitely deeper and more profound. Thus, the listener’s experience gradually transforms. At first, one is captivated by the beauty of the violin itself — its crystalline tone, the exquisite smoothness of its phrasing, and the characteristic Mozartean elegance. Yet the more attentively one listens, the more the centre of perception shifts. One begins to realise that the true beauty does not reside in the violin alone. What lingers is the profound sense that every voice in the orchestra is permitted to exist according to its own nature. The violin does not dominate by overpowering the ensemble, nor does the orchestra diminish itself to serve the soloist. Each part speaks with just measure, and precisely because every element remains true to itself, the whole achieves an extraordinary harmony. At that moment, the listener ceases to hear individual instruments. What one perceives is no longer “the violin” or “the orchestra”, but the presence of a single living entity in which every constituent part is allowed to be fully itself — and it is this very authenticity that creates the work’s profound beauty. The principle revealed in this music extends far beyond the realm of art; it is one that resonates deeply in human life itself. We often suppose that for a community to be strong, its members must be alike, think alike, and act in the same manner. Yet the most enduring communities are rarely built upon such uniformity. In a family, father, mother, and children do not fulfil identical roles. Each loves in their own way, bears different responsibilities, and contributes according to their distinct abilities. It is precisely this diversity that makes the family whole. A hospital functions upon the same principle. The physician diagnoses and treats, the nurse tends to the patient, the technician performs the tests, and the support staff ensure the smooth running of the institution. No one can fully replace another, yet it is through each person’s faithful fulfilment of their own role that the entire system flourishes. Even a wise leader does not attempt to do everything himself. His true gift lies in creating an environment where each individual can realise their highest potential while working towards a common purpose. What lends lasting strength to such wholes is not uniformity, but the ability of each part to preserve its own character while contributing to a greater harmonious order. One finds this same principle throughout the natural world. A forest does not thrive through mighty trees alone. Among the great oaks stand saplings, climbing vines, wild grasses, fungi, birds, insects, and countless smaller creatures — each with its own manner of being and its own role within the ecosystem. It is this very diversity that sustains the vitality of the whole. A river is not formed merely by flowing water. It consists of the riverbed, the banks, the meanders, the silt, and the myriad living things that inhabit it. Each element retains its distinct nature, yet together they create a single, unified flow. Even the human body is constituted according to this law. The heart cannot replace the lungs, the eyes cannot perform the work of the ears, nor can the brain take the place of the hands. Each organ fulfils its own function while remaining in constant relation to the entire body, thereby sustaining life. The more closely one observes Nature, the more clearly one sees that true harmony is not achieved by making everything the same. On the contrary, it is when each element is allowed to develop according to its own essential nature that the greater whole attains balance and enduring vitality. Such is the profound truth one experiences when listening with an open heart to the Andante cantabile of Mozart’s Violin Concerto No. 4 in D major.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

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What is the name of this instrument? Who brought it into our music in Nigeria? Who are the muscians synonymous to its usage in Nigeria?? One of the best oldies instruments that refused to leave! Still much relevant and in use!

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"Beijing sees it as an attack because Shen Yun is saying: No. Take a look at it, because that's what China was before communism." "[The CCP] understands that the major threat to their regime is not economic. It is for what they used to call the hearts and minds of people. They see that as the sort of center of gravity under which their regime could be in trouble," says investigative journalist and author Peter Schweizer Watch UNBROKEN: The Untold Story of Shen Yun

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The New York Times has started to smear Shen Yun and Falun Gong again. Before I respond directly to its latest three articles, I'd like to repost my previous show so that you have some "background" knowledge of why The New York Times went so far as to publish as many as 11 so-called "in-depth" investigative reports in just four months about a spiritual group and a performing arts troupe that the CCP hates the most. Exclusive: Father of NYT Reporter Attacking Shen Yun is Director of CCP United Front Organization

The New York Times has started to smear Shen Yun and Falun Gong again. Before I respond directly to its latest three articles, I'd like to repost my previous show so that you have some "background" knowledge of why The New York Times went so far as to publish as many as 11 so-called "in-depth" investigative reports in just four months about a spiritual group and a performing arts troupe that the CCP hates the most. Exclusive: Father of NYT Reporter Attacking Shen Yun is Director of CCP United Front Organization

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Free Lesson. Enjoy! Lesson 32: Voice Leading and the beauty of utility In this lesson we look at chords as if each note has its own melody and story. Some of the best sounding most timeless music is written with the voice leading school of thought. Within the forward momentum of a piece, the shortest and simplest way to the next chord is the most beautiful. We look at “free fallen” by Tom Petty and how you can play the entire song by just moving one finger within the first chord. Also the harmonics of “California Girls.” Then we look at the pompous and regal sound of waste and vanity in the brilliant piece “Dance of the Knights” by Prokfiev (1935). Enjoy! And thanks for sticking with the lessons! It’s worth it in the long run. No one ever says “I’m glad I quit music when I was a kid.” Even if at times you feel frustrated or like you aren’t improving, you are. That frustration is actually the feeling of pre growth. And don’t forget to enjoy the process. sign up for access to all the lessons and what's coming next.

Free Lesson. Enjoy! Lesson 32: Voice Leading and the beauty of utility In this lesson we look at chords as if each note has its own melody and story. Some of the best sounding most timeless music is written with the voice leading school of thought. Within the forward momentum of a piece, the shortest and simplest way to the next chord is the most beautiful. We look at “free fallen” by Tom Petty and how you can play the entire song by just moving one finger within the first chord. Also the harmonics of “California Girls.” Then we look at the pompous and regal sound of waste and vanity in the brilliant piece “Dance of the Knights” by Prokfiev (1935). Enjoy! And thanks for sticking with the lessons! It’s worth it in the long run. No one ever says “I’m glad I quit music when I was a kid.” Even if at times you feel frustrated or like you aren’t improving, you are. That frustration is actually the feeling of pre growth. And don’t forget to enjoy the process. sign up for access to all the lessons and what's coming next.

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28,562 Aufrufe • vor 1 Jahr

You may have seen this iconic jump on Shen Yun posters, billboards, or advertisements—but do you know what it takes to perform it? In this episode, dancer Diana Teng introduces the Firebird Leap, one of classical Chinese dance's most striking and expressive techniques. Combining explosive athleticism, elegant form, and precise timing, this spectacular jump demands years of training to master. Join Diana as she breaks down the technique and reveals what makes it such a thrilling highlight of Shen Yun's performances. And don't forget to stay tuned for more episodes in the series!

You may have seen this iconic jump on Shen Yun posters, billboards, or advertisements—but do you know what it takes to perform it? In this episode, dancer Diana Teng introduces the Firebird Leap, one of classical Chinese dance's most striking and expressive techniques. Combining explosive athleticism, elegant form, and precise timing, this spectacular jump demands years of training to master. Join Diana as she breaks down the technique and reveals what makes it such a thrilling highlight of Shen Yun's performances. And don't forget to stay tuned for more episodes in the series!

Shen Yun

18,455 Aufrufe • vor 2 Monaten

From horror show to triumph! This is the moment when pianist Maria Joao Pires realises - as the orchestra starts to play - that she has learned the wrong piece for a concert. With no sheet music to fall back on, she has to keep calm and carry on. She is AMAZING. As is conductor Riccardo Chailly, who shows he’s surely the cheerleader we all want in our corner. Belief and bravery in action! Mozart’s Piano Concerto in D minor, my Stop the Clock piece Classic FM today…

From horror show to triumph! This is the moment when pianist Maria Joao Pires realises - as the orchestra starts to play - that she has learned the wrong piece for a concert. With no sheet music to fall back on, she has to keep calm and carry on. She is AMAZING. As is conductor Riccardo Chailly, who shows he’s surely the cheerleader we all want in our corner. Belief and bravery in action! Mozart’s Piano Concerto in D minor, my Stop the Clock piece Classic FM today…

Joanna Gosling

5,001,675 Aufrufe • vor 2 Jahren

🚨 The Chinese Consulate FAILED to SHUT DOWN Shen Yun in Vancouver. Chinese officials directly pressured Vancouver city staff last month to cancel Shen Yun at the city-owned Queen Elizabeth Theatre. The city didn’t capitulate. The shows went ahead. This is the latest in the Chinese Communist Party’s global campaign to silence the dance company that celebrates “China Before Communism.” Shen Yun says the CCP has targeted them with hundreds of hoax bomb threats, slashed tour bus tires, smear campaigns, and even bribery attempts (two Chinese agents jailed in the US in 2024). In Toronto, China-linked hoax bomb threats cancelled 6 shows before they were rescheduled. Shen Yun revives traditional Chinese culture the CCP has tried to erase. That’s why they’re terrified of it. Watch the full story for NTD News

🚨 The Chinese Consulate FAILED to SHUT DOWN Shen Yun in Vancouver. Chinese officials directly pressured Vancouver city staff last month to cancel Shen Yun at the city-owned Queen Elizabeth Theatre. The city didn’t capitulate. The shows went ahead. This is the latest in the Chinese Communist Party’s global campaign to silence the dance company that celebrates “China Before Communism.” Shen Yun says the CCP has targeted them with hundreds of hoax bomb threats, slashed tour bus tires, smear campaigns, and even bribery attempts (two Chinese agents jailed in the US in 2024). In Toronto, China-linked hoax bomb threats cancelled 6 shows before they were rescheduled. Shen Yun revives traditional Chinese culture the CCP has tried to erase. That’s why they’re terrified of it. Watch the full story for NTD News

Jack Bradley

13,227 Aufrufe • vor 5 Monaten

Eruption- Van Halen- Eddie Van Halen Guitar Solo- Electric Violin Cover by Nina D Nina’s Notes 🎶: This was by far the hardest thing I’ve learned thus far on electric violin in the rock genre. This is the solo of all solos. While there is no shortage of covers and tutorials on the internet for a guitarist who wants to learn it, when I went to learn it, almost nothing of the sort existed for violin. There were a few covers out there on acoustic violin that are great- but anyone who knows me, knows I wanted to try and sound as authentic to Eddie as possible, on violin. There were many steps to this process, the biggest being learning how to finger tap on a violin. It was a long process of trial/error and practice to achieve the effect chain and technique. Some FAQ: 1.) It is a 7-string violin, not a chin guitar. If you don’t understand why, ask me a question! I will gladly answer. (But don’t state something as fact you have no experience in). I am a classically trained violinist who also plays electric violin, guitar, bass, and piano. I am qualified to answer your questions. 2.) It’s not easier to play on a violin. (Violin is never the “easy” instrument). 3.) Yes, I write my own music, but that has no bearing at all on being an instrumentalist. The best virtuoso instrumentalists in the word mostly do not write music because they practice all the time- to be the best they can be at their instrument. (Touring soloists, session players, hired guns for A-listers). 4.) No, I’m not miming to Eddie. You can come see this live on my tour dates with Femmes of Rock. You can also find live videos of this on YouTube. Special thanks to my team on the music video: Audio Mixing/programming, Drone footage and video editing, Fog jets and laser programming: Brody Dolyniuk Filming: Patrick Rivera Photography Lighting: Robert Brassard Custom Made Eddie Van Halen Outfit: 3x Emmy-nominated costume designer Diana Eden Hair and Makeup: the MOBB Group Graphics/Animation: Derryl Rice

Eruption- Van Halen- Eddie Van Halen Guitar Solo- Electric Violin Cover by Nina D Nina’s Notes 🎶: This was by far the hardest thing I’ve learned thus far on electric violin in the rock genre. This is the solo of all solos. While there is no shortage of covers and tutorials on the internet for a guitarist who wants to learn it, when I went to learn it, almost nothing of the sort existed for violin. There were a few covers out there on acoustic violin that are great- but anyone who knows me, knows I wanted to try and sound as authentic to Eddie as possible, on violin. There were many steps to this process, the biggest being learning how to finger tap on a violin. It was a long process of trial/error and practice to achieve the effect chain and technique. Some FAQ: 1.) It is a 7-string violin, not a chin guitar. If you don’t understand why, ask me a question! I will gladly answer. (But don’t state something as fact you have no experience in). I am a classically trained violinist who also plays electric violin, guitar, bass, and piano. I am qualified to answer your questions. 2.) It’s not easier to play on a violin. (Violin is never the “easy” instrument). 3.) Yes, I write my own music, but that has no bearing at all on being an instrumentalist. The best virtuoso instrumentalists in the word mostly do not write music because they practice all the time- to be the best they can be at their instrument. (Touring soloists, session players, hired guns for A-listers). 4.) No, I’m not miming to Eddie. You can come see this live on my tour dates with Femmes of Rock. You can also find live videos of this on YouTube. Special thanks to my team on the music video: Audio Mixing/programming, Drone footage and video editing, Fog jets and laser programming: Brody Dolyniuk Filming: Patrick Rivera Photography Lighting: Robert Brassard Custom Made Eddie Van Halen Outfit: 3x Emmy-nominated costume designer Diana Eden Hair and Makeup: the MOBB Group Graphics/Animation: Derryl Rice

Nina DiGregorio

262,870 Aufrufe • vor 1 Jahr

One of the most famous melodies of all time—and perhaps the most iconic in D major—“Air” from Bach’s Orchestral Suite No. 3. For centuries, this timeless piece has offered comfort and serenity, and it continues to move listeners just as deeply today. Here, it is performed by François Leleux with the SWR Symphony Orchestra, conducted by Markus Poschner.

One of the most famous melodies of all time—and perhaps the most iconic in D major—“Air” from Bach’s Orchestral Suite No. 3. For centuries, this timeless piece has offered comfort and serenity, and it continues to move listeners just as deeply today. Here, it is performed by François Leleux with the SWR Symphony Orchestra, conducted by Markus Poschner.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

27,389 Aufrufe • vor 5 Monaten