Art for Aimee Copeland

HERE is another video clip from CBS 11 Atlanta of the Art for Aimee event in Norcross that took place last Saturday.  If you missed the live event it's not too late to buy a piece of art work that will benefit Aimee's medical expenses or you can donate directly at the Welcome Center in downtown Norcross.

This clip has a close up of both myself and the wonderful jazz band that performed after me.  The art work is really lovely, full of color and scenes for everyone's taste.

Truman Price, Fiddle

Bach: Double Violin Concerto

Performed by Mr. Itzhak Perlman & Isaac Stern
two of the greatest violin soloists of all time.

Regina & Reverse Thread

Bach: Brandenburg #5

All movements are included in this 21 minute video.

Bach: Brandenburg #1, I. Allegro Moderato

Yes, But Currently . . .

"I want to re-introduce you to Meggan, whom you've already heard play this morning. She is the daughter of Wanda Jackson, a beloved member of our church. Meggan received her Bachelor's degree in Violin Performance from George Mason University and her Master's in Music from The Southern Baptist Theological Seminary in Louisville, KY. She loves the Lord and has been a joy to meet. Please make her feel welcome as she comes again to bless us."

~applause~

Yes, all of that is true but my life is not defined by the schooling I completed 6 years ago. Currently, by God's grace, I serve my husband by keeping our home and educating our children. This is my true and perpetual calling as a woman, wife and mother. The business of marriage and family is much more important than a music education. This mission is my top priority behind which all other pursuits take a back seat. The vocational ministry I do in my home will endure for generations and echo throughout eternity. It doesn't stop if I break a finger or when I die.

A congregation may be touched in less than three minutes by playing a wooden box in a church building. The tones communicated through the sound system and reverberated off the walls can sway those souls toward Christ today and the event may be remembered for a few days or even a few weeks. But serving my family daily until age and decay dictates that I'm no longer able, will bear such a greater weight of glory than a temporary mastery of a wooden box whether that's over three minutes or thirty years.

It's a great testimony. Yes, I'm talented. Yes, I have cultivated that talent through acquiring many additional skills through countless hours of private instruction, practice and public performances. But, like a growing number of women, I have placed the Word of God and His charge to be a submissive wife and nurturing mother first and foremost over the constant attendance of a lifeless wooden box. This testimony demonstrates the grace of God, the power of Jesus Christ risen from the dead. Receiving the gift of faith unto salvation is a miraculous work. But a great number of women today who have been so blessed of God to receive it, still cling to feminist ideology when the Author and Perfecter of our faith has clearly shown in His Word what He desires for us as women to do. Women are challenged to be obedient to the Word in its entirety, not just in the passages that are agreeable or convenient and to embrace its truth with joy and conviction.

The glory of a career will always dull in comparison to the glory of children and grandchildren who walk in obedience to the LORD. When the days are difficult and the children put me at wits end, I look back and complain, "I'm talented, intelligent, articulate and well educated. I could have done this or that and been successful. Then I wouldn't be dealing with this right now." But then I remember how lonely I was. And I consider that I would be no better off than all of those other feminists who become grumpy, bitter, lonely old women who only have their "success" to keep them company at night. That "success" does not endure to the next generation - it ends at their retirement. Now they are purposeless and bored. They look back with regrets and a sense of hopelessness.

I don't want to be one of those women. I want to be obedient to Christ even if it stands in direct opposition to what society tells me I should be doing instead. I fear God, not the looks of disdain behind pointed fingers and whispered name-calling between critical gossips. God will vindicate me as He has for many other women who choose the same. It is a high and noble calling to embrace being a wife and mother. There are so many moments of joy - I wouldn't trade it for anything the musical or corporate world could offer. This is what those grumpy, bitter, lonely old women come to realize, but for many of them . . . it's too late.

When lying on my death bed, will I ask for my violin to provide comfort as I journey from this physical body to the spiritual realm? No! I will ask to be surrounded by the people that had the greatest impact on my life: my beloved husband, my precious children, my faithful mother and my brothers and sisters in Christ. This is a true statement you can take to the bank: Feminism is antithetical to the Gospel of Jesus Christ.

Here I stand. I can do no other. God help me.

~~~~~

In Matthew 6:24 Jesus said,

"No one can serve two masters, for either he will hate the one and love the other, or he will be devoted to the one and despise the other. You cannot serve God and money."

Saturday Strings: Lindsey Stirling

When dancer & violinist combine, this is who you get . . .

Ladies & Gentlemen,

Ms. Lindsey Stirling

Greensleeves

The Annie Moses Band




http://www.anniemosesband.com

Is College REALLY Necessary?!

My entire life it was always assumed that I would go to college. The only matter was, "Which one?"

I decided to get a degree in music on violin and considered a double major in biology to pursue a career in the medical field. After I completed my freshman year, while taking several hard science classes and my required music classes (to fulfill my music scholarship obligations) I nearly pulled my hair out. My grades were good, but it was stressful and my Christian fellowship dwindled. So, I decided to focus on my music degree with a biology minor, then see what happens.

During the last two years of my Bachelor's I considered that I could make music my profession. However after 4 years in a secular university I was unprepared to take a major orchestra audition. I knew I needed more training, but I had no money. Providentially, after $40K spent, I had no debt either.

I took a year off to work and save money while I decided where I would go to further my education. I got info from every music school and conservatory in the US (except Julliard) and then my music minister plugged Southern Seminary into the mix. After visiting two prospective schools with their respective auditions, I prayerfully considered where God was leading me: Longy School of Music in Cambridge, MA or The Southern Baptist Theological Seminary in Louisville, KY.

I received my Master's in Music, Solo Performance in the Church, on Violin from Southern and finished my program without debt, but very scarily almost living on the street. It cost me about another $20K total. (I didn't know anything about credit or loans at this time.) However after my post-graduate degree, I still felt somewhat unprepared to take an audition for any orchestra, although I was definitely more prepared than before.

After marrying Jeramy and being exposed to the true history about the government (public) school system and how liberal most secular and religious colleges and universities have become, it dawned on me what a waste of time it is while a person is in the prime of their life.

Think about it. The average school student spends a lot of time in history classes learning about all the great leaders of the past who never attended formal schooling and somehow accomplished so much - but we never stop to think that they were home educated then apprenticed into their profession and achieved their goals much quicker, by 20 or 25 years old or while still teenagers. Why don't we do that today?

If I could go back, I would change my entire learning experience. I would not have wasted 4 years going to a secular university and then another 2 years getting a Master's degree. A grand total of $60,000 and 7 of the peak years of my life (18 - 25) were gone and I was still unprepared to take a major orchestra audition.

Instead, if I were 18, I would take 90 minute private lessons twice a week with a very high caliber teacher in a major orchestra, perform in community and other local orchestras while building a network at the same time in the musical field. All the other musical training: sight-singing, music history, music theory, violin pedagogy, piano keyboarding, etc. I would have just read the books and taught myself. I estimate that the cost would have been only half as much money rather than going away to school. If I had pursued this apprenticeship pathway, then at the end of 4 solid years taking the lessons and playing in orchestras - I feel like I would have been adequately prepared to take a major audition at 22 or earlier.

Pursuing an apprenticeship would have saved a lot of money because the only expenses would be the private lessons, any audition fees, and gas. Most local community orchestras are free to participate in. Some college orchestras may let you play without paying for the credit hours too. You'll save money on college admission, room & board, $X per credit hour multiplied by all the courses that don't advance you toward your goal. For example, two years of General Education classes (high school repeated = waste of time), piano keyboarding classes (= waste of time), and elective courses (= waste of time). In addition to all these, there is so much ideology that you will be forced to tolerate that you may completely abhor if you're a believer in Christ (a repeat of all the convoluted worldviews in the government education system = a minefield for Christians = imminent death).

Government schools, colleges and universities are cultivating in their student body a particular worldview not a set of career/professional skills.

However, I must say that given my limited knowledge at every turning point, I felt like I made the best decisions possible. In the providence of God, had I not taken that pathway, I never would have met my husband and had my children. In that sense, God used my poor educational choices to bring about a better circumstance for the present. Sure, if I could go back and change those things, I would - but look at what I would be sacrificing. I'm thankful for my family and I'm content to use my experience to encourage others to choose a less expensive, more direct route to their life's pursuits.

New Violin!

After saving up for months Jeramy and I bought a new violin! We traded in the old Doetsch that I've been playing for 15 years(!) toward the cash purchase of this new one. When I say "new" it really isn't new, it's new to me - an upgrade. The previous instrument was difficult to play well. The sound was scratchy and muddled. With extraordinary effort I would do my best to make a nice sound. It's like a professional painter painting a home with only a paint brush, whereas a paint sprayer, roller & extra large drop cloths would make it easier for him to produce a fine product with the level of skill & craftsmanship he already possesses.

I purchased this instrument from Atlanta Violins, with a new Bobelock case made of heavy plywood. It is strung with green label Eva Perazzi strings (about $80-90/set). This unlabeled, likely German, 1880-1920, violin produces a great sound, audibly legible and is very playable. Notice the detailing on the pegs, tail piece and the unique Egyptian carving on the back. The craftsmanship, especially in the scroll carving, allows for the educated guess of the time in which it was built.

The transition was very easy as my old Doetsch was German also (i.e. the length is identical). French made instruments tend to run on the short side, making it easier to play in the upper register, fingered octaves, etc. Overall, I'm very pleased with this intermediate step up to the instrument my skill level might dictate. And I'm more enthused to play now that I have an easier time producing a high quality sound. I'm very thankful for all the hours Jeramy and I put into obtaining this instrument. In the future, we may trade it in for another upgrade at Atlanta Violins. It's a great shop and I highly recommend it to anyone in the market.

Saturday Strings: Violin Sizes

Mr. Huthmaker and I had an informative discussion at my last visit to Huthmaker Violin Shop. For every century that the violin as we know it has been crafted, it has standardly come in one size up until the early 1900's. Japan was the first country to begin making violins in smaller sizes so that children could play. They used Manchurian Maple for the construction and would label the inside with "Nppo". Mr. Shinichi Suzuki began teaching his method around the 1940's to children as young as 3 years old.

Although the Japanese were the first to begin making violins of smaller sizes, the Germans and French also caught on at a later date. Each of these three countries would make these smaller violins respective of their own standards. A violin considered to be 1/2 size would be different in Japan, France and Germany! Some violins are made even to 1/32 size! So from smallest to largest you could reference 1/32, 1/16, 1/10, 1/8, 1/4, 1/2, 3/4 and 4/4 (or full) size. And because each of these countries measure the smaller sizes differently, there is the potential for up to 21 sizes for smaller violins! Amazing!

See Wikipedia for a little more explanation.

Saturday Strings: Suzuki Principles

Principles of Study and Guidance

Four Essential Points for Teachers and Parents

1. The child should listen to the reference recordings every day at home to develop musical sensitivity. Rapid progress depends on this listening.
2. Tonalization, or the production of a beautiful tone, should be stressed in the lesson and at home.
3. Constant attention should be given to accurate intonation, correct posture, and the proper bow hold.
4. Parents and teachers should strive to motivate the child so he will enjoy practicing correctly at home.

Through the experience I have gained in teaching young children for over thirty years, I am thoroughly convinced that musical ability can be fully cultivated in every child if the above four points are faithfully observed.

Musical ability is not an inborn talent but an ability that can be developed. Any child who is properly trained can develop musical ability just as all children develop the ability to speak their mother tongue. For the happiness of children, I hope these four essential points will be carefully observed and put to continual use in the home and studio.

Guidance for music reading will begin in Vol. 4. Just as the alphabet is not taught when children first learn their mother language, so music reading should not be included in violin study until children have sufficiently developed their musical sensitivity, playing skill, and memory. In the Suzuki Violin School this should occur by the end of Vol. 3. Even after acquiring the ability to read music, however, the children should, as a rule, play from memory during lessons.

Shinichi Suzuki

Suzuki Violin School, Violin Part, Vol. 1. Summy-Birchard Inc. Warner Bros. Publications Inc. Miami. 1978. ISBN 0-87487-144-1

Saturday Strings: My Old Teacher

Here's a video of Marcus Ratzenboeck, my most recent teacher with whom I studied in Louisville while attending Southern Seminary, although he himself was not affiliated with the Seminary (!!!). During my study with him he held the principle second position in the Louisville Orchestra. When a more secure, profitable opportunity came along, he took a job with a secular alternative rock band. This video is a demonstration of some of the improvisational skills on electric violin that are necessary for his new gig. Even when performing serious classical works, his facial expression never really changed. He makes it look so easy.

Disclaimer: I do not advocate the secular music his band performs. This video was included as a demonstration of my former teacher's skills and instrument only.

I Will Stand on Every Promise of Your Word

On the new album release by Keith and Kristyn Getty, Awaken the Dawn, is a song with the aforementioned title. I like this song because it defies the "Name It and Claim It" Gospel. Because the refrain is repeated so often, it causes to bring to remembrance the fact of God's faithfulness. God has spoken and there is nothing that could cause Him to go back on His Word, but that He is powerful and faithful to bring every one of His promises to fruition.

The question is: will we believe Him? And beyond that: Will we rest in the faithfulness of Almighty God? Will we be grateful to Him for His revealed Word? Will we recognize His mercy not only that He gave us His Word, but that He decided, by His kindness and grace, to make promises to us? He is holy and doesn't owe us anything! And see how much He has granted us?!

From the breaking of the dawn to the setting of the sun,

I will stand on ev'ry promise of Your Word.

Words of power, strong to save, that will never pass away,

I will stand on ev'ry promise of Your Word.

For Your covenant is sure,

And on this I am secure—

I can stand on ev'ry promise of Your Word.

When I stumble and I sin, condemnation pressing in,

I will stand on ev'ry promise of Your Word.

You are faithful to forgive that in freedom I might live,

So I stand on ev'ry promise of Your Word.

Guilt to innocence restored,

You remember sins no more—

So I'll stand on ev'ry promise of Your Word.

When I'm faced with anguished choice, I will listen for Your voice,

And I'll stand on ev'ry promise of Your Word.

Through this dark and troubled land

You will guide me with Your hand

As I stand on ev'ry promise of Your Word.

And You've promised to complete

Ev'ry work begun in me—

So I'll stand on ev'ry promise of Your Word.

Hope that lifts me from despair, love that casts out ev'ry fear,

As I stand on ev'ry promise of Your Word.

Not forsaken, not alone, for the Comforter has come,

And I stand on ev'ry promise of Your Word.

Grace sufficient, grace for me,

Grace for all who will believe—

We will stand on ev'ry promise of Your Word.

Saturday Strings: How It's Made

Funny Friday: Super Mario Fun!!!

I think this guy is a great player and probably a little tired of working on concerti and orchestra excerpts. :-D . . . a little too much time on his hands.

Saturday Strings

This is an awe-inspiring commercial. The reason I like it is because of this principle it presents: anyone can learn music. You don't have to be talented to appreciate music and learn an instrument or other basic skills. Enjoy.

Saturday Strings: Investing in Stringed Instruments

The following is a pasted copy of an article I found regarding the appreciation of bowed stringed instruments by Florian Leonhard Fine Violins. Some instruments and bows lose their value and others may retain their value but not appreciate. It depends upon many factors, listed below. See the original (2007 pdf) published version Here, scroll down to the fourth page.

Is it rewarding to invest in music instruments as an asset class?

In a contemporary setting, antique stringed instruments have proved to be an excellent alternative investment. The fact that we cannot source fine wood that was used by the old craftsmen - makes these fine instruments irreplaceable items. The potential returns offered are virtually uncorrelated with any other asset class, hold steady over time and are lucrative. In comparison, the risks are low and inexpensive to hedge.

What is the size of the market currently, the rate of growth and the

prospects of investing in this asset class?

The market for fine instruments is presently valued at approximately USD 22 billion. It continues to grow as instruments crafted by newer makers have gained in importance. Depending on which era of violin making one chooses to invest in, growth should follow the trends of the past 50 years, wherein it returned 8-15% annually. I actually think this is sustainable over the next decade.

Who and how much should be invested in music instruments to make it a viable investment?

The market is certainly open to anyone with an interest in diversifying their portfolio. I would suggest a minimum of USD 30,000. As a relatively low risk investment this is likely to offer the returns already mentioned. An allocation of anything lower than that, often, ceases to be a collectable and thus loses its appeal.

Drawing on your expertise, what would you say is the best approach to investing in music instruments?

Seek out the best professional opinion in order to identify and invest in undervalued instruments. Insure the most obvious risks associated with the instruments. It is also vital to understand the correlation that exists amongst the various makers, age and condition of the instruments. As with all investments, it pays to be interested in the asset itself.

As opposed to stringed instruments, what are the prospects like for investing in other music instruments?

Fine stringed instruments including violins, cellos and violas, have a broader acceptance and are highly sought after. Aside from the individual artisan nature of violin making, it is age that bestows value to a stringed instrument. Most musical instruments “play themselves out” - whereas a fine old bowed string instrument, like the violin, continues to develop complexity and character. Not surprisingly, the market for them is significantly larger than those of other musical instruments.

How do you source rare musical instruments?

As items that possess sentimental as well as monetary value; these tend to surface where people of western origin have relocated to. These instruments may be held by private individuals, families, or institutions. Another major source is the presence of these instruments in musician’s hands: After a career that has spanned many decades - playing the same instrument - many choose to eek out their retirement thanks to the value their instrument has gained in the interim years. As one of the few qualified and recognised players in this industry, a reasonable quantity of our stock has also been brought in to us.

What criteria do you apply in choosing stringed instruments?

Characteristics, condition, wood, model, size, and varnish.

How important is authentication?

“Authentication” entails the examination and understanding of instruments; skills that I have refined over 25 years of having being exposed to reference examples of genuine articles. Value is added when a name or firm, such as ours, held in high esteem by the market and peers provides certification toward an instruments authenticity.

Do you think investing in music instruments is exclusive to the rich?

Not at all, as anybody can invest via a syndicate or participate in an investment trust. Often, the acquisition of a rare instrument, by a musician or collector lacks the required capital. That is where specialists like myself structure syndicates as investment vehicles to support and fund the acquisition of music instruments.

What justifies fantastical prices commanded by some musical instruments - even though to serve a purpose – a well made copy/new instrument is capable of delivering the “same” quality of music?

True. A new instrument played by a maestro could deceive a layman’s ears; but the additional effort required on the part of the musician is drenching. In order to be competitive, a musician needs an instrument that is versatile and subtle, and projects an even balance between depth and brilliance.

What role does speculation play?

The “antique value” of a rare collectable is very desirable. The rest is about supply and demand. Even if demand drops slightly, there are never enough old Italian high end instruments around. Speculation, currently, surrounds less known maker from the 1930s to 1960s as one might “buy and hold” until they start to appreciate - as has been experienced by instruments dating back to the 1920s.

What are the peculiarities exhibited by investments made in musical instruments as an asset class?

Manoeuvrability lends itself well to an instruments price appreciation… hence it offers a very global market.

What are the risks associated with this investment class, can they be hedged and at what cost?

The primary risk would be damage or loss of the instrument itself. Insuring against this risk costs approximately 0.1%-0.3% pa of the total value for a high end instrument. For example, a G B Guadagnini violin, made in Turin in 1773, presently valued at USD 1,000,000 dollars and used in concert settings around the world, would cost roughly USD 2,000 pa to insure. If the same instrument was kept and left unused in a collection, the premium would likely move down to around USD 1,000 pa. Historically there is very little risk as evident from the exceptionally low premiums.

Saturday Strings

Ladies and Gentlemen,

Mr. Mark O'Connor

performing "Lady Be Good"

in the bluegrass fiddle tradition.